JUNE 10–16, 2015 I VOLUME 39 I NUMBER 24
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Laughter is C oming GAME OF THRONES IN LESS THAN TWO HOURS? SOUNDS CRAZY, BUT FOR MAGIC SMOKING MONKEY, IT’S BUSINESS AS USUAL. B Y PA U L F R I S W O L D 2
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P H OTO BY JA R R E D G AST R E IC H
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“St. Louis was one of the top masonry cities in the country. But now you see all these buildings going down, especially in north St. Louis. They’re knocking them down to sell the bricks out of the city. I did some tuckpointing on a brandnew house way out in west county and I said, ‘These bricks really look old.’ These were million-dollar homes, and they told me they got the bricks from north St. Louis. Why can’t we keep these bricks and design new homes in St. Louis with them? My goal is to start a redevelopment school for urban youth. I want to train them how to do this so they can rebuild their communities where their grandparents lived. We’ll create jobs and opportunities out the ying-yang. My sons were my first students, and sometimes when they’re not working their other jobs or studying for college, they come out and help me.” –LEIZAC, SPOTTED IN FOX PARK, JUNE 7. JUNE 10-16, 2015
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12 LAUGHTER IS COMING
Game of Thrones in less than two hours? Sounds crazy, but for Magic Smoking Monkey, it’s business as usual. BY PAUL FRISWOLD
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Standout dispatches from our news blog, updated all day, every day
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SWAT Team Shoots Family Dog ast week, a south-county woman filed a federal lawsuit that dog lovers should read with caution — the allegations are pretty disturbing. In the suit, Angela Zorich claims that St. Louis County Police tactical officers — aka the department’s SWAT team — raided her house in April 2014 and killed Kiya, her fouryear-old pit bull. The reason for the raid: to check if her home had electricity and natural-gas service. “This is an example of police overreaching and using excessive force to get a family out of their house,” says Kenneth Chackes, the attorney who represents Zorich. Online court records suggest that Zorich and relatives have had various landlord actions and complaints filed against them since 2005 at two separate addresses in south St. Louis County. Chackes preferred not to elaborate on the complaint, which is already 24 pages long. The St. Louis County Police Department declined comment while the lawsuit is pending. But here’s a run-down of Zorich’s story, as told in the lawsuit: On April 25, 2014, St. Louis County police officers came to her house. Her son cussed at them. They inspected the home’s exterior and placed a “Problem Properties” sticker on the front window. On April 28, Zorich called the police to follow up on the matter. An officer told her they were investigating the home for failing to have natural gas or electric service, as required by county ordinance. She admitted that the gas had been shut off but said the claim about electricity was “bullshit.” The officer hung up on her. Zorich called back and spoke to a different officer. This one sounded angry that he’d been cussed at by her son three days earlier. Zorich tried to set up an inspection for a time when her husband would be home. The officer told her that was fine, but that the investigation would continue in the meantime. The next day, around 12:41 p.m., Zorich was at home with several family members and her pit bull, Kiya, when a St. Louis County Police Tactical Response Unit burst through the door without knocking, according to her suit. The unit had at least five officers with M-4 rifles, supported by at least eight uniformed officers. The officers entered so quickly, Zorich’s suit 8
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alleges, that Kiya didn’t even have time to bark. A tactical officer fired three shots into the dog, and the dog’s “bladder and bowels released and she fell to the floor.” The dog “was laying on the floor in her own waste and blood struggling to breathe. She had a gaping hole in her chest.” Zorich claims the officers kept trying to talk to her about the natural gas, but she was focused on her dog, whom she’d raised as a puppy and who (she says) had “never shown aggression to any person.” At one point in the raid, Zorich alleges, an officer pointed his firearm at her son’s head and said, “One word, motherfucker, and I’ll put three in you.” Zorich was taken into custody and later given a notice of violation from the housing inspector. It listed citations concerning her siding, guard rail, screens, window glass and deck. When she returned home, she found beds
Kiya.
overturned and items that had been on her shelves thrown to the floor. She is suing St. Louis County and two officers, Corey Zavorka and Robert M. Rinck. Her allegations include unlawful seizure and unlawful infliction of emotional distress (for the killing of the dog) and unlawful retaliation. We asked the police for a copy of the incident report and any stats on how frequently dogs attack officers who execute warrants. They replied that such information could take up to two weeks to release, given the “massive amount of records requests” they receive. Stephen Ryals, who represents Zorich along with Chackes, says that within the last decade, more and more plaintiffs have filed suit against law enforcers who conducted a raid or executed a warrant and killed the family dog. “It’s a relatively recent liability that’s gaining traction,” he said. — NICHOLAS PHILLIPS
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“Deserves To Be The Summer’s Sleeper Hit. It’s That Sharply Funny, Touching And Vital.” – Peter Travers, ROLLING STONE
“Grade: A. Sparkling With Smart Humor And Constant Visual Surprises, ‘Me And Earl’ Holds A Unique Appeal That’s Certain To Last.”
DA N N Y W I C E N TO W S K I
– Anisha Jhaveri, INDIEWIRE.COM
Olajuwon “Ali” Davis, left, pleaded guilty to planning bomb attacks.
Guilty Pleas from Pipe Bomb Plotters
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n August 18, 2014, Riverfront Times received a very strange email. It hit our inbox at 2:18 a.m. “Peace and Love,” it began. “I am Olajuwon A. Ali, Minister of Justice and Law, New Black Panther Party (NBPP)-St. Louis Chapter, and I want to personally commend you and salute you for publishing an article that depicts the true nature and intent of the NBPP chapter.” The story in question described how New Black Panther members were among those keeping order in Ferguson on August 14, the day the St. Louis County Police Department ceded operational command of Ferguson to the state highway patrol. (That was also the day Ferguson turned into a rollicking, unpoliced block party.) In the email, Ali wrote that the New Black Panther Party “never promoted act of violence towards anyone or any establishment or businesses.” He continued, “True enough, there are people so angry that they show their pain and emotions with aggression towards cops and frankly anything that they can get their hands on. But let these few not distort the genuine peaceful intention and benevolence of the NBPP.” Despite his peaceful pronouncements in that August email, according to a federal indictment, Olajuwon “Ali” Davis spent the next few months planning a bombing and assassination campaign with another New Black Panther, 22-year-old sporting goods store employee Brandon Orlando Baldwin.
JUNE 10-16, 2015
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A joint investigation between federal and local law-enforcement agencies ended with the arrests of Davis and Baldwin on November 21. The two men each pleaded guilty last week to four counts of explosives and gun charges. They now face five to twenty years in prison and are scheduled to be sentenced on August 31. The guilty pleas mark the conclusion of a federal investigation dogged by ambiguity, as various news agencies relied on anonymous “law enforcement sources” to describe the extent of Davis’ and Baldwin’s plotting. According to a statement from the U.S. Attorney’s Office, Davis and Baldwin met during the August protests following the death of Michael Brown. The men then conspired to provide weapons to some of the protesters, the statement says. Baldwin, who worked at Cabela’s in Hazelwood, purchased three pistols and gave them to an unnamed felon. Baldwin would later admit to investigators that he had lied on federal documents by claiming he was buying the guns for himself. When Baldwin and Davis were indicted on explosives charges in April, officials finally confirmed early, anonymously sourced reports that the two men had been caught in a sting operation attempting to purchase what they thought were three pipe bombs. At the time, U.S. Attorney Richard Callahan declined to mention the proposed targets, saying, “A lot of their ideas were totally unrealistic and impractical, and we didn’t include [in the indictment] all the things they rambled on about.” However, Callahan’s office provided more specifics on Davis’ and Baldwin’s plans in a press release last week announcing the guilty pleas:
By early to mid-November, Davis and Baldwin’s talk of procuring guns had radically expanded into acquiring bombs. The discussions included types of bombs, blast radius, and cost. Police stations and officers were discussed as likely targets with specific references made to [St. Louis County Prosecutor Bob] McCulloch and [Ferguson police chief Thomas] Jackson. After meeting with an informant posing as an arms dealer, Baldwin and Davis settled on buying “pipe bombs” on November 19, but had to delay the purchase two days so they could withdraw $150 from an ATM. Curiously, neither the U.S. Attorney’s Office nor the federal indictment mention a widely circulated detail about the “pipe bomb” purchase: In November, citing “sources close to the investigation,” the PostDispatch reported that Davis and Baldwin had to wait until a girlfriend refilled her Electronic Benefit Transfer card before they could gather enough cash to buy two more pipe bombs. That detail, combining elements of disdain for welfare recipients with paranoia toward black militancy, became a viral bugaboo for conservative news media and blogs. The Post-Dispatch later repeated the claim in a follow-up story in April. But the detail is total bunk. “Our office was not the source of that information, and the reported fact is not true,” U.S. Attorney Callahan tells Riverfront Times. “The funds they were waiting for came from a normal salary source.” The Post-Dispatch has yet to issue a correction on either of its stories. Christine Byers, the reporter whose story first contained the anonymously sourced claim, did not respond to a request for comment. — DANNY WICENTOWSKI
PHILIP LEARA
A-B is famous for its Super Bowl ads, but one of them didn’t land so great.
Score One for the Craft Beer Guys n Super Bowl Sunday, Anheuser-Busch ruffled the feathers of craft-beer lovers with a snarky commercial that took a low blow at the fuss around micro-brewed beer. The A-B ad featured many frames of Budweiser bottles, foaming beer, and manly men drinking beer “brewed the hard way” at the company’s Soulard headquarters. “Let them sip their pumpkin peach ale,” the commercial proclaimed. “We’ll be brewing us some golden suds.” Five days later, on February 6, 2015, A-B filed a trademark application for the “intent to use” the phrase “Brewed the Hard Way.” But what A-B didn’t know was that a Kansas City brewpub called Martin City Brewing Company had filed an application for a very similar trademark just one day before, on February 5. The brewery sells a beer called Hard Way IPA — and unlike Budweiser, it wasn’t just intending to use the “hard way” verbiage. Its trademark application was for “actual use.” As the Kaider Law firm in Washington, D.C., later reported on its blog, the U.S. Patent and Trademark Office appears to be siding with the little guy: The patent office suspended A-B’s application last month, pending the outcome of Martin City’s application. This isn’t just a case of David vs. Goliath — it’s David vs. an international Belgium-based conglomerate. Martin City Brewing Company began in 2011 when two friends “with a love for beer and home-brewing” started a microbrewery on a whim, their website says. The duo ventured into the restaurant business, opening a pub and pizza/taproom to host the eleven beers they now have on tap. The brewery’s selection includes a pale ale, a summer porter and an IPA. “We are excited to continue to offer our IPA, crafted the hard way,” Martin City told us in a statement. “At MCBCo., we believe
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in the true passion that goes into every craft brewer’s products. While we have no particular issues with brewing at a macro scale, we do take issue with anyone or any corporation that tries to segment a part of the population which embodies the very nature of loving beer. “It seems counterintuitive to segregate potential customers and pass judgment on their tastes. MCBCo. believes that every person has the right to love the beer of their choice, whether it be a sour ale, creamy stout, or even a light lager.” A-B did not respond to requests for comment on the suspension of its trademark application. And, as the law firm’s blog reports, the patent office’s process continues. Anyone who objects to Martin City’s trademark will be allowed to weigh in. But we can only hope this will make our local brewing giant think twice about continuing with that “brewed the hard way” ad campaign. It’s already caused far more trouble than any commercial is worth. — EMILY MC CARTER riverfronttimes.com
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House Stark welcomes you (not you, Jon Snow).
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WH W HEN EN TH T EY Y’R RE NO NOT T STAGIN NG SH SHAK AKES ESPE PEAR ARE, E, THE MAG AGIC IC SMO MOKI KING NG MON ONKE KEY Y CR CREW EW MO M OUNTS UN NTSS ST. T. LOU O IS’ MO OST MAD ADCA CAPP — AN AND D IN INGE GENI NIOU OUSS — PO P P CU CULT LTUR URE E PA ARO RODI DIES ES
By Maester Paul Friswold
ame of am of Thr h on neess, liike k manyy figu ure ress in the ent nter erta tain inme ment nt biz iz,, ha had to t cha hang ngee it itss naame bef efor oree it reallly bec e am a e su ucccessf sfull. It beg e an lif ifee as A So Song ng of Ic Icee and an nd Fi Fire ree, Ge G orrge R.R .R. Ma Mart rtin in’s ’s tri rilo logy gy-cu umm se s pt ptol olog ogyy off high-fa fantasyy no fa nove vels ls. Ma Mart rtin in is of ofte ten n prrai aise seed fo forr br b iin n ngi ging ng rea eali lism sm to th thee ge genr nre, e, a co comp m lliime mp imeent tha h t sh hou o ld pro oba b bl blyy be tak aken en as to tong ngue ue-i -in-ch chee eek, k, co on nsi side deri ring ng his rea eali list stic ic wor orld l incl in clud cl ud des dra r go ons n , ic i ic icle le zom ombi b es bi es,, gi gian ants ts and a 700 00-f -foo oott hiigh tgh walll of ice tha hatt sp span anss mo most s of a st cco ont n in nen ent. t. (S So o, yo y u kn k ow ow,, ju just st lik ikee Gr G eeeen B Baay.)) Th he bo b o ok ks we w re sol olid id sel e le lers rs tha hatt spre sp pread a mos ostl tlyy by wor ord d of mou outh th,, ev even e tu en uallly gro rowi wing ng int nto o a cu cult lt cla lass ssic i th that hatt creept int nto th thee gyyre of ma main inst in stre st r am reaade re d rs by th thee ti t me the fou urt rth h vo olu ume m , A Fe Feas astt of Cro rows ws,, wa wass pu publ blis ishe h d i 200 in 0 5. 5 Butt wh Bu when Dav avid id Ben enio ioff io f and D.B ff B. W Weeis eiss ad adap apte ted d th the bo book okss in i to o a ser erial d drram amaa fo or HB HBO, O, Mar arti tin’ n’ss ba babyy hit t eb th biig ti tim me. me e. Th Thee fa f nt ntas a yas y-re r adin re ad ding in ng co cogn ognos ossce cent ntii wh who o la laud uded ed ASO SOIA IAF, F as itt’s oft ften sho ften h rtt-h -han ande deed in onl nlin ne forums, su udd dden enlyy dissco ove vere red re d th that at hiip at pstter ers, s, hou ouseewi wive ves, s, chi hick ck-llit lov over erss an and d yo youn u g-ad adul ultt re read aderrs we were re ready to play in Mar a ti tin n’s bi n’ bigg ba back ck yar ard. d. All l it to ook wass a wee eekl klyy TV ser erie iess wi with th mas assi sive pro odu duct ctio ion n va v lues es,, a be beautiful cast and an d mo m ree blo lood od o d and tit itss th than an n you o r av aver erag agee gr gran an ndm dmot othe herr co coul uld d to tole lera rate te in n on onee ho hour ur and n et voi oila la — Game of Thro Th r nes nees bec n e am amee a po p pp-cu cult l ur uree ju j gg gger erna naut ut.. So it wo oulld fo foll llow ow tha h t Maagi gicc Sm Smokin i g Mo in Monk nkey ey,, th thee co come medy dy cul ult hi h dden en witthi hin n St St. Lo Loui uiss Sh Shak akespeare’s volu vo lumi m no nous us rob obes ess, wo woul u d ch ul choo oo ose to pe perf r orm m a li live ve-a -act ctio ion, n, low ow-b -bud udge gett se send nd-u -up p off the sho how. w. MSM has in the p st pa st ske kewe were red ed Sttar War a s, lamp ampoo oone ned d Lo Lord of th t e Ri R ng ngss and rou ound ndly ly moc ocke ked d Ki Kiss ss Mee eets ts the Phantom om of the Park. Game of Th Game Ga Thro r ne ro ness is a bi bigg ta t rget rgget now,, an a d th t e bigg on ones es fal alll th thee ha hard rdes est. t.
continued on page 14
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A L L P H OTO S B Y S T E V E T R U E D E L L
I. Watch the Throne
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Game of Thrones continued from page 13
II. Building the Wall
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ust how big is difďŹ cult to gauge from an outsider’s perspective. The total number of Game of Thrones episodes currently stands at 48, each roughly an hour long. The ďŹ ve published novels total (more or less) 1.77 million words. There are literally hundreds of characters — thousands if you include all of Walder Frey’s offspring. It’s safe to say that Martin’s tale of dynastic struggle requires a reader not only to recognize multiple names, but also to comprehend how each major character is connected to dozens of other people through ďŹ lial and matrimonial bonds, as well as those of loyalty, emnity, amity or political expedience. And while the list of players is somewhat streamlined for television, the show still spends between $6 and $8 million per episode on cast and crew, costumes, props, special effects, fake blood and dragon insurance. So, if you’re going to parody a behemoth such as this, you damn well better have deep pockets and a solid grasp of who all those people (and dragons, and zombies) are, along with why they’re doing what they’re doing, before you even start writing your own version. Right? Right? Well, if you’re smart and determined and perhaps just the slightest bit ambitious, you could limit yourself to just the ďŹ rst season of the show, and perhaps pull off a fairly convincing version with 17 actors playing 109 characters. Give it a respectable twenty full rehearsals and a budget one-tenth the size of what the average small theater company spends on a typical show, and perhaps you could still succeed, so long as you know your subject material intimately — like, Cersei and Jaime intimately (wink, wink). Which is why it’s surprising how very little Donna Northcott and Jaysen Cryer knew about Game of Thrones before they decided to direct and write, respectively, Magic Smoking Monkey’s parody of Game of Thrones — a show they intended to mount with, yes, just seventeen actors, twenty rehearsals and a fraction of the usual theater-company budget. “I’d taken on the challenge of writing this before seeing the actual show,â€? admits Cryer. He adds helpfully, “And I have no knowledge of the books — but I know they exist.â€? “Oh, I hadn’t seen it either,â€? conďŹ rms Northcott. There is a long silence — not long enough for Martin to ďŹ nish the long-overdue sixth volume of the series, but pretty long — before the duo laugh innocently and Cryer continues the back-story. “Way back when were rehearsing Harry Potter, I said to Donna, ‘I’d really like to have a go at writing one of these.’ I kept pitching her ideas, but it didn’t go anywhere. And then one day she called and asked, ‘What could you do with Game of Thrones?’â€? “My girlfriend is a fan of the show, and she has HBO Go, so I started binge-watching them,â€? says Cryer in his Cornish accent. “She was able to contextualize the shows for me, and I really got into it because the writing is so good. The actors, the production values, it all sucks you in. I’ve now seen everything up to the most
recent episodes.â€? “I’ve only watched the ďŹ rst season,â€? Northcott interjects. “You watched all of them?â€? It’s a toss-up whether she’s impressed with Cryer’s enthusiasm or ashamed of his time-wasting. Probably the latter, because the plan for the Magic Smoking Monkey version of the show is to stick to just the ten episodes of the ďŹ rst season, hitting the highlights in roughly 60 minutes. Cryer wrote his first play, a one-act, for school when he was seventeen and growing up in the United Kingdom. (Cornwall raised, he was born in Essex.) “It was very pretentious,â€? he conďŹ rms. But that was about it as far as his playwriting career went. In 2006 he moved to St. Louis “to get married to a girl I met online, and it worked out for about four-and-a-half years. Luckily, St. Louis is a really cool city, and I’ve really found a place for myself here.â€? That includes both acting and writing. On the writing front, he’s done a bit of everything — “a few unpublished novels and some short ďŹ lms/video sketches.â€? He says, “I almost see writing for Magic Smoking Monkey as a great editing and adaptation exercise as opposed to actual writing.â€? As Cryer acknowledges, he went about his scriptwriting duties with the worst shortcut of all time. “At the end of November, beginning of December, I started think about how to write it,â€? he says. “I discovered a website that has transcripts of each episode, which helped immensely.â€?
