photos: royals put up a strong fight Aug. 9 against St. Louis Cardinals
Any Kansas City baseball fans know that the Royals are hitting their full stride as we head into Sept. All season long, the Yals have been battling between the Minnesota Twins and Cleveland Guardians to claim best in the MLB AL Central. While it has been back and forth, neither of the two teams seem to be letting up, making this Sept. urgent for the hometown team to rake in some series wins, pushing for a blue Oct. With one of the most competitive divisions in baseball this year, Kansas City hopes that stars Bobby Witt Jr. and Salvador Pérez will continue to shine, propelling the team to the 2024 MLB Postseason. Our photographers Stephen Fuller and Tarik Sykes have been in and out of Kauffman all summer long, snapping some of the best actionpacked shots of the boys in blue.
beyond capacity Hinterland music Festival revels in the power, pitfalls of summer 2024 Hinterland Music Festival graced St. Charles, Iowa once again this last month, boasting a fully stacked lineup with names like Hozier, Noah Kahan, Chappell Roan, and Vampire Weekend headlining. Our reporter Zoe Strohm discovered a lot about herself in the process of shooting photos at a multi-day event—including how to get Noah Kahan in frame while he’s stepping on your foot, how to survive when the heat index reaches a boiling point, and how to keep fellow festival-goers alive when the event you’re covering accidentally lets wayyyy too many people onto the grounds.
KCAt’s Trouble in Mind stages an unfortunately timeless portrayal of performative allyship
Playwright Alice Childress penned Trouble in Mind back in 1955. The show never made it to Broadway, despite massive acclaim, because she refused to sand the edges off the racial themes, which is ironic considering the subject matter. A funny and moving comedy-drama follows an experienced Black stage actress through the first days of rehearsal for a ‘powerful’ new play about racism—a play unfortunately filled with racist caricatures, shallow dialogue, and led by a condescending white director. Kansas City Actors Theatre brought the show to life at Union Station, and you should read our coverage to see how unfortunately timely the whole endeavor became.
Letter
Letter from the editor En garde with the off-guard BY BROCK WILBUR
CULtUre
Hard boiled Friction
Dan Flanigan’s private dick novels hit the naked city BY KAYLYNN MULLINS
tipsy thrifts
Gnarly Hussle’s thrift store bar opening is ready to rock Raytown BY KAYLYNN MULLINS
FOOD & DrINK
triune triumphs
If Sauced was the appetizer, Triune is the main course for Steven Blakley BY SARAH SIPPLE
proper Dose
Mineral Lounge offers Mediterranean tastes and tone to the Midwest BY JORDAN BARANOWSKI
13 eat this Now Blue Blaze at Bay Boy BY SARRAH SIPPLE
Drink this Now Latte at 1900 Barker BY ALEAH GOLLIER 14
mise en place
Fresh takes and Asian influences guide Mari Matsumoto’s cocktail creations at Goat & Rabbit BY ELLEN BESHUK 16
mUSIC
Soundproof or Naked truth
Local bands mix in spaces from the high-end to the basement booth BY AUSTIN WOODS
18
tapestry of trap ted talks
The Epitome tackles the rap game from every angle BY NICK SPACEK
20
FILm
I Have Hellmouth and I must Screen Things keep getting better for homegrown Indie horror hit It Doesn’t Get Any Better Than This BY ABBY OLCESE
22 eVeNtS September events Calendar BY THE PITCH STAFF
24 SmOKe SHOW
Stripping Shelves
Last month, Gov. Parson banned unregulated psychoactive cannabis products in Missouri, so what’s next?
BY JOE ELLETT
25 ADVICe Keep them Coming
X Marks the Spot: Mapping your path to pleasure with erogenous zones
BY KRISTEN THOMAS
26
KC CAreS Shaping Stars
The American Theatre Guild guides young thespians to the next stage BY BETH LIPOFF
Cover Photo by Zach Bauman Design by Cassondra Jones
Photo by Stephen Fuller
Photo by Zoe Strohm
Photo by Brian Paulette
Editor-in-Chief
Brock Wilbur
President & Chief Operating Officer
Andrew Miller
Director of Marketing & Promotions
Jason Dockery
Community Manager & Food Editor
Sarah Sipple
Music Editor
Nick Spacek
Film Editor
Abby Olcese
Little Village Creative Services
Jordan Sellergren
Art Director
Cassondra Jones
Contributing Editor
Joe Ellett
Contributing Writers
Tiffany Watts, Beth Lipoff, Kristen Thomas, Jordan Baranowski, Michael Mackie, Kaylynn Mullins, Ellen Beshuk, Austin Woods, Aleah Gollier, Barb Shelly, Adrian Torres, Nina Cherry, Emily Jacobs, Zoe Strohm, Andrew Dodderidge, Patrick Moore
Contributing Photographers
Tarik Sykes, Isabella Galvan, Allison Scavo, Jordan Hirsekorn, Haley Mullenix, Stephen Fuller, Kylee Gregg
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DISTRIBUTION
The Pitch distributes 20,000 copies a month 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.
COPYRIGHT
The contents of The Pitch are Copyright 2024 by The Pitch LLC. No portion may be reproduced in whole or in part by any means without the express written permission of the publisher. The Pitch 3543 Broadway Blvd. Kansas City, MO 64111
For information or to share a story tip, email: tips@thepitchkc.com For advertising: andrew@thepitchkc.com or 816-218-6792
Photo by Kaylynn Mullins
Dish & Drink KC
road weary: Constant construction takes a permanent toll on small businesses Orange cones and road closure signs have become a part of almost every Kansas Citian’s daily routine. For most, this may lead to running late because your usual morning commute was suddenly closed off or not knowing how you’re supposed to drive on Main Street due to the lanes changing every day. Though slightly annoying, the construction hasn’t completely uplifted most people’s daily lives.“Most people” doesn’t include small business owners. With parking lots closing, sidewalks un-walkable, and the end date consistently extending, getting customers through the door hasn’t been easy. With Main Street and KC Streetcar construction nearing an end, it is now the Waldo neighborhood’s turn for upheaval. The Wornall and 75th Street construction began in January, and it completely uprooted the parking lot and street directly in front of a strip of beloved KC restaurants, shops, and bars. Learn more about how these small businesses are fighting to stay afloat.
Every foodie wants to stay in the know of the best bars, restaurants, and pop-ups around town. And let’s be real, Kansas City is full of food-first types of people. Luckily, The Pitch constantly keeps our readers in the loop of all the good eats throughout the entire metro. Our food reporter and writer Tiffany Watts has been hop-scotching all over, tracking down some of the hottest commodities that need to be at the top of your list. Whether it is a quick coffee or cocktail at a small café or dive or a boisterous burger from some of the most favored localities, Watts has it covered. Be sure to check out her weekly Dish & Drink KC content to stay up-to-date on all of our favorite foods and drinks.
Letter from the Editor
By Brock Wilbur
Dearest reader, welcome to the September print issue of The Pitch As summer wraps and Virgo Season is upon us— my time to shine—we at the paper continue our blitz on all things cultural, political, and personal. Everything hits all at once, and we try to be ready for it to… hit a few more times atop that.
In this mag (and online in the days and weeks to come) we have a bunch of big stories that are the result of six months to a year of reporting behind the scenes, that are finally coming together and ready to delight/upset/confuse/break you. Our Pitch team becomes slightly more unrelenting with each passing week, and at some point
we don’t even need coffee/Celsius to feel like sleep is optional.
A wave of our current work and some new story beats we’re tackling has given cause for pause and reflection on a fundamental building block of our gig: Questions.
The questions that the community asks us—problems in need of solving or situations that seem baffling—are the launching point for so many of the winding adventures we find ourselves on. That communication (tips@thepitchkc.com wink wink) is the origin of wildly fulfilling stories. We enjoy cracking a code. We love to get ducks in a row and explain how things work, especially when people in positions of power are stifled by legal language, or are deliberately obfuscating the world around us. In plenty of situations, it can even boil down to finding out that folks making decisions about the community aren’t super great at figuring out where words go or what order makes the most sense, lol. Equally, we make time for the questions KC has for us, and it’s not a shock that inaccessible corporations or politicians might be avoiding those same emails and phone calls.
That brings us to the side of “Questions” that most people outside of journalism won’t get the joy of experiencing. More often than you might expect, politicians, bureaucrats, and powerful people simply do not expect that anyone will ever ask them very, very basic questions. “How did you make this decision? Where did this data come from? Did this outside group that
gives you money… Do they influence your choice on the matter?” It’s a hyper-specific moment in our day-to-day, when a call ends after a guy on the other end realizes that he simply was not prepared to tell us the truth. So many of our deep dives start innocently enough as just trying to understand the world around us and go off the rails when a representative reveals that they’d hoped bluffing (or exuding deliberately boring energy) meant they’d never be prodded with even the smallest softball. “Wow guess they weren’t ready for that!” is a starter’s pistol in our newsroom.
But “Questions” aren’t just yarn-walling our way through conspiracies. They’re also at the heart of the joy and cheerleading we bring to Kansas City. More often than not, the questions we get to ask folks about why they do what they do yield an answer that will blindside us—a real journey into the best and brightest parts of humanity.
So thank you for always supporting what we do, no matter how serious or ridiculous it ends up. We love being here on your side, and we can’t thank you enough for always bringing us more questions than we could ever possibly answer.
