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SEEING WHITE IN PARK HILL. PAGE 5 | WAIT, SOMEONE WILL PLANT YOU A GARDEN? PAGE 19

FILMMAKER GARY HUGGIINS IS IN AN ALL-OR-NOTHING KICKKSTARTER CAMPAIGN TO FUNDD HIS FIRST FEATURE-LENGTH FILM. B Y

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E D I T O R I A L Editor Scott Wilson Managing Editor Justin Kendall Music Editor David Hudnall Staff Writers Charles Ferruzza, Ben Palosaari Editorial Operations Manager Deborah Hirsch Proofreader Brent Shepherd Calendar Editor Berry Anderson Clubs Editor Abbie Stutzer Food Blogger, Web Editor Jonathan Bender Contributing Writers Danny Alexander, Theresa Bembnister, Aaron Carnes, Kyle Eustice, April Fleming, Micah Gutweiler, Ian Hrabe, Saby Reyes-Kulkarni, Megan Metzger, Chris Parker, Matt Pearce, Nadia Pflaum, Nancy Hull Rigdon, Dan Savage, Brent Shepherd, Nick Spacek, Abbie Stutzer, Crystal K. Wiebe Editorial Intern Micah Gutweiler A R T Art Director Ashford Stamper Contributing Photographers Angela C. Bond, William Lounsbury, Chris Mullins, Lauren Phillips, Sabrina Staires, Brooke Vandever P R O D U C T I O N Production Manager Jaime Albers Senior Multimedia Designer Amber Williams Multimedia Designer Christina Riddle A D V E R T I S I N G Advertising Director Dawn Jordan Retail House Account Manager Eric Persson Senior Classified Multimedia Specialist Steven Suarez Classified Multimedia Specialist Andrew Disper Multimedia Specialists Michelle Acevedo, Erin Carey, Payton Hatfield, Laura Newell Sales Associate Kirin Arnold Director of Marketing & Operations Jason Dockery Advertising Coordinator Keli Sweetland C I R C U L A T I O N Circulation Director Mike Ryan B U S I N E S S Business Manager Michelle McDowell Systems Administrator Matt Spencer Front Desk Coordinator Christina Riddle Publisher Joel Hornbostel

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S O U T H C O M M Chief Executive Officer Chris Ferrell Chief Operating Officer Rob Jiranek Director of Accounting Todd Patton Director of Operations Susan Torregrossa Creative Director Heather Pierce Director of Content/Online Development Patrick Rains Director of Digital Products Andy Sperry N A T I O N A L A D V E R T I S I N G Voice Media Group 888-278-9866, voicemediagroup.com Senior Vice President Sales Susan Belair Senior Vice President Sales Operations Joe Larkin National Sales Director Ronni Gaun B A C K PA G E . C O M Vice President Sales & Marketing Carl Ferrer Business Manager Jess Adams Accountant David Roberts D I S T R I B U T I O N The Pitch distributes 45,000 copies a week and is available free throughout Greater Kansas City, limited to one copy per reader. Additional copies may be purchased for $5 each, payable at The Pitch’s office in advance. The Pitch may be distributed only by The Pitch’s authorized independent contractors or authorized distributors. No person may, without prior written permission of The Pitch, take more than one copy of each week’s issue. Mail subscriptions: $22.50 for six months or $45 per year, payable in advance. Application to mail at second-class postage rates is pending at Kansas City, MO 64108. C O P Y R I G H T The contents of The Pitch are Copyright 2012 by KC Communications, LLC. No portion may be reproduced in whole or in part by any means without the express written permission of the publisher. The Pitch address: 1701 Main, Kansas City, MO 64108 For The Pitch information, call: 816-561-6061 To report a story, call: 816-218-6915 Editorial fax: 816-756-0502 For classifieds, call: 816-218-6721 For retail advertising, call: 816-218-6702

K IC K STA RT M Y M OV I E Local ﬁlmmaker Gary Huggins shoots for a return to Sundance. BY JUSTIN KENDALL | 6

M O N I TO R I N G U S Three different projects look for art — and issues — in very different places. BY THERESA BEMBNISTER | 16 4

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Eight things to watch for as the Royals’ Opening Day approaches

Royal Pains he Kansas City Royals were far from being contenders in 2011. But by September, the boys in powder blue were playing their best baseball (a 15–10 record that month). With a host of talent arriving from the minors, a trade acquiring pitcher Jonathan Sanchez, and the hype surrounding this summer’s All-Star Game, the Royals are a trendy pick in the American League Central. And by the time the Detroit Tigers come to Kauffman Stadium for the ﬁnal series in October, a postseason bid might just be on the line. — JONATHAN BENDER AND BEN PALOSAARI

Let’s Make a Deal

Rotation, Rotation, Rotation

White Space

Rex the Wonder Dog

In the last two decades, the Royals have earned a reputation as a feeder team. Now is the time to lock up Eric Hosmer, Mike Moustakas and Alex Gordon. The signing of catcher Salvador Perez provides a bit of hope that things may be different with this crop of talented young players.

Bruce Chen, Luke Hochevar, Jonathan Sanchez. The ﬁrst three rotation spots are set. The rest can be ﬁled under TBD. Unlike in years past, though, the Royals have a cadre of talented, young pitchers actually competing for those roster spots, rather than a collection of dead arms hoping for one more year in the bigs.

Frank White was a part of Royals baseball for 38 years. But this April, he’s in a T-Bones jersey instead of Royals blue. A contract dispute turned ugly, and the club decided in the offseason not to renew the Hall of Famer’s announcing contract. You’ll see his statue, but you won’t see White at Kauffman this season.

Fans’ eyes are still wet from White’s abrupt ﬁring. New color man “Wonder Dog” Rex Hudler may help us heal. The former utility player is known for his quirks, including eating a June bug on a bet. During his ﬁrst Royals’ press conference, Hudler unintentionally channeled Will Ferrell. This guy should glue fans to the radio.

The Land of Hoz

Winning Close Games

True Relief

Seeing Stars

Eric Hosmer walked in his ﬁrst big-league at-bat. After that, he pretty much crushed everything. In 2011, he hit 19 home runs with 81 RBIs in only 128 games, and fans of the Royals are eager to see what he can do with a full season. It’s not a stretch to say he’s the franchise.

If the Royals finish above .500 for the first time since 2003, it will be because they figured out how to win close games. Last season, they were 25-32 in one-run ballgames, despite leading the majors with 12 walk-off wins. You win the division by shutting down an opposing team in the ninth.

The Royals showed the makings of a potentially great bullpen last season, compiling a 3.75 ERA. Greg Holland and Aaron Crow were sterling. And it’s hoped that the addition of Jonathan Broxton will solve the Royals’ greatest albatross of last season: 22 blown saves.

The MLB All-Star Game coming to Kauffman in July has the city feeling like it has a hot date with America. If Hosmer picks up where he left off, the hometown star could take on baseball’s best. Or it could just be a chance for New York and Boston to scout him for when he eventually hits free agency. Ah, crap, did we just jinx it?

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Park Hill’s school-board election has its great white dope: Edward Stephens.

Master Race n another universe, Edward Stephens is a political star. He’s young (24), engaged in the community, smart. A big, athletic-looking man, he graduated from the Park Hill School District in 2006, shows up at every school-board meeting, and works as an assistant electrical engineer in the BY nuclear division of engineering M AT T firm Burns & McDonnell. In that other universe, PEARCE Stephens’ campaign for a seat on the Park Hill Board of Education — which elects two new members April 3, during a sensitive time for the district — would make his star burn bright. He says he’s neither a Democrat nor a Republican, and according to his platform, he’s a low-taxes local-government-firster. He talks about how the Park Hill School District gets 4 percent of its funds from the federal government and he complains about the federal rules that come with it — not worth it, he says, the kind of answer that resonates with many a libertarian and tea partier. There’s just one problem with this wouldbe golden boy, and it’s summed up by the four words The Pitch found on Stephens’ personal Twitter account: “Race is the matter.” In a 70-minute phone interview with The Pitch, the candidate doesn’t shy from that stance. “We celebrate, and have celebrated for many years, a history month in our school district that is dedicated specifically to the accomplishments and the standards of the black race,” Stephens, who is white, says. “Yet there is no month dedicated to the history and the advancement of the white race. That, to my mind, is abusive.” There’s also too much emphasis, according to Stephens, on Native American history in the schools. “We should focus more as a district on programs that are going to focus on, basically, the white men that founded this country and built this country,” he says. KC Education Enterprise sent a questionnaire to the Park Hill school-board candidates, and in a written response (Stephens was one of two who completed it), Stephens named some of the challenges facing the Park Hill School

District: budget accountability, student safety 2011, and the ensuing search for a new candidate and “the population of Whites [capitalization was heavily criticized by parents for its lack of community involvement. his] dwindling.” The Park Hill Board of Education inter“I don’t want to see white people flee the Park Hill School District,” Stephens explains. viewed several superintendent candidates who He sounds surprised when asked a follow-up requested that their names be withheld from the question. “Why don’t I? I don’t think it’s good public, and then presented only one finalist at the end of its search: Scott Springston. He seems for white people to flee.” He pauses again, as if the answer were self- likable, many involved with the district say. But he comes from the much smaller Valley Center explanatory, before silence goads him on. “It’s very simple,” he says. “As the population School District, near Wichita, and many parents of whites in a school, say, in one of our schools wanted input into the hire. Disgruntled parents blame the seven-memdecreases, the number of free- and reduced[lunch] students increase.” OK, so the school ber Board of Education, which spearheaded the ends up paying for more poor kids’ lunches. process. So Stephens has made it a linchpin of his That’s unacceptable, he explains, because that campaign to define the concepts of confidentialjust lures more poor people to Park Hill at a time ity and transparency as he runs to fill one of the when the district should, he says, “encourage” two seats up for grabs April 3. “Confidentiality means we are going to take a certain “economic groups” more than others. He’s not talking about black people specifi- piece of information that the public wants, and we are not going to provide it cally, he says, though he adds to them,” Stephens said of the that they tend to be poorer. “THERE IS NO MONTH hiring process in a forceful pre“There is a link between the sentation at a recent candidate races and the preponderance DEDICATED TO THE forum. “Think about what that of the free- and reduced-lunch means. Does that make you feel program,” Stephens insists. HISTORY AND THE comfortable as a taxpayer, as “It’s there. It’s in black and white. And I’m not willing to ADVANCEMENT OF THE a voter?” Speaking of confidentialignore that link, and I’m not ity discomfort, Stephens says willing to ignore that link to be WHITE RACE. THAT, TO he won’t answer questions politically correct.” This sums up the essence MY MIND, IS ABUSIVE.” about the racial innuendoes that fleck his personal socialof the young contender’s cammedia presence. When asked paign — dogged, unafraid, politically incorrect. Also: hugely uncomfortable what he means on his Twitter profile, @eestephens, that “Race is the matter,” he dodges like for many of the people around him. “This kind of hate towards children and their a pro: “I’m not going to comment on that. The families is horrific,” Andres M. Dominguez com- interview I’m doing with you is based on my mented in the “Citizens for Park Hill Schools” run for school board. … I’m not going to answer Facebook group. “This evening I mentioned his personal questions like that.” What about that public photo on his perpresence at public meetings and feel that he poses a threat to public safety and that whenever sonal Facebook page, in which he’s posing with a photo of Hitler at the Liberty Memorial? (The he is present security needs to be elevated.” Stephens has corkscrewed himself into con- image appeared with a story about him on KCTV troversy where another only recently receded. Channel 5.) “I was simply standing there and had my The Park Hill School District’s long-standing superintendent, Dennis Fisher, is retiring. He picture taken next to it,” Stephens responds. won the Missouri Association of School Admin- “I believe some people wanted to make more istrators’ Superintendent of the Year award in out of it than there was to make. By using the

Stephens provided this photo of himself, sans Hitler.

