The Pitch: September 17, 2015

1 S E P T E MB E R 17–2 3 , 2 015 | F R E E | V OL . 3 5 NO. 12 | P I T C H.C OM

GOOD LIES and

BAD SEX with

Clancy Martin

BY DAVID HUDNALL

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sep tember 17-23, 2015 | Vol. 35 no. 12 E d i t o r i a l

in real life

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, Annie Raab, Dan Savage, Nick Spacek

Good lies and bad sex with Clancy Martin. b y dav i d h u d n a l l

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a r t

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

this old haus

a d v E r t i s i n g

Back in a familiar neighborhood,

Advertising Director Mick Moore Senior Classified Multimedia Specialist Steven Suarez Multimedia Specialists Savannah Cox, Becky Losey, Ruby Wetzel Production and Digital Coordinator Ashley Reed

Eddie Crane razes the Teutonic. by charles ferruzz a

m a r k E t i n g

Director of Marketing and Operations Jason Dockery

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B u s i n E s s

Publisher Amy Mularski Office Administrator Jessica Kittams

the reunion

s o u t h c o m m

Chief Executive Officer Chris Ferrell Chief Financial Officer Ed Tearman Chief Operating Officer Blair Johnson Director of Financial Planning and Analysis Carla Simon Vice President of Content Patrick Rains Vice President of Production Operations Curt Pordes Vice President Local Publications Mark Bartel Controller Todd Patton Human Resources Manager Stephanie Stein Creative Director Heather Pierce

n a t i o n a l

a d v E r t i s i n g

VMG Advertising 888-278-9866, vmgadvertising.com Senior Vice President of Sales Susan Belair Senior Vice President of Sales Operations Joe Larkin

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After four years apart, Stik Figa and D/Will get back together for JOBB.

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Questionnaire feature agenda art film fat city on tap this week Bartender’s noteBook music d a i ly l i s t i n g s savage love

m ean wh i l e at p i tc h . c o m IL LAZZARONE’S ERIC BORGER adds new pizzas, cuts prices — and preps a ramen restaurant.

KCMO AIRPORT COMMITTEE tours KCI but doesn’t learn much.

The Pitch: cover Photo by AngelA c. bond

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WE HAD A FEW HICCUPS, BUT WE’RE GEARING UP!

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CONTACT US: 825 WESTPORT RD, KANSAS CITY, MO 64111 INFO@825STUDIOS.COM | (816) 561-1622 4

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Questionnaire

Kate Garman

Innovation analyst for the city of Kansas City, Missouri

Hometown: Shawnee

WHERE COOL !

DOGS STAY

Current neighborhood: Volker — my favorite

neighborhood so far.

What I do: I’m the innovation analyst for Mayor

Sly James, tasked to make our city’s laws foster a culture of innovation. In my spare time, I’m a law student and student editor-in-chief of The Urban Lawyer.

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What’s your addiction? Coffee, running, and

a nice red wine

What’s your game? Clue. Full of underrated

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suspense.

What’s your drink? A lot of my family lives in

California, so wine is in my blood. But recently, I’ve been going for a good Manhattan. I blame it on Kansas City’s great whiskey scene.

Where’s dinner? Blue Koi on 39th Street. The Awesome Sauce is aptly named.

cool.casual.fashion

What’s on your KC postcard? A picture of first

SHOP LOCAL @

Fridays because it captures so many great KC things: local shops, art, hipsters, live music.

But most of all, it gets the energy and the spirit of the city.

S a b r i n a S ta i r e S

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Finish this sentence: “Kansas City got it right when …” We got the green light for the streetcar

(see what I did there?). Thanks to the streetcar, we’ll have new infrastructure and pipes where it’s being built. And it’s how we got to push forward on the smart-city development, making Kansas City the biggest smart city in North America.

“Kansas City screwed up when …” We got a low

count for voter turnout for the municipal elections. Local lawmakers affect people’s daily lives, and I know it may seem boring, but those are the people deciding things like developing neighborhoods, airports and roads. Voting is everything. It’s your voice.

“Kansas City needs …” To keep doing awesome things in the West Bottoms.

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

What’s your hidden talent? I’m classically trained at the piano and even did some light competing for a bit.

he gives me a thumbs-up. Even in the freezing winter he does it. That kind of positive attitude is incredible. Best part of my run.

What’s your guiltiest pleasure? Eating carrots

What is your nemesis? My alarm clock.

and peanut butter while watching The Wire late at night. Tell no one.

The best advice I ever got: When I got my first

real job after college, at Black & Veatch, my boss told me that when I get a project, I own it.

I own the whole thing until it gets to the finish line. Best advice I ever got because — I’d like to think — it made me into one hell of a leader.

Worst advice: Don’t go to law school.

Cards and Breaking Bad. Repeatedly.

My sidekick: Lipstick.

“I can’t stop listening to …” I’ve recently discov-

What is your spirit animal? My friends would probably say Leslie Knope.

Who is your hero? There are lot of people I could list: politicians, family members, great lawyers. But there is a homeless man on the Plaza, most of the time outside of Barnes & Noble. Every time I go on a run and I pass him,

ered how good the Weeknd is.

“My dream concert lineup is …” Florence + the Machine, the Weeknd, Bonobo and Ratatat.

“I just read …” The federal tax code. Being in law school is no joke.

My dating triumph/tragedy: I went on a first date

this summer in Overland Park. When I walked out to leave, I noticed not just my car but the entire row of cars where I had parked was gone.

Rather than swallowing my pride and running back to my date for a saving grace, realizing I had been towed 15 miles away from where I live, I hid in a dark corner so he wouldn’t realize what an idiot I was for having parked in the bad spot. Big shout-out to Uber in Kansas.

My brush with fame: I did stand-up comedy for a few years and opened up for some great comics. One time, Stanford’s introduced me as the next Ellen DeGeneres, which is a ridiculous comparison — she is an epic comedienne.

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My recent triumph: A lot of great things have

happened lately, but being able to work for the city that I love, with one of the finest mayors in the country, that tops it all.

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GOOD LIES and

BAD SEX with

Clancy Martin

BY DAVID HUDNALL

G

enerally uncontested truths about Clancy Martin: • He is a philosophy professor at the University of Missouri–Kansas City, specializing in existentialism.

• He is one of the “Ethics Professors,” a panel on KCUR 89.3’s Up to Date that once a month discusses and analyzes the ethical implications of current events.

• He teaches courses on business ethics and occasionally does paid consulting work for corporations on this topic.

• He worked as a “professional liar” (his words) selling jewelry in Texas for more than a decade.

• Seven years ago, he tried to hang himself in his closet with a bedsheet. He tried again three years later, following an alcohol relapse.

• His first two marriages ended due to his infidelity.

• Last year, Martin was required to blow into an alcoholmonitoring device in order to see his children.

“It’s called the Soberlink 2, and it has facial recognition software that takes a picture of you while you blow into a breathalyzer so the person monitoring knows it’s you blowing,” Rebecca Martin, Martin’s second wife, says. One of the outcomes of the Martins’ divorce is that Rebecca has since established a legal practice in downtown Kansas City specializing in family law.

“She had watched me descend back into the dregs of relapse and alcoholism over and over again,” Martin told me earlier this month, inside his home on an appealing

In Real Life stretch of Forest Avenue in midtown. “So in order to get back regular visitation with the girls” — he and Rebecca have two daughters; Martin has another daughter from his first marriage — “I agreed in mediation to [it].”

Martin wasn’t eager to say much more on this topic, for two seemingly contradictory reasons. One is that the process was difficult for him. “Even though it’s self-inflicted, it’s a big emotional hurdle for a parent to jump over to accept the fact that you can’t be trusted with your own children,” he said. The other reason is that he recently finished writing a piece about the experience for Harper’s. “I don’t really want to give too much away before it comes out,” he said.

It was the Tuesday after Labor Day, and Martin was getting over a two-day cold. He poured me a sparkling water out of some kind of device that screeched as it purified the liquid, and he settled cross-legged on a blue couch in his living room. Martin is 47, but with his full head of mussed hair and casual-professor look — blue jeans, button-downs, colorful socks, smart boots — he scans younger. He’d had the kids for the weekend, but now they were back at their mom’s, and he was on his own for the week — just him and the dog, a labradoodle named Simha Mukha. His third wife, Amie Barrodale, who is also a writer, was out of town on a monthlong spiritual retreat that Martin was also reluctant to discuss, for reasons having to do with her privacy.

Beyond that and the Soberlink, though, Martin was game

to discuss all the gory details of his life. This is an interesting exercise. On the one hand, it’s great fun because the stories are exciting — sex, drugs, alcohol, lies, divorce, death — and Martin is good company. On the other hand, if you follow Martin’s highly personal work, there’s a decent chance that you’ve already heard the tales.

One of the first stories he told me — about a trip to a jewelry convention in Las Vegas that ended with three prostitutes stealing several hundred thousand dollars’ worth of loose diamonds from Martin and his brother Darren after an ecstasy-fueled hotel-room fuckfest (a reasonably verifiable story) — I encountered a few days later while catching up on Martin’s back catalog of published work. It opens “All That Glitters,” a Harper’s essay that Martin wrote in 2010 about the jewelry business. A few times, Martin began recounting some other nugget from his life that I recognized as having happened to the main character in How to Sell, his well-reviewed and satisfyingly sleazy 2009 debut novel, published by Farrar Straus & Giroux. The details, sometimes even the order in which the details unspooled, were more or less identical. His memories and his work are mashed so closely together that it is nearly impossible to differentiate one from the other.

Take Bad Sex, Martin’s taut, brisk new novel that will be released this week by Tyrant Books. Giancarlo DiTrapano, publisher of Tyrant, came across Bad continued on page 8

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In Real Life continued from page 7

Sex two years ago, when The Milan Review published it under the name Travels in Central America.

“I tore through it immediately,” DiTrapano said. “I like writers who lay it on the line with their personal lives, who write really true things about themselves, whether it’s fiction or not. The Milan Review is a small foreign press, and I just thought this book should have a life in America.” He’s printing an initial run of 10,000 copies of Bad Sex — the most Tyrant has ever done for a book.

Three years ago, though, Bad Sex was a memoir.

“I showed it to [former Farrar Straus & Giroux editor, now editor of The Paris Review] Lorin Stein and [Martin’s agent] Susan Golomb, and they both basically said, ‘Do not publish this as memoir. It will ruin your life,’” Martin told me. “So I changed it to a female narrator and heavily fictionalized the narrator’s husband and children in order to create some distance there. I didn’t want my daughters to think they are the children depicted in the book.”

In Bad Sex, the narrator has an affair with her husband’s lawyer. In real life, Martin’s affair was with a magazine editor. “Cheating on your husband is a lot like doing cocaine,” Brett, the narrator of Bad Sex, observes. “It’s rarely pleasurable, but try quitting.”

The epigraph, a quote from Alejandro Zambra, reads, “This wasn’t invented, it really happened.”

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he second time I met with Martin, in his book-lined office on the second floor of UMKC’s Cockefair Hall, he asked if I had seen The End of the Tour, the recent movie about a Rolling Stone journalist (David Lipsky, played

by Jesse Eisenberg) interviewing the late literary heavyweight David Foster Wallace (played by Jason Segel) over the course of a five-day road trip in 1996. The parallel that he meant to draw to our arrangement was plain. I told him that I had, and we agreed that Eisenberg’s performance as Lipsky was weaselly and unpleasant.

Martin became distracted by something on his computer screen. After a few seconds, he apologized and said, “That’s so funny — I just got an e-mail not 30 seconds ago from Jon Franzen. I sent him a note earlier congratulating him on the nice review Purity got in the Times yesterday.”

Jonathan Franzen and Martin are friendly.

They share an agent, Franzen blurbed How to Sell (“Dirty, greatly original and very hard to stop reading”), and the two correspond regularly, Martin says. I asked what Franzen had just sent, feeling very aware and ashamed of the Lipsky-like nature of my behavior — prying for a lit-celebrity morsel in the hope that it might marginally improve my eventual story. You decide: “He says, ‘Thanks, I haven’t read the review but am told it was mostly positive,” Martin recited. He laughed and went on.

