City Weekly Nov 3, 2016 by Copperfield Publishing

C I T Y W E E K LY. N E T N O V E M B E R 3 , 2 0 1 6 | V O L . 3 3 N 0 . 2 6

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2 | NOVEMBER 3, 2016

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Project Censored counts down the Top 10 stories big media failed to report on. Curiously missing: Kim K’s return (and almost instant disappearance) from social media. Cover design by Derek Carlisle

14 4 LETTERS 6 OPINION 8 NEWS 18 A&E 23 DINE 29 CINEMA 31 TRUE TV 32 MUSIC 43 COMMUNITY

CONTRIBUTOR PAULA SALTAS

Associate Business Mgr. When not killing it with her Staff Box answers (p. 6) and treating co-workers to goodies like her legendary alaktoboureko, Saltas enjoys skiing “and being my husband’s assistant.” She also plays a mean game of hearts. “I like being competitive,” she says, “I like to win.” You’re always a winner in our eyes.

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Spread your wings and prepare to fly, Madame Butterfly. Facebook.com/SLCWeekly

Your online guide to more than 2,000 bars and restaurants • Up-to-the-minute articles and blogs at CityWeekly.net/Daily

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SOAP BOX

COMMENTS@CITYWEEKLY.NET

@CITYWEEKLY

@SLCWEEKLY

Private Eye, Oct. 20 “Be True”

ENRIQUE LIMÓN

@SLCWEEKLY

Facebook post, Oct. 20 “Should medical marijuana be legalized in Utah?”

Making Utah irrelevant again.

@FREDASCHMAUCH Via Twitter

Another vote for a Goldman Sachs banker. Same bank that supports Clinton. #Whitehorse

@SHURTCIRCUIT Via Twitter

If @Evan_McMullin helps HRC become President, then all the liberal justices she appoints to #SCOTUS is ON HIM! @CityWeekly @GOP

@THENULLIFIER

As one who was told to leave Utah (shortly after my 21st birthday) I am in complete agreement that pot must be legalized in Utah. There were three bishops—with pretty daughters—who got together back around 1968 and they demanded my moving out of the state. I guess they did not appreciate their daughters coming home from dates smelling like weed. I proclaim that I am INNOCENT! Besides, it got out that I am a Hillary supporter. I’m still not welcomed by those guys. Surely they must be dead by now?

DAN LEDIARD

Via Twitter

Via Facebook

Dine, Oct. 20 “DIY Yum”

ALL marijuana should be legalized, regulated and taxed in Utah.

I recycle most of the plastic bottles and containers, but I agree that it is excessive. Great meal program, though!

STACY BERCOVITCH KAPLAN

WILLIAM BOYD Via Facebook

Wait, let me ask my bishop?

LUCAS DELGADO

Via CityWeekly.net

Via Facebook

Food Matters, Oct. 20 “Cafe Rio’s 100th Location”

Blog, Oct. 26 “Make Salt Lake City Great Again”

YES

EDDIE EDWARDS Via Facebook

100 locations is 100 too many :P

BJ FREEMAN

100% yes!!

Via Facebook

ROGER W KNOX

I agree. I think it used to be so good. Now? Not so much.

KIM HANSEN Via Facebook

Drink, Oct. 20 2 Row Brewing

Via Facebook What a stupid fucking question. Might generate money for one of the worst education systems. But maybe not I am pretty sure the Mormon money machine would get their percentage.

ROBERT JENSEN

It’s not that good. Hop Rising is much better and a lot cheaper.

CHRIS MOORE

Via Facebook Stupid question.

FREDERICK THORNE

Via Facebook

Some noteworthy things about my father, John Stromness [pictured above]… He was in the Air force for 30 years. First as a mechanic during Vietnam, and later as a flight engineer in the reserves (activated during Desert Storm). He used the G.I. bill to go to pharmacy school. I look up to him. He is an honorable person. He’s seen the world, literally almost every corner, and he knows the good and bad that exists. He knows we are better than Trump would have us believe and he knows the rhetoric that Trump spews is false. I couldn’t be more proud of my shy father going around town and willing to be heckled by Trump supporters.

Blog, Oct. 31 "Standing Rock Protest Update”

Queue the scared white Republicans telling protesters to get jobs.

PAX RASMUSSEN Via Facebook

And then someone’s bound to say the Native Americans should go back to where they came from. So nice to see this starting to get attention.

CHASE BOWTIN Via Facebook

For more on this issue, turn to p. 8.

EMILY STROMNESS

Via Facebook

Via CityWeekly.net

STAFF Publisher JOHN SALTAS Editorial

Editor ENRIQUE LIMÓN Arts &Entertainment Editor SCOTT RENSHAW Music Editor RANDY HARWARD Senior Staff Writer STEPHEN DARK Staff Writers COLBY FRAZIER, DYLAN WOOLF HARRIS Copy Editor ANDREA HARVEY Proofers SARAH ARNOFF, LANCE GUDMUNDSEN

Dining Listings MIKEY SALTAS Editorial Interns HILLARY REILLY, RHETT WILKINSON Contributors CECIL ADAMS, KATHARINE BIELE, MISSY BIRD, ROB BREZSNY, BABS DE LAY, BILL FROST, TERELLE JERRICKS, MARYANN JOHANSON, KATHERINE PIOLI, JOHN RASMUSON, PAUL ROSENBERG, TED SCHEFFLER, CHUCK SHEPHERD, ALEX SPRINGER, BRIAN STAKER, BRYAN YOUNG, LEE ZIMMERMAN

Production

Art Director DEREK CARLISLE Graphic Artists CAIT LEE, SUMMER MONTGOMERY, JOSH SCHEUERMAN

Circulation

Circulation Manager LARRY CARTER

Business/Office

Accounting Manager CODY WINGET

Associate Business Manager PAULA SALTAS Business Department Administrator ALISSA DIMICK Technical Director BRYAN MANNOS Office Administrator NICOLE ENRIGHT

Marketing

Marketing & Events Director JACKIE BRIGGS

Street Team STEPHANIE ABBOTT, SHAUNTEL ARCHULETTA, BEN BALDRIDGE, TYLER GRAHAM, ADAM LANE, ANDY ROMERO, LAUREN TAGGE, MIKAYLA THURBUR, STEVEN VARGO

Sales

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 Account Manager IVY WATROUS Retail Account Executives LISA DORELLI, TYESON ROGERS, NICK SASICH, SIERRA SESSIONS, JEREMIAH SMITH

Display Advertising 801-413-0936 National Advertising VMG Advertising 888-278-9866 VMGAdvertising.com

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STAFF BOX

OPINION

Star Struck

A long time ago in a country far, far away, I watched Star Trek for the first time. It was five years before the North Vietnamese Army rolled into Saigon, victorious. I was in the Army, stationed at a listening post in East Africa where K ANU-TV, a remote station in the Armed Forces Radio and Television Services, broadcast television shows for three hours a day. Star Trek aired on Sunday night. I don’t remember the other programs. Re-runs of Dick Van Dyke, Carol Burnett and Andy Griffith probably, their TV shows were popular at the time. Watching Mr. Spock and Captain Kirk’s adventures became a Sunday night ritual involving a big bag of M&M’s and a portable black-and-white television set with a telescoping antenna. I don’t know when “Trekkie” was coined to denote a Star Trek fan ardent enough to buy a pair of Vulcan ears, but I wouldn’t have laid claim to it. I liked the show well enough—I had come of age with Flash Gordon, Buck Rogers and The Twilight Zone—but sci-fi was no more appealing than a spaghetti western. Star Trek was an incremental improvement of the sci-fi genre on network television. Ironically, my introduction to it was analogous to the light of a supernova: Star Trek’s three-year run on NBC was over long before I saw the first episode. Low ratings caused the show to be canceled in 1969. After four years removed from American pop culture, I returned to Salt Lake City as a graduate student at the University of Utah. That year, George Lucas was nominated for academy awards for American Graffiti, and he had begun to write the Star Wars saga. The only trace of Star Trek I noticed was a bumper sticker that read, “Beam me up, Scotty. There is no intelligent life on this planet.” One day, however, I read a notice that Gene Roddenberry, the creator of Star Trek, was scheduled to speak at the university’s union building. I had read about Roddenberry and the reel of bloopers and outtakes he showed at such events. I decided

BY JOHN RASMUSON

to attend just for ducks. I had never talked to anyone about Star Trek—nobody I knew was a Trekkie. So I went alone. I assumed the event would be sparsely attended. Not so! By the time I found parking, a line of people snaked out of the front door and along the sidewalk toward Orson Spencer Hall. I was stunned. I joined the enthusiastic crowd as it pushed into the lobby, reaching the ballroom just before fire-marshal rules closed the doors. A lot of people were turned away. Many were very unhappy. Roddenberry had not yet taken the stage when a telephoned bomb threat caused the building to be cleared by campus police. The crowd milled about in the parking lot. After a long wait, we were allowed to re-enter. Roddenberry was welcomed warmly. He talked for a few minutes before showing the outtakes. The 16 mm film showed a few risqué scenes plus Spock laughing and Kirk cussing. The crowd loved it. Then Roddenberry took questions. I remember two: “When will Star Trek return to television?” and, “Why does Star Trek remain so popular?” Roddenberry answered the first by saying that the set on which 79 episodes had been filmed had been dismantled. The most cost-efficient way to build new sets, he explained, was to make a movie. The movie sets could be repurposed for a TV series. The crowd applauded when he confided that he was in discussions with Paramount Pictures about making a Star Trek movie. Roddenberry’s second answer was the other big surprise of the night. He said he believed that the show’s popularity was partly a reaction to the war in Vietnam. He talked about the “Prime Directive” governing the actions of Starfleet officers like Kirk and Spock and how it forbade interference in alien cultures in general— technologically inferior ones in particular.

He contrasted that with the U.S. military incursions in the developing countries of Southeast Asia. The show’s popularity reflected Americans’ preference for nonintervention, he believed. I’m not sure he was right about a Vietnam effect, but I often think back to that night whenever the subject of Star Trek is at hand. What stays with me is the moment of realization that a frothy television show could be misapprehended. The point was driven home a few years later when Star Wars hit theaters. Obi-Wan Kanobi launched a thousand Sunday sermons with his admonition to Luke Skywalker, “Trust the Force.” Star Trek is now 50 years old. The years have passed at warp speed. Sad to say, the quagmire that was Vietnam has been revisited in Afghanistan and Iraq. Roddenberry died in 1991, and his ashes were launched into space in 1997. Spock is now dead both on and off the screen, and Kirk has lived long and prospered. At age 85, William Shatner drew a crowd at September’s Salt Lake Comic Con. The latest iteration of the franchise, Star Trek Beyond, had a budget of $183 million. (An episode of the 1960s TV show cost about $200,000.) The millions paid for the dazzle of special effects, but they didn’t buy a nuanced plot or engaging characters. That Kirk weaponized the Beastie Boys to defeat a swarm of attacking drones was just funny. Roddenberry’s 42-year-old son is the executive producer of the new Star Trek TV series CBS is launching in May. Despite the promise of “new crews, new villains, new heroes and new worlds,” I expect it will boldly go where many have gone before, but I’ll be watching nonetheless. CW

I HAD NEVER TALKED TO ANYONE ABOUT STAR TREK—NOBODY I KNEW WAS A TREKKIE. SO I WENT ALONE.

WE WILL CHANGE YOUR LIFE AFTER THE FIRST SESSION.

Readers can comment at cityweekly.net

Shag, marry, kill: Star Trek vs. Star Wars characters … go! Lisa Dorelli: I’d bang the new Captain Kirk (Chris Pine), marry Vader (for the mask and his cool demeanor) and kill Jabba the Hut because he’s disgusting. Alissa Dimick: Easy. Jabba across the board. We’d suck soggy tongues, then get married, then I’d murder his hot ass.

Tyeson Rogers: Shag: Padmé. I would marry Darth Maul ’cause, like, relationship goals and kill Episode 1 Anakin.

Pete Saltas: Sticking with Star Wars. Shag: Princess Leia in Empire Strikes back. Marry: Padmé Amidala from any of the prequels. Kill: Emperor Palpatine, because, duh. Cody Winget: I’d shag Lt. Uhura (duh), marry Princess Leia (she’s royalty) and kill Kylo Ren (we don’t need any more whiny Skywalker men that don’t think they get enough respect).

Enrique Limón: The Tribbles for all three. I’ll show them trouble, alright.

Andrea Harvey: Definitely shag Kylo Ren, then kill him. Marry Han Solo, obvi.

Mikey Saltas:

Shag Princess Padmé Amidala, marry Obi-Wan Kenobi (Ewan McGregor version) and kill Lando Calrissian, that backstabbing bastard.

Sierra Sessions: Kill them all. Except for that one guy with the ears. And his face. He lives in space or something. Shag him.

Nicole Enright: Fuck, Marry and Kill Chris Hemsworth as Kirk’s Dad in the 2009 Star Trek reboot. Fuck him, because, duh. Marry him, because more fucking. Kill him just because I’m over it. Paula Saltas: At first I read SHAQ not shag, so I kept reading the question. Shag: Buck Rogers. Marry: Princess Ardala. Kill: Twiki.

Send feedback to comments@cityweekly.net

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RANDOM QUESTIONS, SURPRISING ANSWERS

DW HARRIS

ENRIQUE LIMÓN

FIVE SPOT

Carl Moore, chairman of Peaceful Advocates for Native American Dialogue and Organizing Support, returned to Utah from North Dakota where he took part in protesting the Dakota Access Pipeline—a controversial oil pipeline that is slated to run through North Dakota, South Dakota, Iowa and Illinois. Surrounded by dozens of supporters and wearing a traditional headdress, Moore prayed for solidarity during an organized protest on Monday.

Why should Utahns get behind this cause?

Because we’re human beings. Everyone’s a human being. A lot of people have the privilege of not living on a reservation, the privilege of not be Native American, but we’re all human beings. This is not a Native issue. TheNative people are leading this issue. But this is an issue of clean water, respect and dignity, a matter of sacredness. Native Americans have never been allowed to have things be sacred. To most people here, sacred is a Christian sacred. There is no other sacred, so everything else is not real. But we need to allow Native Americans to have their sacred. Just like Christians have their sacred. Islam has their sacred. It’s a matter of respect.

For those who haven’t been following the controversy, what is the Dakota Access Pipeline?

The Dakota Access Pipeline is a pipeline that is being built right now. It is positioned to go through sacred burial ground, Lakota burial ground. This is essentially a cemetery that they are trying to go through. It is going through the top corner out there on the reservation in Standing Rock. That’s one issue—it is a land issue.

Another concern is the way the government has responded to protests. Can you talk about that?

The county has called in and requested backup. They are scared. They’re frightened. And the governor [Jack Dalrymple] has also requested backup. So they have all these forces from all different states to essentially protect a private business commit an immoral act. And it’s immoral because they are trying to go through sacred burial land and also underneath the Missouri River. It’s a large river. All people under the river are going to be devastated when the pipeline breaks. And it will break. All pipelines break. No pipeline is foolproof.

What do you think the appropriate government response would have been?

The appropriate response would have been not to let this to happen in the first place. But right now it should be to stop it, indefinitely. It needs to stop. It’s a wrong action. The United States put Native Americans on reservations. We signed a treaty with them at Fort Laramie that gave us the land that it’s going through. But since then, they took that land and they made a different reservation line. They’re using eminent domain to take land from private owners. These aren’t natives, these are white owners. They’re taking their land.

If people want to get involved how should they do so?

If they want to get involved there is a Facebook group: Standing Rock Support from Utah. Or they can join our group PANDOS on Facebook, and we will make them aware of things we’re doing. We are doing outreach and fundraisers because they need money for legal fees. People are getting arrested. They’ve raised the bond from $250 bail to $1,500. So it’s getting more costly for people to get out of jail.

—DYLAN WOOLF HARRIS

HITS&MISSES BY KATHARINE BIELE @kathybiele

Verdict Fallout

Let’s talk about that Rule of Law thing the Republicans march out at every opportunity. How does that apply to the Oregon Standoff acquittal. What would happen if a group of American Muslims had done the same thing? Would we find them so gallant and brave? It might have been that proving conspiracy was just too dang hard, but the thought of armed civilians vetting people accessing public lands is just stunning. “From the time of the takeover through the whoops of joy released in the courtroom Thursday, the case has generated passionate support from Bundy backers who want to turn more federal land over to local control for increased grazing, logging and mining. It has also triggered a backlash from environmentalists and others who consider the occupation an assault on public land,” The Seattle Times wrote. But a blog following the trial made the argument that we ought to return to the 1700s when everything was up for grabs. Sounds a little like “Make America Great Again.”

Coal Alchemy

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NOVEMBER 3, 2016 | 9

There’s a big disconnect in the conversation over affordable housing, more housing and population growth in Utah. Maybe it’s everywhere, but since Utah has the nation’s highest fertility rate, the dissonance is loudest in this state. The concern seems to be over building for the inevitable surge in people by 2050. Natalie Gochnour in a Deseret News oped wrote about imagining the future with all those people. Joe Andrade responded by imagining the “Wasatch Front will be more dystopian and apocalyptic than the worse of our modern-day youth novels.” Then there’s the Utah Population and Environment Council warning about the pitfalls of overpopulation, and Salt Lake City Councilman Derek Kitchen encouraging building affordably for that overpopulation. Sure, living needs to be affordable, but where does the building-up stop and the ratcheting-down begin? And can it be done in Utah’s cultural environment?