picture in conjunction with my political views, they [Channel 5] were able to paint a picture that was false.” But, uh … Hitler? “I’m not going to comment on that because it is not relevant to my run for school board,” he says. What about just a yes or a no regarding whether Hitler was bad — which would have the added benefit of perhaps alleviating voter concerns? Stephens isn’t having it. “There might be some people out there who are wondering that,” he says. “But that’s not why I’m running for school board … . Just because a certain picture is generated just doesn’t make it any more OK to talk about.” Whether he comments on it or keeps silent, the photo is out there on the Web, where any Park Hill student might find it. He still hasn’t taken it down. His online footprint also includes a profile on vanilla-love.com, a Russian matchmaking service. “If you are single and dream to meet a beautiful wife from Russia,” the site claims, “Vanilla-Love.com will provide you all the services needed, including special features.” Stephens, who is not married, minored in Russian at the Missouri University of Science and Technology in Rolla and recently traveled to Moscow. According to his KC Education Enterprise questionnaire, he doesn’t have children who attend public school; according to the vanilla-love.com profile, he wants children someday. (Asked to confirm that the profile is his, he says, “No comment.”) Fred J. Sanchez, one of the other three board candidates, says he’d rather lose than see Stephens win. “I’ve experienced and lived the ’60s, and I’ve raised my daughters not to use their surname and their sex to get ahead in life,” Sanchez says. “I thought that was all behind me, but it’s apparently not. … I feel that what’s even more important than I win or lose is whether or not the patrons and the voters say up or down to Mr. Stephens.” E-mail feedback@pitch.com

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PHY BY CHRIS MULLINS

Help Santiago Vasquez out of a tough spot.

ary Huggins needs to raise $70,000 by April 3. The 44-year-old filmmaker’s first full-length feature, Kick Me, hangs in the balance. Huggins either reaches 70 large by 1:59 a.m. Tuesday or loses every dollar pledged. Those are the rules, Kickstarter-style. “We can do it,” Huggins says. “Everyone tells us that the money comes at the end.” As The Pitch went to press, 135 backers had signed up to contribute $36,686. (And he could almost make the rest if he had a dollar for every instance of the word kick necessary to tell the story of his latest project.) But with the end just days away, Huggins’ confidence comes with concern. “I’ve got a sick stomach every morning,” he says. “It’s gotta happen, so I’m positive it’s going to. Huge pressure.” For their money, Kick Me investors would get a lot of movie. “It’s a nightmare action comedy about the violent indignities that befall a mild-mannered high school guidance counselor who has reached out to a troubled kid and ends up running for his life,” Huggins explains. “That’s the pocket version of it.” It is, he adds, a “total vehicle” for Kansas City, Kansas, police officer Santiago Vasquez. “I wrote it for him,” Huggins says. “Santiago was created to be a star. He was made by God to be a star. Something is going to take him there, and I know this is going to be a vehicle.” “We’re in the process of making the greatest movie ever made in Kansas City,” Vasquez says. “This is the It movie. This is going to be the standard of filmmaking in Kansas City.” “It’s going to be the Article 99,” Huggins jokes, referring to the forgotten 1992 Kiefer Sutherland-Ray Liotta hospital drama shot here. Kick Me is Huggins’ second attempt to fulfill God’s promise to Vasquez. The first movie he wrote for the cop was a short called First Date, in which Vasquez played an ex-con obsessed with a 16-year-old boy he’d met in an online chat room. The short took Huggins and Vasquez to the 2006 Sundance Film Festival, South By Southwest and Clermont-Ferrand and earned Huggins recognition as one of Filmmaker Magazine’s “New Faces of Independent Film.” “I’ve been trying to put together a feature ever since [Sundance],” Huggins says. “This is the first one that’s really come together.” Huggins co-wrote Kick Me with Betsy Gran. They were working on another script, a dark comedy about human trafficking in Kansas City called Ice Cream Slaves. They ripped the source material from then-current headlines — in 2006, Russian students were allegedly brought to Kansas City and forced to drive ice-cream trucks in 13-hour shifts without days off, for as little as 82 cents an hour. “It’s not funny, but it’s so tragic that it has to be funny,” Gran says. “To get people talking about human trafficking, it’s got to be through narrative.” “We shopped it around and tried to get it made, but it was going to be way too big and beyond our abilities,” Huggins says. “We tried to write something much smaller.” Trying to come up with a premise they could shoot more cheaply, they arrived at Kick Me. Finishing it, they say, would allow them to finally pursue Ice Cream Slaves. “That is the ultimate continued on page 8

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KICKSTART MY MOVIE continued from page 7

Kansas City movie,” Huggins says. “Ideally, this movie will get enough attention that we will then get money for the riskier project.” Huggins and Gran plan to begin shooting Kick Me in May or June if the Kickstarter campaign succeeds. Kim Sherman (You’re Next and V/H/S) is their producer. Huggins says they will edit the film as they shoot so that they have something to submit to Sundance in September. They want to unveil it at the festival next January. “I’m really confident about it,” Huggins says of Kick Me. “It has more of a commercial motor. The producer looked at it and said, ‘It reminded me of Die Hard.’ And yeah, I can see that.” Huggins didn’t need a casting call to find his Bruce Willis. He met Vasquez several years ago at a Kansas City, Kansas, library where Huggins worked. There was no missing him, a mysterious man with a Fu Manchu mustache, long hair and a serious affection for the library’s Akira Kurosawa and Miyamoto Musashi films.

Huggins thought his new acquaintance was just another oddball cinéaste. He didn’t know that Vasquez was working undercover as a drug dealer. After a big bust, Vasquez revealed his true identity. The two have been friends and collaborators ever since. After First Date, Vasquez starred in a ﬁlm called The Grass Grows Green, which also went to Sundance. “I have the privilege of being the only actor in Kansas City, Kansas, who went to Sundance back-to-back,” Vasquez says. “Nobody has ever done that. Am I being arrogant? Perhaps. But I can back up my BS.” Two Sundances in a row hasn’t translated to stardom, though, so Vasquez also has something at stake with the Kickstarter campaign. “After reading the [Kick Me] script, I believe if this isn’t going to bring me any fame, nothing else will,” he says. “After this, if nothing happens, I will retire.” His statement sounds more like a threat than a promise. With his gleaming shaved head and his steely stare — and a laugh that cuts through the air like the maniacal kung-fu master of a pulp movie — the fifth-

degree black belt gives off an organic menace. His forearms feel like granite, but he’s not ready for stunt work just yet. “By the time we start shooting the film, my body is going to be so ripped,” Vasquez says. “I’m going to put Charles Atlas to shame.” Vasquez describes his character as a pacifist who is forced to fight for his life. “I don’t have a choice,” Vasquez says. “I have to become more violent than my attackers in order to survive.” “It’s more of an After Hours kind of feel,” Huggins says. “Somebody gets involved in an episodic situation where they get taken down peg after peg after peg. And it ends in violence.” Vasquez plays a guidance counselor, which isn’t a stretch. Four years ago, he became the school-resource officer at Bishop Ward High School (Huggins’ alma mater). “I see the dynamic of his character really often,” says Gran, who is working on her master’s degree in human-rights education at the University of San Francisco. “That dynamic of reaching out and helping people, and how complicated that can be when you’re going

Vasquez in a still from Kick Me’s promotional trailer. cross-culturally and across state lines and sort of into unknown territory.” Huggins says Josh Fadem, who plays Liz Lemon’s agent on 30 Rock, is slated to play a bad guy in the film. Fadem is in the process of posting a YouTube video challenging Vasquez to fight to the death in a fictional film. “I’m not sure how we found him,” Huggins says. Huggins and Gran discovered the rest of the cast through open auditions. “The casting call alone, we could have written 12 more scripts based on the people we met,” Gran says. “We got such an amazing parade of people,” Huggins says, “from a woman who was the 1980 Iowa hog-calling champion to a former L.A. gangbanger who has the Last Supper tattooed on his back. A woman who had a cameo in the movie Blacula. “After a while, I just told everyone, ‘You’re going to be in the movie.’ There wasn’t a single

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boring person that came through. One guy talked about being in a coma for a while. I go, ‘How long were you down, exactly?’ He goes, ‘Here, I’ll show you.’ He rips open his shirt: the day he went under and the day he came up.” Huggins says he wants to be a Kansas City filmmaker making films about Kansas City. He doesn’t want to celebrate the myths of New York or Los Angeles. “I want to stay in Kansas City and make movies that have a national presence — sort of like Alexander Payne and Omaha — that are about where I’m from.” He says other cities are immediately recognizable, thanks to television and film. “Because of The Wire, people have an immediate sense of Baltimore,” Huggins says. “What do people think of Kansas City? They think of stuff that was true maybe 50 years ago? Jazz? Cattle? There are so many amazing stories in Kansas City and so many amazing locations and people.” “We’re filming a film in Kansas City that calls it Kansas City,” Gran adds. “We’re not saying it’s the streets of New York because we’re proud of where we’re from. We’re proud of the actors. We’re proud of the stories.” Contributions to Kick Me don’t go unrewarded, either. For example, pledges of $1,000 will return an 11-inchby-14-inch oil portrait of your soul, courtesy of Vasquez, who has also promised to write a short verse in Spanish about your soul (a soul lifted by the more standard premium: an autographed Kick Me DVD). A gift of $300 gets you a 10-minute lesson from Vasquez, via Skype, in “top-secret kill techniques from [a] real life karate master.” Donations can be as low as $1, but come on. “We’ve got all of these schemes and scams, all legal, to get it to $70,000,” Huggins says. Look for a couple of the schemes and scams this weekend at Tivoli Cinemas and the Brick. The Tivoli (4050 Pennsylvania) is showing

Huggins wants to make KC movies. a night of Huggins’ short films Friday, March 30, including First Date and Happy 95 Birthday Grandpa; the latter won the top prize in the Reel Shorts category at the South By Southwest Film Festival in 2009. The Tivoli program, which starts at 9:30 p.m., also includes shorts that inspired Huggins. He says there’s a good chance that he’ll show a recently discovered 16 mm treasure: the late Robert Altman’s Modern Football. Altman shot the 26-minute instructional movie in 1951. Sponsored by Wheaties, it may have been the KC native’s first directing job. (The future M*A*S*H director also appears in a cameo as a sports announcer.) “It’s phenomenally rare,” Huggins says. He doubts that anyone had seen the film in the 50 years before he discovered it in a pile of instructional videos he bought for $10 at the Boulevard DriveIn’s flea market. “Maybe I’ll bring the print if people are curious,” Huggins says. “Altman’s an inspiration, for sure, but the short wasn’t. If it would lure people out to that event, yes, I’d show it.” The Brick (1727 McGee) hosts a fundraiser for Huggins’ project Saturday, March 31, beginning at 7 p.m. Home movies, shot on 16 mm Kodachrome in the 1970s by a Kansas City truck driver named Hulen Oliver, provide the backdrop for acts such as Mr. Marco’s V7 and the People’s Liberation Big Band. The reels include footage of a 1970 international expo (and its “World of the Future” exhibit) in Osaka, Japan. Huggins is determined to make Kick Me, even if the Kickstarter campaign fails. He says he’ll sell organs if necessary. “Anything’s possible,” Huggins says.

“SANTIAGO WAS CREATED TO BE A STAR. HE WAS MADE BY GOD TO BE A STAR. SOMETHING IS GOING TO TAKE HIM THERE, AND I KNOW THIS IS GOING TO BE A VEHICLE.”

