April 30, 2015 by Riverfront Times

APRIL 30–MAY 6, 2015 I VOLUME 39 I NUMBER 18

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ODE TO JOY SEVEN YEARS AGO, ARTISTS ON CHEROKEE STREET INVENTED THE PEOPLE’S JOY PARADE. CINCO DE MAYO WOULD NEVER BE NORMAL AGAIN.

BY N IC H O L AS P H I L L I P S

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the lede

P H OTO BY JA R R E D G AST R E IC H

“I moved to Cherokee Street last weekend. There’s a raw quality here and a certain unpretentiousness. No speciﬁc scene, but there is a lot of shit happening. I used to work in the Loop, and the crowd was more students and residents from the county. The diversity here is refreshing.” –GORDON VENEGAS, SPOTTED AT THE FORTUNE TELLER BAR, APRIL 20.

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1 0 O D E TO J OY Seven years ago, artists on Cherokee Street invented the People’s Joy Parade. Cinco De Mayo would never be normal again. BY NICHOLAS PHILLIPS

The Lede

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Standout dispatches from our news blog, updated all day, every day

Star Clipper Blasts Off Downtown tar Clipper Comics relaunched from its new downtown location under cloudy skies Saturday morning. In a moment of beautiful synchronicity, Flashpoint, a 2011 comicbook series that began anew the histories of Batman, Superman and Wonder Woman, among others, was the first item rung through new store’s till. It seemed fitting that the story that rebooted some of history’s most famous superheroes also began a new era for St. Louis’ best-known comic book shop. Much as Flashpoint made some dramatic alterations to comic history even while maintaining some continuity, the new Star Clipper location was also a distinct mix of old and new. The smell of fresh paint and new fixtures combined with recognizable signage and some familiar faces from the store’s old Delmar location to begin its next chapter. “It reminds me a lot of the old Star Clipper,” said Thiran Udawatta, who purchased Flashpoint in addition to another title. “You don’t really see a comic book store of this

Controversy Lies Ahead for Proposed Michael Brown Memorial

he spot in the street where Michael Brown died has become hallowed ground in the past eight months. A memorial there grew from a bunch of roses laid by his mother to a tall, narrow pile of stuffed animals, framed pictures, T-shirts, ﬂowers and other trinkets. An even more massive memorial bloomed on a nearby lamp post. Though it has attracted visitors from all over the world, some locals have grown weary of it. “There’s a lot of residents that are not happy with dodging a memorial in the middle of the street,” says Ferguson mayor James Knowles. “We’ve had to try to plow around it in the winter months. We’ve had people, unfortunately, drive through them, whether it’s purposeful or accidental. It creates a road hazard.”

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JEREMY ESSIG

A mix of the old and new greets customers at Star Clipper Comics.

The issue was formally brought before the newly seated Ferguson City Council last week in the form of a letter from the Joint Council On Policy and Social Impact, requesting in conjunction with the Brown family that a permanent marker be laid and the current memorial cleared. In a letter addressed to Knowles and the members of the city council, Janie Jones of the Joint Council wrote, “We respectfully request that the Ferguson City Council pass an ordinance to approve the installation of a permanent street marker to be embedded on Canfield Drive in the shape of a dove, and a historical roadside marker in the area of Florissant Road and Canfield Drive. It is our recommendation that upon installation of the dove, the street memorial on Canfield Drive be removed.” Along with the Joint Council, an anonymous donor has apparently volunteered to pay for the new markers, as well as a year’s worth of storage for the items that will be removed from the street. It’s not clear how large the dove-shaped marker embedded in the asphalt would be. Knowles says that he’s had numerous conversations with representatives from the

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Brown family about a permanent memorial. Everything from renaming the street to building a median to actually digging up the spot where Brown died was discussed. “They wanted to cut that section of street out and preserve it somewhere,” he says. “We’re trying to work with the Brown family.” Knowles says what will likely happen next is that discussion of the marker will go before the city’s traffic commission, which is made up of seven or eight residents with one city-council liaison. Newly seated Ward 1 councilwoman Ella Jones will fill that role. Riverfront Times requested an interview with Jones through Jeff Small, the spokesman for the City of Ferguson, but he denied our request and sent this message instead: “As you are aware, this is an extremely controversial matter which the City of Ferguson has been addressing over the last several months. There have been, and will continue to be discussions, and hopefully solutions. The proposal presented on April 21st, will be taken into consideration as we seek to find a more secure location.” When asked for clarification on what Small meant by a “more secure location,” he wrote,

“the City has met and spoken with many different individuals concerning the goal of finding a more secure location for the existing memorial, or for another memorial considered to be a more permanent display.” Knowles adds that decisions about the memorial will not be made hastily. “I think we’re going to need to really sit down and listen to what the residents have to say about the request. To have anything in the street, you know, may again draw people into traffic. Definitively the historical marker on the side of the street would be less problematic,” he says. “There’s a lot of events that happened in the last eight months. I think it would require...a very deliberative process to decide how we’re going to capture the history of the last eight months.” Any discussion of the memorial will likely not be without controversy. Recently a separate memorial to Brown in a Ferguson park — a commemorative tree — was snapped in half and someone stole the marker stone. It stood for less than a day. Members of the Brown family declined to comment on the memorial at this time. — JESSICA LUSSENHOP

JEREMY ESSIG

Some of Star Clipper’s merch. The store opened its downtown outpost last weekend.

quality.... It’s very welcoming to people who may not even like comics.” About ten minutes before the store opened, Udawatta — adorned in a Spider-Man T-shirt and hoodie — stood in a crowd of about twenty people waiting for Star Clipper 2.0 to be unveiled. A second Spider-Man fan, nineyear-old Daniel Scott, was also among those standing by. Scott, who was searching for both Pokémon cards and comic books, came from Illinois with his father, sixteen-year-old sister and her boyfriend. The Scotts usually frequent Fantasy Books — a group of Illinois comic and gaming stores also owned by Star Clipper’s new owners, Steve Unverferth and Tony Favello. Mike Scott, Daniel’s father, said the trip was prompted by a curiosity to check out the new place as well as a chance to visit with Favello, a friend he hadn’t seen in awhile. Michael Lugo, who appeared in front of the store a few minutes before the Scotts, was looking forward to his ﬁrst Star Clipper experience, having gotten into comic books in the time between the Delmar location’s closing and the grand re-opening on Washington Avenue. “I want to start reading some comics, but I don’t know where to jump in. I’m kind of hoping they’ll provide some guidance,” Lugo said. “The one in the Loop had quite the reputation, so I wanted to come down here and see what this one had going for itself.” Knighton Clark, though not a comicbook collector himself, said he was also very familiar with the store’s reputation as he poured coffee at the Washington Ave. Post, one of Star Clippers’ new downtown neighbors. Clark said that he’s deﬁnitely glad that the store had re-opened as part of the downtown

business community. According to store manager Keya Matanagh, the feeling is mutual. “[Downtown] has a lot of promise and is experiencing a lot of growth,” Matanagh said. “We’re hoping to shift the dynamic a bit down here, make it less nightlife-oriented and more a hotspot of activity all day, every day.” Star Clipper’s voyage into that dynamic officially began at 10 a.m. on Saturday. Assistant manager Hailey Anderson cracked the door, slid her face though the opening, and welcomed the crowd. Unlike Matanagh and many others staffers at work during the opening, Anderson was a new hire. “I loved the product and I heard that they were opening downtown,” Anderson said, glitter glistening on her eyelids. “I just felt drawn to it and there hasn’t been a singe day I haven’t been happy here.” In addition to a few new employees, both Anderson and Matanagh said an increased focus on gaming will be another change customers will notice. Offering patrons a chance to participate in games such as Magic the Gathering and HeroClix is something the store is trying to introduce people to, Matanagh said. “We’re definitely hoping to promote a casual air to the gaming here,” he added. While the store may feature new events, a few new employees and a new address, the mission, according to Matanagh, is still the same. “The two locations are pretty similar,” he said. “We’re doing that on purpose so that we carry on the tradition the Loop location began; that of being a haven for the St. Louis comics community, catering to both mainstream and independent tastes. — JEREMY ESSIG

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Ode to Joy

SEVEN YEARS AGO, ARTISTS ON CHEROKEE STREET INVENTED THE PEOPLE’S JOY PARADE. CINCO DE MAYO WOULD NEVER BE NORMAL AGAIN. BY N IC H O L AS P H I L L I P S

People’s Joy Parade [ pƝ-pԥlz-‫ޖ‬j‫ ܞ‬i-pԥ-rƗd ] noun 1) An improvised locomotive streetshow of art, music, dance, vehicles and costumes, hundreds of creatures deep; 2) That procession which has intersected the Cinco de Mayo festival on Cherokee Street each year since 2009, powered by love-feels and not by corporate sponsorship; 3) Any annual St. Louis parade organized by mostly white artists in a mostly black neighborhood during a Mexican festival on a street named after Native Americans

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Parade Guidelines “It’s truly anything goes. The only structure is that everybody lines up.” — Galen Gondolﬁ, frequent participant and founder of Fort Gondo,

a nonproﬁt arts forum on Cherokee Street

“We encourage costumes and artists because that’s about whimsy and play and making the everyday magical. But it’s totally inclusive. You can join in at any moment.” — Sarah Paulsen, parade cofounder “Blue jeans and a T-shirt isn’t gonna cut it. Get out your glitter. Don’t be boring. Do not be boring. Let your freak flag fly a little bit. Be silly. Enjoy yourself.” — Jenny Callen, parade coordinator “It’s both painful and orgasmic. There must be a variety of life-threatening infrastructure [on the floats]. Without that component, it’s not worth it.” — Galen Gondolfi

Parade Origin

MICAH USHER

n 2007, Sarah Paulsen — a St. Louis-based artist, animator and teacher — voyaged to the town of Ayacucho, Peru. One day she was swept into a church parade. The sensation was so intense she began to cry. “For a long time I thought about that parade and what it meant,” she says. She concluded that its power lay in the feeling of solidarity, a solidarity that was somewhat lacking in the Cherokee neighborhood to which she soon returned. Cherokee was in transition. A century earlier, the south-city street had hummed with dry-goods stores and even a trolley. After World War II, department stores and high-end boutiques moved in. Then the city started emptying out in the ’60s. Cherokee fell into a slump of burglary, murder, drugs, prostitution and neglect. But by the mid-aughts, a renewal was underway. Latino business owners opened eateries and groceries. Artists like Paulsen came hunting for cheap studio space. Ensconced in this new multiethnic mix of neighbors, Paulsen wondered whether artistic events could help bridge cultural gaps between them. She fell into a dialogue with Lyndsey Scott, a staffer at the Cherokee-based Community, Arts & Movement Project, or CAMP. Scott had been working with local kids there. She, too, yearned for stronger neighborly bonds, and believed that spontaneous, playful interactions in public could foster them. “But it was like, where?” says Scott. “There was no public space.” In the spring of 2008, Scott circulated an email. The idea was to gather a small crew of merry-makers to scramble around the annual Cinco de Mayo festival in disguises. She wrote:

Bring your Zany your Colors your Unafraid Bring your Cooky your Monkey your Tambourine Bring your Foofoo your Feathers your Umbrellashade Bring your Stilts your Maracas your Songlungs true Bring your Poem to shout Bring your lumps to shake Bring you.

continued on page 12

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MICAH USHER

“I remember the feeling of slowmotion beauty, walking down the center of street with the kids. That is such the world that I wanted to create for them, where play is permissible, people are cheering for you, and you can sing love songs for strangers.”

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Joy

continued from page 11

She added, “Please don’t post this to list-servs.” She wanted her “baby street theatre parade seed” to be kept “more on the mum side so it has some surprise flava.” About twenty people showed up. The next year Scott and Paulsen announced the first formal People’s Joy Parade. They got the proper permits and scheduled it to coincide with Cinco de Mayo. They had no funding, “just heart and guts,” recalls Paulsen, who personally hand-crafted some invitations. She and Scott also passed out fliers at Cherokee shops and knocked on residents’ doors. “I don’t remember overt interest,” Scott says. “We weren’t in costume. The message was, ‘We’re sane. You can trust us.’” The pair recruited a third collaborator, Celia Shacklett, a rock bassist and founder of the winter holiday caroling group Yuletide Express. Shacklett formed a small sing-along troupe called the Footbeat Choir. Her job was to strum guitar and lead paraders in belting out classics such “Lean on Me,” “This Land Is Your Land” and — in honor of Cinco de Mayo — the Mexican folk song “Cielito Lindo.” (The Footbeat Choir’s repertoire has since widened to include Michael Jackson’s “Man in the

Mirror” and Stevie Wonder’s “I Just Called to Say I Love You,” among other tunes.) For that first parade in 2009, about 150 people came and marched, and not just visual artists: The Roosevelt High School’s marching band banged on drums, while Latinas from St. Cecilia Catholic Church twirled their dresses in a Mexican folk dance. “I couldn’t believe we pulled it off,” says Paulsen. The next year, Paulsen and Scott launched a Kickstarter campaign, calling on: crepe paper float makers, home made costume fashionistas, b-boys/girls, midnight minstrels, Gigante puppeteers, art cars, bike brigades, moving installation artists, Elvis impersonators, cardboard bricoleurs, rainbow dancers, knights of St. Louis, drag queens, beat making marching bands, Mexican wrestlers, robot makers, Virgin of Guadalupe’s, and any lost members of the Missouri tribe. Many answered the call, and the People’s Joy Parade congealed into tradition. “I remember the feeling of slow-motion beauty, walking down the center of street with the kids,” says Scott, who has since moved to Illinois. “That is such the world that I wanted to create for them, where play is permissible, people are cheering for you, and you can sing love songs for strangers.” Since then, the People’s Joy Parade has become a fixture of Cherokee’s Cinco de Mayo street party.

BOB CROWE

Melissa “Queen Bee” Breed-Parks and Celia Shacklett, leader of the Footbeat Choir.

The Truth About Cinco de Mayo

inco” is not a big holiday among Mexicans. True, it officially commemorates the nation’s 1862 victory over France, but Mexico’s major patriotic celebration falls on September 16, the anniversary of its independence from Spain. Cinco revelry in the United States is largely a triumph of marketing, according to Minerva Lopez, Cherokee resident and organizer of the street’s Latino Business Owners Association. “We put it together for the gringos,” she says, “but the Mexicans know it’s going to happen, and it’s outdoors, and it’s fun, so they come.” Lopez confirms the widely observed irony that, during Cinco, those two groups tend to crisscross the expected alcohol preference: Hispanic revelers often favor Bud Light, while gringos sip Corona. But drink they do, all of them, which provokes the question: Who profits from Cinco? The vendors of beer, food and art will make money in varying degrees, but the festival operators have historically broken even, says Anne McCullough of the Cherokee Street Development League, the new 501(c)3 that now runs the event. She says that any surplus cash from the collection of permit fees or from sponsorships will go right back into the nonprofit, whose official mission is to create an “inviting, diverse and sustainable environment while promoting arts, culture and creative innovation.” Cinco de Mayo now boasts several corporate sponsors, including Bud Light, Busch and U.S. Bank. Thanks to their money, the kids’ inflatable playgrounds will be free of charge this year, as will the concerts by Latino, rock and hip-hop musicians on three different stages.

“We couldn’t do half of what we do without U.S. Bank and Anheuser-Busch,” says McCullough. The People’s Joy Parade has a different ethos. Says Sarah Paulsen: “We’ve intentionally tried to keep it locally supported so that it really is unencumbered.”

