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F ebrua ry 2 0–2 6, 2 014 | F r ee | Vol . 3 3 No. 3 4 | pi t

We Are Tribe pops up in the Crossroads. pa g e 1 7

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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, Liz Cook, April Fleming, Leslie Kinsman, Larry Kopitnik, Angela Lutz, Dan Savage, Nick Spacek

n ot f ol k i n g ar ou n d Meet some of the acts performing at the Folk Alliance International Conference. b y n ata l i e g a l l ag h e r


a r t

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

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FEBRUARY 20 -26, 2014


PhotograPhy by ahram Park

Will the Kansas Senate kill the PRO-DiSCRiMiNATiON BiLL? Scratch Bakery’s DYLAN JONES makes music — and muffins. WiLLiE NELSON and ALiSON KRAUSS are coming to Starlight Theatre in July.


K ate NicKol s

Owner and designer, Katie Lee: Bridal + Eveningwear

Hometown: Lenexa

The best advice I ever got: Think of mistakes as lessons. There is a reason everything happens, and it usually is for you to learn something and to act differently in the future.

Current neighborhood: Lenexa What I do (in 140 characters): I work with individuals to design custom, made-tomeasure wedding gowns and eveningwear. I use high-quality fabrics, couture techniques and handsewn details to create one-of-a-kind dresses.

Worst advice: Go get a full-time job to pay the bills and put my dreams on hold. I have been told this a lot, but I’ve always wanted to start my own business. I can’t say it doesn’t cross my mind from time to time, but I’d rather take the road with more struggles if it means I’m doing what I love.

What’s your addiction? Buying fine fabrics. I

What’s your game? Soccer. I was raised on the sport, starting to play at the age of 3. I love going to watch Sporting KC and the USA team. I also love to watch football and am always cheering on my Wildcats! Go, State! What’s your drink? I love a great Riesling. Relax

is my favorite.

Where’s dinner? Anywhere with a great glutenfree menu, but mostly at home. I make a mean Alfredo sauce from scratch that could rival any Italian restaurant’s. When I don’t feel like cooking, my go-to places are Chipotle, Blanc Burger, Spin Pizza, Kona Grill and Gram & Dun. What’s on your KC postcard? Nelson-Atkins

Museum. It is one of my favorite places in Kansas City.

Finish this sentence: “Kansas City got it right when …” They built Sporting Kansas City’s

stadium. It has brought so many wonderful experiences to this city, and I’ve loved being able to support such a success!

My sidekick: Saint, my brother and his girl-

friend’s puppy that I watch sometimes. He keeps me company during long days in my studio.

S a b r i n a S ta i r e S

love beautiful fabrics and, in particular, gorgeous laces. I am a self-professed “silk snob.” I have drawers, bins and bolts of fabrics of all kinds. I also am addicted to Snapchat.

“Kansas City screwed up when …” The Plaza kicked out the local small businesses. When people come to visit KC, they come to the Country Club Plaza. But instead of getting a taste of what Kansas City has to offer, they see the big-box stores that are in all other cities. Don’t get me wrong — the Plaza is still one of my favorite spots to eat, shop and hang out. “Kansas City needs …” A stronger way to unite our wonderful fashion community and designers. We have amazing talent here in fashion, jewelry, hair and makeup. We need to come together and support each other and our dreams. “In five years, I’ll be …” Spending my days running my own “one-stop shop,” offering beautiful fabrics and dresses but also continuing to create one-of-a-kind gowns for customers. I’d love to play a larger part in Kansas City’s fashion/beauty industry and working to help others who have similar dreams to mine.

My brush with fame: I have shown collections “I always laugh at …” Myself. I can be quite

clumsy and have the occasional blonde moment. If I couldn’t laugh at myself, then I’d have no sense of humor.

“I’ve been known to binge-watch …” Criminal Minds and other crime shows. I love the mystery and suspense of these shows as well as learning the interworking of the mind and why people do things they do. Also, my day usually begins with CNN all morning long while I am working. “I can’t stop listening to …” My Pandora “Studio” playlist. It has a wide variety of music, including artists such as Lana Del Ray, Arctic Monkeys, Macklemore, Pearl Jam, Lee Brice, Tom Petty and others. “I just read …” Christine Comaford-Lynch’s Rules for Renegades.

at Kansas City Fashion Week and West 18th Street Fashion Show. I was featured with a three-page spread in KC Weddings’ most recent magazine. I have designed for local celebrities, such as Kelly Jones, formerly of Better Kansas City, and Staci Klinginsmith, Miss Kansas USA. I have also had a few opportunities to go live on-air to showcase my designs. These have all been amazing opportunities that I’ve been blessed to experience.

My 140-character soapbox: I love my clients!

It makes my day when I get a message from a bride telling how much she loves her dress.

My recent triumph: Leaving the world of bosses

behind and making my business my full-time job. I may have the occasional side job, like decorating homes and stores for the holidays, but I am proud to be on my own on a daily basis doing what I love. See designs and more at

FEBRUARY 20 -26, 2014

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Trojan ChuCk


S t e v e v ock rod t

Charles Macheers has just been doing as he was told.


ow does someone like Charles Macheers to trounce Democrat Marlys Shulda in the general election. get elected? Donohoe-Macheers-style deadline-day Easy. Let a well-funded incumbent keep switcheroos aren’t all that unusual in polithe seat warm until the very last minute. tics when an incumbent wants to set the But who is Macheers? That’s a tougher table for a handpicked successor.  And at question. Macheers, who represents the 39th Dis- first, Macheers seemed to have been chosen for his ability to stay quiet and unremarktrict in the Kansas House of Representatives, had virtually no public profile before getting able. He’s not anonymous anymore, though. Macheers has been credited with pushelected. So when people tried to learn more about this man from Shawnee last week — ing the Religious Liberties Protection Act — after Macheers got a nationwide flaying for House Bill 2453 — onto the floor. It has earned carrying a bill that would legalize broad dis- him overnight name recognition. But it’s crimination of gay couples in the Sunflower unlikely that he’s the author. H.B. 2453 has Olathe Republican Lance Kinzer’s fingerState — there wasn’t a lot for them to discover. An estate-planning lawyer by day, Macheers prints all over it. The language of the bill is insync with Kinzer’s ideology, and its contents first entered the political consciousness in progress logically from previous legislation 2012, with a run for Shawnee City Council. He was an unknown in that contest, too, and easily he has sponsored. (Also: House Speaker Ray Merrick has told The Topeka Capital-Journal lost amid a line of conservative candidates. Jim Neighbor won that seat, and Macheers went that he thinks Kinzer wrote it.) Kinzer was one of the main representaback to a life of relative anonymity. That is, until early on the morning of June tives who assembled the Kansas Religious 1, 2012. That day was the filing deadline for Freedom Caucus. He sponsored a bill in those seeking office as Kansas state repre- 2012 that allowed pharmacists to refuse to dispense drugs which they thought could sentatives in that November’s election. cause an abortion, such as RU-486. That Owen Donohoe, a Shawnee Republican in the House since 2007, had filed to run for bill, something of a precursor to H.B. 2453, cleared Gov. Sam Brownback’s desk. his 39th District seat again. He had stashed When the bill was debated in the Kansas enough in his campaign war chest that no House, representatives from the American other Republican was keen to challenge him Religious Freedom Proin the primary. gram showed up to testify But that June morning, H.B. 2453 has in its favor. ARFP is an Donohoe withdrew from organization hellbent on the race. Olathe Republican eroding the separation of Macheers happened to Lance Kinzer’s church and state. Among be in Topeka that morning many of its policy stateand became a candidate in fingerprints all over it. ments is a complaint about Donohoe’s place — a notreligious employers having very-coincidental coincito provide medical benefits that included dence that touched off a string of phone things like contraceptives — which mirrors calls. Moderate Johnson County politicians and others now found themselves search- one of the Easter eggs in H.B. 2453. If Kinzer crafted the bill and Macheers ing for someone to run against Macheers in was his mule, it’s because redistricting in the Republican primary. Consensus built 2010 made Macheers bulletproof in the 39th. around Stephanie Meyer, who hopped in her car and drove to Topeka in time to register His district is conservative enough that even a slipshod piece of legislation like H.B. 2453 as a candidate.  can’t really dent his standing. Meyer proved to be too moderate for And 2453 may have gone too far. It has the district. Labeled by political-actioncommittee literature as not conservative stirred the annoyance of major companies — the kind that Kansas’ Republican estabenough, she fell to Macheers, who was by then aligned with a conservative Repub- lishment covet, in order to make the math in Brownback’s tax plan add up. That dynamic lican faction of western Johnson County politicians, including Mary Pilcher Cook alone may earn Macheers an opponent in and John Rubin. That advantage in the con- 2014. servative 39th District propelled Macheers to victory in the primary and allowed him E-mail


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300 SHOWCASE ARTISTS 4 NIGHTS 10 STAGES Full schedule at

A limited number of showcase only tickets are available to the public.

Tickets for the Folk Alliance Music Showcase are $25 per night and can be purchased online at ($25.00 per night + service charge) ALSO AVAILABLE AT: The Folk Store, 509 Delaware St. and The Westin Crown Center Hotel (show days)



P presents on the Liberty Stage: p Brother Bagman The Kansas City Bear Fighter Loaded Goat Howard Iceberg and the Titanics The Elders Making Movies Grisly Hand


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FEBRUARY 20 -26, 2014

Not Folking Around Meet five rising local acts perforMing at the folk alliance international conference. —————————————————————— B y N a t a l i e G a l l a G h e r | P h o t o G r a P h y B y a h r a m P a r k ——————————————————————


he TV crew is here, so Louis Meyers puts on a smile. He’s a little busy for this latest lastminute interview. It’s just a week before the 26th Annual Folk Alliance International Conference and Winter Music Camp gets under way, and Meyers, FAI’s executive director, is shoring up the details at FAI headquarters. Headquarters is the Folk Store, at 509 Delaware — a small River Market music shop whose bright-green walls are lined with dozens of stringed instruments: guitars, banjos, the odd ukulele or dobro. Near the door, show posters and fliers for music lessons compete for space on a community billboard. Meyers leans

against a file cabinet and waits for the camera operator to set up. Meyers, one of South by Southwest’s four founders, has been the FAI conference director since July 2005. This year’s event marks his final term with the organization. After that, Meyers says, he’s retiring. It’ll be up to the next FAI executive director, whose appointment will come this summer, to program the four years left on Kansas City’s contract. The organization is putting on this and future conferences downtown, at Crown Center. This year, that means 300 artists booked for showcase performances over four nights, February 19–22. Each subscribes to some form

of folk music, but the subgenres are as varied as spices in a cabinet: Grammy nominee and banjo prodigy Sarah Jarosz plays a set Thursday night at the same time that New York’s Gangstagrass, in another room, mashes up bluegrass and hip-hop. The next evening, two stages go to Canadian and European imports. But the point is neither diversity for its own sake nor sheer talent bulk. For Meyers, the conference — and a definition of modern folk — is simpler. “Folk music is music that can be shared,” he says. “Folk music has always been about sharing — songs that people can play together, songs that people can sing together. What I

love about folk music is that it always represents the present. It has a historical value — it comes out of tradition — but people sing about their world right now, good or bad. Folk music has always been that way. That’s why it’s so different to everybody.” Among those representing the present locally are the five up-and-coming acts we’re spotlighting here: the local faces of contemporary folk. Each is excited to play the conference. Beyond that, the commonalities and contrasts aren’t necessarily what you’d expect. Each does it his or her way. “We need people who are going to move the music forward,” Meyers says. These artists are doing just that.