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[EXHIBITS]

CAVEMAN REVOLUTION

According to UMKC history professor William B. Ashworth Jr., 1859 was a big year for science. That’s when two revolutionary ideas took hold: Darwin’s theory of evolution by natural selection and the notion that humans are ancient inhabitants of the Earth. “If one believes that humans are ancient and hunted mammoths and made stone tools, one is said to believe in human antiquity,” Ashworth says. He also acts as a consultant at Linda Hall Library (5109 Cherry, 816-363-4600) and has curated the library’s new exhibit Blade and Bone: The Discovery of Human Antiquity, which presents — through replicas of ancient skulls, 14 wall panels depicting battles between ancient men and cave bears, and some of the first photos of Neanderthals ever published — a view into prehistory that dispels the notion that humans just popped up one day. The exhibit opens at 6 p.m. and is free, but tickets are required. See lindahall.org/ events for reservations. — CRYSTAL K. WIEBE

F R I D AY

3.30

[COMEDY]

CAROLLA-ING IN THE DEEP

Despite several reality-show appearances, Adam Carolla is probably still best known as the dude-centric, mad ranter behind the latenight syndicated radio show Loveline or Comedy Central’s The Man Show. (He’s got the world’s “most downloaded podcast,” according to Guinness.) We’ve heard him assume Adam Carolla

Whoop Dee Doo needs your money to stay crazy. (See Friday.)

too many times that he’s just another beerchugging, misogynistic, jock asshole comedian, but regular podcast guests such as Alec Baldwin, David Allen Grier and Larry Miller regularly refer to him as one of the quickest minds and funniest men working in the business. His foray into stand-up is relatively recent, and the sharpness that Carolla’s celebrity friends refer to is fully evident in his live show. See him at 8 p.m. at the Uptown Theater (3700 Broadway, 816-753-8665). Tickets cost $27.50–$47.50. — APRIL FLEMING [ART]

YOU CAN’T DO THAT ON TELEVISION

A giant hot-pink monster blob with a huge mouth invades a skyscraper just south of Crown Center tonight, when Lathrop & Gage hosts Whoop Dee Doo’s Telebration, “a Goo Goo Gaga Gala” at the law firm (2345 Grand, 22nd floor). Ticket sales go toward helping the

19-member artist-volunteer group develop its performance and meeting space so that “WDD can expand its reach,” says co-founder Jaimie Warren. She started the group in 2006 with Matt Roche, calling it a traveling, “kid-friendly, faux public access television show.” Expect all kinds of multicultural, hyperactive dancing, games and special FIND guests, including the MANY MORE KC Chinese Association, Ron Megee and a telephone bank of and creaLISTINGS celebrities tures. “We always go ONLINE AT for the craziest mix PITCH.COM possible,” Warren says. Tickets cost $30 at the door ($25 in advance) and include hors d’oeuvres from more than 15 local restaurants, an open bar, skits, games and prizes. The party starts at 7 p.m., with a big show at 8:30. For more information, contact Megan Mantia (who spent the year planning it all) at 816-582-6395 or megan@ whoopdeedoo.tv. — TRACY ABELN

EVENT

[ART]

FINAL-FRIDAY ROUNDUP

Since June 2010, more than 35 downtown Lawrence merchants and galleries have kept their businesses open till 8 p.m. the last Friday of each month (some stay open later), in the name of art. Here are some highlights of this month’s Final Friday gallery walk. The Granada (1020 Massachusetts, 785-842-1390). In the parking lot to the south of the club, see Street ILL-legal, a free live-art show featuring the works of Brooke Henderson, Erok Johanssen, Brendan Martinez and Jordan Tarrant. Also: musical performances by ADEKU (African Drum Ensemble of KU) and an outside beer garden. The Lawrence Percolator (located on Ninth Street, in the alley behind the Lawrence Arts Center at 940 New Hampshire). Through April 22, Amber Hansen’s controversial installation The Story of Chickens: a Revolution examines the relationship between the consumer and the consumed with an empty chicken coop that will travel around Lawrence. continued on page 12

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The Mystery Train

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continued from page 11

After criticism from animal activists, Hansen has modified this mobile installation so that no chickens are displayed, slaughtered or eaten. For more information about the project, see thestoryofchickens.wordpress.com. Wonder Fair (803-1/2 Massachusetts, 785-856-3247). A group exhibition called Cat People takes the occasionally endearing (but more often groan-inducing) phenomenon of cat-obsessed humans and presents it as original art and zines with works by Gemma Correll, Nicole Georges, Faye Moorhouse and Liz Prince. Tonight’s opening reception from 6 to 10 includes a pop-up cantina that is both milk bar and YouTube cat-video theater. See wonderfair.com for more information. — BERRY ANDERSON

S AT U R D AY

3.31

[NIGHTLIFE]

COLOR ME CRAZED

Picture this: DJs spin amid pyrotechnics, giant robots and stilt walkers as cannons blast paint on a raging dance party. This is Dayglow, the messy rave sensation that was born on Florida college campuses in 2006 and makes foam parties look like freshman dorm mixers. As Bill Pile, promoter with Kansas City’s U:move, says, “It’s like Cirque du Soleil but amped up times 10.” If paint-blasting cannons aren’t intense enough for you, have no fear — additional paint is available for purchase. And be aware of the unofficial dress code. Pile says, “I’ve heard you’re supposed to wear white and that people show up wearing everything from string bikinis to one-piece lab suits with goggles, but almost everyone comes out completely covered in neon paint.” The tour, featuring DJ David Solano, hits the Uptown Theater (3700 Broadway, 816-753-8665) at 7 p.m. Tickets cost $46.54 ($86.24 for VIP) and are available through Ticketmaster. For details, see dayglowtour.com or uptowntheater.com. — NANCY HULL RIGDON [ART]

ART 101

In November 2011, NPR’s Tiny Desk Concert featured Lawrence-based Hospital Ships and noted, “Jordan Geiger’s beautifully crushing songs pack an emotional punch.” The performance caught the attention of Amy Duke, museum educator at the Kemper Museum of Contemporary Art. Duke then heard the buzz about Kansas City-based Ghosty’s April album release. Her next move? Book both bands for college night at the museum (4420 Warwick, 816-753-5784). The free event also features screenings of videos by Kansas City Art Institute and UMKC students, refreshments from Café Sebastienne, and galleries of modern and contemporary art. “We want college students in the door and having fun,” Duke says. “We want them adding art to their everyday lives.” The event runs from 7 to 10 p.m. For more information, see kemperart.org/calendar. — NANCY HULL R IGDON [ENVIRONMENTAL]

TRASH PICKIN’

Five million pounds of trash and 10,000 tires: just some of what volunteers with Project Blue 12 2 TTHHEE PPIITTCCHH

9 - X A,P 2R0I L0 X4 , 2pitch.com 0 1 2 pitch.com MMOANRTCHH X2X–X

Don’t forget towels for the car seats. (See Saturday.) River Rescue have collected over the past two decades. “People are slobs,” says Debby Barker, the education chair for Friends of Lakeside Nature Center, which organizes the largest one-day river cleanup in Missouri. Hundreds of volunteers pitch in to gather rubbish, plant trees, remove invasive plants, and test water quality. “We supply the gloves. We supply the bags. You do all the work,” Barker says. Friends of Lakeside Nature Center also provide breakfast and lunch for volunteers. The event runs from 8 a.m. until noon, but after the midday meal, Barker says, “If you’re motivated, go out and work some more.” Volunteers will meet just before 8 a.m. at Lakeside Nature Center (4701 East Gregory Boulevard. 816-513-8960). Preregistration is requested and can be done via e-mail to folnc@crn.org. For more information, call the center. — CRYSTAL K. WIEBE

S U N D AY

4.1

[FUNDRAISER]

REMEMBERING MCCLURE

The impact on KC of Starker’s Restaurant owner John McClure wasn’t just his food. But the rising young chef, who took his own life late last year, would have loved the meal that his fellow cooks are preparing in his honor at the Big Country Benefit from 5 to 8 p.m. at the Boulevard Brewing Co. (2501 Southwest Boulevard, 816-474-7095). “Colby [Garrelts] and I are deeply saddened by the loss of our friend,” says Megan Garrelts of Bluestem. “We are working together with others in the restaurant community to raise awareness for suicide prevention. Many are affected daily by depression. They must know they aren’t alone.” The Garrelts’ smoked oxtail and cinnamon panna cotta are featured alongside Michael Smith’s guajillo-glazed pork belly and Howard Hanna’s country ham biscuit and quail egg – part of a lineup of more than a dozen chefs and sommeliers. Tickets cost $125. For details, see bigcountrybenefit.eventbrite.com. — JONATHAN BENDER [ FA S H I O N ]

I AM TOOKIE

Appreciators of ambulation, fashion and a good coif will find them at the Gem Theater (1615 East 18th Street, 816-474-6262) for A Haute Night of Fashion for Women of Imagery Inc., an organization dedicated to empowering and helping support women within the

charge and an accessible cocktail list featuring drinks from around the world. “We want this place to withstand trends,” Sherrill says. MiniBar is open from 8 p.m. to 3 a.m. Monday through Saturday. Find MiniBar on Facebook. — BERRY ANDERSON

T U E S D AY

STREET TEAM

4.3

[FILM]

JOSEPH, WHERE HAVE YOU BEEN HAYDN?

M O N D AY

4.2

[NIGHTLIFE]

VISA TO DRINK

Unless you find an old, lost franc or ruble on the sidewalk, the area around 38th Street and Broadway doesn’t feel very international. That’s about to change with MiniBar (3810 Broadway), the joint that RecordBar heads of state Steve Tulipana and Shawn Sherrill have just opened. They started gutting the old nightspot last November, ditching a pool table, redoing the kitchen and bathrooms, and installing a concrete bar. The new theme: international travel. The result: an open, smartly lighted, inviting space. “I like to think of it as a waiting room before going someplace else,” Tulipana says. The grand opening, which started over the weekend, is still under way, with no cover

4.4

Gragg Advertising Capital Electric

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COURSE MAP Andrew

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THE PLAZA

FINISH

TENNIS COURTS

[LECTURE]

WARD PKWY

PITCHING A MONEYBALL

Night + Day listings are offered as a free service to Pitch readers and are subject to space restrictions. Submissions should be addressed to Night + Day Editor Berry Anderson by e-mail (calendar@pitch.com), fax (816-756-0502) or mail (The Pitch, 1701 Main, Kansas City, MO 64108). Please include zip code with address. Continuing items must be resubmitted monthly. No submissions are taken by telephone. Items must be received two weeks prior to each issue date. Search our complete listings guide online.

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Upcoming Events

MAIN

Back in 1978, most TV stations didn’t broadcast via satellite. It was still a relatively exotic mode of transmission, and while Bill Rasmussen didn’t know that much about it himself, he knew that it was cheap. He learned that one could purchase a 24-hour block of time on cable for a little less than $1,500. Who in their right mind would watch a 24-hour cable channel? Millions of people, it turns out. Rasmussen used that inexpensive satellite resource to launch ESPN, cable’s first 24-hour network (he is also the man behind SportsCenter). The network may have started off as the butt of a few jokes (early broadcasts included tractor pulls and slow-pitch softball), but now the sports channel is seen in more than 200 countries and in 100 million homes. He speaks at 7 p.m. in the ballroom at the Kansas Union (1301 Jayhawk Boulevard, in Lawrence, 785-864-7469) as part of the Student Lecture Series. Admission is $5 or free with a KU ID card. — APRIL FLEMING

BROOKSIDE BLVD

W E D N E S D AY

Buick/GMC Dealers of Greater KC

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BROOKSIDE RD

Earlier this year, the 2011 Professional Bull Riders’ World Champion bull Bushwacker was out of commission while recovering from surgery to remove bone chips from his back legs. When he came back in March, the bucking bull weighed in at 1,737 pounds at the PBR Built Ford Tough Series event in Arlington, Texas. This weekend at the Sprint Center (1407 Grand, 816-949-7100), Bushwacker and top-ranked BFTS rider J.B. Mauney, Raymore’s Luke Snyder and others compete in the PBR Kansas City Invitational, at 2 p.m. today (and at 8 p.m. yesterday). For those who choose not to buy the cow but take the free milk instead, open to the public are autograph signings, sexy cowpoke sightings at the Power & Light District, and a special cowboy church service at 10 a.m. at the Sprint Center. See pbr.com and search for Kansas City Invitational. — BERRY ANDERSON

FedEx • J.P. Morgan

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CENTRAL

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[SPORTS]

Presented by: Sabates Eye Centers

MAIN

community. This second annual fundraising event, beginning at 5 p.m., features the works of nine local fashion designers, hairstylists and makeup artists. One such aesthete, Carla Ogletree-Broadnax, has been looking forward to the event for weeks. “The runway is looking impulsive, sexy, classy and modern this year,” she says. “You’ll see things you would never think to find in the Midwest. I’m telling all my fellow designers to bring their fans.” Tickets cost $20 for general admission or $30 for VIP, which can be purchased at the door or in advance by calling 816-813-2286 or e-mailing yff816@gmail.com. For more information, see womenofimagery.org. — NADIA PFLAUM

3.31 - Day Glow @ Uptown 3.31 - Ruckus Run 4.1 - Perfect Wedding Guide Bridal Show @ OPCC 4.3 - Scream & Benga @ The Midland

75TH ST

START Sunday, April 29 Kansas City, Missouri

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!

See more on the “promotions” link on the p

GREGORY (71ST)

WORNALL

MiniBar invites you in. (See Monday.)

