Riverfront Times - October 5, 2016

OCTOBER 5–11, 2016 I VOLUME 40 I NUMBER 40

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THE LEDE

“I just love it. I love the smell. I love the people. There are very few people in this crowd who are rude or mean. I can leave my stuff on the bleachers and come back four hours later and it’s there. It’s just a different breed. I’ve been to a race where two guys were going to race each other and one guy didn’t have a part, and the other guy gave him the parts to race him. It’s a sport where people do that.”

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—BOB KERR, PHOTOGRAPHED AT THE GATEWAY MOTORSPORTS PARK IN MADISON, ILLINOIS, ON SEPTEMBER 25.

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OCTOBER 5-11, 2016

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TABLE OF CONTENTS FEATURE

11.

The Education of Khalil Irving

Forget Kelley Walker. This 24-year-old native son is making art that actually grapples with race Written by

DANNY WICENTOWSKI

Cover by

DANNY WICENTOWSKI

NEWS

CULTURE

DINING

MUSIC

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19

27

35

A The Lede

Calendar

Ace in the Hole

Your friend or neighbor, captured on camera

Seven days worth of great stuff to see and do

Cheryl Baehr finds 5 Aces to be a worthy heir to Mama Josephine’s

8

22

28

A Fraught Visit for SLU

Law students raise a key question about Allen West’s speech: Why was it allowed on campus?

Film

Robert Hunt contemplates the riddle wrapped up in a hoax that was ‘90s it kid JT LeRoy

Brad Bardon has five picks for Kirkwood food lovers

23

First Look

9

Flip-Flop (Flip)

The Post-Dispatch reverses itself —again —on a tobacco tax

9

Expert Opinion

Stage

Paul Friswold reviews an Edward Albee play at the St. Louis Actors’ Studio and an intriguing musical at New Line

Carolers Are Home Free

ArchCity Defenders win acquittals for protesters charged with interrupting the Board of Aldermen meeting

28

Sara Graham checks out the Garden on Grand

32

Bars

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OCTOBER 5-11, 2016

B-Sides

Delmar Hall is now open just east of the Loop

40

Homespun

The Leonas Forbidden Fruit

42

Out Every Night

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

32

43

Food News

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Pagan Wine Bar is bringing cocktails to a space that previously sold only books

Eat Sandwiches hopes you’ll be doing just that in Tower Grove South

6

Working in the Room

Natalie Rao profiles Don Tinsley, a producer who’s made waves locally for more than 30 years

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This week’s new concert announcements

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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 Editorial Interns Harry Hall, Jessica Karins Contributing Writers Mike Appelstein, Allison Babka, Sara Graham, Roy Kasten, Jaime Lees, Joseph Hess, Kevin Korinek, Bob McMahon, Nicholas Phillips, Tef Poe, Christian Schaeffer, Mabel Suen, Lauren Milford, Thomas Crone, MaryAnn Johanson, Jenn DeRose

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NEWS

‘University Values’ Put to the Test at SLU Written by

JESSICA KARINS

A

group of law students at Saint Louis University are questioning why conservative pundit Allen West was allowed to speak on campus after calling its Muslim students’ group a “stealth jihad radical Islamic campus organization” — even though last year a former law professor’s talk about abortion had to be moved off campus for conflicting with university values.

“We find ourselves wondering why a guest speaker who has incredulously asserted that the Muslim Students’ Association is part of a ‘terrorist organization’ and that they are attempting to further ‘civilizational jihad which designs to destroy our civilization from within’ is deemed appropriate to present on campus,” a group of seven student organizations wrote in an open letter.

“Are we to conclude that Lt. Col. West’s beliefs are more in line with the University’s Jesuit values than an attorney from Planned Parenthood speaking about reproductive issues?”

Jeremey King, who wrote the letter, is the vice president of SLU’s LGBT law student group, OUTLaws.

He says last week’s decision to let West go ahead with his talk reflects the university’s lack of a real policy regarding controversial speakers.

“We need to push the necessity of having a conversation about the line between hate speech and normal speech, and what the university’s responsibility is,” King says.

The letter says the most appropriate solution would have been to ask the Young Republicans, who were sponsoring West’s speech Thursday, to move the event off campus, just as the law students were Continued on pg 9 asked to.

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Allen West put Saint Louis University administrators — and a Muslim student group — on blast. | GAGE SKIDMORE

FLIP FLOP (FLIP?) FOR THE POST-DISPATCH Written by

SARAH FENSKE

W

hen it comes to Amendment 3, the controversial “Raise Your Hands for Kids” tobacco tax on Missouri ballots this fall, the Post-Dispatch can do one better than John Kerry: They were for it before they were against it before they were for it again.

The daily’s editorial board endorsed the amendment September 25, calling the tax “voters’ best option” to stop people from smoking — and passing on the attendant medical costs to the rest of us.

But while that wasn’t necessarily a strange stance for the Lee-owned newspaper, it was a bit odd in light of what preceded it: First, an editorial in February supported the amendment,

OCTOBER 5-11, 2016

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followed by an editorial in April reversing that support. For those keeping track at home, that’s an endorsement followed by a reversal followed by a reversal of the reversal.

Tod Robberson, the paper’s editorial page director, disagrees with our contention that the P-D has now changed course three times. He says the initial February editorial was not a formal endorsement. (Which seems true enough reading it; however, it’s worth noting that the subsequent editorial in April begins, “It pains us to reverse this newspaper’s support for what seemed like a worthy Missouri constitutional amendment.” Questioned about that, Robberson admits, “We should have been more precise in our language in April.”)

Still, Robberson acknowledges that reversing an endorsement even once is unusual, and potentially a bit embarrassing.

“We debated ourselves,” he says.

Once the board members realized they were in favor of the tax, he says, “We had two questions. ‘Is this consistent

with our other positions?’ We had to admit it wasn’t. Then we asked ‘Is this going to be embarrassing?’ Well, yes it is. But when we reverse ourselves, we have to declare it openly. We’re not going to try to hide it. Sometimes it hurts; it’s never comfortable. But we’ve got to be up-front with our readers.”

Robberson says the back-and-forth speaks to how ridiculously complicated Amendment 3’s nuances have proven to be.

As it turns out, Raise Your Hand for Kids/Amendment 3 is one of two potential tax hikes for tobacco on the ballot this fall. It would raise the tax about 60 cents over four years.

The measure has drawn the support of Big Tobacco, but the association representing gas stations and convenience stores is staunchly opposed. So are representatives for off-brand tobacco products. They’re instead supporting a rival measure, Proposition A. Prop A would only raise taxes on a pack of cigarettes Continued on pg 9

POST-DISPATCH Continued from pg 8 about 23 cents. But that’s not the only difference.

The off-brand cigarette companies, which offer cheaper products than the Marlboros you may be used to buying, enjoy about onefourth of the market in Missouri.

And Raise Your Hands for Kids/ Amendment 3 would increase their cost even higher than their bigbrand competitors. That’s because it also slaps those smaller tobacco companies with a 67-cent “equity fee” on top of the across-the-board 60 cent increase.

That fee just happens to make those cheaper cigarettes just about as expensive as a package of Pall Malls — and that’s almost certainly one reason R.J. Reynolds is spending millions to support Amendment 3. It could mean a huge increase in Big Tobacco’s market share.

But the debate hasn’t just been Big Tobacco vs. Little Tobacco.

Opponents to Amendment 3 first suggested that the revenue it generates could end up being used to fund abortions. More recently, they’ve also suggested that particulars of its verbiage could threaten funding in Missouri for stem-cell research, an argument the P-D agreed with in April, saying one clause within the amendment had “unacceptable long-term implications for important scientific research.”

Robberson says the editorial board felt better after seeing a judge opine that the wording on Amendment 3 would not impact stem cell research.

However, Robberson says it wasn’t a lobbying campaign that changed its mind so much as a willingness to hear out everyone.

After the editorial announced its opposition in April, Raise Your Hand for Kids’ spokeswoman argued vociferously to him that they got it wrong, he says. He’d offered her op-ed space. From there, board members began to second-guess their decision.

That kind of open-mindedness is something Robberson advocates for. “I love to approach controversy with an open mind,” he says, “and have the best argument win the day.”

But now that he’s sure that’s been achieved — yet again! — Robberson can promise one thing.

“We are not switching our posin tion again,” he says.

Carolers Not Guilty of Peace Disturbance Written by

SARAH FENSKE

A

mother-and-daughter pair of protesters charged with disturbing the peace after protesting at a meeting of the Board of Aldermen last December have been found “not guilty” in court.

The acquittals came courtesy of rch it e e ders the o ro t legal group. They were representing Melissa and Zoe Krause, who were among a half-dozen protesters interrupting the December 2015 eeti g to disc ss a a ci g la for a new football stadium.

The protest was brief, and entirely peaceful. After their carol — a riff on “God Rest Ye Merry Gentlemen” calling for better elected representatives — they were asked to leave the meeting

by Board President Lewis Reed. They complied. But instead of letting them go a olice o cer ollowed the i to

ALLEN WEST Continued from pg 8 Last November, SLU’s Law Students for Reproductive Justice wanted to bring Linda Raclin, an attorney for Planned Parenthood who was also a former associate law professor for SLU, to speak on campus. The event was moved off campus to the Omni Hotel due to pressure from the university.

Vice president of marketing and communications Jeff Fowler said at the time that Raclin’s speech conflicted with the university’s values.

Originally, West’s speech didn’t face serious opposition.

But then the former Republican congressman put the university on blast, saying he’d been told that student organizers weren’t allowed to use the phrase “radical Islam” in promotional materials for the speech. West called SLU students “little cupcakes” and suggested (without providing any evidence) that the decision

the hallway and begin issuing citations.

And that wasn’t the end of it.

Thomas Harvey, co-founder of ArchCity Defenders, said the city declined to offer any sort of plea option.

That’s even though the city clearly didn’t have much of a case — Municipal Judge Joseph Murphy dismissed the charges before the women’s lawyers even called a single witness, saying the city had not proven its case.

Andrew Cook, the attorney from ArchCity Defenders who represented the women, said the case is troubling.

“While I’m proud of this outcome for Zoe and Melissa, we know that there are more people in the group of carolers who expressed their First Amendment rights and needed access to lawyers,” he said in a written statement provided to RFT. “When you look at the fact that this group sang 30 seconds of a Christmas carol, were charged even after they left when told, and were made to go to trial, you see how important legal representation, time and resources become to win acquittals like we did yesterday.”

Kennard Williams, an activist who works with MORE, was among a different group of protesters who sang “America the Beautiful” to protest a meeting in January. They, too, left without resisting — and they, too, were cited, he says.

Two of those activists got plea had been dictated by the Muslim Student Association, which he called a “stealth jihad radical Islamic campus organization.”

SLU president Fred Pestello wrote in a widely disseminated email that West’s statements did co flict with the es it al es o the university, but in the interest of academic freedom, he should still be allowed to speak on campus.

On Thursday, West posted on Facebook that he had spoken with the event organizers and heard that a professor would be speaking before him to “contextualize” his remarks.

“I do not recall ever hearing of any liberal speaker on a campus having their remarks ‘put in context’ before they spoke,” West wrote. “I just have to ask, do we still live in America? Do we still have free speech, or are we only allowed to speak when the leftist progressives are accepting?”

But the coalition of groups representing minority law students at SLU now wonders why West’s

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deals and were given six-month suspended sentences, meaning they’ll be free from punishment if they can stay out of trouble for six months. Williams, who took his case to trial, was also given a six-month suspended sentence. He’ll be in the clear in November.

Interestingly, Williams says that Aldermanic President Lewis Reed was on the list of possible witnesses in his case. But Reed himself had tweeted that he didn’t think the protesters should face charges, and also sent a letter to the city courts stating the same. He was never called as a witness.

ArchCity hopes the not-guilty verdicts will shed light on the injustices that people face trying to exercise their right to free speech — and the way that, absent lawyers willing to take their cases, they can end up with serious consequences.

“Andrew Cook and our team at ArchCity Defenders did a great job on this case,” Harvey said in a statement.

“We as defense lawyers were not even required to put on a defense, which is very rare, but it’s due to the sheer lack of evidence to support the charge. They made all these people go to trial and they didn’t have anything.

“If there aren’t movement lawyers who are willing to take these cases, you’re going to get people who plead guilty to things even though the state doesn’t have the evidence to convict.” talk was allowed to go on.

“The tricky thing about the First Amendment is when speech rises to the level of a call to action in some ways, and people start to feel unsafe in their learning environment,” King says.

SLU’s chief diversity officer, Jonathan Smith, forwarded a message from the Muslim Student Association to the student body condemning West’s remarks.

“In the current climate where Islamophobia is manifesting through violence against Muslims, this kind of rhetoric is not only offensive but dangerous, as evidenced through a number of burnings of mosques and attacks on individual Muslims following comments such as these,” the email read. “The Muslim students on campus are involved in service, community outreach, and interreligious dialogue. We are students that are trying to balance the pressure of college with the current political climate, and comments such as these are deeply hurtful.”n

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THE EDUCATION OF

KHALIL IRVING

Forget Kelley Walker. This 24-year-old native son is making art that actually grapples with race

As part of a panel of black artists, Kahlil Irving called for St. Louis’ Contemporary Art Museum to remove Kelley Walker’s work. | DANNY WINCENTOWSKI

I

n the week of September 19, the 24-yearold sculptor and multimedia artist Kahlil Irving was supposed to be basking in the tri h o his rst solo e hi itio scheduled to open the Friday before at the Bruno David Gallery.

Instead, the show was canceled through a r strati g act o od the e ected discovery of structural defects temporarily shuttered the building. And then a different kind of development, though no less frustrating, set Irving on a different course. st si da s a ter what was s osed to be his gallery debut, he finds himself across the street at the Contemporary Art Museum of St. Louis, arguing that its curre t e hi itio s orted white s re ac and needed to be taken down.

Before a 400-strong crowd, with the audie ce o erflowi g ro the alco r i g

DANNY WICENTOWSKI takes to the mic.

“They knew it was something that would get them their return. That’s why this is here,” he says to the packed room. Dozens of audience members nod their heads.

Around a corner is the museum’s main gallery.

