The Pitch: June 26, 2014

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A crumbling fortress on Vine might be

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Capturing D

aniel Edwards and Ebony Burnside went to the Greater Kansas City Home Show at Bartle Hall in March. The two were getting married and they needed a fence for their castle.

“And he’s like, ‘Sure, every man’s home is his castle,’ ” Edwards says, recalling his conversation with a vendor. “I kept trying to explain that I was serious, that I really did have a castle.”

Edwards is talking about the former Vine Street Workhouse, a hulking limestone edifice built in the style of a 16th-century European castle. The long-dormant structure, a prime spot for illicit gatherings, has graffiti-tagged walls and no roof, with trees threaded through steel beams. It sits on 1.9 acres at 2001 Vine, where Edwards, Burnside and a host of volunteers have, for the past four months, worked to clear out more than 22 tons of trash. The forgotten building had become a dumping ground, in spite of efforts, as recently as 2007, to have it designated a historic site.

Edwards, 27, has gotten used to laughing good-naturedly whenever someone tells him that restoring a castle sounds crazy. But when the laughter ends, he usually flashes a smile and asks how that person’s talents might help further this project or the next. Because for Edwards and Burnside — who married there, amid the ruins, June 8 — the castle is only the beginning.

The

Castle

“Most people have a wedding and then pack it up,” Edwards says. “We wanted to find a place to start our life together in this community.”

So the castle is the first project for 2orMore, the nonprofit organization that Edwards founded as a platform for millennials to share and achieve their community-oriented goals.

“The civil rights movement had a central issue,” Edwards says. “Our generation doesn’t have central issues. But if we put together all these ideas, maybe then we can address education and poverty.”

He wants to turn the workhouse into an open meeting space with Internet access and a community garden. But it’s not just his vision at work on Vine Street. Vewiser Dixon, the founder of the Kansas City Business Center for Entrepreneurial Development (KCBCED), which owns the land at 2001 Vine, sees the pocket park as the first part of a larger initiative that he has termed the ‘Entrepreneurial Village,’ a business incubator focused on science and technology startups as part of a mixed-use development.

“We hope that people come out and join us and get in where they fit in,” Dixon says. “Vine Street doesn’t just stop at 18th and Vine.” continued on page 7

A crumbling fortress on Vine might be ground zero for a renewed Jazz District.

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continued from page 5 he castle wasn’t built with parties or gardening or tech startups in mind. The City Workhouse opened in 1897, its limestone hand-quarried by the prisoners who would be housed within its thick walls. It was heralded back then for a relatively ahead-of-its-time emphasis on better sanitary conditions for inmates, and for being a significant improvement on the wooden structure that had stood on the site for more than 40 years.

The stone building held male prisoners until 1911, and women prisoners for another seven years. Then it sat unused. From 1925 through 1972, the city used the building for a multitude of purposes: a municipal garage, a public-works storeroom, a dog-immunization station. Once the city decommissioned the property, trees and high grasses slowly blended the structure with the surrounding hillside, and people took to dumping their trash around the neatly framed walls and, eventually, inside them.

For 42 years, the land sat vacant and was, most recently, in foreclosure. In March of this year, though, the KCBCED purchased the property, and Dixon agreed to let Edwards and Burnside reimagine the castle space.

“I saw in Daniel a shared vision,” Dixon says. “Everybody is always competing. But this is about shared prosperity.”

Dixon wants to build a new headquarters around the site for his organization, as well as that business incubator. His plan for what he calls an “urban technology park” also calls for a 100-unit, multifamily housing development, on the east side of 2001 Vine.

“It’s live and work and play,” he says. “It’s what’s happening in San Francisco and New York.”

Dixon won’t disclose the property’s purchase price (he’s hoping to acquire more land in the area), but he estimates that it could take $3 million–$5 million to fully renovate the workhouse. Edwards has raised $12,500 to date, thanks to a recent donation from the Community Capital Fund that has allowed a start to renovations and the communitygarden project.

Fundraising won’t be the only challenge in the coming months. Kansas City Community Gardens conducted an audit of the land and found asphalt and detritus from old buildings under the soil. Edwards believes that there may be as many as three old structures buried on the property.

T

O

n an overcast Saturday in May, Edwards and Burnside are walking the castle grounds. Rain has forced them to reschedule a benefit concert — the first of what they’ve conceived as a series of live music events at the castle.

“We don’t want this to be a community center,” Edwards says.

“But it could be a center for the community,” Burnside adds.

At Edwards’ feet are waterlogged boards,

The castle may celebrate graffiti art.

"Our generation needs a place to come together. This could be the place.” album covers faded from sunlight and hundreds of pounds of trash.

“Our generation needs a place to come together,” he says. “This could be the place.”

As if on cue, a young woman and a young man walk onto the property. They had read about the castle on Facebook.

“I’ll like it. I’ll share it. I’ll pray for it,” the woman says as she picks her way through the debris.

God and Facebook hear all prayers, but John James has tried to answer some of them.

The president of the Wendell Phillips Neigh-

borhood Association has been a staunch supporter since Edwards approached him in March.

“This is the beginning of us trying to change our brand,” James says. “We might be the poorest neighborhood in the urban core, but we don’t have to look like it or act like it.”

A change in perception, however, requires several neighborhood stakeholders to come together, in spite of a sometimes fractious history. This is where Edwards comes in. He has secured Mutual Musicians Foundation International as 2orMore’s fiscal sponsor during

pitch.com

the nonprofit-application process. The goal is to use the MMF’s wireless connectivity to bring Internet to the castle site.

Anita Dixon, the MMF’s executive director, says the idea of creating a meeting space for events and concerts fits her organization’s mission of revitalizing the Jazz District.

“Everyone thinks that 18th and Vine should be on the same page,” she says, “but that’s not how a community works. We can be separate but not set apart. I love the fact that we overlap.”

As rain turns the dirt-packed castle floor to mud, Edwards descends a short flight of stone stairs on the west side of the property.

The cleanup efforts have so far focused on the ground level; the lower area is still trashstrewn and graffiti-marked. As he looks at the tags and misshapen faces spray-painted on the rock, he says he has thought about turning this into a graffiti wall — something to be honored with a graffiti convention that would attract artists from around the country.

“This isn’t about erasing history,” Edwards says. “I think I’ve been given a gift to see the potential in everything. I was designing buildings. Now, I’m just designing people.”

Edwards has a degree in architectural engineering from the University of Missouri–Rolla and until last year worked as a building-plan designer for J.E. Dunn. When he told his mother, Renee Weaver, that he wanted to restore the castle, she immediately thought of her father, Robert Wiley, who worked as a homebuilder on the East Side.

“My dad was just somebody who would take something and say, ‘I want to make this pretty,’ ” Weaver says. “Daniel has a vision.

His dreams are bigger.” continued on page 9 J u n e 2 6 - J u ly 2 , 2 0 1 4

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continued from page 7 And one of those dreams just keeps pulling people into Edwards’ orbit. At the end of March, as Edwards and seven of his friends began to sift through couches and bottles and discarded toys, Rachel Boese was walking the grounds to do a photo shoot for her cosmetics company. When Edwards told her about the cleanup, she volunteered her help on the spot.

“We had the same vision independently to make the castle a useful space for Kansas City,” Boese says. “It’s an interesting piece of history applied to a modern purpose.”

She and another volunteer, Chad Ruddle, have become the de facto leaders of the project. Boese hopes that the castle can be a historic tourism site that helps drive the local economy in a fashion similar to certain attractions in her native New Orleans.

Ruddle wants to hold a Kansas City Zombie Walk event on the property, and he has already commandeered “KCZW” trash cans to discourage people from littering on the property.

“I think everyone wants to feel that they are important or making a difference, and this is a really good outlet for that,” he says.

“You can see the fruit of your efforts very quickly.”

In April, Boese and Ruddle helped organize the Extreme Castle Makeover: a volunteer workday that Edwards estimates drew

75 people to cut down trees and pick up laundry baskets, tires, building materials and dead batteries. Getting people from across the city to the East Side is why Edwards ultimately believes that the renovation project is sustainable.

“The biggest compliment that I got was when I went to pick up a guy in the Northland who knew how to run a Bobcat, and he asked, ‘How are you involved with this?’ He said, ‘I don’t want you to be offended, but you don’t look like anyone I know who is working on this,’ ” Edwards says. “It’s not about race or color. This is about a vision

that people have that we can get behind.

It’s a purpose. It doesn’t matter what we look like.”

And for James, who has lived in the neighborhood for 10 years and has served as president of the neighborhood association for the past three years, the castle represents a potential shift toward development.

“This is us saying that we want a seat at the table and a voice in what happens in our neighborhood,” James says. “We’ll be there to support it or, with boots on the ground, to protest something if we don’t like it.”

Daniel and Ebony Edwards tour the workhouse grounds in May.

E

dwards and Burnside said their vows in a roofless room that, a month earlier, held countless square feet of forgotten toys, ripped trash bags and empty laundry detergent bottles. The floor now had a layer of wood chips, with green artificial turf laid down as an aisle between rows of white folding chairs. The couple stood on a white stage under a canopy of flowers, against a backdrop of limestone wall scrubbed free of spray paint.

“Out of this rubbish,” James said after the ceremony, “we will realize two unions under God: the marriage of this purposedriven couple and the union of this great city uniting to erect this monument of hope, unity and faith. People I talk to say this is an impossible task, and to that I say that is why we must do it.”

Burnside has taken Edwards’ name, and together they are looking for a house in the Squier Park neighborhood. Their castle dream is coming to life, yet it’s also more symbolic than ever, one project that could light the way for broad community involvement.

“How do we collect all these crazy, insane, wonderful, isolated ideas onto a single page for collective action?” Edwards says. “We don’t just need a castle. We need 20 ideas like the castle.”

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hakespeare festivals often present com- herd, prepare for a sheep-shearing festival.

Clownish peasants join them to sing, dance, edies and tragedies in rotating repertory, but the Heart of America Shakespeare Festi- juggle, and generally demonstrate talents listed under the special-skills section of the val offers both in one night with this season’s actors’ résumés. And lowly Perdita has an sole production. admirer: King Polixenes’ son, Prince Florizel.

The Winter’s Tale is late-career Bard, a The first three acts zip by, thanks to sharp structural oddity that creaks between courtly direction and an excellent cast. Bruce Roach tragedy and pastoral comedy. It divides critics — sometimes in their own minds. The Kan- masters Leontes’ hairpin emotional turns, convincing us that there is some internal sas City Star’s Robert Trussell, for instance, recently called those who consider Tale a logic to his “diseased opinion.” Cinnamon problem play “eggheads,” before decrying, Schultz captures both strength and gentleness in Hermione, a woman who longs to “make in his review of this production, the script’s tyranny tremble at patience.” There also are “insoluble problems.” precise performances by Robert Gibby Brand It is, perhaps, simpler to go with a trusty (as the ill-fated Antigonus) and Mark Robbins diplomatic compromise and call The Winter’s (as the steady Camillo). And Tale a romance. By any lafew adjectives remain with bel, though, the play works The Winter’s Tale which to praise gravitas-forin director Sidonie Garrett’s Through July 6 blood John Rensenhouse, so hands. She has embraced (except July 4) let’s just say he’s a fervently Tale’s challenges by emphaat Southmoreland Park, dependable Polixenes. sizing its uneasy schism, 47th Street and Oak, 816-531-7728, kcshakes.org The Bohemian actors chopping the multi-act are no less skilled (Scott script into neat halves.

Cordes, as the shepherd, and The tragedy comes first.

Act 1 opens in Sicilia, in the court of King Emily Peterson, as Perdita, are particularly strong), though the pacing of the second half Leontes and his pregnant queen, Hermione, as their friend Polixenes, the king of Bohemia, dips slightly. These scenes offer light amusement, but some of the clowning diverts the prepares to depart after a nine-month visit. action for too long, placing spectacle ahead of The two pressure him to stay longer, but it is Hermione who finally persuades him. Her momentum.It’s a handsome spectacle, at least, and Mary Traylor’s Technicolor costumes and success sparks a jealous rage in her husband, Greg Mackender’s original compositions for whose spiral into paranoid cruelty reaps fateShakespeare’s lyrics play well on this stage. The ful consequences. production design helps ease the stylistic and Eventually, there is comedy: Act 4 jumps chronological transitions, starting with Gene forward 16 years to Bohemia, where a young Emerson Friedman’s dusty-blue set, adorned maid, Perdita, and her adoptive father, a shep-

From left: Daniel Fredrick, Emily Peterson, Matt Rapport and Maya Jackson feel the love. with multiple clocks to remind us of the passage of time.

