Riverfront Times - May 11, 2016 by Riverfront Times

MAY 11–17, 2016 I VOLUME 40 I NUMBER 19

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The Collectors

These five St. Louisans have accumulated troves of unusual treasure — one piece at a time. BY ALLISON BABKA

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THE LEDE

“Our business is a family business. My mother-in-law owns it. I run it. My husband has a motorcycle shop in the back. My daughter-in-law works for me. My godsons come in and they volunteer for me. My best friend Tina, she’ll come down here if I need her here. Because in between running a dog rescue, running a store and helping an old lady, it’s exhausting. But I like it because we’re not your ordinary average sex store. We’re more like counselors than we are salespeople.

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“Guys, when they come in, they don’t want to tell another guy that they can’t get their dick up. You know what I mean? And I’m very bold. I’m a brutally honest person. If they pick out a toy or a lubricant and they’re like, ‘Hey what do you think about this,’ the first thing I ask them is, ‘Well, what’s your issue? What are you trying to achieve?’ And they’ll tell me.” —CINDY WALLACE, PHOTOGRAPHED AT SIMPLE PLEASURES ON CHIPPEWA ON MAY 7, 2016.

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TABLE OF CONTENTS FEATURE

12.

The Collectors

From pop stars to pop cans, meet five St. Louisans who’ve accumulated troves of unusual treasures, one piece at a time Written by

ALLISON BABKA Cover by

KELLY GLUECK

NEWS

CULTURE

DINING

MUSIC

Your friend or neighbor, captured on camera

Seven days worth of great stuff to see and do

Calendar

Some Kind of Wonderful

The Lede

Dumb Arguments from Pot Prohibitionists

Sarah Fenske takes aim at the new political action committee formed to stop medical marijuana in Missouri

Film

Robert Hunt reviews The Man Who Knew Infinity and finds the numbers just don’t add up

Cheryl Baehr loves everything she’s eating at Olive + Oak

Side Dish

How Ben Bauer is pushing the envelope at the Libertine

First Look

Mèxcla has a very young chef — and some very delicious dishes

Bars

Tatyana Telnikova’s new Cherokee Street spot Propaganda is a wink at the U.S.S.R.

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MAY 11-17, 2016

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Hall Of Mirrors

Sound artist Eric Hall built an entire show around miscommunication

Homespun:

Kristo Happy Camp

Out Every Night

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

This Just In

This week’s new concert announcements

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NEWS

[RANT]

Sorry, But the FDA Is Not the Answer for Pot Written by

SARAH FENSKE

got a press release Friday from a group called Keeping Missouri Kids Safe. The name should have been my first clue — any time there’s knee-jerk stupidity to be propagated, it’s done in the name of the children. And the combination of “children” and “safety” almost always means the adults are about to get screwed. So it was in this case. The release announced the formation of a political action committee to fight the medical marijuana initiative aiming for Missouri ballots in November. Keeping Missouri Kids Safe, the release explained, is “a newly-formed coalition of citizens from drug prevention, treatment and recovery centers, parent networks, medical centers and law enforcement agencies who have joined together to educate Missourians regarding the truth about today’s marijuana.” And what is that truth? Naturally, things are getting scary for the children. These guardians of our youth argue that marijuana cannot be used as medicine because, get this, it hasn’t been approved by the FDA According to the press release: “Marijuana is not medicine and should be put through the strict FDA process just like all other drugs,” said Joy Sweeney, the Executive Director of the Council for Drug-Free Youth and Co-Chair of Keeping Missouri Kids Safe. .... “If a pharmaceutical company wanted to release a psychoactive drug over-the-counter without clinical trials or FDA approval, in its own store with no knowledge of dosing or drug contra-indications, and then have

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The theory that people wouldn’t become addicted to painkillers has been “one of the biggest mistakes in modern medicine,” a former FDA commissioner says. | LIGHTSPRING /SHUTTERSTOCK it distributed by someone with no medical training, people would be outraged,” said Bridget Klotz, Director of Smart Approaches to Marijuana, Missouri, and cochair of Keeping Missouri Kids Safe. “There would be protests and petitions to stop it, and there should be. So why is Big Marijuana getting a pass?” So if only we could get federal regulators involved, we might be able to render pot safe for human consumption? Pardon me while I laugh my ass off. The fact is, Missouri has a huge drug problem — and it has nothing to do with leafy plants and “Big Marijuana,” whatever the heck that is. No, the drugs that are destroying lives in Missouri in 2016 are opioids — prescription painkillers including Oxycontin and Percocet. It’s not only that people are getting hooked on these drugs, although that’s a real problem. It’s also that they’re getting hooked on them, seeing their lives crumble and then turning to heroin because it’s easier to get, or cheaper. The combination has become a scourge

MAY 11-17, 2016

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on America. Unlike pot, these drugs really are killers — and that’s not just true for those who switch over to heroin. Opioids themselves also kill. One recent victim? Prince, a clean-living pop star who eschewed pot and alcohol but had been prescribed painkillers for a bad hip and found himself dependent. Last month, at 57, he died, far too young. What makes it all so horrifying is that the opioid epidemic happened with the FDA’s blessing. David A. Kessler, the agency’s former commissioner, acknowledged as such in a remarkable op-ed published in the New York Times Saturday. Kessler wrote, “Beginning in the late 1990s, pharmaceutical companies selling high-dose opioids seized upon a notion, based on flimsy scientific evidence, that regardless of the length of treatment, patients would not become addicted to opioids. It has proved to be one of the biggest mistakes in modern medicine.” As Kessler detailed, a CDC analysis reveals that a full 27 percent of those at the highest risk of over-

doses are taking drugs that have been prescribed to them. Another 49 percent got them from friends or relatives. Only 15 percent, he wrote, bought pills from a drug dealer. Kessler’s essay was a rare acknowledgment that the problem with painkillers isn’t patients who go rogue. It’s the painkillers themselves — and they’ve proliferated with the FDA’s full blessing. Last week, the L.A. Times published an illuminating series that details how Big Pharma (and particularly a company called Purdue Pharma) won regulatory approval for Oxycontin as a twelve-hour drug, even though studies showed it only worked for eight hours, and sometimes even less than that. Why does that matter? As the story details, for Purdue Pharma, that twelve-hour dosage was everything — the FDA’s approval of that dosage gave the drug a huge marketing edge. Doctors everywhere leapt to prescribe it to help suffering patients, thinking they were giving them twelve full hours of Continued on pg 10 pain relief.

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But the consequences of that decision have been disastrous. The Times details story after story of patients who found themselves physically dependent on higher and higher doses of the drug. In many cases, their lives were destroyed by it. One gripping example is Burgess MacNamara, who was prescribed Oxy after knee surgery. A top athlete and public school teacher, he was “used to following the rules.” But following the rules with Oxy did no good because his body needed another dose much sooner than his prescription indicated. That’s not a guy going off script. That’s a guy following the dosage recommended by the FDA — not realizing he was being led right into a trap that would destroy his life. Within a month, the story reports, “he was crushing and snorting the pills. Within a year, he was forging prescriptions.” Eventually, he lost his teaching job and spent nineteen months in prison. But hey, what did Purdue Pharma care? There’s always some collateral damage in capitalism. And the drug has reportedly made the company $31 billion. Faced with complaints from patients and concern from doctors, the Times reported, the company refused to admit what its own studies indicated. Being honest about the drug’s limits, after all, could decimate profits. They instead urged physicians to administer higher doses, the paper reported. The result? I was “just a zombie,” one patient told the Times. A Wash. U professor quoted by the Times called prescribing OxyContin at twelve-hour intervals “the perfect recipe for addiction.” And where was the FDA in all this? They were working hand in hand with the drug manufacturers. Per the Times: The FDA approved the application in 1995. Dr. Curtis Wright, who led the agency’s medical review of the drug, declined to comment for this article. Shortly after OxyContin’s approval, he left the FDA and, within two years, was working for Purdue in new product development, according to his sworn testimony in a lawsuit a decade ago. Oxycontin is still being marketed for a twleve-hour dosage. And it still has the FDA’s stamp of approval.

This is who we need signing off on marijuana? Tasked with “regulating” cannabis, I can just see how the FDA regulators would help keep our kids safe — signing off on high-dose pills that allow some drug company to laugh all the way to the bank, then landing lucrative jobs on its payroll. The dealer on the street goes to the jail; the dealer peddling a far more addictive product via a network of regulators and physicians and attractive sales reps retires to a gated community in Chesterfield. Now, there are certainly arguments to be made against the legalization of pot. I lived in California as medical marijuana gained a foothold there, and let’s just say if you oppose using cannabis to “treat” depression and anxiety, you probably shouldn’t vote for this ballot initiative. Weed helps people struggling with chemotherapy and chronic pain, yes — but it also finds its way into the hands of a whole lot of people whose problems amount to a general malaise. Is Missouri ready for that? Having seen how it played out in California, I don’t see a huge downside. I signed the petition to bring medical marijuana here last week for just that reason. But reasonable people can disagree, and that’s a good conversation to have. Do we want people to be allowed to self-medicate with a few puffs of the pot pipe to get through the night? Or do we want to require them to get on a mood stabilizer like Paxil or Prozac or Zoloft? Let’s discuss. As for me, I can’t help but think about Jeff Mizanskey, the Missouri grandfather who became a symbol of all that’s wrong with our drug policies. After getting caught assisting a pot dealer, Mizanskey was slapped with his third felony and sentenced to life in prison. He did more than twenty years behind bars before Governor Jay Nixon finally commuted his sentence last year. An ex-con gathering signatures for the medical marijuana ballot initiative, Mizanskey is surely the kind of guy Keeping Missouri Kids Safe would warn us about. But if it comes down to Mizanskey or the CEO of Purdue Pharma, I know who’s left far less damage in his wake. It’s not the one who had the blessing of the FDA. n Sarah Fenske is the editor in chief of the Riverfront Times.

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The Collectors

From pop stars to pop cans, meet five St. Louisans who’ve accumulated troves of unusual treasures, one piece at a time

BY ALLISON BABKA

etween the two of us, we really could find almost anything you’d need in your life.” Audra Frick isn’t wrong — if what you need is a lot of wonderfully random stuff. She and her husband Brad are hanging out in the basement of their south county home, completely surrounded by interesting things. An ancient Ms. Pac-Man arcade game. A “She-Ra” Crystal Castle playset. Racks and racks of clothing for their LuLaRoe boutique. A life-sized Teenage Mutant Ninja Turtle. Just about every twee decor item Target has sold in the past decade. The couple’s lower level would be a carnival for the over-stimulated and a nightmare for OCD sufferers. And all that is just an appetizer for the main course: an impressive feast of nostalgia safely tucked away from the grimy hands of children and the evil threat of sunlight. “Well, I’m not going to put it in my living room. That would just be weird,” Audra says of her extensive collection of New Kids on the Block memorabilia. Both Audra and Brad are collectors. In and of itself, this is nothing special; author and professional organizer Regina Lark claims that the average U.S. household owns 300,000 things, from office supplies to bracelets to laptop cords. In that sense, the entire population is collecting the stuff of life, almost every day. But the deliberate, joyful nature of their acquisition is what sets Audra and Brad apart. People like them fixate on specific clusters of things for various reasons: nostalgia, investment, loyalty, preservation. There’s a certain glee that comes with unearthing the pop-culture tentpoles of your childhood or finding that special something that’s been eluding you for years — a never-ending hunt that sometimes results in a big score. Just one more of these, you think, and I’ll die happy. Of course, that kind of procurement has a way of becoming tinged with darkness. We’ve all seen Hoarders. When does a person have too many of anything? What is the line between collecting and obsession? Luckily, the Fricks and the other St. Louis collectors we spoke to avoid the darkness, making sure that their acquisitions don’t take over their lives or overwhelm their finances. For them, their collections are conversation starters — and real points of pride. We all accumulate stuff. Why buy mindlessly when there’s such fun to be had in doing it with purpose?

