The Pitch: October 22, 2015

1 OctOber 22-28, 2015 | free | VOl. 35 NO. 17 | pitch.cOm

Jazz singer Hagenbach introduces Carroll to Coltrane.

By Liz Cook

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oc tober 22-28, 2015 | Vol. 35 no. 17 E d i t o r i a l

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

crosswise in the crossroads Who’d have guessed? Another millionaire gets subsidized in the Crossroads Arts District.

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

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a d v E r t i s i n g

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

one hot Jam

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Director of Marketing and Operations Jason Dockery

B u s i n E s s

Publisher Amy Mularski Office Administrator Jessica Kittams

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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

John Blaze says KPRS 103.3

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

d i s t r i B u t i o n

fired him under pressure from the Power & Light District.

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next year’s models Boulevard Brewing Co. rolls out a debut-rich 2016 schedule. b y j u s t i n k e n da l l

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Questionnaire news agenda art stage fat city on tap this week music d a i ly l i s t i n g s savage love

meanw h i le at pi tch .co m New KCMO COuNCiL MEMBERS quiz convention-hotel developers. uP-DOWN brings Killer Queen to Kansas City.

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Questionnaire

Crystal K. Wiebe

Founder of Beer Paws

Hometown: Beatrice, Nebraska Current neighborhood: Waldo What I do: I work with craft breweries to turn their byproduct — spent grain — into a delicious, healthy snack for dogs. I also make the Midwest’s only craft beer for dogs.

What’s your addiction? Social media. I spent the last four years managing social media for a promotional products company. But, let’s face it, I’ve always been addicted to my social feeds.

What’s your drink? Craft beer, duh. My pick

varies, based on where I am and what’s on tap.

Generally, though, the hoppier the better. I’m an IPA girl.

Where’s dinner? For the past few months, I

have been spending so much time working on my business, baking dog treats, traveling and selling them, that I often forget to feed myself. I’m lucky to have friends who show up with food or force me out of the kitchen for a bite out. I end up at 75th Street Brewery quite often.

What’s on your KC postcard? Last year, my

friend Jacob Meyer took an amazing picture of my dog Coconut, looking out over downtown from Liberty Memorial. She’s rocking a collar my dad made that’s studded with Boulevard Brewing Co. bottle caps. It’s stellar.

Finish this sentence: “Kansas City got it right …”

Embracing arts and entrepreneurship. We love our creative community in this city.

“Kansas City needs …” Better public transpor-

tation. I’ve lived in Chicago and Washington, D.C. It would be great to be able to hop a train to anywhere in the metro, north or south, either side of the state line. Someday …

“As a kid, I wanted to be …” A veterinarian!

“I always laugh at …” Myself and my dogs. I

spend a lot of days interacting with just my pups. Luckily, they are mischievous goofballs who keep me from freaking out when the biscuits burn or I send a business e-mail with an egregious typo.

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

And Squidbillies.

“I can’t stop listening to …” The voice in my head telling me to keep going, even when I’m superexhausted from chasing my dream.

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

What’s your game? Entrepreneurship!

“My dream concert lineup is …” Minus the Bear,

Broken Bells, the Faint.

“I just read …” #Girlboss by Sophia Amoruso.

What’s your hidden talent? I’ve been told I’m

good at getting people to do things for me, without even meaning to. I am hopeful this means I will be an awesome delegator as my company grows.

What’s your guiltiest pleasure? Is it guilty if you have friends who will enjoy it with you? I like Florida Georgia Line. A lot. There. I said it.

The best advice I ever got: Go fast and break

things! As an entrepreneur, it’s tempting to want your product and plan to be perfect before you launch. But that takes too long. I was lucky to have a few people around me who helped me push through the failure fears and start selling. You can always tweak as you go along.

Worst advice: Buy a house! Just kidding, I’m

pretty glad I own my own place, especially since my business is based there. But there are days when I envy my friends who can just call a landlord when they have plumbing problems.

My sidekick: My dogs, Coconut and Kona What is your spirit animal? Whales are the only animals I’ve obsessed about as much as dogs.

I basically cry when I go on whale-watching tours. So, I guess they’re my spirit animals.

What is your nemesis? Negativity. We all succumb to it sometimes, but it doesn’t get you anywhere. I hate having conversations with people who just complain.

What’s your greatest struggle right now? I’m in that spot where my company is growing but I need a financial boost to increase production.

Baking thousands of dog treats every week in a home kitchen is not cutting it, so I’ve launched a crowdfunding campaign to build a bigger, better industrial kitchen on my property.

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My dating triumph/tragedy: I survived the heartbreaks. That’s a triumph, right? Dating is weirder as you get older. I don’t know most days if it’s a tragedy or a triumph that I’m currently unattached.

My brush with fame: I met a lot of cool musi-

cians back when I wrote about rock and roll for a living. One of my favorite stories involves an incredibly nervous me sitting next to Tori Amos. My stomach started making weird gurgling sounds, and she got very concerned for me.

What was the last thing you had to apologize for? I often run late, but I recently read that

people who are perpetually late all have something in common: We’re optimists. So, sorry not sorry?

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Who’s sorry now? There are a few people in my life who didn’t take my business ambitions seriously. I don’t know if they’re necessarily sorry now, but I hope they admire what I’ve accomplished so far.

My recent triumph: A few months ago, I left my

full-time cubicle job to see how far I can take my Beer Paws brand.

Find out more about Beer Paws’ Indiegogo campaign at indiegogo.com/projects/beer-pawsblast-off. Wiebe is a former Pitch events editor.

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News

Crosswise in the Crossroads

Who’d have guessed? Another millionaire gets subsidized in the Crossroads Arts District.

By

S t e v e v ock rod t

hen Jerry Riffel was on the Kansas City, Missouri, City Council, in the 1980s, the lure of tax breaks wasn’t enough to get meaningful construction started in what is today the Crossroads Arts District. “We used to say that even with full incentives, you couldn’t even get an outhouse built,” he says.

Few would dispute that economicdevelopment tools such as tax-increment financing were necessary back then. Downtown was a wasteland. But reasonable people can disagree over whether the details behind all the ribbon cuttings since then have protected taxpayers in a significant way. And Riffel can speak with authority about that, too. He has long been on the other side of the council dais, as an attorney representing developers looking to strike deals with City Hall.

One of Riffel’s clients is Shirley Helzberg, a wealthy philanthropist who these days wants to convert a Crossroads property that she bought in 2005 into a new Kansas City headquarters for architecture firm BNIM. Of the expected $13 million cost of redeveloping her building, at 1640 Baltimore, she wants about $5 million to come from TIF — diverting revenue that would otherwise go to the city, Jackson County, Kansas City Public Schools and the Kansas City Public Library, among others.

She’s just the latest party hoping to benefit from Kansas City’s generous deployment of TIF, an inducement that lets a project such as Helzberg’s keep increases in property taxes and half of economic-activity taxes (like the earnings tax) for itself in order to whittle down a developer’s project costs. Helzberg submitted her request for TIF last month, despite reportedly telling taxing jurisdictions, such as the library, that she wouldn’t ask for public incentives again after the last time she leveraged them. That was in 2008, when she rehabbed the Vitagraph Building, at 17th Street and Baltimore, into office space.

In that case, as now, Helzberg’s TIF requests help companies hopscotch around downtown, paying less in earnings taxes to the city as they go. The Vitagraph Building became home to Global Prairie, which prior to that had gotten its start just a few blocks away, at 16th Street and Walnut. In BNIM’s case, the well-regarded architecture firm would move one block from its current space at the old TWA headquarters, at 17th Street and Main.

BNIM and Global Prairie both use the term “sustainability” in their external marketing, but how sustainable is it for Kansas City companies and developers to continue using powerful tax incentives in well-established areas of town like the Crossroads? TIF was meant to encourage development in places so destitute that a developer wouldn’t consider expending 6

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resources there without help from the public till. Is the Crossroads today still such a place?

“In my opinion, the idea that the Crossroads is ready to develop itself is absolute fiction,” Riffel told members of Kansas City’s Planning, Zoning & Economic Development Committee October 14, arguing Helzberg’s case for TIF. Two companies refute Riffel’s claim.

One is Chartwell Hospitality, which is building a 150-room Courtyard by Marriott hotel at 16th Street and Main without any incentives.

“As one of our principles of development, we want to do good business that self-sustains,” Chartwell’s acquisitions & development manager, Will Schaedle, said in a 2014 Kansas City Business Journal story. “Had it needed a bunch of incentives, we wouldn’t have ever attempted to build it.”

There’s that word again: sustain.

Another company with a dollars-and-cents rebuttal to Riffel’s argument is Travois. The Crossroads-based housing and economic development firm refashioned its headquarters, near 19th Terrace and Central, without a dime from City Hall.

One Travois employee, Phil Glynn, sits on the TIF Commission, the agency that evaluates

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TIF requests and makes recommendations to the City Council for its final say. Glynn was the only TIF commissioner on the 11-member body to vote against Helzberg’s request for 1640 Baltimore last month.

“To me, I was surprised that we are talking about a new TIF deal in the Crossroads, particularly in the west Crossroads, where development is already strong and so good,” Glynn tells The Pitch.

Though Glynn cast the lone no vote on the TIF Commission, his skepticism about Helzberg’s development plan is shared by others.

Kelvin Perry represented East Side advocacy club Urban Summit of Greater Kansas City in opposing Helzberg’s TIF request before the council committee.

“Although it is a very worthwhile project, from our vantage point, it appears that the taxing jurisdictions are being used simply as a piggybank, this time to fund a project that can and will be built without incentive,” Perry said.

“Even the city of Kansas City is being asked this time to forgo 50 percent of its earnings tax with the relocation of BNIM into this thriving TIF district.”

An economic analysis of the TIF found

Ground zero for more TIF: 1640 Baltimore in the Crossroads Arts District. that Helzberg would have to reduce the costs of her development project by 22 percent to make it financially feasible without TIF assistance.

BNIM will be paying $26 a square foot on its lease at 1640 Baltimore, making it one of the more expensive office leases in Kansas City.

Kansas City Public Schools also voiced its concern about the project, though its position was undermined somewhat by the fact that it had reached an agreement with Helzberg to fund scholarships in the school district — a deal that the district eventually didn’t take.

Al Tunis, the interim KCPS superintendent, took responsibility for abandoning that arrangement. He pointed out that many of the district’s schools lack air conditioning, even as the district would end up subsidizing Helzberg’s top-of-the-line building.

Even so, the council committee passed Helzberg’s TIF by a unanimous vote. It now goes to the City Council.

E-mail steve.vockrodt@pitch.com

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News

One HOt Jam

John Blaze says Hot 103 Jamz fired him under pressure from the Power & Light District.

By

D av iD HuDn a l l

INVITES YOU AND A GUEST TO A SPECIAL ADVANCE SCREENING OF

et Me In,” a song off Kansas City rapper Tech N9ne’s 2009 album, Sickology 101, opens with an audio skit. A bouncer with an exaggerated redneck voice is letting patrons into a club.

“Party night tonight! Come on in. You’re good, Skinny Jeans, come on in. Tight Shirt, come on in. Ahh, that new rock-and-roll gay look, yeah, you’re cool, come on in.”

Tech arrives at the entrance.

“You can’t get in here, boy.”

“What’s wrong with me, man?”

“Can’t you read the sign, boy?”

Tech reads it aloud: “No French braids, no dreadlocks, no gold teeth. Oh, you don’t want no black folks in here, huh?”

The bouncer says, “Can’t you read the sign?

