Riverfront Times - May 17, 2017

MAY 17–23, 2017 I VOLUME 41 I NUMBER 20

Pokey St. Louis’ best-known musician prepares for his next tour, in support of his best record yet

BY THOMAS CRONE

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THE LEDE

PHOTO BY THEO WELLING

“Being a mother, I never thought I could love somebody as much as I love my kids. I wouldn’t trade that for nothing in the world.”

—EBONI DOSS, PHOTOGRAPHED WITH HUSBAND GREGORY AND DAUGHTER D’MYLAA ON THE RIVERFRONT NEAR THE OLD CASINO ON MAY 14

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TABLE OF CONTENTS FEATURE

16.

On The Road

Pokey LaFarge prepares for his next tour -- supporting his best record yet

Written by

THOMAS CRONE

Cover photography by

NATE BURRELL

NEWS

CULTURE

DINING

MUSIC

5

25

37

49

Calendar

The Lede

Your friend or neighbor, captured on camera

Seven days worth of great stuff to see and do

9

30

Op-Ed

Sarah Fenske surveys the dirty little secret of Senate Bill 43

9

Film

Robert Hunt takes a trip back to the late ‘70s with TKO and Alien: Covenant

34

They Missed a Spot

Visual Arts

What happened when street crews repaving Shaw Avenue came upon a parked car? We’re still shaking our heads

Berwin Song checks out Abigail DeVille’s site-specific, trash-based sculpture at the Contemporary Art Museum

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NextSTL Founder Departs

And no, Alex Ihnen is not returning the Kickstarter money

9

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Stage

Paul Friswold finds an American story in the midst of the South African drama A Human Being Died That Night

Confetti as Metaphor

A St. Louis art gallery obtains detritus from Hillary Clinton’s election-night party 6

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MAY 17-23, 2017

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Bar None

A Revolution Within

Cheryl Baehr finds sustainable, local and delicious food in a Dogtown pub

Brother Ali comes to St. Louis in support of a stellar new album

43

B-Sides

Side Dish

Reginald Quarles is serving tea with a side of Utopia on Cherokee Street

45

Food News

Clementine’s Creamery is headed to De Mun

45

First Look

Pizza Head draws a line on South Grand, while Das Bevo Bierhall offers German-themed brunch in the old Bevo Mill

53

Roy Kasten bids farewell to Stacy Johnson, the man who helped give St. Louis the blues

54

Homespun

Zach Sullentrup Debt Sounds

58

Out Every Night

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

60

This Just In

This week’s new concert announcements

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NEWS

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[OP-ED]

Blow the Whistle, Get Screwed Written by

SARAH FENSKE

E

ver since the Missouri House of Representatives passed Senate Bill 43 on May 8, civil rights activists have been in an uproar, urging Governor Eric Greitens to enact a veto. The bill, ic ould si ific tl i cre se the burden for proving workplace discrimination, has drawn opposition from the ACLU, the NAACP and a host of other groups.

But there’s a little-noticed provision in the bill that also bears noting — one that could have serious consequences for some workers.

It’s called the Whistleblower’s Protection Act. Ostensibly, the law lays out protections for those blowing the whistle on unlawful acts or serious misconduct. It says employers may ot fire t ose o re ort suc ctivity or refuse to carry out such directives.

But as is often the case with the law, the devil is in the details. And these details may prove extremely troublesome to anyone attempting to holding an employer accountable — and be compensated after being wrongfully terminated for doing just that.

Chad Reis is a partner at Littler Mendelson who specializes in employment law. He does not share all of activists’ concerns about the bill — he believes, for example, that provisions weakening the Missouri Human Rights Act won’t devastate victims of racial discrimination so much as they will force lawyers to look more carefully at the cases they take, and encourage judges to throw out the weaker ones on summary judgment. More cases of racial discrimination, too, may land in federal court — and he believes that’s not necessarily a bad thing.

Continued on pg 12

Somehow, no one thought to put up “no parking” signs the night before a big asphalt job. Oops? | IMAGE VIA GASLIGHT STL/INSTAGRAM

They Missed a Spot

O

n Saturday, to the joy of St. Louis commuters, the Kingshighway bridge rumbled with the sounds of regular street traffic for the first time in 22 months. As we noted last week, the bridge’s reopening required a buzzerbeating effort by city workers, who apparently were still laying down asphalt as late as Saturday morning.

Only... they missed a spot. A carshaped spot.

Indeed, it appears that at some point Saturday morning, workers paving a portion of Shaw Avenue near the north end of the bridge were confronted with an unexpected obstruction in the road: a blue Kia hatchback. But the car was in fact parked legally — somehow, not a single person had thought to put up “no parking” signs before the a u t e ma e tru t effort. And that, apparently, ruled out calling a tow truck.

So, in an example of classical engineering elegance, the workers simply paved around the Kia, leaving the vehicle on a sunken rectangular island.

The workers’ literal workaround — a are t y a r t u ed in a tweet by St. Louis Post-Dispatch photographer Robert Cohen — lit up Twitter and the St. Louis subreddit, with reactions ranging from accusing the car’s driver of being an asshole to the obligatory “ONLY IN STL AMIRITE?” The sight of the lone car also caught JB Anderson off guard. The co-owner of Gaslight, a hybrid bar/recording studio, Anderson showed up to work Saturday morning and says he initially didn’t notice anything odd about the vehicle parked across the street. Then he did a double-take.

“I looked at it, and it’s just so indicative of the project,” says Anderson.

Having opened Gaslight in March 2016, the bridge construction has been a consistently frustrating fact riverfronttimes.com

of life for his business, particularly in the past two months, when the work turned the stretch of Shaw into “a cul-de-sac.”

“The paving company was probay a re dr t et t d e e re Saturday morning,” Anderson says.

Just a few hours later, not long after Mayor Lyda Krewson led a procession along the mostly completed bridge, the Kia’s driver, a woman, reappeared.

“My guess is that it was a patron of our bar who couldn’t drive, didn’t want to drive, whatever it might have been,” Anderson says. “A guy dropped her off, pulled up in front of the car, and she kind of got out and stared at it. Then she drove away in what appeared to be mild embarrassment.”

Yeah, that’s a fair reaction. We’d probably do the same.

As of Sunday afternoon, the slab of road remained unpaved. Never change, St. Louis.

—Danny Wicentowski

MAY 17-23, 2017

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Alex Ihnen was the face of NextSTL.com — and its recen

NextSTL Founder Departs Written by

DANNY WICENTOWSKI

I Camping • Lodging  RV Sites Raftings   Canoeing • Kayaking  Tubing • Swimming Pool River • Beaches

t took nine years for Alex Ihnen to build nextSTL.com into an indispensable resource on St. Louis design, transportation and development. And yet, when it came time for him to leave the city he’s covered so remarkably well for nearly a decade, he decided to keep the details under wraps.

But after being contacted by the RFT o , e co firmed that he is, indeed, leaving. By the end of the month he’ll be moving with his family to Cincinnati, where his wife will start her residency in pediatric neurology with the Children’s Hospital Medical Center.

His departure likely come as a shock not just to fans of his work, but to the 230 backers of a Kickstarter campaign to fund a “New Next STL.” The campaign, which was launched March 1, crossed its $20,000 goal after 30 days of fundraising, a photo finish that involved coaxing backers to pay up to take the site to the next level.

The Kickstarter’s stated goal was paying for a redesign of the website, new branding, attracting more writers and launching a

Group Packages  Hiking Trail • Catering  “Summer Vacation Destination”    10

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newsletter. (For the sake of full disclosure, I was one of the 230 backers, though my $15 was much less than the average donation of nearly $90.)

The Kickstarter campaign was heavily promoted by the nextSTL Twitter account, which Ihnen single-handily operated, and with which he frequently deployed his trademark wit and incisiveness toward city issues.

On March 16, the nextSTL Twitter account posted excitedly that t e ic st rter d ust o b the halfway point.

The very next day, however, the Facebook page for the Cincinnati Children’s Hospital Medical Center Neurology Residency had an exciting update of their own: Katie Ihnen was joining their third-year residents.

The announcement, and what it would mean for the nextSTL founder, was nowhere to found on the Kickstarter campaign page.

In fact, Ihnen continued to push the campaign via the nextSTL Twitter account. On March 18, for instance, he tweeted that the campaign needed “just 95 more backers for our New NEXT STL Kickstarter!”

The tweets continued all the way to March 31 deadline. And after that, the updates that followed concerned the printing of t-shirts d ulfillme t o t e c m i s promised perks — but nothing about the fact that the website’s founder and primary writer would no longer be helming the “New Next STL.”

Confetti as Metaphor

F

and its recent Kickstarter campaign. | IMAGE VIA SCREENGRAB In an interview, Ihnen rebuffed suggestions that he had a responsibility to inform his Kickstarter backers of his impending move.

“I think think people value the website, and it’s great that people would value me or my content, but I’m not the website,” he says.

“It is a business and entity that goes beyond me.”

Even so, readers might be forgiven for some confusion.

Ihnen is not just the site’s founder and most recognizable byline; he’s also its face. The Kickstarter campaign video actually showed him walking around St. Louis as clusters of headlines and breaking news circled his head like planets around a sun.

Even after his wife got the job in mid-March, however, Ihnen says he never considered canceling the campaign outright, or offering an update or disclosure to the backers. He has no plans to offer refunds, though he also stresses that he is committed to honoring his commitments when it comes to the perks that were promised to supporters.

“The money, a good part of it has already been spent on t-shirts and posters,” Ihnen says. “The rest is being invested in the site and making it sustainable.

“In my mind,” he adds, “the Kickstarter actually saved the website. I was panicked about making sure this was going to live.

If we had gone a couple months and there was no new branding, if a website design wasn’t coming Continued on pg 12

eeling the urge to pretend the past six months were a bad dream? A St. Louis art gallery has an exhibit of Hillary Clinton’s ill-fated election night confetti, forever floating on the air of an alternate reality.

Artist Bunny Burson, who served under President Bill Clinton as executive director of the President’s Committee on the Arts and the Humanities, bought the confetti from what was supposed to be Hillary’s victory bash and turned it into art, according to a statement from the Bruno David Gallery.

The shiny confetti continuously cascades inside a transparent case. The name of the exhibit, “I Still Rise,” was taken from a Maya Angelou poem about persisting against all obstacles.

The confetti, which was designed to have a glass-like sheen, was supposed to symbolize the shattered glass ceiling as the nation’s first female president celebrated her electoral victory in the Javits Center in Brooklyn, New York.

Instead, reporters covering the event videotaped workers unloading the stuff from air cannons and sweeping it into cardboard boxes.

Burson designed her piece as encouragement for the resistance, according to a news release.

“With this actual confetti as her metaphor, artist Bunny Burson hopes to empower young women and girls to be bold, to dream big, to believe in themselves and to break their own glass ceilings, as well as to finally break that highest and hardest one,” the statement says.

So while Trump has totally moved on from the election, you’re free to imagine what might have been. The exhibit runs through August 12. The Bruno David Gallery (7513 Forsyth Boulevard, Clayton) is open 10 a.m. to 5 p.m., Wednesday through Saturday.

You can also see “I Still Rise” 24 hours a day through a window on Forsyth — just in case you find you can no longer sleep through the night.

—Doyle Murphy

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WHISTLEBLOWERS Continued from pg 9

NEXT STL Continued from pg 11

But Reis notes that the bill puts si ific t limits o t e remedies available to whistleblowers — remedies that would have real repercussions if someone is terminated for reporting illegal activity.

Namely, instead of being eligible for compensation for pain and suffering, whistleblowers may only be reimbursed for their medical bills, Reis notes. Instead of, say, $75,000 to help redress those sleepless nights and nail-bitten moments, a worker would be limited to $150 for a doctor’s visit and $75 for a Xanax co-pay.

And that’s not all.

SB 43 would also strictly limit damages to backpay. You lost a year of work while waiting to go to trial? Congratulations: Here’s a check for two times your yearly salary. That’s it. There’s no chance to factor in the loss of future earnings or diminished prospects.

Finally, the “Whistleblower Protection Act” would take away the ability to be awarded punitive damages, Reis says — which is often a way juries show their displeasure with employers who’ve acted badly. Let’s say Big Bad Corporation fires t e u o c u t it coo i the books. No longer can the jury sock the company with hundreds of thousands of dollars in damages, transferring its money to its former employee (and his lawyers) to serve as a warning to other bad businesses. Now the maximum Big Bad Corporation might face in damages in Missouri are a few years of backpay and the actual cost of the ex-employee’s medical bills.

“The limitation on damages is si ific t, eis s s. der t e current statutes, there could be compensatory damages, punitive damages, future pay — all these things could be awarded.” Not anymore.

Is that what Eric Greitens was running on when he ran to change olitics s usu l e ll fi d out b mid-July, by which time he must veto the bill or it becomes law. In the mean time, if your employer starts violating the public trust, you might want to hang tight and see how all this plays out. You might not be able to afford to blow the whistle in Missouri come August.

out, if there wasn’t funding for hosting fees, and then I moved, I think it’s likely there wouldn’t be something to hand over for someone to run.”

And yes, Ihnen has lined up a successor to take over nextSTL. Developer Jason Deem, who runs the South Side Spaces property development and the Nebula co-working space in the Cherokee neighborhood, will become the site’s publisher and owner.

RIVERFRONT TIMES

MAY 17-23, 2017

done and so we’ll be looking for additional contributors to the site in the near future.

“I’m looking forward to building on the momentum and growth of NextSTL and helping to ensure it remains an active and relevant independent locally-owned resource in St. Louis.”

Ihnen told the RFT he’ll be leaving town in two or three weeks. He is also currently executive director of the Dutchtown South Community Development Corporation and said he’d given notice there about two weeks ago.

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In an email, Deem praised nextSTL for its “increasingly important role in facilitating dialogue on development, transportation, and public policy in St. Louis.” Deem indicated that even after Ihnen’s departure, the nextSTL founder would still have a presence on the platform.

“Both Alex and I wanted to make sure this continued after he left,” Deem wrote. “Alex will continue to contribute and host occasional podcasts. But it will take more than one person to do the incredible amount of work that Alex has

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FEBRUARY 8-14, 2017

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On the Road T Written by THOMAS CRONE Photography by NATE BURRELL

alking to Pokey LaFarge is an interesting experience, with little moments that both confirm and confound expectations.

That he makes a pot of coffee by heating water in an old metal pot on a stovetop isn’t a shocker (his whole persona, after all, embraces a days-gone-by vibe), but that he’s taken on the proprietorship of a couple of neighborhood cats, renaming them Carl and Doyle and handling some of their vet bills, gives a moment’s pause — as does the soundtrack of dub reggae. That he can explain any of his decisions, actions and ambitions with articulate, detailed, winding stories makes a pair of lengthy, 75-minute conversations float by, even as you feel that LaFarge is acutely aware that these words are being parsed, analyzed and eventually shared.

