The Pitch: April 9, 2015

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Questionnaire

Maeret LeMons

Stand-up comedian once, and he always went straight for the highest scoring hole every time. That’s pretty much how I live my life. I’d rather die having written one Reservoir Dogs than 100 Lifetime madefor-TV movies. No disrespect. Just how I am.

Worst advice: “Just marry someone! As long

as you both love Jesus, it will work out!” I’ve never been married nor am I a Christian, but you asked what the worst advice I’ve ever heard was, and that’s literally the dumbest thing I’ve actually heard someone say.

My sidekick: My lil’ buddy. My main man. My

s a b r i n a s ta i r e s

7-year-old son, Micah.

Occupation: Co-founder and creative director of kcstandup.com

tion. I think we are trendsetters in the way we brought new life back to that part of our city.

Hometown: I like Lenexa.

“Kansas City screwed up when …” The Czar Bar

Current neighborhood: My mom’s basement What I do: By day, I book and promote comedy

shows, design fliers and maintain kcstandup .com. By night, I’m a working stand-up comedian and performing all over the Midwest.

What’s your addiction? How much time you got? Ha! Seriously, though, I’m addicted to creating. I’ve found it’s the only thing that fills the proverbial void.

What’s your drink? You buyin’? Then I’ll have a

Ketel One dirty martini with a couple of olives.

If I’m buying, beer in a can will do.

Where’s dinner? You ever been to iPhotower?

I could eat there every day. How many places can you get a banh mi sandwich and a bun, and wash it down with a mojito while at a rave?

was shut down! Haha, I know the “city” didn’t close it down, but hey, I’m still super-bummed about it. I started my comedy show there, and it’s still my favorite room in this city to do a comedy show. It’s the perfect-sized venue, and the vault is simply unforgettable and totally unique. Comics were like, “I want my picture on that stage!” It was a fun run of shows. We had Chris Cubas (who just won @midnight the other night), Conrad Courtney, Mike Baldwin, Dustin Kaufman and so many more.

“Kansas City needs …” To go to more comedy

shows! Seriously, though, we could use some love in this town. Most of KC has no idea how many legit comics we have right here, not to mention the countless others who stop here on tour.

“I always laugh at …” Myself. It’s not really a day

for me unless I spill something on my shirt and accidentally swear in front of an elderly person while buying butt wipes for my kid.

What’s on your KC postcard? The skyline. I’m such a sucker for the Kansas City skyline.

“I’ve been known to binge-watch …” Arrested

Finish this sentence: “Kansas City got it right when …” It developed the West Bottoms into

“I can’t stop listening to …” Lykke Li, “No Rest

what it is today. I was an interior designer for almost a decade before I became a comedian, and I’ve always had a heart for the creative use of existing structures in favor of demoli-

Development.

for the Wicked.”

The best advice I ever got: It wasn’t verbal advice. But I watched this wise man play skeeball

My dating triumph/tragedy: I met my partner in crime doing my thing. I was up on a chair in a short dress hanging a comedy poster inside the Riot Room before they opened, and he saw me and hasn’t stopped hollerin’ at me since.

We created kcstandup.com together. Our backgrounds and skills complement each other so much. It’s pretty awesome being with someone to collaborate with creatively. It makes both of us better at what we do.

My brush with fame: I got to emcee for a week at Stanford’s Comedy Club last December for April Macie. Not only is she an incredible female comic who has traveled the world, but she’s also nice as heck. I got to have girl talk while eating Swedish fish with her in the green room. Pretty cool to share a moment with someone like that.

My soapbox: The world would be a lot better place if people insisted on loving and caring deeply about what they did “for a living” (whatever that means). A steady paycheck is simply not a justification for living a soul-crushing existence. Quit your job! Follow your heart! Life is too short to spend 40-plus hours a week doing something you don’t enjoy. Even if you don’t hate it, that still isn’t OK. Find something that matters to you and find a way to make money doing it. If your heart’s in it, there will always be renewed passion and ambition to persevere when it gets hard. Haha, cuz it will. If it wasn’t, everyone would follow their heart.

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A

t 5:37 p.m. last Monday, in Rozzelle Court’s grand atrium at the Nelson-Atkins Museum of Art, some 16 servers were furiously polishing what seemed to be an endless supply of heavy silverware. The metal clanked together in a constant melody, accompanying another team of servers racking glassware up from the kitchen. In another corner, the museum’s kitchen crew plated tray after tray of delicate appetizers: ahi tuna on wonton crackers with crème fraiche, beef carpaccio on fingerling-potato chips, prosciutto roulade with foie gras mousse on sliced brioche.

Far removed from this ballet, in another part of the museum, Spanish master chef Ferran Adrià — formerly of the Michelin-starred restaurant elBulli and founder of the elBulli Foundation — was in the middle of delivering a presentation on the intersection of creativity and cooking to a sold-out audience.

The evening of March 30 was the centerpiece of the museum’s exhibition Ferran Adrià: Notes on Creativity, the Drawing Center’s traveling show of Adrià’s creative practice.

Following Adrià’s presentation, 27 guests would join him in the Cloister, a small room adjacent to Rozzelle Court, for a 10-course dinner put on by 10 of Kansas City’s top chefs.

The masters cooking for the master — Jonathan Pye of the Nelson, Michael Corvino of the American Restaurant, Michael Smith of Michael Smith Restaurant and Extra Virgin, Jennifer Maloney of Café Sebastienne, Ted Habiger of Room 39, Debbie Gold of Stone Soup Consulting, Carl Thorne-Thomsen of Story, Howard Hanna of the Rieger Hotel Grill & Exchange and Ça Va, Ryan Brazeal of Novel, and Megan and Colby Garrelts of Bluestem and Rye — were set up between the downstairs kitchen and the spacious Rozzelle Court, where most of them would do their plating.

By 6:30, the dinner, which wasn’t scheduled to start until 7:30, after the guests and Adrià had taken their seats, was already running behind. Adrià’s discussion had not yet concluded, meaning that the cocktail hour to follow was yet to begin. Leaders at the Nelson were glancing at their watches and eyeing their schedules.

“He’s running long,” a woman holding a clipboard said.

“Has anyone asked him to wrap?”

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MAster ClAss Behind the scenes at Ferran adrià’s exclusive Kc dinner

By NAtAlie GAllAGher photos By zACh BAuMAN

A

few minutes later, lecture attendees began to filter out and descend upon the appetizers and the multiple bars, including the station where Ryan Maybee — co-owner of the Rieger Hotel Grill & Exchange and J. Rieger & Co. whiskey — was mixing green-apple-and-pistachio-infused Rieger whiskey with Cocchi Americano and Barbadillo Amontillado sherry.

For the most part, the hungry crowd seemed divided between the newly Adrià-inspired (“That was fucking incredible”) and the Adrià-baffled (“That went over my head about halfway through”).

The transfixed and the puzzled alike swarmed Adrià as he entered Kirkwood Hall and obliged the many who wanted a moment, a word, a handshake, an autograph or a photo. This was as close as I got to Adrià. Instructions for the press and the serving staff had been clear: We would not be allowed in the Cloister, where the 10-course dinner would be served, and we would not get to bother the master chef.

From a few feet away, as surreptitiously as I could, I studied Adrià. His eyes crinkled good-humoredly when he smiled, which was often, and the rich lines of his face made him seem simultaneously serious and amiable. He gave off youthful energy. continued on page 9

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From top left: Habiger with a spider strain, Corvino plating the second course, Smith with his ceviche, Maloney garnishing her broth, and Gold coddling her duck eggs.

continued from page 7 At 7:12, in Rozzelle Court, chefs and their teams were leaning against pillars, crossing and uncrossing their arms, scrolling on their phones. Servers, who had caught up on their opening sidework, stood in huddles around various tables, munching on bags of potato chips lifted from the Nelson’s snack stand. Pye’s team was plating the first course, an artfully geometric arrangement of asparagus, preserved egg yolk and citrus chevre; next to him, Corvino’s crew was readying the second course. Across several tables, Smith began to plate the third course, a Hamachi-and-tuna ceviche.

At 7:27, after the first course had gone out, Corvino swiftly assembled his course, which the menu described simply as “king crab, chicken liver, turnip, nasturtium.”

“It’s a seemingly very simple dish,” Corvino had told me a few days earlier. “There’s not a lot of components to it. But my goal was to take something traditional that I don’t do very much, which was surf and turf, meat and fish. I’m doing a mousse with the chicken liver — we cook it very slowly, like, three different times, straining out the graininess of the chicken livers and whipping it up after it cools down over ice.

It gets this extremely luxurious texture.” (I sneaked a taste later in the evening. It was like silk.)

Corvino’s dish looked like an exceptionally modern, upscale take on sashimi, in hues of seaweed green, pale pink and translucent whites. While his plates were being carried into the Cloister, Habiger and Hanna were busy prepping their own dishes — the fifth and eighth courses, respectively — in the kitchen a floor down.

“Has anyone seen a spider?” Habiger asked as he coated pingpong-ball–sized spinach-and-fresh-cheese gnudi in herbs and flour.

“No,” Hanna replied with a laugh. No such strainer was in evidence. “But we’ll need one, too.”

Around the corner, Maloney was filling a rolling rack with her ingredients: fresh nasturtium flowers from Crum Heirlooms farm, delivered to her that afternoon, their centers filled with whipped, mango-infused sheep’s-milk cheese; 4 gallons of a pale-yellow coconut-ginger broth; containers of microgreens; and cubed mango pieces.

“Hot food coming through!” she called, rolling the rack through the kitchen doors to the service elevator. Upstairs again, the third course — Smith’s — had just gone out. It was 8:14 p.m.

“Eat, eat, eat!” Smith commanded the servers, who had been glancing furtively at the extra plates of his colorful assembly. “I made extra for you guys to eat!”

B

y 8:34, Maloney’s course — the fourth — was plated and gone, and Habiger was taking his place for his dish. At 8:54, his gnudi went out: heavenly looking lumps of cheese and pastry, dotted with cubes of lamb pancetta. Maloney, who had assisted the plating, offered a tray of the lamb bites to the general populace; she stood on the Rozzelle Court steps as eager fingers scooped out handfuls of bacon. (It was delicious.)

At 9:01, Gold was at her station, carefully placing duck eggs, from which a top piece had been cut out, into a shallow pan filled with hot water. For the first time in the evening, a hush came over the staff; Gold was cooking her eggs in fast batches.

