Riverfront Times 5.28.15 by Riverfront Times

MAY 28–JUNE 3, 2015 I VOLUME 39 I NUMBER 22

RIVERFRONTTIMES.COM I FREE

MY WEEK OF

EATING LOCALLY

In this global economy, it isn’t easy being a locavore BY CHERYL BAEHR

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RF T MU S I C S h o wc a s e

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the lede

P H OTO BY JA R R E D G AST R E IC H

“We have an opportunity to teach kids the truth about things at an early age. Teaching Native American history from a place of dishonesty to foster patriotism leaves it up to them to ﬁgure out the truth. I think it’s better to take pride in who we are as a nation based on what this land was in the beginning.... Instead of thinking this country is as perfect as it can get, it would be better if kids felt that it takes effort to make the country a better place. It starts on a local level. That’s what this swap meet is all about — the mentality bleeds out into the country.” –AARON WOOD, SPOTTED AT ST. LOUIS SWAP MEET AT LEMP BREWERY, MAY 24. riverfronttimes.com

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E D I T O R I A L Managing Editor Jessica Lussenhop Associate Editor Kristie McClanahan Arts & Culture Editor Paul Friswold Music Editor Daniel Hill Staff Writer Danny Wicentowski Restaurant Critic Cheryl Baehr Contributing Writers Drew Ailes, Mike Appelstein, Allison Babka, Nicole Beckert, Mark Fischer, Sara Graham, Joseph Hess, Patrick J. Hurley, Roy Kasten, Dan LeRoy, Jaime Lees, Todd McKenzie, Bob McMahon, Tef Poe, Christian Schaeffer, Alison Sieloff, Mabel Suen, Ryan Wasoba, Alex Weir A R T Art Director Kelly Gluec Art Intern Brittani Schlager Contributing Photographers Jarred Gastreich, Abby Gillardi, Matthew Harting, Jennifer Silverberg, Mabel Suen, Steve Truesdell, Micah Usher, Theo Welling, Corey Woodruff, Caroline Yoo

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1 0 E AT I N G LO C A L In this global economy, it isn’t easy being a locavore BY CHERYL BAEHR

The Lede

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23 Night & Day® 26 Film 29 The Arts 31

Cafe S H O RT O R D E R S ...............................................34 DINING GUIDE ................................... 37

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Standout dispatches from our news blog, updated all day, every day

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Governor Nixon Commutes Sentence of Jeff Mizanskey

Jeff Mizanskey should be a free man this summer.

overnor Jay Nixon has commuted the sentence of Jeff Mizanskey, a 61-year-old grandfather serving a life sentence for three non-violent marijuana convictions. “The executive power to grant clemency is one I take with a great deal of consideration and seriousness,” Nixon said in a press release announcing the commutation of Mizanskey’s sentence. He also pardoned ﬁve other nonviolent offenders. Regarding Mizanskey, Nixon’s remarks imply that he will be given a parole hearing. “In the case of the commutation, my action provides Jeff Mizanskey with the opportunity to demonstrate that he deserves parole,” Nixon said. Riverfront Times broke the story that Mizanskey has been rotting in jail for relatively minor (and non-violent) pot busts. In 1993 he was arrested for being involved in the sale of a six to seven pounds of marijuana. Because it was his third drug offense, Mizanskey was sentenced to life without parole under the state’s Prior and Persistent Drug Offender statute, a law that was repealed last year. “It’s wonderful. Thank Jay Nixon for doing that, for ﬁnally looking at his case and doing the right thing,” said Michael Mizanskey, Jeff’s brother. When we spoke to Aaron Malin, a researcher with Show Me Cannabis who has helped publicize demands for Mizanskey’s

release, he was running out the door to drive to the prison to tell Mizanskey the news before visiting hours ended Friday, May 22. “I am still in shock but obviously thrilled,” Malin said. “My understanding is Jeff doesn’t know.” Mizanskey will of course have to apply for parole and be approved for release. Malin says he should be eligible to apply immediately but wasn’t sure how soon he could get a hearing. Neither Malin nor Michael Mizanskey had any idea that this decision was coming. Michael, who lives in Chicago, was actually on vacation in Florida with his family.

“I’m very emotional. I’m overjoyed he has a chance,” he said. “In almost 22 years he had two write-ups, one for putting mail in the wrong slot and one for a messy ﬂoor. Tell me that’s not a model prisoner. No ﬁghts, no nothing. Tell me that’s not a model prisoner.” Reached for comment via email, Missouri Department of Corrections spokesman David Owen said Mizaneky’s parole hearing date will be set for “sometime this summer.” In general, an offender up for parole will receive written notice of the parole board’s decision three to six weeks after the hearing. — DANNY WICENTOWSKI

St. Louis Is the Most Affordable Rental Market for New Grads

June 4-7

K H O LO O D E I D

May 28-31

f you’re a new graduate looking for a city where you can afford an apartment without bunking up three to a bedroom, look no further. St. Louis is where you ought to move. That’s according to a new study from real estate site Trulia, which compared salary data for recent graduates with the cost of rental housing. St. Louis’ combination of relatively generous starting salaries, coupled with extremely affordable housing, earned it the study’s No. 1 spot as the most affordable rental market for new grads in the U.S. In fact, 18.6 percent of rental apartments

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in the St. Louis market were affordable to graduates with a full-time job, Trulia found. That’s true of less than 1 percent of rentals in such traditional youth magnets as Portland, New York City, Los Angeles, Boston and Chicago. St. Louis apartments were also significantly more affordable than the runners up on the Trulia list, which include No. 2 Dallas (where 14.9 percent of apartments were deemed affordable on a ﬁrst-year graduate’s salary) and No. 3 Houston (where that was the case for just 10.4 percent of apartments).

Just how expensive is the most unaffordable city on the list? In Portland, Oregon, new grads make an average of $18,560. To afford an apartment, they’d need to make $47,653, Trulia concludes. So what’s a new graduate to do? You could quadruple up with a half-dozen roommates. You could ﬁnd a tiny studio far from the center of the city. Or maybe just come to St. Louis. Not only can you get a decent pad here for less than $700, but our hipsters are far less insufferable than the ones in Portland. We promise. — SARAH FENSKE

A 911 Dispatcher Recalls Ferguson

here’s a call coming in for Rick Kranz. “911 St. Louis County. Location of your emergency?” On the line is a hotel desk clerk. In a thick accent, she says a guest needs immediate medical attention. No, she doesn’t know what the medical issue is. She only knows that the guest is a woman, she’s in Room 126 and needs an ambulance. “Let me get the paramedics on the phone, do not hang up,” says Kranz, a watch supervisor for the St. Louis County Police Department. He swivels in a towering leather ofﬁce chair to face three computer monitors. In seconds, he hammers out a few keystrokes and routes the call through the ﬁre department to reach emergency medical services, or EMS. As he listens to a paramedic question the hotel clerk, Kranz sends updates to

DA N N Y W I C E N TO W S K I

Rick Kranz will listen to your problems — and send help.

a radio dispatcher sitting on the other side of this sprawling, cubicle-filled call center in the basement of county police headquarters in Clayton. Barely one minute after taking the call, an officer confirms with Kranz that he’s heading to the hotel to assist the paramedics. Kranz hangs up the phone. A ten-year veteran radio dispatcher and 911 call-taker, Kranz may not strike the heroic image of an officer in the field, but his mission is hardly a cakewalk. “We are the backbone, so to speak,” he says. “If St. Louis city had a multiple-vehicle accident and 300 people were calling in at one time, we would get their overflow, just so the citizens don’t go unanswered. We would take all their info and relay that to the city police via the radios.” Along with 75 other civilian call-takers, Kranz must manage a continuous avalanche of information pouring in from unincorporated St. Louis County and the 45 municipalities that contract to receive its services. In 2014 the department’s bureau of communications reported receiving more than 430,000 emergency calls and 376,000 non-emergency calls. But even that sizable workload doesn’t compare to Ferguson. Kranz served on a special crew of radio dispatchers deployed to the north-county suburb following the fatal shooting of Michael Brown on August 9. From within an RV stationed at

the Buzz Westfall Plaza in Jennings, Kranz and two other dispatchers pulled twelve-hour shifts to coordinate between officers attempting to address both large-scale protests and nearby outbreaks of violence and looting. “I dispatched some of the craziest stuff I’ve ever heard,” Kranz says, recalling those first chaotic days in Ferguson. “Officers were screaming on the air that they were taking gunfire. Our helicopter was taking gunfire. That’s pretty serious.” Kranz is not a man easily shocked — he regularly takes calls involving violent crime, and he says he has twice fielded 911 calls that ended with suicidal callers shooting themselves in the head. Ferguson, however, presented its own unique challenges. “You have to keep in mind, we were talking to officers from the highway patrol, from Troop H, which is based in St. Joseph, five hours northwest from here. They have no idea what north St. Louis County is, they’ve never been down here, and we’re trying to give them direction on where to go for escorting EMS.” Kranz returned to the Ferguson detail at the end of the November, when a grand jury’s decision not indict former Ferguson officer Darren Wilson both reignited the protests and appeared to spark a destructive wave of arsons and burglaries. “We had all the news channels on the live broadcast,” Kranz remembers. “We were watching McCulloch give his speech, and they would pan over to the view outside the Ferguson Police Department, and you could see the crowd. We were watching it all unfold.” The first 911 calls Kranz received that night were reports of police cars being flipped and stores being robbed. As if that weren’t enough for a police force stretched to its limit, Kranz also began hearing strange transmissions on police radio frequencies. A male voice directed vulgarities at cops and made bizarre orders to dispatch officers to certain intersections. “He was trying to make contact with our air unit,” Kranz says. “I think he cussed a couple times on the air. We pretty much zeroed in on the issue right away.” A week after the grand jury announcement, police arrested Nicholas S. Green, of St. John, who used two modified radios to transmit on the county police radio frequency. Of course, after those tension-filled days and nights in Ferguson, Kranz returned to the standard chaos that St. Louis County residents call to report — tax fraud, suspicious neighbors, burglaries, lost children, bad drivers, tree branches blocking roads. Indeed, after a few hours in the call center, a sort of soundtrack begins to emerge: radio squawks, indecipherable code words and fingers slamming typewriter keys. Above that discord floats the call-takers’ endless queries: What kinds of cars are they? Where’s he at right now? Is it a state park or county park? Do you have a name? Did you see a license plate? On the switchboard on Kranz’s desk, a red light blinks. The screen attached to his phone tells him another call is coming in. “Police emergency, this is Kranz.” — DANNY WICENTOWSKI riverfronttimes.com

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MY WEEK OF EATING LOCALLY in this global economy, it isn’t easy being a locavore

By Cheryl Baehr

t is 4:15 p.m. on a Tuesday, and I’m sitting in a Starbucks’ drive-through on the frazzled verge of delirium. “How did it get to this?” I berate myself as I order coffee and a chocolate croissant. “If this is what eating locally does to a person, count me out.” I am just eight hours into Day One of my “week of eating local” challenge, yet here I am in the parking lot of a multinational corporation, slurping down mass-produced Indonesian coffee and gobbling a defrosted pastry baked in San Francisco. As I suck down my caffeine ﬁx and begin to come to, I try to ﬁgure out where I went wrong. My plan had been to spend May 6 through May 15 eating only foods sourced from within 150 miles of St. Louis. It was the locavore equivalent of a crash diet: no salt, no coffee, no olive oil, no Burgundy. Admittedly, the parameters I’d chosen were somewhat arbitrary. “Think about what is important to you,” I kept hearing when I asked the experts how to eat local. I never got a straight answer — because there isn’t one. The group organizing St. Louis’ Local Food Challenge — which kicks off for most participants on May 27 — set a 150-mile radius for its boundaries, but the rest was a bit nebulous. Did I have to stick to it every day, every meal? For how long? Are raw ingredients the most important metric, or can we include independent business such as craft breweries,

which manufacture here even if they use hops from, say, Bavaria? As a prominent local chef would later tell me, “Once you start going down this path, you find yourself with questions, not answers.” So what is important to me? I realize that I want to get to the root of what it means to eat local — not just the complicated task of defining terms, but what it really feels like, as a food lover, home cook, a busy mother and someone on a budget, to forgo food from far away. As I quickly find out, it’s not nearly as romantic as it sounds. Actually, it’s pretty awful sometimes, especially if you go for strict definitions and firm rules. Those locavores gaily frolicking through fields of squash blossoms on the cover of a food magazine? Ten bucks says their smiles are as airbrushed as a Victoria’s Secret swimsuit catalog. And yet it’s also not that simple. I would discover many things over the course of this one, very long week. First, coffee is an inalienable right. Second, you can only eat so many eggs without becoming homicidal. Third, and most importantly, what it means to eat local is wholly undefinable. It’s a matter of personal choice, it’s complicated and it’s something a person may come to love only after devouring a perfectly prepared Berkshire pork chop. continued on page 12

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Eggs from Live Springs Farm in Carrollton, Illinois.

Eating Locally

continued from page 11

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addie would be so disappointed in me.” That’s one thought swirling in my head as I sit in the Starbucks parking lot. I ﬁrst learned of the St. Louis Local Food Challenge this past February from Maddie Earnest, owner of Local Harvest Grocery and Cafe. The concept was still in the early stages of development, she explained, but the idea was to come up with a way to honor the ten-year anniversary of the Tower Grove Farmers’ Market. As the plan solidiﬁed, Earnest and her business partner, Patrick Horine, came up with the idea for a 30-day local-food challenge. During the month of June, challenge participants are encouraged to eat as much local food as possible. They can take it as far as they want, Earnest notes — commit to using only local seasonal produce for three meals per week, say, or make a complete switch to locally raised meat and dairy. The goal is less ideological purity than raising awareness of the bounty within 150 miles of St. Louis. Period. I’m the one who decides to complicate things. A textbook overachiever with a stubborn streak, I opt to take the challenge to the most extreme level possible. For one week, I vow, I will eat only items that could be sourced from within 150 miles of St. Louis. It doesn’t start out that badly. Aside from extreme sleep deprivation coupled with the necessary caffeine detox (no one grows coffee beans in Missouri, after all), I begin the day with smug optimism. I haven’t yet made it to the store for provisions but fortunately have a few local eggs on hand. “Scrambled farm-fresh eggs? This won’t be hard at all,” I tell myself as I crack them into a mixing bowl. Without thinking, I reach for some cream and salt, only to stop myself. I don’t have any local cream, and I cannot think of how to get local salt. Then there’s the cooking-fat situation: I have no local oil in my pantry, and my butter is mass-produced (somewhere in the U.S.A., the label assures me). “It won’t be that bad,” I muse, pouring the whisked eggs unadorned into a non-stick skillet. After the second, bland bite, I open my computer and begin researching a locally sourced way to season. “If there’s a Saline County in Missouri,” I curse, “then there has to be a way to get salt.” The cracks are already starting to form.

A textbook overachiever with a stubborn streak, I opt to take the challenge to the most extreme level possible. “I don’t want to say it, but I think you were setting yourself up for failure,” Brian DeSmet laughs when he hears about my locavore plan. “If you’re trying to be so extreme — I mean, maybe you could get salt in southern Illinois 150 years ago, but come on. People have been trading for thousands of years.” DeSmet speaks with me from his office: the small, one-seventh-acre garden at Schlafly Bottleworks. You’d be hard-pressed to find a more enthusiastic proponent of local eating than DeSmet. As Schlafly’s farmers’ market and garden manager, he has made it his mission to reconnect people to the local food economy. Yet even he thinks my extreme approach is untenable at best and pointless at worst. “An issue you have is that 100 years ago, eating local wasn’t a thing. It was just what people did,” DeSmet explains. “A lot was grown and made locally — maybe even salt — but over time, it has all been consolidated into a few big corporations. The systems just aren’t there.” For DeSmet, local eating is about restoring these systems and supporting the local food economy. That’s what is important to him. Why, he asks, is eating locally important to me? “What purpose does it serve?” If I’m honest, my extremism is a way to atone for some self-righteous behavior. It began with an article I posted on Facebook in January. Mother Jones had published an exposé on the horrifying conditions endured by laborers in northwestern Mexico, all in the name of unblemished fruits and vegetables for U.S. dinner tables. Horrified, I shared the story with a sanctimonious “this is why we eat local” tagline. Feeling satisfied with having done my part, I continued to scroll through my newsfeed until I was notified of a comment. An old high

STEVE TRUESDELL

Radishes from the International Institute in St. Louis.

