NOVEMBER 2–8, 2016 I VOLUME 40 I NUMBER 44
That Touch of Ink MEET SIX TATTOO ARTISTS CHANGING ST. LOUIS, ONE BODY AT A TIME
By Katelyn Mae Petrin
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THE LEDE
“There’s a great view of Grand right outside this window. This is my reality TV show for $50 a week, and when I’m not busy I’ll just clean up and stare out that window and watch everything go down. I’ve seen everything from people stealing somebody’s bike to unscrupulous activities to whatever on the street.
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“I’m originally a west county boy. I’ve seen shit down here on the south side that I used to see on the TV news. Now I see it live and in person. You know when you see somebody shot on TV it’s different than when you see somebody shot right in front of you.” —BARRY ELLIS, A COOK AT THE BUTTERY IN TOWER GROVE SOUTH, PHOTOGRAPHED ON OCTOBER 19, 2016.
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TABLE OF CONTENTS FEATURE
10.
That Touch of Ink
Meet Six Tattoo Artists Changing St. Louis, One Body At a Time
Written by
KATELYN MAE PETRIN Cover by
NICK SCHNELLE
NEWS
CULTURE
DINING
MUSIC
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24
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The Lede
Calendar
Your friend or neighbor, captured on camera
Seven days worth of great stuff to see and do
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25
Team TIF
Film
St. Louis gives away hundreds of millions of dollars in tax incentives and abatements. Sarah Fenske reports on a new website attempting to calculate the true cost of doing business
Robert Hunt previews seven films opening at this week’s St. Louis International Film Festival
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Paul Friswold fastens his seatbelt for Mothers and Sons, now mounted movingly at the Rep
Raise Your Hands ... for What?
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Stage
Progressives are bitterly divided on Amendment 3, Danny Wicentowski reports
Kultural Revolution
Four Strings and a Dream
Christine Meyer and Michael Miller’s path to opening Kounter Kulture was a long, strange trip, but oh the payoff for St. Louis food lovers, writes Cheryl Baehr
Thomas Crone profiles cellist Jake Brookman, a classical artist who also moonlights with some heavy acts
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Side Dish
Christopher Krzysik of Blood and Sand found inspiration in the original Iron Chef
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First Look
Lauren Milford visits Mona’s, while Cheryl Baehr tries the French dip at Eat Sandwiches
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Bars
The B-Side brings a basic menu and a killer jukebox to Cherokee Street
B-Sides
A new petition vies to get KSHE in the Rock & Roll Hall of Fame
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Homespun
American Wrestlers Goodbye Terrible Youth
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Out Every Night
The best concerts in St. Louis every night of the week
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This Just In
This week’s new concert announcements
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NEWS
Tax Giveaway Totals Nearly $1 Million Per New Resident Written by
SARAH FENSKE
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t. Louis has been giving away tens of millions of dollars in tax incentives. So what’s the payoff? Andrew Arkills, a neighborhood activist in Tower Grove South and a number-cruncher by vocation, found himself wondering just that as he contemplated a May 2016 study showing that the city has given away $709.1 million in tax incentives and abatements over the last fifteen years. Such giveaways are often seen as necessary for shoring up city neighborhoods and reversing decades of population loss. But have they done as promised? Arkills found himself pondering a simple metric to attempt to answer that question: population gain (or, this being St. Louis, loss). To that end, he created a spreadsheet that showed the total incentives given per neighborhood from 2000 to 2014 next to the population shift in that neighborhood. Divide one by the other, and you get the per-person investment. In his analysis, Arkills included everything — not just the $709 million noted in the previous report, but also tax credits and other state incentives — for a total of $5.8 billion in giveaways and tax discounts. He also broke down population changes by race and gender. Lined up this way, the numbers suggest that even billions of dollars in incentives have not resulted in significant population growth — and that the small bump in new residents has been dwarfed by the tax deals given to land them. The per-person cost of these incentives is staggering. “The argument used by developers when they ask for these is that helps grow density and diversity,” Arkills
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Granted $2.5 million in tax abatements in the last fifteen years, Shaw has seen a significant decrease in black residents. | KELLY GLUECK notes. “But that argument doesn’t make sense when you look at the results.” Arkills took a particularly close look at the city’s central corridor — Downtown, Midtown, the Central West End, Lafayette Square, Skinker-DeBaliviere and other neighborhoods between Delmar and Chouteau along the I-64 corridor. Those neighborhoods have been gifted with $219 million in tax abatements and $338 million in tax increment financing from 2000 to 2014, offering price breaks that encourage developers to build everything from infill single-family homes to that new Whole Foods in the Central West End. That’s money that doesn’t go to schools or essential city services. Yet the total population gain in the central corridor from 2000 to 2014 was just 4,499 people. All those tax rebates come out to $953,733 per new resident. A lot of the action has been Downtown, which received $2.7 billion in tax breaks in the last fifteen years. Yet for all that money, just 2,997 people have moved downtown. That’s a subsidy of $915,837 per person. The tax breaks have been given even though, as Arkills points out, many central corridor neighborhoods are the same ones developers would be interested in even without incentives. Lafayette Square chalked up $2.7 million in tax
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abatements, even though its housing stock is among the city’s priciest. The Central West End garnered a combined $408 million in incentives, even though no one could argue the neighborhood is blighted. (Well, OK, people have argued that. But it’s downright laughable in light of the neighborhood’s soaring real estate prices.) Arkills hopes his calculations will challenge the conventional wisdom that these massive subsidies are a necessary evil. He’s also interested in the racial impact — and kickstarting a conversation about what tax abatements and incentives mean in light of that. And that’s because of this: Even as the central corridor gained new residents, it lost black ones. Arkills’ spreadsheets show a 1,049 net loss of black residents in those neighborhoods from 2000 to 2014. In essence, the city spent that $4.2 billion to gain a few white residents, but also to lose some black ones. The numbers look even more troubling on a micro level. In St. Louis, a tax increment financing subsidy often denotes a big development. That’s why you see the biggest TIF numbers in Arkills’ report in neighborhoods with office complexes and bigger projects. But tax abatement projects can be smaller. They can be given to developers building a house or
two — filling formerly ravaged neighborhoods like Shaw and McRee Town (now Botanical Heights) with higher-end housing. Typically, the abatements help to attract well-heeled homebuyers who might need to be persuaded to take a chance on the city. But the result in some neighborhoods is that black residents are increasingly being displaced for white ones. According to Arkills’ research: * In Botanical Heights, $3.49 million has been given in tax abatements — and in the same time period, there’s been a 54 percent drop in black population. * In Shaw, $2.5 million has been given in tax abatements, with a 53.8 percent drop in black residents. * Tower Grove East has seen $1.4 million in tax abatements, with a 43.6 percent drop in black residents. * Forest Park Southeast (aka the Grove) has seen $2.6 million in abatements, with a 40.8 percent drop in black residents. “You see all this money being invested, and you see how the racial makeup is changing,” he says. “We need to ask ourselves, why are we paying this money — to make a playground for white people?” Arkills has been building a website to share his data with the rest of the city. You can see his spreadsheets in a sortable format online at teamtifstl. com.
NEW TOBACCO TAX, AMENDMENT 3, DIVIDES PROGRESSIVES
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mendment 3 — the “Raise Your Hands for Kids” constitutional amendment increasing the state’s tobacco tax — represents many things to many activists and policy wonks. If passed by voters on November 8, the ballot measure would pour millions of dollars into funding early childhood education by raising the state’s rockbottom taxes on cigarettes. Or, as opponents say, the measure is actually a smokescreen designed to benefit Big Tobacco. Then again, could it be that Amendment 3 is a Trojan horse slyly inserting financial support for religious institutions within the state constitution? Depending on whom you ask, Amendment 3 is all these things and none of them. The disagreements are driving wedges between progressive allies, pitting the likes of the ACLU and Planned Parenthood — both oppose Amendment 3 — against a bevy of youth-oriented health organizations, as well as Missouri’s chapter of the NAACP, which supports it. These are groups that otherwise agree that extending early education can make a huge difference in kids’ lives and eventual careers. So what’s the trouble here? At its most basic level, Amendment 3 would add a 60-cent tax on cigarettes. An additional 67-cent “equity fee” would hit smaller tobacco companies, raising their prices to equal their name-brand competitors, which under a lawsuit settlement are obligated to reimburse Missouri for some medical costs linked to smoking. In total, the taxes could raise more than $300 million annually, most of which would fund health and education programs for children from birth through age five. Missouri currently budgets just $37 million a year for early childhood education. But the fact that Amendment 3’s marketing blitz is being bankrolled by tobacco giant RJ Reynolds — to the tune of more than $8 million — has caused consternation among health and education groups, including the Missouri National Education Association and the American Lung Association in Missouri. And some activists have cited other potential problems with the amendment’s proposed changes to the state constitution. The text is laden with
Raise your hands for kids... and Big Tobacco. But not stem cell research. It’s complicated! | SCHUB PHOTORAPHY/SHUTTERSTOCK provisions that have nothing to do with childhood education. The new tax revenue cannot be used “on behalf of any abortion clinic” or to fund research involving human embryonic stem cells. And speaking of research, Amendment 3’s authors also prohibit funds from going toward “tobaccorelated research of any kind.” Washington University denounced Amendment 3 as a threat to Missouri’s constitutional protections on stem cell research. And Planned Parenthood and NARAL blasted the measure for including restrictions on abortions. “While it is being sold as a health care initiative, this ballot measure is actively being pushed by anti-choice leaders as a way to steer government money to groups that play politics with abortion,” said NARAL Pro-Choice Missouri Executive Director Alison Dreith in a statement. Even some pro-life groups oppose Amendment 3 because simply using the word “abortion” would enshrine the concept with constitutional power. (The word “abortion” does not presently appear in the Missouri constitution.) The state’s largest pro-life group, Missouri Right to Life, is officially neutral on Amendment 3. The ACLU-Missouri has also joined the opposition, citing a provision in Amendment 3 that would allow the new tobacco tax funds to be distributed to religious institutions. “In one hidden line, the makers of Amendment 3 are undermining our
American ideal of protecting religion and democracy,” said Executive Director Jeffrey Mittman in a statement. “Amendment 3 is a dangerous Trojan Horse that violates the constitutional rights of all Missourians.” The various criticisms and strange alliances have gotten so complicated, the St. Louis Post-Dispatch’s editorial board initially endorsed the measure, only to retract its support in light of the stem-cell issue. The editorial board then flopped back to support after a retired Missouri Court of Appeals judge published a legal opinion stating, basically, that Amendment 3 wouldn’t affect any of the existing constitutional protections for stem-cell research. But not everyone is so disturbed by the inclusion of language touching on stem cell research, religion and abortion. Notably, progressive St. Louis Alderwoman Megan Green, no friend to Big Tobacco, is among those supporting Amendment 3. In a series of blog posts published October 25, titled “Progressive Case to Vote YES on 3,” Green made the argument for supporting an amendment riddled with concessions to special interests and tobacco companies. “Contrary to some of the information that is circulating about Amendment 3, it was actually drafted by a small group of early childhood professionals. I know because I was involved in those conversations,” Green wrote. Before joining St. Louis city government, Green worked for riverfronttimes.com
Child Care Aware Missouri as chief of data and communications. The organization, she says, was among the first at the table when the details of Amendment 3 were being hashed out and negotiated, a process that took about two years. In one post, Green argues that including explicit restrictions on how the funding can and cannot be used — such as prohibiting money from going to abortions and stem cell research — were based, in part, on lessons learned from previous failures to pass statewide cigarette tax referendums. Indeed, Amendment 3 will be the fourth attempt to raise Missouri’s lowest-in-the-nation cigarette taxes in the 21st century. Other proposals failed by narrow margins in 2002, with 49 percent in favor, and in 2006, with 48 percent. A 2012 ballot measure was even closer, with just over 50 percent of Missourians voting against the tax increase. When you’re losing by a bare sliver of votes, Green writes, reducing opposition from pro-life groups and tobacco companies could make all the difference in the final tally. The stakes — the well-being of children — are too high for ideological purity, she argues. “There are special interests driving both sides of this initiative to protect their interests,” Green concludes in one blog post. “If I’m going to side with a special interest, I’m going to side with the one who is also willing to support kids.” —Danny Wicentowski
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That Touch of Ink
MEET SIX TATTOO ARTISTS CHANGING ST. LOUIS, ONE BODY AT A TIME By Katelyn Mae Petrin Photos by Nick Schnelle
Sean Baltzell at work at Tower Classic Tattooing 10 RIVERFRONT TIMES
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hen he talks about his work as a tattoo artist, Sean Baltzell like to repeat an old adage: “Prostitution may be the oldest profession in the world, but the prostitute definitely had a tattoo. An abbreviated history of the artform lines the walls of Baltzell’s storefront at Tower Classic attooing. he printed designs known as ash — classic roses, eagles, reapers, tigers, sparrows, skulls, wolves, daggers and pinup dames, the oldies but goodies that you’ve seen time and again — hang in black frames on exposed brick walls. hat was the interest before interest was interest, alt ell says. The selection isn’t random; the designs in this vintage collection span decades of the 20th century, mostly the years between the 1 40s and 0s. “I’ve always been into history, I like tradition, like things that are being passed down, alt ell says. e s crafted his ash assortment
to re ect this. e seeks out certain artists and hunts for recreations of designs that catch his attention. To Baltzell, what he’s doing isn’t so different from what the original tattooed Americans — most often soldiers, sailors and criminals — did when they curated tattoo collections on their own skin: traveling, taking a process inspired by more meaningful rituals in other cultures and choosing the designs they found appealing. e s ust looking for the ash that lasted. t s almost like the telephone game, he explains. ou can tell, , well, that guy painted Sailor Jerry’s design, and then this guy repainted it. ou can see the change, the evolution or the de-evolution of the design when it gets passed down. Though our tattoo scene doesn’t tend to make it onto top ten lists, t. ouis can lay claim to significance in the art form s e olution. ne of the longest-running tattoo shops in America, Trader Bob’s Tattoo Shop, is located
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in t. ouis, and was founded by the legendary Bert Grimm, who spent a number of his early decades at t. ouis parlors. These days, the Missouri Division of Professional Registration records 50 tattoo parlors in t. ouis ity and ounty alone. f you consider the number of nearby shops in llinois or ust outside the county, there are even more artists to choose from. ach of these shops has its own personal are many artists follow in the footsteps of Grimm and other iconic traditional tattooers, while others branch out into modern and experimental styles. We sought out a few of the most interesting, well-reputed artists working in t. ouis today, people who work with teams of ust a few artists and who ink a range of looks and follow different philosophies. hey are a ust a sample of the excellent creators plying the tattoo trade here, but are an exemplary sample nonetheless — one with much to say about the past, the future, the art, and the life of the tattoo artist in t. ouis. Continued on pg 12
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Baltzell’s work takes its cue from tattoo history. | COURTESY OF SEAN BALTZELL
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ow 34, Sean Baltzell opened Tower Classic fi e years ago off anchester in the city’s Grove neighborhood with the hope that other like-minded folks would wander through the door. efore becoming a full-time tattoo artist, his Facebook bio notes that he studied arty ife at . he shop began with ust him and a few friends; now he works with a six-artist team. e co-owns ll ity attoo and lton attoo o. as well, but spends most of his time at Tower Classic, where he built the dark-wooded, vintage-style booths himself. Baltzell keeps himself busy; he talks fast and taps his fingers as he speaks. e garnished his shop with snippets of the past: ornate frames, Sweeney Todd-style barber chairs, bar stools made from tractor seats. The funky, natural variations on a design that’s been passed down through many artists often appeal to Baltzell far more than a perfectly rendered recreation. e explains ou start out with a skull and dagger, and 30 years later, after dozens of artists and tattoos use it as a ump-
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ing-off point, you might find a folky, weird skull with a lopsided aw that, through its ourney among so many creators, has gained a sort of charm. is shop follows a similar sort of logic, using its artists’ expertise to evoke the past rather than push trendy new forms or techni ues. “In 30 years, I don’t care how technical the tattoo is, with all these little highlights and tricks [so] it looks like a photograph — it s going to be beaten down by time and sun, he explains. hats why the shop won t do watercolors, which feature intricate line work and mingling colors like the paintings that inspire their name, or other more impressionistic styles. ts not that he hates these tattoos. ho am I to say that my panther on my arm is cooler than somebody’s water tattoo he asks rhetorically. hey re ust not what he does. “We really try to look into the past and pay homage to the classics, the designs that have really withstood the test of time, he says. personally have always loved walking into a shop that has good designs on the wall and ust being enamored with them, the antiquity of them or the intage nature of them, and ust
really find something that some guy in the 20s or 0s got tattooed on him and that I can still look at, and it speaks to me as well. And so Baltzell’s traditional American tattoos have the same aesthetic as the ash on his walls thick, black linework, bold colors. is colleagues co er a range of other traditional styles, including Japanese traditional (which look like woodblock paintings on the skin . eryone applies their own spin to the classic forms. ut ust because they alue the old ways doesn t mean they re ust copy-pasting ash from their walls. The shop specializes in custom work based in tradition — that perfect fusion, in alt ell s words, of modern and traditional. f someone comes in and asks for a tiger, he’ll page through his tiger ash, find an awesome old tiger and then look at wildlife books and recent tattoos. he result is indeed a fusion — classic styles with contemporary in uences. To Baltzell, there’s little more important than a tattoo’s ability to weather the ages — on the skin as much as with its style. “The black is gonna be the thing
that s remaining, he says. think that’s why we tend to drift towards things with heavy black outlines, heavy black shading, because it’s truly the structure of the tattoo. hats what s gonna last. For Baltzell, the popularization of tattoos — and, subse uently, tattooing — has taken something from the art. efore, he says, the tattoo artist was something of a carny, wandering from place to place. “The original tattooers, they weren t necessarily fine artists. e re talking about craftsman, weirdoes, eccentric people who were more into it for maybe the money or the spiritual reason, he says. nowledge was passed down from master to apprentice, and, for awhile, the knowledge was kept close to the artists breasts. ut now designing tattoos has become an increasingly iable career for fine arts students, and the technique is no longer passed ust from master to apprentice — it s e erywhere, including interest. To Baltzell, something has been lost in that wa e of popularity. he sacredness or intimacy of tattooing has been compromised slightly, he explains. Continued on pg 14
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Lindell and DeBaliviere in Forest Park
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Chelsea Holloway’s shop, Earth Alchemy Tattoo Collective, is on Cherokee Street.
