The Pitch: July 9, 2015

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JULY 9-15, 2015 | FREE | VOL. 35 NO. 2 | PITCH.COM

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INSTAGRAM, ART AND THE NAKED AMBITIONS OF CARRIE RIEHL

David Hudnall

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jUly 9-15, 2015 | Vol. 35 no. 2 E d i t o r i a l

Editor Scott Wilson Managing Editor Justin Kendall Music Editor Natalie Gallagher Staff Writers Charles Ferruzza, David Hudnall, Steve Vockrodt Editorial Operations Manager Deborah Hirsch Events Editor Berry Anderson Proofreader Brent Shepherd Contributing Writers Tracy Abeln, Jen Chen, Liz Cook, April Fleming, Larry Kopitnik, Angela Lutz, Dan Savage, Nick Spacek

power lines WyCo’s BPU settles an electrocution case for more than it had to. b y s t e v e vo c k r o d t

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Art and Production Director Jeremy Luther Contributing Photographers Zach Bauman, Angela C. Bond, Barrett Emke, Chris Mullins, Sabrina Staires, Brooke Vandever

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Carrie Riehl’s Instagram-intensive art: far from safe. b y dav i d h u d n a l l

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QUESTIONNAIRE NEwS fEATURE AGENDA ShOp GIRl fIlm fAT cITy bARTENDER’S NOTEbOOk ON TAp ThIS wEEk mUSIc D A I ly l I S T I N G S SAvAGE lOvE

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Kansas Court of Appeals says Mission’s “DRiVEWAy TAx” is illegal.

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Questionnaire

AngelA HAllorAn

Touring production coordinator

Hometown: Overland Park Current neighborhood: Waldo What I do: My main gig is touring with bands

as a production coordinator, but I’ve also just started an online shop called Wilder — our goods give back.

Tell us more about Wilder: I wanted to find a

way to combine my love for design, creativity and giving in the best way I know how. While we want our Wilder goods to be stylish and comfortable, we also want them to become a cool conversation starter. Every other month, Wilder will choose a different charity or organization to spotlight, and a portion of the proceeds will be donated in an effort to raise funds and awareness for as many organizations as we can.

What’s your addiction? Travel. And chocolate.

What’s your game? Scrabble What’s your drink? Vodka soda with lemon Where’s dinner? Port Fonda. That guac, man …

What’s on your KC postcard? A really good spring storm with loads of lightning Finish this sentence: “Kansas City got it right when …” We revitalized downtown and turned

the West Bottoms into the greatest place for antique shopping.

“Kansas City screwed up when …” We never built a good public-transport system.

“Kansas City needs …” An Irish restaurant that

has real sausage rolls. Anyone?

“In five years, I’ll be …” Exploring the world but still calling Kansas City home.

“I always laugh at …” Jimmy Fallon’s “Box of Lies” segment.

“I’ve been known to binge-watch …” House of Cards, Scandal, Orange Is the New Black … to name a few.

“I can’t stop listening to …” Lord Huron and Foy Vance.

“I just read …” Complete Guide to Money by Dave Ramsey.

The best advice I ever got: “Do what makes

you happy, and everything else will fall into place.”

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

Do you have SUN DAMAGED

My sidekick: I have a few sidekicks in dif-

ferent parts of the world. My sidekick on tour is Nicole — she lives in Ireland, and I go to visit every year for about six weeks.

My sidekick in Kansas City is Jillian — she owns a floral-design company called the Vintage Petal, and we spend a lot of time together exploring the antique shops and cool lunch spots.

My dating triumph/tragedy: Several tragedies

and very few triumphs!

My brush with fame: I have worked with a lot

of well-known people, so fame doesn’t really faze me much, but I probably got the most starstruck when I had a short chat with Meryl Streep once.

My 140-character soapbox: Visit thewilder

shop.com, and have a look at the goods we have and read about the amazing charities/ organizations we’re supporting.

What was the last thing you had to apologize for? Probably going off on my sister about something stupid.

Who’s sorry now? Me but I’m also usually

right in the end.

My recent triumph: Making the decision to

finally start Wilder after thinking about doing it for over a year. The support has been amazing so far, and I’m so thankful to get to do what I love in many forms.

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news

Power Lines

WyCo’s BPU settles an electrocution case for more than it had to.

ick Moeder, a 27-year-old Shawnee resident, was playing a wee-hours round of disc golf in Rosedale Park, in southeast Wyandotte County, on June 16, 2013, when he stepped on a live electrical wire. A strong storm the previous day had knocked down power lines throughout the metro; this one had been on the ground for about 11 hours.

Moeder died instantly.

Evidence soon surfaced that the downed line had been reported to authorities at least twice in the hours leading up to Moeder’s death. The Kansas City Board of Public Utilities, the ratepayer-owned utility in Wyandotte County responsible for that line, apologized publicly for its slow response, but a lawsuit was inevitable.

Late last month, the Unified Government of Wyandotte County/Kansas City, Kansas, and the BPU settled with Moeder’s mother, Wanda Christensen, for $1.65 million.

The settlement award runs counter to the BPU’s legal arguments early in the lawsuit.

In its initial response to the lawsuit, as well as in subsequent filings, the utility said it wasn’t liable for Moeder’s death — and that, even if it was, it wasn’t on the hook for more than $500,000.

The Ka nsas Tor t Claims Act sets a $500,000 limit for damages in lawsuits filed against governmental entities.

As the lawsuit moved through the courts, however, the BPU eventually stopped claiming that $500,000 was its liability limit. Why did the BPU finally settle for more than what a jury could have legally awarded if it had found the utility responsible for Moeder’s death?

Since 1986, the BPU has held an excess-

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liability insurance policy. It’s the type that essentially waives the $500,000 cap for damages and exposes the utility to damages beyond what’s ordinarily allowed by law.

The policy insures the BPU for up to $35 million per incident, and up to $70 million in the aggregate. It’s underwritten by Associated Electric & Gas Insurance Services in Hamilton, Bermuda. The BPU pays an annual premium of $546,479.

David Mehlhaff, a spokesman for the BPU, confirms that the policy’s existence clears the way for lawsuit awards in excess of $500,000.

“We can also purchase additional insurance on liability,” he tells The Pitch. “Part of the reason is the [Kansas] Tort Claims Act only protects us in Kansas. We’re on the state line. We have infrastructure on the state line.”

Rosedale Park and its power wires So, Mehlhaff explains, if a utility pole along the state line were to fall and damage property or harm a person standing in Missouri, a lawsuit could be brought in that state, without Kansas’ statutory $500,000 cap on damages. Federal-court lawsuits could also lead to higher damages.

Wyandotte County’s border with Missouri is fairly limited. It starts at the intersection of State Line Road and County Line Road, near Roeland Park, and goes north through the West Bottoms until it reaches the confluence of the Kansas and Missouri rivers. From there, the border runs along the Missouri River, where it’s difficult to imagine BPU infrastructure posing much risk to people or property in the Show-Me State. Given the limited square mileage

By

S t e v e v ock rod t

of at-risk infrastructure, couldn’t the BPU tailor an alternate, possibly cheaper insurance policy that would cover only claims arising from Missouri?

“There are a number of reasons for excess liability, but ultimately it’s a management decision for doing so,” Mehlhaff says.

The $35 million policy, like most BPU policies, was brokered by Metroplex Insurance Agency in KCK. Met roplex i s r u n by a n old-g ua rd Wyandotte County insider named Patrick Scherzer, who served on the Wyandotte County Board of Commissioners in the days before the county’s unification with the Kansas City, Kansas, government. In addition to brokering BPU’s insurance policies, Scherzer, according to records, has donated money to candidates running for the BPU’s board. Earlier this year, he supported Chris McCord’s candidacy for the BPU, along with some of his other business associates.

(McCord, however, lost a close race to Norman Scott.)

Metroplex collects a cut of any policy it brokers. The $35 million liability policy carries a much larger premium than most of BPU’s other insurance policies. For example, BPU’s commercial automobile policy carries a $22,913 premium; its policy for excess workers’ compensation has a $104,616 premium. In all cases, Metroplex takes 12.5 percent a year of the premium as a commission.

When asked why his company had sought such a high-dollar policy for the BPU, Scherzer had no comment.

E-mail steve.vockrodt@pitch.com

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CARRIE RIEHL’S INSTAGRAM-INTENSIVE ART: FAR FROM SAFE

by

David Hudnall

P H O T O B Y S A B R I N A S TA I R E S

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arrie Riehl shaved off her eyebrows in early June. I know this because I saw it on Instagram, where Riehl maintains — stars in, really — an art-drenched, visually provocative account.

By the standards of someone who’s always a nipple or a pubic hair away from being thrown off the Facebook-owned photo-sharing app, the eyebrow episode seemed demure. She posts often, and her aesthetic is distinctive: lots of breasts, legs, mouths, spit, hair and fashion.

Most of all, lots of Carrie Riehl. Instagram has deleted several of her accounts over the past few years — one, somewhat awkwardly, while it was a “Recommended” page. Each time, she has resurfaced within a few days, under a different name. Her followers — on her latest account, h2.0, a couple of thousand and counting — have little trouble finding her again.

I met with Riehl a few days after her eyebrows vanished to discuss That Used to Be Us, the art show she was curating — her first — at Haw Contemporary. Riehl, who is 23, lives with her girlfriend and frequent collaborator, Emily Kenyon, in an apartment on a friendly block in the gentrifying Historic Northeast. Some of Riehl’s friends — mostly students and recent graduates, like Riehl, of the Kansas City Art Institute — were hanging out on the front stoop, grilling vegetable kebabs, drinking beers, smoking cigarettes.

She welcomed me inside, and I mentioned her eyebrows. “Right,” she said. I asked how long she thought it would take for them to grow back. “I’ll let you know,” she said.

A little while later, a friend of hers arrived and said, “Your eyebrows! They’re gone!”

“No way,” she said, her voice droll to the point of boredom.

Later, she told me that she shaved off her eyebrows with the hope that they would grow back thicker than before. “I also kind of want a unibrow,” she added, smiling.

Riehl and her photography convey the strong sense that anything resembling a norm or a social more — particularly in the realm of bodies, sex and gender — requires, at a minimum, reconsideration, if not a permanent trip to the garbage bin. Good luck not feeling square or prudish in the company of the artist or her art, which includes whatever she may have done to her body that day. On Instagram and in Bohemian, the publication that she edits with Kenyon, she has honed a talent for taking photos of herself that brim with messages about fashion, sexuality and the grotesque, often in the same image.

Among her more confrontational images: Riehl in a plain white shirt in which two tiny holes have been cut, so all you see are her nipples poking through; Riehl wearing an open kimono showing almost all of her breasts and torso, her unshaved leg in the foreground (caption: “Your daily reminder that hairy women are beautiful too”); a smearing of menstrual blood on her upper leg with the caption “I’m so sorry if I’m alienating some of you! Your whole fucking culture alienates me.” continued on page 8

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n person, Riehl does not come across as especially alienated. She’s friendly, eager to talk art and theory, openly ambitious.

