City Weekly May 26, 2016 by Copperfield Publishing

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Make it PAGE

29 summer movie preview By David Riedel

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2 | MAY 26, 2016

CWCONTENTS COVER STORY MAKE IT POP!

Summer is [almost] here and with it a slew of movies. Would we like a river of partially hydrogenated soybean oil on our XL popcorn? As if you had to ask. Cover illustration by Derek Carlisle

CONTRIBUTOR

4 LETTERS 6 OPINION 8 NEWS 20 A&E 26 DINE 41 CINEMA 44 TRUE TV 45 MUSIC 59 COMMUNITY

DAVID RIEDEL

Cover story, p. 16 Riedel co-hosts the Spoilerpiece Theatre podcast, melts faces with his band Augean Stables and has a sneaky baby named Henry. He has written for Boston Magazine, the New York Post, CBSNews.com, and was managing editor of the New Haven Advocate (RIP). Call him a jerk on Twitter @ThaRid.

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CULTURE

Drum circle O.G. Sabina Sandoval comes home. Facebook.com/SLCWeekly

FOOD

Fire up the grill for Memorial Day.

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LETTERS Abdi’s Side

Thank you so much for this piece [May 12, City Weekly, “My Life After the Bullets”]. I personally have not forgotten this tragic event and have been really disturbed by the lack of attention the story has been receiving. I was appalled by the shooting when it happened and I have continued searching for news stories on it since then, but this is the first I have found in weeks. I only wish I had caught the other article mentioned. I hope your paper continues to report not only on what’s going on officially but also on Mohamed himself and his side of the story. I felt from the beginning that there was much more to it than what the police have said officially. I also feel that, unless there continues to be pressure from the public and attention on the story, we aren’t as likely to see the release of the footage or a resolution to the case. It is refreshing to hear from the young man himself an admission that he has made

WRITE US: Salt Lake City Weekly, 248 S. Main, Salt Lake City, UT 84101. Email: comments@cityweekly.net. Fax: 801-575-6106. We reserve the right to edit for length and clarity. Preference will be given to letters that are 300 words or less and sent uniquely to City Weekly. Full name, address and phone number must be included, even on emailed submissions, for verification purposes. mistakes and is trying to change himself. The opportunity for his voice to be heard is an important step in that process. Thank you for giving him the chance to respond to all the things that have been said about him. Whether people agree with him or not, he has as much right to be heard as the official voice.

AMANDA FAULKNER Magna

Family Ties

I enjoyed the short piece by Kimball Bennion on Gingger Shankar [May 19, City Weekly, “Her Mother’s Due”], but couldn’t help but wonder about her relationship with Nora Jones, a daughter of Ravi Shankar, who quite obviously is part of “a larger family tradition.”

JOHN PAUL BROPHY

Author’s Response: In simple terms of their family tree, the relationship between Gingger Shankar and Norah Jones is pretty distant: Gingger Shankar is Ravi’s great niece, but her mother and grandmother raised her largely within the family’s musical traditions. Norah Jones, Ravi’s daughter, grew up mostly estranged from her father. She formed her own musical path as a teenager in Texas and changed her name from Geetali Shankar. The children of famous families are often forced to come to terms with the names they inherit. Both women have done so in very different and interesting ways.

Correction: Last week’s opinion piece [“The Draft”] failed to acknowledge John Rasmuson as the author.

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Salt Lake City Weekly is published every Thursday by Copperfield Publishing Inc. The Salt Lake City Weekly is an independent publication dedicated to alternative news and news sources, and serves as a comprehensive entertainment guide. 50,000 copies of the Salt Lake City Weekly are free of charge at more than 1,800 locations along the Wasatch Front, limit one copy per reader. Additional copies of the paper may be purchased for $1 (Best of Utah and other special issues, $5) payable to the Salt Lake City Weekly in advance. No person, without expressed permission of Copperfield Publishing Inc., may take more than one copy of any Salt Lake City Weekly issue. No portion of the Salt Lake City Weekly may be reproduced in whole or part by any means, including electronic retrieval systems, without the written permission of the Publisher. Third-Class postage paid at Midvale, UT. Delivery may take one week. All Rights Reserved. ®

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STAFF BOX

OPINION

Young Guns

When I was a kid, I spent countless hours in the library reading Greek myths, Aesop’s fables and Grimm’s fairy tales. Dr. Seuss and Uncle Remus were also favorites. I eventually shared them with my sons along with Maurice Sendak’s books and Goodnight Moon. In all those years it never occurred to me that classics could be revised or improved. Then, thanks to the National Rifle Association (NRA), I found they could—and would! In fact, two revised stories were posted on the NRA Family website (NRAFamily.org) recently—“Little Red Riding Hood (Has a Gun)” and “Hansel and Gretel (Have Guns).” They were written by “lifelong writer, patriot and conservative blogger,” Amelia Hamilton. I don’t know about you, but I don’t associate the NRA with children’s literature any more than I associate the Utah Legislature with evenhandedness. In fact, I question the NRA’s motive for arming Hansel, Gretel and Red Riding Hood. It has more to do with politics than the belle-lettres, no doubt about that, and while I am skeptical of revisionism, I grudgingly acknowledge the right of the NRA, unimpeded by copyright, to tamper. I remind myself that there are seven versions of Blade Runner. On the other hand, Ted Turner backed away from colorizing Citizen Kane, Orson Welles’ classic black-and-white film. Hamilton’s stories are accompanied by an editor’s note: “Have you ever wondered what those same fairy tales might sound like if the hapless Red Riding Hoods, Hansels and Gretels had been taught about gun safety and how to use firearms?” Well, no, I haven’t wondered, but I expect that outspoken gun advocates, like Utah’s Curtis Oda and Clark Aposhian, have. The Second Amendment crowd is going to love the NRA’s stories about kids with guns. Those who worry about kids and guns are not. Hamilton has said her stories are about gun safety and self-protection. I think they advance the belief that to be unarmed is to be a potential victim. Red Riding Hood’s

Readers can comment at cityweekly.net

BY JOHN RASMUSON

grandma won’t be eaten by the wolf if she has a gun close at hand. It is a specious argument because it assumes granny is practiced at reactive shooting. Here’s the view of this former Army infantryman: Those who choose to carry a pistol must be skilled enough to unholster it and hit the target with the first round—even when adrenalin is churning their nervous systems. The State of Utah doesn’t agree. It blithely issues concealed-carry permits to people who have never fired a gun. So, as a rebuff to Utah and the NRA, I offer my own repurposing of “Little Red Riding Hood (Has a Gun)”: Once upon a time there was a girl who always wore a red hoodie and Chucks when riding her Mongoose BMX bike. Her handle was “Red Riding Hood.” “Red,” for short. One day Red decided to visit her grandmother on the far side of the forest. Traversing the forest’s dark interior was risky: No cellphone coverage and a prevalence of perverts, predators and poison ivy in the understory. She was not unprepared, however. On a motherdaughter outing, Red had acquired a Utah concealed-firearm permit. Even though neither she nor her mother had ever fired a gun, both were licensed to carry one. “Make sure you take my Beretta,” her mother said as Red got ready. “Aw, mom,” Red complained. “I forget how it works and it’s heavy.” “Don’t be silly. All you do is click the safety and pull the trigger.” Red set off on a single-track trail through the forest. Along the way she waved to Bambi and stopped to chat with Snow White. The seven dwarves had started a landscaping company, Snow White confided. Red rode on. Deep in the forest, a wolf slunk out of the shadows and blocked the trail. “Wassup?” it said with a toothy grin. Red was wary. “I am on my way to

my grandmother’s,” she said. “I don’t have time to talk with strangers.” She pedaled off, calling, “Have a nice day!” Sensing opportunity, the wolf raced ahead to Red’s grandmother’s house. He shouldered the back door open and made a quick meal of the old woman. He then donned her nightgown, frilly nightcap and climbed into bed. As Red pedaled up to her grandmother’s house, she noticed the dwarves xeriscaping a neighbor’s yard. “Hi, you guys!” she shouted as she parked the bike and walked to the porch. She cracked the front door. “Grandmother, it’s me!” “What a surprise!” said the wolf in falsetto. “Come in!” Red walked into the bedroom and appraised the situation. “What big ears you have,” she said tentatively. “The better to hear you with, my dear,” said the wolf. “What big eyes you have.” “The better to see you with, my dear.” “What big teeth you have.” “The better to eat you with!” the wolf growled. As the wolf threw back the blankets, Red yanked the Beretta from its holster. Blam! Blam! Blam! Five rounds shattered a shelf of Hummel figurines and a table lamp. A smoke detector wailed. Red bolted for the door. The wolf, its ears ringing, tore off the nightgown and followed. The dwarves heard the ruckus and came running. In the front yard, Red turned and fired again at the wolf. Two rounds kicked up dirt at its paws; a third shattered the bay window. The wolf tucked and rolled. Blam! Blam! Blam! Red’s fusillade sent the dwarves diving for cover. Sleepy took a round in the leg. Red’s last bullet grazed Dopey’s shoulder. Then it was suddenly very quiet. Red was looking at the empty pistol when the wolf jumped her. CW

I DON’T KNOW ABOUT YOU, BUT I DON’T ASSOCIATE THE NRA WITH CHILDREN’S LITERATURE ...

Send feedback to comments@cityweekly.net

What was your first experience with a gun like? Scott Renshaw: When I have it, I’ll let you know.

Lisa Dorelli: I was 19 or 20 and living in the Midwest. A group of us got together in a forested area that I remember as an outdoor shooting range (I hope?) and I shot an AK-47 for the first time. It was the first gun I ever shot. I was in flip-flops, cutoff jean shorts and a tank top. The kick of the gun bruised me and I thought I was really cool that day. Mikey Saltas: You know how you can wrap a rubber band around your hand pointed at someone and flick it? That’s about my closest experience, which is absolutely fine by me.

Derek Carlisle: ’Bout 8 years old, shootin’ in the backwoods of Georgia with the rest of the family. Growing up in a heavily armed house, I have respect for them but as an adult I don’t feel the need to own one.

Sierra Sessions: My family decided it would be cool to set up zombie targets in the middle of nowhere and shoot at them. It was all fun and games until I missed the target by at least five feet each time. I then came to the conclusion that I would never be able to survive the zombie apocalypse, at least not with a firearm, so I took shelter in the car and ate a sandwich. Mason Rodrickc: I was 10. I never thought I’d hold one, let alone own one, heaven forbid two. But there I was, face to face with myself in the mirror, sleeves rolled up, flexing my little heart out, being astonished at how sweet my guns were. Randy Harward: This is the first gun I’ve ever held. Is it loa— Jeff Chipian: My first experience wasn’t with just one gun, but two. There I was watching Mason flexing his little heart out in his mirror. I never appreciated his guns until now.

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BY KATHARINE BIELE @kathybiele

GOP Wins

Democratic Party Chair Peter Corroon probably has a point, but since his party is but a pinprick in the state political quilt, it’s unlikely anything will happen. The party filed a formal complaint with the lieutenant governor’s office about the mail-in ballot process for statewide primaries, according to Utah Political Capitol. The thing is that many county clerks ask voters which party’s ballot they want—before they get it. Yes, the Republican primary is closed, and given the supermajority status in the state, most voters would just automatically choose the GOP. That doesn’t give them any chance to make a jump to someone they might otherwise consider. Corroon says many states have ballots with cross party affiliation, and how hard would it be to put all parties on one ballot and state the rules? While the legislature often usurps local control on issues, this is a case where they want counties to decide for themselves—so the GOP wins.

Forget the Gender Binary

Crystal Young-Otterstrom, an Emerson Elementary mom, recently posted “some big news” on Facebook. The school dress code has been changed to be “ungendered and unsexualized, and no longer severely outdated.” The School Community Council apparently was working from an outdated handbook, and girls like Young-Otterstrom’s daughter were being embarrassed by being made to wear shirts under their blouses. School Board Member Heather Bennett says the district has been looking at all such gender issues, and is even giving schools a choice in graduation gown color. “We have not had any problems and we have transgendered students,” she says. The policy allows schools to work with transgendered students depending on where they are in the process.

Public Transit Failures

Transportation is, again, in the news—if for a lack of transparency or a lack of imagination. The Salt Lake Tribune has reported on UTA’s decision to hold committee hearings behind closed doors, and then this week noted that bus fares are the least affordable among 20 major cities. No wonder they don’t want public input. But the big transportation failure rests with the Utah Department of Transportation and its decision to move forward with the West Davis freeway. After two years of study, UDOT rejected a “shared” notion that would look at alternative methods of moving people. UDOT opted instead to prioritize automobile traffic because it’s what they know and love best. Davis County should be looking at how they want their communities to grow, said Steve Erickson of the Utah Audubon Council.

FIVE SPOT

RANDOM QUESTIONS, SURPRISING ANSWERS

Hear ye, hear ye! The sixth reign of Salt Lake City drag royalty is nearing an end, and the time to crown a new queen is upon us. This year’s pageant will be held at Club Elevate (155 W. 200 South, Salt Lake City) on Thursday, June 2 at 9 p.m. As the big day approaches, we sat down with Harry-It Winston, Miss City Weekly 2015, to reflect on the past year and look ahead at what’s to come.

So, tell me about the pageant.

I found out about the pageant a few years back. It was kind of an underground thing, and I wasn’t really sure if that was the direction I wanted to go. [I thought,] “Do I want to do a pageant? Blah blah blah. Am I really that type of drag queen?” As I got more involved in drag and more into the club scene, it became apparent that if I really wanted to make a name for myself, this is going to be a great avenue to do it. There are other pageants, but they’re not as directly involved with our community. … You win a pageant and then you do whatever you wanna do—it’s just a title. But with City Weekly, you become Miss City Weekly with the opportunity to perform once a month. And that was kind of an avenue that was going to help me start to perform more and more.

Do the local pageants and drag scene in general get pretty competitive?

The drag scene is competitive. I think when you’re passionate about something, it can be pretty competitive. But it’s all in good fun. If you can’t have fun doing it, then you shouldn’t be doing it. Don’t take yourself too serious because life’s too short to be so goddamn serious. Enjoy yourself, do your very best, and that’s all you can do.

What has it been like as the queen of Salt Lake City?

Well, you know, haters are gonna hate. When it was first announced, of course there’s gonna be some recourse, people saying, “Oh, my favorite queen should’ve won.” But that’s like with anything. In RuPaul’s Drag Race, you see the same thing. We just crowned Bob The Drag Queen. Is Bob the very best at painting his face? No. But he’s relatable and likable.

So would you say that’s what it’s more about?

That’s what it’s about. So, like I said, there was some recourse, but I’ve had a fantastic ride. It’s been a fantastic year. There’s been lots of doors opened to me because of it, and I really can’t thank the City Weekly crew enough. It’s been such a great experience and I’ve had such a fun time and I’ve got to meet lots of people.

Anything you want to say to this year’s contestants?

“May the odds be ever in your favor,” just like Effie Trinket. When we’re looking for the next Miss City Weekly, will you be able to top this crown that I’ve carried? Maybe not, ’cause I’m a worker. And that’s what it is—it’s a lot of work being involved in the community. You can win, but it’s what you do with the win that makes you successful.

What would be your advice for them, in the pageant and in general?

Enjoy yourself. Be serious, but too serious that you can’t enjoy it. I mean, in the long-run and the grand scheme of things, we’re just all here to make a difference. And if you can make a difference in someone else’s life, then you’re a winner. So whether you win or not, enjoy the ride and be a positive example for the community. That’s what I have to say. It’s wonderful to win, but be a graceful loser, and an even more graceful winner.

—ANDREA HARVEY aharvey@cityweekly.net CHANDA CHUON

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I had a friend recently try to explain to me that the Rothschild family secretly own almost every central bank in the world and use their power to influence world events. I know the Bank of England, for instance, was nationalized after World War II, so this sounds to me like another crackpot conspiracy theory. What’s the Straight Dope? —Jim Moore

A textbook crackpot theory, sure, but with a dash of anti-Semitism to liven things up: What your friend has seized on is basically the ur-myth of the whole Jews-controlbanking routine. And it’s far from the only slander that’s been heaped upon the house of Rothschild. They’ve also been linked to that missing Malaysian airliner, the 9/11 attacks and the sinking of the Titanic—the premise here being that its passengers included Benjamin Guggenheim, Isidor Straus and John Jacob Astor, three rich guys who opposed the creation of the Federal Reserve and therefore (it’s important not to think too hard on this one) stood in the Rothschilds’ path to world economic domination. I’ll allow there’s a certain romance associated with the barons Rothschild, who have been nearby for a lot of significant historic events; a familial tendency toward secrecy has perhaps enhanced the mystique. The family business got going in the late 1700s in Frankfurt, where one Mayer Amschel Rothschild progressed from dealing coins and antiques to providing financial services for local powerbrokers, most notably Crown Prince Wilhelm of HesseKassel. In short order Mayer dispatched his sons to the great cities of Europe—London, Paris, Vienna, Naples—where they set up shop. This being a time of some political upheaval, the Rothschilds found great success lending money to the various governments of Europe, who needed the bread to fund their unending wars with one another. Which brings us to one pernicious myth about the family: that they made their fortunes speculating on the outcome of the Battle of Waterloo in 1815. The story, which circulated Europe in an 1846 pamphlet, went that Nathan Rothschild, the son stationed in London, observed the battle’s outcome and rushed back to England to exploit this knowledge on the stock exchange a full 24 hours before news of Napoleon’s defeat reached the British government. It’s a good yarn if you’re trying to paint a picture of an amoral, calculating greedhead, and it made its way into literature and film. Alas: it’s not true. Nathan wasn’t at Waterloo, and he didn’t clean up in the market immediately following. Still, we’d be remiss not to acknowledge that while the Rothschilds weren’t running around Europe acting like anti-Semitic stereotypes made flesh, their burgeoning wealth and influence was no tall tale—that the family actually did provide key funds to the British army and

BY CECIL ADAMS

SLUG SIGNORINO

STRAIGHT DOPE The Infamous Rothschilds

allies in 1814-’15 indicates its ascendant role in European geopolitics at the time. So, I suppose, does another conspiracist claim wherein Nathan financed both sides at Waterloo, coolly playing one off the other. A further bit of Rothschild apocrypha you may come across is a juicy quote also attributed to Nathan: “I care not what puppet is placed upon the throne of England … The man who controls Britain’s money supply controls the British Empire, and I control the British money supply.” This line appears in none of the major books on the family, and where it does turn up—the most credible venue being a 2004 article in the British journal the Independent—I haven’t yet found it linked to any actual citation. Still, it packs a punch, huh? Exactly the sort of thing you’d expect from a key player in the international Jewish conspiracy. As to the notion of the Rothschilds owning the central banks, the Anti-Defamation League points out that this Jewish-controlof-the-Fed stuff is pretty much the oldest anti-Semitic story in the book, but one that our modern age of economic anxiety has brought back to the surface—the fact that the international banking system actually is a byzantine mystery that seems to function mostly to make rich jerks richer makes it easy for some to see the nefarious hand of conspiracy behind it. The ADL cites, specifically, the Rothschilds: “In the literature of bigots, the name Rothschild is a trigger for the most explosive of anti-Semitic tremors,” both among your neo-Nazi types and your more extreme Nation of Islam types. Nice to see these guys agree on something. Where are the Rothschilds today? Now in its seventh generation, their European banking business remains intact. By design, nobody really knows how much the family is worth. As the Financial Times has put it, “The family empire is divided among a web of descendants and a few external shareholders. The ownership structure is opaque, which makes it hard to estimate the family wealth, although it is one of the richest in the world.” That 2004 Independent piece cites “industry insiders” estimating the Rothschild kitty as countable “not in billions but in trillions.” So basically the family continues to do what it’s always done best, which is to make money hand over fist, and that’s probably the long and short of it. Greed’s a pretty ecumenical value. n Send questions to Cecil via StraightDope.com or write him c/o Chicago Reader, 350 N. Orleans, Chicago 60654.