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or helsea olloway, however, the “democrati ation of knowledge has gi en her — and others — the opportunity to oin a field that once was insular. “I feel like the more open people are, the better people get, and the more chances minorities get to enter the field, she says. he more it gi es a le el playing field so that you don t ha e to fit a specific white guy profile to be a successful artist. olloway, , certainly doesn t fit that profile herself. ike most other artists, she’s collected tattoos for herself o er the years. ut as the mother of two children, she hasn’t had much time to participate in some of the rites of passage of her trade, traveling all over the globe in pursuit of more styles and skin to put to ink. ut that hasn t stopped her from applying her fine arts education to learn the form, producing excellent work, and — after a number of odd obs and se en years of tattoo gigs — opening up her own shop last year. olloway, who grew up in t. ouis ounty, says she wanted to be a tattoo artist since she was six-
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teen — perhaps not coincidentally, her age when she got her first ink. t was totally different, she says. “It was a street shop by a military base, where I picked some tribal designs off the wall. Now she does her work in a much different way. arth lchemy Tattoo Collective, her shop on Cherokee Street, stands in sharp contrast to the darker environments of many street shops. t has a totally windowed storefront, soft pastel walls, vintage-looking boxes and framed artwork — what olloway describes as a “very zen kind of atmosphere. “It doesn’t feel like you’re walking into some place where all these super cool people are udging you, she says — an experience she says she’s had walking into some parlors herself. arth lchemy was born from olloway s frustration with the standard tattoo establishment business structure, in which artists generally give a large cut (often around 50 percent) to an owner in exchange for space. he wanted to democratize: share resources, cut overhead costs and work independently, rather than
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artists giving a percentage to a shop owner. o she opened her collecti e, a co-op shop where artists rent their own spaces and control their own business. Their business model isn’t the only thing that s untraditional. arth lchemy is one of ust two shops in t. ouis that s run by and filled mostly with women. he other, ucky at attoo, opened ust this year, staffed by three of t. ouis most popular lady artists. The shop also has no flash, which means all the work is custom, and the artists don’t have a stylistically specific framework. That gives them the freedom to explore different styles, different inks, different skins. try not to box myself into a corner, she says. Many of the tattoos she’s gotten are traditional, and she lo es them. ut as an artist, she finds the style limiting. t s ery much a boys club sort of thing, the code. raditional is where it all started so it’s very important to them to hold onto that, she explains, adding, nd it is a great style. specially for learning about what works and what doesn t. olloway more often works in
thinner lines and softer colors, sometimes using a neo-traditional style that modernizes and adds dimension to the art. er designs are recognizable by their incredibly clean, delicate linework. ome of the most striking are delicate flowers, bright faces, geometric designs washed in pastels. As a newer shop owner and mother, she hasn’t had the time to develop and explore as much as she d like. ut it s all part of a ourney the uest is endless. really feel like there’s no ceiling as to how far you can take your art, she says. olloway says she d like to create more tattoos she’s really inspired by. he recalls being commissioned to design an alien monster — something she didn’t think would excite her. ut she started drawing and loved the experience of imagining the creature from nothing. “It reminds me of being a kid and what inspired me to get into art in the first place, she says. “So far I haven’t been able to use tattooing that way, but it’s totally possible. see artists doing it all the time. he says she hopes she ll be able to build her clientele toward Continued on pg 16 that.
GO FURTHER. GO TOGETHER.
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att odel has already arge, custom pieces can t reached that point of be that wham-bam-thank-youcreati e exibility and ma am style of work, he says. t control at his shop, was a lot like trying to built custom agtime attoo. t took choppers at eineke. years to get there, but he s found it. When he visited a friend in ow 41, odel began working Austria, he found the answer: at a street shop on the oop, ron an appointment-only shop. fter ge attoo and iercing. hen working at a south city parlor I started tattooing, there was called Ragtime with its previous fourteen shops from allon, owner, odel inherited the shop llinois to allon, issouri, he and began crafting it into his recalls. ot all were superb. own image. ow he says he has e liked ron ge, and it taught appointments booked months in him a lot. ut he didn t like the ad ance. pace in ol ed with that set-up — e likes to oke that the shop isn t the amount of nervous energy with the place for your first tattoo — walk-ins, the lack of exibility, and but it s not really a oke. he shop the randomness of his days. is for the planner, not the drop-in. ou had fi e minutes to win If the six- to twelve-week wait their trust, to convince them period feels like too much, on top you’re not selling them a bag of of that, some consultations require goods, and get them out DATE AND TIME:DATE 11/08/2016 at 6:30 PMof there AND TIME: 11/08/2016 at 6:30two PM appointments. he shop tries with a good tattoo. nd then you to limit business to the devoted SPEAKERS: Mary Fink, APN, MSCN SPEAKERS: Mary Fink, APN, MSCN ha eBarbara fi e more on the list seeker who wants ust the right Green,people MD Barbara Green, MD DATE ANDDATE TIME:AND 11/08/2016 at 6:30 PM for that day, he says. The MS Center of Saint Louis TIME: 11/08/2016 at 6:30 PM The MS Center of Saintpiece: Louis with no advertisements and e dreamed of creating large, no phone, it operates by referral DATE AND DATE TIME: AND 11/08/2016 TIME: 11/08/2016 at 6:30 PM at 6:30 PM SPEAKERS: Mary Fink, APN, MSCN SPEAKERS: Mary Fink, APN, MSCN custom LOCATION: Patrick's Sports Bar and Grill LOCATION: Patrick's Sports Bar and Grill tattoos with clients who’d and total word of mouth. Barbara Green, MDGreen, MD Barbara West Port Plaza SPEAKERS: SPEAKERS: Mary Mary APN, Fink, MSCN APN, MSCN been342 342Drive West Port Plaza Drive odel has also structured the The MSFink, Center of Saint Louis tattooed a few times, knew The MSMD Center of Saint Louis Saint Louis, MO 63146 Barbara Green, Barbara MD Louis, MO 63146 DATE AND TIME: DATE 11/08/2016 AND TIME: at 11/08/2016 6:30Green, PM DATE at 6:30 AND PM TIME: DATE 11/08/2016 AND TIME: atSaint 6:30 11/08/2016 at 6:30 PM to combat a walk-in, ink up what they wanted, andPM were willspace The MS Center The MS of Center Saint Louis of Saint Louis LOCATION:LOCATION: Patrick's Sports Bar and Grill Patrick's Sports Bar and Grill EVENT CODE: TR369412 (1321565) ing to wait to let him make his art mentality — the nondescript, outEVENT TR369412 SPEAKERS: SPEAKERS: Mary Mary MSCN Fink,Drive APN, SPEAKERS: MSCN Mary SPEAKERS: Fink,CODE: APN, MSCN Mary Fink,(1321565) APN, MSCN 342Fink, WestAPN, Port Plaza 342 West Port Plaza Drive LOCATION: LOCATION: Patrick's Patrick's Sports Bar Sports and Grill Bar and Grill as perfect as possible. ut that ust of-the-way shopfront doesn’t even Barbara Green, Barbara MD Green, MD Barbara Green, MD Barbara Green, MD Saint Louis,Saint MO Louis, 63146MO 63146 342Center West342 Port Plaza Port Drive Plaza Drive The MS The of West MS Saint Center Louis of Saint Louis MS Center in of Saint The MS Louis Center of Saint wasnThe t possible a street shop. haLouis e a lobby.
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Continued from pg 14
Matt Hodel’s shop is not for spur-of-the-moment shoppers. | COURTESY OF MATT HODEL
Saint Louis, Saint MO Louis, 63146 MO 63146 EVENT CODE: TR369412 (1321565) EVENT CODE: TR369412 (1321565) LOCATION: LOCATION: Patrick's Sports Patrick's Bar andSports Grill LOCATION: Bar and Grill Patrick's LOCATION: Sports BarPatrick's and GrillSports Bar and Grill EVENT CODE: EVENT TR369412 CODE: TR369412 (1321565) (1321565) 342 West Port342 Plaza West Drive Port Plaza Drive 342 West Port Plaza342 Drive West Port Plaza Drive Saint Louis, MO Saint 63146 Louis, MO 63146 Saint Louis, MO 63146 Saint Louis, MO 63146 EVENT CODE:EVENT TR369412 CODE:(1321565) TR369412 (1321565) EVENT CODE: TR369412 EVENT CODE: (1321565) TR369412 (1321565)
DATE AND TIME: 11/08/2016 at 6:30 PM
DATE AND TIME: SPEAKERS:
SPEAKERS:
Mary Fink, APN, MSCN Barbara Green, MD 11/08/2016 at 6:30 PM The MS Center of Saint Louis
LOCATION: Patrick's Sports Bar and Grill Mary Fink, APN, MSCN 342 West Port Plaza Drive Barbara MD DATE ANDGreen, TIME: 11/08/2016 DATE at 6:30AND PM TIME: 11/08/2016 DATE AND at 6:30 TIME: PM 11/08/2016 at 6:30 PM Louis, MO DATE AND TIME:Saint 11/08/2016 at 63146 6:30 PM The MS Center of Saint Louis SPEAKERS: Mary Fink, APN, SPEAKERS: MSCN Mary Fink, SPEAKERS: APN, MSCN Mary Fink, APN, MSCN
EVENT CODE:Mary TR369412 (1321565) SPEAKERS: Fink, APN, MSCN Barbara Green, MD Barbara Green, MD Barbara Green, MD Barbara Green, MD The MS Center of Saint Louis The MS Center of Saint Louis The MS Center of Saint Louis The MS Center of Saint Patrick's Sports Bar and GrillLouis
LOCATION:
342 West Port Plaza Drive LOCATION: Patrick's Sports LOCATION: Bar and Grill Patrick'sLOCATION: SportsAND Bar and Grill Patrick's Sports at Bar andPM Grill DATE AND TIME: 11/08/2016 at 6:30 AND PM DATE at 6:30 TIME: PM 11/08/2016 6:30 LOCATION: Patrick's Sports DATE Bar and GrillTIME: 11/08/2016 342 West Port Plaza Drive 342 West Port Plaza Drive 342 West Port Plaza Drive Saint Louis,342 MO 63146 West Port Plaza Drive Saint Louis, MO 63146 Saint Louis, MO 63146 Saint Louis, MO 63146 SPEAKERS:
EVENT CODE:
Mary MSCN Saint Fink, Louis,APN, MOSPEAKERS: 63146 Barbara Green, MD EVENT CODE: The TR369412 (1321565) EVENT MS Center of SaintCODE: Louis TR369412 EVENT CODE: (1321565) TR369412 (1321565)
Mary Fink, SPEAKERS: APN, MSCN Mary Fink, APN, MSCN Barbara Green, MD Barbara Green, MD TR369412 EVENT (1321565) CODE: TR369412 (1321565) The MS Center of Saint Louis The MS Center of Saint Louis
LOCATION:
Patrick'sLOCATION: Sports Bar and Grill Patrick's Sports Bar and Grill 342 West Port Plaza Drive 342 West Port Plaza Drive Saint Louis, MO 63146 Saint Louis, MO 63146
Patrick's SportsLOCATION: Bar and Grill 342 West Port Plaza Drive Saint Louis, MO 63146
EVENT CODE: TR369412 (1321565) EVENT CODE: TR369412 EVENT (1321565) CODE: TR369412 (1321565)
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t any time in his day, odel says, he could run to the store and grab a soda without worrying that a customer might do something dangerous. art of this is because odel s on-the-downlow business model seems to be attracting exactly the sort he wants; many of his clients have been getting tattoos for as long as odel s been tattooing. “I’m not gonna make someone who’s been getting tattooed for twenty years sit in a lobby and wait like a little kid, he says. wning the shop has also gi en odel the ability to further culti ate his own style. hen you’re in a street shop, you always wonder, is someone coming in for your ag or your shop s ag t Ragtime (which also operates on a space rental basis, similarly to arth lchemy , he urges his artists to become the product. odel does that himself by sitting down with a client and trying to develop a “strong visual language based on that person’s personal experiences. e asks them to list emotions and ideas that they want wrapped into the tattoo. odel s work takes a
similar aesthetic as Tower Classic, that thick black linework and bold colors, but he exaggerates and emboldens his designs — fullback dragons and ribcage snakes, seething with the emotions that his can as demands. odel has watched the t. ouis scene grow over the past two decades; he’s at the point where he’s started inking up children and grandchildren of his early clients. e points to two particular figures who defined the local aesthetic before his time. rader Bob’s, which moved to its current location on South Jefferson in 1976, developed a particularly t. ouis spin on the traditional style, with one of its owners, itch itchell, taking the lead. And Brad Fink, the founder of Iron Age, locally pioneered the idea of “giving somebody something different every time they came in. eryone who watched Brad unfold, it definitely set the precedent for how tattoos were supposed to be done in the idwest, odel says. odel s work extends from that ethos.