These days, LaFarge is primed for… something. He might not be at a tipping point, exactly, as digital music distribution has changed the way careers are built, promoted and sustained.

But with the release of his seventh studio album, Manic Revelations, this week, the remainder of the calendar year is starting to come into a crisp focus, with a lot of that time spent on the road, the venues a little larger than in the past and trips a bit longer. Now a veteran of multiple tours and the lifestyle that accompanies them, LaFarge, 33, is contemplative, if not downright contemplativeplus. ere s defi itel i ter l feeling,” he says of his place in life. “Somewhat, it’s physical. You may not be able to get around quite as well as you used to. You defi itel lue some di ere t things. Chasing girls, drinking, doing a bunch of drugs ... that

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stuff’s not important to me any more. I was always pretty in touch with my being in a long game. Being that I wanna create art for my whole lifetime and make a living off of it, you always wanna see where you are in your life, mentally and physically. I always wanted longevity. Now that I’m in my thirties, there’s a benchmark, compared to where you were in your twenties. You look at that time for what it was, you look at the big goals you set out to achieve. There are pitfalls and things you didn’t achieve, or you bit off more than you could chew. You put it all behind you.

“When you’re in your twenties, you’re more connected to your upbringing,” he continues.

“There’s this kind of raw mindset, which is entirely about experimentation. You’re full of piss and vinegar. You can fuck up and there’re less repercussions for it. There are greater repercussions now, less margin for error; there’s less experimentation and more knowledge. I tell people that my thirties are great. I love it. I love being this age and I look forward to getting older.

“It’s unfortunate, those who say that high school are the best years in their life; it’s the saddest thing I ever hear. I plan on the greatest years of my life to come.

Being that I’m an artist and everything is a direct translation of the life that I’m living, I have no fear that the best music is yet to come.”

Earlier this month, LaFarge led his band on a tour of Europe, one that the group would describe as “really easy”: There were four shows featuring the whole band, as well as a pair of solo dates, along with a TV appearance. In Europe, especially the Netherlands, where the band enjoys its

FEBRUARY 8-14, 2017

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Pokey LaFarge prepares for his next tour — supporting his best record yet biggest following, LaFarge’s profile co ti ues to ro . itto i t e U.S., where the band’s now moving into the career point where they’re playing the bigger venues in each town, while also looking at a host of a summer festival dates.

Now releasing music on the well-respected, established Rounder Records, with a management/media/support team located in LA, Nashville and New York, the years of self-booked tours and scratched-together recording sessions are, for the immediate future, a thing of the past.

And while some old-school fans may debate the assertion, Manic Revelations is L r e s fi est lbum to date, moving the songwriter’s sound into a new, surprising, R&B territory. The ten songs that emerged came from an initial pool of 25 tracks. Recording at Cherokee Street’s Native Sound, the band stayed close to home — literally, in this case, as several of the players simply walked to the studio from their nearby homes, sleeping in their own beds at night.

Though happy with the comforts of this arrangement, the studio setting is still fraught with ennui for LaFarge.

In creating something that’s going to be sold, “You can attach these other, worldly, earthly desires to what is just a pure thing: singing,” he says. “That’s what sucks about going in the studio. The greatest freedom I have is taken away. At home, by myself, singing gibberish or a melody until the words come... that’s purity, that’s art. When it’s rehearsed and recorded and put on a record and it’s my face on that and you have a publicist and then the record’s out and everyone gets a hold of it... then it becomes a different thing. You don’t have to be happy with it, but do you have to live with it. If you’re making a with it, you still want to improvise, riverfronttimes.com

create things on the spot. In the studio, there’re so many people telling you what to do, your mind can play tricks on you.”

The flipside is that there’s a batch of new material to spring on the world.

“Most of this work,” he says, “people haven’t heard before. And I like that.”

That’s changing, slowly and then, soon, quickly.

A couple of weeks back, in the mix of his morning drive show, John Wendland of KDHX’s Memphis to Manchester spun “Better Man Than Me,” the second single off Manic Revelations. It sounded right at home on his playlist. A songwriter and occasional performer himself, Wendland’s a true musicologist, yet on-air, he spins tracks with just a touch of the backstory, rather than holding forth for minutes at a time. He’s spare, yet generous with his musical knowledge. He also gives local cuts more than a fair shake.

With “Better Man Than Me,” e dl d otes, first e osure to this song was from the offici l ideo t e ust rele sed. t s instantly recognizable as Pokey LaFarge, but you hear other musical i ue ces doo- o , e rl roc & roll, R&B — creeping in there.

You could slap the Jordanaires in for the backing vocals, yet the song still wouldn’t sound like a musical relic. I was enamored with the so it i t e first te seco ds and knew it would sound great on the radio.”

He adds, “I like music that has a timeless feel about it but doesn’t just sound like a slavish impersonation of something from the past.

I think Pokey avoids that, whether it’s from his lyrics (the lyrics to ‘Riot in the Street’ aren’t going to be confused for those of a ‘40s song any time soon) and attitude (I feel like

MAY 17-23, 2017

Continued on pg 18

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17

POKEY Continued from pg 17 there’s an undercurrent of punk to some of his songs). I don’t know the man. He would probably laugh some of this off, but I get a feeling of im usi music i ue ces o t e ‘30s, ‘40s, and ‘50s as a template; but he’s twisting it into something different to get his own personally defi ed music cross.

Chloe Feoranzo, who played in LaFarge’s band from 2012 to 2015, says that his “songwriting is very accessible. People hear it and can instantly like it. Some of the melodies are really catchy and will rattle around your head for awhile.”

David Beeman and Tony Hoffer of Native Sound coaxed the good stuff out of whatever anxieties the studio might bring, LaFarge says.

“Me and Beeman were there the entire the time,” LaFarge says. “The guys came and went. There was no one producer.

“They’re constantly evolving over there,” LaFarge adds. “I want people to know how special that place is; David and the whole team there are pretty awesome. We have

a special thing in this town with them, it’s truly a special place.”

It’s a relationship that could, he says, be carried over to the next work. And it’s the relationships that LaFarge has built, those longest ones, that serve him well today.

Once upon a time, a group of young men named Adam Hoskins, Joey Glynn and Ryan Koenig were playing in and around St. Louis in a handful of emerging bands.

Concurrent to their early efforts, a young man from Bloomington, Illinois, born as Andrew Heissler but self-dubbed Pokey LaFarge, was bouncing through a bohemian phase that saw him passing through a few towns of residence, including Asheville, North Carolina. There were moments of synchronicity, times when various groupings of the four were in the same place and these kindred souls began to coalesce. Once St. Louis became LaFarge’s mailing address, good things began to happen.

As the dapper Koenig recalls, the band started as a duo, with LaFarge and Glynn coming together. At the

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time, Koenig’s band with Glynn, the Vultures, had just broke up.

“I had a van and wanted to get out of town. With me joining up, the only expectation was to drive them in my van on their West Coast tour, e s s. e first i t, t e gig turned out to be more of a busking situation, and I started playing some tunes with them. I became part of the band organically, as the tour went on. ‘That thing you did, can you do that again?’”

With Hoskins joining in, the group was coalescing. Then as now, lots of side projects existed, and the Glynn/Koenig duo eventually began to tour with Mat Wilson as the Rum Drum Ramblers. With multiple songwriters and projects pulling at their time, time was starting to get tight.

“For a decent part of the next year,” Koenig recalls, “we would kinda travel with whoever could make it.

Sometimes it was all four of us, but usually there was a member down. e e did our first o e t e South City Three record, it was ‘OK, now all of us are doing this.’ There was a period in between, freeing Continued on pg 20

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POKEY Continued from pg 18 ourselves up to work to make it happen.

Upon making that record, we knew, ‘Now we’ve recorded, so now have to be a band.’”

Koenig’s part of a group that has grown a lot since — in membership, chemistry and ambition. Under the banner of its bandleader’s name, the Pokey LaFarge touring experience now includes that core band, soo to re c its first dec de to et er, s well as newer players. Three years ago, Matt e er bec me t e b d s first drummer.

Horn players have shifted over the years, with Luc Klein and Ryan Weisheit now positioned at trumpet and sax, respectively. Live sound’s provided by Justin Brown, now in his third touring season, augmented by new tour manager Todd Piotrowski, who doubles in the same role for the Violent Femmes. At times, the band has even been augmented by a touring photographer, Nate Burrell, whose work accompanies this piece.

It’s a far climb, in most respects, from t ose e rl , couc -surfi d s. ut to oenig, the arrival of LaFarge’s new record this week and the touring that will accompany Manic Revelations is a natural continuation of everything that’s come before.

“I think if we were the kind of band that would’ve had the money to hire publicity d boo i d ll o t t be ore t e first record, or if we were a big overnight band, t e e ould e d defi iti e mome t, Koenig says. “Since it’s been a logical, slow progression, nothing’s ever felt that much bigger or that much more of a turning point.

A lot of people, depending on when they became a fan, or become aware of the band, often see something as the turning point.

People in St. Louis might talk about when we started going on the road all the time, or being on the Letterman show, or working with the Old Crow Medicine Show guys. But for me, it’s always seemed like a logical progression. I would say that when I was able to quit my day job and play music, I thought that was as successful as I could ever be — and everything else has just built on that.”

And now band members have a different juggling act. Instead of balancing their day jobs and their work with LaFarge, now they’re balancing their better-paid work with LaFarge with other collaborations.

“When I’m here,” Koenig says, “all I want to do is travel. When gone, I want to be here. ... It’s important to have people here holding down the fort. And having people on the road exposes people to the culture we e, i firstd i do . et er that’s us coming to them, or them coming to you. When bands are coming to town, I’m often putting them up, taking them to shows and bars. Then they go back and tell people they’ve had a good time here.”

Koenig doesn’t just live these words, he takes them to an extreme. As collaborators of t e first order, e d l d e er i particular), help form a core of side projects around town, joining forces with folks 20

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including Valerie “Miss Jubilee” Kirchhoff, Ethan Leinwand, Nick Pence, Mat and Rachel Wilson, Joe Park, Kellie Everett and myriad others who mine early-to-mid-20th century music in multiple forms. As occasional-toregular projects, Koenig alone counts himself a part of nearly a dozen groups: Skin and Bones, Southwest Watson Sweethearts, Jack Grelle, Sidney Street Shakers, the Bottlesnakes, Hooten Hallers, Lavender Country, the Scrubby Dutch Jug Band and the band with whom he and Glynn collaborated when Pokey’s gig emerged, the Rum Drum Ramblers.

“Just about all of us have something else going on,” he says. “For me, being involved in a lot of different things means that every time with this certain group of people is a singular experience and you don’t know when the next time will be. That keeps all of the projects interesting.”

Meyer, the group’s drummer and a contender for world’s happiest person, adds, “I think what’s interesting about this band is that everyone is an artist in their own right, as much as being a part of the Pokey LaFarge band — through doing these outside shows and being able to express yourself, if it’s Ryan as ‘Lonesome Cowboy Ryan’ or Adam starting a surf band. We all grew up on punk, blues, R&B, country, doo-wop, even modern pop of the ‘80s and ‘90s. On stage with the Pokey LaFarge band, you can sneak in a little of yourself and satisfy your needs, but it’s when you’re with Rum Drum or Sidney Street that you can really do your thing. t ee s ou s tisfied to i e our ll to everything that you’re doing.”

To LaFarge himself, this album shows that t e di ersit o i ue ces d co st t outside gigging has created a versatile, tight unit.

“They all have four or five different bands,” LaFarge says with a hint of a laugh.

“Cowboy Ryan’s just finished a record.

Adam’s got a new band. Obviously, with being off the road for a few months, it’s allowed them to keep staying busy. And it makes them better musicians when they come to play with me, all the different ideas they inject into their playing.”

Standing outside his landmark music store in the Delmar Loop on a recent, overcast Saturday afternoon, Tom “Papa” Ray is absolutely in his element. It’s Record Store Day, and with bands playing on the sidewalk outside Vintage Vinyl, a makeshift performance area u der t e store s me i e fi ds t le st 100 fans forming a ring around LaFarge and his band just prior to the group’s scheduled noon set. it tr c mo i t t e Loo s l uid weekend pace and the lightest of mists in the air, the seven-piece stands with instruments in hand for a good minute or two, as Ray launches into an introduction he’s given more than once, in more than one setting.

To Ray, St. Louis has been missing the mark for a while when it comes to championing arts and culture. While the city chases sports teams and businesses looking for the riverfronttimes.com

best deal (or best hand-out), Ray says, St. Louis’ strongest elements, including its music, are given little to no attention or support by the powers that be. And here is a group carrying St. Louis’ banner to the world.

As he speaks, a few heads nod in agreement. And as Ray hits his crescendo, he throws things to the lead performer, who, as always, easily slips from bystander to center of attention.

Even with a tight set time of only 30 minutes, LaFarge is able to run through a good chunk of his newest album, as well as Emmett Miller’s “Big Bad Bill (Is Sweet William Now)” which he sets up with a story about David Lee Roth’s unexpected Miller fandom.

At one point, LaFarge throws a nod to each of the band members and the crowd cheers accordingly. As short, promotional shows go, this one gets an A grade, even as the band passes on playing its familiar material, the known cuts like “Central Time” or “Something in the Water.”

Orlandez Lewis, Vintage’s effervescent promotions chief, says that promotion of the upcoming album surely played into LaFarge booking the gig. Still, he says, “At the same time, Pokey is one of those that when he performs gives it 110 percent every time. ... He always shows love to St. Louis, and us at Vintage Vinyl. And we’re all huge fans of him at the store.”

Despite being a name-brand act, LaFarge charged no performance fees for the gig, Lewis notes. “The intimacy of it was a major standout. All kinds of ages and faces came out for it. Which is a perfect representation of not only our customer base, but of the St. Louis music scene in a whole. It was very beautiful.”

Though the material is new, the response is solid. Brown coaxes an excellent mix, right there on the street corner, and the song’s inherent hooks do the rest. With some of the crowd traveling to town for the gig and with Ray’s windup introduction, the show feels a bit more like a concert than the performances of some of the other bands, who hurriedly toss their gear into place, playing only to friends and curious passersby.

Within a few seconds of ending, LaFarge’s band, like any other on Record Store Day, begins striking gear, making way for another group. This will be the band’s last full show in St. Louis for a good month. Makeshift “stage” or no, it’s a good one.