“Then he says, ‘I’m also told she’” — Michiko Kakutani, the widely feared New York Times book critic — “‘wrote that the book contained several Dickensian coincidences, which there are none, so some things never change.’”

Though Martin’s work has been widely praised by critics (The Times Literary Supple-

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s M ar g ar it a Wario n ll vi Pa o d @ Wal ment, The Guardian, The Village Voice, GQ, Esquire) and fellow writers (Zadie Smith, Sam Lipsyte and Gary Shteyngart also blurbed How to Sell), a New York Times rave has proved elusive. How to Sell met the unfortunate fate of being assigned to a critic who spent more time reviewing (and disapproving of) the book’s positive early critical reception than the actual words inside it.

This past March, Martin released Love and Lies, a philosophical memoir about “truthfulness, deceit, and the growth and care of erotic love,” as the book’s subtitle reads. It was panned in The New York Times Sunday Book Review. Among other things, the reviewer, Adelle Waldman (fresh off the success of her novel, The Love Affairs of Nathaniel P.), called it “remarkably insight-free.”

“He [Martin] is far less interested in grappling with his culpability for lies told than in ferreting out the subtle forces that made him the ever-so complicated person he is,” Waldman added.

“It was a real kick in the belly,” Martin told me. “I was sent the review in advance by an editor at the Times, with a little note of apology, sort of saying, ‘Sorry about this. We respect your writing’ — I write for the Books section regularly and have written op-eds for them — ‘but this is what we’re running, this is the review.’

“Then I called Susan, my agent, and I was laughing and crying at the same time,” Martin continued. “I was literally reading the review and laughing and crying. I just felt like, ‘My career is over.’ I mean, it was a very high-profile bad review.”

I asked if he had ever blasted anybody’s book in the Times Sunday Book Review.

“Oh, yeah: Rick Moody,” Martin said.

Martin at UMKC teaching “Philosophy of the Mind” “What was that book?” He did some Googling.

“Right — The Four Fingers of Death.” He skimmed his 2010 review. “I mean, I really loved Rick Moody’s early books. I read The Ring of Brightest Angels Around Heaven and was like, ‘I can’t write this good. Why even try to write?’ I mean, it was kind of discouraging, really. And I thought his book about depression was very good. But yeah, this one I didn’t think was so good.”

I asked if he had any desire to rebut some of Waldman’s criticisms.

“I mean, it’s best not to respond to your critics, right?” he said. “I think she made some fair points. There’s things I’d do differently if I rewrote it. I think, in places, it’s too academic, too pedantic. I think my agent was hoping it would be received as more of a Malcolm Gladwell type of book, but about love. Well — no such luck.” He laughed.

A

side from being the most notorious and, very possibly, the best writer now residing in Kansas City, Martin is also a pretty accomplished philosophy professor.

He was chairman of the department until a few years ago — “For a variety of reasons, I wasn’t very good at being in charge,” he told me — and now teaches several philosophical subjects at UMKC, including a Nietzsche seminar, “19th-Century Philosophy” and “Philosophy and Literature.” He has written several philosophy textbooks and recently recorded a Great Courses disc called “Moral Decision Making: How to Approach Everyday Ethics.” He was awarded a Guggenheim Fellowship in 2011.

A scene in How to Sell seems to explain how, or maybe why, Martin ended up tenured in Kansas City rather than rich off Rolexes in Texas. An employee named Old John asks Bobby — the Martin surrogate character, a jewelry store owner — when he’s going to quit the business and go to college.

“I’m a businessman,” Bobby protests. “I’m the best salesman in this store, Old John.”

“I didn’t say you weren’t a salesman,” Old John replies. “That’s the chief problem. I’ve never seen one better. But a salesman is the opposite of a businessman, Bobby. A businessman cares about the practical details of his life. A salesman is an artist. He can’t tie his own shoelaces. He lives on tomorrow.

He’s a cloud-and-sky guy, a rainbow man.

He can’t hold money.”

He adds: “You can’t snap your fingers and become American, Bobby. It has to come naturally.”

Like Bobby, Martin grew up mischievous in Calgary, Alberta. (It seems likely that Martin’s northern accent was an asset as a salesman in Texas; you don’t expect a guy who says “aboot” to try to swindle you.) He smoked his first cigarette at age 6, took acid at 9. When he was 16, in a vain attempt to hold onto a girlfriend who had moved on, he lied about being kicked out of his home and convinced her parents to let him stay at their house. Her father gave Martin a job at a local factory.

“This girl — her name was Shawna — she really loved when I would write her letters, these very sexual letters,” Martin told me.

“I would write them all the time because, usually, it would result continued on page 10

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In Real Life continued from page 9

in us having sex later. Well, one day I wrote her a very detailed letter involving a fantasy that included her mother as well. Then she left it in her overcoat, and her dad found it. I came home from the factory, and he charged out the front door at me, tackled me in the snow, beat me up. He was a small man but he was built like a bull. Anyway, I was no longer welcome at their house. At that point, my mom said, ‘Maybe you better go live with your brother in Texas.’”

Martin ended up spending much of his teenage years and early 20s working with Darren in the jewelry trade in the Dallas– Fort Worth area. For many years, he sold jewelry at a Fort Worth store during summers and Christmas breaks from Stetson University in Florida. He learned the business. He learned how to sell.

“The darkest thing I learned selling jewelry is that, especially with rich people, there is no easier way to sell them something than by letting them know that, by buying it, they’re taking advantage of someone else’s disadvantage,” Martin told me. “If you tell somebody they’re getting a deal because the person who previously owned it had to sell it quickly to pay off a debt or because your diamond wholesaler went bankrupt or something like that, they love it. It’s one of the best techniques there is.”

After getting his undergraduate degree, Martin enrolled in the graduate philosophy program at the University of Texas–Austin. He got a scholarship to study in Copenhagen. He married his first wife, Alicia. Then one day, his brother called. He needed to buy out his business partner and asked if Martin would help him write a business proposal for investors. He needed to raise half a million dollars.

“He ended up raising $10 million,” Martin told me. “My brother said, ‘Quit wasting your time in grad school and come join me, and we’ll get rich.’ I told myself I’d do it five years, get rich, then become a full-time writer. I ended up doing it six and a half years before I quit and went back to finish grad school.”

In that six-and-a-half-year window, Martin and his brother opened stores in Arlington, Dallas and Fort Worth. They made a lot of money. Then they lost a lot of money. Martin left his wife for a saleswoman at one of their stores, and the two of them opened a wine bar called Cork. Then Martin tried to acquire a company called Swest that made tools and equipment for the jewelry and optical industries.

“I had a deal all set up, had spent hundreds of thousands of dollars on attorneys’ fees and bankers’ fees, but it was taking me a little extra time to raise some extra money outside the purchase agreement,” Martin said. “What happened was, the 800-pound gorilla in that industry is a company called Stuller. The owner is a savvy guy, and he got wind of my deal and called the Swest owner

and said, ‘How much is this kid paying you?’

And he said $4 million. And the Stuller guy said, ‘What if I write you a check today for $6 million?’ And that was it. I lost my ass. I still had a little money saved, but that was the end for me. I was on vacation in Wilmington, North Carolina, when I got the call that the deal was dead. I was driving a BMW and I threw the cellphone out the window and said, ‘I’m quitting the wine bar. I’m quitting jewelry. I’m gonna write a novel.’ And I did. I moved to Wilmington for a year and wrote the first draft of How to Sell. It was no good, and it was another seven or eight years before I finished that book. But that was the beginning of everything.”

He returned to UT’s grad program in 2000 — “They were gracious enough to welcome me back, even though I had abruptly left seven years before” — and received his doctorate in 2003. He wrote his dissertation on Nietzsche’s theory of deception. “My interest in philosophy, and specifically deception, is a direct result of working in the jewelry business,” Martin said. “It was a soulless place where you saw the worst sides of people every single day. It just seemed like there had to be something more.”

He met Rebecca, who would become his second wife. He got a job in Kansas City. She got accepted to law school at the University of Kansas. They moved north.

A

t school in Austin, Martin had begun drinking during the day.

“I’d never done that before,” he said.

“Then, the next five years, I went from being an alcoholic in training to a full-blown, raging alcoholic. By 2005, I was drinking at least three bottles of wine a day, and usually another six or eight beers.”

In a drunken blackout one night in 2005 — Martin writes of the event in “The Drunk’s Club,” a 2011 essay for Harper’s about Alcoholics Anonymous — he punched Rebecca in the face. He quit drinking, briefly. Then he spent three years as a secret drinker, a condition he has chronicled in essays for Vice and the London Review of Books.

“We were living over off 38th and Walnut, and I would drive over to — what’s that place west on 39th Street, that little hut?”

“Mr. Z’s?”

“Mr. Z’s. I’d go there and buy a pint of Jägermeister, because it was far enough away from our place that my wife would never go there. I’d take two big swallows in the parking lot, then get in the car and go buy diapers or groceries at Sun Fresh, or wherever I was supposed to be going. Then I’d finish the pint after that and head home.

I knew exactly how much I needed and exactly how much I could handle.”

Over time, the alcohol stopped delivering pleasure, and depression took root. These were also the years, Martin says, when he really learned to write. After finishing a few

11 academic philosophy books, he returned to the craft of fiction. He had a few stories published in small literary publications, such as Noon.

“I detected a powerful and authentic voice,” Diane Williams, editor of Noon, told me. “Brave — he’d say anything about what most people refuse to face. The resulting intimacy of the speech is remarkable, as is the drama.”

In 2007, Martin finished what he thought was a strong draft of How to Sell. Shortly after, he got an e-mail from Lorin Stein.

“I tried to delete the e-mail because I thought it was spam,” Martin said. “Then I saw I hadn’t deleted it and opened it, and it was Lorin saying he’d read my stuff in Noon and really liked it, and was I working on anything else. I sent over 100 pages of How to Sell, and he e-mailed the next day and said, ‘Send me the rest right now.’ ” In 2008, Martin got, he said, “stone-cold sober for two years — no secret drinking, totally sober.” This was after his first suicide attempt, just as How to Sell was released to cheers from the literary establishment. But this time was marked by, he told me, “crippling depression, just ghastly depression” “I didn’t know what depression was until I went through it,” he said. “The book came out, and it was the worst year of my life, no question. Then ‘The Drunk’s Club’ came out in Harper’s, and it was kind of a crazy success, and I was hearing from fancy, famous people, and my editor was thrilled.

And then I went to Boston for a philosophy conference and met a woman and ended up drinking again. And that was the end of marriage number two.”

P

rofessors, particularly those in the humanities and, perhaps most of all, philosophy professors, are expected to exhibit a specific kind of dignity. But this kind of ivory-tower decorum — or its foundering on the shoals of alcoholism and infidelity — seems never to have much distracted Martin.

Walter Kirn — like Martin, a celebrated novelist, essayist and professor — told me: “I think what makes Clancy’s memoir and fiction special is that it’s distinguished by the philosophical rigor that’s obviously the fruit of his academic training. He has a genius for interrogating his own life for larger truths about humans and human flaws — about what makes them tick in the real world as opposed to the ideal world.”

He went on: “A lot of memoir is basically self-congratulatory. Somebody went through a difficult time and then came out on top and redeemed themselves. Clancy is more comfortable with ambiguity and the irrational, and even negative energy.”

Wayne Vaught, the dean of UMKC’s College of Arts and Sciences (and Martin’s fellow “Ethics Professor” on KCUR), has known Martin since 2003, when Martin arrived in

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EVERYTHING! KC. They’re friends, and they teach a class together every fall called “Money, Medicine and Morals.” In Love and Lies, Martin writes that Vaught picked him up from Research Medical Center after one of his suicide attempts and took him to the Peanut on Main for chicken wings.

“Our tenure guidelines are designed exactly for people doing what Clancy is doing,” Vaught told me. “They’re there to protect people working in highly controversial areas.

The purpose of higher education is to expose people to all sorts of perspectives. So yeah, I’m a strong supporter of free speech in the academy, and in that regard, I support his freedom. Now just because you support their freedom doesn’t necessarily mean you agree with everything they say or do.”

