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Will Colorado communities adapt to climate-driven wildfire?

BY JOSH SCHLOSSBERG

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contents NEWS:

Will Colorado communities adapt to climate-driven wildfire?

by Josh Schlossberg

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departments 5 THE HIGHROAD: Real news, fake news and BS news 6 DANISH PLAN: What the Russians were really up to 8 LETTERS: Signed, sealed, delivered, your views 23 ARTS & CULTURE: Central City offers splendid mainstage productions of ‘Così fan tutte’ and ‘Carmen’ 27 BOULDER COUNTY EVENTS: What to do and where to go 37 FILM: ‘The B-Side’ and the glorious portraiture of Elsa Dorfman 39 T HE TASTING MENU: Four courses to try in Boulder County this week 48 DRINK: Tour de Brew: SKEYE Brewing 53 ASTROLOGY: by Rob Brezsny 55 S AVAGE LOVE: Many roads to Rome 57 WEED BETWEEN THE LINES: DMT: Living in an alien world and we don’t even know it 59 CANNABIS CORNER: Drug-testing companies can’t find workers 61 IN CASE YOU MISSED IT: An irreverent view of the world Boulder Weekly

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commentary

Publisher, Stewart Sallo Associate Publisher, Fran Zankowski Director of Operations/Controller, Benecia Beyer Circulation Manager, Cal Winn EDITORIAL Editor, Joel Dyer Managing Editor, Matt Cortina Senior Editor, Angela K. Evans Arts and Culture Editor, Caitlin Rockett Special Editions Editor, Emma Murray Contributing Writers: John Lehndorff, Peter Alexander, Dave Anderson, Amanda Moutinho, Rob Brezsny, Michael J. Casey, Gavin Dahl, Paul Danish, James Dziezynski, Sarah Haas, Jim Hightower, Dave Kirby, Michael Krumholtz, Brian Palmer, Leland Rucker, Dan Savage, Alan Sculley, Ryan Syrek, Gregory Thorson, Christi Turner, Tom Winter, Gary Zeidner, Mollie Putzig, Mariah Taylor, Betsy Welch, Noël Phillips, Carolyn Oxley, Amanda Moutinho Interns, Mana Parker, Alvaro Sanchez SALES AND MARKETING Retail Sales Manager, Allen Carmichael Account Executive, Julian Bourke Marketing Consultant, George Hardwick Inside/Outside Account Executive, Andrea Ralston Market Development Manager, Kellie Robinson Marketing Manager, Devin Edgley Advertising Coordinator, Olivia Rolf Mrs. Boulder Weekly, Mari Nevar PRODUCTION Production Manager, Dave Kirby Art Director, Susan France Graphic Designer, Mark Goodman Assistant to the Publisher Julia Sallo CIRCULATION TEAM Dave Hastie, Dan Hill, George LaRoe, Jeffrey Lohrius, Elizabeth Ouslie, Rick Slama 17-Year-Old, Mia Rose Sallo Cover: Courtesy of Wildfire Partners July 20, 2017 Volume XXIV, Number 50 As Boulder County's only independently owned newspaper, Boulder Weekly is dedicated to illuminating truth, advancing justice and protecting the First Amendment through ethical, no-holdsbarred journalism and thought-provoking opinion writing. Free every Thursday since 1993, the Weekly also offers the county's most comprehensive arts and entertainment coverage. Read the print version, or visit www.boulderweekly.com. Boulder Weekly does not accept unsolicited editorial submissions. If you're interested in writing for the paper, please send queries to: editorial@boulderweekly.com. Any materials sent to Boulder Weekly become the property of the newspaper.

690 South Lashley Lane, Boulder, CO, 80305 p 303.494.5511 f 303.494.2585 editorial@boulderweekly.com www.boulderweekly.com Boulder Weekly is published every Thursday.

No portion may be reproduced in any form without written permission from the publisher. © 2017 Boulder Weekly, Inc., all rights reserved.

Boulder Weekly welcomes your correspondence via email (letters@ boulderweekly.com) or the comments section of our website at www.boulderweekly.com.

Preference will be given to short letters (under 300 words) that deal with recent stories or local issues, and letters may be edited for style, length and libel.

Letters should include your name, address and telephone number for verification. We do not publish anonymous letters or those signed with pseudonyms. Letters become the property of Boulder Weekly and will be published on our website.

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For more information on Jim Hightower’s work — and to subscribe to his award-winning monthly newsletter, The Hightower Lowdown — visit www.jimhightower.com.

the

Highroad Real news, fake news and BS news

by Jim Hightower

H

ow can journalism help people make sense of our turbulent world if it can’t make sense of itself?

In addition to “news” (which involves reporting on real stuff ), there’s now “fake news” (stuff that’s completely made up). But wait, the barons of corporate news are also adding to today’s tumultuous state of journalism by putting out “BS news” (stuff

they know is untrue, but is reported because it advances their owners’ political agendas).

For example, the Washington Post (owned by Amazon CEO Jeff Bezos, who’s a laissez-fairyland promoter of privatizing government functions) keeps publishing a load of BS to denigrate our Postal Service. In an alarmist editorial, the paper declared: “The U.S. Postal Service continues to hemorrhage red ink.” Embracing Bezos’ privatization ideology, the editors grumped that postal unions have made our mail service outmoded and insolvent, running up “a net loss of $5.6 billion last year.”

That is pure bovine excrement — and the editors know it. In fact, thanks to innovative and efficient postal workers, the mail agency racked up a $610 million operating profit last year, and a

$1.2 billion profit the year before.

The $5 billion in red ink the paper’s propagandists pointed to is nothing but a bookkeeping hoax created by Congress to make people believe our Postal Service is a hopeless money loser that must be privatized. In 2006, Congress manufactured an artificial “loss” for the Postal Service by decreeing that it pre-fund the healthcare costs of future retirees, 75 years in advance. That includes retirees who’re not even born yet! No other agency and no corporation (including Amazon) could survive if Congress added a $5-billion-a-year fictitious loss to their books.

Yet, in a shameful piece of BS journalism, the Washington Post intentionally ignored the true story.

This opinion column does not necessarily reflect the views of Boulder Weekly.

July 20 , 2017 5

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danish plan What the Russians were really up to

by Paul Danish

S

o did the Russians hack the election, and if so, why, and did Trump collude with them?

Here’s what I think will come out of the Russia story when we finally get to the bottom of it.

Did the Russians hack the election?

It depends on what the meaning of “hack” is.

They didn’t break into voting systems and change votes. They didn’t break into voter registration files and add or delete voters.

They did break into voter registration files and download them, and then used the information in them, together with other personal and demographic information obtained legally and illegally, to target voters with fake news and dezinformatsiya or disinformation or fabricated information.

The principal instrument for disseminating the dezinformatsiya was the internet and social media.

The Russians hacked the computers of the Democratic National Committee and downloaded thousands of e-mails, which they released through Wikileaks and scores of websites and social media accounts, some of which they created themselves. Some of the e-mails contained real information, which was used to compromise the Clinton campaign and sully the Democratic Party’s brand.

The Russian term for such material is kompromat or compromising material.

Some of these e-mails were fake and formed the basis for fake news. Mixing fake e-mails with real e-mails gave the fakes credibility.

However, the Russians worked both

sides of the street. They hacked the computers of the Republican National Committee as well, but evidently didn’t find much useful information in them for compromising Trump. So they made up fake defamatory information, which they released through the Russia dossier.

Like the dezinformatsiya on Clinton, the dezinformatsiya on Trump was distributed primarily through the internet and social media.

Why did the Russians do it?

It wasn’t to elect Trump, as the Democrats fervently would like to believe.

Here’s the important point: The Russians weren’t particularly concerned over who won the election, and they were probably as surprised by Trump’s victory as the Democrats were. Their real goal wasn’t to pick a winner who they could manipulate.

Their real goal was to destabilize the United States — by polarizing the country to the point where it couldn’t function in a politically stable way and would even begin breaking up, as the former Soviet Union did (more about that in a moment).

The principal target of the attack was America’s unwritten constitutional concept — the concept of the loyal opposition.

Although it isn’t mentioned in the Constitution, the concept of the loyal opposition is what makes the American system of government work.

The concept holds that those who are out of power and politically opposed to those who are in power are not enesee DANISH PLAN Page 7

Boulder Weekly

DANISH PLAN from Page 6

mies of the state, but are loyal citizens who participate in governing by participating in the legislative process.

The concept requires that winners do not treat the losers as traitors or enemies, show a decent respect for their ideas, refrain from rejecting them out of hand, and make a good faith effort to fashion compromises that give both the majority and the minority factions some ownership in the outcome. The concept also requires the losers to accept the role of the loyal opposition.

That’s the way the system is supposed to work.

But if the country becomes sufficiently polarized, the system breaks down and the losers reject the role of the loyal opposition and become something else — The Resistance.

Being The Resistance is different from being the loyal opposition. You start by rejecting the legitimacy of the regime you’re opposing, regardless of how it got into power.

Once you have rejected the legitimacy of the government you do everything you can to prevent it from governing and attempt to remove it from power by using all available means. The government then starts doubting the loyalty of the losers.

The Russians probably expected Hillary would win and Trump voters would turn themselves into the resistance. In the end, Trump won and it was the Democrats.

Putin can live with that.

Russian efforts to destabilize the United States may have extended to stirring up secessionist sentiment as well.

Consider the California secession affair.

Shortly after the election, a California secession movement called Yes California got its 15 minutes of fame. The movement sought to put an initiative on the 2018 California ballot that would repeal the provision of the state constitution that declares “California is an inseparable part of the United States of America, and that the United States Constitution is the supreme law of the land.” The proposal also called for a second statewide vote on actual secession in March 2019.

In the weeks following the 2016 election, the proposal was getting some traction. A Reuters-Ipsos poll found that about one-third of the state’s population supported the idea of California leaving the U.S. But the secessionist balloon deflated after it emerged that the leader of the Yes California movement, Louis J. Marinelli, lived in Russia and had ties to a organization called the AntiGlobalization Movement of Russia that supports various secessionist movements around the world with the support of the Russian government.

Russian interest in the possibility of the U.S. breaking up considerably pre-dates Marinelli. Igor Panarin, a former KGB analyst and the dean of the Russian Foreign Ministry’s academy for future diplomats, has been predicting the breakup of Boulder Weekly

the United States since the 1990s.

While the prediction didn’t pan out — the breakup was supposed to have happened by 2011 — the Russians may have concluded that the conditions that Panarin thought could lead to it were real enough, and it could still be triggered with a helping or two of dezinformatsiya intended to “deepen the contradictions” of the U.S. system — delivered via the internet and social media to targeted demographic cohorts.

As for whether or not team Trump col-

FREE

luded with the Russians, chances are they pricked up their ears when they were offered Russian kompromat, but concluded there wasn’t any point in colluding since the Russians were papering the internet with the stuff already. Chances are operatives in the Clinton campaign responded similarly to the dirt and kompromat the Russians were dangling before them as well.

The really important thing to come out of — OK, lets use the term — Russiagate is that the internet and social media can be used by unfriendly powers to corrupt

American politics.

The internet has given every person on the planet a global stage on which to strut the content of their minds — including the content of their ids.

What the election generally and the Russian hacking in particular has shown is how the internet can be used to politicize and weaponize the collective power of individual ids in ways never thought possible.

Come 2018 this sort of stuff will be the new normal. And chances are you ain’t seen nothing yet.

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letters Clarification: The July 13 news story “Inside the Turmoil at BVSD” stated “according to multiple sources, Arnold told the independent evaluator in charge of the 2016 investigation, Abbey CurnowChavez of The Trispective Group, about the issues she was having with Messinger.”

It should have read “the independent evaluator in charge of the 2016 evaluation.”

We apologize for any inconvenience this may have caused.

Sale of hunting licenses equals big bucks for CPW

Kudos to Rico Moore’s piece on a study of the impact of fracking operations on Colorado’s declining mule deer population [Re: “Off Target, Part 7” June, 29]. There is an active culture of hunting in mountain and Western Slope communities and the annual influx of out-of-state hunters is a valuable source of income there. It is also the primary source of funding for Colorado Parks and Wildlife from the sale of hunting licenses. Hence the concern over the declining success of hunters. That CPW has focused on lion and bear predation rather than habitat degradation as the cause of the decline of mule deer is yet another revelation of how little power we have in addressing environmental concerns over gas and oil drilling. There is nothing CPW can do, but it would be helpful if it would acknowledge the validity of this study. As it stands, it is not cynical to suggest that the sale of high-end lion and deer hunting licenses is more about the agency’s revenue stream than the actual well-being of Colorado wildlife.

Robert Porath/Boulder

of critters in Longmont. This is alarming and nonsensical, to say the least.

We may want to ignore science, but our bodies and our health will not.

Plutonium and its “daughter products” (also highly radioactive) are lethal substances beyond any measure. It is easily mobilized both as particulates, as well as during certain rainfall events, making the location of said horribly lethal substance difficult to contain, and difficult to know where it has migrated. But I assure you — once a particulate has “relocated” in your body, through your breath, through ingestion of that tomato you raised in your garden where particulates have settled in — you are highly likely to have it result in a cancer since the radioactivity will be as high then, and tens of thousands of years down the road, as when it was created. That’s the way radioactivity works, and that is how moving of soils and waters work. It is science — it is not wild speculation.

I ask that you immediately request a stay of this action — any efforts in the direction of putting displaced prairie dogs at Rocky Flats must be immediately halted. They are by their very nature burrowing animals! What have the site scientists alerted us to among so many things? That burrowing creatures — and on the scale of things, this is a big burrower (compared to movement of soil due to insects and smaller creatures). This will result in significant disturbance of soils that will surely be bearing particulates of plutonium. And let me once again say: one particulate that ends up in your body will likely result in cancer. Same for your pets.

Same for your children. It is just the way it is.

Rochelle Rittmaster/via internet

An Open Letter to Fish & Wildlife Service, Rocky Flats Stewardship Council, JeffCo Gardner should stand Commissioners up on health care I am a geologist/hydrologist/geochemist, with experience in geochemical applied research as well as consulting. My experience is broad-based and pragmatic.

I have been utterly baffled regarding plans for Rocky Flats, particularly as it seems to promote usage by humans, pets, and so on — terrible ideas, and truly contrary to the science and physics of plutonium and the probable never-fully-known various and moving sites of contamination out there.

So now I read yet something more that shocks me regarding this horrible, unsafe plan: a proposal to move a prairie dog population from Longmont to the Rocky Flats site due to further pursuit of development and displacement 8 July 20 , 2017

By now, Senator Cory Gardner should understand that the Republican health care bill is a betrayal of millions of Americans who have coverage under Obamacare. The bill is undeserving of his support.

He was not elected to protect corporations, which spend hundreds of millions financing campaigns and lobbying lawmakers. He should work with Democrats to take the profiteering out of the equation. Our situation in not normal. Thirty-four out of 35 developed nations have some form of universal health care. This means that Senator Gardner has 34 functioning models to study, adapt and modify in order to normalize America’s healthcare situation.

Doug Holdread/Trinidad Boulder Weekly

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WILL COLORADO COMMUNITIES ADAPT TO CLIMATE-DRIVEN WILDFIRE?

news

Courtesy Wildfire Partners

It

never crossed my mind,” says Nederland resident Rick Rudstrom when asked if he had ever considered the possibility of his home burning in a

wildfire.

But all that changed on July 9, 2016, when the Cold Springs Fire ignited and spread from a campfire left burning in the nearby forest on that hot, dry, windy day.

just engulfed our house.”

“It broke all the windows,” he says. “The stucco, that got scorched. But all the eaves and the wood around the windows, that all ignited.

So it was actually on fire.”

The gutters melted. Flames licked around the propane tank, but somehow didn’t consume it. “If it had blown, the whole house would’ve gone,” he says.

Thanks to the same high winds that spread it in the first place, the fire burned through the area quickly, leaving the Rudstroms’ house standing, albeit with a quarter of a million dollars worth of damage to the exterior.

Rudstrom says the local fire chief told him that he was “one lucky son of a bitch.”

Indeed, the closest neighbor’s house across the street burned to the ground, as did a nearby cabin. By the time firefighters contained the 528acre blaze on July 14, eight homes were lost.

Luck certainly played a role in sparing the Rudstroms’ home. But other factors may also have been involved, such as the house’s fire-resistant stucco, and the mitigation the couple had done — Rick cutting down dead trees and Pat “religiously” raking out fallen pine needles from around the house every spring.

In fact, a new study out of the University of Colorado Boulder stresses how important it is for

BY JOSH SCHLOSSBERG Rudstrom was in downtown Nederland when he saw a huge plume of smoke roiling up from the woods northeast of town. Immediately, he called his wife, Pat, at home and told her to prepare to get out. He drove the four miles home and, as they gathered up some clothes and important documents, they got the reverse 911 call to evacuate. By the time they hurried out the front door, it was already “snowing” ash and embers.

Not long after they made it safely to the shelter at Nederland High School, Rudstrom says the fire emerged from the forest behind their property, “shifted, and came roaring through ... [and] 10 July 20, 2017

homeowners to take such measures to adapt to wildfires, which, thanks to a changing climate, are burning earlier, more often and bigger than ever before.

Seared science Wildfire is a natural and vital component of forest ecosystems and crucial for the various species of mammals, birds and other wildlife that have adapted to these landscapes. However, more and more humans moving into forest-edge communities have predictably resulted in a large number of homes destroyed and lives lost.

What’s more, over the last four decades, the Western U.S. has experienced a “dramatic increase” in wildfires “tightly correlated” to climate change, according to Tania Schoennagel with the Department of Geography and Institute of Arctic and Alpine Research at CU. The study, “Adapt to more wildfire in western North American forests as climate changes,” published in the Proceedings of the National Academy of Sciences in February, blames climatedriven factors such as “rising temperatures, increased drought, longer fire seasons, and earlier snowmelt” for the uptick in fires.