There, hanging from one of the towering walls, a floor to ceili g hoto o a lack wo a i a iki i makes bedroom eyes over her shoulder. She’s been streaked with toothpaste. On the opposite wall, the image of a black protester being mauled by a police dog is obscured behind circular blotches of chocolate.

“Someone wanted a return.” Irving continues. “But they’re not going to get it this time. Because it’s got to go.”

Criticizing the museum isn’t something Irving does lightly.

Irving first walked into the Contemporary Art Museum of St. Louis as a teenager. It’s just a tenminute walk from Metro Continued on pg 12

IRVING Continued from pg 11 Academic and Classical High School, the public school from which he grad ated e osed the precocious Irving to that critical sense of newness that he now seeks in his own art — the cutting edge, the never-before-seen. The kind of creativity that plays in the e lored o dar etwee what is and what could be.

But Irving takes art seriously. It’s not enough for artists to provoke, he says. They must also remember that their work, no matter how abstract draws its e iste ce ro the world around them.

Now CAM’s racially charged se e hi it has a ked Irving and others into the middle of a controversy they never asked for, one that’s left St. Louis grappling with the intersection of art’s ephemeral ideals and the inescapable history of black oppression in America.

Along with high art, Irving crafts usable dishware for people who can’t afford handmade dishes. | DANNY WICENTOWSKI

In Kahlil Irving’s studio, art begins as earth. He slams a block of clay onto a potter’s wheel, working the speed with a foot pedal. The machine’s telltale whir lls the etwork o c icles a d classrooms that stretch through the first floor of Walker Hall on the main campus of Washington University.

It is late afternoon on a weekday in mid-August. Irving, a graduate ellow i the a o chool o Art and Design, is still getting reacclimated to life in his hometown, having recently returned from a two-month printmaking residency in Venice, Italy. In a matter of days, hordes o college st de ts will ll the air with the bustle of creative industry. Now, though, the hallways and rooms are dead silent, save for the sound of Irving’s wheel. He kneads his palms into the sides of the spinning lump, pressing it into an even wedge between his hands.

“I know when I’m in control,” he sa s ca tell i gers it’s where I need it to be.”

Irving presses a divot into the undulating clay, and then a cylinder, slicked with water, rises and falls at his whim. He jabs his right i de ger a o t hal wa up, forcing the clay to stretch and become the slender, tapered neck o a ase si g a flat etal tool called a rib, Irving rubs away the drag arks le t his gers Irving holds up the result, a smoothed clay pot shaped somewhat like a squat wine bottle.

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OCTOBER 5-11, 2016

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Irving stands between the two five-foot wooden platforms of “Before and After Sundown, Town.” | DANNY WICENTOWSKI

All it needs now is some time in a hot kiln.

“Yeah. That’s one,” he says, placing the piece on a shelf. He’s done this thousands of times since taking his first pottery classes as a retee at a local arts o ro t in Tower Grove Park. Beginning to end, the clay became a pot in about e i tes e akes it look eas “Twelve years, man,” he says, laughing. “Twelve years. Out of all the things I can do in my life, I can make a good pot.”

Irving was born in San Diego, but in childhood bounced between the custody of his father in St. Louis and his mother, who spent time in Nebraska, Arizona and Colorado.

He settled in St. Louis permanently at eleven, and soon after his father took him to the Potter’s Workshop, a o ro t o erated local artist and musician Jenna Bauer.

Even then, she could sense he was something special.

“He had determination, willingness to get on his bike and ride to classes several times a week.

He recognized an opportunity and did not let it pass him by,” she says.

As Irving entered high school, he transferred that doggedness to building a portfolio, and spent much of his time improving his

skills under the instruction of teachers at Craft Alliance. Dan Barnett, the studios manager there, remembers young Kahlil shadowing him at every opportunity. “He was tenacious; he wanted to learn everything.”

His work paid off. Irving was one of just four applicants awarded full scholarships to the Kansas City Art Institute in 2010.

In 2012, as an undergrad, Irving attended a benefit auction at Craft Alliance. He’d donated a piece he’d made in Kansas City, a ceramic frame with gold bars protruding from the bottom. Also in attendance that evening was a Washington University ceramics professor, Buzz Spector.

“I met him moments after I bought the piece,” says Spector.

“Often, when you tell a young artist that you like their work, they have to take it on faith. But I had just forked over cash, so he knew I was sincere.”

Irving’s work in Kansas City didn’t go unnoticed. He applied for and won a flurry of grants, fellowships and international residencies. After graduating, he applied to several top master’s programs. He settled on an institutional fellowship (tuition

included) as a Chancellor ’s Graduate Fellow at Washington University.

Spector is now Irving’s advisor. It’s not just Irving’s technical ro cie c that sta ds o t he o serves, but the rare thoughtfulness in which Irving places a piece of art in relation to the surrounding environment.

“Not everyone has that ability,” Spector says. “He has the seriousness of someone who loves what he does, not the seriousness of someone who only performs curiousness.”

Irving knows racism. During a semester abroad in Hungary, he was spit upon. His hair was pulled. At a bar, a man pulled out a hammer and threatened to use it if Irving didn’t get the fuck out of there.

He has no illusions about St. Louis, either. The city is built on a racial history that contaminates its present, a spirit of segregation and slavery. It is a legacy that white people often dismiss as irrelevant.

But a Confederate monument still watches over Forest Park. The region’s municipalities squeeze poor black residents with court

IT’S CALLED A “FESTIVAL” Picnic on the lawn before the show and party with the cast afterwards.

Put yourself in the story.

OperaStories.org

Continued on pg 14

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IRVING Continued from pg 13

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KEVIN HART: WHAT NOW? has been rated Rated R for some sexual material, and language throughout.

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RIVERFRONT TIMES KANSAS CITY RFT THURSDAY, OCTOBER 6

fees. Local police departments struggle to undo decades of abuse that can no longer be hidden behind a badge.

In a classroom near Irving’s studio, two wooden platforms sit as testaments to the nature of blackness. The surfaces are raised five feet, around eye level, and support row after row of black clay vessels. Though treated with the same dark glaze, each one is different: Tall and short, angular and bulbous, the shapes evoke salt shakers and urns, decanters and shell casings.

Irving has spent the last year sculpting the pieces, about 400 in all. If you pass through the open corridor between the platforms, the overlapping curves seem to press in from your periphery, creating a kind of tunnel of black-onlack g res Above his blocky beige glasses, a cloud of curly hair circles Irving’s shoulders. He wears shorts and a baggy denim shirt with the cuffs rolled up.

The installation before him is called “Before and After Sundown, Town,” a title intended to draw on the Jim Crow-era reality of racist townships across America, those places where blacks were not welcome — on pain of arrest, beatings or worse — after daylight hours. ach lack essel e lai s r i g represents the body of a black person. By avoiding humanlike forms, he allowed the work’s monumental scale to stand on its own. The piece has layers of meaning. The rows of vessels can be seen as soldiers marching to war or congregations of black families at a park. The vessels, like black people themselves, are visible and vulnerable entities. They are black men and women passing through sundown towns. They are communities rejecting segregation amid an ocean of angry white faces. They are family, witnesses to the persistence of blackness.

“This work is to advance the position that blackness, the reality of black people, will be here in every town in which black people e isted r i g sa s hat realit doesn’t just disappear. As with the rest of America, “No matter where you go in St. Louis, you continuously ha e to ght with the iss e that there are people opposed to blackness e isti g “Before and After Sundown, Town” is part of a series of work

OCTOBER 5-11, 2016

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called “Undocumented.” The series began with just 49 black ceramic vases, a piece called “49er’s (Dead Soldiers).” For each subsequent version, Irving added more pieces and updated the name. When he reached 79 black vessels, it became “ConcernedStudent1950: or The Johnson Family Reunion.” For the third, Irving crossed two ten-footlo g ta les which he lled with 250 vessels and titled simply “X.” “I’m using a very formal language of shape and form,” he says. “In a way I’m celebrating blackness.

I’m celebrating form and shape and the vessel, the possibility of containment, and the forms that possibility can take.” he al i stall e t o documented” was set to be unveiled at the r o a id aller e hi ition. Irving planned to mass some 300 vessels on one twenty-foot-long platform in the gallery. He was still trying to come up with a name for the project when, on August 31, he got a call from Bruno David himself.

The news was bad. A routine engineering inspection had turned up structural defects in the rear of the building. Overnight, a gallery that was gearing up for three o ths o e hi itio s was ka t

Condemned.

The canceled show was a bitter disappointment. Irving had invited not only friends and family members, but gallerists, museum curators and art collectors.

He’s trying to make the best of it. “Anything can happen, anything can occur at any moment,” he says.

“I just have to keep a clear head, keep focused on the prize, and keep making the work.”

But if he thought the gallery closure meant he’d be lying low for awhile, he was wrong. Just a few weeks later, a controversy erupted at the crossroads where art meets activism, and Irving found himself in the center.

For the Contemporary Art Museum of St. Louis, landing the Kelley Walker retrospective must have initially seemed like quite a coup. The Georgia-born, New York-based artist is known for his multimedia work, said to comment on culture and technology — as well as its provocative use of racial and historical imagery.

Yet when Irving and other black artists saw Walker’s work on the museum walls, they were taken aback. The white artist had chosen

NYC-based artist Kelley Walker’s toothpaste-splattered work sparked outrage when he couldn’t, or wouldn’t, explain its meaning. | DANNY WICENTOWSKI

FOOD

R I VE R F R O N T T I M E S. C O M

two pieces that projected what they saw as an incoherent mockery of the black body and the civil rights movement.

One piece, titled, “Aquafresh plus Crest with Whitening ressio s is a e or o s screen print of a KING Magazine cover featuring the rapper and model Trina in a bikini. Walker had added splatters of toothpaste to the cover and digitally processed the result. Trina looked like the victim of a porno money shot.

On the opposite wall, “Black Star Press (rotated 90 degrees)” displays three prints of the same photograph taken during the Birmingham race riots of 1963. The photo had captured a police dog lunging at a young black man during a protest. Walker had blotched and slathered the images with chocolate sauce and printed a digital version of the messy collage.

But while Walker has drawn some criticism for such images, the controversy didn’t truly e lode til he a eared at for the artist’s talk on September 17. According to accounts by Irving and others present, Walker brushed off pointed questions about the meaning behind his

racially charged work.

Damon Davis, a local interdisciplinary artist who attended the talk, lit into Walker in a Facebook post the e t da “If you are an artist and you are aki g work that is s eci call raciall a d se all charged i o use black people for props in your work the at least e read to e plain yourself,” Davis wrote. “This is not art, he is just appropriating the images of us, throwing toothpaste on it and selling it as somethi g origi al e co ld t e lai his thought process ‘cause there was none.”

Davis concluded by calling for a boycott of CAM until Walker’s pieces were removed. The post was shared more than 500 times, and media coverage followed.

The outrage went deeper than Walker’s artwork. His conduct d ri g the artist s talk a ed r i g and others. First, Walker’s work had reduced a black woman to a two-dimensional prop, and now he e ected a t o is a die ce — a black audience, at that — to mull it quietly and go home? Did he really think his chocolate-covered civil rights photos would elicit re-

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Irving argues that removing Walker’s work from the museum wouldn’t constitute censorship. “If you don’t believe in it, and you don’t support it, then you take it down.” | DANNY WICENTOWSKI

IRVING Continued from pg 15 spectful murmurings, and nothing more?

It didn’t take long for Davis’ call for boycott to gain momentum. An already-scheduled panel discussion o Walker s work was ickl e panded to include eight black St. Louis artists, including Irving.

On September 22, hundreds pour into the museum to listen to the panel. They pause by Walker’s pieces, peering at the terse descriptions that offer little more tha arts eak a d fl Walker, it should be noted, was not invited. Davis, acting on his threat of boycott, offers his moral support but declines to attend.

“The fact that this rates as being OK for curation is more than problematic,” photographer Kat Reynolds says, kicking things off with an introductory statement. “I felt uncared for, as a black artist in this city.”

Her words are echoed by other artists on the panel. They are h rt a d co flicted a o t the role the museum was playing. In the past, CAM had served a critical 16

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function in the arts community and provided resources and education that e e tted lack artists i the city. But the museum was standing behind Walker, even praising him.

Curator Jeffrey Uslip had even called Walker “the one contemporary artist of our generation that is thinking through history, race, identity, and their lasting evolving and rotating implications.”

Irving is still bristling over Uslip’s comments.

“That pisses me off,” Irving says when the microphone comes his way. He offers a list of black artists who more than meet the same description — and they, he says, have the co rage to e lai the co ictions behind their art work. The same can’t be said of Walker.

The work should be taken down, Irving says.

“Keeping it up says that if you support this work, you support white supremacy and a white man being able to do whatever he wants without question,” he says. “And we’re questioning it right now.”

But Irving, for all his forcefulness, also struck a conciliatory note. After coming to this museum for years, he believes it is a bright node in the

OCTOBER 5-11, 2016

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art gala o t o is “We don’t want to alienate. We don’t want to hate,” he tells the audience. “We want change. Don’t hate the space. Hate the decision.”

The panel discussion and audience Q&A stretches on for more than two hours. That same day, three museum employees send a letter to the museum’s senior administrators demanding Uslip’s resignation, the removal of Walker’s offensive artwork and for reforms to be implemented in the museum’s curatorial process.

On September 23, Walker releases an apology through his New York City gallery, though it does little to e lai the racial elements in his work. He doesn’t attempt to answer the questions raised during the panel discussion.

He writes that the use of black bodies was part of his mission to create thoughtful and “sometimes difficult” dialogues about social equality and civil rights.

“I have always hoped that these works a d the e hi itio as a whole, would provide a forum for a conversation about the way American society gets represented in the media as images shift from

co te t to co te t ews a ers aga i es l etc a d a o t how the representation of the body, particularly of the black body, is an e ceedi gl co le to ic i erican art and culture,” he writes. “I hope that the St. Louis community will gi e e hi itio a cha ce to generate this conversation.”

Four days after the panel, the museum’s administration comes to a decision. It takes a middle ground, one which does not involve Uslip’s resignation. Walker’s works will remain, but a wall now partially conceals the work from visitors entering the museum. At the gallery’s entrances, signs have been placed with a warning: “This gallery contai s co te t that a e di c lt for some viewers.”