“UMKC, I have to say, has been incredibly supportive,” Martin said. “They’ve always said, ‘Write whatever you want to write.’ ” He paused. “I do think that maybe, between Love and Lies and, now, Bad Sex, there might be some people who would appreciate it if I took a little break from writing things that are so, maybe, morally dubious.”

“Money, Morals and Medicine” is a 400-student class held in the auditorium of the Miller Nichols Library. Many of the students are freshmen who are planning to enter some kind of health-care profession.

“It’s got kind of a Jerry Springer thing to

“The book came out, and it was the worst year of my life.” it,” Vaught said in his spacious office just prior to walking over to class.

“Minus the paternity tests,” Martin added.

I saw what they meant when I sat in one August afternoon. Equipped with microphones, Martin and Vaught led the discussion like co-hosts on a stage. Hypothetical scenarios involving controversial topics, including drugs and abortion, were presented as thought experiments on the first day of class. Vaught, drily funny and composed — deanlike — took the lead. Martin wandered around the room, nodding his head and interjecting when the opportunity to quip presented itself. When a student had something to say, Martin jogged over and handed him or her the mic. The crowd started out shy but by the end of class had warmed up — too many hands in the air to call on all of them.

Earlier, in “Philosophy of the Mind,” a 20-student class that Martin teaches on his own, he was more nervous-seeming, though in a boyish, bumbling, charming way. He had brought two cans of Diet Coke and set them both on the desk at the front of the room.

When a student asked a question, he walked over and asked his or her name, extended his hand and said, “Hi, my name is Clancy. Nice to meet you.” continued on page 12

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In Real Life continued from page 11

He told the students — juniors and seniors, more likely to be philosophy majors — that in recent years, he had studied secret lectures on the philosophy of the mind with famous yogis and gurus. “They’re so secret, I can’t even tell you where I studied with them,” he said.

“But in a way, the last three years of my life have been spent preparing for this course.”

He recited a yogi line that went something like “When you recognize that anger is the same thing as looking at a chair, that’s reaching a higher consciousness.”

Then he said, “I happen to subscribe to the view that all of us can read each other’s minds.” He laughed and gestured at a student in the front row. “Like, this guy is thinking, ‘This is the greatest professor I’ve ever had.’ ” “Actually,” the student said, “I was thinking, ‘Why two Cokes?’ ” Martin hesitated for a second and said, “Oh, anxiety, I guess? I’m more comfortable when I have something to sip. For my first few years teaching, actually, I would get nervous before class, and I’d read the New Testament for an hour before class. Not for any religious reason — at that time, I was as far removed from Judeo-Christian beliefs as I’ve ever been. But for whatever reason, it calmed me down.”

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Martin examined the can in his hand.

It was part of Coke’s line of products that feature various names on the cans. It read, “Mom.” He reached over and turned the other can on the desk around. It read, “Better Half.”

He laughed and held them both up. “If you read my books,” Martin told the class, “you’ll find out that this is pretty much my whole story.”

M

artin met his third wife, Amie Barrodale, when she interviewed him for a column she was writing for Vice. (She is now the fiction editor at Vice and has a book of short stories slated for release next year via Farrar, Straus & Giroux.) They corresponded over the Internet, eventually meeting in person in May 2012. A week later, Martin proposed to her, outside a Barneys in Seattle. “It took me three months to convince her it was a good idea,” he told me. They were married in August 2012, in northern India, in the lower Himalayas, by “the great Tibetan Buddhist lama Dzongsar Khyentse Rinpoche, who is also an acclaimed writer and filmmaker,” Martin said.

For two years, while Barrodale attended the Iowa Writers’ Workshop, they commuted between here and Iowa City. They have since settled in Kansas City. Neither drinks, and they both are practicing Buddhists. In a bathroom at their house is a copy

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of Shambhala: The Sacred Path of the Warrior,

by Chögyam Trungpa. In a dedicated room on the second floor, Martin says, they try to meditate for two hours every morning.

Then they go to work: Martin writing in his downstairs study and then teaching at school, and Barrodale upstairs at a desk with a blue typewriter on it.

When I stopped by on a Tuesday evening, Martin had just received some good news. There was word from his agent that a positive review of Bad Sex was forthcoming from the Los Angeles Times. And Anonymous Content, a production company that has produced, among other shows, True Detective, liked the pilot script that he and Barrodale recently wrote for a TV adaptation of How to Sell. Sony bought the rights to the book after it came out. For a while, it looked like Showtime was going to do a series, but that network finally passed.

“I am more of a movie person, so I would rather see it as a movie,” Martin said. “But it’s far more lucrative as a writer if your book becomes a TV show. As a rule, authors don’t get much from movies made from their books, although it calls attention to the book, which is good for sales. In TV, even if you’re just the author and not a show writer, you get sort of an astonishing amount of money.”

Martin has been struggling for the better part of the past five years on what he views as a capital-b Big follow-up novel to How to Sell — Bad Sex being more of a quick detour,

almost a novella — called The Primitive. It’s about a mother who murders her child. “I’ve been finding the heart of it very slowly,” Martin said. “It’s about feeling the need to destroy yourself but also the attempt to recognize that that’s not a good idea — wrestling with self-destruction.”

I asked what he was struggling with most about the book.

“It annoys Amie when I say this, but I actually think being hungover when writing was helpful,” Martin said. “Don’t get me wrong: My sobriety is more important to me than my writing. But I think being hungover made it easy for me to concentrate. My brain had a little more energy. And I wrote Bad Sex sober, but I wrote that years ago when I was so newly sober that I still felt hungover in a way. So I think that that’s partially why Love and Lies took so long to finish and what’s taking so long on The Primitive.”

He went on: “The self-destructive instinct — I still have it. I think lots of artists and writers have it. But I do feel like I’ve finally reached a place where I have learned to appreciate simple things: a nice, comfortable home with my wife; happy children; work that I care about; occasional travel, maybe even on a magazine’s dime. I’m so sick of the rest of the stuff. I got sick of it 10 years ago, actually. But it took a long time to get out of my system.”

E-mail david.hudnall@pitch.com

13

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Into the Groove

Daily listings on page 27

The last of this summer’s Pitch- and Kansas City Public Library-sponsored Off the Wall rooftop movies is Friday night at the Central Library (14 West 10th Street), and our selection — 1985’s Desperately Seeking Susan — is worth a few exclamations. To wit: See the Statue of Liberty clad in its restoration scaffolding! See Madonna before she was clad in restoration scaffolding! Rosanna Arquette is still the best Arquette! Steven Wright plays a dentist! Underground-music cult heroes John Lurie, Arto Lindsay and Richard Hell cameo! It is only an hour and 40 minutes long! Whew, let’s take a breath. OK, that’s better. Where were we? Right: There’s the usual free beer from KC Bier Co. before the show! Doors at 8, movie a bit before 9, and you can be home asleep by midnight!

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ART

‘after school’ special

By

a nnie r a a b

Samara Umbral goes deep at Haw Contemporary.

Sept. 25 | 7:30 p.m.

Sept. 26 | 2:00 p.m. and 7:30 p.m.

American Royal Complex | Hale Arena Don’t miss the Greatest Show on Dirt! It’s the most action-packed event of our season and Kansas City’s only PRCA rodeo.

Country recording artist Matt Snook from The Voice performs each night! $18 in advance, $20 at the door.

Tickets are available walk-up at the Municipal and Kemper Arena box offices, and at all Ticketmaster locations or Ticketmaster.com, or charge by phone at 1-800-745-3000.

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2015 American Royal ProRodeo is Presented by

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S

amara Umbral’s new works at Haw Contemporary show an appreciation for the classical masters of figure painting but are roughly the size of modern cell phones. The images in her F, which opens Friday, September 18, recall the coolly theatrical 1930s paintings of Balthus, with that artist’s surrealist flair overwritten by a detailed portrayal of sexualized youth. Yet nothing here is voyeuristic or sensational; Umbral’s figures are instead figments of memory, the recollection of young womanhood as an elemental alteration — snow becoming water.

The girls sharing an intimate moment in “Reagan and Alice After School” could almost be the Greek mythological graces — often depicted as three young women in sheer drapery, partly nude, hands around one another’s curves. Here, soaked fabric clings to skin, but the center figure is dry, her expression the hesitant laughter of half-agreement. The most visible figure — in wet clothes with an anchored, confident stance — embraces her dry friend as if persuading her to dive into the water will reaffirm their bond.

Like water, Umbral herself is in transition, from male to female. The paintings in F pine for the vulnerable and tumultuous state of

“Reagan and Alice After School” young womanhood, not from someone who has recently emerged from its chrysalis but with the sadness of someone who won’t know it. Umbral did not begin her transition until after what she has characterized as the damaging experience of boyhood puberty. The two main figures in “After School” echo the duality and trauma of Umbral’s past. There is confidence in the woman whose back is turned, but her posture leaves open questions about how she will negotiate the world around her.

Umbral’s beautiful figure paintings are among the most engaging works I’ve seen this year. They provoke powerful feelings, these loss-planted images that have grown into love.

E-mail feedback@pitch.com F Samara Umbral Through October 30 at Haw Contemporary, 1600 Liberty, hawcontemporary.com

17

film

True Cram

Johnny Depp scares up a performance in the bloated Black Mass.

By

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lack Mass is Johnny Depp’s movie. That is, when someone asks you what movies you’ve seen lately, and you answer that you’ve seen Black Mass, and then the person asks what that is, and you say, “The new Johnny Depp movie, the one where he plays an albino Ray Liotta.” But I want to talk for a minute about Corey Stoll. Because I think maybe Stoll, who was a perfect Ernest Hemingway in Woody Allen’s Midnight in Paris and then became the best reason to watch the first, and only the first, season of House of Cards, is actually a gifted office worker who just picks up high-profile acting work on the side.

In Black Mass, Stoll’s desk is in a Boston federal building, and the sign on his door says he is a U.S. attorney, but the no-nonsense shaven head and the loosened but equally no-nonsense necktie and the rolled-up but very white shirt sleeves would get him an employee-of-the-month parking spot outside any high-rise in America. He exudes Type A drive and upright authority and looks like he answers his own phone, never past the first ring. And if his spartan government office is where the buck stops, it’s also where director Scott Cooper’s absorbing but sluggish Black Mass shudders to a halt.

Like most of the actors in Black Mass, Stoll plays a real-life person here: Fred Wyshak, the natural-born prosecutor who helped dismantle James “Whitey” Bulger’s Winter Hill Gang. Along the way, Wyshak and his office took down a couple of FBI agents who had, by protecting Bulger as an informant, enabled the gangster’s unfettered ascent to the top of South Boston’s underworld. In the movie, one of those corrupt G-men, John Connolly, drops

by Wyshak’s tidy office to introduce himself, choice Red Sox tickets in hand and Southie accent turned up full blast. Wyshak declines the game and starts to shoo Connolly away before the script prompts him to make the guy sweat with some smart questions about Bulger. And, really, why shouldn’t he be suspicious when Connolly, as portrayed by Joel Edgerton, is as unctuous and shifty as a politician selling you an old car? For Connolly’s part, one look at that head, that tie and that shirt — one look at Stoll, who looks and behaves like no other performer in the laboriously period-centric, actors-workshop-y Black Mass — should have told him to keep his mouth shut.

Until this terse face-off, you’re aware of the layered artifice at work — from Depp’s hair and makeup and marble-factory contact lenses to cinematographer Masanobu Takayanagi’s sulfurous lighting to the showroom variety of kitchen wallpaper decorating seemingly every set — but not distracted by it. You also still basically understand that time is going by: The movie opens in 1975,

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peaks in 1981 or so, and then goes mute on the chronology until we’re suddenly past the Reagan years. But a couple of minutes with the insistently modern Stoll breaks the fragile Scorsesean spell that Cooper — following the director’s melodramatic Crazy Heart and absurdly dour Out of the Furnace — tries to cast.