CONNOR LEIMER In person, Connor Leimer comes across as your average high school student. He’s tall and lanky, with a fresh face and a wide, easy smile. He trusts easily. His tender 17-yearold heart has yet to be split open by life. That’s fortunate — at least for the rest of us — because we wouldn’t have his excellent debut EP, Like It’s June, if not for that ingenuous, youthful spirit. Leimer, a Blue Valley North High School junior, has been writing songs for the guitar since seventh grade, but he composed most of the EP’s five tracks last summer. Leimer was part of the Grammy Museum’s 2013 Music Revolution Project, a four-week summer school of sorts for teens interested in developing their craft. There, Leimer met fellow artists Hank Wiedel, Blair Bryant, Haley Ryan and Brandon Thomas, all of whom appear on June. The record was recorded at the local Weights and Measures Soundlab. As its title suggests, Like It’s June is an easy, windows-rolled-down collection. Yet it’s also surprisingly mature, with a sound somewhere between the sunny catchiness of Jack Johnson and the rawness of Jake Bugg. And that’s what Leimer wanted. “Before this program [the Grammy Music Revolution], I was just a guy writing acoustic songs in my room,” Leimer says. “But I love doing this. I feel like I’ve been doing it forever.” Leimer is one of FAI’s youngest conference performers, but he has ready opinions about folk, rattling off a long list of artists he says fit the category. On his short honor roll: Crosby, Stills, Nash and Young; John Mayer; and local Americana band She’s a Keeper. The common denominator for him is the songwriting itself. “I’m primarily a songwriter, so I really get into that,” he says. “The lyrics are really important to me. It’s natural. That’s what I like about it. You have a memory of that particular moment in time, and you can play it back for your kids 30 years later. It kind of becomes a little bit of history.” Connor Leimer plays at 9:20 p.m. Wednesday, February 19, on the Roanoke Stage. continued on page 8

FEBRUARY 20 -26, 2014

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Not Folking Around continued from page 7

K AT Y GUILLEN AND THE GIRL S Katy Guillen never really meant to start a band. But now, looking back a little, the 28-year-old sees that this is where she was always headed. She grew up surrounded by music, with a musician mother who played records by Peter, Paul and Mary, and Bonnie Raitt. Guillen, in fact, recalls the exact moment her career began. “I was 12 or 13, and I was just playing around on a guitar in a guitar store, and this lady just came up to me. She told me about a jam that her band hosted at Blayney’s [now the Union]. My dad took me, and even though I couldn’t get in — they were really strict about the age restriction — I knew I wanted to do it.” With her father as a chaperone, young Guillen began plugging herself into blues jams around the city, at Harling’s and the now-closed Grand Emporium. She gradually mastered the guitar, and she built a network of connections with local players. “I got a feel for what it meant to play music with people, and the blues made it really easy to do that,” Guillen says. “It’s easy to just pick up and start jamming with someone. Those years were invaluable.” Fast-forward a decade and a half, and Guillen is making use of everything she has learned. In January, her band — Katy Guillen and the Girls, with bassist Claire Adams and drummer Stephanie Williams — traveled to Memphis, Tennessee, to compete in the 30th

Katy Guillen (center) Annual International Blues Challenge. Of the 255 acts vying for the prize, Katy Guillen and the Girls — the only all-female band — placed fourth. “The final was at the historical Orpheum Theatre,” Guillen says. “I mean, they filmed part of Walk the Line there. Getting to that point, that was by far the biggest stage we’ve ever played on and the biggest crowd we’ve

ever played for. And the sound inside the theater was unlike anything we’ve ever played. It was kind of a landmark moment for us.” Not bad for a band that has logged just a year and a half together, with only a three-song EP to its name. …And Then There Were Three doesn’t push past the 15-minute mark, but it explodes with feral rawness. If Katy Guillen


Courtesy of the artist

Two hours southwest of KC, in Chanute, Kansas, singer-songwriter Sky Smeed makes his home in an old train depot he restored. That is, when he’s not on the road — which is often. “When I was 19, I moved out to Massachusetts, and that’s when I started writing songs,” he says. “But I really wanted a place I could create on my own and have a home base to start playing music full time. It made sense to center myself.” To get there, he returned to his hometown. Now 31, Smeed has been back in Chanute for six years, and his most recent album, 2012’s Mill River, feels like a testament to his roots. Having given himself plenty of time and space, on the beautiful, expressive Mill River, to finesse his songwriting, he sounds like he has finally figured it out. The record’s 13 tracks stretch out like a cat in the sun, unhurried and easy to like. “It’s just me playing in my friend’s barn, which he converted into a studio, about 20 minutes away from me, in rural Kansas,” he says. “That’s where I recorded. I just sat down and played like it was any other show, like if I was in your living room.”


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FEBRUARY 20 -26, 2014

and the Girls were an animal on your street, you’d double-bolt your door at night. Guillen herself is nothing but tame. She apologizes for rambling, for sounding awkward. She doesn’t ramble much, and she’s not all that awkward. She’s just one of those artists more comfortable onstage, roaring into a microphone, than telling someone in a midtown coffee shop where her talent comes from and where her music is going. I ask her about the state of folk, and she looks around the room, perhaps hoping to find an answer hanging on the menu. “When I think of folk … it’s a pretty overarching genre,” she says. “I still think of it as a pretty traditional singer-songwriter style, one of America’s simplest forms of music, but the most acceptable and, I think, one of the most rooted forms. I feel like I play folk music naturally, when I’m at home, just playing my guitar or my banjo. I relate to it.” A little more than a year ago, Guillen quit her day job to focus entirely on music. This, she says, has been her best decision. “I’ve never been at the stage in my life where I’ve had this much control over my career and my time,” she says. “I get to do what I love to do on pretty much a daily basis, which is play music with a lot of different people.” A Katy Guillen and the Girls record is in the works. The band has plenty of material, and demand for its time is only growing “Really, we’re just going to keep moving forward,” she says. “The only plan that I’ve ever had for us is just to keep playing shows.” Katy Guillen and the Girls play at 10:15 p.m. Wednesday, February 19, on the Pershing West Stage.

Mill River sounds more like Smeed falling into your living room after a long stretch of gigs, kicking off his boots and merrily raising a glass to you before telling you all the lessons he learned on the road. That’s how the record unfolds: one story after another, good times and bad. Because for Smeed, whose heroes include Gram Parsons and Guy Clark, the story is the thing. “Maybe because I’ve always heard those kinds of songs,” Smeed says. “I grew up with that kind of stuff. They feel like they’re part of my life.” For Smeed, folk is the breadcrumb trail you follow from those stories back to their origins: “When I think of folk music, I immediately think of somebody with a guitar and a voice, you know? “But that’s not what it is anymore,” he adds. “I can hear those songs through the years, like anybody, I guess. A line can take me back to a certain place in time. Everything just crosses lines. I don’t mind that.” Sky Smeed plays at 10:20 p.m. Wednesday, February 19, on the Roanoke Stage.

THE ELEC TRIC LUNGS The Electric Lungs might be the loudest band booked for the conference. After all, the longacquainted foursome didn’t exactly start with the gentle strumming of an acoustic guitar. Before becoming the Electric Lungs, Tripp Kirby, Marc Bollinger and Eric Jones were in a group together called Action Figure — what Kirby calls a “straightforward pop-punk band.” It came apart, but the musicians reunited in May 2012, when Kirby set about “trying something different.” That difference turned out to be keyboard whiz kid Jason Ulanet, who was ready to plug in. The result so far: last March’s Simplified and Civilized, a debut that goes off like a bomb in a mailbox. No one’s ears are safe from Kirby’s unholy scream-singing or Ulanet’s temperamental, grimy organ. Simplified and Civilized isn’t a record that’s easy to file. “Punk” still seems like the best box to check. But there’s no keeping the Electric Lungs from the FAI’s big folk party. “If you listen to a few of the songs, they do have that kind of three chords and a melody and a story at the root of them,” Kirby says. “There are definitely songs that have that kind of storytelling tradition. We all listen to a little

bit of everything. That’s one of those things that we definitely pull from, just not as obviously as some other things sometimes.” Sitting at a booth at the Brick, Kirby is the opposite of the gnarly, frustrated figure he sounds like on record. He’s polite, even a little reserved. He looks freshly shaved, and there’s not a single hair out of place in his slicked-back coif. And he’s right about how his new band tugs at some old roots: Kirby was a co-founder of the local rockabilly outfit Them Damned Young Livers. Lured by a friend who loved country, Kirby says his tenure with that project forever altered the way he approached music. “My songwriting really changed from that point on,” he says. “I started focusing more on the melody and the lyrics than on my cool guitar riffs or whatever. I think that was a big turning point.” Fittingly, Kirby has a highly inclusive take on folk. “I think all music is technically folk music,” he says. “It’s something where you just connect with people lyrically, mainly by telling your story and hoping they relate to it. I think it’s something very visceral and very organic, and I think there are different ways of doing that, probably as many different ways as you can think of.” The Electric Lungs play at 11 p.m. Wednesday, February 19, on the Shawnee Stage.

VIC TOR & PENN Y There is no shortage of amiable, acoustic coupled-up teams in the folk world. Jeff Freling and Erin McGrane, who perform as Victor & Penny, know that. But many fewer such duos train a guitar, a ukulele and two voices on music of an exceptionally niche vintage. “We didn’t think people would actually be interested in this kind of odd little 1920s and ’30s jazz project on ukulele and guitar,” McGrane says with a laugh. “That’s not a formula that people go, ‘Oh, yeah, this one’s gonna shoot you straight to the top, kid.’” Freling and McGrane are not married, but they’ve been a musical duo for about as long as they’ve been together as a couple (since 2008). Both are in their 40s, and McGrane — who has a background in film, theater and commercial modeling — is a bright, bubbly sylph, one of those enviable women unlikely ever to look old. Freling, dressed in a fuzzy mustard-yellow sweater and a woven fedora when we meet, gives off a likable Jason Bateman charm. Charm is Victor & Penny’s stock in trade. There is no difference between the people they are onstage and in real life. Since November 2010, the two have been collaborating on a selfinvented subgenre they call “antique pop.” “We started talking about what music we could do together, and he was listening to a lot of the early guitarists, Charlie Christian and Django Reinhardt, and I’d been singing music from the ’30s and ’40s for many years, and so we had this overlap,” McGrane says.

“We found that we had a real genuine love for all these old songs. We try to dig for ones that aren’t that well-known.” “That was what was appealing to us right off the bat, doing some of the more obscure stuff,” Freling says. McGrane continues: “The more we got into it, the farther back we started going. We

play anything from the turn of the century to the ’50s, really — we move around a bit. There’s a rich Kansas City tradition of jazz and pop from that era, too, so we come by that honestly.” In 2012, they released their third album, Side by Side, stocking it with eight oldies and one retro-sounding original. It puts very

bygone-sounding jams — “Slow Poke,” “Pork and Beans,” “The Sheik of Araby” — on a jolly, jangly carousel ride, with results as nostalgic as they are refreshing. “Hardly any of these songs were written for the ukulele,” McGrane says. “Jeff takes all the guitar chords and translates them for me to ukulele, so that we can still get these great-sounding jazz chords, except on a fourstringed instrument that really isn’t designed to sound like that. I’m essentially playing rhythm guitar with a ukulele. It’s part of what makes us sound the way we sound.” And if decoding older music for contemporary recitation isn’t folk, what else would be? “Folk has a much broader definition today than it used to, and — and this is why I think we fit in it — I think we’re now going back to a simpler form of getting the music across to people,” Freling says. “It’s music in pure form, I think, and that can be jazz and bluegrass and pop music.” “It hearkens back to tradition,” McGrane adds. “It’s us adding to that tradition. It’s what oral storytellers do, and what we’re trying to do is look back and see where we came from and decide what we can add to it today. And I think that’s where folk music is right now.” Victor & Penny play at 11:30 p.m. Wednesday, February 19, on the Washington Park Place 1 Stage, and at 7 p.m. Saturday, February 22, on the Pershing West Stage.

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FEBRUARY 20 -26, 2014

sHop ta lk

interview tHeir conference crusHes.


e asked a few locals playing at the Folk Alliance Inter-

national showcase to phone their favorite out-of-town musicians headed to KC for the conference. Here are some of the exchanges they shared with us.

