Riverfront Times - October 12, 2016

OCTOBER 12–18, 2016 I VOLUME 40 I NUMBER 41

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Cardenales Nation The Latino community’s clout in St. Louis is growing — and the Cardinals are taking notice

By Doyle Murphy

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TABLE OF CONTENTS FEATURE

11.

Cardenales Nation

The Latino community’s clout in St. Louis is growing, and the Cardinals are taking notice

Written by

DOYLE MURPHY Cover by

STEVE TRUESDELL

NEWS

CULTURE

DINING

MUSIC

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19

25

35

Your friend or neighbor, captured on camera

Seven days worth of great stuff to see and do

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21

Cheryl Baehr is a believer after dining at Local Chef, a new farmto-table fast-casual spot in, yes, Ballwin

The Lede

Expert: Cassilly Was Beaten to Death

A physician’s report raises new questions about the death of the City Museum founder

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The Mayor’s Race Gets Interesting

Calendar A Miracle on Manchester

Film

Robert Hunt checks out A Man Called Ove

22

Stage

Paul Friswold reviews new productions of Macbeth and Suspended

Doyle Murphy checks in with Police Chief Sam Dotson, who isn’t resigning, but is running

28

Chuck Berry’s 10 Greatest Rock & Roll Moments

Roy Kasten details the local legend’s greatest hits on the eve of his 90th birthday

Side Dish

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Joseph Hess has the scoop about the newest iteration of the Livery Company

Chris Bork took the long and winding road to culinary stardom

First Look

A toasted ravioli stuffed pizza crust? It’s at the Sliced Pint. Plus, a look at VietNam Style, now open east of Delmar

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Bars

Narwhal’s Crafted Urban Ice is a far cry from the slushie bars of your college days

B-Sides

41

Homespun

Joe Mancuso & Dave Black Just the Two of Us

42

Out Every Night

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

43

This Just In

This week’s new concert announcements 6

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NEWS

A Beating, Not a Bulldozer Accident Expert’s report offers shocking new theory in City Museum founder’s death Written by

SARAH FENSKE

I

t was no bulldozer accident that killed artist and City Museum founder Bob Cassilly. It was a brutal beating, subsequently staged to look like an accident.

That’s the expert opinion of Dr. Arthur Combs, a longtime physician who examined newly obtained photos of Cassilly’s death scene, as well as reports written at the time of his death in 2011 by the St. Louis Medical Examiner’s Office. Combs surveyed the photos and reports at the request of the sculptor’s widow, Giovanna Cassilly, and her attorney Albert Watkins.

In his report, Combs zeroes in on two key things: The nature and extent of Cassilly’s wounds, and the absence of blood within the cab of the bulldozer where he was found.

Cassilly’s death has been blamed on an apparent bulldozer rollover.

But Combs’ analysis focuses on the wounds to Cassilly’s body, which he concludes simply do not fit such a scenario.

Combs notes that nearly all the ribs on both sides of Cassilly’s body were fractured, which could not have come from a single blow or collision. He notes “defensive injuries” on his hands and fingers as Cassilly, 61, apparently tried to fight off his assailants. And the lacerations to his head were such that “the object responsible would be obvious if it were inside the cab” — yet no such item is apparent in any photos of the death scene.

“The hypothesis that these inContinued on pg 9

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RIVERFRONT TIMES

Giovanna Cassilly, with her late husband, continues to push for answers. | PHOTO BY MIKE DIFILIPPO/COURTESY OF GIOVANNA CASSILLY

WITH POLICE CHIEF’S ENTRY, MAYORAL RACE GETS INTERESTING

S

t. Louis police Chief Sam Dotson thought he’d take it slow — form an exploratory committee, do some polling and, once the noise of the presidential election quieted, go all-in on his plans to run for mayor.

Then last week happened. Mayor Francis Slay talked to Dotson on Monday about the chief’s plans, waited two days and delivered a kidney punch. Slay bluntly told reporters on Wednesday if Dotson decided to run for mayor, he would ask him to resign.

“I want to be clear to the citizens of St. Louis that I will not condone a parttime police chief,” Slay said in a prepared statement. “Should Chief Dotson decide to become a candidate for mayor, I expect him to resign, for this city deserves a top crime fighter dedicated to the task 24/7.”

Dotson has no plans to resign (under state law, the mayor can only fire him for cause) but he figured his opportunity to announce on his own schedule was blown. He issued his own release within hours, touting himself as a political outsider with inside knowledge of how the city operates and what it needs.

“I am not a career politician,” Dotson

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wrote. “I have never run for office. But every single day, I lead an elite group of heroes who do the critically important work of going into our neighborhoods and making a difference in the lives of ever day St. Louisans.”

Dotson told the Riverfront Times on Sunday he knew Slay’s position from their talk on Monday, but the timing of his statement surprised him.

He praised the mayor’s work during nearly sixteen years in office, but he disagrees that running for office would turn him into a “part-time police chief.”

“We clearly disagree on his position,” Dotson says.

The rushed announcement seemed to speed up the entire race as two more heavy hitters quickly made moves of their own. Later that evening, Treasurer Tishaura Jones told supporters who’d launched a #drafttishaura campaign on Twitter that she had filed her initial campaign paperwork. Alderman Antonio French, a frequent sparring partner of both Slay and Dotson, began the next day with a Twitter post, announcing “I’m in.”

Board of Aldermen President Lewis Reed, Alderwoman Lyda Krewson and Gregory F.X. Daly, the city’s collector of revenue, had previously announced their intentions, making for a crowded campaign.

Despite Wednesday’s barb, Slay has generally been supportive of Dotson over the years. Slay was in London over the weeend, but Dotson says he doesn’t think there will be any friction when they meet again on city business.

Dotson says the mayor’s job would be an opportunity to work on issues, such as the economy and education, that directly relate to crime but are currently outside his purview as chief.

“If I wasn’t the police chief — which I love being, by the way — I’d want to be an economist,” says Dotson, who studied business and has an MBA. But running as a police chief at a time when police-community relations are strained across the country comes with baggage.

French, who became a national figure during the Ferguson protests, tweeted he’d fire Dotson, were he to win the election. “I’d fire him on Day 1. As Mayor Slay should do today,” he wrote. “Not for running for office, but for poor performance.”

Murders spiked to 188 last year, but Dotson says overall crime is lower than it was under his predecessors. He says he’s had good relationships with protest leaders who’ve gotten to know him and expects to meet more while campaigning.

Campaigning raises its own issues.

Dotson says he will not do any of it while on the job, leaving him nights and weekends to stump. He expects it to be an especially busy five months before next spring’s primary. He’ll now do some of what he planned to do before — raising money and polling to learn what’s most important to residents.

If he loses, he says, he’d like to stay on as police chief.

– Doyle Murphy

CASSILLY’S DEATH Continued from pg 8 juries could have occurred from a single slow speed inversion of the bulldozer is untenable,” Combs writes. “ uch severe and e tensive injuries would not occur, particularly to an otherwise healthy man who was an experienced operator. ounds this e tensive would correlate with implicated particular structures in the cab that would have been conspicuously covered in blood, hair and tissue.” Photos of the bulldozer taken on the morning that Cassilly’s body was found show nothing of the kind.

Combs concludes, “The only plausible explanation, and my personal conclusion, is that Mr. Cassilly died from a purposeful beating — intentionally to death.”

Bob Cassilly’s body was found on the morning of Monday, September , . His wife, Giovanna, was traveling in os ngeles, and had become frantic after being unable to reach him the night before.

That Monday, members of Cassilly’s crew discovered his lifeless body slumped in his bulldozer, which was parked at a precarious angle inside his unfinished magnum opus, Cementland. Within hours, the press was reporting that it had been a tragic accident.

But as the Riverfront Times reported earlier this year, Giovanna Cassilly has become convinced that her husband’s death was murder.

Our ay cover story detailed how investigators uic ly settled on their theory of accidental death, leaving numerous uestions unanswered five years later. o one ever established the time of death, much less pinned down Cassilly’s movements on the wee end he was killed. nd that’s even though fatal bulldozer rollovers are astonishingly rare. study surveying mining accidents from 1988 to 1997 found just fourteen fatalities related to rollovers and in every single case, the victim was either thrown from the vehicle, asphy iated or drowned. ot one was found inside the cab with a fractured skull.

The widow’s attorney, Albert Watkins, has been trying to interest law enforcement in reopening the case. And after the RFT’s story was published, he obtained new photos from the medical e aminer’s office that had been previously un nown to his client — photos that raise startling new possibilities.

The photos clearly show a bloody patch and what appears to be a large rock in the shadow of the bulldozer. At the time, the medical e aminer’s office appeared to have found the area noteworthy — the bloody patch was photographed and mar ed with an evidence notation. et no mention of the finding appears in the report.

Dr. Michael Graham, the chief medical examiner for the city of St. Louis, did not respond earlier this summer to numerous requests for comment about the new photos or their significance. fter the RFT’s cover story, the medical e aminer’s office also refused to release its report to the St. Louis Post-Dispatch, saying the investigation was now an active one. ow the conclusions of r.

Combs may raise even more uestions about the crime scene — and the “accident” verdict settled on by investigators.

An associate professor of clinical medicine at ashington niversity from 2004 to the present, Dr. Combs has a lengthy CV. Trained at ew or edical College, he has a long list of certifications, awards and positions, including a stint at Mallinckrodt Inc. as medical director and then e ecutive vice president.

Writes Dr. Combs, “This was not a beating to simply intimidate, this was a beating administered purposely to leave the victim dead or permanently disabled and compromised. Some of the injuries are consistent with the use of a weapon. The bloody rock found at the scene, and perhaps a pipe or similar object are consistent with the injuries.”

Watkins says he felt compelled to bring in an expert after obtaining the photos released by the medical examiner this summer.

“Once we knew the Medical Examiner’s Office was possessed of more and different information from that which was amassed by the city police department, we knew a medical expert was required to explain why the Medical Examiner’s Office characterized the investigation as open while the police department asserted it was closed,” he said.

Giovanna Cassilly is continuing to see the public’s help in solving the mysteries surrounding her husband’s death. She and Watkins are asking that anyone with information about Cassilly’s final days to contact them at justiceforbobcassilly@gmail.com. n

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La Ke Buena DJs Tiburon (left) and Rubén Pérez (center) meet Fredbird on September 30 on the infield at Busch Stadium. | STEVE TRUESDELL

Cardenales Nation The Latino community’s clout in St. Louis is growing — and the Cardinals are taking notice By Doyle Murphy

T

he rain is a bad sign.

Clouds have hovered all day over St. Louis, but of course they’ve waited until now, less than two hours before the Cardinals-Pirates game, to open up. A cold drizzle falls on Busch Stadium as Brenda Garcia, husband Tony and DJ Tiburon from her Spanish-language radio station hustle to set up their booth in a corner of the upper walkway.

“Tiburon, make the rain go away,” Garcia says.

She eyes the gray skies from beneath La Ke Buena Radio’s pop up tent, arranging tiny ags from a dozen atin countries on a folding table. It’s the last night of September, and what happens during tonight’s game will factor into calculations that could extend well beyond baseball. or the first time in team history, the Cardinals will be airing two home games in Spanish, and La Ke Buena is making it happen. The inaugural broadcast was the night before and produced an especially poignant moment.

Former big leaguer Bengie Molina was calling the game alongside veteran play-by-play man Polo Ascencio when his younger brother, Cards catcher Yadier Molina, came to bat in the bottom of the fifth inning. adi hit a home run to left and then pointed up to his oldest brother while running the bases. In the broadcast booth, Ascencio shouted, “Se va! Se va!” (the Spanish equivalent of “Going, going… ”) while an overjoyed Bengie Molina tried not to leap out of his seat. A replay of the call was later aired on the televised Englishlanguage broadcast.

It was a golden start for the groundbreaking broadcast, and clips of the moment are still spinning around the internet. Tonight will be an even bigger event if it stops raining.

The Cardinals are calling it Fiesta Cardenales.

In honor of Hispanic Heritage Month, the team is hosting a pregame party on the upper balcony in the southeast corner of the stadium. The president of the Hispanic Chamber of Commerce is scheduled to throw out the first pitch. here are plans for Latin-themed giveaways and free “Cardenales” T-shirts. Flamenco dancers Continued on pg 12

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CARDENALES NATION Continued from pg 11 and a performer on stilts pick their way across the wet cement.

Everything is ready to go, in fact, e cept the field. embers of the Cardinals grounds crew jog out onto the grass and drag the tarp over the infield. here’s less than two hours until the game is set to start.

The team from Ke Buena is exhausted. The first broadcast was an all-day affair, and today has been just as grueling. The sound engineer had stayed up until 3:30 a.m. editing commercials to use during tonight’s game. Garcia reconvened the group at 7:30 a.m. at Busch so they could do the station’s morning show live from the stadium. They followed up with an afternoon show that ended just before 3 p.m. After a quick bite to eat, everyone returns to set up the tent for the fiesta and prepare the broadcast booth for tonight’s game.

It’s more than the long hours wearing them out. There is the stress of doing something they’ve never done before and a sense of responsibility to get this right. St. Louis’ Hispanic and Latino population has traditionally been a small and often overlooked part of the metro area. Garcia remembers the culture shock of moving here with her husband eighteen years ago from Texas.

“When we went to the mall and we saw another Hispanic, it was like ‘Oh, my God, it’s another Hispanic,’” she says.