Hodel, at work with a customer, urges artists to “become the product.”
Continued on pg 18
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Continued from pg 17
Enigma Tattoos’ co-owner Toph, left, at work on his business partner Ty.
or Toph and Ty, co- background. owners of a street shop Both began as fine artists in on the oop called school — oph, , playing with nigma attoos ody a little bit of e erything and y, Piercing, tattooing is 31, progressing from oils to grafa more pragmatic affair. oph fiti to tattooing, where he plans says, “We like to try and be able to remain for the rest of his cato accommodate everybody who reer. hose one-word names are talks through the door. stage names; in real life, they are hat doesn t always work out — Christopher McDermott and Tyler they do get the occasional request cey, but use oph and y for that looks like something out of branding purposes. a op 10 orst attoos listicle, “Tattooing is the end-all-beand as artists, they can t ustify all, proclaims y. irst time in putting their names (and reputa- the history of the world where tions) behind a hideous design, as an artist can maybe gain a little less reputable shops sometimes recognition before they re dead. do. f it s gonna look like shit and ou gotta lo e that. specially, my name’s gonna be on it, I really he says, now that the medium is don t want nothing to do with it, percei ed as an actual art form. says y, the talker of the two. The shop walls are covered in a The two became business pastiche of cultural references — owners ust this year, when they Ty has collected paintings and work bought the shop from its founder by artists he likes, including Toph after each working there for a who still dabbles in oil painting . few years. series of punk char- The pair like their contractors to acters from The Simpsons taunt be artists in arious media, not ust passers-by on elmar. y plans ink on esh. rtist-owned shop, to add a whole Fox-themed set artist-rounded shop, says y. e of ash that includes characters want to take care of the artists as from Bob’s Burgers and Family much as the customers. Guy. lassic rock blares in the heir bodies of work differ. 18 RIVERFRONT TIMES NOVEMBER 2-8, 2016 riverfronttimes.com
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Toph works with portraits; Ty likes traditional work. hey mix ash and custom, and they create all manner of tattoos in all manner of styles. y wea es sacred geometry into old ash and builds balanced designs in dotwork and linework, sometimes black and shading, sometimes colors. oph likes photorealism, and some of his portraits look like they could be real. y calls oph a computer scanner, but says he himself won t touch a portrait. “All of our people got little different styles about them, says y. nigma s other two artists like scripts, neo-traditional, and Japanese traditional. hat di ersity is an advantage, in some ways, over a specialty shop because if a returning client wants a different style tattoo, someone at nigma is likely already an expert. o need to find a new shop. “We try and work as a team o erall, rather than ust a bunch of guys doing their own thing, says oph. n the oop, they field a mix of walk-ins and appointments, and although they do prefer ap-
pointments, all that foot traffic can be exciting. t s not like you re working at a shop that’s on an old country highway and there’s a gas station up the road and ust that mini-mall. here, oh shit, you don’t have a lot of real options on anything. alk-in customers are gonna be slower and you won’t have such a wide variety of art to choose from. n the oop, y says, ou got all kinds of different skin, all kinds of different people, all kinds of different shit. And Toph says the location has brought by far the best customers he’s worked with: “They have good ideas, they ha e good attitudes. nd that s what gets him excited — a exible customer who will take his ad ice and let him do his ob. or y, the ob has a simple appeal: It’s somewhere he can be an artist in peace, sit there, and have people come to him because they like his work. ust kinda do my own thing and try to make my customers happy, he says. ust trying to make a living doing what lo e. up. tory of our li es, adds oph. Continued on pg 20
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hris Sabatino likes to look at his shop’s logo, a furrow-browed, tusked creature named Two Tusk, and wonder, “What’s he feeling? Why are people attracted to him e thinks that the answer, and the thing that draws people off the sidewalks of Cherokee Street into his shop, Art Monster, can be summed up in two words icious concern. Sabatino, 38, never planned to become a tattoo artist. ut, he says, “If you have art inside you, you can’t help but push it in any direction you possibly can. hen it became clear that tattooing provided an alluring path, he opened Art Monster nine years ago — before herokee boomed with hipster art initiati es — and set about turning the shop into a ha en for the artistically-inclined. is goal was to try something new. e remembers looking at walls of flash and thinking, “Do I want to pick a sticker off a wall and stick it on my body for life? robably not. o he set about to make Art Monster “something a little different — a fully custom illustrative shop, where every
C
Continued from pg 18
Chris Sabatino takes a fine art approach to the human canvas. | COURTESY OF CHRIS SABATINO
single piece is one of a kind. e started out on his own and let the shop grow as he found artists he wanted to work with. ow Sabatino splits his time between Art Monster and a graphic design teaching post. he shop combines watercolor and geometrical styles with the goal of taking a fine-art approach to the human can as. utside that basic premise, all of the artists follow their own beat. “We each have our own style of doing many different styles, he says. And for Sabatino, it’s really the art — e en perhaps more than the ink — that matters. y his approach, they’re not all that separate. n his own work, he s creating designs that illustrate the human body, seeking the lines that accentuate arious body parts. t s not ust a drawing on the skin he designs the tattoo for the body itself. In photos, the tattoos’ geometries move in line with bone and muscle. t s a bit of fashion, he says. Sabatino says some clients come in offering up the tabula rasa of their skin; they don’t have an idea for a design, they ust know they want the style. nd those, he says,
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are rt onster s fa orite clients. Tattoos aren’t the only custom work that rt onster does. ownstairs is a fine art studio with tools for painting, metal work, sculptures, airbrushing — an outlet for other art. uch that comes out of the basement makes its way up to the top oor. ecently, he was commissioned to create a ram’s head sculpture for a fan of the sports team. e re definitely not e lde attoo hop, he says. e attributes much of his inspiration — and the shop s success — to ebecca abatino, his wife and the ueen of the shop. he doesn’t tattoo, but Sabatino says she s an artist in her own right. he s a dreammaker, he says. hile alt ell and odel point to t. ouis history of tattoos, abatino points to its future — and change. e sees more artists focusing on accentuating the body, and thanks to rt onster, they often come to t. ouis as isitors. think t. ouis is on definitely the up-and-coming of tattoos, abatino says. With today’s digital connections, Sabatino notes that it’s less important for an artist to be rooted in any one scene or city. hanks to social
“If you have art inside you, you can’t help but push it in any direction you possibly can.” media, they can take styles from wherever they want, and learn from each other without barriers — something that can help tattoo artists in a mid-size city both be inspired by, and inspire, the best of the best. ll day long, we are in uenced by great artists around the world, abatino says. And what should artists do with that knowledge? low it up, abatino says. n
Of Art Monster, says Chris Sabatino, “We’re definitely not Ye Olde Tattoo Shop.”
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R F T H O L I D AY S P I R I T S . C O M
CALENDAR
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WEEK OF NOVEMBER 4-9
FRIDAY 11/04 Famous Fictional: Versus
Grand Rapids Ballet brings Romeo & Juliet to the Touhill. | COURTESY OF DANCE ST. LOUIS
Famous Fictional, the group show at Mad Art Gallery (2727 South Twelfth Street; www.madart.com), is back for its tenth year. Artists create portraits of pop culture and fictional characters in all media. There’s a different theme for each outing; this year’s guiding principle is “versus.” Den Smith’s wooden sculpture is based on the fable of the tortoise and the hare, but with apanese sci-fi monster turtle Gamera and the rabbit from Donnie Darko in place of more mundane fauna. Both characters are mounted on wooden wheels so they can be used as pull toys. Barbara Rutledge chose surprise hit Stranger Things as her inspiration; her embroidered p o r t ra i t s a r e i m m e d i a t e l y recognizable. Famous Fictional opens with a free reception from 7 to 11 p.m. tonight.
Grand Rapids Ballet: Romeo & Juliet Despite its unhappy ending, Romeo & Juliet remains a perpetual crowdpleaser. Is it the young love theme people are attracted to, or perhaps the two against the world defiance that binds the two lovers? Mario Radacovsky takes the latter approach for his specially commissioned adaptation of the rokofie ballet. His focus is on the social barriers that insulated the wealthy Capulet and Montague families, and how Romeo and Juliet are willing to break those barriers for love. Grand Rapids Ballet dances Radacovsky’s interpretation of Romeo & Juliet at 8 p.m. Friday and 2 and 8 p.m. Saturday (November 4 and 5) at the Touhill Performing Arts Center on the University of Missouri-St. Louis campus (1 University Drive at Natural Bridge Road; www.touhill. org). Tickets are $30 to $50.
BY PAUL FRISWOLD
Vita Eruhimovitz: Synthetic Landscapes Vita Eruhimovitz’s new show, Synthetic Landscapes, is all about the artist’s fears of a mechanized future and the rise of man-made environments over the natural world. Her mixedmedia pieces combine sculptural and electronic elements with traditional painting methods. A
vertical abstract painting that could be a noxious landscape has metal washers stuck to its surface; artificial clouds of colored Plexiglass are bolted to the painting in rising tiers. Synthetic Landscapes opens with a free reception from 6 to 9 p.m. Friday, November 4, at the Kranzberg Arts Center (501 North Grand Boulevard; www.kranzbergartscenter.org). The work remains up through Sunday, December 18, and the gallery is open Wednesday through Sunday. riverfronttimes.com
SATURDAY 11/05 Prime: The Transmigration Show You might recall the Immediacy Theatre Project, the company that produced 24-hour play festivals in the early aughts. Kyle Kratky was its co-founder, and he’s now
NOVEMBER 2-8, 2016
Continued on pg 24
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TUESDAY 11/08 Eyes of Fire
CALENDAR Continued from pg 23 formed with Andrea Standby a new company called Prime that hopes to present four 24-hour play festivals every year. Transmigration is Prime’s debut production. Inspired by the tenets of reincarnation, Transmigration provides six writers each a different reason for reincarnation. Those writers will then have until the following dawn to write a short play from that prompt. By nightfall, a team of two actors will perform the cycle of new lives to their ultimate reward. Transmigration takes place at 8 p.m. tonight at Southampton Presbyterian Church (4716 Macklind Avenue; 314-884-1647). Tickets are $10 at the door.
f you prefer to watch your films on film, not digital pro ections, Eyes of Fire is your only chance to do so at the St. Louis International Film esti al. he 1 film is a horror story set in the wilderness of colonial America. A preacher is sentenced to death for polygamy, but escapes with his followers into the woods. Harried by the Native American tribes, they end up in a valley that the tribes consider forbidden territory. But when the fugitives discover why it’s forbidden, they’ll wish they let the Native Americans take them. Eyes of Fire is an unjustly forgotten gem of the horror genre. It screens tonight at 8 p.m. at Webster University’s Moore Auditorium (470 East Lockwood Avenue; www.cinemastlouis.org). Tickets are $10 to $13.
Manifest Destiny America is a nation of immigrants, but not always gladly. For something so intrinsic to the fabric of our country, we can be awfully touchy about letting more people in. Vladimir Zelevinsky’s play Manifest Destiny examines more than 500 years of immigration using only four actors. They play multiple roles ranging from the first people who arrived after Christopher Columbus to the big waves of Europeans who arrived in the nineteenth century. We learn of their motivations for leaving what was home and come to understand something of the forces that spurred them to keep going until they hit the Pacific Ocean. West End Player’s Guild presents Manifest Destiny at 8 p.m. Thursday through Saturday and 2 p.m. Sunday (November 4 to 13) at the Union Avenue Christian Church (733 North Union Boulevard; www. westendplayers.org). Tickets are $20.
