Riverfront Times - October 3, 2017 by Riverfront Times

OCTOBER COTOBER4–10, 4–10,2017 2017I VOLUME 41 I41NUMBER 40 40 I VOLUME I NUMBER

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BEHIND THE CASE AGAINST THE EX-ST. LOUIS COP: LONG-FORGOTTEN VIDEO, A FRUSTRATED PROSECUTOR AND ACTIVISTS PUSHING FOR ACTION BY DANNY WICENTOWSKI

RIVERFRONT TIMES

OCTOBER 4-10, 2017

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RICHARDSON ESTATE LAND RICHARDSON ESTATE RICHARDSON ESTATE LAND LAND

TH BEGINNING AT SATURDAY, OCT. 7 AT10:00 A.M. TH BEGINNING SATURDAY, OCT. 7 10:00 A.M.

LOCATION: SB13 ROUTE 3 & GG ROAD, WATERLOO, IL LOCATION: XXX SB1XXX ROUTE & GG ROAD, WATERLOO, IL

Watch for signs on Rt. 3 between Hanover Road and GG Road

“OPEN HOUSE &VIEWING” LAND VIEWING” & LAND This is“OPEN aSATURDAY, greatHOUSE opportunity for an SEPT. 16TH-investment, -1:00 - 3:00 P.M. TH SATURDAY, SEPT. 16 -1:00 3:00 P.M. hunting, ﬁshing and farming. This farm has 87+ or - acres w/63.8

This farm has 87+ or - acres w/63.87 acres tillable. 6 acres of the tillable acres tillable. 6 acres of the tillable is in CRP w/3 years left on contract. in CRP w/3 years left on contract. This farm is zoned A2 Agriculture. This farm is zoned A2 Agriculture. New Hanover Road Legalof Description: Parts of Sec. New Hanover Road Legal Description: Parts Sec. 2 Route &311 in T2S R10W. & 11 in T2S R10W. # 07-02-400-015: 55.49 acres Pin # 07-02-400-015:Pin 55.49 acres; 23.16 acres Pin #07-11-200-009: Pin 23.16#07-11-200-009: acres; 8.5 acres. Pin #07-11-200-002: Pin 8.5 #07-11-200-002: acres. of this farm lies in Waterloo Part of this farm liesPart in Waterloo, IL city limits. This property IL city has limits. a This property has (Lines Not Exact)(Lines Not Exact) 3 room club house, lake/pond and house, lake/pond an 3 room club good hunting woods. good hunting woods. Terms: 10% down day of auction. Terms: 10% down day of auction Remainder due at closing, approx.due at closing, appro Remainder 30 days. Taxes pro-rated to date of pro-rated to date o 30 days. Taxes closing. Subject to tenant’s closing.rights. Subject to tenant’s right Possession when fall 2017 crops Possession when fall 2017 crop are harvested on farm land. are harvested on farm land. GG Road Attorney for Estate: David Friess, GG Road Attorney for Estate: David Fries Red Bud, 618-282-4599

Red Bud, 618-282-4599

Auctioneer’s Note: This is a great opportunity for an investment, hunting, fishing and farming. Auctioneer’s Note: This is a great for an investment, hunting, fishing and farming. For information please callopportunity Auction Service.

information please call Auction Service. This farm has 87+ or -Foracres w/63.87 acres Burmester Auction Service, LLC tillable. 6 acres of the tillable is in CRP w/3 License #444000501 OWNER: Burmester Auction Service, LLC Red Bud, -- 618-282-3931 years left on ILcontract. This farm is MARGARET zoned A2 OWNER: License #444000501 RICHARDSON Cell: 618-534-2295 Red Bud, rights IL -- 618-282-3931 ESTATE MARGARET RICHARDSON Agriculture. Mineral also available. Website: www.burmesterauction.com Cell: 618-534-2295 ESTATE Auctioneers: Col. Dale A. Burmester • Col. Kent Miller • Col. David York

Website: www.burmesterauction.com Auctioneers: Col. Dale A. Burmester • Col. Kent Miller • Col. David York

Part of this farm lies in Waterloo, IL city limits. This property has a 3 room club house, lake and two ponds, and good hunting woods. Terms: 10% down day of auction. Remainder due at closing, approx. 30 days. Taxes pro-rated to date of closing. Subject to tenant’s rights. Possession when fall 2017 crops are harvested on farm land. Attorney for Estate: David Friess, Red Bud, RICHARDSON ESTATE 618-282-4599 LAND

SATURDAY, OCT. 7TH

BEGINNING AT 10:00 A.M.

LOCATION: XXX SB1 ROUTE 3 & GG ROAD, WATERLOO, IL

Watch for signs on Rt. 3 between Hanover Road and GG Road

“OPEN HOUSE & LAND VIEWING” SATURDAY, SEPT. 16TH -- 1:00 - 3:00 P.M. New Hanover Road

Sponsored By (Lines Not Exact)

GG Road

This farm has 87+ or - acres w/63.87 acres tillable. 6 acres of the tillable is in CRP w/3 years left on contract. This farm is zoned A2 Agriculture. Legal Description: Parts of Sec. 2 & 11 in T2S R10W. Pin # 07-02-400-015: 55.49 acres; Pin #07-11-200-009: 23.16 acres; Pin #07-11-200-002: 8.5 acres. Part of this farm lies in Waterloo, IL city limits. This property has a 3 room club house, lake/pond and good hunting woods. Terms: 10% down day of auction. Remainder due at closing, approx. 30 days. Taxes pro-rated to date of closing. Subject to tenant’s rights. Possession when fall 2017 crops are harvested on farm land. Attorney for Estate: David Friess, Red Bud, 618-282-4599

Auctioneer’s Note: This is a great opportunity for an investment, hunting, fishing and farming. For information please call Auction Service.

Burmester Auction Service, LLC License #444000501

Red Bud, IL -- 618-282-3931 Cell: 618-534-2295

Website: www.burmesterauction.com Auctioneers: Col. Dale A. Burmester • Col. Kent Miller • Col. David York

RIVERFRONT TIMES

OCTOBER 4-10, 2017

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OWNER:

OWNER: RICHARDSON ESTATE MARGARET RICHARDSON 314-421-9538 ESTATE

richardsonestate42@gmail.com

THE LEDE

PHOTO BY THEO WELLING

“If St. Louis was a person, this would be their medicine cabinet. I took all of these different things that marketing pushes towards you, and they tend to focus on whitening. Like whitening strips. When they use Bandaids it’s flesh tone, but the flesh tone is a Caucasian tone. Ivory soap. Visine Gets the Red Out! You have this pretense that if it’s white, it’s somehow superior. “And this also has products in it like African hair oil. So the whole idea was to say that you have all of these things together inside the medicine cabinet. When you close it, it’s all in there together, but the only person who can do anything about it is looking back at you when you close the —Former St. LouiS reSident Jay HudSon, pHotograpHed at tHe paint St. LouiS FLood WaLL on September 23 cabinet.” riverfronttimes.com

OCTOBER 4-10, 2017

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TABLE OF CONTENTS FEATURE

12.

The Stockley Files

Behind the case against the ex-St. Louis cop: Long-forgotten video, a frustrated prosecutor and activists pushing for action Written by

DANNY WICENTOWSKI

Cover illustration by

DEVIN THOMPSON

NEWS

CULTURE

DINING

MUSIC

The Lede

Calendar

Bosnia Calling

Your friend or neighbor, captured on camera

Seven days worth of great stuff to see and do

Cheryl Baehr thrills to the mobile feast offered by Balkan Treat Box

‘Stop Killing Us’

Protesters say they really only have one demand

Film

Robert Hunt watches as the No. 1 female tennis player in the world takes on the No. 1 chauvinist pig

Suit Alleges Police Beatdown

Two Kansas City filmmakers swept up by police in downtown St. Louis have a harrowing story

Stage

Paul Friswold admires New Line’s ferocious Lizzie

Side Dish

Katie Lee-Collier puts the ‘Katie’ in Katie’s Pizza & Pasta

First Look

Sarah Fenske visits Hugo’s Pizzeria, while Cheryl Baehr pays a visit to St. Louis Soup Dumplings

Beer

Pro-Police Resolution Stalls

Earthbound Beer has big new digs just down the street from its old ones

Alderman Joe Vaccaro finds that the Board of Aldermen is not ready to honor cops just yet

Food News

October is ‘Pottermonth’ at La Patisserie Chouquette

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OCTOBER 4-10, 2017

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

A R T Art Director Kelly Glueck Contributing Photographers Sara Bannoura, Mabel Suen, Monica Mileur, Micah Usher, Theo Welling, Corey Woodruff, Tim Lane, Nick Schnelle P R O D U C T I O N Production Manager Brittani Schlager Production Designer Devin Thompson

M U LT I M E D I A A D V E R T I S I N G Sales Director Colin Bell Senior Account Executive Cathleen Criswell, Erica Kenney, Nicole Starzyk Account Managers Emily Fear, Jennifer Samuel

INVITES YOU AND A GUEST TO

C I R C U L A T I O N Circulation Manager Kevin G. Powers E U C L I D M E D I A G RO U P Chief Executive Officer Andrew Zelman Chief Operating Officers Chris Keating, Michael Wagner Human Resources Director Lisa Beilstein VP of Digital Services Stacy Volhein Creative Director Tom Carlson www.euclidmediagroup.com N A T I O N A L A D V E R T I S I N G VMG Advertising 1-888-278-9866, www.voicemediagroup.com S U B S C R I P T I O N S Send address changes to Riverfront Times, 308 N. 21st Street, Suite 300, St. Louis, MO 63103. Domestic subscriptions may be purchased for $78/6 months (Missouri residents add $4.74 sales tax) and $156/year (Missouri residents add $9.48 sales tax) for first class. Allow 6-10 days for standard delivery. www.riverfronttimes.com

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OCTOBER 4-10, 2017

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NEWS

Protesters Demand: ‘Stop Killing Us’ Written by

DOYLE MURPHY

or nearly two weeks, protesters against police abuse have marched across St. Louis, while even some of their supporters have wondered about the end goal. “The response is always, ‘So what do they want?’” Michelle Higgins told a crowd gathered Thursday night for a town hall meeting inside Christ Church Cathedral downtown. “We’ve heard it from Day One. It is, say it together, ‘Stop killing us!’” At least 200 people seated in the pews and standing along the walls shouted the last part. A later march along Washington Avenue turned tense during a short-lived standoff with police in riot gear, but the meeting at the Locust Street church was more of an information session with a Q-and-A with sympathetic elected officials. The “People’s Town Hall” was organized after Mayor Lyda Krewson decided to postpone a town hall until things quieted down following the Jason Stockley verdict, saying in a statement that she was listening to constituents via social media and email. Kennard Williams, part of Decarcerate STL and one of the event’s presenters, said that if the mayor really wanted to hear from people, she would meet them in person. At the front of the church, organizers left an empty chair for Krewson near a panel of speakers that included city Treasurer Tishaura Jones, state Representative Bruce Franks Jr. (D-St. Louis), 15th Ward Alderwoman Megan Ellyia Green and Democratic Committeeman Rasheen Aldridge. They passed out a list of demands, which include an audit of the St. Louis Metropolitan Police

Now in their third week, protests have been met with a heavy police response both downtown and in the county. | THEO WELLING

Protesters are also asking for the resignation of key city officials. | THEO WELLING Department, the shutdown of the “workhouse” city jail, the resignation of Krewson and the removal of interim police Chief Lawrence O’Toole and Judge Timothy Wilson, who found Stockley, an ex-cop, not guilty of murdering Anthony La-

mar Smith in 2011. Jeff Roorda, the business manager of the police union representing city officers, also made the list: “And we demand, as always, that Jeff Roorda be fired.” Kayla Reed, founder of the St. riverfronttimes.com

Louis Action Council, said the list was designed as steps along the path to what protesters really want. “We’ll keep circulating the demands, but there’s really only one,” Reed said, rallying the crowd again. “And what’s that demand? Stop killing us.” In the past, protesters have marched until government leaders have decided to invite them to negotiate, Franks said. But he warned this time would be different, arguing that the only way to force any real change is to consistently disrupt the status quo. The demonstrations have already made an economic dent, closing malls and prompting U2 and Ed Sheeran to cancel concerts. “The only way we can hold them accountable is, we’ve got to make them feel it,” Franks said, adding, “When they’ve think it’s been enough, and they want to bring us to the table, make them feel it some more until we’re ready to come to the table.” n

OCTOBER 4-10, 2017

RIVERFRONT TIMES

Pro-Police Resolution Stalls Written by

DOYLE MURPHY

S Police face off with protesters downtown soon after Jason Stockley’s acquittal. | THEO WELLING

Suit Alleges Police Beatdown

rew and Jennifer Burbridge, a married pair of documentary filmmakers, are suing the city of St. Louis after they were caught up by police sweeping protests downtown on September 17, sprayed with chemicals, beaten and arrested. A total of 123 people were arrested that night, all but three on charges of failure to disperse. Many have alleged that they were not given a way to leave the scene as police boxed them in using a tactic called “kettling,” and then rounded them up indiscriminately. Others arrested that night include St. Louis Post-Dispatch reporter Mike Faulk. The Kansas City residents also say they were in downtown St. Louis as “neutral third party observers and journalists.” Carrying their professional camera equipment, they arrived at Tucker and Washington around 11:05 p.m. Police made no move to prevent them or discourage their presence. But at 11:20 p.m., they say in the suit, “police began banging batons on their riot shields and encircled the assembly. The assembled protestors, bystanders and media were encircled and not provided a means of egress”

RIVERFRONT TIMES

— a law enforcement tactic known as “kettling.” The Burbridges say they never heard instructions to disperse. Yet “without further instruction or warning, police officers surrounded protestors, observers, and members of the press, cutting off all routes of egress — including via any sidewalk — and prohibiting the people trapped inside from leaving.” Drew Burbridge told an officer that he and his wife were observers, not protesters, and asked if they could leave. His request was ignored. Instead, police indiscriminately sprayed those in the kettle with chemicals, the suit alleges. Drew Burbridge alleges that he was then hit with spray two more times. The suit alleges he was sitting crosslegged on the ground with his wife when a police officer said “that’s him” — and grabbed him, dragged him away from his wife, and hit him with pepper spray in his eyes and mouth. Then, he alleges, they threw him to the pavement, twisted his arms behind his back, and kicked him, even though he was not resisting in any way. Three officers beat him with their hands, feet and batons. “Do you want to take my picture now motherfucker? Do you want me to pose for you?” one officer cried. Burbridge was beaten so badly he

OCTOBER 4-10, 2017

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lost consciousness — and woke up to being sprayed yet again. He was jailed more than twenty hours and charged with failure to disperse. As for Jennifer Burbridge, the suit alleges she was taken from her husband and taunted by officers, who crowed, “Look who I have” — an apparent reference to her role as a journalist. After she saw her husband being beaten, the officers told her, “Did you like that? Come back tomorrow and we can do this again.” Another added, “What did you think was going to happen?” She too was jailed twenty hours and then charged with failure to disperse. The Burbridges are alleging violation of their first amendment rights, retaliation, unlawful search and seizure, excessive force, assault and battery, false imprisonment, malicious prosecution and violation of due process. The suit was filed in federal court yesterday by St. Louis attorney Talmage E. Newton IV. At a press conference with Newton, Drew Burbridge says he’s filmed around the world, but the treatment by police in St. Louis was unlike any other experience. “I’ve never seen anything like this, whether it was in Ecuador or whether it was in Ferguson,” he told reporters. “I’ve never seen anything like this.” —Sarah Fenske

t. Louis Alderman Joe Vaccaro will have to wait if he wants to honor police with a city resolution. The 23rd Ward Alderman said Friday as he introduced his resolution that there are “other sides” to the protests that have followed the acquittal of ex-St. Louis cop Jason Stockley. To punctuate his point, Vaccaro held a framed picture of a St. Louis city police officer who was shot in the line of duty. “There are parents, grandparents, children who worry about their moms and dads,” Vaccaro said. It was a controversial move, coming just a week after 21st Ward Alderman John Collins-Muhammad introduced a resolution remembering Anthony Lamar Smith, the man killed by Stockley in 2011. The Smith honor angered a large number of rank-and-file officers and their supporters who had sided with Stockley. Vaccaro ultimately pulled his motion Friday morning, heeding calls to first submit his resolution to the public safety committee. Outside council chambers later, he confessed he didn’t even know the name of the officer in the picture. “His wife just came,” he said. “I don’t really know them.” Vaccaro said he submitted the resolution as a father of first responders, someone who worries every time one of his sons is out on a call. It turns out that the officer in the photo was Sgt. Jeffrey Kawolski, who was shot while chasing robbers in 1987. The veteran cop survived for 21 years, even returning to duty, but eventually died at age 51 of cancer that was linked to his wounds. His widow Kimberly Kawolski sat quietly during the proceedings. Later, she said she advocates for a number

