Riverfront Times - April 5, 2017

APRIL 5–11, 2017 I VOLUME 41 I NUMBER 14

How to

Hit Like a Girl YES, ST. LOUIS HAS A CHAMPION FOOTBALL TEAM — AND THE WOMEN ON IT WILL MESS YOU UP STORY AND PHOTOS BY DANNY WICENTOWSKI

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TABLE OF CONTENTS FEATURE

12.

How to Hit Like a Girl

Yes, St. Louis has a champion football team — and the women on it will mess you up

Written by

DANNY WICENTOWSKI Cover photo by

DANNY WICENTOWSKI

NEWS

CULTURE

DINING

MUSIC

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21

29

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The Lede

Calendar

Your friend or neighbor, captured on camera

Seven days worth of great stuff to see and do

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25

Film

New Hope for Old Houses

Frantz portrays a reluctant romance in 1920s Germany

A pilot project in south city could provide an alternative plan for vacants

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Jeff Sessions Comes to St. Louis

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Stage

Paul Friswold laughs out loud at St. Louis Shakespeare’s pointed The Comedy of Errors

The U.S. Attorney General sees a dark future ahead, Doyle Murphy reports

Mountain High

The Orwells may have matured, writes Howard Hardee, but they still have the power to shock you

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B-Sides

Side Dish

Ron Buechele was a cop. Now he’s the pitmaster at Capitalist Pig

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First Look

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Sarah Fenske visits the Wood Shack, a smart new sandwich shop in Soulard

Art on display in St. Louis this week

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Galleries

Food News

A new dumpling spot is headed to Olive Boulevard

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Retail

Sara Graham checks out the oil and vinegar at Di Olivas 6

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Enfants Terribles

Cheryl Baehr has a rave for Himalayan Yeti, which brilliantly prepares the cuisine of Nepal in south city

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Gaslight celebrates a year of cocktails and recordings with a big release show

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Out Every Night

The best concerts in St. Louis every night of the week

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This Just In

This week’s new concert announcements

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JOIN CMT AND AARP ST. LOUIS FOR THE GREAT RACE 2017

Come join in the fun on May 4 at the Historic Wabash Station, 6005 Delmar Blvd. at 4:00 p.m. as the race between Team MetroLink, Team MetroBus, Team Bike and Team Carshare crosses the Finish Line for a celebration and Metro Market including food, fun and more.

For more information, call 314.231.7272 or visit cmt-stl.org.

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NEWS

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Jeff Sessions Preaches Doom in St. Louis Written by

DOYLE MURPHY

U

.S. Attorney General Jeff Sessions sees dark clouds gathering in the United States — and particularly in St. Louis.

The twin rise of heroin and murders in recent years signals a trend that, left unchecked, could return the country to an era of crime and violence unseen since the 1970s and 1980s, he warned an audience of law enforcement Friday at the federal courthouse in downtown St. Louis.

“My fear is that this surge in violent crime in St. Louis, and throughout America, is not a ‘blip,’ but the start of a dangerous new trend,” Sessions said during his prepared remarks. “This increase risks losing the hard-won gains that have made our country a safer and more prosperous place — gains that were made on the backs of the brave men and women in uniform.”

Sessions, an early supporter of Donald Trump’s campaign and, until February, a Republican Senator representing Alabama, is the man charged with carrying out the President’s law-and-order promises to crack down on crime while supporting police. His visit drew several dozen protesters, who carried giant letters, spelling out “R-A-C-I-S-T L-I-A-R.” One person was taken into custody after a brief confrontation with law enforcement.

Sessions’ message on Friday included strong notes of nostalgia for Reagan-era drug policies (often blamed for mass incarceration of minorities), while promising a strong hand to shepherd the country to safety.

Conspicuously absent from Continued on pg 10

Protesters had a few choice words for Attorney General Jeff Sessions in downtown St. Louis Friday. | NICK SCHNELLE

A New Pilot for Vacant Homes Written by

DOYLE MURPHY

A

n empty, beaten-up house in Gravois Park is the site of an experiment.

The city scrapped plans to level the two-story vacant home and instead used the money that would have gone toward demolition to tuckpoint the brick and repair the roof — just enough work to stabilize the single-family home and put it on the market.

“The idea is this would turn a liability into an asset and something that would generate interest in our neighborhood,” Alderwoman Cara Spencer says.

The house is one of thousands owned by St. Louis’ Land Reutilization Authority, or LRA. The

buildings are ones that nobody wanted, leftovers from tax auctions and often long-abandoned.

The sheer volume of them makes even basic maintenance, such as keeping the grass mowed, a massive burden that city officials have for years struggled to unload.

One of the latest ideas to chip away at the problem was on the April 4 ballot as Prop NS, a measure that would issue as much as $6 million in bonds each year to shore up foundations and patch roofs in an attempt at “laying the ground work for home buyers and small rehabbers to invest in vacant buildings,” supporters say. It would be funded by a onecent property tax increase. (Election results were still outstanding when the RFT went to press on Tuesday night, but you can check out the outcomes online at riverfronttimes.com.)

The project in Gravois Park has similar goals, but the plans are funded differently and began riverfronttimes.com

before Prop NS existed, Spencer says. It’s also on a much smaller scale; the plans that allowed for its rehab will potentially target just one building a year, while Prop NS is designed to stabilize hundreds of properties annually.

If it passes and Spencer’s model becomes obsolete, she’s fine with that.

In the meantime, the alderwoman hopes to continue with plans set in motion last year when she began talking to Building Commissioner Frank Oswald about diverting a sliver of the city’s $1 million demolition budget toward stabilization. They decided to try it out on one house in Spencer’s Ward 20.

They eventually settled on the old brick home on California Avenue. Two nearby houses — a blocky gray rowhouse two doors down and a privately owned beater across the street — were demolished. But the house at 3735

APRIL 5-11, 2017

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Just one person was arrested during the protest. | NICK SCHNELLE Sessions’ remarks was any mention of the Justice Department’s Ferguson Report following the fatal shooting of Michael Brown.

Under the previous administration, the Justice Department targeted systematic abuse, detailing practices of police and courts that hammered people, especially poor minorities.

Sessions, who has been dismissive of the report and admitted he read only a summary, spoke generally about Ferguson as “an emblem of the tense relationship between law enforcement and the communities we serve” while giving only glancing recognition to the police abuse side of the equation.

“Certainly we must continue to address police misconduct,” he said in his only acknowledgment of a topic that his predecessors spent months investigating. “You can be sure the Department of Justice will continue to fulfill its role.”

From there, Sessions jumped immediately to the argument that problems lie with a few bad apples. “But we can’t lose sight of two things: First, the vast majority of men and women in law enforcement are good and decent people. They who have chosen to do the tremendously hard and dangerous jobs because they believe in what they are doing,” he said, adding that he’s heard from police in some cities

who are having a hard time recruiting officers.

“We do not want to do anything that diminishes our ability to attract and reward and give a fulfilling life to people who want to serve in law enforcement,” Sessions said. “We’ve got to be careful how we conduct ourselves.”

Police have been “unfairly maligned,” the attorney general continued, and the possibility of becoming a “viral video” prevent officers from doing the kind of “up-close policing” that is most effective.

Sessions spoke for about 25 minutes on the first floor of the Thomas Eagleton Courthouse. He took no questions from reporters, before heading upstairs for what officials said would be a closed question-and-answer session with law enforcement.

ArchCity Defenders, a nonprofit law firm that made significant contributions to the Ferguson report, has warned that the Justice Department’s new reluctance to investigate local police departments will hurt people victimized when cops break the rules.

“Our region cannot be misled by his exploitative crime control rhetoric which invokes panic, perpetuates state violence, dismantles families of color and the poor, and ultimately devastates our communities,” ArchCity n said in a statement Friday.

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Saved from demolition, the house on California will be sold for $1,500. | DOYLE MURPHY

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VACANT HOMES Continued from pg 9

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MOTH E

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of the burden of maintaining it and will have preserved some much-needed density while saving an irreplaceable asset, Spencer says. She’s hopeful it will also help knit together a struggling neighborhood that has some potential.

“If our only recourse that we have is to take a building down, it’s sort of sad,” she says. “It’s ac-

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California seemed like it could be saved, even it will require a gut rehab. It has an old barn-like gambrel roof and what could be a decent backyard.

It also sits in what Spencer hopes is a strategic location.

A half-block away, the popular Gooseberries restaurant sits on the southeast corner of Chippewa Street and California. Buildings on the southwest and northeast corners of the intersection are each slated for major renovations, sparked by grants in recent years from the U.S. Department of Housing and Urban Development.

“It’s a really good time to invest on that block,” Spencer says.

Demolishing a building costs an estimated $10,000 on average. Spencer, whose ward includes Gravois Park, says they spent about $15,000 on the California house. It will go on the market for the LRA’s standard $1,500 price.

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How to

Hit Like a

Girl 12

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YES, ST. LOUIS HAS A CHAMPION FOOTBALL TEAM — AND THE WOMEN ON IT WILL MESS YOU UP

t

STORY AND PHOTOS

BY DANNY WICENTOWSKI

M

yrt Davis has waited seven months to deck someone, to literally pummel them into the ground.

“Oh my god, it’s amazing. Everybody looks forward to the first day in pads,” Davis says. She tugs at the straps of the gleaming black helmet in her hands. “And today is it.”

A 42-year-old defensive tackle for St. Louis’ powerhouse women’s football team, Davis has the muscled arms and legs necessary to propel a 215-pound body into the scrum of the opposing team’s largest players. For weeks, she and the rest of the 2017 roster have sweated in the weight room and run through drills wearing sweatpants and t-shirts. But today is Hitting Day. Here, on a high school field in Ladue, is where the year’s real football begins.

Davis fits the bulky helmet over her short silver hair, and suddenly the eyes behind the facemask look like they’ve been carved from granite. She trots onto the field, joining the dozen or so hollering figures in black helmets and pads.

Most of her teammates are in their mid-to-late 20s and 30s, but some rookies are just a few years out of high school even as some, like Davis, have already celebrated their fortieth birthdays. They are mothers, sisters, daughters, college students, managers, teachers, nurses and public servants.

They are the St. Louis Slam: a full-contact and (nearly) all-female football team that’s spent the last fifteen years quietly excelling in the shadow of the region’s college football teams — and, until last year, the NFL’s Rams.

To be clear, they belie many of the stereotypes you may have about football, and women’s football in particular. The Slam do not play flag football, there is no lingerie on the field and no one is paid. But it is winning, not money, that’s attracted the largest incoming rookie class in the team’s history, adding nineteen players to a roster that’s now 42 strong. Last season, the Slam obliterated its two playoff opponents by a combined score

l

Continued on pg 14

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of 97-6. In the championship game, the team wrecked the previously undefeated Tampa Bay Inferno 38-7. Now, the team has a chance to defend its title as the Division 2 champions of the Women’s Football Alliance.

The time for relishing past victories is over. The team’s returning veterans want another ring, and the rookies want their own shot at glory. The Sunday practice is less than two months removed from the first real game of the 2017 season, scheduled for April 1. And so on this gray Sunday in February, the players are finally going to hit each other. Not just once, and not softly — but again, and again, and again. Until they get it right. Until they can handle it. Until they love the hits, like Davis and the other vets.

“It just doesn’t feel like football until that contact starts,” says Davis, grinning behind her face mask. She adds, “Honestly, it’s like putting on a comfortable pair of old shoes.”

Taylor Hay is on the field Sunday, though she’s left her pads and helmet at home. The team’s 4’10”, 140-pound running back has strep throat, but instead of bed rest and chicken soup, she’s out here in the 40-degree weather, wrapped in a jacket and shouting at her teammates through a white surgical mask.

The practice’s first contact drill involves two players, and is designed to test both tackling form and, subsequently, the ability to withstand the force of someone leaping through the air and smashing a shoulder into your guts. The veterans advise the rookies, “Trust the pads.”

One player stands motionless in front of a landing area made of padded blue cylinders. The other, the tackler, takes a few steps to gain speed, plants one foot and then drives her corresponding shoulder into the first player’s chest, aiming her blow just beneath her opponent’s chest-pads — and sending both women flying backwards on the padding.

Or, at least, that’s how it’s supposed to work. A few minutes into the drill, a pair of players collide listlessly, more face-toface than shoulder-to-chest. Hay, who is entering her eighth season with the Slam, takes note of the sloppy hit. Vocally.

“Y’all rubbing titties together, c’mon!” she shouts. Hay kicks the jostled pads straight as the next players take their positions.

When she’s satisfied, she barks the two-word signal to begin from behind her surgical mask: “Set; hit!”

The team’s bespectacled head coach and co-owner, Quincy Davis, observes the action and offers critiques after each run. A former cornerback who played Division III football at Washington University, Davis joined the team in 2006 as an assistant coach. A decade later, with two championships under his belt, Davis pretty much runs the show, though he relies on assistance from the team’s former head coach, Rodney Lacy, and a rotating staff of position-specific instructors.

As with the players, none of the coaches draws a salary.

Davis takes Hay’s place behind the row of blue pads and checks the camcorder trained on the scene before him. He gives the signal. “Set; hit!”

Chelsea Clay, one of the lighter, more agile team members (she plays both wide receiver on offense and several positions on defense), crashes a teammate into the pads and winds up in a tangled heap. “Good, good,” Davis says.

The coach then gestures for the group’s attention. “Rookies, raise your hands,” he says. “Let’s make sure we are stomping that foot before contact. Other thing, don’t aim for her chest, alright?

We want to hit her spinal cord, we want to run through her.”

Davis calls for a player to act as a prop, and he pantomimes in slow-motion, demonstrating proper hand placement, the angle of the shoulder, the position of the head at the moment of impact.

“Our initial touching her is not what’s going to get her down,” he continues. “We hit her, we stop her momentum, and then we send her back to where she came from.”

He motions the next pair of players to the pads. “Set; hit!”

It takes time and repetition — so many repetitions — to get things right. “Way too tall, baby, way too tall,” Davis tells one player as she’s helped off the padding. “You’re going to miss a bunch of tackles trying to hit her in the face, alright?”

As jolting as this drill is, it’s only a prelude to a true one-on-

Above: Myrt Davis, a 42-year-old defensive tackle, stretches her back after a painful collision during a pre-season scrimmage. Below: Quincy Davis, Slam’s head coach and co-owner, talks his players through the right way to hit each other.

one matchup, what the coaches and players call “battle.” Two players meet each other face to face, close enough that they can almost knock helmets. Both settle into a crouch called a “three-point stance.” Each raises her hips, anchors one hand to the ground and holds the other close to her

body, elbow tight to the ribs and a hand up, ready to strike. On the mark of “set; hit,” the two players rocket at each other with violent intent. The goal of battle is simple: Push your opponent backwards. Don’t get pushed.

Davis isn’t the sort of coach who makes every statement a

shout, but he puts some steel into his voice as he introduces the drill to the group. His audience has now swelled to include the two-dozen players who have just returned from their stint in the weight room.

“This is me against you, this is how good am I with my hands, riverfronttimes.com

how good am I with my first step, just coming right at you. Veterans,” the coach deadpans at the older players, “raise your hand if you ever got your ass handed to you in this drill.” Amid laughter, all but the rookies raise their hands.

