City Weekly Jan 21, 2016 by Copperfield Publishing

C I T Y W E E K LY. N E T

SUNDANCE

JA N UA RY 2 1 , 2 0 1 6 | VO L . 3 2

N0. 37

FROM PAST YEARS' HITS TO THIS YEAR'S TIPS, A PRIMER FOR WHAT TO EXPECT FROM THE 2016 SUNDANCE FILM FESTIVAL BY SCOTT RENSHAW & DAVID RIEDEL

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2 | JANUARY 21, 2016

CWCONTENTS COVER STORY SUNDANCE

From past years’ hits to this year’s tips, a primer for what to expect from the 2016 Sundance Film Festival Cover illustration by Zijun Li

CONTRIBUTOR

4 LETTERS 6 OPINION 8 NEWS 23 A&E 29 DINE 36 CINEMA 39 TRUE TV 40 MUSIC 52 COMMUNITY

LARRY CARTER Distribution

Starting out as a driver, Larry took the position of circulation manager two years later, and has been killin’ it for over 15 years now. His hobbies include fishing, cooking, gardening and “taking in a good movie.” But most of all, he loves spending time with his family. We’re happy to have him on the team. 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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4 | JANUARY 21, 2016

LETTERS Grand Jury Should Review the Barker Shooting

Our public officials have imprudently failed to rely on the law to determine the criminality of the police officer who killed James Barker. Instead they have given us incomplete and amended explanations, removed accountability and put a pox on our community with a national scandal. For the reasons listed below, District Attorney Sim Gill should seek a grand jury in the Barker matter and publish the results. First, the most recently released video, on which our leaders rely to end discussion of Barker’s death, raises more questions than answers: Why would the police officer handcuff an obviously dead man? What are the three muffled sounds in the second video? Haven’t we seen cops carry more than one gun? Second, probable cause exists to charge the officer with a homicide: Under Utah law, probable cause requires a scintilla of evidence. At the very least, the second video constitutes a scintilla of evidence. Gill has prosecuted many defendants on less evidence than exists in Barker. Third, constitutional safeguards exist to determine if the state should prosecute the officer. Those safeguards are grand jury proceedings. Gill, to our knowledge, has not requested a grand jury to determine the criminality of the police officer. Respected journals and lawyers around the country question whether or not Gill has given into political pressure. Our public officials must put our public house in

WRITE US: Salt Lake City Weekly, 248 S. Main, Salt Lake City, UT 84101. Email: comments@cityweekly.net. Fax: 801-575-6106. We reserve the right to edit for length and clarity. Preference will be given to letters that are 300 words or less and sent uniquely to City Weekly. Full name, address and phone number must be included, even on emailed submissions, for verification purposes. order, restore accountability and clean our community of this stain. Therefore, Gill should seek a grand jury in the Barker matter and publish the results.

JONATHAN W. FINK, JD Salt Lake City

Don’t Judge Joseph Smith by Today’s Standards

In response to Ted Ottinger’s “Silly Questions” [Letters, Jan. 14, City Weekly], my primary question is: What’s your point, Ted? If you think Joseph Smith (were he on Earth today and in a position to make a public comment) would do anything differently than the present leadership of The Church of Jesus Christ of Latter-day Saints, then you don’t truly understand the church and who is running it. Even if you don’t believe it is the Lord’s church, it sounds like you’re trying to apply present-day mores to the actions of a person who lived 175 years ago, in a completely different era. You’re trying to make Joseph Smith look like he wasn’t a saint, a faithful husband or a law-abiding citizen. What do you think you know about him that no one else does? Are you attempting to judge him by today’s conditions, under which the LDS Church and its members have rights and equal protection under the law, like everyone else? If so, you’re ignoring the reality of Joseph Smith’s day, in which he and the church membership were threatened and even murdered on a daily basis, and in which they were not

only not afforded protection under the law but were actively persecuted by the very lawmen whose job it would’ve been to keep them safe. Even in Nauvoo, they were very much on the frontier and were under siege from all sides. Not only did they have to protect themselves from wildlife and from attacks by American Indians, but they had to defend themselves from anti-Mormon mobs. Any effort to judge LDS settlers and leaders outside the context of the circumstances they suffered is not only unrealistic and unfair, but it reveals lazy thinking or outright ignorance of the accuser. Also, in view of what Joseph Smith accomplished in his life before he was murdered, your comments betray exceeding arrogance. What have you done that would qualify you to judge him?

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6 | JANUARY 21, 2016

OPINION

Not Feeling It

Here we go again. Same old shit again. Dreary days, dirty air, cold cars, itchy skin, icy sidewalks—the cumulative effect of winter weighs on me like a shroud of wet wool. I become hypersensitive. Even the smallest irritant is a tripwire. I talk back to the Fox-13 meteorologists who say “as well” way too often. I gesture provocatively from the crosswalk as car after car runs the red light. I lament that every sentence written about Mayor Biskupsky’s election has included “openly gay.” And then I hear the Oxford Dictionary’s 2015 word of the year is not a word at all but an effing emoji called “Face with Tears of Joy.” The travesty propels me into a swivet worthy of Bill O’Reilly. Emojis are sorry substitutes for words. However, those stylized, smiley-face mutations are all the rage with teens who text. Try as I might, I don’t understand emojis’ surging popularity. Yes, some are as cutesy as a cat video, and, yes, they offer the text-nottalk generation an on-demand, cartoon’s worth of human emotion. But as a scribbler, I prefer words. I like the precision of words and their malleability, their willingness to be arranged just so. To convey the image of “Face with Tears of Joy” as I first saw it, I can marshal nouns and adjectives like this: an aspirin-sized, nose-less face (with sapphire tears and a crescent of ivory teeth) rendered in the ochre and brown associated with baby diapers. But the colors are unimportant. The pictograph is intended to portray emotion. The problem with this particular emoji is that it is as imprecise as GOP talking points. “Face with Tears of Joy” could just as easily be construed as “Face Chopping Onions” or “Face with Four-hour Erection” or “Face with Crocodile Tears.” I am not an early adopter. I resist most techno-trends, especially those that involve gimmicks. I am still grumbling about the Merriam-Webster word of the year in 2007— “w00t,” a goofy, letter-number hybrid spelled with zeroes. Use of emojis is on the rise, however, and according to the Oxford Dictionary, they “reflect the ethos, mood

BY JOHN RASMUSON

gender-neutral. It is being used by people and preoccupations of 2015.” If that claim who don’t identify as either male or female, seems exaggerated, consider the bellwethas in this sentence: “Is Rex coming to the er tweet from Hillary Clinton’s campaign party and bringing their guitar?” last summer: “How does your student loan “So, Rex is coming but without their debt make you feel? Tell us in three emojis guitar.” That anterior “so,” whose use is or less.” Presumably, “Face with Tears of associated with answers to questions, irJoy” showed up in many of the responses. ritates a lot of people. So much so that it Seventeen percent of all emojis used in the heads the 2015 list of “words banished United States last year at a six-billion-a-day from the Queen’s English for misuse, overrate were “Face with Tears of Joy,” up eight use and general uselessness,” according points from 2014. What’s the hidden mesto Lake Superior State University. For 41 sage in those numbers? I don’t know. Neiyears, the Michigan school has been cullther do I appreciate the sexting appeal of the ing words that deserve to be discarded. As eggplant emoji the American a point of interest, “so” also made the list Dialect Society (ADS) selected in 1999 alongside “you the man.” “So” was as the most notable one of the used differently back then as in this Valleyyear. Yes, even the venerable speakish example: “I am so not into that.” ADS has added a category for So, “so” is evolving as 2016 gets underway. “Notable Emojis” to its word-of-the-year de“Vape” is already out of favor after being liberations—an unwelcome development in named Oxford’s word of my view. the year in 2014. The word Many dictionary com“conversation” has been panies call out a “word worn smooth by pols and of the year.” In so doing, pundits who benefit more they draw attention to from bluster than from themselves of course, but action. Income inequality they also provide snapwill not be solved by a proshots of our language retracted conversation. Neisponding to change. Nether will racism. It’s time to ologisms, new words like retire “the conversation.” “sext” and “vape,” follow The Global Language on the heels of developMonitor puts the number ments like the e-cigarette of words in the English and the texting device lexicon at 1.2 million with a formerly known as teleTears of joy ... or chopping onions? new word being coined evphone. It hasn’t been that ery 98 minutes. Who knows or cares about many years since “text” had no verb form. the proliferation of emojis? It seems like the The 2015 word-of-the-year crop included word-banishers have the right idea. Clean “binge watch” from Collins, “identity” out the closet, starting with the worn-out from Dictionary.com and the suffix “ism” jeans. Most of the banished words reprefrom Merriam-Webster. ADS’s “they” as a sent a fingernails-on-the-chalkboard reacsingular pronoun was interesting enough tion from observant people. On my cringe to distract me from emoji pique. The recoglist are “awesome,” “totally,” “perfect” nition that “they” is evolving is important and “as well.” How much do I hate hearing for two reasons. First, we scribblers can them? So, let me just say that this emoji griwrite without guilt, “A politician will take mace doesn’t even come close. money from whomever they can” instead CW of the traditional, “A politician will take money from whomever he or she can.” I am Send feedback to happy to be free of the clumsy “he or she” comments@cityweekly.net construct. Second, the 2015 “they” can be

STAFF BOX

Readers can comment at cityweekly.net

What emoji describes your current state and why? Jackie Briggs: Always the shocked/blushing wide-eyed face because I’m 100 percent of the time thinking WTF. Josh Scheuerman: +

Christian Priskos: Because, why not? Enrique Limón: Smiling poop emoji all day, erry day. It’s more than a mood; it’s how I live my life. Scott Renshaw: ... because I’m gearing up to spend the next several days in Park City. Brandon Burt: Recently, I’ve been feeling like one of those emoji that gets lost in translation between Android and iOS. I think I’m being cheerful, helpful and competent like the “happy poop” emoji. But then, for some reason, I try too hard or something and it all ends up just coming across like a steaming pile of crap. Nicole Enright: Get it, gurl. Doug Kruithof: Mikey Saltas: My current mood is the 5 o’clock emoji. More accurately, any emoji found on the food page—and I do mean any. Andrea Harvey: ... because I’ve been staring at a computer screen for so long that I think I could be going blind. Mason Rodrickc: My feelings hunting down all these damn emojis.

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HITS&MISSES BY KATHARINE BIELE

RANDOM QUESTIONS, SURPRISING ANSWERS

@kathybiele

Less Than Smooth

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More Land Plans

U.S. Rep. Rob Bishop plans to release his lands bill to the public this week, The Salt Lake Tribune reported. The bill is ostensibly a compromise to resolve disputes over the use of Utah’s public lands. Whether that will come to anything is a question as President Obama just imposed a moratorium on new coal leases on federal lands, and environmental groups stand ready to fight an exploratory oil well in the Uinta Mountains. Oh, and we’ll add a curious footnote about the slapstick occupation of a wildlife preserve in Oregon. Maybe we should mention Rep. Ken Ivory, too, who socked away $135,000 for his work fighting federal lands jurisdiction. That’s not illegal. It’s just not aboveboard.

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Hooray for the federal government! Did we just say that in Utah? On Feb. 1, military veterans will be able to train in the solar industry. The Department of Energy is launching its “Solar Ready Vets” program at Hill Air Force Base, the Standard-Examiner reported. The goal is to put 75,000 vets in the solar workforce by 2020. This, despite what AmericaBlog calls an assault on the solar industry. James Neimeister writes that utility companies want to undercut the rooftop solar industry before it establishes itself. “So ALEC and privately owned electric companies teamed up for an assault on the Public Utilities Commissions in Wisconsin, Colorado, Utah, Oklahoma, Ohio, Nevada and many other states,” Neimeister says. Indeed, Rocky Mountain Power has tried to put a fee on solar panels, and Nevada has seen its solar industry crumble after rates were raised for households with solar panels.

Cara Scott

Well, that didn’t go well, did it? Salt Lake City Mayor Jackie Biskupski has been forced to deal with a whole lot of recalcitrant department heads, who for whatever reason, are just not submitting their letters of resignation. KUTV Channel 2’s Matt Gephardt reported that only 11 of the 33 city staffers submitted letters. Whether you agree with Biskupski’s methods, it’s apparent that a smooth transition isn’t in the cards. Vetting the candidates on a “case-by-case” basis could have been done privately, but Biskupski chose to stack up letters instead. And what was meant to be professional looked unfeeling instead. Meanwhile, she has appointed new, albeit recycled, talent for spots such as public utilities, communications, community relations and, of course, her close staff (see p. 12). That rewarding your supporters is standard operating procedure. But while the new administration is an exciting prospect, the mayor’s relationship with city insiders has some mending to do.

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8 | JANUARY 21, 2016

FIVE SPOT

Of all issues discussed in the public sphere, the subject of abortion tends to be among the most divisive, bringing out the best and worst in all. On the front lines of the conversation is Giuliana Serena, who is set to host the Planned Parenthood Association of Utah’s 43rd anniversary celebration of Roe v. Wade on Jan. 22 at Publik Coffee Roasters (975 S. West Temple, 7-10 p.m.). Serena is a ceremonialist and co-founder of The Bee, a monthly gathering at which strangers and friends come together and share stories. Space for Friday’s celebration is limited and pre-registration is required. For tickets, visit Bit.do/RoevWade16.

You’re hosting a “Roe v. Wade Party” to celebrate the 1973 landmark Supreme Court decision on a woman’s right to have an abortion. Why a celebration?

The right to an abortion is a crucial one in terms of women’s reproductive rights. And the rights that we do have are worth celebrating—the fact that I have the right to choose, and that my sisters and friends and that every woman does, regardless of race or class or social status—is important to me. This is as contentious an issue as it ever was, and it’s vital to keep it top of mind for people. We cannot be complacent. Our rights are constantly at risk as lawmakers (mostly on the far right) do their utmost to take them away.

It’s been a while since Gloria Steinem boldly wore a T-shirt with the words “I had an abortion.” Why’s it important for people to share abortion stories?

Abortion is a relatively common experience among women in the United States, and one in three will undergo a medical or surgical abortion in her lifetime. Yet, the majority of those women choose not to talk about it—even with close friends and family. Too many women feel completely alone when contemplating abortion, or going through it. Whether their experience is one which was overall positive, traumatic, both or somewhere in between, there simply aren’t enough spaces in which people feel safe to share these stories.

What’s at stake as far as reprodutive rights in Utah are concerned?

The most basic challenge is that the vast majority of Utahns don’t realize access to abortion care is a fundamental human right. There are policy makers who simply do not believe women should be allowed to control their own bodies and if and when to have children. The conversation needs to start there.

Could an anti-abortion campaign supporter learn something by attending?

Of course! Everyone is welcome. Abortion tends to be a divisive issue, and we intend for this gathering to be one in which people have the opportunity to come together and recognize what we have in common. Everyone, no matter what their views coming in, is sure to have their convictions expanded and enriched, even challenged, by the experience of hearing the true stories of people who have lived through abortion first hand. In between storytellers, I’ll be reading excerpts of stories from our audience as well as those which have been submitted to us online. Anyone with a story to share can write to event organizer Kate Kelly by Jan. 21 at kate.kelly@ppau.org to have their story considered for inclusion. —MATT KUNES comments@cityweekly.net

Itâ&#x20AC;&#x2122;s time to the great music being created in our own backyard.

VOTE JAN. 27TH!

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On the expanded ballot with all new categories. Available at cityweekly.net/bestofmusic

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#BestofMusic

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10 | JANUARY 21, 2016

BY CECIL ADAMS SLUG SIGNORINO

STRAIGHT DOPE Wash or Wipe I recently learned that, in India, people clean up differently after going to the bathroom—pouring water down their backsides with one hand while cleaning themselves with the other. Toilet paper, I’m told, doesn’t even factor into the equation. What I want to know is: Which is better for us and for the environment? Should we, as Americans, be switching? —Anonymous, for obvious reasons

eck, they don’t just eschew toilet paper. Many in India eschew toilets altogether, with 67 percent of rural households reporting, in a 2011 survey, defecation en plein air. Part of the Indian style of relieving oneself stems from a lack of widespread indoor plumbing, sure, but the water method isn’t just about not having toilets that can handle Western-style TP; using water rather than tissue to clean one’s parts is common in plenty of places that have the economic wherewithal to afford sturdy sewage systems—Japan, for instance. So your question’s a good one: What are they onto? And should we be taking cues? The stakes aren’t low. As of 2009, Americans were using 36 million rolls of the stuff each year, something on the order of 15 million trees. Recycled material’s fine if you don’t mind a slightly scratchy experience, but popular ultrasoft varieties require tree fiber— some of it from old-growth forests. (Less than 2 percent of toilet tissue sold for in-home use in the United States is made from 100 percent recycled paper.) This isn’t the only way that TP is problematic, environmentally speaking. Scientific American reported that, trees aside, U.S. toilet paper consumption requires, per annum, 473 billion gallons of water, 253,000 tons of chlorine (for bleaching; this can have harmful downstream effects on the immune and reproductive systems of wildlife) and 17.3 terawatts of energy. That’s some footprint. The obvious alternative is the bidet— historically a stand-alone fixture, but increasingly available as an electronically controlled add-on to an existing toilet bowl. Let’s assume that, given the environmental impact of TP, bidet use is probably better for the planet. But is it better for the body? Alas, the scientific world is not flush with information regarding health and bidet usage. A 2011 paper out of South Korea reported that, at the correct setting, the electronic bidet could reduce anorectal pressure in people experiencing conditions such as fissures or hemorrhoids. But researchers seem keener to demonstrate its potential for improving the lives of elderly or disabled people, for whom wiping might be a challenge: A 2007 study found that an electronic bidet could be used by patients with spinalcord injury to successfully induce bowel movement. In 1995 the Brunel Institute for Bioengineering introduced to the world the “Port-aBidet,” which people with disabilities could tote around to ease the experience of going to the bathroom away from home. A preliminary report in the journal