G a l l a G h e r

Courtesy of the artist

N a t a l i e

Courtesy of the artist

B y

Hometown musicians

Betse e l lis If you’re attending the FAI’s Winter Music Camp this week, you might find yourself under Betse Ellis’ tutelage. Or you might run into the violinist at one of the panels she’s either coordinating or participating in. Or you’re trying to get down front for her not-to-be-missed set at the showcase. She’s everywhere, is what we’re saying. Derbyshire native Bella Hardy is a damnfine fellow fiddler. Since 2007, the singersongwriter has concentrated on bridging the gap between traditional folk and contemporary arrangements. Hardy’s latest fulllength, last April’s Battleplan, is a stunner: a collection of moody stories old and new, knit together by a sirenlike voice. It’s no wonder Hardy is a four-time nominee (and 2012 winner) of the BBC Radio 2 Folk Awards.

in tervie ws

Ellis: Hi, Bella! How are you feeling about the upcoming Folk Alliance conference? Hardy: It’s my first trip to America. I’m a bit giddy. I’m literally just coming over for Folk Alliance because I’m right in the middle of two different tours. I’m away for five weeks, and conference is a week in the middle of it. Will you play another instrument? It’ll all be fiddle and singing. I pluck the fiddle a lot when I’m writing songs. I travel with two fiddles: one that’s always tuned [for] plucking, one that’s a nicer sound to be plucked; and one that I sing against — it’s a smaller body and easier to play. When I tour solo in the U.K., I sometimes take a harmonium and do a few songs more droney. This will all be fiddle-singing.

Be l l a H a r dy

How do you describe your own folk music? Well, I think the way I describe all folk music reflects on how I describe my own, because I really think — and we all have this argument all the time — what is folk music? And for me, folk music is choosing whatever I want to do. That is what folk music is. It’s a choice. I like to do traditional songs. I like to do my own songs. I like to do covers. Folk music itself is having that root point which is trying to come from an honest place, trying to come from a place which is intimate, and getting to the root of something. We’ll actually have a panel this year that’s called “Folk Music: Creation or Evolution.” Is there something that really stood out to you [in the conference] that you’re looking forward to?

The first person on the list who jumped out at me is Sam Baker. Somebody gave me one of his albums, Pretty World, a few years ago, and I’ve been so absolutely in love with it ever since. There’s a couple of boys who’ve been coming over to Scotland quite a lot — Cahalen Morrison and Eli West — who are just brilliant and are slowly building up a reputation on our side of the pond as well, so I’m really looking forward to seeing them again. And Sarah Jarosz, of course. I’ve never seen her live. Betse Ellis plays at 8:30 p.m. Saturday, February 22, on the Pershing West Stage. Bella Hardy plays at 7 p.m. Saturday on the Union Hill Stage. continued on page 12 FEBRUARY 20 -26, 2014

the pitch


Shop Talk

Eddie Crane

continued from page 11

Eli West (left) with Cahalen Morrison

Loaded Goat’s

EddiE CranE interviews

Courtesy of the artist

Eddie Crane is one of KC’s most visible roots-music supporters and organizers. He puts on the Winfield Hangover, for instance — that mini-festival he holds in Westport every year just after Winfield’s Walnut Valley event. And he’s also easily spotted as the tall frontman for rowdy, moonshineguzzling Loaded Goat. Seattle duo Cahalen Morrison and Eli West describe their style as “old time” with a touch of bluegrass and a penchant for “brotherly” vocals. Listen to Morrison and West’s latest album, this month’s I’ll Swing My Hammer With Both My Hands, and you might mistake them for twins. They share guitar, banjo, mandolin and bouzouki duties, and it’s hard to tell their voices apart — though that hardly matters. Hammer is folk eloquence, dipped in Celtic silver and cased in tradition. Crane: How did you two meet? West: We met through a mutual friend in Seattle who is a DJ on a bluegrass radio show in Spokane. Cahalen was visiting, and he thought the two of us should play together. I’m familiar with String Summit and a few of the other festivals in the Northwest. How’s the scene up there?

Barrett emke

Eli WEst

It’s curious. It waxes and wanes, and it’s kind of indie-centric. Most of the bars are around the indie-rock thing, but I think it just makes the folk scene a little more loyal. There’s kind of two guards. There’s the older folk scene of the people who’ve been around for ages, and they’re maybe committed to this baby-boomer, political-activist kind of scene, which I really enjoy, too. The younger folk scene — well, Seattle doesn’t really have a good grasp on country music. They love outlaw country, like Willie and Waylon and all that stuff, but I don’t think they’re really doing anything cool with it,

and the indie-folk scene here is like having milquetoast, or you blow up really quick. There’s not really an in-between. Seattle’s actually not a big part of where we play our music. Seattle’s where we go to do our other projects. What would you like to see happen, not just with your band but with what we [folk musicians] do? The Mumford and Avett thing has really kind of changed the game for all of us — for better or worse, but at least they’ve broken it open to a wider audience. It’s kind of like how Wal-Mart has begun selling organic foods. It’s that they have such

Barrett emke

Courtesy of the artist

Eva Holbrook (below, second from left)

sar a sW Enson For the past few years, Sara Swenson has been one of the metro’s secret folk darlings. Her 2010 full-length — the soft, subtle All Things Big and Small — still goes down like honey off a spoon. Lately, Swenson splits her time between her hometown and Belfast, Ireland. SHEL is almost too precious to be true. The Colorado foursome — Sarah, Hannah, Eva and 12

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FEBRUARY 20 -26, 2014

in t ervie ws

sHeL’s Eva Holbrook

Liza Holbrook, four sisters all close in age and blessed with the talent gene — stirs bits of steampunk and vaudeville into its fairyfolk sound. On the group’s 2012 self-titled album, lead singer Eva bends her wispy voice around the curves and through the crevices left by an elegant mix of bass, cello, violin and mandolin.

Swenson: What conference events are on your can’t-miss list? Eva Holbrook: Definitely Sarah Jarosz and Della Mae. And I’m really looking forward to Steep Ravine — I would definitely recommend them. We played a show with Steep Ravine in Manhattan, Kansas, and it was magic. They all just gathered around one mic and did their

leveraging capacity. They put something out, and hundreds of thousands of people hear it, so it doesn’t hurt, I guess. Take Yonder Mountain String Band, and the resolution I’ve come to is that they are really committed to their version of folk music and they’re really devoted to their fans, so that’s really admirable. They’re basically a service to their fans, and that’s a good thing. Loaded Goat plays at 9 p.m. Wednesday, February 19, on the Liberty Stage. Cahalen Morrison and Eli West play at 6 p.m. Saturday, February 22, on the Roanoke Stage.

thing. Great harmonies, great musicianship. You all are working on writing a new album. What’s different about this project? We’re doing all the writing together — all the lyrics, that is; we’ve always done the music and arrangements together. Now we take turns coming up with the ideas. Everyone has their little treasure chest, so to speak. We go through everyone’s memos and ideas and pick what we like. I think everyone feels a bit more ownership this way. How are you evolving as songwriters? I think we’re looking at writing as more of a really disciplined art form, not just writing when we’re feeling really emotional or introspective. I’m realizing that anytime I write something, I’m drawing from my own emotion, interpretation, experience or understanding. Regardless of the subject or inspiration, it’s valid even if it’s not something directly from my diary. So just trying to live in that head space and look for inspiration beyond myself daily. And I really like refining it — making it concise and pointed. Sara Swenson plays at 6:30 p.m. Saturday, February 22, on the Pershing West Stage. SHEL plays at 8:15 p.m. Thursday, February 20, on the Century C Stage.

L I V E D J • N E W S O U N D S Y S T E M • PA R T Y L I G H T I N G

Katie and Mike West

9 : 30 pm-1 am


Ward ParkWa y Lanes

Barrett emke

1523 W 89th St, Kansas City, MO • 816.363.2700 •



at the Folk Alliance International Conference

TrucksTop Hon ey moon’s

K atie W e st interviews T H e car per Fa mi ly’s Katie and Mike West, of the Lawrence husband- wife duo Truckstop Honeymoon, are no strangers to adversity. They survived Hurricane Katrina, for one thing. And throughout their trials, music has been their constant — a strength audible on the pair’s most recent album, 2011’s fierce Steamboat in a Cornfield. The Carper Family’s Melissa Carper, Beth Chrisman and Jenn Miori might not be related by blood, but they sound like a classic family band on their latest album, Old-Fashioned Gal. Carper can sound like Dolly Parton or Emmylou Harris, depending on the song, and her bandmates swoop in with flawless backup singing that takes a page from the enchanted bluebirds known to harmonize with Snow White. In Austin, the Carper Family enjoys a hometown reputation as a peerless live act. West: What is it like on the road with the Carper Family? Carper: We drive Judy, Jenn’s new Dodge minivan. Jenn and Beth sit in front and talk and listen to music and take pictures for Instagram and tweet. We get along most of the time, and usually we have some sort of adventure, like getting lost or staying on an organic farm and sleeping in a barn or drinking whiskey all night with a local bluegrass band. Do you practice harmonies in the van? We don’t practice harmonies much in the van. Sometimes we trade the banjo around — we’re all learning clawhammer banjo — but there’s not a lot of singing, except with the radio. Sometimes we work on writing new songs. “Fancy Pants” was composed primarily in the van, the last two verses. We’re working on a new one called “Queen of the Honky-tonk/ King of Fools.” Sometimes we make set lists and do band-meeting stuff, answer e-mails. Do you stop at roadside attractions? Last summer, we stopped at the Little House on the Prairie homestead, near Independence, Kansas, one-time home of Laura Ingalls Wilder. In Alaska, Beth had us stop at a spot on the side of the road where fresh water from a glacier comes pouring out of a pipe in the side of a

Courtesy of the artist

Melis sa Car per

Melissa Carper (center) with her Family mountain. We all filled up our water jugs with the coldest, most refreshing water ever. What was your best night on tour ever? Our best night on tour ever was last November, when we got to play live on A Prairie Home Companion in Dallas. We got to sing a few of our songs, compose music for a few jingles that Garrison Keillor wrote, and sing “Deep in the Heart of Texas” and the Powder Milk Biscuit theme song with the house band. It was the biggest audience we’ve ever played for. Worst? Someplace we don’t even want to name. Five people in the audience — two were friends — followed by a lecture from the club owner about how to run our careers. And he didn’t want to pay our guarantee. That kind of stuff makes us sad and wish we worked in a coffee shop or were massage therapists or something. Who is on your conference must-see list? A lot of them are buddies we’ve met over the years: Betse Ellis, Della Mae, Foghorn Stringband, John Fullbright, Shinyribs — the Gourds’ Kevin Russell’s amazing new project. Also: Lindsay Lou & the Flatbellies; our guitar heroes Bill Kirchen and Redd Volkaert, who are teachers at the camp; Cahalen Morrison and Eli West; Kansas City Bear Fighters; and, of course, Truckstop Honeymoon.

soniA &






Truckstop Honeymoon plays at midnight Wednesday, February 19, on the Washington Park Place 1 Stage. The Carper Family plays at 10 p.m. Saturday, February 22, on the Pershing South Stage.


FEBRUARY 20 -26, 2014

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FEBRUARY 20 -26, 2014

WEEK OF FEBRUARY 20-26, 2014



Among the Faustian tales told in music, Stravinsky’s wintry, percussive “Histoire du Soldat” has on its side the virtues of brevity and Russian bleakness. There’s Satan, there’s a soul up for grabs, and there’s a violin. To find out who gets what, head to Community Christian Church (4601 Main) Saturday. That’s where Bach Aria Soloists and NewEar Contemporary Chamber Ensemble play out their own pact: an 8 p.m. concert titled “L’Histoire: From Bach to Stravinsky.” We stopped by a BAS rehearsal this week to snap a photo, and Elizabeth Suh Lane (on violin), Jeff Harshbarger and Elisa Bickers sounded deal-with-the-devil good. Others onstage Saturday include actor Mark Robbins (narrating the Stravinsky) and Minnesota Orchestra veteran William Schrickel. Of course, Bach is on the bill, too. Tickets ($25 for adults, $12 for students) and details are at


Daily listings on page 28

FEBRUARY 20 -26, 2014

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S ta g e

for keeps

Nathan Louis Jackson answers The Pitch’s Stage questionnaire.