Maddie Earnest, owner of Local Harvest Grocery and Cafe.

MABEL SUEN

school friend had read the article and, looking to me as a food expert, earnestly asked how she could begin to make the shift toward local consumption. I had no idea how to answer her. Her question, and the resulting realization that I was quite possibly a fraud, prompted me to reach out to DeSmet and his colleague Tom Flood, Schlaﬂy’s properties and sustainability manager. “So, how does one eat local?” I ask, notebook in hand as if prepared to jot down a few bullet points. DeSmet and Flood smile in the way I imagine Albert Einstein might have done upon being asked, “So, tell me about this gravity thing.” Their answer is probably as complicated. “What do you mean by ‘local’?” Flood asks. “Are you talking about within Missouri or 150 miles? Or 300 miles? Is organic important to you? Sustainability? Antibiotic-free and humanely raised meat? If you want local, are you OK that it’s not necessarily organic?” Head spinning, I leave our lengthy conversation more muddled than when we began. That two pillars of the St. Louis slow-food scene cannot clearly deﬁne what is meant by “local eating” should have tipped me off that I’d be in for a rough week if I stay the extreme course I’ve charted. Still, I refuse to concede defeat this early. Even if it is well past lunchtime and nothing in my house adheres to my self-imposed rules, save for more eggs. I bitterly make my daughter a grilled cheese sandwich, the scent of Irish butter and California sourdough almost too much to bear. “I’ll

get to Local Harvest after her nap,” I assure myself and guzzle a large glass of water. Then the caffeine headache sets in. Anyone who has experienced withdrawal knows exactly what I mean. Irritability is Stage I, where it’s the end of the world that you can’t ﬁnd the remote control. For me, this hits sometime around noon. Stage II begins around 3 p.m. as a generalized fog, like someone has wrapped my head in a pillow. By the time I reach the icepick-ineyeball headache that deﬁnes Stage III, I have two choices: coffee or medication. “This is asinine. Why am I doing this? I’m

just going to grab a cup and not tell anyone,” I grumble. I resign myself to be true to my craft until my toddler has a 90-minute nap-fighting meltdown. It’s more than I can bear. Starving, fiending like a junkie and completely at my wits’ end, I strap her into the car seat and drive straight to Starbucks. Minutes later, flakes of buttery pastry still on my lips, I look at myself in the rearview mirror with intense shame. I can’t bear to go into Local Harvest at this point. They’ll smell the corporate coffee on me. I have another egg for dinner. riverfronttimes.com

“One hundred years ago, eating local wasn’t a thing. It was just what people did. But over time, it has all been consolidated into a few big corporations. The systems just aren’t there.”

ith a belly full of — surprise — scrambled eggs, I head to Local Harvest the next morning to pick up provisions. Clearly, people who post photos on Instagram of Missouri’s rainbow cornucopia of fruits and vegetables do so in August, not May. My choices are greens, greens, meat, dairy and greens. Oh, and mushrooms — basically the low-sodium Atkins diet. “Yeah, you get into February, and it’s pretty scarce,” Maddie Earnest concedes. “You’re just standing there depressed, looking at a bunch of old sweet potatoes and onions.” A social worker by trade, Earnest opened Local Harvest eight continued on page 14

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Eating Locally

An assortment of local cheeses, produce and honey.

continued from page 13

RIVERFRONT TIMES

“You get into February and it’s pretty scarce. You’re just standing there depressed looking at a bunch of old sweet potatoes and onions.”

Sorghum from St. Charles.

My dinner plans are more conservative — chicken and sautéed kale — but once again I hit a roadblock: The chicken fails to thaw on time and my husband isn’t hungry. I eat a vegetable omelet. At this point, I’ve eaten so many eggs that I’m worried I’ll be found in the back yard scratching in the dirt.

’m thrilled to have yogurt back in my life after my Local Harvest shopping excursion (and even more thrilled to have an egg-less meal), but my excitement turns to horror when I open the refrigerator. “I think something is wrong with the fridge,” my husband has been saying for days, but I paid him no attention. Now the warm air and smell of spoiling food forces me to face a terrible fact: The refrigerator is broken. “All of my food is in there,” I protest. I have no idea what to do about the challenge. My neighborhood grocery is worthless. I can’t run all the way down to Local Harvest, shop, return to the house and cook. It would take at least an hour, maybe two, and by that time, I would have a full- continued on page 16

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STEVE TRUESDELL

years ago (with partner Horine) to be St. Louis’ source of local, sustainable and humanely raised produce, vegetables and staples. Quite the locavore cheerleader, Earnest walks me through the store, pointing out all of the surprising foodstuffs I can eat during my challenge. “Look at this milk,” she says, pointing out one of the store’s new products: a yellow-hued jug of local, hormone and antibiotic-free raw cow’s milk. “I just scoop the cream off of the top and eat it. My son wonders how anyone can eat that much cream. I can.” She gives me some Missouri pecans and walks me around to the St. Charles honey and sorghum. I ask about the fruit situation — whether anything is available, preserved or fresh — and she’s realistic. “In a dream world, we would be canning and preserving in the summer so that we would have them for the late winter. Honestly, though, in ‘times of yore’ people would eat really meat-heavy and rely on what was in storage. Luckily, farmers are now able to grow things in greenhouses. It’s a bit of a false season, but it works, and is a way for us to have produce and farmers to have income year round.” I wonder about our romanticism of the “times of yore” Earnest speaks of, and can’t help but think that a pioneer would consider winter strawberries like my 60-something maternity nurse considered epidurals: “Why on earth wouldn’t you want one? I would have killed for one when I had my nine-pound baby without pain relief.” I think of how difﬁcult life on the prairie would have been, relying on stockpiles of root vegetables and dried meat for months on end. Potatoes and salt pork for days? Progress is a good thing. But I get Earnest, DeSmet and Flood’s point: For the most part, we’ve become completely disconnected from our food, dependent on large-scale corporate agriculture and all too willing to ﬁll our bodies with food of questionable safety and quality. You need only consider Frontline’s recent gag-inducing expose of the poultry industry to support the small-scale farmers who try to raise their animals in a more humane and sanitary way. “For me, I can break it down to three main reasons for why it’s important to eat local,” Earnest says. “First, it’s important to support the local and regional economy. It’s a way to have a direct impact on where you live. Think about it — you can shift an economy with your dollars.” She continues, “Think about how food is grown and produced, and the environmental impact of what you choose to eat. The third reason relates to the second: Think about what you are putting into your body. It comes down to a health decision. Oh, and then there is the foodie reason: that it just tastes better.” I’m pumped from my pep talk and armed with a newfound enthusiasm for the week, even sans coffee. For lunch, I sauté some green onions, sunflower shoots and lion’s mane mushrooms. Local Harvest is out of walnut oil, so I cheat and use a dash of olive oil, but still no salt. The meal is delicious and made from two ingredients (the mushrooms and the sprouts) that I would normally pass on.

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Nate Hereford of Niche.

J E N N I F E R S I LV E R B E R G

INVITES YOU AND A GUEST TO SEE Eating Locally

MONDAY, JUNE 1 7:00 P.M.

continued from page 14

blown toddler revolt on my hands. The real problem, though, is that I can think of no restaurant that will satisfy the requirements of the challenge. That’s the thing about dining out when trying to eat locally: It’s not happening. Sure, there’s Niche or the Libertine or Sidney Street Cafe or any number of higher-end places that have made an honorable commitment to offering locally sourced food. For the most part, however, a locavore ideologue looking to dine out quickly and casually is out of luck. Mom wants to try a cute little tearoom for Mother’s Day? That quiche is probably made with factory eggs and wheat from unknown origins. Craving pizza? You’d better plan well in advance to make your own, dough and all, because there is no going out for a slice. To be fair to Earnest, her intention was never to make this an endurance test. “We talked off and on about the idea of the challenge and thought, ‘Surely this has been done before.’ I did a little research and found out that New Orleans does something very similar, so we modeled ours off of that.” Unlike the New Orleans Eat Local Challenge, which allows participants to choose between four levels of strictness (the lowest level is just a twice-weekly dalliance), Earnest created goal sheets for St. Louis participants. “Have fun with it!” Earnest cheerfully exclaims, encouraging people to take things as far as they want without killing themselves.

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“I remember talking to people in March and them telling me I wouldn’t see [certain foods] for ﬁve or six weeks. I was like, ‘Five or six weeks? I can’t make it that long.’ I had a panic attack.” I, however, am not having fun. Clearly, I’m missing the point of what this is about, even as I feel guilty contemplating a shift, as if any concessions are a way of giving up. Something has to change, though. I call the repairman, pack up my daughter, and decide to redeﬁne my parameters. As I drive around in search of an acceptable breakfast spot — something in the spirit of the challenge, if not its letter — my thoughts drift toward Barbara Kingsolver and her book Animal, Vegetable, Miracle. Like Michael Pollan’s The Omnivore’s Dilemma, Kingsolver’s book has become a sacred text of the locavore movement, detailing her year of living off the land at a family farm in continued on page 18

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Eating Locally

continued from page 16

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Garlic from Gateway Garlic Urban Farm.

Yes, pickings are slim in the off-season, but we Midwesterners have ample land for animal husbandry and a fertile soil that yields a bounty of crops. If there is any place you can still eat local in 2015, it’s here.

Chicken from Buttonwood Farm in California, Missouri.

P H OTO S B Y S T E V E T R U E S D E L L

rural Virginia. She doesn’t hide that she moved from Tucson to make the experiment work, which suggests she realized that she couldn’t sustain herself on prickly pears and roadrunners for a year. We are much luckier than Kingsolver’s Arizona brethren. Yes, pickings are slim in the off-season, but we Midwesterners have ample land for animal husbandry and a fertile soil that yields a bounty of crops. If there is any place you can still eat local in 2015, it’s here. But another resource is in play besides the food that is available to us. Perhaps more important is the economic commitment that is required to eat more local and sustainable foods. DeSmet insists there are ways to do it on the cheap. “When you really look at it, getting produce at a farmers’ market is no more expensive than going to the grocery store,” he says. Growing your own food is also an economic option, one he actively encourages. But another precious resource is required: time. Though it is certainly possible, I find it difficult to imagine a working single mother taking the time to cultivate the land when she barely has enough time to shower twice a week. Even scrambling to get across town to visit the “right” grocery store is proving a challenge for me. My extreme challenge also exposes the complicated way that local artisans fit into a commitment to eating local. If the point is to support the local food economy, what about the independent coffee roasters using African beans, the craft breweries who import their hops, the corner bakeries using sugarcane? Surely they’re part of the local food economy. Was I wrong to discount them? As I pull into my neighborhood coffee and bakeshop, Colleen’s Cookies, I think of the woman who owns it, Colleen Thompson, and how she parlayed a few hundred cookies baked for a charity event into a small, independent business. Yet in my ideological purity, I’d lumped her in with Wal-Mart. It just didn’t seem right. “I want my dollars to support re-growing the local food economy,” DeSmet says. “At the farmers’ market, we support local farmers, but also local businesses.” He speaks of Estie Cruz-Curoe, owner of del Carmen, whose Cuban-style black beans are sold at area farmers’ markets. Her raw ingredients, including the beans, are sourced throughout the United States, so technically, they’re not a purely local product. However, del Carmen has created jobs in the community as Cruz-Curoe has expanded and hired more employees. “That’s what is important,” DeSmet says. “When you support the local economy rather than going to a big-box store, the money stays here. Fundamentally, that’s what matters.” Earnest echoes DeSmet’s words when I ask her about things like coffee and salt. “Our challenge is unlike the New Orleans one in that we want to bring attention to local artisans,” Earnest explains. “We’re never going to have coffee and chocolate grown here. That’s not the point. The point is that maybe you will think about going to a local place for those things.” I settle into my booth at Colleen’s Cookies

with a cup of Stringbean coffee and a handmade biscuit. Were it not for the challenge, I might have gone back to Starbucks. Earnest’s plan is working after all.

y the time I talk to Nate Hereford, I’ve transitioned from thesis to antithesis and am making my way to synthesis. “That’s the creative process,” he says. “Whether it’s food or music or whatever. We live in a society where we expect things to be easy, but it’s not. This is challenging, but it’s rewarding too.” Hereford, Yoda-like in his wisdom of local eating, has had more time to ﬁnd his zen with hyper-regionalism than just about anybody in St. Louis. As chef de cuisine at Niche, he’s been toying with what it means to eat local

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since 2009, when he and owner Gerard Craft decided to make the transition to an ultralocal menu. “We wanted to showcase all of the awesome ingredients here in Missouri and Illinois, so we started out with sourcing things we could get within a day’s drive,” Hereford explains. “We just kept shrinking our zone until we got to the point where over 90 percent of what we do is from Missouri.” If my concept of eating local is extreme, Niche’s borders on the absurd. Aside from a handful of pantry items like salt (they can’t ﬁgure out how to source it from within Missouri either) and white vinegar, the restaurant’s menu is entirely comprised of ingredients that are grown or raised within 300 miles of

St. Louis. Hereford and his team make their own pungent vinegar substitute from ﬁsh guts. Tangy whey from their housemade yogurt approximates the acidity that a lemon might provide, and beets and sorghum stand in for sugar. Hereford is sympathetic to my angst. “I’m not going to lie to you. It’s hard,” he acknowledges. “We asked some serious questions when we began, like: If we do this, do we lose our identities as chefs? As a restaurant? It’s really hard. I remember talking to people in March and them telling me I wouldn’t see [certain foods] for ﬁve or six weeks. I was like, ‘Five or six weeks? I can’t make it that long.’ I had a panic attack.” As a culinary professional, it’s Hereford’s job to spend his days continued on page 20

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P H OTO S B Y S T E V E T R U E S D E L L

Asparagus from Double Star Farm in Bluford, Illinois.

Drew Wells of Biver Farms.

still didn’t feel the creativity ﬂowing — that is, until I made my trip to Bolyard’s Meat & Provisions.

Eating Locally

continued from page 18

preparing food, playing with ingredients and wrapping his head around how to meet the constraints of such an onerous challenge. Going this far as an amateur home cook — without inﬁnite amounts of time and money — would be impossible. Hereford encourages me to push past my feelings of being overwhelmed with the challenge, noting that he feels the ingredient restrictions at Niche have beneﬁted him professionally. “You learn when you back yourself into a corner,” he laughs. I was certainly backed into a corner, but I 20

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accepted an invitation to my friends’ house for dinner on the week of my experiment with the caveat that I would only be eating local foods. They were up to the challenge. They would pick up all of the accompaniments and staples if I would buy the meat. That’s when I head to Bolyard’s Meat & Provisions, a local butcher shop opened in Maplewood last November by former Sidney Street Cafe chef de cuisine Chris Bolyard. It serves only humanely and sustainably raised meats from small Midwestern farms.

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Brian DeSmet of Schlafly. I have the idea of buying some Missouriraised rib-eyes, until I encounter the beneﬁt of chatting up the butcher rather than picking up prepackaged meat from a supermarket case. “Listen,” the man behind the counter tells me. “I know you want rib-eyes — and they are great — but if you’re grilling, you have to try our pork chops.” I’m not really in the mood for pork, but his enthusiasm convinces me to order a few chops. They’re from the Circle B Ranch heritage breed Berkshire hogs that spend their days in Seymour, Missouri, foraging for acorns and, per Bolyard’s website, getting their bellies rubbed by farm owner John Backes. (And to think I’d wanted to come back in my next life as a cat.)

