City Weekly June 23, 2016 by Copperfield Publishing

C I T Y W E E K LY. N E T J U N E 2 3 , 2 0 1 6 | V O L . 3 3 N 0 . 7

The Utah Arts Festival Turns

The past, present and future of the ever-morphing arts fest

years years young

June 23-26 Library Square

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4 LETTERS 6 OPINION 8 NEWS 22 A&E 27 DINE 34 CINEMA 37 TRUE TV 38 MUSIC 51 COMMUNITY

SCOTT RENSHAW Cover story

When it comes to the Utah Arts Festival, our longtime A&E editor has been there, done that and caught the performing art piece on T-shirts. “For nearly 20 years, I’ve been attending UAF, and been blown away by how much more they add to the experience every year,” he says. “I see no reason not to expect the same in 2016.”

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LETTERS Make City Weekly Great Again

I have been an avid fan of City Weekly for many years. But today, when I read through your June 16 edition, I came across the following: 1. a letter taking the position that the recent massacre in Orlando was a “false flag, a “staged fake” intended to mislead people into believing we need gun control legislation; 2. a letter contending that America is a “foreign principle” [sic] of the Queen of England and that the brave American men and women who fought and died in the Middle East “deserve no sympathy, respect or sensitivity;” 3. the (serious?) suggestion by a reader that cannabalism is a good idea, given the food shortages that might occur; 4. the acknowledgement a that good many grown men in Utah and elsewhere have become highly enamored of the fuzzy animals in the My Little Pony cartoons; and 5. the difficulty that comedian Jim Norton has experienced “getting laid in” our state. The first two of these are apparently intentional outrages, unworthy even of contempt. The third is demonstrably nuts. The fourth is beyond peurile. The fifth can be characterized, charitably, as too much information. To quote the late, great Flannery O’Connor, in a somewhat different context, “my tone is not meant to be obnoxious. I am in a state of shock.” You can do—and have usually done—better, City Weekly, and I very much hope that you will again soon.

THOMAS N. THOMPSON Salt Lake City

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.

Wacko paranoia

OK, I understand that you label yourself an “alternative newspaper.” It makes sense, and when compared to the Trib and the gawdawful Des News, your self-description is apt. But, there is a line between alternative and bonkers. The two letters printed in your June 16 issue crossed that line. These folks are in the interplanetary message, black helicopter and tinfoil hat category. I like diversity, but when does diversity become out to launch wacko paranoia?

J. C. SMITH

Salt Lake City

Keeping it free

Lower Lights came up on my Facebook today so I Googled it to see whatever became of it, and, after learning there is apparently a band named that now, your 2008 interview with the then maintainer of it was in the first page of results. One thing that struck me about it was how Shaun says, “it was open to anyone … regardless of age” and oh my how this was true. I clearly remember being maybe 10 years old in 1993 and, shortly after my parents had gotten their first modem, a 9600baud powerhouse, I was using the household phone line all day, and eventually stumbled upon LL.

In those days, to get an account, you submitted a brief application, and then the owner would call you on the phone and verify who you were, and then your account would be turned on. I submitted my application and then hid in my parents room with my hand on the phone, ready to answer it, terrified of what might happen. Within a few hours, it rang, and it was LL confirming me. We then proceeded to have the most awkward conversation I had ever had up that point in my life, a stock broker talking to a 10 year old about computers, and he turned on my account. The rest is history. Twenty-three years later, I am a senior IT operations guy, and my first job was at XMission Internet thanks to the benevolent Pete Ashdown. Anyway, thanks for keeping archives free and online.

TYLER MORGAN Seattle, WA

STAFF Associate Business Manager PAULA SALTAS Business Department Administrator ALISSA DIMICK Office Administrator CELESTE NELSON Technical Director BRYAN MANNOS

Publisher JOHN SALTAS

Editorial

Managing Editor ENRIQUE LIMÓN Arts &Entertainment Editor SCOTT RENSHAW Music Editor RANDY HARWARD Senior Staff Writer STEPHEN DARK Staff Writer COLBY FRAZIER Copy Editor ANDREA HARVEY Proofreader LANCE GUDMUNDSEN Dining Listings Coordinator MIKEY SALTAS Editorial Interns DASH ANDERSON, JORDAN FLOYD, CASEY KOLDEWYN, KATHLEEN STONE

Marketing

Marketing Manager JACKIE BRIGGS Marketing/Events Coordinator NICOLE ENRIGHT Street Team BEN BALDRIDGE, ALISSA DIMICK, BLAKE DIMICK, MELISSA METOS, ANDY ROMERO, LAUREN TAGGE, RACHEL TERRAN, MIKAYLA THURBUR, TINA TRUONG

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Contributors CECIL ADAMS, KIMBALL

Director of Advertising, Magazine Division JENNIFER VAN GREVENHOF Director of Advertising, Newsprint Division PETE SALTAS Digital Operations Manager ANNA PAPADAKIS Director of Digital Development CHRISTIAN PRISKOS Digital Sales LINDSAY LARKIN Senior Account Executives DOUG KRUITHOF, KATHY MUELLER Retail Account Executives JEFF CHIPIAN, LISA DORELLI, TYESON ROGERS, SIERRA SESSIONS, JEREMIAH SMITH

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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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OPINION

Religion, Orlando, Salt Lake and ISIS

If you are one of the many Christian faiths, or are Jewish or Muslim, you may define religion as belief in a superhuman controlling power, backed by feelings, organization, ethics and shared values. Buddhism is an awareness with spirituality, kindness and shared values, and a similar societal sense of family, but without a deity. Unitarian Universalists share from both Western and Eastern philosophies. The common denominator is that every group is a big welcoming family, providing a sense of belonging to something. Except for a differing interpretation of our shared society’s sense of ethics, this definition of religion could easily encompass street gangs, or ISIS. Cells associated with ISIS, or its equivalent, haven’t yet been identified around here. But at a recent Cottonwood Heights Citizens Police Academy session, I learned that there are many other group affiliations. Approximately 36 Hispanic street gangs are functioning in Utah. There are 26 ethnic Black affiliated Crips gangs and Bloods. We have six Asian gangs, five “Midwest” influenced gangs, six white supremacists, or Aryans, and four “other” extremist gangs, right here in Utah. So, even though we haven’t yet seen evidence of any associated with Middle-East centric terrorist violence, it is estimated that there are between 3,000 and 3,500 Utahns who are gang members. So, what’s a gang? Police Officers define gangs as affinity groups with crime as one of its main activities, as opposed to, say, your church, the Boy Scouts or the Utah State Senate. Lt. Mike Schoenfeld of the Unified Police Department Metro Gang Unit feels that gangs are more often about money, power

and drugs, but cautions not to profile all gang members as criminals, although most gangs do make money by engaging in illegal drug distribution, auto theft, robbery and some prostitution. Utah gang violence is mostly gang-on-gang, unlike terrorists who are threats to the general population. Utah gang recruiting is active and starts as early as elementary school with children as young as 8. So, while criminal activity financially supports our homegrown gangs, the appeal of membership, to children as well as adults, is that they fill a vacuum and provide a much needed feeling of family unity, security, protection and a structured support system. In many ways, it is a lot like religion, and unnervingly like online ISIS recruiting. Law Enforcement organizations like SLCPD are succeeding at winning members away from gangs through, for example, the Salt Lake Area Gang Project and its “Choose Gang Free” program. This has growing support from local, county and state public officials. This is working; yet, notice the similarity between the appeal of our street gangs and ISIS’s appeal to the Orlando killer, the San Bernardino killers and disaffected Europeans who have become part of today’s continental terrorist problems. Common to both types of joiners are feelings that “the system is rigged” and there is no lawful way to bootstrap to success. Many on both sides of the Atlantic are drawn to a need to belong to something. That void is filled both by street gangs and terrorist groups. Moreover, gangs let men become alpha males. In the recent book Too Much of a Good Thing: How Four Key Survival Traits are Now Killing Us Lee Goldman, M.D., explains that alpha-male dominance has been baked into our genes since the earliest of times when the most aggressive humans survived by killing all the Neanderthals, as well as more reasonable humans who preferred the negotiating table to outright violence. That’s why, he explains, today’s killers are programmed to fight to win at any cost. It isn’t guns, the thesis opines. People really do kill people. The Orlando massacre is now at the top

B Y S TA N R O S E N Z W E I G of our thoughts, but this is just the latest of mass devastation that is occurring more frequently. Recently, Salah Abdeslam, a 26-year-old French national of Moroccan origin was captured in Belgium and charged with last November’s terrorist attacks in Paris which claimed 130 lives. Abdeslam was seized in the troubled Brussels neighborhood of Molenbeek, home to a large, impoverished Muslim minority population. His capture was followed by bombings in Brussels on March 22. We link these events to ISIS, but European news has reported that Abdeslam doesn’t know much about Islam and he got his ideas from the internet. He was described by one as one of the younger generation who thinks he lives in a video game like Grand Theft Auto, rather than a terrorist with religious conviction or philosophical ideals. According to The Washington Post’s Greg Miller and Joby Warrick, “Many [of these terrorists] are essentially part of street gangs.” Street gangs! The true motivations of Orlando’s shooter may not be revealed for a while. But, if Brussels and Paris are more about disaffection than about philosophy, there is no reason to believe that more disaffected Americans will not become just as dangerous. These Belgian kids didn’t blow themselves up in order to make a religious statement. They went to Paris to blow up other guys. So, is that the new religion of gangs? Will Paris-style attacks increase in America by fanatics like Patriot Movement supporter Timothy McVeigh did in Oklahoma City? Recognize that disaffected radicalization is as close as the internet. Jails won’t help. We have the most citizens incarcerated in the world and we still aren’t safe. Instead, we need more stuff like the Salt Lake Area Gang Project and more programs to reach kids early with after-school art, sports, music and other opportunities. For adults, we must fill the vacuum in education, healthcare, housing and belonging. We must compete against gangs with fairness. We must win this battle by being smarter than organized street gangs and ISIS.

STAFF BOX

Readers can comment at cityweekly.net

What piece of art has moved you? Nicole Enright: I didn’t understand the significance or allure, I guess you could say, of van Gogh until I saw his paintings in person. They are just beautiful. The brush strokes are magnificent. Prints do his art no justice.

Mikey Saltas: I’ve

always believed photography, especially portraiture, as the purest form of art that tells a story for every pixel. I’m especially fond of Steve McCurry’s 1984 “Afghan Girl,” which humanized refugees in a society that is often callous to their struggles.

Lindsay Larkin: Roger Federer, obviously. Josh Scheuerman: At the National Gallery of Ireland, Dublin, I saw Caravaggio’s painting, “The Taking of Christ,” which is still one of the most awe-inspiring paintings I’ve ever seen. Second only to the Dali museum.

Mason Rodrickc: There was a piece that I couldn’t stop staring at, but the museum closed while I was lost in the piece. The security guard came and moved me.

Andrea Harvey: Harry Potter. Tyeson Rogers: There has recently been a painting circulating of Donald Trump completely nude and EX ACTLY accurate to scale. Tiny hands for tiny fans … moving. Jordan Floyd: The James Franco and Seth Rogan recreation of Kanye West’s “Bound 2” music video. As a so-called “fraternity man,” nothing moves me more than a juicy bromance captured through the art of film.

Paula Saltas: My life-size sculpture of Andy Garcia.

Send feedback to comments@cityweekly.net

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HITS&MISSES BY KATHARINE BIELE

FIVE SPOT

RANDOM QUESTIONS, SURPRISING ANSWERS

@kathybiele

You know how it is these days with voting rights and the Republican majority: The elite know best and “democracy” is a bad word. So, it’s refreshing to see the scrappy Navajos of San Juan County fighting for their right to vote—a right they gained in 1957 only after a federal judge forced Utah to allow it. Krista Langlois recently wrote an in-depth article for High Country News on the long-fought battle for Navajo voting rights. This year, “U.S. District Court Judge Robert J. Shelby ruled that San Juan County violated both the 1965 Voting Rights Act and the U.S. Constitution by relying on race to draw the boundaries of its voting districts,” she said. It’s called racial gerrymandering, like refusing to let Native Americans register and having Englishonly ballots. And despite laws that require redrawing districts every 10 years, the San Juan County districts hadn’t been redrawn since 1986. Because of court intervention, Navajos may soon be enfranchised.

More Spencer Cox

There is the governor of Utah—you know, “the Utah Way,” “Protecting Utah from the Federal Government,” as the campaign goes. And then there’s the lieutenant governor—Spencer Cox. This is a self-professed “balding, youngish middle-aged, straight white male Republican politician with all the expectations and privileges that come with those labels.” Cox spoke at a vigil for the victims of the Orlando shooting, apologizing to the LGBTQ community for long-past and unkind actions [News, “Not Just Statistics,” June 16, City Weekly]. “My heart has changed … because of you … you have treated me with the kindness, dignity, respect and love that I very often did not deserve.” He asked how we should respond to the tragedy and to beware of demagoguery. His speech has since gone viral—YouTube, NPR, CNN, Time, etc. Utah needs more of Spencer Cox.

New Nuclear Energy

Well, of course the Governor’s Office of Energy Development is excited about a new nuclear reactor. That’s because the group proposing it—Utah Associated Municipal Power Systems, is a political subdivision of the State of Utah. The Deseret News reported that UAMPS is already in the first phase of development for the plant in eastern Idaho. Don’t panic yet. It takes years and years to get all the federal and regulatory approvals. On the bright side, it will employ a new technology supposedly dramatically safer than the big plants of yesteryear. But safe is relative when you consider millions of years in the ground. The profit motive is part of what drives these nuclear decisions, made with the help of many grants. Too bad those grants can’t go toward sustainable energy sources.

ENRIQUE LIMÓN

San Juan County Voting

Sibylle Randoll has a mission: to follow the route her great-great grandfather took from Barmen, Germany, to various locations in the U.S. before finally returning home. Randoll was prompted to leave her Germany home after reading about this great-great grandfather from his diary, in a version that had been copied and handed out to each grandchild in her family. Currently a month and a half into her adventure, she has quite a ways to go and many things to see. It’s clear Randoll has a love for traveling that was paralleled only by her respect for heritage as she spoke with City Weekly. You can read more about her journey at Explories.de.

Can you tell me a little bit about this project?

My great-great grandfather came to America in 1880-1882; he traveled a total of about a year and a half. He came to America because he had an argument with his father, and [his father] said sort of like, ‘Go off and earn your money with the foreign people.’ And so he did that. … In 2012 at Christmas, I was at my sister’s house, and I was bored; I opened it and I saw, My journey to America, 1880. I was like, ‘What?’ So basically, I read it and I have a tourism major, … I love traveling. And so my immediate idea was, I have to read it, and I came to the Niagara Falls where he describes them, and I myself have been at the Niagara Falls in 2005 when I was an exchange student, and that’s when I had the thought: He has seen this, I have seen the same thing, maybe I can see all the places that he mentions in this book. And then—well this was the first idea I had to re-travel, and this was three years ago, and here I am doing it.

What do you think you’ll take with you from this journey?

Well I’ll definitely take with me that I’ve had a goal and I’ve—I just did it. I dared to do something, I gave up my job to do this, I saved up money that I’m all spending now, so I’ll end up back home without a job and not so much money. But I’ve encountered so many friendly people and welcoming people, … and all these encounters with these different people is amazing. And just seeing the places that my great-great grandfather saw, and sitting in the tabernacle and thinking, ‘He has seen the exact same thing.’ Maybe not the lights that hang on the ceiling, but more or less the same thing. And that’s amazing to, yeah, to feel that a little bit.

What does heritage mean to you?

I’m 100 percent German, I have two German parents, I grew up all my life in Germany, so I don’t have any question of ‘Where do I belong?’ because I am very much German. … Heritage is a lot about family history, your language, the customs you learned when you’re little, how you see the world, it’s all really who we are is because of our heritage and our traditions and how we grew up. For me, it’s very interesting to see how my heritage—the German heritage—survived a little bit in the U.S. and how people still keep on to it a little bit and how it’s practiced.

Do you feel like you’ve grown closer to your great-grandfather, to your family?

It’s difficult to say; he died over 50 years before I was even born. But I’ve definitely encountered a lot of family history along the way. … I’m kind of trying to imagine how grand all this was for him. The Niagara Falls—we don’t have such waterfalls back home, so for him to see those giant falls for the first time must have been so overwhelming after going on this train for so long. … I’m trying to imagine how grand that was for him. … I wish I could ask him what this journey meant for his life, his later life, in business.

What’s next for you after you get back to Germany?

Well, job hunt. And settling down, I think. I’ve lived long years abroad and was away for a long, long time. I used to move every six months. I just moved back to Germany two years ago. Since I was 17, I was just out of the country and on the go, and … after this trip, I’ll really enjoy settling down for a little bit. The first thing is going home to my parents and then applying for jobs. All this boring stuff, getting back to normal life.

—CASEY KOLDEWYN comments@cityweekly.net

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In Star Wars: The Force Awakens, the planet-killer device absorbs the sun to do its dirty work. This got me to wondering: If the sun suddenly went out, how long would it take us to freeze solid? —Barry

Notwithstanding the primary source you cite—i.e., some Disney focus group’s idea of a movie plot—it strikes me that there are a few fundamental physical laws of the universe that just might work against the sun’s being abruptly extinguished. But OK, I’ll play along. What might conceivably produce such an effect here on Earth? The sun could be eaten by a black hole, I guess, in which case the temperature over in these parts is going to be the least of our worries. Some enormous foreign body could pass between us and the sun. Or, in what’s probably the most realistic scenario, a passing high-mass object (black hole, rogue planet, etc.) could pull our planet away from the sun, sending us spinning into interstellar oblivion. (Serious sci-fi fans—not your Star Wars types, I mean the real geeks—may have come across this conceit in a 1950s short story by Fritz Leiber called “A Pail of Air.”) Anyway, let’s say something like that just … happened, and that we’re not too worried about the various other problematic implications of such an event. We’re mainly worried about staying warm. Let’s start by compiling the sources of heat we currently enjoy, with calculations from the prolific scratchpad of my assistant Una: Core and mantle. The earth contains enormous amounts of residual heat from its formation, slowly being transferred from the core up through the mantle and eventually to the earth’s crust. Figure eight trillion watts from the core and 18 trillion from the mantle, for a total of 26 trillion watts. Radioactive decay. Many elements on Earth—uranium, thorium, potassium, et al—decay continuously, with heat a principle byproduct of this process. Una estimated we can probably put the heat energy here in the neighborhood of 13 trillion watts. Human-made heat. Currently worldwide energy production, including fossil fuels and nuclear (but not solar and wind—no sun, remember?), kicks in about 18 trillion watts. Tidal energy from the moon. Heatwise, we don’t get a whole lot of help from our little satellite sidekick: just 3.6 trillion watts. So, about 60 trillion watts, give or take. Which may sound like plenty until we quantify the sun’s contribution to our current heat budget: 114,600 trillion watts, or about 1,900 times what’s generated here on Earth. What happens when the lights go out? According to Una’s calculations, the equilibrium temperature on the surface of the earth would, after the planet cooled fully, settle out at 43.6 degrees Kelvin, aka negative 381 degrees Fahrenheit, aka not exactly A Sunday

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BY CECIL ADAMS

on La Grande Jatte—cold enough that almost all our atmosphere would turn to liquid. (Hence “A Pail of Air.”) And that’s assuming the moon stays with us. The estimate drops one degree Fahrenheit without it. How long would it take us to get there? Depends on a variety of factors: how the heat-transfer process changes as water vapor leaves the atmosphere, how quickly heat circulates in the oceans and up through the earth’s crust, and so forth. In the best case, the average temperature drops to 32 degrees Fahrenheit in about 400 days, and to zero degrees Fahrenheit in 879 days. These averages, however, include the oceans, and the heat retained there will largely stay there, not doing us much good. If we focus instead on the 10 percent of the biosphere closest to us, we’ve only got about 38 days till the average temperature is 32 degrees Fahrenheit, and 83 days till it’s down to zero. The carbon dioxide in the air turns to dry ice on day 236, and on day 503 the oxygen in the atmosphere liquefies. Can humanity survive? Sure, at least for a while, but ideally we’d have a couple decades to prepare. The earth’s crust is a great insulator, and we could build underground warrens that tap into buried fossil fuels for energy; we’ll want to hook up some nuclear generators too. This gives us heat to warm ourselves by, electricity for charging our Kindles, and light for greenhouses. And of course there’s that core and mantle heat, which obviously gets more intense the deeper we dig. At the bottom of South Africa’s TauTona gold mine, for instance, nearly two and a half miles down, the air temperature is a balmy 130 degrees Fahrenheit—a good deal hotter than the recent record-setting (and lethal) heat wave in India, so at some point we may encounter the perverse-seeming situation of needing to rig up an air-conditioning system. One foresees a few other problems, too: a population of pasty depressives, living a dank subterranean existence with dim long-term prospects. Come to think of it, that sounds like the sort of society that scifi geeks living in their parents’ basements will be perfectly optimized for. At which point, I suppose, the operating cinematic reference becomes Revenge of the Nerds. n

Send questions to Cecil via StraightDope. com or write him c/o Chicago Reader, 350 N. Orleans, Chicago 60654.