SUNDAY 11/06 Cranksgiving We’re not even three weeks away from Thanksgiving at this point. This a critical time for local food pantries, which are feeding more families than you’d think. That’s why this Sunday, November 6, is the perfect time for a foodraiser. St. Louis BicycleWorks’ Cranksgiving is your opportunity to pitch in. Bicyclists gather at the City Museum (750 North Sixteenth Street; www. bworks.org/cranksgiving) between 8 and 9 p.m. to register and pick one of 24
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WEDNESDAY 11/09 How to Tell If You’re a Douchebag One of the pieces in Synthetic Landscapes at the Kranzberg Arts Center. | VITA ERUHIMOVITZ three courses fi e, ten or 2 miles to ride. There are grocery stores along each route for you to stop at and buy at least $20 worth of nonperishable food, which you can then drop off at designated SAG trucks near the stores or schlep back to the City Museum. Bailey’s Restaurants will sell food and beverages in the parking lot when you complete your route, and all riders get discounted admission to the museum. If you’re not a cyclist and still wish to donate, you’re a good person; canned food can be delivered in advance to Bworks in Soulard or the Alpine Shop in Kirkwood.
MONDAY 11/07 Ice Guardians Fighting has been in hockey since almost the very beginning of the sport. Some fans hate it and think it’s holding the NHL back from greater popularity; some fans love it and belie e fighting is integral to the game’s overall health. The accepted truth is that when your
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team’s star suffers a cheap shot, everybody screams for blood — and once the fight breaks out, nobody goes to get a beer. Brett Harvey’s documentary Ice Guardians doesn’t argue for either point of view. Instead, it allows current and retired enforcers to explain how they got started on the road to fighting for a li ing. ome ha e mixed feelings about their onice role. Legendary ‘70s enforcer Dave “The Hammer” Schultz spoke publicly about regretting the violence after he retired (he’s also featured in the documentary). It’s a common feeling for the guys who throw the punches — they got into the sport to play hockey, not fight. Ice Guardians screens at 7 p.m. tonight at the Pageant (6161 Delmar Boulevard; www. thepageant.com). Edmonton Oilers great Dave Semenko will be present to discuss his years bodyguarding Wayne Gretzky on the ice, and he’ll be joined by the Blues’ onetime heavyweight Kelly Chase and his pal, Brett Hull. Tickets are $40. There is also a $100 VIP option that gets you in early for a buffet and special access to the balcony.
Ray is a love-’em-and-leave-’em guy who blames his inability to commit on a bad break-up. His blog “Occasionally Dating Black Women” (which is all about his trysts) has garnered him some notoriety, but it all starts to fall apart when he meets Rochelle, who is also a writer. Her intellect and sharp wit — and even sharper rejection of his advances — suggest to him that she could be the one. The trouble is, Rochelle doesn’t necessarily think Ray’s worth her time. Tahir Jetter’s debut feature film How to Tell If You’re a Douchebag has won praise for being a genuinely funny African-American rom-com. It screens at 9 p.m. tonight at the Landmark Tivoli Theatre (6350 Delmar Boulevard, University City; www.cinemastlouis.org). Tickets are $10 to $13. 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.
FILM
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[ F E S T I VA L ]
A Smidgen of SLIFF Catch these seven films in St. Louis International Film Festival’s opening week Written by
ROBERT HUNT
N
ow in its 25th year, the St. Louis International Film Festival kicks off November 3 with nearly two weeks chock-full of interesting movies. or a complete listing of films, see www.cinemastlouis.org. (Full disclosure: RFT Critic Robert Hunt serves as a judge in the narrative film competition. Apprentice Directed by Boo Junfeng 2:45 p.m. Fri., Nov. 4; 8:45 p.m. Sun., Nov. 6. Landmark Plaza Frontenac Cinema Irony and frustration suffuse this dark drama from Singapore, which tells the story of Aiman, a prison guard assigned to assist the institution’s long-serving executioner Rahim. The nononsense Rahim casually instructs his charge on the moral necessity of his ob and the finer points of proper noose positioning. Aiman is carrying a secret — his father was executed by Rahim — though he doesn’t seem to have any plan for revenge or even confrontation. To his disgust, he’s drawn into his apprenticeship almost unwillingly, fascinated by the discipline of the job but appalled by his passive acceptance of his duties. Boo Junfeng’s quietly subtle film sets traps for both Aiman and the viewer, establishing his inner character even as each new shift in his professional fortunes pushes him deeper into personal shame. This is a carefully measured drama, simultaneously nightmarish and calm. The title, with its hints of a traditional success story, must surely be
Bayir (Mikhail Gasanov) pursues the family camel in Celestial Camel. | © PRODUCTION CENTER VSE HOROSHO, LTD. ironic; in this apprenticeship, the path to success is lined with quicksand. Demimonde Directed by Attila Szász 7 p.m. Fri., Nov. 4; 9 p.m. Wed., Nov. 9. Hi-Pointe Backlot Set in 1914, Demimonde begins with discovery of the body of Eliza gn s atricia o cs in the Danube, then jumps back to four days earlier to show how she got there. Eliza is the kind of woman usually described in stories like this as a courtesan (it sounds nicer than “prostitute,” if slightly less organi ed and as the film shows, there was no shortage of potential murderers in her circle: the men she entertained, her long-suffering housemaid, and a new young servant who Eliza begins to groom for a life of sin. he film is gorgeously photographed, well-acted (especially by o cs and completely predictable, its formulaic decadence playing like a highly sanitized imitation of Eyes Wide Shut.
lack of equipment. He does, however, have a background in fencing, and despite the complaints from his party-line boss that he’s indulging in a feudal, decadent game, Nelis soon has all the children in the school thrusting and parrying with home-made épées. Though somewhat old-fashioned this is the kind of film where you can tell that two characters are falling in love because there’s a montage sequence where they ride bicycles together , the stonianFinnish co-production The Fencer is a lively entertainment, reliant on familiar sports-movie emotional build-up (not unlike the recent Queen of Katye , but with a more restrained sensibility and a strong performance from Avandi. While its American equivalent would have cheering crowds and overblown power ballads, The Fencer earns its feel-good charm by striking a balance between the drab oppression of its period setting and the mannered traditions of the sport it celebrates.
The Fencer Directed by Klaus Härö 7:15 p.m. Fri., Nov. 4; 6:30 p.m. Sun. Nov. 6 Landmark Plaza Frontenac Cinema It’s 1953 Estonia, and portraits of Josef Stalin stare down from the office walls of e ery petty-minded bureaucrat. A young man named ndel elis art andi , on the run from the Soviet authorities, takes a job as a school teacher in a rural town. He’s expected to run a sports program, despite a complete
Celestial Camel Directed by Yuriy Feting 2:15 p.m. Sat., Nov. 5; 12:15 p.m. Sat., Nov. 6. Landmark Plaza Frontenac Cinema Set in the desolate Kalmyk steppes, Celestial Camel begins with a desert family facing a trio of crises: A new baby is on the way, the well is almost dry and their only camel has run away in search of her offspring, who was sold to an merican film crew. hen he hears that a previous camel died riverfronttimes.com
in an on-set explosion, twelveyear-old Bayir asks, “Why did they blow up a shed?,” which I’m guessing is a small dig at Western film con entions . t s up to ayir to hop on his motorbike in pursuit of the stubborn bactrian. On the way he encounters genial shamans, an irritable ascetic and an artful dodger of a fakir who helps him escape from ail and accidentally blow up a bootleg oil facility, never losing his sense of determined innocence. Fueled by gentle comedy, a hint of mysticism and generous amounts of serendipity, Celestial Camel lives up to its title. t s a completely charming film, a surprising road movie for all ages. amel lo ers will like it too. Coming Through the Rye Directed by James Sadwith 12:30 p.m. Sun., Nov. 6 Landmark Tivoli Theatre In an uninspired coming-of-age story, amie chwart lex olff is one of those 40 or 59 million people who believe that The Catcher in the Rye is speaking solely to him, but unlike the rest of the goddamn phonies, he’s going to do something about it. Hated by classmates at his all-boys boarding school, he decides to run away, cute townie sidekick DeeDee at his side, to pursue the reclusive J.D. Salinger and get permission for the stage adaptation that only he can star in, write and direct. he film is set in 1 , but aside from some Vietnam War footage on television and a minor incident involving drugs, Coming Through the Continued on pg 26
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GEORGE TAKEI
The Fencer’s title character (Märt Avandi) risks his life to teach children swordplay. | © MAKING MOVIES OY 2016
SLIFF WEEK 1 Continued from pg 25
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Rye seems more like a very minor John Hughes imitation, with a generic pop music soundtrack and a stockpile of coming-of-age cliches. Written and directed by TV veteran James Sadwith (who has suggested that it s autobiographical , the film tries hard to capture that Holden Caulfield voice, simultaneously naive and world-weary, but the best it can muster are a handful of wall-breaking addresses to the audience — another 0s teen film staple. (I’m also pretty sure I saw a picture of Madonna on a dorm wall. olff makes the best of his often-irritating role and Stefania Owen is even better as the rebellious young girl who tags along for no particular reason, but there’s not much for them to work with. Yes, Jamie meets Salinger (Chris Cooper, who gives his all to a completely illogical role , stars in his play, falls in love and wins the admiration of his classmates, but that’s not The Catcher in the Rye; it’s a self-indulgent daydream about The Catcher in the Rye twice removed. King Kong Directed by Merian C. Cooper & Ernest B. Schoedsack 8 p.m. Sun., Nov. 6. Webster University’s Moore Auditorium You know that one-to-five-star rating system so frequently used in film re iews he late critic lliott Stein employed a system where the highest rating was defined as m paraphrasing right up there with the original King Kong.” It’s hard to argue with that assessment. From Max Steiner’s score to Fay Wray’s screams, from
Robert Armstrong’s scene-chewing to — best of all — Kong himself (Willis O’Brien’s unrivaled clothand-metal construction , the 1 film takes just about everything the Hollywood studio system could do right and corks it into a perfect 100-minute bottle. If you’ve only seen it on television — or if you merely need to wash away the memory of Peter Jackson’s inept travesty of a remake — don’t miss it. The Importance of Doubting Tom Directed by Vanessa Roman 8 p.m. Tue., Nov. 8. Landmark Tivoli Theatre There are plenty of micro-budgeted romantic comedies about twentysomething couples and their real or exaggerated troubles (is mumblecore o er yet , films that seem like little more than confessional home movies with local color. The Importance of Doubting Tom, shot mostly around University City, may fall into the same genre but rises above most on three levels. First, while much of the acting is a little arch, director Vanessa Roman gets a solid performance from her female lead, Amy Pennell (Julia Crump and Sari Sanchez are also good in secondary roles . econdly, it s a surprise to see a film on this scale that actually takes time to set up jokes and let its humor play out visually. Finally, its main conceit — lifting some of the mixed-identity comedy of Oscar Wilde’s The Importance of Being Earnest — gives it a considerably more solid narrative structure than the average mirror-gazing indie. Yes, it’s silly stuff with babyswitching and role-playing and other contrivances, but it’s silliness with a pedigree.
THE ARTS
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[ S TA G E ]
All in the Family The Rep’s touching Mothers and Sons tackles heavy topics swiftly, and with grace Written by
PAUL FRISWOLD Mothers and Sons
Written by Terrence McNally Directed by Michael Evan Haney Presented by the Repertory Theatre of St. Louis at the Loretto-Hilton Center (130 Edgar Road; www.repstl.org) through November 13.
T
errence McNally’s drama Mothers and Sons is about two forces that both shape our character, yet remain out of our control: the passage of time and our families. Set against an unexpected Christmas reunion between Cal (Harry Bouvy) and Katharine (Darrie Lawrence), the mother of his long-deceased lover, Mothers and Son touches on grief and regret, the slow advance of LGBT rights, the long shadow of the AIDS crisis and the complex nature of parental love. Surprisingly, McNally deals with all of these things in a little more than 90 minutes. Even more surprisingly, nothing feels rushed. Director Michael Evan Haney’s staging of the show (now at the Repertory Theatre of St. Louis) is a richly layered feast for theater buffs. The story is compellingly told and the actors make it sing. Cal and Katharine last saw each other twenty years ago at the memorial service for Andre, who was Katharine’s estranged son and Cal’s lover. Andre died of AIDS back when no one really knew what was killing all the gay men in New York, and the spot where they held his memorial is visible from the Central Park West apartment that Cal now shares with his husband Will (Michael Keyloun). On a playground in that same park, Cal and Will’s son Bud (Simon Desilets) is currently playing on a swing set.
Cal (Harry Bouvy, standing left) and Katharine (Darrie Lawrence, seated) have unfinished business. | PETER WOCHNIAK/PROPHOTOSTL.COM All of this is conveyed through Cal and Katharine’s stilted conversation. He’s working hard to set his surprise guest at ease, but Katharine, still swaddled in a fur coat that is shorthand for “wealthy dowager,” is exceptionally reluctant to comfort of any kind. Their conversation is made more difficult because neither will say what they’re thinking. As Will later points out, Cal is too nice to send Katharine away or ask her point-blank what she wants from him. Katharine doesn’t have Cal’s niceness problem, but she, too, refuses to ask what she needs to ask. So instead they reminisce about Andre in between awkward silences, most of which are brought on by Katharine saying something offensive. Every line Lawrence delivers is freighted with barely restrained hostility. “How easily you use that word — ‘husband,’” she chides Cal at one point, neatly disapproving of his happy marriage and his lifestyle with an economy of words. At other times she’s blunter. “Andre
wasn’t gay when he came to New York,” she assures Cal, who can only respond with an eyes-wide, “OK.” But the more she talks, the less restraint she has. Bouvy’s Cal is a man painfully aware of how much better his life has become since he last saw Katharine. He has a beautiful home (incredibly realized by scenic designer James Wolk) made possible by his lucrative job, a loving husband in Will and a seven-year-old son who is, as the kids say, “woke.” The only person who can stun Katharine into blissful silence is Bud, who asks her if her son died of AIDS, and then tells her he learned about the AIDS crisis at home and at school. Bouvy very subtly conveys a sense of survivor’s guilt through the forced pleasantries he uses with Katharine and the way he placates his husband, who wants Katharine out of their house. Cal lived through the plague that took almost his entire generation — he doesn’t want to see anyone else hurt. riverfronttimes.com
But even he can’t be nice forever. When he tells Katharine what it was like to care for Andre in his final days, all of his anger — toward AIDS, toward do-nothing Ronald Reagan, toward America and especially to cold and distant Katharine, who refused to acknowledge her son’s illness — comes out in sharply barked sentences. Lawrence stands unmoved by the torrent, still refusing to acknowledge anyone’s pain but her own. Of course, Katharine will have her say, and it’s a credit to both McNally’s writing and Lawrence’s performance that she is sympathetic in the end. The pain Katharine cannot articulate is finally addressed, and it is so horrible and pathetic that she can only be seen as a human being: frail, lonely and broken by the world — much like Cal was twenty years ago. It’s the shared pain that binds a family together as much as the love and the communal latenight cookies and milk eaten in comfortable silence.