The day after the panel, in a Delmar Boulevard coffee shop, Tina Turner belts out the chorus to “Private Dancer” as Irving doodles absentmindedly on a notepad.

“I’m not into controversy,” he says with a sigh. For Irving and other black artists, this is a depressing a d e ha sti gl a iliar stor o a white man who got what he wanted.

Walker has staked his position, and

IT’S NOT ABOUT the highs or lows...

Irving made around 400 distinct vessels for his “Undocumented” series. “Every one is finessed, every one is unique, I just had to remember they were like people.” | DANNY WICENTOWSKI

It ’ s a b o u t

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“I still support the museum, but there are things that have to be addressed, actions that the museum has to be willing to take on,” he says.

“If you let people do what they want to do, and not be accountable for anything, that’s a continuation of imperialism on a micro-level. That’s not right.”

Irving’s own work attempts to puncture that imperialism with or a d co te t d e e as a undergraduate in Kansas City or a sculptor making pots in a basement studio in Washington University, he’s had to defend his work. he e t ear will deter i e the e t ste i r i g s li e a artist Despite the setback, the Bruno David aller sa s the e hi itio will de t sometime soon, in a new location, ea i g r i g ca all co lete the “Undocumented” series. He is already toying with ideas for his e t ig ro ect ter tti g so much effort into the installation, it feels strange to be facing a blank page again. It’s been years since he created anything in the human form, and he’s been musing about its relationship to race, history and

urban environments. Sometimes he sits at the pottery wheel, empties his mind and just lets the ideas turn.

Irving leaves the coffee shop and walks toward the Lewis Center, an offshoot studio space belonging to Washington University.

As he walks back to his studio, Irving spots two discarded lottery tickets on the sidewalk in front of a book store. In a previous work, he collected lottery tickets and other street trash and used them as decal decorations on ceramic sculptures.

He picks the lottery tickets off the ground — he doesn’t have these in his collection.

There’s a mantra which Irving returns to in conversation. Art is life. Life is art.

“I say that, so people recognize what the re doi g he e lai s It’s a way of encouraging honesty, in himself and others. It’s a matter of attentiveness to history and humanity alike.

He’s not sure what he’ll do with the scratched-off lottery tickets.

He doesn’t have a plan yet. But he carefully slips them into a notebook.

You never know. Life has a funny way of turning to art, and sooner rather than later. n

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CALENDAR

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WEEK OF OCTOBER 6-12

THURSDAY 10/06 Golda’s Balcony

A 3 a.m. tweet from Lord and Lady Macbeth, somewhere on the campaign trail.

AUTUM RINALDI

The New Jewish Theatre opens its 25th season with Golda’s Balcony, William Gibson’s meditation on idealism and realpolitik. The play follows the life of legendary Israeli Prime Minister Golda Meir, a Russian immigrant who grew up in Milwaukee and then personally raised $50 million to help fund the birth and arming of Israel. But in 1973, during the Yom Kippur War, Prime Minister Meir needed military aid from a reluctant America. The play focuses on this tense time, when Meir may or may not have blackmailed her former adopted home in order to keep her dream — Israel — alive. Golda’s Balcony is performed at 7:30 p.m.

Wednesday and Thursday, 8 p.m.

Saturday and p.m. Sunday (October 6 to 29) at the Jewish Community Centers’ Wool Studio Theatre (2 Millstone Campus Drive, Creve Coeur; www.newjewishtheatre. org). Tickets are $39.50 to $43.50.

A Very Natural Thing Christopher Larkin had a modest goal or his l A Very Natural Thing. He wanted to realistically depict a homosexual relationship.

This was a revolutionary step in 1974, a time when LGBT characters were depicted as either deviants or disturbed individuals, or at best comic stereotypes. A Very Natural Thing is the story of David, fresh out of the monastery, and Mark, a businessman. The two fall in love but come to an impasse when David expresses his wish for a monogamous relationship, while Mark prefers to rotate through partners. Set against the backdrop of New York in the ‘70s, it was a l that drew criticis from the mainstream and from some quarters of the homosexual community -- namely those who felt there was no point in trying Continued on pg 20

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CALENDAR Continued from pg 19 Lord Macduff. Now when bloodyminded Macbeth (Ben Ritchie) vies against his former friend for the crown, the battle will be between a man and woman. (Wherever did they ever get that idea?) The always-excellent Michelle Hand plays Lady Macbeth, which should be a rare treat. St. Louis Shakespeare presents Macbeth at 8 p.m. Friday and Saturday and 2 p.m. Sunday (October 7 to 16) at the Ivory Theatre (7620 Michigan Avenue; www.stlshakespeare.org).

There is a 7:30 p.m. performance on Thursday, October 13. Tickets are $15 to $20.

SATURDAY 10/08 Vision: Where Ballet + Fashion Meet Two refugees wait for the future to fall into place in Suspended. | PRO PHOTO STL to pursue the heterosexual agenda of marriage and monogamy. The St. Louis Task Force for Human Rights screened the film at the Maplewood Theatre as a fundraiser in the mid-’70s. Tonight, those who organized the screening and those who attended it gather to discuss the film (clips will be shown throughout the talk) and the state of the LGBT community in the ‘70s.

The discussion takes place at 7 p.m. tonight at the Missouri History Museum (Lindell Boulevard and DeBaliviere Avenue; www. mohistory.org). Admission is free.

FRIDAY 10/07 Suspended Immigrants to a new country may learn the language, adopt the clothing and customs of their new neighbors, and become naturalized citizens, but something holds them back from making it truly home.

They might long for the nation they le t or d that what ha e ed i the past keeps them from moving forward. In Maya Arad Yasur’s drama Suspended, two men work 20

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as window washers on skyscrapers, able to see the corridors of power but unable to enter them. They’re both refugees from war-torn countries, and so they’ve made an agreement not to speak of the past.

Is their future nothing more than menial labor under the unknowing and uncaring gaze of their new home, or is there a way for them to all ass thro gh that arrier to full acceptance? Upstream Theater opens its twelfth season with Suspended. Performances are at 8 p.m. Thursday through Saturday and at 7 p.m. Sunday (October 7 to 22) at the Kranzberg Arts Center (501 North Grand Boulevard; www. upstreamtheater.org). The final performance is at 2 p.m. on Sunday, October 23. Tickets are $20 to $30.

Macbeth Out of all of Shakespeare’s plays that deal with governance, Macbeth might be the perfect distillation of the forces that drive men to strive for ultimate power.

Staging a production of it during an election year is a canny move, but St. Louis Shakespeare gilds its lily by casting Maggie Winniger as

OCTOBER 5-11, 2016

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Costuming is important for dancers.

What they wear tells a visual story, even as it enhances (or hinders) their movements. The nexus of fashion and motion is explored in the Saint Louis Ballet show Vision: Where Ballet + Fashion Meet.

Choreographers Emery LeCrone and Tom Gold fuse classical ballet and innovative thinking in two new pieces featuring costumes designed orda a War flash a d il Brady Koplar. The well-dressed dancers take the stage at 8 p.m. tonight at the Touhill Performing Arts Center on the University of Missouri-St. Louis Campus (1 University Drive at Natural Bridge Road; www.stlouisballet. org). Tickets are $24 to $59.

PixelPop Festival G a m e r s , y o u r w e e ke n d i s made. PixelPop Festival is a celebration of video games and game development, and it takes over the Saint Louis Science Center (5050 Oakland Avenue; www.pixelpopfestival.com) this Saturday and Sunday (October 8 and 9). You can sample panels and seminars on game design that examine everything from voice acting to the psychology used to hook players’ imaginations. Oh, and you can also play 35 brandnew games and give feedback to

their designers. Among those new games are Rain of Arrows a rst person shooter in which you ride a raft down a river and have to pick off assailants along the banks using your archery skills, and Joggernauts, a cooperative party platformer that requires two to four players to solve tandem jogging puzzles, navigate teleportation swaps and yell colors at each other as members of an interstellar high school track a d eld tea There will be tournaments for the competitive as well as analog games (tabletop, card and board games). Registration opens at 9:30 a.m. Saturday and at 11 a.m.

Sunday. Single-day admission is $15 and two-day passes are $25.

SUNDAY 10/09 Tribute to Prince Prince was a once-in-a-century talent, and it’s still difficult to believe he’s gone. Your ongoing transition to living in a Prince-less world may be aided by conductor Brent Havens and the Saint Louis Symphony Orchestra’s Tribute to Prince. The program includes the Minnesota Maestro’s greatest hits and most beloved songs — “When Doves Cry” and “U Got the Look” among them. Is it too much to ask for Havens and company to go deep and break out some of that Black Album nastiness? The show starts at 8 p.m. tonight at Powell Hall (718 North Grand Boulevard; www.slso.org). Tickets are $35 to $98.

Open Studios STL One of the benefits of creating art in St. Louis as opposed to that large East Coast city whose name we can’t recall is that rent here is comparatively cheap. That means artists have options when it comes to studio space, which means they can spend more time on their work and less time trying to d a thirtee th erso to get on the lease and defray costs. You can see for yourself during the Open Studio STL program. More than 150 artists welcome you into their studios this weekend to demystify the artistic process — it’s something that’s happening all

Moses parting the Red Sea, a painting found in Dura-Europos’ third century synagogue. | FROM THE ARCHIVE OF THE YALE ART MUSEUM over the metro area every day of the week. The kick-off party runs from 6 to 9 p.m. Friday, October 7 at the Contemporary Art Museum St. Louis (3750 Washington Boulevard; www.openstudios-stl.org), where you can also pick up a map that shows the participating artists’ studio locations. Those studios are open starting at 10 a.m. Saturday and Sunday (October 8 and 9). You can take a self-guided tour, sign up for a bicycle tour through Trailnet, or register for select studio visits led by local gallery and museum curators. Admission is free.

provide the voice of Batman, so of course Burt Ward is back as Robin, the Boy Wonder. Together they battle the Joker, the Riddler, the Penguin and Catwoman (voiced by Julie Newmar) in Gotham City, in space and perhaps in multiples — there’s a replicator ray involved.

Fathom Events presents Batman: Return of the Caped Crusaders at 2, 7:30 and 10 p.m. today at the AMC Creve Coeur 12 (10465 Olive Boulevard, Creve Coeur; www. fathomevents.com). The new documentary Those Dastardly Desperados is also shown. Tickets are $13.48.

MONDAY 10/10 WEDNESDAY 10/12 Batman: Blood in the Dust, Return of the Caped Death in the Dark Crusaders Dura-Europos, a Roman city in If you’re tired of the relentlessly dour modern take on Batman (did you hear, his parents were murdered!), your Bat-ship has come Bat-in. The animated film Batman: Return of the Caped Crusaders is set in the ‘60s, when Batman was a happier fella — mostly because Adam West was playing him. West returns to

what is now Syria, existed for a little more than 550 years.

Founded circa BC 300, the city grew to house an estimated 5,000 people at its height. Among them were Romans, Christians, ethnic Macedonians, Jews. All of this is known because of how the city was originally destroyed. Sassanid Persians besieged the city in AD 256,

mining under its walls and tower in an attempt to breach the Romans’ de e ses he o a s lled a buildings on the perimeter with earth and buttressed the outer walls with more dirt and mud bricks. This preserved them for the next 1600 years, so that upon Dura-Europos’ rediscovery, archaeologists found the beautifully painted walls of a synagogue, more than 100 parchment scraps and temples to various gods. Tonight at 7:30 p.m., Professor Simon James of the University of Leicester presents a lecture titled “Blood in the Dust, Death in the Dark: Combat and Chemical Warfare at Roman Dura-Europos, Syria.” The talk takes place at the Missouri History Museum (Lindell Boulevard and DeBaliviere Avenue; www. mohistory.org). Admission is free.

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

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YOU AND A GUEST ARE INVITED TO A SPECIAL ADVANCE SCREENING!

MONDAY, OCTOBER 10 7:00 P.M. PLEASE VISIT WBTICKETS.COM AND ENTER THE CODE RFTACCOUNTANT TO DOWNLOAD YOUR COMPLIMENTARY PASSES! RATED R FOR STRONG VIOLENCE AND LANGUAGE THROUGHOUT. Please note: Passes are limited and will be distributed on a first come, first served basis while supplies last. No phone calls, please. Limit one pass per person. Each pass admits two. Seating is not guaranteed.

Arrive early. Theater is not responsible for overbooking. This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio or video recording device into the theater (audio recording devices for credentialed press excepted) and consent to a physical search of your belongings and person. Any attempted use of recording devices will result in immediate removal from the theater, forfeiture, and may subject you to criminal and civil liability. Please allow additional time for heightened security. You can assist us by leaving all nonessential bags at home or in your vehicle.

IN THEATERS OCTOBER 14 Soundtrack Available Now AccountantMovie.com #TheAccountant

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FILM

[REVIEW]

Hold the Line Literary “it” kid JT LeRoy was nothing more than a game of telephone Written by

ROBERT HUNT Author: The JT LeRoy Story

Directed and written by Jeff Feuerzeig.

Starring Laura Albert and Bruce Benderson. Opened Friday, September 30, at the Landmark Tivoli Theatre (6350 Delmar Boulevard, University City; www. landmarktheatres.com).