“There’s an art and a science and a precision to good comedy. I put as much thought into these as I do Shakespeare.â€? The problem is, the transcripts came from the subtitles provided for the hearing impaired. That meant nothing was attributed to the person speaking. “I had to watch episode by episode again with my transcripts to determine who was speaking. By February I had a ďŹ rst draft. And then it’s just the slog to cut it down to a one-hour script. It’s more editing than writing.â€? “And a lot of improv,â€? Northcott throws in. “But the story [of that ďŹ rst season] has to remain intact. We’ve lost stuff that fans are going to hate. And we’re keeping stuff that’s funny but doesn’t serve the plot,â€? Cryer explains as he opens his notebook to reveal a page of the still-gestating script. It’s a palimpsest of typewritten sides overlaid with penciled notes, questions to himself and abstract scribbles in the margins. Dead center in the page is an entire unblemished scene comprising all of two lines of dialogue. Cryer deliberately puts a question mark by the scene. “I meant to ask you about this,â€? he says in an aside to his director. It’s two weeks till opening night.
Arya and her direwolf, Nymeria, share a happy moment.
III. Bloody History
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omeone told me that the Starks and the Lannisters are really just the Yorks and the Lancasters from England’s War of the Roses,” Northcott says, referring to Game of Thrones’ two warring families. The idea clearly resonates with Northcott. She founded St. Louis Shakespeare in 1984 after studying at London Academy of Music and Dramatic Art, and was the artistic director for the first 30 years of the company’s existence. And while Northcott stepped down as artistic director last year, she remains on St. Louis Shakespeare’s board and will continue to direct shows. Shakespeare covered the War of the Roses in his Henry VI trilogy of plays (and he really did stick with the trilogy, Martin). Earlier this year St. Louis Shakespeare condensed those three plays into a single show, Blood Reign: The Henry VI Trilogy, which completed the company’s run through the Shakespearean cycle. It was only the seventh American theatrical company to do so. Northcott’s directorial style is both clear and kaleidoscopic. She delights in working with a big cast, and she expects the actors to trust the script; if they don’t know what their characters are doing and why, she can’t indulge in her other great delight, which is choreographing massive set pieces with all of her actors onstage at the same time. Then she sets them whirling and spinning around one another, creating a sense of controlled chaos that looks and feels very much like life. It is a form of kinetic sculpture as storytelling, one that dazzles without being artificial or forced. So how does a serious director of the great-
est playwright in the English language end up overseeing and producing goofball versions of pop culture darlings? “Oh, I’d been doing St. Louis Shakespeare for about fifteen years,” Northcott offers. Her mass of red curls and contagious enthusiasm for stagecraft — and talking about comedy — give Northcott a frequent smile and a youthful energy. “I lived part of the year in Chicago then, and there were these small storefront theaters everywhere doing crazy and off-beat shows. I wanted to do something like that here. “So I came back to St. Louis and looked at our budget and thought, ‘How much would it cost to do a show like that if no one bought a single ticket?’ And then I carved out that much space in the budget and started working.” Magic Smoking Monkey (named after the novelty toy monkey that “smokes” a specially manufactured “cigarette” of celluloid and potassium-nitrate soaked paper) embarked on its weird journey with a production of the Ed Wood film Glen or Glenda. “This started our tradition of doing the show in black and white,” Northcott laughs. Magic Smoking Monkey quickly developed the stubborn habit of adhering to every detail of the original that’s being parodied, no matter how ridiculous or difficult it is to recreate. For Glen or Glenda, that meant scenery and props all being painted shades of gray, and all costumes being either black or white. It’s a subtle joke, one that flew under the radar of many audience members — which was all the more reason to do it. Despite Northcott’s wariness regarding ticket sales, Glen or Glenda’s run sold out, which proved to her that there was a homegrown audience hungry for irreverent theater that was antipodean to St. Louis Shakespeare’s
“I came back to St. Louis and looked at our budget and thought, ‘How much would it cost to do a show like that if no one bought a single ticket?’ And then I carved out that much space in the budget and started working.” timeless classics. While the company’s Shakespearean works are performed in 300-seat venues, a Monkey show is designed for a 100-person room. Ticket prices, though, are comparable — top price to see Macbeth is $20, while every Monkey show is a flat $15. From that initial foray on, Magic Smoking Monkey has staged a single show each year at the end of its Shakespearean main season. Much like the early days of Game of Thrones, Monkey shows run on word of mouth and repeat business, because for the most part the critics don’t review the productions. But that doesn’t hinder ticket sales. Even with two shows a night, there is a line of punters waiting to get in at almost every production. riverfronttimes.com
For truly big hits, such as Harry Potter and Lord of the Rings, extra seats are added within the bounds of fire laws. “We did Plan Nine from Outer Space, The Ten Commandments, Challenge of the Superfriends, the Star Wars trilogy” — “the good Star Wars trilogy,” Northcott clarifies — “The Lord of the Rings and It’s a Wonderful Life,” she says, reeling off a small list of the company’s successes. The list is frequently interrupted so she can relay something ridiculous that happened in one of the shows. That includes the time Superman broke free of a Kryptonite trap (“a green Hula-Hoop he had to spin on his arm because the actor couldn’t hula hoop to save his life”) with disastrous results. Northcott says, “Every other time Superman did it he ‘threw’ the hoop with his arm so it bounced and rolled offstage. This time it bounced once and wedged itself in the crack of The Flash’s butt, who was surprised but clenched hard enough to hold it in place for the rest of the scene. The cast were just barely able to hold it together through that show.” There is a ramshackle nature to every Magic Smoking Monkey production. To Northcott, the model is “a bunch of really smart and enthusiastic high schoolers wanting to put on a show.” Props are cheap, costumes are borrowed and many productions take place in the cement blockhouse that is the Regional Arts Commission’s second gallery space. And when it comes to the special effects inherent to the Star Warses and Lords of the Ringses, creativity is the order of the day. Magic Smoking Monkey’s Millennium Falcon raced through an asteroid field of paper balls thrown by other actors. In The Ten Commandments, Northcott realized late in the rehearsal that Ramses needed to be in a chariot in a key scene — “and we didn’t have a chariot budget,” she says. The Hail Mary solution: a 50-gallon rubber trash can was painted gold and two actors hopped inside. Sets as well are supremely chintzy, often being nothing more than magic markered outlines of background objects on cardboard. In Plan 9 from Outer Space, an airplane cockpit was implied through the magic of two plastic chairs sitting side-by-side, with the pilot wearing a special hat. The alien spaceship was the corner of the stage, near a sliding door cut in the cardboard backdrop that represented a “technologically advanced” viewscreen. Northcott is proud of being cheap. “Take out what we pay personnel, and for Reefer Madness the set cost less than $10. That’s probably about average for any show. But that’s because we get better solutions by not throwing money at problems. Instead we think our way out.” Cryer’s blood is a trifle richer. “I don’t get out of bed for less than 4K. And I mean that — four Special K in a bowl or I won’t do it.” In fact, Magic Smoking Monkey actors are paid the same amount St. Louis Shakespeare pays its actors. Both companies are non-Equity, but Northcott points out that actors in Monkey shows collect more money when the show runs for more performances — as is the case with Game of Thrones. Perhaps unsurprisingly considering those perks, casting for Magic Smoking Monkey shows is fairly easy. “We cast Game of continued on page 16
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Game of Thrones continued from page 15
Thrones and Blood Reign at the same time. We probably got more actors who wanted a part in Thrones than Blood Reign,” Northcott confirms. Ben Ritchie is a veteran of both St. Louis Shakespeare and Magic Smoking Monkey (Game of Thrones will be his twelfth Monkey show). He has that rare combo of masculinity and handsomeness that (along with his comedic talent) has carried him to the mountaintop — he’s played Odysseus for St. Louis Shakespeare and Han Solo and Aragorn for Monkey productions. Still, he says, the tradition of mixing veteran Monkey actors with first-timers comes with its own perils. “It’s totally trial by fire. They are thrown right into the deep end, and we all work together to keep any one person from going under. Not everyone is cut out for this type of fast-paced comedy,” Ritchie says. “It’s important to stay positive and encouraging, but at the same time, we often have to curb that drive for grandstanding that many newbies come in with. They often want to prove themselves comic geniuses when what we really need is a solid team.” Incidentally, Cryer maintains that Ritchie is one of the toughest actors to break during a performance. It’s not easy, Ritchie says. “Having to maintain eye contact with someone during this type of absurdity is one of the hardest things to do onstage,” he says. For inspiration, he turns to the master. “One of my comic heroes is Buster Keaton who was known as ‘the great stone face’ for rarely showing emotion even in the most outlandish of circumstances. I try and be him.” Cryer himself got his start in a Monkey show and then segued into St. Louis Shakespeare productions. Kiss Meets the Phantom of the Park, a riff on the made-for-TV-cult-classic starring Jim Ousley’s pitch-perfect impression of Paul Stanley, was Cryer’s debut with the company. “I hadn’t seen the film until halfway through rehearsals,” he explains, in what certainly must be considered a variation on a theme. “After that show I took a break from acting, because...I couldn’t apply myself to a non-Magic Smoking Monkey show.”
IV. All Men Must Laugh
R
ichard Lewis is one of St. Louis’ most accomplished dramatic actors. In 2010 he played the Orthodox Jewish leader Reb Saunders in Mustard Seed Theatre’s production of Chaim Potok’s The Chosen, which is set in World War II. During the second act, Saunders (and the rest of the world) learn what has happened to the Jews in Hitler’s death camps. Lewis’ body imploded at this moment, his shoulders sinking into his chest as he groaned with incomprehensible pain. It was one of those small, perfect scenes that only an actor with excellent technique can manage — a gutpunch of inchoate sorrow and loss that rippled 16
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throughout the audience. It was also a far cry from his portrayal of Treebeard the Ent in Magic Smoking Monkey’s Lord of the Rings parody. Audiences roared as Lewis, draped in a fur-trimmed ladies coat, portrayed the leader of Tolkien’s sentient trees by slowly trudging across the stage, talking to the two Hobbit action figures grasped in his branchlike hands. Meanwhile, the actors playing those Hobbits were perched on the edge of the stage, blithely kicking their furry feet while speaking directly at the painted tree next to them, which represented Treebeard. The whole scene was a brilliant riff on the forced perspective Peter Jackson used to convey the smallness of Hobbits throughout the film. Later in the show Lewis moved only slightly more quickly when Treebeard caught fire in a pitched battle — a fire represented by red plastic sheets pinned here and there on his coat. Despite the cost-conscious approach to mounting a show, there’s one area of the creative process in which there is no corner-cutting or shirking: Northcott and Cryer are dead serious about the quality of their comedy. “We went into this show with a joke for each scene. It has to be funny, and hopefully move the plot forward at the same time,” says Northcott. “Actors then come up with stuff, and then Jaysen adds stuff during rehearsals. At the end of that we have maybe six jokes in a scene, and we choose the top three. The three most satisfying jokes are what you keep.” But it’s harder than you might think to figure out which bits comprise the top three, particularly when the cast is free to help figure out what’s funny. “It’s true, I have to be the comedy police. The cast just can’t make each other laugh up there,” Northcott explains. “The audience paid $15 for this, you need to focus on them. And there are lots of different kinds of jokes in play. Some are subtle, some are physical. Some are things actors throw in there that two people in the audience will get. But you can’t belabor those kinds of jokes, or any of them really. You just throw them out there and keep going, and you always have to do what’s right for the character in that scene.” “Physical comedy is very precise,” Cryer jumps in. “You can’t improv those things.” “There’s an art and a science and a precision to good comedy,” agrees Northcott. “I put as much thought into these as I do Shakespeare.” Both writer and director are leaning forward in their chairs. Northcott’s elbows are on the table, her hands jabbing and circling emphatically, while Cryer scratches more marginalia into his master script. With the play still a work in progress, the amount and quality of laughs in the show are pressing issues for both of them. The thought of jokes that don’t land, actors unsure of what new lines they’ll have to learn after the next rehearsal, and every moment in the show that still doesn’t work is there just below the surface. “You feel it as an actor,” says Cryer quietly. “‘I feel uncomfortable in this bit because there’s no joke, no information.’ Losing ten seconds from a scene can speed up the whole show...” He makes another note on his script. Despite the high-wire act that is low-budget, high-comedy, live theater, Northcott believes most of their shows have found favor with the audience — save one.
“I’d taken on the challenge of writing this before seeing the actual show. And I have no knowledge of the books — but I know they exist.” “We made a mistake with The Love Boat,” she says, grinning sheepishly. “Young audiences weren’t familiar with it, so it wasn’t funny. That’s when I knew we had to leave behind the classics from my childhood.” On that front, Game of Thrones is a sure-fire crowd pleaser. But its popularity stems in part from its relentless savagery. That’s become controversial for HBO — Claire McCaskill recently tweeted she was done with the show after a particularly brutal rape, and some feminist writers have come to the same conclusion. It’s even more problematic in a comedy. “There’s nothing funny about rape,” Cryer acknowledges. “And it’s hard to make fun of spousal abuse,” agrees Northcott. What about good ol’ ultraviolence? “Uh, we have a couple of beheadings...” Northcott begins. “Lots of entrails. The Dothraki Wedding!” laughs Cryer. “Oh, yeah, and the horse!” they both laugh. Is it bloodier than St. Louis Shakespeare’s Blood Reign, which showcased the extinction of one royal house and the near-annihilation of a second? “Gallon per gallon we win,” Northcott boasts. “We definitely have more laughs,” Cryer says. “And more arterial spray.” Lest you think Northcott and Cryer are overselling the sanguine spectacle of the show, Northcott lays out the Monkey law when it comes to spraying anything on stage. “We get a little stylized with it. You have to be careful not to soak a costume, because there’s another show at 10:30 p.m.” At this point, those first two shows for this production are still in the future. Before she gets to opening night, Northcott has a ritual to complete before she truly knows that the script works and the cast is locked in. “Always with a show I get to the point in rehearsal when I think, ‘This sucks. This is terrible. Why are we doing this?’” I always have at least one night during tech week when this happens. “And I keep telling myself I should keep a journal when I’m doing the show so I can look back at it and see, ‘Well, this is the week you’re gonna hate the show.’ I can just make a note on the page that morning that says ‘Don’t. Overthink. It.’” Game of Thrones Performed at 8 and 10:30 p.m. on Friday and Saturday, June 12 to 27, at the Regional Arts Commission, 6128 Delmar Boulevard. Call 314-361-5664 or visit www.stlshakespeare.org. riverfronttimes.com
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Who's who in Fake
Westeros YOUR GUIDE TO THE HATERS AND THE HEROES IN MAGIC SMOKING MONKEY’S GAME OF THRONES
ARYA STARK
The Tomboy Activites: Swordfighting, kicking ass, survival Quote: “‘Father knows best,’ my ass.”