Franz Joseph Haydn (1732-1809) was a contemporary of Wolfgang Amadeus Mozart’s and a teacher of Ludwig van Beethoven’s, and though the latter two have more name recognition today, the innovative Austrian Haydn was the most highly regarded composer of their time. (So much so that a pair of grave-plundering phrenologists stole Haydn’s head after his death. Seriously.) Having already explored the lives and music of those other two in previous films, it is fitting that acclaimed documentarian Phil Grabsky’s next foray into classical music would be In Search of Haydn. The film opened Friday at Tivoli Cinemas (4050 Pennsylvania, 816-561-5222), where Grabsky appears today at 7 p.m. to introduce his film and participate in a Q&A afterward. He also introduces a 4 p.m. encore broadcast of Leonardo Live, celebrating the National Gallery of London’s recent exhibition of Leonardo da Vinci’s masterworks. Each screening costs $10, and tickets are available at tivolikc.com. — BRENT SHEPHERD

A benefit for the Children’s Center for the Visually Impaired Call CCVI for further information: 816-841-CCVI Register online @ www.trolleyrun.org MARA and RRCA Sanctioned USATF Certified MARA Grand Prix Series

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Whipping Testament AT THE REP, A WELL-ACTED BUT UNEASY MASH-UP OF DELIVERANCE STORIES.

iss my emancipated ass” doesn’t sound very Civil War-era to me, but I wasn’t there. Neither was playwright Matthew Lopez, but his The Whipping Man — directed at the Kansas City Repertory Theatre by Eric Rosen — mostly succeeds in transporting us to the uncertain and still dangerous, chaotic days just after the Civil War’s end. The time is April 13-15, 1865. The place is Richmond, Virginia. The Confederate Army has surrendered to the Union at Appomatox. It’s BY Easter weekend, but it’s also D E B O R A H Passover, the Jewish holiday that recalls the Israelites’ HIRSCH deliverance from slavery in Egypt. (Both holidays take place this year during the production’s ﬁnal weekend, which I’m sure is no coincidence.) President Abraham Lincoln issued the Emancipation Proclamation in 1863, but with the Confederacy’s defeat, it has only now gone into effect in the South. The three characters in this story — Caleb, the son of a slaveholding family, and Simon and John, two of the family’s now former slaves — are practicing Jews. They’re also learning to negotiate an entirely new relationship dynamic in this redeﬁned environment. Caleb (Kyle Hatley) has made his way home from an extended battle in Petersburg, where he was shot in the leg. He can barely 14

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MARCH 29 - APRIL 4, 2012

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Free time (from left): Hatley, Breckenridge and Genet in The Whipping Man.

stand. He’s recognized (though not at first) by Simon (Michael Genet), the older former slave, who is guarding the DeLeon house. That family has fled with Simon’s wife and daughter but asked him to stay behind. They can no longer order him; he’s here because he feels a sense of loyalty, of duty, and because he’s waiting for the return of his own family so they can embark together on a new life. John (Josh Breckenridge) is younger — Caleb’s contemporary — and more of a loose cannon. He loots other homes, “finding” food and tools and utensils and clothing. He’s at a loss now of what to do. And he’s angry, more so than Simon, at least at first. In the series of scenes that opens the long first act — set in the nearly destroyed front room of the DeLeon home (Jack Magaw’s elaborate set is all high ceilings, tall round windows, and a winding front staircase) — the urgent task is trying to save Caleb. He needs surgery, and Simon and John must carry it out themselves. Act 1 is like a family reunion: becoming reacquainted, catching up, mostly getting along. Except maybe they aren’t the same “family” they used to be. And as dysfunction comes to light in Act 2, changing roles rub up against codependence. Laid atop this difficult weekend at the dawn of Reconstruction is Passover. It’s a fascinating parallel, and a profound one, but its two pieces never quite integrate. The Judaism, at least in the first act, feels more random than vital. The characters’ biblical names are intriguing choices that don’t feel accidental, though their significance is ambiguous. “Caleb” has a Hebrew root and generally means “servant” or “faithful” (the literal translation is “dog”).

The family and slaves identify as Jews, but reminded as though they themselves were the names “John” and “Simon” echo New slaves. Simon and John hear it loud and clear, but does Caleb not understand what he utters Testament ﬁgures. As the shorter Act 2 begins, Simon grieves each year? Is his family no different from “Father Abraham.” He means Lincoln, who other slaveholders? As their relationships has just died. (On hearing that “the presi- come more to light in the candle glow of that darkened, destroyed home, dent” has been killed, Caleb Simon’s new world order asks, “Which one?”) Simon The Whipping Man flips again, and John gains recalls a man so tall, he must Through April 8 at Kansas new perspective. have been “scared of being City Repertory Theatre, The play’s message and up so high.” But his despair 4949 Cherry, the point of its Jewish comturns (too soon) to joy as he 816-235-2700, kcrep.org ponent aren’t always clear, and John scrap together the but the call of freedom is symbolic foods and observe the Passover seder, which retells the Exodus brought home through powerful and focused — a story with a new, living meaning for these performances. One small thing I wish I’d been free of the freed men. When Genet’s Simon sings “Go Down, Moses,” the gospel has real emotional night I saw the play: the distraction of the person next to me drinking repeatedly from immediacy. The ancient seder story, however, is an ice-ﬁlled cup, clank clank clank. Beverages, about more than the Exodus. It speaks to like cellphones, belong at intermission. other types of enslavement, and is retold to each generation, whose members must be E-mail deborah.hirsch@pitch.com

Backstage

A Bucket of Blood Central to director Cody Wyoming’s stage adaptation of Roger Corman’s 1959 movie A Bucket of Blood — now at the Living Room — is its music. The show’s jazz swirls around the action at the Yellow Door Café, the beatnik hang run by Walter Paisley (Matt Weiss, perfect) and his employers, Leonard (a sleazy, pale-faced Damian Blake) and Carla (a thoughtful Kimberely Queen). Among the musicians are Jeff Freling on guitar and Johnny Hamil on bass. Above, from left: Brian Stubler, Freling, Forrest Attaway and Hamil. The play closes its run this weekend. The Living Room is at 1818 McGee (816-221-4260). See thelivingroomkc.com for tickets and showtimes. — BERRY ANDERSON pitch.com

MARCH 29 - APRIL 4, 2012

THE PITCH

art Monitoring Us THREE VERY DIFFERENT PROJECTS LOOK FOR ART — AND ISSUES — IN UNEXPECTED PLACES.

Vanguards and Visionaries: Kansas City Women in the Arts Through April 21 at Leedy-Voulkos Art Center, 2012 Baltimore, 816-474-1919 Pictured: “Dead Sea Casino,” by Shea Gordon

n ambitious group show and separate sets of work by two local artists differ in approach and execution but share a curiosity about how we view ourselves — and who’s watching us. At H&R Block Artspace, ﬁve artists with international profiles ask difficult questions about privacy and security. And it was a satellite image that helped inspire Shea Gordon’s contriBY butions to the Leedy-Voulkos T H E R E S A group exhibition Vanguards and Visionaries: Kansas City B E M B N IST E R Women in the Arts. Kansas City photographer Michael Sinclair doesn’t shoot from spy-cam altitude, but his installation at the Dolphin Gallery keeps an eye on crowds (and their lack).

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2 THE PITCH

n Watch, now at H&R Block Artspace, examines the subject of surveillance with works by Taysir Batniji, Mark Lombardi, Nicolas Provost Hasan Elahi and Jananne Al-Ani. Artspace director Raechell Smith, curator of the show, explains her decision to include a website developed by a nonproﬁt technology company among works created by artists. The Pitch: You’ve included a touch-screen monitor outlining Ushahidi, an open-source platform designed to crowdsource information. It has become an important resource during political crises, epidemics and natural disasters. What’s the art connection? Smith: My introduction to Ushahidi happened a few years back. A friend, then working with Eyebeam, an art and technology residency and exhibition program in New York, told me about a crowd-mapping platform that had been developed by a group of people, including previous Eyebeam fellows. The project stuck in my mind as an innovative and creative use of social media because it connected people in a way that allowed communication that was essential, rather than shallow or simplistic. It resonated with me as a useful conversation in the midst of a lot of chatter. When I began to think of the presence of surveillance in contemporary art for an exhibition, I thought again of Ushahidi — this time as an empowering reversal of surveillance — where people were taking control of information and directing how that information would be used. There are many artists and nonartists who are using social media or other technologies to surveil themselves or watch others. M A R C H 2 9 - A P R I L 4 , 2 0 1 2 pitch.com Hasan Elahi is one example, and his work is M O N T H X X–X X , 2 0 0 X

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On Watch Through March 31 at H&R Block Artspace at the Kansas City Art Institute, 16 East 43rd Street, 816-561-5563 Pictured: the interactive display of the Ushahidi program

included in On Watch. Wafaa Bilal is another example, but his work wasn’t a perfect ﬁt for the exhibition. In the exhibition, its presence represents a statement, a potential that is anything but ominous and gloomy. And I wanted young artists and students at the Kansas City Art Institute to know about this important, impactful work being done by young creatives around the world. It didn’t matter to me that it isn’t referred to as art.

n Public Domain, at the Dolphin Gallery, photographer Michael Sinclair presents quiet landscapes of tree-lined Kansas City boulevards. Also on display are some of his crowd scenes: people in the stands at a ball game, in line outside the Kauffman Center for the Performing Arts’ open house, attending city-government meetings. The Pitch: Your Saturday-morning walks and your afternoon conversations with your mother, who has lived in Kansas City for 72 years, helped shape this exhibition. How does your experience of this city — and your mother’s — affect the photographs on display?

Pub Thr at t 160 Pic by M

Sinclair: My mother is from a generation that takes citizenship seriously. Growing up, I remember she saw to it that the sidewalk in front of our house was always clear of snow or leaves. This was done not for us but for the beneﬁt of anyone walking down our street. She expected neighbors to do the same. A booster and a critic, she would come to the city’s defense but also point out its shortcomings. The photographs in Public Domain are an attempt to record this notion of citizenship — from sidewalks to schoolboard meetings. They are also about looking for a kind of Kansas City-ness, ﬁnding elements that seem essential to this place: moments of drama and emptiness in the landscape, the ubiquity of limestone, the way trees often dominate a view. Most of this looking was done at a slow pace, on foot, with my dog, Polly, next to me. How does your decision-making process differ when you photograph people rather than landscapes? Does it change in interior versus exterior shots? At the public meetings there are usually TV camera people there, and I like to start by setting up next to them. I’ve found it’s a good way

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Public Domain Through April 7 at the Dolphin Gallery 1600 Liberty, 816-842-4415 Pictured: “Harrison Parkway,” by Michael Sinclair

for people to get comfortable with me being there, and I like the idea that my photographing is a kind of quasi-journalistic activity. After that, it’s a matter of reacting to the event like the other reporters do, except I’m interested in the audience and not the speakers. With the landscapes, I have more control of where I put the camera [relative to] the weather and time of day. Also, if I don’t get it on the ﬁrst try, that’s OK. It’s easy to go back.

n Vanguards and Visionaries: Kansas City Women in the Arts, Shea Gordon exhibits drawings, handwritten notes and an architectural model related to a ﬁctional, Dead Seathemed casino. She began the project in 2004. The Pitch: One of your works in the exhibition is a letter to casino mogul Sheldon Adelson describing your proposal for a Dead Sea-themed casino in Las Vegas. What was his response? Gordon: I have not sent the letter yet. What are you waiting for? It depends. I just haven’t gotten around to it. I think most likely I will send it, but I’m going back and forth.

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$35 Tickets- 4/26-5/19 | $40 Tickets at the door The casino building is very distinctive. What inspired its form? The four wings of the building are taken from a satellite photograph showing the contour of the evaporated Dead Sea. You describe the casino as “The only cradleto-grave casino in the world. Truly familyfriendly, designed to accommodate those individuals who realize life’s a gamble.” Why is a casino an apt metaphor for life? Since I discovered that the Dead Sea was shaped like an embryo, the year my daughter was born and my mother died [1982], and being an environmentalist, I saw the Dead Sea as a metaphoric gift from my mother to her granddaughter. The “gift” was that the symbol of the Dead Sea became a metaphor for the eternal regeneration of life. In the face of the major anxieties of our age — nuclear holocaust and environmental collapse — we still need to keep the faith and believe that we are evolving into a more tolerant, enlightened and just world. Life is a gamble, a game. The Dead Sea Casino welcomes everyone into the game. Each individual has an equal chance.

