You Can See Jon Hamm Right Here in St. Louis for $25
By Jaime Lees
Wed, May 31, 2017
For us locals, the coolest thing about Jon Hamm is that you might just see him anywhere around St. Louis. He’s a frequent visitor to his hometown, one who’s been spotted all over the city, from the Central West End to Tower Grove Park.
He also lovingly reps us when out of state, forever rocking a tattered Cardinals hat or t-shirt in paparazzi photos. Jon Hamm loves St. Louis, and St. Louis loves Jon Hamm even more than it loves the St. Lunatic. (Maybe.)
It’s entirely possible to catch ol’ Hammy at the library, too, and that’s one sighting you can be sure to enjoy soon … if you’re willing to ante up, that is. Hamm is coming to the St. Louis County Library’s Lindbergh location on Saturday, July 22, for an event where he will “discuss his local roots and storytelling through film and television performance with Curtis Sittenfeld, bestselling author of Prep, soon to be a new comedy series from HBO.”
The event page makes sure to note that there will be no meet-and-greet with Mr. Hamm, so you’ll just have to flirt with your eyes from the audience. But get to the event early; maybe your imaginary boyfriend will be roaming around and you might drool upon him.
And the worst that can happen is that you get to take in the majesty that is the St. Louis public library system. Did you know that they have books there and that they let you borrow them for free? Crazy. You can research anything from anacondas to zippers.
link: Riverfront Times
Because Chris Baricevic Is Putting St. Louis on the Musical Map
One of 75 reasons we love St. Louis in 2016
By Jaime Lees
Chris Baricevic is just 30 years old, but he’s already been the steady heartbeat of the south St. Louis music scene for more than a decade. The label he started eleven years ago, Big Muddy Records, is one of the region’s most revered musical organizations, the St. Louis equivalent to Jack White’s Detroit-born Third Man Records.
Big Muddy is not some vanity DIY project. It isn’t even a “boutique” label. Its artists are robust, well-practiced, world-class musicians ready to greet the world — Baricevic’s long roster has included Pokey LaFarge, Jack Grelle, Sidney Street Shakers, Rum Drum Ramblers, the Hooten Hallers, Southwest Watson Sweethearts, 7 Shot Screamers, Arson for Candy, the Monads and the Vultures.
Baricevic sees his role at the label as a hybrid of motivational producer and a spiritual mentor, but he’s more like a seasoned mountaineering guide, willing to carry the baggage so his artists can climb higher and claim their own victories. Baricevic often takes on the role of therapist or shaman (or maybe even mother) when leading his charges. He encourages them to develop their talents, embrace their community and to create art without ego.
His responsibilities go deeper than his current bands, though. He’s been the executor of beloved St. Louis musician/photographer Bob Reuter’s estate since Reuter’s 2013 death, and he’s also currently in the process of licensing the music of early 1960s local blues legend Henry Townsend for reissue. Baricevic does this all quietly and without fanfare. In fact, he’s so accustomed to staying out of the spotlight that he’s only now getting around to performing his own music with his new band, Kristo & the Strange Places.
Pure-hearted and a bit of a romantic, Baricevic’s humble exterior conceals a man who is naturally ambitious and seemingly inexhaustible. Authenticity is at the core of everything that he does, and he explains that he only cares to be involved with music that is “screaming from the soul.”
This St. Louis native has big plans for the city to “start to claim our creative landscape.” He promises, “If I get the resources I need, there is nothing to stop us.” Believe that.
link: Riverfront Times
St. Louis Ranked in Top 50 U.S. Cities for Music Fans
Posted By Jaime Lees
Fri, Jul 15, 2016
According to a recent report from consumer spending website ValuePenguin.com, St. Louis is ranked as the 42nd best city in the United States for music fans.
I’d never heard of Value Penguin, so I knew not to trust the results. What is a Value Penguin, anyway? It sounds like a new mascot for Aldi discount supermarkets. Still, in the little preview photo that I saw, it showed my beautiful city as “high ranking” (with a bright blue dot) so I expected us to be #1. I clicked over to bask in the warm glow of rocketing civic pride.
I glanced at the very top of the list and didn’t see St. Louis. I scrolled on down to #5. Still no St. Louis. By the time I got to #10 and didn’t see the Lou I knew that this list was crap and that Value Penguin was populated by morons.
Ranked #1 on the list is Nashville, so-called “Music City.” Well, that’s convenient. That’s like saying Chicago is the windiest city in the U.S. just because that’s what people call it. No, you lazy jerks, the windiest city in the U.S. is actually Jackson, Mississippi. And just because you call yourself something doesn’t make it true.
The rest of the nation might concede that Nashville is country music city, but that’s about it. I knew a guy who was an audio engineer in Nashville for a decade and he said that 95% of the studio recordings that get done there are either country or Christian or both. He was so starved for any version of rock & roll that he almost cried tears of joy when he was hired to work on a Paramore record. Yes, Paramore, that “band” that consists of one marginally attractive Hot Topic employee and whoever they pay to stand behind her while she grunts and fluffs her hair. That’s what passes for rock in Tennessee. No thank you.