Pitch in and we’ll make it through,
EN GARDE WITH THE OFF-GUARD
Photo by Tiffany Watts
Hard Boiled Friction
By Kaylynn Mullins
After winning awards like “best Lawyer” in Kansas City, missouri, and plenty more on a national level, Dan Flanigan goes from mouthpiece to bloodhound. An extremely successful career in law didn’t quite satisfy Flanigan, so off the clock, he pens his detective chronicles.
His self-published novels, The Peter O’Keefe series, earned recognition from American Fiction and National Indie Excellence Awards. First having been published in 2019, he’s now released his fourth installment, all while continuing his legal counsel. As I read through his biographies and countless awards, I began to wonder if he had the same 24 hours in a day as the rest of us. When asked how the hell he finds the time for everything, Flanigan says, “Being a workaholic helps. I’ve lived a long life too.”
“I decided that I wanted to be a writer when I was a sophomore in high school. All kinds of things got in the way of that. I think one of the main things was, I didn’t have anything to write about. I haven’t lived
enough life,” Flanigan says.
After obtaining his Bar admissions in both Missouri and New York, he began a highly successful career in financial and real estate law. But that urge to write creatively always seemed to nag at his mind. He decided to leave the courtroom for a few years to open a rehabilitation center in Arizona with his wife Candy to focus on his art.
One of his plays got a stage reading in New York City, but his agent and the theater went bankrupt. He took it as a sign to leave writing behind him. “So I just said, ‘I’m going to stop punishing myself with all this. I’ll just be a lawyer, and go about my business,’” says Flangian. “But it still never quite leaves you completely. My wife died in 2011. So, I decided to write a book of poetry about her last illness and death. That sort of triggered me getting back into it.”
Once he broke the writing seal, he wrote a novel series, a poetry book, a novella, and a couple of plays, on top of his scores of legal publications. His novel series follows private investigator Peter O’Keefe—a recovered addict and Vietnam War veteran. His lawyer childhood friend sends him on what seems to be a run-of-the-mill case, but it ends with O’Keefe getting into trouble with the mafia. Taking place in the ‘80s, the series showcases the cyclical nature of history. Though the novels follow a throughline narrative, Flanigan says the stories can all stand alone.
The fourth installment, An American Tragedy, came out in June 2024 and has already received high praise from reviewers from The St. Louis Literary Review and more. The book delves into the 1980s satanic panic frenzies and sexual abuse in daycares or classrooms. “I was on a podcast, it was in the UK, in England. He said, ‘Well, Americans go through a moral panic every 20 years anyway.’ And that’s kind of true. So it’s kind of a cautionary tale, too,” Flanigan says.
An American Tragedy delves into the childcare abuse scandals that began to
break out during the “greed is good” era. When O’Keefe’s daughter’s favorite teacher faces harsh allegations, he’s thrust into dilemmas of morality and justice. It’s up to him and his rag-tag team to determine if it’s herd mentality or reality.
Inspired by the current QAnon tinfoil-hatters that are causing baseless hysteria, Flanigan couldn’t contain himself from drawing from this historical parallel. “I just got into this whole satanic moral panic thing, just knowing it was going on and I said, ‘I can’t let this go. I can’t not talk about it,’” he says.
The themes across the Peter O’Keefe series continue this pattern of highlighting how the ‘80s weren’t some golden era where everyone and everything was inherently better, but instead looked almost exactly like today, just with more hairspray. “We must just not deal with the issues. Maybe we can’t deal with them,” Flanigan says.
The earlier books in the series, Mink Eyes, The Big Tilt, and On Lonesome Roads, also connect to contemporary issues like the neverending economic crises, organized crime, and widespread panic over frivolous things. The first of the series was originally written by Flanigan in the ‘80s.
“I wanted to do a late coming of age. Somebody in their 30s like I was when struggling with addiction. I wanted to make this more interesting than just navel-gazing,” Flanigan says. “So I put it in this detective/crime format and maybe it’ll be more interesting for everybody that way.”
The first novel of the series was inspired by a real case he worked down in the Ozarks on a mink farm. “I mean, believe me, my case wasn’t as exciting as what happens in that book,” says Flanigan. His extensive background in the courtroom and his PhD in history make him an endless well of
knowledge, which creates a balance of realism and entertainment that many detective and crime books simply can’t offer.
Though O’Keefe seemingly fits into the whiskey-reliant, troubled past stereotype of many literary detectives, Flanigan wanted to approach from a place of understanding. “I’m a recovering alcoholic, and I sobered up in the early ‘80s, and my wife and I did our own treatment center,” he says. “So that’s a theme in the book, but I didn’t want to force it.”
Though An American Tragedy was recently released, Flanigan has already begun workshopping his next installment. This book is where O’Keefe finally reaches the Grunge Decade. “This next one will be in 1990/1991. There’s so much to do,” he says. Already equipped with another aspect of our messed up society, the next may be dealing with religious boot camps, foster care, or Playboy.
Making up for lost time with his passion and ideas seem to pour out of Flanigan. He’s still working as a lawyer, but he spends more time developing Peter O’Keefe’s stories now. “As long as I can do it. I’m gonna carry this whole thing up toward as close to the present day as I can,” he says. “And I haven’t made it out of 1988.”
The Peter O’Keefe series is all available digitally or in physical copies on Amazon or his website. His poetry book, Tenebrae, and his novella, Dew Drops, can also be purchased online.
After a lifetime of running from his creative inner world, he’s finally feeling fulfilled in his work and does not plan on transcending eras any time soon. “I’m not a bestseller, but I’m doing the right thing here,” he says.
DAN FLANIGAN’S PRIVATE DICK NOVELS HIT THE NAKED CITY
Photo Courtesy of Dan Flanigan
Illustration by Cassondra Jones
Tipsy Thrifts
By Kaylynn Mullins
Fashion, furniture, media, and all of the things that we own, have lost a lot of personality. Whether you’re staring at another lifeless gray apartment on Zillow or trying to buy a shirt without “LONER VIBES” splattered on the back of the deteriorating fabric, finding anything unique and high quality has become incessantly difficult. That is, without going into credit card debt.
This dilemma has catalyzed a renaissance for vintage. Thrifting, antiquing, and second-hand goods have become all the rage. Whether it’s the Goodwill bins or estate sales, something is thrilling about hunting for a gem. That’s why Gnarly Hussle Owners Alex Quinn and Pat Clifton decided to make thrifting an entire experience.
On Aug. 17, the vintage curating duo opened a bar inside their Raytown brickand-mortar resale store. Kansas City seemed thrilled at the idea of a thrift beer. “We saw like a 50% or 100% jump in our social media when we started announcing the opening of a thrift bar. So we kind of took that and ran with it,” says Quinn. “People seem to be open to it and it’s really resonating with people,” Clifton says.
Gnarly Hussle’s bar doors opened with an all-day celebration, which started at noon. They had vintage pop-ups coming to their store to offer even more curated finds. Then, at 3 p.m., the bar played The Chiefs vs. Lions pregame matchup. After the big game, their patio doors led to two live performances from Zac Lepper and Phantom Sam.
The Betty Boop light, second-hand booths, and perfectly retro decor of the bar section make it feel like you’re a teenager in someone’s basement again. The simple bar menu offers beer, wine, and seltzers for now, which only adds to the nostalgia of our youth. The duo wants to make this a spot for everyone to get together and have a great time. “We’ll just ride the wave and see who comes in and try to make people happy and curate a good vibe for whoever’s here,” Quinn says.
Quinn and Clifton’s thrift stock continues to expand after starting with reselling China dinnerware during COVID. They now collaborate with various resellers and curators to ensure there’s a special find for everyone.
“We love to coin ourselves as one of the best vintage clothing stores in Kansas City. We’ve got like 12 vendors right now and we’d like to add a few more. They’re handpicked people who bring and curate really cool inventories,” says Quinn.
The downside to vintage clothing is
that sometimes the one-of-a-kind pieces or jackpot finds can become a bit pricey. To maintain the spirit of affordable and sustainable fashion, Gnarly Hussle has a section where everything is $5-$15, ensuring that everyone can come out and have fun, no matter their budget.
“Someone can come in here with 60 bucks. You can buy a one-of-a-kind band t-shirt or a full outfit, depending on what you’re looking for,” Quinn says.
What elevates places like Gnarly Hussle apart from the average thrift store isn’t just the booze. Curated spots tend to cut through the static of flipping through the racks to find nothing but shirts from 5ks past. “The way I talked about it, or we talked about early on, is it’s like fishing—there’s like those curated ponds where you can go there and you know that there’s a million fish,” Clifton says. “You’re likely to walk out with something or you could go and sit all day and not get any.”
Opening a bar isn’t exactly an easy endeavor, and Gnarly Hussle hit a few bumps in the road. “We announced this event three years ago, that we were going to have alcohol. Then we got a cease and desist from three government agencies, threatening us with a felony if we did it, so then we had to cancel that event,” Quinn says. “So we were like, ‘Well, let’s go through the process to figure out how to do it legally.’ But, that takes a lot of money, and we don’t have much. It took us some time to figure it out. But now we’re finally here.”
Luckily, the community surrounding the retro storefront extended support to get them to this point. Their wives tend bar, their vintage collaborators send their best finds, and their rugby teammates play gigs on their patio—Gnarly Hussle is a group effort. The two actually met through rugby— Clifton coached Quinn when he was still in school. Clifton still writes and is the head coach for the Kansas City Rugby Football Club.
Though there’s already plenty of buzz surrounding Gnarly Hussle, they still have exciting things on the horizon. They’ve recently begun to make their own clothing line, but they want to take it a step further. “We just launched a simple shirt corresponding with the opening to the bar, but we’ve got plans for a NASCAR theme and rugby fall wear,” Quinn says.