Gerontologist suggests that “wash-and-dry” toilets may improve resident comfort and cleanliness in nursing homes. A Yale infectious-disease specialist has proposed that bidets may help prevent urinary tract infections in the elderly. On the other hand, a 2010 study of subjects in Japan, where bidet usage is common, linked regular warm-water cleansing with the aggravation of vaginal microflora. And you’ll thank me for not describing the pictures published in a case study of an elderly patient’s perianal burns, caused by an excessively hot stream. So, a mixed bag. We should note that in some places where water is involved, the prevailing toilet design is different from the American style—more of a hole that the user squats over. Here there’s a clearer benefit: The simple act of squatting, as opposed to sitting, requires less straining on the part of the defecator—an easier experience all around, plus it may reduce hemorrhoid risk. In a public-facilities setting, there’s also the obvious hygienic plus of not coming into contact with a seat that’s touched more asses than you’ll find at a Kenny Chesney concert. Why haven’t Americans gone in for the bidet thus far? It might have to do with good old American exceptionalism. Like the hydrogen bomb and the Big Gulp, toilet paper is a proud U.S. invention, whereas it was the decadent French who brought us the bidet. (The word bidet, by the by, originally translated as “pony”—a reference to what one looks like astride the thing.) Things may be changing, but in both directions. On the one hand, there’s U.S. defecatory imperialism: We’re TPing the globe, as increasing usage in Brazil and China accounts for more of the toilet paper revenue picture overall. On the other hand, last year, The New York Times published not one but two articles about nascent American enthusiasm for a high-tech line of Japanese bidet toilet seats, the Toto Washlet series, tricked out with heaters and dryers and pulsating sprayers. Toto (which recently opened a $60 million toilet museum back in Japan) has apparently dialed up its sales push in Los Angeles, Chicago, Boston and New York, hoping to finally establish a U.S. beachhead. Who knows? It might end up finding a solid market here after all. CW

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

NEWS Water Pockets An earnest effort could be made this legislative session to fund the Lake Powell Pipeline. BY COLBY FRAZIER cfrazier@cityweekly.net @ColbyFrazierLP

| CITY WEEKLY |

the pipelines. Adams says it’s more like buying a house and having a large down payment. “I think the governer has his ideas and I think he’s probably well-meaning like everyone else, but my experience has been that these projects take a lot longer than anyone ever envisioned,” Adams says. “The sooner you start saving and putting money away, the better you are.” But the governor’s budget is little more than a loose guideline for what the Legislature might actually do. Sen. Jim Dabakis, D-Salt Lake City, says he would be flummoxed if his colleagues allow Adams and the state’s water managers to siphon loads of cash away from the Utah Department Transportation. While water project enthusiasts say new pipelines are needed to usher in a new home-building and population boom, Dabakis says the same case is easily made for improved roads, highways and public transportation. As to whether or not the Utah Department of Transportation will protest Adams’ efforts, the lawmaker says he doubts they’ll be happy, but also doesn’t believe they’ll complain. Dabakis says “every dime” dedicated to transportation is needed and that diverting money to pipelines is a “terrible idea.” He also notes that the creation of the fund in 2015, and this year’s proposal to begin filling that fund, are just two of many small efforts that have been undertaken over the years by the Legislature to avoid an “up or down” vote on the pipelines. And, in spite of the evidence showing that Utah has the capability to conserve water—or at the very least, cease consuming it more wildly than its neighbors—and could reappropriate agriculture water to meet future needs, Dabakis senses that momentum is building to at last move forward on the Lake Powell Pipeline. “In our state, the second-driest state, you wave around a banner of water, water, water, and it means almost any amount of intolerable waste is permitted because it’s water,” Dabakis says, referring to the waste of water as well as what he believes will ultimately prove to be a massive waste of taxpayer money. “This is a lollapalooza of waste.” CW

paints a clear picture about where Utah’s water is used. It shows that 82 percent of the state’s water goes to agriculture, while 18 percent makes its way to various municipal and industrial (M&I) uses. Of this 18 percent, the budget shows that 3.5 percent is used for indoor residential use (the stuff that you drink out of a kitchen faucet), while 6.5 percent is used on lawns and other residential outdoor uses. Businesses and government use the remainder of the water in this part of the pie. If the largest users in the state—agriculture—achieved a 5 percent efficiency on the water already being used, the budget points out that this sum would double the amount of water available for residential and business uses. And with a predicted population boom, and increasing trends to pave over farmland, this water will need to be used someplace. Cold, hard statistics like these—trumpeted for years by Frankel and other Utahns who insist that the water to quench Utah’s projected population and growing thirst already exists—has fallen on deaf ears. So Frankel and pipeline critics have stepped into the fiscal responsibility arena to attack the pipelines. “One of the more telling statements in the budget was the recommendation that the State of Utah not become the federal government and just pay for all of the water projects that are put forth,” Frankel says. “I think that legislators will read that and go, ‘Yeah, that’s what I think and I think that’s what most Utahns think.’” The budget shows that of the billions of taxpayer dollars that could be spent on the pipelines, only 70 percent would be paid back to the state in the next 50 years. The remaining 30 percent is an openended question. “Unlike the federal government, the State of Utah balances its budget,” the governor’s budget proposal notes. “This means that this type of major funding expansion would ultimately affect [sic] other state-funded programs (in particular education) or future tax levels.” Nowhere in his bill, which has not yet been numbered, Adams says, is there authority to begin taking on debt to pay for

session, $5 million from the state’s general fund found its way into the account. Now, though, an earnest move to bankroll the pipelines is afoot. During the interim session, Adams introduced a bill that proposes to divert sales tax revenues from the Transportation Investment Fund to the Water Infrastructure Restricted Account. “The only limit to our growth along the Wasatch Front is water, period,” Adams says. Linking water projects to roads and transportation, Adams says, will foster a more holistic approach to the state’s infrastructure needs. Zach Frankel, executive director of the Utah Rivers Council, says that success by Adams would make it “100 percent” more likely that the Lake Powell Pipeline will be built. While Adams, who is a developer, and many of his colleagues in the Legislature have continued their steadfast cheerleading for the need for the pipelines, a growing body of research and criticism, from Gov. Gary Herbert to the state’s legislative auditor, have raised questions about the need for the projects. The most recent critique arrived in the form of Herbert’s budget, which in seven swift pages, fails to allocate a single penny to the pipelines, and asks critical questions about the lack of plans to make taxpayers whole once they pay for the projects. The governor’s budget echoed a key point highlighted in a 2015 audit that was critical of how the state’s Division of Water Resources was tallying future water needs. To address this concern, Herbert proposes spending $6 million to collect data and study water usage across the state. The budget points out that Utah—the second-driest state in the nation according to the U.S. Geological Survey—uses more water per capita than any other. Utah also lags in attempts to measure how much water many of its users consume, a shortfall the governor proposes to address by spending $460,000 on improved metering efforts. The budget also tags conservation as a priority, proposing to spend $600,000 on efforts to conserve. And the budget

| CITYWEEKLY.NET |

anuary is a month of high intrigue for Utahns who follow politics. It is the month when the Utah Legislature— a body of individuals from every corner of the Beehive State—prepares to convene for 45 whiplash days in Salt Lake City and pass a myriad of new laws. Which laws pass and which fail often isn’t fully understood—even by legislators voting on them—until long after tulips find their way into the spring sunlight. For those with a long memory, 2016 will mark the 10-year birthday of the Lake Powell Pipeline, which the Legislature took one giant step toward creating in 2006 with the passage of the Lake Powell Pipeline Development Act. In the preceding years, lawmakers chipped away at details like initiating environmental review, charting courses and singing praises of the easy Colorado River water that will be carried 140 miles uphill by the massive, $1 billion to $2 billion straw, to the sprawling desert city of St. George. One hurdle to the pipeline that fell at the conclusion of the 2015 legislative session—and one that could have massive implications in 2016—was the creation of a fund where money to pay for the Lake Powell pipeline and its costly and no-less controversial sibling to the north, the Bear River Pipeline, could be squirreled away. That effort, undertaken by Sen. Stuart Adams, R-Layton, was blasted by opponents and some of his Republican colleagues because it appeared he was trying to open a bank account without any money to deposit. These fears did not persist long, for in the final days of the 2015

ENVIRONMENT

“In our state, the second-driest state, you wave around a banner of water, water, water, and it means almost any amount of intolerable waste is permitted because it’s water.” —Sen. Jim Dabakis

JANUARY 21, 2016 | 11

| CITYWEEKLY.NET |

Biskupski selects longtime S.L. County employees to fill notable city positions. BY COLBY FRAZIER cfrazier@cityweekly.net @ColbyFrazierLP

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f the letters of resignation that newly minted Salt Lake City Mayor Jackie Biskupski demanded from all of the city’s department heads, at least one from Redevelopment Agency Director D.J. Baxter was accepted. Matthew Rojas, Biskupski’s director of communication, says the mayor met with Baxter and decided to move in another direction with the department that in recent years has been an active player in developing pockets of the city. “She wanted to find someone who could really embody her vision, which is really building a city for everybody,” Rojas says. “As a tool for economic development, the RDA can be incredibly helpful in fulfilling one of her priorities, which is helping revive relevance of areas west of the freeway.” The news of Baxter’s departure came on the heels of several other recent appointments by the mayor, including naming of longtime Salt Lake County employee Mike Reberg as director of the Department of Public Utilities. For the past two years, Reberg has worked as division director of Salt Lake County Animal Services—his second stint at the county in the past two decades. In the 1990s, Reberg was assistant director of public works for the county. Reberg, who donated $600 to Biskupski’s campaign, also worked from 2003-13 as the district director for former Congressman Jim Matheson, D-Utah. Now, he finds himself at the helm of a department that in 2014 employed 393 employees and generated operating revenue of $96.2 million. Reberg will also have big shoes to fill. The department’s former director Jeff Niermeyer had worked for the city’s Department of Public Utilities for 25 years, spending the last nine as the director. In addition to Reberg’s jobs in government, he serves on the board of directors of Save Our Canyons, and according to the news release announcing his appointment, his work in the private sector has involved negotiating land exchanges between private land owners and Salt Lake County for river parkway systems. Reberg is the latest in a string of county employees to join Biskupski’s staff. Patrick Leary, Biskupski’s chief of staff, is a former director of public works and a township executive for the county. The mayor’s deputy chief of staff, David Litvack, was most recently the coordinator of the county’s criminal justice advisory council. Communications director Rojas says

Drawing from county stocks, Salt Lake City Mayor Jackie Biskupski has been busy cobbling together her city lieutenants.

Biskupski is hunting for the most qualified people she can find to lead the city. That some of them come from county ranks speaks to the quality of folks working for the county, Rojas says, as well as the fact that Biskupski’s most recent job was for Salt Lake County Sheriff Jim Winder. “She is bringing over people that she’s worked with that she trusts,” Rojas says. Shortly after her mayoral victory was certified, Biskupski asked for resignation letters from 34 city employees, some of whom were working in the office of former Mayor Ralph Becker, and all of the city’s appointed department heads. Niermeyer and Jill Remington-Love, who was the director of community and economic development, left their posts prior to, or in step with, Biskupski taking office. During her campaign, Biskupski criticized the Becker administration for not being more aggressive in stimulating economic development. At present, Rojas says Mary DeLaMare-Schaefer, who was deputy director of the department under Remington-Love, is the interim director. Biskupski also announced that she hired Nate Salazar, who ran an unsuccessful campaign for the District 4 seat on the Salt Lake City Council, as a community liaison for the mayor’s office. Rojas says other department heads have not been retained, though he declined to identify who has been sent packing. Meanwhile, City Attorney Margaret Plane, Justice Court Director Curtis Preece and Finance Director Gina Chamness have all been retained by Biskupski. Rojas pointed to Preece, Chamness and Plane as examples of Biskupski’s willingness to retain some of the talent from past administrations. “My office will continue to be open and transparent as we work to build a team to serve the people of Salt Lake City,” Biskupski said in the prepared statement. “This is a deliberate process, and the people of Salt Lake City and city employees should know, these decisions are being made with the utmost care and will be made in a manner that ensures a smooth transition.” CW

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JANUARY 21, 2016 | 13

YOUR FAVORITE ANNUAL GUIDE FOR:

THE

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THE LIST OF NINE

BY MASON RODRICKC & MICHELLE L ARSON

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In a week, you can

CHANGE THE WORLD

CULTURAL ACTIVITIES

Westminster College’s Great Salt Lake Institute will host “Spirit of the Feather,” a presentation on the significance of eagle feathers by Sia: The Comanche Nation Ethno-ornithological Initiative. Sia founder and director William Voelker, along with Sia assistant director Troy Sia, will present the Comanche’s connection with eagles and nature. Three eagles will be on hand to meet the audience. Westminster College, Bill and Vieve Gore School of Business Auditorium, 1840 S. 1300 East, Salt Lake City, Jan. 21, 7 p.m., free

nTalib Kweli will speak at the University of Utah in honor of its MLK16 celebration. The Brooklyn-based rapper and activist has participated in many protests, including the Ferguson protests in 2014, and uses provocative lyrics as a form of activism. He’ll perform a 10-minute spoken word along with an one-hour keynote address. University of Utah Union Ballroom, 200 Central Campus Drive, Salt Lake City, Jan. 21, noon, free, open to the public. Diversity.utah.edu/mlk

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14 | JANUARY 21, 2016

CITIZEN REVOLT

POETRY SOLICITATION

Nine Sequels We Hoped to See at Sundance (Maybe Next Year?)

9. Harry Potter Episode 1: The

Menacing Phantom

8. The Royal Elevenbaums 7. Kony 2016: This Time It’s on Snapchat

6. Indie Game: The Movie: The

Game: The Movie

5. Once 2: Twice 4. Secretary 2: It’s Executive

Assistant, Thank You Very Much

3. Hedwig and the PassiveAggressive Metric System

2. Xeriscaped Garden State 1. Clerks: The Etsy Shop

Don’t just dream about being published; get serious. The Rumi Poetry Club is putting out a call for poems—up to three— to be published in its 10th anniversary book, Sand and Sky: 101 Poems from Utah. Three Utah poets will be invited to judge the poems and edit the volume. Poems of 26 lines or less are preferred, but some as long as 40 lines will be accepted. Send a short biography and indicate that the poems have not been published elsewhere and that you own the copyrights. Through June, no entry fee, send one word document to: rumipoetryclub@earthlink.net

OPEN HOUSE

You have to start thinking about spring when it’s snowing, and Wasatch Community Gardens is trying to plan for its newest garden now. Salt Lake City and WCG will be hosting the New Community Garden Open House to discuss the development of the Liberty Wells Community Garden on 1700 S. 700 East and solicit input from surrounding neighborhood businesses and residences. If you would like to participate in the garden, please consider attending the open house. Tracy Aviary Education Room, 589 E. 1300 South, Salt Lake City, Wednesday, Jan. 27, 6-7 p.m., WasatchGardens.org

—KATHARINE BIELE

Send events to editor@cityweekly.net

BY CHUCK SHEPHERD

S NEofW the

The New Grade Inflation They are simply “spas designed to attract teenagers,” according to one university official—plush, state-of-the-art “training” complexes built by universities in the richest athletic conferences to entice elite 17-year-old athletes to come play for (and, perhaps, study at?) their schools. The athletes-only mini-campuses include private housing and entertainment (theaters, laser tag, miniature golf)—but, actually, the schools are in a $772-million-plus “arms’ race” (according to a December Washington Post investigation) because soon after one school’s sumptuous, groundbreaking facility opens, some other school’s more-innovative facility renders it basically second-rate. And of course, as one university official put it, the “shiny objects” have “nothing whatsoever to do with the mission of a university.” (Donors and alumni provide much of the funding, but most schools by now also tap students’ “athletic fees.”)

WEIRD

Redneck Chronicles Police in Monticello, Ky., charged Rodney Brown, 25, with stealing farm animals and equipment from a home in December—but offering to return everything if the victim (a man) had sex with him. Brown allegedly took 25 roosters, a goat and some rooster pens and other rooster-care equipment. (Because Brown also supposedly said he’d beat the man up if he called police, a “terroristic threatening” count was added to “promoting prostitution.”)

Great Moments in Leadership In November, the president of Mauritania, Mohamed Ould Abdel Aziz, in the stands but “bored” with his country’s “Super Cup” soccer final that had been tied, 1-1, for a long stretch, ordered officials on the field to stop play abruptly and proceed to a gameending 10-kick “shootout.” (The Tevragh-Zeina team won.) n Jorge Servin, Paraguay’s head of indigenous affairs, was fired in November after he apparently kneed an indigenous woman in the stomach as she protested her people’s treatment by the government.

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I AM BIG BIRD: THE CAROLL SPINNEY STORY

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n The head of Croatia’s human rights committee, Ivan Zvonimir Cica, posing alongside President Kolinda Grabar-Kitarovic to commemorate International Human Rights Day in December, had his pants inexplicably come loose and fall to his ankles.

Least Competent Criminals The manager of the Nandos Riccarton restaurant in Christchurch, New Zealand, is pretty sure that he knows who swiped the contents of the store’s tip jar that December evening (based on surveillance video), but the man denied the theft and walked out. The manager told police there was less than $10 in the jar at the time—but also that the man had paid his $14.90 tab for food, yet hurried off without eating it. Thanks This Week to Eddie Earles, Kelly Fitzpatrick, Ric Adams, Harry Thompson and Rob Zimmer, and to the News of the Weird Board of Editorial Advisors.

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JANUARY 21, 2016 | 15

n Researchers from the University of York and the University of St. Andrews wrote in the journal Biology Letters in December that they observed wild male parrots using pebbles in their

Wait, What? NPR’s Morning Edition, reporting on the violent tornadoes that hit North Texas on the night after Christmas, interviewed one woman who said she was luckier than her neighbors because of her faith. She was entertaining 10 relatives when she heard the “train-like” sound of the winds approaching and took everyone outside to confront the storm: “We … started commanding the winds because God had given us authority over … airways. And we just began to command this storm not to hit our area. We spoke to the storm and said, go to unpopulated places. It did exactly what we said to do because God gave us the authority to do that.”