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12 | JUNE 23, 2016

NEWS No Limits

A pair of Republican gubernatorial candidates bemoan and protect Utah’s loose campaign cash laws. BY COLBY FRAZIER cfrazier@cityweekly.net @ColbyFrazierLP

n Utah, there is a limitless air to many things, including child birth rates, energy development, love of corporate chain stores and the Legislature’s dislike of the Obama Administration. Utah is also one of 12 states that allows individuals, and one of only six states that permits corporations, to contribute unlimited sums of money to candidates seeking public office—a distinction that, if the common refrain that money is a corrupting influence in politics is anywhere near true, makes the Beehive State an unkept wound begging for infection. “It’s about as minimally regulated as can possibly be,” says Matthew Burbank, an associate professor of political science at the University of Utah, on the state’s campaign finance laws. “There are a couple of other states like us, but most other states, in general, have adopted the kind of notion that big contributions are the source of the problem, and so that’s what we want to stop.” The manner in which candidates bankroll their political dreams has emerged as a key issue in the Republican gubernatorial race, which is pitting incumbent Gov. Gary Herbert against Overstock.com chairman of the board Jonathan Johnson. Both candidates have accused the other of kowtowing to political donors, but in very different ways. In the case of Herbert, who in April was recorded telling a group of lobbyists that he would happily meet with their clients in exchange for large campaign contributions, the accusations from the Johnson camp have centered on the governor’s seeming willingness to grant face-to-face time to top donors. Johnson’s campaign manager, Dave Hansen, told The Salt Lake Tribune that the governor’s efforts are a “pay-to-play program. Other officials characterized Herbert’s behavior as “speed dating.” As Herbert grappled with the fallout from this scandal, which even some lobbyists being courted by the governor said made them “cringe,” Johnson has accepted five campaign checks from his boss, Overstock.com founder Patrick Byrne, for a combined $650,000. The Herbert campaign has been quick to insinuate that Byrne’s well-endowed campaign contributions are an effort to

“The governor’s not a man of independent wealth. He’s got to go that third route.” —Marty Carpenter, Gov. Herbert’s campaign mgr. POLITICS buy the governor’s office, and that voters should look closely at what the wealthy man hopes to gain by almost single-handedly financing his employee’s political aspirations. As each campaign points a finger at the other, though, an uncomfortable truth about the activities of both campaigns is the fact that each are operating well within the boundaries of Utah’s unbridled campaign finance laws—laws that neither candidate seems eager to change, even as they bemoan one another’s tactics. “They’re both saying what the other guy is doing is bad, but what I’m doing is fine,” Burbank says. As governor, Herbert has been a cheerleader for Utah’s unfettered campaign contribution laws. And a yearly effort by House Minority Leader Rep. Brian King, D-Salt Lake City, to place a cap on contributions, is a perennial failure at the Legislature. King’s latest bill, HB60, would have placed a $20,000 limit on contributions from individuals, corporations and unions to candidates running for a statewide office. The federal government’s cap on contributions to candidates is $2,700. In Salt Lake City, mayoral candidates can receive a maximum of $3,500 from donors, while City Council candidates can rake in $750. One reason King says his colleagues in the Legislature and others around the country often oppose a cap on fundraising is the well-protected right of an individual to give as much of their own money to get themselves elected. Although many cities, counties and states, as well as the federal government, have placed caps on the amount of money individuals and corporations can contribute, there are no laws prohibiting how much a person can give to their own campaign. This method—self-financing—is occurring on the Democratic side of the governor’s race, where the majority of Michael Weinholtz’ cash has arrived in the form of a $1-million check he wrote. Between Weinholtz, Herbert and Johnson, a trio of fundraising tactics is on display, says Marty Carpenter, Herbert’s campaign manager. “Most people seeking office have to go and raise money from a broad group of people,” Carpenter says. “The governor’s not a man of independent wealth. He’s got to go that third route.” While Carpenter insists that neither he, nor the governor, has insinuated that Johnson has done anything illegal

by accepting such large checks from his boss, he says voters should consider the donors’ possible motives. “It’s just common sense that if it’s one person, that is the entire funding mechanism, that there’s going to be more potential for that person to influence decisions in that administration,” Carpenter says. Johnson’s campaign did not respond to questions about campaign finance. While Carpenter and Herbert point to the possibility that money can buy political influence, it was Herbert who put words to it during his April fundraising pitch to lobbyists. Although the governor insisted there would be no quid pro quo with regard to donations, he was promising access to top donors, even going so far as telling the lobbyists, “I think on balance, we’re giving you the results that you want.” While Carpenter says the volume of contributors is important to shield undue influence, it is easy to look at Herbert’s list of large contributors and see that many have achieved lucrative gains in Utah. For instance, Bowie Resource Holdings LLC, has given $29,000 to various Utah leaders, $14,000 of which went to Herbert. During the 2015 Legislature, state leaders agreed to spend $53 million to build a coal port in Oakland, Calif., that would be operated by Bowie. Did Bowie’s campaign contributions pave the way for use of Utah money on its coal port? It’s a tough question, but one that could be posed for any one of the numerous donors who have written Herbert $25,000 checks, and can certainly be asked of Overstock.com’s Byrne. Weinholtz is the rare candidate who hasn’t been forced to drink from the corporate trough. In self-financing his campaign, he says he’s been able to uphold a personal value: that large cam-

paign contributions often take on the appearance of a conflict of interest. And so Weinholtz has declined to accept any contributions from corporations, and, at the end of the day, it is his own financial largess that carries his political efforts. If Weinholtz is elected, he says he would support campaign finance reform in Utah, and says a cap of $10,000 on individual donations would be prudent. His bickering Republican opponents, he says, are each a good example of how Utah’s campaign finance and conflictof-interest laws are broken. “I think it reveals that Utah campaign-finance laws, and ethics laws for that matter, are rated fairly poorly in large part because we do not have caps on campaign contributions and that can lead to the kind of issues that both Governor Herbert and Jonathan Johnson are accusing each other of,” Weinholtz says. And although Weinholtz, a businessman who is chairman of the board of the physician staffing company CHG Healthcare, might be rich, he says that by not begging money off of other rich people, he hopes to be a voice for the millions of Utahns who don’t contribute to campaigns. “The reason I wanted to largely self-fund is because I want to be a voice for the people of Utah who don’t have a voice and they can’t afford to write a big check to the governor to get their concerns heard,” Weinholtz says. While Burbank believes it’s unlikely that Utah’s liberal campaign finance laws will change anytime soon, one election outcome—a Democratic winning a state office while exploiting Utah’s liberal laws—could spark action. “As long as it’s kind of all on the Republican side, I suspect that there’s not really going to be a big appetite for making that change,” Burbank says. CW

RYLEE ISITT

ENVIRONMENT NEWS Wild and Dead Cause of burro deaths a mystery for BLM. BY JORDAN FLOYD jfloyd@cityweekly.net @jordanfloyd17

The BLM is investigating the recent deaths of 18 wild burros in southeastern Utah.

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JUNE 23, 2016 | 13

The BLM news release gave little information about a possible cause of death for the burros, and a final report has yet to be released—leaving the deaths shrouded in uncertainty. Warr, however, says the deaths are likely a result of an upper-respiratory infection which leads to pneumonia. “We’ve had some confirmed diagnosis of pneumonia,” he says. “We’ve ruled out major equine respiratory viruses. There’s nothing that’s really been alarming—it’s just a classic example of naïve immunological animals coming into an area.” Wild burros are often especially susceptible to viruses when moving them from site to site, according to Warr. The burros’ immune systems are unfamiliar with pathogens that exist outside of their management area, and the problem is exacerbated by the stress the animals experience during relocation. “The most challenging thing we face is putting [burros] in an off-range corral and they are then exposed to infection, which they are not exposed to on the range,” Warr says. “It’s like taking an infant child to a daycare where they have never been exposed to any viruses and then they get sick.” To remedy the susceptibility of burros to viruses, though, there is not much more for the BLM to do than what they have already done. “The best thing we do when we have an outbreak is we control the outbreak wherever it starts—we don’t send any animals out of the outbreak area and we issue a broad vaccination protocol,” Warr says. “We just let the respiratory conditions run their course and try to reduce movement and stress; it’s usually an answer to it.” Wild burros are a staple in rural Utah culture, and protecting them, Warr believes, is a matter that is driven by much more than federal law. “There’s definitely the legal aspect of it, but the uniqueness of it is these animals are culturally significant to that area,” Warr says. “People like to see horses and burros roaming free. It’s enjoyable for people to go out and see them in their natural habitat.” CW

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hen 18 wild burros under federal management were found dead at the Axtell, Utah, wild burro corral and the Sinbad Herd Management Area, it left the Bureau of Land Management with a mystery on their hands. “We have thousands of horses and wild burros across the country. Anytime we have any numbers that die, we have cause for concern,” Jeff Fontana, BLM public affairs officer, says. Gus Warr, the Utah Wild Horse and Burro Program Manager, shares Fontana’s concern. He says the 18 deaths—relative to Utah and other states—is “uncommon and considered large,” warranting the investigation. Wild horses and burros were deemed “living symbols of the historic and pioneer spirit of the West” in 1971 by the Wild Free-Roaming Horses and Burros Act. The act charged the BLM with protecting and managing herds of wild horses and burros, that, according to the act, “Contribute to the diversity of life forms within the nation and enrich the lives of the American people.” Wild horses and burros are generally descendants of formerly domesticated horses or burros that either escaped from their owners or were let go. In Utah, many of the wild horse and burro herds—especially those in the Sinbad Management Area—got their start from runaways who never made it to market in California, and from those who, according to the BLM, were used briefly in mining operations at the Temple Mountain uranium mine. Fontana believes the burros are worth the BLM’s concern, and their expressed importance warrants the BLM’s attention. “What makes them so special and significant is they have federal protections,” Fontana says. The bureau sets population levels for wild burros and works to maintain adequate food, water and land to support the animals. As a way of alleviating problems from over-population, BLM frequently makes both wild horses and burros available for adoption by the general public. As part of their responsibility to manage wild burro herds, the BLM—alongside a team of veterinarians—are investigating the deaths. So far, the team has completed seven necropsies. Additionally, no wild burros will be transported from either area until more is learned about the causes of deaths. The 18 wild burros were a part of a larger group of 226 the BLM captured in their management efforts. Fifteen of the deaths occurred at the Axtell wild burro corral, while the other three were on the Sinbad Management Area, 30 miles west of Green River.

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14 | JUNE 23, 2016

THE

NUEVE

THE LIST OF NINE

BY MASON RODRICKC & MICHELLE L ARSON

@MRodrickc

Nine experimental art pieces to look for at the this year’s Utah Arts Festival:

9. A square peg labeled “Bernie Sanders” and a circular hole that

reads, “Still has a chance at the nomination!” Expect long lines.

A room that contains only the voice of your grandmother yelling at you and that thing you have hidden behind your socks.

A “Second-Aid” booth, containing people to sympathize with all your whining, who will also ooh and ahh at your very brave Band-Aid.

6. A hyper-realistic virtual reality station where you can actually watch paint dry as if you’re right there.

5. “Charcoal” pictures made from leaving canvas out during heavy inversion days in the city.

4. A fax machine that receives faxes sent by real people who know

how to use them without Googling it.

3. Worry dolls fashioned from collected hairs left by Mayor Biskupski following public speaking events.

Stolen pieces of Salt Lake public art that have been melted down to create “participation stars” for anyone whose art doesn’t win any prizes.

1. Portraits of Gov. Herbert and other conservative lawmakers done in menstrual blood.

S NEofW the

BY CHUCK SHEPHERD

App Nauseam In May, the Norwegian Consumer Council staged a live, 32-hour TV broadcast marathon—a word-for-word reading of the “terms of service” for internet applications Instagram, Spotify and more than two dozen others, totaling 900 pages and 250,000 words of legal restrictions and conditions that millions of users “voluntarily” agree to when they sign up (usually via a mouse click or finger swipe). A council official called such terms “bordering on the absurd,” as consumers could not possibly understand everything they were legally binding themselves to. (The reading was another example of Norway’s fascination with “slow TV”—the success of other marathons, such as coverage of a world-record attempt at knitting yarn and five 24-hour days on a salmon-fishing boat, mentioned in News of the Weird in 2013.)

Can’t Possibly Be True A watchdog agency monitoring charities revealed in May its choice for “worst” among those “helping” U.S. veterans: The National Vietnam Veterans Foundation raised more than $29 million from 2010 to 2014—but wound up donating about 2 cents of every dollar toward actual help. The other 98 cents went to administration and fund-raising. (Similarly troubling, according to the watchdog, is that the CEO of NVVF is a staff attorney at the U.S. Department of Veterans Affairs.)

Government in Action! The Defense Department still uses 1980s-era 8-inch floppy disks on computer systems that handle part of America’s “nuclear umbrella,” including ballistic missiles. Also, according to a May report by the Government Accountability Office, systems using 1970s-era COBOL programing language are still used for key functions of the Justice Department and Internal Revenue Service, among others (including Veterans Affairs, for tracking beneficiary claims). Agencies have reported recruiting retired employees to return to fix glitches in operating systems long since abandoned by Microsoft and others.

n A March fitness club ad pitch in Sawley, England, picturing an extraterrestrial with the caption, “And when they arrive, they’ll take the fat ones first,” was denounced by an anti-bullying organization as “offensive.”

WEIRD

n In April, police in Boise, Idaho, told KAWO Radio that they will not relax the year-old ban on dachshund “racing” that was a traditional family entertainment highlight at the annual “Arena-Wiena Extravaganza”—because all dog-racing in Idaho is illegal. The station had argued that the law intended to target only greyhound racing; that an exception had been carved out for popular dogsled racing (reasoning: individual dogs were not racing each other); and that, in any event, the “race” course was only about 40 feet long—but reported that the authorities were “dead serious” about the ban.

More Adventures of the Easily Offended A March video featured a black San Francisco State University woman angrily confronting a white student, accusing him of “cultural appropriation” because he was wearing his hair in dreadlocks.

n A May bus-stop ad for a San Francisco money lender (“10 percent down. Because you’re too smart to rent”) was derided for “ooz[ing] self-congratulatory privilege.”

Unclear on the Concept Gainesville, Fla., performance artist Tom Miller planned a public piece in a downtown plaza during May and June as homage to the music composer John Cage’s celebrated “4’33” (which is four minutes and 33 seconds of purposeful silence by all musicians who “play” on the piece). Miller said his project would consist of local artists “installing” sculpture at 15-minute intervals for five days—except that the “sculpture” would have to be imagined by observers, as (in the tradition of Cage) nothing otherwise perceptible would be there. Thanks this week to David Lawrence, R. Moore and Dan Bohlen, and to the News of the Weird Board of Editorial Advisors.

CITIZEN REVOLT In a week, you can CHANGE THE WORLD

PAINT A DINO

Utah is definitely the place for dinosaurs—mostly bones. But you can create your own dinosaur masterpiece during The Family Paint Mixer Workshop: Dinosaur. For kids 8 and up (that means adults, too), you can follow a two-hour stepby-step instruction guided by a lead artist and host. Registration required. The Natural History Museum of Utah, 301 Wakara Way, 801-581-6927, Wednesday, June 29, 6:30-9 p.m., Non-member registration $40, member $36, Bit.ly/1W3Ra2k

THUNDERBIRDS AIR SHOW

When did a little air crash ever stop the Thunderbirds? A pilot survived a crash June 2 during a flyover at an Air Force Academy graduation in Colorado. But after only two weeks on the ground, the Air Force Thunderbirds are back in the sky flying wingtip to wingtip over northern Utah. Look to the skies for the Warriors Over the Wasatch Air Show, an hourlong demonstration combining years of training and experience with an attitude of excellence to showcase what the Air Force is all about. Solo pilots integrate their own loud and proud routine, exhibiting some of the maximum capabilities of the F-16 Fighting Falcon—the Air Force’s premier multi-role fighter jet. Hill Air Force Base, West Gate (access from 650 North in Clearfield or I-15 Exit 335) or Roy Gate (access from 5600 South in Roy or I-15 Exit 338), 801-777-5201, Saturday, June 25, 9 a.m.-Sunday June 26, 5 p.m., free and open to public, Hill.AF.mil/ WarriorsOverTheWasatch

HAZARDOUS WASTE COLLECTION

Get rid of the bad stuff. Household hazardous waste is anything in and around your home that is poisonous, flammable, corrosive or toxic. Salt Lake County will be collecting pharmaceuticals, cleaning supplies, yard-care chemicals, pesticides, fuels, batteries, oil, antifreeze and electronics during this Household Hazardous Waste Collection event. Check out their website for a full detailed schedule of various collection locations throughout the valley this summer. Sugar House Park, 1500 E. 2100 South, 385-468-4100, Thursday, June 30, 7-10 a.m., free, SLCOHealth.org

—KATHARINE BIELE Send events to editor@cityweekly.net

The past, present and future of the ever-morphing arts fest

years young The Utah Arts Festival may be hitting the big four-oh, but it’s hardly over the hill. Get ready to find out about the journey that has taken it to yet another peak.

—Scott Renshaw Arts & Entertainment Editor

JUNE 23, 2016 | 15

AUSTEN DIAMOND

very summer, thousands of Utah residents pack the downtown area for the Utah Arts Festival. They stroll through artist booths, listen to live music, explore hands-on art areas, watch short films—in short, get a sampler platter of the astonishing wealth of artistic talent this state has to offer. But how did that festival get here? For this 40th anniversary milestone of the Utah Arts Festival, we look back at how it all began, with colorful reflections by the festival’s first director on its improbable birth (p. 16). We also check in with the current festival staff member whose job it is to build the festival grounds every year (p. 17), and learn a little bit about the challenges of bringing one group of performers to Utah this year (p. 23). Then we’ll give you a chance to browse through images by some of this year’s participating artists (p. 18), introduce you to a group that will be performing barbershop vocals for UAF guests (p. 20), and help you make plans to attend with our handy logistics guide (p. 21).

| CITY WEEKLY |

UTAH ARTS FESTIVAL

The Utah Arts Festival Turns

@scottrenshaw

Skip Branch

orty years ago, before there was a Utah Arts Festival, there was a Salt Lake City Festival of the Arts. And before there was a Salt Lake City Festival of the Arts, there was a group of people sitting around in a room, drinking wine, dreaming up the crazy idea of putting art in the middle of downtown Salt Lake City streets. Seated at a table in Oasis Café on a June afternoon, Skip Branch tells the story of that first gathering—and the events that followed—with an infectious enthusiasm and well-deserved pride. “We worked so hard with so little, and that’s a real pleasure,” Branch says. “It was one of the great things that happened in my life.” Ironically, it happened in large part because of information about how people didn’t want to experience art. In the mid-1970s, Branch—whose primary work was in communications and public relations—was a member of the Salt Lake Arts Council. And it wasn’t exactly a glamorous position, as Branch recalls it: “You meet once a month, talk about how much money you have, and the budget this year is, oh, $180. Well, that’s great.” It was at one of these meetings that another member of the Arts Council, University of Utah Museum of Fine Arts director Frank Sanguinetti, told the other members about then-recent research regarding people’s attitudes about the arts. “People felt intimidated by going to an art gallery,” Branch says of the study’s findings. “And I think we all have that feeling: You need to know the history of the artist, know about art itself besides ‘I like it/I hate it.’” For many of the respondents, a gallery setting “almost felt claustrophobic, more emotionally than physically.” “‘God, Frank, that’s amazing,’” Branch says of his reaction at the time. “And I don’t know which one of us, said,