Gnarly Hussle’s bar opened on Aug. 17 in Raytown, and the retro spot is ready to join the creatively evolving Kansas City bar community and boozy retail scene. So go out, grab a beer, and snag your next vintage find. And, please, thrift responsibly.
GNARLY HUSSLE’S THRIFT STORE BAR OPENING IS READY TO ROCK RAYTOWN
Photos Courtesy of Dillon Brannen and Gnarly Hussle’s Instagram
Triune Triumphs
IF SAUCED WAS THE APPETIZER, TRIUNE IS THE MAIN COURSE FOR STEVEN BLAKLEY
By Sarah Sipple
Steven blakley plays things close to the vest. From the strategically quiet rollout of his restaurant opening to his subdued presence, thoughtful consideration and calculation seem to be his style. However, that shouldn’t be misconstrued as boring or unapproachable. In fact, he’s always thinking about how to bring people together and curate the perfect atmosphere for the occasion. Hospitality is
his art, and restaurants are his medium.
Blakley recently opened Triune—a new restaurant and bar on the border of Kansas City’s Westside and Crossroads neighborhoods. Before this upscale spot, he and his brother Spencer Blakley opened Sauced—a casual burger joint in Crossroads—and partnered with Chef Jayaun Smith for other ventures under their UHungry restaurant group.
“After some pop-ups, we were approached to open Sauced in Crossroads within 30 days. From there, it just took off. It was supposed to be temporary, just a couple months. And I’d say it has been the door opener. It’s the appetizer, if you will, for all the other opportunities that have come,” says Blakley. It’s safe to say that Sauced busted down doors as it is still open four years later, and Blakley is now getting his next endeavor off the ground.
The opportunity for Triune, or at least the location, practically fell in Blakley’s lap. But he had long been planning a more formal, new-age spot to complement Sauced. He was approached by a developer and afforded the chance to design a space nearly from scratch. Just before it was Triune,
the space was a law office, so everything you see was hand-selected by Blakley. Not only was this a chance for him to flex his creative muscles, bridging design with hospitality, but also a chance for him to address one of his secondary passions: reducing waste in the restaurant industry.
When grabbing a bite, you’ll see historic brick walls left exposed, rather than adding new material to the establishment. The space is filled with fixtures built to last and custom or repurposed pieces as an alternative to cheaper, overused big-box furniture. Even the comfortable and uniform chairs at each table were refurbished from a corporate office in Topeka.
Decoding Triune
The restaurant’s name, Triune, is a nod to the three pillars of dining, according to Blakley: the diner, the atmosphere, and the service (which includes food and drink). The ambiguous name also lends itself well to their “American fusion” menu.
“I didn’t necessarily feel strong ties to any specific cuisine. So I was like, ‘Let’s do American fusion.’ This allows us to be playful, and I know we’re going to be pull-
The bread starter, three panibus ($10), succinctly illustrates this American fusion genre and sets the tone for a meal. Focaccia, cornbread, and a biscuit represent variety, while the dipping oil, smoked peach jam, and honey butter show off Triune’s attention to detail.
In Kansas City, if we’re not chowing down on BBQ, it’s wings. So it is no surprise that the smoked and fried wings ($14) are already the top-seller. A dry rub of Chinese five spice sets it apart from other wings, but the process of being smoked and then flashfried makes for the crispiest, most crackling skin.
Additional dishes that were impossible to rank included the satay ($14), which reminded me of a beloved family recipe that I have yet to encounter in the KC dining scene, and the thick house bacon ($10). However thick you’re picturing, make it bigger. The candied jalapenos resting on top make this a seriously fun dish—sweet, spicy, savory. And while we’re on the topic
ing flavors from different spaces,” Blakley says. Which is why Rodolfo Rodriguez was his first pick for Executive Chef. Rodriguez brings extensive experience in global cuisine from former gigs at Boru, Blu Hwy, La Bodega, and more.
Chef and Pastry Chef. In fact, the shareable theme ends with dinner. “If you do it right, you won’t be overly stuffed from the shareable food, so get that dessert. You could share it, but you probably won’t want to,” he says. After trying a few of Farris’ creations, I am inclined to agree.
Triune as a Third Place
Shareability is one element of the social aspect that Blakley had in mind when designing Triune. “I think this idea of small plates is cool as a consumer when dining with others. It’s like a version of family style, where the aspect of small plates gets that talking and reaching and communal dining going, but without the commitment of sharing just one big ‘family-style’ dish,” Blakley says.
When researching the future of restaurants, Blakley looked at both similar and cutting-edge markets, such as Chicago and New York City. Small plates and flexible concepts aren’t going anywhere, and at the same time, there are no new ideas. But Blakley believes that if the ambiance and quality of food and service are there, the people will follow.
He compares restaurants to a coffee bean: “If you think of coffee, the base is always a coffee bean, but there’s probably 1,000 different drinks, styles, methods that you can make from just that one coffee bean.”
With his bean, Blakley has created a space where people will feel just as comfortable stopping in for a cocktail before a show at the Kauffman Center, as they will bringing a group of friends for a dinner to catch up. Or just for dessert after a night walking around First Fridays.
of big, it is worth noting that these so-called small plates have fairly generous portions for the price.
Blakley said himself that diners are doing themselves a disservice by skipping dessert made by Graham Farris, Triune’s Sous
And while it’s not literally designed as a see and be-seen type of social place, Triune’s goal is comfortable connection. Blakley says he wants guests to realize “Oh, wow, two and a half hours have passed and you’re just really enjoying the company that you come with and the space, but it’s all flowing together. And that’s where we talk about how there’s the atmosphere, the service—like the depth of the food and drinks, and how we’re treating you. And then there’s you, the individual. We are very much a part of the space when it comes to a restaurant.”
Triune is located at 1656 Washington St, Kansas City, MO 64108.
Photos by Zach Bauman
SUPPORT LOCAL JOURNALISM
Proper Dose
MINERAL LOUNGE OFFERS
MEDITERRANEAN TASTES AND TONE TO THE MIDWEST
By Jordan Baranowski
Sometimes, the key to expanding your horizons is narrowing your focus. For
Barry Tunnell, the General Manager of Tannin Wine Bar & Kitchen and its newly opened sister bar, Mineral Lounge, turning their eye to a specific region for both their food and drinks has helped open a world of inspiration. After Mineral Lounge opened its doors in mid-August, Tunnell and the rest of the team are excited about showcasing a curated selection of bottles to highlight one of his favorite wine-producing regions.
“Tannin is a big space, with a big wine list that draws from every corner of the world,” Tunnell says. “We love having the freedom to bring in wines from everywhere, but having so many options can be a bit overwhelming, even for well-traveled wine drinkers. Mineral Lounge’s wine list focuses solely on Mediterranean wines and the foods that go with them, allowing us to develop a sharper focus in creating our menu and cellar.”
Don’t let the smaller global footprint trick you into thinking that Mineral Lounge is a one-trick pony, though—There’s still quite a bit of diversity to be found here. Tunnell also says that the region is a great place to draw from for everyone, whether you don’t know the difference between Château Pape Clément and Carlo Rossi or you’re a savvy oenophile who loves to challenge yourself in wine identification.
Tunnell says that the team really honed in on the region by drawing inspiration from two wineries on opposite sides of the Mediterranean. “In the south of Provence, in an area called Bandol, you’ll find a winery called Domaine Tempier,” he says. It’s a family-owned estate that has been producing incredible wines since the early 1800s. “These wines essentially serve as our eastern border. If you continue along the Mediterranean coast long enough, you’ll eventually hit Chateau Musar in the Beqaa Valley of Lebanon—our western border.”
was a huge French military presence in Lebanon. The French helped restart several historic wine-making areas here and introduced a number of their techniques to help jump-start things. The combination of old world sensibilities and modern master techniques makes Lebanese wine some of the most interesting and delicious you can find.”
Of course, there are plenty of other wine-making powerhouses as you make the trip from Domaine Tempier to Chateau Musar. In addition to those and other wineries from both France and Lebanon, Mineral Lounge boasts wines from Spain, Italy, Greece, and Slovenia. Many of their wines can be difficult to find by the glass in other wine bars, giving Mineral Lounge visitors a chance to try some delicious, small-batch creations that they won’t find elsewhere in the city. Once you find one you love, you can order a full bottle for your table.
“Our wines run through every flavor profile, texture, and volume, whether you want an easy sipper while you eat, or some heavy-hitting late harvest, or dessert wines for an after-dinner treat,” Tunnell says. “These are all wines that, in their own ways, can mentally transport you to the coast of the Mediterranean Sea.”
If you’re going to be sampling all this great wine, you’ll probably need something to nosh on to help balance things out. That’s where Executive Chef Brian Aaron and Sous Chef Ceasar Reyes come in. In an attempt to complement the Mediterranean wine list, the duo has developed a menu of shareable plates to keep the coastal vibes coming.
says, “Tannin isn’t a crazy, boisterous place, but the size of the space and the cellar list definitely gives it a different feel from our new spot.” Mineral Lounge only seats about 35 people, instantly lending it a more intimate, cozy energy.
It features giant windows that offer some excellent views of the Crossroads Art District and the Kauffman Center for the Performing Arts. Soft music and comfortable seating complete the aura. Tunnell also says there are plans to start bringing in occasional live music—think jazz groups and such—to help accent the ambiance.