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CAFE
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Kounter Kulture’s dazzling dishes include ramen noodles with green curry, mofu tofu and summer vegetables. | MABEL SUEN
[REVIEW]
Kultural Revolution Kounter Kulture is redefining takeout in Lindenwood Park Written by
CHERYL BAEHR Kounter Kulture
3825 Watson Road, 314-781-4344. Tues.Sat. 4:30-9 p.m. (Closed Sundays and Mondays.)
C
hristine Meyer and Michael Miller just wanted to sell some t-shirts. The friends, who met at the legendary restaurant Monarch, where she was a server and he was a cook, found
themselves with some time on their hands when the place shut down for a remodel. Three months was too long to go without income, so Meyer invited Miller to help her out with her landscaping gig. As they bonded over a shared work ethic and evenings spent cooking, the pair hatched a plan to continue working together outside of the restaurant business: They would make t-shirts for cooks. ne of their first shirts displayed an image of a disposable vegetable peeler sold for a buck at Bertarelli Cutlery. Gadget-obsessed home cooks scoffed at such a seemingly basic tool, but line cooks knew it was the best peeler around. So Meyer and Miller immortalized it on a shirt with the moniker “Workhorse” and headed to the Tower Grove farmers market to peddle their wares under the brand Kitchen Kulture. No one got it — well, no one except cooks. Meyer and Miller quickly realized that they needed a way to
illustrate what they were trying to do with the shirts. They started selling food out of their stand. But if people were confused by the shirts, they were crystal clear about the culinary side of Kitchen Kulture. Before Meyer and Miller knew it, they were selling more food than shirts — so much, in fact, that the edible side of their business completely overtook their t-shirt dreams. The farmers market turned into popups and catering, and just like that, they were looking for a brick-andmortar space. Like it or not, they were destined to open a restaurant. If you eat at their tiny Lindenwood Park takeout spot, Kounter Kulture, though, you’d swear food was their life’s calling. In just three short months, Meyer and Miller have transformed the former Pint Size Bakery into one of the city’s most exciting culinary destinations. The cuisine is contemporary Asian, another accident of circumstance. Though Meyer and Miller riverfronttimes.com
both love Asian food, they didn’t envision their restaurant as such — they just wanted to source as locally as possible throughout the year and found that Asian ingredients lent themselves to pickling and preserving. Add to this the fact that the old Pint Size was zoned for carryout only, and they determined that they needed a concept that was unique, but that people would trust for takeout. At this point — or maybe somewhere in between bites of the transcendent Japanese fried chicken — you begin to realize that the universe has conspired to create Kounter Kulture. How else can you explain the fact that two friends with no background in Asian food and few ambitions of food industry greatness have concocted a a or profile so perfect it makes you wake up in the middle of the night desperate for a taste of those crunchy fried nuggets? The breading’s Continued on pg 30
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KOUNTER KULTURE Continued from pg 29 black pepper heat mingles with just a touch of sweetness and salt that ticks off every taste you want in fried bird. Meyer and Miller place the chicken atop their romaine salad, which is like a Caesar on steroids. The anchovy-forward dressing soaks into crispy croutons, while pickled onions and radishes cut through the funk. It’s the chicken Caesar salad all others aspire to be. If that salad is the Platonic form of Caesars, the eatery’s gyoza is the standard for pork dumplings. inced shrimp and pork fill these deep-fried wonton pockets. A barely noticeable hint of fish sauce gi es a subtle backbeat of funk — more Prince than George Clinton. Warm cabbage and sesame slaw completes the groove with a tart, fermented punch. Meyer and Miller offer three varieties of steamed buns. The slow-roasted pork features meat so succulent it would bring a tear to a pitmaster’s eye. Smoked onions and radish-jalapeno slaw are accented with punchy rice wine vinegar and fermented chili mustard. On the vegetarian bun, panko-breaded Mofu tofu the texture of custard gets slathered with Japanese kewpie mayonnaise — the rice wine in this creamy condiment adds a sweetness that contrasts with the tangy housemade pickle garnish. f the term fusion fills you with fear, ounter ulture s atfish o Boy” bun will change your mind. The steamed bun and togarashi rub whisper Asia but everything else about this sandwich yells Mississippi elta. he aky, lightly breaded fish gets a liberal slather of fiery pepper and cherry tomato remoulade. It makes you break into a sweat, but just when you think you can’t take the heat, a burst of barely cooked cherry tomato releases its sweet juice to offer relief. To think that
Steamed buns with pork, mofu tofu and togarashi-spiced catfish. | MABEL SUEN such marvelous Cajun cooking can come out of an Asian takeout spot boggles the mind. The po’boy is not the only way Meyer and Miller show their Cajun bona fides. On one visit, the day’s special shrimp and grits left me wondering if we should ever eat the classic dish another way again. Floral lemongrass was infused into the spectacularly creamy grits, and tender, lemongrass-marinated shrimp added a perfumed note. The
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“Catfish Po’ Boy” ................................$6 Okonomiyaki pancake with mushrooms ............................ $14 Korean BBQ chicken rice bowl ....... $16
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knockout punch, however, came from the interplay of textures and a ors in the dish’s garnishes — diced green and red bell peppers and onions (“the Trinity”), plus crunchy peanuts and candied butternut squash that tasted like marzipan. This dish had so many layers of a ors, each new bit revealed something new and kept me thinking about it long after dinner was finished. If Kounter Kulture has a signature item, it’s the okonomiyaki pancakes,
Japan’s version of a pizza party. The thick, uffy egg and cabbage-based cake is interspersed with seasonal egetables and a choice of fillings. I opted for mushrooms, which added umami depth underscored by a liberal sprinkling of fish akes. Creamy Japanese mayonnaise and tart barbecue sauce are drizzled atop the cake, with more given to you on the side. Meyer recommends tasting it without the extras and then garnishing away. I realized I didn’t need anything more; it was perfect just the way it came. For the gyudon, or beef bowl, Meyer and Miller slow-cooked Missouri grass-fed beef knuckles that could’ve come from grandma’s kitchen with raw bean sprouts, cabbage and pickled ginger straight out of a ramen shop. A poached egg oozes over the top, mingling with the beef’s sweet soy jus — pot roast meets Asian barbecue. The Korean barbecue chicken rice bowl is another example of Meyer and Miller’s prowess with pairing different textures and temperatures. This time, fresh-from-the-fryer chicken, which tastes like it’s been soaked in citrus and cilantro, is interspersed with hunks of ripe tomatoes, avocado, cilantro, white rice and fried noodles. Every bite has crunch and softness, hot and cold, sweet and savory — it’s a masterpiece deserving of china, white tablecloths and a months-long wait for reservations. Yet here I was, enjoying it out of a simple white takeout box on my couch. Better yet, I was in my pajamas, though I would have preferred to be dressed in one of Meyer and Miller’s old-school t-shirts. These days they d be ying off the shel es — anyone who’s tasted their food would wear them with pride, no explanation needed.
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SHORT ORDERS
[SIDE DISH]
They Had Him at “Allez Cuisine” Written by
CHERYL BAEHR
T
he new executive chef at Blood and Sand (1500 St. Charles Street, 314-241-7263), Christopher Krzysik, remembers the exact moment he decided to be a chef. “I was a military brat and lived in Japan when I was little,” he recalls. “When we came to Missouri, I was super into anime. I was twelve, and my mom suggested I watch this show called Iron Chef. It was an episode where Morimoto went up against some old-school Japanese chef. I was so enamored that I learned how to make miso soup. t was the first meal I ever cooked for anyone — and it was awful!” The enthusiasm about cooking stuck with Krzysik, though he wasn’t exactly charting out his career goals in his early teens. He gravitated toward the food business for his first job, a place that could not be further removed from his current position at Blood and Sand. “On the day I turned sixteen, I walked down to the combination A&W-Long John Silver’s,” Krzysik recalls. “That’s where I learned the most important lesson in a kitchen: that if you have time to lean, you have time to clean.” Krzysik credits his less-than-glamorous beginnings in the business — he also worked at McDonald’s, Steak ‘n Shake and as a dishwasher in an enormous banquet kitchen on a military base — for instilling in him a strong work ethic and knowledge of all aspects of the business. He knew he had to up his game if he wanted to make cooking a career, though, so he enrolled at L’Ecole Culinaire. Cooking school opened opportunities for r ysik, including his first upscale restaurant gig, working for chef Anthony Devoti at Newstead Tower Public House, and later Five Bistro. Krzysik worked for Devoti for
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Christopher Krzysik at the downtown member’s only restaurant Blood and Sand. | KELLY GLUECK three and a half years before leaving for Blood and Sand. He’s left and come back a few times — with stints at Central Table, Blood and Sand’s sister concept Death in the Afternoon and the upcoming gastroLab. Even though he has plans to open his own place one day, he knows he’s where he is supposed to be. “It’s just really exciting to be in this position at the place I’ve come up in,” says Krzysik. “We’re really taking it places.” Krzysik took a break from the kitchen to share his thoughts on his pre-shift ritual and why nothing is off-limits in his kitchen. What is one thing people don’t know about you that you wish they did? I can achieve the impossible. You can too. What daily ritual is non-negotiable for you? Yoga. I attend classes at Urban Breath on the weekends and practice at home the rest of the week. Sometimes, we even have a session before a busy service. If you could have any superpower, what would it be? Teleportation. If you grew up with Dragon Ball Z, you can understand
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the possibilities this presents in a busy kitchen. I aspire to own a few restaurants one day, and this ability would be pretty handy by then. Who is your St. Louis food crush? If the question is directed toward a restaurant, then Southern — even now, I find myself salivating for a “Cluckin’ Hot” two-piece. If the question refers to a person, however, then it’s Adam Guess, the chef at Death in the Afternoon. I’m engaged to D.I.T.A. general manager Eva Martiny, but Adam and I will always have Hall and Oates late-night dance parties. Who’s the one person to watch right now in the St. Louis dining scene? William Pauley, proprietor of gastroLab in the Grove. The whole city is waiting in anticipation for his kombucha. I’ll be keeping a keg in my walk-in. Which ingredient is most representative of your personality? Chiles — sweet, exciting, versatile, colorful and fiery If you weren’t working in the restaurant business, what would you be doing? I’d be a surgeon. I was inspired to become a chef because I watched
Iron Chef. If I had watched Grey’s Anatomy sooner, things may have been different. Name an ingredient never allowed in your kitchen. I will never tell my crew they can’t try something out. Just because I’m not a fan, doesn’t mean someone else won’t love it. Our pastry chef, Riley Stahl, wanted to serve Dunkaroos for dessert, and [the owners] didn’t want us to — but we still got to make a Dunkaroos-inspired dessert. What is your after-work hangout? Stella Blues. Great vibes, kimchi pizza, cold brews. The after-party happens at my apartment. We have a star projector on the ceiling and Eva can read your tarot while we listen to our wedding playlist. What’s your food or beverage guilty pleasure? Pickleman’s Deli delivery. Pepperoni pizza and Italian club, every time. What would be your last meal on earth? A meal in Isaan, Thailand, sitting in a plastic chair at a pit stop on a dusty trail. andan- a ored water, sticky rice, som tum, nam phrik and many other dishes I can’t pronounce or identify.