When I get to my friends’ house, the care shown to the pork, both in how it was raised and how it was butchered, becomes immediately apparent. We unwrap the package and gasp. There before us is the most glorious piece of pork any of us has ever seen: inch-thick and so marbled it looks like a slab of bacon fashioned into the shape of a chop. My friend has to dodge the ﬂames from all the fat dripping off them when he lays them on the grill. “I’m human. I go to the grocery store for meat every now and then,” Hereford admits. “But I look at it — at the color — and it just doesn’t seem right.” Good meat may be much pricier, he notes, but when you buy the industrially processed stuff on a bed of styrofoam,

Try & Ride: HOME TO WORK. TRANSIT: MY MORNING PERK! Riding St. Louis’ Transit System? Now that’s a GREAT idea! New riders can sign up for Citizens for Modern Transit’s Try & Ride program. Experience what great transportation is all about. As a new commuter, you’ll receive a personalized package to fit your needs. Sarah Buila of Buila Farms. “you’re getting shortchanged.” To say that we perceive the value in our local pork during our dinner this night is an understatement. It is life-changing, the kind of food that makes you wake up the next morning wondering when you can have another bite. And it isn’t just the pork. My friend makes a kale-and-green-onion torte with Missouri hard-winter wheat flour and freshly churned butter (he had a churn from his daughter’s school’s Pioneer Week) that is as good as any side dish I could have asked for. The first-ofthe-season asparagus is without the slightest hint of stringiness and, when paired with the pork, a Missouri Norton makes me rethink my disdain toward locally produced wine. The only item we use that comes from further than 150 miles away is salt. And yet this dinner is one of the most delicious meals I have had in a very long time, challenge or no challenge.

hink about what is important to you.” When I spoke with Earnest, DeSmet, Flood, Hereford and anyone else about local eating, the first question I posed was, “So how do you go about making the change? Where do you start?” Their answers were always the same — it’s a matter of individual priorities. DeSmet worried that such a vague answer might sound like a cop-out, but a week removed from my self-imposed extreme locavore diet, I have come to appreciate why there is no clear answer. If we think of local eating as aspirational rather than a strict set of rules, the question of individual priorities makes sense. What do I want my food system to look like? Reflecting on the week, my utopian vision includes heritage pork, sunflower shoots and independent coffee roasters. For DeSmet, it’s a place where people are competent home gardeners and cooks. For Hereford, it’s an everexpanding bounty of Missouri vegetables. As for Earnest, she just wants people to find the joy in what they eat. When I last visit Local Harvest, she has recently received a delivery of first-of-the-season strawberries. I had previously eaten yogurt and berries nearly every

For more information, and to sign up for Try & Ride, visit cmt-stl.org.

Strawberries from Double Star Farm.

day for the last ten years, only to give it up for the locavore challenge. Seeing the vibrant red beauties glistening like jewels on the produce rack felt like Christmas morning. I had come to take my fruit for granted. Now, here I am, in awe of a simple box of produce. That’s what’s important to me. Q

Challenge: Eat Locally

The St. Louis Local Foods Challenge kicks off this week, but it’s not too late to join in the festivities. The brainchild of the Tower Grove Farmers’ Market, the event asks participants to source as much food as possible throughout the 30 days of June from within 150 miles of the city. It costs $30 to enroll, but perks include a $20 credit for local produce and a card good for a free meal at Chipotle. For more details, see stlfoodchallenge.org.

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W E E K O F M AY 2 8 – J U N E 3

T H U R S D AY |05.28

[MUSICAL]

THE THREEPENNY OPERA

Bertolt Brecht and Kurt Weill’s The Threepenny Opera opens with a jaunty song about an unrepentant murderer and ends with the bad guys winning. Why? Because if you’re going to satirize both opera and a corrupt society, you go all the way. Macheath is our charming killer, and he’s currently toying with Polly Peachum’s tender affections. Mr. Peachum, the king of the beggars, isn’t happy with his daughter’s taste in men and plans to set up Macheath for arrest. Mr. Peachum doesn’t know, however, that the chief of police is Macheath’s bosom friend. Crooked cops, murderers getting away with murder and backstabbers getting stabbed — it’s all very familiar to modern audiences. Not bad for a musical written in 1928. New Line Theatre closes out its season with what is arguably (but there is no argument) the best musical of all time. The Threepenny Opera is performed at 8 p.m. Thursday through Saturday (May 28 through June 28) at the Washington University South Campus Theatre (6501 Clayton Road; 314-534-1111 or www.newlinetheatre.com). Tickets are $15 to $25. — PAUL FRISWOLD

F R I D AY |05.29

[ART EXHIBIT]

JEFFERSON, NY

“New York art” makes you think of that hardedged contemporary stuff, but that sort of thinking limits you to art from the five boroughs. New York, the state, is more than just its urban centers. The Hudson River Valley has inspired artists for decades, and Jefferson, NY, the new show at the Philip Slein Gallery (4735 McPherson Avenue; 314-361-2617 or www.philipsleingallery.com), is a continuation of that tradition. Joan Nelson, Editha Mesina, Kevin Larmon, Nancy Shaver and Don Powley all call Jefferson home. While geography may unite them, it doesn’t define them; each artist follows their own path even though it wends through the same town. Jefferson, NY, opens with a free reception from 5 to 8 p.m. Friday, May 29. The show remains up through Saturday, June 27, and the gallery is open 10 a.m. to 5 p.m. Tuesday through Saturday. Admission is free. — PAUL FRISWOLD [DANCE]

BIG MUDDY DANCE: REJUVENATE

Big Muddy Dance Company rejuvenates your spirit this Friday.

SERGEI MAILI

As St. Louis’ first professional contemporaryjazz dance company, the Big Muddy Dance Company strives to make our lives more interesting through dance. To continued on page 24

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Circus Flora returns to Grand Center.

STEVE TRUESDELL

Joan Nelson’s Untitled 784, part of Jefferson, NY.

continued from page 23

close out its fourth season, the group presents Rejuvenate, a concert that features not one, not two, but three premieres. For the choreographers of each of those works, that’s like writing and editing a short story, or filling a canvas with artistic visions, or composing and perfecting a tune — in other words, it’s a tremendous amount of work — and you have just one evening to catch them all! We’re guessing that not only will you be engaged during the performances, but also that the dancers’ pieces will live up to the show’s title, bringing some late-spring revitalization into your life as well. Rejuvenate is performed at 8 p.m. tonight at the Touhill Performing Arts Center on the University of Missouri-St. Louis campus (1 University Drive at Natural Bridge Road; 314-516-4949 or www.touhill.org). Tickets are $22 to $25. — ALISON SIELOFF [CIRCUS]

CIRCUS FLORA

Circus Flora invites you to take a trip back to the good old days with its new show, One Summer on Second Street. Set on a typical street in an American city during the Jazz Age, One Summer on Second Street features a

Romeo and Juliet love story in a melting-pot community. Your new neighbors train house cats, the Wallenda family crosses the street by skipping along the clotheslines stretched between buildings, and the carriage drivers race their horses through the nighttime crowds. Circus Flora performs One Summer Tuesday through Sunday (May 29 through June 28) at the Circus Flora Big Top (3511 Samuel Shepard Drive; 314-289-4044 or www.circusflora.org). Tickets are $10 to $48. — PAUL FRISWOLD

S AT U R D AY |05.30 [CYCLING]

TOUR DE MUSEUM

Trailnet continues to lead the way to a happier, healthier life with Tour de Museum, a leisurely eight-mile bicycle ride to some of St. Louis’ finest art museums. During the four-hour ride, participants seek out mystery works of art at each of the participating venues — the Contemporary Art Museum, the Pulitzer Arts Foundation, the Saint Louis Art Museum, the World Chess Hall of Fame, and the starting point,

the Mildred Lane Kemper Art Museum on Washington University’s campus (1 Brookings Drive; 314-436-1324 or www. trailnet.org). Pedal pushers who locate the mysterious masterworks at each stop will be eligible for a special prize drawing at the end of the ride. But even if you don’t win the art hunt, you’re still a winner — you saw some art and enjoyed a nice bike ride, after all. The free tour departs the Kemper at 10:30 a.m. — MARK FISCHER

tale with beautiful music. Opera Theatre of Saint Louis opens its seven-performance run of La Rondine at 8 p.m. Saturday, May 30, at the Loretto-Hilton Center on Webster University’s campus (130 Edgar Road; 314961-0644 or www.opera-stl.org). Tickets are $25 to $125. — PAUL FRISWOLD

[OPERA]

A WALK IN ST. LOUIS 1875

LA RONDINE

What do young men know of love? Nothing, and so Ruggero falls head-over-heels in love with the glamorous Magda. Little does he know that this sophisticated, charming woman is a courtesan; for her part, Magda enjoys Ruggero’s company too much to tell him the truth. Hopelessly besotted, Ruggero whisks her away from Paris for a simple life of love on the French Riviera. But Magda can’t shake her doubts about the fate of their relationship when Ruggero eventually learns her secret. Giacomo Puccini’s La Rondine may be considered a “lesser” Puccini, but it’s still a bittersweet

S U N D AY |05.31 [HISTORY]

Cartography is not considered a fine-art form, but it should be. Because of its association with practical utility and the accurate visual translation of purely physical information, cartography tends to get short shrift in aesthetic circles — if indeed it gets any shrift at all. Such, perhaps, is the price of overvaluing the romantic abstract at the expense of the quotidian tangible. Regardless, give us beautiful maps to pore over any day — especially, Compton & Dry’s masterpiece of cartographic artistry: 1875’s Pictorial St. Louis. This duo’s staggering ambition was to draw every single home, building and street in St. Louis, all in super-accurate perspective. The new exhibit,

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Celebrate the music of Lieber and Stoller at Smokey Joe’s Cafe.

A Walk in St. Louis 1875, employs this astounding pictorial map (enlarged for more visual bang) as a backdrop for a depiction of our city as it looked and felt in 1875. Photographs, artifacts, news pieces and assorted writings flesh out the compelling detail. The exhibition is open daily through February 14, 2016, at the Missouri History Museum (Lindell Boulevard and DeBaliviere Avenue; 314-746-4599 or www. mohistory.org). Admission is free. — ALEX WEIR [PERFORMING ARTS]

LOST IN SPACE

What is it about outer-space-themed movies and classical music? The two seem inextricably entwined, nearly codependent — kind of like corned beef and cabbage, or Stanley Kubrick and his unforgettable Steadicam sequences in The Shining. Maybe it’s the association audiences seem to form (or have formed for them by Hollywood) between the gravity and majesty of classical music and the depthless, boundless antigravity of the cosmos. However you slice it, expect a film set in space to feature a classical-music soundtrack. Our Saint Louis Symphony extends homage to this pairing with its program Lost in Space: Star Wars and

PETER WOCHNIAK

C O U R T E SY M I S S O U R I H I S TO R Y M U S E U M

Handmade wool ﬂower bouquets were popular in 1875 St. Louis.

More. Under the baton of resident conductor Steven Jarvi, the SLSO surfs the galaxies performing a newly released suite to John Williams’ evergreen score for the Star Wars trilogy, along with segments of Star Trek, 2001: A Space Odyssey and more. Lost in Space is performed at 2 p.m. today at Powell Symphony Hall (718 North Grand Boulevard; 314-534-1700 or www.slso.org). Tickets are $35 to $65. — ALEX WEIR

T U E S D AY |06.02

[THEATER]

SMOKEY JOE’S CAFÉ

To open its 100th season, Stages St. Louis has selected the boogie-down classic Smokey Joe’s Café. Directed and choreographed by Stephen Bourneuf, the revue stars the rock & roll canon of Jerry Lieber and Mike Stoller. The duo are in the Songwriters Hall of Fame for hits such as “Jailhouse Rock,” “Yakety Yak” and “Stand By Me,” all of which are in Smokey Joe’s Café. Nearly 40 Lieber and Stoller hits are packed into the show. Performances take place at 8 p.m. Tuesday through Friday, 4 and 8 p.m. Saturday, and 2 and 7:30 p.m. Sunday

(May 29 through June 28) at the Robert G. Reim Theatre in the Kirkwood Civic Center (111 South Geyer Road, Kirkwood; 314-8212407 or www.stagesstlouis.org). Tickets are $20 to $57. — ROB LEVY

W E D N E S D AY |06.03 [LITERARY EVENT]

BENGIE MOLINA

The Molina brothers are a baseball dynasty rivaling the DiMaggios in career achievements. Growing up in a tough Puerto Rican barrio, Bengie, Yadier and José Molina each went on to establish themselves as successful catchers in the majors. T H IS C O D E However, as Bengie TO DOWNLOAD THE FREE RIVERFRONT TIMES Molina writes in IPHONE/ANDROID APP his new book, FOR MORE EVENTS OR VISIT Molina: The Story riverfronttimes.com of the Father Who

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Raised an Unlikely Baseball Dynasty, the real inspiration behind the brothers’ success is their father, Benjamín, whose death fueled their drive and determination to make it in pro ball. The two-time Gold Glove winner puts down his mitt for a book signing at 5 p.m. this evening at Left Bank Books (399 North Euclid Avenue; 314-367-6731 or www. left-bank.com). You must buy your book from Left Bank to get it signed, ($25), and Molina will only sign one piece of memorabilia in addition to his book. — ROB LEVY Planning an event, exhibiting your art or putting on a play? Let us know and we’ll include it in the Night & Day section or publish a listing in the online calendar — for free! Send details via e-mail (calendar@riverfronttimes.com), fax (314-754-6416) or mail (6358 Delmar Boulevard, Suite 200, St. Louis, MO 63130, attn: Calendar). Include the date, time, price, contact information and location (including ZIP code). Please submit information three weeks prior to the date of your event. No telephone submissions will be accepted. Find more events online at www.riverfronttimes.com.

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ﬁlm

Britt Robertson discovers the key to the future is hope, optimism and Tomorrowland.

Ah, Tomorrowland! BRAD BIRD REMINDS US THAT HOPE — AND ORIGINAL FILMS — ARE IN SHORT SUPPLY, BUT WE CAN CHANGE THAT Tomorrowland Directed by Brad Bird. Written by Damon Lindelof and Brad Bird. Story by Damon Lindelof, Brad Bird and Jeff Jensen. Starring George Clooney, Britt Robertson, Raffey Cassidy and Tim McGraw. Now screening at multiple theaters.

e have been getting teased by the prospect of Disney’s Tomorrowland for so long now, without getting anything more than vague hint of what the movie is about, that it seems inevitable that the actual ﬁlm must be a disappointment. So is it? Not at all. In fact, it’s a glorious reminder — in this BY era of reboots and sequels — M A R YA N N of the joy of discovery that we get far less frequently at J O H A N S O N the movies these days. To go into a ﬁlm not knowing what 26

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to expect? Going to the movies used to be like this all the time. I am not going to tell you too much and spoil that wondrous discovery for you. But it’s no spoiler to say that the notion that things used to be different — a better sort of different — is the crux of Tomorrowland. The movie borrows its title from Walt Disney’s postwar themepark odes to the bright and shining future that science ﬁction — and reality-based science! — used to promise us. Once upon a time, the future was so much better, all gleaming rockets and cities on the moon and interstellar federations. Nowadays, the future is post-apocalyptic: hungry, despairing, dangerous. What happened to hope? What happened to optimism? What happened to us that we lost that? These are the things Tomorrowland is worried about, and it’s something the movie would like to rectify. Does Tomorrowland succeed at that? At the worrying, yes. At the rectifying, perhaps not so much. But even baby steps toward regaining that optimism is a net gain. We have needed a movie like this for a long while. So I love Casey Newton (Britt Robertson), Florida high-school student, engineer, dreamer and perpetrator of nonviolent protest at the slow shutdown of America’s collective imagination. Her dad (Tim McGraw) is an

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out-of-work NASA rocket scientist; her protest is connected with that. She looks to the stars and despairs that we aren’t going. I share her pain. And obviously Frank Walker (George Clooney) also shares her pain, or did once and now laments the loss of the same sort of optimism in himself. It takes him a while to realize this. He has become a cranky old man. Frank was once like Casey, albeit in a time that was more conducive to being a crazy dreamer: when he was a kid (Thomas Robinson), he went to the World’s Fair in 1964 in New York City to show off an invention: a jet pack! It’s not just intelligence and creativity and optimism that Casey and young Frank shared, but also a stubbornness, an unwillingness to give up in the face of disdain from others and seemingly insurmountable odds of what they hoped to achieve. And this is what catches the eye of the mysterious Athena (Raffey Cassidy), who invites them to a place Somewhere Else where everyone is like them... Tomorrowland ﬂips back and forth between young Frank in the 1960s and older Frank and Casey today — circumstances bring them together — and is not unsympathetic when it comes to showing how cheery young Frank turned into pessimistic older Frank. Frank is all of us, and despair is easy. But that is the problem, too: Despair is too easy. Fixing

things is harder. Yet it takes so little to turn off despair! The vision of this other place that we glimpse along with Frank and Casey is intoxicating, particularly for how long it has been since we’ve seen anything quite like it in our collective fantasies. I wanted to linger longer with Casey as she takes a tour of “Tomorrowland,” all shining towers and functioning civic spaces and happy people full of purpose and...well, when Casey’s ride on an anti-grav subway culminates in the automated conductor announcing “Now arriving: Spaceport,” I am not ashamed to tell you that my eyes welled with tears of geeky joy. We need to hear things like that. So we can imagine that they are possible. Tomorrowland gets rather heavy-handed delivering this message — we need hope! we need imagination! — in its finale, but I can forgive this, because we really do need to hear these things said, and then we really do need to accept them and engage in them. At one point, Frank, while he’s still cranky and cynical, accuses Casey of being “too smart for your own good,” and that’s another thing the film ultimately disposes of as being nonsense. There is no such thing as “too smart for your own good.” Only “too disheartened to fix the things that need fixing.” We will need smarts, along with hope, to fix them. Q

Take us with you, this ﬁlm stinks.