These days, LaFarge and his wife, Megan Mae Newman, are awaiting a move, into a three-story, brick charmer on Cherokee, just a stone’s throw from the Mud House, where he and the band are regulars. Though he’s arguably the most famous musician touring out of the city these days, his appearances at the coffeeshop have the vibe of the ever d e reets or ers, fi ds se t o the patio with friends, enjoys life without the trappings.

And yet, there are those moments when folks who aren’t daily visitors notice him and talk and ... yeah, there’s that moment riverfronttimes.com

of star stir.

LaFarge is in that interesting zone now: established, but still growing, with a history that’s embraced by the most avid of fans. In other words, he has a catalog. Many of the songs of his prior six records (along with some EPs, singles and a Dutch live set) have entered the public’s consciousness, becoming part of his fans’ personal soundtracks.

“I don’t really think too much about my catalog,” he says. “You do have to be aware of it, because fans wanna hear certain stuff, but I can’t always please them in that regard.

Sometimes, you can bust out a solo or, when the band’s behind me, do a verse or chorus o tr c d t t usu ll su ces. t s ust off the cuff that way and the risk factor is there. People love you messing up live. It’s another way of breaking that fourth wall.”

Even with his band in Europe earlier this month, LaFarge allowed himself a few solo shows, as “I think I’m in a good place for that. I’d been in the mindset of making as muc sou d it t ree, our, fi e eo le and I ultimately wanted a bigger orchestra; I knew I had to have that for the sound.

But you also need to satiate a part of your creative mind that wants a little more minimalism, not so much noise.

“Songs change almost night to night,” he suggests. “That’s just what happens when you start to perform things live: You learn more about the songs. That’s the great thing about creating a song. A sculpture, when fi is ed, is do e. i ti , it s do e. collection of poems is done, unless you keep writing and do another edition. Songs change every night. There’s improvisation at our fi erti s, e er i t. e s re t there in our minds every day; they’re not at every show. It can be jarring for them, this change, you know?”

The band’s now a bit removed from its biggest change in personnel to date, which occurred when horn players Chloe Feoranzo and TJ Muller left the group; she embarked on a career in New Orleans, while the Englishman began a role as bandleader of the Gaslight Squares, while still playing with his former bandmates in the Sidney Street Shakers and other guises.

Koenig knows that the previous lineup drew a lot of folks into the band’s orbit, and t t its sou d, i ected b t e tr d b c rou ds o t ose or l ers, s defi ite part of the appeal. But ...

“The core of the band has maintained the whole time,” he says. “He’s been playing with the South City Three pretty much since day one. I think the hardest part is that we’ve involved our with players with a lot of personality and it’s how some people come to know the band. If you see the band the first time d ou re i to it, ou remember the players who left. It’s interesting. I’d like to think overall, that it’s been a résumé point, or a badge for everyone involved in it.”

Feoranzo says there was no animus. After four years, she was simply ready — ready for “something different.” She explains in Continued on pg 22

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POKEY Continued from pg 21

THEE TH SHELDON S H E LD O N CONC ERT CO N C E RT HALL H A LL

an email, “The band was going in a different direction musically, and at least for myself I was ready to get off the road for a bit.

“I am absolutely grateful to have been asked at all,” she adds. “We did some amazing things — so many different countries, the David Letterman show, the Grand Ole Opry, Garrison Keillor’s ‘Prairie Home Companion’ twice — so I will always be thankful to the group and for the opportunity to travel and perform around the world at a young age. Touring is a hard life and I learned so much about the lifestyle and how to survive on the road with t t b d. efi itel e r ed m touring stripes with them.”

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Bill Christman is one of St. Louis certified e iuses, ing created Beatnik Bob’s in City Museum, as well as his home base, Joe’s Cafe. The primary stage room and its affiliated gallery play host to a variety of Thursday night entertainments, under the guise of a private club, rather than a full-on, advertised concert venue. While the room can get crowded with a salt-and-pepper audience on a regular Thursday evening, when LaFarge played a few weeks back, Christman found himself looking for a new method of crowd control.

On that night, he and several friends check each patron for a Dixie cup; these 50-year-old relics come from Christman’s own collection, and he shaped each into a unique “ticket,” though many of the people rolling up to the room claim to have theirs inside with a friend, or they’re waiting on their cup, or they paid for the cup but never received it, or ... the variances are enough to make Christman swear a little bit, even as he takes time out to introduce newcomers to the hen that’s pecking around at his feet. (Which would seem random anywhere else in the world, but not at Joe’s.) You get the sense with Christman that he wants to do little more than

create things for people to enjoy, but that he’d pick the things over the people if ever forced to choose between the two.

This one is a solo show, with just Brown on hand; as people roll into the venue, a few note that LaFarge is nearby with Newman and friends, eating Thai food. At the venue, Christman tells folks about the hen who showed up four years ago, now pecking around the entry at showtime. It’s all very idyllic, kind of a small-town vibe and a uniting of two esoteric characters in performer and presenter. It’s a tune-up gig of sorts, and done in a cool way.

It will also be one of the last times LaFarge gets to do something like that for the moment. This weekend he plays the Pageant, with his new record’s release show set for May 20. And after that, LaFarge and company will pack bags and become “a big, happy family,” in Brown’s words. By mid-June, t e touri m c i e ill fire up and LaFarge’s side projects will be monitored from the road. And that’s become a growing list recently, with everything from a limited release beer (Pokey Pils from 4 Hands), a small clothing line (with New York’s Knickerbocker Manufacturing) and even acting work (he plays Hank Snow on CMT’s Sun Records).

While the U.S. will be the main target of 2016’s early dates — the East Coast and Midwest in particular — LaFarge dreams about “Hong Kong, Singapore, Malaysia, Thailand.

That’d be sweet. Japan, that’d be great. I’d love to buy green tea and decipher all the architecture and clothing.

“That’s the love of traveling that came before being a musician,” he says. “Writing took me into singing and writing songs. I always knew I wanted to write and travel. That was always kind of there. I always traveled a lot as a kid and read a lot of literature; the Beat writers and early 20th century American authors. They drew a picture of this being a big fucking country, and I knew I wanted to travel it.

“I’m living my dream.”

“Writing took me into singing and writing songs. I always knew I wanted to write and travel.”

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W E E K O F M AY 1 8 - 2 4

Rent returns to the Fox Theatre this weekend. | CAROL ROSEGG, 2016

BY PAUL FRISWOLD

THURSDAY 05/18 Show Me Burlesque Festival As the temperature climbs, St. Louis sheds its winter clothes and embraces the classic shorts ‘n’ sandals look. But the women and men of the Show Me Burlesque Festival don’t need a seasonal change to take it off — an appreciative audience does the trick every time. The eighth installment of the popular burlesque extravaganza spreads across three days and multiple venues. e rt o ci ll st rts t 7:30 p.m. Thursday, May 18, at the Thaxton (1009 Olive Street) with the Speakeasy Soiree. At 8 p.m.

Friday, May 19, Cherokee Street’s

2720 (2720 Cherokee Street) hosts the Red Light District Revue. The candle is lit once again at 9 p.m.

Saturday, May 20, at the Casa Loma Ballroom (3354 Iowa Avenue) for the show-stopping Spectaculaire.

This year’s featured performers include Midnite Martini, Annie Cherry, Dirty Martini and Gurl Haggard; the roster changes from night to night. Visit www.showmeburlesque.com to ensure you don’t miss your favorite ladies and lads. Tickets start at $25 and go up to $120 for the VIP weekend pass good for all three shows.

Neil deGrasse Tyson When Neil deGrasse Tyson isn’t pooh-poohing the spaceship

physics of popular films, he’s helping shape the minds and careers of young astrophysicists through his numerous educational TV shows, books and magazine articles. And, in fact, the two roles aren’t mutually exclusive; when he knocks down Interstellar’s depiction of black holes, he’s forcing people to engage with the truth about science. Space is deep and fascinating, and we know a lot about it, so why not accurately depict how it works? The truth is always stranger than fiction.

Tyson is back on the road, talking science and getting people hyped about the future of space travel.

He’ll be at the Peabody Opera House (1400 Market Street; www. peabodyoperahouse.com) at 7:30 p.m. tonight to blow your mind and get you thinking. Tickets are $39 to $260. riverfronttimes.com

FRIDAY 05/19 Karlovsky & Company Dance Human beings mainly communicate through speech, but we also have other ways of knowing what’s up. The way you stand when you say something, how you move your hands, the direction you face — all of these physical cues add another layer of context to what you’re saying. Inspired by this everyday non-verbal communication, Karlovsky & Company Dance explores the world of silent speech in its new show, Louder Than Words. Artistic director Dawn Karlovsky’s choreography uses gesture and stance to tell you what’s go-

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CALENDAR Continued from pg 25 ing on. The troupe is joined by Sarah LaRose-Holland and her Kinetic Evolutions Dance Company for the performances, which take place at 7:30 p.m. Friday and Saturday (May 19 and 20) at the Sun Theater (3625 Grandel Square; www.karlovskydance.org). Tickets are $15 to $20.

Cirque Italia

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The European-style circus is no stranger to America anymore.

Audiences are familiar with the more artistic performances and storytelling of the Old World and have even come to appreciate it.

Cirque Italia has something you haven’t seen: The centerpiece of the show is a 35,000-gallon tank of water that can create a curtain of rain or make dancing jets of water arc around and behind the aerialists. Cirque Italia brings its water circus to the south lot of the Saint Louis Galleria (1155 Saint Louis Galleria; www.cirqueitalia.com) for six shows only. Performances are at 7:30 p.m. Friday; 1:30; 4:30 and 7:30 p.m. Saturday; and 1:30 and 4:30 p.m. Sunday (May 19 to 21). Tickets are $10 to $50.

Rent Jonathan Larson’s musical Rent changed how people approached the form when it swept onto Broadway in 1996. Larson crafted a story about real people rather than creating a spectacle, using his characters — a group of twenty-something artists trying to make it without selling out — to connect with audiences in a way that descending helicopters and plummeting chandeliers could not. Twenty years later, the show still resonates with audiences, so the show is back on the road. The twentieth anniversary tour of Rent comes to the Fox Theatre (527 North Grand Boulevard; www.fabulouso .com or fi e s o s t is ee end. Performances are at 7:30 p.m.

Friday, 2 and 7:30 p.m. Saturday and 1 and 6:30 p.m. Sunday (May 19 to 21). Tickets are $35 to $115.

SATURDAY 05/20 Kiener Plaza Opening

Celebration The venerable Kiener Plaza (Seventh and Market streets; www.cityarchriver.org/visit/kiener) has had a little cosmetic work done in the past year, and it can now serve as a small concert venue, a playground and a splash pad. One familiar “innovation” is the return of your old pal the Runner statue, which is back in its proper home. The new and improved Kiener Plaza opens with a two-day celebration, just in time for summer. At noon on Friday, May 19, there is a ribbon cutting and a performance by the Carr Lane VPA Middle School drum line. From 11 a.m. to 6 p.m. Saturday, May 20, there will be a series of concerts by Acoustik Element, Borderline and Hobo Cane. Fredbird and his team will be present, and food trucks will be parked nearby. Admission to both days is free.

Madame Butterfly Cio-Cio-San is in love with the brave Pinkerton, a lieutenant in the U.S. Navy, and agrees to marry him. Unfortunately, Pinkerton doesn’t have the best intentions; theirs is a marriage of convenience as far as he’s concerned, one that will only last until he leaves Japan. When he does leave, Cio-Cio-San believes he’ll return to her and the son Pinkerton unknowingly fathered, and that they’ll be a happy family. That dream is not to be. Opera Theatre of Saint Louis opens its new season with Giacomo Puccini’s terribly sad adame tter y at 8 p.m. Saturday, May 20, at the Loretto-Hilton Center (130 Edgar Road; www. opera-stl.org). Madame Butterfly is performed seven more times in repertory through Saturday, June 24. Tickets are $50 to $129.

Whisky Galore!

World War II is ravaging Europe, and its repercussions are felt even in the remotest parts of the Hebridean isl ds. o e, t e cots e fi ished the last of their stored whisky, and owing to rationing, they won’t get more any time soon. Can the islanders gut out the war drinking only tea? Providence throws them a lifeline when a ship ferrying a large cargo of whisky goes down off-shore. t e fi ure out o to et to t e ship and “borrow” some of that liquid loot without running afoul of Continued on pg 28

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Wednesday,

Friday,

June 7

June 9

Black Black Joe Joe Lewis Lewis

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Alanna Alanna Royale Royale Gene Gene Jackson Jackson

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Smokey (Jackie Gleason) and the Bandit (Burt Reynolds) ride again. | © 2016 UNIVERSAL STUDIOS

CALENDAR Continued from pg 26 the local authority, Captain Waggett (Eddie Izzard)? Gillies MacKinnon’s Whisky Galore! is inspired by a real-life incident that occurred during t e r. e film scree s t .m.

Friday through Sunday (May 19 to 21) at Webster University’s Moore Auditorium (470 East Lockwood Ave ue . ebster.edu film-series .

Tickets are $5 to $7.

SUNDAY 05/21 Battle of Fort San Carlos In 1780, St. Louis was little more than a French trading town situated in Spanish-owned Louisiana. The outpost was swept up in America’s Revolutionary War when Spain allied itself to the American cause.

The British took umbrage and decided to attack Spain indirectly through a proxy force of Native Americans led by a handful of British soldiers. Fort San Carlos, a single tower intended to be part of a larger de e se ortific tio , bec me t e rallying point for a small Spanish Army contingent and a rag-tag collection of French, Native American and free black farmers. This small force successfully fought off the British attack, saving little St. Louis rom oi u i mes. The Battle of Fort San Carlos happened May 25, at what is now the corner of Fourth and Walnut streets. That long-ago fight is commemorated

today at 2 p.m. at the Missouri History Museum (Lindell Boulevard and DeBaliviere Avenue; www.mohistory.org). Dr. Bob Moore of the National Park Service and author Stephen Kling will discuss recent research on the little-known history of St. Louis’ only Revolutionary War battle. Admission is free.

WEDNESDAY 05/24 Smokey and the Bandit Forty years ago saw the release of one of the most iconic films in American cinema. No, not Star Wars — Hal Needham’s Smokey and the Bandit. Burt Reynolds stars as the hot-shot driver known, after his CB handle, as “the Bandit,” who runs interference for his trucker pal Snowman (country music legend Jerry Reed). Snowman is hauling a trailer full of illicit beer across the Southeast to win a bet with Big Enos and Little Enos (Pat McCormick and Paul Williams, respectively). It’d be a cake-walk for our heroes, except irascible county sheriff Buford T. Justice (Jackie Gleason) refuses to give up his pursuit of “that sumbitch” Bandit. Turner Classic Movies (yes, really) presents two special 40th anniversary screenings of Smokey and the Bandit this week. You can see it locally at 2 p.m. Sunday and 7 p.m. Wednesday (May 21 and 24) at the Marcus Wehrenberg Ronnies 20 Cine (5320 South Lindbergh Boulevard; www.fathomevents.com).