Funding Joy

arades feed on humans, time and materials. In short, they cost money. At ﬁrst, organizers relied on Kickstarter campaigns to raise funds. Then, in 2013, coordinator Jenny Callen brainstormed with Lopez and came up with a novel way to bring in dollars: the JoyRita competition. It’s a “margarita-off”: Donors pay $15 for a bracelet that allows them to ﬁrst sample, and then vote on, the best versions of the Mexican cocktail presented by various Cherokee establishments. The most recent JoyRita was held April 11, and nine businesses joined the fray. (One entry: a blackberry-habanero margarita.) Lopez notes the tequila pours for the six-ounce concoctions were sometimes generous. “We get them drunk,” she says. The event pulled in more than $1,300 for the People’s Joy Parade. That cash will supplement a grant of $2,000 that Callen was able to secure for 2015 and 2016 from the Regional Arts Commision (RAC), which in turn draws its funds from the city’s hotel-motel room tax. The RAC award will help pay for supplies and permits, while also compensating the parade organizers, none of whom are getting rich in the process. “At the end of the day, I think I pay myself $2 an hour,” Callen estimates. continued on page 14

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Spotted en Route

he largest participants in the People’s Joy Parade are not people. They’re gigantes, or giant puppets. Wesley Fordyce and a fellow artist known as Digger have constructed several over the years. The men collect bamboo from Fordyce’s property in west county, then split it so it’s pliable.They fashion skeletons out of the split bamboo, then finish the puppets with papiermâché and cloth. Gigantes have taken the forms of creatures such as mermaids, fish, dragons and a corn god, and also objects like boats or globes or hourglasses. One year, Fordyce built a pair of wings so tall, the person carrying it had to duck to avoid the overhead power lines. Perhaps the loudest and fastest paraders, though, arrive on two wheels. A ragtag cabal of scooter enthusiasts and cyclists zip around doing figure-eights and wheelies, flailing to pin their sombreros to their scalps. “We’ve pulled skateboarders down the street and let them do tricks,” recalls Stephen Jehle, the recent 20th Ward aldermanic candidate who rides his 1966 Allstate Vespa scooter in the event. “Scooters have died or been dropped in the middle of the parade. We’ve had drunk people from the sidelines coming up and punching people on scooters. We’ve had dogs on scooters.” Other modes of transport in People’s Joy: stilts,

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strollers, mopeds, an old firetruck. But not every parade participant is flamboyant. One man simply carried a big wooden cross through the streets. “He didn’t evangelize or anything,” says Paulsen. “That’s just what he wanted to do.” Galen Gondolfi of Fort Gondo, by way of contrast, defines flamboyancy. The first year he donned a loincloth of flowers and pushed a rickshaw. In subsequent years, he sat atop floats and assaulted drum kits so hard that he dropped into a manic trance, then took a nap at the finish line. One year, Gondolfi outfitted a float with scaffolding and Christmas lawn ornaments. Mid-parade, he climbed up the scaffolding, then fell. Witnesses laughed, assuming his injuries were a prank. They weren’t. “I was bloody,” he says. “I felt so alive. Well, I also thought it could be the end of my life. But it felt so good.” Gondolfi birthed another parade tradition that he has since bequeathed to musician Rob “The Pancake Man” Severson: the Cinco de Volvos. The goal is to amass as many Volvo 240s as possible into one fleet. In 2014 no fewer than ten converged for the occasion, including Severson’s Volvo 240, which he adorned with a giant pair of brown glasses. The Pancake Man sat on the roof in a sombrero and played “Spanish Eyes” on the accordion as his friend took the wheel. (Severson later parked his car blocks away with the glasses still on the windshield. A police officer

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Everetts brought her nine-year-old daughter K.K. and six-year-old son Jaquan to the workshops. Everetts herself helped lead the parade last year. â&#x20AC;&#x153;I have a great time! Ooh,â&#x20AC;? she says. â&#x20AC;&#x153;I want to be in the front again!â&#x20AC;? Asked what her costume would be this year, she replies, â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;m wearing myself!â&#x20AC;? Celia Shacklett, the guitar-wielding maestro of the Footbeat Choir, says her most vivid parade memory involved Everettsâ&#x20AC;&#x2122; daughter. â&#x20AC;&#x153;Sometimes it feels like youâ&#x20AC;&#x2122;re out there exposed, and you donâ&#x20AC;&#x2122;t know exactly what youâ&#x20AC;&#x2122;re doing,â&#x20AC;? Shacklett says. â&#x20AC;&#x153;I remember in 2013, this little girl, K.K., she came up beside me and put her hand on the small of my back and walked next to me. She canâ&#x20AC;&#x2122;t possibly know what it felt like to have this little hand on my back supporting me. Iâ&#x20AC;&#x2122;ll never forget that.â&#x20AC;? Shacklett says that Footbeat Choir has an unofďŹ cial anthem: â&#x20AC;&#x153;Cielito Lindo.â&#x20AC;? â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s our theme song,â&#x20AC;? she explains. â&#x20AC;&#x153;We wanted to make that nod to Mexican culture. Everybody can sing it together. Itâ&#x20AC;&#x2122;s perfect for us.â&#x20AC;? Q

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left him a parking ticket, but when Severson opened the envelope, he discovered that an appreciative stranger had stuffed cash in it to cover his ďŹ ne. â&#x20AC;&#x153;Some Cherokee do-gooder saved me a much needed $10!â&#x20AC;? he says.) Regulars concur that some of the most bewildering ďŹ&#x201A;oats have been mounted by artist Mike Stasny. One year, Stasny and some colleagues played keyboards while wearing hulking, hideous monster masks. â&#x20AC;&#x153;Those were truly frightening,â&#x20AC;? remembers Fordyce. The second year, Stasny and his fellow musicians in the band MSIF sported formal attire. Then they ďŹ lled transparent nylon onesies with balloons. Once inďŹ&#x201A;ated, they attached those balloon-bodies to their heads, onesies bobbing in the breeze while the musicians gyrated and jammed on a tractor and trailer. â&#x20AC;&#x153;People were like, â&#x20AC;&#x2DC;What is this?â&#x20AC;&#x2122;â&#x20AC;? recalls Sarah Paulsen. Stasny, who relocated to Georgia, was ďŹ&#x201A;oored by how â&#x20AC;&#x153;exquisitely funâ&#x20AC;? the parade turned out to be: â&#x20AC;&#x153;Thereâ&#x20AC;&#x2122;s people constantly cheering, then right before it gets old for them, you move onto the next group of people. So itâ&#x20AC;&#x2122;s like a standing ovation for you the entire time. Itâ&#x20AC;&#x2122;s so beautiful and overwhelming, itâ&#x20AC;&#x2122;s hard to grasp how fun it is until youâ&#x20AC;&#x2122;re in it.â&#x20AC;? Shelly Everetts agrees. Sheâ&#x20AC;&#x2122;s been a resident of south St. Louis for almost two decades. Her house sits down the block from CAMP, which holds singing and costume workshops for local kids during the month before the parade. On a recent Sunday,

MICAH USHER

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MICAH USHER

STEVE TRUESDELL

“Cielito Lindo” THE ORIGINAL AND TRANSLATED CHORUS Ayy ay ay ay, Canta, y no llores! Porque cantando se alegran, Cielito lindo, los corazones!

MICAH USHER

Ayy ay ay ay, Sing, don’t cry! Because singing, pretty little darling, Makes people’s hearts happy!

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Alexander Calder, Sphere Pierced by Cylinders, 1939 Wire and paint 83 x 34 x 43 inches (210.8 x 86.4 x 109.2 cm) Calder Foundation, New York / Art Resource, NY

T H U R S D AY |04.30

[LITERARY EVENT]

JOHN HENDRIX

While some artists find endless opportunity on a blank page, others feel overwhelmed by its very blankness — what to draw? Will it be any good? Author and Washington University professor John Hendrix believes that Drawing Is Magic. He shares ideas and exercises from this newly published book from 5 to 7 p.m. this evening at Subterranean Books (6275 Delmar Boulevard, University City; 314-862-6100 or www. subbooks. com), and everyone from casual doodlers to serious artistes will leave inspired. With illustrations appearing everywhere from Esquire to the New Yorker, plus an impressive library of children’s books, Hendrix speaks from experience and fills any room with contagious creative energy. Admission is free. — BROOKE FOSTER

[FOOD & DRINK]

DINING OUT FOR LIFE

Normally, when you eat, you’re merely sustaining your own life, which is nice. But wouldn’t it be better if you were helping out someone else, too? Wouldn’t that make your eats taste that much sweeter? Try out this appetizing theory while you are Dining Out for Life in support of Saint Louis Effort for AIDS. During this full day of dining and donating, a percentage of each check at participating eateries goes to support HIV/AIDS prevention efforts and services for those affected. Some local restaurants, like West End Grill & Pub (354 North Boyle Avenue), donate an awesome 25 percent of your bill; some, including Mathew’s Kitchen (5625 Hampton Avenue), gift a fantastic 35 percent; and still others, such as Baileys’ Range (920 Olive Street), contribute an astounding 50 percent of each ticket! Check www.diningoutforlife.com/stlouis to plan out your breakfast, lunch and dinner, and fill your heart, along with your belly. — ALISON SIELOFF

F R I D AY |05.01

[ART EXHIBIT]

ALEXANDER CALDER

With the precision of an expert toymaker and the innovation of a true artist, Alexander Calder created large-scale mobiles that introduced kinetics to the world of sculpture. The artist, who adored both abstraction and verisimilitude, receives a beautiful exhibition in Calder Lightness. The show takes full advantage of the gorgeous natural light that streams into the Pulitzer Arts Foundation’s upper galleries (3716 Washington Boulevard; 314-754-1850 or www.pulitzerarts.org). Carmen Giménez, who curated a phenomenal Calder exhibition at Spain’s Museo Guggenheim Bilbao, guestcurates this show. Calder perfectly captures the interplay between stillness and movement, shadow and light, gravity and unbounded hope. The exhibition opens at 10 a.m. Friday, May 1, and the show remains up through Satriverfronttimes.com

urday, September 12. The gallery is open 10 a.m. to 5 p.m. Wednesday and Saturday, and 10 a.m. to 8 p.m. Thursday and Friday. Admission is free. — BROOKE FOSTER [BEER]

ST. LOUIS MICROFEST

If you want all the benefits of weightlifting without the sweat, there’s an easy answer: At St. Louis Microfest in Forest Park (Lower Muny Parking Lot; 314-227-73020 or www.stlmicrofest.org), all you do is drink international and craft beers, and yet you aid Lift for Life, which provides weight training for at-risk youth. There are with more than 80 breweries offering samples — from Alpha Brewing to Urban Chestnut, and all points in between. There are three sessions to choose from: 6 to 10 p.m. Friday, and noon to 4 p.m. and 6 to 10 p.m. Saturday (May 1 and 2). Keep your commemorative tasting glass; if you want food and live music, they’re available too. How easy continued on page 20

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MICAH USHER

STEVE TRUESDELL

continued from page 19

is that? Easier than sweating at the bench press, thatâ&#x20AC;&#x2122;s for sure. Admission is $40 to $75 per person. â&#x20AC;&#x201D; ALEX WEIR

S AT U R D AY |05.02

[THEATER]

THOROUGHLY MODERN MILLIE

Dozens of Broadway musicals have been adapted from the stage to the screen, but such a straight and narrow path would be entirely too conventional for Thoroughly Modern Millie. The hit musical, which opened on Broadway in 2002, is liberally adapted from the 1967 Academy Award-winning film of the same name starring Julie Andrews and Mary Tyler Moore. While most of the songs are changed, the story remains the same: A small-town girl named Millie searches for a rich husband in Roaring Twenties New York but ends up embroiled in a kidnapping plot. The Kirkwood Theater Guild presents Thoroughly Modern Millie at 8 p.m. Thursday through Saturday and 2 p.m. Sunday

(May 1 through 10) at the Reim Theatre in the Kirkwood Community Center (111 South Geyer Road, Kirkwood; 314-821-9956 or www.ktgonstage.org). Tickets are $22. â&#x20AC;&#x201D; MARK FISCHER [ F E S T I VA L ]

CINCO DE MAYO

You may have heard recently that Cinco de Mayo on Cherokee and the Peopleâ&#x20AC;&#x2122;s Joy Parade are bigger than ever, and the rumors are true. (For more, see our feature story on page 10.) This yearâ&#x20AC;&#x2122;s celebration of Mexican culture features traditional and contemporary music from more than twenty bands, childrenâ&#x20AC;&#x2122;s activities, local food, Lucha Libre wrestling and even a mechanical bull. It also, of course, includes the people who make up the Cherokee neighborhood coming together in a free-wheelinâ&#x20AC;&#x2122; and good-timinâ&#x20AC;&#x2122; parade that starts at 1:11 p.m. If you want to laugh, eat better than you have in weeks and celebrate life and creativity, Cherokee Street between Minnesota and Texas avenues is where you want to be from 11 a.m. to 9 p.m. today. Admission is free. â&#x20AC;&#x201D; PAUL FRISWOLD

M A Y 8 -- 1 0 , 2 0 1 5

S U N D AY |05.03

[COMIC BOOKS]

FREE COMIC BOOK DAY

This Saturday comic shops in all six corners of the multiverse celebrate Free Comic Book Day, an annual event in which publishers craft extra-special comics intended to be given away to any mutant, human or Kryptonian that flies through the door. While availability varies, this yearâ&#x20AC;&#x2122;s highlights include Marvelâ&#x20AC;&#x2122;s Secret Wars zero issue and an All-New, All-Different Avengers issue, DCâ&#x20AC;&#x2122;s Divergence, as well as new funny books featuring Sonic the Hedgehog, SpongeBob SquarePants and Doctor Who. Area shops hosting special events in addition to the freebies include AM Trading (4005 Utah Street; www.amtrading.co), which promises live music, cosplayers and a bounce castle from 8 a.m. to 8 p.m. The Wizardâ&#x20AC;&#x2122;s Wagon (6327 Delmar Boulevard, University City; www.thewizardswagon.com) gets into the action with bands, cosplayers the Gateway Superfriends and a visit from the 501st Legion of Star Wars stormtroopers. Admission is free, get there early for the best selection. â&#x20AC;&#x201D; MARK FISCHER

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[ART EXHIBIT]

PHYLLIS MACLAREN

Weâ&#x20AC;&#x2122;re inundated with images and notions of the superhero in our pop culture. Itâ&#x20AC;&#x2122;s understood this is just fantasy, but are we perhaps being entertained too much? Works by Phyllis MacLaren dispense with the superhero silliness and instead guides us back to earth. The local artist pays tribute to bona fide heroes who risk all to expose injustice. MacLaren paints heroes from a variety of global sources â&#x20AC;&#x201D; like her 2011 portrait of Liu Xiaobo, the Chinese dissident (and Nobel Peace Prize winner) jailed by his government for â&#x20AC;&#x153;inciting state subversion.â&#x20AC;? Portraits of Courage, an exhibition of MacLarenâ&#x20AC;&#x2122;s paintings, opens with a free public reception from 2 to 4 p.m. Sunday, May 3, at the University City Public Library (6701 Delmar Boulevard, University City; 314727-3150 or www.ucitylibrary.org). Her work remains up through Monday, May 29. Admission is free. â&#x20AC;&#x201D; ALEX WEIR

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M O N D AY |05.04

[FILM]

CARY ELWES

William Goldman adapted his 1973 novel The Princess Bride into the cinematic classic of the same title in 1987. Star Cary Elwes revisits the making of the film in his recent book, As You Wish: Inconceivable Tales from the Making of The Princess Bride, which is filled with cast interviews, photographs and the actorâ&#x20AC;&#x2122;s recollections T H IS C O D E of those heady days. ToTO DOWNLOAD THE FREE RIVERFRONT TIMES night at 6 p.m. Left Bank IPHONE/ANDROID APP Books and the Webster FOR MORE EVENTS OR VISIT Film Series jointly presriverfronttimes.com ent An Evening with Cary Elwes: As You Wish, at Moore Auditorium on Webster Universityâ&#x20AC;&#x2122;s campus (470 East Lockwood Avenue; www.left-bank.com). The event

SCAN

includes a screening of the movie and post-film interview with Elwes by Cinema St. Louisâ&#x20AC;&#x2122; executive director Cliff Froehlich. Admission is $29, and includes a copy of the book suitable, which Elwes will sign. â&#x20AC;&#x201D; ROB LEVY [THE DEAD]

GRATEFUL DEAD MEET-UP

It was a long, strange trip all right, yet had it been shortened a bit, Jerry Garcia might still be alive. The Grateful Dead main man was a casualty of not only drugs, smoking and a terrible diet, but also of his bandâ&#x20AC;&#x2122;s relentless touring. Despite the years of overwork, the Dead still sparked hoodoo magic on some late-period road trips â&#x20AC;&#x201D; e.g., its 1989 tour, esteemed among Deadheads. On July 19 of that yearâ&#x20AC;&#x2122;s run, the band played its last-ever gig at the legendary outdoor venue Alpine Valley in Wisconsin. Grateful Dead Meet-Up at the Movies gives us the filmed document of that touted show. You can see it locally at 7 p.m. tonight at Ronnies 20 Cine (5320 Lindbergh Boulevard; www.fathomevents.com). Tickets are $12.50. â&#x20AC;&#x201D; ALEX WEIR

W E D N E S D AY |05.06

[FILM]

STAR TREK: THE TROUBLE WITH TRIBBLES

From the left: You can drink at Microfest or Cinco de Mayo, and enjoy the artistry of Free Comic Book Day and Phyllis MacLaren.