After that short scene, the movie fails to get going again, and the lost momentum makes a dull countdown out of what should be escalating final-act tension. While Stoll keeps toiling in that office, as though a film crew has interrupted his 65-hour workweek, you see everyone else go back to playing cops and robbers wearing wide lapels and hairspray halos, and you realize just how stylized everything up to now has been, and you wonder how much longer it’s going to take for everyone to get caught or flee.

Also, truth be told, by then you’re a little fatigued by Depp, Edgerton and their respective crews. Cooper crams a lot of crime into Black Mass, starting with Jesse Plemons’ wigs and not stopping until Juno Temple is dead, dead, dead. (A lot of familiar faces, too; see above, plus, on the side of relative law and order, a wardrobe-chewing Kevin Bacon as Connolly’s boss and Adam Scott as a series of reaction shots.) The financial crimes take place offscreen, leaving plenty of time for slayings that never startle the way Cooper intends.

The impersonations on parade here vary from dramatically licensed authenticity — Benedict Cumberbatch fares fine as Bulger’s

Dead men tell no tales. up-and-up younger brother — to moviemovie caricature. There’s plenty of both in Depp’s Bulger, which conveys the actor’s own self-awareness — the blue eyes and the bad teeth and the leather coats amount to another pirate outfit — and his awareness of Bulger’s self-awareness. (The criminal is said to have been spotted watching The Departed in a theater one night.) It’s showy acting in a showy role, and you sometimes catch him relishing the chance to introduce gunmetal menace to the increasingly florid palette he has relied on over the past 10 or 15 years. Now that we all agree again that he’s capable of grace, canniness and quiet, though, can we also convince him to apply these and other skills to more nuanced projects?

Black Mass feints toward nuance, with a minor display of Bulger’s grief at the death of his son packed into the story to suggest a psychopath’s unexpected dimensionality.

This intention is given explicit mention later in the movie, paired with an obligatory Ma’sCatholic-funeral sequence; to paraphrase a henchman turning state’s evidence, Whitey was never the same after those losses.

(Neither, of course, were the families of the people he murdered.) Depp’s performance makes this plain enough without the voiceover, but Cooper seems not to have noticed what his star has done for him.

E-mail scott.wilson@pitch.com pitch.com

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FAT C I T Y

this old haus

Back in a familiar neighborhood,

By

Eddie Crane razes the Teutonic.

Charles Ferruzza

E

ddie Crane is back on Martini Corner, moving into an old Haus and giving it a new name.

Haus, you’ll recall, was Chris Seferyn’s German-influenced gastropub (sausages, beer, sausages, cocktails, sausages) at 3044 Gillham Road. The squat, brick former gym never really got past its looks — a vague resemblance to a bunker — and closed in 2014.

Crane — whose past credentials include the nearby Drop as well as Blanc Burgers + Bottles — has gutted the space, built a new bar, reconfigured the patio and updated the kitchen.

When the building reopens, in early October, it will be called Ollie’s Local.

Crane and co-owner Vince Rook call Ollie’s “a classic American neighborhood bar.”

Crane says he defines such a place in fairly Cheers-like fashion: friendliness, a quality that he says is scarce lately. He tells me that too many of the city’s newer bars are more concerned with fancy drink menus than they are with the customers.

“They’re so obsessed with the icing and the sparkles that they forget about the cupcake,” Crane says. “The idea of hospitality has gotten lost over ridiculous details. I’m seeing more places open that care more about what the glassware looks like than what’s in those glasses. You don’t need all those trappings if your focus is on the people coming through the door.

“I’ve told my staff that we’re not here to be the next cool, hot thing,” he adds. “We’re not here for the hipsters but to make our clientele feel comfortable and connected. Like a neighborhood bar in the 1950s and ’60s.”

Crane, 38, cites as inspirations local saloons such as Bobby Baker’s Lounge, in Waldo, and the original Ship, back in its original location at 411 East 10th Street. No pretensions — just booze, good food and good service.

The name of the new bar is meant to evoke a vintage quality. “I want people to walk into this place and feel like it’s been here since the 1950s,” Crane says. But the obvious choice, Eddie’s Place — which several friends suggested — was out. Crane, the father of four youngsters, didn’t want his name on the side of a tavern. “We must have gone through 300 names,” he says.

Who is Ollie? Doesn’t matter. The point, Crane says, is that “everyone knows an Ollie.” He tells me, “We’re not even open yet, and people are telling us that they know Ollie. And maybe they do. He’s becoming a legend before we serve the first drink.”

Or the first plate of food. Crane says Ollie’s is going to serve lunch, dinner and a late-night menu, but the options aren’t fully mapped out yet. He emphasizes that it’s a bar that serves food, not a restaurant with a

Thursday, sepTember 17

Sour Beer Week, with Jolly Pumpkin, at Flying Saucer (101 E. 13th St.), 7 p.m.

Friday, sepTember 18

Boulevard and Cigar City Collaboration No. 5 tropical pale ale release party, at Boulevard

Brewing Co. (2501 Southwest Blvd.), 4-7 p.m.

Sour Beer Week, with Perennial, at Flying Saucer (101 E. 13th St.), 7 p.m.

Oktoberfest battle, at Bier Station (120 E. Gregory Blvd.), 4 p.m.

saTurday, sepTember 19

KC Beerfest, at Flying Saucer (101 E. 13th St.), 3–6 p.m.

Oktoberfest, at KC Bier Co. (310 W. 79th St.),

11 a.m.–10 p.m. Through Sunday, September 20.

Pint Path, including Big Rip, Cinder Block, Screenland Armour, Grain to Glass and more, in North Kansas City, 10 a.m.–midnight.

bar. However you look at it, though, there’s unlikely to be another place serving a $20 bacon double cheeseburger that comes between two BLT sandwiches. Naturally, it’s called the Ollie. Other options sound dainty by comparison: a steak sandwich, baked hand pies, Italian steaks and, for dessert, baked Alaska.

Speaking of nearly forgotten culinary relics, Crane says he plans a punch service. As in beverages ladled from a big bowl.

Alcohol-based punches date back to at least the 17th century, when British sailors brought the idea back from India. Legend insists that punch is the Sanskrit word for five — early boozy punches had only five ingredients. In this country, one thinks of the sweet-tea-and-bourbon punch served in Kentucky during horse-racing season.

At Ollie’s Local, small groups will be encouraged to share a glass bowl of iced punch — rum, whiskey and other liquors — instead of individual cocktails. The punch will be formally presented with a ladle and glasses.

“It’s a very social beverage,” Crane says. “And Ollie’s will be a very social scene.”

Also on the social-scene tip: music. Crane remains a member of the KC band Loaded Goat, and he has built a small stage in a

Homebrewing for Beginners class, at Grain to Glass (1611 Swift, NKC), $50, 3–6 p.m.

Crane pours punch for bar manager Sarah Duggan. corner of the Ollie’s space for, he says, “session performances.” (The inside seats about 105 potential Loaded Goat fans.) “This will not be a live-music venue with regularly scheduled acts,” Crane adds, “although we will be scheduling acts throughout the year.

This will be more like watching musicians play in a living-room setting. We’ll have a guitar and a banjo hanging on the wall for spontaneous performances, but only for performers we know can really play.

We’re not letting just anybody get up on the stage.”

There will be TVs at Ollie’s, of course, but Crane doesn’t want too many of them and is considering ways to artfully conceal them.

That, too, goes back to his idea of friendliness. “There’s an art to conversation that gets lost when people have their eyes glazed to a TV screen,” he says. “Ollie’s is going to be a place where people are going to want to talk to each other.”

And who knows, maybe Ollie — whoever he is — will be around to talk back.

E-mail charles.ferruzza@pitch.com pitch.com

High Plains Brewhoff, at Brew Lab (8004 Foster, Overland Park), 1–5 p.m.

monday, sepTember 21

Tallgrass beer dinner, at Grinders Stonewall (10240 Pflumm, Lenexa), 6 p.m.

Sierra Nevada Ovila beer school, at Barley’s (16649 Midland Dr., Shawnee), $20, 6 p.m.

Tuesday, sepTember 22

Science on Tap: The KU Natural History Museum’s Tyrannosaurus Rex, at Free State Brew-

ing (636 Massachusetts, Lawrence), 7:30 p.m.

Sonoma Cider tapping, at Westport Ale House (4128 Broadway), 6 p.m.

Trivia and a mystery firkin, at Cinder Block (110 E. 18th Ave., NKC), 7 p.m.

Wednesday, sepTember 23

Free State Brewing Co. beer dinner, at Rye (10551 Mission, Leawood), $60, 6:30 p.m., RSVP at 913-642-5800.

Glass Night, at Cinder Block (110 E. 18th Ave.,

NKC)

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bartender’s notebook

farm team

At Novel, Hoap Wilson boasts her drinks with seasonal local produce.

By

Natalie GallaGher

N

th e day after amar o

1-1/2 ounces peach-infused Old Charter 8-Year 1/2 ounce Sibono Amaro 1 barspoon Chinese Five-Spice-infused simple syrup 1/4 ounce lemon juice 1/4 ounce orange juice Wilson: Combine all ingredients into a shaker. Shake until frothy. Strain into a rocks glass filled with ice.

zach bauman

ovel bartender Hoap Wilson is generally soft-spoken, but she is bubbly when I arrive at the restaurant one afternoon a couple of hours ahead of opening. From Novel’s kitchen, she has foraged an array of ingredients specifically for my visit and the drinks I want to try: cocktails centered on in-season produce from local farms.

“I was thinking about doing a bourbonamaro sour,” Wilson says, “and maybe using one of the bourbons.”

The fennel for that syrup has come from Prairie Birthday Farms, along with pears — some of which she has put into a jar of Old Charter 8-year bourbon to make an infusion.

Peaches from Goode Acres Farm have similarly been batched with Old Charter for a peach bourbon. From Crum’s Heirlooms: green tomatoes that have been quick-pickled, and a quantity of apples.

After a few quick sips to compare the pear and peach infusions, we settle on the peach, which delivers a louder fruit profile. Wilson goes to work while I examine some of her stock.

There’s not much room for product in this compact restaurant’s bar, so Wilson is particular in her choices: a young and an aged grappa, several top-shelf Scotches, an intimidating bottle labeled Cardinal Sin Starka. I make a mental note to ask Wilson about pairing some of these spirits as she pushes her first drink toward me.

The Day After Amaro — named for the addition of the Italian Sibona Amaro liqueur — comes in a rocks glass over crushed ice, garnished with a few dainty red blossoms. The liquid is a sunset orange. It looks thick and juicy, but when I taste it, the flavors are subtle: Wilson has used both lemon and orange juice to build in some sour, though the amaro — a sweet, herbaceous liqueur — ensures the result isn’t puckery. Wilson has also sweetened the drink with Chinese five-spice-infused simple syrup, which brings some warmth, with fennel and clove notes. None of these components overpowers the peach bourbon; rather, the drink is balanced and easy to sip.

For the next round, I’m curious about the Starka. The bottle — squat, with a black label and a vaguely Cyrillic font — makes it seem like an old-school Russian vodka, but the liquid is brown.

“It’s aged vodka,” Wilson tells me as she pours a taste. “Starka is the style. It comes from the tradition in Russia, I think, where, whenever a child was born, they’d take a bottle of vodka, put it inside an oak barrel and bury it in the ground, where it would stay and age until they got married.” Wilson pauses. I should fact-check that legend later, she tells me, before going on. “This is actually from St. Louis Distillery, so this vodka has been aged six months in oak. It’s not like a regular vodka at all. I think

it smells like figs or dates, and it kind of burns like a whiskey at the end.”

The nose on the Cardinal Sin Starka does not inspire me. I smell not figs but fear — my fear that this will not agree with me. Oh, well — down the hatch.

“Oh, that’s actually really nice,” I tell Wilson, and I am not lying. Aging the Starka has given it some whiskey-like characteristics — caramel notes, a hint of vanilla. Wilson’s plan for this is to pair it with the Crum’s apples, her fennelfrond syrup and fresh fennel seeds from Prairie Birthday Farms. She slices one of the apples and places about half of it in a shaker with candiedlemon simple syrup, fennel seeds and a squeeze of lemon juice.