Tickets are $12.50.

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30

FILM

[REVIEW]

[REVIEW]

Legal Alien

TKO

Ridley Scott’s new Alien maintains the letter of the franchise’s law, but not its spirit

Boxing biography Chuck wins mostly on charm and style points Written by

ROBERT HUNT

Alien: Covenant

Directed by Ridley Scott. Written by Jack Paglen, Michael Green, John Logan and Dante Harper. Starring Michael Fassbender, Katherine Waterston, Billy Crudup and Danny McBride. Opens Friday, May 19, at multiple theaters.

Chuck

Directed by Philippe Falardeau. Written by Jeff Feuerzeig, Jerry Stahl, Michael Cristofer and Liev Schreiber. Opens Friday, May 19, at the Landmark Tivoli Theatre.

F

I

f you were a boxing fan in the 1970s, the sport turned into a kind of ritual, especially after Muhamm d li s defi iti e 1 4 trium o er eor e orem i ire. er e mo t s, ou d tur o t e tele isio , liste to t e r ti oice o o rd osell s e belittled e er s ect o t e sc eduled e e ts, d t e sit b c to tc Ali effortlessly and gracefully dismiss t e l test re t ite o e.

It was predictable, but often — usull be uti ul.

In the midst of this appeared a film t t tried to re erse bo i s li-ce tric e. Rocky wasn’t much o mo ie eo le te d to or et its cartoonish, borderline-racist depictio o li-surro te ollo reed, the quasi-autism of girlfriend Adrian, or the fact that Rocky works s e orcer or loc l mobsters. t t e remember is t t e s an underdog who stayed in the ring despite being destined to lose, that his whole life, as the ads proclaimed, s millio -to-o e s ot.

In some ways, the new film Chuck is the black-sheep twin of Rocky s dets-st le ir t le. t s the story of a real-life underdog, a barely famous boxer who (after an u disclosed settleme t it l ester Stallone) still calls himself “The e l oc . uc e er d bee bo i for a decade when Ali picked him for a match (reportedly because he was the only white boxer among t e to co te ders . e erse liquor salesman who fought on t e side, e er s bo i st le consisted of being able to take a punch to the face and remain

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Liev Schreiber plays almost-was boxer Chuck Wepner. | SARAH SHATZ. COURTESY OF IFC FILMS st

di . is u o ci l ic me s e o e leeder. irected b ili e l rde u, Chuck tur s e er s li e i to a likable blend of ‘70s nostalgia and self-deprecating confession, with the fighter, played by the u derr ted Lie c reiber, retelli is stor s i e c rdl belie e o it imsel . t s sur risi l e tert i i . e er co sts through it as a good-natured schlub who becomes a minor celebrity almost by accident (and for only o e-fi tee t o t li s id for their fight), loses family and reputation in typical ‘70s fashion i fidelit , coc i e , s e ds some time in jail and still acts like he’s the luc iest m i t e orld. c reiber struts t rou t e film with a curious charm, like a clumsy Rocky trying to be the life of the rt . e s el ed b re t su porting cast, topped by Elisabeth oss s e er s lo -su eri wife, Ron Perlman as his trainer, comedi im st e i d of eternally loyal hanger-on you’d e ect e er to e, d, brie

MAY 17-23, 2017

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but memor bl , omi tts s coc b rm id. lt ou t e scri t ob iousl ssed t rou se er l ds, t e u e e , scr boo u lit i es t e film e ecti e e i d llo i ce. e ilmm ers make the surprising choice of utti t eir bi est e e t t e 1 5 fi t it li i t e first 30 mi utes, le i t e rem i der o e er s stor , t e seco d ct ose e iste ce . cott it erald so famously denied, to come as sur rise. e er s c se, t t ct is str e rod o t e first as he becomes obsessed with the c dem rd- i i film t t e sees s is i dic tio . e mo ie s best mome t, t e recre tio o t e 1 5 fi t, is e ercise i sim licit . l rde u em si es t e u c -dru iole ce t t e core o e er s s ort. s e er rr tes it, is sole s ill is his ability to take a hit, and the film uts us ot uite i is l ce but close beside it as he relishes the bonehead brutality that made his me.

ilmgoers today would probably find it hard to believe the complete innocence with which the earliest audiences encountered Ridley Scott’s Alien 38 years ago. The initial ads were so discreet that all you really knew going in was that it took place on some kind of spacecraft and — based on the poster — somehow involved an egg. Three sequels, two prequels and a variety of multimedia spin-offs later, the balance has shifted, and the initial shocks of the original — exploding chests and face-hugging, acid-drooling creatures — have become the trademarks of the series, a comfortable routine of cat-and-mouse suspense and space gore.

Alien: Covenant is both a typical entry into the Alien cycle and a sequel to Scott’s 2012 film Prometheus, a more conventional science fiction film that dropped hints about the origins of the creepy little monsters. (Don’t worry, I couldn’t remember much about Prometheus either.)

The film begins on a spaceship packed to the rafters with sleeping astronauts and frozen embryos headed off to colonize a planet called Origae-6. When the captain (James Franco, keeping up his annual quota of film cameos) is killed in some sort of space storm, the remaining crew, led by the first mate (Billy Crudup), the captain’s widow (Katherine Waterston), the requisite impulsive space cowboy (Danny McBride), and the impeccably polite android Walter (Michael Fassbender), pick up a signal from an unknown but surprisingly habitable planet,

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Katherine Waterston plays hide-and-seek with aliens. | MARK ROGERS/TM & © 2016 TWENTIETH CENTURY FOX FILM CORPORATION although it’s littered with corpses as far as the team can see.

Things turn bad quickly, as the crew is simultaneously befriended by the sole semi-human resident, the suspiciously polite android David (also Fassbender, reprising his role from Prometheus), and then depleted by the various species of aliens he appears to be breeding.

For a typical Alien movie, this would be the point where you just sit back and watch the body count rise as the constantly transforming space creatures gnaw and impale their way (often literally) through their human prey. But this isn’t a typical Alien movie, it’s a Ridley Scott film, and a continuation of the ponderous Prometheus — so there’s a great deal of conversation about life and mortality, references to Milton and whatever else the screenwriters can remember from Philosophy 101.

Billy Crudup wears the perpetually pained expression of a man who just woke up from years of cryo-sleep on an empty stomach and grumbles that he doesn’t get the respect he deserves because “he’s a man of faith,” a plot point that is completely abandoned in the mayhem that follows. Walter, the Bad Android, rambles on about the respective attributes of human, machine and alien; he’s like an extremely chatty mad Nazi scientist in a 1940s movie serial. He suffers

a major burn when David, the Good Android, schools him on the authorship of every science fiction villain’s favorite poem,”Ozymandias” (“Look on my works, ye mighty, and despair”). Their conflict leads to a scene of dueling Fassbenders that is either the height of camp or a landmark in cinematic narcissism. Maybe both.

The film brings to mind what I call the Kubrick Corollary: Every director of a serious science fiction film thinks they’re making their own 2001; no film studio will ever again allow a director to make their own 2001.

And if you can put aside its grand ambitions, Alien: Covenant has all of the trappings you could want from an Alien movie. Torsos explode. Monsters snap and growl. At least one crew member is foolish enough to stop and take a shower while all of this is going on. The big action scenes work fairly well, and the blood-and-guts scenes, while no longer having the element of surprise, are suitably gruesome.

There’s even a small moment at the end that recalls the climax of Curtis Harrington’s 1966 Planet of Blood, nicely circling the series back to its original inspiration. The humans are reasonably heroic and the aliens … well, they pop out with their usual efficiency. After 38 years and a half-dozen incarnations, that’s about all you should really expect from an Alien film.

—Robert Hunt

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BIGGEST SHOWCASE TO DATE! P R E S E N T E D BY

P L E A S E D R I N K R E S P O N S I B LY 32

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MAY 17-23, 2017

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OVER 100 BANDS PERFORMING FRIDAY KICK-OFF EVENT ATOMIC COWBOY PAVILION 4140 Manchester

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34

THE ARTS

[VISUAL ARTS]

Leftover City Abigail DeVille’s site-specific sculpture at CAM invokes St. Louis’ troubled racial history and themes of marginalization Written by

BERWIN SONG St. Louis Blues

Sculpture by Abigail DeVille. On display at Contemporary Art Museum St. Louis (3750 Washington Boulevard; www.camstl. org) through August 13 as part of Urban Planning: Art and the City 1967-2017.

E

veryone has a relationship with trash,” says 35-yearold New York artist Abigail DeVille, whose sculpture St. Louis Blues currently occupies an entire room of its own at CAM as part of its Urban Planning group exhibition.

“This is how I look at it: objects are passive witnesses of history, or records of the present historical moment — I mean, the things that they have in the Natural History Museum are people’s trash from a couple thousand years ago!” she co ti ues, e l i i er fi tio with finding and incorporating discarded objects and other urban detritus into her works. Or, as Kelly Shindler, a former associate curator at CAM who returned to guest-curate the exhibition, puts it, “Turning trash into treasure.”

Among the objects found in St. Louis Blues are a half-blackened charred door scavenged from an abandoned lot, which sits between two fences: one a white picket fence wrapped with Christmas ball ornaments and barbed wire, the other covered with pots and pans d ot er re ecti e ute sils. t ll surrounds a towering wooden frame in the shape of the dome of St. Louis’ Old Courthouse. A large-scale model train, carrying a boxcar of bones, travels in and out o t e structure i fi ureeight loop.

It’s all highly symbolic, touching on the issues of marginalized peo-

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RIVERFRONT TIMES

Abigaile DeVille’s St. Louis Blues is made of the city’s refuse. | COURTESY OF THE ARTIST ple and places that form a thread through all of her work.

“I was consciously thinking about two kinds of spaces that I wanted to create: one more in line loosely with African-American domestic spaces, and then one of kind of 1950s suburbia, with the white picket fence,” she explains.

“There are different objects on one e ce t t ou o t fi d o t e other, like the rusty tools, [invoking] lost kinds of labor in terms of industrial jobs, but also people that have been waiting on promises

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that have never been made good.”

Taking part in the exhibition led to DeVille’s first visit to St. Louis. Part of her artistic process — which has taken her through e x p l o ra t i o n s o f B a l t i m o r e , Washington, D.C., Savannah, and her home stomping grounds of New York — is to “go to a place and explore the lay of the land, and try to figure out what aspect of the history I’m interested in, and then kind of building from there.”

In particular, she looks for alternative histories: “I want to

know what’s really happening here from the people who experienced it, rather than whatever makes it into the dominant narrative of the location.” St. Louis was mostly a mystery, she says: “The only thing I knew about St. Louis was what happened with Mike Brown and Ferguson. It’s interesting to experience a city that you’ve never been to, you don’t know what’s really going on, but your idea of it is shaped through the media.”

In her research and exploration of St. Louis, DeVille was drawn to the Old Courthouse — in particular, its history as a site of slave auctions and the location of the Dred Scott trials.

“Immediately, I felt impacted by the history there,” she says. “Spaces are charged; I feel that buildings retain memory. I don’t know what it is, but spaces contain memories of the trauma that happened here.

I responded to [the Old Courthouse] immediately, and I knew that the structure of the conversation should be around this building and the structure of the dome, and to continue thinking about what lives outside of justice, or what is justice? So that’s why the rest of the materials that are in around the sculpture have to do with things that sprawl from there. The root of the conversation is the history and laws, who they’re enacted for and what grows out from that.”

“I also saw a report about redlining in St. Louis before I got here, so I knew I wanted to talk about that as well,” she continues. In particular, the inclusion of the model train constantly looping around the sculpture — which DeVille had m de s ecific ll to sc le or t e gallery space, a rare object specifically commissioned for her art, rather than found — doesn’t just reference St. Louis’ location as a transportation hub. The endlessly circulating train, she says, is “a casu l re ere ce to i fi it , li e e could keep going around the same problems, the same conversations, over and over again.

“People keep living and dying, and it’s the same nonsense. Are we actually going to move out of this trap, this little quagmire that we’re in, being unable to deal with

history?”

[ S TA G E ]

A Time to Reconcile At Upstream Theater, a true story from post-apartheid South Africa feels truly relevant Written by

PAUL FRISWOLD A Human Being Died That Night

Directed by Patrick Siler. Presented by Upstream Theater through May 28 at the Kranzberg Arts Center (501 North Grand Boulevard; www.upstreamtheater.org.

Tickets are $25 to $30.

Y

ou don’t expect a play written by a South African, adapted from a South African book about South Africa in the immediate post-Apartheid era, to feel downright American. And yet there are moments in Upstream Theater’s production of Nicholas Wright’s A Human Being Died That Night that are disquieting in their familiarity. It is in the stiffness of the language when a white man and a black woman discuss race, and it’s present in their shared inability to understand how the other person thinks. And it is the gulf still separating these two at the end, even after years of conversation, that is most familiar of all.

Of course, the fact that the man, Eugene, is a notorious secret policeman who has killed possibly hundreds of black South Africans may have something to do with that gap. Can you understand a man who admits to murdering numerous people like you, even as he protests that he has been wronged by the system that empowered him? Director Patrick Siler and his cast (Jacqueline Thompson and Christopher Harris) escort the audience on a fraught journey focused not on the mind of a killer, but on the path toward understanding, true forgiveness and reconciliation. It makes for a long, strange and rewarding trip.

Wright’s play is based on a book

Pumla listens to Eugene (Christopher Harris) explain his crimes. | PROPHOTOSTL.COM about South African psychologist Pumla Gobodo-Madikizela’s real-life interviews with Eugene de Kock, dubbed “Prime Evil” by the press for his innumerable atrocities during Apartheid. Intrigued by Eugene’s private apology to two of his victim’s widows, Pumla seeks him out. Eugene is currently serving two life sentences plus 212 years for his crimes, so e s e s to fi d.

Set designer Patrick Huber’s stylized jail cell serves as the backdrop for their many conversations. As played by Harris, Eugene is not what you’d expect. His thick glasses and polite manners combine with his paunch to make him appear almost cuddly. He admits to torturing and killing people, while also admitting to being haunted by their faces. His matter-of-factness is chilling, but his overriding manner is one of wronged anger. Eugene’s superiors in the police force — the men who ordered him to kill so many times — are still free, because they blamed their crimes on him, or on police o cers o e si ce bee illed.

“It’s like the dead are a criminal class these days,” he complains. om so s to s te fi e li e as Pumla, who wants to remain professional, even as she seeks to divine Eugene’s true motives. She feels the need to comfort him at one point, but is repulsed when Eugene tells her how surprised he was that she “took his trigger hand” in hers.