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Kimberly Kawolski holds a photo of her husband, an officer shot in 1987. | DOYLE MURPHY

of causes — medical marijuana and teaching meditation to traumatized kids, to name a couple — and she thought Vaccaro’s resolution was a gesture worth supporting. “’Thank you’ goes a long way,” Kawolski said. “Gratitude goes a long way.” Protesters marched to City Hall Friday morning and slipped silently into the gallery of the council chambers toward the end of the meeting. Among them were small business owners, who have signed a letter in support of protesters and police reform. Critics of the demonstrations have pointed to the vandalism of several businesses, including multiple broken windows in the Delmar Loop, to paint the largely peaceful protests as violent and out-of-control. “Broken windows are not dead bodies,” said Eliza Coriell, owner of the Crow’s Nest, who initiated the businesses’ letter of support. That’s a message protesters have tried to push, arguing that the degree of problems caused by vandalism don’t compare to police abuse. The business owners have taken some heat for their stance. When the Riverfront Times published a list of the first businesses to sign — Coriell said the number has grown to more than

“Broken windows are not dead bodies,” said Eliza Coriell, the owner of the Crow’s Nest. 140 signatures representing more than 100 businesses — the police union that represents city cops blasted the small shops and restaurants on social media (as well as the RFT). After Friday’s board meeting, Coriell and protest organizers held a news conference in the middle of Tucker Boulevard to combat some of accusations. She said they were “pro reform,” not anti-police. As for organizer Tory Russell, he said protesters have a long way to go before they stop. “I want the city to know,” Tory Russell said, “we just getting started.” n

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The

STOCKLEY Behind the case against the ex-St. Louis cop: Long-forgotten video, a frustrated prosecutor and activists pushing for action

Files BY DANNY WICENTOWSKI

he roots of the protests that continue to rock St. Louis reach deeper than former police officer Jason Stockley’s acquittal for murder. To trace them, one must look back, beyond the mass arrests and clouds of pepper spray, past the judge’s ruling on September 15 and even beyond the five-day trial in August that culminated with Stockley testifying that, yes, he had shot Anthony Lamar Smith dead in December 2011. Trace those roots, perhaps, back to May 2016. On May 16, U.S. Marshals arrested Stockley in his Texas home and shipped him to St. Louis to face first-degree murder charges and accusations that he’d killed the unarmed 24-year-old and planted a gun to justify the murder. The news was explosive. It’s not every day a cop is charged with murder over a matter that has already been passed over by local, state and federal investigators. And first-degree? No cop in St. Louis had ever been accused, let alone convicted, of committing a pre-mediated slaying in the line of duty. The Reverend Philip Duvall wasn’t surprised. For months, he had been working with other activists to reignite interest in the Stockley case, a campaign that included both press conferences and back-channel meetings with city officials. He knew that Circuit Attorney Jennifer Joyce had reopened the case and was pleased to see her take action. He still wasn’t prepared for what happened eight days later. On the morning of May 25, Duvall’s phone buzzed with an unfamiliar number. The caller had urgent instructions — Duvall, he said, needed to visit a public library in north city. “There’s a package there for you,” the voice told Duvall. “We have information that will be most helpful in what you and Shahid are trying to uncover.”

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Duvall’s partner in pushing for Stockley’s prosecution was activist Anthony Shahid, a polarizing and often abrasive provocateur who has spent years accusing St. Louis’ political and police establishments of racism and corruption. Duvall and Shahid had known each other for decades. In January 2016, Duvall says, Shahid confided to him that sources within the police department were finally feeling pangs of conscience over a “coverup” in the four-year-old Stockley case. Three years before, a wrongful death suit filed by Smith’s family resulted in a $900,000 settlement — thought to be the largest such payout in the city’s history — but the criminal case languished. After the initial investigation, homicide detectives determined that no laws been broken. An Internal Affairs investigation went nowhere. Since the St. Louis police department was then regulated by the state, the case fell to the U.S. Attorney’s office. The FBI opened an investigation, followed by the U.S. Department of Justice’s Civil Rights Division. In November 2012, then-U.S. Attorney Richard Callahan decided the evidence was lacking and declined to prosecute Stockley. At the time, Callahan had informally invited prosecutors in the office of the circuit attorney to review the case. In the following year, the city took control of the police department, thus granting the office the responsibility to prosecute crimes committed by police officers. But again, there was silence. Even as the activists staged press conferences with Smith’s mother outside City Hall and demanded that Stockley face justice, they were mostly going on gut instinct. Aside from Shahid’s insider sources, Duvall acknowledges, the activists still had no access to evidence they believed would prove

OCTOBER 4-10, 2017

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that Stockley was a gun-planting killer cop. Even some material that might normally become public years after a shooting was still under a federal judge’s protective order in the civil case. Everything changed when Duvall picked up the phone that morning in May. Following the instructions of the anonymous caller, Duvall and Shahid met at the Julia Davis branch of the St. Louis public library. The activists waited at the front desk while a librarian rummaged through a back office, returning a few minutes later with an envelope bearing Duvall’s name. Inside was a flash drive. The two men found a table in a quiet corner of the library and plugged the drive into Duvall’s laptop. It held three video files. Duvall scrolled to the first one and hit play. “I never asked who the leaker was,” Duvall says in an interview. But whoever it was had given the two activists what seemed like the smoking gun: hard evidence that something was not right about Stockley’s story about being “in fear for his safety” from an armed drug suspect. The files contained around ten minutes of footage showing the immediate aftermath of Smith’s death on December 20, 2011 — a critical discovery that, they would later learn, prosecutors had used to run with the case years after it had been abandoned by multiple agencies. The perspective suggested that the video had been shot from the second floor of a nearby building, an angle granting a bird’s-eye view of the death scene. They could see Stockley walking around the totaled silver Buick where Smith’s body still sat in the driver’s seat, bleeding into the cushion. The video shook both Duvall and Shahid. “I was angry,” the pastor recalls. After all, the video was more than four years old. “Why would it take so long for this leak out?”

For all the controversy that continues to surround Jason Stockley’s shooting of Anthony Lamar Smith, many things cannot be disputed about that day for one reason: Almost every part of their fatal interaction was captured, one way or another, on video. Before the events shown in the videos anonymously deposited at the library, two previous videos had shaped the understanding of Smith’s death. The first, captured by surveillance cameras at a north city Church’s Chicken, shows the beginning of the incident that would lead to the fatal shooting. Then a dashcam video picks up from there. At 12:38 p.m. on December 20, 2011, the Church’s Chicken camera captured Smith parking a silver Buick. The sky was overcast, and water droplets speck the camera lens as Smith exits the sedan. Smith leaves the engine running, windshield wipers batting at the rain. But as Smith returns to his still-running car, a police SUV whips around the corner and pulls behind him, attempting to block the Buick in place.

Anthony Shahid (in all black) and Phillip Duvall (with bowtie and hat) prodded the circuit attorney to give the Stockley case a fresh look in 2016. | THEO WELLING

Behind the wheel was Brian Bianchi, an officer who had joined the force less than two years before, and who was about to demonstrate some spectacularly bad driving. Stockley, a West Point grad and Army veteran who became a St. Louis cop in 2007, was riding shotgun. On the surveillance video, things happen rapidly. Smith’s Buick lurches forward, then reverses. Stockley and Bianchi leap out of the SUV. Smith, still blocked in, backs up and collides with the SUV and then tries to pull the car rightward. There isn’t enough room for the turn, so Smith reverses yet again, and Bianchi pistol-smashes the Buick’s driver-side window as Smith hurtles his car backwards. (Bianchi told investigators that at this point he spotted the suspect cradling a silver revolver. Stockley claimed Bianchi shouted “gun!”) As for Stockley, he runs to the Buick’s passenger side carrying an AK-47, one he wasn’t authorized to wield on duty. As Smith switches gears and accelerates away from Bianchi, the Buick clips Stockley’s arm and roars out of the parking lot.

Stockley gives chase on foot, firing seven times at the fleeing suspect — using his standard-issue Beretta. (Stockley would later testify that he was afraid to fire the unauthorized AK-47, since its assault rifle rounds can penetrate multiple walls and could have struck bystanders.) Stockley’s shots miss, and he clambers into the SUV. Bianchi is behind the wheel. What followed was a chase through north city at speeds approaching 90 miles per hour. About a minute in, the dashcam records Bianchi driving into a stop sign, and shortly after that, he nearly loses Smith on a simple left turn. After that, in between bursts of radio static, the dashcam’s audio picks up Stockley swearing, “Going to kill this motherfucker, don’t you know.” Two minutes later, though, the dashcam records Smith’s Buick lurching into oncoming traffic. At this point, the dashcam audio recorder picks up Stockley shouting at Bianchi, “Hit him! Hit him right now!” Bianchi does so, slamming into the rear of the Buick. The force of the impact spins the sedan 90 degrees, disabling it near the

intersection of West Florissant and Acme avenues. In the last minutes of the grainy dashcam video, Bianchi and Stockley leap out of the SUV and together struggle to pull back the airbags covering the Buick’s driver-side window. Seconds later, Stockley unloads five bullets into Smith. The St. Louis Metropolitan Police Department never released the Church’s Chicken surveillance footage or the dashcam videos to the public, although in 2012 the department allowed a St. Louis Post-Dispatch reporter to view and describe what the dashcam captured. For years, those videos represented the only documentary evidence of the shooting that wasn’t signed by Stockley or Bianchi on SLMPD letterhead. But four years later, in a public library in north city, Duvalll and Shahid could only shake their heads at the new video they were watching. This was no dashcam or parking lot surveillance footage. This looked to be footage shot by a bystander on a smartphone. It showed the aftermath of

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the shooting — and, they believed, Stockley planting a gun on the dying suspect he’d just shot. The three clips on the flash drive are each between two and four minutes in length. From the vantage point of a second-story window, the video zooms and pans across the faces of Stockley, Bianchi and other police officers who arrived at the scene. At times, the footage is crystal clear. In the first clip, you can see rain falling, the gray winter sky and the Buick’s windshield wipers still flicking back and forth as Stockley calmly walks to his police SUV and stows his AK-47 in the back seat. Over the next several minutes, blue police uniforms crowd around the Buick. Stockley walks back to the police SUV, takes off his gloves and rummages in the back seat, just beyond the camera frame. Then he and Bianchi talk with a supervisor. Stockley walks back to the Buick, and soon officers drag Smith, still breathing, from the driver seat. He would be pronounced dead at a hospital Continued on pg 14

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THE STOCKLEY FILES Continued from pg 13 later that day. Stockley then climbs in the driver seat and spends 30 seconds doing something the camera cannot see. Then Stockley gets out and rejoins Bianchi and a supervisor. “As soon as I saw the aftermath tapes, I wanted to release them right way,” says Duvall. He and Shahid handed over the clips to the Post-Dispatch’s Christine Byers, who quoted Duvall in a bombshell story published June 3. In the story, Duvall laid out virtually the same argument that prosecutors would eventually deploy at trial. The video, he said, contradicted Stockley’s claims that he’d gone back to the SUV to obtain a “Quick Clot” pack to stanch Smith’s bleeding — the video shows Stockley carrying nothing of the sort. Could the officer instead have gotten a gun from a bag in the back seat of the police SUV, a gun then planted in Smith’s car to justify the shooting? Shahid and Duvall thought so. But most damning, at least to Duvall’s eye, was Stockley’s demeanor. On tape, the officer seems calm and methodical even as Smith, a drug suspect purported to be armed, remains sitting in the Buick’s driver seat. Stockley’s behavior — as well as that of other officers on the scene — seems fundamentally inconsistent with someone who fears an armed suspect. “There is no urgency in any of those officers,” Duvall told Byers. More than a year later, prosecutors argued at trial that the video evidence — starting in the Church’s parking lot and through the fatal shooting — exposed too many inconsistencies: Stockley broke police policy by firing after a fleeing suspect, carried an unauthorized AK-47 and removed his gloves before searching Smith’s car for the revolver. (Only without gloves, after all, could Stockley later explain why his DNA was on the gun he purported to find in Smith’s car.) In an internal memo Stockley filed hours after the shooting, the officer claimed that when he came to the driver side of the Buick, Smith had refused orders to show him his hands. Stockley wrote, “In fear for my safety and the safety of my partner, I discharged my department-issued firearm at the subject.” Whether that was true was a question the videos could not solve. Only Stockley, Bianchi and Smith were privy to that moment. Smith is dead. Bianchi was never charged and later refused to testify at trial after an immunity deal collapsed. But Duvall and Shahid thought the videos provided important context — enough to call into question everything Stockley did that day. But the roots of the case, again, go even deeper. What motivated investigators to reopen the case after state and federal agencies passed it by? Had anything really changed since 2011 other than the political

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Among the critical pieces of evidence: cellphone footage shot by a bystander and not recovered by prosecutors until 2016. The video showed Stockley removing his gloves before purporting to find a gun in the car of the man he just shot. | SCREENSHOT FROM EVIDENCE VIDEO pressure applied by activists? Was this a matter of coverup, incompetence, or something in between? Talk to Shahid, and the matter becomes simple, even elegant. In his telling, the only questions that matter are the ones triggered by a Sunshine Request to the city in January 2016, months before Circuit Attorney Joyce decided to take another swing at charging Stockley. It was the demands in that letter, Shahid claims, that “rattled the whole case.” To say that activist Anthony Shahid has a complicated reputation is like saying the Pacific Ocean is deep or that the Mississippi River is long. He cultivates both an air of elusiveness and theatricality. He’s been known to use props such as nooses and KKK robes. He is revered in some circles and highly suspect in others. Shahid has spent decades working in and out of the limelight. In the summer of 2014, he showed up to protests in Ferguson wearing chains around his neck and carrying stuffed toy dogs, items that he said represented the chains of slavery. The dogs were stand-ins for the police dogs deployed against protesters demanding justice for Michael Brown, who was gunned down in a fatal confrontation with a Ferguson police officer. To Shahid, Anthony Lamar Smith was actually “the Mike Brown before Mike Brown.” While the Ferguson teenager’s death led to heated protests that took the region — and country — by storm, Smith’s death in 2011 was marked by only a handful of mourners and a vigil. His name was not chanted through the streets or held aloft on signs.