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NEWS The Long Road

A routine GRAMA request morphs into a 13-month quest. BY COLBY FRAZIER cfrazier@cityweekly.net @ColbyFrazierLP

ost newspaper reporters older than Facebook recall a time when police stations offered their police reports in a fat, paper jumble known as the media “stacks.” Every couple of days, a reporter would amble into a police station lobby, show a press pass and spend the morning sitting on a hard plastic chair with the stacks, pausing to observe the others who wind up in a police station lobby: a crying woman, mascara smeared across her face; a wild-eyed man reeking of booze, trying to report his bike stolen; an officer coaxing a woman wanting to file a domestic-abuse complaint into a more private space. Picking through the stacks—an unedited preview of a couple days of life in a town, as seen by the police—was a way to generate story ideas, from a popular police blotter full of comical crime blunders to seeing which elected officials tried to drive home drunk. Today, obtaining and viewing police reports is a much more complicated— and expensive—matter. In Salt Lake City, a police report costs $5.09. If it is deemed that the police must redact private information from the report (most names, all addresses, phone numbers and other formalities are usually redacted), the costs can rise quickly. Taking a look at a police report can also be time-consuming. In Salt Lake City, reporters must file a Government Records Access and Management Act request. A governmental entity doesn’t have to respond to a GRAMA request for 10 days—meaning that a routine police report needed for a story in tomorrow’s newspaper will have to wait. On Feb. 24, 2015, City Weekly requested a big police report from the city of Salt Lake: The Elizabeth Smart police report. No one, it had been told to a City Weekly reporter, had ever bothered asking for it. Or, if they did ask, they didn’t ever see it. Much has been written about the June 5, 2002, disappearance of Elizabeth Smart. Her uncle, Tom Smart, penned a book about the investigation,

T R A N S PA R E N C Y

and several other books have appeared, as well as a made-for-TV movie. None of this work, though, apparently relied on the bedrock of information about the investigation contained in the police reports. So, City Weekly asked—not because the newspaper has any particular interest in the sordid details behind the Smart case—but because police reports shine a light on the manner in which the lawmen investigate crimes. And, for those now-graying reporters who witnessed the days of the media stacks, police reports are pretty basic, and often pretty great, public documents. Here’s a fictional example: “Reporting officer responded to the 2100 block of Joe Avenue, spoke to Jane Doe about John Doe. At 1355, John Doe, DOB 1-11982, became crazed while watching the Utah Utes lose at football to BYU. At the conclusion of the game, score 31-10, BYU, John Doe leaped over the fence, broke his ankle on a toy dump truck, and thoroughly ruined his BYU-loving neighbor’s victory barbecue. The neighbor declined to press charges, but Jane Doe insisted John Doe spend a night in the can.” After some routine requests for extra time, the Salt Lake City Police Department’s GRAMA coordinator, Candee Allred, said that city attorneys were concerned that releasing the document would run afoul of a gag order issued during the trial of Elizabeth’s kidnapper, Brian David Mitchell. On Aug. 11, 2015, Allred wrote that the gag order had never been lifted and denied City Weekly’s request. A spokesperson for the U.S. Attorney’s Office, however, told City Weekly that, as is the case with all gag orders, the one handed down in the Mitchell

trial dissolve at the conclusion of a case. Therefore, in the case of Mitchell, the gag order would have certainly expired on May 26, 2011, when he was sentenced to life in prison. The dialogue with Salt Lake City was reopened, and during the fall of 2015, the city said it would release the report. Work commenced on redacting portions of the report that the city deemed private. This redaction work was extensive, consuming 95 hours of Allred’s time. The city’s $5.09 charge for police reports is only good for 50 pages, meaning that City Weekly would be charged 10 cents per page thereafter, totaling $152.89. For Allred’s time, an $11-per-hour fee was established. After 95 hours of redacting, that fee was $1,045. Plus the per-page cost, the total bill for the Elizabeth Smart police report was $1,197. Fortunately, a true-crime writer in Colorado requested the same report on Oct. 1, 2015. Salt Lake City officials explained that they were willing to split the costs, 55 percent, or $652.85 for City Weekly, a prize for asking first, and 45 percent to crime writer. City Weekly, citing provisions under GRAMA that allow government agencies to waive fees for documents if dissemination of those documents is for the public good, appealed the fee to the city’s chief administrative officer, who denied the request. City Weekly then appealed to the Utah State Records Committee. Before a hearing on the appeal could take place, though, a mediation session was arranged by Rosemary Cundiff, the state’s government records ombudsman. Senior Salt Lake City Attorney Mark Kittrell a, City Weekly reporter and Cundiff sat down to talk costs.

While discussions that take place during mediation are confidential, the outcome is not. City Weekly and Kittrell agreed on a $200 price tag for an electronic version of the police report. On March 3, the police report was provided to City Weekly via a secure email link. Although easy enough to follow, nearly every name of every person contacted by the police during the nine months that Elizabeth was missing had been redacted. Even the name of Richard Ricci, a handyman who had worked for eight months in the Smart home and died from a brain aneurism in prison in August 2002, was redacted. Ricci had been arrested on a parole violation shortly after being questioned by police about his relationship with the Smarts. The city cited privacy concerns as justification for redacting the names of Ricci and others. But in the summer of 2002, the city wasn’t overly concerned with protecting the identity of Ricci. One way or another, investigators’ interest in Ricci’s possible connection to the Elizabeth Smart disappearance was beamed around the world. One thing is crystal clear in the police report, even with Ricci’s name redacted: Police officers furiously went after him. They interviewed old friends, neighbors, people he served time in prison with, former bosses, coworkers and relatives. Investigators subpoenaed Ricci’s telephone records and called every number that he had called. The police interviewed the people Ricci bought drugs from and people he sold stolen goods to. In the middle of winter, they traveled to a mine in Emery County that his grandfather owned. But even though the report is readable with Ricci’s name blacked out, GRAMA is not entirely clear, and there

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environment in which it is easy for the police to placate the media’s needs with stories that it wants told. An example, Campbell says, is a request he made for police reports, but was instead given a press release. “They kind of just created a new document,” Campbell says of the agency he was seeking reports from. “I’m really worried that even when we get police reports, they’re kind of giving it the public relations treatment.” The propensity of governmental agencies to charge for documents also inhibits public access. In City Weekly’s appeal protesting the cost of the Elizabeth Smart police report, an important irony surfaced: After the redaction work is complete on a report, and it is released to the media entity that pays for the document, any other media outlet can request the document and receive it for free. In the case of the Elizabeth Smart police report, one way to look at it is that City Weekly was fiscally punished for seeking out a document that had never before been released. This is one of the vagrancies in GRAMA that could stand to be amended. Of course, it is the government agencies that make cost an issue. While GRAMA clearly provides an avenue for the government to recoup expenses accrued while preparing public documents for release, it also allows these same entities to waive fees when it is determined that release of the documents benefits the public, rather than an individual. And one way to define public good, GRAMA says, is if the documents are being used by the media; the presumption being that a reporter isn’t requesting the document for personal use. As good as GRAMA can be at providing an avenue for citizens to obtain public documents, Campbell says he has witnessed what other reporters have gleaned: that GRAMA is an inconvenience to government entities, and that rather than presuming that all public documents are public, until proven private, GRAMA is often used in the opposite fashion, meaning that everything is private until proven otherwise. “Our culture in Utah is to close it up, keep it away, don’t share it,” Campbell says. “It really should be the other way around.” CW

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is little Utah case law for guidance, on whether a person being investigated, or merely contacted, by police, “constitutes a clearly unwarranted invasion of privacy” as the city contended. Certainly, with regard to Ricci, about whom the police had widely commented publicly about in 2002, it was City Weekly’s contention that the man’s name should be left bare in the investigative documents. On March 28, 2016, City Weekly appealed the redactions to Mayor Jackie Biskupski’s chief of staff, Patrick Leary, who swiftly denied the appeal. City Weekly once again appealed to the State Records Committee, and a hearing was scheduled. But just as with the appeal over costs, state records ombudsman Cundiff arranged a sit-down between Kittrell and a reporter. On May 16, Kittrell agreed to reveal the names of Richard Ricci, his now deceased wife, Angela Ricci, and one other suspect involved in the case whose name was released to the press, in the police report. Kittrell wasn’t made available for comment for this story, and Salt Lake City Police Department spokeswoman Christi Judd did not immediately respond to an inquiry on why the city, for several months, believed that it could not release the Elizabeth Smart police report. Joel Campbell, an associate professor of journalism at Brigham Young University, who helped craft GRAMA when it was etched into state law in 1992, says that over the years, media access to police reports and other police logs has eroded. “I will say now, having requested records recently from cops, that whatever standard that was set by GRAMA has largely been ignored,” Campbell says. “Today, it’s very difficult to get chronological logs out of cops, let alone police reports.” With police shootings and sexual assaults on college campuses, there is little doubt that the public is interested in how police departments handle their business. But Campbell says it could be that the speed with which the media now demands information, the proliferation in government of public relations experts and fewer newspaper reporters asking to comb through the media stacks, has created an

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MAY 26, 2016 | 13

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EQUAL RIGHTS

President’s transgender bathroom proclamation brings fear and loathing to the capitol. BY JORDAN FLOYD @JordanFloyd17

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lose to a dozen individuals informally gathered last Wednesday inside the state capitol’s Hall of Governors to express their disapproval of the Obama administration’s recent directive regarding transgender bathroom use in public schools. The missive, which was released on May 13, added transgender students to the list of those protected by Title IX. It states, “The Departments treat a student’s gender identity as the student’s sex for purposes of Title IX and its implementing regulations. This means that a school must not treat a transgender student differently from the way it treats other students of the same gender identity.” The directive also outlines the areas under which transgender students are protected by Title IX. What has proved to be most inflammatory to those who met at the capitol, it seems, is the third point titled “Sex-Segregated Activities,” wherein it states, “A school may provide separate facilities on the basis of sex, but must allow transgender students access to such facilities consistent with their gender identity.” Across the nation, LGBTQ issues and advocacy are on the rise. In a conservative state like Utah, there are individuals and groups like Cherilyn Eagar and her Parents Opposing Obama’s Directive for Public School Bathrooms banding together to push back. Eagar organized Wednesday’s gathering. She is a proclaimed “blogger, talker, actress and singer,” who ran for office in the U.S. Senate in 2010 and in the Utah House of Representatives in 2012, losing both times, and whose life’s work, she writes on her website CherilynEagar.com, has been “promoting conservative principles.” Eagar’s purpose in harboring support against the president’s directive was to give her cohorts a voice, and urge people to sign a petition that expressly calls the move unconstitutional. “We’re some of the few people who are speaking out for the sake of our own children,” said Janice Graham, an attendee at the gathering and also founder of the “Christ-based” Standard of Liberty Organization, which provides education on

overcoming sexual addictions and alternative sexual orientations. “The safety of our children is our No. 1, but the way we keep our children safe is to protect ourselves from the federal government,” local business owner and school teacher Dalane England said. “The way we protect our children is to not allow the federal government to step in and take over our parental and education rights.” England continued further to prescribe a solution to the bathroom issue. “Nefarious things that can happen under the guise of transgenderism. People use that for their own agenda. Voyeurists and molesters, they will use it falsely. The way to protect every child is a private stall with a lock. Everybody doesn’t have what they want, but everybody is protected.” At its heart, England believes the directive is attempting to increase federal control over the states. “They are using transgender people for their own agenda,” England said. “They want to take our power as a state” The issue of allowing transgender individuals to use the facilities corresponding to the gender they identify with took center stage when North Carolina passed House Bill 2, which requires transgender individuals to use bathrooms according to their designated sex at birth. Since then, the debate has picked up speed with super-retailer Target encouraging transgender individuals to use its store bathrooms according to their gender identity, and most recently, with the Obama administration’s directive. Locally, the issue first resonated when Mayor Jackie Biskupski banned city-sponsored travel to Mississippi and North Carolina as a response to HB2 and Mississippi’s law that allowed business owners to refuse service to members of the LGBTQ community. Four days prior to Eagar’s gathering, at the dedication of Harvey Milk Boulevard, the issue was declared the next fight for the human rights community to win by the president of the Salt Lake Branch of the NA ACP Jeanetta Williams. “We won our separate bathroom fight,” Williams said. “We will win this one as well.” In response to Wednesday’s gathering, Candice Metzler, executive director of Transgender Education Advocates (TEA) of Utah, says most people don’t have a good understanding of transgender individuals. “They’re another vulnerable population to be the next in line to be thrown under the bus,” she says. “A lack of education and lack of inclusion have led us to this point where we have an incredible misunderstanding.” Metzler believes the capitol gathering is the beginning of transgender rights issues garnering the attention they’ve long deserved. “I see it as an opportunity to bring issues to light,” Metzler says. “There’s still work to be done, but it’s not the boogeyman people make it out to be.” CW

S NEofW the

Medical Milestone Researchers at the University of Illinois at Urbana-Champaign announced they had recently (a first, they claimed) transmitted high-speed digital data through slabs of pork loin and beef liver. The signal cleared the muscle and gristle so cleanly that it permitted streaming of high-definition video—enough to watch Netflix, said the lead researcher. (Actually, the advance is crucial in that it allows a patient to swallow a transmitter and for physicians to monitor inner workings of the body in real time and externally control implanted devices such as cranial sensors and defibrillators.)

BY CHUCK SHEPHERD

n An Israeli man (unidentified in press reports) petitioned the Haifa Magistrate’s Court recently for a restraining order against God, pointing out that the Almighty has exhibited (according to a May Times of Israel report) “a seriously negative attitude toward him,” especially over the previous three years. The judge rejected the petition even though God was not present to argue against it (or at least His presence could not be detected).

CITIZEN REVOLT THE

In a week, you can CHANGE THE WORLD

WEIRD

Can’t Possibly Be True Religious leaders associated with the “quiverfull” ministry announced intentions for a November retreat this year in Wichita, Kan., at which parents will meet to plan “arranged” Christian marriages for their prepubescent daughters, to maximize the future couples’ childbearing potential—supposedly the No. 1 priority of all females. Quiverfull activist Vaughn Ohlman has written that female fertility is optimal during their teens (actually, just after age 12) and drops off in their 20s. The local district attorney, queried by The Wichita Eagle, said such marriages are legal as long as all parties consent—but Ohlman has maintained that the Bible does not require the bride’s consent if her father has given his.

Latest Religious Messages Great Britain’s prisoners claiming to be adherents of the ancient Celtic pagan religion are allowed, under rules from the National Offender Management Services, to be excused from jailhouse routines to celebrate four festivals, including (of course) the Festival of the Lactating Sheep. Although “Skyclad,” or naked worship, is forbidden, prisoners can wear the silver pagan ring (to avoid “distress”) and are permitted their own chalices, crystals, “worry beads,” pentagram necklaces, hoodless robes and flexible twig-wands.

New World Order Gynecologists interviewed by The New York Times for an April report said they were baffled by the recent increase in teenage girls demanding cosmetic surgery on the external folds of their vulvas—since there is rarely a medical need and the safety of the operation on young girls has not been demonstrated. Some doctors called the “need” just an extreme example of teen girls’ beauty obsessions and suggested the presence in some girls of the psychiatric malady of “body dysmorphic disorder,” in which a person imagines or exaggerates a physical characteristic. (The phenomenon is different from the “vaginal rejuvenation” requested by older women, especially after childbirth, because that involves tightening internal tissue.) Texas School Blues Houston’s KHOU-TV revealed in May that the French teacher at the Houston school district’s Energy Institute High School doesn’t speak French (but did take one year of it, in high school). n The Sheldon school district near Houston admitted in May that a 7-year-old student at Sheldon Elementary had written her own successful “please excuse Rosabella early” note (using lettering typical of 7-year-olds) and was allowed to go home instead of attending her after-school program. n School police at Christa McAuliffe Middle School in Houston threatened to arrest a 13-year-old girl during the last school year because they were unaware that the girl’s $2 bill (cafeteria payment) was valid U.S. currency.

Thanks this week to Dan Bohlen, Greg Hoggarth, Stan Kaplan and Robin Daley, and to the News of the Weird Board of Editorial Advisors.

BIKE TO WORK DAY

No, it’s not graffiti in those Salt Lake bike lanes. Pay attention and be safe on those two-wheeled vehicles. In celebration of May as Bike Month, the city has been painting chalk messages in city bike lanes to remind cyclists about riding safely and sharing the road. Things such as, “Use lights at night” and “Wait here for green,” and “Ride with traffic.” They’ll be wearing off by the grand finale—the annual Mayors’ Bike to Work Day. Salt Lake City Mayor Jackie Biskupski, Salt Lake County Mayor Ben McAdams, and other mayors from the Salt Lake Valley will lead bicyclists. Sugar House Draw, (bike/pedestrian tunnel under 1300 East and 2150 South), 385-228-2365, Tuesday, May 31, 7:15 a.m. (breakfast, music), ride will begin at 8 a.m., BikeSLC.com

ABILITY CENTER FUNDRAISER

Our guess is that you may won’t compare very well with a lot of people of limited abilities. Be amazed at the National Ability Center’s annual Barn Party that celebrates 30 years of adaptive sport programs and 28 years of equestrian programs. The event features a barbecue, music, line dancing, adaptive riding and roping demonstrations, kid activities, mechanical bull, hay rides, cowboy poetry and a silent auction. Proceeds support the more than 28,000 experiences and programs provided by the National Ability Center each year. National Ability Center, Equestrian Center, 1000 Ability Way, Park City, 435-649-3991, Saturday, June 4, 5:3010 p.m., family packages (two adults, three kids), $100; adults, $45, youth, $20, kids under 8, $10, seniors, $25, DiscoverNAC.org/BarnParty

POETRY SLAM

For those who need it most….

Friday, June 3rd | 6:30 pm Noah’s Event Venue - 322 west 11000 south, South Jordan $15/person in advance - $20 at the door -

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—KATHARINE BIELE Send events to editor@cityweekly.net

with the Folks

Quirky Indie Princess 2: The Artsy Awkwarding

3. #hashtag: The Death of the Pound Sign

4. Hot and Scared in a Theater:

Another Summer Horror Movie

5. Timing Is Everything 2: On Time Again

Get Ready to Cry: Three hours of the Up opening played to recently widowed spouses

7. Balayage: Death of the Ombre 8. In-Dependence Day: We Heart Oil

9. Tim Burton’s Showcase of the Same Actors over and over Again

MAY 26, 2016 | 15

Live Gaming, Great Food And Drinks, Amazing Silent Auction, Raffle Items And Much More!