Old Valentino Block

t 36, Audra Frick is an impeccably dressed writing consultant with a hankering for grown-up brands like Kate Spade. But in her basement, as she pulls out her array of New Kids on the Block paraphernalia, she might still be a giddy teenager. Yes, the same New Kids on the Block that made every sixthgrade girl swoon in 1989, thanks to pop hits like “I’ll Be Loving You Forever” and “Hangin’ Tough.” Audra became smitten with Joey, Jordan, Donnie, Danny and Jon after a neighbor gave her a NKOTB cassette for her birthday, and since her tween years, she’s amassed a sizeable collection of band pins, magazine centerfolds, dolls, clothing and letters. She’s pared down her stash over the decades as she’s changed towns and houses, but she’s carefully preserved the best of it within a large, tough suitcase. “The last time I got it all out was around 2002, but I’m so glad I have this stuff from such an important time in my life,” Audra says. “I was so bananas over New Kids. I used to cry watching the previews on their concert VHS tape.” Showing off a cross-stitch wall-hanging inscribed with “Love is… New Kids on the Block,” Audra reveals that she eagerly forked over $20 to join the band’s fan club back in the ‘80s. That small fortune netted her special patches and pins, exclusive photos, access to a 1-900 hotline that cost $2 per minute (it’s now disconnected — we tried), and an official computer-signed letter from the band welcoming her to the club and sharing that Danny’s favorite hobby is exercising. “I don’t even think I got a t-shirt with it,” she remembers, a bit forlorn. “I was also in the Debbie Gibson fan club, and I got a sweatshirt for that.” Audra perks up as she rifles through her stash, giggling while pulling out band-approved items that seem quaint by today’s standards. Mini NKOTB “cassettes” with bubble gum and trading cards? Check. A heart-shaped puzzle with Jordan’s face on it? Check. Comic books about tour adventures? Check! She puts on a black painter’s cap covered in neon band member “signatures” and then smiles as she drapes an ancient New Kids beach towel over her shoulders. “We still use this at the pool at my mom’s house. She said I could have it over here tonight, but I have to bring it back,” she says. Audra isn’t the only Frick with a special collection; her husband Brad has his own treasure trove, though it’s of a decidedly different nature. Let’s just say that a historian probably would be more interested in seeing the makeup compact used by silent film star Rudolph Valentino than a Joey McIntyre poster ripped from “Tiger Beat.” The Italian-born Valentino became one of Hollywood’s first sex symbols in the ‘20s, thanks largely to his role in The Sheik. Connoisseurs the world over seek out the actor’s personal belongings and film memorabilia. But who knew that one of the foremost collectors lives in St. Louis? Brad was only five when he saw Valentino’s face on one of his mom’s movie magazines. The image must have stayed with him, Brad says, because when he came across The Sheik on TV at 2 a.m. during his high school years, he felt compelled to watch and record it. “I was totally hooked, started finding Valentino things to collect and found a newsletter,” says Brad, now in his early 40s. “At that time in 1995, it would have been Valentino’s 100th birthday, so I went to Hollywood to meet other fans from all over the country, many of whom I’m still friends with today.”

Brad, who also collects autographs and Elvis Presley albums, became even more serious about finding authentic Valentino items. He started a blog as a reference guide to collectibles, drawing in hundreds of followers and giving people a place to discuss rare, expensive finds. Over the years, he’s been able to amass some of Valentino fans’ most sought-after items. “It’s getting tougher and tougher to find, because they made this stuff back in the ‘20s,” Brad says. “Original Valentino movie theater posters from Italy in the ‘20s go for tens of thousands of dollars now, and there aren’t many of them.” He doesn’t have any of those, but he does have plenty of rare, highly coveted lobby cards, sheet music from the actor’s films, a shield that was used during a scene and Valentino’s own books with doodles written in them. One of Brad’s most unique treasures is a set of goblets that Valentino and a lady friend won during a costume contest. A tight-knit collector community and online communication — eBay, specifically — makes finding pieces a little easier than it used to be, though the passage of time makes it harder and harder to locate the really old stuff in pristine condition. But even though Brad has become a recognized expert in this field, he won’t show just anyone his secret cave of treasures. A senior allocator for a toy company by day, he’s justifiably vigilant about staving off potential harm to his amazing artifacts.

“I don’t show it off a lot and don’t like sunlight near it — it’ll fade these very old things,” Brad says. “I might display a few at home, but they’re mostly hidden.” With this much real estate devoted to cherished memories and expensive artifacts, as well as to the retro toys and decor mentioned before, an observer might wonder if it’s ever all too much for the Fricks. And, honestly, sometimes they wonder the same thing. “If I were to buy someone’s entire Valentino collection, then it might be a challenge,” Brad concedes. “I can be obsessive,” says Audra. “When I really like something, I want to have all of those things.” Over the years she’s also collected pencils, scarves, purses and stationery, some of which she’s since sold or donated when the numbers became overwhelming. “I wonder if it’s bad for the kids to see. How will they pull back if we’re not modeling that behavior?” she says. “But if it makes you happy and doesn’t infringe on other areas of your life, like the kids tripping over it or having trouble from a financial standpoint, then who cares?” The Frick children, ages six and four, are still too young to truly appreciate the collections that make their parents grin, but Audra says the little ones are on the path. “They know who New Kids are and know the song ‘Step by Step’ from my listening to it in the car. They even request it,” Audra marvels. “I’m pretty proud of that. I can be done with parenting now.”

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MAY 11-17, 2016

Married couple Audra and Brad Frick have built shrines to the New Kids on the Block and Rudolph Valentino, respectively. | ALLISON BABKA

RIVERFRONT TIMES

A Grape Appeal

f a creepy old man promised to give you your heart’s desire and “all it’ll cost you is a smile,” would you do it? Sean McElroy didn’t pay the price when this scene played out at a comic book show some years back, but it nevertheless set him on the path to be the most ardent collector of grape soda in St. Louis — and possibly the entire country. “At the show, this older guy said to a child, ‘Hey buddy, you’re looking mighty thirsty. I’ve got a cooler full of grape sodas in my van. All it’ll cost you is a smile,’” McElroy remembers. “It was the worst thing ever, but it’s stuck with me.” As the bassist for pop-Americana band Pretty Little Empire, McElroy, 41, remembered the odd scene later while touring the nation. Wanting souvenirs from the areas he was visiting, he decided that picking up grape soda was the easy, inexpensive way to go. “Grape was already on my mind, and I wanted something that wouldn’t take up much room in the house,” McElroy explains, gesturing at his south-city row house. “At every soda company, root beer’s the first one they do; every city in America has at least fifteen small-batch root beers. That would be too much of a project and take too much room. But for a company to get to grape after root beer, cola, cherry and orange says so much about the kind of company they are.” He adds, “It’s a regional product that only a very small percentage of the market would be

Sean McElroy holds some of the unique grape soda brands he’s found across the country. | ALLISON BABKA interested in.” Consider McElroy as leading the one percent on this one. McElroy began grabbing grape sodas as cheap singles at gas stations or $3 six-packs in dollar stores and convenience shops around the country. After five years of touring and personal

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travel, he’s amassed nearly 70 different brands from Seattle, New York, Florida and of course Missouri and Illinois, and he has a few hundred cans and bottles if he counts the doubles. Grape soda cans, he’s found, tend to have a pattern.

“One thing I find endlessly fascinating is that more than any other soda, grape sticks to a color scheme and a formula for the labeling,” McElroy says. “I’d believe it if there was one person in charge of designing every grape soda label because it’s so uniform: an upward slant of the logo and very little variety in shades of purple. Every once in a while, you’ll find one that does not fit the profile at all, and it’s jarring.” McElroy says that his girlfriend finds his collection charming. Perhaps that’s because he confines the best-looking cans and bottles to the tops of his kitchen cabinets and keeps doubles at bay with group soda tastings. Ironically, he isn’t even much of a soda drinker. “It would be my last choice,” McElroy laughs. “When we went into the studio to record, I’d bring my backlog of grape soda, and that’s all we’d drink. They all got a taste for it.” And as far as he knows, he’s the only person with a hankering for the purple stuff. “Maybe I’ll meet someone else who’s a grape soda collector and we can start trading,” McElroy says wistfully. “I look stuff up on the soft drink boards online, and people seem to collect just weird sodas and not specifically grape. Very few people specialize.” But McElroy, who also collects comic books and owns thousands of videocassettes, probably won’t stop hunting for new soda can variants anytime soon. “It’s part of my personality,” he says. “If I find one of something I like, the only thing better is ten of them. And the only thing better than ten is twenty. It just snowballs from there.”

“I’d believe it if there was one person in charge of designing every grape soda label because it’s so uniform.” | ALLISON BABKA

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RIVERFRONT TIMES

Rainbows of Pez and Equality

t always comes back to Santa Claus. Travis Sheridan didn’t intend to own more than 2,500 Pez dispensers. It just sort of happened. The executive director of the tech networking organization Venture Cafe, Sheridan, 42, grew up in California. One year, he found a Santa dispenser in his stocking and hung onto it, displaying it on a bookshelf in his U.S. Air Force dorm room years later. A friend saw Santa and offered up his own unwanted Kermit the Frog Pez, and others naturally followed suit. “I don’t really think I collected Pez then; I had a Pez and people gifted me Pez,” Sheridan says. “But once it got to ten or so, I thought, ‘Well, maybe I do actually collect Pez.’” Sheridan fueled his newfound Pez collection by buying up favorites, attending Pez conventions and visiting the Pez museum in Burlingame, California. “It just became really cool.” Eventually, Sheridan’s collection reached a point where he needed 16

RIVERFRONT TIMES

Travis Sheridan’s rainbow wall of Pez dispensers is both an art installation and a conversation starter. | ALLISON BABKA an entire room to display them, he says. He frequently rearranged his collection, spotlighting a certain group of characters or extra-valuable, rare dispensers. On his first-ever IKEA run back in California, he picked up a display case and storage accessories. Now, though, Sheridan gravitates toward displaying the candy dispensers as an art installation instead of as a showcase. Only about 500 live on his floating shelves, with the rest packed away in plastic tubs. “They’re displayed in the rainbow spectrum and follow ROY G BIV order, and that brings me a lot of joy. I have a lot of rainbows in my life,” Sheridan says. “I look at the Pez and think to myself, ‘This fits.’ My collections haven’t always fit my life, my stage of life or the size of my house. But now I’ve found a way that in perpetuity, this collection fits.” He gestures around his north city home, referring not only to the house’s size, but also to other items that reflect his current life stage and passions, such as the old library card catalog that now holds bottles of wine and the refurbished retro TV that serves up vintage glasses and beverages instead of The Ed Sullivan Show.

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Sheridan, who collected baseball cards and bugs as a child, isn’t worried about going overboard these days. He doesn’t actively acquire dispensers unless he’s traveling abroad. And he’s learned to think of his collecting as a hobby, not an investment. “I have Star Wars Pez that I thought were really old, and I had paid a lot of money for them at an antique store,” he explains. “Then I went to the grocery store and saw them and was like, ‘Oh my gosh, those are actually current!’ I still make really stupid decisions. But now my collections aren’t investments at all. They’re happiness.” Today, Sheridan’s Pez share a light-filled space with vintage toys, books and knick-knacks. During neighborhood gatherings or his famous “boozestorming” meetings, guests freely wander throughout the house, gasping when they stumble across Spider-Man, Daffy Duck and the Little Mermaid. “People say ‘I had a couple from my childhood, but I didn’t realize there were that many!’” Sheridan laughs. “When I tell them they’re seeing only fifteen to twenty percent of my whole collection, they say ‘Are you serious?’”

And that’s his biggest joy — sharing his collection with other people. “When kids come over, they want them,” Sheridan says, a smile coming across his face. “So I tell them, ‘You can look at the Pez and pick one. Unless it’s something special to me, you can have any one you want.’ Then I’ll replace it in the collection with another of same color. Kids just say, ‘Oh my gosh!’” Sheridan still has a bit of a collection bug. He’s now aiming to acquire all 50 colors of sneakers in Pharrell Williams’ “Supercolor Superstar” line for Adidas — yet another type of rainbow. That started when he found an orange pair during a visit to Australia and then noticed that the shoes had “Equality” stamped on the sides. Now he’s well on his way to collecting the full rainbow and wears a different color each day to strike up conversations. “People always say, ‘I like your shoes,’ and I show them the ‘Equality’ on the side and say ‘Let’s talk about equality,’” Sheridan says. “It’s the most awkward segue into a conversation ever, but it works. Collections can become conversation starters to engage people and foster deeper thinking.” Santa Claus would be proud.

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Freak-ing Out

THE SHELDON 2016–2017 SEASON

Gregg Koenig has a taste for Freakies — but only the boxes, not the food inside. | ALLISON BABKA

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ost people buy cereal for the sugar boost or for the prizes inside. Not Gregg Koenig. He just wants the box — no cereal required. “I just like the artwork and whole design of it,” he says. A graphic designer by trade, Koenig, 40, is fascinated by the look of cereal boxes from the ’70s. He concentrates on one brand name, though: Freakies. The Ralston-Purina cereal had its heyday during that decade and Koenig didn’t even discover it until a short-lived re-release in the ‘80s. Then he fell head over heels for the strange mascots and bold colors. It wasn’t because of the taste. “They pushed the vitamins in the cereal, but most kids didn’t like it, from what I’ve heard,” he says. “The cereal looked like Cheerios but glossed with sugar coating.” Koenig has around 35 original boxes of Freakies. He only needs four or five more to own the entire run — a rarity in the cereal collection world. It won’t be easy, though, as most consumers in the ‘70s just threw the boxes away once the cereal ran out. But Koenig likes the project’s high degree of difficulty. “It’s not like baseball cards or comics,” he says. “Those are so easy; if you have the money, you just go buy it. But for cereal boxes, you have to put in a ton of homework.” Koenig is on a quest to acquire one of the remaining few intact boxes with the actual cereal inside, calling a sealed Freakies box “beyond rare.” His obsession doesn’t stop with the boxes, though. He also collects Freakies memorabilia: prizes, commercials and test market materials.