The Good Wife Activities: Raising strong sons, waiting for winter Quote: “Get that bastard out of here.”
NED STARK
The King of the North Activities: Dispensing justice, fulfilling obligations Quote: “Arya, that sounds highly improbable.”
ROBB STARK
JON SNOW
SAMWELL TARLY
MAESTER PYCELLE
CATELYN STARK
The Bastard Activities: Brooding, president of the Handsome Man’s Club Quote: “...but I’m totally legitimate in the sack.”
The Sidekick Activities: Making Jon Snow look better. That’s it. Quote: “Yeah, Jon. You brood like a champ!”
The Good Son Activities: Obeying his parents, breaking engagements Quote: “Gosh, isn’t Dad the best?”
The Know-It-All Activities: Learning, self-educating, autodidactism Quote: “I knew that.”
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The Party King Activities: Drinking, hunting and chasing strange tail Quote: “Woooooooohh!�
The Queen Bitch Activities: Ruling, raising her prick son, rutting with Jaime Quote: “I’ll do anything to ensure Jaime gets a happy ending.�
JOFFREY BARATHEON
The Prick Activities: Torturing animals and prostitutes, getting slapped Quote: “Mom likes me best!�
JAMIE LANISTER
KHAL DROGO
DAENERYS TARGAREYN
JORAH MORMONT
TYRION LANNISTER
ROBERT BARATHEON
The Sexy Horse King Activities: Ridin’ horses, making sweet love to Danerys Quote: “Let’s do it on horseback tonight, Danerys.�
CERSEI LANNISTER
The Newlywed Activities: Horseriding, Drogoriding Quote: “I love dragons!�
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JUNE 10-16, 2015
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Twangfest presents
Handel’s
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STARRING TIM MEAD “VOCALLY AND DRAMATICALLY OUTSTANDING”
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NOW OPEN! JUNE 11, 13, 20, 24, 26
THE AMERICAN PREMIERE
CHAOS REIGNS. LOVE PREVAILS.
pa e v t pOO o s e w r gr mid
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“GIVE IN TO THE JOY! JOY!” – St. Louis Magazine
Rossini’s
“CONTINUOUSLY USLY GRIPPING GRIPPING” – Wall Street Journal
“A PRODUCTION TO CHERISH” – St. Louis Post-Dispatch
Tobias Picker’s Puccini’s
JUNE 10, 14, 17, 27
OPENS JUNE 13
JUNE 12, 18, 20, 24, 28
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America’s Mustang
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6/13 Brothers LazaroFF 6/20 Nick Pence and Friends, Jon Bonham & Marc Chechik, Auset (10 a.m.-4 p.m.) 6/27 Jack GreLLe • 7/4 tom and alice
NIGHT + DAY ®
WEEK OF JUNE 11–17
Sigourney Weaver’s in trouble in Alien.
T H U R S D AY |06.11 [SCIENCE FICTION]
ALIEN
Believe it or not, Ellen Ripley (Sigourney Weaver) kicks a lot of ass in Alien. Released in 1979, Ridley Scott’s claustrophobic epic revolutionized female roles in the genre. Weaver’s Ripley is the only competent crew member aboard the Nostromo, a space freighter that answers a distress signal from an unexplored planet only to have an acidblooded bioform hitch a ride. It features facehuggers, the surrealist designs of H.R. Giger, a chatty robot and a gut-busting mix of sci-fi and horror that still terrifies audiences three decades after its initial release. The Webster
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Film Series presents Alien at 7:30 p.m. at Webster University’s Moore Auditorium (470 East Lockwood Avenue; 314-968-7487 or www.webster.edu/film-series). Admission is $4 to $6. — ROB LEVY
F R I D AY |06.12 [THEATER]
PLAY IT AGAIN, SAM
Most would agree that Humphrey Bogart wasn’t the most handsome leading man, but his romances both on- and offscreen are Hollywood legend. In Play It Again, Sam, the 1969 play by Woody Allen, Allan Felix is a nebbishy recently divorced writer who has a hard time getting back in the dating game. So
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he turns to the ghost of his idol, Humphrey Bogart, for some much needed advice, and gets mixed results. Act Inc. presents the stage adaptation of Play It Again, Sam at 8 p.m. Friday and Saturday, and 2 p.m. Sunday (June 12 through 14) at Lindenwood University’s J. Scheidegger Center for the Arts (2300 West Clay Street; 636-949-4433 or www.actincstl. com). Further performances are at 8 p.m. Saturday, June 27, and 2 p.m. Sunday, June 28. Tickets are $20. — MARK FISCHER [THEATER]
GAME OF THRONES: THE PARODY
Magic Smoking Monkey has performed the good Star Wars trilogy in an hour, and it has slogged through the entirety (sorta) of Peter Jackson’s Lord of the Rings films in just about riverfronttimes.com
60 minutes. Its biggest challenge has arrived: Can the company lambaste all twelve hours of Game of Thrones’s first season in one hour? Those monkeys will either do it, or you’ll all die in the process. (See our feature story on page 12.) Expect something close to the sex and nudity you love about the original in Game of Thrones: The Parody!, plus all the blood and more dragons than necessary. Shows are 8 and 10:30 p.m. Friday and Saturday (June 12 to 27) at the Regional Arts Commission (6128 Delmar Boulevard; 314-361-5664 or www. stlshakespeare.org). Tickets are $10 to $15. Unlike most Magic Smoking Monkey shows, the early show is not toned down for young audiences — heed that warning. — PAUL FRISWOLD
JUNE 10-16, 2015
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The Hill welcomes Soap Box racing enthusiasts Sunday.
It’s another fight for glory at the Battle for St. Louis. continued from page 21
S AT U R D AY |06.13
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[ARRG]
THE BATTLE FOR ST. LOUIS
While the St. Louis Blues sit out another Stanley Cup Final (they’re pacing themselves!), another league of heavy-hitting skaters circle each other warily in the Battle for St. Louis. Today at 6:30 p.m. at Chaifetz Arena (1 South Compton Avenue; 314-9775000 or www. thechaifetzarena. com), the Stunt T H IS C O D E Devils and the TO DOWNLOAD THE FREE Smashinistas duke it RIVERFRONT TIMES out for the Arch Rival IPHONE/ANDROID APP Roller Girls League FOR MORE EVENTS OR VISIT riverfronttimes.com Championships.
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This being an intra-league championship, these two teams know each other’s strengths and weaknesses. Expect a close bout with no love lost — or at least not until it’s all over. Tickets are $12 to $25, and the opening match features the two top men’s teams — Riverfront Crimes and South Grand Slammers — fighting for the GateKeepers Roller Derby league championship. — PAUL FRISWOLD [OPERA]
EMMELINE
For its final show of the season, Opera Theatre of Saint Louis presents Tobias Picker’s modern opera Emmeline, which is about a young woman whose newborn son is forcefully taken from her and raised by an unknown family. Twenty years later she gets married to a younger man, and can you guess who he is? Picker’s tale of woe was inspired by events in a nineteenth-century New England mill town, but there is also the hint of Oedipus present. Canadian soprano Joyce ElKhoury makes her OTSL debut in Emmeline,
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which is performed at 8 p.m. Saturday, June 13, at Webster University’s Loretto-Hilton Center (130 Edgar Road; 314-961-0644 or www.operastl.org). Tickets are $25 to $125.— PAUL FRISWOLD [THE WESTERN]
HIGH NOON
Four-time Academy Award-winning Western High Noon is the film most requested for White House screenings by sitting U.S. presidents. Dwight Eisenhower, Ronald Reagan and George W. Bush all listed it among their favorite films, and superfan Bill Clinton even talks about his love for the movie on the special features of the collector’s edition DVD release. The epitome of American individualism and self-reliance, Gary Cooper stars as Will Kane, a retired marshal newly married to pacifist Quaker Amy Fowler (Grace Kelly). Kane must face a vengeful killer alone when the townspeople refuse to lend a hand. The film screens at 7:30 p.m. Saturday and Sunday (June 13 and 14)
at Webster University’s Moore Auditorium (470 East Lockwood Avenue; 314-968-7487 or www.webster.edu/film-series) as part of Webster Film Series Gateway to the Western program. Lee Van Cleef, Lon Chaney Jr., Harry Morgan and Lloyd Bridges also star. Admission is $4 to $6. — MARK FISCHER
S U N D AY |06.14
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[ D E R BY DAY ]
R&R SOAP BOX DERBY
A quintessential American tradition vroooooms down Macklind Avenue this Sunday, as the R&R Soap Box Derby Race returns for another year of good-spirited fun. Boys and girls between the ages of seven and eighteen are invited to participate in the stock, super stock and masters division of the race — and the winner of each division is eligible to race at the national level later this year. For a donation, adults can take part in the Oil Can
The U.S.women’s team played New Zealand at Busch Stadium in April.
STEVE TRUESDELL
Alexandra Silber is Eliza in the Muny’s My Fair Lady.
Race. The St. Louis Jaycees sponsor this full day (9 a.m. to 4 p.m.) of speedy competition on the historic Hill at the corner of Macklind and Botanical avenues (314-740-2755). Races are free to watch, and it costs $15 to compete in the oil-can races. — BROOKE FOSTER
M O N D AY |06.15
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[MUSICAL]
MY FAIR LADY
The great question behind Lerner and Loewe’s My Fair Lady is not “Can a gentleman make a lady of a Cockney flower girl,? but “What does that flower girl see in that gentleman?” Eliza (the flower girl) is sweet and generous even if she can’t aspirate her H’s, but Henry Higgins treats her first like a project and then like a servant. Who cares if he’s “grown accustomed to her face”? There’s more to her than that. Ah, well. Despite the fraught implications of the romance, My Fair Lady has stood the test
of time, thanks to its basketful of classic songs, not least of which are “I Could Have Danced All Night” and “On the Street Where You Live.” The Muny opens its 2015 season with My Fair Lady at 8:15 Monday through Sunday (June 15 to 21) at the Muny in Forest Park (314361-1900 or www.muny.org). Tickets are $14 to $87. — PAUL FRISWOLD
T U E S D AY |06.16
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[WORLD CUP]
WOMEN’S WORLD CUP WATCH PARTY
St. Louisans love soccer for all the right reasons: the athleticism, grace and excitement that make it the beautiful game. From the legendary members of the 1950 U.S. squad to the pickup games found in parks all across the city each weekend, soccer means something to St. Louis. Partake in the Women’s World Cup Watch Party at 7 p.m. at Ballpark Village (601 Clark Avenue; 314-345-9481 or www.stlballparkvillage.com), as Team USA
competes against the excellent Nigerian club. Catch the action on the 24-foot outdoor screen, while pairing your soccer experience with fun games, great giveaways and delish dishes from a variety of BPV hotspots. Admission is free, but you’ll need money for concessions. — BROOKE FOSTER
W E D N E S D AY |06.17 [LECTURE]
OUR VERNACULAR ARCHITECTURE
A Walk in 1875 St. Louis, the current exhibit at the Missouri History Museum (Lindell Boulevard and DeBaliviere Avenue) boasts as its centerpiece the staggeringly detailed Compton and Dry pictorial map of St. Louis, executed in 1875 and published in 1876. This impressive feat of cartography provides us a meticulous look at our city as it was just a decade after the Civil War. The Surviving Vernacular Architecture of the Compton and Dry Maps complements the main exhibit; the
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free lecture, tonight at 7 p.m., offers a closequarters study of the buildings and structures from1875 St. Louis that still survive today. Andrew Weil of the Landmarks Association of St. Louis leads the presentation in the AT&T Foundation Multipurpose Room of the museum. Call 314-74-4599 or visit www. mohistory.org for more information. — ALEX WEIR Planning an event, exhibiting your art or putting on a play? Let us know and we’ll include it in the Night & Day section or publish a listing in the online calendar — for free! Send details via e-mail (calendar@riverfronttimes.com), fax (314-754-6416) or mail (6358 Delmar Boulevard, Suite 200, St. Louis, MO 63130, attn: Calendar). Include the date, time, price, contact information and location (including ZIP code). Please submit information three weeks prior to the date of your event. No telephone submissions will be accepted. Find more events online at www.riverfronttimes.com.
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film C A R O L E B E T H U E L , © 2 014 M A N DA R I N C I N E M A - E U R O PAC O R P - O R A N G E S T U D I O - A R T E
Gaspard Ulliel as Yves Saint Laurent.
Fashion Victim YVES SAINT LAURENT REMAINS A MYSTERY IN BERTRAND BONELLO’S BIOGRAPHICAL FILM Saint Laurent Directed by Bertrand Bonello. Written by Thomas Bidegain and Bertrand Bonello. Starring Gaspard Ulliel, Jérémie Renier, Louis Garrel and Léa Seydoux. Opens Friday, June 12, at the Landmark Plaza Frontenac Theater (1701 South Lindbergh Boulevard).
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ertrand Bonello’s Saint Laurent opens with the fashion designer pseudonymously checking into a hotel and calling a reporter for an interview. His face still hidden from the audience — reinforcing the scene’s resemblance to a Catholic’s confession — Yves Saint Laurent (Gaspard Ulliel) immediately unburdens himself by recounting his military-service stay in a mental BY hospital, where he was heavCLIFF ily medicated and given electroshock therapy. The F R O E H L I C H pole-positioning of this sequence and its reprise later in the film strongly indicate the centrality of those 1960 events in Saint Laurent’s life: The implication is that they reverberate through the years, influencing (and explaining) all that follows, especially his persistent depression and copious drug use.
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And perhaps they do — Saint Laurent apparently believed that was the case — but the film proves too willfully allusive to draw such straightforward conclusions. Bonello wants to explore rather than explicate, and Saint Laurent remains maddeningly opaque throughout: He’s so self-obsessed and inwardlooking that he’s essentially unknowable. Avoiding pat psychological explanations is admirable, but Bonello’s approach keeps us at an empathetic remove, and we never much care what happens to the film’s supposed protagonist. The fate of his dog proves far more consequential and moving. Saint Laurent is far from a traditional biopic — it’s primarily confined to ten years, 1967 to 1976, of its subject’s life — and Bonello provides minimal information about the designer’s personal or professional background before or after the period that the film covers. Instead of sampling key moments from Saint Laurent’s full 71 years — like a stone skipping across the water’s surface — the film opts to sound only the most pressurized depths, as the designer simultaneously plunges into hedonism and creates some his most iconic collections. Eventually, in its final third, the movie interpolates sequences set in 1989, and these glimpses of a 53-year-old Saint Laurent (played by Helmut Berger) show the sad physical and mental effects of his dissolute youth: Befogged and prematurely aged (Berger is in his early seventies), he seems adrift, isolated, haunted. The people who figure most prominently in Saint Laurent’s life are two lovers, long-time business partner Pierre Bergé (Jérémie Renier) and debauched libertine Jacques de Bascher (Louis Garrel), who offer an Apollonian-
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Dionysian contrast. Bergé, who’s frequently seen hovering silently in the background of scenes, is protective and boringly paternal, whereas de Bascher is alluringly predatory, introducing Saint Laurent to anonymous cruising and helping increase his already considerable drug intake. Also represented are a pair of the designer’s female muses — Loulou de la Falaise (Léa Seydoux) and Betty Catroux (Aymeline Valade) — who drape themselves on Saint Laurent’s arms as they make their endless rounds of discotheques and parties. The decadence on abundant display in Saint Laurent would appear to promise some transgressive thrills, but by emphasizing the scene’s repetitiveness, Bonello denies us much pleasure in that regard; never has having fun seemed so glum. In fact, the most fascinating aspect of the film is an early documentarystyle sequence in Saint Laurent’s atelier, as his seamstresses and assistants go about the difficult task of translating his designs into actual garments. Similarly, a lengthy scene in which Bergé negotiates with a representative (Brady Corbet) from the firm’s American partner is far more compelling than the putatively more sensationalistic material. Saint Laurent is undeniably sophisticated, and there’s much to admire in Bonello’s elegant direction, but there remains a hollowness at its core. Even fashionistas, who will likely find the film irresistible, might be disappointed with Bonello’s apparently ambivalent view of the movie’s subject: Using split screen, he counterpoints Saint Laurent’s collections with contemporaneous world events (e.g, the 1968 Paris riots, Vietnam), underscoring fashion’s essential irrelevance. Q
Naked City ABEL FERRARA CREATES A MESSY, COMPELLING FILM ABOUT GREED, POWER AND LUST Welcome to New York Directed by Abel Ferrara. Written by Abel Ferrara and Chris Zois. Starring Gérard Depardieu, Jacqueline Bisset, Marie Mouté and Paul Calderon. Currently streaming VOD on Amazon, IFC and other outlets.