Kitchen Where Farm to Table isn’t a concept, it’s the menu. 15270 Manchester Rd., Ballwin • (636) 220-3212 www.facebook.com/localchefstl Mon - Thurs 11 am - 7 pm, Fri & Sat 11 am - 8 pm
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OFF THE GRILL
The French Dip is the signature dish at Eat Sandwiches. | CHERYL BAEHR [FIRST LOOK]
A Killer French Dip for Tower Grove South Written by
CHERYL BAEHR
B
yron Smith, one of the four co-owners at Eat Sandwiches (3148 Morgan Ford Road, 314797-8188), couldn’t be more thrilled with the welcome his little shop has received from its Tower Grove South neighbors. “They keep telling me, ‘This is exactly the sort of place we’ve been waiting for,’ and I keep saying to them, ‘That’s exactly the sort of thing we want to hear!’” Indeed, Eat Sandwiches — which opened Friday, October 21 — had such a successful opening weekend that they ran out of bread and had to shut down early on their first Sunday. “And I thought I’d ordered heavy,” Smith laughs. Smith and his business partners Thomas Crone, Fred Hessel and Jeff McGraw had a feeling they were on to something when they tossed around the idea for Eat Sandwiches. fter all, you can find ust about anything to eat in the Morgan Ford business district that stretches from Arsenal to Fyler — organic and local takeout, pub fare, pizza and even
traditional English tea. A proper sandwich shop, however? That was a different story. The four friends set out to fill this void with their small sandwich shop, located in the storefront that was the original location of Local Harvest Grocery. The space, which they renovated themselves, is a cozy shotgun-style room with exposed brick, white walls and a long, wooden banquette made from a salvaged church pew. Guests order at the counter and choose from ten different options, ranging from a Cuban sandwich to tuna salad to roasted tofu. Smith is particularly proud of the “Meatloaf” sandwich, a play on the meatball sandwich but with more staying power. “I love meatball sandwiches but I hate how the meatballs always roll off,” explains Smith. “For this, we made a meatball into the shape of miniature meatloaves so it stays put.” If the restaurant has a signature dish, however, it’s the French dip. Shaved roasted rib eye, sliced red onion, horseradish mayonnaise, and Prairie Breeze cheddar cheese are piled atop crusty French bread. It’s a sandwich Smith admits he always looks for but had difficult finding — at least one that satisfies his craving. He thinks they’ve solved the problem at Eat Sandwiches — and his customers seem to agree. “It’s been our most popular item,” Smith says. “People seem to really like it.” Eat Sandwiches is open Tuesday through Friday from 11 a.m. until 7 p.m. and Saturdays and Sundays from 11 a.m. until 4 p.m. n
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The roasted broccoli and potato pizza at Mona’s. | LAUREN MILFORD [FIRST LOOK]
A NEW STYLE OF ITALIAN — SANS PROVEL — COMES TO THE HILL Written by
LAUREN MILFORD
A
In the old Los Punk space, the B-Side is now serving a small menu of burgers, vegan chili and an amazing “Frito Bandido.” | KELLY GLUECK
[BARS]
The B-Side Is Now Open on Cherokee Street Written by
KELLY GLUECK
T
here is only one beer on tap as of yet at the B-Side (2709 Cherokee Street), the brand-new Cherokee Street joint promising “burgers, beats and brews.” But that beer is Stag, a play on the vintage jukebox costs just ten cents, and the burgers are delicious. It’s 34
RIVERFRONT TIMES
hard to imagine this place won’t be a smash hit. The B-Side is the brainchild of Joe Timm and Francis Rodriguez, who proved with their initial Cherokee Street effort, Yaqui’s Pizza, that they know what the neighborhood wants. Here they’re back with a terrific di e bar atmosphere, a stripped-down menu of solid drunk food and reasonable prices. The house burger, which comes with “Comeback sauce, Murican cheese and grilled onions” is just $4. The same price will also score you an order of chili — and since this is Cherokee Street, it’s vegan. Of course. Timm promised when we talked to him in September that service would be fast. “There are guys on our crew who got their starts in food trucks, so they understand the necessity of making it fast and simple. The thought is that someone can come in and say ‘Let me get a
NOVEMBER 2-8, 2016
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cheeseburger and a Busch’ and they can have it all in front of them in three minutes.” But why rush? There’s a lovely patio with seats surrounding a small fire pit. here s that ukebox, which features tunes from the owners’ personal collection — everything from T.Rex to LL Cool J. And the staff couldn’t be more friendly or accommodating. And if you’re hungry, you won’t want to stop at the burger. The “Frito Bandito” is the perfect way to soak up all that Stag you’re drinking — a layer of Fritos, a burger, cheddar, vegan chili, onions that have been soaked in a Stag marinade, jalapeños and comeback sauce, which turns out to be a chipotle-based mayo sauce with more than thirteen different ingredients. Tasty. Cherokee nights were made for food like this. And this bar was made for Cherokee. n
new Italian — or rather, American-Italian — joint opened October 19 on the Hill, in the location that housed Modesto for fifteen years. Its replacement, Mona’s (5257 Shaw Avenue, 314-772-8272), serves up salads, pizzas and pastas, with a kids’ menu and gluten-free options for pizza and pasta. The contrast between Modesto and Mona’s is marked — where you could previously sample tapas in a dark, romantic atmosphere, you can now enjoy a spin on Italian food in a bright, friendly space. The brick has been whitewashed, and blue-and-white checkered tablecloths adorn the tables, while yellow wooden chairs add some whimsy. The contrast between Mona’s and many of the other Italian restaurants on the Hill is noticeable, too; the antipasto salad is made with kale instead of iceberg or romaine, and Provel appears nowhere on the menu. They’re putting a fresh, modern spin on the classic Italian pizzas and pasta. Pizzas range from $12-$14 per pie, and pastas are in the $14 range as well. n
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12.16, 17, 23, 23, 29, 30 EL MONSTERO
11.29 JIM JAMES
1.13 GREENSKY BLUEGRASS
11.29 BAND OF HORSES
1.16 LUKAS GRAHAM
12.1 ILIZA
1.19 BROTHERS OSBORNE
12.2 STIR
1.27 DRIVE-BY TRUCKERS
12.6 GROUPLOVE
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2.15 ADAM DEVINE
12.9 JON BELLION
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NOVEMBER 2-8, 2016
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MUSIC
37
[PERFORMERS]
Four Strings and a Dream First-call St. Louis cellist Jake Brookman stays busy with frequent gigs — including this month’s Fragile Porcelain Mice reunion Written by
THOMAS CRONE
O
n the night before Thanksgiving, Fragile Porcelain Mice will play at its frequent reunion venue, Pop’s. It’ll be dark and loud and rowdy, and in the middle of the madness will be one of the nicest folks to call St. Louis home, cellist Jake Brookman. He’ll join the band for a trio of songs, a bemused half-smile on his face, even as his instrument adds a sinister edge to each cut. Less than a month before, on October 29, Brookman played a set of cover material with his folk act of the last decade or so, Salt of the Earth, creating a new digital album in front of a live audience. And there’s a very good chance that at some point between, he’ll be playing weddings or other genteel settings with pianist Dave Becherer, showing off his confidence and comfort with the classical repertoire. “I’ve never felt competitive,” Brookman says. “There are other musicians, of course, who are scrambling and looking for things. I’m more laissez-faire. I let opportunities come to me — and a lot of things have come to me. I’ve been very fortunate. I have a knack for saying ‘yes,’ and I’ll play anything once. I’ll give anything a shot to see what happens. Sometimes you can find real magic that way. Whether live or in a studio setting, Brookman is frequently a first-call cellist for a wide ariety of acts in town. His music has developed into a career that balances nicely with his day job as assistant ticket manager at the Touhill Performing Arts Center.
“Music does something for me that other things can’t. The way it makes me feel is indescribable.” | KELLY GLUECK e figures that he plays roughly twenty days out of the month, be those rehearsal, recording or live dates. “I’m a Type A, at heart,” he laughs, “but I’m also kinda lazy.” It doesn’t seem like that, though, as bands continue to bring him in for gigs — including the TransSiberian Orchestra, El Monstero, Celebration Day — and he gets hired by old buddies like fellow Suede Chain alum Brian Krumm, with whom he’ll play at Stagger Inn
on Thanksgiving itself. “Serving the music” in all of those settings, he says, is the goal. Brookman’s start came at a young age and an unlikely location: the Olive Garden. Each of the four high-school musicians enlisted to play got $50 and a meal — until the gig was cancelled when the manager of another location objected to the concept. “We got fired,” Brookman figures, “because we were too cool.” What’s even cooler is the catalyst riverfronttimes.com
that shifted him from a talented teen player into someone with legitimate ambitions. After seeing Yo-Yo Ma at Powell Hall, Brookman wound up backstage with the legendary musician, who he credits as a deep influence. Brookman asked if he could play the master’s cello. He agreed and said he enjoyed Brookman’s playing, encouraging the young man to perfect his craft. Soon, Brookman would try out for (and be accepted by) three top music Continued on pg 38
NOVEMBER 2-8, 2016
RIVERFRONT TIMES
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JAKE BROOKMAN Continued from pg 37
“St. Louis pioneers of craft beer and live music” THURSDAY, NOVEMBER 3 RD Mr H & The Modern Historians, The By Gods, Four Arm Shiver, The Langoleers - Indie-Rock 7pm -$10
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programs. Unlike a lot of young players who leave college and join unsuccessful basement projects, Brookman joined a band with Collinsville roots who’d come together as collegians in Champaign, Illinois. Adding a string section, originally for a single event and then for good, the Suede Chain became a top indie-rock draw in both St. Louis and Chicago, and they began pushing outward from there. “We did go full force in trying to make it,” Brookman remembers. “We went out on tours for six weeks, bought a van and trailer. The full monty. Suede Chain was my first rock band, and m completely not embarrassed by it.” Mary Weingartner joined the group with Brookman. “I knew Jake casually from St. Louis Symphony Youth Orchestra,” she recalls. “We were both members in high school. I was an average violinist and he was one of the star cellists. At that time, he didn’t quite strike me as the badass I met later when I began playing with uede hain. rom the ery first rehearsal for ‘Rust,’ the performance art piece that brought strings to the band, Jake had an insatiable appetite for music. He would play any time, pretty much under any circumstances. He always wanted to be playing, and he wasn’t shy about asking — or joining in even if he hadn’t been asked. Even if he wasn’t playing, he always wanted to be surrounded by music.” “Music does something for me that other things can’t,” Brookman agrees. “The way it makes me feel is indescribable. Growing up I played chamber music, orchestra and opera music. The standard things a classical cellist would play. Then, when I came back from school, the Suede Chain asked me to play with them. Growing up, I was listening to everything from the Kingston Trio to Tom Lehrer and Gilbert & Sullivan. Just all over the board. I went through different phases: pop, heavy metal, rap. Ministry. Public Enemy.” Weingartner says, “Suede Chain seemed like it was probably a welcome addition to Jake’s musical and behavioral repertoire — a departure from the stuffier world of classical music.” While playing with the Suede Chain, Brookman worked at Streetside’s linchpin Delmar
NOVEMBER 2-8, 2016
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“I’ve always thought that music is something good for everyone to at least try.” | KELLY GLUECK location, gigging with everyone he could. When Suede Chain’s time finished, he landed gigs with Vitamen A and Fragile Porcelain Mice. His day jobs began to get more serious, too, and the frequency of out-of-town touring waned somewhat. Still, he had plenty of gigs in town and more than enough opportunities to showcase. “Jake was, and still is, a 24/7 performer,” Weingartner says. “He’ll put on a show from sound check — used to always be Kashmir and/or Pachelbel’s Canon; when Game of Thrones became everyone’s obsession, I feel confident ake began sound checking to its theme song — to the last note of an encore. In any performance, live or in studio, he ll hold a final note the longest, always demonstrating that he has more musical stamina than anyone else on stage. “I remember one of the first times Radiohead played St. Louis,” she adds. “They were playing a
smallish venue and Jake had decided he really wanted to sit in. He showed up with his cello, got himself tuned up, and stood at the base of the stage, cello in hand, trying to convince them to let him join them for a song or two. He was pretty insistent but ultimately unsuccessful. Still, I was in awe of the fact that he had the balls to ask and make such an effort.” There is effort in Brookman’s world, sure. And inspiration. And happenstance. And... “Everybody has their own path and course in life,” he says. “Some people do accounting; that’s what they enjoy. I’ve always thought that music is something good for everyone to at least try. It’s physical, it’s cerebral, it’s a foreign language, it’s math, it’s physics. Everything’s involved in playing an instrument, a hodgepodge of different disciplines. It’s part scientific, part art. straddle that fence a lot in my life, thinking about how and why they work.”
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40
B-SIDES
Two KSHE fans of varying notoriety. | JON GITCHOFF
[RADIO]
Cleveland or Bust Thousands sign a petition to get KSHE in the Rock & Roll Hall of Fame Written by
DANIEL HILL
K
SHE (94.7 FM) first hit the airwaves in 1967 to the sounds of Jefferson Airplane’s “White Rabbit” — a song that references experimentation with drugs through the lens of Alice in Wonderland. t ser ed as a fitting start for the station’s format change — from a classical station at its inception
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to St. Louis’ premiere purveyor of “Real Rock Radio” — during a time of seismic cultural shift. A pioneering California disc jockey by the name of Tom “Big Daddy” Donahue had made waves earlier in the year at San Francisco’s KMPX, eschewing radio’s popular Top-40 format and creating the nation s first alternative “free-form” station. Tracks were chosen by the station’s DJs, and programming leaned heavily toward rock & roll. St. Louis’ Ron Elz, who taught at a local broadcasting school, visited San Francisco around this time and returned home with a plan. He convinced an associate, Howard Grafman, to adopt Donahue’s model for Grafman’s recently purchased station on the FM dial. A crop of new DJs was hired to appeal to a younger, counter-culture crowd. The KSHE that we know and love today was born.
NOVEMBER 2-8, 2016
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That was 49 years ago. In the years since, Donahue has been inducted in the Rock & Roll Hall of Fame. Jefferson Airplane, too, was inducted. Conspicuously absent, though, is a certain St. Louis radio station that has been beaming rock & roll into the ears of the masses for nearly fi e decades. Now, a petition launched by KSHE DJ Lauren “Lern” Colvin aims to rectify that. “I started at KSHE in 2008, and in my eight years here, I have been hearing many wonderful stories about this radio station,” Colvin explains in the petition’s “about” section. “One of the great stories I was told by many people I work with is, ‘KSHE is in the Rock and Roll Hall of Fame in Cleveland,’ which made my ears perk with the hope that one day I may go see our legendary call letters in such an iconic institution of rock history.” ol in writes that she finally
got her chance to do so in October. When she arrived, though, she could not find the station s call letters anywhere in the building. Armed with an old photo of KSHE morning DJ John “U-Man” Ulett posing in front of a wall in the rock hall with KSHE depicted on it, she spoke with some hall employees, who ga e con icting stories — among them, that the wall had been “temporary” for the hall’s opening. When she pressed, saying that another KSHE DJ had seen the wall at a later time, she was told that SIRIUS and XM radio had taken over the building’s upper oor, and that the radio room had been taken down. “I kind of felt like I was wasting everyone’s time, so I handed them a KSHE sticker and I told them about our longevity, etc.,” Colvin writes. “They shook it off like we were just ‘any other station.’ “Now, look: I bring all of this up because I am a millennial and
a fan of this station, not just an employee of it,” she continues. “I cheer on this place and the people in it because it’s the pride of St. Louis (along with your St. Louis Blues, Cardinals and Chuck Berry) and I want to do something about the utter confusion this museum/ Hall of Fame has about ‘rock radio’ because honestly, without KSHE — they don’t know squat.” Colvin’s petition asks merely that the station be represented within the museum — she stopped short of asking for an official induction ceremony. But there is a good case to be made for such a move, considering the station’s in uence and staying power. The people behind the petition’s 2,000-plus signatures are inclined to agree. “I believe KSHE has shaped rock and roll,” writes Renee Obenhaus in the petition’s comments. “It’s the only radio station that has been around for decades. In my opinion it’s part of music history!!!” “Recognize one of the true epic stations that has been around for decades promoting the very thing the Rock & Roll Hall of Fame stands for,” writes Kevin D. McCarty. “KSHE is rock and roll.” “KSHE radio station is an icon in presenting rock music,” writes Joel Beck. “They have help[ed] promote rock artists from the beginning. They are listened to from all parts of the world. Their on-air people are very knowledgeable in rock music its history. efinitely, needs to be apart of the Rock and Roll Hall of Fame!!!” The petition’s goal is set at 50,000 signatures. It collected its first 1,000 within one day of going live. “If you agree that KSHE is a legendary station that has helped shape the music, people and world please sign this petition to get our station better represented inside this iconic museum,” Colvin writes. “Please share this post and ask your friends and family to do the same. We can make anything happen through social media because people are always on their screens, hungry for signing their name to something — only this time, you hopefully won’t have to unfollow anyone for posting this.” Finally, a cause we can all get behind. Add your name to the growing list of signatures at www. ipetitions.com/petition/ksherockhall.