‘You know what we ought to do? Throw it in the street. If people don’t like the building, have a big art exhibit out in the street.’ And we all laughed, thought it was fun— and had another glass of wine.” Over the course of that evening, the idea started to evolve. It expanded from only visual arts to also including performing arts. There would be a need to feed the attendees, which could be its own “food arts” component; there would need to be activities for kids. “And you can imagine,” Branch says, “in this enthusiastic group, drinking wine, ‘This is so cool, I think we’ve got something here. Now what do we do?’ You’ve got this nugget of an idea, and like a lot of good ideas, who’s gonna carry this one? So they turned to me, because [then-mayor] Ted Wilson was a friend of mine, they said, ‘Skip, talk to Ted.’ And I said, ‘Oh God … sure.’” Wilson, as it turns out, was enthusiastically in favor of the idea—but not quite so enthusiastic about the proposed location in the middle of Main Street, which would require shutting it off to traffic. “Ted said, ‘Uh, really? Don’t you want to do Liberty Park?’ We said, ‘It’s not like you don’t close Main Street once a year for the Days of ’47 Parade. And we’ve got no horseshit. The clean-up is much easier.’” Branch and the Arts Council were ultimately able to convince Wilson that Main Street was the right location. But once the word got out to Main Street merchants, they wanted to squash the idea. “Ted calls me, says, ‘We’re done. Can’t do it.’ … I didn’t know who I knew, the only guy I thought could be accessible was Jack Gallivan, the publisher of the Tribune. So I called Gallivan’s office, set up an appointment, and I told Mr. Gallivan the story. He said, ‘This has to happen.’ I almost burst into tears. “The next call I get is from Ted, and he says, ‘What the hell did you do? The festival is on. We’re doing it.’” Not surprisingly, that was far from the only complication for a start-up venture of this kind. First, the fire department tried to shut down the idea, since the initial plan didn’t meet code requirements, requiring a more formalized street plan. And of course there was the matter of that $180-ish budget, which required plenty of creative use of resources that the organizers could get for free. “[Arts Council member] Lake Churchill was a colonel at Fort Douglas,” Branch recalls of one such situation. “Lake says, ‘Well, you’ve got to put it up and take it down, don’t you? Let’s get the army.’ ‘The army? You mean, like, the Army army?’ The next thing you know, we’ve got the green trucks you see in the movies and shit, with guys in ’em, bringing stuff down, helping with the construction. “It really was a case of, we can get chairs from the city, which used them at the Utah State Fairgrounds. We can get some of the temporary outdoor staging that the Symphony and the Shakespearean Festival used. Lighting? Well, it turns out Susan Burrell of Ballet West, her husband, Kay, does all of the lighting for the Ballet, other dance groups. He’s gonna light the whole goddamn thing. … They were making some kind of drink in a sterilized garbage can. It was that funky. And it was marvelous.” It was a massive undertaking for a smaller city, but Branch also believes the close-knit nature of the Salt Lake arts community made it possible to put on an event of this kind, with so many people willing to give of their time for no compensation. The richness of that arts community also made it possible for the event to be attractive, presenting the kind of world-class talent that was available. “Forty-two years ago, the Utah Symphony was recording for ABC Records,” Branch says. “Ballet West was traveling the world. RDT was given a Rockefeller Grant to start their organization. So you weren’t dealing with

people who were, like … doing cute little ceramic figures with a bunny face and a couple of eyes and we’d sell that. We’re talking well-studied, well-prepared, gifted artists. So grabbing the vision, making it a classy one? That was all available.” The first two years of the Salt Lake City Arts Festival were a tremendous success, but the organizers became even more ambitious. Branch recalls that it was Bruce Spears of Repertory Dance Theater who suggested going to the Utah Legislature and asking for funding. “So Bruce and I went up to talk to them,” he says, “and we’re ‘the arts,’ so that makes us Communists, early dope-smokers, just be careful what we say here. We have to talk about the vision of it in a slightly different way. “Meanwhile, a pal of mine says to me, ‘I don’t think there’s a state arts festival in the nation.’ And you couldn’t Google it then; you’d have to write to all 50 states. So I thought, ‘I’m going with that. Even if I’m wrong, they’ve got to prove it. Let them write the letters.’” The presentation earned $70,000 in funding from the Legislature, and the Utah Arts Festival was born, relocating from Main Street to West Temple, in front of the Salt Palace. Branch became the first chair of the UAF, serving only for a year before moving on. “I didn’t want to become Grandfather Festival,” he says. “I was the original chair, and that was that. After three years, it was taking too much of my life, and I needed to wean myself from it. The best time to leave is before you wish you had.” Yet Branch still attends every year. He’s amazed at what it has grown to become, and credits current director Lisa Sewell with overseeing such a massive annual undertaking. He particularly notes the people-watching element of the festival, and what it says about the way the state has evolved over those 40 years. “You see people there who are nice little conservative Mormon families, and people with their body painted, walking together, and that’s astounding,” Branch says. “One of the things I’ve always liked about it, from the start to the present: It really does show the diversity of our state. And welcomes it, and promotes it.” “We had no idea that it would last this long. If anyone had asked us then, I’d have said, ‘Oh, absolutely.’ But did I really envision that? Not more than a fantasy.” Forty years later, the result of that fantasy still lives in Salt Lake City. CW

The original Arts Festival site on Main Street

PHIL LANDRY

BY SCOTT RENSHAW • scottr@cityweekly.net •

DAVID GARDNER

UTAH ARTS FESTIVAL | CITY WEEKLY |

16 | JUNE 23, 2016

Birth of a Festival

Utah Arts Festival’s first director Skip Branch recalls the strange journey toward its creation.

was set to open. “When you try to plan a party that you have to build a small city for, with all the accompanying infrastructure …” Then there’s the question of where to place every stage, booth, table and, yes, port-a-potty—a job which in some ways gets easier with the passage of time and certain things continuing as they have been, but which also involves constantly reviewing what could be better logistically, whether for the experience of guests or for the experience of artists, performers and vendors. And while no change is ever going to meet with 100 percent approval, a lot of thought goes into it. “People asked why we moved the Festival Stage into the sun last year, when it used to be on the grass for years and years and years, in the shade,” Burns says. “Well, this stage has maybe five or six performances on it, depending on the day, and the rest of the time it was just sitting in the shade. Meanwhile, 70-plus artists are sitting out in the sun, with patrons trying to shop in the sun. So we moved the artists into the shade, and mostly program the stage at night, after it cools off. We also needed a larger stage for acts like the Utah Symphony, and there just wasn’t room on the grass to build a larger stage.” And not every change which seems initially like a great idea works out as planned. Last year, Burns attempted a different organization of many of the artist booths in “pods of four,” rather than longer rows, which created more of the envied “corner” positions that always seem to get more visitor traffic. “What I didn’t realize,” says Burns, “is that patrons, as they’re walking around, get confused. They couldn’t remember if they’d been to Booth 56 yet, or 47. So this year we’re putting them [back] in rows, so people know if they’ve walked in a straight line.” Examples like that are the ones that visitors and artists might actually notice; other work goes on so invisibly that nobody will notice: the placement of cords that supply electrical power, or where to have artists and vendors load in and load out their supplies. Burns is always considering the impact of the festival’s operations on what he refers to repeatedly as “our neighbors,” from actual festival venues like The Leonardo to surrounding businesses on the bordering streets. After several years

in his current role, and with the festival in the same physical location, certain elements have become simpler in terms of budgeting and in the production schedule— Burns offers the example of, “oh yeah, the plumber’s got to come today”—yet there are always new variables, from the weather to construction, like the work on the City & County Building scheduled to begin later this year. And even simple matters like planning the festival layout based on a to-scale map always seem to throw a few curve balls. “You measure it out, and on the map it shows that there should be 25 feet,” Burns says. “Then you go down [to the site] and measure with the wheel, and you try to put up a tent that’s 25 feet, and for whatever reason, … something just doesn’t fit. That’s kind of a personal goal: Everything just went like the map showed. But it rarely happens.” Everything still does somehow manage to fit, even as the festival’s attendance continues to grow. Burns believes that, given some creativity with using the existing venue and getting people to attend earlier, it should be able to hold 100,000 or more. Any additional growth of the physical site, were it necessary, might come from expanding further east, toward the Public Safety Building. “The only concern with that is we use 300 East for our staging area, our tech crew boneyard, our rental crew. We need a place for the ugly stuff to sit. And we try to keep it out of the patron view. What we’re searching for is a peak experience, so when people come to UAF, they feel like they’re walking into a beautiful park with really high-quality art. … So we need a place for the ugly stuff to sit so they don’t walk into that.” Which brings us back to the location of those port-apotties, and the decision to remove one of the “pods” of toilets from a location nearer to a festival stage. While the same total number of facilities will still be on the festival grounds, Burns realized that the sound of the doors slamming was interfering with the experience of watching performances. Additionally, Burns says, “To the side of the stage, that road slopes, so they were … not as steady as we’d like.” It’s not glamorous work. But even if you’d rather not think about things like an unsteady port-a-potty, you should be glad that Patrick Burns does. CW AUSTEN DIAMOND

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atrick Burns doesn’t really understand why I want to interview him. “My job is not the glamorous one,” says the Utah Art Festival’s assistant director and technical director. “I figure out where the porta-potties should go.” That’s an accurate statement, as far as it goes—which isn’t nearly far enough. Burns’ humble understatement notwithstanding, he gets to oversee all of the behind-thescenes logistical work that allows an estimated 85,000 to 90,000 attendees to enjoy the Utah Arts Festival annually without really noticing all that work. Because if people are noticing, it’s probably because something went wrong. Burns has been in his current position for seven years, but has spent 18 years total with the Arts Festival and 16 years as a full-time employee, working his way up from an internship and also doing publicity work along the way. “People always ask, ‘You work for the Arts Festival … year-round?’” Burns says. “‘What do you do the rest of the year?’” The long answer to that simple question is “a lot,” beginning literally from the moment the current year’s festival ends. The tear-down of the fencing, stages, booths and other infrastructure takes two days, with the goal of having the surrounding streets—particularly 200 South between the City & County Building and the Library— open by 5 p.m. on the Tuesday after the festival, “We have not missed that deadline since I’ve been in this position,” Burns adds with some understandable pride. “Then we take three or four days off, come back to the office, clean everything up, and start doing the numbers. Part of my duties is to do the annual report: how many people came through the gates, the temperature, profit margin on sales.” That’s only the beginning of the administrative side of the post-festival work, which includes presenting the report to the UAF board in August, developing the budget for the next year, then beginning the permitting process with various government entities—the city, the health department, DABC—once the new fiscal year begins Oct. 1. “You have to meet with a lot of different departments,” Burns says. “Our last meeting is today,” he adds on the day we spoke—a day less than three weeks before the festival

scottr@cityweekly.net •

CHAD GOOD

BY SCOTT RENSHAW

UTAH ARTS FESTIVAL

Potty Over Here

The unglamorous but crucial job of building the Utah Arts Festival.

JUNE 23, 2016 | 17

UTAH ARTS FESTIVAL

Paper Gallery

A sneak peek at some of the best art on view this year.

Mark Carter (Prescott, AZ) KoolShoos wearable art Booth # 160

18 | JUNE 23, 2016

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Anna Gieselman (Austin, TX) Jewelry Booth #150

Carlos Montanaro (Indio, CA) Rewind Jewelry Booth #22

Ping Zhang (Bellingham, WA) Fiber art Booth #9

Maia Leisz (Sagle, ID) “Tuscan Skies,” watercolor Booth #50

UTAH ARTS FESTIVAL

Richard Hall (Mesa, AZ) “Building a Food Pyramid,” oil on canvas Booth #110

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Ed Kolle (Kanab, UT) Metalwork Booth #59

Chris Bodily (Salt Lake City, UT) Digital art Booth #5

JUNE 23, 2016 | 19

LEX B. ANDERSON

BY RANDY HARWARD • rharward@cityweekly.net

his is an old group,” says Doug Jones, president of the Beehive Statesmen Barbershop Chorus. Sitting in a South Salt Lake coffee shop, he and fellow member/marketing and public relations officer John Close look to Sharon Gardner, the Statesmen’s former president and oldest living member (and Jones’ great-uncle), to determine exactly how long the Statesmen have been harmonizing. Gardner, 79, recalls that he first sang with the Statesmen in 1959, 10 years after they chartered, but that they’d been performing since 1948. (Jones has nearly 21 years with the group. Close is approaching his second anniversary.) That’s almost 70 years. “We had over 125 membership [at one time], and we put, consistently, for quite a number of years, 80-plus [members] on stage.” He says that “hundreds” of Statesmen have come and gone over the years, “and more than a hundred have passed away.” “Nowadays, we’re a lot smaller,” Jones says. “We only put 25 or so on stage.” Within the chorus are smaller quartets (4th Street, SLiCk City, Gray Matters) that perform separately. A barbershop chorus is the same as a barbershop quartet, says Jones—”just more [of it].” A quartet sings four-part harmonies, with one person singing lead (the main melody), tenor (high line), bass (low end), and a baritone singing “whatever’s left over—we call it the garbage part,” jokes Jones, a lead. “Don’t say that in the article,” says Close, who along with Gardner, sings bass. The three men erupt into laughter. “Good baritones are hard to find, so you try not to insult them,” Close says. “But I do it consistently,” Jones protests. “Well, you’re a jerk,” Close teases. I tell them this sounds like the barbershop version of rock-band drummer jokes. “How do you know if the stage is level?” Close blurts out. “The drummer is drooling out of both sides of his mouth!” The trio cracks up. In all seriousness, Jones says, “Baritone is probably the hardest part to sing.” Gardner seconds this: “No question.” It’s a utility role; a baritone must sing whatever notes—high or low—are needed to complete the chords that comprise that classic barbershop sound, which is a more technical form of a cappella. Jones quotes a cappella pioneer Deke Sharon: “A cappella is the martial arts of singing; barbershop singers are the black belts.” To underscore Sharon’s point, Gardner tells the story of the first year that Salt Lake City hosted the International Championships, and the then-champs from Dallas sang with the renowned Mormon Tabernacle Choir. “[MoTab] started to sing so that you could understand the words, after that. They’re a pretty top-flight organization but, yeah, they went to school.” The technicality is important, because the harmonies are why barbershop music gives chills to singers and listeners

LEX B. ANDERSON

UTAH ARTS FESTIVAL | CITY WEEKLY |

20 | JUNE 23, 2016

Pitch Prefects

After nearly 70 years, the Beehive Statesmen Barbershop Chorus continues to seek harmony.

alike. “The sound is amazing when it’s done right,” Jones says. “You can tell when you’re doin’ it right, because it gives people goosebumps.” Gardner recalls the words of a former Statesman, who liked to say that locking in the harmonies “makes your skin feel like a sack of BBs.” We all hold up our arms to show gooseflesh and raised hairs prompted by simply talking about the music. What is it about barbershop, that mere discussion of it causes a physical reaction? Surely there is a scientific explanation, but none of us at the table know it. But they say people give off vibes, that we resonate with each other. Musical notes are vibrations. Locking in a harmony with someone, actively trying to resonate together, must achieve a deeply human connection. Gardner, Jones and Close say locking in the harmonies doesn’t happen all the time. Some nights, it doesn’t happen at all. But getting together in a room with a bunch of people who are content just trying to harmonize, and who share a tendency to lift their voices to test the acoustics of random foyers, hallways, stairwells and elevators, is magical. Ultimately, Jones says, “We just sing to sing.” CW

The Beehive Statesmen Barbershop Chorus Utah Arts Festival (Festival Stage) @ Library Square 200 E. 400 South Thursday, June 23, 7 p.m. 801-322-2428 Free (pick up admission vouchers at the gate) UAF.org

UTAH ARTS FESTIVAL

2016 Utah Arts Festival Guide and Highlights

The robot drawing machine

utes, and UTA will be running extended service every day of the festival, with the last train leaving Library Square at 11:30 p.m. to accommodate those staying for the late music headliners. Free valet bicycle parking is also available for those who chose to bike to the festival—and those who do so will also get a $2 discount on festival general admission. The same discount applies to those who take Uber and register online at Get.Uber.com/go/ARTLIVESHERE. What to Bring/What Not to Bring: Outside food and beverage (except for factory-sealed water bottles) are not permitted inside the festival grounds. Free ice water is available, however, and bringing a wide-mouth empty reusable water bottle is a good way to avoid having to make multiple visits on a warm day. Also prohibited: weapons, skates/skateboards, pets (except service animals) or anything intended for solicitation (posters, flyers, etc.) Do bring: sunscreen/hats/other sun protection, cash (or your ATM card, if you don’t care about the surcharges for using a machine that’s not from your own bank), weatherappropriate attire (including something for if you plan to be around after the sun goes down), comfortable walking shoes, ID (if you plan to purchase alcohol). Food Vendors: More than a dozen local restaurants and specialty food providers will be represented in the festival food court and at other select locations. Again: Bring cash.

3-D digital art using roomspace VR Plenty of kid-friendly options will be available—including The Pie pizza and the PB&J booth in the kids’ Art Yard—as well as offerings from Yoshi’s Japanese Grill, Dionysos Greek, Crepe Time and more. Seating in the shaded table area is generally hard to come by during peak lunch and dinner hours, so consider eating earlier or later to avoid lines and find a place to sit. Or be bold and friendly, and ask to pull up a chair at an already-occupied (but large) table. Other Important Facilities: A first aid station (also one of the locations for free water) is located near the northeast corner of The Leonardo. Security and Lost & Found can be found in the retail space near the main Library Arch entrance (mid-block on 400 South, between 200 East and 300 East). Most of the toilet facilities will be port-a-potties— located in two main groupings near the Park Stage and Art Yard—but those who are particularly fastidious or need to change a baby might want to use the restrooms on the lower level of the library building, with access opposite the library auditorium used for the Fear No Film Festival. Schedule of Performances/Music Headliners: Dozens of music groups, dance groups, comedians, spoken word artists and others will be at the festival’s various venues throughout the four days. For a full schedule of events— whether by date or by category—visit the festival website at UAF.org/Schedule, or download the official UAF app. CW

GINA R. BINKLEY

KENDRICK SESSIONS

Beats Antique

JUNE 23, 2016 | 21

Urban arts

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Sierra Hull

AUSTEN DIAMOND

Kid Art Yard

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he 2016 Utah Arts Festival takes place June 23-26 in downtown Salt Lake City on 400 South between State Street and 300 East, noon-11 p.m. daily. Here’s everything you need to know if you’re planning to attend. Tickets: For the first time this year, the opening Thursday will be free admission all day. Adult tickets (ages 13-64) are $12 per day Friday-Sunday; seniors (65+) $6; free ages 12 and under. The “Weekday Lunchtime Special” continues this year, with $6 adult tickets available if purchased Friday before 3 p.m. A 4-day all-festival pass (available at the festival box office Thursday only) is $30; those who attend and purchase tickets on Friday or Saturday can receive a two-for-the-price-of-one ticket for a return visit. Festival box offices accept cash only; ATMs are positioned outside the festival grounds for those who need to use them. Purchase tickets and/or enter at any one of five entrances on the perimeter of the festival grounds; no need just to get backed up at the main entrance on 400 South, where folks will be pouring off the trains. Parking/Transportation: Downtown SLC offers plenty of parking spaces, but not a lot of them are convenient to the festival grounds, especially if you’re pushing a stroller or walking with kids. If at all possible, make use of Trax, taking (or transferring to) the Red Line and getting off at Library Square stop. Trains usually run every 15-20 min-

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BY SCOTT RENSHAW • scottr@cityweekly.net •

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22 | JUNE 23, 2016

ESSENTIALS

ENTERTAINMENT PICKS JUNE 23-29, 2016

Complete Listings Online @ CityWeekly.net ANTHONY HERNANDEZ

the

THURSDAY 6.23

CUAC: Absence, Presence As polar opposites, absence and presence would seem to balance each other out. Absence is only ever the absence of something, and the presence of any object can be said to fill the vacuum that preceded it. In Absence, Presence—the group show that opened for June’s Gallery Stroll at CUAC Contemporary Art—curator Laura Allred Hurtado has selected works that emphasize the “Absence” side of the equation, yet they all have their own implacable (if not indelible) presence. The half-dozen artists in the show include artists ranging from local printmaker Andrew Rice, photographers Josh Winegar (an untitled is pictured) and Kendal Bryan to Scottish artist/ educator Jean Richardson to Malaysian artist Kheng Lim, studying at BYU. Brooklyn video artist Carrie Schneider’s Land Art on Film was shown earlier this year at UMFA. Richardson’s book covers and envelopes represent the exterior physicality of texts, but empty, they attain an added silence. It’s hard to ignore a Michael Sharp sculpture—sans pedestal, intrusive and dominant, interrupting the distanced attention of the viewer with items that effectively disrupt their detachment. It’s unusual for a group show to look at these subjects, but Hurtado’s curatorial flair makes the collection function in such a way that the many voices don’t undercut the theme. In that way, the exhibit is very much reminiscent of the gallery’s Utah Ties exhibit, in which—although all the works had ties to this “made place” of Utah—to echo the words of writer Ron Silliman, the common theme was separation. (Brian Staker) Absence, Presence @ CUAC Contemporary Art, 175 E. 200 South, 385-215-6768, through July 8, Tuesday-Friday, 11 a.m.-6 p.m.; Saturday, noon-4 p.m. CUArtCenter.org

FRIDAY 6.24

Pinnacle Acting Co.: The Most Lamentable Tragedy of Titus Andronicus The body count scoreboard is tied between Titus (April Fossen) and Tamora (Melanie Nelson) before their final battle in The Most Lamentable Roman Tragedy of Titus Andronicus, as portrayed by the inmates of the Coffee Creek Correctional Facility for Women. As Bull I prison guard (Vicki Pugmire) comments, “It’s about to get good.” And so is the rest of Pinnacle Acting Co.’s production of Titus. The actresses portraying the characters of this Shakespearean tragedy are not really inmates, but the setting is a way to bring new life to this play about death and revenge. With an all-female cast—and setting it in a prison—director L.L. West creates a unique approach of telling the story of Titus’ revenge on Tamora. See, Tamora marries Saturninus (Tamara Howell), who was just named as the Roman Emperor—even though Tamora is secretly seeing Aaron (Dee-Dee Darby-Duffin) on the side. Meanwhile, Saturninus’ brother Bassianus (Merry Magee) marries Lavinia (Anne Louise Brings), Titus’ daughter. Then Tamora’s sons Demetrius (Ali Lente) and Chiron (Alyssa Franks) dismember Lavinia and kill Bassianus. It’s easy to understand why Titus is so angry with Tamora, leading to the final showdown. Even if you’re unfamiliar with Titus Andronicus, or aren’t the biggest fan of Shakespeare, you will be entertained by such a talented group of actors. With the hilarious prison guards acting as the Greek chorus, it’s easy to avoid getting lost on this journey through a dark and twisty ancient Rome. (Missy Bird) Pinnacle Acting Co.: Titus Andronicus @ Dumke Black Box Theater, Westminster College, 1250 E. 1700 South, June 24, 7:30 p.m.; June 25, 2 p.m. & 7:30 p.m., $15-$18. PinnacleActingCompany.org