I

heard that Madonna sent you some Kabbalah books.” You might think that such a comment, taken from one of many taped phone conversations (more on that later) in Author: The JT LeRoy Story, is about as quintessentially a ‘90s moment as you can get, but you’d be wrong. The debauched topper comes much later in the l t wo t s oil it et s st say it’s exactly what you would hope to hear in a clandestinely taped phone call from Courtney o e o e is o e o a s rock stars and celebrities — Billy Corgan, Winona Ryder, Shirley Manson, Tom Waits — seen in old photos or heard on answering-machine ta es as the riefl ass thro gh the or it o e o the literar cult sensation/ hoax whose curio s histor is the s ect o Author. he l s its its s ect well ike e o a d his ario s alter egos the film is flamboyant, ethically questionable, and impossible to ig ore oth l a d s ect demand your attention and will do almost anything to get it. They’re uncomfortable, irresistible car wrecks. e o the sta ds or erminator — was a teenaged boy born to a West Virginia truck-stop hooker. He had a history of drug abuse, prostitution and homelessness and was said to be experimenti g with ge der reide ti catio realit e o was the creatio o a ra l ert who ado ted the personality in telephone calls she

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Savannah Knoop and Laura Albert. | PHOTO COURTESY OF AMAZON STUDIOS / MAGNOLIA PICTURES made to a San Francisco therapist also ta ed l ert see s to ha e preserved every phone call she’s ever had). Encouraged to write about “his” experiences, Terminator (he didn’t have a last name yet) began submitting his stories for publication and soon had an agent and a book deal. e o s i sta t cele rit ickl produced a problem: People wa ted to see the a thor t rst l ert clai ed that the a thor was too shy to face the public, but when that failed to satisfy the demand (or whe l ert co ld o lo er resist a chance to be in the spotlight) a solution was found. Savannah oo the sister o l ert s boyfriend Geoffrey, donned a blonde wig and sunglasses and appeared as the reclusive author. l ert ega to acco a oo in the guise of Speedie, his/her glish co ida te oo e o and his sidekick were everywhere — at book signings, at the Cannes il esti al where sia rge to presented her adaptation of e o s seco d ook The Heart is Deceitful Above All Things), and as lyricist and sponsor of Geoffrey Knoop’s band (Speedie was the ocalist o co rse l ert a d her co-conspirators set a lot of plates spinning; the inevitable crashes

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came in 2006 when the New York Times became suspicious, eventually getting Mr. Knoop to re eal the e tire stor aws its accusations and bruised emotions followed. d ow the third act Author is a gimmicky, gossipy but compulsively watchable account of the whole story, centered al ost solel o l ert a d her collectio o cassette ta es ts message is less a mea culpa than an unrepentant cry of “look at me!” (Savannah Knoop appears o l riefl so e o the eo le heard in the recordings were unaware of their existence and ha e o ected to their se i the l irector e e er eig is re e ta t i gra ti g l ert s wish or a other tee i tes He allows her to shape the narrative around her own life, from her troubled childhood, her rebellious teenage years (like almost everyone who came of age in the late ‘70s, she goes to great lengths to establish her young punk credibility) to her poste o i dig atio with those who exposed the hoax, a word she ds o e si e e e si e to the end, she clearly relishes the chance to take the central role that was denied her at the height

o e o a ia a d to reclai the child-like author from the media doppelganger she created. l ert s rel cta ce to co cede a error a d e er eig s refusal to press her on any critical issues — push Author close to shaky ethical grounds. Besides the ubiquitous and unaddressed phone tapes, which may have ee illegal the l has the air o an amateur, undirected therapy session. Only late in the film do we hear l ert s clai that e o sometimes speaks spontaneously through her, although she strongly re ects the otio o lti le ersonality disorder. More recently, she s descri ed the e o erso a as an avatar. as the l al ost teasi gl s ggests the e tire e o e isode was more a symptom than an example of literary performance art, what is the idea behind this selfabsorbed, not-quite-a-confession? s it a a olog a e la atio or st a other wi k at the crowd l ert r l laces hersel as the star o the e o stor with the viewer one of her fans. With her rele tless ristl sel co de ce she recalls the eter ook oke about someone who has learned from their mistakes and can repeat every one of them. n

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THE ARTS

23

[ S TA G E ]

Under the Solstice Spell New Line gives new life to the 1969 Broadway flop Celebration Written by

PAUL FRISWOLD Celebration

Words by Tom Jones Music by Harvey Schmidt Directed by Scott Miller and Mike DowdyWindsor Music Direction by Sarah Nelson Presented by New Line Theatre through October 22 at the Marcelle Theater (3310 Samuel Shepard Drive; www.newlinetheatre. com). Tickets are $15 to $25.

I

n a world full of remakes, rip-offs and rehashes, it’s nice to know that there are still surprises.

Namely, that an ancient Sumerian play about the winter solstice can somehow be fresh and invigorating in our tired modern world. It’s true that there’s nothing new under the sun — except for the sun itself, which has been reborn every year since time immemorial.

Tom Jones and Harvey Schmidt poured the money they made from The Fantasticks into Celebration, a musical version of the aforementioned ritual play about the sun and the moon duking it out on the longest night of the year.

Their original production was not well-received in 1969, perhaps because the story is rather slender for a Broadway production. Or maybe it was the subtext about arti cialit alli g the wa side so that something new and real could take root. What’s more arti cial tha roadwa But New Line Theatre has proven time and again that what stumbles on the big stage can spring into life in a black box theater. Under the direction of Scott Miller and Mike Dowdy-Windsor, New Line’s current staging of Celebration is a mystical journey that brings rebirth and rejuvenation.

The plot is bare bones, as all

William Rosebud Rich (Zachary Allen Farmer) will marry Angel (Larissa White) or die trying. | JILL RITTER LINDBERG good rituals are. Orphan (Sean Michael) is a naive country boy driven into the cruel city after the family farm is lost. He’s in search of William Rosebud Rich (Zachary Allen Farmer), the jaded millionaire who plans to build a shopping center on the farmland, t i stead ds the o ort istic Potemkin (Kent Coffel), a bum who in his time has been both a carnival barker and a priest.

Potemkin lays out his worldview in the song “Survive,” which has an undertone of menace that young Orphan doesn’t recognize.

Then Angel (Larissa White) literally falls into Orphan’s arms.

She’s the ambitious panties-andpasties-clad singer of the band that will entertain Rich at his New Year’s Eve party. Angel gets Orphan and Potemkin into the party, which gives Orphan his shot at convincing Rich to relinquish the land. Proximity to Rich also gi es ote ki his al ig score

if he plays his cards right.

All of these matters are settled by the e d o the rst act er od is happy with the outcome, except for Angel and Orphan. The pair realize they love each other, but Rich has claimed Angel has his bride. Only a battle to the death between Orphan and Rich can settle this, but Rich is lost in his arti cial world o o e a d es men and doesn’t realize what’s about to happen.

Michael and White are both excellent in their roles, which are more archetypes than characters.

Orphan carries a single seed in his satchel and sings about his garden; Angel is beautiful and wants only to have her dreams come true.

Their love is nurtured mostly through dreamy eyes and locked gazes. “I think we’re in a different play,” Angel tells Orphan at one point, and she’s right — they’re outside the mercenary world of Rich and Potemkin. riverfronttimes.com

Farmer is a hoot as Rich, a crass man clad in lunar blue robes and sporting the familiar, evil blonde toupee of New York big shots everywhere. He screams, bellows and threatens his way through the show, never listening to anyone else — except Potemkin. The canny s r i or agles a lace at ich s shoulder, happy to bask in his reflected wealth a d ower Only Potemkin is a mystery, and o el la s that til the al moment. He is both narrator and player, commenting on the action and leading it toward its inevitable conclusion. At the end Angel and Orphan are together, their love growing stronger. But so is the menace that surrounds Potemkin; Orphan has decided to stay in the city and make his fortune to give Angel everything she wants. At the moment of the sun’s victory, the seeds for the new moon are planted. The cycle will continue, as it always has. n

OCTOBER 5-11, 2016

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23

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Sophia Brown, Amy Loui and Jan Meyer (left to right) excel in Three Tall Women. | PATRICK HUBER [ S TA G E ]

DIRGE WITHOUT MUSIC The St. Louis Actors’ Studio production of Three Tall Women is surprisingly uplifting Three Tall Women

Written by Edward Albee Directed by Wayne Salomon Presented by St. Louis Actors’ Studio through October 9 at the Gaslight Theatre (358 North Boyle Avenue; www.stlas.org).

Tickets are $30 to $35.

Written by

PAUL FRISWOLD

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dward Albee is celebrated for his sharply drawn dramas about sharp-tongued people, and Three Tall Women is no exception. It’s the story of an old woman, listed only as “A” in the program, nearing the end of her life. “B” is a middle-aged caretaker who sits with her and helps her remember the past. “C” is the younger woman who is there to get important papers signed before it’s too late. While the play is directed at A’s inevitable death, Three Tall Women is very much about life, making it more hopeful than Albee’s reputation would suggest.

What’s most surprising about St. Louis Actors’ Studio’s current production of Three Tall Women is how much it feels like a musical without music.

The three lead actresses — Jan Meyer, Amy Loui and Sophia Brown — treat Albee’s dialogue like a song sung in rounds, giving the show a thrust and lift that carries it toward a triumphant crescendo. Director Wayne Salomon deserves credit for shepherding them through the changes, but it’s difficult to not hear this show as a paean to the way women manage to succeed even in an unforgiving man’s world.

The script itself is also quite

unforgiving. A and B are a team in the early going, ganging up on C, who takes herself and her work too seriously. C is also horrified by the changes that come with aging; she can’t bring herself to touch A, and her fear of A’s incontinence sets B cackling. “How you do go on,” B chides her. A and B share a knowing look when B warns the younger woman, “It’s all downhill from sixteen.”

Meyer does outstanding work as A, a woman whose body is betraying her even as her mind is leaving her.

She jumps from happy memories of an apartment shared with her sister many years ago to the fraught realization that she can’t remember what she was talking about in the space of a few sentences. Meyer handles these tonal swings adroitly, making them real without being maudlin.

In the second act all three actresses are A, but at different ages.

Brown is carefree and innocent, dreaming of marriage and all her future happiness. Loui is the assured A of middle age, strong, passionate and much wiser. Meyer takes on a harder edge, made sharp-tongued by her broken marriage, the death of her husband and her friends, and a lengthy estrangement from her son (Michael B. Perkins). “How did I become you?” C asks, shaken by A’s spitefulness. “It’s something I’d like to know,” B echoes.

Even when they get their answer, B and C can’t change anything. They will become that lonely old woman, and then all three will die. A offers them grim advice. “They say you can’t remember pain. Maybe you can’t remember pleasure, either.”

So where’s that hope? It comes when you’re walking back to the car, rattled by your own regrets and sorrows, and you realize there’s still time to experience more. More pain, and more pleasure. n

ART GALLERIES

25

Now Open!

Detail from R3clamation. | COURTESY OF THE ARTISTS

Radar Home, 11.8.13 New Work by Amy Reidel The Sheldon 3648 Washington Blvd. | www.thesheldon.org Opens 5-7 p.m. Fri. Oct. 7. Continues through Jan. 14.

St. Louis artist Amy Reidel draws her inspiration from color MRIs, family portraits and weather radar imagery.

Nobody who has lived in the Midwest for any length of time can fail to see the menace implicit in the deep reds of a heavy storm looming over the metro area. By overlaying that data on the face of a relative, Reidel combines the predictive powers of technology with the emotional patterns we learn to recognize from infancy. The result is imagery that speaks to our sense of home and security, and the threatening nature of the outside world -- and those we let in.

Robin Assner-Alvey & Dean Kessmann Duet 3526 Washington Ave. | www.duetstl.com Opens 6-8 p.m. Fri., Oct. 7. Continues through Nov. 26.

The “happy accident” is a key part of many artists’ methods. Stray marks, dropped stitches, unexpected tears -- these unexpected and uncontrolled incidents create gateways to new ideas and interpretations. But Robin

Assner-Alvey and Dean Kessmann both intentionally induce malfunctions into their work. Assner-Alvey’s digital photographs appear to be taken by a haunted camera, her images tweaked up and glitched out into abstractions of primary color and shapes that only hint at real-world objects. Kessman also works with digital images, his seeing close-ups on a puddle with snippets of hair or grass floating in them, set against a checkerboard backdrop.

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R3clamation Hoffman LaChance Contemporary 2713 Sutton Blvd. | www.hoffmanlachancefineart.com Opens 6-10 p.m. Fri., Oct 7.

Basil Kincaid and Audrey Simes take over Hoffman LaChance Contemporary with their collaborative installation R3clamation. The project is focused on creative recycling, both of material objects and personal identity. If the debris of the past -- which is all around us in St. Louis -- can be reused and repurposed in a positive way, will our sense of who we are collectively be reshaped as well? Both Kincaid and Simes argue that it’s not just probable; it is essential. The opening reception includes a performance piece, which is tied into the ongoing R3clamation Project.

—Paul Friswold riverfronttimes.com

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CAFE

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“My Wife’s Mistake Meat Loaf Sloppy Joe” owes its existence to a kitchen error, but you’ll never believe that once you taste it. | MABEL SUEN [REVIEW]

Ace in the Hole Five Aces Bar-B-Que is a worthy successor to Shaw’s beloved Mama Josephine’s Written by

CHERYL BAEHR Five Aces Bar-B-Que

4000 Shaw Boulevard; 314-771-4001. Tues.Thurs 12-7 p.m.; Fri.-Sat. 12-8 p.m.; Sun. 1-6 p.m. (Closed Mondays).

A

ntonio Ellis gets it all the time.

“You know, I used to come here when it was Mary’s place” and “Does Mary still come around?” Then there’s the most important question, the one on almost everyone’s lips: “You didn’t change the chicken and

dumplings, did you?”

The answer to that pivotal question is no. Ellis and his crew at Five Aces Bar-B-Que kept the chicken and dumplings made famous by the space’s previous tenant, Mary Samuelson of Mama Josephine’s, following her mother’s recipe to a T. The humungous do gh alls still float with h ks of white and dark meat chicken in rich, herbed gravy. The massive dish remains the best example of comfort in a bowl this side of the Mississippi — just like when “Mary” used to make it.

And Ellis isn’t offended when people seem more fixated on Samuelson’s greatest hits than curious about his more recent additions to the small storefront.

After he took over the beloved neighborhood restaurant on the corner of Shaw and 39th in April, he pretty much expected it.

Ellis’ original plan wasn’t a buyout. He’d simply responded to a Craigslist ad that Samuelson had posted and the two got to talking.