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M O N T H X X–X X , 2 0 0 X

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MARCH 29 - APRIL 4, 2012

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fat city Root Love THE REWARDS OF PUTTING YOUR HANDS IN THE TILL

DA N I E L Z E N D E R

have two approaches when it comes to cold calls, those targeted attempts to sell me, the homeowner, a set of replacement windows or an alarm system. Usually I lie and say I have a family member in that business. Plan B: Pass the phone to my wife. Neither makes me proud. “A man called this afternoon and said he’d like to come by and build a garden for us,” my wife told me two weeks ago. “What? How did he know we wanted to build a garden? How did he get our name?” I asked, imBY mediately on guard. J O N AT H A N “He just plucked it out of the phone book,” she said. BENDER “But I trust him.” And so last Thursday, just before 9 a.m., a red pickup with a slurry of dirt and water in the bed and a paper bag of seed packets in the passenger seat pulled into my driveway. A man with a sunburned neck and close-cropped, beginning-to-gray curls came to my door and asked if he could look at my lawn. “What kind of trees are these?” he asked. “Maple?” “These are elm,” he corrected me. “You’re lucky. Not many elms left around these parts.” I wouldn’t blame you if you didn’t believe Our lawn tour continued for another 10 minutes before we settled on a small patch this story. I’d be skeptical, too, if I weren’t between a light pole and a parcel of dead staring out my window at a smart-looking grass that, when we moved in, was home to patch of turned-up dirt where part of my lawn used to be. This is the dream of every woulda dead tree. be gardener — that someone who knows what “Sixty-ﬁve dollars?” the gardener said. We shook hands, and soon he was using he’s doing will parachute in and just build the damn thing for you. his roofer’s shovel to pile up That never happens, so chunks of sod like Chia Pets “THIS IS THE DREAM you make do with a conin a Kmart clearance aisle. tainer garden of herbs over An hour later, I was right OF EVERY WOULD-BE the sink, a bag of vegetables there next to him, using a from the farmers market. small pitchfork to till the GARDENER — THAT Sure, you could get a cold soil by hand and break up call like mine, but my name big clods of dirt to prepare a SOMEONE WHO KNOWS is under B. You might have 4-foot-by-12-foot rectangle many seasons to wait before for a top cover of compost. WHAT HE’S DOING your number comes up. Within about four hours, Still, you have options. the gardener ﬁnished plantWILL PARACHUTE IN You don’t have to wait by ing neat little rows of letthe cordless like some jilted tuce, spinach, carrots, beets, AND JUST BUILD THE vegetable lover. And because turnips and radishes. the only work I did was cutIt was then that I asked DAMN THING FOR YOU.” ting the check and moving a him one last time if I could bit of dirt, I feel that I should mention his name in this space and write about his month-old business. pay it forward to those gardeners who have yet to “Give the publicity to someone else,” he overcome their inertia. Gardening can have a low said, having already repeatedly demurred. He barrier to entry, if you just know whom to call. You might start with Kansas City Commudrove off in his truck with a promise to call nity Gardens, in Swope Park. Now in its 33rd in a week and see if anything had sprouted.

year, the local nonprofit has an estimated 1,000 members and 180 community-partner gardens. “Our mission is to help people grow food to feed their families,” says program director Andrea Mathew. “The idea is to teach people when to plant and how to plant and hopefully help them have success.” The weekly Friday classes taught by KCCG (courses titled “Raised Bed Gardening” and “Early Spring Crops” are next) don’t require that you become a member. But benefits of membership exceed the $10 annual cost (which drops to $2 for qualifying low-income families) that includes 10 packages of seeds and a 5-pound bag of fertilizer. Beyond plant material, KCCG also rents tillers to members (costing $8-$15) or sends someone to help till your yard ($8-$23). And now’s the time to get a plot at one of the organization’s five community gardens, where gardeners swap secrets and techniques during the growing season. “Most of our members want to garden at home, but the community garden spaces are for those that don’t have the space or can’t use their land because they rent or have too much shade,” Mathew says. You can rent a ground plot (20 feet by 25 feet) or a raised bed (4 feet by 12 feet) for $25 a year. The plots in Swope Park are sold out — the waiting list contains 30 names right now

— but spaces remain available in the IvanhoeRichardson Community Garden (36th Street and Park) and at 8100 Ozark Road. If KCCG teaches you to garden, Steve Mann teaches you to believe. His Food Not Lawns program replaces grass with gardens, transforming yards through Prairie Ecosystems Management, his landscape-consulting business. “We talk about people’s dreams and needs,” Mann, 62, says. “And then we figure out what we can do, based on the constraints and resources available.” His typical consultation starts with a Google Earth assessment of the topography. Once he develops a site plan, he’ll probably remind you that your garden could benefit other people. Mann spearheads the Sweet Potato Project, a coalition of community gardens that benefits the hungry. He hopes that this year, the project’s fifth, growers across the city will produce 20,000 pounds of sweet potatoes, with half donated to Harvesters. Mann is also working with architecture students from Kansas State University to develop and design vertical growing systems that are attractive, educational and functional. Another of his projects is the Squash Blossom Food Cooperative, a re-imagining of the neighborhood grocery store. The co-op is one of the exhibitors slated for the Kansas City Food Circle’s Eat Local and Organic Expos, which gather 35 farmers and food producers over the next two weekends. “We’re so divorced from where our food comes from,” says the Food Circle’s Brandi Schoen. “This is a chance to connect eaters with farmers and help people take care of themselves.” Emphasis at the 12th annual event is on community-supported agricultural (CSA) programs. “A CSA is a good opportunity for gardeners to augment what they’re getting or get ideas about what they can grow in this climate,” Schoen says. Among the goods for sale: transplants for your garden and free-range eggs and meat. The first expo is from 9 a.m. to 2 p.m. Saturday, March 31, in the Shawnee Civic Center (13817 Johnson Drive). The second is from 9:30 a.m. to 2:30 p.m. Saturday, April 7, at the Penn Valley Community College Gym (3201 Southwest Trafficway). The first year I lived in Kansas City, I had fresh produce delivered to my door. By the second year, I’d joined a CSA and had volunteered some hours on a farm. Last year, I managed to grow a single green pepper from a repurposed flowerpot. And this year, I’m hoping for salads sprouting a few feet from my curb. We’ll see whether I can harvest more than dirt. For now, I’ve learned one more truth: There’s no secret to gardening, just secret gardeners. Dig up dirt at pitch.com/fatcity

Charles Ferruzza returns next week.

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music

Music Forecast 26 Concerts 28 Nightlife

The Blame Game THE GHOST OF SOUL COUGHING STILL HAUNTS MIKE DOUGHTY.

ormer Soul Coughing frontman Mike Doughty has made it excessively clear that he is sick of talking about his old band. An avid Internet user since the early days of message boards, Doughty has proclaimed on Twitter and Facebook, in online journals, and in interview after interview that he BY resents being recognized for his work in Soul Coughing. SA BY He says his solo output, which hews toward mainstream REYESsinger-songwriter pop, is a K U L K A R N I more accurate representation of his creativity. “If somebody says they love Soul Coughing,” Doughty writes in his scathing new memoir, The Book of Drugs (Da Capo Press), “I hear fuck you. Somebody yells out for a Soul Coughing song during a show, it means fuck you.” But Doughty can’t erase the fact that, between 1992 and 2000, Soul Coughing blazed a fresh trail to a sonic space where arty experimentation, genetically modified jazz, fat jungle beats, and poetic sing-speak made sense jumbled together in a rock context. Eighteen years after the band’s debut album, its idiosyncratic sound still draws people in — much to Doughty’s chagrin. “Dear Soul Coughing fans,” Doughty memorably tweeted in early 2010, “please DROP IT. I entertaining — glimpse into the world of dysam NOT THAT GUY ANYMORE. If you must functional band dynamics. Thankfully, Doughty’s prose reads nothcling to it, please DON’T BOTHER ME WITH SOUL COUGHING SHIT.” And yet roughly half ing like the warped-poetry vocal approach of The Book of Drugs is a rehashing of the Soul he took in Soul Coughing or the plaintive Coughing days. He is doing press rounds for the crooning he has favored since. Using brisk, book, enduring in the process a fair amount of finely chiseled language, he achieves such an Soul Coughing questions. And he is touring — he engrossing flow that the reader can easily devour half the book in one performs solo songs, reads from sitting. Doughty also does the memoir and holds a Q&A Mike Doughty an admirable job of captursession with the audience. This Saturday, March 31, at ing the pathos wrought by simultaneous book promotion Knuckleheads Saloon the glare of fame, substance and professed weariness about abuse, alienation and holhis former band essentially low (at times even horriamounts to a passive-aggressive form of entrapment. Does Doughty really fying) sex. Moreover, in spite of the bait he expect us all to pretend we’re not interested in casts by putting the word “drugs” in the title, Soul Coughing immediately upon finishing his Doughty ably surpasses the typical tale of a celebrity’s rise-fall-rise by taking unexpected, new book about Soul Coughing? It’s probably wise to think of that question as often poignant detours into family heartbreak, his problem and not ours, and sit back and enjoy mental illness and, more delightfully, travel. Still, Doughty undermines his credibility by the spectacle. Because even in the pantheon of lurid rock-and-roll tell-alls, readers will be using the codified self-help rhetoric of addiction hard-pressed to find a more sensational — or recovery as a shield to claim innocence when

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MARCH 29 - APRIL 4, 2012

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Doughty calls it as he sees it.

it comes to The Book of Drugs’ central conﬂict. Readers who weren’t present have no basis for knowing how Soul Coughing’s other members behaved toward him or vice versa. What we do know is that one-sided stories never tell the whole truth. Doughty professes “responsibility,” but only so far as to say that he got himself into an “abusive” relationship — conveniently still placing blame on others. “I’ve gone through my own process of owning my bullshit in that situation,” former Soul Coughing bassist Sebastian Steinberg tells The Pitch over the phone, while on tour with Fiona Apple. “I don’t miss being in a band with Mike, but I have a lot of compassion for him. I actually think that he’s got a form of aphasia — a perceptive gap. He demonstrated that through the whole career of the band, and the way he talks and writes about it now seems to be there. He doesn’t hear what the rest of us did as songs. It’s like trying to tell a colorblind person what orange is. The synapse isn’t there. And I don’t pitch.com

mean that as belittling as it sounds. I genuinely sense his agony over this. I feel for him on the most human level. I’m sorry that he feels that way. I wish he could look at Soul Coughing and be proud that he’s created a whole new thing. I love that Doughty’s created a new book of songs. I love that he’s persevered. He has every right to be as proud as he can be. I just wish he could see Soul Coughing for what it was, and not for what he always tried to get credit for it as being. That band never existed. He’ll sleep better if he ever figures that out. I sure do.” Doughty reserves the sharpest language in The Book of Drugs for Steinberg and his other former creative partners, whom he refers to in one passage as a “horrible band of torturers and cockroaches.” “To a certain extent,” Doughty says during a phone call with The Pitch, “I suspect that they’re all just deeply self-destructive people, that they were consciously or unconsciously trying to wreck the boat. They just ended up with the wrong crazy person that wasn’t going to let go of the boat. In my opinion, they were on a continuum between sociopathic and just straight-up delusional.” The relationship between Doughty and everybody else in Soul Coughing deteriorated over differences of opinion regarding songwriting contributions and publishing royalties. Doughty viewed the music from a more traditional interpretation of the term “songwriting”; the other members came from a mentality that places a high premium on group interplay. “There was a lot of stuff that came from jamming — a keyboard part or a beat,” Doughty says. “But in the end, songs are things that are sung. And I was the only guy writing stuff that was sung.” Naturally, former Soul Coughing sampler Mark De Gli Antoni sees the process from a different angle, but the overlap in their accounts is telling. “I could enter a rehearsal with Sebastian and Yuval [Gabay, drummer],” De Gli Antoni says via e-mail, “begin playing a shell of something, and the two of them would then completely invent a whole drum-bass world around that. I would then drop what I was initially doing and do something else. Mike would then start riffing words, and eventually we would have a ‘Super Bon Bon.’ To me, the final result is something I would never say I ‘wrote’ even if I started it, because the end result was so something-else. Many, many of our songs were like that.” None of this quibbling negates how much fun it can be to watch Doughty engage with an audience. His just-released live album, The Question Jar Show, nicely showcases his flair for banter. Gregarious and warm, if narcissistic, onstage, Doughty propels continued on page 24 M O N T H X X–X X , 2 0 0 X

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Come together: the Roseline.

the experience using the same talent that makes his book so appealing: his way with words. On that, even his former bandmates agree. “The idea of Mike’s book,” De Gli Antoni writes, “that through a fog of drugs he behaved a certain way, is a ruse, a construct/fabrication. I was there in his apartment taking his watereddown heroin with him. To be meaningfully provocative requires telling the truth, having a clear view of oneself. That said, I’m glad he’s writing print. Using words is what he’s always been good at.”