An assembly line of six fellow chefs, including Maloney and Habiger, helped her top the over-easy duck eggs with sea salt, sunchoke puree, chocolate and coffee crumble, lightly whipped cream, sherry vinegar, a sunchoke chip and microgreen. This was the most intense plating of the dinner, and Gold was palpably relieved when, by 9:10, her course was out.

“Chef, are you happy?” one of the servers asked Gold as she pushed her glasses up.

“I am,” she said. continued on page 11

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continued from page 9 Gold’s dish was the dinner’s smallest, served in egg holders with a tiny spoon, and 15 minutes later, Thorne-Thomsen’s dish —a wild king salmon entrée — followed. By 9:49, Hanna was assembling his plates. His transport from the kitchen to Rozzelle Court complete, he stood slicing a long cylinder of smoked rabbit wrapped in bacon. At 10, his course went out, each plate bearing two rosy pink circles of rabbit loin with dumplings and spring snap peas. It looked like something from a fairy tale, and, as Rieger general manager Tony Glamcevski and I split one of the extra plates, I decided that it tasted convincingly like a happy ending.

“Here, take a bite and try it with the Nebbiolo I paired it with,” Glamcevski said, offering me his glass. “The wine makes the food taste even better.”

He wasn’t wrong, and by 10:12, the extra rabbit and leftover Nebbiolo were both gone.

T

en minutes later, Brazeal and Megan Garrelts were plating their courses in opposite corners of the room. Brazeal’s dish — the ninth course — was the only one to feature beef: a stunningly rare sirloin from Windhaven Farms, with braised short rib and a rice-noodle spaetzle.

By 10:31, Brazeal’s high-level comfort food had gone out, and he offered a mountain of extra steak to the staff. My scavenged forkful of the short rib was packed with intense flavors, which the chef clarified were lemongrass, chilies, thai basil and fish sauce.

At this point, the numerous tables in Rozzelle Court were littered with empty wineglasses and finished wine bottles, plus utensils and phones and menus and plates.

“It looks like a fucking frat party over

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Hanna (left) arranges his plates, and Thorne-Thomsen works in the kitchen.

here,” one of the servers said, passing by a particularly messy area.

“That’s a great fucking frat party,” someone else said, laughing.

At 10:53, just as Megan Garrelts was finishing her desserts, I made my exit. Her plating was so beautiful, so whimsical — a high-fashion version of crème caramel, with a swoop of caramel, sesame seeds, strawberry, rhubarb and lemon — that I knew there would be no leftovers. I walked out of Rozzelle Court, past Maybee setting up his disgestivo cocktail — a bitter coffee cordial with cream — and heard the clinking of glasses and the clacking of plates behind me.

“Those kinds of dinners are once-in-alifetime moments in a chef’s career,” Megan Garrelts told me the morning after the event.

“I think I can speak for everyone when I say that. I don’t think anyone expected Ferran Adrià to come to Kansas City, and I think it’s great that we have enough representation between the arts and food community to show what we have, and that it’s not a secret anymore.”

All 10 chefs carried out the final course, Garrelts said, and when they entered the Cloister, Adrià stood up and applauded them all.

“He was kind and sincere in the way he greeted us,” Garrelts said. “He hugged and kissed us all, and he signed all our menus and the cookbooks we brought. We didn’t have the common language between us, but food is a better language.”

E-mail natalie.gallagher@pitch.com

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art

Wendell Phillips neighborhood.

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Ben Hoste

Public Domain

Matt Rahner’s art bears witness to the city-purged

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t was a neighborhood gathering of sorts, though the neighborhood was long gone.

Some of the reunited had come to greet photographer Matt Rahner. The rest were on the walls of the Central Library’s Genevieve Guldner Gallery, captured in Rahner’s images.

Stirred by a Pitch cover story (“Blight Flight,” by Matt Pearce, August 16, 2012), Rahner set out to document the dissolution of their Wendell Phillips community when its four square blocks — bordered by Prospect and Brooklyn avenues, between 26th and 27th streets — were taken by the city in 2012 to make way for a police station. Now, at the March 21 opening reception for his exhibition — plainly and accurately titled Eminent Domain — he accepted warm congratulations from Anita Briggs, Arreena Powell and their friends, people now mostly scattered across other parts of the city.

Rahner’s photos capture a community on the verge of extinction. The faces show reluctance, disgruntlement. Elena Herndon appears in pain, Joe Watson as though he’s ready to fight. Briggs, with daughter Stephanie and Samantha the beagle, huddle together, maybe for support. Pookie stands in front of her white limo, casting a deadpan yet comely look as if daring the viewer to say something.

The Hadley brothers, dressed to the nines, strike a defiant pose in the street. Rahner

contrasts his living subjects — and 19-yearold Marcus Lyman, since slain — against his photos of abandoned rooms, empty lots and naked curbs, exposures of landscapes opened once the structures are removed.

The exhibit also holds found objects — a pile of bricks that once housed one or more families, abandoned photos of children, a Bible, personal checks from 1956, a child’s rocking-horse swing. Things from lives lived, forever keeping the secrets of the people who left them behind.

“I’m interested in portraiture and the representation of people and how they represent themselves,” Rahner says when I ask him about the show’s roots and its unsentimental title. “My camera acted as a stand-in to gauge a reaction to the city’s power.”

The power of eminent domain, in this case. To combine the Kansas City Police Department’s East Campus project with its East Patrol Division station and crime lab, the city bought and then began bulldozing this swath of the crime-ridden East Side.

Rahner notes in his online introduction to the exhibit that, of 24 sites considered for the project, Wendell Phillips had the highest rate of occupancy. City Hall’s rationale for displacing residents is summed up in one of the objects exhibited here, a brick from the groundbreaking of the new police station

“First Demolition, Olive Street, 2013”

by Rahner (above)

Matt Rahner Eminent Domain

and crime lab. It reads: “Investing in Our Community One Brick at a Time.”

“This story drew me in, a combination of people and power … the ability of the government to take as if at will,” Rahner adds. “It did not match up with what the community wanted. The neighborhood was never asked. I remember one resident saying, ‘I was never asked what I thought about what to do about crime.’”

Rahner, a 33-year-old adjunct professor of art at Missouri Valley College, didn’t set out to show an objective view with what he says is a mix of documentary and art. “I only wanted the view of the residents and the destruction, not the reason of the destruction. It was to give voice to the people not asked about what they thought. My suspicion is, people didn’t want to leave.”

Anita Briggs didn’t want to. Her now-razed house was built in 1898 and had been in her family for 25 years.

“I miss my home,” she says. “It was organized the way I wanted it. My mother, my grandmother, my grandchildren all stayed there. These are the things I can’t get back.

And I miss my neighbors. They were like an extended family.”

Through May 31 at the Kansas City Central Library, 14 West 10th Street, kclibrary.org Briggs seems satisfied with what the city paid for her home. But compensation alone wasn’t the point. “The money will never duplicate what I had,” she says.

Briggs has moved on as best she can, but Arreena Powell has fight left in her. She’s challenging the city’s condemnation of the neighborhood, acting as her own attorney and appearing before judges with briefs she has written. More than 100 lawyers turned her down, she says. She next appears before a judge on April 23, trying to stay in her home within the Wendell Phillips eminent domain area.

The East Campus project is now called the Leon Mercer Jordan Campus, in honor of the assassinated civil rights and political leader. The $74 million development is set for completion in the winter of 2015–16. It’s an even bet whether Jordan would have supported the four-block destruction of the Wendell Phillips neighborhood.

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film

State of The NaTioN

Barbara Kopple talks about her Hot Type.

By

Dan Lybarger

I

t’s hard to make a magazine visual and alive,” Barbara Kopple says. But if anyone could have made arresting cinema from the story of a 150-year-old newsstand provocateur, it was the director who won Oscars for her documentaries Harlan County USA (1976) and American Dream (1992).

Founded by Republican abolitionists in 1865, The Nation has published some of the most-discussed writings of Gore Vidal and Christopher Hitchens, counts Kansas City native Calvin Trillin as a longtime contributor, and was home to Jeremy Scahill’s unflinching coverage of military contractor Blackwater and drone warfare. It’s known for its cheap paper, its relentlessly type-intensive layouts, and for pissing people off. It is not known for pretty faces or behind-the-scenes drama.

“We were coming up on this 150th anniversary, and we were trying to conceive of how we could best celebrate this history,” Hamilton Fish V, who published The Nation from 1977 to 1987 and serves as president emeritus of The Nation Institute, says by phone from New York. A documentary sounded good, but a greatest-hits telling of the magazine’s story was out of the question. “That approach may have addressed our vanity, but it really didn’t serve our objective, which was to introduce the magazine and its traditions to new generations of readers and consumers of information.”

Instead, Kopple’s Hot Type: 150 Years of The Nation — which plays at 6:30 p.m. Thursday at the Plaza Library (admission is free) — primarily follows current editor and publisher Katrina vanden Heuvel and her staff as they cover a series of issues, from the presidential election of 2012 to the failed recall of Wisconsin Gov. Scott Walker to the continuing crisis in Haiti.

(There’s still a welcome bit of that greatest-hits feel when Susan Sarandon and Sam Waterston read excerpts from the magazine’s archives.)

“The way that we figured that we could do it was to go off with reporters when they were reporting and then go back into history and also get to have total access to the magazine and to the writing of it and what goes in inside of it,” Kopple says. “I don’t ever think I’ve done a film like this one before. But I loved every minute of it.”

Nation Executive Editor Richard Kim may not have shared her joy as she gathered material. In Hot Type, he is seen scrambling to meet deadlines while feeling cornered by the director and her crew.

“He hated it,” Kopple says. “He apologized after he saw the film. Writers are really quiet people. They’re used to doing work in solitary, and suddenly they have a film crew peering at everything they’re doing. So it’s a little tough.

They didn’t really sign up for that. It’s hard

FIND MOVIE TIMES P ON

p

enough to be a writer and to get people in the field to open up to you or to just take that time.

I totally understood it, but it was also my job to have my camera peering down at him.”

Kopple has a long history of getting people to open up to her on camera. Four decades ago, she made her first masterpiece by persuading coal miners in Harlan County, Kentucky, to talk to her during a prolonged, violenceplagued strike. So it’s not a shock to hear Nation writers admit to her camera they feel stressed out and underpaid.