Trying to Keep Up

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Let’s hope this isn’t another Cold Fusion deal. University of Utah chemical engineering professor Eric Eddings thinks maybe he can turn coal into something environmentally friendly and keep the coal industry from political meltdown. A three-year, $1.6-million research project might just allow coal to be transformed into carbon fiber, that high-tech material that’s so in demand, a Salt Lake Tribune article said. You know the problem—there’s a lot of coal in Utah, but its manufacture and use promotes pollution. The Obama administration wants to help the industry transition out of its death spiral. The questions remain about mining and economic feasibility, but it’s hopeful.

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10 | NOVEMBER 3, 2016

STRAIGHT DOPE Fire Escape

BY CECIL ADAMS

SLUG SIGNORINO

The Science of Brewing...

We’re told not to use the elevators if there’s a fire. But how are people expected to evacuate from skyscrapers? Does everyone really just take the stairs? I’m disabled, and I wouldn’t want someone risking their life carrying me down so many flights. Couldn’t they connect the tall buildings like hospitals do, so you could evacuate horizontally? —Preston

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Hours: Sun 10-5pm M-Sat 10am-6:30pm

One World Trade Center, nicknamed the Freedom Tower, reaches 94 stories into the sky. That’s 16 floors fewer than the ill-fated skyscrapers that once occupied the same site, but still, clambering down its 2,226 steps from top to bottom would be a schlep under ordinary circumstances, let alone with lives at stake. You’re not the first to suspect there must be a better way to clear tall buildings during a calamity than trooping every occupant down the staircases. In the 15 years since the towers fell, engineers have hunkered down to rethink building-safety design and emergency evacuation procedures. Conducting folks out of fiery highrises through enclosed overhead walkways doesn’t seem to have come up, though. Many of us have been wheeled or gurneyed through the hospital skybridges you mention, of course, and some cities, including Minneapolis, Des Moines and Calgary, have run with this idea, refashioning their downtowns into human-size Habitrails by linking buildings into miles-long skyway networks. These passages weren’t built as safety features, but rather for the convenience and comfort of shoppers and office workers in wintertime, and they’re typically only a couple stories above street level—not much help if you’re fleeing the 40th floor. Skyways aren’t notably cheap—connecting a new football stadium to the existing Minneapolis system recently cost more than $10 million—and they’re out of favor with urbanists, who fret about foot traffic being diverted indoors, thus robbing city streets of their vibrancy. More to our point, they also might not be the safest structures in an emergency: For one thing, as Minneapolis discovered during a 1982 department-store fire, they channel smoke from a burning building to its neighbors all too effectively. What, then, might replace a long trek downstairs? Hoping perhaps to capitalize on fears that official procedures are unreliable, canny entrepreneurs are now marketing individual emergency-response gear to potential evacuees. Reps for SkySaver, an automatic rappelling backpack originally intended for urban-combat use, insist it could double as a “personal rescue device.” You clip your cable to something solid and climb out the window, and it slowly lowers you to the ground—as long as the ground isn’t more than 260 feet away, ’cause that’s how much cable you’ve got. If jumping sounds better to you than dangling, the people selling the SOS Parachute claim their product is safe to use from just 11 stories up, barely 100 feet in the air. That’s

too close to the ground for even an experienced BASE jumper, and far lower than most paratroopers would be happy with. Remember, too, that city airspace can be both densely built and windy: One unexpected gust could slam you against a wall—or into your co-workers, should any of them have the same bright idea about chuting to safety. Then again, you might instead consider the counterintuitive notion of heading up the stairs, at least if you work in certain cities, like Los Angeles, where for decades all new skyscrapers had to be topped with helipads. (The requirement was scrapped two years ago.) Even if your building’s roof is suitable for landing, heat, flames and wind make a helicopter rescue tricky, and emergency personnel would rather avoid such a feat if possible. Safety experts in less copter-forward cities than L.A. advise against the roof option—heat rises, after all, and the top of a structure being consumed by flames is hardly a hospitable place to wait around on the off chance a helicopter might happen along. But what if, despite all we’ve been told, elevators turn out to be the best way out of a burning building after all? That’s the theory behind occupant-evacuation elevators, designed to address the safety concerns that once made elevators the No. 1 way not to leave a building during a fire. In skyscrapers built on this principle, you’d evacuate by first taking the stairs to one of several skylobby floors—the ones where under nonemergency conditions passengers transfer from express to local elevators. (You might also get to the sky lobby via special shuttle elevators from designated “refuge floors” throughout the building.) The express car you eventually board contains drainage systems to prevent flooding and is protected from smoke by the pressurized shaft it travels through. The days of elevators returning to the ground floor and remaining disabled throughout a disaster may be numbered. So let’s forget parachutes and copters and futuristic passageways zig-zagging across the skyline—building safety is one field where disruption, to use the loathsome tech jargon, matters less than incremental improvement. Engineers seem to have chosen to fine-tune older concepts rather than chase eye-popping new ones, and that makes sense: In case of fire, you want your evacuation to be as dull and uneventful as possible. CW Send questions to Cecil via StraightDope.com or write him c/o Chicago Reader, 350 N. Orleans, Chicago 60654.

THE

OCHO

CITIZEN REVOLT In a week, you can CHANGE THE WORLD

THE LIST OF EIGHT

BY BILL FROST

@Bill _ Frost

8. Other People’s Property

7. Brokeback Birdcage: 41 Days in the Hole

6. So You Think You Can Standoff?

5. Here Comes Bundy Boo-Boo

Nationalists

Cracker

1. Dick Dynasty

What could be more important during this election season than an understanding of the Declaration of Independence? Author Danielle Allen, director of the Edmond J. Safra Center for Ethics at Harvard University and the recipient of a MacArthur “genius” grant,” lectures on Our Declaration, about which she has written a line-by-line commentary. “Allen writes movingly about growing up in a mixed-race African-American family whose dinner conversations often turned to the Declaration and its claim that ‘all men are created equal,’” The New York Times wrote. Wildcat Theater, Weber State University, 3910 W. Campus Drive, Ogden, 801-626-6252, Friday, Nov. 11, 11:30 a.m., free, Weber.edu

—KATHARINE BIELE Send tips to revolt@cityweekly.net

NOVEMBER 3, 2016 | 11

2. Trump TV Presents: Rancho

READING OF DECLARATION OF INDEPENDENCE

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3. Keeping Up With the White

It’s a sure bet that a night of Vegasstyle games will be both fun and worthwhile as the Inn Between hosts its firstever Casino Night Fundraiser. The Inn Between helps the homeless through their end-of-life journeys by providing a caring and safe home for them during hospice. You can dine in style while playing blackjack, roulette, craps and Texas hold’em. There will be live music, a hypnosis show and a silent auction, as well as jewelry and other items crafted by the residents. Everyone wins in this humanitarian effort. St. Vincent de Paul Parish and School, 1375 Spring Lane, Holladay, 385-743-1660, Thursday, Nov. 10, 5:30-10:30 p.m., $50+, Bit.ly/2eDKV69

4. America’s Next Top Militia

INN BETWEEN FUNDRAISER

Brothers

Join Art Access for a timely and necessary evening of exploration as participants peel back their grief. Local essayist Debbie Leaman leads the readings from participants of a recent workshop, Writing Through Grief. Hear about the anger, humor and suffering of the inevitable human experience of grief, and share your own writing during an openmic session. Art Access is one of Utah’s most unique galleries serving a diverse population of adults and children, including those with disabilities, as well as the elderly, youth-at-risk, refugees, the homeless, veterans and other disenfranchised groups. Art Access, 230 S. 500 West, Ste. 125, Friday, Nov. 4, 6:308 p.m., 801-328-0703, Bit.ly/2ej4X2Z

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Eight proposed new reality shows for the acquitted Bundys and Oregon standoff defendants:

WRITING THROUGH GRIEF

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12 | NOVEMBER 3, 2016

On a Wing and a Prayer Science and education nonprofits doing outreach to Latino communities need to think about a lot more than free passes. BY STEPHEN DARK sdark@cityweekly.net @stephenpdark

n Spring 2016, at a University of Utah discussion panel for a public engagement class featuring executive directors Tim Brown of Tracy Aviary and Sarah George of the Natural History Museum, student Alfonso Lopez raised his hand to pose what he calls, “a tough question.” What were the two nonprofits doing to raise awareness about their activities among underserved, diverse populations? George talked about a five-year plan she intended to implement, Lopez recalls, which includes diversifying both staff and audience. Brown, however, was more rueful. “We’re making efforts, but we’re not succeeding,” Brown recalls replying to Lopez’ question. The aviary’s drive to build audiences of people of color reflects that by 2044 minorities will be the majority in the United States. Given, Brown says, that the conservation movement is by and large “an upper-middle-class white thing, it behooves the conservation community to have diverse membership and following.” He told Lopez the bird sanctuary in Liberty Park, Salt Lake City, had various initiatives offering scaled-down pricing or free access. But an initiative called Nature in the City, geared toward taking bird-watching and nature out to the streets, proved unsuccessful in reaching a key target—people of color. The aviary “did some soul-searching and research,” Brown says, “and one of the things we found was ‘don’t be an interloper.’” Rather, they learned, they needed to be part of diverse communities, eat at their cafés, hang out in their neighborhoods. Brown stresses that “there are nonprofit efforts to reach underserved audiences, and there are specific efforts within the conservation movement to do so.” George says reaching out to underserved communities has been an ongoing efforts for years, but that metrics to measure their success, beyond the anecdotal, are challenging.

STEPHEN DARK

NEWS

DIVERSITY Brown speaks admiringly of a 20-yearold program by the Natural History Museum called “Youth teaching youth,” that teaches Glendale School students how to teach science to younger kids in Salt Lake schools. The problem he sees, however, is that alongside such programs, there also needs to be efforts to exponentially increase awareness through diverse communities. “The idea of an underserved community stems from not enough approaches/oppor tunities/prog rams,” he writes in an email. In addition, he’s uncertain as to whether such outreach programs create “a strong conservation ethos” among the community, which he notes might not be their mission. “However, creating that ethos is aligned with our mission,” which was why they decided to pursue a different path. Brown offered 29-year-old Lopez the newly created position of cultural liaison at the aviary. In the four-and-a-half months since Lopez started, he’s tried to “create a process for effective outreach into the Latino community as well as communities of color,” Lopez says. The formerly diesel-truck loving youth became so enamored by nature that he transformed, he says, into someone “passionate about making things right for our environment and all the species within it.” While the job was “not well defined,” Brown says that the bilingual Lopez “is a go-getter, smart, curious and has taken it to places and levels we probably didn’t quite anticipate when we had that conversation.” As Lopez reached out to other museums, nature centers and institutions dedicated to education, conservation and wildlife, he found that many of the organizations he contacted “have processes that exclude lower-income groups but especially people of color,” by which he means that organizations have failed to adapt their operations to the dramatically shifting demographics of the valley and state, with more than 13 percent of Utahns now Latino. But while he has already succeeded, at least anecdotally, Brown says, in increasing Latino attendance at the aviary, Lopez tells of being rejected by some key Latino community leaders he declined to identify. “I was left with the impression that they thought not only was I wasting my time, but also that Latinos in general don’t care about nature because they are too busy with their lives.” His experience, he says, has been the opposite, in terms of the families, adults and children he’s taken on personalized tours around the aviary, “hooking them,” he says, with stories in Spanish and English about individual birds, such as the two eagles who each had a wing amputated or how a pair of gay flamingos care for the eggs of other flamingos.

Tracy Aviary cultural liason Alfonso Lopez giving a tour of bird enclosures in late October. With Lopez scheduled to depart in December 2017 for medical school, Brown plans next year to “institutionalize” what Lopez has developed on the fly, much of it through “knocking on doors” in westside communities that other science-education nonprofits might not necessarily venture to. Lopez says Latino attendance at the aviary has also climbed from five families a month to as many as 15. “I’m not giving that many free passes and more people are coming,” he says. Some of his efforts have been hit-andmiss. A “Sábados Latinos” (Latin Saturdays) night offering music and tacos was unsuccessful, Lopez says, because “we couldn’t get the word out.” But his efforts to promote a Latino outdoor program gained traction. Instead of doing a spin-the-wheel giveaway of candy and plastic toys at a westside park or event, he would pitch “a free adventure for the whole family,” he says. “The only thing you have to pay is attention. Do you want to go to secret waterfalls, secret lakes?” They’re secret, he explains, because so few Latinos have ever seen them. In prior years, the aviary’s outdoor programs were 90-100 percent white. But over the summer, Lopez took 51 Latinos on two-hour hikes in the mountains to do head counts of the rapidly declining Broad-tail Hummingbird. Lopez’ involvement with the aviary comes as Brown has recently begun discussions with officials at the Utah State Fairgrounds on the aviary opening a westside campus there, which would draw upon the adjacent Jordan River to provide

nature and bird-related experiences. Lopez will aid the aviary, Brown hopes, in reaching out for community input on their plans, and, he hopes, assist in addressing culturally sensitive issues such as venues for input or names. Calling it “a nature center,” Brown notes, is not necessarily the best approach, when people don’t know what the term means. Kate Rubalcava is the Utah Nonprofits Association’s chief executive and a former community organizer who lives on the west side. She’s excited by the aviary’s plans for a westside campus, saying that community outreach needs to be part of “big, rich conversations. It takes time to build trust,” and relationships need to be reciprocal. Organizations need to ensure they deliver what they promise. “So often communities are used to having programs come through and it’s gone.” Rep. Angela Romero, D-Salt Lake City, agrees. “There needs to be cultural competency in any organization when reaching out to communities of color, that they truly understand the experiences of the communities they are trying to connect with. And that it is a mutual conversation.” While white people can be allies, “you also have to ensure you are not taking on that white savior role.” Lopez argues that if conservation and science-driven nonprofits want to increase attendance from diverse communities, they need to get out of their comfort zone and ask “the communities what they need beside free admission passes for kids. They think they know what they need, but they don’t ask.” CW

NEWS

C A M PA I G N F I N A N C E

Money Chase

While some Utah politicians raise little money, others have been spending quite a bit on travel. BY COLBY FRAZIER cfrazier@cityweekly.net @ColbyFrazierLP

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n this modern era of elections, where cash is nearly as important as oxygen, much can be learned by which corporations and individuals are courting politicians with fat checks. In Utah, though, where many races are uncompetitive—aided by the state’s high number of Republican voters and unique convention system that can provide a frictionless path to the general election ballot—the money game is less robust. For example, Greg Hughes, the Republican speaker of the house, has raised only $65,235 this election season. But without a hefty campaign donation system, it is much easier to cull corporate influence in Hughes’ financial disclosures. Through September, only three real people contributed to Hughes’ campaign, while 49 corporations and other business entities donated. The usual suspects—drug companies like Pfizer, Phrma and oil companies like Tesoro, Chevron and Big West Oil—all gave to Hughes. The same is true for other legislative leaders, whether Democrat or Republican. Hughes’ Democratic counterpart, minority leader Rep. Brian King, raised $34,655 this election season, with the largest contribution ($17,929) coming from donations made to his previous campaigns. Of the 35 other donations, only seven came from individuals, with the remainder flowing from various special interest groups. Statewide campaigns, like those for governor and attorney general, are typically more flush with cash. This is certainly true this year for Attorney General Sean Reyes, whose campaign statements show that through September he has raised $530,342. During that same month, Reyes’ Democratic opponent, Jon Harper, citing health concerns, abruptly withdrew from the race. Judging from Reyes’ campaign finance disclosures, though, it’s a bit foggy just how worried the incumbent might have been over the months about the former challenger’s odds at winning. Reyes has spent $18,206 on advertising since January—only slightly more than he has dropped on airfare. He’s boarded dozens of flights over the past few months, spending $14,116 on airline travel. This does

not include the $22,148 that the campaign has paid directly to Reyes for reimbursements for airfare and other travel expenses. Alan Crooks, general consultant for Reyes’ campaign, says the attorney general often travels to conferences and summits around the country to learn about, and to speak to, the problems facing the world. For instance, Crooks says Reyes recently attended the U.S. Chamber Institute for Legal Reforms in Virginia, where he addressed attendees. The attorney general, Crooks says, has also become an expert of sorts in cyber security, and recently traveled to the San Francisco area to hear from various companies about the latest cyber security technologies. The campaign foots the bill on these trips, Crooks says, whenever it is determined that the journeys might not be solely for the state’s benefit. “Some of the areas that he is a particularly unique AG to understand, he’s been called upon to go and speak on those issues,” Crooks says. “If there’s any questions on whether it’s state-sponsored or not, we want to be above board.” One of the matters Reyes has honed in on during his time as AG involves human trafficking. He even took a secret trip to Colombia in 2015 and joined law enforcement in a raid on a human-trafficking ring. So it has been a bit incongruous that Reyes, a Republican, has stood firm by his endorsement of Republican presidential candidate Donald Trump, who was recorded boasting about sexually assaulting women. After the video of Trump was released, Reyes issued a statement in which he denounced the candidate’s claims. “Mr. Trump’s comments were remarkably inappropriate and unacceptable under any circumstance,” Reyes wrote. “They reflect a blatant disregard for the rights of women. To boast of conduct as he did and demean women in such a vulgar and objectifying manner is indefensible. I am deeply offended. I am immensely disappointed.” Disappointment or not, Reyes continues to stand by Trump. Crooks says he does so because the presumptive alternative, Democratic candidate Hillary Clinton and her husband, former President Bill Clinton, have had their own rocky path with accusations of sexual misdeeds. And, Crooks says, if Clinton is elected, she will get to appoint at least one person to the Supreme Court, and possibly hundreds to other federal courts—a possibility that he says Reyes is so weary of that he will continue to support a candidate that Crooks says “appalls” him. “It’s very difficult,” Crooks says of Reyes’ decision to stand by his endorsement of Trump. “But it’s also very difficult to do something that would help encourage people to vote for Hillary Clinton, who has gone after women who have been assaulted by Bill Clinton.” CW

