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O c t Ob e r 17–2 3 , 2 013 | f r e e | V Ol . 3 3 NO. 16 | p i t c h.c Om

oc t ober 17–23, 2013 | Vol . 33 No. 16 E d i t o r i a l

Editor Scott Wilson Managing Editor Justin Kendall Music Editor Natalie Gallagher Staff Writers Charles Ferruzza, David Hudnall, Steve Vockrodt Editorial Operations Manager Deborah Hirsch Events Editor Berry Anderson Proofreader Brent Shepherd Contributing Writers Tracy Abeln, Jonathan Bender, Liz Cook, Adrianne DeWeese, April Fleming, Larry Kopitnik, Angela Lutz, Dan Lybarger, Nancy Hull Rigdon, Dan Savage, Abbie Stutzer

mi ss i Ng pi eces A now-dismissed lawsuit sheds some light on the Karen Pletz case. b y s t e v e vo c k r o d t

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a r t

Art Director Ashford Stamper Contributing Photographers Angela C. Bond, Barrett Emke, Chris Mullins, Lauren Phillips, Sabrina Staires, Brooke Vandever Intern Christina Larkins

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P r o d u c t i o n

Production Manager Christina Riddle Multimedia Designer Vu Radley

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Sales Manager Erin Carey Senior Classified Multimedia Specialist Steven Suarez Multimedia Specialists Collin Click, Sharon Donat, Katee Mejia, Page Olson Director of Marketing & Operations Jason Dockery Digital Marketing Manager Keli Sweetland

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Circulation Director Mike Ryan

B u s i n E s s

Accounts Receivable Jodi Waldsmith Publisher Joel Hornbostel

Oklahoma Joe’s drives

s o u t h c o m m

into the food-truck business.

Chief Executive Officer Chris Ferrell Chief Financial Officer Patrick Min Chief Marketing Officer Susan Torregrossa Chief Technology Officer Matt Locke Business Manager Eric Norwood Director of Digital Sales & Marketing David Walker Controller Todd Patton Creative Director Heather Pierce Director of Content/Online Development Patrick Rains

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Zingz.

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The best advice I ever got: “Be excellent to each other.” — Bill & Ted’s Excellent Adventure

What’s your drink? Red Bull and Pepto, neat.

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ity. It’s a hybrid I came up with that adds a little spice to both games.

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Jared Allen.

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A now-dismissed lawsuit sheds some light on the Karen Pletz case.

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ne of the last burning legal embers of Karen Pletz’s reign over the Kansas City University of Medicine and Biosciences got stamped out a couple of weeks ago — at least for now. Former KCUMB vice president of admissions Stephen Phipps dismissed his own lawsuit against the osteopathic university on September 26. He had sued the school, claiming that KCUMB officials, including former board chairman Danny Weaver, had coerced him into lending Pletz, the former CEO of the university, thousands of dollars. To be exact: $218,817. Phipps thought he had to make the loan in order to keep his job. The pressure from Weaver and from Doug Dalzell, KCUMB executive vice president, to extend Pletz huge sums of money from Phipps’ retirement account and through credit-card advances put him in a tough spot. Tough enough, he claims, that it led to his suffering a pair of strokes. (Dalzell, Kansas City eaters will recall, is father to Rob Dalzell, the restaurateur who closed his downtown establishments right after Pletz’s firing and skipped town.) Phipps lost his job after suffering those strokes. He now lives in Boone County, Missouri. When the Kansas City Business Journal contacted Phipps last year and asked why Pletz needed those loans, he replied, perhaps sardonically, “You’d have to ask her, and obviously you can’t.”

off on her personal taxes as her own chariThat’s because Pletz killed herself on table contribution. November 22, 2011. Her suicide in Fort Lauderdale, Florida, The Pletz saga was probably the biggest and most salacious business and civic scan- averted what would have been a high-profile federal trial, one that almost certainly would dal in Kansas City since the downfall of realhave brought more titillating details to the estate titan Kroh Brothers Development Co., surface. in the late 1980s. In that case, commercial But the claims in Phipps’ lawsuit paint real-estate magnates and brothers George the picture of a university administration and Jack Kroh testified against each other run amok. Pletz was reputed to be a profliin federal court. Their empire had fallen amid allegations that they had propped up gate spender, but the decision by university their business through skulduggery, such as leaders to compel employees to extend perpassing worthless checks, lying to investi- sonal loans to her is a head-scratcher. Weaver became CEO after KCUMB jettigators, and obtaining bogus personal loans soned Pletz, but he has since left. He claims for their wives. to have returned to his Florida medical pracFunny-money crimes also put Pletz in the glare of federal prosecutors after KCUMB fired tice, even though he purchased a house in Parkville not long before her, late in 2009. The allehis departure. gations told a brazen story: Funny-money crimes Ph ipps’ lawsuit was Prosecutors said Pletz had cooked up minutes to unialso put Pletz in the glare dismissed by his attorney, Jarrett Johnson. Johnson versity board meetings that of federal prosecutors. tells The Pitch that somenever happened, in order to times plaintiffs’ lawsuits make it seem as though uniget dismissed as a routine versity directors increased matter, but in this case Phipps can refile the her salary. She was accused of submitting lavish expense reports for meetings with dig- case within a year. So Phipps’ claims may return to the Jacknitaries that didn’t take place and of embezson County docket. zling other university funds. Phipps did try another route to recover his More troubling from a legal standpoint losses. He filed a claim in Pletz’s probate case was a triple-dipping scheme in which she used university money to make a donation for the amount of the loan. He claimed that it was secured by Pletz’s jewelry and other to Benedictine College, then asked that the university reimburse her for the donation as property from her Country Club Plaza condo.  But Phipps is somewhere toward the though she had paid it herself, and wrote it

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back of a long line of people trying to get at what’s left of Pletz’s estate. The Internal Revenue Service filed a $342,481 lien against her estate. The Missouri Department of Revenue wants $62,871, which is less than what American Express is seeking ($77,534). Even the poor River Club, an exclusive hangout for the city’s corporate elite that overlooks Case Park, wants its $1,140 cut. Pletz’s estate, which is being administered by her husband, Jack Pletz, at least settled the biggest claim — the one belonging to KCUMB. The university wanted back $2.1 million, a figure that represents what officials there believe she stole. Jack Pletz and the university appear ready to settle the matter. But that’s not necessarily the end of KCUMB’s Pletz-related lawsuits. Pletz’s criminal attorneys at the downtown law firm Rouse Hendricks German May are still trying to find a way for the university to repay her legal fees. They twice argued, while Pletz was still alive, that the university had an obligation to pay her legal fees because she was an officer of the university. Such agreements are common in the corporate world, like the time Westar Energy had to pay millions in legal fees to lawyers of former executives David Wittig and Douglas Lake, even though they were both accused and, at one point, convicted of looting the Kansas utility.  KCUMB says its bylaws are clear: It doesn’t have to cover Pletz’s legal fees.

E-mail steve.vockrodt@pitch.com

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Com pany

by Jonathan Bender Photography by Sabrina Staires 6

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An ambitious local manufacturer drives Oklahoma Joe’s into the food-truck business.

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rectangle of light spills from the truck window onto the pavement and shines down on a small group of men. The vehicle is parked in spot 846 at the American Royal. The men let their mouths drop open as though they’ve just seen a beautiful woman or a particularly choice piece of steak. One of them reaches out, his hand tracing, but not quite touching, the lettering on the side of the truck. “You see lots of those,” a guy in a Chiefs T-shirt says. He leans back against some hay bales. “But that must have cost a mint.” Half a dozen Elvis impersonators, their guts wrapped in sequined jumpsuits, raise their fingers in salute to the order window. A honey vendor halts his sales pitch to gape. It’s Friday night at the world’s largest barbecue contest, and, in the shadow of Kemper Arena, Oklahoma Joe’s new Z-Man food truck has arrived. Brad Carlson and Blake Fulton, the owners of MAG Trucks, stand close by. It has been only 48 hours or so since their Liberty shop finished work on the Z-Man. As they give impromptu tours, they’re also still absorbing the idea that they managed to construct and deliver, in little more than a month, a 33-foot kitchen on wheels, with a built-in Southern Pride smoker the size of a sidewalk mailbox. Not long ago, novelty alone was enough. Locals weren’t used to being able to buy food from a mobile kitchen, so attracting a crowd wasn’t hard. But food-truck vendors today are in a four-wheel race to have the shiniest concept on the block. In a market where the trucks now matter as much as the food, the Z-Man was built to really matter. “Oklahoma Joe’s won’t just be a player around town. They’re going to be nationally known for this truck,” Carlson says. What he doesn’t say, but what he hopes, is that MAG Trucks can come along for the ride.

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he National Restaurant Association recently estimated that mobile eateries — food trucks and carts — bring in $650 million in revenue annually. Emergent Research, in a December 2012 study conducted for Intuit, predicts that food trucks and carts will grow from 1 percent of the total revenue in the U.S. restaurant industry to between 3 and 4 percent by 2017. That would mean $2.7 billion a year for food trucks. The culture’s appetite for food trucks is also on the rise. The Great Food Truck Race is into its fourth season on the Food Network — The Pitch’s Charles Ferruzza was a guest critic on an episode filmed in Manhattan, Kansas — as is Eat St. on the Cooking Channel. And Richard

ends,” Carlson, 26, says. “Now, we can put them in in a couple hours.” The sale of those vans provided the seed money and convinced them that they could have a future in trucking. Midwestern Automotive Group LLC — which has since been rebranded as the four divisions of MAG Trucks, MAG Capital, MAG Specialty Vehicles and MAG Transport — was born. By the time they graduated, in 2009 — Fulton with a degree in finance from the University of Missouri and Carlson with a degree in business from Central Missouri State University — they had scored their first job. Toyota wanted a trio of marketing trucks to push a new color, Electric Wasabi, for its Scion xD. A truck had typically taken them from four to six weeks to make, but this contract called for three in one month. They found a body shop in Kearney and ran the job like general contractors. “It was probably more of a precursor than we realized,” Fulton says. “With concession trucks you have to do things a little bit differently. Whether it’s the materials or layout, you need to stand out.” At first, MAG was too small a shop to focus on anything but its main business. Fulton and Carlson had at first delivered their completed trucks themselves to FedEx contractors around the country. But sales have been good enough that MAG has hit $10 million in revenue without having taken a bank loan. Still, Fulton and Carlson weren’t ready to plunge into an unproven marketplace. “Our niche is that we could take trucks few miles from downtown Liberty, the shells of several dozen step vans wait in that had no secondary use and make a use for them,” Carlson says. “It was about transneat rows behind a beige commercial building. Step vans are the delivery vehicles that forming swinging doors into rolling doors or whatever the drivers needed.” carry our daily bread and our dry cleaning and Fulton had ta rgeted our overnight shipments. the company’s online adOver the next month, these vertising toward delivery old hulks will be stripped “Some men look contractors, and Carlson’s down, rebuilt, repainted truck designs had begun atand sold. at Ferraris. Me, tracting a steady clientele. “Some men look at FerIn 2011, MAG Trucks was raris,” Blake Fulton, 26, I look at step vans.” named a preferred vendor says in the lot next to MAG for FedEx. That endorseTrucks’ three garage bays. ment and a staff that had “Me, I look at step vans.” Fulton and Brad Carlson were juniors in grown to 16 employees helped free up the pair to begin thinking about growing the parts of college when they turned that love of boxy vehicles into a business. They grew up together their business that weren’t related to carrying packages around the country. in Kearney, Missouri, and bought their first “We have the trucks,” Fulton says. “That’s three step vans on the advice of Jeff Gowing, what drove us into it.” Fulton’s uncle, who runs Base Craft — a busiMAG’s first food truck for a Kansas client ness that supplies equipment to movie sets. was island-themed, with surfboards and blueThey had no trouble finding eBay buyers for the three used diesel trucks. But rehabbing wave flames along the side. The next was for the vehicles to those customers’ specifications Peter Morton, founder of the Hard Rock Café, who was developing a prototype Love All— was a different story. continued on page 8 Serve All truck for “That first set of shelves took three week-

Myrick, editor of Mobile Cuisine and author of Running a Food Truck for Dummies, says the trend isn’t going up on blocks anytime soon. “Food trucks aren’t closing as quickly as restaurants because there’s a survivability factor,” says Myrick, 44, who plans to launch a food truck of his own next year in the Chicago area. “You don’t have a full staff and the same costs with a truck. It’s often just you or you and your family to start.” The next wave of vendors isn’t momand-pop; trucks with corporate backing and upscale budgets are on the way, with construction costs approaching the price of a house. “You’re going to see large chains use trucks as promotional vehicles for introducing new menu items or promotion for their brick-andmortar stores,” Myrick says. “It’s a moving billboard. You can get a focus group on the street in a city where you don’t have a presence and do the market research to determine if you should.” But even if Taco Bell, Applebee’s and McDonald’s learn to share the road with the Oscar Mayer Weinermobile, no megacorporation is ready to outfit trucks for the journey. The nature of food trucks — the customized setup, the owner-operator model and the geographic distribution — means that the industry lacks a single dominant builder. A trend exploding onto an imperfect marketplace — this essentially launched MAG Trucks six years ago.