“What they say is sort of like a bartender when you’re drunk and you want to talk to somebody,” she says. “You just want to bare your soul. People are just excited and entranced and happy that you care about their story and want to tell it.”

And the low pay and high stress? “Nobody ever viewed their relationship to The Nation as a shortcut to riches,” says Fish, who appears in Hot Type and serves as executive producer.

“Trillin reported that [former publisher] Victor Navasky offered him compensation in the ‘high two figures.’ It was an affectionate recognition of the impoverishment of the enterprise.” (Fish adds that The Nation led the way to forming a writers’ union that provides some benefits for editorial staffers who might not otherwise have been able to get them.)

Wages aside, though, The Nation attracted talent then — and attracts it now — because it’s always been an alternative to mass media.

“The culture, of course, was going in a different direction with People magazine

The Nation covers a protest of Wisconsin Gov. Scott Walker’s policies in Hot Type. and television in a magazine format,” Fish says, recalling the late 1970s, when his tenure began. “People were reporting on television essentially by reading a teleprompter and getting about $3 or 4 million a year to do that. We had this counterintuitive impulse to acquire and revive a text-heavy, visually challenged print product that eschewed hype and focused on serious questions about social issues and public policy.”

Hot Type argues that the plan worked, and that The Nation’s smallness and outlier nature have bred a familial atmosphere that helps keep the magazine alive. Vanden Heuvel, for instance — the publisher in Hot Type —started at The Nation as an intern.

“Almost all the staff people are former interns, and all those interns have fresh new ideas for how The Nation will be relevant to the next generation,” Kopple says. “There’s a constant feeling, from watching the film, that the next generation of writers and editors are being honed and mentored to bring forward the cycle of passing the baton. You have to look at The Nation as passing the baton to the next generation.”

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CAfé

Uncommon Ramen

Looking for that Far East slurping

By

staple? Go west (a little).

Ch a r l e s F e r ru z z a

Ramen Bowls • 125 East 10th Street, Lawrence, 785-842-6957 • Hours: 11 a.m.–9 p.m. Sunday–Wednesday, 11 a.m.–10 p.m. Thursday, 11 a.m.–10:30 p.m. Friday–Saturday • Price: $–$$

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hy is it so hard to find a good bowl of ramen around here?

It’s not a complicated dish: a clear soup, often made with a richly seasoned pork stock or a fish-based broth, and hearty wheat noodles.

(I’m not talking about the cheap-in-everysense dehydrated blocks that got you through college.) Yet it appears on local menus mostly as an afterthought, if it’s there at all. There’s a fair version at Sama Zama in Westport, for instance, and Kokoro Maki House in Waldo serves a spicy, Korean-influenced take on the dish. Nara, the sushi place in the Crossroads, turns out a seafood ramen that does in a pinch.

People want the stuff. Last month, Happy Gillis chef and co-owner Josh Eans announced a Kickstarter campaign to set up a small, dinner-only ramen venue this summer, and at this writing the funding looks like a lock.

For now, though, the closest place to find good ramen at a truly ramen-centric restaurant is about 40 miles west of Kansas city.

That’s where Shantel and Tim Grace opened Ramen Bowls, almost a year and a half ago: just east of the Massachusetts Street corridor in downtown Lawrence. In fact, they’re pretty sure they’re running the first ramenonly restaurant in Kansas.

The space is familiar to restaurant watchers in this college town. It occupies the oddly configured, two-story storefront last occupied by the short-lived Queen Lizzy’s Fish & Chips, and it has been home to nine other ventures over the past decade or so. The open kitchen and the bar are on the ground floor, and the dining room is up a steep flight of stairs.

Shantel Grace first tasted ramen — real ramen, not the cellophanewrapped salt bombs lining e Mor grocery-store shelves — when she and Tim were living in Hawaii. “They t a e in Onl .com call it saimin there, and pitch the most popular variety is served with slices of fried spam,” she says.

Ramen Bowls, in both décor and culinary attack, warmly recalls the couple’s time in the Aloha State. The menu features a Hawaiianstyle saimin, spam included, among its 13 ramen bowls.

The five house-made broths include a good vegetable stock, used in the miso-seasoned veggie ramen, and a more complicated meatless creation called Green Goddess. The latter floats a jumble of thin somen noodles in a fragrant vegetable-mushroom broth; the

Pupu platter ............................................... $8.50 Hakata Tonkotsu Shoyu ramen.................... $10 Green Goddess ramen ............................. $10.50 Loaded Kimchi ramen .............................. $12.50 surface is heaped with a hefty mantle of finely chopped Napa cabbage, a smattering of fresh spinach, plump avocado slices, and slivers of spicy (Kansas-made) tofu. It’s a marvelous array of textures (crunchy, soft, chewy), made better still by the supple, amber broth. When I ordered it, I expected to taste something like traditional Vietnamese pho, a noodle soup more readily available than ramen in Kansas City. But the differences outweigh the similarities.

“The biggest, most essential difference,” Shantel Grace says, “are the noodles. Ramen noodles are made from a wheat-and-egg dough that must have alkaline salts added.

That creates a reaction with the broth that creates the unique yellow color to the liquid and won’t overcook the noodles, so they can soak up the flavor of the broth, which is more savory and less sweet than pho broth.”

I also liked the distinctive palette of flavors in the “Loaded Kimchi” ramen here, with its fried garlic and leeks, nori, chili oil, and a spicy but not fiery version of the fermented cabbage. What might have been a muddle of dominating notes comes out of this kitchen

as a sophisticated ensemble of crisp, bright flavors.

The place has so far done well enough that the tiny kitchen has pulled back on its extra offerings for now. For example, Ramen Bowls makes just one kind of kimchi in-house; the rest is purchased from a Kansas City vendor.

And it outsources the half-dollar-size gyoza dumplings. “The skins weren’t frying up as nicely on our house-made version,” Shantel Grace says.

But if you’re not here primarily for the ramen, you’re doing it wrong. I was underwhelmed by the chewy and bland fried gyoza that I sampled on the house pupu platter, for example. On the other hand, I would order the edamame again — and I never thought I’d say such a thing. The pan-sautéed, sea salt–dusted edamame here marked the first time that I’d ever liked that particular healthy (and usually boring) delicacy. The chunky vegetable egg rolls also make fine sides. Stuffed with glass noodles, pineapple, fresh spinach and cabbage, they’re among the prettiest I’ve seen.

It’s probably unwise to go wild with starters, though, given that the ramen bowls are

This is not the 19-cent sodium brick of your lean years hearty meals by themselves, often boasting thick slices of grilled roast pork (yakibuta) and various combinations of onions, cabbage, spinach, corn, carrots and fried garlic. The Graces aren’t stingy with their ingredients, and the list of add-ons is extensive but not too costly. Extra bay scallops or pork belly turns out to be a pretty good deal, in fact.

Apparently, this address’s previous tenants — Shantel Grace’s count is 10 concepts in roughly as many years — missed an obvious winning idea: ramen in a big college town. “I walked in and loved the funky quirkiness of the space,” she says. “It felt right to me. We opened with six employees, and three weeks later we had 40.”

Ramen Bowls does indeed have the feel of a curse breaker. And the flavors of excellent ramen.

Have a suggestion for a restaurant The Pitch should review? e-mail charles.ferruzza@pitch.com

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BARTENDER’S NOTEBOOK

FERNET ME NOT

Julep’s Katy Wade finds

BY

a strong helper for whiskey.

NATALIE GALL AGHER

I

Do you Banh Mi? We do!

The Pitch’s Bacon & Bourbon Thursday, April 16, at the Guild, 1621 Locust —————————————————————— Featuring limited-edition bourbon cocktails from: Kenny Cohrs (Jax Fish House & Oyster Bar) Chelsea Almeida (Affäre) Rachel Freeman (Cleaver & Cork) Margot Thompson (Farmhouse) Tommy Palmer (Blvd Tavern) Erik Mariscal (The Local Pig Westport) See pitch.com next week for their recipes.

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t takes very little to convince Katy Wade that we should sample some fernet — just four words, in fact.

An hour before Westport’s Julep opens its doors on a bright weekday afternoon, I drop by to see Wade and say, “I’m thinking about fernet.” I’m barely done picturing my usual Fernet-Branca bottle when I see that she has, with a wide smile, assembled a four-brand lineup of the Italian amaro.

“I love dark amaros, especially fernet,” Wade says of the beverage long known as “the bartender’s handshake.” She explains: “To go to a bar and order a fernet and a ginger ale meant that you knew what you were doing.

You were in the know. Now, pretty much everyone knows about it — it’s not just an industry thing anymore. Which is great.”

We start with the branca.

“When people ask me what Fernet-Branca tastes like, I tell them it tastes like grown-up Jägermeister,” Wade says. “It has that herbal quality to it, but it’s way better and not as sweet as Jägermeister.”

It’s slightly sweet and slightly bitter, with a strong mint-and- anise profile. This is what I think about when I think about fernet — and why I like to think about fernet.

The Luxardo is lighter and smoother, with toffee and almond notes. The Contratto is heavier than the branca, far mintier and sweeter, with a syruplike weight that suggests vermouth. And Lazzaroni hits me as strange: lightest in color and weight of Wade’s four fernets, with a heavy herbal profile. It’s almost shockingly bitter, with the few sweet notes carrying a hint of peppermint.

I like the Contratto best. Wade prefers the Luxardo. So we agree that it’s the latter that belongs in the first whiskey cocktail of the afternoon. Julep’s mammoth shelves are packed with the stuff — more than 300 bottles of whiskey — so I ask Wade to pick. She pulls down a bottle of oat whiskey from the Koval distillery in Chicago.

“The caramel notes in this should work well with the Luxardo,” she says as she combines both ingredients with Carpano Antica — a sweet vermouth — and a couple of dashes of Angostura bitters. She stirs the mixture over ice and then strains it into a coupe glass. She flames an orange over the dark, ruby-colored liquid.

“This is based on a drink I really like that had cognac and Amaro Averna in it, which is another Italian amaro that has a ton of coffee and chocolate notes,” Wade tells me.

“Unfortunately, Kansas City has an Averna shortage right now, so I’ve been playing around with a bunch of different things. In this drink, I used the Luxardo Fernet in place of Averna.” continued on page 22

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continued from page 21 Despite the stiff recipe, this cocktail — she calls it Song of the Night — is relatively light.