It says, ‘Power and White, I mean Power & Light District …’”

Cordish, the Baltimore-based owner and operator of the Power & Light District, has long been dogged by accusations of racial discrimination in Kansas City. Around the time that Tech released “Let Me In,” the company was in hot water for enforcing a dress code that seemed to target African-Americans. (It modified the code, following a discrimination complaint from the city.) More recently, Cordish has been accused of hiring “rabbits”: white men who deliberately pick fights with black patrons, giving security the excuse to eject those customers. A federal judge dismissed a rabbit-related lawsuit earlier this year; a separate suit filed in Jackson County is set for trial in November.

Last month, Tech N9ne played the Power & Light District’s KC Live stage for the first time. Backstage before the September 13 show, Tech gave an interview to KCTV Channel 5 in which he alluded to the district’s rocky history of race relations.

John Blaze, a DJ at KPRS 103.3 (Hot 103 Jamz) and one of the masters of ceremony for the P&L show, overheard the interview.

Later, from the stage, hyping up the sold-out crowd, Blaze said: “This is Tech N9ne’s very first show at KC Live! I even heard him say this backstage on the news, that there was one point in time that he may not have ever been allowed to be received here at Power & Light. So what I want you to do, what I need you to do, one time, is put your middle fingers up. Anybody that’s ever been turned away, anybody who has ever been discriminated against. I need you to say, ‘Fuck you!’ one time. On three: one, two, three, ‘Fuck you!’”

The crowd loved it. The suits backstage, not so much.

Blaze tells The Pitch that he meant only to rouse Tech’s audience into a frenzy of solidarity, and he notes that the “fuck you” was addressed to anybody who discriminates,

Courtesy of john blaze

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not specifically P&L. And, Blaze says, he was only repeating what Tech had already said to a TV station. But Power & Light representatives at the show interpreted his words as a direct attack.

“At first, they thought somebody from Strange [Strange Music, Tech’s label] was behind it, so they were heated at Travis [O’Guin, Strange Music’s CEO],” Blaze says. “Then a Power & Light guy comes up to me after I got offstage and says he wants to speak to my management on-site. They talk, then my management at Hot 103 — Rich McCauley, the promotions director, and Myron Fears, the program director — start cursing me out, saying, ‘What the fuck did you do? We’re trying to build a relationship with Power & Light and you ruined it.’ All this stuff. Rich is making like he’s going to physically come after me. Then it cooled down, and I left.”

(Representatives for Cordish and the Power & Light District did not respond to The Pitch’s requests for comment.)

The next day, Blaze was told not to report for his 5 a.m. shift on the air. Two days later, Blaze was fired by Carter Broadcasting Group, owner of 103.3 and gospel sister station KPRT 1590. He says he had no previous marks against him with Carter.

“They told me they had to protect their brand,” Blaze says.

Worth noting: Two DJs at KRBZ 96.5 (the Buzz) cost their parent company, Entercom Kansas City, $1 million last fall in a lawsuit. A federal court ruled that Afentra Bandokoudis and Daniel Terreros, who broadcast as Afentra and Danny Boi, had defamed a woman by incorrectly calling her a porn star. They kept their jobs.

Carter Broadcasting rose up alongside the civil rights movement. In 1950, when it began broadcasting on the AM frequency 1590, it was the first black-owned radio station west of the Mississippi. It’s also the oldest AfricanAmerican family-owned radio station in the United States. Roughly 70 percent of its lis-

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Blaze started a fire. teners are black, according to recent media audits.

But these are hard times for legacy media.

“Everybody who works there knows there are monetary issues with the station, and every dollar counts,” says Blaze, who had been with 103.3 since September 2013. “That’s the way it is in pretty much all radio anymore. But for seven years, Power & Light had never invited Hot 103 to host a show or sponsor anything.

Then they finally did, with this Tech show.

They wanted that relationship with Power & Light so bad, even given the history of the station, with the civil rights movement and all that. Even though many of their listeners, who are mostly black, have a problem with the way Power & Light has operated in the past.”

Freddie Bell, longtime union steward for Carter Broadcasting and an on-air personality for Gospel 1590, started at the station in 1976. He retired a week before the Tech show at Power & Light. He agrees with Blaze’s assessment. “It had always been a contentious situation with them [P&L],” Bell says. “We’d been trying to get a presence at Power & Light for a long time, but they’d shy away from us, I think, because we’re associated with hip-hop and rap.”

Bell adds that he once criticized local clothing retailer Harold Pener on the air for supporting only the secular side of the station (103.3), as opposed to the gospel side. “At the time, he was one of our biggest advertisers,” Bell says. “They threatened to fire me. Then I had to spend the next two weeks talking about what a great guy Harold Pener was.”

Representatives from Carter Broadcasting did not respond to requests for comment.

As for Tech? His publicist, Richie Abbott, tells The Pitch: “We’d actually rather not get involved here.”

THIS FILM IS RATED R FOR LANGUAGE INCLUDING SOME SEXUAL REFERENCES. Please note: Passes are limited and will be distributed on a first come, first served basis while supplies last. No phone calls, please. Limit one pass per person. Each pass admits two. Seating is not guaranteed. Arrive early. Theater is not responsible for overbooking. This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio or video recording device into the theater (audio recording devices for credentialed press excepted) and consent to a physical search of your belongings and person. Any attempted use of recording devices will result in immediate removal from the theater, forfeiture, and may subject you to criminal and civil liability. Please allow additional time for heightened security. You can assist us by leaving all nonessential bags at home or in your vehicle.

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TOGETHER AGAIN It’s an appropriately winning narrative for an album titled Unbreakable: Janet Jackson reunites with producers Jimmy Jam and Terry Lewis, architects of her early classics, and makes her best album in years. Now comes the tour. Will it be shapeless medleys and sweatfree dancing or an October thriller? Find out at the Sprint Center Tuesday night. See Music Forecast on page 27.

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Art

Water World

Lynn Benson beautifully maps our ebbing resources.

By

A nnie R A A b

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ore than 100 of Lynn Benson’s paintings and drawings of water are on view at the Kansas City Design Center this month, but that number alone hardly conveys the impact of her Waterworks series. Benson’s mastery of color and line evokes a visceral experience of water — dark indigo washes into lighter shades, moving us from cold deep to shallow tropics, and grassy greens recall lush summer forests overlooking swift-flowing rivers — but the art here is also about the pressing concerns of global climate change and diminishing natural resources. We associate water with power and movement, with constancy.

Yet its throb is finite: To witness a gushing waterfall now generates not just appreciation for something majestic but also a nagging anxiety about conservation and the negative effects of human influence.

Kansas City’s waterways are hardly glamorous, but a local audience can still relate to the flat, wide channels for commercial trade depicted in several of Benson’s drawings.

Deltas, rivers, shores and islands are given

loving attention as she constructs a tapestry of Earth’s delicate surfaces. Her decision to use transparent vellum as the canvas for these works mirrors the land’s easily taken-forgranted fragility. The dominant perspective in Waterworks, a view from above, distances us enough to invite a more scientific regard for the disappearing banks and the dried-up riverbeds. Even if one isn’t familiar with the world’s waterways, it’s easy to pick which veins are man-made and which are naturally occurring.

The hard, symmetrical lines of industry stand out against time’s organic splatter.

Waterplaces Through November 20 at the Kansas City Design Center, 1018 Baltimore, kcdesigncenter.org

At a distance, Benson’s images suggest a quilt composed by a cartographer. On closer inspection, each channel of water reveals its

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Detail of “Mekong Delta” own depth, as darker shades of color indicate changes in geography, and smooth lines turn jagged as they press against the banks of civilization. The longer you look, the more you make out other forms within Benson’s compositions: vegetation, human cells, blood drops drying at the edges. The water working through the land is vascular, microcosmic, humming with life and history.

The task of mapping the world’s waters can never be completed as long as human influence continues to alter land and sea. Rivers may eventually vanish from the tapestry entirely as droughts become more severe and man-made structures proliferate. Benson’s depictions of 100-plus places of water may someday pass from documentary into mythology. She has recorded the water while we still have it — and so produced a moving exhibition.

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ALICE IN ANGELA LAND

Jazz singer Hagenbach introduces Carroll to Coltrane.

By

L i z C ook

ngela Hagenbach is 9 feet tall.

Or so her character claims, in a jazzy crescendo, as she summits a stool, a tiny “Eat Me” cake in hand. She’s onstage in the Plaza Library’s Truman Forum, hitting her marks during the second week of rehearsals for JazzAlice: Adventures in Wonderland.

The show is part of the Kansas City and MidContinent public libraries’ first Great City | Great Read initiative, which this year centers on the 150th anniversary of Lewis Carroll’s Alice’s Adventures in Wonderland.

JazzAlice may be the most ambitious of the libraries’ slate of Carroll-themed programs, a musical that Hagenbach conceived and wrote, and in which she performs the title role. On this Wednesday afternoon, tapper and trumpeter Lonnie McFadden is stomping slick on the stage’s gleaming wood floors, White Rabbit to Hagenbach’s Alice. For the live show, an ensemble of notable local jazz musicians supplies the score, but today the music is a recording.

The score in question is all John Coltrane.

Hagenbach’s lyrics stage Carroll’s story against her two favorite Coltrane albums (Giant Steps and Blue Train, for those Spotifying at home).

The decision was like jazz: part structured mathematics (Carroll’s meter fits perfectly with Coltrane’s), part improvisation.

“I had been binge-listening to Coltrane for a while,” Hagenbach says. “So I’m in the kitchen cooking one night, cookin’ up some greens,” she says with a laugh, stretching the vowels into caricature, “thinking ‘What am I going to do with Alice?’ And this song comes on — “Syeeda’s Song Flute” — and I thought, ‘That’s the rabbit!’ and ran downstairs and boom-boom-boom, I wrote three songs.”

Although Carroll’s tales are mainstays of children’s literature, Hagenbach’s approach courts an older crowd. She has set her Alice in the 1960s, the era of A Love Supreme, and made Alice a graduate student in composition, nodding off to Wonderland as she studies a dry tome on mathematics and modal jazz.

(Carroll was a mathematician, and one imagines that he would have appreciated this music’s embedded logic.)

For Hagenbach, the universality of Carroll’s text was the easy part. “There’s a reason it’s lasted 150 years,” she says. “Alice could be an old woman, a young woman, a dancer. Anyone could have this dream and negotiate all of the weird things she encounters as she makes her way through life.”

Although JazzAlice is her first full theatrical production, Hagenbach seems comfortable negotiating weird encounters as the show’s de facto director, knowing when to lean on her collaborators and when to take the reins.

Today’s task is correcting the timing for when and where JazzAlice’s three backup sing-

a l ly s o n p e c k

A

ers (“Carroll-ers,” she corrects with a wink) will place the rabbit hole (a black-fur-covered hula hoop) onstage. Hagenbach asks to play back the soundtrack — a recording of the musicians who will play live on opening night — to hunt for the right measure. “It’s really going to be tough to find where it is,” she warns.

Timing anything to Coltrane’s unpredictable sax seems impossible. But Hagenbach and her cast are the types of musicians who can accomplish, in the words of Carroll’s Red Queen, “six impossible things before breakfast.”

JazzAlice: An Adventure in Wonderland October 28 and November 2, at the Plaza Library, 4801 Main, 816-701-3481, kclibrary.org November 10 at the Pavilion at John Knox Village, 520 N.W. Murray Rd., Lee’s Summit, 816-347-2999, thepavilionatjkv.com Stage manager Doug Perkins (a jazz guitarist by night) stops the recording. “It might be easier to have a vocal cue than a measure cue,” he says. Hagenbach agrees. Which means: Back up the rabbit hole to the beginning of the tune.

Eyes swivel toward Perkins and his little black boom box. With the press of a button, a high-hat starts keeping time.