That’s changed in recent years with a spike in new residents. Garcia, a 45-year-old serial entrepreneur, now runs a cluster of family businesses in a strip mall on the border of Bridgeton and St. Ann that cater to the growing Latino community. She and Tony own the popular restaurant La Tejana, which shares space with their liquor store. Next door is the family’s grocery store, and Garcia does ta es from her offices at the other end of the complex. More recently, they’ve branched into media with a newspaper, El Hispano, and the radio station, which streams online at kebuena1510stl.com.

As successful as these enterprises have been, the broadcasts are possibly Garcia’s most high-profile venture yet. They reach beyond her family and customers, beyond U.S. Census numbers, beyond even the region’s Spanish speakers. They demonstrate that the city’s favorite team, the most popular brand in town, has recognized it needs to 12

RIVERFRONT TIMES

Oscar (left) and Alberto Pasadas run a Latino baseball league in St. Charles County. | DOYLE MURPHY take notice.

The rain breaks shortly before game time, and the grounds crew hauls away the tarp. Garcia’s marketing director, her 29-year-old son Kyle Garcia, ducks into the broadcast booth to get ready.

“It’s history,” he says.

Baseball will always be baseball, but every culture adopts its rhythms and rituals in its own way. From Red Sox fans singing “Sweet Caroline” at full volume to Dodgers fans dressed in Lucha Libre wrestling masks, the game has proved amazingly receptive to fans’ adaptations and celebrations.

On the Sunday before La Ke Buena’s broadcast, dozens of baseball devotees drive back roads to a baseball diamond carved from the farmland of rural St. Charles County. Here at Josephville Ballpark, the Mineros are battling the Venados in a best-of-three series for the championship of the St. Louis-area Latin Baseball League.

The players are mostly young men, but there is no real age limit.

Teens suit up alongside middleaged dads. heir families fill the wooden bleachers or perch on the tailgates of pickup trucks parked along the fence lines. Oscar Posadas, 40, and his brother are running the league for the first time this year after a predecessor bowed out.

The brothers’ team, Toros, had

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been expected to challenge a squad of Nicaraguan players for the crown of the six-team league, but both ballclubs were knocked out by underdogs. On this Sunday, the Posadases have just come to watch and talk baseball.

“No excuses,” Oscar Posadas says of the Toros’ late-season defeat.

“They had a really good pitcher.”

Ten years ago, this league would have been impossible. Posadas used to play in the old Eastern Missouri Baseball Association, and his team was the only Latino one in the league, he says. By that he means they had a number of Hispanic players, but it wasn’t even enough for a full roster.

Hispanic and Latino residents accounted for just 1.5 percent of St. Charles County’s population in the 2000 U.S. Census. The numbers jumped to 2.8 percent in 2010 and an estimated 3.2 percent in 2015.

Anna Crosslin, president and CEO of the International Institute, says Hispanic immigration routes or “ ow patterns” traditionally split off south of St. Louis in Missouri’s bootheel, with one path running into Illinois toward the Metro East or Chicago. Another has tracked west toward agricultural areas of Nebraska and Iowa. St. Louis historically has gotten skipped.

And cross-country migration from the West Coast often pools in Kansas City, giving it a Hispanic population roughly twice the size of the one in St. Louis, says Crosslin,

whose organization offers a wide variety of resettlement and other services to refugees and immigrants from its headquarters in the Tower Grove East neighborhood.

“What that means is we have to work harder to attract immigrants than other cities that are naturally in the ow pattern,” Crosslin says.

Jorge Riopedre, president of multiservice health clinic Casa de Salud, looks at a recent spike of foreign-born residents in the St. Louis area as a key to the metro’s economic future. A constellation of organizations are working to keep it going, he says, and the popularity of the Cardinals is important.

“What brand in St. Louis exceeds the Cardinals in feel-good?” he asks. “The stamp of approval in a city that asks where you went to high school is a big thing.”

Rural areas surrounding the city have begun to show growth in permanent residents and also seasonal workers. A good chunk of Garcia’s tax business now comes from visa workers who arrive to work during the growing season and go home in the winters. One of the teams in the Latin Baseball League, the Sinaloa Cañeros, comprises entirely visa workers, Posadas says.

It doesn’t happen as much anymore, but he has known lots of people who immigrated to the United States only to return home later out of feelings of isolation in a foreign culture.

Posadas himself was raised in the

Announcer Polo Ascencio emcees a Q-and-A with Spanish-speaking Cardinals players (from left) Miguel Socolovich, Brayan Peña and Alex Reyes. | STEVE TRUESDELL baseball-mad village of Pucuato in a mountainous region of the Mexican state of Michoacán. He left home nearly two decades ago, bouncing between Georgia and Chicago before his job as a supervisor in a chain of Mexican restaurants took him to Belleville, Illinois.

He married a local girl, and when the restaurant shut down, he stayed. He now owns a landscaping business and lives a short drive from the Josephville field in O’Fallon. he atin league formed to fill a gap in the region’s rec leagues.

Posadas says he and his brother enjoyed the competitiveness of the established leagues, but it wasn’t the game they remembered from home. There always seemed to be some politicking over the operations, and teams paid as much as $3,000 to play seven-inning games during a short season.

“No, this is not baseball for us,” Posadas says they decided.

The Latino league teams kick in each for fifteen wee s of regular-season baseball. A string of nine-inning games begin in the morning and last late into the night.

Between games, the players, fans and umpires eat tacos fresh off the griddle and cupfuls of chopped papaya, watermelon and cantaloupe spiced with Tajin seasoning and lime juice. It’s like Field of Dreams rewritten in Spanish.

A handful of Major League teams

are represented on the hats and T-shirts of the faithful at Josephville, but the Cardinals are easily the favorite. Little kids in Molina jerseys play catch in the grassy parking lot, and the men discuss the probability of the team making the playoffs. When the games are broadcast in Spanish the following week, Posadas says, they’ll be listening.

“Absolutely,” he says. “Most of these guys, they’re big fans of the game.”

They’re still buzzing about the day a couple of weeks before when Cardinals star Carlos Martinez visited the rural park. They explain that the ferocious right-hander posed for pictures with little kids and kicked back among the shade trees. Then Martinez, who’d apparently come at the invitation of some Dominican players on one of the teams, asked why no one had told him about the league earlier.

“I would have come to hang out on my days off,” he told them.

To Posadas, the 25-year-old seemed happy just to relax away from the spotlight for an afternoon.

“He’s so young,” Posadas says, “and his job is very serious.”

Baseball sounds different in Spanish, Polo Ascencio says.

“Sometimes, when you broadcast in Spanish you get away with, not bad words, but a little more spice, a little more salsa,” he says. he longtime announcer ew in

from Los Angeles to call the games at Busch. Both Ascencio and Bengie Molina arrive at the stadium about four hours before game time to prepare. They’re still amped up from the night before. Not only did adi hit that fifth inning home run — he smacked a walk-off double in the bottom of the ninth to beat the Cincinnati Reds 4-3.

“It was such an amazing feeling,” Bengie Molina says. “It’s hard to explain it — joy going through your veins.”

“Una noche histórica” is the way Ascencio describes it.

Both men are hoping the Spanish broadcasts are more than a one-time promotion for the Cardinals. The Hispanic community in St. Louis may be small, but it’s part of a Midwest market that’s growing rapidly. Ascencio is used to working Dodgers and Padres games back in California, where he estimates 50 to 60 percent of the fans are Hispanic. St. Louis is “totally different,” he says, but there is a lot of potential. Fans across Mexico, including Ascencio’s family in Tijuana, streamed the inaugural Spanish broadcast the night before, and he believes more fans will follow if they can hear and understand the game in their native language.

“I know it’s just two games, but you have to start somewhere,” he says.

Molina says he had family from Puerto Rico to Pennsylvania riverfronttimes.com

listening the night before. Like Ascencio, he spent most of his career on the West Coast. He accepted a position as an assistant hitting coach for the Cardinals after his retirement but has spent this season at home in Arizona while his wife recovers from hipreplacement surgery.

He looks out the windows of the broadcast booth where his kid nephew, Yadi’s son, is bounding around the infield in a miniature jersey.

“He’ll probably be a first rounder pretty soon,” Molina quips.

As he did last night, Molina will serve as the color man or analyst during the broadcast, dropping in to explain intricacies of the game or add context to Ascencio’s rolling play-by-play. The Ke Buena team had to adjust its timing on the y during the first broadcast to accommodate subtle differences in the way the game translates into Spanish. Differences in syntax and cadence tend to make Spanish utterances take longer, Kyle Garcia explains.

“A sentence I say in English might take me four seconds, but to say the same sentence in Spanish could be like eight seconds,” he says.

It might seem like a small thing, but it can wreak havoc on a broadcast that’s been mapped out with precisely timed commercial breaks. Brenda Garcia and the rest of the crew scrambled throughout the previous night’s game to solve the problem, but managed to keep everything owing through adi’s final, thrilling hit.

Tonight, Garcia is worried about a link on the Ke Buena website.

Although her crew is producing the broadcast, it’s actually airing on a Major League Baseball app and a KMOX sister station because of licensing contracts. She’s heard some listeners hoping to stream the game somehow missed the giant “ESUCHA EN VIVO” heading that redirects them from Ke Buena’s site and clicked on the wrong spot.

She has their web developer add “ESUCHA AQUI” tab with bright red arrows pointing in the right direction.

These types of behind-the-scenes headaches would easily be worked out during the early days of a season, but Garcia doesn’t have a full season. She has two games to make this a success.

“My head is pounding,” she says when she finally has a moment’s break.

She sets up in a rolling chair

OCTOBER 12-18, 2016

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CARDENALES NATION Continued from pg 13 at the back of the booth, where she can quickly wheel between her sound engineer and another crew member, who will record the game and edit highlights from the broadcast for replays. Molina and Ascencio settle into their places in front of the window, and the Cardinals run onto the field.

Martinez is pitching. Ascencio leans into the mic.

“En Busch Stadium,” he begins, “Polo Ascencio y Bengie Molina… ” Fiesta Cardenales is underway.

Business will always be business, and every culture adapts its rhythms and rituals to harness its power.

Garcia tried for three years to persuade the Cardinals to broadcast games in Spanish before the organization agreed. In her dayto-day business, she was seeing the rising economic power of her community and the potential for so much more.

After decades of residents of other racial and ethnic groups draining out of the city by the thousands, Hispanics and Latinos have begun moving in, a trend

expected to continue.

“We wouldn’t be doing all that we’re doing if we didn’t think that it was growing,” she says one afternoon, a few weeks before the broadcasts.

There are now about 2,000 businesses across the metro that are owned by Hispanics and Latinos, says Karlos Ramirez, the president and CEO of the Hispanic Chamber of Commerce. He is only the second paid leader of the chamber in the organization’s 34-year history.

Raised in Chicago, he moved to St. ouis a little more than five years ago from San Antonio.

The Cardinals, unsurprisingly, were on his radar from the day he arrived, but he wanted to build and strengthen the chamber before pitching the team on any partnerships. Even with the recent growth of the Hispanic community, it sometimes gets overlooked because residents are scattered across the city and county instead of concentrated in identifiable neighborhoods, like they often are in other cities.

Finally, this year, he had the numbers he wanted to make the case that it would be a good business decision for the Cardinals to become more involved with his

South City Scooters @ the corner of Connecticut & Morgan Ford

chamber and the larger Hispanic and Latino community.

It’s clearly to the chamber’s benefit to bond with t. ouis’ most popular organization, but Ramirez believes it’s good business for the team, too.

“To be honest, I think it’s a twoway street,” he says. “I think the Hispanic population in the St. Louis metro is such an untapped market, they would actually be missing something by not catering to us.

It’s a population that hasn’t been necessarily prevalent in their stadium, so for them to tap into that ensures they’re going to continue to have sellouts.”

It’s business, and even a lifelong Cubs fan like Ramirez can appreciate what it means to have the hometown team on your side.

He remembers the day he had to straighten out his Cubs-loving brothers during a game at Busch.

“They started booing the Cardinals,” Ramirez recalls. “I said, ‘Hey, if you’re going to come here for a game with me, you’re not going to boo the Cardinals, because if it’s good for the Cardinals, it’s good for the region. If it’s good for the region, it’s good for me, and if it’s good for me, it’s good for you, so shut up.’”

The Cardinals have been receptive, taking baby steps toward courting more Hispanic fans. The team has begun posting videos in Spanish on its website, and it launched @cardenales, a Spanish-language Twitter account, in August.

In a news release announcing @cardenales, the team pointed to a nine-state regional market with more than a million Spanish speakers as one of the reasons for the move.

“The Cardinals also hope to reach fans in the Commonwealth of Puerto Rico, the largest insular territory of the United States, and internationally in Mexico, Cuba, the Dominican Republic, Venezuela and other Spanish-speaking nations in Latin America,” the team said in the release.

Fiesta Cardenales, coupled with the Spanish-language broadcasts in September, were to be part of the campaign. Ke Buena began to spread the word weeks ahead of the games through on-air promotions and advertisements on its website.

By the time of the annual Mexican Independence Day celebration on Cherokee Street, held on September 18, excitement has begun to build among Spanish-speaking Cards

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fans. The event draws thousands to the neighborhood, one of the city’s only recognizable Hispanic business districts.

Ke Buena’s DJ Tiburon has picked up a side gig as emcee for one of the evening’s prime events: the smashing of a Donald Trump piñata. He moved to St. Louis eleven years ago after a couple of years in San Diego. Back then, he worked at a Wendy’s in south city, picking up English from his Bosnian coworkers. Because the Cardinals were unavoidable, he eventually became a baseball fan, too.

“I would say I’m a 70 percent fan,” says Tiburon, whose real name is Heriberto Amezcua. “But I love the Cardinals. They’re a great organization.”