She has a subtle Valley-girl lilt to her voice and is as likely to call something or someone “supercute” as she is to bring up “gender binary” — as she did while enthusiastically telling me about the works she had selected for That Used To Be Us. “It’s all female artists, though I don’t really think of it as a woman’s show,” she said. “I think if there’s a unifying thing, it’s all artists with kind of an activist presence who are creating work about how identity — whether through gender, relationships, infrastructure, politics, family, whatever — is changing in their cultures.”

She continued: “Early on, the plan was to ask local artists to contribute original work exploring some of the topics I was interested in for the show. Then I realized I wanted to include artists who were already working in this territory. So I just started contacting artists whose work I admired — some from the Internet, some from Instagram, some from other places — and asking them if they were interested in letting me show their work.”

She had taken the exhibition’s title from a Thomas Friedman book of the same name, using it to comment on a gallery world deep into the age of globalization. Some of the artists she chose for the show live in places such as Holland and Hong Kong, and there were many whom Riehl hadn’t met — probably won’t meet — in real life. As she told me who they were, she sometimes recalled Instagram handles and website names more readily than given names.

All of the artists involved signed off on having their work shown in That Used To Be Us, an unintentional but relevant comment on today’s art world. Earlier in the spring, pop artist Richard Prince put up a widely covered 8

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show composed of what he called “appropriated” Instagram images. He had turned these photos — some of models and celebrities, some of everyday users of the app — into large-scale works and sold many of them for more than $100,000 to deep-pocketed New York art buyers. ARTnews called Prince “painfully removed from the youth culture in which he’s participating” — a culture in which Riehl dwells full time.

Like Riehl, Jennifer Chan (whose video essay “Equality” is part of That Used To Be Us) is immersed in a specific subset of that culture — Internet natives whose work explores the intersecting lines of body image, gender theory, feminism and art.

“I think online feminisms are very individualized and fragmented,” Chan told me.

“I can’t call it a movement, but through the kinds of conversations we’ve been having, I think we gain perspectives on different feminist approaches that all strive to arrive at the same goal: to be seen as a human, not an object, and as artists whose work should be as valuable as men’s work.”

To be maximally inclusive of artists outside the area, such as Chan, Riehl decided to make the show mostly prints and multimedia — eliminating the challenges of shipping artwork. Artists sent high-resolution images of their works, which she could print here in Kansas City, and links to videos, which she would download and play on screens at Haw. This approach, though, has a drawback: Gallerists don’t make much money on prints and mixed media.

“I think traditional gallerists don’t really see much value in showing prints or video projects,” Riehl said. “The money is more in painting and sculpture and drawing and other hand-based mediums that have a long tradition in the art world. But I think we need new media forms showing in galleries. Not just showing but selling, too.”

Though the works are for sale, Bill Haw Jr.,

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S A B R I N A S TA I R E S

IMAGES LEFT TO RIGHT COURTESY CARRIE RIEHL

who owns Haw Contemporary, told me that he saw Riehl’s show — part of ENABLE, a new annual program in which Haw turns over his space to young curators for several weeks each summer — as a loss leader.

“For us, flexibility and openness seem to pay off both psychically and financially, but it [Riehl’s show] might not fit into the agenda at a lot of commercial galleries,” Haw said. “It may not be significant to us financially, but that’s OK. It’s just three weeks out of the year, and we benefit in unquantifiable ways by operating from a position of inclusiveness.”

(Riehl called Haw Contemporary “one of the three best places to show in town, along with Bill Brady and Sherry Leedy,” and praised its “equalist” showing practices.)

The last few years, Riehl has taught a class on iPhone photography to adults in KCAI’s continuing-education program.

Artist Gabrielle Drew (above) works through some issues at Riehl’s show.

“It’s really exciting to see more people taking iPhone photos as a legitimate medium because it’s already widely accepted in my generation but not often by those older than us,” she said. Instagram art, Riehl added, ought to be evaluated based on traditional characteristics of photography — quality of image, lighting, colors — and new ones specific to social media, such as “captions, overall balance and movement of the feed, and how the images are broken into series versus the individual images.”

Riehl views her Instagram posts as aesthetically relational to “all the awesome women working today and in the past who have time and time again run into resistance against their bodies continued on page 11

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and artwork” — a list that includes Ruki Kaur and Petra Collins (fellow young artists who have recently run afoul of Instagram’s community guidelines) and Kathleen Hanna, the feminist activist and frontwoman of punk act Bikini Kill (“a huge influence”).

“I think it’s disgusting that our society promotes the idea that a woman’s nipple is always sexual,” Riehl said. “Humans develop nipples before our genders are determined. Women have their periods monthly.

It shouldn’t be a gross or embarrassing thing, but we are taught to whisper and have shame about our cramps, needing tampons, etc. I am writing political messages with these images because in today’s society, they have to be political. It’s sad that that’s the case.”

Riehl is less interested in selfie theory.

“I have put myself physically into my art, always. I used to draw myself into images, but starting freshman year at KCAI, I began working with myself in film and photography more. I don’t think there is such a thing as ‘selfie culture’ anymore. They’re just a super-common and usually honest method of portraiture.”

There are other, less obvious advantages to being the star of the show. “I don’t have to worry about asking models to do weird or potentially harmful things to their body when I model by myself,” Riehl said. “I went through a food-dye phase, taking a lot of pictures with it in my eye, and my body was cycling it through my nose and out my mouth. It was gorgeous and scientifically really interesting.

But I wouldn’t ask another model to do that.”

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says, the kind of thing you might have picked through over lunch at YJ’s. Over time, though, it has grown into something glossier and more worldly. The Spectrum Issue, which arrived last fall, was a perfectbound, full-color 100 pages. It included an argument for why the British government should pay for the female sanitary products of low-income women (Instagram: @freetheP); a photo essay shaming men who catcall women; several photos of men’s bare asses; at least one photo of a vagina; and an essay called “38th and Baltimore,” about living with heroin junkies in Kansas City.

It’s possible to see Bohemian as a trial run at how Riehl put together the Haw show. “We find a topic and then go out and find people who can best speak about it,” Riehl told me when I asked her how she assembles an issue.

“We’ll either ask them to submit something new or, if they’ve already done something Emily and I like, ask if we can republish it.”

She added: “I’ve gotten a lot of contributors through Instagram. I can see the qual-

ity of their work, what kinds of references they’re making, if they’re following interesting artists. And you can see whether a person’s consistent because you see what they’re posting on a day-to-day basis. That’s all stuff you wouldn’t really get from an ordinary artist website.”

Along with Bohemian, Riehl and Kenyon regularly stage events that land somewhere between a happening and performance art.

To celebrate the release of the Spectrum Issue, they re-created a teenage girl’s bedroom fantasy inside the Paragraph Gallery.

“We had a selfie station inside bed netting, and a full wardrobe and temporary tattoos, tarot-card readings,” Riehl said. “It was like a sleepover.”

For an open-studios evening at Paragraph — where Riehl and Kenyon were granted a 2014 writing residency from the Charlotte Street Foundation — they installed a formal business conference room, complete with actors dressed as businessmen and secretaries. “It was sort of our way of paying hom-

Riehl at Haw Contemporary for the opening of That Used To Be Us age to the people who essentially paid for our residency — all the banks down there in the financial district,” Riehl said. “We had these cubicles and desks, and we covered the lights with this off-color acetate that cast a weird, depressing glow in the room. It was this very normcore setting. And we were the first room when you got off the elevators. Half the people walked in and freaked out and left.”

In May, Bohemian was awarded a $6,000 Rocket Grant from Charlotte Street to continue its publishing mission. The money was to go toward printing the magazine (which doesn’t run ads), photo production costs, hiring a developer and a designer for its website, and paying contributors. Not long after the award was announced, though, it was revoked. A condition of Rocket Grant recipients is that they continued on page 12

images left to right courtesy carrie riehl

iehl, who was raised in North Kansas City and graduated from Liberty High School, studied illustration at KCAI but didn’t really take to it. “I was more interested in art direction and art business, and I think that’s mostly what I took away from art school,” she told me.

She started Bohemian while she was still at KCAI, and it was originally a traditional zine — photocopied, centered on interviews with local bands and earnest personal es-

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“High and Dumb”: Mantia (right) and Reeves on their pedestals at Riehl’s opening

continued from page 11 be more than one year out of school. Riehl and Kenyon both graduated from KCAI in 2014 — a fact that had gone overlooked during the application process.

Julia Cole, coordinator of the Rocket Grant program, said the panel that selected Bohemian for the grant liked “the activist stance Carrie and her team were taking in their choices of topics for recent and proposed editions of Bohemian.” She went on: “I think the panel appreciated the overall gutsy, selfconfident stance of these young women who are rejecting, choosing and reinventing their identities.”

Riehl and Kenyon subsequently started an Indiegogo campaign to try to make up for the loss of sponsorship. It brought in nearly $3,000. Riehl said the next Bohemian, a fashion- and photo-heavy issue titled Fresh Air, will come out before the end of summer.

In the meantime, Riehl has been doing more video work. She and Kenyon recently directed and styled a music video for local act Organized Crimes. She also told me that her Instagram presence has helped her land paid production work locally.

“I try to explain this to people who don’t see the point in investing time in Instagram or other social media unless there’s a direct capital gain for them,” Riehl said. “But, for example, I’m interested in cinematography.

I didn’t go to school for film — I’m not technically trained in editing or anything — but I’ve been able to work with filmmakers because they’ve seen on my Instagram that I’m pretty good at editing and design. That’s a direct financial gain for me, more or less due to Instagram. Also, I’ve had the Museum of Contemporary Art [Chicago] and a couple of large magazines following me on Instagram.

That’s not actual money, but it’s pretty cool 12

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to have major art institutions looking at your work. And who knows where that leads?”

T

hat Used To Be Us opened at Haw Contemporary on Friday, June 26, the day when the Supreme Court ruled that states couldn’t stop gay couples from marrying.

Turnout was strong — maybe a couple of hundred people, most of them young, stylish and attractive.

Riehl had given the front room at Haw over to Megan Mantia and Leone Reeves, the performance duo Blanket Undercover, who had plastered the walls from floor to ceiling with photographs of naked male statues — what they called “Hotties of Art History.”

For three hours, Mantia and Reeves, wearing nude leotards and neon-studded bikini tops, sat atop pedestals in the center of the room and chatted vaguely about art with guests while smoking joints and drinking Don Julio tequila from the bottle. It was like a live version of Drunk History, reconfigured to mock art lectures; they called the performance “High and Dumb.” The pedestals contained kegs of Boulevard Wheat, requiring gallerygoers filling their cups to engage with Blanket Undercover on some level.

Riehl, barefoot and wearing pink kimono pants, told me that was very much by design.

“I have really strong opinions about alcohol at gallery shows,” she said. “People tend to not leave the area where the alcohol is. I wanted to make sure people were interacting with the show, seeing the show.”