Most people have had wines from France, but Tunnell insists that no one should sleep on Lebanese wines. The country and its neighbors have been producing wines for thousands of years—many historians suggest that viticulture as we know it originated here over 8,000 years ago. And Chateau Musar is a perfect example of Lebanon’s wine-making credentials.
“Thanks to World War One, the wine industry in the region was devastated,” Tunnell explains. “After the war ended, there
With seafood like Spanish tinned fish, yellowtail crudo, and bay scallop ceviche sitting alongside cheese, bread, and veggie options, there’s something on the menu for every palette and wine pairing. Don’t forget your sweet tooth, either—There are a few desserts to choose from, including one item borrowed from Tannin’s menu: the fudgestuffed peanut butter cookie.
“We didn’t want the menu to lean too heavily on Tannin, but I was worried some of our regulars would start a riot if we didn’t bring that cookie over to Mineral Lounge,” Tunnell says.
Besides the region-focused menu, the big thing that sets Mineral Lounge apart from Tannin is the laid-back vibe. Tunnell
Mineral Lounge even has options for customers who aren’t into wine. Bar manager Brooke Silvey created a collection of curated cocktails inspired by the flavors of the Mediterranean, including four different signature spritzes. The bartenders at Mineral Lounge have plenty of classic, off-menu cocktails up their sleeves as well. It won’t be long before a selection of non-alcoholic cocktails and wines make their way onto the menu, giving sober and sober-curious guests a space to try the diverse commodities.
With such a small space, reservations are recommended but not required. Mineral Lounge opens at 4:00 p.m. on Wednesday through Sunday, and the space is available for private rentals when they aren’t open for standard business. With its proximity to the Kauffman Center, Convention Center, the Loews Hotel, and more, it stands to be a popular pick for business travelers and parties alike.
Mineral Lounge is located at 1700 Broadway Blvd, Kansas City, Missouri 64108.
Photos by Charity K Photography
By Sarah Sipple
Bay Boy Specialty Sandwiches
4706 Holly St Kansas City, MO 64112
the blue blaze was the sandwich of my summer. Now, by honest accident, I have used my powers as Food Editor to help make it the sandwich of your autumn.
I sat down at Bay Boy to interview the owner, as I planned to cover the Gobbler— their best-seller and my year-round, go-to sammie. I expressed how I wished that I could cover the summer-exclusive Blue Blaze, but instead, I need to select something that readers can actually get their hands on for the next few months. Co-Owner Julian Garcia made the generous decision right then to extend the Blue Blaze. And here we are.
Before we chow down on the specific Blue Blaze sandwich, we have to cover the Bay Boy basics: Dutch. Crunch. Bread.
Garcia first tried Dutch crunch bread in his hometown of San Francisco but perfected the recipe in his years of working at Johnny Jo’s Pizzeria. The difference is a split crust on the outside, made from a rice flour batter. “That’s how you get that weird, crunchy texture on the outside, but keep the soft and chewiness of the bread on the inside,” Garcia says.
Inside the pristine buns of the Blue Blaze rests turkey, locally grown blueberry jam, melty white cheddar, hot cherry peppers, arugula, and mayo. The sweetness of the jam and the heat of the peppers are grounded by the turkey. It’s like the summery sister of a Thanksgiving leftovers sandwich. Satisfaction unparalleled.
Grab a sammie, bring along your favorite local brew, and post up at The Nelson or Berkley Riverfront for a casual fall picnic. I’m just going to say it now—You’re welcome.
DRINK THIS NOW: Latte at 1900 Barker
By Aleah Gollier
1900 Barker 816 Massachusetts Street and 1900 Barker Ave Lawrence, KS 66046
the first local coffee shop I established as my go-to during my first year at KU was 1900 barker on mass. Their menu consists of spe cialty drinks and classics: filter coffee,
house espresso, and decaf espresso. Each can be customized with homemade syrups and milk options. They also offer food options for breakfast and lunch for a more dedicated study sesh.
For this story, I ordered my classic—iced vanilla oat milk latte. This is a good baseline drink for me to compare to other shops because I know what I like, and there are a lot of ways to mess it up. The coffee can be too watery or too milky, too sweet or not sweet enough, too bitter or weak. But, I can confidently say that 1900 Barker passed the test and remains my old reliable for this school year.
The latte is smooth and rich, and the sweetness is just right. You can clearly taste the vanilla flavor without it being too syrupy. The espresso is not bitter but rather robust. Lastly, the oat milk is not too thick and somehow tastes fresher than other oat milk I’ve had in the past. It actually almost fooled me into thinking it was dairy.
For students or remote employees seeking a spot to work, this atmosphere is welcoming and homey, with plants everywhere and a chill folk music ambiance. The acoustics allow one to study quietly or respectfully chit-chat with a group of friends.
1900 Barker has a strong reputation in the area, with cross-trained personnel making as much impact as the quality coffee beans. “We hire the best people and ensure proper training,” Chef and General Manager Jake Sloan says. “Our baristas learn to work the register, pull perfect shots, and steam milk correctly. We make all our syrups in-house, unlike other shops that use pre-made ones. We focus on using good coffee, proper brewing techniques, and high-quality milk.”
BLUES & BREWS
SUNDAYS 4-7 PM!
MISE EN PLACE
FRESH TAKES AND ASIAN INFLUENCES
GUIDE MARI MATSUMOTO’S COCKTAIL CREATIONS AT GOAT & RABBIT
By Ellen Beshuk
In the bar scene of Kansas City, few stories are as captivating as that of Mari Matsumoto, a seasoned bartender whose journey began in the quiet farmlands of Japan. With family in the restaurant industry and farming, Matsumoto’s path has been one of passion and resilience. From bussing tables and decorating cakes to becoming a well-respected mixologist, her story is a testament to the dedication and creativity in every cocktail she crafts. Whether it’s the fusion of flavors inspired by her heritage or the drinks born out of vivid dreams, Matsumoto’s influence continues to shape and inspire the local industry. Now, at Goat & Rabbit, she brings innovation to Kansas City with her rotating, seasonal cocktails.
the pitch: tell us about yourself.
Matsumoto: I was born and raised in Japan. My mother has a culinary background, so I grew up in the restaurant industry while my grandparents were farmers in a small village in Japan. I got into the industry really young, and it was just natural to me. I’ve done everything under the sun in the industry. First off, I was bussing tables, then I was a cake decorator for a little while, a host, chef, dishwasher, and server. Once I got old enough, I got into bartending, and I always loved the interactions. Seeing guests happy grew my sense of accomplishment. So I stayed with front of the house and got into management for quite some time. Then I fell in love with the development of cocktails and recipe creation.
What led you to Kansas City? I moved here from San Francisco to find the other side of my family and then settled down. I was not intending to stay here, but Kansas City is extremely affordable, and I saw a lot up and coming. When I moved here 16 years ago, there wasn’t much in the culinary and bar scene, but I saw the growth, and that made me want to stay and grow with Kansas City.
What is your process of coming up with a new drink? A lot of it stems from my crazy dreams and synesthesia. I have a different chemical compound in my brain where I can associate days of the week with different colors, tastes, and sounds. If I go on nature walks, I will see a certain leaf that will inspire me. I also have a notebook beside my bed in case I dream something, and
Mise En Place is a series of questions, answers, recommendations, and culinary wisdom from the food and drink masters that push KC flavor further. The following answers have been edited for length and clarity.
GOAt & rAbbIt
1804 W. 39th St., Kansas City, MO 64111
sometimes it just starts with a silly name or a mom joke.
What aspects of your life impact your drink-making? Working on the farm with my grandparents and being able to see my mom with all the ingredients she used as a chef, inspire me to this day. I also do a lot of weird stuff from my childhood memories like Hi-Chews or an Instant Noodle cocktail. There is a lot of Asian influence, but I also get to travel and taste a lot of ingredients that inspire me.
What’s your favorite drink that you’ve made recently? A recent favorite was Santa’s pineapple express. I get a bunch of pineapples and put them on the barbecue to char them. I add the tequila and blend it for quite a while. After straining that, I add the heirloom pineapple amaro, which gives it a little bit of sweetness, bitterness, and complexity. Then, I smoke cinnamon syrup into a dark syrup and add a little bit of lime. We spray Angostura Aromatic Bitters right on top. It’s delicious.
Photos Courtesy of Vanessa Roa, Janie Jones, and Pilson Photo Co-op
Soundproof or naked truth
By Austin Woods
As home recording equipment, production software, and distribution channels become more accessible, it often feels like DIY music creation has entered something of a golden age. The pandemic and its aftermath have especially made this seem like the case—in April 2020, Rolling Stone reported record levels of Garageband downloads since February of that year, along with high order volumes and search spikes for music gear on platforms like Reverb and Sweetwater.
While recording at home is certainly easier than ever, some musicians have pushed back against the tendency to frame this as an empowering DIY utopia. Hence, when Spotify CEO Daniel Ek suggested that the cost of creating content is now “close to zero,” he was widely derided.
Caufield Schnug—one-half of Lawrence-based indie duo Sweeping Promises—operates a home studio with bandmate Lira Mondal. The pair established the studio in 2021 with their advance from Sub Pop Records, though they’d been self-recording material together since they met in 2008. Schnug prides the studio for its spaciousness and the natural reverb.
A reliable recording space has been a crucial aspect of the band’s creative process since the beginning. Home recording equipment might be increasingly accessible for small-time musicians, but Schnug argues that this particular resource is still hard to come by. This calls into question the notion that music creation has been rendered accessible to all, or that musicians have been
empowered to a significant degree.