Around the corner from the “El Trumpo Takes a Thumpo” festivities, 47-year-old Gernaro Gomez eats a plateful of tacos as he takes in the crowd. He wears a Cardinals cap in addition to his cowboy boots, jeans and Western-style shirt. He’s lived in St. Louis about three years and speaks little English, but he goes to as many games at Busch as he can. He’s looking forward to the upcoming broadcasts as his Continued on pg 16

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EPA has assessed the ability of the public to access the Introduction and Administrative Record Index Report through an internet-based repository and has determined that the local community has this ability. The action memo, along with the administrative record for this site, will be available online through the following website: https://semspub.epa.gov/src/collection/07/AR64620 Questions or requests for site information can be submitted to: Pamela Houston U.S. EPA Community Engagement Specialist Toll-free: 800-223-0425 Email: houston.pamela@epa.gov

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OCTOBER 12-18, 2016

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Brenda Garcia works with sound engineer Gabriel Perez during the broadcast. | STEVE TRUESDELL first opportunity to really hear his favorite team.

“I’m happy to see them,” he says in Spanish. “Now to understand is going to be a whole new experience.”

The broadcast rolls smoothly through the first three innings. Garcia is loc ed in, sliding her office chair back and forth between the sound engineer and audio producer while Kyle Garcia delivers printed scripts for commercials one at a time to Ascencio and Molina.

She keeps an eye on Ke Buena’s social media; comments from listeners have begun to flow in.

One fan writes of listening from Cancun, and Garcia beams.

“I got goose bumps,” she says.

As much as Garcia and Ke Buena want to make sure everything goes well, the Cardinals are also tracking the broadcast. A team sales rep a pleasant but firm woman in a uilted red vest, carrying a oral notebook — pops in every inning or so to monitor their progress.

“Don’t forget your station IDs,” she says during an early game check-in. Garcia smiles brightly and assures her they won’t.

In the bottom of the third, Cardinals power hitter Jedd Gyorko smacks a 393-foot home run over the left field wall. he solo home run puts the Cardinals ahead 1-0.

If that’s all the scoring they do, it could be the play of the game, and that could be a problem. Ke Buena’s Rubén Pérez has been working on editing highlights, but he doesn’t like the sound quality when he checks the recording. He switches to a different laptop, and then back to the original while consulting with Garcia. He spends

the next two innings working with the different computers, trying to salvage something he likes. crowd of , people fills the stands. Aside from the broadcast, this is a big game for the Cardinals.

They’re trailing the San Francisco Giants by a game in the standings, and if they have any hope of reaching the playoffs, they need to win.

The players feel the pressure.

Carlos Martinez is pitching, and any of the easygoing vibe he showed a few weeks ago in Josephville has burned away under the lights of Busch Stadium. He looks almost angry as he strikes out one hitter after another. When he bats in the fifth inning and strikes out, he whips his body around and smashes the barrel of his bat into the dirt.

The score is still 1-0 when the Cardinals come to bat in the bottom of the sixth inning. This is Yadi’s series. He hits a double, driving in a run, and then scores when Stephen Piscotty hits another double.

By the time the inning is over, the Cardinals have scored four runs and taken a 5-0 lead.

The Cards sales rep pokes her head in the door, this time to celebrate. She mouths “that was awesome!” to Garcia, and they share a silent cheer as Pérez, grateful for a slew of new highlights to replace the earlier home run, works away on his laptop.

Still, the game is missing one golden play to push this beyond just an easy victory. It would be nearly impossible to top Yadi’s dramatic home run and game-winning double from the night before, but the fans and crew are still waiting for one defining moment.

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Polo Ascencio calls the Cardinals-Pirates game in Spanish. | STEVE TRUESDELL

Ascencio’s voice cuts through the room. “Es momento spectacular!” he cries.

The best opportunity comes just an inning later. Earlier in the day, fans had learned that longtime favorite Matt Holliday wasn’t likely to be coming back for the 2017 season. He’d been injured for part of the year and still wasn’t in shape to retake his position in the outfield. he si th inning scoring, however, gives the Cardinals enough breathing room to send Holliday in as a pinch hitter without risking much. It’s a gesture of respect, an opportunity for his fans to say goodbye to one of their heroes.

The crowd, knowing this could be his final at-bat for St. Louis, cheers when Holliday walks onto the field. olina stands in the booth and claps.

Holliday takes two strikes, and

then he swings at the third pitch and drives it hard to right field. he fans begin to rise as the ball sails through the air, shouting as it clears the fence for a home run. In the booth, it’s impossible to hear what Ascencio and Molina are saying over the roaring crowd.

When it’s quiet enough to hear again, Ascencio’s voice cuts through the room.

“Es momento spectacular!” he cries.

Anything that happens now is a bonus. Garcia and crew have less than two innings to go before they can turn over the broadcast to the post-game show and go home to bed. They cruise through the rest of the seventh and close out the top of the eighth. They’re almost done when the rain returns.

The umpires pause the game, and the grounds crew jogs back onto the field to roll out the tarp again.

This causes a new scramble in the booth. hey’ll now have to fill the dead time, and they have no idea how long this delay will take. Ascencio and Molina talk the audience through what’s happening while the crew pulls together interviews recorded the day before. More than 35 minutes pass before the rain finally subsides and the grounds

crew drags the tarp away.

“Thank you, God,” Garcia says.

“Thank you.”

The Cardinals play through the eighth and two outs in the top of the ninth. Most of the fans have gone home already. Sensing the end, Garcia pats her crew members on the shoulders. inally, more than fifteen hours after the Ke Beuna team arrived at the stadium, the Pirates’ Sean Rodriguez hits a ground ball to third to end the game. It’s over. Ascencio and Molina work through a couple more segments and pull off their headphones. Everyone hugs as usch goes dar . Outside, firewor s thunder above the stadium walls.

Garcia crouches down and peers out the window. The light from the e plosions re ects off the wet concrete down below. The Giants will end up winning the rest of their games and push the Cardinals out of the playoffs for the first time since . scencio will y bac to Los Angeles, and Molina will return to Arizona. By tomorrow morning, Garcia will be back at work in La Tejana. But for a moment, it’s quiet in the booth, and she stares through the glass into the night.

“I’ve never seen the fireworks here,” she says. n riverfronttimes.com

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RIVERFRONT TIMES

OCTOBER 12-18, 2016

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CALENDAR

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WEEK OF OCTOBER 13-19

THURSDAY 10/13 St. Louis Blues Home Opener The St. Louis Blues open their 50th season tonight at 7 p.m. against the Minnesota Wild at Scottrade Center (1401 Clark Avenue; www.stlblues. com). It’s been a long, strange offseason. Coach Ken Hitchcock has announced that this will be his last year behind the bench, and his replacement, Mike Yeo, will be standing next to him as assistant coach all year. Long-time Blue David Backes went to Boston; defensive stalwart Kevin Shattenkirk is still here, but may be traded away before the year’s out; Vladimir Sobotka is still M.I.R. (missing in Russia); and flashy skater David Perron is back in the fold after a few years wandering the NHL. The great thing about hockey is this: Once the real season actually starts, the sense of weirdness diminishes.

There’s gonna be some skating, some checking, some punch-outs and some scoring, just like every year. Remaining tickets for tonight’s game are $52 to $404.

FRIDAY 10/14 Rocky Horror Show The Rocky Horror Show is that rare cult classic musical that deserves to be called «iconic» — it›s so big, a live production of it will be broadcast on Fox later this month. Does that mean middle America is finally comfortable with Dr. Frank N. Furter? Perhaps, but nothing can replace the thrill of seeing the good doctor in the flesh — and that›s where Stray Dog Theatre comes in. The company opens its new season with Richard O’Brien’s Rocky Horror Show, one of the greatest live experiences you can have on this planet. Performances take place at 8 p.m. Thursday through Saturday (October 13 to 29) at the

In the Sounds and Seas, part of Marnie Galloway’s work at the St. Louis Small Press Expo. | MARNIE GALLOWAY

BY PAUL FRISWOLD Tower Grove Abbey (2336 Tennessee Avenue; www.straydogtheatre.org).

There is one additional performance at 8 p.m. Wednesday, October 26.

Tickets are $20 to $25.

St. Louis Small Press Expo The St. Louis Small Press Expo is a celebration of the people who make and sell their own books, comics, magazines and printed materials.

It’s a larger world than you might think — this year’s expo features more than 80 people and collectives.

Among them are Taller Leñateros, a group from Chiapas, Mexico, who have been making their own paper since 1975, and the bookbinders of BOAAT Press. You can watch both of these groups in action at

the kick-off party for this year’s Small Press Expo, which takes place from 6 to 10 p.m. Friday, October 14, at Pulitzer Arts Foundation (3716 Washington Boulevard; www.stlouissmallpressexpo. com). Chicago comic artist Marnie Galloway will debut her new work Burrow in a reading at the event, and poet Stephanie Ellis Schlaifer will read from her poetry collection, Cleavemark. The expo moves to St. Louis Public Library’s Central Branch (1301 Olive Street) on Saturday, October 15, for the full-on show and sale of works by all participating artists. From 10 a.m. to 5 p.m. you can take advantage of seminars on digital bookmaking and desktop publishing, buy hand-made books and comics, get freshly-printed poetry broadsides and speak with the people who make them. Admission is free. riverfronttimes.com

SATURDAY 10/15 The Burrow These are scary times to be alive.

The terrors of the real world force one unnamed man literally underground, into a secret bunker of his own device. But even here our protagonist hears a scratching coming from outside his bower, a certain indicator that someone — or something — is coming for him.

What is it? You’ll have to buy a ticket to YoungLiars’ second production, The Burrow, to find out. he one man play is based on Franz Kafka’s short story “Der Bau” (“The Burrow”), which is famously unfinished.

YoungLiars go underground for this show, which takes place at 8

OCTOBER 12-18, 2016

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CALENDAR Continued from pg 19 p.m. Thursday through Saturday (October 14 to 29) in the basement of the Centene Center for the Arts (3547 Olive Street; youngliarsburrow.bpt. me). Tickets are $20.

Randy & Mr. Lahey Jim Lahey and his paramour Randy are living out the greatest love story of our age. Lahey was a Canadian cop. Randy was a manwhore turning tricks for cheeseburgers on the mean streets of Nova Scotia. There was an instant and mutual physical attraction. Lahey’s wiry frame and take-no-prisoners attitude intrigued Randy, whose perpetual shirtlessnes draws the eye to his pony-kegsized gut. The duo stuck together like cheese on a hamburger, even when Lahey drank himself off the force and into a job supervising the worst trailer park in Canada.

Randy has helped Lahey get sober and picked him back up he fell off the wagon, and Lahey has given Randy security, stability and love — real, genuine, through good times and bad times true love. Of course, they’re just playing characters on the long-running Canadian TV show Trailer Park Boys, and John Dunsworth (Lahey) is really one of Canada’s most respected actors, while Patrick Roach (Randy) is an investment banker by day. But who wants reality when you can have a romance like theirs? Randy and Mr. Lahey are currently touring the country with their No Pants Unpissed Tour. It combines stand-up comedy, audience participation, some songs, some skits and some jokes into a boozy whirligig of laughs and profanity.

Randy and Mr. Lahey take the stage at 8 p.m. tonight at Delmar Hall (6133 Delmar Boulevard; www. delmarhall.com). Tickets are $20 to $25.

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

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RIVERFRONT TIMES

Japanese published by Enomoto Matsunosuke, Japanese, born 1865; Meiji period The Humor of Diplomacy and Extermination of the Russian Spider, 1904; folded color lithograph; sheet: 21 1/4 × 30 5/16 in. (54 × 77 cm)originally as folded: 9 3/8 × 6 1/4 in. (23.8 × 15.9 cm) mat size: 30 x 40 in. (76.2 x 101.6 cm) framed: 31 1/8 × 41 1/8 in. (79.1 × 104.5 cm); Saint Louis Art Museum, Gift of Mr. and Mrs. Charles A. Lowenhaupt 91:2012

Until the Flood If we have any hope of understanding what›s going in St. Louis, it comes through the arts. Department of Justice reports, newscasts, lengthy journalistic breakdowns and oral histories can tell us what happened at a certain point in time, but true illumination must be found in a concert hall, in a gallery or on the stage. Playwright Dael Orlandersmith, a ulitzer rize finalist, visited St. Louis in order to interview anybody who was willing to speak with her about life in the aftermath of Ferguson. Her mission was not to find blame or absolve anyone of guilt — she wanted only to hear what St. Louisans had to say about St. Louis. The resulting play, Until the Flood, is a complex piece that tells the St. Louis story — which is really a series of stories — in a symphony of voices. The Repertory Theatre of Saint Louis commissioned the work to give us a chance to hear ourselves think, so go hear what we have to say about us. Until the Flood is performed Tuesday through Sunday (October 12 to November 6) at the Loretto-Hilton Center (130 Edgar Road, Webster Groves; www. repstl.org). Tickets are $18 to $81.50.

OCTOBER 12-18, 2016

riverfronttimes.com

SUNDAY 10/16 Kamikaze 89 Few things in life are more entertaining than examining what the people of the past thought the future might look like. German director Wolf Gremm’s 1982 film Kamikaze 89 portrays a depressing future where one organization — the Combine — controls all of the world’s media. Rainer We r n e r F a s s b i n d e r p l a y s Jansen, a tough cop dressed in a leopard print suit who is sent to find out who is sending bomb threats to the Combine.

Fassbinder brings his usual grimy, swaggering confidence to the role as he bashes around a gray metropolis looking for answers, all to the percolating s y n t h e s i z e r s o u n d t ra c k by T a n g e r i n e D r e a m ’s E d g a r Froese. Kamikaze 89 screens at 8 p.m. Friday through Sunday (October 14 to 16) at Webster University’s Moore Auditorium (470 East Lockwood Avenue; www.webster.edu/film-series).