Set in their stances, the players take turns hurling themselves into the calamitous embrace of their fellow teammates. It’s not difficult to figure out which players have done this before and which are still getting comfortable moving with fifteen pounds of pads and viewing the world through the narrow window of their helmet’s face mask.

Hay cheers from a distance.

In place of brute strength, the dimunitive former Missouri Baptist University soccer player relies on her quickness to elude tacklers on the field.

“In that drill, I literally lose every single time,” she says.

As for the rookies, Hay liked what she saw. “Overall, I’m proud of them,” she says. “It’s hard.

Tomorrow they’ll be sore. But they didn’t give up.”

At the conclusion of the day’s

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During the first full-contact practice of the season, Marion Ball tries to keep her footing during a one-on-one drill.

2:58 PM

HIT LIKE A GIRL Continued from pg 15 practice, Davis sends the whole team on a series of sprints to simulate first, second, third and fourth down. It leaves most of the players doubled over and groaning. They trudge on burning muscles into a ragged circle around their head coach for the practice’s final announcements.

“I say this often, but football is a game of shit not being ideal,” Davis begins. “For some of you, this was your first time hitting.

But now that you’ve done it, did anybody die? I keep asking y’all, go fast, go hard, make some mistakes — the faster you make mistakes, the faster we can fix them, and you can get on to being a better player. Fair enough?”

Through their exhaustion, the players respond, “Yes, coach.”

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At practice one week later, the team convenes to watch its mistakes on film. In a second-floor classroom inside the pool building of Horton Watkins High School in Ladue, one-half of the team’s members stretch their sore limbs 16

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as coach Davis flashes through video clips from the previous week’s drills. A few players slide to the floor and massage ice packs into their knees. (The air is pungent with an odor Myrt Davis later describes, quite fairly, as “vinegar and Fritos.”)

Coach Davis notes the clumsy footwork and missed blocks, but these are just matters of technique. The players must also memorize the specific code words and gestures that their coaches deploy from the sidelines to tweak the tactics on the field.

Those signals will be tested next week, when the team will assemble for what has become an annual tradition: a scrimmage with Kentucky-based Derby City Dynamite. It will be the first time the Slam’s rookies get to hit someone wearing a different uniform than their own.

But there is more to football than its violence and aggression. For players, the sport requires a kind of fanatical trust, a willingness to execute a coach’s orders.

Although the quarterbacks, wide receivers and running backs attract most of the glory — after

As Coach Davis films, Jennifer Perkins uses her hands and leverage to push her teammate into the ground.

all, they actually get to touch the ball — the reality is that every play, both offense and defense, is a carefully choreographed dance involving all eleven players. That requires physical precision, but also devotion — a kind of duty — to serving in a role, no matter how overlooked or unheralded.

And that remains true whether the players underneath the pads are men or women. After the tape-watching session, assistant coach Rodney Lacy heads to a nearby sports bar and grill, accompanied by Taylor Hay (now recovered from her flu), Chelsea Clay, linebacker Tiffany Pugh and cornerbacks Raven Williams and Brooklynn Bastain. Robyn Morrow, one of just three players still active from Slam’s inaugural 2003 roster, holds court at the other end of the table.

Yes, they confirm, they do get dumb questions lobbed at them every so often. People think the only outlet for women’s tackle football is the Lingerie Football League, which outfits players in underwear and “revealing” padding that offers lots of skin and little actual protection.

The most frustrating question for the Slam players, however, is also the most common. “‘Oh, we have a women’s team in St. Louis?’” grunts Pugh, mimicking an exaggerated bro-talk.

“It’s just annoying that, yes, we actually have a team. I mean, our name’s on the wall at Dave and Buster’s! And we got rings!”

Both on and off the field, the Slam’s fortunes are borne o n t h e b a c k s t h e p l ay e r s .

Individual team members are expected to raise $850 this season through ticket sales or booking sponsorships. If there’s anything their fundraising doesn’t cover, they are personally on the hook.

Rookies might have to spend up to $500 for equipment and protective gear.

The team also requires a serious time commitment. Outside of the fundraising and the thriceweekly practices, players make public appearances to boost interest for the coming season.

“The men in the NFL, they play and that’s their job,” Hay notes.

“We literally have to be adults during the day, then study and go to practice, do everything cor-

rectly, and then wake up and do everything all over again. And not get paid.”

And though their opponents might lack the sheer size and speed present on professional men’s teams, that doesn’t make the sport any safer. In sports that require similar movements, like basketball, volleyball and soccer, research has found that, compared to men, women are as much as eight times more likely to tear their anterior cruciate ligament — a devastating knee injury that sometimes never heals completely and can end an athlete’s career in an instant.

In existing medical literature, however, women’s tackle football simply doesn’t exist. While the NFL’s concussion crisis has attracted serious research and massive public interest, the world of women’s tackle football lacks basic data. We don’t know, for instance, the number women who tore their ACL last season. Or the number of sprained ankles. We don’t know how many were diagnosed with concussions.

At least one person, a master’s student and former Womriverfronttimes.com

en’s Football Alliance player in Wisconsin, is currently collecting concussion data on women’s tackle football, but the present gap in knowledge leaves sports medicine experts like Dr. Matthew Matava to make educated guesses based on studies of other sports.

“If I had to predict, I think the injuries are going to parallel the men’s game,” says Matava, who served as team physician for the St. Louis Rams prior to the team’s departure. He’s also treated thousands of athletes as lead doctor for Washington University’s athletic department. (Of course, the university only maintains a men’s football team.)

“Certainly, they’re going to be at risk for having a concussion, just because of the nature of the sport,” he says. “These are contact and collision sports. And because of that you’re always going to have a certain risk of injury.

No matter how many training programs you put into place, no matter how many rule changes you have, there’s still going to be risks for injury.”

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HIT LIKE A GIRL Continued from pg 17 For Slam players, experiences with injuries vary. Minor sprains are common, along with bruises, aches and cuts. But every so often, catastrophic injuries do occur.

Back at the sports bar after practice, Robyn Morrow turns her arm in the light, revealing a series of tattoos that trace the phases of the moon. The ink covers the scar tissue where a broken bone punctured the skin from the inside.

The recovery took a year and involved multiple surgeries, but she was eventually able to return for the 2016 championship run.

“I was crying,” Morrow says, describing the collision that ended her season. A teammate had accidentally crashed into her arm, helmet-first. It was her first serious injury of her lengthy football career, a time period in which she also counts three concussions.

She adds, “And I wasn’t crying because it was broken, but because I couldn’t play.”

It’s not just the stress on their bodies; balancing both the team and a career can be a real challenge. Williams, now in her third year with the Slam, nearly missed the championship game in Pittsburgh last year because her bosses with the St. Louis County Police Department wouldn’t give her time off from its training academy. The team sent letters to the chief, begging for an exception.

No dice. Ultimately, Williams flew to Pittsburgh the day of the game, changed clothes in a taxi and made it to the field an hour before kickoff.

“We’re constantly proving ourselves,” Williams says, “to men, to the world…”

Hay interrupts through a mouthful of burger, “And to women! Girls don’t have to think, ‘There are only certain games designed for me because I’m a girl.’”

Brooklynn Bastain wanted to play football so badly that she quit her job last year as a traveling nurse in Kansas City; it was keeping her from too many practices.For Bastain, who ran track at Saint Louis University, the Slam is family — and not just in the figurative way that people tend to use when talking about sports. By the time Bastain joined the team in 2015, her mother, Antonnia Washington, had already put in five years on the Slam’s offensive line.

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Hitting is at the heart of football. “I definitely prefer to hit than be hit,” says linebacker Tiffany Pugh. “Maybe that’s why I play defense.”

“I wasn’t crying because it was broken, but because I couldn’t play.”

“My baby sister is ten years old and thinks nothing of her mom and her sister playing football,” Bastain says. “It’s just normal.”

Listening as his players dish back and forth at the table, coach Lacy cuts in with an anecdote of his own. Along with his coaching work with the Slam, Lacy works with the football program at Webster Groves High School.

“I used to use film of the women to teach the high school boys how to run plays,” says Lacy, a note of amusement creeping into his voice. “I didn’t tell them who it was, I’d just say, ‘Hey, watch this play.’ Now, you would see the hair sometimes, but some boys

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have long hair. Other than that, you’d just think they’re running the play a little bit slower.”

When Lacy would reveal that the play was being run by women, the teenaged boys laughed it off as a joke — at least, until the coach drew their attention to women in pads on the sideline.

“They wouldn’t believe me,” Lacy says, laughing. “Unless you pointed it out to them, they would never figure it out.”

Three decades ago, Juan Snow had dreams of playing football.

These days, the other Slam players call the 49-year-old “Papa” or “Old Head,” but at Snow’s Catholic high school in the early ‘80s, the school football team might as well have been located on Mars.

At the time, coaches wrote Snow off as “just a girl.” “You could be good enough to make the team, but I won’t let you try out. You won’t play for me,” the high school coach told Snow.

“But I knew my body could

handle it,” Snow says now. “I’m a workhorse.”

Snow went on to play women’s high school soccer and collegiate softball at the University of Missouri-St. Louis. It would take another decade for football to find its way back into Snow’s life. Along with Morrow and Myrt Davis, Snow was an avid participant in a flag football league that convened in Forest Park.

It was from those flag football teams that the seeds of the Slam were planted. Organized by the flag football league’s coaches, the Slam’s first roster was stocked with female athletes searching for an outlet for their skills and competitive passion. The team debuted in the 2003 season of the National Women’s Football Alliance.

Those first few seasons were rough, and not just in terms of the team’s record. The coaching staff was inexperienced, Snow says, and it wasn’t until Lacy and Davis took over the coaching duties that the team buckled down into its current grueling training schedule — and began piling up the wins. In 2009, the team notched its first championship victory in the Women’s Football Alliance.

Much has changed since those first seasons. Three years ago, Snow made the decision to begin transitioning, and now identifies as a man — although, with the support of the team, continues to play in the women’s league.

While he’s still a force on the offensive line, Snow now stalks the field with a pronounced gait, a kind of cowboy swagger that’s developed over years.

“I have a high tolerance for pain,” he says. “My surgeon and my primary doctor say there’s no way I should still be physically able to play, and there’s no way I should still be able to walk the way I walk with all my injuries.”

Diagnosed with a degenerative joint disease, Snow gets through practices and games with a regimen of cortisol injections and painkillers that wouldn’t be out of place in an NFL locker room.

Snow is due for two shoulder replacements and a knee surgery to repair a torn meniscus.

Two months ago, Snow’s doctors sat him down for a talk that was long coming. If you don’t stop playing, they said, there won’t be enough bone left on your shoulders to anchor the rebuilt joints.

And so Snow finally relented.

One of few remaining players from the Slam’s 2003 inaugural season, Juan Snow, 49, plans to win a third championship this year and then retire.

“I almost was a punk and started crying,” he says. “But I knew it was time.”

T h e S a t u r d ay s c r i m m a g e against the Derby City Dynamite doesn’t only mark the first scrimmage of Snow’s final year on the Slam. It’s also the last year for Robyn Morrow, who befriended Snow on a St. Louis basketball court when they were thirteen years old.

Toward the end of the scrimmage — a slobberknocker that features the Derby City players giving the Slam’s roster everything they can handle — Morrow plops down on a bench next to Myrt Davis, the third remaining member of the Slam’s inaugural season.

“How you feeling Myrt?” Morrow asks.

“Old, but good,” Davis responds. She’s less than convincing. Her face is twisted from the pain emanating from her back. It feels, she says, “like an ice pick.”

Davis tries some yoga poses, stretches her back and lifting each leg in sequence. Yup, there’s definitely something tweaked back there.

“I’m pretty sure this is it, my last season,” Davis says.

One more grueling, eight-game, four-month ordeal of battered knees and bruised ribs. Despite all that, though, she says the last season is worth it. After all, it will be chance to repeat as champions — and for Davis, that would be the perfect to end to a journey that started when she was a little girl at her father’s knee, watching the Chicago Bears on TV. “We used to watch the NFL every weekend, when I was little,” she recalls. “I’d say, ‘I want play football.’ And he’d say ‘Oh honey, there’s no football for girls.’”

The contradiction didn’t sit well in Davis’ young mind. “It was weird for me,” she says. “My dad was a firefighter, and he was always saying, ‘Do whatever your dreams are, go for it.’ It was tough to hear I couldn’t do something because it wasn’t available to girls.”

That’s not the case anymore, and now as players like Davis get ready to let go of their football pads, a new crop of rookies and young players are ready to represent the black and orange.

They’ve trained for it, hurt for it and hit for it, over and over and over. And now both newbies and veterans have a full season to play and a championship to win.

“Here it is, fifteen years later,” Davis says, waving at the players on the field.

All those years ago, it was Davis who scored the team’s firstever touchdown in its first-ever game. Now, two championships later, and in defiance of restrictions once thought perfectly natural, the air still crashes with the sound of women throwing their shoulders into chest pads.

The play Davis is watching ends with a collision, a pile of bodies, then mingled shouts of pride and pain. It’s a familiar sound.

“Fifteen years…” Davis says again. “I hope it goes on for a n long, long time.”

“I’d say, ‘I want play football.’ And he’d say ‘Oh honey, there’s no football for girls.’”

On April 1, the Slam notched its first win of the 2017 season, beating the Indy Crash on the road 31-6. The Slam’s first home game is is set for April 8 at the Lindenwood University-Belleville Campus.

For more info, visit stlslamfootball.com.

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21

CALENDAR

WEEK OF APRIL 5-11

The Sleeping Beauty will find her prince this weekend. | PHOTO COURTESY OF SAINT LOUIS BALLET/PRATT KREIDICH

THURSDAY 04/06 Sweeney Todd Wronged by the law and unjustly exiled, Sweeney Todd returns to England with vengeance on his mind. Fortune favors him: An old acquaintance, Mrs. Lovett, has held onto his barbering tools for him. Equipped for business, he opens his barber shop once more, all the while plotting to lure his greatest enemy in for an uncomfortably close shave.

Pie shop owner Mrs. Lovett, for her part, figures out a way to upcycle any stray bodies Todd reaps during his grisly quest.

Stephen Sondheim and Hugh Wheeler’s Sweeney Todd: The

Demon Barber of Fleet Street is a musical steeped in darkness and blood, and should put you off shaving for at least a couple w e e k s . S t r ay D o g T h e a t r e presents Sweeney Todd at 8 p.m.

Thursday to Saturday (April 6 to 22) at Tower Grove Abbey (2336 Tennessee Avenue; www. straydogtheatre.org). Tickets are $20 to $25.

—Paul Friswold

Five-Fifths: Brothers Grimm The 2017 Fringe Festival starts in mid-August, but you can whet your appetite for the main event at tonight’s amuse bouche, Five-Fifths: Brothers Grimm.

Inspired by the unexpurgated fairy tales of the Brothers Grimm — which are more likely to feature girls having their hands lopped off by Dad than dreamy weddings and showstopping songs — the evening features five local performing arts companies each presenting a single fairy tale. Midnight Company takes on Rumpelstiltskin, ERA Theater gets Snow White and Tesseract Theatre chases the Bevo Fox. Five-Fifths takes place from 6 to 9:30 p.m. tonight at the Kranzberg Arts Center (501 North Grand Boulevard; www. stlouisfringe.com). Tickets are $25. Grimm fairy tale attire is suggested, with the best costume earning a $100 prize.