“If you believe we’re living in some sort of democratic explosion of self-making paradise, just talk to bands and you’ll see that’s not true,” Schnug says. “You have to have your own room. You have to have band members with enough free time. Those are conditions that capitalism is not providing.”
Other factors further complicate the narrative that music creation has entered an egalitarian golden age. The broken touring business is one. According to Element Recording Studios Owner Joel Nanos, the ubiquity of streaming services is another.
Streaming has gravely harmed the profitability of the commercial recording business, Nanos says. In the pre-streaming era, producers often collected royalties from the albums they worked on. Now, thanks to dismal per-stream royalty rates, it’s far more difficult for both musicians and producers to get by.
“It’s harder than ever to break into the business,” he says. “I always tell the students that come through, ‘If you can do anything else and be happy, you probably should do it.’”
Nanos says home recording technology, however, poses little threat to commercial studios, and his own studio is still in high demand. Though DIY recording is more feasible now, the old way is far from obsolete, and the traditional studio model is not quite the ancien régime it’s sometimes made out to be.
Nanos attributes this to the sheer convenience commercial studios have to offer.
After all, working with an expert in a professionally designed physical space is much easier than acquiring that expertise or, as Schnug points out, crafting that space yourself. Furthermore, Nanos has noticed that, for artists, learning how to self-record can be so grueling that it often takes the fun out of the creative process.
The Auras—a newer band to Kansas City’s scene, having been around for a year— is one such example. The band recorded its debut single, “You and I,” at a local studio in 2023, and they plan to continue doing so for other projects in the near future.
Though the group is predominantly made up of audio engineering students at Kansas City Community College, they decided to record the song in a professional environment to avoid the cost of setting up a good home studio, not to mention the learning curve. By, instead, working with a professional, they say they were able to achieve their desired level of audio quality with ease.
“Producers have already done this for way longer,” says Auras lead singer Sereena Burton. “They already have experience. They’ve put records out themselves. Even though we’re audio engineering students, we’re pretty new to this.”
“Taking the time to learn would be harder than going into a studio,” adds bassist Ivan Ramirez.
But, for some bands, this difficulty is part of the appeal of home recording. The Moose—a psych-rock band active since 2016—began recording and producing its own material after the release of its self-titled debut EP in 2017. The five-song EP was recorded at a commercial studio, which the then-high schoolers could afford thanks to contributions from friends and family.
Drummer Emma Klein says while the band was grateful for the experience, they were left unsatisfied with the final product. In time-honored indie tradition, they subsequently decided that if you want to do something right, you’ve got to do it yourself. But creative integrity isn’t The Moose’s only rationale for taking the DIY recording route.
At the end of the day, the group’s primary motivation is a simple love for the learning process.
“At this point, I wouldn’t want to go to a studio because I like doing it myself, and that’s part of the process for me,” Klein says. “I have to be close with the songs, and I get pretty attached with the record that we’re working on.”
Being a psych-rock band, The Moose heavily relies on audio effects like reverb and compression, which they pull off using audio plugins—a much cheaper alternative to hardware.
With the group’s lack of fancy gear, Klein says there’s no secret to the high level of audio quality they’ve achieved. She instead chalks it up to a years-long process of trial-and-error—something the group would have missed out on had they continued recording at commercial studios.
“I’m still learning so much,” she says. “But one of the more rewarding things about it is going from album to album, doing new things, and then being super excited to apply those to the next project. I’ve learned to really appreciate the process.”
While it might be reductive to claim that the cost of independent music creation is now “close to zero,” as Daniel Ek did, or that artists have finally been liberated from the traditional power structures of the music business, it’s also tough to deny that the sophisticated home recordings of a band like The Moose would have been nearly impossible in any other era.
Indeed, you can now make a great album with nothing more than a Yeti microphone and a MacBook. This is a good thing—but it alone does not constitute empowerment. As Schnug says, there’s still a long way to go until musicians reach that point.
“I would encourage bands to find their own spaces and take control of their own sonic milieu,” says Schnug. “Unless you’re like us, and you make a little money from touring, that’s increasingly impossible.”
LOCAL BANDS MIX IN SPACES FROM THE HIGH-END TO THE BASEMENT BOOTH
Courtesy Photos Left to Right: Element Recording Studios, Sweeping Promises, The Moose
Plan
Audrey Quinn
true reflection of how much better the rapper has gotten with promotion—something which he admits he used to never take seriously, and was a necessary tool to have in his back pocket if he wanted to take a serious shot at trying to have a career in music.
“I’ll get started on something and then it’s just like, ‘Well, that was fun,’” explains Robinson of his past approach to promotion. “I dropped the project, I put a visual out, and now we’re done.”
The food reviews helped teach Robinson how to get better with social media marketing and become the best hype man for his projects, such as Boujie Type Beat earlier this year, which the rapper explains as being an experiment for him to get ready for his latest, Boujie in Venice, which is out this month.
Now, as opposed to just dropping the release on Spotify, putting out a video, and moving on, Robinson and his team have full rollouts for all these projects. Robinson says, the food, long story short, built him up to be able to be more effective with marketing in general, as well as helping him realize
would end up finishing it,” Robinson says. “Almost all those songs, other than maybe one, that’s the order that I rapped it in. Then, we just added stuff to it at the end like, ‘Maybe we’ll put a second hook here.’ That’s why everything is one verse, all the way throughout the whole thing. I would record it all the way through, and then it’s just like, ‘Alright man, we’re done, let’s move on to the next song.’”
Boujie in Venice, however, is a more proper album, and it’s maybe the most thoughtful project we’ve ever heard from The Epitome. While he’s talked about some emotional stuff in the past, this new EP is very raw, but also very real, more than anything else heretofore.
“I feel, with this project, I was able to really tap into the personal side of life,” Robinson says. “I usually just talk about women in the way that they are with me. This project, I wanted to delve a little deeper into what I feel about women—Not just how they make me feel, but how I feel.”
Tapestry of Trap Ted Talks
THE EPITOME TACKLES THE RAP GAME FROM EVERY ANGLE
By Nick Spacek
rapper Glenn robinson—AKA the epitome—knows how to flow. In the past, his lyrics walked the line between profane and nerdy, with tracks like “Scott Summers” referencing the titular X-Man, or the absolute entirety of the 2021 NNT2 EP, but, over the past year, Robinson has been branching out to explore new things. Case in point: his TikTok and Instagram reels for Hood Dude Food Reviews.
It started out with Robinson reviewing gas station snacks on Facebook years ago, but those weren’t well-received. He then transitioned to taking crazy food creations from TikTok and recreating them in his kitchen. Then, his friend, Corn, who had done all the video work, passed away from COVID, and the material was lost.
“I’m like, ‘Goodness gracious, am I not just meant to do this? Maybe this isn’t my call,’” Robinson reflects.
Despite feeling like he’d been slapped in the face by fate, Robinson remembered just how enthusiastic his friend had been about the food reviews. So, in 2023, he made a conscious decision to maintain consistency in all of his endeavors.
“This is going to sound crazy, but it’s true,” Robinson begins. “Last year, I locked in with the studio, and we had, not including Trap Ted Talk, 50 songs. Instead of worrying about shows, instead of worrying about all the other things, I locked in on the food reviews, and I locked in on the studio.”
You may recall from our 2021 feature on the Epitome that Trap Ted Talk, the release that initially began conversations between Robinson and I nearly five years ago, was due out soon. He promises that it’s finally coming in the spring of 2025, and we promise that it’ll be worth the wait. Trust. But back to how Hood Dude Food Reviews became the sensation it now is.
Robinson was, and still is, editing his own videos, but when they first came out, they were not the one-minute blasts of enthusiasm and fun they are now.
“All my friends were looking at the videos like, ‘There’s a lot of potential here, but you really sucked,’” Robinson says. “They actually sat down with me and showed me how to start pointing the camera—just small things, so I can improve because the team believed in me.”
As he puts it, his village just stood up and it really helped Robinson to propel Hood Dude Food Reviews to the next level. The videos started off with the rapper and reviewer doing one every now and then, but now, your feed is graced with two or three a week.
“It’s just like took off to have a life of its own,” Robinson says. “I get stopped in the street. No exaggeration man, probably like five times in a week.”
Robinson imitates how folks will walk up to him and recite the opening to all his food reviews—a deep, breathy, “We’re back...”—and it just blows his mind. It’s a
that he needed to put more of himself into his branding.
“It used to just be, ‘ski mask,’” Robinson says, referring to the past imagery fans most associate with The Epitome persona. “Here’s a bunch of stuff that didn’t really ever expose the person behind the mask, and the food reviews help people see a bit more of the character.”
With that more personal touch, Robinson now feels like he’s been a lot more playful with the music that he’s been making because he’s just trying to have the most fun possible, and it shows. Boujie Type Beat is absolutely fun as hell, and it feels like you’re getting to listen to The Epitome create in the studio as the tape rolls, and that’s exactly what it was, says Robinson. Slaps by Infinity would make the beat and Robinson did all the songs right then and there.
“He would make the beats, and however I would rap them to the beat is how we
A perfect example is the second single from Boujie in Venice, “What Are We.” It’s an emotionally open re-telling of a conversation between two grown folks, with both openly sharing their feelings, but it’s not angry or cruel to either party. The video by Viewpoint Visuals, directed by Melo Mike, plays like a real conversation, back and forth between Robinson and Tianna Dejae, who plays the woman in question. Unlike anything you’ve heard or seen from The Epitome, it’s low-key but, again, it’s raw and real.