“I just had to have that first Freakies box, and then it snowballed,” Koenig admits. “Freakies had some of the coolest premiums: posters, figures, patches and magnets. I think the people who made the premiums were in the Westport Plaza area, and you could send away for posters, t-shirts and sweatshirts. It was a huge draw!” Some of the smaller prizes even ended up in gumball machines after the Freakies run ended, Koenig says. And he’s just as proud to own those as he is to have ultra-rare concept art. In addition to the cereal boxes, Koenig also accumulates vintage food packaging of all types, t-shirts from other eras, KISS memorabilia, board games and in-store product displays. Most of the food packaging is displayed neatly above the kitchen cabinets on the main floor, but the basement where the other items live is an adventure (and an occasional place of fascination for his one-yearold daughter). “I’m a neat freak naturally, but I have way more stuff than what it seems like. I live in the wrong house for the collection I have,” says Koenig, who shares a vintage south city row house with his wife and daughter. And yes, his collection has been a topic of discussion in relationships over the years. “It’s not anywhere near what you see on TV, but I’m sure I’ve crossed a line,” he says. But Koenig does have a reason for keeping so many interesting things at home — he sells almost as much as he buys. As a frequent exhibitor at toy shows, Koenig says that much of his basement stash is actually inventory. Being a collector as well as a seller can be difficult sometimes. “There’s always the urge to hunt when I’m at a show. It’s addictive to run around looking for things,” he says, smiling. “It’s wild, an extremely big high.”

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THURSDAY 0512 Yentl Yentl is a bright and strongwilled young woman who loves debating Jewish law with her father, a rabbi. When he dies, Yentl loses her intellectual outlet. To continue her studies, she decides to go against tradition and enroll in a yeshiva. But first she has to cut her hair and disguise herself as young man — and so Anshel is born. Her ruse is successful until she realizes she has romantic feelings for her study partner, Avigdor. Yentl was adapted for the stage by Leah Napolin from the Isaac Bashevis Singer story “Yentl the Yeshiva Boy.” When Barbra Streisand rewrote it for the screen, Yentl became a musical. The New Jewish Theatre’s new production takes the action back to the stage but keeps the musical element — except this time the songs were composed by folk-pop musician Jill Sobule. The New Jewish Theatre closes its season with a new Yentl at 7:30 p.m. Wednesday and Thursday, 8 p.m. Saturday and 7 p.m. Sunday (May 11 to June 5) in the Wool Studio Theatre at the Jewish Community Center (2 Millstone Campus Drive, Creve Coeur; 314-442-3283 or www. newjewishtheatre.org). Tickets are $39.50 to $43.50.

FRIDAY 0513 A Perfect Analysis Given By a Parrot Flora and Bessie drove up from Memphis to have a good time in St. Louis at the annual Sons of Mars Convention (they’re both in the women’s auxiliary). Unfortunately, they’ve been ditched by their fellow members and are now holding up the corner of the bar. As the drinks flow and the radio takes them on a sentimental journey, Flora and Bessie open up about each other’s

St. Louis Rooming House Plays brings the heat. | COURTESY OF TENNESSEE WILLIAMS FESTIVAL ST. LOUIS

BY PAUL FRISWOLD failings and flaws. Tennessee Williams’ A Perfect Analysis Given by a Parrot takes you inside the hearts of a couple of goodtime girls who begin to realize the good times may not be worth it. The play is performed at 6 p.m. at the Curtain Call Lounge inside the Fox Theatre (521 North Grand Boulevard; www.twstl.org) as part of the Tennessee Williams Festival St. Louis. Tickets are $23.50.

St. Louis Rooming House Plays Tennessee Williams frequently revisited the same themes in his one-act plays, such as loneliness, the disintegration of a (his) family and the way a job can hold you back and destroy your freedom.

St. Louis Rooming House Plays presents four Williams’ one-acts that take place in a single rented room. “Hello from Bertha” is about a prostitute at the end of her life clinging to her dignity. A shoe salesman who is hung up on memories of his glory days is the subject of “The Last of My Solid Gold Watches.” A showgirl decides to give up life on the road and settle down in St. Louis in “In Our Profession,” but she fears she may have picked the wrong man to be her anchor. “The Pink Bedroom” stars a mistress who uses the only power she has to great effect. St. Louis Rooming House Plays is part of the Tennessee Williams Festival St. Louis, and is performed at 8 p.m. at Stockton House (3508 Samuel Shepard Drive; www.twstl. org). Tickets are $29. riverfronttimes.com

SATURDAY 0514 Missouri Ballet Theatre’s Cinderella Cinderella is a classic story about an underdog who gets the last laugh. The Missouri Ballet Theatre brings the ballet to life in a production that gives Cinderella’s evil stepmother and equally rotten stepsisters a comic gloss. So rather than vilifying a blended family, this show treats them as risible characters. In fact, a surprise male guest star will take on the role of the stepmother. All that fairy

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CALENDAR Continued from pg 21 THE FILM THEY DON’T WANT YOU TO SEE “I think the movie is something people should see.” -Robert De Niro on “TODAY”

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godmother magic, the noble prince and the plucky young woman who triumphs in the end all remain in place. Missouri Ballet Theatre presents a new version of Cinderella at 2 and 7:30 p.m. Saturday and 2 p.m. Sunday (May 14 and 15) at Washington University’s Edison Theatre (6445 Forsyth Boulevard; www.missourballettheatre.org). Both matinee shows are preceded by the Cinderella Parade, which allows audience members to get onstage with the cast to take pictures before heading backstage for a fairy tale party. Tickets to the ballet are $35, and parade tickets cost an additional $25.

Maifest 2016 Munich’s famed bock beer actually originated in the northern German city of Einbeck. Bavarian nobility loved the stuff and enticed a local braumeister to make something similar. The only thing that changed was the name — “bock” being how the Bavarians pronounced the original beer’s name. “Bock” also means goat in German, hence the goats that often appear on labels and bottle caps. The bock is the preferred style for welcoming the arrival of spring — it’s a strong, malty lager that is eminently drinkable, and particularly

refreshing when taken outdoors. Try it for yourself from noon to 10 p.m. today at Maifest 2016 at Urban Chestnut Midtown Brewery (3229 Washington Avenue; www. urbanchestnut.com). The taps will have a full line of bock varieties, including Erlkönig (a pale wheat doppelbock), Maximilian (a traditional, deep-brown wheat beer) and the incredible Oxnbräu, perhaps the finest doppelbock on this side of the planet. All beer and food must be purchased with tickets, which cost $6 each. There’s also an $18 festival package that includes a commemorative glass and three beer and food tickets.

SUNDAY 0515 Pokémon: Symphonic Revolutions Pokémon, the multimedia empire based on catching super-powered creatures, celebrates its twentieth anniversary in 2016. That means that Ash Ketchum, star of the anime series, would be 30 years old if he were a real person. Would he still be out there, attempting to add yet another pocket monster

to his total? Would Team Rocket still be dogging his trail? Regardless, in the course of two decades of catching and battling, Ash and company have inspired numerous theme tunes, overtures and incidental music. The St. Louis Symphony performs the greatest hits of the franchise at Pokémon: Symphonic Revolutions. Conductor Susie Benchasil Seiter leads the orchestra, which will be accompanied by visuals from the series on a giant screen. The program is performed at 7 p.m. Saturday and 2 p.m. Sunday (May 14 and 15) at Powell Hall (718 North Grand Boulevard; 314-534-1700 or www.slso. org). Tickets are $35 to $70.

Four Seasons, has won Tonys, Grammys and Olivier Awards. It showcases the chart-topping hits of the group and tells the true story of how four regular guys wrote and sang their own songs (“Sherry,” “Oh What a Night” and about a dozen others) and conquered the music biz. And don’t forget the show’s content advisory, which warns that you’ll hear “authentic, profane Jersey language” sprinkled

between those great songs. Jersey Boys really does have it all. The musical returns to St. Louis for a brief five-day run. Jersey Boys is performed at 8 p.m. Wednesday and Friday, 1 and 8 p.m. Thursday, 2 and 8 p.m. Saturday and 1 and 6:30 p.m. Sunday (May 18 to 22) at the Fox Theatre (527 North Grand Boulevard; 314-534-1111 o r w w w. f a b u l o u s f o x . c o m ) . Tickets are $25 to $130.

Planning an event, exhibiting your art or putting on a play? Let us know and we’ll include it in the Night & Day section or publish a listing in the online calendar — for free! Send details via e-mail (calendar@ riverfronttimes.com), fax (314-754-6416) or mail (6358 Delmar Boulevard, Suite 200, St. Louis, MO 63130, attn: Calendar). Include the date, time, price, contact information and location (including ZIP code). Please submit information three weeks prior to the date of your event. No telephone submissions will be accepted. Find more events online at www.riverfronttimes.com.

TUESDAY 0517 RiffTrax: Time Chasers In Back to the Future, a DeLorean and a lightning bolt just barely made time travel possible. By the time Time Chasers was made, time travel only required the eight bits of computing power in a Commodore 64, plus a Cessna airplane. Or at least that’s the set-up in the 1994 “action” film, which was mercilessly savaged by the Mystery Science Theater 3000 crew on their much-missed TV show. Mike Nelson, Kevin Murphy and Bill Corbett (MST3K vets all) return to the film to riff it a new one in a special encore presentation of a previously recorded RiffTrax Live event. Can a man fly through time to stop an evil corporation from ruining the future and also find love on the way? Only if he covers that deeply cleft chin with some chinderwear first. RiffTrax: Time Chasers screens at 7:30 p.m. tonight at Wehrenberg Ronnies 20 (5320 South Lindbergh Boulevard; www.fathomevents.com). Tickets are $14.

WEDNESDAY 0518 Jersey Boys Jersey Boys, the musical about the rise of Frankie Valli and the

30 COMPANIES Tickets: $10 Lee TheateR • $15 Anheuser-Busch Performance Hall $20 package for both when purchased at the same time for the same performance date

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3 Soloists (Tayia Deria, Tyra Kopf, Cheyenne Phillips) St. Louis, MO

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FILM

[REVIEW]

It Doesn’t Add Up Srinivasa Ramanujan had brilliant mathematical insights, but the film doesn’t show his work Written by

ROBERT HUNT The Man Who Knew Infinity

Written and directed by Matthew Brown. Starring Dev Patel, Jeremy Irons, Toby Jones and Devika Bhise. Opens Friday at Landmark’s Plaza Frontenac Cinema (1701 South Lindbergh Boulevard) and the Tivoli Theatre (6350 Delmar Boulevard).

he makers of The Man Who Knew Infinity, a biopic of mathematician Srinivasa Ramanujan, realize that they’re dealing with one of those dancing-about-architecture subjects that most viewers will find unfamiliar, so they try not to wallow in details. When we see Ramanujan’s notebooks, which contain hundreds of pages of complex formulas, we’re invited to view them only as a pattern, a formal design. We are told that higher mathematics came to Ramanujan as a kind if vision — “I don’t know, I just do,” he declares — and the filmmakers hope that we’ll recognize his passion even if we can’t don’t understand its inspiration. Of course, my assumption of innumeracy could be a misjudgment based on my own limitations, since the film’s poster quotes the London Mathematical Society as saying that it “outshines Good Will Hunting.” We first see Ramanujan, earnestly portrayed by Dev Patel, in Madras in 1914, kneeling on the sidewalk chalking equations. A compulsive but unschooled mathematician, he can’t find a job worthy of his skills in India (“I’m doomed... like Galileo,” he tells a roommate) but eventually, he manages to bring his work — several hundred pages of advanced equations — to the attention of G.H. Hardy (Jeremy Irons), who invites him to London’s

Srinivasa Ramanujan (Dev Patel) pursues infinity by firelight. | COURTESY OF RICHARD BLANSHARD. AN IFC FILMS RELEASE. Trinity College at Cambridge University. Hardy, almost alone among his colleagues, recognizes the genius in Ramanujan’s notebook but presses him to take a more traditional approach and work out the lengthy proofs behind his flashes of intuition. And that’s as close to a plot as you’ll find in The Man Who Knew Infinity, the story of Ramanujan’s five-year struggle to make peace with the British establishment at Trinity. There is, in fact, a great sense of Englishness to the film, simply owing to the effective use of the real Trinity College. That Englishness, though, is sometimes depicted in a puzzling fashion. (Why does Hardy — no athlete — hold a cricket bat while going over figures with Ramanujan?) There’s not much of an effort to create distinct characters, although Irons and Toby Jones perform well as sympathetic scholars. The film sometimes plays like a truncated comedy sketch, a parody of historical drama; Bertrand Russell pops up every twenty minutes or so with

a one-liner, and the mathematicians speak in academic jargon, like scientists in 1950s science-fiction films trying to explain giant radioactive insects. Halfway through the film, director Matthew Brown (who adapted the screenplay from a 1991 biography by Robert Kanigel) seems to notice that nothing much is happening, so he tosses in a surfeit of melodramatic turns and new miniplots: World War I, the absence of Ramanujan’s wife Janaki (Devika Bhise), the growth of Russell’s anti-war movement, even a sudden zeppelin strike. These elements cruise at random through the center of the film and occasionally collide, as in one confrontation with Hardy in which most of Ramanujan’s troubles — racism, his wife, the patronizing manner of the older mathematicians and his insistence on using instinct over proof — converge in a single scene. It’s a little bit over the top, but this is a film in which a debate over partitions (the calculation of the number of different ways of writriverfronttimes.com

ing an integer — I looked it up) is turned into a face-off between academicians that would not be out of place in a Rocky movie (with Hardy at the side taking Burgess Meredith’s role). Ultimately, there’s not much in the way of surprises holding the film together — we can assume from the beginning that most of Ramanujan’s mathematical discoveries are accurate — so the film rests on an assortment of small victories or defeats during his brief time at Trinity. He becomes ill; he gets better. His work is challenged; his work is accepted. Perhaps mathematicians may see more in it, but for the most part The Man Who Knew Infinity is safely and comfortably lightweight, serious in tone but soft in execution, finally coming to rest with a kind of greeting card spirituality in which Ramanujan’s new age aphorisms melt even the committed atheism of Hardy. Though the film celebrates science, it concedes to, and even embraces, its subject’s somewhat foggy math-mysticism. n