I skimmed farther down the list and finally saw our ranking. Ah, #42. They say that 42 is a special number and that it’s the “answer to the ultimate question of life, the universe and everything.” I knew we were magical.
I also noticed that a city in Florida is a whole eighteen slots ahead of us. Florida? Florida is only good making the rest of the country feel smart. The only decent music that ever came out of Florida was from Tom Petty and he got the hell out of there as soon as possible. I feel so bad for music fans in that state. Its biggest stars are Marilyn Mason, Aaron Carter, Pitbull and Limp Bizkit. You poor, sad, floppy dick-shaped peninsula.
Value Penguin used fifteen categories to piece together this whack-ass list, each with their own weight and specifications. Cities were scored based on their performances in various arbitrary contests. Some of the categories made sense (how many record stores per 1,000 people) and some of them made use of wild card factors like the average amount of days with precipitation per year, average closing times at bars and the percentage of population using public transport to commute.
Yes, any of these things could influence the lives of music fans, but so could literally thousands of other factors. And as a statistics professor once taught me, correlation does not equal causation. You don’t have to be a numbers geek to see that this methodology is, at best, an elaborate game of pin the tail on the donkey.
So suck it, Value Penguin. We think that a good city for a band is also a good city for a fan. A good music city has multiple concert events to choose from each night. A good music city sees huge draws for local musicians. A good music city has volunteers and organizers and valued event planners. A good music city has cheap door prices. A good music city has affordable housing and a low cost of living. A good music city has musicians who support and celebrate each other. A good music city has dedicated and active fans. A good music city has small shows with big turnouts.
A good music city looks a lot like St. Louis, thank you very much.
– link: Riverfront Times
10 Things We Could Do with $1.1 Billion Other Than Build a New Rams Stadium
By Jaime Lees
Mon, Jan 4, 2016
So building a new NFL stadium in downtown St. Louis will cost $1.1 billion. Yeah, billion.
With floods devastating much of our area, unforgiving winter weather approaching and regional tensions high, it’s increasingly difficult to see how a new stadium for a failing football team could possibly be any kind of priority.
Not all of that $1.1 billion would be from our tax dollars, of course: the majority of the project wouldn’t be paid for by residents. (Though it’s not like we get a vote in it.)
With all of this money talk floating around, we got to wondering what else St. Louis could do with $1.1 billion. We could renovate what needs renovating. We could preserve what needs preservation. We could donate huge amounts to HeatUpStLouis.org and the thousands of other worthy charities in the area.
But how much is $1.1 billion, anyway? It’s such a big number that it’s hard to get a mental picture of what $1.1 billion could do. We made a list of examples to help us understand.
Here are ten St. Louis-specific things that we could do with $1.1 billion.
1. Pay admission for 92 million visitors to the City Museum
2. Order 11,000 more statues of Chuck Berry that don’t look like Chuck Berry
3. Cover the cost of sending 110 million visitors to the top of the Gateway Arch
4. Buy 367 million people a concrete from Ted Drewes
5. Gift four years of undergrad tuition to 5,813 students at Washington University
6. Pay off more than 74 million City of St. Louis parking tickets
7. Bail out KDHX … like, at least twice
8. Ship a $50 care package from Imo’s Pizza to 22 million people
9. Purchase 6,419 beers for each of the 19,150 people in attendance at a capacity St. Louis Blues hockey game
Lest you doubt our math on that last one, here’s how we got there:
a. Forest Park is 1,371 acres. And one acre equals 43,560 square feet. That means Forest Park is 59,720,760 square feet.
b. One gooey butter cake is one square foot. That means it would take 59,720,760 gooey butter cakes to cover Forest Park.
c. The average price of a 12-inch gooey butter cake? $11.
d. The price of 59,720,760 Gooey Butter Cakes at $11 each would be $656,928,360.
e. 1.1 billion minus $656,928,360 = $443,710,640.
Would you rather have that stadium or all of this? Decisions, decisions.
link: Riverfront Times
Why Do We Complain So Much About LouFest?
By Jaime Lees
Tue, Sep 15, 2015
St. Louis loves to complain. We’re also passionate about our city. Mix up this cocktail and we’ll drop our customary Midwest politeness: You’ll hear enthusiastic speeches about every regional issue from the opening of a new IKEA to a possible new football stadium.
There are many things that divide this town, but most complaints are dropped if the matter in question has been shown to benefit the residents. Arguments are often ended with a conciliatory, good-natured, “Whatever. If it’s good for the city I guess it’s fine.”