“That’s one of my favorite songs of the project,” says Robinson. “Just because I don’t think people are used to hearing that side.”
While we hate referring to it as content, all the new music, food reviews, and music videos over the last year or so mean we’re getting to see all of the different sides of Robinson, and as he said, it’s refreshing and fun.
“I didn’t know that I would have such a side to myself,” Robinson admits. “Because it’s been very much, this amount. What I think the food and the other things help is, it helped me to show who I am without exposing everything.”
Robinson continues on to say that one of the things he was worried about with the internet was how much of himself he had to give his fans and the public at large, because he tends to be a private person, and the internet is not private at all.
“With the food and all these other ways, I found to insert myself into content,” Robinson says. “It made me realize that there actually is hope for me to be able to give them pieces of me and not give them everything.”
The Epitome’s Boujie in Venice hits all streaming platforms on Friday, Sept. 6.
Photo Courtesy of Glenn Robinson
the Salem Film Festival, someone at that screening tweeted about it. The next day I had 20 emails in my inbox requesting screenings. I did some digging and found that this guy, who’s a pretty popular horror illustrator, had shared the tweet, and he had half a million followers. I reached out to say thanks, and he’d mentioned “I hope this comes to my city,” so I asked him where he lived, and he was like, “I live in Toronto.”
Initially, I was looking to set up a screening anywhere in Toronto, not necessarily TIFF, so I just asked, “Who do you know?” On his list of contacts was (TIFF Midnight Madness programmer) Peter Kuplowsky, and I thought “We’ll just start there, then cross that off the list and move to the next thing.” It turned out Peter loved the movie, and we ended up officially get-
I Have Hellmouth and I Must SCREEN
THINGS KEEP GETTING BETTER FOR HOMEGROWN INDIE HORROR HIT IT DOESN’T GET ANY BETTER THAN THIS
By Abby Olcese
It Doesn’t Get Any Better Than This, from Kirksville-based filmmakers Nick toti and rachel Kempf, is an effectively creepy found footage tale about a husband-and-wife filmmaking team (Kempf and toti, playing versions of themselves). The pair buy a run-down duplex in Kirksville with the hopes of using it to shoot a horror film they’ve written and do a little ghost hunting with a long-time friend, Christian.
As soon as Rachel and Nick close on the place, weird stuff starts happening. There are creepy artifacts all over the place— abandoned mattresses, old photographs, pentagrams sharpied onto the walls. But even more chilling are the people stopping in front of the house and staring at…something. Who are the people? Why are they there? And, what are they looking at?
All Rachel and Nick know is that they keep growing in number, and it’s starting to freak them out.
We first covered It Doesn’t Get Any Better Than This last October, shortly after Toti and Kempf had started taking it to film festivals. In the months since, a lot has happened.
They’ve toured the country, picking up awards at festival after festival. They’ve gotten glowing writeups from notable horror
movie websites. Most recently, It Doesn’t Get Any Better Than This was announced as part of the Midnight Madness lineup at the prestigious Toronto International Film Festival.
In mid-Aug., the film finally screened in KC at Screenland Armour, after a year of trying to show this off to the metro. We spoke to the filmmakers about what the journey to this point has been like, how the festival circuit is exploding their success, and whether or not the City of Fountains will ever get another chance to glimpse this (literal) cult classic.
So, speaking of the festival circuit, the big news is that you’re now part of this year’s midnight madness lineup at the toronto International Film Festival. Congratulations! How’d you pull that off?
Rachel Kempf: We’re more shocked than anyone! We did the whole festival trajectory, which started the way a lot of indie movies do. You get rejected from 20 festivals at first, then, finally, one takes a chance on you and you get that momentum. We got a lot of rejection at the beginning, then we got accepted into Queer Fear Fest, where we got an audience award. Then we got into a bigger fest called Abertoir, which got more eyes.
Nick Toti: When we won Best Feature at
and not to gloat, because there is a level of craftsmanship in our work, but it flirts with that idea. Any time you can make something that makes people ask, “Why am I not making movies with my friends?” I think that’s an infectious feeling. That’s what the punk movement was like. Like, I have idiot friends, we all suck at playing instruments, why don’t we start a band?
On that note, this is a lo-fi, ultra-low-budget movie, but one of the things that makes it work, I think, is that because of the format you’ve chosen, all of that seems intentional. I had a similar conversation recently with the filmmakers who shot They Call Her Death on 16mm, that the lower-quality format makes any mistakes or production limitations seem like they’re there on purpose.
ting on the bill. It was a mix of dumb luck and either good or maybe obnoxious habits on my part.
It must be exciting to see something you’ve worked so hard on be championed by other people. What have you noticed that’s driving that audience appreciation? What kind of feedback have you gotten?
Rachel: The thing that comes up the most is the level of authenticity. I’ve seen it get compared to The Blair Witch Project, in that we’re playing a game with the audience. Nick’s gotten so good at making documentaries and has such a knowledge of how we’d shoot it if we really were making a documentary. Plus, we have all this footage from 20 years back over the course of our friendship that is real stuff. I think people like playing a guessing game of what’s real and what’s fake. We’re playing ourselves in the movie, and so the line between real and fake gets weird for us, too. It’s something found footage movies strive for but don’t always achieve.
Nick: I suspect there’s also something appealing in that our movie seems like it was just made by a couple of people. As if any idiot could have made something that looks like this. Nobody’s called us out on that,
Rachel: (laughing) That’s our whole thing. We shoot on shitty equipment. Our most recent movie, which we just finished principal photography on, was shot on Mini DV. We’re not trying to look slick.
Nick: The imperfections weren’t imperfections. If you decide to go with it, it’s not a mistake. It’s like that thing people say about jazz, if you make a mistake, make it twice and then it’s not a mistake anymore. Especially when you’re working with a low budget, a big trap is trying to make the movie look like it cost more than it really did. For me, that becomes really obvious. It’s like a guy who’s trying to dress cool and it’s just not working. You’re trying really hard to show you could have made a Hollywood movie. We know we don’t have the resources, we don’t want to make slick movies, we embrace the limitations. Whatever those quirks are, those are the personality of the project. For the people it works for, that’s part of the movie’s charm. If they don’t like it-
Rachel: Then it’s not for them.
Want to keep up with DieDie Video and follow along with Rachel Kempf and Nick Toti to see where they surprise audiences with their film next? Follow along at https:// diediebooks.com/pages/diedievideo
Photos Courtesy of DieDie Video
THE PITCH
September 2024 Events Calendar
ONGOING
Sept 2-8
Dancefestopia, Wildwood Outdoor Education Center
Sept 3-22
Once, KCRep Spencer Theatre
Sept 6-8
Art Westport, Westport Neighborhood
Sept 13 & 14
Sommore, Funny Bone Comedy Club
Sept 13-15
Fiesta Hispana, 1701
American Royal Ct.
