november 6-12, 2014 | free | vol. 34 no. 19 | pitch.com
nov ember 6 -12, 2014 | vol . 3 4 no. 19
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E d i t o r i a l
Editor Scott Wilson Managing Editor Justin Kendall Music Editor Natalie Gallagher Staff Writers Charles Ferruzza, David Hudnall, Steve Vockrodt Editorial Operations Manager Deborah Hirsch Events Editor Berry Anderson Proofreader Brent Shepherd Contributing Writers Tracy Abeln, Jen Chen, Liz Cook, April Fleming, Larry Kopitnik, Angela Lutz, Dan Savage, Nick Spacek
a r t
Art Director Jeremy Luther Art Assistant Vu Radley Contributing Photographers Zach Bauman, Angela C. Bond, Barrett Emke, Chris Mullins, Sabrina Staires, Brooke Vandever
P r o d u c t i o n
Production Manager Christina Riddle
Silver Age John McDonald reflects on 25 years of Boulevard beer and looks to the future. b y j u s t i n k e n da l l
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Sales Manager Erin Carey Senior Classified Multimedia Specialist Steven Suarez Multimedia Specialists Sharon Donat, Megan Fletcher, Becky Losey, Alyssa Scaletty Director of Marketing and Operations Jason Dockery Digital Marketing Specialist Lisa Kelley Digital Marketing Coordinator Ashley Reed Sales and Marketing Assistant Jason Haflich
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A lawsuit targets a Hutchinson company with ties to KC’s payday-lending industry. b y dav i d h u d n a l l
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d i s t r i B u t i o n
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AmericAn Art Michael Corvino’s menus give a nod to formality and justify their expense. by charles ferruzz a
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on the cover
5 Questionnaire 6 news 9 agenda 11 stage 13 art 17 film 19 café 22 fat city 23 on tap this week 24 music 3 0 d a i ly l i s t i n g s 38 savage love
meAnwhile At pitch.com Cover designed with photograph by e.g. sChempf and detail of peregrine honig’s two birds by jeremy luther
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november 6 -12, 2014
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LOCAL PiG officially replaces Bridger’s Bottle Shop. Sad the ROyALS lost the World Series? SAM BiLLEN’S new song might cheer you up. MiCAH MOORE cleared of all criminal charges in the death of IHOP adherent Bethany Deaton.
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Thodos Dance Chicago
A Light in the Dark (Helen Keller’s story) 8 p.m., Saturday, November 8 | Yardley Hall Plus mixed modern dance repertoire. “Thodos Dance’s ‘Helen Keller’ is a feast for the senses … this is a work of tremendous empathy that literally animates a true story.” — Chicago Sun-Times
jccc.edu/TheSeries | 913-469-4445 Performing Arts Series | Johnson County Community College
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ROYAL BLUE SHOTS
COME JOIN US FOR A “ROYAL” SING-A-LONG 510 Westport Road, KCMO 64111 RESERVE ROOMS AT reservations@offkeykc.com
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november 6 -12, 2014
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Questionnaire
Brisket BoB
Sporting KC superfan
“In five years, I’ll be …” 39 and still wishing that I’d been more clever on this questionnaire.
“I always laugh at …” Sleeveless T-shirts with arrows that point to your “guns.” I saw one in a store in Gatlinburg, Tennessee, a few weeks back that said, “Obama can’t have these guns.” I still regret not paying the stupid $3.99 for it. “I’ve been known to binge-watch …” I don’t really “binge–watch.” But I did watch the movie Buffy the Vampire Slayer four times in a row at a sleepover once (when I was 12). “I can’t stop listening to …” Run. The. Jewels. “I just read …” Reclaiming History by Vincent Bugliosi. If you’re fascinated by JFK, you gotta read it. I won’t ruin the plot for you, but it’s a real bummer. The best advice I ever got: From my dad before my wedding: “Don’t screw it up.”
s a b r i n a s ta i r e s
Worst advice: After the “best advice,” my dad retracted and said, “No, wait, that’s stupid. Never mind.” So technically, I got no advice. That counts, right?
Name: Robert Baconwurst (but my employer thinks my name is Adam Yarnevich).
Occupation: When I’m not obsessing over Sporting Kansas City, I design stuff for the interwebs.
Hometown: The ’Dotte Current neighborhood: World–famous Mission,
Kansas. We have a Chipotle and a Freebirds. Booyah.
What I do (in 140 characters): Design. Cheez-Its. Sleep. Repeat.
What’s your addiction? Crazy socks. I have one
pair of white tube socks and I only wear them when I’m doing yardwork.
What’s your game? I dominate at Balderdash
and spades.
What’s your drink? Bourbon. All of it. From top shelf to whatever is under the sink and behind the bleach.
My sidekick: My dog, Yoshimi. She’s selfish and spoiled. Which actually makes for a horrible sidekick.
HOLIDAY OPEN HOUSE
My dating triumph/tragedy: I got married a few
Sunflower Café Food Truck
Where’s dinner? I could eat Taco Via for every
weeks ago, and we’re still together. Triumph!
What’s on your KC postcard? A picture of St.
My brush with fame: Well, I do have my own hilariously stupid jumbotron intro at Sporting Park. (Check it out on YouTube.) I also sat next to Chuck Berry on a flight from KC to Chicago once. Ya, Chuck flies Southwest Airlines, too.
meal until I’m dead at 40 from eating Taco Via for every meal.
Louis with the words “KANSAS CITY” across the bottom. You’d pick it up and think, “Wait, that’s not Kansas City.” Then, you’d flip it over, and in huge letters it would say, “YOU’RE DAMN RIGHT IT’S NOT KANSAS CITY.”
Finish this sentence: “Kansas City got it right when …” We started acting like a big city.
Rideshare, light rail, food trucks, bicycle rental, trophies, an art district, those little TV screens in the back of taxi cabs with Jimmy Kimmel highlights, etc.
“Kansas City screwed up when …” I wish we were
watching playoff baseball in a downtown stadium. I think the World Cup watch parties last summer at P&L proved where we like to party.
“Kansas City needs …” Mountains, an ocean, and an overpriced steakhouse owned by a Hall of Fame athlete.
November 8- 9 Saturday, Nov. 8 10am-2pm
Serving delicious cinnamon rolls, ranch chicken, gourmet mac and cheese, cookies and more!
My 140-character soapbox: You know those
1-800-Bets-Off billboards? I think they’re missing out on an obvious tagline that says, “We bet you won’t call.”
What was the last thing you had to apologize for? Snoring. Which comes and goes. My wife doesn’t get mad, but I still feel bad.
Who’s sorry now? Probably me because I know I’m gonna come home one day to some horrifying breathing apparatus that she’s purchased for me that attaches to my face, and I’m gonna have to wear it. My recent triumph: I got an old-school, red Kansas City Blades jersey on eBay for, like, $50. Greatest 2 a.m. drunk online purchase ever.
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VINTAGE • RETRO • REPURPOSED Vintage and retro furniture, home decor, neon signs, antiques, collectibles, vintage toys, an awesome collection of classic vinyl, and lots more! Awarded Best Suburban Destination 2014, The Pitch Best of Kansas City
Tues-Sat 10-6 • Sun-Mon 12-5 203 W. Dennis Avenue, Olathe, KS 913-780-4180 november 6 -12, 2014
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News
Silver Age
John McDonald ref lects on 25 years of Boulevard beer and looks to the future.
By
Ju s t in K e nd a l l
ohn McDonald limps into Boulevard Brewing Co. on Election Day. The brewery’s founder took a spill on the stairs of his West Side home, and one of his feet hurts. He’s in a sunny mood anyway, though, and he greets everyone he passes — in cubicles, desks and offices — with a “good morning.” McDonald, wearing comfortable blue jeans, boots and a button-down shirt, spots an employee in a suit. “Going to a funeral or something?” McDonald asks. “Tax adviser.” “Tax adviser?” McDonald asks. “For you?” “For the brewery.” McDonald continues to his modest office, which overlooks Interstate 35. He takes a seat on a blue fitness ball. It’s there to combat what he confesses is a fidgety nature. He can’t sit still longer than 15 minutes, he says. We’re here to talk about a much longer stretch: Boulevard’s 25th anniversary. On the walls and shelves of McDonald’s office are reminders of the steps that he and the company he founded have taken along the way — artifacts commemorating milestones. A framed photo of McDonald with his homebrewing operation in his wood shop, which doubled as the original brewery, in the late 1980s. Photos of the late Bob Werkowitch, the master brewer who helped advise McDonald and who became the namesake of Bob’s 47 Oktoberfest. “This is my stuff,” McDonald says of the mementos. “This is cool. You know, I’m working on redoing the old Heim bottle shop in the East Bottoms, and this is an old bottle from the Heim brewery. They started mid-1800s, were already troubled, but went out of business during Prohibition.” Boulevard is far from limping into its silver anniversary. A year after McDonald sold his controlling stake to Duvel Moortgat, Boulevard beers are now available in 29 states and the District of Columbia, after adding New Jersey, Pennsylvania, Florida and South Carolina this year. The brewery has a 600,000-barrel capacity, and it produced 184,692 barrels last year. And Duvel plans to take the limitedrelease Smokestack Series global. This week, Boulevard celebrates its shared birthday with Fort Collins, Colorado’s Odell Brewing Co. The breweries sold their first kegs a day apart: Boulevard on November 17, with McDonald delivering a keg of Pale Ale to Ponak’s Mexican Kitchen, and Odell a day later. (See this week’s On Tap, page 23, for Boulevard and Odell Brewing Co. parties.) McDonald reflected on the last 25 years. Here are excerpts from our conversation. The Pitch: How hard was it to raise money for the brewery? 6
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chris mullins
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McDonald: The financial institutions were like, “Are you crazy? You’re going to compete with Anheuser-Busch?” I went to 25 banks. I was turned down by all of them. So, originally, my dad was the bank. I put all of the money that I had into the deal, which was $100,000, which I’d made from selling a house. I was a carpenter, and I had redone an old house at 2808 Charlotte. I had bought it for $7,000 and sold it for $85,000 10 years later, right before I started the brewery. My dad said, “OK, I’ll loan you the money, but that’s your inheritance.” It started out $250,000, and at the end of the first year, I owed him $350,000, and he said, “Dude, that’s it. It either goes or …” [Laughs.] My father, who helped me a great deal in the early days, never owned any of the brewery. He just made these loans. He died eight or nine years ago as we were building this building. He always wanted me to go to work for him back in the ’70s and ’80s, and I tried it a couple of times and hated it. After 25 years, what do you look back on now and say, “That really worked?” In the ’80s, nobody thought we’d make it. I mean nobody. I can remember when I signed up our beer distributor in Wichita in the first year or two, and none of the people there would even try the beer. They were just going to drink Coors Light and Coors, and I’m there talking to them, trying to get them interested in selling my beer, and some of ’em wouldn’t even try it. And some would try it and say, “Oh, this is horrible.” They just didn’t think there was a lot of potential. It’s not that big breweries are bad; it’s just what they are is bad. They just got too big. They don’t employ people. And I think that’s true in so many other fields. This whole idea that the world is going to be dominated pitch.com
by a couple of large players in every field, whether it be food or agriculture or beer or pretzels or anything, I think is really harmful. You’ve gotta have jobs. What’s cool in the beer industry today is, even though craft brewers are only 8 percent of the volume, we’re, like, 60 percent of the [beer] jobs in the United States. That’s amazing. Look at all of these people who are going to work. We have eight or 10 other small brewers that are starting in Kansas City, and they’re going to employ three or four or five people. In 1880, there were 3,500 breweries in the United States. By 1980, there were 42 left. Now, by the end of 2014, there will be 3,500 breweries in the United States again. Is there a ceiling? There are very few things in life that go just like this [motions upward], and the craft beer went like this [gradual rising motion] until the mid-90s, and then it kind of flattened out for about five or six years and then it started growing again. We’ve really only had one flattening correction, in the mid-90s, and I think in the next two to five years there will be another correction of some sort. Not all breweries that are starting today are going to make it, but the ones that make it will come up with something new and different and interesting, and really push the envelope of craft brewing. What advice do you have for aspiring brewers? The model that works best today is, you start out with a small brewery, but you have a retail component. That way, you can make a pretty good income while you’re developing you brands. Having said that, you have to make great beer, because there’s so much great beer out there that people who aren’t making great beer aren’t going to make it.
McDonald drinks to 25 years. Inset: He delivers that first keg to Ponak’s in 1989. What’s the future look like now? The craft-beer business is going to continue to grow. I do think every five to six years, there’s going to be a downturn. Consumers want choice now, but there’s going to come a time when they get tired of that. I think people are brand-loyal. In the old days, a guy’s dad drank Budweiser, so he drank Budweiser, and he died drinking Budweiser. Today, brand loyal is, I drink Boulevard Pale Ale during the week. Friday night, I buy a six-pack of something more exotic, and I have some exotic stuff in my house, but I like these three beers most of the time, and I drink those every day. What are you drinking now? I drink everything: beer, wine and scotch. Scotch is what young beer drinkers eventually drink when they get old like me. I went to Costco yesterday, and I bought a 20-pack of Pale Ale and a case of Tank 7. You buy your own beer? I do. A guy told me a long time ago that you should always buy beer at retail because then you see what the consumer is buying. Occasionally, I get beer from the brewery, but I’ve always tried to buy it. But also, it’s good to talk to your retailers. As far as growth goes, you have Cellar 5 coming. What else? We’re starting to noodle, and something that we’ve been working on is this piece of ground out here that would be a new addition to our packaging facility. Probably put in a can line and probably upgrade our 750 ml cork-and-cage finish. So we’re looking at the whole canning thing a little bit.