Shoulda Stayed Dead THE “NEW” POLTERGEIST IS DUMB AND DOESN’T NEED TO BE SEEN BY ANYONE, FOR ANY REASON Poltergeist Directed by Gil Kenan. Written by David Lindsay-Abaire. Story by Steven Spielberg. Starring Sam Rockwell, Rosemarie DeWitt, Kennedi Clements and Jared Hess. Now screening at multiple theaters.

don’t understand why this movie exists. There’s no reason for it. I mean, I get the business reason why someone decided it was a good idea to cash in on a nearly 35-yearold movie that many critics (including me) and fans consider one of the greatest horror movies ever made. But no one on the supposed creative side of this “new” Poltergeist could be bothered even to pretend to have something to add, something fresh to say that wasn’t said back in 1982 about the trials of a suburban American family whose house is menaced by nasty spirits. If you have any inclination to see this Poltergeist, just rent the original. (Or pull out the DVD — you probably already own it.) You will lose nothing, and you’ll have a far better time. I wondered, as I was waiting for the lights to go down on my screening, just what screenwriter David Lindsay-Abaire and director Gil Kenan were going to do to update the original film’s use of television static as a medium for communicating with the Other Side. The first film did such a fantastic job of turning such an ordinary thing (as it was back in the olden days) into something deeply creepy. But with the advent of cable and now digital, TVs don’t do static today. What would replace this now? Turns out, nothing. The new Poltergeist just pretends that flat-screen digital TVs (and also cell phones and iPads and other modern electronic devices) receive and display static. This isn’t only technically anachronistic, it’s a narrative cheat. (Once again: Why remake this movie if there’s nothing to add to it?) There are initial suggestions as the film opens that perhaps the idea that the maybe-danger of living too close to power lines was going to be a factor in this haunting, and indeed there is

a bit of electrical weirdness in the house the Bowen family have just moved in to (you get a shock of static electricity when you touch the wooden bannister on the staircase). But that is a decoy. And the way this mysterious modern static is used isn’t in the slightest bit eerie, partly because, you know, no one will ever see static on their smart phone. If you were a kid in the ’80s after the original film gave us all the heebie-jeebies, I know you stood in front of the TV one night in the dark living room after all the channels signed off (yeah, that used to be a thing, too), touched the screen (and maybe got a little shock), and whispered, “They’re here...” and gave yourself a little scare. You won’t be able to do that with this movie. This Poltergeist’s biggest “innovation”? A box of clown dolls. I guess it figures that if one clown doll is scary, a box of ’em must be even scarier. Not so much, as it happens. (Was the original film the first to use a scary clown doll? I think it might be.) The story is almost so much the same that, again, just watch the old film. Cute little Carol Anne — er, that is, Madison (Kennedi Clements) gets lured into another dimension by restless dead people, and Mom (Rosemarie DeWitt) and Dad (Sam Rockwell) bring in expert paranormal help to get her back, including Jared Harris as a reality-TV exorcist. And while Harris may have his charms, he is no Zelda Rubinstein (the weird and awesome medium from the first film). The most upsetting thing for me about 2015’s Poltergeist is Rockwell. He’s a fantastic actor, and as usual, he’s flip and funny and then also profoundly moving: He has one moment here in which he turns a simple, clichéd “We just want our daughter back” moment into something heartbreaking. It’s nowhere near enough to make the movie worth your time, even for Rockwell fans, but if you want scary, consider this: How is it possible that this was the best script an actor of his talent has been offered lately? (Ditto for the amazing DeWitt, though we already know how bad Hollywood is for women... and don’t even get me started on how this remake diminishes her character versus the original film.) This Poltergeist is a depressing example of Hollywood’s creative bankruptcy not only on a large scale but on small ones, too. —MARYANN JOHANSON

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the arts Her Finite Variety

Jay Stratton and Shirine Babb star as Antony and Cleopatra.

A NEW PRODUCTION OF ANTONY AND CLEOPATRA FAILS TO HIT THE HIGHEST HEIGHTS Antony and Cleopatra Through June 14 at Shakespeare Glen in Forest Park. Free. Visit www.sfstl.com for more information.

or many people, the arrival of Shakespeare Festival St. Louis’ annual production signals the official start of summer. A night on the lawn at Shakespeare Glen with a bang-up cast of actors performing a classic under a vault of stars? If there is a heaven, it should be something like this. And as always, there is much to like in this year’s show, Antony and Cleopatra. Shirine Babb is a beautiful Cleopatra whose facility with the play’s language is superlative. Everything she says is clear, regal and captivating. Our BY Mark Antony is Jay Stratton, PA U L a physically imposing actor who looks good in a suit F R I S W O L D of armor and is capable of generating a real spark in his romantic scenes with the Egyptian monarch. Conan McCarty brings real pathos to Enobarbus, Antony’s second-in-command who foresees destruction in the boss’ romantic entanglement. And that stage! Scott C. Neale’s austere set is simply a canted, bi-level stage with four golden plinths standing sentinel across the back, with a matching plinth downstage left. Early in the show it’s the sort of minimal scenery that Wieland Wagner adored, but as the night deepens, lighting designer John Wylie uses the reflective power of those columns to bathe the stage in washes of fantastic light. A heavy red-gold tint colors all of Egypt, while Rome is seen in crisp white shades of raw marble. With a solid core of actors on a set like this, what can go wrong? Technically, nothing does. The cast knows what it’s doing, the scenery is great, the setting is perfect...but there are no peaks or valleys. Part of the joy of Shakespeare is the openness of the scripts; there are no real stage directions, so directors are free to insert fights, dance scenes, even musical interludes as they see fit. Those little breaks are what make Shakespeare palatable to young audiences (and old folks, too), who are far more common at a free outdoor show like this one. Here, though, director Mike Donahue follows the script as written, almost slavishly. The result is unbroken talking for the entire

J . DAV I D L E V Y

first act. Heading toward intermission, this Antony and Cleopatra felt like a wind-up show that had made it this far on inertia alone. There were no surprises, no real spark of life. The second act happily opens with a brief naval combat that we see (and feel) through a series of explosions and some water plumes — it’s an eye-opener, but it ends quickly, and we dive back into reports of battles with no movement onstage. To never see in action a guy like Mark Antony, who is feared for his warrior prowess, is a great disappointment. The closest we get to combat is Cleopatra’s savage but brief beating of a messenger. Later we see her encased in a suit of armor, which raises hopes that at last we’ll see her prove her royal worth on the battlefield. In vain, all in vain. That said, at least this Cleopatra knows how to die well. Torn from Antony’s side, soon to be paraded by a victorious Caesar before the filthy mobs of Rome, Cleopatra makes her bid for eternity.

Director Mike Donahue follows the script as written, almost slavishly. The result is unbroken talking for the entire first act. A comic messenger arrives at last bearing poisonous vipers. Babb exults in their cool and deadly touch, then swiftly places one and then a second inside her bodice. Joyous relief flickers across her beautiful features as she looks skyward to find her dead Antony, his name on her lips. Then she falls, proud in bearing even in death, into his spectral arms. Heaven at last is attained. Q riverfronttimes.com

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cafe

P H OTO S B Y M A B E L S U E N

The “Alcatraz,” “Frenchy” and “Mississippi Nights Club” wrap.

Movin’ On Up THE GRAMOPHONE SAYS GOODBYE TO MUSIC AND HELLO TO SOME DAMN GOOD SANDWICHES The Gramophone 4243 Manchester Avenue; 314-531-5700. Tues.-Sun. 11-3 a.m. (Closed Mondays).

he Gramophone opened as a music venue in 2008 — before Urban Chestnut began brewing beer, before coffee shops and yoga studios sprung up along Manchester Avenue, back when BY the Grove’s reputation as a C H E RY L nightlife hot spot was still a whisper. There were no tables BAEHR to speak of in this intimate concert hall; the closest thing

to nutrition was the lime garnish on your gin and tonic. It’s not that owners Andrew “Roo” Yawitz and Scott Swanston didn’t care about food service. It just wasn’t their business. As the Grove neighborhood began to change, so did the Gramophone. It started two years ago with the addition of sandwiches — the idea was to offer something easy for concertgoers to handle that didn’t require sitting at a table. Then Urban Chestnut opened its Grove Brewery and Bierhall last March. Yawitz and Swanston noticed an increasing amount of foot trafﬁc and inferred that the neighborhood was moving from a concert destination to one more focused on food and bars. To capitalize on the neighborhood’s changing demographics, they closed the curtain on their music program this January and rebranded as a deli and neighborhood tavern. Many people who frequented the Gramophone as a music venue have expressed angst over the changes, and it’s true the

difference is stark. The stage, which previously has morphed into a full-service restaurant. took up roughly a quarter of the square footage, Patrons order the sandwiches through the has been replaced with booths, and a “beer bartender and receive a numbered table flag; runners deliver the goods bookcase” now divides the tableside. Calling the place once open floor plan in a deli is deceiving — the feel two. Yawitz and Swanston The Gramophone Roasted garlic tomato is definitely that of a bar that refinished the floors and bar soup (bowl) .............. $5 serves sandwiches (until 3 top, slapped on a fresh coat of “Frenchy” a.m., no less), but it’s light and paint and put in a pool table. (full) ......................... $10 cozy enough that I would feel The feel is a quintessential “Grove Gerber” comfortable patronizing it by neighborhood bar — one (full) ........................... $9 day as well. that serves pints rather than Unlike the first incarnation craft cocktails. Notably, the o f t h e G r a m o p h o n e ’s owners also removed the large sound system and replaced it with one more sandwich menu — which was created from an appropriate for background music and the employee cook-off — the new offerings come by way of Brian Hardesty (Terrene, Element, acoustic acts they now feature. It’s a dramatic difference. But for those Guerrilla Street Food). The acclaimed chef willing to give the new concept a try, the contacted Yawitz and Swanston when he heard of their new concept and offered to Gramophone is doing well in its second act. Indeed, while the owners have increased consult on the food. their food focus, that doesn’t mean the place continued on page 32 riverfronttimes.com

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The “Alcatraz,” “Frenchy” and “Mississippi Nights.”

The Gramophone continued from page 31

These new sandwiches, simply titled “The New Ones,” have more of a classic feel than the “Originals,” but that doesn’t mean they’re boring. The “BBLT,” for instance, is like a traditional BLT pumped full of growth hormones. Served on Texas toast, a triple portion of bacon — and by triple they mean a hearty six ounces — gets some tingly heat from habanero mayonnaise. Thickly sliced tomatoes and crisp romaine lettuce provide a pleasant cooling effect. In place of the traditional capers and crème fraîche accoutrements, the cold smoked salmon on crusty baguette gets its tartness from a few dill pickles and its creaminess from goat cheese. Lemon zest, sprinkled over the top of the cheese, cuts through the fatty ﬁsh and cheese, brightening the sandwich. Gramophone’s Reuben is adequate, though I missed the pungency that Swiss cheese typically provides (this version is cheese-less). The piquant sauerkraut and spicy Thousand Island dressing mix to form a deliciously slaw-like condiment, and I appreciated the almost sweet roastiness brought by marble, as opposed to traditional, rye. Meanwhile, the “Turnpike” is for those who like the idea of a Reuben but don’t want the kraut and corned beef. Roast beef, ham and coleslaw are piled on marble rye and topped with Thousand Island and Swiss (perhaps it should learn to share with its sister sandwich). It’s like a meaty club sandwich crossed with a Jewish deli classic. These days, you don’t have to go to a Vietnamese restaurant to get a decent bánh mi — they’re cropping up everywhere. The Gramophone’s take on this Southeast Asian sandwich is surprisingly well-executed. Pork pâté, its texture somewhere between soft braunschweiger and creamy ham salad, is placed on a crisp, yielding baguette. Shreds of sweet-and-sour pickled carrots and thin slices of daikon, cucumbers and jalapeños 32

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dress the pâté, while a generous spread of mayonnaise honors the dish’s French side. It’s a surprisingly authentic specimen for a neighborhood bar. I’m hard-pressed to say whether my favorite of the Gramophone’s new sandwiches is “The Frenchy” or “The Grove Gerber.” I expected the former to be a mediocre chicken sandwich, only to be surprised with a flavorful club sandwich packed with hunks of white meat chicken, chopped bacon, onions and sliced mushrooms. Swiss cheese melts over the top of the concoction, and a red wine aiolislathered baguette holds everything together. The most exciting feature of the dish, however, were the sprigs of fresh parsley — so herbaceous, I found myself wondering if they were actually cilantro. I’m surprised we don’t see more of this flavorful lettuce substitute. The “Grove Gerber,” though, appealed to my youthful love of cheese bread: Thinly shaved ham, dusted with paprika, is served over cheesy garlic bread that’s so buttery it may as well be considered a sauce. Why anyone would choose a cheese other than the classic Provel is beyond me — when toasted, it gets that golden brown, almost caramelized top but stays beautifully gooey underneath. I dare naysayers to mock Provel after trying this sandwich. Side dishes are straightforward: spicy potato salad, Billy Goat chips and standard cole slaw. The roasted-garlic tomato soup is the most worthwhile of the offerings. The creamy tomato base is laden with so much garlic that it becomes positively chunky. It’s magnificent. Yawitz and Swanston want the new Gramophone to be a neighborhood gathering place — a deli by day and a bar that serves great sandwiches by night. The original concept may be a tough act to follow, but they’ve proven that their new eatery is a worthy second act. I can’t think of a more perfect way to end a night spent drinking beer and playing the Walking Dead pinball machine than eating one of these sandwiches. Q

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short orders

Kebob House & Taverna

1999-2015 RFT Restaurant Polls Don't miss our 35th Anniversary Party! Saturday, July 18th

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Ross Lessor and Kim Bond.