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Fast Company continued from page 7 his nonprofit foundation. Then came a merchandising truck for the Chicago Bulls and the Blackhawks. (And one is in the works for the Philadelphia Flyers.) These trucks start at $50,000. Fulton estimates that concession-truck sales now account for 4 percent of the company’s revenue. To grow further, Carlson figured that MAG needed a signature truck, something likely to go viral while becoming the centerpiece of a planned showroom. (The company has made an offer on a space in the Kansas City area that is 10 times the size of its current 5,000-square-foot location.) Carlson set his sights on Oklahoma Joe’s. When a friend tipped him off that Jeff Stehney, the barbecue restaurant’s co-owner, would be at a Retail Grocers Association event in the parking lot of an area supermarket this past summer, Carlson showed up with three tricked-out step vans. “People are really visual,” Carlson says. “I can show them a drawing, but in order for them to really imagine something, they have to be able to step inside the truck.” Stehney, who had thought about opening a sandwich shop, found himself imagining the possibilities for a mobile kitchen. The Z-Man, his barbecue empire’s branded brisket sandwich that’s topped with provolone and onion rings, could find its way into birthday parties and weddings. “I saw those trucks and I was sold,” Stehney says.

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n the first Wednesday in September, Stehney is recalling an unfortunate incident involving a drive home from the American Royal in an uncooperative catering van. He’s standing in the middle garage bay at MAG Trucks, next to a former paper-delivery van — the stripped hull that will become the Z-Man truck. “We get on I-35, and the back doors of the catering van open. Then both awnings come

Fulton (left) and Carlson are rolling with MAG Trucks. out, and this thing looks like it’s going to take off. We had to pull over on [the] 12th Street [viaduct]. So we had some new rules about what we wouldn’t do with vending. And here we are, breaking all our rules.” Carlson has stretched the truck more than 40 inches to increase the amount of kitchen space and to accommodate what Stehney requires: a smoker to keep the brisket warm for Z-Man sandwiches. “There’s a barbecue trailer with a patio on back,” Carlson says. “I’m not sure it’s ever been done before on a step van.” As he and Stehney talk about where in the truck to put bread trays and refrigerators, a fabricator is busy soldering panels together. The finished truck will have more than 500 feet of electrical wiring and 30 circuit breakers. The generator powering the kitchen equipment weighs roughly 1,200 pounds. Even Stehney can’t help joking about the size of his truck. “Just a little space vehicle to run to the store,” he says. The Z-Man sandwich is the only item the truck will share with the three Oklahoma Joe’s restaurants in Kansas. Director of operations Ryan Barrows says he considers this a “french fry truck,” capable of making hot fries and onion rings in a bank of three fryers nestled inside the main vending area. The Oklahoma Joe’s team knows that the truck needs to be finished in time for the American Royal, and the other part of the plan is to park it in the lot at the original Oklahoma Joe’s location (3002 West 47th Avenue in Kansas City, Kansas) on Sunday, October 20. But the 33-foot-long, 11-foot-tall elephant in the room is what happens after that. “We don’t know yet where we’re going to keep it,” Stehney says.

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he Z-Man truck, which Stehney plans to deploy on both sides of the state line, is driving into a crowded field. The Kansas

The Z-Man truck debuts at the Royal. City, Missouri, Health Department has 358 active permits for food trucks and food carts (a number that jumps to 470 if you include ice-cream trucks). The Truck Stop in the Crossroads, the First Friday event run by the real-estate firm Copaken Brooks in a lot at 21st Street and Wyandotte, has ballooned from seven food trucks in 2011 to the 50 trucks that rotate through the 12-16 monthly spots. This past summer, BMO Harris Bank started booking food trucks in its parking lot, at 11th Street and Walnut, for the Food Truck Invasion on the third Thursday of every month. “The food-truck scene just continues to grow,” Sharon Ko says. She’s a marketing associate with Copaken Brooks and coordinates the Truck Stop. “And I think that’s because of the passion of the food-truck drivers.” Adrian Bermudez, who owns Indios Carbonsitos and is president of the Kansas City Food Truck Association, knows that it’s getting harder for trucks to find eaters. That’s why he hired artist T.J. Daniels to give his three-year-old truck a makeover in September, replacing its plain white sides with an Aztec mural over bright-red paint. “With all these new trucks coming out with really nice paint jobs and wraps, I knew we had to do something to get us back out there,” Bermudez says. “People were passing us by. They go for the bling. They go for the pretty.” Food trucks have launched brick-andmortar restaurants here: Port Fonda in Westport and Little Freshie on the West Side being the most high-profile examples. But the dynamic has reversed polarity, with trucks becoming mobile brand extensions for existing restaurants. KC Hopps has a Blue Moose catering truck, and Bread + Butter Concepts sent its Taco Republic vehicle to events while it was building a permanent restaurant across from the original Oklahoma Joe’s. Bermudez says these restaurants on wheels, and the arrival of trucks from national chains (McDonald’s parks at Arrowhead), should help the pool of existing trucks.

“They have the money and the pull,” he says. “They can make things happen that a Joe Blow like myself can’t do.” The Food Truck Association, which launched in January and now counts a membership of 20 trucks, has been working with the city to identify additional areas downtown where vendors could park. The only designated spot for food trucks most weekdays is a stretch of 13th Street between Oak and Locust. Trucks can set up in other parking spaces, but there must be enough room, and the meters have to get fed before the customers do. “The food trucks have to abide by the same rules as anyone else in that parking space,” says John Pajor, manager of the Kansas City, Missouri, Business Customer Service Center. “We don’t have a lot of flexibility to remove parking spaces for mobile vending.” The Z-Man is about to become the biggest food truck on the road (the typical vehicle is about 26 feet long), and it could be at the vanguard of the movement toward more dedicated space for mobile vending. Some cities have permanent food-truck parks: San Francisco; Boston; Atlanta; and Portland, Oregon. Owners of parking lots, undeveloped parcels and existing businesses might find their holdings more valuable if they let vendors park their own six-figure investments nearby. “I hope that somebody comes forward with a lot that is safe and well-lit,” Bermudez says. “And with a truck from Oklahoma Joe’s, maybe that’s possible. I’m getting older. I can’t drive this truck around in the cold and heat forever.”

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he Z-Man seems poised to further elevate MAG Trucks’ profile. Carlson is talking to a Kansas City coffee company about creating a custom ride, and there’s a plan to build the Z-Man a sister: a working 33-foot model that would be MAG’s own mobile billboard. The showroom could be a destination for entrepreneurs nationwide. MAG is already building a chili truck for a client in Kentucky, and it’s retrofitting a container truck with doors that swing open to reveal a stone pizza oven. At the American Royal, crowds continue to slow down when they glimpse the Z-Man truck. A small boy tugs his mother’s hand, leading her to the side of the Z-Man. He swings a glowing plastic cone, the kind sold at circuses and fairs, to highlight the comic-book-panel text. “Superheroes,” the boy says. His mom explains that the truck holds sandwiches, not crime-fighters. The boy continues to make flying noises. A few feet away, Carlson is talking about the truck with a small knot of people attending the Oklahoma Joe’s party. “You have to have something that separates you out,” Carlson says. “People are taking photos, and they want a story. The truck has to have a cool story.”

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s ta g e

Fancy ThaT T

he Kansas City Ballet’s season opener, Fancy Free, makes a spirited introduction to Devon Carney, the institution’s new artistic director. Subtitled Joy That Knows No Bounds, the five-ballet collection spans eras and styles in playful pursuit of pure delight — a delight very much in evidence last Friday. The title ballet, Jerome Robbins’ “Fancy Free,” is the only one of the bill’s offerings that centers on a clear storyline. The curtain rises on an angular 1940s bar, on a set that looks e Mor familiar — we might have stepped into Edward Hopper’s “Nighthawks.” at ine Wa r m, hazy lig ht ing Onl .com pitch suggests a sweltering summer night in New York City, and Leonard Bernstein’s music rolls out breezy brass and chattering bassoons. Three swaggering sailors on shore leave spar over two women passers-by, and their individual dances for the ladies’ attentions capture all of the bravado and sexual posturing of a mating strut. The looser, jazzier movements recall the popular dance styles of that era, and the sustained lifts look effortless, belying the performers’ formidable strength and skill. This is ballet for theatergoers, a bewitching blend of storytelling and spectacle. The second ballet, “Triple Play,” trades the lavish set and symphonic soundtrack for a bare stage and pianist Sam Beckett’s sparse but breathtaking rendition of Francis Poulenc’s “Trois Novelettes for Solo Piano.” Dancers Molly Wagner and Logan Pachciarz engage in an intimate pas de deux, blending sharp micro movements with elegant lifts and long lines. Don’t let the first movement’s playful feel fool you: This is a seduction. The third movement is one of the evening’s high

Steve WilSon

Stage

Carney choreographs the new “Opus 1.” points. As the lights dim to a romantic glow, the dancers pulse with Beckett’s keystrokes, and the chemistry between them is made palpable in William Whitener’s sensual, rolling choreography. “Keep Me Wishing in the Dark” offers more experimental fare, setting Jodie Gates’ contemporary choreography against Bach’s baroque piano. The curtain flies up to reveal a stunning tableau: The dancers stand, facing away from us, in flowing, backless gowns. The only movement seems to emanate from the proscenium arch, where high spotlights catch slow-swirling fog in their beams. The ballet begins as a tapestry of gesture, weaving dynamic duets through group choreography. One pairing poses a

The Kansas City Ballet gets a season-

By

opening lift from Devon Carney.