Samuelson didn’t want to walk

away from Mama Josephine’s; she simply could no longer balance her full-time career as a data scientist with an even fuller-time career as a restaurateur. In Ellis, she found a kindred spirit who offered a solution. Why not form a partnership? The plan seemed like a win for everyone. Samuelson could work her day job and still come in a few times a week to prep her mom’s recipes and mingle with her loyal guests. Customers would still be able to get Mama Josephine’s ood while llis wo ld all get a brick-and-mortar location for his burgeoning business, Five Aces Bar-B-Que. The arrangement lasted a mere two months before Ellis and Samuelson agreed to a buyout. It was amicable — with one foot still in the door, Samuelson was unable to disco ect s cie tl a d also worried she was hindering Ellis’ plans to expand his business. As part of the terms, Ellis agreed to keep many of Mama Josephine’s favorites on the menu, serving as a steward of Samuelson’s mother’s riverfronttimes.com

recipes. This was no takeover.

Instead, Ellis saved Mama Josephine’s from extinction.

But to view Five Aces as Mama Josephine’s 2.0 is incorrect.

Ellis, a Navy veteran who has been smoking meat in parking lots around town for the past several years, has transformed the Southern cooking spot into a o a de s okeho se e s ade few changes to the space — some artwork, a television (although he admits the old timers don’t care too much for this addition) and two massive smokers that sit out front o haw he roo is lled with the scent of hickory smoke, a telling sign that he’s cooking so much more than just the old recipes.

As for those recipes, he spent months training under Samuelson so that he could learn exactly how to make them. His efforts have paid off in more than just the chicken and dumplings. Meatloaf is still do e i a a s st le flecked with bell peppers, onions and Italian breadcrumbs and glazed with a layer of Continued on pg 28

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St. Louis’

#1

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2117 South 12th St. 314-772-5977

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3939 Union Rd. 314-845-2584

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Antonio Ellis has been operating Five Aces Bar-B-Que in what used to be Mama Josephine’s since April. | MABEL SUEN

FIVE ACES Continued from pg 27 ketchup. Fried fish — on one of my visits Ellis was proudly serving walleye — retains Samuelson’s delicate, herbed breadcrumb crust, which crisps up to a greasy golden brown from pan frying. Both were enough to make me nostalgic for the old days.

Ellis’ ribs, however, shook me firmly back into the present. He offers them in two different styles, a “competition” version with the appropriate chew and pull to please barbecue purists and the self-explanatory “fall-off-the-bone” version, a style that may be out of favor with barbecue judges but is beloved by those of us with a soft spot for the molasses-glazed meats of backyard cookouts. Ellis doesn’t use salt for his rubs, instead opting for a secret spice blend. The result is a fla or that s ikes the row sugary glaze with Creole or jerk spices like thyme, chiles, garlic, cinnamon and clove — wet-nap ar ec e at its est Ellis’ pork steak uses the same rub and glaze, and the meat takes on that beautiful bittersweet ar ec e char fla or a i g st devoured the ribs, however, I found this cut on the tough side. The opposite was true for the brisket.

The slow-cooked beef, swimming in thick, molasses-style barbecue sauce, resembled pot roast and sweet gravy. You can certainly undercook a brisket. This went too far in the other direction — though ladling it over mashed potatoes and treating it like a stew proved a good solution.

My dining companion apologized

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for, in her words, “being boring and ordering the pulled chicken sandwich.” It turned out she had one of the best dishes if the night.

The juicy chicken tasted as if it was take straight o a ca re a d placed on a bun. The smoke cut through the sweet sauce, balancing the flavor for the night’s best surprise.

Ellis likes to tell diners the story about the teenage girl living in the upstairs apartment who asked for the biggest burger he could make, then devoured a nineteenounce version of “Uncle Tony’s Best Burger Ever.” I’m not sure I could take down such a monster, but I’d sure have fun trying. This is a ight e rger llis cooks the thick, quarter-pound patty in the smoker; it comes out around a medium-well but is so juicy and infused with wood smoke, the extra cook time makes little difference.

When Samuelson put her faith in Ellis to carry on the home-cooking torch, this is surely what she had in mind.

Five Aces’ signature sandwich shares a similar origin story to gooey butter cake — Antonio’s wife Toisha goofed on her meatloaf recipe and ended up with a falling-apart mess; she put it on a bun, called it a sloppy joe, and inadvertently created a signature dish. Ellis calls the creation “My Wife’s Mistake Meat Loaf Sloppy Joe,” but everything about this sandwich tastes right. Succulent, free-form ground beef is spiked with spices and a touch of barbecue sauce, then piled onto a plain white bun — the simple comfort of your youth.

Side dishes at Five Aces are

The smoke in the pulled chicken cut through the sweet sauce, balancing the flavor for the night’s best surprise. standard soul food fare — mac and cheese, greens, okra, mashed potatoes. The standouts are the sweet potatoes, cooked in so much sugar and autumn spices they should be the centerpiece of a Thanksgiving dessert table.

I could’ve plopped a scoop of vanilla ice cream on top and been on my way, but Five Aces’ fried pies were too tempting to pass up.

Blueberry and cherry versions were like homemade versions of a McDonald’s apple pie — greasy, somewhat savory on the outside and gushing with gooey fruit.

Certainly, Mama Josephine would approve.

But really, there’s not much the restaurant’s former inspiration could object to at this Southern soul food and barbecue gem. It may have been Mary’s place, but Antonio Ellis proves that she placed her mother’s legacy in capable hands – even while he is busy creating a legacy of his own. n Five Aces Bar-B-Cue

“My Wife’s Mistake Meatloaf Sloppy Joe” ................. $9.95 Chicken ‘n Dumplings ..................... $12 Half slab baby back rib dinner ... $17.95

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30

SHORT ORDERS

[SIDE DISH]

[FOOD NEWS]

5 ChefEndorsed Picks for Kirkwood Food Lovers

EAT SANDWICHES COMING SOON TO TGS Written by

CHERYL BAEHR

I

Written by

CHERYL BAEHR

B

rad Bardon, the chef de cuisine at Público (6679 Delmar Boulevard, University City; 314-8335780), expects eye rolls when he mentions the dining options i irkwood “I think west county has this reputation as being just his wasteland of corporate trash and chain garbage,” he says. “In the city, people know there is a lot more going on and you don’t have to spend your money on that, but the fact is, there is good stuff going on out west now that is worth talking about.” ardo who o ed to irkwood with his wife four years ago, has gotten to know his neighborhood by exploring places that are the off the beaten path — everything from a newly opened creamery to an unassuming Japanese spot. He’s impressed with the quality and authe ticit he ds i a lace that sometimes gets written off as beige suburbia. For skeptics, he has some advice.

“Dig a little deeper,” Bardon entices. “Head off the main drag. A lot o the ti e o ll d that the eo le doing the good stuff isn’t going to be in the shiny building on the corner lot because they can’t afford to be there. Look for the little guy.”

To get you started, here are ardo s e st isit s ots i his neighborhood.

1. Comet Croissanterie & Creamery 640 W. Woodbine Avenue, Kirkwood; 314-394-1033 “When Mark [Attwood] and

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When in west county, dig a little deeper, advises Brad Bardon. | HOLLY RAVAZZO Stephanie [Fischer] come see us at Público, they almost always bring treats for the kitchen, so when this opened down the street from my house, I was pretty excited. I can walk there, and everything is done really well. I think that their pastry program is one of the best (and most underrated) in St. Louis. It’s like three blocks from where I live, and I can ride my bike there — that counts as exercise, right?”

2. Dalie’s Smokehouse 2951 Dougherty Ferry Road, Valley Park; 636-529-1898 “This is a little outside of irkwood t it s ar the est barbecue in the area. It’s part of the Pappy’s family of restaurants, and the reuben sandwich that they do is ridiculous.”

3. Izakaya Ren 2948 Dougherty Ferry Road, Valley Park; 636-825-3737 “This is a little, independent, family-run joint. Everyone in there is just super nice, and it’s what you want out of a sushi place — quaint, clean and just really well done. There’s not a bunch of fried things dipped in mayo and showered with sriracha it s seaso ed icel c t sh i properly executed rolls. Their happy hour is awesome, and you can leave

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spending $20 for two people for well-executed sushi.”

4. Global Foods Market 421 N. Kirkwood Road, Kirkwood; 314-835-1112 “I think this is the best ethnic market in all of St. Louis. We do a lot of cooking at home, and we go in, pick three things that we haven’t heard of, and then go home and play around. If I’m not in there at least three times a week, there’s something wrong. And the produce is dirt cheap. It truly is a global arket o wo t d st i e Asian ingredients; they have a huge selection from other places from around the world, like British and German products.”

5. Summit Produce 150 E. Argonne Drive, Kirkwood; 314-984-9496 “We don’t have to wait around until the weekend to have the best of the best from farmers markets.

Summit is open almost every day in the summer and a lot in the winter.

They sell some really great vegetables, but other things as well, like eggs, meats and other great local finds. There’s such a nice family that runs it. It’s another example of good people doing good things n in St. Louis.”

t started as a conversation among friends: Tower Grove South needs a proper gourmet sandwich shop — particularly, somewhere to get a really good French dip.

Those musings are about to become a reality for business partners Byron Smith, Thomas Crone, Fred Hessel and Jeff McGraw, who are scrambling to put the finishing touches on their forthcoming sandwich shop, Eat Sandwiches (3148 Morgan Ford Road).

Eat Sandwiches is slated for a mid-October opening and will occupy the original Local Harvest Grocery space, which is just south of its current incarnation. According to Smith, a veteran of Hot Locust Cantina and Kitchen K, the menu will feature gourmet deli sandwiches with housemade meats, breads and condiments.

“We feel like we are filling a gap in the neighborhood for high-quality sandwiches,” Smith explains. “We plan on making most of our meats in-house, using local breads and ingredients.

We’ll be smoking and braising pork and chicken, and we got this really great cheese melter that’s going to be the focal point of our kitchen.”

Smith is particularly excited about the restaurant’s likely signature dish.

“We want to do a really good French dip. We’re going to be roasting and then shaving the rib eye in-house.”

Smith expects the place to be fast-casual — a typical deli set-up where you order at the counter, grab your sandwich and eat at one of the restaurant’s tables. Plans are underway for a picnic lunch option, where patrons can grab sandwiches and a cooler of beer to take with them.

Eat Sandwiches will be small, with seating for roughly 25, but Smith doesn’t anticipate that being a problem. “We’re going to have outdoor seating, and we expect a lot of people to take their food with them, but really, lines out the door are a good thing.” n Editor’s note: Co-owner Thomas Crone is a regular contributor to the Riverfront Times.

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[FIRST LOOK]

Now Open: The Garden on Grand Written by

SARA GRAHAM

A

largely neglected area just north of the bustling South Grand restaurant district — the intersection of Grand and Shenandoah avenues — got a major upgrade with the highly anticipated opening of the Garden on Grand (2245 S. Grand Avenue) on September 23.

In an interview on opening night, owner Cevin Lee said his drive to open the restaurant was born out of a desire to provide healthy, inspired food without compromising on taste and texture. He seeks to appeal to those seeking healthier dining options as well as food lovers demanding progressive, creative concepts, so ethi g he ds lacki g i the city’s current culinary scene.

Lee noted that his family owns about 80 percent of the block, incl di g the o g o g ress next door. They hope to continue renovations. “If you raise the bar, the rest should pick up the pace.”

At the Garden, everything is made from scratch, either in-house or from quality purveyors with no additives or preservatives. Organic, non-GMO products are sourced whenever possible. All cooking a d dri ki g water is ltered he menu includes vegetarian, vegan and gluten-free dishes.

The restaurant was originally

Shaw’s newest restaurant has big ambitions, and a lovely space. | SARA GRAHAM envisioned as a fast-casual venue, t the i stallatio o ore Wil ert as executive chef allowed for the creation of a full menu. Wilbert’s past experience includes cooking for visiting doctors at SSM Hospital, Mad Tomato and MX Theater.

He’s had a spectacular September — one week before opening the Garden on Grand, he won the Stella Artois Chef Battle Royale at Taste of St. Louis.

His menu, a creative fusion of Asian, European and American cuisine, offers a modern approach to traditio al fla ors s ch as gi ger coconut chicken wings, coconut fried rice with shrimp-topped microgreens (from HOSCO, a local holistic cooperative) and lamb chops with broccolini on a puree

of celery root and rosemary. The cocktail menu offers craft and classic cocktails, and a collection of “boozy smoothies” featuring sorbets, beer and wine are also available.

Lee was inspired by a variety of innovative concepts — Momofuko, the acclaimed New York restaurant that also reaches food lovers through its publication, Lucky Peach; the renowned haute cuisine of Spain’s elBulli; and mom and pop, home-grown shops across the country such as Oxheart in Texas.

Wilbert’s inspiration comes from his time in Italy, American Southern cooking and pioneering concepts such as Alinea in Chicago.

One of the first things you experience as soon as you enter

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the Garden on Grand is the oasis awaiting you just steps away from busy Grand Avenue. All of the tables and the bar were designed inhouse and feature live edge wood tops. The north wall is covered with a green wall of plants and the tables are dotted with terrariums.

At the end of the bar is a chef’s table. The front and side patios are both heated and will feature live music and two projectors showing black and white movies.

The restaurant is closed Monday and open from 7 a.m. to 2 p.m. and 5 p.m. to 10 p.m. Tuesday through Thursday. On Friday and Saturday, the owners plan to stay open until midnight, with a late-night menu until 11:30 p.m. On Sunday, hours will run from 10 a.m. to 3 p.m. n

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OCTOBER 5-11, 2016

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DELIVERY TAKE - OUT CATERING

11640 DORSETT ROAD | 314-291-6555

OFFTHEGRILL.COM

[BARS]

Pagan Wine Bar Brings Drinks to a Space Known for Books Written by

SARAH FENSKE

T

he newest bar to open in the Central West End, Pagan Wine Bar (239 N. Euclid Avenue), isn’t on Facebook or Twitter.

It doesn’t even have a sign out front, just its name on the door. e eath that is ai ted hris i g ro rietor here is o hris i g a liated with the lace here is i stead d i g who until last year was running a book store at 239 N. Euclid specializing in mystery and espionage called Big Sleep Books. That’s his father’s name on the door, he says, and it dates back to the days from 1988 to 1995 whe hris i g ra ig lee d i g st does t ha e the heart to take it down.