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elcome to New York opens with two prologues, unrelated but textbook-Brechtian: The first is an interview with the film’s star, Gérard Depardieu, about acting and politics (he doesn’t like either, for reasons that he doesn’t really explain); the second is a montage of historical monuments and Washington landmarks, ending with shots of dollar bills emerging from a printing press while “America the Beautiful” plays. What is director Abel Ferrara trying to tell us? That his film is really about how money and political power go hand in hand? That we should keep a sense of distance from the film and not look for true story melodrama or psychological verisimilitude? It’s not clear, and it may not even matter. Ferrara is an anarchic chameleon of a filmmaker. He straddles genres and flaunts a Times Square/drive-in sensibility that improbably collides with his rough sense of streetwise politics. More respected on the international festival circuit than in the United States, he’s made cop movies (The Bad Lieutenant), gangster movies (King of New York), science fiction, horror, a Cassavetes-style drama (the little-seen Go-Go Tales), a slasher film (Driller Killer, which has been called the original video nasty), and even a Biblical film. Most of them are as chaotic and raw as they are sincere. Ferrara leaves in the rough edges and loose ends that most directors would throw away. Which may be why it has taken nearly a year for Welcome to New York to get its American release. After months of Ferrara and American distributor IFC squabbling over cuts IFC made to secure an R rating, the film is finally available at various VOD outlets. IFC may have been leery of an NC-17 rating, but the movie would be a hard sell no matter how it was categorized. Like
C O U R T E SY O F N I C O L E R I V E L L I . C O P Y R I G H T J U N E P R O J E C T, L LC . A S U N DA N C E S E L E C T S R E L E A S E .
Pagan Picnic
Gérard Depardieu in Abel Ferrara’s Welcome to New York. many of Ferrara’s films, it’s a mess, but that’s not really a criticism. Messiness is part of what makes Ferrara so interesting. He makes slightly out-of-control films about people with out-ofcontrol lives. Welcome to New York is a fictionalized account of the Dominique Strauss-Kahn scandal of 2011. Strauss-Kahn, the head of the International Monetary Fund and, at the time of his arrest, a prospective candidate for president in France, was accused of sexually assaulting a hotel housekeeper in New York. The charges were eventually dropped for lack of evidence. (In France, some believe that Strauss-Kahn was set up by his political rival, Nicolas Sarkozy.) Ferrara’s version stays within close range of the facts in many respects, but only as a broad outline. He’s not interested in condemning or defending Strauss-Kahn; the film is an examination of the kind of power he held and how it molded his character, but it’s not a morality tale. In Ferrara’s version, the Strauss-Kahn figure, Devereaux — no first name is used, not even by his wife — is a man who runs on impulse. For the first 30 minutes we follow him through a series of orchestrated sexual encounters and orgies. (Warning: Contains scenes of ice cream abuse!) He’s on a binge, driven more by compulsion than by lust. Even in a business setting — although it’s not entirely clear what kind of business he’s in — he fills his office with attractive women who paw him and offer massages to his guests. As played by Depardieu — who hasn’t given a performance this strong in years — Devereaux is crude, monstrous and almost childishly
short on self-awareness. But Ferrara refrains from judgment, presenting his excesses and his inevitable downfall with an odd detachment. After pushing the limits of bad behavior in the first half hour, Ferrara — like Devereaux — retreats into a more passive state. Devereaux’s manic spell comes to an abrupt end once he’s arrested, and the film changes just as suddenly, dwelling on even the minutest details of police procedure. The monster is humbled, overcome by the unresponsive guards, the inspections, even the process of being fingerprinted, all played out at length in deliberate contrast to the film’s hyperactive first act. But this is just the prologue to an even greater change sparked by the arrival of Devereaux’s wife, Simone. She’s an imperious figure, the real force behind her husband’s success. Brilliantly played by Jacqueline Bisset, she’s formidable and a bit frightening, and Devereaux seems to shrink from her rage. The film’s final scenes are a Bergmanesque study of their disintegrating marriage, with Simone trying to work through the repercussions of her now-subdued husband’s barbarousness. At the end Devereaux is defeated and deflated, and even the assault of the housekeeper, presented brutally and then slowly dissolving into insignificance, seems to have been forgotten. To his credit, Ferrara never expects us to truly feel sympathy for this strange villain, but there’s something disturbingly close to tragedy about his defeat. The monster from the film’s beginning has disappeared, replaced by a childlike figure who has started to believe — and take comfort in — his own lies. —ROBERT HUNT
Pagan Picnic
Look for the RFT Street Team at the following featured events this week:
Wednesday 6.10.15
Pagan Picnic
What: Parties in the Park When: 4:30 - 8:30 PM JUNE J JU UNE 10
Where: Downtown Clayton
FATPOCKET
JULY J ULY Y8
THREE PEDROS
AUG 12 AUG MADBEATS
YOU HAD ME AT “DRINK SPECIALS”!
SEPT S EP T 9
GRIFFIN AND THE GARGOYLES
Wed. 6.10 - Sat. 6.13 What: Twangfest
Pagan Picnic
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When: 7 - 10 PM Where: Off Broadway
Friday 6.12.15 & Saturday 6.13.15
Mile 277 Bikefest
What: Brewers Guild Heritage Festival When: 6 - 9 PM Where: Forest Park Central Field
The Pageant presents
Saturay 6.13.15 What: Saturday Sessions When: 9:30 AM - 12:30 PM
nOOn rday 10amevery satuearly october
mid-may–
l pavilion west pOO ove park
tower gr
Where: Tower Grove Farmers’ Market
Saturday Sessions
For more photos go to the Street Team website at www.riverfronttimes.com. Saturday Sessions riverfronttimes.com
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RF T MUSI C Show case Saturday, June
20, 2015
1 night 3 100 Bands 3 10+ Venues RFTMusicShowcase.com
STILL ROLLING OUR ONGOING, OCCASIONALLY SMARTASS, DEFINITELY UNOFFICIAL GUIDE TO WHAT’S PLAYING IN ST. LOUIS THEATERS “I don’t, whatever, I don’t want to give it any more press than there already has been. It doesn’t bother me. Whatever.’’ This is not a review of Entourage, the movie, though it is what Eli Manning said about it. The Giants quarterback accepted an offer to appear on the HBO show — and then backed out after a scene had been written for him, much to the ire of series creator Doug Ellin. It’s been a grownup hissy fit ever since. Still, Manning’s words are markedly nicer than critics’ general opinion of the film, which underwhelmed on opening weekend. “The ride ain’t over,” Entourage’s tagline insists, but the Ellin/Piven vehicle should have left it in park when the series ended back in 2011. O Go behind the swoopy hair and glassy-eyed mugshots for a thoughtful, introspective look at Justin Bieber in Far From the Madding Crowd. There he is completing the New York Times Sunday crossword puzzle. Here, he pores over the International Pressed Flower Art Society’s latest newsletter. Hang on, our bad: Crowd is an adaptation of Thomas Hardy’s book of the same name. Set in Victorian England, it follows the strong-willed (if occasionally irrational) lady rancher Bathsheba Everdene — who will not ride side saddle, thankyouverymuch. (The world’s most politely thrown shade?) The film is quite pretty. Bieber remains awful. O Film hounds first said Aloha to Cameron Crowe’s film six months ago when leaked emails revealed that Sony’s execs had this to say about it: “There is no more to do...the satellite makes no sense...it never not even once works.” Bradley Cooper, Emma Stone and Rachel McAdams are caught in a love triangle in Hawaii. There are misdeeds to atone for, lessons to be learned, and the poor Air Force gets dragged into this mess. Crowe urges the audience to treat it as a “love letter” to the island, and on that front it succeeds: Palm trees, the ocean and that trio of actors are nice enough to look at, if you don’t mind the “film” lacking in things such as “plot” and “character development” and “entertainment.”
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—Kristie McClanahan
the arts Good Grief THE NEW STRAY DOG PRODUCTION IS A, WELL, DOG. BUT THE FAULT LIES ENTIRELY WITH THE SCRIPT. Dog Sees God: Confessions of a Teenage Blockhead Through June 20 at Tower Grove Abbey, 2336 Tennessee Avenue. Tickets are $20 to $25. Call 314-863-1995 or visit www.staydogtheatre.org.
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Stray Dog Theatre’s staging of Dog Sees God is the best version of the play I’ve seen yet, but I still can’t recommend it to anyone. work as Matt, making him both immediately unlikable and violently angry, and Chris Tipp creates a wholly sympathetic character out of the wounded and timorous Beethoven, the frequent victim of Matt’s abuse. (Lovers of the cartoon strip might remember when he was a young piano prodigy named Schroeder.) Ultimately Dog Sees God confuses shouting for emotion, cruelty for motivation and being edgy for having something to say. It is not a good time. But there is good news: Several of the actors in Dog Sees God will be in Stray Dog’s next show, Spellbound: A Musical Fable. I expect they’ll be even better in that, not least because Bert Royal didn’t write it. Q
Above: Ryan Wiechmann, Sara Rae Womack and Eileen Engel as Van, Tricia and Marcy. Left: Michael Baird and Sierra Buffum as CB and CB’s Sister.
P H OTO S B Y J O H N L A M B
eing a theater critic has its perks. You always get a good seat if you want it. You have access to a lot of interesting work being done by actors in all stages of their careers. You occasionally see a director try something new or daring, and as a result experience a well-known show in a different light. But sometimes you have to see Bert V. Royal’s Dog Sees God: Confessions of a Teenage Blockhead, so it’s not all magic and wonder. Stray Dog Theatre’s staging of Dog Sees God is the best version of the play I’ve seen yet, but I still can’t recommend it to anyone. Royal’s “black comedy” (those quotes are sarcastic) was a breakout New York Fringe Festival hit BY in 2005. It imagines the faPA U L miliar characters of Charles M. Schulz’s Peanuts comic F R I S W O L D strip in their teenage years. In Royal’s imagination, Linus (here called “Van”) is a stoner dipshit, Pigpen (“Matt”) is a psychopathic homophobe and clean freak, Peppermint Patty and Marcy (“Tricia and Marcy”) are promiscuous boozers and Charlie Brown (“CB”) is struggling to get over the recent death of Snoopy, who caught rabies and devoured Woodstock right before CB’s eyes. Royal’s imagination peters out when it comes to Sally, so she’s stuck with being “CB’s Sister” and has a corresponding lack of identity. Perhaps in abler hands all of that human misery could be spun into a challenging play about the horrors of growing up, but Royal’s script is simply so much nihilism, undercut by a jarring final scene that tries to put a cutesy bow on a slow-moving nightmare. Director Justin Been has helmed some sterling productions at Stray Dog in the past (his Tommy was amazing in all regards), and he intermittently succeeds in making this collection of miserable scenes and juvenile dialogue into something interesting. His young cast is game and enthusiastic. Viewed empirically, they make the most of the script. Michael Baird and Sierra Buffum create a natural, compelling rapport as CB and CB’s Sister in the penultimate scene. Ryan Wiechmann is at times charming as the perma-stoned philosopher Van. Brendan Ochs does good
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Join us for Father's Day! Featuring Chef Specialties: Oceano French Toast - $9 Brioche, battered and pan fried, served with fresh berries. Smoked Salmon & Tomato Frittata - $12 Fresh eggs with tomatoes, spinach and caper cream cheese with our Oceano breakfast potatoes. Chorizo and Mushroom Hash - $12 Turkey chorizo, tomato, bell peppers and onion with a poached egg and rustic bread. Baja Shrimp Hash - $13 Sauteed shrimp, bell peppers, tomatoes, onions and potatoes in a lobster broth with two poached eggs and rustic bread. Smoked Salmon Grilled Cheese - $12 Cold smoked salmon, three cheese blend, smoked gouda and tomato on grilled sourdough with garlic aioli. Grilled Beef Tenderloin with Poached Egg - $16 With spinach ragout, hollandaise and Oceano breakfast potatoes.
Also featuring Father’s Day dinner specials! 44 North Brentwood Blvd. Clayton, MO 63105 314-721-9400 www.oceanobistro.com 28
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cafe Soup of the day, hummus with pita and veggies, and the “Little Dipper” sandwich.
Twinkle, Twinkle, Little Star
Located on Cherokee Street.
THE LITTLE DIPPER IS TOO SMALL FOR AN OVEN — BUT NOT TOO SMALL TO KICK ASS
A L L P H OTO S B Y M A B E L S U E N
The Little Dipper 2619 Cherokee Street; 314-625-3230. Tues.Thurs. 11 a.m.-8 p.m.; Fri.-Sat. 11-1:30 a.m.; Sun. 11 a.m.-5 p.m. (Closed Mondays)
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hile Thomas Eversmann was working as a bartender at Hammerstone’s in Soulard, his long-time friend and bandmate Jason Paul was being groomed to work for the Hammerstone BY family’s small soap business. C H E RY L The gig was selling dishwashers and cleaning chemicals to BAEHR some of the best restaurants in town, and though Paul instantly
knew it was the wrong fit, he felt an obligation to stick it out. The owner himself had tapped Paul to follow in his footsteps — and it just so happened that the owner was his girlfriend’s father. Paul peddled his soapy wares for eight long years, watching as top chefs used his materials to help them prepare their kitchens. Then one day, on the way home from the office, he had a revelation. He turned his car around, walked into work and tearfully put in his notice. He just knew he belonged on the other side of the business. His plan was to open a food truck, and there was no turning back. Paul might not have had the courage to take such a leap without Eversmann. As soon as he heard that his friend of 30 years was planning to open a place of his own, Eversmann presented him with an idea: Instead of a truck, what if they together opened a tiny shop in a newly vacant storefront on Cherokee Street? Smalls Tea & Coffee had recently closed its doors, leaving the micro-size space in need of a new tenant. It wasn’t a food truck, Eversmann explained, but it was about the same size. And if Paul could handle the food, Eversmann would take care of the business side of the operations. riverfronttimes.com
The pair wasted little time. Paul’s last day at the soap company was November 14. On November 17, the friends signed the lease, and in February, they served their first customers as the Little Dipper sandwich shop. To call The Little Dipper small is an understatement: The place is to restaurants what the tiny-house movement is to living spaces — shockingly miniature. A six-foottall person has the wingspan to touch both walls simultaneously. The shotgun-style eatery has just enough room for three two-seater wooden tables, a counter and an open prep area. A chalkboard menu hangs on one wall; the other is exposed brick. Both are painted white to make the room feel larger. When weather permits, a few wrought-iron sidewalk tables add to the seating capacity. The Little Dipper’s sandwich-focused menu is inspired by the years Paul and Eversmann spent playing music in Chicago. The restaurant’s namesake dish is a classic hot Italian beef, soaked with gravy and topped with Provolone cheese and housemade giardiniera. Space limitations prevent the Little Dipper from having an oven, so Paul prepares the beef sous-vide — a method of continued on page 30
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$87+(17,& 0(;,&$1 )22' %((5 $1' 0$5*$5,7$6
“Carolina Reuben� with house-smoked turkey on Black Bear Bakery’s marble-rye bread.
Little Dipper
67 &+(52.(( 6 67 /28,6 02 21&2 &20 ::: 7$48(5,$(/%5
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The Little Dipper house-smokes the turkey for its “Carolina Reuben,â€? a ďŹ ery riff on the continued from page 29 classic deli sandwich. The sliced turkey is slow-cooking food in a temperature-controlled dressed with red cabbage slaw, piled on water bath. The result is melt-in-your-mouth marble rye bread and slathered with Thousand Island dressing. Paul livens the condiment meat that’s dripping with jus. After it’s cooked, the beef is then lightly with enough Sriracha to make you break a seasoned on the outside, shaved paper-thin sweat. Even the slaw has a touch of chile sauce, and piled high onto a crusty hoagie roll. The though the subtly sweet turkey mitigates the bread’s soft interior acts like a sponge for the heat for a balanced sandwich. In addition to the sandwiches, the Little meat’s juices and the giardiniera’s spicy brine. My only knock is that I would have liked extra Dipper serves a few appetizers and salads. The giardiniera. Next time I’ll ask them to go heavy hummus is different from most of its ilk in both texture and taste. Instead of a smooth, grainy on the piquant vegetables. As for the hot tuna sandwich, don’t be puree, the Little Dipper’s version is chunky fooled by its name; it’s anything but a standard and creamy, almost like baba ganoush. It’s also tuna melt. The aked ďŹ sh is tossed with diced shockingly good. Fresh mint and liberal lemon carrots, celery and onions, and is dressed with zest brighten the dip so that it’s pleasantly so little mayonnaise as to be barely noticeable. mouth-puckering. My favorite dish, though, is the bagna cauda, The mixture is spread onto crusty bread, capped with melted Swiss cheese and drizzled a northern Italian tapenade made of butter, with warm garlic butter sauce — basically, it’s olive oil and anchovy. That such a complex burst of avor was served to me in a plastic really good tuna-salad cheese bread. Though the Italian beef is its signature, to-go ramekin was mind-blowing — the the Little Dipper gives equal menu space to umami, salt and richness were so intense, it vegetarian dishes. The vegan “Wheatburgerâ€? was as satisfying as eating a rib-eye steak. I has characteristics of both a veggie burger enjoyed the assorted vegetables for dipping, and a savory baked good. The seitan (meat but my favorite way of transporting it into my substitute) base is mixed with vegetable mouth was the soft bread. I soaked up so much protein, our and oats, then seasoned with onto each piece it nearly deďŹ ed physics. The Little Dipper takes advantage of Tamari (gluten-free soy sauce) and a mĂŠlange the weekend revelers on of North African spices. After Cherokee Street by setting it’s baked, the patty puffs up up a late-night pop-up on until it’s something like a The Little Dipper the sidewalk in front of the falafel crossed with meatloaf. Hummus with pita restaurant. Paul can be found It’s served on brioche and and vegetables ........ $5 there until 1:30 a.m. cooking trimmed with traditional “The Little Dipperâ€? ...... $6 up anything that tickles his burger condiments like “Carolina Reubenâ€?...... $7 fancy: bacon-wrapped pork lettuce, tomato and onion. kebobs, tabouleh-stuffed I enjoyed the flavor, but I avocados and his signature recommend eating it in the restaurant. I ordered mine to go, and it got dessert — coconut-covered date balls. Word on the street is that they’re already on their tough after sitting too long. Another vegetarian option, the “Toatsted way to legendary. Eversmann and Paul are making beautiful Tomato,â€? is a fancy twist on cheese garlic bread. An open-face French loaf is spread with music at the Little Dipper: Paul’s creations garlic oil, covered in melted Swiss and feta show him growing into his new role as chef, cheeses, and ďŹ nished with sliced, oven-roasted and Eversmann’s business-savvy is apparent in Roma tomatoes. Cooking the tomatoes brings its success. Their little restaurant may be one out their sweetness and softens them so that of the city’s tiniest, but it’s already a brightQ they become spreadable — like a rustic sauce. shining star.
