Super Films & Superheroes

art entertainment food drink music nightlife Thursday, March 3, 2016

DGO

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super films & superheroes

‘Bionic Woman’ Lindsay Wagner headlines the Durango Film Festival, which brings 108 films to three venues

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Also: Losing the Steaming Bean, remembering a friend and his style, sour beers and loving and hating live music

DGO Magazine

Staff

What’s inside Volume 1 Number 18

March 3, 2016

Chief Executive Officer

12 It’s a bird... it’s a

plane... it’s the first

female superhero!

Douglas Bennett V.P. of Finance and Operations

Lindsay Wagner (left) was the “Bionic Woman” Jaime Sommers on the 1970s TV series.

This year at the Durango Film Fest, Wagner will receive a special award. We spoke to her about how the character became a progressive feminine idol.

Bob Ganley V.P. of Advertising David Habrat V.P. of Marketing Kricket Lewis Founding Editors Amy Maestas David Holub Katie Klingsporn Editor/ designer/ art director David Holub dholub@bcimedia.com 375-4551 Staff writer Anya Jaremko-Greenwold anya@bcimedia.com 375-4546

5 The loss of a true gentleman

and style icon On Feb. 13, we lost Gabe Doelger – a very good man, friend to many, gentleman and style icon.

Contributors Katie Cahill Jaime Cary Christopher Gallagher Bryant Liggett Jon E. Lynch Heather Narwid Cyle Talley

10 Durango Film Fest recommendations

375-4570

DGO is a free weekly publication distributed by Ballantine Communications, Inc., and is available for one copy per person. Taking more than five copies of an edition from a distribution location is illegal and is punishable by law according to Colorado Revised Statute 18-9-314.

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Sound

Downtown Lowdown

6

Album Review 7 8

Beer

16 Movies 17 Pages 18 Weed

OK, ladies (and gents, too), it’s time for your annual – the Fort Lewis College Feminist Voice will present its annual performance of Eve Ensler’s “Vagina Monologues” at the Durango Arts Center.

Seeing Through the Smoke 18 Netflix and chill ‑ 420 edition 19

20 Savage Love 21 Happening 22 Love it or Hate it 23 Horoscope/ puzzles/ Bizarro

Not sure what to see at the film fest?

We’ll give you recs based on your tastes.

/dgomag

Advertising Reader Services

From the Editor

Review 19

21 Time for your annual

‘Vagina Monologues’

Robert Alan Wendeborn 247-3504

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11 The 411 on animation David Tart is an animator who worked on “Toy Story,” “Monsters, Inc.,” and “Finding Nemo.” We spoke with him about Pixar and what his Durango animation school does differently from other programs.

Tell us what you think!

Got something on your mind? Have a joke or a story idea or just something that the world needs to know?

Send everything to editor@dgomag.com

/dgomag

@dgo_mag

On the cover This year marks the 11th Durango Independent Film Festival. 108 films, three venues, tons of great flicks from March 2-6.

We’ve got a full seven pages of festival goodness.

Illustration by David Holub/DGO

DGO Magazine is published by Ballantine Communications Inc., P.O. Drawer A, Durango, CO 81302

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PSST! Love it or Hate it felt much better about being on Page 22 this week.

David Holub |DGO editor

What we’re losing when the Steaming Bean closes its doors This is what she wanted to facilitate, and she saw an opportunity at the Bean.

“I gathered around a group of people that could teach me things I didn’t know how to do and I bought the Bean with the es, it was my help of this amazing commufavorite coffee nity. I mean, I lived in a trailer in town (but, named Junebug. I didn’t come admittedly, not from tons of money, but this by much). It was priced community rallied around me reasonably. And, for some and we made it happen.” reason, the caffeine always The building was also bought hit me twice as hard and around the same time, and by the end of, say, an Giorgio impeded her ability to important business meetrun her business according to ing, my seemingly palsied her vision, mainly in terms of hands and I would be sither desire to host live music, a ting on the ceiling. significant monetary portion of But I never went to the Shaun Stanley/BCI Media her initial business plan. Losing Steaming Bean for the coffee. »» On the closing of the Steaming Bean, owner Erica Fendley said, “It’s hard to be a catalyst of change and the ability to have live music, in I went because it was althen come up short and feel like you let people down.” addition to the cost and headways bright and/or sunny aches of the legal issues involvinside the Bean, both in ing the renovation, made it a terms of the light and the enshell of a business and unsustainable, Erica said. vintage duds and unmistakable and undeniable froergy. I went because I could always pick up a bit of The lessons she’s walking away with are tough ed out orange hair. But we also lose the vision she community buzz. I went for the rotating art hung on and unforgiving but teachable. She’s learned that had for the Bean, the what-could’ve-been, the reason the walls and for the din of people typing, working, some situations, no matter how kind and amenable she bought the business in the first place. meeting and creating. I went because it was as close you are, how willing you are to solve issues and how “The vision that I had was born from a season to a community nerve center as I’ve ever been a part reconcilable a situation seems, some situations, of real brokenness in my life, of transition,” Erica of – where I could count on running into a friend or some people will not budge. said in her endearing raspy, whiskey voice, which, meeting a new one.

“Sometimes in business, sometimes in relationon this day was down to a heightened whisper she But the biggest reason I went in, and the source of ships, it just doesn’t work,” she said. “And that attributed to stress. “When I came to Durango, I’d all the other reasons I went in, was this force of pure doesn’t mean I change my approach, that I stop really lost a lot. And the Bean served as such a hub magic, glitz, spunk, creativity, charisma, wit, joy, working hard or stop taking the high road or whatof growth, of rejuvenation, and really, for the first energy, dynamism, beauty, intelligence and all-out ever. Maybe I’m a little more patient ... to trust my time, a community where I felt not judged in. I just sassiness: Erica Fendley. gut and accept that I have limits ... which sucks. It’s felt accepted and that I could come to work, I could If you haven’t heard by now, the Bean is shuthard to be a catalyst of change and then come up come to this place and have a community that was ting its doors Friday. The reasons why will make short and feel like you let people down. It’s hard to just, straight up, ‘I like you for you.’” you want to commit illegal acts of aggression, like take that risk of being so public and also so fallible.

At the time she moved to Durango she wasn’t they have with me. Without getting too much into And I’m OK with that. It’s absorbing the impact that doing alcohol. She was working through personal the mud, it comes down to this: You have a business this is having on so many people, so many people. stuff and found it difficult to be social without owner and tenant who had created and wanted to And I know it’s as a result of my willingness to take drinking. In those two years before she bought the build on a dynamic space of community, art, music risks and be courageous and blah, blah, blah. But it Bean, Erica wanted to create an intentional space and all-around goodness, and out-of-state building comes with a price.” “where there was accountability for the intention of owner, James Giorgio, who, to put it mildly, didn’t, It’s heartbreaking. Erica and the Bean embody evyour life.” and made sure the rent he charged wouldn’t allow erything that makes Durango special. It’s a shame, “Are you living aware? Not, are you boozin’ and it. Couple that with a litigated building renovation a waste, a case where the bad guys have seemingly druggin’? Not church, but not a bar,” she said. “Like process that was grossly underestimated in terms of won (I hope they all get theirs ... hard). But I’m not that beautiful medium where you find community cost and otherwise wholly “unprofessional” as the counting Erica out. She’s too strong, too smart, too and celebrations of expressions of life, not in the ever-gracious, high-roading Erica puts it. courageous to not do something even greater. Maybe spiritual context that was laden with shame, but In the end, we don’t just lose a coffee shop. We lose that’s in two weeks or two years. But whatever also not in a bar context. There were these undera dynamic space that was unrivaled in this town Erica’s up to, I know I want to be there. I’m guessing stood dynamics that created this place of real comand, at least temporarily I hope, we lose Erica’s so many of you would, too. munity that I felt was worth waking up for.” spirit and energy on Main Avenue with her bright “People can get a cheeseburger anywhere, OK? They come to Chotchkie’s for the atmosphere and the attitude.”

– Stan, from “Office Space”

Y

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[Sartorial over-enthusiasm with Heather of Sideshow]

Style Fetish | Heather Narwid

Gabe Doelger June 1, 1976 - February 13, 2016

We lost a true gentleman

O

n Feb. 13, we lost Gabe Doelger – a very good man, friend to many, gentleman and style icon.

Gabe’s exuberance and enthusiasm for life, his wild sense of humor, playfulness, charm and class were joyfully and confidently revealed in his self-named “flashy/trashy” style. He adored the 1970s and everything about that decade: the cars and vans, toys, horror movies, the styles and the clothing.

Gabe dressed in full ’70s vintage lots of the time: big aviator sunglasses, wide-collared shirts, leisure jackets, flared poly pants, big belt buckles, short leather ankle-zip boots. It all looked classy and marvelous on his big, tall frame and he knew it. In his singular style, a fabulously-dressed Gabe would greet you with a big smile framed by his red horseshoe moustache and bright blue eyes. He was a gentleman in every sense of the word and made us feel very special indeed.

Gabe invented Flashy/Trashy Fridays at Fort Lewis College, inspiring style while looking straight out of a John Cassavetes film. When Gabe rolled casual he looked vintage-rural-fabulous in Carhartts or ’70s pants, black quilted western jacket, Misfits or horror film tee, his signature aviator shades and a trucker cap.

Gabe was an FX makeup artist and costume designer, horror-film aficionado, forensic anthropologist, recent FLC graduate and a knowledgeable purveyor of vintage clothing, among many other fascinating things.

Gabe and I first met a few years ago when he started selling clothing to Sideshow. He walked in with his friend Wolf (also a snappy dresser) and I thought, “Yeaaah, who are THESE cats? They look like My People!” It was so fun to have Gabe as an enthusiastic and knowledgeable colleague and friend to laugh with, marvel at and appreciate all

via Facebook

»» Doelger rocking the ’70s styles.