Despite its braininess and high-flown ideals, Star Trek was not too fancy to have a goofy episode now and then. David Gerroldâ&#x20AC;&#x2122;s â&#x20AC;&#x153;The Trouble with Tribblesâ&#x20AC;? features the crew of the Enterprise encountering a tiny and pleasant alien life form. These Tribbles become a fad among the crew, but their rapid reproduction rate threatens to overrun the ship and endanger a nearby space station. The Tribbles were so popular they were revisited in an episode of Star Trek: Deep Space Nine, in which the DS9 crew follows a Klingon spy backward through time, only to end up on the original Enterprise during its flirtation with fuzzy disaster. Tonight the Webster Film Series screens both episodes at 8 p.m. at Schlafly Bottleworks (7260 Southwest Boulevard, Maplewood; 314-968-7487 or www.webster.edu/ film-series) as part of the Strange Brew series. Admission is just $5. â&#x20AC;&#x201D; PAUL FRISWOLD

Planning an event, exhibiting your art or putting on a play? Let us know and weâ&#x20AC;&#x2122;ll include it in the Night & Day section or publish a listing in the online calendar â&#x20AC;&#x201D; for free! Send details via e-mail (calendar@riverfronttimes.com), fax (314-754-6416) or mail (6358 Delmar Boulevard, Suite 200, St. Louis, MO 63130, attn: Calendar). Include the date, time, price, contact information and location (including ZIP code). Please submit information three weeks prior to the date of your event. No telephone submissions will be accepted. Find more events online at www.riverfronttimes.com.

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ﬁlm Fight! Fight! Think? Fight! THE AVENGERS UNDERGO SOME GROWING PAINS, BUT ARE HEADED IN A NEW DIRECTION

neaky superhero movie! It was another caped-crusader tradition that gave us the idea that heroes who don’t die in the line of duty live to become villains, but it took The Avengers to let it play out onscreen. The bad guys in Age of Ultron? Tony Stark and Bruce Banner. For real. In Tony’s case, his villainy is externalized in Ultron, an AI creation that he has been working on for years but which he can ﬁnally bring to fruition BY now that the Avengers have M A R YA N N reacquired Loki’s wondrous scepter from what’s left of J O H A N S O N Hydra; something to do with the extra computing power the scepter offers. Ultron (the voice of James Spader) has some of Tony’s (Robert Downey Jr.) attitudes, but a glitch in its “birth” makes

Aged to Perfection OLIVIER ASSAYAS AND JULIET BINOCHE EXPLORE AGING, ACTING AND THEMSELVES IN CLOUDS OF SILS MARIA Clouds of Sils Maria Written and directed by Olivier Assayas. Starring Juliet Binoche, Kristen Stewart and Chloë Grace Moretz. Opens Friday, May 1, at Landmark Plaza Frontenac.

he layered complexity of Clouds of Sils Maria won’t surprise those familiar with Olivier Assayas’ previous work, especially given the critical hosannas the movie elicited on the festival circuit after its Cannes premiere, but the film miraculously exceeds even the loftiest expectations. Although the 60-year-old Assayas will likely remain a vital filmmaker for years to come, Clouds seems consciously designed as a grand summing up of his career: The film not only recasts elements of his first significant writing credit — André Téchiné’s Rendez-vous (1985), in which 22

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Ultron ﬁnally comes to fruition in the latest Avengers.

who has become a menace. Well, the Hulk has, anyway. In the middle of a battle rage that gets even more out of control than usual, the Hulk goes on a rampage that causes massive destruction in downtown Johannesburg, one that is stopped only when Iron Man — in Hulk-scaled power armor — steps in; and it’s not an easy thing, either. It’s a fairly horrifying sequence, watching friend forced to battle friend and knowing that Bruce doesn’t want to be doing this (never mind what the innocent injured people of Jo’burg must be feeling). His horror once he has transformed back into

it go a bit cyber-insane, and it extrapolates Tony’s notion of world peace to mean “a planet without humans.” And now it’s gotten loose and must be stopped, natch. But it’s not so much the twisting of Tony’s attitude that’s the near-villainy here but that Tony was keeping yet more secrets — and Ultron is a huge one — from the people who are supposed to be his partners in saving the planet. The rest of the Avengers learn about this new danger to the planet after it has tried to kill them all. This literally ruins the Avengers’ party. In poor Bruce’s case, though, it really is he

Juliette Binoche plays a theater actress with a complicated romantic life — but also conflates the themes and preoccupations of two of his best films: the highly self-reflexive Irma Vep, a sly seriocomedy about a filmmaker’s attempt to remake Louis Feuillade’s silent serial Les vampires, and the ensemble drama Summer Hours, an elegiac work about a trio of siblings forced to confront the practical and emotional repercussions of their mother’s imminent death. In Clouds, Binoche again plays an actress, this time named Maria Enders, who’s introduced en route to a Swiss film festival — the insistently rocking train immediately introducing the idea of unsettled transition — to accept a lifetime-achievement award on behalf of her mentor, Wilhelm Melchior, whose play and film The Maloja Snake launched her career twenty years previously. Before the award is presented, however, news of Melchior’s unexpected death arrives, transforming the celebration into a gloom-enshrouded memorial. Further darkening Maria’s mood — figurative black clouds continue to pile — she’s approached to star in a theatrical

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Avengers: Age of Ultron Written and directed by Joss Whedon. Starring Robert Downey Jr., Mark Ruffalo, Scarlett Johansson, Chris Hemsworth, Chris Evans, Jeremy Renner and James Spader. Now playing at multiple locations.

his human self, which continues through the rest of the film, is palpable — Mark Ruffalo is fantastic — but also tough for us not to share in. The Hulk is dangerous to everyone, not just bad guys. Tony and Bruce have finally gone full madscientist. It’s a fascinating upending of genre tradition that might make this flick work for non-fans, even though it assumes a lot of familiarity with what’s come before in the series, such as that you’ll know what Loki’s scepter and Hydra are about without having to be told.

Juliette Binoche and Lars Eidinger star in Clouds.

revival of The Maloja Snake, but instead of essaying her original role, the young, cunning seductress Sigrid, she’s asked to play Helena, the older businesswoman whose authority is undermined and life is unraveled by an obsessive love for her manipulative employee. Although she’s now the appropriate age to

play the role, Maria resists any identiﬁcation with Helena, whom she regards as pathetically needy, and instead continues to see herself as the supremely conﬁdent Sigrid, a powerful and disruptive force. Maria’s reluctance to embrace the part isn’t just a lack of empathy for Helena: She’s

Take it all in: The ﬁlm suggests that the Avengers won’t look the same next time around.

It’s not all gloom! Director Joss Whedon insures that Ultron continues the Avengers tradition of big, bold action blockbusters that don’t need to toss away thoughtfulness to remain pure popcorn fun. Tony and Bruce’s second-guessing of their work is more comicbook soap opera than serious drama anyway, as are some of the other things we learn about the personal lives of the Avengers here: Romance is budding between Natasha (Scarlett Johansson) and Bruce, though she has to push it a bit; and Clint, a.k.a. Hawkeye (Jeremy Renner), turns out to have a surprising secret. And the finale is truly sci-fi superhero action movie-movie whackadoodle, taking urban destruction to a new (antigravityassisted) level. The film isn’t without problems. Urban destruction — Seoul also takes a beating here — is getting old. The FX in the opening

attack-on-Hydra sequence are surprisingly cartoonish. And 45-minute battle finales have to go: it’s overkill, and we’ve had enough. Can we find something new for these movies to do? The cool thing is, Age of Ultron ends by suggesting that yes, maybe we can find something new. Big changes are initiated here that indicate that the team, at least, is going to be very different next time out. This is a franchise that isn’t afraid to move on from aspects that aren’t working anymore, and here any tiredness in some of the characters is confronted directly and dealt with. When I say that this is the weakest of the Avengers movies so far, I don’t mean that it isn’t still hugely enjoyable. And any complaints are mollified by the hint that this ongoing story isn’t going to shying away from refreshing itself as needed. Q

concerned about acknowledging her advancing age — a dismayingly serious liability for female stars — and implicitly surrendering her place in deﬁning the Zeitgeist. The young actress slated for Sigrid, Jo-Ann Ellis (Chloë Grace Moretz), has a thin résumé — a superhero movie — but an outsized presence in the culture: A Lindsay Lohan-style hot mess, JoAnn is omnipresent on social media and in the tabloids, and she’s forever trailed by a buzzing swarm of paparazzi. Maria may disdainfully tsk-tsk Jo-Ann’s seeming superﬁciality, but she regards this new It Girl with as much envy as contempt: Maria is accustomed to the picture’s sharp center, not the out-of-focus margins of the frame. Jo-Ann, however, is primarily a virtual presence through much of Clouds — though much discussed — and her image is carefully studied by Maria on the Web and the film screen, she doesn’t physically manifest until the film’s latter third, when her private behavior unexpectedly subverts her public persona as an unfettered wild child. Maria’s key relationship is actually with Valentine (Kristin Stewart), her personal assistant, who

serves not just as aide-de-camp — fielding phone calls and film offers, fetching coffee and cigarettes — but also as confidante and de facto (if faux) best friend. The dynamic between Maria and Val echoes Helena and Sigrid’s push-pull for dominance and blurring of the professional and the personal, and although they’re not lovers, the intimacy of their exchanges carries a distinct sexual charge. The parallels between the fictional and actual women become especially evident as Val runs lines with Maria as the actress preps for the play — Melchior’s dialogue seems eerily reflective of their real-life exchanges and hidden feelings. Clouds thoughtfully explores an array of subjects — work, aging, friendship, creativity — but it also provides a large dollop of gossipy amusement with its insider’s view of movies. The clouds of the title offer such a rich metaphor that multiple interpretations are possible, but they perhaps refer most evocatively to the actresses the film features and celebrates: ever mutable, sometimes ominous, heartbreakingly beautiful and ultimately evanescent. — CLIFF FROEHLICH riverfronttimes.com

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STILL ROLLING OUR ONGOING, OCCASIONALLY SMARTASS, DEFINITELY UNOFFICIAL GUIDE TO WHAT’S PLAYING IN ST. LOUIS THEATERS A group of approaching-middle-age (183 years old for the young ones, 8,000 years for the not-so) vampire roommates ponder the meaning of love, life and fashion without mirrors in Jemaine Clement and Taika Waititi’s mockumentary What We

Do in the Shadows (presumably named because Reality Bites was already taken). The vampires here don’t sparkle à la Twilight, but turns out that it’s way more amusing to watch them clean dishes and do the ironing. Vampires: They’re as boring as us! O Kevin James reprises his role as a fat, hapless security guard in Paul Blart

2: Mall Cop. Don’t worry, you’ll still be able to follow the plot even if you didn’t see Blart the First: This time we trade Jersey for Vegas, and a suburban mall for a Wynn hotel, where Blart ass-backwardly foils an art heist. Film critics haven’t been kind to this sequel, but we submit that “Blart” almost rhymes with “fart,” so at least there’s that. O Furious

7 continues its tear through

the box office, grossing nearly $800 million worldwide — that makes it the year’s most commercially successful film. Let’s get the NSA on the blower: Counter-terrorism efforts led by Vin Diesel and crew seem like they could work in real life. Come to see Paul Walker’s final turn on the big screen; stay for tribute song “See You Again” at the film’s end, which is setting records of its own: The Wiz Khalifa/Charlie Puth tear-jerker racked up more than 4 million plays on Spotify in a single day. O As technology whirs terrifyingly ahead, it’s not hard to imagine there’s a robot/human hybrid with an ass that won’t quit taking shape in some genius’ rec room. So perhaps the thing that’s most outlandish about Ex Machina is that someone (Domhnall Gleeson as Caleb) would enter a company-wide contest with the grand prize of spending the week with your boss (Oscar Isaac as Nathan) at his remote cabin. The gift card. Always stick with the gift card. —KRISTIE MCCLANAHAN 24

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the arts Once Upon a Time in St. Louis THE BLACK REP’S STELLAR NEW PRODUCTION HAS AMAZING DANCING — AND UNCOMFORTABLE PARALLELS FOR OUR DIVIDED CITY Once On This Island Through May 3 at the Edison Theatre on the Washington University campus (6445 Forsyth Boulevard). Call 314-534-3810 or visit www. theblackrep.org. Tickets are $35 to $45.

INVITES YOU AND A GUEST TO

Top: Ashley Ware Jenkins as Ti Moune. Right: Timmy Howard and Ashley Ware Jenkins in Once on This Island.

the older Ti Moune, Jenkins has the more focused voice, coupled with a similar verve when dancing. Himes, a master at arranging his actors in beautiful formations that show you something of their character’s inner workings, pulls off a doozy with these two. When the older Ti Moune is challenged to show some of her peasant dancing at a ball thrown by her rescued driver, Himes has the girl’s Mama and Papa (Linda Kennedy and Robert McNichols Jr.) appear on a bridge that spans the back of the stage, with her younger self between them. The family begins dancing, and the older Ti Moune takes up the challenge with a joyous cry and a series of ﬁerce leaps. In fact, this is one of the strongest dancing ensembles you’ll see all year. Choreographer Keith Tyrone Williams is certified by Katherine Dunham to teach her style, and he gives dancers Heather Beal, Samantha Lynnette Madison and Dominique Fulton a powerful and expressive physical language that carries much of the story’s emotional impact, particularly because the songs have a sort of generic “Caribbean-ness” that eventually makes them indistinguishable from each other. The power of this cast makes you overlook the weakness of the tunes, however. The goddesses Erzulie (Scheronda Gregory) and Asaga (Jennifer Kelley) have fulsome, churchtrained voices that are all the music songs such as “The Human Heart” (Gregory) and “Mama Will Provide” (Kelley) need. But for all the joy in the show as written,

TUESDAY, MAY 5 7:00 P.M. PLEASE VISIT WBTICKETS.COM AND ENTER THE CODE HOTRFTPURSUIT TO DOWNLOAD YOUR COMPLIMENTARY PASSES!