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… more about making tea in my own kitchen and then laying down a vocal track.” During the year of recording with Mapes, the number of contributors to the project grew to include Ehren Starks (keyboards), David Stamm (drums), Mike Alexander (guitar), Jeff Jackson (pedal steel), Jenny Maciaszek (bass), Amanda Cox (vocals) and Michelle Gaume (vocals and glockenspiel). One evening, Halliburton chanced on a performance by Sarah Lee Guthrie at a late-night show. Impressed by her sound and feeling that his material was sonically akin to it, he reached out to her label, Ninth Street Opus, and blindly The Roseline Starts All Over Again submitted a handful of the rough mixes that ot all relationships end in dramatic fashion. he and his friends had been working on. ConSometimes they crumble slowly, piecing off trary to nearly every experience he’d had with a bit at a time, until one day you wake up and labels, Ninth Street Opus responded the next not much is left. Colin Halliburton knows a little day with interest. Over the next six months, Halliburton something about that slow burn. His Lawrencebased alt-country act the Roseline, which last re- negotiated and worked with the Berkeley, leased an album in 2008 (Lust for Luster), didn’t California, label and emerged from the dissplit up in a knock-down, drag-out melodramatic cussions with a freshly remixed and mastered version of the Roseline’s newest album, Vast huff. Nobody stormed off a stage. Over a beer outside at the Replay, Halliburton as Sky, as well as tour support for the band on a jaunt through the Southexplains calmly that the band west and up the West Coast. members simply were getting The Roseline Halliburton has amassed a older. “It just happened that a Thursday, March 29, new crew for the venture, incouple of the members were at the Replay cluding Seth Wiese (drums), just growing up, having kids,” Tyler Brown (bass) and Kris he says, “life stuff.” Around Losier (guitar). that time, another of HalliburThough recording has been easier this time ton’s long-term relationships — with his ﬁancée — also faded out. “Nothing bad,” he says, “just around, performing remains a challenge for one of those things where you just kind of end Halliburton, who suffers from the occasional panic attack while playing. “Some people are, up as roommates.” More life stuff. Throughout the changes, Halliburton con- you know, born for the stage,” he says with a tinued to write and hone his music, not expect- laugh. “That is not me.” The personal nature of ing much to happen with the material. Yet, last the material — he wrote many of the Vast as Sky year, things began to coalesce once again, as songs following the end of his engagement — gradually as they had previously fallen apart. doesn’t make things any less awkward, especially Producer Dustin Mapes, a friend of Hallibur- locally. “It’s kind of weird because these songs ton’s, began recording pieces of the songs that are old to me now, but my friends will be like, Halliburton had written about the relationship Dude, are you still not over this?” with his ﬁancée. Over time, friends (some of All signs point toward forward movement for them former bandmates) started adding parts. Halliburton and the Roseline, which plays a Vast “We’d do guitar one day,” Halliburton explains, as Sky CD-release show at the Replay March 29. “then it’d get put up for a month. Then someone The subsequent, nearly monthlong tour is would bring over a glockenspiel, and it’d be, Halliburton’s longest musical outing ever. “I like, why not?” just hope my voice lasts,” he says. Here’s to Compared with working in studios on the everything lasting just a little bit longer this other albums, the relaxed pace and comfort time around. — A PRIL FLEMING of recording at home agreed with him. “This was a way better experience [than working in E-mail david.hudnall@pitch.com a studio],” Halliburton says. “Less about time or call 816-218-6774

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M O N T H X X–X X , 2 0 0 X

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MARCH 29 - APRIL 4, 2012

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music forecast

Clockwise from left: Franz Nicolay, Seun Kuti and Cheyenne Marie Mize

Starhaven Rounders, with Ruddy Swain

Cheyenne Marie Mize

Franz Nicolay

Classic country revivalism — think Hank, Johnny, Merle, Waylon — is the notion behind this relatively new group, which includes local stalwarts Mike Alexander, Kirsten Paludan and Bill Sundahl, among others. Ruddy Swain, a collaboration between the Grisly Hand singer Lauren Krum and David Regnier of Dead Voices, lends an Americana lead-in to the evening’s festivities.

Louisville songstress and multi-instrumentalist Cheyenne Marie Mize made a valuable friend in 2009, when she teamed up with indie cult hero Bonnie “Prince” Billy for Among the Gold, an EP of 19th-century parlor songs. She has since made smart use of the opportunity. Her latest, We Don’t Need, offers a wide sampling of sounds — percussive folk, vintage blues, minor-chord guitar rock — as a backdrop to the star of the show: Mize’s elastic, captivating vocals.

Friday, March 30, at the Brick (1727 McGee, 816-421-1634)

Thursday, March 29, at RecordBar (1020 Westport Road, 816-753-5207)

Franz Nicolay lasted ﬁve years as keyboardist in hyper-American bar band the Hold Steady before quitting the group to chase his vaudevillian muses. He has since released two solo theatrical gypsy-rock records, Major General and Luck and Courage. Nicolay’s sonic aesthetic is miles from the Hold Steady’s, but he shares with former bandmate Craig Finn a knack for clever, speciﬁc storytelling. He’s joining Kepi Ghoulie and Kevin Seconds, who were in Lawrence a few weeks back, for this leg of the tour.

Seun Kuti & Egypt 80, with Hearts of Darkness

Yonder Mountain String Band

Seun Kuti, the son of Afrobeat pioneer Fela Kuti, has emerged as a torch carrier of his father’s sound and legacy. He currently heads up Egypt 80, the funky, ﬁery big band that Fela once fronted.

On the Venn diagram of jam band and bluegrass, Yonder Mountain String Band occupies the overlap. The Colorado “newgrass” act merges formalist string plucking with loose, improvisational jams and buttresses its sound with memorable melodies.

Friday, March 30, at the Granada (1020 Massachusetts, Lawrence, 785-842-1390)

Thursday, March 29, at Liberty Hall (644 Massachusetts, Lawrence, 785-749-1972)

Friday, March 30, at RecordBar (1020 Westport Road, 816-753-5207)

Philip Glass The Kauffman Center lined up many big names for its inaugural season, but perhaps none bigger than Philip Glass. The legendary composer performs new works on piano, accompanied by violinist Tim Fain. Tuesday, April 3, at Kauffman Center for the Performing Arts (1601 Broadway, 816-994-7222)

FO R ECAST K EY BY D AV I D H U D N A L L

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MARCH 29 - APRIL 4, 2012

...................................Pick of the Week

......................................... Globalization

............................................... Highbrow

...........................Handlebar Mustaches

............................................ Pretty Lady

.............................................. Arpeggios

.................................................Cabaret!

............................................ Shitkickers

............................................ Dreadlocks

....................................................Brassy

............................................ Pedal Steel

.......................................... College Kids

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MARCH 29 - APRIL 4, 2012

the pitch

NOW OPEN

Johnson County’s

concerts

NEWEST

MUSIC

HOT SPOT {formerly The Buzzz}

LIVE MUSIC DAVE HAYES BAND OPEN JAM EVERY SU2-6PM NDAY

EVERY WEDNESDAY Lonnie Ray Blues Band EVERY THURSDAY Live Reggae with AZ One FRIDAY, MARCH 30 Groove Agency -10 pm SATURDAY, MARCH 31 Camp Harlow - 5 pm The Magnetics - 10 pm NIGHTLY SPECIALS

FOOD AND DRINK

PATIO & DECK BANQUET & PRIVATE PARTY FACILITY

WED 3/28 RICK BACUS TRIO 7-10PM THUR 3/29 ABC’S OF IMPROV 9-11PM FRI 3/30 FEO 8-11PM SAT 3/31 BLUE 88 8-11PM SUN 4/1 DAVE HAYS BAND OPEN JAM 2-6PM KARAOKE 8-12AM MON 4/2 SOARING SAX MAN DAVID PANICO 7-10PM TUE 4/3 DAVE HAYS BAND OPEN JAM 8-111PM

Nightlife listings are offered as a service to Pitch readers and are subject to space restrictions. Contact Clubs Editor Abbie Stutzer by e-mail (abbie.stutzer@pitch .com), fax (816-756-0502) or phone (816-218-6926). Continuing items must be resubmitted monthly.

THIS WEEK THURSDAY, MARCH 29 Feed Me, Teeth, Kill the Noise, JonTron: The Midland, 1228 Main, 816-283-9900. Milagres, 1,2,3: The Riot Room, 4048 Broadway, 816-442-8179. Cheyenne Marie Mize, the David Mayfield Parade, Dale Maxfield & the Silver Hammers: 9 p.m., $8, $10. RecordBar, 1020 Westport Rd., 816-753-5207. The Roseline, 1,000,000 Light Years, Monzie Leo & the Big Sky: 10 p.m. Replay Lounge, 946 Massachusetts, Lawrence, 785-749-7676. Yonder Mountain String Band: 7 p.m., $23, $25.50. Liberty Hall, 644 Massachusetts, Lawrence, 785-749-1972.

FRIDAY, MARCH 30

NICA’S 320

12056 W. 135th St. OPKS 913-239-9666

Saturday 3/31

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Saturday 4/7

The return of

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Adam Carolla: 8 p.m. Uptown Theater, 3700 Broadway, 816-753-8665. The Fuck Off and Dies, the Runaway Sons, Breakdances with Wolves, Le Grand: The Riot Room, 4048 Broadway, 816-442-8179. The Hips, the Harrisonics: Replay Lounge, 946 Massachusetts, Lawrence, 785-749-7676. Seun Kuti & Egypt 80, Hearts of Darkness, Sunu, DJ Stiga and Kimbarely Legal: 8:30 p.m., $16 advance, $20 door. The Granada, 1020 Massachusetts, Lawrence, 785-842-1390. Franz Nicolay, Kevin Seconds (solo), Kepi Ghoulie, Camilla Camille: 6 p.m., $5. RecordBar, 1020 Westport Rd., 816-753-5207. Starhaven Rounders, Rudy Swain: 9:30 p.m., cover at door. The Brick, 1727 McGee, 816-421-1634. Young the Giant, Grouplove: The Midland, 1228 Main, 816-283-9900.

SATURDAY, MARCH 31 Birdhand, the Pornhuskers, the Swayback, Gentleman Savage: The Riot Room, 4048 Broadway, 816-442-8179. Dayglow: world’s largest paint party. Uptown Theater, 3700 Broadway, 816-753-8665. Mike Doughty presents The Book of Drugs: reading, concert and Q&A: 8 p.m. Knuckleheads Saloon, 2715 Rochester, 816-483-1456. Masters of Funk with Confunkshun, Slave, Dazz Band, the Bar-Kays, Jackie Michaels: The Midland, 1228 Main, 816-283-9900.

SUNDAY, APRIL 1 Fanfarlo, Gardens & Villa: 6 p.m. RecordBar, 1020 Westport Rd., 816-753-5207. We Came as Romans, Emmure, Blessthefall, Woe Is Me: 6 p.m. The Granada, 1020 Massachusetts, Lawrence, 785-842-1390.

MONDAY, APRIL 2 Electric Six, Aficionado, Andy D: The Bottleneck, 737 New Hampshire, Lawrence, 785-841-5483.

SIGHTS, SOUNDS, IMPERIAL FLAVOR

TUESDAY, APRIL 3

(816)421-0300 ~ WWW.CZARKC.COM

Black Tusk, East of the Wall, the Fortress, Awaken the Giant: 7 p.m. The Riot Room, 4048 Broadway, 816-442-8179. Philip Glass: 7:30 p.m., $50-$80. Kauffman Center for the Performing Arts, 1601 Broadway, 816-994-7200. Skream, Benga, Hijak, Plastician, Sgt Pokes, Jackmaster: The Midland, 1228 Main, 816-283-9900. White Rabbits: 8 p.m. Jackpot Music Hall, 943 Massachusetts, Lawrence, 785-832-1085.

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MARCH 29 - APRIL 4, 2012

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WEDNESDAY, APRIL 4 The All-American Rejects, a Rocket to the Moon: The Beaumont Club, 4050 Pennsylvania, 816-561-2560.

Shpongle presents the Masquerade featuring Phutureprimitive: 8:30 p.m. The Granada, 1020 Massachusetts, Lawrence, 785-842-1390. Brad Vickers & His Vestapolitans: 8 p.m. Knuckleheads Saloon, 2715 Rochester, 816-483-1456.