L i z C ook

to complete the atmosphere, splashing gradient color washes against the cyclorama that transition with each new duet. George Balanchine’s “Allegro Brillante” moves away from abstract expression to plant us firmly in neoclassical romance. Pairs of dancers pirouette and flutter en pointe under white, radiant light, echoing rapid-fire choreography. Dance is a visual language, and Balanchine might employ a few clichés: performers spinning in time with piano glissandos, for example. But for the most part, the dance proves as brilliant as the title suggests, even if Friday’s principal performers occasionally lacked the clarity and vitality that the allegro dance demanded. That was not a problem in the final ballet, the world premiere of Carney’s “Opus 1.” Friday’s principal dancers, Laura Hunt and Michael Davis, attacked the moves with exuberance and skill. Hunt in particular captivated with her tensile strength and ecstatic expression. Carney’s piece indulges the audience with a candied digestif of classical ballet: glitterfemale dancer like a music-box ballerina, ing tutus, lords a-leaping, firelight gleaming her stooped spins seemingly controlled by from high chandeliers. When a third chanher partner. In another section, the performers shift in jerky patterns, as if yanked delier descends from the fly rail in the final, symphonic swell, Carney by marionette strings. At seems to be winking at us. times, the piano stops and Fancy Free “Opus 1” crowds the the company moves in siThe Kansas City Ballet, stage with the full corps de lence, punctuating the dark through October 20, at the ballet, including the Secwith short, sharp claps. Kauffman Center for the Perond Company, Carney’s For “Keep Me Wishforming Arts, 1601 Broadway, new addition. Though the ing,” costumer Melanie 816-931-2232, kcballet.org precision and alignment Watnick has clothed men aren’t always clean in the and women alike in gowns, full-company dances, the buoyant choreand the rippling fabric lends the company an ography is appropriately footloose — hinting androgynous quality. The floor-length skirts at the grander, more extravagant future that allow male dancers to create the smooth, Carney is already talking about for this ballet. elongated lines typically reserved for their female counterparts. Kirk Bookman’s evocative lighting design pairs with the costumes E-mail feedback@pitch.com

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Amelia’s dresses and boots (top) and Artistic Works by Lu (above) find in the store.” This is the boutique’s eighth year in the event, and Gore says her space will offer statement pieces, including jackets with vintage lace, riding boots paired with dresses, and jewelry by Dogeared. Lu Knueven considers her involvement with Holiday Mart a way to lure more shoppers to downtown Leavenworth, where she owns Artistic Works by Lu. Making the jewelry that she calls “vintageinspired and urban chic” was a way to pass time when her husband was away with the U.S. Air Force. Her hobby led to jewelry shows inside homes at Fort Leavenworth, and six years ago she opened her brick-and-mortar space. “Leavenworth has become a great day trip, and Holiday Mart is a chance to show that to Kansas City,” she says.

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ill Sixx Gevargizian knows you like to watch. In fact, the first-time filmmaker is banking on that compulsion. Her featurette, Call Girl, is about a man who sets out to broadcast his date night but ends up sharing something far more disturbing. How disturbing? You’ll have to wait until Gevargizian releases the film to find out. (She’s aiming for a spring 2014 release, in time for that season’s horror conventions.) But it must be pretty fucked-up stuff because Gevargizian was able to hire two horror stars as the movie’s leads: Laurence R. Harvey (the second and third Human Centipede films) and Tristan Risk (American Mary). This is Gevargizian’s first directing turn, but she’s no stranger to her chosen genre. She has lived and breathed the creepy, crawly culture since she was about 10 years old. “I used to stay with a friend over the weekend, when I was younger, whose parents didn’t give a crap what we did,” Gevargizian tells The Pitch. “We’d rent, like, everything — The Exorcist, Dr. Giggles, and all this ridiculous stuff. Candyman — I still love that movie.” Her fandom eventually led her to start a quirky monthly film fest, Slaughter Movie House, and she has become a staple presence at horror conventions. She wasn’t sure that she’d ever make a movie of her own, but

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Gevargizian moves behind the camera. Then I got to college, and I found out that I was crap at using the machinery. So I ended up doing performance cinema.” Script in hand and talent beginning to assemble, Gevargizian needed to raise money to put Call Girl into production. “It was so nerve-racking to post that and to ask for money,” Gevargizian says of her Kickstarter campaign. “It’s hard to know or to feel out what’s too much. And so many people fund themselves that way now, and there can be sort of a Kickstarter or Indiegogo fatigue.” Supporters seemed not to be too fatigued. With donations totaling $5,647, Gevargizian was able to make her movie. After what she hopes will be a December premiere in Kansas City, she plans to start with Havens on a feature-length version of Call Girl. She’s also working on a short film by John Pata, the Wisconsin director whose recent Dead Weight is making noise. And she hopes to write her own film in the future. “I don’t have anything fleshed out into a script by any means,” she says. “But I have multiple notebooks titled with each idea, and pages and pages. I need to focus on one and develop it for real.”

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The Pour Before riches

District Pour House + Kitchen needs to overcome a couple of gaffes.

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on’t order the chicken cassoulet at the new District Pour House + Kitchen. Don’t ask for the ravioli, either. Or the chicken and dumplings. I tried ordering the cassoulet three times at the month-old restaurant — it’s on the printed menu, after all — and only on my third visit did a server e r Mo tell me why the kitchen was going to turn me down again. at e n i Onl .com “It’s coming off the pitch menu,” he whispered. “So are the ravioli and the chicken and dumplings. We haven’t been serving them for over a week.” The servers at the District know how to keep a secret. Nobody working my table during any of my three visits to this clean, comfortable new venue said anything about the MIA dishes until after I’d attempted to sample them. It made for an awkward game, wondering aloud what might be available rather than simply placing an order for food. Jason Roarke, co-owner of the District, told me later that he and business partner Dan McCall are learning, as they go, which dishes their customers actually want (and which items have issues). They found that no one was ordering the cassoulet. Meanwhile, the kitchen was still trying to crack the recipe for a gnocchi satisfying enough for the chicken and dumplings. “We’re still tinkering with that one,” Roarke said. “And we just want to make a seasonal change to the ravioli.” Roarke and McCall likely have other changes ahead of them as District Pour House + Kitchen makes its go in the location most recently vacated by the Gaf. The owners’ concept is loaded with potential; they just need to iron out a few annoying kinks. When the food here is good, it’s very good. And when it isn’t so good? On my first visit, I was with someone who had already made up her mind to like the District. She was especially bewitched by one thing she had tasted here the previous week: a dish the menu describes as “creamy lump crab dip.” What came to the table this time, though, was runny and tasteless, an overpriced bisque in a bad disguise. “The dip I tasted was nothing like this,” my friend insisted. “It didn’t even look the same.” Now, the dip-not-a-dip was one of the few outright bombs I tried at the District. Most of the dishes I sampled, if not memorable, were at least tasty enough to enjoy in the moment.

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The moments can feel long here, though. fries, I heard, “The polenta hasn’t set yet.” That was reasonable enough, I guess. The fries On each of my visits, the service lacked not only the finesse and intuition vital to good — big, clunky, golden — were available on my second visit, but they arrived lukewarm, with restaurant hospitality but also the basic ata soupy red-pepper-and-tomato sauce that tentiveness. It was frustrating enough, in fact, would have benefited from the taste of roasted that I finally asked Roarke: “Did anyone train red peppers. these waiters and waitresses?” The entrées that are both on the menu and His answer was, of course, yes. The staff at hand are good. I rarely order meatloaf in sat for a week of training, he said. But what restaurants anymore (it’s kind of professional server, almost always too dry or I wanted to know, delivers a District Pour House else bland), but the District bowl of macaroni and cheese + Kitchen serves a miniature loaf that’s — a big bowl that’s somehow Polenta fries �������������������������$8 moist, f lavorful and covon the appetizer list rather Crab dip ��������������������������������$12 ered with an amber sheath than among the entrées, but Baked mac and cheese �������$9 of caramelized onions. The don’t get me started — with Stuffed pork ribeye ������������$18 pork “ribeye” here is stuffed two small plates for sharing Meatloaf �������������������������������$16 Duck risotto �������������������������$19 with a fine sage-and-apple but no serving spoon? “I’ll dressing and a pan jus that be right back with one,” this complements the meat just particular server said when I right. And I found another satisfying autumn requested one. She returned with a teaspoon. dish in a mound of creamy butternut-squash Hearing this tale, Roarke gave me a wan smile and said, “We do have serving spoons.” risotto topped with slices of roasted duck, delicately glazed with tart cranberries. That “baked mac + cheese,” as the menu Maybe in homage to a former tenant of this announces it, was delicious that day: penne blanketed in a thick sauce made with gouda, location, the Romanelli Grill, which counted deep-fried catfish as its signature, the District’s white cheddar, monterey jack and parmesan. It’s not easy to share, even with a real serving menu offers a fried, cornmeal-crusted catfish fillet. And a whole fried catfish shows up more spoon, but it’s good enough that you don’t and more often as a dinner special. want to let anyone else have some. “Do you debone the whole catfish when you The first time I tried ordering the polenta

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The food and the booze are colorful and flavorful at the new District Pour House� serve it?” I asked one waitress, recalling the veteran Romanelli servers, who were so expert in the art of removing those spindly bones that the act was a riveting little performance. “Debone the fish?” she echoed, looking at me as if I were no longer speaking English. “No,” she said. “The customers do that.” This might come as a disappointment to the old Romanelli crowd I’ve seen inside District Pour House + Kitchen. I’ve noticed some Gaf regulars here, too. Which figures — the place was designed to attract a cross-section of Waldo-ites, older folks in the early evening, and more youthful (but maybe less hungry) patrons as the night progresses. The owners plan to introduce a late-night menu (from 10 p.m. to midnight, anyway) later this year. The Romanelli Grill and the Gaf, whether you loved them or hated them, had distinctive personalities. The District (the name, according to McCall, signifies that the restaurant “really isn’t in Waldo or Brookside but in a district of its own”) has yet to develop its own identity. But it has already defined its own turf, so a personality — one not defined by the place’s early hiccups — seems sure to follow.

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he West Bottoms’ arteries are clogged with traffic around 4:30 p.m. on this first October Friday. The roads around spaceshipshaped Kemper Arena are blocked and alive for the world’s largest barbecue contest, the American Royal. I’m here with Kansas City Chiefs offensive linemen Donald Stephenson and Jeff Allen. We’ve come for a sauce-tasting contest. The Chiefs picked Allen and Stephenson in last year’s NFL Draft. Another member of that draft class, first-round pick Dontari Poe, has sworn off barbecue to slim down. Not Allen and Stephenson. Allen, 6 feet 4 and 307 pounds, is an Oklahoma Joe’s guy. Stephenson, 6 feet 6 and 312 pounds, grew up on Gates Bar-B-Q. (Raised on the city’s East Side, he played his senior year at Blue Springs.) Me, I’m just under 6 feet, about 160 pounds, and I like just about every barbecue shack in this city. Somehow, none of us had been to the Royal before. On the eve of the competition, though, we’ve been ushered in to eat all we can before the two players have to board a flight to Tennessee for the game against the Titans. (The Chiefs will stretch their record to 5–0.) A chubby guy tosses a football in the street in front of Kemper. Stephenson calls for a pass, pulls down the ball and returns a spiral. Allen follows but can’t make a one-handed grab. “They ain’t playing for the Chiefs,” the guy says. Stephenson and Allen look at each other and bust out laughing. Playing in the trenches affords them a bit of anonymity, even among the Arrowhead faithful. At Hale Arena, the American Royal’s publicist, Jennifer Brand, says it isn’t time to try the sauces. She sends us on a tour of the grounds. The first stop: Big Bob Gibson Bar-B-Q, whose charcoal-fired electric rotisserie might be the most ridiculously impressive cooker on the grounds. But it’s not turning. Big Bob’s Owen Lilly introduces himself, but Allen has already recognized him. “That’s the real deal right here,” Allen says. “I’ve seen you guys before on the Food Network. I watch it all of the time.” Lilly, from Decatur, Alabama, isn’t making food yet; he doesn’t have to. “We’re cooking on Sunday for the open,” he says. “We’re not cooking tomorrow for the invitational.” “That’s big time,” Allen says. We leave hungry. Next up is the lot occupied by Tuffy Stone, from Q Barbeque in Richmond, Virginia. But now it’s a pattern: Nothing’s on fire here, either. “Y’all probably don’t eat barbecue before a big game anyways,” Stone says.