P H OTO S B Y S T E WA R T G O L D S T E I N

n the surface, Lynn Ahrens and Stephen Flaherty’s musical Once on This Island is a fable. The straightforward plot, the colorful cast of characters and the strong moral about love healing a broken society are all tailored for a young audience. And there’s nothing at all wrong with that — kids of all ages will find much to enjoy in the Black Rep’s current production. But director Ron Himes uses this baked-in simplicity to tell two stories at once. The second focuses on haves and have-nots who live separate lives on a Caribbean island, which is all too close to the unfortunate reality shared BY by the audience watching PA U L it unfold. It’s a discomfiting experience. After the past F R I S W O L D year it’s impossible to see the tragic death of a young black person and the resulting wave of change that sweeps through a divided society with anything but regret and anger. But here, in the sanctity of the theater, we at least get to see love heal some of those wounds. The unidentified island — let’s call it St. Louis to honor its French heritage — is home to a rural village that is battered by a heavy storm when the show opens. A young girl (Dariyah Ja’Nay Ford) is frightened by the storm’s fury, and so the elders tell her the story of Ti Moune, who floated to the island during a similar storm. Ti Moune grows up happy in the village, but one day discovers a young man from the other side of the island trapped in his mangled car. Ti Moune saves his life and falls in love with him. But this man is wealthy, and as Ti Moune’s foster parents remind her, there can be no romance between rich and poor on this island. Ti Moune stakes her life on the belief that love is stronger than anything, even death. Ford and Ashley Ware Jenkins share the role of Ti Moune. Ford is six years old, but she has an outsize voice and clearly delights in the scenes in which she gets to dance. As

there is that lingering pain for a St. Louis audience. Ti Moune’s lifeless body lays far too long in the street outside the wroughtiron gate that keeps the poor villagers from the homes of the rich. The lights glint on the gate’s silver finials, which are the familiar fleur-de-lis of St. Louis’ flag. Even death, in the form of the god Papa Ge, takes Ti Moune sorrowfully into his arms, shamed by what he’s seen. Ti Moune, being a theatrical construct, is able to forgive those who have wronged her, and gives herself to the island to heal the rift that divides the people. Art finds a way, and people make art. Maybe we could make something better on our own little island. Q riverfronttimes.com

THIS FILM IS RATED PG-13 FOR SEXUAL CONTENT, VIOLENCE, LANGUAGE AND SOME DRUG MATERIAL.Please note: Passes are limited and will be distributed on a first come, first served basis while supplies last. No phone calls, please. Limit one pass per person. Each pass admits two. Seating is not guaranteed. Arrive early. Theater is not responsible for overbooking. This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio or video recording device into the theater (audio recording devices for credentialed press excepted) and consent to a physical search of your belongings and person. Any attempted use of recording devices will result in immediate removal from the theater, forfeiture, and may subject you to criminal and civil liability. Please allow additional time for heightened security. You can assist us by leaving all nonessential bags at home or in your vehicle.

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Loco Motion EL BURRO LOCO TRIES HARD TO BE A GOOD TIME. BUT SHOULDN’T SOME OF THAT EFFORT TRANSLATE TO THE FOOD? El Burro Loco 313 North Euclid Avenue; 314-224-5701. Sun.Thurs. 11 a.m.-11:45 p.m.; Fri.-Sat. 11-1 a.m.

guy in a donkey suit was playing a guitar when I walked into El Burro Loco. Standing on the patio, this six-foot-tall furry creature pitifully strummed his instrument, even though he clearly didn’t know how to play. It was a sad caricature, though not as sad as the pale shadow of Mexican cuisine served at this three-month-old Central West End restaurant. El Burro Loco is not going for authenticity. Obviously. Upon entering the sprawling restaurant, a former Pasta House, you need only obBY serve the décor to catch the C H E RY L tongue-in-cheek attitude that owner Salvador Alonso and BAEHR team are trying to convey: the Mexican wrestling masks and Dio de los Muertos artwork that decorate the shockingly colorful space, the giant painting of Speedy Gonzalez that adorns one of the walls,

The Central West End’s El Burro Loco uses fresh fruit in its margaritas, punches and sangria.

the mural of a braying burro that screams out the house margarita: watered-down, made over the main dining room. El Burro Loco with bottled “lime juice” and over-garnished checks all of the boxes for a typical American- with lemon and lime scraps past their prime. It proved a precursor for what was to come ized Mexican restaurant. The restaurant’s “we’re in on the joke” at- from the food. The “tableside” guacamole was only pretitude carries through to the fiesta-like atmosphere the staff strives to create. Though I pared as such on one of my visits. It’s a genaggressively avoided eye contact, I still some- erous portion, though it needed more lime how ended up donning a sombrero, saying and salt. Somehow, the ready-made version “Ole!” to a server with a camera, and getting I received on my first visit seemed fresher. It’s almost impossible to ruin queso funserenaded by a Spanish guitarist in a bolero jacket (thankfully, he was a virtuoso compared dido, and sure enough, the version here wasn’t objectionable. I commend El Burro Loco for to his cosplay counterpart). At a time when many restaurants take using rather spicy chorizo, though there was not nearly enough of it. Its themselves far too seriously, heat cut through the rich, this playful schtick is welEl Burro Loco liquid cheese and obligatory come, especially at a location “Queso grease slick that crowns this that has remained vacant for Fundido” .............$6.95 Tex-Mex staple. years on end. For it to work, “Burro Vaca” Things got worse after though, El Burro Loco needs burrito ................$10.95 that. I wish the margaritas to back it up with a quality “Enchiladas Mexicanas” ........$11.95 had been stronger, because I product. Unfortunately, this needed something to cushdid not happen on my visits. ion the blow that the entrées El Burro Loco’s menu — shaped to look like a folded quesadilla — is delivered. The chile relleno tasted like it was confusing and difficult to read. Perhaps this missing the chile. I had to search amongst the is to keep us off our toes for the parade of breading, cheese and salsa to find a thin piece of the dish’s namesake. The accompanying mediocrity that follows. My patience was immediately tested with tamale was much better; continued on page 28 riverfronttimes.com

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Guacamole with pico de gallo.

El Burro Loco

continued from page 27

the sweet seasoned masa, served sans wrapper, tasted like Mexican cornbread straight out of a cast-iron skillet. The “Burrito Vaca,” meanwhile, stuffed with beans, cheese and ground beef, was like Hamburger Helper wrapped in a tortilla — not necessarily offensive, but underwhelming. However, it was far superior to the fish tacos. The grilled tilapia was mushy and had an off taste, almost like potting soil. Traditional accoutrements like cabbage and lime crema were bypassed in favor of chipotle mayonnaise, pico de gallo, lettuce and sour cream. They did little to salvage the dish. I was equally disappointed with the torta al pastor. At first glance, the fresh, fluffy telera bread looked promising. Peering underneath, however, revealed minced pork covered in a mysterious reddish orange sauce that could have passed for a sloppy joe. A visual inspection revealed a few pineapple tidbits, though they made no impact on flavor — nor did the lettuce, pickle and tomato garnish. For some reason (and not because it was over-filled) the contents would not stay on the bread but annoyingly squished out the front of the sandwich. The best part of this dish was the side of french fries, albeit a paltry portion. These light-as-air potato poufs picked up the deep fryer’s Mexican seasonings the way that a McDonald’s apple pie takes on the taste of its fries. 28

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The one redeeming dish at El Burro Loco proved to be the “Enchiladas Mexicanas.” The platter consists three different varieties: chicken topped with salsa verde, cheese covered with queso dip, and beef with mild red chile sauce. All three were individually wrapped in well-seasoned corn tortillas and generously portioned. To be sure, there are better one in town, but it’s a respectable entrée nonetheless. And then, dessert. Like the table-side guacamole that was actually made in the kitchen, the fried ice cream wasn’t fried. Instead, a frozen- hard scoop of vanilla ice cream was coated in coconut and chewy cornﬂakes. Luckily, we ended on a high note with the churros. The simple, cylindrical doughnuts covered in cinnamon and sugar made me wish I had immediately cut to this part of the meal. My experience at El Burro Loco was so poor I wondered whether the space is cursed. It’s been five years since the Central West End Pasta House closed its doors, and plans for other concepts (Brothers Bar & Grill and Crushed Red Urban Bake and Chop Shop) were stymied for various reasons. Perhaps Alonso and company are the victims of forces greater than themselves — a culinary chupacabra that rises out of Euclid and sucks the life out of any restaurant that tries to take root. They’re ﬁghting hard to make it work, but the forced joviality is not enough. If El Burro Loco is in on the joke, the gag is on the diners. Q

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SARAH FENSKE

short orders

[RESTAURANT ROLL CALL]

Andre’s Ribs Now Open Three years ago, Andre and Julie Edwards opened a barbecue joint on Kingshighway south of Chippewa. The place was tiny: just 290 square feet. But they quickly earned raves on Yelp and a band of regulars, some coming from as far as Sikeston. Their customers’ only gripe? Nowhere to sit — the shop was take-out only. So the Edwardses closed the place in January, and on April 17, they quietly reopened in a much bigger spot at 6037 Chippewa, just across from the Hampton Village Target. A former tanning salon in the same aging strip mall that holds Barney’s Pub, the space is still distinctly no frills — but there are now ﬁve tables inside and a few more out front, plus some stools along a counter. And there are still those ribs — dear God, those ribs! The ribs have their origin in a version that Andre Edwards ﬁrst tried in western New York, where Julie is from. “They blew my mind,” he says. Julie Edwards told him that’s how everyone did barbecue in those parts — and she offered to show him how. Many test runs later, they decided to open a place of their own. The restaurant is a second career for the couple; he’s retired after 40 years at UPS, where he ran the southwest center for Missouri, while she’s still a real estate agent. The secret to their insanely good barbecue is in its cooking method: The meat is grilled, not smoked. It takes longer, Andre Edwards says, but the payoff is worth it. “Our slogan is that if it doesn’t fall off the bone, you don’t pay,” he says. “We haven’t had to pay anyone yet.” But opening the restaurant wasn’t as easy as perfecting the barbecue. “If we’re going to do this, we have to do it right,” Julie Edwards announced. (“Me and my big 30

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A lunch portion of Andre’s ribs is just $9.99 and comes with two sides.

mouth,” she says now, laughing.) That meant her mother’s potato salad, her father’s baked beans. It meant experimenting over and over with the sauce, trying out various versions on Andre’s UPS colleagues, until they found just the right one. The soft yellow rolls come from Fazio’s; just about everything else, including the deliciously moist lemon cake, is homemade. They may be Andre’s ribs, but per the restaurant’s slogan, they’re done “Julie’s way.” “I’m not a chef,” Julie says. “I’m a real estate agent. I only know how to do what you see on this menu.” But she’s proud of every single thing that’s on it. The couple is also proud of the restaurant’s growth. Three years ago, it was just the two of them, working six days a week. Now, in addition to the two young women who help in the kitchen, Julie’s son Dean Johnson has come on as the manager. They’re moving nearly 30 to 40 racks of ribs every day. It’s a nice change from those four months of being closed, laboring to transform the tanning salon into a restaurant. The hardest part about relocating, Andre says, was listening to the regulars gripe: “When’s your new place going to open again?” And now, ﬁnally, they can offer the seating their hungry customers long craved. Over lunch Friday, a steady flow of customers made their way in to the 900-square-foot restaurant. Some had sought out the new storefront after loving the place’s previous iteration; others were brand-new. “We get so much great chatter,” Andre Edwards says. “We had someone here from Memphis yesterday, just to see what we were all about.” Andre’s Ribs is open Wednesday through Saturday, 11 a.m. through 8:30 p.m. and Sunday from 11 a.m. to 6 p.m. — or until it runs out. — SARAH FENSKE

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dining guide The Dining Guide lists only restaurants recommended by RFT food critics. The print listings below rotate regularly, as space allows. Our complete Dining Guide is available online; view menus and search local restaurants by name or neighborhood. Price Guide (based on a three-course meal for one, excluding tax, tip and beverages): $ up to $15 per person $$ $15 - $25 $$$ $25 - $40 $$$$ more than $40

CENTRAL WEST END Evangelineâ&#x20AC;&#x2122;s 512 N Euclid Ave, St. Louis, 314-367-3644. Evangelineâ&#x20AC;&#x2122;s Bistro & Music House comes from the mind of a musician. Don Bailey, who got his start in the food business while running a concert venue named Three-1-Three in Belleville, Illinois, brings his latest venture to the Central West End. There, heâ&#x20AC;&#x2122;ll present Southern-style dishes alongside live blues, jazz and singer-songwriters. Eats include appetizers like the â&#x20AC;&#x153;CrawďŹ sh Carolynâ&#x20AC;? made with Louisiana crawďŹ sh tails, Brandy cream sauce and Parmesan cheese. For a more ďŹ lling meal, supplement that with entree options including gumbo, red beans and rice, chicken and sausage jambalaya, Louisiana shrimp creole and etouffee. A drink menu features wine by the glass or bottle, several beer options, classic cocktails and Champagne cocktails to drink the night away the New Orleans way. $$ Gamlin Whiskey House 236 North Euclid Avenue, St. Louis, 314-875-9500. Gamlin is unapologetically masculine with rustic decor, a hearty menu and what seems like every brown liquor under the sun. The spirits list includes selections from every major whiskey producer â&#x20AC;&#x201D; all available neat â&#x20AC;&#x201D; as part of a ďŹ&#x201A;ight or in a craft cocktail. Signature drinks like the Bees Knees, a delicious blend of Knob Creek Rye and ginger ale over honey-laced ice cubes, showcase Gamlinâ&#x20AC;&#x2122;s cocktail creativity. Ask one of the expert bartenders for a quick lesson on the nuances between Kentucky Bourbon, Tennessee whiskey, and Irish and Scotish whiskey, single-barrel bourbon, 12-year single malt Scotch, 20-year old bourbon, small-batch T H IS C O D E whiskey and rye, or just dive TO DOWNLOAD THE FREE in solo. Whiskey may be the RIVERFRONT TIMES theme, but Gamlin does not IPHONE/ANDROID APP skimp on the food. The menu FOR MORE RESTAURANTS OR VISIT is unfussy, with items like rib riverfronttimes.com eye, pork steak and bourbonbrined chicken providing hearty comfort. The â&#x20AC;&#x153;Moon Dance Farm Pot Pieâ&#x20AC;? is especially noteworthy, its beef-laden tomato broth made rich with tender meat, vegetables and creamy mashed potatoes. Sure, Gamlin is a little indulgent, but, after a few Manhattans, we donâ&#x20AC;&#x2122;t really care. $$$ Mary Annâ&#x20AC;&#x2122;s Tea Room 4732 McPherson Avenue, St. Louis, 314-361-5303. Located in the large greenhouse in the back of the boutique Enchanting Embellishments, Mary Annâ&#x20AC;&#x2122;s Tea Room is an ostentatious scene â&#x20AC;&#x201D; think Scarlett Oâ&#x20AC;&#x2122;Hara meets Marie Antoinette. The Central West End lunchtime eatery is named after Mary Ann Allison, the late socialite and buildingâ&#x20AC;&#x2122;s former owner who tragically passed away in 2009 while trying to save her pets from a house ďŹ re. Mary Annâ&#x20AC;&#x2122;s Tea Room serves classic â&#x20AC;&#x153;ladies who lunchâ&#x20AC;? fare, such as chicken salad with grapes on a croissant, quiche and smoked salmon. The restaurant excels at soups, including the must-try crab bisque that is loaded with lump crabmeat and garnished with caviar. The savory chicken pie and smoked-salmon duo are also noteworthy options, as are the boozy tea infusions. Take you mom and grandmother on a lunch date, and they will be impressed. $$ Nathalieâ&#x20AC;&#x2122;s 4359 Lindell Blvd., St. Louis, 314-533-1580. Nathalie Pettus brings the bounty of her Overlook Farms to the Central West End at Nathalieâ&#x20AC;&#x2122;s. The restaurant is truly farm-to-table: Nearly all of the ingredients, including the meat, are sourced directly from Overlook, hand-selected by Pettus and chef Jimmy Voss. Through his eclectic menu, Voss takes diners on a culinary world tour. Thereâ&#x20AC;&#x2122;s classic French, represented by rich and tender coq au vin; Greek moussaka al forno; Middle Eastern style vegetable kofta; and feijoda, the national dish of Brazil. continued on page 34