Sept 17-22
Peter Pan, Starlight Theatre
Sept 20-22
Plaza Art Fair, Country Club Plaza
JURASSIC PARK IN CONCERT, Kauffman Center for the Performing Arts
Sept 21-28
Kansas City Fashion Week, Union Station
Sept 27 & 28
Dom Irrera and Friends, Comedy Club KC
William Montgomery, Funny Bone Comedy Club
Sept 27-Oct 1
American Royal, Kansas Speedway
eVeNtS
Sept 1
Extreme w/ Living Colour, VooDoo Lounge
Unleash the Archers, The Bottleneck
Sept 3
Disco Biscuits, Madrid Theatre
Sept 4
Here Come the Mummies, Uptown Theater
Sept 5
O.A.R., Starlight Theatre
Rev. Kristin Michael Hayter w/ Nightosphere, Liberty Hall
Kansas City Chiefs Home Opener, GEHA Field at Arrowhead Stadium
Sept 6
Sexxy Red, Azura Amphitheater
Justin Willman, Uptown Theater
Sept 7
Oktoberfest, KC Wine Co & Pumpkin Patch
Chat Pile, The Bottleneck
Marc Mason, The Midland
Sept 8
David Jolly, Funny Bone Comedy Club
Sept 9
EPIK HIGH, Uptown Theater
Ms. Monday, The Bottleneck
Sept 10
Snow Tha Product, The Midland
Sept 11
Grupo Frontera, T-Mobile Center
Sept 12
STRFKR, The Granada On Stage with Alisa Weilerstein, Kauffman Center for the Performing Arts
Dazegxd, The Bottleneck Koe Wetzel, Azura Amphitheater
Sept 13
The Get Up Kids, recordBar Ivan Cornejo, The Midland Three Dog Night, Ameristar Casino & Hotel
Sept 22
Uncle Lazer, Funny Bone
Comedy Club
Sept 23
WHY?, recordBar
The Used, The Midland
Sept 24
Descendents w/ Buzzcocks, Liberty Hall
Soft Kill, The Granada
Ali Siddiq, Uptown Theater
Abby Holiday, The Bottleneck
Sept 14
Hank Williams Jr., T-Mobile Center
Cage The Elephant w/ Young the Giant, Starlight Theatre
Sublime w/ Rome, KC Live! Righteous Brothers, Kauffman Center for the Performing Arts
Sept 15
Gillian Welch, Kauffman Center for the Performing Arts
KPOP Breakout Tour 2024, Gem Theater
Sept 17
Zheani, The Bottleneck
Kirk Franklin, T-Mobile Center
Sept 18
Burton Cummings, Knuckleheads
Sept 19
The String Cheese Incident, The Midland
Joe Pera, Uptown Theater
Two Dykes and a Mic, Funny Bone Comedy Club
Zulu, The Bottleneck
Sept 20
Front Bottoms, Uptown Theater
Arkansauce, recordBar
Allen Stone, Liberty Hall
Super American, The Bottleneck
Sept 21
Styx, Cable Dahmer Arena
Gavin Adcock w/ Vincent Mason, The Truman
Downtown KC Block Party, 1000 Locust Street
Grinders 20th Anniversary, Grinders KC
M. Ward, The Midland
Gracie Abrams w/ Role Model, Uptown Theater
Sept 25
The Lemonheads, The Truman Peelander-z, The Bottleneck
Sept 26
Avenged Sevenfold, T-Mobile Center
Evan Honer w/ Thomas Rowland, recordBar
Wait Wait… Don’t Tell Me!,
Music Hall Kansas City
The Rare Occasions, The Bottleneck
Sept 27
Stephen Sanchez, The Midland
Rainbow Kitten Surprise, Starlight Theatre
Highly Suspect, The Truman Sam Barber, Liberty Hall
Nick Swardson, Uptown Theater
Sept 28
Two Door Cinema Club, Starlight Theatre
Wild Rivers, The Truman Theo Von, T-Mobile Center
The Sandlot 30th Anniversary with Cast, The Midland
Dionne Warwick with the Kansas City Symphony, Kauffman Center for the Performing Arts
Mavi, The Bottleneck
Sept 29
NASCAR Hollywood Casino 400, Kansas Speedway
Itzhak Perlman In the Fiddler’s House, Kauffman Center for the Performing Arts
Sept 30
Architects, Uptown Theater
Lorna Shore, The Midland
Cannabrew Kansas City Flame OFF & Art Festival
Kansas City’s hottest Art Show is back again and bigger than ever. On Sept. 21, Knuckleheads will open up to a full day of music, murals, and featured headliner Mac Lethal. The annual glassblowing block party put on by Cannabrew has everything from food trucks to raves to spray-paint mural competitions. Amid all the excitement, you’ll be doing good for your fellow Kansas Citians. Charity raffles, auctions, and proceeds from the event go toward the Kansas City Public School Foundation—building art programs for underprivileged youth. Again, it might be easy to forget you’re boosting your karma points amid Mac’s mad flow, but you’ll def be getting your brownie points. (And maybe some brownies)
the Satanic doo-wop of twin temple reigns at Granada
Right after September rolls over, the hedonistic old-timey rock ’n’ roll boogey of Twin Temple will roll through LFK on Oct. 6—to cheers and (inevitably) protestors who don’t understand how to have a good time. The married couple’s blend of Roy Orbison and ‘60s girl groups is so singular in modern music that it’s impossible to not be thrilled they’re paying us all a visit—or haunting, more appropriately. In a blood-soaked interview with The Pitch ahead of their tour with the dark lord, we hit on everything from tremolo pedals to the goth-ness of Jane Austin to how Satanists believe in being punctual, first and foremost. Check it out and grab tickets for an evening we’ll never forget at the link.
HERE FOR THE MUSIC LOVERS
Local. Independent. Commercial-free. 90.9 The Bridge is Kansas City’s source for music discovery. Our memberpowered model makes room for diverse playlists, supports major touring artists and connects Kansas City’s community of music lovers.
Stripping Shelves
BY Joe Ellett
On Aug. 1, Governor mike parson held a press conference at the state capitol in Jefferson City, where he reported that he had issued executive Order 24-10, prohibiting the sale of any food that contains unregulated psychoactive cannabis compounds—what many know as different delta products. On top of the ban on these different food products, the executive order also prohibits any retail businesses that hold a liquor license from selling any psychoactive cannabis compounds.
The Missouri Department of Health and Senior Services (DHSS) is in charge of embargoing these products throughout the state, as the ban goes into effect on Sept. 1.
“The Division of Alcohol and Tobacco Control has jurisdiction over about 17,000 locations with liquor licenses across the state, and our team stands ready to enforce regulations to protect against these unregulated psychoactive cannabis products in these locations,” Division of Alcohol and Tobacco Control State Supervisor Mike Leara said at the press conference. “We have a long history of regulating intoxicating products, including related to ingredients, origin, labeling and age restrictions, and will bring this experience to this critical issue.”
Along with Leara, Attorney General Andrew Bailey, DHSS Director Paula Nickelson, and Department of Public Safety Director Sandy Karsten joined Parson to speak at the conference, providing their opinions on unregulated hemp-derived products and the ban itself.
Parson’s executive order comes about five months after the Missouri Department of Health and Senior Services (DHSS) released a white paper that outlined the dangers that these unregulated products pose to Missouri consumers, specifically children, which The Pitch covered in April. According to a press release on Governor Parson’s website, his choice to ban these products stems from “a recent increase in availability
than those voluntariliy instituted by some local smoke shops.
“From our standpoint, as the regulating agency, we just want to make sure that we’re doing everything we can to mitigate these kinds of risks, so we have some pretty extensive rules on packaging that have been appealing to children—child safety mechanisms on the packaging, and those kinds of measures are in place to try to ensure that the regulated market isn’t contributing to the issue,” Moore says.
“Without a regulatory body over the other market, there’s no one doing the same for that market,” Moore adds.
legally bought by children today in Missouri and can be possessed by children. And that’s obviously what’s hugely worrisome.”
In addition to the lax security, Parson, along with many other authoritative figures within the state, believe that these delta products are marketed in a manipulative manner that increases the risk of children being more susceptible to consuming the substance. At the press conference, Parson provided examples of packages containing psychoactive cannabis compounds that replicate popular candy brands such as Mike and Ike, Airheads, and LIFE SAVERS.
of products containing psychoactive cannabis and the emerging concerns regarding the health effects of these substances, especially among Missouri’s youth.”
The release also states that, since 2018, there has been a 600% increase in children five or younger who have experienced cannabis poisoning, resulting in ER trips. Along with that, the release states that children 12 or younger make up 41% of delta eight exposures, according to America’s Poison Control Center 2022 report of the national poison data system.
As of right now, hospitalizations due to cannabis poisoning cannot be accurately credited to regulated or unregulated cannabis products, according to DHSS Division of Cannabis Director Amy Moore.
“What I’ve been told is that it’s just not tracked that way,” Moore says. “There are efforts in communication and education system issues and trying to get that remedy. So the question will be asked, if this was a product that was purchased in a licensed dispensary, or if it was a product purchased anywhere else, and that would be a way to track that.”
Relying on word-of-mouth from a minor who has suffered a trip to the ER due to an intoxicating substance is not a reliable or accurate method when dealing with such a serious concern. Ultimately, this lack of knowledge makes it extremely challenging for officials and authoritative figures to pinpoint if these hospitalizations are emerging from the local smoke shop’s product, or from a licensed dispensary.
Although there is no way for health professionals to figure out where the patient may have received the product, it is important to note that there is a security and identity process that individuals must undergo before stepping foot in a Missouri dispensary, while there is no sort of structure or regulation to obtain hemp-derived products from non-licensed retailers, other
The DHSS has the authority to regulate the cannabis market in the state, in an attempt to ensure that Show-Me state consumers are obtaining safe substances. According to Moore, there are around 150 employees within the DHSS Division of Cannabis, spread out among multiple sectors of regulatory teams, monitoring the licensed cannabis facilities in the state.
“We can do that through monitoring and analyzing the track and trade data that we have, we can do that through investigating complaints or through our own inspections. There’s not a set schedule for those, but all of our facilities have physical inspections going on, I’d say, at least once a year,” Moore says.
On top of the inspections, Moore’s division has 24/7 camera access to monitor every licensed cannabis facility within the state, allowing them to conduct remote inspections at any time, and take action if needed.
“I’m not sure that health officials are able to differentiate when it comes to statistics, but what we do know is that one of these products is not available to children,” Missouri Cannabis Trade Association Spokesperson Jack Cardetti says. “They can’t legally purchase it, they can’t legally possess it. Whereas the unregulated hemp products that we’re talking about can be
“So many of these products look exactly like candies, and, quite frankly, they’re made to look like that,” Cardetti says. “These unscrupulous actors are actively marketing these to children, and that’s, I think, some of the really concerning issues. So, we’re glad that state officials followed the lead of law enforcement cracking down on these products.”
Executive Order 24-10 is now beginning to hit different retail distributors across the state, in an attempt to sweep the shelves of various delta products and taking a toll on the businesses that were raking in profits. It will be important to keep a steady eye on the pace of further cannabis poisonings resulting in hospitalizations, specifically minors, to truly know whether this ban is having an uplifting effect on the metro, and state as a whole.
Although Missouri has now taken its stance on these specific substances, they remain legal right across the state line. It will be interesting to see how Kansas favors this unregulated market, now that Parson sees no good for the products in the state of Missouri.
Clearly, this executive order is going to affect small business owners and producers from all walks of life. We’re preparing our follow-up story on how this changes life for Missourians on the ground. Want to weight in? Contact joe@thepitchkc.com
Photo Courtesy of Missouri Governor’s Office
X MARKS THE SPOT:
Mapping your path
to pleasure
with erogenous zones
As a sexologist, when I’m working with new clients, I often clarify that when I say “sex,” I’m referring to an umbrella term under which there are many acts, and when I mean penetration, I specifically state “penetration” or “digital insertion” or “pIV.” Many clients already use this framework, however, some see sex as not much more than “the old in and out.”
Decentering intercourse isn’t about depriving ourselves of a primary source of pleasure, rather, it’s about adding sensuality and extending the depths of pleasure we experience. Doing the same two or three acts when you have sexy time gets booooorrrriiing—whether you’re partnered or enjoying your brat summer getting around town.