MAY 11-17, 2016

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CAFE

A selection of dishes from Olive + Oak: grilled asparagus, blue-crab gratin, tagliatelle and niçoise potatoes. | MABEL SUEN [REVIEW]

Some Kind of Wonderful Olive + Oak isn’t just delicious — it’s likely this year’s best new restaurant Written by

CHERYL BAEHR Olive + Oak

120 West Lockwood Avenue, Webster Groves; 314-736-1370. Mon. 4-9 p.m.; Tues.Thurs. 4-10 p.m.; Fri.-Sat. 4-11 p.m.; Sun. 4-9 p.m.

he well-heeled passersby probably had some choice looks for me as I sat on Olive + Oak’s Old Webster patio, gnawing every last morsel of a cowboy rib eye bone with my

bare hands like it was a backyard barbecue. I didn’t notice. To say I have never been more enraptured by a piece of steak is not an understatement. This behemoth of a cut — 35 ounces of prime beef, meant to share with at least one dining partner — was beautifully marbled, encrusted with a thick layer of char and impeccably cooked to a garnet red medium rare. It’s presented sliced off the bone, but never fear: The meat had been perfectly rested so it retained its juices. As they slowly dripped out, they mingled with a rapidly melting dollop of shallot butter, forming a gravy-like sauce that worked as well for the accompanying fries as it did for the steak. And these fries? Scene-stealers themselves. How the folks at Olive + Oak have engineered them to have the consistency of mashed potatoes on the inside even while they’re perfectly crisp on the outside is a mystery. To say that

I got a little misty remembering them just now is not hyperbole. Yet this dish, more masterpiece than mere entrée, is not an outlier at Olive + Oak. At this Webster Groves restaurant, the hits keep coming, one after another. A velvety blue crab gratin appetizer, spiked with just a touch of Calabrian chili for some backpalate heat, begs to be devoured, no matter how much you say you want to save room for the main courses. The Hama Hama oysters on offer are so fresh you’d swear you were dining on the Olympic Peninsula of Washington. Even an appetizer of a single clam, broiled with breadcrumbs and lardo, makes a dramatic impact with its shockingly tender mouth feel. The story behind Olive + Oak suggests the place may have been destined to be extraordinary. More than just a restaurant, the threemonth-old spot was conceived as a way to honor Oliver Hinkle and Oakes Ortyl. Co-owners Mark riverfronttimes.com

Hinkle and Greg Ortyl each had a son who died at a very young age thanks to congenital heart defects. Hinkle and Ortyl actually met through the Children’s Heart Foundation and bonded through their shared grief. A front-of-house veteran of such acclaimed institutions as Chicago’s Gibson’s Restaurant Group and St. Louis’ own Annie Gunn’s, Hinkle wanted to memorialize his son at a place that brings families together around the dinner table. In Ortyl, he found a partner who would allow him to execute his vision at exactly the right time in his career for exactly the right reasons. The pair settled on the name, concept and location last summer and got to work creating what, to me, is a clear front-runner for the year’s best new restaurant. As Webster Groves residents, Hinkle and Ortyl settled on the heart of Old Webster, with the hopes of creating a top-tier

MAY 11-17, 2016

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RIVERFRONT TIMES

OLIVE + OAK Continued from pg 27 restaurant right in their own backyards. The storefront, a former boutique, exudes a relaxed elegance that mixes polished white subway tiles with grayblue tufted banquettes. Rustic, light-colored wood tables dot the space, and two modern tree sculptures — with copper olive and oak leaves, of course — greet guests upon arrival. The most prominent décor, however, is the wall of black-and-white family photographs. Combined with a few subtle pieces of heart-shaped artwork, it reminds you that calling this a labor of love is no mere lip service. Hinkle tapped his former colleague, Annie Gunn’s executive sous chef Jesse Mendica, to lead Olive + Oak’s kitchen. The rib eye, then, is no surprise, but she proves she can hit the mark on every other type of cuisine as well. Cheese curds, beer-battered and filled with molten funky white cheese, were so large I had to do a double take to make sure we hadn’t been accidentally served fish and chips. A beef tenderloin slider looked less impressive when it arrived — a simple slice of filet sat atop a bun with no sauce or condiments. One bite erased any doubt, though, as the luscious meat acted like a sponge for melted butter and onion. If White Castle went haute cuisine, this would be the result. Large, juicy chicken wings are anything but standard bar fare. The drummies are simply seasoned and lightly glazed with a subtle kiss of honey butter — more a way to showcase the perfectly crisped chicken skin than a sauce. The light touch carries through to the delicate yogurt and caraway dipping sauce, which enhances the wings rather than covering them up.

glistens when it arrives, as if it has been dipped in clarified butter and heralded with a spotlight from on high. It sounds simple, but the flavor is a cross between a greasy diner burger and the middle bun on a fast-food double cheeseburger in the way it soaks in up all the juice and goo. This town has been blessed with some outstanding burgers in recent years; this should be added to that list. In fact, if that burger showed up all over again on the dessert menu, I may have ordered it a second time. But then I would have missed out on the pot de crème, a decadent caramel custard dusted with brown butter oatmeal crumble. The savory side of the meal is a tough act to follow, but this does so gracefully. Perhaps Olive + Oak’s only flaw is that is impossibly busy, with reservations booked already three months out. (The bar and the patio are both first-come firstserved, however, and I never had much of a wait for a seat at either.) It’s not surprising that everyone wants to eat here — including the restaurant’s own staff members, who choose to hang out at their place of employment on their days off. That speaks volumes not only of the caliber of food coming out of this kitchen, but also of the culture that Hinkle and Ortyl have created at this impeccable restaurant. The two wanted the Olive + Oak moniker to reflect more than just the names of their sons. Both olive and oak trees are impressive specimens that live to a great age. It’s appropriate: Thanks to the outstanding restaurant they have created, Hinkle and Ortyl will be honoring their sons’ memories for many years to come. n

Owner Mark Hinkle and chef Jesse Mendica. | MABEL SUEN

When a place like Olive + Oak puts a burger on the menu, take my word for it — this is something you want to order. Mendica’s ode to morel season features ribbons of tagliatelle tossed with ramps and butter — a dish that announces spring as beautifully as a blossoming cherry tree. Pan-seared halibut, plated alongside olive oil and lemondressed arugula, was enlivened by warm, balsamic-glazed grapes. The accompanying creamy potato cake had a golden layer of crust and seeped butter, like hash browns made by a veteran breakfast cook. It was a pleasure to see the

humble catfish treated with the same respect shown to the halibut. Rather than the usual cornmeal crust, this fish was simply seared, no breading required. The meltin-the-mouth filet can’t shake its Southern roots, though. Mendica tops it with a shrimp filé butter (which uses the spice found in Creole and Cajun cooking). It soaks into the creamy cheddar grits like a velvety Creole gravy. Even the sandwiches at Olive + Oak are extraordinary. On one visit, the “dip of the day” featured shaved layers of tender lamb, served on crusty bread with a side of lamb jus for dunking. A thin slice of goat cheese cut through the lamb’s richness with sweet tang. And when a place like Olive + Oak puts a burger on the menu, take my word for it — this is something you want to order. Two thin patties of griddled beef are topped with layers of melted white American cheese, a few dill pickle slices and some minced yellow onions, then placed atop a poufy sandwich roll. The sandwich

Olive + Oak

Blue crab gratin ............................... $12 “O + O” burger ................................. $12 Halibut.............................................. $37

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SHORT ORDERS

[SIDE DISH]

At the Libertine, Ben Bauer Is Pushing the Envelope Written by

CHERYL BAEHR

ick [Luedde] gives me carte blanche because we have such a good relationship. Really, we see eye to eye on everything,” says Ben Bauer about his boss at the Libertine (7927 Forsyth Boulevard, Clayton; 314-862-2999). “Well, there was that one time I wanted to do a cocktail with pig’s blood. Yeah, he didn’t go for that one.” A pig’s blood drink may seem like an impossibly bizarre concoction, but Ben Bauer is not known for conventional beverage choices. Since coming on board at the Libertine as part of the opening team, Bauer has found himself in charge of creating one of the city’s most unique cocktail programs. From housemade pineapple-duck fat cachaca to wormwood bitters, Bauer approaches his bar as more than a place to get a drink — he sees it as an extension of the kitchen. Which makes sense in light of Bauer’s original career plans. “All the way back when I was a little kid I wanted to be a chef,” he explains. “Even when I went to high school, I would tell everyone that I was going to go to the CIA [Culinary Institute of America] and life was going to be good. Then I got a job at Farmhaus where I did some back of house work during the day and serving at night. That’s when I fell in love with the beverage side of things.” Bauer began researching cocktails, experimenting with unconventional flavors and making

RIVERFRONT TIMES

Bitter, sweet, with a lot of depth: Ben Bauer identifies with Fernet-Branca. | SAM PRATT his own ingredients. He eventually signed on with the Libertine when it opened in 2013. He insists Luedde has been supportive of his tendency to do things out of the box, pig’s blood aside. Although, he admits, he hasn’t given up the idea just yet. “It came about because I read about this guy in Japan who was washing glasses with bull’s blood. Yeah, I really could’ve run with that.” Bauer took a break from the bar to share his thoughts on the St. Louis food and beverage scene, Korean barbecue and why it would be nice to be invisible. What is one thing people don’t know about you that you wish they did? That’s really difficult. I live my life like an open book — it’s weird what I find myself telling people behind the bar. I don’t know — I can spin trays and plates for really long periods of time. It comes from being bored when I started working in restaurants on the Hill. There was a lot of time spent doing nothing. You learn to entertain yourself. What daily ritual is non-negotiable for you?

MAY 11-17, 2016

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Even though I work really late hours, I still get up at seven every morning. I spend about an hour every morning scrolling the Internet for cocktail articles I can read — but I never say no to a breakfast beer either. If you could have any superpower, what would it be? Definitely invisibility. Sometimes you just want to click off and say, “OK, no one can see me anymore. Even behind the bar, sometimes I just want to make these 50 cocktails and not have anyone scream at me, or go to a bar and not have five people try to come up and talk. What is the most positive trend in food, beer, wine or cocktails that you’ve noticed in St. Louis over the past year? One trend I’d like to see go somewhere — I saw it a few years ago and it never really took off — is low-alcohol cocktails. From a service aspect, it’s nice to give people multiple drinks and not get them hammered. Low-alcohol ones can have a super huge punch flavor-wise and are good when you want to drink but not get wasted. Who is your St. Louis food or

drink crush? I’ve got so many because we really have a great scene here. Chelsea Little at Olive + Oak is crushing it. Their kitchen is too. I’ve had great dishes there that I wasn’t expecting. There’s also a Korean joint on Olive called Joo Joo. It’s freaking amazing and they have private karaoke rooms you can rent out. I also spend a lot of time at Sushi Station. It’s rare that I go a day without visiting an establishment of some sort. Who’s the one person to watch right now in the St. Louis food and beverage scene? Jeff Moll [Randolfi’s] is killing it. Chelsea Little is under the radar, but in no time, we’ll all be talking about her. Which ingredient is most representative of your personality? I know it sounds terrible, but it would be Fernet-Branca. It’s my constant drink of choice and is tattooed in giant letters across my belly. It’s bitter, sweet, has a lot of depth to it and will knock you on your ass the next day for sure. If you were not tending bar, what would you be doing? Probably living in Vietnam trying to scrap together some sort of living and eating all the food I could. Name an ingredient never allowed behind your bar. I don’t think there’s anything I wouldn’t allow. Everything can have its place so nothing is completely ruled out. Although I’m not going to buy sour mix when I can make it. Anything I can make my own, I’ll just do it. What is your after work hangout? Late at night, Nick and I pull up a chair and let Naomi sling cocktails at us and drink until the sun comes up. Lately, I’ve been visiting Tom Halaska at DeMun Oyster Bar, but most nights are spent at the Libertine. What’s your edible or quaffable guilty pleasure? St. Paul sandwiches. I also really enjoy PBR and a shot of Old Grand Dad. What would be your last meal on earth — including drinks of course. It’s a toss-up between eight bottles of soju and a bunch of Korean barbecue or my mom’s spaghetti and red sauce. I guess I could do both and just get everything. n

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13375 olive blvd. chgesterfield, mo 63017

MAY 11-17, 2016

RIVERFRONT TIMES

[FIRST LOOK]