Ward Everhart’s lights evoke winter’s (and Leontes’) chill in Act 1, transforming the set into a stately Sicilian court (though one unfortunate blue-on-blue wash suggests a blueberry bagel). Later, the comedic acts allow Everhart to swap austerity for splintered sunrises and Bohemia’s more playful palette.

I look forward to the Heart of America Shakespeare Festival each year as a kickoff to the summer theater season, a slate of familyfriendly blockbusters ushered in here with a cast that can deliver image-dense lines with colloquial clarity. No matter how intimidating you might have found him in grade school, Shakespeare is a crowd-pleaser first, and the diverse audiences that the festival draws serve as a reminder that the Bard is anything but staid.

It’s enough to make you want to wax poetic on Shakespeare’s democratic power as you scan Southmoreland Park’s JoCo mothers perched on stadium seats, slathering mayo on white hoagies. Several teens in black plastic chokers loll on the naked grass and snort at certain lines (such as Hermione’s “I am not prone to weeping, as our sex commonly are”).

A couple, growing steadily drunker on picnicbasket wine, check each other for ticks under a Chiefs blanket.

Ah, the heavens continue their loves. The Winter’s Tale is a romance, after all.

inging a show’s tunes on the way to the car is a pretty good indicator of that production’s success. So it was the night I walked out of Quality Hill Playhouse’s Rhapsody in Gershwin. The talented performers sharing the tiny stage in the intimate surroundings of QHP brought the material infectiously to life.

The gifted Gershwins, from a musical era decades past, left a significant and largely familiar American songbook. George Gershwin’s complex compositions and his brother Ira’s clever phrasings, here laced with director and pianist J. Kent Barnhart’s commentary and stories — even a kind of stand-up — are vibrant and alive.

Barnhart has curated a list of 26 songs, one segueing into the next in the first part of the revue. This material is a natural habitat for nimble singers Tim Noland and Melinda MacDonald; they exude chemistry in the love songs they share, and own the songs they do solo. LaTeesha McDonald Jackson’s beautiful operatic voice, while less attuned to the program’s overall repertoire, is an ideal vessel for songs such as “My Man’s Gone Now,” from the opera Porgy and Bess.

Performing alongside his ensemble, Barnhart shares — and sometimes steals — the spotlight. His piano takes over near the end of the show, when he holds the stage and the audience with George Gershwin’s instrumental masterpiece “Rhapsody in Blue.”

Ken Remmert, on drums, and Brian Wilson, on bass, appear less as musical backdrop than as co-stars as they punctuate this jazzy, popular music.

Barnhart’s anecdotes and historical references add depth and context to the Gershwins and their legacy, if also length to the show, drawing it out with four interruptions that sometimes detour. But at any given performance of Rhapsody in Gershwin, a musical lover has nowhere better to be than at this party.

— Deborah Hirsch

Rhapsody in Gershwin Through July 6 at Quality Hill Playhouse, 303 West 10th Street, 816-421-1700, qualityhillplayhouse.com

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s ta g e

En PointE

Vanessa Severo just keeps moving.

anessa Severo has become a familiar name and face in theaters around the metro, making memorable appearances and lasting impressions. To name just a few: the Unicorn’s Clean House, The Motherf**ker With the Hat and Venus in Fur; the Living Room’s Blackbird and Burn This; KC Rep’s Vanya and Sonia and Masha and Spike. And this spring, she wrote and starred in her own work about Frida Kahlo, at the Living Room. The actress and writer and dancer appears this month in Master of the Universe, Kyle Hatley’s original play at the Living Room. Between caring for a 2-year-old and appearing in the show, Severo found time to answer our Stage questionnaire.

The Pitch: Where’s home?

Severo: My entire family is from Brazil, but home is Kansas City for me.

What brought you to KC or kept you here?

I decided to finish my degree at UMKC, and while I was doing that, I fell in love with this city and the new developments happening in all artistic avenues. I found it to be a small-town city with big-city ideas.

What lit the theater spark, and when?

I lived in Germany from ages 9 to 16. I would take public transportation to and from school, and the train would pass by a small British theater that had its current productions displayed on the marquee. I remember always being curious about what happened in that space and what the shows were about, and just had an initial pull toward that building. At age 12, I got off the train two stops before my own and went in and asked about auditions. I ended up being cast in HMS Pina­ fore in a minor chorus role, with no lines and probably a total of 10 minutes’ stage time, but I remember the distinct feeling that hit me after curtain call, something about the entire experience rang true to me, and I knew I wanted to do it again.

What made you decide on a life in theater?

I was terrible at math. I was always told to do what you love for a living. I loved theater — as impossible and ridiculous as it seemed to make it my career, it just fit.

Where did you train?

I trained for my undergraduate at Missouri State University, in Springfield, Missouri; the American Conservatory Theater in San Francisco; and UMKC. You act, write and dance. Do you identify more as one than another?

I started out in dance. My mother was a professional ballerina in Brazil, and I was walking on my toes by age 4. Dance is just another expression of acting. You are telling a story through movement, and I feel that the two are closely intertwined. How you move creates the character you will embody. To me, they are one

s a b r i n a s ta i r e s

V

and the same. As for writing … it’s something that comes in ebbs and flows. I can go years without writing a thing, but when the spark hits, it comes out fast.

What drew you to Frida Kahlo?

I have always been drawn toward Frida Kahlo, from the moment I learned about her in high school. Frida was a woman ahead of her time: rebellious, openly bisexual, brave, angry, bold, unapologetic and honest about it. I wanted to bring Frida into today, and I wanted women to walk away knowing that today is a good day for your voice to be heard.

Now you’re appearing in another original show at the Living Room, this one an adaptation of George Büchner’s expressionist Woyzeck by Kyle Hatley (Master of the Universe). How is it different to be directed in another person’s vision rather than creating your own work?

After finishing Frida, I contacted Kyle and said, “Whatever you need — I’m here for you.”

I understood the fear and pressure of putting up your own work. You are putting yourself out there, and you may sink or swim. When you are creating your own work, it’s a roller coaster of doubt and purge and rebuilding — so you need all involved to help you form it.

Severo relaxes at the Living Room.

How much input did you have in creating your roles in Master of the Universe?

I received my script the first day of rehearsal and new scenes daily, so the process on this production was unconventional. It went from script to stage every day, so in defining my two characters, I wanted them to be the same voice on opposite sides of the spectrum. With that in mind, I wanted Ani to be alluring, seductive and larger than life. When [the character] Victor rejects that voice in his head, then the fortune teller emerges — just another personification of his id but harsher, metallic in voice, hideous and matter-of-fact.

How did choreography and movement influ­ ence their development?

I placed Ani’s movement as continuous: fluid, snakelike. I wanted the opposite for the fortune teller, making her small, twisted and abrupt.

The women in the play represent familiar archetypes, including those you’ve come across in other works. How do you avoid or transcend stereotype?

Stereotypes are needed in theater because it is how the audience can relate immediately

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By

De bor a h hir s ch

within the first few moments of the play. I believe all characters are a stereotype — it is the actors who place themselves in those bizarre circumstances of the play that transcend the stereotype. There is no way a person can “become a character.” What brings humanity and life into a character is being yourself in those circumstances. It’s like the old saying: “No one can play this part the way you will play it.” This is true because we are all unique with our own approach.

The play is tough on its women. How have women you know who have seen the play re­ ceived it?

I would say this play is hard on all its characters, men and women alike. The response has been glowing from audience members.

What’s the best part about what you do?

I love my job. I get to share a story with a group of people, and we get to leave our daily lives briefly and experience the story together.

What’s the hardest part?

The schedule. After having my daughter, it’s been a delicate balance. I’ve found it, with the help of my amazing husband, but a 2-yearold doesn’t stop and neither does the job, so sleep seems like a distant promise.

Do you also have a day job?

I choreograph from time to time, and do the occasional voice-over.

How are you affected by your audience?

The audience is everything. It’s a relationship from the moment I step onstage. Without the audience, there would be no reason to do what I do.

What’s the best thing that has happened during a performance?

Feeling the connection with the audience and the story.

What’s the worst thing?

Doubting the piece you are in.

What’s one of your all­time favorite shows?

Cloud Nine by Caryl Churchill What’s the hardest thing you’ve worked on?

Blackbird by David Harrower. It’s written beautifully. It’s written the way we truly speak in life — with unfinished thoughts and interruptions, mulling through a sentence trying to get the right words across. It’s fascinating to hear, and an audience member would never even think twice about it, but to memorize it … was a bitch!

Who’s your inspiration?

My mother. Hands down, the toughest woman I know. I know anything is possible through her.

What’s next?

Rosencrantz and Guildenstern Are Dead at Kansas City Actors Theatre.

E-mail deborah.hirsch@pitch.com J u n e 2 6 - J u ly 2 , 2 0 1 4

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riter-director Gillian Robespierre’s debut feature, Obvious Child, is a fleet, largely artless comedy with a charming but limited cast. But because its woman protagonist elects to have an abortion, the movie seems bound to generate conversation — conversation about the wrong stuff.

The procedure itself isn’t the point. Abortion, and the political and moral and socioeconomic specters that shadow it, is simply one event among several that happen to Obvious Child’s main character while we eavesdrop on a few semi-crappy weeks in her life.

The character is Donna, a tartly self-critical but mostly confident Brooklynite ending her 20s in public, on the small comedy stage of a hipster bar. She’s played by Jenny Slate, who spent one distressed season on Saturday Night Live before becoming a reliable guest actor on shows such as Parks and Recreation (not to mention co-creating the brilliant Marcel the Shell With Shoes On shorts). Slate sculpts Donna out of giggles and cheerful profanities and a few tears — indefatigability conveyed in dirty-joke smiles. It’s less a performance than a sketch, yet its truth is in its lightness; Donna’s superficiality is a mask that you see in real life on a lot of smart faces.

As we meet Donna, that mask is getting hot.

Her cheating boyfriend is about to end their relationship, and the indie bookstore where she works is about to close forever. So far, so quarter-life crisis. There are divorced parents, successful in their fields (Richard Kind and Polly Draper, deeper than they have to be in a couple of scenes apiece), so there’s the suggestion of a safety net. There is a lovably loudmouthed best girlfriend (Girls veteran Gaby Hoffmann, lending this enterprise a certain transitive property of millennial-generation casting). There is a droll gay bestie (Gabe Liedman, an Inside Amy Schumer writer).

There is also Max (Jake Lacy, rightly bland), unironic wearer of topsiders and giver of romantic gestures, who knocks up Donna in a sweetly haphazard one-night stand. Max stands in for red-state values without expressly signifying any, though we know he’s a progressive at heart because he extols Roberto Bolaño’s The Savage Detectives. But his transparent portraiture holds truth, too, and Robespierre is working a time-honored notion: that what’s round sometimes badly needs what’s square. She even writes the maybecouple a Billy Wilder-worthy last exchange.

Wilder’s The Apartment isn’t one of the classics named as a contrast in David Denby’s 2007 lament on the modern romantic comedy that was occasioned by the success of Judd

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Slate grows up.

Apatow’s Knocked Up that summer. Speaking of anniversaries, Denby despaired back then that cinema couples had become “the slovenly hipster and the female straight arrow,” a sad devolution from golden Hollywood madcappery and screwballery. Seth Rogen, the manchild, farting, etc. Well, there are fart jokes in Obvious Child, too. And poop jokes. And a few words about not-so-fresh underwear. They’re funny — funnier than recent-issue Apatow, in fact — but they’re here for different reasons. For one, Robespierre’s characters are OK with their bodies, with what bodies do. Her comedy is one of manners more than of romance — the protocols of what friends and lovers (and parents and children) reveal about themselves and, yes, their bodies, and when and at what risk.

That emphasis on our unwritten rules of physical conduct is how Robespierre gets away with presenting Donna’s abortion as a matter of bodily fact. Though the choice isn’t made lightly, it is also not an excruciating dilemma.

Donna recognizes herself as, in Denby’s word, the slacker in what he called the “slackerstriver comedies” of our age. Her unreadiness to be a mother isn’t a tragedy or a failing; it, too, is a fact, presented calmly and without judgment. That’s not revolutionary, but it’s a welcome inversion, with Max the quiet striver who sees a possible mate in a distaff version of the usual Apatow man-child. But Donna is, whatever her low-grade flaws, comfortable in her own skin, and that kind of ease — with the body, with the self — shouldn’t be so rare for women onscreen. Obvious Child reminds you just how infrequently we’re treated to it, though, and for that reason alone, it’s the first memorable comedy in a while.