—Paul Friswold riverfronttimes.com

FRIDAY 04/07 The Sleeping Beauty Tchaikovsky’s The Sleeping Beauty has stood the test of time.

It’s the story of a princess cursed by the evil fairy Carabosse to die at the age of sixteen after pricking her finger on a spindle. The good Lilac Fairy intervenes and alters the curse so that Princess Aurora will instead sleep for 100 years, with the kiss of a handsome prince freeing her. The Saint Louis Ballet presents Gen Horiuchi’s version of the classic ballet, with its grand cast and grander

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CALENDAR Continued from pg 21

Spring Into Your Park

costumes, this weekend at the Touhill Performing Arts Center on the University of Missouri-St. Louis campus (1 University Drive at Natural Bridge Road; www. touhill.org). Showtimes are at 7:30 p.m. on Friday, 2:30 and 7:30 p.m. Saturday, and 2:30 p.m. on Sunday (April 7 to 9). Tickets are $25 to $69.

—Bill Loellke

The Arch grounds have undergone large-scale renovations to bring a bit of beauty to the city of St. Louis. Now is the time to spring into action and enjoy it. CityArchRiver celebrates the renovation of the Jefferson National Expansion Memorial with Spring Into Your Park, an afternoon outdoors. Live music will fill the air while you enjoy food and drink, and perhaps participate in the Discovery Map Challenge. This scavenger hunt highlights the park’s new additions, with prizes for the the best hunters. Spring Into Your Park takes place from 11 a.m. to 4 p.m. at the Gateway Arch Park Grounds, North Gateway near the Eads Bridge (www. cityarchriver.org). The event is free.

—Bill Loellke

Chelsea Clinton After spending a big chunk of her childhood in the public eye, Chelsea Clinton went off to college, got married and started a family. Along the way she met a lot of people, saw some interesting places and essentially lived the ultimate Pinterestfriendly life before that was a thing. She’s reemerged to the public sphere with a book that offers suggestions for better engaging with the world as a force for good. She signs copies of It’s Your World: Get Informed, Get Inspired & Get Going! today at 5:30 p.m. at Left Bank Books (399 North Euclid Avenue; www. left-bank.com). Tickets are $11 (good for a family of four people, two adults maximum and one paperback copy of the book) and $21 (same as the $11 deal, only you get a hardcover book).

—Paul Friswold

The Second City Legendary Chicago comedy troupe The Second City brings the funny to the Lou with its revue, We’re All in This Room Together. Combining contemporary sketches and songs with audience interaction and the company’s patented brand of long-form improv, it’s a show that mines humor from everyday occurrences. If you’re looking for a little laughter in your life (face it: we could all use some), pick the show thats been stage-tested and audience-approved. The Second City takes the stage at 8 p.m. Friday, 5 and 8 p.m. Saturday and 2 p.m. Sunday (April 7 to 9) at the Touhill Performing Arts Center on the University of Missouri-St. Louis campus (1 University Drive at Natural Bridge Road; www. touhill.org). Tickets are $34 to $36.

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Miss Gay Missouri America Miss Gay Missouri America, Regina La Rae. | PS LINDEN PHOTOGRAPHY

SATURDAY 04/08 Wizard World First the bad news: Barry Bostwick, star of stage and screen (and The Rocky Horror Picture Show) had to cancel his appearance at this year’s Wizard World comic convention. The good news is that there are still a heap of other film stars (Sean Gunn and Nichelle Nichols), comic book creators (Steve Lavigne and Barbara Slate) and famous automobiles (Speed Racer’s Mach 5, plus Koach and Dragula from The Munsters). There will also be cosplayers, vendors selling comic books and pop culture ephemera, and a full slate of panels, Q & A sessions, video game competitions and dance parties.

Wizard World stakes place from 3 to 9 p.m. Friday, 10 a.m. to 7 p.m. Saturday and 10 a.m. to 4 p.m. Sunday (April 7 to 9) at America’s Center (701 Convention Plaza; www.wizardworld.com).

Single day admission is $39.50 to $60, and weekend passes are $79.95 to $90. Autographs may require a fee.

—Paul Friswold

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Caturday Night Fever Don’t be fooled by the clever title: Caturday Night Fever is not a ’70s-themed kitty cat party.

It is instead a dance party that benefits Tenth Life Cat Rescue.

Wear what you’re comfortable dancing in, although your outfit should also be cat-ready, because Tenth Life will have a passel of felines at the venue for the preparty and casual hanging out for the first hour. Once the kitties are tucked into bed, the dancing commences. Your host for the evening is Sean Gunn (Kirk on Gilmore Girls, and Kraglin in Guardians of the Galaxy if you’re young), a St. Louis native and clearly a decent human being — he’s helping cats in need, isn’t he? Caturday Night Fever runs from 7 to 11 p.m. tonight at the Luminary (2701 Cherokee Street; caturdaynight.eventbrite.com).

Tickets are $45 to $125, and there will be a cash bar. This is a 21-and-older event.

—Paul Friswold

In a quirk of the calendar, this year’s Miss Gay Missouri America pageant takes place the same weekend as Wizard World.

The organizers decided to take advantage of the opportunity with the Miss Gay Missouri America Comic-Con. Contestants will come decked in their best geekware, taking on the role of a favorite character from movies, television, comics or books. At stake is the Miss Gay Missouri America tiara and the right to advance to the national pageant, so you know everybody will go all out. Regina La Rae, the current Miss Gay Missouri America, will be honored during the proceedings, and the reigning Miss Gay America 2017, Suzy Wong, will be present to assure the highest drag standards are maintained. Preliminary rounds take place at 7 p.m. Thursday and Friday (April 6 and 7), and the main event is at 7 p.m. Saturday, April 8, at the Metropolitan Community Church of Greater St. Louis (1920 South Seventh Street; www.mgmpageantry.com) Tickets are $15 for preliminaries and $25 for the final.

—Paul Friswold

www.VisitLitchfield.com | 866-733-5833

FIND ANY SHOW Svetlana Zakharova and Ruslan Skvortsov in A Hero of Our Time. | DAMIR YUSUPOV

SUNDAY 04/09 Bolshoi Ballet: A Hero of our Time Is a man heroic just because others call him a hero? Pechorin is a military man with a good service record, but he’s arrogant and sensitive. He’s also cynical and capable of keen insights into his own flaws, and he suffers from a self-destructive streak. And yet he still pursues women he knows will soon bore him, ultimately betraying them as he betrays himself with every nihilistic action.

Mikhail Lermontov’s A Hero of Our Time is the saga of a Byronic hero smart enough to see his flaws, but not smart enough to discern

the meaning of his life. The Bolshoi Ballet presents choreographer Yuri Possokhov and librettist Kirill Serebrennikov’s adaptation of the novel at 11:55 a.m. today at the AMC Chesterfield 14 (3000 Chesterfield Mall, Chesterfield; www.fathomevents.com). Tickets are $20.

—Paul Friswold Planning an event, exhibiting your art or putting on a play? Let us know and we’ll include it in the Night & Day section or publish a listing in the online calendar — for free! Send details via e-mail (calendar@ riverfronttimes.com), fax (314-754-6416) or mail (6358 Delmar Boulevard, Suite 300, 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.

IN TOWN

rft ’ s online music listings are now

sortable by artist , venue and price . you can even buy tickets directly from our website

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more options on the way !

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RESTAURANT GUIDE 2017 40 x 40

pho to by m abel suen

40 RESTAURANTS WE LOVE AND 40 READERS’ FAVORITES

40 X 40: 40 RESTAURANTS WE LOVE

& 40 READERS’ FAVORITES

The RFT’s Restaurant Guide is back, and this year it’s better than ever. To celebrate the 40th anniversary of the Riverfront Times’ founding, we’re naming 40 Restaurants We Love. But that’s not all: We’re letting our readers vote for their favorites in 40 categories.

Our 2017 Restaurant Guide hits the streets in April to over 1,000 locations and available online all year. This once-in-a-lifetime special issue, 40 x 40: 40 Restaurants We Love and 40 Readers’ Favorites, is sure to be savored by readers and saved by savvy diners, so it’s the perfect opportunity to reach over 360,000+ readers looking for places to dine.

APRIL 26, 2017 FOR ADVERTISING CALL 314-754-5966 24

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r i v e r f r o n t t i m e s

APRIL 5-11, 2017

riverfronttimes.com

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c o m

FILM

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Adrien and Anna (Pierre Niney and Paula Beer) struggle to move on after the death of Anna’s fiance. | © JEAN-CLAUDE MOIREAU-FOZ/COURTESY OF MUSIC BOX FILMS [REVIEW]

Love Is a Grave Matter François Ozon’s Frantz is a reluctant romance Written by

ROBERT HUNT Frantz

Directed by François Ozon. Written by François Ozon and Philippe Piazzo. Starring Pierre Niney, Paula Beer, Ernst Stötzner and Marie Gruber. Opens Friday, April 7, at the Landmark Plaza Frontenac Cinema.

F

rançois Ozon’s new film Frantz begins in Germany just after the end of World War I, at a time when the wounds of battle have yet to heal and the coun-

tries that wrapped themselves in the heat of war have yet to cool down. They’re no longer fighting, but they still feel the need for enemies.

While a rising sense of nationalism fuels hatred, young Anna (Paula Beer, in an exceptional, star-making performance) wants simply to mourn the loss of her fiance Frantz, who was killed in battle. Living with Frantz’s distraught parents the Hoffmeisters, she finds her grief interrupted by the appearance of a stranger, a young Frenchman whom she spots placing flowers on her fiance’s grave.

Adrien (Pierre Niney) presents himself to Anna and the Hoffmeisters as a friend of Frantz from his Parisian school days. His recollections of their friendship before the war gradually win them over and he is welcomed as a surrogate son (and potential mate), even as his presence is viewed suspiciously by much of the town.

There is, of course, much more

at play in the film than that simple beginning, the stuff of dozens of wartime dramas, would suggest.

Based on The Man I Killed, a 1930 play by Maurice Rostand (also filmed by Ernst Lubitsch in 1932 as Broken Lullaby), Frantz begins as an intimate portrait of a family in grief and slowly moves into tentative romantic territory, possibly inspired by Truffaut’s great film of wartime romance, Jules and Jim. Yet even to call it a romance is misleading. It’s an intricate puzzle of a film, a reluctant love story at best, one based on shared illusions and misunderstandings.

There’s a pun buried in the title, a blurring of barriers between the dead son and the foreign country he loved. It’s one of many dualities in a film filled with mirrored events and perceptions, twinned worlds of grief, resentment and nationalism.

Ozon shows two sides of nationalism, two families recovering from the war, two love stories, even two competing realities as memories riverfronttimes.com

and recollections of Frantz are embellished and embroidered.

Although mostly shot in vivid black and white, the film slips into color at several significant moments, but this is more than a touch of symbolism à la Schindler’s List.

It’s a subtle effect, like a radio signal suddenly gaining strength, indicating moments when the characters recall their time with Frantz or slip into a moment of happiness in the midst of their mourning.

Frantz leads with a reassuringly simple melodramatic quality, one that proves a little misleading.

Ozon takes the comforting roots of melodrama and tosses them in the air, setting an appropriate tone for a film that deals with stubborn ideals and fading illusions. Ozon takes what appears to be a story filled with familiar, sentimental views of the bitterly divided Europe of a century ago and turns it into a strange and complicated tale about guilt and love and moral obligations. n

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26

ARTS

[ S TA G E ]

To Err Is Humor It’s all fun and games until someone loses an eye (or spouse) in St. Louis Shakespeare’s pointed comedy Written by

PAUL FRISWOLD The Comedy of Errors

Written by William Shakespeare. Directed

by Shaun Sheley. Presented by St. Louis Shakespeare through April 9 at the Ivory Theatre (7620 Michigan Avenue; www. stlshakespeare.org). Tickets are $15 to $20.

T

he Comedy of Errors, despite its romantic moments and eventual happy ending, is a play about mistakes. There are mistaken identities, errors in judgment, failed attempts at problem solving and even some medical malpractice — if it can wrong, it does so wildly in the Greek city of Ephesus. And the more things go pear-shaped, the funnier the play becomes.

It’s important to fix that in your mind as you watch St. Louis Shakespeare’s current production of the comedy, which opens with Egeon (Dan McGee) telling his sad tale of shipwreck and the loss of his wife and one of his two infant sons in the furious sea. As McGee shares the woeful story with the Duke (Erick Lindsey), the two treat it as if it’s a matter of life and death — because it is. Egeon’s search has taken him to Ephesus, where his identity as a Syracusan means an automatic death sentence (Greek politics has always been serious business).

This grim start feels out of place if you’re familiar with the nonsense that follows, but director Shaun Sheley is making a point.

The loss of a spouse, missing children and government-sanctioned geo-cleansing are all tragedies.

Calling some guy by the wrong name, that’s just a funny thing that happens to everybody. It’s import-

26

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Dromio (Zac McMillan) is encouraged by his boss Antipholus (Shane Signorino) to redouble his efforts. | RON JAMES ant to have some perspective, or else comedy and tragedy become as indistinguishable as Egeon’s twin sons Antipholus of Syracuse (Shane Signorino) and Antipholus of Ephesus (Chuck Winning).

Once we get into the heart of the play, the actual comedy, we meet Adriana (Frankie Ferrari), who is unable to tell the difference between the two lads, and so she compounds all of her mistakes.

Mistaking Antipholus/S for her husband Antipholus/E, she engages the former in a courteous duel of flouncy bows that becomes more elaborate as she grows more frustrated with his failure to recognize her. Imploring Antipholus/S to join her for dinner, Adriana grasps his hands with such fervor that she drives him to his knees with pain.

Violence is Adriana’s answer to every perceived slight; at one point she shadowboxes her way across the stage as she lists her husband’s flaws to her sensitive and sensible sister, Luciana (Jamie McKittrick). Those flaws are all imagined; she’s actually speaking about Antipholus/S, who has told her repeatedly that he is not her husband. (And, in fact, he develops feelings for Luciana during their

APRIL 5-11, 2017

riverfronttimes.com

fateful dinner.)

Signorino is a very physical Antipholus/S, hoisting his servant Dromio of Syracuse (Zac McMillan) bodily to move him out of the way and frequently throwing and catching people as they fly across the stage. He’s also straightforward in speech and manner, whereas Antipholus/E is more genteel and urbane. If Adriana could look beyond the brothers’ physical similarity, she’d know her husband in an instant.

Antipholus/E shares some of her flaws, being just as quick to anger and perhaps even swifter to resort to violence; he sends his servant Dromio (Michael Pierce) to get a rope so he can beat his wife with it after she locks him out of his own house. When Adriana tags in “doctor” Pinch (Ben Ritchie, disguised as a deranged mountain man with Jerry Falwell’s voice) to figure out what’s wrong with her husband, Antipholus/E turns the consultation into a kabukitheater-meets-WWE-heavyweight bout. Ephesians love some violence.