1. Captain Canada: Civil Dinner

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Puttin on the Ritz

There’s a new kind of slam on the Wasatch Front called the Double Dragon Deathmatch. Five teams of two poets each will compete for the cash prize of $97. The Deathmatch features Joy Young, a performance and teaching spoken-word artist described as a queer Phoenician circus poet, and Sienna Burnett, a queer femme actor, musician and touring spoken-word artist based out of Seattle. Weller Book Works, 607 Trolley Square, 801-328-2586, Monday, May 30, 8 p.m., competing teams, $20; spectators, $3-5 donation, WellerBookWorks.com

Nine movies that will not be getting enough attention this summer:

U-SA Cares for Life Invites You To:

@MRodrickc

n The Daily Pakistan newspaper, covering the Anti-Terrorism Court in Karachi in April, reported that a judge in Courtroom III asked a constable if he knew how the grenade entered into evidence worked. Rather than assume that an explanation was requested, the constable pulled the pin to demonstrate, and the resulting explosion injured the constable, a court clerk and another police officer. The constable is said to be facing severe discipline as soon as he recovers.

n In Beijing, an elderly couple secured a court order in March forcing their 36-year-old daughter finally to move out after she had refused for years. The couple admitted to the Beijing Morning Post that they might have pampered her excessively over the years, even lending her the equivalent of $23,000 to buy a house. (Still, she stayed.)

THE LIST OF NINE

BY MASON RODRICKC & MICHELLE L ARSON

| CITYWEEKLY.NET |

n Apparently, Japanese taste buds easily become bored, for manufacturers seem eager to create extravagant food combinations to satisfy them that might prove daunting to most Americans. The latest exhibit: the familiar Kit Kat chocolatecoated wafer—but with the taste of ripe melon and cheese (specifically, “Hokkaido Melon With Mascarpone Cheese”). As Japanese foodies know, Kit Kats in Japan come in at least 15 coatings, according to a 2013 review by Kotaku.com, including Edamame Soybean, Purple Sweet Potato, Hot Japanese Chili, Matcha-Green Tea, Wasabi and Red Bean Sandwich.

Parental Values In the latest ruling on a familiar theme, a court in Modena, Italy, ordered a father to continue paying living expenses for his son, age 28, who had meandered through a degree in literature but now has decided to seek another, in experimental cinema. (Almost two-thirds of Italians aged 18 to 34 still live with their parents.)

NUEVE

By David Riedel @ThaRid

A critic’s take on flicks you’ll remember and some you just won’t wait to forget

n the summer of 1983, I was 8 years old, and there was one movie that mattered to my friends and me: Return of the Jedi. We cared so much about Jedi that we didn’t mind it when Jason Smalls saw it May 25—opening night—then came to school the next day and told us in art class that Yoda died. Jason told us the Ewoks were dumb. It didn’t matter. No, we had to see, hear, ingest Return of the Jedi, no matter how many spoilers came our way. Everyone else was seeing it, and we needed to, too. Little League games would suck if your teammates were in the dugout saying they had a bad feeling about the other team and you had no idea what they meant. We didn’t know or care about any other movie that year. We were too innocent to be excited about Flashdance and too young to understand The Outsiders. We didn’t think about Trading Places because kids our age didn’t watch Eddie Murphy on Saturday Night Live and Dan Aykroyd was some old dude our parents liked. So when my dad took my brother and me to the absolutely enormous (and long since closed) Holiday Theatre in Fort Wayne, Ind., to see Return of the Jedi on a Saturday in June, it was, up to that point, one of the greatest days of my life. The auditorium was sold-out. Some of the kids had seen Jedi a couple times before. Some, like me, were first-timers. I know Return of the Jedi isn’t the first movie I saw in a theater, but it’s the first I remember. What I didn’t remember at the time was Star Wars or The Empire Strikes Back. It made no sense to me that, as Jedi opens, Han Solo was frozen in carbonite or that Leia and Lando were disguised, but that didn’t keep the experience from being totally thrilling. Even when the film crapped out during Luke and Darth Vader’s lightsaber duel, the crowd didn’t freak or go bananas—I just talked to my older brother about how cool the speeder chase was—even if the five minutes it took for the projectionist to splice the reel back together seemed interminable. The experience was singular and there are few other cinema experiences I remember so vividly. For kids these days—yes, kids these days—life is much, much different. It’s not better or worse, but it’s different. So far in 2016, there have been at least six blockbusters—Captain America: Civil War, The Jungle Book, that crap-train Batman v. Superman: Dawn of My Butt, Kung Fu Panda 3, Deadpool (though hopefully most 8-year-olds haven’t seen it) and Zootopia. I can’t imagine knowing I had to see six blockbusters at the age of 8. My head would have exploded. At 41, the thought of seeing that many summer special-effects fests makes me want to down a dozen Percocet, pound a tallboy and sleep until the autumn prestige films see release. And six movies is just the beginning. There are more gigantic studio flicks being unleashed upon us before the end of August. This weekend alone, there are two—count ’em, TWO—giant sequels hitting the screens: X-Men: Apocalypse (see p. 41) and Alice Through the Looking Glass (see p. 42). How will anyone keep this baloney straight? By reading my snark- and hate-filled list of upcoming picture shows, that’s how! Here’s what’s coming to a giant multiplex of corporate greed near you. As always, release dates are subject to change.

The first film wasn’t execrable, just close. But did anyone demand a sequel? In stranger news, Laura Linney is in this movie. LAURA LINNEY! What the hell kind of world are we living in? This must be how my grandparents felt when they saw Alec Guinness was in Star Wars. There are worse prophecies than the mothman’s, I guess. Anyway, you can’t not make a sequel to a movie that grossed nearly a half-billion dollars worldwide during its original release. I mean, just think of the merchandising potential!

Is it just me or does Johnny Depp look like Elijah Wood in this series? That’s not a complaint, but why not just hire Wood?

PARAMOUNT PICTURES

Popstar: Never Stop Never Stopping

The Lonely Island has a place in my heart for “Lazy Sunday.” There’s also the song from SNL with the Andy Samberg character super high on coke, and Hot Rod is underrated. That aside, I don’t know that mining movies such as Katy Perry: Part of Me can provide comedy, unless the awkward Russell Brand moments are inspiration. UNIVERSAL PICTURES

20th CENTURY FOX

Alice Through the Looking Glass

Teenage Mutant Ninja Turtles: Out of the Shadows

Now You See Me 2

SUMMIT ENTERTAINMENT

This movie screened for critics ages ago because it’s already showing in Europe, but it’s not like we Americans read their press. But here’s a spoiler: It’s a terrible movie. Sorry. The worst thing studio executives did was give the X-Men franchise back to Bryan Singer, who’s a hack if there ever was one. Singer hasn’t made a watchable movie since X-Men 2, and between now and then he helmed X-Men: Days of Future Past, Jack the Giant Slayer, Valkyrie and Superman Returns. All too long, all crummy, especially Jack, which is one of the muddiest looking major releases in a long time.

X-Men: Apocalypse

JUNE 10 Genius

SUMMIT ENTERTAINMENT

Ernest Hemingway, F. Scott Fitzgerald and Thomas Wolfe were drunks, and Max Perkins (Colin Firth) was their editor at Scribner. Wanna guess how many gin-soaked nights these guys spent together? Hemingway called Perkins “his trusted friend” and outlived him by 14 years, so who knows exactly how this movie ends? Plus, Hemingway is played by Dominic West, best known to American audiences as McNulty on “The Wire,” so you can bet Hemingway won’t be boring on screen. Be warned: For every good movie about writers (Naked Lunch, Barton Fink), there are two bad ones (Agatha, The Words, Secret Window, Finding Forrester).

The Conjuring 2

Not-super-scary ending aside, The Conjuring was creepy as shit, and a little horror goes a long way in a summer full of superheroes and sequels. Of course, this movie is a sequel, but it’s a horror sequel, and those are never bad or never-ending.

Ladies and gentleman, step right up and watch $12.50 disappear from your pocket! Oy. You may remember Now You See Me as the movie everyone saw but nobody liked, but studio executives remember it as a cash cow. Hence Now Your See Me 2 (originally called Now You See Me, Now You Don’t, a much better, but still not great, title). Isla Fisher has taken a powder, Lizzy Caplan fills her shoes and Daniel Radcliffe doesn’t play Harry Potter. Let’s hope the magic movies evaporate into thin air after this one ends its run.

Warcraft My God. No.

JUNE 17

UNIVERSAL PICTURES

Finding Dory

I’m a big believer in not sequelizing Pixar movies. For each Toy Story 2 or Toy Story 3, there’s a Cars 2 or Monsters University. Still, Finding Nemo is delightful, and Ellen DeGeneres’ Dory is arguably the best part of that film, so why not give her a story of her own? But can we get Idris Elba into a live-action role in 2016 that isn’t a Star Trek movie? Is Bastille Day ever going to make it stateside? WALT DISNEY STUDIOS

JUNE 3

WARNER BROS. PICTURES

MAY 27

WALT DISNEY STUDIOS

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| CITY WEEKLY |

16 | MAY 26, 2016

summer movie preview

Make it

The Secret Life of Pets

COLUMBIA PICTURES

Blake Lively. Surfing. A shark. Uninspiring special effects in the trailer. I’m not convinced, especially after its release date was pushed back, presumably to avoid getting crushed by Independence Day: Resurgence. But Lively proved with The Age of Adaline she can carry a movie, so maybe the shark won’t have such easy pickins, eh?

It was funny for a hot second 14 years ago, guys.

Don’t judge a book by its cover, goes the saying, but do judge a movie by its poster. The Monkees in Head? Yes! The cast of Captain Fantastic looking a lot like the cast of Little Miss Sunshine? No!

The Infiltrator

BROAD GREEN PICTURES

Absolutely Fabulous: The Movie

As opposed to “The Theme Park Ride,” “The Water Slide,” and “The Cocktail.” I suppose it’s necessary, as Jennifer Saunders has rebooted the television show roughly 1 million times, and it’s best to let the punters know they’re not getting recycled shtick. My aforementioned brother is very excited about this movie—I hope, for his sake, that it’s wonderful.

MAY 26, 2016 | 17

Bryan Cranston gets a second starring vehicle but he forgot to remove the Dalton Trumbo make-up. Must have been a budget thing. The story of a U.S. Customs wonk getting the inside dope on Pablo Escobar’s money laundering operation, one hopes it will be better than all the other Pablo Escobar-type movies, such as Blow, Paradise Lost and that movie-within-a-movie in “Entourage” when Vinny Chase and crew were still mildly entertaining on HBO.

| CITY WEEKLY |

JULY 13

If only this were a movie based on the song “Lights Out” by Peter Wolf. Instead, it’s a horror movie. And depending on how you feel about Peter Wolf, this alternate movie I just made up could have been a horror show, too.

BLEECKER STREET

The BFG

WALT DISNEY STUDIOS

Lights Out

Ice Age: Collision Course

Captain Fantastic

JULY 1 In gaming, a BFG is a Big Fucking Gun. As someone who has played games with such guns, imagine my dismay when I discovered that not only was this BFG about a big friendly giant, but a big friendly giant conceived by Roald Dahl, who I always thought dispatched children in nasty ways and wrote inferior James Bond films (You Only Live Twice). Furthermore, said big friendly giant is not Andre the Giant. But I have a 1-year-old, so I’ll probably see this eventually. I hope it’s better than eating snozzcumber. The BFG is a Steven Spielberg movie, so it will probably also be quietly cruel in addition to being sweet and charming, just like Charlie and the Chocolate Factory (the book) and The Witches (both the movie and the book, but the book has a truly knotty ending).

PARAMOUNT PICTURES

My patience is beyond tested with this series. First J.J. Abrams takes the trouble to blow up the Star Trek universe and start over with Star Trek (2008). Then he goddamn remakes Wrath of Khan with Star Trek Into Darkness. Who are these bums? Can we throw them out? And have you seen the trailer? It looks as if director Justin Lin has turned this into a Fast & Furious movie. Of course, I’ll still see it. But I reserve the right to gripe about it openly and often.

WARNER BROS. PICTURES

The Shallows

And I need a movie in which Anna Kendrick is not trying to prove she always plays the straitlaced, uptight square. First Happy Christmas, then Digging with Fire, and now this. At least it’s not a Joe Swanberg movie. It is about two party guys who need wedding dates and find women who are nuttier than they are. Maybe it’ll be fun, but, to paraphrase Gene Siskel, what would be more interesting? This movie or a documentary of the stars and director eating lunch?

Star Trek Beyond

JUNE 29

Mike and Dave Need Wedding Dates

JULY 22

20th CENTURY FOX

Is it cheating to write, “My God. No,” on two capsules? The only reason we like Independence Day is because we’re starting to fondly remember the 1990s. But I can assure your initial thoughts were correct: Independence Day was, and still is, a piece of shit. I guess after Stonewall, Roland Emmerich figured anything was an improvement.

Any pet fans will probably be suckers for this one. But be warned: The Despicable Me gang is behind this one, so if absolute zaniness and throwa-million-gags-at-the-wall-and-seewhat-sticks filmmaking isn’t for you— and those people exist—you may want to skip it.

I don’t quibble with remaking Ghostbusters with an all-female cast. All four of the leads are varying degrees of funny—Leslie Jones and Kate McKinnon often screamingly so. But I do quibble with remaking a movie that’s perfect. No one has ever made a better origin story, or sci-fi comedy, or Bill Murray vehicle. So what’s the point? I guess they hate us. They like to torture us.

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20th CENTURY FOX

Independence Day: Resurgence

Ghostbusters

20th CENTURY FOX

Yep, Stellan Skarsgård is still more compelling than his son, even if this Russian Mafia vs. British Secret Service tale sounds more contrived than Hardcore Henry but without the firstperson camera gimmick. John Le Carré, who wrote the novel on which the screenplay is based, is part of the old spy novel vanguard, so perhaps I shouldn’t be so persnickety.

JULY 8

I know. I’m the only person who wants to see this documentary.

Let’s place bets on 1. how many white people are in Woody Allen’s new movie, 2. how out-of-touch it is with current social norms and 3. how much it resembles older, better Woody Allen.

LIONSGATE

Our Kind of Traitor

LIONSGATE

Yep, they’re still trying to make Alexander Skarsgård a star.

FOX SEARCHLIGHT PICTURES

Eat That Question: Frank Zappa in His Own Words

Café Society

The Legend of Tarzan

UNIVERSAL PICTURES

LES FILMS DU POISSON

JUNE 24

JULY 15

COLUMBIA PICTURES

Central Intelligence

The Rock and Kevin Hart star in this wacky madcap caper in which The Rock is a former nerd turned muscled CIA agent, and Hart is a nerdy accountant. If it sounds like Hart’s role is similar to the roles he played in Ride Along, Ride Along 2 and Get Hard, that’s because it sounds like Hart’s role is similar to the roles he played in Ride Along, Ride Along 2 and Get Hard. But the trailer looks notterrible and I have faith in most things Dwayne Johnson. Until I saw the marketing, which features the immortal line, “Saving the world takes a little Hart and a big Johnson.” Har har.

UNIVERSAL PICTURES

Yep, they’re still milking it. WARNER BROS. PICTURES

WARNER BROS. PICTURES

The Purge: Election Year

UNIVERSAL PICTURES

You know his name, and it ain’t Jeremy Renner, so look up the number. And he knows your name. It’s Benjamin. As in it’s all about the AMIRITE?

Bad Moms

DRAPER CITY

STX ENTERTAINMENT

Outdoor Movie Night

I’d take the studio to task for the lazy title of Bad Moms, but the trailer features Kathryn Hahn (yay!), Kristen Bell (double yay!!) and Mila Kunis (eh) going absolutely fuggin’ nuts, so I’ll pony up the cash. Hahn is one of the great underused comedic talents.

Aug. 5

WARNER BROS. PICTURES

Suicide Squad

Expectations are so high after the trailer cut to Queen’s “Bohemian Rhapsody,” the movie must be a disappointment. And I’m not buying Jared Leto’s Joker. Plus, writer and director David Ayer is either great (Fury), or terrible (S.W.A.T.). Still, we’re all going to see it. Right?

The Founder

It’s about McDonald’s founder Ray Kroc. Wanna get to the heart of the obesity epidemic? Maybe start here. Or don’t. Director John Lee Hancock has a history or making exciting subjects boring (The Alamo) or inspiring stories trite (The Blind Side).

There are two movies showing June and July and—bonus!—live music before each show. Draper City Amphitheater, 944 E. Vestry Road, Draper. June 18: Norm of the North, with Mad Annuals Band kicking things off at 8 p.m. July 14: Alvin and the Chipmunks: The Road Chip, with The Endless Summer Band playing at 8 p.m. Movies begin between 9 and 9:15 p.m. The screen is 40 feet—like in the olden days!—and there will be food available, but you’re free to bring your own.

HEBER CITY

Summer of Movies II

Here’s the deal: Buy a summer punch pass at either the Avon (94 S. Main, Heber City) or the Ideal (113 N. Main St., Heber City). The pass lets holders see all the movies listed below for $20, plus you get $1 credit for concessions. For all the rules (which, frankly, seem a little complicated, check the flyer on Heber City Theatre’s Facebook page). And here are the movies: June 8: The Lego Movie. June 15: How to Train your Dragon. June 22: How to Train Your Dragon 2. June 29: Hotel Transylvania 2. July 6: Minions. July 13: The Lorax. July 20: Shaun the Sheep Movie. Absolutely do not miss this adorable Aardman Animations adventure, starring a farmer with amnesia, a plucky sheep, his sheep pals, a couple of dogs and various buffoonish humans. It’s clay and there’s no dialogue, and there’s nothing else like it. July 27: The Peanuts Movie.

KEARNS

Friday Night Flicks

Kearns Oquirrh Park Fitness Center is showing three movies at Chomper’s Party Cove, three at Park Pavilion. The first 200 Facebook fans to arrive get free popcorn, says KOPFC’s marketing and events director Steve Cook. 5624 S. Cougar Lane, Kearns.

Chomper’s Cove

June 3: Kung Fu Panda 3. June 24: Star Wars: The Force Awakens. July 15: Inside Out.

Park Pavilion

June 10: Eddie the Eagle. June 29: The Good Dinosaur. Aug. 12: Zootopia.

LAYTON

Family Movie Night at Layton F.E.S.T.

It’s Star Wars: The Force Awakens at Layton Commons Park (437 N. Wasatch Drive) on Friday, Sept. 2. The presentation is free and begins “as soon as it gets dark enough to start it,” says recreation coordinator Michelle Howard. So bring blankets and chairs and watch Rey (Daisy Ridley) and Finn ( John Boyega) kick some galactic ass along with Han, Leia and (spoiler alert!) not Luke. And yes, there will be food trucks.