Also hard to miss was Gabrielle Drew, a young woman who had enclosed herself in a circle of sand in the middle of Haw’s main

Images from top courtesy carrIe rIehl

room and set about cleaning crystals in a basin. “She grew up in a church in North Carolina — her dad was a pastor or priest,” Riehl said. “She’s a sophomore at the Art Institute now, and she’s kind of moving from this moment of spirituality to looking more at spas and suburban aesthetics and those views of femininity. So her performance was a closing of that spiritual realm she created around herself to do this final cleanse.”

Lining the walls of that room was the majority of what Riehl had chosen for That Used To Be Us. Perhaps most striking: three rich portraits by Dutch photographer Sarah Wong, whose documentations of the lives of transgender children have recently drawn notice from BuzzFeed and The New

York Times. In a darkened adjacent room, videos such as Sara Abu Abdallah’s “The Salad Zone” — about a day in the life of a Saudi woman — looped on a few screens.

Taken as a whole, the event called to mind a Tumblr page come to life.

A few days after the opening — the exhibit runs through July 14 — Riehl posted an Instagram photo of herself kneeling on a bed, nude save for a towel wrapped around her head. The post was flagged and deleted by Instagram. A few hours later, she posted a shot of her naked lower half, with a brightpink vibrator shielding her vagina. For now, that one is still up. It’s got a lot of likes.

E-mail david.hudnall@pitch.com pitch.com

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13

14

EAT

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816.361.3388 poochesparadise.com

15 W E E K O F J U LY 9 - 1 5 , 2 0 1 5

WHITE NIGHT T

he Nelson-Atkins Young Friends of Art’s annual White Party — the one that calls for your white linens, not your black ensemble — is

sold out, but the secondary market remains for the aspirational and the desperate. This year’s event centers on Philip Haas’ recently

installed outdoor-sculpture exhibition, The Four Seasons, which you can see at the museum (4525 Oak) through October 18, give or take Saturday evening if you don’t have a party ticket.

Daily listings on page 28 

PHOTO BY REBECCA CLEWS

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15

16

3-

shop girl

moral fibEr

M Str8 e e t P & Gaarty m P

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Fashion startup Covey means to make conscientious couture.

By

A ngel A l u t z

&

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low fashion means buying less, spending more and having it longer,” Sarah Hicks tells me. She and her business partner, Monica Rojas, believe in slow fashion, but they’re relying on speed to launch Covey, their fashion line. Their $6,000 Kickstarter campaign ends July 14.

At press time, they were almost there, which means that by this fall, KC could be home to a kind of anti-Forever 21.

“Cheap fashion has so many more costs associated with it than what you see on the price tag,” Hicks says. “If you pay for a shirt to be made in a sweatshop in Bangladesh, you’re also paying for a footprint on the environment. It’s being shipped all around the world and being made of nonrecyclable fibers. Eventually it will sit in a landfill somewhere and pollute the planet.”

Much as demand has increased for locally raised, organic food — and transparency in the process by which it ends up on your table — more people want to know where their clothes come from. Exactly what materials make up your pants? Who sewed them? How is it possible that you get the second pair free at Target, when the first pair was just $20? And how soon will both of them fall apart?

“There’s a lot more quality control that goes into a garment that people expect to be able to wear for years versus two months,” Hicks says.

And, in theory, far fewer horror stories.

pitch.com

Rojas’ interest in slow fashion was aroused by the 2013 Rana Plaza garment-factory collapse in Bangladesh that killed more than 1,000 people. It drove home for her the human cost of inexpensive, mass-produced clothing. She taught herself to sew, and she’s one of Covey’s listed designers.

So your Covey shirt, both women say, would have a story — not one that ends in a garment-factory collapse, but one about where the organic cotton was harvested and whose idea it was to make the dye out of avocado skins.

That quality control is at the center of Hicks and Rojas’ Covey. They intend for it to be a slow-fashion beacon, selling men’s and women’s apparel made by independent designers — showcasing several from the Kansas City area — whose aesthetic, Hicks says, favors “modern, minimalist” style.

Think long black skirts; flowing shirts; and thick, monochromatic scarves.

Hicks got to know the local grassroots design community when she moved to town after working for a garment manufacturer in California. “There are so many awesome designers here that are creating clothing and leather goods all by hand,” she says. “When I started looking at the garments and how they came to be, I got to know the people behind them. I really want to support the people in the fashion industry.”

Hicks and Rojas select designers based on how each garment is made, with a focus on

Rojas (left) and Hicks believe in slow fashion. sustainable manufacturing processes and materials. On the Covey website, icons next to each item will tell each garment’s story — whether it was made with recycled fibers, natural dyes or organic materials, or whether a portion of the proceeds goes to charity.

“You’ll know exactly where it came from and how it was made,” Hicks says. “I don’t know of many other retailers that make it that easy to find out what you’re actually buying.

“It comes down to having a biggerpicture perspective,” Hicks adds. “Spending $10 more on a shirt might mean supporting another person who made it, or you might only need to buy two of an item, whereas before you’d go through five in the same amount of time.”

Buying organic, recycled or handmade goods sometimes costs more than just an extra 10 bucks, but Covey’s proposed prices aren’t ostentatious. According to the business’s Kickstarter, T-shirts would go for $50, a maxi skirt for $100. And if one Covey T-shirt lasts three times as long as a typical mall purchase, the benefit seems obvious.

Covey’s Kickstarter ends July 14. See shopcovey.com.

E-mail feedback@pitch.com

17

film

YOU KNOW I’M NO GOOD

By

CRAIG D. LINDSEY

The wrenching doc Amy reclaims Amy Winehouse’s artistic legacy.

A

dd Amy to the growing list of riveting documentaries this year about music icons (Cobain: Montage of Heck; What Happened, Miss Simone?) whose tumultuous lives gave them a wealth of bold personal songs as well as a tragic early demise. With her death still fresh in people’s minds — she has been gone just four years — and her career so sadly truncated, it initially seems early or even unnecessary for a feature-length documentary on Amy Winehouse’s life and times. Even die-hard fans may feel that this movie isn’t bustling with brand-new info.

But director Asif Kapadia, who previously chronicled a sports star who shone too brightly and flamed out too quickly with Senna, rounds up revelatory, even joyous footage and interviews. The film he has assembled from them is a heartbreaking portrait of a major talent whose demons haunted her only more once she became a star.

The movie starts with Winehouse as a cheeky up-and-comer, strumming her guitar and hitting soulful jazz notes on the mic. To these early small gigs, she’s accompanied by a loyal circle of friends and musicians, the odd bag of weed serving as her only vice. (She was out and about promoting her first album, Frank — a great record.) She’s already a blazing talent, and Kapadia locates a foreboding audio snippet in which Winehouse tells an interviewer that she would go mad if she became a major star.

Cue Back to Black. Once Winehouse, now rocking her trademark sky-high bouffant, gets touted as the Next Big Thing on the strength of her retro-soul-heavy second album, her fears of stardom become self-fulfilling prophecy. The paparazzi start swarming around her like eager, judgmental vultures. Bulimia, an eating disorder she developed as a teenager, and rampant drug use turn the once-assured singer frail, fragile.

Winehouse: fade to black.

The movie charts her continually rocky relationship with boyfriend-turned-husbandturned-ex Blake Fielder-Civil, who became her partner in drug use and rehab visits. FielderCivil, who will certainly have viewers referring to him as the Courtney Love to Amy’s Kurt Cobain, is one of two men basically serving as the movie’s villains — the other being Winehouse’s father, Mitchell, who, early in Amy’s life, left her and her mom for another woman. Both of these men should have been her caretakers when it became obvious that she needed help.

Instead, they leeched off her and her success, craving the attention that she avoided.

As Amy moves toward its inevitable end, Kapadia maintains compelling control over his subject. In the amazing home-video footage at the center of his storytelling, we see Winehouse at her most playful, as well as at her most vulnerable. Kapadia also ditches talking-head interviews in favor of having family and friends speak in voice-over — along with former collaborators Mark Ronson, Tony Bennett and Yasiin Bey (aka Mos Def) — echoing the various voices in Winehouse’s head as she grappled with making the right decisions for her career and her life.

As it should, Amy reminds you that Winehouse was no lost cause, not a hopeless druggie whose very public battles with addiction made her a tabloid-attracting punch line.

She deserved better. Hearing her beautiful voice once again inhabit her music’s verses of love and loss leaves you sad at the thought of all the music that might have been. But, watching this wrenching doc, you may reach the same conclusion I did: It’s worth enduring all this scandalous bullshit again just to see her onstage once more.

E-mail feedback@pitch.com pitch.com

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17

18 INVITES YOU AND A GUEST TO A SPECIAL ADVANCE SCREENING!

Fun & Film

Jerusalem

P p > Movies > Film Events

ALL YOU CAN EAT BUFFET & MARKET

Find an Event

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TUESDAY, JULY 14 – 7:00 PM LOG ON TO WWW.PITCH.COM BEGINNING THURSDAY, JULY 9 FOR YOUR CHANCE TO WIN A COMPLIMENTARY PASS FOR TWO. TRAINWRECK HAS BEEN RATED R (RESTRICTED – UNDER 17 REQUIRES ACCOMPANYING PARENT OR ADULT GUARDIAN) FOR STRONG SEXUAL CONTENT, NUDITY, LANGUAGE AND SOME DRUG USE. Passes will be distributed via a random drawing on Monday, July 13. All entries must be received by midnight on Sunday, July 12. Please arrive early! Theater is overbooked to ensure a full house. Seats are not guaranteed, are limited to theater capacity and are first-come, first-served. Everyone entering the theater must have a pass.

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7025 Prospect Ave. KCMO

19

FAT C I T Y

Double Tap

Double Shift Brewing Co. opens Saturday in the Crossroads.

T

he day I meet him, Aaron Ogilvie has tired eyes — eyes that signal early mornings and late nights for many days on end. The 26-year-old owner of Double Shift Brewing Co. has been readying his space for Saturday’s grand opening at 412 East 18th Street. And he hasn’t taken time away from his day job as a Leawood firefighter.

“I’ve taken some naps on these tables,” Ogilvie admits, motioning toward the picnic tables he bought from Lowe’s to fill out the taproom in the former Craft Gallery & Studio.

“Between here and the other job, I’m ready to take a vacation.”

Vacation will have to wait, unless a freshly drawn beer counts. On the mid-June day when Ogilvie shows me around — nearly four months after construction began — numerous tasks remain. A couple of monitors await mounting to the walls above the bar. Steel siding needs to be attached to the front of the bar. And the draught system has to be installed.

“I’ve got a checklist of 80 things that I got to get done in the next two weeks,” Ogilvie tells me. “And I still have to make beer and keg it and all that stuff.”

He’ll need plenty. The taproom holds about 80 people, with seating for 65. A drink rail on the southern wall faces 18th Street, where nearby Grinders and its Crossroads KC concert space lure potential beer drinkers to the neighborhood all summer. Double garage doors open to a west-facing alley, across which is Border Brewing Co. — whose owner, Eric Martens, has offered Ogilvie advice during the build-out.