Photo by Jim Keel

»» Gabe Doelger in Atlanta. He loved thrift stores.

the special, esoteric details of ’70s clothing, style and culture. Gabe remains a blessing and an inspiration

to me personally and professionally, I am grateful to have known him.

A Celebration of Life will be held for Gabe Doelger from 6:30 to 9 p.m. Friday in the Student Union Building at FLC. Gabe would have liked to see everyone there dressed in ’70s styles, don’t you think?

Heather Narwid owns Sideshow, a vintage clothing store here in Durango. She is sad this week.

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[sound]

Downtown Lowdown | Bryant Liggett

Legendary Shack Shakers and the mysticism of the South

T

he South, along with the rest of the world, needs bands like the Legendary Shack Shakers. The last two decades have seen a rise in underground bands from and representing the South far outside the way the South is represented via mainstream film or within the realm of bro-country. These are bands knee-deep in lyrical exploration and stories of history and myth from the South of the last three centuries, intelligent bands, featuring musicians that are students not only of Jerry Lee Lewis and Sun Records, Iggy Pop and the Cramps, but of William Faulkner and Flannery O’Connor. That sums up rock ’n’ roll band The Legendary Shack Shakers, performing Thursday at the Balcony Backstage.

The Kentucky-based quartet is a rowdy bunch, whose sound features all the American elements making up rock ’n’ roll. Part blues, parts country and bluegrass, parts punk and rockabilly come at you while frontman J.D. Wilkes’ on-stage exhibitions continue to make fans realize that he’s one of the last great frontmen.

Courtesy of The Legendary Shack Shakers Rock ’n’ roll should be, and in certain »» The Legendary Shack Shakers bring hillbilly rock ’n’ roll to the Balcony Backstage on Thursday. places still is, dangerous. It was Jerry Lee Lewis and Little Richard who concerned the churches and parents of the 1950s Bryant’s best with their music and on-stage shenanigans; on. Not the trailer parks, not the Pabst Blue Ribpunk kept that going through the ’70s and ’80s, bon, truck driving stereotypes. Let Hollywood Thursday: Rock ’n’ roll with Legendary Shack Shakers, and it remains alive in a Legendary Shack Shakdo that, let the other bands do that, I’m more in9 p.m. $12. The Balcony Backstage, 600 Main Ave. upstairs. ers set with Wilkes leaping and contorting while terested in the force of nature that possess Jerry Information: 764-4083. intimidating audience members from the stage.

Lee Lewis and Hasil Adkins and Charlie FeathSunday: Jazz Church is a weekly jazz jam, 6 p.m. No cover.

The man walks a line inspired by the aforemeners to do what they do.”

Derailed Pour House. 725 Main Ave. Information: 247-5440. tioned Lewis and Pop, with a dash of Henry RolIt’s a sound that continues to be right up the lins and Lux Interior. alley of the world’s 50-something punkers or But beyond the unpredictability of Wilkes anyone interested in getting a dose of an aggresand the crack playing and energy of the band, sive musical revival. As fans of heavier music New at Southwest Sound it’s smart music in a rowdy and loud package continue to also discover the work of classic labeled “Southern Gothic” for its lyrical content, American rockabilly and country, bands like March 4 and “rock ’n’ roll” for its excitement, power, The Legendary Shack Shakers are welcome additions fitting a country-inspired need of aggressweat, emotion and all-around delivery. Its tales »»1. Ray LaMontagne, “Ouroboros” sion. of cockfights and quarrels, coal mines and de»»2. Miike Snow, “III” “It’s the punk rock retirement plan,” said mons all via song. »»3. Esperanza Spalding, “Emily’s D+Evolution” Wilkes. “As music gets worse and worse in the “This is hillbilly rock ’n’ roll. Southern gothic »»4. Nada Surf, “You Know Who You Are” mainstream, people start digging deeper and refers to the lyrics,” said Wilkes in a recent deeper for the good stuff. Hopefully, they’ll come interview. “A lot of it is cultural, folklore, the »»5. Ihsahn, “Arktis” across one of our records.” mysticism of the South, but not necessarily the »»6. Thao and the Get Down Stay Down, “Man Alive” stereotypes of the South. That’s where I draw the »»7. Violent Femmes, “We Can Do Anything” distinction: the spirituality, the mysticism, the Bryant Liggett is a freelance writer and KDUR station »»8. M Ward, “More Rain” things you perceive but you can’t put your finger manager. liggett_b@fortlewis.edu.

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[sound] What’s new Violent Femmes, “We Can Do Anything” Available: Friday via PIAS America digitally, on cd and limited edition gold vinyl

BEST MARGARITAS IN TOWN I am generally wary of bands coming back into the HAPPY HOUR Monday-Friday 2:30pm-6pm musical fold after so much time has passed without releasing a relevant record. Sad, but true. In the case of the Violent Femmes, it has been a solid 15 years since releasing “Freak Magnet,” an album that was both critically and commercially panned. I’m not saying the Femmes have been totally dormant the last 15 years. There had been a smattering of touring until 2007, when the band hit a rough patch. Guitarist, songwriter and lead singer with an inimitable voice, Gordon Gano, and original bass player Brian Ritchie broke up the band after an interband lawsuit over music ownership, royalties and advertising rights. With the expressed intent of never releasing new music again.

Evidently, money talks. In 2013, the band reformed to play the Coachella music festival and has been touring off and on ever since.

“We Can Do Anything” marks the band’s return to the recorded ranks with a fantastic release of candid, acoustic-punk that made them icons of ’80s college radio.

Tracks such as “Memory and Foothills” could have been B-sides from the classic self-titled 1983 release. With driving acoustic guitar and bass, rhythm and percussion was rounded out by former Dresden Doll drummer Brian Viglione (he has since left the band). The core is there, and that’s what counts. Solid, solid release marking a smirking, innuendo-laden and self-deprecating return. All in all, well done.

Recommended for fans of Violent Femmes, Elvis Costello, The Dead Milkmen, Talking Heads, Cake, King Missile, or classic College Radio.

HOME OF THE COOLEST MARGARITAS IN TOWN HAPPY HOUR

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— Jon E. Lynch KDUR_PD@fortlewis.edu

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HIGH EXPECTATIONS

GREEN LIGHT - SEASON 2

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[beer]

First Draughts | Robert Alan Wendeborn

Love sours? Here’s how they got that way

A

s I’ve said before, sour beers are a huge trend in the beer world right now, and breweries are noticing the market and cranking them out. They come in all sorts of colors and flavors, you can buy them in cans and bottles, you can pay between two and 50 bucks for a bottle or can (though most are still in the high-end of that spectrum), some are hopped and some are not, some are barrel-aged and some are quick sours. But what’s the difference between a sour and a regular beer? How do we determine a quality sour from the massive amount of choices on the shelves?

Simply put, the difference between a “regular beer” and a “sour beer” is the pH, or how acidic the beer is. A typical lager or IPA will be a 4 to 4.5 on the pH scale, where a sour is 3 to 3.8.

How the acid gets there is how I differentiate the rest of the sours.

The easiest way to get a beer to sour is to just dump lactic, citric or acetic acid right into the beer. There are no labeling restrictions on sour beers, so adding the acid right to the beer isn’t illegal or dangerous or anything else, especially because these are “natural” ingredients (lactic acid is in foods like yogurt and sour cream; citric acid is in citric fruits and acetic acid is in vinegar). This may raise an eyebrow, but I’ve met brewers who do this and the beer is drinkable and definitely passes for a decent sour if done well, but can come across as medicinal or sterile if done poorly. Is it ethical? Dubiously. Is it lazy? Definitely. Am I going to name names? No (unless you buy me a few

»» Avery Brewing’s Twenty Two is a 100 percent brett beer. rounds next time you see me out, then I’ll probably talk). These beers do not fit into any style category or beermaking tradition. If the brewer, bottle or can doesn’t say how it was soured, then it could very well be soured this way.

The next way beer is soured, and a category I’d call “quick sour,” is by introducing an acid producing bacteria or fungus (Relax: Yeast is a single-celled fungus used to make all beer.), typically lactobacillus (lacto for short), to the unfermented wort (basically the sugary water that turns into beer) for a few days until the wort reaches a nice sour pH. The acidproducing bugs are then taken out or neutralized through temperature, filtration, or “skimming,” then regular brewer’s yeast (saccharomyces

or sacch) is introduced to finish the fermentation. Sometimes, the first part of the process happens solely in the kettle, and these are called “kettle sours.” Sometimes, this first part happens before the kettle, while the grain is still mixed in with the wort. This is called a “sour mash.” Sometimes, both lacto and sacch are pitched simultaneously, called “mixed fermentation.” The result of all of these methods is a beer that is noticeably sour with a bit of complexity coming from malts or adjuncts such as fruit, hops or spices. Beers that fit into this style include Goze (Go-Zuh), an East German beer style that is brewed with coriander and usually slightly salty (either naturally from the water source used for brewing, or added to fit the style) and Berliner Weisse. Both beers are lower ABV and traditionally

served with flavored syrups added into the glass when poured. For a good example of each, I suggest The Kimmie, The Yink & The Holy Gose from Anderson Valley Brewing or Counter Clockweisse from Destihl Brewing.

The next way that I would classify sour beers, would be aged sours.

These are sours that take months or years to reach their optimal level for drinking and packaging. The reason they take so long relies on two separate methods of souring/fermenting used in aged sours: wild or spontaneous fermentation and inoculating with slower yeasts/microflora than lacto or sacch, such as brettanomyces (brett) or pediococcus (pedio).

The wild fermentation has its roots in Belgian Lambics, which are often fermented for a year before blending.