You get the feeling watching the Antipholi that both of the Dromios are smarter than their masters, but not by much. McMillan’s Dromio/S

works magic with a sustained geography-based series of jibes about Nell, a never-seen kitchen wench who believes him to be her lover.

Dromio/E is just as facile with words, but knows when to say nothing at all. When his newfound brother questions Dromio/E about Nell’s possibly hidden charms, Pierce merely smiles slyly and throws an arm around his fellow servant’s shoulders with casual disdain; you never know what floats your brother’s boat.

There is a sense that the chases, the brawling and the Ephesian fury would continue until one of the four boys lost an eye, but Mom arrives to break it up with moments to spare.

The boys from Syracuse hide in a priory, where the Abbess (Margeau Steinau) protects them from further harassment. The revelation that she is Egeon’s missing wife, and that the entire family is here in Ephesus, solves all matters of identity, saves Egeon from the axe and returns the players to mellow equilibrium. Only the brothers Dromio enjoy a last laugh, dancing each other through a too-narrow doorway as they go to join a family dinner. Let’s hope that meal has placecards, or Adriana is n gonna cut somebody.

GALLERIES

27

30th Annual Presented by

Taking It to the Streets is art about the urban experience. | HOWARD BARRY

Transparency Shade Projects + Gallery 4733 McPherson Ave. | www.projects-gallery.com Opens 5-8 p.m. Fri., Apr. 7. Continues through May 27.

Cultural appropriation is a two-edged blade. It can hurt and demean the people whose cultures are being commandeered by outsiders, but heirs of a culture can also reclaim their heritage, using the work to shine a light on ignorance. Transparency Shade: Seeing Through the Shadow is a group show of artists who use cultural appropriation and hybrid materials to create two- and three-dimensional works that explore how meaning is created around individual identity and its signifiers. Among the artists in the show are Philip Aguirre y Otegui, Ayana V. Jackson and Modou Dieng.

Taking It to the Streets Kranzberg Arts Center 501 N. Grand Blvd. | www.kranzbergartsfoundation.org Opens 6-9 p.m. Fri., Apr. 7. Continues through May 20

Taking It to the Streets is actually two exhibitions in two separate galleries.

The Kranzberg Arts Center and the University of Missouri-St. Louis’ Gallery 210 jointly host the show, which addresses the contemporary urban

experience in the metro area. It features work by Howard Barry, Lois Ingrum, De Andrea Nichols and Basil Kincaid at both locations. This quartet is joined

by Cbabi Bayoc, Solomon Thurman, Christine Ilewski and Damon Davis at Gallery 210. A bus will shuttle people between venues during the evening so you can experience the full exhibit.

Juan William Chavez: Sun Hive Craft Alliance Center of Art + Design 6640 Delmar Blvd. | www.craftalliance.org Opens 6-8 p.m. Fri., Apr. 7. Continues through May 14.

The creation of art has been romanticized as a solitary pursuit, but in truth most artists have a support network of trusted friends and peers who help shape ideas, offer technical advice and inspire new directions. Juan William Chavez’s multimedia installation Sun Hive is a celebration of those other communal artists: the bees. Inspired by the seeming conflict between the bees’ collective lifestyle and the meditative practice of the lone beekeeper, Chavez’ drawings, sculptures and videos explore the symbiotic relationship of the hive dwellers and the humans who harvest their golden produce.

— Paul Friswold

Mother’s Day Weekend May 12–14, 2017

Laumeier Sculpture Park 30th Annual Art Fair Friday, May 12 / 6:00–10:00 p.m.

Saturday, May 13 / 10:00 a.m.–8:00 p.m.

Sunday, May 14 / 10:00 a.m.–5:00 p.m. $10 / Ages 10 and under are FREE Laumeier Members are FREE

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LAUMEIER SCULPTURE PARK 12580 Rott Road / Saint Louis, Missouri 63127 / 314.615.5278 www.laumeier.org

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CAFE

29

Himalyan Yeti’s yogi thali includes vegetable korma, palak paneer, dal makhani, naan, rice, raita and kheer. | MABEL SUEN [REVIEW]

Mountain High Himalayan Yeti brilliantly prepares the cuisine of Nepal, as well as Indian classics, in south city Written by

CHERYL BAEHR Himalayan Yeti

3515 S. Kingshighway Boulevard; 314-3548338. Mon.-Sat. 11 a.m.-2:30 p.m. and 5 p.m.-10 p.m.; Sun. 11 a.m.-2:30 p.m. and 5-9 p.m.

L

ast November, a five-star restaurant quietly opened on South Kingshighway.

OK, technically Himalayan Yeti has not been accredited as such, and even if it went through

the vetting, it probably wouldn’t make the cut because of sheer aesthetics. The space used to be a Long John Silver’s, after all, and its most recent predecessor emblazoned the façade with a sign reading “$5.99 Got Rice” in lieu of a name.

If you drive past the place today, it looks like not much has changed.

Though owner Dipak Prasai gave the restaurant a serious scrub-down and remodel, it is by no means fancy. Brown laminate tiles you get from Home Depot serve as flooring. A small wooden bar takes up the back half of the space and the neutral walls are only occasionally broken up by Indian and Nepalese framed artwork. There are white tablecloths, but they are topped with butcher paper for ease of turning tables for the lunchtime buffet crowd.

Despite its humble appearances, however, Himalayan Yeti has a world-class pedigree. Chef and owner Prasai grew up in Nepal and attended a prestigious culinary school in India, where he

was trained in a variety of cuisines.

He returned to Nepal to helm the kitchen of a five-star hotel, where he worked for several years before leaving for San Francisco to join Carnival Cruise Line, focusing on its more upscale offerings.

Prasai always wanted to open his own place, but San Francisco’s high cost of living was prohibitive.

He had a friend in St. Louis who not only touted the city as an inexpensive, family-friendly locale but also — believe it or not — praised its weather (Prasai insists that our temperature variations of hot summers and cold winters remind him of Nepal). He could get Prasai a job and help him get on his feet while he explored his options.

That job was a gig at India’s Rasoi in the Central West End, where Prasai worked as a cook for approximately two years. Though he has the utmost respect for the restaurant and speaks well of his time there, he still couldn’t shake the feeling that this was not the elegant, fiercely authentic cuisine riverfronttimes.com

he was capable of cooking. He searched for properties and saved his money, zeroing in on south city.

When the old fast food shack on South Kingshighway came open, he knew he’d found his spot.

When you taste Prasai’s cooking, you immediately understand that you are in the presence of culinary greatness, no matter how unassuming your surroundings, and no matter that you might not even be given a menu during lunch hours.

During lunch hours, the hostess will likely assume you’re there for the standard (albeit excellent) buffet in the corner of the room.

Once you are given the a la carte menu, though, you’ll find magic — a mix of Indian and Nepalese specialties that have similar flavor profiles because of shared spices, but are distinct in style and preparation. Both are terrific.

Indian-style veggie samosas, for instance, are the subcontinent’s quintessential deep-fried dumpling: a crunchy, triangular fritter filled

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HIMALAYAN YETI Continued from pg 29 with mashed potatoes, chickpeas and green peas, and perfumed with fragrant spices. The Nepalese momo are also fried dumplings, but that’s where the similarities end.

Closer in shape to a pot sticker, the chicken is infused with more of a savory, garlic-forward spice blend that is evocative of well-seasoned fried chicken. The accompanying tamarind chutney is delicate and as savory as it is sweet — a pleasant departure from the overly sweet versions so often served at Indian restaurants.

Prasai says that he will sometimes blend elements of Nepalese cooking into his Indian fare, but for the most part, keeps the cuisines separate. The menu doesn’t draw an explicit dividing line, though it notes in the description if a dish is traditional Nepalese (if not, the default is to assume it’s Indian).

The last page of the menu, called “Chef’s Specials,” is devoted exclusively to Nepalese fare.

Still, even standard Indian dishes have a certain something that makes them special. Prasai’s lamb vindaloo, for example, is not the burn-inducing style you may be used to. Instead, his heat is softer and nuanced — more of a warmth that gradually builds rather than one that smacks you across the face at the first bite. The meat is tender and of impeccable quality.

His lamb seekh kabob is equally dazzling, pairing ground lamb with garam masala, coriander and enough green chiles to give it a kick. The meat is cooked in a searing-hot tandoor, giving it a delicious char.

Prasai’s baigan bharta, or mashed eggplant, gives baba ganoujh a run for its money as the eggplant dish of choice. The veg-

Samosas are the quintessential version of the Indian treat, filled with potatoes, peas, chick peas and dried fruit. | MABEL SUEN etable is baked in ghee, or Indian clarified butter, and then mashed with green chiles, tomatoes, onions and fresh herbs. Smoke, tang and subtle spice permeate this satisfying dish.

You may think you’ve had chola (or chana) masala before dining at Himalayan Yeti, but Prasai’s rendition may make you question that.

His chickpeas are cooked impeccably: softened, yet firm enough to give a little pop when you bite into them. The tomato and cinnamon-scented masala is present, but it’s only part of the story. Every

bit reveals a new flavor. First it’s garlic; then ginger. Next it’s clove and then onion. Everything comes together in a well-balanced symphony. It’s revelatory.

The same can be said of his chicken tikka masala, admittedly a go-to dish for those new to Indian food. Typically, the staple is all cream with just a bit of tomato.

In Himalayan Yeti’s version, the tomato leads with a tart punch.

The cream is there, but it’s a minor player. The richness comes from the freshly milled spices and “low and slow” technique Prasai employs.

After eating this dish, my friend whose family hails from Kolkata exclaimed, “I’ve never had Indian food this good in a restaurant. This is the closest thing I’ve found to eating in my family’s home.”

If Prasai’s Indian dishes are like those coming from an Indian home kitchen, his Nepalese specialties are like the ones that came from his mother’s. For his chicken choila, cubes of the slow-cooked meat are tossed in pungent mustard oil that has the pleasant sharpness of horseradish or wasabi. Red chile Continued on pg 32

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APRIL 5-11, 2017

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Co-owner Dipak Prasai in the kitchen. | MABEL SUEN

HIMALAYAN YETI Continued from pg 30 spice and raw sliced white onion give it a touch of heat, but never so much as to make you break a sweat.

Lamb sekuwa looks like nothing more than simple roasted meat.

However, the freshly milled spice rub — garlic, chiles, cumin — and shockingly tender meat make this simple dish spectacular. The goat curry is another standout, with a texture that pulls off the bones with only the slightest prodding.

Himalayan Yeti serves a variety of Indian and Nepalese breads, including a pillow-soft onion and herb-stuffed kulcha, as well as a potato-laden aloo paratha, which could have used a bit more filling.

Both breads were ideal accompaniments to Prasai’s chicken soup, a delicate bowl of chicken, broth and herbs that is the Nepalese version of a grandmother’s remedy. I can imagine a young Prasai holding onto his mother’s apron strings as she stirred a pot of this soup — his cooking is so soulful you can taste

Prasai’s cooking is so soulful, you can taste his grandmother’s inspiration in everything he does. her inspiration in everything he does.

But the refinement and sheer mastery in both Indian and Nepalese cooking here transcend what can come out of any home kitchen. It’s simply luxurious, even if the address might leave you believing otherwise. n Himalayan Yeti

Himalayan momo appetizer (chicken) �������������������������������������� $7�95 Chicken tikka masala �����������������$12�99 Lamb vindaloo ����������������������������$12�95

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35

[SIDE DISH]

The Cop Who Became a Chef Written by

CHERYL BAEHR

R

on Buechele, the owner and pitmaster of Soulard’s Capitalist Pig (2727 S. 12th Street, 314-772-1180), doesn’t hesitate when he’s asked where he got his cooking chops. “It was my aunt Angelina,” he says. “She was the first person I saw every morning, the person who fed me lunch, and her house was the place I went every day after school. The entire time I was with her, we’d be in the kitchen.”

Buechele grew up in what he describes as a matriarchal Sicilian family where women called the shots.

Aunt Angelina was the boss, and she was the family caretaker when Buechele’s parents went to work.

“She was always in the kitchen, and I wanted to hang out with her, so that’s where I was too,” Buechele recalls. “I’d be asking her questions about my grandparents’ town in Sicily as we were shelling peas and chopping stuff. I was pretty little, and she’d shove a chair up to the stove so I could stir the pot.”

Though he had a passion for cooking, Buechele went a different route for his career. After graduating college, he entered the police academy and served as an officer for the St. Louis County Police Department.

Though he had a side gig rehabbing houses, Buechele still found himself looking for a creative outlet.

Buechele went to art school, and found himself considering graduate studies when he heard from some friends that the former Third District Police Station in Soulard was available. He had no idea what he wanted to do with the space, but he bought it anyway and eventually got the idea to turn it into an events venue. “That was seventeen

Himself an ex-cop, Ron Buechele turned an old police station into an events space. But that was only the beginning. | HOLLY RAVAZZOLO years ago, and the only places for special events were Orlando’s or Royal Orleans,” Buechele says. “I thought it would be good to offer an alternative sort of place.”

That alternative spot became Mad Art Gallery. Buechele continued to work for the police department, working as an officer Monday through Friday and taking the weekends off to host special events.

Eventually, he left the department behind as he got more and more involved in food service.

As he honed his culinary chops, Buechele decided to go at it fulltime, opening Capitalist Pig inside the Mad Art Gallery. Though he acknowledges the city’s recent barbecue explosion, he sees himself standing out for his use of locally sourced and humanely raised meat — that, and his commitment to good side dishes. “It seems like people put up crappy sides because they have to have them,” Beuchele says.

“I want them to be interesting and good so that people actually want to eat them.”

Buechele took a break from “the Pig,” as he fondly calls it, to share his thoughts on the St. Louis food and beverage scene, his longing for

chef-inspired cocktails, and why you’ll never find ranch dressing at his restaurant.

What is one thing people don’t know about you that you wish they did?

That I’m a closet nerd. People look at me and form an opinion based on my appearance. In college, I was pre-med and my background is in science, chemistry and biology.

It shows in my cooking and in the art I make.

What daily ritual is non-negotiable for you?

Playing with my dog, Nino, as soon as I wake up.

What is the most positive thing in food, wine or cocktails that you’ve noticed in St. Louis over the past year?

How many chefs have been nominated for the James Beard award.

There’s such diversity and willingness to take risks and step out of comfort zones.

What is something missing in the local food, wine or cocktail scene that you’d like to see?

More chef-inspired cocktails; using cardamom, cumin and turmeric more; artisan butcher shops plus restaurants; more housemade charriverfronttimes.com

cuterie, new cuts of meat and street food inspired dishes.

Who is your St. Louis food crush?

You mean man crush? If not, then Ari Jo Ellis [of Bolyard’s Meat & Provisions and Kounter Kulture]. She’s totes adorbs.

Who’s the one person to watch right now in the St. Louis dining scene?

Chris Bork of Vista Ramen.

Which ingredient is most representative of your personality?

Anything pig.

If you weren’t working in the restaurant business, what would you be doing?

I’d probably still be a police officer or rehabbing old houses.

Name an ingredient never allowed in your kitchen.

Ranch dressing.

What is your after-work hangout?

There’s time to hang out after work?