MILLCREEK

Venture Out!

There’s a veritable bumper crop of movies showing Friday nights at dusk this summer, so let’s skip the shenanigans and get right to it: June 3: Tangled, Canyon Rim Park, 2900 E. 3100 South, SLC. June 10: Minions, Eastwood Elementary, 3305 S. Wasatch Blvd., SLC. June 17: Kung Fu Panda and Best in Show, Evergreen Park, 2266 E. Evergreen Ave., SLC. June 24: Star Wars: The Force Awakens, Big Cottonwood Park, 4300 S. 1300 East, Millcreek. July 1: Goosebumps, Canyon Rim Park, 2900 E. 3100 South, SLC. July 8: Jurassic World, Eastwood Elementary, 3305 S. Wasatch Blvd., SLC. July 15: The Avengers, Evergreen Park, 2266 E. Evergreen Ave., SLC. July 22: Finding Nemo, Big Cottonwood Park, 4300 S. 1300 East, Millcreek. July 29: Aladdin, Canyon Rim Park, 2900 E. 3100 South, SLC. Aug. 5: The Martian, Eastwood Elementary, 3305 S. Wasatch Blvd., SLC. Aug. 12: Pee Wee’s Big Adventure, Evergreen Park, 2266 E. Evergreen Ave., SLC. Aug. 19: The Good Dinosaur, Canyon Rim Park, 2900 E. 3100 South, SLC. Aug. 26: Zootopia, Big Cottonwood Park, 4300 S. 1300 East, Millcreek. For more details, visit VentureOutUtah.org. WARNER BROS. PCTURES

hat’s quite a list of movies, and that’s quite literally not the half of it. If you’re looking through that list and thinking, “This guy is really angry,” you’re not wrong. If you’re also thinking, “Isn’t there some place I can go to watch a movie to feel good? Someplace like the Holiday in Ft. Wayne, Indiana?” Why, sure! And I’m so glad I asked your hypothetical question just so I could answer it. There are lots of free, fun, family-friendly movies showing all over Salt Lake City and its environs. Take a look at the ones below and see if anything floats your boat— or more appropriately, makes you want to pack a blanket and a picnic. You’ll notice that lots of these events have similar names (and movies), but that’s actually a good thing. Miss Minions in Ogden? Catch it in St. George. It should go without saying, but we’ll say it here just to be transparent, that all movies and start times are subject to change because of weather or other exigent circumstances.

Jason Bourne

THE WEINSTEIN CO.

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18 | MAY 26, 2016

JULY 29

OGDEN

Monday Night Movies at the Ogden Amphitheater

This is a family-friendly docket. Doors open at 7 p.m. and movies start at dusk. Guests can pack picnics, but don’t bring alcohol. All movies are screened at the amphitheater. 343 E. 25th St., Ogden. June 13: Minions. June 20: Goosebumps. June 27: The Sandlot. This movie often gets left in the dust by other baseball movies, but it’s considerably better than Little Big League or Angels in the Outfield (the remake). Scotty, the new kid, moves to town. He wants to learn baseball but thinks Babe Ruth is a woman. But the other kids like him and eventually they all face up to a nasty baseball-eating dog. It’s goofy. It’s fun. July 11: The Peanuts Movie. July 18: Inspired by Australian bush poet Banjo Anderson’s piece of the same name, The Man from Snowy River is often overlooked because it focuses on derring-do instead of, say, bloodlust (which plenty of other Australian westerns focus on). The scenery is beautiful, the accents florid—except for Kirk Douglas’—the horses brumbies. It’s grand. July 25: The Book of Life. Aug. 1: The Princess Bride. Aug. 8: Inside Out.

PARK CITY

Summer Kids Movies at the Redstone 8

On Tuesdays at 10 a.m. from mid-June to mid-August, the Redstone 8 has $2 admission for kids on a bunch of kidfriendly flicks. 6030 North Market St., Park City. June 14: Despicable Me. June 21: Mr. Peabody & Sherman. June 28: The Lego Movie. July 5: Despicable Me 2. Of note: The bad guy wants to use evil minions to destroy, among other cities, Hoboken, N.J., and that gag is worth the price of admission alone. July 12: Kung Fu Panda 2. July 19: Minions. July 26: The Peanuts Movie. Aug. 2: The SpongeBob Movie: Sponge Out of Water. Aug. 9: Alvin and the Chipmunks: The Road Chip. Aug. 16: Hotel Transylvania 2.

Park City Film Series

Only one film was confirmed at press time, but it’s Sherpa, a documentary about the worst tragedy in Mt.

At press time, Mary Dunn, the event coordinator for PMITP (my initialization), said the movies would be decided by public vote, “kind of like an NCAA bracket,” and the final decision would be reached by the end of May. What we can tell you: Movies screen on Mondays in August at dusk at Rock Canyon Park (2620 N. 1200 East, Provo) and screenings are free.

RIVERTON

We got your family movies and your food trucks right here! Fridays in June, July, August and September, show up at 6:00 p.m., throw down a blanket, eat some food and wait for dusk to get the pictures rolling. June 10: Lilo & Stitch. July 1: Max. July 8: Shaun the Sheep Movie. July 15: Minions. July 22: Tomorrowland. July 29: The Good Dinosaur. Aug. 5: Inside Out. Aug. 12: Pan. Aug. 19: Big Hero 6. Sept. 16: Zootopia. All movies screen at Riverton City Park (1452 W. 12800 South, Riverton), except Lilo & Stitch, which screens at Intermountain Riverton Hospital Lawn (3741 W. 12600 South).

Friday Night Flicks

Monday Night Movies at the Gallivan Center

Utah Film Center’s Damn These Heels

Because of the fire at the Utah Film Center, there will be no film

Movies in the Parks

The print on the website is pretty wee, so let us do the magnifying for you. The city has a 30foot movie screen that it will set up at different

Family Flicks on the Snowbird Center Plaza Deck

Every Friday starting June 24, you can find a free family friendly movie at Snowbird Center. Bring a lawn chair and a cooler. Popcorn, cotton candy, root beer floats and more will be for sale. Movies begin at dusk, approximately 30 minutes after sunset. 9600 Little Cottonwood Canyon Road, Snowbird. June 24: Minions. July 1: Pan. July 8: Max. (This is the movie about the dog who suffers PTSD after serving in Afghanistan with the Marines, not the movie in which John Cusack doesn’t prevent Noah Taylor from becoming Hitler.) July 15: Aladdin. July 22: Inside Out. July 29: Guardians of the Galaxy. Aug. 5: Tomorrowland.

SOUTH JORDAN CITY Sights & Sounds of Summer

THANKSGIVING POINT Outdoor Movie Series at Ashton Gardens

Bring a blanket and a picnic. Movies are free for members. Everyone else, check the price list available on TP’s website. 3900 N. Garden Drive, Lehi. July 1: The Lego Movie. July 8: Kung Fu Panda. July 15: Wreck-It Ralph. July 22: Mary Poppins. July 29: Inside Out. Aug. 5: Indiana Jones and the Last Crusade. There are people out there who prefer Indiana Jones and the Kingdom of the Crystall Skull to Last Crusade. Those people are not to be trusted. Enjoy Sean Connery and remember your Charlemagne. Enjoy your summer, everyone! I hope you have a Jedi experience during the dog days of the movie season. CW

Hey, movies have sights and sounds (most movies made after 1927, anyway), and South Jordan is showing five free movies on Friday nights throughout June, July and August. June 3: Inside Out at South City Park. June 17: Goosebumps at Heritage Park. July 1: Minions at Holt Farmstead. July 15: The Good Dinosaur at Oquirrh Shadows Park. Aug. 5: Star Wars: The Force Awakens at Heritage Park. All movies start at 9:30 p.m., except Star Wars, which starts at 9 p.m. Screenings are outdoors, so bring a blanket or lawn chair. Each show will have 50-cent popcorn and pop available.

SPRINGVILLE

Movies in the park

The June 6 screening (The Good Dinosaur), and the June 10 screening (Captain Phillips) are part of Art City Days. And keep in mind, Captain Phillips is more of a teen movie (and a good one at that).

MAY 26, 2016 | 19

The only movie Brewvies could confirm at press time was X-Men: Apocalypse. I kinda crapped on it in the upcoming releases section, so … enjoy? Or get drunk and enjoy? Brewvies, 677 S. 200 West, SLC.

SANDY

SNOWBIRD

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Brewvies

The SLFC website has the words “Dates are HIGHLY subject to change” right at the top of its “Coming soon” webpage, so in the interest of not misleading you, here are the highlights: May 27: A Bigger Splash at Broadway Centre Cinemas (111 E. Broadway, Salt Lake City). Critics are calling it a loose remake of La Piscine, but it has a nearly identical plot, so what’s with the coy descriptors? June 17: Dark Horse at Broadway. As my editor pointed out to me, this is not the Cliff Curtis movie about chess. It’s the documentary about the race horse. Be careful. Those Welsh accents can cut a person. July 8: The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble at Broadway. No word on whether Ma leaves his cello in a cab in this one. For more information (and a longer list of upcoming films), visit SaltLakeFilmSociety.org

It’s the third annual summer movie series. By this time, you know the drill: Bring blankets, lawn chairs and whatever else you need. All movies are free and shown in the town square on the second and fourth Fridays starting May 27 with If I Had Wings. For times and more information, visit SGCity.org. June 10: The Good Dinosaur. June 24: Honey, I Shrunk the Kids. July 8: Minions. July 22: Cool Runnings. Aug. 12: Aladdin. Aug. 26: Inside Out.

Picking up where Friday Night Flicks leaves off. As of press time, Monday Night Movies didn’t have its listings pinned down, though marketing and advertising events manager Kristen Young tells me the films will have a “Russell Mania” theme. I hope that means they’re showing Kurt Russell in The Thing, because there’s nothing like Antarctic terror on a hot summer night. Movies are free and show at 8 p.m. on July 11, July 18, July 25 and Aug. 1. Concessions are available, and—this is a quote—”BEER!” The Gallivan Center, 239 S. Main, SLC.

Salt Lake Film Society

ST. GEORGE

Sunset on the Square Summer Movie Series

Comic-Con is coming to Salt Lake, at least in the forms of the movies playing during this nifty late-spring/early-summer outdoor film series. They’re shown on inflatable screens, popcorn is free while it lasts (aside: DON’T BE GREEDY), plus the good people in charge tell me there will be food trucks. Bring a blanket or a lawn chair. No alcohol. Movies start at around 9:15 p.m. June 3: Jurassic Park at Liberty Park. June 10: Back to the Future at Lindy Gardens (does dressing as Lorraine Baines count as cosplay?). June 17: The Avengers at Jordan Park (definitely ComicCon friendly). June 24: Guardians of the Galaxy at Reservoir Park. July 1: Raiders of the Lost Ark at Riverside Park. July 8: Maleficent at Fairmont Park. July 15: Big Hero 6 at Wasatch Hollow Park.

At press time, the films weren’t finalized, but the screening dates are July 27, Aug. 3, Aug. 23 and Aug. 31. Everything starts at dusk in the amphitheatre (2280 E. Red Butte Canyon Road, SLC). And it’s free!

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SALT LAKE CITY

Red Butte Garden

June 20: Cloudy with a Chance of Meatballs. June 27: Hotel Transylvania. July 11: The Box Trolls. July 18: Big Hero 6. Gates open at 7 p.m. and movies start at dusk. These screenings are free, but—again, you know how this works—bring a blanket or folding chair. Concessions will be available but no alcohol or dogs are allowed. Just good dinosaurs! All the movies are shown at Spring Acres Park (700 S. 1300 East, Springville), except Captain Phillips, which runs at Bartholomew Park (1090 S. 2900 East, Springville).

UNIVERSAL PICTURES

Provo Movies in the Park

parks in Sandy on Fridays beginning in June and continuing through September (yowza!). Bring blankets and chairs. They’ll have popcorn, candy and drinks for sale. Movies begin at dusk. June 10: Inside Out at Buttercup Park. June 17: Minions at Storm Mountain Park. June 24: Adventures of Tin Tin at Hidden Valley park. July 8: Hotel Transylvania 2 at Grandpa’s Pond Park. July 15: The Good Dinosaur at Highpoint Park. July 29: Wreck-It Ralph This movie made a ton of money during its 2012 run, but most people I know haven’t seen it. That’s anecdotal, but if that trend holds for larger population groups, that’s a shame. WreckIt Ralph has a surprisingly serpentine plot, and it’s one of those animated flicks that’s just as much for adults as it is for kids. The 1980s video game theme alone should have you reaching for a bag of nostalgia chips, and John C. Reilly is superb as Ralph. Plus, he lives on a pile of garbage. It’s just tops. At Flat Iron Park in the upper area. Aug. 12: Brave at Bicentennial Park. Aug. 19: Aladdin at Falcon Park. Aug. 26: Up at Bell Canyon Park. Sept. 2: Michael Jackson: This is It at the Sandy Amphitheater.

WALT DISNEY STUDIOS

PROVO

programming in June. Damn These Heels, however, is in July, so it’s full speed ahead. At press time, the center could only confirm that Strike a Pose will close the festival on July 17 at the Rose Wagner Performing Arts Center. The film, a documentary about the young male dancers (one straight, six gay) performing with Madonna on the Blond Ambition Tour, has been a talker since its premier at the Berlin International Film Festival. It’s 25 years after the tour—how do they feel about the experience, Truth or Dare and everything that came after? The other movies playing at Damn These Heels will be announced soon. Check UtahFilmCenter.org. The series runs from Friday, July 15 to Sunday, July 17.

WALT DISNEY STUDIOS

Everest’s history. Sixteen sherpas were killed in April 2014 when a block of ice fell through the Khumbu Icefall. The screening is July 8 at 8 p.m. in the Jim Santy Auditorium (1255 Park Ave., Park City). There’s a second movie at the Jim Santy Auditorium on Aug. 6. The July 30 movie isn’t confirmed, but it will be a drive-in at Prospector Square, in Parking Lot K. There will be spots reserved for pedestrians and cyclists.

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20 | MAY 26, 2016

ESSENTIALS

the

ENTERTAINMENT PICKS MAY 26-JUNE 1, 2016

Complete Listings Online @ CityWeekly.net

THURSDAY 5.26

FRIDAY 5.27

The recent passing of Prince once again reminded music fans that we will always have finite time to appreciate great performers. Sometimes they’ll be gone before we have a chance to see them in person, and all that’s left is to speculate on what that experience might have been in life. “Tribute” acts have been part of the popculture landscape for decades, and for some they can seem like a shallow substitute for the real thing. Yet, at their best, they can provide that sense of what it must have been like to be dazzled by a master showman like Michael Jackson. This week, Who’s Bad? The Ultimate Michael Jackson Tribute comes to Park City for a four-performance stop recreating the music, dancing and spectacle of the King of Pop, from the Jackson 5 era through his record-breaking solo career. The only Michael Jackson tribute act to have launched before Jackson’s passing in 2009, Who’s Bad? has performed sold-out shows throughout the U.S. and U.K., delivering songs that defined a generation: “Billie Jean,” “Beat It,” “Thriller,” “Smooth Criminal” and much more. And it’s all accompanied by some of the most iconic moonwalking, crotch-grabbing, zombie-walking choreography of that same era. Frontmen Joseph Bell and Taalib York lead a crew of Broadway-veteran dancers and talented musicians in a performance that can remind a new generation how Jackson became one of the most popular entertainers the world has ever seen. (Scott Renshaw) Who’s Bad? The Ultimate Michael Jackson Tribute @ Egyptian Theatre, 328 Main, Park City, 435-649-9371, May 26-28 @ 8 p.m., May 29 @ 6 p.m., $23-$45. EgyptianTheatreCompany.org

As an official for the U.S. State Department, Utah native J. Kael Weston was on the ground in Baghdad’s “Green Zone” during the early days of the American occupation in 2003. For the next seven years, through postings as liaison to military commanders in Iraq and Afghanistan, he observed up close the effects of seemingly perpetual warfare on both the local inhabitants and on the American soldiers who served there—those who survived, those who died and those who were changed forever by wounds both physical and mental. The title of The Mirror Test refers in part to how a badly injured patient responds to the first time they see themselves, often with a new face they no longer recognize. But it also refers to the nation’s need to look at itself, and stare hard at the consequences of nearly 15 years of military action in the Middle East. In this unique combination of memoir and memorial, Weston takes us along on his journeys in the most dangerous theaters of these wars, including Fallujah and Khost, as those on the ground attempt to make sense of U.S. government policy objectives. But while he provides grim details about military operations—including the “processing” of Iraqi corpses for burial—he also casts a broad view of American actions over the course of 70 years, from Topaz to Abu Ghraib, exposing the unpleasant things we’re capable of when we’re afraid, and who winds up paying the price for that fear. (SR) J. Kael Weston: The Mirror Test: America at War in Iraq and Afghanistan @ The King’s English Bookshop, 1511 S. 1500 East, 801-484-9100, May 26, 7 p.m., free. KingsEnglish.com

If there is a composer the Utah Symphony has a historical connection with, it’s Gustav Mahler. Former Utah Symphony conductor Maurice Abravanel was a leading proponent of bringing the Austrian composer to American audiences. As former associate conductor Ardean Watts put it, in an interview quoted on the Utah Symphony website, “I think of Maurice as a kind of high priest. And Mahler’s the Bible.” The Utah Symphony first performed a Mahler work in 1951, and drew international attention in 1963 when Abravanel conducted “Symphony for a Thousand” with close to that many people—800—on stage for a performance that included an expanded orchestra, vocal soloists and even a choir of local school children. Abravanel went on to lead the orchestra in notable recordings of Mahler, and the Utah Symphony became the first American ensemble to record all 10 of his symphonies. The tradition continued into the 21st century, as the Utah Symphony played the complete Mahler works in 2009 under Keith Lockhart. This weekend marks the end of two seasons where the orchestra again performed the entire Mahler canon, now under maestro Thierry Fischer. Mahler’s Symphony No. 9, completed in 1909, was the last work he finished in his life, and he never heard it performed. Many consider the Ninth to be his greatest achievement. As Watts has said, when a symphony plays Mahler the way Abravanel interpreted the composer, “You want to be there. You want to experience it because there is some redemption in it.” Get redeemed this weekend. (Geoff Griffin) Utah Symphony: Mahler’s Symphony No. 9 @ Abravanel Hall, 123 W. South Temple, 801-355-2787, May 27-28, 7:30 p.m., $18$79. UtahSymphony.org