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continued from page 32

The pate maison should not be missed. The house-made beef-liver pate is flecked with hazelnuts and served with a red-onion jam and traditional accompaniments. The food is only part of the story at Nathalie’s. The building, a magnificent 19th-century mansion, is one of the most ornate dining rooms in town. Venetian chandeliers hang from the ceilings, gold paint trims the walls and red roses decorate the white linen-clothed tables of the dining salons. (The term “dining room” just doesn’t do the space justice.) Even the restrooms are a sight to behold — there’s even a marble fireplace in the ladies’ room. It’s a sight to behold. $$$$ Pizzeria Mia 4501 Maryland Avenue, St. Louis. Bosnian émigré Dado Beganovic brightens the residential Central West End Corner of Maryland and Taylor avenues with Pizzeria Mia. Occupying the storefront that used to be a travel agency, the pizzeria cooks up wood-fired pies that are like a cross between Neapolitan and New York styles. The signature crust - a secret recipe from Beganovic’s Bulgarian friend - is soft and raised with just a little bit of crispness around the edges. Toppings include classics such as fresh mozzarella and basil (the Margherita) and greasy pepperoni, as well as nontraditional pizza offerings like the gyros pizza. The signature pie is the spinach pizza, a rich blend of roasted garlic, spinach, ricotta and mozzarella cheeses. The restaurant also serves a few pastas and a calzone, as well as homemade desserts by Beganovic’s mom — literally, she makes them at her home and brings them in in her personal to-go containers. When the weather permits, pull up a chair under the bright red umbrellas — and don’t forget to bring the pooch; the patio is dog-friendly. $-$$

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801 Chophouse 137 Carondelet Plaza, Clayton, 314-8759900. 801 Chophouse’s super-size steaks are the most expensive meal in town — and that seems to be the point. The restaurant peddles opulence to holders of corporate cards, as well as regular folks who want to feel like royalty (at least for a day). For the price tag, diners will receive impeccable service, fine wines and shamefully large cuts of beef. Bone-in selections are the best offerings: The strip, rib eye, pork and veal all benefit from the extra flavor (and thicker cut). 801 Chophouse offers a variety of steak enhancements, from Oscar-style with crab and béarnaise to a bone-marrow bath. However, the high-quality steaks and chops are delicious enough on their own. Seafood is incredibly fresh, and the oysters taste straight from the coast. Side dishes are served a la carte: The creamy scalloped potatoes and lobster macaroni & cheese are excellent options — just make sure you can save room for the Grand Mariner soufflé. $$$$ Avenue 12 North Meramec Avenue, Clayton, 314-727-4141. The long-time patrons who lamented the closure of Bryan Carr’s Pomme Restaurant and Pomme Café & Wine Bar can find respite at Avenue. The bistro, located just a few blocks away from its popular predecessors, combines the two concepts under one roof, but also allows Carr to up the ante on his classic French-influenced fare. The veteran chef keeps some of Pomme’s favorites on Avenue’s menu but also adds several successful new dishes, such as authentic cassoulet with white beans, duck confit, sausage and pork shoulder. The pork schnitzel, topped with brandy-sauteed apples, is another standout dish, and appetizers such as wild mushrooms served with buratta over crusty bread demonstrate Carr’s culinary prowess. Avenue has an excellent brunch, with offerings such as blueberry and lemon pancakes and an overstuffed ham, egg and Gruyere crepe that doubles as a hearty breakfast wrap. Pomme may still be on everyone’s mind, but Avenue proves to be a worthy followup. $$ Cantina Laredo 7710 Forsyth Boulevard, Clayton, 314-7252447. Cantina Laredo in Clayton is the first St. Louis location of the Dallas-based upscale Tex-Mex chain. The restaurant’s large, modern bar has quickly become a happy-hour hot spot, pouring stiff drinks for the area’s business clientele. On the food side, diners can expect modernized, fusion versions of Mexican and Tex-Mex dishes, anchored by a large selection of fajitas and enchiladas. The restaurant’s signature appetizer, the “Top Shelf Guacamole,” is prepared tableside, with accoutrements added to one’s preferences. The “Enchiladas Veracruz” features two tortillas stuffed with a Mexican version of chicken spinach dip, and the “Costillas Con Fajita” is a gigantic, searing hot platter of ribs, steak and chicken, large enough for three diners. A must-try is the “Torta de Carnitas,” smoked pork topped with goat cheese, apricot jam and an over-easy egg. Though it’s difficult to save room for dessert, one must manage: The Mexican apple pie, finished with brandy butter tableside on a searing-hot castiron skillet is a scrumptious end to the meal. $$-$$$ Whitebox Eatery 176 Carondelet Plaza, Clayton, 314-8622802. White Box Eatery elevates daytime eating for busy Clayton diners with its upscale take on breakfast and lunch fare. The sleek, modern restaurant offers breakfast and lunch on the weekdays, and Saturday and Sunday brunch, with items such as turkey meatloaf, brioche French toast and smoked-salmon tartine. Pancakes, covered with housemade granola, fresh berries and whipped cream is a must try, as is the breakfast salad — arugula, potatoes, bacon, feta cheese and crispy onions are topped with creamy herbed dressing and poached eggs. White Box Eatery’s freshly baked pastries are the restaurant’s highlight. Fresh doughnuts (made by Vincent Van Doughnut), chocolate croissants, cheese Danishes and savory scones are a perfect end to the meal — or a tasty grab-and-go snack. $$

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music

B-Sides 38 Critics’ Picks 42 Concerts 43 Clubs

First in Perseverance THE AMBITIOUS LAST IN THE AMERICAN LEAGUE PROJECT THAT ALMOST WASN’T SEES A RELEASE THIS WEEK LITAL Release Show 7:30pm Saturday, May 2. The Ready Room, 4195 Manchester Avenue. $10. 314-833-3929.

f the eyes are truly the windows to the soul, Chuck Crittenden’s betray the passion behind his normally stoic nature. “I don’t usually show a lot of emotion,” Crittenden says, his blue eyes pulsating with energy, “but I’m really excited.” His enthusiasm is well-justified. After sixteen months of persevering through a multitude of roadblocks, Last in the American League — a compilation of local music and visual art Crittenden curated — is ﬁnally being released. A party, celebrating both the project and the artists who contributed, will be held this Saturday, May 2, at the Ready Room. The idea for Last in the American League began germinating in Crittenden’s head in late 2013. A musician himself and friend to some local visual BY artists, he imagined a comJEREMY bination of the two mediums in album and book form. The ESSIG songs would inform the art and vice versa, providing a historical record. Experiencing artwork simultaneously with music is an experience Crittenden says he has always treasured. “There’s something really special about staring at the art while you listen to [music],” he says. “You really can get lost in it. You can ﬁnd a connection between the two.” At a crowd-sourcing event in early 2014, Crittenden met Leetah Nickel, who would sign on as his marketing partner. Determining that the project would require $6,000 to be fully funded, the pair turned to Kickstarter, a crowd-funding website that allows supporters to pledge money in exchange for perks. If the goal is not met, however, no money is taken from donors, and those in charge of the project receive nothing. Though Last in the American League received around $4,000 in promised donations, it still fell $2,000 short of its goal — netting the duo zero actual dollars. “It was disappointing,” Nickel says, “but it still did the job of raising awareness about the project.”

C O U R T E SY O F L I TA L

Crittenden, faced with what may have been an idea-killing defeat for some, refused to let the Kickstarter experience deter him. “It was frustrating for it to not go through,” he says, “but at the same time it’s one of those things where you can’t sit and sulk. You have to get up; you have to be ready to move on. You have to have a Plan B.” For Crittenden, “Plan B” was to pay for the compilation mostly out of his own pocket. Though that’s a hefty sum, it pales in comparison to the project’s other major investment: the time and stress that comes with organizing 36 different artistic entities.

“Getting ﬁve people to respond to an email is a pain in the ass,” Crittenden says. “Getting 36 people — eighteen of which are groups — to respond to something...” He trails off. “The fact that we’ve gotten to this point, I wonder: How?” The answer is the passion with which he promotes and defends local art. “Go to another city and say you’re a band from St. Louis, and people are like, ‘Do you know Nelly?’ And I want St. Louis to get past that,” he says. “I want other people to realize that St. Louis is bursting at the seams with so much passion and talent.” riverfronttimes.com

Some of that talent resides in Nickel. She’s not only his marketing partner, but also a contributing artist. She created a mixedmedia piece on canvas in collaboration with Stan Chisholm (better known to local music fans as 18andCounting). “It was amazing to work with Stan,” Nickel says. “I took a lot from the track I was provided, and we discussed initially what we both wanted. I would give him updates on the piece as we went and make adjustments.” Charlie Brumley, songwriter and band leader for the Educated Guess, had a similarly positive expecontinued on page 38

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b-sides

LITAL

continued from page 37

LITAL brings art and music together.

RIVERFRONT TIMES

Wolf Alice Will Get Your Attention Wolf Alice 8 p.m. Sunday, May 3. The Demo, 4191 Manchester Avenue. All ages. 314-833-5532.

he first thing that may strike you about My Love Is Cool, the forthcoming debut album by North London quartet Wolf Alice, is how remarkably self-assured it is. Starting in 2010 as the duo of singer/guitarist Ellie Rowsell and guitarist Joff Oddie and growing from there, the band spent half a decade refining its sound. Wolf Alice released a series of EPs and spent a lot of time playing to empty rooms, all the while making its sound bigger and fuller. With My Love Is Cool, Wolf Alice has drawn influences from myriad sources — the Breeders’ loud/quiet dynamic and raw melodies, My Bloody Valentine’s swirly, surreal tones and mellifluous vocals, Blur’s observational songwriting, and the occasional Sonic Youth guitar break — to create something definably its own. After wowing South by Southwest earlier this year, Wolf Alice has hit the road for its second American tour. Drummer Joel Amey took time out of a rare day off to answer our questions. See the band at the Demo on May 3, and have a good time. Just don’t ask Amey to accompany you to Cracker Barrel. Read our condensed interview for the reason why. Riverfront Times: I know that Ellie and Joff started off as the original Wolf Alice members. When did you and bassist Theo Ellis join, and what did you add?

JENN FIVE

rience working with artist Becca Moore on “When I Have Cried.” The song, which is on the band’s self-titled album, was in its mixing stage when Moore was brought on board to prepare it for Last in the American League. Brumley says the collaboration couldn’t have gone smoother. “She sent us a few graphics she’d done, all of which were amazing, and we went with the one that resonated most,” Brumley recalls. “She does great work and I’m really thrilled to have been a part of it.” Having just released his own record last week, Brumley recognizes the amount of effort it took for Crittenden and Nickel to see their project to completion. “[Chuck] and Leetah have been working incredibly hard and certainly pulled off an ambitious undertaking,” he says. “It’s hard enough making a record with one band, let alone coordinating with ten.” Now is the time for Crittenden and Nickel to celebrate the fruits of their labor, but the show also carries with it a hint of bitterness. Two of the bands performing Saturday night — Volcanoes and Via Dove — are breaking up soon. In fact, ten of the album’s eighteen bands have either broken up already or have announced they’ll do so in the near future. “Someone commented today, ‘You’re the band angel of death,’” Crittenden says. But, he adds, the ongoing cycle of bands forming in this town, gaining recognition and then going separate ways up also accounts for one of the reasons he’s most proud of Last in the American League. “This really is a time capsule of sorts of what the music was like in 2014,” he says. While the project serves as a piece of history, it also takes its name from history. In the 1890s, when the baseball team was known as the St. Louis Browns, it was said that the city was “First in booze, ﬁrst in shoes, last in the American League.” Crittenden took the phrase, put his own positive spin on it and shot it back at those who overlook the city. “It’s a reference to St. Louis,” he acknowledges, “but at the same time, it’s a tongue-in-cheek way of ﬂipping off everybody that says St. Louis isn’t worth a shit.” Q

It was through a mutual friend. I’d actually seen [Ellie and Joff ] play a show with two other members in Kilburn. I knew they wanted to branch out. I’d never actually played the drums before, but they asked anyway. Theo joined a couple months later. I didn’t even have a drum kit at the time, just these electronic pads. I’m not sure how I was able to pick it up, as I’m the world’s worst footballer and skateboarder. But I can kind of do drums, weirdly. The songs are credited to all four members. How does the songwriting process work?

Wolf Alice: Cool with playing small shows.

All four of us were songwriters in our bedrooms before we were together. Even if I’m the drummer, you don’t stop having that mentality; you’ll pick up a guitar at some point and try to write a song, too. Everyone has strong ideas all the time for hooks, drums and guitars. It’s quite unusual, but it really is between the four of us. With something like “Fluffy,” where it starts out quiet and then erupts into the loud chorus, is that an example of something you’d develop in practice? continued on page 40

HOMESPUN

ANIMAL CHILDREN Animal Children animalchildren.bandcamp.com

t’s not impossible to lead a jazz band from behind a drum kit — just ask Ark Blakey — but it does take a certain kind of selﬂessness to drive the beat while giving a platform to your instrumentalists. Drummer Kaleb Kirby is the leader and chief composer for the new jazz sextet Animal Children, and while he’s done time with swing-oriented jazz as part of Tommy Halloran’s Guerrilla Swing, he brings a certain expansiveness to his own compositions. Kirby keeps a ﬁrm grip on the sway of these songs, but local jazz-scene veteran Adam Maness is a key architect here — not just as an elder statesman in a troupe of relatively young guns, but as the hands behind the Fender Rhodes electric piano. That instrument’s plinky tone and muddy depths immediately call to mind everything from the proto-smooth-jazz of Bob James to the fusion experiments of Return to Forever to the barbed mellow of Steely Dan. And Maness references those traditions while helping establish the band’s place in the modern jazz tradition — albeit with a few detours. The stop/start dissonance and low-end distortion of “Stay Golden” show the group’s comfort with rock dynamics, and “oh-we-ah” starts the album with the kind of brassy pep that would be hard to sustain over a whole program. But as the self-titled album

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progresses, Animal Children is content to let the songs breathe, playing catchy and kinetic choruses as a unit before allowing its players to step forward individually. Kirby takes few true drum solos on this album (though his intro to the set-closing “Plus | Minus” shows a feather-touch); instead, he is content to direct traffic with well-placed fills and tempo shifts. These amorphous songs favor that kind of looseness, though the band is never in danger of losing the plot. If these tracks aren’t the most fleshed-out compositions, they still leave fertile ground for these able and unflashy soloists. Fellow Guerrilla Swing member Kristian Baarsvik starts the album on alto sax but hits more peaks and valleys when he switches to tenor, as he does on the bolero-like “Damage Report.” The nine-minute “Advantages” allows Animal Children to stretch its limbs on this record, owing in part to both the track’s length and its open, airy structure. Guitarist Mason Baran doles out familiar jazz licks at first and switches to more outré patterns as the song progresses. That ends up being a pretty good model for Animal Children on its debut recording: familiar at first, but untethered to tradition as the song moves on. —CHRISTIAN SCHAEFFER Want your CD to be considered for a review in this space? Send music c/o Riverfront Times, Attn: Homespun, 6358 Delmar Boulevard, Suite 200, St. Louis, Missouri, 63130. Email music@riverfronttimes.com for more information.