Schoennagel points out rising global temperatures and how, this year, Colorado experienced its warmest March on record since 1895. Warmer temperatures have led to snow melting one to Boulder Weekly

four weeks earlier than past decades, which creates the dry conditions ripe for wildfire.

“In the 1970s we had maybe 20 large fires per year. And now we’re experiencing well over 100 large fires per year in the West,” Schoennagel says.

The frequency of large fires has increased by 1,000 percent in the Northwest, 889 percent in the Northern Rockies, 462 percent in the Southwest, and 274 percent in Colorado and the Southern Rockies.

“The fire season is about three months longer now than it was in the ’70s,” Schoennagel says, referring to a fire that burned in February just outside of Boulder as a “canary in the coal mine.”

Fuel’s paradise Schoennagel says that even though fires on private lands account for the vast majority of wildfire-related costs, “much of the responsibility and financial burden for community protection from wildfire falls on public land-management agencies.”

Fire suppression is the U.S. Forest Service’s primary tool for dealing with wildfire, with $1.6 billion directed to the cause in 2016.

The agency is also fond of “hazardous fuel reduction,” which consists of cutting trees and understory growth in National Forests, and is sometimes coupled with prescribed fires. The CU study notes that seven million acres of federal lands have been targeted for fuel reduction treatments from 2001-2015, with funding from 2006-2015 alone totaling $3.2 billion.

Such projects are “intended to change fire behavior — reducing/lessening the impact of fire on the landscape and giving firefighters an advantage in managing unplanned fires,” according to K. “Reid” Armstrong, regional fire communications specialist for the Rocky Mountain region of the U.S. Forest Service Sometimes the byproducts of fuel reduction logging are sold as forest products, which, depending on the size and quality of trees cut, can be utilized for anything from lumber to biomass energy. Often times, the leftover wood is simply burned on-site.

One such project is the half-completed Lump Gulch Fuel Treatment Project — 1,642 acres in the Boulder Ranger District of the Roosevelt National Forest that includes 1,277 acres of clear-cuts up to 40 acres in size.

Armstrong believes that projects such as Lump Gulch are valuable because “opening up space between treetops and reducing fine fuels on the forest floor helps change fire behavior.”

For instance, she says that a “crowning” Boulder Weekly

fire (one that burns from treetop to treetop) can be brought down to the ground in thinned areas, which can make it easier for firefighters to get it under control.

Furthermore, Armstrong says that fuel breaks along the “Wildland-Urban Interface,” where the forest meets communities, can help “prevent fire from moving from public land onto private lands and allows firefighters to safely defend homes.” Indeed, Armstrong credits a recent fuel reduction project for helping to limit the spread of last

year’s Cold Springs Fire.

The Forest Service just announced its decision to move forward with the Forsythe II Project, a fuel reduction project over 2,460 acres of the Roosevelt National Forest between Nederland and Gross Reservoir. The project, proposed years ago but halted in 2014 due to public concerns, is back on the table again after taking into account some stakeholder feedback and dropping more than a thousand acres of treatments.

However, the CU study points out

that fuel reduction might not be the most effective approach when dealing with wildfire. One of its main conclusions is that, rather than fuels, wildfire is “influenced primarily by patterns of drought and warming.”

The Forest Service admits that fuel reduction isn’t always the best tool in the toolbox. “Under the extreme fire conditions (driven by dry fuels, topography, high wind, temperatures), some fuels treatments may not be effective,” Armstrong says.

See WILDFIRE Page 12

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Also worth considering is the fact that, on average during any given year, only about 1 percent of Forest Site of the West Magnolia Fuels Service fuel reduction projects experience wildfire, with Treatment Project the potential benefits lasting just 10 to 20 years before outside Nederland. the trees grow back. This reality on the ground has led Schoennagel and study authors to determine that, “most treatments have little influence on wildfire.”

The study acknowledges that low-elevation, dry forests that have historically experienced frequent fire and, as the result of fire suppression, have a build-up of fuels — such as those on the outskirts of Boulder — may benefit from some “midstory and understory” thinning and prescribed fire.

Taking a look at the tightly-packed “doghair thickets” of lodgepole pine, spruce and fir found at high elevations such as Nederland, one might assume these forests, too, are overgrown. However, Schoennagel says the crowding is simply a matter of cooler, wetter environments that can support more trees, and not a “consequence of poor management.”

Since these sub-alpine forests have a 100 to 300 year fire return interval, the last several decades of fire suppression likely haven’t impacted their natural state very much.

Schoennagel thinks that the Lump Gulch Project differs from other public land fuel reduction projects in its close proximity to communities. Yet, overall, she says that, “managing the forests to protect the communities... I just don’t think that longterm that’s going to be the way to go.”

So then what are forest-edge communities supposed to do besides throw up their hands and pray for rain?

Home is where the heat is Every year, the influenza virus infects millions of people in the U.S. If you don’t want to catch the illness yourself, there are a couple ways to protect yourself.

One option is offing everyone who comes down with the sniffles. But a more effective — not to mention humane and legal — approach would be to build up your own immunity through proper diet, exercise and rest, and if you’re really worried, get a flu shot.

Now extend this analogy to wildfire. Instead of cutting millions of trees in backcountry forests in hopes of protecting communities, why not focus on treating the area directly around homes?

Between 1990 and 2010, nearly two million homes were built in the WildlandUrban Interface in the western U.S., with almost 900,000 homes — valued at $237 billion total — at high risk of wildfire damage. According to the study, California, Colorado and Washington have experienced the lion’s share of these fires.

“Communities really need to become more adapted to wildfire,” Schoennagel says. And the most important action homeowners can take is to mitigate their properties, similar to the way the Rudstroms have done.

A 2014 study in the International Journal of Wildland Fire concluded that the best way to protect a home against wildfire is to mitigate a 60-foot area around its perimeter, which can involve mowing, tree trimming and common sense construction choices, such as replacing a shake roof with a metal one.

Jack Cohen, scientist with the U.S. Forest Service’s Rocky Mountain Research Station Fire Sciences Laboratory, found these measures alone can ensure that a Boulder Weekly

NEWS home survives 95 percent of fires.

Luckily for Boulder County residents, an organization exists to help them do just that.

Wildfire Partners — funded by Boulder County, the Colorado Department of Natural Resources, and the Federal Emergency Management Agency (FEMA) — offers “technical assistance and significant financial support to homeowners who are accepted into the program,” according to Program Coordinator Jim Webster.

While most expenses fall on homeowners, those who do the required mitigation not only greatly increase their chances of their home surviving a fire, but they receive a certificate that makes it easier for them to get insurance and sell their house.

“Many homeowners are aware of wildfire risk,” Webster says. “However, ongoing action, rather than just awareness, is needed.”

For instance, Webster says many homeowners think they have properly mitigated their homes, but they’ve often “failed to address important vulnerabilities” that Wildfire Partners can help them detect.

After three-and-a-half years of operation, Wildfire Partners currently has 1,300 participants in Boulder County, with an eventual target of 6,000 homes.

Up for adaptation “Predictions are that we should expect about 2 to 4 degrees warming by midcentury,” Schoennagel says. “You can do the math on that. It’s expected that wildfires are going to increase ever more.

“Costs are going to be high, risks are going to be high,” she says. “It’s going to be something we’ve never witnessed.”

Adapative resilience to wildfire is the key, the study concludes, which involves “recognizing the limited impact of past fuels management, acknowledging the important role of wildfire in maintaining many ecosystems and ecosystem services, and embracing new strategies to help human communities live with fire.”

“The climate is changing. Our fire risk and fire regimes are changing and so are ecosystems, and people need to adapt in order to be resilient to those changes,” Schoennagel says. “Adapting means adjusting to them and reorganizing to reduce future vulnerabilities.”

Home mitigation is crucial, Schoennagel says. But so are measures such as “widening roads, putting in escape routes, adequate water supplies, clustering development and creating fire breaks.”

The study lists additional actions, including changing building codes to make homes more fire-resistant, providing financial incentives for homeowners to do mitigation, and — perhaps most controversial — “discouraging new development on fire-prone lands.”

It all comes down to learning from past mistakes and using the latest science to help shape a new “fire culture.”

It comes back The Rudstroms’ house sits on the crest of a hill surrounded by acres of dead and dying lodgepole pine, the black trunks stark against a berry-blue sky. Across the road, on the other side of the canyon, green, thickly forested hills rise, untouched by the fire.

“What we always wanted was a bigger view and we didn’t have it, we had all these trees,” Rick says, taking a break from replanting his front yard with aspen seedlings. “We got a bigger view the hard way.”

A loud truck rumbles by on the road. Rick’s eyes track Zoe, his four-month old retriever-terrier rescue, as she sprints across the yard in pursuit. As soon as she sets foot on the pavement, Rick shouts out her name and, after some dawdling, she comes loping back.

“In April there was nothing. Nothing,” he says, gesturing around him with a hand. He admits to some periods of depression over the past year, what with damages to the house — almost all of which were covered by insurance — and the charred landscape surrounding him. But instead of despairing, he got right to work planting trees.

“Now we probably have two hundred seedlings coming up, they’re coming up everywhere,” he says. Indeed, a slew of baby trees dot the yard — many of them protected from hungry deer by plastic sleeves — among clumps of bright green grass.

“I think it’ll be three years when some of these small aspens get some growth and some of these pines get going,” he says, nodding. “I think it’ll be OK. It’ll come back.”

Boulder Weekly

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boulderganic Growing momentum

CU divestment movement hopes to capitalize on global efforts

by Billy Singleton

I

n June, Sweden’s largest pension fund, AP7, sold off its investments in six energy companies that it says are in violation of the Paris climate agreement.

Activist groups are calling the news a victory for renewable energy and a sign of growing momentum for the fossil fuel divestment movement.

Divestment has long been used as a form of social and political protest — past targets include the tobacWikimedia Commons co industry in the U.S. and apartheid in South Africa. More recently fossil fuel divestment, which aims to reduce the impact of climate change, has been gaining traction.

In a 2013 article for Rolling Stone, climate activist Bill McKibben spells out its simple ethical rationale, “If it’s wrong to wreck the climate, it’s wrong to profit from that wreckage.”

But divestment is also a political statement.

Proponents hope that high-profile organizations divesting from fossil fuels will set an example and pave the way for broader conversations about sustainability. And therein lies its real power.

“Does divestment — right now, at the level it’s happening — actually change the share prices of its companies? Probably not. Very little. But that’s not the point of divestment right now,” says Josh Tewksbury, the director of the sustainability research platform Future Earth’s Colorado Global Hub in Boulder. “The point of divestment is getting more and more sectors of society on board with walking the talk.”

If we are to mitigate the effects of climate change,

then our economies and habits must shift away from fossil fuels, he continues. Putting pressure on large, highly-visible organizations like banks, corporations and universities to divest is one way to send that message.

The push for fossil fuel divestment originated on a handful of U.S. college campuses in 2011. Then it multiplied. A 2013 study from the University of Oxford called it the fastest growing divestment campaign in history. At the start of 2016, the total funds committed to divestment internationally had reached $2.5 trillion. A year later it was twice that.

Today over 100 universities, including Harvard, Stanford and Yale, have at least partially divested from fossil fuels or have committed to doing so.

As you might expect, not everyone agrees on the merits of divestment.

Some climate advocates worry that divestment doesn’t do enough — in a sense it doesn’t seem to do anything at all. As mentioned earlier, selling stocks doesn’t typically alter their value or otherwise affect profitability. In most cases one stockholder is simply replaced by another, which makes no difference to the company. On top of that, divesting can mean giving up one’s ethical influence in a company to someone less responsible. While some might respond that the divestment is largely symbolic and is not intended to directly impact the company’s finances, many feel that fighting for divestment takes too much time,

money and energy that could be better spent on more direct solutions.

Others argue that we ought to support fossil fuel producers — they benefit our economies and provide jobs, light, heat, manufactured goods and transportation. Fossil fuels play at least an indirect role in nearly every aspect of modern life. From this perspective, pivoting away from fossil fuel use appears not only undesirable but unrealistic. This is countered with the argument that it’s this very fact — the ubiquity of fossil fuels — that makes shifting toward cleaner energy so important in the first place.

In 2015 the University of Colorado’s Board of Regents voted against divesting its endowment for similar reasons. They cited their preference for “institutional neutrality” in social and political matters, the idea being that politics falls outside of CU Boulder’s role as an academic institution. Regent John Carson noted the importance of the oil and gas industry to Colorado.

The vote came as a response to student activism, which has continued since. This year brought another wave of protests — in April the student group Fossil Free CU held a week-long sit in at the Chancellor’s office. They aimed to raise awareness of the issue and to pressure the regents into holding another vote.

Regent Linda Shoemaker, the board’s vice chair, says that a fall 2017 vote is possible. But she is doubtful about it passing, pointing to the fact that no fundamental changes have occurred in the Republicancontrolled board since 2015’s 7-2 decision upholding the existing investment plan.

Lior Gross, one of Fossil Free CU Boulder’s leaders, is more hopeful.

“We are in the best position we’ve ever been to get a win from the regents and to get a vote for divestment,” Gross says, pointing to recent community support. “It’s not that I’m optimistic, it’s that I know that we can’t have a livable future if we continue to operate this way.”

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Boulder Weekly

O

n the morning of Tuesday, June 13, the offices at the Boulder Museum of Contemporary Art (BMoCA) were nearly empty.

According to Ron McMahan, vice president of the museum’s Board of Directors, the scene was dire: artwork was missing, files sabotaged and a pile of vomit lay in the hallway floor. Later that morning, five full-time staff members, two part-time visitor-services workers and seven contract support staff and educators resigned from their positions in a coordinated exit they called a “walkout.”

Covered by the New York Times, the politics of their resignation quickly embroiled the situation as both sides, heavily guarded by lawyers, jostled for position in a battle of he said/she said.

The leadership of BMoCA contests they did all they could to support under-performing employees whose departure they attribute to their disgruntled states of mind.

The former employees beg to differ, alleging they had no choice but to vacate their positions, accusing Executive Director David Dadone of fostering a toxic work environment that impinged upon the nonprofit’s ability to carry out its mission. The Board, they allege, essentially turned a blind eye.

Some aspects of the walkout will forever be relegated to institutional drama.

Some questions will remain unanswered.

But the mass resignation draws attention to a larger question in Boulder’s art scene at a time when the City is making historically large investments in the arts: Who should get the money?

On July 25, Boulder City Council will decide whether to include BMoCA on the ballot initiative for an extension of the Capital Improvements Tax, a 0.3-percent sales and use tax first approved by voters in 2014. If it makes it to the ballot and voters approve it in November, the tax would create the single largest public donation to a cultural institution in the city’s history, with $6 million poised to go to BMoCA. On top of that, those funds would be matched by the nonprofit’s own fundraising efforts in a public-private partnership.

Ron McMahan, vice president of the BMoCA Board, says the money would help the museum to more than double both its square footage and annual number of visitors.

“Build it and they will come,” he says.

Boulder Weekly

buzz

Susan France

Yet to be decided The walkout at BMoCA raises questions about how the city supports the arts

by Sarah Haas More to the point though, he talks about the tax revenue as an opportunity not just for the museum to expand its gallery space, educational programs, artist studio space and event areas, but for the City to make a meaningful investment in establishing a cultural hub for the visual arts in Boulder at the so-called East Bookend of the civic corridor, the space from 13th to 14th streets between Canyon Boulevard and Arapahoe Avenue. The area is currently undergoing a comprehensive redesign and imminent rebuild.

“Boulder is at the point where it doesn’t just need an arts museum, but an arts complex where lots of things can

happen,” McMahan says. “It just makes sense that as the area is developed we expand too, rather than contract.”

Not so long ago the capital improvements tax seemed all but in the bag — BMoCA didn’t just have the reputation, but the benefit of being in the right place at the right time.

However, the mass resignation challenges the assumption that BMoCA’s good circumstances are enough to justify the expenditure.

According to Councilman Andrew Shoemaker, the City is not likely to be overly concerned with the allegations against the museum. As a Councilappointed Board member of BMoCA,

Shoemaker plans to reassure Council about the good-faith effort taken by the Board to investigate the claims of the former employees, saying, “It would be a shame if a good organization lost out on this opportunity based on some allegations that were ultimately found to be unfounded in the museum’s internal investigations.”

But what may give Council pause are the deeper implications raised by the walkout. Speaking as representatives for the resigned BMoCA employees, former curator Mardee Goff and former director of education Nicole Dial-Kay point out the calculated risk they took in their resignations.

“We had a lot on the line — our careers, our income, our personal and professional stability — but ultimately we decided that it was the museum and those it is intended to serve that mattered more than our individual stakes,” Goff says. “BMoCA deserves to be led with integrity, with a vision guided first by the arts and arts education rather than ambitions of power and growth.

We hoped the Board would look at all of the evidence and heed our call for the resignation of David Dadone, but failing that, we hope our action is loud enough to draw attention to a broader conversation about the role of museums and their relevance in our culture.”

In a statement to the press they take it further, writing: “[We hope to draw into consideration] whether or not the interests of the organization are aligned with the commitments made to the communities it is intended to serve.”

The city has several relationships with BMoCA: a $1-per-year lease agreement for the nonprofit’s use of the space at 1750 13th Street and several grants, including the potential funding from the capital tax.

“In both of those relationships basically what we are asking BMoCA to do is to keep the doors open and to present work for the community,” says Matt Chasansky, manager of the Boulder Office of Arts and Culture. “After the walkout what we are trying to keep an eye on is if BMoCA can continue to do that. We are not going to interfere with the administration of the organization or throw our weight around in how they make a decision; we have to rely on their Board process to do that. As long as they can continue to deliver their programs to the community and as long as they do, then we think that they are doing what the city needs them to do.”

Ultimately though, this isn’t up to the see BMOCA Page 18

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BMOCA from Page 17

Office of Arts and Culture — it’s a decision for Council to make and then for voters to decide on the November ballot.