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short orders [BREWER CHAT]
For Brandon Stern, Scrubbing Floors Led to a More Civil Life
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MABEL SUEN
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randon Stern of the Civil Life Brewing Company (3714 Holt Avenue) wasn’t sure about his career path when he first got into the beer industry. In fact, he thought he was going to be a plumber — until a part-time job delivering pizzas for a Chicago brewpub put him on an entirely different course. “I came to this through a lot of twists and tumbles,” Stern laughs. “I started out working at a brewery and pizzeria called Piece in Chicago. I had some ideas about beer before then, but not a lot. That’s where my big exposure happened.” Stern was admittedly drifting along, trying to figure out what he wanted to do with his life, when an evening of shift drinks gave him some clarity. “I was sitting down talking to the guys and really got to know the brewers,” T H IS C O D E Stern explains. “I started TO DOWNLOAD THE FREE reading everything RIVERFRONT TIMES IPHONE/ANDROID APP I could, researched FOR MORE RESTAURANTS OR VISIT brewing, and found out riverfronttimes.com it was pretty easy to do at home.” Stern attended a class at the Siebel Institute in Chicago, the prestigious brewing academy whose main campus is in Munich. Eventually, the brewers at Piece let him try out for a spot on their team. “I started out scrubbing floors and pitching in any way that I could,” Stern recalls. “Eventually, I worked my way up and worked for them for a year and a half.” When his wife got into graduate school at Washington University, Stern knew he wanted to get in with one of St. Louis’ craft breweries. “I’ve always loved the Civil Life,” he says. “They were at the top of my list because I appreciated the way they are so technically sound.” Fortunately for Stern, the small brewery had an opening, and he’s been assisting head brewer Dylan Mosley since 2014. (“I’ve heard Dylan cusses a lot less since I’m there to help now,” Stern laughs.) As for his plumbing career, Stern says it helps him in his craft. “It’s actually beneficial. In brewing there are all sorts of pumps and valves and such. It’s not that far off.” Stern took a break from brewing to share his thoughts on St. Louis’ food and beverage scene, his shameless guilty pleasure and what you’ll never find in the beer he brews.
Civil Life Brewing Company’s Brandon Stern.
What is one thing people don’t know about you that you wish they did? I’m not sure if they’re things that people need to know about me, but I do a lot of bicycling, play a little guitar and enjoy checking out new restaurants and drinking establishments. That’s how I spend my free time. What daily ritual is non-negotiable for you? Coffee. If you could have any superpower, what would it be? Flying would be cool. What is the most positive trend in food, beer, wine or cocktails that you’ve noticed in St. Louis over the past year? This city is all about DIY and community. You work hard to make the things you believe in and rely on your connections and the people you know to support it. Work hard to grow your base. You see that all over the food and beverage scene here. Who is your St. Louis food or drink crush? I was fortunate to work at Olio when I first moved to St. Louis. Chef Ben Poremba is the best. I was also able to learn a ton from John Fausz, Bess Kretsinger, Andrey Ivanov and Jennifer Epley. Who’s the one person to watch right now in
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the St. Louis food and beverage scene? There are a ton of great young brewers being trained by some outstanding veterans of the industry here in St. Louis. It’s only a matter of time before we start to see some of them break out on their own. I’m also excited to see Jared Saffell and Heavy Riff [Brewing Company] run full tilt. Which ingredient is most representative of your personality? Malt...maybe? And not just because I work at the Civil Life. Malt is the soul of beer. If someone asked you to describe the current state of St. Louis’ food and beverage climate, what would you say? It’s a great time to be a part of it. Whether you are an interested foodie, beer and cocktail nerd, or an industry professional, there is so much to take advantage of. Regarding beer, we all look at the final product, but we brewers rely on farmers, tank and barrel manufacturers, bottle shop/bar owners, etc. We are experiencing a boom, and it’s fun. Name an ingredient never allowed in your brewery. Nelson Sauvin. I hate that hop. What is your after-work hangout? I tend to end up at Dressel’s, iTap [International Tap House] in the Central
“Whether you are an interested foodie or beer and cocktail nerd, there is so much to take advantage of.” West End, 4 Hands Brewing Company, Old Standard, Craft Beer Cellar in Clayton, Taste or the Royale, but that’s usually on Saturday or Sunday afternoon. What’s your edible or quaffable guilty pleasure? PBR me, ASAP. Hold the shame. What would be your last meal on earth? Tough one. My first thought is pizza because I spent a lot of time working at Piece in Chicago. I ate it so much it became my benchmark. There are too many pizza combinations to name here, but the meal would definitely include a glass of Dysfunctionale from Piece, a Civil Life Rye Pale Ale, Parabola from Firestone Walker and a Four Roses, double neat. — CHERYL BAEHR
A housemade waffle cone filled with three scoops of Jeni’s ice cream: raspberry sorbet, pistachio and honey, and mango lassi.
[FIRST LOOK]
Jeni’s Comes to the Central West End t. Louis’ ice-cream-driven caloric count just keeps getting higher. Our growing list of favorites includes everything from the fun flavors at I Scream Cakes and Ices Plain and Fancy to newcomer Clementine’s Creamery. Add to that frozen bucket list a recent contender for the place we’re most likely to get fat at this summer: Jeni’s Splendid Ice Creams (389 Euclid Avenue; 314-367-1700), which opened doors to its brand-new Central West End shop last week for a public debut, featuring free scoops. As its superfans could (and will) happily explain, Jeni’s is a thriving independent chain based out of Columbus, Ohio, with more than ten scoop shops throughout the country in cities including Los Angeles and Nashville. Owner and founder Jeni Britton Bauer has roots in and around St. Louis. The ice cream mastermind grew up in Peoria, Illinois, and her husband is from the river city itself. But though local grocery stores including Straub’s and Dierbergs have carried Jeni’s products in their freezer cases for some time, the Central West End shop is the first dedicated storefront in Missouri. “It’s just a really good ice cream experience,” Bauer says. “We make all of
our ice cream with grass-pastured milk, incredible ingredients and better flavors and mix-ins. We work with lots of smaller farms and our ingredients, many of which are fair trade or direct trade, really shine in the ice cream.” Jeni’s features fifteen signature gourmet flavors including salty caramel, darkest chocolate — which utilizes Askinosie chocolate from Springfield, Missouri — and sun-popped corn. Bauer’s personal favorites, the frozen yogurts, are made from a tart and fresh biodynamic (organic grass pastured) yogurt from Seven Stars Farm in Pennsylvania. Choose from flavor options including mango lassi, passion fruit, black currant and raspberry. Other varieties will also rotate throughout the year. From the specialty sundae list, try combinations like the “Gooey Butter,” with brown butter almond brittle ice cream, honey butterscotch sauce and salty caramel sauce, as well as “the Charleston,” with sweet cream ice cream, salty caramel sauce, blackstrap molasses and Virginia peanuts. Alternatively, build your own with any of above toppings as well as extra-bitter hot-fudge sauce. Jeni’s Splendid Ice Creams will be open from 11 a.m. to 11 p.m. daily. — M ABEL SUEN
MABEL SUEN
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Miss Leon’s fried chicken.
Enjoy a St . Louis Summer
MABEL SUEN
on our patio!
[RESTAURANT ROLL CALL]
Miss Leon Says Goodbye — For Now
I
n some sad news coming out of Bombers Hideaway, chef Leon Augustus Braxton Jr., a.k.a. “Miss Leon,” announced two weeks ago that his beloved Southern restaurant Miss Leon’s (3960 Chouteau Avenue, 314-652-0011) would close after service on Sunday, May 31. The announcement came just one day before Miss Leon’s final all-you-can-eat fried-chicken extravaganza, an event that put Braxton’s restaurant on the map and garnered him a cult following. Braxton announced the news on his Facebook page, citing the sale of Bombers Hideaway as the reason for Miss Leon’s closure. His restaurant was embedded inside the sprawling gay bar and nightclub in the city’s Grove neighborhood. Bombers Hideaway has now been sold, Braxton said, and it will become a lesbian bar called R-Bar. But this won’t be the last we see of Braxton, a mortgage-banker-turned-drag-queenturned-chef. (His alter ego? The drag queen Dieta Pepsi.) He will be returning to his roots, cooking at Rehab and taking catering jobs while he explores other options for the future of Miss Leon’s. Braxton wrote on Facebook, “So by now I am sure many of you have heard the news that the building that Miss Leon’s is housed in has been sold. It was sold to a very nice group of ladies who are going to open a lesbian bar called R-Bar. I fully support them, as I hope you will, and can’t wait to come
and have a shot of Southern Comfort. Best of Luck Ladies!! “With that being said, Sunday will be the last day that Miss Leon’s will be open. So let’s make this last AYCE Fried Chicken on hell of a party. I don’t believe in going out with a whimper I want go out with a bang! I will still be cooking at Rehab Saint Louis and exploring other options. I can still cater lunches and parties. So call me or text me. You know you can’t keep a big girl down! I just want to say thank you for all the support, love, kind words, great reviews, suggestions, and your patronage. I truly do appreciate each and every one of you. I love you my LGBTQIA family, even my haters!!!” Braxton tells Riverfront Times that he learned the news of the sale only the night before. “I found out at 7 p.m. last night,” Braxton said on May 30. “When I first heard that the group bought the building, I thought they were going to have me stay. Then I found out that they wanted to do something different with the space.” Braxton explains that Bombers Hideaway owners Chad Fox and Jim Weckmann had been leasing the space, so when the building’s owners had the opportunity to sell, Fox and Weckmann didn’t have a say in the matter. “They feel really bad,” Braxton says. Braxton will be re-joining the culinary team at Rehab, working the lunch shift and re-instituting the fried chicken Sundays that made him famous. His main focus, however, will be finding a space of his own in the Grove so that he can re-open Miss Leon’s. “It’s a temporary setback,” Braxton notes, “but it will be fine. It’s a sad day, but it’s going to happen.” — CHERYL BAEHR
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dining guide The Dining Guide lists only restaurants recommended by RFT food critics. The print listings below rotate regularly, as space allows. Our complete Dining Guide is available online; view menus and search local restaurants by name or neighborhood. Price Guide (based on a three-course meal for one, excluding tax, tip and beverages): $ up to $15 per person $$ $15 - $25 $$$ $25 - $40 $$$$ more than $40
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801 Chophouse 137 Carondelet Plaza, Clayton; 314-8759900. 801 Chophouse’s super-size steaks are the most expensive meal in town — and that seems to be the point. The restaurant peddles opulence to holders of corporate cards, as well as regular folks who want to feel like royalty (at least for a day). For the price tag, diners will receive impeccable service, fine wines and shamefully large cuts of beef. Bone-in selections are the best offerings: The strip, rib eye, pork and veal all benefit from the extra flavor (and thicker cut). 801 Chophouse offers a variety of steak enhancements, from Oscar-style with crab and béarnaise to a bone-marrow bath. However, the high-quality steaks and chops are delicious enough on their own. Seafood is incredibly fresh, and the oysters taste straight from the coast. Side dishes are served à la carte: The creamy scalloped potatoes and lobster macaroni & cheese are excellent options — just make sure to ask for a half order so you can save room for the Grand Mariner soufflé. $$$$ Avenue 12 North Meramec Avenue, Clayton; 314-727-4141. The long-time patrons who lamented the closure of Bryan Carr’s Pomme Restaurant and Pomme Café & Wine Bar can find respite at Avenue. The Clayton bistro, located just a few blocks away from its popular predecessors, combines the two concepts under one roof, but also allows Carr to up the ante on his classic French-influenced fare. The veteran chef keeps some of Pomme’s favorites on Avenue’s menu but also T H IS C O D E adds several successful new TO DOWNLOAD THE FREE dishes, such as authentic RIVERFRONT TIMES cassoulet with white beans, IPHONE/ANDROID APP duck confit, sausage and FOR MORE RESTAURANTS OR VISIT pork shoulder. The pork riverfronttimes.com schnitzel, topped with brandysautéed apples, is another standout dish, and appetizers such as wild mushrooms served with buratta over crusty bread demonstrate Carr’s culinary prowess. Avenue has an excellent brunch, with offerings such as blueberry and lemon pancakes and an overstuffed ham, egg and Gruyere crêpe that doubles as a hearty breakfast wrap. Pomme may still be on everyone’s mind, but Avenue proves to be a worthy followup. $$ Cantina Laredo 7710 Forsyth Boulevard, Clayton; 314725-2447. Cantina Laredo in Clayton is the first St. Louis location of the Dallas-based upscale Tex-Mex chain. The restaurant’s large contemporary bar has quickly become a happy-hour hot spot, pouring stiff drinks for the area’s business clientele. On the food side, diners can expect modernized, fusion versions of Mexican and Tex-Mex dishes, anchored by a large selection of fajitas and enchiladas. The restaurant’s signature appetizer, the “Top Shelf Guacamole,” is prepared tableside, with accoutrements added to your preferences. The “Enchiladas Veracruz” features two tortillas stuffed with a Mexican version of chicken spinach dip, and the “Costillas Con Fajita” is a gigantic, searing hot platter of ribs, steak and chicken, large enough for three diners. A must-try is the “Torta de Carnitas,” smoked pork topped with goat cheese, apricot jam and an over-easy egg. Though it’s difficult to save room for dessert, find a way to manage: The Mexican apple pie, finished with brandy butter tableside on a searing-hot cast-iron skillet, is a scrumptious end to the meal. $$-$$$ Niche 7734 Forsyth Boulevard, Clayton; 314-773-7755. Acclaimed restaurateur Gerard Craft has relocated his flagship restaurant, Niche, from Benton Park to a brand-new, state-of-the-art space in downtown Clayton. The menu from
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Craft and chef du cuisine Nate Hereford remains true to the ethos that made Niche so beloved among local diners: progressive modern cuisine with an emphasis on local, seasonal produce — and also with a playful side. Diners can order from the à la carte menu, but the new Niche also features a special chef’s table with an more extensive tasting menu. While drop-in diners might find an empty seat at the bar, reservations are strongly recommended. $$$-$$$$ Whitebox Eatery 176 Carondelet Plaza, Clayton; 314-8622802. Whitebox Eatery elevates daytime eating for busy Clayton diners with its upscale take on breakfast and lunch fare. The restaurant offers breakfast and lunch on the weekdays, and Saturday and Sunday brunch, with items such as turkey meatloaf, brioche French toast and smoked-salmon tartine. Pancakes, covered with housemade granola, fresh berries and whipped cream is a must, as is the breakfast salad — arugula, potatoes, bacon, feta cheese and crispy onions are topped with creamy herbed dressing and poached eggs. Whitebox Eatery’s freshly baked pastries are the restaurant’s highlight. Doughnuts, chocolate croissants, cheese Danishes and savory scones are a perfect end to the meal — or a tasty grab-and-go snack. $$
DOWNTOWN Death in the Afternoon 808 Chestnut Street; 314-6213236. Death in the Afternoon is a culinary oasis set in downtown’s idyllic Citygarden. The weekday lunch spot is the brainchild of Adam Frager and TJ Vytlacil of the members-only restaurant and bar Blood & Sand. Death in the Afternoon features impeccably presented soups, salads, sandwiches and snacks. From kimchi and pickled vegetables to housemade pastrami served on a pretzel, the menu offers something for everyone’s palate. The mahi mahi sandwich is spectacular: The fresh grilled fish is so moist it’s as if it were poached. Served with Meyer lemon and dill aioli, pickles and fennel salad, it’s an excellent lunchtime treat. The restaurant’s signature entrée is the tonkotsu ramen, a bowl of mouthwatering pork broth teeming with housemade noodles, mushrooms, pork loin and belly, a soft-boiled egg and garnished with black garlic oil. It’s comfort in a bowl. And lest the kids romping in Citygardens’ fountains have all the fun, Death in the Afternoon serves a rotating selection of cotton candy for dessert. It’s a whimsical end to a perfect meal — a great way to kill an afternoon. $$-$$$ Eat-Rite Diner 622 Chouteau Avenue; 314-621-9621. “Eat Rite or Don’t Eat At All.” So it says on the coffee cups (and the souvenir T-shirts) at this no-frills 24-hour greasy spoon amid the industrial wasteland between downtown and Soulard. Folks come from miles around to fill up on the breakfast-and-burgers menu: bar-hoppers and club kids finally coming down from their late-night-into-early-morning highs; factory workers and blue-collars getting off graveyard shifts; curious newcomers who’ve heard about the bizarro vibe that pervades these cramped counter-only environs. To call the food at Eat-Rite cheap is an understatement — six burgers (real-size, not White Castle-size) run $4.50. And many swear by the Eat-Rite’s redoubtable slinger (for the uninitiated, that’d be fried eggs, hash browns and a burger patty, avec chili). $ Maurizio’s Pizza & Pasta Bowl 220 S. Tucker Boulevard; 314-621-1997. Dives usually aren’t this spacious; there are enough tables and chairs set up in Maurizio’s to make it look like a cross between a sports bar and a corporate cafeteria. Dives also never boast menus this expansive: New York-style pizzas, strombolis, lasagna, manicotti, ribeye steak, lemon chicken, pork steak, subs, burgers, salads and — the icing on the cake — tiramisu. And while getting tons of food at cheap prices is great and all, what makes Maurizio’s a don’t-miss is the late-night people-watching. Open till 3 a.m. seven days a week, Maurizio’s is the place to cap off a night of downtown debauchery — and to witness all walks of Lou life in their after-hours glory. $ Pizzeoli 1928 South 12th Street; 314-449-1111. Before a recent expansion, Pizzeoli occupied a tiny, shotgun-style storefront on the first floor of one of Soulard’s historic buildings. Signaling how seriously Scott Sandler takes his pies, the authentic, wood-burning, Neapolitan oven took up roughly a third of the restaurant’s precious real estate. Now there’s room to sit: In addition to the small bar and a six-table dining area, Sandler has added a second dining room, which was previously its own restaurant. A few vintage travel posters of Naples dot the walls, and some Hindu-inspired décor, including a photograph of Sandler’s guru, is scattered about the interior. Sandler makes his dough fresh daily with finely ground “00” domestic flour (he’s decided it’s better than the Italian version) and a little bit of yeast. After it’s cooked in the 900-degree wood oven, the result is a pale gold crust speckled with small black dots of char that looks like a cheetah’s coat. Toppings are simple — and entirely vegetarian — ranging from the classic Neapolitan pies to some of Sandler’s own creations. The Margherita, the only true way to measure a Neapolitan pizzeria’s authenticity, is perfectly on point. Crushed and salted pear tomatoes, basil leaves and pearls of fresh mozzarella topped the impeccably cooked crust. The sauceless “Affumicata” pie is brushed with olive oil and sprinkled with halved cherry tomatoes. Smoked mozzarella is melted over the top (affumicata means “smoke” in Italian), and its flavor mingles with the char on the crust for a pleasantly bitter taste. Peppery arugula blankets the dish after it came out of the oven and provides a final, pungent punch. $-$$
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music Back to Their Senses
B-Sides 41 Critics’ Picks 43 Concerts 47 Clubs
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Nadine’s performance at Off Broadway will be the band’s first in more than ten years.