There are a lot of American breweries making really awesome wild ales. Look for anything from Russian River, Jester King or Casey Blending and you’ll be drinking something of exceptional quality.

When it comes to the slow bugs, I really love what Avery Brewing is doing. Its Twenty Two is a 100 percent brett beer that I love. Normally, brett beers are a little too funky for my palate, as they can come across as earthy, musty or even a little like hot garbage, but Twenty Two is tart but balanced with just a tad bit of must.

Robert Alan Wendeborn puts the bubbles in the beer at Ska Brewing Co. His first book of poetry, The Blank Target, was published this past spring by The Lettered Streets Press and is available at Maria’s Bookshop. robbie@skabrewing.com

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[Get Smart: Expert Advice on Trivial Affairs]

Cyle Talley

The ins and outs of the Durango Film Festival Let Joanie Fraughton, executive director of the Durango Film Festival, tell you all about what to see, what to watch for and what to love about Durango’s own indie film festival.

Organizing festivals is a labor of love.

How’d you fall in love?

I moved here from Park City, Utah, where Sundance Film Fesitval is. My friends and I always thought that it was industry only. It’s not! One day, I was having lunch next to one of the venues and this guy stood up in the restaurant and shouted that he had tickets to a 1 O’clock screening and did anybody want them. I jumped up. Film is about story, but it’s not just the story on screen, it’s the story behind the story.

What it took the filmmaker to make that film – the whole process, how it came to be.

That’s what hooked me on film festivals.

What sorts of films are shown?

after Dunkirk and there’s a lot of stuff going on and I remember realizing, “Oh my gosh.

There wasn’t a single cut in that!” And I questioned myself – I replayed the scene and sure enough – one long, continuous take. I think you do start to notice more the more you see.

Camera movement, angles, the lighting, all that stuff.

Does that delight you as a filmgoer?

Definitely! There are some things that make you think, “HUH?!”, but for the most part, it’s another thing that makes watching films better.

What are the “don’t miss” films this year?

“The Rider and the Wolf,” which is a Colorado-based story about Mike Rust who was a mountain biking pioneer in the ’70s who became more and more disillusioned with society and, I don’t want to give away too much but he disappears in 2009. It’s a fascinating story, and he’s a real character. His brother and the filmmaker will be there – I would say that’s one not to miss.

We show everything. We try to show something that millennials will love, something that older audiences will love, David Holub/DGO we have a lot of documen»» Durango Film Festival director Joanie Fraughton takes a breather in the festival offices Tuesday, a day before the festival kicked off. taries for our very educated and concerned populace. We celebrate Native cinema; we ning with [filmmaker] Lindsay Wagner what motivated telling the story, hearhave family films, narrative features, – we’re moving to grid program. All the ing how things were done, asking what What’s most satisfying for short films – we love short films. Anitimes are staggered and so chances inspired them – that’s what hooked me. you about this festival? mation for adults, you name it. are, you can leave one film and go right A good Q&A creates a stronger conIt’s a lot of hard work, a lot of stress, a back into another, if you want to. We’re nection to the story and that filmmaker How many venues are showlot of fundraising – a LOT of fundraishoping that the change will allow for by learning what they went through to ing films this year? ing. Ticket and pass sales only cover more people to get to all of the venues make that film and tell that story.

Opening night, we’ll start showing about a 1/3 of our costs, so we have and to more of the events. We’re really I’m an idiot about film.

Can films at the Gaslight Twin Cinema. great sponsors and donors. But when excited for the change. you help me?

That’s free programming that anyone festival week comes around, hosting How does a festival enrich can attend. The next day, we’ll open filmmakers is so wonderful, and our Well, a lot of it comes with experience. moviegoing? up the Animas City Theatre and then community is so welcoming and hospiThe more I get into film and festivals, on Friday, we’ll add Durango Stadium Well, you can go see “The Revenant” table. Filmmakers rave about Durango. the more I notice. I remember seeing 9 into the mix. In the past, we had and when it’s done, you leave. You “Atonement” for the first time – have block scheduling so that all venues had might get to talk about it to somebody, Cyle Talley can’t make it through an entire you seen that? showings at 9, noon, 3, 6, and 9. This but what really sets the film festival movie. He either gets too antsy or falls I’m the irritating guy who year, because there’s something going experience apart from just going to the asleep. Go figure. If there’s anything you’d read the book. on every night – late night VIP parties, Cineplex is the Q&A with the filmmaklike to Get Smart about, email him at: a craft beer and culinary crawl, an evecyle@cyletalley.com er afterward. Getting their insight into Oh, well there’s a scene of the troops just

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[durango film festival]

Not sure what to see? We got you For all showtimes and venue information, visit DurangoFilm.org Features

Adventure Program

“Jane Wants a Boyfriend,” William Sullivan, 2015

“Paradise Waits,” Teton Gravity Research, 2015

Starring Eliza Dushku (“Bring it On”) and Louisa Krause. Details the relationship between sisters Bianca and Jane, the latter of whom has autism. Jane expresses an interest in wanting a boyfriend, and with a little help from her overprotective sister, she dips into the dating pool.

This is a 30-minute thrill-ride that has everything you demand from a ski and snowboard film. Watch pros such as Angel Collinson, Ian McIntosh and Dana Flahr totally shred it.

See this one if: You want to learn about living with autism, and enjoy a tender love story “Echo Lake,” Jody McVeighSchultz, 2015 Tells the story of Will, a 30-year-old functioning alcoholic who is struggling with adulthood. When his estranged father dies, Will inherits the family cabin in the Sierras and with it a new perspective on his family, childhood and habit of sabotaging relationships.

See this one if: You’re a millennial searching for meaning

Documentaries “Revival: the Sam Bush Story,” Wayne Franklin and Kris Wheeler, 2015 Heralded as one of the most influential musicians in the modern era, Sam Bush pioneered a new genre of music and inspired some of today’s most successful commercial acts; yet, he remains the music world’s best-kept secret.

See this one if: You love bluegrass music “A New Understanding: Science of Psilocybin,” Robert Barnhart and Brady Dial, 2015 We devote a great deal of attention to living with cancer, but little to the treatment of the human being who is dying of cancer. A recent resurgence of psychedelic research is revealing the power of compounds like psilocybin to profoundly alter our understanding of both life and death. This film examines the use of psilocybin in a controlled setting to reduce psycho spiritual anxiety, depression and physical pain.

See this one if: You’re interested in medical and psychedelic research

See this one if: You’re a ski bum who can actually sit through a feature-length ski and snowboard movie

Animated Shorts Program (Animation for Adults) “Dinner for Few,” Nassos Vakalis, 2014 A sociopolitical metaphor of the world as a formal dinner that takes an unexpected turn when there’s no more food to be served.

“Canis,” Marc Riba and Anna Solanas, 2014 Teo survives isolated in a house constantly besieged by a horde of stray dogs.

See these two if: You like dark, political, challenging films. (These recs provided

by Michele Malach, head of Shorts Programming.)

Family Program (More Shorts) “The Story of Percival Pilts,” Janette Goodey and John Lewis, 2015 A whimsical tale about the challenges and charms of living an impractical life. While playing on stilts, young Percival Pilts vows “Never again shall my feet touch the ground!” Compelled ever higher, he builds his stilts so tall that he no longer fits into normal society.

See this one if: You love stop-motion animation (like “The Nightmare Before Christmas”) and want to bring your kids —— Anya Jaremko-Greenwold DGO Staff Writer

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[durango film festival]

The ins & outs of

animation

David Tart is an animator with over 20 years of experience. His film credits include “Toy Story,” “A Bug’s Life,” “Toy Story 2,” “Monsters, Inc.,” and “Finding Nemo.” Tart is also the founder of Rocky Mountain Animation Labs, a nonprofit educational organization in Durango that aims to provide world-class animation education to children, young adults and educators. Tart will be hosting a workshop at the Durango Film Festival this weekend called “How Studio Animation is Made.” We spoke with him about how young people can break into the industry, the fears and doubts Pixar had about “Toy Story” and what his school does differently from other animation programs.

Tell me about the workshop you’ll be teaching during the festival.

Go!

»»What: How Studio Animation is Made workshop

My presentation is going to take an audi»»When: 10 a.m. Saturday ence through each of the steps involved in »»Where: Henry Strater Theatre, 699 Main making a feature CG [computer generAve. (at the Strater Hotel) ated] animated film. We’ll start at the Panels are free and open to the public; seatbeginning; with the script, concept art, ing is limited and is first-come, first-served. storyboarding, creation of an animatic, Tart modeling, animation rigging, rigging lighting ... and we’ll cover the whole process, always wanted to do. through final output and release. A lot of people think of animation like, “Oh, it’s just people Why did you start the school? having fun!” They see DVD extras of animators skateFifteen years ago, there were probably three animaboarding around in the office and playing with toys. tion colleges that were really good. Now, there’s It’s a lot more than that.