TUESDAY 6.28

Memoir may be a common literary form, and around these parts, it may seem that there’s a new memoir every day or so about growing up in—and often alienation from—the LDS Church. But there’s a uniquely contemplative quality to Judith Freeman’s The Latter Days, which chronicles a life in a 1950s/1960s Utah Mormon family that is both typical and fascinatingly specific. Freeman focuses most of her attention on her years spent growing up in Ogden in a family of eight children, living the kind of life that most Mormon children of that era might recognize: learning the lessons of the church, navigating through a crowded house, trying to understand parents who were often remote and unknowable. Yet she also addresses distinctive tragedies that shaped her young life, including the death from cancer of her oldest brother, and giving birth as a newly married teenager to a child with a serious heart defect. While Freeman spends time explaining tenets and practices of the church for uninitiated readers, The Latter Days is more than just a chronicle of growing up Mormon. It is instead a chronicle of growing away from being Mormon, requiring an understanding of how allencompassing an identity that was before she began to drift away from belief in that faith, both as a rebellious teen and through the crises in her marriage. As such, there’s a mournful quality to the writing, even as Freeman works through the various separations in her life—from the church, from Utah and eventually from her husband—toward understanding the forces that shaped her. (Scott Renshaw) Judith Freeman: The Latter Days @ The King’s English Bookshop, 1511 S. 1500 East, 801-485-9100, June 28, 7 p.m., free. KingsEnglish.com

Doug Benson has the great distinction of having a brilliantly funny show on Comedy Central that the network had zero faith in. The Benson Interruption had the comedian roasting other comedic acts as they performed their sets—while he was sitting on stage with them. It was absolutely hysterical, which is why the network heads put it on Friday nights and killed it after six episodes. The genius of Benson is often overlooked until you get a good taste of it. Take, for example, his work on VH1’s Best Week Ever, where he had some of the best one-liners of anyone on the show (apologies to Michael Ian Black). Or his documentary Super High Me, where Benson shows what his life is like being 30 days clean, compared to 30 days high as hell around his friends. He may be a favorite to the stoner crowd—a reputation he fulfills every time he talks about what he noticed that week while tokin’ up—but it makes him one of the best live acts to see when he comes through town. This time around, Benson will be bringing his decade-long podcast, Doug Loves Movies, to the downtown SLC Wiseguys for a live recording. Benson brings on surprise guests for the show, to talk films and comedy in front of a live crowd. The crew will play games and interact with the audience, while also clowning on each other and their love of particular films. Bring a movie-themed name tag for a chance to win prizes from the show. (Gavin Sheehan) Doug Benson: Doug Loves Movies live recording @ Wiseguys Salt Lake City, 194 S. 400 West, 801-532-5233, June 28, 7:30 p.m., 21+, $22. WiseguysComedy.com

Judith Freeman: The Latter Days

Doug Benson: Doug Loves Movies podcast

Patience Pays

One group’s Arts Festival presence required visas and a mountain of paperwork. BY COLBY FRAZIER cfrazier@cityweekly.net @colbyfrazierlp

| CITY WEEKLY |

JUNE 23, 2016 | 23

One of the tricky parts, Tester says, is satisfying a portion of the legal documents that requires one to show that “the group is internationally recognized as outstanding in the discipline for a sustained and substantial period of time as demonstrated by the group’s receipt for, or nomination for, significant international awards or prizes for outstanding achievement in the field. …” The process, Sewell says, “felt like I was filling out a college application and making sure I was doing it perfect.” Once the visas were approved, Sewell says everyone traveling to the U.S. needed to pay a visit to the U.S. Embassy in London. The artists all live several hours away, and Sewell says Miskin arranged a trip to London. Miskin says he and Sewell have exchanged nearly 200 emails over the past two years, and that, by his count, the temporary immigration forms hit 90 pages. “We now have that very prized and strangely appropriate status: ‘internationally acclaimed alien,’” Miskin says. In her 21 years with the Arts Festival, Sewell says she has secured visas for foreign performs before, but she usually works with an agent who handles the paperwork. In this case, Neighbourhood Watch is small and doesn’t use an agent. Even with the hoops she had to jump through to ensure Neighbourhood Watch’s appearance, Sewell says it was well worth it, and it is but one small part of the effort she undertakes in attempting to make the festival seem new each year. “The challenge has always been, ‘Now what? Now what are we going to do?’” Sewell says. “We’re always working two years in advance, just like with [Neighbourhood Watch]. With regard to growing pains, part of the fun with the festival is that it is new and different every year.” Stilts performers from Neighbourhood Watch will be roaming the festival during each of the four days. And so when you notice the ostriches high above the ground, try to remember that their journey to Utah began more than a decade ago, and that of the more than 300 performers at this year’s festival, Sewell likely spent more brain power acquiring Neighbourhood Watch than any other. It is also a sort of American premiere for the group, which Miskin says last performed in the U.S. 16 years ago. “I’m super excited to have them,” Sewell says. “It’s just different. It’s a different experience.” CW

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ore than two decades ago, a business card landed on Lisa Sewell’s desk showing what appeared to be a line of boisterously colored ostriches perched on stilts. “I was just really enamored by this card and the image of the six ostriches on the card,” Sewell, the executive director of the Utah Arts Festival, says. “I’ve been sitting on this card probably since the ’90s.” As Sewell cobbled together the Arts Festival over the years, she says she often thought of the card and the words and contact information printed across the back for Neighbourhood Watch Stilts International, a street theater group based in the United Kingdom. Sewell says she contacted the group’s artistic director, Paul Miskin, on multiple occasions over the years to arrange a trip to Utah. But due to the group’s rigorous touring schedule, a local appearance never worked out. And so it was with some measure of relief that before the 2015 Utah Arts Festival, Sewell made the annual call to Miskin, and a slot was secured for the 2016 festival. But it is at this point that the real work commenced. In addition to securing funding and arranging travel schedules for Neighbourhood Watch, Sewell says she got a crash course in international immigration laws, realizing that she needed to fill out a mountain of paperwork through the U.S. Department of Homeland Security in order to secure the group’s visas. Sewell says she began compiling the required documents in late 2015. But the forms couldn’t be submitted earlier than six months before the event, so she waited until February. In the meantime, Sewell got a helping hand from Lorina Tester, an immigration attorney who submitted a mask for the Arts Festival’s masquerade fundraiser. Once Tester found out about the bureaucratic scrum to secure Neighbourhood Watch’s visas, she volunteered her services. Tester says securing visas for performing artists can be difficult because the visa is employment-based. As such, government officials try to ensure that the artists are internationally known and that they won’t be siphoning any jobs away from Americans.

GERALDO FELIZ

A&E

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Utah comedian Travis Tate plays Wiseguys Salt Lake City on June 30. Read our interview with him at CityWeekly.net.

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UTAH BEER FESTIVAL TICKET IS VALID AS TRANSIT FARE FOR UTA

1776 Murray Park Amphitheater, 495 E. 5300 South, 801-264-2614, through July 2, 8 p.m., NowPlayingUtah.com Arsenic and Old Lace Caine Lyric Theatre, 28 West Center, 435-797-8022, through Aug. 5, varying days, 7:30 p.m.; July 23, 1 p.m., CCA.USU.edu Baskerville: A Sherlock Holmes Mystery Caine Lyric Theatre, 28 West Center, Logan, 435-7978022, through Aug. 6, varying days and times, CCA.USU.edu The Curious Savage CenterPoint Legacy Theatre, 525 N. 400 West, Centerville, 801298-1302, through July 2, Monday & ThursdaySaturday, 7 p.m., CenterPointTheatre.org Fiddler on the Roof Heritage Theatre, 2505 S. Highway 89, Perry, 435-723-8392, through June 25, Mondays, Fridays and Saturdays, 7:30 p.m.; June 18, 2 & 7:30 p.m., HeritageTheatreUtah.com Greenshow Greenshow Stage, 195 W. Center St., Cedar City, 435-586-7878, June 27-Sept. 10, Monday-Saturday, 7:10 p.m., Bard.org Henry V Engelstad Shakespeare Theatre, 299 W. Center St., Cedar City, 435-586-7878, June 28-Sept. 10, varying days, 8 p.m., Bard.org The Man of La Mancha LaForge Encore Theatre Co., 328 N. Coleman, Tooele, 435-248-2048, through June 25, 7 p.m., LaForgeEncore.org The Most Lamentable Roman Tragedy of Titus Andronicus Pinnacle Acting Co., Westminster College Dumke Auditorium, 1250 E. 1700 South, 801-810-5793, through June 25, 7:30 p.m.; Friday-Saturday, 2 p.m. & 7:30 p.m., PinnacleActingCompany.org (see p. 22) Motown The Musical Capitol Theatre, 50 W. 200 South, 801-355-2787, June 28-July 3, Tuesday-Thursday, 7:30 p.m.; Friday, 8 p.m.; Saturday, 2 & 8 p.m.; Sunday, 1 & 6:30 p.m., Broadway-At-The-Eccles.com Much Ado About Nothing Engelstad Shakespeare Theatre, 299 W. Center St., Cedar City, 435-5867878, June 27-Sept. 8, Mondays & Thursdays, 8

p.m.; July 8, 8 p.m., Bard.org Perfect Pitch Desert Star Theatre, 4861 S. State, Murray, 801-266-2600, through Aug. 20, varying days/times Monday-Friday, DesertStar.biz Peter Pan Hale Center Theatre Orem, 225 West 400 North, 801-226-8600, June 16-Aug. 6, Monday-Saturday 7:30 P.M., Saturday matinee 3 p.m., HaleTheatre.org Pirates of Penzance The Off Broadway Theatre, 272 S. Main, 801355-4628, June 17-July 23, Monday, Friday & Saturday, 7:30 p.m.; Saturday matinee, 2 p.m., TheOBT.org Rock of Ages Ziegfeld Theater, 3934 S. Washington Blvd., Ogden, 855944-2787, through June 25, FridaySaturday, 7:30 p.m. & special singalong June 18 & 25, 2 & 7:30 p.m., TheZiegfeldTheater.com Saturday’s Voyeur Salt Lake Acting Co., 168 W. 500 North, 801-3637522, June 22-Aug. 28, WednesdaySaturday, 7:30 p.m.; Sunday, 1 & 6 p.m., SaltLakeActingCompany.org Shrek the Musical Beverly’s Terrace Plaza Playhouse, 99 E. 4700 South, Ogden, 801-393-0070, through July 30, Mondays, Fridays & Saturdays, 7:30 p.m., TerracePlayhouse.com Singin’ in the Rain Caine Lyric Theatre, 28 W. Center, Logan, June 23-Aug. 6, varying days & times, CCA.USU.edu The Three Musketeers Engelsted Shakespeare Theatre, 195 W. Center St., Cedar City, 435-5867878, June 29-Sept. 9, varying days, 8 p.m., Bard.org Utah Festival Opera & Musical Theatre presents Peter Pan Utah Theatre, 18 W. Center St., Logan, 801-355-2787, June 24-Aug. 4, varying days & times, ArtSaltLake.org We Are Monsters Timpanogos Valley Theater, 90 N. 100 West, Heber City, 435-654-2125, June 24, 7 p.m.; June 25, 3 & 7 p.m., TimpValleyTheatre.com West Side Story CenterPoint Legacy Theatre, 525 N. 400 West, Centerville, 801-2981302, June 20-July 18, various showtimes, CenterPointTheatre.org Xanadu: A Benefit for Chris Clark Hale Center Theater Orem, 225 W. 400 North, Orem, June 23-July 2, Thursday-Friday, 10:30 p.m., Saturday, 11 a.m. & 10:30 p.m., HaleTheater.org

CLASSICAL & SYMPHONY

Gina Bachauer Piano Competition Finals Abravanel Hall, 123 W. South Temple, Salt Lake City, 801-533-6683, June 28, 7 p.m., UtahSymphony.org Intermezzo Chamber Music Series: Concert I Vieve Gore Concert Hall, 1840 S. 1300 East, Salt Lake City, June 27, 7:30 p.m., Eventbrite.com Patriotic Celebration Sundance Resort, 8841 Alpine Road, Sundance, 801-355-2787, June 25, 8 p.m., ArtSaltLake.org Utah Symphony at Utah Arts Festival Festival Stage, 230 S. 500 West, Ste. 120, Salt Lake City, 801-533-6683, June 24, 6 p.m., UtahSymphony.org Utah Symphony Presents Patriotic Celebration at Sundance Sundance Resort, 8841 N. Alpine Road, Sundance, 888-451-2787, June 25, 8 p.m., UtahSymphony.org

moreESSENTIALS COMEDY & IMPROV

$5 Improv Comedy Spectacular Sugar Space Arts Warehouse, 132 W. 800 South, Salt Lake City, June 9, 7:30 p.m., TheSugarSpace.com Adrenaline with Christian Pieper Wiseguys Salt Lake City, 194 S. 400 West, 801-532-5233, June 26, 7:30 p.m., WiseguysComedy.com Brent Morin Wiseguys Salt Lake City, 194 S. 400 West, 801-532-5233, June 23, 7:30 p.m.; June 24-25, 7:30 & 9:30 p.m., WiseguysComedy.com Doug Loves Movies live recording Wiseguys Salt Lake City, 194 S. 400 West, 801-532-5233, June 28, 7:30 p.m., WiseguysComedy.com (see p. 22) Improv Broadway Dress Rehearsals Brigham Larsons Pianos, 1497 South State, Orem, 909-260-2509, every Monday, 8 p.m., ImprovBroadway.com Improv Broadway Brigham Larson Pianos, 1497

COMPLETE LISTINGS ONLINE @ CITYWEEKLY.NET

S. State, Orem, 909-260-2509, every Friday, 8 p.m., ImprovBroadway.com Laughing Stock Improv The Off Broadway Theatre, 272 S. Main, 801-355-4628, Fridays & Saturdays, 10 p.m., LaughingStock.us Mateen Stewart Sandy Station, 8925 S. Harrison St., Sandy, 801-255-2078, June 25, 8:30 p.m., SandyStation.com Off the Wall Comedy Improv Draper Historic Theatre, 12366 S. 900 East, Draper, 801-572-4144, every Saturday, 10:30 p.m., DraperTheatre.org Open Mic Night Wiseguys Salt Lake City, 194 S. 400 West, 801-532-5233, every Wednesday, 7:30 p.m., WiseguysComedy.com Shawn Paulsen Wiseguys Ogden, 269 25th St., Ogden, 801-622-5588, June 24-25, 8 p.m., WiseguysComedy.com Tim Northern Sandy Station, 8925 S. Harrison St., Sandy, 801-255-2078, June 23, 8:30 p.m.,

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moreESSENTIALS

COMPLETE LISTINGS ONLINE @ CITYWEEKLY.NET

SandyStation.com Travis Tate Wiseguys Salt Lake City, 194 S. 400 West, 801-532-5233, June 30, 7:30 p.m., WiseguysComedy.com (see p. 24)

LITERATURE AUTHOR APPEARANCES

Don Miguel Ruiz, Jr.: The Mastery of Self—A Toltec Guide to Personal Freedom Golden Braid Books, 151 S. 500 East, 801-322-1162, June 24, 7 p.m., free, GoldenBraidBooks.com Becky Wallace: The Skylighter The King’s English Bookshop, 1511 S. 1500 East, 801-4849100, June 25, 4 p.m., KingsEnglish.com Michael Evans: The Great Salt Lake Mime Saga and Amsterdam’s Festival of Fools Weller Book Works, 607 Trolley Square, 801-3282586, June 25, 2 p.m., WellerBookWorks.com Lisa Bolt Simons: Fairbault Woolen Mill: Loomed in the Land of the Lakes Weller Book Works, 607 Trolley Square, 801-328-2586, June 27, 6 p.m., WellerBookWorks.com James Rosebush: True Reagan: What Made Ronald Reagan Great and Why It Matters Barnes & Noble Sugar House, 1104 E. 2100 South, 801-463-2610, June 28, 7 p.m., BarnesandNoble.com Judith Freeman: The Latter Days The King’s English Bookshop, 1511 S. 1500 East, 801-484-9100, June 28, 7 p.m.-9 p.m., KingsEnglish.com (see p. 22)

SPECIAL EVENTS FESTIVALS & FAIRS

Utah Arts Festival Library Square, 200 E. 400 South, 801-322-2428, June 23-June26, UAF.org (see pp. 15 & 23)

FARMERS MARKETS

Park City Farmers Market The Canyons Resort, 1951 Canyons Resort Drive, Park City, Wednesdays, noon-6 p.m., through Oct. 26, ParkCityFarmersMarket.com Park Silly Sunday Market 600 Main Street, Park City, Sundays, 10 a.m.-5 p.m., through Sept. 18, ParkSillySundayMarket.com Sugar House Farmers Market Fairmont Park, 1040 E. Sugarmont, Salt Lake City, through Oct. 26, Wednesdays, 5-8 p.m., SugarHouseFarmersMarket.org Downtown Farmers Market Pioneer Park, 300 S. 300 West, Salt Lake City, through Oct. 22, Saturdays, 8 a.m.-2 p.m., SLCFarmersMarket.org

TALKS & LECTURES

Scott Tsuchitani: Exercrative Order 9066-6: War, Postmemory, and the Poetics of Evasion Utah Museum of Contemporary Art, 20 S. West Temple, 801-328-4201, June 26, 7 p.m., UtahMOCA.org

VISUAL ART GALLERIES & MUSEUMS

Absence, Presence CUAC, 175 E. 200 South, 385-215-6768, through July 8, CUArtCenter.org (see p. 22) The Abstracts of Brad Lloyd Teare Marmalade Branch, 280 W. 500 North, 801-594-8680, June 28-Aug. 3, SLCPL.org

Art at the Main Spring Show Sugar Space Arts Warehouse, 132 S. 800 West, through June 25. ArtAttheMain.com Claire Taylor: The Inhabitants of the Salt Lake City Cemetery Marmalade Branch, 280 W. 500 North, 801-594-8680, through June 24, SLCPL.org Colour Maisch and Gary Vlasic: Albedo Nigredo Art Barn/Finch Lane Gallery, 54 Finch Lane, 801-596-5000, through Aug. 5, SaltLakeArts.org Dave Newman Modern West Fine Art Gallery, 177 E. 200 South, 801-355-3383, through July 9, ModernWestFineArt.com Denise Duong: New Work JGO Gallery, 408 Main Street, Park City, 435-649-1006, June 24-July 22, JGOGallery.com Don Weller: Another Cowboy Kimball Art Center, 1401 Kearns Blvd., Park City, 435-6498882, through July 24, KimballArtCenter.org Eric Peterson: Wildlife Photography Red Butte Garden, 300 S. Wakara Way, 801-585-0556, June 24-July 17, 9 a.m.-9 p.m., $7-$12, children under 3 free, RedButteGarden.org Ideologue Utah Museum of Contemporary Art, 20 S. West Temple, 801-328-4201, through July 23, UtahMOCA.org 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 Williams: 265 I...Home As Self-Portrait Utah Musuem of Contemporary Art, 20 S. West Temple, 801-328-4201, through Sept. 24, UtahMOCA.org Megan Gibbons: Layers: New Figurative Work and Phoebe Berry: Out of Context: Found Object Assemblages Art Access Gallery, 230 S. 500 West, 801-328-0703, through July 8, AccessArt.org Nic Courdy: Metaphornography Utah Museum of Contemporary Art, 20 S. West Temple, 801328-4201, through July 23, UtahMOCA.org Nouveau Pastiche: Paintings by Wendy Van de Kamp Sprague Library, 2131 S. 1100 East, 801-594-8640, through July 9, SLCPL.org The Painted Veil Rio Gallery, 300 S. Rio Grande, through July 8, 8 a.m.-5 p.m., VisualArts.Utah.gov Point.of.View Urban Arts Gallery, 137 S. Rio Grande St., through July 11, UtahArts.org Snapshots: Mixed Media Works by Larry Cohen Day-Riverside Library, 1575 W. 1000 North, 801-594-8632, through July 7, SLCPL.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 Utah Arts Festival Exhibition: 40 of 117 Salt Lake City Main Library, 210 E. 400 South, 801524-8200, June 23-July29, SLCPL.Lib.UT.us William Littig: Vecinos Mestizo Institute of Culture & Arts, 631 W. North Temple, Ste. 700, 801-361-5662, through July 8, Facebook.com/MestizoArts The World Around Us Evolutionary Healthcare, 461 E. 200 South, through Aug. 7, MondayFriday, EvolutionaryHealthcare.com

MAHIDER ETHIOPIAN

Ethiopian Adventure

DINE

Mahider offers exotic flavors at bargain prices.