CITY WEEKLY

| CITY WEEKLY |

Weird Science The most promising current concussion-prevention research comes from a study of … woodpeckers (according to a December Business Week report). Scientists hypothesize that the birds’ apparent immunity from the dangers of constant head-slamming is because their neck veins naturally compress, forcing more blood into their craniums, thus limiting the dangerous “jiggle room” in which brains bang against the skull. A team led by a real-life doctor portrayed in the movie Concussion is working on a neck collar to slightly pinch the human jugular vein to create a similar effect.

Leading Economic Indicators The government of the Netherlands, seeking to boost the economy while simultaneously improving highway skills, enacted legislation in December to allow driving instructors to be paid in sexual services provided the student is at least 18 years old. Though prostitution is legal, the transport minister cautioned that the “initiative” for the new arrangement must be with the instructor so that the country gains better-trained drivers as a result.

cityweeklytix.com

n A Washington state uncle complained in December that a WolVol toy airplane he bought for his nephew on Amazon.com, instead of making engine noises, recited spoken words—which a Whatcom County Islamic Society spokesman said was actually a prayer that hajj pilgrims speak when they journey to Mecca. (WolVol said it would investigate.)

n Michael McFeat, a Scottish man working on contract for a mining company in Kyrgyzstan, was arrested in January after he (on Facebook) jokingly called the country’s national dish “horse penis.” (“Chuchuk” is indeed a sausage made from horsemeat.) The crime he was charged with carries a five-year prison term.

Special Limited Quantity

Latest Religious Messages A geography class at Riverheads High School in Augusta County, Va., alarmed some parents in December when students were assigned to copy an Arabic script to experience its “artistic complexity.” However, the phrase the teacher presented for copying was the “Shahada” (“There is no god but Allah”). District officials called that just a coincidence—that the phrase was presented only for calligraphy and never translated.

The Continuing Crisis Factory worker Thanakorn Siripaiboon was arrested in December in a Bangkok suburb after he wrote a “sarcastic” comment on social media about the dog that belongs to Thailand’s king. For the crime of “insulting the monarch,” Thanakorn faces 37 years in prison.

FIRST!

| CITYWEEKLY.NET |

Made in Heaven William Cornelius, 25, and his fiancée, Sheri Moore, 20, were arrested at the Bay City (Michigan) Mall in January, charged with theft. Police found a pair of earrings and a necklace swiped from Spencer’s Gifts on her, but she refused to “snitch” on Cornelius, who had minutes earlier proposed to her via a WalMart loudspeaker and given her a ring, to applause from onlooking shoppers as she accepted. Cornelius, holding $80.93 worth of goods (a watch, an edible thong, a vibrator and “BJ Blast” oral-sex candy), was apprehended at the mall food court, having apparently (according to the police report) “fallen asleep at a table while tying his shoe.”

mouths to help grind seashells into powder and hypothesized that the purpose was to free up the shells’ calcium in “vomitable” form so that they could pass it to females before mating, to help improve their offspring’s health outcomes.

CHECK US

| SUNDANCE FILM FESTIVAL 2016 |

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16 | JANUARY 21, 2016

FROM PAST YEARS’ HITS TO THIS YEAR’S TIPS, A PRIMER FOR WHAT TO EXPECT FROM THE 2016 SUNDANCE FILM FESTIVAL

SUNDANCE SURVIVAL NEXT PAGE

BY THE BOOK PAGE 18

DIRECTOR PATHS PAGE 18

The Sundance APP PAGE 21

IT’S SHOWTIME!

very year, more than 40,000 people— including 30,000 out-of-state movielovers, filmmakers, industry professionals and journalists—descend on Park City for the Sundance Film Festival. They subject themselves to the winter weather of a mountain ski town, and the complex logistics of navigating it, all for the chance to be there when the Next Big Thing is discovered. Once again, City Weekly wants to help you be part of it. David Riedel looks back at some of the Next Big Things from festivals past to show how many different ways a filmmaking career can twist and turn. We look at some of this year’s films through the lens of the books that served as their source material. We also gather years of festival experience to offer tips for how to avoid some of Sundance’s most common pitfalls and how to use the festival’s online presence to get the most out of your time. You don’t have to be a celebrity for Sundance to be special. Let us help you on a tour through the festival that will make every step feel like your own personal red carpet.

—Scott Renshaw, Arts & Entertainment Editor

Tips and tricks for making the most of your festival experience BY SCOTT RENSHAW scottr@cityweekly.net @scottrenshaw

| CITY WEEKLY |

JANUARY 21, 2016 | 17

ven Utahns who have lived here their entire lives might think of the Sundance Film Festival as a different world—perhaps even one that’s too intimidating to take on. But whether you’re considering a trip to take in the Park City atmosphere, or just seeing a film or two in Salt Lake City, there are ways to make the experience easy. Well, easier, anyway. If you can avoid it, don’t drive anywhere. Plenty of factors conspire to make it unpleasant to try to navigate the festival as an individual driver—and believe it or not, the winter weather is often the least of them. Parking in Park City is at a premium— official lots are located behind the Egyptian Theatre, The Yard on Homestake Road and Lot G on Prospector Avenue—and they’re simultaneously quick to fill up and expensive. If you must park within the city limits to get to a shuttle stop, leave your vehicle where it is as long as possible to avoid multiple pay-outs. Park City police also aren’t shy about catching every speeder on Park Avenue where the speed limit dips to 35, and ticketing every inappropriately parked vehicle. For Salt Lake City venues, take Trax and walk a couple of blocks if your primary venues will be the Rose Wagner, Library or Broadway Centre Cinemas. For

| SUNDANCE FILM FESTIVAL 2016 |

Sundance Survival

the Tower Theatre, you’ll likely need to find street parking in the nearby neighborhoods, so give yourself some time. Get up early, stay up late, sleep at noon. “Sold out” shows are largely “sold out” due to seats reserved for festival pass-holders, many of whom spend their nights at various parties and their mornings sleeping it off. Historically, that has meant more wait-list seats are available for the public in every venue for the first and last shows of any given day. Sundance took advantage of this phenomenon a few years ago by creating its Adrenaline Pass, and industrious wait-listers can similarly strike paydirt if they’re willing to brave lines in the wee hours. Early risers can also take advantage of tickets released to the public each morning at the festival’s main box offices (136 Heber Ave. in Park City, and Trolley Square Mall in Salt Lake City) for screenings the same day. Trust the “buzz” only so far. Virtually none of the festival films have been seen by press, and those that have are under embargo restrictions. For the first two days, nobody really knows anything about most of the movies, and whatever deafening “you gotta see this” bustle you’ll hear likely comes from particularly shrewd publicists or from the presence of one or two familiar actors. But by the end of the first weekend, start asking people on a shuttle bus—or keeping an eye on CityWeekly.net for our daily reviews. Know how long you really need between screenings. The film guide might tell you that your 2:30 p.m. MARC screening is 105

minutes long, and you want to make it to one at 5:30 p.m. at the Library. No problem, right? Except you need to factor in the possibility that your 2:30 screening might not start until closer to 2:40 as wait-list ticket holders are seated and filmmakers are introduced. And that you might not be able to squeeze onto the first available shuttle as everyone pours out at the same time. And that shuttles and all other drivers get notoriously backed-up in traffic between 4-6 p.m. as commuters and ski day-trippers make their way out of town. In short: The shuttle time indicator in the film guide is a helpful tool, but best-case schedule scenarios are much less likely to work out during the afternoons, particularly during opening weekend. Similarly, don’t assume you can dart from the Rose Wagner Performing Arts Center to the Grand Theatre in the 30 minutes you have between the scheduled end of one movie and the beginning of the next, if you take into account weather, time to find parking and other variables. Brown-bag it. Whatever you budgeted for meals, it will vanish if you try to eat out for every one. And even if you want to eat out for every meal, sometimes you’ll have a long wait ahead of you at the places most convenient to the venues. Theaters sell pricey concession items, but consider swinging by a grocery store (the Fresh Market near the Yarrow Hotel and Holiday Theaters in Park City, or the Smith’s near the Tower Theatre), grabbing some fresh fruit and a bagel, and saving $20 for another waitlist ticket. CW

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18 | JANUARY 21, 2016

Sundance 2016 By the Book

THE REVISED FUNDAMENTALS OF CAREGIVING, BY JONATHAN EVISON (FOR THE FILM THE FUNDAMENTALS OF CARING)

From page to screen, here are some potential Sundance darlings.

Festival Category: Premieres

BY SCOTT RENSHAW scottr@cityweekly.net @scottrenshaw

very year, the Sundance Film Festival catalog presents a bounty of options—many of which are unknown quantities. And every year, we try to make the unknown slightly better known by looking at movies based on books. Here are a handful of Sundance 2016 titles, “previewed” via an analysis of their source material, with the caveat that plenty of good movies have been made from bad books, and vice versa.

GOAT, BY BRAD LAND Festival Category: U.S. Dramatic Competition Book Overview: In this potent memoir, Land describes a traumatic incident as a young college student in which he’s abducted and assaulted by car thieves, the psychic fallout of which leads him to follow his younger brother to a new university and pledging a fraternity. Land’s insinuating style provides a frightening power to the sequences describing his traumatizing ordeal, and the unsettling parallels with being hazed. The relationship between Land and his brother Brett allows for a solid relationship focus, even when the narrative over the book’s final third begins to drift through episodic events on the road to closure.

Book Grade: B Reason for Adaptation Optimism: Co-written by David Gordon Green, perhaps returning to the small-town intensity of early work like George Washington and All the Real Girls. Reason for Adaptation Concern: When removed from the hallucinatory quality of Land’s prose, it will be awfully hard for the film to avoid wallowing in the most extreme and exploitative elements.

SOPHIE AND THE RISING SUN, BY AUGUSTA TROBAUGH Festival Category: Premieres Book Overview: In a coastal Southern town circa 1941, the tentative friendship between spinster Sophie and Japanese-American gardener Mr. Oto is complicated by the onset of World War II. Trobaugh draws from what feels like an obligatory template for stories set in pre-Civil Rights-era Southern towns, what with the prejudiced busybodies and the one or two forward-thinkers fighting against the tide and so forth. Despite a valiant effort at making Mr. Oto more than a representation of what people unreasonably fear, he feels mostly like a device to manufacture a gentle, occasionally effective star-crossed romance, and a chance to tut-tut at frightened bigots.

Book Overview: Ben Benjamin, newly trained as an in-home caregiver, tries to overcome the grief from a family tragedy while forging a friendship with his first client, a young man with Duchenne muscular dystrophy. A lengthy road trip ultimately ensues— Salt Lake City is its final destination—with Ben picking up various other folks along the way to allow for quirky interactions and the important learning of life lessons. It’s all fairly schematic—and plays far too coy for far too long with the specifics of Ben’s tragedy—but Evison is a talented enough writer to give the individual episodes some pop along the way to the conclusion it might have been easy to anticipate from at least the half-way point.

Book Grade: BReason for Adaptation Optimism: Paul Rudd feels like the perfect casting choice for Ben’s mix of sardonic humor and genuine sadness. Reason for Adaptation Concern: Longtime David Letterman executive producer Rob Burnett may not have the experienced directorial hand required to avoid this material’s easiest pitfalls.

INDIGNATION, BY PHILIP ROTH Festival Category: Premieres Book Overview: Marcus Messner, a Jewish native New Yorker, struggles to adjust to life at an Ohio university in 1951 after transferring to get away from his overbearing father. Roth has long been the master of chronicling the American Jewish experience in the 20th century, and here he does a fascinating job of creating a character whose overachiever mentality and stubborn collisions with Protestant orthodoxy—along with his obsessions with sex—become part of his downfall. He also drops in an unexpected [SPOILER] of a narrative device before the halfway point, framing the remainder of the story in a way that makes every one of Marcus’ choices loaded with significance.

LADY SUSAN, BY JANE AUSTEN (FOR THE FILM LOVE & FRIENDSHIP) Festival Category: Premieres Book Overview: This lesserknown Austen novella—written before all of her beloved novels—is the epistolary story of the recently widowed Lady Susan Vernon, who leaves the town where her behavior has inspired potential scandal, to visit with the brother of her late husband and his wife. There’s an unexpectedly wicked kick to the tale, as letters between Lady Susan and her best friend Alicia reveal the unpleasant manipulator she carefully hides through her charms. Many of the other key characters besides Lady Susan and her sisterin-law remain more enigmatic by virtue of being secondhand characters in these letters, but Austen makes a winning narrative out of the collision between surface social niceties and someone who knows how to bend everyone around her to her will.

Book Grade: B+ Reason for Adaptation Optimism: A welcome reunion— albeit in an unexpected context—of writer/director Whit Stillman and his The Last Days of Disco co-stars Kate Beckinsale (as Lady Susan) and Chloë Sevigny (as Alicia). Reason for Adaptation Concern: Stillman’s milieu has always been young people in a contemporary setting, so it’s unclear how he’ll make the transition to a Regency period piece. CW

Sundance 2016 Director Paths Win, lose or draw, your epitaph lies at the end of one of these roads. BY DAVID RIEDEL comments@cityweekly.net @ThaRid

Book Grade: B+ Reason for Adaptation Optimism: It may be the first feature directing credit for James Schamus, but his long history as a writer/producer with Ang Lee ach year when the Sundance Film Festival rolls shows the quality in the movies he touches. around, the movie pundits blow the dust from Reason for Adaptation Concern: Recent their thesauri (just kidding—the dust never settles history—The Human Stain, Elegy, The on those things) and pontificate on the nature of the festival. Is it Humbling—has not suggested that the a career launching pad, or a Hollywood party with lift tickets? challenges of adapting Roth for the For better or worse, there’s no other festival quite like Sundance, and screen are easily overcome. as a singular type of event, it’s developed its own mythology. The myth

goes that total nobodies and super-famous players have equal shots at making a big splash. But what happens after being at the festival, or even winning an award? Well, there’s no single answer to that question. Here are four roads out of Sundance that seem to be the most traveled:

nThe “It’s a farm club for future big-swingin’-dick Hollywood directors” road: Take a look at some of the festival’s most successful alums, and you’ll find a common thread: They have only a few feature films under their belts, but they’re nonetheless entrusted with enormous franchises. Book Grade: C Colin Trevorrow’s second feature as director was Jurassic World. His first, Safety Not Guaranteed, was in Reason for Adaptation Optimism: Writer/director Maggie the U.S. Dramatic Competition at Sundance 2012, where it won the Screenplay Award. It’s easy to see Safety’s Greenwald’s 2000 Sundance feature Songcatcher was an indie bona fides (the presence of Mark Duplass and Jake Johnson, for instance), but not necessarily what made effective, thoughtful drama about colliding cultures. Jurassic World’s producers say, “Hey, this is the guy who’s gonna reboot our hugely successful dinosaur franchise.” Reason for Adaptation Concern: Premise feels Nonetheless, he got the nod to helm World, and—understatement alert—that decision paid off: It was the biggest movie of almost predestined less for character study 2015 until Star Wars showed up (and maybe it still is, depending on how grosses are counted). And, as it happens, Trevorrow than for narrative self-righteousness.

Concerts

at Park City Winter’s Bone (2010) director Debra Granik

dripping with bathos, to make the first season a must-watch. After Pizzolatto and Fukunaga parted ways, Fukunaga made this year’s decent-but-not-great Beasts of No Nation (alternate title: Child Soldiering 101) for Netflix. Edward Burns’ 1995 Sundance Grand Jury Prize-winner The Brothers McMullen isn’t particularly great. It feels long at 98 minutes, it basks in Irish stereotypes, and it looks like the 16mm film was covered in a thin layer of grime before it was exposed. Still, it’s about as indie as Sundance gets; Burns made the movie for $25,000 while he was a production assistant at Entertainment Tonight. In short: He was no one. His follow-up movies haven’t fared so well, though The Fitzgerald Family Christmas and Purple Violets are worth watching. Burns finally achieved across-the-board critical acclaim with Public Morals, a TNT period cops-and-gangsters series that died after one season. Such is life, but what Burns does next will be worth seeing. Nicole Kassell’s debut feature, The Woodsman, starring Kevin Bacon as a maybe-reformed child molester, was nominated for the Grand Jury Prize in 2004 but lost out to Shane Carruth’s Primer, an excellent film with a noted absence of child molestation. Kassell’s second feature was the critically reviled Kate Hudson vehicle A Little Bit of Heaven. Kassell has fared much better in television, however, directing

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has also been announced to direct Episode IX of the Star Wars franchise. Unlike Trevorrow, Catherine Hardwicke didn’t leap from winning the Directing Award for her 2003 Sundance hit thirteen directly to Twilight—probably because of sexism, but that would be lobbing accusations I can’t prove. She directed two medium-size features in between, Lords of Dogtown (a surfing movie) and The Nativity Story (a Jesus flick), then got the Twilight gig. Say what you will about the Twilight series, Hardwicke’s entry at least has the distinction of being one of the best-reviewed in a series that critics love to crap on. Finally, much like Trevorrow, Ryan Coogler went from being an indie darling—Fruitvale Station won the Grand Jury Prize and the Audience Award for drama in 2013—to a franchise guy. For his second feature, Coogler brought Rocky Balboa back from the proverbial dead. Sylvester Stallone had retired the champ after Rocky Balboa. Coogler, because of a well-documented love of Rocky movies, pitched Stallone a story in which Rocky’s pal Apollo Creed has a son (Michael B. Jordan) who’s gotta do what he’s gotta do. Coogler’s transition from small personal indie director to blockbuster helmer seems like a big leap until you realize that, just like Fruitvale Station, Creed is a personal story—it’s just on a much bigger scale. Coogler’s next assignment is directing Marvel Studios’ Black Panther adaptation. Making arguably the best Rocky movie has its perks. nThe “Do some movies, but find your footing in television” road: Now that working in TV doesn’t have the funk of failure—some of us would argue there’s better work being done these days on the small screen, if a 65-inch screen can be considered “small”—it’s become a go-to medium for past Sundance favorites. After winning the directing award in 2009 for Sin Nombre, Cary Joji Fukunaga directed a well-received but little-seen adaptation of Jane Eyre. He followed it with a short, and then directed all eight episodes of the first season of HBO’s successful True Detective. Fukunaga’s Colin direction elevated Nic Trevorrow’s Pizzolatto’s scripts, second feature as which were director was Jurassic sometimes World. His first, Safety Not Guaranteed, was in the U.S. Dramatic Competition at Sundance 2012, where it won the Screenplay Award.