E-mail justin.kendall@pitch.com
News
PaPer Chase
A lawsuit targets a Hutchinson company with ties to KC’s payday-lending industry.
n August 8, 2013, a St. Louis man named Calvin Williams received a phone call from a collections agent at a company in Hutchinson, Kansas, called National Credit Adjusters. He was informed that NCA had purchased debt that he owed from a payday loan he had taken out from an online lender called Castle Payday. He was then told, his attorneys allege in a lawsuit being heard in U.S. District Court for the Eastern District of Missouri, that he owed NCA a $200 fee for taking over the debt, plus the balance of his original debt. Williams said he had never agreed to that fee, and it didn’t sound legal to him. He asked the NCA representative for documentation of the alleged debt. This request, Williams says, set in motion several weeks of calls to his workplace and his cellphone by NCA agents who threatened to have him arrested. An agent named Victor Perez left this message on Williams’ answering machine: “These fucking guys, man: fucking niggers. Never fucking pay back shit. Man, these fucking niggers. Fuck ’em.” A different NCA agent told Williams on January 2 of this year that she hoped he had enjoyed his Christmas because if he didn’t pay his debt, “This might be the last Christmas for you.” In the debt-servicing business, this kind of thing is known as “hard collecting.” In an answer to Williams’ petition, NCA denies that it used these tactics. But Lee Anderson, a civil rights lawyer in Kansas City representing Williams, has recordings. “I was pretty shocked when I first heard the facts of the case,” Anderson tells The Pitch. “It’s a violation of the Fair Debt Collection Practices Act, which is a federal law, and the Merchandising Practices Act, which is Missouri state law. Debt collectors aren’t allowed to tell a lie, which means they can’t threaten arrest because you can’t be arrested for not paying a debt. They can’t be racially or verbally abusive. The tactics they [NCA] used are just very belligerent.” Castle Payday, the originator of Williams’ loan, is based in Michigan. But at least two other online payday lenders who sell consumer debt to NCA have Kansas City ties. In fact, both were busted by federal agencies on the same September morning earlier this year: CWB Services, headquartered in Mission, Kansas, and controlled by Tim Coppinger; and Hydra Group, Richard Moseley’s Waldo-based operation. As The Pitch has reported, both stand accused of issuing unauthorized loans to consumers and then charging exorbitant interest and fees on those bogus loans.
kelsey borcherding
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The exact nature of the business relationships between Coppinger and Moseley’s operations and NCA is hard to pin down; the parties did not respond or they declined to comment. But an investigation of NCA by the New York City Department of Consumer Affairs lists Hydra and Cutter Group (a codefendant entity in the Federal Trade Commission’s case against Coppinger-controlled companies) as lenders on whose behalf NCA worked when attempting to collect from New York consumers. It’s common in the world of consumer debt collection for a company like NCA to buy a portfolio of debt — “paper,” it’s called in the industry — from loan originators, like CWB Services or Hydra Group, for a fraction of the original debt, often pennies on the dollar. “Generally speaking, debt collectors will buy a bunch of delinquent loan accounts at the same time,” Anderson says. “It will often be written into the contract of that sale that the seller is not guaranteeing that all the debts are valid. Some might be expired,
some might not even be actually owed. But the debt collectors will try to collect on all of them regardless.” A person familiar with the industry describes the arrangement this way: “If you’re an online payday lender, 30 percent of the people you loan money to will immediately default. That’s just incorporated into the business model. At first, the lender will do a soft collect: sending e-mails, etc., trying to get the consumer to pay up. They’ll do that for about four weeks, and then they bundle up all the bad loans and send them to a company like NCA, which is trained in federal collections laws and specializes in getting that money collected.” Sometimes these debt-collection agencies are employed by the lender to collect on the debts, and sometimes the lender simply sells the debt portfolio to the debt-collection agency and says, “Have at it.” Either way, NCA ends up with access to the borrower’s name, bank routing information, and Social Security number — valuable tools whether
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D av iD HuDn a l l
the collection method is soft or hard. And the profit margin can be phenomenal. “Let’s say CWB Services lent out $300, and the borrower defaulted right off the bat, and CWB ends up selling that loan to NCA as part of a debt portfolio,” the source says. “It’s a credit file that’s worth $300, that NCA gets for maybe $15. CWB doesn’t care because it’s got all these other borrowers who are paying $90 in fees every two weeks on top of the principal, and they don’t want to deal with collecting on difficult borrowers. To NCA, all they really need to do is collect more than $15 and they’re coming out ahead. Lots of times, their agents will call the borrower and restructure the agreement. They’ll say, ‘I see the original agreement was that you had to pay $90 every two weeks. That seems a little high. How about you just pay me $20 a week for 50 weeks and we call it even?’ So now NCA has a little revenue stream coming in. And there’s such a huge volume of payday loans out there, you can really clean up if you’re buying the right debt portfolios.” In 2013, the New York City Department of Consumer Affairs denied NCA’s application for a debt-collection license. Its evaluation of NCA’s application found several false statements, mostly about NCA’s failing to disclose to the state that it was the subject of government-agency investigations and civil charges alleging violations of the Fair Debt Collection Practices Act. In fact, NCA has been sued for illegal collection practices by persons in California, Colorado, Texas, Kansas, Missouri, Ohio and New Hampshire. NCA was also sued by the attorney general of Arkansas. The company was subsequently fined $200,000 and forbidden from collecting on payday loans in that state. And West Virginia’s AG ordered NCA to “permanently refrain from collecting Internet payday loans in the state.” Who is running this business? Filings with the Kansas Secretary of State’s Office provide some clues. Brad Hochstein signed the company’s most recent annual report with the state, through a limited liability company called Fourth Avenue Holdings, which is incorporated in Delaware. Fourth Avenue Holdings lists as a member of a business called Huskers Inc., which was incorporated by Hochstein in Kansas in 2002. Other filings list as partial owners of NCA a company called 4 Sum Inc. (incorporated and owned by Mark Huston), the C-Team Inc. (incorporated and owned by Shawn Gylling) and the Richard E. Smith Trust.
E-mail david.hudnall@pitch.com november 6 -12, 2014
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WEEK OF NOVEMBER 6-12, 2014
ONE, TWO, TREE BARRETT EMKE
Some of the city’s most distinguished old trees got a bright young neighbor late last month, when arborist Scott Reiter (shown here) planted this Sassafras albidum at the Linda Hall Library’s Urban Arboretum. The sassafras is a species known for its color and its fragrant leaves, and this one joins 330-some other trees on the arboretum’s 14 acres. Look for it as you take an autumn walk on the grounds; see lindahall.org for a detailed GPS map to the trees or to schedule a guided tour.
Daily listings on page 30 pitch.com
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s ta g e
Family EFFEcts
At the Unicorn, the electrifying connections of Bad Jews
By
Deborah hirsch
death in the family can be messy. There’s the grief and the mourning, yes, but underneath lurks a desire — guilty or masked, perhaps — for the possessions left behind. For some, acquiring a thing owned by the dead fills a void left in the wake of loss. For the three cousins in Bad Jews, at the Unicorn Theatre, the article in question is a necklace, linking them to a beloved grandfather and cherished memories of him. Joshua Harmon’s play debuted in 2012 in the Black Box space at New York City’s Roundabout Theatre, moved the next year to that venue’s main stage, and is set for several regional productions. The reasons for its success are clear: smart and insightful dialogue, a pace that doesn’t let up, and a grip that doesn’t let go. Under the skillful hand of director Cynthia Levin, Bad Jews is the Unicorn’s second hit this season. It may not be the rousing musical of the year’s opening production, Hands on a Hardbody, but it has all the choreography of a dance — one animated by the angst, rage, love and longing of the flawed yet sympathetic characters. What transpires in this 80-minute oneact feels familiar, like something summoned from the collective unconscious. We recognize the people here, gathered just days after their grandfather’s funeral. Brothers Jonah (Mark Thomas) and Liam (Doogin Brown) — as different as the laid-back undergrad and the intense doctoral candidate that they respectively are — wear their family’s wealth like old broken-in jeans. Their first cousin, Daphna (Dina Thomas), regards them with some envy yet doesn’t really want for things. She attends Vassar and may be on her way to settling in Israel within the year. A thinker and a talker — and can she talk — she’s the more traditional Jew in this family, and central to this biting, gut-wrenchingly funny and very moving play. They come together in a claustrophobic Upper West Side studio apartment (set design by Gary Mosby), and they’ve all been affected differently by their grandfather’s death. While Daphna and Jonah await the arrival of Liam and Melody (Erika Baker), Liam’s somewhat clueless non-Jewish girlfriend, the stage is set for a clash as they stake claims on a family heirloom. Though some memories are shared, recollections aren’t facts, and are subject to disparate interpretations. Who’s to say whether the gold chai (meaning life) that their grandfather wore around his neck means more to one than another? Dina Thomas is outstanding as a woman who can’t not talk, the kind of person who takes a conversation to its conclusion, then pushes on past. Her timing and delivery are impeccable, and we empathize and cringe, almost simultaneously. Brown returns to the
Cynthia Levin
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Unicorn — he gave a fine performance in 2013 in the Unicorn’s My Name Is Asher Lev — in top form as the intense, entitled, assimilated grad student who didn’t make it to the funeral. Liam values the Japanese culture of his studies over the Jewish heritage of his birth, and he works himself into rages here, in takeoffs that don’t need long runways. They erupt from a deeply held loathing for Daphna — or something else. As his girlfriend, Melody, Baker personifies everything that Daphna isn’t (and wouldn’t want to be). She plays an unwitting catalyst in the ruckus to ensue, though it takes little to incite Daphna and Liam. Mark Thomas’ Jonah is caught amid the others like a middle child lost between more attention-getting siblings — the bond with his older brother versus consideration for his cousin’s concerns. The necklace, after all, is about the legacy left by the grandfather they’ve lost. And Thomas is perfect as the guy who tries to remain uninvolved, who’s left to mourn internally, without the firm taking of sides. It’s not a pretty struggle, and it raises
A tense family reunion, from left: Mark Thomas, Brown, Dina Thomas and Baker profound questions about the relevance of memory and culture. What makes a good Jew or a bad Jew? “Culture matters,” Daphna insists. If the characters represent identifiable types, Harmon’s play is so well-written — and Levin’s direction so on point as she guides actors working far beneath the surface — that this play exists well beyond such concern. It was often funny enough to make me cry, but my tears at the end welled from the power of its surprising denouement.
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7703 NW PRAIRIE VIEW RD KANSAS CITY, MO 64151
E-mail deborah.hirsch@pitch.com
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(816) 399-2606
/ VAPURWEST • VAPURWEST.COM
november 6 -12, 2014
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45th & Oak, Kansas City, Missouri | nelson-atkins.org | 816.751.1ART
FREE Admission Open Wed–Sun Open late Thur & Fri
Highlights from the Collection of The National Museum of Toys and Miniatures
Presence & Absence: New Works by Tom Price Explore the mysterious and beautiful world.
In the American & European Galleries
12 Nelson-Atkins_4FREEthings_Pitch_Nov_2014.indd t h e p i t c h n o v e m b e r 6 - 1 2 , 12 0 1 4
Across the Indian Country: Photographs by Alexander Gardner, 1867–68 Two rare bodies of work on view.
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10th Annual Luminary Walk Fri., Nov. 28 | 5–9 p.m. Donald J. Hall Sculpture Park
10/28/14 10:21 AM
art
One Of a Kind
Peregrine Honig risks making a hash
By
l i z c ook
of selfie and trans cultures, wins.
t the risk of sounding aloof, I’ll cop to a distaste for selfies. I like my landscapes unmarred by ironic mugging, and my aversion extends to the word itself. Its diminutive ending begs to be read in a sexy baby voice. But grumping about generational self-indulgence has become its own cliché, so when I entered Haw Contemporary for Unicorn, Peregrine Honig’s new, selfie-themed solo exhibition, I tried to operate by the culture’s presumed mechanisms. Which means: Stand in front of a painting (you can look at it later). Extend your wobbly tripod arm. Widen your eyes like an anime heroine and duckface it till you make it. That’s the superficial way to interact with the works on display. But Honig is, as usual, firing on a few different intellectual cylinders. The Kansas City artist may have traded her usual fine-boned watercolors and drawings for large-scale oil paintings, but much of the fraught sexuality and uneasy innocence of her best art remain. Those themes commingle in material standout “#lamby,” a striking, salmon-colored print of a taxidermic lamb in a specially blown glass egg. (The titles of all the works in this show are all lowercase, and all start with hash tags; for the sake of typographical clarity, I’ll refer to each without the normally required quotation marks.) Bubbles in the glass evoke a snow globe, as if the lamb were suspended in an amniotic gel. The animal’s nubby, Berbercarpet fur suggests innocence closely sheared, simultaneously elevated and protected from the outside world on its ovular pedestal. Honig’s selfie-primed paintings, some nearly 6 feet tall, offer further riffs on common visual cues of purity and spirituality. Floral wreaths await posing patrons, beatific halos for casual snaps; #faberge sets a dainty, doily-like pattern atop a pastel wreath, with color splotches given floral form in offset, overgrown outlines as long, weeping lines of paint drip from the blooms. A soft spray of silver adds to the saintly aura, but the painting’s visual imbalance and playful palette launch it into a winking, Rococo realm. One painting, #discosaintselfie, first appeared in The Stench of Rotting Flowers at La Esquina, but its new context brings some of the work’s less maudlin themes to light. The mirrorball-tiled center allows us to gaze at our splintered reflection before we turn our backs for a photo, but a milky film across the glass prevents us from gaining much pleasure in the recognition. The palette here is more assertive than in #faberge, but a few fine details sneak across the canvas; a faint, barely perceptible ribbon bow in the bottom third suggests a whispered, marginal femininity. The title painting, #unicorn, adds a figure
E.G. SchEmpf
A
to the frame, a nude adolescent with both engorged, blood-red nipples and a penis nestled in her lap. The murkiness of the palette this time gives a charged, threatening edge to the scene. The “unicorn” meets our gaze innocently, but a milder being — a rabbit — lies dead at her feet. By placing a figure outside the male-female gender binary in front of a wreath, Honig attempts a difficult synthesis of the show’s two themes: selfie culture and transgender identity. It’s a dangerous marriage when the stakes are so uneven. But the painting’s proximity to the enormous #transgenderflag, an industrial nylon flag, helps connections emerge. Transgender people have, in the past, sought a banner separate from the ubiquitous rainbow gay-pride flag. I expected, in #transgenderflag, a riff on the most familiar design (horizontal stripes of blue, pink and white). Instead, Honig rejects signifiers of the gender binary entirely in favor of a bridal spectrum of whites, ivories and champagnes. Under the gallery lights, the striped flag shimmers translucent, as delicate and unassertive as tracing paper. Unicorn colors? Maybe. But there’s also a discordant fragility here, an ethereal beauty that sweeps ghostlike through much of Honig’s work. As I stared up at the flag, I couldn’t help but think of deep-sea creatures, the colors of their spectral bodies made irrelevant in the lightless depths.