5,000 university-level programs, and they’re not You’ve worked on some incredible very good. A lot of them just emphasize learning the Pixar films. What was the Pixar experisoftware and technology – but they don’t teach the ence like? traditional aspects of animation. While I do teach computer animation, the main focus here is on handIt was pretty fantastic. Pixar was working on “Toy drawn, pixilation, cut-out animation, stop-motion, traStory” at the time I started. Back then it was a very ditional styles. We have all kinds of students, all ages. small company; I think the animation department Primarily what we want to do is train good animators. had 15 animators. And “Toy Story” was the first CG We’ll also be hosting and developing a summer arts animated film ever made – so there was a lot of worry technology camp at FLC, which will be for preand doubt. Would we be able to make it? Would college, ages 14-20. There are schools like this people like it? I can remember working on it and in California and on the East Coast, but not thinking, “I don’t know if this is very good.” [Laughs] A so much in the Rocky Mountain region. I’ll be lot of people in the industry thought we would never bringing friends and associates from Pixar and finish. 2-D animators at Disney and other places at DreamWorks out to teach classes. the time didn’t want to work in CG at all. Even after “Toy Story” was completed and we were hiring staff I also work with a school called the Animation for “A Bug’s Life,” people didn’t want to come. They Workshop in Denmark, and that was one of the didn’t think it was gonna stick. Pixar’s commitment to inspirations for my school. Europeans have a lot traditional storytelling values made it a great place more funding for the arts than we do. That allows to work; John Lasseter, the director of “Toy Story” animators to use different mediums, explore and the current president of Pixar, believed you can different topics – and they’re not tied to making pretty much train anybody to work on a computer, sure what they create will be commercially sucbut you can’t train them to be an artist. cessful. The films can explore philosophic, social, environmental topics, and they can have a good What brought you to Durango?

I worked with Pixar for seven years, on their first five films. Then I struck out and wanted to learn some different styles of animation – so I went to work for Blue Sky Studios in New York, who did the “Ice Age” series. My wife ended up getting a job here in Durango, so that brought us here.

It allowed me to shift my focus and start this animation school, which is something I’ve

impact. I want to start that again in the United States.

What should young people who want to break into the animation industry be mindful of?

The most important thing you need to get a job is a show reel. The show reel will have clips of animations you’ve created that demonstrate your skill. I’ve hired thousands of animators, and I’ve never looked at their résumés. I don’t need to know they worked in the service industry or what their grade point average was.

Animation is so prolific; it’s not just feature animated films, where the employment is. There’s also scientific visualization, forensic technologies, architecture applications, special effects, motion graphics. It’s a huge industry. There’s more and more of a demand.

It’s an amazing art form; to take something that’s not alive and manipulate it in such a way that it appears to have emotions, thoughts, needs and desires. It’s a very painstaking process, as you’re creating 24 images per every one second of animation – and some people can’t handle that. But the people who love it wouldn’t want to do anything else.

— Anya Jaremko-Greenwold DGO Staff Writer

»» Woody, from “Toy Story,” one of David Tart’s many Pixar film credits.

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[durango film festival]

It’s a bird . . . it’s a plane . . .

it’s the first female superhero!

»» We spoke with Lindsay Wagner,

the Bionic Woman herself

By Anya Jaremko-Greenwold DGO Staff Writer

Y

»» Actress Lindsay Wagner laughs after winning an Emmy Award in Los Angeles in 1977.

Wagner won for Best Lead Actress in a Drama Series for her role in “The Bionic Woman.”

ou probably know Lindsay Wagner from her iconic portrayal of the “Bionic Woman” Jaime Sommers on the 1970s TV series of the same name. Wagner was the first mainstream female superhero – an impressive claim to fame. The “Bionic” series, which ran from 1976-1978, featured Wagner as a former tennis professional and bionic spy with superhuman powers. The show earned her an Emmy Award for Best Actress; but her career didn’t stop there. Spanning five decades, Wagner’s CV includes a seemingly endless array of feature films, TV movies and TV series. She purposefully selected issue-driven projects dealing with topics like child abuse, anti-Semitism and domestic violence. This year at the Durango Film Festival, Wagner will be receiving the Durango Film Artist of Distinction Award.

There will be a restrospective of her film and television career, a Q&A, and an interview with producer Fred Fontana. We spoke with Wagner about her unique legacy and how the Bionic Woman became a progressive feminine idol.

Go!

You’re probably best known for playing the iconic Bionic Woman. What made her a special female superhero?

She was the only game in town! That was special. I was very involved in the development of the character, and I worked with the producer and showrunner Ken Johnson. We collaborated on trying to create a woman who was in a circumstance where she had to summon internal power she never had to deal with before. Which came as a result of all of a sudden having extraordinary external power. I said, “I don’t really want to be involved in this if we’re just going to do a story about a woman being in what has always been a man’s position.” I didn’t want to be a man in a skirt, going around bashing people and winning because I’m stronger. When you boil it down, it’s the classic formula. When your physical prowess is the determining factor, there’s a lot of humanity that’s not there.

There’s so much missing. So I was constantly instigating them, all these guys, to think like a woman – let’s look at problem-solving, at compassion. We have to do what we feel is right; in those days, it was America in the Cold War with Russia. So most of our so-called adversaries were the Russians. We tried to find ways to come from the “feminine” perspective. But it was a mandate that we had to have two or three “bionic” actions between each commercial break! Thus we had to figure out how to get them in there, without these stories being physically and violently sensationalized.

That’s where a lot of the humor came in. Action stories were always for men, and women were the ones in peril – so how do we write this espionage story differently? It was an exciting challenge, and I think we pulled it off, given that it was the first thing that had been done like that. We were also brave because we had a lot of success immediately – and then we started covering topical themes.

»»What: An Evening With Lindsay Wagner »»When: 5 p.m. Saturday »»Where: Henry Strater Theatre, 699 Main Ave.

Wagner

»»Cost: Tickets are $25 at durangofilm.org or at the door. »»Appetizers and cash bar

I went on to do movies about child abuse, revisionist history, all of these things. It was a very morphogenic period in television.

You’ve spoken up about the current state of female superheroes in movies and on TV. What are your hopes for these superwomen in contemporary times, and how have they changed since Bionic Woman in the ’70s?

I think it’s the same issue. The problem is that TV and movies have gotten so violent. Now they have a woman having the superpowers to combat that level of violence ... OK? And how is that any different than a Superman? And mind you, because so many of these things are so violent, I don’t like to watch them. I don’t actually know if they’re bringing the humanity into it.

It’s finding the power of the heart, the mind, and using those stories – it’s not about not having ANY violence – it’s about, what is the dominant factor of resolution to the show or movie? That’s where the issue lies for me, whether it’s a man or a woman. This is all about conditioning a future generation. Because it’s such a profoundly influential programming tool.

The show featured an interracial relationship between the Bionic Woman and a Native American character, which was very unusual back then.

What was the response to that?

You have a big interest in issue-driven films.“The Taking of Flight 847” is about a woman who saves a hijacked plane; it’s also the film you’ve chosen to show at the Durango fest. What do you admire about it?

They loved everything we did! We had no backlash on anything. My feeling was that society was ready for it.

Everybody was underestimating people. It was time.

We were young enough to say, “Let’s go for it.” We did “Biofeedback,” which I brought in and really wanted to do; it was an episode about our ability to use our minds for healing, in ways we don’t think about in Western culture. And now that’s everywhere. But it was so confronting to our mindset at the time.

I brought in articles about yogis who could pierce themselves and not bleed, the nailwalkers who walk on beds of nails, that kind of stuff. And I’m jumping off buildings, stopping a car with my foot, but when I kept pushing that story about “mind over matter,” I was asked, “Lindsay, who is going to believe this?” [Laughs] So we found out, I guess we can make money with women at the helm of this thing. I guess we can do stories about issues they would never touch before;

It kind of chose me. I didn’t want to do it; I felt it was exacerbating the problem we were having already, it was inflammatory for no reason. But eventually, I ended up being able to work with the writer and get a rewrite done that I was comfortable with, that I felt was coming from a woman’s position, not with just, “how can I overpower this guy?” It was, how can I diffuse this? We had to truncate the story, and pick parts that were most important. Those parts had to do with how she saw this hijacker; it was how she delved into him as a person, how she reminded herself this was a person suffering and acting out. Instead of just, “this is the devil and I have to kill him.” Not that she wasn’t horrified by what was going on – but she still saw this person as a human being. He felt that, and he actually responded to her in a different way than he would have to someone else. She was able to appeal to his humanity.

Illustration by David Holub/DGO, image via Associated Press file photo

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[durango film festival]

Anya Jaremko-Greenwold | DGO

Guardians of equality »» The evolution of the female superhero

S

uperheroes are superhuman, but they are also flawed – often fatally. Problem is, it’s tough to find female characters in mainstream entertainment who are realistically imperfect, complex and strong – often they’re cast as mothers, hotties or girlfriends. Admittedly, that’s been changing in recent years, with an onslaught of feminism, the loud discussion surrounding gender wage discrepancies in the film industry and the public call for more female directors. We’re seeing intelligent, female-centric comedies up the wazoo (“Bridesmaids,” “Girls,” “Broad City”). But until somewhat recently, women superheroes were still lagging behind the times.

Lindsay Wagner’s “Bionic Woman” arguably launched the trend of a more thoughtful, compassionate lady champion back in the ’70s. There have been other girl warriors – for example, Charlie’s Angels, in the same decade – but although empowered, their sexiness was emphasized first and foremost. “Xena: Warrior Princess” in the ’90s was a welcome further addition to the trend; Xena was attractive, but her fierceness and unrelenting morality took precedence. “Buffy the Vampire Slayer” followed a similar theme, later in that decade. There have been failed contemporary attempts, too; Halle Berry’s turn as “Catwoman” in 2004 was widely disdained (the film was dull with bad special effects and worse dialogue), and Jennifer Garner’s “Elektra” was critically disparaged (equally boring, with a one-dimensional protagonist and a terrible script).

Luckily, things are on the up and up. Women are becoming more prevalent in the superhero universe, especially on television (a medium that’s often more advanced in racial and gender representations than film). We have Marvel’s “Agent Carter” on Fox UK,

DC’s “Supergirl” on Sky1 and Marvel’s “Jessica Jones” on Netflix. “Jessica Jones” in particular has been a hit, as Jones is truly a heroine for the modern age. She gets drunk during the day, enjoys casual sex and has a sour, sarcastic disposition. Jones’ storyline is also topical; she’s a victim of PTSD following psychological and physical torture by super villain Kilgrave (David Tennant). On the show, Jones seeks not only to retrieve her sanity and health, but to protect other women from Kilgrave’s insidious games.