De b or a h hir s ch







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FEBRUARY 20 -26, 2014

athan Louis Jackson grew up in Kansas City, Kansas, and attended Kansas State University. He gave up one Manhattan for the other to attend Juilliard, in 2007, and work on his main professional goal: becoming a playwright. He didn’t waste time. His Broke-ology was workshopped within a year of his arrival there. It was staged in 2008 and then, in 2009, in Lincoln Center Theater’s venue for new artists. Early last year, the Andrew W. Mellon Foundation awarded Jackson a three-year playwriting residency at the Kansas City Repertory Theatre, where his When I Come to Die runs through March 16 on the Copaken Stage. What experiences drew you to theater and to playwriting specifically? Growing up in Kansas City, I thought that the way I’d succeed was on the basketball court. But I didn’t grow much in high school, so I had to find something else to do. I soon learned that I had a lot of great stories to tell, and the stage was the perfect [format] to tell them. What was your theater training? I received a B.S. in theater from Kansas State University and an artistic diploma from the Juilliard School. What was your first play, and how did it come about? When my father became ill with MS, I had a difficult decision. Should I stay at home with my sick father or continue pursuing my dreams at college? In 2002, soon after my father died, I wrote my first play. It was titled Mancherios and was about a young man struggling between taking care of his family responsibilities and pursuing his dreams. Did Broke-ology evolve from Mancherios? Yes, Mancherios became Broke-ology. You’ve written for TV, too. After I wrote Broke-ology, my agent asked if I had an interest in television. He sent my play to several producers, and I got a job writing for Southland on NBC. I’ve also worked for Lights Out on FX, Shameless on Showtime and Resurrection on ABC. How is writing a TV script different from constructing a play? The biggest difference is that television writing is superfast. A play could take months or years to write, but an episode of television is written in a few weeks. Also, playwriting is an art form that is normally done alone. Television writing is much more collaborative. Who and/or what inspires you or fuels your creativity? My parents because of the sacrifices that they made. My children because they have to eat. My fellow playwrights because they’re damn talented.

Barrett emke


Jackson: “Playwriting is normally done alone.” What playwriting rules do you like to break? I’m still working on mastering the rules. I’ll break them soon enough. What rules for theater would you institute if you could? Rules + box. I don’t want to put theater in a box. Do you have a writing routine? I wish. I just try to write something and read something every day. At work sitting at the desk, at home during the kids’ nap, at the airport during a layover. I just write whenever I get a chance. You’re a KCK native but spent time away. What brought you back to KC? After my wife and I found out we were having a second child, we decided to move back to KC to be close to my mother. Family brought me back, but the grant from the Mellon Foundation kept me here. What are some favorite plays, and why? The Island by Athol Fugard. I love its simplicity and the way it explores the theme of isolation. I also love The Colored Museum by George C. Wolfe — it’s one of the first plays I ever read and saw performed in high school, and that I performed in high school and junior college. You’ve acted in the past. Not anymore? I loved being on the stage. Still do. But for me, writing is more conducive to my family life. Also, with writing, I get to tell my stories. Who are some favorite playwrights, and why? Marco Ramirez, Katori Hall, Bruce Norris,

Zayd Dohrn, Tracey Scott Wilson, just to name a few. They all write with passion and truth. They write stories that only they can. I can tell that each word, each phrase and character in their plays were well thought-out. What’s the hardest thing you’ve worked on? When I Come to Die. There were a lot of rewrites [for an earlier production in New York City] and not much time to do it. The most rewarding? Broke-ology. Even though Dad wasn’t here to see it, I know he was proud of me. How does audience reaction affect your work? Because theater is a live art form, it’s impossible for the audience not to affect the work. During the writing process, I don’t think about the audience as much. I just write what I think works best for the story. But while watching the performance, it’s helpful to see what the audience reacts to and what moves them. What’s the best thing that has happened during a performance? When an audience member is so moved that they yell something out loud. At one point during Broke-ology, an audience member screamed, “No!” when William took the last shot. What’s the worst thing? When watching a show after it opens, I see a line or a moment that I want to change, but I can’t. What plays are in progress or in planning stages? Hopefully something amazing.



fa s h i o n

GuEst HousE

We Are Tribe gets a pop-up initiation at Hadley.




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We Are Tribe warms up February in the Crossroads.


he stark white walls inside tiny Crossroads boutique Hadley are now painted a neon chartreuse, and a school of delicate pink koi dangles from the ceiling. It’s First Friday, and designer and store owner Hadley Johnson has yielded her place to another fashion vision for the month. While Johnson spends February working on her own new collection, the women of online vintage store We Are Tribe are using her e r Mo storefront (122 West 18th Street) as a pop-up. The intimate space gives t a ine Onl .com Elizabeth Bohannon and h pitc Liana Wears just enough room for two racks: one with just black-and-white pieces, the other with a rainbow palette ready to give a vitamin-D contact high. Among what Bohannon and Wears have brought: a rare pair of red Versace pants with mesh paneling, a bright floral rain jacket to summon spring, and denim pinstriped bell-bottom overalls (for any season). A couple of days before opening night, all three sat with The Pitch to talk about their partnership. The Pitch: How did this collaboration come to fruition? Johnson: From what I learned in the first year of running the store, I need time to develop new ideas and thoughts and make work. I chose February to shut down the


store and make a new body of work no matter what, and then present that in March. So you were going to close down the store regardless? Johnson: Yes, but then I thought the activation of the block is really important — making sure that there’s energy in the space. I thought it’d be nice to have someone be in there and keep it activated for the month while I was back here in my studio. How did you all get in touch? Wears: We had already been talking about organizing some kind of collaboration. And then Hadley ended up asking us. Johnson: I wasn’t going to allow just anybody in the space. The goal was to have something highly thoughtful and interesting and intriguing, people who already have their own aesthetic established with followers digitally. Having them be able to present in the physical form was a great opportunity for them, for me and for Kansas City. So it was just kind of a win-win. You’ve been running your online store since 2010. Is We Are Tribe still looking for a storefront? Wears: It’s in our heads. Bohannon: We get a lot of support in Kansas City, and people will come out to events, but we haven’t done very many sales here. Part of what is so exciting about this is us getting to physically be in the space, so people can see what we’re selling. We can

get to know the people who are shopping frequently on 18th Street. Do you think this kind of collaboration is indicative of the Kansas City fashion scene? Johnson: I don’t collaborate, as far as fashion goes, with other people in Kansas City. I’m really specific with my vision, which is why I asked them. The worlds that they’re looking at, as far as fashion, it’s not really about geography but it’s worlds that I look at, too, and I’m influenced by. There’s also this access that you have to one another in Kansas City, so it’s mainly just that access and admiring what they do. You’re keeping Erica Voetsch’s Majendie jewelry for sale during your residency. What else? Bohannon: Yes, we really appreciate what Erica’s doing. We’ve worked with her in the past, and she’s made pieces specifically for our photo shoots. We’ll also be selling jewelry by Sam Bernstein, Ashley Miller’s Third Eye sunglasses, music by Justin Wright of Expo ’70, and woven necklaces and wall hangings by Rainbow Kimono out of California.


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We Are Tribe: noon–8 p.m. Wednesday– Sunday at Hadley; search “We Are Tribe vintage clothing” on Facebook. Hadley Johnson debuts a new collection March 1.

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FEBRUARY 20 -26, 2014

641 Grand Ave • 816-474-8000



The last Waid’s gets a gentle nudge eastward, toward Afghan dishes.


Ch a r l e s F e r ru z z a

Ariana • 1130 West 103rd Street, 816-941-0111 • Hours: 7 a�m�–8 p�m� Monday–Saturday, 7 a�m�–7 p�m� Sunday • Price: $–$$


n Kansas City’s highly competitive restaurant community, it’s not enough to offer Afghan-style meat kebabs and aush, a dillscented noodle soup with yogurt, beans and chickpeas. You need a Denver omelet, too. The owners behind Ariana, the metro’s first Afghan restaurant, are hedging their bets and serving daal and American eggs, hummus and hotcakes. It’s not the kind of menu you see every day. But Ariana isn’t a typical venue, either. e Mor For one thing, the space itself is a former Waid’s t and nearly as large as a e in Onl .com the Khyber Pass. The pitch two dining rooms in the building could easily contain a soccer field with room left over for a helicopter landing pad. With that many seats to fill, why limit the menu? The restaurant’s signature cuisine is that of Afghanistan, which in turn shows the culinary influences of Turkey, Central Asia and the Middle East. But there really is a Denver omelet on the menu at Ariana, and it’s far from the only American dish left over from Waid’s, where solidly unexciting home-style cooking (liver and onions, fried chicken, cream pies) remained long after S&H Green Stamps bit the dust. Waid’s and its ilk may have grown tired and passé down the decades, but frequenters of the 15 diner-style restaurants founded by former Navy cook Bob Waid in 1953 were nothing if not loyal. So now that the dynasty’s last rampart has fallen, partisans must decide whether the hulking building’s new occupant — the two-month-old Ariana — is for them. This isn’t the first time that a former Waid’s has been retrofitted with ethnic food in mind. The old Waid’s at 3063 Southwest Boulevard is now Poco’s on the Boulevard, which serves Mexican dishes and a select number of familiar Waid’s favorites, mostly from the breakfast menu. But are the people who ache in the morning for the breakfast combo known as “The Quickie” (which you can still have at Ariana) willing to come back in the evening for a plate of badenjan borani (sautéed eggplant) or chickpeas korma? According to one of the servers at Ariana — a Waid’s veteran named Elise, who worked for nearly a decade at the now-razed Prairie Village Waid’s — some minds have already been made up. On a recent Sunday morning, she lamented that the regular breakfast eaters from the Waid’s days didn’t seem to know that they could still find the delicately crispy malted waffle. (This is one of the few breakfast

AngelA C. Bond


Unusual Afghan dishes share the menu with “The Quickie” at Ariana�

it seems to always come out medium well.) joints in the city that serves a good waffle, one They’re missing out on some very good that’s neither rubbery nor hard as concrete.) Afghan dishes, though the preparation can be Generous omelet combos remain, too, with hash browns and toast. And Elise continues inconsistent. The naan is Exhibit A. It helps to to fuss over her customers like a concerned know that this isn’t the bread that comes out of an Indian tandoori oven — Afghan naan is relative. (“Would you like some vegetables denser and cut into squares — but even so, with your burger?” she asked me. Yes, I told the version here can be tasty or too chewy, her — french fries.) Ariana also makes up buffet tables for depending on the night. The chicken korma at Ariana bears only a breakfast and lunch, and it’s along the latter’s line that you start finding Afghan dishes, such passing resemblance to the dish of the same name in most Indian restaurants, though as chicken korma and various kebabs. It’s a simple enough way for diners to try several both call for braised poultry. On my first visit different Afghan options at once, but a din- to Ariana, the dish — in a spicy, oily sauce — was made with chunks of ner version has already been chicken breast; on the secabandoned. “Our customAriana ond visit, it was made with ers just weren’t interested Malted waffle �����������������$5�99 chicken drumettes. in it at night,” another server Chicken korma ���������������$11�99 There are f ive kebab told me. “They’re willing to Mantu����������������������������� $10�99 Lamb kebab �������������������$15�99 choices, including a flavortry new things but not on a Chapli kebab ������������������$13�99 ful (if slightly chewy) plate buffet.” Chicken karayee �����������$15�99 of marinated lamb chunks I’ve eaten dinner twice at sided with a towering pile of Ariana, and a few of the old white rice. The oddball opWaid’s regulars look to be tion here is the chapli kebab, a trio of burgercoming back to the restaurant. But they’re sized minced-beef patties dominated by a not necessarily ordering the Afghan dishes, punchy combination of fiery green chilies, opting instead for the familiar: fried-chicken coriander and cumin. If the kitchen stops tenders or the “Pub Burger,” topped with American cheese. (It’s a fine, hefty burger, turning the meat into leather, this dish could be a winner. by the way, but no matter how you order it,

My favorite item here so far is the karayee, made with either beef or pork and given distinctive but not overpowering spice by garlic, ginger and chilies. (It’s also called karahi in Pakistan, and named for the cooking utensil, a woklike pot.) It’s damn tasty, but it’s better when you order it with more heat. I also made a satisfying meal out of some steamed mantu dumplings: puffy little savory purses stuffed with chopped beef and onions, and swimming in both a deftly seasoned broth and a runny yogurt sauce. In an act of relative defiance, Ariana serves only Afghan desserts, which are uncomplicated and enjoyable: a rice pudding, a sweet bread called rote, and a rose-scented milk pudding called firni. (Waid’s refrigerated pie case is still at the front of the dining room, but it’s sadly empty.) Ariana doesn’t have a liquor license yet (“We’re working on that,” one of the owners told me) but serves soft drinks, fruit juices and chai tea. There’s strong coffee, too, which is just the ticket on a cold morning with a Louisiana omelet smothered in hot sauce — or at night, with that pistachiodusted, gently multicultural rice pudding.