And, while Chasansky has confidence in the Cultural Plan set forth by his office and of BMoCA’s place within it, there are alternative approaches by which to pursue a thriving and sustainable arts culture that could also be considered.

On one hand is the approach taken by the museum’s leadership, which is closely aligned with the City’s current methodology as laid out in the Community Cultural Plan, proposing things like sizable public-private investments in larger cultural institutions.

Like trickle down economics, the strategy hopes that by supporting established institutions, the cultural economy will be stimulated across the board.

“In the recent Arts and Economic Prosperity IV survey (AFTA), BMoCA was identified as one of the most important cultural destinations by arts patrons in Boulder,” Chasansky says.

“We think it is important to recognize that and to make sure that it stays that way for the long-term.

“We made a similar investment in the Dairy Center for the Arts with the first capital expenditure tax in 2014 that, at $4 million, is to-date the largest cultural investment in Boulder’s history.

Now that their renovation and expansion is complete, we look at it as a success story and are interested in pursuing similar projects like that at BMoCA.” His high degree of confidence stems from another set of insights offered by AFTA which indicates that, on average, each Boulder resident visits cultural institutions 10 times a year. And in addition to that, 300,000 tourists visit art spaces as well, each one generating $45 in economic activity for the city.

But the rosy picture painted by these numbers doesn’t match the experience of all of the 160 arts organizations in Boulder, nor of the nearly 10,000 creative professionals in Boulder, says Adrienne Kelly, co-owner of Boulder Creative Collective (BCC), a for-profit arts space in East Boulder.

“Smaller organizations like us are routinely overlooked by the City and the Office of Arts and Culture,” she says.

“Actually, we recently staged a demonstration or protest of sorts at the last cultural meeting, wearing colorful costumes and carrying signs to try to draw attention to those of us who, because of our size, are unlikely to get money from the City, at least not anytime soon.

“We are the ones working directly with the artists. Trying to provide affordable space for them to create so that they continue to live in the city they work as the costs of living rise. We are the ones trying to develop a market for them, to connect them with patrons.

We are the ones actively creating a market for art while places like BMoCA stand by seemingly content to show a few artists a year with little or no concern for their own culture, let alone the artists’ community.”

Which brings us to another approach for building up Boulder’s arts community, one the BCC and former BMoCA employees all advocate for. It can be likened to raising the minimum wage. As artists struggle to make ends meet amid rapidly increasing costs of living in the city and what feels like shrinking sales outlets (at least three arts organizations have closed in Boulder since the beginning of the year), many wonder how the arts market will continue to survive in Boulder.

From this perspective, what the art market needs is not bigger, newer and centrally located cultural institutions, but direct support of the artists themselves who congregate around the peripheries of town.

Chasansky recognizes this dilemma, saying he is familiar with concerns like those offered by Kelly, but doesn’t “know for sure why or where they come from.”

“What I do know is that we have never tracked this data well before,” he says. “[AFTA] is the first time we have gotten a picture of the community-wide experience and it just doesn’t appear to be the case [that our arts markets aren’t supporting our artists]. I am not dismissing the fact that individual organizations feel that way. My suspicion is that the marketplace ballooned in an interesting way in the past few years, that we got a lot of new organizations and a lot of new interest in investing and spending in Boulder arts and culture and that while visitor numbers are growing, the market still has some catching up to do.”

Ron McMahan explains a similar phenomenon. “Before we had this problem with staff, we were looking to increase our capacity in terms of curatorial quality and educational efficacy,” he says. “I have built several multi-million dollar companies in Boulder and I have noticed something called a tier effect, where you build something as an institution, then experience a change that turns you into a different kind of organization. We at BMoCA are experiencing that kind of a change and as the level of expertise needed to be increased, the tensions between staff seemed to grow, hand-in-hand.”

McMahan has been a trustee of the museum for 30 years and was recruited to the BMoCA Board three and a half years ago primarily to work on the civic center feasibility study and museum expansion. He says it has been a primary focus of the board since 2014 when the first cultural tax was approved.

Boulder Weekly

“We saw it as an opportunity that could not be missed,” he says.

McMahan says the organization has never been more ready to undertake such a monumental project. In the eight years that David Dadone has served as executive director at BMoCA, the museum has grown in revenue from $250,000 to about $1.25 million last year and all that in addition to growing its educational programs and increasing the caliber of its shows.

Ultimately the citizen committee appointed to make recommendations about the terms and recipients of the capital tax expansion agreed with McMahan, voting unanimously to include BMoCA on the ballot initiative, but the recommendation was delivered to Council with a strong footnote of concern.

Several committee members questioned whether the project was ready to move forward in light of the on-going discussions regarding the East Bookend Civic Area Planning, the need to displace other facilities in order to rebuild the museum, and concerns about the benefit BMoCA provides to the whole of Boulder’s art community.

Although the committee was unavailable for additional comment, Jean Gatza, co-manager of the proposed tax renewal project who worked closely with the committee, says several of its members have said they would likely not have included BMoCA in the proposal had they known about the internal problems, but she was unable to provide further explanation other than to say, “I think they would have liked to delay BMoCA until the next round, but realized a five-to-seven-year delay isn’t a feasible option.”

Shoemaker worries the controversy could jeopardize the museum’s growth at a crucial time. When asked what the City would do with the East Bookend if the museum weren’t included on the tax extension, Shoemaker shrugs his shoulders and says, “I have no idea. I guess then we all sit around and wonder what to do with the East Bookend.”

McMahan is busy making sure the funding comes through and assures he is doing everything possible to make sure they learn from the walkout.

“Even if we found nothing in our internal investigations, the board figured there must be something going on and we ought to figure out how to make it so this won’t happen again.”

He suggests things like adding an advisory arts committee to make sure the museum doesn’t lose contact with the artists it claims to support, hiring staff with additional expertise so they are well suited to take the museum into a time of rapid expansion, and introducing a deputy director to assist Dadone in the museum’s leadership.

Boulder Weekly

Nonetheless, McMahan also worries its eligibility for the funding has been jeopardized: “When people are out there leveling all these claims, it’s hard to prove you didn’t do what they are saying, but you go ahead and disprove, disprove, disprove. It’s like somebody asking, ‘When did you stop beating your wife?’ and then it seems that you once were beating your wife.

How do you disprove negatives?

There’s nothing you can say to get rid of that kind of accusation, unfounded as it might be.”

With 40 years of history as Boulder’s

prominent destination for visual arts, the once humble, artist-run organization is quickly growing up to become the city’s frontrunner for cultural anchor.

Now poised to become the single biggest recipient of civic investment in the arts in Boulder’s history, BMoCA bears the burden of proving it is a worthy recipient, not just because of its history or circumstance, but because it can demonstrate it’s the best way to provide what Boulder arts deserves and requires.

“We have a call to increase the prosperity of artists in this city,” Chasansky says. “To support their ability to make a

home here and to build a successful business. Wrapped up in that are quality institutions that are a net positive to our creative identity and our cultural economy and the cultural cohesion that comes from having visual artists in our community.

“To have a substantial visual arts museum adds to our portfolio of such assets in an important way. If we are going to continue to be a place where artists come to live and work, there needs to be places for them to show.”

Whether or not that is the current iteration of the Boulder Museum of Contemporary Art is yet to be decided.

July 20 , 2017 19

overtones

Daniel Topete

ON THE BILL: Esme Patterson. 7:30 p.m.

Sunday, July 30, Underground Music Showcase Main Stage, 363 S. Broadway, Denver.

Growing up next to her

Esme Patterson and her Boulder roots

by Sarah Haas up songs. Anyone who’s really been around me is no longer charmed by how I have to sing little songs about everything I’m doing. Like if I’m making toast I’m singing, ‘I’m making some toast.’”

Her ditty may be offered in jest but the tonal undulations of her impromptu song are thrilling — soft, crisp and striking a balance between depth and levity. Patterson may have to work at making a living out of her folksy and musical life on the road, but that voice... well, that’s special, and that’s a part of who she’s always been.

I’ve known Patterson for a long time and as we are sitting across the table from one another at Snarfs, two full-grown women, I’m flooded by memories of us playing and singing and dancing as kids.

At Mesa Elementary we performed in the handbell choir together — I was clunking around two mid-scale bells while she managed to make four high notes sound like they were singing. In middle school we acted in plays, Patterson playing the lead in corny productions like Gone with the Breeze while I sauntered alongside her as an awkward and wacky sidekick. Eventually, she landed a spot she’d long coveted in Fairview’s jazz choir, Excalibur, and from then on Patterson was known by everyone as the siren among us.

We laugh at the memories of those younger versions of ourselves, and we cringe at all the gunk that lies between the lines. Growing up as Esme Patterson wasn’t always easy

When you’re growing up it’s easy to imagine all you might become — one day fancying yourself an astronaut, the next a corporate boss, the next a horse veterinarian. Sometimes you even imagine all this at once and then the rest of your life is trying to figure out how to realize that bizarre menagerie in the “real” world. This tends to be the artist’s journey, questing to express art in a world tangled up in money and fame.

Growing up in Boulder, folk singer/songwriter/burgeoning rock star Esme Patterson has made the process of self-expression her life’s work. I say “work” because the process is the part she’s had to figure out, and it hasn’t been easy. Over the years though, she’s developed an intricate and unique rhythm to manage the business of her music.

On the day we met in Table Mesa, her old neighborhood haunt, she was wearing a faded army jacket with pockets full of song lyrics, scribbled on little scraps of paper.

She has learned to capture lines of poetry whenever they come, which is usually when she’s out in the world, doing her thing.

“I can’t sit down to write,” she says. “Writing songs is just part of living for me, making stuff up and singing out loud. I can’t really remember a time when I wasn’t making 20 July 20 , 2017

Boulder Weekly

Daniel Topete

and just as I can remember her thriving, I can remember her crying. Listen to any of the songs on her three solo albums and that tenderness is still there.

Back then I imagine it must have been scary, feeling the world that way, but as an adult she’s come to cherish her vulnerability as a part of her creative process. Rarely in our long conversation does she look me in the eye, and at first I take it for shyness only to realize it’s because when she does, she can’t help but reveal the depths of what’s inside her. She’s had to learn how to protect herself.

“It’s been a hard winter,” she says.

“Lately it’s been hard to go on stage and be myself; I just didn’t have enough to give. I needed to escape to another reality. So I started wearing these neon wigs and robes and it all added up to something like a psychedelic freakout that provided a place for me to hide while I was on stage. A little bit of fantasy can provide an escape, and sometimes that’s just what I need.”

With a pocket full of songs, Patterson has been prolific since going solo in 2012, putting out three albums in just five years. Today, though, she’s thinking about the next one, the one she says feels like the first “real” album she’s ever made. It’s not that she hasn’t been happy with her previous work, just that, somehow, the albums didn’t feel like hers. It’s like she was still following borrowed processes rather than her own — like she was still trying to figure out how to be the musician she’d always wanted to be, now that she’s all grown up.

Her new album is a work in progress and still very much under wraps, but if her last album, We Were Wild, is any indication of what is to come, we can expect music that breaks open, just like she has. Having emerged from a hard winter and sporting a wig on her head, she’s learned how to transform the rawness of despair into something of a cathartic experience for both her and the audience. And it’s worth noting that her more recent music doesn’t sound like the sentimental folk you might be used to hearing from Patterson — it sounds an awful lot like rock ‘n’ roll.

“The things that have come though those painful moments have a way of blowing my mind,” she says.

“Those moments when you are vulnerable and broken open somehow, we become open to receiving something that we might otherwise eschew.

That’s the real shit. That’s the cool shit.”

After four albums and endless touring with Denver’s Paper Bird, Esme Patterson set out on her own in 2012.

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July 20 , 2017 21

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Boulder Weekly

Central City offers splendid mainstage productions of ‘Così fan tutte’ and ‘Carmen’

by Peter Alexander

T

art s & c u l t u r e

he 2017 season of delightful turn with the tricky, quicksilthe Central City ver Act Three quintet.

Opera (CCO) is The stage direction by Jose Maria well launched, Condemi was full of ideas and invenwith two splendid tions. Many were effective touches productions in the main enhancing characterization, especially theater: a musically solid of smaller roles. Some were distracting, and entertaining producand the intimate pantomime by tion of Bizet’s Carmen and Carmen and Don José preceding Act a revelatory production of Three, designed to cover the time Mozart’s Così fan tutte. between acts, clashed with the action Carmen opened the immediately following. season July 8 and continConductor Adam Turner got a ues through Aug. 6. Using bright, colorful sound from the CCO sets stored since CCO’s orchestra throughout, from the splash 2011 season, it had an allof sound that opened the Prelude to the Amanda Tipton new cast and director.

Carmen is a tricky show to pull off on Central City’s small stage.

The act set in Lillas Pastia’s tavern works well, but the Matthew Plenk other three force compro(Ferrando), Hailey mises that are not always Clark (Fiordiligi), and David Adam Moore effective, including an awk(Guglielmo). ward ballet in place of the bullfighters’ parade in the final act.

In Sunday’s performance ( July 16), Emily Pulley was slow dramatic ending. He pushed tempos to ignite the fiery title role. She toward, but not beyond, the limits of remained a flickering Carmen, at times singers and players, making for an burning at full heat, at times smolderexhilarating afternoon in the theater. ing without catching fire. She was at Opening last Saturday, July 15, and her best in duos with Don José and continuing through Aug. 4, the producother small ensemble scenes, where her tion of Così fan tutte takes its cue from characterization came through most the opera’s subtitle: the school for lovstrongly. ers. By placing it in a Victorian-era Making his CCO debut, Adriano boarding school, the production approGraziani was a natural Don José. He priately brings out the youth and inexeschewed Bizet’s pianissimo on the perience of the lovers; it creates wonFlower Song’s high b-flat, but sang derful opportunities for humor, and it with great passion throughout. Michael appeals to the Victorian vogue stoked Mayes was a swaggering, rough-hewn

by Downton Abbey.

Escamillo who may lack sophistication In this context, Don Alfonso is a but has no doubts of his appeal to every fusty professor teaching a needful leswoman on stage. son. Despina is a “house-mistress” Angela Mortellaro sang Micaela whose cynicism comes from years of sweetly but sometimes too powerfully exasperation with the follies of adolesfor the intimate Central City opera cents. And the four lovers, described in house. Tyler Putnam was a smooth and the program as “students” who are “dateffective Zuniga. The smugglers poring,” are clearly in the throes of selftrayed by apprentice artists Heidi dramatizing first love.

Middendorf, Kira Dills-DeSurra and This setting fits Così perfectly and Nathan Ward, and studio artist renders Alfonso’s sensible lesson — no Armando Contreras, joined Pulley for a one is perfect, so we all must accept our

Boulder Weekly

ON THE BILL: Central City Opera presents: Carmen. 2:30 p.m.: July 22, 26, 30, Aug. 3, 6; 8 p.m.: July 20, 28; Aug. 1 Così fan tutte. 2:30 p.m.: July 23, 25, 19, Aug. 2, 4; 8 p.m.: July 21, 27. Central City Opera House, 124 Eureka St., Central City, 303-292-6700.

lovers as they are — clearer than usual.

Much has been made of the plot’s absurdities, but opera is not principally about plot; it is about emotions expressed in music, and that Così has in abundance: pride, love, despair, jealousy, anger.

The Central City cast conveyed this interpretation wonderfully. As Alfonso, Patrick Carfizzi sang with solidity of tone and the assurance of a long-suffering professor with a lesson to teach. I loved Megan Marino’s Despina, a cleartoned soprano who even projects through a surgical mask.

As Fiordiligi, CCO debutante Hailey Clark earned the audience’s affection. She handled the extreme registers and daunting leaps of the soprano-slaying aria “Come scoglio” with aplomb, if not total evenness of tone, and was perfectly heart-rending in her later aria, “Per pietà.”

Tamara Gura was an affecting Dorabella, singing with a darker color that distinguished her from her steelier sister. She didn’t just sing her signature aria, “Smanie implacabili,” she embodied it.

Of the men, David Adam Moore made a strong impression as Guglielmo, portraying his self-proclaimed “advantage” with assured voice and characterization. Matthew Plenk brought a robust tenor to Fernando, occasionally forcing the sound but singing with the urgency of an adolescent lover.

Using a turntable and projections, Andrew D. Edwards’s set ingeniously turned a lecture theater into dormitory and garden. Stephen Barlow’s subtle and inventive direction was one of the joys of the performance: I didn’t want to take my eyes off the stage.

Most remarkably, he brought out complex and changing feelings among the four lovers, to the provocative and unexpected ending. John Baril conducted Mozart’s glorious music with sensitivity.

This Così is a perfect fit for Central City’s intimate theater. A delight from beginning to end, it is not to be missed by anyone who loves Mozart, or opera.

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THE TAMING OF THE SHREW HAMLET JULIUS CAESAR ROSENCRANTZ & GUILDENSTERN ARE DEAD

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HENRY VI, PART 3

coloradomusicfestival.org or 303.440.7666

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Single Tickets (starting at $12) | Chautauqua Box Office monday-friday, 12-5pm (phone or in person)

Boulder Weekly

Classic Caesar

Embrace the Ides of March

by Gary Zeidner

M

arts & c u lt u r e

an landing on the moon. The Vietnam War. Two gulf wars.

VCRs. Video games. Cell phones.

The Internet. Cassette tapes.

Compact discs. DVDs. AIDS. Reaganomics. Bush. Clinton playing hide the cigar.

Son of Bush. Obama becoming the first African American U.S. president. These are all things that have come — and in many cases gone — since Julius Caesar was performed at the first Colorado Shakespeare Festival back in 1958.

It is only fitting and poetically symmetrical, then, that Julius Caesar should once again grace the incomparable Mary Rippon Outdoor Theatre during the Colorado Shakespeare Festival’s 60th season. Here’s hoping that the CSF’s run garners less death threats than NYC’s Shakespeare in the Park’s did. That version used a Trump stand-in for Caesar and thus riled red-state feathers because, well (SPOILER ALERT), Caesar does get stabbed to death.