There are gentle spice flavors, thanks largely to the subtlety of the oat whiskey. There’s a noticeable absence of sweetness, which I don’t mind at all. As I sip on this straightforward little melody, Wade goes to work on her next creation. This one, she says, will feature the Lazzaroni and her favorite whiskey of the moment: Hakashu 12-year single malt.

“I’m super excited about the Japanese single malt, because not a lot of people are using it right now,” Wade says. “People come in here, and obviously the selection can be super intimidating, and our whiskey menu can be overwhelming. But usually, when someone tells me they want to try something new, I ask them if they’ve had a Japanese single malt.

And they usually haven’t.”

Wade pours me a taste of this whiskey, so pale it could pass for white wine in a dark room. The nose is muted, with delicate citrus and flower notes — not unlike Dolin blanc vermouth — but the flavor is complex: melon and tropical fruit, then spice and bark. It’s a strong taste, but far from the eye-watering sip that comes with other single malts.

“Japanese single-malt whiskey doesn’t have to be under the same law as Scotch whisky,” Wade tells me. “They can use different yeast strains and blend from different barrels and still call it a single malt. Lots of people have this perception that blended whiskey is not good whiskey, but you can blend single malts and have them turn out really amazing. To me, this is a completely elegant whiskey. I’m so in love with it.”

Wade prepares this drink, the Bedtime Story, as she did the first: combining her ingredients — Lazzaroni, Hakashu 12, Madeira (a fortified Portuguese wine similar to sherry) and a house-made black-tea syrup — and stirring, then straining into a coupe glass. This she garnishes with a lemon twist.

The Bedtime Story looks like liquid toffee.

It’s a very polite cocktail, with citrus and a delicate tremor of acidity (thanks to the Madeira). The other flavors — red currant, apricot, baking spices — wash over one another

More, please: the Industry Julep. gently. So gently, in fact, that I hardly notice how quickly this drink disappears.

By then, Wade is ready with her grand finale: the Industry Julep, a sno-cone scoop of crushed ice set inside one of Julep’s carved crystal high-balls and garnished with a full branch of bright mint leaves.

The amber-colored drink pays homage, Wade says, to Julep’s namesake and to fernet itself. She has used the classic Fernet-Branca, cognac — “that was how the mint juleps were made before the Civil War,” Wade says, “before there were embargoes from France” — and a light wash of absinthe. Rather than muddling mint in the drink, she has used the cold-steeped mint syrup that is Julep’s standard.

It’s breathtaking. The mint is beautifully balanced, refreshing and crisp. The absinthe and the fernet bring out powerful anise flavors in each other. The lingering finish reminds me of Coca-Cola and smoke. Once the Industry Julep is gone, I am tempted to ask for another.

“I have things to do today,” I tell Wade, weighing my decision.

“You know what they say,” she says, and I know what she’s going to say. “Fernet about it.”

SONG OF THE NIGHT 1 ½ ounce Koval oat whiskey ½ ounce Luxardo Fernet ½ ounce Carpano Antica 2 dashes Angostura bitters THE BEDTIME STORY 1 ½ ounce Hakashu 12 ½ ounce Madeira ¼ ounce Fernet Lazzaroni 1 barspoon of black-tea syrup INDUSTRY JULEP 2 ounces cognac ½ ounce Fernet-Branca 1 barspoon of mint syrup 2 spritzes of absinthe

E-mail natalie.gallagher@pitch.coma

23

Fat C i t y

Boss Hawg

By

Charles Ferruzza

Sam and Nick Silvio take over Hawg Jaw Fritz.

Thursday, april 9

Torn Label tap takeover, at Llywelyn’s Pub (6995 W. 151st St., Overland Park), 6 p.m.

Torn Label tap takeover, featuring Quadjillo, Alpha Pale Ale, Monk & Honey and Coffee Dubbel, and meet the brewers, at Local Tap (7300 W. 119th St., Overland Park), 8–10 p.m.

Tapping of Summit Double IPA cask, at Flying Saucer (101 E. 13th St.), 7 p.m.

Friday, april 10

75th Street Brewery taps Easy ESB, at the brewery (520 W. 75th St.)

saTurday, april 11

Kegs ’n’ Eggs craft-beer festival and goldenegg hunt, at the Kansas City Renaissance

Festival grounds (633 N. 130th St., Bonner Springs), $20–$55, 1 p.m.

S

am and Nick Silvio know a few things about meat. The brothers co-own Em Chamas Brazilian Grill, the eight-year-old upscale churrascaria in the Northland.

The Silvios are now turning their meat expertise to traditional Kansas City barbecue. Last December, their sister, Gina Silvio, bought Riverside barbecue shack Hawg Jaw Fritz from Bud and Marlye Laub, and she has hired her brothers to operate the restaurant (a 2012 Pitch “Best of” award recipient for best new barbecue), which offers cherry wood–smoked chicken, ribs, brisket, ham, turkey, sausage, and pork shanks (sold as “pork wings”).

“We bought a mom-and-pop barbecue restaurant from the original mom and pop,” Sam Silvio says. “We don’t want to change it too dramatically.”

Nick Silvio, a full-time firefighter in Kansas City, says he has tweaked some of the Laubs’ recipes, but much of the four-year-old barbecue joint’s menu remains intact, including the popular, crispy sweet-potato fries dusted with nutmeg and served with a sweet vanilla dipping sauce.

“Yeah, I know it sounds like a little much,” Nick Silvio says, “and I was concerned about it. But it’s really very good, and our customers love it.”

So much so that the Silvios have made it a regular side dish, along with coleslaw (seasoned like Buffalo wings), cheesy corn and baked beans.

“I did change the recipe for the baked beans,” says Nick Silvio, who frequently cooks for Kansas City Fire Station No. 24. He also changed the recipes for the cheesy corn and the pulled-pork rub and added a new barbecue sauce.

Beef is big at Hawg Jaw. “The Laubs had a spicy barbecue sauce and a sweet one, which we still sell,” he says.

“But I created a new one called Boss Man’s sauce that’s not too spicy and not too sweet.”

The Silvio brothers also upgraded the quality of beef smoked each day by longtime pitmaster Catherine Thompson.

“We’re now using 21-day-aged Choice Sterling Silver Angus beef,” Sam Silvio says.

Nick Silvio says he plans to add a few more menu items, including his recipe for a burnt-end chili and a Southern-style barbecue sauce that’s heavier on the vinegar and mustard.

“But really, this place has an incredibly loyal clientele that like everything we make here,” he says.

What Hawg Jaw Fritz doesn’t have yet is a liquor license. Nick Silvio says the plan is to offer “40 to 50 different microbrews in a few weeks, and 15 different kinds of root beer.”

The nondescript building on Gateway Avenue, north of the Argosy Casino, seats about 20 inside and has a patio with an additional 50 seats. It’s not too pretty and a bit cramped, but it’s impeccably clean.

“We can get swamped at lunch,” Nick Silvio says, “but so far, everything has been running smoothly.”

Hawg Jaw Fritz BBQ (4403 Northwest Gateway Avenue, in Riverside, 816-741-4294) is open — starting April 6 — from 11 a.m. to 8 p.m. Monday through Thursday and from 11 a.m. to 9 p.m.

Friday and Saturday. The restaurant is closed Sunday.

E-mail charles.ferruzza@pitch.com

sunday, april 12

River North beer dinner, at Limestone Pizza Kitchen Bar (814 Massachusetts, Lawrence), 6 p.m.

Monday, april 13

I-70 Showdown beer dinner, featuring Bou-

levard, Free State, KC Bier Co. and Schlafly, at Beer Kitchen (435 Westport Rd.), $50 plus tax and gratuity, reservations at 816-389-4180, 7 p.m.

Tallgrass 16-Bit night, at John’s Big Deck (928 Wyandotte), 6 p.m.

Torn Label beer school, at Barley’s (11924 W. 119th St., Overland Park), 6 p.m.

Tappings of New Belgium Oscar Worthy Coffee (with globe glasses), Skinny Dip, Snapshot and Oatmeal IPA, at Westport Ale House (4128 Broadway), 6 p.m. The $3 cover goes to Bike Walk KC, and guests receive a raffle ticket for a prize drawing.

Log on to

P p

Restaurants > Restaurant Guide

Tuesday, april 14

Free State beer dinner, at Grinders (417 E.

18th St.)

Jolly Pumpkin tappings and glassware night, at Bier Station (120 E. Gregory Blvd.), 5–11 p.m.

New Belgium tap takeover, at Rock & Run Brewery (110 E. Kansas, Liberty)

Saison tasting, at Grain to Glass (1611 Swift,

North Kansas City), $15, 5–7 p.m.

Wednesday, april 15

Stone Enjoy By 4/20/15 glass night, at Fly-

ing Saucer (101 E. 13th St.), 7 p.m.

Maibock tapping party, at Gordon Biersch (100 E. 14th St.), benefiting the Humane Society of Greater Kansas City, 4:30–8:30 p.m. pitch.com

APRIL 9-15, 2015

THE PITCH

23

24

music

Yore Future

A brand-new KC act bows Friday.

By

Natalie G all aGher

he basement of Abby Liv ingstonShelburne’s Kansas City, Kansas, home is nothing special. Whitewashed stone walls, cool concrete floors, a fine dust atop the washer and dryer. The lighting is dim, the invitation to creativity seemingly minimal.

But singer-guitarist Livingston-Shelburne and the rest of her band, Yore — singerguitarist Jonny Riede, bassist Alex Leonard, drummer Nick Talley and singer-keyboardist Kelli Snyder — are accustomed to these aesthetics. The five practice here at least twice a week, sometimes more.

And on this particular Thursday night, as the band runs through a set of intricate folk-pop songs, the mundane setting falls away. The band launches into “It’s Lost,” and four layered voices — LivingstonShelburne and Riede, the primary singers, with harmonies from Snyder and Talley — turn a run-through into a haunting. Riede’s tenor, fragile and tremulous, threatens to crack against the sweet springtime warmth of Livingston-Shelburne’s voice. Snyder’s trumpet accentuates that tension.

“It’s Lost” isn’t very cheery, but it’s big in a way that far transcends what Riede env isioned when he scratched out its skeleton two years ago. Yore hadn’t yet come together then. Livingston-Shelburne was pursuing a degree at Texas Tech University in Lubbock, and Riede would regularly exchange songs and fragments with her.