Have a suggestion for a restaurant The Pitch should review? E-mail

FEBRUARY 20 -26, 2014

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fat c i t y




CidEr BloCk



Cinder Block Brewery taps its hard apple cider Friday.


Ju s t in K e nd a l l


11526 ASH ST. LEAWOOD, KS 66211 | 913.327.7115










the pitch



sk Cinder Block Brewery owner Bryce Schaffter about his latest project, and you’ll hear from the mad scientist in him. And the ambitious businessman in him. And the proud husband. “I’ll be the first in Kansas City to do it, for sure,” Schaffter says. “The only thing that comes close to this in the surrounding area would be wineries doing maybe an apple wine.” He’s talking about the hard apple cider he started working on last October. He’s leading me on a tour and explaining how apples from local orchards have become the smooth, crisp beverage ready to be tapped at Cinder Block Brewery (110 East 18th Avenue, North Kansas City) on Friday, February 21. Schaffter began his cider experiment at home four years ago, and he credits his wife with encouraging him to add the results to Cinder Block’s brand. “She basically said that if I was going to do this, I should make cider, too,” he says. “It was kind of jokey, but it became fairly apparent that she was serious.” His home-cider batches topped out at 10 How ’bout this apple? gallons. Friday’s yield is 400 gallons. That process is called “back sweetening,” Schaffter says Cinder Block’s cider uses and larger cider makers use sweeteners such more than five varieties of apples, which he as corn syrup, saccharin or Splenda to do it. won’t name as a matter of recipe protection. All come from local orchards, though, in- Cinder Block doesn’t. “We’re using fresh juice,” he says. “So cluding Stephenson’s, and he also acknowledges assistance from Louisburg Cider Mill, it stays all apple juice. It takes a little more which helped with the apple crush. Talk- finesse, and it’s a little more costly, but right now we can do that. And I ing about this part of the think that’s what gives us endeavor, he could be an a big apple aroma.” eager grad student work“It’s like a blank Cinder Block’s apple ing in a lab. “For me, it canvas, which is cider has an alcohol conwas neat to see where the pretty cool. You can tent of 4 percent. ingredient was coming “I didn’t want to put from,” he says. “I’m actudo almost anything a lot of alcohol into the ally seeing apples coming with it.” cider because I think a lot of in from orchards in the the cider drinkers we have surrounding area, and I’m coming here aren’t lookactually seeing the apples going through the process, getting juiced ing for that,” he says. “So I wanted a more session-able cider.” and then coming to us.” Cinder Block’s apple cider is “French After the crush, Schaffter gauges the sugar levels and the acidity to determine style,” Schaffter says. “Generally, it’s a little more of a tart, less mineral-y finish what adjustments need to be made before the fermentation process begins. He points and a little more effervescent in my view,” he says. He’s working on an English-style to four opaque fermentation tanks. (A fifth carbonated version as well, which is, he tank is earmarked for a future sour IPA.) “When you ferment cider, the sugars in adds, more of a pub-style cider, without the tartness. Schaffter already has 150 gallons apple juice are so simple that the yeast eat every bit of those sugars,” he says. “So when of an English-style sweet-and-sour cherry the cider is done with the primary fermen- cider (made from 30 pounds of sour and 30 tation, it’ll taste like table wine. It’s like a pounds of sweet dark cherries) on tap. The conversation turns to when Cinder blank canvas, which is pretty cool. You can Block might distribute its products outside do almost anything with it. You then have the brewery. Schaffter says he would like to to age it and then blend back fresh juice.”

FEBRUARY 20 -26, 2014

be in kegs and maybe bottles by the end of the year, but there’s no rush. “The reason I wanted to do a taproom so much is, I wanted to see people drinking my beer,” he says. “It’s really cool to see the reaction that you can trigger based on something you’ve made.”

More to Handle Cinder Block’s plans don’t stop at cider. Barrels along a wall of the taproom hint at what’s to come. “We’ve got four different sours going, and then we have a Russian imperial stout, a Wee Heavy in whiskey, and a barley wine in brandy barrels,” Schaffter says. The sours, Russian imperial stout and barley wine are about six months away. And the Wee Heavy has about four months to go. Over the next few weeks, Schaffter plans to start brewing a few new beers. Farmhouse sour beers — a Berliner Weisse and a saison — are in the works, slated for sometime around June. He’s also working on a series of new IPAs called Hop Maven. These will be special monthly or bimonthly beers made with rare hops in addition to the brewery’s Block IPA. The first is due out in about two months. “We really wanted an avenue that we could go a little crazy and make some hoppy beers and use some really weird hops in the different beers that we’re making,” he says.


April 10

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FEBRUARY 20 -26, 2014

the pitch


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P 2014 Wedding Guide p

BY Three Things You DiDn’T Know You neeDeD aT Your weDDing Rea FRey


wedding checklist: It can seem unending, unnerving and irrelevant, depending on your bridal stance. But before you go down the rabbit hole of wedding planning, ask yourself what you would want if you were a guest at a wedding. The little details can be the most memorable, and we’re not talking about mason jars, because everybody is tired of those. Think about things that will entertain your friends and family while they’re enjoying the open bar, whether it’s cornhole game setups - because it’s always fun to combine alcohol with things to throw - or a play area for kids. The beauty of planning a wedding in the postPinterest, Etsy-fied world we live in is that there are a lot of creative flourishes available to accent your big day, whether you’re a modern or traditional, budget or blowout bride. Here, we offer a few fun and functional options that will appeal to both ends of the spectrum. Live event Painting A live painter offers a keepsake that will be cherished for generations to come literally. The artist sets up a canvas at your wedding and paints the event throughout the night. Live. No fancy Photoshop to make you look like you’ve been airbrushed, just paints and a canvas, like the true artists of our past intended. Guests can watch as the artist captures the key elements and mood of the event, while the happy couple leaves with a memento to last a lifetime. Phone Charging Station We’ve heard about this trend in which couples have an “unplugged” wedding, asking guests to check their phone at the door. Hey, whatever floats your boat, but we all know that if it didn’t happen on Instagram/Facebook/Twitter/etc., it didn’t really happen. While your guests are busy taking video of your nuptials or snapping pics and finding the most flattering filter (on photos of you, we hope), they’re zapping their phone batteries. Provide a charging station in the venue to prevent social media blackout; all you have to do is park a table near multiple power outlets and purchase several chargers for different types of devices. PoLaroid gueStbook If you’ve been to a wedding, then you’ve signed the flowery guest book. Yes, it helps the couple thank those who attended, but scribbling your name can sometimes remind you of signing the guest book at a funeral. Let a Polaroid camera lighten things up; not only will you get great candid shots of your guests, you’ll have a handy keepsake to flip through. Leave an empty photo album and a marker upon arrival, so guests can scribble their messages on their photos and slip them into the album. So, whatever’s on your checklist, really think about how you want to feel after your big day. If it’s something you’re going to regret not having, well, maybe it’s worth the splurge. You’re probably only going to get married once, right?

P 2014 Wedding Guide p

FEBRUARY 20 -26, 2014

the pitch




F re e S h u tt le in S u rr o u n d in g A reth e a


18: Parker Millsap & Guy Forsyth 19: Bruce Robinson, AJ Croce & Rod Picott 20: Lisa Morales, Robin Ludwick & Shelly King and Grant Peeples 21: Guy Davis 21: Webb Wilder Solo GL 21: Old Salt Union GL 21: 4 Fried Chickens and A Coke 22: Eddie Delahunt GL




24: Cash’d out

The Greatest Johnny Cash Tribute Band Around

26: The Late Night Callers, John Velghe & The Prodigal Sons, Katy Guillen & The Girls 27: Murali Coryell 27: Paul Cebar Tomorrow Sound 28: Black Joe Lewis & The Honeybears

For more info & tickets: 2715 Rochester, KCMO



the pitch

Chum Tank

Two friends bring music to the Crossroads with their new bar, the Tank Room.


N ata l ie G a l l a Ghe r


n the early afternoon hours of a sunny Tuesday, Tank Room co-owner Chadwick Veach is bent over the venue’s brand-new stage, applying primer. His business partner, Dustin Racen, watches casually, apparently unfazed that by this time the next week, the Tank Room will be a few hours from its first big booking. The bar is set to kick off the Kegs & Eggs season for KRBZ 96.5 (the Buzz) with Lucius and Ballyhoo February 19. Veach, 29, and Racen, 31, have had their eyes on this prize since they first talked about opening the Tank Room. “We’re fans of the Buzz, and it was kind of the plan from the beginning — before we even started building, we knew we wanted to kind of go after the Kegs & Eggs deal,” Racen says. “A lot of the stuff in here — different levels of seating, a green room — we designed with that in mind.” Kegs & Eggs comes to the Tank Room. Putting an ambitious live-music venue anything before. Never drywalled. We wanted into a former Gold Exchange storefront is the an elegant, rugged look. That’s kind of the latest development in the men’s decade-long music we listen to, in a way, so it made sense.” friendship. “We’re not carpenters,” Racen adds. “If “Every guy, for the most part, wants to something was just a little off, we’d be like, open a bar,” says Veach, who has bartended ‘Well, it’s rugged.’” at various Power & Light spots over the past So is the house-infused bacon whiskey, few years. “Me and Dustin had been in bands which comes on tap. But the main flavors together, so we played in different bars and offered, the men say, will be in the music. spent a lot of time talking about that. ‘Well, “We’re a live venue first,” Racen says. “We this bar is cool, here’s what I would do’ — that have a small occupancy — just under a hunkind of thing.” dred — but one of our goals is to get larger “Every time we were hanging out, we bands in here to do intimate shows, maybe were brainstorming about what we wanted to do,” Racen says. “Finally, I was like, ‘Let’s on a night off or something.” The two are working on a strategy to go for it.’” Veach adds: “We found this building, and it lure in those bigger headliners. It helps that Racen also runs Fountain Town Media, a took us about a year to build it out. We demoed video-production company a block from the everything that was pre-existing, and me and Tank Room. He plans to offer concert recordDustin built everything ourselves.” ing and live-video streaming The Tank Room is a study to bands that come through. in contrasts. It’s sleek and Kegs & Eggs: “We’re installing five live modern, with a metallic Lucius and Ballyhoo video cameras so that we’ll bar and imposing oil-black Wednesday, February 19, at be able to switch and edit paintings mounted on the the Tank Room, 1813 Grand live shows,” Racen says. “If walls, but there are rustic a band comes through town touches as well. The house and they play here, we can provide them with a mascot, a preserved and mounted caribou bust live DVD of their show, which is something that — one of Racen’s Craigslist finds — hangs above the taps, flanked by Gothic wall lamps. The we’ve noticed fans like to watch and apprecirest of the surfaces are exposed brick and hard- ate. That was the other thing that we wanted to bring to Kegs & Eggs.” wood floors, and from the raw ceiling hang The recordings that Racen makes will be massive iron chandeliers. The whole setup streamed on whatever website — the band’s or is strangely inviting, like a house haunted the Tank Room’s — is most appropriate. (The by a very generous party host. Not bad for a Kegs & Eggs shows stream live.) couple of guys with little experience and a It’s a technology that no other small music DIY budget. venue in Kansas City offers, and Racen and “We had to YouTube and Google — well, not Veach hope that selling point works to their everything, we’re not completely helpless,” Veach says with a laugh. “I had never framed advantage. But as the partners look around

FEBRUARY 20 -26, 2014

Barrett emke


their space, the smell of primer hanging in the air, they seem more excited about the future than nervous about what it will bring. “When we signed the dotted line for the building, that was one of the no-turning-back moments,” Racen says. “Nobody wants to fail. But we’ve already taken the hardest step.”