The perpetrators of the resulting furor forgot two rather important facts. First, Julius Caesar clearly contains a decidedly anti-assassination message. For the love of Shakespeare’s frilly collar, all of the principal assassins die in the end! Second, the Caesar of Julius Caesar is a good man and a great ruler. He is beloved by virtually all of his subjects. He refuses, on multiple occasions, to be elevated to king and thus transform a democracy into an autocracy. He is at peace with his baldness. Does that sound anything like the orange-skinned, Twitter-addicted, combedover blowhard that is Donald Trump? As laudable a leader as Caesar (Robert Sicular) is, he stands in the way of the acquisition of more riches and power by some of Rome’s richest and most powerful. In partic-

ular, Caius Cassius (Matthew Schneck) wants Caesar gone to make way for the more pliable Marcus Brutus (Scott Coopwood). After convincing Brutus of the necessity of Caesar’s demise and Brutus’ ascension, Cassius rounds up a handful of like-minded lackeys, and the lot of them carve Caesar up like a Thanksgiving turkey. And that’s all before the intermission.

Aside from the coming of uppances to the conspirators, the secJennifer Koskinen ond act’s highlight

ON THE BILL: Julius Caesar. Colorado Shakespeare Festival at the University of Colorado Boulder, coloradoshakes. org. Through Aug. 12.

is Mark Antony’s (Christopher Joel Onken) famous, “Friends, Romans, countrymen, lend me your ears” speech. Often and rightly cited as an example of outstanding rhetoric and persuasive speaking, that speech is the linchpin of the second half of Julius Caesar. Thankfully, Onken does it justice. His delivery begins appropriately grave before slowly but steadily crescendoing to a climax that incenses the masses who minutes before were happy to spit on Caesar’s grave.

I am far from the first to note that although the play may be called Julius Caesar, its protagonist is

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clearly Brutus. Shakespeare knew how to put asses in seats, and people simply aren’t going to show up for a play called Marcus Brutus like they will for one called Julius Caesar. It’s the same reason Vegas doesn’t boast a Brutus’ Palace. Given the importance of Brutus to Caesar, I am happy to report that Coopwood’s conflicted, slow burn of a performance delivers a Brutus to remember. As high as I cocked my eyebrow at Coopwood as Petruchio in The Taming of the Shrew is as loudly as I clapped for him as Brutus in Julius Caesar.

For anyone weary of Shakespeare in outer space or the myriad other modernizations that Shakespeare festivals all over the world dabble in, the CSF’s Julius Caesar is beautifully classical. It takes place in ancient Rome just as the play was originally written. Scenic Designer Caitlin Ayer’s simple bi-level stage backed by screen-adorned metal scaffolding evocative of Roman columns combines with the period costumes

by Clare Henkel to transport audiences to a Rome of old. Of course, watching the actual moon rise stage right as the play proceeds does nothing to impinge on the naturalistic grandeur of things.

Embrace the Ides of March and get thee to a performance of Julius Caesar.

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Boulder Weekly

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MARYCHAPINCARPENTER Mary Chapin Carpenter. 7:30 p.m. Monday, July 24, Chautauqua Auditorium, 900 Baseline Road, Boulder, 303-441-3440. Tickets $40-$58. see EVENTS Page 28

The Symbols 8 p.m. Saturday, July 22, Dickens Tavern & Opera House, 300 Main St., Longmont, 303- 834-9384.

Darren Mahuron Fort Collins’ jazz/funk/ rock band The Symbols are heading south to give the folks of Longmont a chance to boogie.

The band consists of female vocalist Mer Sal, Scott McCormick drummer Don Stahl and bassist Jasco. The trio has recently graced the cover of Northern Colorado’s Scene Magazine and have been making frequent appearances on television, at festivals and on the radio. The self-described “spiritual porn rock” band will be accompanied by Custom Shop and Cat Jerky at Dickens Tavern.

—Alvaro Sanchez

Boulder Weekly

Nicolas Jaar

Sarah Jarosz

8 p.m. Tuesday, July 25, Fox Theater, 1135 13th St., Boulder, 303-447-0095.

8 p.m. Friday, July 21, Boulder Theater, 2032 14th St., Boulder, 303-786-7030.

After releasing his third fullCallie Barlow length album, Sirens, in 2016, Chilean-American electronic music artist Nicolas Jaar stops at the Fox Theatre as part of a tour that includes multiple shows in the U.S. and Europe.

Jaar presents a mostly ambient tracklist that guides audiences through a lanscape of distinct sound and rhythm — perfect for a relaxing Tuesday night in Boulder. In 2015, Jaar scored Dheepan by director Jacques Audiard, winner of the Palme d’Or at Cannes 2015. Tickets: $27.50-30 —Alvaro Sanchez

Texas-born Sarah Jarosz began learning the mandolin at age 10, Courtesy of Sarah Jarosz picking up guitar, clawhammer banjo and octave mandolin soon after. So it’s no surprise Jarosz inked her first recording contract with Sugar Hill Records when she was a senior in high school, producing her first full-length album, Song Up In Her Head, in 2009. Her fourth studio album, Undercurrent, was released last year, garnering two Grammy Awards in 2017 for Best Folk Album and Best American Roots Performance for the song “House Of Mercy.” Undercurrent also picked up the award for 2017 Album of the Year from Folk Alliance International. Tickets $25-$30.

July 20 , 2017 27

events

EVENTS from Page 27

Thursday, July 20 Music 101st Army Dixieland Band. 6:30 p.m. Longmont Museum & Cultural Center, 400 Quail Road, Longmont, 303-651-8374.

Bluegrass Pickers. 7 p.m. West Flanders Brewing, 1125 Pearl St., Boulder, 303-447-BREW. Carlos Vives. 8 p.m. Bellco Theatre, Colorado Convention Center, 700 14th St., Denver, 303-228-8000.

Chain Station. 6:30 p.m. Louisville Community Park, 955 Bella Vista Drive, Louisville, 303-335-4581.

CloZee — with Lucid Vision, Godlazer. 8:30 p.m. The Fox Theatre, 1135 13th St., Boulder, 303-447-0095.

arts

“The Decline of Water,” oil on panel, by Home Williams

In his paintings, Hone Williams creates strange and surreal compositions inspired by real world situations.

Seriously Audacious Situational Surrealism is on display at the Dairy Arts Center through July 30.

Beyond Thought — Steve Mason. The Dairy Arts Center, 2590 Walnut St., Boulder, 303-4407826. Through July 30.

Dasha Shishkin: Tram Pam Pam. Boulder Museum of Contempoarary Art, 1750 13th St., 303-443-2122. Through Sept. 10.

Derrick Velasquez: Obstructed View. Museum of Contemporary Art, 1485 Delgany St., Denver, 303-298-7554. Through Aug. 27.

Divas — Leona Lazar. The Dairy Arts Center, 2590 Walnut St., Boulder, 303-440-7826.

Through July 30.

13th St., 303-443-2122. Through Sept. 10.

Earth, Wind & Fire, CHIC featuring Nile Rodgers: 2054 The Tour. 8 p.m. Pepsi Center, 1000 Chopper Circle, Denver, 303-405-1100.

Enhanced Photography by Marc Bernardi.

Community Art Program Gallery, NCAR, 1850 Table Mesa Drive, Boulder, 303-497-1174.

Through July 29.

French Mini-Festival: Pianist Benedetto Lupo.

7:30 p.m. Chautauqua Auditorium, 900 Baseline Road, Boulder, 303-442-3282.

Home: American Photography at the CU Art Museum. CU Art Museum, 1085 18th St., Boulder, 303-492-8300. Through July 15.

Modern America. Firehouse Art Center, 667, Fourth Ave., Longmont, 303-651-2787. Through July 30.

Glass Top Bar. 5 p.m. Galleria at the Denver Performing Arts Complex, 1400 Curtis St., Denver, 720-865-4220.

Illustration, Design, Art & Photography by Michael Hamers. Community Art Program Gallery, NCAR, 1850 Table Mesa Drive, Boulder, 303-497-1174. Through July 29.

Paper on Paper: The Art of Chine-Collé.

Arvada Center, 6901 Wadsworth Blvd., Arvada, 720-898-7200. Through Aug. 20.

Jay Roemer Band featuring Dave Carroll (Trampled By Turtles) — with Rain City Ramblers, Slippery Creek. 8 p.m. Cervantes Masterpiece, 2637 Welton St., Denver, 303-297-1772.

Jenny Morgan: SKINDEEP. Museum of Contemporary Art, 1485 Delgany St., Denver, 303-298-7554. Through Aug. 27.

Kid Vegas Hustle Ministry Album Release. 8 p.m. Summit Music Hall, 1902 Blake St., Denver, 303-487-0111.

Kyle’s Brew Fest Denver featuring Kyle Hollingsworth Band & Very Special Friends. 5 p.m.

Great Divide (RiNo Location), 3403 Brighton Blvd., Denver, 303-296-9460.

Levitt Pavilion Concert Series. 6 p.m. Levitt Pavilion Denver, 1380 W. Florida Ave., Denver.

Loudpvck. 9 p.m. Beta Nightclub, 1909 Blake St., Denver, 303-383-1909.

A Night of Pops: Tribute to Leroy Anderson.

7:30 p.m. Boettcher Concert Hall, 1000 14th St., Denver, 720-865-4220.

Open Mic Night hosted by Brian Rezac. 6:30 p.m. Dickens Opera House, 300 Main St., Longmont, 720-297-6397.

Outback Saloon Open Mic Night. 9 p.m. Outback Saloon, 3141 28th St., Boulder, 573-569-0370.

Latino Hues. Boulder Public Library, 1001 Arapahoe Ave., Boulder, 303-441-3100. Through July 30.

Mauro Giaconi: Cae a plomo/falls to lead.

Boulder Museum of Contempoarary Art, 1750

Steele St., Denver, 720-337-1400.

James Davis. 8 p.m. Comedy Works, 1226 15th St., Denver, 202-595-3637.

Let’s Farm Kids Summer Camp. 9 a.m. Longmont YMCA, 950 Lashley St., Longmont, 303-443-9952.

Loopr Mobile Cannabis Lounge Routes. 2 p.m.

1-Up Colfax, 717 E. Colfax Ave., Denver, 844-695-6677.

Nighttime Tonight. 9 p.m. The Deer Pile, 206 E. 13th Ave., Denver, 303-831-6443.

Pan Nation — Steel Drum Jazz. 7 p.m. Dazzle, 1512 Curtis St., Denver, 303-839-5102.

NT Live: Angels in America Part One: Millennium Approaches. 7 p.m. Denver Pavilions 15, 500 16th St., Denver, 303-260-6000.

Roselit Bone Album Release Tour —with Bonnie & the Clydes. 8 p.m. Hi-Dive Denver, 7 S. Broadway, Denver, 303-733-0230.

Smokes & Jokes. 8:30 p.m. Johnny’s Cigar Bar, 1801 13th St., Boulder, 303-449-0884.

Thursday Nights with Franklin & Friends. 9 p.m. Tennyson’s Tap, 4335 W. 38th Ave., Denver, 303-455-4269.

Thursday Night Service: John Digweed. 8 p.m.

The Church, 1160 Lincoln St., Denver, 303-832-2383.

The Upper Strata with Nevayda Gunn. 9 p.m.

Mercury Cafe, 2199 California St., Denver, 303-294-9258.

Wallpaper House Band. 7 p.m. East Simpson Coffee, 414 E. Simpson St., Lafayette, 303-641-4850.

Summer Ballet Camps & Classes. 10 a.m. Long-

Mi Tierra. Denver Art Museum, 100 W. 14th Ave. Parkway, Denver, 720-865-5000. Through Oct. 22.

Paper.Works. Arvada Center, 6901 Wadsworth Blvd., Arvada, 720-898-7200. Through Aug. 20.

Rituals — Mark Alan Francis. The Dairy Arts Center, 2590 Walnut St., Boulder, 303-440-7826.

Through July 30.

Ryan McGinley: The Kids Were Alright.

Museum of Contemporary Art, 1485 Delgany St., Denver, 303-298-7554. Through Aug. 20.

Seriously Audacious Situational Surrealism

mont Dance Theatre Academy, 1422 Nelson Road, Longmont, 303-772-1335.

Third Thursday Improv. 7 p.m. Wesley Foundation, 1290 Folsom St., Boulder, 303-588-0550.

Trivia & Comedy. 7 p.m. Johnny’s Cigar Bar, 1801 13th St., Boulder, 970-302-7130.

Friday, July 21 Music

Shade. Denver Art Museum, 100 W. 14th Ave. Parkway, Denver, 720-865-5000. Through July 16.

Then, Now, Next. Denver Art Museum, 100 W. 14th Ave. Parkway, Denver, 720-865-5000.

Through Aug. 31.

Walk the Distance and Slow Down: Selections from the Collection of JoAnne Gonzalez Hickey. Boulder Museum of Contempoarary Art, 1750 13th St., 303-443-2122. Through Sept. 10.

The Western: An Epic in Art and Film. Denver Art Museum, 100 W. 14th Ave. Parkway, Denver, 720-865-5000. Through Sept. 10.

way, Boulder, 303-499-2985.

Denver Home Grown Music Festival featuring Picture The Waves, No More Excuses, In The Variant, Late DJ Set. 9 p.m. Cervantes’ Other Side, 2637 Welton St., Denver, 303-297-1772.

French Mini-Festival. 6:30 p.m. Chautauqua Auditorium, 900 Baseline Road, Boulder, 303-442-3282.

Ginga Presents “Brazil Night: A Musical Tour.”

6:30 p.m. and 9 p.m. Dazzle, 1512 Curtis St., Denver, 303-839-5102.

Bluegrass Pick. 6 p.m. Cellar West Artisan Ales, 1001 Lee Hill Drive, Suite 10, Boulder, 262-719-8795.

Glass Top Bar. 5 p.m. Galleria at the Denver Performing Arts Complex, 1400 Curtis St., Denver, 720-865-4220.

Buddy Guy. 6:30 p.m. Denver Botanic GardensYork Street, 1007 York St., Denver, 720-865-3500.

Leo Royalty Bash. 8:30 p.m. Lincoln Station Bar, 776 Lincoln St., Denver, 303-885-8589.

Daniel Ondaro. 7 p.m. Caffè Sole, 637 S. Broad-

see EVENTS Page 30

words

Thursday, July 20

Paul Cohen — The Glamshack. 7:30 p.m. Boulder Book Store, 1107 Pearl St., Boulder, 303-447-2074.

Poetry of Native American High School Students. 7 p.m. Innisfree Poetry Bookstore & Cafe, 1301 Pennsylvania Ave., Boulder, 303-495-3303.

William Penuel and Dan Gallagher. 5:30 p.m. Innisfree Poetry Bookstore & Cafe, 1301 Pennsylvania Ave., Boulder, 303-495-3303.

Comedian Luenell. 7:30 p.m. Denver Improv, 8246 Northfield Ave., Denver, 303-307-1777.

Tuesday, July 25

Feminist Agenda: Comedy Night. 7 p.m. 300 Suns Brewing, 335 First Ave., Unit C, Longmont, 720-442-8292.

Stan Meyer: Poetic Presence. Arvada Center, 6901 Wadsworth Blvd., Arvada, 720-898-7200.

Through Aug. 6.

Beth Ditto. 9 p.m. The Bluebird Theater, 3317 E. Colfax Ave., Denver, 303-337-1666.

Events

Crime and Pun-ishment. 7 p.m. The Old Spaghetti Factory, 1215 18th St., Denver, 888-643-2583.

— Hone Williams. The Dairy Arts Center, 2590 Walnut St., Boulder, 303-440-7826. Through July 30.

Byron Belitsos — Your Evolving Soul. 7:30 p.m. Boulder Book Store, 1107 Pearl St., Boulder, 303-447-2074.

Innisfree Weekly Open Poetry Reading. 7 p.m. Innisfree Poetry Bookstore & Cafe, 1301 Pennsylvania Ave., Boulder, 303-495-3303.

Tooth n Nail. 7 p.m. Innisfree Poetry Bookstore & Cafe, 1301 Pennsylvania Ave., Boulder, 303-495-3303.

Wikimedia Commons

Tooth n Nail is a collection of womanhood — stories, poems, images, fragments — lovingly compiled and formatted in Boulder. This collection features work from 26 diverse contributors, 17 original visual artworks in color and more, showing at Innisfree Poetry and Bookstore on Tuesday, July 25.

Food Truck Safari. 12 a.m. Denver Zoo, 2300

28 July 20 , 2017

Boulder Weekly

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Boulder Weekly

July 20 , 2017 29

events

EVENTS from Page 28

Live Music. 6 p.m. Upslope Brewing Company (Lee Hill), 1501 Lee Hill Drive, Suite 20, Boulder, 303-449-2911.

Live Music: Dustin Pittsley Band. 7:30 p.m.

Dannik’s Gunbarrel Corner Bar, 6525 Gunpark Drive, Boulder, 303-530-7423.

Live Patio Music: Sandra MacDougall. 5:30 p.m. Dickens Opera House, 300 Main St., Longmont, 720-297-6397.

Los Cheesies. 10 p.m. Pioneer Inn, 15 E. First St., Nederland, 303-258-7733.

Louisville Street Faire. 5 p.m. Steinbaugh Pavilion, 824 Front St., Louisville, 720-236-5206.

303-443-9952.

Ave., Denver, 303-832-1874.

Loopr Mobile Cannabis Lounge Routes. 2 p.m.

1-Up Colfax, 717 E. Colfax Ave., Denver, 844-695-6677.

Dawn And Hawkes. 8 p.m. The Walnut Room, 3131 Walnut St., Denver, 303-295-1868.

Luenell. 7:30 and 9:45 p.m. Denver Improv, 8246 Northfield Ave., Denver, 303-307-1777.