But LouFest has been met with outright ire since the annual music festival began six years ago. Seasoned festival-goers whine that it’s too small. Those of us accustomed to smaller concerts whine that it’s too big. And each year the lineup is met with cries of “LameFest” or “more like PooFest.” Every single year there is an avalanche of criticism for this music festival, even if it does bring in money and is “good for the city.”
Why? I’m not sure, but I have a theory. I think that we’re all quick to whine about LouFest simply because of the actual name of the festival.
Most other major music festivals don’t have a tight association with the cities in which they are held. For example, while we all know that while Lollapalooza is now held in Chicago, it doesn’t necessarily represent Chicago. It could be held anywhere or moved to any other city without losing its identity. But with a name like LouFest, it’s implied that this festival somehow represents St. Louis.
This is why we all get bitchy. That “Lou” gives us assumed ownership, and therefore a free pass for complaining rights. And when I look at the LouFest lineup, it doesn’t at all represent the St. Louis that I know. So just like everyone else, I start complaining, too.
I interviewed LouFest founder Brian Cohen and executive producer Charlie Jones a couple of years ago and they really won me over. I asked nothing but hard questions and I was impressed with their answers. To be blunt, I expected them to be annoyed at my insistence that the festival didn’t include enough local acts in decent time slots. They countered my questions with a list of all of the regional considerations they’d included, like making a point of booking a couple of local bands each year and renting space to St. Louis merchants. They also stressed that they didn’t have to include any local flavor at all. True. Very true. Can’t argue with that.
I’ve been to LouFest on three different occasions to see three different bands. One time was to see Dinosaur Jr (on a side-stage at a criminally early time in the day) and the other two times were during different years to catch separate headliners. As such, I’ve seen with my own eyes that LouFest does lots of things right. From the very beginning the organizers were focused on recycling, encouraging people to bike to the festival and general eco-friendliness. And it’s lovely see major touring bands while lounging on the grass of beautiful Forest Park instead suffering through the flooded concrete bathrooms at Riverport.
I prefer my music just a little weirder than most festivals offer, so I never really expect the LouFest lineup to thrill me. But this year, in particular, the lineup immediately struck me as relentlessly bland. As I looked over the list of performers I realized why: Women and people of color were woefully underrepresented.
So I crunched the numbers.
I did an informal tally of the artists listed on the lineup (not including support musicians) and came up with a total of 128 performers. Of the 128, 112 are white men and only six are women. By my estimation, the LouFest lineup for 2015 was 90.6 percent white and 95.3 percent male.
Even if my calculations are off a bit here, the official numbers would still show a huge discrepancy. And if I’d included support musicians in my calculations (such as our beloved local talent — the backing band for Pokey LaFarge) the numbers for white male performers would just go even higher.
That is something to complain about, and I can’t imagine an acceptable excuse for this remarkable lack of diversity. I know nothing about what it takes to execute an event of this size, but I do know the talk on the street. I know what gets said in the real world, and what’s being said isn’t nice. In the months and months of planning that it must take to put together a lineup, somebody should’ve noticed this offensive trend in booking. I can’t call any festival that features 87.5 percent white male talent a success. Not here and certainly not now.
In a city with multiple richly diverse (and thriving) music scenes, this lack of women and people of color just doesn’t make any sense. And with the “Lou” included in the LouFest name, I expect to see some mirroring of our population — and the organizers just repeatedly miss the mark.
Maybe LouFest needs some kind of image consultant to point out these overlooked and/or ignored aspects. Some pieces of LouFest’s PR campaign just seem tone deaf. For example, in the weeks leading up to the fest, an electronic billboard on Highway 44 advertised multiple cheesy LouFest designs. Most were innocuous, but one of the designs seemed downright condescending to women: “LouFest: He is going, and yes, he thinks you’re cute.” So (straight) women (or gay men) only go to music festivals to flirt? Can’t they just like live music, too?
It’s bizarre that these kind of issues continue to exist in 2015, especially with an event that is so high-profile. I understand that it’s a corporate-sponsored major event and that it involves contracts and a lot of moving parts, but someone needs to be accountable for overall quality control.
I cast my vote with my money this year for a better, more representative LouFest: I didn’t go.
But I want LouFest to do well in the future — I’d just be happier if it did a better job of showcasing the city it claims to celebrate. Yes, lots of other festivals and smaller local events could be accused of this same issue, but LouFest is not just any weekend festival. Like it or not, LouFest is part of our face to the world.
So here’s what I ask of LouFest: First of all, fix your irresponsible advertising strategy. It’s not cute. Second, fix your future lineups. You can easily neutralize your white man problem by doing one very simple thing: include more locally-sourced musicians. (It’s eco-friendly!) If you look to our own neighborhoods, you’ll find a diverse pool of talent where women and people of color are plentiful and celebrated. Do it for us, your potential local-music-loving attendees.
Basically, LouFest, we like you because we think you are good for the city, but you need to start doing a better job of earning that “Lou,” OK?
– link: Riverfront Times