At Mèxcla, a Very Young Restaurateur Written by

SARAH FENSKE

he newest restaurant on Cherokee Street has barely been open two weeks — and its owner is already planning for a day off. But it’s hard to blame him: It’s not every day a guy graduates from high school. Pablo Quezada is the chef/owner of Mèxcla (2818 Cherokee Street), which opened last week in the spot that previously held Tarahumara and, before that, Siete Luminarias. He is also just eighteen years old, and only last month finished up his coursework at Gateway STEM High School. That May 20 graduation ceremony is the only thing standing between him and his diploma — and a full-time career as a restaurateur. His experience belies his boyish grin. “I started working when I was sixteen,” he says, and then corrects himself. “Actually, I was fifteen.” As Quezada tells it, his parents came to the U.S. from Mexico City “for a better life” when he was nine, as he says simply. (His father, who had been in the food industry, now owns a cleaning company.) They settled on the south side of St. Louis, and Quezada soon landed jobs at Diana’s Bakery, the classic Cherokee Street Mexican bakery, followed by La Vallesana, Fuzzy’s Taco Shop and Crazy Bowls &

Pablo Quezada’s menu includes Mexico City treats that are rare in St. Louis, including the pambazo (top) and huarache. | SARAH FENSKE/KELLY GLUECK Wraps. He dropped out of school for awhile to work full-time, but returned in time to get that degree. (He’ll be in nineteen in July.) He also apparently got a good education in those kitchens. All signs suggest the kid can cook. The menu at Mèxcla boasts both specialties from Mexico and around the world — and the list of South of the Border “basics” go far beyond the simplistic Tex-Mex fare you get at many St. Louis restaurants. For one thing, Mèxcla is one of the few Mexican restaurants in the city serving huaraches, the classic Mexico City dish of fried masa topped with meat, cheese and beans. (They get their name because they’re said to resemble woven sandals.) At Mèxcla, they are both huge and utterly delicious. Also on offer (and also huge): the pambazo, a variation on the torta

that also comes from Mexico City. White Mexican bread is dipped in guajillo chile sauce and then lightly fried before serving as the base of a sandwich stuffed with chorizo and potatoes. It’s got the perfect kick — and it might be the best sandwich you’ll eat this year. Even if you’re not an adventurous eater, there’s plenty to try on Mèxcla’s menu. The tortillas are made in-house, and the salsas are plentiful, with seven different house-made options, plus a really good slaw of pickled nopales. You can even try Quezada’s take on Chinese fried rice or a Middle-Eastern doner kebab — the flavors have a little Mexican twist, he says, but the dishes should still resonate even with people with a different heritage. “I have a little bit of something for everybody,” he promises. “Peo-

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ple are coming here for stuff they can’t find in other places.” The price point, too, doesn’t hurt. Only two dishes on the current menu cost more than $10. The look of the place has hardly changed since its days as Tarahumara, the northern Mexican concept that lasted just one year. The space is still brightly lit and nofrills. Just about the only addition is the hand-lettered sign promising posole on the weekends — and the cheerful pennants strung from the ceiling. A single flat-screen TV plays sports, while the same series of booths line the brightly colored walls. But something tells us this restaurant will be around a bit longer than its predecessor. And we suspect this definitely isn’t the last you’ll hear of Pablo Quezada. n

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[BARS]

New Cherokee Spot Is Back in the U.S.S.R. Written by

SARAH FENSKE

ast weekend, Tatyana Telnikova opened a new bar in the heart of Cherokee Street. It’s called Propaganda (2732 Cherokee Street) — a wink at her childhood in Soviet Russia. It’s not meant to be authentic so much as nostalgic good fun. “It’s not very super-traditional Russian,” she explains. “It’s my own take on it.” That means red walls and Soviet art — and even a mannequin in a Russian military coat. The striking interior is by local artist Jamie D. Jessop, who also designed Telnikova’s Art Bar, which closed one month ago. There’s also a sizable mural by Joe Albanese. Telnikova is offering a limited menu of Russian-inflected food and, she hopes, a strong sense of Russian conviviality. Every night at 11 p.m., she foresees offering guests a complimentary mini-shot of vodka with a pickle back — and, she promises, “We’ll do a toast with whoever is ready to participate.” Then she adds, laughing, “But who is not ready for that?”

Tatyana Telnikova is going full Russian for her new bar on Cherokee Street. | STEVE TRUESDELL

“When I was younger, even dreaming of visiting the States was out of the question.” The bar’s opening is not without controversy. Some neighborhood denizens were livid when Telnikova announced in March that she was closing two-year-old Art Bar. The outrage on social media was intense. Someone even created a petition. “F*ck that place that

used to be Art Bar,” the headline read. “We the undersigned pledge that any business that displaces artbar in a bid to get our money shall receive nothing from us.” For Telnikova, the uproar was exhausting. “That was crazy,” she says. “I don’t appreciate that. It was 100 percent coming from ignorance and misinformation.” Her decision to close Art Bar, she says, was entirely financial. “I feel like people thought I was closing it because I didn’t like it, or I didn’t like them,” she says. “The bar was not making money. It was losing money every month for the last two years. I had to figure out a different way to do things.” She adds, “I had to make a clean cut and try again.” Telnikova also owns HandleBar in the Grove, which also implemented a Russian-inflected menu last year to high praise from critics, including the RFT’s Cheryl Baehr.

“Overall St. Louis has been really supportive of all my businesses,” she says. “If a handful of people decide to hate me over my decision to look out for my well-being, I’m OK with that.” She sees Propaganda as both an affectionate look back at her past and a call to question the propaganda we’re being fed. “When I was younger, even dreaming of visiting the States was out of the question,” she recalls. “I was growing up in a country with closed borders. Only diplomats were able to leave the country. I was raised with the mentality of ‘the rotten West’ — that people had terrible lives here.” It wasn’t until she emigrated at sixteen that Telnikova learned a much different truth. And so when people ask whether the bar’s name is meant to pay homage to the idea of communist propaganda, she laughs out loud. “On the contrary. I want people to think about how much these divisions meant and how little they mean now. And maybe think about what that means in terms of what we’re hearing today.” The bar will be open Fridays and Saturdays throughout May before what Telnikova anticipates will be a six-day-a-week schedule in June — open every day but Monday, from 4 p.m. to 1:30 a.m. But Propaganda will be a work in progress even after its opening. And that’s in part because Telnikova has her sights set on some very specific items — old Soviet textbooks with their photos of Grandfather Lenin, giant hammerand-sickle flags — that even eBay hasn’t been able to sate. “In an ideal world, it will take a couple of years to get to where it needs to be,” she says. “I just can’t get everything I want without going to Russia.” n Fresh Pressed Sandwiches Homemade Soups Wood Fired Pizza Local Beer • Local Wine Ice Cream • Snacks

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MAY 11-17, 2016

RIVERFRONT TIMES

FRI. 9/9

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FRI. 9/16

ON SALE 5.12 AT 10AM

THU. 9/22

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THURSDAY 5/12

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5.24 EAGLES OF DEATH METAL

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7.19 AWOLNATION/DEATH FROM ABOVE

5.28 TECH N9NE

7.22 GLASS ANIMALS

6.1 THE NEIGHBOURHOOD

7.25 M83.

6.3 MOTION CITY SOUNDTRACK

7.26 KIAN ‘N’ JC

6.6 SARAH SILVERMAN

8.4 LAKE STREET DIVE

6.7 RUPAUL’S DRAG RACE: BATTLE OF THE SEASONS 6.11 HOUNDMOUTH

8.9 HIATUS KAIYOTE

6.12 THE CLAYPOOL LENNON DELIRIUM

8.23 KURT VILE AND THE VIOLATORS

6.25 BLUE OCTOBER

10.8 BOYCE AVENUE

6.26 THE JAYHAWKS

10.22 TEGAN AND SARA

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

RIVERFRONT TIMES

MAY 11-17, 2016

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MUSIC

Hall Of Mirrors How St. Louis sound artist Eric Hall built an entire show around miscommunication Written by

JOSEPH HESS Alarm Will Sound with 18andCounting, Patrick Boland, Sarah Vie, Eric Hall

7 p.m. Saturday, May 14. Mad Art Gallery, 2727 South Twelfth Street. Free. 314-7718230.

he adage that “life imitates art far more than art imitates life” holds enough truth, but when Oscar Wilde penned those words in 1889, he was more than a century ahead of the age of Facebook, Skype and Twitter. With every pathway between our cell phones, laptops and tablets comes potholes and roadblocks — the potential for miscommunication is outright inevitable. But what if those missed connections could themselves be crafted into an artistic statement? “It’s so seldom that anything happens face to face anymore, or even in real-time,” says St. Louis-based sound artist Eric Hall. Yet he hopes to harness those pitfalls on May 14 at the Mad Art Gallery for a joint installation and concert featuring 18andCounting and members of the Alarm Will Sound Ensemble. In addition to his regular working schedule as an experimental musician, Hall has completed countless commissioned works for the Saint Louis Art Museum, Contemporary Art Museum Saint Louis and the Saint Louis Symphony Orchestra, and was even named the first composer-in-residence at Laumeier Sculpture Park in 2012. Those accolades only scratch the surface for an individual who also actively books and promotes experimental music; to say that he is well-versed in electronic correspondence and social media would be understating the obvious. But when Hall started work

“It’s so seldom that anything happens face to face anymore, or even in real-time.” | MABEL SUEN with Alarm Will Sound, a modern chamber group with twenty members (not to mention a board of directors) scattered across the United States, he had to take an alternate approach. “I didn’t necessarily anticipate an actual collaboration happening, because their dance card is just so full. They work like crazy across the country,” Hall says. “It was very slow to develop because of the nature of how many people there are.” Hall had been more than familiar with Alarm Will Sound, who after receiving support from the Sinquefield Charitable Foundation officially declared St. Louis its home base in 2014. The group approached Hall later that same year to open an event at the Public Media Commons, and loose talks of a collaboration started thereafter. As Hall proposed ideas with the group at large, he also worked with its management to explore possibilities. But for him, the backand-forth felt more like throwing suggestions at the wall and waiting

at a snail’s pace to see if they would stick. He even describes one of his own emails as throwing a “fucking temper-tantrum.” “My way of trying to respond to the frustration and the misunderstandings and communication of organizing something like this was to try to use those tools as a composition,” Hall says. Instead of arranging a piece for live performance, which is Alarm Will Sound’s M.O., Hall approached each player to record a short piece using the same methods and devices typically used to share ideas with one another — namely iPhones, tablets or small pocket recorders. He added a simple stipulation: Participants were to record in the same environment where they usually do their business, whether that was on a couch or in a practice space. “I gave them incredibly simple musical guidelines, but also one of the guidelines was to feel free to disregard every other guideline,” Hall says. “For example, if someone sends you an email, you’re missriverfronttimes.com

ing their body language and their tone of voice, so there’s a lot of potential for misunderstanding and misinterpreting. So I wanted the musicians to feel free to interpret it however they see fit, because it will presumably be very different from how other people interpret it.” Hall compiled each recording to build “.wav superposition,” an audio installation that explores the use of space and proximity through a large circle of several speakers. His instructions to Alarm Will Sound dictate a loose progression with suggested tempos, but length and duration are not specified. The pieces each loop at different lengths, overlapping in numerous ways while listeners can alter their experience by traveling within the circle of speakers, using proximity to focus on one sound more than another. He shared those same submissions with fellow St. Louis artist Stan Chisholm, better known as 18andCounting, who sourced each piece to build songs of his own. Hall counted Continued on pg 38

MAY 11-17, 2016

RIVERFRONT TIMES

ERIC HALL Continued from pg 37

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MAY 11-17, 2016

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on Alarm Will Sound’s propensity to transcribe electronic music by artists such as Aphex Twin, Tyondai Braxton and Rashad Becker, to name a few, and connected the two. Conductor and artistic director Alan Pierson worked to arrange 18andCounting’s work to be played live by members of Alarm Will Sound and Chisholm’s backing band, TheOnlyEnsemble. “I knew that they do could do Stan justice, and I knew that Stan could definitely bring something to them that, as far as I know, has never existed,” Hall says. He wanted to contrast Alarm Will Sound’s approach, which he describes as “elegant to a ‘T’” with Chisholm’s raw, unencumbered style. As for Hall himself, he compares his planned set to a hall of mirrors where he will process a live performance from selected members of Alarm Will Sound while feeding altered sounds back to them. The collaboration will happen live as Hall’s interplay with the players works like a feedback loop. This stripped-down version of Alarm Will Sound will also perform works from its expanded repertoire in a separate set. “For the most part, [members of Alarm Will Sound] are the raw material, and I will be doing some origami with it and trying to let them respond to that,” he says. After the performance on May 14, Hall will be left with sixteen P.A. speakers, which he painstakingly researched and paid for out of his own pocket, at well over $100 each. That makes the installation a lofty personal investment, especially for a free public showing and performance. “I found these really cheap P.A. speakers that have MP3 players built in with an SD card slot,” he says. “I can’t think of why these would exist in the world, but for whatever reason they do, and it turns out to be exactly what I need for this project.” Hall adds that he plans on keeping the samples and equipment while he searches for opportunities to bring the experience to more audiences. And thanks to its deceptively simple nature, Hall’s work could easily travel around the world while he stays stationed here in St. Louis, relaying instructions through text messages while walking down the street. n

thur. may 12

10PM Aaron Kamm & the One Drops

fri. may 13

10PM

Jake’s Leg

sat. may 14

10PM

Clusterpluck

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wed. may 18 9:30PM Voodoo Players