Ryan Coogler directed 2013’s Fruitvale Station

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Nicole Kassell directed The Woodsman (2004) episodes of highly regarded shows such as The Following, Better Call Saul and The Killing. Rumors of a Kassell-directed big screen version of Arthur Miller’s The Ride Down Mt. Morgan have floated around for years, but so far, the project hasn’t surfaced. nThe “Directors lucky enough to become their own brands” road: Honestly, would you rather watch Kevin Smith’s Mallrats, or listen to its DVD commentary track? Smith came onto the scene when Clerks was a big deal at the 1994 festival. Then Mallrats happened. Then Smith came back, sort of, with Chasing Amy (which hasn’t aged well). Then he made a movie about God, and then disappeared so far up his own ass (Jay and Silent Bob Strike Back), it’s a wonder he made it back. Smith’s SModcast empire (a series of podcasts) has roughly a bajillion shows, many of which are hosted by Smith, and if you find his brand of humor funny, it’s maybe the best thing on the Internet. Smith has, despite his own protestations, improved as a film director, if Red State and Tusk are barometers. Next up: This year’s Sundance entry Yoga Hosers (starring his daughter and Johnny Depp), then Clerks III. Much like Smith and Burns, Robert

Super Size Me (2004) director Morgan Spurlock Rodriguez was a nobody when his debut feature showed at Sundance. El Mariachi (made for just $7,000, according to lore) was shut out of the Grand Jury Prize in 1993, but won the Audience Award. Since then, Rodriguez has been churning out films in which he’s director and screenwriter and composer and shooter and editor (he could farm that particular gig out more often, really) and a bunch of other jobs. Except for the oddly sluggish Sin City, his hyperkinetic directing style is instantly identifiable from picture to picture, whether it’s a Spy Kids flick or one of the Machete movies. Just look for the Troublemaker Studios logo. Morgan Spurlock got noticed with Super Size Me, which won the 2004 Documentary Directing award. Spurlock ate McDonald’s for every meal for 30 days, then he, his then-girlfriend, and doctors watched in horror (and a little bemusement) as his body went to shit. Since then, Spurlock has made several other documentaries like The Greatest Movie Ever Sold in which he has been the star, as well as his CNN show Morgan Spurlock Inside Man. He’s made the occasional Spurlockless film (the mostly-a-concert film One

Wendell B. Harris Jr. directed Chameleon Street (1990) Direction: This Is Us), but would you rather watch a boy band or a guy in his late 30s getting fat? Finally, there’s the sad trombone road: n“Those who fade into obscurity or semiobscurity” road: If you know who Wendell B. Harris Jr. is, you’re either a fan of early Steven Soderbergh and Todd Phillips, or one of the few people who has seen Chameleon Street, Harris’ 1990 Dramatic prize-winner. Harris wrote, directed, and stars in the film as William Street, a man who changes his identity at will to get ahead. It’s an unfortunately little-seen and inventive piece of filmmaking. To hear Harris tell it, he couldn’t convince distributors to take the film. Harris told 20/20 in 1991, “[There was] an uncomfortable reaction to what [distributors] perceived what white America would think when Chameleon Street was shown.” Outside of Chameleon Street, Harris has appeared in Soderbergh’s Out of Sight and Phillips’ Road Trip. He’s tops in both. Debra Granik has won at Sundance twice, for directing Down to the Bone in 2004 and for co-writing and directing Winter’s Bone in 2010. In 2014, she released

Almost You (1985) director Adam Brooks Stray Dog, a documentary about Ronnie Hall, a man she met while making Winter’s Bone (he has a small part in the movie). In 2015, Granik told the now-defunct movie website The Dissolve that she wrote a couple scripts after Winter’s Bone, one of which didn’t turn into a movie, and another of which worked its way into a new project. In 1985, the year the Coen brothers’ Blood Simple won the Grand Jury Prize, Adam Brooks’ Almost You won the Special Jury Prize. Since then, Brooks wrote and directed the Ryan Reynolds vehicle Definitely, Maybe (meh), was one of four writers credited on Bridget Jones: The Edge of Reason (ugh) and one of three credited on Practical Magic (gah!), which was directed by Almost You’s lead, Griffin Dunne. Brooks also wrote Last Vegas (double barf). How is it that Brooks is working, but Harris isn’t? With the 2016 festival upon us, how will the new winners (and almost-winners) fare? Check back next year. The filmmaker who will take over the Batman/Superman franchise from Zack Snyder might be submitting this year’s $30,000 Audience Award winner. CW

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The Sundance App Experience the festival the mobile way. BY SCOTT RENSHAW scottr@cityweekly.net @scottrenshaw

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| SUNDANCE FILM FESTIVAL 2016 |

he Sundance Film Festival may be primarily about the experience of sharing movies in a theater with others, but that doesn’t mean it doesn’t also have its toes in the world that everyone now carries around in their purses and pockets. Much of the festival’s information—and the entirety of its ability to waitlist for sold-out screenings—exists in an online form. Some of it proves convenient and useful. Some of it, not so much. The Sundance 2016 mobile app (for purposes of this article, the iPhone version) is focused mostly around the festival program. Film summaries, screening times and festival venue information are well-organized, whether you’re looking to find out what is showing on a particular date, or at a particular venue. Yet, there are some odd quirks to the way information is categorized. Under the

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The Sundance App

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“Program” tab for the festival films, titles are initially organized only in three groups: “Feature Films,” “Feature Docs” and “Short Films.” Aside from the fact that the phrasing somehow suggests that a “doc” is not also a “film,” it requires digging deeper into the headings for an individual title to find, for example, all the titles in a specific category like World Dramatic Competition, or Documentary Premieres. Other festival programming—including New Frontier installations, panel discussions and music events—is also featured, so it’s possible that the minimalist categorizing was simply a decision to allow everything to appear on a single screen without scrolling. Still, it may prove frustrating for those who are interested in quickly identifying films in a category of greatest interest. There are similar ups and downs to the app’s features for helping people get around. Individual venues include maps and an option to get directions from one location to another on foot or by car, as well as clearly describing parking availability (or, more often, lack thereof) at each location. Unfortunately, the app includes no information about the invaluable festival shuttle service, making it of little use for newcomers who want to know which route will get them most efficiently from one venue to another. Then again, that’s why those wonderful volunteers are at the shuttle stops. At press time, it was not possible to test the connection between the official festival app and the festival’s eWaitlist system,

which was implemented a couple of years ago, replacing the time-honored tradition of camping out by a venue to get first shot at wait-list tickets. According to a festival representative, that functionality was due to be operational by the week of the festival. You can, however, always go directly to eWaitlist.Sundance.org, and create a user profile—which, fortunately, is easier than creating a user profile for the app, every attempt at which over the space of two days in mid-January caused the app to crash. While the eWaitlist system has had both fans and detractors since its inception, the way it works is very clearly described on the website. Two hours before each festival screening’s start time, the waitlist opens for that screening; a user interested in that screening needs to be quick on the button to “Join Waitlist,” as waitlist numbers are quickly assigned. Waitlisters must then arrive at the venue of their hopedfor screening at least 30 minutes ahead of showtime in person, with $20 (cash only) per ticket. Each registered user may only be signed up for one waitlist within a given two-hour window, and must cancel rather than no-show if they decide not to stay on a waitlist, or risk warnings and eventually being shut out from registering for other screenings for six hours. As for waitlisting with others, it’s possible, but not necessarily as easy as it used to be. Where a group of people could go together for the physical waitlist lines, the eWaitlist allows linking with friends’ accounts, but only one friend at a time for any given screening. While the website information doesn’t make it clear if your “linked” friend automatically gets a number adjacent to yours, a Sundance representative clarified that this is always the case. So far, at least, Sundance’s mobile presence does a much better job at making sure you know all about the movies you can see than at making it as easy as possible for you to see them. CW

Handheld Help: The official Sundance mobile app introduces users to festival venues.

ESSENTIALS

the

Utah Repertory Theater Co.: A Little Night Music

An Evening With Kevin Smith; Jay and Silent Bob Get Old Nothing quite encompasses 1990s nerd culture as well as Kevin Smith’s “View Askewniverse” films. Clerks, Mallrats and Chasing Amy not only introduced the world to Jay and Silent Bob, but they solidified Smith’s role as an important voice in the field of independent cinema. While Smith is in Utah promoting his newest feature Yoga Hosers at this year’s Sundance Film Festival, he’ll be treating Wiseguys Salt Lake to the raucous, geek-fueled double header An Evening With Kevin Smith and Jay and Silent Bob Get Old. The former is a bonding experience between Smith and the audience, as he engages attendees and fellow nerds in philosophical discussions about Star Wars and sex jokes. Jay and Silent Bob Get Old, on the other hand, will include 100 percent more Jason Mewes, Smith’s longtime friend, collaborator and hetero lifemate. The show began as a feature on smodcast, Smith’s popular podcast, as a way for Mewes to constructively confront his drug addiction. As the piece gained popularity, the disorderly duo took their show on the road, and Mewes is currently celebrating five years of sobriety. In addition to discussing their collaborative history over the past two decades, Smith and Mewes are sure to have a few demented surprises in store for their audience. Both men are surprisingly forthcoming about their experiences with film, podcasts, comic books and television, and their natural likability will make this an irreverently enjoyable evening. (Alex Springer) An Evening With Kevin Smith; Jay and Silent Bob Get Old @ Wiseguys Downtown, 194 S. 400 West, Jan. 26-27, 7 p.m. & 9:30 p.m., $35. WiseguysComedy.com

JANUARY 21, 2016 | 23

“Complicated love triangle” isn’t the best way to describe A Little Night Music. The Stephen Sondheim musical is more like a scandalous hexagon, where six characters fall in and out of love, not truly caring about each other’s feelings. Still, these morally questionable people are—at the very least—entertaining. Told through a singing Greek chorus, A Little Night Music disguises lust for love, like in the May-December marriage of Anne and Fredrik Egerman (Marissa Smith and Doug Irey). When a night at the theater reveals Fredrik’s past relationship with acclaimed actress Desiree Armfeldt (Susan Facer), it sets off a series of torrid affairs involving Desiree’s lover Count Carl-Magnus Malcolm (Matt Dobson), his wife Countess Charlotte Malcolm (Dianna Graham), and Fredrik’s son Henrik (Jon Rose). The passionate chaos comes to a climax at a weekend with Desiree’s mother Madame Armfeldt (Elizabeth Hansen) and daughter Fredrika (Bailee Johnson). With such an intricate romantic web, the cast requires great chemistry, especially when paired up. Director Christopher Clark’s direction succeeds brilliantly with each duo making a convincing couple—particularly Irey and Facer. A Little Night Music is at its best when the cast takes on Sondheim’s waltz time music and lyrics. They soar through the songs, wringing emotion out of every last note, notably when Facer sings “Send in the Clowns.” (Missy Bird) Utah Repertory Theater Co.: A Little Night Music @ Sorenson Unity Center Black Box Theater, 1383 S. 900 West, 435-612–0037, Saturday, Jan. 23 & 30, 2 p.m. & 7:30 p.m.; Friday, Jan. 29, 7:30 p.m. $15–20. UtahRep.org

TUESDAY 1.26

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The stereotype of the “perfect woman” is ubiquitous not only in society in general—in TV, magazines, largely propagated by the media—but also to great degree in the art world. This might be partly because, though art may profess to view the world critically, socially the art world is still associated with glamour. Carol Berrey’s paintings in the series Bounteous Flesh at God Hates Robots confront us with depictions of plus-size women who are unashamed of their bodies, often posed similarly to classical nudes, to highlight the female figure. These paintings refer the viewer to definitions of female beauty, from prehistoric fertility idols to Rubens’ full-figured nudes. The physicality of these women reminds us that to have a body is to be subject to the realities of physical existence, which don’t conform to our ideals, but there is beauty in looking at reality. The former university administrator turned full-time painter has previously essayed a variety of subject matter—from nuns to small children to red-rock landscapes— and brings an accomplished artistic style, as well as a deep empathy for her subjects. As much as her works revolt against the “ideal” female figure, the subjects still appear vulnerable under the gaze of the viewer, seemingly unaware of being observed, and that both adds an element of voyeurism and affords them solitude, a measure of distance. It’s not just the idealized standards of beauty that are revealed, but the objectification of women in general. What they really compel us to look at is our own subconscious biases. (Brian Staker) Carol Berrey: Bounteous Flesh @ God Hates Robots, 314 W. 300 South, Ste. 250, Monday-Friday, 11 a.m.-5 p.m., through Feb. 12. GodHatesRobots.com

SATURDAY 1.23

With the Sundance Film Festival kicking off at the end of January, Park City residents are preparing for the onslaught of vacationers and celebrity sightings. However, some might not be as familiar with the other major film festival happening simultaneously. After a group of subversive filmmakers weren’t accepted into the Sundance Film Festival, they decided to create their own group called Slamdance: Anarchy in Utah. Some 20 years later, they’ve become a year-round organization dedicated to the development of unique and innovative filmmakers from all over the globe. Every January this group organizes its main event, the Slamdance Film Festival. In contrast to Sundance, it’s smaller and the judges are drawn more to a unique voice than just a high production level. The biggest difference between the two festivals is that many filmmakers who screen their work at Sundance have already received a distribution deal of some sort. Slamdance limits its entries to those first-time directors who have yet to receive one. In 2015, the group received more than 5,000 submissions. From those, they screened about 100 films for the main competition—30 features and 70 shorts. Each film screened is eligible to receive cash and other prizes, as well as the coveted Slamdance Sparky. Christopher Nolan (The Dark Knight trilogy), Benh Zeitlin (Beasts of the Southern Wild) and Lena Dunham (Girls) are some of the directors discovered at past festivals. (Shawna Meyer) Slamdance Film Festival @ Treasure Mountain Inn, 255 Main, Park City, 323-466-1786, Jan. 22-28, $8-$12, passes $125-$350. Slamdance.com

Carol Berrey: Bounteous Flesh

FRIDAY 1.22

Slamdance Film Festival

Complete Listings Online @ CityWeekly.net

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FRIDAY 1.22

ENTERTAINMENT PICKS JAN. 21-27, 2016

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24 | JANUARY 21, 2016

A&E

DANCE

Forward Motion

Northwest Dance Project seeks innovation in contemporary dance. BY KATHERINE PIOLI comments@cityweekly.net

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he early 2000s weren’t a great time for dance. The events of Sept. 11, and the beginning of the economic recession in the United States shifted where and how Americans spent their money, and artistic communities—including dance companies—were some of the first to feel the squeeze. Reaction from the dance world, founding artistic director of the Northwest Dance Project Sarah Slipper says, was an almost complete shutdown on creativity. Companies and choreographers were afraid to take a chance on work that wouldn’t be instantly popular. What all companies needed more than ever in the financially tenuous time was commercial success. But what Slipper wanted was entirely different. “I wanted to create a platform for creativity,” she says. “I wanted to create a place where choreographers could take risks and be comfortable not knowing if the work would gain popular success. I wanted a place for choreographers to come and push and a company of dancers willing to go along for the ride.” So, in 2004, Slipper, a Canadian-born dancer and once leading dramatic ballerina for the Royal Winnipeg Ballet, founded the Northwest Dance Project in Portland, a company committed to the creation of innovative dance by emerging dance-makers. Since its founding, it has premiered more than 175 original works of contemporary dance, created by dozens of choreographers from around the world. “We like variety,” Slipper says. “This company is a project of diversity and I don’t want one voice.” This week, in a one-night-only concert at the University of Utah’s Marriot Center for Dance, Northwest Dance Project performs four original works in the company’s repertoire: What We’ve Lost on the Way (2015) by German choreographer Felix Landerer; At Some Hour You Return (2014) by Czech choreographer Jiri Pokorny; State of Matter (2010) by NW Dance Project’s current resident choreographer Ihsan Rustem; and Memory House (2011) by Slipper herself. “Northwest Dance Project is a window into modern innovations,” says Eric Handman, associate professor and director of graduate studies at the University of Utah’s Department of Modern Dance. His 2014 work Against Entropy was

commissioned by Northwest Dance Project. “They are a company on the pulse of the contemporary dance scene.” Though contemporary dance traces its origins back to both modern dance and ballet, it is beholden to neither form. Lacking a set definition, contemporary dance is exactly what the Northwest Dance Project and Slipper are in search of. “My company members still train in ballet every day,” Slipper says. “We need the shape and the line of ballet, even if some choreographers don’t care about a pointed foot. Our European choreographers tend to like strong technique, and slide toward ballet. But our Israeli choreographers often slide toward modern.” Then there are choreographers like Pokorny, who Slipper calls an up-andcoming star. At Some Hour You Return draws on isolation techniques used in breakdancing, turning each dancer’s body into a ripple of water, or puppets on the end of an invisible string. It’s small, twitchy movement Slipper calls “a unique use of speed and coordination that’s very charming.” Credit for such innovation, however, cannot go entirely to the choreographers. As Slipper points out, none of this would be possible without an exceptional cast of dancers—nine in all, most of whom have been with the company for five years or more. Each dance commissioned by the project is created with the company dancers, a set of artists trained in the art of collaboration and creation. The choreographers work intimately with the artists, and ultimately the dancers themselves contrib-

Memory House

ute, engaging in the creative process by providing inspiration, style and sometimes even movement that expands the language of the choreography. For Handman, the process of drawing upon the dancers for inspiration always produces greater results. “My own movement is so familiar to me,” he says. “I work collaboratively so that I see something new. I relinquish control to be surprised.” But, he adds, it’s not an easy process. “You still have a lot of dancers who just want to be told what to do.” Not everything that comes out of such collaborations, Slipper adds, is mindblowing or successful, even for the Northwest Dance Project. When you risk everything, sometimes you fail. But, for artistic director Slipper and her company, failure is not exactly something to avoid. “The key component of Northwest Dance Project to this day,” Slipper explains, “and the thing that makes us stand out from any other dance company in the country, is that we have dancers that are fearless and take risks, and choreographers who are trying to push limits and boundaries.” CW