That’s the quicksand tug at the heart of Unicorn — the simultaneous celebration and erasure of difference in selfie culture. After the exhibition’s opening, a host of near-identical selfies bloomed on my social-media feed from gallerygoers. The faces changed, but the poses and the props stayed the same. After the fourth or fifth image, I no longer paused to note the differences. It struck me as a democratic twist on the elitist art of commissioned portraiture: In snapping a selfie, we encompass the biting paradox of fading into a collective even as we attempt to make ourselves singularly known. The flag embodies its own contradiction, confining its rallying cry for a gender minority to a whisper. Unicorns, the exhibition’s focus suggests, should be recognized, affirmed. But some transgender individuals are perhaps tired of feeling like unicorns, would perhaps prefer to fold easily into the social backdrop like the subtle white shifts of Honig’s flag. Unicorn doesn’t attempt to resolve these contradictions, but instead leaves room for us to question how we define authenticity and construct ourselves. I left Haw conflicted, as I ought to have — after all, what makes us unique, what makes us unicorns, isn’t always what makes us true. Do we embrace our bodies as we find them or mold them to match our minds? Is the unicorn a symbol of authenticity, or does it represent a betrayal of the body? Where, along a spectrum from Rudolph the
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Clockwise from top left: #discosaintselfie, #lamby, and a selfie in front of #discosaintselfie
Red-Nosed Reindeer to Renée Zellweger, are we supposed to align ourselves? OK, that last one’s a little glib. But then, so is selfie culture. Maybe a little levity — a little easy validation, an identity we can shape and control — can help lighten the load.
E-mail feedback@pitch.com Unicorn Through December 6 at Haw Contemporary, 1600 Liberty, 816-842-5877, hawcontemporary.com november 6 -12, 2014
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art
Bytes and Pieces
There’s still plenty of First Friday in November.
By
T r a c y a be l n
A
s the holiday season nears, so do the shopping shows and the sprawling exhibitions. On the take-it-home-with-you tip, MLB Designs (2020 Baltimore) is open Thursday, First Friday and Saturday for anyone who covets large-scale woven installations as well as wearable hand-dyed pieces from Debbie Barrett-Jones; handmade jewelry from Flannery Grace Good; and custom headwear from Amina Hood, of Amina Marie Millinery. Meanwhile, the Charlotte Street Foundation wraps up the curatorial residency of Danny Orendorff with an exhibition at La Esquina (1000 West 25th Street). His final show here — which kicks off with a First Friday reception from 6 to 9 p.m. — is called Loving After Lifetimes of All This, and includes the work of 13 artists from here, Lawrence, San Francisco, Los Angeles and elsewhere. It also features materials from the Black Archives of Mid-America in Kansas City and the Gay & Lesbian Archives of Mid-America at the University of Missouri–Kansas City. The exhibition, according to its statement, involves “a focus on intergenerational skill-sharing” and “positions craft-practice alongside the histories of community service, citizen journalism, and volunteerism, as another potential strategy for cultural resistance.” Subterranean Gallery (4124 Warwick, Apt. B) opens its basement doors for the first in a new digital exhibition series called [refresh] + [redraw], with works by Eric Fickes and Eric Scrivner. Fickes, who comes to us from Atlanta, uses computer code and motion detection to generate art by turning the signals they generate into brush movement. Scrivner’s GIFs are optical illusions that have more depth than the commonplace Twitter animation. Robert Howsare’s Glitches, at Beggar’s Table (2009 Baltimore), starts with the moiré pattern — typically seen as a mistake in the printing process, patterns our eyes take as moving objects — and creates optically tricky art. In the space that was the Slap-n-Tickle, Ruthie Becker has opened Gallery 504– Crossroads KC (504 East 18th Street). Her second show, Saudade — Recollection of Feelings, features oil paintings by Heidi Bench, mixed-media work by Chico San and metal sculptures by Joel Smith. Red Star Studios (which still has Asheer Akram: Sacred Spaces and Steven and William Ladd at its Crane Yard Studios, at 2011 Tracy) is opening a great-looking show at the Belger Arts Center (2100 Walnut). Sean Erwin’s surrealist works in Object Self are built of incongruous colorful parts, toy shapes, heads, mechanical bits and household items. Amy Wright’s intricate paintings are
on display at Plenum Space (504 East 18th Street, upstairs), a gallery that’s open First Fridays and then only by appointment. A Temple for Particles aptly describes her busylooking vignettes, scenes that are surprisingly familiar and calm. The Late Show (1600 Cherry) has long been a promoter of Nora Othic’s paintings of animals and Midwestern themes. State of Grace opens Friday and presents her latest work. In a departure from his abstract paintings (not to mention his biopic of Jim Leedy), Kevin McGraw uses a selection from 1,000 or so images of his face — numerous photographs taken by his 11-year-old daughter — as collage materials to depict countless expressions and states of mind. The resulting selfportraits emerge in a show called Do I Know You, at Hilliard Gallery (1820 McGee). Wichita artist Patrick Duegaw returns to the Leedy-Voulkos Arts Center (2012 Baltimore) with more from a series he established in 1997, The Innumerable Anxieties: Studies in Disorder. These are large-scale paintings of people engaged in, he says, “a myriad of circus-like spectacles; allegorical images illustrating the seemingly infinite, and
uniquely personal, incarnations of mankind’s primal relationship with anxiety.” These are set amid the Painted Theatre Project, which is part installation and part event (including an original score) and provides narrative context. Also at Leedy-Voulkos this month: Aberrations by David Slone, portraits in a style that includes little marks that appear extraneous and swarm around people, perhaps representing chaos, complexity or the overload of visual and digital information that we float through every day. And three other solo shows are here, including Merry Menagerie, paper cuttings by Angie Pickman inspired by the 1926 film by Lotte Reiniger. It’s an imminently satisfying set of compositions, mostly in black-and-white, with judicious bursts of color and lots of finely crafted detail. Finally, there’s Heinrich Toh’s return to the space that once was the Cocoon — the Todd Weiner Gallery (115 West 18th Street). His new set of monoprints, Abundant Journey, is, he writes in his artist statement, “inspired by layers of memory, ancestry and pattern.”
Clockwise from left: “Stoic” by David Slone, “Illumine 2” and “Illumine 1” by Heinrich Toh, and “Inflated” by Sean Erwin
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film
EvEnt Horizon
Christopher Nolan’s Interstellar: an epic disappears into a black hole.
By
S c o t t W il S on
MOVIE WE DESERVE.”
-BADASS DIGEST
I
nterstellar, director Christopher Nolan’s latest beautiful colossus, is a little less than three hours long. As with most of Nolan’s movies, it’s not light on visual astonishments, this time adding to his IMAX palette sweeping panoramas of romantic farmland Americana, Kubrickian deep-space loneliness and (also Kubrickian) spiritual-temporaldimensional freakouts. Eyeful after eyeful after eyeful. The ears, though, are another matter. E ver y t h i ng you hea r i n Inte r stellar ba sic a l ly goes l i ke t h is: FFFF WOOOOOOOOOOOSSSHHHHH [ga rble garble, Uh oh!], “Science,” ORGAN CHORD! “No more okra, ever,” SSSSSSSSHHHHHH HHFFFFF “Lookout! Dust!” “The planet is dying, and you can believe it because I’m Michael Caine,” “Sorry,” “Go save Earth, pilot,” “Pilot and engineer,” “Sorry,” “Don’t leave us, Dad,” “Sorry, but I’ll see you later,” ORGAN CHORD ORGAN CHORD! “Do not go gentle into that good night,” ORGAN CHORD “Rage against the [garble, garble] ORGAN CHORD VVVVVVVVVVVVVWOOOOOOOOOOSSSSS SSSHHHH [garble garble], silence, robot joke, single Anne Hathaway tear, “Science science science,” robot joke, “Science!” KLANG, Matthew McConaughey sob, “Science science,” ORGAN CHORD! [garble garble “Look out!”] ORGAN CHORD KEY CHANGE! “Love,” “Science,” “Love,” “SCIENCE!” “Hey, aren’t you Matt D–,” SSSHHHHHHHHHWOOOOOOOO OOOOOOOBBBBBRRRRRRRRRR, ORGAN CHORD, single Anne Hathaway tear, “Fivedimensional beings!” “Don’t you get it?” “Dad!” “Science,” “Eureka!” “Where am I?” There really are long stretches when the characters — McConaughey as pilot-farmerengineer-hero Cooper (Coop, they call him, sent with his crew into a wormhole to find a new planet for humanity), Hathaway as a Ph.D., Caine as Hathaway’s Ph.D. father, Jessica Chastain as Coop’s grown Ph.D. daughter back on Earth, assorted recognizable faces and voices — could be reciting Mad Libs, in which all of the prompts call for “noun you heard during SAT prep.” Like: “Let’s put the ship in a Newtonian orbit and fire the science rockets when you see Einstein kissing Hawking in the portal,” accompanied by the sound of Hans Zimmer throwing a box of old Philip Glass LPs at your head. At one point, someone really does chide Coop, “You knew about relativity!” as though telling him that he’s not getting a bathroom break until we get to Pluto. Somewhere in a Pennsylvania multiplex this weekend, M. Night Shyamalan is going to watch this and then write in his little lockable diary, “Why is everyone still so mad at me?”
OPEN WINDOWS’ IS THE CELEBRITY-STALKING
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Staggering screenplay deficiencies in a Nolan storytelling high-rise are neither new nor, on their own, deal breakers. The ridiculous almost eclipses the sublime in The Dark Knight Rises, his mega-budget remake of Rocky III. And every character in his 2010 movie, Inception (co-written, like Interstellar, by Nolan and his brother, Jonathan), is at tiresome pains to explain the ironclad logic of the story’s dream world and the architecture governing it, even as those rules keep yielding to narrative convenience and whatever 65-mm wizardry Nolan feels like deploying at any given moment. It works; Inception is so stupidly convinced of its own cleverness — and so effortless in its sheer stupid scale — that you give in. I watch it a couple of times a year and I see more wrong with it every time, and I don’t care. Interstellar, though, is about waking nightmares, not opium dreams: population implosion, mass starvation, the abandonment of human ambition in the face of extinction, lost faith in family, the ebbing will to love, the fading memory of Carl Sagan’s original Cosmos. These are ideas big enough for Nolan’s gigantic images, and there’s weight to the Earth scenes in the movie’s opening third, enough that you wish Nolan had burrowed into the issues on his mind rather than pestling them into a thin sci-fi paste. You don’t have to send a father to another galaxy to get at what the mere thought of passing time does to parents and children.
McConaughey, not in his Lincoln Once talk turns to rockets, though, the big ideas aren’t explored but simply mentioned over and over in words that are small, clumsily strung together and easily lost in a shock-and-awe sound design that often veers into punishment. Nolan feeds bluntly earnest koans about these matters to his characters, who are supposed to be brilliant and desperate, but what comes out of the actors’ mouths sounds at times like the Max Fischer Players doing Star Trek. McConaughey taps into his inner star child enough to make the sale, but the rest of the cast is adrift. Poor Chastain has it worst, introduced with an appealingly bitter scene but swept at last into a problem-solving montage as convincing as a Mentos commercial. You expect her to look up from her chalkboard and say, “I’m doing physics,” yet the reality is worse: She launches a ream of paper over a metal railing and yells, “Eureka!” The hardhatted workers below, now in their second or third generation of building science-y things in a concrete bunker while their families presumably go hungry on the Earth’s surface, take no note but keep blowtorching or hammering or whatever. And then there are still 20 minutes left, and time seems to stretch out before you. But you knew about relativity when you bought your ticket.
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Featured Fridays
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Nov 7
Featured artist:
BlackBird r
evue
CAfé
AmericAn Art
Michael Corvino’s menus nod to formality
By
and justify their expense.