What’s your food or beverage guilty pleasure?

Mexican Coca-Cola.

What would be your last meal on earth?

Egg raviolo with an extra egg on top, porchetta, cannoli and a bottle n of Amarone.

APRIL 5-11, 2017

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{FOOD NEWS]

[FIRST LOOK]

DUMPLING SPOT PLANNED FOR OLIVE

The Wood Shack Is Smoking in Soulard

L

Written by

SARAH FENSKE

F

or the last six years, Chris Delgado cooked Spanish tapas for suburban diners as chef of One 19 North Tapas and Wine Bar in Kirkwood. But now he’s got a new, more casual calling — chef and co-owner of the Wood Shack (1862 South 10th Street, 314-8334770) in Soulard.

The playful little sandwich shop, co-owned by Patrick McGinnis, opened Tuesday, taking over the spot just around the corner from Chava’s. (Old-timers may remember it as Feraro’s or as the private dining room for Mike & Min’s.) Laden with smoked meats and impeccably chosen accompaniments, its sandwiches show off just how good a basic lunch can be in the hands of a serious chef.

“What you see here is what I’m going to cook for you,” Delgado says, gesturing around the small space. “Our potato salad starts as potatoes; our mac & cheese doesn’t use Velveeta — it’s a bechamel.”

And all the meats are smoked in house, a process that imbues them with a terrific woodsy flavor — hickory, pecan, mesquite and mulberry all lend their distinctive taste to everything from pork butt to prime rib. Even the potatoes in the aforementioned salad come in for a smoking.

Delgado is new to smoking things, but he’s taking to it with gusto. A native of Arizona, he moved to Missouri twelve years ago, and says he simply needed a change after his years cooking at the St. Louis Club in Clayton and One 19 North. “It was just time to do something different,” he says. “You get tired of tasting your own food.”

This food, though — who could get tired of smoked meats? The sandwiches are big and tasty, and

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The star of the “Soulard Primer”: smoked prime rib. | SARAH FENSKE each comes with your choice of side — that tangy mac & cheese, a creamy smoked potato salad, a cold pasta salad studded with bacon, slaw, chips or even housemade pork rinds. Deliciously light and crisp, they’re a far cry from the preservative-laden version you’ve probably scarfed from a plastic bag.

The French rolls that most sandwiches come on promise just the right heft — enough to hold together in light of a pile of meat, but not so dense as to overwhelm your jaw. And the meat delivers: You need only try the “Soulard Primer,” with its layers of smoked prime rib, onion, arugula, bone marrow aioli and blue cheese cream to see what a little smoke can do. Sandwich prices run from $8 to $11, with each including the side of your choice, although the pricier Primer will set you back $13.

The space is quite small — there’s just room enough for a cash register up front, an open kitchen to the side, and then, on the other side, two long tables and a few counters

APRIL 5-11, 2017

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with stools. Somehow, though, the partners have managed to fit 25 seats in there, and that doesn’t count the charming purple picnic tables just outside the door.

They intend to serve booze, but they’re going to keep it simple — beer, those wine cups you can pop yourself, pre-mixed drinks all set to go. “We’re not going to have a bartender in here,” Delgado notes.

There wouldn’t be room.

Still, the room is incredibly charming, with Southwestern touches that pay tribute to Delgado’s Arizona roots. The striking art on the walls is by his wife, Hope Blumeyer. Exposed brick proves you’re in Soulard, while a chalkboard behind the counter displays the menu; other walls have been covered with reclaimed wood for that “shack” feel.

At this point, the Wood Shack is open from 10 a.m. to 4 p.m., Tuesday through Saturday. The partners plan to add evening parties and special events, as well n as catering.

awrence Chen, owner of the beloved fine-dining Chinese tasting menu restaurant Private Kitchen (8106 Olive Boulevard, University City; 314-989-0283), has a new concept in the works. Chen confirms that he is preparing to open a sister restaurant, St. Louis Soup Dumplings, in the adjacent University City storefront.

St. Louis Soup Dumplings will be a casual takeout spot, Chen says, and more accessible than the formal Private Kitchen. The menu will include Private Kitchen’s famous soup dumplings, as well as additional styles he is currently developing, including new chicken and shrimp versions.

“We just wanted to do something casual,” Chen explains.

“Casual” is not the word that comes to mind when considering Private Kitchen. When it first opened in early 2015, the restaurant was shrouded in mystery.

Would-be diners had to secure one of its tables by text message or through the Wei Chat app and were then forwarded a menu by Chen. He required diners to select their multi-course dinners in advance and would shop for his guests like a personal chef.

As the restaurant grew in popularity, it became slightly more accessible, developing a Facebook page and posting its menu.

However, the reservations-only/ order-ahead policy still made dining at Private Kitchen a production — albeit a worthwhile one. The place earned raves from critics, and even became one of our “75 Reasons to Love St. Louis” last fall.

With St. Louis Soup Dumplings, Chen hopes to provide diners with the same level of excellence — just in a casual venue, with far less effort on the diners’ part.

Chen expects the restaurant to open in two or three months, though he admits that renovations of the space will dictate the opening date.

—Cheryl Baehr

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The Central West End shop carries more than a dozen flavors of balsamic vinegar, plus many varieties of oil. | JONATHAN DITTMER

[ R E TA I L ]

Di Olivas Brings Oil and Vinegar in the CWE Written by

SARA GRAHAM

L

ooking for a little extra flavor for your home cooking? Di Olivas (115 N. Euclid Avenue, 314367-6457) might have just what you’re looking for. The third location of this olive oil and balsamic vinegar tasting shop opened last month in the Central West End, offering new convenience to city-dwelling customers.

The first Di Olivas opened in west county in 2009 and a second location followed soon after in old-town St. Charles, a perfect fit within its quaint strip of shops and restaurants. Similarly, the CWE location is located right in the heart of the restaurant and shopping district between Forest Park Parkway and Lindell Boulevard.

The husband-and-wife ownership team was inspired to open the store after encountering a

similar concept in Chicago. Says co-owner Robert Palleja, “The shop was charming and the owner was such a colorful character. We fell in love with the products and it soon became a regular part of our dating life.”

A St. Louis native, Palleja had spent years in the Navy and the Navy reserves, including three recalls after the 9/11 terror attacks.

He later worked as a contractor in Iraq for two years before getting hired as a fuel handler at a Chicago-area power plant.

He and his wife eventually left the Chicago area for St. Louis, where she started an eyebrow-threading business. Realizing that high-quality oils and vinegars can be hard to find, they were inspired to open their own specialty store in St. Louis as well.

The primary items lining the shelves are, of course, olive oil and balsamic vinegar. All of the olive oil is extra virgin, meaning it is cold-pressed, has low acidity and has been deemed by a panel of experts to be of superior quality and flavor. So-called “evoo” hails largely from the Mediterranean — Italy, Greece, Spain, Portugal and Sicily — as well as Argentina, Chile and California. Nearly every bottle on offer at the shop has won a national or international award.

Palleja maintains that Di Olivas is the only store in the area to carry award-winning agrumato olive oils that feature olives crushed directly with citrus fruit in a labor-inten-

sive process that produces a richly flavored oil. The best-selling olive oil in the store is Picual from Spain, he says, while the favorite flavored oil is Tuscan Herb, a blend of garlic, basil and rosemary with a hint of sun-dried tomatoes.

The shop carries more than fifteen flavors of balsamic vinegar, the unmistakable sweet vinegar made from grapes and aged in wooden barrels. You’ll find three incredibly popular flavors that are unique to Di Olivas, made in-house — maple bourbon balsamic, margarita white balsamic and an amaretto balsamic. The best-selling balsamic vinegar is the thick and pungent “25 Star” and the most popular flavor is the “margarita,” said to taste just like a margarita.

It’s great when added to the cocktail, used on a salad or as a marinade for chicken or seafood.

If you’re a bit daunted by how to use all of these distinct flavors, chef Codey Shaffer teaches regular classes on topics ranging from soups to risottos.

To further tempt your culinary cravings, Di Olivas also carries specialty items such as gourmet sea salt, seasonings, flavored and specialty pasta, mustards, pasta sauces, a house-made pizza sauce, unique cooking gadgets and ceramics from Italy. Explains Palleja, “If you start with a high quality fat (like our oils), a high quality acid (like our vinegars) and a good high quality salt… everything else follows.” n riverfronttimes.com

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Wild stage antics are par for the course for the Orwells — but the band has the musical chops to back them up. | KELLY PULEO [REVIEW]

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Enfants Terribles The Orwells may have matured with February’s Terrible Human Beings, but they’ll still shock you Written by

HOWARD HARDEE The Orwells

8 p.m. Monday, April 10. The Ready Room, 4195 Manchester Avenue. $15 to $18. 314833-3929.

I

n an age when most rock concert attendees listen politely and shoot iPhone videos rather than, you know, moving around or — God forbid — forming a mosh pit,

you can still count on the Orwells’ shows to get a little crazy.

Because, look: Trouble is kind of their thing. General audiences were first introduced to the Illinois garage-rockers through a now-infamous 2014 appearance on CBS’ Late Show with David Letterman. In the second verse of their single “Who Needs You,” cocksure frontman Mario Cuomo abandoned singing in favor of writhing around on the floor, thrusting his pelvis at the air and then leaving the stage entirely to slump into a seat beside Dave himself. And that was by no means an anomalous performance — it just happened to be televised.

Early on, the malfeasance could have been chalked up to the wildness of youth, guitarist Matt O’Keefe says over the phone ahead of the Orwells’ show at the Ready Room on April 10. After all, the band released its 2012 debut album, Remember When, when its members were only seventeen years

old. They signed a major-label deal before anyone in the band could legally buy beer.

“Whenever we played a show, we wouldn’t get together beforehand and say, ‘We’ve gotta be crazy and jump around.’ We were just really young, and when we got on stage something would possess us,” O’Keefe says. “It’s hard to control what you do when you’re put on a stage and playing music in front of a lot of people.”

All five members of the band are now entering their mid-twenties, seasoned by several years of heavy touring. But they’re still whipping venues into frenzies.

During a show in Texas just last year, Cuomo got in a fist-fight with a sound technician after repeatedly spiking his mic between his legs like a football player who just scored a touchdown.

“We always try to be spontaneous and just do what we do,” O’Keefe says. “We don’t hold ourriverfronttimes.com

selves back. We’ve played with some bands where it feels very synchronized. They figure out what works and just keep doing it every night. That’s creative suicide, because if you don’t push yourself out of your comfort zone, you’re never going to create anything new.”

The Orwells are on a national tour to promote their third album, Terrible Human Beings. Stage antics notwithstanding, they have matured from a creative standpoint. The record has all the building blocks of Remember When and 2014’s Disgraceland — roughneck lyrics about hookups in pickup trucks, sleazy barroom riffage, squealing amplifier feedback — but it demonstrates a sharper focus and less reliance on the garage-rock revival blueprint laid out by the Strokes. The Orwells are stepping into their own sound.

That’s the product of a stripped-

APRIL 5-11, 2017

Continued on pg 42

RIVERFRONT TIMES

39

MUSIC

39

Wild stage antics are par for the course for the Orwells — but the band has the musical chops to back them up. | KELLY PULEO [REVIEW]

Enfants Terribles The Orwells may have matured with February’s Terrible Human Beings, but they’ll still shock you Written by

HOWARD HARDEE The Orwells

8 p.m. Monday, April 10. The Ready Room, 4195 Manchester Avenue. $15 to $18. 314833-3929.

I

n an age when most rock concert attendees listen politely and shoot iPhone videos rather than, you know, moving around or — God forbid — forming a mosh pit,

you can still count on the Orwells’ shows to get a little crazy.

Because, look: Trouble is kind of their thing. General audiences were first introduced to the Illinois garage-rockers through a now-infamous 2014 appearance on CBS’ Late Show with David Letterman. In the second verse of their single “Who Needs You,” cocksure frontman Mario Cuomo abandoned singing in favor of writhing around on the floor, thrusting his pelvis at the air and then leaving the stage entirely to slump into a seat beside Dave himself. And that was by no means an anomalous performance — it just happened to be televised.

Early on, the malfeasance could have been chalked up to the wildness of youth, guitarist Matt O’Keefe says over the phone ahead of the Orwells’ show at the Ready Room on April 10. After all, the band released its 2012 debut album, Remember When, when its members were only seventeen years

old. They signed a major-label deal before anyone in the band could legally buy beer.

“Whenever we played a show, we wouldn’t get together beforehand and say, ‘We’ve gotta be crazy and jump around.’ We were just really young, and when we got on stage something would possess us,” O’Keefe says. “It’s hard to control what you do when you’re put on a stage and playing music in front of a lot of people.”

All five members of the band are now entering their mid-twenties, seasoned by several years of heavy touring. But they’re still whipping venues into frenzies.

During a show in Texas just last year, Cuomo got in a fist-fight with a sound technician after repeatedly spiking his mic between his legs like a football player who just scored a touchdown.

“We always try to be spontaneous and just do what we do,” O’Keefe says. “We don’t hold ourriverfronttimes.com

selves back. We’ve played with some bands where it feels very synchronized. They figure out what works and just keep doing it every night. That’s creative suicide, because if you don’t push yourself out of your comfort zone, you’re never going to create anything new.”

The Orwells are on a national tour to promote their third album, Terrible Human Beings. Stage antics notwithstanding, they have matured from a creative standpoint. The record has all the building blocks of Remember When and 2014’s Disgraceland — roughneck lyrics about hookups in pickup trucks, sleazy barroom riffage, squealing amplifier feedback — but it demonstrates a sharper focus and less reliance on the garage-rock revival blueprint laid out by the Strokes. The Orwells are stepping into their own sound.

That’s the product of a stripped-

APRIL 5-11, 2017

Continued on pg 42

RIVERFRONT TIMES

39

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“We always try to be spontaneous and just do what we do. We don’t hold ourselves back.” | KELLY PULEO

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APRIL 5-11, 2017

riverfronttimes.com

ORWELLS Continued from pg 39 down approach in the studio, O’Keefe says. Working with producer Jim Abbiss, O’Keefe and fellow guitarist Dominic Corso laid out the skeleton of each song on acoustic guitars to fine-tune specific sections. On previous records, the band’s songwriting process was jam-based — more like shooting in the dark. “One of us would play a chord change, and if we happened to get lucky and everyone somehow fell in perfectly, there would be a song,” O’Keefe says. “If not, it would just get burned. We realized we were losing a lot of good songs because we weren’t just getting lucky immediately with chord changes and the melody.”

The sounds on Terrible Human Beings are weird and dark, but the songs themselves are rooted in pop music, O’Keefe says. “This time around, we decided we would write catchy pop tunes — you know, verse-chorus, verse-chorus, bridge-chorus — and then just try to fuck them up. Get something pretty and nice and just slash the thing up and make it dirty.” The group also took pains to avoid ob-

vious and overly familiar chord progressions, playing with the listener’s expectations.

The Orwells, in other words, are getting serious about the craft.

They have come a long way from banging out power chords in suburban Chicago.

Case in point: The band was recently announced as the opening act for Weezer’s run of European stadium shows this summer. On one hand, it’s a surreal opportunity for a group of garage punks, O’Keefe says. “You grow up listening to a band, and then you’re playing shows with them across the ocean.”