UPCOMING Bassnectar, VibeSquaD: Thu., April 12, 8 p.m. The Midland, 1228 Main, 816-283-9900. Beats Antique: Fri., April 6. The Granada, 1020 Massachusetts, Lawrence, 785-842-1390. Borgore: Sun., April 8. Liberty Hall, 644 Massachusetts, Lawrence, 785-749-1972. Bowling for Soup, Patent Pending, Fresh Man: Wed., April 18. The Granada, 1020 Massachusetts, Lawrence, 785-842-1390. Buckethead, That 1 Guy, Wolff & Tuba: Fri., April 20. The Granada, 1020 Massachusetts, Lawrence, 785842-1390. Jimmy Buffett and the Coral Reefer Band: Sat., April 21. Sprint Center, 1407 Grand, 816-283-7300. Cake: Fri., April 20. Uptown Theater, 3700 Broadway, 816-753-8665. Glen Campbell: Thu., April 26. Uptown Theater, 3700 Broadway, 816-753-8665. Cults: Sat., April 14. The Granada, 1020 Massachusetts, Lawrence, 785-842-1390. David Hasselhoff on Acid, Cherokee Rock Rifle, Waiting for Signal, Humans, Versus the Collective, Opossum Trot: Sat., April MANY MORE 14, 6 p.m. The Beaumont Club, 4050 Pennsylvania, 816-561-2560. DrFameus: Tue., April 17, 8 p.m. The Bottleneck, 737 New Hampshire, Lawrence, ONLINE AT 785-841-5483. PITCH.COM Hot Chelle Rae, Electric Touch: Tue., May 1, 7 p.m. The Midland, 1228 Main, 816-283-9900. Leo Kottke: Fri., April 6. Uptown Theater, 3700 Broadway, 816-753-8665. Lady Antebellum: Fri., April 6. Sprint Center, 1407 Grand, 816-283-7300. Leftover Salmon: Thu., April 12. Liberty Hall, 644 Massachusetts, Lawrence, 785-749-1972. Los Lonely Boys: Sun., April 29. VooDoo Lounge, Harrah’s Casino, 1 Riverboat Dr., North Kansas City, 816-472-7777. Murder by Death, Mates of State, Cowboy Indian Bear, Capybara, Ad Astra Arkestra: Fri., April 6, 7 p.m. The Beaumont Club, 4050 Pennsylvania, 816-561-2560. The Naked and Famous: Tue., April 17. The Midland, 1228 Main, 816-283-9900. Plush: Thu., April 5, 7 p.m. Jackpot Music Hall, 943 Massachusetts, Lawrence, 785-832-1085. Portugal. The Man, the Lonely Forest: Mon., April 30, 7 p.m. The Beaumont Club, 4050 Pennsylvania, 816-561-2560. Quixotic Fusion presents the Human Experience: Sat., April 14, 7 p.m. The Midland, 1228 Main, 816-283-9900. Real Estate, the Twerps: Sat., April 28, 8 p.m., $13, $15. The Bottleneck, 737 New Hampshire, Lawrence, 785-841-5483. Sabaton, Ancient Creation: Thu., April 19. The Midland, 1228 Main, 816-283-9900. School of Seven Bells, Exitmusic, Clock People: Sun., April 15, 8 p.m., $8, $10. The Riot Room, 4048 Broadway, 816-442-8179. Snow Patrol: Tue., April 24, 7 p.m. The Beaumont Club, 4050 Pennsylvania, 816-561-2560. Split Lip Rayfield, Bright Light Social Hour, Red Eye Gravy: Sat., April 7, 8 p.m. The Bottleneck, 737 New Hampshire, Lawrence, 785-841-5483. Stoned Coe Picnic: David Allan Coe, Levee Town, Mary Bridget Davies: Fri., April 20. Knuckleheads Saloon, 2715 Rochester, 816-483-1456. Daniel Tosh: Sun., April 22, 7 & 9:30 p.m. Municipal Auditorium/Music Hall, 301 W. 13th St., 816-513-5000. Treasure Fingers: Fri., April 13. The Granada, 1020 Massachusetts, Lawrence, 785-842-1390. Twiztid, Kottonmouth Kings, Blaze, Big B: Fri., April 13. The Midland, 1228 Main, 816-283-9900. Woods, MMOSS: Wed., April 25, 8 p.m. Jackpot Music Hall, 943 Massachusetts, Lawrence, 785-832-1085.

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MARCH 29 - APRIL 4, 2012

THE PITCH

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MARCH 29 - APRIL 4, 2012

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nightlife T H U R S DAY 2 9 ROCK/POP/INDIE Coda: 1744 Broadway, 816-569-1747. The Rinkles, a tribute to the Kinks and the Rutles. Wonder Fair: Art Gallery, Shoppe and Studio: 803-1/2 Massachusetts, Lawrence. Harry and the Potters, Koo Koo Kanga Roo.

BLUES/FUNK/SOUL Jazz: 1823 W. 39th St., 816-531-5556. Grand Marquis.

DJ 77 South: 5041 W. 135th St., Leawood, 913-742-7727. DJ Mike Watts. Avalon Ultra Lounge: 5505 N.E. Antioch, 816-452-CLUB. Thorough Thursdays with DJ Double U, Phat Boi. The Bottleneck: 737 New Hampshire, Lawrence, 785841-5483. Goomba Rave, with Team Bear Club.

ACOUSTIC Sidecar at the Beaumont Club: 4050 Pennsylvania, 816-561-2560. Sidecar Acoustic Nights with Gregg Todt, John Ferguson (Federation of Horsepower).

JAZZ The Blue Room: 1616 E. 18th St., 816-474-8463. Miss B, Andrea Agosto.

WORLD The Levee: 16 W. 43rd St., 816-561-2821. Live Reggae with AZ-ONE.

DRUNKEN DISTR ACTIONS/COMEDY/ BAR GAMES Aftershock Bar & Grill: 5240 Merriam Dr., Merriam, 913-384-5646. Bike Night Kick Off with Quietly Violent, 6 p.m. Improv Comedy Club and Dinner Theater: 7260 N.W. 87th St., 816-759-5233. Gary Owen, 8 p.m. Jackpot Music Hall: 943 Massachusetts, Lawrence, 785-832-1085. Pride night. Saints Pub + Patio: 9720 Quivira, Lenexa, 913-4923900. Ladies’ Night. The Velvet Dog: 400 E. 31st St., 816-753-9990. Skeeball League Night.

Replay Lounge: 946 Massachusetts, Lawrence, 785749-7676. The Hips, the Harrisonics; Swayback, Birdhand, 10 p.m.

BLUES/FUNK/SOUL B.B.’s Lawnside BBQ: 1205 E. 85th St., 816-822-7427. King King. Jazz: 1823 W. 39th St., 816-531-5556. The Big Three with John Paul Drum. Knuckleheads Saloon: 2715 Rochester, 816-483-1456. The Good Foot, 9 p.m. Ophelia’s: 201 N. Main, Independence, 816-461-4525. Lori Tucker Ensemble.

ROOTS/COUNTRY/BLUEGRASS Czar: 1531 Grand, 816-421-0300. Adam Lee & Dead Horse Sound Company, Paper Planes, the Crybaby Ranch, and DJ Kris Bruders after the show, 9 p.m. Michael’s Lakewood Pub: N. 291 Hwy. and Lakewood Blvd., Lee’s Summit, 816-350-7300. County Road 5.

DJ The Eighth Street Taproom: 801 New Hampshire, Lawrence, 785-841-6918. Mingle with Team Bear Club. The Quaff Bar and Grill: 1010 Broadway, 816-471-1918. D.J. Chris.

JAZZ The Blue Room: 1616 E. 18th St., 816-474-8463. Indigo Hour, 5:30 p.m.; Ida McBeth, 8:30 p.m. Jazzhaus: 926-1/2 Massachusetts, Lawrence, 785-7491387. Jazzhaus Big Band. Take Five Coffee + Bar: 5336 W. 151st St., Overland Park, 913-948-5550. Matt Otto Trio.

DRUNKEN DISTR ACTIONS/COMEDY/ BAR GAMES Bleachers Bar & Grill: 210 S.W. Greenwich Dr., Lee’s Summit, 816-623-3410. MANY MORE Karaoke, DJ, drink specials. Cronin’s Bar and Grill: 12227 W. 87th Pkwy.,Lenexa, 913-322-1000. Karaoke with Jim Bob, 9 p.m. Hurricane Allie’s Bar and ONLINE AT Grill: 5541 Merriam Dr., PITCH.COM Shawnee, 913-217-7665. Ultimate DJ Karaoke, 8:30 p.m. Tengo Sed Cantina: 1323 Walnut, 816-686-7842. Tengo’s 4th Anniversary.

FIND

CLUB LISTINGS

VARIET Y Balanca’s: 1809 Grand, 816-474-6369. OutCrowd album-release party, 10 p.m.

EASY LISTENING

S AT U R DAY 31

Jerry’s Bait Shop: 13412 Santa Fe Trail Dr., Lenexa, 913894-9676. Interactive Acoustic with Jason Kayne, 9 p.m.

ROCK/POP/INDIE

OPEN MIC/JAM SESSIONS Double T’s Roadhouse: 1421 Merriam Ln., Kansas City, Kan., 913-432-5555. Blues Jam hosted by RocknRick’s Boogie Leggin’ Blues Band, 7 p.m. Harleys & Horses: 7210 N.E. 43rd St., 816-452-2660. Open Jam with JD Summers featuring Jeremy Butcher and the Bail Jumpers. Jerry’s Bait Shop: 302 S.W. Main, Lee’s Summit, 816525-1871. Jerry’s Jam Night, 9 p.m.

SINGER-SONGWRITER Trouser Mouse: 625 N.W. Mock Ave., Blue Springs, 816220-1222. Bob Reeder.

VARIET Y Knuckleheads Saloon: 2715 Rochester, 816-483-1456. Aries birthday party with Kilborn Alley Blues Band, Junebug & the Porchlights.

F R I DAY 3 0 ROCK/POP/INDIE The Brooksider: 6330 Brookside Plz., 816-363-4070. Rock Cove. Clarette Club: 5400 Martway, Mission, 913-384-0986. Counter Culture. Coda: 1744 Broadway, 816-569-1747. Claire & the Crowded Stage, the Sexy Accident, 9 p.m. Jerry’s Bait Shop: 13412 Santa Fe Trail Dr., Lenexa, 913-894-9676. The Shanks. RecordBar: 1020 Westport Rd., 816-753-5207. Capture the Flag, Sister Crayon, Gemini, 9 p.m.

The Bottleneck: 737 New Hampshire, Lawrence, 785841-5483. Drew Holcomb, Nathan Angelo. Danny’s Bar and Grill: 13350 College Blvd., Lenexa, 913-345-9717. Old Barbarians. Jerry’s Bait Shop: 302 S.W. Main, Lee’s Summit, 816525-1871. The Black Jackets, 8 p.m. RecordBar: 1020 Westport Rd., 816-753-5207. Hearts of Darkness, Making Movies, 6 p.m. show all ages; 9 p.m. show 21 and older.

BLUES/FUNK/SOUL The Brick: 1727 McGee, 816-421-1634. Katy and Go-Go. Dynamite Saloon: 721 Massachusetts, Lawrence, 785856-2739. Mojo National Band. Knuckleheads Saloon: 2715 Rochester, 816-483-1456. The Bel Airs, 10 p.m. The Phoenix Jazz Club: 302 W. Eighth St., 816-2215299. Shannon and the Rhythm Kings, 9 p.m.

ROOTS/COUNTRY/BLUEGRASS Czar: 1531 Grand, 816-421-0300. Blue Martian Tribe, Meatpop, Miss Conception, 8 p.m. The Hideout: 6948 N. Oak Tfwy., 816-468-0550. Lonesome Jake. Mike Kelly’s Westsider: 1515 Westport Rd., 816-9319417. Brother Bagman. Trouser Mouse: 625 N.W. Mock Ave., Blue Springs, 816220-1222. The Ben Miller Band.

DJ The Quaff Bar and Grill: 1010 Broadway, 816-471-1918. D.J. Chris. VooDoo Lounge: Harrah’s Casino, 1 Riverboat Dr., North Kansas City, 816-472-7777. DJ Fresh One.

LaFF MOBB

Saturday, april 7, 2012

SylVIa Browne Friday, april 27, 2012

LOS LONELY BOYS Sunday, april 29, 2012

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Friday, May 25, 2012

UPCOMING SHOWS: 3/30 – Ultimate Blue Corner Battles 4/6 – Love Pump

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pitch.com

MARCH 29 - APRIL 4, 2012

THE PITCH

The Well: 7421 Broadway, 816-361-1700. DJ C-Mac.

ACOUSTIC Czar: 1531 Grand, 816-421-0300. Clover Noir, 6 p.m.

JAZZ The Blue Room: 1616 E. 18th St., 816-474-8463. Jazz Disciples, Stephanie Moore, 8:30 p.m. Nica’s 320: 320 Southwest Blvd., 816-471-2900. Kate Cosentino (CD Release). Piropos Grille: 4141 N. Mulberry Dr., North Kansas City, 816-741-3600. Candace Evans, 7 p.m. R Bar & Restaurant: 1617 Genessee, 816-471-1777. Grand Marquis.