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Not true. “Living the dream, right?” Stone asks. “Yeah, it was crazy when they drafted me,” Stephenson says. “I get to make a living doing what I love to do, too,” Stone says. People have started to crowd around, smartphones out, hoping to get pictures. Allen and Stephenson sign and pose. “Wish you good luck,” Allen says. “Hope you guys can pull it out.” “Fingers crossed,” Stone says. (Stone’s Cool Smoke team ends up winning the Royal’s grand championship, beating 174 teams.) “Look forward to maybe seeing you guys in the Super Bowl,” Stone’s father says. “No, you will,” Allen says. “Not maybe.” A guy in a Plowboys shirt stops Stephenson. He’s a former high school teammate. “You weren’t this dang big when I played you,” the guy says. “I’m a midget now.” Stephenson says he’s headed to Plowboys soon. (I’m going with them. Watch this space.) Meanwhile, Allen spots an Illinois tent next to Hale Arena. “Who’s the Fighting Illini over here?” he asks. “We are,” says Tim Muehring. “I’m from Illinois. I started the Illini Fever program about 14 years ago, and every year they give the university about $70,000.” Last year, Muehring’s Lickins X-tra Thick sauce was named “Best Sauce on the Planet.” He has the globe to prove it. “I’m defending my title right here now,” he says, then offers a taste on thinly cut meat. We poke the meat with toothpicks, spread on the sauce and bite. It’s really good. We head inside for the Diddy-Wa-Diddy

Stephenson (left) and Allen on the barbecue circuit. sauce-tasting contest. Tables from Oklahoma Joe’s, Plowboys, Pork Barrel BBQ and Meat Mitch are set up in a banquet room. Little bowls of burnt ends are on the tables for tasting the sauces. Kansas City Barbeque Society founding member Ardie Davis, wearing a bowler hat, greets the players. “I’ll be watching Sunday,” he says. “I’m worried about those Broncos.” “If you want to win the division,” Allen says, “you’ve got to beat them.” Allen and Stephenson camp out at the Meat Mitch table, eating barbecue popcorn (which Allen pronounces “great”) and fawning over the sauce. “Meat Mitch,” Allen says. “Remember that.” He walks away from the table with a tin of the popcorn. We move from table to table — from Meat Mitch to Plowboys to Pork Barrel — as the Chiefs figure out their ballot picks. The winner of the sauce-tasting contest isn’t Meat Mitch, but Royal publicist Brand lets Meat Mitch know that it has two very big fans. “You’re No. 1 in our hearts,” Allen yells. “That Oklahoma Joe’s over there?” Allen says, recognizing the politics of the moment. “I said you were my favorite barbecue, not sauce.” On the way out, Allen sees the chubby guy with the football. He calls for another pass. This time, he makes the catch. “We could use you on the Chiefs, man,” Allen says.

E-mail justin.kendall@pitch.com

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music POOL TABLE • MEGATOUCH • 6 PINBALLS PINBALL TOURNAMENT WEDNESDAYS TOUCHTUNES INTERNET JUKEBOX DRINKING ON THE SMOKING PATIO CRAFT BEERS • $2 PBR / HIGH LIFE

isn’t just sugar and spice.

By

N ata l ie G a l l a Ghe r

H

uddled around a large table at Succotash, the girls of Grenadina are clamoring over menus and introductions. The morning has been a scramble. The band is set to take the stage at the Out in the Crossroads festival at Hamburger Mary’s in little more than an hour, and two of the band’s four members are managing calls and texts from parents they have invited to the gig. They have all been up since 6 a.m., allotting extra time in their schedule just in case their fickle van failed them somewhere between Lawrence and downtown Kansas City. “I feel like someone has to get a piece of cake for breakfast,” says lead singer Katie Ford, a petite redhead with gold-rimmed green eyes. Her bandmates agree: Someone should definitely order the joint’s specialty eight-tiered tries on emo. Get Shallow is loud and emorainbow cake. Ford pauses, then volunteers: “Well, I guess tional — Ford is venting a lot of her frustrations in these songs. Were it not for her tight I’ll take that bullet.” vocal control and the fast-paced rhythms For a band that fits a lot of stereotypes, and drum work, the EP might have been Grenadina is remarkably at ease and without swallowed by its own angst. agenda. The four women — Ford, Steph Castor Then again, that’s kind of on guitar, Stef Petrozz (who the point for Grenadina. On goes by Rozz) on drums, and Grenadina Get Shallow, you hear echoes Mia Morrow on bass — have Friday, October 18, at of bands like Brand New, AFI been pegged as a queer band Farmesan in Lecompton, and Glassjaw. The album is (three of the members are Kansas. See facebook.com/ fast-paced and ferocious, gay), a chick-rock band and, grenadinamusic with nimble guitar lines to their amusement and that seem to get brasher consternation, a “girlcore” band. All of these things are somewhat ac- with every listen. Getting in touch with your anger is encouraged in this kind of music, and curate, but for Grenadina, none of them really Grenadina isn’t afraid to be furious. hit the mark. Enter the term “girlcore,” a word that “We don’t want to just be known as a gay evokes an unwelcome image of powder-puffband or just an all-girl band,” says Castor, tinged rock. It’s the kind of shorthand guaranwho keeps her blond pixie cut tucked into a knit cap. “We just want to play our music. teed to make some listeners and critics recoil. Grenadina’s members take credit for coinWe want to be that band that you couldn’t tell if we were all-female if you just listened ing the word when they began playing together a year and a half ago. to our music.” “We’re very lighthearted about it,” Castor “Sometimes people are afraid to take us says. “Anytime we use that term, it’s just for seriously, which is a little disconcerting,” social-media hashtags and stuff, just because Petrozz says. “I love playing music, and I don’t we think it’s funny and it’s catchy. ‘Girlcore’ want to be that band that’s just known bewasn’t really a thing that we knew of. It came cause, ‘Oh, hey, they’re doing the gay thing.’” “Three-quarters of the band just happens up because we all secretly want to be metal musicians. It was just a joke — mostly a joke to be gay,” Castor adds. “Katie’s the only about there being a huge lack of a female presstraight one. And it’s just funny because some of her lyrics make her sound like she’s ence in heavy music.” Yet, for a band born out of distaste for gena raging bisexual.” der stereotyping, Grenadina is still surprised Castor is referring to songs from the band’s recently released Get Shallow EP, an at how much of it must be combated in the music industry. appealing, varied five-track collection that “When you’re all girls, a lot of guys will acts as a taste test for Grenadina newbies. just be like, ‘OK, let me see what’s going (It’s streaming and downloadable on Bandon,’ because they don’t think you can play camp.) Ford’s crisp singing cuts through the music,” Petrozz says. She rolls her eyes. punk-fueled guitar riffs on “Tina Needs a “Sometimes they’ll be like, ‘You know, Girlfriend,” and the brooding “Locomotion” Reckless Robot PhotogRaPhy

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Exploding musical stereotypes: Grenadina I heard there was an all-girl band playing, and you guys actually surprised me. You’re actually pretty good.’” Ford cuts in: “I was kind of surprised by how definitive that was, the girl thing. Whenever I first heard about this band, I knew it was going to be a girl band and I was kind of stoked about it. I didn’t even consider the fact that it was obviously a gay band [at that point]. It didn’t even register in my mind.” She shrugs and goes on. “People were like, ‘That’s so sweet — you’re like a queer band’ or ‘Not bad for a girl band,’ and I was like, ‘Oh, I always thought we were just a band.’” Despite those frustrations, and in contrast to Get Shallow’s jaded tones, Grenadina’s musicians come off as earnest, even a little innocent. It’s a stance that works well for a young band still figuring out where it belongs as it slips free of various pigeonholes. “I think being ‘girlcore’ makes us hard to assign with other groups,” Ford says. “We’ve ended up playing with all kinds of other people. Last year, we played a gig with Eve 6.” She shakes her head and goes on: “We can change our set list according to whatever we’re playing that day. We can fit other genre types. I know that sounds crazy.” The food arrives, dishes are auctioned off, and a massive slice of that cake winds up in front of Ford. “Of course, the only straight one in the group gets a rainbow cake,” Petrozz says and laughs. The dessert is bigger than Ford’s face. She takes hold of her fork eagerly. “It tastes like bubble gum,” Ford says, her grin already colored by blue frosting.

E-mail natalie.gallagher@pitch.com

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Sonic Youth veteran Lee Ranaldo isn’t slowing down.

By

N ata l ie G a l l a Ghe r

W

hen Sonic Youth disbanded, in 2011, hearts were broken and spirits were crushed. The band that paved the road for experimental noise and indie rock was calling it quits. Founding couple Thurston Moore and Kim Gordon had split. Sonic Youth guitarist Lee Ranaldo wasted no time mourning, though. He released a solo album last year (Between the Times and the Tides), then introduced a new outfit called Lee Ranaldo and the Dust. Now there’s a followup record, Last Night on Earth, and it’s full of breathable, straightforward songs that sound nothing like Sonic Youth. Which is exactly the way Ranaldo wanted it. Ahead of Ranaldo’s October 19 gig at the Bottleneck, The Pitch dialed him up at his New York City home to talk about making music in a post–Sonic Youth world. The Pitch: This is a new band assembly three or four themes. A band has a certain kind for you, with the Dust. What have the shows of power that an individual can never have. The other part of it, for me, is that I was been like? Ranaldo: The shows have been good. To me, interested in doing something, frankly, quite different. There was no point in doing anything it’s the same band that played on the last record that might be comparable to Sonic Youth. This for the most part, with Steve Shelley on drums was really a project about writing some really and Alan Licht on guitar. But since the last record came out, we’ve been out playing more. simple songs and trying to present them in a vehicle for singing and just seeing where it The band is kind of solidified and developed. could go, basically. Sonic Youth was a whole I read that you wrote most of this album while different thing in terms of the way we collabyou lost power during Hurricane Sandy. oratively wrote songs. It’s like being the sole I wrote a couple of the songs during that week after Hurricane Sandy, when we had director of a movie versus a partnership. Most of the tracks on this album are longer: no electricity or power or heat here in lower six minutes, nine minutes, even 12. Manhattan. A couple of them had their start Yeah, the songs are long. It’s a long record. I there, but it’s not as thematic as all that. In that think it takes a long time to seep in. We really week after Sandy hit — I live in Manhattan, but it’s pretty much a neighborhood — everybody wanted to let some things flow in a certain way. The songs get more expansive and openstayed here. We weren’t flooded out. We were ended, and we don’t worry about tight boundliving by candlelight. So I was just strumming aries, like keeping them into a tight three- or my guitar, and a couple of the songs developed four-minute pop song. in that period. Because you’ve done so If I remember correctly, Lee Ranaldo many experimental records, this is your 10th solo album — and the Dust was it a conscious decision [Laughs.] But it’s actually With Built to Spill, Saturday, for you to do something more my second because this one October 19, at the Bottleneck singer-songwriter-oriented? has songs. This [Last Night] is the Right. Last Night is closer to traditional songwriting than anything you kind of record I’ve always wanted to make. I’ve did with Sonic Youth. I expected to hear more always been in this amazing songwriting partnership with Sonic Youth, but the first record of Sonic Youth in your solo stuff. [Between the Tides] developed even before all I think it’s normal to expect that, but it’s also this stuff went down with Thurston and Kim, impossible to expect that, in a major way, from even before we knew. The last record came out any of us, really. What made Sonic Youth what it was, was this combination of what we were of a desire to work on some songs in a period all doing. If you take any good band quartet — I when Sonic Youth wasn’t working so much. There’s something really great about the mean, look at the Beatles after they broke up. None of them are what the Beatles were. They specifics of songwriting as opposed to making abstract music, and I feel like I have a balance [the solo albums] are all interesting in their own way, but they’re all developing from their where I continue to work on both sides of the own theme instead of from this intertwining of coin. I still do a bunch of abstract performances

pitch.com

Ranaldo: “Sonic Youth was a whole different thing.” when there’s time. When you write songs, you invest a lot of time in a certain kind of construction. And for songs to really work, everything has to be in a certain place, in a way. It’s a pretty cool process, so I felt like I missed that aspect of it. But I’ve got a pretty good balance between the two sides.