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“Nobody was making a big issue about black people getting killed,” Shahid says. “It wasn’t hot then.” All that changed with Ferguson, and in late 2015, Shahid claims he was contacted by a group of police officers. “They asked me to pray with them,” he says. “And they tell me, ‘Brother Shahid, there’s been a murder.’ They start to tell me about December 20, 2011.” According to Shahid, the officers felt tortured by the long silence on Smith’s case. They accused St. Louis’ top police and elected officials of covering up murder. According to Shahid, the officers named names, including then-St. Louis Mayor Francis Slay and a police major named Lawrence O’Toole. “These policemen and policewomen came to me, they were concerned about the police department,” says the activist. “They said, ‘This is not what police do.’ Now, these officers should have never had to come tell me this shit. I’m no damn police officer. But if they had reported this, most of them would probably wind up dead or ostracized.” And so Shahid did what he’s done for decades: He made plans to give justice, so long deferred, a good hard shove. But before he could do that, he had to find Smith’s mother, Annie. That alone took months of sleuthing. He also needed help to pressure to city officials to do something about the case. In January 2016, Shahid reached out to Duvall. He told the pastor about Stockley, the police officers and the coverup. Duvall was in. On January 14, Shahid submitted an open records request through the state’s

Sunshine law to the St. Louis police department. The request was divided into four demands. One: He wanted the department to open the investigatory files on Smith’s death. Two: He sought all correspondence between the department and City Hall relating to the “discipline, termination/separation” of Stockley. Three: He requested Stockley’s disciplinary records. Four: Shahid asked for records of Stockley’s psychological examinations. The items were carefully chosen, based on what Shahid had been told by his police sources. And he believes it was this Sunshine request that spurred city officials to do what they should have done years ago: charge Stockley with murder. “I was on to something,” says Shahid. “They were hoping this day would never come.” Shahid, Duvall and others began applying pressure, writing letters and calling city officials to inquire about the status of the case. But aside from a six-page incident report, Shahid never got the information he requested. Much of the material was (and remains) locked behind a judge’s protective order. The psychological exam is covered by a federal law protecting doctor-patient confidentiality. Still, even if their press conferences attracted a mere handful of people and maybe a few reporters, he and Duvall believed they were barking up the right tree. By early May, the two activists had finally landed the meeting they had been chasing for months — a sit-down with Circuit Attorney Joyce. According to Duvall and Shahid, Joyce claimed that her office had developed new

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NO PHONE CALLS! Former St. Louis officer Jason Stockley in his 2016 mugshot. | COURTESY OF THE HARRIS COUNTY SHERIFF leads, and that her investigators had been working with the police department’s Internal Affairs division since March to put a case together that would stick. She made no promises, but, according to a third party familiar with the meeting, she assured the activists that her office was taking the matter “seriously.” To Shahid, any claim of “new evidence” was “a damn lie.” But, he adds, “I was OK as long as she said she was going to lock him up.” Shahid notes that Joyce had her own request for the activists: Tone things down for a couple weeks while her office prepared to file charges. According to Duvall, Joyce explained that she didn’t want to give Stockley’s defense attorneys any justification for moving the venue. Shahid also claims Joyce was worried that Stockley was a flight risk. Stockley had left St. Louis in 2013 following a suspension from the force. He’d been allowed to resign and moved to Houston, Texas. On May 16, a Monday, Stockley was standing on the corner outside his condo when a small army of U.S. Marshals descended. According to a neighbor, the Marshals had “swarmed” around the corner in multiple vehicles. “Certainly shocked,” the neighbor told a Houston TV station. “He’s a really nice guy.” In St. Louis, Shahid watched the news of Stockley’s arrest with a feeling of rare vindication. There was the killer cop he’d been chasing, facing a judge at a bond hearing in an orange jumpsuit, facing a first-degree charge for murder. After his transfer to St. Louis, however, Stockley spent less than two weeks in jail. On May 31, the St. Louis Police Officers’ As-

sociation posted his $100,000 cash bond. The next time Shahid would see Stockley’s face, it would be at trial. Fourteen months later, on August 1, 2017, Shahid, Duvall and other activists sat in the front row in the fifth-floor courtroom in downtown St. Louis. Much had changed in the city since Stockley was charged with murder. Joyce had declined to run for a fifth term, and the city’s top prosecutor was now, for the first time, a black woman: Kim Gardner. Mayor Francis Slay had retired from political life. Police Chief Sam Dotson had resigned — or more accurately, was asked to resign — under the new administration of Mayor Lyda Krewson. To the activists like Shahid, all the highlevel movement looked like rats trying to escape a sinking ship. It appeared to confirm what he’d long suspected — a five-year coverup was about to be blown wide open. The court rose as Judge Timothy Wilson entered the room. Months prior, Stockley had waived his right to a jury trial. Over the next five days of trial, Judge Wilson would serve as the sole arbiter of guilt and innocence. Circuit Attorney Gardner sat to the side of the courtroom, listening to the proceedings and whispering in the ear of an assistant. She had swept into office on promises to reform the city’s criminal justice system. While she didn’t initiate the murder charges against Stockley, she was eager to fight for conviction. The prosecution’s opening statement was delivered by Assistant Circuit Attorney Aaron Levinson, and from the outset it was clear that the office would pull no punches.

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Continued on pg 16

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THE STOCKLEY FILES Continued from pg 15 Levinson presented Stockley as nothing short of a cold-blooded murderer. He called Smith’s death an “execution.” “Anthony Lamar Smith did not deserve to die,” said Levinson. “Jason Stockley took his life away and tried to cover up his crime.” Stockley’s defense attorney, Neil Bruntrager, was no less dramatic. In a moment of irony, he invoked the same accusations of a coverup as Shahid — only in his case, to suggest how implausible the idea was. “Six other police officers were around the Buick as Jason Stockley got into the car,” Bruntrager pointed out. “If Jason Stockley planted that gun, then all of them — every one of those police officers — are complicit in this crime. And there is no evidence as such.” Watching the trial, Duvall felt conflicted. “There are certain things I just want to believe about this country,” he said in an interview in late August, shortly after the trial’s conclusion. “We can have evidence, we can have a tape, we can have signed statements, we can have all of that on the scales of justice. And it took us how many years to get here? Five years and eight months. I’m saying, structurally, the system is broken.” In the end, none of the evidence was sufficient. The cellphone video, jarring as it was, didn’t actually show Stockley planting the revolver. A DNA analysis couldn’t prove Stockley’s blood was on the grip, and while Smith’s DNA wasn’t present at all on the gun, forensic experts testified that the absence of DNA can’t be used to prove someone never touched an object. (And anyway, as Judge Wilson would later conclude in a sentence that set off a firestorm, “an urban heroin dealer not in possession of a firearm would be an anomaly.”) Even Stockley’s recorded outburst — “going to kill this motherfucker” — wasn’t enough. Judge Wilson agreed with Stockley’s defense that the words were uttered in the middle of a high-speed chase. The utterance could be chalked up to a stressful situation, not an intent to kill. “No one promised a rose garden,” Wilson wrote in his September 15 ruling. He had spent the previous 28 pages deconstructing and dismissing the state’s evidence. “This surely is not one.” Stockley, the judge wrote, could not be found guilty of first-degree murder with the evidence proffered by the state. In fact, he wrote, the evidence was so weak — and Stockley’s claim of self-defense so strong — that the former-officer could not even be found guilty of a lesser charge like manslaughter. “The state has failed to prove beyond a reasonable doubt that defendant’s use of deadly force was not justified in self-defense,” Judge Wilson wrote. “The state has failed in its burden of proof.”

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Activists spent months locating Smith’s mother, Annie. Now she’s a frequent presence at protests. | DANNY WICENTOWSKI Within the hour of the ruling, Shahid was leading the first group of protesters into the street outside City Hall. Even as thousands of demonstrators took to the streets — organized not by Shahid or Duvall, but by a youthful cadre of protesters, faith leaders and city officials — the question remains. Why did it take so very long to charge Stockley? When questioned about the delay in 2016, Joyce claimed that her office had only recently received new evidence on the case, including the DNA tests and cellphone video. Dan Isom, who served as police chief in 2011, countered that his police investigators had promptly uncovered the key evidence in 2012. (Internal affairs investigator Kirk Deeken apparently testified as much under oath, as the Post-Dispatch reported recently.) Isom told the Post-Dispatch that the only thing that changed in the intervening years was Joyce’s “political will.” And indeed, Richard Callahan, then the U.S. Attorney for Missouri’s Eastern District, told reporters in 2016 that his office had evaluated all the available evidence, including the DNA swabs, back in 2012. But Joyce, in her first public comments about the case since leaving office, contends that politics had nothing to do with it. “The initial investigation in this case was, from my perspective, very disjointed.” Joyce writes in an email. While federal agencies and city cops investigated the case, she note that her office was only consulted “from time to time.” “We did not receive a formal, organized and comprehensive warrant application until six weeks before the case was charged [in 2016],” she writes. “It was very frustrating that so much time passed

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between the incident and the application of charges by police.” Even as Shahid and Duvall were trying to drum up interest in the case, on March 22, two of Joyce’s prosecutors met with investigators from the St. Louis police department’s Internal Affairs division. That was the first time Joyce saw the daschcam and surveillance footage. Over the next six weeks, her office sorted through evidence that she says it had never been presented with during those informal meetings with the U.S. Attorney’s Office in 2012. For the first time, she claims, city prosecutors got a look at the forensic evidence, including the .38 revolver bearing Stockley’s DNA. What she still didn’t have, though, was the cellphone video of the shooting’s aftermath. It wasn’t until Joyce’s office began to take a hard look at the case in 2016 that prosecutors realized the key evidence had been hiding in plain sight. Among the witnesses who would ultimately testify at Stockley’s trial was Antonio French, a man who shares a name with a former St. Louis alderman but bears no relation. On December 20, 2011, French had been cleaning the second floor of a club near the corner West Florissant and Acme avenues when he heard the crash of Smith’s Buick being rammed to the side of the road. After watching Stockley shoot into the car, French pulled out his phone and started recording. According to sources familiar with the FBI’s reports on the investigation, the existence of French’s cellphone video was noted by federal agents but never pursued to completion. On the witness stand in 2017, French testified that he had been interviewed by city detectives years before, but that at the time he was worried about involving himself in a police investigation. French testified that he’d

told the police that his phone had been stolen and that he’d failed to make any copies of the video clips. As he acknowledged on the stand, that had not been true. Years later, Joyce simply reached out to French after she reopened the case. This time, he made a different choice. French sent her a copy of the three video clips and agreed to testify to a grand jury, which ultimately helped Joyce indict Stockley in August 2016. Was the department only too willing initially to let French’s evidence go untapped? Shahid and Duvall still believe that the St. Louis police department and other agencies covered up evidence and protected Stockley from the outset. Joyce suggests that, in a way, she grew to share those concerns. While her emailed statement to the RFT does not directly address the agency’s initial failure to get the video from French, she writes, “I’ve become convinced, due to the Stockley case and others, that the SLMPD cannot investigate itself effectively.” She credits former chief Sam Dotson for “somewhat” improving the department’s investigation of officer-involved shootings. But what hasn’t changed, she says, is the relationship between the department’s internal investigators and the St. Louis police union. “It is critical that truly independent investigators handle these important cases,” she writes. “The current SLMPD investigators appear to have a very close relationship with the SLPOA [St. Louis Police Officers Association] and SLPOA lawyers. I believe this is a clear conflict of interest that effects the quality of their work in an unacceptable fashion. Joyce and the activists aren’t the only ones frustrated — and suspicious — of the initial investigation..

Shortly after Stockley was charged in May 2016, Albert Watkins, the defense attorney representing Smith’s fiancee and daughter, added a stunning allegation of his own: Watkins claims that the Missouri Attorney General’s Office — which represented the city in the 2012 civil case — never provided him with the forensic evidence that showed Stockley’s DNA on the grip of the revolver allegedly belonging to Smith. Watkins, of course, had already won his clients a massive settlement. But in a June 2016 letter, he blasted the attorney general’s “misrepresentations” in the case. Smith’s family was willing to set aside the settlement, Watkins wrote, and go back to court with the evidence they should have been given more than four years ago. “The question is going to be whether there was collusion between the state and the city, or whether the city on its own decided they would not provide it to their counsel and keep it secret,” Watkins says. “I find it very hard to believe that there would be collusion, but that’s one possibility. I also find it very hard to believe that the Attorney General’s Office would receive it from the city and not give it to us. I find it very plausible that the city had it and did not give it to the Attorney General’s Office. But that’s not for me to determine.” Ten days after the verdict, Missouri’s new attorney general, Republican Josh Hawley, jumped into the fray — eagerly publicizing his willingness to cast blame on his Democratic predecessor, Chris Koster. “The attorney for the family of Anthony Lamar Smith has raised serious allegations of wrongdoing by the Koster administration,” Hawley said in a statement. “As Mr. Smith’s family states, these allegations deserve ‘a full, accurate and transparent’ accounting.” The Attorney General’s Office has since hired Hal Goldsmith, a partner at Bryan Cave and a veteran white-collar prosecutor, to probe whether its attorneys failed to turn over all the evidence to Watkins. More than two weeks after Judge Wilson issued his decision finding Stockley not guilty, protests have taken place almost every single day in St. Louis and its suburbs. Protesters have marched through shopping malls and city streets, through the parking lot of a suburban Target and in front of police headquarters. They’ve chanted “Anthony Lamar Smith,” “no justice, no profits” and “the whole damn system is guilty as hell.” In a town hall meeting held in downtown St. Louis on September 28, protesters unveiled a list of demands, including the resignation of Mayor Krewson, the closure of the city’s workhouse and an audit of the police department. They’ve also called for the termination of acting police chief Lt. Colonel Lawrence O’Toole. O’Toole became a polarizing figure by boasting that the police “owned the

night” after arresting 123 protesters, observers and even a Post-Dispatch reporter on September 17. Of that total, 120 were charged solely with “failure to disperse,” and lawsuits are already being filed by people claiming they weren’t given a chance to leave before being pepper-sprayed and even beaten by city cops. But O’Toole’s history with the Stockley case, too, has roots much deeper than his role in managing the department’s response to the protests. Shahid has pointed to a photo that shows O’Toole, then a major, on the scene in the aftermath of Smith’s killing — an unmistakable figure in a coat and tie standing just behind police tape as a crime lab staffer collects evidence in Smith’s car. The photo was published as part of a Post-Dispatch slideshow focused on the case, though O’Toole’s presence in the image was not noted by the paper. O’Toole also never mentioned his presence in any of the numerous press conferences or interviews he conducted before or after the Stockley verdict. The closest O’Toole ever got to a candid remark about Stockley came on August 31, while the city was still paralyzed in anticipation for the verdict. That afternoon, detectives had opened fire on a suspected car thief, striking him in the torso. As O’Toole wrapped up a press conference — the detective, the chief said, had acted in self-defense — a reporter asked O’Toole to comment on the impending verdict. “In regards to the Stockley case, I will only say that the St. Louis Metropolitan Police Department held Stockley accountable for his actions, and he is no longer employed by the St. Louis police department,” O’Toole said. He pointed out that Stockley had been charged and afforded “the full transparency of the investigation that the police department conducted.” “Like it or not,” O’Toole said, “the system is working.” Asked about the press conference now, Shahid calls O’Toole “a sneaky motherfucker.” “When he made that statement, that he’s being ‘transparent’? He’s a motherfucking liar,” Shahid says. “They’re not being transparent on shit.” On September 25, Shahid marched with hundreds to the headquarters of the St. Louis police department to demand O’Toole’s resignation. Bullhorn in hand, Shahid looked across the crowd of diverse, mostly young faces, and he roared invective at the glass façade rising above them. Shahid passed the bullhorn to another activist, and he joined his booming voice to the swell of outrage echoing through the downtown street. A few feet away, a protester pointed to the silhouettes moving behind the windows above them. The police were watching. Fists in the air, the crowd chanted back, “Blue silence! Is Violence!” n

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Steve McCurry, Sharbat Gula, Afghan Girl. Peshawar, Pakistan, 1984, EPSON UltraChrome print, 60 x 40 inches. Image courtesy of and © the artist

BY PAUL FRISWOLD

THURSDAY 10/05 Spring Awakening Stray Dog Theatre opens its fifteenth season with the crowd-pleasing Spring Awakening, which it last produced in 2012. Steven Sater and Duncan Sheik’s musical adaptation of the 1891 play by Frank Wedekind. Although well over 100 years old, Wedekind’s play about a group of German school children trying to figure out how to make the leap to adulthood still feels fresh. Parents continue to worry about their children growing up too quickly, today’s children also see themselves as young adults who are ready to expand their boundaries, and both teens and adults continue to worry about what the future will hold. The clothes may change, but the bumps and bruises remain the same. Stray Dog Theatre presents Spring Awakening at 8 p.m. Thursday to Saturday (October 5 to 21) at

the Tower Grove Abbey (2236 Tennessee Avenue; www.straydogtheatre.org). There is an additional performance at 8 p.m. Wednesday, October 18. Tickets are $25 to $30.

FRIDAY 10/06 Cardenio Of the many mysteries surrounding William Shakespeare — was that his real name? did he use a quill or a word processor to write? what were his thoughts on ruffled collars? — one of the more interesting possibilities is the fate of his play Cardenio. Oxford’s Bodleian Library has proof it was staged in 1612, but then it seemingly disappeared. A version of it supposedly surfaced in 1727 when an editor was given the play’s manuscript by a man who worked in the theater; after reshaping it, the editor presented it under the title The Dou-

ble Falsehood. What is known for a certainty is that Cardenio was inspired by a story found in Don Quixote about a man who is betrayed in love by a friend, which causes our hero Cardenio to go live in the hollow of a cork tree in the Spanish mountains. Gregory Doran, artistic director of the Royal Shakespeare Company, attempted to wrangle all these threads together in a complete version of the play. Some of it is from Shakespeare, some from Shakey’s collaborator John Fletcher, some from Cervantes and some of it is written fresh this century to hold the thing together. St. Louis Shakespeare presents the lost-and-found play Cardenio October 6 to 15 at the Ivory Theatre (7620 Michigan Avenue; www.stlshakespeare.org).