On the other, the guys know exactly what it’s like to open shows for big-name bands. “There will be a lot of folded arms, because fuck the opening band.”

Their expectations aren’t so immature now, O’Keefe explains.

“Like, if we had gotten this opportunity with Weezer when we were eighteen or nineteen years old, we would have thought we were going to be the next biggest band in the world,” he says. “Now we’re pretty sure that’s not going to happen, so we can just focus on writing good songs.” n

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fri. april 7 10PM

THURSDAY, APRIL 6 TH

The Mighty Pines

Lever, Anaphora, Skagbyrds. Corona Covet- Rock- 7pm-$7

sat. april 8 10PM

FRIDAY, APRIL 7 TH

Clusterpluck with Special Guests Knoisemaker and the Silent Partners

wed. april 12 9:30PM The Schwag Tribute to Jerry Garcia

thur. april 13 9PM

New Orleans Suspects (NOLA SuperGroup)

sat. april 22 10PM Marcia Ball

sat. april 29 10PM Cedric Burnside Project 736 S Broadway St. Louis, MO 63102

(314) 621-8811

4/13 THU. 3/30 SAT. 1/14

FRI. 4/14 3/31 TUE. 1/17

Jake’s Leg and EMG- Grateful Dead Tribute/Rock-8pm-$8

SAT. SAT.4/15 4/1

1/22 1/24 2/1 2/6 2/6

TALKING DREADS MONSTER TRUCK LUKE WADE thePOUR CHAIN GANG OF 1974 2/15 COLONY HOUSE

Tickets available at Blueberry Hill (no service fees with cash) & all Ticketmaster outlets.

Charge by phone 800-745-3000 · Online at ticketmaster.com are at General Admission doors 7 pm unless otherwise noted.

Hill (nowith service feesatwith cash) & Ticketmaster outlets.

TicketsShows available Blueberry cash) & all all Ticketmaster outlets.

Charge by phone 800-745-3000 · Online at ticketmaster.com ticketmaster.com

Open 7 days from 11 am 6504 Delmar in The Loop H H 314-727-4444 314-727-4444 riverfronttimes.com

SATURDAY, APRIL 8 TH Radiomen, Angelhead, All Ties Aside, People Seen in Cars, OneDay, Nick Bifano & The Innocents- Rock- 5:30pm-$10 *THE BAR AREA - Geeks Who Drink Pub Trivia - Trivia - 8:30pm - FREE

SUNDAY, APRIL 9 TH Open Mic Night hosted by Mark Z- Variety-8pm-FREE

WEDNESDAY, APRIL 12 TH Geeks Who Drink - Pub Trivia - 8:30pm - FREE

UPCOMING SHOWS 4/20 Sweet Ascent 4/22 Paula Boggs Band & Drown Craft 4/27 SeepeopleS 4/29 Crystal Lady

6691 Delmar

In the University City Loop

314.862.0009 • www.ciceros-stl.com APRIL 5-11, 2017

RIVERFRONT TIMES

43

44

B-SIDES

JB Anderson’s day job as a general contractor allows him to offer premium studio space without high overhead. | KELLY GLUECK

W

[RELEASES]

Banding Together Gaslight Lounge celebrates a year in business with a huge fivealbum release show Written by

CHRISTIAN SCHAEFFER Gaslight Studio Collective Album Release 8 p.m. Saturday, April 8. The Ready Room, 4195 Manchester Avenue. $12. 314-833-3929.

44

RIVERFRONT TIMES

hen JB Anderson wanted to brand his new venture — a combination bar, restaurant and recording studio — he chose the name Gaslight, a word with both new and old implications. The name harkens back to Gaslight Square, once the hub of nightlife and entertainment in the city’s West End neighborhood. But in our modern, post-truth political climate, to “gaslight” means to manipulate someone until they question their own sanity.

One might be tempted to question Anderson’s sanity, considering the scope of his venture. His location, on the northeastern entrance to the Hill (at Kingshighway and Shaw), sits at the foot of the long-underc o n s t r u c t i o n K i n g s h i g h w ay Bridge, a project that has created

APRIL 5-11, 2017

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traffic snarls and impeded the flow of patrons into this popular enclave. Aside from a potentially r i s k y l o c a t i o n , A n d e r s o n ’s gambit sought to combine two seemingly contrary spaces: the casual bonhomie of lounge and the private, creative space of a recording studio — separated by only a glass wall.

But as the venue celebrates its first anniversary this spring, Anderson is ready to launch his next project: a record label under the Gaslight Studio aegis. And rather than starting small, the label will release five new albums — all recorded at Gaslight — on the same day. The initial roster comprises Miss Molly Simms, the Cara Louise Band, 4th City, Culprit Manifest and Brother Lee & the Leather Jackals. All will perform at the release show at

the Ready Room on April 8.

When Anderson gives a tour of the Gaslight complex, he initially skips over the property’s curb appeal — the low-lit bar and the adjacent outpost of taco purveyor Cha Cha Chow — to show a raw, unfinished workshop space hidden behind them. This area serves as a fabrication shop for Anderson’s other gig as a general contractor. He calls it the “moneymaker,” a relative cash cow that lessens the overhead for the studio endeavors. And while Anderson has no musical background himself, he feels uniquely suited to take on this project.

“We had the advantage of being a contracting company — we did buy the building at a very good price, and we put sweat equity into it,” he says. “Not only did

DUKE’S HAS EVERY GAME EVERY DAY

The bar/studio is on the edge of the Hill. Cha Cha Chow handles the food. | SARAH FENSKE we own the tools and had a lot of the material, but we have the skill set to do virtually all of the components of building out the building in-house.”

Anderson’s foray into becoming a bar, studio and label owner came through a piece of personal tragedy. “The real stimulus that made this happen was the fact that my parents passed away,” says Anderson. After both of his parents died in 2104, within five months of each other, Anderson and his brothers were forced to take stock and consider options that made sense for both the head and the heart. “At that point, there was a little bit of an inheritance, and me and my brothers met because I had found the building,” he continues. “Coming from real estate and construction, whatever goes on in here, we always have a really solid investment in the brick and mortar.”

Anderson also made sure to invest in good engineers to get his studio off the ground. Both Zagk Gibbons and Mark Cange work in the space, and though they come from different backgrounds — Gibbons through live sound and DIY aesthetics, and Cange through more professional studio work — they’ve found a workable balance that’s helped Gaslight forge relationships with bands around town.

“That’s the advantage of being in St. Louis — it’s a small town,” says Anderson. “Finding talent in St. Louis doesn’t take long. A lot of it was driven by Zagk; he had worked with a lot of the acts we are working with on this first collective release.”

Cara Wegener, who leads the Americana-colored Cara Louise Band, echoes Anderson’s claim.

“The attraction was Zagk — he just makes a really comfortable environment when you’re working. As a producer, he has a lot of good ideas,” she says.

This weekend’s release show will be, perhaps, the first of its kind – a five-band bill composed of acts that are each debuting their own individual albums.

That’s a change from the usual record-release ego-stroke, but it underlines Anderson’s vision of synergy and diversity, given that each of the five bands reps a different, distinct genre.

“I’ll be honest, I was not 100 percent on board when the idea was first pitched to us,” says Wegener of the co-billed show.

“You do want that headlining spot — you want the night to be about you and your band.”

But her thinking gradually shifted to the nascent label’s bigpicture idea. “I think the point is to honor Gaslight and what they’re doing for us as artists.

We’re excited to be a part of this community and show the world what we’ve been working on as a team,” she says.

Less than two weeks before the show, Anderson also cops to some trepidation about the endeavor. “I’m scared,” he admits.

“I can build houses, but to fill a room with three or four hundred people, that’s a whole different game. That’s why the collaborative is a nice approach, similar to my business here. If everyone just does their part, it’s greater for all.” n

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RIVERFRONT TIMES

47

48

OUT EVERY NIGHT

THURSDAY 6

SATURDAY 8

Brother Lee and the Leather Jackals, 4th City

SUNDAY 9

BILLY BARNETT BAND: 7 p.m., $5. BB’s Jazz,

ASHES TO STARDUST: THE MUSIC OF DAVID BOW-

Rag, Miss Molly Simms, Cara Louise Band 8

AMY HART BAND: 7 p.m., $10. BB’s Jazz, Blues

Blues & Soups, 700 S. Broadway, St. Louis,

IE: w/ Superjam, Jimmy Griffin, Dave Glover,

p.m., $12. The Ready Room, 4195 Manchester

& Soups, 700 S. Broadway, St. Louis, 314-436-

314-436-5222.

Tory Starbuck, Ronni Gee 8 p.m., $15-$17.50.

Ave, St. Louis, 314-833-3929.

5222.

BRIDGET KEARNEY: w/ Fit Club 8 p.m., $12-$15.

Delmar Hall, 6133 Delmar Blvd., St. Louis,

GENE SIMMONS: 7 p.m., $30-$299. The Pageant,

CHRIS ROCK: April 8, 7 p.m.; 7:30 p.m., $46.50-

Off Broadway, 3509 Lemp Ave., St. Louis, 314-

314-726-6161.

6161 Delmar Blvd., St. Louis, 314-726-6161.

$122. Peabody Opera House, 1400 Market St,

773-3363.

THE BOTTLE ROCKETS: 8 p.m., $20. Off Broad-

HIP HOP MANIA 3: 8 p.m., $10. Fubar, 3108

St. Louis, 314-241-1888.

GHOSTFACE KILLAH: 8 p.m., $20-$25. The Ready

way, 3509 Lemp Ave., St. Louis, 314-773-3363.

Locust St, St. Louis, 314-289-9050.

FITZPATRICK FAMILY BENEFIT: 4 p.m., $10.

Room, 4195 Manchester Ave, St. Louis, 314-

BREATHE CAROLINA: 9 p.m., $10-$20. Europe

HONEYSTONE: w/ Sharon Hazel Township, The

BB’s Jazz, Blues & Soups, 700 S. Broadway, St.

833-3929.

Nightclub, 710 N 15th St, St. Louis, 314-221-

Hollow Ends 9 p.m. Schlafly Tap Room, 2100

Louis, 314-436-5222.

JEFF AUSTIN BAND: 8 p.m., $17-$20. Old Rock

8427.

Locust St., St. Louis, 314-241-2337.

KATE FRANCIS: 2 p.m., free. Howard’s in Sou-

House, 1200 S. 7th St., St. Louis, 314-588-0505.

BUTCH TRUCKS AND THE FREIGHT TRAIN BAND:

IVAS JOHN BAND: 10 p.m., $5. BB’s Jazz, Blues

lard, 2732 S 13th St, St. Louis, 314-349-2850.

JOE METZKA BAND: 10 p.m., $5. BB’s Jazz, Blues

8 p.m., $25-$30. The Ready Room, 4195 Man-

& Soups, 700 S. Broadway, St. Louis, 314-436-

LOVE JONES “THE BAND”: 10 p.m., $10. BB’s

& Soups, 700 S. Broadway, St. Louis, 314-436-

chester Ave, St. Louis, 314-833-3929.

5222.

Jazz, Blues & Soups, 700 S. Broadway, St. Lou-

5222.

CHICANO BATMAN: w/ Sad Girl, The Shacks 8

KHEMMIS: w/ Fister, Sep Arer 8 p.m., $10.

is, 314-436-5222.

JOHN STICKLEY TRIO: 7 p.m., $10. The Stage at

p.m., $12-$15. The Firebird, 2706 Olive St., St.

Fubar, 3108 Locust St, St. Louis, 314-289-9050.

MAKARI: w/ Wvnder, Synthetic Sun, Cody Pratt

KDHX, 3524 Washington Ave, St. Louis, 314-

Louis, 314-535-0353.

RICKY NYE: 7 p.m., $5. BB’s Jazz, Blues & Soups,

6 p.m., $10-$12. Fubar, 3108 Locust St, St.

925-7543, ext. 815.

CHRIS ROCK: 7 p.m.; April 9, 7:30 p.m., $46.50-

700 S. Broadway, St. Louis, 314-436-5222.

Louis, 314-289-9050.

KIM MASSIE: 10:30 p.m., $10. Beale on Broad-

$122. Peabody Opera House, 1400 Market St,

SUNSET STRIP: 9 p.m., free. Nightshift Bar &

THE ON CALL BAND: 4 p.m., $10. National Blues

way, 701 S. Broadway, St. Louis, 314-621-7880.

St. Louis, 314-241-1888.

Grill, 3979 Mexico Road, St. Peters, 636-441-

Museum, 615 Washington Ave., St. Louis.

VERNACULAR STRING TRIO ALBUM RELEASE

DANBURY STREET: 6 p.m., free. Howard’s in

8300.

ROCKING UNDER THE RADAR MUSIC FESTIVAL:

SHOW: 9 p.m., TBA. Foam Coffee & Beer, 3359

Soulard, 2732 S 13th St, St. Louis, 314-349-

WIZARD WORLD COMIC CON AFTER PARTY: 10

w/ Brian Andrew Marek, Keokuk, Soma Jet

Jefferson Ave., St. Louis, 314-772-2100.

2850.

p.m., $10-$20. The Pageant, 6161 Delmar

Set, Mariner 5, The Deciders, Nick Barbieri,

GASLIGHT COLLECTIVE RELEASE PARTY: w/

Blvd., St. Louis, 314-726-6161.

Rough Shop, Diesel Island, The Lettuce Heads,

FRIDAY 7

Accelerando noon, $7-$10. The Bootleg, 4140 Manchester Ave., St. Louis, 314-775-0775.

BIG GEORGE BROCK & THE HOUSEROCKERS: 10 p.m., $10. BB’s Jazz, Blues & Soups, 700 S.

[CRITIC’S PICK]

SOUL REUNION: 10:30 p.m., $7. Beale on Broad-

Broadway, St. Louis, 314-436-5222.

way, 701 S. Broadway, St. Louis, 314-621-7880.

CAROLYN MASON: 7 p.m., $10. National Blues

TODRICK HALL: 8 p.m., $30-$100. The Sheldon,

Museum, 615 Washington Ave., St. Louis.

3648 Washington Blvd., St. Louis, 314-533-

CITY MOUSE: w/ The Winchester, Guy Morgan,

9900.

The Mondales 8 p.m., $5. San Loo, 3211 Cherokee St., St. Louis, 314-696-2888.

MONDAY 10

COMPELLED TO DESTROY: w/ Off The Witness,

DOYLE: w/ Element a440 6:30 p.m., $17-$20.

Thanatos Eternal, Nethersphere 8 p.m., free.

The Firebird, 2706 Olive St., St. Louis, 314-

Fubar, 3108 Locust St, St. Louis, 314-289-9050.

535-0353.

FRESH BURN: 6 p.m., free. Howard’s in Sou-

MUSIC UNLIMITED: 8 p.m., $5. BB’s Jazz, Blues

lard, 2732 S 13th St, St. Louis, 314-349-2850.

& Soups, 700 S. Broadway, St. Louis, 314-436-

FY5 (FINNDERS AND YOUNGBERG): 8 p.m., $12.

5222.

Off Broadway, 3509 Lemp Ave., St. Louis, 314-

THE ORWELLS: 8 p.m., $15-$18. The Ready

773-3363.