“I’d say we’re pretty good friends now,” Ogilvie says of his neighbor. (Another neigh-

Ti m es Tw o

Torn Label’s taproom opens Saturday.

bor, Torn Label Brewing Co., opens its taproom Saturday; see sidebar, below.)

Once the taps are installed, Double Shift will pour four beers: Run-Around Rye, Heavyweight Double IPA, Summer Session White IPA and Hayloft Saison. A week later, Ogilvie plans to have a pale ale ready to go online. “All of them I’ve done before and feel comfortable with,” he says.

The brewery will start by offering pints

Ogilvie: brew-ready for $5 and flights of the four beers for $5 or $6. After the grand opening, Double Shift’s taproom will be open from Thursday through Sunday each week.

Double Shift started brewing in early June with three straight days of production. Supply issues led to a shutdown for a couple of days, but the brewery is back online, and Ogilvie

T

he Crossroads Arts District brewery boomlet enters its next phase this weekend. Double Shift opens Saturday — and so does Torn Label Brewing Co.’s taproom (1708 Campbell). The latter is offering growler fills, flights and beer by the glass.

And you can hit both without feeling disloyal to either.

“We spoke with Double Shift’s Aaron [Ogilvie] before settling on that date to make certain he was onboard sharing a launch date with us, and both breweries were in agreement that there would be no better way to showcase the spirit of cooperation of the emerging KC craft-brewery scene,” Torn Label’s Rafi Chaudry tells The Pitch in an e-mail.

“With all those who will be heading downtown to check out the new taprooms, Torn Label is looking forward to our first day of many sending patrons visiting our space down the street to check out Double Shift and Border

By

Ju s t in K e nd a l l

figures that his five-barrel brewhouse has enough capacity to meet demand.

“We’re going to brew another time before we open,” he says. “It won’t be ready by the time we open, but two weeks later it will be.

Hopefully, this first run lasts two weeks, and then we’ll be able to get the next stuff on after that.”

Once Double Shift is open, Ogilvie plans to brew a couple of times a week. “I think that’s a pretty good schedule for us,” he says.

“It’ll keep me somewhat sane and keep our fermenters full, keep the kegs rotating.”

Adding to Ogilvie’s weariness this spring was the wait for his brewery’s federal license, which stretched to 150 days before a mid-May approval. Meanwhile, UPS and FedEx deliveries didn’t always match up with Ogilvie’s demanding firefighter schedule. But now there’s someone around to sign for packages: Bryan Stewart, who worked at Black Bottle Brewery in Fort Collins, Colorado, has joined Double Shift as assistant brewer, and Ogilvie has hired Meagan Early to manage the taproom.

(He’s still in need of servers.)

“I want to make sure we’re running this place good and making the right beer and doing it the way that we want it done, where we can say without a doubt this beer is going to taste good when it’s in a keg,” he says. Eventually, there will be abbey ales, doubles and quads. After that, barrel-aged beers, though there isn’t a lot of space for storing them.

But first, there’s opening day.

“I want to see how the first weekend goes,” he says. “Hopefully, a lot of people will come.”

E-mail justin.kendall@pitch.com Brewing and, eventually, Brewery Emperial.”

Chaudry calls the space “modest,” with a capacity of about 30 people. But the Torn Label crew is excited to finally pour the company’s brews at the source. Expect the taps to flow from noon to midnight; among the 10 to 12 beers, look for flagships alongside rotational brews such as Tongue-Lash and Quadjillo.

And Chaudry plans to serve “a few officially unreleased beers, like Bitter Summer Summer Bitter, and hopefully one or two beers that will debut exclusively at the taproom.”

There’s also a chance that Torn Label’s first bottle release, KC P’Ryed rye beer, may be on offer.

Local artist and woodworker Peter Warren designed and built out the space, using what Chaudry says is locally sourced lumber. After Saturday’s opening, the taproom will shut down for a few days and then be open from Friday through Sunday each week.

— J.K.

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19

20 MISSOURI’S SMALLEST BREWERY

bartender's notebook

EARLY BIRD LUNCH SPECIAL

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C

ome next winter, the W-2s are going to fill up Andrew Olsen’s mailbox. This past February, he wrapped up an eight-month stint making drinks at the Rieger Hotel Grill & Exchange, in favor of running the bar at Cleaver & Cork — Alex Pope’s Power & Light District meatstaurant — where Olsen soon took on more front-of-the-house responsibilities. In June, however, he moved on again, taking a job at Colby and Megan Garrelts’ prestigious Bluestem.

“I wasn’t necessarily even looking for anything,” Olsen told me in June. “I was, and still am, very happy with what I was able to do at Cleaver & Cork. But when I came into my new role as the assistant general manager, I wasn’t really behind the bar. I was learning a lot of great stuff, but as weeks went by, I was 20

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missing my craft. So when Megan reached out … we sat down and talked about what that would look like.”

Olsen has taken over from longtime Bluestem bar manager Van Zarr, who is now concentrating his time at Rye, the Garreltses’ sister restaurant in Leawood.

“It’s awesome because I get to follow in his footsteps, and he’s been doing awesome things there for years,” Olsen said. “And Bluestem is more my style — small, intimate, with an elevated culinary culture. I’ll be able to take more time with crafting drinks. There are standards with the drinks that they have currently, and there are things that will remain on the menu for a while or forever because they are classics that have built that bar scene. But I also want to bring my own spin to it.”

One such project that Olsen has in mind: a Sunday Pimm’s-cup bar that would complement the rest of Westport’s brunch boozescape. “Ça Va does a great mimosa bar, Port Fonda does an incredible bloody maria bar — everyone has those cocktails,” he said.

“It’ll be one of those things where you get your Collins glass with ice and your sidecar of Pimm’s and build your drink. This is all an idea at this point, but basically, I want to do things seasonal and fresh and fun and approachable, and I wanted something that goes with the eclecticism that is inherent at Bluestem.”

Yes, yes, eclecticism, of course — but just how tasty is Olsen’s Pimm’s cup? It’s the main reason I’ve dropped by his new work space on a Sunday.

Olsen hasn’t yet begun to map out his proposed Pimm’s lineup, but he doesn’t hesitate to put together something inventive and seasonal for me on the spot: Pimm’s, lemon juice and simple syrup, shaken together and strained over ice into a glass, garnished with a pretty fan of sliced strawberry.

The recipe seems straightforward, but the flavor is not. Olsen’s version allows the spirit’s profile to really shine, and I get big notes of black tea, tarragon and thyme, with a healthy pulse of citrus.

Seeing my empty glass, Olsen moves to replace it with something even prettier. In a Collins glass over ice, he pours me a glittery, golden concoction.

“For this, I did a rapid-infused turmeric Plymouth Gin,” Olsen tells me. (He had batched the gin Saturday.) “I put the root

21 in the gin and charged it twice with nitrous oxide, let it sit for 10 minutes, released the pressure and strained it out. I also used Art in the Age rhubarb liqueur. I’ve done this drink a bunch of different ways — every day, it changes.”

I wouldn’t change a thing. The turmeric lends a bright, gingerlike spice to the drink, but the effect isn’t overly herbaceous. Instead, the rhubarb liqueur adds a tartness cut with some helpful sweetness. This is a drink I’ll want again. I ask Olsen how to ask for it in a way that yields at least a similar result.

“I don’t have a name yet,” he says. “There were some people in here yesterday from India, and turmeric is very popular in India.

They said it tastes very much like this area in India called Rajasthan. And, oddly enough, the Rajasthani cricket team — they’re the Royals, and their colors are blue and gold.

Pretty awesome. So I was thinking Rajasthani Royale, but I don’t want it to be uncomfortable for people to say, so I don’t know.”

Hard to pronounce, maybe, but very easy to drink. Rajasthani Royale it is.

Summer pimm’S cup 1-1/2 ounces Pimm’s 3/4 ounce lemon juice 3/4 ounce simple syrup Shake, strain over ice, garnish with your choice of fruit medley.

rajaSthani royale 3/4 ounce turmeric-infused Plymouth Gin 3/4 ounce simple syrup 3/4 ounce lemon juice 3/4 ounce Art in the Age rhubarb liqueur 2 dashes orange bitters Shake, strain over ice, garnish with sprig.

E-mail natalie.gallagher@pitch.com

Thursday, July 9

saTurday, July 11

der Brewing Co. (406 E. 18 St.), 4–9 p.m.

St.), noon–midnight.

American Dark Wheat release party, at BorDeschutes Pinedrops IPA tapping and brewers table, at Flying Saucer (101 E. 13th St.),

7 p.m.

Firestone Walker canned beer and ramen dinner, with Pivo Pils, Union Jack and Opal

Saison, at Columbus Park Ramen Shop at Happy Gillis (549 Gillis), $33, 6–9 p.m. For reservations, call 816-471-3663.

North Coast tap takeover and glassware giveaways, with Old Stock, Brother Thelonious, Old Rasputin and Puck–the Beer, at Green Room Burgers and Beer (4010 Pennsylvania), 5 p.m.

Friday, July 10

Boulevard three-course beer dinner, with

Saison-Brett, 80-Acre Hoppy Wheat, Heavy Lifting IPA and Bourbon Barrel Quad, at Morton’s Grille (4646 J.C. Nichols Pkwy.), $60, 6:30 p.m. RSVP at 816-531-7799.

Cathedral Square tasting , at 39th Street Market (1850 W. 39th St.), 5–7 p.m.

Charleville and 2nd Shift collaboration firkin Downshift, a dry-hopped session IPA, at

Bier Station (120 E. Gregory Blvd.), 4 p.m.– midnight.

Double Shift Brewing Co. opens (412 E. 18th Torn Label Brewing Co.’s taproom opens (1708 Campbell), noon–midnight.

Cathedral Square tasting , at Cosentino's Market in Brookside (14 W. 62nd Terr.), 2–4 p.m.

Free State East Side Brewery tour (1923

Moodie Rd.), free, 2 p.m.

sunday, July 12

Beer social with Foos, at Bier Station (120 E. Gregory Blvd.), noon.

Tuesday, July 14

Brewery of the month kickoff party with Stone, at BD's Taproom (19750 E. Valley View Pkwy., Independence), 6–8 p.m.

Wednesday, July 15

Stone Ruination Nation, with Ruination

Double IPA 2.0, RuinTen Triple IPA, Ruination oaked, Points Unknown, HiFi + LoFi, and Delicious IPA, at Bier Station (120 E. Gregory Blvd.), 5–11 p.m.

Two Brothers Wobble glass night, at Flying Saucer (101 E. 13th St.), 7 p.m.

E-mail justin.kendall@pitch.com pitch.com

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22

22

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23

music

unbroken spirit

Lawrence’s Spirit Is the Spirit

By

wants to get back on your radar.

N ata l ie G a l l a Ghe r

I turn again to Malone — who, with his muttonchops, bell-bottomed jeans and flipflops, looks dressed for the original Woodstock — and ask if he was tempted to take a longer, maybe permanent, break.