McFadden peeks coquettishly from behind a cuddly cardboard tree, peering alternately at where the audience will be and a long-chained pocket watch. Hagenbach launches into the vocal line soon after, hopping on each downbeat in a slow-grooving recitative. Her voice is

dreamy, a rich contralto that still manages to feel cloud-light.

The two dance together, then dance apart.

The Carroll-ers — bassist Brian Hicks and Hagenbach’s fellow Book of Gaia singers Nedra Dixon and Pamela Baskin-Watson — wait with the furry hoop. When Hagenbach arrives at the right vocal cue, McFadden scurries across the stage to the hole, sliding backward on the balls of his feet like an ice skater. He hops in the hole.

He taps in midair (don’t sweat it — this is Wonderland). He does it all at white-rabbit speed.

“Whoo!” Hagenbach calls when the scene ends, wagging her shirt front up and down like a tongue. “Remind me not to wear a sweater to work.” Then, in a mock-Teutonic accent: “Ahrt is much verk.”

McFadden, proving her point, slinks away, and barely 10 seconds later, a muted trumpet sounds a few notes backstage. There are no plans for the trumpet in today’s rehearsal, but McFadden isn’t going to waste valuable practice time.

For Hagenbach, there was never any other choice. “I knew he [McFadden] should be the rabbit right away.”

Though today’s rehearsal is only their second, McFadden already seems to have the part down. He strides back onstage in the next scene, late for a very important date. “Oh, my dear paws!” he cries, so endearing and sincere that the small assembly of designers and assistants stop scribbling production notes and share smiles. But McFadden misreads their reaction and calls to production coordinator Fred Goodson: “You gotta pull me back, Fred.

I don’t know how to act.” pitch.com

Alice appeases the King and Queen of Hearts. From left: Dixon, Hagenbach, Perkins and Baskin-Watson.

Acting talent doesn’t seem to be a problem.

The real obstacle is a most Alice-like one: time.

“We’ve only got a set amount of time each week,” Hagenbach admits, “which makes me nervous.” It’s only three weeks until the opening night of a three-show engagement: two at the Plaza Branch, then an encore in November at the Lee’s Summit Pavilion at John Knox Village.

But Hagenbach doesn’t want JazzAlice to expire after just two shows. The day we speak, she breaks off our interview to chase after scenic designer Marilyn Carpenter, hoping that Carpenter might know how to set up a 501(c) (3) that could give her compositions new life.

While Hagenbach lives in Wonderland these days, her time outside rehearsals is increasingly spent in the less whimsical world of arts administration. She’s bullish about seeking grants, partnerships, the funding she needs to transform JazzAlice into a longer show.

“There’s a lot more that we can do,” Hagenbach says. “In my mind, this is just the prototype. I want to go broader. I see a traveling school show, an audio recording, a symphony — ” “You go, girl,” McFadden cheers, brushing past on his way out the door.

Hagenbach smiles a 9-foot-tall smile, eyes tracking to a wall of windows facing downtown. She will.

E-mail feedback@pitch.com OCTOBER 22-28, 2015

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S ta g e

he night I saw Spinning Tree Theatre’s Turn of the Screw, the Royals were in the third inning of the first ALCS game when the curtain went up. At the 80-minute show’s end, the home team was in the sixth — but I hadn’t given the game a thought during the play. I was too wrapped up in Jeffrey Hatcher’s twoactor adaptation of Henry James’ well-known ghost story.

Charles Fugate’s deep-voiced narrator awakens the spirit of Vincent Price as, seated in a high-backed chair on a darkened stage, he begins this story, a seduction of sorts, which he says transpired years before. With no props or special effects, Fugate and Nicole Marie Green convey a multi-character tale on a simple set (design by Charles Moore, with lighting by Shane Rowse) composed of nothing more than a chair, a rug, a staircase and a door. They get a workout, their energetic and skillful performances propelling the plot and ultimately increasing our adrenaline to an eighth-inning level.

Fugate portrays several roles, including a London-dwelling bachelor who interviews a young governess (Green) for the job of overseeing his orphaned nephew and niece, who live on the remote estate he calls Bly.

He wants nothing to do with the children’s rearing and demands no communication from the governess once she’s in place there. The inexperienced woman, clearly attracted to the man, leaves with romanticized images of Jane Eyre in her head, an innocence that’s soon challenged.

The governess is the primary driver here, relating her perceptions and experiences of the secrets and murky goings-on at Bly. (The talented Green delivers a tremendous amount of monologue and dialogue to move the story, and she keeps us engaged.) A repressed sexuality and a lonely religious upbringing might influence the governess’s mental state, but are they the causes of the specters and supernatural events she claims to witness?

Under the direction of Julie Shaw, the story develops slowly (a bit too slowly at one point), its details and events turning with a governess-impelled energy that builds throughout. The show uses no background music or sound, lending the house a dominant stillness in those slower moments.

Lurking in the shadows, back turned between his scenes, Fugate f luidly shifts among his roles, completely and uncannily selling the 10-year-old Miles and the older

housekeeper, Mrs. Grose, both of whom affect, and are affected by, this governess’s imaginings and actions. Is Miles possessed or just a typically naughty boy? Fugate’s deft portrayal doesn’t make the distinction a simple one for us. (The younger child, Flora, is unseen and uncast in Hatcher’s version of the play — so traumatized by an event on the estate, she no longer speaks, and her character is depicted only through the others’ interactions and descriptions.)

As absorbing as the actors’ performances is the period dress worn by Green (costumes

by Georgianna Londré Buchanan), with its

Horrifically funny

leader Sister Squirrel (an adorably furry Shon Ruffin) and her merry band of Foul-Mouthed Foxes (Kelsea McLean, Bryan LaFave and Rebecca Munoz, all good) in “Way Down Down in Texas,” the show’s catchiest number.

Redding’s music rarely fails to tap a toe, and the house band (led by guitarist Sean Hogge, in rabbit ears) grooves hard.

Director Missy Koonce has assembled a capable cast, but Ruffin is a standout in both vocal and comic expression. Girl can belt but has the restraint to keep it light, busting out the gospel growl only when called for. And she and Koonce deserve equal credit for one of the show’s most memorable sequences, a slapstick summit of a corpse-littered staircase.

Bob Linebarger gives a heartfelt and physically detailed performance as Joey, the show’s punching bag and chainsaw aficionado, who’s as vulnerable as he is creepy — falling somewhere between Childers from Sling Blade and Torgo from Manos: the Hands of Fate.

As Molly and prudish coed Amy, Laura Jacobs does her best work yet. Order her some “triple threat” business cards. Daria LeGrand is predictably solid as Sarah and Hannah (both bubbly ingénues with Cheshire-cat smiles), though I’m ready to see her range tested. And you can’t help but cheer for Bradley Thomas as Raul, the politely racist gardener with restless-limb syndrome and

a Gary Busey–on-Christmas-morning grin.

The design elements are handsome and easily adapted to the show’s multiple settings.

Regina Weller deserves special commendation for some old-school cool hand props.

If Act 1 dips its toe in horror tropes, Act 2 splashes around in them with relish. Smart double casting lends an air of perverse justice to Joey’s murders (er, spoiler alert), and the cast offers hilarious takes on classic archetypes.

Mike Ott and Sebastian Smith are especially strong here, combining high-energy vocals with great comedic sensibilities. And Koonce

Chainsaw: the Musical kills.

B y L i z C ook

I

f you’re looking for a profoundly unromantic way to spend your Halloween, allow me to suggest the world premiere of Chainsaw: the Musical (book by Forrest Attaway; music by Eric Wesley Redding).

The Living Room show is a party-horn blast of horror tropes and tonal contradictions best explained in a series of “yes, but” statements.

Yes, it’s outsize camp but with glimmers of real intimacy. Yes, it’s kitsch but played with enough novelty to feel sincere. Yes, it’s coarse, but that’s why you’re having a good time.

Chainsaw bears down in the postage-stampsize town of Cut and Shoot, Texas, where high school sweethearts Patrick and Molly Delaney give birth to a full-grown man they name Joey.

(If you’re wondering how Molly’s downstairs fared in the delivery, don’t worry: This is Forrest Attaway. He’s not about to get coy.)

The two cash in on their bouncing baby man, peddling him as a sideshow attraction.

But the money and their patience dry up as Joey ages and refuses to speak. Patrick grows abusive; Molly grows restless and skips town with the Mexican gardener.

Much of the setup is narrated by chorus

The Turn of the Screw Through November 1 at Just Off Broadway Theatre, 3051 Penn Valley Drive, 816-569-5277, spinningtreetheatre.com intricate details and layers. Like the ambiguous nature of this story, the dark fabric of the dress gives off a different hue depending on the light or the actress’s stance.

To get to the truth of this tale, we must rely on the inner workings of the governess’s mind as much as on our own observations, but the

Chainsaw: the Musical Through October 31 at the Living Room Theatre, 1818 McGee, 816-533-5857, thelivingroomkc.com lines up and knocks down a series of comic tableaux, making the most of each playing area.

But Act 2’s delirious energy highlights some of the first act’s flaws. More could be done with Nurse Funkhausen (Natalie Liccardello), an asylum caregiver who feels undefined. And while the asylum sequences are well-directed, the scenes seem to sprawl. Act 1 in general could do with a little carving: A few of the songs are less lyrically fresh and could be combined or cut down. pitch.com

DeBor a h hir s Ch

M a n o n H a l l i b u r t o n / s p i n n i n g t r e e t H e at r e

T

of the Screw takes hold.

By

Fugate and Green: mutual perturbation result at the end is the same. And whether she’s highly suggestive or ghosts haunt the estate is up to us to determine.

E-mail deborah.hirsch@pitch.com

b r i a n pa u l e t t e

Squeeze Play

Spinning Tree Theatre’s Turn

Linebarger, center, sings “One Big Family” with his victims, Caleb Tracy and Daria LeGrand.

But this is the kind of scrutiny I’d apply to a touring show, and for good reason. Chainsaw feels almost ready to stretch its legs. When it’s good, it’s show-stopping good, as the crowd following me out of the theater — humming “Way Down Down in Texas” — can attest.

E-mail feedback@pitch.com OCTOBER 22-28, 2015

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Two young chefs remake a Lee’s Summit staple as Long-Bell Pizza Co.

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ometimes being a regular customer really pays off.

That’s the story behind the recent purchase of Next Door Pizza in Lee’s Summit by local chefs Aaron Mulder and Jayson Eggers, who both most recently worked at the Westport Ale House. They plan to reopen the pizzeria under a new name, Long-Bell Pizza Co., in mid-November.

Mulder and his wife, Samantha, live within walking distance of lawyer-turnedrestaurateur Patrick Cuezze’s pizza parlor, and Mulder frequently stopped in for a beer or to pick up dinner.

“One night, Pat pulled me aside and told me he was contemplating selling the place,” Mulder says. “So I called up Jayson and asked him if he wanted to go into the pizza business.”

Mulder and Eggers had been planning to strike out on their own for some time. “We had been looking at other concepts,” Eggers says. “Maybe opening a deli, maybe a breakfast restaurant. We had business plans for all of the ideas. We hadn’t specifically thought about pizza.”

“But I love pizza,” Mulder adds. “I eat like a 13-year-old.”

Because they had a limited budget, Mulder and Eggers liked the idea of taking over an existing business. So they temporarily managed the venue before Next Door Pizza’s last day of operation, September 30.

“We learned a lot,” Eggers says. “We found out which employees were the most valuable and what things were clearly not working. It’s also when we decided we were going to have to brand the pizzeria with our own name.

This is our first business, and we want to expand it.”

The chefs chose the name Long-Bell Pizza Co. after the lumber company that was a major Kansas City business from 1887 to 1956.

Founded by Robert A. Long and Victor Bell, the company was a thriving concern until the Depression. In researching the name, Eggers discovered that the trademark for the Long-Bell company had expired in 1985.