Denver: Living Earth presents S.J. Tucker & Leslie Hudson. 8 p.m. Living Earth House, 605 Newton St., Denver.

Emily Scott Robinson and Bethel Steele — Majestic Design Scrub Sale. 7 a.m. Longmont United Hospital, 1950 Mountain View Ave., Longmont, 303-651-5111.

Jennifer Koskinen Print Show and Auction. 6 p.m. Boulder Creative Collective, 2500 27th St., Boulder, 720-663-8583.

Neil Diamond. 8 p.m. Pepsi Center, 1000 Chopper Circle, Denver, 303-405-1100.

theater

North Boulder Underground. 6 p.m. Bootstrap Brewing Company, 142 Pratt St., Longmont, 303-652-4186.

Pg 6IX Band. 9 p.m. Jazz@Jack’s, 500 16th St., Suite 320, Denver, 303-433-1000.

Anything Goes. Jester’s Dinner Theatre, 224 Main St., Longmont, 303-682-9980. Through Oct. 1

Ravin’Wolf Acoustic Mountain Blues. 6 p.m.

Very Nice Brewing Co., 20 Lakeview Drive, Suite 112, Nederland, 720-606-1734.

Baby Boomer Baby — presented

by Playhouse Productions. The Dairy Arts Center, 2590 Walnut St., Boulder, 303-440-7826. Through July 23.

Relix Presents: UB40 Legends Ali, Astro & Mickey — with Special Guests Matisyahu, Raging Fyah. 6 p.m. Levitt Pavilion Denver, 1380 W. Florida Ave., Denver.

Broadway Bound. Miner’s Alley Theatre, 1224 Washington Ave., Golden, 303-935-3044. Through Aug. 20.

Sarah Jarosz + James McMurtry. 8 p.m.

Boulder Theater, 2032 14th St., Boulder, 303-786-7030.

Lies, scheming and scandal meet in a spellbinding political thriller that seems all too familiar in today’s polarized times.

See a review of the Colorado Shakespeare Festival presentation of Julius Caesar on page 29.

Dixie’s Tupperware Party. Denver Performing Arts Complex, 1345 Champa St., Denver, 720-865-4239. Through Aug. 6.

Slam Poet Megan Falley. 8 p.m. Shine Restaurant and Gathering Place, 2027 13th St., Boulder, 303-449-0120.

Hamlet. Mary Rippon Outdoor Theatre, University of Colorado, 303-492-8008. Through Aug. 13.

Stephen Pearcy — with Throttlebomb, Dark Light District. 6 p.m. Herman’s Hideaway, 1578 S. Broadway, Denver, 303-777-5840.

The Symbols, The Custom Shop, Cat Jerky. 7 p.m. Dickens Opera House, 300 Main St., Longmont, 720-297-6397.

In the Heights — presented by CentreStage Theatre Company. The Dairy Arts Center, 2590 Walnut St., Boulder, 303-440-7826. Through July 23.

Symphony Under the Stars. 5:30 p.m. Highland City Club, 885 Arapahoe Ave., Boulder, 303-443-4430

Joseph and the Amazing Technicolor Dreamcoat. BDT Stage, 5501 Arapahoe Ave., Boulder, 303-449-6000. Through Aug. 19.

Julius Caesar. Mary Rippon Outdoor Theatre, University of Colorado, 303-492-8008. Through Aug. 12.

Ring of Fire: The Music of Johnny Cash.

Vintage Theatre, 1468 Dayton St., Aurora, 303-856-7830. Through Aug. 6.

Rosencrantz & Guildenstern Are Dead.

Mary Rippon Outdoor Theatre, University of Colorado, 303-492-8008. Begins July 21.

Through Aug. 13.

The Taming of the Shrew. Mary Rippon Outdoor Theatre, University of Colorado, 303-492-8008. Through Aug. 13.

Ten Buck Sixer. 6:30 p.m. Still Cellars, 1115 Colorado Ave., Longmont, 720-204-6064.

What So Not. 9 p.m. Beta Nightclub, 1909 Blake St., Denver, 303-383-1909.

The Whitney Houston Songbook. 8 p.m. The Clocktowr Cabaret, 1601 Arapahoe St., Denver, 303-293-0075.

YaSi: B-Side Music Fridays. 5 p.m. Museum of Contemporary Art Denver, 1485 Delgany St., Denver, 303-298-7554.

Events Adult Gymnastics. 5:30 p.m. Airborne Dance, 1816 Boston Ave., Longmont, 303-684-3717.

Argentine Tango GroundSchool Classes. 7 p.m.

Avalon Ballroom, 6185 Arapahoe Road, Boulder, 303-938-0716.

Arsenio Hall. 7:15 p.m. Comedy Works, 1226 15th St., Denver, 202-595-3637.

An Evening of Magic & Illusion. 7:30 p.m. The Bug Theatre, 3654 Navajo St., Denver, 303-477-9984.

Global Dance Festival. 3 p.m. Sports Authority Field at Mile High, 1701 Mile High Stadium Circle, Denver,720-358-3000.

James Davis. 9:45 p.m. Comedy Works, 1226 15th St., Denver, 202-595-3637.

L’Estrange Menagerie: A Sexy Circus. 11 p.m.

The Clocktower Cabaret, 1601 Arapahoe St., Denver, 303-293-0075.

Let’s Farm Kids Summer Camp. 9 a.m. Longmont YMCA, 950 Lashley St., Longmont,

30 July 20 , 2017

Return of the Wild Feminine: Womb-Centered Training. 9 a.m. Vali Soul Sanctuary, 6717 Valmont Road, Boulder, 303-442-1301.

with Bella Betts. 7 p.m. Shine Restaurant and Gathering Place, 2027 13th St., Boulder, 303-449-0120.

Summer Ballet Camps & Classes. 10 a.m. Longmont Dance Theatre Academy, 1422 Nelson Road, Longmont, 303-772-1335.

EOTO — with Skydyed. 10 p.m. Cervantes Masterpiece, 2637 Welton St., Denver, 303-297-1772.

Saturday, July 22 Music Fourth Annual Inner Peace Out Celebration — with Bianca Mikahn. 8 p.m. Dickens Opera House, 300 Main St., Longmont, 720-297-6397.

Brainsong No Shushing Concert Events. Noon.

East Boulder Community Center, 5660 Sioux Drive, Boulder, 720-255-9831.

Brothers Fortune. 10 p.m. Pioneer Inn, 15 E. First St., Nederland, 303-258-7733.

CWE Jazz and Brass Meet in the Street. 4 p.m.

Denver Pavilions, 500 16th St., Denver, 303-394-4552.

CWE Jazz Collective. 7 p.m. The Cube at Stapleton, 8371 E. Northfield Blvd., Denver, 303-394-4552.

Dave Fulker Quartet. 7 p.m. Caffè Sole, 637 S. Broadway, Boulder, 303-499-2985.

Davy Allard. 5:30 p.m. Dickens Opera House, 300 Main St., Longmont, 720-297-6397.

Dawes. 9 p.m. The Ogden Theatre, 935 E. Colfax

Free Season Preview. 7:30 p.m. Boettcher Concert Hall, 1000 14th St., Denver, 720-865-4220.

French Mini-Festival: Pianist Benedetto Lupo – Ravel & Debussy. 7:30 p.m. Chautauqua Auditorium, 900 Baseline Road, Boulder, 303-442-3282.

H2 Big Band Dance Party. 6:30 p.m. Dazzle, 1512 Curtis St., Denver, 303-839-5102.

Happy Hour Live Jazz. 5:30 p.m. Tandoori Grill South, 619 S. Broadway, Boulder, 303-543-7339.

Live Music: Maynard Mills Blues Band. 7:30 p.m. Dannik’s Gunbarrel Corner Bar, 6525 Gunpark Drive, Boulder, 303-530-7423.

McPherson Live Music. 9 p.m. The Wild Game, 2251 Ken Pratt Blvd., Suite A, Longmont, 303-652-0199.

Metropolitan Jazz Orchestra presents “A Taste of Jazz 2017.” 4 p.m. Historic Grant Avenue, 216 S. Grant St., Denver, 303-521-8206.

Michelle Roderick with Danny Thurmer. 8:30 p.m. West End Tavern, 926 Pearl St., Boulder, 303-444-3535. see EVENTS Page 32

Boulder Weekly

COSTUMES FOR

CONCERTS and

FESTIVALS BOULDER’S FUNKIEST COSTUME SHOP! 673 30th St., Boulder Corner of 30th & Baseline in Williams Village Shopping Center (between Moe’s BBQ & Gameforce)

303-440-8515 theatricalcostumesetc.com

NEW HOURS: 10AM - 7PM DAILY

THURSDAY JULY 20 10:00 AM

WE ARE STARS 2:00 PM

DREAM TO FLY 7:00 PM

COLORADO SKIES: MOON LANDING ANNIVERSARY 8:30 PM

LIQUID SKY FLOYD: DARK SIDE OF THE MOON FRIDAY JULY 21 8:00 PM

DREAM TO FLY 9:30 PM

LASER: QUEEN 11:00 PM

LASER: VAN HALEN SATURDAY JULY 22 1:00 PM

MOONS AND LASER: ROBOT ROCK 2:30 PM

DYNAMIC EARTH 7:00 PM

EVEN THE EARTH IS BIPOLAR: CURVED SPACE COMEDY 9:00 PM

LASER: DOORS / HENDRIX 10:30 PM

LIQUID SKY FLOYD: DARK SIDE OF THE MOON SUNDAY JULY 23 1:00PM

DOUBLE FEATURE: WE ARE STARS / PERSEUS & ANDROMEDA 2:30 PM

PLANETS AND LASER: GALACTIC ODYSSEY 4:00 PM

DREAM TO FLY

Fiske Planetarium - Regent Drive

(Next to Coors Event Center, main campus CU Boulder)

www.colorado.edu/fiske 303-492-5002 Boulder Weekly

July 20 , 2017 31

events

EVENTS from Page 30

Motown Legends Revue starring Ron Ivory & The Four Tones. 8 p.m. The Clocktower Cabaret, 1601 Arapahoe St., Denver, 303-293-0075.

COSTUMES FOR

CONCERTS and

FESTIVALS BOULDER’S FUNKIEST COSTUME SHOP! 673 30th St., Boulder Corner of 30th & Baseline in Williams Village Shopping Center (between Moe’s BBQ & Gameforce)

303-440-8515 theatricalcostumesetc.com

NEW HOURS: 10AM - 7PM DAILY

& Sushi Authentic Thai and Full Sushi Bar!

A Pint of Summer. 6 p.m. The Oak Room @ Oskar Blues Brewery, 1800 Pike Road, Longmont, 303-776-1914.

Pop Singer Jacob Sartorius. 8 p.m. Elitch Gardens, 2000 Elitch Circle, Denver, 303-595-4386.

Public Safety — with Jeraff, The Elegant Plums, and Barking at Dogs. 7 p.m. Herman’s Hideaway, 1578 S. Broadway, Denver, 303-777-5840.

Red Rock Ramblers: Lyons Square Dancing.

7:30 p.m. Lyons Elementary School Gymnasium, 338 High St., Lyons, 303-823-5925.

The Summer Day Party Series.

2 p.m. Lincoln Station Bar, 776 Lincoln St., Denver, 303-885-8589.

Ute Creek 20th Anniversary Celebration featuring The Long Run Band. 11 a.m. Ute Creek Golf Course, 2000 Ute Creek Drive, Longmont, 303-774-4342.

VoodooJulia. 7 p.m. Großen Bart Brewery, 1025 Delaware Ave., Longmont, 720-438-2060.

Events 420 Games Denver. 8 a.m.

Berkeley Lake Park, 4401 W. 46th Ave., Denver.

Arsenio Hall. 7:15 p.m. Comedy Works, 1226 15th St., Denver, 303-595-3637.

Baseball Block Party For Meet in The Street. 11:30 a.m. Sheraton Denver Downtown Hotel, 1550 Court Place, Denver, 303-748-4824.

Even the Earth is Bipolar: Curved Space Comedy. 7 p.m. Fiske Planetarium, 2414 Regent Drive, Boulder, 303-492-5002.

Jai Thai & Sushi combines the bright, vibrant flavors found in traditional Thai cuisine, with rich, savory Japanese spices and ingredients.

2055 Ken Pratt Blvd Longmont, CO 80501 Tues - Sun: 11am - 9pm Monday: Closed

303-776-8089 CALL FOR DELIVERY! visit our website: www. jaithaimenu.com

32 July 20 , 2017

Espresso! 9:30 a.m. Spruce Confections, 767 Pearl St., Boulder, 303-875-7514.

French Mini-Festival: Fauré’s French Soirée.

7:30 p.m. Chautauqua Auditorium, 900 Baseline Road, Boulder, 303-442-3282.

KGNU’s 29th Annual Charles Sawtelle Memorial Mountain Jam. 12 a.m. The Gold Hill Inn, 401 Main St., Gold Hill, Boulder, 303-443-6461.

Laurie Dameron. 1 p.m. Highland Square Market, 32nd Avenue and Meade Street, Denver.

James Davis. 7 p.m. Comedy Works, 1226 15th St., Denver, 202-595-3637.

KEVA Challenge. 2 p.m. George Reynolds Branch, 3595 Table Mesa Drive, Boulder, 303-441-3100.

Open Mic. 6 p.m. Dannik’s Gunbarrel Corner Bar, 6525 Gunpark Drive, Boulder, 303-530-7423.

Sunday Spiritual Service. 10 a.m. Unity of Boulder Spiritual Center, 2855 Folsom St., Boulder, 303-442-1411.

Swing Dance. 6 p.m. Plaza by Dushanbe Tea House, 1770 13th St., Boulder, 303-718-4798.

Through the Garden Gate — 2017 FOD. 5 p.m.

Center for Musical Arts, 200 E. Baseline Road, Lafayette, 303-665-0599.

Music

Boulder Weekly staff pick Delta Sonics

Bandshell Boogie. 7 p.m. Boulder Bandshell, 1212 Canyon Blvd., Boulder, 720-971-1972.

Bluegrass Pickers. 7 p.m. West Flanders Brewing, 1125 Pearl St., Boulder, 303-447-BREW.

Jim Mimna

4 p.m. Friday, July 21, Skylark Lounge, 140 S. Broadway, Denver, 303-278-6800.

Head to down to Skylark Lounge to catch Denver’s own Delta Sonics.

The band has been playing in Colorado since 1992 and have cemented themselves as one of the trademark blues acts in the area. The band has won Westword’s Best Blues Band honor six years in a row and represented the Colorado Blues Society at the International Blues Challenge in Memphis, Tennessee, in 2012, making it to the semifinals. Their musical stylings include Chicago Blues, West Coast swing, New Orleans R&B and some early rock ‘n’ roll. Delta Sonics average around 250 shows a year and have played numerous notable blues festivals such as Mile High Blues Festival, Blues From the Top and Pearl St. Brews and Blues Fest.

—Alvaro Sanchez

Global Dance Festival — Saturday Pass. 3 p.m.

Sports Authority Field at Mile High, 1701 Mile High Stadium Circle, Denver, 720-258-3000.

A Unique Dining Experience

City Park Jazz. 6 p.m. City Park Pavilion, 1700 N. York St., Denver, 303-744-1004.

1750 30th St., Suite 64, Boulder, 303-440-8007.

Monday, July 24

That Damn Sasquatch. 8 p.m.

Swallow Hill Music, 71 E. Yale Ave., Denver, 303-777-1003.

Tobin Sprout — with Elf Power.

8 p.m. Larimer Lounge, 2721 Larimer St., Denver, 303-296-1003.

Brendan James. 8 p.m. The Bluebird Theater, 3317 E. Colfax Ave., Denver, 303-337-1666.

James Davis. 9:45 p.m. Comedy Works, 1226 15th St., Denver, 202-595-3637.

Louisville Farmer’s Market. 9 a.m. Downtown Louisville, 916 Main St., Louisville, 303-902-2451.

Luenell. 7:30 p.m. and 9:45 p.m. Denver Improv, 8246 Northfield Ave., Denver, 303-307-1777.

Meet in the Street. 11 a.m. 16th Street Mall, Denver, 303-534-6161.

Open House & Barn Dance. 6 p.m. The Urban Farm at Stapleton, 10200 Smith Road, Denver, 303-307-9332.

Return of the Wild Feminine: Womb-Centered Training. 9 a.m. Vali Soul Sanctuary, 6717 Valmont Road, Boulder, 303-442-1301.

Saturday Morning Groove. 10:30 a.m. Free Motion Dance Studio, 2126 Pearl St., Boulder, 720-379-8299.

Twisted Pine Brewing’s 22nd Anniversary. 12 p.m. Twisted Pine Brewing, 3201 Walnut St., Suite A, Boulder, 303-786-9270.

Sunday, July 23 Music Blues and BBQ — with Frenchie Moe. 2 p.m.

Dickens Opera House, 300 Main St., Longmont, 720-297-6397.

Levitt Pavilion Concert Series. 7:30 p.m. Levitt Pavilion Denver, 1380 W. Florida Ave., Denver.

Lifehouse & Switchfoot. 7 p.m. Fillmore Auditorium, 1510 Clarkson St., Denver, 303-837-0360.

Music @ Jefferson Park Summer Concert Series. 5 p.m. Jefferson Park, 22nd Avenue & Decatur Street, Denver, 719-210-9643.

Nick Nash. 10 p.m. The Laughing Goat Coffeehouse, 1709 Pearl St., Boulder, 801-520-0741.

The Rain City Ramblers. 5 p.m. The Gold Hill Inn, 401 Main St., Gold Hill, Boulder, 303-443-6461.

Soul Fixx Sunday — with Linda Styles Band.

8 p.m. Jazz@Jack’s, 500 16th St., Suite 320, Denver, 303-433-1000.

Vinyl Sundays with the Denver Kush Club.

12 p.m. Spangalang Brewery, 2736 Welton St., Denver, 303-297-1276.