“You want to have the lemon with the apple when you’re muddling it, to brighten it up and keep the apple fresh,” Wilson tells me as she works. She adds the fennel-frond syrup, Starka and a bit of Bénédictine — a French herbal liqueur — and shakes it all together. She strains the light, toffee-colored liquid into a coupe glass, then tops it with a splash of cava.

The key with this drink — she calls it Ned Starka — is, again, subtlety. It’s light and refreshing, with plenty of apple flavor and just a tease of fennel. Wilson seems to have mastered the art of a well-balanced cocktail. As a 10-year veteran of the industry — and the former beverage director of the now-closed Pachamama’s in Lawrence — this is not wholly surprising, but Wilson offers another part of her story.

“At the time that I started bartending, I was a vegan and I had been for a really long time,” she tells me. (Wilson is 30.) “Flavors were super important to me because I liked to eat food and

N ed Star ka Wilson keeps it fresh.

I didn’t want to be boring. So I like all these flavors — I like gardening and I like going to the farmer’s market. Incorporating super-fresh ingredients into cocktails was really important to me. I’m lucky to have the opportunity to do that working here, because that’s definitely where my interest is.”

Our final cocktail tests Wilson. The Crum’s green tomatoes she has quick-pickled have yet to be used, and they look like sickly jellyfish in the chartreuse-colored liquid. This is not encouraging. Wilson wants to do a play on the classic Gibson, a savory martini usually made with cocktail-onion brine that should be her simplest recipe of our session: two ounces Tito’s Vodka, a pinch of the fennel seeds and a barspoon of the tomato brine, shaken and strained into a martini glass she has rinsed with Dolin Blanc vermouth. Wilson takes a straw and tastes the drink -- and nearly gags.

“Oh, that’s weird,” she says, grimacing. I ask her if she likes it. “Not really,” she confesses. “I mean, it’s fine. The fennel seeds didn’t really strain properly. It’s weird.”

The drink itself looks beautiful and elegant.

The liquid is pearly, and I’m not bothered by the few fennel seeds that escaped Wilson’s strainer to float on top. The scent reminds me of sweet onions. But Wilson’s reaction has prepared me for something horrifying, and I steel myself as I take a timid first sip of the Doctor’s Wife — only to be surprised by the gentle, silky profile. The sourness of the tomato brine is mellow here, and the fennel lends a soft spice.

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1-1/2 ounces Cardinal Sin Starka 1/2 ounce Bénédictine 1/2 apple, muddled 1/4 ounce candied lemon simple syrup 1/4 ounce fennel frond syrup Squeeze of lemon juice Pinch fresh fennel seeds from Prairie Birthday Farms Splash sparkling wine Wilson: Muddle apple, candied lemon simple syrup, lemon juice and fresh fennel seeds, then add the fennel syrup, Starka and Bénédictine. Shake and strain into a coupe glass. Top with cava.

th e d o cto r’ S Wi fe

2 ounces Tito’s Vodka Pinch fennel seeds Rinse of Dolin Blanc vermouth 1 barspoon pickled green tomato brine Garnish with onion blossoms, green tomato Wilson: Rinse a martini glass in Dolin Blanc vermouth. In a shaker, mix together the vodka and the tomato brine. Shake, strain into martini glass, garnish with onion blossoms and green tomato.

This is a worthy cocktail, I tell Wilson — perhaps my favorite so far. I advise her to add it to her menu. She laughs a little as she begins to clean up her bar.

“Maybe,” she says, “just for the weirdos.”

E-mail natalie.gallagher@pitch.com

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Music

no man’s land

Introducing the weird and wonderful Temp Tats, whose music doesn’t fit any one box.

By

N ata l ie G a l l a Ghe r

discordant notes — impulses left over from Waye and Eric’s previous band, a prog-punk act called Ambulants — and songs push well past the four-minute mark most of the time (“Slackjaw” stretches past seven), but these elements add up to sophistication. This is a band that could fit as easily in a jazz club as it does in a rock venue.

The secret weapon here is Eric’s voice, a smooth tenor with just enough power to muscle through the layers of other sounds.

His moody, introspective lyrics — though not the centerpiece of any song, they aren’t throwaways — are delivered with the assured nonchalance of a singer who has been at this awhile. This is what Arana means, and what elevates Temp Tats above an instrumental outfit with a nominal singer.

“Kansas City has a lot of really great talent, but as far as originality, it’s hard to match those guys,” Arana says. “Especially because they do it in a way that makes their music very approachable. They have really nice melodies and very kind-of-catchy grooves. It’s one thing to make really weird music that pushes people away, but it’s another to make weird music that’s hard not to enjoy.”

ZACH BAUMAN

E-mail natalie.gallagher@pitch.com

T

he members of the year-old Temp Tats are not used to talking about their band. They sit side by side, the four of them crammed onto 27-year-old bassist Chris Paul’s couch in his Shawnee home, sipping beers and occasionally eyeing the TV. The game has been switched off, but Paul’s eyes dart toward it now and then as he wonders when he can resume watching the Royals beat the Twins. It’s a Tuesday night, the band’s weekly practice and hang time, and though I’m welcome, it’s clear that my presence is a puzzlement to these four young men.

This is in stark contrast to a few moments ago, when I was eavesdropping on runthroughs of “Astroid Rage” and “Piercing Tongues.” In the tiny room, the four Temp Tats delivered a confident, idiosyncratic sonic experience. Guitarist and lead singer Eric Schuman, 25, spun his usual webs of complicated guitar chords. His brother, keyboardist Joel Schuman, 28, echoed his precision with vibrant, jazz-rooted scales. (He also plays with the Waldo Jazz Collective.) Drummer Luke Waye, 26, was constantly in motion, building bridges from one sound to another as the band melded math rock, jazz and R&B. “I called it spastic R&B at one point, and we liked that,” Joel tells me. “Or, like, prog soul.”

“We never really talked about what kind of stuff we wanted to play at all,” Eric says. “I don’t even think we really heard it until we went to record everything and were able to kind of sit back and listen to it.”

He’s referring to Temp Tats’ debut, Ions, Temp Tats With Model Stranger, Famous Mammoth and Rev Gusto Friday, September 18, at the Riot Room

which the band plans to release in November.

Jorge Arana — of the similarly experimental prog-jazz group Jorge Arana Trio — handled that recording in his studio.

“They were super-easy to work with, wellrehearsed — it went really fast,” Arana says.

“I feel like they’re the closest that we have here to, like, art songs for rock bands. I feel like here’s a bit of a cross-inspiring going on right now between them, us and [prog-rock band] Riala. We’re the closest bands to each other, though we all sound different and have a different vibe. Temp Tats has a really good sense of melodies and rhythms. They have

Temp Tats: no labels the most pop sensibility, but they do it in a way that’s very unexpected. Eric — I think he’s probably my favorite songwriter in town at the moment.”

Eric explains that, while the guitar parts and lyrics are his, he considers every song a collaborative effort.

“I generally write songs and then just bring my parts to the band,” Eric says. “I don’t really tell anybody what to do or give them much direction. Everybody is completely involved with their own part — they’re not playing a part that someone else wrote for them or something like that, so they can kind of expand it however they want.”

When I suggest that this style of songwriting could lead very easily to a tone-deaf mess, Eric laughs. “We don’t avoid cacophony,” he tells me. “There’s a lot of confusion.”

While his bandmates snicker at his word choice, I consider Eric’s position. The three songs on the demo tape that he has passed to me — a preview, he says, of Ions — indeed suggest four members with varying positions and backgrounds, but the results aren’t really befuddling. There are a few purposely

pitch.com

J a z z B e at BoBBy Watson QuartEt, fEaturing Curtis Lundy, at thE foLLy thEatEr

The Folly Theater kicks off the 34th season of its jazz series with one of today’s most renowned alto saxophonists and jazz composers: Kansas City’s own Bobby Watson, a musician who performs on stages worldwide. Watson is director of jazz studies at the University of Missouri–Kansas City Conservatory of Music and Dance, and occasionally he’s found jamming in a local club — perhaps with former students. But seeing him showcased with his own ensemble, opening his hometown’s premier jazz series, is special. Watson’s compositions build with intelligence. His solos dart and weave with imagination and originality. Joining him at the Folly: Grammy-nominated Curtis Lundy, his longtime musical companion, on bass; Richard Johnson on piano; and Eric Kennedy on drums.

— Larry Kopitnik Bobby Watson Quartet, featuring Curtis Lundy, 8 p.m. Friday, September 18, at the Folly Theater (300 West 12th Street, 816-474-4444), tickets starting at $20.

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music

THE REUNION

After four years apart, Stik Figa and D/Will get back together for JOBB.

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R

apper John Westbrook, who performs as Stik Figa, and producer Denzel Williams, known as D/Will, made up one of the most industrious local duos of the late aughts, with four full-length releases between 2009 and 2011. Then, without much fanfare, they decided it was time to look for different creative partners.

Westbrook released the moody The City Under the City with North Carolina producer L’Orange; Williams partnered up with MC Les Izmore of Heartfelt Anarchy and rising local rapper Barrel Maker. Now, after four years apart, Westbrook and Williams have again joined forces. Friday, September 18, they release their newest record, JOBB (pronounced Jay-oh-bee-bee). It’s a half-hour of polished, crystalline beats set to a gritty story that’s in line with Westbrook’s blue-collar realism — and it’s on track to be one of this year’s hottest hip-hop releases.

Ahead of Friday’s release show at Mills Record Co., I chatted with the pair.

The Pitch: What brought you back together?

Westbrook: A love story. [Laughs.] I guess it was just timing. We both had other people we wanted to work with. It’s funny, though, because we had already recorded the record [JOBB] two years ago, but he also had projects he was focusing on, so it got lost in translation. When we were like, “We gotta get back together and have actual fun,” we revisited the record.

Williams: Stik is one of my closest friends, so 24

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D/Will (left) and Stik Figa: together again Stik Figa and D/Will Friday, September 18, at Mills Record Co. we never lost contact, but musically, we went in different directions. But I still talked to him, like, two or three times a day, so I really don’t feel like we took a break at all.

What do you like best about working with each other?

Westbrook: My favorite thing about working with D/Will is that he just kind of gets me and what I’m about. He’s actually dope at what he does, and I’m good at what I do, and there’s not a whole lot that needs to be said out loud. It’s kind of easy. It has the least amount of work involved — on my end, anyway — when we get together. We just drink and crack jokes and come up with rap songs, and I think it finds its way into the music, that effortlessness.

Williams: It doesn’t feel planned or forced, ever. The whole session, it just feels like I’m hanging out with my first cousin or something.

We’ll play video games, grab some food, and all of a sudden we’ll start listening to beats, and then raps happen, and that’s it. It just doesn’t feel like anything else when I work with him.

Stik, when it comes to your raps, I know that you draw inspiration from personal experiences.

What were some specific things you looked at in your life that you wanted to bring to this project?

By

n ata l ie g a l l a ghe r

Westbrook: From my perspective, it’s like a thing of straddling these two realities. There’s this idea that being a rapper guarantees all of these things — money, fame, groupies or whatever — and that’s what is measured as far as success. And then on the flip, I’ve got my actual job that I’m on that allows me to provide for my family, my kids and people I care about, but there are no accolades for that because that’s what you’re supposed to do.

So on this record, I looked at both of these things, the labor of each of them. Is it a labor of love or a labor of necessity?

Success has different meanings to different people. A lot of times, I write lighthearted or funny stuff, but this was serious because it was about finding value in the work that you do. If you’re being recognized for your work or not being recognized for it, what does that mean to you? I found that you have to find the value for the work yourself, and you have to define success for yourself instead of seeking external validation. whether it’s in the art or working at the coffee shop or an overnight shift at FedEx. How do you define success for yourself?

Westbrook: I would say I’m successful in the context of where I started, and I still have goals in front of me that I want to accomplish. Yeah, I think I’m successful. I like to think so. My kids eat every day. They’re happy. That makes me feel successful. Sometimes I look at my music, and I feel like there’s more people that could hear it, and if they heard it, they’d enjoy it, but I’m grateful for what I can do with what I’ve been given and I feel confident in that.