BELOVED ST. LOUIS ACT NADINE TO REUNITE FOR TWANGFEST, HONOR MEMORY OF LATE BASSIST ANNE TKACH Nadine 8 p.m. Friday, June 12. Off Broadway, 3509 Lemp Avenue. $17 to $20. 314-773-3363.
hen the members of Nadine take the stage at this week’s Twangfest, it will be the first time the band has played its songs in concert in more than a decade. For a period in the early 2000s, Nadine was widely seen as St. Louis’ Great White Hope for break-out success, thanks to smart songwriting, hooks that had both rootsy and poppy appeal, and an atmospheric edge that BY pushed the songs away from C H R I S T I A N square convention. While its final album, S C H A E F F E R 2003’s Strange Seasons, was released on the Los Angelesbased label Trampoline Records (which had the backing of singer-songwriter Pete Yorn and then-Wallflowers, now-Foo Fighters keyboardist Rami Jaffee), it didn’t quite set the world on fire. After a grueling West Coast tour, the band called it quits, and its members scattered to other projects, other bands and other cities. So while the spring announcement of a reunited Nadine was cause for celebration, it was quickly undercut by tragedy. The sudden and shocking death of bassist Anne Tkach in an early-morning house fire on April 9 is still keenly felt throughout the St. Louis music community — her reach, influence and spirit were each vast. But many music fans were first introduced to Tkach during her stint in Nadine; she was a bassist with swagger and bottomless reserves of cool in a band that could tend toward the cerebral. The announcement of the group’s reunion shows, which was posted shortly before her passing, put into relief her impact on the group. The lineup for Friday’s show will be a mishmash of various Nadine members from the group’s six-year run: Singer/guitarist Adam Reichmann and guitarist/keyboardist Steve Rauner, the band’s ballasts, will be reunited, along with founding member Todd Schnitzer on bass, Jimmy Griffin on guitar and Merv Schrock on drums. It will mark the first performance in which these five players have shared the stage together, combining to form a kind of Nadine continuum that represents the band’s
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many iterations and styles. Over drinks and BLTs on a Central West End patio in mid-May, Reichmann tempers his excitement at reuniting the band with the emotional burden of carrying on without Tkach. “It’s gonna be a heavy experience because she poured so much of herself into the band,” says Reichmann. “We were really looking forward to getting back together, because things with the band ended abruptly, and I hadn’t seen her in some time.” Reichmann describes Nadine as occupying a “rich seam of cross-genres” between powerpop and alt-country; certainly, many listeners drew comparisons to REM and early Neil Young, particularly in Reichmann’s yearning vocals. “At the same time, it’s hard to market that,” he says of the band’s difficulty in breaking out of St. Louis. “The timing of our band was really unfortunate, because we were in between the collapse of the music industry and the ability to selfpromote wasn’t as easy — all the tools hadn’t been built, except for MySpace,” Reichmann continues. “No one even had Facebook. I’m
not sure what that’s doing for younger bands now, but we were right in the crack of that whole divide.” Nadine’s dissolution, like many band breakups, was not without its bruises. Reichmann calls the group’s 2004 West Coast tour “the nail in the coffin” — it had become clear to him that after six years of pushing, Nadine was unlikely to grow in popularity. “People kind of stopped talking to each other after that. When you’re in a band, that’s the main way you know one another,” he says. Whatever disappointment the group experienced in its final run has faded; Reichmann speaks of Nadine’s many successes and personal triumphs with gratitude. He recalls monthlong European tours and rabid German audiences alongside the band’s 2003 album-release show at Mississippi Nights, which ended with a bagpipe-aided cover of AC/DC’s “It’s a Long Way to the Top (If You Wanna Rock & Roll).” Not a bad piece of rock excess for a band originally sprung from the fertile minds of Wash. U. undergrads. After the split, Reichmann played a few solo shows but mostly pursued his interests in video riverfronttimes.com
and photography. Rauner moved to Portland, Oregon, while the rest of the members followed their own musical paths. Griffin, already an in-demand guitarist when he joined Nadine, founded his own group, the Incurables. Schrock had left Nadine after the recording of Strange Seasons and re-emerged several years ago as the emphatic frontman for the soul-rock combo Ransom Note. And Tkach’s membership in other bands would tax this article’s word count, but her low-end prowess and plaintive vocals were a vital part of bands including Rough Shop, the Skekses and Magic City. “We were really looking forward to reconnecting on some other levels,” Reichmann says of the Twangfest offer. “When I say that everybody was on board with us dismembering the band, it was kind of abrupt. Getting back together with everyone again is certainly a nice part of the deal.” Reichmann suggests that “midlife crisis” is one reason for the reunion, though he says he relished “the opportunity to connect with Anne, connect with Merv, connect with Jimmy — folks that we just, frankly, missed.” Tkach’s death ini- continued on page 40
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THE ST. LOUIS PUBLIC LIBRARY’S
FREESERIES CONCERT LIVE ON
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RALPH BUTLER BAND (Motown)
START YOUR EVENING AT URBAN EATS!
10 a.m.- 7 p.m. I Central Library’s Locust Street Entrance
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Nadine
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tially appeared to scuttle the plans for Nadine’s reunion, according to Reichmann. “I think our initial reaction was that we weren’t gonna play the gig, and we had talked to the organizers about donating our slot or using it as a way to memorialize Anne,â€? Reichmann says. “It was really confusing — her death was very confusing to wrap our minds around anyway — so how it related to us, I had no idea. “Over time, as we had more conversations about it, there seemed to be a strong pull from people who knew her well that said, ‘Hey, you gotta go, and you gotta play this show, because that’s what Anne would want you to do.’ It’s hard to feel differently about that — not just when people are telling you that, but that’s what I feel in my heart too.â€? Reichmann and Rauner speak of Tkach’s role in the band both as a bassist and as a creative catalyst. She joined the group after the recording of its ďŹ rst two releases, Back to My Senses and Downtown, Saturday. “My whole thing with Anne is that she pulled the stick out of Nadine’s butt — and it was a big stick,â€? Reichmann laughs. “She had so much groove and was so funky.â€? In a widely circulated Facebook post after Tkach’s passing, Rauner called Tkach “our rock-and-roll mama bear. We had already put out a couple of records, but in my opinion Nadine did not become a band until Anne joined us.â€? When asked if any songs have been particularly hard to sing in light of the loss of his bandmate, Reichmann takes stock of Nadine’s whole catalog. “We have a lot of songs that were about loss and about disconnection — it was a pretty melancholic band at times,â€? he says. “I was playing ‘Rocking Chair Song,’ and I think I wrote that song about somebody else who I knew I was gonna be separated from for a long period of time, and I was thinking about, ‘Hey, one day this is all gonna be over, and we’re all gonna laugh about it.’ And that almost takes on a spiritual dimension thinking about Anne in that context. “I don’t know if this is my mind playing tricks on me, but I almost think that I wrote that song about Anne, way back when,â€? Reichmann continues. “But that sounds completely preposterous. In my mind somewhere I have the feeling that some component was reecting my relationship with Anne, at some point, and just playing it back just feels like it was totally written about her.â€? A month out from the Twangfest show, Reichmann sounds ready to take his place fronting his old group. “I miss singing — a lot. I’ve never been a super awesome guitar player, so that for me has always been remembering where things are and rocking out with everybody,â€? he says. “But the singing part is a whole other side of my brain and my physical self. When we started practicing, I thought, ‘Man, this feels physically good to sing.’ “It’s been emotional going back, and it all takes on a different character,â€? Reichmann adds. “In a way that’s been good for me, because I sort of suck at mourning — to have songs and all these shared memories to express is pretty awesome.â€? Q
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The Blue Pearl to Open on Cherokee This Summer The Blue Pearl: For concerts that don’t start at midnight.
JULIE SOMMER
* A
t 2926 Cherokee Street, owner/ manager Julie Sommer is getting close to opening a different kind of Cherokee bar — one she hopes will appeal to an older, more sophisticated clientele. The Blue Pearl plans to feature roots music and light food offerings. The business has already had its hearing for a liquor license. While Sommer needs to apply for occupancy and health-department permits before her license can be finalized, her goal is to open within the next few months. “Part of the idea for the space was to appeal to an older, working crowd,” Sommer explains. “Basically, I still love to hear live music, but I am older and work a lot, so I don’t want to go out to see a band that doesn’t even start until 11 p.m. or midnight. “I think a lot of ‘non-traditional’ folks in the Cherokee neighborhood and St. Louis generally might welcome the idea of early live music,” she continues. “There are many contractors, artists and other self-employed entrepreneurs who I believe would appreciate the opportunity to go to a nice place to hear music in the late afternoon or early evening.” Sommer expects the Blue Pearl to be open to the public four days per week. In addition to
a full bar, she plans to serve salads and simple snacks — dried fruits, pickled beets and marinated olives. Even before its opening, the bar has already become part of the Cherokee Street scene. Local filmmaker Bill Streeter used the space as one of many locations for his Lo-Fi Cherokee music video series, with the soon-to-open venue hosting the performance of local rock band Whoa Thunder. We caught up with Sommer via email to get the full details: Jaime Lees: How did you decide on the name Blue Pearl? Julie Sommer: I like the idea of blue. The ocean and the seas have been a big inspiration to me in many ways. Also, blues music is my favorite music, and Janis Joplin is my favorite singer. Her nickname was Pearl. I also appreciate pearls and other gems that come from the Earth. Pearls in particular develop into something beautiful and perfect over time from an imperfection inside of something else. I think that’s neat. How did you find your space? Around the time we bought our house in Tower Grove South, by a continued on page 42
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Blue Pearl
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fluke we went to the first People’s Joy Parade, and that is how we discovered Cherokee Street. Being St. Louis transplants, we did not know anyone or anything about the neighborhood at the time, but of course fell in love with the characters on the street and the character and history in the buildings. Because we rehab historic apartment buildings, when I saw an old boarded-up storefront, I was very intrigued and asked a realtor to get us in. I liked that it was mixed use — three residential units and one commercial — and fell in love when we saw the tin ceiling. At the time it was a pretty dingy board-up with a black crusty ceiling and awful pastel paint peeling off the walls covered by about 30 years worth of nicotine stains. Why Cherokee Street? As you know, there have been literally dozens of new businesses opening on Cherokee for the last couple of years, and I’m guessing many of those business owners chose to open their businesses on Cherokee. We just stumbled into Cherokee, found a great building, rehabbed it, and it had a historical storefront that was just begging to be something again! It just happened to be on Cherokee Street. Of course the neighborhood can’t be beat, but we did not really know that when my husband and I made the initial investment and brought the building back to life. The Blue Pearl will eventually have live music — what kind of live music? I hope to showcase acoustic blues, bluegrass, Americana, gospel, reggae, Appalachian, Native or anything that could be generally construed
“We just stumbled into Cherokee, found a great building, rehabbed it, and it had a historical storefront that was begging to be something again.” as roots music. I am not opposed to singersongwriters or folk music — in fact I love Joni Mitchell, Richie Havens, Woody Guthrie, etc. — but I do not want to have a coffeehouse vibe. I like some good old-fashioned rock & roll intensity and, well, roots in my music. You have a painting of Jerry Garcia hanging on the wall at the bar. Is that an indication that you’re going to book jam bands? While I’m certainly not opposed to smaller groups or acoustic versions of jam bands, the painting is not necessarily an indication of anything, really. While Jerry occupies an important place in my heart, the painting was not planned or a statement or anything. I was just out on Cherokee one evening and the great artist Mark Swain was selling his paintings in front of 2720. If you saw the painting, you know I had to buy it! Plus Jerry loved a lot of music and was a great artist, so maybe it is fitting that he is there watching over things and making sure we meet some high musical standards. —JAIME LEES
HOMESPUN APEX SHRINE Home Baked apexshrine.bandcamp.com
J
ammy, blues-kissed psychedelia is alive and well, and being rehearsed in a Crestwood basement. Apex Shrine, helmed by brothers Jack and Dan Eschmann on guitars and shared vocals, mines guitar-centric classic rock that never seems to go out of style. Yes, there are expected traces of Jack White and the Black Keys on a few of these tracks, but, as befitting an album with the word “baked” in its title, Home Baked is happy to lay back in the groove. The nine-song LP was released in December, but the band’s regular live shows and appearance at the early June Wakarusa festival in the Ozarks (alongside STS9, Umphrey’s McGee and other jam-fest mainstays) have raised the young band’s profile. The clearest sign of Apex Shrine’s modern guitar-rock tendencies comes right away in the opening track “Can’t Help Myself” — the imprint of Dan Auerbach is hard to miss in the fuzz-addled guitar and echo-treated vocals, techniques that the brothers employ in tandem throughout the album. “Walk” kills a little of the buzz that the lead-off track had brewing; the song’s heavy, rudimentary riffs belie much of the nuance found elsewhere. The Eschmanns are skilled enough guitarists, neither overly flashy with their solos nor especially interested in pushing these songs past their blues-rock limits. “What’s the Point” lets the guitars stretch out and finds the Eschmanns altering their tone with delays and phasers, while final track “Nobody Belongs Anywhere” hints at something more celestial. At well over seven minutes, “Never See Me Again” crashes and churns as it delivers its kissoff, and a roiling Hammond organ adds depth while bassist Brandon Pesek and drummer Nathan Wilson deploy a light shuffle in the verses and unload in the chorus. The song serves as a good aperitif for the album’s centerpiece, the noodley, falsetto-aided “Smooth Creation.” Some moments on Home Baked sound overblown or overlong (as music of this style tends to be), but “Smooth Creation” is effervescent and carefree, a short, staccato bit of funk that could serve as a working template for the band’s next move.—CHRISTIAN SCHAEFFER Want your CD to be considered for a review in this space? Send music c/o Riverfront Times, Attn: Homespun, 6358 Delmar Boulevard, Suite 200, St. Louis, Missouri, 63130. Email music@riverfronttimes.com for more information. 42
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critics’ picks
Nneka.