It’s unsurprising that “Jessica Jones” is so good at portraying the female perspective – three out of its six directors are female, an unusual ratio. A 2012 study by the Geena Davis Institute On Gender In Media found that having just one female writer on a script increased screen time for female characters by an average of 10 percent. The upcoming “Wonder Woman” film and the all-female “Ghostbusters” reboot have made marked attempts at hiring as many women on their crews as possible. “Wonder Woman” will be headed up

by DC’s first female director, Patty Jenkins. It seems fictional superheroes aren’t the only ones winning their long-waged wars for justice.

Tips & tricks to help navigate festival »»Don’t bring kids to “adult animated shorts.” They are not G-rated. »»There are no advisories or warnings in this year’s films, so watch at your own risk. »»Get to the Family Program, Animated Shorts and Adventure Program early – they are popular. »»The Gaslight and Animas City Theatre are small venues with limited seating, so if you go there on Friday or Saturday evening, make sure you’re 30 to

45 minutes early. »»Durango Stadium 9 has way more seats, so you’ll always get in. There’s plenty of parking, and it’s not far from downtown! »»Short films are ideal if you like variety or have ADD; if you’re not enjoying a short film, wait five minutes. It’ll be over and the next one will start. »»Student passes are $40 for six movies – a great deal.

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[durango film festival]

Making it big in the film biz Matt Crossett is a producer, director and editor with experience in film, TV and commercials. He’s worked on everything from raunchy Mac Miller music videos, to “Mad Men,” to “Celebrity Wife Swap.” He took over the Durango-based production company FASTFORWARD Media in 2013, and has since expanded FFM’s asset Inside Durango TV – Channel 15. Crossett also serves as a board member on the 4 Corners Film office and as a feature juror at the Durango Film Festival. Recently, Crossett completed a documentary called “Ice Cowboys” about the thrilling Western sport known as skijoring. The doc will be made into a TV series, for which Crossett in the process of raising money now. He’s participating in the DFF panel “So You Want to Be in Production?” on Saturday, moderated

by Emmy award-winning producer Michael Killen. We spoke with Crossett about how to break into the industry as a young person.

Go!

Tell me about the film fest panel you’ll be on this year.

We wanted to do something for locals who want to get into film. Typically, what productions are looking for is production assistants (PAs). So the goal is to give everybody an introduction into what it’s like to work on set, plus some stories about mine and Michael’s time in the film industry. I lived in LA and worked in production for six years before I came here. We’ll help you understand what all the departments are, how they function together as a team, what procedures are on set, what to expect in terms of how a day will run.

You moved to LA after college. How did you find work in the film industry out there? It’s a competitive field.

It’s very difficult if you don’t have a network of people.

What you really get out of film school is a network.

Nobody really cares about your degree in film. People say “It’s who you know,” and it is. Film is mysterious to those who don’t know about it, but anybody can do this stuff. It’s just learning a trade skill, and getting good at it. But you tend to rehire people that you like to work with and enjoy being around. It’s analogous to a big team sport.

Do you have to choose between getting experience as a producer or an editor or a DP – or is it easy to cross-train and have a variety of film crew roles on different projects?

It depends on who you ask. I went to school to be a director, but no one gives you directing jobs out of

»»What: So You Want to Be in Production? panel »»When: 1 p.m., Saturday »»Where: Henry Strater Theatre, 699 Main Ave. (at The Strater Hotel) Crossett

Panels are free and open to the public; seating is limited and is first-come, first-served.

college. The first thing I did out of college was AD a movie in New Mexico, and the DP I worked with on the movie said, “you’re an AD.” And I said, “No, I don’t want to be an AD – it’s just the job I had when you met me.” But once you start switching around your roles, it’s hard to progress. I’d be a producer on something, then I wouldn’t work for a while and go back to being a PA for somebody else because I needed a gig – those people knew me as a PA and that’s what they associated me with. Especially if you’re freelance, that’s an issue.

If someone doesn’t go to film school, how can they figure out the ins and outs of the business?

If you’re 18, you can move to LA and start trying to intern on sets. You’ll meet a lot of people and build your own network. It’s really a matter of how much of a go-getter you are. I’ve definitely gotten jobs from, “Oh, my buddy is looking for work – you know him?

He’s good, I can speak on his behalf ...” When you start and you’re young, you might feel like your work doesn’t matter. I came from a blue-collar background in Indiana, where you just gotta do good work and if you do better work than somebody else, you’ll progress. You can get frustrated; why is this guy the coordinator, and I’m a PA, when I do better work than him? But you have to let that go – eventually, they’ll find out if your work is good. And if you suck, your buddy can only promote you for so long. If you want to work on movies, go where movies are shot: LA. You can go to New York, too, but it’s a lot more expensive and harder since there’s not as much work. There’s a good contingency in Atlanta, too.

Any tips for young people hoping to get into film production, especially if they’re starting out in the Four Corners?

If you want to be in film, contact video production companies in your area, local festivals and TV stations. Communicate with other filmmakers in your town. Call us, the Herald, Rich Fletcher, Michael Killen in Pagosa. There are production companies everywhere. They may not be shooting films, but you want to learn the basics – how to shoot and edit. Most people don’t want to be PAs for life; they usually want to tell stories. But you need the skills first. Film sets are a fun environment to be in because you’re all working toward this big fantasy. It’s basically adults playing pretend.

—— Anya Jaremko-Greenwold DGO Staff Writer

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[ movies ] Whiskey Tango Foxtrot Playing at Stadium 9 Rating: R Genre: Drama,

comedy Directed by:

Glenn Ficarra, John Requa Written by:

Robert Carlock Runtime: 1 hr. 51 min.

Rotten Tomatoes Tomatometer: 60% Synopsis: Tina Fey steps into the

well-worn shoes of journalist Kim Barker in the adaptation of Barker’s memoir The Taliban Shuffle: Strange Days in Afghanistan and Pakistan, which details her years as a reporter in Pakistan and Afghanistan beginning in 2002.

Zootopia Playing at Stadium 9 Also available in 3-D with surcharge Rating: PG Genre: Action &

adventure, animation, comedy Directed by: Byron Howard, Rich

Moore Written by: Jared Bush, Phil John-

ston Runtime: 1 hr. 48 min.

Rotten Tomatoes Tomatometer: 100% Synopsis: The modern mammal

metropolis of Zootopia is a city like no other. Comprised of habitat neighborhoods like ritzy Sahara Square and frigid Tundratown, it’s a melting pot where animals from every environment live together – a place where no matter what you are, from the biggest elephant to the smallest shrew, you can be anything.

But when rookie Officer Judy Hopps arrives, she discovers that being the first bunny on a police force of big, tough animals isn’t so easy. Determined to prove herself, she jumps at the opportunity to crack a case, even if it means partnering with a fasttalking, scam-artist fox, Nick Wilde to solve the mystery.

Grammercy Pictures/Focus Features via AP

»» Gerard Butler, left, and Aaron Eckhart chase down the bad guys in “London Has Fallen.”

‘London Has Fallen’ worse than ‘Olympus’

By Stephanie Mer r y © 2016, The Washington Post

So far, 2016 hasn’t been the best year for Gerard Butler.

Just a week after the outrageously awful “Gods of Egypt” tanked at the box office, the Scottish actor is in yet another clunky, superfluous action movie. “London Has Fallen” is remarkable only because of how much worse it is than its inane predecessor, 2013’s “Olympus Has Fallen.”

Once again, Butler plays Secret Service agent Mike Banning, who’s all brawn when he’s protecting President Benjamin Asher (Aaron Eckhart), but gets all googly-eyed when he’s with his pregnant wife, Leah (Radha Mitchell). She’s two weeks away from giving birth to their first child, and Mike’s pained expression shows how badly he wants to stay home. But he has a job to do, by god, so off he goes to London with the president for the funeral of the British prime minister, who has unexpectedly died.

You can see where this is going: A head of state suddenly dies, but before anyone finds out whether the death is, you know, part of a terrorist plot, every leader imaginable from around the globe flocks to Britain.

They end up as sitting ducks in a

London Has Fallen Playing at Stadium 9 Genre: Action & adventure Directed by: Babak Najafi Written by: Creighton Rothen-

berger, Katrin Benedikt, Chad St. John, Christian Gudegast Runtime: 1 hr. 40 min.

Rotten Tomatoes Tomatometer: 25%

painstakingly orchestrated attack.

We meet them all – the Canadian prime minister, the French president, Italy’s head of state (who’s with a much younger woman, naturally) – just in time to see them all get blown to smithereens in various fiery blasts.

Just about every London landmark also falls victim to the attacks, except for the London Eye, so tourists can still spend way too much to see the skyline.

Of course, because of Mike’s clever last-minute schedule switch, one man will not fall prey to these radicals: the president of the United States.

The terrorist behind the massacre is Barkawi (Alon Aboutboul), No. 6 on the FBI’s most wanted list. We know this because the secretary of defense (Melissa Leo) informs the Situation Room of his identity right

before the vice president (Morgan Freeman) launches into an awkward summary of Barkawi’s misdeeds.

Let’s all hope that the officials in the real Situation Room are more tuned in. Here, we get a bunch of clowns who do little beyond gasp and cover their mouths every time some new horror pops up on the television screens.

Back in London, Mike and the president are on the run, trying to evade teams of terrorists on motorcycles. The terrorists want to capture the president in order to decapitate him on live television, streamed around the globe.

You won’t have to contemplate this grisly scenario too deeply because the assault on your senses never stops: bad guys getting stabbed in the eye, the stomach, the neck; good guys getting peppered with machine-gun spray. And all the while it’s impossible to comprehend what’s happening because of the ham-fisted editing.