“I don’t know if I have a specific reason for staying with Spirit,” he says after a pause.

“I mean, why is Bill [Partain’s dog] going to come at you every time you whistle at him?

God, it’s the same reason that within fucking eight hours, Josh and his girlfriend were up at the hospital with me [for my diagnosis], and Brook and Louise [Partain’s girlfriend] brought burritos to my family at the hospital room.”

His eyes get a little glassy, and he continues with a rasp: “This is it. As a creative person or musician, Spirit is the only thing that’s helped me get through everything.

This is my family, and I love ’em all so much.”

Bowersox reaches over and grasps his shoulder. The conversation moves on, grows more lighthearted. Eventually, Malone offers a toast: “Spirit’s not dead!” zach bauman

e-mail natalie.gallagher@pitch.com

U

sually, when a band that hasn’t toured or recorded lately offers as a reason that “life gets in the way,” everybody knows that the excuse is a bit feeble. But the silent two years since Spirit Is the Spirit’s Baktun Baby EP is owed to more unusual events.

In the first year after Baktun Baby came out, the quintet played a handful of shows and carved out some new songs. Studio time was booked for early summer. But the exact date of that session — June 17, 2014 — is burned into lead singer Austen Malone’s memory for nonmusical reasons.

“My brother was in a really bad, unfortunate work accident,” Malone tells me. “He had a traumatic brain injury — he shouldn’t have survived even the surgery to make him stable. Within that same week, he also suffered a couple really serious strokes. He’s still recovering, rehabbing at a facility in Omaha. We’re waiting for him to be able to start talking again. Something like that, you never think it’ll happen to you, and you just don’t know how it’s going to change you.”

Malone is sitting on the living-room floor of bassist and trumpet player Brook Partain’s Lawrence home. His bandmates watch him closely as Partain’s chocolate lab, Bill, nudges him with a toy, interrupting the moment.

Spirit Is the Spirit rescheduled that studio session and recorded four new songs that fall.

Alive with Spirit Spirit Is the Spirit Friday, July 10, at the Replay Lounge

“We were about to lose our drummer [Noah Compo], so we wanted to go in and get them recorded,” guitarist Danny Bowersox says.

“We didn’t know whether we were going to do an EP or a full-length, but Noah helped write those songs, and we wanted him to be on the record for them.”

Compo left the band to focus on school, and Zach Kinser replaced him last October.

For a moment, it seemed like the band would pick up where it left off. Then Malone received further bad news.

“In December, doctors discovered a tennisball-sized nerve tumor that was growing in the third vertebrae in my spine,” Malone says.

“The doctor straight-up told me that because of the size of it, it had to be growing since childbirth, and I could have dropped at any second, either dead or completely paralyzed, because of where it was growing.”

He gestures to a pinkish line encircling half his neck. “That’s why you see this gnarly scar across my neck. And I still can’t feel this side of my face. It’s a long story, and it was a painful recovery.”

J a z z B e at ARC LAbeL Week, At the bLue Room

In the meantime, Spirit Is the Spirit shelved the new tracks, giving Malone time to recuperate. Finally, in mid-April, came “Televangelist,” a reverb-soaked, lickladen cut that expands on Baktun Baby’s psychedelia.

“The ‘Televangelist’ release was a little premature in terms of the timeline that we’re actually able to release the album on,” Malone says. “But we released that because people hadn’t heard anything from us in a while, and we felt very off-the-grid. Releasing new music definitely helps solve that.”

“Televangelist” will be on Spirit Is the Spirit’s next album, a proper full-length.

But the band isn’t cranking up the pace just yet. Studio time is booked for August and December, and Bowersox estimates that next spring is the earliest possible release date.

I’ve come to watch the band rehearse, and the new material sounds worth the wait. The hallucinogenic “Could You Hear Us,” which Malone wrote for his brother, channels the Who and My Morning Jacket, with Malone’s and Bowersox’s guitars making deep layers over keyboardist Josh Landau’s iridescent, chimelike patterns. This isn’t the sound of musicians who have been sitting idle.

Artists Recording Collective, or ARC, is a Leavenworth-based jazz record label with an uncommon business model, one in which musicians retain control of their work. This week, the Blue Room celebrates ARC with two acts and a pair of 90-minute sets each night. Thursday, it’s trumpeter Stan Kessler’s Sons of Brazil and pianist Roger Wilder’s quintet. Friday features organist Chris Hazelton’s trio and saxophonist Brandon Mezzelo’s Triptet. Saturday highlights the Marcus Hampton Sextet and the ARC Founders Quintet, which includes saxophonists Chris Burnett and Erica Lindsay and pianist Sumi Tonooka.

(Fun fact: Trumpeter Hampton is a cousin of Lionel Hampton’s and a nephew of Slide Hampton’s, two jazz legends.) If you haven’t been out to see some live jazz in a while, you can’t go wrong this weekend at the Blue Room.

— Larry Kopitnik ARC Label Week, at the Blue Room (1600 East 18th Street, 816-474-6262): with Sons of Brasil and Roger Wilder Quintet, 7 p.m. Thursday, July 9, $5 cover; Chris Hazelton Trio and Brandon Mezzelo Triptet, 8:30 p.m. Friday, $10 cover; Marcus Hampton Sextet and ARC Founders Quintet, 8:30 p.m. Saturday, July 11, $10 cover.

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music

homE AgAin

Krystle Warren returns for a special occasion at Californos.

By

N ata l ie G a l l a Ghe r

K

rystle Warren isn’t a household name in her home country — yet. But the Kansas City native, who lives in Paris, sings like a star, summoning Nina Simone’s bewitching depths and Roberta Flack’s intimate phrasing while sounding like no one else. On her recent double LP, Love Songs, she fuses neosoul and modern jazz into a singular songwriting voice.

Warren is on a rare U.S. tour in support of Love Songs (the first half of which, A Time You May Embrace, came out in 2012, with the second, A Time to Refrain From Embracing, awaiting digital issue following its vinyl de­ but a few months ago). Ahead of her Friday performance at Californos, I called her on the road.

The Pitch: Tell me about the concept behind Love Songs.

Warren: I think it really started because while we were recording the first album, Circles [2009], I knew that I wanted us to do a double record afterwards. I tend to have these crazy, ambitious ideas, and the fellas [the Faculty, her band] are kind of used to it. When I thought about what the double album would be about, I started thinking about the Byrds and Pete Seeger, with “Turn Turn Turn.” The lyrics are taken from Eccle­ siastes, and I thought they would be a nice bookend: A Time You May Embrace repre­ sented the happy aspects of the relation­ ship, and A Time to Refrain From Embracing represented the loss of the relationship and the loss of intimacy.

A lot of my tunes are informed by my own relationships — it’s pretty rare that I’m able to bring something together that I haven’t ex­ perienced myself. So writing about my exes, you know, they became different people on the record, and I became someone else on this record. It was very cathartic, in a way.

As far as making the twist on a love song, I think I accomplished that by perhaps making it a bit more modern. The sound isn’t some­ thing that’s so typical of a lot of the new stuff that comes out these days. It’s not forced. It’s sincere. I think that’s what makes it different.

These are sincere love songs.

I read that you had more than 100 songs written for Love Songs. You must be sitting on a crazy amount of unused material.

[Laughs.] I like that. Yes. I’m writing some new songs as well, when they come up and when inspiration strikes. The great thing about Love Songs is that it gave me a guideline, basically, to write. All these songs had to have the common thread of love and relationships.

For the next album, I don’t think I’m going to be doing something conceptual — not on this grand a scale. Maybe some of the old songs will show up. I’m not saying that all of the songs are good, either.

A KAnsAs City Listening Room friday july 10 FReight tRAin RAbbit KiLLeR, no CAve, two heAded Cow tuesday july 14 honKy tonK hAppy houR with the nAughty pines saturday july 18 Ruth ACuFF 1744 Broadway / KCMo / CodaKC.CoM

Warren: voice like velvet Krystle Warren & the Faculty Friday, July 10, at Californos

Tell me about the move from Kansas City to France. How did you end up there, and why is that a good fit for you?

Basically, I left Kansas City in 2003 and lived in New York for five years, and within those five years, my band — Krystle Warren and the Faculty — we recorded our first rec­ ord with a French label called Because. We signed with them and got a relatively decent advance. I got the fuck out of New York and moved to San Francisco for just under a year because I was spending most of my time in Paris — at some point, I was flown over and never flown back. [Laughs.] I wasn’t expect­ ing to be there as long as I have been, but then five years there, I ended up meeting my better half, and now we’re married, so it’s pretty much home.

You’ve done huge tours in Europe, the UK, Australia, but you don’t seem to have a huge online presence. Your bio feels kind of mysterious.

Yeah, I purposely don’t put any of that bio stuff out there. I don’t think it’s very important. The important stuff is people getting turned on to the music, and I’m lucky enough to have some really loyal support­

ers who are constantly turning people on to it. I feel very lucky in that respect, to have people who are as emotionally invested in the music as I am. I feel like that’s enough of a bio, to show that I’ve been able to do what I do and connect with people professionally and emotionally on some level.

Californos is kind of a random venue choice for you. What will that show look like?

It is random. These things always come together sort of randomly. In the end, I think we’ll be able to create something in the space that can support the music we do, which is this hybrid of genres.

I’m also really excited for the players.

My band, the Faculty, is an ever­changing ensemble — there’s a rotation going on, de­ pending on what time zone I’m in. I’m really excited about the Kansas City show because it’s reuniting me with some dear friends: Beau Bledsoe [guitar], Brad Cox [keyboards] and Brad Williams [drums]. And then there’s two players that I haven’t played with be­ fore: Marcus Williams [trombone], who usu­ ally plays with Janelle Monáe, and Hermon Mehari [trumpet]. That’s pretty exciting to me, getting to play music with all those bril­ liant musicians.

CheCk out our website for food speCials & upComing band dates!

E-mail natalie.gallagher@pitch.com

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Music

Music Forecast

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tagonist to beat the drum and have fear of the hunter. The Griswolds seem committed to supercharged power pop, with sugar-high synths and reckless percussion. Tuesday night, the group stops at the Tank Room for a sold-out show. We advise standing outside on the sidewalk and jamming out as best you can.

Tuesday, July 14, the Tank Room (1813 Grand, 816-214-6403)

YOU MOIUNGST:

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Sturgill Simpson

danny clinch

To find out more, check out am@pitch.com or send your resumé to streette

Talib Kweli

JUNIOR’S PATIO PARTY EVERY SUNDAY LIVE BAND 9PM - MIDNIGHT LIVE DJ MIDNIGHT TO CLOSE DRINK SPECIALS ALL NIGHT!

THU JULY 9TH

PATRICK WOOLAM AND THE TRANSIENTS

We’ve been promised a new Talib Kweli album, Radio Silence, this year. Kweli has been teasing it since January, and yet we still don’t have an official release date. Fine. We’ll just listen to 2013’s Gravitas on repeat, reveling in Kweli’s verbose — but always refined — lyricism. Gravitas was not perfect, and in some places uneven — a guest appearance by rock guitarist Gary Clark Jr. proved puzzling — but for many, it signified a return to form for the 39-year-old rapper. Here’s hoping that Radio Silence improves upon its predecessor. Lawrence rapper Marty Hillard, who performs as Ebony Tusks, opens Tuesday’s show at the Granada.