J a z z B e at BoBBy Watson & Horizon, at tHE BluE room

Since returning to his hometown to direct the jazz studies program at the UMKC Conservatory of Music and Dance, Bobby Watson has played a key role in developing the young talent dominating KC jazz today. But Watson is better known internationally for his own extraordinary talent on the alto sax. Last year, he again made DownBeat’s poll of greatest living jazz saxophonists. He first made a name for himself with Art Blakey’s Jazz Messengers, moving on from there to form Horizon. With trumpeter Terell Stafford, pianist Edward Simon, bassist Curtis Lundy or Essiet Essiet, and drummer Victor Lewis, Horizon is modern jazz composed and tightly performed by recognized modern jazz masters. In 2014, Bobby Watson & Horizon mark 30 years together. Friday night, they celebrate at the Blue Room.  — Larry Kopitnik Bobby Watson & Horizon, 8:30 p.m.– 12:30 a.m. Friday, February 21, at the Blue Room (1600 East 18th Street, 816-474-8463), $30 cover.

FEBRUARY 20 -26, 2014

the pitch



n ata l ie G a l l a Ghe r

B r o o k e Va n d e V e r

Music Forecast


Royal Teeth (left) and Gee Watts

Federation of Horsepower, Drop a Grand, the Dead Girls, Scruffy and the Janitors

3402 Main 753-1909

open til’ 3am


MONDAYS @ 7pM: SONgwriter SceNe

WED| 02.19 7:30PM | $12 FRI| 02.21 9PM | $7 SAT| 02.22 9PM | $8 WED| 02.26 7:30PM | $5 SAT| 03.01 7PM | FREE MON| 03.03 8:30PM $10/$12 FRI| 03.07 6:30PM | $5 9:30PM | $5 SAT| 03.08 8:30PM|$8 TUE| 03.11 8PM|$6 THU| 03.13 9PM| $6 FRI| 03.14 9PM|$7

THU| 03.20 8PM| $5 9:30PM| FREE


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lOrD Of the lOSt MurDerfM fAShiON bOMb

MADiSON wArD & MAMMA beAr rebeccA rAgO & the trAiNMeN the bishops • new riddim richMO

greeN river kiNgS the pedaljets

bOb wAYNe & the OutlAw cArNieS the wOODY piNeS rOugher AllStArS (blue riddim)

Leave it to the Midwest Music Foundation to handpick some of the juiciest apples in the orchard. To raise funds for the annual MidCoast Takeover, the nonprofit features an allstar local lineup Saturday at its SXSW showcase at the Riot Room. Local rock veterans Federation of Horsepower headline the evening with the always entertaining — and entertainingly dressed — Drop a Grand backing them up. Lawrence’s the Dead Girls — none of whom are girls, or dead — fill out the bill. And if you haven’t yet experienced the heavy, booze-drenched blues rock that is St. Joseph’s Scruffy and the Janitors, you’ve been missing out. Saturday, February 22, at the Riot Room (4048 Broadway, 816-442-8179)

Cash’d Out

It’s an epic week for die-hard Johnny Cash fans. The Man in Black would have celebrated his 82nd birthday on Wednesday. To remember the man who gave us such immeasurably influential songs as “I Walk the Line,” “Ring of Fire” and “Folsom Prison Blues,” Knuckle-


john lilly

ShOwcASe ArtiSt Of fOlk AlliANce

the pitch

FEBRUARY 20 -26, 2014

heads is hosting one of the most in-demand Cash cover bands in the country: Cash’d Out, a quartet from San Diego that is wholly dedicated to re-creating the allure of its namesake. “They’re probably the best Johnny Cash cover band I’ve ever seen,” says Knuckleheads owner Frank Hicks, who has always had a keen eye for talent. Cash’d Out is a safe bet for your Monday-night blues. Monday, February 24, at Knuckleheads Saloon (2715 Rochester, 816-483-1456)

Royal Teeth

If you like your pop music to be bright, shiny, sugary and carried along by the crystalline vocals of someone who burns with the audacious fire of youth, then meet Royal Teeth. The college-aged, sixmember group from Lafayette, Louisiana, released its debut full-length, Glow, in September, and the album lives up to its word. Every song is an anthem — a brisk 8 a.m. wake-up call commanded by lead singer Gary Larsen and given wings by backup vocalist and harmonizer extraordinaire Nora Patterson. Swirl in the choruses

f o r e c a s t

filled with whoa, whoa, whoa and a variety of handclaps, and imagine Royal Teeth on a big summer-festival stage, which is probably where it’s heading. Tuesday, February 25, at Czar (1531 Grand, 816-421-0300)

Gee Watts

It’s shaping up to be Gee Watts’ year. The up-and-coming MC already has about a dozen mixtapes to his name, and the rap world is salivating in anticipation of his fulllength debut, 199x, due out sometime this month. Since Watts teamed up with national darling Kendrick Lamar for “Watts R.I.O.T.” last March, Watts has been tip-of-the-tongue when it comes to local hip-hop. He wisely has kept the details of 199x under wraps, building the drama and driving fans crazy. Watts might give us some answers Thursday at the Jackpot. Thursday, February 20, at Jackpot Music Hall (943 Massachusetts, Lawrence, 785-832-1085)

K e Y

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 Cover Bands

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Every MONDAY Open Mic w/ Brody Buster 7-11pm Every TUESDAY Open Blues Jam w/ The Coyote Bill Boogie Band

WEDNESDAY Night Trivia from 7-9pm Miss Tess & The Talkbacks @ 9pm


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FEBRUARY 20 -26, 2014

Sun-Sat: 8p-3a

the pitch



continued from page 15

Thursday | 2.20 |


ART EXHIBITS & EVENTS Arti Gras | Friday-Sunday, Leawood City Hall, 4800 Town Center Dr., Leawood


KC Friends of Alvin Ailey present Setting the Stage | 7 p.m. Gem Theater, 1615 E. 18th St.,



William S. Burroughs Creative Observer | Law-


John Waters: part of a series of films and discussions related to the William S. Burroughs Creative Observer exhibition | 7 p.m., $25/$100, Lawrence Arts Center, 940 New Hampshire, Lawrence

rence Arts Center, 940 New Hampshire, Lawrence

Gorgeous & Outrageous: The Art of Tony Naponic | Leedy-Voulkos Art Center, 2012 Balti-

y yo u r Satisf t o o th . t e e w s


History & Hope: Celebrating the Civil Rights Movement | Nelson-Atkins Museum, 4525 Oak


Graham Nash, talks about his new memoir, Wild Tales:

A Rock & Roll Life | 6 p.m., $28, Unity Temple, 707 W. 47th St.,

Arab Shrine Circus | 7 p.m. Kansas Expocentre, 1 Expocentre Dr., Topeka, Folk Alliance International’s Winter Music Camp | Sheraton Crown Center, 2345 McGee,

Molly Kaderka: Sacred Spaces | 6 p.m. Friday,



In the Looking Glass: Recent Daguerreotype Acquisitions | Nelson-Atkins Museum, 4525 Oak

Kiosk Gallery, 3951 Broadway

OBJET ~ pop-up boutique and Tea Time zine showcase | Paragraph Gallery, 23 E. 12th St.

The Pitch Sugar Rush | 6-8 p.m. The Promise Wedding and Event Space, 1814 Oak,

Reality and Fantasy: Land, Town and Sea | Nelson-Atkins Museum, 4525 Oak


Akkilles, Rae Fitzgerald, Cleemann | 9 p.m. Czar,

Martyparty, Joker | 8 p.m. The Bottleneck, 737 New

Western Farm Show | 9 a.m.-5 p.m. American Royal

Millage Gilbert Big Blues Band | 7 p.m. Danny’s Big

Six Seasons and a Pub Quiz: a ‘Community’ Event | 8 p.m. Green Room Burgers & Beer, 4010


1531 Grand

Easy, 1601 E. 18th St.

Katie Guillen & the Girls | 7:30 p.m. B.B.’s Lawnside

BBQ, 1205 E. 85th St.

Molly Gene One Whoaman Band, Twenty Thousand Strongmen | Westport Saloon, 4112


Hampshire, Lawrence


Friday | 2.21 | PERFORMING ARTS

Complex, 1701 American Royal Ct.,

Nu-blu, Cowgirl’s Train Set | The Brick, 1727 McGee

7:30 p.m. Murphy Hall, KU campus, 1530 Naismith Dr., Lawrence,

Old Salt Union | 9 p.m. Knuckleheads, 2715 Rochester

Gallery, Avila University, 11901 Wornall

Third Thursday Visiting Artist Presentation | 3:30-4:30 p.m. Thursday, Nerman Museum of

Megan Birdsall | 9 p.m. Broadway Jazz Club, 3601

Contemporary Art, JCCC, 12345 College Blvd., Overland Park

Black on Black, the Latenight Callers, the Philistines | 10 p.m. Replay Lounge, 946 Massachusetts,

The Tyranny of Good Taste | La Esquina, 1000



KU Opera presents The Tragedy of Carmen |

Stages of Conversion: Santero Shrines of Gene Emerson Friedman | Thornhill Art

Bluz Benders, Nick Schnebelen | 8 p.m. Trouser

W. 25th St.,

We Are Not This Body — A Solo Exhibition by Scott Dickson | Saturday, PLUG Projects, 1613

Mouse, 410 S. Hwy. 7, Blue Springs



The Boogaloo 7 | 7 p.m. The Kill Devil Club, 61 E. 14th St.

Colin Kane | 7:45 & 9:45 p.m. Stanford’s Comedy Club,

We Now Pronounce You: Redefining Marriage in the 21st Century | 5 p.m. Monday,

Capture the Flag, Parts of Speech, Wolf the Rabbit, Narkalark | 9 p.m. MiniBar, 3810 Broadway

Bob Saget | 7:30 & 9:45 p.m. Improv Comedy Club and Dinner Theater, 7260 N.W. 87th St.

Carnival Baroque Spectacular | 7:30-9:30 p.m.

Four Fried Chickens and a Coke | 9 p.m. Knuckle-

The Talbott Brothers, Scott Schumann, Save the J’s | 10 p.m. RecordBar, 1020 Westport Rd.