You are two of the busiest artists around town. What drives you to create as prolifically as you do? What do you get out of the experience?

Westbrook: For me, it’s just the opportunity to express myself because I don’t get to do it very often in the day-to-day. I’m driving myself crazy listening to my own thoughts all the time in my head, and it just so happens that sometimes I’m in my head and I think, “Maybe someone else feels the same way I do, and maybe I can put this on a record and someone else will relate to it.” That’s my main goal, whenever I’m writing a record or coming up with an idea for a record. And if that well ever dries up, I won’t do it.

Williams: It’s a creative release for me. Being a sample-based producer, each new record is the new beat. Each time I go record shopping, it’s like I bought a new instrument. And I buy a new record often — I’ve got two or three shops a week that I buy from. I am in love with creating sound and making hip-hop and making it sound interesting. The love of it is what drives me to wake up and do it.

E-mail natalie.gallagher@pitch.com

25

Music

ghe r

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Music Forecast

By

n ata l ie G a l l a Ghe r

Taylor Swift

Here’s what we know for sure about Taylor Swift. The 25-year-old singer-songwriter and seven-time Grammy Award winner loves her cats, Meredith Gray and Olivia Benson. As of press time, she had surpassed Kim Kardashian in Instagram followers (making her the most followed person on the ’Gram). And her 2014 album, the pop-centric 1989, confirmed what music heads around the world were already anticipating: global domination by the Swift empire. Swift has been touring in support of that album since May, and fans everywhere have reveled in the endless stream of surprise guests at various tour stops. Finally, on backto-back nights at the Sprint Center, Kansas City gets to bask in the glorious sunshine of Swift.

Which glamazon girlfriend will she bring with her? Where might we spot her around town?

Let the #SwiftSightings begin. Aussie pop star Vance Joy opens. Both shows are, obviously, sold out.

Monday, September 21, and Tuesday, September 22, Sprint Center (1407 Grand, 816-949-7100)

Making Movies Carnaval

Last year, local Latin-rock band Making Movies launched a successful culture, music and arts festival, Making Movies Carnaval. The Carnaval returns with a hefty lineup of multicultural acts curated by Making Movies: L.A.’s Las Cafeteras, a band built around Afro-Mexican beats and social messages; New Orleans’ Hurray for the Riff Raff, an acoustic blues-folk duo featuring the smoky, gorgeous voice of Alynda Segarra; Austin’s Migrant Kids, deliverers of moody, synth-driven pop to which you’ll have no problem grooving; and Houston’s Gio Chamba, who produces live electronic dance-meets-cumbia fusion music (yes, it’s as weird as it sounds, but delightfully so). This is an all-ages party with plenty of kid-friendly activities, too, so show up early and be prepared to stay late.

Saturday, September 19, Knuckleheads Saloon (2715 Rochester, 816-483-1456)

THURSDAY SEPTEMBER 17

COLBY AND CASEY SUNDAY SEPTEMBER 20

PATRICK WOOLAM THURSDAY SEPTEMBER 24

MITCH PRATHER

SUNDAY SEPTEMBER 27

NICK MARSHALL

the lyrics that tumbled out of lead singer Bethany Cosentino’s mouth were charged with a lackadaisical, often drug-induced positivity.

On California Nights, Cosentino seems to have found a jaded cynicism that manifests itself in her most personal and transparent songwriting yet. Some of it is trite and schoolgirlish. (On “So Unaware,” Cosentino belts out this unfortunate line: What is life, what is love, what’s the meaning of it all?) For the most part, it’s nice to see her sobering up and trying to figure shit out. There’s something charming about the angst-ridden “When Will I Change,” which suggests that Cosentino hasn’t totally abandoned her optimistic ways. Despite the lyrical shift, Best Coast has lost none of its affinity for sparkling synths. Sunday night’s show at RecordBar is sold out, but check Craigslist.

Sunday, September 20, RecordBar (1020 Westport Road, 816-753-5207)

Wavves

Fuzzy riffs, scratchy singing and barely there me. Being Five years after its debut, Crazy for You, Best hooks dominate No Life for Me, the collaboraw record is Coast is no longer the California-dreamin’ band tion album from San Diego slacker punk band shopping, it was when it emerged — back when most of Wavves and Cleveland’s Cloud Nothings. It’s And I buy a f o r e c a s t K e Y hree shops with creat Pick of the Week Mini Festival making it Swifties Unite Up and Coming hat drives

Best Coast

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Swift: sunshine ahead a solid effort that makes you wish the bands were touring together, but getting just Wavves at the Granada should be entertaining enough.

Frontman Nathan Williams doesn’t shy away from mosh pits, rowdy crowds or mind-altering substances, which means that this show could go any number of ways. Come prepared.

Sunday, September 20, the Granada (1020 Massachusetts, Lawrence, 785-842-1390)

Levi Parham

Levi Parham was last in KC in January, which leads us to believe that this Oklahoma native is rarely at home. Parham is continuing his roadwarrior ways in support of his 2014 EP, Avalon Drive, six Americana songs that showcase his grainy, warm voice. Fans of Ray LaMontagne and Amos Lee should find plenty to like in this Southern charmer.

Wednesday, September 23, the Riot Room (4048 Broadway, 816-442-8179)

Mosh-Worthy Punk'd

Super Sold Out

Synth City

United States of Americana

All Ages

California Dreamin'

Road Warrior

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27 continued from page 15

Thursday | 9.17 |

kansas ciTy fashion week

TheaTer shows & evenTs Dates and times vary.

Comedy

Harpoon’s Good Time | 6-9 p.m. Replay Lounge, 946

At Home at the Zoo | Kansas City Actors The-

atre, City Stage at Union Station, 30 W. Pershing Rd., kcactors.org

Massachusetts, Lawrence

dustin ybarra | 8 p.m. Stanford’s Comedy Club, 7328 W. 119th St., Overland Park

Black Bewitched | Late Night Theatre, Missie B’s, 805 W 39th St.

expo

Kansas State Fair | Kansas State Fairgrounds, 2000

Joseph and the Amazing Technicolor Dreamcoat | 7:30 p.m. Wednesday, Lied Center of

CommuniTy evenTS

The Oldest Boy | Unicorn Theatre, 3828 Main,

N. Poplar, Hutchinson, kansasstatefair.com

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

unicorntheatre.org

Third Thursday on the Tracks | 5:30-7:30 p.m., 135th St. and Washington, Martin City, martincity.org

Our Brother’s Caper, presented by KC Mystery

Train | Crowne Plaza Hotel, 1301 Wyandotte, kcmysterytrain.com

Film

The Merchant of Venice, presented by the Royal Shakespeare Co. | 7 p.m. Tivoli Cinemas, 4050 Pennsylvania, tivolikc.com

Sunday in the Park With George | KC Repetory

SporTS & reC

Tlr’s Whiskey Smash, benefiting the Living Room Theatre | 6 p.m. Sunday, $100, The Living Room, 1818 McGee, thelivingroomkc.com

Theatre, at the Atkins Auditorium, Nelson-Atkins Museum of Art, 4525 Oak, kcrep.org

American royal Arabian Horse Show | 8 a.m.8 p.m. American Royal Complex, 1701 American Royal Ct., americanroyal.com

we d n es d

ay

The Miracle Worker | Starting Tuesday, the Coterie Theatre, 2450 Grand, Crown Center, thecoterie.org

9 . 23

Lights, fash

Arc Flash, ex Specter, youngest Children, nevada Greene | 10 p.m. Replay Lounge, 946 Mas-

ion ...

J A S O N AT H E R T O N

muSiC

sachusetts, Lawrence

Aspen Hourglass, morning Bear, Fox Hat, the Wrong Alice | 8 p.m. Davey’s Uptown Ramblers Club, 3402 Main

Kansas City Fashion Week runway show | 7 p.m. One-Light Rooftop Pool, 10 E. 13th St. Pictured, designs

by Architexture.

Brian davis | 7 p.m. PBR Big Sky Bar, 111 E. 13th St. Josh Garrels, Will reagan | 7 p.m. The Granada,

1020 Massachusetts, Lawrence

Grand marquis | 7 p.m. Jazz, 1823 W. 39th St. Brandon Hudspeth and Jaisson Taylor | 7:30 p.m.

B.B.’s Lawnside BBQ, 1205 E. 85th St.

Keb mo | 8:30 p.m. Knuckleheads Saloon, 2715 Rochester menagerie | 8 p.m. MiniBar, 3810 Broadway

Sunday, 8201 State Line, wornallmajors.org

niGHTliFe

Comedy

dJ G Train | 10 p.m. Replay Lounge, 946 Massachusetts, Lawrence

deray davis | 8 & 10:30 p.m. Improv Comedy Club

| 5:30 p.m., $100, Westin Crown Center, 1 Pershing Rd., gciblancoynegro.com

don’t Blink: A doctor Who Quiz | 7 p.m. Green

KC improv Festival | 7 p.m. Musical Theater Heritage

CommuniTy evenTS

Geeks Who drink | 8 p.m. Tapcade, 1701 McGee

norm & Friends Comedy Showcase | 10 p.m.

Room Burgers & Beer, 4010 Pennsylvania

mondo disco with ray velasquez | 10 p.m. The Foundry, 424 Westport Rd.

Friday | 9.18 |

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

at Crown Center, 2450 Grand, kcimprovfestival.com

Uptown Arts Bar, 3611 Broadway

peter Schlamb | 7 p.m. The Blue Room, 1600 E. 18th St. Ssion | The Brick, 1727 McGee

Arts, 1601 Broadway, kcsymphony.org

Overland Park, between 79th and 80th streets, west of Metcalf, downtownop.org Film

expo

off-the-Wall film series: Desperately Seeking Susan | 8:45 p.m. Kansas City Central Library, 14 W.

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

Kansas State Fair | Kansas State Fairgrounds, 2000 KC Symphony: ravel’s Boléro and Symphonic Soloists | 8 p.m. Kauffman Center for the Performing

local life Third Fridays | 5-9 p.m. Downtown

dustin ybarra | 7:45 & 9:45 p.m. Stanford’s Comedy

perForminG ArTS

peewee moore & the Awful dreadful Snakes |

7 p.m. Knuckleheads Saloon, 2715 Rochester

A Centenary of Australian War Art | National World War I Museum at Liberty Memorial, 100 W. 26th St., theworldwar.org Lives in Fabric: Textiles of the Wornall/ Majors House Museums | 1-4 p.m. Saturday-

Chrissy, Tvrnt | 8 p.m. The Bottleneck, 737 New Hampshire, Lawrence

MUseUM exhibiTs & evenTs

N. Poplar, Hutchinson, kansasstatefair.com

F00d & drinK

dinner on the prairie | 6:30 p.m., $150, Overland Park

CommuniTy BeneFiTS

Blanco y negro, benefiting Guadalupe Centers Inc.

pitch.com

10th St., kclibrary.org

Arboretum, 8909 W. 179th St., Overland Park, opabg.org

S E PT E M B E R 1 7- 2 3, 20 1 5

continued on page 28 the pitch

27

28 Bobby Watson Quartet featuring curtis Lundy | 8 p.m. Folly Theater, 300 W. 12th St.

at home at the zoo

NiGHtLiFe

DJ e | Quaff Bar & Grill, 1010 Broadway DJ Martin Bush | 10 p.m. MiniBar, 3810 Broadway DJ proof | 10 p.m. Replay Lounge, 946 Massachusetts,

Lawrence

Kimbarely Legal | 10 p.m. Replay Lounge, 946 Massachusetts, Lawrence Mike Scott’s Vinyl resurrection | 10 p.m. Local Tap, 7300 W. 119th St., Overland Park

satu r da y

ivan Smagghe, Sheppa | 10 p.m. The Riot Room,

9.19

4048 Broadway

Saturday | 9.19 |

KCAT h o

sts Edw ard Albee.