Saturday, July 11, the Granada (1020 Massachusetts, Lawrence, 785-842-1390)

Rush

SUN JULY 12TH

THE COWARDLY LIONS WED JULY 15TH

The members of Rush — lead singer, bassist and keyboardist Geddy Lee; guitarist Alex

MITCH AND KYLE

MONEY FOR NOTHIN’

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The Griswolds

The Griswolds’ debut is titled Be Impressive, which says a lot about the Sydney act. For one, the titular phrase teases the Australian band’s affinity for aspirational lyricism; hit single “Heart of a Lion” cautions the pro-

Wilco

Wilco celebrates 20 years of being awesome with a sold-out show Wednesday at Crossroads KC. What you can expect from the iconic Chicago band: A particularly long setlist (this tour’s average is about 30 songs) that spans Wilco’s genre-defying, industryshaking career. Also, charming interludes from lead singer Jeff Tweedy. This is a show for Wilco nerds and die-hard fans. If all you know of the band is its seminal 2002 album, Yankee Hotel Foxtrot, you’ll be woefully underprepared for this concert experience.

Wednesday, July 15, Crossroads KC at Grinders (417 East 18th Street, 785-749-3434)

K e Y

Pick of the Week

O Canada

Up From Down Under

Hippity Hop

Power Rock

Sold Out

Loaded Lyrics

Fond Farewell

Twang With Me

Local Opener

Happy Anniversary

Artist to Watch

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Lifeson; and drummer Neil Peart — are in their 60s, but don’t expect Thursday night’s Sprint Center show to be a sit-down affair.

The band is touring to celebrate its 40th anniversary, and this could be the last outing for Rush, due in part to Peart’s tendinitis.

So if you have a tender spot for the Canadian power trio, now would be a good time to lock down tickets. Shows on the R40 tour so far have featured career-spanning setlists, replete with big hits and minor cuts.

Thursday, July 9, Sprint Center (1407 Grand, 816-949-7000)

f o r e c a s t

THR JULY 16TH

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Wilco rising

Sturgill Simpson was last in town in December, and he delivered his personal brand of psychedelic country to a sold-out crowd at Knuckleheads Saloon. He’s back, this time at Crossroads KC — a much larger stage, thanks in part to the breakthrough success of his acclaimed 2014 full-length, Metamodern Sounds in Country Music. Continuing this trend of well-deserved prosperity, Simpson has freshly signed a worldwide-publishing agreement with Downtown Music Publishing that includes his entire catalog. Big things are on the horizon for the Kentucky native. Get further acquainted Tuesday when he rolls through town.

Tuesday, July 14, Crossroads KC at Grinders (417 East 18th Street, 785-749-3434)

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tickets available at OzarksAmp.com

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Thursday | 7.9 |

don’t think i’ve Forgotten: Cambodia’s Lost roCk and roLL

TheaTer

Dates and times vary.

Performing Arts

y tuesda

maura garcia: everyone’s Chance Dance |

7.14

11:30 a.m.-1:30 p.m. Oppenstein Brothers Park, 12th St. and Walnut, artintheloop.com

licated Comp legacy

ComeDy

Pablo francisco | 7:30 p.m. Improv Comedy Club

and Dinner Theater, 7260 N.W. 87th St., improvkc.com

Hairspray | Through Sunday, New Theatre Restaurant, 9229 Foster, Overland Park, newtheatre.com the invasion international theatre festival | Starting Wednesday, Metropolitan Ensemble Theatre, 3614 Main, cstkc.com

Judy Barbra Liza | Through Sunday, Quality Hill Playhouse, 303 W. 10th St., qualityhillplayhouse.com

maeret Lemons, rashaad Wright, michael Powers, Jake redpath | Davey’s Uptown Ramblers Club, 3402 Main

Just Another Day, a one-act comedy | Broken

shoPPing

Leg Players, 8 p.m. Friday, Saturday and Monday, Prospero’s Books, 1800 W. 39th St.

Brookside sidewalk sale | 10 a.m.-6 p.m., 63rd St.

Rodgers + Hammerstein’s Cinderella |

and Brookside Plz., brooksidekc.org

Through Sunday, Starlight Theatre, 4600 Starlight Rd., kcstarlight.com

sPorts & reC

The Secret Garden |ThroughSaturday,Theatre Kansas City t-Bones vs. grand Prairie Air hogs | 7:05 p.m. CommunityAmerica Ballpark, 1800

in the Park, 7710 Renner, Shawnee, theatreinthepark.org

musiC

Shrek: The Musical | Starting Saturday, White Theatre at the Jewish Community Center, 5801 W. 115th St., Overland Park, thejkc.org

Village West Pkwy., KCK

Diamond empire | The Brick, 1727 McGee the eskimo Brothers | 8:30 p.m. Knuckleheads Saloon, 2715 Rochester

eternal summers, Wild honey | 9:30 p.m. Record-

Bar, 1020 Westport Rd.

Ace frehley | 6:30 p.m. VooDoo, Harrah’s Casino, 1 Riverboat Dr., North Kansas City

Don’t Think I’ve Forgotten: Cambodia’s Lost Rock and Roll | 7:30 p.m. Tivoli Cinemas, 4050 Pennsyl-

vania, tivolikc.com

summer salt, narkalark | 10 p.m. Replay Lounge,

Pablo francisco | 7:30 & 10 p.m. Improv Comedy Club

roger Wilder Quintet, sons of Brasil, part of

L i t e r A r y/ s P o K e n W o r D

946 Massachusetts, Lawrence

the Artists Recording Collective Week | 7 p.m. The Blue Room, 1600 E. 18th St.

grand marquis | 7 p.m. Jazz, 1823 W. 39th St. hawthorne heights, Artifex Pereo | 8 p.m. The Riot Room, 4048 Broadway

Chris hazelton trio | 9 p.m. Green Lady Lounge,

Peter yarrow & noel Paul stookey | 7:30 p.m.

Yardley Hall at JCCC, 12345 College Blvd., Overland Park

1809 Grand

the honeycutters | 6 p.m. Knuckleheads Saloon,

2715 Rochester

John Paul’s flying Circus | B.B.’s Lawnside BBQ,

DJ g train | 10 p.m. Replay Lounge, 946 Massachu-

Brookside sidewalk sale | 10 a.m.-6 p.m., 63rd St.

mondo Disco with ray Velasquez | 10 p.m. The

Community eVents

setts, Lawrence

greg meise organ trio | 9 p.m. The Ship, 1217

the monthly Layover with Brenton & Daniel | 10 p.m. MiniBar, 3810 Broadway

Tank Room, 1813 Grand

Friday | 7.10 | ComeDy

somebody’s Darling, Chris meck and the guilty Birds | 7 p.m. Knuckleheads Saloon, 2715 Rochester

28

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unxnewsmagazine.com

shoPPing

Foundry, 424 Westport Rd.

singer-songwriter open-mic night | 8 p.m. The

“Beyond the Phoenix Lights,” with Dr. Lynne Kitei, based on her book The Phoenix Lights: A Skeptic’s Discovery That We Are Not Alone | 7 p.m., $25, Unity Temple, 707 W. 47th St.,

nightLife

1205 E. 85th St.

Union Ave.

and Dinner Theater, 7260 N.W. 87th St., improvkc.com

steve Byrne | 7:45 & 9:45 p.m. Stanford’s Comedy

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

pitch.com

and Brookside Plz., brooksidekc.org

A Year with Frog and Toad | The Coterie Theatre, Crown Center, 2450 Grand, thecoterie.org

MUSeUM exhibiTS & evenTS Day in the Life: Soldiers of the War — the Eastern Front in 1915 | 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 | Through Sunday, Museum at

Prairiefire, 5801 W. 135th St., Overland Park, museumatpf.org

Gridiron Glory: the Best of the Pro Football Hall of Fame | Union Station, 30 W. Pershing

Rd., unionstation.org

musiC

Circo hermanos Vasquez | 7:30 p.m. Kemper Arena, 1800 Genessee, circovazquez.com/event/kansas-city

Abrams, Canyons, sister rat | 9:30 p.m. MiniBar,

3810 Broadway

fiLm

sand Cinema: The Lego Movie | 9 p.m., $5 per car,

Longview Lake Beach, 11100 View High Dr. sPorts & reC

royals vs. Blue Jays | 7:10 p.m. Kauffman Stadium

Baine union, the Answer | 10 p.m. Davey’s Uptown

Ramblers Club, 3402 Main

taylor Caniff, michael Wood | 6:30 p.m. The Granada, 1020 Massachusetts, Lawrence

29 1727 McGee

The Dynamite Defense, StrawBilly | The Brick,

flirt friday | 9 p.m. VooDoo, Harrah’s Casino, 1 Riverboat Dr., North Kansas City

Kelley Hunt, Brody Buster | 7 p.m. Frontier Park, 15501 W. Indian Creek Pkwy., Olathe

Broadway

Little Mike and the Tornadoes | 9 p.m. B.B.’s

Soul Preservers featuring Elliott Oliver | 9 p.m.

Lawnside BBQ, 1205 E. 85th St.

The Living Deads, the Garage Kings | 8:30 p.m.

Knuckleheads Saloon, 2715 Rochester

Brandon Mezzelo Triptet, Chris Hazelton Trio,

part of the Artists Recording Collective Week | 8 p.m. The Blue Room, 1600 E. 18th St.

Girl 2 Girl Social | 6 p.m. Uptown Arts Bar, 3611

The Ship, 1217 Union Ave.

Young friends of Art Summer White Party: Escape to Eden | 7 p.m. Nelson-Atkins Museum of

jen kirkman ay saturd

7.11

es Sh e do . un f m e e s

Art, 4525 Oak

Saturday | 7.11 | COMEDY

Monomyth, Nap Eyes, Vela, Mime Game | 8 p.m. The Riot Room, 4048 Broadway

Other Colors, Rev Gusto, CS Luxem | 10 p.m.

Replay Lounge, 946 Massachusetts, Lawrence

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

Pablo francisco | 7 & 9:45 p.m. Improv Comedy Club

and Dinner Theater, 7260 N.W. 87th St., improvkc.com

Outsides, Hembree, the Greeting Committee | 8 p.m. KC Live Block at the Power & Light District, 14th

HISTORY

Ratboys, Spirit Is the Spirit | 6 p.m. Replay Lounge,

Kansas City’s Rosie the Riveter: The history of KC’s working women of WWII | 11 a.m. Harry

St. and Grand

946 Massachusetts, Lawrence

Dominique Sanders, Tim Whitmer | 5:30 p.m.

Green Lady Lounge, 1809 Grand

S. Truman Library and Museum, 500 W. Hwy. 24, Independence, trumanlibrary.org

Jen Kirkman | 9:30 p.m. at RecordBar, 1020 Westport Rd.