Tribute to Bob Dylan

fri. May 20

10PM Sister Sparrow & the Dirty Birds with Special Guests Star and Micey

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Smoke Shop

KRISTO Happy Camp kristostrange.bandcamp.com

rying to pin down Chris Baricevic is a tricky thing. In any given week he may be attending to the day-to-day business of Big Muddy Records, his decade-old label that has been home to Pokey LaFarge, Bob Reuter’s Alley Ghost and the Rum Drum Ramblers. He may be rehearsing with one of several affiliated groups in which he serves as a backing musician. Or he may be somewhere on I-55 in his 1994 Toyota station wagon, playing one-man gigs as Kristo, whose lo-fi collection of country-influenced but thoroughly D.I.Y. songs is about to be released on CD. That collection, Happy Camp, has its roots in Baricevic’s home recordings from 2014, and it shows the performer to be scrappily adept at taking American song forms and infusing them with a skewed but sympathetic worldview. Baricevic plays every instrument on Happy Camp and does so passably; you won’t be knocked out by his virtuosity, but spirit and soul are audible. He favors the piano as his instrument of choice, a compelling mix of a percussive honky-tonk upright and a mellow, understated Fender Rhodes. “I have always been a neurotic songwriter,” says Baricevic. “I’m always writing songs in my head, whether or not they make it on paper. I spend a lot of time walking, hitch-hiking, washing dishes, painting houses — having my body do one thing but my mind doing another.” Those neuroses come out gently enough on these songs, but Baricevic tells of the turmoil that led to their writing and recording. In 2013 he went through a series of trials hard enough to humble the most devout disciple, the greatest of which was his friend and bandmate Bob Reuter’s death on August 3. “It started with a breakup, then Big Muddy’s inventory got flooded in the River Des Peres flood, and then Bob died, and then three weeks after that I got held up by a machine gun in Benton Park,” recalls Baricevic. In the months following, “my head was in another galaxy,” he says. “While I was at home trying to heal and talking with some very patient friends, I found these songs to be the best outlet that I had to move through instead of being stagnant, so I could punctuate this period of my life and move on. In some respects I did that. I can’t minimize how much help I got from other friends, but the recording process was very therapeutic.” Given that Big Muddy has specialized in local and regional artists that favor country, folk and the blues, Kristo’s wide-ranging take on Americana may not be surprising. But talking with Baricevic quickly turns into a guided tour through his diverse listening tastes; he pauses in conversation to flip through LPs that subconsciously influenced the songs on the album. He talks at length about the greatness of Lubbock, Texas, supergroup the Flatlanders and their mix of

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mysticism and country music. Baricevic says that his heroes — Prince, Dolly Parton, Lee Hazlewood — are “oddball” artists who can “insert themselves in a unique way into an old form.” Those influences are, shall we say, buried in the mix — you might not pull out the references to Acid Mothers Temple on a song like “Maggot,” but Baricevic is speaking more to the band’s philosophy: The musicians are conduits and the music simply moves through them. Likewise, the chicken-pickin’ guitar style on “Witch Doctor” shows his ability at the palm-muting technique, even though you might not pick up the influence of 1960s Jamaican guitarists on the track. Baricevic recognizes that the somewhat limited palette of these home recordings obscures his ambitions, but he prefers to take a more emotionally and artistically naked approach to his own songs. It’s a way of thinking that has carried over into his personal life as well. “I quit drinking two years ago, and I’m learning how to get in touch with my creative side with sobriety,” he says. “Sobriety really helps me understand the term ‘spirit.’ As a creative person, [alcohol] was often a shortcut to inspiration. That’s why you have so many people with creative output but who also have a history of ingesting substances.” If 2013 was a personal and professional moment of reckoning for Baricevic and the Big Muddy family, this set of songs ends one chapter and begins another. He calls the album’s release “a three-year movement of trying to get these songs out.” “In the time after Bob’s death, I left every band I was in at that point. I just stayed home; I was done,” he says. But after eighteen months of stepping away from playing music and hibernating at home, the creative impulse was restored. “The creative spirit in me grew during that time. That was all I had — trying to put the energy inside of me into songs.” –Christian Schaeffer riverfronttimes.com

MAY 11-17, 2016

RIVERFRONT TIMES

OUT EVERY NIGHT

THURSDAY 12

[CRITIC’S PICK]

BOOGIE FOOT BAND: 10 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-4365222.

SUNDAY 15 BEACH SLANG: w/ Potty Mouth, Dyke Drama 7 p.m., $13-$15. The Firebird, 2706 Olive St., St.

Lo-Fi Cherokee 2016 Premiere Party

Louis, 314-535-0353.

St. Louis videographer Bill Streeter’s Lo-Fi St. Louis is now in its fifth year of producing the popular Lo-Fi Cherokee series. Each year more than a dozen bands take over an equal number of venues along Cherokee Street, playing brief sets while Streeter and Co. undertake the monumental process of capturing each performance. It is a

task near-Sisyphean in nature, and the fact that the crew successfully pulls it off year after year stands as a testament to their immense talent. This April saw eighteen different performances by local artists including American Wrestlers, Thelonius Kryptonite, Adult Fur and Tortuga; Thursday’s party at 2720 Cherokee will be the public’s first chance to view the completed videos. Ones and Twos and Other Numbers: Stan Chisholm, a.k.a. 18andCounting, will be spinning records throughout the night. –Daniel Hill

7:30 & 9:30 p.m.; May 14, 7:30 & 9:30 p.m., $35.

436-5222.

FIVEFOLD: w/ Robby Kallery 8 p.m., $10. The

St. Louis, 314-726-6161.

Ferring Jazz Bistro, 3536 Washington Ave, St.

MEDICINE MUSIC: w/ Mike Love, Kalya Scintilla

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

KENSHIRO’S ALBUM RELEASE SHOW: w/ The

Louis, 314-571-6000.

& Eve Olution 8 p.m., $15-$20. 2720 Cherokee

HOMESCHOOL IV: 6 p.m., $5. 2720 Cherokee

Deadly Vipers, Mirror Mirror 9 p.m., $5. Foam

SKISM: w/ Eptic, Must Die, JPhelpz and Bom-

Performing Arts Center, 2720 Cherokee St, St.

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

mer 7 p.m., $15-$20. Old Rock House, 1200 S.

Louis, 314-276-2700.

314-772-2100.

7th St., St. Louis, 314-588-0505.

MIRANDA LAMBERT: w/ Kip Moore, Brothers

HOPE AND THERAPY: w/ Dropkick the Robot, Jon

RISE UP FOR WOMEN NOW! BENEFIT CONCERT: w/

SOUTH OUTER FORTY BAND: 7 p.m., $5. BB’s Jazz,

Osborne 6 p.m., TBA. Hollywood Casino Am-

Valley 9 p.m., free. Schlafly Tap Room, 2100

Pacia Anderson, Mama Blue aka Zaire Imani,

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

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

Locust St., St. Louis, 314-241-2337.

Poet Lightening, Hallōd Sound, Bates, DJ Divi 5

436-5222.

Heights, 314-298-9944.

J*DAVEY: 9 p.m., $10. Blank Space, 2847 Chero-

p.m., $10-$15. Blank Space, 2847 Cherokee St.,

THE SUNDRESSES: w/ Grand House, Nick Cuvar

PARKER MILLSAP: 8 p.m., $12-$15. Off Broad-

kee St., St. Louis.

St. Louis.

9 p.m., $7. The Heavy Anchor, 5226 Gravois

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

LARRY GRIFFIN & ERIC MCSPADDEN: 7 p.m., $5.

Ave., St. Louis, 314-352-5226.

PAT MARTINO TRIO: May 12, 7:30 & 9:30 p.m.;

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

MONDAY 16

WEEDEATER: w/ Author & Punisher, Today is

7:30 & 9:30 p.m.; May 14, 7:30 & 9:30 p.m., $35.

Louis, 314-436-5222.

BLACK SPADE: 7 p.m., free. St. Louis Public Li-

the Day, Lord Dying 8 p.m., $15. The Demo,

Ferring Jazz Bistro, 3536 Washington Ave, St.

LOLA & THE KICKBACKS: w/ Richie Kilken Band

brary, Central Branch, 1301 Olive St., St. Louis,

4191 Manchester Ave, St. Louis, 314-833-5532.

Louis, 314-571-6000.

7 p.m., $10. Blueberry Hill - The Duck Room,

314-241-2288.

THE PAT SAJAK ASSASSINS: w/ Bear Cub, Ish,

6504 Delmar Blvd., University City, 314-727-

ELLIE GOULDING: w/ Years & Years 7 p.m., TBA.

Fragile Farm 9 p.m., $7. The Heavy Anchor,

4444.

Chaifetz Arena, 1 S. Compton Ave., St. Louis,

ANDERSON PONTY BAND: 8 p.m., $45-$50. The

5226 Gravois Ave., St. Louis, 314-352-5226.

MUUY BIIEN: 8 p.m., $10. The Demo, 4191 Man-

314-977-5000.

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

RECONCERA: w/ Unimagined, Behold My Ene-

chester Ave, St. Louis, 314-833-5532.

GREEN JAZZ PROJECT: 8 p.m., $5. BB’s Jazz,

6161.

my, Silence The Witness, Ascension of Akari 7

PAT MARTINO TRIO: May 12, 7:30 & 9:30 p.m.;

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

AQUITAINE: w/ the Janson Gates, Flying House 9

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

May 13, 7:30 & 9:30 p.m.; 7:30 & 9:30 p.m., $35.

436-5222.

p.m., free. Schlafly Tap Room, 2100 Locust St.,

314-289-9050.

Ferring Jazz Bistro, 3536 Washington Ave, St.

SNARKY PUPPY: 8 p.m., $32-$35. The Ready

St. Louis, 314-241-2337.

SCARLET TANAGER: w/ Cara Louise Band 8 p.m.,

Louis, 314-571-6000.

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

BOOG: 9 p.m., $5-$10. Fubar, 3108 Locust St, St.

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

PEPPERLAND: THE BEATLES REVUE: 9 p.m., $10.

833-3929.

Louis, 314-289-9050.

314-588-0505.

Cicero’s, 6691 Delmar Blvd., University City,

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

CHAPTERS EP RELEASE SHOW: w/ Embracer,

SKEET RODGERS & INNER CITY BLUES BAND: 10

314-862-0009.

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

Mocklove, Yearlong Hours 7 p.m., $12-$14.

p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broad-

PLANET EATER: w/ Voidgazer, Sunwyrm 9 p.m.,

621-8811.

The Demo, 4191 Manchester Ave, St. Louis,

way, St. Louis, 314-436-5222.

$7. The Heavy Anchor, 5226 Gravois Ave., St.

SURFER BLOOD: w/ Sound Of Ceres 8 p.m.,

314-833-5532.

TODD MASTERSON: 7:30 & 10 p.m., $15-$20.

Louis, 314-352-5226.

$12-$14. The Firebird, 2706 Olive St., St. Louis,

CRACKER: w/ Whiskey Gentry 8 p.m., $25. Blue-

Cicero’s, 6691 Delmar Blvd., University City,

ROCKY & THE WRANGLERS: 4 p.m., $5. BB’s Jazz,

314-535-0353.

berry Hill - The Duck Room, 6504 Delmar Blvd.,

314-862-0009.

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

YOUTH CODE: 8 p.m., $10-$12. The Demo, 4191

436-5222.

Manchester Ave, St. Louis, 314-833-5532.

BUG CHASER: w/ Joan of Dark, Dracla 9 p.m., free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337. HACKENSAW BOYS: 8 p.m., $3. The Bootleg, 4140 Manchester Ave., St. Louis, 314-775-0775. LAMB OF GOD: w/ Clutch, Corrosion of Conformity 7 p.m., $35-$40. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161. LO-FI CHEROKEE 2016 PREMIERE PARTY: 8 p.m., $5-$10. 2720 Cherokee Performing Arts Center, 2720 Cherokee St, St. Louis, 314-276-2700. MILES NIELSEN & THE RUSTED HEARTS: w/ The Homewreckers 8 p.m., free. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. MISTER F: w/ Neuro-Logic 8 p.m., $7. Cicero’s, 6691 Delmar Blvd., University City, 314-8620009.

8 p.m. Thursday, May 12. 2720 Cherokee Performing Arts Center, 2720 Cherokee Street. $5 to $10. 314-875-0233.

PAT MARTINO TRIO: 7:30 & 9:30 p.m.; May 13,

FRIDAY 13

University City, 314-727-4444.