E-mail natalie.gallagher@pitch.com

J a z z B e at PArAllAx, At tAkE FivE CoFFEE + BAr

Parallax starts with Kansas City’s most prolific jazz trumpeter, Stan Kessler. From Sons of Brazil to Trumpet Summit to the People’s Liberation Big Band, Kessler’s résumé is a diverse one. Add two experienced rhythm jazzmen, Roger Wilder on keyboards and Bill McKemy on bass and sousaphone. Top off the ensemble with drummers Ryan Lee and Brian Steever, two 20-something whiz kids driving Kansas City jazz into the 21st century. Lee and Steever at times complement each other and at times goad each other. Parallax’s mostly original and contemporary compositions let all these musicians shine, but when two exceptional drummers explode with inventiveness through complex rhythms, this jazz claims a special excitement. — Larry Kopitnik Parallax, 8–10 p.m. Friday, October 18, at Take Five Coffee + Bar, 5336 West 151st Street, Leawood, 913-948-5550, takefivecoffeebar.com, $5 cover.

d t h n g i l a t o p B S

Jorge Arana Trio Jorge Arana’s former band, Pixel Panda, was known for making a lot of noise within the general framework of rock music. His new act, the Jorge Arana Trio, expands that framework to include jazz, punk and classical influences. There are lots of wild time signatures and a fair amount of improvisation. It is often loud, usually dissonant and always powerful – music that commands your attention, whether you came into the room interested or not. Judging by the group’s recent Pitch Music Award for Best Avant-Garde Act, people are interested. Introduce yourselves. Jorge Arana on guitar/keys. Josh Enyart on drums, Jason Nash on bass. How long have you been playing around KC? We played our first show as a trio in the summer of 2011. And of all of us have been in previous groups. Me and Josh where in Pixel Panda. Josh was in Latin, Maps for Travelers, Savitar and others. What have you got in the works at the moment? We played the Midwestern Audio Vol. 2 release party on October 5. And [also this month] we're going into Soundtrek Studios to record a new EP. We have a 7" split with Ambulants due November, with an in-store release show at Mills Record Company, followed by an East Coast tour to promote it. Plus we've got a string of local shows coming up leading to the release and tour. Who are some musical heroes? Silvestre Revueltas, Zazen Boys, Luiz Bonfa, Arnold Schoenberg, The Cure, Arab on Radar, Clifford Brown, David Byrne.

You were nominated in the Avant Garde category. Do you consider yourselves associated with the experimental/avant-garde scene here in KC? It's a vague term for sure, but I don't mind it. I think it recognizes we're not interested in fitting any preexisting musical styles or forms. I do feel like we're part of the experimental scene. Great thing is everybody who may be associated with that scene sounds completely different. Can you talk a little about how jazz and classical informs your sound? And also how you try to balance that with the more ferocious noise-rock elements contained within your music? From jazz, I think the main thing we try to take from it is the freedom, which I believe comes not just from musical sensitivity, but also a good bit of instrumental might. When writing "Mapache," I would say I was pretty taken aback by groups like Soil & Pimp Sessions, Bad Plus and some old greats. I think part of that came through. We're all big jazz fans, but we're far from formally trained. Jason is the only one who had some formal training (trumpet). Classical music is something I really dived into about eight years ago, consuming all I could (music, lectures, books) about the masterworks and more modern composers. I've got a good collection of scores, and hundreds of classical records and CDs/tapes. When someone says "classical music" a lot of people think of light Mozart pieces and other niceties, but in reality classical music spans hundreds of years and can be some of the most intense and profound music out there. Growing up playing loud, noisy rock, that's formed my tastes for the more abrasive and concise for sure. I also feel noise rock always had a healthy bit of humor woven into the music. How much of a role does improvisation play in both the composition of your songs and the live performances? There's a healthy bit of it in the songs for sure. Sometimes it'll be the meat of the "song," sometimes we use it to introduce chaos, sometimes it's a more straight-up solo. Live, there's more room to just interject different lines, grooves, clusters of notes since we're not trying to establish the song like on the record. Also, we've really upped our pedal arsenal since recording our album. We're pretty much going from almost nothing to full pedal boards. So we've been having fun testing those out. pitch.com

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Here Come the Mummies

Here Come the Mummies is a funk band shrouded in secrecy. No one knows who’s in the band — the players dress up like mummies for every show. This is to protect the identities of the supposed Grammy winners who make up the group — which, as gimmicks go, is kind of hilarious. Each of the group’s 11 mummies comes with his own stage name and backstory. (Eddie Mummy, with the “most remaining fingers,” is naturally HCTM’s drummer.) This undead troupe is surprisingly high on energy, so if you can get past its facetious lyrics, this show has the makings of an excellent date night. Thursday, October 17, at Knuckleheads (2715 Rochester, 816-483-1456)

Hammerween IV You wish you had a mom as hot as Bonnie Raitt. At 63, she has been a big name in music since the ’70s, and if her slide guitar and blues chops aren’t enough to impress you, well, there probably isn’t a medication strong enough to help. Slipstream, her most recent disc (released last year), is roots rock at its finest. Friday, October 18, at the Midland (1228 Main, 816-283-9921)

The fourth installment of Hammerween features music from local metal heavyweight Hammerlord, plus sets from Troglodyte, At the Left Hand of God, Architects, Six Percent, Moire and Hellevate. That’s a lot of thrashing and hair swinging for one room. Wear a costume and get a ticket discount at the door. This is an all-ages event, but we wouldn’t necessarily recommend bringing your 5-year-old. Saturday, October 19, at the Uptown Theater (3700 Broadway, 816-753-8665)

The 16th Blues Masters at Crossroads

The Eagles

Bonnie Raitt

A church basement might seem an unlikely place for a blues festival, but leave it to the good folks of Blue Heaven Studios to make it worth your while. The lineup for this event, spaced out over two nights, features artists renowned in the world of blues. You can expect to hear the dazzling harmonica of Lazy Lester (who is technically retired, y’all, making this appearance special) and the music of Chris Thomas King (who bonded with George Clooney when they were both in O Brother, Where Art Thou?), Guitar Shorty, and so many more. Friday, October 18, and Saturday, October 19, at Blue Heaven Studios (201 South Eighth Street, Salina, 785-825-8609)

Most people I know hate the Eagles. Like, vehemently loathe them. And I know their distaste is perfectly justified: In its 42-year history, the band has delivered an astounding number of hits that have left oily grease marks on the great tablecloth of American rock. Face it: “Desperado” and “Hotel California” are actually really great, and they’ve been spinning on repeat in the back of everyone’s heads for decades. This show is a fine opportunity for you to see a band that has survived volatile mood swings — the music industry’s, Don Henley’s — and has the hair to prove it. Wednesday, October 23, Sprint Center (1407 Grand, 816-949-7000)

f o r e c a s t

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King Khan gets weird.

King Khan and the Shrines

Arish Khan is one of those pleasantly strange artists who never lets things like a band breakup or the passage of time get in the way. If Khan paid any attention to time, he wouldn’t have become King Khan and the Shrines, a delightful ode to classic rock and R&B and an outlet for Khan’s irreverent, punk-kid songwriting. This tour comes after the release of the band’s first album in six years, and we can only hope that Khan takes the stage at RecordBar in the superhero uniform that has been a recent performance highlight. Sunday, October 20, at RecordBar (1020 Westport Road, 816-753-5207)

Desaparecidos

A lot of people were left hugely disappointed when Desaparecidos broke up, in 2002. But Conor Oberst has generously decided to appeal to his loyal subjects now with some new music and a reunion tour. Let’s go ahead and ignore the obvious financial benefits of this move and just count ourselves lucky that we may continue to be blessed by Mr. Oberst’s genius. Monday, October 21, at Liberty Hall (644 Massachusetts, Lawrence, 785-749-1972)

K e Y

Pick of the Week

 Sing Me the Blues

 Rock and Roll

Play That Funky Music

Kinda Scary

Guilty Pleasure

Mummies

Mini-Festival

Getting the Band Back Together

Living Legend

 Not an Actual King

 Dad Rock

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98285.14 | VooDoo Weekly Print | 10-17-2013

Each week, Pitch Street Team cruises around to the hottest clubs, bars and concerts. You name it, we will be there. While we are out, we hand out tons of cool stuff. So look for the Street Team... We will be looking for you!

HINDER & CANDLEBOX

STEVE VAI

THUNDER FROM DOWN UNDER

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October 24, 2013

s City Party Best of Kansas City Party Best of Kansa uild @ The G @ The Guild

October 27, 2013

November 30, 2013

December 8, 2013

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@ Uptown

Upcoming Events

10.18 - Bonnie Raitt @ Indie 10.19 - Hammerween @ Uptown 10.19 - Project Walk Wiffleball Tourney @ T-Bones Stadium

December 12, 2013

UPCOMING SHOWS: 10/18

Hot 103 Jamz New Music Showcase featuring Sebastian Mikael

10/25

The Stolen Winnebagos Halloween Blast!

10/19

Sexy Saturday

11/1

Blue Corner

11/2

Magic 107.3 KC Groove Party

1-800-745-3000

§ VooDooKC.com

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See more on the “promotions” link at p pitch.com V2_98285.14_4.776x9.8125_4c_Ad.indd 1

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10/11/13 3:52 PM

The Pitch HALLOWEEN GUIDE

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Halloween

continues OCTOBER 24 & 31

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§ VooDooKC.com 1-800-745-3000 Know When To Stop Before You Start.® Gambling Problem? Call 1-888-BETSOFF. Subject to change or cancellation. Phone and online orders are subject to service fees. Must be 21 years or older to gamble, obtain a Total Rewards ® card or enter VooDoo ®. ©2013, Caesars License Company, LLC.