“It’s a name rich in history, especially in Lee’s Summit, where Robert Long created Longview Farm,” he tells me. “He was a true visionary for his time and did a lot of things for Kansas City. He built churches, hospitals and the mansion that’s now the Kansas City Museum.”

When the Long-Bell Pizza Co. officially opens next month, patrons of Next Door Pizza will discover some substantial changes: no more pizza buffet, no more salad bar and almost no more doors. Most of the 89 antique doors that Cuezze used to decorate the bar and dining room have been removed.

“We wanted to open this pizzeria with a clean slate,” Mulder says. “Patrick did a great job creating a lovable neighborhood pizza

frozen custard

in beautiful Brookside

Chefs Eggers (left) and Mulder are now in the pizza business. parlor. We want to continue that concept but with our own ideas.”

The menu at Long-Bell Pizza Co. will focus on 12 specialty pizzas with hand-tossed crusts.

“We’ll have six red-sauce pizzas and six white pizzas made with garlic cream sauce,” Eggers says. “We’ll have five appetizers, three salads and four sandwiches. Customers will still have the option of creating their own pizzas but from a less elaborate list of ingredients.”

“We won’t have a ham-and-pineapple pizza,” Mulder says. “We’re going to do a prosciutto-and-mango pizza instead.” Another featured pizza will be made with steak and gorgonzola cheese, and the Reuben sandwich here will center on pork belly.

The young restaurateurs — Mulder is 35, Eggers 33 — have done much of the physical labor of the build-out themselves. When the restaurant opens, it will offer seating for 130 and a selection of vintage arcade games.

“We’ll start offering specials after we’ve been open for a few months,” Eggers says.

“We’re going to take things one step at a time. We want to build up our own clientele of regulars.”

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

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18

fat c i t y

NEXT YEAR’S MODELS

Boulevard Brewing Co. rolls out a debut-rich 2016 schedule.

B

oulevard ambassador brewer Jeremy Danner offers me a beer. It’s a cool October morning, and a group gathered in the tasting room of Kansas City’s largest brewery has just filtered out. Danner is behind the bar, offering a small pour of Test Coffee Porter, due for release in January under the name Early Riser Coffee Porter.

“Our goal is to get these beers on and test them out well in advance and try to figure out what we want to do,” Danner says.

Early Riser is a blast of Colombian Cauca Cajibio Estate coffee — imported by Midwest Coffee Trading in Gardner, Kansas. Danner says this version of the seasonal beer is pretty close to the one that will be out in bottles and on draft from January through March.

“It’s not Bully Porter,” Danner says. “Obviously, Bully Porter is really bitter. I think it’s high 50s in IBUs, if I recall correctly. So this is really designed to showcase the coffee.”

The Test Coffee Porter’s appearance in the tasting room is fleeting, but Early Riser’s arrival in 2016 will signal the start of Boulevard’s new releases. In late September, the brewery released next year’s schedule, which features 10 new beers — eight in the limitededition Smokestack Series.

“They may not be 100 percent finalized,” Danner says, “but this is what we’re looking to do.”

Joining the lineup of year-round beers in April is Session Fruit Pale Ale. If that sounds like Boulevard and Cigar City’s Collaboration No. 5 from this year, it definitely was inspired by it, Danner says.

“In making the test batches of that beer, we thought it was really cool what the grapefruit and the passion fruit brought to the beer,” Danner says. “I think we like those f lavors and like the way that they present — for me, the passion fruit and the aroma. But it doesn’t make the beer sweet or necessarily tart. It didn’t take over. So I think we like the idea of playing with that in a more sessionable version.”

The plan is for Session Fruit Pale Ale to be released in cans. Danner says Boulevard is still finalizing the recipe, testing different fruits and flavorings and using Pale Ale or Pop-Up Session IPA as a base. “We’re going to make that beer,” he says. “We just don’t know exactly what it’s going to be.”

In the Smokestack Series, the hugely popular and sought-after Chocolate Ale returns with a twist when it begins showing up on store shelves and in local taps in January.

“We’re messing with the idea of doing raspberry to kind of refresh chocolate ale,” Danner says. “We thought it’d be cool to refresh the beer and also bring Christopher Elbow back into the collaboration.”

18

the pitch

OCTOBER 22-28, 2015

Boulevard doubles up on Rye-on-Rye in 2016.

When Chocolate Ale was first released, in 2011, chocolatier Elbow worked closely with Boulevard on the making of the beer. Since Chocolate Ale’s debut, Elbow has played a more ancillary role, sourcing the cocoa nibs and tasting the beer.

“This kind of gets him more involved than he was,” Danner says.

But why raspberry?

“We wanted to do something that was still very approachable,” Danner says. “You understand the audience for Chocolate Ale. It’s something that beer dorks get excited

pitch.com

about but, at the same time, it’s probably our most popular among mainstream beer drinkers. This might be the only Boulevard special release that they buy that year. We wanted to do something that made sense to people and didn’t seem like a crazy leap.”

In 2016, Boulevard will release two versions of Rye-on-Rye (in February and in August), a big beer aged in Templeton Rye whiskey barrels.

“The first one for sure is the Rye-on-Ryeon-Rye,” Danner says. “The idea is to take Rye-on-Rye out of the Templeton Rye barrels it’s been aging in and put it in fresh Templeton Rye barrels — so kind of a double aging,

By

Ju s t in K e nd a l l

in a sense. It won’t be blended with fresh beer at all. It’ll be 100 percent barrel-aged. It’ll be boozy but cool.”

Danner says to expect a “much more whiskey-forward” beer, something he calls “Rye-on-Rye on steroids.”

“That’s the beer that taught me how to drink whiskey,” he says.

As for the August release of Rye-on-Rye X-2, it’s still in the planning stages. “We have ideas,” he says, “but we haven’t determined anything solid.”

Also being worked out is a March release that’s listed only as “Smokestack Seasonal.”

“We don’t have a for-sure idea nailed down,” Danner says.

In April, Tripel Julep — the Smokestack year-round beer Long Strange Tripel, whiskey-barrel-aged with mint — returns to the lineup, just in time for the Kentucky Derby. ”Kind of a play on the mint julep but with Tripel,” Danner says.

Love Child No. 7 follows in May. “We have some different base beers that have been souring, so we might see some inclusion of that,” Danner says.

Saison-Brett comes back in June. In July, Collaboration No. 6 is unveiled, but whom Boulevard is working with is still a secret.

“We’re talking to the other brewery right now,” Danner says. “I’m only aware of one conversation that we have going, and it’s an exciting one. But I can’t say anything.”

Funkier Pumpkin hits in September.

Think Funky Pumpkin, barrel-aged and inoculated with Brettanomyces. “We’re looking to do a bottle release with that — 750 ml — and making that a Smokestack beer alongside Funky Pumpkin,” he says.

Look for the experimentation with Imperial Stout X to continue into the new year.

“The idea is to do something new, which we haven’t finalized yet,” Danner says.

Bourbon Barrel Quad will close the year in November.

With good news also comes bad. In 2016, Boulevard will say goodbye to Spring Belle saison and ZŌN Belgian-style witbier.

“I don’t know if beers ever die, but we say it’s retired,” Danner says. “I’m personally bummed because I love ZŌN. I think there are a lot of people around the brewery who love ZŌN, and it’s kinda special because it was one of the first Belgian beers that we brewed with Steven Pauwels, bringing that recipe over and making that summer witbier, but it just doesn’t move enough, unfortunately.”

With ZŌN sales lagging, Boulevard cut its production run to a bottle-only release. But its time is up. “[Ginger-Lemon] Radler became that

19 summer star for us,” Danner says. (Radler will get an extended release in 2016, from March through November.) “When you have a beer that’s able to take over the volume of that beer and then some, it’s tough to justify brewing that [ZŌN]. We knew that Radler was going to be popular, but we didn’t quite know how big it was going to be. We want to extend that so there’s more time that you can drink Radler throughout the year.”

Even though ZŌN won several medals at the Great American Beer Festival, it proved one sad fact: “Medals don’t sell beer,” Danner says. “I am bummed that it didn’t win this year because it would have been five years in a row medaling at GABF, which

is unheard of, and it would have been a nice swan song.”

Even as ZŌN fades into retirement, there’s a lot to look forward to in 2016. And there could always be more.

“We try to say, ‘This is it. This is what we’re making,’” Danner says. “But we know that things will likely pop up that we want to brew or have the opportunity to brew. We’ve been very clear about saying this is subject to change — because of production limita­ tions or fermentation capacity, a beer might drop from the list, too. So people have to be prepared for that.”

E-mail justin.kendall@pitch.com

Oktoberfest, at Library Civic Plaza (707 Vermont, Lawrence), 3–9 p.m.

sunday, OcTObEr 25 Thursday, OcTObEr 22

Local brewer night, with Boulevard, KC Bier Co., Torn Label, Martin City, 75th Street and more, at Barley’s Brewhaus (5031 W. 135th St., Leawood), 5 p.m.

Thirsty Thursday: Donuts for Dinner, with

Boulevard beer paired with Hana’s Donuts, at Boulevard Brewing Co. (2501 Southwest Blvd.), $12, 4–7 p.m.

Tallgrass firkin and Explorer Series tapping,

at Barley’s Brewhaus (11924 W. 119th St., Overland Park), 5 p.m.

Franklin Road Coffee Porter tapping, at Big

Rip Brewing Co. (216 E. Ninth Ave., North Kansas City), 4 p.m. Also, bottle sales of the beer are ongoing.

Evil Twin Ryan and the Gosling, at Flying

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

Southern Tier tap takeover, at Ugly Joe’s (1227 W. 103rd St.)

Friday, OcTObEr 23

Root Sellers and Shatto Milk adult rootbeer-float party, at Whole Foods (14615 W.

119th St., Olathe), 6–8 p.m.

Oktoberfest brats, beers and music, at Grain to Glass (1611 Swift, North Kansas City), noon–4 p.m.

MOnday, OcTObEr 26

Five-course beer dinner, with pairings from Odell, Omnipollo, New Holland and more, at Barley's Brewhaus (11924 W. 119th St., Overland Park), $50, 6 p.m.

TuEsday, OcTObEr 27

Samuel Adams tap takeover, with KMF Grand Cru, at Rock & Run Brewery (110 E. Kansas, Liberty), 6–8 p.m.

Samuel Adams KMF Grand Cru tapping , at the Foundry (424 Westport Rd.), 6 p.m.

Goose Island Bourbon County night, with Bourbon County Brand Stout and Bourbon County Barleywine, at Barley’s Brewhaus (16649 Midland Dr., Shawnee), 5 p.m.

at Rimann Liquors (15117 W. 87th St. Pkwy., Lenexa), 4:30–6:30 p.m.

Odell beer dinner, at Nick & Jake’s (5031 Main), 7 p.m.

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Urban Chestnut Willi Becher glass night, at

Barley’s New Belgium disc-golf tournament, at Sar­Ko­Par Trails Park (87th St. and Lack­ man, Lenexa), $15 for two­person team, benefiting Great Plains SPCA, 11 a.m.

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Deschutes Black Butte XVII, Jubel 2015 and the Stoic, at Barley’s Brewhaus (16649

Beerfest at the Ballpark, at Community­ America Ballpark (1800 Village West Pkwy., Kansas City, Kansas), $35.99, 1:30–5 p.m.

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OCTOBER 22-28, 2015

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“Our family has been here for 25 years,” Quinn says, “and these are all small businesses who depend on reasonable access to our restaurants and shops. This is all supposed to be going on for two more years. Who will still be here at the end?”

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OCTOBER 22-28, 2015

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couple of Mondays ago, Zach Moores, owner of Crows Coffee, at 304 East 51st Street, started the day with a double shot of uh-oh.