Events The 420 Games Boulder. 8 a.m. Boulder Resevoir, Boulder Resevoir Road, Boulder.

Annual Car Show. 10 a.m. Fairmount Funeral Home & Cemetery, 430 South Quebec St., Denver, 303-399-0692.

Luenell. 7:30 p.m. Denver Improv, 8246 Northfield Ave., Denver, 303-307-1777.

Greg Proops. 8 p.m. Comedy Works, 1226 15th St., Denver, 303-595-3637.

Hawaiian Hula Classes. 5 p.m. A Place to B,

Concert in the Park — Boulder Concert Band.

7 p.m. Downtown Boulder Library (Labyrinth Area), 1001 Arapahoe Ave., Boulder.

Concerts in the Park. 7 p.m. Central Park, 1739 Broadway, Boulder.

Free Beginner Argentine Tango Class. 6 p.m. Boulder Dushanbe Tea House, 1770 13th St., Boulder, 303-938-0716.

In The Valley Below. 7 p.m.

Larimer Lounge, 2721 Larimer St., Denver, 303-296-1003.

Mary Chapin Carpenter — with Emily Barker. 7:30 p.m. Chautauqua Auditorium, 900 Baseline Road, Boulder, 303-440-7666.

Music on Pine Street. 5 p.m.

Hotel Boulderado, 2115 13th St., Boulder, 303-440-2880.

Noches de Verano: Tango at the Teahouse. 6 p.m. Courtyard north of the Dushanbe Teahouse, 1770 13th St., Boulder, 303-718-4798.

Open Mic Night. 8 p.m. Johnny’s Cigar Bar, 1801 13th St., Boulder, 303-449-0884.

Prospect Sound Bites presents the Jacob Larson Band. 5 p.m. Prospect Park, 700 Tenacity Drive, Longmont, 303-249-4492.

Rich Homie Quan. 8 p.m. The Bluebird Theater, 3317 E. Colfax Ave., Denver, 303-337-1666.

Silent on Fifth Street, Contra, and Somewhere To Call Home. 6 p.m. Herman’s Hideaway, 1578 S. Broadway, Denver, 303-777-5840.

Events Black & Blu — Comedy/Variety Show. 7 p.m.

Tennyson’s Tap, 4335 W. 38th Ave., Denver, 303-455-4269.

Greg Proops. 8 p.m. Comedy Works, 1226 15th St., Denver, 303-595-3637.

Movement Mondays. 7 p.m. Free Motion Dance Studio, 2126 Pearl St., Boulder, 720-379-8299.

Mystery of the Golden Mustache. 11 a.m.

Adams Mystery Playhouse, 2406 Federal Blvd., Denver, 303-455-1848.

Stop Motion Animation Flix Camp — Ages see EVENTS Page 34

Boulder Weekly

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events EVENTS from Page 32

7-10. 12:30 p.m. Superior Elementary, 1800 South Indiana St., Superior, 720-561-5969.

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Summer Ballet Camps & Classes. 10 a.m.

Longmont Dance Theatre Academy, 1422 Nelson Road, Longmont, 303-772-1335.

Tap Dance Lessons. 7:15 p.m. Viriditas Studio, 4939 N. Broadway, Suite 65, Boulder, 303-444-7888.

Tuesday, July 25 Music Byron Stripling & Carmen Bradford Perform “Ella & Louise.” 7:30 p.m. Dazzle, 1512 Curtis St., Denver, 303-839-5102.

David Booker. 6:30 p.m. Dannik’s Gunbarrel Corner Bar, 6525 Gunpark Drive, Boulder, 303-530-7423.

Folk Dancing on the Plaza. 7 p.m. Plaza beside Dushanbe Teahouse, 1770 13th St., Boulder, 303-499-6363.

Joshua Radin. 7:30 p.m. Boulder Theater, 2032 14th St., Boulder, 303-786-7030.

10% OFF 6 BOTTLES OF

Keenan TreVon. 7 p.m. The Roxy Theatre, 2549 Welton St., Denver, 720-242-9782.

Nicolas Jaar. 8:30 p.m. The Fox Theatre, 1135 13th St., Boulder, 303-447-0095.

Open Mic. 6 p.m. Twisted Pine Brewing Company, 3201 Walnut St., Boulder, 720-771-4940.

750ML WINE

Open Mic — with the Prairie Scholars. 6 p.m.

SKEYE Brewing, 900 S. Hover St., Suite D, Longmont, 303-774-7698.

12% OFF ANY PURCHASE

Spicy Lounge — Music and Dancing. 7:30 p.m. Alchemy of Movement Studios, 2436 30th St., Boulder, 303-931-1500.

$20 OR MORE.

(EXCLUDES TOBACCO, KEGS, AND SALE ITEMS)

34 July 20 , 2017

The Women’s Foundation of Colorado is celebrating its 30th anniversary by hosting former First Lady Michelle Obama in Denver.

Called TOGETHER, the nonpartisan and nonpolitical event will draw thousands of diverse community members to fund the Foundation’s work in advancing and accelerating economic opportunities for Colorado women and their families. Through her own powerful story and her work as First Lady, Obama became a champion for women and girls, encouraging them to overcome adversity, pursue higher education and job training, and give back by uplifting others. At the event, she will speak in a live conversation format moderated by WFCO President Lauren Casteel.

Tickets range from $94.50-$1,254.50, with proceeds benefitting the Foundation and its work to propel Colorado’s women and girls from promise to prosperity.

Kids Film Series: Moana. 10 a.m. Longmont Museum & Cultural Center, 400 Quail Road, Longmont, 303-651-8374.

HuMPday Dance Party —with The Hot Lunch Band. 8:30 p.m. Jazz@Jack’s, 500 16th St., Suite 320, Denver, 303-433-1000.

Techno Taco Tequila Tuesday. 7 p.m. Tennyson’s Tap, 4335 West 38th Ave., Denver, 303-455-4269.

Put On A Show Camp. 8:30 a.m. Airborne Dance, 1816 Boston Ave., Longmont, 303-684-3717.

Message in a Bottle. 6 p.m. Village at the Peaks, 1250 S. Hover St., Longmont, 720-438-2500.

Tesla. 8 p.m. Paramount Theatre, 1621 Glenarm Place, Denver, 303-623-0106.

Smokes & Jokes. 8:30 p.m. Johnny’s Cigar Bar, 1801 13th St., Boulder, 303-449-0884.

Pizza & Music. 5 p.m. Moxie Bread Co., 641 Main St., Louisville, 720-420-9616.

Tony Rosario. 6:30 p.m. Dannik’s Gunbarrel Corner Bar, 6525 Gunpark Drive, Boulder, 303-530-7423.

Stop Motion Animation Flix Camp — Ages 7-10. 12:30 p.m. Superior Elementary, 1800 S. Indiana St., Superior, 720-561-5969.

Reggae Night. 9 p.m. Boulder House, 1109 Walnut St., Boulder, 303-997-4108.

Tuesday Tapping and Live Music at Upslope.

6 p.m. Upslope Brewing Company (Flatiron Park), 1898 S. Flatiron Court, Boulder, 303-396-1898.

Summer Ballet Camps & Classes. 10 a.m. Longmont Dance Theatre Academy, 1422 Nelson Road, Longmont, 303-772-1335.

Why Don’t We “Something Different Tour.” 8 p.m. Larimer Lounge, 2721 Larimer St., Denver, 303-296-1003.

Wednesday, July 26

Events Adult Gymnastics.

7:30 p.m. Airborne Dance, 1816 Boston Ave., Longmont, 303-684-3717.

Music

SEE FULL EVENT LISTINGS ONLINE. To have an event considered for the calendar, send information to calendar@ boulderweekly. com. Please be sure to include address, date, time and phone number associated with each event. The deadline for consideration is Thursday at noon the week prior to publication. Boulder Weekly does not guarantee the publication of any event.

Australia New Zealand American Whiskey Tasting.

5:30 p.m. Park Hill Golf Course, 4141 E. 35th Ave., Denver, 303-831-7788.

303.684.9165 999 Hover St. #C, Longmont (Next to King Soopers) or shop online at twinpeaksliquor.com

Courtesy of Harry Walker Agency/ David Slijper

TOGETHER: A Celebration Featuring a Conversation with Former First Lady Michelle Obama.

5:30 p.m. Tuesday, July 25, Pepsi Center, 1000 Chopper Circle, Denver, 303-285-2960.

Steve Hackman. 7:30 p.m. Chautauqua Auditorium, 900 Baseline Road, Boulder, 303-442-3282.

Why Don’t We ANOTHER LEVEL VIP Denver. 5 p.m.

Larimer Lounge, 2721 Larimer St., Denver, 303-296-1003.

A HUGE SELECTION OF DOMESTIC, IMPORT & CRAFT KEGS!

Boulder Weekly staff pi ck

Children’s Folk Dancing. 6 p.m. Plaza beside Dushanbe Teahouse, 1770 13th St., Boulder, 303499-6363.

Doppelgängers! Improv Showcase. 8 p.m.

Voodoo Comedy Playhouse, 1260 22nd St., Denver, 970-481-7918.

Greg Proops. 7:30 and 9:45 p.m. Comedy Works, 1226 15th St., Denver, 303-595-3637.

Ave., Denver, 303-777-1003.

Acoustic Open Mic Hosted by Captain Flashback. 4 p.m. Tennyson’s Tap, 4335 West 38th Ave., Denver, 303-455-4269.

Ben Hammond.

6 p.m. Rayback Collective, 2775 Valmont Road, Boulder, 720-885-1234.

Boz Scaggs. 7:30 p.m. Swallow Hill Music, 71 E. Yale

Christian Sands Trio. 6 p.m. an 8:30 p.m. Dazzle, 1512 Curtis St., Denver, 303-839-5102.

Drop-In Acoustic Jam. 6 p.m. 300 Suns Brewing, 335 First Ave., Suite C, Longmont, 720-442-8292.

Eric Dorr & Friends. 6:30 p.m. Still Cellars, 1115 Colorado Ave., Longmont, 720-204-6064.

An Evening of Chant and Sacred Song — with David Newman. 7:30 p.m. Shine Restaurant and Gathering Place, 2027 13th St., Boulder, 303-449-0120.

The River Arkansas. 6:30 p.m. Swallow Hill Music, 71 E. Yale Ave., Denver, 303-777-1003.

Summer Concert Series. 7 p.m. Waneka Lake Park, 1600 Caria Drive, Lafayette.

Violent Femmes & Echo and The Bunnymen.

8 p.m. Fillmore Auditorium, 1510 Clarkson St., Denver, 303-837-0360.

Events A Blue Ribbon Friuli Feast — 2017 FOD. 6 p.m.

Center for Musical Arts, 200 E. Baseline Road, Lafayette, 303-665-0599.

Comedy at Tandoori. 8 p.m. Tandoori Bar, 619 S. Broadway, Boulder, 970-302-7130.

Greg Proops. 7:30 and 9:45 p.m. Comedy Works, 1226 15th St., Denver, 303-595-3637.

Put On A Show Camp. 8:30 a.m. Airborne Dance, 1816 Boston Ave., Longmont, 303-684-3717.

The Scarlet Letter starring Lillian Gish — with Hank Troy, piano. 7:30 p.m. Chautauqua Auditorium, 900 Baseline Road, Boulder, 303-442-3282.

Stop Motion Animation Flix Camp — Ages 7-10. 12:30 p.m. Superior Elementary, 1800 South Indiana St., Superior, 720-561-5969.

Summer Ballet Camps & Classes. 10 a.m. Longmont Dance Theatre Academy, 1422 Nelson Road, Longmont, 303-772-1335.

Swing Dancing. 7 p.m. SKEYE Brewing, 900 S. Hover St., Suite D, Longmont, 303-774-7698.

Tap Dance Lessons. 7:15 p.m. Viriditas Studio, 4939 N. Broadway, Suite 65, Boulder, 303-444-7888.

Boulder Weekly

events

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Boulder Weekly

film Nostalgia for the frame ‘The B-Side’ and the glorious portraiture of Elsa Dorfman

by Michael J. Casey

E

lsa Dorfman isn’t interested in your soul; your surface is more than enough. And ON THE BILL: The B-Side: since the 1960s, Dorfman has photoElsa Dorfman’s Portrait Photography. graphed those surfaces with love and care Opens July 21. Landmark from her studio in Cambridge, Chez Artiste, 2800 S. Colorado Massachusetts.

Blvd., Denver, 303-758-3496, landmarktheatres.com.

And in Errol Morris’s latest documentary, The B-Side: Elsa Dorfman’s Portrait Photography, Dorfman’s love and care bewitches Morris’s camera and transfixes the audience. Here is an artist with an unadulterated joy for life, one she spent her life capturing with a camera. As the 80-year-old tells Morris, she’s never been interested in taking photos of sad people. “Life is hard enough,” Dorfman says.

“You don’t need to walk around with a picture of it.”

Morris’s doc takes a similar approach; maybe because this approach best complements Dorfman’s personality, or maybe because Morris fell under her spell, her outlook, her approach to photography and her magical Massachusetts accent.

Dorfman, a self-described “nice Jewish girl,” picked up her first camera in the ’60s and immediately fell in love with the identity it brought her. As she points out, a woman was either someone’s wife or someone’s mother.

But with a camera in her hand, Dorfman was a photographer. An identity no one could take away.

Flash forward to 1980: the Polaroid company has released the large format camera, which produces 20-by-24-inch images. Only a select few were allowed to use the specialty camera, and Dorfman was not in with the in-crowd. “They referred to me as the nag,” Dorfman recalls with a smile, remembering how she bugged Polaroid until they relented and allowed her to use the camera. And from her first photos in the ’80s to the end of Polaroid in 2008, Dorfman was known for these large format portraits.

The title, The B-Side, comes from Dorfman’s own archive. When commissioned to take family portraits, Dorfman always took at least two photos per session. Like a 45 record, the one the family selected was the A-side. The one left with Dorfman was the B-side. In some instances, the B-side is a development or a lighting error. Other times it is simply a child acting out or a couple blinking. The A-side might look best in your home but for Dorfman, the B-side is like snatching magic out of the air.

The B-Side debuted last September at Colorado’s prestigious Telluride Film Festival with Morris and Dorfman in attendance. Also on last year’s schedule: California Typewriter, a documentary love letter to the writer’s mechanical companion.

Watching both films, one cannot help but wonder what the future has in store for our current technology. Will we wax nostalgically about Mac Powerbooks? What about the proliferation of camera phones, Polaroid’s unwitting successor? Is there a future documentary about an Instagram photographer? Probably. Technology is nothing more than what the artists use to express themselves. As Dorfman points out, the disposable dollar camera wasn’t just popular in the ’60s because it was new; it affordably “showed people how to take pictures.”

Some of those pictures wound up in shoeboxes and family photo albums.

Dorfman’s will hang on the wall of a museum. Funny how these things happen.

Boulder Weekly

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Four courses to try in Boulder County this week

Spicy Icy Hot Chocolate

menu THE TASTING

All photos by Matt Cortina

Piece, Love & Chocolate 805 Pearl St., Boulder, pieceloveandchocolate.com

T

Crawfish and Shrimp Étoufée

Oskar Blues Grill and Brew 303 Main St., Lyons, oskarbluesfooderies.com

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Burrata

Via Perla 901 Pearl St., Boulder, viaperla.com

T

here’s much to like in Via Perla’s burrata.

First, the burrata itself — a mound of herbaceous, fresh mozzarella filled with a buttery cream and curd solution. It oozes on each knifing, making it easy to apply to the other ingredients on the plate. Via Perla chooses to use fritelle — non-sweet fried doughnut sticks topped with herbs and spices (think funnel cake or savory, thin sopapillas) — instead of breadsticks, but the crispy shells provide good texture and richness.

Prosciutto di Parma is heaped on top of the fritelle; the cured ham slices are tender, unctuous and almost silky, while their flavor activates salt, savory and umami senses. Drizzled on top is Bonamini 2016 olive oil from Veneto in northeastern Italy. It’s dry and peppery, with a funky hit of fresh grass, and provides the glue with which the fritelle, meat and cheese bind. $14

he original Oskar Blues restaurant, located in Lyons, rotates classic Southern dishes throughout the week. On Fridays, it’s the New Orleans classic dish, étoufée.

It all starts (and some would say ends) with a thick, brown roux — perfectly weighted, and imbued with some blend of dark spices that stays the focus of the dish. A bed of firm white rice sits beneath, and peppers and onions add consistent, deep flavor throughout. The bits of crawfish and shrimp are fresh and snappy, with a pleasant mildness. Add in Deviant Dale’s mega hot melegura sauce — just a splash’ll do — and the St. Vrain will start to look an awful lot like Lake Pontchartrain. $12. Fridays only.

Pork Ribs

U Turn BBQ 599 Crossing Drive, Lafayette, uturnbbq.com

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ans of bark on barbecue will love U Turn BBQ’s approach to ribs. About a half-centimeter thick, the bark is blackened, not too chewy and rich in the flavors of smoke, red spices and salt. Underneath the bark, red and tender chunks of pork fall off the bone. Together, and added with one of U Turn’s signature sauces, it’s a style you won’t quite get elsewhere in Boulder County. With cheap, good beer brewed in-house and a number of sides, you’ll want to make the U-turn if you miss it from the highway. $12 quarter rack, $14 half rack, $25 full rack.

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Boulder Weekly

here are a few places you can go if you want a cold chocolate drink. Convenience stores and drive-up coffee shops, sure, but if you want the good stuff, Piece, Love & Chocolate should be at the top of your list.

The icy hot chocolate combines its signature sipping chocolate (85 percent dark chocolate with spices) with choice of milk and add-ins. The spicy icy hot chocolate brings in thrilling chili heat that hits the back of the tongue, while the chocolate drink itself coats the entire palate in indulgent goodness. Whipped cream actually thins the drink out a little bit, which makes it better on scorching days. It is, no doubt, too good to be a novelty, and you’ll certainly get your sweet fix by the bottom of one of these. $5.50.