E-mail scott.wilson@pitch.com

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17

fat c i t y By

out his 40-year tab.

Charles Ferruzza

chris mullins

ThE LasT amErican man

Willie Grandison closes

W

illie Grandison went to bartending school in the late 1950s, but what has made him the most iconic working bartender in Kansas City isn’t something he could have learned in class.

“If you want to be a bartender, you’ve got to start by working in a bar,” says Grandison, the 76-year-old master barkeep who has been a fixture at the upstairs bar of the American Restaurant for the past four decades.

“When I started out, I was called a bar porter. They’re called barbacks now. You’re there to assist the bartenders. And if the bar gets really busy, you jump in and help.”

Grandison has come a long, long way from that first porter position — at the longrazed Famous Bar, on 12th Street — to head bartender at the American. But after a halfcentury in the cocktail-making business, he says he’s ready to throw in the bar towel.

“I have been working all of my life, since I started sacking groceries at age 15. I’ve never been without a job, never collected unemployment. I raised five kids and almost always worked two jobs. It’s time for me to rest. I just wanted to quit. The bar business ain’t what it used to be.”

Indeed it isn’t. For one thing, we’re living in a craft-cocktail era that has made stars of an inventive handful of mixologists. One

18

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J u n e 2 6 - J u ly 2 , 2 0 1 4

such celebrant is Paige Unger, who is moving into the American’s spotlight as Grandison steps aside. Unger, formerly of Extra Virgin, won last year’s Paris of the Plains contest and also took top prize at the 2013 Speed Rack Midwest.

“Paige is very nice, but we’re from two different schools of bartending,” Grandison says.

His is the old school, the kind that poured a lot of fancy cocktails at a lot of swanky venues. “I left the Famous Bar to work at the Colony Steakhouse, which was in its heyday, back when Marilyn Maye was the headliner and the place was wall-to-wall people,” Grandison tells me. “But the owner, Ralph Gaines, was difficult to work with.

When I got the chance to move to Putsch’s 210, after eight months, I took it. I worked at Putsch’s 210 for 18 years, back when it was the restaurant in Kansas City. Before the American opened, it was the nicest place to eat in town.”

That’s saying something, but he’s right — and it might also have been the town’s definitive watering hole. “In those days, people drank cocktails or hard liquor,” Grandison says. “No one wanted wine. We had a bottle of house wine at the bar, but the only request we ever had for it was from the kitchen, when they needed wine for a recipe.”

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Grandison says the shift to wine from cocktails — the old-school kind, you know — happened in the 1980s, about the time when Putsch’s 210 closed and he moved to the American Restaurant full time. (For nine years, Grandison had worked days at Putsch’s 210 and nights at the American.)

“I’ve worked two jobs for most of my life,” he says. “My father died when I was just a kid. I hardly knew him. My brother Robert and I went to work early on.”

Robert Grandison was living in Kansas City in the 1950s, working for Tastee Bread, when Willie left his hometown of Franklin, Louisiana, to visit. His brief vacation here turned into a career. “I hadn’t planned to move to Kansas City, but I came here, liked it and decided to stay.”

Grandison credits another legendary barkeep, Roy Parker, head bartender at the Colony Steakhouse, with teaching him how to live a life behind the bar.

“He was the greatest old-school bartender,” Grandison says. “He showed me how to interact with your customers. You take care of them, but you don’t fuss too much. You talk to your customers, but you don’t say too much. He was an artist behind the bar.”

Those are the very qualities, says Jamie

Last call for Grandison: Friday, June 27 Jamison, the American’s general manager, that Grandison brought to Crown Center’s signature restaurant from his first day, back in 1974.

“Willie understands the meaning of creating that sense of hospitality,” Jamison says.

“And he has an earnest desire to make his patrons feel happy and comfortable.”

Grandison’s clientele is a happy and comfortable bunch, except when it comes to watching their barman leave his post.

“They want me to move to a restaurant on the Country Club Plaza,” he says. “I don’t know about that. I’ve worked an awfully long time. I’d like some time for me.”

After 50 years behind the bar, Grandison says he can mix just about any cocktail. “But blended cocktails are my favorite,” he says.

“The Tumbleweed, the Grasshopper, the Brandy Alexander. And I do mean blended, not shaken. I use a blender.”

Now that’s old-school. And he knows it.

“We don’t get much call for them as we did in the old days, but every so often, I’ve got that blender whirring. And when you pour them into a glass, they are things of beauty.”

E-mail charles.ferruzza@pitch.com

fat c i t y

AmEricAn WomAn

Paige Unger brings new f lavors to

By

the American Restaurant’s bar.

N ata l ie G a l l a Ghe r

AmEricAn crUSTA 2 ounces Pierre Ferrand Ambre cognac 1/2 ounce Bénédictine 1/2 ounce dry curaçao 1/2 ounce lemon juice

zach bauman

Unger: “You put the sugar on the rim so there’s no sweetening agent other than the liqueur. Combine the ingredients and shake well with ice.

Pour over ice and garnish with a long orange or clementine peel.”

T

he American Restaurant’s stately dining room is silent and as carefully arranged as a movie still when I stop by early one afternoon to meet Paige Unger. Tables are fully set with china and glassware, and scalloped white-oak fixtures artfully diffuse light.

Unger hops down from a bar stool as I arrive.

She’s dressed casually in black pants and a blue ruffled top, her bright-red hair hanging around her shoulders. She hasn’t clocked in yet for this, her second shift at the iconic Crown Center restaurant. She’s replacing Willie Grandison, the American’s longtime barman, who retires June 27 after 40 years here.

“I basically was brought on because they wanted somebody to fill his shoes,” Unger tells me. “I don’t know if I can. He’s the most humble human being I’ve ever met, and he’s just such a hospitable gentleman. Willie definitely has a following — I think because he makes people feel the best when they’re drinking his drinks.”

The 28-year-old has a following of her own, and deservedly so. Last August, Unger — who then worked at Extra Virgin — won the 2013 Paris of the Plains Bartending Competition, and went on to compete nationally. And in April of this year, she defended her crown at Speed Rack Kansas City — an all-female bartending competition — winning top honors for the second year in a row. If management

at the American wanted someone with skill and vision and a fanbase, then she was an obvious choice.

But Unger’s transition to the American isn’t just a career move. As a child growing up in Kansas City, she ate at the American with her grandmother.

“I had come here as a little girl, and I remember walking into this room and just being blown away by it,” Unger says, recalling those lunch dates. She gestures to the windows and the rich view beyond. “It’s so gorgeous.”

She goes on: “And [local wine guru] Doug Frost got his start here. He’s kind of a mentor.

I just wanted to be a part of this, and also have the chance to take it to a different level and bring it into the modern cocktail era. I was kind of ready to start my own program, and here, I’m able to do exactly the cocktails I want to do, the way I want to do them.”

I’ve asked Unger to do a version of that: Make me a drink with an ingredient I’ve requested — Bénédictine, a French herbal liqueur — but do it the way she wants to do it. She starts working, and I can see that cognac is also going to be involved. And she keeps talking, telling me some of what she has planned for the American’s cocktail menu.

“There’s going to be molecular gastronomy for sure,” Unger says. “That’s something that

The American’s bar turns a new Paige.

I’ve never been able to do before because I’ve always worked at high-volume bars, and the American is more about the quality and not quantity. I’ll be doing things like frozen-spirit cocktails and different infusions. I’ll be making a sparkling vermouth, which I don’t think anybody’s done. I get to play with really highquality ingredients here, so there are a lot of possibilities.”

The ideas continue to spill out as Unger picks up a tulip glass, rubs the lip with an orange slice and coats it in sugar. She scoops ice into the glass, and as I feel the completion of Unger’s creation nearing, I change beats. Bénédictine, with its 27 herbal ingredients and secretive history, is something of a mystery to me, and I ask Unger for some context.

“Some say Bénédictine was created during the French Revolution by monks, but it actually predates it, going back to 1510,” she says. “It’s a traditional herbaceous liqueur, but it’s not a bitter. It’s got some honey notes. The monks love it.”

Unger laughs and continues: “I like Bénédictine really well on its own. It always adds a subtle hint of herbs and honey. A Bobby Burns is probably one of the popular drinks that it’s made with. I add it to a lot of things, just to

pitch.com

bring out the subtle flavors that are in drinks already. It kind of enhances everything.”

What she’s about to hand me is a twist on a Crusta, a classic cocktail typically made with cognac and Grand Marnier. She has shaken a mixture of Pierre Ferrand Ambre cognac, Bénédictine, dry curaçao and lemon juice, then poured the burnt-orange liquid into the glass. She peels a whole clementine to create an absurdly long twist to garnish the drink. “It’s what the recipe usually calls for,” she says.

“I don’t know if you really drink cognac,” she says, sliding the drink my way. “It’s such a gentleman’s thing. But this will be different, I think.”

Unger’s American Crusta looks beachworthy, and it goes down like a smoother, more refined version of a Long Island Iced Tea. It’s refreshing, and the sugared rim slows down my desire to finish the entire thing in one gulp. The sweetness is subtle, not dessertlike.

Unger expects her American Crusta to appear on the cocktail menu at some point, but she says the list will change frequently because of the variety of ingredients at her disposal.

This most staid-seeming food-and-drink destination is about to become a laboratory for progressive flavors.

As Grandison makes his exit and Unger prepares to usher in her own new era, her excitement and self-assurance are clear.

“When I signed on, it was with the long term in mind,” Unger tells me. “It’s such an iconic restaurant that I can’t imagine anyone wanting to leave it. Everything is so professional here.

We all hold each other to the highest standard, and having some of the most creative people around has made me feel more creative.”

E-mail natalie.gallagher@pitch.com J u n e 2 6 - J u ly 2 , 2 0 1 4

the pitch

19

JULY 19 SHOWCASE AT THE RIOT ROOM

OFFICIAL BALLOT 2014 Winners will be announced August 3 at The Pitch Music Awards at the Uptown Theater and August 7 in The Pitch.

ALBUM OF THE YEAR (August 2013–June 2014)

❑ Josh Berwanger — Strange Stains (September) ❑ My Brothers & Sisters — Violet Music: Volume I (December) ❑ My Oh My — Your Heart Not Mine (April) ❑ The Pedaljets — What’s in Between (November) ❑ Shy Boys — Shy Boys (January)

EDM/DJ/PRODUCTION ❑ D/Will ❑ Sheppa ❑ Sigrah ❑ Spinstyles ❑ Trace Beats

HARDEST-WORKING ACT ❑ The Grisly Hand ❑ Hearts of Darkness ❑ Making Movies ❑ Schwervon ❑ Victor & Penny

HIP-HOP/RAP ❑ The Abnorm ❑ Approach ❑ Gee Watts ❑ Reggie B ❑ Stik Figa

JAZZ ENSEMBLE

EMERGING ACT ❑ Bummer ❑ Burial Teens ❑ Katy Guillen and the Girls ❑ Outsides ❑ Psychic Heat

FOLK ENSEMBLE (Country, Blues, Americana)

❑ The Clementines ❑ Freight Train Rabbit Killer ❑ Kansas City Bear Fighters ❑ Loaded Goat ❑ Truckstop Honeymoon

FOLK SOLO (Country, Blues, Americana) ❑ Billy Beale ❑ Samantha Fish ❑ A.J. Gaither

❑ Tyler Gregory ❑ Kasey Rausch

❑ Eboni and the Ivories ❑ Chris Hazelton’s Boogaloo 7 ❑ Eddie Moore and the Outer Circle ❑ Project H ❑ Peter Schlamb Quintet

JAZZ SOLO ❑ Megan Birdsall ❑ Shay Estes ❑ Brett Jackson ❑ Hermon Mehari ❑ Matt Otto

LIVE ACT ❑ Jorge Arana Trio ❑ The Conquerors ❑ Metatone ❑ The New Riddim ❑ Radkey

AUGUST 3 JULY 25

SHOWCASE AT KNUCKLEHEADS SALOON *VOTING ENDS*

AWARDS AT THE UPTOWN THEATER

AUGUST 7 WINNERS PUBLISHED IN THE PITCH

METAL ❑ At the Left Hand of God ❑ Hellevate ❑ Marasmus ❑ Stonehaven ❑ Troglodyte

PUNK ❑ The Bad Ideas ❑ The Big Iron ❑ Black on Black ❑ Lazy ❑ The Sluts

REGIONAL (Beyond KC/Lawrence)

❑ Dots Not Feathers ❑ Eyelit ❑ Ha Ha Tonka ❑ Me Like Bees ❑ Someone Still Loves You Boris Yeltsin

ROCK/POP ❑ Cowboy Indian Bear ❑ Not a Planet ❑ Rev Gusto ❑ Spirit Is the Spirit ❑ Various Blonde

SINGER-SONGWRITER ❑ Akkilles ❑ La Guerre ❑ Mat Shoare ❑ John Velghe ❑ Your Friend

M A I L T O : 1627 Main, Suite 700, Kansas City, Missouri 64108 OR complete your ballot online at pitch.com.