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Guide 2013

A Nightmare at Oddfellows | 6 p.m., Thu., Oct. 31, Belvoir Winery, 1325 Odd Fellows Rd, Liberty, belvoirwinery.com. The Beast Haunted House | 7:30 p.m. Thu.-Sun., $27, 1401 W. 13th St., 816-842-4280, kcbeast.com. Black and Orange Bash | Proceeds benefit Child Abuse Prevention Association. 7-11 p.m. Fri., Oct. 25, $50. Boulevard Brewing Co., 2501 Southwest Blvd., 816-474-7095, blackandorangebash.org. The Chambers of Poe Haunted House | 8 p.m. Fri.-Sat., 1100 Santa Fe, 816-474-3845, chambersofpoe.com. The Edge of Hell Haunted House | 7:30 p.m. Thu.-Sun., $27, 1300 W. 12th St., 816-842-4279, edgeofhell.com. Fall Cemetery Tours | Meet at Northview Elementary School, 905 N. Walker, Olathe, Thu., Oct. 10; Fri., Oct. 11; Sat., Oct. 12; $5 (adults), $4 (kids 5-11), Mahaffie Stagecoach Stop and Farm, 1100 Kansas City Rd., Olathe, 913-782-6972; times at olatheks.org/parksrec/Mahaffie/Events. Family Fall Festival & Pumpkin Patch | 9 a.m.-5:30 p.m. Sat.-Sun. $8. Hickory Creek Ranch, 20220 S. Lackman Rd., Spring Hill. hickorycreekranch.net. Frankenstein | 3:45 & 7 p.m. Thu., Oct. 31, Tivoli Cinemas, 4050 Pennsylvania, 913-383-7756, tivolikc.com. Friday Fright Night | 6-10 p.m. Fri., Oct. 25, Gladstone Amphitheatre in Oak Grove Park, 76th St. and N. Troost, gladstonechamber.com/events/fright-night. Halloween Haunt 2013 | 8 p.m. Fri.-Sun., Worlds of Fun, East Loop I-435, 816-414-0235. Halloween on the Hill | 8 p.m., Sat., Oct. 26, Martini Corner, 31st St. and Oak, halloweenonthehill.com. Haunted House Party | 8 p.m., Sat., Oct. 26, KC Live Block at the Power & Light District, 14th St. and Grand. HillOween 2013 | Benefiting TeamSmile of KC, 7 p.m. Sat., Oct. 19, $100/$175, Starlight Theatre Stage House, 4600 Starlight Rd., 816-363-7827. hilloween.org. KC Fear Farm and Zombie Apocalypse Paintball Adventure | Open at dusk, Fri. and Sat., 29755 W. 191st St., Gardner, kcfearfarm.com. Macabre Cinema Haunted House| 8 p.m. Fri.-Sat., $27, 1222 W. 12th St., 816-471-2250, macabrecinema.com. Nightmare on Waldo Street | 75th St. and Wornall; Lew’s Bar & Grill, the Well, Tanner’s Bar & Grill, Quinton’s, Bobby Baker’s. 8 p.m. Sat., Oct. 26, $5-$20, mydrinkon.com. Night of the Living Dead | 8 p.m., Sun., Oct. 27, Crossroads KC at Grinders, 417 E. 18th St., grinderspizza.com. Not-So-Spooky Ghost Stories and Autumn Festival | 1-4 p.m. Sun., Oct. 27, $10, Alexander Majors House, 8201 State Line Rd., wornallmajors.org. Pandemonium at Firefly | 8 p.m. Fri., Nov. 1, and Sat., Nov. 2, Firefly Lounge, 4118 Pennsylvania, kchalloween.com. Party Monster XIII | 9 p.m. Sat., Oct. 26, $10, VooDoo Lounge, Harrah’s Casino, 1 Riverboat Dr., North Kansas City, 816-472-7777, voodookc.com. The Pitch and Captain Morgan present Not a Planet, the Josh Berwanger Band and Akkilles, with a costume contest | 10 p.m. Thu., Oct. 31, RecordBar, 1020 Westport Rd. Pumpkin Patch and Corn Maze | Includes hayride, straw fort, Sunflower Slide, farm animals, teepees. 8 a.m.6 p.m. Thu., 10 a.m.-10 p.m. Fri-Sat., 10 a.m.-6 p.m. Sun., $8 (children under 3 free), Louisburg Cider Mill, 14730 Hwy. 68, Louisburg, 913-837-5202. Pumpkins on Parade | 4:30-9 p.m. Sat., Oct. 19, free, Cave Spring Historic Site & Nature Center, 8701 E. Gregory Blvd., 816-547-9679, cavespring.org. RiffTrax Live: Night of the Living Dead | 7 p.m. Thu., Oct. 24, area theaters, fathomevents.com. The Running Dead 5k | 11 a.m. Sat., Oct. 26, $30, Kansas City Renaissance Festival, 628 N. 126th St., Bonner Springs, runningdeadkc.com. Screenland at the KC Symphony presents The Phantom of the Opera | Live organ accompaniment to the 1925 silent film. 7 p.m. Thu., Oct. 31, Kauffman Center, 1601 Broadway, 816-994-7200, kcsymphony.org. Something Wicked This Way Comes — the Dark Fashion Show & Circus | 7 p.m. Fri., Oct. 25, $15, Pop Up Art Gallery, 2100 Grand, 816-237-0319. Spirits From the Past | 6-9 p.m. Fri., Oct. 25, 6-9 p.m. Sat., Oct. 26, $9, reservations required, Missouri Town 1855, 8010 E. Park Rd. (in Fleming Park), Lee’s Summit, 816-503-4860. T11: Temptation at the Station | 7-11 p.m. Fri., Oct. 25, $45/$75, Union Station, 30 W. Pershing Rd., 816-460-2020, terrorparty.org. 3rd Street Asylum Haunted House | 7 p.m. Fri.-Sat., $18, Third and Cedar streets, Bonner Springs, 3rdstreetasylum.com. Terror on the Plains Horror Festival | 6 p.m. Thu., Oct. 31, Alamo Drafthouse, 1400 Main, drafthouse.com/ movies/halloween/kansas_city. Trick or Treat on the Farm & Boooo Barn: 1-4 p.m. Sat., Oct. 26, 1-4 p.m. Sun., Oct. 27, $5, The National Agricultural Center and Hall of Fame, 630 N. 126th St., Bonner Springs, 913-721-1075, aghalloffame.com.

The Pitch HALLOWEEN GUIDE

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AGENDA

continued from page 11

Thursday | 10.17 |

PORTUGAL THE MAN

The Clementines, NowHere, Monk’s Wine | The Brick, 1727 McGee

EXPOS

Dolewite | 9 p.m. The Brooksider, 6330 Brookside Plz.

Kansas City Health and Fitness Expo | 3-8 p.m., free. Crown Center Exhibit Hall, 2323 McGee

Darcus Gates | 8:30 p.m., $15. The Blue Room, 1616 E. 18th St.

FILM

Hairball, Mean Melin | 7 p.m., $15/$18. The Granada, 1020 Massachusetts, Lawrence

CinemaKC Presents: Withered World |

7:30 p.m., $10. Screenland Crown Center, 2450 Grand, cinemakc.com

D THURS

Les Claypool’s Duo De Twang | 8 p.m., $24.50-$29.50.

AY

10.17

UMKC’s Movies About Making Movies: Lost in La Mancha | 7 p.m., Tivoli Cinemas, 4050 Pennsylva-

Liberty Hall, 644 Massachusetts, Lawrence

Levee Town | 9 p.m. B.B.’s Lawnside BBQ, 1205 E.

our with y Roast s. d n ie r Evil F

nia, tivolikc.com

MUSIC

85th St.

Lucky Graves, Mad Kings, the Heavy Figs | 9 p.m. Coda, 1744 Broadway

Aoetearoa | 10 p.m. Jazzhaus, 926-1/2 Massachusetts,

Lawrence

Bad Ideas, Cherokee Rock Rifle, Drew Black and Dirty Electric | 10 p.m. Replay Lounge, 946 Massachusetts, Lawrence

Mike Dillon Band | The Brick, 1727 McGee Brandon Draper | 9 p.m. Kill Devil Club, 61 E. 14th St. Kyle Elliott and Voodoo Soul | Trouser Mouse, 410 S. Hwy. 7, Blue Springs

Katy Guillen | 7:30 p.m. B.B.’s

MORE

EVENTS

ONL

INE

Lawnside BBQ, 1205 E. 85th St.

AT

M PITCH.CO

Here Come the Mummies

| 8:30 p.m., $24. Knuckleheads Saloon, 2715 Rochester

The Independents, American Dischord, Molotov Latte | 8 p.m., $8/$10. Davey’s Uptown, 3402 Main Pokey LaFarge, Victor & Penny | 10 p.m., $14. RecordBar, 1020 Westport Rd.

Highly Anticipated with Two4one, Reece, DJ AE Rob and Les Paul | 10 p.m., $5. The Riot Room,

4048 Broadway

Halloweenie Roast with the Naked & the Famous, Portugal the Man, the 1975, the Colourist, and Crystal Fighters | 6 p.m. The Midland, 1228 Main

Sister Mary Rotten Crotch, the Big Iron, Red Kate

Lawrence

Open Mic with Teague Hayes | 8 p.m. Coda, 1744 Broadway

Heart of America Trucking Show | 10 a.m.-5 p.m., free.Kansas Speedway, 400 Speedway Blvd., KCK, ooidatruckshow.com

Kansas City Health and Fitness Expo | 11 a.m.-8 p.m., free. Crown Center Exhibit Hall, 2323 McGee

The Suicide Girls: Blackheart Burlesque | 10 p.m.,

FOOD & DRINK

Trivia | 9 p.m. Westport Flea Market, 817 Westport Rd.

Fall beer dinner featuring New Belgium Brewing Co. | 7 p.m., $50. Sullivan’s Steakhouse, 4501 W. 119th

sylvania

Greg Warren | 8 p.m. Stanford’s Comedy Club, 1867 Village West Pkwy., KCK

St., Leawood.

PERFORMING ARTS

French Cabaret with Beth Byrd and Belleville |

2013 Lenexa Chili Challenge | 5 p.m., free. Old

7 p.m. The Uptown Arts Bar, 3611 Broadway

Town Lenexa, corner of Santa Fe Trail Dr. and Pflumm, lenexa.com

Kansas City Ballet presents “Fancy Free” |

“The Prodigal Daughter,” presented by the Störling Dance Theater | 8 p.m., $20, $30, $50.

Charles Williams Quartet with Ron Guiterrez and Chavonna Adams | 8:30 p.m. The Blue Room, 1616 E. 18th St.

9 p.m., $15. Knuckleheads Saloon, 2715 Rochester

Yuppies, Psychic Heat, Lazy, Kimbarely Legal | 10 p.m. Replay Lounge, 946 Massachusetts, Lawrence NIGHTLIFE

Crossing the World Wine Crawl | Participating

locations: Sullivan’s Steakhouse, La Bodega, Drunken Fish and NORTH, 4 p.m., $10 per restaurant. Town Center Crossing, 5000 W. 119th St., Overland Park, towncenterplaza.com

Friday | 10.18 |

Al Trout, Betse Ellis | 6 p.m. Replay Lounge, 946 Massachusetts, Lawrence

Carolyn Wonderland with the Katy Guillen Trio |

$20/$22. The Granada, 1020 Massachusetts, Lawrence

Youngblood Brass Band, Approach, Boogaloo Odyssey | 9 p.m., $8/$10. Jackpot Music Hall, 943

Yuppies, Lazy | 10 p.m. MiniBar, 3810 Broadway

EXPOS

Luxury Bump | 10 p.m. Firefly Lounge, 4118 Penn-

7:30 p.m.$29-$99, Kauffman Center for the Performing Arts, 1601 Broadway, kcballet.org

Massachusetts, Lawrence

| 8 p.m., $10. Davey’s Uptown Ramblers Club, 3402 Main

Feel Good | 8 p.m. The Bottleneck, 737 New Hampshire,

Room, 1616 E. 18th St.

Lester “Duck” Warner Project | 7 p.m. The Blue

Parallax | 8 p.m. Take Five Coffee + Bar, 5336 W. 151st St., Overland Park

SPORTS

Sporting KC vs. D.C. United | 7 p.m., Sporting Park, 1 Sporting Way, KCK, sportingkc.com

All female comedy showcase | 9:30 p.m. The Uptown

Arts Bar, 3611 Broadway

DeRay Davis | 8 & 10:30 p.m. Improv Comedy Club and Dinner Theater, 7260 N.W. 87th St.

The Nightcap with Arty Vulgaris | 10 p.m. RecordBar, 1020 Westport Rd.