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Gooseberries’ Owners Work Together in the Kitchen and in Life

eah, we get into arguments every now and then,” laughs Kim Bond, co-owner of Gooseberries (2754 Chippewa Street; 314-577-6363). “We’re pretty good at dropping it after a certain point though.” No, Bond is not offering relationship advice — unless your relationship involves working long hours in a restaurant with your signiﬁcant other. As co-owners of the eclectic Dutchtown South café, Bond and her partner of eighteen years, Ross Lessor, blur the line between their personal and professional lives, though Bond insists it’s not as hard as you’d think. “We met [working] in a kitchen,” Bond explains. “We already knew how the other person works, so we were lucky like that. I mean, we’ve been together for eighteen years now.” The pair were inspired to strike out on their own at the insistence of their friends. “We always have a lot of parties at our house,” Bond says. “We’d always put out a huge spread — we just really enjoy cooking for others. People were always saying we should open our own place.” Seeing a niche for a restaurant that caters to vegetarians and meat-eaters alike, Bond 34

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and Lessor opened Gooseberries last October. She does have a piece of advice for those who consider working with their partners: “We like to joke around. Keep things light. It makes it so much easier.” Bond and Lessor took a break from making their signature “Krispy Fried Tofu,” a.k.a., “KFT,” to share their thoughts on the St. Louis dining scene, their guilty pleasures and playing Frisbee in Gooseberries’ dining room. What is one thing people don’t know about you that you wish they did? This is a tough one. Both of us can’t really think of anything speciﬁc we want people to know that they don’t already. Maybe that we like to laugh as much as possible. That’s something you might not know unless you know us. What daily ritual is non-negotiable for you? It is ginger iced coffee in the morning and then Gooseberries ﬂyers after we close. It’s kind of like Frisbee in the dining room. If you could have any superpower, what would it be? Kim Bond: I would like to have superextendo arms and legs because I’m always just a little bit too short to reach things on the shelves. Ross Lessor: To be able to make fifteen minutes of sleep equal eight hours. What is the most positive trend in food, wine or cocktails that you’ve noticed in St. Louis over the past year? More and more smaller, truly independent

places opening. Who is your St. Louis food crush? Kim: Mine is obviously Ross. Who’s the one person to watch right now in the St. Louis dining scene? We think that all of the St. Louis dining scene is what to watch. It’s an exciting time in the St. Louis entertainment scene all around. Which ingredient is most representative of your personality? Kim: Kale. Ross: Garlic. If someone asked you to describe the current state of St. Louis’ culinary climate, what would you say? Kim: Diverse and growing. Ross: Edible. What is your after-work hangout? Whiskey Ring. We deliver handpies in the evenings to them. It’s our excuse to get out, see our friends and relax for a bit. What’s your food or beverage guilty pleasure? Kim: French fries. Ross: White Castles. What would be your last meal on earth? Kim: “KFT.” Ross: [Gooseberries’] “Bacon Leg.” — CHERYL BAEHR Find hundreds of restaurant listings and reviews, as well as the latest in Gut Check, at riverfronttimes.com

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High Praise for Local Barbecue Joints

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ohnny Fugitt didn’t take any shortcuts while researching his new book about barbecue. Over the course of a year, the Branson native drove 31,000 miles and visited no less than 365 barbecue joints — and tried every last one. With the release of his new book, The 100 Best Barbecue Restaurants in America, Fugitt doesn’t just name names. He ranks the restaurants he visited, crafting a list of both the top 100 and the top 10 in numerous categories. And while St. Louis didn’t take the No. 1 spot overall (that honor went to Kerlin BBQ in Austin, Texas), the city did very well indeed. Bogart’s ranked No. 12 in the nation, with the Shaved Duck, Pappy’s, Vernon’s, Capitalist Pig, Hendrick’s and Salt + Smoke all placing in the top 100. The Shaved Duck took home another cool prize: It won top honors for its burnt ends. And the Tower Grove East restaurant wasn’t the only St. Louis spot to win a ﬁrst place in Fugitt’s reckoning. Pappy’s notched honors for the best smoked turkey; Capitalist Pig made Fugitt’s favorite potato salad. Fugitt, who is currently an ofﬁcer in the United States Navy Reserve, lived in St. Louis for a number of years. To some extent, he considers it the place he’s from — at least “until someone asks where I went to high school,” he jokes. But hometown boosterism had nothing to do with his picks, he says — they’re the product of rigorous research. He was tough when he had to be: At least one much-lauded restaurant was left off the list when he caught them microwaving their ribs. All told, Fugitt concludes, St. Louis barbecue is good, and getting better. One reason might be the very fact that the city isn’t tied to any one style. People think St. Louis-style barbecue is a thing because of the existence of St. Louis-style ribs, he notes, “but this is more a cut than a style.” “St. Louis doesn’t have a defined style, although the influences of Memphis are certainly the strongest,” he notes. And that might be a blessing in disguise: “St. Louis restaurants have the kind of latitude to explore a variety of styles that restaurants in places like Texas, Memphis, Kansas City or North Carolina do not have.” Fugitt’s book can be purchased on Amazon. — SARAH FENSKE

St. Louis’ #1 Steakhouse 17 Years In A Row! 1998-2015 RFT Readers Restaurant Polls HISTORIC SOULARD

2117 South 12th St. 314-772-5977 SOUTH COUNTY 3939 Union Rd 314-845-2584 WEST COUNTY 14282 Manchester Rd 636-227-8062 www.tuckersplacestl.com

THE LOOP

dining guide The Dining Guide lists only restaurants recommended by RFT food critics. The print listings below rotate regularly, as space allows. Our complete Dining Guide is available online; view menus and search local restaurants by name or neighborhood. Price Guide (based on a three-course meal for one, excluding tax, tip and beverages): $ up to $15 per person $$ $15 - $25 $$$ $25 - $40 $$$$ more than $40

DOWNTOWN Death in the Afternoon 808 Chestnut Street; 314-6213236. Death in the Afternoon is a culinary oasis set in downtown’s idyllic Citygarden. The weekday lunch spot is the brainchild of Adam Frager and TJ Vytlacil of the members-only restaurant and bar Blood & Sand. Death in the Afternoon features impeccably presented soups, salads, sandwiches and snacks. From kimchi and pickled vegetables to housemade pastrami served on a pretzel, the menu offers something for everyone’s palate. The mahi mahi sandwich is spectacular: The fresh grilled fish is so moist it’s as if it were poached. Served with Meyer lemon and dill aioli, pickles and fennel salad, it’s an excellent lunchtime treat. The restaurant’s signature entrée is the tonkotsu ramen, a bowl of mouthwatering pork broth teeming with housemade noodles, mushrooms, pork loin and belly, a soft-boiled egg and garnished with black garlic oil. It’s comfort in a bowl. And lest the kids romping in Citygardens’ fountains have all the fun, Death in the Afternoon serves a rotating selection of cotton candy for dessert. It’s a whimsical end to a perfect meal — a great way to kill an afternoon. $$-$$$ Eat-Rite Diner 622 Chouteau Avenue; 314-621-9621. “Eat Rite or Don’t Eat At All.” So it says on the coffee cups (and the souvenir T-shirts) at this no-frills 24-hour greasy spoon amid the industrial wasteland between downtown and Soulard. Folks come from miles around to fill up on the breakfast-andT H IS C O D E burgers menu: bar-hoppers TO DOWNLOAD THE FREE and club kids finally coming RIVERFRONT TIMES down from their late-nightIPHONE/ANDROID APP into-early-morning highs; facFOR MORE RESTAURANTS OR VISIT tory workers and blue-collars riverfronttimes.com getting off graveyard shifts; curious newcomers who’ve heard about the bizarro vibe that pervades these cramped counter-only environs. To call the food at Eat-Rite cheap is an understatement — six burgers (real-size, not White Castle-size) run $4.50. And many swear by the Eat-Rite’s redoubtable slinger (for the uninitiated, that’d be fried eggs, hash browns and a burger patty, avec chili). $ Maurizio’s Pizza & Pasta Bowl 220 S. Tucker Boulevard; 314-621-1997. Dives usually aren’t this spacious; there are enough tables and chairs set up in Maurizio’s to make it look like a cross between a sports bar and a corporate cafeteria. Dives also never boast menus this expansive: New York-style pizzas, strombolis, lasagna, manicotti, rib-eye steak, lemon chicken, pork steak, subs, burgers, salads and — the icing on the cake — tiramisu. And while getting tons of food at cheap prices is great and all, what makes Maurizio’s a don’t-miss is the late-night peoplewatching. Open till 3 a.m. seven days a week, Maurizio’s is the place to cap off a night of downtown debauchery — and to witness all walks of Lou life in their after-hours glory. $ Rooster 1104 Locust Street; 314-241-8118. This charming crêperie brings a little bit of Paris to downtown. Savory crêpes feature both the hearty (“German-style” sausages, bacon, roasted sirloin) and the delicate (brie with roasted apples, egg with Gruyère). Fans of owner Dave Bailey’s Lafayette Square hot spot Baileys’ Chocolate Bar won’t be surprised by the excellent sweet crêpes, from a simple lemon one dusted with sugar to the indulgent “Peanut Butter Cup,” which is even richer than its namesake. The menu also features soups, salads and sandwiches, as well as Serendipity ice cream and Kaldi’s coffee. $

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The Good Pie 6665 Delmar Boulevard, University City; 314-899-9221. If a trip to Naples isn’t in the cards, you can sate a craving for classic Neapolitan-style pizza at the Good Pie. The Delmar Loop pizzeria churns out traditional pies, creative specialties and a small selection of housemade pastas. On any given night, patrons can peer into the open kitchen to see the chefs stoking the fire of its authentic wood-burning oven, kept so hot that the pizzas cook in mere minutes. Purists will be satisfied with the margherita pizza, D.O.P., simply prepared in the classic fashion with just-crushed San Marzano tomatoes, buffalo mozzarella and a few sprigs of fresh basil. Also noteworthy is the prosciutto arugula pizza — an unsauced pie covered with fresh mozzarella, arugula and a generous portion of the Italian ham. Diners shouldn’t pass on the housemade pastas. The selection is small, but what it lacks in breadth it makes up for in quality. The delicate gnocchi, made with blue cheese, cherries, toasted pecans and brown butter, is exceptional. $$ Peacock Loop Diner 6261 Delmar Boulevard, University City; 314-721-5555. The latest feather in Joe Edwards’ (Blueberry Hill, Pin-Up Bowl) impressively plumed cap, Peacock Loop Diner serves breakfast and lunch staples 24 hours a day, seven days a week. The bright, retro-themed restaurant is outfitted with a dizzying array of 1950s kitsch and boasts a curtained, rotating circular booth called the Carousel of Love. The menu offers everything from omelets and biscuits and gravy, to burgers and corn dogs. On the breakfast side, the “Finals Breakfast Sandwich” is a good one: an egg, griddled ham, bacon, sriacha and mixed-berry jam are sandwiched between two malty waffles. Ask for a side of maple syrup, and the dish becomes a quirky take on a Monte Cristo. Another standout is the chicken curry salad melt with Muenster cheese. And don’t leave without trying at least one of the seventeen different varieties of spiked milkshakes. They are break-up cures in a frosty glass. $-$$ Salt + Smoke 6525 Delmar Boulevard, University City; 314-727-0200. Salt + Smoke infuses the Loop air with the unmistakable smell of barbecue. The scent may draw diners in, but the delectable barbecue taste will keep the crowds coming back for more. The latest venture from restaurateur Tom Schmidt, Salt + Smoke features Texas-style barbecue, a huge bourbon selection and comprehensive craft-beer offerings. Fried pickles and hush puppies dipped in honey butter are standout appetizers, and the falafel sandwich — though a surprise at a barbecue place — is the closest thing a vegetarian can get to barbecue. St. Louis-cut ribs are dry rubbed and fall off the bone. Those who order the brisket are given the option of the fatty part, the lean part or the burnt end. The lean part is tender and needs no sauce. The thick-sliced smoked bologna, flecked with fat, jalapeños and cheddar cheese, is more like salami than the thin-sliced Oscar Mayer deli slices. Be forewarned: A little goes a long way. Salt + Smoke offers thoughtful side dishes like white-cheddar-cracker mac & cheese, coleslaw tossed with apples and fennel, and sweet creamed corn. And make sure to save room for the chocolate pie. The flaky crust and bittersweet pudding-like filling make it an excellent ending to a great meal. $$

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MIDTOWN The Dark Room 615 N Grand Boulevard; 314-531-3416. Shutterbugs and winos alike will delight in Grand Center’s Dark Room. Part art gallery and part bar, the Dark Room features monthly photography exhibits curated by the International Photography Hall of Fame alongside an artisan wine program highlighting a substantial selection by the glass or bottle. The minimal space features decorative vintage film equipment and clean, contemporary design. Pappy’s Smokehouse 3106 Olive Street; 314-535-4340. Mike Emerson has cooked with Super Smokers founder Skip Steele at the prestigious Memphis in May barbecue contest, but midtown St. Louis is the big winner now that he’s opened Pappy’s Smokehouse. The modest joint is more restaurant than shack but utterly unpretentious. Servers wear T-shirts that say “The Hog Whisperer,” and the pulled pork and pork ribs — cooked dry and slow over apple and cherry wood — are nothing short of extraordinary. Even beef brisket is practically fork-tender. Sides are simple and delicious. Pappy’s closes when each day’s barbecue sells out, so call ahead if you go late. $ Small Batch Whiskey & Fare 3001 Locust Street; 314380-2040. Restaurateur David Bailey takes the whiskeybar trend in an unexpected direction with his vegetarian eatery, Small Batch. Bailey doesn’t bill the place as a crunchy vegetarian spot; instead, he hopes that diners will enjoy the vegetable-focused concept so much that they fail to miss the meat. The carbonara pasta, made with housemade linguine, replaces the richness of bacon with smoked mushrooms. Even the most die-hard carnivore will be satisfied by the “burger,” a greasy-spoon-style corn and black bean patty topped with creamy guacamole, Chihuahua cheese, and Bailey’s signature “Rooster” sauce (tangy mayonnaise). Small Batch’s bourbon selection and creative cocktails are also impressive. The “Smokeysweet,” a blend of smoked cherries, rye and rhubarb, tastes like drinking punch by a campfire. For a taste of summer in a glass, the “Rickey” is a bright concoction of elderflower liquor, grapefruit, lime and white corn whiskey. The gorgeous, vintage setting provides an ideal spot to indulge in some Prohibition-era-style drinking. $-$$

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music

B-Sides 40 Critics’ Picks 43 Concerts 47 Clubs

The Maturity of Speedy Ortiz AS ITS POPULARITY GROWS, SADIE DUPUIS’ INDIE-ROCK BAND SETS ITS SIGHTS ON SOCIAL ISSUES Speedy Ortiz 8 p.m. Tuesday, June 2. The Firebird, 2706 Olive Street. $12 to $14. 314-535-0353.

he 1980s comic-book series Love and Rockets featured a young man named Speedy Ortiz. The comic character started as combative gang member, but later became more introspective. The Northampton, Massachusetts, band has BY done the opposite from a JEREMY lyrical standpoint. On Foil Deer, Speedy OrESSIG tiz’s latest album, the band’s familiar guitar melodies are accompanied by aggressive, almost combative lyrics — a departure from the lamentations threaded though the liner notes of the group’s previous releases. “I’m just older,” says singer/guitarist Sadie Dupuis of the lyrical shift. “The things that seem worth writing about are on a larger scale.” Much of the material on earlier releases, Dupuis explains, was culled from demos that she hadn’t initially planned to release with a full band. But as her group began touring, Dupuis says, she began meeting people — speciﬁcally younger fans — who were forming their own projects, citing her work as an inspiration. It was a revelation. “I felt I didn’t have many role models,” Dupuis says of her youth. Now that she’s unexpectedly influencing others, she has consciously shifted her lyrical focus: “Less intrapersonal, focused more on the systemic.” The band’s music has undergone some changes as well. Foil Deer’s sixth track, “Puffer,” differs from the rest of the album. Occasional bursts of feedback and droney guitar work are held together by a prominent bass line. With tongue clearly in cheek, Dupuis describes the track as Speedy Ortiz’s “industrial number.” “People might have thought we lost our minds,” drummer Mike Falcone says of the distinctively different track. But, Dupuis counters that the sound is similar to many of those early demos. The difference, she says,

SHERVIN LAINEZ

is that the band had more time in the studio for this album. That, too, yielded a problem. Just before the band was ready to go on tour, Dupuis realized there was no way to play “Puffer” live. So Devin McKnight figured out a how to use a MIDI computer program for the song’s most complex parts. “We’ve been big fans,” Dupuis says of McKnight, who joined Speedy Ortiz’s ranks after the release of last year’s Real Hair EP. “The boy’s got riffs.” During a performance in Virgina earlier this month, McKnight moved to a laptop so the group could include “Puffer” in its set. On the opposite end of the stage was Dupuis’ amplifier, significant for its distorted sound and for a jersey draped across it that read: “Gender Is Over.” “It means what it means,” Dupuis says,

explaining that it was given to her by friends who run a boutique in New York. It’s representative of “people who don’t align to a polar gender — who refuse to let gender define.” That hit close to home for Rye Silverman, a gender-fluid comedian living in LA. “It goes along with the concept of gender fluidity, not the binary idea of male and female,” Silverman says. “If you stop adhering to these constructs, they will cease to exist.” Silverman pushed against her birthassigned gender as a teen in Ohio, and she remembers the impage of the Garbage song “Androgyny.” “The whole idea was to get rid of gender barriers,” Silverman says. “That was a big thing for me at that age.” Seeing a band like Speedy Ortiz make a similar statement would have meant a lot to her in her youth. These progressive sensibilities permeate riverfronttimes.com

Speedy Ortiz: Unexpectedly inﬂuencing.