VOODOO GLOW SKULLS
7:30 p.m. Thursday, June 11. Fubar, 3108 Locust Street. $13 to $15. 314-289-9050 You do know that ska is making a comeback, right? The same twenty-year cycle that so often brings forgotten musical trends roaring back into our collective consciousness is to blame — or thank, depending on your opinion about upstroked guitar chords and wind instruments. Luckily, Riverside, California’s Voodoo Glow Skulls has been rendering even the impure, punkdamaged version of the genre more than listenable ever since the late ’90s, when the oft-derided third-wave subsect of ska dominated the airwaves. Now 27 years in and with more than 1 million records sold, the sextet the Cassillas brothers built shows no signs of slowing down. I Heard You Think You’re Bulletproof: Voodoo Glow Skulls’ live shows tend to get rowdy, and stage dives are commonplace. Don’t expect a muted affair, and don’t be the guy that got injured at a ska show, for pete’s sake. Not a good look. —DANIEL HILL
T H E M EAT M E N
8 p.m. Friday, June 12. Fubar, 3108 Locust Street. $12 to $14. 314-289-9050. Last year, the Meatmen released its first full-length of original songs in eighteen years, aptly named Savage Sagas from the Meatmen. The nineteen-track affair dabbles in all the same irreverent shock the veteran punk group is known for, with lyrics about sexually transmitted diseases, strip clubs and fistfights scattered throughout. A cursory look at the tracklist tells the tale succinctly; songs with titles including “The Ballad of Stinky Penis,” “Rock N’ Roll Enema” and “Big Bloody Booger on the Bathroom Wall” convey the band’s smirking approach before you even hit play on the stereo. Socially conscious music is all well and good, but sometimes you just want to listen to some good ol’ fashioned punk songs about poop and boners. Fortunately, the boys in the Meatmen have got you covered. And You Still Suck: Singer and Touch and Go Records founder Tesco Vee has been keeping the Meat alive for 35 years now (save for a period of inactivity in the late ’90s/
early ’00s), and the number of former members is in the double digits. Thankfully for all of us, Vee’s twisted vision lives on. —DANIEL HILL
NNEKA
8 p.m. Saturday, June 13. Blueberry Hill Duck Room, 6504 Delmar Boulevard, University City. $18 to $20. 314-727-2277. With the release of this year’s full-length My Fairy Tales, Nneka Lucia Egbuna has demonstrated that, at the age of 25 and past the point of anything resembling buzz, she is among the most compelling and political artists in contemporary worldbeat music. From the Stevie Wonder-esque soul-ska of opener “Believe System” to the hard-hitting dub of “Local Champion,” Nneka has fully embraced a panoply of reggae styles, channeling them in both exhilarating live performances and mind-bending studio productions. The sounds always rock; the messages always stick. Nneka vs. the Fanatics: The Nigerian-born songwriter has long celebrated and critiqued her homeland. On the new track “Pray For You,” Nneka turns her unflinching gaze toward the Islamist killers of Boko Haram.
Voodoo Glow Skulls.
—ROY KASTEN
J U DY TA L K
8 P.M. TUESDAY, JUNE 16. OFF BROADWAY, 3509 LEMP AVENUE. $10. 314-773-3363. All the great pairs of long-time duet singers — be it Porter and Dolly or Serge and Jane — have songs that chart a relationship from nervous beginnings to soul-deep love to bitter dissolution. That arc gets compressed and confronted on July Talk’s 2013 self-titled album, which finds Peter Dreimanis’ deeply barked growls countered by Leah Fay’s soft-touch vocals in these kitchen-sink dramas. The band’s acid-blues heaviness and stark new-wave slashes help amplify the emotional brutality, and a series of dramatic black-and-white videos seals the overall aesthetic. Choo-Choo-Choose Them: Quintet Bo & the Locomotive, whose It’s All Down Here From Here is one of the best local releases of 2015 so far, will open the show. —CHRISTIAN SCHAEFFER
Judy Talk.
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Bowling the way it is now– FUN!
6191 Delmar · 314-727-5555 PinUpBowl.com
"YOUR #1 CHOICE SINCE 1994!"
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Delmar Loop WEDNESDAY 9/9
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Saint Louis
TUESDAY 10/6
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SATURDAY 10/31
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THURSDAY 6/11
MONDAY 6/15
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UPCOMING SHOWS 6.24 RODRIGO Y GABRIELA 7.10 COREY SMITH 7.26 GRAHAM NASH 7.29 THE TALLEST MAN ON EARTH 8.1 ROB BELL 8.8 RUBEN STUDDARD 8.9 CHARLI XCX & BLEACHERS
9.3 THE GLITCH MOB 9.10 PATTON OSWALT 9.11 O.A.R. 9.15 NICK JONAS 9.27 BEACH HOUSE 9.29 ZZ WARD 10.21 LYLE LOVETT & JOHN HIATT 11.8 NEW FOUND GLORY/YELLOWCARD
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A L L P H OTO S B Y S T E V E T R U E S D E L L
Circus Flora
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t’s one of St. Louis’ most beloved summertime traditions, and it’s now open! Circus Flora’s “One Summer on Second Street” showcases high-flying acrobats, tightrope walkers, Jazz Age musicians, talented kitties and more. Photographer Steve Truesdell was on hand for the magic. Catch the show under the big top in Grand Center through June 28. See the rest at riverfronttimes.com/slideshow.
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concerts THIS JUST IN A Celebration of the Life & Music of Ray Kennedy: W/ John and Bucky Pizzarelli, Martin Pizzarelli, Konrad Paszkudzi, Fri., July 17, 8 p.m., $40-$50. The Sheldon, 3648 Washington Blvd., St. Louis, 314-533-9900. Amy Johnson: Wed., Aug. 26, 6 p.m., Free. Hard Rock Cafe, 1820 Market St., St. Louis, 314-621-7625. Andrew Exum Band: Thu., July 9, 7 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Anson Funderburgh: W/ Andy T. and Nick Nixon Band, Wed., July 8, 9 p.m., $15. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. The Bel Airs: Fri., July 24, 10 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Big George Brock: Fri., July 10, 10 p.m., $10. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Big Rich & the Rhythm Renegades: Wed., July 1, 9:30 p.m., $5. Wed., July 15, 7 p.m., $5. Tue., July 21, 8 p.m., $5. Tue., July 28, 9 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Billy Barnett Band: Thu., July 2, 7 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Blind Willie & the Broadway Collective: Mon., July 27, 8 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Bobby Long: Tue., Aug. 25, 8 p.m., $15. The Firebird, 2706 Olive St., St. Louis, 314-5350353. Boo Boo Davis & the T H IS C O D E TO DOWNLOAD THE FREE Stingers: Sat., July 4, 10 RIVERFRONT TIMES p.m., $10. BB's Jazz, Blues & Soups, 700 S. Broadway, St. IPHONE/ANDROID APP Louis, 314-436-5222. FOR MORE CONCERTS OR VISIT The Bottle Snakes: Thu., riverfronttimes.com July 23, 7 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Brady Lewis Group: Mon., July 20, 8 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Brother Jefferson Band: Sat., July 25, 10 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-4365222. Chris Brown: W/ Kid Ink, Omarion, Fetty Wap, Teyana Taylor, Thu., Aug. 13, 7 p.m., $34.50-$125. Scottrade Center, 1401 Clark Ave., St. Louis, 314-241-1888. Curt Copeland: Wed., July 22, 6 p.m., Free. Hard Rock Cafe, 1820 Market St., St. Louis, 314-621-7625. David Dee & the Hot Tracks: Sat., July 11, 10 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. David Toretta & Michael O'Hara Project: Sun., July 19, 2 p.m., $20. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Eli Cook: Fri., July 10, 7 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Emily Roig: Wed., July 29, 6 p.m., Free. Hard Rock Cafe, 1820 Market St., St. Louis, 314-621-7625. Enforcer: W/ Warbringer, Cauldron, Exmortus, Thu., Jan. 21, 6 p.m., $20. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Erin Harpe & the Delta Swingers: Wed., July 15, 9:30 p.m., $10. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Father John Misty: Wed., Oct. 7, 8 p.m., $25-$27.50. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161. Felix y Los Gatos: Thu., July 23, 9 p.m., $10. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Five Long Years: Sun., July 12, 8 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. The Follow: Wed., July 1, 6 p.m., Free. Hard Rock Cafe, 1820 Market St., St. Louis, 314-621-7625. Freddie Gibbs: Tue., July 21, 8 p.m., $20-$40. The Ready Room, 4195 Manchester Ave, St. Louis. Good for the Soul: Sun., July 5, 6 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Hector Anchondo Blues Band: Sun., July 26, 8 p.m., $10. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Huey Mack: Sun., July 26, 6:30 p.m., $16-$35. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. Jamie Wilhite and Cara Stern: Wed., July 15, 6 p.m., Free. Hard Rock Cafe, 1820 Market St., St. Louis, 314-621-7625.
SCAN
Joe Metzka Blues Band: Sun., July 19, 7:30 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-4365222. Johnny Chase: Wed., Aug. 5, 6 p.m., Free. Hard Rock Cafe, 1820 Market St., St. Louis, 314-621-7625. Josh Hoyer & the Shadowboxers: Thu., July 16, 8 p.m., $10. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Keith Moyer Group: Mon., July 13, 8 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Kutt Calhoun: Fri., July 31, 7 p.m., $10. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. Kyle Yardley Blues Band: Fri., July 17, 10 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-4365222. Leroy Jodie Pierson: Fri., July 3, 7 p.m., $5. Fri., July 17, 7 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Leroy Pierson: Fri., July 24, 7 p.m., $5. Fri., July 31, 7 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Love Jones "The Band": Thu., July 30, 9 p.m., $5. Fri., July 31, 10 p.m., $5. Fri., July 3, 10 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Mary Scholz: Wed., June 17, 6 p.m., Free. Hard Rock Cafe, 1820 Market St., St. Louis, 314-621-7625. Mine Enemies Fall: W/ BlackDeth, Skinbound, Saracidal, Zustiak, Thu., July 16, 7 p.m., $12. Fubar, 3108 Locust St, St. Louis, 314-289-9050. The Monkees: Sat., Aug. 1, 8 p.m., $65.90-$76.65. River City Casino & Hotel, 777 River City Casino Blvd., St. Louis, 314-388-7777. Patti & the Hitmen: Sat., July 18, 3 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Randy McAllister Band: Wed., July 22, 9:30 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, 314-436-5222. Ratatat: Wed., Sept. 9, 8 p.m., $25-$30. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161. Ravagers: W/ I Actually, Sun., July 5, 8 p.m., $10. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Revence: Wed., July 8, 6 p.m., Free. Hard Rock Cafe, 1820 Market St., St. Louis, 314-621-7625. Riley Parker: Wed., Aug. 12, 6 p.m., Free. Hard Rock Cafe, 1820 Market St., St. Louis, 314-621-7625. Rocky & the Wranglers: Tue., July 28, 9 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Saint Motel: Wed., July 22, 8 p.m., $12-$14. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. Silent Planet: Thu., June 18, 5 p.m., $5. Fubar, 3108 Locust St, St. Louis, 314-289-9050. SoMo: W/ Jordan Bratton, Sat., Oct. 31, 8 p.m., $25-$27.50. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161. Soulard Blues Band: Sat., July 18, 10 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. St. Louis Social Club: Tue., July 21, 8 p.m., $5. Tue., July 7, 8 p.m., $10. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. That 1 Guy: Thu., Oct. 22, 8 p.m., $13-$15. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505. Tom Byrne & Erika Johnson: Mon., July 6, 8 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Tom Hall: Sat., July 4, 6 p.m., $5. Sat., July 11, 7 p.m., $5. Sat., July 18, 7 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Tom Hall & Alice Spencer: Sun., July 5, 9 p.m., $5. Sat., July 25, 7 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Tom Hall & Ethan Leinwand: W/ Alice Spencer, Tue., July 14, 8 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Tyler Lyle: Sun., Aug. 2, 8 p.m., $12. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Vince Staples: Sun., July 19, 8 p.m., $15. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. Viscera Trail: W/ Psychiatric Regurgitation, Devolving Messiah, Thu., Aug. 13, 8 p.m., $10-$12. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Vomitface: W/ Little Big Bangs, Bastard and the Crows, Tue., July 7, 8 p.m., $4. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. Voo Davis Band: Thu., July 9, 9:30 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. Walter Trout: Sun., July 19, 8 p.m., $20-$22. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505. The Who: W/ Joan Jett & the Blackhearts, Sun., Dec. 6, 7:30 p.m., $36.50-$136.50. Scottrade Center, 1401 Clark Ave., St. Louis, 314-241-1888.
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T H U R S DAY Ben Harper and the Innocent Criminals: Thu., June 11, 8 p.m., $50/$60. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161, www.thepageant.com. Mae: Thu., June 11, 8 p.m., $20. The Firebird, 2706 Olive St., St. Louis, 314-535-0353, www.firebirdstl.com. Twangfest Day 2: w/ Matthew Sweet, Lilly Hiatt, Spectator, Thu., June 11, 8 p.m., $22/$25. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363, www.offbroadwaystl.com. Voodoo Glow Skulls: w/ Slow Children, the Timmys, Captain Dee and the Long Johns, Snooty and the Ratfinks, Thu., June 11, 7:30 p.m., $8-$10. Fubar, 3108 Locust St, St. Louis, 314-289-9050, www.fubarstl.com. The Wilderness: w/ Andy Cook, Brother Lee & the Leather Jackals, Thu., June 11, 9 p.m., Free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337, www.schlafly.com.
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SOUTH 5616 S. Lindbergh • (314) 842-1242 WEST 14633 Manchester • (636) 527-26811
RIVERFRONT TIMES
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Davina and the Vagabonds: Fri., June 12, 8 p.m., $10$15. The Demo, 4191 Manchester Ave, St. Louis, www. thedemostl.com. The Growlers: Fri., June 12, 8 p.m., $12-$15. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505, www. oldrockhouse.com. The Hollow End: w/ the Leonas, the Defeated County, Fri., June 12, 9 p.m., Free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-2412337, www.schlafly.com. Imagine Dragons: Fri., June 12, 7 p.m., $46.50$70.65. Scottrade Center, 1401 Clark Ave., St. Louis, 314-241-1888, www.scottradecenter.com. Jungle: Fri., June 12, 8 T H IS C O D E p.m., $18.50-$20. The Ready TO DOWNLOAD THE FREE Room, 4195 Manchester Ave, RIVERFRONT TIMES St. Louis, www.thereadyroom. IPHONE/ANDROID APP com. FOR MORE CLUBS OR VISIT The Meatmen: Fri., June riverfronttimes.com 12, 8 p.m., $12-$14. Fubar, 3108 Locust St, St. Louis, 314-289-9050, www.fubarstl. com. Peter Cetera: Fri., June 12, 7:30 p.m., $38-$68. Family Arena, 2002 Arena Parkway, St Charles, 636-896-4200, www.familyarena.com. Twangfest Day 3: w/ Lydia Loveless, Nadine, The Trio Project, Fri., June 12, 8 p.m., $17/$20. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363, www.offbroadwaystl.com. Ulrich Ellison & the Tribe: Fri., June 12, 10 p.m., $10. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-4365222, www.bbsjazzbluessoups.com.
SCAN
S AT U R DAY Boo Boo Davis & the Stingers: Sat., June 13, 10 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222, www.bbsjazzbluessoups.com. Hinder: w/ Full Devil Jacket, Sat., June 13, 7 p.m., $18-$20. Pop's Nightclub, 401 Monsanto Ave., East St. Louis, 618274-6720, www.popsrocks.com. Hollywood Ending: Sat., June 13, 7 p.m., $15-$60. The Firebird, 2706 Olive St., St. Louis, 314-535-0353, www. firebirdstl.com.
Jon Valley: w/ Ellen the Felon, De Los Muertos, Sat., June 13, 9 p.m., Free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337, www.schlafly.com. Midwest Avengers: w/ Hollow Point Heros, Illphonics, Blank Generation, Beast Mode, RC Fonzarelli, Sat., June 13, 8 p.m., $10. Cicero's, 6691 Delmar Blvd., University City, 314862-0009, www.ciceros-stl.com. Nato Coles & the Blue Diamond Band: Sat., June 13, 8:45 p.m., $8-$10. Fubar, 3108 Locust St, St. Louis, 314289-9050, www.fubarstl.com. Nneka: Sat., June 13, 8 p.m., $18-$20. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444, www.blueberryhill.com. Soulition Park Jam: w/ Willpower, DJ Agile One, DJ NIMBUS, DJ Reminise, Nappy DJ Needles, Dj Jmo, Apple Jac, DJ Frances Jaye, DJ MAKossa, Kase One, John Cobb, Enoch Is Real, Sat., June 13, 11 a.m., Free. Strauss Park, Washington & N. Grand boulevards, St. Louis. Twangfest Day 4: w/ The Bottle Rockets, Eric Ambel, Jimbo Mathus, Sat., June 13, 8 p.m., $19-$22. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363, www.offbroadwaystl.com.
S U N DAY Bob "Bumblebee" Kamoske & Mighty Mike Graham: Sun., June 14, 9 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222, www.bbsjazzbluessoups.com. Ill Nino: w/ Kittie, Straight Line Stitch, Motograter, the Bloodline, Unloco, Davey Suicide, Sun., June 14, 3 p.m., $16-$20. The Ready Room, 4195 Manchester Ave, St. Louis, www. thereadyroom.com. Lions: w/ Messes, Lobby Boxer, Supercousins, Sun., June 14, 8 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100, www.facebook.com/ FoamCoffeeandBeer?ref=ts. Quizzy James Album Release: Sun., June 14, 8 p.m., $10. Fubar, 3108 Locust St, St. Louis, 314-289-9050, www. fubarstl.com. St. Louis Symphony: The Sounds of Simon and Garfunkel: Sun., June 14, 2 p.m., TBA. Powell Symphony Hall, 718 N. Grand Blvd, St. Louis, 314-534-1700, stlsymphony.org. Wayne Hancock: Sun., June 14, 8 p.m., $12-$15. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363, www. offbroadwaystl.com.