DRUNKEN DISTR ACTIONS/COMEDY/ BAR GAMES The Granada: 1020 Massachusetts, Lawrence, 785842-1390. Fools Fest, 9 p.m. Westport Flea Market: 817 Westport Rd., 816-9311986. Live karaoke with Separated at Birth.

OPEN MIC/JAM SESSIONS Isle of Capri: 1800 E. Front St., 816-855-7777. Simmy & the Jets, 8 p.m.

REGGAE Davey’s Uptown Ramblers Club: 3402 Main, 816-7531909. Arm the Poor, DJ RichMo, Aaron Kamm and the One Drops.

SINGER-SONGWRITER Coda: 1744 Broadway, 816-569-1747. Elaine McMilian, Troy Meiss, Folkicide Mercury, 9 p.m.

VARIET Y Jazzhaus: 926-1/2 Massachusetts, Lawrence, 785-7491387. Jazzhaus 30th Anniversary Party, 8 p.m.

S U N DAY 1 BLUES/FUNK/SOUL Knuckleheads Saloon: 2715 Rochester, 816-483-1456. “Gaudy Ball” with the Scott Moyer Band, Brother Bagman, Penelope, and a special guest, 8 p.m. Trouser Mouse: 625 N.W. Mock Ave., Blue Springs, 816220-1222. Kyle Elliott.

DJ The Riot Room: 4048 Broadway, 816-442-8179. Swap Meet III fools edition with Jochen (Hog-In), Ahronson & McD.

JAZZ

tte, N

erie,

Ling

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lore ache

Let’s

Sweeten

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The Majestic Restaurant: 931 Broadway, 816-2211888. Mark Lowrey Jazz Trio open jam session, 5 p.m.

DRUNKEN DISTR ACTIONS/COMEDY/ BAR GAMES Clarette Club: 5400 Martway, Mission, 913-384-0986. Texas Hold ’em, 7 & 10 p.m. Fuel: 7300 W. 119th St., Overland Park, 913-451-0444. SIN. Improv Comedy Club and Dinner Theater: 7260 N.W. 87th St., 816-759-5233. Gary Owen, 7 p.m. Jackpot Music Hall: 943 Massachusetts, Lawrence, 785-832-1085. It’s Karaoke Time!

OPEN MIC/JAM SESSIONS Bleachers Bar & Grill: 210 S.W. Greenwich Dr., Lee’s Summit, 816-623-3410. Open Blues and Funk Jam with Syncopation, 6 p.m. Knuckleheads Saloon: 2715 Rochester, 816-483-1456. Open Jam with Levee Town, 2 p.m., free.

M O N DAY 2 BLUES/FUNK/SOUL The Hideout: 6948 N. Oak Tfwy., 816-468-0550. Blue Monday Trio. The Phoenix Jazz Club: 302 W. Eighth St., 816-2215299. Millie Edwards and Michael Pagan, 7 p.m.

DJ Davey’s Uptown Ramblers Club: 3402 Main, 816-7531909. One Eye Jacks with DJs Ilya & Troy, 10 p.m.

HIP-HOP RecordBar: 1020 Westport Rd., 816-753-5207. Reach, Menacin Johnson, Vertigone, 9 p.m.

32 2 TtHhEe PpIiTtCcHh

9 - XA,P2R0I L0 X4 , 2pitch.com 0 1 2 pitch.com MMOANRTCHH X2X–X

DRUNKEN DISTR ACTIONS/COMEDY/ BAR GAMES The Brick: 1727 McGee, 816-421-1634. Rural Grit Happy Hour, 6 p.m. Jazzhaus: 926-1/2 Massachusetts, Lawrence, 785-7491387. Karaoke Idol with Tanya McNaughty. Missie B’s: 805 W. 39th St., 816-561-0625. MANic Monday on the main ﬂoor, 10 p.m., free. Nara: 1617 Main, 816-221-6272. Brodioke, 10 p.m.

METAL/PUNK Sidecar at the Beaumont Club: 4050 Pennsylvania, 816-561-2560. Bitter End, Power Trip, Kicked In, No Class, Renouncer.

T U E S DAY 3 ROCK/POP/INDIE Jerry’s Bait Shop: 302 S.W. Main, Lee’s Summit, 816525-1871. Drew6. RecordBar: 1020 Westport Rd., 816-753-5207. Sybil, Branded Fate, Smash the State, Gilbert Grape’s Great Escape, 9 p.m.

BLUES/FUNK/SOUL The Hideout: 6948 N. Oak Tfwy., 816-468-0550. Jacque Garoutte.

ROOTS/COUNTRY/BLUEGRASS RecordBar: 1020 Westport Rd., 816-753-5207. Rex Hobart’s Honky Tonk Supper Club, 6 p.m.

DRUNKEN DISTR ACTIONS/COMEDY/ BAR GAMES Flying Saucer: 101 E. 13th St., 816-221-1900. Trivia Bowl, 7:30 & 10 p.m., free. Improv Comedy Club and Dinner Theater: 7260 N.W. 87th St., 816-759-5233. Clash of the Comics, 7:30 p.m. MoJo’s Bar & Grill: 1513 S.W. Hwy. 7, Blue Springs. Pool and dart leagues; happy hour, free pool, 4-6 p.m. The Roxy: 7230 W. 75th St., Overland Park, 913-2366211. Karaoke.

EASY LISTENING Finnigan’s Hall: 503 E. 18th Ave., North Kansas City, 816-221-3466. Abel Ramirez Big Band, 7:30 p.m.

OPEN MIC/JAM SESSIONS Stanford’s Comedy Club: 1867 Village West Pkwy., Kansas City, Kan., 913-400-7500. Open Mic Night.

W E D N E S DAY 4 ROCK/POP/INDIE Replay Lounge: 946 Massachusetts, Lawrence, 785749-7676. The Loom, Holy Ships.

BLUES/FUNK/SOUL The Phoenix Jazz Club: 302 W. Eighth St., 816-2215299. The Brian Ruskin Quartet.

JAZZ B.B.’s Lawnside BBQ: 1205 E. 85th St., 816-822-7427. New Vintage Big Band.

DRUNKEN DISTR ACTIONS/COMEDY/ BAR GAMES Beer Kitchen: 435 Westport Rd., 816-389-4180. Brodioke. The Bottleneck: 737 New Hampshire, Lawrence, 785841-5483. Lawrence Air Guitar Championship 2012, 8 p.m. Improv Comedy Club and Dinner Theater: 7260 N.W. 87th St., 816-759-5233. Tom Segura, 7:30 p.m. Outabounds Sports Bar & Grill: 3601 Broadway, 816214-8732. Karaoke with DJ Chad, 9 p.m.

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find the

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pitch.com

MARCH 29 - APRIL 4, 2012

the pitch

savage love Preferential Treatment

SSCFTs can be attractive, and some guys are into SSCFTs. But some boys react to the pressures of being young, gay and out by dialing it up to 20. It’s a force field — it’s a fierce field — that many SSCFTs eventually drop. Which is to say: You may have already met your next boyfriend, but his fierce field was up. You might want to give ’em a little time.

Dear Dan: I’m the father of a recently out 18-yearold gay boy. Here’s the problem: My son is in a relationship with a 31-year-old guy. I’m not OK with that. Yes, my son is a legal adult at 18 and can make his own decisions, but he’s also still in high school. His mother argues that in order to be supportive, we can’t object to this relationship. I don’t think this is a gay versus straight objection. If I had an 18-year-old BY heterosexual daughter who was DAN in a relationship with a 31-yearold man, I would have exactly S AVA G E the same concerns and objections. Beyond that, even if I can establish that it’s OK to have an objection, or to feel the need to take some action to be supportive for my son, I don’t know what I can or should do. What say you, oh wise one? One Concerned Dad Ask Savage anything.

Dear OCD: Your wife is wrong. Homophobic parents are bad for gay kids. But “supportive” parents who let their gay kids get away with murder — supportive parents who stop parenting their gay kids because they worry about seeming homophobic if they object to lousy gay boyfriends, choices, apparel, etc. — aren’t doing their gay kids any favors, either. Your son, despite what he might tell you, needs his parents to advise him, meddle in his affairs, even object and interfere. Here’s what I would do if I were in your shoes. I would take my son’s 31-year-old boyfriend out for a beer and ask him a lot of pointed questions: How did you meet my son? Are you having sex with my son? Are you using condoms? What is your HIV status? How old was your last boyfriend? And, ﬁnally, do you realize that I will tear you gay limb from gay limb if you hurt my gay kid? As for your son, tell him that you realize gay guys his age sometimes date older men because there aren’t a lot of boys his own age to choose from. (If you didn’t already know that, now you do.) And tell your son that this gay dude you know — that would be me — told you that something is usually wrong when a 31-year-old is dating a teenager. Something is usually wrong with the 31-year-old. There are exceptions, of course, and maybe his boyfriend is exceptional — maybe he’s not a jerk who pursues naive boys because gay men his own age can see through his shit — but the simple fact of his age requires that he be subjected to a higher degree of scrutiny than a ﬁrst boyfriend who was closer to your son’s own age. Finally, tell your son that you know he’s an adult and free to date whomever he wants. But you’re his dad, and he has to hear you out — whether he wants to or not. 34

the pitch

MARCH 29 - APRIL 4, 2012

pitch.com

Dear Dan: I’m 16 and an openly gay boy in a very welcoming community. My first boyfriend and I broke up recently. We’ll be friends again, I’m sure, but now I don’t even have a hint of any sort of anything on the horizon, and it’s driving me insane. All the out gay guys here are nice, but most are sassy, stereotypical, caricature flamer types, and I’m not attracted to any of them. But those are the kinds of people who are out at 16. I just hate thinking that I’m alone for the foreseeable future. I know the logical thing is for me to wait, but how am I supposed to wait? Is there any alternative? Whiny Angsty Sad Teen Entreats Dan Dear WASTED: Sorry, but you’re gonna get the same advice I give to hard and hard-up 16-yearold straight boys: Worry less about getting your 16-year-old self laid and more about getting your 20-year-old self laid. Get out of the house and do shit, get books and read shit, volunteer for a political organization and change shit. You’ll have more boys to choose from in a few years and you’ll be a more interesting, more informed, more attractive guy thanks to all that doing, reading and volunteering. Beat off in the interim, remembering to vary your masturbatory routine (left hand, right hand; firm grip, soft touch; with toys, without; lots of lube, just a drop; etc.), and try to cultivate your own erotic imagination. (Translation: Don’t jerk off to Internet porn exclusively; use your imagination once in a while.) I’m not telling you that you should wait until you’re 20 to date. But you’ll find the next few years less aggravating if you take the long view and keep busy, all the while jerking it to your part’s content. And who knows? You might meet a nice boy while you’re out there doing shit. As for those “sassy, stereotypical, caricature flamer types”…

Dear Dan: My 13-year-old nephew, who is straight, was in a play last year. It was a very positive experience. The only problem is, one of the theater group’s fans, who is 50 and gay, befriended my sister and seems to be ﬁxated on my nephew: He posts to my nephew’s Facebook page, he’s constantly asking my sister to allow my nephew to spend the night at his apartment, etc. I would like you to weigh in on this situation. Other family members share my suspicions, but we’re afraid to say anything to my sister because she has a temper. Should I go ahead and tell my sister and brother-in-law that I think the guy is attracted to my nephew? A Worried Aunt Dear AWA: Thanksgiving 2019: “I’m so sorry you got raped when you were 13. I thought something was off about that guy. But I didn’t say anything at the time because I was afraid your mom would yell at me. So, um, pass the yams?” Unless you’re looking forward to making an apology like that after your nephew confronts his whole family for failing to protect him when he was a child, you should speak the fuck up. Talk to your sister, temper be damned, and talk to your nephew, too. Your sister could be colorblind in addition to being an anger bomb — prone to rages and incapable of seeing red ﬂags — and it’s possible that your nephew already told his mother that this man makes him uncomfortable and got yelled at himself. Firmly raise your concerns, but don’t make accusations. You may not have all the information. It’s possible that this man has no sexual interest in your nephew. It’s also possible that your nephew is gay, has recently come out to his mother and father but wasn’t ready to come out to his extended family, and this man is mentoring your nephew at your sister’s request. But even so, 50-something gay men do not invite 13-year-old boys to sleepovers for the same reason that 50-something straight men don’t invite 13-year-old girls to sleepovers: Suspicions are aroused, even if nothing else is. In my opinion, the invite itself is a mentor-disqualifying display of piss-poor judgment. Speak up.

Find the Savage Lovecast (my weekly podcast) every Tuesday at thestranger.com/savage. Have a question for Dan Savage? E-mail him at mail@savagelove.net pitch.com

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