Steve McCurry Photographer Steve McCurry created an iconic image with his riverfronttimes.com

portrait of a young Afghani girl and her haunting, bottomless eyes, which stared down his lens and seemingly into the innermost chamber of your heart. But that photograph isn’t the extent of McCurry’s work. For almost 40 years he has been traveling the world, photographing people in India, the temples of Angkor Wat, burning oil fields in Kuwait, and indeed, even an entire series on the striking eyes he spots in people’s faces the world over. Steve McCurry: The Importance of Elsewhere is a new exhibition of his work at the Sheldon (3648 Washington Boulevard; www.thesheldon.org), featuring 37 photographs McCurry made during his journeys. The exhibit opens with a free reception from 5 to 7 p.m. Friday, October 6. The show continues through February 3, 2018, and the gallery is open Tuesday through Saturday. Admission is free.

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CALENDAR Continued from pg 19 Sweet Revenge While his peers grappled with the big ideas that were the work of “great men,” Polish writer Aleksander Fredro was concerned with telling a funny story. He liked the folksy humor of the people, wordplay and farce. All of his facilities with these underrated tools are used to dazzling effect in his bestknown play Zemsta, or Sweet Revenge. It tells the tale of two men’s dispute; their struggle comes to dominate their lives, as each plots to outmaneuver the other and strike the final blow to win the victory. Revenge is all-consuming, a fact that never occurs to the people engaged in seeking it. Philip Boehm, artistic director of Upstream Theatre and award-winning translator, has written an English version of the play that maintains Fredro’s rhyming verse and humor. Upstream Theater opens its season with Sweet Revenge at the Kranzberg Arts Center (501 North Grand Boulevard; www.upstreamtheatre. org). The show will be presented as if an immigrant Polish theater in St. Louis in the 1930s was staging it. Performances are at 8 p.m. Thursday through Saturday and 7 p.m. Sunday (October 6 to 21), with a final 2 p.m. performance on Sunday, October 22. Tickets are $25 to $35.

SATURDAY 10/07 Prost! The proliferation of high-quality, locally produced craft beer has been both a blessing and a curse (although the scales tip heavily toward blessing). How can one person, regardless of how thirsty, enjoy a draft from all of them? There’s only so much time in a day. Maplewood arranges for you to live your dreams with the inaugural Prost! Eighteen businesses in downtown Maplewood will be selling a la carte examples of local brewers’ handiwork from noon to 5 p.m. today. If you have $15, you can buy a VIP pass at Schlafly Bottleworks (7260 Southwest Avenue) that gets you a commemorative cup and twelve tastings of your choice. But how will you pick between Heavy Riff (at the 20

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Whit Reichert (left) and John Contini star in Sweet Revenge at Upstream Theater. | PROPHOTOSTL Muddled Pig) and 4 Hands (at the Crow’s Nest)? If you buy two VIP tickets, you can try everything and get seconds on your six favorites. Other local businesses will be selling beer-related goods throughout the day, ranging from beer soap (to clean you, not your beer) at Maven, Butter Beer at Traveling Tea and beer bread at Great Harvest Bakery. For the full list of participating breweries, visit www.cityofmaplewood.com/beer.

St. Louis Blues Home Opener Friends, there’s no easy way to put this: Robby Fabbri aggravated his surgically-repaired knee, and the St. Louis Blues have lost the talented forward for the entire season. This is a bad omen, especially with the solid Alexander Steen and the enigmatic Patrik Berglund already consigned to the scrap heap for chunks of the 2017-18 season. The silver lining? Hockey legend Jaromír Jágr might already be wearing the bluenote as you read this. The unlucky-early Blues play the home opener tonight at 7 p.m. at Scottrade Center (1401 Clark Avenue; www.stlblues.com), taking on the Dallas Stars. Remaining tickets are $64 to $215.

Tuesdays with Morrie Mitch Albom enjoyed a meteoric rise to the top of the sports-journal-

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ism world, going from recent college grad to feature writer to lead sports columnist for the Detroit Free Press. But sportswriting was not his original dream. As a young man in college, he dreamt of being a jazz pianist. The distance between the two professions loomed large when he happened to see his college mentor Morrie Schwartz on TV one night. Reminded of his close relationship with Morrie, Mitch decides to pay the old man a visit. Morrie’s dying, and Mitch wants to say goodbye. But Morrie is not interested in goodbye; Morrie wants to live happily and productively until death takes him, and then he’ll leave fulfilled and happy. Before he knows it, Mitch falls back into his old relationship with Morrie, flying cross-country every Tuesday to learn at his master’s knee. The play Tuesdays with Morrie, by Jeffrey Hatcher and the real-life Mitch Albom, is based on these meetings, which reminded Albom what it means to live a full life. Tuesdays with Morrie opens the New Jewish Theatre’s new season. Performances take place at 7:30 p.m. Wednesday and Thursday, 8 p.m. Saturday and 2 p.m. Sunday (October 4 to 22) in the Wool Studio Theatre at the Jewish Community Center (2 Millstone Campus Drive; www.newjewishtheatre.org). Tickets are $41 to $44.

Dylan Moran If you’ve never seen Black Books, the cult comedy co-created by Irish comedian Dylan Moran and now streaming on both Hulu and Net-

flix, Moran’s humor is difficult to explain. He’s a voluble talker, capable of beautiful imagery perverted in service of making the worst of any situation. Imagine Bernard Black, but somehow more articulate, more sarcastic and a tinch less grouchy. Because underneath the tangled mop of black hair and the verbal tapestry of anger and disappointment he weaves is a man who enjoys a bit of whimsy. Not in the sense of silly gags with punchlines, but more a dark delight in how venal and ridiculous we are as a species. Moran makes a rare St. Louis appearance at 8 p.m. tonight at the Grandel Theatre (3610 Grandel Square; www.thegrandel. com) for his show Grumbling Mustard. Tickets are $35 to $210 (for a six-person booth).

SUNDAY 10/08 Cat Videos Live! Various computer scientists and engineers, along with a single former vice president, all claim to have created the internet, but everybody knows it was really cats who did it. How else could they attain the worship they’re due than by harnessing a mass-media system that’s on for 24 hours a day? The “human beings” (sure) at CatVideos.com bring the message to the people with the traveling show Cat Videos Live! Hosted by comedienne Carla Rhodes, the show features exclusive videos of cats doing whatever it is they do, as well as clips of local cats submitted by their proud people. The St. Louis stop of Cat Videos Live! takes place at 8:30 p.m. Sunday, October 8, at the Pageant (6161 Delmar Boulevard; www.thepageant.com). If you are owned by a cat and don’t attend, you’ll be placing your life in the beclawed paws of a cuddly murder machine. Planning an event, exhibiting your art or putting on a play? Let us know and we’ll include it in the calendar section or publish a listing on our website — for free! Send details via e-mail (calendar@riverfronttimes.com), fax (314-754-6416) or mail (308 N. 21st Street, Suite 300, St. Louis, MO 63103, attn: Calendar). Include the date, time, price, contact information and location (including ZIP code). Please submit information three weeks prior to the date of your event. No telephone submissions will be accepted. Find more events online at www.riverfronttimes.com.

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FILM

[REVIEW]

Love and War It was the No. 1 female tennis player vs. the No. 1 chauvinist pig — and all of America was watching Written by

ROBERT HUNT Battle of the Sexes

Directed by Jonathan Dayton and Valerie Faris. Written by Simon Beaufoy. Starring Emma Stone, Steve Carell, Sarah Silverman and Bill Pullman. Now screening at multiple locations.

eminism — or women’s lib, as it was more commonly known at the time — was still little more than material for late-night jokes in 1973, when the 29-year-old tennis player Billie Jean King accepted Bobby Riggs’ challenge to a “Battle of the Sexes.” Then the nation’s highest paid female athlete, King was a strong advocate for equalizing the standing (and pay) across genders, even risking the disapproval of the tennis establishment by helping to create the first women’s tour, the Virginia Slims (named after its sponsor, the then-new cigarette for women). Riggs, a champion in the late ‘40s, was semi-retired and hungry for publicity. Fueled by his deliberately provocative misogyny, his challenge that he could beat any woman player was seen as a blatant publicity stunt. When Australia’s Margaret Court accepted Riggs’ dare and was soundly defeated, King saw that it was also a serious threat to the future of women’s tennis. The 1973 Battle of the Sexes tennis match was one of those unique moments when a half-dozen or so cultural threads — generational conflicts, the intertwined worlds of professional sports and mass media, the narcissistic zeitgeist that Tom Wolfe would later define as “the ‘Me’ Decade” — intersected in one giant TV-friendly event. Was it just a corporate-sponsored serving of bread and circuses for the viewers at home, or did the match carry hidden traces of a wider social revolution?

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Billie Jean King (Emma Stone) took on Bobby Riggs (Steve Carell), with high stakes. | MELINDA SUE GORDON © 2017 TWENTIETH CENTURY FOX FILM CORPORATION Jonathan Dayton and Valerie Faris’ Battle of the Sexes, a comic but accurate recreation of the match and (with a little more license) its participants, makes a strong case for the latter, supported by the benefit of 44 years of hindsight and, perhaps of greater necessity, a strong eye for the absurd. Although the King-Riggs match dominates the final 30 minutes or so — exactly what you would expect from a sports movie — most of the film is devoted to the more emotionally complex story of King’s activism and her conflicted sexual identity. While the real King was already involved in a relationship with her female secretary at the time (she wouldn’t come out publicly until 1981), the film offers a more romanticized account of the married athlete falling for a hairdresser. Their first meeting turns a routine salon visit into a kind of playful seduction. This narrative may be purely fictional, but its intentions — showing the pressures of life as a closeted celebrity, especially one emblematic of women’s issues — seem legitimate. As King, Emma Stone suggests a genuine internal struggle at odds with her character’s cockier public image, while Andrea Riseborough, as the object of her

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troubled affections, is her freespirited polar opposite. As Riggs, whose marital problems and gambling addiction create a counterpoint to King’s more sober concerns, Steve Carell again displays an uninhibited genius for playing neurotic, unstable figures. He plays Riggs as a hustler so wrapped up in his game that there’s no guilt, no hesitation and no shame — just the drive for the next paycheck. (Curiously, he comes off as much more likable than the abrasive Riggs I recall from TV appearances.) His best moments find subtle humor in his subject’s worst characteristics, as when he loudly disrupts a Gamblers Anonymous meeting. Directors Dayton and Faris are probably best-known for their 2006 film Little Miss Sunshine, a pleasant but not particularly memorable outing that hit a lot of satirical subjects but maintained a level of wholesome optimism worthy of its title. Battle of the Sexes benefits from that same scatter-shot approach. While Simon Beaufoy’s script takes a few liberties with the facts before it gets there, the Battle itself is recreated with an uncanny verisimilitude even as it finds ironic nuances in the historical material. (Howard Cosell, one of the most divisive figures in

sports culture at the time, becomes a welcome Greek chorus in the finale, although there’s something both familiar and creepy about watching his image interacting with actress Natalie Morales, like observing a slightly aggressive party guest who’s had a few too many.) While many filmmakers find it easy to sneer at the recent past with a kind of bitter nostalgia, Dayton and Faris treat the historical details with something close to fondness and leave the satiric thrusts in the hands of their cast (Alan Cumming, Sarah Silverman and Elizabeth Shue work wonders with supporting roles). While the film makes no compromises in laying bare casual sexism or endorsing King’s commitment, there’s nothing mean-spirited about it, no cheap shots taken. Even the designated chauvinist pigs (Bill Pullman is especially good as King’s nemesis, the head of the Association of Tennis Professionals) are seen as the slightly helpless victims of their time, the last remnants of a slowly eroding cultural position. Battle of the Sexes tells the story of King vs. Riggs without bitterness or excess, but through its light, almost sweet tone, it reveals how a slightly ridiculous media event helped open the path for real cultural change. n

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THE ARTS

[ S TA G E ]

40 Whacks New Line’s ferocious Lizzie uncovers the making of a murderess Written by

PAUL FRISWOLD Lizzie

Written by Steven Cheslik-deMeyer, Alan Stevens Hewitt and Tim Maner. Directed by Mike Dowdy-Windsor. Presented by New Line Theatre through October 21 at the Marcelle (3310 Samuel Shepard Drive; www. newlinetheatre.com). Tickets are $15 to $25.

t’s been 125 years since Lizzie Borden’s father and stepmother were killed in the family’s New England home, a double murder that captivated America mostly because the crime went unsolved. Lizzie was accused and stood trial, but was eventually acquitted; she then moved back into the family home and lived there until her death in 1927. The Lizzie Borden at the center of the musical Lizzie, currently being staged by New Line Theatre, leaves no doubts about the identity of the killer: She did it, willingly and happily. Director Mike Dowdy-Windsor helms this raucous production, which fuses a punk rock attitude with slashing, guitar-driven rock. The show weaves together several theories about the case to paint a grim picture of Lizzie’s home life. By the end, you feel this was not so much a murder as it was justice deferred too long. On a shallow stage that evokes a late-nineteenth century drawing room, a barn loft and the standard small club stage, Lizzie (Anna Skidis Vargas) emerges, smoothing down her dress — the first hint that her father is sexually abusing her. Vargas launches into “This Is Not Love,” in which she decries someone touching with selfish hands, and asks what kind of life she has when she has no voice. Vargas is a world-class singer, and the way she stumbles into the chorus as if choking confirms for the audience what’s been going on.

Lizzie Borden (Anna Skidis Vargas) contemplates dead birds and murder. | JILL RITTER LINDBERG

By the end, you feel this was not so much a murder as it was justice deferred too long. She takes solace in her older sister Emma (Marcy Wiegert) and in her close friend Alice (Larissa White), whom she often meets in the barn. Just how close they are is evident in the way Lizzie and Alice approach each other tentatively during “Gotta Get Out of Here,” almost touching before turning away to howl their frustration into the chorus. Vargas’ and White’s voices intertwine like Heart’s Ann and Nancy Wilson, spiraling upward toward a passion that dare not speak its name — at least, not in 1892. (The illusion of a rock concert is furthered by the wardrobe,

which involves a lot of pink and black lace and corsets, along with hand-held microphones.) As terrific as the two “dear friends” sound together, there is something primal at work when Vargas and Wiegert sing. The sisters are prisoners of a controlling father who they feel has betrayed them by altering his will so that his new wife — the woman Lizzie and Emma coldly call “Mrs. Borden” — receives all his massive wealth when he dies. There are few options for unmarried women of 32 and 41, respectively, in 1892. Wiegert and Vargas channel that fear and rage into something defiant and beautiful. Emma, as it turns out, has the beginnings of a plan — she has a book about making household poisons in her possession. But when she leaves for a short trip, the girls’ father forces Lizzie into action through a purposely cruel and callous act. On her own, with the maid Bridget (Kimi Short) seemriverfronttimes.com

ingly hinting that the time is right to do something, Lizzie strikes. We do not see the act, only the aftermath, as two bodies in shrouds hang on the drawing room wall. But there is no doubt: When Emma asks what happens, Lizzie calmly answers with evident pride, “Somebody came in and killed them.” The second act covers the trial, but the drama comes from the conspirators’ fraying relationships, not the courtroom. Lizzie can’t keep her story straight, Alice refuses to lie, Emma worries she can’t protect her sister and Bridget can’t get anyone to eat breakfast. All four power the second act to its conclusion, which hints at happiness but ultimately implies that Lizzie Borden’s life was forever shadowed by the events of that day. The final song is an audience singalong of the playground ditty “Forty Whacks.” It’s a solemn reminder that a woman can get away with murder, but she can never escape society’s judgment. n

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CAFE

Balkan Treat Box offers Bosnian classics from a mobile kitchen, including pide, cevapi and döner. | MABEL SUEN [REVIEW]

Bosnia Calling Balkan Treat Box offers a delicious take on Bosnian food, served on wheels Written by

CHERYL BAEHR Balkan Treat Box

See www.balkantreatbox.com for location and hours or call 314-667-9927

f you ask Loryn Nalic to describe falling in love, she isn’t quite sure which story you want to hear — the time she met her husband or the day she watched his aunt make bourek.