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THE TOP 10 CENSORED STORIES OF THE YEAR

14 | NOVEMBER 3, 2016

BY PAUL ROSENBERG AND TERELLE JERRICKS

hroughout its 40-year history, Project Censored has covered a lot of ground that the corporate mainstream media has missed. Launched by Carl Jensen, a sociology professor at California’s Sonoma State University shortly after Watergate in 1976, it’s brought together dozens of faculty members and institutions working together to come up with an annual list of the Top 25 Censored Stories of the Year. The Watergate burglary in June 1972 “sparked one of the biggest political coverups in modern history,” Jensen later recalled. “And the press was an unwitting, if willing, participant ...” “Watergate taught us two important lessons about the press: First, the news media sometimes do fail to cover some important issues, and second, the news media sometimes indulge in self-censorship,” he said. On the upside, it led to the creation of Project Censored. As with Watergate, these stories aren’t censored in the overt heavy-handed manner of an authoritarian dictatorship, but in the often more effective manner reflecting our society—an oligarchy with highly centralized economic

power pretending to be a “free marketplace of ideas.” These stories give people what they think they want in the moment, but leave them hungry for more, if not downright malnourished in the long-run. The missing stories concern vital subjects central to the healthy functioning of our democracy. The problem is, we might not even realize what we’re missing, which is precisely why Project Censored is essential. Another way to think about it is as censorship of what the people as a whole can hear, rather than what any one individual can say. Article 19 of the United Nations’ Universal Declaration of Human Rights makes it very clear: Freedom of opinion and expression includes the right “to seek, receive and impart information and ideas through any media and regardless of frontiers.” This year, 221 students and 33 faculty members from 18 college and university campuses across the United States and Canada were involved. A panel of 28 judges comprised of media-studies professors, professional journalists and even a former commissioner of the Federal Communications Commission, also participated. News, after all, isn’t just created for individuals to

consume, but for citizens to debate, discuss and then act upon. The real Project Censored, in short, includes you, the reader. Project Censored has always dealt with specific stories, but on anniversaries like this one, the larger patterns those stories fit within are impossible to ignore. Economic inequality, global warming, petro-politics, suppression of health science, government spying, corporate influence of government ... these are all familiar themes that appear again on this year’s list. But a bit more ought to be said by way of introduction to this year’s top censored story, before starting the list proper. Jensen began the preface to Project Censored’s 20th anniversary edition with the story of how John F. Kennedy killed a detailed New York Times story blowing the whistle on the planned invasion of Cuba. A shrunken, muted version ran in its place. Afterward, Kennedy lamented to a Times editor, “If you had printed more about the operation, you could have saved us from a colossal mistake.” This year’s No. 1 censored story is a direct descendent of the story JFK wished he hadn’t managed to kill.

1. U.S. Military Forces Deployed in 70 Percent of World’s Nations

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PROJECT censored

The covert exercise of U.S. military power is a recurrent subject of Project Censored stories. This year’s top censored story joins that long tradition. It deals with the massive expansion in the number of countries where the officially undeclared war on terror is now being waged by U.S. Special Operations Forces—147 of the world’s 195 recognized nations, an 80-percent increase since 2010. This includes a dramatic expansion in Africa. The majority of the activity is in “training missions,” meaning that this expansion is promoting a coordinated worldwide intensification of conflict, unseen at home, but felt all around the globe. Writing for TomDispatch, The Nation and The Intercept, Nick Turse exposed different aspects of this story and its implications.

Turse’s report in the Intercept focused on the development of a single base, Chabelley Airfield, in the East African nation of Djibouti. It’s an “out-of-the-way outpost” transformed into “a key hub for its secret war … in Africa and the Middle East.” In The Nation, Turse tackled the question of mission success. Project Censored noted that, “Turse [had] reported skepticism from a number of experts in response to this question,” pointing out that “impacts are not the same as successes.” In Vietnam, body counts were mistaken for signs of success. “Today, tallying up the number of countries in which Special Operations forces are present repeats this error,” Vietnam veteran and author Andrew Bacevich told Turse.

2. Crisis in Evidence-Based Medicine—Richard Horton’s essay on perils of paxil The role of science in improving human health has been one of humanity’s greatest achievements, but the profit-oriented influence of the pharmaceutical industry has created a crisis situation. That research simply cannot be trusted. Burying truth for profit is a recurrent theme for Project Censored. The top 1981 story concerned fraudulent testing from a single lab responsible for one-third of the toxicity and cancer testing of chemicals in America. But this problem is much more profound. “Something has gone fundamentally wrong,” said Richard Horton, editor of the Lancet, commenting on a U.K. symposium on the reproducibility and reliability of biomedical research: “[M]uch of the scientific literature, perhaps half, may simply be untrue. Afflicted by studies with small sample sizes, tiny effects, invalid exploratory analyses and flagrant conflicts of interest, together with an obsession for pursuing fashionable trends of dubious importance, science has taken a turn towards darkness. … The apparent endemicity of bad research behaviour is alarming.” Horton’s conclusion echoed Marcia Angell, a former editor of the New England Journal of Medicine, who went public in 2009.

A classic case was Study 329 in 2001, which reported that paroxetine (Paxil in the United States/Seroxat in the U.K.) was safe and effective for treating depressed children and adolescents, leading doctors to prescribe Paxil to more than 2 million U.S. children and adolescents by the end of 2002, before being called into question. The company responsible (now GlaxoSmithKline), agreed to pay $3 billion in 2012, the “largest healthcare fraud settlement in U.S. history,” according to the U.S. Department of Justice. Nonetheless, the study has not been retracted or corrected, and “none of the authors have been disciplined,” Project Censored pointed out. This, despite a major reanalysis which “starkly contradicted the original report’s claims.” The reanalysis was seen as the first major success of a new open-data initiative known as “Restoring Invisible and Abandoned Trials.“ While Project Censored noted one Washington Post story on the reanalysis, there was only passing mention of the open-data movement. “Otherwise, the corporate press ignored the reassessment of the paroxetine study,” and beyond that, “Richard Horton’s Lancet editorial received no coverage in the U.S. corporate press.”

S S

3. Rising Carbon Dioxide Levels Threaten to Permanently Disrupt Vital Ocean Bacteria

4. Search Engine Algorithms and Electronic Voting Machines Could Swing the Election

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ing machines are essentially immune to transparent public oversight, as Harvey Wasserman and Bob Fitrakis documented. In 2016, about 80 percent of the U.S. electorate will vote using outdated electronic voting machines that rely on proprietary software from private corporations, according to a September 2015 study by the Brennan Center for Justice at the New York University School of Law. The study identified “increased failures and crashes, which can lead to long lines and lost votes” as the “biggest risk” of outdated voting equipment, while noting that older machines also have “serious security and reliability flaws that are unacceptable today.” “From a security perspective, old software is riskier, because new methods of attack are constantly being developed, and older software is likely to be vulnerable,” Jeremy Epstein of the National Science Foundation noted. On Democracy Now! and elsewhere, Wasserman and Fitrakis have advocated universal, hand-counted paper ballots and automatic voter registration as part of their “Ohio Plan” to restore electoral integrity. While there has been some corporate media coverage of Epstein’s and Robertson’s research, the transparency and reliability advantages of returning to paper ballots remain virtually unexplored and undiscussed.

Social media channels have played an important role in recent social movements—from the Arab Spring to Black Lives Matter—but technology can potentially undermine democracy as well as empower it. In particular, search-engine algorithms and electronic voting machines provide opportunities for manipulation of voters and votes, which could profoundly affect the 2016 election. In Index on Censorship, Mark Frary described the latest research by Robert Epstein and Ronald E. Robertson of the American Institute for Behavioral Research and Technology on what they call the Search Engine Manipulation Effect, or SEME. Their study of more than 4,500 undecided voters in the United States and India showed that biased search rankings “could shift the voting preferences of undecided voters by 20 percent or more” and “could be masked so that people show no awareness of the manipulation.” In an earlier article for Politico, Epstein wrote that the Search Engine Manipulation Effect “turns out to be one of the largest behavioral effects ever discovered … [W]e believe SEME is a serious threat to the democratic system of government.” Because courts have ruled that their source code is proprietary, private companies that own electronic vot-

of the bacteria to predicted CO2 levels in the year 2100 caused them to evolve into “reproductive overdrive,” growing faster and producing 50 percent more nitrogen. As a result, they could consume significant quantities of scarce nutrients, such as iron and phosphorus, depriving the ability of other organisms to survive. Or the Trichodesmium could drive themselves into extinction, robbing other organisms of the ammonium they need to survive. “Most significantly, the researchers found that even when the bacteria was returned to lower, present-day levels of carbon dioxide, Trichodesmium remained ‘stuck in the fast lane,’” Project Censored noted. It is a finding that one researcher described as “unprecedented in evolutionary biology.”

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Global warming is a recurrent Project Censored subject. Systemic changes associated with global warming threaten human welfare and all life on Earth through a multitude of different pathways. These remain largely hidden from public view. One potential pathway—directly dependent on carbon, not temperature—is through the catastrophic overproduction of Trichodesmium bacteria, which could devastate the entire marine food chain in some regions. The bacteria live in nutrient-poor parts of the ocean, where they fix atmospheric nitrogen into ammonium, an essential nutrient for other organisms—from algae to whales. A five-year study by researchers at the University of Southern California and Woods Hole Oceanographic Institution found that subjecting hundreds of generations

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₵ ₵

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$ ₵

16 | NOVEMBER 3, 2016

5. Corporate Exploitation of Global Refugee Crisis Masked as Humanitarianism The world is experiencing a global refugee crisis (60 million worldwide according to a June 2015 report, 11.5 million of them Syrian). This has been covered in the corporate media—though not nearly enough to generate an appropriate response. What hasn’t been covered is the increasingly well-organized exploitation of refugees, particularly those displaced in Syria. An AlterNet article by Sarah Lazare—cited by Project Censored—warned of the World Bank’s private enterprise solution to the Syrian displacement crisis. “Under the guise of humanitarian aid, the World Bank is enticing Western companies to launch ‘new investments’ in Jordan in order to profit from the labor of stranded Syrian refugees,” Lazare wrote. “In a country where migrant workers have faced forced servitude, torture and wage theft, there is reason to be concerned that this capital-intensive ‘solution’ to the mounting crisis of displacement will establish sweatshops that specifically target war refugees for hyper-exploitation.” A World Bank press release touted “the creation of special economic zones or SEZs,” but Project Censored noted, “Myriam Francois, a journalist and research associate at SOAS, The School of Oriental and African Studies at the University of London, told Lazare that the development of SEZs in Jordan ‘will

change refugee camps from emergency and temporary responses to a crisis, to much more permanent settlements.’” The SEZ proposals, Francois said, are “less about Syrian needs and more about keeping Syrian refugees out of Europe by creating [barely] sustainable conditions within the camps, which would then make claims to asylum much harder to recognize.” Another story, by Glen Ford of Black Agenda Report, described a related agreement between Turkey and the European Union to keep millions of refugees from entering Europe as “a deal between devils,” adding that Turkey has “cashed in on the people it has helped make homeless.” In addition to the $3.3 billion in EU money, Project Censored noted that Turkey has also sought admission to the European Union, and, with this, the right for 75 million Turks to enter Europe without visa restrictions as a condition for controlling its refugee population. Thus, according to Ford, Turkey has engaged in a “vast protections racket trap,” effectively agreeing to protect Europe from further incursions by “the formerly colonized peoples whose labor and lands have fattened Europe and its white settler states for half a millennium.” Ford concluded that “Europeans will never accept Turkey into the fold, because it is Muslim and notquite-white.”

6. More than 1.5 Million American Families Live on $2 Per Person, Per Day Even the working poor receive scant attention, but those living in deep poverty—with less than $2 per day—are almost entirely absent from the media. Kathryn J. Edin and H. Luke Shaefer, sociologists and authors of the book $2.00/a Day: Living on Almost Nothing in America state that in 2011 more than 1.5 million U.S. families—including 3 million children—lived in deep poverty at any given month. Their depiction of what poverty looks like reads “like a Dickens novel,” Marcus Harrison Green wrote in YES! Magazine, Project Censored noted, while in The Atlantic, economist Jared Bernstein noted that their research highlights the problematic long-term consequences of President Bill Clinton’s 1996 welfare reform initiative, with its “insistence on work without regard to job availability.”

Project Censored noted that Edin and Shaefer proposed three policy changes to address extreme poverty in the United States: • First, policy must start by expanding work opportunities for those at the very bottom of society. • Second, policy must address housing instability, which Shaefer described as both a cause and a consequence of extreme poverty. “Parents should be able to raise their children in a place of their own.” • Third, families must be insured against extreme poverty, even when parents are not able to work. William Julius Wilson, a leading sociologist in the study of poverty, described their book as “an essential call to action,” in a New York Times book review, but this was a rare recognition in the corporate press.

7. No End in Sight for Japan’s Fukushima Nuclear Power Plant Disaster Five years after the Fukushima nuclear power plant was destroyed by an earthquake and tsunami in March 2011, the nuclear disaster continues to unfold, with the ongoing release of large quantities of radioactive wastewater into the Pacific Ocean, in turn affecting ocean life through “biological magnification.” Meanwhile the Japanese government has relaxed radiation limits in support of its efforts to return the refugee population—a move that younger people, prime working-age taxpayers, are resisting. Project Censored cited a media analysis by sociologist Celine-Marie Pascale of American University. Covering more than 2,100 articles, editorials and letters-to-the-editor on Fukushima in The Washington Post, The New York Times, Politico and the Huffington Post between March 11, 2011, and March 11, 2013, Pascale focused on two basic questions: “Risk for whom?” and “from what?” She found that just 6 percent of articles reported on risk to the general public, and most of those “significantly discounted those risks.” Pascale concluded: The largest and longest-lasting

nuclear disaster of our time was routinely and consistently reported as being of little consequence to people, food supplies or environments. In short, the media coverage was premised on misinformation, the minimization of public health risks, and the exacerbation of uncertainties. In contrast, Dahr Jamail’s reporting for Truthout pointed out that the cooling process—still ongoing after five years—has produced “hundreds of thousands, if not millions, of tons” of highly radioactive water, much of which has been released into the Pacific Ocean. Such nuclear disasters “never end,” Arnold Gundersen, a former nuclear industry senior vice president told Jamail. Project Censored also cited Linda Pentz Gunter, writing for the Ecologist about the Japanese government’s ongoing coverup. “In order to proclaim the Fukushima area ‘safe,’ the government increased exposure limits to 20 times the international norm,” Gunter wrote, in order to force refugees to return home, despite medical or scientific evidence to the contrary.

8. Syria’s War Spurred by Contest for Gas Delivery to Europe, Not Muslim Sectarianism The Syrian war and its resulting refugee crisis have repeatedly gained headlines over the past five years, but the origins of the conflict, control of oil and gas, are rarely considered—the politics of which have dominated the region since before World War II. The hidden influence of oil—from climate change to campaign finance and corporate lobbying to foreign policy—has been a recurrent subject of Project Censored stories. Project Censored cited a single September 2015 story by Mnar Muhawesh for MintPress News, but that story cited others as well, notably an August 2013 story in The Guardian by Nafeez Ahmed. “The 2011 uprisings, it would seem—triggered by a confluence of domestic energy shortages and climate-induced droughts, which led to massive food price hikes, came at an opportune moment that was quickly exploited,” Ahmed wrote, as part of a broader strategy to undermine governments in the region, as well as manipulating social movements and armed factions for the purpose of maintaining control of oil and gas. Muhawesh and Ahmed both pointed, in particular, to Assad’s choice between competing

pipeline proposals. He refused to sign a proposed agreement for a pipeline from Qatar’s North field through Saudi Arabia, Jordan, Syria and on to Turkey in 2009, because it would have hurt his ally, Russia. “The proposed pipeline would have bypassed Russia to reach European markets currently dominated by Russian gas giant Gazprom,” Project Censored noted. Instead, Assad pursued negotiations—finalized in 2012—for a pipeline through Iraq from Iran’s South Pars field, which is contiguous with Qatar’s North field. Muhawesh cited U.S. cables revealed by WikiLeaks as evidence that “foreign meddling in Syria began several years before the Syrian revolt erupted.” Ahmed came to the same conclusions by drawing on multiple sources, including a RAND corporation document, “Unfolding the Future of the Long War,” which discussed long-term policy options (trajectories) dealing with the complex interplay of energy interests and ethno-religious-political manipulations. There’s a whole deeper level of driving forces not being reported on behind the Syrian war and refugee crisis.