Speedy Ortiz’s musical approach. As the band strives against convention, Dupuis herself is taking aim at the glass ceiling. In an April interview with the New York Times, Dupuis said, “You can’t have a Kurt Cobain anymore — or you can, but it’s not going to be a white guy.” The ability for diverse bands to release their music online, she says, is the difference between our current environment and the one that bred Nirvana in the late-’80s. Bands distributing their own music digitally has led to a new dynamic, she says, “the most compelling of which is not a straight white man.” “At the time, no one had a voice like Kurt Cobain,” she continues. But now that we’ve had twenty years of people trying to emulate him, “it’s time to move on.” Q

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b-sides KDHX’s Broadcast Shows Go to Podcasts, Controversy Ensues

KDHX’s Andy Coco broadcasting from the Larry J. Weir Center for Independent Media.

J O N G I TC H O F F

his Monday, May 25, was the last time to hear KDHX (88.1 FM)’s handful of talk-radio programs on the air — going forward, they’re being converted to podcasts. It’s the latest step in an ongoing move toward music-only programming for St. Louis’ 28-year-old community radio station. Six years ago, KDHX took most of its talk-radio programs off the air, including St. Louis Poet Laureate Michael Castro’s Poetry Beat and the syndicated Democracy Now. Four remaining shows — Earthworms, Literature for the Halibut, Collateral Damage and Collector’s Edition, which is about half music and half band interviews — were stacked together on Monday night. Some were shortened. Now they’ll be podcast only, not broadcast. According to chief engagement ofﬁcer Kelly Wells, the decision was fully supported by the programming committee, which includes executive director Beverly Hacker, another paid staff member who also has a show, and four programmers. “Over the years KDHX has evolved into primarily a music station,” Wells explains. “Our talk shows, which air on Monday evenings, have consistently shown decreasing listenership over the years.” Many programmers at the station, though, believe that if listenership has decreased, it’s

because shows were shortened by half, stacked together and put in a difﬁcult time slot. In the last few days, 30 music programmers have signed a petition to keep the talk shows on air. “This is a broad-based group of music programmers,” says Ron Edwards, host of Nothin’ But the Blues. “Rock, blues, bluegrass, hip-hop — practically everybody on the radio is signing this

petition. It’s not just old-timers or the spokenword people. All these people are music people, and they support the spoken-word people and think we can be more than just music.” Edwards has been with the station since its December 1987 beginnings, making him one of four original programmers left. “KDHX has had a talk-radio element since the earliest shows,” he says. “Jean Ponzi [host of Earthworms] has

HOMESPUN DYLAN BRADY All I Ever Wanted dylanbrady.bandcamp.com

slight young man with long blond locks and a scruffy red beard, Dylan Brady crouches on the cover of All I Ever Wanted amid a monochromatic set awash in blue. The cover is both artsy and simple, and the azure palette hints at some of the moodier moments of this hip-hop producer’s slow, syrupy, stretched-out tracks. Brady has made music under the name Lil Bando (his old handle is referenced on the track “Little Bando,” wherein an untethered voice implores, “Don’t play that shit”), but this album serves as the debut under his given name. He has gained some underground cred along the way from hip-hop blogs and garnered the attention of vocalists who sing the hooks on his songs (Night Lovell, Saputo and Ketema); he even has a few annotations for some of these tracks on Genius.com, where you’ll learn the provenance of some of his sound samples (Dune, James Bond and Wes Anderson ﬁlms). What’s more striking than any of that ephemera is Brady’s reliance on a few production techniques that turn these tracks into a sometimes-narcotic, sometimes-repetitive slurry. It’s nearly impossible to know the true quality of his guests’ voices — or his own voice — because every performer is slowed down and Auto-Tuned into a digital ﬂutter. In a way, the choice is symbolic of the personal 40

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disconnect at the heart of some of these tracks: Brady’s characters crave human connection while their producer keeps them encased in a robotic veil. But what begins as a compelling disorientation becomes too much of a crutch as the album goes on. Befitting the album’s blue-period image, the moody nature of these tracks is reflected both in production and performance. His beats are spare and airy, and what melodic textures exist often come in the form of hard, metallic pings. The echoing title track has the rhythmic zen of a dripping faucet backed by a clanging pipe. “Yee,” featuring Nok from the Future, hits harder with distorted snares but still finds space for choirlike a cappella breaks. Not a lot of hip-hop artists will cop to being Elliott Smith fans, but “Trailing Some New Kill,” with Ravenna Golden and Kevin Abstract, quotes Smith’s “Angeles” and embraces some of that performer’s heart-on-sleeve ache. Brady carries that through to the soulful “Finale,” which finds him singing a snippet of Marvin Gaye’s “You’re the One for Me” as the brassy, synthy track decays around him. It’s the emotional pull of these songs that lasts longest, and Brady’s minimalist R&B resonates even through some cloying production techniques. —CHRISTIAN SCHAEFFER Want your CD to be considered for a review in this space? Send music c/o Riverfront Times, Attn: Homespun, 6358 Delmar Boulevard, Suite 200, St. Louis, Missouri, 63130. Email music@riverfronttimes.com for more information.

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produced over 1,200 programs.” Ann Haubrich, who has hosted Literature for the Halibut for almost 25 years, believes that the move marks a dramatic departure from the original vision for KDHX and even its mission statement, which states that the station’s goal is to “build community through media, with diverse and independent voices that enrich the perspectives of our audiences. We promote civic and cultural participation by providing the tools, technology, and training vital to informed, creative expression.” “If you look at the mission statement,” she says, “talking about community, civic and cultural participation, and diverse voices, you’d think we are a talk-radio station.” She adds, “I think KDHX is a great institution and cultural treasure. The talk shows add value to the community radio station. It’s clear that the informational and cultural talk shows fulﬁll the mission of KDHX and best do so by remaining on the air, through live broadcast. It will be difﬁcult to ‘promote civic and cultural participation’ to a self-selected audience” — meaning people who seek out the programming through podcast. M.K. Stallings, another host of Literature for the Halibut and founder of UrbArts in Old North St. Louis, thinks it might be simpler to change the mission statement. “This is supposed to be independent radio, but the move to go to an all-music format indicates that they’re looking more like a commercial radio station.” The move does bring into question how an all-music format can be diverse and demonstrate civic and cultural participation. Stallings believes the station continued on page 42

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KDHX

continued from page 40

continues to show some diversity, but isnâ&#x20AC;&#x2122;t sure how an all-music format can facilitate civic and cultural participation. â&#x20AC;&#x153;I think KDHX is diverse in terms of walks of life represented,â&#x20AC;? Stallings says of the stationâ&#x20AC;&#x2122;s DJs and volunteers. â&#x20AC;&#x153;In terms of musical genres, theyâ&#x20AC;&#x2122;ve demonstrated that. But to take away our on-air presence diminishes diversity and diminishes our reach. And thatâ&#x20AC;&#x2122;s cool. Just be honest about it.â&#x20AC;? Wells, though, says the answer is in podcast technology. â&#x20AC;&#x153;By using a subscription model, podcasting allows listeners to have the programs they are interested in delivered to them as they are produced,â&#x20AC;? she says, â&#x20AC;&#x153;taking the concept of appointment listening to a much higher level and allowing producers to get their shows directly to the people who care about the programming.â&#x20AC;? As the success of podcasts such as Serial demonstrates, podcasts have tremendous potential â&#x20AC;&#x201D; possibly including syndication. â&#x20AC;&#x153;Podcasts,â&#x20AC;? Wells says, â&#x20AC;&#x153;are exploding across the country, with programs covering all kinds of topics of interest to niche audiences. As always, our goal is to stay relevant to our audiences and adapt to the new and changing media landscape. Weâ&#x20AC;&#x2122;re excited to have veteran show hosts and established radio shows to lend their expertise to KDHXâ&#x20AC;&#x2122;s largest foray into the podcast world,â&#x20AC;? she continues. â&#x20AC;&#x153;More and more people are getting information and learning about new things through podcasts and the platform allows us to reach people in the most accessible way, with information and education that is of particular appeal to them. We see this as a huge area for growth and plan to add new and different podcasts in the coming months.â&#x20AC;? Currently, KDHXâ&#x20AC;&#x2122;s podcasts are difďŹ cult to ďŹ nd on its website: Itâ&#x20AC;&#x2122;s easier to ďŹ nd them via Google than by searching kdhx.org. If podcasts are a new source of growth for the station, will that change? And does KDHX intend to charge for podcast subscriptions? The station hasnâ&#x20AC;&#x2122;t said. Some hosts question whether KDHX has to pull talk programs off the air in order to grow its podcast presence. â&#x20AC;&#x153;All the things they say is possible with podcast is possible now. We already do that,â&#x20AC;? responds Stallings. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;d rather have some lively and engaging live conversations with writers in town, in the area, and nationally.â&#x20AC;? No other radio station in town has a live, on-air program dedicated to the literary arts and culture or environmental issues. Ron Edwards believes few people will listen to the podcasts, and not just because theyâ&#x20AC;&#x2122;re difďŹ cult to ďŹ nd on the stationâ&#x20AC;&#x2122;s website. More importantly for Edwards and other programmers, the podcasts will eliminate some veteran listeners. â&#x20AC;&#x153;When you take people off the air, you eliminate the people who are older, who donâ&#x20AC;&#x2122;t use podcasting, who donâ&#x20AC;&#x2122;t use this technology,â&#x20AC;? Edwards says. â&#x20AC;&#x153;I donâ&#x20AC;&#x2122;t listen to podcasts. It also eliminates people who only listen in the car, people driving home from work. But it will potentially eliminate the older audience. Thatâ&#x20AC;&#x2122;s a real concern.â&#x20AC;? Ann Haubrich believes the real issue is money. Her show always made its pledge goals,

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â&#x20AC;&#x153;To take away our on-air presence diminshes diversity and diminishes our reach. And thatâ&#x20AC;&#x2122;s cool. Just be honest about it.â&#x20AC;? she says, but she canâ&#x20AC;&#x2122;t help but think about an April 9 meeting she had with executive director Beverly Hacker, in which Hacker explained that the station was â&#x20AC;&#x153;thinkingâ&#x20AC;? of moving the talk shows from broadcast to podcast. When Haubrich asked about the bottom-line reasoning behind this move, she says Hacker answered with one word: revenue. â&#x20AC;&#x153;And,â&#x20AC;? Haubrich continues, â&#x20AC;&#x153;she followed up the one-word answer with saying it was also about â&#x20AC;&#x2DC;listenersâ&#x20AC;&#x2122; and the â&#x20AC;&#x2DC;circle of engagement,â&#x20AC;&#x2122; and that when listeners tuned in on Monday nights not getting the music they expected to hear, we are essentially â&#x20AC;&#x2DC;ďŹ&#x201A;ushing the audience.â&#x20AC;&#x2122;â&#x20AC;? Wells insists the decision has nothing to with money. â&#x20AC;&#x153;Fundraising was not considered in the decisions to move the talk shows to podcast,â&#x20AC;? she says. â&#x20AC;&#x153;Fundraising does not come to bear on decisions regarding any radio show on KDHX either currently or historically. On-air fundraising efforts from each show host fully support KDHX as a whole.â&#x20AC;? Haubrich, whose show has focused for more than two decades on local and national literary arts, keenly feels a sense of loss. â&#x20AC;&#x153;I keep thinking about the random listener,â&#x20AC;? she says. Sheâ&#x20AC;&#x2122;s thinking of someone who has never heard the show before and happens to tune in on the car radio, hears a segment about, say, poet Philip Levine, who recently died, and calls in to say how much he appreciated it. â&#x20AC;&#x153;We wonâ&#x20AC;&#x2122;t be able to reach that guy in a podcast.â&#x20AC;? â&#x20AC;&#x201D; RICHARD NEWMAN

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7 p.m. Thursday, May 28. The Demo, 4191 Manchester Avenue. $10. 314-833-5532. Listen up, metalheads: Anytime you see both Fister and Everything Went Black next to a headliner with which you are unfamiliar, just go. Oh, and Hell Night is on the bill, too? Yeah, get your ass there. When St. Louis’ ﬁnest metal bands join forces, it constitutes a must-see situation. In this case, the reason for the festivities is Denver’s Primitive Man, an absolutely punishing sludge/doom trio that came out swinging in 2013 with its Scorn LP (and has since released a split with Fister). Now signed to the venerable Relapse Records, PM is touring in support of its recent EP, Home Is Where the Hatred Is. Listen to it at full volume, and feel your brain turn to sand in your skull. Stay Woke: Calgary grindcore act Wake is joining Primitive Man on this tour. Be sure to show the band some love, as this is their last date together before both groups head back to their respective homes. —DANIEL HILL

ALABAMA SHAKES 8 p.m. Thursday, May 28. The Fox Theatre, 527 North Grand Boulevard. $75 to $25. 314-534-1111. Less than three years ago, with only a single full-length album to its name, Alabama Shakes became a megafestival headliner, late-night TV darling and one of the most instantly recognizable bands on the planet. How did this happen to a scruffy Southern blues-rock outﬁt led by a young, bespectacled African American woman who destroys rock goddess body images and fashions? Brittany Howard and company did it the old-fashioned way: through strong songs, gritty dynamics and the undiluted emotions of a singular singer’s voice. The Shakes’ new album, Sound & Color, lights out for new sonic lands, but the elemental force of the music is happily unchanged. Sex in the City: Josh Tillman, a.k.a. Father John Misty, opens the show with his current campaign of lushly arranged debauchery and sardonic sensuality. —ROY KASTEN

ALARM WILL SOUND 8 p.m. Thursday, May 28. The Sheldon Concert Hall, 3648 Washington Boulevard. $15 to $20. 314-533-9900. New York collective Alarm Will Sound has long sought to invigorate the world of classical music by giving space

for new composers to air their work with the weight of a twenty-odd-person orchestra behind them. For this week’s show, AWS delves into works by composers best known for jazz and electronic work: Aphex Twin’s recent “Minipops 67” will be retooled, as will pianist/organist John Medeski’s “The Eye of Ra.” Most exciting, though, is the performance of a new work by local musician Ryan McNeely, who records as Adult Fur and also recently collaborated with Alarm Will Sound. One-Woman Orchestra: St. Louis’ Syna So Pro, Syrhea Conaway’s symphony of loops and layers, will open the show. —CHRISTIAN SCHAEFFER

SCOTT BRADLEE’S P O S T- M O D E R N JUKEBOX 8 p.m. Wednesday, June 3. The Pageant, 6161 Delmar Boulevard. $29.50. 314-726-6161. There’s a lot about this group that simply shouldn’t equate to good music, according to conventional wisdom. For starters, there’s the fact that it peddles primarily in YouTube virality — not a medium typically known for producing quality art. Strike two is the “covers act” aspect of it all; Post-Modern Jukebox pumps out other peoples’ songs rather than writing its own. And then there’s the rotating lineup — a harbinger of inconsistency in most cases. But throw all those preconceived notions away. Scott Bradlee, leader of the group, uses all of the aforementioned qualities to his beneﬁt. His YouTube channel has been cited as one of the best by those who track new media stars. His covers are reworked versions of modern hits — Radiohead’s “Creep,” for example, reimagined as a sultry ’20s jazz number, bringing new life to an old favorite. And what of the constant lineup shifts? Those are intentional, it turns out, enabling Bradlee to hand-pick the musicians most suitable for each song. The end result is an exercise in nostalgia with a modern-day twist — or is it the other way around? All About That (Upright) Bass: If you are as tired of Meghan Trainor’s ubiquitous ode to the full-ﬁgured form as we are, you should check out the PMJ version, wherein guest musician Kate Davis sings the track while performing it expertly on the instrument from which it borrows its name. Take note, Trainor. —DANIEL HILL

BRANTLEY GUTIERREZ

PRIMITIVE MAN

Alarm Will Sound.