Granted, Nalic would not have met Aunt Fadila were it not for that fateful day she went to call on Taft Street Restaurant and Bar. Then a meat saleswoman for Sysco, Nalic visited the restaurant to drum up some business and ended up meeting the love of her life, Edo Nalic, who was its manager at the time. The two began spending time together, frequenting the Bosnian spots around the Bevo Mill neighborhood that Edo called home since moving to the area from Sarajevo several years prior. For Nalic, their blossoming love affair was also the beginning of her passion for Bosnian food. Though she’d eaten the cuisine before meeting Edo, seeing it through his eyes gave her a richer understanding that only intensified as she began spending time with his family — in particular, his father’s twin sister Fadila. At Fadila’s house, even everyday meals were epic events, and Nalic found herself drawn into her

kitchen to soak up as much knowledge as she could. Nalic had known she wanted to learn how to cook Bosnian food, but when she saw Fadila make the traditional meat-filled phyllo pie called bourek, she realized she wanted to devote her life to it. Watching the joy on Fadila’s face as she labored to turn flour, salt, oil and vinegar into flaky golden layers was revelatory. She left that day a woman on a mission to learn everything she could about Bosnian food and to turn that knowledge into a restaurant. She had the cooking chops to open a place of her own, having already worked in various eateries, including a lengthy tenure at Pappy’s Smokehouse. However, before opening her restaurant, she knew that she had a responsibility to her husband’s homeland to get it right. In 2013, she went to Bosnia where she spent two months working in restaurants and home kitchens. She came back to the U.S. more confident riverfronttimes.com

than ever, and got to work translating her concept into a restaurant. That vision would become Balkan Treat Box, the delightful red and turquoise food truck that has been rolling around town since December 2016. If the vibrant colors are eye-catching, the smell emanating from it is a siren song. Nalic outfitted the vehicle not only with a standard food truck kitchen but also with a wood-burning pizza oven so she could cook the bread and grill the meat by fire, just as it’s done in the old country. That extra effort was not wasted. Balkan Treat Box is one of the most soulful, innovative concepts to open in recent years. Like Guerrilla Street Food did with Filipino food, the Nalics have modernized Bosnian cuisine while still respecting tradition. Her attention to it is a long time in coming. Without question, the city has been blessed with authentic Bosnian cuisine thanks to the large

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BALKAN TREAT BOX Continued from pg 27 diaspora that made its home in south St. Louis during the war in the early 1990s. However, though the delicious cuisine has been enjoyed by that community and adventurous food lovers for decades, the Nalics are making old world, traditional dishes seem contemporary, relevant and accessible. In that, they’ve got much in common with Lemmons by Grbic, the restaurant opened this spring by the St. Louis-raised children of Bosnian immigrants, to equally delightful results. Balkan Treat Box is anchored to tradition by its bread, something that Nalic quickly realized was the single most fundamental aspect of Bosnian cuisine. She bakes two kinds every day in the truck’s wood oven, serving it so fresh, it’s practically made to order: Bosnian somun, which is similar to pita, and Turkish pide, a flatbread that reads like the eastern cousin to Neapolitan pizza crust. On both, Nalic’s prior work as a pastry chef shines through in outstanding breads that are good enough to be eaten on their own. You could do this, or you could order the somun stuffed with Sarajevo-style cevapi, a ground beef sausage that looks like a breakfast link but tastes more like Middle Eastern kefta. Nalic cooks the meat over open flames, encrusting it with wood smoke to give it a slightly crisp texture even as it remains so juicy you’d think it’s been bathed in its drippings. The sandwich is served with sides of kajmak — think of the cream cheese-like Lebanese dip labneh — and ajvar, which is the mild but tangy red pepper condiment that is basically Bosnian ketchup. If you haven’t yet tried cevapi, Bosnian Treat Box will ruin you for any other version. You can also choose to enjoy the

Edo and Loryn Nalic, shown with cook Amel Rizvanovic (right) in their striking red and turquoise food truck. | MABEL SUEN somun as a traditional döner kebab, which is basically the Turkish version of chicken shawarma. Marinated chicken that has been roasted on an inverted cone-shaped vertical spit caramelizes as it rotates; the Nalics shave it off to order, then dress it with lettuce, tomato, pickled red cabbage, kajmak and ajvar — meat and salad all wrapped into one delicious pita that will make you forget there is such a thing as a chicken gyro. If Nalic’s somun is applause-worthy, her Turkish pide is the show-stopper. In what is destined to become one of the defining dishes of the year, this magnificent bread serves as a vessel for a whole host of fillings. And by “vessel,” I am being quite literal — the glorious, spongy bread, speckled with char, is fashioned into the shape of a boat, a bread-based model of a Viking ship with an elongated football shape, hollowed-out interior and upward-sloping front

and back points. On one visit, it cradled beef brisket from a collaboration with the esteemed barbecue restaurant the Stellar Hog. The meat coated the entire bottom of the bread, festooned with dollops of colorful condiments that made it look like a boatload of jewels: vibrant orange ajvar, magenta cabbage slaw, creamy white kajmak, translucent white onions and one yellow-green spicy pepper. Its beauty is matched only by its symphony of flavor. However, the simple comfort of the undressed cheese version of Balkan Treat Box’s pide is what truly won my heart. Here, Nalic covers the entire floor of her bread boat with a mild white Turkish cheese and mozzarella blend. The cheese bakes into the bread so seamlessly, it’s hard to know where one begins and one ends. You can top this masterpiece with any of the condiments on offer, but for my money, that would be

like bedazzling the Mona Lisa. It’s perfect as it is. The only issue with the pide — and really all of the offerings at Balkan Treat Box — is that they are difficult to eat by hand. A small complaint, but since this is a food truck, it definitely bears noting. I’m not sure if you are supposed to grab a fork and knife and cut into them (probably) or eat them sans utensils as a sandwich. I opted for the latter and ended up looking like I was devouring my food with the ferocity of someone kissing the love of their life for the first time. That’s the thing about Bosnian food — and about Balkan Treat Box in particular. It makes you fall head over heels in love. n Balkan Treat Box

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She Puts the ‘Katie’ in Katie’s Written by

CHERYL BAEHR

n retrospect, dropping out of high school at fourteen and getting a job in a restaurant doesn’t seem like such a bad idea. But Katie Lee-Collier admits not everyone has approved of her path. “Not finishing high school and then not going to college was definitely hard for people to process,” Lee-Collier muses. “I think whenever someone wants to do something that is risky — that isn’t just get a job and follow that path — people will be critical and suspicious and tell you that you can’t do it. You just have to do what you have to do on your own and find people who believe in you.” These days, it’s hard to see how anyone could lack faith in Lee-Collier. As co-founder of Katie’s Pizza, Katie’s Pizza & Pasta Osteria (two locations including 9568 Manchester Road, Rock Hill; 314-942-6555) and the meal delivery company Vero Pizza & Pasta, the chef and restaurateur has launched one successful concept after another, seemingly without missing a beat. However, it wasn’t that long ago that she was a teenager struggling to find her voice — literally. “I was a really shy kid. I was almost totally mute,” Lee-Collier explains. “My mom told me that she used to be the same way, and it helped her to work in restaurants to break out of her shell. I was so terrified at first that I couldn’t even pour water for people.” Saying goodbye to high school, Lee-Collier took her mom’s advice and got a job in the restaurant business, first at Crazy Bowls & Wraps and eventually at her aunt Zoe Robinson’s restaurant, Zoe Pan Asian Cafe. As her fear of talking to people

Katie Lee-Collier is a chef with big plans. | ASHLEY GIESEKING began to subside, Lee-Collier realized that she had a genuine knack for hospitality. If working stateside instilled in Lee-Collier a passion for hospitality, her time in Florence, Italy, solidified her passion for the culinary arts. While visiting her mom, who was running a study abroad program in the Tuscan city, Lee-Collier was struck by the way food was integrated into every aspect of Italian culture. She began to experiment with cooking, observing how things were done in a restaurant setting and then going to the market, gathering ingredients and trying to replicate what she saw at home. When she came back to St. Louis, Lee-Collier was on a mission to open a restaurant. She came up with a business plan for a risotto bar, but quickly realized that maybe she wasn’t quite ready. “I was twenty, and I couldn’t even get a liquor license,” she laughs. “I found a place in the Loop east of Skinker and called the sign on the window and got pretty far along with it until I realized I needed money.”

In the meantime, Lee-Collier began working with her father, who was an antiques dealer with a shop on Clayton Road. “It was a junk store, really quirky,” she admits. “I kept trying to convince him that we should close the store and open a restaurant. He listened to me say that for years.” Eventually, Lee-Collier’s father gave in, and the two shuttered the store and opened Katie’s Pizza in the adjacent storefront the very same day. The learning curve was steep. “I figured that pizza was going to be my easiest entrance into the culinary world because it’s just putting stuff on top of dough and baking it,” she says. “It was a learning experience. We had to make our first Margherita pizza seven times before it was actually right. I didn’t even know how to fold a pizza box and was still learning knife skills. It’s amazing what you can teach yourself when you have to.” Word of mouth and some favorable press put Katie’s Pizza on the map, but she acknowledges that it was a hard time in her life. After riverfronttimes.com

some personal struggles, she seriously wondered whether she — and the restaurant — would make it. Then she met the love of her life. In Ted Collier, Lee-Collier found a partner not only in life but in business. As he listened to her share her vision for the restaurant of her dreams — something she had only begun to execute at Katie’s Pizza — he could not help but being inspired. “We were both in very low places in our lives,” Lee-Collier says. “I had just gotten sober and was pretty fragile at the time. He had just lost everything in the real estate market. But he believed in me — someone who was living in a halfway house with no car and no money. I probably sounded like a crazy person saying I wanted to open another restaurant, but he was down on his luck too and wanted something better.” Lee-Collier decided to part ways amicably with Katie’s Pizza, a business that bore her name but was solely owned by her father, in favor of developing and opening a concept of her own. She and Ted launched a Kickstarter campaign for what would become Katie’s Pizza & Pasta Osteria in Rock Hill. When the doors opened, the pair were terrified that they would not be able to pay back their investors. That was 2013. Fast-forward to this summer, when they opened a second location because they were too busy to accommodate the crowds. The success of Katie’s Pizza & Pasta Osteria is something Lee-Collier does not take for granted. “We had some tough times on Clayton Road, but I’m grateful for that,” she says. “This wasn’t an instant success ever, but that allows you to be humble and look inside and try to be better. That’s our motto: Innovate, improve and take what people say seriously. And you have to know that this is what you want to do — you can’t do anything unless you totally believe in it.” Lee-Collier took a break from the kitchen to share her thoughts on the St. Louis dining scene, her passion for gelato, and why there may be a Hotel Katie’s in the future. What is one thing people don’t know about you that you wish they did? I’ve been sober six and a half years. Continued on pg 33

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KATIE LEE-COLLIER Continued from pg 31 What daily ritual is non-negotiable for you? Thanking God for another day. If you could have any superpower, what would it be? Time travel. A superpower I would never want to have? Reading people’s minds. What is the most positive thing in food, wine or cocktails that you’ve noticed in St. Louis over the past year? Lots of great culinary events this year that have brought us all together, and Vicia. What is something missing in the local food, wine or cocktail scene that you’d like to see? My husband is 50 percent Ukrainian. I’d love to be able to take him to an an authentic Ukrainian restaurant. If there is one, let me know, STL! Who is your St. Louis food crush? Michael Gehman from Double Star Farms. He’s a positive, inspiring, brilliant man who provides some of the best produce, dairy and eggs to St. Louis. Who’s the one person to watch right now in the St. Louis dining scene? Katie’s Pizza & Pasta Osteria’s chef de cuisine Jacob Sanderson. His work ethic, execution and desire to learn more and be better is unmatched. I can’t wait to see what evolves. Which ingredient is most representative of your personality? Serrano pepper! If you weren’t working in the restaurant business, what would you be doing? Building something. I love building concepts, spaces and teams. I’ve always wanted to build a hotel. Name an ingredient never allowed in your restaurant. Green bell peppers. What is your after-work hangout? Haha! The couch. What’s your food or beverage guilty pleasure? Mint chip or coconut Talenti Gelato — almost every night when I get home. What would be your last meal on earth? A reuben. n

[BEER]

EARTHBOUND IS NOW OPEN (AND HUGE) Written by

CHERYL BAEHR

I The “Farm Boy” pizza is topped with arugula, roasted red pepper, bacon and an egg. | SARAH FENSKE

[FIRST LOOK]

Hugo’s Brings That Baileys’ Polish to Pizza Written by

SARAH FENSKE

efitting a spot named for a four-yearold, Hugo’s Pizzeria (3135 Olive Street, 314-896-4846) is a friendly, cheerful kind of place. Your first clue upon arrival might be the bright yellow chairs: If you’re going for ponderous, you generally do not include a pop of sunshine. The pizzeria, which opened September 20 in Midtown across the street from the Pappy’s/Southern juggernaut, is something new for the homegrown Baileys’ Restaurants empire. Restaurateur Dave Bailey has shown he can do desserts (Bailey’s Chocolate Bar), burgers (Baileys’ Range), brunch (Rooster), sophisticated bar food (Bridge) and even vegetarian (Small Batch). This restaurant, named for his young son Hugo, is his first attempt at pizza. In true Dave Bailey fashion, Hugo’s is less interested in following an “authentic” version of what others have decreed pizza should be and more in making one that he’s excited to eat. It’s been described as Roman-style, but Bailey acknowledges that he developed the pie through careful experimentation, and then came up with the words to orient diners. “The bottom has a little bit of crunch, because it’s cooked on a nice hot stone,” he says. “But then there’s enough rise that it’s like a pillow on top. It’s a really good chew.” The flour is aged for twelve

to fifteen hours for a complex note. The result, topped by Hugo’s signature sauce — “a little sweet and a little spicy, just like Hugo is,” Bailey says — is a singular pie. It’s both familiar enough to be comforting but unique enough to be instantly recognizable. Topped with a host of fresh offerings, including housemade pepperoni, it’s a definite winner. Pizza runs from $12 to $14 for a pie that’s big enough to serve three hungry guests. Gluten-free crust is available, as is a vegan cheese. Bailey promises to be an oasis for gluten-free diners. “If you’re gluten-free, your menu is everything except the meatballs,” he promises. “There’s not a lot you’re going to miss out on.” Other options include four salads, available in sizes large ($10) or small ($7) and a half-dozen appetizers, including wings with a spicy or sweet herb sauce. Hugo’s is justifiably proud of its bar menu: There’s a full roster of cocktails, a smartly curated wine list and a host of craft beer on offer. A creative kid’s menu is also available — because, yes, you have to have a kid’s menu at a place named for a fouryear-old. The restaurant’s dining room is located in the spot that pizza lovers will remember as the original home of the Good Pie, chef Mike Randolph’s much beloved authentic Neapolitan spot, which blew St. Louis’ mind before relocating to the Delmar Loop and then closing. The brick walls will be familiar from that spot. But Hugo’s is much bigger than the Good Pie was. Randolph’s spot only took one bay of a four-bay building; Hugo’s is already using three, with a dining room in one bay, a bar and additional seating in another, and a sizable kitchen in the third. In the fourth bay, Bailey says, he’ll eventually be opening a second restaurant, one that shares a kitchen n with Hugo’s. riverfronttimes.com

f you’d asked Stuart Keating about timing when he first announced Earthbound Beer’s expansion back in September 2015, he would have said that St. Louis beer drinkers would be able to enjoy the company’s new home by the summer of 2016. But that season came and went, along with every other projected opening date Keating and his team at Earthbound projected for its new space, the former Cherokee Street Brewing Co. stock house. Finally, after two years, countless delays and the expenditure of exorbitant sums of money and energy, Keating, Rebecca Schranz and Jeff Siddons opened the doors of the new Earthbound Beer on September 23. “We projected the project to take about ten months, but we ran into all sorts of things that we didn’t expect,” Keating explains. “The building is 150 years old, so nothing was up to code. We had to go through four-foot masonry walls just to put in doorways.” Still, Keating, Schranz and Siddons were set on using the space, located just down the street from the original Earthbound Beer at 2724 Cherokee Street. For years, the historic building has sat underutilized, a remnant of the city’s vibrant pre-Prohibition beer scene. The opportunity to breathe new life into it was important to Keating and his team. “We see what we’ve done with the building as an homage to St. Louis’ cultural heritage,” says Keating. “Here we were, able to repurpose an old brewery into a brewery again.” Renovations included rehabbing the building’s massive basement, part of the underground network of caves that run through the neighborhood. “We didn’t have any idea of how intensively we were going to use the basement, and having to prepare all of that was outstanding,” Keating explains. “Moving all of that expensive heavy equipment — we have Continued on pg 34 pictures of

OCTOBER 4-10, 2017

RIVERFRONT TIMES

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them hanging from a chain — was a terrifying ordeal.” The delays were a bitter financial pill for the Earthbound team. Not only did they have to bear significant costs, but they also had to make payments on equipment before they were able to use it. Still, Keating says the business had no choice but to take on the expansion. “When we first opened, we did it on very little money because we wanted to see if we actually liked running a brewery,” Keating says. “We figured we’d give it a test run for a year, but after three months we knew that we needed to get bigger because we couldn’t keep up with demand.” As for the new digs, Keating says to expect the design and service philosophy that informed the original location to carry over to the new location, just on a much grander level. “One of the underlying principles when we opened the first location was to put as much care and love into the taproom experience as we did into making the beer,” says Keating. “We thought through all of the details, all the way down to the lighting above the stalls in the ladies room.” Keating describes the new Earthbound as being filled with natural light and emphasizing vertical space. Both north and west-facing windows fill the room with daylight. There is also a mezzanine in the middle of the building that is suspended by the ceiling from chains. “We wanted the place to feel really weightless,” Keating explains. “Also, we’ve created several different zones of engagement, so people can either have a private drink or be in a very public setting.” Though Keating and company had originally planned on doing Earthbound’s food service themselves, they came to the realization that wasn’t the best idea and instead tapped Chris Bork of Vista Ramen to take care of the edible offerings. “Chris Bork is a genius and we couldn’t ask for a better restaurant partner,” said Schranz in a statement announcing the partnership. When asked about the future of Earthbound Beer, Keating could not be more excited to simply focus on the present. “We’re petrified and excited and we don’t know what to expect,” he says. “We’ve spent our entire existence as a brewery building a brewery, so we’re really excited to not be n focusing on expansion.”