Other than that name on the door, however, the former book store is utterl tra s or ed a d the ar i g has fashioned in its place is one of the most wonderful in the city. For six months now, beginning just a few days a week in late March and slowly building to seven-day-a-week ser ice i g has ee ai staki gl creating the kind of bar he likes to dri k i the sort o lace o d in Europe but not always the U.S. — low-key, smart, sexy.

Ed King has decorated his bar with his personal art collection, to the point that his home’s walls are now bare. | SARAH FENSKE “I searched for this place, and I did t d it so he sa s addi g “In Paris, I searched for the place I thought Anaïs Nin would hang out in. I never quite found it. I wanted this to feel like a place that’s been here 100 years.”

The bar is perfectly lit and convivial, but still very much a work i rogress i g e lai s that he started at the front of the storefront, which now features handsome redleather couches in the street-facing windows, and is working his way back — he’s about three-fourths done, even if the walls of his home have been stripped bare to accommodate the bar’s artistic needs.

As for the bar itself, it looks old, t is t a rie d ilt it to i g s s eci catio s o is carts are o the walls, with comfortable nooks and tables for seating in addition to bar stools. Near the back, there’s a

Your new favorite taco!

collection of spy novels, for sale if you’re interested. The bathroom is stacked with intriguing nudes and stills ro is e l s which i g credits for instilling pagan values in erica e ll get to ishi g the bathroom decor next, he hopes.

For now, though, he’s just too busy tending bar. He’s it, the one bartender during Pagan’s hours of operation, and he’s kept busy serving a roster of classic cocktails that are entirely in his head, in addition to a small wine list, which has in fact made it to paper.

He’s given it two pages, but it really only needs one, with a halfdozen glasses in total. He knows the back story on everything he’s serving, and while he’s more of a red wine enthusiast, the white he poured for us on a recent evening was spot-on — something we wouldn’t have ordered without a

personal recommendation, but were thrilled to discover.

Wine has completely taken o er i g s li e e details how he’s planting his family farm near Farmington, Missouri, with cabernet franc grapes, the rare French varietal that can survive Missouri winters. ce he ishes the ar that ll e his next great obsession. And in a half-dozen years, Pagan Wine Bar may be serving a vintage of his own.

He sees this new passion as a natural culmination of his heritage. His great-grandfather owned a bar on Laclede’s Landing. “He was called ‘the Cat’ because he could clear the top of his bar in one move and stop a ght i o ti e which o had to do i those da s i g sa s he stories about him spoke to me.”

He adds, “My father said at one point, ‘I wish we’d opened a bar.’”

Now, in a way, they have. n

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MUSIC

35

“It was a lot of work getting there, but seeing the joy I can bring people is all worth it.” | SPIKE STEPHENS [EDM]

Working the Room After nearly 30 years, local producer Don Tinsley is still making waves in St. Louis’ electronic music scene Written by

NATALIE RAO Don Tinsley 10 p.m. Saturday, October 8. Upstairs Lounge, 3131 South Grand Boulevard. $5.

314-358-2004.

O

lder music fans may remember the early days of the electronic scene in St. Louis: Underground raves in warehouses or abandoned buildings were all the rage. Publicity spread not through social media but through word of mouth, with

an event’s address remaining secret until the day of the show. It was truly underground, and it was what many remember as a golden age for the local electronic scene.

Things have changed since that time. Events have gravitated toward more conventional spaces, and social media has become the most effective way to get the word out.

Some promoters in St. Louis, though, are able to successfully combine the old and the new.

Back in July, the St. Louis group Future Ex Wife threw “Southside Viaduct Rendezvous,” an underground dance party held underneath the shade of a bridge on I-55. Locals from all over the city came to perform, including Chillin Music DJ Don Tinsley. His set incorporated the usual rhythmic sound of techno with innovative vocals and beats intertwined. Even with the intense heat of the day he kept the crowd grooving.

Tinsley has been doing just that for almost 30 years now. But he’s much more than an electronic underground veteran. Serving as a

link between the scene’s past and its present, he’s a former member of the Urban Jazz Naturals, a jazzhouse band internationally known for its single “How Can I.” He’s also a former RFT Music Award winner — sixteen years ago, to be exact.

And he’s a charitable guy, hosting a yearly event in the winter that also doubles as a clothing drive.

He’s done all of that and more for the past 28 years, making him an inspiration. Even more impressive?

He’s done it all one-handed.

Tinsley was born without a left hand — his arm ends just before the elbow. Attendees of the July event who hadn’t seen him play before were amazed at his ability to mix a live set literally single-handedly.

For him, it was just another day in the o ce “It’s the same struggle for me that everybody else goes through,” Tinsley says. “You’ve gotta go out and work it no matter what it is that you’re doing.”

From producing music to his day job as a software engineer, Tinsley says his disability has never riverfronttimes.com

hindered him, even when he was starting out in the ‘90s. In fact, he says struggling to break through in the then-youthful rave scene was much more discouraging than only being able to perform with one hand.

“I’ve definitely seen those moments of failure,” he acknowledges. t rst threw e e ts sel a d travelled around doing house parties to expose people to the music.

There’s been a couple times when nobody shows up, but you just have to keep on keepin’ on.”

Tinsley’s experience is something emerging artists of all genres face.

Many times gigs are met with empty da ce floors et with a i o ative new sound that incorporated techno, tech-house, down-tempo and even funky-house, Tinsley was guaranteed to break through at some point.

That moment came in 1998. A trip over the bridge brought Tinsley to a Halloween party in East St. Louis.

He was playing under the name 84 Glyde at the time, a name that

OCTOBER 5-11, 2016

Continued on pg 36

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DON TINSLEY Continued from pg 35

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became well known throughout the Midwest rave scene in the late ‘90s. It was a huge party — a couple thousand people were in attendance, and it was Tinsley’s job to keep spirits high.

“I was behind my gear looking at a couple thousand people in front of me, and I knew I had to make it as awesome as possible because I owed it to them,” he says. “I had recently done a bootleg remix of Michael Jackson’s ‘Thriller,’ and when I played it the crowd went absolutely berserk.”

Tinsley cites this moment as the culmination of all he had been working toward — the moment he knew all his effort had paid off.

“I didn’t let them down, and that helped kickstart me getting out there and doing it even more,” he says. “It was a lot of work getting there, but seeing the joy I can bring people is all worth it.”

Almost twenty years later, Tinsley is still making music. His most recent project, The Evanesce, is set to be released sometime before year’s end. This down-tempo, Bonobo-esque collection of tracks has been in the works for more than a year and a half now, incorporating various musicians and vocalists.

Tinsley also plays a bi-monthly show at Upstairs Lounge. His next gig there will be this Saturday; he plans to combine a performance with a care package drive for the homeless.

Between performances, producing music and maintaining a day job, Tinsley’s work ethic is admirable. His disability isn’t something he cares to focus on; he truly believes it hasn’t affected his ability to succeed.

He acknowledges getting some second looks, but he shakes them off.

“You walk down the street and people look twice at you,” he says.

“People judge you before they have any idea what you’re into, but I’ve used that as a learning experience.

I’m just as interested in others as they are in me.”

Instead, what might be Don Tinsley’s most marked characteristic is that he has no sense of entitlement — even after nearly three decades, he’s thankful to do what he does and to give back.

“The one thing that I can say is that being humble has gotten me further than anything,” he says. “It’s not about thinking you’re too important, but doing what you do as well as possible.” n

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B-SIDES

Introducing Delmar Hall

D

elmar Hall, the new 800-capacity venue brought to you by the minds behind the Pageant, kicked things off with a sold-out show for its opening to the public this past weekend. The 10,000-square-foot space hosted a reconstituted Stir for a packed Friday night.

Situated in the space that formerly housed Big Shark Bicycle Company on the eastern limits of the Loop, Delmar Hall can be thought of as a kid brother to its next-door neighbor the Pageant — both venues are operated by coowners Joe Edwards and Patrick Hagin. Delmar Hall is meant to serve as a stepping stone from the smaller venues in town — for example, Edwards’ Duck Room at Blueberry Hill — to the Pageant’s renowned stage.

Delmar Hall is also intended to harken back to the glory days of Mississippi Nights, the bygone St. Louis venue Hagin managed for nineteen years prior to the Pageant’s opening.

(Located downtown, Mississippi Nights closed in early 2007 to make room for Lumière Place.)

In this way, Stir — a St. Louis act that was active from to flirti g with a or la el s ccess d ri g that time — was a perfect pick to kick things off. Stir spent more than a little time on Mississippi Nights’ stage, even recording a live album there in 2002. The band recently reunited at July’s inaugural Wayback Pointfest, presented by 105.7 FM (KPNT). This weekend’s show was its second since reforming.

Stir also proves that the system works — in light of its capacity showing this weekend, the band has already added a December date at the Pageant to the books as well.

Photographer Holly Ravazzolo was there to capture the highlights.

– Daniel Hill

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“St. Louis pioneers of craft beer and live music” FRIDAY,OCTOBER 7 TH

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OCTOBER 5-11, 2016

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40

HOMESPUN

THE LEONAS Forbidden Fruit leonasmusic.bandcamp.com

F

ew human stories are as fundamental, or as fundamentally troubling, as the myth of Adam and Eve’s expulsion from the Garden of Eden. The lessons set forth in the book of Genesis — that knowledge led to a fall from grace, that a loving God would expel his creation — have long swam in the minds of Sunday school students and fueled the pens of writers, poets and musicians. On its new LP Forbidden Fruit, local folk duo the Leonas have taken the bones of that story and used it as a meditation on faith, feminism and the places where the two collide.

The duo comprises Steph Plant (vocals, guitar and banjo) and Sarah Velasquez (vocals and violin) and save for some light percussion and upright bass, these songs live and breathe on the interplay between their voices and their acoustic instruments. The two were friends from their time at nearby Greenville College, a Christian university in southern Illinois, and began playing together last year.

On Forbidden Fruit, the Leonas recast the story of the fall of man by focusing on Eve, the woman often relegated to the sidelines. “The reason that we were so attracted to the creation story is because of how minimal a role Eve plays in the story and how her character is demonized,” says Velasquez. “That opening story to the Bible sets the tone for women to be background or marginalized in the story, or dependent on other characters to exist. It’s a trope that carries out in lots of other stories too. I wanted to see Eve as a more dominant character. I wanted to see her actualize herself. I wanted to see the fruit as a different meaning.”

The album is connected by the “Forbidden Fruit” trilogy, a set of songs that dot the beginning, middle and end of the set. On the trilogy and throughout all eight songs collected here, Plant and Velasquez make a lot out of a little, needing little more than their steady harmonies and spare but stately instrumentation to sketch the outlines of these songs. The writing was often done in tandem, and the oft-impressionistic lyrics owe less to Biblical passages than the women’s own experiences.

“We’ve had to reimagine our own relationship with those things because there is a lot of baggage there,” says Plant. “We’re kind of rethinking how we want to interpret some of these ideas.”

“Steph and I both grew up in very religious homes, so that’s part of our identity,” continues Velasquez.

“Part of our understanding of the world is interwoven with stories in the Biblical narrative.” The band’s bio notes that its stories are inspired from “familiar myths and hymns,” and for the songs on this album, Velasquez says that she and Plant are “taking liberty with stories that were told to us as hard fact.”

“We wove our own personal stories into it,” she adds.

Some of those hymns reveal themselves literally on

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the Leonas’ records, as Plant and Velasquez use their shared faith background and religious upbringing in sound as well as in content. On last year’s Peace EP, the pair turned in spirited versions of the hymns “Simple Gifts” and “Swing Low, Sweet Chariot,” though on the new album the singers take more liberty with the song’s lyrics. On Forbidden Fruit “The River” is performed a cappella, and it takes its bones from the spiritual “Down to the River to Pray” (best known to secular audiences from O Brother, Where Art Thou?).

But rather than use the song as a call to communion and absolution, the Leonas focus on the depth and permanence of their perceived sin — in this case, a young girl’s burgeoning sexuality.

Several songs speak to the intersection of religious faith and feminine identity; the second track, “Girl,” is a tti g ollow to the o e er as the tit lar girl is given a litany of instructions from a force that purports to protect her but instead limits her access to her sexuality, freedom and identity. On this album, those concepts of feminine identity are central to the Leonas’ message.

“I feel like Sarah and I want to achieve a certain amount of feminine electricity with our music,” says Plant. “We enjoy reaching down deep inside what it means to be a modern woman. There are a lot of people who really get excited about that; it’s something our music has leant itself to because our music brings up those excited feelings.”

Both Plant and Velasquez speak of their continuing faith journeys and their interest in accessing a spirituality that has grown along with them. But with the Leonas, Plant says they are doing it in a different manner than they did as “youth-group kids.”

“I have to say, harmonizing is one of the most spiritual things you can do,” says Plant. “It makes you feel united with humanity; it makes you feel woven i to other ea ti l eo le t de itel ele ates musical experience to sing with other people.”

–Christian Schaeffer

C I S MU R I V ERF RONTTIMES.CO M riverfronttimes.com

OCTOBER 5-11, 2016

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OUT EVERY NIGHT

THURSDAY 6

[CRITIC’S PICK]

ANDY T. & NICK NIXON BAND: 8 p.m., $10. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

Fire Dog

GREEN RIVER ORDINANCE: 8 p.m., $12-$15. Old

6 p.m. Sunday, October 9.

Rock House, 1200 S. 7th St., St. Louis, 314-5880505.

HECTOR ANCHONDO BAND: 9:30 p.m., $10. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

MATOMA: 8 p.m., $20-$25. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161.

SUCH GOLD: w/ Secondary 7 p.m., $10-$12. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

XERXES: w/ Slow Mass 7 p.m., $10-$12. Fubar, 3108 Locust St, St. Louis, 314-289-9050.

FRIDAY 7 DA’RON B & UNIVERSAL THEORY: w/ PurpPain, Armani Swayze, The Therpudics 8 p.m., $8-$10.

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

Off Broadway, 3509 Lemp Avenue. $10. 314-7733363.