9. Big Pharma Political Lobbying Not Limited to Presidential Campaigns

D O N AT E $

10. CISA—The Internet Surveillance Act No One in the Mainstream Media is Discussing

NOVEMBER 3, 2016 | 17

Paul Rosenberg is the senior editor for Random Lengths News at the Port of Los Angeles, Calif., and is a contributing columnist for Salon.com. Terelle Jerricks is the managing editor at Random Lengths News.

| CITY WEEKLY |

when Congress used the omnibus spending bill to advance some of the legislation’s “most invasive” components, making a mockery of the democratic process. But this one was different, since censored stories usually do not stifle powerful voices, as Project Censored observed: [Andy] Greenberg’s Wired article noted that tech firms—including Apple, Twitter and Reddit—as well as 55 civil-liberties groups had opposed the bill, and that, in July 2015 DHS itself warned that the bill would “sweep away privacy protections” while inundating the agency with data of “dubious” value. In April 2016, Jason R. Edgecombe reported for TechCrunch on the glaring inadequacies of interim guidelines to deal with privacy and civil liberties concerns, while the corporate media silence continued. And in May, Violet Blue wrote for Engadget about candidates’ positions on cyber issues. Only Bernie Sanders and Rand Paul opposed CISA, but it never became the subject of any broader media discussion. CW

In July 2015, Senate Majority Leader Mitch McConnell attempted to attach the Cybersecurity Information Sharing Act, or CISA, as an amendment to the annual National Defense Authorization Act. However, the Senate blocked this by a vote of 56-40, in part because, unlike an earlier version, it essentially enabled intelligence and law enforcement officials to engage in surveillance without warrants. Yet, on December 18, 2015, President Barack Obama signed CISA into law as part of a 2,000-page omnibus spending bill, amid media silence—with notable exceptions at Wired and The Guardian. The act authorized the creation of a system for corporate informants to provide customers’ data to the Department of Homeland Security, which, in turn, would share this information with other federal agencies—the National Security Agency, FBI, Internal Revenue Service and others—without privacy-protecting safeguards. In one sense it followed a familiar—if distressing—pattern, as the The Guardian reported, civil liberties experts had been “dismayed”

the year that Congress debated the Affordable Care Act,” Project Censored noted. Legislation influence involved all the industry’s top concerns, “including policy on patents and trademarks, management of Medicare and Medicaid, and international trade.” The last item includes pressuring other countries to suppress the manufacture of lifesaving generic AIDS drugs in India, to cite just one example. “Pharmaceutical lobbyists also consistently lobby to prevent Medicare from negotiating drug prices,” Project Censored also noted. Coverage of their spending is scant, and virtually never tied directly to the issues that Big Pharma itself is lobbying on.

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The pharmaceutical industry (aka “Big Pharma”) already appeared in story No. 2, “Crisis in Evidence-Based Medicine,” due to the destructive influence of its financing on the practice of basic science in testing and developing new drugs. But that’s not the only destructive impact of its spending. Although they spent $51 million in campaign donations in the 2012 presidential election, and nearly $32 million in the 2014 midterms, Mike Ludwig of Truthout reported it spent $7 lobbying for every dollar spent on the midterms. “The $229 million spent by drug companies and their lobbying groups that year was down from a peak of $273 million in 2009,

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THURSDAY 11.3

FRIDAY 11.4

Celebrating one’s religion can be a joyous thing. But sharing it with someone else is often equally rewarding. And if you’re Jewish, that means turning your friends on to blintzes, dreidels and maybe even a taste of the Torah. Indeed, there’s plenty of wisdom that can be learned from Judaism’s rich traditions, and what better way to do it than attend this year’s Jewish Arts Festival, an event presented by the I.J. & Jeanné Wagner Jewish Community Center. With three days of food, film and music, it offers the opportunity to explore Jewish life from various perspectives. “Experiencing other cultures promotes tolerance and understanding among people of diverse backgrounds,” says Rita Skolnick, special events program coordinator for the JCC. “The goal of the festival is to bring the community together to celebrate and experience the rich history of Jewish arts and culture in ways accessible to all.” This year’s event includes an opening night reception with a film and food-tasting by local chefs; a Saturday night concert by Steve Katz of the band Blood, Sweat & Tears, including a dinner catered by Mazza Middle Eastern Cuisine and a talk and book-signing. Several free movies will also be shown on the final day, including a short-films program, the family drama Belle and Sebastian and the Israeli drama Apples from the Desert (pictured). Bring your bubala or come alone. (Lee Zimmerman) Jewish Arts Festival @ I.J. & Jeanné Wagner Jewish Community Center, 2 N. Medical Drive, Nov. 3-6, opening night tickets, $40; An Evening with Steve Katz, $50; Sunday movies, free. SLCJCC.org

Brooklyn-based installation artist Drew Conrad has exhibited widely, and found the West held an uncanny attraction—one that led him to the notion that the desert is a good place to die. This perhaps was no coincidence, as his architectural assemblages of sections of buildings in disrepair are a meditation on the temporal nature of existence, deterioration and decay. Following in the footsteps of John Baldessari in the 1970s, Conrad decided to destroy every work of art he had created from 2010 onward, disposing them in a landfill, and keeping only the reusable objects. He had imagined the decision would be liberating, but instead it imposed a sense of pain and loss. He has used those recovered materials to create The Desert is a Good Place to Die, resembling a teepee or lean-to from the Old West, as a kind of shrine and memorial to his lost work and the part of himself gone missing. At the same time, it evokes a sense of our collective history, what we have all lost. The installation is guest-curated by Persian/ Canadian curator Mitra Khorasheh. “Drew’s installation is ultimately a spiritual exercise of finding catharsis in loss,” CUAC’s Executive Director Adam Bateman says. “The reconstruction aspect of it can be read as a grappling with those issues through the faith of building. That action is one of hope in the face of so much loss.” (Brian Staker) Drew Conrad: The Desert is a Good Place to Die @ CUAC Contemporary Art, 175 E. 200 South, 385-215-6768, through Jan. 13, Tuesday-Friday, 11 a.m.-6 p.m.; Saturday, noon-4 p.m. CUArtCenter.org

Writers are encouraged to write what they know. Perhaps that’s why playwright Tennessee Williams scripted The Glass Menagerie, ultimately kick-starting his successful career. The semiautobiographical play is loosely based on his relationship with his family. It’s been produced numerous times on stage and screen, and now Pioneer Theatre Co. is diving into it. Narrator Tom Wingfield (Zachary Prince)— essentially Williams himself—tells the audience that since this is a memory play, not everything will be completely accurate. Living with his overbearing mother Amanda (Nance Williamson) and fragile sister Laura (Hanley Smith) in a small St. Louis apartment, Tom moves through life torn between wanting more and caring for his disabled sister. Meanwhile, his mother longs for Laura to be called on by suitors and eventually marry. Absent is Tom’s father who left 16 years prior. Perhaps their lives will change when Tom’s co-worker and former high school friend Jim O’Connor (Logan James Hall) comes to call. Since this is Tennessee Williams, you can probably guess it doesn’t exactly end happily. And yet, his plays are always entertaining to watch—this production in particular because of the stellar cast. Director Mary B. Robinson pulls fantastic performances out of each actor, making them feel like a real, dysfunctional family—something most can identify with. It doesn’t matter if you’ve seen The Glass Menagerie several times or never before; this is one production you don’t want to miss. (Missy Bird) Pioneer Theatre Co.: The Glass Menagerie @ 300 S. 1400 East, 801-581-6961, through Nov. 5, Monday-Thursday, 7 p.m.; FridaySaturday, 7:30 p.m.; Saturday, 2 p.m., $25$49. PioneerTheatre.org

When the New York City Ballet performed Stanton Welch’s contemporary narrative ballet Madame Butterfly in 1999, reviewers offered a caveat to their critique: Created in 1995, it was one of Welch’s earliest works, the production of a young and unseasoned choreographer. In short, there are some weak points. Though there was energy in the movement, wrote New York Times critic Anna Kisselgoff, Welch’s neoclassical choreography was also described as “conventional.” There were “dead spots” and “too much gestural mime.” But there were a couple of truly important points that salvaged the piece, even redeemed it: beautiful love duets, and an incredible cast of dancers. The importance of a strong company of dancers to pull off a piece of choreography can’t be over-stated, and when Ballet West performs Madame Butterfly, Utah audiences will likely leave more than satisfied. The narrative for this piece is derived from the 1903 opera of the same name by composer Giacomo Puccini, and danced to the operatic score—only without the libretto. The story, like most operas, is a tragedy. A U.S. Naval officer marries a 15-year-old Japanese girl while stationed abroad. Their romance is short; he soon departs for home. Three years pass and the officer returns to Japan to see his young bride—and their son—but this time he brings his American wife. The reunion doesn’t go well. With plenty of drama, it’s easy to see how Welch could get carried away with sweeping arms, as the dancers declare their love and despair. (Katherine Pioli) Ballet West: Madame Butterfly @ Capitol Theatre, 50 W. 200 South, 801-355-2787, Nov. 4-13, varying days and times, $32-$110. BalletWest.org

Jewish Arts Festival

Drew Conrad: The Desert is a Good Place to Die

Pioneer Theatre Co.: The Glass Menagerie

Ballet West: Madame Butterfly

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A&E S ON U W FOLLO GRAM A T S IN

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Open-Door Policy

Fans don’t need to protect their favorite stories from newcomers. BY BRYAN YOUNG comments@cityweekly.net @swankmotron

nce upon a time, it was a hard thing to be a geek. We were bullied for our love of things many viewed as childish, we were banished to small corners of our cities and towns, and we were viewed with derision. Comic book shops, game stores and arcades became our safe spaces and we would gather together in small cliques, cautiously whispering about the latest issue of the XMen or our wishes for what Star Wars might become. For many, it seems hard to remember that we no longer live in the shadows. Genre entertainment has taken over the pop-culture world. The top boxoffice hits are adaptations of comic book stories or familiar fantasy/science fiction franchises. Successful broadcast and streaming TV shows are similarly bringing us these familiar characters and worlds. Comic book stores are ubiquitous. Why, then, is there a rift between these older, more well-read fans, and the new fans pouring in from the mainstream? Why do many of us in the community still act as though we’re the cultural underdog? You’ll see memes spread across the internet chiding fans of a movie to stop pretending that they’re fans at all, that the original fans are the real fans. But what is a real fan? Why are there levels to simply liking something a lot? Star Wars might be a case of the one of widest fandoms. The Force Awakens grossed more than $2 billion worldwide, making it the third most successful release ever. It did almost $1 billion dollars domestically alone during its theatrical run. That works out to be more than 100 million tickets sold for that film, which means as much as a third of the U.S. population counted themselves as Star Wars to an extent that they would make the seventh installment of the

big SHINY ROBOT

franchise such a powerhouse. If only real fans saw the movie, would it have made half as much? One-tenth? Or is it the notion that we’re all fans that caused it to break boxoffice records? What about The Avengers? The films sell 10 times as many tickets as the comics sell individual issues. Do you have to be a fan of both to be a fan? I don’t think so. Being a fan of something is largely selfdetermined. We decide that liking something is a club we want to be in. I can’t rate someone else’s enjoyment of a thing, and I can’t see how that level of enjoyment compares to all of the other things in their life. What I might qualify as passive fandom for myself might well border on rabid in a different person. I get it, though. I remember the dark times. I got beat up at school for liking nerdy things. I got made fun of and bullied. We carved out our safe spaces through these stories to make ourselves feel comfortable. Those days are over, though. We need to stop thinking of all of these new fans as encroaching on our small safe space, and realize that it’s all a safe space now. We need to make the whole of that space as welcoming as we wished the world was when we were becoming fans of things. I know it might seem trivial, but the culture is ours now. No one should feel awkward about admitting they like something, even if they don’t know everything there is to know about it. Instead of getting upset about how much these new fans don’t know, act as an ambassador. Share your passion and help them discover the things you know they’ll like. Instead of gaining an adversary or someone to roll your eyes at, maybe this way you’ll find a friend. The geeks have inherited the culture; maybe that’s part of the reason the mainstream culture has shifted so dramatically over the past decade. But what good will any of it do, if we simply spend all of our time measuring the length of one other’s fandom? Cut it out. If somebody is a fan of the movie rather than the source material, introduce them to the source material. But don’t act like you’re better than they are. You’re just someone who can help open a door. CW

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Bountiful-based artist Brett South’s works, inspired by the details of the natural world, are on display in the Water + Earth = Life exhibit at Salt Lake City Library Day-Riverside Branch (1575 W. 1000 North, 801-5948632, SLCPL.org) through Nov. 20.

PERFORMANCE THEATER

DANCE

Dance Heginbotham Sugar Space Arts Warehouse 132 S. 800 West, Nov. 4-5, 8 p.m., TheSugarSpace.com Madame Butterfly Capitol Theatre, 50 W. 200 South, Salt Lake City, 801-355-2787, Nov. 4-5 & 10-12, 7:30 p.m.; Nov. 9, 7 p.m.; Nov. 12-13 matinees, 2 p.m., BalletWest.org (see p. 18)

CLASSICAL & SYMPHONY

COMEDY & IMPROV

Improv Broadway Brigham Larson Pianos, 1497 S. State, Orem, 909-260-2509, Saturdays, 8 p.m., ImprovBroadway.com James P. Connolly Wiseguys SLC, 194 S. 400 West, Salt Lake City, 801-532-5233, Nov. 4, 7:30 p.m., WiseguysComedy.com

LITERATURE AUTHOR APPEARANCES

Nicola Yoon: The Sun is Also a Star The King’s English Bookshop, 1511 S. 1500 East, Salt Lake City, 801-484-9100, Nov. 3, 7 p.m., KingsEnglish.com Renee Gladman & Catie Crabtree The Art Barn, 1340 E. 100 South, Salt Lake City, 801-5965000, Nov. 3, 7 p.m., KingsEnglish.com

“IT’S VERY HARD TO BE A 10!” JUST GRAB HER BY THE P**SYYY!

Dvorak, Tchaikovsky, Ives & Brahms Utah Symphony, Abravanel Hall, 123 W. South Temple, 801-533-5626, Nov. 4-5, 7:30 p.m., UtahSymphony.org Let’s Tango: An Evening of Astor Piazzolla Vieve Gore Concert Hall, 1250 E. 1700 South, Salt Lake City, 801-484-7651, Nov. 7, 7:30 p.m., WestminsterCollege.edu NOVA Chamber Music Series Libby Gardner Hall, 1375 E. Presidents Circle, 801-581-7100, Nov. 6, 3 p.m., NOVASLC.org

Laughing Stock Improv The Off Broadway Theatre, 272 S. Main, Salt Lake City, 801-355-4628, Fridays & Saturdays, 10 p.m., LaughingStock.us Marcus & Guy Seidel Wiseguys Ogden, 269 25th St., Ogden, 801-463-2909, Nov. 4-5, 8 p.m., WiseguysComedy.com Natashia Mower Wiseguys SLC, 194 S. 400 West, Salt Lake City, 801-532-5233, Nov. 3, 7:30 p.m., WiseguysComedy.com Off the Wall Comedy Improv Draper Historic Theatre, 12366 S. 900 East, Draper, 801-572-4144, Saturdays, 10:30 p.m., DraperTheatre.org Open Mic Night Wiseguys SLC, 194 S. 400 West, Salt Lake City, 801-532-5233, Wednesdays, 7:30 p.m., WiseguysComedy.com Sasquatch Cowboy The Comedy Loft, 3934 Washington Blvd., Ogden, Saturdays, 9:30 p.m., OgdenComedyLoft.com Sean Rouse Sandy Station Vegas Room, 8925 S. Harrison St., Sandy, 801-255-2078, Nov. 4, 8:30 p.m., SandyStation.com Stand-Up Comedy 328 Main, Park City, 435-6499371, Nov. 4-5, 8 p.m., EgyptianTheatreCompany.org

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Ghostblasters Desert Star Theatre, 4681 S. State, Murray, 801-266-2600, through Nov. 5, varying days and times, DesertStar.biz Catch Me If You Can Hale Center Theater Orem, 225 W. 400 North, Orem, 801-226-8600, through Nov. 19, HaleTheater.org The Glass Menagerie Pioneer Theatre Co., 300 S. 1400 East, Salt Lake City, 801-581-6961, through Nov. 5, Monday-Thursday, 7 p.m.; FridaySaturday, 7:30 p.m.; Saturday matinee, 2 p.m., PioneerTheatre.org (see p. 18) Heathers: The Musical Utah Repertory Theater Company, Sorenson Unity Center, 1383 S. 900 West, Nov. 4-20, Fri-Sat 7:30 p.m., Sat 2 p.m. matinees, UtahRep.org Little Shop of Horrors The Ziegfeld Theater, 3934 Washington Blvd., Ogden, 855-944-2787, through Nov. 5, Friday & Saturday, 7:30 p.m.; Saturday matinee, 2 p.m., TheZiegfeldTheater.com/Little-Shop Mary & Myra Pygmalion Theatre Co., Rose Wagner Center, 138 W. 300 South, Salt Lake City, 801-355-2787, through Nov. 12, 7:30 p.m.; Nov. 6 & 12, 2 p.m., PygmalionProductions.org Oklahoma! Brigham’s Playhouse, 25 N. 300 West, Washington, 435-251-8000, through Nov. 19, Thursday-Saturday, 7 p.m.; Saturday matinee, 2 p.m., BrighamsPlayhouse.com