BOOGIE FOOT BAND: 6 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-4365222. DARKNESS DIVIDED: w/ Come And Rest, Death Of An Era, Our Transfixion 6 p.m., $12. Fubar, 3108 Locust St, St. Louis, 314-289-9050. DEFEATED COUNTY: 4 p.m., free. Vintage Vinyl, 6610 Delmar Blvd., University City, 314-7214096. HARPER & THE MIDWEST KIND: 9 p.m., $10. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. THE HOLLOW ENDS: w/ Mighty Brother, JOA 7 p.m., $7. The Demo, 4191 Manchester Ave, St. Louis, 314-833-5532. ICONS OF HIP-HOP BLOCK PARTY: w/ Jalil and Esctasy (of Whodini), Slick Rick, Dana Dane 7 p.m., $35-$50. The Pageant, 6161 Delmar Blvd.,

DOUBLIN DOWN 6.0: w/ Psychic Mirrors, Hal

SATURDAY 14

Greens, DJ Mister Melvin 9 p.m., $15. Blank

THE BEL AIRS: 10 p.m., $5. BB’s Jazz, Blues &

Haddonfields, Grave Neighbors 8 p.m., $10-

TUESDAY 17

Space, 2847 Cherokee St., St. Louis.

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

$12. Fubar, 3108 Locust St, St. Louis, 314-289-

THE BODY: w/ Everything Went Black, Ghost Ice

THE GROOVELINER: w/ Naked Rock Fight,

5222.

9050.

8 p.m., $10-$12. The Firebird, 2706 Olive St., St.

Superhero Killer 8 p.m., $7. The Bootleg, 4140

BRIAN OWENS: 11 a.m., $5-$25. The Sheldon,

VETIVER: 8 p.m., $15. Off Broadway, 3509 Lemp

Louis, 314-535-0353.

Manchester Ave., St. Louis, 314-775-0775.

3648 Washington Blvd., St. Louis, 314-533-9900.

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

BUTCHER BABIES: 7 p.m., $15-$17. Fubar, 3108

HAR MAR SUPERSTAR: 8 p.m., $15. The Firebird,

THE COPYRIGHTS: w/ Ray Rocket, the Lippies

WHO & THE FUCKS: w/ Cucumber and the

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

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

8 p.m., $10. Blueberry Hill - The Duck Room,

Suntans, Homebody 9 p.m., $5. Foam Coffee &

THE DEADWOODS: 9 p.m., $7. The Heavy

LEROY JODIE PIERSON: 7 p.m., $5. BB’s Jazz,

6504 Delmar Blvd., University City, 314-727-

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

Anchor, 5226 Gravois Ave., St. Louis, 314-352-

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

4444.

2100.

5226.

RIVERFRONT TIMES

MAY 11-17, 2016

riverfronttimes.com

THE SLOW DEATH: w/ the Raging Nathans, the

Continued on pg 42

“Cause if your barback sucks for five minutes, your bar sucks for an hour.” presents the first annual

Tuesdays, April 26–May 31

TWILIGHT

TUESDAYS SPRING 2016 AMEREN CONCERT SERIES

6pm to 8pm • FREE Museum’s Front Lawn Forest Park mohistory.org Featuring STL’s best food trucks!

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$ signup fee Includes competition T-shirt, food & drinks after competition

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FIRST ROUND DATES • Sunday, June 26 • Sunday, July 31 • Sunday, August 21 BAR GLADIATOR FINALS • Sunday, Sept 25 VIP tickets and sign ups available online @ lacledes-landing.bigdaddystl.com Or sign up in person @ Big Daddy’s on the Landing, 118 Morgan St.

Local and Regional

ATopTen Kentucky Spring Festival

Art, Music, Beer&Wine, Improv, Taste of Paducah, Children’s Activities

(Kentucky State Tourism Bureau)

with

Ben Sollee, Old Salt Union, and Diane Coffee

www.lowertownamf.com

7th & Madison St. Paducah, Kentucky

riverfronttimes.com

MAY 11-17, 2016

RIVERFRONT TIMES

OUT EVERY NIGHT Continued from pg 40

[CRITIC’S PICK]

Har Mar Superstar. | COURTESY OF HAR MAR SUPERSTAR

Har Mar Superstar 8 p.m. Friday, May 13. The Firebird, 2706 Olive Street. $15. 314-535-0353.

After Prince died, Minneapolis had one fewer high-voiced, sex-drenched disciple of pleasure-centric pop, but the store was far from depleted. Sean Tillmann’s alter-ego Har Mar Superstar would almost certainly not exist without the blueprint of the Purple One, but over the course of his last few albums, Tillmann has shown how this character has evolved from a shirtless slow-jam pastiche to a formidable crafter of af-

4191 Manchester Ave, St. Louis, 314-833-5532.

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

EMBLEM3: 8 p.m., $25-$27.50. The Pageant,

Blvd, University City, 314-282-5561.

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

KIM MASSIE AND THE SOLID SENDERS: 10:30

GIVERS: w/ Anna Wise 8 p.m., $13-$15. The

p.m., $10. Beale on Broadway, 701 S. Broadway,

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

St. Louis, 314-621-7880.

LUCIUS: 8 p.m., $18-$20. The Ready Room, 4195

MONSTER TRUCK: 7 p.m., $10-$12. Blueberry

Manchester Ave, St. Louis, 314-833-3929.

Hill - The Duck Room, 6504 Delmar Blvd.,

ROLAND JOHNSON & SOUL ENDEAVOR: 10:30

University City, 314-727-4444.

p.m., $7. Beale on Broadway, 701 S. Broadway,

SAPUTO: w/ Dylan Brady 9 p.m., $10. The Demo,

St. Louis, 314-621-7880.

ST. LOUIS SOCIAL CLUB: 9 p.m., $5. BB’s Jazz,

THIS JUST IN

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

3 DOORS DOWN: Sat., July 30, 6 p.m., $15-$20.

436-5222.

Ballpark Village, 601 Clark Ave, St. Louis, 314-

A TRIBUTE TO MAE WHEELER: w/ Jeanne Trevor,

345-9481.

Wendy L. Gordon. Linda Kennedy, Diane

AFROMAN: W/ Dank Puffs, Fri., July 1, 8 p.m.,

Vaughan, Mary Dyson, Deborah Sharn, Marty

$15-$20. Fubar, 3108 Locust St, St. Louis, 314-

Adbullah, Jeff Hardin 7 p.m., $20. The Sheldon,

289-9050.

3648 Washington Blvd., St. Louis, 314-533-9900.

ALEXANDER JEAN: Sat., June 11, 7 p.m., $15-$18.

WEDNESDAY 18

RIVERFRONT TIMES

MAY 11-17, 2016

riverfronttimes.com

–Christian Schaeffer

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

4191 Manchester Ave, St. Louis, 314-833-5532.

ter-hours rock & soul. Har Mar’s latest, Best Summer Ever, slides back into the synthy, Cameo-indebted grooves of his hometown, and Strokes frontman Julian Casablancas’ production keeps Tillmann’s voice front-and-center on tracks like “How Did I Get Through the Day.” Sexy Sextet: Har Mar Superstar’s touring show finds Tillmann backed up by a six-piece, including two horn players, for maximum soul power.

The Firebird, 2706 Olive St., St. Louis, 314-5350353.

BIG RICH & THE RHYTHM RENEGADES: 9 p.m., $5.

ALUNAGEORGE: Tue., July 19, 8 p.m., $16-$18.

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

The Ready Room, 4195 Manchester Ave, St.

Louis, 314-436-5222.

Louis, 314-833-3929.

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

BEN DIESEL: W/ Mayor Sheriff, The Stars

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

Go Out, Fri., June 10, 9 p.m., $7. The Heavy

7880.

Anchor, 5226 Gravois Ave., St. Louis, 314-352-

DEAD MEADOW: 8:30 p.m., $10-$12. The Demo,

5226.

BILLY BARNETT BAND: Thu., May 19, 9 p.m., $5.

THE DEADWOODS: Tue., May 17, 9 p.m., $7. The

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

Heavy Anchor, 5226 Gravois Ave., St. Louis,

Louis, 314-436-5222.

314-352-5226.

BLACK SPADE: Mon., May 16, 7 p.m., free. St.

DRUG CHURCH: W/ Donovan Wolfington, Blight

Louis Public Library, Central Branch, 1301

Future, Dissention, Caught Dead, Wed., Aug. 10,

Olive St., St. Louis, 314-241-2288.

7 p.m., $10. The Demo, 4191 Manchester Ave,

BOB SCHNEIDER: Wed., July 20, 8 p.m., $20. Old

St. Louis, 314-833-5532.

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

EL MONSTERO: W/ Celebration Day, Sat., Aug.

0505.

6, 7 p.m., $20-$55. Hollywood Casino Amphi-

BUTTERCUP: W/ Van Buren, Forteana, Fri., June

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

3, 9 p.m., $7. The Heavy Anchor, 5226 Gravois

Heights, 314-298-9944.

Ave., St. Louis, 314-352-5226.

FLUME: Fri., Sept. 16, 8 p.m., $35-$40. The

CEDRIC THE ENTERTAINER AND FRIENDS GALA:

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

W/ Aretha Franklin, Sat., Oct. 22, 5 p.m.,

6161.

$59.50-$99.50. Peabody Opera House, 1400

FOREVERATLAST: W/ Give and Take, Wed., June

Market St, St. Louis, 314-241-1888.

15, 6 p.m., $10. Fubar, 3108 Locust St, St. Louis,

CHAKA KHAN: W/ El DeBarge, Sat., Aug. 27, 7

314-289-9050.

p.m., $35-$55. The Fox Theatre, 527 N. Grand

GRAHAM NASH: Thu., July 14, 8 p.m., $30-$50.

Blvd., St. Louis, 314-534-1111.

River City Casino & Hotel, 777 River City Casino

THE CUBAN MISSILES: W/ Guy Morgan, Captain

Blvd., St. Louis, 314-388-7777.

Dee and The Long Johns, Grave Neighbors,

HILLSONG WORSHIP: W/ Kari Jobe, Rend Collec-

Fri., July 1, 7 p.m., $6. Fubar, 3108 Locust St, St.

tive, Housefires, Urban Rescue, Chad Veach,

Louis, 314-289-9050.

Thu., Aug. 18, 6 p.m., $25.95-$49.95. Hollywood

LOUIS’

S T.

Get in The Grove for exciting Drinking, Dining, Dancing, & Shopping!

OUTDOOR PATIO NOW OPEN! Thursday College Nights 15% off with student ID 4199 Manchester Ave in The Grove 314-202-8300

[CRITIC’S PICK]

Ben Bedford. | KARI BEDFORD

Ben Bedford 8 p.m. Friday, May 13. The Focal Point, 2720 Sutton Boulevard. $15. 314560-2778.

Ben Bedford isn’t gunning for poet laureate of Illinois, but if ever there was an equivalent honor for a singer-songwriter he’d have to be in the running. A historian of Midwestern lives famous and forgotten, a storyteller who fuses emotional urgency with nuanced details and an always-deft melody maker, Bedford follows the trail of John Prine and Michael Smith before him while adding an admiration for the populism of Woody Guthrie and

New Happy Hour Additions $2 SLIDERS & FRY BASKETS $3 WELLS

the poetry of Townes Van Zandt. This week the Springfield, Illinois, native releases his fourth album, The Pilot and the Flying Machine, a song cycle of difficult and dreamlike explorations of lands both real and imagined. Every song rings out with a true craftsman’s vision and skill. Secular Service: For his new album, Bedford took to a local church to capture a string-swirled sound. His show at the intimate Focal Point venue this week will be the next best thing to being in the sanctuary with him.

4-7PM DAILY AND DURING BLUES GAMES WATCH THE GAMES ON OUR NEW 100” SCREEN!

–Roy Kasten

R E STAU R AN T S

Continued on pg 44

WINNER

2016

riverfronttimes.com

MAY 11-17, 2016

4317 Manchester Rd in the Grove 314.553.9252 laylastl.com RIVERFRONT TIMES

O N LY T I K

FIND ANY SHOW IN TOWN...

erts/

PHOTOGRAPHER: TODD OWYOUNG BAND: SLEEPY KITTY

R R 44

THIS JUST IN Continued from pg 43 Casino Amphitheatre, I-70 & Earth City Expwy.,

RIVERS OF NIHIL: Mon., July 4, 7 p.m., $12.

Maryland Heights, 314-298-9944.

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

THE JOY FORMIDABLE: W/ Drowners, Sat., June

ROCKY & THE WRANGLERS: Sat., May 14, 4 p.m.,

11, 8 p.m., $16-$18. The Ready Room, 4195

$5. BB’s Jazz, Blues & Soups, 700 S. Broadway,

Manchester Ave, St. Louis, 314-833-3929.

St. Louis, 314-436-5222.

KIM MASSIE AND THE SOLID SENDERS: Tue., May

ROLAND JOHNSON & SOUL ENDEAVOR: Wed., May

17, 10:30 p.m., $10. Beale on Broadway, 701 S.

18, 10:30 p.m., $7. Beale on Broadway, 701 S.

Broadway, St. Louis, 314-621-7880.

THE LACS: Sat., July 30, 8 p.m., $18-$22. The

SHALLOW SIDE: Thu., June 30, 7 p.m., $12-$14.

Ready Room, 4195 Manchester Ave, St. Louis,

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

314-833-3929.

SHEL: Wed., July 13, 8 p.m., $10-$12. Old Rock

LEE ROY PARNELL: Sun., June 5, 8 p.m., $23-$25.

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

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

SKEET RODGERS & INNER CITY BLUES BAND: Fri.,

588-0505.