5/30 The Trophy Mules 6/6 Beth Bombara 6/13 Brothers LazaroFF 6/20 Nick Pence and Friends, Jon Bonham & Marc Chechik, Auset (10AM-4PM)

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A L L P H OTO S B Y M I C A H U S H E R

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izard World Comic Con, a celebration of everything awesomely geeky, took place last weekend at Americaâ&#x20AC;&#x2122;s Center downtown. The convention brought out costumers, gamers, pop-culture fanatics and collectors of all stripes, and photographer Micah Usher was there to capture the best of the best. See the rest at riverfronttimes.com/slideshow.

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concerts THIS JUST IN 4th City Rag: W/ River Kittens, Ben Moi, Fri., June 12, 9 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Acoustics Anonymous: W/ Punch Drunk Munky Funk, Mace Hathoway, Fri., June 5, 8 p.m., $5-$8. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. All About a Bubble: Tue., Aug. 11, 6 p.m., $10-$12. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Angelust: W/ Stormcaller, the Four Mecanix, Thu., June 4, 9 p.m., $8-$10. Fubar, 3108 Locust St, St. Louis, 314-2899050. Babes In Toyland: Thu., Aug. 27, 8 p.m., $22-$25. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. Beach House: Sun., Sept. 27, 8 p.m., $25-$27.50. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161. Beenie Man: W/ the Zagga Zow Band, JayBleeng, Saleone Beats, Joel Kaput, Thu., July 23, 8 p.m., $25-$35. 2720 Cherokee Performing Arts Center, 2720 Cherokee St, St. Louis, 314-276-2700. Beth Bombara: W/ the Loot Rock Gang, the River Kittens, Sat., June 27, 8 p.m., $10. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. The Big Dude: W/ Jason Mask Da Booth, Sun., May 31, 8 p.m., $10. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Boosie: W/ Luey Da Man, Fri., June 19, 8 p.m., TBA. Ambassador, 9800 Halls Ferry Road, North St. Louis County, 314-869-9090. A Brighter Side: W/ Awaiting the Gallows, Being As One, Goldberry, Meridia, Mystery Mouth, Panixx, Shindig, Shores of the Saint, When Universes Collide, Sat., June 6, 6 p.m., $10-$12. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Bringing Hope To You: Sat., June 27, 8 p.m., $10. Cicero's, 6691 Delmar Blvd., University City, 314-862-0009. Carolyn Wonderland: Thu., June 25, 8 p.m., $15. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505. Cherry Death: W/ Strong Force, Sat., June 13, 10 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Christian McBride: W/ Cyrus Chestnut, Gregory Hutchinson, Russell Malone, Terell Stafford, Tim Warﬁeld, Wed., Sept. 23, 7:30 & 9:30 p.m.; Thu., Sept. 24, 7:30 & 9:30 p.m.; Fri., Sept. 25, 7:30 & 9:30 p.m.; Sat., Sept. 26, 7:30 & 9:30 p.m., $45. Jazz at the Bistro, 3536 Washington Ave, St. Louis, 314-289-4030. CJ Boyd: W/ Vernacular String Trio, Eric Hall, Sean Arnold, Thu., June 11, 9 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Coal Chamber: W/ Fear Factory, Saint Ridley, Fri., July 31, 5:30 p.m., $20-$23. Pop's Nightclub, 401 Monsanto Ave., East St. Louis, 618-274-6720. Cocoa Butter: W/ Barely Free, Brief, Thu., June 25, 9 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Cody James Album Release: W/ the Maness Brothers, Fri., June 5, 9 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Control: W/ Willis, Thu., June 4, 9 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Daniken: W/ Fumer, Grand Inquisitor, Wed., June 3, 9 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Destroyer: W/ Jennifer Castle, Sun., Oct. 11, 8 p.m., $18-$20. The Ready Room, 4195 Manchester Ave, St. Louis. Digital Leather: W/ Shitstorm, Bort, Sat., June 6, 10 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Dwight Twilley: Fri., July 17, 8 p.m., $20-$25. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. Everclear: W/ Toadies, Fuel, American Hi-Fi, Thu., July 23, 7 p.m., $30-$175. The Bootleg, 4140 Manchester Avenue, St. Louis. Every Time I Die: W/ Real Friends, Counterparts, Gnarwolves, Brigades, Gatherers, Sun., Aug. 9, 5:30 p.m., $19-$22. The Ready Room, 4195 Manchester Ave, St. Louis. Everything Went Black EP Release Show: W/ Fister, Big Blonde, Braddock, Blight Future, Fri., July 3, 8 p.m., $8. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. Filter Free Rodeo: W/ the Rashita Joneses, Brandon Creath & the Rest, the Langaleers, Sun., June 21, 9 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-7722100. The Harlequins: W/ Shitstorm, Fri., June 26, 8 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314772-2100. The Heard: W/ the Maness Brothers, Thu., June 18, 9 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis,

314-772-2100. Heartless Bastards: W/ Alberta Cross, Tue., Sept. 29, 8 p.m., $20. Off Broadway, 3509 Lemp Ave., St. Louis, 314773-3363. The Hobosexuals: W/ Mercer and Johnson, Tue., June 2, 9 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Homebody: W/ Yung Wamhoda, Mon., June 8, 10 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314772-2100. Ibeyi: Thu., Sept. 24, 8 p.m., $18-$20. The Ready Room, 4195 Manchester Ave, St. Louis. Jeff Austin Band: W/ Old Salt Union, Fri., July 17, 9 p.m., $17-$20. Old Rock House, 1200 S. 7th St., St. Louis, 314588-0505. Jen Kirkman: Sun., July 12, 8 p.m., $16. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. Jonah Parzen-Johnson: W/ Ghost Ice, Tue., June 16, 9 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. The Jukebox Romantics: W/ Powerline Sneakers, Murphy and the Death Rays, Black Tar Heroines, Tue., Aug. 11, 8 p.m., $8. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Kottonmouth Kings: W/ Blaze Ya Dead Homie, Scare Not Fear, Imperial Soundclash, C4, Nitty Gritts, Special Blend, Sat., July 18, 6 p.m., $20-$23. Pop's Nightclub, 401 Monsanto Ave., East St. Louis, 618-274-6720. Kyle & the Sowashes: W/ Town Car, Matt Harnish's Pink Guitar, Shut In, Wed., June 10, 9 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Lions: W/ Messes, Lobby Boxer, Supercousins, Sun., June 14, 8 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Mike Love: Fri., June 26, 8 p.m., $12-$15. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505. Modern Pain: W/ Blindside USA, Perfect People, the Warden, Wed., June 3, 8 p.m., $9. Fubar, 3108 Locust St, St. Louis, 314-289-9050. New Found Glory: W/ Yellowcard, Tigers Jaw, Sun., Nov. 8, 8 p.m., $25-$28. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161. Nite Owl: W/ Love Jones, Mo Lyric, Ray Bay, Sat., June 6, 8 p.m., $7. Cicero's, 6691 Delmar Blvd., University City, 314-862-0009. No Straight White Guys: Sun., June 28, 10 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-7722100. Noisem: Thu., June 18, 8 p.m., $10. Fubar, 3108 Locust St, St. Louis, 314-289-9050. P.O.D.: W/ Hoobastank, From Ashes to New, Thu., July 16, 6 p.m., $23-$25. Pop's Nightclub, 401 Monsanto Ave., East St. Louis, 618-274-6720. Pree: W/ Whoa Thunder, Sat., June 6, 8 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Quizzy James: Sun., June 21, 8 p.m., $10. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Ready Revolution: Sun., June 14, 6 p.m., $10. Cicero's, 6691 Delmar Blvd., University City, 314-862-0009. Samantha Crain: Sat., July 18, 8 p.m., $10. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Schwervon: W/ Whoa Thunder, Fri., June 19, 8 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314772-2100. Snoozer: W/ Ladybones, the Jockstraps, Heavy Horse, Tue., June 9, 9 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Spaceship: Sat., June 27, 9 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Steve Earle & the Dukes: W/ the Mastersons, Fri., July 3, 8 p.m., $35. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505. Sydney Street Shakers: Wed., June 17, 9 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-7722100. Terraform: W/ Grim State, Lo & Behold, Hollowed Eyes, Noesis, Thu., July 9, 6 p.m., $10-$12. Fubar, 3108 Locust St, St. Louis, 314-289-9050. The Band of Heathens: Tue., June 23, 8 p.m., $12-$15. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. Them Are Us Too: Mon., June 29, 10 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Tinkerbelles: W/ Wet Ones, Boreal Hills, Wed., June 24, 10 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Tom Segura: Sat., Sept. 19, 8 p.m., $20. The Ready Room, 4195 Manchester Ave, St. Louis. Tortuga: W/ Old Scratch's Burnpile, Tue., June 23, 8 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. The Trip Daddys 20th Anniversary Show: W/ Old Capital Square Dance Club, Fri., July 3, 8 p.m., $7. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. Twenty One Pilots: W/ Echosmith, Sat., Oct. 31, 7 p.m., $25-$35. Chaifetz Arena, 1 S. Compton Ave., St. Louis, 314-977-5000. Whitey Morgan & the 78's: W/ Cody Jinks, Fri., July 10, 7 p.m., $20-$75. Atomic Cowboy, 4140 Manchester Ave, St. Louis, 314-775-0775. Will Guthrie: Wed., June 24, 8 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Yankee Racers Farewell Show: W/ Brotherfather, Thu., July 2, 8 p.m., $7. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363.

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Colony Theater a Cocktails adult lounge

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clubs

Open during remodel the fun never stops! Some things never change: Entertainment Music, dancing, drinks Two private theaters Now under new management For details call Linda: 314-255-9376

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4500 Forest Boulevard • East St. Louis, IL 618-874-9621 Open Friday & Saturday 8PM - 3AM

“Clubs” is a free listing open to all bars and bands in the St. Louis and Metro East areas. However, we reserve the right to refuse any entry. Listings are to be submitted by mail, fax or e-mail. Deadline is 5 p.m. Monday, ten days before Thursday publication. Please include bar’s name, address with ZIP code, phone number and geographic location; nights and dates of entertainment; and act name. Mail: Riverfront Times, attn: “Clubs,” 6358 Delmar Blvd., Suite 200, St. Louis, MO 63130-4719; fax: 314-754-6416; e-mail: clubs@riverfronttimes.com. Schedules are not accepted over the phone. Because of last-minute cancellations and changes, please call ahead to verify listings.

ROCK Cicero's: 6691 Delmar Blvd., University City, 314-862-0009. Shapes and Colors, w/ Foreverandnever, Get At Me, the Cinema Story, Tue., June 2, 7 p.m., $8-$10. The Demo: 4191 Manchester Ave, St. Louis. Pillow Talk, Fri., May 29, 8 p.m., $10-$12. Jackson Scott, Mon., June 1, 8 p.m., $10. The Firebird: 2706 Olive St., St. Louis, 314-535-0353. Surfer Blood, Thu., May 28, 8 p.m., $12-$17. Emery, w/ Wolves At The Gate, Forevermore, Fri., May 29, 6:30 p.m., $18-$20. Speedy Ortiz, w/ Alex G, Palehound, Tue., June 2, 8 p.m., $12-$14. Foam Coffee & Beer: 3359 Jefferson Ave., St. Louis, 314-772-2100. Slow Season, w/ Dead Feathers, the Judge, Noisy Boyz, Thu., May 28, 9 p.m., $5. Wet Ones, Fri., May 29, 8 p.m., $5. Dharmageddon Fundraiser, w/ Travel Guide, Twin Cities, Sat., May 30, 8 p.m., $5. Daniken, w/ Fumer, Grand Inquisitor, Wed., June 3, 9 p.m., $5. Fubar: 3108 Locust St, St. Louis, 314-289-9050. You Me & Everyone We Know, w/ Daisyhead, Future Crooks, Tue., June 2, 6:30 p.m., $12. Off Broadway: 3509 Lemp Ave., St. Louis, 314-773T H IS C O D E 3363. Beta Play, Thu., May TO DOWNLOAD THE FREE 28, 8 p.m., $10/$12. RIVERFRONT TIMES Old Rock House: 1200 S. IPHONE/ANDROID APP 7th St., St. Louis, 314-588FOR MORE CLUBS OR VISIT 0505. Street Fighting Band, riverfronttimes.com w/ the Brothers, Fri., May 29, 8 p.m., $15. Songs4Soldiers Benefit Concert, w/ ClusterPluck, Impala Deluxe, Where’s Charlie?, the Feed, Dance Floor Riot, Sat., May 30, 7 p.m., $10. The Pageant: 6161 Delmar Blvd., St. Louis, 314-726-6161. Falling in Reverse, w/ Ghost Town, Thu., May 28, 7:30 p.m., $22.50-$27. Tame Impala, w/ Kuroma, Mon., June 1, 8 p.m., $28-$32. Peabody Opera House: 1400 Market St, St. Louis, 314-2411888. John Mellencamp, Fri., May 29, 7 p.m., $42.50$119.50. Pop's Nightclub: 401 Monsanto Ave., East St. Louis, 618274-6720. Volbeat, w/ Anthrax, Crobot, Sun., May 31, 7 p.m., $39.50. The Ready Room: 4195 Manchester Ave, St. Louis. Houndmouth, Fri., May 29, 8 p.m., $15. Schlafly Tap Room: 2100 Locust St., St. Louis, 314-2412337. Miss Massive Snowflake, Fri., May 29, 7 p.m., Free; Superfun Yeah Yeah Rocketship, w/ Miss Massive Snowflake, Vanilla Beans, Fri., May 29, 9 p.m., Free. Nick Barbieri Record Release, w/ Poetry Scores, Dug Out Canoe, Sat., May 30, 9 p.m., Free.

SCAN

BLUES Ameristar Casino-Bottleneck Blues Bar: 1 Ameristar Blvd., St. Charles, 636-940-4966. John Németh, Fri., May 29, 9:30 p.m., $15. BB's Jazz, Blues & Soups: 700 S. Broadway, St. Louis, 314436-5222. Joe Metzka Blues Band, Thu., May 28, 7 p.m., $5. Leroy Jodie Pierson, Fri., May 29, 7 p.m., $5; Soulard Blues Band, Fri., May 29, 10 p.m., $5. Bob "Bumblebee" Kamoske, Sat., May 30, 7 p.m., $5; Scott Ellison Blues Band, Sat., May 30, 10 p.m., $10. Tom Byrne & Erika Johnson, Mon., June 1, 8 p.m., $5. St. Louis Social Club,

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Tue., June 2, 9 p.m., $5. New York Jazz All Stars, Wed., June 3, 7 p.m., $10; Big Rich & the Rhythm Renegades, Wed., June 3, 9:30 p.m., $5. Broadway Oyster Bar: 736 S. Broadway, St. Louis, 314621-8811. Soulard Blues Band, From the 2014 RFT Music Awards: One day, dear reader, the Soulard Blues Band will be no more. It's just a fact. And one day you'll wonder why, despite all the opportunities every other day of the week, you never saw this St. Louis institution in its prime -- and no, the band's prime ain't over. If somehow you've never danced your ass off when Art Dwyer lays down a bass line as smooth as crushed velvet, or when Marty Abdullah swings his phrasing on "Kansas City Blues" or "Dust My Broom," or when Tom Maloney plays a solo that would make his mentor (the late, great Benny Smith) smile, well you really should. Don't take this band for granted. Pay your respects soon; they've been earned., Mondays, 9 p.m., $5.