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July 20 , 2017 39

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Boulder Weekly

nibbles

Susan France

Bree Schreiner enjoys a refreshing Laura Palmer drink while hanging out at Ozo Coffee Co

BY JOHN LEHNDORFF

A H O T, D R Y J U LY W E E K C A L L S F O R S O M E E X T R E M E LY C H I L L I N G M E A S U R E S

H

ow !@#$% hot is it?

It’s stinkin’ hot. Boulder smells like heat, sweat and softening asphalt (plus the usual pervasive hint of cannabis) with evenings of wildfire-enhanced sunsets, partial rainbows and rain that never seems to fall.

Such conditions call for extreme cooling techniques, internally and externally. As I researched lemonade variations — kumquat-ade anybody?

— I came upon a beverage that initially sounded more than a little nauseating.

The Laura Palmer — made with lemonade and coffee — is a murky variation on the Arnold Palmer, which the late golfer “invented,” according to arnoldpalmer.com, when he “was ordering lunch and asked the waitress for a mixture of lemonade and iced tea. A woman sitting nearby overheard what he ordered and told the waitress, ‘I’ll have that Arnold Palmer drink.’” (By the way, Molson Coors is releasing a hard Arnold

Boulder Weekly

Palmer-flavored malt beverage. I’m not sure Arnie would have approved.)

The Laura Palmer is named for a character in the legendary, shortlived 1990 series Twin Peaks directed by David Lynch. It’s tagline: “Who killed Laura Palmer?” Boulder-raised actress Sheryl Lee played the dead Laura Palmer and her cousin, Madeleine Ferguson.

Long before Fargo and Preacher, Twin Peaks was a master class in weirdness. I loved the show (currently being revived on Showtime) for its obsession with coffee and pie and the iconic line: “This must be where pies go when they die.” Thanks to that show I can tie a knot in a cherry stem in my mouth. (Note: see NIBBLES Page 42

July 20 , 2017 41

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NIBBLES from Page 41

Maraschino stems are easier to tongue-tie than Bing stems because they are softer.)

As for the Laura Palmer, the key is to leave out the milk or cream in your coffee or you’ll face a cup o’ curdle. The flavor combo in a Laura Palmer is really not that unusual. In the U.S. (but not Italy), espresso is often served with an aromatic slice of lemon peel on the side.

When you make a Laura Palmer you’ll need to mess with the lemonade/coffee ratio to get it right. I settled on about a 1:1 ratio, but the quality of the ingredients matters. You need fresh lemonade (but cut back the sugar or other sweeteners) and chilled, extra strong dark-roasted coffee. You want it to stand up to being diluted by melting ice. When it’s right, the Laura Palmer is mysteriously refreshing.

Here are some other ways to keep at least your mouth cool in the dog days to come.

• Become a cubist: Make your Laura Palmer weirder by adding lemonade or coffee ice cubes.

• Grind lemonade, tea, pale ale or margarita ice cubes in a freezer-chilled blender or food processor and serve as a palate-refreshing granita or ice. A sweet syrup can be drizzled on top.

• Make your own layered popsicles with juices, fruit purees and half and half.

• Buy a big watermelon, puree it in a blender, strain it and serve. Incredibly cooling cold watermelon juice is the perfect antidote to super-spicy Mexican, Thai and Indian fare.

• Make a Mister Misty-type “slushie” with ice, frozen mango and juice whirred in a chilled blender. Serve with a scoop of vanilla gelato.

• Visit the huge walk-in cooler and sample cheeses at Cheese Importers Warehouse in Longmont, where parkas are available for those who chill easily.

Pick from the largest selection of Colorado-made cheeses I’ve seen in one place.

• In Denver: The Infinite Monkey Theorem Urban Winery serves sangria and rosé slushies. Stem Ciders serves fruity cider slushy beverages.

Pick it and stuff it 2 great locations!

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Veteran gardeners know that typically a zucchini plant will create way too many blossoms to grow into large sliceable adult summer squashes. You need to harvest the excess blossoms, gently wash and stuff them with mascarpone cheese, dip in egg, roll in seasoned panko crumbs and fry in butter, olive oil or bacon fat. Serve with sauteed zucchini and accept sustained applause from the other diners.

Local food news

Cocktailpunk, the cool Boulderbased maker of artisan bitters, has introduced a 3-bottle Colorado Set: Colorado Lavender, Palisade Peach and Colorado Cherry Bitters … Boulder’s freshly opened Woodgrain Bagels will open a second shop in Denver this fall. …

Feisty Spirits in Fort Collins is releasing some of its small-batch whiskey in unique one-liter oak “baby barrels.” …

Coming soon: Endo’s Brewery and Stem Ciders in Lafayette … VegFest Colorado, July 22 and 23 in Golden, features vegetarian and vegan foods, festivities and issue-oriented talks. vegfestcolorado.org. … The Olathe Sweet Corn Festival Aug. 5 in Olathe features all-day corn on and off the cob, a pancake breakfast and live music. olathesweetcornfest.com. … The Roasting Plant has opened in the Westin Denver International Airport hotel and transit center. The company says that it uses pneumatic tubes to produce coffee.

Really.

Taste of the week

Everybody talks about umami but nobody can really tell you what it tastes like. Umami is the fifth taste (besides sweet, sour, bitter and salty) and is poorly described as “savory,” “meat-y” or “broth-y.” You had to extrapolate what that meant from what you tasted … until now.

Seed Ranch Flavor Co., a recently launched Boulder firm, is bottling three hot sauce flavors including Umami, made with dried olives, mushrooms and seaweed plus capers, miso and soy sauce.

A genuine revelation from the first taste, it is essentially umami in a bottle.

Cooking schools should have every student taste this stuff.

The sophisticated Thai Green hot sauce embodies the critical components of Thai cuisine: lime, Thai chilies, lemongrass, galangal, cilantro and Thai basil.

It elevates the same old grilled chicken and rice.

The Smoked Jalapeño hot sauce is a potent but not overwhelming whir of chipotle peppers balanced by dates, carrots and vinegar. Heat should really be considered the sixth taste but I appreciated the fact that these sauces were not flamethrower hot. The sauces are available at Alfalfa’s Market, Lucky’s Market, Cured and Niwot Market.

Words to chew on

“What we need are more cooks, not more cookbooks.” — from The Tassajara Cookbook (Shambhala Books) by Edward Espe Brown John Lehndorff hosts Radio Nibbles at 8:25 a.m. Thursdays on KGNU, 88.5 FM. Podcasts: news.kgnu.org/category/radioBoulder Weekly

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community

TABLE I

get more of the wood notes, just kind of that tiny bit of black pepper, but I just feel like I’m in the lumber yard,” says Sally Mohr.

Mohr, a Master Sommelier who lives in Boulder, and I are tasting wines at Bookcliff Vineyards. In front of us are glasses of two wines in progress — 2015 and 2016 syrahs pulled from the barrel.

We move from the younger 2016 to the 2015.

“Oh wow,” Mohr says. “I was not expecting that much of a difference in fruit. This is more red plums and red berries. [The 2016] was more blackberry, this is more red berries, red plum, … marionberries.”

Wine language

Master Sommelier Sally Mohr on blind tasting, wine jargon and jellybeans

by Matt Cortina I do not taste marionberries in the wine. Nor do I taste red plum, or strawberries, or anything besides “red wine” when I sip. I notice a difference between the two, sure — the 2015 tastes “brighter” than the 2016, if that means anything — but then again, Mohr’s ability to pick out flavors, and describe them, is a skill she honed over years of training.

“When I started out in the business, I just needed a job,” Mohr says.

“I had tried several other career paths and hated them all, and my husband finally got tired of me just hanging around the house and said, ‘Please go get a job. And since we spend so much money at this wine store, why don’t you just go try working there?’”

That wine store was Boulder Wine Merchant. Mohr waited six months for one of the two employees to leave, and when she started, she realized how little she knew about wine.

“I just knew I liked to drink it,” Mohr says. “And it was quite a journey because I basically went from knowing nothing ... to I had to learn because the owner’s knowledge base was huge.”

So Mohr began an informal education. When an opportunity to buy the store arose a few years later, Mohr and another former staffer took it.

Soon, though, Mohr found herself relying on her business partner’s wine knowledge.

“I said, you know, ‘I need to figure this out on my own. I just can’t rely on other people all the time,’ and that’s what got me going. I needed to push myself,” Mohr says.

Too, Mohr knew that wine education would help her cut through a male-dominated food industry.

“I was at a big disadvantage, because I would go to a tasting, or I’d go to a luncheon, I would meet a winemaker and, to be a bit judgmental, it was usually the European men who would look at me and refuse to answer my questions,” she says So Mohr turned to the Court of Master Sommeliers, an organization that trains and measures one’s knowledge of wine through three tests: an oral exam on wine theory, a wine service exam and the infamous blind tasting of six wines, where the testee must name exactly the varietal, vintage and region of a wine by deducing from its color, aroma and taste. Achieving Master Sommelier status requires completion of four increasingly difficult courses. There are currently only 149 Master see MOHR Page 46

Boulder Weekly

Master Sommelier Sally Mohr works as a consultant at Boulder’s Bookcliff Vineyards and is helping develop a wine consumer app, Wine Ring.

July 20 , 2017 45

MOHR from Page 45

Sommeliers in the world.

Mohr was only the second American woman, and third in the world, to reach that status when she passed her exam in 1995.

Mohr says she got through the accreditation process quickly because there wasn’t a backlog. Today, that’s not the case. Food media has increased interest in wine, as did the 2012 documentary, SOMM, which followed four men as they prepared for their Master Sommelier test.

That, and the recession of 2008, put many new faces in front of the lower level

sommelier classes Mohr teaches. It doesn’t mean, however, that the tests have changed or gotten any easier.

“Everyone thinks that they can be a Master Sommelier tomorrow. They think it’s just super easy,” Mohr says, adding that of the few who make it to the final course, only 10 percent graduate.

Mohr says she developed a language for wine over the years. Knowing that everyone has different words for what they taste — and understandings of what they taste — a universal language (often dismissed as jargon) is necessary for wine

professionals.

Mohr might use a word like “gooseberry” to describe New Zealand sauvignon blanc, but if you’ve never had a gooseberry, that word is useless.

Conversely, most people can pick out a strawberry if they’re told to look for it.

Tasting wine activates language, but that doesn’t mean that you have to use snooty wine words to express flavor, Mohr says. When I say a tempranillo we’re sampling at Bookcliff tastes like red Starburst, Mohr says she often recommends students buy a case of Jelly Belly

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jellybeans to calibrate their palate.

• • • • Because the blind test is the hallmark of Master Sommelier testing, I ask Mohr to walk me through it. It starts at the pour.

“The perfect pour for a glass is where the glass starts to curve up, that’s about as high as you want it,” Mohr says. A standard wine glass with a bowl and opening about the same size is the preferred tasting vessel, allowing aromatics to travel freely.

“Swirling is important because you want all of those esters and aromatics, some of them are pretty shy and they don’t want to come up this far, and swirling forces them out. … And then you want to put your whole nose in there,” Mohr says.

Mohr spends about three minutes swirling and sniffing. She says it’s because the olfactory sense gets fatigued quickly, so she’ll hunt for different smells on each pass until there are no more.

Mohr regards the wine’s color. Wine turns from pink and purple to red to brown as it ages, so one can generally tell the age of the wine via color. The bolder the color, the more extraction was achieved from the grapes, thus one can tell the thickness of the grape’s skin.

Legs, the drips that form when you swirl wine, indicate the amount of alcohol, sugar and extract, and the cleanliness of the glass, though reading into them “is a little bit of reading tea leaves,” she says.

Mohr says to swish the wine like mouthwash. “The acidity, the tannin, the sourness, the bitterness — the more you can hit the cracks and crevasses, the more you’ll feel it.”

Sommeliers use descriptors like tannins and acidity to indicate the structure, weight or mouthfeel of the wine. The more you salivate, the more acid it has.

Mohr separates tannins into fluffy slippers and squeegee varieties. On weight, Mohr thinks of it in terms of milk — from skim to cream.

When tasting, red versus dark fruit flavors are points of comparison in red wines. If it’s white, Mohr’s looking for the taste of butter to indicate malolactic fermentation. Flavors like wood, smoke, leather or tobacco mean the wine was aged in a wood barrel.

Determining the vintage (or the year the wine was produced) requires both tasting skills and knowledge. The idea is to find indicators that would suggest a certain region’s growing year — too hot or too cold affects harvesting time and grape size, which impacts flavor, for instance — and marry them to variables of color and taste.

The key to it all is practice, Mohr says. “You just keep tasting a whole bunch of wines.”

That’s not such a bad proposition.

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drink

ON TAP: SKEYE Brewing.

900 S. Hover St., Suite D, Longmont, 303-774-7698, skeyebrewing.com

Tour de brew: SKEYE Brewing Mixing up individual pleasure one pint at a time

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KEYE Brewing became the eighth brewery in Longmont when it opened in the summer of 2015. Now, Longmont is home to ten breweries and each one has a hook, a way of standing out from the crowd.

Looking for lagers? Go to Wibby. Digging nitro? Left Hand is the place to be. Need something to quaff after that long run? Give Shoes and Brews a try. Everybody needs a sell, something that gets people through the door and quickly conveys what they are about. For some breweries, that sell is on the door. For others, it’s buried a little Susan France deeper and worth the dig. SKEYE Brewing has both.

Take a look at SKEYE’s logo — a blue-eyed, black and white Huskie circled in a garland of hops — and you’d be correct in assuming this is the kind of place to bring your wellbehaved pooch.

The name of the brewery is derived from two of SKEYE’s owners’, Kami and Chris Malanowski, three dogs: Sierra, Kita and Yakone. While I downed a glass of Blood Orange IPA (6.5 percent alcohol by volume) — a tangy variation on SKEYE’s Jaded Lady IPA — a peaceful pooch napped on the cool floor, just the place one wants to be on a hot summer afternoon.

SKEYE’s Blood Orange IPA is a delightfully citrus brew, ideal for summertime drinking with the windows open. My follow-up, the Tobias Irish Red Ale (5.5 percent) — named after a Boston terrier belonging to Steve Allen, the brewery’s third owner — has plenty of biscuity English yeast and smooth Patagonia caramel malts to give a balanced and even taste profile, but somehow left me wanting something more. Little did I suspect that the answer would be the addition of another tap.

Sure, SKEYE has dogs, but what really separates this brewery from the pack are the specialty beer combinations. My server knew exactly what I needed and gave me a Jaded Lady in Red, “a beer that is just fun to say,” a blend of the Tobias Irish Red and the Jaded Lady IPA. The smooth malt backbone of the Irish Red handles the hops of the IPA, harmonizing for just enough citrus and bitterness to keep things nice and bright.

Tobias’s malty backbone is also the cornerstone of SKEYE’s Jinxie Red, a blend of Tobias and the Jinxie Wheat (5.7 percent) — pleasing those who don’t have a feel for hops — and Prairie Red, a blend of Tobias and the Prairie School SMASH Ale (5.8 percent), a combo that acts an awful lot like a fragrant and full amber ale. The Prairie School also works nicely alongside the Jaded Lady IPA, for a Prairie Lady: a tasty and mellow hybrid with just enough hops to keep you thirsty.

Sure, come for the dogs. Hell, come for the beer. But stay for the combinations. Every brewery is alike in a variety of ways, but SKEYE has a way to tailor it to every customer.

Boulder Weekly

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ARIES

MARCH 21-APRIL 19: The Greek word philokalia is

translated as the “love of the beautiful, the exalted, the excellent.” I propose that we make it your keyword for the next three weeks -- the theme you keep at the forefront of your awareness everywhere you go. But think a while before you say yes to my invitation. To commit yourself to being so relentlessly in quest of the sublime would be a demanding job. Are you truly prepared to adjust to the poignant sweetness that might stream into your life as a result?

TAURUS

APRIL 20-MAY 20: It’s a favorable time to strengthen

your fundamentals and stabilize your foundation. I invite you to devote your finest intelligence and grittiest determination to this project. How? Draw deeply from your roots. Tap into the mother lode of inspiration that never fails you. Nurture the web of life that nurtures you. The cosmos will offer you lots of help and inspiration whenever you attend to these practical and sacred matters.

Best-case scenario: You will bolster your personal power for many months to come.

GEMINI

MAY 21-JUNE 20: Two talking porcupines are enjoying

an erotic tryst in a cactus garden. It’s a prickly experience, but that’s how they like it. “I always get horny when things get thorny,” says one. Meanwhile, in the rose garden next door, two unicorns wearing crowns of thorns snuggle and nuzzle as they receive acupuncture from a swarm of helpful hornets. One of the unicorns murmurs, “This is the sharpest pleasure I’ve ever known.”

Now here’s the moral of these far-out fables, Gemini: Are you ready to gamble on a cagey and exuberant ramble through the brambles? Are you curious about the healing that might become available if you explore the edgy frontiers of gusto?

CANCER

JUNE 21-JULY 22: I predict that four weeks from

now you will be enjoying a modest but hearty feeling of accomplishment -- on one condition: You must not get diverted by the temptation to achieve trivial successes. In other words, I hope you focus on one or two big projects, not lots of small ones. What do I mean by “big projects”?

How about these: taming your fears; delivering a delicate message that frees you from an onerous burden; clarifying your relationship with work; and improving your ability to have the money you need.

LEO

JULY 23-AUG. 22: Spain’s most revered mystic poet

you in the proper alignment to take maximum advantage of current cosmic rhythms. For the next three weeks, say them periodically throughout the day. 1. “I want to give the gifts I like to give rather than the gifts I’m supposed to give.” 2. “If I can’t do things with excellence and integrity, I won’t do them at all.” 3. “I intend to run on the fuel of my own deepest zeal, not on the fuel of someone else’s passions.” 4. “My joy comes as much from doing my beautiful best as from pleasing other people.”