Tickets are $4 to $6.

WEDNESDAY 10/19 Conflicts of Interest: Art and War in Modern Japan The Saint Louis Art Museum (www.slam.org) now has one of the world›s largest collections of Meiji-period military art, thanks to a gift of more than 1,400 Japanese prints donated by Charles and Rosalyn Lowenhaupt. The new exhibition Conflicts of Interest: A r t a n d Wa r i n M o d e r n Japan includes more than 180 objects that demonstrate the technical excellence of Japanese woodblock printing before the advent of modern technological innovations. Among the works on display are many made

by Kobayashi Kiyochika, the acknowledged master of print art from the Meiji era. Conflicts of Interest is on display in the main exhibition gallery Tuesday through Sunday (October 16 to January 8). Admission is $6 to $12, and free on Friday.

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Rolf Lassgård delivers an understated performance in Hannes Holm’s A Man Called Ove. [REVIEW]

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ROBERT HUNT A Man Called Ove

Directed by Hannes Holm. Written by Hannes Holm. Based on Fredrik Backman’s novel.

Starring Rolf Lassgård and Bahar Pars.

Opens Friday, October 14, at the Landmark Plaza Frontenac Cinema.

W

e first see the titular figure of A Man Called Ove as he e ecutes his “rounds,” a morning ritual in which he prowls through the wal ways and alleys of his community loo ing for signs of disorder, chasing off stray animals, scowling at imperfect par ing and even inspecting the contents of his neighbors’ recycling bins for evidence of improper sorting, all set to a stately chubert inspired theme. he year old Ove is, in short, your worst nightmare of a suburban neighbor. Hannes Holm’s endearing film, based on an international bestseller by redri ac man, not only indulges him in his curmudgeonly intrusions but reveals with surprising affection how he got that way.

fter losing his job he actually uits because his bosses can’t uite ma e it clear that they’re firing him he disli es indecision , the recently widowed Ove played with stubborn subtlety by olf assg rd puts on his best suit, ties a noose to the ceiling and prepares to join his dear onja, recalling along the way his childhood, the loss of his parents and his courtship and happy marriage. ut suicide proves to be elusive. his attempt is merely the first of many in the film, all interrupted by une pected visitors, prying children and the sudden recollection of yet another community violation that only he has the wisdom to address. s we all now, a curmudgeonly e terior li e Ove’s serves only one purpose in a film to be slowly de fused and dismantled until the audience learns to see through his pric ly side to find the more li able man within. n this case, Ove’s slow re entry into the world comes by way of encounters with the family that has just moved in across the street an inept young man, his pregnant wife ahar ars and their two small children, along with a large stray cat. hese are precisely the type of neighbors who draw Ove’s wrath. ou don’t have to have read the boo haven’t to now e actly where A Man Called Ove is going, but that doesn’t detract from its charm. efreshingly unsentimental, its humor comes not from turning its

sour and unforgiving protagonist into a warm, fuzzy new person, but from the utter indifference of the neighbors who crowd into his life. hey’re not trying to change his bitterness into warmth they barely ta e notice of his disdain for them. s Ove, assg rd is just a little out of touch with the world and unrepentantly stoic he doesn’t learn to love his neighbors, merely to bear them. s the most demanding of his intrusive new companions, ranian wedish actress ahar ars is his perfect comic foil, dragging him through one reluctant encounter after another, from having him give her driving instructions to ma ing him serve as babysitter. he storms into his life, as indifferent to his isolated sense of reality as he is to her. irector Hannes Holm sets a lot of different tones throughout the film, juggling ashbac s and dream se uences, underplaying comedy without allowing the dar er moments to become too grim. odest wide screen com positions give us a sense of Ove’s world as well as his isolation , from the labyrinthine layout of his gated community to the private refuge of his home. t would have been easy to sentimentalize Ove’s transformation, to mil emotional moments from it and drown the film in fau warmth, but Holm wisely adopts a cooler approach, content simply to ma e him hu man. n riverfronttimes.com

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22

THE ARTS REAR WINDOW

[ S TA G E ]

Witches, Please

Two refugees revisit the past while working as window washers in Upstream Theater’s gripping new production

The Weird Sisters are front and center in a Halloween-ready production of Macbeth

Suspended

Written by Maya Arad Yasur directed by Linda Kennedy

Written by

Presented by Upstream Theater through October 23 at the Kranzberg Arts Center (501 North Grand Boulevard; www.upstreamtheater. org). Tickets are $20 to $30.

PAUL FRISWOLD Macbeth

Written by

Written by William Shakespeare. Directed

by Suki Peters. Presented by St. Louis Shakespeare through October 16 at the Ivory Theatre (7620 Michigan Avenue; www. stlshakespeare.org). Tickets are $15 to $20.

M

acbeth is a crowd-pleaser during election years, if only because it’s refreshing to watch a noble man dive deeply into the murky underworld of political machinations and emerge a bloody-handed murderer. At least as a member of a representative democracy you have the option of voting for the other candidate — not a possibility, alas, in poor dark ages Scotland.

But director Suki Peters opts for a different route in her staging of Macbeth, which is presented by St. Louis Shakespeare through the end of this week. Her Macbeth (Ben Ritchie) and Lady Macbeth (Michelle Hand) are but pawns of an evil power that leads them to ruin. No, not the lobbyists and big money donors, damn them all to hell: the Weird Sisters. This Macbeth is more horror story than political allegory, and it relies on the resounding strength of its female cast (and characters) to put a new sheen on the tale.

Peters has a talent for devising potent blocking that enriches Shakespeare’s dialogue, and Chuck Winning’s stage design displays these scenes for maximum impact.

A massive dead tree dominates center stage, with eerie, coffin shaped doorways on the left and the right.

That tree serves as home base for the Weird Sisters, the alien witches who predict Macbeth will one day be king and that his pal Banquo (Maxwell Knocke) will father a line of future kings. These witches — Elizabeth

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PAUL FRISWOLD

T Katie Robinson, Elizabeth Knocke and Taleesha Caturah as the Three Witches. | JOHN LAMB Knocke, Taleesha Caturah and Katie Robinson — drape themselves across its sere branches and huddle atop its blasted hulk, issuing prophecies and dooming both Macbeths for the fun of it.

Ritchie, who’s on a bit of a tear lately playing troubled men (he was Brutus in St. Louis Shakespeare’s season-opening Julius Caesar), seems to be a man outside of reason and comfort as he steels himself to kill his liege, Duncan (Kim Curlee). “Is this a dagger I see before me?” he asks as if very far away, and the witches are visible in sickly green light atop the tree, eagerly thrusting a dagger toward him.

Lady Macbeth is also under the sisters’ sway, but perhaps held on a looser leash. She asks for her blood to be thickened so that she has the courage to finish her husband’s botched regicide. Hand walks clockwise during her appeal, and above her the Weird Sisters clasp hands and mirror her circle, controlling her from afar with their dark magic — or perhaps themselves caught in the gyre of Lady Macbeth’s hungry ambitions, which will soon devour her.

Hand is a contained and controlled Lady Macbeth, one who uses steely intonation to dominate her husband and dismiss her servants. In an interesting twist those servants are played

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riverfronttimes.com

by the three witches, making them black-garbed cancers in the Macbeth household as well as in their master’s nightmares.

Banquo is well played by Knocke, who fights so furiously to defend his son from Macbeth’s assassins (Shane Signorino and Michael Pierce) that he convinces you that after 405 years of productions, this is the night his character breaks free and lives. Alas, it’s not to be. But as the gore-drenched corpse of Banquo, Knocke gets to terrify Macbeth and audiences alike for the rest of the evening. (Nathan Schroeder’s creepy lighting enhances Knocke’s surprise entrances.)

And what of noble Macduff, who ends this reign of terror? Maggie Wininger is effective and heroic in the role. She and Ritchie engage in a protracted duel that comes down to the wire, than s to fight director ri Kuhn’s inventive choreography. It’s a nice change of pace to see a woman swing a sword onstage, and what’s more, Wininger is good at it. She fights with a righteous fury, driven by the assassination of her wife (Wendy Farmer) and children (Dylan James and Riley James) at Macbeth’s behest. Inspired by the memory of her beloved spouse and children, she triumphs in the end and lives to impale her foe’s head on a pike.

See, it really is about the election.n

here is a knife that changes hands several times in Suspended, and each appearance of the blade increases the tension.

But anything other than polite conversation and stillness can’t help but generate anxiety when you’re dangling off the side of a building with a former friend who may have designs on killing you in order to bury his past.

Israeli playwright Maya Arad Yasur’s Suspended is about the troubled reconciliation of Benjamin (Phillip C. Dixon) and Isaac (Reginald Pierre). Both men are refugees from a war-torn African nation who find themselves working together as window washers.

They share a past — and just how much of a past becomes clear during the course of the play — but they may not share a future.

Arad Yasur’s tense, economical script is given sharpedged life in Upstream Theater’s current production of the show, which is directed by Linda Kennedy. It’s a play that requires much from its actors, not the least of which is the ability to hang from a window washer’s rig for 75 slow-burning minutes. Dixon and Pierre give it their all, bringing this mystery of pregnant pauses and steadily burning anger to an expert landing. The play nevertheless cuts deeply.

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The danger of both actors being locked into harnesses is that the play could feel static, but it doesn’t.

Dixon’s Benjamin is new in the country, only recently escaped from under the thumb of the Movement, the paramilitary organization of child soldiers and fully grown killers that terrorize his homeland. On his first day on the job, he discovers that his boss is his childhood friend, Isaac. Their joy at seeing each other is stifled by Benjamin’s desire to reminisce, which is something Isaac won’t do under any circumstances.

He also doesn’t want to talk about their uncertain status legal status: “Refugee is just my status, nothing more,” Isaac cautions.

Dixon is wily as Benjamin, finding new ways to twist the conversation back to shared memories. His cheerful demeanor masks a pointed line of questioning that edges ever closer to digging out Isaac’s memories.

Pierre’s Isaac is entirely focsused

on the future and cultural assimilation. “The secret is to make them think you can’t see them,” he tells Benjamin, explaining how to spend the day hanging in front of offices full of silent observers. He’s also offering helpful advice about slotting into a racist society — as black men with foreign accents, they’re both potential targets for all sorts of trouble.

The danger of both actors being locked into harnesses at center stage is that the play could feel static, but it doesn’t. Dixon and Pierre’s stillness allows you to admire scenic designer Christie Johnston’s beautifully realized cityscape, which juts up behind them at crazy angles.

There is also a persistent sound cue, a sort of whooshing throb that decelerates as it ends, that signals when both men are lost in their own minds.

Of course those locked-away secrets will be revealed, and the big moment comes in a jumble of murder, savagery, cruelty and callousness that is not quite unexpected. It is unstintingly horrible, and not only because of what is remembered.

Hanging between the grisly past and the unknowable future in the darkness of this new world, they have only the truth as witness — those people on the other side of the glass have no idea what has transpired. It does very little to comfort either of n them. riverfronttimes.com

OCTOBER 12-18, 2016

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OCTOBER 12-18, 2016

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25

A selection of items from Local Chef Kitchen: shiitake-roasted chicken, slow-cooked pork sandwich, fall squash soup, house salad and crispy fried shrimp. | MABEL SUEN

[REVIEW]

Miracle on Manchester Brilliant farm-to-table cuisine at a fast-casual spot in Ballwin?

Believe it Written by

CHERYL BAEHR Local Chef Kitchen

5270 Manchester Road, Ballwin; 636-2203212. Mon.-Thurs. 11 a.m.-7 p.m.; Fri.-Sat. 11 a.m.-8 p.m. (Closed Mondays.)

N

owhere on Local Chef Kitchen’s menu does the word “organic” appear. Nor will you see “sustainable,” “farmto-table,” “humanely raised”

or even just “locally grown.”

But don’t let the lack of buzzwords fool you. Just like a large-handed Presidential candidate wouldn’t have to brag on the size of his mitts, chef Robert Uyemura needs no slogans to prove his eco-cred.

For years the acclaimed chef has stood quietly at the forefront of the local food movement and, since 2012, has dedicated himself to causes like getting real food into schools and connecting farmers with restaurants. He’s a bona fide gardener in his own right and founder of one of the area’s best CSAs. Eating locally goes well beyond lip service for Uyemura. It’s a way of life.

Beyond that, if he were to include a note about every local, sustainable or humanely raised product he used, Uyemura would have to triple the size of his menu. Local Chef Kitchen doesn’t just use these products; it owes its existence to them.

An outgrowth of Uyemura’s CSA, the small Ballwin restaurant opened this past March in a beige strip mall among the numerous other beige strip malls on this western part of anchester oad. t’s not the first locale you’d think of as a haven for fiercely farm to table cuisine, but the spot actually makes sense — Uyemura’s m.o. is to make this type of eating accessible to everyday folks, even in unexpected places.

Maybe especially in unexpected places.

Indeed, Uyemura has been doing this for decades, even before the word “locavore” entered the lexicon. The Culinary Institute of America graduate, a 1994 nominee for the James Beard Rising Star Chef award, came to St. Louis in 1999 to open Yia Yia’s Euro Bistro in Chesterfield. A year later, the same restaurant group that owns Yia Yia’s tapped him to open Eau Bistro in the Chase Park Plaza Hotel, riverfronttimes.com

where he served as executive chef for several years before making his way back to Yia Yia’s. Though the bulk of his employment history is at a chain restaurant, Uyemura has been committed to conscientious sourcing and earned a reputation among his peers as one of the town’s staunchest local food advocates.