Who’s Bad? The Ultimate Michael Jackson Tribute

J. Kael Weston: The Mirror Test

Utah Symphony: Mahler’s Symphony No. 9

FRIDAY 5.27

The Painted Veil The veil can serve as a metaphor for the power of art to conceal, even as it reveals. The veil as an object acts out that concealment. While it’s usually not given attention in and of itself, but rather in relation to the concealed item, the exhibit The Painted Veil makes the veil the thing. Fifteen Utah-based artists have created works in installation, painting, photography, sculpture and video on the theme of veils, including Trent Alvey, Jan Andrews, Christine Baczek, Christine, Jared Lindsay Clark, Daniel Everett, Jenevieve Hubbard, Sarinda Jones, Amy Jorgensen, Beth Krensky, Stephanie Leitch, Lizze Määttälä, Colour Maisch (whose work is pictured), Jared Steffensen, Roland Thompson and Brian Usher. Of what might a veil be made? Glass, paint, wax, film, paper and resins offer different levels and layers of transparency, translucency and opacity in this show. These works demand not just to be seen on the surface, but to be looked into. The show’s curator, Jorge Rojas, serves as the director of education and engagement at the Utah Museum of Fine Arts at the University of Utah, and was inspired to coordinate the show— and take its title—from Percy Bysshe Shelley’s poem “Lift Not the Painted Veil.” The title also recalls the author Tom Wolfe’s book The Painted Word, and makes one think about the ways in which visual art functions like a language, simultaneously obfuscating and revealing. The mystery of creation remains, but it has likely been given added complexity and depth. (Brian Staker) The Painted Veil @ Rio Gallery, 300 S. Rio Grande St., 801-245-7272, through July 8, Monday-Friday, 8 a.m.-5 p.m. VisualArts.Utah.gov

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A&E Double Vision BY BRYAN YOUNG comments@cityweekly.net @swankmotron

22 | MAY 26, 2016

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hen you ask someone who their favorite James Bond is, you’ll get a very personal answer—one that depends greatly on factors ranging from personal taste to how old they might have been when they first encountered the character. Or they can just say “Sean Connery;” both methods are acceptable. But for as much as Sean Connery embodied and defined the character at the outset, you won’t find many people who would argue that no one else should have ever played the part. What is it about the first actor in a beloved role that makes fans so crazy about the idea of anyone assuming the part in their wake? We’re nearing the end of the dawn of superhero movies, and it’s a subject that is going to come up more and more often. Take this week’s X-Men: Apocalypse as an example. A decade ago, you’d have been hard-pressed to find someone that thought anyone could have filled in the shoes of Sir Patrick Stewart as Professor Charles Xavier, but now we have James McAvoy owning the part. In the previous installment of the franchise, Days of Future Past, they both inhabited the role with equal aplomb. Was it the fact that enough time had separated the ages of the characters—and that they were eventually seen side-by-side—that allowed the audience to get accustomed to another actor in the part? Not all roles in nerddom are treated with such magnanimity, though. What will happen (in that same universe!) when Hugh Jackman makes good on his promise to retire as Wolverine? Will his replacement be met with open arms, as new actors generally are when they’re cast as James Bond? Then again, that might be a bad example: Everyone always seems to hate the new James Bond, until they actually see a movie with that actor playing him. The level of vitriol leveled at new actors assuming an iconic role can be mind boggling. I wouldn’t give anything to trade places with Alden Ehrenreich right now. He’s been cast as Han Solo in the second stand-alone Star Wars film, scheduled for release in 2018. He’s a fantastic actor, and he stole every one of his scenes in Joel and Ethan Coen’s Hail, Caesar! Yet there are vocal pockets of fandom who think that no one other than Harrison

big SHINY ROBOT

Ford could ever play the part of Han Solo. I think Ehrenreich will be perfect for Solo. I hope this could even open the door for him to be a younger Indiana Jones as well, which is certainly something Disney will inevitably be interested in trying once Ford is done with the part. When I verbalized this, I was harangued with messages proclaiming Ford is the only person allowed to be Indiana Jones. I had to remind them about River Phoenix. And Sean Patrick Flannery. And Corey Carrier. And George Hall. None of them was instantly rejected in the role of Indiana Jones. Why not give Ehrenreich a chance? The distance of age should make it more palatable, as with Professor Xavier. All of those versions of Indiana Jones were ages remarkably different than Ford’s. Maybe that’s why fans didn’t revolt when Martin Freeman played young Bilbo Baggins rather than Ian Holm in The Hobbit. It’s a challenge that will be faced more and more often as the genre of superhero films gets older. Our favorite actors are going to age out of roles, and newer, younger actors will replace them. Don’t think that Marvel Studios is going to stop making Marvel movies just because their original Avengers cast is getting too old. And don’t think Fox is going to stop making X-Men films with Wolverine in them because Jackman has retired. It makes sense that people will approach these changes in casting with apprehension, but with vitriol? That’s not rational. It’s important for us nerds to remember that we’re not bankrolling these franchises, and we aren’t the creative decision-makers behind them. We aren’t privy to the financial considerations or the audition tapes. We have to trust that those in power know what they’re doing when they cast these iconic roles. They hit far more often than they miss. I mean, look at Zack Snyder. He has no intrinsic ability to make a film, and Batman v Superman was terrible, but even he didn’t screw up the casting for Batman. Like most things in geekdom, premature meltdowns are usually a waste of emotional energy. Unless they cast another white dude in a part that could be played by anybody (like Iron Fist or Doctor Strange, etc.), in which case you can complain. But other than that, wait for an actual movie before making a judgment. That actor you’re complaining about might well just define the part and become your favorite. CW

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24 | MAY 26, 2016

Sick of Being Single?

moreESSENTIALS

COMPLETE LISTINGS ONLINE @ CITYWEEKLY.NET

SATURDAY 5.28 Creator’s Grid

Meet Other Singles Today!

MYRIAD DANCE CO.

FREE TO JOIN SEARCH BY LOCATION MAKE YOUR OWN VIDEOS CITYWEEKLYLOVELAND.COM

The work produced by the Creator’s Grid events has been a step toward the reinvention of the local dance scene. Each month, Myriad Dance Co. hosts an evening where dedicated choreographers and dancers have a chance to create brand-new works, free of any constraints or guidelines. Co-founders Temria Airmet and Ashlee Vilos were inspired by the Carnival showcase in Los Angeles, and wanted to bring that same indie house-show feeling to Salt Lake City. Participants are given a set amount of time to work with dancers they recruit, and bring it in for a one-night-only performance that you may never see again elsewhere. This month’s showcase is the fifth installment, and features performers from different styles mixing it up with their own voice and artistic expression. You’ll be able to see new and original works from Ulysses Gonzalez (Underground Dance Crew), Temria Airmet (Myriad Dance Co.), Diego Ballesteros (Odyssey Dance Theatre), Kate Overholt (Arts of Chaos) and Tonga Lavulo (Blowup Kingz). (Gavin Sheehan) Myriad Dance Co.: Creator’s Grid @ The Metro, 615 W. 100 South, May 28, 9 p.m., $10. Facebook.com/MyriadDanceCompany

PERFORMANCE

8 p.m.; Sunday, 6 p.m., EgyptianTheatre.com (see p. 20)

THEATER

DANCE

Big River Hale Centre Theatre, 3333 S. Decker Lake Dr., West Valley, 801-984-9000, May 26-July 23, Monday-Saturday, 7:30 p.m.; Saturday matinees 12:30 p.m. & 4 p.m., HCT.org con·temp·POE·rar·y Meat & Potato Theatre, Rose Wagner Center, 138 W. 300 South, 801-3552787, May 27-June 12, ArtTix.ArtSaltLake.org The Full Monty The Grand Theatre, 1575 S. State, 801-957-3322, through June 4, Thursday-Saturday, 7:30 p.m.; Saturday matinee, 2 p.m., The-Grand.org Ivanhoe Knight Fever The Off Broadway Theatre, 272 S. Main, 801-355-4628, through June 4, Monday, Friday & Saturday, 7:30 p.m.; Saturday matinee, 2 p.m., TheOBT.org Jane Eyre Hale Center Theater Orem, 225 W. 400 North, Orem, through June 4, HaleTheater.org Murder on the FrontRunner Express Desert Star Theatres, 4861 S. State, Murray, 801-266-2600, through June 4, various showtimes, DesertStar.biz Noises Off Draper Historic Theatre, 12366 S. 900 East, through May 28, Friday-Saturday & Monday, 7:30 p.m., Saturday matinee May 27, DraperTheatre.org Who’s Bad? The Ultimate Michael Jackson Tribute Egyptian Theatre, 328 Main, Park City, 435-649-9371, May 26-29, Thursday-Saturday,

Innovations 2016 Rose Wagner Center, 138 W. 300 South, 801-869-6920, through May 28, 7:30 p.m.; May 28 matinee, 2 p.m., BalletWest.org Myriad Dance Co.: Creator’s Grid The Metro, 615 W. 100 South, May 28, 9 p.m., $10, Facebook.com/MyriadDanceCompany (see above)

CLASSICAL & SYMPHONY

GraceNotes in the Garden Fundraiser Stewart Home and Gardens, 269 A St. East, May 26, 6:30 p.m.-8:30 p.m., SaltCricket.org Mahler’s Symphony No. 9 Utah Symphony, Abravanel Hall, 123 W. South Temple, 801-3552787, May 27-28, 7:30 p.m., ArtTix.ArtSaltLake.org (see p. 20)

COMEDY & IMPROV

Carlos Mencia Wiseguys Salt Lake City, 194 S. 400 West, 801-532-5233, May 27-28, 7 & 10 p.m.; May 29, 7 p.m., WiseguysComedy.com Jacob Leigh Wiseguys Ogden, 269 25th St., Ogden, 801-622-5588, May 27-28, 8 p.m., WiseguysComedy.com Jay Whittaker Wiseguys Salt Lake City, 194 S. 400 West, 801-532-5233, May 26, 7:30 p.m., $12, WiseguysComedy.com

moreESSENTIALS COMPLETE LISTINGS ONLINE @ CITYWEEKLY.NET Jessica Michelle Singleton + Zach Noe Towers Sandy Station, 8925 S. Harrison St., Sandy, May 25, 8 p.m., $10, SandyStation.com Louis Katz Sandy Station, 8925 S. Harrison St., Sandy, 801-255-2078, May 27, 8 p.m., SandyStation.com Laughing Stock Improv The Off Broadway Theatre, 272 S. Main, 801-355-4628, Fridays & Saturdays, 10 p.m., LaughingStock.us

LITERATURE AUTHOR APPEARANCES

SPECIAL EVENTS FESTIVALS & FAIRS

VISUAL ART GALLERIES & MUSEUMS

SAT

GINGER & THE BEAST 3PM

JUNE S E C I LY S P RO J E C T C A N YO N S 9 P M

SUN

INAUGURAL STREET PARTY! HOSTED BY PRINCESS KENNEDY

STREET STAGE FEATURING

DJ NICK JAMES | DJ ARTEMIS

MAY 26, 2016 | 25

STARTS MAIN FLOOR STAGE FEATURING @ 10AM DJ LATU

| CITY WEEKLY |

JUNE

THE VISION 10PM

Abstract Expressions Evolutionary Healthcare, 461 E. 200 South, 801-519-2461, through June 11, EvolutionaryHealthcare.com Art at the Main Spring Show Sugar Space Arts Warehouse, 132 S. 800 West, through June 25, ArtAttheMain.com A Call to Place: The First Five Years of the Frontier Fellowship Rio Gallery, 300 S. Rio Grande St., 801-245-7272, through May 30, VisualArts.Utah.gov A Real Rockwell?: Cover Art from the Saturday Evening Post Main Library Special Collections, Level 4, 210 E. 400 South, 801-5248200, through May 31, SLCPL.org Brian Snapp: House of My Brother/House of My Sister Finch Lane Gallery, 54 Finch Lane, 801596-5000, through June 10, SaltLakeArts.org Cara Despain: Seeing the Stone CUAC, 175 E. 200 South, 385-215-6768, through June 1, CUArtCenter.org Drips, Splashes & Puddles: Paintings by James Haymond Anderson-Foothill Library, 1135 S. 2100 East, 801-594-8611, through June 16, SLCPL.org Howie Garber Rio Grande Cafe, 270 S. Rio

PRIDE WEEKEND

Downtown Yoga Festival The Leonardo, 209 E. 500 South, 801-999-8479, May 28-30, 10 a.m., $39-$75, DowntownYogaFest.com Holi Festival of Colors West Stadium Park, 1650 Jefferson Ave., Ogden, Saturday, May 28, 11 a.m., FestivalOfColorUSA.com

FAMOUS

| CITYWEEKLY.NET |

Christian Mckay-Heidicker Sweet Branch, 455 F St. East, 801-594-8651, May 26, 7 p.m., SLCPL.lib.ut.us Christine A. Jones and Jennifer Schacker: Feathers, Paws, Fins and Claws Weller Book Works, 607 Trolley Square, 801-328-2586, May 26, WellerBookWorks.com J. Kael Weston: The Mirror Test The King’s English Bookshop, 1511 S. 1500 East, 801-4849100, May 26, 7 p.m., free, TheKingsEnglish.com (see p. 20) Anthony Hutchins: The Horsemen: Pestilence Weller Book Works, 607 Trolley Square, 801-3282586, May 28, 2 p.m., WellerBookWorks.com

Grande St., 801-364-3302, through May 31, RioGrandeSLC.MyShopify.com Jena Schmidt: Believe & See “A” Gallery, 1321 S. 2100 East, 801-583-4800, through June 4, AGalleryOnline.com Jennet Thomas: The Unspeakable Freedom Device Utah Museum of Contemporary Art, 20 S. West Temple, 801-328-4201, through July 30, UtahMOCA.org Jennifer Seely: Supporting Elements Utah Museum of Contemporary Art, 20 S. West Temple, 801-328-4201, through Sept. 24, UtahMOCA.org Jim Jacobs: Append Finch Lane Gallery, 54 Finch Lane, 801-596-5000, through June 10, SaltLakeArts.org Joan Zone Art at the Main, 210 E. 400 South, 801-353-4088, through June 12, ArtAttheMain.com Lewis J. Crawford: Constructs Finch Lane Gallery, 54 Finch Lane, 801-596-5000, through June 10, SaltLakeArts.org Lucy Peterson Watkins: Textures of the Wasatch Red Butte Garden, 300 S. Wakara Way, 801-585-0556, May 27-June 19, 9 a.m.-9 p.m., $7-$12, children under 3 free, RedButteGarden.org Maryann Webster: Narrative Works Finch Lane Gallery, 54 Finch Lane, 801-596-5000, through June 10, SaltLakeArts.org Michael Handley: Unfurling CUAC, 175 E. 200 South, 385-215-6768, through June 1, CUArtCenter.org Michael Swearngin Modern West Fine Art, 177 E. 200 South, 801-385-3383, through June 11, ModernWestFineArt.com Nic Courdy: Metaphornography Utah Museum of Contemporary Art, 20 S. West Temple, 801328-4201, through July 23, UtahMOCA.org Oonju Chun/Heidi Moller Somsen Phillips Gallery, 444 E. 200 South, 801-364-8293, through June 10, Phillips-Gallery.com The Painted Veil Rio Gallery, 300 S. Rio Grande, through July 8, VisualArts.Utah.gov (see p. 20) Person, Place or Thing Utah Arts Festival Gallery, 230 S. 500 West, through June 3, Monday-Friday, UAF.org Roberta Glidden Dibble Gallery, 444 E. 200 South, 801-364-8293, through June 10, PhillipsGallery.com Sarah May: Identity Retablos Mestizo Institute of Culture & Arts, 631 W. North Temple, Ste. 700, through June 10, Facebook.com/MestizoArts See Me Hear Visual Art Institute, 2901 S. Highland Drive, 801-474-3796, through June 2, Monday-Saturday, VisualArtInstitute.org Star Wars Exhibition Urban Arts Gallery, 137 S. Rio Grande St., through June 5, UtahArts.org Through Her Eyes: Photography by Utah Female Photojournalists Salt Lake City Main Library, Lower Urban Room Gallery, 210 E. 400 South, 801-524-8200, through June 24, SLCPL.org Tom Russell: An American Colorist Ken Sanders Rare Books, 268 S. 200 East, 801-5213819, through May 31, KenSandersBooks.com Wasatch Back Student Art Show Kimball Art Center, 1401 Kearns Blvd., 435-649-8882, through June 5, KimballArtCenter.org

Mexican Food & cantina Since 1997

Nigiri Up North

Ogden’s Tona Sushi is hitting all the right notes. BY TED SCHEFFLER comments@cityweekly.net @critic1

EER E FAPR PETIZ

e urchas W ith P trees o f 2 E n any d w it h N o t v a li f fe r other o 5/16 1 / 6 Exp. 0

BlueIguanaRestaurant.net

165 S. West Temple • SLC

Below Benihana and across from the Salt Palace

801-533-8900

255 Main St • Park City Treasure Mountain Inn (Top of Main)

435-649-3097

ack in 2008, I wrote a brief paragraph about Ogden’s Tona Sushi Bar and Grill, within the context of a larger article about sushi. I’d visited the restaurant and, frankly, wasn’t too impressed, so I decided not to publish a complete review of it. Contrary to what many might think about restaurant critics, I don’t go out looking to bash restaurants. Often, if I’m not enthusiastic about a particular eatery—especially one that someone might have sunk their life savings into—I just move on and don’t review it, hoping it might improve. That was the case with Tona. When I first visited, either they were having a bad day, or I was. Fast-forward to May 2016, and I have to say that whatever my thoughts were in the past, the place is quickly becoming one of my favorite sushi spots. Owners Tony Chen and Tina Yu (Tony + Tina = Tona) and their staff seem to be firing on all cylinders, even on very busy nights when the joint is packed (which is often). We were fortunate on a recent Thursday night to find a couple of empty seats at the bar. Virtually all of the tables in both dining rooms were occupied, and the place was bustling. It has clearly become a favorite eatery of Ogdenites. A quick perusal of the specials was promising; there were fish options that I rarely, if ever, see on sushi menus, along with the standards. Under the tapas section of the menu, in addition to predictable offerings like edamame ($5.75), gyoza ($6.50), agedashi tofu ($5.50) and vegetable tempura ($6.50), there are more innovative dishes like seared ahi tuna with pineapple, chili-garlic sauce and jalapeño, or a choice of grilled sake or hamachi kama (salmon or yellowtail collar) with ponzu soy ($9.75). Having enjoyed the hamachi kama on a previous visit, this time we opted for Tona’s saba grill ($5), which is two small pieces of skin-on, lightly salted mackerel—a strongly flavored, oily fish that not everyone loves—grilled and served with a complex basil and sweet vinegar-soy sauce. On the plate were also pickled carrot, broccoli, micro-greens and shredded red cabbage. This delectable tapa was quite a steal—in a restaurant such as Nobu, you’d probably pay $18 or more for the same thing. We also enjoyed Tona’s take on the good old American onion ring, breaded in panko crumbs with just a hint of coconut, deep-fried until crispy and golden, and