“We’ve been best friends since we were 16,” Riede says. (They’re both 26 now.) He and Livingston-Shelburne were also in the band the Cherry Tree Parade together, from the band’s inception in 2008 until she moved to Texas in 2009. “When she left, it was a pretty devastating blow. But her moving didn’t stop us from creating together.”

T h roug hout 201 1 a nd 201 2, wh i le Livingston-Shelburne was in Texas, the two traded song revisions using Dropbox.

Livingston-Shelburne’s style tended toward the ambient and the electronic; Riede’s was more traditional. The songwriting ran slow.

“When we started writing the songs together, I had gotten out of a year-and-ahalf-long relationship, and I was still reeling from that,” Riede says. “My brother had moved back to Seattle, and we had always been each other’s life lines. And then, within a couple months, my parents moved. I felt kind of lost. There was just that general feeling of, like, ‘Oh, what am I doing?’ And missing a place to call home.”

Livingston-Shelburne was feeling her own homesickness pangs. Lubbock, she says, was turning out to be a bit more Texas than she imagined. Though she felt the

24

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APRIL 9-15, 2015

zach bauman

T

Yore with Me Like Bees Friday, April 10, at RecordBar

move had been necessary, the nostalgia of her band days had a strong pull.

“When we were sending things back and forth, we were talking about Cherry Tree Parade and I mentioned to him how much I missed it and how much I missed playing music,” Livingston-Shelburne says. “And I just kind of pitched it to him as a ‘days of yore’ reminiscent thing.”

Riede agrees: “I think a lot of the feelings in the songs that just kind of got conveyed were just that general feeling of being left behind or missing the people in your life. That’s the place that I wrote a lot of the stuff from.”

By the end of 2013, the duo had a batch of songs ready, and Livingston-Shelburne had moved back to the area. It was just a matter of finding the right people to replace the Dropbox compositions’ computer-generated instruments with live players. Talley and Snyder came from Gentlemen Savage; the final piece, Leonard, joined last August.

pitch.com

Home sweet basement: Yore builds its sound.

“It was one of those things where you have all these different pieces that you’re trying so hard to fit together,” Talley says.

“But once we were all together and getting comfortable with the songs, it was kind of like a completed puzzle.”

Upstairs in Livingston-Shelburne’s dining room, the five band members sit together tightly. Our conversation has been dotted with glances and smiles passed among one another, the subtle language of friends who know each other well.

Yore has not yet played a live show for the public — Friday night at RecordBar is its Kansas City debut — but the band doesn’t seem anxious. None of its members is new to the stage — all, save for 23-year-old Leonard, are in the mid- to late 20s — and there have been plenty of these basement rehearsals.

“Jonny always says we should not be nervous if we know what we’re playing,” Leonard says, smiling. “So we practice quite a bit. And if Jon’s right, we won’t be nervous on Friday. Jon is wise.”

E-mail natalie.gallagher@pitch.com

J a z z B e at DominiquE SanDErS Trio, aT GrEEn LaDy LounGE

Bassist Dominique Sanders stands out among Kansas City’s young jazz talent.

He can play standards with the best musicians but has a wholly unconventional take on jazz with his new album. With sampling and sound effects and music ranging from R&B and funk to early hiphop to compositions just this side of Pat Metheny, Sanders looks less at where jazz has been and more at where a young musician — immersed in a full range of modern musical influences — can go. This is music with an edge, by an artist unafraid to experiment and explore. Sanders leads a trio at Green Lady Lounge Friday night, with Andrew Ouellette on piano and Ryan Lee on drums. Expect a set that’s quite a contrast to Green Lady’s traditional surroundings (and usual sound, for that matter).

— Larry Kopitnik Dominique Sanders Trio, 8:30–10 p.m. Friday, April 10, at Green Lady Lounge (1809 Grand, 816-215-2954), no cover.

25

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APRIL 9-15, 2015

the pitch

25

26

Need some

music

EAR CANDY? The music woman

Singer-songwriter Mikal Shapiro introduces a new act on The Musical. cept that I was toying with, as sort of an abstract, but yeah. The way the song styles shift from one to the other, and that there’s two acts [built into the album, five songs each]. It’s kind of like an autobiographical musical. There are characters. There’s not a narrative thread, but structurally, it’s based around the idea of a musical.

I was listening to “Hot Cool” when it all clicked. I’m not sure what made it that particular song.

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I

t’s unlikely that Broadway is in Mikal Shapiro’s future. But the singer-songwriter admits an affinity for the grand musical-theater operations that have swept its stages. This news might surprise some — even Shapiro confesses that she hid her love of musicals when she was a teenager — given her past leanings to folk and roots music. But Shapiro’s latest album, The Musical, fully merges those sonic interests.

Like any Broadway production, The Musical’s 10 tracks flirt with a variety of styles. For the first time, we hear Shapiro tap into pure pop and beatnik jazz in addition to the downtempo 26

the pitch

APRIL 9-15, 2015

pitch.com

Hello, Mikal! folk that fans have come to expect from her. The songs serve as a cycle, telling a story in tones familiar to fans of Neko Case or Laura Stevenson. It makes for a deep, rewarding listen, one that bestows unexpected insights with each play.

The Pitch spoke with Shapiro ahead of Saturday’s album-release show at Davey’s Uptown.

The Pitch: Having listened to The Musical for a week solid, I’m curious as to whether the title reflects the content. Are you going for the feel of an actual musical?

Shapiro: It’s definitely a con-

It’s probably the schmaltziest song on the album. Maybe that’s why. [Laughs.]

How did the idea of structuring it as a musical come to be?

Well, I’ve always messed about in classical songwriting styles.

I guess I had a sort of ADD with what I liked to hear. I like all kinds of music and all kinds of approaches. I don’t stick to just one style. It [thinking about musicals] was a way to structure the album and to choose songs out of my catalog. It gave me some form to work around.

I never would have admitted this when I was younger, but I grew up listening to musicals, and I think that they’ve had some influence on me. I know when I was a teenager, it was really uncool to talk about how much you loved musicals, but I’ve come around.

The album also lends itself to deeper listening on an auditory level — hearing “Nope” on headphones brought the brushes on the drums into sharper focus — so that the more you listen, the more things you hear.

Yeah. [Engineer] Joel Nanos is a frickin’ genius, but I think the album takes a few listens, sort of, to breathe. You start to hear things — more things. It opens up, in a way.

What was the production like?

By

Nick Spacek

Working in the studio, you find the time to express the space and the breadth in [the music], and yet, allow it to contain a subtle complexity. I haven’t really talked about my music and superanalyzed it, but I think, working with Joel, he really understands the audio space as a physical space. It’s deep, it’s wide, it can be shallow, and hearing him talk about the stereo field, and being able to visualize it in that way allowed us to place things in that space like we were decorating a room.

Working through the album, it seems that there’s a mood and voice that come through every song.

What do you do to maintain that voice, despite the disparate styles in which you’re working?

A lot of that is that I have a particular sound and I can’t get away from it, no matter what I do. I have embraced it, and it’s like it’s my own unique identity in my music-making, and it doesn’t matter what I play: It’s going to be there because it’s me. I bring myself completely to the table.

You’d alluded to the fact that The Musical is autobiographical, but there’s no narrative thread.

What, if anything, does it tell the story of?

Maybe I’m universalizing, but I feel like, whenever you write a song, in general, you have to draw from your own experience. You put yourself into the position of the character, whoever it may be, even if it’s someone else. And in that sense, it’s autobiographical. It’s a reflection of your own experience. In some ways, in a tongue-in-cheek way, I feel like anyone who makes an album — it’s their musical, and I was just calling myself out on it this time around.

Maybe it’s different if you have a band, but if you have a principal songwriter, and the music is built around that person’s songwriting, I came to that revelation at some point: “This isn’t me just making a musical about myself.”

I saw it everywhere, at that point, once I thought of it in that light.

E-mail feedback@pitch.com

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APRIL 9-15, 2015

THE PITCH

27

28

Need A Drink?

Music

Music Forecast

By

n ata l ie G a l l a Ghe r

Find happy hours

Check out

mobile happy hour app

Jason Thrasher

by time, feature, name or location on your iphone/ blackberry/android.

Futurebirds

Before Sturgill Simpson’s Metamodern Sounds in Country Music last year, there was 2013’s Baba Yaga, by Futurebirds. Any Simpson fan should recognize the similarities in sound: Futurebirds, from Athens, Georgia, delivers the same brand of neo-psychedelic country, with tracks washed in reverb and twang. Futurebirds’ latest tour anticipates the band’s forthcoming album, which has been a long time coming.

(Everyone in the quintet writes, so maybe the problem is simply too much good material.) The new album is still without a title or a release date, but we’ll be ready for it when it arrives.

Friday, April 10, the Riot Room (4048 Broadway, 816-442-8179)

Robben Ford

If you’re a guitar nerd, then Robben Ford needs no introduction. You know that the California blues musician is widely considered one of the country’s greatest living guitarists. You know that he cut his teeth playing with George Harrison and Joni Mitchell in the mid-’70s, that he performed on the Kiss album Creatures of the Night, and that he played with Miles Davis in the late ’80s. You know that the man, despite five Grammy nominations, has yet to take home one of those statues.

You know that his latest album, Into the Sun, is one of his top releases to date — a serious achievement, considering Ford’s impressive

catalog. And if you’re not a guitar nerd? Well, now you know: Ford’s Sunday-night show at Knuckleheads is well worth your time.

Sunday, April 12, Knuckleheads Saloon (2715 Rochester, 816-483-1456)

Hearts of Darkness, the Phantastics

Friday at the Bottleneck, Hearts of Darkness emerges from its winter hibernation with an armload of brand-new songs. That alone should be enough to get you out, but if you need more convincing: The all-star 15-piece Afrobeat and hip-hop fusion band gets support from Lawrence’s own masters of funk, the Phantastics. We can’t think of a better way to spend a Friday night than with this perfectly matched bill. Wear your dancing shoes and prepare to sweat.