RULES: Check one choice per category. One ballot per voter. Ballot stuffing will be detected. Original ballots only (no photocopies or other reproductions). Entries may be filled out online or mailed to The Pitch, or completed at Showcase venues (July 19 at the Riot Room or July 25 at Knuckleheads Saloon).

The Pitch Music Showcase tickets are available at pitch.com or by calling 816-561-6061. Tickets cost $11 in advance or $15 day of Showcase. A combo ticket for both events is available in advance for $15.

Tickets to the August 3 Pitch Music Awards cost $11 in advance or $15 the day of the event, available at the Uptown Theater box office, 816-753-8665, or ticketmaster.com (VIP tickets: $25 in advance or $30 the day of the event).

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music

SwEaTinG iT ouT

The Quivers make a big, loud Mess.

T

22

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N ata l ie G a l l a Ghe r S P I N CyC le

ThE Top FivE SlEpT-on REcoRdS oF ThE SEaSon 1. …And Then You Shoot Your Cousin by the

Roots: Because the Roots are more than just that Jimmy Fallon Band. Do not forget that.

2. Metamodern Sounds in Country Music

by Sturgill Simpson: If you’ve been in the store lately, you’ve heard this. If not, it’s like George Jones and Merle Haggard merged their voices to sing 1970s-style country tunes about existential issues.

3. Emma Jean by Lee Fields and the Expressions: Songs that get deeper than the submarines, deeper than Loch Ness, deeper than Warren Buffett’s pockets.

4. Ultima II Massage by Tobacco: I’ve never huffed gasoline or eaten a rainbow before, but I’m pretty sure it would feel something like Tobacco’s third record.

5. Soul Power by Curtis Harding: Burger Records is kicking my ass again with another solid release. Raw, strippeddown soul.

— Compiled by Judy Mills and Christian LaBeau

zach bauman

erra Skaggs, lead singer and bassist for the Quivers, had a rough night. When she arrives at the Filling Station for our Sunday-morning meeting, she emits a dry laugh — really more of a cackle — and tells me that her band had played late the previous night at Westport Saloon, where somehow she crossed paths with a couple of shots of tequila.

“Ain’t nothing like a late-night show on a Saturday night in Westport, that’s for sure,” Skaggs says. “What did we see last night, Todd?”

Todd Grantham, the band’s keyboardist and Skaggs’ songwriting partner, looks at Skaggs as she shakes her head. His own expression is a mixture of sympathy and smugness.

“Heart-shaped nipples,” he replies, a ghost of a smile tugging at his lips.

“We were walking to the car, and this guy was like, ‘Have you ever seen heart-shaped nipples?’ ” Skaggs recalls. She laughs. “He’s got this girl sitting there with her shirt up, showing off her heart-shaped nipples. Westport at 2 a.m. on a Saturday — it’s a beautiful thing.”

Westport at 2 a.m. is just the place for a band like the Quivers. An environment of free-flowing liquor and wild degeneration fits this scrappy, brass-knuckles-toting rock troupe fine. The whole point, after all, was for Skaggs to blow off some steam.

“It started with me asking Bernie [Dugan, drums] to join the band,” Skaggs says. This was in 2011. “We were at the Brick, and I was like, ‘Do you want to play in a rock-and-roll band?’ It was totally cliché like that. Bernie brought Todd in, and I initially did not want to play bass at all. I was very anti playing an instrument and singing [simultaneously]. I just wanted to be able to front a band and go nuts. But we went through three bassists, and I finally just got disgusted because none of them would stick around. So I said, ‘Well, fine, I’ll just do it my damn self.’ ” The Quivers eventually found guitarist Abe Haddad, but when he moved out of state in February, Desmond Poirier — also the guitarist for Red Kate — took over his spot. Skaggs laughs again at the idea that Poirier had to learn the Quivers’ entire catalog — a whopping 48 songs — before the band ventured to Austin for South by Southwest.

Poirier’s task was made more daunting by the fact that most of the Quivers’ songs adhere to the same format: short, two-minute bursts of blistering energy. That’s largely what you hear on the Quivers’ March-released debut, Hot Young Mess, a 16-track ode to the sweat and salvation of rock and roll.

“Man, you come out knocking like that, you don’t have to stick around long,” Skaggs

By

says in defense of the mini-songs that form Skaggs: “I’ve been in a lot of crappy bands Hot Young Mess. “That’s how I feel. You come that have never been able to move me the out swinging, you give ’em all you got for way this band does.” two minutes — anything over that and you’re Southern soul where you can just feel it.” outstaying your welcome. That’s how I’ve always felt about rock and roll. Long songs Skaggs beats her chest for emphasis.

Despite the slow heat of the late morning bore the hell out of me.” and Skaggs’ insistence that she is “not all There’s another reason that only two songs on Hot Young Mess make it past the three-min- here,” her eyes flash behind her sunglasses, and she speaks with more and more passion ute mark: Skaggs wields a tortured, throaty as she talks about “the feeling.” roar, and she pushes it to extremes.

“The Quivers are everything that’s in“At our first practice, she sang into the mic, spired me in my entire life,” and something in my right ear Skaggs says. “I’ve been in a popped,” Grantham says, reThe Quivers lot of crappy bands that have membering the first time he Lawrence Field Day Fest never been able to move me heard Skaggs sing. “That was Saturday, June 28, the way this band does, and January 2011, and my ear’s at Jackpot Music Hall it’s really wonderful to hear never been the same since. when a band can actually get But as soon as it popped, I was you to the point where you like, ‘That’s the singer for me. are literally blood, sweat and tears on that That’s the one.’ ” Skaggs grins. That kind of visceral reac- stage. When I started this band, I said that the moment it becomes a burden, something tion, she says, is important to her music.

“My daddy raised me on rhythm and I don’t want to do, it’s not fun anymore, I’m blues,” Skaggs tells me. “I grew up listening going to quit. And it’s not happened. The fire is there every time we practice. This band to Aretha and Otis and all the blues greats, keeps me going.” the people that could make you feel things in your guts. I always said I liked Motown, but it’s too pristine for me. I like that dirty E-mail natalie.gallagher@pitch.com

pitch.com

Mills Record Co. 314 Westport Road, millsrecordcompany.com

1. With Light and With Love by Woods:

Optimism is the key to good summer living.

2. LateNightTales by Bonobo: Perfect mix CD for a nighttime drive sipping a spiked cherry limeade Route 44 from Sonic.

3. Grassed Inn by Blank Realms: Good record to blast with the windows down, driving to the lake to catch some rays.

4. It’s Alive by La Luz: You like monster movies … ’cause we do.

5. Through the Mysts of Time by Barracudas: What says summer more than rock-androll spelling errors?

— Compiled by Sam Boatright, Aaron Marable, Josh Berwanger and Kelly Corcoran

love Garden Sounds 822 Massachusetts, lawrence, lovegardensounds.com

pitch.com

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23

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

JUNE:

25: Los Lonely Boys with the Stone Foxes 26: Nora Jane Struthers with The Railers & Old Salt Union 27: Junior Brown with The 44’s & The Roosevelt’s 28: 4 Fried Chickens & A Coke 28: Matt Stansberry 28: Jessie Harris

JULY:

2: The Crayons 3: Jeff Black 3: The Bellfuries with Spectrmatics 4: Biscuit Miller and the Mix 4: Mike Stinson 5: The English Beat 5: The Sad Sam Blues Jam 10: The Outlaws 10: Blackhawk 10: The Whiskey Benders

For more info & tickets: knuckleheadshonkytonk.com 2715 Rochester, KCMO

816-483-1456

24

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music

Of MOnsters and Men

Troglodyte reveals the secret behind its mean masks and Bigfoot lyrics.

By

Natalie GallaGher

W

e’re an extreme metal band,” Troglodyte founder and guitarist Jeff Sisson declares. “I mean, we sing in masks about Bigfoot. It’s kind of alienating, but people really get behind it.”

The notion of guys in horror-movie masks performing ear-blasting death metal to themes of make-believe monsters sounds ridiculous. But since 2005, Troglodyte has built a devoted fanbase in this niche, and the band celebrates it Saturday with nine other metal acts during Troglodyte’s Summer Stench at the Riot Room.

We caught up with Sisson by phone during Troglodyte’s short West Coast tour.

The Pitch: All of your songs are about Bigfoot, or Sasquatch. What’s with the obsession?

Sisson: Probably comes from when I was a kid. My aunt was a teacher, and she would do anything that would get you to read. I was very into monsters and stuff, and she was always bringing me these books about mysterious monsters, about Bigfoot and the Loch Ness monster. When you’re a kid, that’s a very easy draw, and it was a great way to get me into reading, and it stuck with me.

Now we’re morphing into a different You think about Bigfoot and it’s kind of style and getting a different character look. silly, but it’s not so much Bigfoot. It’s the We wear different ones. It’s not as uniform idea that something exists among us that anymore. We’ve got a whole tote of them you don’t see. It’s the unknown. That’s the that we take with us, and we’re destroying magic of it. It’s very easy for me to mine material from this particular thing. And our fans these things as fast as we can make ’em.

People seem to get a kick out of ’em, so we’ll really love it. I tapped into something that keep doing it. people love, and I kind of made it my own.

How do you come up with them?

Those masks are incredible. I know you make Sometimes I’ll do sketches and stuff. them yourself. What inspires them?

I remember working on another project, When I was a kid, I loved horror movies and special effects, and I always had an interest in creating a bunch of different characters that had these creature designs. The project fell making masks and stuff. It was the mid-’90s and late ’90s, and I had the opportunity to through, but I kept sculpting these creatures.

I’ve been blessed — I feel make some friends and work like I’m a decent sculptor. on movies. In 2001, I moved The initial masks that we to L.A. to do special effects Troglodyte’s used, I spent a couple days for movies. I did some actSummer Stench Saturday, June 28, sculpting, then another day ing, whatever I could to at the Riot Room refining. The mold is a lonsurvive, and I moved back ger process, a couple weeks. here [Kansas City] in 2004.

There’s a couple weeks of When I was in L.A., it never pretty stern work. After the mold is made, seemed feasible to get a band started, and when I moved back I was like, I want to get this there’s another day of pouring latex and painting and waiting for those things to dry. off the ground, this ridiculous idea.

There’s two or three weeks of work that goes Performing in masks — that was smart from a marketing perspective. It was gim- into them.

How did Troglodyte’s Summer Stench get micky, and it would get people’s attention. I started? also didn’t want to worry about if someone This is the first year that we’ve done anyknew who I was or knew my name, just the music. And everyone was wearing these same thing like that. Gary, our guitar player — it ghoulish masks, and that was what we were was kind of his idea. He was wanting to do doing. We wanted to take away the identity something a little out-of-the-box. We have a band from Italy coming in and some regional of the person, do the anti-rock-star thing. We bands — not just KC bands. It’s a chance to get wore the same shirts and masks.

W. At t e b u r y

WHERE THE BEST MUSICIANS IN THE WORLD PLAY

pitch.com

Making and breaking the mold: Sisson (upper right) and Troglodyte. some bands that we like from where we’ve played around to come out.

The band from Italy is called Corpsefucking Art, and we played a fest with them in L.A. It’s the first time they’re coming to Kansas City, and they’re really excited. There might be, like, 30 people who know about them [in the area], and that’s the idea. It’s extreme music, so it’s not for everyone, but we wanted to make it special.

You have all been around as Troglodyte for nearly a decade. How has metal music in KC evolved?

It’s funny. We’ll sit and talk about it and the bands that we were playing with when we started, and most of them aren’t even bands anymore. People grow old or they have falling-outs or they grow out of the extreme heavy music. It’s a tough sell, and it has its ups and downs, but we’ve tried to create a brand and stick with it and weather the storm of people’s musical tastes. KC has an amazing pool of talent, and a lot of these bands that we started with don’t exist, but the people have created other projects and moved on.