Cimino, Syn City Cowboys | 6 p.m. Aftershock Bar

Hot Buttered Rum, Gangstagrass, Cornmeal |

Aaron Watson with Brian Davis | Kanza Hall, 7300

Arab Shrine Circus | 7 p.m. Kansas Expocentre, 1

Guy Davis: a Living Room session | 7 p.m. Knuck-

JayRock 9 benefit concert featuring the Main Squeeze, proceeds go to the JayDoc Free

Drew Six | Fuel, 7300 W. 119th St., Overland Park Sons of Brasil | 8 p.m. Broadway Jazz Club, 3601 Broadway

W. 119th St., Overland Park

1867 Village West Pkwy., KCK

Expocentre Dr., Topeka,

Gee Watts, CJ Thy Glorious, Rashiyd Ashon | Jackpot Music Hall, 943 Massachusetts, Lawrence

Folk Alliance International’s Winter Music Camp | Sheraton Crown Center, 2345 McGee,


Kansas City Golf Show | 11 a.m.-5 p.m. Overland

B.A.R.T. with DJ G Train | 10 p.m. Replay Lounge, 946 Massachusetts, Lawrence

DJ Rico | 10 p.m. MiniBar, 3810 Broadway 28

the pitch

FEBRUARY 20 -26, 2014

Uptown Arts Bar, 3611 Broadway

& Grill, 5240 Merriam Dr., Merriam

leheads, 2715 Rochester

Dolewite | BrewTop Pub and Patio, 8614 N. Boardwalk Ave.

Park Convention Center, 6000 College Blvd., Overland Park,

1205 E. 85th St.

Topeka RV & Sport Show | 3-8 p.m. Kansas Expo-

Filthy 13 | Jazz, 1823 W. 39th St.

centre, 1 Expocentre Dr., Topeka

Ernest James Zydeco | 9 p.m. B.B.’s Lawnside BBQ,

UMKC Gallery of Art, 5015 Holmes, Room 203

heads, 2715 Rochester

8 p.m. The Bottleneck, 737 New Hampshire, Lawrence

Clinic | 8 p.m. Uptown Theater, 3700 Broadway,

Liv Stat, New Common Ground, Jabberock | 9 p.m. Davey’s Uptown Ramblers Club, 3402 Main

Lost Wax | Fuel, 7300 W. 119th St., Overland Park continued on page 30

101818 | The Pitch | 2/20/14

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Eddie Light’s Tribute to Journey 3/13 with Special Guest Paramount

Cold Nights Hot Country with Cody Canada and The Departed


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Magic 107.3 KC Groove Party

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the pitch


2/14/14 9:12 AM

continued from page 28 Paramount, Eddie Lights | 7 p.m. VooDoo Lounge,


Harrah’s Casino, 1 Riverboat Dr., North Kansas City

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!

Rhythm Busters, Deeno and the Eskimo Brothers, the Blue Boot Heelers, J.D. and the Chasers | 6 p.m. Westport Saloon, 4112 Pennsylvania


Rachel Ries, Anthony Ladesich and the Secret Liquor Cure, Ben Summers | The Brick, 1727 McGee

ance ire rom Vamp a ffm n at Kau


Star and Micey, Carolina Story | 10 p.m. RecordBar,

1020 Westport Rd.

Bobby Watson & Horizon | 8:30 p.m. The Blue Room, 1616 E. 18th St.

Webb Wilder | 7:30 p.m. Knuckleheads, 2715 Rochester NIGHTLIFE

DJs Madeline & Wilson | 10 p.m. MiniBar, 3810


Country Cold Nights, Hot oo oD Vo @

One More Time: a Tribute to Daft Punk | 8 p.m. The Granada, 1020 Massachusetts, Lawrence

Young Friends of Art Art Trivia Smackdown |

Tickets required, 6:30-9 p.m. Nelson-Atkins Museum of Art, 4525 Oak,

Saturday | 2.22 | Perfect Wedding Guide Show @ OP Conventi Bridal on Center


An Evening of Tango with Cucharada | 7 p.m. Lawrence Arts Center, 940 New Hampshire, Lawrence

Create Yo Thang: a public program coinciding with

Black History Month and February’s Art & Soul, It’s My Thing | Noon-3 p.m. Kultured Chameleon KC Street Art Gallery, 1739 Oak,

Kansas City Ballet presents Dracula | 7:30 p.m., $29-$99, Kauffman Center for the Performing Arts, 1601


8:30 a.m.-3 p.m., $89, Nelson-Atkins Museum of Art, Atkins Auditorium, 4525 Oak, COMEDY

Comics Interpreting Poets | 9-10:30 p.m. Uptown

PBR: Professional Bull Riders | 8 p.m., $15-$100,

Sprint Center, 1407 Grand

UMKC vs. Utah Valley men’s basketball | 7:05 p.m. Municipal Auditorium, 301 W. 13th St.

Arts Bar, 3611 Broadway


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

Freedom Riders, followed by a panel discussion |

Bob Saget | 7 & 9:45 p.m. Improv Comedy Club and Dinner Theater, 7260 N.W. 87th St.

Philip Seymour Hoffman memorial double feature: Punch Drunk Love and The Master | 5:25

2-4 p.m. Black Archives of Mid-America, 1722 E. 17th Terr.

p.m. Alamo Drafthouse, 1400 Main


el Neutral Milk Hot n w to @ Up

Pixies @ Indie

Upcoming Events 2.19 - Folk Alliance International @ Westin Crown Center 2.20 - The Pitch’s Sugar Rush @ Promise Event Space 2.21 - Jay Rock 9 @ Uptown 2.27 - 2 Chainz @ Indie See more on the “promotions” link at p 30

the pitch

FEBRUARY 20 -26, 2014

Generative Practices — Emily Johnson & Jane Beachy, presented by Charlotte Street | 11:30 a.m.-


Arab Shrine Circus | 2:30 & 7 p.m. Kansas Expocentre,

1 p.m. Mid-America Arts Alliance, 2018 Baltimore

1 Expocentre Dr., Topeka,

Indigo Girls with the KC Symphony | 8 p.m., $45$80. Kauffman Center, 1601 Broadway,

Folk Alliance International’s Winter Music Camp | Sheraton Crown Center, 2345 McGee,

Kansas City Ballet presents Dracula | 7:30 p.m., $29-$99, Kauffman Center, 1601 Broadway,

Kansas City Golf Show | 10 a.m.-5 p.m. Overland Park Convention Center, 6000 College Blvd., Overland Park

Bach Aria Soloists and NewEar Contemporary Chamber Ensemble presents L’Histoire: From Bach to Stravinsky | 8 p.m. Community Christian

Repticon Kansas City | 10 a.m. Abdallah Shrine

Church, 4601 Main,

Center, 5300 Metcalf, Merriam,

Topeka RV & Sport Show | 10 a.m.-6 p.m. Kansas Expocentre, 1 Expocentre Dr., Topeka

Trumpeter Patrick Doyle and Organist Melody Steed | 5 p.m. Grace and Holy Trinity Cathedral, 13th

Western Farm Show | 9 a.m.-5 p.m. American Royal



St. and Broadway

Complex, 1701 American Royal Ct.

Crown Center Ice Terrace | 10 a.m.-11 p.m., $6 ($3

Orthon Anderthon and Kodascope | 11 p.m. Uptown Arts Bar, 3611 Broadway

Sharon Andrews | 9:30 p.m. Broadway Jazz Club,

3601 Broadway

Backroad Anthem, Tanner Dirks Band | 8 p.m. The Granada, 1020 Massachusetts, Lawrence

Bryan G. Soul Band | 8 p.m. Danny’s Big Easy, 1601 E. 18th St.

Chuck Mead & His Grassy Knoll Boys, the Howlin’ Brothers | 8 p.m. The Bottleneck, 737 New

Hampshire, Lawrence

Tyrone Clark Quartet | 8:30 p.m. The Blue Room,

1616 E. 18th St.

The Clementines, We Live in Public | 9 p.m. Davey’s

Jackson County Spelling Bee Championship Round | Kansas City Plaza Library, 4801 Main

skate rental), 2450 Grand

Uptown Ramblers Club, 3402 Main

Kansas City Garden Symposium,“Color Outside the Lines: Developing Your Garden Style” |

KU vs. Texas men’s basketball | 6:30 p.m. Allen Fieldhouse, 1651 Naismith Dr., Lawrence

Midwestern Musical Co., 1830 Locust

Breting Engel, Emile Nillar, BettySoo | 8-11 p.m.

TheaTer Dates and times vary. Afflicted: Daughters of Salem | The Coterie,

2450 Grand, Crown Center,

All Sinatra | Quality Hill Playhouse, 303 W. 10th St.,

Beckett Shorts | 2 p.m. Sunday, Fishtank

Hubcap Bandits, Tokengrass, Cutty Rye | 1-10 p.m. Westport Saloon, 4112 Pennsylvania

Jim Kilroy’s Winterfest | 6:30 p.m. Uptown Theater, 3700 Broadway

Scratch Track | 7 p.m. The Kill Devil Club, 61 E. 14th St.


Steady States, Bummer, Bottle Breakers | 8 p.m.


Together Pangea, Mozes and the Firstborn |

Drawn to Murder | KC Mystery Train, the Golden Ox, 1600 Genessee,

Truckstop Honeymoon | The Brick, 1727 McGee

Geek Mythology: I Was a Teenage Immortal | Starting Tuesday, the Coterie, 2450 Grand, Crown Center,

Harriet Tubman in the Footprints of Freedom | Through Sunday, Theater for Young Amer-

ica, H&R Block City Stage, 30 W. Pershing Rd., Union Station,

The Importance of Being Earnest | Journeyman Theatre, Just Off Broadway Theatre, 3051 Central, Journey’s End | KC Actors Theatre and UMKC

Theatre, National World War I Museum, 100 W. 26th St.,

Motherhood Out Loud | Spinning Tree Theatre,

2450 Grand, Off Centre Theatre, Crown Center,

Peek at the Play: Other Desert Cities | 6 p.m.

Unicorn Theatre, 3828 Main,

When I Come to Die | KC Repertory Theatre, Copaken Stage, 13th St. and Walnut,

MUSeUM exhibiTS & evenTS

Jason Vivone & the Billybats | 9 p.m. The Phoenix,




Wild Hex, Lazy, Witch Jail | 10 p.m. Replay Lounge, 946 Massachusetts, Lawrence

e at nlin


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




Dave Aude | 10 p.m. VooDoo Lounge, Harrah’s Casino, 1 Riverboat Dr., North Kansas City



20 21 26 27

DJ Rico | MiniBar, 3810 Broadway


The Ultimate Kansas City 2-Steppin Ball | 9 p.m. Harrah’s Casino, 1 Riverboat Dr., North Kansas City

Sunday | 2.23 |


BRETT NEWSKI Brett Blakemore/LA Price



Kansas City Ballet presents Dracula | 2 p.m.,


$29-$99, Kauffman Center, 1601 Broadway,

KU opera presents The Tragedy of Carmen | 2:30 p.m. Murphy Hall, KU Campus, 1530 Naismith Dr., Lawrence, LITeRARy eVeNTS

The Real Walter Mitty and other Thurber Fantasies | 2 p.m. Waldo Library, 201 E. 75th St.

Convergence: Jazz, Film, Dance and the Visual Arts | American Jazz Museum,


Arab Shrine Circus | 12:30 & 5:30 p.m. Kansas Expo-

centre, 1 Expocentre Dr., Topeka,

Westport Rd.

Flannigan’s Right Hook | Kelly’s Westport Inn, 500

Folk Alliance International’s Winter Music Camp | Sheraton Crown Center, 2345 McGee,

Angela Hagenbach | 6 p.m. Broadway Jazz Club,

Kansas City Golf Show | 10 a.m.-5 p.m. Overland Park

Hot Buttered Rum, Gangstagrass | 9 p.m. Knuck-

Repticon Kansas City | 10 a.m. Abdallah Shrine

The Hounds Below, Berwanger, Paris Is Burning, Bearface | 7:30 p.m. Czar, 1531 Grand

Topeka RV & Sport Show | 11 a.m.-4 p.m. Kansas

leheads, 2715 Rochester

Stone Soup Band 2/20/2014 - 8:00pm Dave Hays Band 2/21/2014 - 9:00pm Pawnshop Troubadours 2/22/2014 - 9:00pm

302 W. Eighth St.

County Museum of History, 6305 Lackman Rd., Shawnee,

3601 Broadway


6:30 p.m. RecordBar, 1020 Westport Rd.

