By Bob McMahon
By Allison Babka
By Kelsey McClure
By Carolina de Busto
By Ben Westhoff and Sarah Purkrabek
By Steve Brennan
By Joseph Hess
By Allsion Babka
Located on Cherokee Street on the second floor of the former Globe Drug–Discount Variety Store, Pig Slop has been flying the flag of freakdom, intoxication and mutant reverie since August 2010. But the inimitable space couldn't last forever, and at the end of July it joined the ranks of so many DIY venues before it closed its doors.
Pig Slop breathed life into a crumbling building ripe with potential. Founded by the trio of Chloe Bethany, Rebecca Estee and Zak Marmalefsky, the vast open space went from midnight roller-skating pizza party to art incubator and music venue. The 7,500-square-foot room became a haven for the burgeoning Cherokee Street art scene.
"When Rebecca and I were first considering moving into a space, we kept lists of warehouse landlord phone numbers, grandiose programming concepts and our individual minimal necessities for this imagined future live/work space," says Marmalefsky. "I remember hers as things like running water, a working shower and kitchen, etc., but my number one and number two were: I don't want to live on Cherokee Street, and I don't want to live with a bunch of people."
As mobile walls of cloth, wood and drywall went up, the people started coming. Initially serving as housing and studio workspace for the three artists, Pig Slop would eventually grow to include a rotating cast of characters (including Irene Compadre and Jonathan Muehlke), at times housing up to ten residents and artists.
"I had known Zak since I started college at Washington University, and he and his girlfriend Rebecca were interested in having another person to split rent with so they could get a bigger space," says Bethany. "I remember looking at Craigslist ads for weird buildings with him and Rebecca late at night. We wanted a space where we could do whatever we want and not have to be professional, and hopefully create a kind of art community for ourselves to be productive in."
Collaboration and inclusivity were elemental in Pig Slop, which ushered in numerous events with emerging and established artists from all walks and all media. As is often the case with DIY spaces, it wasn't long before the idea for live music events began to sprout up. "My older brother was always a bigger fan of new music than me, and he's lived in warehouse[s]/punk-house[s] around the country," says Marmalefsky. "The summer before we moved into Pig Slop, I went on tour with a band, and we played at those kinds of places. That was the literal impetus for our first Pig Slop events."
It was through Marmalefsky's tour connections that a network of like-minded individuals in search of a venue in the cultural badlands of the Midwest would come to find Pig Slop. "We started getting e-mails from touring bands through word of mouth and met so many local musicians that it became obvious that people were more into music shows than art shows," says Bethany.
Over the course of its two-year existence, Pig Slop played host to a large handful of both national and regional touring acts including Japanther, CAVE, Chain and the Gang, Buoyant Sea, Odonis Odonis, Chackerine and TOPS. The venue also proved a place for area bands like MSIF, Skarekrau Radio, Britches and Little Big Bangs to find kindred spirits.
Recalling some of their favorite Pig Slop concert memories, Marmalefsky and Bethany reflect: "Every MSIF show at Pig Slop — when they played the Southern Graphics Council after-party to a full house of locals and traveling convention attendees...it was definitely a proud moment. [We were] happy to share a huge, weird spectacle with a rapt, confused audience," says Marmalefsky.
"...Midwest Trash Vortex. They got a bunch of random stuff from the alleys around Pig Slop, including a couple trash bags of foam off-cuts from a sports-equipment manufacturing place around the corner. They were playing their modular synth boards on the floor, and Melinda [Snyder] was swimming/writhing shirtless through this huge mound of black and neon pieces of foam," says Bethany.
In an unexpected turn during the summer of 2011, Marmalefsky and Estee packed their bags for a move to Wyoming, leaving Bethany as headmaster of Pig Slop's concert programming. "I was so fucking sad when Zak and Becca moved to Wyoming," says Bethany. "I'm a huge romanticizer of the past, and so even though my new Slop-mates were charming in their own right, I was always missing them at first. Collaborating with Zak and Becca on events and projects always seemed effortless — consensus was unforced."
Despite the ever-changing family at Pig Slop, Bethany would find new inspiration in collaboration with artists such as Chizmo.tv, Mel Trad and Ben Stegman. It was at Pig Slop where Stegman was allowed to flourish with the birth of his NOISE series, a monthly event combining video, live music and hedonistic acts bound by transgressive art and sonic assault. Stegman reflects on the singularity and importance of Pig Slop, saying, "Venues like it are important for the same reason venues like Cranky Yellow or Bonerville are important. I call it the treehouse effect: If a Ticketmaster-bound space like the Pageant is the top dog, big kid on the block, then Pig Slop was the younger sibling in the back yard. The structure never stays but provides a temporary outlet for those outside the concertgoing status quo.