After leaving Yia Yia’s in 2013, Uyemura dedicated himself to his CSA, also called Local Chef, with the long-term goal of opening a restaurant and farm stand that would embrace his vision of what food ought to be. The idea is that good local food doesn’t have to be expensive, difficult to find or relegated to the city’s upscale restaurants. In that spirit, Local Chef Kitchen follows the fast-casual model. But don’t expect a foil-wrapped burrito — in roughly five minutes, yemura and his team produce wholesome meals on real plates with real silverware.

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Continued on pg 26

RIVERFRONT TIMES

25

Local Chef Kitchen’s CSA boxes feature a bounty of local produce. | MABEL SUEN

LOCAL CHEF KITCHEN Continued from pg 25

St. Louis’

#1

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

2117 South 12th St. 314-772-5977

SOUTH COUNTY

3939 Union Rd. 314-845-2584

WEST COUNTY

14282 Manchester 636-227-8062

www.TuckersPlaceSTL.com 26

RIVERFRONT TIMES

And the offerings are dazzling.

With so much emphasis on his commitment to local sourcing, the focus can easily become where the food comes from, not what happens once it gets into his hands.

To discount Uyemura’s culinary prowess, however, would be a mistake — and considering that his complete meals come in at $13 to $15, the restaurant is a bargain to boot.

The chef transforms humble Salisbury steak, the go-to dish of lunch ladies, into a gourmet meal with Wagyu beef and peppery portobello mushroom gravy. Had they served this at my school cafeteria, I wouldn’t have been able to hoard my lunch money.

U y e m u ra c o a t s h i s f r i e d chicken in a light blanket of white pepper-spiced breading — his mild seasoning blend and nongreasy technique alone make it a worthwhile dish. Dipped in the accompanying peach sorghum barbecue sauce, however, it is transformed into a marriage of sweet and salty that enhances, not mas s, the avor of the chic en.

Even beans and rice — a simple dish straight from Missouri’s bootheel — are otherworldly.

Smoky black beans are perfectly cooked to the point they begin to break down but still retain their

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riverfronttimes.com

texture. Uyemura ladles them over brown rice, then tops them with tangy mustard greens, okra and herbed farmers cheese. There is not a more satisfying vegetarian option in town.

Though admittedly not local, Local Chef Kitchen’s sautéed Atlantic sole ran s among the finest coo ed seafood in the area. The tender white fish tastes as if it has been poached in the juice of marinated tomatoes. Uyemura’s penchant for simple elegance carries forward into his side items: sautéed tomatoes, squash that are sprinkled with basil and a perfect tomato bisque. All three demonstrate that there is no better ingredient than peak-of-the-season tomatoes.

Those tomatoes also feature prominently on Uyemura’s BLT. Instead of pork, he cures Wagyu beef pastrami bacon, then stacks the black peppery meat onto housemade bread with thick slices of tomatoes, basil mayonnaise and arugula. It’s not far from a traditional BLT, but, as with most of his cooking, the minor tweaks and smart showcasing of seasonal produce make it transcendent.

These thoughtful updates show up in side dishes like macaroni and cheese, a luscious, cheddar-laden pasta ec ed with shreds of yellow summer squash (shh, don’t tell the ids about the camou aged veggies). Kale, dressed with Mayfair dressing, proves you can build a

better Caesar, and lest you thought french fries were already a perfect food, Local Chef Kitchen’s plump, crunchy miniature spuds, peeled and deep-fried whole, are the best things that have ever resulted from potatoes hitting the deep fryer.

Uyemura’s pastry chef Cheryl Herbert keeps the dessert cooler stocked with seasonal gelato, sorbet, pies and cakes. I had to laugh at the table behind me complaining that the pistachio ice cream tasted like nuts — not, apparently, the synthetic version they’re used to. And like the pistachio, the peach sorbet could’ve been plucked straight off a tree — a joyous way to honor the end of summer.

Amidst all of this mirth, however, is tragedy. This past July Local Chef Kitchen’s sous chef, Patrick Hartman, passed away unexpectedly in his sleep from an undiagnosed heart condition.

He was just 35. As a way to honor his memory, Uyemura still serves Hartman’s chicken salad recipe — a classic medley of chicken, celery, onions and mayonnaise — on housemade crusty bread. He calls it “Chef Patrick’s Chicken Salad” to honor his friend.

This is all the name-dropping Uyemura needs. n Local Chef Kitchen

Wagyu beef pastrami bacon ........ $9.99 Crispy fried chicken (with two sides) ........................$13.49 Field salad .................................... $6.99

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27

28

SHORT ORDERS

[SIDE DISH]

A Top Chef Who Almost Wasn’t a Chef Written by

CHERYL BAEHR

C

hris Bork, the executive chef and co-owner of Vista Ramen (2609 Cherokee Street; 314-797-8250), grew up loving food made by his New Orleans-native parents and enjoyed the rush of his first gigs coo ing on a line. The real reason he went to cooking school had nothing to do with all that, though — he did it for a girl.

“The whole wanting to be a professional cook thing happened by accident,” Bork explains. “I had a girlfriend at the time who had dual [British and American] citizenship, and she got into school in London.

I went there and hung out for six months and applied to cooking school as a way to stay in England.

Once I got in, I thought, ‘Alright. I guess I’m doing this.’”

Cooking was a natural fit for Bork, who first came into the kitchen by way of a dishwashing gig. A longtime soccer player, he gravitated to the team aspect of cooking and the rush that came from pulling together on particularly challenging nights.

After culinary school, Bork stayed in London for about a year but had to return to the U.S. because his student visa expired. He came back to St. Louis while waiting for his work visa application to process and was excited by what he saw happening in the local food scene. “That’s when Gerard [Craft] had opened Niche,” he recalls, “and I went there and thought, ‘Wow. St. Louis has come a long way and really might be going somewhere.’”

That realization helped temper his disappointment when his work visa was denied. Instead of

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Chris Bork may have stumbled into his career, but now there’s no looking back. | MABEL SUEN returning to London as he had hoped, Bork jumped right into the St. Louis restaurant scene, garnering a name for himself as the executive chef of the acclaimed members-only restaurant Blood and Sand. He’d always had his eye on opening a place of his own, so when his friends and former employers at the Mud House said they were opening a ramen spot, he knew it wasx his chance.

Now, Bork is running one of the town’s hottest kitchens, a place where his culinary prowess goes far beyond ramen. It’s not across the pond like he’d envisioned, but he feels like he landed in the right spot.

And the girl? “Heck no, it didn’t last,” laughs Bork. “I was getting up for school at 4 or 5 a.m. and then going directly from there to my job where I worked until midnight.

She was smart and got out.”

Bork took a break from the kitchen to share his thoughts on the St. Louis restaurant commu-

OCTOBER 12-18, 2016

riverfronttimes.com

nity, his advice to aspiring restaurateurs and why St. Louis needs a good place for doner kebab.

What is one thing people don’t know about you that you wish they did?

I have terrible handwriting.

What daily ritual is non-negotiable for you?

Hug my dog, Anchovy.

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

Teleportation.

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

Casual dining — understanding that great service can exist without being pretentious. Also, pop-ups.

They are great. I recommend them to anyone planning on opening a restaurant.

What is something missing in the local food, wine or cocktail scene that you’d like to see?

Doner kebabs and more Indian food — the two things I miss most

about London.

Who is your St. Louis food crush?

Patch from Fork & Stix.

Who’s the one person to watch right now in the St. Louis dining scene?

John Messbarger [of the Peacemaker Lobster & Crab Co.].

Which ingredient is most representative of your personality?

Fish sauce.

If you weren’t working in the restaurant business, what would you be doing?

Chartering boats in the British Virgin Islands.

Name an ingredient never allowed in your kitchen.

Liquid smoke.

What is your after work hangout?

The Whiskey Ring.

What is your food or beverage guilty pleasure?

Imitation crab sticks.

What would be your last meal on earth? y mom’s chic en and stuffing with canned cranberry sauce. n

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OCTOBER 12-18, 2016

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29

[BARS]

NARWHAL’S FANCIES UP THE SLUSHIE BAR CONCEPT Written by

SARAH FENSKE

T

VietNam Style’s sizzling steak — a house specialty, and relatively uncommon in the Midwest. | SARAH FENSKE [FIRST LOOK]

VietNam Style Is Now Open East of the Delmar Loop Written by

SARAH FENSKE

I

f your idea of Vietnamese cuisine consists entirely of vermicelli noodles and pho, you might want to get to VietNam Style (6100 Delmar Boulevard, 314-405-8438), pronto.

The brand new restaurant, located on the eastern edge of the Loop, serves all the classics that American diners are used to — steaming bowls of pho, spring rolls and banh mi. But it’s also offering a delicacy more familiar to recent ex-pats or diners who’ve partaken in Vietnam’s food scene today: sizzling steak. he dish features tenderized filet mignon topped with a sunnyside-up egg, grilled pork patties, sardines in a light tomato sauce and pork liver pate. It comes with a basket of French bread and a side salad — more food than you could ever hope to finish,

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for just $15.95. Not into sardines or pork patties? You can customize your own version, starting with a steak for $10.95 and adding the side dishes that you find most appealing.

Owners Thao Truong and Yun Vu say the steak has gotten a great reception, with Vietnamese friends saying it tastes just like home. “It makes me so happy to hear people say they feel like they’re back in Vietnam,” Truong says.

At 26, Truong is herself an immigrant; she moved to St. Louis with her family when she was eighteen. Currently an MBA student at aryville niversity, this is her first business, and she’s thought through every detail. From the pots of aromatic “ ower hot tea” to the nap ins, folded so that they’re as perky and cute as bowties in a Disney cartoon, everything about VietNam Style is cheerful and friendly. She’s painted the walls bright green with pink accents because she loves bright colors.

Her signature smoothies, too, are adorable — topped with whipped cream, a piece of fruit and a paper umbrella, they look like after-dinner treats. But there’s nothing cutesy about her recipes. She uses fresh avocado in the spectacular avocado smoothie — and the nutty, creamy taste shines. “The smoothies are 80 percent fresh fruit,” she promises.

“We believe the anti-oxidants make your skin beautiful from the inside out. And Vietnamese love avocados!”

The couple had a soft opening over

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riverfronttimes.com

the weekend, then started regular service on Tuesday. They’ve enjoyed getting feedback and are taking it all very seriously; they’ve already adjusted a few prices based on the response of their customers.

“We want people to tell us what we did right, what we should do to improve,” Vu says.

So far, though, the feedback has been great. And those smoothies are already developing quite the following. On Wednesday, a customer from a neighboring business drops by to put in a to-go order, and Truong offers him a small taste in a little tea cup. Within a few sips, he’s hooked.

“Can you make one of these to go?” his server asks Truong as she stands behind the bar.

“Whipped cream on top?” she asks.

“Yes!” He responds.

“Every time I give someone a sample, then they want one,” Truong says, laughing.

But that’s just the way she likes it. And now that the soft opening is over, she’s ready for an onslaught of customers. “I got more people in the kitchen, so we know we can get busy,” she reports.

Going forward, VietNam Style will be open Monday through Thursday from 11 a.m. to 3 p.m. and 5 to 9:30 p.m.; Friday and Saturday from 11 a.m. to 3 p.m. and 5 p.m. to 10:30 p.m.; and Sunday from noon to 9:30 p.m. They do not yet have a liquor license, but are working to get one.n

he new slushie bar that quietly opened its doors a few weeks ago in Midtown, Narwhal’s Crafted Urban Ice (3906 Laclede Avenue), is almost certainly not what comes to mind when you think “slushie bar,” much less “slushie bar near a college campus.”

There are no trash bins overflowing with styrofoam cups, no drunk 21-yearolds shout-singing those lyrics about “if you like pina coladas/and getting caught in the rain.” There is not, in fact, even a pina colada on the menu.

What there is instead is a gorgeous new space, expertly designed by Space Architecture + Design to include a nautical theme that keeps the “narwhal” gimmick clever, not kitschy. There’s an almost fully enclosed patio, with a firepit that will be heaven on cool fall nights. And there are sophisticated drinks that may surprise anyone who assumes that “frozen” means “sticky sweet” — among them negronis, blackberry mint mules, bourbon slushies and prickly pear margaritas.

Think of Narwhal’s as the bar version of those nowubiquitous high-end ice cream parlors, with fresh herbs and intriguing ingredients blending in with the usual fruit.

The concept is the brainchild of Brandon Holzhueter and Brad Merten, who’ve known each other since their days at Parkway West Middle School and together own two Picklemans franchises. Their first Picklemans is just a hop, skip and a jump from Narwhal’s (you can order sandwiches via a special “pickle phone”), and their familiarity with the newly Continued on pg 33

D O O F R I V ERF RONTTIMES.CO M riverfronttimes.com

OCTOBER 12-18, 2016

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[FIRST LOOK]

The Sliced Pint Offers Pizza and Beer Downtown Written by

SARAH FENSKE

A

new craft beer and pizza joint has opened in downtown St. Louis.

The Sliced Pint Tap & Pizza (1511 Washington Avenue) is located in the Eastbank Building, with its back entrance just about 40 feet from the front entrance of City Museum. The place is owned and operated by Amy and Amrit Gill, the prolific developers who have rehabbed some of St. Louis’ best-loved buildings — and also own O’Shay’s Pub in the Grove.

The restaurant opened its doors for its first dinner service on riday, September 30. Last week, it added lunch hours to the mix.