The street in front of his business, the short stretch of 51st between Brookside Boulevard and Oak, was barricaded and closed to through traffic. His year-old coffeehouse, which has enjoyed high-traffic visibility despite being tucked between a busy Pride Cleaners and a Subway sandwich shop, was now blocked from view by a whitewashed plywood barrier that ran the full length of the block.

Construction on Moores’ future neighbor, Whole Foods, had started.

Moores and the other tenants in the lowslung brick storefront, which also houses Kin Lin Chinese Restaurant and the Sahara Café, had been assured this past summer that the huge Whole Foods-plus-apartments project would not disrupt their businesses for a long period of time. Now, though, he and his fellow tenants feel stung.

“One of the construction crew members said that this was going to go for at least three or four months,” Moores says. “And it’s possible we could be losing a great deal of our parking for two years.”

Late last week, the barricades blocking access to the street had come down, but the block-long wooden barrier remained — and likely will for a while.

“We were told, at one point, that the wall — which we had originally told would be a fence — would come down when there was no construction going on,” says Donnie Quinn, the general manager of Kin Lin. “The purported reason for the wall is that when the crews were working in the street on sewer

pitch.com

Tenants at 51st Street and Oak feel that they are being walled off from customers. lines and communication lines, it would keep flying matter from hitting people walking by.”

Quinn, who is the son-in-law of Kin Lin owners Jeff and Joanna Ruan, says communication with all the players involved with the construction project “has been terrible.”

“We even had our phone lines cut by a crew installing the fence on the opposite side of the street and couldn’t get phone service into the restaurant for two or three days,” he says. “Our business depends on carryout orders and the ability to use a credit-card machine. We have many regular customers who told us they would come back to pay us in cash. And most of them did. But we lost a lot of business during those days. We’ve even filed an insurance claim.”

Quinn is also unhappy with the plan to take 6 feet from each side of the two-lane street to create what the developer has called a “cityscape.” “We’ll lose six more parking spaces because of that,” he says.

“Leah FitzGerald, with VanTrust Real Estate [the project’s developer], stopped me today,” Moores says, “and told me that there may be another way to do the construction process that wouldn’t involve barricading off our businesses.”

FitzGerald tells The Pitch that there’s no definite date yet for when the white wall will be removed. “At some point, it will come down. Probably earlier than later,” she says.

This slice of 51st Street is represented by 4th District Councilwoman Jolie Justus, who has met with Moores and is in touch with attorneys for Kin Lin. Justus tells The Pitch, “The tenants are, understandably, concerned

Dining notes Westport’s New Pour Man

J

ust a few months since it opened, Standard Pour, at 1511 Westport Road, is doing a little kitchen rehab. Opening chef Travis Meeks is leaving the venue at the end of this month, to be replaced November 2 by Pete Peterman, former owner of SORedux and Peanches.

“Travis had the opportunity to do some consulting work for a new restaurant in southern Missouri, where he’s from,” says owner David Sederholm. “It’s a very positive thing for him, so it left us looking for a new chef who understands our philosophy of offering elevated comfort food.”

Standard Pour opened in June, inside the former Boozefish Wine Bar location, with a simple menu of starters, sandwiches and salads created by Meeks and restaurant consultant Joe Shirley. The Pitch named Standard Pour’s Reuben sandwich the best in the city in this year’s Best of Kansas City issue. Peterman plans to keep that Reuben on the menu, but he’ll change just about everything else.

He’s not tipping his hand on the changes yet, but knowing the indefatigable chef’s style, I’m betting that the $5 starter of biscuits and jam will be on the 86 list quickly.

“This place has always been more about gathering friends together for a glass of wine or a beer,” Peterman says. “That won’t change. But we will have nightly specials, and I’d like to add more reasonably priced small plates and smaller entrées, so our patrons can have a three-course dinner if they want a more traditional dinner.”

Peterman and Shirley will work together to create the menu for a special beer dinner with Torn Label Brewing Co. in mid-November.

— C.F

E-mail charles.ferruzza@pitch.com

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OCTOBER 22-28, 2015

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24

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OCTOBER 22-28, 2015

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25

MUSIC

The Road Back

The Roseline’s Colin Halliburton wrestles his demons on Townie.

By

N ata l ie G a l l a Ghe r

n “Clean Lines,” a song from the Roseline’s June-released album, Townie, lead singer and guitarist Colin Halliburton describes the moment that he thought he was going to die, sitting in traffic one day, caught between the steely grips of addiction and depression. I’ve swallowed pills for the past six years, I felt so hollow when I mixed them with beers, he sings, his voice smooth and assured. It took my love, my faith, but not my fears.

The rest of Townie’s 11 songs touch on similar themes. Against a backdrop of warm and spacious Americana, Halliburton lays it all out: the failed relationships, the struggles with mental illness, the drinking. He’s not shy about any of it — on record, at least. In person, it’s somewhat more difficult for him to describe the period in his life that gave him those songs.

Following the release of the Roseline’s 2012 record, Vast as Sky, and a monthlong tour, Halliburton — then 30, and feeling discontented in Lawrence — moved on a whim to New York City. But relocation was not the cure-all he was looking for, and within a month he was back home.

“That may be a new world record,” Halliburton tells me wryly. “I had kind of a complete mental breakdown. After that, I guess I felt defeated. I didn’t really know what I was doing with my life. I just had this sort of crippling existential dread. I was just in a weird age in a college town dealing with mental illness. I’ve dealt with panic attacks since I was 13, and they kind of come and go in waves, but it got really bad for that year after, and that always leads to depression. I was sort of stupidly self-medicating with too much booze. That’s where a lot of the songs came from. A lot of them came out because I felt guilty of how I was dealing with stuff.”

Halliburton pauses, shifting his feet.

He speaks quietly, as though he’s unsure how much detail to go into now. The gazes of his bandmates and my note-taking are likely not helping. “I don’t know,” he says, flicking his cigarette. “It’s sort of hard to talk about.”

Besides, he adds, the songs on Townie are two or three years old at this point — a couple of them older. Halliburton, now 33 and living in Kansas City, has since emerged from his dark days.

“It was a combination of therapy, the right drugs, not drinking as much, exercising — you know, all the normal things they tell you to do,” Halliburton says. “They actually work.”

The light is fading outside Lawrence’s SeedCo Studios, where the band — the current incarnation includes drummer Aaron Pando,

zach bauman

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keyboardist Sam Goodell, guitarist Kris Losure and bassist Heidi Lynne Gluck — usually holds a weekly practice. Tonight, they’ll run through the set for the Roseline’s upcoming albumrelease show Friday, October 23, at Love Garden Sounds. Playing Townie’s confessional material doesn’t seem to rattle Halliburton the way discussing it does.

“I’ve been playing these songs for so long that I don’t think about the emotional weight of them anymore,” he says. “It’s more about the execution. I mean, playing some of these songs locally is sort of weird because Lawrence is such a small town, and certain audience members are going to know what I’m talking about or what I’m referencing. You don’t want to offend anyone but you also don’t want to have to self-edit.”

That Halliburton prefers the anonymity — and modest turnout, he admits — of a show outside the area is a large part of why he postponed the album-release shows for four months. Plus, he tells me, practices and shows can be hard to manage. (“It gets hard as you get older to get five adults in the same room for two hours a week,” he says. At this point, a decade into the band’s existence, the only original member of the Roseline is Halliburton himself. Though he has known his current bandmates for years, the process of rebuilding the outfit took time. For what it’s worth, the four people helping him achieve his sound now practically recruited themselves.

The Roseline soldiers on.

The Roseline

“I put out feelers for drummers, and Aaron would hit me up, and I literally thought he was kidding,” Halliburton says. “He’s more of a heavier metal dude, and I was like, ‘Ha ha, I get it, you want to play drums in my stupid folk band. I’m lame.’ He was finally like, ‘Dude, I’m serious.’”

“I’ve always been serious!” Pando says. “I heard the twang and the sadness in it, and I heard the call. When he moved back to town, I was hounding him. I enjoy what the music does. It’s heartfelt stuff. It was a trying time for him, and it’s good to hear these songs now, at this point.”

Townie is the Roseline’s fourth record, and it might be the band’s strongest release yet. The lineup helps — particularly Gluck. A talented singer-songwriter in her own right, she complements Halliburton’s pliable tenor with shimmering harmonies on the majority of Townie’s tracks. No matter how dark Halliburton gets, his songs feel light and easy, as comfortable as coming home. There’s a good deal of sorrow and misery, but at its core, Townie is about survival: Its struggles are all past tense.

“I’m in a far better space right now,” Halliburton says. I watch as he stamps out the brightorange flame of his cigarette in the dirt. He smiles. “And I promise a lighter fifth record.”

E-mail natalie.gallagher@pitch.com pitch.com

Friday, October 23, at Love Garden Sounds, in Lawrence

J a z z B e at Ron CaRlson QuaRtEt, at thE aRt FaCtoRy

Overland Park has gained a new Fridaynight jazz venue, at least through November. The Art Factory, in the Prairiefire development, is an art gallery with a stage and a sound system (and, no small matter, a liquor license). The venue’s fall jazz series enters its second week with the Ron Carlson Quartet. Carlson, also part of the classic-rock band Hard@Play, performs guitar that engages — at times with quiet intimacy and at others with an effervescent joy. Joining him are veterans Roger Wilder on keyboard and Bob Bowman on bass, and the dynamic young drummer Brian Steever. (Bowman and Steever also accompany Carlson on his new CD, Kind Folk.) Expect a blend of standards and jazz-infused pop amid the art.

— Larry Kopitnik Ron Carlson Quartet, 8 p.m. Friday, October 23, at the Art Factory (5621 West 135th Street, Suite 2630, Overland Park, 913-217-7861), $10 admission.

OCTOBER 22-28, 2015

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the pitch

OCTOBER 22-28, 2015

I

f Jon Ellison’s rough voice reminds you of certain iconic rockers, that would be because those artists — Bon Jovi, Bruce Springsteen — made for a secret passion during his teenage years. Very secret because Ellison was raised in a small Oklahoma town in a strict Baptist sect. To Ellison’s parents and the community he grew up in — where he eventually became a minister — rock music was the devil’s work.

Now 30, Ellison has been fronting the rock band Bearing Torches since its first performance, a March 2014 show at the Riot Room.

His days as a minister are long over, but things are just getting started for the band, which has since relocated from Kansas City to Nashville.

Friday at the Tank Room, Bearing Torches releases its debut full-length, Someplace Like America. I chatted with Ellison from his Nashville home about the long road to this record.

The Pitch: So you guys started in Kansas City, and now you’re in Nashville. Tell me about the decision to move.

Ellison: We came down here 10 months ago to record, and we’ve kind of been in that process ever since. We were working with two different people in Kansas City to cut the record, and it was progressing extremely slowly. It just felt like a depressing experience.

But we had some friends that had reached out from Nashville, and the resources and the infrastructure for making a record are a lot different here. We decided that we’d give it a shot. We came down to visit, but we realized it was going to be an immersive process.

Our bass player and our accordion player from Kansas City couldn’t commit to the move. We basically came down here without a house or anything, and it was dark days trying to come down here and get things pulled together. We had to recruit players to come in and finish the record. We found this house in Nashville that we could stay at, and we rehearsed five days a week in this freezing cold basement. And in late spring,

pitch.com

Bearing Torches burns bright. we finally started going to the studio to cut the record.

Are there any transferable skills from your time as a minister?

When you break it down to the core, I think there’s a lot of similarities that are there. I think the ability to set aside one’s ego in exchange for the larger perspective, viewing experiences that you have had or channeling someone else’s experiences — that’s something that was important as a minister, and the application is enormously similar in music. The art for understanding people, the constant search for common denominators, the ability to help people connect — those were important as a minister, and they’re also important as an artist.