Having the opportunity to play other markets has also been amazing. It makes us realize that KC really has a pretty decent thing going on, and I don’t know if people ever really see that.

E-mail natalie.gallagher@pitch.com

pitch.com

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25

music

Grand desiGn

Rhymesayers rapper Blueprint talks contemporary hip-hop.

By

Natalie GallaGher

U

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cory piehowicz

SUMMER SALT

nless you keep an ear planted to the ground, you might have missed Blueprint up to now. But since 2001, the Columbus, Ohio, producer and MC has steadily built his standing in the world of underground hip-hop, as the frontman for the duo Soul Position and as a solo artist.

Blueprint’s critically acclaimed 2011 album, Adventures in Counter-Culture, released

by Rhymesayers Entertainment, was a game changer, blending elements of rock and electronica with hip-hop for a sound that transcended simple genre. Last month, Blueprint self-released Respect the Architect, a mixtape that puts the rapper in touch with his roots.

Classic, early 1990s hip-hop elements, replacing much of the experimentation audible on Adventures, create a backdrop that lets his smooth flow and thoughtful lyrics take center stage.

Ahead of Blueprint’s Thursday Riot Room show, we called him. He answered at a hotel room somewhere in the Midwest.

The Pitch: There’s a very fine line between what’s considered mainstream hip-hop and underground hip-hop these days. What do we really mean when we call someone an “underground rapper” now?

Blueprint: It’s a very blurry line. At one point, prevalent in mainstream hip-hop is because underground hip-hop was considered inde- the owners of those catalogs are being really, really greedy right now and making it to where pendent hip-hop. If you weren’t signed and you weren’t being pushed by a label, you were artists are afraid to sample. Every producer would love to pick up sampling again and do underground. But then underground was an it heavily, and the way it is right now with lawactual sound. The style of the music was its suits … right now, sampling is going underown thing, and it was only influenced by other ground. The top-10 songs in the country don’t underground artists, and that’s when it started to separate. There are guys who are considered have samples on them, but if you look back 10 underground that have major-label distribu- or 20 years, absolutely the top-10 hip-hop songs tion and staff and publicists and management had samples. I think it’s something that’s been teams. And many of these teams do better driven by the owners of the songs, not necessarily the creators. I mean, I wouldn’t have at creating awareness for their artists than a been able to release Architect with Rhymemajor label because they’re more in touch with sayers as it is [with the samples] because they social media and fans. It’s a very blurry line. release through Warner Bros., so What does being an underI had to self-release it. ground artist mean to you?

Blueprint I really love the song “BulletTo me it means everything.

Thursday, June 26, proof Resume,” off Architect.

Not trying to write music that is at the Riot Room Give me some background on for popular culture or mass conthose lyrics. sumption — I don’t write things At the beginning, it was just that are for popular culture. It’s me wanting to speak about all the places I’ve not a reflection of that or about a lifestyle. It’s been and the things I’ve done. There’s a certain not about cars and clothes. I don’t write that. point where you have to look at your career I write my story, and my story is not that. I like it’s not yours. I’ve only been doing this think about myself first and foremost, and then about the people who don’t want to hear for a minute and I’ve been successful, and every day I think, This could go any minute, that, who are tired of that, that stuff that’s and I need to be ready to go and keep going. So pumped into radios every day. it [the song] kind of came from, “If I stopped You sample heavily on Architect, which is interesting given the current climate of fear sur- right now, what would my résumé look like?”

Right now, I feel great about everything. I rounding hip-hop and sampling. have to look at the goals I set out to achieve and I think sampling is synonymous with hiphow am I progressing along that path. One of hop. The only reason sampling is not more

pitch.com

Blueprint: “I write my story.” my goals was to release anything I wanted to release, when I wanted to release it, and have a diverse catalog of music, and I feel like I’ve done that. This is my 12th year as a full-time artist, and that in itself to me is a big goal.

When I resigned from my old job [12 years ago], it was like, “I want to try this for six months.”

And here I am.

E-mail natalie.gallagher@pitch.com

J a z z B e at CandaCE Evans QuartEt, at Zona rosa town CEntEr

Every Thursday through August, the Zona Rosa shopping district, in the Northland, hosts an outdoor stage and a jazz band and encourages listeners to bring lawn chairs and blankets. This week, singer and pianist Candace Evans commands the stage by swinging some jazz standards. Evans’ voice is playful and seductively smooth, tinged with a sultry edge. She’s joined by bassist Ricky Anderson; drummer Larry Ruzich; and, for a touch of blues, guitarist Thomas Pender.

— Larry Kopitnik Candace Evans Quartet, 6:30–8:30 p.m.

Thursday, June 26, at Zona Rosa Town Center (8460 North Dixson Avenue), free.

So you

finally d. e t a u d a r g

n a c u o y Now

really party...

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Music

Music Forecast

TH

LY U6R U J .

N U S KING OFF O PATIO

KIC NIGHT IES SUNDAY T SER S CONCER NSIENT W/

THE TRA

SUN 12PM-12AM MON. TUES. SAT. 4PM-1:30AM WED.THURS.FRI. 12PM-1:30AM 1020 WESTPORT RD

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816-753-5207

WED. 6/25 VIDEOKE PARTY WITH BRODIE THURS. 6/26 DOLLS ON FIRE SUNDIVER / REN

FRI. 6/27 THE JANUS RESTRAINT SUMMER DREAMING WITH MONTA AT ODDS/REDDER MOON CORTLAND GIBSON OF ORGANIZED CRIME SAT. 6/28 4PM FRIENDS OF WINSTON 7PM JEFF PORTER 10PM HEARTS OF DARKNESS VERTIGON & SWILLER SUN. 6/29 KYLE CARTER’S SUNDAY NIGHT REVIVAL Kyle Carter CJ Greco Raina Cobb Clint Pope Sara Morgan Adrianna Nickole Jesse Harris John Goolsbly Scott Ford Jeff Pratt Ryan Triggs

MON. 6/30 MAN WITH A MISSION TUES. 7/1 MODERN DAY FITZGERALD ROSE & LOUISE / AVE 17 WED. 7/2 CAPTIVA W/ ELIAS ABID FRESH THE PLAZA/THE WING DINGS THURS. 7/3 WUSSY/SCHWERVON ADMIRAL OF THE RED WEEKLY EVENTS MON:SONIC SPECTRUM MUSIC TRIVA WED:BOB WALKENHORST & FRIENDS THURS: TRIVIA CLASH TUES.FRI.SAT. ROTATING DINNER SHOWS 28

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n ata l ie G a l l a Ghe r

angelic trumpets, dainty cymbals and gauzy piano. In some respects, the Antlers are working an extension of 2012’s Undersea EP, dressing up lullabies for daylight and bringing them to the playground. If indie rock met jazz in a safe room, this is what a successful merger would sound like. It hardly matters what Peter Silberman is singing about — something sad and dark, probably — as long as he’s using that silky voice.

Wednesday, July 2, the Riot Room (4048 Broadway, 816-442-8179)

TH 5 2 E UN HY WED.AJ ERNAT CHAD B TH 6 2 E N THU. JAU K IMMING C I R T P RYAN TH 9 2 E N SUN. JHEUEICHENBERGS

BRAD & T

By

Nora Jane Struthers

MKTO

I don’t really believe in the “guilty pleasure” artist. We all like what we like, right? But even I feel a slight twinge of self-consciousness when I find myself listening to MKTO and not hating it. It’s easily digested power pop, high-fructose stuff that you can dance to, work out to or start your day with — kind of what you’d expect from a couple of guys who met on the set of a Nickelodeon film. Malcolm Kelley and Tony Oller are opening for Demi Lovato’s Sprint Center show in September, and you can preview their music Tuesday at the Uptown, a more low-key setting.

Tuesday, July 1, the Uptown Theater (3700 Broadway, 816-753-8665)

The Neighbourhood

On the Neighbourhood’s debut full-length, I Love You, the California band starts things off precociously, with the breathy, atmospheric “How”: How could you question God’s existence when you question God himself? It’s an unfortunate turnoff, and the album never really recovers, save for “Sweater Weather,” which has undoubtedly been beaten into your eardrums by now. So lyrics are not the Neighbourhood’s strength. But the band does forge some interesting textural sounds by meshing hip-hop

The Antlers beats with manufactured synths. Plus, this Friday-night show is free, so why the hell not?

Friday, June 27, KC Live Block (14th St. and Grand, powerandlightdistrict.com)

Conor Oberst, Dawes

The heartfelt storytelling and earnest Americana of Los Angeles quartet Dawes feels like an odd pairing for the uncontested genius of Omaha’s Conor Oberst, who rose to fame as the mastermind behind Bright Eyes and Desaparecidos. But Dawes is acting as Oberst’s backing band throughout this tour, and so far the concert reviews indicate that the two acts balance each other well. Wednesday at Crossroads KC, you can relax as Dawes lead singer Taylor Goldsmith eases you into the evening before Oberst shakes you out of it.

Wednesday, July 2, Crossroads KC at Grinders (417 East 18th Street, 785-749-3434)

The Antlers

On Familiars, this Brooklyn three-piece works in hazy brushstrokes to craft a singularly dreamy landscape fleshed out with

f o r e c a s t

Just reading her name, you can probably guess what sound Nora Jane Struthers is shopping.

The young Nashville artist has been toeing the line of Appalachian-tinged bluegrass and bright-eyed Americana since her 2009 debut, I Heard the Bluebirds Sing. Struthers’ latest, Carnival, has her showing off a collection of songs that some might call old-timey — she certainly does favor references to bygone eras and vintage pastimes. But that doesn’t take into account her timeless honeyed voice.

Last in town in November, Struthers returns Thursday with her band, the Party Line, for a set as easy to enjoy as ice cream on a hot day.

Thursday, June 26, Knuckleheads Saloon (2715 Rochester, 816-483-1456)

Reach

Reach has been a local-hip-hop staple since he first broke ground as a solo artist, in 2003.

More than a decade later, Reach has continued to be a driving force in the community, recently sharing his talents with local supergroup the Buhs, organizing a tribute to Joc Max and reviving his GoodButta podcast.

Now, Reach is releasing his first album in three years, called The Perfect Strangers. Hear it live and support local music Friday at the Brick. DJ Ataxic, MilkDrop, D/Will, and more join the lineup.

Friday, June 27, the Brick (1727 McGee, 816-421-1634)

K e Y

Pick of the Week

Synth City

Power Pop

Americana

Album Release

Guilty Pleasure

Going to the Carnival

Locally Sourced

Balancing Act

Free Show

Hip-Hop

No Animals Were Harmed

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29

AGENDA

continued from page 11

Thursday | 6.26 |

GREAT LENEXA BARBEQUE BATTLE

ART EXHIBITS & EVENTS

L I T E R A R Y/ S P O K E N W O R D

Joe Bussell & Fred Trease: The Petri Dish | 6-9 p.m. Friday, Kiosk Gallery, 3951 Broadway

Story Slam with Kevin Kling | 6:30 p.m. Lawrence

Arts Center, 940 New Hampshire, Lawrence, freestatefestival.org

Conversation s— Marking 20 Years | Kemper Museum of Contemporary Art, 4420 Warwick Blvd., kemperart.org

COMMUNITY EVENTS

Final Friday Art Party | 5:30-9:30 p.m. Friday, Lawrence Creates Makerspace, 512 E. Ninth St., Lawrence

An Intimate Evening with the Artists of Quixotic | 6:30 p.m. Union Station, 30 W. Pershing Rd. FILM

Free State Film Festival | Lawrence Arts Center,

FRIDAY

6.27

940 New Hampshire, Lawrence, freestatefestival.org SPORTS & REC

Ss

Local qualifier for Ultimate Dodgeball Championship | 5 p.m. Sky Zone, 6495 Quivira, Shawnee,

’! smokin

skyzone.com/kansascity

Overland Park

MUSIC

Arara Azul | 8 p.m. Broadway Jazz Club, 3601 Broadway Blueprint, DJ Rare Groove, Count Bass D, Steven Cooper, Houston Zizza, Lost Analog | 8 p.m. The Riot Room, 4048 Broadway

Brody Buster Band | The Kill Devil Club, 61 E. 14th St.