Pizzas are available as eight-inch, fourteen-inch or sixteen-inch options, with pies named after rock groups — the Cure, the Urge, the Meat Puppets. Some are quirky and fun, with options that would surprise traditionalists. “Jane’s Addiction,” for example, is something like the love child between a pizza and a deli sandwich: cheese and bacon topped with cold lettuce, diced tomato, and a drizzle of mayo. “The Cure” is topped with hamburger and

Pizzas can be given a “toasted ravioli” crust option for an extra $3 to $10, depending on the size. | KELLY GLUECK onion and then something called “fry sauce” — mayo, ketchup and mustard. Traditional Neapolitan, these are not.

On top of that, the Sliced Pint is offering a “toasted ravioli stuffed” crust option for any pizza. Beneath the toppings and cheese is a thin layer of crust, followed by that instantly familiar mix of ground pork, sausage and beef — and then, and only then, the real crust. It’s like a t-rav layer in the middle of a pizza sandwich. Our correspondent who

tried this option called it “the ultimate St. Louis-inspired guilty pleasure.” Add it to any pie for an extra $3 to $10, depending on the size.

The 36 beers on tap include offerings from 4 Hands, Urban Chestnut, chla y and O’ allon, as well as those from brewers outside the area like Lagunitas and Goose Island.

The space has the sleek look of a high-end sports bar — a place to grab a bite or linger for a while over a few beers. Currently, the paintings on the walls are by Andy Cross, a

local artist who by day designs sets for the Muny, as well as Fern Taylor. Harry Lunt, a spokesman for the project, said he wasn’t sure if other artists would be subbed in in upcoming months.

The space previously held Ozzie’s Sports Bar & Grill, which later decamped to the Lumiere Casino.

The place is open from 10:30 a.m. to midnight, Sunday through Wednesday, and 10:30 a.m. to 1 a.m., Thursday through Saturday.

– With reporting by Kelly Glueck

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NARWHAL’S Continued from pg 30 rejuvenated neighborhood is one reason they felt confident the people who live and play near Saint Louis University were ready for their drinks — they’ve been serving them sandwiches for years.

They know that not everyone who comes to their slushie bar is ready for the subtle bitterness of a negroni, and that’s just fine. They have sweet drinks for those who want them, and even craft beer for people who want to avoid frozen stuff altogether. But if you want to push the envelope, they personally developed these concoctions over more of a year of experimentation, and they’re proud of the complex flavor profiles they’ve put together.

Says Holzhueter, “You may not like everything we’re serving, but you always can find something you like.”

Of the negroni, Merten says, “I have to preface it like, ‘Do you know what you’re getting?’ Sometimes after they try it, we have to try something else for them. But people who know negronis love ours.”

He’s happy to help his customers expand their palates: “The negroni is something I don’t want to give up on for a while.”

These aren’t your drunken college kid’s slushies: strawberry basil lemonade, a negroni, and a blackberry mint mule. | KELLY GLUECK Overall, they say, they’ve enjoyed the few weeks of soft opening to work through the kinks. The foot traffic has been good and the feedback great.

They’ve been thrilled to see they’re getting a good mix of customers — “People who live around here, people

stopping by after a trip to IKEA,” Holzhueter says.

“Even people from west county and Illinois,” adds Merten.

“A lot of things we did, if this was purely a college bar ....” Holzhueter says, and Merten finishes the thought.

le, p o e P y p p a H , Fun Food Drinks!

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“We probably went over the top,” he says. But hey, Narwhal’s is not just purely a college bar. And in light of how lovely it looks, and how smartly this menu was developed, it’s hard to imagine anyone, even college students, complaining about that. n

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MUSIC

35

[LIST]

Chuck Berry’s 10 Greatest Rock & Roll Moments As the Godfather of Rock & Roll turns 90, a look back on the defining moments of his legacy Written by

ROY KASTEN

T

he philosopher Theodore Anthony Nugent once observed, “If you don’t know every Chuck Berry lick, you can’t play rock guitar.” The Nuge was somewhat overstating matters, but it is no hyperbole to say that any rock & roller who doesn’t get what Chuck Berry has done doesn’t get much of anything.

And guitar licks are just the start of the man’s genius.

Chuck Berry will turn 90 on October 18. He’s still with us, living right here in St. Louis. He may never take the stage of the Blueberry Hill Duck Room again; he doesn’t have to. Put on any of his greatest songs — “Nadine,” “Johnny B. Goode,” “Around and Around,” “School Day” — close your eyes, turn it up, and it’s all there. The strut, the joust, the goof, the groove, the cool, the absolute joy of what it’s like to be in the rock & roll moment. In a great Chuck Berry song, life really does come alive.

A top ten list of Chuck’s most rock & roll moments isn’t enough, but neither is 10,000. So happy birthday, Chuck. We couldn’t have rocked without you.

10. Motorvating over the hill “Maybellene” is often called the first true roc roll song. f it is, it’s that beat, that urgency, that instinctive rhythmic play of words

Here’s to another 90 years. | RFT PHOTO ARCHIVES — everything in full gear rushing forward — that sets it apart from other outstanding records from that great year of 1955. And in his first great roc er, Chuc tells a witty, cutting story. His raunchy, raging 25-second guitar solo, too, motorvates like a motherfucker.

9. Playing punk rock reviewer In 1980, Jet Lag, a edgling music ‘zine published by Steve Pick and John “The Mailman” Korst in St. Louis, asked Mr. Berry to listen to some punk rock records. His appraisals were solid gold. “What’s this guy so angry about anyway?” he asked of the Sex Pistols. “Guitar work and progression is like mine.

Good backbeat. Can’t understand most of the vocals. If you’re going to be mad, at least let the people know what you’re mad about.”

8. Serving as interstellar space ambassador In 1977, NASA launched Voyager 1 into the cosmos. The craft had no particular place to go, but it carried with it a gold record called “The

Sounds of Earth.” Along with Bach and Mozart, “Johnny B. Goode” was etched into the grooves. The selection was controversial — some deemed the tune ephemeral kid stuff — but if Saturday Night Live is to be believed, the first aliens to encounter it dropped the needle and declared: “Send more Chuck Berry.”

that looks nothing like a mallard waddle. Whatever you call it, his animated style on stage, learned from bluesmen like T-Bone Walker, became as weirdly liberating as his music itself. Marty McFly did a game impersonation and Angus Young tried to make it his own, but no rock guitarist ever prowled a stage like Chuck in his prime.

7. Writing one of the greatest rock memoirs in prison By 1979, Chuck Berry had already done two prison stints. During his third — four months for tax evasion in the Lompoc, California, pen — he began writing his memoirs, determined to tell his story on his own in his own way. Often bitter, just as often bittersweet, richly detailed, funny, lyrical and profound, the autobiography is a declaration of artistic freedom.

5. Playing a solo offstage at the Duck Room.

The date was December 11, 2013 and as always the venue was sold out. Fans had come from around the country and around the world to see Chuc erry for the first time maybe, or maybe for the last.

You really never could tell with Chuck. Sure he was lost most of the time, sure he had trouble finding and keeping the key. And then, toward the end of the show, he just wandered offstage, the band in full rock and rolling mode. Maybe he was standing somewhere in the corner or sitting in the green room, but wherever he was he was still fucking Continued on pg 36

6. Walking the duck.

Chuck Berry preferred to call his signature stage move “the scoot” and even distinguished it from the one-legged hop-along riverfronttimes.com

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25 YEAR ANNIVERSARY SHOW

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OCTOBER 12-18, 2016

“Go Johnny go!” | STEVE TRUESDELL

AND

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CHUCK BERRY Continued from pg 35 playing. The crazed tone of his guitar was still howling and kerranging, and he was nowhere to be seen. The moment was bizarre, brilliant and unforgettable.

4. Cutting Keith Richards.

There’s a moment early in Hail!

Hail! Rock ‘n’ Roll, the 1987 documentary film based on erry’s 60th birthday concerts at the Fox Theater, when Chuck Berry and the band, including Keith Richards on guitar, work up “Carol,” which the tones recorded on their first album. Richards wants to lead the band and take the solo; Chuck is having none of it. They start and stop, start and stop, with Chuck glaring all the while. He wasn’t just fucking with Keith. He was reminding everyone that you can’t just dash off a Chuck Berry riff. You have to get it right; you have to play it like you mean it.

3. Telling Tchaikovsky the news.

Chuck Berry didn’t just invent the language of rock & roll. He created popular culture as we know it.

His infinite reserve of images records, DJs, movies, cars, food, dancers, jukeboxes and guitars — fused to relentless rhythms and elemental melodies, serving as affirmations of a youth culture thrilled to have their daily lives and loves sung and swung back at them. Chuck understood his audience, and his audience loved him for it.

2. Integrating St. Louis and beyond.

In the mid-’50s, as Chuck Berry was making a name for himself on the circuit and pushing the limits and widening the appeal of rhythm and blues, he was also setting the stage for integration — but not without pushback. At his Club Bandstand (located near the intersection of Delmar and Grand, with a name shrewdly copped from Dick Clark), he established his official fan club, held dances for black and white teens, and performed for fully integrated audiences. In 1958, authorities viewed such establishments as threats. Tired of the hassles, Berry closed the Bandstand after two years. But there was no shutting down the music that was desegregating radio stations across the land.

1. Now. Somewhere. Anywhere.

Forever.

Think about it. Right this minute, and the next minute, just down the road apiece or around and around the world, someone is blasting, humming, howling, studying or playing a Chuck Berry song. His songs started out as the expressions of a singular American vision, but they have become universal.

If they are not timeless, nothing is. Any time a guitarist or a singer wants to be part of the tradition, they need only turn to “Rock & Roll Music” or “Come On.” That’s what the Beatles and the Stones did. And you can do it too. Not because the tunes are easy, but because the tunes belong to anyone who can feel them. n

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38

B-SIDES

Co-owner Mike Lasater shows off the new Livery Company, which takes over the spot previously held by Slo-Tom’s Lounge. | JOSEPH HESS [REVIEW]

Third Time’s the Charm Beloved on Cherokee Street, the Livery Company reopens at a new location in Carondelet Written by

JOSEPH HESS

T

he Livery was going to die. I was OK with it going out with a bang and walking away from it,” says Emily Ebeling of the closure of the Livery Company, her music venue/dive bar that

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RIVERFRONT TIMES

shuttered its doors on Cherokee Street back in February.

And yet just eight months later, Ebeling has revived her post-prohibition haunt in a new location: the former home of Slo-Tom’s Lounge at 6728 South Broadway. While the bar’s grand opening is planned for Halloween wee end October , bar ies with a keen eye have been popping in since the bar’s soft opening on October 1. “My business partner [Mike Lasater] stumbled across [the building] by chance. I have to say, it sucked me back in and gave me the energy that I had when starting the original Livery,” Ebeling says.

Aside from the Slo-Tom’s signage outside, few artifacts remain from the bar’s former life. Ebeling and her associates (co-owners Lasater,

OCTOBER 12-18, 2016

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James McDonnell and Brandon Barnes) made several renovations to the building, including what she calls “a little TLC that went a long way.”

The newly painted black walls are adorned with local singer/ songwriter Fred Friction’s warped guitars and the art of Wayne St. Wayne. The vintage bar has been tended to, maintaining its original loo without the addition of at screens or ashing s. lo om’s drop ceilings have been taken out and new lighting has been installed, making for that smooth, dimly lit vibe that is endemic to every good dive. Oriented strand board covers the old tile oor, lending a subtle industrial feel. The bar itself seats plenty while additional chairs surround a homely coffee table.

This new Livery is the kind of

spot where you could play a game of pool or even a rare Metallica pinball machine while jamming Run the Jewels.

While the Livery is new to the Carondelet neighborhood, this is technically the bar’s third opening since 2012. At the age of 21, Ebeling began bartending at the now-defunct Petra, a hookah bar formerly located on South Grand. In 2012, she moved to Cherokee Street intending to open a corner dive that paid homage to the area’s post-prohibition years.

Predating other hip spots such as Fortune Teller Bar, Whiskey Ring and ArtBar, the Livery Company offered classic cocktails crafted with small-batch spirits.

Within two years’ time, Cherokee Street’s bar scene Continued on pg 40

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RIVERFRONT TIMES ST LOUIS RFT THURSDAY, OCTOBER 13

39

THE LIVERY Continued from pg 38

The beer is cheap, and entertainment options include Metallica pinball. | JOSEPH HESS

fri. oct. 14 10PM Mom’s Kitchen

sat. oct. 15 10PM Funky Butt Brass Band

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boomed, and the Livery found itself nestled in the dive niche, focusing on sure bets such as Stag and Pabst Blue Ribbon over specialty drinks. ith a small stage fitting snug in the front window, the building at 3211 Cherokee attracted an alternative clientele — that of the south city music scene. From Lumpy and the Dumpers to Suzie Cue, the Livery hosted open mics, karaoke nights and DIY punk shows alike. The stage had become as popular as the bar itself — a direction that was unexpected, yet welcomed by the staff.

“We forced ourselves to have shows and it helped us a ton, but then we just became a venue, and that’s why the move to the corner spot was kind of a game changer,” Ebeling says.

In the summer of 2014, the Livery moved a few doors down to 3227 Cherokee, a space that was previously the home of Radio Cherokee, a former music venue that stayed firmly under the radar through the early aughts. The move saw a return to the bar’s original concept of offering cheap beer and specialty drinks within a dimly lit, down-to-earth facade.

“We got to do what we always wanted to do: just be your corner dive. But if I was going to keep doing this in the long run, I needed to own my own building. Paying rent and making improvements on a building you’re never going to own isn’t worth it. And owning a building on Cherokee just wasn’t

feasible,” Ebeling says.