RESTAURANT Authentic Greek Specialties

Breakfast

OMELETTES | PANCAKES • GREEK SPECIALTIES

BY TED SCHEFFLER comments@cityweekly.net @critic1

Appetizers

MEZEDAKIA WITH MEAT CHOICE DOLMATHES • MEZEDAKIA • MARIDES FETA CHEESE AND OLIVES

Lunch & Dinner

HOMEMADE SOUP • GREEK SPECIALS GREEK SALADS • HOT OR COLD SANDWICHES KABOBS • PASTA • FISH • STEAKS • CHOPS GREEK PLATTERS & GREEK DESSERTS

TED SCHEFFLER

Beer & Wine

The Taste of Mahider

italianvillageslc.com

Dive Into Dinner!

| CITY WEEKLY |

5370 S. 900 E. MURRAY, UT MON -THU 1 1 a -1 1 p FR I-S AT 1 1 a -1 2 a / S U N 3 p -1 0 p

801.266.4182

JUNE 23, 2016 | 27

MAHIDER ETHIOPIAN RESTAURANT & MARKET 1465 S. State, Ste. 7 801-975-1111 MahiderEthiopian.com

Italian Village

mixture made up of ground chile peppers, garlic, ginger, basil, fenugreek, ajwain, nigella and more—one of the cornerstones of Ethiopian cooking. To enjoy a vast array of Mahider’s Ethiopian flavors without having to order an abundance of different dishes, I highly recommend the restaurant’s most popular offering: a gargantuan sampler plate called Taste of Mahider ($14.99). The price might vary a little, depending on whether you select certain meat or chicken items or stick with vegetarian fare. This particular meal is a selection of the restaurant’s best dishes in sampler form, served on a large mesob (table-size serving tray or platter). The tray is literally covered in injera, with more injera served on the side. The sampler we tried included doro wot, vegetarian items and beef, plus a small salad and homemade cottage cheese. I loved the spicy (and messy) curried chicken doro wot, the creamy split pea shiro wot, stewed beef (siga wot) and the red lentil yemisir wot. I found the fesolia—a mixture of stewed green beans, carrots, tomatoes and onions—to be mushy and not too appealing. Braised collard greens and cooked cabbage on the platter were much more tantalizing. We ate until we were stuffed, and still hadn’t finished half of our Mahider platter. That’s a lot of exotic flavor for less than 20 bucks. CW

a massive round of injera. I like to begin meals at Mahider with sambusa. Similar to the Indian samosa, a sambusa is a very popular Somali appetizer of lightly crusted pastry dough stuffed with meats, veggies, potatoes or lentils. The vegetable and lentil versions at Mahider are a mere $2.99 (for 2), but I really like the delicately spiced sambusa stuffed with ground beef, diced onions and jalapeño peppers. When I asked our server about the sauce that came alongside, he said, “I have no idea.” This would be a recurring response to further questions about ingredients and such, which I found a bit odd. Wot (or wat) is an Ethiopian and Eritrean stew (often a curry) that can be prepared with any number of main ingredients. It’s different from most stews of other cultures insofar as its preparation begins with red onions that are slow-cooked in a dry skillet with no fat or oils. Those are only added after the onions have given off most of their moisture. The breakdown of the onion serves to thicken the wot. Various iterations of wot include doro wot (chicken), shiro wot (split peas), yemisir wot (red lentils) and siga wot (beef). At Mahider, there’s even a special kids’ wot sampler called alicha ($3.99). And speaking of kids, there were a few families packed into the small Mahider space during my last visit; children seem to love eating with their hands. For those who are not so adventurous, elbow macaroni with meat sauce is also available ($3.99) as is kid-size tibs (beef tips). Many Ethiopian dishes are wonderfully spicy, and that’s certainly the case with bozena shiro ($6.99). This is a dish of abundantly seasoned milled chick peas, which are simmered and served with cubed beef chunks in a spicy berbere sauce. Berbere is a vibrant and delicious, rust-colored spice

OPEN 7 DAYS A WEEK

MON - SAT 7AM - 11PM ● SUN 8AM - 10PM 469 EAST 300 SOUTH ● 521-6567

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’ve always felt a pang of guilt when walking past Mahider Ethiopian Restaurant & Market. That’s because I only do it when I’m on my way to Tosh’s Ramen restaurant, which is located in the same State Street strip mall. While there’s often a line of customers waiting for a Tosh’s table, Mahider doesn’t seem to enjoy the same popularity or hustle and bustle. But maybe it should, especially given the big, bold flavors and tiny prices that make up a meal there. I first fell in love with Ethiopian food in Washington, D.C., which is home to many African restaurants thanks in part to all of the embassies and the international underpinnings of that city. Estimates place the Ethiopian population of D.C. at around a quarter-million. Later—and closer to my (then) home when I was attending graduate school—I would get my fixes of Ethiopian and Eritrean cuisine at a tiny New York City spot called Massawa, near the Cathedral of St. John the Divine. Those were lean times, and the leftovers from a dinner at Massawa could feed me for two or three days. That’s the case with Mahider, too. You will not leave hungry. Portions are as massive as they are inexpensive, and more than once I’ve been approached by the restaurant’s owner, saying, with a mischievous grin, “You can’t leave until you finish all your food.” Easier said than done. One thing I like about Ethiopian restaurants like Mahider is that I can bring my vegetarian and vegan friends there (yes, I do have some). Plenty of vegetable-, potato- and legume-based dishes are available, along with those for meateaters. There are a couple of things you can be certain of in an Ethiopian restaurant: There will be injera, and you will be encouraged to eat with your hands (although most African eateries reluctantly offer up forks and knives, if asked). As with breads like naan in India or Pakistan, or tortillas in Mexico, injera is a spongy type of bread used as an edible tool to scoop foods, and it anchors virtually every Ethiopian meal. Injera is made from teff, which is a species of lovegrass native to the northern Ethiopian Highlands, ground into a flour somewhat similar to buckwheat flour. Not only does injera serve to get food from the plate to your mouth, it pretty much is the plate: Most main courses are served directly atop

THE OTHER PLACE

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28 | JUNE 23, 2016

Contemporary Japanese Dining

FOOD MATTERS BY TED SCHEFFLER @critic1

More Amour

L U N C H • D I N N E R • C O C K TA I L S

18 WEST MARKET STREET • 801.519.9595

Amour Café has opened in Salt Lake City near Liberty Park at 1329 S. 500 East (888554-6845). This quaint new café comes to us from John and Casee Francis, owners/ founders of Amour Spreads, makers of award-winning jams and marmalades. Amour Café offers espresso beverages and fresh, seasonal ingredients for in-house baked pastries, small plates, breakfast items, gelato and more. Need more motivation to visit Amour Café? How about this: Pastry and dessert chef Amber Billingsley is in charge of the kitchen. AmourSLC.com

South Indian Food Fest

Saffron Valley (26 E St., 801-203-3325) is hosting its Days of the Marigold 2016 South Indian Food Festival now through July 3, featuring signature dishes representative of the Southern Indian culinary landscape. In an email, owner Lavanya Mahate says, “Guests will have an opportunity to nosh on a variety of seafood, poultry and mutton (goat meat) dishes prepared in the slow-cooked traditional methods using fresh ground herbs and spices to create complex curries and sautéed favorites.” Examples include Kozhi lamb chukka, Andhra masala chicken, Mysore/Mysuru mutton curry, Mangalore masala prawns, Chettinad squid curry, Nandu soft-shell crab masala, Madurai spicy fried fish and much more. SaffronValley.com

Golly, Mollie

If you’re in the market for wholesome, healthy, fresh food that’s also fast, you’re in luck. Mollie & Ollie opened last week at 159 S. Main (801-328-5659). The new high-tech fast-casual eatery specializes in hormone-free proteins and pesticidefree greens from purveyors such as Jones Dairy Farm, Purcell Mountain, Organic Valley and Miller Honey. Customers are encouraged to customize and create their own personalized dishes using specially designed touchscreens. It’s open for breakfast, lunch and dinner and offers breakfast scrambles, salads, sides, desserts and more. Stir-fry options alone include fresh-made egg noodles, brown rice or red quinoa with an array of veggies and proteins including honey-brined chicken, citrus-poached shrimp, slow-roasted turkey breast, tofu, baby spinach, roasted mushrooms, green beans, roasted summer squash, edamame and baby kale, plus various sauces. MollieAndOllie.com Quote of the week: “Indian food is like classical music raga—it takes time to build up to a crescendo.” —Shobhaa De Food Matters 411: tscheffler@cityweekly.net

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JUNE 23, 2016 | 29

BEER, WINE & SPIRITS

BY TED SCHEFFLER comments@cityweekly.net @critic1

tah’s largest wine and food festival—the Park City Food & Wine Classic—returns for its 12th season this July, and if you don’t have tickets yet, it’s time to get hopping. Seminars, tastings, adventures and dinners are filling up fast. This year’s Classic runs from July 7-10 with events ranging from hiking and biking with booze to educational seminars, bringing together more than 600 artisans including winemakers, brewers, distillers, chefs, sommeliers and more. As always, a portion of all proceeds will go to the People’s Health Clinic, a nonprofit providing healthcare for uninsured individuals and families in Utah’s Summit and Wasatch counties. Tickets to participate in the Classic are priced from $65 to $7,500. The event brings something new each year, and 2016 is no exception. Stretching

CRAIG LOVERN

Park City Food & Wine Classic returns in July beyond the confines of Summit County, the Montage to Moab experience ($7,500 per group, up to four people) includes a luxury private charter plane to and from Moab on July 7, and an opportunity to bike and hike during a guided, personalized day trip to the iconic red rocks of Arches National Park and Moab Canyonlands. Gourmet lunch is included. For something a little more affordable, how about Coffee & Wine ($65) on July 8? Gevalia Master Brewers and Tasters will be joined by sommelier Jim Santangelo to discover the parallels between the worlds of coffee and wine tasting, and how each can compliment food menus. Do you have an artist’s itch? On July 7, painting and wine (always a good combination) come together during High Altitude Paint & Wine ($85) featuring step-by-step art instruction (no experience or skill required) from The Paint Mixer combined with a wine tasting led by the Fox School of Wines. At the end of the event, attendees will leave with

their own unique masterpiece of a “High Altitude” iconic Park City scene. For the adventurous, SUP N Suds ($95) offers guests a way to experience standup paddleboarding (SUP) at Deer Valley Lake with Park City SUP owner Trent Hickman, along with a lunch prepared by Deer Valley Resort and local craft brews from Wasatch Brewery and Squatters. SUP N Suds will be offered on July 7 and again on July 8. One of my favorite Napa wine producers is Joel Gott Wines. Gott also happens to live part-time in Park City, is an avid mountain bike enthusiast, and will lead a bike tour on a course through Park City and Deer Valley’s premier single-track terrain during July 9’s Gott & Gears ($95). Following the bike ride, a lunch prepared by Chef Richard Samaniego will be complemented with Gott and his wines at J&G Grill in the St. Regis Deer Valley. One of the most popular yearly Park City Food & Wine Classic events is a mountain bike ride with the affable executive chef

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30 | JUNE 23, 2016

at Stein Eriksen Lodge, Zane Holmquist. During Fat Tires & Phat Wines ($95) on July 8, participants will ride through the panoramic single tracks of Deer Valley and Park City, led by Holmquist, before settling in for a sumptuous lunch on the sunny Stein’s Lodge deck. The lunch will be joined by winemakers and avid cyclists Nile Zacherle and Whitney Fisher and their creations from Fisher Vineyards, Zacherle Wines and David Arthur Vineyards. This year’s signature event—Toast of Park City ($175)—takes place on the Grand Lawn and Grand Terrace of the Montage Deer Valley on July 9 and will feature gourmet foods and live music to accompany hundreds of domestic and international wines, craft beers and spirits available for sampling. CW

For more info on these and dozens of other events, visit ParkCityFoodAndWineClassic.com

Eat Right, Live Right, Fresh & Healthy!

| CITYWEEKLY.NET |

A Summer Classic

DRINK

Toast of Park City

In The Heart Of Sugar House

catering • delivery• dine-in 2121 s. McClelland Street (850 east) 801.467.2130 I couscousgrillexpress.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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• ENJOY OUR AWARD WINNING SHADED/ MISTED DECK & PATIO.

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

2015

326 S. West Temple • Open 11-2am, M-F 10-2am Sat & Sun graciesslc.com • 801-819-7565

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

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

Delicacies OF INDIA & NEPAL Lunch Buffet MON-SAT 11:30-2:30

Now Serving Gluten free & Vegan dishes

3142 S. HIGHLAND DR. SLC | 801.466.3504 | www.thekathmandu.net OPEN 7 DAYS A WEEK

Friendly Faces

family owned!

Stop in and see us now, ya hear!

Must be 21+

OPEN 7 DAYS A WEEK | 6200 S. HOLLADY BLVD. COTTONBOTTOMINN.COM | 801-273-9830

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Indian & Nepali Cuisine

Same Great food Same Still

| CITY WEEKLY |

JUNE 23, 2016 | 31

Delicious Food, Great Atmosphere!

Olive Bistro

NOW OPEN for Lunch and Dinner I 110 W. Broadway, SLC, UT | 385-259-0574 715 East. 12300 South. Draper, UT I 801-996-8155

The shack is back!

This bistro specializes in paninis and offers a dozen varieties, from the salmon, basil and provolone to the Black Forest ham and Swiss to an avocado and sharp cheddar panini. Try a fresh salad, such as the Tuscan or Mediterranean, or snack on antipasti and tapas, like bruschetta, crostinis and cheese and olives. The cool music mix at Olive Bistro is terrific, as is the art that decorates the roomy eatery. 57 W. 200 South, Salt Lake City, 801-364-1401, TheOliveBistro.vpweb.com

6213 South Highland Drive | 801.635.8190 patio is now

PIZZA & GOOD TIME S!

Since Pizzeria Limone opened, customers have been raving about its menu of Neapolitan pizza with a twist, premium gelato and fresh salads. Try artisan pizzas such as the Viola, which is topped with blackberries, Parmigiano Reggiano, prosciutto, house marinara and fresh mozzarella; the Caprese with fresh and aged mozzarella, fresh red onions and garlic, balsamic and tomatoes; or a classic Margherita. Multiple Locations, PizzeriaLimone.net The made-to-order omelets are sensational, and the breakfast paninis and wraps are equally appealing. But the best-kept secret is the homemade chile verde. Owners/ operators Bill, Rick and Cortney run a tight but friendly ship at this modern breakfast and lunch spot. Ask nicely and the chef will smother your meal with some of that first-class chile. At lunchtime, the paninis, wraps and burgers are all top-notch. 3084 E. 3300 South, Salt Lake City, 801-485-1134, MillcreekCafeAndEggworks.com

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There are no frills or fuss here, just tasty burgers and more than 30 over-the-top shakes. The burgers are a throwback to the days of mom-and-pop diners, where the hamburgers actually tasted like beef. The fries are hand-cut, and the fried zucchini sticks are addictive. The cheap prices and fast service are just an added bonus at this little slice of Americana. 2092 S. 1000 East, Salt Lake City, 801466-6043, Facebook.com/MilliesBurgers

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REVIEW BITES A sampler of Ted Scheffler’s reviews

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In 1970, founder Robert Redford chose to build Sundance’s fine dining restaurant around an existing 65-foot pine tree rather than cut it down; the Tree Room—and the tree—are still going strong. First-time visitors should allot some time to take in the Native American art and Western memorabilia on display from Redford’s personal collection. Then sit back, chill and enjoy one hell of an evening. No one will rush you should you decide to linger over just one more glass of wine. The grilled octopus—tossed with tiny white beans, piquillo peppers, migas (Mexican-style croutons) and chimichurri—was remarkably tender. Just as delicate and lovely was sushi-grade diced hamachi served alongside a hollowed-out and sliced avocado, with grapefruit, fried rice and fresh basil, and the starter of grilled asparagus and morels with a poached egg, parmesan cracker and Madera veal is a wonderful appetizer or shared dish. For a summer main course, opt for the Moroccan-spiced airline chicken breast ($32) with pearl couscous, colorful heirloom carrots and natural chicken jus. Under the supervision of resort Executive Chef David Mullen, the Tree Room is hitting very high notes. Reviewed June 16. 8841 N. Alpine Loop Road, Sundance, 800892-1600, SundanceResort.com

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Sundance Tree Room

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34 | JUNE 23, 2016

NEON DEMON

On the Surface

CINEMA

The Neon Demon showcases its director’s superficial talents, for better or worse. BY SCOTT RENSHAW comments@cityweekly.net @scottrenshaw

icolas Winding Refn is—how shall one put this delicately—not a subtle filmmaker. For 20 years, the Danishborn director has made movies bursting with graphic violence and violent graphics, often as emotionally vacant as they are dazzling. Just when it seemed like he might break through to the mainstream with the Ryan Gosling-starring Drive, he veered into the blood-and-karaoke jubilee Only God Forgives. When the opening credits for The Neon Demon feature his monogram at the bottom, it feels less like an act of ego than an act of redundancy. Because, I mean, who else? The limit of your tolerance for The Neon Demon might come down to whether you can groove to style for style’s own sake. Whatever notions Refn might be flirting with about female beauty ain’t exactly ground-breaking, but that doesn’t mean there’s nothing there. It’s just that the something that is there is entirely superficial—and maybe that’s OK. Refn’s narrative—co-scripted with Mary Laws and Polly Stenham—revolves around Jesse (Elle Fanning), a 16-year-old wouldbe model freshly arrived in Los Angeles. Despite her youth and inexperience, she immediately grabs the attention of people within the industry, from makeup artist Ruby (Jena Malone) to an agency boss (Christina Hendricks) to a top fashion designer (Alessandro Nivola). And that instant success becomes an immediate threat to some of Jesse’s fellow models, like Sarah (Abbey Lee) and Gigi (Bella Heathcote). There’s an inherent challenge built into a story about someone who’s supposed to have an instantly recognizable talent: The main character better have an “it” that’s as instantly recognizable to us as it is to

everyone in the movie. Fortunately, Refn has Fanning, who has had that “it” since she was in grade school. Her performance is another master class in watchfulness, as the fresh-faced small-town girl reacts to the persistent gaze—whether lascivious or envious—of everyone around her. At one point, Jesse undergoes a transformation partly achieved through makeup and costume, but which rests on a sudden shift in her confidence. That transformation in facial expression and body language is so complete that, for a moment, I thought I was seeing a different actor. And that’s an “it” you can’t teach. Fanning provides a solid anchor point for a milieu that feels like Refn’s wheelhouse: Fascinating surfaces that may have nothing going on beneath them. It does feel that he’s at least trying to poke beneath the skin of that world, including the desperate insecurity driving models like Abbey Lee’s Sarah; Lee gets a great moment during a joint audition with Jesse, her face crashing with the realization that she’s not the alpha female in the room. But no matter how many times Refn introduces literal predators—a mountain lion invading Jesse’s motel room, or various taxidermied critters—into a tale of metaphorical predation, it never feels as though he’s offering anything more insightful than “the world of modeling is callous and shallow” bulletins from the Department of No Shit, Sherlock. At that point, it all comes down to whether Refn’s gleeful garishness proves engrossing or off-putting. There’s a precision to his use of color that’s often breathtaking, whether

Elle Fanning in The Neon Demon

it’s the red strobe-light bursts illuminating Elle’s face, or a lecherous photographer slathering her in gold body paint against a white background, or the jagged blue lines on a bathroom wall. But it’s also harder to embrace those moments when Refn seems so determined to play the provocateur. There’s nothing visually arresting about a scene in which a man forces a knife into Elle’s mouth, or the sequence in which Ruby—who moonlights applying her makeup skills to corpses for funerals—engages in the activity that gives The Neon Demon’s MPA A rating its “aberrant sexuality” designation. As distinctive as Refn’s vision may be at crafting cinematic images, it’s not always easy to give him the benefit of the doubt. By the time The Neon Demon rolls into its gruesome home stretch, it has become clear that Refn isn’t about to do anything half-way. At a time when so many movies mostly consist of pointing a camera at people talking, perhaps we shouldn’t undervalue that kind of commitment to unforgettable images. And when those images are an excuse for self-indulgence, perhaps we shouldn’t over-value it, either. CW

THE NEON DEMON

BB.5 Elle Fanning Jena Malone Abbey Lee Rated R

TRY THESE Gia (1998) Angelina Jolie Faye Dunaway Not Rated

Phoebe in Wonderland (2008) Elle Fanning Patricia Clarkson Rated PG-13

Drive (2011) Ryan Gosling Carey Mulligan Rated R

Only God Forgives (2013) Ryan Gosling Kristin Scott Thomas Rated R

CINEMA CLIPS

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NEW THIS WEEK Information is correct at press time. Film release schedules are subject to change. FREE STATE OF JONES [not yet reviewed] A Mississippi farmer (Matthew McConaughey) declares a personal war on the Confederate Army. Opens June 24 at theaters valleywide. (R) INDEPENDENCE DAY: RESURGENCE [not yet reviewed] Twenty years later, the alien invaders have returned to take another shot at conquering Earth. Opens June 24 at theaters valleywide. (PG-13) THE NEON DEMON BB.5 See review p. 34. Opens June 24 at Broadway Centre Cinemas. (R) THE SHALLOWS [not yet reviewed] A surfer (Blake Lively) tries to survive in the aftermath of a shark attack. Opens June 24 at theaters valleywide. (PG-13)

SPECIAL SCREENINGS

SHAUN OF THE DEAD At Tower Theater, June 24-25, 11 p.m. & June 26, 12 p.m. (R)

CURRENT RELEASES CENTRAL INTELLIGENCE BBB “Buddy action comedy” seems like such a simple formula, yet few examples manage to get it as right as this one does. Kevin Hart plays Calvin, an accountant whose bland middle-age life is shaken up by the appearance of former high-school classmate Bob (Dwayne Johnson), once a picked-on fat kid but now a super-spy. The McGuffin of a plot matters little; the A+ chemistry between Hart and Johnson is everything. Johnson does hilarious work as a badass killing machine with an eager-to-please nerd in his soul, and while Hart’s character feels a bit like a missed