Charles Ferruzza
angela c. Bond
the American • 200 East 25th Street, Crown Center, 816-545-8001 • Hours: 5–9 p.m. Tuesday–Thursday, 5–10 p.m. Friday and Saturday; lounge opens at 4 p.m. • Price: $$$$
I
failed to wear a jacket the first time I dined at the American, in the 1980s. Back then, some restaurants still insisted on a dress code, and the American was, around here, perhaps chief among such places. With all the hauteur of the maitre d’ in Ferris Bueller’s Day Off, a manager regarded me for a moment and then fetched e r Mo one of the sport coats kept on hand to temporarily garb the uncivilized. It t a ine Onl .com was brown; it was at least pitch two sizes too large; and it was, I swear, polyester. I ate in gloomy misery, but I learned my lesson. Though the restaurant lifted its jacket mandate some time ago, I’ve never returned to the American without a coat. This I do happily because the restaurant deserves respect. At 40 years old, it’s a kind of museum to its own bygone formality. A museum where the food happens to deserve enshrinement. The food but not the environment. Architect Warren Platner designed the dramatic interior space more than a generation ago, and what was once a distinctive look now feels
Café
somehow both quaint and cavernous. You get the feeling that the room is never full anymore, and on my recent visits, the quiet was sometimes unnerving. That the restaurant doesn’t bustle owes more than a little to its price point. The American experience is as it always has been on that front: not for the frugal. One night I dined with two friends — a professional chef and a vegetarian — who opted for the seven-course “Classic” and “Vegetarian” tasting menus, respectively. Each cost $95, the most this paper has ever footed for a restaurant meal. My own meal consisted of one starter, one entrée, one dessert and one cheese course, and it wasn’t much less expensive. (My choice allowed me to see the value of old-school serving formality. The timing of the table’s various plates was impeccable — I was never without something in front of me while my dining companions and I sampled their multicourse meals.) The reason that expense was no object on this outing was simple: 32-year-old chef Michael Corvino, who started at the American last year and has embarked on what he has called a plan to “step into the millennium” and
Corvino (left) and his foie gras torchon attract younger diners. Reflecting this aim, Corvino’s American menu is less formal and more unconventional than any other in this restaurant’s history. The imposing, tattooed chef is the Jackson Pollock of KC’s culinary world, and his vision is audacious. Corvino has been quoted as saying that restaurants are his museums — places where he finds artistry that inspires him. So it makes sense that Corvino and his kitchen turn out dishes as visually powerful as they are delicious. And, as in certain strains of visual art, power doesn’t necessarily mean beauty. Pastry chef Nick Wesemann’s recent creation of a sesame semifreddo — combining a nutty buckwheat cake, house-made grape jelly and a Concord-grape slush, topped with a blackish sesame tuile crisp in a squat ceramic bowl — had all the allure of a funeral wreath (but all the taste you’d want in a last meal). On the other hand, Wesemann’s dulcey crémeux, which I tasted on a different night, was a deftly composed arrangement of caramelized banana, macadamia sponge cake, coconut puffs and banana-rum gelato.
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It was positively Wayne Thiebaud–ish in its pastel beauty. Corvino’s menu descriptions are of the minimalist school, a discipline that I confess leaves me cold. Under the name of each dish is simply a list of ingredients, the theory being that a bare-bones description gives a chef more artistic flexibility with the preparation. (Bluestem’s Colby Garrelts is another prominent local chef aboard this bandwagon.) I get that, and the American’s fine servers readily fill in the blanks when asked, but I can’t help feeling that Corvino does an injustice to the painstaking craft of his compositions. I’m thinking of his poached lobster, a labor-intensive and meticulously prepared sculpture assembled with melon (when in season; Corvino has since begun using pineapple), a coconut-milk emulsion and a crispy component made from a dehydrated sauce of boiled lobster shells. Reading “melon, coconut milk, long pepper lobster” doesn’t prepare you, really, and a spartan few words when you’re dropping a hundred bucks can seem a leap of faith. I don’t regret the leaps I took. On one of my visits, the hard-to-find and exquisitely fragrant pine mushroom called matsutake was the emphasized ingredient on the menu for a sashimi salmon appetizer available on both the $95 “Eclectic” tasting menu and on Corvino’s a la carte section. What emerged from the kitchen that evening was an elegant construction including shiny droplets of a supple “pudding” of agrumato (fresh-pressed extra virgin olive oil with Meyer lemon). Another night, the same ingredients, give or take, could become a different dish. Corvino likes change, and with the menu’s teasing approach, he affords himself plenty of room. Even so, there is some overlap in the menu offerings, the better for you to approach Corvino’s work without committing to every last course. The airy, hand-rolled gnocchi (served recently with delectable cabbage marmalade and a soothing coconut-milk sauce) is on both the vegetarian tasting menu and the lounge menu. The entrées are featured on both the a la carte menu and the lounge menu. That lounge menu is a fine point of entry to the Corvino experience. You get to sit at Platner’s granite bar, small by modern standards but irresistibly intimate, while sampling Corvino’s cuisine and being served by the smart, funny Paige Unger Cline. The American’s bar manager is equally adept with her signature cocktail collection and the ability to throw together a memorable mocktail. For me, she blended fresh grapefruit and lemon juices, her own blackberry-peach shrub, Tahitian iced tea, and a splash of soda. continued on page 21
november 6 -12, 2014
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continued from page 19
Nothing but
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Indian food to nourish your soul
angela c. bond
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The AmericAn resTAurAnT Brandade fritters��������������������������������������������� $8 Octopus ������������������������������������������������������������ $14 Classic tasting menu ������������������������������������$95 Gnocchi entrée �����������������������������������������������$34 Gingerbread soup �������������������������������������������� $11 Sesame semifreddo ���������������������������������������� $11 The result was utterly Zen and completely delicious. A friend and I sat at her bar and made a wonderful meal by sharing several starters and splitting the gnocchi entrée. I was wowed by the pieces of tender octopus that Corvino had slow-cooked with lemon and olive oil, then lightly charred and served with fat, starchy corona beans and spicy sofrito. But the biggest surprise of the night was the chef’s golden, crispy fritters — a fried brandade of salt cod and potatoes — presented on a wooden panel with dollops of remoulade, capers and strips of pickled green tomatoes. Cline, upon serving us this dish, said it was “the most glamorous fish sticks in the world” (a description that delighted Corvino). I could have eaten a double order and almost wish I had. And the best mini-sandwich in town is on Corvino’s lounge menu: a house-made English muffin, split and filled with a discreetly spiced pork and house-made bread-and-butter pickles. It’s what an Olympian god puts in his kid’s lunchbox. Scaled-down sandwiches, diminutive desserts, Lilliputian snacks (even the potato chips on the bar menu seemed to have been sliced from petite potatoes) are perfectly appropriate for a tasting menu, where many small courses add up to a satisfying meal. But the selections from the a la carte menu, far from inexpensive, nag my sense of fairness. The American has long attracted gripes for serving the costliest tiny portions in town, and that hasn’t changed so much. Mind you, that’s not uniformly true on Corvino’s menu, but his version of a rib-eye — though ex-
Farro verde is one of the more complicated and artistic dishes served at the American� ceptionally flavorful — is distractingly wee. Compared with what an upscale steakhouse would serve you, it’s almost microscopic. I prefer the chef’s Piedmontese bavette steak, a cut of sirloin favored by the French that was considered a throwaway before it was rediscovered. Here, it’s nicely portioned and served with a smoky béarnaise that you fantasize consuming by itself. The American may be the only restaurant in town that serves a sweet intermezzo course before dessert. On one of my visits, it was a delicate yogurt panna cotta with a garbanzo cookie crumble and mango foam. Consider it a spoonful of dessert before the actual dessert, and consider yourself lucky that Wesemann’s creativity here has free rein. His “gingerbread soup,” for example, was neither gingerbread nor soup but a grilled brownie sided with fresh lingonberries and bacon clusters and drenched at the table with a small pitcher of smoked chocolate syrup — a warm, glossy broth of molten chocolate infused with ginger. Like everything else served at the American, it was creatively inspired and skillfully composed — and it’s probably not there today, replaced by the next big (or small) idea. On that occasion, I hesitated before aiming my spoon into the bowl, as though awaiting permission to touch a piece of art on a museum pedestal. I took a moment to appreciate the artistry, made sure I hadn’t dragged my jacket sleeve across any food, and took a bite.
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Have a suggestion for a restaurant The Pitch should review? E-mail charles.ferruzza@pitch.com pitch.com
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A Drink?
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by time, feature, name or location on your iphone/ blackberry/android. Check out mobile happy hour app
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november 6 -12, 2014
Authentico
Bum a ride to St. Joseph and try Il Lazzarone’s officially sanctioned Neapolitan pizza.
By
Charles Ferruzza
I
n Italy, a lazzarone is a scrounger, a bit of a bum. In St. Joseph, though, a lazzarone just might get some respect. Or, anyway, a great pizza. “In Naples,” says Erik Borger, a former competitive bodybuilder who this year opened a pizzeria called Il Lazzarone in the Missouri city, “a lazzarone might only work just hard enough for a meal and a bottle of wine. I liked that idea.” Borger is the antithesis of a lazzarone. It took considerable labor and planning to open his restaurant — and to make it the only pizzeria in the area to have been certified authentically Neapolitan by the American Delegation of the Associazione Verace Pizza Napoletana. Borger’s storefront restaurant, at 1628 Frederick, in St. Joseph’s core, fired up its oven only six months ago, but the owner started the application process to become a true Neapolitan pizzeria long before he opened the doors to the 78-seat Il Lazzarone. “It can take years,” Borger says of the stringent requirements. “I started studying the guidebook, which is 46 pages long, five years ago. You have to have a wood-fired oven that has a minimum temperature of 800 degrees. The pizza has to cook in 90 seconds. You can only use a spiral or fork mixer — anything else raises the temperature of the pizza dough.” That sensitive dough can contain just four ingredients: a certain kind of fine-ground flour (Borger imports his powder-soft doppio zero flour from Naples, Italy), water, sea salt and fresh yeast. It must be rolled out by hand. “You can’t have a mechanical process. They asked for countless videos, documentation, the floor plan of my building, even the names of the people on my staff,” Borger says. The 30-year-old Associazione Verace Pizza Napoletana — the “they” Borger had to convince — was created by a panel of Neapolitan pizzaiolos “seeking to cultivate the culinary art of making Neapolitan pizza,” according to the organization’s website. Among the final-stage requirements: A representative of the group had to fly to the United States (on Borger’s dime) and make a random visit to Il Lazzarone. “We think we know who it was, but he never identified himself,” Borger says. “But we passed muster because two weeks ago, we received our formal authentication from Naples.” By then, the 33-year-old New York native had bought the old brick building on Frederick Avenue, a former radiator repair shop, and renovated it as a restaurant. He then spent more than $30,000 buying a true Neapolitan oven, an Acunto Mario Forni, and having it shipped from Naples, Italy, to St. Joseph.
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angela c. bond
Need
Fat C i t y
Il Lazzarone serves beer and wine, and Borger is fussy about his brews. That’s to be expected: He lives with his wife and daughter in one of the St. Joseph mansions built by M.K. Goetz, the local brewing magnate whose powerful beer dynasty lasted until Prohibition. “People come in here and are shocked that I won’t serve Budweiser or Miller Lite,” he says. “But that’s not what we’re about.” Instead, Borger serves 30 craft beers — part of what he calls his “educational process” for St. Joseph. In another teachable moment, he doesn’t make ham, pineapple or pepperoni available as toppings. “We’re still explaining to our customers about prosciutto and pancetta,” he says. Borger’s kitchen contains no freezer. Everything is made from scratch. His coffee is from Kansas City’s Oddly Correct, and
Il Lazzarone owner Borger (top) is proud of his Italian-made pizza oven and the only authentic Neapolitan pizza in Kansas or Missouri. his sausage comes from Alex Pope’s Local Pig. And there’s no soda. Borger, who has a graduate degree in exercise physiology, doesn’t drink Coke, but he eats a lot of pizza. (He used to weigh 300 pounds, he says, until he started training for the Mr. Missouri competition in 2005; he placed ninth.) Il Lazzarone’s menu offers eight pizzas, including a delicious Margherita (San Marzano tomatoes, mozzarella, extra-virgin olive oil and fresh basil) that’s also available with fresh buffalo mozzarella. The restaurant is perfumed with the white oak that Borger burns in his whitewashed oven, which gets so hot that it’s still 1,000 degrees when he comes
into the restaurant to open in the morning. That oven yields a perfect pizza crust: light, slightly crisp, delicately charred, puffy from the yeast, intoxicatingly fragrant. Borger also bakes bread in his oven, covering the seared slices with basil, chopped heirloom tomatoes and roasted garlic for a superb bruschetta that glistens under a shiny balsamic glaze. The exceptional quality of his product notwithstanding, his lessons are taking a little time to sink in, Borger says. When he first opened, he was disheartened when local customers seated in the dining room would puzzle over the menu and then walk out. “If I can get people to come in and actually taste my pizza, 99 percent of them will love it,” he says. “It’s just getting them to stay. Neapolitan pizza is confusing to them. And
some people just won’t pay $9 for a small pizza.” More people are staying now, though, and the restaurant is turning a small profit. And Borger says he sees more familiar faces every week, including a loyal group from Kansas City. “We’re building our audience,” he says. “And right now, we’re the only pizzeria in Missouri and Kansas certified as truly Neapolitan.” Good point, especially if you’re too much of a lazzarone to make it abroad anytime soon. Il Lazzarone is open from 11 a.m. to 9 p.m. Sunday through Thursday and from 11 a.m. to 11 p.m. Friday and Saturday.
E-mail charles.ferruzza@pitch.com
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Thursday, November 6 Intro to Micro class, discussing sanitation and quality assurance/control, at Grain to Glass
(1611 Swift, North Kansas City), free, 6:30 p.m.
Stout Week, featuring Evil Twin and Mikkeller tappings of Even More Jesus and Even Less Jesus, Beer Geek Breakfast and Amager/ Mikkeller Hr. Frederiksens Vaesel Brunch, at Flying Saucer (101 East 13th Street), 7 p.m.
Friday, November 7 Tapping of the Odell and Boulevard collaboration Silver Anniversary Ale, a firkin of Gramps Oatmeal Stout with smoked maple, and a keg of Isolation and FOCOllaboration, at Bier Station
Brewing and Odell Brewing companies,
at Barley’s Brewhaus (11924 West 119th Street, Overland Park), 5 p.m. John McDonald and Wynne Odell will be in attendance. Tickets cost $15. Make a reservation at 913-663-4099.
Tuesday, November 11 Boulevard and Odell collaboration five-course beer dinner, at Jax Fish House (4814 Roanoke
Stout Week, featuring Perennial 2013 Abraxas, plus 2014 Sump and 17, at Flying Saucer (101
Southern Tier beer dinner, at Grinders (417 East 18th Street), 7 p.m.
saTurday, November 8
Veterans Day Wounded Warrior fundraiser, at Bier Station (120 East Gregory Boulevard), 4–7 p.m.