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Wolf Alice

continued from page 38

That was actually the ﬁrst song we made together. It was made with intent. We decided: “This is the time where we’re gonna get everyone’s attention.” Because at the time, we were playing to three or four people in London at any gig, or people would be standing at the bar, not listening. We wanted to make them listen somehow, turn it up to stupid levels of loud. I just thought of the most obnoxious drumbeat I could play and went, bash! bash! bash! the entire way through. I remember thinking, “Oh, yeah. This is where we want to be taking things.” It was just more visceral and quite angry. We love that song so much. We were never totally happy with the recording, but it was a lovely snapshot of where we were at the time. But the re-record on the album is amped up even more. A lot of teenage frustration. You mentioned grabbing people’s attention, but there’s also a song like “Giant Peach,” which references a child’s book. Some of the lyrics seem to reference childhood memories and people who aren’t there. So there’s a tender side. In terms of the sound, I think we’re interested in how something can sound incredibly heavy but light at the same time. You don’t have to turn your distortion up to shrill levels to make something heavy. An acoustic guitar can be incredibly heavy when played the right way. A song like the Beatles’ “Happiness Is a Warm Gun” is one of the heaviest tunes I’ve ever heard, even though it’s just voice and guitar. At the same time, there is a lot of light in our sound, and we’ll want to push it to be as beautiful, happy or sad as possible. The more extreme, the more rewarding it is, especially when you go play it for eighteen months in a 40

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Album art for Wolf Alice’s My Love Is Cool.

row. It’s never gonna be blasé. How is that sound progressing? Are you working on new stuff ? We actually started writing a lot of new material before we went in to record this album. I don’t know what’s going to happen to those. We always have our laptops and acoustic guitars with us. We’re never like, “Let’s sit down and write a song today.” We’re always noodling, coming up with bits and bobs. You mentioned earlier playing to three or four people. You’re now playing big shows in Europe. What’s is like to come back to the smaller level when you play the States? We really like playing in small, sweaty rooms. It’s amazing to play bigger venues, but it’s a different beast. We started and love playing in rooms when you’re on the same level as the audience and where everyone’s going mad. If anything, it rekindles our love with music and what we did early on. I couldn’t help but notice the picture on your website at In-N-Out Burger. Any other regional foods you like or are determined to try on this tour? OK, dude, I can tell you what I didn’t like. I can eat a lot of junk food. I can go to McDonald’s any time. But there was one place I never want to go back to again: Cracker Barrel. I think Theo, the bassist, wanted to go. He only ever wants to order food that will make people laugh rather than what he actually likes. He had chicken-fried steak and Coca-Cola cake there. And the cake stank as if we’d literally poured Coca-Cola over it at the table, it was that strong. I appreciate any food, but I’d be happy never to go to Cracker Barrel again. — MIKE APPELSTEIN

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Clockwise from the top: Soul-tunneling songwriter James McMurtry. Party-hard hypeman Andew W.K. Indie-folk goddess Hurray for the Riff Raff.

JAMES MCMURTRY

8 p.m. Friday, May 1. Off Broadway, 3509 Lemp Avenue. $22 to $32. 314-773-3363. Complicated Game, the new album by James McMurtry, begins with a deer hunter cleaning his gun and the blood from his tailgate; it ends with a ballad called â&#x20AC;&#x153;Cutter,â&#x20AC;? about an abandoned soul who does precisely as the song title says â&#x20AC;&#x201D; to his or her own ďŹ&#x201A;esh. In short, this is not a record for poptimists. Nor is it for anyone unwilling to follow the most prickly and proliďŹ c songwriter in Austin down the darkest and most revealing paths of human struggle. Thereâ&#x20AC;&#x2122;s rarely any light at the end of McMurtryâ&#x20AC;&#x2122;s soul-tunneling songs, but along the way there are ďŹ&#x201A;ashes of hopeful truths. Guitar Cutter: McMurtry is rightly celebrated for his songs, but he deserves to be in the Texas Hall of Fame for his hypnotic guitar playing alone. â&#x20AC;&#x201D; ROY KASTEN

A N D R E W W. K .

9 p.m. Friday, May 1. The Firebird, 2706 Olive Street. $20 to $25. 314-535-0353. First off, yes, this is another Andrew W.K. solo show. And while that may be a disappointment for some â&#x20AC;&#x201D; indeed, St. Louis hasnâ&#x20AC;&#x2122;t seen a full-band AWK performance since May 2004 at Mississippi Nights â&#x20AC;&#x201D; it should be noted that Andrew himself is, and always has been, the entire creative force behind his music: Those band members he drags around the country with him are just hired guns. And besides, this is a night of ham-ďŹ sted party music, not an evening of lush, intricate compositions. Drink enough before the show starts, and your blurred vision just may ďŹ ll out the stage for you. No Clone Zone: No, Andrew W. K. was not replaced in 2005 by a look-alike. Stop with that crap. Strangest conspiracy theory ever. â&#x20AC;&#x201D; DANIEL HILL 42

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H E L L N IG H T/ CATHEDRAL FEVER SPLIT RELEASE SHOW

9 p.m. Saturday, May 2. The Firebird, 2706 Olive Street. $8 to $12. 314-535-0353. Last weekâ&#x20AC;&#x2122;s feature story talked about how great the cityâ&#x20AC;&#x2122;s metal scene is, and now is your chance to see it in action. Though Hell Night and Cathedral Fever are a little closer to the hardcore end of the spectrum, their dark sounds and unbridled anger will certainly perk up the ears of even the most jaded of metal heads. Add to that the sheer brutality of the Lionâ&#x20AC;&#x2122;s Daughter and the guitar-shredding technical prowess of Thorhammer, and you have yourself a night fully worthy of tomorrowâ&#x20AC;&#x2122;s bangover. Iâ&#x20AC;&#x2122;d Fight Your Dad to that Song: The biggest thing these bands have in common is that it would be really satisfying to beat the hell out of someone while listening to their music. But donâ&#x20AC;&#x2122;t do that, you dick.â&#x20AC;&#x201D; DANIEL HILL

H U R R AY F O R THE RIFF RAFF

8 p.m. Sunday, May 3. The Sheldon Concert Hall, 3648 Washington Boulevard. $20 to $25. 314-533-9900. No shortage of songwriters have taken an idiosyncratic swing at the American folk tradition, but thereâ&#x20AC;&#x2122;s something beautifully transgressive about Alynda Lee Segarra and her indie-folk outďŹ t Hurray for the Riff Raff. Her Puerto Rican heritage and Bronx upbringing have been ďŹ ltered through the many tributaries that run through her adopted hometown of New Orleans, and her bandâ&#x20AC;&#x2122;s musical roots reach deep and wide. When she was in St. Louis last February, she introduced â&#x20AC;&#x153;The Body Electricâ&#x20AC;? as a recourse to the tradition of murder ballads and the high body count of women slaughtered therein. That her challenge to masculine violence sounds like a pretty good folk song is just part of her particular musical genius. Canadian Country: If his album cover for Come Cry with Me is any indicator, Ontario-bred singer-songwriter Daniel Romano looks pretty ďŹ ne in a Nudie suit. Heâ&#x20AC;&#x2122;ll open the show. â&#x20AC;&#x201D; CHRISTIAN SCHAEFFER

S A R R A H DA N Z I G E R

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A S H L E Y E B E R B AC H

concerts THIS JUST IN Abstract Artimus: Mon., May 25, 7 p.m., $7. Way Out Club, 2525 S. Jefferson Ave., St. Louis, 314-664-7638. Angelust: W/ Stormcaller, The Four Mechanix, Thu., June 4, 9 p.m., $8-$10. Fubar, 3108 Locust St, St. Louis, 314289-9050. Arabrot: W/ They Need Machines To Fly?, Van Buren, Tue., June 30, 8 p.m., $10-$12. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Arshad Goods: W/ Tino, Lydia Caesar, Fri., May 8, 9 p.m., $10-$15. The Demo, 4191 Manchester Ave, St. Louis. Aviator: W/ Tri State Era, LifeWithout, Mon., June 15, 8 p.m., $10. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Banditos: W/ Juanita Place, Bagheera, Sat., May 23, 8 p.m., $8-$13. The Demo, 4191 Manchester Ave, St. Louis. Big Gipp: W/ Murphy Lee, Sat., May 16, 9 p.m., $15-$20. The Mad Magician, 5625 Manchester Ave., St. Louis, 314-875-0644. Blue Lemmings: Sun., May 10, 9:30 p.m., Free. Sky Music Lounge, 930 Kehrs Mill Road, Ballwin, 636-527-6909. Bombat Billy: Sun., May 10, 6:30 p.m., Free. Sky Music Lounge, 930 Kehrs Mill Road, Ballwin, 636-527-6909. CHAPPO: Tue., June 9, 7 p.m., $10-$15. The Demo, 4191 Manchester Ave, St. Louis. Charli XCX: W/ Bleachers, Børns, Sun., Aug. 9, 8 p.m., $31-$36. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161. The Contortionist: W/ Chon, Auras, Noesis, Tue., May 19, 6 p.m., $15-$17. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Crushed Out: W/ Spiritﬁngers, 3 of 5, Wed., May 27, 8 p.m., $7. Off Broadway, 3509 Lemp Ave., St. Louis, 314-7733363. Dale Watson and the Lonestars: Thu., June 25, 8 p.m., $17-$33. Off Broadway, 3509 Lemp Ave., St. Louis, 314773-3363. Darsombra: W/ Kevin Harris, Tory Z Starbuck, Eric Hall, Wed., May 6, 8 p.m., Free. Koken Art Factory, 2500 Ohio Ave., St. Louis, 314-776-7600. Davina and the Vagabonds: Fri., June 12, 8 p.m., $10$15. The Demo, 4191 Manchester Ave, St. Louis. Dawn of the Shred Fest: W/ Shapist, Aenimus, WRVTH, Scarred Atlas, Arcane Haven, Alaya, Bungler, Absala, Claim Your Kingdom, Noesis, CarolAnne, Alt Road, Our Transﬁxion, Torn at the Seams, Running With Tarantulas, Sat., May 16, 5 p.m., $10-$12. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Eli Whitney: W/ Freya Wilcox, Antithought, Thu., May 7, 8 p.m., $5. Lemp Neighborhood Arts Center, 3301 Lemp Ave., St. Louis, 314-771-1096. Famous Last Words: W/ Farewell My Love, SycAmour, It Lives It Breathes, Thu., June 4, 7 p.m., $10-$15. The Demo, 4191 Manchester Ave, St. Louis. Fifth Harmony: W/ the Never Ending, Natalie LaRose, Bea Miller, Thu., July 23, 7 p.m., $22-$52. Peabody Opera House, 1400 Market St, St. Louis, 314-241-1888. The Fog Lights: W/ Frontal Lobe, Defeated County, Fri., May 15, 9 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Framing Hanley: W/ Heartist, Tue., May 5, 7 p.m., $12$18. The Demo, 4191 Manchester Ave, St. Louis. Frank Ladish: W/ Suzie Cue, Traveling Sound Machine, Thu., May 7, 9 p.m., $3. Venice Café, 1903 Pestalozzi St., St. Louis, 314-772-5994. Gateway City Big Band: Wed., May 13, 6:30 p.m., Free. Sky Music Lounge, 930 Kehrs Mill Road, Ballwin, 636527-6909. Head North: W/ No Good News, Light Years, Casey Bolles, Sat., July 11, 7 p.m., $10-$12. The Demo, 4191 Manchester Ave, St. Louis. Holiday Mountain: Tue., May 26, 7 p.m., $10. The Demo, 4191 Manchester Ave, St. Louis. Hollywood Ending: Sat., June 13, 7 p.m., $15-$60. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. I the Mighty: W/ Hail the Sun, Too Close to Touch, LifeWithout, Ursa Major, Mon., June 29, 7 p.m., $12. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. Ian Moore: Thu., June 18, 9 p.m., $15-$18. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. It Lies Within: W/ Nevada Rose, the Party Foul, Reconcera, Thu., May 14, 6 p.m., $12. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Jakubi: Sat., June 20, 8 p.m., $10-$12. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. Jesse Lafser: W/ Becca Mancari, Thu., May 14, 8 p.m., $10. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. Joe Ely: Wed., May 20, 7 p.m., $25. Off Broadway, 3509