Friday, April 10, the Bottleneck (737 New Hampshire, Lawrence, 785-841-5483)

The Quivers, Mad Kings, Jason Vivone and the Billy Bats

Nothing suits whiskey drinking better than a slew of bands that know how to party. Saturday night at Westport Saloon, don’t plan to sit still: This triple bill doesn’t do ballads. Jason Vivone and the Billy Bats awaken your soul with some spirited blues rock, Lawrence’s the Mad Kings crank the volume up even more, and

f o r e c a s t

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APRIL 9-15, 2015

the Quivers shake and stomp and pound (and also pound those liquor shots right alongside you). Quivers lead singer Terra Skaggs has a voice that could scare away your worst nightmare, and if you haven’t seen that band live, this is your chance to right a wrong.

Saturday, April 11, Westport Saloon (4112 Pennsylvania, 816-960-4560)

Charlie Parr

Minnesota’s Charlie Parr has the look of a man who spends a lot of time on the road. The 47-year-old wears a long scraggly beard, big eyeglasses and, usually, an oversized flannel shirt and work boots. He doesn’t stand out in a crowd, and you wouldn’t notice him at a bar.

But appearances can be deceiving. Onstage, Parr is magnificent. Though the easy categorization is “blues and folk musician,” he makes songs that recall a time before every little thing got labeled — a time before records, even. Last year’s Hollandale captures a sound as primitive as the Midwestern prairies that Parr calls home. Wednesday at RecordBar, don’t miss this understated talent.

Wednesday, April 15, RecordBar (1020 Westport Road, 816-753-5207)

K e Y

Pick of the Week

A Cure for the Blues

Bring on the Funk

Band to Watch

Living Legend

Pour Me a Shot

I’ve Seen the Future

Locally Sourced

Worth the Weeknight

Guitar God

Dance Party

Midwest Is Best

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the pitch

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30 continued from page 13

Thursday | 4.9 |

UKULELE ORCHESTRA OF GREAT BRITAIN

COMEDY

Good Time at the Replay with Joe Noh, Zach White, Rob Schulte | 6 p.m. Replay Lounge, 946

Massachusetts, Lawrence

Kauf Drops with Dustin Kaufman | 10 p.m. Uptown

Arts Bar, 3611 Broadway

Jamie Kennedy | 8 p.m. Stanford’s Comedy Club, 7328 W. 119th St., Overland Park Lisa Landry’s Ladies Laugh Night | 8 p.m. Improv Comedy Club and Dinner Theater, 7260 N.W. 87th St.

SUN DAY

4.12

COMMUNITY BENEFITS

ical ur typ Not yo p u o uke gr

Midwest Innocence Project 2015 Bailout |

5-7 p.m., $20, Firestone Building, 2001 Grand, themip. org/bailout SPORTS & REC

Royals vs. White Sox | 1:10 p.m. Kauffman Stadium

Ukulele Orchestra of Great Britain | 7 p.m. Yardley Hall at JCCC, 12345 College Blvd., Overland Park, jccc.edu/performing-arts-series

MUSIC

Molly Hammer | 7 p.m. Broadway Jazz Club, 3601

A Blacksmith’s Daughter, River City Boy, Dan Hubbard, Outlaw Jake | Jackpot Music Hall, 943

Massachusetts, Lawrence

John Goolsby plays the music of Sam Cooke |

8 p.m. Knuckleheads Saloon, 2715 Rochester

THEATER

Broadway

setts, Lawrence

1809 Grand

Honeywagen | 10 p.m. Replay Lounge, 946 Massa-

Human Bashing, the Rising Plague, Profanation | 7 p.m. The Riot Room, 4048 Broadway

Equus | The Living Room Theatre, 1818 McGee, thelivingroomkc.com

Guys and Dolls | Musical Theater Heritage,

Batman & Robin: What Happened?! Live film riffs with commentary and behind-the-scenes info | 7:30 p.m. Westport Flea Market, 817 Westport Rd.

Chris Hazelton Trio | 9 p.m. Green Lady Lounge,

Dr. Seuss’ The Cat in the Hat | The Coterie

dence, 201 N. Dodgion Rd., Independence, citytheatreofindependence.org

DJ Parle & DJ Savy | 9 p.m. Prime Blu, 619 Mas-

sachusetts, Lawrence

chusetts, Lawrence

Enchanted April | City Theatre of Indepen-

COMEDY

Harmonies with Heather Thornton and Hannah Shuler | 7 p.m. Coda, 1744 Broadway

Dates and times vary.

Theatre, Crown Center, 2450 Grand Crown Center, thecoterie.org

NIGHTLIFE

DJ G Train | 10 p.m. Replay Lounge, 946 Massachu-

Mondo Disco with Ray Velasquez | 10 p.m. The Foundry, 424 Westport Rd.

Lisa Landry | 7:30 & 9:45 p.m. Improv Comedy Club and Dinner Theater, 7260 N.W. 87th St.

The Monthly Layover with Brenton & Daniel |

Brandon Jenkins and Stoney LaRue | 7 p.m. PBR

Big Sky Bar, 111 E. 13th St.

Liturgy, Sannhet, Horse Lords | 10 p.m. RecordBar,

1020 Westport Rd.

The Magic Beans, Jon Wayne & the Pain | 9 p.m.

The Bottleneck, 737 New Hampshire, Lawrence

Open-mic night | 8 p.m. The Tank Room, 1813 Grand Rave of Thrones with DJ Kristian Nairn | 8 p.m.

The Granada, 1020 Massachusetts, Lawrence

Room, 4048 Broadway

Friday | 4.10 |

Hair Retrospection | Kansas City Repertory Theatre, 4949 Cherry, kcrep.org

Ship, 1217 Union

Organ Night with Greg Meise Trio | 8 p.m. The

Screenland at the Symphony: Singin’ in the Rain | 8 p.m. Kauffman Center for the Performing Arts,

Outlaw Jim and the Whiskey Benders | 8 p.m.

The John Velghe Band, David George & a Crooked Mile, Jelly Bread | 8 p.m. Knuckleheads

Saloon, 2715 Rochester

National Collegiate Roller Hockey Championships | 7 a.m. Independence Events Center, 19100 E. Val-

ley View Pkwy., Independence, ncrha.org Independence MUSIC

PERFORMING ARTS

Kanza Hall, 7300 W. 119th St., Overland Park

SPORTS & REC

Styles & Complete, Spinstyles | 10 p.m. The Riot

T.J. Martley | 7 p.m. The Blue Room, 1600 E. 18th St.

Wild Kratts — Live! | 7-9 p.m. Friday, Lied Center of Kansas, 1600 Stewart Dr., Lawrence, lied.ku.edu

Club, 7328 W. 119th St., Overland Park

10 p.m. MiniBar, 3810 Broadway

Crown Center, 2450 Grand, mthkc.com

Of Mice and Men | Starting Saturday, White Theatre at the Jewish Community Center, 5801 W. 115th St., Overland Park, jcckc.org

Jamie Kennedy | 7:45 & 9:45 p.m. Stanford’s Comedy

1601 Broadway, kcsymphony.org

L I T E R A R Y/ S P O K E N W O R D

Free State Story Slam | 7 p.m. Lawrence Arts

Center, 940 New Hampshire, Lawrence, lawrencearts center.org

The Color Morale, Slaves, Vanna, Favorite Weapon | 6 p.m. Aftershock, 5240 Merriam Dr.,

Merriam

The Devil’s Marmalade, Daffy’s Elixir, Sunrise Revolt | 9 p.m. Davey’s Uptown, 3402 Main EXTRAordinary, the Heavy Figs, Godzillionaire | 10 p.m. Replay Lounge, 946 Massachusetts, Lawrence Amanda Fish Band, Dan Doran Band | 4:30 p.m.

The Phoenix, 302 W. Eighth St.

Futurebirds, Electric Orchestra, Westerners, Crystal Baller | 8 p.m. The Riot Room, 4048 Broadway continued on page 32

30

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APRIL 9-15, 2015

pitch.com

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31

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APRIL 9-15, 2015

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32

Art Exhibits & EvEnts

vAriEty show 2015 with mikE birbigliA

Ferran Adrià: Notes on Creativity | Nelson-Atkins Museum of Art, 4525 Oak, nelson-atkins.org

ay saturd

4.11

American Soldier | Nelson-Atkins Museum

of Art, 4525 Oak

lia bala Birbig g. hostin

Animalia: 19th- and 20th-Century European Prints and Drawings | Nelson-Atkins

games, neuroscientist talks and lab tours | 10 a.m.-2 p.m.

Hemenway Life Sciences Innovation Center at University of Kansas Medical Center, 39th St. and Rainbow, KCK, sfnkc@kumc.edu

Google Fiber Expo | 1-5 p.m. Paradise Park, 1021 N.E. Colbern Rd., Lee’s Summit

nc e s

Woodland Wildflower Walk | 10 a.m.-noon, Overland Park Arboretum, 8909 W. 179th St., Overland Park, opabg.org

Museum of Art, 4525 Oak

FILM

Expectations of Violence Rites Due Spring,

with Cat Mahari, Hermon Mehari and Ryan Tenney | 7-8 p.m. Friday and Saturday, La Esquina, 1000 W. 25th St., expect-violence.tumblr.com

A Short Journey with Chaplin: A Dog’s Life, Shoulder Arms and Sunnyside | 4 p.m. Liberty

Hall, 644 Massachusetts, Lawrence, libertyhall.net

Hobbs Open Studio | 6-10 p.m. Friday,

FOOD & DRINK

Make Your Mark | Kemper Museum of Contem-

presented by the KC Food Circle | 9:30 a.m.-2:30 p.m.

Metropolitan Community College–Penn Valley, 3201 Southwest Tfwy.

1-4 p.m. Saturday, Hobbs Building, 1427 W. Ninth St.

17th Annual MO Eat Local and Organic Expo,

porary Art, 4420 Warwick Blvd., kemperart.org

Mapping Coyote Black, Natalie Ball | Nerman Museum of Contemporary Art, 12345 College Blvd., Overland Park, nermanmuseum.org

SPORTS & REC

National Collegiate Roller Hockey Championships | 8 a.m. Independence Events Center, 19100 E. Valley View Pkwy., Independence, ncrha.org

Piranesi: Imaginative Spaces | Nelson-Atkins

Museum of Art, 4525 Oak

Sporting KC vs. Real Salt Lake | 7:30 p.m. Sporting Park, 1 Sporting Way, KCK

Second Friday Troost Art Hop | 6-10 p.m.