Boulevard and Odell 25th anniversary pub crawl through Westport (the Riot Room,
WedNesday, November 12
Founders Breakfast Stout tapping at Waldo
Pizza (7433 Broadway), also featuring North Coast Blue Room Pale Ale all week with a portion of the proceeds going to the American Jazz Museum.
Stout Week, featuring Firestone Walker 2014 Parabola and Velvet Merkin, at Flying Saucer (101 East 13th Street), 7 p.m.
moNday, November 10 Beer school and tasting with Boulevard
g n i v i g s k n a Th
Buy one get one free for veterans and activeduty military personnel at KC Bier Co. (310
West 79th Street)
the Foundry, Kelly’s, Harpo’s, Westport Ale House, Preservation Market, Harry’s Bar & Tables, Buzzard Beach and Green Room), 2–8 p.m. Tickets cost $12.
lP ace your orders now for
Parkway), 6 p.m. Tickets cost $65 (with $5 from each ticket going to the Wounded Warrior Foundation). For reservations, call 816-437-7940.
(120 East Gregory Boulevard), 7–11:30 p.m.
East 13th Street), 7 p.m.
ALL YOU CAN EAT BUFFET & MARKET
Brewery night (buy the beer, get the glass), featuring River North Brewery, at Flying Saucer
(101 East 13th Street), 7 p.m.
Flavor ID class, to help identify off flavors in beer, at Grain to Glass (1611 Swift, North Kan-
sas City), $10, 6:30 p.m.
Out now: Rock & Run Brewery’s Saminator
and Monster Mash, a Kentucky common– style, sour mash beer, as well as Black Dog black IPA; Cinder Block’s Rough Cut lager; Big Rip’s Blueberry Pomegranate Gluten Free.
PASTRIES - CHEESECAKES - DESSERTS
Coming soon: Big Rip’s Franklin Road coffee
12126 W. 87th Street Lenexa KS • (913) 307-0262
E-mail justin.kendall@pitch.com
Mon-Fri: 7:00 am-6:00 pm | Sat: 10:00 am-4:00 pm
porter.
www.stjosephstablebakery.com pitch.com
november 6 -12, 2014
the pitch
23
music
Spirit of ’65
The Conquerors take stock of their sound.
By
N ata l ie G a l l a Ghe r
heavy timbre on the psych-pop teaser “I Don’t Know,” then a reedy Dylan rasp against the smooth melody of “Someday.” “I guess I started out learning a lot of songs the way they were sung, so I learned to imitate that,” he tells me later. He adds that it’s not really intentional but what his voice ends up doing — “what the song demands,” he says with a shrug. A few days later, over the phone, Cameron finally explains why he’s keeping the original name, despite all the changes the band has seen. “I mean, it’s kind of like we’re conquering the next step,” he says. “I can’t get as much satisfaction out of doing something else. I never have. And since it started, we have just continued to hone and get better and better. I want to reach as many people as I possibly can. And I just want people to dance, really.”
zach bauman
E-mail natalie.gallagher@pitch.com
I
t’s late on a Sunday night when I meet four of the five members of the Conquerors at the 403 Club. All of Kansas City is engulfed in Royals mania, and the patrons inside this Kansas City, Kansas, dive are no exception. The bar teems with powder-blue clusters giving off cheers and groans as Game 4 of the World Series unfolds. There’s no open spot for the band and me to sit and talk music, let alone hear one another. We move to the sidewalk outside, where we plop down unceremoniously on the concrete. Cigarettes are lit, and the bar’s sounds are only just muffled. Lead singer and guitarist Rory Cameron, bassist Kyle Rausch (also of the Shy Boys), guitarist Vince Lawhon and drummer Jim Button all look like they’d rather be watching the game than sitting, beerless, away from it, but they spread out and smile anyway. Cameron shakes his sandy-blond hair out of his eyes and says, “Did I mention we were thinking about changing our name?” I shake my head. “It’s not gonna happen, not now, but we were thinking about it for a minute.” “You say that now,” Button interrupts, laughing. “Watch. Next week we’ll have shut this baby down.” The Conquerors have been a band for about five years, long enough that the quintet would probably prefer to avoid confusing fans or trying to build a new brand. Still, Cameron 24
the pitch
november 6 -12, 2014
says the Conquerors sound markedly different now. “If you listen to what we have online — to the music on our Bandcamp — that was, like, two years ago,” he says. “All the songs were really riff-oriented, these super-spaced-out psychedelic jams with no real arrangements or anything. We’ve been getting a lot more song-oriented lately, especially trying to keep things short, around three minutes. All our old songs were, like, six minutes plus.” The lineup, too, has changed over the years. Only Cameron remains of Conquerors 1.0. Rausch and percussionist Jake Cardwell — who is absent this night — have been with the band for a year, and their addition helped spur the music’s recent evolution. “We’ve had members come and go, so it’s basically a different band now,” Cameron says. “Now, everybody is on the same page about the music we’re making. I think we all have the same reference points as far as where we’re coming from. We all have the ear for the tonal references that we’re trying to get. We know the kind of music that we all like, and we know it infinitely. A lot of it’s stuff that we’ve been listening to since we were teenagers.” The reference points that Cameron has in mind are familiar names from the 1960s, which he recites almost automatically: the Beatles, the Kinks, the Zombies. And I hear those touchstones for myself the following
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They come, they see, they play, they … well, you know. Monday night at Element Recording Studios, where the Conquerors hold their weekly practice. Sipping on Tecate tallboys, the musicians run through half a dozen new songs that could have been snatched from a PBS special on the 1960s. These tunes, Cameron says, are still being worked on, and the band plans to record them as a series of 45s, for release in early 2015. They, too, pay homage to the Conquerors’ beloved bygone period of rock. In the warm studio, in low light, the band even looks like it’s from another era. Dressed in his uniform of black mock turtleneck, black pants, black jacket and shiny black dress shoes, Cameron lets his hair fall into his eyes as he stands, sometimes on tiptoe, to meet the microphone. Rausch, whose recent beard gives him a sort of hipster-Jesus look, bends over his mic to add harmonies. Button looks thrilled to be behind his drum kit, and Lawhon provides the vertebrae for the songs, tucking his chin to his chest as his riffs clear a path for Cameron’s voice. Cardwell commands two tambourines as surely as if they were his hands. Just as Cameron claimed, the songs don’t stretch past the three-minute mark. What’s unexpected is his voice, which he changes from one song to the next, unleashing a
The Conquerors with Thee Oh Sees Saturday, November 8, at the Riot Room
J a z z B e at Rob SchEpS and RogER RoSEnbERg, at thE bRoadway Jazz club Twice a year, tenor saxophonist Rob Scheps — a Kansas City native and New York transplant — returns home, usually bringing with him a special guest musician of great talent. On this trip, he’s joined by baritone saxophonist Roger Rosenberg, who has worked with such superstars as Sarah Vaughan, Miles Davis, Quincy Jones and Gerry Mulligan during his 30year career. Since 2006, Rosenberg has toured as a member of Steely Dan. This week offers two chances to hear Scheps and Rosenberg: Thursday at the Broadway Jazz Club with pianist Roger Wilder, bassist Bob Bowman and drummer Brian Steever, plus singer Angela Hagenbach on a few numbers, and Friday at Lucky Brewgrille with Bowman and guitarist Ron Carlson. — Larry Kopitnik Rob Scheps and Roger Rosenberg, 7–11 p.m. Thursday, November 6, at the Broadway Jazz Club (3601 Broadway, 816-298-6316), $10 cover, and 6-9 p.m. Friday, November 7, at Lucky Brewgrille (5401 Johnson Drive, Mission, 913-403-8571), no cover.
pitch.com
november 6 -12, 2014
the pitch
25
Music
GOldEn AGE
Grammy Award winner Lucinda Williams keeps getting better.
By
N ata l ie G a l l a Ghe r
S
WHERE THE BEST MUSICIANS IN THE WORLD PLAY
KNUCKLEHEADS Fr ee S hu tt le in th e S ur ro un di ng A re a
NOVEMBER
5: OUTLAW JIM AND THE WHISKEY BENDERS 6: THE CRAYONS 6: COURTNEY PATTON BAND IN THE RETRO LOUNGE 7: BOOGIE WONDERLAND DISCO REVUE A RETRO DANCE PARTY 7: JEFF JENSEN IN THE BACK LOUNGE 8: APOCALYPSE MEOW WITH JOE PUGS, OUTSIDES, PEDAL JETS, WELLS THE TRAVELER, ANNA COLE & THE OTHER LOVERS, SARA SWENSON, THE BLACKBIRD REVUE, THE THUNDERCLAPS, BAD WHEELS & THE CULPRITS 12: THE PALADINS (REUNION TOUR) BEST ROCK N ROLL / ROCKABILLY BAND AROUND
For more info & tickets: knuckleheadshonkytonk.com 2715 Rochester, KCMO
816-483-1456
26
the pitch
november 6 -12, 2014
ome things get better with age: wine, whiskey and Lucinda Williams. The proof is in the 61-year-old singer-songwriter’s latest album, Down Where the Spirit Meets the Bone. Bone, the first release on Williams’ Highway 20 Records label as well as her first double album, is the embodiment of what longtime fans have come to love about her: sage lyrics, searing guitar and a rough-hewn singing voice that sounds more earth than woman. Ahead of her Friday-night Liberty Hall show, we called Williams at her California home to talk about Bone and the road to it. The Pitch: You’re 61 and you don’t show any signs of slowing down, and your songs just keep getting better. How can you explain this outpouring of creative energy? Williams: That’s the million-dollar question. [Laughs.] I’m not sure. I’ve been doing it for a while. I’ve gotten more confident as a writer. The older you get, the more loss you experience in life. And the harder life gets, the better the songs get. I think that helps, having issues that won’t ever be resolved. Losing a parent, my dad having Alzheimer’s, that kind of thing. But then again, a lot of other artists my age just fizzle out. I’m an exception to the rule, as far as older songwriters. There just aren’t that many who are still doing this. I’ve just got that drive and that compulsion to keep creating. Retirement is not an option. I have to do this for my survival, my mental survival. Speaking of your father [poet Miller Williams], his poetry plays a role in your music for the first time: You get your title from “Compassion,” the first track on Bone. What drew you to that specific work of his? I just always loved that line so much: You do not know what wars are going on, down where the spirit meets the bone. It really sums up what a lot of my songs are about, the human condition and compassion and frailty and understanding and empathy and all. And Tom [Overby, Williams’ husband] encouraged me to take a stab at adapting that poem for a song. You’ve talked about how your late-in-life marriage to Tom Overby is the first satisfying relationship you’ve had. What has that relationship taught you about yourself? It’s actually been very inspiring. The big test for me, when Tom and I got together, was whether I was going to be able to write and be creative in the relationship — because that’s something I was having a problem with before in relationships. I would get in one and feel like I was losing a part of myself, and this time that didn’t happen. I always knew, deep down inside, it was possible [to have that], and that’s what I wanted: the relationship where two people could work together and be inspired. And lo and behold, I finally found it.
pitch.com
And I really think that’s part of what inspired part of the songwriting. Tom pushes me, and I need that. I’m not real disciplined. [Laughs.] And he’s also a sounding board. I trust him implicitly because if he doesn’t like something, he’ll tell me. He brings a lot to the table because he’s worked in the music industry for so long, and he knows so much — you can mention almost any band, and he’ll know who it is. He’s turned me on to such amazing stuff. You ever heard of Atmosphere? Tom turned me on to him. His new album [Southsiders] is just, oh, it’s so good. And there’s this one song on there called “Flicker,” this song he wrote about one of his musician friends who died, and God, his lyrics are amazing. I find myself really relating to it, and I told Tom I want to cover that song. [Laughs.] He’s a fan of my stuff, too, Tom says. You should totally cover that song. But you’ve also been in the industry for a long time — your first album came out in 1978. You’ve seen a lot of changes. How do you think you’ve evolved over the years, personally and in your music? Oh, when I was younger, I wasn’t as surefooted. My stage presence was awful. People used to comment on that. They’d say, “You’re good, but you need to work on that.” A lot of times it was just me and my guitar, and I’d
Williams isn't short on spirit. just look down. I had to learn over the years how to be in front of an audience, and my confidence grew as I got older. But the thing with me was that I was never concerned about the age aspect of things. I know a lot of other women are, and guys are, too, to some extent. I’d hear artists say things like, “I’m already 35. It’s too late for me. I might as well just hang it up if I haven’t made it by now.” And that always just amazed me. I would ask why they’d say, “I’m too old” or “I’m too sad” or too this or whatever and kind of give up, and that never entered my mind. The drive factor was always there for me, even when I was really young, and the other stuff. The confidence, the songwriting and the craft and all that grew the more I did it. I always looked at it as growing things, natural progress. Like, I’m just gonna keep going. It’s just different stages in life.