M I K E TS A I

perForMiNG ArtS

At Home at the Zoo | Kansas City Actors Theatre, City Stage at Union Station, 30 W. Pershing Rd., through

September 27, kcactors.org; above: Brian Paulette and Jessalyn Kincaid

Filthy 13 | Jazz, 1823 W. 39th St.

continued from page 27

8 p.m. American Royal Complex, 1701 American Royal Ct., americanroyal.com

Autumn Twilight, Dwelling Among Mountains | Kemper Museum of Conte mporar y Ar t, 4420 War w ick Blvd ., kemperart.org

Brush creek Art Walk | Friday-Sunday, $35, 5 miles along Brush Creek, missourivalleyimpressionistsociety.com

Adam Cvijanovic: American Montage

| Through Sunday, Kemper Museum of Contemporary Art, 4420 Warwick

Emmet Gowin: Photographs | Nelson-Atkins Museum of Art, 4525 Oak, nelson-atkins.org

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

Marco Maggi: Drawing Attention | Kemper Museum of Contemporary Art, 4420 Warwick Blvd.

On Cyprus Avenue with Wylliams Henry contemporary Dance, hosted by Bill Shapiro | 8 p.m. Folly

Pedal to the Metal | The National Mu-

Kc Symphony: ravel’s Boléro and Symphonic Soloists | 8 p.m. Kauffman Center for the Performing

Suspended Animation: Gary Pycior |

Theater, 300 W. 12th St., wylliams-henry.org

Arts, 1601 Broadway, kcsymphony.org

SportS & rec

American royal Arabian Horse Show | 8 a.m.-

art exhibits & events

seum of Toys and Miniatures, 5234 Oak, toyandminiaturemuseum.org

6 p.m. Fridays, Kiosk Gallery, 916 E. Fifth St., kioskgallerykc.com

coMeDy

Grand Villanova | 9 p.m. The Kill Devil Club, 61 E.

14th St.

the Joy Formidable | 8 p.m. KC Live Stage at the

comedy city | 7:30 p.m. The Exchange Event Space, 113 W. Lexington Ave., Independence

third thursday at the Nelson: outside the Bloch, featuring music by the Outsides, DJ Joe, activities and food trucks | 6-9 p.m. NelsonAtkins Museum of Art

Power & Light District, 14th St. and Grand

Deray Davis | 7 & 9:45 p.m. Improv Comedy Club and

theater, 633 N. 130th St., Bonner Springs, thedjdash. pulsemob.com

Model Stranger, Famous Mammoth, temp tats, rev Gusto | 7 p.m. The Riot Room, 4048 Broadway

Kc improv Festival | 7 p.m. Musical Theater Heritage

pub N pedal Goldsprints/pub N pedal 9 | 8 p.m.-

the Nace Brothers | 8 p.m. VooDoo, Harrah’s Casino,

at Crown Center, 2450 Grand, kcimprovfestival.com

4:30 p.m. Nerman Museum of Contemporary Art, 12345 College Blvd., Overland Park, nermanmuseum.org

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

Transmissions/Signals: New Work by Warren Rosser and James Woodfill |

the DJ Dash 5k | 7 p.m. Cricket Wireless Amphi-

3 a.m. Art and Bicycle Clubhouse, 504 E. 18th St.

Sporting Kc vs. Fc Dallas | 6 p.m. Sporting Park, 1

Sporting Way, KCK

1 Riverboat Dr., North Kansas City

No cave, toughies, Sona | 10 p.m. Replay Lounge,

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

946 Massachusetts, Lawrence

third thursday at the Nerman | 3:30-

UMKC Gallery of Art, 5015 Holmes, Room 203

expo

Matt otto Quartet | 7:30 p.m. The Broadway Kansas

Kansas State Fair | Kansas State Fairgrounds, 2000

uNplaza Art Fair | 10 a.m.-6 p.m. Saturday, noon-5 p.m. Sunday, All Souls Unitarian Universalist Church, 4501 Walnut

Leon russell | 7:30 p.m. Knuckleheads Saloon, 2715

F e S t i VA L S

World War I and the Rise of Modernism |

setts, Lawrence

Shades of Jade | 9 p.m. The Tank Room, 1813 Grand

Friends of Shawnee town Arts & crafts Fair & Fall Festival | 9 a.m.-4 p.m. Shawnee Town 1929, 11501

Spencer Bohren | 9 p.m. B.B.’s Lawnside BBQ, 1205

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

MuSic

chad Abernathy | 5 p.m. Hotel Phillips, 106 W. 12th St. the Big Shoals, Drifters by Moonlight, Jasper, Not of the Body | Jackpot Music Hall, 943 Massachu-

City, 3601 Broadway

Rochester

E. 85th St.

port Rd.

the cry, Lost element, Josh Berwanger Band | 8 p.m. The Riot Room, 4048 Broadway

the String & return, Major Games | 9:30 p.m.

the Dear Hunter, chon and Gates | 7 p.m. The

Sweet Ascent | 6:30 p.m. The Bottleneck, 737 New

Granada, 1020 Massachusetts, Lawrence

charlotte embrey & Soigné | 8:30 p.m. The Blue Room, 1600 E. 18th St.

N. Poplar, Hutchinson, kansasstatefair.com

RecordBar, 1020 Westport Rd.

Hampshire, Lawrence

twice on Sunday | 10 p.m. Kelly’s Westport Inn, 500

Westport Rd.

Nelson-Atkins Museum of Art, 4525 Oak

W. 57th St., Shawnee

Kansas city renaissance Festival | 10 a.m.-7 p.m., 628 N. 126th St., Bonner Springs, kcrenfest.com

Waldo Fall Festival | 10 a.m.-5 p.m., 75th St. and

Wornall, waldokc.org

Smithville’s Backyard BBQ Bash , featuring

an amateur barbecue contest, pie baking contest and washers tournament | 10 a.m.-7 p.m., Smithville Lake, northeast of Smithville, Mo., on U.S. Hwy. 169, smithvillechamber.org FiLM

coMMuNity eVeNtS

Arty Gras Kc, benefiting Bikers Against Child Abuse |

7-11:45 p.m., $30-$40, Danny’s Big Easy, 1601 E. 18th St.

Brick | 1:30 p.m. Kansas City Central Library, 14 W. 10th St., kclibrary.org

continued on page 30 28

the pitch

S E PT E M B E R 1 7- 2 3, 20 1 5

pitch.com

29

Join us for an evening of celebration, networking & making memories.

LIVE MUSIC BY

SHY BOYS

CELEBR ATE with the

KANSAS CITY THURSDAY, OCT. 15

REX HOBART

AND THE MISERY BOYS

YES YOU ARE Limited tickets available. Tickets may not be available at door. Must be 21+ w/ valid ID.

pitch.com

S E PT E M B E R 1 7- 2 3, 20 1 5

the pitch

29

30 continued from page 28 Everyman, presented by National Theatre Live | 1:30

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

Records Collecting Dust | RecordBar, 1020 West-

port Rd.

Hearts of Darkness | 3:30 p.m. Knuckleheads Saloon, 2715 Rochester

kansas city chiefs vs. denver broncos

Joe Moss | 9 p.m. B.B.’s Lawnside BBQ, 1205 E. 85th St.

th u r

Lounge, 946 Massachusetts, Lawrence

F00d & drink

kC Beer Fest, presented by Flying Saucer | 3-6 p.m., $35/$60, Power & Light District, 14th St. and Walnut, kc-beerfest.com Pint Path | Noon-midnight, North Kansas City, pint-

pathkc.com

sday

9.17

narkalark, real Adults, Lion | 10 p.m. Replay

hi m Sack n! a ag i

organ Jazz trio | 9:30 p.m. Green Lady Lounge, 1809 Grand

the String & return, Major Games | 8 p.m. The

Bottleneck, 737 New Hampshire, Lawrence

traindodge, Zebulon Pike, doris | 9:30 p.m. Re-

cordBar, 1020 Westport Rd.

American royal Youth and open Horse Show | 8

a.m.-5:30 p.m. American Royal Complex, 1701 American Royal Ct., americanroyal.com

the White Panda | KC Live Stage at the Power & Light District, 14th St. and Grand

Youngblood Supercult, 88er, Pets with Human names | Jackpot Music Hall, 943 Massachusetts,

Halfway to the Green Golf tournament, benefiting the Shelter Inc. of Douglas County | 8 a.m., $100 per person, Alvamar Country Club, 1809 Crossgate Dr., Lawrence, lawrencestpatricksdayparade.com

Lawrence

kC Games for Good | Noon-5 p.m. National World

Lounge, 946 Massachusetts, Lawrence

War I Museum at Liberty Memorial, 100 W. 26th St., kcgamesforgood.org

Pub n Pedal Goldsprints/Pub n Pedal 9 | 5 p.m.3 a.m. Art and Bicycle Clubhouse, 504 E. 18th St. MuSiC

niGHtLiFe

Cinemaphonic with Cruz & Cyan | 10 p.m. Replay

MuSiC

CoMedY

dJ e | Quaff Bar & Grill, 1010 Broadway

Baby Birds don’t drink Milk, CS Luxem, Arc Flash | 10 p.m. Replay Lounge, 946 Massachusetts,

Lawrence

uptown comedy open mic with norm dexter | 9 p.m. Uptown Arts Bar, 3611 Broadway, uptownarts

Gold Label Soul with Hector the Selector |

dedric Clark and the Social Animals | Jackpot

MuSiC

Marty Friedman, exmortus, Hellevate | 7 p.m.

the Black Mariah theater, the natalie Bates Sextet | 9:30 p.m. RecordBar, 1020 Westport Rd.

The Riot Room, 4048 Broadway

Victoria Barbee | 8 p.m. Hotel Phillips, 106 W. 12th St. Brian davis, roman Alexander | 7 p.m. The

Meta Hi-Fi | 10 p.m. Uptown Arts Bar, 3611 Broadway

Sunday | 9.20 |

dJ Soulnice | 10 p.m. MiniBar, 3810 Broadway

PerForMinG ArtS

el Chico Sierra | 10 p.m. Uptown Arts Bar, 3611 Broadway

Andrew Foshee and his Gosh darn Band | 9 p.m.

The Tank Room, 1813 Grand

kC Symphony: ravel’s Boléro and Symphonic Soloists | 2 p.m. Kauffman Center for the Performing

Arts, 1601 Broadway, kcsymphony.org CoMedY

Grand Marquis | 9 p.m. The Kill Devil Club, 61 E. 14th St. J-izzie, Marty notes, Farout, Suspect, Scotty Wu, Ant tycoon | 6 p.m. The Riot Room, 4048

deray davis | 7 p.m. Improv Comedy Club and Dinner Theater, 7260 N.W. 87th St.

Broadway

exPo

Jazz disciples with Clint Ashlock | 8:30 p.m. The

kansas State Fair | Kansas State Fairgrounds, 2000

Mark Lowrey trio | 8:30 p.m. The Broadway Kansas

F e S t i VA L S

Blue Room, 1600 E. 18th St.

City, 3601 Broadway

Lucky Graves, dead Voices, the Quivers | 9 p.m.

Davey’s Uptown Ramblers Club, 3402 Main

N. Poplar, Hutchinson, kansasstatefair.com

kansas City renaissance Festival | 10 a.m.-7 p.m., 628 N. 126th St., Bonner Springs, kcrenfest.com FiLM

the M80s | 8 p.m. American Garage Bar, 1 S.E. Fourth

St., Lee’s Summit

Making Movies Carnaval, featuring Hurray for the

The Color Purple | 6 p.m. Alamo Drafthouse, 1400 Main

Riff Raff, Las Cafeteras, Migrant Kids , Gio Chamba,

30

the pitch

kansas City Chiefs vs. denver Broncos | 7:25 p.m. Arrowhead Stadium

demarkus Lewis, Jason kidd, Pat nice | 9 p.m.

10 p.m. The Eighth Street Taproom, 801 New Hampshire, Lawrence

Granada, 1020 Massachusetts, Lawrence

The kansas ciTy chiefs

SPortS & reC

S E PT E M B E R 1 7- 2 3, 20 1 5

bar.com

Music Hall, 943 Massachusetts, Lawrence

The Riot Room, 4048 Broadway

riverrock | 7 p.m. Knuckleheads Saloon, 2715 Rochester

Jeff Brown, Witfield, Crabalocker | Jackpot Music Hall, 943 Massachusetts, Lawrence

Sister Sledge | KC Live Stage at Power & Light District, 14th St. and Grand

Good Graeff, dolls on Fire, the Blackbird revue, Margo May | 8 p.m. The Riot Room, 4048 Broadway

627 Big Band | 8:30 p.m. Green Lady Lounge, 1809

Mike Herrera | 7 p.m. The Blue Room, 1600 E. 18th St.