One of the best ways to keep sex fresh and exciting is to explore erogenous zones. You’re covered in sensitive areas that can turn you on when stimulated from your head to your toes. “Erogenous zones can be any part of the body that, when touched, is framed in the receiver’s mind as intimate or sexual,” Certified Sex Coach Amanda Vee says.
Of course, our genitals and nipples are the first zones people consider, but we have these beautiful bodies covered in our biggest organ—our skin! Sex Therapist Dr. Christina
Pleasure mapping is a process in which discovery is done by doing and communication should be instant. In a coupled scenario, Vee suggests that “the receiver gets comfortable, lets their eyes close, while the giver slowly touches their body. While experiencing the sensations, the receiver is encouraged to relax, and rather than reflecting with judgment on their own responses, gently focus on pleasant sexy memories or fantasies of intimate moments. Couples can map what areas feel good if they take their time. Rushing is the last thing you want to do here.”
McDowell, who calls it an erotic ecology exercise, recommends “start on the periphery—fingers and toes—then work up the body slowly. It’s important to give feedback—”more, less, harder, softer”—as the receiver. This gives you a chance to discover and experiment with different sensations like temperature, texture, pressure, or even pain.”
It is also important to note that you should be creative. “Scratching, pinching, nibbling, flicking, and smacking might feel surprisingly good,” Vee says. “Keep an open mind, and consider “rougher” touches if both people are willing.”
Also try using your hot breath, tongue, nails, hair, or even feathers on their body. Wear a leather or latex glove on one hand. Add implements such as a Wartenberg pinwheel, steel finger picks, or a hand-held roller massager.
pleasure. We can absolutely discover that a touch we once disliked can feel very different now.
“The brain is plastic—it can be changed—and sensations can be reframed,” Vee says. For instance, touching a wrist sensually can reframe how we feel about the sensation of being touched there, even if we once had bad memories arise if a partner got near that spot.
Be honest with yourself and your partner—do not force yourself to like being touched in a place or manner that you do not enjoy, or brings you discomfort. On a scale of one through ten, if the technique is a one or a two, honor that it does not bring you pleasure. If a certain method is a four, but a change in pressure could make it an eight, ask for what you need.
Breathe, relax, and allow your brain to shut off by focusing on the sensations you’re experiencing. “The brain is actually considered to be the most important sexual organ,” Stoutamire says. “By knowingly directing attention to sensations in your erogenous zones, one can amplify the pleasure signals sent to the brain.”
If your mind starts to wander away from the moment, take a deep breath and refocus on another sensation. It’s okay if you have to practice staying present.
McDowell says, “Anywhere we have creases—wrists, elbows, back of knees, between fingers or toes” are areas people dismiss or overlook as erogenous zones.
“The scalp has many nerve endings, making it quite sensitive. Scalps can be stimulated by massaging, combing, tugging, and scratching,” Planned Parenthood Great Plains Manager of Education & Community Relations Rachel Stoutamire says. She also said people forget about a very specific spot between our legs. “The perineum is the soft tissue and skin between the genitals and anus,” Stoutamire explains. “This zone is surrounded by nerve endings that can be stimulated through massage to achieve arousal or orgasm.” Even a soft pinch between two finders or gentle tugging of this area on vulva owners can be pleasurable.
Exploration of erogenous zones can be both educational and sensual, and it doesn’t have to be a mechanical conversation about consent and your body. Rather, it can be a super sensual experience, whether you’re single or partnered. A good place to start, however, is with safety. “Talking through your boundaries and creating a safe word or phrase makes sure everyone is on the same page, knows what to expect, and is ready to have a good time,” Stoutamire says.
Even if you are partnered, the best way to begin exploring your erogenous zones, as with anything that is new, is to first play unaccompanied. “Spend some time with yourself to explore your body without any distractions and allow yourself to touch different areas while being aware of how they make you feel,” Stoutamire says.
“Explore your body as if you’ve never seen anything like it before. Asking questions like ‘What happens when I do this?’ and ‘I wonder what that would feel like?’ can open enticing and delicious experiences,” Vee says.
McDowell says that she might recommend clients try lying down nude or standing in front of a mirror and exploring with newness and curiosity. “If you need privacy, maybe your exploration is in the shower instead,” McDowell says.
Vee recommends talking about this exercise in advance, rather than while committing the act. “A conversation starter might sound like, ‘Hey, tonight I’d like to try something new. It’s been a while since we’ve explored each other’s bodies [if the couple has been together for some time] and I’m curious if there are ways we could be turned on that we haven’t explored. Would you like to see if there’s a part of your/my body that gets you/me going?’”
Pleasure mapping together, and discussing how the sensations feel in the moment, can help us understand the present state of our bodies and how it’s receiving
For those looking to normalize the practice, you can make exploring your bodies with touch part of your routine. This is not just for newbies and people who are feeling disconnected from pleasure, but all looking for new ways to expand their sexual horizons.
“Partners can integrate the exploration of erogenous zones into their sexual routine by doing regular check-ins, talking about your desires and fantasies, and even by scheduling exploration time to create the time and space to discover new pleasures and interests,” Stoutamire recommends.
“To keep their sex life juicy, couples should avoid assuming that once they have found something that feels good, that it will be fulfilling forever,” Vee says. “Our bodies change until we die. What once felt too soft or too hard might feel really good one day. You won’t know unless you try! Continue to communicate any curiosities that come up and don’t internalize your partner’s desire to try new things as an insecurity.”
You may even be surprised to find that orgasms can be induced by touching erogenous zones. Challenge yourself to learn more about how your body likes to receive pleasure and become a talented reader of your partner’s pleasure. Familiarizing yourself with erogenous zones will lead you on a sensual journey that can unlock new heights of pleasure. Now go explore!
You can find Kristen @OpenTheDoorsKC on Instagram or openthedoorscoaching com. Check out her podcast Keep Them Coming.
Photo by Nicole Bissey. Illustrations by Shelby Phelps
Shaping Stars
THE AMERICAN THEATRE GUILD GUIDES YOUNG THESPIANS TO THE NEXT STAGE
By Beth Lipoff
to imagine a career in the theater, first, you need access to actually see shows and possibly interact with the people who already do the work. That connection is exactly what The American Theatre Guild’s Staging The Future program provides.
When a touring Broadway show comes to town, the guild arranges free tickets for both students at Title I schools and others with low incomes or special needs.
“At the heart of our mission is providing access to underserved community members and youth. We feel that the arts and exposure to it are so important because it fosters creativity and has an impact on communities from a cultural perspective,” the American Theatre Guild’s Associate Vice President of Development and Community Relations Elaine Stolze says.
But the tickets are just the beginning. Schools can apply to have a talkback session with performers or even get a master class in some aspect of the production.
“We had a coaching session with some of the kids, where they were working on a piece at school, and so they would perform in front of the cast members, and the cast members would provide just some suggestions, mentoring, and feedback to help them enhance their performances,” Stolze says.
The coaching varies on topics, focusing on techniques like stage presence or character development.
South Kansas City Performing Arts Academy, which has students from Ruskin, Grandview, and Center high schools, has
taken up this opportunity to participate in Staging The Future.
Staging The Future Facilitator Kelly Michale says her program provides advanced theater classes for its students, and she’s always looking for real-world learning opportunities to provide them with local theaters and beyond.
“Even when I was a student, I was the type of student I learned more by doing versus just hearing, and that’s what this is,” Michale says.
Practicing what Michale preaches, in one session, the kids learned the choreography for a dance in the touring production of “Mamma Mia.”
“They were able to just learn segments and what it takes to put on a show and the training that is required, the physical capability that’s required, to learn choreography. They actually learned ‘Dancing Queen’ in an hour, and it was just pretty darn amazing how these kids were able to respond to the coaching and to learn the steps so quickly,” Stolze says.
The initiative is not just focused on performers either—The techies get support from the program too. There’s in-person and remote classes for students to learn about sound, light, set design, and more, covering just about any theater career. Crew members from “Les Miserables” came and spoke with the academy’s students about the many different types of jobs available and what they entail.
“We stress we feel there’s a place for everyone in the arts. You just have to figure out how to utilize your talents,” Stolze says.
Having professionals speak and work with the kids can make a bigger impression than just hearing their regular teachers relay similar information.
“To hear from actual professionals that are doing this on Broadway tours, to them, is something phenomenal that they get to hear evaluations and critiques that they can take with them to their auditions,” Michale says.
She also sees the value in creating personal connections with the various performers and crew members.
“You might be meeting with someone today who’s on a Broadway tour of To Kill a Mockingbird and maybe five years from now you might be in New York auditioning for a show, and they might be sitting there at that table as the director or one of the people that remembers you from that day you did that masterclass in Kansas City,” Michale says.
Usually, these events take place at the schools, because transportation can be an
Kill a Mockingbird last school year and also got tickets to MJ the Musical and Moulin Rouge
The program seems to be leaving a mark, as several students have already taken the knowledge they’ve gained from the program and applied it to their post-high school plans.
Some are “realizing maybe they should readjust their plans and focus more on, ‘Instead of being the Broadway star, I want to be the choreographer or my focus is more on the technical aspect of something,’ and realigning goals based on where their skill set is, because of how much more they’ve been able to focus on what they truly love to do. A lot of people don’t do that until many years after high school,” Michale says.
Stolze estimates that 2,400 people got to participate in some aspect of Staging The Future locally last season. Although the