Neither understands what the other meant, not he her moment of empathy, nor she his brutal statement.

Part of Pumla’s impetus is her

work on South Africa’s Truth and Reconciliation Committee, or TRC, which gave amnesty to killers on both sides of the apartheid line if they publicly confessed to their actions.

The hope was to heal rifts on both sides. Instead it has fueled Eugene’s anger, because he was one of the few punished after confessing. He’s also aware that he simply cannot be released from prison without causing a million political problems.

That only makes him angrier.

This simmering anger might be the most familiar portion of the play to an American audience. Angry police o cers, r bl c commu ities, violence perpetrated by both sides — this is well-worn territory for us.

What’s unfamiliar is the solution.

At one point Pumla explains that the TRC’s hearings are really for the victims. By getting answers about who killed their loved ones, they’re able to relinquish blind hatred: “They’re always looking for a sign to lay down their burden.” Later she reminds him that “forgiveness is not forgetting,” that the pain of loss will always be there, but that it’s possible to move on.

Eugene eventually comes to his own bleak conclusion, and it’s his first ste to rd or i i imsel for his many crimes. “We killed a lot of people. We fought for nothing.”

You leave with the sense that if we don’t set up our own national method of reconciliation., Eugene de Kock will have preemptively written our epitaph. And that is the most frightening revelation of A Human Being Died That Night. riverfronttimes.com

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CAFE

37

The triple pork burger at Mac’s Local Eats comes with housemade aioli, pickles, onions and slaw on a toasted Vitale’s egg bun. | MABEL SUEN [REVIEW]

Bar None Sustainable, local and delicious, some of the best meals in town are being served out of the back of a Dogtown pub Written by

CHERYL BAEHR Mac’s Local Eats

1225 Tamm Avenue, 314-479-8155. Wed.Thurs. 3-9 p.m.; Fri. 3-10 p.m.; Sat. noon-10 p.m.; Sun. noon-9 p.m. (Closed Monday and Tuesday.)

C

hris “Mac” McKenzie won’t let me in on his secret. I was waiting in line to place my order at his Dogtown cafe, Mac’s Local Eats, when I heard a guy ahead of me say something about a “Lumberjack.” There was

no such item on the menu, but McKenzie called out the order on the sly to his grill cook, who didn’t skip a beat. Could I have stumbled onto one of those hidden menus, available only to those in the know?

When I got to the window and tried to get in on the fun, however, McKenzie wouldn’t budge, offering only a coy shrug. I even caught him bringing out the goods to the gentleman in question; knowing he’d been busted, he gave me a wink and a smile. The man, it seems, is a tough nut to crack.

But while McKenzie’s steadfastness may be a problem for those of us wanting to join his top-secret eating club, it’s also the reason we t to be i it i t e first l ce. or fi e e rs, t is c m io o loc l eating has been tracking down the re s fi est me t d roduce s owner of the CSA Mac’s Local Buys.

Known for his animal shares and grocery bundles, McKenzie is one of the city’s biggest champions of high-quality meats, produce and artisan goods. His efforts have re-

sulted in deep relationships with local farmers and purveyors and, in turn, some serious intel on the best-tasting meat in the region.

It’s no surprise, then, that Tamm Avenue Grill co-owner Bob Brazell recruited McKenzie to run his bar’s food program. Brazell bought the place two years ago and had been serving basic bar food ever since.

However, when a massive sewer break shuttered the Grill last December, it gave Brazell a chance to run the numbers and reassess the situation.

Brazell knew he needed to try something new, but his commitments at Byrd & Barrel (the South Jefferson hangout where he is both owner and chef) as well as ood ortu e i ese- ocused concept opening this summer in which he’s part-owner) made him wary of taking on the Grill’s food program himself. Instead, he came up with the idea of leasing the kitchen to someone who would align with his vision: creative yet accessible fare that would appeal riverfronttimes.com

to those wanting to watch the Blues and throw back some beers. Bar food, but damn good bar food.

Brazell was chatting with his longtime friend McKenzie about something completely unrelated when it hit him: Why not ask McKenzie to do the food? Because McKenzie knew how to source the best products around, he could offer burgers and fries, but they would be the best burgers and fries possible. r ell ould et t e be efit o someone whose vision he trusted running the kitchen, and McKenzie would get to use the Grill, as well as the adjacent storefront, as a physical headquarters for Mac’s Local Buys.

McKenzie partnered up for the project with Bob Komanetsky, who runs the food truck Completely Sauced, and concocted a small but mighty menu. At a glance, the food looks like nothing more than what you’d get at a bowling alley, but a peek under the hood reveals the sort of care you’d get at an upscale, table-service Continued on pg 39

MAY 17-23, 2017

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MAC’S Continued from pg 37 restaurant. McKenzie and Komanetsky make nearly everything at Mac’s Local Eats from scratch, down to the condiments, and the result of their efforts is nothing short of spectacular. e set-u is t i but fi edining. Mac’s Local Eats is located toward the back of the bar’s second room, with such a small window for ordering you might pass it by without even knowing it’s there.

Most of the time, it’s a two-man show, with McKenzie working the counter, taking orders and running food while Komanetsky cooks. It gets busy, and you’ll see them break a sweat, but somehow, your order fi ds its to ou it out muc of a wait.

Burgers transcend simple bar fare, the result of dry-aging an entire grass-fed, humanely raised cow, and then using every bit of it. e me t s t e dee , e rt vor of beef in its purist form — glistening but non-greasy, rich-tasting but clean on the palate. There’s no secret seasoning blend or sauce; it’s just salt, pepper and a quick sear.

Mac’s burgers are portioned into two-ounce patties and smashed on t e t-to so t e et delect ble crispy edge, like the Steak ‘N Shake burgers of your dreams. You can stack as many as you’d like onto a bun — one, two, three or, if you’re feeling really wild, four. This quadruple monster, known as the “El Capitan,” is interspersed with gooey American cheese and dressed with thinly sliced white onions, bread and butter pickles and tomatoes.

The “Pimento Double” gives a Southern twist to Mac’s burger, pairing the beef with a thick-fried green tomato and luscious pimento cheese. Though the cheese and beef combination is impossibly rich, it’s

s!

Gre

rP ice at

“El Capitan” offers no less than four beef patties. | MABEL SUEN offset by the tang from the tomato and its bread and butter pickles, resulting in a dish that’s simultaneously decadent and balanced. c s is roficie t i more t beef, however, as evidenced by the pork burger. The pork is also painstakingly sourced, freshly ground and formed into two-ounce patties that get the smash-and-sear treatment on the griddle. Sweet pickles and slaw add refreshing crunch.

Though I’m not usually a fan of meat substitutes, I was impressed with Mac’s veggie burger. The

crumbly texture and deep umami or mimic ed t e s tis ctio o ground beef so impressively that I actually did a double-take, thinking I’d mistakenly bit into the carnivorous version. Clearly, McKenzie’s commitment to finding the best purveyors extends beyond meat.

It’s difficult not to order a burger at Mac’s, but the “Naked Pig” sandwich may just be the restaurant’s best offering.

McKenzie and Komantesky sous vide a pork loin with rosemary and garlic, which results in gloriously

tender meat. They shave it thin and ile it to crust bre d, re c di st le, fi is i it it cre m aioli and a side of pork jus. The meat is so delicate in texture and so vibrantly hued, it’s like eating rose et ls. o o e ot t e fi est white tablecloth restaurant in town — is serving better pork than this.

Mac’s Local Eats has a handful of finger foods to go with its sandwiches. Boudin balls, made in-house (of course), are tender, Cajun-seasoned fritters of sausage and rice that are beautifully accented by the accompanying thyme-flecked creamy dipping s uce. re c ries re t e ide l o the form: medium thickness with a roughed, batter-style exterior, fried to a golden crisp. As a special touch, Mac’s will toss them in Old Vienna’s Red Hot Riplets seasoning, the tart, hot and subtly sweet blend now sold b t e e to -b sed ot to chip manufacturer. Here, they add a mouthwatering element to the fries that makes them positively addictive.

If you want to go big, order a side of the creamy bacon and onion dip — a luxurious spread of cream cheese, sour cream, mayonnaise, onions and bacon. Then slather your “rip fries” with the creamy concoction and drift off into euphoria ... which might only be interrupted when the person on the barstool next to you asks what on earth took you into such a state.

Don’t keep it a secret. In fact, keep nothing about Mac’s Local Eats to yourself. Shout out to the e tire cit t t t is m ifice t little spot is a bastion of simple, yet impeccable food. Something this lovely demands to be shared with every single person you know.

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“Naked Pig” ..................................... $12 “El Capitan” ..................................... $12 ”Rip Fry”........................................ $4.50

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SHORT ORDERS [SIDE DISH]

Tea With a Side of Utopia Written by

CHERYL BAEHR

R

eginald Quarles, the owner of Teatopia (2619 1/2 Cherokee Street, 314-669-1464), has always loved tea — though it’s only recently that he found out what it actually tastes like.

“I have always been into tea, but I used to drown it in so much sugar,” Quarles laughs. “Over time, though, I started drinking it as-is, and then it became much more of a spiritual act to me.”

Quarles can’t point to any singular event that made him quit his job as a mental health critical incident professional in favor of Teatopia, but he connects a few disparate moments as leading up to the transition. After his mother died in a car accident, Quarles got deep into philosophy and spirituality, and noticed that tea was complementary to his newfound path. As he began practicing mindfulness, he noticed how the simple preparation of tea is like a meditation and that when he prepared tea for others, he could have a small, yet si ific t, im ct o t eir li es.

Quarles was having an impact even before Teatopia. For his previous job with a mental health insurance company, Quarles was responsible for deploying counselors to people who had experienced traumatic events like a shooting or robbery. He enjoyed the job because he feels called to help people, but he eventually began to feel that there could be another way to do that.

Quarles quit his job and traveled the country, visiting tea shops and learning everything he could about the beverage and its traditions. After happening upon a “for lease” sign in the window of what used

Reginald Quarles is at home in his tiny Cherokee Street shop. | SARAH FENSKE to be the Little Dipper sandwich shop on Cherokee Street, he knew he’d found his spot.

At Teatopia, Quarles lives by his motto “brewing better lives, one leaf at a time,” making sure that he creates a welcoming and inclusive space for everyone, from the die-hard tea drinker to someone who has never had a cup of the beverage in their life. “I think the history of tea is kind of odd because it was always for highclass people,” muses Quarles. “But I want to provide it to everyone.

I think people often turn away from tea because they feel it’s inaccessible, but I have a calm and relaxing setup so that everyone can come in and enjoy it.”

To that end, Quarles prides himself on not having his shop set up like a traditional Asian or Victorian-style teahouse — not that there’d be much room for any of that in the tiny storefront. It’s just Quarles, his blends and the warm smile he extends to everyone who

comes inside.

“My ultimate goal is to improve people’s lives and make them feel better,” Quarles says. “So many people are going through battles that no one knows about and they need a positive interaction.

Helping them helps the community because if you extend kindness to them, then they will pay it forward.”

Quarles took a break from bettering lives one cup at a time to share his thoughts on the St. Louis food and beverage scene, his obsession with vegan chocolate d e s still o e to fi di his food crush.

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

That my ultimate goal is to leave a smile on their face through each and every encounter.

What daily ritual is non-negotiable for you?

I either have to read or listen to riverfronttimes.com

43

t le st fi tee mi utes o moti tion. Doing this helps me align my daily, monthly and yearly shortterm and long-term goals.

If you could have any superpower, what would it be?

If I could have any superpower, the one that I would choose would be to ease the daily pain that others experience, whether it’s physical, mental or emotional pain. This may be an unusual superpower to want, but I truly believe that by easing the pain that many of us experience, the world could be a better place. The world truly could be Utopia.

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

To me, it seems that more people are willing to risk being non-traditional. With that, it shows that we are all willing to show who we are as individuals, and we are not afraid to show our personal expressions through food or drinks.

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

Honestly, I do not think that anything is missing. St. Louis has ouris ed to suc de ree, e c have just about anything that we want when it comes to tea, food or coffee.

Who is your St. Louis food crush?

I’m not sure that I have discovered that... yet. I am definitely searching for it, though.

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

I would probably be in the me t l e lt field tr i to m e a difference in a different way.

Name an ingredient never allowed in your shop.

Pre-packaged tea bags.

What is your after-work hangout?

I usually just sit at home and do more work. I know it sounds boring, but I love it.

What’s your food or beverage guilty pleasure?

Vegan chocolate. I cannot have enough of it.

What would be your last meal on earth?

The biggest vegan pizza in the world.

MAY 17-23, 2017

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O P EN 7 DAYS A W E E K 10 A M -10 P M 2801 C H E R OKE E ST R E E T 314 - 7 76 - 4 2 2 3

[FOOD NEWS]

CLEMENTINE’S IS COMING TO DE MUN

I

Pizza Head offers a punk rock theme, pizza by the pie or slice and your choice of PBR or Stag. No wonder there’s a line out the door. | KELLY GLUECK

[FIRST LOOK]

Pizza Head Is Packing Them In Written by

SARAH FENSKE

Y

ou might have thought the last thing South Grand needed was another restaurant — but you’d have been wrong.

Pizza Head (3196 S. Grand Boulevard, 314-266-5400), Scott Sandler’s week-old New Yorkstyle pizza joint, has been packed almost since the moment it opened its doors. The “soft opening” May 3 drew a line around the block.

They had to close early a few days later because they’d basically run out of dough. On Monday, Sandler posted an ad looking for additional help.

But hey, these are good problems to have, and Sandler knows it.

“It’s an insane amount of business I didn’t even imagine,” dmits dler. t first e i d o ot c u t t- ooted. t s ust

totally been slammed.”

Sandler’s previous restaurant, a traditional (albeit meat-free) Neapolitan spot called Pizzeoli, opened in Soulard in 2014. Unlike that restaurant, Pizza Head is aiming for a super-casual, punk rock vibe — you order at the counter, either by the slice or a whole pie, and your drink choices are pretty much limited to cans of Stag, PBR on draft, or a soft drink. You can get a salad for $4, but your choices are simply ranch or Italian. It feels more like CBGB or Silver Ballroom than, say, Pi Pizzeria or PW. But the South Grand area is clearly digging what Pizza Head is serving. Sandler, a perfectionist who labored to get the details of the pizza just right, modestly attributes interest in the place to pent-up demand in the neighborhood. Even though the area is famously filled with restaurants representing countries across the globe, he notes, “there’s really no pizza — just Black Thorn and Domino’s.”

And even if Black Thorn’s deepdish pies and dive bar setting suited every mood, the place famously has long waits of its own.

Plus, notes Sandler, “The bythe-slice thing is a grand slam.