Great Lenexa Barbeque Battle | Doors at 4:30 p.m. Friday at Sar-Ko-Par Trails Park, 87th St. and Lackman, Lenexa

Glenn Miller Orchestra | 8 p.m. Topeka Performing Arts Center, 214 S.E. Eighth St., Topeka

Sara Morgan: A benefit for KKFI 90.1 | 7 p.m. Uptown Arts Bar, 3611 Broadway

The Railers | 7:30 p.m. Knuckleheads Saloon, 2715

Rochester

Crossroads Song Swap | The Tank Room, 1813 Grand

Nora Jane Struthers & the Party Line, the Old Salt Union | 8:30 p.m. Knuckleheads Saloon, 2715

Mambo DeLeon & Carte Blanc | 7 p.m. The Blue

Room, 1616 E. 18th St.

Styles & Complete, Spinstyles | 8 p.m. The Riot Room, 4048 Broadway

Friday | 6.27 |

Kansas City Flatfile Exhibition | H&R Block

Artspace, 16 E. 43rd St. (at Kansas City Art Institute), kcai.edu/artspace

Dolls on Fire, Sundiver, Ren | 10 p.m. RecordBar,

The Floozies and Candyland | 8 p.m. Uptown Theater, 3700 Broadway

Roads of Arabia: Archaeology and History of the Kingdom of Saudi Arabia | Nelson-Atkins

Rochester

Excelsior Springs’ 33rd Annual Waterfest | 2-9 p.m. Hall of Waters, 201 E. Broadway

Sunset Music Fest with Crystal Bowersox | 6 p.m. Town Center Plaza, 5000 W. 119th St., Leawood

Bram Wijnands Swingtet | 6 p.m. The Majestic, 931 Broadway

Dine-in Theater: Sporting KC away game | 10 p.m. Alamo Drafthouse, 1400 Main

Foam Glow 5k | 6 p.m. Cricket Wireless Amphitheater, 633 N. 130th St., Bonner Springs

7:05 p.m. CommunityAmerica Ballpark, 1800 Village West Pkwy., KCK

7:30 p.m. Czar, 1531 Grand

DJ Johnny Stark | 10 p.m. MiniBar, 3810 Broadway

Royals vs. Angels | 7:10 p.m. Kauffman Stadium

Grand Marquis | 7 p.m. Jazz, 1823 W. 39th St.

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

Lawrence Field Day Fest | 8 p.m., downtown

Means, Monroe & Jones | 9 p.m. Green Lady Lounge,

1809 Grand

Lawrence

Mondo Beat with DJ Martin Bush | 10 p.m. Replay

Lounge, 946 Massachusetts, Lawrence

Social Media Club of KC Happy Hour with SocialHeart | 5-7 p.m. The Jacobson, 2050 Central J u n e 2 6 - J u ly 2 , 2 0 1 4

The Starr Miniature Collection: Masterworks in Miniature | Nelson-Atkins Museum,

4525 Oak

Third Thursday at the Nerman | 3:30-4:30 p.m.

Nerman Museum of Contemporary Art, 12345 College Blvd., Overland Park, jccc.edu/museum

This American Life | Fridays and Saturdays, Kemper East, 200 E. 44th St.

KC T-Bones vs. Gary SouthShore RailCats | Approach presents A Night of Elegant Violence | 10 p.m. Replay Lounge, 946 Massachusetts, Lawrence

Lawrence

Hampshire, Lawrence

Museum, 4525 Oak

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

Gold & Youth, Ponyshow, Lead the Broken |

NOT Compatible: New works by John Paul McCaughey | Lawrence Arts Center, 940 New

F E S T I VA L S

KC Street Art Gallery, 1739 Oak

NIGHTLIFE Big Easy, 1601 E. 18th St.

M(i) (A)cro: contemporary drawing | Lawrence Arts Center, 940 New Hampshire, Lawrence

Last Poet Standing | 7:30 p.m. Kultured Chameleon

SPORTS & REC

1020 Westport Rd.

4525 Oak

RAW Kansas City presents Panorama | 8 p.m. Thursday, Uptown Theater, 3700 Broadway, rawartists.org/kansascity

L I T E R A R Y/ S P O K E N W O R D

Native Lights, Mat Shoare Band, Josh Berwanger Band | The Brick, 1727 McGee

Caprice Classic | 8 p.m. Z Strike, 1370 Grand

the pitch

4525 Oak, nelson-atkins.org

Living With the Spirits: Decorating Homes in Traditional China | Nelson-Atkins Museum,

World Cup Soccer: United States vs. Germany | 11 a.m. Yardley Hall at JCCC, 12345 College Blvd.,

30

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

pitch.com

FILM

Free State Film Festival | Lawrence Arts Center, 940 New Hampshire, Lawrence, freestatefestival.org

2014 Tour of Lawrence | 7 p.m., downtown Law-

rence, touroflawrence.com

COMMUNITY EVENTS

Hyde Park Children’s Festival | 7:30 p.m. Hyde Park, 38th St. and Gillham Rd.

MUSIC

The Biff Tannens, the New Lost Souls | Coda, 1744 Broadway

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

Broadway

continued on page 32

TANK ROOM SESSIONS WED 6.25 Kansas City Songwriters Scene ORIGINAL OPEN MIC

THU 6.26

Crossroads

SONG SWAP

FRI 6.27

SECRET SHOW

1813 GRAND

SAT 6.28

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J u n e 2 6 - J u ly 2 , 2 0 1 4

the pitch

31

BUY LOCAL HALF OFF

TheaTer By the Way, Meet Vera Stark | Unicorn

Theatre, 3828 Main, unicorntheatre.org

Crown Center, 2450 Grand, first level, thecoterie.org

TickeT To koNGoS aT The MidlaNd Only $4.83

Lysistrata Jones | Egads! Theatre, Off

Center Theatre, Crown Center, 2450 Grand, egadstheatre.com

Readers Theater: The 3 Ms, by Jacqee Gafford | 2 p.m. Sunday, L.H. Bluford Public Library,

EATS

3050 Prospect, kclibrary.org

Oak 63: $40 deal for $20 JOe’s Pizza: $20 deal for $10 The Dubliner: $40 deal for $20 Duke’s On GranD: $20 deal for $10 em Chamas: $30 deal for $15 luCky brewGrille: $20 deal for $10 niCa’s laGniaPPe: $20 deal for $10 wOODsweaTher Cafe: $16 deal for $8 QuinTOn’s walDO bar: $10 deal for $5 Green rOOm burGers & beer: $15 deal for $7.50 OPera hOuse COffee anD fOOD emPOrium: $20 deal for $10 PhO GOOD: $15 deal for $7.50 OPen fire Pizza: $20 deal for $10 huDDle hOuse: $12 deal for $6 llywelyn’s Pub: $20 deal for $10 kOrean resTauranT sObahn: $20 deal for $10 PiCkleman’s: $15 deal for $7.50 The blue line kC: $10 deal for $5.00 The POinT: $15 deal for $7.50 COusCOus GyrO kebab: $20 deal for $10 milwaukee DeliCaTessen: $15 deal for $7.50 nieCie’s: $15 deal for $7.50 TeOCali: $10 deal for $5

Rhapsody in Gershwin | Quality Hill Playhouse, 303 W. 10th St., qualityhillplayhouse.com

LIVING synerGy fiTness sTuDiO, 4 Interval Cross Training Workouts for $13.50 nexT level fiTness, Two Personal Training Sessions for $22.50 missiOn bOwl: $30 deal for $15 synerGy fiTness sTuDiO, One Month of Cross Training for $29 The PiTCh: Half Price Ticket to Margarita Wars kC imPrOv COmPany: 2-for-1 Tickets 32

Johnson Dr., Mission, tya.org

| Starting Friday, the Golden Ox, 1600 Genessee

7Th heaven: $50 deal for $25

the pitch

J u n e 2 6 - J u ly 2 , 2 0 1 4

pitch.com

Uncountable Kings, Attic Light, Electric Third Rail, Fake Fancy, the Yellow Bricks | 8 p.m. Davey’s Uptown Ramblers Club, 3402 Main

We Are Voices, Akkilles, Skypiper, Atlas | 8 p.m.

The Riot Room, 4048 Broadway

Cinderella | Theatre for Young America, 5909

The Mystery Train presents Legally Dead

GOODS

4048 Broadway

Dates and times vary.

Chitty Chitty Bang Bang | The Coterie Theatre,

.com

Tiny Deaths, DJ Tracebeats | 8 p.m. The Riot Room,

The Winter’s Tale | Heart of America Shake-

speare Festival, Southmoreland Park, 47th St. and Oak, kcshakes.org

NiGhTLiFE

Burlesque Downtown Underground | The Kill

Devil Club, 61 E. 14th St.

DJ Sike | MiniBar, 3810 Broadway Flirt Friday | VooDoo Lounge, Harrah’s Casino, 1 Riverboat Dr., North Kansas City

Saturday | 6.28 | PERFORMiNG ARTS

Memory Palace, Owen/Cox Dance Group, with New Orleans cellist helen Gillet | 8 p.m. Satur-

day, Spencer Theater, UMKC Campus, 4949 Cherry, owencoxdance.org

Quixotic | 9:30 p.m. Lawrence Arts Center, 940 New Hampshire, Lawrence

continued from page 30 Boogaloo 7 | 10 p.m. Green Lady Lounge, 1809 Grand

ExPOS

Junior Brown, the 44s, the Roosevelts | 8:30 p.m.

Maker Faire KC | 10 a.m.-6 p.m. Union Station, 30

Michael Calderon & the Specialists | 9 p.m.

Repticon: Kansas City Reptile & Exotic Animal Expo | 10 a.m.-5 p.m. Abdallah Shrine Center, 5300

Knuckleheads Saloon, 2715 Rochester

Californos, 4124 Pennsylvania

Everette DeVan CD-release show | 8:30 p.m. The Blue Room, 1616 E. 18th St.

Dolewite | BrewTop Pub and Patio, 8614 N. Boardwalk Fast Johnny Ricker | 9 p.m. B.B.’s Lawnside BBQ, 1205 E. 85th St.

W. Pershing Rd.

Metcalf, Merriam

F E S T i VA L S

Excelsior Springs’ 33rd Annual Waterfest |

9 a.m.-9 p.m. Hall of Waters, 201 E. Broadway, Excelsior Springs SPORTS & REC

The Fray | 7:30 p.m. Starlight Theatre, 4600 Starlight Rd. Lawrence Field Day Fest | Noon, downtown Law-

rence; 6 p.m. The Bottleneck, 737 New Hampshire, Lawrence

Monta At Odds, Redder Moon, Cortland Gibson | 10 p.m. RecordBar, 1020 Westport Rd.

KC T-Bones vs. Gary SouthShore RailCats | 7:05 p.m. CommunityAmerica Ballpark, 1800 Village West Pkwy., KCK

Mud Mania volleyball tournament, benefiting Youth With Vision | 8:30 a.m.-4:30 p.m. Smithville Lake, northeast of Smithville, Mo., on U.S. Hwy. 169

Paper Buffalo, Modern Friend, Tides for Aviation, Damian Mainar | 8 p.m. Czar, 1531 Grand

Royals vs. Angels | 1:10 p.m. Kauffman Stadium

Salt, Vik G. Trio | 7 p.m. Czar, 1531 Grand

Lawrence, touroflawrence.com

2014 Tour of Lawrence | 8:30 a.m., downtown

Peter Schlamb Quartet | 8 p.m. Take Five Coffee +

COMMUNiTY EVENTS

Soul Providers presents MC Reach AlbumRelease Party with the Strangers | The Brick,

WW1USA Amateur Radio Station | 10 a.m.-5 p.m.

National World War I Museum, Liberty Memorial, 100 W. 26th St., theworldwar.org

Bar, 5336 W. 151st St., Leawood

1727 McGee

MOTHER’S BREWING FINAL POUR VICTORY PARTY

DAY SATUR

6.28

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!

h ate wit Celebr r’s. e th o your M

Mother’s Brewing Final Pour Victory Party | Beginning at noon Saturday, Bier Station, 120 E. Gregory

MUSEUM EXHIBITS & EVENTS

FILM

Free State Film Festival | Lawrence Arts Center, 940 New Hampshire, Lawrence, freestatefestival.org

Citizen Soldiers on the Prairie | Johnson County Museum of History, 6305 Lackman Rd., Shawnee, jocomuseum.org

ThM e Ps.W itLch onrten eastuPpryrs Hts illl Rif@ f RUafpfto@wR e Tstthiv Roate ea om Roots nFio r

The Pitc h’s uring Darius Taste of as at sfeaow UMB Big BKaUhnpt s CnitTyheater @ r ke uc R

FOOD & DRINK

Great Lenexa Barbeque Battle | 9 a.m. Sar-Ko-Par

Cowtown: History of the Kansas City Stockyards | Kansas City Central Library, 14 W. 10th

Tap That: A Capital Brew Fest | 10:30 a.m., down-

The Discovery of King Tut | Union Station, 30

Trails Park, 87th St. and Lackman, Lenexa

St., kclibrary.org

town Topeka, 800 block of South Jackson

W. Pershing Rd., unionstation.org/tut

2014 KC Nanobrew Festival | Sold out, 2-6 p.m.

The Land Divided, the World United: Building the Panama Canal | Linda Hall Library,

Rock and Run Brewery and Pub, 110 E. Kansas, Liberty

5109 Cherry

MUSIC

On the Brink: A Month That Changed the World | National World War I Museum, Liberty

Winston Apple, David George and Anthony Ladesich | 4 p.m. RecordBar, 1020 Westport Rd.