Lemp Ave., St. Louis, 314-773-3363. John D. Hale Band: W/ Dustin Clark and Stone Mountain Railroad, Fri., May 8, 8 p.m., $10-$12. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. John Paul Keith and the One Four Fives: Fri., May 8, 9 p.m., $10-$12. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. King Chip: Fri., June 5, 7 p.m., $15. The Demo, 4191 Manchester Ave, St. Louis. Kyle Dunnigan: Sun., June 14, 8 p.m., $15-$17. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. Lecrae: Thu., April 30, 3:30 p.m., Free. Vintage Vinyl, 6610 Delmar Blvd., University City, 314-721-4096. Like Moths to Flames: W/ Sylar, Thu., May 28, 6 p.m., $15. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Lionfight: W/ My Enemies & I, Past Consent, Thu., June 4, 5:30 p.m., $10. Fubar, 3108 Locust St, St. Louis, 314289-9050. Lost Dog: Mon., May 11, 6:30 p.m., Free. Sky Music Lounge, 930 Kehrs Mill Road, Ballwin, 636-527-6909. Lyle Lovett: W/ John Hiatt, Wed., Oct. 21, 8 p.m., $59.50$69.50. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161. Mass Appeal: James Brown Tribute: W/ DJ Mahf, Big Brother Thunder & the Master Blasters, VThom, Fri., May 22, 9 p.m., $10-$13. The Demo, 4191 Manchester Ave, St. Louis. mewithoutYou: W/ Foxing, Field Mouse, Sat., July 11, 8 p.m., $15-$17. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. Mitski: W/ Elvis Depressedly, Eskimeaux, Sun., June 21, 7 p.m., $12-$17. The Demo, 4191 Manchester Ave, St. Louis. OnCue: Sun., June 28, 7 p.m., $12-$15. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. The Pat Sajak Assassins: W/ The Tennis Lesson, Syna So Pro, Sat., May 23, 9 p.m., $5. The Heavy Anchor, 5226 Gravois Ave., St. Louis, 314-352-5226. Pattern Is Movement Farewell Tour: Tue., June 9, 8 p.m., $10-$14. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. The Penske File: W/ Contenders, Wed., June 24, 8 p.m., $5-$8. Melt, 2712 Cherokee Street, St. Louis, 314-7716358. PigPen Theatre Co.: W/ Goodnight,Texas, Tue., May 19, 8 p.m., $12-$14. The Demo, 4191 Manchester Ave, St. Louis. Pillow Talk: Fri., May 29, 8 p.m., $10-$12. The Demo, 4191 Manchester Ave, St. Louis. Powder Mill: W/ Matt Poss, Sat., May 16, 9 p.m., $10. W/ Matt Poss, Sat., May 16, 9 p.m., $10. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. Ptahil: W/ Stormcaller, Manifest, Wed., June 24, 8 p.m., $10-$12. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Quaere Verum: W/ Tyranny Enthroned, Dischordia, Grand Inquisitor, Bong Threat, Fri., July 10, 7 p.m., $8. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. Randy Rogers: W/ Wade Bowen, Sat., July 11, 8 p.m., $20-$25. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505. Repeat Repeat: Mon., July 20, 8 p.m., $10-$13. The Demo, 4191 Manchester Ave, St. Louis. Roadkill Ghost Choir: Mon., June 22, 8 p.m., $10-$15. Demo, Space 264 NW Plaza, St. Ann. Sage Francis: Wed., July 15, 8 p.m., $15-$19. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. Shrinking Violets: Mon., May 11, 9:30 p.m., Free. Sky Music Lounge, 930 Kehrs Mill Road, Ballwin, 636-527-6909. Skarekrau Radio: W/ Naan Violence, Bear Cub, Thu., May 14, 9 p.m., Free. Schlaﬂy Tap Room, 2100 Locust St., St. Louis, 314-241-2337. Soulition Park Jam: W/ Willpower, DJ Agile One, DJ NIMBUS, DJ Reminise, Nappy DJ Needles, Dj Jmo, Apple Jac, DJ Frances Jaye, DJ MAKossa, Kase One, John Cobb, Enoch Is Real, Sat., June 13, 11 a.m., Free. Strauss Park, Washington & N. Grand boulevards, St. Louis. Southern Brothers: Thu., Aug. 20, 8 p.m., $15. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. Spirit Family Reunion: Tue., June 9, 8 p.m., $10. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. STL Hip-Hop Showcase: W/ Notorious Prime, Savon, OG Breezy, Jewleyy B, E.T. Alex, Sun., May 17, 7 p.m., $7-$10. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. Success: W/ Murphy and the Death Rays, Wed., May 13, 8 p.m., $10-$13. The Demo, 4191 Manchester Ave, St. Louis. Summer Gras: W/ Dumpstaphunk, Marc Broussard, Mingo Fishtrap, Sat., June 20, 6 p.m., $10-$25. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505. This Legend: W/ Stanley and the Search, Dear You, Bad Luck, Sat., May 23, 7 p.m., $10-$12. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. Total Chaos: Wed., June 24, 7 p.m., $12-$15. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Wayne Hancock: Sun., June 14, 8 p.m., $12-$15. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. Whiskey Fest BBQ Pig Roast: W/ the Barn Mice, Beth Bombara, the Maness Brothers, Tok, Old Capital Square Dance Club, Redheaded Strangers, W.T. Newton, Zacksquatch, Fred Friction Music, Patrick Eagan, Sat., May 23, 2 p.m., $7. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. Whiskey Shivers: Wed., July 8, 8 p.m., $10. The Demo, 4191 Manchester Ave, St. Louis. Wyatt Cenac: Thu., July 9, 8 p.m., $20-$22. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

Broadway Oyster Bar’s Crawfish Boil

Look for the RFT Street Team at the following featured events this week:

Crawl for a Cause

Thursday 4.30.15 What: Dining out for Life When: 5 - 7 PM Where: Molly’s

Crawl for a Cause

Friday 5.1.15 & Saturday 5.2.15 What: Microfest Earth Day 2015

When: 6:30 - 9:30 PM Where: Lower Muny Parking Lot

Saturday 5.2.15 What: Cinco de Mayo Earth Day 2015

When: 12 - 7 PM Where: Cherokee Street

Saturday 5.2.15 What: The Battlegrounds Mud Run

Shake 38

When: 8 AM - 1 PM Where: Cedar Lake Cellars

For more photos go to the Street Team website at www.riverfronttimes.com. Shake 38 riverfronttimes.com

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Blueberry Hill - Elvis Room: 6504 Delmar Blvd., University City, 314-727-4444. Quitting Amy, Sat., May 2, 9 p.m., $5. Blumenhof Vineyards: Highway 94, P.O. Box 30, Dutzow, 800-419-2245. Alsop, Grossi & Halley, Sun., May 3, 2 p.m., free. Cicero's: 6691 Delmar Blvd., University City, 314-862-0009. Dreamcatcher, w/ Foreverandnever, Thu., April 30, 7:30 p.m., $10. The Demo: 4191 Manchester Ave, St. Louis. Wolf Alice, Sun., May 3, 8 p.m., $12-$14. My Goodness, Mon., May 4, 7:30 p.m., TBA. Framing Hanley, w/ Heartist, Tue., May 5, 7 p.m., $12-$18. The Firebird: 2706 Olive St., St. Louis, 314-535-0353. Local H, Thu., April 30, 8 p.m., $12-$14. Andrew W.K., Fri., May 1, 9 p.m., $20-$25. Hell Nigh/Cathedral Fever Split Release, w/ The Lion's Daughter, ThorHammer, Sat., May 2, 9 p.m., $8-$12. Wolf Alice, Sun., May 3, 8 p.m., $12-$14. Fubar: 3108 Locust St, St. Louis, 314-289-9050. The Devil Wears Prada, w/ Sleepwave, Secrets, Tear Out The Heart, Wed., May 6, 7:30 p.m., $20. The Heavy Anchor: 5226 Gravois Ave., St. Louis, 314-3525226. Killer Moon, w/ Got Villains, Sat., May 2, 9 p.m., $5. Koken Art Factory: 2500 Ohio Ave., St. Louis, 314-7767600. Darsombra, w/ Kevin Harris, Tory Z Starbuck, Eric Hall, Wed., May 6, 8 p.m., Free. The Pageant: 6161 Delmar Blvd., St. Louis, 314-726-6161. JJ Grey & Mofro, Sat., May 2, 8 p.m., $25-$30. The Ready Room: 4195 Manchester Ave, St. Louis. Lital Release Show, w/ Blackwater '64, Volcanoes, Arthur and the Librarian, Via Dove, Letter to Memphis, Sat., May 2, 7:30 p.m., $10. Schlafly Tap Room: 2100 Locust St., St. Louis, 314-2412337. The Ottomen, w/ Accelerando, The Deciders, Fri., May 1, 8 p.m., free.

JAZZ The Heavy Anchor: 5226 Gravois Ave., St. Louis, 314-3525226. Gateway Jazz Project, Fri., May 1, 9 p.m., $5. Off Broadway: 3509 Lemp Ave., St. Louis, 314-773-3363. Julian Lage, w/ Chris Eldrige, Thu., April 30, 8 p.m., $10/$12. Schlafly Tap Room: 2100 Locust St., St. Louis, 314-2412337. Mt. Thelonious, w/ The Southside Jazz Ensemble, Thu., April 30, 9 p.m., free. The Sheldon: 3648 Washington Blvd., St. Louis, 314-5339900. Peter Martin Trio, w/ Brian Owens, Thu., April 30, 8 p.m., $25-$250. CĂŠcile McLorin Salvant, Sat., May 2, 8 p.m., $15-$40.

BLUES American Legion Post 365: 1022 Vandalia St., Collinsville, 618-345-2508. BeneďŹ t Concert For Collinsville's Historic Miner's Theatre, w/ Doc Holiday, Quarter Draw Band, Sweet n Sour, Jammin' Ringtonz, Sat., May 2, 6:30 p.m., $5-$10. BB's Jazz, Blues & Soups: 700 S. Broadway, St. Louis, 314-436-5222. Leroy Jodie Pierson, Fri., May 1, 7 p.m.; Fri., May 15, 7 p.m.; Fri., May 22, 7 p.m.; Fri., May 29, 7 p.m., $5; J.P. Soars & the Red Hots, Fri., May 1, 10 p.m., $5. Tom Hall & Alice Spencer, Sat., May 2, 7 p.m., $10; Igor Prado, w/ R.J. Mischo, Bob "Bumblebee" Kamoske & The Stingers, Sat., May 2, 10 p.m., $10. Good for the Soul, Sun., May 3, 6 p.m., $5; Doug MacLeod, Sun., May 3, 8 p.m., $10. Tom Byrne & Erika Johnson, Mon., May 4, 8 p.m., $5. St. Louis Social Club, Tue., May 5, 8 p.m.; Tue., May 19, 9 p.m., $5. Billy Barnett Band, Wed., May 6, 7 p.m., $5; Big Rich & the Rhythm Renegades, Wed., May 6, 9:30 p.m.; Wed., May 13, 7 p.m.; Wed., May 20, 7 p.m.; Wed., May 27, 9:30 p.m., $5. Beale on Broadway: 701 S. Broadway, St. Louis, 314-6217880. Bob "Bumble Bee" Kamoske, Wednesdays, 8 p.m. Blues City Deli: 2438 McNair Ave., St. Louis, 314-773-8225. Roland Johnson, Thu., April 30, 6 p.m., free. RJ Mischo, w/ Igor Prado, Tue., May 5, 1 p.m., free. Broadway Oyster Bar: 736 S. Broadway, St. Louis, 314621-8811. Soulard Blues Band, From the 2014 RFT Music Awards: One day, dear reader, the Soulard Blues Band will be no more. It's just a fact. And one day you'll wonder why, despite all the opportunities every other day of the week, you never saw this St. Louis institution in its prime -- and no, the band's prime ain't over. If somehow you've never danced your ass off when Art Dwyer lays down a bass line as smooth as crushed velvet, or when Marty Abdullah swings his phrasing on "Kansas City Blues" or "Dust My Broom," or when Tom Maloney plays a solo that would make his mentor (the late, great Benny Smith) smile, well you really should. Don't take this band for granted. Pay your respects soon; they've been

earned., Mondays, 9 p.m., $5. Fubar: 3108 Locust St, St. Louis, 314-289-9050. Mothership, w/ Dirty Streets, the Maness Brothers, Resinater, Fri., May 1, 8 p.m., $10. Schmitty's Bar & Grill: 102 N. Main Street, Smithton, 618-416-8145. Brother Jefferson Band, Thu., April 30, 7 p.m., free.

HIP-HOP The Fox Theatre: 527 N. Grand Blvd., St. Louis, 314-5341111. Lecrae, w/ Andy Mineo, DJ Promote, Thu., April 30, 7 p.m., $26-$48. Vintage Vinyl: 6610 Delmar Blvd., University City, 314-7214096. Lecrae, Thu., April 30, 3:30 p.m., Free.

R&B Blanche M Touhill Performing Arts Center: 1 University Dr at Natural Bridge Rd, Normandy, 314-516-4949. Miguel, Fri., May 1, 7 p.m., $30. The Demo: 4191 Manchester Ave, St. Louis. JMSN, Fri., May 1, 8 p.m., $10-$12.

FOLK Halo Bar: 6161 Delmar Blvd., St. Louis, 314-726-1414. The Trophy Mules, Mon., May 4, 11 p.m., free. The Sheldon: 3648 Washington Blvd., St. Louis, 314-5339900. Hurray For The Riff Raff, Sun., May 3, 8 p.m., $20-$25. The Wine Press: 4436 Olive St., St. Louis, 314-289-9463. Jill Cohn, Sat., May 2, 8 p.m., free.

COUNTRY Blueberry Hill: 6504 Delmar Blvd., University City, 314-7274444. Rocco DeLuca, w/ Daniel Lanois, Tue., May 5, 8 p.m., $25. Blumenhof Vineyards: Highway 94, P.O. Box 30, Dutzow, 800-419-2245. Schmitts & Grins, Sat., May 2, 2 p.m., free. Scottrade Center: 1401 Clark Ave., St. Louis, 314-241-1888. Kenny Chesney, Wed., May 6, 7 p.m., TBA.

AMERICANA The Demo: 4191 Manchester Ave, St. Louis. Hannah Aldridge, w/ Old Capital Square Dance Club, Phoebe Elliot, Sat., May 2, 8 p.m., $10. Off Broadway: 3509 Lemp Ave., St. Louis, 314-773-3363. James McMurtry, Fri., May 1, 8 p.m., $22/$32. Will Hoge, Sat., May 2, 9 p.m., $15/$18.

DJ Elmo's Love Lounge: 7828 Olive Blvd, University City, 314282-5561. Jamaica Live Tuesdays, w/ Ital K, Mr. Roots, DJ Witz, Tuesdays, $5/$10. Foam Coffee & Beer: 3359 Jefferson Ave., St. Louis, 314772-2100. Cocoa Butter, w/ Dr. Ferocious, BLKBDYHT, Thu., April 30, 8 p.m., free. Pin-Up Bowl: 6191 Delmar Blvd., St. Louis, 314-727-5555. DJ Mahf, From the 2013 RFT Music awards: DJ Mahf works from some place in his brain that pumps out enough enthusiasm to make his work look easy. Performing with a chilled zeal, the Indyground DJ interplays dense minutes of thumping samples with crackling movie clips and ďŹ ne-tuned, one-andtwo-handed scratches. He has already banged around Kansas City's spirited Middle of the Map Festival with labelmate Brett Gretzky, crossed the northern American border and cut and pasted for Red Bull's Thre3style competition this year. Whether live or replayed through Indyground's streaming footage, Mahf exudes the enjoyment he feels: In tempo he bobs at the waist, moving faster in the moments when he is inundated with the ďŹ&#x201A;oor's energy, always looking pleased. It is Mahf's obvious enjoyment of his craft that puts his sets so squarely in the spotlight., Tuesdays, 10 p.m., free.

INDIE ROCK The Firebird: 2706 Olive St., St. Louis, 314-535-0353. Step Rockets, w/ Royal Tongues, Tue., May 5, 7:30 p.m., $10. Halo Bar: 6161 Delmar Blvd., St. Louis, 314-726-1414. The Sun and the Sea, Thu., April 30, 11 p.m., free. The Pageant: 6161 Delmar Blvd., St. Louis, 314-726-6161. Wilco, Mon., May 4, 7 p.m., TBA. Kaiser Chiefs, Wed., May 6, 8 p.m., $20-$24.50.

SINGER- SONGWRITER Blueberry Hill: 6504 Delmar Blvd., University City, 314-7274444. Alejandro Escovedo, Sat., May 2, 8 p.m., $25. Blumenhof Vineyards: Highway 94, P.O. Box 30, Dutzow, 800-419-2245. Ed Belling, Fri., May 1, 4 p.m., free.