After a year and a half, the second Livery said goodbye with a string of rowdy concerts. Yet Ebeling could only be kept from the bar business for a few short months before getting pulled back in. The new location at 6728 South Broadway sits nestled in the Carondelet neighborhood, a far cry from Cherokee Street’s compact and bustling vibe.

At this point music is in the Livery’s DNA, and while the spot won’t sport a regular schedule, Ebeling says that they plan to bring in live music when the right opportunity stri es. “ e definitely still want to maintain the corner dive feel. But all of our friends are musicians and there’s so many cool scenes. Obviously we want to support all of them,” she says.

For now, the bar offers a wide selection of cheap beer. As far as liquor goes, Ebeling boasts, “If you’ve heard of it, we have it.”

Additions to be made in the coming months include a fenced-in patio, a full kitchen and a new cocktail menu. Also, there is that little issue of a spacious basement and what to do with it.

“When you do elevated craft cocktails, you start to alienate the people who just want a Busch in a can,” Ebeling says. “It’s completely two different cultures. How do you have quality stuff and make good drinks and still be that cheap dive e definitely don’t have it figured out yet, but that’s always something that we strive for.” n

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41

JOE MANCUSO & DAV E B L AC K Just the Two of Us mancusojazz.com

J

oe Mancuso was comfortably into the trappings of middle age — a wife and family, a house in the suburbs, his own internet marketing company — when he decided to make a dedicated return to singing and performing. It was a love that had been left to the side as adulthood encroached; Mancuso had attended Webster University on a vocal scholarship and studied in the university’s storied jazz program, but focused more on audio engineering.

So while he was intimately involved in the world of music, his day job was centered around its technical production, not his own performance.

It took a pair of family tragedies and a strong sense of carpe diem to a reawaken his passion for singing.

“My brother Sal, who was my partner in my recording studio, he passed away in 2009.

It was a tragic accidental overdose,” Mancuso says.

“He was in a really low place in his life. It just ripped a big hole in the family. Then my brother Vince, who is my partner in my internet marketing business, had a child pass away months before his fourth birthday.”

Mancuso set January 1, 2011, as a turning point; from then on, he was going to perform as much as he possibly could. A few weeks later, he was singing alongside pianist Tim Garcia in a Central West End wine bar. It is the rare New Year’s resolution that has stuck.

“To shake myself out of a depression, I was gonna spend the rest of my time chasing something that I felt was worthwhile and that I wanted to do,” he says.

“I’ve been on a mission.”

Mancuso specializes in intuitive, low-lit jazz vocalizations, and he plays regularly at local restaurants and bars with a few instrumental configurations. ut since , ancuso has regularly partnered with celebrated guitarist ave lac , a musician whose technical adroitness on the nylon string guitar is matched by his idiosyncratic sense of phrasing and melody. On Just the Two of Us, the duo found a way to enliven a selection of well-worn chestnuts. And while their performance can be cleanly categorized as jazz, lac and ancuso dipped outside the Great American Songbook for inspiration.

“When you’re playing out live and you’re entertaining folks, good, quality American music covers are just appealing; they want to hear songs that they’re familiar with or can identify with,” says ancuso. “ or the first year was just doing standards, and then I started adding pop songs to the repertoire.”

For this record, that includes standards such as “Summertime” and “Witchcraft,” as well as Ray Charles’ “Unchain My Heart” and Van Morrison’s “Moondance.”

“For ‘Moondance,’ in the studio I decided I was tired of the way we were playing it, so we tried something

different,” says Mancuso. “Dave took this simplistic rhythm, kind of a drone rhythm that he started out with, and repeated that for a while, and I came in on top of it. We slowed it down, we expanded the lyrics and the melody and made it more expressive.”

For his last album, Cut to the Chase, Mancuso recorded with a traditional jazz quintet and worked through a handful of jazz standards — “On Green Dolphin Street,” “Autumn Leaves” — but as his duo wor with lac evolved, the pair found themselves playing more pop and rock songs.

“Jazz standards are pop tunes; they’re just not the quote-unquote ‘pop tunes’ most people identify; they were pop tunes of the ’30s and ‘40s,” says Mancuso.

“So we started playing Motown and old rock & roll and stuff we really liked. We started adding Stevie onder and imi Hendri and the eatles.”

Mancuso’s melding of pop, rock and jazz traditions led to another recent collaboration with lac . ast year, the pair dedicated an evening at the recently shuttered avern of ine rts in tribute to illy oel, the million-selling artist that not many rock artists, to say nothing of jazzbos, readily claim as an in uence. “ or some strange reason, illy oel is one of my biggest vocal in uences inatra and illy oel,” Mancuso says. “If you were to smash those two styles together, I think that’s what you might hear from me.” lac and ancuso didn’t tac le any of oel’s songs for this album, but even a cursory listen reveals their playfulness within these tunes. lac ’s fretwor on “ nchain y Heart” does a fine appro imation of ay Charles’ orchestra, and he even manages to sneak in the riff to “Smoke on the Water” in the outro.

Mancuso proves to be a relatively nimble performer who doesn’t avoid letting go when the song calls for it.

“The thing that is the most appealing thing to do as a duo is take tunes and twist them, change them, make them our own,” Mancuso says. “That’s kind of what this record is.”

–Christian Schaeffer

riverfronttimes.com

OCTOBER 12-18, 2016

RIVERFRONT TIMES

41

42

OUT EVERY NIGHT

THURSDAY 13

[CRITIC’S PICK]

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

BREAK NIGHT: 11 p.m., free. Halo Bar, 6161

Louis, 314-726-6161.

Delmar Blvd., St. Louis, 314-726-1414.

BOB SCHNEIDER: 7 p.m., TBA. Old Rock House,

CRYPTIC WISDOM: 7 p.m., $12-$14. Fubar, 3108 Locust St, St. Louis, 314-289-9050.

Gucci Mane

DEAF BY AUDIO: w/ Mississippi Clean, The Right

8 p.m. Saturday, October 15.

Hooks 8 p.m., $8. Cicero’s, 6691 Delmar Blvd.,

Ambassador, 9800 Halls Ferry Road. $40 to $60.

314-869-9090.

University City, 314-862-0009.

DWEEZIL ZAPPA: 8 p.m., $25-$50. The Ready Room, 4195 Manchester Ave, St. Louis, 314833-3929.

HIGHLY SUSPECT: 8 p.m., $20-$22.50. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-7266161.

LETTUCE: 8 p.m., $25-$27.50. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.

MISSISSIPPI CLEAN: 8 p.m., $8. Cicero’s, 6691 Delmar Blvd., University City, 314-862-0009.

SUGAR RAY RAYFORD BAND: 8 p.m., $10. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

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

The press photos accompanying Gucci Mane’s latest album, July’s Everybody Looking, see the Atlanta rapper sitting in a room with off-white walls and furniture, clad in similar colors, looking pensive.

The room is bathed in soft sunlight, and Gucci is wearing glasses, lost in thought. Based on his appearance here he could easily be confused for a capital-S Serious Artist, if not for the ice cream cone tattooed on his face or

the house-arrest bracelet on his leg.

As it goes, Everybody Looking is more of the same hard-as-fuck trap rap that made Big Guwap a star — and that’s a good thing.

Still Salty: Gucci Mane was just released from prison, where he was incarcerated over a weapons charge, in May. The first song on his upcoming album, Woptober (to be released in October, obviously) is called “Fuck 12,” a largely Atlanta-based saying that refers to the police. Somebody is obviously still mad.

– Daniel Hill

FRIDAY 14

BOBBY BONES: w/ Raging Idiots 7 p.m., $25-$50.

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

DACHSHUND: w/ Banks And Cathedrals 9 p.m., $7. The Heavy Anchor, 5226 Gravois Ave., St. Louis, 314-352-5226.

GRAMS: w G

he

afia

p.m.,

. ubar,

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

GUCCI MANE: 8 p.m., $40-$60. Ambassador, 9800 Halls Ferry Road, North St. Louis County, 314-869-9090.

LA SERA: 8 p.m., $12-$14. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

NIYKEE HEATON: 8 p.m., $20-$89. The Ready Room, 4195 Manchester Ave, St. Louis, 314833-3929.

THE RAGING NATHANS: w/ WONK UNIT 7 p.m., $10. Fubar, 3108 Locust St, St. Louis, 314-2899050.

BEAR HANDS: w/ Savoir Adore 8 p.m., $18-$20.

RANDY & MR. LAHEY: 8 p.m., $20-$25. Delmar

The Ready Room, 4195 Manchester Ave, St.

Hall, 6133 Delmar Blvd., St. Louis, 314-726-

Louis, 314-833-3929.

6161.

FAMOUS LAST WORDS: w/ Lions & Thieves,

RAY WYLIE HUBBARD: 8 p.m., $20-$35. Off

Neither of Me, I Dare You, Stillman 7 p.m.,

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

$12-$14. Fubar, 3108 Locust St, St. Louis, 314-

3363.

289-9050.

RICK SPRINGFIELD: w/ Loverboy, Tommy Tu-

FRUITION: 8 p.m., $10-$13. The Pageant, 6161

tone 7 p.m., $45-$90. Family Arena, 2002 Arena

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

Parkway, St Charles, 636-896-4200.

THE GET UP KIDS: 8 p.m., $18-$22. The Firebird,

SHOTGUN CREEK: w/ Joshua Stanley 8 p.m.,

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

$8-$10. Cicero’s, 6691 Delmar Blvd., University

KATHY MATTEA: 8 p.m., $30-$40. The Sheldon,

City, 314-862-0009.

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

STACY MITCHHART BAND: 10 p.m., $15. BB’s Jazz,

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

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

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

436-5222.

5222.

TOM HALL: 6 p.m., $5. BB’s Jazz, Blues & Soups,

LEWIS DEL MAR: 8 p.m., $12-$15. Blueberry Hill

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

- The Duck Room, 6504 Delmar Blvd., Universi-

TYRONE WELLS: w/ Andy Suzuki 8 p.m., $18-$20.

ty City, 314-727-4444.

Blueberry Hill - The Duck Room, 6504 Delmar

NOTHING BUT THIEVES: w/ the Wrecks 8 p.m.,

Blvd., University City, 314-727-4444.

$18-$20. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161.

[CRITIC’S PICK]

PEOPLE’S BLUES OF RICHMOND: 9 p.m., $10-$12.

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

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

SOULARD BLUES BAND: 10 p.m., $5. BB’s Jazz,

Nick Lowe. | PHOTO COURTESY OF SHOREFIRE MEDIA

Blues & Soups, 700 S. Broadway, St. Louis, 314436-5222.

STRIKES BACK CD RELEASE: w/ Mutts, Hold Close, Forgetting January 7 p.m., $8-$10.

Cicero’s, 6691 Delmar Blvd., University City, 314-862-0009.

SWEAR AND SHAKE: w/ Lauren Shera 8 p.m., $12. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363.

TRAVELER: w/ Ben Diesel, Jaded Millennials, Secondary 9 p.m., $7. The Heavy Anchor, 5226 Gravois Ave., St. Louis, 314-352-5226.

SATURDAY 15 3LAU: w/ Prince Fox, SK8, Justin Caruso 8 p.m.,

RIVERFRONT TIMES

DAN ANDRIANO IN THE EMERGENCY ROOM: w/ Dan Potthast, Derek Grant 7 p.m., $12-$14.

588-0505.

42

SUNDAY 16

DANNY GATTON TRIBUTE: 5 p.m., $10. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-

Nick Lowe 8 p.m. Tuesday, October 18.

The Pageant, 6161 Delmar Boulevard. $30. 314726-6161

Nick Lowe’s last release was a surprisingly great Christmas album, an odd choice for the sharp-witted Brit who once dubbed himself “the Jesus of Cool” and whose songbook has little room for sanctimony. From his pub-rock beginnings through his adept adoption

OCTOBER 12-18, 2016

riverfronttimes.com

of bespoke country and Americana, Lowe’s recent tours have simply been a low-stakes celebration of his lyrical gifts and avuncular demeanor. If his show in the fall of 2012 at the Sheldon is any indicator, this week’s performance will be solo, acoustic and warmly engrossing.

A-Rouse’d: Josh Rouse will open the show with songs that pull from 2015’s fine Embers of Time LP. – Christian Schaeffer

436-5222.

LOVE JONES “THE BAND”: 8:30 p.m., $10. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

SHONEN KNIFE: 8 p.m., $12-$15. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

MONDAY 17 ART OF TIME ENSEMBLE: 8 p.m., $35-$60. The Sheldon, 3648 Washington Blvd., St. Louis, 314-533-9900.

THE DECLINE: w/ Make War, Breakmouth Annie 8 p.m., $10. Blueberry Hill - The Duck Room, 6504 Delmar Blvd., University City, 314-727-

Rhythm & Blues • Reggae Latin • Jazz [CRITIC’S PICK]

Photo by: Ed Linn

Fletcher Moley Group William Royce “Boz” Scaggs. | PHOTO COURTESY OF 429 RECORDS

Boz Scaggs 8 p.m. Tuesday, October 18.

River City Casino and Hotel, 777 River City Casino Boulevard. $45. 314-388-7777.

William Royce “Boz” Scaggs started out as a hot guitarist — with the Steve Miller Band, no less — but soon became the missing link between AOR rock and Southern soul. He ultimately made his mark with his voice, a supple, growling vehicle that was less blue-eyed than smoke-gets-in-your-eyes. Often misunderstood as a yacht-soul skipper, Scaggs truly understood the power of rhythm; his era-defining hits — “Lido

Shuffle,” “Lowdown,” “Breakdown Dead Ahead” — closed out the ‘70s with a reminder that the juke joint and the disco lounge needn’t be antithetical.