Winter Salt Lake Acting Co., 168 W. 500 North, 801-363-7522, through Nov. 13, WednesdaySaturday, 7:30 p.m.; Sunday, 1 p.m. & 6 p.m., SaltLakeActingCompany.org

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Shannon Messenger: Lodestar Provo Library, 550 N. University Ave., Provo, 801-852-6650, Nov. 3, 7 p.m., KingsEnglish.com Karl Beckstrand: Bright Star, Night Star: An Astronomy Story Veridian Center, 8030 S. 1825 West, West Jordan, 801-953-3793, Nov. 5, 1-4 p.m., PremioPublishing.com Local Authors & You Viridian Center, 8030 S. 1825 West, 801-943-4636, Nov. 5, noon-5 p.m., SLCoLibrary.org Layne Oliver Weller Book Works, 607 Trolley Square, 801-328-2586, Nov. 6, 2-5 p.m., WellerBookWorks.com Marissa Meyer: Heartless Provo Library, 550 N. University Ave., Provo, Nov. 9, 7 p.m., KingsEnglish.com

SPECIAL EVENTS FESTIVALS & FAIRS

Here Comes Winter festival Jim Santy Auditorium, 1255 Park Ave., Park City, Nov. 3, 5-8:30 p.m., $6, WasatchMountainArts.com Jewish Arts Festival Jeanne Wagner Jewish Community Center, 2 N. Medical Drive, Nov. 3-6, see website for pricing, SLJCC.org (see p. 18)

22 | NOVEMBER 3, 2016

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UPCOMING EVENTS

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A 60-Year Hitch with the Utah War Hurst Center Dumke Legacy Hall, Weber State University, 3848 Harrison Blvd., 801-626-6000, Nov. 7, 7 p.m., Weber.edu Between Earth and Sky: Trees and Birds as Threads in the Tapestry of Nature Westminster College Gore Auditorium, 1840 S. 1300 East, Nov. 3, 6 p.m., GreatSaltLakeAudubon.org The Flip Side of Michigan v. EPA: Are Cumulative Impacts Centrally Relevant? University of Utah, S.J. Quinney College of Law, 383 S. University St., Nov. 3, 12:15 p.m., Law.Utah.edu Frontiers of Science: Time Travel in Experimental Evolution Aline Wilmot Skaggs Building, Room 220, 259 S. 1400 East, 801-5878098, Nov. 9, 6 p.m. Science.Utah.edu Our Declaration Wildcat Theater, Weber State University, 3910 W. Campus Drive, Ogden, 801-6266252, Friday, Nov. 11, 11:30 a.m., Weber.edu (see p. 11) Taboo Talks: Does Persecution Still Exist in the Native Community? Weber State University main campus, Shepherd Union Room 232, 801626-6957, Nov. 3, 12-1:30 p.m., Weber.edu Understanding Transgender Salt Lake City Public Library, 210 E. 400 South, Salt Lake City, 801-524-8200, Nov. 9, 7 p.m., UMFA.Utah.edu Wild Wednesday: In Honor—A Special Veteran’s Day Program Ogden Nature Center, 966 W. 12th St., Ogden, 801-621-7595, Nov. 9, 3:30 p.m., OgdenNatureCenter.org

VISUAL ART GALLERIES & MUSEUMS

Alyce Carrier: Old Work Museum of Contemporary Art, 20 S. West Temple, 801-328-4201, through Jan. 14, UtahMOCA.org Benny van der Wal: Desert Trashscapes Finch Lane Gallery, 1340 E. 100 South, 801-530-0547, through Nov. 18, SaltLakeArts.org Berna Reale: Singing in the Rain Utah Museum of Contemporary Art, 20 S. West Temple, 801-328-4201, through Nov. 5, UtahMOCA.org

Brett South: Water + Earth = Life Salt Lake City Library Day-Riverside Branch, 1575 W. 1000 North, 801-594-8632, through Nov. 20, SLCPL.org (see p. 22) The DREAMers Project Art Access Gallery, 230 S. 500 West, Ste. 125, 801-328-0703, through Nov. 11, AccessArt.org Drew Conrad: The Desert Is A Good Place To Die CUAC, 175 E. 200 South, 385-215-6768, through Jan. 13, CUArtCenter.org (see p. 18) Fluid Art Utah Museum of Contemporary Art, 20 S. West Temple, 801-328-4201, Friday, Nov. 4, 6-9 p.m., $35-$40, ArtTix.org Gini Pringle: Reflections: Neon and photography reflected on metal Phillips Gallery, 444 E. 200 South, 801-364-8284, through Nov. 11, Phillips-Gallery.com Glass At The Garden Red Butte Garden, 300 Wakara Way, 801-585-0556, Nov. 4-Dec. 18, RedButteGarden.org Heads in the Sand! Salt Lake City Main Library, 210 E. 400 South, 801-363-4088, through Nov. 12, 6-9 p.m., ArtAtTheMain.com Iterations: Sue Martin and Nancy Vorm Alice Gallery, 617 E. South Temple, through Nov. 11, Monday-Friday, VisualArts.Utah.gov Jimmi Toro Urban Arts Gallery, 137 S. Rio Grande Street, 801-230-0820, artist reception, Nov. 4, 6-9 p.m.; gallery stroll Nov. 18, 6-9 p.m.; exhibit through Nov. 27, UtahArts.org Just Press Print Gittins Gallery, Art & Art History Dept., University of Utah, 375 S. 1530 East, through Nov. 25, Art.Utah.edu Lexi Rae Johnson: Wait Here Please Art Barn/ Finch Lane Gallery, 1340 E. 100 South, through Nov. 18, SaltLakeArts.org Maureen O’Hara Ure: Love & Work Phillips Gallery, 444 E. 200 South, 801-364-8284, through Nov. 11, Phillips-Gallery.com Mike Lee: Digital Mirror: Selfie Consciousness Utah Museum of Contemporary Art, 20 S. West Temple, 801-328-4201, through Dec. 17, UtahMOCA.org Object[ed]: Shaping Sculpture in Contemporary Art Utah Museum of Contemporary Art, 20 S. West Temple, 801-328-4201, through Dec. 17, UtahMOCA.org Peter Everett: Transmutation CUAC, 175 E. 200 South, 385-215-6768, through Jan. 13, CUArtCenter.org Stephanie Leitch: Interstices Granary Art Center, 86 N. Main, Ephraim, 435-283-3456, through Jan. 27, GranaryArtCenter.org Sue Martin and Nancy Vorm: Iterations Alice Gallery, 617 E. South Temple, through Nov. 11, Monday-Friday, VisualArts.Utah.gov Sushe and Tracy Felix Modern West Fine Art, 177 E. 200 South, 801-355-3383, through Nov. 12, ModernWestFineArt.com Terence K. Stephens: Greater Salt Lake SLC Sprague Library, 2131 S. 1100 East, 801-594-8640, through Nov. 5, SLCPL.org Utah Watercolor Society’s Fall Exhibition The Loge Gallery, Pioneer Memorial Theatre, 300 S. 1400 East, 801-581-6961, through Nov. 5, Monday-Friday, 10 a.m.-6 p.m.; Saturday, 10 a.m.-noon, PioneerTheatre.org Veterans Exhibit Art Access Gallery, 230 S. 500 West, 801-328-0703, through Nov. 11; reception Nov. 10, 5-7 p.m., AccessArt.org Work in Progress Utah Museum of Contemporary Art, 20 S. West Temple, Salt Lake City, 801-3552787, through Jan. 14, UtahMOCA.org

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Find authentic Southernstyle cooking at SoCo.

ON W US M O L L O A F GR INSTA

BY TED SCHEFFLER comments@cityweekly.net @critic1

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| CITY WEEKLY |

SOCO

319 S. Main 801-532-3946 SoCoSLC.com

2991 E. 3300 S.

385.528.0181

NOVEMBER 3, 2016 | 23

During a dinner visit, I ordered the fried chicken plate. This is a great deal for $16.99: You get three pieces (breast, leg and thigh), plus two side-dishes, a cornbread muffin or sweet potato biscuit, pickles and remoulade sauce—a lot of grub for a great price. A two-piece version is also available for $14.99. It’s an especially good value given that this is likely to be the best fried chicken you’ll encounter in the Beehive. Renshaw was right: I’ve rarely tasted fried chicken that was so moist and tender inside and so crispy and crunchy outside. It’s perfectly cooked with a judicious amount of spices, without overwhelming the natural chicken flavor. A terrine of hoppin’ John—black-eyed peas and gravy over white rice—was a fine accompaniment, and the macaroni and cheese was second to none. I doubt it’s authentically Southern, but they also throw a bone to vegetarians with their chicken-fried tofu ($14.99). It would go well with the Coca-Cola-braised collard greens and homestyle green bean casserole. By the way, at each table you’ll find a bottle of the restaurant’s exclusive “Grapes of Wrath” hot sauce, as well as some simple syrup—a must-have accoutrement for all sweet tea drinkers. For both Southern hospitality and flavors, I suggest giving SoCo a try. I think even Paula Deen would approve. CW

saltlakepizzaandpasta.com

options like fried chicken, macaroni and cheese, meatloaf with tomato grav y, and shrimp and grits, among others, and come with a side dish—housemade bread-andbutter pickles and a sweet potato biscuit or cornbread. While the boss enjoyed his meal, I was less enthusiastic about my po’boy. Like a Philly cheesesteak or a Jersey hoagie, a good one is deceptively difficult to do right. It begins with the bread, and SoCo’s bread is way too dense and chew y—not nearly crisp enough to serve as the all-important foundation. Then there’s the stuffing. When you order a po’boy in New Orleans, it’s inevitably bursting at the seams with catfish, shrimp, beef “debris” à la Mother’s, chicken or whatever. My shrimp po’boy ($13.99) contained only a handful of small poached shrimp—underwhelming, at best. The sandwich overall was bland in flavor, despite a pretty tasty red remoulade sauce. The housemade pickles alongside were very good, as was a side of hush puppies. The hush puppies, in fact, are the best I’ve eaten in Utah: soft inside and crispy on the outside, with bits of onion and red pepper; they’re the real deal, even if they are served with the house fry sauce. SoCo might be small, but its libations list is large. It includes 16 specialty cocktails (like the “Sweet Georgia Brown,” “Zydeco Rhubarb Martini,” “Daisy Duke” and “Lynchburg Lemonade”). Also served are around 20 high- and low-point beers, soft drinks, iced tea (aka the “house wine of the South”) and a half-dozen or so drinkable red and white wines. Seaglass Sauvignon Blanc was surprisingly versatile, serving as a bridge from fried chicken to shrimp and cheesy grits.

| CITYWEEKLY.NET |

n recent years, Southern-style comfort foods have become mainstays in some of the most hoity-toity restaurants. Even in posh places, you’ll often find dishes on the menu such as macaroni and cheese, chicken and waffles or shrimp and grits. I think of it as the “Paula Deen effect.” Don’t get me wrong; I love Southern cooking. But I like the real deal, not a facsimile. I don’t want chicken and waffles with a slab of foie gras or shishito peppers on top to fancy it up. I can’t tell you how giddy I got when I learned recently that the great Viet Pham—food television personality and former co-owner/chef of Forage—is opening an eatery called Pretty Bird that’ll serve Nashville-style hot chicken starting in early 2017. Bring it on! I’ve been burned too many times with faux Southern cooking out West not to be skeptical of a joint called SoCo (short for Southern Comfort). But, the diminutive restaurant/bar proved to be a handy place to meet City Weekly Arts & Entertainment Editor Scott Renshaw for an un-power lunch recently, which gave me a chance to check it out. I’m glad I did. When I say it’s diminutive, I mean that it seats only about 25 customers, plus another 10 or so at the bar. It’s half the space that used to home Shogun, and then Yellowtail Japanese Bistro. In the long, skinny eatery, guests sit elbow-to-elbow; it’s a cozy place, with exposed brick walls and lots of natural wood, not to mention jazz playing throughout. The owner told me that SoCo will soon expand into the other half of the building to provide more seating. I hope they’ll also expand the service staff. During my visits, there has been one person cooking in the kitchen and just a single person doing both bartender and server duties. Service can be slow, but it’s always Southern hospitality-friendly. That’s especially true if you’re lucky enough to have Lafayette Pierre as your server. He’s a terrific guy with a name that proudly announces his New Orleans heritage. During our lunch confab, Renshaw spoke approvingly of his fried chicken lunch ($10.99). That’s saying something since his wife is a Southern gal, and he’s been exposed to more of the region’s cooking than most. The lunch specials (available Monday-Friday till 3 p.m.) are priced at $9.99-$15.99 and include

| CITYWEEKLY.NET |

| CITY WEEKLY |

24 | NOVEMBER 3, 2016

FOOD MATTERS

Tradition... Tradition

BY TED SCHEFFLER @critic1

CASEY STAKER

Zest’s Chocolate Cake

Zest Turns 4

Contemporary Japanese Dining LUNCH • DINNER • COCKTAILS

18 WEST MARKET STREET • 801.519.9595

To me, Zest Kitchen & Bar (275 S. 200 West, 801-433-0589, ZestSLC.com) still seems fresh and new. Maybe that’s due to the fresh, bold flavors that permeate not only the foods at this former bar turned restaurant, but also to the delightful beverages created and served there. Well, the not-so-new eatery is celebrating its fourth year of serving vibrant vegan/ vegetarian dishes and killer handcrafted cocktails. Hey, where else will you find beet sangria or organic green juice zapped with gin and chartreuse? Happy birthday to owner Casey Staker, chef Billy McClinton and all the outstanding servers, DJs and bartenders at Zest! Here’s to another four—no, 40—years of creative, globally inspired, healthy and delicious food and drink.

Free Churrasco for Vets

In celebration of Veteran’s Day, Tucanos Brazilian Grill (162 S. 400 West, 801-4562550; 4801 N. University Ave., Provo, 801224-4774, Tucanos.com) is offering a free churrasco meal and unlimited “salad festival” Thursday-Saturday, Nov. 10-12, to all vets with the purchase of another adult churrasco meal. (Those coming in by themselves can get one for half-price.) Post a selfie taken at Tucanos, and you’ll also receive a free dessert. The churrasco meal includes an all-you-can-eat array of grilled meats, veggies and pineapple along with seafood and a hot and cold salad bar/buffet. Don’t even think about leaving without tasting the amazing mango butter cake.