NORTHWEST DANCE PROJECT

University of Utah Marriot Center for Dance 330 S. 1500 East, Bldg. 106 801-581-8231 Friday, Jan. 22 7:30 p.m. Tickets.Utah.edu

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TUESDAY 1.26

Salzburg Marionette Theatre: The Sound of Music Fans of the beloved 1965 film version of Rodgers & Hammerstein’s The Sound of Music will recall the scene in which the song “The Lonely Goatherd” is set to a whimsical puppet show. Now imagine if The Sound of Music in its entirety looked much the same way. The Salzburg Marionette Theatre boasts a history of more than 100 years bringing the art of theatrical puppetry to audiences, one of the few remaining full-time professional marionette troupes remaining in Europe. This week, they bring an encore presentation of their version of The Sound of Music back to BYU’s Pardoe Theatre, as pre-recorded songs and voices accompany the 24-inch figurines and wonderfully detailed sets to tell the story of the young novitiate Maria as she joins the von Trapp family as governess to a family of motherless children. Will the puppets do their own puppeteering of “The Lonely Goatherd”? You’ll have to see it to find out. (Scott Renshaw) Salzburg Marionette Theatre: The Sound of Music @ Pardoe Theatre, Harris Fine Arts Center, Brigham Young University, Provo, Jan. 26-27, 7 p.m.; Jan. 28-29, 7:30 p.m.; Jan. 30, 2 p.m. & 7:30 p.m., $10-$15. Arts.BYU.edu

PERFORMANCE THEATER

Art Pinnacle Acting Co., Westminster College Courage Theater, 1250 E. 1700 South, through Jan. 23, Friday & Saturday, 7:30 p.m.; Saturday matinee, 2 p.m., PinnacleActingCompany.org Beau Jest Hale Centre Theatre, 3333 S. Decker Lake Dr., West Valley City, 801-984-9000, through Jan. 30, Weekdays at 7:30 p.m., Saturday at 12:30 p.m., 4 p.m., & 7:30 p.m., HCT.org Broadway Rocks! SCERA Center for the Arts, 745 S. State, Orem, 801-225-2787, Jan. 27-30, 7 p.m., SCERA.org Cirque Ziva: Golden Dragon Acrobats Covey Center for the Arts, 425 W. Center St., Provo, 801-852-7007, Jan. 23, 7:30 p.m., CoveyCenter. org The Foreigner CenterPoint Legacy Theatre, Barlow Main Stage, 525 N. 400 West, Centerville, 801-298-1302, through Feb. 6, Monday-Saturday, 7:30 p.m.; Saturday matinee, 2:30 p.m., CenterPointTheatre.org Leo Harris Fine Arts Center, 1 University Hill, Provo, Jan. 21-23, 7 p.m.; Jan. 23, 2:40 p.m., Calendar.BYU.edu A Little Night Music Utah Repertory Theatre, Sorensen Unity Center Black Box, 1383 S. 900 West, 435-612-0037, through Jan. 30, Friday & Saturday, 7:30 p.m.; no performance Jan. 22; Saturday matinee, Jan. 23 & 30, 2 p.m., UtahRep.org, see p. 23 The Merry Widow Utah Opera, Capitol Theatre, 50 W. 200 South, 801-355-2787, Jan. 22, 7:30 p.m.; Jan. 24, 2 p.m., UtahOpera.org My Valley Fair Lady: Get Me to the Mall On Time! Desert Star Playhouse, 4861 S. State, Murray, 801-266-2600, through March 19, Monday & Wednesday-Friday, 7 p.m.; additional performance Friday, 9:30 p.m.; Saturday 11:30 a.m., 2:30, 6 & 8 p.m., no show Tuesday or Sunday, check website for full schedule, DesertStar.biz

The Nerd Hale Centre Theatre, 225 W. 400 North, Orem, 801-226-8600, through Feb. 6, Monday-Saturday, 7:30 p.m.; Saturday matinee, 3 p.m., HCT.org Next Door: Out of Balanz Franklin S. Harris Fine Arts Center, 1 University Hill, Provo, 801422-2981, Jan. 21-23, 8:40 p.m., Jan. 22, 1 p.m., Calendar.BYU.edu Salzburg Marionette Theatre: The Sound of Music Harris Fine Arts Center, 1 University Hill, Provo, 801-422-2981, Jan. 26-27, 7 p.m.; Jan. 28-30, 7:30 p.m.; Jan. 30, 2 p.m. & 7:30 p.m., see above Seven Brides for Seven Brothers Empress Theatre, 9104 W. 2700 South, Magna, 801-3477373, through Jan. 30, Friday & Saturday, 7:30 p.m., check website for special performances, EmpressTheatre.com Star Ward The Off Broadway Theatre, 272 S. Main, 801-355-4628, through Feb. 20, Monday, Friday & Saturday, 7:30 p.m.; no performances Feb. 8-13; Saturday matinee Feb. 6, 2 p.m., TheOBT.org Two Dollar Bill Pioneer Theatre Co., 300 S. 1400 East, 801-581-6961, through Jan. 30, Monday-Thursday, 7:30 p.m.; Friday & Saturday, 8 p.m.; Saturday matinee 2 p.m., PioneerTheatre.org Vanya & Sonia & Masha & Spike Wasatch Theatre Co., Rose Wagner Center, 138 W. 300 South, 801-355-2787, through Jan. 30, Thursday, Friday & Saturday, 8 p.m.; matinee Saturday, Jan. 23 & Jan. 30, 2 p.m., WasatchTheatre.org You’re a Good Man, Charlie Brown Terrace Plaza Playhouse, 99 E. 4700 South, Washington Terrace, 801-393-0070, Friday, Saturday & Monday, through Feb. 6, 7:30 p.m., TerracePlayhouse.com

DANCE

Northwest Dance Project Marriott Center for Dance, 330 S. 1500 East, University of Utah, 801581-7100, Jan. 22, 7:30 p.m., Tickets.Utah.edu, see p. 24

moreESSENTIALS COMPLETE LISTINGS ONLINE @ CITYWEEKLY.NET CLASSICAL & SYMPHONY

Bach & Barber: Two Cello Masterpieces Westminster College Gore Concert Hall, 1840 S. 1300 East, Jan. 25, 7:30 p.m., WestminsterCollege.edu SummerArts Concert: Haydn, Mozart, Chopin, Saint-Saëns & Ravel Libby Gardner Hall, 1375 E. Presidents Circle, 801-581-6762, Jan. 30, 7:30 p.m., Music.Utah.edu

COMEDY & IMPROV

AUTHOR APPEARANCES

Adam Leipzig: Inside Track for Independent Filmmakers Dolly’s Bookstore, 510 Main, Park City, 435-649-8062, Jan. 24, 5:15 p.m.-6:15 p.m., DollysBookstore.com An Afternoon with J. Scott Savage Sprague Branch Library, 2131 S. 1100 East, 801-594-8640, Jan. 23, 2 p.m., SLCPL.org Ally Carter: See How They Run The King’s English Bookshop, 1511 S. 1500 East, 801-4849100, Jan. 25, 7 p.m., KingsEnglish.com Brad Gooch: Smash Cut Dolly’s Bookstore, 510 Main, Park City, 435-649-8062, Jan. 27, 5 p.m.6 p.m., DollysBookstore.com Courtney King Walker: Chasing Midnight Barnes & Noble, 7119 S. 1300 East, Midvale, 801565-0086, Jan. 23, 11 a.m., BarnesAndNoble.com Harris Tulchin: The Independent Film Producer’s Survival Guide: A Business & Legal Sourcebook Dolly’s Bookstore, 510 Main, Park City, 435-649-8062, Jan. 25 & 28, 6:30 p.m.-7:30 p.m., DollysBookstore.com Jack Truman: No Budget Filmmaking Dolly’s Bookstore 510 Main, Park City, 435-649-8062, Jan. 24, 4 p.m.-5 p.m., DollysBookstore.com Jeffery M. Leving: How to Be a Good Divorced Dad Dolly’s Bookstore, 510 Main, Park City, 435-649-8062, Jan. 24, 6:30 p.m.-

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Ben Kronberg Sandy Station, 8925 S. Harrison St., Sandy, 801-255-2078, Jan. 22-23, 8:30 p.m., SandyStation.com Christian Pieper Wiseguys Downtown, 194 S. 400 West, 801-532-5233, Jan. 24, 7:30 p.m., WiseguysComedy.com Comedy Month The Ziegfeld Theater, 3934 S. Washington Blvd., Ogden, 855-944-2787, through Jan. 29, 8 p.m., TheZiegfeldTheater.com Kevin Smith Wiseguys Downtown, 194 S. 400 West, 801-532-5233, Jan. 26, 9:30 p.m., WiseguysComedy.com, see p. 23 Shawn Paulsen Wiseguys Ogden, 269 25th St., Ogden, 801-622-5588, Jan. 22-23, 8 p.m., WiseguysComedy.com Tommy Johnagin Wiseguys Salt Lake, 194 S. 400 West, 801-532-5233, Jan. 21-23, 7:30 p.m. & 9:30 p.m., WiseguysComedy.com

LITERATURE

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8:30 p.m., DollysBookstore.com Jennifer Nielsen, Lindsey Leavitt, Sara B. Larson, Frank Cole & Bobbie Pyron The King’s English Bookshop, 1511 S. 1500 East, 801-484-9100, Jan. 26, 7 p.m.-9 p.m., KingsEnglish.com Madeleine P. Plonsker: The Light in Cuban Eyes Dolly’s Bookstore, 510 Main, Park City, 435-649-8062, Jan. 26, 5 p.m.-6 p.m., DollysBookstore.com Nancy Takacs: Blue Patina The King’s English Bookshop, 1511 S. 1500 East, 801-4849100, Jan. 22, 7 p.m.-9 p.m., KingsEnglish. com Ron Suskind: Life Animated Dolly’s Bookstore, 510 Main, Park City, 435-6498062, Jan. 25, 3 p.m.-4:30 p.m., DollysBookstore.com William Squire: The Model’s Workbook: A Hollywood Agents Step Guide to Launching Your Career! Dolly’s Bookstore, 510 Main, Park City, 435-649-8062, Jan. 26, 2 p.m.-3 p.m., DollysBookstore.com

SPECIAL EVENTS FESTIVALS & ATTRACTIONS

Medieval Knight at the Viridian Viridian Center, 8030 S. 1825 West, West Jordan, 801948-7858, Thursday through Jan. 26, 7 p.m., ViridianCenter.org Monster Jam Vivint Smart Home Arena, 301 W. South Temple, 801-355-7328, Jan. 22-23, 7:30 p.m.; Jan. 23, 2 p.m., VivintArena.com Slamdance Film Festival Treasure Mountain Inn, 255 Main, Park City, 323-466-1786, Jan. 22-28, $8-$12, passes $125-$350, Slamdance.com, see p. 23 Sundance Film Festival Park City, Salt Lake City, Ogden, Sundance Resort, Jan. 21-31, Sundance.org, see p. 16 Tall Tales w/ Storyteller Bil Lepp Viridian Center, 8030 S. 1825 West, West Jordan, Jan. 25, 7 p.m., TimpFest.org

TALKS & LECTURES

MLK Celebration 2016 Keynote: Talib Kweli University of Utah Union Ballroom, 200 S. Central Campus Dr., Jan. 21, 12 p.m., Diversity.Utah.edu/MLK

VISUAL ART GALLERIES & MUSEUMS

24 Hours in China: Photography from the China Overseas Exchange Association, Part Two Main Library, Lower Urban Room Gallery, 210 E. 400 South, 801-524-8200, through Feb. 21, SLCPL.org Blackened White: Works by John Sproul Sweet Library, 455 F St., 801-594-8951, through Feb. 20, SLCPL.org Brian Christensen: Reconfigure CUAC, 175 E. 200 South, 385-215-6768, through Feb. 7, CUArtCenter.org Carina Barajas: Objects & Self Mestizo Gallery, 631 W. North Temple, 801-361-5662, through Feb. 12, MestizoArts.org The Color of Being Art Access Gallery, 230 S. 500 West, No. 125, 801-328-0703, through Feb. 12, AccessArt.org Cultivate Alice Gallery, 617 E. South Temple, Jan. 22-March 4, VisualArts.Utah.gov David Brothers: Rolithica Utah Museum of Contemporary Art, 20 S. West Temple, 801-3284201, Jan. 22-April 30, UtahMoca.org Grant Fuhst: The Yearning Curve Art Barn/ Finch Lane Gallery, 54 Finch Lane, 801-596-5000, through Feb. 26, SaltLakeArts.org Larry Revoir: July 16, 1945: Enter the Anthropocene Art Barn/Finch Lane Gallery, 54 Finch Lane, 801-596-5000, through Feb. 26, SaltLakeArts.org Lindey Carter & Rebecca Klundt Phillips Gallery, 444 E. 200 South, 801-364-8293, through Feb. 12, Phillips-Gallery.com Nuns & Other Spiritual Grrls: Paintings by Carol Berrey Anderson-Foothill Library, 1135 S. 2100 East, 801-594-8611, through Feb. 25, SLCPL. org Portraitures of Life: Works by Bea Hurd Main Library Canteena, 210 E. 400 South, 801-5248200, through Feb. 7, SLCPL.org Raw & Cooked Rio Gallery, 300 S. Rio Grande St., 801-245-7270, Jan. 15-March 11, Heritage.Utah.gov To Express: To Set Forth in Words Art Access II Gallery, 230 S. 500 West, No. 125, 801-328-0703, through Feb. 12, AccessArt.org Water & Light: Photography by Raymond Marlow Chapman Library, 577 S. 900 West, 801595-8623, through Feb. 25, SLCPL.org

SOMI

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A vibrant Vietnamese addition to Sugar House dining BY TED SCHEFFLER comments@cityweekly.net @critic1

SOMI’s cha giò

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SOMI VIETNAMESE BISTRO

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mushrooms, bok choy, bamboo shoots and other veggies, all atop a layer of crunchy egg noodles (sort of the consistency of grocery store ramen noodles before they’re cooked). The delicate sauce of the dish helps to soften the noodles; it’s quite unique. Oddly perhaps, at lunchtime the main dishes at SOMI are replaced mostly by popular Chinese ones, such as kung pao chicken ($9), mapo tofu ($9) and General Tso’s chicken ($10). However, the pho, vermicelli and rice dishes remain. I really enjoyed my lunch of bún thit nuóng ($10). It’s a large plate of tender, bite-sized slices of marinated and seared pork, served atop soft, warm vermicelli. Note: Vietnamese vermicelli is not the same as the thin, angel hair-type egg pasta you’d find in Italy. This vermicelli is long rice noodles, white and about the thickness of ramen. All of the lunchtime vermicelli dishes (pork, short rib, chicken, vegetarian) come with one of those dee-lish fried spring rolls I mentioned, plus lettuce, bean sprouts, cucumber, pickled daikon and carrot, and that irresistible chili vinaigrette. The only thing left to tell you is that during my visits, the service was friendly and flawless. SOMI isn’t just a good new addition to Sugar House; it’s a great new addition to the Utah dining scene. CW

style pork and scallions with hoisin sauce—simple, but delicious. There’s a nifty little beverage list at SOMI that includes a handful of specialty cocktails (like the Singapore sling or the Thai one on), five sake selections or so, a nice assortment of local and imported beers, and surprisingly good wine options, including producers such as Carol Shelton, Bucklin, Boutari, Jean-Luc Colombo, Willm, Adami, Schug and more. Although I said that SOMI isn’t merely a pho noodle house, they do serve pho that’s as fab as I’ve had anywhere. I loved my large bowl of pho tai ($10), which begins with beef bone broth that cooks for days, to which is added a generous portion of rice noodles, bean sprouts, Thai basil, onion, scallions and thinly sliced beef ribeye—the latter of which cooks in the broth on the way to the table. The pho is fragrant and inviting; with hints of star anise that lends a very subtle, slightly sweet, licorice-like flavor to the broth. It’s fantastic. Meat lovers will appreciate the other pho option at SOMI, called pho dac biet. That one has the aforementioned ribeye, plus brisket, flank, oxtail and meatballs ($11). The main dishes section of the menu is where SOMI really differentiates itself. I wasn’t expecting to find slowly simmered oxtail with taro, herbs and spices ($25) on the menu, nor pan-seared rack of lamb ($29). But like those dishes, the heavenly grilled (whole) branzino ($27) is elevated via the use of well-balanced spices and sauces; in this case, the fish is served with tamarind sauce and sliced scallions. We also really enjoyed the seafood pan-fried noodles ($22), which is a mélange of perfectly cooked scallops, shrimp, squid and branzino with

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JOHN TAYLOR

s the makeover of downtown Sugar House continues apace, dining options there keep growing as well. The newest eateries to open are located in a new square and office complex just off Wilmington Avenue. I’m beginning to feel jealous of Sugar House residents, given how many good new restaurants have popped up there in the past year or so. SOMI Vietnamese Bistro is a terrific new addition to the neighborhood. If you’re as curious about the name as I was, SOMI is a combined abbreviation for the husband and wife team of Sophia and Michael Eng, who own and operate the restaurant. Sophia spends most of her time in the kitchen, while Michael keeps a keen eye on the dining area—welcoming guests, filling wine glasses and treating new customers like longtime friends. If you’re thinking that SOMI is probably just another Vietnamese pho emporium, think again. It is on the menu, but this is an upscale eatery with much more than just pho to offer. For starters, the décor is strikingly modern, with a vivid color palette that includes avocado and orange highlights, but also with wood furnishings that give the restaurant warmth. The menu is divided into five parts: starters, noodles (soups), vermicelli, rice and main dishes. I can rarely resist beef carpaccio, so I placed an order for bo tai chanh ($14) immediately while we perused the wine list. Shortly, a dozen or so beautiful, thin medallions of raw filet mignon appeared, garnished with Thai basil, jalapeño slices and crushed peanuts with sweet and tangy chili vinaigrette alongside. The carpaccio was excellent. However, I’d warn anyone who isn’t familiar with raw jalapeños that a single slice can create an inferno on the tongue, which sort of wrecks the subtlety of the lovely carpaccio. Much of the food at SOMI looks like edible art; the dish presentations are very pleasing to the eye. That’s certainly the case with the starter of “skinless” shrimp rolls ($6). It’s a pair of rolls with tender shrimp, crispy pork, chives and vermicelli rice noodles wrapped in romaine lettuce leaves, served with pickled carrot and daikon, cucumber and dipping sauce. If you prefer your spring rolls less naked, try the more traditional cha giò ($8). These are crispy fried rolls filled with ground pork, mushrooms, onions, taro and carrots, and although deep-fried, they are still light and delicious. Everyone seems to serve sliders of some sort these days, and SOMI is no exception. Sliders here ($9) are steamed bao buns stuffed with crisp, bacon-

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BY TED SCHEFFLER

Pas-ta-da! Happy kids make happy moms and dads.