Since his heyday he’s continued to cut memorable albums of savvy blues and crooning R&B; now that he’s 72, Scaggs’ cool, gritty delivery remains one of a kind.

Silk Degrees of Separation: Scaggs’ biggest selling album, Silk Degrees, featured the band that would become Toto. Don’t hold it against him.

Cork

Sunday, October 16 Saturday, October 22 Sunday, October 30 423 S. Florissant Rd, Ferguson No cover

Evangeline’s Friday, October 14 Saturday, December 10

512 N Euclid Ave, CWE St Louis No cover

– Roy Kasten

4444.

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

MUSIC UNLIMITED: 8 p.m., $5. BB’s Jazz, Blues

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

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

Blvd, University City, 314-282-5561.

5222.

JAMESTOWN REVIVAL: w/ Jonny Fritz 8 p.m.,

RASPUTINA: w/ Vita and The Woolf 8 p.m.,

$18. Old Rock House, 1200 S. 7th St., St. Louis,

$17-$20. The Firebird, 2706 Olive St., St. Louis,

314-588-0505.

314-535-0353.

KALEO: w/ Bishop Briggs, The Wind + The Wave

THE RETURN TO ROOTS TOUR: w/ Cavalera Con-

8 p.m., $22.50-$25. Delmar Hall, 6133 Delmar

spiracy, Combichrist, All Hail The Yeti 6 p.m.,

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

$22. Pop’s Nightclub, 401 Monsanto Ave., East

NICK LOWE: w/ Josh Rouse 8 p.m., $30-$35. The

St. Louis, 618-274-6720.

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

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

6161.

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

NINA DIAZ: w/ Mobley 8 p.m., $10-$12. Fubar,

621-8811.

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

ZEDS DEAD: 8 p.m., $25-$30. The Pageant, 6161

ST. LOUIS SOCIAL CLUB: 8 p.m., $5. BB’s Jazz,

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

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

TUESDAY 18

with Katie Turnbull

436-5222.

THE STOLEN: w/ Luxora, Strange Medicine, The

BOZ SCAGGS: 8 p.m., $45-$65. River City Casino

High The Low, I Am Dancer, Backstage Produc-

& Hotel, 777 River City Casino Blvd., St. Louis,

tions 6 p.m., $10-$12. The Firebird, 2706 Olive

314-388-7777.

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

CAROLINE SMITH: 8 p.m., 8pm. Off Broadway,

TOOTHGRINDER: w/ Auras, Moon Tooth 6 p.m.,

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

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

FATAL BUS ACCIDENT: A COMEDY TALK SHOW: 9

9050.

p.m., $5. The Heavy Anchor, 5226 Gravois Ave., St. Louis, 314-352-5226.

Continued on pg 44

riverfronttimes.com

OCTOBER 12-18, 2016

RIVERFRONT TIMES

43

FIND ANY SHOW IN TOWN...

WEDNESDAY 19

6161, thepageant.com.

ASTRONAUTALIS: 8 p.m., $15-$18. The Firebird,

ICE GUARDIANS: Mon., Nov. 7, 7 p.m., $40-$100.

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

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

BIG RICH MCDONOUGH & RHYTHM RENEGADES: 7

726-6161, thepageant.com.

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

INCITE: W/ Hung Like A Martyr, Thu., Oct. 20, 7

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

p.m., $12. Fubar, 3108 Locust St, St. Louis, 314-

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

289-9050, fubarstl.com.

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

INTERVALS: W/ Plini, Painted In Exile, Sun., Nov.

436-5222.

6, 7 p.m., $16-$18. Fubar, 3108 Locust St, St.

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

Louis, 314-289-9050, fubarstl.com.

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

JOHNNYSWIM: Sat., March 4, 8 p.m., $20-$80.

7880.

The Ready Room, 4195 Manchester Ave, St.

BRIAN CULBERTSON: 8 p.m., $35. The Pageant,

Louis, 314-833-3929, thereadyroom.com.

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

JON BELLION: W/ Gnash, The Madison Letter,

EVERYONE DIES IN UTAH: w/ Convictions, Glass

Fri., Dec. 9, 8 p.m., $25-$35. The Pageant, 6161

Houses, Conspire 6 p.m., $12-$15. Fubar, 3108

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

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

eant.com.

MANDOLIN ORANGE: 8 p.m., $15-$17. Old Rock

JULIAN LAGE & CHRIS ELDRIDGE: Wed., Feb. 22, 8

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

p.m., $16-$25. Old Rock House, 1200 S. 7th St.,

PSYCHOSTICK: 6 p.m., $15-$17. Fubar, 3108

St. Louis, 314-588-0505, oldrockhouse.com.

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

KOOL KEITH: Sat., Dec. 10, 8 p.m., $20-$25.

RHETT MILLER: w/ Joe Purdy 8 p.m., $27.50-$30.

Blueberry Hill - The Duck Room, 6504 Delmar

Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-

Blvd., University City, 314-727-4444, blueber-

726-6161.

ryhill.com.

SWEET SPIRIT: 8 p.m., $10. Off Broadway, 3509

LIGHT THE FIRE: W/ Cadmium In Yellow, Sails

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

Through Storms, Karma Alaine, Broken

THIS JUST IN

PHOTOGRAPHER: TODD OWYOUNG BAND: SLEEPY KITTY

44

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

RIVERFRONT TIMES

OCTOBER 12-18, 2016

riverfronttimes.com

Concrete, Bred 4 War, Thu., Oct. 20, 6 p.m., $10$12. Cicero’s, 6691 Delmar Blvd., University

ADAM DEVINE: Wed., Feb. 15, 7 p.m., $35-$40.

City, 314-862-0009, ciceros-stl.com.

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

MOUNTAIN SPROUT: Fri., Jan. 6, 9 p.m., $10-$12.

726-6161, thepageant.com.

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

AMERICAN WRESTLERS: Thu., Dec. 15, 8 p.m.,

773-3363, offbroadwaystl.com.

$12-$15. Off Broadway, 3509 Lemp Ave., St.

NATHANIEL RATELIFF & THE NIGHT SWEATS: Sun.,

Louis, 314-773-3363, offbroadwaystl.com.

Dec. 4, 8 p.m., $27.50-$32.50. The Pageant,

ANAGORNISIS: W/ Cryptic Hymn, Voidgazer,

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

Wed., Nov. 16, 10 p.m., $10. Fubar, 3108 Locust

thepageant.com.

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

NICK WATERHOUSE: Sat., Dec. 3, 8 p.m., $15.

ASEETHE: W/ The Gorge, Path of Might, Sun.,

Blueberry Hill - The Duck Room, 6504 Delmar

Nov. 20, 8 p.m., $8. Fubar, 3108 Locust St, St.

Blvd., University City, 314-727-4444, blueber-

Louis, 314-289-9050, fubarstl.com.

ryhill.com.

BAND OF HORSES: W/ The Shelters, Wed., Nov.

RIVER WHYLESS: Thu., Nov. 10, 8 p.m., $12. Off

30, 8 p.m., $32.50-$40. The Pageant, 6161 Del-

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

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

3363, offbroadwaystl.com.

com.

RUSSELL DICKERSON: Fri., Nov. 11, 8 p.m., $15.

CIRCA SURVIVE: W/ mewithoutYou, Turnover,

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

Sun., March 5, 7 p.m., $23-$25. The Pageant,

R R

erts/

OUT EVERY NIGHT Continued from pg 43

, firebirdstl.com.

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

SETH WALKER: Fri., Nov. 4, 8 p.m., $10-$12.

thepageant.com.

Blueberry Hill - The Duck Room, 6504 Delmar

THE DOCK ELLIS BAND: W/ Cree Rider Family

Blvd., University City, 314-727-4444, blueber-

Band, Tortuga, Oak Steel & Lightning, Fri., Dec.

ryhill.com.

23, 8 p.m., $10. Off Broadway, 3509 Lemp Ave.,

ST. LOUIS SOCIAL CLUB: Tue., Nov. 1, 8 p.m., $5.

St. Louis, 314-773-3363, offbroadwaystl.com.

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

EXTINCTION A.D.: Fri., Dec. 2, 7 p.m., $12.

Louis, 314-436-5222, bbsjazzbluessoups.com.

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

THE STRUMBELLAS: W/ Arkells, Sat., Dec. 17,

fubarstl.com.

8 p.m., $22. Blueberry Hill - The Duck Room,

FAREWELL MY LOVE: W/ The Funeral Portrait,

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

Matt Skajem, Wed., Nov. 16, 6 p.m., $12-$15.

4444, blueberryhill.com.

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

TEAR OUT THE HEART: Fri., Dec. 23, 8 p.m., $12-

fubarstl.com.

$30. The Ready Room, 4195 Manchester Ave,

FUNKY BUTT BRASS BAND 8TH ANNUAL HOLIDAY

St. Louis, 314-833-3929, thereadyroom.com.

BRASSTRAVAGANZA: Fri., Dec. 16, 9 p.m.; Sat.,

THE MOTH & THE FLAME: Tue., Dec. 6, 8 p.m.,

Dec. 17, 9 p.m., $18-$20. Off Broadway, 3509

$12-$15. The Firebird, 2706 Olive St., St. Louis,

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

, firebirdstl.com.

waystl.com.

THE VEER UNION: W/ Lights Over Arcadia, Sun.,

GROUPLOVE: Tue., Dec. 6, 8 p.m., $30-$35. The

Dec. 11, 7 p.m., $12-$14. Fubar, 3108 Locust St,

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

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

SAVAGE LOVE SENIOR MOMENTS

BY DAN SAVAGE

Hey, Dan: I’m 64 years young, a musician, chubby, full head of hair, no Viagra needed, no alcohol, I don’t mind if you drink, smoker, yes I am.

I am also faithful, loyal, and single for e e rs o e t iss es n ero i c ot not re ice inst s ro o n e ocr t C I ce t I on i e t e o n er o en n o en it o t t ttoos n I i e t e I I ies e re s o in of iss es it c i ren n e ies o ts ro e o n o en see e s an old gizzard. I am not ugly, and I oo o n er t n t I see t o n er o en o for ese ir s are missing out on me because they o r t er e se c e te on and kicked around by some young rince e est e r not er ro e is t t I on t o to rs or re oo t t so o t e e I oin to eet ir t I on for ir I c n c eris I e en i in to rr t e ri t ir if s e is es no ro e o c res o t e I s re on t t t e s re o f co rse I i ie rst s e c n ee t e c r n e er t in e se for t t tter I c n t t e it it e oI e o t ore e rs of ife n I on t nt to it re in is free of co rse tI nt it ri t ere ri t no

I s in for too c Oblivious Ladies Disregard Elder Romeo Who cares about age? You, OLDER, you care about age.

You rule out dating women your own age and then toss out two and possibly three stupid rationalizations for not staying in your actuarial lane: Women your age have children, ex-husbands, and tattoos(?). All bullshit. Women your own age might be likelier to have children and ex-husbands, but there are plenty of childless women out there in their 50s and 60s, OLDER, younger women are likelier to have tattoos, and everyone (yourself included) has exes.

And excuse me, but women your own age are a shopping bag of issues? You’re a shopping mall’s worth of issues yourself, OLDER. Issue No. 1: You can’t be honest, even in an anonymous forum, about why you wanna date younger women — they make your grizzled old dick hard — so you take a dump on all older women. Issue No. 2: male entitlement syndrome. (The universe doesn’t owe you a younger woman, OLDER; the universe doesn’t actually owe you shit.) Issues three, four, and five an inability to spot your own hypocrisy (I mean, come on), a clear preference for nursing a fantasy (the young woman of your nicotine-stained dreams) over ac-

cepting reality (there’s no settling down without settling for), and the probability that you’ve watched way too many movies with actresses in their 20s playing the romantic interests of actors in their 60s and 70s.

If I may be blunt(er): You’re an older man, you’re a smoker, you’re out of shape, you don’t leave the house much, and, most fatally of all, you harbor resentment for the objects of your desire (“Be my guest, dear!”), something objects of desire always pick up on and are almost always repulsed by. (Let’s all light a little candle for the ones who aren’t.) So unless you’re a billionaire or an A-list actor, OLDER, the young woman of your dreams is unlikely to break into your apartment. (There’s not a lot of overlap between the young gerontophile community and the burglar community.) Not even the prospect of inheriting a used car 24 years from now is going to land you a young woman.

My advice, OLDER: Keep dreaming. And if you want to be with a young woman once in a while, consider renting. But please don’t misconstrue anything I’ve written here as encouragement to date women your own age: They deserve better.

Hey, Dan: I n I en e o n in er s is great. My libido en I it er

e ro n to on erf n o r se ife is off the charts n s e is s

riverfronttimes.com

45

initiating. She told me she used to en o te sin n tc in s on ine s oot i es e e it n e ose erse f n s e o es to see e o s It is ssi e t rn on for er tI t n e ere I ro ce r n t in en I e c te Is t ere to incre se ro ction Is t ere so e to incre se t e o e of o s r e o nt e tc orn that has guys shooting seemingly endless streams and she gets crazy orn tc in t e I o o e to e e to o t e s e Need To Fill The Girl Hydrate more, NTFTG, and go longer between orgasms (days, weeks), and you might see a moderate increase in volume. But you’re never gonna blow loads like you did in your teens and twenties, and you’re never gonna blow loads like guys do in porn. Remember: Porn producers, professional and amateur, select for big load blowers, so those samples (and those loads) are skewed. So what you’re doing now — enjoying your fianc e while not denying her the pleasure of watching her porn (and then reaping the rewards yourself) — is without a doubt your best course of action.

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

OCTOBER 12-18, 2016

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