Maybe director Babak Najafi realized a movie needs more than nonstop havoc. So he inserted a bizarre quiet interlude in the middle of the action so that Mike and the president can bond over fatherhood. It’s an artless grab for our heartstrings.

At least, unlike the rest of this loud, dumb bloodbath, it’s good for a laugh.

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[pages] This week’s Maria’s staff pick Presence, by Amy Cuddy What is presence, and how do we get it?

This are the questions that Amy Cuddy seeks to answer in her book Presence.

The answers she comes up with and the ways she presents them are entirely different than what I expected. I was expecting just another self-help book that went into dominant posturing and tips on how to speak, but what Cuddy is talking about is something entirely different. Using tons of research, she looks into how posture can affect the brain, and how we can change that posture in order to bring our “biggest selves” to our biggest challenges. It was fascinating.

Cuddy examines the ideas of “power” and “presence” from several different angles.

She looks at how differences in power affect peoples’ relationships (employers and employees), why the imposter experience is so widespread, and why post traumatic stress is so debilitating. She then examines how and why power posturing affects the body and how it can be actively used to treat several different problems.

Throughout the entire book she does this compassionately with a wonderful dose of humor. She explains complicated neurological ideas very simply, and never stops asking questions to push her research to the next step. This is a great read for anyone who has ever dealt with anxiety, imposter syndrome, depression, fears of public speaking and so many more things. At the very least, check out her TED talk. You won’t be sorry that you did.

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������������������������������������������������������������������������������������������������������������������������������������������������������������������ Thursday, March 3, 2016 | 17

[ weed ] Seeing Through the Smoke Christopher Gallagher

As Supreme Court looms, more villains, lies, political agendas

A

s we gear up for what will potentially be the most important legal battle in the nearly century-long war against a bush, the challenge to the United States Supreme Court of Colorado’s legalization by Nebraska and Oklahoma, let’s take some time to review the history of cannabis in relation to the penal code.

First, a statistic to reflect on: Cannabis has been used by humans for at least 9,000 years. That number is probably a very low estimate for the actual duration of the relationship between our species and this incredibly versatile plant; its myriad uses point to a much longer history of use as a food, fuel, fiber and medicine source. Using 9,000 years as a baseline number, cannabis has been illegal for roughly .00877778 percent of its known history.

The reasons for its prohibition are pretty disgusting and can be traced back to the conscious decisions and undue political influence of two men: Henry Aslinger and William Randolph Hearst.

The history of hemp (the name given to Cannabis sativa in its capacity as a fiber source) in America begins, curiously, with a 1619 edict in Jamestown, Virginia, ordering all farmers to grow it due to its utility for the burgeoning colony. Hemp was a vital crop over the next two centuries – there were even periods of shortage during which farmers could be jailed for refusing to grow this staple (take a minute to absorb that); the national census of 1850 records 8,327 cannabis plantations of at least 2,000 acres.

Illustration by David Holub/DGO

The tide began to turn against cannabis as the 20th century dawned and tension escalated concerning the emigration of Mexicans to the western United States and nine states passed anti-marijuana (a moniker selected to highlight the “foreign character” of this well-known plant) statutes passed by the end of the 1920s. It was into this racially poisonous environment that Aslinger and Hearst stepped, with agendas to impose.

Aslinger, as the first national “drug czar,” needed a cause to elevate his stature nationwide, and he allied with media magnate William Randolph Hearst to cast cannabis as the villain

in a contrived morality play carried out through Hearst’s nationwide network of newspapers. Hearst was viciously biased against Mexicans (partially as a result of his loss of 800,000 acres of timberland to Pancho Villa during the Mexican Revolution) and saw industrial hemp as potential financial competition to his timber- and paper-producing interests. Aslinger and Hearst received additional backing from the Dupont chemical company (that saw hemp as competition to its newly-invented nylon fabric) and pharmaceutical companies that could neither effectively isolate the chemicals found in whole-plant can-

nabis extracts nor keep citizens from simply growing their own medicine and in 1937, Aslinger railroaded the Marijuana Tax Act through Congress by way of sensational lies that had been printed over the previous decade in Hearst’s newspapers and against the objections of Dr. William C. Woodward, the representative of the American Medical Association.

By the turn of the 21st century, much of the naked dishonesty of these two men has been exposed for what it was and states began to recognize cannabis as a medical and financial positive; nearly two-thirds of the states have legalized the plant to some degree. The lawsuit brought by Oklahoma and Nebraska against Colorado on the grounds that the legalization of marijuana by their neighbor state has unfairly stressed their law enforcement efforts was slated to be reviewed by the U.S. Supreme Court but was postponed because of the death of Justice Scalia; the battle shaping up concerns the rights of states and the enforcement powers of the federal government and could be the final hurdle to a final sensible policy regarding a substance that has too long been surrounded by lies and political agendas. I hope the court will see the issues at play for what they truly are and send Nebraska and Oklahoma home crying. It’s been too long and too many lies have been allowed to stand. It’s time, DGO. It’s time.

Christopher Gallagher lives with his wife and their four dogs and two horses. Life is pretty darn good. Contact him at chrstphrgallagher@gmail.com

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18 | Thursday, March 3, 2016 •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••

[weed review]

[420 and chill]

‘Fletch’ The great thing about “Fletch” paired with weed is that you could be in a room full of high people, each doing different strains, and everyone would have something to dig into.

Space Cream What is it?

Space Cream is relatively new to the scene, but it’s already gained a great reputation as a very psychoactive sativa-leaning powerhouse. She’s the love child of Space Queen and Timewreck, and exhibits the best qualities of both. The genetics would leave you to believe it’s around 70 percent sativa, but when smoked it, feels like its a 100 percent non-functional sativa.

The effects Imagine removing your brain from your skull, putting it in a blender and turning it on for a few hours. That’s what a few good hits of Space Cream delivers. At just over 24 percent THC, the all-cerebral high is not only soaring, but extremely fun. However, this strain should come with a warning label so people know not to attempt ANYTHING while under her spell.

The smell Sweet with a hint of citrus and cream.

The looks

First, for the cerebral crowd, “Fletch” has a somewhat intricate plot full of twists, surprises and reversals. It’s not Ulysses by any means, but for a 1985 big-star (Chevy Chase) comedy, the storyline is a manageable little whodunit. The sarcastic and smartalecky Fletch (Chase) is an investigative reporter (remember those?) for a Los Angeles newspaper (remember those?) who is trying to uncover the source of the city’s drug influx. When a wealthy businessman claiming to have cancer asks Fletch to murder him, Fletch opens his investigation even wider to uncover an intricate, sinister plan that involves him and implicates some of the most powerful people in the city. The clues Fletch pieces together along the way are surprising yet inevitable.

Doc?”), an airplane mechanic (“It’s all ball bearings nowadays.”), a country club member (“I’ll have a bloody mary, and a steak sandwich, and ... a steak sandwich, please.”), a driving instructor (“Hey Freddie, how’s the herpes? Does it hurt?”), a high-ranking politician (“Probably that pederast Hannoran.”) and more. Many involve goofy wigs, costumes, teeth and funny voices.

Fletch has his share of uncomfortable, awkward or violent encounters, and each time he weasels out, often with winking-at-the-audience humor. If you have already seen “Fletch,” you will be reciting lines along with Chase, as there are about 567 quotable phrases from the movie.

Second, for the giggling crowd, “Fletch” is hilarious, perhaps Chevy Chase at his comedic best. Fletch is drawn to comic disguises to get the information he needs, posing as a doctor (“I thought that body was my dead brother.”) and a patient (“Ah, you using the whole fist,

Sweet with hints of spice and orange.

175oz

GRAMS

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The final verdict Expect a complete mind melt, but know the trip is fun and relaxing. I’ve never experienced such a psychedelic strain that has no paranoia. If you want a great strain to session with friends, this is the one. Everyone will want to say something interesting, but you’ll find yourselves just happily staring at each other and laughing in silence. You’ll be super-lifted, but not able to focus or think clearly for an hour, so please use responsibly. I really enjoyed this strain for what it was, but don’t blame me when you drop 100 IQ points two minutes after your first hit.

—— Patrick Dalton Durango Recroom

— DGO staff

Granddaddy purple

Very well-developed buds full of orange hairs and dusted with keef.

The taste

And for those who want to sink into the couch for some mindless entertainment, there’s your share of high-speed car chases, guard dog chases, guns fired, police brutality, murder threatened, screaming editors and a bit of soft romance here and there.

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[love and sex]

Will you stop with the long-winded answers already?

Savage Love | Dan Savage

Are you incapable of concision?

Your answers are too long! You blather on, often rehashing the problem (unnecessary!) before giving four words (at most!) of (rarely!) useful advice. I’ve heard you say you have to edit letters down for space.

Try this instead: Edit yourself! I want more of the letters – more from the people asking questions – and less of YOU. Keep It Short, Savage, Expressed Sincerely Feedback is always appreciated, KISSES. I’m 30, happily married, with my husband since I was 17. First boyfriend, kiss, etc. I never had sex with anyone else. This never bothered me because I wasn’t really into sex – but there have been big changes in the past year. I guess I am having a sexual awakening. My sex drive increased, and I’ve started reading erotica and fantasizing about getting kinky. I’ve also been having very strong urges to [bleep] someone else. As someone who always had strong values and opinions when it comes to sex and marriage and cheating, these feelings really confused me! So I found a safe and harmless outlet: Second Life.

I created a hot avatar and have been role-playing, talking dirty and banging people across the world for six months. I love it. I get to experience scenarios I fantasize about but would never do in real life. Before your readers start pulling the cheater card: I have talked about this with my husband, and I have his blessing. He knows I have an SL account and I’m having cybersex.