Twist & Shout with DJ Madeline | 10 p.m. MiniBar,

3810 Broadway

Greg Warren | 7:45 & 9:45 p.m. Stanford’s Comedy Club, 1867 Village West Pkwy., KCK

Yardley Hall at JCCC, 12345 College Blvd., Overland Park, storlingdance.org

Viva La Pink Zumba Party | 5:30 p.m.,Swinney

LITERARY EVENTS

MUSIC

PERFORMING ARTS

Italian-American Celebration and Reading with Cultural Foods Reception | 7 p.m. Writers Place,

The Bright Light Social Hour, the Sluts | 8 p.m., $11, The Bottleneck, 737 New Hampshire, Lawrence

Abyssinian: A Gospel Celebration featuring the Jazz at Lincoln Center Orchestra with Wynton Marsalis and Chorale Le Chateau | 8 p.m. Kauffman

Recreation Center, 5100 Rockhill Rd., judahfitness.com

Saturday | 10.19 |

NIGHTLIFE

Black & Blue Thursday with DJ Cyan | 10 p.m.

MiniBar, 3810 Broadway

3607 Pennsylvania, writersplace.org

30

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The California Honeydrops | Trouser Mouse, 410 S.

Hwy. 7, Blue Springs

DJ Highnoone | Empire Room, 334 E. 31st St.

pitch.com

Center for the Performing Arts, 1601 Broadway

continued on page 32

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continued from page 30 Kansas City Ballet presents “Fancy Free” |

DRACULA: THE JOURNAL OF JONATHAN HARKER

ART EXHIBITS & EVENTS

7:30 p.m. $29-$99, Kauffman Center for the Performing Arts, 1601 Broadway

About Face | Nelson-Atkins Museum of Art, 4525 Oak, nelson-atkins.org

“The Prodigal Daughter,” Störling Dance Theater

| 8 p.m., $20-$50, Yardley Hall at JCCC, 12345 College Blvd., Overland Park, storlingdance.org

Marc Bosworth & Eric Dodson: Tactile Diagrams | 6-9 p.m. Thursday-Saturday, Kiosk Gallery, 3951 Broadway

EXPOS

Día de los Muertos/Day of the Dead , fea-

Annual All Bird Show | 9 a.m. Coronation of

10.18

FOOD & DRINK

Brew at the Zoo and Wine Too | 4:30-7:30 p.m.,

the Kansas City Zoological Park, 6800 Zoo Dr., kansascityzoo.org

Irish Whiskey tasting | 2-4 p.m., $45, Celtic Ranch, 404 Main, Weston

ZACHARY ANDREWS

Heart of America Trucking Show | 9 a.m.-5 p.m.,

free, ooidatruckshow.com. Kansas Speedway, 400 Speedway Blvd., KCK, ooidatruckshow.com

turing Scribe | 10 a.m.-5 p.m. Tuesday-Friday, 10am-4 p.m. Saturday, Mattie Rhodes Art Gallery, 919 W. 17th St., mattierhodes.org

FRIDAY

Our Lady Church, 13000 Bennington, Grandview, gkcas.org

Dreams and Journeys | Carter Art Center, 3201

at round Hang a terie. o C e th

Southwest Tfwy., mcckc.edu/pvart

Echoes: Islamic Art and Contemporary Artists | Nelson-Atkins Museum of Art, 4525 Oak Fall Exhibition: new work by Kim EichlerMessmer and Debbie Barrett Jones | Kansas

Zachary Andrews portrays a dozen characters (even over the heads of the audience) in Dracula: The Journal of Jonathan Harker, a physically demanding one-man tour de force of Bram Stoker’s Dracula, at the Coterie, Crown Center, 2450 Grand, thecoterie.org.

KC Whiskey Tour | 1-5 p.m. Power & Light District, 14th Street and Main

2013 Lenexa Chili Challenge | 9 a.m., free, Old Town

Lenexa, corner of Santa Fe Trail Dr. and Pflumm

Westend Stampede 2013: a benefit for Meals on Wheels | 12-4 p.m., $20, Westport Rd. and Southwest Tfwy., sccentral.org

Northwest Missouri State vs. Pittsburgh State Football | 3 p.m. Arrowhead Stadium The 30th Annual International Lineman’s Rodeo | 8 a.m. The National Agricultural Center

and Hall of Fame, 630 N. 126th St., Bonner Springs, linemansrodeokc.com MUSIC

Zona Rosa Scavenger Pub Crawl with the Northland Young Professionals | 1:45-5:30 p.m. Zona Rosa, 8640 N. Dixson Ave.

COMMUNITY EVENTS

ASPCA’s Mega Match-a-thon | 10 a.m.-7 p.m., $25 (adoption fee), Kansas City Pet Project, 4400 Raytown Rd., kcpetproject.org Electronics Waste Recycling | 9 a.m.-noon. Unity

Church of Overland Park, 10300 Antioch Rd., Overland Park, ssckc.org

Global warming forum: panel discussion with Kristin Riott, director of Bridging the Gap |

1 p.m., free. Kansas City Public Library, Plaza Branch, 4801 Main

Northeast Kansas City Historical Society Homes Tour | 11 a.m.-4 p.m., beginning at corner of Independence and Chestnut, nekchs.com

SPORTS

Kansas City Marathon | 7:05 a.m., 22nd St. and Grand,

Blue Oyster Culture Club | The BrewTop Pub and

Connie Hawkins and the Blues Wreckers CDrelease show | 9 p.m. B.B.’s Lawnside BBQ, 1205 E.

85th St.

Mike Herrera Sextet | 8 p.m. Take Five Coffee + Bar,

Broadway

Found a Job: Talking Heads Tribute, Boingo No Muerto: Oingo Boingo Tribute | 10 p.m. RecordBar,

Ben Miller Band, the Haunted Creepies | Trouser

The Nace Brothers | 9 p.m., $12. Knuckleheads Saloon, 2715 Rochester

Lucas Parker with Slight Right | 10:30 p.m. Jazzhaus, 926-1/2 Massachusetts, Lawrence

Red Velvet Crush, Dead Man’s Hand, Sober Overdose | 7 p.m. The Riot Room, 4048 Broadway

James Turrell: Gard Blue | Spencer Museum of Art, 1301 Mississippi , Lawrence

MUSEUM EXHIBITS & EVENTS American Sabor: Latinos in U.S. Popular Music | American Jazz Museum, 1616 E. 18th St. Harmonies of the Homefront |National World

Four Arm Shiver, the Bad Ideas, Plug Uglies, Johnny Switchblade | Black & Gold Tavern, 3740

Billy Joe Shaver, Sturgill Simpson | 8 p.m., $15. The Granada, 1020 Massachusetts, Lawrence

Music Is My First Love: Lupe M. Gonzalez Dance Orchestra | Kansas City Museum, 3218

Broadway

Freakers Ball 2013 with Five Finger Death Punch, Escape the Fate, Soil, Gemini Syndrome and Solus | 7 p.m. The Midland, 1228 Main

Gerald Trimble’s Celtic and World Music Sessions present “Uniting the Isles with Musical Styles” | 8 p.m., $10, Irish Museum and Cultural Center, 30 W. Pershing Rd.

Hammerween Afterparty with High Rise Robots, In the Shadow, Night Creation | 11 p.m. The Riot

DeRay Davis | 7 & 10 p.m. Improv Comedy Club and

Room, 4048 Broadway

pitch.com

Gladstone Blvd., kansascitymuseum.org

Real Pirates | Union Station, 30 W. Pershing Rd. Take Five Tours | 6 p.m. Thursday, American Jazz Museum, 1616 E. 18th St.

Kansas vs. Oklahoma Football | 2:30 p.m. Memorial

O C TO B E R 1 7- 2 3, 20 1 3

Square, Octagon, Circle, a project by Ellie Ga based on a journey to Alexandria, Egypt | Grand Arts Gallery, 1819 Grand

War I Museum, 100 W. 26th St.

NIGHTLIFE

the pitch

Thursday and Friday, Mid-America Arts Alliance, 2018 Baltimore, maaa.org

Shades of Jade | 9 p.m. Green Lady Lounge, 1809 Grand

Grand Marquis | 10 p.m. Kill Devil Club, 61 E. 14th St.

32

Nomads: Traversing Adolescence | Kemper

1020 Westport Rd.

waddellandreedkansascitymarathon.org

Stadium, 11th St. and Maine, Lawrence

| UMKC Gallery of Art. 5015 Holmes (Room 203), info.umkc.edu/art/umkcgallery/exhibitions

Our People, Our Land, Our Images | 11 a.m.

VooDoo Lounge, Harrah’s Casino, 1 Riverboat Dr., NKC

Monarchs of Speed, Keeping Good Co., Sound of Mind | The Brick, 1727 McGee

Filthy 13, Al Trout, Garage King | 9 p.m. Coda, 1744

Knock Loud, I’m Home + Dog and Pony Show

Hot 103 Jamz Music Conference | 8 a.m.-4 p.m.

Built to Spill, Slam Dunk, Lee Ranaldo & the Dust | 8 p.m., $21. The Bottleneck, 737 New Hampshire,

Music Hall, 943 Massachusetts, Lawrence

6 p.m. Friday, 1 p.m. Saturday, 1427 W. Ninth St.

East, 200 E. 44th St., kemperart.org

Mouse, 410 S. Hwy. 7, Blue Springs

Cowboy Winter, White Mystery | 9 p.m. Jackpot

Hobbs Building Artists’ Open Studios |

5336 W. 151st St., Overland Park

Patio, 8614 N. Boardwalk Ave.

Lawrence

City Textile Studio, 6 p.m. free, 924 E. Fifth St., kctextilestudio.com

Dinner Theater, 7260 N.W. 87th St.

continued on page 34

Truman Home Tours | 219 Delaware,

Independence

pitch.com

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continued from page 32 DJ Brent Tactic | 10 p.m. MiniBar, 3810 Broadway

Bonnie Raitt

Eboni Fondren | 5 p.m. Green Lady Lounge, 1809 Grand Gossip at Reserve Bar | 8 p.m. Ambassador Hotel,

1111 Grand

KC Cabaret variety show | 7 p.m., $10. The Uptown Arts Bar, 3611 Broadway

KC Improv Company | 8 p.m. Kick Comedy Theater,

4010 Pennsylvania

Sexy Saturdays | 9 p.m. VooDoo Lounge, Harrah’s Casino, 1 Riverboat Dr., NKC

Sunday | 10.20 | PERFoRmInG ARTS

Bolshoi Ballet presents Spartacus | 10 a.m., $13/$15. Tivoli Cinemas, 4050 Pennsylvania.

BISCUIT

Midland, 1228 Main, midlandkc.com

Kansas City Ballet presents “Fancy Free” |

2 p.m., $29-$99, Kauffman Center, 1601 Broadway

muSIC

MILLER

northland Symphony orchestra’s Concert #1: the Best French music of the 19th Century | 3 p.m. Park

@KNUCKLEHEADS

25

Bonnie Raitt, marc Cohn | 8 p.m. Friday, at the

FRIDAY

Pete Anderson | 8:30 p.m., $15. Knuckleheads Saloon,

Hill South High School, 4500 River Park Dr., Riverside

2715 Rochester

orchester Jakobsplatz münchen | 7 p.m. Yardley Hall at JCCC, 12345 College Blvd., Overland Park

Erra/Reflections, Specer, To Speak With Whispers, Drawn onward | 6:30 p.m. Jackpot Music Hall, 943 Massachusetts, Lawrence

SPoRTS

Kansas City Chiefs vs. Houston Texans | Noon,

OCTOBER

Arrowhead Stadium

KC Dixieland Band | 2 p.m. B.B.’s Lawnside BBQ, 1205 E. 85th St.

continued on page 36

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Dates and times vary. A Night in the Heights | 5:30 p.m. Saturday, $20,

1600 Genessee, kcmysterytrain.com

KCKCC Performing Arts Center, 7250 State Ave., KCK, kckcc.edu

Ol’ Blue Eyes | Chestnut Fine Arts Center, 234 N.