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With Veteran’s Day approaching, it’s timely to talk about Culinary Command (CulinaryCommand.com), a local program designed to teach veterans or active-duty U.S. military members the necessary knowledge and skills to begin a career in the culinary arts. For participants accepted into the program, there is no charge. And meals—breakfast, lunch and dinner—are cooked and eaten by enrollees. Classes are held in a variety of professional kitchens around Salt Lake City and taught by award-winning chef David James Robinson. Each 45-day Culinary Command course is limited to eight people and is said by the organizers to be “rigorous, elite, intense and extremely filling.” Quote of the week: “An army marches on its stomach.” —Napoleon Bonaparte

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26 | NOVEMBER 3, 2016

BEER, WINE & SPIRITS

Italy Under $20

The best bang-for-your-buck vino in the Beehive. BY TED SCHEFFLER comments@cityweekly.net @critic1

or the past few years I’ve wanted to visit Italy and sip my way through the country’s marvelous vineyards. But I keep getting waylaid by places like France, America’s own wine regions and sunny beaches south of the border and in the Caribbean. One of these days, I will make it back to Italy. For now, I’ll settle for enjoying great value imports. Each of the Italian wines featured here sells for less than $20—some, much less, making an Italian staycation cheaper than you’d think. Pinot grigio is the mother of Italian white wines and by far the most commercially successful varietal. One of my favorites—a great bang-for-the-buck—is Attems Pinot Grigio 2015 ($10.25). It comes from Friuli-

Venezia Giulia, the northeastern-most region of Italy, bordering Slovenia and Austria. Attems has more tropical-fruit flavors and aromas than most pinot grigios, which can be insipid. By contrast, this one is rich, complex and brimming with ripe fruit— pineapple, pear and peach flavors, especially—along with crisp minerality. It makes for a pleasant aperitif but also pairs up well with fish dishes like halibut piccata. Another extraordinary value is Mezzocorona Anterra Chardonnay delle Venezie IGT 2014 priced at (and this isn’t a typo) $5.99. It’s a new-ish product that isn’t easy to find in the U.S. However, we’re lucky to have it here in Utah on a trial basis. This chardonnay is crisp, a little off-dry and closer in style to chablis than a big, buttery California chardonnay. Since it’s subtle and not bombastic, Anterra is a good partner for a wide range of dishes—a very food-friendly wine. Italy produces some terrific rosés— called rosato in that country—and this is one of them. Don’t let the low price fool you; Tenuta Sant’Antonio Scaia Rosato 2015 ($12.99) is a world-class pink vino. Aged in stainless steel with natural malolactic fermentation, it’s made from 100 percent rondinella, exhibiting floral aromas and juicy raspberry flavors. Another excellent wine from the same producer is Tenuta Sant’Antonio Scaia Corvina

DRINK IGT 2014 ($12.99). I’ve written that Scaia Corvina is “one of the best Italian red wine bargains on the planet.” Renowned critic Robert Parker agrees, saying in The Wine Advocate, “This exceptional value wine may well be the best deal in Italian wine today.” Casamatta means “crazy house” in Italian, and Bibi Graetz Casamatta Rosso Toscana IGT ($12.95) would make for a crazy good house wine— one that is refreshing and not too serious, but eminently versatile and appealing. Made from 100 percent sangiovese using the Spanish-style solera method of blending the current wine vintage with previous ones, this might just be the ultimate pizza and pasta complement. Speaking of pizza pairings, every household deserves an inexpensive, go-to chianti for not-so-special

occasions. For me, the ubiquitous Ruffino Chianti DOCG ($11.99) fits the bill perfectly. Its blend of 80 percent sangiovese and 20 percent merlot produces fruity and floral aromas, with just enough acid and backbone to pair nicely with a wide range of foods, from hamburgers and grilled pork chops to beef carpaccio and Margherita pizza. If you’re looking for a lowprice, luscious wine that can serve both as an appealing aperitif and as an accompaniment for dessert, look no further than Moscato d’Asti Cascinetta 2015 ($16.99). As you’d expect, it’s made from 100 percent moscato d’Asti grapes, and weighs in at a very drinkable alcohol-by-volume level of 5.26 percent. The pale-yellow wine is slightly frizzante (fizzy), with peach and ginger aromas. It tickles the tongue with slightly sweet stone fruit flavors and is a very good partner for light, fruity desserts and even robust, creamy seafood dishes and pastas where you want something crisp and light to sip for contrast. CW

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| CITYWEEKLY.NET |

MARGARITA

vol. 2 no . 8 • oc

tobe r

| CITY WEEKLY |

Start your day off right. Pick up the October issue of Devour Utah

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Bodaci Biscui ous ts p. 14 Utah’s CuisineGreek p. 32

| CITYWEEKLY.NET |

| CITY WEEKLY |

28 | NOVEMBER 3, 2016

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

SHAWARMA KING Middle Eastern Cuisine

725 E. 3300 S. SLC (801) 803-9434 2223 S. Highland Dr. SLC (385) 415-2100 slcshawarmaking.com

Stay warm with your friends at

20 W. 200 S. SLC | (801) 355-3891 | siegfriedsdelicatessen.biz Award Winning Vietnamese Cuisine

6001 S. State St. Murray | 801-263-8889 cafetrangonline.com

*Gluten-free menu options available

From Scratch offers authentic Italian cuisine in a modern, downtown atmosphere. All of the restaurant’s pies and pastas are made—you guessed it—from scratch. Start your meal off with the braised short rib, which comes with horseradish and a honey au jus. As for pizza, try the fennel sausage, with green and red onions, or go with the Whiteout, which has three different cheeses and roasted garlic. If you’re not in the mood for pizza, the tasty signature burger is topped with shoestring onions and melted smoked cheddar cheese. You can wash it all down with an Italian soda. 62 E. Gallivan Ave., Salt Lake City, 801-961-9000, FromScratchSLC.com

Lone Star Taqueria

Everything is fresh at this inexpensive, funky eatery, from the tortillas and salsas to the tamales and tacos. Lone Star Taqueria has been around longer than most, and looks like someone transported a taco shack from a Baja beach right into Cottonwood Heights. It’s a cool and kitschy place, with cold Mexican cervezas served in glass cowboy boots, and a rockin’ house sound system. The only thing missing is sand. The mahi-mahi fish tacos with

cilantro aioli are wildly popular, and the zippy jalapeño-spiked guacamole is addictive. The burritos are good, too, but it’s really all about the tacos here. Flip-flops are optional. 2265 Fort Union Blvd., Cottonwood Heights, 801-944-2300, Facebook.com/Lone-Star-Taqueria

Shabu

“Freestyle Asian cuisine” is what Shabu restaurant owners and brothers Kevin and Bob Valaika call what they do. At Shabu in Park City, there’s a lively bar scene where sushi and sake are consumed by happy patrons, and in the dining room, Shabu Shabu is a popular favorite, where customers have the opportunity to play chef: Sort of an Asian-style fondue, patrons dip ingredients (meat, seafood, veggies) from a bento box into an assortment of hot, freshly made broths (Thai coconut or traditional). Effectively, you cook your dinner yourself at your table. It’s a fun way to dine, not to mention delicious. If you’d prefer to have the chef cook for you, try his citrus-plum sea scallops, coconut-crusted tofu or macadamia-crusted mahimahi. If you’re so inclined, be sure to try one of Shabu’s signature saketinis. 442 Main, Park City, 435-645-7253, ShabuPC.com

FILM REVIEW

Full Moral Jacket

CINEMA

A real-life war story is uncomfortably split in Hacksaw Ridge. BY SCOTT RENSHAW scottr@cityweekly.net @scottrenshaw

Andrew Garfield in Hacksaw Ridge in portraying bodies torn apart by gunfire and explosions. There’s more than a little bit of Saving Private Ryan’s Omaha Beach sequence in those moments, which doesn’t necessarily make them any less effective in capturing the arbitrary suddenness of death, or at showing the horror facing a man like Desmond whose only goal was helping keep other men alive. But where the focus should be on Desmond’s heroic risk of his own life to lower dozens of men to safety, Hacksaw Ridge spends too much time on stuff that merely reminds you of another, better movie. It’s not as though Gibson isn’t a gifted enough filmmaker to give his visceral style some distinctive elements, or the story of Desmond Doss isn’t singular enough in its improbable courage to warrant attention. But on a cinematic level, modern war movies need to do more than remind us that war is hell in ever-more-hellish ways, seasoned with foxhole interludes of personal reflection. The unique elements of this real-life tale deserve better than being dropped into a template for movies you’ve already seen. CW

HACKSAW RIDGE

| CITY WEEKLY |

BB.5 Andrew Garfield Sam Worthington Vince Vaughn Rated R

TRY THESE Full Metal Jacket (1987) Matthew Modine R. Lee Ermey Rated R

Braveheart (1995) Mel Gibson Sophie Marceau Rated R

Saving Private Ryan (1998) Tom Hanks Michael Madsen Rated R

NOVEMBER 3, 2016 | 29

All Quiet on the Western Front (1930) Lew Ayres Louis Wolheim Not Rated

Desmond’s aw-shucks wooing of Dorothy— with an edgy attention to the post-traumatic stress that turned Desmond’s World War I veteran dad into a violent alcoholic. Garfield has his strengths as an actor, and one of them has always been his ability to make his characters’ fundamental decency not seem tedious. Though it takes perhaps too long for Hacksaw Ridge to finally get to the wartime meat of this story, it sets the stage for Desmond’s principles with care and respect. Then Desmond heads to basic training, and things get strangely familiar. In the barracks of his rifle company, nononsense Drill Sgt. Howell (Vince Vaughn), moves from soldier to soldier, doling out insults and colorful nicknames to his new charges. As Desmond’s uncompromising refusal to pick up a weapon becomes clear, Sgt. Howell not-so-subtly suggests that the other soldiers should adjust the troublemaker’s thinking, which they do by beating him. The narrative eventually focuses on Desmond facing a court-martial for refusing to obey orders, and his strenuous wrestling with his conscience, but for too long, it feels like a weak approximation of Full Metal Jacket’s Paris Island first half—and while Vaughn’s role eventually takes on additional layers, he’s no R. Lee Ermey. And, also like Full Metal Jacket, Hacksaw Ridge makes a shift to the battlefield, where it faces a different set of comparisons. In an extended sequence centered around the U.S. Army’s 1945 assault on a well-defended high point on Okinawa, Gibson goes for the throat

| CITYWEEKLY.NET |

here’s no need to introduce the kind of vaguely offensive martial metaphors used by athletes: Actual war is hell, while making a war movie is merely a unique kind of artistic challenge. Some of the most celebrated movies in history have addressed the experience of war—from All Quiet on the Western Front to Apocalypse Now to Saving Private Ryan—in a way that keeps raising the bar. Are there compelling new stories to tell about the brutality of armies clashing? And are there ways to tell those stories that don’t feel like something we’ve already seen in a much better version? Hacksaw Ridge certainly achieves the former, uncovering a fascinating World War II-era footnote that brings a new perspective to a familiar milieu. But the way director Mel Gibson and screenwriters Andrew Knight and Robert Schenkkan choose to tell that story evokes one of the most distinctive war movies ever made: Stanley Kubrick’s Full Metal Jacket. And the comparison does not work in Hacksaw Ridge’s favor. The story concerns Desmond Doss (Andrew Garfield), an earnest young man living in Virginia’s Blue Ridge Mountains as America goes to war in 1941. He’s determined to do his duty in service to his country, but faces a unique challenge: As a devout Seventh-day Adventist, he is adamant in his refusal to take up arms against another human being. So as he leaves behind his parents (Hugo Weaving and Rachel Griffiths) and fiancée Dorothy (Teresa Palmer). With the intention of serving as a medic, he believes he can serve by saving lives rather than taking them—until he reaches basic training, and faces a U.S. Army that has no idea what to do with this guy. The Virginia-set early scenes mix an almost aggressive corniness—particularly

CINEMA CLIPS

MOVIE TIMES AND LOCATIONS AT CITYWEEKLY.NET

NEW THIS WEEK Information is correct at press time. Film release schedules are subject to change. AMERICAN PASTORAL [not yet reviewed] Adaptation of Philip Roth’s 1960s-set novel about a suburban couple (Ewan McGregor and Jennifer Connelly) coping with their young daughter’s (Dakota Fanning) political radicalism. Opens Nov. 4 at theaters valleywide. (R)

| CITYWEEKLY.NET |

AQUARIUS BBBB Among the many marvelous things about Brazilian filmmaker Kleber Mendonça Filho’s drama—about a slow-burn battle between a woman and the construction company trying to drive her from her home—is that its two-and-a-half hours fly by; every moment is beautifully necessary. Clara (Sonia Braga), a retired music critic and a longtime widow, is the last resident left in the elegant old building on an urban seaside boulevard. Everyone else has been bought out by the developers who want to toss up a modern residential skyscraper, and now they’re trying to make living there as difficult as possible for her. The amazing Braga makes Clara burn with a fierce intelligence and a lively sensuality, and her contest of wills becomes a backdrop for a meditation on aging, home, memory, family—the rich tapestry of experience and hope and relationships that make up a life—that sprawls across decades, yet is deeply intimate. As the extraordinarily conceived ending suggests, with startling beauty and insight, a home is an extension of our bodies, and hence not easily thrown off. This is a stunning film—haunting, wise and unforgettable. Opens Nov. 4 at Broadway Centre Cinemas. (NR)—MaryAnn Johanson

CHRISTINE BBB.5 Antonio Campos takes what easily could have been an exercise in anticipatory exploitation—and, according to this year’s coincidental documentary doppelgänger Kate Plays Christine, perhaps inevitably must be—and instead turns it into a deeply

DOCTOR STRANGE BB Oh, sure, it certainly looks different from other Marvel movies, but even its differences are familiar—think Inception dreams in The Matrix. But the busy CGI can’t hide the yawning emptiness where the story’s emotional core should be. Benedict Cumberbatch wields a distractingly terrible American accent as brilliant, arrogant neurosurgeon Stephen Strange, whose search for healing after a terrible accident leads him to Nepal. There, a sorcerer known as the Ancient One (Tilda Swinton) inducts him into “Kamar-Taj,” the “mystical Avengers” who protect Earth from arcane threats, including a rogue member of the group (he’s not much of a villain, despite the best efforts of Mads Mikkelsen). Not scary enough, not bonkers enough and not funny enough, Strange is clearly tired of the superhero origin story; it treads water to get to the bits when Stephen can play the master sorcerer. There is real power in the finale as the movie sets up an exciting new villain for Strange’s next outing, and the mid-credits sequence that brings Stephen onto the larger Marvel scene is fab. We should have just skipped all this and jumped right into Doctor Strange 2. Opens Nov. 4 at theaters valleywide. (PG-13)—MAJ

GIMME DANGER [not reviewed] Director Jim Jarmusch’s documentary portrait of Iggy Pop and The Stooges. Opens Nov. 4 at Tower Theatre. (R) HACKSAW RIDGE BB.5 See review p. 31. Opens Nov. 4 at theaters valleywide. (R) TROLLS BB.5 As dispiriting as Hollywood’s ongoing plundering of any possible game, toy or vaguely familiar pop-culture product as movie fodder might be, it’s a relief when any such example proves to be at least somewhat inspired. In this animated tale, those fuzzy-headed, goofy-faced trolls inhabit a world where they’re forever on the run from the Bergens—creatures who believe that the only way they can feel happiness is by eating the happy little trolls. Anna Kendrick (as a troll princess) and Justin Timberlake (as her prickly companion) headline, and the most pleasant surprise is that the decision to make this a sort of jukebox musical—with renditions of “September,” “True Colours” and Lionel Ritchie’s “Hello” among the offerings—results in something considerably livelier and less dire than Strange Magic. But the most interesting touch is visual, as director Mike Mitchell (Shrek Forever After) builds a world of textures that suggests, without ever explicitly saying, that that these creatures all exist as human playthings. While the plot revolves around familiar “the real happiness was inside you all along” platitudes, Trolls at least delivers it with some tactile charms. Opens Nov. 4 at theaters valleywide. (PG)—SR

SPECIAL SCREENINGS THE BEATLES: EIGHT DAYS A WEEK —THE TOURING YEARS At Park City Film Series, Nov. 4-5, 6 p.m.; Nov. 6, 8 p.m. (NR) CHOCOLAT At Tower Theatre, Nov. 7, 7 p.m. (PG-13) LIFE, ANIMATED At Rose Wagner Center, Nov. 9, 7 p.m. (NR) MOLLY MONSTER At Main Library, Nov. 5, 11 a.m. (NR)

more than just movies at brewvies

| CITY WEEKLY |

30 | NOVEMBER 3, 2016

engrossing character study. Rebecca Hall plays Christine Chubbuck, the Sarasota, Fla., local news reporter who famously shot herself on live television in 1974. Christine follows her for several weeks leading up to the incident, anchored by a phenomenal performance by Hall that captures the knot of profound insecurity—second-guessing every on-air tic, abruptly stopping her sing-along to the radio when she thinks another driver might be watching her—creating a dangerous cocktail with her untreated depression. And Campos does a brilliant job of tying her emotional plight to this specific era, with women theoretically able to make career progress that Chubbuck can’t quite reach. The sly coda—making effective use of one of the 1970s’ most iconic TV shows—pulls the narrative in an unexpected direction, with more contextual punch than the grim tabloid-fodder event that granted Chubbuck a kind of immortality. Opens Nov. 4 at Broadway Centre Cinemas. (R)—Scott Renshaw

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Votepocalypse Now

Landslide Recount The Purge

Where (and where not) to get your Election Night TV fix. Election Night 2016 Tuesday, Nov. 8 (ABC, CBS, Fox, NBC, PBS)

You could trust the Lamestream Media to give you accurate, unbiased coverage of voting results across the country, just like you could trust a urine-scented man in a ratty clown costume to babysit your kids in a windowless van under the overpass while you attend your political party’s “Victory!” bash at the local bar. Just sayin’. ABC’s Your Voice, Your Vote, CBS’ Campaign 2016, Fox’s You Decide 2016, NBC’s 2016 Election Night and PBS’ Newshour Election Night can’t even come up with decent titles, much less disclose that their Liberal Media reporters and analysts are all Team Hillary. Except for that dreamy Shepard Smith, anchor of Fox’s recycled broadcast from Fox News …

Election Night 2016 Tuesday, Nov. 8 (CNN)

If the Centrist News Network were smart, they’d bring in Samantha Bee from Time Warner cable cousin TBS’ Full Frontal as a guest commentator. They’re not, so they won’t. Instead, it’ll be hours of Wolf Blitzer’s beardy blathering, broken up with the occasional pithy point from Anderson Cooper, Jake Tapper and maybe a woman, if they can find one anywhere in the newsroom. But hey, 3-D Minority Report graphics!

The Left Wing’s direct feed will be unapologetically and giddily pronouncing a Hillary Clinton landslide, and Hardball’s Chris Matthews will likely be even more intoxicated than usual … allegedly. MSNBC is as liberal as David Cross in Barbra Streisand drag snorting ecstasy at Burning Man, but it’s still a credible news outlet that delivers in the clutch—maybe because they rest all weekend while airing 600 reruns of Locked Up Abroad. Who knows? Few newscasters piss off Redneck ’Merica like Rachel Maddow, which is why she’s a national treasure who’ll become even more invaluable should this “rigged” election go the way of the Manchurian Cheeto instead of the presumed Pantsuit Assassin. Who better to be the voice of the underground resistance in the post-apocalyptic Mad Max hellscape of TrumpVana?