CLINT ALRICH

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26 | MAY 26, 2016

DINE

authentic TONA SUSHI

served with a bold red chili-garlic sauce ($5). If you have kids who aren’t into eating sushi yet, I recommend ordering the panko pork ($6) for them. It’s panko-breaded, schnitzel-style boneless pork strips, fried and served with traditional Japanese barbecue sauce. Any kids who’ll eat chicken tenders will surely enjoy this dish with a bowl of steamed rice ($1.50). There’s a small, but well-conceived beverage list which includes chilled sake by the bottle ($14-$17), hot sake, beer (including Roosters’ Niner Bock dopplebock-style) and a handful of red and white wines. We found Parducci Pinot Gris ($5.75 per glass/$26 per bottle) to be a versatile foil for a wide range of Tona’s dishes. I’m always tempted by “chef’s choice” nigiri and sashimi samplers, but usually wind up disappointed when I discover, predictably, that the chef has selected the cheapest cuts. Still, priced at only $12, you might want to take a chance on Tona’s sixpiece nigiri sushi sampler. We, however, ordered à la carte, and were especially enthusiastic about finding some not-so-usual suspects on the nigiri/sashimi menu. For example, branzino (Mediterranean sea bass) was available as a nigiri choice ($5.25). I’d never eaten branzino raw before, and it was delightful. Nigiri is served, as is true at most sushi restaurants, as two pieces per order. Surprisingly, I noticed that the nigiri was not served with soy and wasabi (although there are small pots of soy on the table). I suspect that’s because most sushi chefs cringe when they see American customers blending soy and wasabi into an incendiary sauce that obliterates the subtle flavors of nigiri and sashimi. So, kudos to Tona’s sushi chefs—about half of whom are women, by the

Tona’s Hot Lava, Peach Paradise, Asian Ribs and Sunrise way—for standing their ground. Other excellent nigiri options I’d recommend include hamachi toro (yellowtail belly), black cod (lightly torched sablefish), sake toro (salmon belly with thinsliced lemon) and especially the scallop nigiri ($5.50), wherein I discovered I like scallops raw much more than I do cooked. That’s particularly true of Tona’s scallop nigiri, which is kissed every-so-lightly with a dollop of wonderful tomatillo and chili-citrus paste. I rarely see cobia (aka black kingfish, lemonfish, black salmon, crabeater, etc.)— a white-flesh, firm-textured fish—at sushi bars, so I was quick to order the Smokin’ Hot Cobia roll ($9.50). The cobia is very lightly smoked and served maki-style with avocado, fennel, Thai chilies, paper-thin orange slices, citrus-soy sauce, black and white sesame seeds, and with taro chips and garlicky deep-fried basil leafs alongside. The citrus helps balance the heat from the chilies and, overall, this is one of the best rolls I’ve eaten in ages—plus, it’s a real bargain at under $10. Economical pricing, a vibrant ambiance, outstanding service (from chefs and servers) and truly excellent sushi guarantee that I won’t make the mistake of staying away for another eight years. I’m now a team Tona fan. CW

TONA SUSHI BAR AND GRILL

210 25th St., Ogden 801-622-8662 TonaRestaurant.com

Serving American Comfort Food Since 1930 -CREEKSIDE PATIO-86 YEARS AND GOING STRONG-BREAKFAST SERVED DAILY UNTIL 4PM-DELICIOUS MIMOSAS & BLOODY MARY’S-LIVE MUSIC SAT & SUN 11AM-2PM-

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AS SEEN ON “ DINERS, DRIVE-INS AND DIVES”

“Like having dinner at Mom’s in the mountains” -Cincinnati Enquirer

4160 EMIGRATION CANYON ROAD | 801 582-5807 WWW.RUTHSDINER.COM

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28 | MAY 26, 2016

23 years on Harvey Milk Blvd at 9th East

FOOD MATTERS BY TED SCHEFFLER @critic1

Food Bank Car Show

Vroom! Vroom! On Saturday, June 11, 2016, Fratelli Ristorante (9236 S. Village Shop Drive, Sandy, FratelliUtah.com) hosts its ninth annual car show and pancake breakfast to benefit the Utah Food Bank. Exotic and classic cars and motorcycles from around Utah, including Ferrari, Maserati and Lamborghini, will be on display and live music will be provided by DJ Sayo. The event runs from 9:30 a.m. to 2 p.m., with the pancake breakfast in the morning and lunch specials, too. All car and motor bike entry fees will be donated to Utah Food Bank. The car show is free to all. For more information, call 801-495-4550.

We’d like to thank our amazing staff & customers for the past 23 years! Introducing, Fresh crossants, Danish and muffins from scratch everyday!

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Culinary Crafts is an award-winning offpremise caterer—the largest in state, founded by “Utah’s Martha Stewart,” Mary Crafts. In June, Culinary Crafts will host two unique, single-night, pop-up restaurant events. First, on Saturday, June 4, Snuck Farms in Pleasant Grove (504 W. 1100 North) will be the venue for the “Scenic Route” pop-up dinner. Enjoy a beautiful drive to Snuck Farms before a six-course “modernist epicurean homestyle” dinner including dishes utilizing local artisan products ranging from Snuck Farm’s organic greens, edible flowers and herbs, to foods from Heber Valley Dairy and Beehive Cheese. The dinner is from 7 to 10 p.m., and tickets are $115 per person. Guests may bring their own wine. Corkage and wine glasses are provided at no cost. Then, on Saturday, June 18, in conjunction with PUREfourhundred and Old Town Cellars, Culinary Crafts pops up at Savor Park City, from 5:30 to 9:30 p.m. at Old Town Cellars (890 Main). The multicourse “modernist Mountain West” dining event features wines matched with each course. The cost for the evening—including wine pairings, tax and gratuity—is $200 per person. For more information and tickets for these pop-up dinners, visit CulinaryCrafts.com.

D.I.Y. Vendors

Utah’s D.I.Y. organization Craft Lake City has announced its 2016 DIY Festival food vendors. They are Banh Mi Time, Chedda Truck, Cupbop, Even Stevens, La Table Crepes, Mama Africa, Pineapple Project, Rob’s Cheesesteaks and The Pie Pizzeria. Check out CraftLakeCity.com

South Jordan • 10500 S. 1086 W. Ste. 111 • 801.302.0777 Provo • 98 W. Center Street • 801.373.7200 www.IndiaPalaceUtah.com

Quote of the week: “The sky is the daily bread of the eyes.” —Ralph Waldo Emerson Food Matters 411: tscheffler@cityweekly.net

PRIDE 2016

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MAY 26, 2016 | 29

PRIDE 2016

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30 | MAY 26, 2016

TAKE PRIDE IN YOUR MEAT!

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Fabulous food and drink specials all night.

The raffle this year will have bigger and better prizes than ever! $$ from the raffle will benefit Equality Utah.

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32 | MAY 26, 2016

PRIDE 2016

PRIDE 2016 MAY 26, 2016 | 33

34 | MAY 26, 2016

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PRIDE 2016

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PRIDE 2016

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36 | MAY 26, 2016

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38 | MAY 26, 2016

BEER, WINE & SPIRITS

Sips with Sushi

Sake, wine and other pairings for a perfect sushi meal. BY TED SCHEFFLER comments@cityweekly.net @critic1

hen pondering the question of what to drink with sushi—as I did when enjoying dishes at Ogden’s Tona Sushi Bar and Grill (see Dine on p. 26)—it’s helpful first to chuck a few myths overboard. First, sushi is not raw fish. Fish, raw or cooked, may be a component of sushi, but sushi actually refers to the rice, which is short-grain Japanese rice seasoned with sugar and vinegar. And so, a veggie roll that doesn’t contain fish is still sushi. Likewise, nigiri—thumb-size mounds of sushi with a single topping—can feature raw fish (and usually does) but doesn’t have to. Sashimi is raw fish, typically served with condiments such as soy sauce, wasabi and ginger. Since sashimi flavors are so delicate,

it’s usually the first course served in Japanese restaurants. Second, somehow the myth that sake isn’t sipped with sushi has taken hold among the food intelligentsia of this country. The theory is that, since sake is ricebased, one shouldn’t drink it with rice. Huh? It is true that in Japan, sushi is most often accompanied by beer. But sake is also consumed with sushi. The reason that beer is more commonplace with sushi than sake is simply that the Japanese drink about eight times more beer than sake. Warm or cold? I’ve heard people insist that one should only drink chilled sake with sushi, and I’ve also heard the exact opposite. My suggestion: Have it your way. But here is something to note: Heating sake intensifies both its flavor and its dryness. For that reason, warm or hot sake is a good accompaniment for sashimi and delicately flavored sushi. As with pairing wines with food, acidity in the wine and fat content of the food are important to consider. Let’s take, for example, sake with sake. As well as referring to the fermented rice beverage, sake is also the Japanese word for salmon. Since salmon is a somewhat oily fish—that is, has a significant fat content— I’d opt for Ginjo sake, which is fairly light, and dry enough to help cut through the oily salmon. For the same reason, I would also recommend it with tuna. For California

DRINK rolls or other sushi involving crab, I’d try to mimic the crab’s rich sweetness with a sake to match, such as a Junmai Ginjo, which typically has a touch of sweetness. Having hopefully made the case for sake and sushi, I’ll admit that I prefer to sip wine with my sushi. It’s not a matter of right or wrong; it’s simply that I prefer wine. And, since dining in a sushi restaurant isn’t just about raw fish, I try to find a wine on the list that is versatile. After all, in addition to sashimi, nigiri and sushi rolls, most sushi restaurants also serve things like Kobe beef, tempura and various cooked foods that might even call for a robust red wine. A barbecued eel roll or a dish like Tona’s Asian-style baby back ribs could even suggest a big, brawny wine like Bucklin Bald Mountain Syrah. Thanks to its crispness and acidity, Sauvignon Blanc is a wine that can cross a lot of sushi boundaries. Joseph Phelps Sauvignon Blanc 2013 has just enough oak to impart lusty creaminess and silkiness that is sure to sex up your sushi. I also drink dry rosé wines with sushi, again since they are quite versatile, and

range across various types of dishes and ingredients. One of my current favorites is Matthiasson 2015 Rosé, brimming with citrus notes that partner beautifully with ponzu and other citrusy sauces and sushi accoutrements. Now, go out and make (or break) some sushi-sipping rules of your own! CW

Take A Bite

GOODEATS Complete listings at cityweekly.net Featuring dining destinations from buffets and rooms with a view to mom-and-pop joints, chic cuisine and some of our dining critic’s faves.

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This diminutive strip-mall café is only open for breakfast and lunch but packs enormous flavor into a small space. The jumbo omelets at Carl’s Cafe are perennial crowdpleasers and the French toast gets raves as well. At lunchtime, the delish Easterner sandwich features hot pastrami with cheese and tomatoes. It’s a good choice for a pre-ski breakfast before heading up Little or Big Cottonwood Canyon. 2336 E. 7000 South, Salt Lake City, 801-943-5138

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Chef Briar Handly and the ownership team of Park City’s Handle restaurant have ventured into Salt Lake City, but this isn’t just Handle 2.0. Lovers of fresh, locally procured foods—especially vegetarians—will appreciate the vegetables, grains and seeds portion of the menu. You won’t want to leave behind a smidgen of HSL’s cauliflower dish—a plate of lightly browned cauliflower florets in a snappy General Tso’s sauce and tossed with spicy Fresno chile slices and crunchy kohlrabi. The beef tartare is ultra high-quality dry aged beef, minced and served raw atop housemade lavosh with capers, egg yolk, torn herbs and cornichons. The beef cheek burger finds slices of house-baked brioche buns enveloping 7 ounces of medium-rare ground beef cheek topped with housemade American cheese and caramelized onions, with duck-fat-cooked fingerling potatoes on the side—a burger to be reckoned with. Since Chef Handly and his crew are committed to using the freshest ingredients, the menu changes virtually daily. Leave room for dessert, because creations like the Solstice Ecuador Chocolate Cremeux on brioche with brown butter caramel, buttermilk and parsnip ice cream are simply spectacular. For me, “HSL” stands for “heavenly, sensational and luscious.” Reviewed May 5. 418 E. 200 South, 801-539-9999, HSLRestaurant.com

X-MEN: APOCALYPSE

The Rule of Threes

CINEMA

X-Men: Apocalypse doesn’t even try to be anything but more of the same. BY SCOTT RENSHAW scottr@cityweekly.net @scottrenshaw

Sophie Turner, Kodi Smit-McPhee and Tye Sheridan in X-Men: Apocalypse murder one another/“goodbye, old friend.” Lawrence’s Mystique continues to serve as the living rope for their philosophical tugof-war, with Kinberg seemingly clueless as to how to exploit her potentially fascinating ambivalence over her actions in X-Men: Days of Future Past. Singer even recycles the most memorable single sequence in DoFP, giving Quicksilver another slow-mo showcase for his super-speed set to a pop radio staple. This barely feels like a new movie. You’ll flip past it on cable a few years from now, and have no clue which one it is. By the time X-Men: Apocalypse trots out a big cameo appearance of a familiar character—already spoiled in the marketing campaign—it has become sort of painfully obvious that this franchise is running on fumes. Its allegory for civil-rights battles by a feared minority has become just a talking point, and remains the only idea these movies are interested in exploring. We get the point that “the third one’s always the worst” largely because everyone involved is simply going through the motions, operating under the impression that it’s fine if you have nothing different to say, provided you’re willing to say the same thing even louder this time. CW

X-MEN: APOCALYPSE

| CITY WEEKLY |

BB Michael Fassbender Jennifer Lawrence James McAvoy Rated PG-13

TRY THESE X-Men: The Last Stand (2006) Patrick Stewart Hugh Jackman Rated PG-13

X-Men: First Class (2011) James McAvoy Michael Fassbender Rated PG-13

X-Men: Days of Future Past (2014) Hugh Jackman Jennifer Lawrence Rated PG-13

MAY 26, 2016 | 41

X-Men (2000) Patrick Stewart Ian McKellen Rated PG-13

He’s got his traditional “four horsemen” as personal bodyguards and pavers of the way for apocalypse: Angel (Ben Hardy), Psylocke (Olivia Munn), Storm (Alexandra Shipp) and even good old Magneto (Michael Fassbender), whose latest personal tragedy has refreshed his rage. Standing against them are Professor Xavier (James McAvoy), Mystique (Jennifer Lawrence), Beast (Nicholas Hoult) and newer recruits including the aforementioned Jean Grey, Quicksilver (Evan Peters), Cyclops (Tye Sheridan) and Nightcrawler (Kodi Smit-McPhee). And let the melee begin. Epic hero brawls have already been fairly ubiquitous in 2016 thanks to Batman v. Superman: Dawn of Justice and Captain America: Civil War, which achieved varying degrees of success at the cinematic equivalent of kids picking up their favorite action figures and smacking them into one another while going “PCHOW PEW-PEW-PEW.” X-Men: Apocalypse delivers its own slew of three-point-stance hero poses and “who would win a fight between …” moments, as Singer slings his characters around the CGI battlefields with the practiced ease of someone who knows which one-liners and set-pieces will play well to his audience. There is, however, almost nothing new to see here, and almost not even the pretense that there’s anything new to see here. Once again, as has been the case for more than a decade in this series, the central conflict is really between the world-views of Xavier and Magneto regarding mutants interacting with the human world; their relationship has become an infinitely reset-able cycle of “hello, old friend”/attempts to

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here’s a snarky in-joke in X-Men: Apocalypse that ends up backfiring about as spectacularly as a snarky in-joke can. Taking advantage of the story’s 1983 time-frame, director Bryan Singer and screenwriter Simon Kinberg have a group of the mutant superheroes exit a theater showing Return of the Jedi, where Jean Grey (Sophie Turner) notes that “the third one’s always the worst.” It’s likely a dig at the generally reviled X-Men: The Last Stand as the wrap-up of the Singer-launched original X-Men trilogy, and maybe even a little knowing self-deprecation as this current incarnation of the comic-book team hits its own third go-round. Yet it comes in a movie with no apparent idea of how not to perpetuate that truism. It’s hard to remember that 2000’s XMen was in its way a pioneering movie, pre-dating Sam Raimi’s Spider-Man series, Christopher Nolan’s Batman trilogy and the now-ubiquitous Marvel Cinematic Universe in establishing that there was an audience hungry for comic-book adventures brought to life. But franchises inevitably face the dangerous question of, “Why should this story continue, other than because we would leave money on the table by not continuing?” All too often, the response is that it can be made bigger. It can be made faster. It can be made just-plain-more. X-Men: Apocalypse’s version of biggerfaster-more means that our mutant protagonists will need to save humanity from a villain who wants to destroy everything. You know, just everything—but especially bridges and recognizable world landmarks. That villain is En Sabah Nur (Oscar Isaac), an ancient Egyptian quasi-god who awakens from a centuries-long slumber ready to eradicate pitiful, primitive humanity from the planet.