Vibe Tribe Studio, 5504 Troost

MuSIC

A Shared Legacy: Folk Art in America |

variety Show 2015 with Mike Birbiglia | 9 p.m. The Midland, 1228 Main, varietyshowkc.org

Nelson-Atkins Museum of Art, 4525 Oak

Nature Boys | 8 p.m. Holy Cow Market & Music, 3109

To Honor the Unidentified and Its Honor Is Here Pledged, Gina Adams | Nerman

Museum of Contemporary Art, 12345 College Blvd., Overland Park

World War I and the Rise of Modernism | Nelson-Atkins Museum of Art, 4525 Oak

4048 Broadway

Reverend Raven & the Chain Smokin’ Altar Boys | 9 p.m. B.B.’s Lawnside BBQ, 1205 E. 85th St.

MiniBar, 3810 Broadway

Dominique Sanders | 8:30 p.m. Green Lady Lounge,

Shaun Flo | Hotel Nightclub, 1300 Grand

1809 Grand

continued from page 30 Harper | 8 p.m. Trouser Mouse, 410 S. Hwy. 7, Blue Springs

Milk N Cookies, 2Live Cruz | 10 p.m. The Riot Room,

Gillham Rd.

Sellout | Jazzhaus, 926-1/2 Massachusetts, Lawrence

Oh My Gawth with DJ Sanam Tala | 10 p.m.

Saturday | 4.11 |

Bottleneck, 737 New Hampshire, Lawrence

Jake Stanton, Chris Burke | 8 p.m. Coda, 1744 Broadway

Starhaven Rounders | 7 p.m. RecordBar, 1020 West-

Million Dollar Quartet | 7:30 p.m. Lied Center of

Kansas, 1600 Stewart Dr., Lawrence, lied.ku.edu

The James Hunter Six, the Belairs | 8:30 p.m.

port Rd.

Interstring with Extra Bass | 8 p.m. Take Five Coffee

Whiskey for the Lady, Dusty Rust, John Henry and Friends | 10p.m.WestportSaloon,4112Pennsylvania

Jamie Kennedy | 7:45 & 9:45 p.m. Stanford’s Comedy Club, 7328 W. 119th St., Overland Park

Wild Men of KC | 8:30 p.m. Blue Room, 1600 E. 18th St.

Lisa Landry | 7 & 9:45 p.m. Improv Comedy Club and

Knuckleheads Saloon, 2715 Rochester

+ Bar, 6601 W. 135th St., Overland Park

The Lonesome Houndogs, the Mad Kings | 6 p.m.

Replay Lounge, 946 Massachusetts, Lawrence

Dinner Theater, 7260 N.W. 87th St.

Yore, She’s a Keeper, Admiral of the Red |

Lawrence

Eddie Moore and the Outer Circle, A La Mode | 7 p.m. Broadway Jazz Club, 3601 Broadway APRIL 9-15, 2015

COMEDY

9:30 p.m. RecordBar, 1020 Westport Rd.

Mike Ryan, John Goolsby & the Midwest, Ryan Manuel | 8 p.m. The Granada, 1020 Massachusetts,

the pitch

Electric Lungs, Dolls on Fire, David George & a Crooked Mile | The Brick, 1727 McGee Fortunate Youth, Hirie, Sensamotion | 9 p.m. The

Bottleneck, 737 New Hampshire, Lawrence

Bill Gaither and the Gaither vocal Band | 6 p.m.

First Baptist Church of Raytown, 10500 E. 350 Hwy., Raytown

PERFORMING ARTS

Hearts of Darkness, the Phantastics | 8 p.m. The

32

Apollo, Julz vurn, Sir Adams, BluntRap, Brett Gretzky | Noon, the Riot Room, 4048 Broadway

Your Robot Friends | The Brick, 1727 McGee

COMMuNITY EvENTS

BBQ and Bluegrass | 6-9 p.m. Roeland Park Com-

NIGHTLIFE

munity Center, 4850 Rosewood Dr., Roeland Park, roelandpark.net/events

Cirque Du Risque | 10 p.m. The Kill Devil Club, 61

Brain Discovery Fair, featuring hands-on experi-

E. 14th St.

pitch.com

ments using human brains and microscopes, brain

Molly Hammer Quartet, Organ Jazz Trio | 6 p.m.

Green Lady Lounge, 1809 Grand

Brett Jackson Quartet | 8 p.m. Take Five Coffee + Bar, 6601 W. 135th St., Overland Park

Jared & the Mill, Patrick Quinn, Mark Shipman | 5 p.m. The Riot Room, 4048 Broadway Katy Guillen & the Girls | 8 p.m. Trouser Mouse, 410

S. Hwy. 7, Blue Springs

Kris Lager Band | 9 p.m. Knuckleheads, 2715 Rochester Max Groove, Beau Bledsoe | 7 p.m. Broadway Jazz

Club, 3601 Broadway

Ty Mayfield, Race Bandit, Technology of the Sun | Jackpot Music Hall, 943 Massachusetts, Lawrence

33

MUSEUM ExhibitS & EvEntS Day in the Life: Soldier’s Burden | 10 a.m.-

5 p.m. Sunday, National World War I Museum at Liberty Memorial, 100 W. 26th St., theworldwar.org

Dinosaurs: Ancient Fossils, New Discoveries | Museum at Prairiefire, 5801 W. 135th St., Overland Park, museumatpf.org

Sellout | Jazzhaus, 926-1/2 Massachusetts, Lawrence Mikal Shapiro with Dead Voices, Hardship Letters | 9 p.m. Davey’s Uptown, 3402 Main

fiLM

Vapors of Morphine, Kodascope | 10 p.m. Record-

The Last Unicorn , featuring a Q&A with author and

Bar, 1020 Westport Rd.

Xetas, Wet Ones, Nubiles, Drop a Grand | 9 p.m.

Ingenious Objects: geometric puzzles by Stewart Coffin | Linda Hall Library, 5109

Cherry, lindahall.org

PeRfORMiNG ARTS

screenwriter Peter S. Beagle | 8 p.m. Liberty Hall, 644 Massachusetts, Lawrence, libertyhall.net

MiniBar, 3810 Broadway

NiGHTLife

Daturday Night Live starring Approach | 10 p.m.

Replay Lounge, 946 Massachusetts, Lawrence

Station, 30 W. Pershing Rd., unionstation.org

Xtreme BUGS | Union Station, 30 W. Pershing Rd., unionstation.org/bugs

Netherfriends, Contra Collective, the Abnorm | 10 p.m. Replay Lounge, 946 Massachusetts, Lawrence North Mississippi Allstars, Anders Osborne, the Danielle Nicole Band | 9 p.m. Knuckleheads Saloon, 2715 Rochester

DJ e | Quaff Bar & Grill, 1010 Broadway DJ Scream, Spinstyles, DJ Trace Beats | 10 p.m.

The Riot Room, 4048 Broadway

Dropout Boogie | 10 p.m. MiniBar, 3810 Broadway Kegs ’n’ eggs Adult egg Hunt | 1-5 p.m. Kansas City

Renaissance Festival, 633 N. 130th St., Bonner Springs, kegsneggskc.com

Sunday | 4.12 | PeRfORMiNG ARTS

The Old Crows featuring Mo Paul | 9 p.m. B.B.’s Lawnside BBQ, 1205 E. 85th St.

Pink Royal, Toy Cartel, Sharp 9, Spencer Mackenzie Brown | 9 p.m. The Granada, 1020 Mas-

Brahms’ Requiem : The 40th-anniversary gala concert of the Lawrence Civic Choir | 3:30 p.m. Lied Center of Kansas, 1600 Stewart Dr., Lawrence, lawrencecivicchoir.org

Project Backstage 2015 Midwest Music Awards, with Bridges Burnt, Restraint, Lauren

Renaissance dance and music meetup, featuring the St. Vitus Dancers | 4-7 p.m. Second Presbyterian Church, 318 E. 55th St., stvitusdancers.com

sachusetts, Lawrence

Anderson, Mad Libby, A Great Divide, Unwritten Rulz | 6 p.m. VooDoo, Harrah’s Casino, 1 Riverboat Dr., NKC

The Quivers, Mad Kings, Jason Vivone and the Billy Bats | 10 p.m. Westport Saloon, 4112 Pennsylvania

Rocky Santhuff | Cinder Block Brewery, 110 E. 18th Ave., NKC

COMeDy

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Kauffman Foundation, 4801 Rockhill Rd. fiLM

Union, 5100 Cherry

National Collegiate Roller Hockey Championships | 9 a.m. Independence Events Center, 19100 E.

MuSiC

Valley View Pkwy., Independence, ncrha.org

Between the Buried and Me, the Atlas Moth | 8:30 p.m. The Granada, 1020 Massachusetts, Lawrence

Decker, invisible Public Library | 5 p.m. Replay

Blue Monday Jam with Dwight foster | 7 p.m.

Lounge, 946 Massachusetts, Lawrence

The Blue Room, 1600 E. 18th St.

DJ Nzekt, Precedence Over Programming, Luke fire, Somewhere in Hiding, benefiting the

Vital Remains, Boris the Blade, Vale of Pnath, Alterbeast, Abiotic, Lord of War, Reaping Asmodeia, Torn the fuck Apart, Demonic Plague | 7 p.m. The Riot Room, 4048 Broadway

National MS Society | 7 p.m. RecordBar, 1020 Westport Rd.

Tuesday | 4.14 |

enter Shikari, Stray from the Path, Marmozets, A Lot Like Birds | 7 p.m. The Granada, 1020 Mas-

sachusetts, Lawrence

COMeDy

Robben ford | 8:30 p.m. Knuckleheads Saloon, 2715 Rochester

Comedy Night | 8 p.m. The Tank Room, 1813 Grand fiLM

Mama Ray’s Hope House Benefit, with Danielle

Schnebelen and Shinetop, Sedovic, Brian Ruskin and Julie Turner, Four Fried Chickens and a Coke, Eboni and the Ivories, Everette DeVan Quartet with Sharon Thompson, Danny Montero, Levee Town, Frankie O’Brian and more | 1-9 p.m. B.B.’s Lawnside BBQ, 1205 E. 85th St.

Mars Lights, Drag Me to Safe Harbour | 8 p.m.