E-mail natalie.gallagher@pitch.com Lucinda Williams Friday, November 7, at Liberty Hall
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pitch.com
november 6 -12, 2014
the pitch
27
Music
Music Forecast
By
n ata l ie G a l l a Ghe r
Peelander-Z
TH 6 . V O THRU. N & CASEY
COLBY
TH 9 . V O N SUN. TY KNOWS SCOT SDAY E U T Y EVERM KARAOKE T @ 8P Y SQUIR
IRT W/ DJ D
H
T 3 1 . V O THRUE.LN S GUILDN R E V TRA T SEASO
A GREA YALS FOR O R S K N THA
We’ve all seen some weird shit. We all have stories. But it’s unlikely that you have anything on a par with the total weirdness of PeelanderZ. The New York City punk-rock band has been around for 16 years, and its members — who present themselves as colors onstage, hair dyed to match their names — refer to their project as a “Japanese action comic punk band.” They take this designation seriously. The songs are true to their genre: straightforward, frantic bursts of energy and noise with titles like “Taco Taco Taco” and “E-I-E-I-O.” Monday night at RecordBar, be prepared for stage dives, moshing and the strangest best time ever. Monday, November 10, RecordBar (1020 Westport Road, 816-753-5207)
Apocalypse Meow
When the Mutual Musicians Foundation first conceived the Apocalypse Meow benefit seven years ago, the goal was simple. Money raised from the benefit would help the organization’s co-founder, Abigail Henderson, pay a stack of hospital bills accumulated from her fight with breast cancer. Henderson died last year, but the MMF rallies again to raise money for Abby’s Fund, which assists local musicians with health-care-related financial struggles. This year, Apocalypse Meow falls on two consecutive nights. Friday, local blues stars Katy Guillen and the Girls perform at RecordBar, and Various Blonde and the Philistines appear at Mills Record Co.; Saturday, Westport Saloon hosts a big lineup, including Joe Pug, Outsides, the Pedaljets and more. Friday, November 7, RecordBar (1020 Westport Road, 816-753-5280) and Mills Record Co. (314 Westport Road, 816-960-3775) Saturday, November 8, Knuckleheads Saloon (2715 Rochester, 816-483-1456)
Tristen
When Chicago-via-Nashville singer-songwriter Tristen released Caves last year, critics were split on how the album made them feel. The major beef of most naysayers was how much it differed from Tristen’s 2011 breakthrough, Charlatans at the Garden Gate, a smart bundle
of wry, witty pop songs laced with just enough Nashville dust to keep them from sounding inauthentic. With Caves, Tristen added some booming synth sugar — she has called it her “dance album” — and shrugged off any folksy allegiances. Her sound is different, but her songwriting has remained sharp. Tristen’s tunes are still left-of-center pop, and her voice hasn’t lost that breezy, secretive Mona Lisa– smile quality. Get acquainted Saturday at the Riot Room. Saturday, November 8, the Riot Room (4048 Broadway, 816-442-8179)
SZA
New Jersey artist SZA shape-shifts through atmospheric electronic beats on her latest album, Z. The 24-year-old’s voice slithers around neo-soul and 1980s R&B. It’s sexy, to be sure. SZA also gets help from Top Dawg Entertainment labelmate Kendrick Lamar on the spine-tingling “Babylon.” Throughout the album, she seems to creep from one shadowy, sultry beat to another. Aside from the vibe-y beauty of Z, there isn’t much of a statement. You wish there were something more to grab onto here from the lone woman
f o r e c a s t
28
the pitch
november 6 -12, 2014
Peelander-Z on TDE. Thursday at Liberty Hall, we’ll see if SZA has more to offer. Thursday, November 6, Liberty Hall (644 Massachusetts, Lawrence, 785-749-1972)
Streets of Laredo
Streets of Laredo may prompt an allergic reaction if the thought of bands like the Lumineers gives you hives. But if you find yourself drawn to old-fashioned, rootsy hoedowns inspired by such acts, clear your Thursday night. New Zealand natives and brothers Daniel and David Gibson, along with David’s wife, Sarahjane Gibson, and four additional band members have cobbled together a high-spirited Americana sound not unlike their antecedents. That doesn’t make it any less likable. “Girlfriend,” the lead track off Volume I & II, is a sprightly, hook-laden gem, worthy of any Sunday-afternoon playlist. Thursday, November 6, RecordBar (1020 Westport Road, 816-753-5207)
K e Y
Pick of the Week
Synth City
Don’t Kill My Vibe
Let’s Get Weird
Dance Pants
Twang With Me
Punk Heroes
Pretty in Pop
Music for a Cause
Locally Sourced
Artist to Watch
Mini Fest
pitch.com
7230 W 75th St 913.236.6211 kilroysroxybar.com
/roxybar.overlandpark
MIDWEST METAL TOUR
WUZZ, DIVIDED WE STAND, ADAM EVOLVING CONQUERING TIDES, BEYOND VENGEANCE
FRIDAY, NOVEMBER 7
mondays: RURAL GRIT 6-9P M sat 11/08: KARAOKE 10PM
FAMOUS SEAMUS & Wed 11/12: THE TRAVELBONGS NPR GENERATION LISTEN Fr i 11 /1 4: & KCUR PRESENT #STORIED sat 11/15: ACADEMIE LAFAYETTE FUNDRAIS tUe 11/18: GRISLY HAND, THE UNION SU ER ITS THE MEDICINE TH EORY Wed 11/19: BARBARA ARRIAGA , M Fr i 11 /2 1: ACE BATONS, GOTOBEDS, sat 11/22: TRUCKSTOP HONEYMOON FOG SMOKE MONSTER , DEAD Wed 11/26: INTRODUCING CHARLIE VOICES, STARHAVEN ROUN THANKSGIVING EV DERSE SHOw
I DO WHAT I WANT RADIO SHOWCASE BREAKING EVEN, DIRT, REV NATION, PIT 42
SATURDAY, NOVEMBER 8
CHARLIE & THE STINGRAYS FRIDAY, NOVEMBER 14
KITTENWITCH SATURDAY, NOVEMBER 15
SUNDAYS
INTERNATIONAL DANCE PARTY
W/ DJS NATTY & MITCH DARLIN * 11PM-2AM
C’MON BACK
pitch.com
november 6 -12, 2014
the pitch
29
AgendA
continued from page 9
Thursday | 11.6 |
john clEEsE: lAst chAncE to sEE mE bEforE i diE
Art Exhibits & EvEnts
Performing Arts
Jazz tap Jam with Billie mahoney | 7-9 p.m.
esday
11.12
We d n
Uptown Arts Bar, 3611 Broadway
L i t e r A r y/ s P o k e n W o r d
an silly D ead m g in lk a w
J. robert Lennon reads from See You In Paradise, a new collection of short stories |
Adam Finkelston: Manifestations | Kiosk
Great Plains — America’s Lingering Wild, photography by Michael Forsberg | The Box
Comedy
Gallery, 1000 Walnut
Colin kane | 8 p.m. Stanford’s Comedy Club, 7328 W. 119th St., Overland Park
Peregrine Honig: Unicorn, Corey Goering: Primal as i Wanna Be | Haw Contemporary,
1600 Liberty
John Cleese | 8 p.m. The Midland, 1228 Main, midlandkc.com
Lift With Your Legs , Charlotte Street 2013-14 Comedy
Studio Residency Program Series | Paragraph Gallery, 23 E. 12th St., charlottestreet.org
Chess With death: improv showcase | 10 p.m.
The Plains Indians: Artists of Earth + Sky |
Colin kane | 7:45 & 9:45 p.m. Stanford’s Comedy Club,
Jason Pollen: Unfurled — 30 Years in Kansas City | Kansas City Central Library,
tammy Pescatelli | 7:30 p.m. Improv Comedy Club maps for travelers, Bummer, Jorge Arana trio | 10 p.m. Replay Lounge, 946 Massachusetts, Lawrence
Community Benefits
moon Hooch | 7 p.m. The Granada, 1020 MassachuBingo social night, benefiting owen/Cox dance group | 7-10 p.m. Californos, 4124 Pennsylvania,
owencoxdance.org
setts, Lawrence
Courtney Patton Band | 8 p.m. Knuckleheads Saloon, 2715 Rochester
sPorts & reC
Cutting Horse show | Hale Arena, 1701 American Royal Ct., americanroyal.com
musiC
dan Bliss & rod fleeman | 7 p.m. The Phoenix, 302 W. Eighth St.
Crossroads song swap | The Tank Room, 1813 Grand ebony tusks, Heartfelt Anarchy, Conchance | 9 p.m. The Bottleneck, 737 New Hampshire, Lawrence
millage gilbert Big Blues Band | 7 p.m. Danny’s
Big Easy, 1601 E. 18th St.
roger rosenberg & rob scheps Band | 7 p.m.
Broadway Jazz Club, 3601 Broadway
Peter schlamb trio | 9 p.m. Green Lady Lounge, 1809 Grand
sons of Brasil | 8 p.m. Broadway Jazz Club, 3601 Broadway
streets of Laredo, Line & Circle | 6 p.m. RecordBar,
1020 Westport Rd.
sZA | 8 p.m. Liberty Hall, 644 Massachusetts, Lawrence
Friday | 11.7 | Jacques Brel: The Music of a Legend | 8 p.m. Musi-
Alexz Johnson, Jared & the mill, Patrick droney, Carswell & Hope | 7 p.m. The Riot Room,
cal Theater Heritage, Off Center Theatre, Crown Center, 2450 Grand, musicaltheaterheritage.com
Lester “duck” Warner | 7 p.m. The Blue Room,
Enter the Aum: sound Healing Concert with Paradiso & rasamayi | 7:30 p.m. Unity Temple, 707
4048 Broadway
1616 E. 18th St.
mark Lowrey trio | 6 p.m. The Majestic, 931 Broadway
30
the pitch
november 6 -12, 2014
Uptown Arts Bar, 3611 Broadway
7328 W. 119th St., Overland Park
tammy Pescatelli | 7:30 & 9:45 p.m. Improv Comedy
Club and Dinner Theater, 7260 N.W. 87th St.
Nelson-Atkins Museum of Art, 4525 Oak
14 W. 10th St.
PrimaRebelle by Whitney manney | UMKC Gallery of Art, 5015 Holmes (Room 203)
ArenA event
Performing Arts
grand marquis | 7 p.m. Jazz, 1823 W. 39th St.
| Starting Friday, Thornhill Gallery, 11901 Wornall, Avila University, avila.edu/thornhill
Gallery, 3951 Broadway
St., kclibrary.org
and Dinner Theater, 7260 N.W. 87th St.
{APP}erature: Photography II Art: The photography of J. Anthony Snorgrass
Lawrence Arts Center, 940 New Hampshire, Lawrence, lawrenceartscenter.org
Jayne Anne Phillips, in conversation with Whitney terrell about her newest book, Quiet Dell | 6:30 p.m. Kansas City Central Library, 14 W. 10th
Arts Bar, 3611 Broadway
Museum of Art, 4525 Oak, nelson-atkins.org
John Ferry: New Works | Starting Friday,
7-8:30 p.m. Lawrence Public Library, 707 Vermont, Lawrence, lawrence.lib.ks.us
kauf drops with dustin kaufman | 9 p.m. Uptown
Across the Indian Country: Photographs by Alexander Gardner, 1867-68 | Nelson-Atkins
W. 47th St., cornerstonefoundation.com
new york City dance Alliance | 7:30 p.m. Bartle Hall, 301 W. 13th St., nycdance.com
pitch.com
Walking With dinosaurs | 7 p.m. Sprint Center, 1407
Russell Wrankle: New Works | Lawrence Arts Center, 940 New Hampshire, Lawrence
Community Benefits
musiC
give Hope to one gala, benefiting the One by One Project for the survivors of sex trafficking | 7-10 p.m., $75, Hillcrest Country Club, 8200 Hillcrest, onebyoneproject.org
Apocalypse meow, with Chris Meck & the Guilty Birds, Katy Guillen & the Girls | 9 p.m. RecordBar, 1020 Westport Rd.
Grand, sprintcenter.com
Boogaloo 7 | 10 p.m. Green Lady Lounge, 1809 Grand
Community events
Cold sweat | Jazz, 1823 W. 39th St. Historic kansas City 40th Anniversary Celebration | 7-10 p.m., $125, The Guild, 1621 Locust,
historickansascity.org
sleepless in the City | 6 p.m. Barney Allis Plaza,
12th St. and Wyandotte, kcconvention.com/event/ sleepless-city
danny Cox | 7 p.m. RecordBar, 1020 Westport Rd. deadman flats, rain dogs | 10 p.m. Westport Saloon, 4112 Pennsylvania
filthy 13 | 8 p.m. Trouser Mouse, 410 S. Hwy. 7, Blue Springs
sPorts & reC
Cutting Horse show | Hale Arena, 1701 American Royal Ct., americanroyal.com
flow and soul, Love Bones | 7 p.m. Uptown Arts
Bar, 3611 Broadway
continued on page 32
Live Music
every FriDay Night 8-12pM 11/7 - Signal
1515 WESTPORT RD. • 816-931-9417
CheCk out our website for food speCials & upComing band dates!
Wed 11/5 - Troy ALLen & Friends Thu 11/6 - LAndon LeisT Fri 11/7 - FuLL CounT BAnd sAT 11/8 - CAChe CAnTo Tue 11/11 - Jimmy nACe Wed 11/5 - CAmeron russeLL
• Red Bridge Shopping Center •
CHECK OUT THE NEW ALL DAY HAPPY HOUR
523 E. Red Bridge Rd. KCMO
816.942.0400 • www.theDailyLimitkc.com
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W NE re
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WIFI NOW AVAILABLE!
1 m 2-5 ri o tt .c om
11/28 - Josh Vowell
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NOV. 27 Deadline Nov. 14
Contact your Pitch account executive or call: 816.561.6061 pitch.com
november 6 -12, 2014
the pitch
31
continued from page 30 Freeman, the Hotdog Skeletons | 7:30 p.m. The
Jacques Brel: The Music of a Legend | 8 p.m.
the italian girl in algiers
Musical Theater Heritage, Off Center Theatre, Crown Center, 2450 Grand, musicaltheaterheritage.com
Riot Room, 4048 Broadway
satu r
day
11.8
Hazard County | 10 p.m. The BrewTop Pub and Patio, 8614 N. Boardwalk Ave.
s a know Isabell atching. w e ’r they
Heartfelt Anarchy, Conchance with Les Paul, Milo, Barrel Maker | 10 p.m. MiniBar, 3810 Broadway
The Company Men with the Kansas City Symphony | 7:30 p.m. The Midland, 1228 Main,
midlandkc.com
New York City Dance Alliance | 4 p.m. Bartle Hall, 301 W. 13th St., nycdance.com
Lisa Henry, Grey Matter | The Blue Room, 1616 E. 18th St.