Memorial , 100 W. 26th St., theworldwar.org

DC Bellamy | 9 p.m. B.B.’s Lawnside, 1205 E. 85th St.

Take Five Tours | 6 p.m. Tuesday,American Jazz

Captiva, Not a Planet, Ay Musik | 7 p.m. The

Granada, 1020 Massachusetts, Lawrence

The Clementines | 8 p.m. Trouser Mouse, 410 S. Hwy. 7, Blue Springs

Museum, 1616 E. 18th St.

Taps at the Tower | Presented +++at sunset, through Saturday, museum open till 8:30 p.m., Liberty Memorial, 100 W. 26th St.

Jazz Disciples with Clint Ashlock | 8:30 p.m. The

Dane Davenport, My Brothers and Sisters, Clairaudients | 8 p.m. Davey’s Uptown, 3402 Main

Blue Room, 1616 E. 18th St.

The Disappointments | The BrewTop Pub and Patio,

Lawrence Field Day Fest | Noon, downtown Law-

8614 N. Boardwalk Ave.

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

s: Skrillex Serie @ Cricket Wireles all Film Library e Ws Amphithlic Off th ’ @ KC Pub eater n i Break

Upcoming Events

rs ller Warrio um CnRTore NKeo ri o it es d u A ipal nisic @@KC M Tw Luiv eteBdloXck mas @ Indie

6.26 - Raw: KC Presents Panorama @ Uptown Theater 6.27 - The Neighbourhoood @ KC Live Block 6.28 - Tech N9ne @ Indie 6.30 - KONGOS @ Indie

See more on the “promotions” link at p

rence; 6 p.m. Bottleneck, 737 New Hampshire, Lawrence

Chris Meck & the Guilty Birds, Gary Cloud | The

heads Saloon, 2715 Rochester

Brick, 1727 McGee

Angela Hagenbach, Joe Cartwright’s Latin Jazz Quartet | 6 p.m. Broadway Jazz Club, 3601 Broadway

New Common Ground Reggae, Scott Hrabko dinner show | 6:30 p.m. Coda, 1744 Broadway

Jesse Harris with Frank Rardon, Kyle Carter and C.J. Greco | 9 p.m. Knuckleheads Saloon, 2715

Grand

Rochester

Twiste d Xm @ Indie as

Organ Jazz Trio | 10 p.m. Green Lady Lounge, 1809 continued on page 34

pitch.com

J u n e 2 6 - J u ly 2 , 2 0 1 4

the pitch

33

farmers markets BadSeed | 4-9 p.m. Friday, 1909 McGee

DAILY MENU

Briarcliff Village Farmers Market | 3-7 p.m.

Thursday, parking lot, 4175 N. Mulberry Dr.

HAPPY HOUR

Brookside Farmers Market | 8 a.m.-

SPECIALS

MONDAY-FRIDAY

1 p.m. Saturday, Border Star Montessori, 6321 Wornall, brooksidefarmersmarket.com

UPCOMING LIVE MUSIC:

Live Circuit 6/27/2014 - 9:00pm The Doghouse Daddies 6/28/2014 - 9:00pm

City Market | 6 a.m.-3 p.m. Saturday, 8 a.m.3 p.m. Sunday, 20 E. Fifth St.

Cottin’s Hardware Store | 4-6:30 p.m. Thurs-

day, back parking lot of 1832 Massachusetts, Lawrence, cottinshardware.com/farmersmarket

DeSoto Farmers Market | 8 a.m.-noon Sat-

urday, St. Andrew’s United Methodist Church, 1004 Rock Rd., De Soto

Downtown lee’s Summit Farmers Market | 7 a.m. Wednesday and Saturday, Second St. and Douglas

continued from page 33 Jeff Porter | 7 p.m. RecordBar, 1020 Westport Rd. Robert Randolph & the Family Band | 7 p.m.

Crossroads KC at Grinders, 417 E. 18th St.

The Soft White Sixties | 7:30 p.m. Czar, 1531 Grand Matt Stansberry & the Romance | 7 p.m. Knuck-

leheads Saloon, 2715 Rochester

The Summit, When Particles Collide, the Sexy Accident | 7:30 p.m. Czar, 1531 Grand Tech N9ne | 7 p.m. The Midland, 1228 Main Troglodyte’s Summer Stench featuring Torn the Fuck Apart, Vore, Byleth, Micawber, the Convalescence, Rimjob, Hellevate, more | 6 p.m.

The Riot Room, 4048 Broadway

Jason Vivone & the Billy Bats | The Kill Devil Club, 61 E. 14th St.

Tim Whitmer & KC Express | 4:30 p.m. The Phoenix,

302 W. Eighth St.

Downtown Overland Park Farmers Market

| 7:30 a.m.-1 p.m. Saturdays, 6:30 a.m.-1 p.m.

Wednesdays, 7950 Marty

gladstone Farmers Market | 7 a.m.-noon Saturday, 2-6 p.m. Wednesday, Gladstone Hy-Vee, 7117 N. Prospect grand Court Farmers Market | 10 a.m.-1 p.m.

Saturday, Grand Court Retirement Center, 501 W. 107th St.

WANT YOU TO ENTER TO WIN

independence Farmers & Craft Market |

5 a.m.-1 p.m. Wednesday and Saturday, the corner of Truman and Main, Historic Independence Square, 210 W. Truman Rd.

KC Organics and Natural Market | 8 a.m.-

12:30 p.m. Saturday, Minor Park, Holmes at Red Bridge Road

lawrence Farmers Market | 8 a.m.-noon Saturday, 4-6 p.m. Tuesday, 824 New Hampshire

NigHTliFE

Dirty Stomp | 10 p.m. Replay Lounge, 946 Massachu-

setts, Lawrence

DJ Mike Scott | Hotel Nightclub, 1300 Grand Epitaph Reunion Party with Frank Castro and Tim lamb | 9 p.m. MiniBar, 3810 Broadway One of a Kind Fashion Show | Hotel Nightclub,

1300 Grand

Poetic Underground with Deonte Osayande | 7 p.m. Uptown Arts Bar, 3611 Broadway

Sunday | 6.29 | PERFORMiNg ARTS

Mantra - laser light Show | 1-3 p.m. Unity Church of Overland Park, 10300 Antioch ExPOS

liberty Farmers Market | 7 a.m.-noon Wednesday, Feldmans Farm & Home, 1332 W. Kansas

Merriam Farmers Market | 7 a.m.-1 p.m. Satur-

day, 4-7 p.m. Wednesday, Merriam Marketplace, 5740 Merriam Dr.

For your chance to receive Monster High™: Clawesome Double Feature on a Blu-ray™ Combo Pack, simply visit pitch.com beginning Wednesday, June 25 and enter for your chance to win.

Olathe Farmers Market | 7:30 a.m. Saturday

and Wednesday, Black Bob Park, 14500 W. 151st St. (Field 1)

Parkville Farmers Market | 7 a.m.-noon Satur-

day, 2-5 p.m. Wednesday, English Landing Park, First St. and Main

NO PURCHASE NECESSARY. VOID WHERE PROHIBITED OR RESTRICTED

BY LAW. All entries must be received by Tuesday, July 1 at 11:59 PM. 10 winners will be chosen via a random drawing on Wednesday, July 2. For complete rules, please visit www.pitch.com.

Waldo Farmers Market | 3-7 p.m. Wednesday, Habitat for Humanity ReStore, 303 W. 79th St.

AVAILABLE ON BLU-RAY™, DVD & DIGITAL JULY 1

the pitch

J u n e 2 6 - J u ly 2 , 2 0 1 4

ing Rd., makerfairekc.com

Repticon: Kansas City Reptile & Exotic Animal Expo | 10 a.m.-4 p.m. Abdallah Shrine Center, 5300 Metcalf, Merriam

F E S T i VA l S

Excelsior Springs’ 33rd Annual Waterfest | 11 a.m.-5 p.m. Hall of Waters, 201 E. Broadway SPORTS & REC

Double Road Race 15k Challenge | 6 a.m. Corporate Woods Office Park, 8717 W. 110th St., Overland Park

continued on page 36

MonsterHigh.com • facebook.com/MonsterHigh

34

Maker Faire | 10 a.m.-5 p.m. Union Station, 30 W. Persh-

pitch.com

2014

6 PM VIP

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J u n e 2 6 - J u ly 2 , 2 0 1 4

the pitch

35

MoNdays: rUraL griT 6-9PM karaoke 10PM

THU 6/26 BaNd / JosHNaTive LigHTs / MaTT Fri 6/27 s BerwaNger BaNd sHoare eMcee re oUL Providers: THe sTraNgacH aLBUM reLease ParTy saT 6/28 c ers H r is M eck & THe gary cLoU gUiLTy Bir ds / saT 7/12 a d w e s o M e Force / a THe FLUor ka esceNT / TH UNderFox dUNgeoNMasTer /

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4 -7pm, M-F

ight e y our br Take y os sroad s to C r KC.

Monday and Wednsday INDUSTRY NIGHT SPECIALS

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$3.00 WELLS $7.00 DOMESTIC PITCHERS BARTENDER’S CHOICE SHOT SPECIALS

1 SE 4th St. • Lee’s Summit, MO • 816.525.1121 americangaragebar.com

Need some

EAR CANDY?

Conor Oberst, Dawes | 7 p.m. Crossroads KC at Grinders, 417 E. 18th St.

upcoming live music:

June 28: My Six Gun Heart July 5: True Blood Blues July 12: Signal KC July 19: Three Drink Minimum

continued from page 34 KC T-Bones vs. Gary SouthShore RailCats |

5:05 p.m. CommunityAmerica Ballpark, 1800 Village West Pkwy., KCK

Sign up for MUSIC NEWSLETTER

1218 Swift Ave. North KC

SmokinGunsBBQ.com • 816-221-2535

Royals vs. Angels | 1:10 p.m. Kauffman Stadium 2014 Tour of Lawrence | 8 a.m., downtown Law-

rence, touroflawrence.com

COMMUNITY EVENTS

WW1USA Amateur Radio Station | 10 a.m.-5 p.m.

National World War I Museum, Liberty Memorial, 100 W. 26th St., theworldwar.org FILM

Free State Film Festival | Lawrence Arts Center, 940 New Hampshire, Lawrence, freestatefestival.org MUSIC

Kyle Carter Sunday Night Revival | 8 p.m. Record-

Victor & Penny, Danielle Ate the Sandwich | 7 p.m. Californos, 4124 Pennsylvania NIGHTLIFE

The Hot Wheels Race, hosted by Brett Allen | 4 p.m. Frank’s North Star Tavern, 508 Locust, Lawrence

Who Gives a Karaoke | 10 p.m. The Riot Room, 4048 Broadway

Monday | 6.30 | MUSIC

Jason Kayne | 8 p.m. Fuel, 7300 W. 119th St., Over-

land Park

Mark Lowrey Trio | 6 p.m. The Majestic, 931 Broadway New Vintage Big Band | 7:30 p.m. Knuckleheads

Saloon, 2715 Rochester

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

Bar, 1020 Westport Rd.

Saloon, 4112 Pennsylvania

Chicken and Pickin’ — A Bluegrass Song Swap | 8 p.m. Westport Saloon, 4112 Pennsylvania

Rambler’s Songwriter Roundup with Gary Cloud | 7 p.m. Davey’s Uptown Ramblers Club, 3402 Main

Foundation 627 Big Band | 9 p.m. Green Lady

Rural Grit Happy Hour | 6 p.m. The Brick, 1727 McGee

Lounge, 1809 Grand

NIGHTLIFE

Thank you mypitchdeals.com! , I saved so much money I bought Fred.