Here’s where it gets murky. Most of my SL friends haven’t asked if I’m taken in RL, and I haven’t told them that I am. I flirt as if I’m single, though, because I’m worried people

will treat me differently if they know I’m married. I do not wish to meet or have RL sex with anyone I meet on SL, and I make that clear to everyone. I don’t do photos/voice chat/Skype. But if someone asks me if I’m married in RL, I always tell the truth. I’m writing because I’m worried about this one guy. The cybersex is super hot, and he’s sweet.

He’s my go-to guy, and I’m his go-to girl. He knows I have cybersex with other people in SL, and I have told him he is obviously allowed to have sex with others, too. But I’m worried our SL relationship has become a bit more. He leaves me messages when I’m not online, telling me he misses me and “loves being with me,” and I’ve said the same to him.

I’ve also made it clear I have no intention of meeting anyone from SL in RL, ever. Regardless of my intentions, I’m worried that I’m crossing the line and being unfair to my husband. I’m also worried that I’m being unfair to my guy in SL, because I’m sure he must think I’m single, even though he has never asked.

Am I crossing the line and at risk of hurting my husband/SL guy? Or am I just having some harmless fun that helps me satisfy this strange new itch that’s driving me crazy?

Second Lifer And Spouse Haver P.S. It’s important to note that SL has not negatively impacted my RL sex life and, if anything, has made it better.

It has also made me happier and less cranky at home.

You’re doing nothing wrong, SLASH. I am a kinkster. I have been since I can remember (I am now 21 years old), and I’ve never told anyone about my deep dark desires until the last year. During my time at university, I made good friends with a guy who I was able to open up to about

my preferences, as he had similar desires. We created a beneficial arrangement. I suddenly no longer felt like I needed to suppress my “[bleep]ed up” masochistic needs and became extremely happy and more comfortable with them. I keep a journal, and naturally I wrote about this arrangement and a lot of the explicit details.

Last summer, my mother read my entire journal and was horrified.

After she read it, I received a very nasty text message from her about how our relationship was over, she couldn’t believe what I had done and she was no longer going to help pay for my postgraduate courses, etc. She was deeply disturbed to learn that some money she had given me for my 21st birthday was spent on a hotel room where I met up with my kinky friend. (It wasn’t like we could meet in my family home!) I never wanted my mother to know about any of this, and I feel bad for how it upset her, but this was also a huge violation of my privacy. The only way to resolve the situation was for me to pretend that I deeply regretted everything, tell her I can see now how messed up those “weird” sex practices are, and say that I’m cured and will never engage in them again.

Months have passed and I’m still angry with her for having read my diary. I feel sad about the lies I told and having to pretend – still – that I regret what I did. Because the truth is I’ve never felt more like myself than when I am doing BDSM. It’s not my entire world, but it is an important part of who I am. How do you think I should take things from here? She’ll never understand, so telling her isn’t an option, but that means suppressing my deep upset at her as well.

Mother Unfairly Destroyed Daughter’s Libido Entirely

ests and political values. Our kids instantly bonded and are now BFFs. They have sleepovers, go trick-ortreating together, sled together – little girl heaven. Early on, the guy called my husband and they had a hard-drinking lunch. The guy spilled his guts about a painful previous relationship. It was weird, but we wrote it off. Three years of normal interactions and a kid later, we’re really good friends with the wife, while the guy stays in the background.

I decided to start up a FetLife profile for fun – my husband and I are monogamish, and this is with his OK – and I find the guy’s profile, which clearly says that his wife does not know he’s on this site. What do I do? Pretend I never saw it? What if the wife finds out I knew? Do I tell him that I know? Most of all, I worry about the strain this would place on my daughter’s friendship. Her heart would be broken.

Has Evidence Louse Parent Making Arrangements Mind your own business, HELPMA. * Shit, I really can’t do this one in four words. Confront your [bleep] ing mother, MUDDLE, once you’re out of grad school (priorities!), about the awful, shitty things she did to you: reading your journal; shaming you for your sexual interests and your private, consensual, respectful and healthy sexual explorations; and her unforgivable acts of emotional and financial blackmail. And you should wave the results of this study under her nose when you confront her: livescience. com/34832-bdsm-healthy-psychology.html. It’s just one of several studies showing that people who practice BDSM – not just fantasize about it but actually practice it – are psychologically healthier than

[Bleep] mom; be you, MUDDLE.*

vanilla people.

My husband and I met our “soulmate parents” at our daughter’s preschool a few years ago, i.e., that rare couple with a kid the same age and the same artistic inter-

Dan Savage is a nationally syndicated sex advice columnist writing for The Stranger in Seattle. Contact him at mail@savagelove. net or @fakedansavage on Twitter and listen to his podcast every week at savagelovecast.com

20 | Thursday, March 3, 2016 •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••

[happening] Thursday Art Genres: A Free Five-Part Winter Lecture Series, 3 p.m., Durango Arts Center, 802 East Second Ave. Native Cinema Reception, 4 p.m., Toh-

Atin Gallery, 145 West Ninth St. “Defining Spaces: New Work” by Cynthia DeBolt opening reception,

5-7 p.m., Sorrel Sky Gallery, 828 Main Ave. Live Music: The Great Contention, 5

p.m., Ska Brewing World HQ, 225 Girard St. First Thursdays Art Walk, 5-7 p.m., par-

ticipating galleries, http://durangoarts.org.

Hawaiian Hula Dance, 5:30 p.m., The

Smiley Building Room 24, 1309 East Third Ave. Tim Sullivan, 5:30 p.m., Diamond Belle Saloon, 699 Main Ave. Community Acoustic Music Jam, 7

p.m., Pine River Library, 395 Bayfield Center Drive.

Caitlin Cannon, 7 p.m., Office Spiritorium,

699 Main Ave. The Pete Giuliani Band, 8 - 11 p.m., $5, The Wild Horse Saloon, 601 East Second Ave. Beer bingo, 8 p.m. - 2 a.m., Moe’s, 937 Main

Ave. Live music and dancing 9 p.m. - 2 a.m., Moe’s, 937 Main Ave. Karaoke with DJ Crazy Charlie, 9 p.m.,

Wild Horse Saloon, 601 East Second Ave., 3752568.

Karaoke, 9 p.m., 8th Avenue Tavern, 509

East Eighth Ave., 259-8801.

It’s time for your annual ‘Vagina Monologues’

Brewing Co., 225 Girard St., yoga and a pint of beer for $10, www.skabrewing.com.

Joel Racheff, 5:30 p.m., Diamond Belle Saloon, 699 Main Ave. Rob Webster, 7 p.m., Office Spiritorium, 699

Main Ave.

OK, ladies (and gents, too), it’s that time again – the Fort Lewis College Feminist Voice will present its annual performance of Eve Ensler’s “Vagina Monologues” Thursday and Friday nights at the Durango Arts Center, 802 East Second Ave.

Tuesday Terry Rickard, 5:30 p.m., Diamond Belle Saloon, 699 Main Ave. Super Ted’s Super Trivia, 6:12 p.m., Ska

Brewing Co., 225 Girard St., 247-5792.

Tim Sullivan, 7 p.m.,Office Spiritorium, 699

Main Ave.

If you’ve never been, “The Vagina Monlogues” is a play that celebrates women’s sexuality and strength. It’s an episodic show based on interviews Ensler did with more than 200 women from all ages and walks of life.

Open Mic Night, 8 p.m., Moe’s, 937 Main

Ave., 259-9018.

Wednesday Greg Ryder, 5:30 p.m., Diamond Belle Saloon, 699 Main Ave. Ace Revel, 6-8 p.m., Eno Wine Bar and Cock-

And the cool thing about this event – besides the play itself – is the fact that all proceeds from the performances go to Durango’s Sexual Assault Services Organization, a local nonprofit that helps victims of sexual assault and provides education and prevention programs.

Doors open at 6:30 p.m. and the show starts at 7 both nights.

General admission tickets are $10, and you can pick yours up on the FLC campus in the Student Union Building, downtown at Southwest Sound on Main Avenue or by going to http://durangoarts.org/. Get ’em quick. though, because this event is likely to sell out.

For more information about the show, call (720) 203-7033. And for more information about SASO, check out its website at www.durangosaso.org/.

Friday A Standing Still screening, 9 a.m., Gas-

light Twin Cinema, 102 East Fifth St. Annual Community Exhibit “SOUND” opening reception, 5 - 8 p.m., Open Shut-

ter Gallery, 735 Main Ave. “One Paycheck Away” opening reception, 5-8 p.m., Red Room of the Open

Shutter Gallery, 735 Main Ave. The Cannondolls, 5:30 p.m., Diamond

Belle Saloon, 699 Main Ave. Singer/songwriter Hannah Liberman performance, 6-8 p.m., Four Leaves

Winery, 528 Main Ave., http://www.hannahlibermanmusic.com.

Jack Ellis, 7 p.m., Office Spiritourium, 699

Main Ave.

Karaoke, 8 p.m., 8th Avenue Tavern, 509

East Eighth Ave., 259-8801.

The Jelly Belly Boogie Band, 8:30 p.m.

The Mobros crashing in Aztec The Mobros, made up of brothers Kelly and Patrick Morris – Morris Brothers, Mobros – get it? will be performing Saturday night at Crash Music, 104 N. Main Ave., in Aztec.

The brothers, originally from rural South Carolina, both started instruments when they were kids – Kelly on guitar, Patrick on drums – and over the years have perfected their brand of roots rock, blues, Americana and soul. Throw in the fact that they were a touring opener for some of B.B. King’s shows, and you’ve got yourself some pretty good reasons to head down to Aztec.