DARK HORSE BBB.5 Its true story unfolds almost exactly like a fictionalized remake would—and it’s still almost absurdly satisfying. Director Louise Osmond tracks the tale of working-class residents in a Wales coal-mining town who join financial forces to breed and train steeplechase race horse Dream Alliance. The unadorned, improbable tale of Dream Alliance’s career alone would make for a terrific bit of journalism, but Osmond does a near-perfect job of putting the elements together—archival footage, minimal background information about the key players, dreamy landscapes, and talking-head interviews bubbling over with charm and personality. Every twist of the narrative might feel manipulative if they were part of a fiction script, right down to anthropomorphizing Dream Alliance as an embodiment of his hometown’s feisty spirit. Yet the exuberant emotions of the real-life participants make this a rarity among retrospective documentaries: a lumpin-the-throat crowd-pleaser. (PG)—SR FINDING DORY BBB There’s nothing particularly wrong with Andrew Stanton’s sequel to Finding Nemo—in which memory-impaired blue tang Dory (Ellen DeGeneres) gets a flash of recollection about her childhood, and seeks out her parents at a California aquarium— except that once again it feels like Pixar is playing it safe. Stanton understands adventure, and orchestrates set pieces with great energy, yet the narrative misses a chance to deepen relationships

GENIUS BB.5 The source-material biography is called Max Perkins: Editor of Genius, about the literary publisher who worked with Fitzgerald, Hemingway, and Thomas Wolfe. The movie focuses almost exclusively on Perkins’ work with Wolfe, and is more a biopic of Wolfe than of Perkins. It falls short on both fronts, offering no insight into the genius of Wolfe (Jude Law), nor of the most famous book editor of the 20th century (Colin Firth). Still, shallow though it may be, Genius tells a respectably engaging story, buoyed by Firth and Law’s charisma and a clear affection for the American literary giants of the 1920s and ‘30s. Nicole Kidman spices things up as Wolfe’s jilted mistress; Laura Linney, is underused as Perkins’ wife, present just enough to make you wish the film had explored their relationship more. It isn’t bad; it’s just profoundly mediocre. (PG-13)—EDS NOW YOU SEE ME 2 BB.5 The 2013 original was a stupid movie that somehow convinced many people that it was clever; the follow-up fixes enough things that it graduates from incompetence to mediocrity. The magician protagonists (Mark Ruffalo, Jesse Eisenberg, Woody Harrelson, et al.) are still in hiding and acting as freelance Robin Hoods when they’re forced to steal a valuable microchip by a tech billionaire (Daniel Radcliffe) who has faked his own death. On the most basic level, this story is an improvement because it’s actually about the magicians, giving them actual personalities while focusing on a magical heist caper, rather than a procedural about investigating a magical heist. Unfortunately, grand conspiracies ultimately emerge, and the twisty-turny payoffs once again leap several dozen logical steps to their conclusion. But it’s enough of a trick that this sequel might not actively piss you off. (PG-13)—SR

TOP GUN At Brewvies, June 27, 10 p.m. (PG-13)

THE CONJURING 2 BBB The sequel to the scariest movie of 2013 covers similar ground— and to similar pants-wetting effect. Director James Wan delivers more smooth, meat-and-potatoes horror based on the files of real-life paranormal investigators Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga). It’s 1977, and a north London family—divorced Peggy (Frances O’Connor) and her children— are bedeviled by a malevolent spirit that possesses 11-year-old Janet (Madison Wolfe). Since we know up front what kind of movie this is, Wan skips “maybe there’s another explanation” formalities and gets right to scaring us with unambiguously supernatural events. And he makes frightening use of familiar haunted-house tropes, even finding room for a few nice family moments. The world may not need more movie franchises, but the thought of the Warrens’ case files bursting with creepy stories for Wan to adapt is appealing. (R)—Eric D. Snider

between characters we already know, mostly ignoring Marlin (Albert Brooks) and focusing on new characters. It is perhaps enough that DeGeneres still inhabits Dory with soul and commitment, in a tale about characters with limitations who come to learn what they can accomplish. That story, however, ends up more or less where it begins. You could do a lot worse than another Dory story, but you could also do a lot better. (PG)—SR

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GUARDIANS OF THE GALAXY At Reservoir Park, June 24, dusk. (PG-13)

opportunity, he shows the comedic range to play straight man. Throw in action beats with a bit more creativity than you might expect, and the occasional dud joke seems rare indeed, especially when you’re watching the birth of a great comedy team. (PG-13)—Scott Renshaw

RAIDERS!: THE STORY OF THE GREATEST FAN FILM EVER MADE

BBB

Jeremy Coon and Tim Skousen take on a cinema-history footnote: A shot-for-shot remake of Raiders of the Lost Ark created by Mississippi school kids in the 1980s, which eventually became an underground sensation. The story is framed in the present day as two of the original, now 40-something filmmakers—

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FILM • FOOD • NEIGHBORHOOD BAR SHOWING: JUNE 24TH - JUNE 30TH

more than just movies at brewvies

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CINEMA

CLIPS

MOVIE TIMES AND LOCATIONS AT CITYWEEKLY.NET

Eric Zala and Chris Strompolos—attempt at last to complete their magnum opus, and there’s a multi-layered poignancy to middle-aged guys returning to an adolescent obsession. It’s also somewhat fitting, given the scope of the fan-film’s production, that this documentary is perhaps over-ambitious in the ground it tries to cover. That makes it difficult for Raiders! to lock in on any single theme, yet there’s still an almost heroic quality to the tale of circuitous routes these friends’ lives took towards trying to realize a long-deferred dream. (NR)—SR

! T O B O R Y N I BI G SH News from the geeks. what’s new in comics, games, movies and beyond.

exclusively on cityweekly.net

WARCRAFT BB There’s an audience for this kind of fantasy epic; I haven’t been part of that audience for decades. The video game is transformed into a movie about humanoid orcs fleeing their ravaged world through a portal to a realm populated by humans, dwarves, wizards and, I’m guessing, 20-sided dice. There are characters with names—human warrior Lothar (Travis Fimmel); orc chieftan Durotan (Toby Kebbell); etc.—and even a plot of some sort. But mostly it’s about hacking, slashing and spell-casting, sporadically interrupted by people talking about hacking, slashing and spell-casting, dense with attempts at “world-building” that you might expect in the average middle-schooler’s genre fiction. Spectacular motion-capture performances and director Duncan Jones’ single-minded commitment to mythology and spectacle are almost admirable, but offers little fun unless you still talk about movies using phrases like, “It was so awesome when …” (PG-13)—SR

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

Killer Queen

Queen of the South heats up USA; Roadies is out of tune. Queen of the South Thursday, June 23 (USA)

Adventures in Babysitting Friday, June 24 (Disney)

Ray Donovan Sunday, June 26 (Showtime)

Season Premiere: After a nasty brush with the Armenian mafia, a failed attempt at NFL ownership and getting caught

Regional Tour Casino Tour between the overacting of Ian McShane and the underacting of Katie Holmes last season, Ray (Liev Schreiber) finds himself at a personal and professional crossroads in Season 4—you know, just like in Seasons 2 and 3. Ray Donovan doesn’t stray from its troubled-Hollywood-fixer-to-therich-and-famous formula, but Schreiber (and Jon Voight and Paula Malcomson and the show’s uncredited true star, Schreiber’s immaculate facial stubble) are so damned good, it matters not. This season’s secondary subplot to the Donovan family drama involves a human-trafficking ring with ties to pro boxer (dog fighting and spousal abuse are so passé). But, really, it’s all about “What’s Mickey (Voight) up to in Nevada?”

Roadies Sunday, June 26 (Showtime)

Series Debut: It’s Almost Famous: Backstage! Luke Wilson, Carla Gugino, Luis Guzmán, Imogen Poots and cameo bands galore star in Cameron Crowe’s ode to the hardknock life behind the rock ’n’ roll fantasy. Unlike HBO’s dark, retro Vinyl, Roadies is set in current times and more comedic (because, Cameron Crowe). Wilson and Gugino play well off one another as longtime road colleagues who are obviously in love, which is part of the problem: This is more rom-com than rock show. The rock side is rife with music-biz-movie clichés by the semi-truckload (“It’s about the music, man!” declarations, rock-star eccentricities, fake British accents, old road dogs dispensing tour wisdom, unhinged groupies, rampant band namedropping

Queen of the South (USA) and the inevitable wheezing Bob Dylan “classic,” etc.). Roadies has nine more episodes to prove itself as more than an unfinished Crowe movie from the ’90s, but the pilot is an underwhelming opening act.

Dead of Summer Tuesday, June 28 (Freeform)

Series Debut: Pretty 20-somethings in a 1980 summercamp slasher flick that’s a weekly series! There’s a killer on the loose at Camp Stillwater, and if these kids can’t keep it in their pants, they’re all dead … so, yeah, they’re all pretty much dead. But, Dead of Summer isn’t just a straight-up Friday the 13th riff; there’s a supernatural element as well, with “demons” from characters’ pasts “literally manifesting themselves” (the showrunners’ words, because that’s how showrunners talk). Also, DoS is meant to be a multiseason anthology series, à la American Horror Story, with new characters and time periods every year, which sets it apart from the rest of Freeform programming in terms of sheer ambition. Or suicidal delusion. 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.

Movie: The Disney Channel’s 100th “original” movie is a remake of a 1987 classic that cannot be improved upon, an iconic era film that launched the careers of Elisabeth Shue and Ron Canada (yes, The Strain’s Ron Canada!), and featured a surprisingly legit blues soundtrack. Wasn’t molesting the corpse of Uncle Buck over on ABC enough for you, Mickey? This version is Adventures in Babysitting in name only, altering the storyline nearly beyond recognition and extracting any sense of danger in favor of cranking out a cheapo Disney flick indistinguishable from the previous 99. But, hey, if we’re doing this, let’s do it: How about Blue Velvet 2016, starring Selena Gomez as the “older” femme fatale? Natural Born Killers with Austin and Ally? That Dog With a Blog as Cujo!

World Tour

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Series Debut: USA continues to get somewhat browner; baby steps for the not-quite-whitest network on cable (that’d be Glenn Beck’s TheBlaze, the EDM club of TV “news”). In the net’s new Queen of the South, Teresa Mendoza (Alice Braga) flees to America from Mexico when her drug-dealer boyfriend is murdered, then plots her bloody revenge upon the cartel that killed him. Queen of the South is flashier and pricier than the Telemundo series, La Reina Del Sur, it was lifted from, but the grit and pain remain, and Teresa’s transformation from grieving victim to vengeful badass would make Walter White tip his fedora. The initial episodes can occasionally feel rushed and jam-packed, as if this production is attempting to squeeze the original’s 63 hours of action and drama into 10, but Braga carries it effortlessly (and sometimes terrifyingly). Now let’s see if USA’s audience is ready for a Scarface/Blow/Narcos mashup fronted by a Latina.

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JUNE 23, 2016 | 37

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MUSIC

THE SLOW POISONER

The Slow Poisoner can’t sell snake oil anymore, but he still has his Chinese mystery trunk full of awesomeness. BY RANDY HARWARD rharward@cityweekly.net

“I

’m a one-man weirdo garage band from San Francisco called The Slow Poisoner, and I have a gig coming up in your neck of the woods!” So went the email Andrew Goldfarb sent last summer, plugging his appearance at SLC Solo Fest. He had me at “weirdo.” In this job, you fester to find your next favorite band, or hear your new favorite song. Since these occasions are rare, you’ll settle for the other end of the spectrum— something exceptionally odd or terrible, the sort of artist you’d file under the esoteric genre “Cool and Strange Music.” In between is a bunch of stuff that ranges from meh to average to good, and these blur together into a boring miasma. So, like a gargoyle, you sit. And you wait for something to cut through and demand your attention. Goldfarb, aka The Slow Poisoner, had me at weirdo, but further embedded his hooks with other adjectives, like “catchy” and “offbeat.” He wrote of playing just an electric guitar and a kick drum, and singing about “swamp witches, sinister flowers, strange hungers and giant worms that drive hot rods.” Already, I was drooling like a ravenous beast who’d been imprisoned for millennia, growing hungrier. And then there was gravy: Under his given name, Goldfarb is also a visual artist. His work dwells somewhere between the bankably fun lowbrow genre of Robert Williams, et al., and the spare outsider/folk art of our own late local treasure—and my friend—Bob Moss. In particular, Moss’ pieces that were inspired by ’50s horror and sci-fi imagery, which depicted monsters that reflect grotesque components of the human psyche (like “The Man With the Upper-Jaw Nose,” who weeps at his own perceived deformity). Goldfarb’s “Velvety Mysteries” paintings are inspired by Universal Monsters, ’50s horror/scifi and greaser culture, Warner Brothers cartoons and—in the case of “Bowels of Hell,” his take on Belphegor, a demon often depicted smoking a cigarette—Satano-scatological swap-meet art. Goldfarb is also the author of several graphic novels that merge the alternative comics world of R. Crumb and Dan Clowes with L’il Abner, Ed Wood, H.P. Lovecraft, H.R. Pufnstuf, absinthe and acid—and he rubs shoulders with bizarro fiction authors like Carlton Mellick III (The Haunted Vagina, The Morbidly Obese Ninja), often contributing his own short stories to bizarro anthologies. For a time, Goldfarb even sold snake oil: The Slow Poisoner Genuine Enervating Elixir Miracle Tonic cured 16 different ailments—including consumption, women’s troubles, onanism, wandering limbs and excessive absences. (Alas, the FDA forced Goldfarb to cease and desist.) For fans of unabashed, gleeful weirdness, guys like Goldfarb are—gush—the total package. It turns out this isn’t City Weekly’s first encounter with Goldfarb’s work. Around 15 years ago, a CD and press kit for a chamberpop band called The Slow Poisoners showed up, plugging the band’s upcoming Salt Lake City show. It was one of the first press kits I received, and although I hadn’t listened to it in many years, I recalled it fondly—so much so, that it regularly survives periodic collection culls. Could there be a connection? Goldfarb, speaking with City Weekly from his clerical job at a Bay Area school district (where, fittingly, he works in the bowels of the place where “there’s nothin’ but boxes and rats”), confirms it.

The Slow Poisoner The Slow Poisoners was originally a quintet led by Goldfarb and his brother Ed, who now composes music for Pokémon. Their songs mined whimsical darkness, but minus the camp—with songs about politics and love. After 10 years and three outstanding albums, the project evolved into The Slow Poisoner’s current oneman iteration, favoring a more rockabilly sound. Like most creatives, Goldfarb’s day gig subsidizes his alter ego’s creative endeavors, although, he says, it’s not so “alter” anymore. “My personality is pretty unified at this point,” he says. Although The Slow Poisoner is his nom de tune and he paints and writes as Andrew Goldfarb, they’ve “sort of merged into one semi-coherent being.” And as such, TSP is not a character. “It’s not like Pee Wee Herman. It doesn’t require shifting into a different accent.” As The Slow Poisoner, Goldfarb has released five albums, and a handful of EPs and singles. His latest, Ever Been Chewed Upon By Teeth as Sharp as Knives? (Rocktopus, 2014), is 13 tracks of creepy, reverby songs, including “Hot Rod Worm” (for which horror author, filmmaker and musician John Skipp directed an animated video), “Hypno-Hog’s Moonshine Monster Jamboree” and a cover of Robert Johnson’s “Hellhound on My Trail.” The highlight, though, is “Knives,” the perfect distillation of The Slow Poisoner’s best traits. It’s funky and fun with genuine creeps: “Ever been chewed upon by teeth as sharp as knives?/ Well so have I …/ Ever had your head removed by goblins in the woods? You know it’s good.” The Slow Poisoner is even better live, with Goldfarb performing on a set of his own creation, flanked by creatures straight from his songs and books—including dancing spiders, severed fingers and a giant head that devours him onstage. He even brings a Chinese mystery trunk loaded with books, music loaded with books, music and velvet paintings that he sells in lieu of T-shirts. Ever had your spine chilled by The Slow Poisoner? You know it’s good. CW

THE SLOW POISONER

w/ Cowcatcher, Eyesore, Chalk and Radicult Boing! Anarchist Collective 608 S. 500 East Saturday, June 25, 7 p.m. 801-364-2426 Donations encouraged DepotSLC.com

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SHOTS OF SUMMER

BY JOSH SCHEUERMAN @scheuerman7

158 E 200 S / facebook.com gallerystroll

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KARAOKE

HOME OF THE “SING OF FIRE” SALT LAKE’S HOTTEST KARAOKE COMPETITION

3928 HIGHLAND DR 801-274-5578

FACEBOOK.COM/ABARNAMEDSUE

WHERE SOPHISTICATED MEETS CASUAL

2013

FRI SAT

2014

WHISKEY FISH HERBAN EMPIRE

TUE

GEEKS WHO DRINK

THU

BEER PONG TOURNEY

MON &

WED

8PM SIGN IN | 9PM START FT. DJ BENTLEY ON THE 1S & 2S

KARAOKE

HOME OF THE “SING OF FIRE” SALT LAKE’S HOTTEST KARAOKE COMPETITION

OLD WEST POKER TOURNAMENT STARTS @ 7PM

8136 SO. STATE ST 801-566-3222

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TUES

CASH PRIZES

SUN &

TUESDAY NIGHTS

Holladay’s Premier Martini & Wine Bar

STATE live music

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BLACK SHEEP Bar & Grill

OLD WEST POKER TOURNAMENT

FACEBOOK.COM/ABARNAMEDSUESTATE

DJ’s Friday & Saturday 9pm - Close

Full dining menu available from Cafe Trio

Reservations for special events / private parties

6405 S 3000 E | 888.991.8147 | ELIXIRLOUNGESLC.COM

EAT AT SUE’S! YOUR FRIENDLY NEIGHBORHOOD BAR · FREE GAME ROOM, AS ALWAYS!

OPEN 7 DAYS A WEEK

VISIT US AT: ABARNAMEDSUE.NET

11AM-1AM

FACEBOOK.COM/ABARNAMEDSUE

FACEBOOK.COM/ABARNAMEDSUESTATE

JUNE 23, 2016 | 41

Live Music Friday & Saturday 6pm - 9pm

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CHECK OUT OUR NEW

BEST

GARLIC BURGER

IN THE STATE

4141 So. State Street 801.261.3463

MUSIC PICKS

THURSDAY 6.23 Neon Indian

Neon Indian’s dreamy synth-pop broke out in a big way with 2009’s Psychic Chasms (Lefse). Led by Texas composer/singer Alan Palomo, they were among an early class of bands in 2010 that led a notable acceptance of dance and electronic genres into mainstream alternative playlists. That was thanks mostly to the unapologetic flourish of “Polish Girl,” which probably remains the band’s most recognizable single. After a few years away, Neon Indian returned with VEGA INTL. Night School (Mom + Pop, 2015), which innovates upon the novelty of the band’s early albums and includes a much more dynamic vocal performance from Palomo, who convincingly summons Prince in “The Glitzy Hive.” As a composer, Palomo still tweaks supple beats and interesting samples to create a reliably catchy, if slightly left-of-center, listening experience that will expand minds and make booties quake. (Kimball Bennion) Ogden Twilight Concert Series, Ogden Amphitheater, 343 E. 25th St., 5 p.m., $5 in advance, $6.50 day of show (plus $1.50 fee), OgdenTwilight.com

Evening in Brazil: Bossa Nova

Local septet Evening in Brazil plays the music of Antonio Carlos Jobim and other groundbreaking composers. It’s a real transport, as the ensemble’s interpretations work their magic. And it’s hard to find anything more lush, soothing and sweet than Brazilian jazz. Based on the bossa nova dance rhythms that emerged in Latin America the 1950s and ’60s, it’s playfully perambulatory, yet not as angular as bebop. Its style of Latin percussion isn’t as aggressive as samba, and its instrumentation not as fiery as Cuban jazz. In other words, this is the perfect soundtrack to a mellow early summer evening. (Brian Staker) The Gallivan Center, 239 S. Main, 7:30 p.m., free, SmithsTix.com

The Beach Boys

LUKE LANTER

CABARET

LIVE

THURSDAY— FRIDAY 6.23-24

Neon Indian

FRIDAY 6.24

The Beach Boys

In Beach Boys history, 1966 was a seminal year, marking the release of their masterpiece Pet Sounds and, later that year, the now-iconic single “Good Vibrations.” As both reach their 50th anniversary, the two men who stake an equal claim to the Beach Boys legacy, Brian Wilson and Mike Love, are touring separately. Love’s current iteration of the Beach Boys will stop by Utah first, with a two-night set of their Good Vibrations Tour. Love’s band plays up the band’s clean-cut, surf-rock heritage, and performs all the classics that, by now, are as integral to the American summer as the 4th of July. The other half of the Beach Boys coin is Wilson’s headier songwriting, which began with Pet Sounds—and his Pet Sounds 50th Anniversary tour stops here in October. It’s impossible to enjoy one version of the Beach Boys without appreciating the other, so just go to both shows. (KB) Ed Kenley Amphitheater, 403 N. Wasatch Drive, Layton, 8 p.m., $44-$79, DavisArts.org