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42 thur. nov. 3 9PM The Hilary Fitz Band
Hazard To Ya Booty
sat. nov. 5 10PM
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HOMESPUN
W
hen t. ouisans first encountered ary c lure in the spring of 201 , he was ready to take merican restlers, his bedroom recording pro ect, into the limelight. e had parlayed a set of his self-recorded songs, redolent of kinetic pop and lo-fi crunch, into an album on the respected at ossum label and had done so without the benefit of a web presence, a backing band or a single li e gig. hat self-titled record led c lure to a few benchmarks of mid-le el indie success a national tour, recepti e co erage in the music press, and increased isibility at home thanks in part to a performance at the 201 ou est. c lure is no na f when it comes to the music industry the cotland-born singer and guitarist first found acclaim with the genre- ockeying orking for a uclear ree ity, a anchester, ngland-based uartet, and he put out a few s under his own name after that band dissol ed. nd yet the past eighteen months ha e seen an accelerated maturation process for merican restlers, which is now a full- edged foursome capable of translating his initial home recordings into ner y, muscular songs that can bristle with fu or peel back to re eal tender, tuneful centers. n its sophomore release, Goodbye Terrible Youth, the band has amplified the forcefulness of its grunge-era antecedents while narrowing in on an effer escent lightness that highlights c lure s high tenor oice. er coffee on the ud ouse s sun-dappled patio, c lure is eager to talk about any music other than his own — at least initially. e s affably modest with a reser ed geniality, though his intensity rises as he expounds on certain topics. e can opine on the paucity of decent ritish bands, the clean chime of oland a horus amps and, when asked about some of the more pop-oriented elements of Goodbye, he name-drops a certain 0s yacht rock staple. eirdly, ust disco ered the musician hristopher ross — do you know this guy c lure asks. he soft-rocking exan is an odd reference for a musician whose lo e of ir ana has been an indelible in uence. ut there is a softness in certain corners of these songs that was coated in tape-hiss on the first merican restlers record, as well as an increased attention to the dynamics offered by the band which is rounded out by an eit on bass, osh an oorebeke on drums, and c lure s wife ridgette mperial on keyboard and guitar . nd while c lure s own guitar work can eer more toward traditional rock posturing — there are e en a few honest-to- od guitar solos this time around — he s also willing to ary his approach, as with the pearlescent leads on i e p, the album s first single, or the lightly chorused acoustic guitar on the pensi e set-closer eal eople. think there s a ery thin layer of cheese — it s ery faint, but deliberately put it in there, explains c lure. t s a re ection of being cool there s something about
NOVEMBER 2-8, 2016
riverfronttimes.com
hipness that feels so exclusi e. think with something that has more mass appeal, there s more honesty in it than someone who is trying to be remo ed and pose-y and trying to make something that isn t for e eryone. he e eryday nature of the would-be rock star is something that c lure, who works in a warehouse for ed x when not on tour, learned early. is uncle oddy rame led the cottish new wa e band tec amera in the 1 0s rame ga e a teenaged c lure his first guitar and amplifier. hen was ery young, learned uite uickly that someone who does that kind of thing isn t special, says c lure. hen you re ery young, it s ust your uncle, and then all of a sudden they can do this ama ing thing — they can sing with this ama ing oice and play guitar so well. o it broke that barrier down. c lure carries on the family legacy on the band s sophomore record. ote hatcher, the album s first and most blistering track, continues the thread of antihatcher songs like those by the nglish eat and l is ostello, though c lure s pronouncement — still can t belie e you died — carries with it the long iew of history. o much of the world ne er changes it ust repeats itself, says c lure. o really the song is about her being dead and not being dead, and the things that happened during her reign are happening again. ikewise, c lure sees a certain circuitousness to his own career, which is currently in its third iteration as he settles into his mid- 0s. n the lead-up to Goodbye Terrible Youth s release, he found himself featured in a music maga ine spread about up-and-coming acts. said to the woman inter iewing me, ou know, this is my third one of these for this maga ine. he thought that was hilarious, says c lure, who had been similarly profiled with each of his pre ious acts. don t know what you ha e to do, but m grateful to be in this position made a record and someone put it out his is my ninth record, so m gonna be writing my tenth record. f someone puts that out, m a happy man. hat s more than anyone gets, honestly. –Christian Schaeffer
43
OUT EVERY NIGHT THURSDAY 3
The Duck Room, 6504 Delmar Blvd., University
JEFF ROSENSTOCK: w/ Hard Girls, Katie Ellen 8
TOM HALL: 7 p.m., $5. BB’s Jazz, Blues & Soups,
AMANDA SHIRES: w/ Colter Wall 8 p.m., $12-$15.
City, 314-727-4444.
p.m., $12-$14. The Firebird, 2706 Olive St., St.
700 S. Broadway, St. Louis, 314-436-5222.
Off Broadway, 3509 Lemp Ave., St. Louis, 314-
YG: 8 p.m., $26-$31. The Ready Room, 4195
Louis, 314-535-0353.
YEASAYER: w/ Lydia Ainsworth 8 p.m., $25. The
773-3363.
Manchester Ave, St. Louis, 314-833-3929.
MAVIS STAPLES: 8 p.m., $35-$50. The Sheldon,
Ready Room, 4195 Manchester Ave, St. Louis,
BILLY BARNETT BAND: 7 p.m., $10. BB’s Jazz,
YOU HAD TO BE THERE! - STAND UP COMEDY
3648 Washington Blvd., St. Louis, 314-533-9900.
314-833-3929.
Blues & Soups, 700 S. Broadway, St. Louis, 314-
WITH STRANGERS: w/ Ryan de la Garza, Brenna
NATE MILLYUNZ: w/ Lauren & Dre 8 p.m., $10.
436-5222.
Grabow, Stryker Spurlock, Justin Luke, Ben
Cicero’s, 6691 Delmar Blvd., University City,
SUNDAY 6
COWBOY MOUTH: w/ Dirty Dozen Brass Band 8
Johnson, Kenny Kinds 9 p.m., $5. The Heavy
314-862-0009.
BIG GEORGE BROCK & TAIL DRAGGER: 8 p.m.,
p.m., $30. Old Rock House, 1200 S. 7th St., St.
Anchor, 5226 Gravois Ave., St. Louis, 314-352-
SOILWORK: w/ Unearth, Battlecross, Wovenwar,
$15. BB’s Jazz, Blues & Soups, 700 S. Broadway,
Louis, 314-588-0505.
5226.
Darkness Divided 3 p.m., $20-$25. Fubar, 3108
St. Louis, 314-436-5222.
Locust St, St. Louis, 314-289-9050.
BOW TIES & BLUES BENEFIT: 5 p.m., $20. BB’s
SOONER THAN LATER: w/ Divide the Empire,
Jazz, Blues & Soups, 700 S. Broadway, St. Louis,
JOE METZKA BAND: 10 p.m., $10. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-
SATURDAY 5
5222.
BOO BOO DAVIS & THE BUMBLE BEE TRIO: 10
Silent Hollow 9 p.m., $10. Blueberry Hill - The
314-436-5222.
LEON RUSSELL: 8 p.m., $32.50-$75. The Ready
p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broad-
Duck Room, 6504 Delmar Blvd., University City,
DREAM THEATER: 7:30 p.m., $31.50-$66.50. Pea-
Room, 4195 Manchester Ave, St. Louis, 314-
way, St. Louis, 314-436-5222.
314-727-4444.
body Opera House, 1400 Market St, St. Louis,
833-3929.
JACK GRELLE RECORD RELEASE: 8 p.m., free. Off
THUNDERHEAD: THE RUSH EXPERIENCE: 8 p.m.,
314-241-1888.
LIL UZI VERT: 8 p.m., $35-$40. The Pageant, 6161
Broadway, 3509 Lemp Ave., St. Louis, 314-773-
$12-$15. Delmar Hall, 6133 Delmar Blvd., St.
INTERVALS: w/ Plini, Painted In Exile 7 p.m.,
Delmar Blvd., St. Louis, 314-726-6161.
3363.
Louis, 314-726-6161.
$16-$18. Fubar, 3108 Locust St, St. Louis, 314-
MR H AND THE MODERN HISTORIANS CD RE-
289-9050.
LEASE: w/ The By Gods, Four Arm Shiver, The
K. FLAY: 8 p.m., $12-$14. The Firebird, 2706
Langaleers 7 p.m., $10. Cicero’s, 6691 Delmar
Olive St., St. Louis, 314-535-0353.
Blvd., University City, 314-862-0009.
KIRKO BANGZ: 8 p.m., $15-$20. The Ready
PAPER ROUTE: w/ HALFNOISE 8 p.m., $15. The
Room, 4195 Manchester Ave, St. Louis, 314-
Firebird, 2706 Olive St., St. Louis, 314-535-0353.
833-3929.
A PROMISE TO BURN: w/ New Lingo, Torn at the
LAURA STEVENSON: 8 p.m., $10-$12. Blueberry
Seams, Mocklove, Inner Outlines 6 p.m., $10.
Hill - The Duck Room, 6504 Delmar Blvd.,
Fubar, 3108 Locust St, St. Louis, 314-289-9050.
University City, 314-727-4444.
ROY 2: DAVE: w/ 3 of 5, Solid State Disaster 9
MITSKI: 8 p.m., $12-$14. Off Broadway, 3509
p.m., $5. The Heavy Anchor, 5226 Gravois Ave.,
Lemp Ave., St. Louis, 314-773-3363.
St. Louis, 314-352-5226.
RUSTED ROOT: w/ Devon Allman Band 8 p.m.,
YELAWOLF: w/ Bubba Sparxxx, Jelly Roll, Strug-
$25. Old Rock House, 1200 S. 7th St., St. Louis,
gle Jennings 8 p.m., $22-$25. Pop’s Nightclub,
314-588-0505.
401 Monsanto Ave., East St. Louis, 618-274-
STRAIGHT NO CHASER: 2:30 p.m., $34.50-$59.50.
6720.
The Fox Theatre, 527 N. Grand Blvd., St. Louis, 314-534-1111.
FRIDAY 4 BIG JON ATKINSON BLUES BAND: 10 p.m., $10.
MONDAY 7
BB’s Jazz, Blues & Soups, 700 S. Broadway, St.
GRIM REAPER: w/ Conquest, Seventh of Never 7
Louis, 314-436-5222.
p.m., $15-$18. Fubar, 3108 Locust St, St. Louis,
FAUX FIGHTERS: w/ The Dude Abides 8 p.m.,
314-289-9050.
free. The Ready Room, 4195 Manchester Ave,
ICE GUARDIANS: 7 p.m., $40-$100. The Pageant,
St. Louis, 314-833-3929. JAKE’S LEG: 8 p.m., $7. Cicero’s, 6691 Delmar
6161 Delmar Blvd., St. Louis, 314-726-6161.
[CRITIC’S PICK]
Blvd., University City, 314-862-0009.
LE’ PONDS: w/ Kara Yannon, Dee Bird, Julia
Mavis Staples. | PRESS PHOTO VIA MONTEREY INTERNATIONAL
LEROY JODIE PIERSON: 7 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314436-5222. LOLA AND THE KICKBACKS: w/ Jesse Gannon 8 p.m., $10-$12. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161. NATO COLES & THE BLUE DIAMOND BAND: w/ The Cuban Missiles, Bad Taste, The C-Sides, Grave Neighbors 7 p.m., $10-$12. Fubar, 3108 Locust St, St. Louis, 314-289-9050. OVER THE RHINE: 8 p.m., $30. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505. REBELUTION: w/ Stick Figure, Hirie 7 p.m., $20$25. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161. REEVE CARNEY: 7 p.m., $12-$15. Fubar, 3108 Locust St, St. Louis, 314-289-9050. *REPEAT REPEAT: 8 p.m., $10-$12. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. SETH WALKER: 8 p.m., $10-$12. Blueberry Hill -
Lucille 9 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. LIKE MOTHS TO FLAMES: w/ Torn at the Seams,
Mavis Staples 8 p.m. Saturday, November 5. The Sheldon Concert Hall, 3648 Washington Boulevard. $50 to $35. 314-533-9900.
For more than 60 years, Mavis Staples has sung the American dream. Her vision is not of material aspiration, but of social and spiritual redemption, down the freedom roads, into the churches, out into a country which, to quote a one-time suitor, is always busy being born. Her vocal expressions — guttural, complex, transcendent in their instincts — with the Staple Singers formed a
Marked by Honor 6 p.m., $15-$17. The Fire-
soundtrack to the civil rights movement and the black experience, but her voice also challenged communities to reach ever higher, for deeper respect and humanity, toward that unbuilt city in the sky. If ever a voice deserved the appellation “soulful,” it is Mavis Staples’. No Turning Back: This year, at the age of 77, Staples released Livin’ on a High Note, a collaboration with indie-folk producer and songwriter M Ward. It ranks among her most moving and joyous work. – Roy Kasten
riverfronttimes.com
bird, 2706 Olive St., St. Louis, 314-535-0353. MUSIC UNLIMITED: 8 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-4365222. SOULARD BLUES BAND: 9 p.m., $5. Broadway Oyster Bar, 736 S. Broadway, St. Louis, 314621-8811. WILD NOTHING: w/ Small Black 8 p.m., $16-$18. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.
TUESDAY 8 EAST SIDER REVIEW: 9:30 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314436-5222. ETHAN LEINWAND & FRIENDS: 7 p.m., $5. BB’s
NOVEMBER 2-8, 2016
Continued on pg 44
RIVERFRONT TIMES
43
OUT EVERY NIGHT Continued from pg 43
Even In Blackouts, Hospital Job, Fri., Feb. 17, 7 p.m., $12. Fubar, 3108 Locust St, St. Louis, 314-289-9050.
Jazz, Blues & Soups, 700 S. Broadway, St. Louis,
LOVE JONES “THE BAND”: Sun., Dec. 4, 8:30 p.m.,
314-436-5222.
$10. BB’s Jazz, Blues & Soups, 700 S. Broadway,
JAMAICA LIVE TUESDAYS: w/ Ital K, Mr. Roots, DJ
St. Louis, 314-436-5222.