Citizen Soldiers on the Prairie | Johnson

1616 E. 18th St., ,


Black & Gold Tavern, 3740 Broadway

Performance Studio, 1715 Wyandotte

Fat Pig | The Living Room, 1818 McGee,





Live Music Live Music 7 nights 7 nights a week

a week

Convention Center, 6000 College Blvd., Overland Park

Center, 5300 Metcalf, Merriam

Expocentre, 1 Expocentre Dr., Topeka

continued on page 32

816.561.2444 nsas 4115 Mill Street West Port Ka

FEBRUARY 20 -26, 2014


the pitch


continued from page 31 Western Farm Show | 9 a.m.-4 p.m. American Royal



Complex,1701AmericanRoyalCt., COMEDY

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


Crown Center Ice Terrace | 10 a.m.-9 p.m., $6 ($3


Devin Henderson’s Mind Madness | 7:30 p.m. Improv Comedy Club and Dinner Theater, 7260 N.W. 87th St.



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

e xplosiv KC’s e ene bar sc


Crown Center Ice Terrace | Noon-9 p.m., $6 ($3

skate rental), 2450 Grand

skate rental), 2450 Grand

PBR: Professional Bull Riders | 2:50 p.m., $15-$100,

KU vs. Kansas State women’s basketball | 7 p.m.



Grand opening of the Holy Cow Market and Music, with Rural Grit | 11 a.m.-4 p.m., 3107 Gillham,

Carnifex, Betray the Martyrs, I Declare War, Here Comes the Kraken, Assassins | 6 p.m. Czar,

Sprint Center, 1407 Grand

Allen Fieldhouse, 1651 Naismith Dr., Lawrence

second floor


1531 Grand

Remembering the River Quay with filmmaker Gary Jenkins | 6:30 p.m. Kansas City Plaza Library, 4801 Main

The Birds | 1:30 p.m. Kansas City Plaza Library, 4801 Main

Royal Opera House presents La Boheme | 1:30 p.m.

Tivoli Cinemas, 4050 Pennsylvania, FOOD & DRINK



Crown Center Ice Terrace | Noon-9 p.m., $6 ($3

Mime Game, We Are Voices, Middle Twin, Modern Day Fitzgerald, Jolie Laide | 9:30 p.m.

skate rental), 2450 Grand

KU vs. Oklahoma men’s basketball | 8 p.m. Allen

Fieldhouse, 1651 Naismith Dr., Lawrence







Dine Downtown — Winter Restaurant Week | P&L District, 14th St. and Main

Small Batch & Single Barrel Bourbon Tasting | 2 p.m.,

$60 per person, Riverwood Winery, 22200 Hwy. 45 N., Rushville,

Cash’d Out — Johnny Cash tribute | 8 p.m. Knuck-

Claire & the Crowded Stage, Ali Holder & Daniel Thomas Phipps, My Oh My, Bryan Lamanno & Neil Smith | 6 p.m. Czar, 1531 Grand


Guitar Summit with Everette DeVan | 7 p.m. The Blue Room, 1616 E. 18th St.

Stan Kessler Quartet | 10 p.m. Green Lady Lounge,

1809 Grand

Jonny Lang, Samantha Fish | 7 p.m. Kanza Hall, 7300 W. 119th St., Overland Park

Skinny Puppy | 7 p.m. The Granada, 1020 Massachusetts, Lawrence

Sonic Spectrum Tribute: Miles Davis | 8 p.m.

RecordBar, 1020 Westport Rd.

Willie Watson | 8 p.m. Knuckleheads, 2715 Rochester

Monday | 2.24 |

Louis Neal Big Band | 7 p.m. Blue Room, 1616 E. 18th St.

RecordBar, 1020 Westport Rd.

Royal Teeth, Chappo, Parade of Lights | 7:30 p.m. Czar, 1531 Grand

Saving Abel | Kanza Hall, 7300 W. 119th St., Overland Park

Gerald Spaits Trio | 8 p.m. Broadway Jazz Club, 3601 Broadway

Trampled Under Foot | 7 p.m. B.B.’s Lawnside BBQ, 1205 E. 85th St.


Open Mic with Brody Buster | 7-11 p.m. Westport

Saloon, 4112 Pennsylvania

DJ Rico & the Boss Hooligan Soundsystem |

We Butter the Bread With Butter, Lions Lions, Honour Crest, Collapse the Masses | 6 p.m. The

Karaoke with Paul Nelson | MiniBar, 3810

The Yawpers, the Blind Pets | Jackpot Music Hall,

Tap Room Trivia | 8 p.m. Waldo Pizza, 7433

Granada, 1020 Massachusetts, Lawrence

943 Massachusetts, Lawrence

Tuesday | 2.25 |

10 p.m. Black & Gold Tavern, 3740 Broadway



Wednesday | 2.26 | PERFORMING ARTS

Jack Johnson: Contradictions to History from a Heavyweight Champion’s Unpublished Prison Manuscript, local author Phil Dixon | 6:30 p.m. Black

Classics Uncorked: Kansas City Symphony, Mozart’s final years | 6 p.m. Kauffman Center, 1601

the pitch

FEBRUARY 20 -26, 2014

The Latenight Callers, John Velghe & the Prodigal Sons, Katy Guillen & the Girls | 7:30 p.m. Knuckleheads, 2715 Rochester

MidNite Alibi | Kanza Hall, 7300 W. 119th St., Overland Park

Old No. 5s | 7 p.m. The Kill Devil Club, 61 E. 14th St. Ringo Deathstarr, Purple, the Dead Girls | 10 p.m.

Replay Lounge, 946 Massachusetts, Lawrence

Dominique Sanders Trio | 8 p.m. Broadway Jazz

Club, 3601 Broadway

Keller Williams & More Than a Little, Jon Wayne & the Pain | 8 p.m. The Bottleneck, 737 New Hampshire,


B.A.R.T Wednesdays with DJ G Train | 10 p.m. MiniBar, 3810 Broadway

Amy Farrand’s Weirdo Wednesday Supper Club | 7 p.m. Davey’s Uptown Ramblers Club, 3402 Main

Karaoke with Lo | 10 p.m. Black & Gold Tavern, 3740 Broadway

Archives of Mid-America, 1722 E. 17th Terr.



The Cleveland Orchestra | 7:30 p.m. Lied Center of Kansas, 1600 Stewart Dr., Lawrence

National Geographic Live: Bryan Smith – The Lens of Adventure | 7:30 p.m. Kauffman Center , 1601

Billie Mahoney: My Life with the Ringling Bros. | 9 p.m. City in Motion School of Dance, 3925 Main

Spencer Cave Black History Lecture Series:


Gaptooth, Irieplaceables, Via Luna | 10 p.m.




“Torchbearers of Democracy: African American Soldiers in the World War I Era,” Dr. Chad Williams | 7 p.m. National World War I Museum, 100 W. 26th St.

946 Massachusetts, Lawrence

RecordBar, 1020 Westport Rd.


leheads, 2715 Rochester

Johnny Cash Birthday Show | 6 p.m. Replay Lounge,


Poetic Underground open mic | 9 p.m. Uptown Arts

Bar, 3611 Broadway

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

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dating. S ava g e L o v e

CuCk You Dear Dan: I am a straight male, married to a

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woman for 25 years. Our marriage started to go sour about 14 years ago. Sex was infrequent and stultifying. When the kids were old enough, I made plans to separate. When my wife got wind of these plans, she finally agreed to work on our relationship. We had long and heartfelt conversations. Things got better. Sex got more frequent, if not more exciting. Then I saw a letter referencing cuckolding in your column. I mentioned it to my wife. This led to a conversation about the possibility of introducing cuckolding into our relationship. She agreed after she made certain it was something I really wanted. She now has a guy in mind. She has asked me why her having sex with another man is so exciting. She speculated it is because I have a big ego — if other men want her, her value is higher. For me, the idea of her letting another guy in, going down on him, etc., is exciting. I have been on cuckolding websites. It seems a lot of guys go in for humiliation. Some claim they have small dicks and want a larger man to satisfy their wives. Those things don’t apply to me. Why do husbands find it hot and desirable?

Clearly Understanding Cuckold Kink

Dating Easy

Dear CUCK: “There hasn’t been a lot of re-


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the pitch

FEBRUARY 20 -26, 2014


search into the cuckolding phenomenon,” said David J. Ley, a clinical psychologist and the author of Insatiable Wives: Women Who Stray and the Men Who Love Them. “Historically, men whose wives cuckolded them were publicly humiliated, and their wives were often severely punished.” There hasn’t been much nonjudgmental, research into men with your desires. Ley’s book represents the first comprehensive effort. “Many men do get an ego boost out of sharing their ‘hot wife,’” Ley said. “But there are other motivations. Some are into cuckolding and humiliation, in a masochistic way.” Men who enjoy the humiliation aspect tend to identify with the term “cuckold,” while men who are into the hot, exciting sex aspect tend to identity as “hotwifers.” “Lots of men explore this fantasy because they think it’s sexy to imagine or see their wife having hot sex with someone else and being fully satisfied,” Ley said. “One very interesting biological theory for this is related to the concept of sperm competition — that men get physically aroused when they know that their sperm might have to compete with those of another man, in order to possibly (even theoretically) impregnate a woman. In such circumstances, the men thrust harder and deeper during sex, they ejaculate harder, and their ejaculate contains more sperm.” Ley thinks you’re coming at this from a good


D a n S ava ge

place. Your marriage is on the upswing, you’re talking about desires openly and honestly, and you’re willing to compromise. “I’ve worked with couples who have made this fantasy and lifestyle work,” Ley said. “And the key component is communication, grounded by mutual trust and respect. If you pursue this, do it with honest communication on both your parts.”

Dear Dan: I’m a straight 19-year-old girl in col-

lege. I broke up with my boyfriend of several months a week before Valentine’s Day. During that relationship, I met this other guy, one of his friends. This friend has been in a relationship for 2.5 years. But his girlfriend cheated on him, and now he has a free card to go fuck someone else. He wants that person to be me! We have fooled around some, I’m not looking for a relationship right now, I have reservations about fucking someone who is in a relationship, even if it’s on a Go Fuck Someone Else card. Advice?

Uneasy and Unsure Dear UAU: Unless there are just two guys at your college — your ex and this dude with the Go Fuck Someone Else card — I would urge you to fuck someone else. This scenario has drama written all over it. Your ex will be pissed at you for fucking his friend, he’ll be pissed at his friend for fucking you, the friend’s girlfriend will be pissed at you for fucking her boyfriend. Find a hot student, RA, TA or prof who isn’t in your circle and fuck him instead. Dear Dan: I’m a 25-year-old guy with a genderneutral partner. We’ve been monogamous for about three years, and our GGG sex life is fantastic. One of our favorite things is for me to deepthroat their cock. It’s long and thick — bigger than average — and I take pride in fitting it all the way down my throat. They sometimes fuck my throat, quite roughly at times. Is there a medical danger to deep-throating? Sometimes my throat is a little sore for a few days. We’ve tried to stop while we figure out if it’s dangerous or not. But when we get caught up in the moment, it’s just so hot that we can’t stop ourselves.

Two Wondering If Naughty Kink’s Safe Dear TWINKS: I could go find an expert or search the medical literature. But if deepthroating were dangerous — doing permanent damage to throats — I would’ve heard about it by now. An intense deep-throating session is physically taxing, and you feel it for a few days after. Take it easy for a while after trashing your throat. Have a question for Dan Savage? E-mail him at

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The Pitch: February 20, 2014