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hen Lawrence Chen opened Private Kitchen nearly three years ago, he knew his soup dumplings were good. He just didn’t realize they would someday necessitate their own restaurant. Two weeks ago, Chen opened that offshoot, St. Louis Soup Dumplings (8110 Olive Boulevard, University City), in a sleek, renovated space adjacent to Private Kitchen. As its name suggests, the restaurant is entirely dedicated to the hand-made, liquid-filled Shanghai-style dumplings that have been sending his guests into a frenzy. Unlike its upscale older sister, St. Louis Soup Dumplings is a casual concept. Guests order at a counter, and baskets filled with dumplings arrive at the table shortly thereafter. There are several varieties to choose from — chicken, pork, fish, shrimp, beef or vegetarian — as well as a selection of ready-made cold dishes from a display case next to the order counter. In addition to these a la carte sides, each order of dumplings comes with a bowl of Chen’s chicken soup. For Chen, a trained chef in his

OCTOBER 4-10, 2017

native Shanghai, seeing such interest in traditional Chinese cooking is a refreshing departure from the Americanized dishes he cooked after first moving to the United States. For twenty years, Chen worked at Yen Cheng and its affiliates before branching out on his own to open Private Kitchen in early 2015. He knew the concept would cater to the area’s Chinese community, but he had hoped to also win over American diners who might not be as familiar with traditional Chinese offerings. That gamble paid off, and he is hoping to parlay his success into the new restaurant, giving diners easier access to his delectable cuisine. Instead of reserving a table and dishes in advance like at Private Kitchen, guests will be able to walk into St. Louis Soup Dumplings anytime between 11 a.m. and 9 p.m. Wednesday through Sunday. They can either eat in or take his food to go — though, in light of how tasty these dumplings are, it will be a wonder if any carryout orders make it out of the parking lot. n

Grea

riverfronttimes.com

[FOOD NEWS]

OCTOBER IS ‘POTTERMONTH’

imone Faure of La Patisserie Chouquette (1626 Tower Grove Avenue, 314-932-7935) has a secret. Well, not so much a secret as a quiet badge of honor. “I’ve always loved Japanese anime, zombies, vampires — anything that has a dark side, but has been totally romanticized in a way that’s unnecessary and unnatural,” laughs the accomplished pastry chef. “I think it’s just in my DNA to have this weird side.” It’s this “weird side” that also fuels Faure’s love for Harry Potter, J.K. Rowling’s fantasy book series that launched in 1997. Rowling’s sprawling tale of three magical students battling an evil wizard spawned countless films, merchandise, fan fiction and cosplay. Twenty years later, there’s still no end in sight. “The world is bad-weird,” Faure says. “But when it comes to fandom and anything that’s comic-book related, mystical or magical, you can disappear in it. With the Harry Potter series, it’s healthy because there are tons of lessons in it that can help you navigate the real world as well. “When it comes to Hogwarts and all of the ambitions that lie within that school, the motivations, the desires, the need for students to find something other than themselves, there’s just so much darkness — even within the ones who think the very best of themselves, like Harry or Hermione,” Faure continues. “There’s a little bit of Draco in everybody, and it’s important to understand that and embrace that.” Throughout October, Faure will celebrate Harry (also known as “The Boy Who Lived”) and his friends the best way she knows how — with food. For

Simone Faure of La Patisserie Chouquette loves the the dark side, which she’s expressing with a month’s worth of Harry Potter events. | ALLISON BABKA what she’s dubbed “Pottermonth,” Faure is turning her shop’s popular Saturday afternoon tea sessions into magical feasts befitting a Sorting Hat ceremony. Each weekend, Potter fans will dine on roasted rosemary chicken with apples, “quidditch quiche” (named for the book’s soccer-type sport played on flying broomsticks), “Hagrid’s rock cakes” (a favorite of the story’s gentle giant) and more. Not surprisingly (the beloved patisserie and Harry Potter make for a potent combo), reservations are full, although you can add your name to the waiting list. But fear not, because there’s Pottermonth fun during the week, too, and no reservations are necessary for that. Visit La Patisserie Chouquette during regular business hours Tuesday through Friday for an array of treats any Potter fan will recognize: chocolate frogs, pumpkin pasties, treacle tarts and plenty of other goodies mentioned in the novels,

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including butterbeer (see riverfronttimes.com for Faure’s recipe). There’s a charitable side to Pottermonth, too. Faure encourages patrons to bring in new pairs of socks for “Dobby’s Sock Basket.” The hosiery collection honors the house elf that Harry and his friends freed in the books and will be donated at the end of the month to the Little Bit Foundation in St. Louis and to flood relief efforts in Texas. Faure says that the shop will be decked out Hogwarts-style with plenty of magical accoutrements to play with. She’s encouraging Potterheads to arrive in costume and to be prepared to talk about which of the four school “houses” the wise Sorting Hat would put them in: courageous Gryffindor (home to Harry and his besties), loyal

Hufflepuff, logical Ravenclaw or ambitious Slytherin (where many of the villains end up). She’ll leave the Sorting Hat ceremony to others, though; Faure doesn’t need it. “I’m Slytherin, and I already knew before I was sorted,” she laughs. —Allison Babka

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OCTOBER 4-10, 2017

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MUSIC

[PREVIEW]

Guns Blazing Black Pistol Fire’s smoking-hot rock & roll comes courtesy of two lifelong friends Written by

HOWARD HARDEE Black Pistol Fire

8 p.m. Wednesday, October 11. The Firebird, 2706 Olive Boulevard. $15 to $17. 314-5350353.

lenty of bands like to party after a big show — but not Black Pistol Fire. That’s because, according to drummer Eric Owen, the band uses every ounce of its energy on stage. “It really does take a lot out of us,” he says. The Canadian rock duo’s live shows are wild. At any given moment, frontman and guitarist Kevin McKeown is liable to leap off a stack of speakers, writhe around on the stage or surf the crowd, all while shredding white-hot rock & roll. Owen, meanwhile, is a max-effort drummer who appears intent on demolishing his kit. “None of that is forced at all,” Owen says. “That’s how it makes us feel. The music makes me want to hit the drums as hard as I can; it makes Kevin thrash around and go crazy. That adrenaline rush is so huge.” Black Pistol Fire is a new take on the long tradition of fast and filthy blues laid down by the likes of Led Zeppelin and Muddy Waters. Of course, as a two-piece, comparisons to the White Stripes and the Black Keys are unavoidable. Black Pistol Fire definitely draws from the same toolbox — quiet-then-loud dynamics, guitar heroics and festival-leveling amplification — but with added dashes of Southern grit and fiery intensity in the mix. Owen spoke to RFT from his front porch in Austin, Texas, during a break in the band’s tour schedule. The group will be back on the road soon, stopping at the Firebird on October 11. As Owen explains, he and McKeown go way, way back — in fact, all

Black Pistol Fire’s Eric Owen, left, and Kevin McKeown have known each other since kindergarten. | PHOTO VIA MODERN OUTSIDER the way to grade school in Toronto, Ontario. “We went to kindergarten together,” he says. “I was one of those kids that pulled their pants all the way down to their ankles to pee instead of just going through the fly, and my first memory of Kevin is him pointing and laughing at me while I was doing that.” The two started playing music together in high school. For their first-ever performance, they played a shoddy cover of Marilyn Manson’s version of “Sweet Dreams” for their class. For years, they jammed the Beatles, Nirvana and Weezer as a trio, playing with a couple of different bassists, and started making original music in their early twenties. “We started doing the duo thing because we always wrote songs like that,” Owen explains, “and then we just started jamming and figuring out how that works. It wasn’t a conscious decision to be a duo; it just kind of happened.” The two have since discovered that the simplicity of being a two-

some has its benefits. They use less gear, so less can go wrong during shows, and afterward they split the pay 50/50. Decision-making is relatively easy as well — either they’re both on board, or they do something else — and so is the creative process, with McKeown acting as the driving force and Owen following along. “A small percentage of our show is improvisational and based on feel, so it’s a lot easier to do that when there’s only two people to get on the same page,” Owen says. “It doesn’t always work, but we can usually sense where the other person is going.” With just two sets of hands and feet on stage, it can be tricky making enough noise. It helps to crank up the volume on Owen’s kick drum to stadium-stomping status, and McKeown increasingly is experimenting with effects pedals to achieve massive guitar tones. Owen also chooses key moments to play low-end synthesizer lines with one hand while simultaneously keeping the beat going, adding a layer that riverfronttimes.com

makes up for the lack of bass guitar. Over the years, Owen has had a front-row seat to watch McKeown’s evolution from a reserved performer to one of the most dynamic frontmen in modern rock. “As a teenager, Kevin was the craziest person ever,” Owen says. “And I mean that in a funny and wild sort of way; he was always trying to make people laugh and doing crazy stunts. When we started playing music, people would come see us play and say, ‘Wow, Kevin is shy on stage — that’s not what I expected.’ Slowly, the two sides of him kind of melded and that wild side of him has been harnessed on stage. He’s gotten more comfortable as a frontman.” And Black Pistol Fire’s attention-grabbing, high-energy shows have taken the two longtime friends pretty far — from covering Weezer in a basement to opening for Weezer at a Colorado music festival. And they’re still going, of course. “It is very surreal,” Owen says, “and I couldn’t ask for a better person to do it with.” n

OCTOBER 4-10, 2017

RIVERFRONT TIMES

HOMESPUN

KARATE BIKINI Chimera karatebikini.com OCTOBER 4

CHRIS O’LEARY BLUES BAND OCTOBER 5

BILLY BARNETT BAND OCTOBER 6

INNER CITY BLUES BAND OCTOBER 7

BOO BOO DAVIS OCTOBER 8

LOVE JONES

RIVERFRONT TIMES

hen Karate Bikini first arrived on the scene with a four-song demo EP in 2010, there was some comfort in a new band made up of familiar faces. The pop-leaning group contained players with roots in some of the city’s more thoughtful and tuneful bands, some dating back to the early ’80s. But the pedigree of the players coalesced behind the voice and songs of Tim McAvin, a guitarist and bass player best-known as a one-time member of Tight Pants Syndrome who could spin out a three-minute song with equal part wit and hooks. As the years went on and the band swelled to seven or eight members, McAvin has burrowed into his craft —2014’s A Simpler Sugar found him channeling Stephin Merritt while the band toyed with New Wave and baroque-pop flourishes. But in preparing for this year’s Chimera, McAvin sought to round out the corners of the sixteen-track album with the compositional, lyrical and vocal contributions of his bandmates. “Part of it was to get a little more buy-in so that everyone has a little more invested in it,” McAvin says of the new album’s construction. “And also to take a little bit off of my plate — I still contributed eleven songs.” The band’s open-source approach pays dividends immediately on opening track “The Maze,” written and sung by guitarist Mike Martin (formerly of the Painkillers and Tinhorn). On it, he sounds a little like a young Eric Carmen fronting the Turtles, and the band’s peppy upstrokes recall the Beatles’ “Getting Better” both in form and message. It’s also the most power-pop moment on an album that is more willing to experiment with song structures. While McAvin sings lead on most songs here, the scattershot variety — barely tethered basement jams, fingerpicked instrumentals, youthful garage rock — feels as much like a mix tape as it does a complete album. That experimentation informed the construction of the title track; the band used a mix of musical and statistical theories to work out its bones. “I took what I thought was a basic pop song, and I thought about ratios,” explains McAvin. “If we’re playing in C major, the C chord would appear 50 percent of the time. I went to the fourth of the scale and made half the number of chords. Shuffle the chords, throw out a group, and that’s section A. Do it again, that’s section B.” The track was performed on five different keyboards, undercut with itinerant drums and unmoored vocals, kind of like a Sparks song set to puree. “It’s funny because I thought it would be some sort of magic ratio — this is the ratio for a pop song! — but it turned out to not be that way,” he says. “It is kind of fun to say, ‘This is the music we’re gonna play’ and let fate make some of the decisions.’”

OCTOBER 4-10, 2017

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Fate dictated some choices, sure, but McAvin’s bandmates filled in a few more; each member added an element to the writing of at least one song. Michelle Rae, whose saxophone and vocals have long served as a tonic to McAvin’s dyspepticisms, takes the reins on the bluesy twang of “Good to Be Done.” John Horton, who is on anyone’s short list for the best guitarist in town, turns in the gentle acoustic instrumental “A Single Note,” displaying a range not normally heard in his usual gigs with the Bottle Rockets. And drummer Danny Hommes belts out the soulful, folksy “Fog in September” with the conviction of a campfire strummer. Eight years into the band’s existence, McAvin credits his partners for “bringing in some things, some other elements that I hadn’t originally thought of. It hasn’t totally changed; there’s still a pop aesthetic, even though there’s a wide spectrum, and that spectrum has widened.” In titling the album, Karate Bikini gives a nod to its many stylistic components. “The Chimera is a stitched-together animal — a snake body with eagle wings and a monkey head — at least in my mind,” McAvin says, noting that the allusion channels “that whole idea of coming from all the different places and trying to make it work somehow.” A whole made up of many disparate parts is, of course, an apt descriptor for Karate Bikini, even at its most pop-centric. That the album willfully rips the stitches and takes the stuffing out of its songs makes the image even more fitting. And for McAvin, being part of a band where most members are well into middle age has given him perspective and gratitude “We kind of just got lucky — Mike [Martin] and I were talking recently, and we said that if we were a younger band we would have bailed already,” McAvin says. “We would have bailed years ago. “It’s kind of become family,” he says. “It’s kind of become habit.” –Christian Schaeffer

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OCTOBER 4-10, 2017

RIVERFRONT TIMES

OUT EVERY NIGHT

THURSDAY 5

[CRITIC’S PICK]

BILLY BARNETT BAND: 7 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. CORB LUND: 8 p.m., $15. Off Broadway, 3509 Lemp Ave., St. Louis, 314-498-6989. COREY SMITH: w/ Hudson Moore 8 p.m., $17.50-$20. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161. HEAD FOR THE HILLS: 8 p.m., free. The Bootleg, 4140 Manchester Ave., St. Louis, 314-775-0775. HENNA ROSO: w/ Joe Park Trio 7 p.m., $8-$10. The Stage at KDHX, 3524 Washington Ave, St. Louis, 314-925-7543, ext. 815. ICE NINE KILLS: w/ Lorna Shore, Phantoms, We Are Descendants 6 p.m., $15. Fubar, 3108 Locust St, St. Louis, 314-289-9050. JEREMY ESSIG: w/ Jeff Griswold 9 p.m., $5. The Heavy Anchor, 5226 Gravois Ave., St. Louis, 314-352-5226. JOE METZKA BAND: 10 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. KIM MASSIE: 10:30 p.m., $10. Beale on Broadway, 701 S. Broadway, St. Louis, 314-6217880. MAXO KREAM: 8 p.m., $18-$20. The Firebird,

Andrew W.K. | PHOTO BY JONATHON THORPE

2706 Olive St., St. Louis, 314-535-0353. MOONWALKS: 8 p.m., $7. The Sinkhole, 7423 South Broadway, St. Louis, 314-328-2309.

Grove Fest

SEAN MCCONNELL: 8 p.m., $10-$12. Old Rock

2 p.m. Saturday, October 7.