HIP-HOP Cicero's: 6691 Delmar Blvd., University City, 314-862-0009. JBOMB, w/ TYMA, Apollo, Jake Guidry, Fri., May 29, 8 p.m., $6-$8. NyCe Mixtape Release, w/ Asia Major, Wan Maan, Shotta G, Broderick, DJ Pharaoh, Sat., May 30, 8 p.m., $10. Fubar: 3108 Locust St, St. Louis, 314-289-9050. P.R.E.A.C.H., w/ Sawblade, P.O.W., Beast Mode, ZEUS, Mark Bone, Uno Joven, Yearty Gee, Jarod, Stogie La Russa, Freakz R Us, the Filthee Benjaminz, Kurosive, Fri., May 29, 7 p.m., Free. The Big Dude, w/ Jason Mask Da Booth, Sun., May 31, 8 p.m., $10.

FOLK Eckert's Country Store & Farms-Belleville: 951 S. Green Mount Road, Belleville, 618-233-0513. Casey Reeves, Sat., May 30, noon; Sun., May 31, noon, free. Foam Coffee & Beer: 3359 Jefferson Ave., St. Louis, 314772-2100. The Hobosexuals, w/ Mercer and Johnson, Tue., June 2, 9 p.m., $5. Off Broadway: 3509 Lemp Ave., St. Louis, 314-773-3363. CharFlies, w/ the Wilhelms, Karate Bikini, Fri., May 29, 8 p.m., $7-$10.

COUNTRY Cicero's: 6691 Delmar Blvd., University City, 314-862-0009. Tyler Barham, w/ Matt Jordan, Tyler Filmore, Thu., May 28, 7 p.m., $10. The Firebird: 2706 Olive St., St. Louis, 314-535-0353. Chris Stapleton, Sat., May 30, 8 p.m., $15. The Fox Theatre: 527 N. Grand Blvd., St. Louis, 314-5341111. Alabama Shakes, w/ Father John Misty, Thu., May 28, 8 p.m., $25-$75. Old Rock House: 1200 S. 7th St., St. Louis, 314-588-0505. Billy Joe Shaver, w/ Ashleigh Flynn, Thu., May 28, 8 p.m., $20-$27. The Pageant: 6161 Delmar Blvd., St. Louis, 314-726-6161. Brandi Carlile, Tue., June 2, 8 p.m., $28.50-$36.

E X P E R I M E N TA L Blank Space: 2847 Cherokee St., St. Louis. Pedestrian Deposit, w/ Kevin Harris, Kingston Family Singers, Hardbody, Fri., May 29, 9 p.m., $5. Schlafly Tap Room: 2100 Locust St., St. Louis, 314-2412337. The Tory Starbuck Project, w/ Kevin Harris, Dave Stone, Thu., May 28, 9 p.m., Free. The Sheldon: 3648 Washington Blvd., St. Louis, 314-5339900. Alarm Will Sound, Thu., May 28, 8 p.m., $15-$20.

M E TA L Fubar: 3108 Locust St, St. Louis, 314-289-9050. Like Moths to Flames, w/ Sylar, From Ashes to New, This Is Me Breathing, Eurydice, Ascension of Akari, Torn At The Seams, Thu., May 28, 6 p.m., $15; Like Moths to Flames, w/ Sylar, Thu., May 28, 6 p.m., $15. Pop's Nightclub: 401 Monsanto Ave., East St. Louis, 618274-6720. As Earth Shatters, w/ Along Came Tragedy, Pick Your Poison, Thu., May 28, 6 p.m., $12. Volbeat, w/ Anthrax, Crobot, Sun., May 31, 7 p.m., $39.50.

PUNK The Demo: 4191 Manchester Ave, St. Louis. Primitive Man, w/ Wake, Fister, Everything Went Black, Hell Night, Thu., May 28, 7:30 p.m., $10. The Humanoids, w/ Hellachopper, Better Days, Ox Braker, Spirits and the Melchizedek Children, Sat., May 30, 8:30 p.m., $8. Fubar: 3108 Locust St, St. Louis, 314-289-9050. Hollow Breath, w/ No Thanks, Perfect People, Church Key, Fri., May 29, 8 p.m., $8. OC45, w/ Stinkbomb, Mon., June 1, 8 p.m., $10. Modern Pain, w/ Blindside USA, Perfect People, the Warden, Wed., June 3, 8 p.m., $9. Melt: 2712 Cherokee Street, St. Louis, 314-771-6358. Sick Thoughts, w/ Wet Ones, Black Panties, Fri., May 29, 9 p.m., $7.

DJ Elmo’s Love Lounge: 7828 Olive Blvd, University City, 314282-5561. Jamaica Live Tuesdays, w/ Ital K, Mr. Roots, DJ Witz, Tuesdays, $5/$10.

savage love Aced Out Hey, Dan: You often mention asexual people. I believe I may be one. I’m a 51-year-old woman. I had many sex partners for many years, I had a good run, and now I’m done. When I ﬁnd someone attractive, I admire them in a nonsexual way. But I do masturbate. Not often. It’s more of a “stretching activity” than a passionate requirement. Do true asexuals masturbate? Or am I a straight person who has retired from the ﬁeld? No Need For Sex

“There’s some handy-dandy research on this topic,” said David Jay, founder of the Asexual Visibility and Education Network (AVEN). Jay is the world’s most prominent asexuality activist and widely acknowledged as the founder of the asexuality movement. Researchers at the University of British Columbia studied the masturbatory habits of asexual individuals and compared them to the masturbatory habits of people with low sexual desire (“Sexual Fantasy and Masturbation BY Among Asexual IndividuDAN als,” Morag A. Yule, Lori A. Brotto and Boris B. GorS AVA G E zalka, the Canadian Journal of Human Sexuality). “[They found that] the majority of asexual people (about 56 percent) masturbate on at least a monthly basis,” said Jay, compared to 75 percent of individuals with low sexual desire. “For a sizable chunk of us, this is about a sense of physical release rather than about sexual fantasy. Masturbation and partnered sex are very different things, and desiring one doesn’t mean that we automatically desire the other.” So, NNFS, the fact that you masturbate occasionally — as a “stretching activity” (ouch?) — doesn’t disqualify you from identifying as asexual. And while the fact that you were sexually active for many years, presumably happily, and always with men could mean you’re a straight lady with low to no sexual desire, you’re nevertheless free to embrace the asexual label if it works for you. “If you’re not drawn to be sexual with anyone, then you have a lot in common with a lot of people in the asexual community,” said Jay. “That being said, there’s no such thing as a ‘true’ asexual. If the word seems useful, use it. At the end of the day, what matters is how well we understand ourselves, not how well we match some Platonic ideal of our sexual orientation, and words like ‘asexual’ are just tools to help us understand ourselves.” All those crazy labels — bi, gay, lesbian, straight, pansexual, asexual, etc. — are there to help us communicate who we are and what we want. Once upon a time, NNFS,

you wanted heterosexual sex, you had heterosexual sex and you identified as heterosexual. That label was correct for you then. If the asexual label is a better fit for you now, if it more accurately communicates who you are (now) and what you want (now), you have none other than David Jay’s permission to use it. Follow AVEN on Twitter at @asexuality. Jay recommends The Invisible Orientation by Julie Decker to people who want to learn more about asexuality. And Asexual Outreach is currently raising funds via Indiegogo to help finance the first North American Asexuality Conference in Toronto this June and other outreach programs: indiegogo.com/ projects/asexual-outreach. Hey, Dan: There’s this guy I stopped dating a few months ago, but we’ve remained friends. When we were still dating, he once wore a thong when we were having sex. He called it his “sexy underwear.” He said he wore it only if he really liked a woman. He also told me he tried using a vibrator and fingers in his ass and really enjoyed it. I wasn’t bothered, but I am curious to know if straight guys really wear thongs and enjoy having their asses played with. Could he be a gay? What’s He Attracted To?

That guy could be a gay, WHAT, but any guy could be a gay. There are, however, lots of straight guys out there who dig sexy underwear — and some mistakenly believe thongs qualify. There are also lots of straight guys out there who like having their asses played with — and some are secure enough in their heterosexuality to share that fact with the women in their lives. And I hope you’re sitting down because this may come as a shock: Not all gay guys wear thongs and not all gay guys like having their asses played with. The boyfriends of these guys — gay guys with thong-averse/ ass-play-averse boyfriends — never write to ask me if their boyfriend could be a straight. Instead, they take the gay sex they’re having with their gay boyfriends for an answer. I understand why a straight woman might have more cause for concern: Very few gayidentified guys are secretly straight, while a significant percentage of straight-identified guys are secretly gay or bi. (Google “antigay pastor Matthew Makela caught on Grindr” for a recent example.) But at some point, WHAT, a straight woman should relax and take all the straight sex she’s having with her thong-wearing, assplay-digging boyfriend for an answer. On the Lovecast, Dan speaks with the author of a study on outing cheaters: savagelovecast.com. mail@savagelove.net @fakedansavage on Twitter riverfronttimes.com

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MAPLEWOOD! $475 314-309-2043 Updated 1 br, all kitchen appliances, newer carpet, cold a/c, all utilities paid! rs-stl.com RGM9B NORTH CITY! $375 314-309-2043 1-2 br, central air, hardwood floors, enclosed porch, just remodeled! rs-stl.com RGM86 NORTH COUNTY $500 (314) 606-7868 Senior Community: 2Br, Fridge, Stove, Dishwasher, C/A, W/D Hkup. RICHMOND HEIGHTS $495-$525 (Special) 314-995-1912 1 MONTH FREE! 1BR, all elec off Big Bend, Metrolink, 40, 44, Clayton SOULARD $700 314-724-8842 Spacious 2BR, old world charm, hdwd flrs, yard, frplcs, off st prk, no C/A, nonsmoking bldg, storage. nprent@aol.com SOUTH CITY

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www.HelfersLaw.com The choice of a lawyer is an important decision & should not be based solely on advertising

@ the corner of Connecticut & Morgan Ford. 314.664.2737

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Interested in being on the RFT Street team? Promotional P/T work/ $10 Hr. Resume & some exp req'd Email: Emily.Westerholt@riverfronttimes.com

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Las Palmas 1901 Washington Ave. St. Louis 63103. 314-241-1557

EarthCircleRecycling.com - 314-664-1450

Mon - Sat: 11am - 1am; Sun: 11am - 12am Find us on Facebook

Earth Circle's mission is to creatively assist businesses and residents with their recycling efforts while providing the friendliest and most reliable service in the area. Call Today!

CAMPS, WINERIES, SPORTING EVENTS, WEDDINGS, PARTIES, GROUP OUTINGS

Like the Riverfront Times? Make it ofďŹ cial. www.facebook.com/riverfronttimees

DWI/BANKRUPTCY HOTLINE:

Personal Injury, Workers Comp, DWI, TrafďŹ c 314-621-0500

Call First Student to pick you up! Charter & School Bus Rental. 866.514.TRIP or www.ďŹ rstcharterbus.com

R.O.C. LAW , A Debt Relief Agency, Helping People File For Bankruptcy Relief Under the New Bankruptcy Code. 314-843-0220 The choice of a lawyer is an important decision & shouldn't be based solely upon advertisements.

PAINLESS TATTOO REMOVAL .BLF &WFSZ %BZ 4QFDJBM XJUI B -VYVSJPVT "TJBO .BTTBHF DATING MADE EASY... LOCAL SINGLES! Listen & Reply FREE! 314-739-7777 FREE PROMO CODE: 9512 Telemates

BUYING JUNK CARS, TRUCKS & VANS 314-968-6555

Mark Helfers, 314-862-6666- CRIMINAL former Asst US Attorney, 32 years exp

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

SEE OUR AD ON PAGE 6 OR CALL 866-626-8346

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OUTPATIENT SERVICES

763 S. NEW BALLAS RD. STE. 310 SAINT LOUIS, MO 63141

314-292-7323 or

5000 CEDAR PLAZA PKWY., STE. 380 SAINT LOUIS, MO 63128

314-842-4463

Get the Attention of our 461,000+ Readers Call 314-754-5940 for More Info

After hours or weekends 800-345-5407

DATING MADE EASY... LOCAL SINGLES! Listen & Reply FREE! 314-739-7777 FREE PROMO CODE: 9512 Telemates

BUYING JUNK CARS, TRUCKS & VANS 314-968-6555

Made You Look!

Get the Attention of our 461,000+ Readers Call 314-754-5940 for More Info Download the FREE Best of...App to See Best of St. Louis winners and ďŹ nalists near you, or search by category, popularity and neighborhood. www.bestof.voiceplaces.com. Want to ďŹ nd a good Happy Hour? Download the RFT's Free Happy Hour Phone app - search "Happy Hour"

Download the FREE Best of...App to See Best of St. Louis winners and ďŹ nalists near you, or search by category, popularity and neighborhood. www.bestof.voiceplaces.com.

MUSIC RECORD SHOP Looking to sell or trade your metal, punk, rap or rock LP collection. Call us. 4191-A Manchester. musicrecordshop.com , 314-732-0164

Want to ďŹ nd a good Happy Hour? Download the RFT's Free Happy Hour Phone app - search "Happy Hour"

Firehouse Bar & Grill "A Place to Hang Your Helmet" Express Lunch - Happy Hour M-F 3-6pm - Great Dinner Menu

FIND ANY SHOW IN TOWN...

MUSIC RECORD SHOP Looking to sell or trade your metal, punk, rap or rock LP collection. Call us. 4191-A Manchester. musicrecordshop.com , 314-732-0164

Firehouse Bar & Grill "A Place to Hang Your Helmet" Express Lunch - Happy Hour M-F 3-6pm - Great Dinner Menu 3500 Lemay Ferry in South County 314-892-6903

3500 Lemay Ferry in South County 314-892-6903

Join the RFT Email lists for an inside look on Concert listings, ticket sales, events & more! www.Riverfronttimes.com to sign up

South City Scooters Great Selection of Scooters from $995 & Up. Sales & Service. @ the corner of Connecticut & Morgan Ford. 314.664.2737

Interested in being on the RFT Street team? Promotional P/T work/ $10 Hr. Resume & some exp req'd Email: Emily.Westerholt@riverfronttimes.com

Are you addicted to Opiates? Pain medications or heroin? SUBOXONE CAN HELP

NEW LOCATION NOW OPEN!! With our new and improved concert calendar! RFTâ&#x20AC;&#x2122;s online music listings are now sortable by artist, venue and price. You can even buy tickets directly from our websiteâ&#x20AC;&#x201D;with more options on the way!

CALL 636-477-6111 No upfront fees. Covered by most insurance.

Specializing in Adolescents, Adults, and Women Medication Management and Therapy 255 SPENCER RD., ST. PETERS MO 63376

RIVERFRONT TIMES

PHOTOGRAPHER: TODD OWYOUNG BAND: SLEEPY KITTY

NOT AFFILIATED WITH A HOSPITAL OS

M AY 2 8 - J U N E 3 , 2 0 1 5

www.riverfronttimes.com/concerts/

riverfronttimes.com

Las Palmas 1901 Washington Ave. St. Louis 63103. 314-241-1557 Mon - Sat: 11am - 1am; Sun: 11am - 12am Find us on Facebook

Like the Riverfront Times? Make it ofďŹ cial. www.facebook.com/riverfronttimees

Specials $30 $50

Therapeutic Foot Massage 1 Hr. Full Body Massage

Specializing in Chinese Accupressure, Deep Tissue, Hot Oil, Hot Stone, Swedish, Therapeutic Foot Massage 9441 OLIVE BLVD. ST. LOUIS, MO 63132 HOURS 9AM - 9PM

314-993-0517

w w w. S U N R I S E DAYS PA .C O M