@critic1

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222 Makeover

If you’ve had the opportunity to visit Bistro 222 (222 S. Main, Salt Lake City, 801456-0347, Bistro-222.com) lately, you’ve probably noticed some changes in the food and drink there. That’s a result of the recent hiring of Brady Gray as its new executive chef. Along with revamped lunch and dinner menus—that include items such as osso buco, coconut milk-fried chicken, roasted red pepper pappardelle, elk carpaccio and more—Bistro 222 also now offers to-go lunches that are perfect for business meetings, mid-afternoon apéritifs, a catering menu and dinners paired with the restaurant’s Wine Spectator-designated wine list of more than 150 selections. Most recently, Gray served as executive chef at Ruth’s Chris Steak House, and some might remember him from his work at the muchmissed (by me, at least) Baci Trattoria.

Meals with Mummies

On Jan. 22 and 23, 7-9 p.m., The Leonardo (209 E. 500 South, Salt Lake City) hosts a pair of Feast of Ancient Worlds dinners in tandem with Mummies of the World: The Exhibition. The feast will be a prix fixe dinner ($75) featuring dishes originating in ancient Egypt, Peru, Hungary, Algeria and the Vanuatu Islands, prepared by Leonardo chef de cuisine Wendell White. In addition, food culture specialist Tahmina Martelly, who teaches the culture of food at the University of Utah, will lead dinner guests through the history and culture behind the feast’s dishes. For info and tickets, visit TheLeonardo.org.

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Something Fishy at Log Haven

The Utah Division of Wildlife Resources recently awarded Log Haven (6451 E. Millcreek Canyon Road, Salt Lake City, 801-272-8255, Log-Haven.com) restaurant owner Margo Provost with a “good citizen” award and plaque acknowledging the agency’s appreciation of her commitment to the restoration of Bonneville cutthroat trout in Mill Creek Canyon. Because Log Haven allowed the treatment of the streams and lake on the property, non-native fish were removed and the native Bonneville cutthroat trout was reintroduced. Provost has said that her restaurant and staff are committed to “nature, nurture and nourishment.” (Editor’s Note: The author’s wife handles special events at Log Haven). Quote of the week: This recipe is silly. It says to separate eggs, but it doesn’t say how far to separate them. –Gracie Allen Food Matters 411: tscheffler@cityweekly.net

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BEER, WINE & SPIRITS

Bargain Red Roundup A six-pack of tasty red wines under $13 BY TED SCHEFFLER comments@cityweekly.net @critic1

uring winter is when I really begin to focus my palate on red wines. You can certainly spend a fortune doing that, but you don’t have to. Here are six very versatile, enjoyable and, best of all, economical red wines that you can enjoy yearround. They might not have made the last Wine Spectator Top 10 list for this year, but they’re sure to fit into even the slimmest of wine budgets. I had to get out my reading glasses the first time I picked up a bottle of Acinum Chianti DOCG at the wine store. The price couldn’t really be a mere $6.90, could it? Yes it could, and is. Acinum is a wine producer imported in the United States by Italian wine expert Fabrizio Pedrolli. I’m

a big fan of Acinum Valpolicella Ripasso DOP and Acinum Soave Classico DOP, which come from the Veneto region, but they run for considerably more than Acinum Chianti, from Tuscany. I’m not certain of the makeup of this one, but I’m guessing it’s 100 percent Sangiovese. This is a great pizza wine: light-bodied with blackberry, cherry and spice notes, plus good complexity and finish, and is remarkable for the price. Moving over to France, there are plenty of so-so, mediocre Côtes du Rhône reds to yawn about. Delas Saint-Esprit Côtes du Rhône 2013 ($12.98) isn’t one of them. The wine is a bit unusual for a Côtes du Rhône insofar as it’s composed of 75 percent Syrah and 25 percent Grenache, not the more typical “GSM” blend of Grenache, Syrah and Mourvèdre. I think that the large percentage of Syrah gives this wine a little more complexity than predominantly Grenache-based Côtes du Rhône. Mocha and plum are the main flavors here, with a bit of green pepper on the finish. Try it with a simple pepper steak. When it comes to Bordeaux, you tend to get what you pay for … usually. In the case of Château Les Verriers Bordeaux 2014 ($10.99), I believe you get more than you paid for. Now, you’re not going to confuse this with a 1st Cru Bordeaux. Châteaux Margaux it ain’t. But for $11, this 85/15

DRINK percent Merlot/Cabernet Sauvignon blend— although very young—is very pleasant, with dark fruit and pepper flavors and persistent minerality. Bargain Bordeaux, indeed. From south-eastern Australia comes one of my favorite new reds: 19 Crimes 2015 ($10.99). Like its name—which refers to 19 different crimes that turned British rogues into Australian colonists—this red blend is whimsical, almost tasting like a chocolate-vanilla shake in a wineglass. It’s also a fruit bomb, bursting at the seams with currants and dark fruit flavors. I haven’t even tried to pair it with food; I’ve just been enjoying it all on its own. Truvée means “to find” in French. Truvée McBride Sisters winery is the result of two sisters—Robin and Andrea McBride—

finding one another after growing up independently in two different wine regions of the world: New Zealand and California. Truvée Red Blend 2015 ($12.99) is made from California Central Coast Grenache and Syrah. It’s a fruit-driven wine with blueberry and cherry notes on the nose, more dark fruit on the palate, soft tannins and hints of vanilla from French oak. 14 Hands Winery ‘Hot to Trot’ Red Blend 2012 ($12.99) comes from Washington’s Columbia Valley and is named in the spirit of the wild horses—measuring 14-hands tall—that once roamed the Columbia River Basin. Hints of baking spices bring to mind a cherry and plum pie in this wine. Don’t take it too seriously; just enjoy. CW

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ANOMALISA

Master of Puppets

CINEMA

Charlie Kaufman’s Anomalisa searches for humanity through stop-motion figurines. BY SCOTT RENSHAW scottr@cityweekly.net @scottrenshaw

ichael Stone (David Thewlis), the protagonist of Anomalisa, is in many ways a very ordinary man. He may be successful in his field—the author of a popular how-to book on improving customer service—and he may get to stay in an upscale Cincinnati hotel room for his speech to a group of conventioneers. But he’s also vaguely dissatisfied with his marriage, and struggles with the tiny frustrations and indignities like a hotel room electronic key that doesn’t quite work. Also, when he hears people talk, every voice sounds exactly the same. Also, he’s a puppet. That latter point is not merely a figure of speech. Writer Charlie Kaufman and animator Duke Johnson have crafted Anomalisa as a world of stop-motion figurines—and if you’re familiar with Kaufman’s cinematic work, this kind of strange device shouldn’t be a surprise. This is, after all, the writer who invented a portal through which you could take over the life of a famous actor in Being John Malkovich, and posited a procedure through which unpleasant memories could be surgically removed in Eternal Sunshine of the Spotless Mind. A mournful sense of disconnected, frustrated humanity permeates Kaufman’s work, so what better way to convey than to make his characters not actually human? That doesn’t mean that Michael Stone isn’t a fully realized character, albeit a sad and fairly pathetic one. Though married with a young son, Michael can’t stop himself from looking up Bella, an old girlfriend who lives in Cincinnati, and who still hasn’t fully recovered from Michael abruptly abandoning her for no apparent reason. And his perception of every person around him as having the same indistinguishable

monotone voice (perfectly pitched by Tom Noonan) leads him to an impulsive desire to connect with Lisa (Jennifer Jason Leigh), a shy telephone customer service rep who is attending the conference to hear Michael speak—and whose own unique voice sounds to Michael something like salvation. It would be easy to spend pages cataloguing merely how astounding Anomalisa is as a technical achievement. Kaufman and Johnson are meticulous about every mundane detail of Michael’s surroundings, right down to the roll of toilet paper in his hotel room bathroom with the first sheet shaped into a triangle. The character figures are animated with the same level of precision, capturing wonderfully telling gestures like Michael nervously drumming his fingers while awaiting Bella’s arrival in the hotel bar, or Bella getting her purse strap caught on a chair, or Lisa constantly pulling her hair to cover a scar by her right eye. And it will be hard for any sex scene you see between living people to match the sweetly awkward authenticity of the encounter between Michael and Lisa. But Anomalisa also proves to be much more than a gimmick, even a brilliantly executed gimmick. It would be easy to dismiss Michael’s plight as the woe-is-me moaning of a privileged middle-age white guy, and it may be almost too obviously ironic when Michael launches into his speech about respecting that “the customer is an individual.” But Kaufman makes it clear that Michael’s inability to distinguish between voices is a product of his own instant irritation with small talk and social niceties; as soon as he recognizes

Michael (David Thewlis) and Lisa (Jennifer Jason Leigh) in Anomalisa

flaws and imperfections, everyone is tossed in his mind into the same drone of background noise. There’s something almost noble in the way Kaufman can recognize when someone’s unhappiness is entirely of their own making, and yet still feel compassion for them. Not surprisingly for Kaufman, there’s a density to the writing that doesn’t open itself up all at once, and almost certainly requires multiple viewings. There’s an extended nightmare sequence, the odd role of an antique Japanese sex automaton (and its possible connection to Lisa), and even Kaufman’s decision to set the events very specifically in 2005, including a framed portrait of George W. Bush on someone’s wall and Michael’s political rant in the middle of his speech. Those who have found Kaufman’s work deliberately opaque in the past aren’t likely to change their minds now, but there’s more to Anomalisa than tricks, whether literary or technical. He’s interested in showing that you have to be willing to see the individuality of human lives—even if you’re not actually looking at a human when you see it. CW

ANOMALISA

BBB.5 David Thewlis Jennifer Jason Leigh Tom Noonan Rated R

TRY THESE Being John Malkovich (1999) John Cusack Cameron Diaz Rated R

Eternal Sunshine of the Spotless Mind (2004) Jim Carrey Kate Winslet Rated R

Synecdoche, New York (2008) Philip Seymour Hoffman Samantha Morton Rated R

Fantastic Mr. Fox (2009) George Clooney Meryl Streep Rated PG

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. THE 5TH WAVE [not yet reviewed] A teenager (Chloë Grace Moretz) tries to survive the aftermath of an alien invasion of earth. Opens Jan. 22 at theaters valleywide. (PG-13) ANOMALISA BBB.5 See review p. 36. Opens Jan. 22 at Broadway Centre Cinemas. (R) THE BOY [not yet reviewed] A nanny finds that the child she has been hired to care for is actually a doll—which its “parents” are convinced is alive. Opens Jan. 22 at theaters valleywide. (PG-13) DIRTY GRANDPA [not yet reviewed] An engaged young man (Zac Efron) winds up on a road trip with his bad-boy grandfather (Robert DeNiro). Opens Jan. 22 at theaters valleywide. (R)

NATURAL BORN KILLERS At Brewvies, Jan. 25, 10 p.m. (R)

SUNDANCE FILM FESTIVAL See p. 16. At various venues in Park City, Salt Lake City, Ogden and Sundance Resort, Jan. 21-31. (NR)

CURRENT RELEASES 13 HOURS: THE SECRET SOLDIERS OF BENGHAZI BBB Turns out Michael Bay was ready to take the job of dramatizing the controversial 2012 terrorist attacks in Libya pretty seriously. He focuses on the six-man team of military contractors— particularly newly arrived Jack (John Krasinski)—protecting the CIA facility that comes under siege after terrorists overrun a nearby diplomatic outpost. The script briefly goes the eye-rolling route of reminding us about the families these ex-soldiers are still leaving behind, and hammers hard on foot-dragging bureaucrats. But strictly as action filmmaking, it’s impressive work, balancing the chaos and uncertainty of the situation—nobody ever seems clear who might actually be allies—with a clear sense of the geography of these battles. It might be designed primarily as a big, earnest salute to men who risk their lives for others; it does so in a way that’s both respectful and cinematically effective. (R)—Scott Renshaw

| CITYWEEKLY.NET |

SPECIAL SCREENINGS

SLAMDANCE FILM FESTIVAL See p. 23. At Treasure Mountain Inn, Park City, Jan. 22-28. (NR)

| CITY WEEKLY |

JANUARY 21, 2016 | 37

MOVIE TIMES AND LOCATIONS AT CITYWEEKLY.NET

CLIPS MUSTANG BBB There’s one brilliant conceit in Deniz Gamze Ergüven’s drama, set in a Turkish village where five orphaned sisters are imprisoned by their guardian relatives to preserve their chastity: telling it from the perspective of Lale (Günes Sensoy), the pre-adolescent youngest sister, who can’t yet grasp why being a girl means that she needs to be isolated. The result is a powerful case study in how defining females entirely through their status as potentially desirable (read: virgin) wife simultaneously forces them to grow up too quickly, and denies their autonomy. Yet there’s also one really misguided decision involving a supporting character. It’s effective enough to craft a narrative in which the prison that this culture builds for girls also empowers them to escape; there’s no need to create an actual villain when the social structure itself is a monster. (NR)—SR

| CITYWEEKLY.NET |

THE REVENANT BB.5 Something as ephemeral as a breath becomes the indicator of what Alejandro G. Iñárritu gets wrong in his loosely fact-based story of Hugh Glass (Leonardo DiCaprio), a guide for an early 19th-century fur-trapping operation who finds himself alone and mortally injured in the winter wilderness. Iñárritu has plenty of skills at crafting fascinating visuals— like the hard-to-watch bear attack that cripples Glass—and DiCaprio’s largely wordless performance transcends the ubiquitous media focus on the physical hardships he endured. The trouble comes when the twoand-a-half-hour film starts to become simply exhausting—and when we start to see a character’s breath condensed on the camera lens. As infatuated as Iñárritu seems to be with making sure audiences appreciate the gritty realism, he also wants to make sure they know he’s there behind the camera—and he can’t have it both ways. (R)—SR RIDE ALONG 2 BB.5 Like its predecessor, this movie seems destined for heavy rotation on TNT, to be half-watched for a few minutes at a time. That’s probably the best way to ingest it, as mean-faced police detective James (Ice Cube) is again paired with his sister’s pocket-size fiancé, Ben (Kevin Hart), now fresh out of the academy and eager to prove he’s a great cop. (He’s actually dangerously inept, but he’ll fall ass-backward into success anyway.) A chatterbox hacker-turned-informant (Ken Jeong) and no-nonsense lady detective (Olivia Munn) are thankfully added to the mix as they seek to bring down a Miami kingpin, giving James and Ben someone new to spar with, and letting someone other than Hart be a pest for once. Returning director Tim Story and the screenwriters score a few laughs amid formulaic car chases and shootouts, and the rest passes amiably. (PG-13)—Eric D. Snider

| CITY WEEKLY |

38 | JANUARY 21, 2016

CINEMA

THEATER DIRECTORY SALT LAKE CITY Brewvies Cinema Pub 677 S. 200 West 801-355-5500 Brewvies.com Broadway Centre Cinemas 111 E. 300 South 801-321-0310 SaltLakeFilmSociety.org

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

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

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

Cinemark Sugar House 2227 S. Highland Drive 801-466-3699 Cinemark.com

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

Water Gardens Cinema 6 1945 E. Murray-Holladay Road 801-273-0199 WaterGardensTheatres.com

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

Megaplex 12 Gateway 165 S. Rio Grande St. 801-304-4636 MegaplexTheatres.com

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

Redwood Drive-In 3688 S. Redwood Road 801-973-7088

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

Tower Theatre 836 E. 900 South 801-321-0310 SaltLakeFilmSociety.org WEST VALLEY 5 Star Cinemas 8325 W. 3500 South, Magna 801-250-5551 RedCarpetCinemas.com Carmike 12 1600 W. Fox Park Drive, West Jordan 801-562-5760 Carmike.com Cinemark 24 Jordan Landing 7301 S. Bangerter Highway 800-326-3264 Cinemark.com Cinemark Valley Fair Mall 3601 S. 2700 West, West Valley City 800-326-3264 Cinemark.com

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Megaplex Legacy Crossing 1075 W. Legacy Crossing Blvd., Centerville 801-397-5100 MegaplexTheatres.com WEBER COUNTY Cinemark Tinseltown 14 3651 Wall Ave., Ogden 800-326-3264 Cinemark.com Megaplex 13 at The Junction 2351 Kiesel Ave., Ogden 801-304-INFO MegaplexTheatres.com UTAH COUNTY Carmike Wynnsong 4925 N. Edgewood Drive, Provo 801-764-0009 Carmike.com Cinemark American Fork 715 W. 180 North, American Fork 800-326-3264 Cinemark.com Cinemark Movies 8 2230 N. University Parkway, Orem 800-326-3264 Cinemark.com Cinemark Provo Town Center 1200 Town Center Blvd., Provo 800-326-3264 Cinemark.com Cinemark University Mall 1010 S. 800 East, Provo 800-326-3264 Cinemark.com Megaplex Thanksgiving Point 2935 N. Thanksgiving Way, Lehi 801-304-4636 MegaplexTheatres.com Water Gardens Cinema 8 790 E. Expressway Ave. Spanish Fork 801-798-9777 WaterGardensTheatres.com Water Gardens Cinema 6 912 W. Garden Drive Pleasant Grove 801-785-3700 WaterGardensTheatres.com

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Super Sized

Crucial Credible Crap

Legends of Tomorrow arrives undercooked; Baskets gets weird; Lucifer does L.A. DC’s Legends of Tomorrow Thursday, Jan. 21 (The CW)

Baskets Thursday, Jan. 21 (FX)

Series Debut: A record 409 scripted dramas and comedies were available on broadcast, cable and streaming services in 2015; that number could very well be surpassed this year. I’ve said it before: There’s too many shows! Within that TV glut, Game of Thrones, Vikings, The Last Kingdom, Outlander and even Galavant already exist—do we really need another swords ’n’ sex epic clogging the drain with its shaggy hair and sweaty chainmail? From Esquire, no less? “Based on the complex protagonist of a classic poem, Beowulf takes place in a mythological place, The Shieldlands, and challenges the notions of good and evil, heroes and villains, and the rule of law against one’s moral code” … gggguuuuhhhh. Methinks a pre-emptive, Bastard Executioner-style abortion is in order here.