UDO SPREITZENBARTH

42 | JUNE 23, 2016

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PINKY’S THIS WEEK’S

COMPLETE LISTINGS ONLINE CITYWEEKLY.NET BY KIMBALL BENNION, ALEX SPRINGER AND BRIAN STAKER

Aztek, Gravy.Tron, Mr. Vandal, Hecka, Drix

One of Utah’s most prolific underground record labels, Dirt First, already boasts an arsenal of impressive musicians, and has expanded its influence with a clothing line. DF continues its campaign of local domination on Friday with local and national artists that practice the dark art of post-dubstep with headliner, Chicagobased Aztek, along with locals Gravy.Tron, Mr. Vandal and Hecka, who will rep Salt Lake City’s ever-evolving hip-hop and trap scene. Aztek’s Renegade (AztekBeats.Bandcamp.com) came out last month, and Dirt First will unveil its fourth compilation (DirtFirst.Bandcamp.com) Friday. Thumping bass drops and consciousness-expanding future beats are guaranteed. (Alex Springer) Urban Lounge, 241 S. 500 East, 9 p.m., $5 before 10:30 p.m., $7 after, TheUrbanLoungeSLC.com

Moving Units, Conquer Monster, Fossil Arms

Los Angeles-based Moving Units emerged during the early-2000s post-punk revival that brought groups like Franz Ferdinand, The Faint and Bloc Party to prominence. Neurotic Exotic (Metropolis, 2013) found them with new members abetting singer Blake Miller, and a funkier groove. Locals Conquer Monster and Fossil Arms open. The former fuses 8-bit retro computer game sounds with vintage synth sounds, while Fossil Arms is perhaps the New Order of local synth pop bands (or maybe Erasure). Fossil Arms’ album Only ever have nightmares when i’m ill (FossilArmsNoise. Bandcamp.com, 2014) is an anthology of moonlit imagery. In any case, this is an evening to party like it’s 2009. (BS) Kilby Court, 741 S. 330 West, 7 p.m., $10, KilbyCourt.com »

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WATCH PAR TY

REAL SALT LAKE VS. DALLAS SATURDAY, JUNE 25 @ 6:00PM

JUNE 23, 2016 | 43

32 Exchange Place • 801-322-3200 www.twistslc.com • 11:00am-1:00am

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Tuesdays at 9 - Karaoke that doesn’t suck! Quality drinks at an affordable price Saturday and Sunday Brunch til 3:00 Great food daily 11am - 12:15am Music Wednesday thru Saturday

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44 | JUNE 23, 2016

LIVE

R OVE! C O N VER E

801-590-9940 | facebook.com/theroyalslc

www.theroyalslc.com

 Bar | Nightclub | Music | Sports 

CHECK OUT OUR GREAT menu

wednesday 6/22

JOHNNYSONSECOND.com

HOME OF THE 4 shot & A beer

SATURDAY SANDLIN GAITHER

4760 S 900 E, SLC

scooter brown band with special guests

the wayne hoskins band Ghostowne | whiskey bravo Thursday 6/23 Live Music

reggae at the royal every thursday

pasadena from the sun

1/2 off nachos & Free pool

liquid mary janes, amfs & long island iced teas

Friday 6/24

Live Music

YOU TOPPLE OVER

JUNE 25 9PM

SUNDAY&THURSDAY&SATURDAY

WASATCH POKER TOUR @ 8PM BONUS: SAT @ 2PM MONDAY

STARTS @ 9PM

FREE TO PLAY ENTER TO WIN CASH & PRIZES

$2,100 CASH POT! GROOVE TUESDAYS saturday 6/25

Live Music

when the fight started the crooked feathers late night savior

Tuesday 6/28

open mic night YOU Never KNow WHO WILL SHOW UP TO PERFORM COMING SOON 7/8

DISKO KLOWN & FRIENDS

SUNDAY 6.26

Steep Canyon Rangers

Electric Six

SATURDAY 6.25

Steep Canyon Rangers, Six Feet in the Pine

From the mountainous Eastern-Seaboard state of North Carolina comes the bluegrass group Steep Canyon Rangers. The ensemble ascended quickly in bluegrass circles until they were tapped by comedian/ musician Steve Martin for the collaboration Rare Bird Alert (Rounder, 2011), which earned a Grammy nomination. No slouches themselves, SCR actually won the award with their own Nobody Knows You (Rounder) in 2013. Locals Six Feet in the Pine play a haunting mix of folk and bluegrass on their debut, Dead Set (SixFeetInThePine.com), released last November. SCR also performs at the Utah Arts Festival on Sunday, June 26. (BS) The State Room, 638 S. State, 9 p.m., $20, TheStateRoomSLC.com

Rocketing forth from a dimension that represents a paradoxical intersection of Vegas lounge lizards, garage rock and disco, Electric Six aims to make sweet love to your ears. Don’t let their artfully rumpled suits and randomly generated lyrics fool you; they’re a highly disciplined outfit, consistently recording and touring since 2003. Bitch, Don’t Let Me Die! (Metropolis, 2015) offers another healthy dose of Electric Six’s penchant for telling the stories that we only think about when we find ourselves alone and desperate at 3 a.m.—but songs like the glammy holiday tune “Big Red Arthur” show that they’ve learned some new tricks. If songs about drunken Santa impersonators and the logistics of divorce as a cowboy interest you, Electric Six is your band. DJ/DC, In the Whale and locals Transit Cast open. (AS) Metro Bar, 615 W. 100 S., 8 p.m., $10 in advance, $15 day of show, JRCSLC.com

BIG REDD PROMOTIONS PRESENTS

WEDNESDAY

SATURDAY, JUNE 25TH

KARAOKE STARTS @ 9PM

FLASHBAGGERS

FRIDAYS

DJ RUDE BOY

$5 TICKETS | 8PM | 21+

BAD BOY BRIAN

american hitmen w/ berlin breaks | October rage 7/14

Roots man summer tour arise roots | iya terra ital vibes

ALL SHOW TICKETS AVAILABLE AT SMITHSTIX OR AT THE ROYAL

165 E 200 S SLC I 801.746.3334

4242 S. STATE 801-265-9889

GIFT CERTIFICATES AVAILABLE at

GREAT

FOOD & DRINK

SPECIALS

CONCERTS & CLUBS

TUESDAY 6.28

Modest Mouse, Brand New

BEN MOON

Brand New’s blend of alt-indie-emo-punk and the experimental indie rock of Modest Mouse are complementary, so they’re perfect co-headliners; their sets will flow together without feeling repetitive. They’re also both back from lengthy hiatuses. The band is preparing its first new album since 2009’s Daisy (Interscope) and, if it’s anything like the first single, “I Am a Nightmare,” it will be more energetic and poppy than the band’s previous albums. Modest Mouse is promoting Strangers to Ourselves (Epic), their first album since 2007’s We Were Dead Before the Ship Even Sank and, the imminent reissue of their once-rare Night on the Sun EP. Each group plays a full set. (Kathleen Stone) The Great Saltair, 12408 West Saltair Drive, 7:30 p.m., $49$59, TheSaltair.com

CONCERTS & CLUBS COMPLETE LISTINGS ONLINE @ CITYWEEKLY.NET

LIVE MUSIC

DJ, OPEN MIC, SESSION, PIANO LOUNGE

SUBSWARM ALBUM RELEASE

JUNE 24:

DIRT FIRST:

9 PM DOORS $5 BEFORE 10:30 $7 AFTER

BEACH PARTY

JUNE 28:

LE VOIR

JUNE 29:

ANDREW GOLDRING ALBUM RELEASE

JUNE 30:

MORTIGI TEMPO ALBUM RELEASE

9 PM DOORS FREE BEFORE 10:30PM & $4 AFTER

8PM DOORS FREE SHOW

JULY 1:

LIVE MUSIC

ELDREN PASSIVE TOURIST 90S TELEVISION L’ANARCHISTE LITTLE BAREFOOT

TEMPLES THE HOUND MYSTIC DAISY & THE MOONSHINES

DUBWISE

9PM DOORS

MACHINEDRUM ILLOOM ARCONE DRINK

JULY 2: JULY 3:

THE ROLLING STONES TRIBUTE NIGHT

8PM DOORS

9PM DOORS

VNDMG

BOGL CHRIS WRIGHT DECAY

COMING SOON July 5: Femi Kuti & The Positive Force July 8: Quiet Oaks Tour Send Off July 9: Wye Oak July 13: Corb Lund July 15: Max Pain & The Groovies

July 16: July 18: July 21: July 22: July 23:

Iceburn Deerhoof Protoje & The Indignation Zeke Beats The Hound Mystic EP Release

JUNE 23, 2016 | 45

Asleep at the Wheel (Egyptian Theatre) Aztek + Gravy.Tron + Mr. Vandal + Hecka + Drix (Urban Lounge) see p. 42 The Beach Boys (Ed Kenley Amphitheater) see p. 42 Brayzee + AZA + The Outsiders +

FLASH & FLARE

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FRIDAY 6.24

AZTEK

GRAVY TRON MR VANDAL HECKA DRIX

JUNE 25:

KARAOKE

Cowboy Karaoke (The Cabin) Karaoke (Willie’s Lounge)

CLOZEE

9PM DOORS

Therapy Thursdays feat. Cookie Monsta (Club Elevate) Reggae Thursday feat. Pasadena + From the Sun (The Royal)

JUNE 23:

Asleep at the Wheel (Egyptian Theatre) The Beach Boys (Ed Kenley Amphitheater) see p. 42 Carter Winter (Billboard) CloZee + Subswarm (Urban Lounge) Evening in Brazil: Bossa Nova (The Gallivan Center) see p. 42 The Fabulous Milf Shakes (The Hog Wallow) The Garden + Plague Vendor + Kim and the Created + Josh & Ian (The Loading Dock) Holy White Hounds + Westward + Hot Vodka (Kilby Court) Hot House West (Gracie’s Bar) Neon Indian + LAKE + Coral Bones (Ogden Amphitheater) see p. 42

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THURSDAY 6.23

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

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46 | JUNE 23, 2016

BRIAN BOWEN SMITH

CONCERTS & CLUBS

WEDNESDAY 6.29—THURSDAY 6.30 311, DJ Soulman, DJ Jarvicious

Every few years, a new band attempts to recreate the beach-grunge sound that 311 has pumped out since the early 1990s. It’s not much of a surprise—after an auditory stroll through the 35 songs that comprise The Essential 311 (Sony Legacy), you can see how their stony joints had such a big influence on these young alt-rock upstarts. Nick Hexum and rapper SA Martinez mainstreamed the concept of dueling lead vocalists, and simultaneously incorporated elements of hip-hop and reggae with Tim Mahoney’s churning guitar chords, P-Nut’s relentless bass and Chad Sexton’s monstrous drums into the pinnacle of party music. With special guests DJ Soulman and DJ Jarvicious. (Alex Springer) The Depot, 400 W. South Temple, 8 p.m., $56, depotslc.com

Young Yankee (Muse Music) Cognitive + Dissension + Odium Totus + Bestial Karnage (Metro Bar) The Deltaz (The Cabin) Firehouse (Sandy Station) Grits Green (The Hog Wallow) Head Injuries + New Routines + Passport + Housewarming Party (The Loading Dock) Jason Aldean (Usana) Moving Units + Conquer Monster + Fossil Arms (Kilby Court) see p. 42 Please Be Human (Garage on Beck) Sam Riggs + Mike & The Moonpies (Billboard) Shaun Cannon (Sky Lounge) Sounds Like Teen Spirit (The Royal) The Stage Bandits (Zermatt Resort)

DJ, OPEN MIC, SESSION, PIANO LOUNGE

DJ ChaseOne2 (Twist) Perreo vs. Twerk (The Madison)

KARAOKE

Electric Six + DJ/DC + In The Whale + Transit Cast (Metro Bar) see p. 44 Mark Battles (The Complex)

KARAOKE

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

MONDAY 6.27 LIVE MUSIC

Bad Cop / Bad Cop + The Atomic Age + The Murderburgers + Dream Slut (Kilby Court) Love Cop + Funeral Gold + Human Leather + Soft Limbs (Diabolical Records)

DJ, OPEN MIC, SESSION, PIANO LOUNGE

Monday Night Blues Jam (The Royal)

KARAOKE

Karaoke w/ DJ Benji (A Bar Named Sue) Bingo Karaoke (The Tavernacle)

Karaoke (Cheers to You SLC) Karaoke (Willie’s Lounge)

TUESDAY 6.28

SATURDAY 6.25

LIVE MUSIC

American Coyote + Lady Teeth (Muse Music) Asleep at the Wheel (Egyptian Theatre) Bad Feather (Garage on Beck) BAS (The Complex) Boston + Dennis DeYoung (USANA) The Slow Poisoner + Cowcatcher + Eyesore + Chalk and Radicult (Boing! Anarchist Collective) see p. 38 Dennis Gruenling and the Jewel Tones (The Hog Wallow) HOPSIN (The Complex) The Real Krayz + Mista Krimzon + Don Won from Daville (Big Willies) The Spazmatics (Liquid Joe’s) Steep Canyon Rangers + Six Feet in the Pine (The State Room) see p. 44 Underground Cash (The Cabin) V8 Wankers + LSDO + Riverside Odds + Ulteriors (The Loading Dock) When the Fight Started + Late Night Savior + Ruffled Feathers (The Royal) White Out V.1 feat. Z&Z + Hearts + AOT + Crowd Control (Infinity Event Center)

DJ, OPEN MIC, SESSION, PIANO LOUNGE

Beach Party feat. DJ Flash & Flare (Urban Lounge) DJ D.Miles (Sky Lounge) DJ Sneeky Long (Twist)

KARAOKE

Karaoke (Willie’s Lounge)

SUNDAY 6.26 LIVE MUSIC

Conscious + Ivy Local + Kidd-O (Kilby Court) Gygax + Towards Chaos + Blood Purge (Metro Bar) Le Voir + Eldren + Passive Tourist + 90s Television (Urban Lounge) Modest Mouse + Brand New (The Great Saltair) see p. 45 Motograter + Natas Lived + ImAlive (Kamikazes) The New Mastersounds (Sky)

DJ, OPEN MIC, SESSION, PIANO LOUNGE Open Mic (The Royal)

KARAOKE

Karaoke with DJ Thom (A Bar Named Sue on State) Karaoke That Doesn’t Suck (Twist) Karaoke with Spotlight Entertainment (Keys on Main) Karaoke (The Tavernacle)

WEDNESDAY 6.29 LIVE MUSIC

311 + DJ Soulman (The Depot) see above Andrew Goldring + L’Anarchiste + Little Barefoot + Prince Satyrn (Urban Lounge) Baker Street Blues Band + Blues in Technicolor + Sunny Slim (Kilby Court) Ben Harper & The Innocent Criminals + The Jack Moves (Red Butte Garden) Burn Halo (Club X) Earth Groans + This Is Me Breathing + InDimensions (Metro Bar) Jagertown (Snow Park Outdoor Amphitheater) Morgan Snow (The Hog Wallow)

RANDY'S RECORD SHOP VINYL RECORDS NEW & USED CD’s, 45’s, Cassettes, Turntables & Speakers

Cash Paid for Resellable Vinyl, CD’s & Stereo Equipment “UTAH’S LONGEST RUNNING INDIE RECORD STORE” SINCE 1978

TUE – FRI 11AM TO 7PM • SAT 10AM TO 6PM • CLOSED SUN & MON LIKE US ON OR VISIT WWW.RANDYSRECORDS.COM • 801.532.4413

GO HOG WILD

AT THE HOG WALLOW

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Craft Cocktails, Beer, & Food | Live Music Friday & Saturday NOW SERVING BRUNCH! www.goodgrammar.bar | 69 E. Gallivan Ave | 385-415-5002

3200 E BIG COTTONWOOD RD. | 801.733.5567 THEHOGWALLOW.COM

JUNE 23, 2016 | 47

6.23 THE FABULOUS MILF SHAKES 6.27 OPEN BLUES JAM HOSTED BY ROBBY’S BLUES EXPLOSION 6.24 GRITS GREEN 6.29 MORGAN SNOW 6.25 DENNIS GRUENLING & 6.30 RICK GERBER THE JEWEL TONES

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SPIRITS • FOOD • GOOD COMPANY

DA I LY L U N C H S P E C I A L S POOL, FOOSBALL & GAMES

LIVE MUSIC & KARAOKE

SLC, 801-274-5578, Trivia Tues., DJ Wed., Karaoke Thurs. A BAR NAMED SUE ON STATE 8136 S.

Monday @ 8pm

breaking bingo

State, SLC, 801-566-3222, Karaoke Tues.

COVER E VER!

ABG’S LIBATION EMPORIUM 190 W. Center St., Provo, 801-373-1200, Live music ALLEGED 205 25th St., Ogden, 801-9900692 AREA 51 451 S. 400 West, SLC, 801-534-

275 0 SOU T H 3 0 0 W ES T · (8 01) 4 67- 4 6 0 0 11: 3 0 -1A M M O N - S AT · 11: 3 0 A M -10 P M S U N

0819, Karaoke Wed., ‘80s Thurs., DJs Fri. & Sat. THE BAR IN SUGARHOUSE 2168 S. Highland Drive, SLC, 801-485-1232 BAR-X 155 E. 200 South, SLC, 801-355-2287

wednesdays @ 8pm

BARBARY COAST 4242 S. State, Murray,

geeks who drink

801-265-9889 BATTERS UP 1717 S. Main, SLC, 801-4634996, Karaoke Tues., Live music Sat. THE BAYOU 645 S. State, SLC, 801-9618400, Live music Fri. & Sat. BOURBON HOUSE 19 E. 200 South, SLC,

live music sunday afternoons &evenings

2021 s. windsor st. (west of 900 east)

801.484.6692 I slctaproom.com

801-746-1005, Local jazz jam Tues., Karaoke

Thurs., Live music Sat., Funk & soul night Sun. BREWSKIS 244 25th St., Ogden, 801-3941713, Live music CAROL’S COVE II 3424 S. State, SLC, 801-466-2683, Karaoke Thurs., DJs & Live music Fri. & Sat. THE CENTURY CLUB 315 24th St., Ogden, 801-781-5005, DJs, Live music CHEERS TO YOU 315 S. Main, SLC, 801575-6400 CHEERS TO YOU MIDVALE 7642 S. State, 801-566-0871 CHUCKLE’S LOUNGE 221 W. 900 South, SLC, 801-532-1721 CIRCLE LOUNGE 328 S. State, SLC, 801-5315400, DJs CISERO’S 306 Main, Park City, 435-6495044, Karaoke Thurs., Live music & DJs CLUB 48 16 E. 4800 South, Murray, 801262-7555

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48 | JUNE 23, 2016

VENUE DIRECTORY A BAR NAMED SUE 3928 S. Highland Drive,

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A RELAXED GENTLEMAN’S CLUB

POLARIS RAZOR STEREO PACKAGE

CLUB 90 9065 S. 150 West, Sandy, 801-566-

RZR-KIT#2 PMX-2 STEREO AND FRONT SPEAKER KIT FOR SELECT POLARIS® RZR® MODELS.

CLUB TRY-ANGLES 251 W. 900 South, SLC,

NO DRILLING OR CUTTING REQUIRED DIRECT CONNECT WIRING HARNESSES FOR RZR MODELS STEREO KITS BOLT TO FACTORY ATTACHMENT POINTS SYSTEM IS ELEMENT READY TO WITHSTAND HARSH OUTDOOR ENVIRONMENT SPEAKER & SUB ENCLOSURES INTEGRATE WITHOUT LOSING PASSENGER/CARGO SPACE PMX-2: COMPACT DIGITAL MEDIA RECEIVER W/ 2.7” COLOR DISPLAY RFRZ-PMX2DK: INSTALLATION KIT FOR DASH RFRZ-FSE: RZR 6.5” FRONT SPEAKER ENCLOSURE (PAIR) RM1652B: 6.5” SPEAKER BLACK (PAIR) RFRZ-PMXWH1: RZR PMX POWER & SPEAKER HARNESS CONSUMER SAVINGS ON KIT PRICE $79.96 1 YEAR STANDARD WARRANTY

CLUB X 445 S. 400 West, SLC, 801-935-

3254, Trivia Mon., Poker Thurs., Live music Fri. & Sat., Live bluegrass Sun. 801-364-3203, Karaoke Thurs., DJs Fri. & Sat. 4267, DJs, Live music THE COMPLEX 536 W. 100 South, SLC, 801-528-9197, Live music

699

W W W. S O U N DWA R E H O U S E .C O M HOURS FREE LAYAWAY

MONDAY– SATURDAY CLOSED SUNDAY

SLC 2763 S. STATE: 485-0070

CREDIT NEEDED

Se Habla Español

• OGDEN 2822 WALL AVE: 621-0086

Se Habla Español

SLC, 801-272-1903, Free pool Wed. & Thurs., Karaoke Fri. & Sat.