Witz, $5/$10. Elmo’s Love Lounge, 7828 Olive
MARQUISE KNOX: Fri., Nov. 18, 7 p.m., $5-$10.
Blvd, University City, 314-282-5561.
National Blues Museum, 601 Washington Ave.,
PORTER ROBINSON: w/ Madeon 8 p.m., $35-$40.
St. Louis.
The Pageant, 6161 Delmar Blvd., St. Louis,
MC CHRIS: W/ MC Lars, Mega Ran, Thu., Nov.
314-726-6161.
10, 8 p.m., $15-$17. Fubar, 3108 Locust St, St.
STRYPER: 8 p.m., $29-$35. The Ready Room,
Louis, 314-289-9050.
4195 Manchester Ave, St. Louis, 314-833-3929.
MUSIQ SOULCILD: W/ Lyfe Jennings, Kindred the Family Soul, Avery Sunshine, Sat., March 25,
WEDNESDAY 9 ANDERSON, RABIN & WAKEMAN: 8 p.m., $65-
8 p.m., $55-$102. Peabody Opera House, 1400
[CRITIC’S PICK]
Market St, St. Louis, 314-241-1888.
$100. The Fox Theatre, 527 N. Grand Blvd., St.
NOBODYS: W/ Horror Section, The Haddon-
Louis, 314-534-1111.
fields, rasky,
Yeasayer. | PRESS PHOTO VIA STAY GOLDEN PR
BEARTOOTH: 7 p.m., $19.50-$23. The Ready
on., ec. 12,
p.m., 12. ubar,
3108 Locust St, St. Louis, 314-289-9050.
Yeasayer
POEFEST 2016: W/ Tef Poe, Sun., Dec. 18, 8 p.m.,
833-3929. BIG RICH MCDONOUGH & RHYTHM RENEGADES: 7
8 p.m. Saturday, November 5.
314-726-6161.
Room, 4195 Manchester Ave, St. Louis, 314-
p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. THE BLUES CRUSHERS: 10 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314436-5222. BOB “BUMBLE BEE” KAMOSKE: 8 p.m. Beale on Broadway, 701 S. Broadway, St. Louis, 314-6217880. BRADLEY HATHAWAY: w/ Least Of These 9 p.m., $7. The Heavy Anchor, 5226 Gravois Ave., St. Louis, 314-352-5226.
THIS JUST IN AL HOLLIDAY AND THE EASTSIDE RHYTHM BAND: Fri., Dec. 9, 8 p.m., $10-$12. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. ALCEST: W/ The Body, Creepers, Sat., Jan. 28, 8
The Ready Room, 4195 Manchester Avenue. $25. 314-833-3929.
You can get a pretty good sense of the overall style of Brooklyn-based Yeasayer by watching the video for 2016’s “Prophecy Gun.” Featuring slow pans of wax-like humanoid figures in some sort of assaulted Dadaistic workshop, the moving models seem to glitch back and forth, as if they were puppets or shells of humans. The song itself lands somewhere in the kaleidoscopic landscape of barbershop choral harmony, sweeping keyboards and unidentifiable electronic
$10. Delmar Hall, 6133 Delmar Blvd., St. Louis,
distortion. As difficult to categorize as ever, the band continues to push its experimental boundaries through this year’s Amen and Goodbye, yet it doesn’t consider itself too high-minded to avoid pop vibes, as in “Silly Me,” which would not sound out of place alongside tracks by Walk the Moon or Smallpools. Stay Unpredictable: Since its first album release in 2007, Yeasayer has resisted any inclination to settle down into a specific brand of eclecticism, instead embracing the full gamut in its records and on stage.– Harry Hall
Jan. 6, 7 p.m., $22.50-$25. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161. REGULAR JOHN: Thu., Dec. 15, 8 p.m., $12-$15. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314726-6161. ROCKIN CHAIR: $10-$12. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505. SILENCE THE WITNESS: W/ Arkangela, Wrecklamation, Sons of Leviathon, Through Burning Eyes, Set Fire To Salem, Wed., Dec. 21, 6 p.m., $8-$10. Fubar, 3108 Locust St, St. Louis, 314289-9050. SKEET RODGERS & THE INNER CITY RIVER BAND: Fri., Nov. 25, 7 p.m., $5-$10. National Blues Museum, 601 Washington Ave., St. Louis. SOULARD BLUES BAND: Sat., Dec. 10, 10 p.m., $15. BB’s Jazz, Blues & Soups, 700 S. Broadway,
p.m., $17-$20. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929.
[CRITIC’S PICK]
CHRIS GRINDZ: W/ DJ Kimmy Nu, Jeuce The Sh-
St. Louis, 314-436-5222. SPIRIT ANIMAL: W/ Nico Yaryan, Thu., Dec. 8, 8 p.m., $12. Blueberry Hill - The Duck Room,
inobi, Bates, Sal Calhoun, Sun., Nov. 27, 8 p.m., $11. The Firebird, 2706 Olive St., St. Louis,
REEL BIG FISH: W/ Ballyhoo!, Direct Hit!, Fri.,
314-535-0353.
Sidney Street Shakers
CHRIS NATHAN: Thu., Dec. 8, 7 p.m., $5. BB’s
7:30 p.m. Wednesday, November 2.
6504 Delmar Blvd., University City, 314-7274444.
True St. Louis musicologists don’t need to be reminded of our city’s contributions to the earliest eras of jazz and ragtime; spend a little time digging and you’ll uncover names such as Henry Brown, Oliver Cobb and Vess L. Ossman. But for those who desire to hear that type of music from a live band instead of a dusty 78, the Sidney Street Shakers are a faithful devotee of
1920s-era jazz, with a mission of celebrating St. Louis’ heritage. Featuring players from the Hooten Hallers and Pokey LaFarge’s band, the Shakers lift the curtain on their debut album this week, which features compositions by Dewey Jackson, the Mound City Blue Blowers and more. Confluence City: Local historian and illustrator Kevin Belford, whose Devil at the Confluence is an essential book on St. Louis’ musical gifts, will emcee the show. – Christian Schaeffer
Came The Wolves, Sat., Dec. 3, 6 p.m., $17-$20.
JEFF THE BROTHERHOOD: W/ Chastity, Fri., Jan.
Locust St, St. Louis, 314-289-9050.
Blvd., St. Louis, 314-533-9900.
Fubar, 3108 Locust St, St. Louis, 314-289-9050.
13, 8 p.m., $15. Off Broadway, 3509 Lemp Ave.,
JUCIFER: W/ Valley, Spacetrucker, Sat., Nov.
WHITEY MORGAN: Sat., Dec. 10, 8 p.m., $15-$75.
HERENOWHEAR: Fri., Nov. 18, 7 p.m., free. The
St. Louis, 314-773-3363.
26, 7 p.m., $12-$14. Fubar, 3108 Locust St, St.
The Ready Room, 4195 Manchester Ave, St.
560 Music Center, 560 Trinity Ave., University
JEREMIAH JOHNSON BAND: Fri., Nov. 25, 8 p.m.,
Louis, 314-289-9050.
Louis, 314-833-3929.
City, 314-421-3600.
$10-$50. Off Broadway, 3509 Lemp Ave., St.
KARL DENSON’S TINY UNIVERSE: W/ Brownout,
YONDER MOUNTAIN STRING BAND: W/ The
JAZZ COMBOS CONCERT: Tue., Nov. 29, 8 p.m.,
Louis, 314-773-3363.
Sat., Dec. 10, 9 p.m., $25. Old Rock House, 1200
Railsplitters, Fri., Jan. 20, 8 p.m., $25-$30. The
free. The 560 Music Center, 560 Trinity Ave.,
JONNY CRAIG: W/ Kyle Lucas, Whitney Peyton,
S. 7th St., St. Louis, 314-588-0505.
Pageant, 6161 Delmar Blvd., St. Louis, 314-726-
University City, 314-421-3600.
Thu., Dec. 15, 7 p.m., $15-$17. Fubar, 3108
THE LILLINGTONS: W/ The Mopes, The Manges,
6161.
Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. CROWBAR: W/ Goatwhore, Lillake, Lyluth, Some Kinda Khaos, Sun., Dec. 4, 7 p.m., $18-$20. Fubar, 3108 Locust St, St. Louis, 314-289-9050. DARK TRANQUILITY: W/ Enforcer, Swallow The Sun, Starkill, Throes Eternal, Sun., Nov. 20, 7 p.m., $17-$50. Fubar, 3108 Locust St, St. Louis, 314-289-9050. EL MONSTERO: THE DEFINITIVE PINK FLOYD EXPERIENCE: Fri., Dec. 16, 8 p.m.; Sat., Dec. 17, 8 p.m.; Thu., Dec. 22, 8 p.m.; Fri., Dec. 23, 8 p.m.; Thu., Dec. 29, 8 p.m.; Fri., Dec. 30, 8 p.m., $27.50-$50. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.
The Stage at KDHX, 3524 Washington Avenue. $10. 314-925-7556.
RIVERFRONT TIMES
Grove, Mon., Dec. 5, 6 p.m., $12-$15. Fubar, 3108 Locust St, St. Louis, 314-289-9050. THE BUMP & HUSTLE NO. 53: W/ 18andCounting, DJ Needles, DJ Makossa, Sat., Nov. 19, 9 p.m., $5. Blank Space, 2847 Cherokee St., St. Louis. THE BUMP & HUSTLE NO. 54: W/ DJ Mahf, DJ Needles, DJ Makossa, Sat., Dec. 17, 9 p.m., $5. Blank Space, 2847 Cherokee St., St. Louis. THIRD SIGHT BAND: Mon., Dec. 5, 8 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. VALERIE JUNE: Thu., Feb. 23, 8 p.m., $17-$20. Blueberry Hill - The Duck Room, 6504 Delmar Blvd., University City, 314-727-4444. VIVA ITALIANO: Mon., Nov. 21, 7 p.m.; Tue., Nov. 22, 7 p.m., $38. The Sheldon, 3648 Washington
HANDS LIKE HOUSES: W/ The Color Morale, Out
44
SPOKEN: W/ Dayshell, 3 Pill Morning, Union
NOVEMBER 2-8, 2016
riverfronttimes.com
SAVAGE LOVE CUCK EVERLASTING BY DAN SAVAGE Hey, Dan: I’m a 41-year-old male who looks like the tall, strong, professional, alpha-male type on the outside. On the inside, though, I would like to find a strong, confident woman who wants a cuckolding relationship — she sleeps with other men, while I am faithful and submissive to her. There must be women out there who would love to have a loving, doting boyfriend or husband waiting at home while they go out with other men, but I tend to attract women who want the alpha-male type. What can I do to find — or attract — the kind of woman I’m interested in? Or should I go in for vanilla dating and then have a discussion about cuckolding after we’ve started having sex? Another Lad Pursuing Humiliating Action “Most women, even dominant women, are still looking for guys who look like they ‘kick ass and take names’ in every other aspect of their lives,” said FleeMarket (u/ ee market , one of the moderators of r/cuckold on Reddit. “As for how to find dominant women, see a lot of submissive guys on various websites — OkCupid, Reddit, Tinder, FetLife — and something they don’t
understand is that women looking for sex or love online tend to get buried in unsolicited PMs from thirsty guys. That makes it hard to find that one respectful from a guy like our letter writer here. The signal gets lost in the noise.” Before we get to some practical advice for ALPHA, a quick word about the term “cuck.” While it has long been an affectionate/horny term embraced by self-identified cuckold fetishists, the alt-right has attempted to turn “cuck” into a term of abuse, hurling it at any straight white man who gives a shit about racial justice, police brutality, and the plight of undocumented immigrants. n an effort to wrest cuck back from the bigots, and to mark the waning days of the Trump campaign, m dedicating this week s column to “cuck” as properly understood: a guy who wants his partner to sleep with other men. So, ALPHA, how can you attract a woman who wants a cuck? “What’s worked for me is using the internet not to find people but to find kinky e ents where dominant women gather in real life,” said FleeMarket. “The events are usually listed on FetLife, and you usually ha e to attend a munch first to demonstrate that you’re not a dingus who can’t follow the rules or a psycho who doesn’t care about them.” ou will find a lot of ad ice for
wannabe cucks on r/cuckold, most offered in response to men trying to talk their vanilla wives or girlfriends into cuckolding them. But you’re as likely to read stories of failure as you are to read success stories. “As much effort and time as getting into the kinky community takes, it’s still easier than trying to turn a vanilla woman kinky,” said FleeMarket. “He shouldn’t ‘lead with his kink. f a woman asks him what his interests are, mention it, but dial down the excitement level. Basically: Be in the right place, treat the women there with respect, and get to know them as people first. Hey, Dan: My ex-three-exes-ago was a cuckold. I swore I would never date another cuckold after he blew up at me for not cheating on him juuuuuust right. I was just a prop, and I came to hate him. Fast-forward five years, and my brand-new boyfriend tells me being cuckolded is his ultimate fantasy. I literally started to cry. He held me, he apologized on behalf of all cuckolds everywhere, we laughed, and then he dropped it. He didn’t pressure me, and about a year later, we gave it a try on his birthday. It turns out my boyfriend — fiancé now — is much better at this kink than my ex was. He’s open and honest, he communicates constructively and he was willing to step outside his comfort zone to accommodate
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my needs. (He wanted the other guys to be strangers, but I need to know someone before letting him in my body.) I have a regular thing with an ex-FWB, and sex with my cuck is frequent and hot. Things couldn’t be better. Cheating Happily Ever After, Thanks! Congrats on your upcoming wedding, nd t would appear some vanilla women can be turned. Hey, Dan: I just came across the word “wittol.” It means “a man who knows, condones and even encourages his wife’s enjoyment of coitus with another man or men; a contented cuckold.” Considering the frequency with which cuckolding comes up and your influence on language, I thought you might want to know. He’s Expanding Lexicon Perpetually Discontent is a big part of the cuckolding kink, HELP, as cuckolds get off on feeling humiliated and jealous. o m not sure wittol uite works. f the alt-right white supremacists succeed in making “cuck” synonymous with “race traitor,” maybe cucks will switch to “wittol.” But don t gi e up without a fight, cucks Listen to Dan’s podcast at savagelovecast.com. mail@savagelove.net @fakedansavage on Twitter
NOVEMBER 2-8, 2016
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