The X-Files Sunday, Jan. 24 (Fox)

Return: Mulder (David Duchovny) and Scully (Gillian Anderson) return, lured back into the conspiracy game by kinda-journalist Tad O’Malley (Joel McHale, playing a wired hybrid of so-crazy-they-must-be-right doomslingers Glenn Beck and Infowars’ Alex Jones) to investigate a new governmental alien cover-up (as well as more “realistic” threats like NSA spying, domestic prison camps, and the “Freebird” of tinfoil-hat conspiracies, chemtrails), and generally be adorable together. Great

Legends of Tomorrow (The CW) news, but the biggest mystery here is: Why the hell is The XFiles’ comeback premiere airing at an undetermined time after something called “The NFC Championship”? What’s the guv’ment trying to hide?!

Lucifer Monday. Jan. 25 (Fox)

Series Debut: The Devil (Tom Ellis) retires as “Lucifer Morningstar” and opens a Los Angeles nightclub, which of course leads to him working with the LAPD to help solve homicides. Skeptical? Lucifer is based on a Vertigo comic book (as were the dearly departed Constantine, the currently dead-alive iZombie and the upcoming Preacher), and involves writers and directors from Californication, Sleepy Hollow and Underworld. It’ll also receive plenty of free publicity from the Parents Television Council and other moral watchdog groups outraged over a fictional character based on a fictional character. They may be justified: Ellis’ Lucifer is charming, funny and intermittently compassionate—not to mention supernaturally persuasive over everyone but, mysteriously, his cop “partner” (Lauren German as Det. Chloe Dancer—Wiki the band Mother Love Bone, kids). At the risk of casting pull-quote bait, Lucifer is just damned fun (have at it, Fox). Listen to Bill on Mondays at 8 a.m. on X96 Radio From Hell; weekly on the TV Tan podcast via iTunes and Stitcher.

Series Debut: “We can’t all be florists or dishwashers. Some of us have to be artists.” So says Chip Baskets (Zach Galifianakis), whose definition of “artist” includes being a clown—in his case, the rodeo variety, since he’s flunked out of a prestigious French clown (or, as they say, “cloon”) academy and been forced to return to uncultured ’Merica. Baskets is a co-creation of Galifianakis, Louis C.K. and writer/director John Krisel (Portlandia, Man Seeking Woman), so weirdness is a given; you’ve seen the FX promos with Galifianakis in full Entitled Loon mode, as well as the phrase “prestigious French clown academy” above. But, even for the network that unleashed Wilfred and Louie upon the world, Baskets is bizarre—like, done-on-a-dare, sub-Adult-Swim bizarre (Chip’s mom is Louie Anderson in drag, for just one example). It’s also a bleak commentary on artistic failure and Western decline, which kind of deflates the “comedy” promised in those promos. Proceed with caution and the chemical mood-elevators of your choice.

Beowolf Saturday, Jan. 23 (Esquire)

| CITYWEEKLY.NET |

Series Debut: The Atom, Captain Cold, Heat Wave and other superheroes previously seen on Arrow and The Flash team up in this sorta spin-off, along with The Heroine Formerly Known as Black Canary, White Canary, and “time-traveling rogue” Rip Hunter (because what other career path are you gonna take with a name like that?). Sounds promising, and The CW has been hyping Legends of Tomorrow as a soufflé of Guardians of the Galaxy and Doctor Who …. too bad it’s arrived undercooked. Unseen supervillians include The Exposition Avenger (the setup-to-action ratio is tediously uneven) and Dr. ScreenTime (errybody’s fighting for their shot), who foil the two-part pilot from ever fully rising. But, the potential for another entertaining DC/CW series is there, and Captain Cold’s (Wentworth Miller) droll cartoon-villain delivery alone is worth tuning in for, as is White Canary’s (Caity Lotz) sassy ass-kickery. Remember, it’s Legends of Tomorrow, not Today.

| CITY WEEKLY |

JANUARY 21, 2016 | 39

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40 | JANUARY 21, 2016

CHRISTIAN DEATH

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BY BRIAN STAKER comments@cityweekly.net

wednesday 1/20

here are some bands who have a sudden, immediate impact just because of their name: Sex Pistols, Joy Division, Dead Kennedys. Sometimes they even last long enough for the shock value of the moniker to dissipate, and you might realize they have some longevity, and their music will leave a lasting impression. Christian Death began in the early ’80s death-rock scene around Los Angeles, and became one of the trailblazing bands playing a style of moody, eerie and dark-themed music soon labeled goth (although they and others including Siouxsie and the Banshees, Bauhaus and Sisters of Mercy would avoid the pigeonholing). But Christian Death, still persevering decades later, have, more than any other band, thoroughly explored the myriad stylistic possibilities of the genre while still being true to what might be called their mission. Singer-guitarist Valor Kand joined the band fronted by singer Rozz Williams shortly after the band’s debut album, Only Theatre Of Pain (Frontier, 1982), still widely regarded as a classic. Williams left the band shortly afterwards to work on other projects, fronting his own version of the band in the ’90s, and committing suicide in 1998. Christian Death seemed like it was a heavy responsibility from the beginning, and Kand took it very seriously. “It’s been a long learning curve for understanding humanity,” he says. “The name inspired me to take seriously what we were saying in our lyrics, and to do research so that we had some understanding underlying our grievances with society and organized religion.” He meditates on the name. “Christianity is the world’s most dominant religion, and death is the ultimate enigma. And that has inspired us to do what we do.” His research led him to studying ancient history. “It became apparent that a lot of things I was taught as a Christian had striking resemblances to things taught in ancient Egypt much earlier. The Ten Commandments has similarities with the Book of the Dead. The ancient Sumerian book The Epic of Gilgamesh is echoed in the Bible. Most of the old stories were originally derived from looking at the sky.” He sees mainstream religion as “really just a way to control people.” The band’s career has been oftentimes tumultuous, and Kand notes that the first record they tried to push to a wider audience, Catastrophe Ballet (Contempo, 1984) was refused by many Christian-owned record stores. Unlike punk rock, their lyrics were more ambiguous, surrealist, Dada-ish and dreamlike. But on Atrocities (Normal, 1986), he says, the band wanted to be less ambiguous, even if the song “The Death of Josef” didn’t include the last name of its subject, Mengele. “I wanted to leave some room for imagination and people to sidestep the actual truth without talking about it, just making hints toward it,” Kand explains. Sex and Drugs and Jesus Christ (Cleopatra, 1988) was a harsh contrast, an attempt to see how far they could push the anger in their message. Several other albums followed in the same vein through the ’90s, and 2007’s American Inquisition (Season of Mist) took another new tack, openly criticizing the war in Iraq. For a band not known for politics, it was a striking turn. The band’s latest release, The Root of All Evilution (Knife Fight

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Christian Death Media, 2015) finds them coming full circle in many ways. After the politics of American Inquisition, it’s more ethereal and esoteric, with an awareness of political injustice. A highlight of the album is “We Have Become,” which raises the question as an indictment. “Every society in the world is encouraged to think along certain guidelines based on religious convictions,” Kand says. “And where has that really gotten us as a society, as a species?” The album was crowd-funded via Pledge Music (Kand isn’t fond of record labels by now, either); some of the premiums included having him officiate your wedding, or play at your funeral. How goth is that? The three-piece lineup of Kand, singer/bassist Maitri and drummer Jason Frantz (over its history, the band has had more than 30 members total) brings them back to their sonic essentials, yet their sound has become more organic, more rhythmically fluid. Kand is getting back to ancient history again: “We are talking about the possibility that there may have been an Atlantis.” But the “evil” in the title is perennial, he says. “Evil is something that isn’t created by demons or devils—it’s in the hearts and minds of men. It’s people who inflict evil upon each other.” Yet he’s still fascinated and repulsed by religion: “If there was any sort of religion that could actually offer some form of enlightenment, I would go. But it doesn’t.” He adds, “If you need to be spiritual, it’s not something you need to do under the guidance of another—it’s something you can find within yourself.” CW

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Grateful Giggin’

Awaiting a liver transplant, longtime local music fixture Bob Smith rediscovers music with Mountains and more. BY BRIAN STAKER comments@cityweekly.net

he artwork on the CD for Bob Smith’s new band Mountains is individually hand-made, down to the stain of a coffee cup. It’s a symbol of the energy with which this dynamo of a drummer approaches music. Smith has been a prolific presence in the local music scene for years, and had a hand in a number of memorable recordings like Thirsty Alley’s 1995 CD American Studies, which sounds a bit like what would happen if Steely Dan played punk rock, with Stephen Malkmus’ sarcastic snarl thrown in. Local music fans took note, and the band won City Weekly’s North by Northwest competition in 2007. He had taken a few years off playing music, just to take a much-needed break, but last year he felt the urge to get back behind the drum kit again. The Irish band Dunmore Lasses got him back into drumming, but a recent diagnosis of liver disease, and waiting on a transplant list, added some urgency to his muse. “My recent creativity comes from that,” he says, “I don’t take anything for granted. I have a re-found love for music, and I’m grateful for every gig.” As an example of his wide-ranging musical aptitude, the first time I met with him for this article, he had just played with the Salt Lake Symphony; the second was right before jamming at the traditional Irish session at the Republican. But his current focus, if you can use that word to describe this peripatetic percussionist, is the selftitled four song Mountains EP. The band has only been a band since mid-summer, a quartet including long-time local sax phenom Phil Miller, 20-something newcomer guitarist Jacob Dahlberg, and the enigmatic Geed on bass. Mountains’ CD release was last October at Fats Grill, which recently closed. It is truly fitting that the closing party for the well-loved watering hole last December featured Smith, who had played

Mountains

there under the flag of so many bands over the years. Smith has been including a CD of the show at Fats with the studio disc, but the live one is in limited supply. It includes covers of the Grateful Dead’s “Franklin Tower,” and an incandescent Phil Miller vocal on Waylon Jennings’ “Not Hank’s Way.” A couple other things make the release remarkable: Mountains was recorded live, without overdubs (except vocals and saxophone), at the legendary Herc’s Living Room, a studio set up literally in veteran local producer Herc Ottenheimer’s living room, which has given birth to a lot of great recordings over the years. The producer gave the set a wonderful warmth and flow that entices you to listen all the way through. Also, Mountains may be an EP, but it’s over 30 minutes long. The three Smith originals and Dahlberg’s “Bird In Flight” work their way into your head little by little, and tend to stick. Smith’s lyrics observe social foibles, and “Regrettable Past” is the most personal: “I’m living the future of a regrettable past. This is who I am,” he sings. “Bird In Flight” lets Dahlberg’s playing take to the wing—jazz-tinged, extraordinarily clean and articulate. Not one to be reticent, Smith says he takes a solo on every song. If being involved in Mountains and Dunmore Lasses wasn’t enough, Smith also plays with jam band Gorgeous Gourds (which includes former City Weekly photographer Fred Hayes), Juana Ghani side project Orphans Cabaret, and experimental rock group Watches, which will record soon. Flitting from one project to the next, you might mistakenly think Smith would be a bit frantic. “This band is about taking our time,” he observes, “developing the idea of what it will become.” The tranquility of their playing is a great strength, concealing the energy of their collective imagination. “There’s no hurry,” he continues. “When we’re playing it’s, like, we have all day long to play this song.” CW

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THURSDAY 1.21 Chill Harris, Illenium

DJ-producer Corey Baker performed under the name Kill Paris until the extremist attacks of last November necessitated a compassionate name change to Chill Harris. The glitch maestro continues to be billed as KP while he transitions mid-tour, supporting Galaxies Between Us, which is available free at ChillHarris.com. Joining him tonight is Denver-based producer Nick Miller, aka Illenium, a new EDM contender causing something of a stir. Illenium has joined the still-growing mass of electronic dance musicians hoping to make their mark with more bass than even the biggest subwoofers can handle, blending structure with digitized sound. What Illenium has, though, which may be a veritable secret weapon of his own creation, is a grip on emotion. His upcoming debut album Ashes.To.Ashes Mix.02 is as much a pusher of the boundaries of feeling as it is of music. Any self-professed EDM “musician” can throw together a buildup and dropped beat that they’re convinced will bring down the house; Illenium takes the structure of the genre a step further to almost create a story with intense builds and drops, elaborate melodic compositions, and a preternatural ability to develop an arc in sensation for the listener. Illenium is taking on what he calls “epic melodic bass music” head-on. Manic Focus also performs. (DB) Sky, 149 Pierpont Ave., 9:30 p.m., $15 and $25, SkySLC.com

Joe McQueen Quartet

Joe McQueen has bridged the history of Utah with the history of jazz music, the

Joe McQueen

same way Ogden bridged the east and west of the United States with the meeting place of railroads decades earlier. Originally from Ardmore, Oklahoma, McQueen found himself in Ogden near the end of 1945. Planning to play a few gigs and move on (Ogden was a jazz hotspot because of the railroad), he ended up staying—and at the age of 96, he’s a Utah jazz original. He was the first African American to perform in white-only clubs in Ogden and Salt Lake. The sax man, known for his bluesy style, has been playing for over 80 years, and has performed with jazz greats like Louis Armstrong, Count Basie, Ray Charles, Nat King Cole, Duke Ellington, Charlie Parker, Lester Young and others. In 2002, Utah Governor Mike Leavitt declared April 18 Joe McQueen Day. Two years ago he released the self-titled album The Joe McQueen Quartet, with whom he is performing at the Gallivan Center: Ryan Conger on Hammond organ, drummer Dr. Don Keipp, and Brad Wright on guitar. The concert is part of the Excellence in the Community Concert Series. (BS) The Gallivan Center, 239 S. Main, 7:30 p.m., free, ExcellenceConcerts.org

THURSDAYSUNDAY 1.21-24 The Outer Vibe

This five-piece comes from the frozen tundra of Grand Rapids, Mich., but they play shiny, happy, summery music—which is exactly what some of us winter-averse Salt Lakers could use right about now. But there’s more to them than tone. They call their music

Chill Harris “Clint Eastwood drinking a piña colada at a Dick Dale concert” or “cinematic surf disco” and, on the title track of their ebullient release Full Circle (TheOuterVibe.com), they sing, “Sometimes I’m afraid my brain looks like a panty raid.” Their sound is a panty raid at the sorority house of music, where everybody’s their type—and no one is safe. Expect all four of their shows this week to be sublime, sunny escapes where there’s something for everyone. (RH) Thursday, Jan. 21 at The Hog Wallow, 3200 E. Big Cottonwood Canyon Road, 9:30 p.m., $5, TheHogWallow. com. Friday, Saturday and Sunday at Snowbasin Resort, 3925 Snowbasin Road (Huntsville), 3:30 p.m., free, » Snowbasin.com

The Outer Vibe

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Billboard Winterfest, feat. The Chainsmokers and Burns (1.21), Wiz Khalifa (1.22), Cage the Elephant (1.22), Kygo and Thomas Jack (1.24), Dirty Heads (1.27)

Since when did Wiz Khalifa, with his Sesame Street After Dark rhymes, become the caviar of rappers, justifying $150 tix? Eh, it’s Sundance, and Park City is flush with people who wanna party—and at least have enough room on their credit cards to afford the exorbitantly priced tickets to this concert series. Now, Kentuckian quintet Cage the Elephant is a great band. All of their albums, including the newly minted Tell Me I’m Pretty (RCA) are badass, immensely satisfying tours through a litany of influences that checks the best of American and British rock ’n’ roll from the last five or six decades. Haven’t seen them—want to see them. They’re so good, I’d almost pay the $100 they’re askin’ for this performance. But it’s not a long-awaited reunion, nor their final tour, so I’ll wait and catch them when I can see the show and get a T-shirt for the same price.