People love pizza by the slice.

We’re doing a lot of whole pies, too, but these are big slices, and you can get two and a pint for $8, or two and a soft drink for $7 — I think that’s a really good deal.”

Clearly, his neighbors agree, and Sandler is doing everything he can to keep up with their interest. He believes that opening complications are now in the rearview mirror — it took a bit of fi essi , but t e e o fi ured out how to make the slice thing work, timing-wise, he says. He’s also adjusting to the new, counterservice model. “I thought it would be easy,” he says, laughing. “It’s not that easy!”

For now, Pizza Head is open Tuesday through Thursday, 11 a.m. to 10 p.m., and weekends until midnight. Sundays for now are 4 to 8 p.m.

And just because it’s got a punk rock theme, don’t assume it’s adults-only. Those strollerpushers in Tower Grove East and Tower Grove South are not your boring suburban parents.

Says Sandler, “With the music thing, I never thought it would be family-friendly. But I was totally wrong. There were people with kids last night that dropped by around 9 p.m.” Hey, how can you blame them? When a place is this popular, that’s probably the only time the wait was reasonable. riverfronttimes.com

f you like your ice cream both naughty and nice, you’re going to like this piece of news: Clementine’s Naughty and Nice Creamery (1637 S. 18th St., 314-858-6100) is expanding, with a shop now planned for 730 De Mun Avenue in Clayton.

Owner Tamara Keefe hopes to open the new location in June, leapfrogging a previously announced second location in the Southampton neighborhood.

Located in a former hair salon, the De Mun shop will be twice as large as the original in Lafayette Square, Keefe says.

It will also have a patio out front and, of course, Clementine’s signature charm.

The microcreamery, which sells small batch, all-natural ice creams, has been wowing customers with its naughty (boozy) and nice (non-alcoholic) flavors since opening its flagship store in 2015. Keefe says she always anticipated expanding, however — and St. Louis obviously has wanted it, too.

“St. Louis has been so supportive, and they’ve asked us to expand continually... people just demanded it,” Keefe says. “They wanted it.”

De Mun isn’t the only neighborhood that can anticipate a Clementine’s location. The Southampton location, planned for 4715 Macklind, is still in the works, while an outpost at the Foundry and in Maplewood are also in the works.

Additional shops could be added in the future, including in St. Louis County if Keefe can find the right neighborhood, location and feel.

“It is an independent shop, so we need to be in neighborhoods where people are going to support independent businesses,” Keefe says. “That’s really important.”

While you still have a few weeks before Clementine’s De Mun location opens, the storefront is already a sight to see. While Clementine’s prepares for its opening, the windows are covered — and tagged with art by Gecko, a well-known St. Louis street artist.

Clementine’s is a sponsor for St.ART, an upcoming street art festival highlighting art like his and promoting healing for the city of St. Louis.

“They’re bringing in all these nationally renowned street artists into St. Louis for an exhibition later this year, and so it was to announce that, and show that we’re supporting that, but also have this cool artist come do our windows so people could anticipate our opening in De Mun,” Keefe says. —Elizabeth Semko

MAY 17-23, 2017

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RIVERFRONT TIMES

Now Open: Das Bevo Bierhall Written by

DANNY WICENTOWSKI

A

century after August Busch Sr. looked at a plot of land in modern-day south St. Louis and thought “I wanna drink beer inside a windmill,” the iconic Bevo Mill is once again open for thirsty travelers. Unlike its builder, however, they won’t just be stopping at the windmill on the way to Grant’s Farm. The eclectic Bevo Mill, newly christened Das Bevo Bierhall (4749 Gravois Avenue), is a destination all its own.

With more than $1 million in renovations and the guiding hands o t e esteemed c e s t u rfire Events — the catering wing of u rfire mo e ouse, it eter Slay serving as executive chef — it’s no wonder that Das Bevo was

MAY 17-23, 2017

riverfronttimes.com

packed when it kicked off its soft opening May 7.

Things had quieted down by the time RFT arrived in the afternoon, but the renovated interior was no less impressive. Beneath the high vaulted ceiling and dark rafters, the cavernous main dining area has the air of a hunting lodge.

Even though the walls are lined with antlers, it somehow doesn’t feel overdone.

The menu Sunday was limited, but still fit t e bill or t o ers Pat and Carol Schuchard had promised in a press release: “a creative and contemporary pub me u it erm re.

To start, all of Sunday’s patrons were greeted with a complementary yogurt parfait, assembled with homemade mango preserves, berries and pistachio granola.

The brunch menu’s highlight, both in terms of taste and the enjoyment of pronunciation, was the aptly named “Dasbigassburrito.”

The dish was actually more of a chimichanga, but who are we to quibble with a name that funny?

It was a hefty deep-fried tortilla whose crunchy layers housed a not-messing-around amount of bacon, sausage, scrambled eggs and home fries — and after that,

the whole thing was doused in beer cheese. Das good.

The brunch offerings and beer hall represent only a partial view of what Das Bevo hopes to offer.

The Schuchards, who previously developed Majorette and Boo Cat Club, purchased the structure last year from the city after the previous lessee, a catering company, pulled out of the operation. The city then put out a call for proposals.

The Schuchards answered the call, and along with an all-week restaurant, work is being done to complete a 100-seat outdoor German beer garden. The lower level, dubbed Das Bevo Underground and promising a “speakeasy” vibe, will host concerts, rehearsal dinners, weddings and corporate meetings.

By next spring, the owners are aiming to complete renovations on August Busch Sr.’s old apartment, located in the body of the windmill.

The living space will be split into bed-and-breakfast apartments that can be rented for the night. Which is good news, we imagine, for old Augie’s ghost. He’s probably been aching for new drinking buddies these long years.

A toast to you, Bevo Mill. It’s good to have you back with us.

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MAY 17-23, 2017

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MUSIC

49

[REVIEW]

Revolution Within Rhymesayers rapper Brother Ali comes to St. Louis in support of stellar new album, his first in five years Written by

HOWARD HARDEE Brother Ali 8 p.m. Monday, May 22. The Firebird, 2706 Olive Street. $18 to $67. 314-535-0353.

Q

uiet moments aren’t easy to come by when you’re a rapper on tour. That’s a bothersome reality for Brother Ali, legally blind since birth and particularly attuned to noise and the absence of it.

“Not being able to see, I really focus on sounds,” he says. “That’s the way I convey meaning — by the way things sound. ... Once you prepare for an album and a tour and all that, there’s not a lot of silence. You have to be in the constant noise of promoting. It becomes this non-stop thing and it s di cult to fi d s ce or uiet and aloneness.”

The Minneapolis-based MC’s creativity has been tied to periods o re ectio t rou out is c reer.

Early on, he spent a lot of time walking and taking the bus, and he stayed silent in the crowd, a ghost. He envisioned most of the songs for 2003’s Shadows in the Sun while ruminating in public spaces.

More recently, Brother Ali revisited that process with All the Beauty in This Whole Life, is first lbum i fi e e rs, rele sed e rlier t is month. During periods of silence he observed as a practicing Muslim, absent the mind’s usual inputs — speaking, listening to music, looking at screens — the words came to him.

“Whatever messages you are getting is your heart talking,” he says.

Though his new album is not overtly political, Brother Ali says, “Connecting on the human level is a revolutionary act.” | SHELLY MOSMAN Brother Ali, born Jason Newman, spoke to Riverfront Times over the phone ahead of his show at the Firebird on May 22. His voice has the sort of rhythmic, lyrical u lit reser ed or r ers d reverends, and that’s part of what makes him something of curiosity to music journalists. Soulful though Brother Ali may be, he is as white as they come: He was born with albinism, or the lack of pigment in his skin, hair and eyes, and is extremely sensitive to light.

Brother Ali acknowledges that looking different and not seeing what everybody else does is iso-

lating, but it lends to introspection d sel -re ectio . d t t suits him. For instance, his long hiatus from recording was spent rediscovering his spiritual path, he says.

“I was spending time with people who really have their hearts right, people who are in line and good proportion,” he says. “Human beings are really amazing creatures when their heart is together. When the heart is out of whack — and the culture we live in and these times really encourage the heart being out of alignment — things like the ego become too much of the center, too much in control.” riverfronttimes.com

Egotism is a theme Ali explores on All the Beauty in This Whole Life. The song “It Ain’t Easy” is a bouncy stroll in the park set to clean, major-key piano chords over which he raps: “I don’t need to say everything I think I must/My ego’s trying to ruin everything I touch/ What I mean though or what my point is/That you’re much more important than my point is.”

He explains, “For somebody like me who’s an activist and community organizer, thinking that my own opinions are so important and thinking I’m right all the time Continued on pg 52 can make it

MAY 17-23, 2017

RIVERFRONT TIMES

49

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MAY 17-23, 2017

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di cult to co ect it t e eo le who I love.”

Indeed, another theme is disconnection in friendships, romantic relationships and modern society s ole. t s fitti , t e , t t creating the album itself was a process of reconnection. It was produced entirely by Ant — a.k.a.

Anthony Davis — one half of the hip-hop duo Atmosphere, a fellow member of vaunted underground label Rhymesayers and Brother Ali’s oldest collaborator. By chance, they found each other in the San Francisco Bay Area around the same time and under similar life circumstances.

“Ant was on a path of exploration of his own that led him to Berkeley,” Brother Ali recalls.

“We kind of reconnected there, just talking about what’s going on, getting a feel for where both of us are. Everybody has a lot going on in their lives, but it’s like, ‘What am I going to focus on when I’m making music?’ There are so many choices and so many different directions it could go. Usually, for us, it’s whatever we’re both going through at the time. Whatever is really allowing us to relate to each other is what we end up doing with the music.

“I was in the room when he made the music, and he was in the room when I wrote the songs. Everything about it is a partnering.”

The product is crisp, fresh and uplifting. There is no overt political messaging like that of Brother Ali’s 2007 single “Uncle Sam Goddamn,” partly because so many voices in hip-hop are adding meaningfully to that conversation right now — Kendrick Lamar, Run the Jewels, A Tribe Called Quest. But he argues that the very concept of society identifying and connecting with castigated groups such as Muslims, Mexicans, refugees, immigrants and impoverished people is political.

“Connecting on the human level is a revolutionary act,” he says. “I don’t want to be the one telling people what they should be thinking politically, because everybody is already thinking about that. It’s at the forefront of a lot of people’s minds.” e oes sile t, er s to re ect, and then completes his thought.

“It’s not enough to diagnose darkness,” he says softly. “You have to prescribe light.”

B-SIDES

53

Stacy Johnson, far left, with Tom Ray and Darrick Shakir. | COURTESY OF PAPA RAY [IN MEMORIAM]

RIP, Stacy Johnson Written by

ROY KASTEN

S

tacy Johnson, St. Louis soul and blues singer and songwriter, died May 11 after a long struggle with cancer.

He was 72.

Schooled in gospel, doo-wop and blues, Johnson grew up in St. Louis and as a teenager sang with the Superiors before forming his first ot ble b d, t e r bi s, with guitarist Herbert Reeves.

Reeves would join Johnson in an early incarnation of pivotal St. Louis R&B outfit the Sharpees, led b uit rist e r . s part of the Sharpees, Johnson made lasting, if under-recognized,

contributions to the emergence of St. Louis’ distinctive rhythm and blues sound.

Johnson’s first major break, however, came with Ike Turner in the early ‘60s. He toured with the Ike and Tina Revue and recorded the scorching blues song “Consider Yourself” with Turner for the Modern label in 1964. Most singers not named Tina would wilt in the company of Turner’s blistering guitar. But even as a young man, Johnson proved he wasn’t just a good singer. His voice had rare power: raw, agile, uncalculated, with phrasing and range that were both world-class.

“Stacy Johnson was a stone veteran vocalist of our town since the 1960s,” says musician, DJ and record-store owner Tom Ray. “His records were few, but songs such as the Ike-produced blues ‘Consider Yourself,’ plus ‘Don’t Believe Him’ and ‘Remove My Doubts’ show a knowing, real-deal soul vocalist at a high level of performance. Stacy never reached the upper rungs of the music industry, but it wasn’t for lack of talent.”

In a 2000 interview with St. Louis BluesNet, Johnson expressed pride in his contributions to Ike and Tina’s stagecraft: “There was a minimum amount of dancing being done with the Ike and Tina show, and upon Vernon [Guy] and I going, the whole show changed, because we interjected 90 percent — and I stand convinced of this — 90 percent of the dance routines that they did as a whole group.”

Weary of touring, Johnson eventually left Turner’s revue to rejoin the Sharpees, who scored a string of hits on the One-Derful! label in the ‘60s. In 1966, Johnson again stepped out on his own for the excellent solo single “I Stand lo e. rou out t e dec de, he worked with a host of bands at St. Louis clubs including the o d t e i ier , o te sharing the spotlight with close friend Vernon Guy (the two recorded “The Hunter and the Rabbit” and “My Life Time Love” for the Sonja label in 1963).

By 1982, Johnson had begun to give up on performing, but in 1987 he came out of retirement riverfronttimes.com

to si o o ie o so s first solo album Blue Hand Johnnie and tour Europe with the likes of Robbie Montgomery (one of the Ikettes), Clayton Love and Oliver Sain as part of the St. Louis Kings of Rhythm.

Johnson continued to work in St. Louis for some 40 years, notably as a featured singer with Bennie Smith, Soul Reunion and Broadway Rhythm, among others, only slowing down in the last decade after suffering three stro es. u dr iser or o so at BB’s Jazz, Blues and Soups in 2012 was one of his last highrofile e r ces. t t e e e t, Johnson took the stage backed by an all-star band to deliver “Look Out” and “Rainy Night in Georgia.”

In his book That St. Louis Thing, Vol. 2, writer Bruce Olson recalled that at the age of 67, Johnson’s voice remained “creamy…well spoken and clear as a bell.” o so s ido , dele e Johnson, has established a o u d e e to el it fi l expenses. Funeral arrangements are still to be announced.

MAY 17-23, 2017

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54

HOMESPUN

ZACH SULLENTRUP Debt Sounds zachsullentrup.com

W

hen Zach Sullentrup and his bandmates formed Tidal Volume, the members were students at DeSmet Jesuit high school, and the songs didn’t exactly hide that fact. That’s not a knock — there’s an art to capturing and corralling hormones, teen angst and one’s burgeoning identity in a three-minute o so , d t e b d s emo-i ected tu es combined the raw edge of youth and an education in power-pop dynamics.

At this point in Sullentrup’s life, both high sc ool d colle e re firml i t e re rview. While Tidal Volume still performs and records, Sullentrup, the band’s singer, guitarist and songwriter, is about to release is first solo record, Debt Sounds. It’s a full band production — some of his Tidal Volume bandmates back him here — but he used his time away from home while enrolled at Mizzou to stretch his songwriting chops.