SHOPPING

Shades of Jade | 8 p.m. Take Five Coffee + Bar, 6601

Brookside Sidewalk Sale | 10 a.m.-6 p.m., 63rd St. and Brookside Plz., brooksidekc.org

Pioneer Living Skills | 10 a.m.-4 p.m. National

Sidewise, Mad Libby, Thousand Years Wide, Aluna, Counterfeit, Seventh Day, Radial Red, Shoot for Wednesday, Rise Within, Third Wounded Man | 6:30 p.m. Aftershock, 5240 Mer-

COMMuNITY EVENTS

Redhead Rally, benefiting the Farmers House | 11 a.m.-8 p.m. Celtic Ranch, 404 Main, Weston, celticranch.com/red-head-rally-parade-entry.html

W. 135th St., Overland Park

riam Dr., Merriam

Slow Ya Roll, Zack Mufasa | The Tank Room, 1813 Grand

Tjutjuna, Blondie Brunetti, RLT | 9:30 p.m.

RecordBar, 1020 Westport Rd.

NIGHTLIfE

DJ E | Quaff Bar & Grill, 1010 Broadway DJ Grand Marino | 10 p.m. MiniBar, 3810 Broadway

Artisan Day | 9 a.m.-3 p.m., with local vendors, black-

smithing demonstrations, open-house tours, traditional games, alpacas and classes | Alexander Majors House, 8201 State Line Rd., wornallmajors.org/artisan-day

Bootloose: An old-fashioned melodrama and barbecue dinner, presented by the Olathe Civic

Theater Association celebrating the 150th anniversary of the Mahaffie House | 5-10 p.m., $20, Mahaffie Stagecoach Stop and Farm, 1100 Kansas City Rd., Olathe, mahaffie.org

Circo Hermanos Vasquez | 6 & 9 p.m. Kemper

Arena, 1800 Genessee, circovazquez.com/event/ kansas-city

Frontier Trails Center, 318 W. Pacific, Independence

Sprint family fun Series: Around the World |

11 a.m.-3 p.m. KC Live Block at the Power & Light District, 14th St. and Grand

Touch-A-Truck and Tractor Daze | 10 a.m.-4 p.m.

The National Agricultural Center and Hall of Fame, 630 N. 126th St., Bonner Springs, aghalloffame.com 28th Annual Bingham-Waggoner Antique & Craft fair | 9 a.m.-4 p.m. Bingham-Waggoner Estate, 313 W. Pacific, Independence, bwestate.net

uptown Arts Bazaar, with food trucks, door prizes, music and art | 10 a.m.-6 p.m. Uptown Theater, 3700 Broadway fILM

Best in Show | 1:30 p.m. Kansas City Central Library, 14 W. 10th St., kclibrary.org SPORTS & REC

Royals vs. Blue Jays | 1:10 p.m. Kauffman Stadium Shamrock fC MMA | 6:30 p.m. Star Pavilion at Ameristar Casino, 3200 N. Ameristar Dr. Yoga in the Park | 9 a.m. City Market Park, Third St. and Main

continued on page 30

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dave matthews band

farmers markets Briarcliff | 3-6 p.m. Thursday, Briarcliff Village,

Niles Garden | 4-6 p.m. Monday, Clymer Center,

Brookside | 8 a.m.-1 p.m. Saturday, Border Star

Northeast | 4-7 p.m. Thursday, 3001 Indepen-

city Market | 6 a.m.-3 p.m. Saturday, 8 a.m.3 p.m. Sunday, 20 E. Fifth St.

North Kansas city | 7 a.m.-1:30 p.m. Wednesday, Caboose Park, southeast corner of Armour and Howell

4175 N. Mulberry Dr.

Montessori, 6321 Wornall

cottin’s Hardware store | 4-6:30 p.m. Thursday, 1832 Massachusetts, Lawrence

Friday Night Market | 4-9 p.m. The BadSeed,

1909 McGee

Gladstone | 7 a.m.-noon Saturday, 2-6 p.m.

y tu esda

7.14

ve, It’s Da n a m .

Wednesday, Gladstone Hy-Vee, 7117 N. Prospect, Gladstone

ivanhoe | 5-7 p.m. Friday, Nutter Ivanhoe Neighborhood Center, 3700 Woodland

KcK | 7:30 a.m. Tuesday, Keeler Women’s Center, 2220 Central, KCK

Dave Matthews Band | 7 p.m. Cricket Wireless Amphitheater, 633 N. 130th St., Bonner Springs

Granger smith and Earl Dibbles Jr., courtney cole | 6 p.m. Kanza Hall, 7300 W. 119th St., Overland Park

continued from page 29 Music

ARc Founders Quintet, Marcus Hampton sextet, part of Artists Recording Collective Week |

Todd strait Quartet | 8 p.m. Take Five Coffee + Bar,

The Ataris, the Author & the illustrator, Maps for Travelers, Arliss Nancy | 8 p.m. The Riot Room,

Rosa, 8640 N. Dixson Ave.

8 p.m. The Blue Room, 1600 E. 18th St.

6601 W. 135th St., Overland Park

summer concert series: switch | 6:30 p.m. Zona

4048 Broadway

We Are Willows, she’s a Keeper | The Tank

Dead shakes, Ghost Bones, Gnarly Davidson, Mr. and the Mrs. | 10 p.m. Replay Lounge, 946 Mas-

The Zeros | Local Tap, 7300 W. 119th St., Overland Park

Room, 1813 Grand

sachusetts, Lawrence

NiGHTLiFE

HippieFest 2015, featuring the Family Stone, Rick

Derringer, Badfinger, and Peter Rivera | 6 p.m. Crossroads KC at Grinders, 417 E. 18th St.

Musical Theater Heritage at Crown Center, 2450 Grand

Talib Kweli, space invadas | 7 p.m. The Granada,

Daturday Night Live starring Approach | 10 p.m.

Burlesque Downtown underground | 7 & 9:30 p.m.

Kc Organics and Natural Market | 8 a.m.-

Little Mike and the Tornadoes | 9 p.m. B.B.’s

Replay Lounge, 946 Massachusetts, Lawrence

DJ icey, sigrah, Nmezee | 9 p.m. The Riot Room,

Lawnside BBQ, 1205 E. 85th St.

4048 Broadway

Man vs. Animal, Mr. and the Mrs., the Wrong Alice, Thoughtless Pricks | 8 p.m. Davey’s Uptown

1217 Union Ave.

Ramblers Club, 3402 Main

One: A Tribute to Metallica | 7 p.m. VooDoo,

Sunday | 7.12 |

Harrah’s Casino, 1 Riverboat Dr., North Kansas City

Rock n Roll Dream concert 2015, featuring

tributes to Alice Cooper, Kiss, Lynyrd Skynyrd, and Pat Benatar | 6 p.m. Cricket Wireless Amphitheater, 633 N. 130th St., Bonner Springs

sharp Weapons, Hell Night, Bitch Wizard |

9 p.m. MiniBar, 3810 Broadway

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Olathe | 7:30 a.m. Saturday and Wednesday, Black Bob Park, 14500 W. 151st St.

107th street | 10 a.m.-12:30 p.m. Saturday, Grand Court Retirement Center, 501 W. 107th St.

Overland Park | 7 a.m.-1 p.m. Saturday,

7:30 a.m.-1 p.m. Wednesday, between 79th and 80th streets, west of Metcalf

Parkville | 7 a.m.-noon Saturday, 2-5 p.m. Wednesday, English Landing Park, First St. and Main

Raytown | 2-7 p.m. Thursday, 1-8 p.m. Saturday, 6210 Raytown Rd., Raytown Rosedale | 10:30 a.m.-2 p.m. Sunday, 4020 Rainbow Blvd., KCK

Lawrence | 7-11 a.m. Saturday, 4-6 p.m. Tuesday,

st. Luke’s | 9 a.m.-1 p.m. Thursday, St. Luke’s Hospital, 4401 Wornall Rd.

Lee’s summit | 7 a.m. Saturday and Wednesday,

shawnee | 7 a.m.-4 p.m. Saturday, Shawnee City Hall, 11110 Johnson Dr.

Liberty | 7 a.m.-noon Wednesday, Feldmans Farm & Home, 1332 W. Kansas

Troostwood youth Garden & Market | 3-8 p.m. Friday, 9 a.m.-3 p.m. Saturday, 1-6 p.m.

Wednesday, 5142 Paseo

824 New Hampshire

corner of Second and Douglas, Lee’s Summit

Merriam | 7 a.m.-1 p.m. Saturday, 4-7 p.m.

Wednesday, Merriam Marketplace, 5740 Merriam Dr., Merriam Mission | 7 a.m.-1 p.m. Saturday, Mission Farm and Flower Market, 5613 Johnson Dr.

circo Hermanos vasquez | 6 & 9 p.m. Kemper Arena, 1800 Genessee, circovazquez.com/event/kansas-city FiLM

Full count Plays Grant Green | 9 p.m. The Ship,

dence Ave.

12:30 p.m. Saturday, Minor Park, Holmes at Red Bridge Road

cOMMuNiTy EvENTs 1020 Massachusetts, Lawrence

13th St. and Highland

Waldo | 3-7 p.m. Wednesday, Habitat for Humanity ReStore, 303 W. 79th St,

Zona Rosa | 5-8 p.m. Thursday, Zona Rosa, 8640 N. Dixson Ave.

L.A. Fahy & Band, Look Out Lincoln, Erica Hunter | 5 p.m. Replay Lounge, 946 Massachusetts,

Lawrence

Mama Ray | 1 p.m. B.B.’s Lawnside BBQ, 1205 E.

85th St.

Julie Taymor’s A Midsummer Night’s Dream |

627 Big Band | 8:30 p.m.-midnight. Green Lady Lounge,

sPORTs & REc

sound of ceres (candy claws), your Friend, Westerners | 10 p.m. Replay Lounge, 946 Massachu-

1 p.m. Tivoli Cinemas, 4050 Pennsylvania, tivolikc.com

1809 Grand

setts, Lawrence

cOMEDy

Royals vs. Blue Jays | 1:10 p.m. Kauffman Stadium

Pablo Francisco | 7 p.m. Improv Comedy Club and Dinner Theater, 7260 N.W. 87th St., improvkc.com

sporting Kc away game vs. vancouver Whitecaps Fc | 8 p.m. Alamo Drafthouse, 1400 Main

sunday jazz brunch with Bob Bowman | 10 a.m.

Take Five Coffee + Bar, 6601 W. 135th St., Overland Park

sHOPPiNG

Music

Brookside sidewalk sale | 10 a.m.-6 p.m., 63rd St. and Brookside Plz., brooksidekc.org

Wadi, Blam, Jake King, Goodlow, Dwalk, Frankie | 6 p.m. The Riot Room, 4048 Broadway

Dead shakes, Lazy, Nite Mirror, Psychedelic Gangbang | 7 p.m. RecordBar, 1020 Westport Rd.