Local trio Old Dog Tre is scheduled to open for The Mobros. The show will start at 7:30 p.m., and if you get thirsty or hungry, beer, wine and sandwiches will be available.

Open studio figure drawing, 6:30-8:30 p.m., $15/$10, Durango Arts Center, 802 East Second Ave., www.durangoarts.org.

Two-step and waltz dance lessons,

6:30-7:30 p.m., $10, Wild Horse Saloon, 601 East Second Ave., 799-8832.

Geeks Who Drink trivia, 6:30 p.m.,

BREW Pub & Kitchen, 117 W. College Drive, 259-5959.

Terry Rickard, 7 p.m., Office Spiritorium, Poker and pingpong tournaments,

8 p.m.-2 a.m., $4, Moe’s, 937 Main Ave. Pub quiz, 6:30 p.m., Irish Embassy Pub, 900 Main Ave., 403-1200.

Karaoke with DJ Crazy Charlie, 9 p.m.,

Wild Horse Saloon, 601 East Second Ave., 3752568.

Ongoing Obedience, Conformity, Apathy.. .

“It’s All Good!” Feb. 26 - March 26, Du-

rango Arts Center, 802 East Third Ave. Ink & Wax : Intimate Surface Dimensions, Feb. 26 - April 26, Durango Arts Cen-

ter, 802 East Third Ave. “Defining Spaces: New Work” by Cynthia DeBolt, March 3 - March 30, Sor-

rel Sky Gallery, 828 Main Ave. Saloon, 699 Main Ave.

Blue Ramblers, 5:30 p.m., Diamond Belle

UFC 197 McGregor vs. Diaz, 6-10 p.m.,

Saloon, 699 Main Ave.

March 2 - 6, 375-7779, joanie@durangofilm.org.

$15, Irish Embassy Pub, 900 Main Ave.

Jazz church (experienced musician drop-in session), 6 p.m., Derailed Pour

“One Paycheck Away”, March 4 - March 30, Open Shutter Gallery, 735 Main Ave.

- 12:30 a.m., Billy Goat Saloon in Gem Village, 39848 U.S. Highway 160, Bayfield.

Devil’s dram, 7 p.m., $3, Mancos Valley Dis-

Robby Overfield, 9 p.m. - 1 a.m., Irish Em-

Greg Ryder, 7 p.m., Office Spiritorium, 699

bassy Pub, 900 Main Ave.

Bluegrass Jam, 6-9 p.m., Irish Embassy

Pub, 900 Main Ave.

699 Main Ave.

The Mobros, 7 p.m., $12, Sunflower The-

atre, 8 East Main St., Cortez.

tail Lounge, 723 East Second Ave., 385-0105.

tillery, 116 North Main St., Mancos.

House, 725 Main Ave., 247-5440, www.derailedpourhouse.com.

Main Ave.

Joel Racheff, 7 p.m., 699 Main Ave.

Karaoke, 8 p.m., 8th Avenue Tavern, 509

Karaoke, 8 p.m., 8th Avenue Tavern, 509

Durango Independet Film Festival,

Annual Community Exhibit “SOUND”, March 4 - March 30, Open Shut-

ter Gallery, 735 Main Ave.

East Eighth Ave., 259-8801.

East Eighth Ave., 259-8801.

Submissions

The Met: Live in HD featuring Manon Lescaut, 10:55 a.m., $23/$21, Vallecito

Live music and dancing with DJ Noonz, 9 p.m.,vMoe’s, 937 Main Ave.

Latin music night, 8 p.m., Moe’s, 937

To submit listings for publication in DGO and dgomag.com, go to www.

Room, Fort Lewis College Student Union, metopera.org/Season/2015-16-Season.

Sunday

Monday

A Standing Still screening, 3:30 p.m.,

Irish music jam session, 12:30 p.m.,

Four Corners Arts Forum, 9 a.m., KDUR

Irish Embassy Pub, 900 Main Ave., 403-1200, www.theirishembassypub.com.

Happy Hour Yoga, 5:30-6:30 p.m., Ska

Saturday

Gaslight Twin Cinema, 102 East Fifth St. Robby Overfield, 5:30 p.m., Diamond Belle

Main Ave., 259-9018.

91.9/93.9 FM, www.kdur.org.

swscene.com and click “Add Your Event,” fill out the form with all your event info and submit.

Listings at swscene.com will appear both at dgomag.com and in our weekly print edition.

Posting events at swscene.com is free and takes about one business day to process.

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[ love it or hate it ]

Live music Love it

It was a jazz festival in Corpus Christi, Texas, and the headliner, saxophone player Ed Calle’s delayed plane made him hours late for the gig. When he finally took the stage, well after midnight, maybe 20 people had stuck around from the hundreds on hand earlier. I felt bad for Calle, a fairly big name in the jazz world, and wouldn’t have blamed him for phoning this one in. Instead, what happened was the most spirited, energetic, virtuosic performance I’d ever seen on any instrument before or since.

Where should we

DGO tonight?

That’s what I love about live music: The potential for being absolutely blown away, the possibility of being pulled from the world you once lived in, shown something you hadn’t seen before and taken to a place you’ve never been.

I love attending shows of bands I may or may not have heard before and being overtaken by the grooves that beckon me to the dance floor, allowing the music to pulse through my body in blissfully unexpected ways.

I love summer for the music festivals, where you throw down a blanket or chair in a sea of blankets and chairs, kick off your shoes and let the sun (or rain!) and music infiltrate your skin and warm your soul before finding a patch of grass large enough for the funkiest hippie-dance the music will allow.

I love live music for those things you couldn’t have anticipated, the reciprocal convergence of energy that happens when performers and audience create the perfect place at the perfect time and everyone is feeling the magic.

— David Holub

Hate it

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I don’t hate all live music. I’ve seen some incredible shows: Leonard Cohen at the Barclays Center in New York, Stephin Merritt of the Magnetic Fields at MASS MoCA in Massachusetts, Death Cab for Cutie on Coney Island (back in college when I was into them), The Decemberists at The Bowery Ballroom (back in high school, when I was into them).

But I do hate crowds. I’m short, so I really can’t see a damn thing. At a live music show – unless it’s a civilized performance with assigned seating, which is ideal – you’re just shoved together with a bunch of people. You get pushed around by drunken folks dancing. They are sweaty and you can smell everyone. Plus people are singing over the lyrics, so if it’s a popular musician everyone knows, you probably won’t be able to hear them sing very well.

Sometimes, I find live music TOO loud. I know it’s supposed to be loud. But I suspect eardrums shouldn’t be pounded quite so violently. You can’t talk to the people you’re with because it’s so loud, thus you can only listen or dance. I don’t especially like to dance.

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If it’s music that I don’t know, or that is mediocre, or that I’m just not particularly fond of – why suffer through it? I went to a Max Richter concert in NYC last winter, and the music was beautiful; but I could only catch an occasional glimpse of his elbow or ear through the mass of Amazonian jerks who shoved their way in front of me.

— Anya Jaremko-Greenwold

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Horoscope ARIES (March 21 to April 19) Personal details about your private life might be made public today. In fact, you might need to correct this information, so be aware of this.

TAURUS (April 20 to May 20) Dreamy possibilities to travel to someplace exotic might present themselves to you today. Because you have so many vacation opportunities at this time, be ready to explore anything.

GEMINI (May 21 to June 20) Double-check all red-tape information about inheritances, shared property, taxes, debt and insurance matters. Even though people are cooperative today, make sure they have the right information.

sympathetic to each other today, this is a good day to mend broken fences with a friend or partner. Someone is willing to give you a break.

LEO (July 23 to Aug. 22) You feel sympathetic to a co-worker today. Or perhaps someone will feel sympathetic to you. It’s that kind of day.

VIRGO (Aug. 23 to Sept. 22) If you work in a creative field, you can be productive today. Your imagination is strong, and you see new approaches to old situations.

LIBRA (Sept. 23 to Oct. 22) Family discussions will be mutually sympathetic today. People are in the mood to help each other, which is a wonderful thing.

SCORPIO (Oct. 23 to Nov. 21)

Because people feel easygoing and

Your imagination is in overdrive today.

Bizarro

CANCER (June 21 to July 22)

That’s why this is an excellent day for those of you who write, act or teach. It’s easy to think outside of the box.

one else, but you will feel personally rewarded.

SAGITTARIUS (Nov. 22 to Dec. 21)

A conversation with a female might be important today because someone could need your help. Or vice versa – someone might offer to help you. Whatever happens will be mutually beneficial.

If shopping today, be careful about going overboard on something extravagant and probably impractical. It’s OK to have your head in the sky if you keep your feet on the ground.

CAPRICORN (Dec. 22 to Jan. 19) Today the Moon is in your sign, dancing with fuzzy Neptune. This makes you very sensitive to the needs of others. It also spurs your imagination.

AQUARIUS (Jan. 20 to Feb. 18) If you can help someone in need today, you will want to do so. Quite likely, you will do this quietly and behind the scenes. Not only will this help some-

PISCES (Feb. 19 to March 20)

BORN TODAY You are imaginative but practical.

You know what you want; you do your homework, you prepare and you succeed. You are private about your personal life. This year, you have something important to learn. It might not be apparent in the first half of the year, but soon your efforts of the past six years will manifest results! Enjoy the outdoors more. © 2016 King Features Syndicate Inc.

[overread on Durango yik yak] “I like all this equality stuff, chicks hold the door open for me now, pay for my dates and defend me from attackers!”

“Poor life decisions: watching the movie “Chocolat” without any chocolate in the house.”

“Every time Bernie Sanders talks I’m afraid he’s going to just collapse and die he’s such a fragile little Jewish man.”

“I feel like my RA knows about my porn searches.”

“Yeah everyone has the right to vote, but damn unless you use your brain you probably shouldn’t be allowed to.”

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