Room, 4195 Manchester Ave, St. Louis, 314-

GUIDED BY VOICES: 8 p.m., $25-$30. The Ready

833-3929.

Room, 4195 Manchester Ave, St. Louis, 314-

SOULARD BLUES BAND: 9 p.m., $5. Broadway

833-3929.

Ghostface Killah. | MARY KEATING BRUTON

LEROY JODIE PIERSON: 7 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

THE MIGHTY PINES: 9 p.m., free. Broadway Oyster Bar, 736 S. Broadway, St. Louis, 314621-8811.

MINUS THE BEAR: w/ Beach Slang, Bayonne 8 p.m., $22.50-$25. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161.

MU-PSI: 7:30 p.m., $15-$20. .Zack, 3224 Locust St, St. Louis, 314-304-3602.

POOR DIRTY ASTRONAUTS: 10 p.m., free. Stagger Inn Again, 104 E. Vandalia, Edwardsville, 618-656-4221.

SIMPLE PLAN: w/ Set It Off, Seaway 7 p.m., $30.50-$33.50. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.

THE BARONS: 7 p.m., $10. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

48

RIVERFRONT TIMES

Ghostface Killah 8 p.m. Thursday, April 6.

The Ready Room, 4195 Manchester Avenue. $20 to $25. 314-833-3929.

The year 2017 is shaping up to be a busy one for Ghostface Killah. In addition to working on a sequel to his 2000 classic Supreme Clientele, Ghost has also taken the Wu-Tang reins from RZA, assuming a leadership role for the Clan’s forthcoming eighth album.

(That’s good news for fans. The group’s last two albums, helmed by RZA, were relatively uneven, while Ghost is known

APRIL 5-11, 2017

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for his consistency.) Before all that, though, the man also known as Tony Starks will bring his Glorious Days tour to the Ready Room, with opening sets

by Hakeem Tha Dream, VThom and Johnny Polygon.

Wilding Out: Ghostface’s recent verse on the remix to Raekwon’s “This Is What It Comes Too” from March’s The Wild shows both rappers in top form, with slick rhymes and expert storytelling served over choice production work.

Expect good things from both in 2017.

—Daniel Hill

Oyster Bar, 736 S. Broadway, St. Louis, 314621-8811.

TUESDAY 11 CHRIS NATHAN: 9:30 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

ETHAN LEINWAND: 7 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

JAMAICA LIVE TUESDAYS: w/ Ital K, Mr. Roots, DJ Witz, $5/$10. Elmo’s Love Lounge, 7828 Olive Blvd, University City, 314-282-5561.

KIM MASSIE: 10:30 p.m., $10. Beale on Broadway, 701 S. Broadway, St. Louis, 314-621-7880.

PERIPHERY: w/ The Contortionist, Norma Jean, Infinity Shred 7 p.m., $20-$25. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161.

WEDNESDAY 12 BIG RICH MCDONOUGH & RHYTHM RENEGADES: 7 p.m., $5. BB’s Jazz, Blues & Soups, 700 S.

Continued on pg 50

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48

RIVERFRONT TIMES

APRIL 5-11, 2017

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(314) 863-3511 MOMOSGREEKRESTAURANT.COM

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APRIL 5-11, 2017

RIVERFRONT TIMES

49

OUT EVERY NIGHT Continued from pg 48

[CRITIC’S PICK]

Broadway, St. Louis, 314-436-5222.

BOB “BUMBLE BEE” KAMOSKE: 8 p.m. Beale on Broadway, 701 S. Broadway, St. Louis, 314621-7880.

CEMETERY SUN: 7 p.m., $12. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

EAST SIDERS REVIEW: 10 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

NEIL DIAMOND 50TH ANNIVERSARY TOUR: 8 p.m., $46.50-$126.50. Scottrade Center, 1401 Clark Ave., St. Louis, 314-241-1888.

STATE CHAMPS: w/ Against The Current, With Confidence, Don Broco 7 p.m., $20-$23. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929.

WEDNESDAY NIGHT JAZZ CRAWL: 5 p.m. continues through Dec. 27, free. The Stage at KDHX, 3524 Washington Ave, St. Louis, 314-925-7543, ext. 815.

THIS JUST IN 3RD ANNUAL ROCK PAPER PODCAST BIRTHDAY SHOW: W/ Bald Eagle Mountain, The Royal Furs, Forgetting January, Hounds, Sat., July 1,

Chicano Batman. | JOSUE RIVAS

7 p.m., $8-$10. The Firebird, 2706 Olive St., St. Louis, 314-535-0353, firebirdstl.com.

ANGEL PRESENTS SOUL SEARCHING: Mon., April

Chicano Batman

24, 8 p.m., $10. BB’s Jazz, Blues & Soups, 700 S.

8 p.m. Saturday, April 8.

Broadway, St. Louis, 314-436-5222, bbsjazz-

The Firebird, 2706 Olive Street. $12 to $15. 314-535-0353.

bluessoups.com.

BACK AT YOU BENEFIT: Sat., April 22, 4 p.m., $10. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222, bbsjazzbluessoups.com.

BETTY WHO: W/ Geographer, Sat., Aug. 26, 8 p.m., $17-$199. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929, thereadyroom.com.

THE BIG CLEAN COMEDY JAM: Sat., April 29,

Aside from having one of the best names in the history of indie rock, Chicano Batman also has one of the best aesthetic sensibilities of any band to make the Coachella shortlist. The Los Angeles-based quartet chops and screws with tropicalia sounds, building luxurious, rhythmically rich Latin soundscapes without ever forcing the psychedelic trip.

The band’s latest album, Freedom Is Free, really does come as advertised. With distorted wah-wah guitars, skittering

percussion and deliciously phrased Spanish lyrics — the band could eat for a week on the way lead singer Bardo Martinez rolls the letter “R” — Chicano Batman never plays the barrio funk too earnestly or too cooly. If these dark knights respond to any signal, it’s this: a groove that’s as free as it is fresco.

Give ‘em Space: Self-described “space hippie blues” band Apex Shrine (from St. Louis) and harder to describe but even spacier psych-soul band the Shacks (from New York) launch this evening.

—Roy Kasten

8 p.m., $15-$20. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929,

700 S. Broadway, St. Louis, 314-436-5222,

2706 Olive St., St. Louis, 314-535-0353, fire-

LAMB OF GOD: W/ Behemoth, Mon., July 31, 8

thereadyroom.com.

bbsjazzbluessoups.com.

birdstl.com.

p.m., $37.50-$42.50. The Pageant, 6161 Delmar

BIG RICH MCDONOUGH & RHYTHM RENEGADES:

COMPELLED TO DESTROY: W/ Off The Witness,

FRONTIER RUCKUS: Fri., May 12, 8 p.m., $10.

Blvd., St. Louis, 314-726-6161, thepageant.

Wed., April 26, 9 p.m., $5. BB’s Jazz, Blues &

Thanatos Eternal, Nethersphere, Fri., April 7,

Old Rock House, 1200 S. 7th St., St. Louis, 314-

com.

Soups, 700 S. Broadway, St. Louis, 314-436-

8 p.m., free. Fubar, 3108 Locust St, St. Louis,

588-0505, oldrockhouse.com.

LEROY JODIE PIERSON: Fri., April 21, 7 p.m.,

5222, bbsjazzbluessoups.com.

314-289-9050, fubarstl.com.

JOHNNY GILL: Fri., Sept. 1, 6 p.m., $20-$30.

$5. Fri., April 28, 7 p.m., $5. BB’s Jazz, Blues

BLEACHERS: W/ Muna, Wed., June 28, 8 p.m.,

CONCERT FOR ACTION: W/ Javier Mendoza,

Ballpark Village, 601 Clark Ave, St. Louis, 314-

& Soups, 700 S. Broadway, St. Louis, 314-436-

$29-$31. Delmar Hall, 6133 Delmar Blvd., St.

Analog Thief, Mt. Thelonius, Two Cities One

345-9481, stlballparkvillage.com.

5222, bbsjazzbluessoups.com.

Louis, 314-726-6161, delmarhall.com.

World, Fri., June 23, 7:30 p.m., $15-$20. Off

JON B AND SILK: Fri., July 21, 6 p.m., $20-$30.

LOVE JONES “THE BAND”: Sun., April 23, 8:30

BLIND WILLIE & THE BROADWAY COLLECTIVE:

Broadway, 3509 Lemp Ave., St. Louis, 314-773-

Ballpark Village, 601 Clark Ave, St. Louis, 314-

p.m., $10. Sun., April 30, 8 p.m., $10. BB’s Jazz,

Tue., April 25, 9 p.m., $5. BB’s Jazz, Blues &

3363, offbroadwaystl.com.

345-9481, stlballparkvillage.com.

Blues & Soups, 700 S. Broadway, St. Louis, 314-

Soups, 700 S. Broadway, St. Louis, 314-436-

DANIEL ROMANO: Tue., June 27, 8 p.m., $10-

JOSH HOYER & SOUL COLOSSAL: Fri., April 21,

436-5222, bbsjazzbluessoups.com.

5222, bbsjazzbluessoups.com.

$12. Off Broadway, 3509 Lemp Ave., St. Louis,

10 p.m., $10. BB’s Jazz, Blues & Soups, 700 S.

LUCERO: W/ Banditos, Thu., July 6, 8 p.m., $25-

BOTTOMS UP BLUES GANG: Sat., April 22, 7

314-773-3363, offbroadwaystl.com.

Broadway, St. Louis, 314-436-5222, bbsjazz-

$35. Off Broadway, 3509 Lemp Ave., St. Louis,

p.m., $5. BB’s Jazz, Blues & Soups, 700 S.

DJ PREMIER: Fri., June 16, 8 p.m., $25-$33. The

bluessoups.com.

314-773-3363, offbroadwaystl.com.

Broadway, St. Louis, 314-436-5222, bbsjazz-

Ready Room, 4195 Manchester Ave, St. Louis,

K PHILLIPS: Sun., April 30, 8 p.m., $10. Old

MAGIC GIANT: W/ Motherfolk, Wed., June 7,

bluessoups.com.

314-833-3929, thereadyroom.com.

Rock House, 1200 S. 7th St., St. Louis, 314-588-

8 p.m., $10-$12. Blueberry Hill - The Duck

CAAMP: Wed., May 3, 8 p.m., $10-$12. Blueber-

DRAGONFORCE: Fri., July 14, 8 p.m., $20-$22.

0505, oldrockhouse.com.

Room, 6504 Delmar Blvd., University City, 314-

ry Hill - The Duck Room, 6504 Delmar Blvd.,

Fubar, 3108 Locust St, St. Louis, 314-289-9050,

KILBORN ALLEY BLUES BAND: Sat., April 22,

727-4444, blueberryhill.com.

University City, 314-727-4444, blueberryhill.

fubarstl.com.

10 p.m., $10. BB’s Jazz, Blues & Soups, 700 S.

MARQUISE KNOX BAND: Fri., April 28, 10 p.m.,

com.

THE FRED EAGLESMITH SHOW STARRING TIF

Broadway, St. Louis, 314-436-5222, bbsjazz-

$10. BB’s Jazz, Blues & Soups, 700 S. Broad-

CHASTITY BELT: Thu., June 29, 8 p.m., $12. Off

GINN: Sun., May 21, 8 p.m., $25-$30. Off Broad-

bluessoups.com.

way, St. Louis, 314-436-5222, bbsjazzblues-

Broadway, 3509 Lemp Ave., St. Louis, 314-773-

way, 3509 Lemp Ave., St. Louis, 314-773-3363,

KIP MOORE: Fri., July 14, 6 p.m., $20-$65.

soups.com.

3363, offbroadwaystl.com.

offbroadwaystl.com.

Chesterfield Amphitheater, 631 Veterans Place

MAXIMUS: W/ Burden Of The Sky, Sat., July 15,

CHUCK FLOWERS: UP CLOSE & PERSONAL: Sun.,

FREE THROW: W/ Homesafe, Heart Attack Man,

Drive, Chesterfield, chesterfieldamphitheater.

8 p.m., $10. The Firebird, 2706 Olive St., St.

April 23, 6 p.m., $10. BB’s Jazz, Blues & Soups,

Fri., June 30, 7 p.m., $13-$15. The Firebird,

com.

50

RIVERFRONT TIMES

APRIL 5-11, 2017

riverfronttimes.com

Continued on pg 52

THE

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Mexican Seafood Restaurant 2818 Cherokee Street (314) 449-1220 •

APRIL 5-11, 2017

RIVERFRONT TIMES

51

DID YOU KNOW:

1.3 MILLION PEOPLE READ

THIS JUST IN Continued from pg 50 [CRITIC’S PICK]

Lo Fi Cherokee 2017 9 a.m. through 7:30 p.m. Saturday, April 8 on Cherokee Street; wrap party 8 p.m.

Off Broadway, 3509 Lemp Avenue. $20. 314-7733363.

Bill Streeter’s ongoing Lo Fi Cherokee video series is like a progressive dinner party, but with fine local bands and day-drinking in the place of crudités and small talk. Streeter’s small army of videographers, sound engineers and cat-wranglers descend on a variety of spaces along Cherokee — some venues, some bars and some storefronts — for an immersive, one-off experience

EACH MONTH

52

RIVERFRONT TIMES

APRIL 5-11, 2017

riverfronttimes.com

THIS W

that marries sight, sound and space.

This year’s lineup includes Super Hero Killer, Auset Music Project, Mt. Thelonious and quite a few more (full details are at lofistl.com). The night wraps up a few blocks south of Cherokee at Off Broadway with an evening set by local legends the Bottle Rockets.

Both Ephemeral and Timeless: Streeter is a videographer at heart and serious about preservation. Revisit the previous five years’ worth of performances at youtube.com/lofistl.

—Christian Schaeffer

Louis, 314-535-0353, firebirdstl.com.

0353, firebirdstl.com.

MORRIS DAY AND THE TIME: W/ Dirty Muggs,

SEIBERT’S STRAY RESCUE BENEFIT: Sun., April

Fri., May 26, 6 p.m., $20-$30. Ballpark Village,

23, 3 p.m., $10. BB’s Jazz, Blues & Soups, 700 S.

601 Clark Ave, St. Louis, 314-345-9481, stlball-

Broadway, St. Louis, 314-436-5222, bbsjazz-

parkvillage.com.

bluessoups.com.

MU-PSI: Fri., April 7, 7:30 p.m., $15-$20. .Zack,

SPACE ORPHAN: Thu., April 27, 10 p.m., $10.

3224 Locust St, St. Louis, 314-304-3602, zack.

BB’s Jazz, Blues & Soups, 700 S. Broadway, St.

events.

Louis, 314-436-5222, bbsjazzbluessoups.com.

NAME SAYERS: W/ Aiko, Edgefield C. Johnston

SPACE SHIP: Thu., April 27, 7 p.m., $10. BB’s

Duo, Sun., April 16, 8 p.m., $5. CBGB, 3163 S.

Jazz, Blues & Soups, 700 S. Broadway, St. Lou-

Grand Blvd., St. Louis, facebook.com/pages/

is, 314-436-5222, bbsjazzbluessoups.com.