LABOR SOLD SEPARATELY

10AM TO 7PM

CRUZRS SALOON 3943 S. Highland Drive,

90 OPTION

• OREM 1680 N. STATE: 226-6090

DAY PAYMENT

Se Habla Español

MODEL CLOSE-OUTS, DISCONTINUED ITEMS AND SOME SPECIALS ARE LIMITED TO STOCK ON HAND AND MAY INCLUDE DEMOS. PRICES GUARANTEED THRU 6/29/16

DAWG POUND 3350 S. State, SLC, 801-2612337, Live music THE DEERHUNTER PUB 2000 N. 300 West, Spanish Fork, 801-798-8582, Live music Fri. & Sat. THE DEPOT 400 W. South Temple, SLC, 801-355-5522, Live music

DEVIL’S DAUGHTER 533 S. 500 West, SLC, 801-532-1610, Karaoke Wed., Live music Fri. & Sat. DO DROP INN 2971 N. Hill Field Road (400 West), Layton, 801-776-9697. Karaoke Fri. & Sat. DONKEY TAILS CANTINA 136 E. 12300 South, Draper, 801-571-8134. Karaoke Wed.; Live music Tues., Thurs. & Fri; Live DJ Sat. DOWNSTAIRS 625 Main, Park City, 435226-5340, Live music, DJs ELIXIR LOUNGE 6405 S. 3000 East, Holladay, 801-943-1696 THE FALLOUT 625 S. 600 West, SLC, 801953-6374, Live music FAT’S GRILL 2182 S. Highland Drive, SLC, 801-484-9467, Live music THE FILLING STATION 8987 W. 2700 South, Magna, 801-250-1970, Karaoke Thurs. FLANAGAN’S ON MAIN 438 Main, Park City, 435-649-8600, Trivia Tues., Live music Fri. & Sat. FOX HOLE PUB & GRILL 7078 S. Redwood Road, West Jordan, 801-566-4653, Karaoke, Live music FUNK ’N DIVE BAR 2550 Washington Blvd., Ogden, 801-621-3483, Live music, Karaoke THE GARAGE 1199 Beck St., SLC, 801-5213904, Live music GRACIE’S 326 S. West Temple, SLC, 801819-7565, Live music, DJs THE GREAT SALTAIR 12408 W. Saltair Drive, Magna, 801-250-6205, Live music THE GREEN PIG PUB 31 E. 400 South, SLC, 801-532-7441, Live music Thurs.-Sat. HABITS 832 E. 3900 South, SLC, 801-2682228, Poker Mon., Ladies night Tues., ’80s night Wed., Karaoke Thurs., DJs Fri. & Sat. HIGHLANDER 6194 S. Highland Drive, SLC, 801-277-8251, Karaoke THE HOG WALLOW PUB 3200 E. Big Cottonwood Canyon Road, SLC, 801-733-5567, Live music THE HOTEL/CLUB ELEVATE 155 W. 200 South, SLC, 801-478-4310, DJs HUKA BAR & GRILL 151 E. 6100 South, Murray, 801-281-9665, Reggae Tues., DJs Fri. & Sat ICE HAUS 7 E. 4800 South, Murray, 801266-1885 IN THE VENUE/CLUB SOUND 219 S. 600 West, SLC, 801-359-3219, Live music & DJs JACKALOPE LOUNGE 372 S. State, SLC, 801-359-8054, DJs JAM 751 N. 300 West, SLC, 801-891-1162, Karaoke Tues., Wed. & Sun.; DJs Thurs.-Sat. JOHNNY’S ON SECOND 165 E. 200 South, SLC, 801-746-3334, DJs Tues. & Fri., Karaoke Wed., Live music Sat. KARAMBA 1051 E. 2100 South, SLC, 801696-0639, DJs KEYS ON MAIN 242 S. Main, SLC, 801-3633638, Karaoke Tues. & Wed., Dueling pianos Thurs.-Sat. KILBY COURT 741 S. Kilby Court (330 West), SLC, 801-364-3538, Live music, all ages KRISTAUF’S 16 W. Market St., SLC, 801943-1696, DJ Fri. & Sat. THE LEPRECHAUN INN 4700 S. 900 East, Murray, 801-268-3294 LIQUID JOE’S 1249 E. 3300 South, SLC, 801-467-5637, Live music Tues.-Sat. THE LOADING DOCK 445 S. 400 West, SLC, 385-229-4493, Live music, all ages LUCKY 13 135 W. 1300 South, SLC, 801487-4418, Trivia Wed.

LUMPY’S DOWNTOWN 145 Pierpont Ave., SLC, 801-938-3070 LUMPY’S HIGHLAND 3000 S. Highland Drive, SLC, 801-484-5597 THE MADISON/THE COWBOY 295 W. Center St., Provo, 801-375-9000, Live music, DJs MAXWELL’S EAST COAST EATERY 9 Exchange Place, SLC, 801-328-0304, Poker Tues., DJs Fri. & Sat. METRO BAR 615 W. 100 South, SLC, 801652-6543, DJs THE MOOSE LOUNGE 180 W. 400 South, SLC, 801-900-7499, DJs NO NAME SALOON 447 Main, Park City, 435-649-6667 THE OFFICE 122 W. Pierpont Ave., SLC, 801-883-8838 O.P. ROCKWELL 268 Main, Park City, 435615-7000, Live music PARK CITY LIVE 427 Main, Park City, 435649-9123, Live music PAT’S BBQ 155 W. Commonwealth Ave., SLC, 801-484-5963, Live music Thurs.-Sat., All ages THE PENALTY BOX 3 W. 4800 South, Murray, 801-590-9316, Karaoke Tues., Live Music, DJs PIPER DOWN 1492 S. State, SLC, 801-4681492, Poker Mon., Acoustic Tues., Trivia Wed., Bingo Thurs. POPLAR STREET PUB 242 S. 200 West, SLC, 801-532-2715, Live music Thurs.-Sat. THE RED DOOR 57 W. 200 South, SLC, 801-363-6030, DJs Fri., Live jazz Sat. THE ROYAL 4760 S. 900 East, SLC, 801590-9940, Live music SANDY STATION 8925 Harrison St., Sandy, 801-255-2078, DJs SCALLYWAGS 3040 S. State, SLC, 801604-0869 SKY 149 W. Pierpont Ave., SLC, 801-8838714, Live music THE SPUR BAR & GRILL 352 Main, Park City, 435-615-1618, Live music THE STATE ROOM 638 S. State, SLC, 800501-2885, Live music THE STEREO ROOM 521 N. 1200 West, Orem, 714-345-8163, Live music, All ages SUGARHOUSE PUB 1992 S. 1100 East, SLC, 801-413-2857 THE SUN TRAPP 102 S. 600 West, SLC, 385-235-6786 THE TAVERNACLE 201 E. 300 South, SLC, 801-519-8900, Dueling pianos Wed.-Sat., Karaoke Sun.-Tues. TIN ANGEL CAFE 365 W. 400 South, SLC, 801-328-4155, Live music THE URBAN LOUNGE 241 S. 500 East, SLC, 801-746-0557, Live music TWIST 32Exchange Place, SLC 801-3223200, Live music VELOUR 135 N. University Ave., Provo, 801818-2263, Live music, All ages WASTED SPACE 342 S. State, SLC, 801531-2107, DJs Thurs.-Sat. THE WESTERNER 3360 S. Redwood Road, West Valley City, 801-972-5447, Live music WILLIE’S LOUNGE 1716 S. Main, SLC, 760828-7351, Trivia Wed., Karaoke Fri.-Sun., Live music ZEST KITCHEN & BAR 275 S. 200 West, SLC, 801-433-0589, DJs

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ACROSS

54. "Last one ____ a rotten egg!" 55. Gunk 56. Pronoun with an apostrophe 57. Cookie in cookies-and-cream ice cream 58. Lone Star State sch. near the Rio Grande 59. Seamstress Betsy 60. Doorstep item 61. Tempe sch.

Last week’s answers

No math is involved. The grid has numbers, but nothing has to add up to anything else. Solve the puzzle with reasoning and logic. Solving time is typically 10 to 30 minutes, depending on your skill and experience.

15. "Snooki & ____" ("Jersey Shore" spinoff) 20. Small number 21. Melted chocolate, e.g. 25. Nascar Hall of Fame architect I.M. ____ 26. "Atlas Shrugged" author Rand 27. Agcy. that gets a flood of mail in April 28. Whinny 29. Fetch 30. His 2016 death prompted many newspapers to run the headline "The Greatest" 31. Texter's "If you ask me ..." 32. Oui's opposite 35. Crib cry 36. Wrath 37. PBS benefactor 38. Hawk's desire DOWN 39. 20-20, e.g. 1. Visibly stunned 40. Sch. founded by 2. Pago Pago resident Thomas Jefferson 3. Let someone have a look 41. ____ Lingus 4. "If I Only ____ Brain" 45. Harsh cries 5. Cabinet dept. formed in response to the 1973 46. It might be inflated oil crisis or bruised 6. B&Bs 47. Arose 7. Animal in una casa 48. "____-haw!" 8. "Inside ____ Davis" (2013 Coen brothers film) 49. Field marshal 9. Currency since 1999 Rommel and others 10. Oklahoma's "Wheat Capital" 50. Like forests 11. Parking ____ 53. Loses traction 12. Fr. holy woman.

Complete the grid so that each row, column, diagonal and 3x3 square contain all of the numbers 1 to 9.

1. Doofus 4. Katherine of "Knocked Up" 9. Sleek swimmers 13. Exasperated outburst 14. Historical record 15. "The Brief Wondrous Life of Oscar Wao" author Diaz 16. "I love," in Latin 17. Al ____ 18. Make a play? 19. "Go great distances when scattering the seeds and do it well!"? 22. Chopped liver spread 23. "Man, that hurts!" 24. "This exercise will hurt and it won't have any effect because you'll still pack on the pounds"? 33. Brontë's "Jane ____" 34. "Sesame Street" giggler 35. It makes everyone happy ... or a five-word description of this puzzle's theme 42. Neighborhood 43. Hand over 44. "Listen to the wind blow the leaves of that evergreen tree! Listen to it!"? 51. Before now 52. Son of Aphrodite 54. "We're both stir-fry vessels!"? 60. "Come on, stop being such a wimp!" 62. Keep one's ____ the ground 63. Uganda's Amin 64. New Balance competitor 65. "____ Gold" (1997 Peter Fonda film) 66. He calls Homer his "neighborino" 67. Narwhal feature 68. Falls heavily 69. '60s campus org.

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Follow the shop on Facebook, Instagram or Twitter for info on new products. tain designers. Etherington’s personal aesthetic informs her inventory decisions. “I like traditional, not trendy clothes,” she says. She believes buying trendy clothes, only to quickly get rid of them, drains our world’s resources. She carries designers that are a bit more expensive, but their pieces last forever. And she prides herself on carrying clothing that mothers and grandmothers can feel comfortable giving to their teenage relatives. Her concern for family dynamics makes sense, because The Children’s Hour has been a family project from the ground up. All four of her daughters have worked at the store. “Family is the most important thing,” she says. Jane Etherington, one of Diana’s daughters, has been working at the store since she was 12, starting as a gift wrapper. “I love the feeling in here,” she says. “It’s such a happy place. I love the people, I love working with my mom and going on business trips with her. So many people dread going to work, and I never feel that way.” n

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If you’re in the market for a gift a child could treasure for years, or even a new skirt or piece of jewelry for yourself, check out The Children’s Hour in the 9th and 9th neighborhood. The boutique shop offers carefully selected books for children and adults, as well as toys and clothing for children, teen girls and women. Owner Diana Etherington got her start in the book industry after her mother suggested she try Tupperware parties—but with children’s books. She started going to parties all around the valley to sell them, and within a few months, she was booking four nights a week. Wanting more time with her family, she and her husband decided to open a small children’s bookstore in 1984. Because she had built her customer base all over the valley with her book parties, the store took off. Since then, the shop moved to a few different locations along the street currently known as Harvey Milk Boulevard before settling into its current location 10 years ago. “This location is the best thing that’s happened to us,” she says. “We’re here for the long-haul.” Originally only offering children’s books, The Children’s Hour slowly began expanding their inventory. “Barnes and Noble came to town,” Etherington says. “We couldn’t compete with their inventory or discounts, and it was a logical extension. Selling clothes allows us to sell the books.” The shop’s items are carefully curated—from the selection of books to classic items of clothing. “We like to find things you don’t especially find in Salt Lake City,” she continues, adding that The Children’s Hour is the only shop in Utah to carry cer-

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PISCES (Feb. 19-March 20) Every now and then you may benefit from being a bit juvenile, even childlike. You can release your dormant creativity by losing your adult composure and indulging in free-form play. In my astrological opinion, this is one of those phases for you. It’s high time to lose your cool in the best possible ways. You have a duty to explore the frontiers of spontaneity and indulge in I-don’t-give-a-cluck exuberance. For the sake of your peace-of-soul and your physical health, you need to wriggle free of at least some of your grown-up responsibilities so you can romp and cavort and frolic.

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VIRGO (Aug. 23-Sept. 22) Renowned martial artist Bruce Lee described the opponent he was most wary of: “I fear not the man who has practiced 10,000 kicks once, but I fear the man who has practiced one kick 10,000 times.” In my astrological opinion, you should regard that as one of your keystone principles during the next 12 months. Your power and glory will come from honing one specific skill, not experimenting restlessly with many different skills. And the coming weeks will be en excellent time to set your intention.

photo: @peacephoto

LIBRA (Sept. 23-Oct. 22) To celebrate my birthday, I’m taking time off from dreaming up original thoughts and creative spurs. For this horoscope, I’m borrowing some of the BOLD Laws of author Dianna Kokoszka. They are in sweet alignment with your astrological omens for the next 13 months. Take it away, Dianna. 1. Focus on the solution, not the problem. 2. Complaining is a garbage magnet. 3. What you focus on expands. 4. Do what you have always done, and you will get what you have always gotten. 5. Don’t compare your insides to other people’s outsides. 6. Success is simple, but not easy. 7. Don’t listen to your drunk monkey. 8. Clarity is power. 9. Don’t mistake movement for achievement. TAURUS (April 20-May 20) “Critics of text-messaging are wrong to think it’s a regres- 10. Spontaneity is a conditioned reflex. 11. People will grow into the sive form of communication,” writes poet Lily Akerman. “It conversations you create around them. 12. How you participate here demands so much concision, subtlety, psychological art—in is how you participate everywhere. 13. Live your life by design, not fact, it’s more like pulling puppet strings than writing.” I bring by default. this thought to your attention, Taurus, because in my opinion the coming weeks will be an excellent time for you to apply the SCORPIO (Oct. 23-Nov. 21) metaphor of text-messaging to pretty much everything you do. No pressure, no diamond. No grit, no pearl. No cocoon, no butterfly. You will create interesting ripples of success as you practice the All these clichés will be featured themes for you during the next 12 months. But I hope you will also come up with fresher ways to think crafts of concision, subtlety, and psychological art. about the power and value that can be generated by tough assignments. If you face your exotic dilemmas and unprecedented riddles GEMINI (May 21-June 20) During my careers as a writer and musician, many “experts” armed with nothing more than your culture’s platitudes, you won’t have advised me not to be so damn faithful to my muse. Having be able to tap into the untamed creativity necessary to turn problems artistic integrity is a foolish indulgence that would ensure my into opportunities. Here’s an example of the kind of original thinking eternal poverty, they have warned. If I want to be successful, you’ll thrive on: The more the growing chamomile plant is trodden I’ve got to sell out; I must water down my unique message and upon, the faster it grows. pay homage to the generic formulas favored by celebrity artists. Luckily for me, I have ignored the experts. As a result, my soul SAGITTARIUS (Nov. 22-Dec. 21) has thrived and I eventually earned enough money from my art The royal courts of Renaissance England often employed proto avoid starvation. But does my path apply to you? Maybe; fessional fools whose job it was to speak raw or controversial maybe not. What if, in your case, it would be better to sell out truths with comedic effect. According to the Royal Shakespeare a little and be, say, just 75 percent faithful to your muse? The Company, Queen Elizabeth once castigated her fool for being next 12 months will be an excellent time for you to figure this “insufficiently severe with her.” The modern-day ombudsman has some similarities to the fool’s function. He or she is hired out once and for all. by an organization to investigate complaints lodged by the public against the organization. Now would be an excellent CANCER (June 21-July 22) My meditations have generated six metaphorical scenarios that time for you to have a fool or ombudsman in your own sphere, will symbolize the contours of your life story during the next 15 Sagittarius. You’ve got a lot of good inklings, but some of them months: 1. a claustrophobic tunnel that leads to a sparkling spa; need to be edited, critiqued, or perhaps even satirized. 2. a 19th-century Victorian vase filled with 13 fresh wild orchids; 3. an immigrant who, after tenacious effort, receives a green CAPRICORN (Dec. 22-Jan. 19) card from her new home country; 4. an 11-year-old child capably Capricorn journalist Katie Couric is a best-selling author who has playing a 315-year-old Stradivarius violin; 5. a menopausal interviewed five American presidents and had prominent jobs at three empty-nester who falls in love with the work of an ecstatic poet; major TV networks. What’s her secret to success? She has testified 6. a humble seeker who works hard to get the help necessary to that her goal is to be as ingratiating and charming as she can be without causing herself to throw up. I don’t often recommend this strategy defeat an old curse. for you, but I do now. The coming weeks will be prime time for you to expand your web of connections and energize your relationships with LEO (July 23-Aug. 22) Joan Wasser is a Leo singer-songwriter who is known by her existing allies by being almost too nice. To get what you want, use stage name Joan As Police Woman. In her song “The Magic,” politeness as your secret weapon. she repeats one of the lyric lines 14 times: “I’m looking for the magic.” For two reasons, I propose that we make that your AQUARIUS (Jan. 20-Feb. 18) mantra in the coming weeks. First, practical business-as-usual “The water cannot talk without the rocks,” says aphorist James will not provide the uncanny transformative power you need. Richardson. Does that sound like a metaphor you’d like to celebrate Nor will rational analysis or habitual formulas. You will have to in the coming weeks? I hope so. From what I can tell, you will be like conjure, dig up, or track down some real magic. My second rea- a clean, clear stream rippling over a rocky patch of river bed. The son for suggesting “I’m looking for the magic” as your mantra not-really-all-that-bad news is that your flow may feel erratic and is this: You’re not yet ripe enough to secure the magic, but you jerky. The really good news is that you will be inspired to speak freely, articulately, and with creative zing. can become ripe enough by being dogged in your pursuit of it. ARIES (March 21-April 19) “The past lives on in art and memory,” writes author Margaret Drabble, “but it is not static: it shifts and changes as the present throws its shadow backwards.” That’s a fertile thought for you to meditate on during the coming weeks, Aries. Why? Because your history will be in a state of dramatic fermentation. The old days and the old ways will be mutating every which way. I hope you will be motivated, as a result, to rework the story of your life with flair and verve.

CONTACT US NOW TO PLACE YOUR RECRUITMENT ADS 801-413-0947 or JSMITH@CITYWEEKLY.NET For more Employment Opportunities, go online to www.utahjobcenter.com BROUGHT TO YOU BY:

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Not all are lost who wander. Sometimes it takes a walk to ponder why the absence makes you fonder, or why the answer’s always yonder. Samantha Peters Send your poem (max 15 lines), to: Poet’s Corner, City Weekly, 248 South Main Street, SLC, UT 84101 or e-mail to poetscorner@cityweekly.net.

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The world’s tallest structure—the Burj Khalifa in Dubai—is 2,722 feet high. I’ll never ride any of its elevators to the top because I’m somewhat afraid of heights. That may sound funny coming from a native New Yorker, but my fear was born at the age of 10 when I went to the Grand Canyon and was forced to sit on the edge of a cliff and throw pebbles at the river below. Then, after the Twin Towers came down in the 9/11 attack, we learned that fire ladder trucks can’t reach higher than the eighth floor of a building. Thus, when I’m staying in a hotel, I don’t like to sleep above the eighth floor. Wikipedia says that Utah’s tallest building is the Wells Fargo Center in downtown Salt Lake City, which is 422 feet tall with 26 floors. The LDS Church office building is only 420 feet tall, but it has 28 floors. Our newest building that’s almost ready to open (and is 80 percent leased out already) is 111 South Main, which is 380 feet off the ground. Remember that downtown is not on the flat valley floor of this old Lake Bonneville bed, but on a hill that begins with homes behind the Capitol and then levels out as you drive down State Street at about 900 South. The Salt Lake City Council has just approved new zoning so that an enormous convention hotel can be built on Salt Lake County land, aka the Salt Palace Convention Center. County Mayor Ben McAdams requested that the height limit of 75 feet at that site be changed to allow a 375-foot-tall convention center hotel somewhere on the Salt Palace grounds between South Temple and 200 South, and from West Temple to 200 West. Everyone thinks that’s a grand idea for better services for future conventions, except the folks who bought into the LDS Church’s 99 Building on the southeast corner of West and South Temple. Those folks paid the highest price per square-foot ever recorded for a Salt Lake City condo for the privilege of having killer sunset views. Salt Lake Councilperson Adams said that their views would not be affected by the planned construction, but I don’t think that’s a guarantee. Conventions bring a shit-load of business to our state, from the Sundance Film Festival to the Outdoor Retailer trade show. Grand and Little Americas have 755 rooms and a new hotel at the Salt Palace could easily offer 800 rooms and when completed allow us to bid on bigger events to come to the state. And P.S. the supposed law that no building can be higher than the LDS Church Office Building is actually nothing more than an urban legend. n Content is prepared expressly for Community and is not endorsed by City Weekly staff.

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| CITY WEEKLY • BACKSTOP |

56 | JUNE 23, 2016

NEW WINDSHIELDS Installed starting at $107.77 in shop.

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PHOTO

THE BACKSTOP For Rates Call: 801.413.0947

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HANDEE SERVICE

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