M O N DAY Aviator: w/ Tri State Era, LifeWithout, Mon., June 15, 8 p.m., $10. Fubar, 3108 Locust St, St. Louis, 314-289-9050, www. fubarstl.com. Elle King: Mon., June 15, 8 p.m., $15-$17. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505, www.oldrockhouse.com. Melvins: w/ Le Butcherettes, Mon., June 15, 9 p.m., $20-$22. The Firebird, 2706 Olive St., St. Louis, 314-535-0353, www. firebirdstl.com. Michael Franti: w/ Spearhead, Nattali Rize, Notis, Mon., June 15, 8 p.m., $27.50/$30. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161, www.thepageant.com.
T U E S DAY Art of Dying: w/ Munj, Operator 303, Adarose, Tue., June 16, 7 p.m., $14-$16. Fubar, 3108 Locust St, St. Louis, 314-2899050, www.fubarstl.com. Gates: Tue., June 16, 8 p.m., $5. Lemp Neighborhood Arts Center, 3301 Lemp Ave., St. Louis, 314-771-1096, www. lemp-arts.org. July Talk: Tue., June 16, 8 p.m., $10. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363, www.offbroadwaystl. com. St. Louis Social Club: Tue., June 16, 8 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222, www.bbsjazzbluessoups.com.
W E D N E S DAY The Adolescents: w/ the Weirdos, Wed., June 17, 8 p.m., $17-$20. Fubar, 3108 Locust St, St. Louis, 314-289-9050, www.fubarstl.com. Civil Twilight: w/ In The Valley Below, the Sun and the Sea, Wed., June 17, 7 p.m., $10-$12. The Firebird, 2706 Olive St., St. Louis, 314-535-0353, www.firebirdstl.com. Hackensaw Boys: Wed., June 17, 9 p.m., $10. 2720 Cherokee Performing Arts Center, 2720 Cherokee St, St. Louis, 314-276-2700, www.2720cherokee.com.
savage love Transitions Hey, Dan: A big congrats to Caitlyn Jenner on her big reveal and lovely Vanity Fair cover! But I am having a crisis of conscience. On one hand, I support a person’s right to be whoever the heck they want to be. You want to wear women’s clothing and use makeup and style your hair? You look fabulous! You want to carry a pillow around with an anime character on it and get married to it, like a guy in Korea did? Congrats! You want to collect creepy lifelike dolls and push them around in a stroller, like a woman on Staten Island BY does? Great! But I’m confused where we draw the line. When DAN a thin person believes they’re “fat” and then dangerously reS AVA G E stricts their food intake, we can have that person committed. Most doctors won’t amputate your arm simply because you feel you were meant to be an amputee. But when a man decides that he should be a woman (or vice versa), we will surgically remove healthy body parts to suit that particular desire. Of course, we modify/enhance/surgically alter other body parts all the time. I guess I’m confused. Could you shine some light on this for me? I want to be less conflicted about sexreassignment surgery. No Surgery For Me
Gender identity, unlike marrying a pillow or pushing a doll around in a stroller, is not an affectation or an eccentricity or plain ol’ batshittery. Gender identity goes to the core of who we are and how we wish to be — how we fundamentally need to be — perceived by others. Take it away, Human Rights Campaign: “The term ‘gender identity,’ distinct from the term ‘sexual orientation,’ refers to a person’s innate, deeply felt psychological identification as a man, woman or some other gender, which may or may not correspond to the sex assigned to them at birth…. Transitioning is the process some transgender people go through to begin living as the gender with which they identify, rather than the sex assigned to them at birth. This may or may not include hormone therapy, sex-reassignment surgery, and other medical procedures.” Unlike people who have healthy limbs amputated (which some doctors will do, if only to prevent people with “body integrity identity disorder” from amputating their own limbs) or thin people starving themselves to death because they think they’re fat, transgender people who embrace their gender identities and take steps toward transitioning are almost always happier and healthier as a result. That said, transitioning is not a panacea. Just as coming out of the closet isn’t the end of a gay person’s struggles or troubles, transitioning — which may or may not involve surgery and/
or hormones — won’t protect a trans person from discrimination or violence, or resolve other personal or mental-health issues that may exist. You seem pretty concerned about the surgical removal of healthy body parts. To which I would say: Other people’s bodies — and other people’s body parts — are theirs, not yours. And if an individual wants or needs to change or even remove some part(s) of their body to be who they are or to be happy or healthy, I’m sure you would agree that they should have that right. Again, not all trans people get surgery, top or bottom, and many trans people change everything else (they take hormones, they get top surgery) but opt to stick with the genitals they were born with. (The ones they were born with tend to work better than the ones that can currently be constructed for them.) But unless you’re trans yourself, currently sleeping with a trans person, or about to sleep with a trans person, NSFM, it’s really none of your business what any individual trans person elects to change. For me, it boils down to letting people be who they are and do what they want. Sometimes people do things for what can seem like silly and/or mystifying reasons (marry pillows, grow beards, vote Republican), while sometimes people — sometimes even the same people — do things for very sound and serious reasons (come out, alter their bodies, vote Democrat). Unless someone else’s choices impact you in a real, immediate and material way — unless someone wants to marry your pillow or wants to surgically alter your body or wants to persecute you politically or economically — there’s no conflict for you to resolve. Accept that you won’t always understand all of the choices that other people make about their sexualities or gender identities — or their partners or their hobbies or their whatevers — and try to strike the right balance between minding your own business and embracing/ celebrating the infinite diversity of the human experience.
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Hey, Dan: Your advice to FACTS, the guy who cheated on his wife, was spot-on as usual. He should not tell a woman on a first date about the number of women he cheated on his ex-wife with before his divorce. You might also let him know to not mention the “crying myself to sleep every night” bit, either. But then, I am just a middle-aged gay man — so what do I know? Just Saying
Middle-aged gay men — what do we know about anything? On the Lovecast, Dan and Ophira Eisenberg discuss the wisdom of face tattoos: savagelovecast.com. mail@savagelove.net @fakedansavage on Twitter riverfronttimes.com
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RIVERFRONT TIMES
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300 Rentals
FLORISSANT! $600 314-309-2043 2 bedrooms, fenced yard, central air, newer carpet, all appliances, single carport, pets, flexible deposit! rs-stl.com RGN40
NORTH CITY! $375 314-309-2043 Remodeled 1 br, first floor, central air, hardwood floors, enclosed porch, off street parking! rs-stl.com RGN4U NORTH COUNTY $500 (314) 606-7868 Senior Community: 2Br, Fridge, Stove, Dishwasher, C/A, W/D Hkup. NORTH COUNTY! $375 314-309-2043 Updated apartment, cold a/c, all kitchen appliances, newer carpet & tile, no application fee! rs-stl.com RGN4T NORTH COUNTY! $499 314-309-2043 No Deposit! 2 bedrooms, garage w/opener, central air, all kitchen appliances, pets, ready now! rs-stl.com RGN4Z OLEATHA! $415 314-309-2043 All-electric 1 br, hardwood floors, all kitchen appliances, cold a/c, ceiling fans, pets, $250 deposit! rs-stl.com RGN4Y PAGE! $400 314-309-2043 Cute apartment, newer carpet, cold a/c, all appliances, off street parking, part utilities paid, only $200 deposit! rs-stl.com RGN4X RICHMOND HEIGHTS $495-$535 (Special) 314-995-1912 1 MONTH FREE! 1BR, all elec off Big Bend, Metrolink, 40, 44, Clayton SOULARD $700 314-724-8842 Spacious 2BR, old world charm, hdwd flrs, yard, frplcs, off st prk, no C/A, nonsmoking bldg, storage. nprent@aol.com SOUTH CITY $430-$465-$554 314-277-0204 3900 Dunnica 1BR; 3841 Gustine 1BR; 3718 McDonald 2BR SOUTH CITY 314-504-6797 37XX Chippewa: 3 rms, 1BR. all elec exc. heat. C/A, appls, at bus stop SOUTH CITY $400-$495 813-815 Courtois St: 1 & 2 BR, hdwd flrs, C/A.
314-707-9975
SOUTH CITY $400-$850 314-771-4222 Many different units www.stlrr.com 1-3 BR, no credit no problem SOUTH CITY $440 314-223-8067 Spacious 1BRs, Vinyl Floors, Ceiling Fans, Stove & Refrigerator, A/C, close to busline. W/D Hook-Up, Nice area SOUTH CITY $475 314-223-8067 Move in Special! Spacious 1BRs, Oak Floors, Ceiling Fans, Stove & Refrigerator, A/C, W/D Hook-Up, Nice area SOUTH CITY $475 314-707-9975 Grand & Bates: 1 BRs, hardwood flrs, all electric, C/A. SOUTH CITY $530 314-481-6443 6429 Gravois- Apt. 2 BR, C/A, Carpet, Draperies. $530 deposit SOUTH CITY $625 314-707-9975 Henrietta: 2 BRs, 1 BA, hdwd, W/D in unit, all elec, C/A. SOUTH CITY! $395 314-309-2043 All-electric 1 br, all appliances, frosty a/c, off street parking, hardwood floors, available now! rs-stl.com RGN4W SOUTH ST. LOUIS CITY 314-579-1201 or 636-939-3808 1, 2 & 3 BR apts for rent. www.eatonproperties.com. Sec. 8 welcome SOUTH ST. LOUIS CITY $600 314-374-6366 3449 Hereford: 2 bl W of Kingshwy at Oleatha. 1BR, deck in rear lg fncd yard. A/C, refin hdwd, coin lndry. No app fee. Discount
UNIVERSITY CITY $650 314-578-1470 6242 Cabanne. Large 2BD, Wash U Shuttle, Metrolink. WESTPORT/LINDBERGH/PAGE $515-$575 314-995-1912 1 mo FREE! 1BR ($515) & 2BR ($575 specials) Clean, safe, quiet. Patio, laundry, great landlord! Nice Area near I-64, 270, 170, 70 or Clayton
www.LiveInTheGrove.com
320 Houses for Rent FLORISSANT! $700 314-309-2043 Rent to own 2 bed house, all kitchen appliances, newer carpet, pets allowed, no application fee! rs-stl.com RGN47 HALLS FERRY! $405 314-309-2043 All-electric 1 bedroom house, full basement, frosty a/c, fenced yard, appliances, pets, off street parking! rs-stl.com RGN41 LOUGHBOROUGH! $475 314-309-2043 Nice 1 bedroom house, full basement, central air, garage w/opener, fenced yard, appliances, only $200 deposit! rsstl.com RGN42 MARYLAND HEIGHTS $1100 314-443-4478 1557 Redcoat: All elec. 3 bdrm, 2 bath house. Parkway Schools.
NORTH ST. LOUIS COUNTY 314-579-1201 or 636-939-3808 2,3 & 4BR homes for rent. eatonproperties.com. Sec. 8 welcome SOUTH CITY! $675 314-309-2043 Recently updated 2 bed house, full basement, hardwood floors, fenced yard, all appliances, walk-in closets! rs-stl.com RGN45 SOUTH CITY! $775 314-309-2043 Large 4 bed, 2 bath house, full basement, garage, fenced yard, appliances, pets, hardwood floors, off street parking rs-stl.com RGN48 ST ANN! $675 314-309-2043 Updated 2 bed house, central air, newer carpet, all kitchen appliances, pets, off street parking, ready to rent! rs-stl.com RGN46 UNIVERSITY CITY! $600 314-309-2043 Charming 2 bed house, central air, big basement, custom carpet & tile, extra storage, large yard w/deck! rs-stl.com RGN44
385 Room for Rent MIDTOWN $150/wk 314-397-8422 Rms for rent, friendly atmosphere, central loc. Public transportation accessible, just mins away from local shopping, amenities inc. fully furn rm, satellite TV,onsite laundry, active phone line,WIFI, all utils inc
200 Real Estate for Sale 210 Houses for Sale ST. CLAIR, MO 636-629-4339 FSBO: Meremac River home & guest cabin. Beautiful secluded waterfront lot, no flood. Gas heat/C/A, wood furnace.
SOUTHERN MISSOURI TRUCK DRIVING SCHOOL P.O. Box 545 â&#x20AC;˘ Malden, MO 63863 â&#x20AC;˘ 1.888.276.3860 â&#x20AC;˘ www.smtds.com
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IF YOU DESIRE TO MAKE MORE MONEY AND NEED A NEW JOB EARNING $45-$50 thousand the 1st year, great beneďŹ ts, call SMTDS, Financial assistance available if you qualify. Free living quarters. 6 students max per class. 4 wks. 192 hours. â&#x20AC;˘ More driving time than any other school in the state â&#x20AC;˘
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After hours or weekends 800-345-5407
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Are You Addicted to Pain Medications or Heroin ?
R
Suboxone Can Help.
314-754-5966
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OUTPATIENT SERVICES
763 S. NEW BALLAS RD. STE. 310 SAINT LOUIS, MO 63141
314-292-7323 or
5000 CEDAR PLAZA PKWY., STE. 380 SAINT LOUIS, MO 63128
314-842-4463
After hours or weekends 800-345-5407
DWI/BANKRUPTCY HOTLINE: Spiritual Readings by Randy Call Today for Your Free Mini Reading. 314-744-9160 DWI/Traf $50+/Personal Injury Mark Helfers, 314-862-6666- CRIMINAL former Asst US Attorney, 32 years exp
www.HelfersLaw.com The choice of a lawyer is an important decision & should not be based solely on advertising
Personal Injury, Workers Comp, DWI, TrafďŹ c 314-621-0500
ATTORNEY BRUCE E. HOPSON The choice of a lawyer is an important decision and should not be based solely on advertising.
R.O.C. LAW , A Debt Relief Agency, Helping People File For Bankruptcy Relief Under the New Bankruptcy Code. 314-843-0220 The choice of a lawyer is an important decision & shouldn't be based solely upon advertisements.
BUYING JUNK CARS, TRUCKS & VANS 314-968-6555
MAKE MONEY BY MAKING A DIFFERENCE. Donate at Octapharma Plasma today. 1FSTIBMM 3PBE )B[FMXPPE .0 t 314-524-9015 Must be 18-64 years old with valid ID, proof of social security number and current residence postmarked within 30 days. Information at octapharmaplasma.com.
PAINLESS TATTOO REMOVAL SEE OUR AD ON PAGE 4 OR CALL 866-626-8346
www.LiveInTheGrove.com
AFRAID TO DRIVE? â&#x20AC;˘ TRAFFIC TICKETS/WARRANTS? FEES FROM $25 â&#x20AC;˘
NEW DONORS EARN UP TO $250 FOR THE FIRST FIVE DONATIONS
Specials $30 $50
Therapeutic Foot Massage 1 Hr. Full Body Massage
Specializing in Chinese Accupressure, Deep Tissue, Hot Oil, Hot Stone, Swedish, Therapeutic Foot Massage 9441 OLIVE BLVD. ST. LOUIS, MO 63132 HOURS 9AM - 9PM
314-993-0517
w w w. S U N R I S E DAYS PA .C O M
Furnish Your Entire Home or Apartment for Only $790! Complete Package Includes: Sofa + Matching Chair + Coffee Table + End Table + 2 Lamps + Dinette Table + 2 Chairs + Queen Bed Frame with Headboard + Nightstand + Clothing Chest with Drawers
McGuire Furniture
Call (314) 997-4500 or visit our showroom at 650 Fee Fee Rd. in Maryland Heights! mcguirefurniturestl.com EarthCircleRecycling.com - 314-664-1450
Earth Circle's mission is to creatively assist businesses and residents with their recycling efforts while providing the friendliest and most reliable service in the area. Call Today!
DWI/Traf $50+/Personal Injury Mark Helfers, 314-862-6666- CRIMINAL former Asst US Attorney, 32 years exp
www.HelfersLaw.com The choice of a lawyer is an important decision & should not be based solely on advertising
Personal Injury, Workers Comp, DWI, TrafďŹ c 314-621-0500
â&#x20AC;˘(314)773-2111â&#x20AC;˘M. Motley, Atty.*The choice of a lawyer is an important decision and should not be based solely upon ads
ATTORNEY BRUCE E. HOPSON The choice of a lawyer is an important decision and should not be based solely on advertising.
PAINLESS TATTOO REMOVAL SEE OUR AD ON PAGE 4 OR CALL 866-626-8346
www.LiveInTheGrove.com Ultimate Massage by
Summer!
SWEDISH & DEEP TISSUE FULL BODY MASSAGE Daily 10 AM-5PM
South County Lemay Area
314-620-6386
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Are you addicted to Opiates? Pain medications or heroin? SUBOXONE CAN HELP
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NOT AFFILIATED WITH A HOSPITAL OS
Specializing in Adolescents, Adults, and Women Medication Management and Therapy 255 SPENCER RD., ST. PETERS MO 63376
52
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