CINEMA CLIPS

MOVIE TIMES AND LOCATIONS AT CITYWEEKLY.NET

NEW THIS WEEK Information is correct at press time. Film release schedules are subject to change. ALICE THROUGH THE LOOKING GLASS .5B Adult Alice Kingsleigh (Mia Wasikowska) is back in the chaotic, charmless Lewis Carroll theme-restaurant that Tim Burton invented a few years back, where she is less a hero in charge of her own life and more a pawn of forces outside her control. This time, Hatter (Johnny Depp) is out of sorts and needs her help, which she will offer because “Hatter is [her] truest friend.” We have no idea what Alice means by that—no one here approaches being a real character with plausible motivations—but this is the sort of movie that believes six impossible things because they’re in the script. Hoary time-travel clichés will be deployed as Alice steals a device from Time (Sacha Baron Cohen, channeling, for some reason, Werner Herzog) that threatens the fundamental soundness of the universe. But anything for a friend, right? It’s all a bit like a rejected script from Doctor Who—and Doctor Who has not been noted lately for rejecting much of anything. Looking Glass wants to be about a lot of big emotion—family, devotion, friendship—but it does nothing to earn any of it. Opens May 27 at theaters valleywide. (PG)—MaryAnn Johanson

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A BIGGER SPLASH BBB Director Luca Guadagnino has crafted something tantalizingly close to greatness, even as it weaves and darts its way through multiple ideas and even multiple genres. On the picturesque Italian island of Pantelleria, rock star Marianne Lane (Tilda Swinton) recovers from throat surgery with her documentary filmmaker boyfriend, Paul (Matthias Schoenaerts)—only to have their vacation interrupted by a visit from Marianne’s exlover, record producer Harry Hawkes (Ralph Fiennes), and the young daughter Harry only recently discovered he had, Penelope (Dakota Johnson). The four-sided roundelay of sexual tension makes for a great foundation, especially with Fiennes’ brilliant mile-a-minute patter working in counterpoint with the enforced silence of Swinton’s character, amplified by directing choices by Guadagnino that almost always feel invigorating and startling. And the character drama gets even more ambitious as the script sets their privileged troubles against background noise regarding doomed immigrant refugees, building to a fascinating final scene. Only the seemingly deliberate opacity of some of the characters—particularly Johnson’s Lolita-at-loose-ends—keeps this one from the kind of emotional punch that, perhaps after another viewing, seems primed to erupt. Opens May 27 at Broadway Centre Cinemas and Megaplex Jordan Commons. (R)—Scott Renshaw

LOVE & FRIENDSHIP BBB.5 In hindsight, Whit Stillman has been making contemporary Jane Austen adaptations for 25 years: romantic comedies of manners in which wit and language are used as a defense. Here, he’s adapting actual Jane Austen, specifically the novella Lady Jane, about a Regency-era widowed noblewoman (Kate Beckinsale) attempting to manipulate fortuitous matches for both herself and her reluctant daughter, Frederica (Morfydd Clark). There’s more overt deviousness going on here than in more familiar Austen tales, and Beckinsale has a ball as a Lady Jane who knows how to play the game to perfection. Yet she still gets the movie stolen out from under her by Tom Bennett—as the simple-minded landowner to whom she’s trying to marry off Frederica—whose manages to make a guy who’s delighted by the concept of peas endearing. The absence of a true conventional “hero” of the story makes it a bit challenging to engage with on an emotional level, but at a tight 92 minutes, Stillman manages something that’s more moment-to-moment hilarious than anything you’re likely to see on screen this year. Opens May 27 at theaters valleywide. (PG)—SR X-MEN: APOCALYPSE BB See review p. 41. Opens May 27 at theaters valleywide. (PG-13)

SPECIAL SCREENINGS BELLE AND SEBASTIAN At Sorensen Unity Center, May 27, 6 p.m. (NR) BORN TO BE BLUE At Park City Film Series, May 27-28, 8 p.m. & May 29, 6 p.m. (R) FOOTLOOSE At Brewvies, May 30, 10 p.m. (PG) HOLY HELL At Main Library, May 31, 7 p.m. (NR)

CURRENT RELEASES

THE ANGRY BIRDS MOVIE B.5 After 15 post-Shrek years, we now have this dispiriting nonsense based on the popular smartphone game, as short-fused Red (Jason Sudeikis) and his pals fight a group of pigs who show up with nefarious motives. Frantic action ultimately ensues, in order to provide touchstones that players of the game would recognize, all built around the “Rudolph” plot of “ostracized outsider finds that his defining trait can help save the day.” And of course it’s seasoned with pop-culture gags—the pigs have a poster from the musical Ham-ilton; pause to allow your knees to recover from the slapping—rather than humor built from character, because that would require effort. Oh, and it ends with a musical production number, just in case you were worried you might miss anything that wasn’t pre-ordained from the start of this century. (PG)—SR

CAPTAIN AMERICA: CIVIL WAR BBB The Marvel Cinematic Universe is now a self-perpetuating cycle; each movie exists in part to tease the next one, though they’ve done an impressive job of making that process satisfying. This is, for all practical purposes, Avengers 2.5, as a proposal to put the Avengers under United Nations control leads to a clash between Captain America (Chris Evans), who opposes it, and Iron Man (Robert Downey Jr.), who favors it. The characters’ history allows the potential rift to seem as consequential as any grand slugfest—though of course, there are grand slugfests, with a dozen combatants including Black Panther (Chadwick Boseman) and a charming new Spider-man (Tom Holland). Yet Civil War often feels like a commercial for those characters’ upcoming stand-alone features. There’s fun here, but it’s fun where the central purpose is making sure the cycle remains unbroken. (PG-13)—SR

more than just movies at brewvies

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42 | MAY 26, 2016

HIGH-RISE BB Cult-favorite director Ben Wheatley takes on J.G. Ballard’s satirical novel of urban cultural hypocrisy, and the result is frustrating. Dr. Robert Laing (Tom Hiddleston) has just moved into his new apartment in a residential high-rise building that manages to be both sparkling and oppressive—all concrete and glass, sunlight and dark corners, spacious and airy, yet cold and brutal. The social hierarchy is strictly architectural: The déclassé inhabit the lower levels, the elite on the upper levels; on the middle floors, Robert discovers middle-class hedonism. Such inequality cannot endure, of course, and it all collapses into actually apocalyptic chaos; think raiding parties to other floors to steal supplies (such as cocktail mixers). This is where the film itself collapses, as the mayhem ensues in too-quick montages that favor only very mildly wry visual humor. The cast—also featuring Luke Evans, Elisabeth Moss and Jeremy Irons—is excellent, but the most captivating thing here is production designer Mark Tildesley’s mounting of a 1970s idea of the near future, perhaps hovering in a nowalternate 1990s. Too bad the story’s leaden literal-mindedness drags it down. Opens May 27 at Tower Theatre. (R)—MAJ

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THEATER DIRECTORY CINEMA SALT LAKE CITY Brewvies Cinema Pub 677 S. 200 West 801-355-5500 Brewvies.com

PARK CITY Cinemark Holiday Village 1776 Park Ave. 800-326-3264 Cinemark.com

Broadway Centre Cinemas 111 E. 300 South 801-321-0310 SaltLakeFilmSociety.org

Redstone 8 Cinemas 6030 N. Market 435-575-0220 Redstone8Cinemas.com

Century 16 South Salt Lake 125 E. 3300 South 800-326-3264 Cinemark.com

DAVIS COUNTY AMC Loews Layton Hills 9 728 W. 1425 North, Layton 801-774-8222 AMCTheatres.com

Cinemark Sugar House 2227 S. Highland Drive 801-466-3699 Cinemark.com Water Gardens Cinema 6 1945 E. Murray-Holladay Road 801-273-0199 WaterGardensTheatres.com Megaplex 12 Gateway 165 S. Rio Grande St. 801-304-4636 MegaplexTheatres.com Redwood Drive-In 3688 S. Redwood Road 801-973-7088 Tower Theatre 836 E. 900 South 801-321-0310 SaltLakeFilmSociety.org

Cinemark 24 Jordan Landing 7301 S. Bangerter Highway 800-326-3264 Cinemark.com Cinemark Valley Fair Mall 3601 S. 2700 West, West Valley City 800-326-3264 Cinemark.com Showcase Cinemas 6 5400 S. Redwood Road, Taylorsville 801-957-9032 RedCarpetCinemas.com

Cinemark Sandy 9 9539 S. 700 East, Sandy 800-326-3264 Cinemark.com

Megaplex 20 at The District 11400 S. Bangerter Highway 801-304-INFO MegaplexTheatres.com

Megaplex 13 at The Junction 2351 Kiesel Ave., Ogden 801-304-INFO MegaplexTheatres.com UTAH COUNTY Carmike Wynnsong 4925 N. Edgewood Drive, Provo 801-764-0009 Carmike.com Cinemark American Fork 715 W. 180 North, American Fork 800-326-3264 Cinemark.com Cinemark Movies 8 2230 N. University Parkway, Orem 800-326-3264 Cinemark.com Cinemark Provo Town Center 1200 Town Center Blvd., Provo 800-326-3264 Cinemark.com Cinemark University Mall 1010 S. 800 East, Provo 800-326-3264 Cinemark.com Megaplex Thanksgiving Point 2935 N. Thanksgiving Way 801-304-INFO MegaplexTheatres.com Water Gardens Cinema 8 790 E. Expressway Ave. Spanish Fork 801-798-9777 WaterGardensTheatres.com Water Gardens Cinema 6 912 W. Garden Drive Pleasant Grove 801-785-3700 WaterGardensTheatres.com

THE NICE GUYS BBB.5 Shane Black has somehow made a successful Hollywood career out of zigging when every script note says you should zag. He returns to his favored buddy-detective-thriller milieu in this tale set in 1977 Los Angeles, where private detective Holland March (Ryan Gosling) and tough guy-for-hire Jackson Healey (Russell Crowe) team up to find a missing girl. Black’s brand of comedy is almost always built on visual and verbal punch lines too delicious to spoil; the joy of them comes from the fact that you just never saw them coming. Crowe and Gosling never quite develop a crackling chemistry, as Crowe provides a less-interesting foil than March’s 13-year-old daughter (Angourie Rice). But there are few things more surprising at the movies than something you can’t imagine will ever be turned into a franchise, but you kind of wish it would. (R)—SR PELÉ: BIRTH OF A LEGEND B.5 It hits every biopic cliché so squarely it almost feels cruel to call them out, but dumbing down the story of such a singularly exceptional athlete is a disservice, even if Pelé scores the occasional feel-good vibe. Cliché: Extreme poverty is merely a nuisance, and at times downright cute. Cliché: Rich soccer-playing kids taunt poor soccer-playing kids because the poors don’t have shoes. When the poors finally get shoes, they play like bums until they ditch said shoes, and then win. Cliché: An old dude tells teenaged Pelé about ginga, an ancient martial art which will aid him in his play. Cliché: Ginga is frowned upon by Pelé’s coaches—until it isn’t. The only thing that saves Pelé from being an unqualified failure is its beautiful cinematography—but that’s nearly undone by sledgehammer editing, ham-fisted music cues and godawful performances. (PG)—David Riedel

MAY 26, 2016 | 43

Megaplex Jordan Commons 9400 S. State, Sandy 801-304-INFO MegaplexTheatres.com

WEBER COUNTY Cinemark Tinseltown 14 3651 Wall Ave., Ogden 800-326-3264 Cinemark.com

| CITY WEEKLY |

Cinemark Draper 12129 S. State, Draper 801-619-6494 Cinemark.com

Megaplex Legacy Crossing 1075 W. Legacy Crossing Blvd., Centerville 801-397-5100 MegaplexTheatres.com

NEIGHBORS 2: SORORITY RISING BB Progess! Dumb movie depicts teen girls behaving badly, but with a positive vibe. Kelly (Rose Byrne) and Mac (Seth Rogen) are about to sell their house, but now a sorority (led by Chloë Grace Moretz) has moved into the former frat house next door, determined to party like sororities typically don’t. (Zac Efron’s frat boy Teddy is back, too.) There are unexpectedly progressive aspects to this sequel, including a distinct female gaze. Otherwise, it’s more of the same from the original movie: a fragmented mess that throws out lots of attempts at humor, way too much of it gross-out. Turns out that gross-out movies don’t work when they’re progressive any more than they do when they’re regressive. Shame is the basis of gross-out comedy, and you cannot shame people who are cool with all the dildos onscreen. (R)—MAJ

SOUTH VALLEY Century 16 Union Heights 7800 S. 1300 East, Sandy 800-326-3264 Cinemark.com

Gateway 8 206 S. 625 West, Bountiful 801-292-7979 RedCarpetCinemas.com

THE MEDDLER BBB Marketing for writer/director Lorene Scafaria’s movie suggests a story about the contentious relationship between widowed mom Marnie (Susan Sarandon) and her adult daughter (Rose Byrne). But surprisingly little of the story actually revolves around that relationship, focusing instead on Marnie’s complicated road toward finally processing her grief. And while it’s always a shame when Byrne is in a movie yet in not nearly enough of it, Sarandon delivers a rich, heartbreaking performance as a woman searching for a place to put her need to be needed. It’s unfortunate that Scafaria gives in to the tired trope of building a scene around an uptight adult getting stoned, especially when Sarandon is so good while Marnie is repressing her feelings. The Meddler is less about the tension between a mother and a daughter than about the tension between that mother and herself. (R)—SR

Carmike 12 1600 W. Fox Park Drive, West Jordan 801-562-5760 Carmike.com

Cinemark Tinseltown USA 720 W. 1500 North, Layton 800-326-3264 Cinemark.com

MOVIE TIMES AND LOCATIONS AT CITYWEEKLY.NET

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WEST VALLEY 5 Star Cinemas 8325 W. 3500 South, Magna 801-250-5551 RedCarpetCinemas.com

Cinemark Station Park 900 W. Clark Lane, Farmington 801-447-8561 Cinemark.com

CLIPS

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4 | MAY 26, 2016

TRUE BY B I L L F RO S T @bill_frost

Fall Fails

What to “look forward to” this fall from the broadcast networks.

t’s been a rough couple of seasons for broadcast network television. Programming competition from cable and streaming services is at an all-time high, resulting in the era of “There’s Too Many Shows.” You’d think the answer would be to up the quality and imagination going forward into the new fall season, and give viewers a reason to come back. Problem is, you’re thinking—ABC, CBS, Fox and NBC, not so much (who would have believed a decade ago that The CW, The C damned W!, would become the visionaries?). Not only have they given up on thinking, the networks have just given up, period: The majority of their proposed 2016-17 season new shows—a relative term, as there’s nary a “new” idea among them—look to be complete garbage. A sampling of what’s to come this fall: Conviction [ABC] A hot lawyer (Hayley Atwell) goes to work for a hot district attorney (Eddie Cahill). Glad ABC canceled Agent Carter so Atwell could do a legal show, a TV rarity. Notorious [ABC] Oh look, a hot lawyer (Daniel Sunjata) and a hot news producer (Piper Perabo). It’s about “the unique, sexy and dangerous interplay of criminal law and the media,” but more like “filler until Scandal returns.” Designated Survivor [ABC] A low-level cabinet member

(Kiefer Sutherland) suddenly becomes the President of the United States. Hey, you asked “What could be worse than choosing between Clinton and Trump?” American Housewife [ABC] Katy Mixon (Mike & Molly) is a brash housewife in the prim suburbs. American Housewife used to be titled The Second Fattest Housewife in Westport, but that almost made it sound original. Speechless [ABC] Minnie Driver is a harried mom with a special-needs son—and it’s a comedy! This must be Driver’s revenge against TV ’Merica for canceling About a Boy. Frequency [The CW] Remake of the 2000 movie, this time with a female cop (Peyton List) connecting with her dead dad in the past through a ham radio. Kudos to The CW for not updating it to a haunted Snapchat app. No Tomorrow [The CW] An uptight girl (Tori Anderson) falls for a free spirit (Joshua Sasse) who believes the world is ending in eight months. An optimistic timeline, even on The CW. Bull [CBS] And another legal drama, based on “Dr.” Phil’s early days as a trial consultant. Michael Weatherly jumped off the NCIS money train for this? Kevin Can Wait [CBS] Former awful sitcom star Kevin James returns from awful movies with an awful new family sitcom. It will run for 10 seasons on CBS. Man With a Plan [CBS] A laugh-tracked family sitcom virtually identical to Kevin Can Wait, only with Matt LeBlanc in the stay-at-home-dad role. It will run for 10 weeks on CBS. MacGyver [CBS] Reboot of the 1985-92 TV series, not 2010’s MacGruber. I’m as disappointed as you are. Pure Genius [CBS] A tech billionaire (Augustus Prew)

Son of Zorn (Fox)

and a renegade doctor (Dermot Mulroney) start a cuttingedge hospital to treat sickies for free. From executive producers Jason Katims and Bernie Sanders. This Is Us [NBC] “From the writer and directors of Crazy, Stupid, Love … Sometimes life will surprise you.” Hard pass. Timeless [NBC] A scientist, a soldier and a history professor race to stop a time-traveling terrorist from rewriting the past and, therefore, the future … or something. Maybe a bit “thinky” after The Voice, NBC? The Good Place [NBC] Now-dead Eleanor (Kristen Bell) tries to be a better-ish person with the help of an “afterlife mentor” (Ted Danson). Is that Adult Swim weed making the rounds? The Exorcist [Fox] This should go as well as Fox’s Frankenstein remake, Second Chance—remember that? Exactly. Lethal Weapon [Fox] Riggs (Clayne Crawford) and Murtaugh (Damon Wayans Sr.) ride again! Only the iconic line “I’m gettin’ too old for this shit” has been replaced with “Rush Hour never happened.” Son of Zorn [Fox] Animated warrior Zorn (voiced by Jason Sudeikis) returns to the live-action suburbs to make peace with his ex-wife and son. Yeah, the Adult Swim weed is definitely making the rounds. CW

Listen to Bill Mondays at 8 a.m. on X96 Radio From Hell, and on the TV Tan podcast via Stitcher, iTunes, Google Play and BillFrost.tv.

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MEMORIAL DAY

Death Songs

Contemplating mortality in music. BY RANDY HARWARD rharward@cityweekly.net

hile the original intent behind Memorial Day was to remember fallen heroes, it has become a day to remember all of our dead. So we make pilgrimages to flower shops and cemeteries, or visit other significant places—and, if we’re being honest, contemplate our own mortality. Here’s a playlist to accompany your thoughts this weekend.

Ernest Tubb, “Soldier’s Last Letter” (single, Decca, 1944)

The idea of anyone’s child going to war, and putting their life on the line for their country, is terrifying. The prospect of hearing that dreaded, portentous knock on your door is even more so. Getting an unsigned letter, written from a trench—well, it straddles the line between horrifying and heartening. As a parent, you’re enduring the manifestation of your worst fear. But isn’t it also a gift, to hold these heartfelt last words in your hand?

Bob Moss, “Killer’s Lament” (Tragic Tales from the West, Woods Cross/Peculiar, 1994)

It’s hard to imagine our local treasure Bob Moss—who’s resting in peace, himself—writing a murder ballad, but he did. And this one’s (appropriately, for the style) downright sinister: “That day we both went for a country walk/ I knew no one would know …” But knowing Bob wouldn’t have hurt a fly makes this one kind of adorable, too.

Unruly Child, “To Be Your Everything” (Unruly Child, Interscope, 1992)

Funkadelic, “Maggot Brain” (Maggot Brain, Westbound, 1971)

Two stories circulate about the origin of this 10-minutes-and-change guitar solo by Eddie Hazel. One has Funkadelic frontdude George Clinton tripping balls and, prior to pressing record, telling Hazel to imagine being told his mother had just died, then learning she’s alive. Another yarn involves Clinton discovering his brother’s longdead body in a Chicago apartment. Since the song arcs from grief and gloom to joy and relief, let’s go with the acid story.

Kiss, “Detroit Rock City” (Destroyer, Casablanca/Mercury, 1976)

The first song on Kiss’s classic album was a longtime show opener for its bombastic energy and lyrics about getting pumped for the show. “First I drink/ then I smoke,” it goes. Then the protagonist gets behind the wheel and, soon enough, finds him staring death directly in its bright, white headlight gaze. “I gotta laugh/ ’cause I know I’m gonna die— why?!” Whoever thought Kiss would make an anti-drunk driving PSA?

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Warren Zevon, “Keep Me in Your Heart” (The Wind, 2003, Artemis)

Written when Zevon knew the end was near, this is a powerful and singular goodbye. “Shadows are fallin’ and I’m runnin’ out of breath/ keep me in your heart for a while/ if I leave you it doesn’t mean I love you any less/ keep me in your heart for a while.”

Blue Öyster Cult, “(Don’t Fear) The Reaper” (Agents of Fortune, Columbia, 1976)

Originally thought to be another Satanworshipping band offering another rock ’n’ roll song championing suicide, its actual meaning is much more positive. “All our times have come”—we’re all gonna die. There’s no sense in living in fear of the end. If you value your life, live it. CW

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Whether a soldier goes to war for reasons dubious or noble, it’s still badass to lay your life on the line—and, if it looks like you’re not gonna make it, go down fighting. “’Cause if you’re gonna die/ Die with your boots on!”

“And if a double-decker bus/ crashes into us/ to die by your side/ is such a heavenly way to die.” Morrissey and Marr really nail it here. Isn’t that what everyone’s after? That double-decker-bus happiness, where you’ve reached such a level of contentedness that you’d meet death with a smile?