SCORPIO

OCT. 23-NOV. 21: The world will never fully know or

appreciate the nature of your heroic journey. Even the people who love you the most will only ever understand a portion of your epic quest to become your best self.

That’s why it’s important for you to be generous in giving yourself credit for all you have accomplished up until now and will accomplish in the future. Take time to marvel at the majesty and miracle of the life you have created for yourself. Celebrate the struggles you’ve weathered and the liberations you’ve initiated. Shout “Glory hallelujah!” as you acknowledge your persistence and resourcefulness.

The coming weeks will be an especially favorable time to do this tricky but fun work.

SAGITTARIUS

NOV. 22-DEC. 21: I suspect you may have drug-like

effects on people in the coming weeks. Which drugs?

At various times, your impact could resemble cognac, magic mushrooms, and Ecstasy — or sometimes all three simultaneously. What will you do with all that power to kill pain and alter moods and expand minds? Here’s one possibility: Get people excited about what you’re excited about, and call on them to help you bring your dreams to a higher stage of development. Here’s another: Round up the support you need to transform any status quo that’s boring or unproductive.

CAPRICORN

DEC. 22-JAN. 19: “Everything that irritates us about

others can lead us to an understanding of ourselves.” So said psychologist Carl Jung. What the hell did that meddling, self-important know-it-all mean by that? Oops.

Sorry to sound annoyed. My cranky reaction may mean I’m defensive about the possibility that I’m sometimes a bit preachy myself. Maybe I don’t like an authority figure wagging his finger in my face because I’m suspicious of my own tendency to do that. Hmmm. Should I therefore refrain from giving you the advice I’d planned to? I guess not. Listen carefully, Capricorn: Monitor the people and situations that irritate you. They’ll serve as mirrors.

They’ll show you unripe aspects of yourself that may need adjustment or healing.

was St. John of the Cross, who lived from 1542 to 1591.

He went through a hard time at age 35, when he was kidnapped by a rival religious sect and imprisoned in a cramped cell. Now and then he was provided with scraps of bread and dried fish, but he almost starved to death.

After ten months, he managed to escape and make his way to a convent that gave him sanctuary. For his first meal, the nuns served him warm pears with cinnamon. I reckon that you’ll soon be celebrating your own version of a jailbreak, Leo. It’ll be less drastic and more metaphorical than St. John’s, but still a notable accomplishment.

To celebrate, I invite you to enjoy a ritual meal of warm pears with cinnamon.

AQUARIUS

VIRGO

FEB. 19-MARCH 20:

AUG. 23-SEPT. 22: “I’m very attracted to things that I

can’t define,” says Belgian fashion designer Raf Simons.

I’d love for you to adopt that attitude, Virgo. You’re entering the Season of Generous Mystery. It will be a time when you can generate good fortune for yourself by being eager to get your expectations overturned and your mind blown. Transformative opportunities will coalesce as you simmer in the influence of enigmas and anomalies.

Meditate on the advice of the poet Rainer Maria Rilke: “I want to beg you to be patient toward all that is unsolved in your heart and to try to love the questions themselves.”

LIBRA

SEPT. 23-OCT. 22: I’ve compiled a list of four mantras

JAN. 20-FEB. 18: A source of tough and tender inspi-

ration seems to be losing some of its signature potency.

It has served you well. It has given you many gifts, some difficult and some full of grace. But now I think you will benefit from transforming your relationship with its influence. As you might imagine, this pivotal moment will be best navigated with a clean, fresh, open attitude.

That’s why you’ll be wise to thoroughly wash your own brain -- not begrudgingly, but with gleeful determination.

For even better results, wash your heart, too.

PISCES

A “power animal” is a creature selected as a symbolic ally by a person who hopes to imitate or resonate with its strengths. The salmon or hare might be a good choice if you’re seeking to stimulate your fertility, for example. If you aspire to cultivate elegant wildness, you might choose an eagle or horse. For your use in the coming months, I propose a variation on this theme: the “power fruit.” From now until at least May 2018, your power fruit should be the ripe strawberry. Why? Because this will be a time when you’ll be naturally sweet, not artificially so; when you will be juicy, but not dripping all over everything; when you will be compact and concentrated, not bloated and bursting at the seams; and when you should be plucked by hand, never mechanically.

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DEAR DAN: I’m a 35-year-old straight woman, recently married, and everything is great. But I have been having problems reaching orgasm. When we first started dating, I had them all the time. It was only after we got engaged that it became an issue. He is not doing anything differently, and he works hard to give me oral pleasure, last longer, and include more foreplay. He’s sexy and attractive and has a great © Rachel Robinson working penis. I am very aroused when we have sex, but I just can’t climax. It is weird because I used to very easily, and still can when I masturbate. I have never been so in love before and I have definitely never been with a man who is so good to me. Honestly, all of my previous boyfriends did not treat me that well, but I never had a problem having orgasms. My husband is willing to do whatever it takes, but it’s been almost a year since I came during vaginal intercourse! Is this just a temporary problem that will fix itself?

—My Orgasms Are Now Shy DEAR MOANS: “This is a temporary problem that will fix itself,” said Dr. Meredith Chivers, an associate pro-

Boulder Weekly

SAVAGE

Love

by Dan Savage

fessor of psychology at Queen’s University and a world-renowned sex researcher who has done — and is still doing — groundbreaking work on female sexuality, desire, and arousal.

“And here’s why it will fix itself,” said Dr. Chivers. “First, MOANS has enjoyed being orgasmic with her partner and previous partners. Second, even though she’s had a hiatus in orgasms through vaginal intercourse, she is able to have orgasms when masturbating.

Third, she describes no concerns with becoming sexually aroused physically and mentally. Fourth, MOANS has a great relationship, has good sexual communication, and is sexually attracted to her partner. Fifth, what she’s experiencing is a completely normal and expected variation in sexual functioning that probably relates to stress.”

The orgasms you’re not having right

now—orgasms during PIV sex with your husband—the lack of which is causing you stress? Most likely the result of stress, MOANS, so stressing out about the situation will only make the problem worse.

“I wonder if the background stress of a big life change — getting married is among the top 10 most stressful life events — might be distracting or anxiety-provoking,” said Dr. Chivers.

“Absolutely normal if it were.”

Distracting, anxiety-provoking thoughts can also make it harder to come.

“Being able to have an orgasm is about giving yourself over to pleasure in the moment,” said Dr. Chivers.

“Research on brain activation during orgasm suggests that a key feature is deactivation in parts of the brain associated with emotion and cognitive control. So difficulties reaching orgasm can arise from distracting, anxiety-provoking thoughts that wiggle their way in when you’re really aroused, maybe on the edge, but just can’t seem to make it over. They interfere with that deactiva-

tion.”

Dr. Chivers’s advice will be familiar to anyone with a daughter under the age of 12: Let it go.

“Let go of working toward vaginal orgasm during sex,” Dr. Chivers advised. “Take vaginal orgasm off the table for at least a month — you’re allowed to do other things and come other ways, just not through vaginalpenile intercourse. Instead of working toward the goal of bringing back your vaginal orgasm, enjoy being with your sexy husband and experiment with other ways of sharing pleasure, and if the vaginal orgasms don’t immediately come back, oh well. There are, fortunately, many roads to Rome.

Enjoy!”

My advice? Buy some stress-busting pot edibles if you’re lucky enough to live in a state that has legal weed, MOANS, or make your own if you live in a suck-ass state that doesn’t. And tell your husband to stop trying so hard — if his efforts are making you feel guilty, that’s going to be hugely counterproductive. Good luck!

Follow Dr. Chivers on Twitter @ DrMLChivers..

Send questions to mail@savagelove.net, follow @fakedansavage on Twitter and visit ITMFA.org.

July 20 , 2017 55

EEDBETWEENTHELINES

by Sarah Haas

DMT: Living in an alien world and we don’t even know it

D

r. Andrew Gallimore was a very strange child, and in lots of ways too. For now let’s keep to his fascination with ghosts. Well, ghosts and vampires and werewolves to be precise, the “holy trinity” as he calls it. He didn’t exactly have an encounter, but he did frequently have an experience of a bizarre sensation, the feeling that something else was there, hovering in his left field of vision but just out of sight. He was curious, but appeased his curiosity by reading stories about all of the scary creatures that lurked in the dark.

Until he was in college, his interest in the occult was just a hobby, and he was a skeptic while exploring it. He remembers expressing a great deal of cynicism when his mother visited a clairvoyant, bemoaning how she could be so easily taken by a fraud. But she told him about her readings anyway, of the pasts behind and the futures in front of little Gallimore and his four brothers: “And you, little Andrew,” his mother said, “she says you can talk to the spirit world.”

Dr. Gallimore certainly isn’t a mystic. He’s a neurobiologist, chemist, pharmacologist — which is to say he’s a scientist and a skeptical one at that. He’s not necessarily trying to prove himself wrong; he’s trying to prove all of us wrong. That’s because underneath all his advanced degrees and highfalutin intelligence, Gallimore is also an artist and a philosopher, someone who plays with words and ideas in a sincere curiosity of what the world is really made of.

The professional path he’s taken owes to an early experience he had with MDMA in college. His brain, flooded with serotonin as it was, suddenly gave way to the very same feeling that he’d had as a young boy, the bizarre sensation that something was hidden in plain sight. The drugs allowed him access to a very real, albeit very private experience, one that begged what is for Gallimore the ultimate question: what is the structure of reality? And just like a good scientist, all these years later he’s more uncertain than he’s ever been.

“The thing is there is no definitive real world.

There is nothing objective that we can point to and say ‘It’s real,’” he says. “Your brain is constantly build-

Boulder Weekly

ing a model of reality that, for humans, has functional, three-dimensional world, and the brain is processing adaptive value. These constructions allow us to surthat world the same way it always does. vive, whatever that means, in whatever it is that’s “To understand the DMT experience you have to actually out there. Whether it’s real or not is kind of imagine a 100 percent reality switch. Imagine that you beside the point — the brain doesn’t care about all are a flatman, a two-dimensional entity living in a that — it only cares if it can help you survive.” three-dimensional world. You are completely within Ideas like these are no longer controversial — top- your planar existence and so have no way of conceiving notch thinkers and scientists, the likes of Elon Musk, of other dimensions, no way of receiving information now posit it’s not just possible, but likely. And popular about them — like how a square would not be able to culture is ready to accept such lofty theories, primed comprehend a cube it is embedded within. DMT as we are by movies makes it so that the flatman can suddenJonathan Greet like the Matrix that ly conceive of and explore the third explore what it would dimension, but for us it is an experience be like to live in a of the fourth, fifth, sixth hyperdimensional dimension... and beyond.” world, one that canCommonly referred ON THE BILL: not be grasped withto as the “god drug,” Extended State DMT with Dr. Andrew Gallimore. 2 out the help of the DMT not only allows for p.m. Shine Restaurant & little red pill to show humans to experience Gathering Place, 2027 13th us just how deep the such omnipotence, but St., Boulder, 303-499-0120. rabbit hole goes. also introduces users to a As it turns out, species of divine beings, the little red pill isn’t little creatures commonly just a prop in a described as elves or tykes. Gallimore movie, it exists right argues the appearance of them is one of here, in the consenDMT’s defining features, although he sual reality we inhabdoesn’t refer to them in such religious it. According to terms.

Gallimore’s research, “I call them aliens,” he says. “One the psychedelic subcannot infer what they are — whether stance N,Nthey are divine or infernal or tricksters Dimethyltryptamine, or DMT, is our gateway to or spiritual guides — in different situations they another world or, more accurately, the catalyst that might be a combination of these things. All that we can determine is that they are other than us, that they grants us access to hyper-dimensionality. DMT relibelong to a different system, as aliens.” ably induces super-sensory experiences in which conThe next phase of Dr. Gallimore’s work is in sumers can apprehend objects from all sides at once, exploring extended state DMT experiences, hoping to moments that Gallimore describes not just as strange, prolong the trip’s duration into orthogonal dimenbut as impossible. sions, and thus one’s interaction with these alien crea“These experiences are different than dreams tures. He hopes that in exploring worlds beyond this because dreams, although bizarre, are constructed of reality we might learn something from the intelligent the same elements of reality that the brain uses to beings that reside there and unwrap the layers of our process information in the waking world,” he says. own simulated experience in the process.

“You are still a three-dimensional creature acting in a

July 20 , 2017 57

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cannabis corner

by Paul Danish

Drug-testing companies can’t find workers

H

eh.

Other than the mass arrests (25 million and counting for pot alone since 1965), probably the ugliest thing that came out of the war on drugs has been the introduction of drug testing into American life.

This filthy, totalitarian practice has, to a large extent, become the new normal for people seeking everything from jobs to insurance.

It’s become so widely practiced by employers that Colorado’s Amendment 64, which legalized recreational marijuana in 2012, contained language specifically allowing companies to continue testing. (Politics is the art of the possible, and Amendment 64 would have drawn too much business opposition if it had prohibited employers from testing and firing pot users, even if pot use was legal.)

But now some of the businesses that test for marijuana and practice zero tolerance, are getting their comeuppance: It turns out they’re having a hard time finding employees.

According to a story that appeared earlier this year in the Washington Post, the McLane Company, a grocery supplier whose workers “drive forklifts and load hefty boxes into trucks” is finding that prospective hires at a warehouse it operates in Colorado keep failing drug tests.

“Some weeks this year, 90 percent of applicants would test positive for something,” according to Laura Stephens, a human resources manager for the company. A positive test disqualified the applicants.

“Finding people to fill jobs is really challenging,” she said.

She added that companies such as hers, where employees operate heavy equipment, continue to test

for marijuana out of concern for everyone’s safety.

Hogwash.

McLane uses “follicle tests,” which look for pot traces in a hair sample. Such tests can detect marijuana traces three months or more after someone smokes. The test tells you nothing about whether someone is high, impaired or hung-over on the job, which is what really matters if the company is concerned about safety.

McLane probably doesn’t disqualify employees for off-work alcohol use — if it did, finding employees would probably go from “really challenging” to “mission impossible”— which means it is willing to hire someone who has a few drinks less than 24 hours before coming to work, but not someone who smokes pot a few weeks before coming to work.

If safety is the issue, the company should test for impairment before a worker starts a shift. Video-

game-like devices that do this have been on the market for 20 years, and reveal impairment from all sources, not just pot.

The fact that the company doesn’t use these devices means that when it comes to safety, it’s blowing smoke.

According to Quest Diagnostics, the lab which conducted 10 million drug tests from across the country last year, two percent of the samples they tested were positive for marijuana. Compare that with McLane’s experience of 90 percent of prospective employees testing positive.

One reason for the difference is that most of the tests that Quest conducts are urine tests, which are much easier to defeat, either by drying out for a few weeks before the test or substituting a clean sample.

What this suggests is that large numbers of people who are required to take drug tests to get a job cheat — which means their employers are hiring employees who began their relationship with the company by lying to the boss.

In other words, millions of employer-employee relationships begin with mutual distrust and deceit.

Hell of a way to run a company.

Truck and school bus drivers are required by law to prove they don’t have pot in their systems before they’re hired. According to Curtis Graves, the information manager at the Mountain States Employers Council, “some employers are extremely worried about filling jobs” that require a test.

Well, here’s a way to take some of the challenge and worry out of filling all those jobs: set the pay for workers who are required not to use drugs high enough to make it worth their while not to get high.

Alternatively quit trying to tell people how to live their lives when they’re not at work.

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KING OF THE HILL

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Humans have long reigned supreme in the Animal Kingdom, often citing the ability (IN CASE YOU MISSED IT) An irreverent and to walk on two feet, use opposable thumbs not always accurate view of the world and the size of our brains as characteristics that separate us from other animal species, even our closest chimpanzee cousins. But for some god Michael Phelps is training for his biggest race humans, that’s just not enough. We also have to be yet: the 100 meters in the open ocean off the coast of the stronger and faster species, or even strongest South Africa against his opponent, a Great White and fastest.

Shark. As if 23 gold medals, millions of dollars in Following in the footsteps of Jesse Owens who endorsement deals and out-right sports-hero fame could out-sprint horses, Olympic idol and deltoidian weren’t enough for the humble Marylander. Now he

has to prove he can actually out-swim one of the fiercest predators on the planet (albeit with a “monofin” contraption attached to his feet and flanked by 15 other swimmers throughout the course to fend off the shark in case it decides to attack).

Thanks to Discovery Channel’s Shark Week, we’ll all be able to tune in and see if once and for all Phelps loses the title of supreme natator or if the white death is the ultimate victor. We’re holding our breath.

Next up: Who can groom faster: Two baboons? Or Donald Trump with the help of Vladamir Putin?

420

RACE TO THE BOTTOM This week, Frontier Airlines announced it would add 20 destinations from its Denver International Airport hub.

To this, United Airlines president Scott Kirby told investors that the battle is on for DIA supremacy.

What remains to be seen is just who will benefit from this battle. Does this mean in an effort to appeal to consumers, United will allow you to carry-off your baggage when you’re bloodied and dragged through the aisle?

Does this mean in an effort to save money, Frontier will turn to budget mascots like Vanessa the Vole, Gary the Grub, and the actor who played Family Matters patriarch Carl Winslow, Reginald VelJohnson?

And is it moral to profit off of sending people to the likes of Little Rock, Calgary and Reno? If anything, Frontier and United are being enablers.

In a move that might indicate future involvement in the DIA war, JetBlue made headlines this week after a couple flying the airline alleged that they were removed from a flight when their one-year-old kicked the back of a passenger’s chair. But anyone who’s crammed themselves and a one-yearold (who are known to sit still for hours at a time) into the one-foot of room airlines give you, surely looks at the JetBlue situation and says a big old, “Fuuuuudge that.”

JetBlue claims, however, that it removed the family after “a verbal altercation that included physical threats and profanity.” But as the United Airlines motto goes, “If you’re not cursing and threatening people when you’re flying, then you ain’t really flying.”

Boulder Weekly

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