The Riot Room, 4048 Broadway

It’s a Mad, Mad, Mad, Mad World dinner party | 7:30 p.m. Alamo Drafthouse, 1400 Main The Woods Are Still Green screening, featuring a special appearance by Bozo Cerar, Slovenia’s ambassador to the U.S. | 6-9 p.m. National World War I Museum at Liberty Memorial, 100 W. 26th St., theworldwar.org

Pop Skull Rebels | 3 p.m. Holy Cow Market & Music,

MuSiC

Club Encore, 700 Southwest Blvd.

3109 Gillham Rd.

Lisa Landry | 7 p.m. Improv Comedy Club and Dinner

Tiger Jaws, Lemuria, Somos | Jackpot Music Hall,

American Head Charge, Houdini Light Machine, the Soiled Doves, in the Shadow, Conflict of interest | 8 p.m. The Riot Room, 4048 Broadway

Theater, 7260 N.W. 87th St.

COMMuNiTy BeNefiTS

Rob Scheps and Jason Jackson | 8:30 p.m. The

Blue Room, 1600 E. 18th St.

At ease with Opera: Tosca | 7 p.m. Ewing Marion

2015 German film festival | 7 p.m. UMKC Student

SPORTS & ReC

MuSiC

Lewis and Clark: Great Journey West | Union

Monday | 4.13 |

| Noon, KC Live Block at the Power & Light District, 14th St. and Grand. mcfaddenskc.com

943 Massachusetts, Lawrence

Trio M | 8 p.m. Take Five Coffee + Bar, 6601 W. 135th St., Overland Park

Blues Jam with Coyote Bill | 9 p.m. Westport Saloon, 4112 Pennsylvania

Mcfadden’s Golf Tournament, a nine-hole putt-putt tournament benefiting Blair’s Socks

continued on page 35

pitch.com

APRIL 9-15, 2015

the pitch

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APRIL 9-15, 2015

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screenland at the symphony: singin’ in the rain

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Screenland at the Symphony: Singin’ in the Rain | 8 p.m. Friday and Saturday, and 2 p.m. Sunday, Kauffman Center for the Performing Arts, 1601 Broadway, kcsymphony.org

Matt Hopper Trio | 7:30 p.m. Green Lady Lounge,

continued from page 33 Sissy Brown, Blue Boot Heelers, Abraham and the Old Gods | 9:30 p.m. RecordBar, 1020 Westport Rd.

1809 Grand

Brody Buster Band, Jazz Cigarettes | 10 p.m.

Broadway

Replay Lounge, 946 Massachusetts, Lawrence

Hermon Mehari Trio | 6 p.m. The Majestic, 931 Broadway

Nick Schnebelen Trio | 7 p.m. B.B.’s Lawnside BBQ,

Stan Kessler | 7 p.m. Broadway Jazz Club, 3601

T.J. Martley & Bryan Hicks | 7 p.m. Broadway Jazz Club, 3601 Broadway

Hermon Mehari Trio | 6 p.m. Majestic, 931 Broadway

1205 E. 85th St.

Mr. Gnome, Coward | 9 p.m. MiniBar, 3810 Broadway

Sixx:A.M., Apocalyptica, Vamps | 8 p.m. The

The Old No. 5s | 7 p.m. Coda, 1744 Broadway

Midland, 1228 Main

Zanzibar Drummers | 6:30-9 p.m. Uptown Arts Bar, 3611 Broadway

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Open-mic night | 7:30 p.m. Improv Comedy Club and Dinner Theater, 7260 N.W. 87th St.

Adam Schlozman’s earth Trio, OJT | 7:30 p.m.

Green Lady Lounge, 1809 Grand

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Jim Beisman | 7 p.m. B.B.’s Lawnside, 1205 E. 85th St.

Bok Bok, Andrew Sinclair, Marcobiotics, OJ Shrink | 9 p.m. The Riot Room, 4048 Broadway

Carl Butler’s Gospel Lounge | 7:30 p.m. Knuckle-

elegant Knock with DJ Approach | 10 p.m. Replay

Burton Cummings | 8 p.m. Knuckleheads, 2715

Girlz of Westport | 8p.m.Californos,4124Pennsylvania

heads Saloon, 2715 Rochester

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Should He Always Reveal Experiences?

Dear Dan: The thought of my wife being with another guy is a fantasy of mine. We’ll sometimes role-play that she has just come home from a fling, at which point I’ll go down on her while she tells me all the sexy condomless details. For health reasons, we aren’t going to actually do this. But can you recommend some substance that feels and perhaps even tastes like come that she can, um, insert into herself to add a sexy dose of verisimilitude to our play? It’s got to be safe and nonirritating for her, but it needs to look and maybe taste like semen.

Boy After Realistic Emulsions P.S. This isn’t a cuckold thing for us, as I have no desire to be humiliated. It’s more of a “hot wife” fantasy with a guy/guy bi twist.

Dear BARE: There’s a brand of silicone lubricant called Spunk that looks and feels — can you guess? — just like spunk. You might not want to guzzle bottles of it, but ingesting a little safe-and-nonirritating silicone lube isn’t going to kill you. Order yourself a case at spunklube.com.

36

the pitch

APRIL 9-15, 2015

D a n S ava ge Dear CFT: The risk of being busted for an ad like that — particularly if there’s no explicit offer of cash in exchange for sexual services — is low but not nonexistent. Busting consenting adult sex workers and johns is easier than catching thieves, rapists and murderers, and it all but guarantees a police department some positive coverage on the local evening news. But the risk, again, is pretty small, and the rewards — for a foot fetishist — would be pretty great.

Just remember the escort-ad dodge: You’re paying someone for their time — for their companionship — and whatever happens during that time is between two consenting adults.

used to do live performances as a rope bondage top, but I recently jumped out of the kink community. I just think I’ll have better luck finding a long-term relationship with a girl from the vanilla world. So long as she’s GGG, I can live with it. As much as I loved the sex/ kink with people I met in “the scene,” I never found anything/anyone for the “long term.”

My question: I’m unsure of how much I should share about my past. Should I tell vanilla girls that I performed at bondage shows? I don’t want to scare them off, but I also don’t want it to come up years down the road and have it scare them off then.

Dear SHARE: When something awesome, interesting or commendable about you scares someone off — your fun and sexy kinks, your sexually adventurous history — your best course of action is to shrug and say, “Good riddance.” But if you’re afraid the otherwise GGG woman you recently met on a vanilla dating app or in a vanilla drinking establishment will panic and bolt, you can wait to disclose your history of tying people up in front of crowds until she’s gotten to know you better. Your past as a bondage performer doesn’t present a health risk for the GGG women you’ll be tying up in private, so you can go ahead and roll it out slowly. But do roll it out eventually.

If you find that you’re unable to locate any LTR-worthy women in the vanilla world — just like you couldn’t find any in the fetish scene — then the problem was you, not the scene.

By

Dear Dan: I’m a bi married father who recently fell on hard times. In order to make rent, I posted a few Craigslist ads, and now I occasionally suck dick for money. I don’t intend to tell my wife, but I’m getting frequent STI tests.

I’m kind of freaked out by how not freaked out I am. I mean, sucking 15 cocks for cash just to make rent seems pretty extreme, but aside from some low-level shame, I feel OK about it. Do you think regular people occasionally do this?

Should I feel bad?

Paying Bills Regularly Dear PBR: Tons of stories were written at the

height of the Great Recession about average people doing sex work to make ends meet. So lots of “regular people” have done sex work.

(And sex workers? They’re regular people, too.)

And while I don’t think you should feel bad, I do think you should tell the wife. Regular STI testing will only let you know that you’ve caught an STI, if you should ever catch one — it doesn’t immunize you against catching an STI. So your wife, if you’re having sex with her, too, has a right to know where the rent money is coming from.

Dear Dan: A friend of mine who indulged my foot

fetish (let me jack off while looking at and fondling her feet) while we were dating mentioned recently that lots of women would be up for indulging it for the right price. I replied, “Well, sure, but you can’t just walk up to women on the street and be like, ‘Hey, can I jack off to your feet for a hundred bucks?’” She said, “The Internet, duh.” My question: Is it illegal to offer money for such services online? What kind of risk would I be running if I ran an ad that hinted at what I’m interested in without getting too explicit?

Cash for Toes

Dear Dan: My boyfriend, “Jack,” is into pretty intense bondage (in addition to the vanilla sex we have all the time). Some light bondage with sex is fine, but I don’t like the kind of bondage he does because it’s way too much for me — and we can’t exactly have sex when he’s in layers of latex gear, hooded and gagged, strapped down inside a coffinlike “bondage box” with the lid closed and padlocked shut. We don’t have that kind of gear, but he knows some older guys who do. I’m uncomfortable with the idea of his going over to play with these men without me there, but I find these bondage sessions really tedious.

I also don’t like feeling pressured to get tied up myself by two guys I like well enough but don’t find attractive at all. Is letting him go over there without me the only workable solution?

Jack in the Box Dear JITB: Yup. Dear Dan: Longtime reader, first-time writer. I recently acquired the panties of a young lady after replying to her ad on Craigslist. She’d offered to “enhance” them for me for a small extra charge. They arrived enhanced, all right — heady aroma(s) but nothing truly memoryinducing since I’d never been intimate with her.

But I digress. What I’m wondering is if I could “get” anything by holding her undies against my nose? I know the old pregnant-from-semenon-a-toilet-seat story is a myth, but these were still moist when I got them.

Seeks Needed Info From Friendly Faggot Dear SNIFFF: You’re getting a thrill from those panties, but you’re probably not getting your money’s worth. A friend who helped put herself through school selling “used” panties used a small dollop of mayo to “enhance” the panties she bought and sold in bulk. Caveat emptor, caveat scortator.

Have a question for Dan Savage?

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EVENT STAFF, USHERS, TICKET TAKERS Starts at $9 per hour

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with friends

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with southern flair?

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In all correspondence, Attn: Human ResourcesReasonable • Please contact rates! our Human Resources Department with a AUTO INSURANCE A CCO & at PIPE COMPANY South KC Misc Items and Lawn Equipment questions Susanwith Bratcher you have regarding employment suburban lawnTOB & Garden 816.941.4700 Dishwasher, weed eaters, leaf blowers, Craftsman 7.25 hp mower, Ariens riding mower, side by side refrigerator/freezers and MORE!

AUCTION ENDS: April 12, 7pm

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STARTING @ $40

Auto & SR22, Renters, Homeowners, Motorcycle, Business

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