House, 1200 S. 7th St., St. Louis, 314-5880505. SPOTLIGHTS: 8 p.m., $10. Fubar, 3108 Locust St, St. Louis, 314-289-9050. THE STORY COLLIDER: 7 p.m., $10. The Ready Room, 4195 Manchester Ave, St. Louis, 314833-3929. UP AND VANISHED LIVE: 8 p.m., $30-$35. The Pageant, 6161 Delmar Blvd., St. Louis, 314726-6161. WATCHING FOR FOXES: w/ Folk Family Revival 8 p.m., $8-$10. The Monocle, 4510 Manches-

The Grove, Manchester Avenue between Tower Grove and Sarah. Free.

Grove Fest, a family-friendly celebration of Manchester Avenue’s bustling nightlife district, added an unexpected headliner at the last minute this year: the King of Party, one Andrew W.K. The rock & roller was originally scheduled to perform at the Ready Room, also located in the Grove; ticketholders who plunked down $25 for that show got a pleasant surprise when W.K. was moved to the free festival and all money was refunded. This is the first full-

band Andrew W.K. performance in St. Louis in more than a decade — recent shows have been vexing one-man acts, with W.K. performing to a backing track. This will be much better than that. A free show in a place where the booze flows heavily and rock & roll’s premier motivational speaker holds court with his band at his side? It’s time to party. Day Drinking Encouraged: Andrew W.K. is slated to go on at 9:30 p.m., but the festivities begin at 2 p.m. with performances by Jack Grelle, Eric Donte, Cara Louise Band and more. Show up early and tie one on. —Daniel Hill

ter Ave, St. Louis, 314-935-7003. 6161.

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

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

EMILY SALIERS: 8 p.m., $25-$28. Delmar Hall,

SCUZZ: w/ The Slow Boys, Bald Eagle

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

ALISON KRAUSS AND DAVID GRAY: 8 p.m., $72-

6133 Delmar Blvd., St. Louis, 314-726-6161.

Mountain 9 p.m., $3. The Ready Room, 4195

CALLOWAY CIRCUS: 7 p.m., $10-$12. The Fire-

$122. Peabody Opera House, 1400 Market St,

HALLOWEEZER: 8 p.m., $10. Blueberry Hill -

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

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

St. Louis, 314-499-7600.

The Duck Room, 6504 Delmar Blvd., Univer-

SKEET RODGERS & INNER CITY BLUES BAND:

CALLOWAY CIRCUS: w/ Steeples, Decedy,

THE BOTTLESNAKES: 9 p.m., free. Schlafly

sity City, 314-727-4444.

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

Solancy, Red Foreman 7 p.m., $10-$12. The

Bottleworks, 7260 Southwest Ave, Maple-

JOYNER LUCAS: 8 p.m., $14-$50. Fubar, 3108

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

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

wood, 314-241-2337.

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

VOODOO GUMP: THE MUSIC OF FORREST GUMP:

0353.

BOTTOMS UP BLUES GANG: 7 p.m., $5. BB’s

LOVE HZ: DRUM & BASS: w/ Packie, Bass

7 p.m., $10. Atomic Cowboy Pavilion, 4140

GLOWING IN THE DARK #3: 9 p.m., free. The

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

Ninja, Professor Hex, Cryptonix 9 p.m., free.

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

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

Louis, 314-436-5222.

The Crack Fox, 1114 Olive St., St. Louis, 314-

WHOA THUNDER CD RELEASE: 8 p.m., $10. Off

314-352-5226.

BRILLIANT BEAST: w/ Seashine 8 p.m., $7. The

621-6900.

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

GROVE FEST AFTER PARTY: w/ Bug Chaser 11

Sinkhole, 7423 South Broadway, St. Louis,

MATT POND PA: w/ J Fernandez 8 p.m., $15.

498-6989.

p.m., free. The Ready Room, 4195 Manches-

314-328-2309.

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

COFFEE BREAK: w/ Ken Warner 4 p.m., $7.

535-0353.

SATURDAY 7

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

ODDS LANE: 5 p.m., $10-$15. National Blues

THE AVETT BROTHERS: 8 p.m., $44.50-$55.

entist 8 p.m., $7. Foam Coffee & Beer, 3359

Louis, 314-772-2100.

Museum, 615 Washington Ave., St. Louis.

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

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

DESCENDENTS: 8 p.m., $35-$37.50. Delmar

ONLY SOUND: w/ Frontal Lobe, Dangerbird,

314-977-5000.

JOE METZKA DUO: 7 p.m., $5. BB’s Jazz, Blues

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

Subtropolis 8 p.m., $7. Foam Coffee & Beer,

BOO BOO DAVIS & THE BUMBLE BEE TRIO: 10

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

FRIDAY 6

RIVERFRONT TIMES

OCTOBER 4-10, 2017

riverfronttimes.com

ter Ave, St. Louis, 314-833-3929. THE HOLLOW ENDS: w/ Dear Genre, Kid Sci-

[CRITIC’S PICK]

Matt Pond PA 8 p.m. Friday, October 6. The Firebird, 2706 Olive Street. $15. 314-535-0353.

Bands rarely have the foresight to announce their break-ups before they happen, and when they do give fans the heads-up, they often reneg on the deal (LCD Soundsystem, we’re looking in your direction). But we’ll take Matt Pond PA at its word and trust that this most recent album and tour will be it for the soft, precise and emotionally

resonant pop band. True to form for a group that has always trafficked in memory, twilight and pastoralism, Still Summer leaves fans with a fleeting taste of eternal youth. Catch the band one last time and bottle a little of its cello-fed bucolic magic. Pond Scrum: Fans shouldn’t fret too heavily; Matt Pond himself will be dropping the “PA” and continuing on as a solo artist. —Christian Schaeffer

5222.

6989.

LESS THAN JAKE: w/ Red City Radio, Protag-

MUSIC UNLIMITED BAND: 8 p.m., $10. BB’s

onist 8 p.m., $20. Delmar Hall, 6133 Delmar

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

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

Louis, 314-436-5222.

MAIN EVENT BAND: 9 p.m., free. Nightshift

THE RUSSIANS ARE COMING: 7:30 p.m.; Oct.

Bar & Grill, 3979 Mexico Road, St. Peters,

10, 7:30 p.m., $38. The Sheldon, 3648 Wash-

636-441-8300.

ington Blvd., St. Louis, 314-533-9900.

PAT WOLFE’S 50TH BIRTHDAY SHOW: w/ Jer-

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

emiah Johnson Band, The Sleepy Rubies 8

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

p.m., $5. Off Broadway, 3509 Lemp Ave., St.

621-8811.

Louis, 314-498-6989.

TV GIRL: w/ Brothertiger, Le’Ponds 8 p.m.,

SOUTHSIDE WE RYDE: 8 p.m., $10. Fubar, 3108

$7. Foam Coffee & Beer, 3359 Jefferson Ave.,

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

St. Louis, 314-772-2100.

THIEVERY CORPORATION: 8 p.m., $35-$45.

TWIN PONIES: w/ Friend of Youth 8 p.m.,

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

$7. The Sinkhole, 7423 South Broadway, St.

314-726-6161.

Louis, 314-328-2309.

WALRUS: w/ Carinae, Polyshades, MFG 8 p.m., $7. The Sinkhole, 7423 South Broad-

TUESDAY 10

way, St. Louis, 314-328-2309.

BENJAMIN BOOKER: 9 p.m., $18-$20. Old Rock

XANDRIA: w/ Kobra & The Lotus, Septem-

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

ber Mourning 6 p.m., $10-$20. Fubar, 3108

0505.

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

BOB “BUMBLE BEE” KAMOSKE: 10 p.m., $5.

SUNDAY 8

BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

AJSR: 11 a.m., free. The Dark Room, 3610

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

Grandel Square inside Grandel Theatre, St.

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

Louis, 314-776-9550.

Louis, 314-436-5222.

BATTALION OF SAINTS: w/ The Cryptics 8 p.m.,

GIRLYBOI: 8 p.m., $8. Off Broadway, 3509

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

Lemp Ave., St. Louis, 314-498-6989.

314-289-9050.

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

BLACK TAR PROPHET: w/ Beyonder, Railhazer

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

8 p.m., $7. The Sinkhole, 7423 South Broad-

Olive Blvd, University City, 314-282-5561.

way, St. Louis, 314-328-2309.

KIM MASSIE: 10:30 p.m., $10. Beale on Broad-

CAT VIDEOS LIVE!: 8 p.m., $31. The Pageant,

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

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

7880.

LOVE JONES “THE BAND”: 8 p.m., $10. BB’s

MDC: w/ The Elected Officials 8 p.m., $12-

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

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

Louis, 314-436-5222.

289-9050.

SOCIAL ANIMALS: 8 p.m., $10. Off Broadway,

MILKY CHANCE: 8 p.m., $31.50-$35. The

3509 Lemp Ave., St. Louis, 314-498-6989.

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

SOUL REUNION: 10:30 p.m., $7. Beale on

726-6161.

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

THE RUSSIANS ARE COMING: Oct. 9, 7:30 p.m.;

621-7880.

7:30 p.m., $38. The Sheldon, 3648 Washing-

MONDAY 9 ELLIOT BROOD: 8 p.m., $10-$12. Off Broadway, 3509 Lemp Ave., St. Louis, 314-498-

ton Blvd., St. Louis, 314-533-9900. TODRICK HALL: 7:30 p.m., $25. Blanche M Touhill Performing Arts Center, 1 University

Continued on pg 45

BLUES HOME OPENER PARTY

SATURDAY ALL DAY & ALL NIGHT

s d e e l B s ’ e Duk ! s e u l B riverfronttimes.com

OCTOBER 4-10, 2017

RIVERFRONT TIMES

c o n c e r t c a l e n d a r

BURGER MADNESS SPECIAL

THU OCT 5

$8 Standard Burger and Fries

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FRI OCT 13 The Magic Beans w/

the echoe base quaRTET

TUE OCT 17 City of the Sun

YOUR SANDWICH PUB IN THE GROVE

THU OCT 19 Town Mountain w/

the foggy memory boys

FRI SEP 20 Durand Jones and the indications w/ thee commons & DJ Hal Greens

SAT OCT 21 The Ghost of Paul revere for more information and to purchase tickets:

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314.775.0775 42

RIVERFRONT TIMES

OCTOBER 4-10, 2017

Every Wednesday, All Day (with drink purchase, dine-in only)

20 BEERS ON TAP PLUS A ROTATING SELECTION OF BOTTLES & CANS POOL TABLE • GIANT PAC MAN • BOARD GAMES DJS THURS-SUN @ 10:30PM

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

THUR. october 5 RED OAK RUSE

MISSOURI CD RELEASE PARTY 9 pm

fri. october 6

h c run

SAT SUN

10-2

CEDRIC BURNSIDE PROJECT

WITH SPECIAL: GUEST KRIS LAGER BAND 10 pm

sat. october 7 CLUSTERPLUCK

WITH SPECIAL GUEST: MODERN GOLD

10 pm

wed. october 11 THE VOODOO PLAYERS TRIBUTE TO THE ALLMAN BROTHERS 9:30 pm

fri. october 13 MOUNTAIN SPROUT 10 pm

sat. october 14

NOLA SUPERGROUP THE NEW ORLEANS SUSPECTS 10 pm

2001 MENARD (AT ALLEN) IN THE HEART OF SOULARD LIKE & FOLLOW US ON FACEBOOK: @dukesinsoulard riverfronttimes.com

OCTOBER 4-10, 2017

RIVERFRONT TIMES

C A R P E

N O C T E M

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OCTOBER 4-10, 2017

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SAINT LOUIS, MO 63146

OUT EVERY NIGHT Continued from pg 41

Oct. 26, 9 p.m., $7. The Heavy Anchor, 5226 Gravois Ave., St. Louis, 314-352-5226.

THIS JUST IN [CRITIC’S PICK]

HEMBREE: Wed., Nov. 1, 8 p.m., $8. Blueberry Hill - The Duck Room, 6504 Delmar Blvd.,

ANARBOR: W/ Sundressed, Wed., Nov. 15, 6

University City, 314-727-4444.

p.m., $12-$14. Fubar, 3108 Locust St, St. Louis,

THE HOLLOW ENDS: W/ Dear Genre, Kid Scien-

314-289-9050.

tist, Sat., Oct. 7, 8 p.m., $7. Foam Coffee & Beer,

ANTICIPATED MOST LITTY HALLOWEEN PARTY OF

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

THE YEAR: Sat., Oct. 28, 8 p.m., $10. Fubar, 3108

JACOB SARTORIUS: Sat., Feb. 10, 5 p.m., $25-$30.

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

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

ARCH ECHO: W/ Aviations, We The Victim, Time-

314-726-6161.

less Corridor, Sun., Nov. 5, 7 p.m., $12-$15.

JENNIFER HOLLIDAY: Sun., Nov. 12, 8 p.m., $40-

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

$50. The Sheldon, 3648 Washington Blvd., St.

AUGUST BURNS RED: W/ Born Of Osiris, Erra,

Louis, 314-533-9900.

Ocean Grove, Wed., Jan. 31, 7 p.m., $23. The

JOE METZKA BAND: Thu., Oct. 5, 10 p.m., $5. BB’s

Ready Room, 4195 Manchester Ave, St. Louis,

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

314-833-3929.

314-436-5222.

! u o y ank

BIG HEAD TODD AND THE MONSTERS: Fri., Jan.

JOE METZKA DUO: Sat., Oct. 7, 7 p.m., $5. BB’s

12, 8 p.m., $29.50-$32.50. The Pageant, 6161

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

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

314-436-5222.

BIG RICH MCDONOUGH & RHYTHM RENEGADES:

Benjamin Booker. | PHOTO BY THOMAS BALTES

9 p.m. Tuesday, October 10. The Old Rock House, 1200 South Seventh Street. $18 to $20. 314-588-0505.

For all its impressionistic soundscapes, anxious rhythms and harrowing gospel arrangements, the latest album by New Orleans-based blues-rocker Benjamin Booker lives up to the immediacy of its title: Witness. For Booker, to witness means to look inside as well as out, to bring his own doubts and fears to the struggle for social justice — civil rights soul icon Mavis Staples joins him on

10, 8 p.m., $20. The Pageant, 6161 Delmar VOTED ST. LOUIS’ Blvd., St. Louis, 314-726-6161.

BEST PLACE TO SING KARAOKE

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

KYU BUTLER AND YOO SUN NA: Sat., Oct. 21, 7:30

5222.

Benjamin Booker the title track — and to make music that’s independent, honest and loud, even when sinking into the murkiest of depths. “Truth is heavy,” he sings on one of the album’s most paradoxically inspiring tracks. Booker always rises up again and bears witness with personal and profound rock & roll truths. Slowcore Swarm: Led by eerie-voiced Jessica Larrabee, the Brooklyn-based duo She Keeps Bees opens with tense, moody minimalism that recalls both Low and Cat Power. —Roy Kasten

KSHE STORIES FROM THE WINDOW 2: Fri., Nov.

Wed., Oct. 11, 7 p.m., $5. BB’s Jazz, Blues &

BILLY BARNETT BAND: Thu., Oct. 5, 7 p.m., $5.

p.m., free. Webster University Community Mu-

BB’s Jazz, Blues Soups, 700 2017&BEST OF S. Broadway, St. ST. LOUIS Louis, 314-436-5222. Readers Poll BLACK TAR PROPHET: W/ Beyonder, Railhazer,

sic School, 535 Garden Ave., Webster Groves,

Sun., Oct. 8, 8 p.m., $7. The Sinkhole, 7423

$13. The Monocle, 4510 Manchester Ave, St.

South Broadway, St. Louis, 314-328-2309.

Louis, 314-935-7003.

314-968-5939.

THE LIFE AND TIMES: Thu., Nov. 30, 8 p.m., $10-

Karaoke Thursdays LO-PAN: W/ Lazerwülf, Dead Country Gentle-

BOB “BUMBLE BEE” KAMOSKE: Tue., Oct. 10, 10

with KJ Ray Ortega men, Ox Braker, Tue., Nov. 7, 7 p.m., $10-$15.

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

Fubar, 3108 Locust St,Night St. Louis, 314-289-9050. KJ Kelly’s Saturday LOVE HZ: DRUM & BASS: W/ Packie, Bass Ninja, Karaoke Dance Parties

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

BOO BOO DAVIS & THE BUMBLE BEE TRIO: Sat.,

Oct. 7, 10 p.m., $5. BB’s Jazz, Blues & Soups, 700

Professor Hex, Cryptonix, Fri., Oct. 6, 9 p.m.,

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

free. The Crack Fox, 1114 Olive St., St. Louis,

BOTTOMS UP BLUES GANG: Fri., Oct. 6, 7 p.m.,

314-621-6900.