Married couples who make it to their ten-year anniversary are, by tradition, supposed to gift one another something made of tin or aluminum. That sounds like a raw deal, unless your shanty needs re-roofing or you’re really, really jonesing for a six-pack of PBR. Bands that make it to the ten-year mark have no such gift-giving tradition, so Fire Dog, the effusively positive rock trio led by Mark Pagano, is gifting its fans with a Sunday-evening cornucopia of

music, fellowship and good vibes. The trio will kick off the event at 6 p.m. by playing songs from its 2015 children’s album For the Kids before turning over the stage to both Rats & People Motion Picture Orchestra and AndroBeat. Fire Dog will return to play a more rock-oriented set and the night will end with a dance party helmed by DJ MAKossa. It promises to be a varied evening of music compliments of a band celebrating its first decade, and it will certainly be better than getting a hunk of tin.

Both Old and New: Fire Dog is at work on its next LP, so expect some new jams during its later set.– Christian Schaeffer

436-5222.

CAPTAINS COURAGEOUS: w/ Decedy, Jet Black Alley Cat, Pseudo Skylight, Murphy & The Death Rays 6 p.m., $10-$12. Cicero’s, 6691 Delmar Blvd., University City, 314-862-0009.

CELTIC THUNDER: 7 p.m., $45-$75. The Fox Theatre, 527 N. Grand Blvd., St. Louis, 314-5341111.

THE DANDY WARHOLS: 8 p.m., $25-$28. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-7266161.

DAVID DEE & THE HOT TRACKS BAND: 10 p.m., $5.

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

THE GROWLERS: 8 p.m., $20. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363.

HATEBREED: w/ Devildriver, Devil You Know 8 p.m., $20. Pop’s Nightclub, 401 Monsanto Ave., East St. Louis, 618-274-6720.

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

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

QUINTRON & MISS PUSSYCAT: 9 p.m., $10-$12.

JAKE’S LEG: 9 p.m., $7. Cicero’s, 6691 Delmar

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

Blvd., University City, 314-862-0009.

[CRITIC’S PICK]

JAMES BAY: 8 p.m., $27-$30. The Pageant, 6161

0353.

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

SOUND & SHAPE: w/ King James and the Killer

LERA LYNN: w/ Indianola 8 p.m., $15-$18. Blue-

Bee, Aquitaine 9 p.m., $7. The Heavy Anchor,

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

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

University City, 314-727-4444.

THE SUFFERS: w/ Jakubi 8 p.m., $12.50-$15.

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

Blueberry Hill - The Duck Room, 6504 Delmar

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

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

436-5222.

THEBIRDSATTHISHOUR PT.1: w/ 18andCounting

LOVE HZ: DRUM & BASS: w/ KrispE, Madd Catt,

9 p.m., $10. The Luminary, 2701 Cherokee St,

Monoteknic, Cryptonix 9 p.m., $6. Cherry

St. Louis.

Lounge, 4600 Gravois Ave., St. Louis, 314-352-

UNKNOWN HINSON: 8 p.m., $20. The Ready

6900.

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

PENNYWISE: w/ Strung Out, Unwritten Law,

833-3929.

Runaway Kids 7 p.m., $25-$30. Delmar Hall,

WIDE AWAKE: w/ The Greater Good, Lo And Be-

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

hold, Polterguts 7 p.m., $10-$12. The Firebird,

SCARFACE: 9 p.m., $25-$35. The Marquee

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

Restaurant & Lounge, 1911 Locust St, St. Louis,

SUNDAY 9

314-436-8889.

SMARTGRIND BREEZY SHOWCASE: 8 p.m., $5-

Unknwn Hinson. | PRESS PHOTO COURTESY OF ARTIST

$10. Fubar, 3108 Locust St, St. Louis, 314-2899050.

TACOCAT: w/ Daddy Issues 9 p.m., $12. Off Broadway, 3509 Lemp Ave., St. Louis, 314-7733363.

TORONZO CANNON BAND: 10 p.m., $10. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314436-5222.

VANILLA ICE: w/ Salt-N-Pepa, Coolio, Kid ‘n Play, Young MC, All-4-One 7 p.m., $26-$76. Chaifetz Arena, 1 S. Compton Ave., St. Louis, 314-9775000.

WESTERN SATELLITES: 4:30 p.m., free. Tower Grove Park, 4256 Magnolia Ave., St. Louis, 314-771-2679.

SATURDAY 8 BOYCE AVENUE: 8 p.m., $25/$27.50. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.

BROTHER JEFFERSON DUO: 7 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-

42

RIVERFRONT TIMES

The Ready Room, 4195 Manchester Avenue. $20.

314-833-3929.

It is unclear whether Unknown Hinson got a boost to his popularity with the resurgence of vampires in popular culture, brought about largely by the Twilight series of movies and books — Hinson’s brand of vampirism is more of the “country troubadour” variety and less “sparkly brooding teen hunk.” No matter; high school trends come and go, but the kind of hilarious story-songs Hinson peddles are timeless. Named after his father — “says right there on my

OCTOBER 5-11, 2016

riverfronttimes.com

Hall, 6133 Delmar Blvd., St. Louis, 314-7266161.

Unknown Hinson 8 p.m. Saturday, October 8.

BRONZE RADIO RETURN: 8 p.m., $13-$15. Delmar

FUTURISTIC: w/ Beez, Cato, Justina 8 p.m.,

birth certificate. Mama: Miss Hinson.

Daddy: Unknown” — Unknown Hinson has been lighting up the stage with his wit (and his .38) since 1993, when his human surrogate Stuart Daniel Baker first picked up the fangs for a Charlotte, North Carolina-based public-access program. The show only lasted a couple of years, but Hinson, vampire that he is, lives on.

Free Hat Limit 1: Hinson may be best known for his role on Adult Swim’s Squidbillies program, providing the voice of drunken hillbilly squid Early Cuyler.

– Daniel Hill

$15-$18. Blueberry Hill - The Duck Room, 6504 Delmar Blvd., University City, 314-7274444.

HAMMER FIGHT: w/ Product Of Hate, Some Kinda Khaos 7 p.m., $12. Fubar, 3108 Locust St, St. Louis, 314-289-9050.

JOSH GROBAN: 7 p.m., $43-$147. Peabody Opera House, 1400 Market St, St. Louis, 314-241-1888.

LOVE JONES “THE BAND”: 8 p.m., $10. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314436-5222.

MATT WERTZ: 8 p.m., $16-$20. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505.

PRESTON HUBBARD MEMORIAL: 3 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

ZEKE NETTLES BENEFIT: 4 p.m., $10. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-

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Lampedusa Tour 8 p.m. Tuesday, October 11.

The Sheldon Concert Hall, 3648 Washington Boulevard. $65 to $100. 314-533-9900.

St. Louis has known its share of oncein-a-lifetime concerts: Nirvana at Mississippi Nights, Sonic Youth under the Arch, Chuck Berry at the Fox for Hail!

Hail! Rock ‘n’ Roll. OK, the latter was two nights, but attendees will never forget the celebration. Add to that list the Lampedusa tour stop at the Sheldon Concert Hall. This benefit features Emmylou Harris, Steve Earle, Patty Griffin, Buddy Miller, and the Milk

Carton Kids, all swapping songs in the round. The first four artists belong on any short list of Americana’s founding figures; the fifth is one of the genre’s best hopes for continued relevance.

Witnessing what they’ll all do together on stage in an acoustically sublime hall couldn’t be anything but unforgettable.

Lamp in the Dark: Lampedusa refers to the Italian island that’s become a flashpoint and symbol of the European refugee crisis. Proceeds from the evening will benefit the Jesuit Refugee Service’s Global Education Initiative.

– Roy Kasten JOHNNY GRAVES: 9:30 p.m., $5. BB’s Jazz, Blues

436-5222.

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

MONDAY 10

5222.

RAE SREMMURD: 8 p.m., $30-$35. The Pageant,

KISHI BASHI: 8 p.m., $18-$20. Delmar Hall, 6133

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

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

SAINT MOTEL: 8 p.m., $24.50-$27. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161.

WEDNESDAY 12

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

BIG RICH MCDONOUGH & RHYTHM RENEGADES: 7

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

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

621-8811.

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

THIRD SIGHT BAND: 8 p.m., $5. BB’s Jazz, Blues

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

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

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

5222.

436-5222.

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

TUESDAY 11 EMMYLOU HARRIS: w

Broadway, 701 S. Broadway, St. Louis, 314-621te e arle

att

ri

thurs. oct. 6 9PM Hillary Fitz Band

fri. oct. 7 10PM Big George Brock and the House Rockers

sat. oct. 8 10PM Organic Disco Show w/ Nick Fareel & Friends plus Sleazy McQueen

wed. oct. 12 9:30PM Voodoo Players Tribute to Wilco

7880.

Buddy Miller, the Milk Carton Kids 8 p.m., $65-

MESHUGGAH: w/ High on Fire 8 p.m., $29.50-

$100. The Sheldon, 3648 Washington Blvd., St.

$32.50. The Pageant, 6161 Delmar Blvd., St.

Louis, 314-533-9900.

Louis, 314-726-6161.

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

MOON TAXI: 8 p.m., $20-$25. Delmar Hall, 6133

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

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

314-436-5222.

PALISADES: w/ It Lives It Breathes, Darke

HELLBOUND GLORY: 8 p.m., $10-$12. Off Broad-

Complex, Blindwish, The Greater Good 6 p.m.,

the longest running blues jam in America hosted by

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

$12-$15. Fubar, 3108 Locust St, St. Louis, 314-

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

289-9050.

Soulard Blues Band

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

WILL HOGE: 8 p.m., $20. Off Broadway, 3509

Blvd, University City, 314-282-5561.

Continued on pg 44

thur. oct. 13 10PM Aaron Kamm and the One Drops

EVERY MONDAY AT 9PM

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

OCTOBER 5-11, 2016

RIVERFRONT TIMES

43

FIND ANY SHOW IN TOWN...

erts/

PHOTOGRAPHER: TODD OWYOUNG BAND: SLEEPY KITTY

R R 44

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

RIVERFRONT TIMES

OCTOBER 5-11, 2016

riverfronttimes.com

THEBIRDSA

OUT EVERY NIGHT Continued from pg 43

Sat., Oct. 8 Cherokee

VEKTOR: W

$10-$12. T Lemp Ave., St. Louis, 314-773-3363.

THIS JUST IN

Monoteknic, Cryptonix, Fri., Oct. 7, 9 p.m., $6.

Cherry Lounge, 4600 Gravois Ave., St. Louis,

314-535-03

314-352-6900.

THIS W

10TH ANNUAL LAST WALTZ CELEBRATION BY THE

THE LUMINEERS: W/ Andrew Bird, Margaret

ANDY T. & N

STAG NITE ALL-STARS: Wed., Nov. 23, 8 p.m., $15.

Glaspy, Sat., Jan. 21, 7 p.m., $29.50-$59.50.

$10. BB’s J

The Ready Room, 4195 Manchester Ave, St.

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

St. Louis, 3

Louis, 314-833-3929.

314-977-5000.

BIG RICH M

AQUITAINE: W/ Chris Ward, Fri., Nov. 11, 9 p.m.,

MIKI HOWARD: W/ Lenny Williams, Surface,

Wed., Oct.

$8. Blueberry Hill - The Duck Room, 6504 Del-

Sat., Dec. 3, 8 p.m., $30-$40. Ambassador, 9800

Soups, 700

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

Halls Ferry Road, North St. Louis County, 314-

5222.

AUSTIN JONES: Thu., Dec. 15, 7 p.m., $18-$20.

869-9090.

THE BLUES

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

MVSTERMIND EP RELEASE SHOW: W/ Danté

$5. BB’s Ja

0353.

Wolfe, J’Demul, Arshad Goods, Fri., Oct. 21, 7

St. Louis, 3

CAPSIZE: W/ Torn At The Seams, Mocklove,

p.m., $10-$12. Delmar Hall, 6133 Delmar Blvd.,

BOB “BUM

LifeWithout, Wed., Dec. 7, 6 p.m., $12. Fubar,

St. Louis, 314-726-6161.

p.m. Beale

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

NITE OWL TRIBUTE TO HIP-HOP: Sat., Dec. 3, 8

Louis, 314

CODY JINKS: Fri., Nov. 25, 8 p.m., $20. Old Rock

p.m., $10. Cicero’s, 6691 Delmar Blvd., Univer-

BOYCE AVE

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

sity City, 314-862-0009.

The Pagea

COLD, COLD HEART: A TRIBUTE TO HANK WIL-

PLAYING WITH A PURPOSE BENEFIT: W/ Danny

314-726-61

LIAMS WITH DIESEL ISLAND: W/ Colonel Ford

Liston, Max Baker, Richard Steltenpohl, Kevin

Duo, Letter To Memphis, Cara Louise Band,

Sanders, Paul Willett, Soul Cracker, Tony

Fri., Nov. 11, 7 p.m., $10. Off Broadway, 3509

Campanella Band, The Sliders, The Pour, Jeni

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

Voss & Rob McDonnell, Sun., Oct. 23, 2 p.m.,

DENNIS DEYOUNG: Fri., Feb. 10, 8 p.m., $45-$65.

$15. Delmar Hall, 6133 Delmar Blvd., St. Louis,

River City Casino & Hotel, 777 River City Casino

314-726-6161.

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

POKEY LAFARGE: W/ Jack Grelle, Fri., Dec. 30, 9

DRIVE-BY TRUCKERS: Fri., Jan. 27, 8 p.m., $25-

p.m.; Sat., Dec. 31, 9 p.m., $30-$35. Delmar Hall,

$28. The Pageant, 6161 Delmar Blvd., St. Louis,

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

314-726-6161.

PROJECT PAT: Thu., Nov. 17, 8 p.m., $15-$18.

EXPERIENCE HENDRIX: W/ Buddy Guy, Zakk

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

Wylde, Kenny Wayne Shepherd, Sat., March 18,

PULSE: W/ D-Railed, Sail Through Storms, Fri.,

8 p.m., $40.50-$125.50. Peabody Opera House,

Dec. 2, 8 p.m., $10. The Firebird, 2706 Olive St.,

1400 Market St, St. Louis, 314-241-1888.

St. Louis, 314-535-0353.

FOXING: W/ So Many Dynamos, Say Panther,

THE RAGBIRDS: Thu., Nov. 17, 8 p.m., $10-$12.