SOUL Ameristar Casino-Bottleneck Blues Bar: 1 Ameristar Blvd., St. Charles, 636-940-4966. Nikki Hill, Fri., May 1, 9:30 p.m., $15. The Pageant: 6161 Delmar Blvd., St. Louis, 314-726-6161. JJ Grey & Mofro, Sat., May 2, 8 p.m., $25/$28.

savage love Age Play Hey, Dan: My partner is 31 years older than I am. I know the math: He’ll be 60 when I’m 29. But that isn’t the problem. The issue is he’s been a lifelong bachelor and never been monogamous. He’s fucked hundreds of women and is close friends with a lot of his former fuck buddies. Because of our four-year friendship before we hooked up, I know a lot about his sex life. The problem isn’t jealousy — and it isn’t knowing he’s fucked every woman he’s friends with or that he fucked someone else after declaring his love for me. It’s that I know too much. We both feel vulnerable at times — him because I’m still in contact with one ex, and me because I feel like I’m ﬁghting his past preference for no-strings-attached relationships. He tells me this relationship is different and he loves me in a way he hasn’t loved anyone before. But I still feel like because of how many people he’s been with, and how many of these amazing, beautiful, young fuck buddies are still in his life, I’ll never attain any sort of primacy. Notable Age Gap Gets In Newbie’s Grill

At some point in the future, your partner is going to be 60 and you’re going to be 29, NAGGING, which means you’re somewhere in your 20s and he’s somewhere in his 50s, right? (Math is hard!) And BY since you two were friends for four years before he realized DAN you were the only woman he S AVA G E wanted to stick his dick in for the rest of his life — pay no attention to the woman he dicked during the brief interlude between telling you he loved you and the aforementioned realization — that means… um… Math is hard, like Barbie says, especially when you don’t have all the relevant data. The same goes for giving advice. Answering your question without knowing your actual ages is difﬁcult, because it makes a difference whether you’re 21 and he’s 52 or you’re 28 and he’s 59. Likewise, it would help to know how long you two have been together. Three months? Three years? Essentially, you’re asking me to game out the odds for both long-term success and monogamous success (and, yes, those are two different things), and that’s hard to do without knowing your ages and how long you’ve been together. Because I would deﬁnitely give your relationship slimmer odds of long-term success if your partner were the kind of middle-aged man who befriends and eventually beds high-school students. Conversely, I would give your relationship fatter odds of long-term success if you were three years into it and your partner had been successfully monogamous all that time. That said, NAGGING, cheating and breakups regularly happen in the absence of significant age gaps and friendship networks

composed exclusively of ex–fuck buddies. ) There are no guarantees. Your partner may revert to nonmonogamous form at some point and either cheat (boo!) or ask for permission to open up your relationship (yay?). You could find yourself in a caretaker role in ten-plus years and find yourself asking him for permission to open up your relationship. Or you guys could stay together and stay faithful until death comes for one of you — most likely your partner, leaving you plenty of time to hook up with your ex, if he’s still available. Oh, shit — blah blah blah, I haven’t answered your question. You’ll obtain primacy — or realize you’ve already attained it — after a significant chunk of time has passed. So give it more time. Either it will work out or it won’t. But even if this relationship isn’t a long-term success, it can still be a short-term success. Good luck. Hey, Dan: My partner and I — both fortysomething males — had a threesome with a very cute twentysomething college student who approached us online. He considers himself straight and has a girlfriend, but he “has been wondering” about his sexuality. The evening went incredibly well, but he had the typical “curious guy” freak-out the day after. Texts and e-mails flooded in — he wanted (more) guarantees about our health status even though we played safe during sex. He said he told his girlfriend (“She was understanding but pissed!”). He also said that we could never get together again. Then he started drunk-texting us at night, offering to send us more sexy photos and talking about how much he wanted to see us again. Sober texts arrived in the morning apologizing for his drunken behavior. We’ve tried to be there, not just for the sex but also his process afterward. Did we do this guy a disservice by engaging with him? (Also, I’m not convinced there really is a girlfriend.) Curious Over Curious Kid

It might look like you’re not honoring the campsite rule (“Leave ’em in better shape than you found ’em”) because this guy is a mess right now. But some queers can’t seem to accept themselves — or even recognize themselves — until after a clarifying queer sexual encounter or three. In all likelihood, this twentysomething will one day look back at his “typical ‘curious guy’ freak-out” as an important part of his coming-out process as a gay or bi man. So you probably did him a favor. (Although I would describe his freak-out as cliché — and increasingly atypical.) As for the real-or-imaginary girlfriend: If she exists, she should dump him. Not because of your actions, COCK, but because of his. A priest and a rabbi come on to a podcast… savagelovecast.com. mail@savagelove.net @fakedansavage on Twitter riverfronttimes.com

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100 Employment 105 Career/Training/Schools AIRLINE CAREERS begin here - Get trained as FAA certified Aviation Technician. Housing and Financial aid for qualified students. Job placement assistance. Call Aviation Institute of Maintenance 800-725-1563 (AAN CAN)

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190 Business Opportunities Avon Full Time/Part Time, $15 Fee. Call Carla: 314-665-4585 For Appointment or Details Independent Avon Rep.

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193 Employment Information

110 Computer/Technical

800 Health & Wellness

Business Analysts (Chesterfield, MO) Req a bachelorâ&#x20AC;&#x2122;s deg (or foreign deg or degs combined or combo of edu & exp eval for US equiv) in comp sci, MIS or related. Req 1 yr exp as a bus anlyst, sftwr QA anlyst or sftwr dvlpr. 1 yr exp perform bus analysis, sftwr QA or sftwr dvlpmnt for Oracle solutions. 1 yr exp in dsgn & config (ERP) apps, & 1 yr exp in implmnt Oracle (EBS) R12 supply chain modules. Job now in Chesterfield, MO, but may req medium to long-term relocatn to Cranbury NJ, Pittsburgh PA, or other unanticipatd locatns in US. Send resume to: K Kothary, Visionet Systems, Inc., 4 Cedarbrook Dr Bldg B, Cranbury NJ 08512.

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185 Miscellaneous MAKE $1000 Weekly!! Mailing Brochures From Home. Helping home workers since 2001. Genuine Opportunity. No Experience Required. Start Immediately. www.theworkingcorner.com (AAN CAN)

COMPANY DRIVERS, owner/ operators. Now Hiring CDL School Grads. Home daily/ weekly. Midwest runs. Great benefits. 1-888-300- 9935

810 Health & Wellness General A New Intuitive Massage Call Natalie 314.799.2314 www.artformassage.info CMT/LMT 2003026388 ARE YOU ADDICTED TO PAIN MEDICATIONS OR HEROIN? Suboxone can help. Covered by most insurance. Free & confidential assessments. Outpatient Services. Center Pointe Hospital 314-292-7323 or 800-345-5407 763 S. New Ballas Rd, Ste. 310 Contact Jenny for a Full Body Therapeutic Massage. St. Charles, MO Location. Call for appt. 314-683-0894. SUNRISE DAY SPA *SPECIALS* $30-Therapeutic Foot Massage $50-1 HR Full Body Massage See display for coupon! 9441 Olive Blvd. St. Louis, MO 314-993-0517 www.sunrisedayspa.com

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PREGNANT? THINKING OF ADOPTION? Talk with caring agency specializing in matching Birthmothers with Families Nationwide. LIVING EXPENSES PAID. Call 24/7 Abby's One True Gift Adoptions. 866-413-6293. Void in Illinois/New Mexico/Indiana (AAN CAN)

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Monday Thru Sunday (Walk-ins welcome) 320 Brooke's Drive, 63042 Call Cheryl. 314-895-1616 or 314-258-2860 LET#200101083 Now Hiring...Therapists _____________________________

400 Buy-Sell-Trade

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BUYING JUNK CARS, TRUCKS & VANS 314-968-6555

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MAPLEWOOD! $600 816-309-2043 Private 2 bed house, newer carpet, cold a/c, nice living area, all appliances, pets, close to Metro Link! rs-stl.com RGKZO

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500 Services

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525 Legal Services

600 Music

DWI/BANKRUPTCY HOTLINE: R.O.C. LAW , A Debt Relief Agency, Helping People File For Bankruptcy Relief Under the New Bankruptcy Code. 314-843-0220 The choice of a lawyer is an important decision & shouldn't be based solely upon advertisements.

More than youâ&#x20AC;&#x2122;d expect for less than youâ&#x20AC;&#x2122;d imagine. The Best Views in St Louis overlooking the Arch/Riverfront. Spacious studioâ&#x20AC;&#x2122;s, 1 & 2 bedroom apartments - Fully Furnished Aptâ&#x20AC;&#x2122;s and short-term leases also available. Rooftop pool, two fitness centers, community room and business center w/WiFi. Penthouse Suites Available. www.gentryslanding.com

475 Want/Trade

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GRAND! $480 314-309-2043 2br, bsmt storage, fenced yard, appliances, pets, hookups, part bills paid! rs-stl.com RGKY7

HAMPTON! $525 816-3099-2043 Quiet 2br, appls, hrdwd flrs, cold a/c, pets ok, ready to rent! rsstl.com RGKZBâ&#x20AC; KINGSHIGHWAY! $500 314-309-2043 2br, bsmt storage, lrg fnced yrd, pets, hookups, flex deposit! rs-stl.com RGKY8â&#x20AC; MORGANFORD! $420 314-309-2043 1br, hrdwd flrs, a/c, pets, xtra storage, off street parking, no app fee! rs-stl.com RGKY5â&#x20AC; NORTH COUNTY $500 (314) 606-7868 Senior Community: 2Br, Fridge, Stove, Dishwasher, C/A, W/D Hkup. POTOMAC! $375 314-309-2043 1br, all appl, hrdwd flrs, tile, pets, no app fee! rs-stl.omâ&#x20AC; RGKY3 RICHMOND HEIGHTS $495-$525 (Special) 314-995-1912 1 MONTH FREE! 1BR, all elec off Big Bend, Metrolink, 40, 44, Clayton

MUSICIANS AVAILABLE Do you need musicians? A Band? A String Quartet? Call the Musicians Association of St. Louis (314)781-6612, M-F, 10:00-4:30

DWI/TrafďŹ c from $50/Personal Injury.

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SOUTH CITY $400-$465 314-277-0204 3329 Lawn:studio; 3841 Gustine 1 BR; 3901 Keokuk:1BR

530 Misc. Services

AUTO INSURANCE STARTING AT $25/ MONTH! Call 855-977-9537 (AAN CAN)

537 Adoptions

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ADOPTION: HAPPILY married, financially secure couple promises 1st baby a lifetime of Love. Expenses paid. Kathleen & John 1-800-818-5250

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MARYLAND HEIGHTS $1100 314-443-4478 1557 Redcoat: All elec. 3 bdrm, 2 bath house. Parkway Schools. NORTH ST. LOUIS COUNTY 314-579-1201 or 636-939-3808 2,3 & 4BR homes for rent. eatonproperties.com. Sec. 8 welcome SOUTH CITY! $700 314-309-2043 2 bed house, hardwood floors, cold a/c, finished basement, fenced yard, loaded kitchen, deck, ready now! rs-stl.com RGKZQ SOUTH CITY! $950 816-309-2043 4 bed, 2 bath house, hardwood floors, central air, finished basement, fenced yard, all appliances, recent upgrades! rsstl.com RGKZSâ&#x20AC;

SOUTH CITY/PATCH! $550 314-309-2043 1 bed house, all kitchen appliances, pets ok, off street parking, cute porch, available now! rs-stl.com RGKZN

UNIVERSITY CITY! $600 816-309-2043 2 bed house, full basement, newer carpet & tile, frosty a/c, off street parking, nice deck, large yard! rs-stl.com RGKZPâ&#x20AC;

310 Roommate Services ALL AREAS ROOMMATES.COM. ALL AREAS ROOMMATES.COM. Lonely? Bored? Broke? Find the perfect roommate to complement your personality and lifestyle at Roommates.com! (AAN CAN)

200 Real Estate for Sale

SOUTH CITY 314-504-6797 37XX Chippewa: 3 rms, 1BR. all elec exc. heat. C/A, appls, at bus stop SOUTH CITY $400-$850 314-771-4222 Many different units www.stlrr.com 1-3 BR, no credit no problem SOUTH CITY $440-$475 314-223-8067 Move in Special! Spacious 1BRs, Oak Floors, Ceiling Fans, Stove & Refrigerator, A/C, W/D Hook-Up, Nice area SOUTH CITY $450 314-440-9696 3001 Osage: Charming 2nd flr 1BR, newer kit cabinets, WD hkup SOUTH CITY $525 314-602-9030 Jamieson & Nottingham: All elec 1BR, hdwd, off st, C/A SOUTH CITY $530 314-481-6443 6429 Gravois- Apt. 2 BR, C/A, Carpet, Draperies. $530 deposit

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DELOR! $775 816-309-3043 3 bed, 2 bath house, finished basement, central air, family room, fireplace, fenced yard, appliances, recent updates! rsstl.com RGKZR

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$45-$50 thousand the 1st year, great beneďŹ ts, call SMTDS, Financial assistance available if you qualify. Free living quarters. 6 students max per class. 4 wks. 192 hours.

317 Apartments for Rent

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300 Rentals

SOUTH CITY $600 314-922-1889 3736 Keokuk Duplex, 1st flr, 2.5 BR, hdwd flrs, D/W, stove, fridge SOUTH CITY! $500 314-309-2043 3br, cold a/c, fncd yrd, hrdwd flrs, appl, pets, short term lease! rs-stl.com RGKY9â&#x20AC; SOUTH ST. LOUIS CITY 314-579-1201 or 636-939-3808 1, 2 & 3 BR apts for rent. www.eatonproperties.com. Sec. 8 welcome ST. CHARLES COUNTY 314-579-1201 or 636-939-3808 1 & 2 BR apts for rent. www.eatonproperties.com. Sec. 8 welcome ST. JOHN $495-$595 314-423-3106 Special! 1BR.-$495 & 2BR.$595. Near 170 & St.Charles Rock Rd WESTPORT/LINDBERGH/PAGE $515-$575 314-995-1912 1 mo FREE! 1BR ($515) & 2BR ($575 specials) Clean, safe, quiet. Patio, laundry, great landlord! Nice Area near I-64, 270, 170, 70 or Clayton

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210 Houses for Sale DELLWOOD $72,000 314-255-3408 103xx Bon Oak 3b/1ba w/bsmt. Coming Soon!!!

GATE DISTRICT $99,900 314-229-4530 Beautiful 3BR, 1BA rehabbed property, new windows, kitch, custom cabinets, granite counter, s/s appls. New baths, refin wood flrs

TOWER GROVE $249,900 314-229-4530 39XX Juniata: Beautiful rehabbed 3BR, 2.5BA house, mins from Tower Grove Park is waiting for new owner. New kitch, baths, elec wiring, plumbing, HVAC, roof and much more!

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DWI/BANKRUPTCY HOTLINE:

Personal Injury, Workers Comp, DWI, TrafďŹ c 314-621-0500

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OUTPATIENT SERVICES

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DWI/Traf $50+/Personal Injury

South City Scooters Great Selection of Scooters from $995 & Up. Sales & Service.

Mark Helfers, 314-862-6666- CRIMINAL former Asst US Attorney, 32 years exp

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Furnish an Entire Apartment for Only $590! Complete Home Package includes:

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@ the corner of Connecticut & Morgan Ford. 314.664.2737

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650 Fee Fee Rd. in Maryland Heights 63043

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$30 $50

Therapeutic Foot Massage 1 Hr. Full Body Massage

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Earth Circle's mission is to creatively assist businesses and residents with their recycling efforts while providing the friendliest and most reliable service in the area. Call Today! R.O.C. LAW , A Debt Relief Agency, Helping People File For Bankruptcy Relief Under the New Bankruptcy Code. 314-843-0220 The choice of a lawyer is an important decision & shouldn't be based solely upon advertisements.

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Made You Look!

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Spiritual Readings by Randy Call Today to Hear Special Offers. 314-744-9160 NEW LOCATION NOW OPEN!!

Las Palmas 1901 Washington Ave. St. Louis 63103. 314-241-1557 Mon - Sat: 11am - 1am; Sun: 11am - 12am Find us on Facebook