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Art Exhibits & EvEnts

k ansas cit y’s historic midtown neighborhoods y tuesda

7.14 KC 101

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

Museum of Art, 4525 Oak

Philip Haas: The Four Seasons | Nelson-Atkins Museum of Art, 4525 Oak

Make Your Mark | Kemper Museum of Contemporary Art, 4420 Warwick Blvd., kemperart.org

Second Friday troost art Hop | 6-10 p.m.

Friday, Vibe Tribe Studio, 5504 Troost, troostarthop.com

Each week, Pitch Street Team cruises around to the hottest clubs, bars and concerts. You name it, we will be there. While we are out, we hand out tons of cool stuff. So look for the Street Team...

We will be looking for you!

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

FiLm

Julie taymor’s A Midsummer Night’s Dream | mary Jo draper discusses her book Kansas City’s Historic Midtown Neighborhoods | 6:30 p.m. Kansas City Plaza Library, Plaza Branch, 4801 Main, kclibrary.org

7 p.m. Tivoli Cinemas, 4050 Pennsylvania, tivolikc.com muSiC

Monday | 7.13 |

Tuesday | 7.14 |

Comedy

Comedy

open-mic night, presented by KCstandup.com | 7 p.m.

Comedy open-mic night | 8 p.m. The Tank Room,

L i t e r a r y/ S p o k e n W o r d

open-mic night | 8 p.m. Stanford’s Comedy Club,

MiniBar, 3810 Broadway

Blue monday poetry and open mic | 8-10 p.m.

1813 Grand

7328 W. 119th St., Overland Park

Uptown Arts Bar, 3611 Broadway

Community eventS

Circo Hermanos vasquez | 2, 5 & 8 p.m. Kemper Arena, 1800 Genessee, circovazquez.com/event/ kansas-city SportS & reC

Way, KCK

946 Massachusetts, Lawrence

marcia Ball | 7 p.m. Knuckleheads, 2715 Rochester Jon dee Graham & the Fighting Cocks | 10 p.m.

Knuckleheads Saloon, 2715 Rochester

medicine theory, knifecrime, Freight train rabbit killer | 8:30 p.m. MiniBar, 3810 Broadway

Luke Bell, dusty rust | 8 p.m. The Riot Room,

ringo deathstarr, Faultfinder, mysterious Clouds | 9:30 p.m. RecordBar, 1020 Westport Rd.

Sage Francis, Loogey, negro Scoe | 8 p.m. The

setts, Lawrence

4048 Broadway

Riot Room, 4048 Broadway

Sturgill Simpson, Cody Jinks | 7 p.m. Crossroads

5240 Merriam Dr., Merriam

Hello K

itty D ay @ Yoki

Corey taylor | 7 p.m. The Granada, 1020 Massachu-

Wilco, Steve Gunn | 7 p.m. Crossroads KC at Grinders, 417 E. 18th St.

Faire @ Maker

niGHtLiFe

Strengthen What remains, Comrades, Conveyor, See it through, Courier | 6 p.m. Aftershock,

@ Yoki

annabel, major Games | 10 p.m. Replay Lounge,

muSiC

KC at Grinders, 417 E. 18th St.

ConCaCaF soccer: uSa vs. panama, Haiti vs. Honduras | 8:30 p.m. Sporting Park, 1 Sporting

ay Hello Kitty D

tation Union S

elegant knock with dJ approach | 10 p.m. Replay Lounge, 946 Massachusetts, Lawrence

muSiC

B vibe | 9 p.m. Green Lady Lounge, 1809 Grand Blue monday Jam with matt Hopper | 7 p.m.

The Blue Room, 1600 E. 18th St.

king parrot, Child Bite, troglodyte, Bleed the victim | 8 p.m. The Riot Room, 4048 Broadway

rocky volotato, potter’s Field | 7 p.m. RecordBar,

1020 Westport Rd.

nick Schnebelen Band | 7 p.m. B.B.’s Lawnside

BBQ, 1205 E. 85th St.

Wednesday | 7.15 | Comedy

new Baboons, the thunderclaps | 9:30 p.m.

RecordBar, 1020 Westport Rd.

rural Grit Happy Hour | 6 p.m. The Brick, 1727 McGee

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

Lilly Singh | 7 p.m. Uptown Theater, 3700 Broadway

50 Shades of men | 8 p.m. Stanford’s Comedy Club, 7328 W. 119th St., Overland Park the Hump with alv diesel | 10 p.m. MiniBar, 3810

Broadway

p. morris, Sigrah, nmezee, natalie Hands, maal a Goomba | 8 p.m. The Riot Room, 4048 Broadway

E-mail submissions to calendar@pitch.com or enter submissions at pitch.com, where you can search our complete listings guide.

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S ava g e L o v e

disunion Dear Dan: I entered into a civil union with another woman in Vermont in 2000. My ex and I were together until 2003, when we decided to go our separate ways. It is now 2015, and my new partner (who happens to be male) and I are expecting a baby and talking about getting married. We live in Texas. I know that there are ways to dissolve my civil union in Vermont, but I can’t get ahold of my ex (ex-wife? Ex-CUer?) to sign any of the forms. Neither do I want to because, frankly, it was an abusive relationship, and I still bear emotional scars. She threatened my life, encouraged my suicidal thoughts, and told me that I was a loser who didn’t deserve to live. I feel I have finally found peace, but now that it has become an issue again, I don’t know.

I have intense thoughts of wanting to kill her if I should ever see her. Thank goodness she lives in another state! She used to stalk me until she finally moved back to the Pacific Northwest. Is there a way to dissolve my civil union without having to directly contact my ex?

Undoing Niggling Compact in Vermont Isn’t Legally Uncomplicated Dear UNCIVILU: Vermont played a ground-

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breaking role in the fight for marriage equality in the United States. (Spoiler alert: We won the fight on June 26, 2015.) A little history …

Back in 1999, before same-sex marriage was legal anywhere in the United States, the Vermont Supreme Court ruled that same-sex couples were entitled to the same “benefits and protections” as opposite-sex couples. Vermont’s highest court ordered the state legislature to come up with a solution. Instead of allowing same-sex couples to marry — a simpler fix legislatively but a more explosive one politically — in 2000, Vermont’s lawmakers created a separate-but-equal compromise, aka “civil unions.” (One of the chief ironies of the fight for marriage equality: The same people who violently opposed civil unions in 2000 bitterly complain that “unreasonable” marriage-equality supporters wouldn’t settle for civil unions — a “compromise” that opponents of equality got behind only after it became clear that we were going to win marriage.) Full marriage equality came to Vermont in 2009, making it the fourth U.S. state to allow same-sex couples to wed.

So what became of your civil union after 2009? Did it become a marriage after same-sex marriage became legal in Vermont, like domestic partnerships did in Washington state?

“Our marriage law didn’t automatically convert CUs to marriages,” said Elizabeth Kruska, a lawyer in Vermont who handles family law.

“And although civil unions were (and are) legal in Vermont, other states did not have to recognize them as legal unions. That’s where UNCIVILU has a problem. Her civil union is still

By

502

D a n S ava ge

Adult

BACCAL CL NOW H DANC Conta 7pm Mon 816-80

developed an entirely new attitude toward gay rights. My dilemma: When SCOTUS handed down their ruling making marriage a right for all, I congratulated all my non-straight friends on Facebook. One of those friends posted a note thanking me for “always being in [their] corner.” 504 My asshole brother then commented that not lifestyles only had I not “always” been supportive, but House Parties in my previous life I campaigned against gay Saturday Night.

Pole. Live D rights. Several non-straight friends jumped to 9`3-74 my defense, stating that it couldn’t be true. I’m THE S ashamed of the person I was and have worked thespot hard to be a better person. Is there any point in lsf2. apologizing?

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Dear DHACA: Anthony Kennedy, the Supreme

legal and on the books here in Vermont. Now, I’m pretty sure Texas didn’t recognize civil unions — I’m not a lawyer in Texas, so I don’t know for sure, but I’m a human being with functional brain cells who lives in the United States, so I think it’s probably fair to say.”

Does that mean you’re in the clear? No. “There is an interesting case from Massachusetts that hit this same issue square on the head,” Kruska said. “A couple got a civil union in Vermont, the parties then separated, and one of the people got married to a different person in Massachusetts. The court in Massachusetts said the civil union invalidated the subsequent Massachusetts marriage.”

Even if Texas doesn’t recognize your Vermont civil union, Vermont would recognize your Texas marriage.

“The smartest thing for UNCIVILU to do is to dissolve her Vermont civil union. The last thing she wants is to try to get married to the new person and for the marriage later to be found void because she had this other union out there.”

Kruska suggested that you contact legal service organizations in Vermont to find a lawyer who can help you. And if you don’t want to contact your ex, or if your ex won’t respond to you, she recommended that you file for a dissolution and let the court serve your former partner.

“UNCIVILU and her ex may both be able to participate in the hearings by telephone,” Kruska said, “and as an added bonus, UNCIVILU wouldn’t have to see her ex in person.”

Dear Dan: In a former life, I was a staunch Republican and voted for anti-gay ballot initiatives.

Then, after a bad divorce 18 years ago, I moved to another state and fell in with an artistic crowd.

Over the years, I became close friends with people with vastly different life experiences, and I’ve

38

Great B Court justice who wrote the majority decision July S in Obergefell v. Hodges, which legalized sameAttractive,Tall B sex marriage in all 50 states, also wrote the Full Figured majority opinions in Lawrence v. Texas (2003), El 913-98 which declared laws against sodomy to be un7 days, constitutional, and Windsor v. United States (2013), which overturned the Defense of Mar512 Adult Phon riage Act. Kennedy will obviously go down in history as a hero to the gay-rights movement, but his record isn’t perfect.

Richard Frank Adams, a U.S. citizen, legally married Anthony Corbett Sullivan , an Australian citizen, in 1975 in Boulder, Colorado.

The men had been issued a marriage license by a county clerk who couldn’t find anything in state law that prevented two men from marrying. Sullivan and Adams applied for a spousal visa for Sullivan. Here’s the response the couple got — the entire response — on official U.S. Citizenship and Immigration Services letterhead: “You have failed to establish that a bona fide marital relationship can exist between two faggots.”

America Talk The couple sued, and Kennedy, then a cir1-869-6 cuit court judge, heard their case — and he Int. ld rate ruled against the “two faggots.” Sullivan and Curious About M Adams had to leave the country to be together. Discreetly with m FREE! Call 1Exactly 18 years passed between 1985, Try www.guyspyvoic when Kennedy signed off on the deportation of Sullivan, and 2003, when Kennedy wrote his first major gay-rights decision.

In Obergefell, Kennedy wrote that “new insights and societal understandings” changed the way many Americans see gay people. The same goes for you: New insights and understandings have changed how you think, feel and vote about gay people. You can and perhaps should apologize to your gay friends for the anti-gay attitudes you once held — and for antigay votes you once cast — but they should immediately thank you for being the person you are now.

Have a question for Dan Savage?

E-mail him at mail@savagelove.net

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