Berlin Whale, Why Not, Sat., Dec. 10, 7 p.m.,

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

$15. Delmar Hall, 6133 Delmar Blvd., St. Louis,

588-0505.

314-726-6161.

SARA WATKINS: Sat., Jan. 28, 8 p.m., $20-$22.

GATEWAY GOSPELFEST 2K16: W/ Yolanda Adams,

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

Alexis Spight, Tye Tribbett, Erica Campbell,

588-0505.

Sat., Nov. 19, 6 p.m., $22-$42. Chaifetz Arena, 1

SARAH POTENZA: Sun., Oct. 23, 8 p.m., $15. Blue-

S. Compton Ave., St. Louis, 314-977-5000.

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

GRIM REAPER: W/ Conquest, Seventh of Never,

University City, 314-727-4444.

Mon., Nov. 7, 7 p.m., $15-$18. Fubar, 3108

SEASONS AFTER: Tue., Nov. 1, 7 p.m., $12-$14.

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

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

HYMNS OF THE REPUBLIC: W/ Cacodyl, Lucas

0353.

Jack, Fri., Dec. 16, 8 p.m., $10. Cicero’s, 6691

SHAKEY DEAL: A NEIL YOUNG TRIBUTE BAND: Fri.,

Delmar Blvd., University City, 314-862-0009.

Nov. 11, 8 p.m., $12. Delmar Hall, 6133 Delmar

JEFF DUNHAM: Fri., Dec. 30, 8 p.m., $36.50-

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

$52.50. Family Arena, 2002 Arena Parkway, St

SHOTGUN CREEK: W/ Joshua Stanley, Sat., Oct.

Charles, 636-896-4200.

15, 8 p.m., $8-$10. Cicero’s, 6691 Delmar Blvd.,

JOE BUDDEN: W/ Bempy Madd, Hazy, Mon., Nov.

University City, 314-862-0009.

21, 8 p.m., $20-$70. Fubar, 3108 Locust St, St.

SNOW THA PRODUCT: Tue., Nov. 15, 8 p.m., $15.

Louis, 314-289-9050.

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

JOHN PAUL WHITE: Mon., Nov. 14, 8 p.m., $18-

588-0505.

$20. Off Broadway, 3509 Lemp Ave., St. Louis,

SOONER THAN LATER: W/ Divide the Empire,

314-773-3363.

Silent Hollow, Sat., Nov. 5, 9 p.m., $10. Blueber-

THE LILLINGTONS: W/ The Mopes, The Manges,

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

Even In Blackouts, Hospital Job, $12. Fubar,

University City, 314-727-4444.

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

STITCHED UP HEART: Wed., Nov. 16, 8 p.m., $13.

LOLA AND THE KICKBACKS: W/ Jesse Gannon,

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

Fri., Nov. 4, 8 p.m., $10-$12. Delmar Hall, 6133

THE STORY SO FAR: Mon., Oct. 31, 7 p.m., $19.99-

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

$23. The Ready Room, 4195 Manchester Ave,

LOOPRAT: W/ Armani, Less, Spliff The Hippie,

St. Louis, 314-833-3929.

Jai Imani, Sat., Oct. 29, 9 p.m., $8. Cicero’s, 6691

THE SUPERSUCKERS: W/ Jesse Dayton, Gallows

Delmar Blvd., University City, 314-862-0009.

Bound, Fri., Dec. 16, 8 p.m., $15. Old Rock

LOVE HZ: DRUM & BASS: W/ KrispE, Madd Catt,

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

SAVAGE LOVE VULVA VA VOOM

BY DAN SAVAGE

Hey, Dan: I’m having a problem with the microbiome of my vulva and vagina. I’ve been going to my gyno for the last six months for recurrent bacterial vaginosis and yeast infections. She shrugs, gives me a script, the symptoms go away for a week or so and then they come back.

I understand the infections are likely due to an imbalance in my vaginal pH, but I don’t know what to do to fix this. I’ve used probiotic suppositories to boost the amount of lactobacillus and these help more than anything else, but the problem remains. I also wear cotton, loose-fitting undies and practice good hygiene and never douche or use anything scented.

The problem started when I stopped using condoms with my partner, but it’s not an STI. We’ve both been tested.

There’s tons of sites online talking about this problem, but no one has a solution that I’ve found. How the hell can women with this problem fix their pH?!

Vexed Und Lacking Vaginal Answers “I love that she used the word ‘vulva,’” said Dr. Debby Herbenick, a research scientist at Indiana University, a sexual health educator at the Kinsey Institute, and the author of Read My Lips: A Complete Guide to the Vagina and Vulva and numerous

other books. “Most people have no idea what that even is!”

I know what that is! (Full disclosure: I know what that is now. I didn’t know what that was when I started writing this column.)

The vulva is the external genitalia of the female — the labia, the clit, the vaginal opening, some other bits and pieces. (Fun fact: Vulva is Latin for wrapper.) The vagina, aka “the muscular tube,” runs from the vulva to the uterus. (Fun fact: Vagina is Latin for the sheath of a sword.) People tend to use “vagina” when referring to a woman’s junk generally, and while meaning follows use and I’m inclined to give it a pass, saying “vagina” when you mean “vulva” makes scientists like Dr. Herbenick rather teste. (Sad fact: Teste is not the singular form of testes.) Now back to your vulva and vagina, VULVA… Dr. Herbenick recommends seeing a “true vulvovaginal health expert” (TVHE).

“Many gynecologists haven’t received deep-dive (pun not intended) specialized training in di c lt to treat l o agi al health conditions,” Dr. Herbenick said.

“And if they have, it was likely when they were in med school — so, years ago. They might not be up to date in the latest research, since not all doctors go to l o agi al s eci c conferences.” s there a or that ro le

“There are many different forms of bacterial vaginosis (BV) and different kinds of yeast infections,” said Dr. Herbenick. “These different kinds respond well to different kinds of treatment, which is one reason home yeast meds don’t work well for many women. And all too often, health care providers don’t have sufficient training to make fine-tuned diagnoses and end up treating the wrong thing. But if VULVA’s recurrences are frequent, I think it’s a wise idea for her to see a true specialist.”

Even so, it may take more than one visit to solve the problem.

“There’s no one-size-fits-all approach to BV, which is also why I think VULVA is best off meeting with a health care provider who lives and breathes vaginal health issues,” says Dr. Herbenick. “VULVA can check out ISSVD.org for more information.”

Hey, Dan: I’m a woman in my forties, and I love biking! My husband and I often go for long rides on the weekend.

Unfortunately, this makes various parts of my crotch sore, especially the clitoris. The sore clit makes sex more painful, but it also increases sensitivity, so the whole thing can be an alternating experience of “Ow!” and “Wow!” Am I causing my clit any permanent damage by the biking and/or the post-bike poking? Any suggestions for decreasing crotch

riverfronttimes.com

45

soreness?

Bike Related Injury To Clit; Help Ease Soreness “The few studies that have been conducted on women and cycling — generally cisgender women as far as I can tell — found that cutout seats are linked with a higher risk of genital symptoms, as are handlebars that are lower than the saddle,” said Dr. Herbenick. “So broader saddles and higher handlebars may be the way to go. Some of the research notes higher rates of genital symptoms among people who go on longer rides, spending hours in the saddle.”

To decrease your risk of pain, BRITCHES, Dr. Herbenick recommends mixing it up.

“Go biking some weekends and try other activities on other weekends — maybe hiking or swi i g o ight also take Dan’s ‘fuck first’ Valentine’s Day advice and apply it to your weekend rides. And if you’re prone to postintercourse semen leakage (and, reall who is t se a co do or have him come elsewhere pre-ride so you don’t have the semen seepage issue to contend with on a long ride.

I hope this helps!”

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

OCTOBER 5-11, 2016

RIVERFRONT TIMES

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S Endorsement Helpful. Must be 25 yrs or older. Will Train.

ABC/ Checker Cab Co CALL N O W 3 14-725 -9 5 5 0 167 Restaurants/Hotels/Clubs

Lu m i è r e Pl a c e

is offering exciting opportunities in the casino, food & beverage & hospitality industries.

Apply at lum iereplace. com / careers SERVERS & BARTENDERS For Upscale Events Training provided. Call 314.863.7400

190 Business Opportunities

Avon

Full Time/Part Time, $15 Fee.

Call Carla: 3 14-665 -45 85

For Appointment or Details Independent Avon Rep.

800 Health & Wellness 805 Registered Massage

Sim ply Marvelous Call Cynthia today for your massage. M-F 7-5, Sat. 9-1.

314-265-9625 - Eureka Area #2001007078 A New Intuitive Massage Call Natalie 314.799.2314 www.artformassage.info CMT/LMT 2003026388

A W onderf ully ~ R elax ing ~ I ntuitive m assage b y licensed therapist.

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Daily 10am-5pm South County.

600 Music 610 Musicians Services

MU SI CI AN S Do you have a band?

We have bookings.

Call (314)781-6612 for information Mon-Fri, 10:00-4:30

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Do you need m usician? A Band?

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Call the Musicians Association of St. Louis

( 3 14) 781-6612 M-F, 10:00-4:30

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Call (314)781-6612 for information Mon-Fri, 10:00-4:30

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500 Services

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Appliances included. Garage Extra.

3857 Gustine-1BR, all electric

300 Rentals

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385 Room for Rent SOUTH-CITY $130/wk+$130-security 314-277-8117 Room for rent. Everything furnished. Internet Access.

317 Apartments for Rent

OVERLAND/ST-ANN $535-$575-SPECIAL 314-995-1912 1 MO FREE! 1BR & 2BR SPECIAL! Great location near Hwys 170, 64, 70 & 270. 6 minutes to Clayton. Garage, Clean, safe, quiet.

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Near Metrolink, Hwys 40 & 44, Clayton.

SOUTH CITY

$400-$850 314-7714222 Many different units www.stlrr.com 1-3 BR, no credit no problem SOUTH ST. LOUIS CITY 314-579-1201 or 636-939-3808 1, 2 & 3 BR apts for rent. www.eatonproperties.com.

Sec. 8 welcome

SOUTH-CITY $450 314-223-8067 Spacious 1 BR, 2nd floor garden unit, off street parking, refrigerator, stove and A/C. Near bus.

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Call Angela Jansen 3 14-645 -5 9 00 Bankruptcyshopstl. com

THE HAUNT AND

$495-$595 314-443-4478 8700 Crocus: Near 170 & St.Charles Rock Rd Special! 1BR.$495 & 2BR.$595.

ST. CHARLES COUNTY

DOWNTOWN Cityside-Apts 314-231-6806 Bring in ad & application fee waived! Gated prkng, onsite laundry.

Controlled access bldgs, pool, fitness, business ctr. Pets welcome

525 Legal Services

Fi l e Ba n k r u p t c y No w !

ST-JOHN

314-579-1201 or 636-9393808 1 & 2 BR apts for rent. www.eatonproperties.com. Sec. 8 welcome

WESTPORT/LINDBERGH/PAGE $535-$585 314-995-1912 1 MO FREE!-1BR ($535) & 2BR ($585) SPECIALS! Clean, safe, quiet. Patio, laundry, great landlord!

Nice Area near Hwys 64, 270, 170, 70 or Clayton.

www. LiveI nTheG rove. com 320 Houses for Rent NORTH ST. LOUIS COUNTY 314-579-1201 or 636-939-3808 2, 3 & 4BR homes for rent. eatonproperties.com.

Sec. 8 welcome

200 Real Estate 210 Houses for Sale SOUTH-CITY JUST-REDUCED-$117,900 Lottie-314-302-0655 4840 Hamburg Nice 3 bedroom, sunporch, beautiful bath, extra parking, basement, double lot.

OPEN HOUSE SUNDAY OCT 9th 2-4pm.

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527 Legal Notices Interested persons are invited to comment on the wireless telecommunications facilities proposed to be constructed at and consist of 1) 3955 St. Ferdinand Ave, St. Louis, MO 63107 – An approximate 80 foot monopole tower with an associated equipment compound and access road; 2) 1100 Smith Ave, Ferguson, MO 63135 – An approximate 120 foot monopine tower with an associated equipment compound and access road; 3) 12598 Lusher Road, St. Louis, MO 63138 – An approximate 120 foot monopole tower with an associated equipment compound and access road; 4) 3150 Brannon Ave, St. Louis, MO 63139 – Up to 110 foot monopole tower with an associated equipment compound and access road; 5) 3399 Wright Avenue, St. Ann, MO 63074 – An approximate 100 foot stealth monopole tower with an associated equipment compound and access road, with respect to potential effects of the proposed on any historic property. Comments should be directed to: Impact7G, Inc., Attention Ms. Madeline Sarcone at 9550 Hickman Road, Suite 105, Clive, Iowa 50325 or call 515-473-6256.

530 Misc. Services WANTS TO purchase minerals and other oil & gas interests.

Send details to P.O. Box 13557, Denver, Co 80201

CAN YOU ESCAPE Tix are $25. Available for groups of up to 6. Free shirt with purchase while supplies last. Email haunt.stl@gmail.com for reservations or come to The Haunt Fri and Saturday without reservations.

UPCOMING EVENTS Oct 1st: The Lindburgh Babies; Thank You Jesus Oct 14th: The Punknecks; Skagbyrds Oct 15th: Jesse and the Hogg Brothers Oct 26th: The Haunts Annual Pumpkin Carving Contest Oct 28th: BROOM All shows $5. Music starts at 9pm.

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OCTOBER 5-11, 2016

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HAZELWOOD 233 Village Square Cntr • (314) 731-1212 FAIRVIEW HEIGHTS 10900 Lincoln Tr. • (618) 394-9479

Unless otherwise limited, prices are good through Tuesday following publication date. Installed price offers are for product purchased from Audio Express installed in factory-ready locations. Custom work at added cost. Kits, antennas and cables additional. Added charges for shop supplies and environmental disposal where mandated. Illustrations similar. Video pictures may be simulated. Not responsible for typographic errors. Savings off MSRP or our original sales price, may include install savings. Intermediate markdowns may have been taken. Details, conditions and restrictions of manufacturer promotional offers at respective websites. Price match applies to new, non-promotional items from authorized sellers; excludes “shopping cart” or other hidden specials. © 2016, Audio Express.

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