Grand

Waaves, twin Peaks Swmrs | 7 p.m. The Granada, 1020 Massachusetts, Lawrence

niGHtLiFe

Communion Club night | 8 p.m. The Tank Room,

1813 Grand

Spoonfed tribe, dJn8, dSPAnG, Aplsoz | 8 p.m.

Charlie Parr, Jeff Stolz | 6 p.m. Replay Lounge, 946 Massachusetts, Lawrence

rod Picott, Laura Lisbeth | 7 p.m. Uptown Arts

Bar, 3611 Broadway

rural Grit Happy Hour | 6-9 p.m. Brick, 1727 McGee taylor Swift | 7:30 p.m. Sprint Center, 1407 Grand

The Riot Room, 4048 Broadway

niGHtLiFe

Monday | 9.21 |

Geeks Who drink Pub Quiz | 8 p.m. Green Room Burgers & Beer, 4010 Pennsylvania

PerForMinG ArtS

Musical Monday | 7:30 p.m. Musical Theater Heri-

tage at Crown Center, 2450 Grand, musicaltheater heritage.com

karaoke Sammitch | 10 p.m. Replay Lounge, 946 Massachusetts, Lawrence

open Mic | 8 p.m. The Bottleneck, 737 New Hampshire, Lawrence

Singles trivia 5.0 | 7 p.m. Waldo Pizza, 7433 Broadway

pitch.com

31 Sonic Spectrum Music Trivia | 7 p.m. RecordBar, 1020 Westport Rd.

Tuesday | 9.22 | PerforMing ArTS

Musical Tuesday | 7:30 p.m. Musical Theater Heritage at Crown Center, 2450 Grand, musicaltheater heritage.com

kansas city renaissance festival

Sequel Trio | 9 p.m. Green Lady Lounge, 1809 Grand Steve ’n’ Seagulls, loaded goat, Baker’s Pride | 7 p.m. The Riot Room, 4048 Broadway Taylor Swift | 7:30 p.m. Sprint Center, 1407 Grand Twenty one Pilots | 7 p.m. Starlight Theatre, 4600

Starlight Rd.

uB40 | 7 p.m. The Midland, 1228 Main

CoMedy

Comedy open-mic night | 8 p.m. The Tank Room, 1813 Grand

young roddy, the Abnorm, T.y. | 8 p.m. The Riot Room, 4048 Broadway

nigHTlife

open-mic night | 8 p.m. Stanford’s Comedy Club, 7328 W. 119th St., Overland Park

su n day

geeks Who drink Pub Quiz | 8 p.m. The Cashew,

9.20

2000 Grand

filM

RecordBar, 1020 Westport Rd.

geeks Who drink Pub Quiz | 8 p.m. Hi Dive Lounge, 1411 W. 39th St.

Wednesday | 9.23 |

SPorTS & reC

“Waht is

J i l l i a n S h o p taw

The Decline of Western Civilization | 9:30 p.m.

a ‘ring tone’?”

filM

royals vs. Mariners | 7:10 p.m. Kauffman Stadium MuSiC

Arcade Fire: The Reflektor Tapes | 7 p.m. Alamo

Drafthouse, 1400 Main

Clint Ashlock’s new Jazz order | 9 p.m. The

Broadway Kansas City, 3601 Broadway

Billy ebeling | 7 p.m. Jazz, 1823 W. 39th St. eligh, dem Atlas, Milkdrop, farout | 8 p.m. The Bottleneck, 737 New Hampshire, Lawrence

Kansas City renaissance festival | 10 a.m.-7 p.m., 628 N. 126th St., Bonner Springs, kcrenfest.com

Pop-up Beats Show | 9 p.m. MiniBar, 3810 Broadway

SPorTS & reC

royals vs. Mariners | 7:10 p.m. Kauffman Stadium Sporting KC away game | 7:30 p.m. Alamo Draft-

house, 1400 Main

rise of the Broken, Vigil and Thieves, Striving the Cairo | Jackpot Music Hall, 943 Massachusetts,

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

robosonic, futuro | 9 p.m. The Riot Room, 4048

Lawrence

Lawrence

Broadway MuSiC

grease House Boogie Band | 7 p.m. B.B.’s Lawnside

BBQ, 1205 E. 85th St.

Warren Haynes, the Ashes & dust Band, Bill landry | 6:30 p.m. Uptown Theater, 3700 Broadway lyric lab: Music open Mic | 9 p.m. Uptown Arts

Bar, 3611 Broadway

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

BBQ, 1205 E. 85th St.

Enter to win a pair of tickets to See

galactic Acid, Crabalocker, idle Twilight | 10 p.m.

Replay Lounge, 946 Massachusetts, Lawrence

organ Jazz Trio | 9 p.m. Green Lady Lounge, 1809

Grand

4048 Broadway

Brian ruskin Band | 7 p.m. The Phoenix, 302 W. Eighth St.

85th St.

12th Street Jump with nick rowland | 7:30 p.m.

The Broadway Kansas City, 3601 Broadway

Uptown Theater on October 3

Register NOW at pitch.com/kansascity/freestuff

Weaver | 8 p.m. The Bottleneck, 737 New Hampshire,

nigHTlife

rose Quartz, Holiday Mountain, rlT, redder Moon | 7:30 p.m. The Riot Room, 4048 Broadway

Shinetop Jr. | 7 p.m. B.B.’s Lawnside BBQ, 1205 E.

levi Parham, John Calvin Abney, nicholas St. James, Victor & Penny | 6 p.m. The Riot Room,

uncle lucius | 7 p.m. Knuckleheads Saloon, 2715

Rochester

Cowtown Cowboys’ Turntable Matinee | 8 p.m.

Davey’s Uptown Ramblers Club, 3402 Main

oktoberfest tapping party | 5:30-8:30 p.m. The Kill Devil Club, 61 E. 14th St.

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 E PT E M B E R 1 7- 2 3, 20 1 5

the pitch

31

32

S ava g e L o v e

minds blown

Sad Mama Dear SM: If your son says he’s happy, you

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the pitch

should believe him and be happy for him.

It’s unfortunate that your son framed the news about his choices and his marriage — which make him happy — in what sounds like a clumsy critique of your choices and your marriage. (If that’s what he did. I’ve only got your characterization of his comments to go on, not a tape recording of them, and it has been my experience that monogamous folks sometimes hear critiques of their choices when we nonmonogamous folks talk about our own choices. “We’re not doing what you’re doing” ≠ “You’re doing it wrong.”)

There’s nothing necessarily “finite,” untruthful, limiting or dishonest about monogamy. If that’s what two people want, and it makes those two people happy, that’s great.

Monogamy is what you and your husband wanted, it’s what made you and your husband happy, and it worked for your marriage. You could see your son’s choice to be nonmonogamous as a rejection of everything you modeled for him or you could see his choice as modeled on the fundamental bedrock stuff — for lack of a better word — that informed the choice you made. Your son and his wife are doing what they want, they’re doing what makes them happy, and they’re doing what works for their marriage. They’re not doing monogamy (or kids), but they’re doing what’s right for them and what works for them — just like his mom and dad did.

There are lots of people out there in happy, fulfilling open/poly relationships, and lots of people out there in happy, fulfilling monogamous relationships. (And there are lots of miserable people in both kinds of relation-

S E PT E M B E R 1 7- 2 3, 20 1 5

D a n S ava ge like I just woke him up. I was also a little afraid because he was a big guy who could have easily pummeled me to death out of embarrassment.

But he jumped out of bed, went into the bathroom and gargled before coming back into bed.

Neither of us said a word afterward about what happened. Needless to say, I didn’t sleep too well after that. (And, frankly, I was a little offended by the gargling.) So the question is, can you fellate in your sleep? Can you sleep-blow and still be a straight guy?

Dear Dan: My son, who is almost 30 years old,

was married four years ago. He just shared with us that for the last three years, he and his wife have been practicing polyamory. They are committed to their relationship but have each had relationships with both men and women.

We are trying to get our heads around this, as we come from a more traditional background (we’ve been married 40 years in a loving and respectful relationship), and we find ourselves feeling very sad. We are accepting and nonjudgmental, just trying to understand how he came to this decision. He feels that to make love “finite,” to love only one person, is “not being true,” and that their kind of relationship prevents dishonesty and is based on truth. He shared that his wife was the first one to broach this idea — and after many deep conversations, he eventually overcame his jealousy and is embracing this practice. They do not have children or plan to have children. I asked my son if he’s happy, and he says he is.

By

Blown Latently One Wild Night

ships.) There are also lots of people in happy, fulfilling monogamous relationships that they will one day choose to open, and lots of people in happy, fulfilling nonmonogamous relationships that they will one day choose to close. It’s happiness, consent and mutual respect that matter, not whether a relationship is monogamous or nonmonogamous.

If your son is happy, you should be happy for him. But if he states — or clumsily implies — that you and his dad couldn’t be happy because you’re not doing the same thing that he and his wife are doing, you tell him from nonmonogamous me that he’s full of nonmonogamous shit.

Two pieces of recommended reading: the book Open: Love, Sex, and Life in an Open Marriage by Jenny Block and an informative interview that poly activist and frequent Savage Lovecast guest Diana Adams did with The Atlantic. But I don’t think you need to do a whole lot of homework about this. Love your son, respect his choices, don’t blame or shame his wife, and be kind to any partners they introduce you to. Having a poly kid is a lot simpler than you think.

Dear Dan: Many years ago, what was for me a bizarre sexual incident happened to me, and while I’ve largely laughed it off with no traumatic effects, the incident has always puzzled me. For the record, I’m a straight man in a good, loving marriage with no sexual issues to report.

I was off on a golf weekend with a bunch of überhetero buddies. We stayed in a condo that didn’t have enough beds for everyone, so I ended up sharing a bed with an ex-marine. In the middle of the night, I thought my girlfriend was waking me up with a blowjob, and a damn fine one at that. However, as I gradually became awake, I realized that the mouth on my penis wasn’t my girlfriend’s. I called this guy’s name, and — this is the interesting part — he sprang up suddenly,

Dear BLOWN: Sexsomnia is a real thing — sleepwalking plus sex — but it’s an exceedingly rare thing. Closeted guys are a lot more common, and guys who seem über-hetero are often more successfully closeted than your lighter-in-the-loafer guys. Three other details lead me to believe that this was a crime/ blowjob of opportunity: It’s typically pretty difficult to wake a sleepwalker/sleep-blower (it takes more than calling out a name), the skills on display during the incident (it takes practice to give a “damn fine” blowjob), and his actions after he woke up with your dick in his mouth (rushing to the bathroom to gargle) smack of overcompensation.

Dear Dan: I have no disagreement with what you said to letter writer WHIFFING (the man who wanted to know how to broach the subject of a female partner’s unpleasant vaginal odor).

But I wanted to add something that seems to be largely unknown: A common side effect of longterm SSRI use is that the scent and amount of sweat can change to be offensive and copious.

While it’s worth getting checked out if the person is unaware of the cause of an offensive groin smell (it could be a health issue), sometimes the cause turns out to be something that the person is not willing to change because of the benefit it brings to their life. I’ve been in this position.

Nothing I did to treat the sweating (beta blockers were offered to reduce the amount but couldn’t change the odor) made a difference, and my intimacy with my partner really suffered. We could basically be intimate only after I just showered; it took months for my partner even to bring it up. When I finally discovered the sweating in a list of side effects in a medical app, it was quickly confirmed by my prescriber as common but not talked about because it’s not physically harmful, so other SSRI users may not be aware of the connection. Just wanted to let your other readers know!

Shower Power Dear SP: Good info to have. Thanks for sharing.

Have a question for Dan Savage?

E-mail him at mail@savagelove.net

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