The Daily Show With Trevor Noah Tuesday, Nov. 8 (Comedy Central)

It’s crunch time. If Trevor Noah and his crew don’t nail this, the most important moment of The Daily Show’s postJon Stewart era, Comedy Central might as well give up and just hand weeknights completely over to Chris Hardwick and @Midnight. We’re rooting for you, Trevor. Well, maybe not Larry Wilmore, but the rest of us are …

Stephen Colbert’s Live Election Night Democracy’s Series Finale: Who’s Going to Clean Up This Shit? Tuesday, Nov. 8 (Showtime)

“It will be all the political comedy you love from my CBS show, with all the swearing and nudity you love from Showtime,” Late Show host Stephen Colbert has said of his epically named live special. “Get all the election news without all the ethics and standards of news.” While that last part is essentially the mantra of AM talk radio, Colbert’s unusual live outing on an uncensored premiumcable network (again, why aren’t you doing a similar special with Samantha Bee on your HBO, Time Warner?) should be the go-to election broadcast of the year, even if it is only an hour long. Good night and good luck, America.

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

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The Make America Great Again™ crowd will be glued to Fox News tonight, grabbing for any crumbs of positive Donald Trump poll showings, which Shep and conservative lust/loathe object Megyn Kelly might not be able to deliver. Which is why Fox News will probably throw on such true believers as human potato Karl Rove and inhuman hairball Ann Coulter to keep your grandfather from completely losing his shit and retreating to the bunker. With any luck, they’ll also give some screen time to Fox News wildcards like Greg Gutfeld and Kat Timpf to inject some (intentional) comedy into what could be a bleak night.

Stephen Colbert’s Live Election Night (Showtime)

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Election Night 2016 Tuesday, Nov. 8 (MSNBC)

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Har Mar Superstar’s 16-year evolution ranges from manchild to man with childish tendencies. BY RANDY HARWARD rharward@cityweekly.net

he cover of Har Mar Superstar (Kill Rock Stars, 2000) shows an ancient radio. On the back cover is a mirror image of the superstar himself: a puffyfaced 22-year-old Midwestern hipster in headphones, wearing ostensibly new clothes meant to look vintage. He strikes that whack onanistic pose that some hip-hop and R&B artists use to hype themselves. Other photos show him in similarly eye-catching poses: shirtless, exposing his moobs while still wearing his cans and looking pensively at the ground; standing in a dirty window beneath finger-written initials—HMS—“reading” Playboy; and standing, hip cocked, with his coiled headphones cord tucked into a zippered pocket, as though he’s a human stereo. Really, he looks like another white, suburban clown with a shtick. The first minute of “Baby, Do You Like My Clothes?” intriguingly complicates the image. Over a swinging beat, Har Mar Superstar—born Sean Tillman in Marshall, Minn.—talk-raps: “Baby. It’s, like, 11 o’clock. You know we gotta get over to the mall. Because I can’t lie to you. If you want to stay with me, you got to change your wardrobe.” What at the outset appears to be hipster fashion snobbery couched in the most superficial of music, unfolds to reveal layer after satisfying layer as Tillman—in a strangely smooth yet rather nasal voice—engages in musical misdirection. “Baby, do you like my clothes?/ ’cause I sure don’t like yours,” at first seems to mean, “Eeew … What are you wearing?” The ensuing lines—“unless they’re lyin’ on the floor/ with your body next to me”—shift this to, “Oooh … Why aren’t you naked?” Henceforth, in the next verse, he blends insult humor, lechery, puerility, elitism and social commentary, crooning, “Hypercolor tells me where my baby is hot/ ’cause I can see your sweatpants gettin’ dark in the crotch/ someone please, get her out of that Tommy gear/ I saw that shirt at TJ Maxx, double-X earlier this year.” In other words, he’s romancing and insulting a chubby girl with horrible fashion sense and, it appears, overactive glands, while making fun of a fad and a discount store at the same time—and commenting on our superficial society. The other songs are just as lyrically deft, balancing the absurd with the serious, touching on the consequences of one-night stands, having “beef” with a dude or dealing with infidelity. In contrast to his lyrical themes, the music—composed by Tillman with a cast of punk and indie-rock bands (The Busy Signals, The Joggers) and a DJ/producers (Chocoroach, Ric Diculous)—is surprisingly faithful, albeit lo-fi, and diverse. “The Honorable Judge Har Mar” bulls-eyes the goofy simplicity of old-school rap beats and rhymes. “You Are The Sunshine In My Soul” is, ironically, the heaviest doo-wop song this writer has ever heard. It’s this complexity that elevated Har Mar Superstar above being a simple novelty act, making him a cult figure as beloved for his music as for his antics, which included performing in skimpy briefs, looking like Ron Jeremy, Jr. (The Hedgehog II: Gone Wild!) as he’d grind the stage. Tillman continued to work the suburban hipster/R&B loverman dichotomy on his next three albums: You Can Feel Me (Record Collection, 2002), The Handler (Record Collection, 2004) and Dark

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Sean Tillman, aka Har Mar Superstar Touches Dilettante Recordings, 2009). On these, he expanded his already broad musical palette, bringing in disco and electro-pop, and attracting higher-profile collaborators such as The Gossip’s Beth Ditto and Karen O. of the Yeah Yeah Yeahs. Simultaneously, his proven pop chops landed him songwriting gigs with Britney Spears and The Cheetah Girls, and his performance skills found him in films like Whip It and Pitch Perfect. Then, on his fifth album, Bye Bye 17 (Cult Records, 2013) Tillman appeared to grow up. The music shifted to the comparatively mature neo-soul sound—and the lyrics got serious. Tillman had already demonstrated a capacity for mature music with his indierock persona, Sean Na Na, but this had been eclipsed by his success as Har Mar Superstar. Once more nailing every nuance of his chosen sound, he asserted his value as an artist while not failing to deliver crowd-pleasing humor and onstage horseplay, like singing—passionately, sans irony—while standing on his head. His current album, Best Summer Ever (Cult Records, 2016), is meant to be his greatest hits if he’d been active since the ’50s. Thematically, it’s wistful, still looking back, only years later instead of the morning after. Stylistically, it’s all over the place, with vintage Otis Redding/Sam Cooke soul (“How Did I Get Through The Day?”), ’50s sock-hop balladry (“Confidence”), ’80s new wave/synthpop and 2000’s dance rock (the sublime, poetic anthem “Anybody’s Game”), art-rocky disco on “It Was Only Dancing (Sex),” and Stooge-y punk rock with “Famous Last Words”. It would appear that Tillman has come full-circle back to the old radio on the cover of his debut album. Only now, the poses he strikes reflect someone else: A 38-yearold man with a keen eye, deep soul and sharp mind who has, so many years later, truly become a human stereo—and who might still show his moobs onstage. CW

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ome artists make music that requires their listeners to play the role of passive observers. Their lyrics offer a narrative that makes further involvement all but unnecessary—a disposable commodity that’s easily forgotten once those final notes fade away. Caspian takes a different approach. The Beverly, Mass., band creates an array of soundscapes that defy the norm. Almost wholly instrumental, they’re well stocked with atmosphere and ambiance, a suggestive sound that allows listeners to create their own narrative and adapt the music as its singular soundtrack. “That kind of projection is common to most creative art,” guitarist and founding member Phil Jamieson tells City Weekly in a telephone interview. “That’s always been our goal, to allow the listener to transfer his or her thoughts to the moods the music conveys. They can project what they will. We think of it as something that can accompany whatever adventure they’re on.” That’s a risky venture, of course. Instrumental music isn’t always particularly accessible. And with their ever-shifting tones and textures—a dramatic dichotomy of light and dark, silence and noise, melancholy and joy—Caspian’s creative instincts demand more than simply experiencing it as passive entertainment. It’s made for immersion, a give-and-take between artist and audience in which the musicians share their observations and then leave it to the listener to interpret it as they will. “We’re not trying to be mysterious or enigmatic,” Jamieson says. “We simply want to leave as much to the imagination as possible. We’re not trying to spread the gospel of the instrumental. We’re more than happy to engage with our audience, even if it means letting them go behind the curtain.” The one thing they don’t want to do, he adds, is get in the way of their interpretation. It’s a curious dialogue, he says. Ultimately, the conversation is most important.

Caspian

Indeed, it’s been that way since the band first formed in 2005. Initially influenced by the so-called “post rock” contingent— bands like Godspeed You! Black Emperor, Explosions in the Sky and the like—they originally had a singer in the lineup, but when he failed to turn up for their very first gig, they went onstage without him. Encouraged by the crowd’s reaction, they opted to forego a vocalist from that point on. Four albums later, Caspian hasn’t changed their tack, choosing instead to pour their emotions into their music as a kind of shared experience that’s open to both exploration and introspection. “We’re just doing what comes naturally,” Jamieson says. “Not that it comes naturally; I’ve spent many a sleepless night trying to figure out how to put these songs together. First and foremost, we’re a rock band. We rock 100 percent of the time. However, we also have the duty and obligation to get better, and if that means incorporating new elements, that’s what we’re going to do.” In the case of their latest album, 2015’s Dust and Disquiet (Triple Crown), that meant a first in the form of some limited vocals. However, Jamieson insists that the band’s fans don’t mind an occasional swerve from the usual M.O. “We didn’t take as much heat as we thought we would,” he recalls. “Our fans aren’t dogmatic. They accept what we do. We’ve always followed a single thread from Day 1, and that’s to keep pushing ourselves forward.” That said, Jamieson says there are no immediate plans for a new album beyond the single “Castles High, Marble Bright” that the band recently released. “It’s really demanding to put out a collection of songs that represent who we are,” he says. That doesn’t mean that he’s not thinking ahead. “I’ve got a lot on my mind. Making music is the way I express my thoughts and emotions. It’s an ongoing outlet. At the end of the day, I take heart from that. It’s a catharsis, the ultimate way of sharing what we feel.” CW

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FRIDAY 11.4

Roger Clyne and P.H. Naffah perform The Refreshments’ Fizzy Fuzzy Big & Buzzy

Consider how many concerts you’ve been to where you were completely satisfied with the setlist, where the artist played every song you wanted to hear. Now how many albums do you own that are all-killer, no-filler, whose every song you know and feel? (Greatest hits don’t count.) Even if you’re a musical glutton with an extensive library/hoard of wax, tapes, discs and drives, it’s a small percentage. These rarities, although inanimate, are living entities—best friends, fated loves that we can trust to endure. They soundtrack our lives, attaching themselves to events and memories, and periodically remind us why we get out of bed every morning. Now imagine that for two decades, you have nobody to share the music with; the friends you play it for don’t connect to it on the same level. Sure, there are tons of fans online, but you don’t connect to people that way. You’d rather sit across from them in a corner booth, swilling beer and discussing how you found and relate to the music. Two years ago on a long road trip, a friend’s shuffling iPod landed on a song from The Refreshments’ Fizzy Fuzzy Big & Buzzy (Mercury, 1996). Six months ago, Roger Clyne & The Peacemakers— The Refreshments, evolved—played Liquid Joe’s on a tour celebrating the 20th anniversary and vinyl debut of the

album. Walter and I stood shoulderto-shoulder with 200 kindred spirits, and we all sang our voices hoarse as the band performed the album in its entirety (plus a smattering of other Refresh-makers songs). On Friday, singer and songwriter Clyne, with his friend and drummer P.H. Naffah, reprise the performance unplugged. It kills me that I’ll miss another shot at this experience. But I’ll be in Mexico—a favorite setting for Clyne’s twangy pub-rock songs—and I’ll have ear buds. Have fun, friends. Here’s to life. (Randy Harward) The Urban Lounge, 241 S. 500 East, 6 p.m., $20, 21+, TheUrbanLoungeSLC.com

SATURDAY 11.5

William Fitzsimmons

William Fitzsimmons, Laura Burhenn

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36 | NOVEMBER 3, 2016

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Two periods in his life have had a profound effect on the music of singer-songwriter William Fitzsimmons: being raised by blind parents, and working as a psychotherapist for a few years. In an environment where sound was predominant, and took the place of visual stimuli for the Fitzsimmons family, he learned a sensitivity to its subtleties and nuances. As a therapist, he gained a great deal of empathy. Nearing 40, his musical career already ranges over a decade, and his latest release, Charleroi: Pittsburgh, Vol. 2 (Nettwerk, 2016) recalls the grandmother he never knew. For some songwriters, this kind of material would seem too personal, in the sense of his own insular history. But Fitzsimmons’ warmth makes these sketches immediately relatable, somehow familiar. With special guest Laura Burhenn of The Mynabirds. (Brian Staker) The State Room, 638 S. State, 9 p.m., $17, 21+, TheStateRoomSLC.com

Roger Clyne and P.H. Naffah

SUNDAY 11.6

Locksmith, J. Lately, Audible Intellect, DJ Nocturnal

Ever since Locksmith (born Davood Asgari) made waves on an MTV freestyle rap battle in 2003, the Bay Area wordsmith has established himself as not only an accomplished battle rapper, but a serious hip-hop force. Since 2013, he’s released four albums, with 2015’s Lofty Goals gaining traction among freestyle aficionados. A trip through The Lock Sessions, Locksmith’s most recent mixtape, leaves the listener’s head spinning with socially conscious lyrics that land with the speed and intensity of an automatic weapon. As an artist of Persian and African descent, Locksmith’s commentary on the racism, divisive politics and fear-mongering that has ravaged social media during this election season strikes a particularly resonant tone. (Alex Springer) Liquid Joe’s, 1249 E. 3300 South, 7 p.m., $10 in advance, $12 day of show, 21+, LiquidJoes.net

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Amos Lee has had a fortuitous career. His big break came when his demo led to a major record company contract, followed by a tour opening for Norah Jones. The critical kudos kept coming, and five albums on—his latest, Spirit, was released in August—Lee not only finds himself headlining, but touching audiences the way he always wanted. “It was pure love that drew me to music,” he tells City Weekly in a telephone interview. “Music reached a place in me that nothing else had ever reached before. It allows me to connect with people and to give it my all.” Lee’s rugged, rootsy strain of Americana has made him an authentic auteur, bringing a well-worn, homegrown sensibility to every song he sings. It’s a gift he’s grateful to share. “It never escapes me how lucky I’ve been. If I can inspire people in these troubled times, then I’ve done my job.” (Lee Zimmerman) Delta Performance Hall @ Eccles Theater, 131 S. Main, 7:30 p.m., $27.50-$77.50, Live-At-The-Eccles.com

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Speaking of full-album performances, and music that scores our lives, for some folks it’s Joy Division’s Substance or New Order’s Substance. Or both, since they’re almost the same band. Peter Hook played bass (and occasionally sang) in both, so he has intimate knowledge of each band’s respective hits anthologies. In spite of this, Hook’s somewhat stentorian, Patrick Stewartesque vocals are far from the gentle croon of NO singer Bernard Sumner’s gentle croon, so his performances of songs like “Blue Monday” and “Bizarre Love Triangle” are a bit jarring. Hook bears enough of a resemblance to late JD singer-guitarist Ian Curtis’ baritone vox, though, that “Love Will Tear Us Apart” and “Warsaw” are close enough for rock ‘n’ roll. And since Curtis killed himself before Joy Division could tour Stateside, and the still-active New Order (sans Hook) hasn’t performed here since 1989, it’s unlikely that many Salt Lake City fans will complain. Especially since Hook’s signature high basslines are almost as iconic as the vocals in these tunes. (RH) The Urban Lounge, 241 S. 500 East, 7 p.m., $25, 21+, TheUrbanLoungeSLC.com

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Blind Pilot is a band that’s really easy to embrace. Like The Head and the Heart, Lord Huron, Band of Horses and The Lumineers, they possess a keen sense of tone and tempo, as manifested in their ability to make melodies that ebb and flow with an emotional sweep. The results coalesce through songs that are simultaneously introspective and intense. Their latest effort, And Then Like Lions, is a perfect case in point: Like its two fine predecessors, it’s affecting at times, harrowing at others, and wrought with uncertainty throughout the times inbetween. Being a band that’s never lacking for those indelible interludes, they warrant more than only a cursory encounter. There’s a certain brilliance in all Blind Pilot has to offer— one that suggests there’s more to their music than sometimes meets the ear. That’s one reason Blind Pilot always soars. (Lee Zimmerman) The Depot, 400 W. South Temple, 8 p.m., $18 in advance, $20 day of show, DepotSLC.com

11.4 CONCERTS & CLUBS FRIDAY LIVE MUSIC THURSDAY 11.3 LIVE MUSIC

Blind Pilot + The River Whyless (The Depot) see above Brazilian Roots (The Gallivan Center) Eminent Sol + New Shack + Coral Bones (Velour Live Music Gallery) Life Lessons + Mariner + Not Quite Heroes (The Loading Dock) Har Mar Superstar + Sweet Spirit (Metro Music Hall) see p. 32 Sweater Beats + Different Sleep + Typefunk (The Urban Lounge) The Waldron Brothers + Small Lake City + Ryan Humphrey (Kilby Court) Water Aerobics (Diabolical Records)

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Astronautalis + Oxymorrons + Burnell Washburn (Kilby Court) Balance & Composure + Foxing + Mercury Girls (The Complex) Choir Boy (Diabolical Records) Croatia Squad + Lavelle Dupree (Downstairs) Dirty Old Men (The Spur Bar and Grill) Dubwise + Roommate + Illoom (The Urban Lounge) Escher Case + Delphic Quorum + Reaper the Storyteller + Nick Wan (Funk ’n’ Dive) Goo Goo Dolls (Eccles Theater) Major Tom & the Moon Boys (Garage On Beck) The National Parks + Flannel Graph + The Crosswinds (Velour Live Music Gallery) Penrose (Brewski’s) Puddle of Mudd (Liquid Joe’s) Roger Clyne & P.H. Naffah (The Urban Lounge) see p. 36 Sunflower Bean + The Lemon Twigs (Billboard-Live!)