May 13, 10 p.m., $5. BB’s Jazz, Blues & Soups,

THE LEONAS: W/ I Could Sleep In The Clouds,

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

Mat Shoare, Fri., May 27, 9 p.m., $7. The Heavy

SLAYER: W/ Anthrax, Death Angel, Thu., Sept.

Anchor, 5226 Gravois Ave., St. Louis, 314-352-

22, 7:10 p.m., $47.50-$52.50. The Pageant, 6161

5226.

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

LO-FI CHEROKEE 2016 PREMIERE PARTY:

SOUTH OUTER FORTY BAND: Thu., May 12, 7

Thu., May 12, 8 p.m., $5-$10. 2720 Cherokee

p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broad-

Performing Arts Center, 2720 Cherokee St, St.

way, St. Louis, 314-436-5222.

Louis, 314-276-2700.

SPACEFACE: W/ Demonlover, CaveofswordS,

LOS PERICOS: W/ Gondwana, Mon., July 11, 8

Mikaela Davis, Thu., June 30, 9 p.m., $10. The

p.m., $30-$35. Fubar, 3108 Locust St, St. Louis,

Heavy Anchor, 5226 Gravois Ave., St. Louis,

314-289-9050.

314-352-5226.

MISTER F: W/ Neuro-Logic, Thu., May 12, 8 p.m.,

ST. LOUIS SOCIAL CLUB: Tue., May 17, 9 p.m., $5.

$7. Cicero’s, 6691 Delmar Blvd., University City,

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

314-862-0009.

Louis, 314-436-5222.

MOM’S KITCHEN: W/ the Provels, Fri., May 20,

STRAIGHT NO CHASER: Sun., Nov. 6, 2:30 p.m.,

9 p.m., $7. The Ready Room, 4195 Manchester

$34.50-$59.50. The Fox Theatre, 527 N. Grand

Ave, St. Louis, 314-833-3929.

Blvd., St. Louis, 314-534-1111.

MYKA RELOCATE: W/ Light Up The Sky, Out

THE SUNDRESSES: W/ Grand House, Nick Cuvar,

Came The Wolves, A Promise To Burn, Sun.,

Thu., May 12, 9 p.m., $7. The Heavy Anchor,

June 19, 6 p.m., $13-$15. The Firebird, 2706

5226 Gravois Ave., St. Louis, 314-352-5226.

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

TANTRIC: Wed., May 25, 8 p.m., $12-$14. The

O.A.R.: Fri., Sept. 9, 8 p.m., $35.25-$45.25. The

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

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

TRACING WIRES: W/ Smooth Talkin’ Perverts,

6161.

One Less Cheerleader, Bad Cover Band Sam,

ODDITY: W/ 5th Pocket, Ox Braker, Sat., June 18,

Sat., June 18, 9 p.m., $7. The Heavy Anchor,

9 p.m., $7. The Heavy Anchor, 5226 Gravois

5226 Gravois Ave., St. Louis, 314-352-5226.

Ave., St. Louis, 314-352-5226.

A TRIBUTE TO MAE WHEELER: W/ Jeanne Trevor,

THE ORPHAN THE POET: W/ Cardboard Kids,

Wendy L. Gordon. Linda Kennedy, Diane

Better in Theory, You Had Me At Posters, Sun.,

Vaughan, Mary Dyson, Deborah Sharn, Marty

July 24, 6 p.m., $10-$12. Fubar, 3108 Locust St,

Adbullah, Jeff Hardin, Tue., May 17, 7 p.m.,

St. Louis, 314-289-9050.

$20. The Sheldon, 3648 Washington Blvd., St.

THE PAT SAJAK ASSASSINS: W/ Bear Cub, Ish,

Louis, 314-533-9900.

Fragile Farm, Fri., May 13, 9 p.m., $7. The

UNDERGANG: W/ Spectral Voice, Bastard,

Heavy Anchor, 5226 Gravois Ave., St. Louis,

Haunter, Xaemora, Sat., July 16, 9 p.m., $10.

314-352-5226.

The Demo, 4191 Manchester Ave, St. Louis,

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

THE PEACH KINGS: W/ Mobley, Fri., July 22, 8

314-833-5532.

p.m., $8-$10. The Demo, 4191 Manchester Ave,

THE WAY DOWN WANDERERS: Fri., Sept. 2, 8 p.m.,

St. Louis, 314-833-5532.

$10-$12. Old Rock House, 1200 S. 7th St., St.

PETER BJORN AND JOHN: Mon., June 20, 8 p.m.,

Louis, 314-588-0505.

$20. The Ready Room, 4195 Manchester Ave,

WHO & THE FUCKS: W/ Cucumber and the Sun-

St. Louis, 314-833-3929.

tans, Homebody, Sat., May 14, 9 p.m., $5. Foam

PLANET EATER: W/ Voidgazer, Sunwyrm, Sat.,

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

May 14, 9 p.m., $7. The Heavy Anchor, 5226

314-772-2100.

Gravois Ave., St. Louis, 314-352-5226.

YARN: Mon., June 27, 8 p.m., $8-$10. The Demo,

POLYSHADES: W/ Idle Threat, Reaver, Synthet-

4191 Manchester Ave, St. Louis, 314-833-5532.

ic Sun, Sat., May 21, 9 p.m., $7. The Heavy

YEARLONG HOURS EP RELEASE SHOW: W/

Anchor, 5226 Gravois Ave., St. Louis, 314-352-

Amongst the Rabbits, A Beginning’s End, You

5226.

Me and The American Dream, Sun., June 26, 6

RISE UP FOR WOMEN NOW! BENEFIT CONCERT:

p.m., $8-$10. The Demo, 4191 Manchester Ave,

W/ Pacia Anderson, Mama Blue aka Zaire

St. Louis, 314-833-5532.

Imani, Poet Lightening, Hallōd Sound, Bates,

THE ZEALOTS: W/ 360 Winnebago, LIttle Sei-

www.riverfronttimes.com/concerts/

DJ Divi, Sun., May 15, 5 p.m., $10-$15. Blank

zures, Skydweller, Sun., June 12, 6 p.m., $10.

Space, 2847 Cherokee St., St. Louis.

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

RIVERFRONT TIMES

MAY 11-17, 2016

riverfronttimes.com

SAVAGE LOVE MATING GAMES BY DAN SAVAGE Hey, Dan: Straight male, 48, married 14 years, three kids under age 10. Needless to say, life is busy at our house. My wife and I have stopped having sex. It was my decision. I get the obligation vibe combined with a vanilla sex life, and it just turns me off. We’ve had many conversations about it and we want to find a balance. But it always defaults back to infrequent and dull, making me frustrated and cranky. For the past two months, I’ve tried to just push sex out of my mind. We live mostly as parenting roommates. We used to be pretty kinky — dirty talk, foursomes, toys, porn, etc. — but all those things wear her out now, and her interest has disappeared. My guess is that she was just playing along with my kinks to keep me happy and is now over it. Is this just life as a 48-year-old married father of three? Am I being selfish for wanting more in my sex life than my wife is willing to offer? Hard Up Husband Is sex wearing your wife out, HUH, or is raising three kids wearing your wife out? I suspect it’s the latter.

But in answer to your question: Infrequent and underwhelming sex, sometimes with an obligatory vibe, is not only the sex life a 48-year-old married father of three can expect; it’s the sex life he signed up for. There’s nothing selfish about wanting more sex or wanting it to be more like it was. Kids, however, are a logistical impediment — but a temporary one, provided you don’t go nuclear. A couple’s sex life can come roaring back so long as they don’t succumb to bitterness, recrimination and sexlessness. To avoid all three, HUH, it might help to ask yourself which is the likelier scenario: For years your wife faked an interest in dirty talk, foursomes, toys, porn, etc., in order to trap you, or your wife is currently too exhausted to take an interest in dirty talk, foursomes, toys, porn, etc. Again, I suspect it’s the latter. My advice: Masturbate more, masturbate together more, lower your expectations so you’ll be pleasantly surprised when a joint masturbation session blows up into something bigger and better, carve out enough time for quality sex (weekends away, if possible, with pot and wine and Viagra), discuss other accommodations/contingencies as needed, and take turns re-

minding each other that small kids aren’t small forever. Hey, Dan: I’m one of those bi guys. I had trouble dating girls in high school and at eighteen found guys so much darn easier. Fast-forward a few years. I’m in college now and desiring women and stability more. But women find me weird and awkward — I admit I am — something I was never judged for in the gay world. This has been going on for a few years now, and it just gets worse when I’m supposed to be parading around presenting as a horny straight guy. I’d love to find a bisexual woman to start a family with who is up for mutually agreed upon swing-and-fun sessions with others. But from what I’ve experienced with girls so far — always on the watch for a “player,” zero understanding of male bisexuality — that seems far from possible. Lately I’ve just been sitting on my hands in social situations, afraid to even interact with women. Is this therapy worthy? Upset Pittsburgher In Troubling Times Therapy couldn’t hurt… unless you get a terrible therapist… in which case it could. Start your therapist hunt at the American Association of Sexuality Educa-

riverfronttimes.com

tors, Counselors and Therapists (aasect.org), and you’re likelier to find a good/sex-positive one. As for why your “weird and awkward” first impression seemed to be less of an impediment when you were sleeping with men: Men aren’t subjected to male sexual violence at the same rates that women are. Women have a lot more to fear than men do, UPITT, and a weirdand-awkward first impression is far likelier to turn off a woman into dudes than it is to turn off a man into dudes. The man you flirt with at a party might think, “Dude’s weird and awkward but he’s hot,” and jump into bed with you. But the woman you flirt with at a party is likely to think, “Dude’s weird and awkward and he’s hot, but he’s just too weird to risk it.” Something else that couldn’t hurt: getting on a site like OkCupid and approaching bisexual women there. You may have better luck with women if your initial interactions are over e-mail. And finally, UPITT, there are gay and bi men out there who desire stability, too — and stability and “promiscuity” aren’t mutually exclusive. Listen to Dan’s podcast at savagelovecast.com. mail@savagelove.net

MAY 11-17, 2016

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145 Management/Professional Specialist Business Solutions (Nestlé Regional Globe Office North America, Inc.- St. Louis, MO) Assist in implementation of new features in SAP EWM & WM for warehouses in North America. F/T. Reqs Bach’s dgr (or frgn equiv) in Bus Admin, CS or rel fld & 5 yrs exp in job offered or in SAP in WM Module. 4 yrs of stated exp must incl the follow’g: WM or EWM implementation, incl’g config & post-implementation spprt; cross functnl integration impacts incl’g production, customer service, procure to pay, & demand & supply plan’g; 2+ full lifecycle SAP implementations; SAP config & dsgn; wrk’g in food ind; & bus processes of warehouse mgmt. Exp may be gained concurrently. Resumes: J. Buenrostro, Nestlé USA, Inc., 800 N Brand Blvd, Glendale, CA 91203. Job ID: SBS-EGS.

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500 Services 525 Legal Services

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Personal Injury, Workers Comp, DWI, Traffic 314-621-0500

ATTORNEY BRUCE E. HOPSON

The choice of a lawyer is an important decision & should not be based solely on advertising.

527 Legal Notices Network Real Estate, LLC proposes to collocate wireless communications antennas at a top height of 72 feet on a 72-foot tall school building at the approx. vicinity of 425 South Lindbergh, St. Louis, St. Louis County, MO 63141. Public comments regarding potential effects from this site on historic properties may be submitted within 30 days from the date of this publication to: Trileaf Corp, Katelyn, k.foster@trileaf.com, 10845 Olive Blvd, Suite 260, St. Louis, MO 63141, 314-997-6111.

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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193 Employment Information

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300 Rentals

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ST. CHARLES COUNTY 314-579-1201 or 636-939-3808 1 & 2 BR apts for rent. www.eatonproperties.com. Sec. 8 welcome UNIVERSITY-CITY $795 314-727-1444 2BR, new kitch, bath & carpet, C/A & heat. No pets WESTPORT/LINDBERGH/PAGE $525-$575 314-995-1912 1 MO FREE!-1BR ($525) & 2BR ($575) SPECIALS! Clean, safe, quiet. Patio, laundry, great landlord! Nice Area near hwys 64, 270, 170, 70 or Clayton.

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Temporary Field Representative Looking for Field Representatives in St. Louis City. Hours vary, but will be approximately 20--40 hours per week. Duties: Verify household address, update listed addresses and explain purpose of the Census test. Requirements: US Citizenship, valid driver’s license, auto, must have an email account and must pass basic skills test. Salary: GG-3 $12.34/hr. GG-4 $13.86/hr. and mileage reimbursement. For testing info for the temporary Field Representative jobs call 1-866-593-6154 or email Chicago.recruiting@census.gov

IF YOU DESIRE TO MAKE MORE MONEY AND NEED A NEW JOB EARNING $45-$50 thousand the 1st year, great benefits, call SMTDS, Financial assistance available if you qualify. Free living quarters. 6 students max per class. 4 wks. 192 hours. • More driving time than any other school in the state •

Visit our website at: www.census.gov/regions/chicago/www/jobs/ for application instructions. The U.S. Census Bureau is an Equal Opportunity Employer. This agency provides reasonable accommodations for people with disabilities.

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MAY 11-17, 2016

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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. © 2016, Audio Express.

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