And I’m really grateful for that path [as a minister]. It helps me keep perspective when a lot of these other things are happening: publicists and management and dealing with all of the extra stuff that comes with putting out a record. I wouldn’t have that perspective if I didn’t have the path that I did.

Bearing Torches CD release With Atlas Friday, October 23, at the Tank Room Your upbringing was really strict, so how were you able to develop a heavy, loud rock voice?

Were you just going into closets and screaming?

Yeah, it’s odd.… There was the most popular girl in our church. She introduced me to this group when I was 16. I was sitting in church, and she shows me this record — this Boyz II Men record — and she was like, “This is something that I could see you doing.” And it blew my mind. If you can imagine never hearing anything with a beat — no rock music

By

N ata l ie G a l l a Ghe r

— and you develop all these emotions and all these things that popular music really appeals to, but you just have never been exposed to it, and then it just hits you. I mean, it became the obsession of my later teenage years.

I got my hands on this old Bon Jovi CD, and I immediately showed this new music to my twin sister. We had these old clock radios, and we put them under our pillows at night, and we’d literally listen to rock music through our pillows when we were supposed to be sleeping. I’d take these cassette tapes during the day when I was mowing the lawn or whatever. I’d put them in my Walkman and I would try to mimic the singing — “Summer of ’69” or “Livin’ on a Prayer.” For whatever reason, I had a knack for that type of singing. It felt natural, like singing along to the radio.

And actually, Bob Ludwig, the guy that mixed and mastered our record — he was the guy who did the Bon Jovi records and Springsteen and Bryan Adams. So when we talked about the song structure and the vocals and all this stuff, it ended up being a full-circle moment for me.

When we last talked, your band was still relatively newly formed, and your family was not so supportive. Has that changed?

It’s been interesting. My parents, they don’t endorse what we’re doing. There are certain things that extreme environments create, these ultimatum moments, these things that can leave you with some scars. My little brother joined my band, and rock music wasn’t allowed in our environment growing up, and now half the kids are making it.

But as time has gone on, our family has seen how hard we work. For them, you gotta understand, all they know of rock music is urban legends — every stereotype that filters through the Christian environment. Now, all they see of us is how positive the music feels and how people respond to it. And a lot of the same aspects I found in ministry are in our music. I get the impression that they still don’t endorse the music. They don’t say, “That’s the career we would have picked for you.” But there are things you can be proud of in your kids no matter what, and I think they see our tenacity and how hard we work for this.

And music has this healing power, too. Just a couple days ago, I had a really emotional, really healing conversation with my mom about it. We just want to keep moving forward with it and see what happens. If you’re going to do this, to make a record like this, you have to put the best version of yourself into it. When you do that, only good things can happen.

E-mail natalie.gallagher@pitch.com

27

Music

Music Forecast

By

n ata l ie G a l l a Ghe r

Run the Jewels

El-P and Killer Mike — two successful rappers who bolster their creativity by performing together as Run the Jewels — bring their incendiary rhymes to the Midland. If you’ve been meaning to get in touch with your inner beast, make sure you’re in the audience. On last year’s acclaimed Run the Jewels 2, the two do a good deal more than intimidate with muscle-flexing — they start the brawl and throw down with vengeance. For what, exactly, are they seeking atonement? Perhaps everything.

Thursday, October 22, the Midland (1228 Main, 816-283-9921)

Stevie Wonder

Normally, a whole night of one man and his piano might not be enough to inspire our attendance at a show, but we will happily make an exception for the incredible Stevie Wonder. Friday at the Sprint Center, the 25time Grammy Award winner fills the stage with more than just his earth-shaking voice; Wonder’s 30-person band qualifies as a small army. He’s on tour in support of the 40th anniversary of his iconic 1976 album, Songs in the Key of Life, so you can expect a night filled with the songs you want to hear in the three-plus hours that he’ll dominate the stage.

Friday, October 23, Sprint Center (1407 Grand, 816-949-7100)

Chvrches

With its bombastic, synth-driven beats and youthful power-pop chords, Chvrches could easily be written off as another dance-club throwaway. But the Glasgow, Scotland, trio — helmed by Lauren Mayberry and her crystalline voice — has a certain Taylor Swift-like talent for emotive lyrics. The dazzling notes that Mayberry reaches on the group’s latest album, Every Open Eye, are betrayed by just a few cracks in her armor, but that’s what gives Chvrches its humanity and — we hope — its staying power.

Friday, October 23, Uptown Theater (3700 Broadway, 816-753-8665)

Stevie Wonder: Oh, it’s magic.

My Gold Mask

Gretta Rochelle is the centerpiece of Chicago trio My Gold Mask. Her moody voice slinks and slithers around the pulsing, synth-laden 2013 album, Leave Me Midnight. Since then, My Gold Mask has released only a handful of singles — teasers for a forthcoming record, which audience members will hear more of when the group stops at RecordBar. Minneapolis electro-pop duo Holidae — led by Ashley Gold, whose singing soars above Garrett Neal’s dark, syncopating tracks — opens the show, along with Kansas City’s own electronic whiz kid Max Justus.

Saturday, October 24, RecordBar (1020 Westport, 816-753-5207)

Janet Jackson

When Janet Jackson’s newest album, Unbreakable, was released earlier this month, it sat at the top of the Billboard chart — her seventh album to obtain such a ranking. It’s easy to see why: The 17 tracks on Unbreakable are slick and sexy, and Jackson’s voice cozies up to breathy electronic beats like they’re her favorite silk

f o r e c a s t

sheets. Then there are the unmistakable vocal tricks — a terse syllable, a high-pitched verse — that mark Jackson as the sister of the great MJ and give Unbreakable a certain transparency.

Here, she is as raw and honest as she has ever been. Welcome back, Ms. Jackson.

Tuesday, October 27, Sprint Center (1407 Grand, 816-949-7100)

In September, Craig Finn — longtime frontman of the Hold Steady — released a new solo album, Faith in the Future, and it’s not exactly the collection of rainbows that the album title might lead you to believe. Finn touches on some tough subjects: domestic violence (“Sarah, Calling From a Hotel”) and 9/11 (“Newmyer’s Roof”). While he’s not a miserable cynic about it all, he also doesn’t sugarcoat anything. Still, Finn’s exploration of these and other dark themes is always nuanced, and he seems determined to be hopeful.

Wednesday, October 28, RecordBar (1020 Westport, 816-753-5207)

Living Legend

Hippity Hop

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OCTOBER 22-28, 2015

the pitch

27

28 continued from page 9

Thursday | 10.22 |

whaT keeps mankind alive

TheaTer shows & evenTs Dates and times vary.

Performing Arts

Celtic Woman 10th Anniversary tour | 6 p.m.

Blueprints to Freedom | Kansas City Repertory Theatre, Copaken Stage, 13th St. and Walnut, kcrep.org

Music Hall, 301 W. 13th St.

Comedy

Willie Barcena | 8 p.m. Stanford’s Comedy Club, 7328

W. 119th St., Overland Park

Our Brother’s Caper, presented by KC Mystery Train | See kcmysterytrain.com for schedule and locations.

Harpoon’s good time | 6-9 p.m. Replay Lounge, 946

The Brothers Size | The Unicorn Theatre, 3828

sandman the Hypnotist | 7:30 p.m. Improv Comedy Club and Dinner Theater, 7260 N.W. 87th St.

Chainsaw: The Musical | The Living Room, 1818 McGee, thelivingroomkc.com

Massachusetts, Lawrence

Main, unicorntheatre.org

fr iday

10.23

sHoPPing

Holiday mart 2015 | Noon-9 p.m. Bartle Hall, 301 W.

The answ er is dance .

13th St., jlkc.org

film

7 p.m. Alamo Drafthouse, 1400 Main

tural Arts Center, 500 S.W. Longview Rd., Lee’s Summit musiC

rory Block | 7:30 p.m. Knuckleheads Saloon, 2715

Rochester

What Keeps Mankind Alive, featuring Tango Lorca and Owen/Cox Contemporary Dance | 8 p.m. Musical

Theater Heritage at Crown Center, 2450 Grand, owencoxdance.org

Friday | 10.23 | Performing Arts

Bumpin uglies, Pasadena | 9 p.m. Davey’s Uptown Ramblers Club, 3402 Main

davina & the Vagabonds | 8:30 p.m. Knuckleheads

Saloon, 2715 Rochester

the foreign resort, redder moon, the Bipolar magnets | 10 p.m. RecordBar, 1020 Westport Rd. Andy frasco with sophistafunk | 9 p.m. Knuckle-

heads Saloon, 2715 Rochester

gorgon City, Anna lunoe & Justin Jay | 7 p.m.

The Granada, 1020 Massachusetts, Lawrence

Brett Jackson Quartet, Bass face | 5:30 p.m.

Green Lady Lounge, 1809 Grand

eddie moore & the outer Circle | 7 p.m. The Blue

Kansas City symphony’s festa italiana | 8 p.m.

Kauffman Center, 1601 Broadway, kcsymphony.org spirit of india: Bollywood Masala Orchestra and Dancers of India | 8 p.m. Yardley Hall at JCCC,

too tight to groove | Jackpot Music Hall, 943 Mas-

Bearing torches | 8 p.m. The Tank Room, 1813 Grand

Katy guillen & the girls, Chris meck & the guilty Birds | 9:30 p.m. RecordBar, 1020 Westport Rd.

3700 Broadway

Jazz disciples, the truth | 5 p.m. The Blue Room, 1600 E. 18th St.

maria the mexican, Jessica Paige | 6 p.m. Replay Lounge, 946 Massachusetts, Lawrence

the great midwest Balloon fest | 4-10 p.m. The National Agricultural Center and Hall of Fame, 630 N. 126th St., Bonner Springs, midwestballoonfest.org

Johnny rivers | 8:30 p.m. Knuckleheads Saloon,

2715 Rochester

twin scars, onward Crispin glover | 10 p.m.

OCTOBER 22-28, 2015

Holiday mart 2015 | 9 a.m.-9 p.m. Bartle Hall, 301 W. 13th St., jlkc.org

pitch.com

Restaurant, 9229 Foster, Overland Park, newtheatre.com

mUseUm exhibiTs & evenTs A Centenary of Australian War Art | National World War I Museum at Liberty Memorial, 100 W. 26th St., theworldwar.org Wild science lecture: A Window on Climate Change and Plant Adaptations — the fossils of Antarctica | 7 p.m. Tuesday, KU

Natural History Museum, 1345 Jayhawk Blvd., Lawrence, naturalhistory.ku.edu/visit/events

stevie Wonder | 8 p.m. Sprint Center, 1407 Grand

Saturday | 10.24 |

tribute to little Hatch with the Hatchlings |

Performing Arts

the Wheelers, my gold mask, Arc flash | 10 p.m.

Kansas City symphony’s festa italiana | 8 p.m.

Kauffman Center, 1601 Broadway, kcsymphony.org

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

sHoPPing

Replay Lounge, 946 Massachusetts, Lawrence

the pitch

You Can’t Take It With You | New Theatre

Comedy

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

at Just Off Broadway Theatre, 3051 Central, spinningtreetheatre.com

musiC

Chvrches, mansionair | 8 p.m. Uptown Theater,

sandman the Hypnotist | 7:30 & 9:45 p.m. Improv

10th St., qualityhillplayhouse.com

Vincent in Brixton | Metropolitan Ensemble Theatre, 3614 Main, metkc.org

1400 Main

stars of the American Ballet, featuring Fancy Free | 7:30 p.m. Kauffman Center, 1601 Broadway

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

Tin Pan Alley | Quality Hill Playhouse, 303 W.