CoMeDY
Hot Water Music, Dave Hause, the Flatliners | 7 p.m. The Granada, 1020 Massachusetts, Lawrence
Colin Kane | 7:45 & 9:45 p.m. Stanford’s Comedy Club, 7328 W. 119th St., Overland Park
Jeff Jensen | 9 p.m. Knuckleheads Saloon, 2715
Tammy Pescatelli | 7 & 9:45 p.m. Improv Comedy Club and Dinner Theater, 7260 N.W. 87th St.
Rochester
JLove Band | 9 p.m. The Phoenix, 302 W. Eighth St.
AReNA eVeNT
The Magic Beans | 8 p.m. The Bottleneck, 737 New
Walking With Dinosaurs | 11 a.m., 3 & 7 p.m. Sprint Center, 1407 Grand, sprintcenter.com
Hampshire, Lawrence
Dwayne Mitchell Trio | Jazz, 1859 Village West Pkwy., KCK
Project H | 8 p.m. Take Five Coffee + Bar, 6601 W. 135th
St., Overland Park
F e S T i VA L S
The Italian Girl in Algiers, presented by KC Lyric Opera | 7:30 p.m. Kauffman Center for the Performing Arts,
1601 Broadway, kcopera.org
Third Party, Liv Stat, Atomic 50s | 9 p.m. Davey’s
Rob Scheps and Roger Rosenberg with the Ron Carlson Trio | 7-10 p.m. Lucky Brewgrille, 5401
Johnson Dr., Mission
Shannon & the Rhythm Kings | 9 p.m. B.B.’s Lawn-
side BBQ, 1205 E. 85th St.
Uptown Ramblers Club, 3402 Main
Jason Vivone and the Billy Bats | 9 p.m., free.
Coda, 1744 Broadway
Lucinda Williams | Liberty Hall, 644 Massachusetts, Lawrence
Shwayze, Cam Meekins, Carlton, Nikko Gray, DJ Bvillain | 10 p.m. The Riot Room, 4048 Broadway The Sluts, the Quivers, Dean Monkey & the Dropouts | 10 p.m. Replay Lounge, 946 Massachusetts,
Lawrence
Stolen Winnebagos | Local Tap, 7300 W. 119th St., Overland Park
32
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november 6 -12, 2014
DJ e | Quaff Bar & Grill, 1010 Broadway
SPoRTS & ReC
DJ 2 Live Cruz | 10 p.m. MiniBar, 3810 Broadway Zodiac Nights: Scorpio 2014 | 10 p.m. ASA Sushi & Hibachi Lounge, 10088 Woodland, Lenexa
Saturday | 11.8 |
NiGHTLiFe
PeRFoRMiNG ARTS
Bad Cop, Penicillin Baby | 11 p.m. The Riot Room,
William Baker Festival Singers: Classics & Spirituals | 8 p.m. Kauffman Center for the Performing
4048 Broadway
Boogie Wonderland Disco Revue | 8:30 p.m. Knuckleheads Saloon, 2715 Rochester
pitch.com
Hometown for the Holidays | 9 a.m.-5 p.m. Downtown Peculiar Arts and Culture District, 152 E. Broadway, Peculiar, downtownpeculiar.com
Arts, 1601 Broadway
KC Guns ’N Hoses | 7 p.m., Municipal Auditorium/ Music Hall, 301 W. 13th St., kansascitygunsnhoses.com KU Football vs. iowa State | Memorial Stadium,
11th St. and Maine, Lawrence
Buck o’Neil Run/Walk | 9 a.m. Negro Leagues Baseball Museum, 1616 E. 18th St. SHoPPiNG
Holiday Market | 9 a.m.-3 p.m. Holmeswood Baptist Church, 9700 Holmes, holmeswood.org/ holiday-market
Holly Festival Craft Fair | 10 a.m.-4 p.m. Bernard
Campbell Middle School, 1201 N.E. Colbern Rd., Lee’s Summit, iscares.org MusiC
Apocalypse Meow, with Joe Pug, Outsides, Pedaljets,
TheaTer Llyweln’s Pub 11.06.14
Dates and times vary.
Bad Jews | Unicorn Theatre, 3828 Main, unicorntheatre.org
Downtown underground series #1: Edward Gant’s Amazing Feats of Loneliness | Law-
Brody Buster Band | 9 p.m. The Phoenix, 302 W.
Dr. Jekyll & Mr. Hyde | City Theatre of Inde-
Eighth St.
The Candymakers jam | 8 p.m. Trouser Mouse, 410 S. Hwy. 7, Blue Springs
Caprice Classic | 9 p.m. Llywelyn’s Pub, 6995 W. 151st
St., Overland Park
Michael Corwin, Black Mattress, Bonespur, Electric Lungs | 8:30 p.m. Davey’s Uptown, 3402 Main Darlingside, Victor and Penny | 10 p.m. RecordBar,
1020 Westport Rd.
Ernest James Zydeco Band 11/7 - 9pm Flannigan’s Right Hook 11/8 9pm
pendence, 201 N. Dodgion Rd., Independence, citytheatreofindependence.org
Eleemosynary, written by Lee Blessing | Fishtank Performance Studio, 1715 Wyandotte
Famous seamus and the Travelbongs | The Brick,
The Who and the What | Kansas City Repertory Theatre, Copaken Stage, 13th St. and Walnut, kcrep.org
Hero show: A Tribute to our Veterans with Montgomery Gentry and Travis Marvin | 1-8 p.m. KC Live Stage at the Power & Light District, 14th St. and Grand
i Wayne, Black Am i | 8 p.m. The Bottleneck, 737 New
Hampshire, Lawrence
KC Groove Therapy | Local Tap, 7300 W. 119th St.,
Overland Park
Midtown Quartet | Jazz, 1823 W. 39th St.
Off Broadway Theatre, 3051 Central, spinningtreetheatre.com
Rockin’ Robby and the Fools, the Culprits, Colonial Gibber | 10 p.m. Westport Saloon, 4112 Pennsylvania Thee Oh sees, Jack Name, the Conquerors | 7:30 p.m. The Riot Room, 4048 Broadway
Tristen, La Guerre, Jessica Paige | 2 p.m. The Riot
Room, 4048 Broadway
Tim Whitmer & KC Express | 4:30 p.m. The Phoenix,
302 W. Eighth St.
B.B.’s Lawnside BBQ, 1205 E. 85th St.
DJ E | Quaff Bar & Grill, 1010 Broadway
Phil Neal & the Wornalls | 7 p.m. RecordBar, 1020
DJ Mike scott | Hotel Nightclub, 1300 Grand
Westport Rd.
New York standards Quartet | 8:30 p.m. The Blue
Room, 1616 E. 18th St.
Organ Jazz Trio | 10 p.m. Green Lady Lounge, 1809 Grand
Dropout Boogie | 10 p.m. MiniBar, 3810 Broadway Willy Joy, BuKu | 10 p.m. Riot Room, 4048 Broadway
Sunday | 11.9 |
DARLINGSIDE
@recordBar
8
SATURDAY NOVEMBER
PERFORMiNG ARTs
Restraint, Rise Within, Mad Libby, 9 Volt Junkie, unwritten Rulz, shadowsin | 6:30 p.m. VooDoo,
Harrah’s Casino, 1 Riverboat Dr., North Kansas City
Ernest James Zydeco Band 11/7 - 9pm Flannigan’s Right Hook 11/8 - 9pm Patrick Woolam 11/16 - 8pm
Theatre Restaurant, 9229 Foster, Overland Park, newtheatre.com
NiGHTLiFE
R.J. Mischo Band with David Watson | 9 p.m.
UPCOMING LIVE MUSIC:
Center, thecoterie.org
Violet | Spinning Tree Theatre, at Just
Chris Hazelton Trio | 8 p.m. Take Five Coffee + Bar, 6601 W. 135th St., Overland Park
MONDAY-FRIDAY
Rudolph the Red-Nosed Reindeer: the Musical | The Coterie Theatre, 2450 Grand, Crown
Empty Moon release show with the Hips and 1,000,000 Light Years | 10 p.m. Replay Lounge, 946
1727 McGee
HAPPY HOUR
Fiddler on the Roof | Starting Saturday, White Theatre at the Jewish Community Center, 5801 W. 115th St., Overland Park
Shear Madness | Starting Friday, The New
Massachusetts, Lawrence
SPECIALS
rence Arts Center, 940 New Hampshire, Lawrence, lawrenceartscenter.org
El Debarge, Michel’le, sam Bostic, Le Velle | 7 p.m. Star Pavilion at Ameristar Casino, 3200 N.
Ameristar Dr.
DAILY MENU
Update listings with the following:
Wells the Traveler, Anna Cole & the Other Lovers, Sara Swenson, the Blackbird Revue, the Thunderclaps, Bad Wheels, the Culprits | 6:30 p.m. Knuckleheads Saloon, 2715 Rochester
HEAR THEM BEFORE YOU SEE THEM
The Galileo Project: Music of the Spheres | 2 p.m.
Folly Theater, 300 W. 12th St., follytheater.org
continued on page 34
//FREE MUSIC PLAYER ON THE MUSIC HOME PAGE OF PITCH.COM pitch.com
november 6 -12, 2014
the pitch
33
Chris hadfield, nasa astronaut
Crossroads Truck taking donations for Kansas City Rescue Mission
y tuesda
11.11
Drop by this First Friday at Baltimore + SW Blvd and make a donation to the KCRM. Items needed include new men's underwear, new men's socks, gently used men's jeans, and gently used men's jackets/coats.
ve to lea T ime ps ule. the ca
It p m/
o
CHANCE TO WIN FREE TICKETS MOVIE PASSES MORE+
r.c e tt i w
t
FOLLOW+
t s h c
US
TWITTER.C0M /PITCHSTREET
t
e re
@PITCHSTREET
Chris hadfield, nASA astronaut, discusses his book, You Are Here: Around the World in 92 Minutes | 7 p.m. Unity Temple on the Plaza, 707 W. 47th St., rainydaybooks.com
continued from page 33 Kansas City Symphony Family Series: Mozart’s Magnificent Voyage | 2:30 p.m. Kauffman Center,
1601 Broadway, kcsymphony.org
Pianist Beatrice Rana | 2 p.m. Lied Center of Kansas,
FEATURED DEAL WHY HAVE ONE BURRITO WHEN YOU CAN HAVE 2?!
1600 Stewart Dr., Lawrence, lied.ku.edu
Tammy Pescatelli | 7 p.m. Improv Comedy Club and
Dinner Theater, 7260 N.W. 87th St.
ARenA evenT
Walking With dinosaurs | 1 & 5 p.m. Sprint Center,
1407 Grand, sprintcenter.com
holly Festival Craft Fair | 11 a.m.-3 p.m. Bernard
Campbell Middle School, 1201 N.E. Colbern Rd., Lee’s Summit, iscares.org
Kansas City Local Arts expo and Sale | 10 a.m.6 p.m. Kanza Hall, 7300 W. 119th St., Overland Park
the pitch
november 6 -12, 2014
pitch.com
mark Lowrey Trio jazz jam | 6 p.m. The Majestic,
931 Broadway
outlaw Reggae | 7-9 p.m. Fuel, 7300 W. 119th St.,
Overland Park
Quintron and miss Pussycat, Babes | 10 p.m.
Replay Lounge, 946 Massachusetts, Lawrence
Riot grrrl Sundays with dJ madeline | 10 p.m.
Vandals, 3740 Broadway
Savoy, Bright Lights, Spinstyles | 8 p.m. The Riot
Room, 4048 Broadway
Wildcat! Wildcat!, Sol Bird | 7:30 p.m. RecordBar,
1020 Westport Rd.
Monday | 11.10 | Comedy
uptown Comedy open mic with norm dexter | gobbler grind marathon, half-marathon and 5k | 8:30 a.m. Corporate Woods Office Park, 8717 W. 110th St., Overland Park, gobblergrindrun.com
The 1975, Cruisr, young Rising Sons | 7 p.m.
34
Bottleneck, 737 New Hampshire, Lawrence
SPoRTS & ReC
muSiC
.com
The icarus Account, Chase Coy | 8 p.m. The
Comedy
ShoPPing
$20 $ WORTH OF FOOD FOR $10
Foundation 627 Big Band | 8 p.m.-midnight. Green
Lady Lounge, 1809 Grand
Uptown Theater, 3700 Broadway
The Confessors | 6-9 p.m. B.B.’s Lawnside BBQ,
1205 E. 85th St.
10 p.m. Uptown Arts Bar, 3611 Broadway CheAP ThRiLLS
KC mutual uFo network monthly meeting
to discuss UFO sightings and reports in Missouri | 6:30 p.m. Hometown Buffet, 13720 E. Hwy. 40, Independence, no children under age 14.
Music
farMErS MarkEtS
B Vibe | 9 p.m. Green Lady Lounge, 1809 Grand
Badseed | 4-8 p.m. Friday, 1909 McGee
Jazz Disciples | 7 p.m. The Blue Room, 1616 E.
Brookside Farmers Market | 8 a.m.-1 p.m.
Saloon, 4112 Pennsylvania
Open Mic with Brody Buster | 7-11 p.m. Westport
city Market | 6 a.m.-3 p.m. Saturday, 8 a.m.3 p.m. Sunday, 20 E. Fifth St.
Peelander-Z, stiff Middle Fingers, coitus |
Downtown lee’s summit Farmers Market
18th St.
9 p.m. RecordBar, 1020 Westport Rd.
Saturday, Border Star Montessori, 6321 Wornall
| 7 a.m. Wednesday and Saturday, Second St. and Douglas
Punk vs. Metal with DJs Mckayla & chelsea | 10 p.m. Vandals, 3740 Broadway
smallpools, Magic Man, Waters | 6 p.m. The Granada, 1020 Massachusetts, Lawrence
Zak Waters, indian summer, sheppa | 8 p.m. The Riot Room, 4048 Broadway
NightliFe
geeks Who Drink Pub Quiz | 8 p.m. Green Room
Downtown Overland Park Farmers Market
| 7:30 a.m.-1 p.m. Saturdays, 6:30 a.m.-1 p.m. Wednesdays, 7950 Marty
grand court Farmers Market | 10 a.m.-1 p.m.