“We still do that band at full force but in college we were split between St. Louis and Columbia,” says Sullentrup of Tidal Volume. “During the semester I had all the time and freedom to write songs. For our last lbum d fi tee or si tee so s t t fit t t b d, but I had a bunch of solo stuff I released on Bandcamp to test the waters.”

After that initial demo-dump, Sullentrup used the end of his college career as a natural time to take stock.

“There was this batch of songs from my college era that fit i to ice rr ti e, e co ti ues. ut, e s s, t e ere t e ctl ood fit or is o -roc u rtet. e ere too erso l, too ried d too loose to fit into the frame that Tidal Volume had created. “I’m a big fan of pop and rock music, and Tidal Volume is a ro ect t t re ects t t. ut lso li e uieter stu and also more raucous sounds — Debt Sounds re ects that broader palette of sounds.”

For the late-May release of Debt Sounds — yes, it’s a nod to Pet Sounds, down to the cover’s use of the iconic Cooper Black font — Sullentrup plans to launch the album with his newly christened record label, Flaming Garbage Records.

“I love the idea of community building within music,” says Sullentrup of his foray as label-boss. “I think it’s really hard to make music in isolation. We’ve always struggled with that — there weren’t a lot of bands in St. Louis that sounded like Tidal Volume.” Sullentrup ie s t e l bel s o er rc i si ifier or ll of his projects, as well a potential home for friends’ releases. But given the state of physical media in the music industry (CDs are seen as almost entirely obsolete; vinyl is hip but costly), Flaming Garbage plans on bypassing traditional modes of distribution.

So instead of shiny silver discs, Sullentrup plans on etti cre ti e it distributio befitti ou man who left school with a focus in marketing and who currently works at an advertising agency.

“The main idea is, we don’t want to do CD or vinyl

54

RIVERFRONT TIMES

MAY 17-23, 2017

riverfronttimes.com

or cassettes at all — we want to do forward-thinking digital releases,” he says. “The release for Debt Sounds will be a coffee mug with a tea bag in it, and the tea bag will have a download card on it.”

The ten-track album still leans on the nervy, kinetic outlines of Weezer and Jimmy Eat World songs — lead single “Parannoyed (Mine)” rides on a chunky melodic bass riff and embraces the point of view of a needy, frustrated would-be boyfriend. Later, the cringingly titled “Hipster Fight Song” takes aim at indie-rock scene jockeying: “It doesn’t matter if the titles are clever / Cuz none of your songs are gonna last forever,” Sullentrup si s. e sm rtl oi ts t e fi er b c t imsel d is sti ed cre ti e rocess, d is o desire to l in the buzz-band sweepstakes.

Sullentrup’s songs hit a more compelling note when he is less arch and more emotionally bare. Closing track “Game 5 OT” juxtaposes the heartbreak of playoff hockey (something St. Louis Blues fans don’t need a reminder of) with romantic uncertainty and soul-baring. His guitar’s twangy figure paints an appropriately spare picture before the band comes in with a twin-guitar crunch and plaintive piano underpinning.

“I always loved the idea of writing very broadly — people can relate to love or pain in a broad sense.

Everyone has broken up with someone at some point,” he says.

For Sullentrup, those formative years as college ends and adulthood beckons provided the necessary grist for these songs. And if he suffered for his art — and more than a few songs here roil with emotional turmoil — Sullentrup was ready to contend with the fallout.

“I think I didn’t shy away from how dark it needed to go for me,” he says. “In a lot of ways writing these songs was a healing exercise for me. My college years were very explorative and very distinct years of my life where I learned about the world I exist in and where fit i .

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Louis, 314-588-0505.

Louis, 314-726-6161.

DYLAN MCDONALD & THE AVIANS: 10 p.m., $10.

THE WEEKS: 8 p.m., $15. Off Broadway, 3509

ALI KO KING: w/ Mike G, Mr. Noknob, Apollo

MONTANA OF 300: w/ Tae Glizzy 8 p.m., $20.

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

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

Dagemini, Ciree, Franko Fresh, Bird Skinny,

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

Louis, 314-436-5222.

FSC, Lavish Kings Ent 9 p.m., $10. Fubar, 3108

ROMERO: w/ MotherFather, QueenLotus 8 p.m.,

GREEN MCDONOUGH BAND: 7 p.m., $5. BB’s Jazz,

SUNDAY 21

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

$8-$10. Fubar, 3108 Locust St, St. Louis, 314-

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

BITERS: w/ Frankie and The Studs, Nick

BIG FREEDIA: 8 p.m., $20-$25. The Ready Room,

289-9050.

436-5222.

Bifano And The Innocents, Scuzz 7 p.m., $12.

4195 Manchester Ave, St. Louis, 314-833-3929.

THE SHINS: 8 p.m., $37-$47. The Pageant, 6161

KIEFER SUTHERLAND: 8 p.m., $25-$28. Fubar,

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

THE CHAINSMOKERS: w/ Kiiara 7 p.m., $41-$81.

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

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

9050.

Scottrade Center, 1401 Clark Ave., St. Louis,

T.I.: 8 p.m., $35-$40. Pop’s Nightclub, 401 Mon-

MEAT PUPPETS: w/ Mike Watt and the Jom and

THE FRED EAGLESMITH SHOW STARRING TIF

314-241-1888.

santo Ave., East St. Louis, 618-274-6720.

Terry Show 8 p.m., $20. Old Rock House, 1200

GINN: 8 p.m., $25-$30. Off Broadway, 3509

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

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

POINTFEST 2017: PART 2: w/ Soundgarden,

JEN NORMAN: 2 p.m., free. Howard’s in Sou-

THE DUST COVERS: 7 p.m., $10. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363.

SATURDAY 20

FLUX PAVILION: w/ KAYZO, Wilkinson 8 p.m.,

BALLYHOO!: w/ The Holdup, Darenots 7 p.m.,

Stone Sour, Pierce the Veil, Greek Fire, J. Roddy

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

$20-$25. The Pageant, 6161 Delmar Blvd., St.

$15-$18. Delmar Hall, 6133 Delmar Blvd., St.

Walston and the Business, Biffy Clyro, Dillinger

JUSTIN HOSKINS & THE MOVIE: 5 p.m., $10.

Louis, 314-726-6161.

Louis, 314-726-6161.

Escape Plan 1 p.m., TBA. Hollywood Casino

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

JOE METZKA BAND: 8 p.m., $5. BB’s Jazz, Blues

BONE THUGS-N-HARMONY: w/ Cure for Paranoia

Amphitheatre, I-70 & Earth City Expwy., Mary-

Louis, 314-436-5222.

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

8 p.m., $30-$35. The Ready Room, 4195 Man-

land Heights, 314-298-9944.

LADIES OF THE LOU: 8 p.m., $10. Fubar, 3108

5222.

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

[CRITIC’S PICK]

LOUDPVCK: w/ HODJ, Exposure 10 p.m., $10$20. Europe Nightclub, 710 N 15th St, St. Louis, 314-221-8427.

MARGARET GLASPY: w/ Cuddle Magic 8 p.m., $12-$15. Blueberry Hill - The Duck Room, 6504 Delmar Blvd., University City, 314-727-4444.

WORDS LIKE DAGGERS: w/ Leav/e/arth, Sleeper Hold 6 p.m., $10-$12. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

FRIDAY 19 80’S EXCESS OF SYNCRONICITY: w/ Kick X: A Tribute to INXS, The Retro Nerds 8 p.m., $10$15. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929.

THE 9TH STREET SURFERS: 6 p.m., free. Howard’s in Soulard, 2732 S 13th St, St. Louis, 314-349-2850.

DAVID MICHAEL MILLER: 7 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314436-5222.

EDGEFIELD C. JOHNSTON DUO: 9 p.m., free.

Urban Chestnut Brewing Company, 3229 Wash-

Big Freeda. | PHOTO VIA SIMPLE PLAY PRESENTS

ington Ave., St. Louis, 314-222-0143.

EMINENCE ENSEMBLE: w/ Hazard To Ya Booty 8 p.m., $10. Old Rock House, 1200 S. 7th St., St.

Big Freedia

Louis, 314-588-0505.

8 p.m. Thursday, May 18.

THE GREEN MCDONOUGH BAND: 7 p.m., $5.

National Blues Museum, 615 Washington Ave., St. Louis.

HA HA TONKA: 8 p.m., $15. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363.

HALLOW POINT CD RELEASE SHOW: w/ Outcome of Betrayal, Final Drive, Compelled To Destroy, Wrecklamation 7 p.m., $8-$10. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

MATT “THE RATTLESNAKE” LESCH BAND: 7 p.m., free. Hwy 61 Roadhouse and Kitchen, 34 S Old Orchard Ave, Webster Groves, 314-968-0061.

MILLER & THE OTHER SINNERS: 10 p.m., $10. BB’s

58

RIVERFRONT TIMES

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

Big Freedia is on a mission to make you shake your ass.

It doesn’t matter who you are — a hip teenager, somebody’s parent, an out-of-shape 34-year-old music writer who sweats when he takes the stairs — when Freedia comes to town, you will dance. And by god, you will like it.

For almost twenty years the New Orleans-based MC has been performing high-energy, booty-shaking bounce music for fans from all walks of life, breaking into mainstream success around 2010. Her live shows are one-part rowdy

MAY 17-23, 2017

riverfronttimes.com

church service and one-part aerobics class, with audiences gleefully participating in her trademark call-and-response lyrics while wiggling every part of their bodies to the point of exhaustion. To quote Freedia herself: “Ass everywhere ass everywhere a-a-a-ass everywhere ass everywhere ass everywhere a-a-a-a-asss everywhere.” So yeah, you know what time it is.

Beyonce Approved: Hey, remember when “Formation” came out and the word “slay” shot to the top of the American lexicon for a few months? Well you can thank Big Freedia for that — it was she who first uttered the word in the song’s interlude.

—Daniel Hill

PATIO [CRITIC’S PICK]

≈ GRAND ≈

The Shins. | PHOTO VIA COLUMBIA RECORDS

The Shins 8 p.m. Friday, May 19.

The Pageant, 6161 Delmar Boulevard. $37 to $47.

314-726-6161.

As the leader of the Shins, James Mercer doesn’t seem like an asshole, but the longtime bandmates he canned prior to 2012’s Port of Morrow likely have a different take. His declaration of sole artistic responsibility for the Shins’ music was a weird salting of wounds, and the meandering album itself suggested that Mercer — who has recently opened up about his struggles with depression and anxiety — needed some time off. Five years later comes

Heartworms, a more musical, melodic and personal release, and one of the best sets from the Shins since Chutes Too Narrow. Mercer flirts with power pop, synth pop and even classic Shins indie pop, with lots of predictable lowkey, lo-fi touches, but mostly those catchy sparkles and peculiar rhythms that have long defined the best of Mercer and the Shins’ music.

Opening Volley: Tennis, the Denver-based duo of Patrick Riley and Alaina Moore, serve up dreamy, synthy ballads in this evening’s early slot.

—Roy Kasten

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

MONDAY 22

LOVE JONES “THE BAND”: 8:30 p.m., $10. BB’s

THE BIRTHDAY MASSACRE: w/ Army Of The Uni-

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

verse, Ludovico Technique 7 p.m., $10-$25.

Louis, 314-436-5222.

The Ready Room, 4195 Manchester Ave, St.

MOZINGO ROCK UNIVERSITY: 4 p.m., free. The

Louis, 314-833-3929.

Ready Room, 4195 Manchester Ave, St. Louis,

BROTHER ALI: w/ SA-ROC 8 p.m., $18-$67. The

314-833-3929.

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

MUSHROOMHEAD:

e ro

i

, u

o -

0353.

er Dead 6 p.m., $18-$21. The Firebird, 2706

DRUG CHURCH: w/ Polterguts 7 p.m., $10.

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

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

SOMO: 8 p.m., $25-$30. The Pageant, 6161

GOV’T MULE: 8 p.m., $33.50-$38. The Pageant,

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

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

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

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

Broadway, 701 S. Broadway, St. Louis, 314-

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

621-7880.

5222.

TINSLEY ELLIS BLUES IS DEAD: 8 p.m., $17.50-

NEGURA BUNGET: w/ Tyranny Enthroned 8

$20. Old Rock House, 1200 S. 7th St., St.

p.m., $15-$16. Fubar, 3108 Locust St, St. Louis,

Louis, 314-588-0505.

OPENING Charitable Benefit for

BACKSTOPPERS BBQ Pork Steaks Games-Prizes Beer Specials Give Aways Frozen Drinks LIVE MUSIC

ALL DAY ≈ ALL NIGHT

JUNE 3

200 N. MAIN ≈ DUPO, IL

Continued on pg 60

riverfronttimes.com

MAY 17-23, 2017

RIVERFRONT TIMES

59

OUT EVERY NIGHT Continued from pg 58

[CRITIC’S PICK]

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

314-289-9050.

Ha Ha Tonka

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

9 p.m. Friday, May 19.

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

TUESDAY 23 DIRTBALL: 6 p.m., $13. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

ETHAN LEINWAND & GUESTS: 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.

JOYCE MUSIC: 7 p.m., $10. The Sheldon, 3648 Washington Blvd., St. Louis, 314-533-9900.

Off Broadway, 3509 Lemp Avenue. $15. 314-7733363.

St. Louis audiences have long been in the thrall of Ha Ha Tonka, the band bred in West Plains, Missouri, that turns roots and Americana music into something wild, big-hearted and all-encompassing. The band’s near-annual Thanksgiving shows at Off Broadway are as much a part of that holiday as college football and parade floats, but

LEROY JODIE PIERSON: Fri., June 9, 7 p.m., $5.

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

the group’s long-awaited new album, Heart-Shaped Mountain, is another reason to celebrate. The quintet sees this collection as its version of a love album, which Brian Roberts’ expressive delivery is able to sell.

Back on the ‘horse: Ha Ha Tonka recorded its new album at Jason McEntire’s Sawhorse Studio, the south-side space where the band also recorded its first two LPs. —Christian Schaeffer

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

LOUFEST 2017: W/ Weezer, Cage The Elephant, Nathaniel Rateliff & The Night Sweats, Huey Lewis & The News, Marian Hill, Lizzo, Houndmouth, Lecrae, Robert Randolph & The Family Band, Hippo Campus, The Record Company, Rainbow Kitten Surprise, Mondo Cozmo, Noname, Future Thieves, Mvstermind, Ron Gallo, Jonny P, Harts, Chris Bandi, Jack Grelle, 18Andcounting & The Only Ensemble, Beth Bombara, Mathias & The Pirates, Starwolf, Sat., Sept. 9, 11 a.m.; Sun., Sept. 10, 11 a.m.