Army of Darkness | 10 p.m. Alamo Drafthouse,

Brooklyn rye, mime game, tides for Aviation | 9 p.m. Davey’s Uptown Ramblers Club, 3402 Main

sachusetts, Lawrence

28

film

f e s t i VA l s

david ramirez, dylan leBlanc | 8 p.m. The Riot

The Miracle Worker | Through Sunday, the

The Turn of the Screw | Spinning Tree Theatre,

12345 College Blvd., Overland Park, jccc.edu/performingarts-series

Room, 1600 E. 18th St.

Room, 4048 Broadway

day, KU Theatre, Crafton-Preyer Theater, 1530 Naismith Dr., (Murphy Hall), Lawrence, kutheatre.com

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

Ghostbusters movie party dine-in theater |

silents night, featuring Nosferatu | 6:30 p.m. MCC Cul-

Johanna: Facing Forward | Through Sun-

Replay Lounge, 946 Massachusetts, Lawrence

29

LYLE LOVETT and JOHn HIaTT

Kevin Smith | 7 & 9:30 p.m. Improv Comedy Club and Dinner Theater, 7260 N.W. 87th St., 816-759-5233.

1800 Village West Pkwy., KCK, beerfestattheballpark .com

F e S t i va l S

Wicked Wine Walk | 3-6 p.m. Power & Light District,

the Great midwest Balloon Fest | 2-10 p.m. The

National Agricultural Center and Hall of Fame, 630 N. 126th St., Bonner Springs, midwestballoonfest.org expo

mother earth News Fair | 9 a.m.-7 p.m.

Kansas Expocentre, 1 Expocentre Dr., Topeka, motherearthnewsfair.com/kansas

14th St. and Walnut, powerandlightdistrict.com SportS & reC

i am Second 5k and 10k | 8 a.m., $20-$45, Arrowhead Stadium, 1 Arrowhead Dr., theiamsecondrun.com/runkc muSiC

Blitzen trapper, the domestics | 8 p.m. The Bottle-

neck, 737 New Hampshire, Lawrence

CommuNity eveNtS

fr i d

Fall muster, a re-enactment of events surrounding the

ay

23 .

0 1

ip st r ett L ov w n . do

prelude to the War of 1812 | 9 a.m.-4:30 p.m. Fort Osage Education Center, 107 Osage St., Sibley s

holiday mart 2015 | 10 a.m.-6 p.m. Bartle Hall, 301 W. 13th St., jlkc.org

and Owen/Cox Contemporary Dance | 8 p.m. Musical Theater Heritage at Crown Center, 2450 Grand

E. 18th St.

Inn, 500 Westport Rd.

houdini light machine, devin in the details, Fister, Cartographer, the last Glacier | 7 p.m.

The Riot Room, 4048 Broadway

Film

Lawrence, lied.ku.edu

Dismember the Alamo: Kansas City horror film marathon | 4 p.m. Alamo Drafthouse, 1400 Main

What Keeps Mankind Alive, featuring Tango Lorca

tim Cunningham | 8:30 p.m. The Blue Room, 1600

Flannigan’s right hook | 10 p.m. Kelly’s Westport

ShoppiNG

an acoustic evening with lyle lovett and John hiatt | 7:30 p.m. The Lied Center, 1600 Stewart Dr.,

Blue orleans | 9 p.m. B.B.’s Lawnside, 1205 E. 85th St.

the alyssa murray trio | 7 p.m. Uptown Arts Bar,

3611 Broadway

Comedy F00d & driNK

Willie Barcena | 7:45 & 9:45 p.m. Stanford’s Comedy

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

Beerfest at the Ballpark, benefiting Helping Hands Inc. | 1:30 p.m., $38, CommunityAmerica Ballpark,

musical Blades presents a Night at haunted harbor | 8 p.m. VooDoo, Harrah’s Casino, 1 Riverboat

Dr., North Kansas City

continued on page 30

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All proceeds go to support Truman Heritage Habitat families.

OCTOBER 22-28, 2015

the pitch

29

30 continued from page 29 My Gold Mask, Holidae Max, Justus | 9:30 p.m.

SHOPPiNG

2015

RecordBar, 1020 Westport Rd.

Holiday Mart 2015 | 10 a.m.-4 p.m. Bartle Hall, 301 W. 13th St., jlkc.org

Nektars Roye Albrighton | 7 p.m. Knuckleheads

Saloon, 2715 Rochester

EVENTS

Thursday | 10.22 |

Odd Harmona, Margo May and Martin Bush, the Roseline | 9:30 p.m. Davey’s Uptown, 3402 Main

Edge of Hell | 7:30 p.m., 1300 W. 12th St.

One Eyed Doll, Stitched Up Heart, Run 2 Cover | 6 p.m. Aftershock, 5240 Merriam Dr., Merriam

Macabre Cinema | 8 p.m., 1222 W. 12th St.

Organ Jazz Trio | 9:30 p.m. Green Lady Lounge,

Cedar, Bonner Springs

1809 Grand

Michael Pagan Trio, Organ Jazz Trio | 6:30 p.m.

3rd Street Asylum | 7-11 p.m., Third St. and

Friday | 10.23 |

FilM Museum, 7000 N.E. Barry Rd., shoalcreekliving historymuseum.com

Halloween Haunt | 7:30 p.m.-1 a.m. Worlds of Fun, East Loop I-435, worldsoffun.com/haunt

ivanhoe Trunk or Treat & Haunted House | 7-11 p.m. Masonic Temple, 8640 Holmes

Macabre Cinema | 8 p.m., 1222 W. 12th St.

Green Lady Lounge, 1809 Grand

The Beast | 7:30 p.m., 1401 W. 13th St.

The Psycho Sisters with Matt Stansberry & the Romance | 8:30 p.m. Knuckleheads, 2715 Rochester

Edge of Hell | 7:30 p.m., 1300 W. 12th St.

Rose Children’s Farmstead, 13800 Switzer Rd., Overland Park. drfarmstead.org

Rex Hobart & the Misery Boys | 8 p.m. The Ship,

Fairy Tale Forest | 5:30-8 p.m. Martha Lafite

Thompson Nature Center, 407 N. Lafrenz Rd., Liberty, naturesanctuary.com/center.html

Pumpkins on Parade | 4:30-9 p.m. Cave Spring

Historic Site & Nature Center, 8701 E. Gregory Blvd.

Scammers, Christian Dior, Blondi Brunetti, Killus | The Brick, 1727 McGee

Halloween Haunt | 6 p.m.-midnight, Worlds of

Pumpkin Palooza | 9 a.m.-1 p.m. Sunflower

7 p.m. Jackpot Music Hall, 943 Massachusetts, Lawrence

Those Far Out Arrows, Witch Jail, J-Tone |

Ivanhoe Trunk or Treat & Haunted House | 7-11 p.m. Masonic Temple, 8640 Holmes

Watts & Amps Music Festival | 7 p.m. The Lodge

Macabre Cinema | 8 p.m., 1222 W. 12th St.

Spirits From the Past | 6-9 p.m. Missouri Town 1855, 8010 E. Park Rd. (in Fleming Park), Lee’s Summit

Night of the living Farm | 6-9 p.m. Deanna

Spookfest | 5-8 p.m. Union Station, 30 W.

1217 Union Ave.

at Ironwoods Park, 14701 Mission, Leawood NiGHTliFE

Chippendales | 7:30 p.m. Davey’s Uptown Ramblers

Club, 3402 Main

Dirty Stomp with Hector the Selector | 10 p.m.

Replay Lounge, 946 Massachusetts, Lawrence

DJ E | Quaff Bar & Grill, 1010 Broadway

Carrie | 7 p.m. Alamo Drafthouse, 1400 Main

Night of the living Farm | 6-9 p.m. Deanna

SPORTS & REC

Chiefs vs. Steelers | Noon. Arrowhead Stadium Family Timber Challenge Obstacle Course and Fun Run | 9 a.m., $29-$39, Adventure Zip KC, 12829 Loring Dr., Bonner Springs, kctimberchallenge.com

Sporting KC vs. l.A . Galaxy | 6 p.m. Sporting Park,

1 Sporting Way, KCK

MUSiC

Fun, East Loop I-435, worldsoffun.com/haunt

Rose Children’s Farmstead, 13800 Switzer Rd., Overland Park, drfarmstead.org

Spirits From the Past | 6-9 p.m. Missouri Town 1855, 8010 E. Park Rd. (in Fleming Park), Lee’s Summit 3rd Street Asylum | 7 p.m.-midnight, Third St. and Cedar, Bonner Springs

House, A Child Advocacy Center, 15440 W. 65th St., Shawnee, sunflowerhouse.org

Pershing Rd., unionstation.org

3rd Street Asylum | 7 p.m.-midnight, Third St. and Cedar Streets, Bonner Springs

Wornall House Ghost Tours | 6:30-8:30 p.m.

John Wornall House and Museum, 6115 Wornall

Sunday | 10.25 |

Country Jam with Billy Ebeling, Bret Hodges and Neal Hudson | 6 p.m. Knuckleheads, 2715

Rochester

Deafhaven, Tribulation | 8 p.m. The Granada, 1020

Massachusetts, Lawrence

leftöver Crack, Days N Daze, All Torn Up | 7 p.m.

RecordBar, 1020 Westport Rd.

Dave Mason | 8 p.m. Knuckleheads, 2715 Rochester Misterwives, Waters, Cruisr | 8 p.m. The Midland, 1228 Main

Mr. & Mrs. Dodge Band, Danny Pound | 5 p.m.

Replay Lounge, 946 Massachusetts, Lawrence

Sound Curves | Jackpot Music Hall, 943 Massachu-

setts, Lawrence

NiGHTliFE

DJs Edwin, Bill Pile and Mike Scott | 10 p.m.

MiniBar, 3810 Broadway

Silence of the Gams: Horror Burlesque | 10 p.m.

Uptown Arts Bar, 3611 Broadway

Sunday | 10.25 | PERFORMiNG ARTS

Wornall House Ghost Tours | 6:30-8:30 p.m.

John Wornall House and Museum, 6115 Wornall, wornallmajors.org

Saturday | 10.24 | Edge of Hell | 7:30 p.m., 1300 W. 12th St. Fairy Tale Forest | 5:30-8 p.m. Martha Lafite Thompson Nature Center, 407 N. Lafrenz Rd., Liberty

Kansas City Symphony’s Festa italiana | 2 p.m.

Fright Night | 6-9 p.m. Shoal Creek Living History

What Keeps Mankind Alive, featuring Tango Lorca

and Owen/Cox Contemporary Dance | 2 p.m. Musical Theater Heritage at Crown Center, 2450 Grand

30

the pitch

OCTOBER 22-28, 2015

The Legend of Sleepy Hollow | 7 p.m.

Theatre for Young America, H&R Block City Stage Theater, Union Station, tya.org

Wednesday | 10.28 |

SwajMahal | 8 p.m. The Riot Room, 4048 Broadway

Monday | 10.26 |

Theatre for Young America, H&R Block City Stage Theater, Union Station

Kevin Smith | 7 p.m. Improv Comedy Club and Dinner

COMMUNiTy EvENTS

Theater, 7260 N.W. 87th St.

Mother Earth News Fair | 9 a.m.-5 p.m. Kansas

pitch.com

Back to the Future: A Staged Reading, benefiting Midwest Music Foundation | 6:30 p.m. The Buffalo Room at the Westport Flea Market, 817 Westport Rd. FilM

The Legend of Sleepy Hollow | 7 p.m.