CBGB/152351778121790.

TOM HALL: Sat., April 29, 7 p.m., $5. BB’s Jazz,

NEW ORLEANS SUSPECTS: Thu., April 13, 9

Blues & Soups, 700 S. Broadway, St. Louis, 314-

p.m., $15. Broadway Oyster Bar, 736 S. Broad-

436-5222, bbsjazzbluessoups.com.

way, St. Louis, 314-621-8811, broadwayoyster-

TRIBUTE TO LITTLE WALTER JACOBS: Sat., April

bar.com.

29, 10 p.m., $10. BB’s Jazz, Blues & Soups, 700

THE PAINS OF BEING PURE AT HEART: Sun., June

S. Broadway, St. Louis, 314-436-5222, bbsjazz-

25, 8 p.m., $18-$20. The Firebird, 2706 Olive

bluessoups.com.

St., St. Louis, 314-535-0353, firebirdstl.com.

TWANGFEST 21 DAY 1: W/ Black Joe Lewis,

PAPER BIRD: Thu., April 20, 6 p.m., free.

Alanna Royale, Gene Jackson, Wed., June 7, 8

Hollywood Casino, 777 Casino Center Drive,

p.m., $25-$28. Off Broadway, 3509 Lemp Ave.,

Maryland Heights, 314-770-8100, hollywood-

St. Louis, 314-773-3363, offbroadwaystl.com.

casinostlouis.com.

TWANGFEST 21 DAY 2: W/ Erika Wennerstrom,

POOR DIRTY ASTRONAUTS: Fri., April 7, 10

John Paul White, John Henry, Thu., June 8, 8

p.m., free. Stagger Inn Again, 104 E. Vandalia,

p.m., $22-$25. Off Broadway, 3509 Lemp Ave.,

Edwardsville, 618-656-4221, staggerinnagain.

St. Louis, 314-773-3363, offbroadwaystl.com.

com.

TWANGFEST 21 DAY 3: W/ Robbie Fulks, Parker

ROCKY & THE WRANGLERS: Sun., April 30,

Millsap, Cave States, Fri., June 9, 8 p.m., $22-

4 p.m., $5. BB’s Jazz, Blues & Soups, 700 S.

$25. Off Broadway, 3509 Lemp Ave., St. Louis,

Broadway, St. Louis, 314-436-5222, bbsjazz-

314-773-3363, offbroadwaystl.com.

bluessoups.com.

TWANGFEST 21 DAY 4: W/ Chuck Prophet, The

ROONEY: Sun., June 25, 8 p.m., $18-$20. Off

Flat Five, Town Cars, Sat., June 10, 8 p.m., $22-

Broadway, 3509 Lemp Ave., St. Louis, 314-773-

$25. Off Broadway, 3509 Lemp Ave., St. Louis,

3363, offbroadwaystl.com.

314-773-3363, offbroadwaystl.com.

RUSS: Mon., June 19, 9 p.m., $30-$32.50. The

WILDE AT KDHX: W/ Maxi Glamour, Rydr, Jenna

Pageant, 6161 Delmar Blvd., St. Louis, 314-

Cydal, Tammy Cannons, Jack Wilde, Mustache

726-6161, thepageant.com.

Daddy, Luna C. DeVay, Fri., April 14, 8 p.m.,

RVIVR: W/ Bad Cover Band Sam, Fri., May 26, 8

$10-$12. The Stage at KDHX, 3524 Washington

p.m., $10-$12. Fubar, 3108 Locust St, St. Louis,

Ave, St. Louis, 314-925-7543, ext. 815, thestag-

314-289-9050, fubarstl.com.

estl.com.

SCUM & LIQUID ASSASSIN: W/ KDaver, Kraziak,

WORDS LIKE DAGGERS: W/ Leav/e/arth, Sleeper

P.O.W., Cannibal Crew, Yerrty G, Psycho City

Hold, Thu., May 18, 6 p.m., $10-$12. The Fire-

Ninjas, Mon., April 24, 7 p.m., $10-$12. The

bird, 2706 Olive St., St. Louis, 314-535-0353,

Firebird, 2706 Olive St., St. Louis, 314-535-

firebirdstl.com.

SAVAGE LOVE DOMME AND DOMMER

BY DAN SAVAGE Hey, Dan: I’m a woman in my late forties. In my early twenties, I married a much older man. We did all the requisite things: kids, house, intercourse once a week. When the sex fell off due to his declining health, he surprised me by suggesting we open our marriage. He said I was too young to be limited and he didn’t want me to leave him for sex.

I spent time contemplating how to truly fulfill my desires. I read a lot of erotica, indulged in porn, and discovered that what turned me on was Dominance.

Not intercourse particularly, but power play with me as the Queen controlling a slave. I like chastity, face-sitting and light bondage. I have found that this type of play appeals to smart and kinky gents. But I am finding that, despite a gentleman’s declaration of “wanting something long-term,” perhaps a friends-with-benefits arrangement, they tend to drop out in short order. Three times in the past two years I have spent a great deal of time getting to know someone before there was any play — a lot of time chatting online, several vanilla dates. In each of these instances, I felt that I had found a good friend. Each of these three men dumped me in exactly the same way. Each said that I was too overwhelmingly beautiful and powerful, and that their obsession with me took up too much room in their lives. This is very frustrating because I feel like I give someone the space they need. I think this is likely BS. Could “I’m overwhelmed” be the new “It’s not you, it’s me”? I am tired of having my feelings hurt. Must I hang up my crop forever?

Done Offering My Mental Energy Forever hanging up your crop because a few guys tactfully ended things over a two-year period seems a bit melodramatic. So hang in there, DOMME, and hold on to that crop.

The mistake you’re making, if I may be so bold as to offer some constructive criticism to the Queen, is investing too much time and energy up front, i.e., you’re making large emotional investments in these guys before you get around to the play. You’ll want to screen guys for your own safety, of course, but spending “a great deal of time getting to know” a potential kinky FWB is a recipe for disappointment.

Because if you don’t click during play — if your style of BDSM doesn’t do it for them or vice versa — there are really no “benefits” in continuing.

I suspect that was the case with your last three gents. But instead of ghosting you or saying something that could be construed as critical or unkind, all three heaped praise on you instead. You were too beautiful, too overwhelming, etc. It was, indeed, a kinder, gentler, subbier way of saying, “It’s not you, it’s me.”

Dominant women are in such short supply relative to demand that submissive men will, well, they’ll submit to an endless vetting process. During that process, submissive guys open to something long-term will say so, DOMME, but submissive guys who aren’t looking for something long-term will say so, too, if they sense that’s what you want to hear. In order to be safe while avoiding avoidable heartache, DOMME, you’ll want to invest a little time in getting to know guys before you play — again, for your safety — but not so much emotional energy that

you’ll be annoyed/upset/devastated if it doesn’t work out.

Hey, Dan: Last night, the GF was on the receiving end of a session of oral sex, but maybe because we were in her sister’s spare bedroom, or for whatever reason, she would repeatedly get within a whisker of coming only to say, “STOP! Too intense!” But I am persistent if nothing else, and on the fourth try, we got there. Boy, did we get there! I can’t ask for personal insights, Dan, since performing oral sex on women isn’t your thing. But perhaps your readers have a few surefire tricks that work when all else fails?

Perhaps Everyone Really Says It’s Some Trick Your first three attempts got the GF close, PERSIST, and the fourth got her off. You obviously know what works for your girlfriend and don’t really need tricks or tips. You just keep doing what you’re doing, and next time you want to brag about your ability to get your GF there, go ahead and send me an honest brag. There’s no need to phrase your bragging in the form of a question — this is Savage Love, not Sex Jeopardy.

Hey, Dan: My husband is wonderful.

We are into BDSM. It’s always been super hot for me, and he’s always respected my boundaries. The other night, both of us had a lot to drink.

I had WAY too much. We’d also been talking all night about me sucking his dick later. When we got home, he asked if I was too drunk for sex and I said we should have sex. I encouraged him. But when kinky stuff happened — him fucking my mouth, slapping my face a little

53

— I quickly realized I was too drunk. I felt hurt and confused instead of feeling turned on, I felt sad, but I didn’t want to tell him to stop. At some point, he realized I was too drunk for what we were doing and he stopped. The next day, I felt so sad. He feels horrible and says that, regardless of me insisting (more than once) that he continue, he should’ve known I was too drunk. He feels bad. I feel bad. Any direction you could point me in — perhaps a book to read? — would be appreciated.

Didn’t Know My Limits You don’t need a book, DKML, you need a shift — a shift in focus.

Right now, you’re focused on everything that went wrong that night — the boozing, the confusion, a bad sexual experience with a trusted partner — and you don’t seem to be really registering or giving enough weight to what went right that night. Your husband sensed you weren’t feeling it, realized you were too drunk (a little late, but still), and then, despite the fact that you encouraged him to continue, he sensed you weren’t in the right head space (you weren’t enjoying yourself, you were too drunk) and stopped. Your husband, even with a hard dick, even inebriated himself, even while topping during BDSM, didn’t lose sight of your safety and comfort.

Don’t feel bad about the sex, or the kink, or your partner, DKML. Learn from this experience — BDSM and boozing don’t mix — and move on.

Listen to Dan’s podcast at savagelovecast.com. mail@savagelove.net @fakedansavage on Twitter ITMFA.org

STREAK’S CORNER • by Bob Stretch

riverfronttimes.com

APRIL 5-11, 2017

RIVERFRONT TIMES

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WESTPORT/LINDBERGH/PAGE $535-$585 314-995-1912 SPECIAL-1 MONTH FREE! Nice Area near Hwys 64, 270, 170, 70 & Clayton.

Patio, laundry, great landlord!

Clean, safe, quiet.

www.LiveInTheGrove.com 320 Houses for Rent

Affton $875 314-809-4215 8011 Brittin. 2 BR bungalow. 1100 sq ft.

Nice yard • clean • C/A All appliances and basement.

Plus deposit and credit check.

2 BR duplex, hdwds, private basement. $25 app fee

NORTH ST. LOUIS COUNTY 314-579-1201 or 636-939-3808 eatonproperties.com 2, 3 & 4 bedroom homes for rent. Sec. 8 welcome

NORTH-CITY $300 314-921-9191 4008 Garfield-1BR pt. $300 deposit. ~Credit Check Required~

SOUTH CITY $695 314-221-9568 4114 Louisiana-2 BR house, 1 car garage. $25 app fee

KIRKWOOD

$695

314-221-9568

OVERLAND/ST. ANN $535-$575 314-995-1912 SPECIAL-1 MONTH FREE! Great location near Hwys 170, 64, 70 & 270.

6 minutes to Clayton.

Garage, Clean, safe, quiet.

RICHMOND-HEIGHTS $525-$575 314-995-1912 SPECIAL-1 MONTH FREE! Near Metrolink, Hwys 40 & 44 & Clayton.

1BR, all electric off Big Bend.

SOUTH CITY $400-$850 314-771-4222 1-3 BR Apts. Many different units.

NO CREDIT, NO PROBLEM! www.stlrr.com SOUTH CITY $450 314-776-6429 2504A California.

1BR, C/A, Appliances Inc, Ceiling fans.

A Must See!!

400 Buy-Sell-Trade 445 Miscellaneous

“Real”

Montechristo #3 Cigars. Box of 25 - $400. (314) 369-3938.

365 Comm Rentals

RESTAURANT SPACE (314) 277-0204 John B. Myers House (National Historic Register) 180 Dunn Road at the intersection of 170 & 270 Barn Restaurant space available. Up to 5,000 sq ft.

SOUTH CITY-CARONDELET $650-$750 314-221-9568 3 BR, 2nd fl, laundry in basemen $725 2 BR, 2nd fl, $65 $25 app fee

ADVERTISEMENT FOR BID WILDEY THEATRE PRODUCTION MANAGER

SOUTH CITY-CARONDELET $695 314-221-9568 2 BR, 1.5 BA, duplex, hdwds, private basement. $25 app fee

Goodwin Bros. Construction Co. is requesting subcontract bids and/or material quotations from qualifying minority business enterprises for relevant phases of work for Metropolitan St. Louis Sewer District, Harlem-Baden Relief Phase IV (Improvements from Basin to Hamilton Trunk), Contract Letting No. 11770-015.1. Interested parties should contact the Goodwin Office at (636) 931-6084. A prebid meeting for all interested MBE’s will be held at our office at 1766 Highway 61 South, Crystal City, MO 63019 at 8:00 am on April 6, 2017. Subcontractor/ Supplier bids are due April 20, 2017 at 3:00 p.m.

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IMPORTANT INFORMATION ABOUT YOUR SPECTRUM CHANNEL LINEUP Communities Served: Ballwin; Bridgeton; Charlack; Chesterfield; Clarkson Valley; Crestwood; Des Peres; Fenton; Frontenac; Glendale; Grantwood Village; Hanley Hills; Huntleigh; Kirkwood; Ladue; Mackenzie; Manchester; Marlborough; Olivette; Richmond Heights; Rock Hill; Shrewsbury; St. John; Sunset Hills; Sycamore Hills; Town and Country; Vinita Park; Warson Woods; Webster Groves; Westwood & Woodson Terrace, MO Effective on or after May 2, 2017, the following changes will be made to your channel lineup: HSN on Basic channel 6 will relocate to channel 113.

QVC on Basic channel 14 will relocate to channel 102.

For a complete channel lineup, visit spectrum.com/channels.

To view this notice online, visit Spectrum.net/ProgrammingNotices.

APRIL 5-11, 2017

RIVERFRONT TIMES

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KID’S CORNER

After School Activities for Kids!

Workshops & Individual Sessions craftstl.com

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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. llll

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EVANGELINE’S NOW SERVING BRUNCH ON SATURDAY & SUNDAY! evangelinesstl.com

The choice of a lawyer is an important decision and should not be based solely on advertising.

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Relaxing Matter 13714-A Olive Blvd. • Chesterfield 314-628-1688 • RelaxingMatter.com

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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.

Summer!

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AUDIO EXPRESS!

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RIVERFRONT TIMES

APRIL 5-11, 2017

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DECK AND SPEAKERS! CD receiver with Bluetooth and a pair of 6.5” speakers to fit many vehicles.

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Versatile interface links smartphone to your mobile sound system.

SOUTH: 5616 S. Lindbergh • (314) 842-1242 WEST: 14633 Manchester • (636) 527-26811 HAZELWOOD: 233 Village Square Center • (314) 731-1212 Mon. - Sat. 9 AM - 7 PM; Sunday Noon - 5 PM Unless otherwise limited, prices are good through Tuesday following publication date. Installed price offers are for product purchased from Audio Express installed in factory-ready locations. Custom work at added cost. Kits, antennas and cables additional. Added charges for shop supplies and environmental disposal where mandated. Illustrations similar. Video pictures may be simulated. Not responsible for typographic errors. Savings off MSRP or our original sales price, may include install savings. Intermediate markdowns may have been taken. Details, conditions and restrictions of manufacturer promotional offers at respective websites. Price match applies to new, non-promotional items from authorized sellers; excludes “shopping cart” or other hidden specials. © 2017, Audio Express.

AUDIO EXPRESS!

Lowest Installed Price In Town — Every Time!