Forest Park, Highway 40 (I-64) & Hampton Ave., St. Louis.

LOVE JONES “THE BAND”: Sun., June 4, 8 p.m., $10. Sat., June 10, 10 p.m., $10. BB’s Jazz,

KIM MASSIE: 10:30 p.m., $10. Beale on BroadTue., June 6, 7 p.m., $10-$20. BB’s Jazz, Blues

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

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

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

3363, offbroadwaystl.com.

314-436-5222, bbsjazzbluessoups.com.

5222, bbsjazzbluessoups.com.

FIONA BOYES: Fri., June 2, 7 p.m., $10. BB’s

THE MIGHTY PINES: W/ Clusterpluck, Sat., July

ARI HEST: Fri., June 9, 6 p.m., $25. SqWires,

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

1, 8 p.m., $15. Delmar Hall, 6133 Delmar

1415 S 18th St, St. Louis, 314-865-3522,

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

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

sqwires.com.

FLO RIDA: W/ AJR, Allen Gates, Fri., July 14,

com.

BARBARIAN: W/ Peucharist, Malas, Vile

7:30 p.m., $9.63-$78. Family Arena, 2002

MT. EDDY: W/ Captains Courageous, This is our

Desecration, Wed., Aug. 16, 8 p.m., $10-$12.

Arena Parkway, St Charles, 636-896-4200,

dance, Sun., July 16, 7 p.m., $8-$10. The Fire-

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

familyarena.com.

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

fubarstl.com.

FRAGILE PORCELAIN MICE: W/ NIL8, Braddock,

firebirdstl.com.

BILLY BARNETT BAND: Thu., June 1, 7 p.m., $5.

Sat., July 22, 8 p.m., $12. Fubar, 3108 Locust

MUSIC BENEFIT FOR THE AMERICAN HEART AS-

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

St, St. Louis, 314-289-9050, fubarstl.com.

SOCIATION: Sun., June 4, 3 p.m., $10. BB’s Jazz,

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

GBH: W/ The Casualties, Tue., Sept. 19, 8 p.m.,

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

BOO BOO DAVIS & THE BUMBLE BEE TRIO: Sat.,

$20-$23. Fubar, 3108 Locust St, St. Louis, 314-

314-436-5222, bbsjazzbluessoups.com.

June 3, 10 p.m., $5. BB’s Jazz, Blues & Soups,

289-9050, fubarstl.com.

NICK DITTMEIER & THE SAWDUSTERS: W/ Oak,

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

GOYA: W/ Destroyer Of Light, Thu., June 15,

Steel & Lightning, Thu., June 15, 8 p.m., $5.

THE GREAT GRILLED CHEESE PARTY: w/ Hazard

bbsjazzbluessoups.com.

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

San Loo, 3211 Cherokee St., St. Louis, 314-696-

to Ya Booty 7 p.m., $15. Off Broadway, 3509

BORN OF OSIRIS: W/ Volumes, Betraying The

Louis, 314-289-9050, fubarstl.com.

2888, sanloo.org.

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

Martyrs, Widowmaker, Thu., June 29, 7 p.m.,

IVAS JOHN & BRIAN CURRAN: Thu., June 8,

PERRILLES JAZZ PROJECT: Wed., June 7, 10

IMMINENT SONIC DESTRUCTION: w/ Edensong,

$20-$23. The Ready Room, 4195 Manchester

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

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

Wrecklamation 6 p.m., $10-$12. Fubar, 3108

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

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

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

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

com.

bluessoups.com.

bluessoups.com.

KATASTRO & PACIFIC DUB: 8 p.m., $10-$12. Old

BROKEN SOCIAL SCENE: W/ Frightened Rabbit,

IVAS JOHN BAND: Fri., June 9, 10 p.m., $5. BB’s

PHILO: Sun., June 18, 9 p.m., $5-$7. The Fire-

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

Sun., Sept. 24, 8 p.m., $33-$36. The Pageant,

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

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

0505.

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

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

firebirdstl.com.

NOISE BRIGADE: 7 p.m., $7-$10. The Firebird,

thepageant.com.

JAVIER MENDOZA: Fri., June 16, 7:30 p.m., $25.

ROMERO: W/ MotherFather, QueenLotus, Fri.,

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

CHARLEY CROCKETT BAND: Wed., June 7, 7

The Focal Point, 2720 Sutton Blvd, St. Louis,

May 19, 8 p.m., $8-$10. Fubar, 3108 Locust St,

OFF WITH THEIR HEADS (ACOUSTIC): w/ The Cu-

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

314-560-2778, thefocalpoint.org.

St. Louis, 314-289-9050, fubarstl.com.

ban Missiles, Starter Jackets, The Wilderness,

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

THE JERRY DOUGLAS BAND: Fri., Aug. 18, 8

SAM LEWIS: Sun., July 16, 8 p.m., $10. Old

7Daze 8 p.m., $8. Fubar, 3108 Locust St, St.

bluessoups.com.

p.m., $35-$40. Delmar Hall, 6133 Delmar

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

Louis, 314-289-9050.

CHASE WALKER BAND: Thu., June 8, 10 p.m.,

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

0505, oldrockhouse.com.

RIVAL SONS: w/ London Souls, Howie Pyro

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

com.

SCHOOL OF ROCK ALL-STARS: Thu., Aug. 3, 7

8 p.m., $26-$28. Delmar Hall, 6133 Delmar

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

JOE METZKA BAND: Thu., June 1, 10 p.m., $5.

p.m., $10. Old Rock House, 1200 S. 7th St., St.

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

soups.com.

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

Louis, 314-588-0505, oldrockhouse.com.

SKATING POLLY: 8 p.m., $8-$10. The Ready

THE COLOR MORALE: W/ The Plot In You, Day-

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

SIMPLY THREE: Sun., Oct. 29, 8 p.m., $20-$25.

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

seeker, Picturesque, Inner Outlines, Marked

JOHN LATINI: Sat., June 3, 7 p.m., $5. BB’s Jazz,

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

833-3929.

by Honor, Wed., July 5, 6 p.m., $15-$17.

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

314-726-6161, delmarhall.com.

SONGBIRD CAFE: 7:30 p.m., $20-$25. The Focal

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

314-436-5222, bbsjazzbluessoups.com.

STORY OF THE YEAR: Fri., July 7, 8 p.m., $17-

Point, 2720 Sutton Blvd, St. Louis, 314-560-

fubarstl.com.

JONNY LANG: Tue., Sept. 19, 8 p.m., $30-$155.

$20. The Ready Room, 4195 Manchester Ave,

2778.

DAN BAIRD & HOMEMADE SIN: Thu., Sept. 7, 8

The Pageant, 6161 Delmar Blvd., St. Louis,

St. Louis, 314-833-3929, thereadyroom.com.

WEDNESDAY NIGHT JAZZ CRAWL: 5 p.m. contin-

p.m., $12-$15. Old Rock House, 1200 S. 7th St.,

314-726-6161, thepageant.com.

TONY HINCHCLIFFE: Wed., Aug. 2, 8 p.m., $25-

ues through Dec. 27, free. The Stage at KDHX,

St. Louis, 314-588-0505, oldrockhouse.com.

KATY PERRY: Sun., Oct. 22, 7 p.m., $47.50-

$30. The Ready Room, 4195 Manchester Ave,

3524 Washington Ave, St. Louis, 314-925-7543,

DAVID DEE & THE HOT TRACKS: Fri., June 2,

$177.50. Scottrade Center, 1401 Clark Ave., St.

St. Louis, 314-833-3929, thereadyroom.com.

ext. 815.

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

Louis, 314-241-1888, scottradecenter.com.

TOO MANY ZOOZ: W/ Dj Mahf, XeRoFuX, Qua-

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

KHAOTIKA: W/ Wormreich, Ruines Ov

sar Camp, Sat., June 24, 8 p.m., $20. Old Rock

bluessoups.com.

Abaddon, Ahzidal, Wed., Aug. 9, 7 p.m., $12.

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

A - GAME: W/ Lydia Caesar, Thu., June 29,

THE DAY PARTY STL: Sat., May 27, 4 p.m., $10.

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

oldrockhouse.com.

8 p.m., $5. The Firebird, 2706 Olive St., St.

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

fubarstl.com.

WALTER TROUT: W/ Anthony Gomes, Sun., July

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

314-726-6161, delmarhall.com.

LARRY GRIFFIN & ERIC MCSPADDEN: Sat., June

2, 8 p.m., $20-$25. Old Rock House, 1200 S.

ANNUAL PIANO FESTIVAL: Mon., June 5, 7 p.m.;

THE DISTRICTS: Fri., July 14, 8 p.m., $15. Off

10, 7 p.m., $5. BB’s Jazz, Blues & Soups, 700 S.

7th St., St. Louis, 314-588-0505, oldrockhouse.

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

RIPE: 8 p.m., $10-$12. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505.

ST. LOUIS SOCIAL CLUB: 9:30 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

THE SWORD: 8 p.m., $17-$20. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929.

WEDNESDAY 24 BIG RICH MCDONOUGH & RHYTHM RENEGADES: 9 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

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

THIS JUST IN

60

RIVERFRONT TIMES

MAY 17-23, 2017

riverfronttimes.com

SAVAGE LOVE ANTI-CLIMAX

BY DAN SAVAGE Hey, Dan: I’m a happily married straight man. My wife, who is 33 years old, cannot orgasm through intercourse since we had our last child. Her explanation is that she has this constant sensation to pee. Now we find other means to please her through toys, oral, etc. Are there exercises or other means to get her to climax through intercourse? Is this common from childbirth?

Climaxing Liberally Is Fun “Failure to orgasm with penile penetration is not a medical condition,” said Dr. Jennifer Gunter, an ob-gyn, writer (drjengunter.wordpress.com) and kick-ass tweeter who practices in the San Francisco Bay Area. “If a woman can orgasm with other methods — oral sex or masturbation or toys — then that means everything is working just fi e. emember, it s ot o s e ets to t e rt t t m tters, it s t t s e got to attend the party.”

As all straight men need to be aware, CLIF, only a small number of women — less than a quarter — get off from vaginal intercourse alone, a.k.a. PIV. “Most women require clitoral stimulation to have an orgasm, and often the mechanics of penile penetration ust do t roduce t e ri t i d o rictio , s id r. u ter. t s ossible that the subtle anatomical changes post-childbirth have altered the friction mechanics of your coupling. Introducing a vibrator during sex might help.” d ile e re o t e sub ect o clits, CLIF…

We abbreviate sign-offs around here, as everyone knows, and like PIV or our i e, L , our si -o did t uite et ou t ere. ou could e o e it lim i Liber ll s errific or “Tremendous” or “Totally Spectacul r, but ou did t. er s it s i oce t br i rt er s m reading too much into this — but if you did t s ot t e e r- L st ri ou i the face in your sign-off, CLIF, it seems possible that you may have overlooked our i e s clit, too. lso ossible our ie s t ctu ll i or sms “through intercourse” before she gave birt to our l st c ild. ou re cle rl invested in climaxing together — just like in the movies and porn and other fictio s d our i e, li e m women, may have been faking orgasms to please a male partner. Tired of faking orgasms, your wife seized on the birth of your last child to explain s e sudde l could t come from PIV alone anymore. t bout our i e s co st t sensation to pee during intercourse? t s somet i to be loo ed t, Dr. Gunter said. “After childbirth (and sometimes just with age), women can develop an overactive bladder or pelvic-muscle issues, and these could be exacerbated during penetration, making a woman feel as if she needs to empty her bladder. Worrying about peeing during sex might be holding her back. It might be worth a visit to el ic oor sic l t er ist d or a urogynecologist if this sensation to pee during sex is bothering her. But if neither the lack of orgasm with penile penetration nor the urgency to pee is bothering her, and she is having orgasms other ways and is happy with that, I would be happy with it, too. Af-

ter ll, it s er or sm, d stress or pressure to orgasm a particular way might negatively affect her party.”

Hey, Dan: I’m a 29-year-old man who desires a monogamous relationship.

I’m currently in an LTR with a 29-yearold woman. Despite my feelings about monogamy, I’ve sought attention from women and men on dating apps. I’ve gotten caught doing this more than once. I have never met up with anyone in real life, and my girlfriend has yet to find out about the use of gay dating apps. After some soul-searching, I realized that my bisexuality is a huge issue in our relationship. I’ve never discussed it with her, and while I don’t think she would react negatively, I’m scared of how it would affect our relationship.

I’m not sure whether to go to therapy, bring it up with my girlfriend, or do some combination of the two. I’d love some advice about having this discussion in a way that won’t end my relationship. I’m not really interested in an open relationship, and I would like to stay with my girlfriend, but I’m confused because I don’t know if a monogamous relationship will still be what I want once I open up about my sexuality. It seems like a no-win situation — stay in the closet and no one knows but I keep wanting outside attention, or tell her the real reason I’ve used dating apps and probably lose the relationship.

Bisexual Reeling About Closeted Ethical Dilemma e use o d ti s is t t e issue it s our use o t em. d ile m it ic i t s ot outside tte tio ou t, , it s coc . c i t e ell u Lots o partnered people — even contentedly

61

monogamous people — dink around on dating apps for the attention, for the ego boost, for the spank bank. Fakes d es o t e eo le o re looking for actual dates on those apps, of course, but apps are the new pick-up bars, and partnered people were strolli i to ic -u b rs to rmlessl irt with strangers before heading home to their mates, all charged up, long before apps came along. The dangers d tem t tio s o - cilit ted irtations are greater, of course, because u li e t e erso ou brie irted it i b r, t e erso ou irted it o c fi d ou i hell, they come home with you, in your pocket, and you can easily reconnect with them later. ut t e re l issue ere is t s or lirti lo t e rmless d erous s ectrum, , it s closets s ecific ll , t e o e ou re i . e closet is a miserable place to be, as you know, and the only relevant question is whether you can spend the rest of your life in there. If the answer is no d it sure sou ds li e it s o ou sou d miser ble t e ou ll e to come out to your girlfriend. If you do t t i mo o m ill be ri t or ou o ce ou re out, t e mo o m may not be right for you period. Find yourself a queer-positive therapist, come out to your GF with their help, and allow her to make an informed choice about whether she wants to be with you. Worry less about the right ords, , d more bout t e truthful ones. mail@savagelove.net @fakedansavage on Twitter ITMFA.org

STREAK’S CORNER • by Bob Stretch

riverfronttimes.com

MAY 17-23, 2017

RIVERFRONT TIMES

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riverfronttimes.com

MAY 17-23, 2017

RIVERFRONT TIMES

63

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RIVERFRONT TIMES

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riverfronttimes.com

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