Expocentre, 1 Expocentre Dr., Topeka, motherearthnewsfair.com/kansas

Theater, 300 W. 12th St., follytheater.org

ExPO 7328 W. 119th St., Overland Park

Tuesday | 10.27 |

Bianca Del Rio’s Rolodex of Hate | 8 p.m. Folly

COMEDy

Comedy All Stars | 7 p.m. Stanford’s Comedy Club,

Thompson Nature Center, 407 N. Lafrenz Rd., Liberty

COMEDy

The Beast | 7:30 p.m., 1401 W. 13th St.

igudesman & Joo: And Now Mozart | 7 p.m. Polsky Theatre at JCCC, 12345 College Blvd., Overland Park, jccc.edu/performing-arts-series

Kauffman Center, 1601 Broadway, kcsymphony.org

Fairy Tale Forest | 5:30-8 p.m. Martha Lafite

Annual Fall Muster, a re-enactment of events

surrounding the prelude to the War of 1812 | 9 a.m.4:30 p.m. Fort Osage Education Center, 107 Osage St., Sibley

The Haunting | 10:30 p.m. Alamo Drafthouse, 1400

Main

MUSiC

Alvin and the Chipmunks: The Musical | 6:30 p.m.

The Midland, 1228 Main

Basement, Maps for Travelers | Jackpot Music Hall, 943 Massachusetts, Lawrence

% +

+3

31 Have Mercy, transit, Somo, Microwave | 7 p.m.

MuSiC

Run the Jewels

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

th u

Broadway Kansas City, 3601 Broadway

y r s da

10.22

Benyaro, tyler Gregory | 10 p.m. Replay Lounge,

946 Massachusetts, Lawrence

’em Run fast.

Colony House, Coin | 7:30 p.m. The Tank Room, 1813 Grand

Jeff Daniels and the Ben Daniels Band | 7 p.m.

The Granada, 1020 Massachusetts, Lawrence

Wild Child, Nate Allen | 9:30 p.m. RecordBar, 1020

J.D. McPherson, John Moreland | 8 p.m. Knuck-

leheads Saloon, 2715 Rochester

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

Bass Hertz official takeover | 8 p.m. The Bottleneck, 737 New Hampshire, Lawrence

Wednesday | 10.28 |

New Years Day, Get Scared, Eyes Set to Kill, the Relapse Symphony, Young Medicine, Somewhere in Hiding, Darksiderz | 6:30 p.m. Aftershock, 5240 Merriam Dr., Merriam

Spirit Caravan, the Dirty Streets, Merlin, Leering Heathens | 9 p.m. The Riot Room, 4048 Broadway

W. 119th St., Overland Park

Herbalize with DJs Rizzo and Ellen Degenerate | 8 p.m. Davey’s Uptown Ramblers

Club, 3402 Main

JoCo Dems happy hour | 5 p.m., Lucky Brewgrille,

Sensei Party with Dom Chronicles & Scotty Wu | 10 p.m. MiniBar, 3810 Broadway Spinstyles | 8 p.m. The Tank Room, 1813 Grand

MuSiC

B3 Vibrations, organ Jazz trio | 7:30 p.m. Califor-

nos, 4124 Pennsylvania

Stupid Gets You Killed: A Walking Dead Quiz |

8 p.m. Tapcade, 1701 McGee

PERfoRMiNG ARtS

Eric Alexander & Harold Mabern | 7:30 p.m.

Lied Center of Kansas, 1600 Stewart Dr., Lawrence, lied.ku.edu

Chicago Symphony orchestra | 7 p.m. Kauffman

Center, 1601 Broadway, kauffmancenter.org

CCCC C C

Craig finn, Esme Patterson | 9:30 p.m. RecordBar, 1020 Westport Rd.

futurebirds, Blank Range, Westerners | 8 p.m.

The Riot Room, 4048 Broadway

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

• Voted KC’s Best Gentleman’s Club • 70 Girls • Oldest Adult Club in Missouri Full Service Kitchen • Great Place to Watch Sporting Events VIP Lounge • Cover Friday & Saturday ONLY! Premium Bottle Service

CCCC

C CCCCC CCCC CCCC

%:) 132)= +)8 89** CCCC +3 83

Girls Night out: the Show | 8 p.m. Kanza Hall, 7300

5401 son Dr., Mission

Elliott threatt & Dave Kious | 8 p.m. Stanford’s Comedy Club, 7328 W. 119th St., Overland Park

Westport Rd.

Tuesday | 10.27 |

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

NiGHtLifE

CoMEDY

Boogaloo 7 | 8 p.m. Green Lady Lounge, 1809 Grand

Romi Mayes with Chris Meck & the Guilty Birds | 7:30 p.m. Knuckleheads Saloon, 2715

of Montreal, Diane Coffee | 9:30 p.m. RecordBar,

Allison Weiss, Mal Blum, Winter Kid, in the Attic | 8 p.m. The Riot Room, 4048 Broadway

Superjoint, Prong, Altered Beast | 7 p.m. The

Pageant | 7 p.m. Uptown Arts Bar, 3611 Broadway

85th St.

Sequel trio | 9 p.m. Green Lady Lounge, 1809 Grand

Granada, 1020 Massachusetts, Lawrence

Lawrence

Janet Jackson | 8 p.m. Sprint Center, 1407 Grand

BBQ, 1205 E. 85th St.

Blue Monday Jam with Jason Goudeau |

Mod Sun, New Beat fund, Allday, Benny freestyles | 7 p.m. The Granada, 1020 Massachusetts,

Rochester

1020 Westport Rd.

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

Juke Box Romantics | Jackpot Music Hall, 943 Mas-

sachusetts, Lawrence

the Disney Project, Christibe Brebes | The Brick, 1727 McGee

Run the Jewels, with Boots, Bishop Nehru, and Cuz Lightyear | 8 p.m. The Midland, 1228 Main

Davey’s Uptown Ramblers Club, 3402 Main

CCCC CCCC CCCC

30 seconds east of the Power & Light District

2800 East 12th St. • Kansas City, MO 64127 816.231.9696 • KcShadyLady.com pitch.com

OCTOBER 22-28, 2015

THE PITCH

31

32

S ava g e L o v e

Kansas City’s

one last time

HOTTEST GAY CHATLINE 816-841-1588 913-279-9212 30 minute FREE TRIAL 18+

18+

816-841-4000 913-279-9218 30 minute FREE trial

Help Understanding Boundary-Breaking Yearnings Dear HUBBY: If I were required to answer par-

ticular types of questions based on the percentage of the mail they constitute, I would answer two questions like yours every week.

The majority of the mail I receive is from unhappy people in sexless marriages that they either don’t want to end (they have kids, they do love each other, everything besides the sex is working) or can’t afford to end (they don’t have enough money for lawyers or two households, one depends on the other for income/health insurance/caregiving).

So which kind of idiot are you? The most common kind, I’m afraid.

I’m going to take a break from questions like these — from questions like yours — because I’m sick of the subject, and my regular readers must be, too. But for you, and one last time, here’s my advice for people in your situation: Do what you gotta do to stay married and stay sane. Have a convo with the wife about the accommodation you require — permission to get it elsewhere — to stay in the marriage. Reassure her that you’re prepared to spend the rest of your life with her while emphasizing that you refuse to be celibate for the rest of your life. So every now and then, for your own sanity and for the greater good, you’re going to have sex with other women.

You’ll do it discreetly, rarely and NSA-ly, but you’re gonna do it. If this isn’t something your wife can accept, then your only other option is divorce.

Dear Dan: These are things I (28, gay, male,

single) did last night, and they show how

32

the pitch

OCTOBER 22-28, 2015

D a n S ava ge One eventful night does not an out-ofcontrol sleazebag make. But if you feel out of control, take things slower. Resolve to be a bit choosier about who you hook up with, remind yourself to be grown-up about rejection when it comes your way, and refrain from kink-shaming yourself the next time you make an underpants perv’s day.

Dear Dan: I’m a straight guy, married for 16

years, kids in school. My wife cannot find a way to be intimate with me. We’ve had therapy individually and together. I nearly divorced her, but we decided to stay together — we do love each other, and the economics and child-rearing favor it. After I asked for a divorce, she fucked the shit out of me for the first time in 10 years. That was the last time she fucked me. She’s “broken” — her word, not mine, and her final answer.

When the subject of affairs came up in the past, she said, “I wouldn’t blame you.” I could jack off only so many times before I cracked. I went online and met a very sexual woman with a strictly NSA thing for married men, and we fucked. I plan on doing it again. I know this could go all kinds of bad ways, but divorce just isn’t realistic. We had that one conversation, but we don’t have an explicit understanding.

I don’t want to head into my 50s with 10-plus years of celibacy behind me and decades of celibacy ahead of me. But I want to keep my marriage. Which kind of idiot am I?

By

fucked up I am. (1) I hooked up with a guy off Craigslist. It was lame, he wasn’t cute, I was bored. (2) I came home and went on Tinder (which says I’m looking for an LTR, despite that hookup). I saw a guy from the gym, but he didn’t swipe right, and I was devastated.

(3) I went online and sold a pair of my used undies. I don’t know what I’m doing with my life. I could use some advice. I’m sure what you say won’t be nearly as bad as what the voice inside my head is yelling at me.

What Is My Life?

Dear WIML: (1) I hooked up with this dude once, and it happened so fast — and it was so sleazy — that I had to fish his driver’s license out of his wallet when he was in the shower because I couldn’t remember his name. And that sleazy hookup led to a relationship so good that I wound up marrying sleazy hookup dude. Twice. So in my experience and the experiences of millions of other people in LTRs with people they fucked the first time they met, hooking up isn’t proof that someone isn’t looking for an LTR. So that underwhelming hookup doesn’t make you a hypocrite, OK? (2) Gym dude isn’t into you — just like you weren’t into the dude you hooked up with last night. Are you into every dude you see at your gym? No. Do you swipe right on every dude you see on Tinder? No. So last night you got rejected quickly and impersonally — Tinderstyle — but you’ve dished out that kind of rejection, too. Don’t be a hypocritical baby about it, OK? (3) You made an underpants perv very happy and you made yourself a little money.

Nobody was lied to or misled, no one got hurt, and the total amount of joy in the world ticked up slightly. You have nothing to be ashamed of, OK?

Dear Dan: I’ve come into professional contact with a respected and successful artist.

She is a woman in her 60s; I am a man in my 40s. I’m really attracted to women who are strong, talented and smart. She’s all that, and funny. I’ve never been attracted to someone that much older than myself. Nobody bats an eye when a guy gets with a woman who is 20 years younger, but how do I pursue her without her thinking I have some creepy fetish? Am I a creep? I don’t think so. I’m pretty average, I have an unusual but boring job developing woodworking tools, and I don’t have any kinks or fetishes to speak of. I’ve gone out of my way to make her feel special on several occasions, but it has only caused her to remark on my great customer service — and not in a flirty way. How can I let her know that I want to move into something else besides a professional relationship without creeping her out?

She Makes a Real Turn-on Dear SMART: Set aside the age difference and how you met and those sexist and dehumanizing double standards. (An older man with a younger woman is an attractive guy with game; an older woman with a younger man is a fetish object with no self-respect.) Set all that aside, and what do we have left? Person A is attracted to Person B. Person A doesn’t know how Person B feels, so Person A has to hit on Person B. Even if Person A does their best to mitigate the risks of creeping out Person B — Person A is polite, respectful and does their hitting on by “asking out” not by “lunging at” — the risk cannot be entirely eliminated.

Your best bet is to be unambiguously direct with her (“I think you’re great, and I’d love to take you out on a date”) and to invite her to be unambiguously direct with you (“If you’re not interested, just say no — I’m a grownup and I can handle rejection”). And if she’s squicked out by the age difference or wonders if you’re a fetishist, urge her to Google the term “sapiosexual.”

Find the Savage Lovecast at savagelove cast.com.

Have a question for Dan Savage?

E-mail him at mail@savagelove.net

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