- Stacy

36

the pitch

J u n e 2 6 - J u ly 2 , 2 0 1 4

Jazz, Gospel and Soul Food with the Everette DeVan Quartet | 3-7 p.m. Green Lady Lounge, 1809

Save half off or more on eats & entertainment.

Sign up to get the Insider’s scoop. pitch.com

DJ Boogie Industry Dance Party | Jackpot Music

Grand

Hall, 943 Massachusetts, Lawrence

Mark Lowrey Trio jazz jam | 6 p.m. The Majestic,

Geeks Who Drink Pub Quiz | 8 p.m. Green Room Burgers & Beer, 4010 Pennsylvania Jock Jamz | 8 p.m. The Bottleneck, 737 New Hampshire, Lawrence

931 Broadway

Outlaw Reggae | 7-9 p.m. Fuel, 7300 W. 119th St.,

Overland Park

Karaoke | 10:30 p.m. The Brick, 1727 McGee Sam’s Club Karaoke | 10 p.m. Replay Lounge, 946

Wednesday | 7.2 |

Massachusetts, Lawrence

Sonic Spectrum Music Trivia | 7 p.m. RecordBar, 1020 Westport Rd.

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

L i T E R A R y/ S P O K E N W O R D

Exploring great Midwestern Values with Bill Tammeus | 6 p.m. Kansas City Central Library, 14 W. 10th St., kclibrary.org

Main

Parkville July 4th Celebration | 6-10 p.m., down-

town Parkville

MuSiC

4048 Broadway

Bram’s B-3 Bombers | 9 p.m. Green Lady Lounge,

heads Saloon, 2715 Rochester

Busker’s Banquet | 9 p.m. Uptown Arts Bar, 3611

Broadway

Hermon Mehari Trio | 6 p.m. The Majestic, 931

Broadway

MKTO | 6:30 p.m. Uptown Theater, 3700 Broadway Modern Day Fitzgerald, Rose & Louise, Ave 17 | 10 p.m. RecordBar, 1020 Westport Rd.

Ramblers Club, 3402 Main

The Kansas City Songwriters Scene Original Open Mic | The Tank Room, 1813 Grand Listener, 68, Homeless gospel Choir | 7 p.m.

Czar, 1531 Grand

Hermon Mehari Trio | 6 p.m. The Majestic, 931

Broadway

Shinetop Jr. | 7 p.m. B.B.’s Lawnside BBQ, 1205 E.

P.R.O.B.L.E.M.S. | 10 p.m. Replay Lounge, 946 Mas-

Drew Six | 6-9 p.m. Cactus Grill, 11849 Roe, Leawood

RecordBar, 1020 Westport Rd.

B.A.R.T Wednesdays with DJ g Train | 10 p.m.

KC Slick, Tony Duffles, KC’s Finest, Jesus Devine, il Nino, Shag, thePhantom* (DJ set), Mon Eg | 8 p.m. The Riot Room, 4048 Broadway

sylvania

Trampled under Foot | 7 p.m. B.B.’s Lawnside BBQ,

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

NigHTLiFE

Wed 6/25 - Michael Shultz thu 6/26 - hippybilly hoedoWn Fri 6/27 - tba Sat 6/28 - Full count band Featuring turkeybone Wed 7/2 - troy allen & FriendS

Rated R for language including sexual references. Must be 17 to enter. Please note: Passes are available on a first-come first-served basis. While supplies last. No purchase necessary. Limit one admit-two pass per person. Employees of participating sponsors are ineligible. Arrive early! Seating is first-come, first-served, except for members of the reviewing press. Theater is overbooked to ensure a full house. Theater is not responsible for overbooking.

WIFI NOW AVAILABLE!

IN THEATRES JULY 2

TammyMovie.com • facebook.com/Tammy • #Tammy

85th St.

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ENTER-TO-WIN A COMPLIMENTARY TICKET! LOG ON TO GOFOBO.COM/RSVP AND INPUT THE FOLLOWING CODE: PITCHW8XU

1515 WESTPORT RD. • 816-931-9417

CHECK OUT THE NEW ALL DAY HAPPY HOUR

Open Blues Jam with the Coyote Bill Boogie Band | 9 p.m. Westport Saloon, 4112 Pennsylvania

Rex Hobart’s Honky Tonk Supper Club | 7 p.m.

recordswithmerritt.com

Dirty Rotten All-Stars | 9 p.m. Davey’s Uptown

Xavier Rudd | 8 p.m. The Bottleneck, 737 New Hampshire, Lawrence

sachusetts, Lawrence

1614 westport rd. kc,mo 64111

Carl Butler’s gospel Lounge | 7:30 p.m. Knuckle-

Naughty Pines Happy Hour Band | 6-9 p.m. Coda, 1744 Broadway

where vinylists come to play

The Antlers, yellow Ostrich | 8 p.m. The Riot Room,

Bike Night with Cover Me Badd | 6-10 p.m. American Garage Bar, 1 S.E. Fourth St., Lee’s Summit

1809 Grand

the music speaks for itself

(816) 585-7366

MuSiC

El Barrio Band | 7 p.m. Danny’s Big Easy, 1601 E. 18th St.

OPEN

INVITES YOU AND A GUEST TO A SPECIAL ADVANCE SCREENING OF

Tues-Sat 11am-7pm

F E S T i VA L S

Tuesday | 7.1 |

NOW

MiniBar, 3810 Broadway

a

KANSAS CITY PITCH THURSDAY, JUNE 26 2.305x4.822

LH

girlz of Westport | 8 p.m. Californos, 4124 Penn-

Broadway

Make-A-Wish Trivia Night | 7:30 p.m. Charlie

Hooper’s, 12 W. 63rd St.

DJ Rico & the Boss Hooligan Soundsystem | 10 p.m. Black & Gold Tavern, 3740 Broadway

Haute Dames with Church Candy | 9 p.m. Davey’s

Uptown Ramblers Club, 3402 Main

Think While you Drink Trivia | 6-9 p.m. The Indie

on Main, 1228 Main

Trivia | 7-9 p.m. Westport Saloon, 4112 Pennsylvania

check out

Karaoke with Paul Nelson | MiniBar, 3810 Broadway

FIND

HAPPY HOURS

Karaoke | 10 p.m. Jackpot Music Hall, 943 Massachu-

setts, Lawrence

Tap Room Trivia | 8-10 p.m. Waldo Pizza, 7433

Broadway

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

time, feature,ONname or location YOUR BY

IPHONE/BLACKBERRY/ANDROID pitch.com

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37

dating.

S ava g e L o v e

Old Times Dear Dan: I’m a bit out of your usual demo-

graphic, agewise (I’m 70). My cousin and I have flirted and joked about getting it on together for about 50 years or more. Now she’s divorced and having the time of her life. The other day, she told me what she’d really like is to have a “lesbian experience” with me watching and then joining. I’m so crazed with lust that I’m having a hard time thinking straight. This is a kinky dream come true! I love oral sex, and with two pussies to eat, etc., the whole thing sounds just great! What I don’t know is how to contact someone to do this. I don’t want someone who’s got a disease or someone with a boyfriend just waiting to break in and rob everyone. How do I arrange such a thing? How would I ensure that my concerns are dealt with? Is using an escort service any guarantee of any degree of safety?

Old But Alive Dear OBA: “Good for you for acknowledging

that you’d love a lust-crazed encounter with your cousin and a third,” said Joan Price, author of Naked at Our Age: Talking Out Loud About Senior Sex. “I hope you’re indulging that lust with plenty of hot talk, makeout sessions, and role-playing as you figure out how to make your fantasy a reality.”

While cousin-on/in-cousin action strikes many people as very squicky, there’s nothing illegal or dangerous about cousins — even first cousins — doing it. First-cousin marriage is legal in 25 states (and legally recognized in all 50 states), and it’s legal everywhere in Canada.

“Start hanging out at lesbian bars and other social venues,” Price said. “Don’t go in aiming to pick someone up right off the bat. Go on a date with your cousin, dance, chat up women who are friendly. You could make great connections if you’re open and take your time.”

Loath as I am to contradict Price — don’t hang out in lesbian bars. About the only thing lesbians hate more than opposite-sex couples prowling for “thirds” in their bars are sharp fingernails digging for clams in their pants. As soon as the other patrons realize that you’re just another opposite-sex couple who feels entitled to lesbian space, attention and pussy, you’ll be out the door on your asses.

“Another way to go is to hire someone,” Price said. “The advantage of a paid escort is that you can choose the woman and spell out exactly what fantasy you want her to provide.

She’ll be experienced, creative and totally focused on your pleasure.”

Yes, yes, yes! Hire someone! Forgive me for being ageist, but time is not on your side. Hire someone immediately — and hire someone older, someone who has been in the field for a while (look for reviews online) because they’re less likely to rip you off or play you.

38

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pitch.com

By

D a n S ava ge

“As for getting a disease,” Price concluded, “you will use safer-sex practices with either a paid escort or a new friend — that’s a given.”

Use condoms, even if there’s no risk of pregnancy. Condoms decrease your risk for contracting — or passing along — many STIs. But there’s no way to eliminate the risk. You have to decide if the possible risk of contracting an STI is worth the certain reward of a three-way with your cousin. And I think we both know the answer to that question.

Dear Dan: My husband and I have been happy swingers for four years. Our issue? I’m pregnant.

My husband had a vasectomy two years ago, and neither of us has wavered in our desire to remain child-free. We know the “father” is the male of a couple we play with regularly. We used protection, but these things are never foolproof. Do we need to tell the couple about what happened and our decision to terminate the pregnancy? We wouldn’t ask them to help pay for the procedure, and their feelings on the matter wouldn’t change our course of action. We’re just unsure about the “swinger etiquette” in this situation.

No Acronym Here Dear NAH: No method of birth control is fool-

proof — not even a vasectomy. The failure rate for vasectomies, according to the Centers for Disease Control, clocks in at 0.01 percent, which is far lower than the failure rate for condoms (3 percent failure rate with “perfect use,” 15 percent with “typical use”). But there are numerous documented cases of men who’ve had vasectomies impregnating their female partners. There are no documented cases two years after a successful vasectomy, but what if your husband’s wasn’t successful?

So it’s possible that your husband fertilized that egg. You can cling to that small possibility and opt not to inform the other couple about your pregnancy and your decision to terminate. But I would urge you to tell them. One in three North American women has had an abortion, but millions of men don’t know that they have benefited from access to safe and legal abortion services because their female partners terminated pregnancies without informing them.

On the off chance that your play buddy is one of those guys who either is against abortion or hasn’t given the issue much thought, you should let him know that your freedom to choose has directly benefited him and his family. You should also let him know that there’s a small chance your husband impregnated you.

Either way, you’re terminating this pregnancy.

Have a question for Dan Savage?

E-mail him at mail@savagelove.net

816.841.1577 913.279.9202 30 Minute

FREE Trial!

18+

LONELY

HOUSEWIVES

KC’s Got Some Pretty Little Women

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pitch.com

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39

P p

If you have an interest in marketing, advertising, design, event planning and/or media, we may have an opportunity that will fit your internship needs.

To qualify you must currently be enrolled in college and able to receive college credit.

You also must be able to handle multiple projects at once and have related computer knowledge.

The Pitch is currently accepting applications for interns for the Fall semester in the departments listed. Feel free to send us an email letting us know why you would like to intern with us.

Marketing / Business jason.dockery@pitch.com

Sales / Business erin.carey@pitch.com

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DO YOU HAVE PLAQUE PSORIASIS?

PITCH WEEKLY (MO) 2.305for x 3.158 Kansas City Dermatology, P.A.,is seekingSize: volunteers a research Column: N/A study evaluating a new investigational topical medication for individuals IO: 43637 with moderate to severe plaque psoriasis. Color: Color Designer: JRS You may be eligible if: • You are over 18 years of age and have been diagnosed with psoriasis for at least 6 months • You HAVE NOT participated in any clinical trial in the past 60 days

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41

Urban Living at it’s Best

HOW ABOUT

Do you have pre-diabetes?

Physicians at the KU Diabetes Institute are currently recruiting for a national diabetes prevention study investigating vitamin D supplementation and its effect on delaying the progression to diabetes.

Individuals who participate in the 4-year D2d research study, will: ▪ Be monitored for diabetes twice a year ▪ Receive education on how to reduce their risk of diabetes through diet and exercise ▪ Receive a stipend of up to $745*

LUNCH

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