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Iron Maiden, “Die With Your Boots On” (Piece of Mind, Capitol, 1983):

The Smiths, “There Is A Light That Never Goes Out” (The Queen Is Dead, Sire, 1986)

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In the early ’90s, the hair-metal powerballad cash-in got desperate as grunge squashed the genre under its muddy army boots. There were some great ones, though, even among the increasingly contrived, cloying, manipulative dreck that clamored to be the hot new prom/wedding song. This one follows a man keeping vigil at his lover’s bed, begging for a shred of hope that she’ll come out of her coma. It could be one of the more egregiously manipulative power-ballads, but vocalist Marcie Free brings real sincerity to the tune.

When I was 10, my mom started to allow me to stay up late on New Year’s Eve and play penny poker with her and her friends. They listened to oldies, which I hated until finally, as a kid eyeing his future, I related to the tales of teen love and rebellion. I grew tired awaiting midnight, and started daydreaming about earth angels and hot cars. Then I heard this song, where a guy takes out his best girl, only to have the night interrupted by the sound of “screamin’ tires,” “bustin’ glass” and a “painful scream.” The part where the guy holds his girl, kissing her one last time before she fades, meant the night was over for me.

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A couple of years ago, my best friend passed away. About a year into our friendship, I gave him this album by stoner-gypsy folk troubadour Todd Snider—mainly because of this song. I thought it described him perfectly and, when he heard it, he thought so, too. J. could be dirty, yeah, and maybe he smoked a little dope. But he was one of the kindest, funniest and most generous and hardworking people I’ve ever known. I miss you, buddy.

J. Frank Wilson & The Cavaliers, “Last Kiss” (single, Josie Records, 1964)

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Todd Snider, “Alright Guy” (Songs for the Daily Planet, MCA/Margaritaville, 1994)

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n the 1990s, Pavement, Dinosaur Jr. and The Breeders harvested the plentiful anxiety of Generation X and distilled it into a carbonated alt-rock sound that helped define the decade. Twenty years later, the Massachusetts-based quartet Speedy Ortiz has established itself as an indie-rock powerhouse whose tangled roots are deeply planted in the angsty foundation poured by those bands. Make no mistake: Speedy Ortiz doesn’t subscribe to the tropes of referential nostalgia or borrowed aesthetic that have led other revivalists to moderate success. Their sound is like an episode of Mad Men—a thorough appreciation of a bygone era captured through the lens of modern auteurs. Boasting a wide variety of influences that include anime, comic books (the band’s name was inspired by a character from Love and Rockets), Adventure Time cartoons and David Lynch films, Speedy Ortiz’s music is steeped in surrealism and psychosis. It’s easy to spend hours delving into their labyrinthine arrangements and spellbinding lyrics, but surprisingly difficult to find your way back out again. The music finds its way into your bones, if you let it. With Speedy Ortiz’s first albums The Death of Speedy Ortiz (self-released, 2011) and Major Arcana (Carpark, 2013), vocalist, guitarist and principal songwriter Sadie Dupuis created a strung out tapestry of lyrically bruising songs, perfectly complemented by the ambling bass of Darl Ferm, the crystalline guitar of Matt Robidoux and the dissonant drums of Mike Falcone. Arcana is an arrangement of songs about loss and regret, with lyrics like “Oh, my gut absorbs the fiercest blows/ you never thought you’d have to throw,” which tattoo themselves to your auditory cortex. For 2015’s Foil Deer, Devin McKnight replaced Robidoux on guitar, and Speedy

Speedy Ortiz

Ortiz capitalized on Dupuis’ songwriting skills to create a distinctly feminist album that doesn’t feel like one. Lyrics like “I’m not bossy, I’m the boss/ shooter, not the shot” succeed in making anyone feel empowered and badass. “I can’t really do ‘hitting you over the head’ with anything,” Dupuis says, “Any time I write a lyric that seems too direct or obvious—it’s kind of a turn-off.” The fact that Speedy Ortiz’s music is naturally inclusive makes their powerful stories about the marginalization of women (like “My Dead Girl”) reach a much wider audience. “It’s been cool to see different people attach themselves to different songs,” Dupuis says. “We see people of all different ages and genders shouting out the lyrics along with us, and it’s awesome.” Art that is geared to inspire change so often becomes exclusionary to other schools of thought, but Speedy Ortiz makes sure that everyone has a place at the table, and also enjoys themselves. Inclusivity and anti-harassment are concepts that Speedy Ortiz take very seriously; the band created a hotline for fans to contact if they feel threatened. Dupuis got the idea when she was watching a performance at a festival. “I was in the crowd, and I got harassed by this guy who wouldn’t stop touching me,” she says. “Since I was playing the festival, I could just go backstage and get that person removed, but someone else might not have a way to get out of the situation.” This innovative approach helps performers share in the responsibility of maintaining a safe concert environment, while reminding attendees to look out for each other. As part of the first leg of their national tour—after which, they’ll release a remix EP and begin tracking their fourth album— Speedy Ortiz will bring their powerful stage presence to Kilby Court, along with folk-rockers The Good Life and power-pop outfit Tancred. “We love Salt Lake, and are excited to come back,” Dupuis finalizes. CW

SPEEDY ORTIZ

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ess than two years ago, throwback soul singer-songwriter Leon Bridges was a dishwasher at a restaurant in his hometown of Fort Worth, Texas, performing at open mics and occasional house shows on the side. Fast-forward to December 2014, and he’s signing with Columbia Records (following in the footsteps of soul legends like Aretha Franklin and Marvin Gaye) and preparing for a national tour promoting his debut album, Coming Home. As 2016 rolled around, the 26-year-old was paying tribute to Ray Charles at the White House. Now, he’s hitting venues across the globe, with shows booked nearly every day through October. But overnight sensations sometimes fade as fast as they materialize. Here are some reasons that prove Leon Bridges’ smooth retro soul is here to stay. He’s got the look. Bridges lives, breathes and bleeds vintage, from his retro haircut to his dapper, 1960s-inspired ensemble of suspenders, feathered fedoras or the famous high-waisted denim Wranglers that first caught the attention of Joshua Block of Austin rockers White Denim, who are often credited for discovering Bridges. Bridges’ black-and-white videos and groovin’ moves ripped from the past are just a couple of fine details that solidify his retro aesthetic. Nailing these nuances enables him to reel in, and keep, older listeners that grew up with the classics. He’s got the sound. Bridges really studied the influences that inform his oldschool soul—a throwback to that of the ’50s and ’60s. That attention to detail made his

Leon Bridges

songs unbelievably authentic-sounding. The simple guitar and short, sweet and upbeat lyrics are easy to latch onto, like this line from “Coming Home”: “Sweet, pretty baby/ won’t you be my lady, oh/ sweet honey, darling/ don’t you know I’m calling/ I want you.” The classics are irreplaceable, of course, but Bridges genuinely honors the genre, its history and its legendary musicians, while reintroducing old-school soul into the mainstream. “Coming Home” reached No. 5 on Spotify’s Top 10 Most Viral Tracks in February 2015, shortly after its release. He’s got crossover appeal. While classic soul is relatable, not every music fan seeks it out. White Denim—who produced Bridges’ first couple songs and brought him on tour—introduced Bridges to a rock audience. His involvement in the Macklemore and Ryan Lewis song, “Kevin,” gives him entry into the pop world. And both things happened organically for Bridges, based on the quality of his music. Early, wide exposure to a diversity of ears equals a strong foothold in a notoriously fickle industry. Looking toward the future, Leon Bridges may want to take one last bit of advice from the past. In 1964, the year of his death, Sam Cooke, then 33 and at the peak of his career, appeared on American Bandstand. Host Dick Clark asked him his secret, to which he replied, “I think the secret is really observation, Dick. … If you observe what’s going on, how people are thinking and determine the times of your day, I think you can always write something that the people will understand.” CW

LEON BRIDGES

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Voivod Untethered Moon was unveiled last year, and there’s something reassuring, in the constant here-today-gone-tomorrow novelty world of indie rock, that Doug Martsch and company are still out there, churning out the post-Neil Young/Dinosaur Jr. sludge riffs and sing-along melodies. With our proximity to the Gem State, we are lucky enough to get to see the band at least once a year, but we shouldn’t take them for granted—theirs is a combination of songwriting, love of performance and guitar artistry not commonly seen in indie rock. Built to Spill is a gem. The Hand opens. (Brian Staker) The Urban Lounge, 241 S. 500 East, 8 p.m., $22, TheUrbanLoungeSLC.com

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decades, the Seattle-based Blau has put out 33 solo albums (see Klaps.Bandcamp.com) and a bunch more with acts like lo-fi noise band The Microphones, drone metal outfit Earth and as a sideman to his friend, singersongwriter Laura Veirs. It’s with some irony, then, that his latest album is called Introducing Karl Blau (on Veirs’ Raven Marching Band label)—and it’s also a covers album. On the disc, Blau covers Link Wray, Tom T. Hall, Tom Rush, Townes Van Zandt and the Bee Gees, among others. Although covers albums can be uneven, Blau’s is actually quite cohesive. The songs come from the ‘60s and ‘70s, but in Blau’s hands, they sound like late-’70s/ early-’80s country album he’d have promoted with an appearance on the Barbara Mandrell and the Mandrell Sisters—if he wasn’t just a kid back then. It also features guest appearances from Veirs, Jim James of My Morning Jacket, Earth’s Steve Moore and more. Most notable, however, is how Blau, with his hypnotic, resonant vocals and consistent vision for the album, make these tunes his own—hence, perhaps, the title. (RH) Studio Dada, 235 S. 900 East, Provo, 7 p.m., $5-10 donation strongly encouraged, StudioStudioDada.com

Quick: Name an indie rock band on a major label from Boise, Idaho. Going on 25 years in existence, Built to Spill has been a staple of the Warner Bros. roster from their third release, Perfect from Now On (1997). Their eighth full-length

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Quebecois metal innovators Voivod will celebrate their 35th anniversary next year. That’s one helluva long career for a band that’s existed largely in the cult realm. To be sure, Voivod is a band’s band, and one that music geeks can hold precious without fear of them getting swallowed up in—and diluted by—the mainstream. But that’s also a shame, as any band that can switch from speed metal to prog to thrash and end up with their own unique sound—one that remains unique after all that time—deserves to stand at the top of the heap. Even more so, since they lost co-founding guitarist Denis “Piggy” D’Amour, who was a major creative force in the band. Fortunately for us, Piggy left behind tons of music, which Voivod turned into Katorz (The End/Nuclear Blast, 2006) and Infini (Relapse, 2009). Also serendipitous is that the band elected to continue making music once they depleted their stockpile. Target Earth (Century Media) came out in 2013, and made good on Voivod’s promise to continue only if they could keep Piggy’s essence in their sound. Well, Target hit the mark, and so does Post Society, the band’s new fivetrack EP. With King Parrot, Child Bite, and locals Sonic Prophecy and Truce in Blood. (Randy Harward) Liquid Joe’s, 1249 E. 3300 South, 7 p.m., $12, LiquidJoes.net

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For over four years, JAWWZZ!! has been a focal point of the SLC indie rock scene, with a pair of albums under their belts and a nice following in the rock crowd. But now the trio are retiring that name and moving on with a new moniker: Sculpture Club. Same three members, same awesome post-punk/ garage/new wave sound that kicks you in the ass and makes you want to dance. The band will be releasing their latest full-length album, A Place to Stand, on cassette this Saturday. They’ll be performing with touring Los Angeles punk duo Spokenest (who very much need your donations and merch purchases as they make their way back home), and local post-wave trio Browser. (Gavin Sheehan) Diabolical Records, 238 S. Edison St., 8 p.m., $5 donation, Facebook. com/DiabolicalRecords

All You Can Beat: Dirt First vs. Ficelords, Concise Kilgore, Gravy.Tron, Mr. Vandal

Every few months, The Urban Lounge holds a special party where local DJs and producers are brought together for a night of innovative sounds and chill vibes. The next All You Can Beat features Ficelords—a duo comprised of Concise Kilgore (aka Tavie Mason) and Flash & Flare (aka Kyle Erickson)—and some of the artists from Utah’s own Dirt First Records. Concise Kilgore presents an undeniable bravado in his word-association, rapid-fire flows. With a healthy sense of humor and an ear for entrancing hooks, Concise Kilgore’s lyrical abilities bob and weave effortlessly over Flash & Flare’s highly idiosyncratic, electronica influenced, quirkfilled beats. Gravy.Tron, a DJ and producer with an ever-growing following, probes the space between trance, hip-hop, trap and 808 blipping within their instrumental dreamscapes. Mr. Vandal has an omnivorous musical taste and sensibility—equal parts experimental, mystic and darkly mesmerizing. (Zac Smith) The Urban Lounge, 241 S. 500 East, 9 p.m., free before 10:30 p.m. ($3 after), TheUrbanLoungeSLC.com

In an effort to be the best for brunch in SLC, Rye has decided to focus on the AM hours. Going forward Rye will be open: Monday-Friday from 9am-2pm Saturday and Sunday from 9am-3pm. What this means for you: even more house-made breakfast and brunch specials, snappier service-same fresh, locally-sourced fixins. Come on in. www.ryeslc.com

MAY 25: LE BUTCHERETTES 8PM DOORS

GO DARK METAL MOTHER

MAY 26: CHELSEA WOLFE 8PM DOORS

A DEAD FOREST INDEX

MAY 27: BUILT TO SPILL 8PM DOORS

THE HAND

MAY 28: SLOW SEASON 7PM DOORS EARLY SHOW FREE SHOW

UFO TV HOT VODKA

MAY 28: ALL YOU CAN BEAT BUFFET 9PM DOORS FREE BEFORE 10:30 & $3 AFTER

FICELORDS VS DIRT FIRST

MAY 29: SUBHUMANS 7PM DOORS

PEARS ALL SYSTEMS FAIL

MAY 31: SMALL LAKE CITY 8PM DOORS FREE SHOW

PICTUREBOOKS

8PM DOORS FREE SHOW

DAISY & THE MOONSHINES RUMBLE GUMS HOT VODKA

JUNE 1: JUNE 2: 8PM DOORS

JUNE 3: 9PM DOORS

JUNE 4: 8PM DOORS $3

KAPIX

PURE BATHING CULTURE

CHOIR BOY ANGEL MAGIC

DUBWISE

HATCHA ILLOOM MOTTO PRFT

THE VELVET UNDERGROUND

TRIBUTE NIGHT

COMING SOON

June 7: FREE SHOW Red Bennies June 8: Local H June 9: The Smites (Smithst Tribute Band) June 10: FREE SHOW Breakers June 11: Black Mountain

June 17: Form Of Rocket June 18: The New Transit Direction June 19: Blackalicious June 20: Ceelo-Green June 21: Big Business June 22: Metalachi

The Kills, L.A. Witch

In a starkly minimalistic style that is as anti-establishment as it is pro-listener, The Kills have reinvigorated the D.I.Y. movement pioneered by influences The Velvet Underground, Patti Smith and The Clash. Formed in 2000 by Alison Mosshart and Jamie Hince—better known respectively as VV and Hotel— The Kills will drop their fifth album, Ash and Ice (Domino) June 3. L.A. Witch, comprised of Sade Sanchez, Irita Pai and Ellie English, present a style of garage rock with Siouxsie-like guts and glamour. (Zac Smith) The Depot, 400 W. South Temple, 8 p.m., $25 in advance, $28 day of show, $2 surcharge if under 21, TheDepotSLC.com

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KENNETH CAPPELLO

SATURDAY 5.28

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B.o.B + Scotty ATL + London Jae (The Complex) Brother Chunky Lite (The Hog Wallow Pub) Chelsea Wolfe + A Dead Forest Index (The Urban Lounge) Delusions of Godhood + Blood Purge + Odium Totus + Demented Asylum + Yeti (The Loading Dock) GraceNotes in the Garden Fundraiser (Stewart Home and Gardens) Jazz Joint Thursday with Mark Chaney and the Garage All Stars (The Garage) Leon Bridges + Solo Woods (The Depot) see p. 48 Na’an Stop + Project Out of Bounds (The Royal) Speedy Ortiz + The Good Life + Tancred (Kilby Court) see p. 46

DJ, OPEN MIC, SESSION, PIANO LOUNGE DJ Courtney (Area 51) Hot Noise + Guest DJ (The Red Door) Will Sparks (Sky Lounge)

All you can Beat: Dirt First vs. Ficelords + Concise Kilgore + Gravy.Tron + Mr. Vandal (Urban Lounge) see p. 52 Bury the Wolf + Reloaded + Playing Ghosts + Black Sheep Brothers (The Royal) Flash & Flare + Concise Kilgore + Gravy. Tron + Mr. Vandal (The Urban Lounge) The Kills + LA Witch (The Depot) see p. 53 Pixie & The Party Grass Boys (The Garage) PVRIS + Lydia + Cruisr + Polyenso (The Complex) Sculpture Club + Spokenest + Browser (Diabolical Records) see p. 51 Slow Season + UFO TV + Hot Vodka (The Urban Lounge) The Spazmatics (Liquid Joe’s)

DJ, OPEN MIC, SESSION, PIANO LOUNGE Blackout V1.0 (Infinity Events Center) CIRQUE with LIFE+ (Sky Lounge) DJ “Sneeky” Long (Twist)

SUNDAY 5.29 LIVE MUSIC

FRIDAY 5.27

Subhumans + PEAR + All Systems Fail (The Urban Lounge) The Lab Dogs (The Garage)

LIVE MUSIC

KARAOKE

Built To Spill + The Hand (The Urban Lounge) El Gran Combo de Puerto Rico (Club Karamba) IAMSU! + Mod Sun + Gravez + Tommy B (In The Venue) Jordan Young Band (The Garage) Peach Kelli Pop + Browser + Chalk (Kilby Court) Shaud DaVenom + Damarr + Nevaeh + Lavon SBR Smith + Augustist King + Kay S. Certified + Solosolo + Un4gettable + Tria Muniz + Arte Vsop (Scallywags) Scru Righteous + Ratchet (The Loading Dock) Voivod + King Parrot + Child Bite + Truce in Blood + Sonic Prophecy (Liquid Joe’s) see p. 50 The Aces (Velour Live Music Gallery)

Karaoke with DJ Benji (A Bar Named Sue State) Karaoke (The Tavernacle)

MONDAY 5.30 LIVE MUSIC

M83 + Bob Moses (The Great Saltair) see p. 55 The Numerators (Diabolical Records)

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M83

There’s something dreamy, even cosmic, about the French-band based in Los Angeles, M83, so it’s no surprise they took their name from the constellation. This style of electronic dance pop seems to have been perennially popular with a certain sub-section of the dance club set since the ‘80s—of which M83’s music is reminiscent. Their last album, 2011’s Hurry Up, We’re Dreaming, has the atmosphere of a soundtrack for an imaginary movie; afterward, the group was tapped to write several soundtracks, and even earned a Grammy nomination for the record. Their latest, Junk (Mute), features the track “Go!” with guest vocals by Mai Lan and a spaced-out solo by guitar wizard Steve Vai. Bob Moses opens. (Brian Staker) The Great Saltair, 12408 W. Saltair Drive, 7 p.m. (doors), $33.50-$36, TheSaltair.com

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