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DJ Feral Williams + Regular Ass Dude + Khensu (The Urban Lounge) The Last Ten Seconds of Life + A Traitor’s Last Breath + Spite (The Loading Dock) Lydia (The Urban Lounge) My Fair Fiend + The Distraction + My Empty Phantom + Batty Blue (Muse Music Cafe) The National Parks + Flannel Graph + Seth Brown (Velour Live Music Gallery) Neil Jackson (Downstairs) Niykee Heaton (The Complex) No Sun (Diabolical Records) Pixie Party Grass Boys (The Spur Bar & Grill) Rae Sremmurd + Eearz + Bob Swae + Impxct (The Complex) see p. 40 Sales + Tangerine (Kilby Court) Vicious Souls + Warfarin + Silenced By Dawn + Collin Creek (Club X) William Fitzsimmons + Laura Burhenn (The State Room) see p. 36

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SUNDAY 11.6 Aaron Lewis (The Depot) David Ramirez (Kilby Court) For Today (The Complex) Locksmith + J. Lately + Audible Intellect + DJ Nocturnal (Liquid Joe’s) see p. 36

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Amos Lee (Eccles Theater) see p. 37 Napalm Death + The Black Dahlia Murder + Misery Index + Abnormality (Metro Music Hall) Peter Hook & The Light (The Urban Lounge) see p. 37 Yelawolf + Bubba Sparxxx + Struggle Jennings + Jelly Roll (The Complex)

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After a memorable debut working with producer Mike WiLL Made-It on 2015’s SremmLife, Rae Sremmurd— brothers Khalif “Swae Lee” Brown and Aaquil “Slim Jxmmi” Brown—have spun their thumping rhythms and inclusive party vibe into a sound that has drawn attention from the likes of Nicki Minaj and Beyoncé. After earning a nomination for Top Rap Artist at the 2015 Billboard Music Awards, Rae Sremmurd has seen their trajectory skyrocket, earning them a spot on The Tonight Show earlier this year promoting the release of SremmLife 2 (EarDrummers/Interscope). Fellow Atlanta rapper (and impromptu model for the release of Kanye West’s Yeezy fashion collection) Lil Yachty opens. Based on both artists’ youthful propensity for semi-crazed stage antics, this show promises to deliver for anyone looking for a party. (Alex Springer) The Complex, 536 W. 100 South, 7 p.m., $35 in advance, $40 day of show, TheComplexSLC.com

Ivy Local + Tarot Death Card + The Wicked Notions + Sundaii (The Urban Lounge) Magda-Vega (The Jackalope) Nate Robinson Trio (Gracie’s) Rittz + Jarren Benton (The Complex) Watsky + Witt Lowry + Daye Jack + Chuckwudi + Hodge DJ Set (The Complex) Well Dressed Mannequins (Muse Music Cafe)

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IN CONCLUSION

BY DAVID LEVINSON WILK

ACROSS

1. Not taut 2. "I insist!" 3. Butcher's wear 4. Deutsch denial 5. "Don't let that guy get away!" 6. Fellini's "La ____"

50. Tuscany town 51. Laugh-filled broadcast 52. How pastrami might be served 54. "The Grapes of Wrath" migrant 55. ____ of the above 56. Author Silverstein 57. Important school fig. 58. Run into 59. Deadeye's asset

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.

DOWN

7. Circle 8. Easy as falling ____ log 9. Sources of relief? 10. Star of the reality series "I Am Cait" 11. Bush press secretary Fleischer 12. Prevail 13. "Capeesh?" 21. Place for a stud 22. "Othello" evildoer 26. Nancy in the LPGA's Hall of Fame 27. Feudal lord 28. "You're making ____ of yourself!" 29. "Whew!" 30. Prepare to play, as a CD track 31. Three after K 32. Uneasy feeling 33. Brown, in a way 34. Capital of Yemen 38. Disappeared, as a trail 39. No beauty 40. Camera move 42. "Très ____" 43. Downsides 45. San ____, Calif. (border town opposite Tijuana) 46. "Mr. Belvedere" star 47. Business card abbr.

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

1. "Language that rolls up its sleeves, spits on its hands and goes to work," per Carl Sandburg 6. Disorderly sort 10. 1975 film in which one actor is credited as "Estuary Victim" 14. Outcast 15. It's pretty tasteless stuff 16. The "E" in HOMES 17. Skylit courtyards 18. Texter's response to a hilarious joke 19. Highest sudoku digit 20. "Will you do your impression where you talk about lipstick on a pig and seeing Russia from your house? Please!" 23. Barbie's guy 24. "You ____ me at 'hello'" 25. Saffron-flavored dish 29. What a hurdler who pulls a muscle one day but feels fine the next morning must have? 32. Indian state known for its tea and silk 35. "Actually ... I don't think so" 36. Shade of green 37. Delhi bread 38. "____ dinner?" 40. Identifies 41. Item in a holster 42. Actor Bridges 43. Challenges in a child's puzzle book 44. "Vladimir, you hanging out at the Kremlin for a bit longer?" 48. China cabinet display, perhaps 49. Opposite of morn 50. Kind of hotel, for short 53. "To summarize ..." (or this puzzle's theme) 57. One with a degree 60. "I get your point. Jeez!" 61. Do a shepherd's task 62. Couple 63. "Are you a 90-degree angle? 'Cause you are looking right," e.g. 64. Wee 65. Bullets and such 66. Animal on XING signs 67. Blank ____

SUDOKU

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42 | NOVEMBER 3, 2016

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With holidays fast approaching, many of us are looking for ways to give back to the community. The Starlight Program, a private provider that matches foster children with proctor parents and appropriate therapeutic treatment, hosts an annual fundraiser and project called Sub for Santa. “A lot of these kids have very little, if anything,” owner and operator Bill Perfetto says. “We work with the community to see what we can get to make sure that each of the kids has something special for Christmas. The state provides roughly $30 per child for Christmas, but $30 doesn’t go a long way.” In years past, community partners like Bingham High School have assisted in raising funds for foster children. “They’ve been amazingly generous,” Perfetto says. “The student body group out there is just phenomenal.” In addition to raising money for this event, the students at Bingham have also organized transportation to take children to see the lights at Temple Square during the holiday season. Private service providers like this one are invaluable to children in need. The Division of Child and Family Services (DCFS) has custody of many children who, for whatever reason, cannot currently live with their biological family. DCFS often utilizes these programs, depending on the child’s needs. Starlight focuses on children who need customized treatment plans to deal with behavioral problems or disorders, emotional issues, abuse issues, lack of independent living skills and academic delays. Perfetto, who spent 30 years in mental

345 E. 4500 South, Ste. 260, Murray 801-747-3556 StarlightProgram.org

NOVEMBER 3, 2016 | 43

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health with the Veterans’ Administration before he founded Starlight 11 years ago, is proud of the work they do for the state’s foster children. As a licensed clinical social worker, he believes the group’s dedication to integrity, compliance with standards and focus on children’s and parents’ therapeutic needs sets them apart. “We do one thing and we do it well,” he says. “We don’t dilute the pizza sauce, so to speak.” Once the program finds the best possible foster family match for each child, it creates a plan for whatever additional services he or she might need. “We provide their clinical needs for their mental health and manage the entire process,” Perfetto says. “We help them get ready to be reunified with their family of origin, or shape up the biological parents with different services, like peer-parenting. Depending on what the end-goal is for each child, we engage accordingly.” Through the program, therapists generally provide services to the child in the proctor home itself, to increase their sense of comfort and stability. Perfetto enjoys being an independent business owner after his years of service with government. “I like the freedom to design treatment, to make staffing and business decisions myself,” he says. According to him, the staff at Starlight feels like family, and is committed to helping this population of children. They are accepting donations for Sub for Santa until Dec. 16. If you would like to assist with this project, or if you are interested in becoming a proctor parent, give them a call or check them out online. n

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SCORPIO (Oct. 23-Nov. 21) Until 2007, Scotland’s official slogan was “Scotland, the Best Small Country in the World.” Deciding that wasn’t sufficiently upbeat, the government spent $187,000 on a campaign to come up with something better. “Home of Golf” and “Home of Europe’s Fastest Growing Life Sciences Community” were among the proposed phrases that were rejected. The ultimate choice: “Welcome to Scotland.” I bring this to your attention, Scorpio, because you’re in a favorable phase to rebrand yourself. But I hope you will be more daring and imaginative than Scotland. How about “Smolderingly Alarmingly Brilliant”? Or maybe “Safely Risky and Unpredictably Wise” or “Home of the Best Secrets Ever”? SAGITTARIUS (Nov. 22-Dec. 21) I cheer you on as you attend to your difficult but holy duties. I send you my love as you summon the wisdom and resourcefulness you need to weather the gorgeous storm. Here are clues that might be useful: Whether you are partially or totally victorious will depend as much on the attitude you hold in your heart as on your outward behavior. Be grateful, never resentful, for the interesting challenges. Love your struggles for the new capacities they are building in you.

TAURUS (April 20-May 20) I am pleased to inform you that at least 30 percent of what you think you know about love and lust is too prosaic. Probably too narrow and constrained, as well. But here’s the good news: As soon as you agree to relinquish the dull certainty of that 30 percent, you will open yourself to a surge of fresh teachings. And soon, I expect, dewy throbs and hot flows will awaken in all the erotic parts of your body, including your heart and brain and soul. If you’re brave enough to respond, generous lessons in intimacy will keep you entertained for weeks.

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LIBRA (Sept. 23-Oct. 22) Over the course of his or her life, the average British person says “Sorry” on over 90,000 occasions. The typical Libran Brit probably utters routine apologies upward of 120,000 times. Libras from other countries might not reach that heady level, but many do specialize in excessive politeness. (I should know, as I have three planets in Libra in my natal chart.) But in accordance with the astrological indicators, I am authorizing you to be a bit less courteous and solicitous than usual in the next two weeks. Don’t go overboard, of course. But allowing yourself some breathing room like this will help you get more rigorous access to your authentic, idiosyncratic, soulful urges—which will be very tonic.

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ARIES (March 21-April 19) I am in awe of your headfirst, charge-forward, no-distractions approach. In fact, I aspire to incorporate more of the Aries-style directness into my own repertoire. But I also love it when, on rare occasions, you flirt with a more strategic perspective. It amuses me to see you experimenting with the power of secrets. Your wisdom often grows at an expedited rate when you get caught up in a web of intrigue that exposes you to dark joys and melodramatic lessons. During times like these, you feel fine about not having everything figured out, about not knowing the

VIRGO (Aug. 23-Sept. 22) It’s time to replace banged-up, dried-out old obsessions with ripe, juicy fascinations. It’s your duty to phase out numbing traditions and deadening habits so as to make room for exciting new rituals, customs and sacraments. Can you summon the electric willpower to shed influences that are technically “correct” but lacking in soulfulness? I think you can. Do you love yourself enough to forswear pretty but meaningless titillations? I think you do. Now get out there and do the hard work necessary to bring more serious fun into your life. Homework: Write an essay titled “What I Can Do to Be More Playful.”

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GEMINI (May 21-June 20) Over the past two decades, well-meaning Westerners have donated a profusion of clothes to low-income folks in Kenya, Uganda and Tanzania. Kind and magnanimous, right? Yes, but their largesse has had an unintended consequence: the demise of the textile industry in those African countries. With this as a cautionary tale, I’m asking you to take inventory of your own acts of benevolence and charity. Are they having effects that you approve of? If not completely, how could you adjust the way you CAPRICORN (Dec. 22-Jan. 19) The coming weeks constitute the harvest phase of your personal give your gifts and bestow your blessings? cycle. That means you have the pleasure of gathering in the ripe rewards that you have been cultivating since your last birthday. CANCER (June 21-July 22) But you also have the responsibility to answer and correct for any Is it possible that you might flourish as a topdog after all the carelessness you have allowed to affect your efforts during the work you’ve put in as an underdog? Can you wean yourself from previous 11 months. Don’t worry, dear. My sense is that the good- the worried fantasy that you’ve got endless dues to pay, and ies and successes far outnumber and overshadow the questionable then harness your imagination to expand your confidence and decisions and failures. You have ample reasons to celebrate. But I build your clout? I believe you can. And in the coming weeks I hope you won’t get so caught up in your rightful exaltation that will unleash a flood of prayers to the Goddess of Holy Reversals, asking her to assist you. Now please repeat after me: “I am a you’ll neglect the therapeutic atonements. creative force of nature. I am a strong song of liberation. I am a wise animal with direct access to my primal intelligence.” AQUARIUS (Jan. 20-Feb. 18) Like England and Spain, the Netherlands has a royal family, including a king, queen, prince and princesses. They’re an egalitar- LEO (July 23-Aug. 22) ian bunch. The young ones attend public schools, and the previous The next two weeks could be smooth, peaceful and bland. Is that queen’s birthday is celebrated with a nationwide flea market. The the experience you want? Mild satisfactions, sweet boredom and king’s crown is attractive but quite economical. Its pearls are fake, slow progress? There’s nothing wrong with any of that. Please feel and other “jewels” are made of glass, colored foil and fish scales. free to loll and loaf as you explore the healing charms of laziness. In accordance with the astrological omens, I propose that you cre- Grant yourself permission to avoid conflict and cultivate sunny selfate a regal but earthy headpiece for yourself. It’s high time for you protectiveness. This is one of those times when silence and stasis are to elevate your self-worth in an amusing and artful way. What fun among the best gifts you can give yourself. Welcome the rejuvenating power of emptiness! and funky materials will you use in your homemade crown? PISCES (Feb. 19-March 20) In her book, A Natural History of the Senses, Diane Ackerman reports on the eccentric methods that professional writers have used to galvanize their creative process. Poet Amy Lowell relaxed into her work day by puffing on Manila cigars. Novelist Colette plucked fleas from her cat. T. S. Eliot’s poetry thrived when he had a head cold. Novelist George Sand liked to jump out of bed after making love and immediately begin writing. Novelist William Gass, who is still among the living, wanders around outside taking photos of “rusty, derelict, overlooked, downtrodden” places. As for D. H. Lawrence: Climbing mulberry trees naked energized his genius. What about you, Pisces? Now is an excellent time to draw intensely on your reliable sources of inspiration— as well as to seek new ones.

brings you

most straightforward route to your destination. You allow the riddles and enigmas to ferment as you bask in the voluptuous ambiance of the Great Mystery. Now is such a time.

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Poets Corner

The flat morning light Shows the morning fog Flowing over the sandbar Into the valley below Wish it was water Soaking into longing dirt.

Beryl Smith 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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WITH BABS DELAY Broker, Urban Utah Homes & Estates, UrbanUtah.com Chair, Downtown Merchants Association

Hunting Season

It’s my opinion that there are two kinds of people: those who hunt wild animals and those who don’t hunt at all. Non-hunters likely haven’t noticed that deer season is in fullswing. That is, unless you inadvertently drove up behind an SUV with a dead deer strapped to the roof on I-15 during rush hour. Specific dates depend on the animal and weapon, but generally speaking, deerhunting season begins in August and lasts through the end of December. The Utah Division of Wildlife Services conduct annual surveys to count the number of mule deer (our largest population of game animals) to determine which areas are becoming overpopulated and how many can be killed. They have found that, in the past few years, the local deer population has grown due to mild winters, a decent supply of water and natural feed and more fencing along state roads to keep them from wandering onto traffic. I grew up around guns and knew how to safely load and fire them by the age of 8. At one point, my family was pretty poor and we had to do anything we could to feed ourselves. Luckily, I was a great fisher and a dead-eye squirrel killer with my .22 rifle. As a family, we’d go into the woods at night and shoot down turkeys nesting in trees. A large bullet aimed correctly can blow off a gobbler’s head, and they simply fall to the ground ready for plucking. We lived in a very rural area in Arizona for a time and my stepfather (I think he was stepdude No. 4?) didn’t obey the laws for the hunting seasons. If there was a bull elk standing near a herd of deer, he’d bring it down no matter what time of year it was. We’d have elk for six months after it was butchered, and his relatives would get a few coolers of meat, too. We killed to eat, as we were broke as hell without any kindness of a foodbank within 200 miles. I don’t hunt these days, but if I had to, I would. The ongoing light goose season (including mourning doves and Sandhill cranes) ends Nov. 30. The general wild turkey hunt runs from April 8-May 31. Cougar season begins Nov. 9, with the end-date depending on location. You might have a permit to help cull or harvest wild game animals as the Utah Division of Wildlife Resources sees fit. They determine where and what animals need to be taken out to preserve or strengthen herds, and in some cases, protect people. For example, bobcats can be hunted Nov. 16-March 1. There are limited black bear permits available, too. For more information on Utah’s hunting rules and guidelines, go to Wildlife.Utah.gov. Content is prepared expressly for Community and is not endorsed by City Weekly staff.

Babs De Lay

Broker/Owner 801-201-8824 babs@urbanutah.com www.urbanutah.com

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