LOVE JONES “THE BAND”: Sun., Oct. 8, 8 p.m., RUNNER-UP

$5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

ST. LOUIS’ BEST WINGS

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

BRILLIANT BEAST: W/ Seashine, Fri., Oct. 6, 8

St. Louis, 314-436-5222.

p.m., $7. The Sinkhole, 7423 South Broadway,

MCCAFFERTY: W/ Heart Attack Man, Sun., Dec. 3, 7 p.m., $12. Fubar, 3108 Locust St, St. Louis,

Dr at Natural Bridge Road, Normandy, 314-

HANSON: 8 p.m., $40-$42.50. The Pageant,

2017 BEST OF St. Louis, 314-328-2309. ST. LOUIS COFFEE BREAK: W/ Ken Warner, Fri., Oct. 6, 4 Readers Poll p.m., $7. Foam Coffee & Beer, 3359 Jefferson

516-4949.

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

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

Scottrade Center, 1401 Clark Ave., St. Louis,

TOGETHER PANGEA: w/ Tall Juan, Daddy

HORSESHOES & HAND GRENADES: w/ Kitchen

COMB VIDEO PREMIER: Fri., Oct. 20, 9 p.m., $5.

314-241-1888.

Issues 8 p.m., $15. The Firebird, 2706 Olive

Dwellers 8 p.m., $12. Atomic Cowboy Pa-

The Ready Room, 4195 Manchester Ave, St.

MOONWALKS: Thu., Oct. 5, 8 p.m., $7. The

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

vilion, 4140 Manchester Avenue, St. Louis,

Louis, 314-833-3929.

Sinkhole, 7423 South Broadway, St. Louis, 314-

VNV NATION: w/ iVardensphere 8 p.m., $25-

314-775-0775.

DANA DANE: W/ DJ C Note, Sat., Oct. 28, 7 p.m.,

328-2309.

$30. Blueberry Hill - The Duck Room, 6504

KUDZU: w/ Hands and Feet, Giant Monsters

$20. La’rose Room, 2723 Dr Martin Luther King

MOUTON: W/ Backwash, Little Cowboy, Wed.,

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

on the Horizon 9 p.m., $7. The Heavy An-

Drive, St. Louis, 314-533-3022.

Oct. 11, 8 p.m., $7. The Sinkhole, 7423 South

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

DEAD HORSE TRAUMA: W/ Ektomorf, Tue., Nov.

Broadway, St. Louis, 314-328-2309.

5226.

7, 7 p.m., $10-$12. The Firebird, 2706 Olive St.,

MUSIC ACROSS BORDERS: SAHBA MOTALLEBI /

BIG RICH MCDONOUGH & RHYTHM RENEGADES:

MOUTON: w/ Backwash, Little Cowboy 8 p.m.,

St. Louis, 314-535-0353.

RYAN SPEARMAN BAND: Sat., Oct. 21, 8 p.m., $15.

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

$7. The Sinkhole, 7423 South Broadway, St.

THE EAST SIDER REVIEW: Wed., Oct. 11, 10 p.m.,

The Stage at KDHX, 3524 Washington Ave, St.

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

Louis, 314-328-2309.

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

Louis, 314-925-7543, ext. 815.

BLACK PISTOL FIRE: w/ Blackfoot Gypsies 8

RANGES: w/ Man Mountain, Staghorn, Ca-

St. Louis, 314-436-5222.

MUSIC UNLIMITED BAND: Mon., Oct. 9, 8 p.m.,

p.m., $15-$17. The Firebird, 2706 Olive St.,

veofswordS 8 p.m., $7. Foam Coffee & Beer,

ETHAN LEINWAND & FRIENDS: Tue., Oct. 10, 7

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

St. Louis, 314-535-0353.

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

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

St. Louis, 314-436-5222.

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

STREET CORNER SYMPHONY: 8 p.m., $25. Old

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

NICK VATTEROTT: W/ Ashley Barnhill, Fri., Dec.

on Broadway, 701 S. Broadway, St. Louis,

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

FANTASIA: Fri., Dec. 1, 8 p.m., $56.50-$76.50.

15, 8 p.m., $20. The Ready Room, 4195 Man-

314-621-7880.

588-0505.

Peabody Opera House, 1400 Market St, St.

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

THE EAST SIDER REVIEW: 10 p.m., $5. BB’s

TIM BARRY: w/ Roger Harvey, Gallows Bound

Louis, 314-499-7600.

ONLY SOUND: W/ Frontal Lobe, Dangerbird,

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

8 p.m., $12-$15. Blueberry Hill - The Duck

GROVE FEST AFTER PARTY: W/ Bug Chaser, Sat.,

Subtropolis, Fri., Oct. 6, 8 p.m., $7. Foam Coffee

Louis, 314-436-5222.

Room, 6504 Delmar Blvd., University City,

Oct. 7, 11 p.m., free. The Ready Room, 4195

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

GOJIRA: w/ Torche, Code Orange 8 p.m., $27-

314-727-4444.

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

2100.

$29. Pop’s Nightclub, 401 Monsanto Ave.,

WEDNESDAY NIGHT JAZZ CRAWL: 5 p.m.

HALLOWEEN SPOOKTACULAR: W/ Dracla, Bug

THE POTOMAC ACCORD CD RELEASE: Thu.,

East St. Louis, 618-274-6720.

continues through Dec. 27, free. The Stage at

Chaser, Tue., Oct. 31, 9 p.m., free. Off Broad-

GUNPOWDER GRAY: w/ Scuzz 7 p.m., $10.

KDHX, 3524 Washington Ave, St. Louis, 314-

way, 3509 Lemp Ave., St. Louis, 314-498-6989.

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

925-7543, ext. 815.

HEIDI LYNNE GLUCK: W/ Nate Hendricks, Thu.,

WEDNESDAY 11

200 N. MAIN, DUPO, IL riverfronttimes.com

314-289-9050.

MIRANDA LAMBERT: Fri., March 16, 6 p.m., TBA.

LIKE & FOLLOW US ON FACEBOOK Oct. 19, 7 p.m., free. St. Louis Public Library, Central Branch, 1301 Olive St., St. Louis, 314@GOODTIMES.PATIO.BAR 241-2288.

OCTOBER 4-10, 2017

RIVERFRONT TIMES

Gregory F.X. Daly Collector of Revenue

Grand Opening October 1st Seafood, Barbecue, Beer & More!

8041 Olive Blvd. • St. Louis, MO 63130 • 314-993-2933

Public NOTICE Suits have been filed on the properties listed on the Collector of Revenue website.

www.StLouisCollector.com Collector of Revenue Office St. Louis City Hall Room 109 1200 Market Street St. Louis, MO 63103-2895

WE ALL BLEED BLUE

ST. LOUIS BLUES

Phone: (314) 622-4105 | Fax: (314) 589-6731 Email: propertytaxdept@stlouis-mo.gov Hours of Operation: Mon. - Fri., 8:00am - 5:00pm

PUCK DROP

THIS SATURDAY 7PM

Tax Sale: 182 190 Circuit Court Division No: 29

Ciggfreeds

The regular season is right around the corner, do you have your ALLfor TOGETHER NOW tickets Opening Night?

WHEN THE BLUES GO MARCHING IN

LET’S GO BLUES

Plan to arrive early for the pregame show on the new state-of-the-art scoreboard. Come with an appetite — our new food options include local favorites from Sugarfire Smoke House, Byrd & Barrel, and Hi-Pointe Drive-In.

liquid & lace

LIGHT THE

LAMP

All fans receive a team calendar courtesy of

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RIVERFRONT TIMES

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SAVAGE LOVE ’BATE AND SNITCH BY DAN SAVAGE Hey, Dan: I’m a 22-year-old straight male dating a 23-year-old woman. This is by far the most sexual relationship I’ve been in, which is great, except one part is freaking me out: I recently “caught” my girlfriend masturbating with her roommate’s panties. It turns out she has a habit of sneaking her roommate’s worn underwear, masturbating while smelling them (or putting them in her mouth), and then sneaking them back into her roommate’s laundry basket. She has also used her roommate’s vibrator and dry-humped her pillow to orgasm. I got turned on hearing about all this, and she jerked me off with her roommate’s panties. My girlfriend says she gets turned on being “naughty” and most of her fantasies involve being her roommate’s sex slave, me fucking the roommate while my GF is tied up, etc. This turns me on, so I don’t really want it to stop, but my questions are: (1) Is this bad? (2) Is this normal? We’re conditioned to believe women are less kinky and less sexual than men, and I don’t want to buy into that. My girlfriend says she isn’t “that weird.” I don’t know what to think. There’s No Acronym For This 1. It’s bad. 2. When it comes to human sexuality, TNAFT, variance is the norm. Which means freakiness/naughtiness/kinkiness is normal — science backs me up on this — and, yes, lots of women have high libidos and lots are kinky. Your e-mail came sandwiched between a question from a woman who needs

sex daily (and foolishly married a man with a very low libido) and a question from a woman who is into BDSM (and wisely held out for a GGG guy who’s getting better at bondage but can’t bring himself to inflict the erotic/ consensual pain she craves). But “variance is the norm” doesn’t get your girlfriend off the hook — or you, TNAFT. You and your girlfriend are both violating this poor woman’s privacy, potentially her health (unless your girlfriend is sterilizing her roommate’s vibrator after using it), and her trust. Honoring each other’s privacy and showing mutual respect for each other’s belongings are the social norms that make it possible for unrelated/unfucking adults to share a living space. We trust our roommates not to steal money out of our purses, eat our peanut butter, use our toothbrushes, etc. And even if your roommate never catches you, it’s still not OK to use their fucking toothbrush. It should go without saying that we trust our roommates not to shove our dirty panties into their mouths, use our sex toys, hump our pillows, etc. We can’t control who fantasizes about us, but we have an absolute right to control who handles our dirty underpants. Your girlfriend should make an honest, respectful, naughty pass at her roommate. And who knows? Maybe her roommate is just as pervy as you two are and would jump at the chance to have a sex slave and full use of her roommate/sex slave’s boyfriend in exchange for a few dirty panties. Or maybe she’d like to move. Hey, Dan: I am a 29-year-old woman and getting married to my boyfriend of four years, “Adam,” in a few months.

Relationship is great, sex is fantastic, no complaints. So why am I writing? Adam’s best friend, “Steve,” was his roommate in college, and Adam recently revealed that he and Steve used to masturbate together. I don’t think Adam is gay and I don’t think Steve is either. Maybe they’re heteroflexible? But is it common for straight guys to masturbate together? Also, why is he just telling me this now, after we’ve been together for four years? I’m not sure how I should act around Steve. He hangs out with us a lot. Help! Seeking To Evaluate Very Explosive Disclosure “Buddy-bating among straight guys is more common than people may think,” said Trey Lyon of Fuck Yeah! Friendly Fire, the “definitive source for straightish porn.” Lyon’s website — FYFriendlyFire.com — features porn of the “heteroflexible/almost bi” variety, i.e., two guys who aren’t afraid they’ll melt if their dicks touch while they’re having sex with the same woman. Lyon’s website has more than 200,000 followers and he’s heard from lots of straight/straightish guys who masturbate with — read: beside — their straight/straightish male buddies. Lyon doesn’t have hard data for you, STEVED, only anecdote, but it’s safe to say your fiancé isn’t the only straight/ straightish guy out there who’s done a little “buddy-bating.” So why do straight/straightish guys do this? “In her controversial 2015 book Not Gay: Sex Between Straight White Men, author Jane Ward asserts that sexual interaction between straight white men allows them to leverage whiteness and masculinity to authenticate

their heterosexuality in the context of sex with men,” said Lyon. “That by understanding their same-sex sexual interaction as meaningless, accidental, or even necessary, straight white men can homosexually engage in heterosexual ways. As a non-white guy myself, it is my hallucination that the same might be the case across racial lines as well — at least when it comes to dudes jerking off together.” I’m going to break in here for a moment: I think Ward’s book is bullshit. While I believe a guy can have a same-sex experience without having to identify as gay or bi — straight men should have the same latitude on this score that straight women enjoy — straightness is so valued that some people can look at guys who put dicks in their mouths at regular intervals and construct book-length rationalizations that allow these guys to avoid identifying or being labeled as bi, gay, or queer. Back to Lyon… “A lot of the straight guys who reach out to me mention that they enjoy bonding in a masculine albeit sexual way with another guy, while also still only being responsible for getting themselves off,” said Lyon. “And sharing a moment of vulnerability in this way with another guy strengthens their friendship. STEVED’s boyfriend may be mentioning this now because it’s not something he feels he should be ashamed of, it’s something well-integrated into his sexuality and orientation, and he feels it is important to be open with his fiancée. Wait, what’s the problem again?” mail@savagelove.net @fakedansavage on Twitter

STREAK’S CORNER • by Bob Stretch

riverfronttimes.com

OCTOBER 4-10, 2017

RIVERFRONT TIMES

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Richardson Estate

Waterloo, Illinois

LAND AUCTION!

Saturday, October 7th • 10 am Route 3 & GG Road, Waterloo, IL 87+ acres for hunting, fishing and farming near Waterloo Illinois. Property has a 3 room clubhouse, lake & 2 ponds & good hunting woods. Mineral rights also available. OWNER: Richardson Estate (314) 421-9538 richardsonestate42@gmail.com For More Info Visit burmesterauction.com.

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Unless otherwise limited, prices are good through Tuesday following publication date. Installed price offers are for product purchased from Audio Express installed in factory-ready locations. Custom work at added cost. Kits, antennas and cables additional. Added charges for shop supplies and environmental disposal where mandated. Illustrations similar. Video pictures may be simulated. Not responsible for typographic errors. Savings off MSRP or our original sales price, may include install savings. Intermediate markdowns may have been taken. Details, conditions and restrictions of manufacturer promotional offers at respective websites. Price match applies to new, non-promotional items from authorized sellers; excludes “shopping cart” or other hidden specials. © 2017, Audio Express.

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DS AND M WORDS WORDS U S I CAND AND O FMUSIC MUSIC A L HOF A OFM ALAL M HAMMERMAN HAMMERMAN ERMAN

G E R I N B O D EFEATURING , FEATURING B R I A N ERIN OERIN WBODE, EN BODE, S , BRIAN ABRIAN L A NOWENS, OX OWENS, AALAN ND ALAN AOX ROX V AND EAND L ARVELL L ARVELL K E I TKEITHLEY HKEITHLEY LEY ARVELL KEITHLEY KEITHLEY ARVELL

ARVELL KEITHLEY

ALAN OX

AL HAMMERMAN

BRIAN OWENS

ERIN BODE

BRIAN OWENS

K I D S R O CKIDS KKIDS CA ROCK N ROCK C CANCER E RCANCER BEN BENEFIT EBENEFIT F I T CO CONCERT CONCERT NCERT VEM TUESDAY, TUESDAY, B E R 2NOVEMBER 8NOVEMBER , 2 0 1 7 28, 28,2017 2017 7:30 7:30P.M. P.M. $100 per person, $100 $100 per drinks per person, person, and drinks drinks hors andand hors d’oeuvres hors d’oeuvres d’oeuvres included included included or

Z BFERRING IFERRING S T R O JAZZ JAZZBISTRO BISTRO Z SHOME T. HOME LO OFU OFJAZZ IS JAZZST. ST.LOUIS LOUIS

VENU 3536 E3536 WASHINGTON WASHINGTON AVENUE AVENUE ST.ST. LOUIS, LOUIS, MOMO 63103 63103

$150 per person $150 $150 per with per person person VIP with Early with VIPVIP Early Access, Early Access, Access, includes includes includes open open open bar and passed bar bar and hors and passed d’oeuvres passed horshors d’oeuvres d’oeuvres before before before the the the concert. concert. concert. Complimentary Complimentary Complimentary valet parking. valet valet parking. parking.

For more information, ForFor more more information, information, or to or to or purchase purchase to purchase tickets, tickets, tickets, visit: KidsRockCancer.org/CoolTogether. visit: visit: KidsRockCancer.org/CoolTogether. KidsRockCancer.org/CoolTogether. Questions? Contact: Questions? Questions? Contact: Contact: Liz Haynes, Director Liz Haynes, Liz Haynes, of Director Special Director of Special of Programs Special Programs Programs lhaynes@maryville.edu lhaynes@maryville.edu lhaynes@maryville.edu | 314.529.9580 | 314.529.9580 | 314.529.9580

ville University’s Kids Rock Maryville Cancer Maryville University’s University’s is an KidsKids RockRock Cancer Cancer is anis an

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