YOU ARE INVITED TO THE LAUNCH PARTY FOR
Saturday, Grand Court Retirement Center, 501 W. 107th St.
Shirley’s Healthy Bites
lawrence Farmers Market | 8 a.m.-noon
Join us for the unveiling!
Saturday, 824 New Hampshire
Burgers & Beer, 4010 Pennsylvania
1020 Westport Rd.
trivia with Matt larson | 8 p.m. Bulldog, 1715 Main
Tuesday | 11.11 | l i t e r a r y/ s P O k e N W O r D
Judy king and Bruce Mathews talk about their book, Kansas City’s Historic Union Cemetery: Lessons for the Future From the Garden of Time | 6:30 p.m. Kansas City Plaza Library, 4801 Main anna Quindlen discusses her new book, Still Life With Bread Crumbs | 7 p.m., $16, Unity Temple on the Plaza, 707 W. 47th St., rainydaybooks.com sPOrts & rec
emporia state vs. ku men’s basketball | 7 p.m.
Allen Fieldhouse, 1651 Naismith Dr., Lawrence
uPha american royal National championship horse show | Kemper Arena, 1800 Genessee Music
MUSEUM ExhibitS & EvEntS
Xtreme BUGS | Union Station, 30 W. Pershing
Rd., unionstation.org/bugs
The Land Divided, the World United: Building the Panama Canal | Linda Hall Library,
5109 Cherry
Mythic Creatures: Dragons, Unicorns & Mermaids | Museum at PrairieFire, 5801 W.
135th St., Overland Park, museumatpf.org
take Five tour | 6 p.m. Thursday, American Jazz Museum, 1616 E. 18th St., americanjazzmuseum.org
everette DeVan trio | 5:30 p.m. Green Lady Lounge, 1809 Grand
New Politics, Bad suns, somekindawonderful | 6:30 p.m. The Granada, 1020 Massachusetts,
1809 Grand
Danielle Nicole Band | 7 p.m. B.B.’s Lawnside BBQ, 1205 E. 85th St.
Lawrence
Lawrence
Night terrors of 1927 | 9:45 p.m. RecordBar, 1020 Westport Rd.
raven, Night Demon, Meatshank | 8 p.m. The Riot Room, 4048 Broadway
DJ rico & the Boss hooligan soundsystem | 10 p.m. Vandals, 3740 Broadway
Take a look... /Shirley’s Healthy Bites
St., kclibrary.org
Blues Jam with coyote Bill | 9 p.m. Westport Saloon,
Bram’s B-3 Bombers | 9 p.m. Green Lady Lounge,
Courtyard of Café Sebastienne Kemper Museum 4420 Warwick, KCMO 64111
Cowtown: History of the Kansas City Stockyards | Kansas City Central Library, 14 W. 10th
Jucifer | 10 p.m. Replay Lounge, 946 Massachusetts,
4112 Pennsylvania
7-10pm
& Museum, 631 N. 126th St., Bonner Springs
el Barrio Band | 7 p.m. Danny’s Big Easy, 1601 E. 18th St.
November 20
Bittersweet Harvest: The Bracero Program 1942-1964 | Wyandotte County Historical Society
continued on page 37
314 Westport Road KCMO 64111 www.millsrecordcompany.com buy • sell • trade vinyl records
sonic spectrum Music trivia | 7 p.m. RecordBar,
• Sample one of the best tasting healthy products about to enter the market place • Give us your constructive feedback • Cafe choice of red & white wine, along with water and soda will be provided
314 Westport Road KCMO 64111 www.millsrecordcompany.com buy • sell • trade vinyl records
MILLS RECORD COMPANY pitch.com
november 6 -12, 2014
the pitch
35
! U O Y K N A TH P p
36
the pitch
november 6 -12, 2014
pitch.com
Thank you to the 2,000 attendees, the amazing craft vendors & wonderful sponsors for making this year’s event a huge success.
2001: A spAce odyssey
Each week, Pitch Street Team cruises around to the hottest clubs, bars and concerts. You name it, we will be there. While we are out, we hand out tons of cool stuff. So look for the Street Team... We will be looking for you!
d Th u rs
ay
11.6 rry, “I’m so Dave.”
2001: A Space Odyssey, part of the Friends of Chamber Music’s Forte Film Series | 7 p.m. Tivoli Cinemas, 4050 Pennsylvania, chambermusic.org/forte-films.html
continued from page 35 Snow White, Period Bomb, Dated, Pup Zips | 10 p.m. MiniBar, 3810 Broadway
Chadwick Stokes, Ark Life | 8 p.m. The Bottleneck,
tap Room trivia | 8-10 p.m. Waldo Pizza, 7433 Broadway
Wednesday | 11.12 | PeRfoRmiNg ARtS
Lucrezia Borgia | 1 p.m. Tivoli Cinemas, 4050 Pennsylvania, tivolikc.com mUSiC
Another Brick in the Wall Party | 7 p.m. Coda,
1744 Broadway
Black veil Brides, falling in Reverse | 6 p.m.
Uptown Theater, 3700 Broadway
eyehategod, Keef mountain, ignis gratis, Leering heathens | 7 p.m. The Riot Room, 4048 Broadway
The Italian Girl in Algiers, presented by KC Lyric opera | 7:30 p.m. Kauffman Center for the Performing
i Wayne, Black Am i | 9 p.m. RecordBar, 1020 West-
Arts, 1601 Broadway, kcopera.org
port Rd.
San francisco Symphony | 7 p.m. Kauffman Center for the Performing Arts, 1601 Broadway
A La mode | 7 p.m. The Phoenix, 302 W. Eighth St.
L i t e R A R y/ S P o K e N W o R D
Poetic Underground open mic | 9 p.m. Uptown Arts Bar, 3611 Broadway
Pat Nichols | 7 p.m. B.B.’s Lawnside, 1205 E. 85th St.
Knuckleheads Saloon, 2715 Rochester
Jon Pardi | Kanza Hall, 7300 W. 119th St., Overland Park
Devin henderson’s mind madness | 7:30 p.m. Im-
Hampshire, Lawrence
twiddle, mister f | 8 p.m. The Bottleneck, 737 New
CommUNity eveNtS
E-mail submissions to calendar@pitch.com
energy Social | 6-8 p.m. KC Bier Co., 310 W. 79th St.,
or enter submissions at pitch.com, where you can search our complete listings guide.
efkc.org/social
Grub Warriors RyCaKintC RCorllaewrl uLdi itorium @ A y dic ipyaklkAe @ Up@ aam nM toM wnu ThLrksewtn Theater @ Upetaoter
Upcoming Events
11.7 First Friday @ Crossroads 11.12 Black Veil Brides @ Uptown Theater 11.13 Wanda Sykes @ Folly Theater
Riot Room, 4048 Broadway
Dante and Rebekah Kochan | 8 p.m. Stanford’s Comedy Club, 7328 W. 119th St., Overland Park
prov Comedy Club and Dinner Theater, 7260 N.W. 87th St.
Samples NicThe k SwaPriest Judas TherdWell son @ Th@ e MMidland @ The idland
J:Kenzo, thelem, eshone i, tmSv | 9 p.m. The
the Paladins reunion tour with King King | 8 p.m. ComeDy
ek n We o i h r asst e iAg ty Fain Ris htaatsieon onCSeat sC a N s t d er n o Th h n n i gUn idla Ka@StUp ra@itow eM @ Th
fiLm
737 New Hampshire, Lawrence
NightLife
Twe @ U nty-O ne P ptM ow asntBizkit odhonilo@ t T @ UpLimp e s townPower Live Block, Theaatet r& Light er
See more on the “promotions” link at p
Largest
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3709 S. Noland Rd, Independence 6485 Quivira Rd, Shawnee 400 W. 103rd Street, KCMO 902B W 23rd St., Lawrence 2 location, Columbia, St. Joe, Jefferson City, Sedalia, Osage Beach Lee’s Summit COMING SOON!
aqueousvapor.com
november 6 -12, 2014
the pitch
37
Kansas City’s
HOTTEST GAY CHATLINE 816-841-1588 913-279-9212 30 minute FREE TRIAL 18+
816.841.1577 913.279.9202 30 Minute
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the pitch
november 6 -12, 2014
s ava g e l o v e
Spank U
Dear Dan: My brother and I married two incred-
Sincerely Panicked and Needing Knowledgeable Mentorship, Edification Dear SPANKME: This is Dan. I read all my own
pitch.com
D a n S ava ge work his name — even in a negative sense — into their lingo/slang/shorthand. He’s not one of you. He never was.
Dear Dan: Is this even Dan? Probably not, probably an assistant, but maybe this will eventually get to him. I have a spanking fetish. I love to be spanked. I live in Oakland, California, so San Francisco is 10 minutes away. Seems like I’m in one of the best places in the country to have a kink, but I’m having a hard time figuring out where I can find a spanking community. I know there are BDSM clubs, but is there another way I can connect with spanking people? Any suggestions or resources?
mail. And I found someone for you — all by my lonesome — who is more qualified than I to answer your question. “This lady sounds like she needs to be severely punished,” Jillian Keenan joked when she read your e-mail. “I’d love to help her get what she deserves!” Keenan is a very serious journalist who writes about very serious subjects, but she’s also a very serious spanking fetishist. She came out about her kink in a Modern Love column in The New York Times (“Finding the Courage to Reveal a Fetish,” November 9, 2012), and she has written a series of pieces about kink, consent and stigma for Slate and other publications. So where can you find your kink community? Where everybody finds their kink communities these days: online. “FetLife.com has profiles of more than 300,000 spanking fetishists, including several groups specifically for people in the Bay Area,” Keenan says. “FetLife is a good way to chat with people online and ease into the scene. On FetLife, she can also learn about where local spanking enthusiasts go for parties and munches.” Munches are informal get-togethers where kinksters meet to talk, not to play. You might connect with a potential playmate at a munch, but you won’t be pressured to play right away. “When she starts to meet potential playmates, the most important thing is to be as detailed and honest as possible,” Keenan says. “What are her fantasies? Does she want to be spanked with a hand, hairbrush, belt, paddle or something else? Does she want to call her partner ‘sir’ or ‘ma’am’? Does she prefer a punitive dynamic, or does she fantasize about erotic spankings? Is she excited by any of our kink’s side dishes, like standing in a corner, writing lines, being scolded or getting her mouth washed out with soap? What implements, activities, words or pain thresholds are absolutely off-limits? Such specific details can feel embarrassing at first, but if she talks about them honestly with a potential partner,
By
it’s much more likely that she’ll find a good match and have a great experience.” A safe, responsible and trustworthy kinkster will agree to meet you in a public place to talk about your kinks and limits before setting up a play date. If you find yourself talking with someone who refuses to meet prior to playing, that person isn’t a responsible or trustworthy kinkster. “But great dominants are not rare,” Keenan says. “It won’t take long to find someone else, someone with whom she’ll feel safe. And no matter what she and a potential partner agree on before a scene, she can always change her mind later if something feels uncomfortable. And there’s absolutely no shame in using a safe word. So pick a fun one!”
Dear Dan: We have a new shorthand term for
BDSM doms who are abusive assholes: Ghomeshi doms. Good guys into BDSM should stick this in their online profiles: “I’m a nice, non-Ghomeshi dom looking for a lady who is into …”
Banish Abusive Doms Dear BAD: Jian Ghomeshi is the CBC radio host
who was fired last week after three women leveled accusations of sexual assault against him. Eight women have now spoken to the press; two have allowed themselves to be named. Ghomeshi claims that he’s into BDSM and that all of these encounters were consensual, but I don’t believe that Ghomeshi is a consensual kinkster. I believe he’s a serial abuser who leveraged his fame against the women he assaulted and who’s now hiding behind the culture of consent that characterizes responsible BDSM communities and practitioners. So I think it would be a mistake for BDSMers to
ible women. Our wives were good friends before we started dating them. My brother has always been my best friend, so the four of us spend a lot of time together. Recently, a couple of drinks turned into a bunch, and then my wife and sisterin-law started making out. Then they fucked. It was the hottest thing I’ve ever seen. We ended up pairing off with our respective partners and having sex in the same room. The next morning, the same thing happened again, and now my wife tells me that she and her friend would like to date each other. The group sessions would continue (but no wife-swapping). Everyone seems onboard. I knew my wife was bi before we married, and we’ve talked before about her having a girlfriend, so I’m fine with that part. It’s hot and it feels safe because we all trust each other. But is this a terrible idea? Is it creepy and/or incestuous to watch your brother fuck his wife? Does this sound like a setup for the messiest breakup ever, or does something like this work out long term?
Brothers Respectfully Aroused Humping Spouses Dear BRAHS: The exact same things that make
this arrangement feel so safe and so logical will turn this into a screaming nightmare should things go south. If things get messy — if there’s one or more conflicts that require taking sides — you and your brother are going to find yourselves in positions that make Reverse Cowgirl Bleached Anal Handstand look easy. Because you’re all so close. But the train has left the station. Your wives are doing each other, and they’d like to date each other, and you and your brother want to keep watching your wives fuck and then fucking your respective wives in front of each other. I would advise you all to get together for nonalcoholic beverages and promise that you will be mature, reasonable and forgiving adults if/when this comes to an end. Agreeing to an amicable breakup in advance of a breakup is no guarantee that things will end amicably, but it improves the odds. As for the incest and long-term angles: Watching your brother fuck someone strikes me as creepy, but it doesn’t meet the legal definition of incest. And while I haven’t heard of an arrangement like this working out over the long term, I’ve also never heard of an arrangement like this. Some things that you expect to work out don’t, and some things that you don’t expect to work out do. Good luck, gang.
Have a question for Dan Savage? E-mail him at mail@savagelove.net
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