Big Love | UMKC Theatre, $6-$15. KC Rep,

Poor Lear: a one-man-show by Alan Tilson |

Copaken Stage, 13th and Walnut, umkctheatre.org

Carrie: The Musical | Egads Theatre, Off Center Theatre, 2450 Grand, egadstheatre.com Cat on a Hot Tin Roof | Blue Springs City

Chestnut, Olathe

$20. Metropolitan Ensemble Theatre, 3614 Main, metkc.org

Seminar | $32.50. Unicorn Theatre, 3828 Main. unicorntheatre.org.

Theatre, 2000 N.W. Ashton Dr., Blue Springs, bluespringscitytheatre.com

The Three Sisters | UMKC Theater, Grant Hall, 5227 Holmes, umkctheatre.org

Dracula: The Journal of Jonathan Harker | The Coterie Theatre, Crown Center, 2450 Grand, thecoterie.org

Three Viewings | Opening Tuesday, Muehlebach Funeral Home, 6800 Troost, kcactors.org

The Foreigner | KC Repertory Theatre, 4949

Wicked | Music Hall, 301 W. 13th St., theater league.com

The Mistakes Madeline Made | The Living

Your Hit Parade: The American Songbook | Quality Hill Playhouse, 303 W. 10th St.,

Cherry, kcrep.org

City

Murder at the Royal | $54-$64, the Golden Ox,

Room, 1818 McGee, thelivingroomkc.com

qualityhillplayhouse.com

o.g o NOW EPTING S! g / C tp:/ R t C h O : A D und here N E V n be fo Ap

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continued from page 34 King Khan and the Shrines, Hell Shovel | 7 p.m.,

KANSAS CITY JEWISH FILM FESTIVAL

$13. RecordBar, 1020 Westport Rd.

The Nace Brothers | Trouser Mouse, 410 S. Hwy. 7,

DAY SATUR

Blue Springs

10.19

The Ready Brothers, Rural Grit All Stars | 6 p.m.

Replay Lounge, 946 Massachusetts, Lawrence

rough lms th Find fi e JCC. th t a y Sunda

Sister Sparrow & the Dirty Birds, Kris Lager Band | 9 p.m., $11. The Bottleneck, 737 New Hampshire, Lawrence

Elliott Smith Memorial Tribute | The Brick, 1727 McGee

White Mystery, Lazy, Uzis, DJ Thundercutz |

8 p.m., $5. The Riot Room, 4048 Broadway NIGHTLIFE

DeRay Davis | 7 p.m. Improv Comedy Club and Dinner Theater, 7260 N.W. 87th St.

Greg Warren | 7 p.m. Stanford’s Comedy Club, 1867 Village West Pkwy., KCK

Monday | 10.21 |

Foreign Letters

15th Annual Kansas City Jewish Film Festival | The Lewis and Shirley White Theatre at the Jewish Community Center, 5801 W. 115th St., Overland Park

|7:30 p.m., free, Free State Brewing Co., 636 Massachusetts, Lawrence, naturalhistory.ku.edu

MUSIC MUSIC

Clint Ashlock | 7 p.m. The Blue Room, 1616 E. 18th St. Brother John | 8 p.m. The Uptown Arts Bar, 3611

Broadway

Desaparecidos | 7 p.m. Liberty Hall, 644 Massachusetts, Lawrence

Rural Grit Happy Hour | 6-9 p.m. The Brick, 1727 McGee Thicker Than Thieves | 10 p.m., $10. RecordBar, 1020

Westport Rd.

Waldo Jazz Collective | 7-10 p.m. The Piano Room,

8410 Wornall

MUSIC

SoMo, Kid Slim | 7 p.m., $12. The Granada, 1020 Mas-

Carl Butler’s Gospel Lounge with the Blues Benderz | 7:30 p.m. Knuckleheads Saloon, 2715 Rochester

Gerald Spaits Quartet with Arnold Young | 9 p.m.

Diamond Head, Raven, Vanlade, Whoracle, Meatshank | 8 p.m., $17/$20. The Riot Room, 4048

| 7:30 p.m., $18/$22. The Riot Room, 4048 Broadway

sachusetts, Lawrence

Green Lady Lounge, 1809 Grand

Booze, 423 Southwest Blvd.

Geeks Who Drink Pub Quiz | 8 p.m. Green Room Burgers & Beer, 4010 Pennsylvania Sonic Spectrum Music Trivia | 7 p.m. RecordBar, 1020 Westport Rd.

Trivia with Matt Larson | 8 p.m. Bulldog, 1715 Main

Tuesday | 10.22 |

Field Day Dreams, the Family Bed | 9 p.m. Jackpot Music Hall, 943 Massachusetts, Lawrence

Water Liars, Electric Needle Room | 10 p.m. Record-

2715 Rochester

Coco Montoya | 8 p.m., $15. Knuckleheads Saloon,

NIGHTLIFE

The Neighbourhood, Lovelife | 7 p.m., $16/$18. The Granada, 1020 Massachusetts, Lawrence

DJ Highnoone and DJ Ashton Martin | 9 p.m. Sol

NIGHTLIFE

Cantina, 408 E. 31st St.

DJs Mike Scott, Spinstyles and Bill Pile | MiniBar, 3810

The Low End with Nmezee & Sigrah | 10 p.m. The

Broadway

DJ HoodNasty, Brent Tactic & DJ B-Stee | 10 p.m.

Steve Hytner | 8 p.m. Stanford’s Comedy Club, 1867 Village West Pkwy., KCK

Riot Room, 4048 Broadway

Gusto Lounge, 504 Westport Rd.

Trivia with Teague Hayes | 8:30 p.m. Coda, 1744 Broadway

Wednesday | 10.23 |

COMMUNITY EVENTS

PERFORMING ARTS

Science on Tap — The Kansas High Plains Aquifer: The Future of the Underground Reservoir

Bolshoi Ballet presents Spartacus | 1:30 p.m., $13/$15. Tivoli Cinemas, 4050 Pennsylvania.

pitch.com

Broadway

VooDoo Glow Skulls, the Toasters, Left Alone

| 9 p.m., $10/$13. Davey’s Uptown Ramblers Club, 3402 Main

Bar, 1020 Westport Rd.

Geeks Who Drink Pub Quiz | 7:30 p.m. Rhythm and

Sporting KC vs. Olimpia | 7 p.m. Sporting Park, 1

Sporting Way, KCK

Bro Safari, ETC!ETC!, CRNKN, MC Sharpness

NIGHTLIFE

DJ Cody Critcheloe | 10 p.m. MiniBar, 3810 Broadway

SPORTS

Poetic Underground — erotic poetry | 8 p.m. The Uptown Arts Bar, 3611 Broadway

Super Happy Funtime Burlesque | 10 p.m., $10. RecordBar, 1020 Westport Rd.

E-mail submissions to calendar@pitch.com or enter submissions at pitch.com, where you can search our complete listings guide.

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37

Kansas City’s

S ava g e L o v e

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for two years and we live together. Recently, his ex was killed in a car accident. They were not on good terms, and he often made scathing statements about her. Several days after her death, I said (after offering my sympathy on numerous occasions): “I don’t know how to help you grieve in this situation because you didn’t like her.” That was a stupid, careless thing to say. I apologized numerous times, and he said he forgave me. Fast-forward two weeks. We were out having drinks with friends. He disappeared and wouldn’t answer my calls. When I got home, he was drinking with our roommate and some of his friends, including his friend’s wife. I was angry and went to bed. I awoke at 8 a.m. alone and went downstairs, where I found him making out with his friend’s wife on our porch. They were drunk. Later, he said he was angry about my comment, accused me of hating his ex, and said he vented about me to his friends. I’m not sure if I’m interested in staying with someone who can’t speak to me like an adult when he has an issue. I told him that this chick owes me an apology. I asked him to consider not drinking, and to tell his friends what really happened over his ex’s passing. Is our relationship worth salvaging? I hope we love each other enough to get past this.

Confused and Concerned About Situation Dear CACAS: Your boyfriend looks like some-

one slamming his hand down on the eject button, i.e., he wants out of this relationship. Which means your willingness to stay in this relationship — if “this chick” comes through with the apology you feel she owes you, if your boyfriend corrects the record and quits boozing — may be irrelevant. Because if your boyfriend wants to dump you but lacks the decency, balls or self-awareness to end it (he may not be consciously aware that he wants out), he’ll keep pulling stunts like this until you’ve had enough and you dump him. I could be wrong. Maybe his behavior can be attributed to a crazy meltdown reaction to his ex-girlfriend’s death. Clearly, his feelings for his ex were more complicated than he let on. I’m thinking he still had feelings for her, and I’m betting that she dumped him. He may have said only shitty things to you about her because he thought that’s what you wanted to hear. Reminding him about the shit he talked about his ex may have made him angry with himself, and he projected that anger onto you, and now he’ll be able to see that and apologize, and you can rebuild your relationship. Or, you know, not.

Dear Dan: My uncle died in a car wreck. I didn’t know him well, but we lived in the same city,

By

D a n S ava ge

and he named me executor of his estate. He was single, childless, straight, unmarried and — as it turns out — pretty kinky. I’ve been looking online, and some of this stuff in his “playroom” is worth a lot of money. But you can’t haul a $1,000 bondage table out on the lawn for a yard sale (at least not where he lived). What do you do with a dungeon full of BDSM gear when the owner dies unexpectedly?

Boy De-acquisitioning Sadistic Merch Dear BDSM: There’s an adult section on

eBay where you can unload the stuff, and NaughtyBids.com is a site dedicated to auctioning off preowned sex toys and gear. But if you don’t want to do the work (and you don’t care about cashing in on that bondage table), Google around, and I bet you’ll find a BDSM group in your area that would be happy take your late uncle’s gear off your hands.

Dear Dan: I’m a gay man in a happy and open marriage. I routinely seek the services of an erotic masseur. I found out when booking my next massage with him that he was recently in a car accident with his long-term partner, who died in the hospital. Normally, I’d send flowers and a card. However, due to the nature of our working relationship, I don’t want to extend myself in ways that could be uncomfortable for him. I wouldn’t want to put him in the position of having to explain who I am if the card was read by someone else. Any advice would be appreciated.

Wants to Be Respectful Dear WTBR: If we were talking about your lawyer or hairstylist or housekeeper, you wouldn’t hesitate to send flowers and a card. The only reason you’re hesitating is because you fear outing your masseur as a sex worker. You’re assuming that he isn’t already out about it; that being outed as a sex worker is the worst possible thing that could happen to him; and that your masseur is too stupid to cover for himself if he isn’t out about doing sex work, if someone else reads the card, and if that person asks who you are. (Your masseur has lots of options before he gets around to “a decent and kind guy I sometimes jack off for money.”) Better to risk a moment of awkwardness with a nosy relative than to fail to acknowledge your masseur’s humanity at a time like this. Don’t participate in the dehumanization of sex workers. Send the flowers. The new Savage Lovecast season starts October 22 at savagelovecast.com.

Have a question for Dan Savage? E-mail him at mail@savagelove.net

KC’s Got Some Pretty Little Women . . And You’l Find ‘Em At Bazooka’s! 1717 Main St. Kansas City, MO 816/421.1915 facebook.com/bazookasshowgirls bazookasshowgirls.com Now Taking Applications for Bazooka’s Showgirls Entertainers. Apply Today at Bazooka’s!

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To find out more, check out or send your resumé to streetteam@pitch.com 40

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The Pitch: October 17, 2013