PINKY’S CABARET

Cage the Elephant

Then we’ve got EDM darlings The Chainsmokers, going for $100, and budding Norwegian “EDM superstar” Kygo is asking $250. Sigh. These aren’t even the VIP prices, folks. At least reggae band the Dirty Heads are keepin’ it real, performing for only $40. Good on ‘em. (RH) Park City Live, 427 Main, see site for times, ParkCityLive.net

WEDNESDAY 1.27 Jazz Jaguars

Jazz Jaguars is a Red Bennies side project in which current and ex-Bennies perform lounge-ified versions of songs by the Bennies and related projects such as Coyote Hoods, Glinting Gems, Tolchock Trio and Lord British. They also toss in David Bowie and Scott Walker covers. Head over to Rest30Records.Bandcamp.com and get a free download of the hefty, 86-track live album Twilite for a taste of what they’re all about. Then head over to the Twi tonight for the weekly lounge music night hosted by Jazz Jaguars and featuring special guests from other local bands. (RH) Twilite Lounge, 347 E. 200 South, 9 p.m., free, TwiliteLounge.com

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FRIDAY 1.22

Half Moon Run, Emilie & Ogden

Montreal quartet Half Moon Run is all over the musical map on their latest, Sun Leads Me On (Glassnote). The first three songs hit on Beatles influences, flavor-of-the-month indie-folk and new wave/punk, respectively. The first two are repeated the most throughout the rest of the reflective baker’s-dozen of songs on the album, and a Coldplay influence bubbles up in the atmosphere of the tunes, while album closer “Trust” dips into dancerock. With so much going on, it could easily be a disjointed and confusing platter—but it works. Fellow Canadian act, the misleadingly tagged Emilie & Ogden—really an angelicvoiced girl and her harp—opens the show. (RH) The Urban Lounge, 241 S. 500 East, 9 p.m., $15 in advance, $17 day of show, TheUrbanLoungeSLC.com

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JANUARY 21, 2016 | 47

CONCERTS & CLUBS THURSDAY 1.21

Live Band Karaoke (Club 90) Ogden Unplugged featuring Canyons (Lighthouse Lounge)

LIVE MUSIC

The Chainsmokers (Park City Live) see p. 44 Eric Anthony (Gracie’s Bar) Joe McQueen Quartet (The Gallivan Center) see p. 44 Keith Murray + MC Lyfe + Cig Burna + Brisk + Calhoon + D-Strong + Ocelot (The Urban Lounge) Chill Harris + Illenium + Manic Focus (Sky Bar) see p. 44 The Outer Vibe (The Hog Wallow) see p. 44 Reggae Thursday! (The Royal) Rob Garza of Thievery Corporation (O.P. Rockwell)

KARAOKE

CITY WEEKLY’S HOT LIST FOR THE WEEK

Karaoke (Willie’s Lounge) Karaoke w/ DJ Benji (A Bar Named Sue)

FRIDAY 1.22 LIVE MUSIC

Après Ski + DJ Gawel (Gracie’s Bar) Cage the Elephant (Park City Live) see p. 44 Dirt Road Devils (The Westerner) Gleewood (The Hog Wallow) Half Moon Run + Emilie & Ogden (The Urban Lounge) see p. 47 Lazy Susan + Brain Bagz (The Woodshed) Live Music at The Aerie (Snowbird Resort) Live Music at Wildflower (Iron Blosam Lodge) Local Music Set (A Bar Named Sue on State) Local Music Set (A Bar Named Sue) Oh, Be Clever + My Native Spell (The Loading Dock)

Retro Lounge (Maxwell’s East Coast Eatery) The Outer Vibe (Snowbasin Resort) see p. 44 Shepherd The Flock + Jasen Brown + Jim Fish & Friends + Karlie McKinnon + Our Future Selves + Samserrah + Sorrow for Virtue (Kilby Court) Wiz Khalifa (Park City Live) see p. 44

KARAOKE

Karaoke (Cisero’s)

Live Music at The Aerie (Snowbird Resort) Local Music Set (A Bar Named Sue State) Local Music Set (A Bar Named Sue) Michael Kelsey (The Hog Wallow) Middle Class Marvel (Kilby Court) Mountains + Watches (Diabolical Records) see p. 42 Old Death Whisper (Garage on Beck) The Outer Vibe (Snowbasin Resort) see p. 44

KARAOKE

SATURDAY 1.23

Guru’s Cafe Karaoke (45 Center Street)

LIVE MUSIC

9021YO! (Scofy’s) Dirt Road Devils (The Westerner) Dusty Boxcars (Deer Valley) Joy Spring Band (Sugar House Coffee) Kiksha + Tera Vega + Sonifera + Seven Second Memory + No Safe Way Home + Memories Never Die (In the Venue)

SUNDAY 1.24 LIVE MUSIC

Kygo + Thomas Jack (Park City Live) see p. 44 The Last Honkytonk Music Series (Garage on Beck) Live Jazz Brunch (Club 90) Live Bluegrass (Club 90)

Join us at Rye Diner and Drinks for dinner and craft cocktails before, during and after the show. Late night bites 6pm-midnight Monday through Saturday and brunch everyday of the week. Rye is for early birds and late owls and caters to all ages www.ryeslc.com

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Jan 31: The Knocks Feb 4: Conquer Monster Feb 5: Dubwise Feb 6: Great Dane Of Team Supreme Feb 12: Andre Power Feb 13: Metalachi Feb 16: Earphunk Feb 19: Eagle Twin Feb 20: Demarkus Lewis Feb 27: 80s Dance Party Feb 28: That 1 Guy Feb 29: Ringo Deathstarr

Mar 2: Wolf Eyes Mar 4: Dubwise featuring Djuna Mar 5: Prince Fox & Stelouse Mar 11: El Ten Eleven Mar 12: Ty Segall & The Muggers Mar 16: Charles Ellsworth

Mar 18: Mar 19: Mar 21: Mar 24: Mar 25: Mar 29:

Thriftworks Rob Crow’s Gloomy Place Murder By Death La Luz San Fermin Cullen Omori

CONCERTS & CLUBS

CITY WEEKLY’S HOT LIST FOR THE WEEK

Mike Rogers (Deer Valley) The Outer Vibe (Snowbasin Resort) see p. 44

WEDNESDAY 1.27

KARAOKE

LIVE MUSIC

Karaoke Bingo (The Tavernacle) Karaoke Church (Club JAM) Karaoke with DJ Benji (A Bar Named Sue on State)

Beach Cops + Sights (The Urban Lounge) Christian Death + The Maension + Burn Your World + DJ Reverend 23 (Metro Bar) see p. 40 Conn and Rob Live Jazz Music (Maxwell’s) Cory Mon (The Hog Wallow) Dirty Heads (Park City Live) see p. 44 Jazz at the 90 (Club 90) Jazz Jaguars (Twilite Lounge) see p. 46 Live Music (Maxwell’s East Coast Eatery) Live Music at The Aerie (Snowbird Resort) Nate Robinson Quartet (Gracie’s Bar) STS9 (The Depot) see right The Tip (Club X)

MONDAY 1.25 LIVE MUSIC

The Royal Blues Jam (The Royal)

TUESDAY 1.26 LIVE MUSIC

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Allen Stone (O.P. Rockwell) Ballyhoo! + The Green Leefs (The Urban Lounge) Jake Skeen (Gracie’s Bar)

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wednesdays @ 8pm

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For the last 18 years, Atlanta livetronica outfit STS9 (short for Sound Tribe Sector 9) has been putting out futuristic, trance and dance-inducing sounds using all live instruments. It’s called livetronica—electronic music performed on live instruments—and the adventurous, vibey sound suits the club/rave and jam scenes equally. They’re also as hyper-prolific as groups in the latter category tend to be, constantly issuing new music (their own as well as that of scores of other similar bands) via their own 1320 Records label. As a result, getting into this band and their 1320 roster can become an expensive but completely worthwhile obsession—and it starts tonight. (RH) The Depot, 400 W. South Temple, 9 p.m., $25 in advance, $29 day of show, DepotSLC.com

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Hell Jam (Devil’s Daughter) Karaoke (Keys on Main) Karaoke with DJ Thom (A Bar Named Sue on State) Karaoke with ZimZam Ent. (Club 90) Open Mic Night (The Wall) Open Mic Night (The Royal) Open Mic Night (Velour Live Music Gallery) Open Mic Night (Velour)

Areaoke (Area 51) January DevOps Meetup (Needle) Karaoke (The Wall) Karaoke (Devil’s Daughter) Open Mic (Sugar House Coffee) Open Mic $2 (Muse Music Cafe) Ultimate Karaoke (The Royal) Wednesduhh! Karaoke (Club Jam)

WEDNESDAY 1.27

Call to place your ad 801-575-7028

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CROSSWORD PUZZLE

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BY DAVID LEVINSON WILK

ACROSS

| CITY WEEKLY |

JANUARY 21, 2016 | 51

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.

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

Last weekâ&#x20AC;&#x2122;s answers

SUDOKU

1. 1937 John Steinbeck novella, with "The" 2. Asserted 3. Lacking purpose

42. Like some stadiums 43. Decided one would 48. Observes Ramadan 49. "The Magic Kingdom" novelist Stanley 50. Comment to the audience 51. "____-Raq" (2015 Spike Lee film) 54. Road for Tiberius 55. Many college profs 57. You may be asked to hold on for one 59. Slapstick prop

DOWN

4. Bungle 5. Actress Gardner and others 6. Bacardi product 7. Perp's story 8. Nev. neighbor 9. To date 10. B'way's "Les ____" 11. Italian seaport once home to James Joyce 12. Common DVD bonus feature 13. Tangle up 18. Word in many 8-Down city names 22. Body Shop purchase 25. Tabula ____ 26. Lemon aids? 28. Basic ballroom dance 29. Like the proverbial beaver 33. Where Laura Bush earned her bachelor's deg. 34. Seriously check out 35. "A joke! Only a joke!" 36. "____ the picture" 37. They're really disappointing 38. Like some elephants 39. Tennis shot that forces an opponent to come off the baseline 41. Kelly Ripa and Michael Strahan, e.g.

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1. Onetime NBC parent 4. Rhythm band instrument 10. Homeowner's debt: Abbr. 14. Wallach of "The Misfits" 15. Throat hangers 16. "Argo" setting 17. Erects a blockade in front of dad, mom and the kids? 19. Veers quickly 20. Rice dishes 21. "Baby" singer's nickname, with "the" 23. Directional suffix 24. Sign for the superstitious 25. Falling-out between sailors? 27. Super Mario Bros. console 28. Not yet decided: Abbr. 30. Caddie, basically 31. Fabric amts. 32. Scaredy-cat 34. "Them's the breaks" 35. What someone said to his compadres when revealing the platform used for many apps? 37. Artist profiled in the 2010 documentary "Exit Through the Gift Shop" 40. Hybrid citrus fruit 41. Pigeon's sound 44. "Can you ____ in a sentence?" (spelling bee request) 45. Fish that might shock you 46. Not in favor: Abbr. 47. Result of a New England Football Conference game in which the Engineers lose? 51. Baker with a trumpet 52. Shelley's fairy queen 53. Besties 54. Tech product which debuted on 1/9/2007 56. Info from some captains 58. Message that often appears and then, when clicked on, disappears before watching an Internet video ... or a hint to solving 17-, 25-, 35- and 47-Across 60. Antagonize 61. Neatened (up) 62. Small songbird 63. Org. established with the help of MLK Jr. in 1957 64. Dirty looks 65. Kind of hotel, for short

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ooking for new ways to help the environment? The next time you need a haircut or color, check out Switch Salon, a business committed to making clients look gorgeous and reducing its carbon footprint one little step at a time. Lindsey Halsam, salon manager, has been working at Switch for about a year and loves her job. Alberto Ruiz, the artistic director of Switch, “has such a connection with all of our clients and his energy and presence can be felt by all the moment he opens the doors,” Halsam says. “Being able to watch him work is truly one of the most amazing things we do.” In addition to their wildly talented staff, Switch also boasts its reputation as a holistic salon. “We use the safest and least toxic products that are available,” writes Halsam. Stylists also focus on the client— what is best for them, their hair, their lifestyle and their overall well being. But what makes Switch Salon truly special is its recently implemented green initiative to recycle the waste the salon produces. Switch has multiple recycling bins, one for hair, one for extra color, one for foils and more for all the other byproducts of a hair salon. Once each is full, the salon ships them out to Green Circles (Utah.GreenCircleSalons.com) for recycling. “I had no idea hair could even be recycled,” Halsam says. But Green Circles takes the hair clippings and turns them into brooms which are used to clean up oil spills and last almost 10 times longer than traditional brooms. Green Circles also disposes of the extra hair color mix properly and safely (so it doesn’t enter the water system), cleans out and melts down color tubes and reuses all the metal byproducts it can (like the tin-foil pieces used to highlight hair). “Anything we can’t recycle here locally, they will take for us,” Halsam explains. She learned about Green Circles at a business seminar. After some research, she became passionate about the program. Within a month of getting in contact with Green Circles, Switch had the program up

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and running in the salon. The cost to customers is minimal—an extra $2 “eco-fee” on all services. And so far, all the customers have been quite pleased with the change. “All of our clients have been so excited about what we are doing; they are happy to help,” Halsam says. “I have had some really positive feedback, which has made this a really easy transition.” Halsam hopes that other salons around town also join the program. “It really is such a simple and easy program that I hope we can get the word out and others will follow and join our movement,” she says. Halsam is passionate about educating others in the beauty industry about the amount of waste that salons produce and encourages anyone who wants to know more about Green Circles to check it out online or contact her directly.

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B R E Z S N Y

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ARIES (March 21-April 19) The next four weeks could potentially be a Golden Age of Friendship … a State of Grace for Your Web of Connections … a Lucky Streak for Collaborative Efforts. What can you do to ensure that these cosmic tendencies will actually be fulfilled? Try this: Deepen and refine your approach to schmoozing. Figure out what favors would be most fun for you to bestow, and bestow them. Don’t socialize aimlessly with random gadabouts, but rather gravitate toward people with whom you share high ideals and strong intentions. TAURUS (April 20-May 20) On a clear day, if you stand at the summit of Costa Rica’s Mount Irazú, you can see both the Atlantic and Pacific Oceans. It’s not hard to get there. You can hop a tourist bus in the nearby city of San José, and be 11,200 feet high two hours later. This is a good model for your next assignment: Head off on a stress-free jaunt to a place that affords you a vast vista. If you can’t literally do that, at least slip away to a fun sanctuary where you’ll be inspired to think big thoughts about your long-range prospects. You need a break from everything that shrinks or numbs you.

LIBRA (Sept. 23-Oct. 22) More than one-third of all pregnancies are unintended. The two people involved aren’t actually trying to make a baby, but their contraceptive measure fails or isn’t used at all. According to my analysis, you heterosexual Libras are now more prone to this accidental experience than usual. And in general, Libras of every sexual orientation must be careful and precise about what seeds they plant in the coming weeks. The new growth you instigate is likely to have far-reaching consequences. So don’t let your choice be reckless or unconscious. Formulate clear intentions. What do you want to give your love to for a long time?

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A library burns in volumes of violence Killing for power the wrath of tyrants Promoting such fear can never bring silence Let’s speak up for love kill them with kindness I keep reaching out for an empty glass Suns sits at high noon the flag hangs half mass With love scribbled across a missile stash Revenge is short sighted when killing this fast A mustard seed sits on an outstretched palm A mountain sleeps it had done nothing wrong A black bird sings an inaudible song The sun’s falling fast but we carry on

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SCORPIO (Oct. 23-Nov. 21) I was a rock musician for years, which meant that I rarely went to bed before dawn. I used to brag that my work schedule was from 9 to 5 (9 p.m. to 5 a.m., that is.) Even after I stopped performing regularly, I loved keeping those hours. It was exhilarating to be abuzz when everyone else was asleep. But two months ago, I began an experiment to transform my routine. Now I awake with the dawn. I spend the entire day consorting with the source of all life on earth, the sun. If you have been contemplating a comparable shift in your instinctual life, Scorpio—any fundamental alteration in your relationship to food, drink, exercise, sleep, perception, laughter, GEMINI (May 21-June 20) A filmmaker working on a major movie typically shoots no more love-making—the next few weeks will be a favorable time to do it. than four pages of the script per day. A director for a TV show may shoot eight pages. But I suspect that the story of your life in SAGITTARIUS (Nov. 22-Dec. 21) the near future may barrel through the equivalent of 20 pages You Sagittarians are often praised but also sometimes criticized of script every 24 hours. The next chapter is especially action- for being such connoisseurs of spontaneity. Many of us admire your packed. The plot twists and mood swings will be coming at a flair for unplanned adventure, even though we may flinch when you rapid clip. This doesn’t have to be a problem as long as you are unleash it. You inspire us and also make us nervous as you respond primed for high adventure. How? Take good care of your basic to changing circumstances with unpremeditated creativity. I expect physical and emotional needs so you’ll be in top shape to enjoy all these issues to be hot topics in the coming weeks. You are in a phase of your cycle when your improvisational flourishes will be in the boisterous ride. the spotlight. I, for one, promise to learn all I can from the interesting detours that result from your delight in experimentation. CANCER (June 21-July 22) The city of Paris offers formal tours of its vast sewer system. Commenting at an online travel site, one tourist gave the experi- CAPRICORN (Dec. 22-Jan. 19) ence five stars: “It’s a great change of pace from museums full of Capricorn world-changer Martin Luther King Jr. was arrested art,” she wrote. Another visitor said, “It’s an interesting detour and sent to jail on 29 different occasions. His crimes? Drawing from the cultural overload that Paris can present.” According inspiration from his Christian faith, he employed nonviolent civil to a third, “There is a slight smell but it isn’t overpowering. It’s disobedience to secure basic civil rights for African Americans. a fascinating look at how Paris handles wastewater treatment He believed so fiercely in his righteous cause that he was willing and clean water supply.” I bring this up, Cancerian, because now to sacrifice his personal comfort again and again. The coming is a favorable time for you to take a break from bright, shiny months will be a favorable time to devote yourself to a compapleasures and embark on a tour of your psyche’s subterranean rable goal, Capricorn. And now is a good time to intensify your maze. Regard it not as a scary challenge, but as a fact-finding commitment. I dare you to take a vow. exploration. What strategies do you have in place to deal with AQUARIUS (Jan. 20-Feb. 18) the messy, broken, secret stuff in your life? Take an inventory. The birds known as mound-builders are born more mature than other species. As soon as they peck themselves out of their eggs, LEO (July 23-Aug. 22) “When I look at a sunset, I don’t say, ‘Soften the orange a little they are well-coordinated, vigorous enough to hunt and capable on the right hand corner, and put a bit more purple in the cloud of flight. Right now I see a resemblance between them and color.’” Pioneering psychologist Carl Rogers was describing the many of you Aquarians. As soon as you hatch your new plans or way he observed the world. “I don’t try to control a sunset,” he projects—which won’t be long now—you will be ready to opercontinued. “I watch it with awe.” He had a similar view about ate at almost full strength. I bet there won’t be false starts or people. “One of the most satisfying experiences,” he said, “is rookie mistakes, nor will you need extensive rehearsal. Like the just fully to appreciate an individual in the same way I appreci- mound-builders, you’ll be primed for an early launch. ate a sunset.” Your assignment, Leo, is to try out Rogers’ approach. Your emotional well being will thrive as you refrain PISCES (Feb. 19-March 20) from trying to “improve” people—as you see and enjoy them You are not purely and simply a Pisces, because although the sun was in that astrological sign when you were born, at least for who they are. some of the other planets were in different signs. This fact is a good reminder that everything everywhere is a complex web VIRGO (Aug. 23-Sept. 22) The future is headed your way in a big hurry. It may not be of subtlety and nuance. It’s delusional to think that anyone or completely here for a few weeks, but even then it will have anything can be neatly definable. Of course it’s always imporarrived ahead of schedule. Should you be alarmed? Should tant to keep this in mind, but it’s even more crucial than usual you work yourself into an agitated state and draw premature for you to do so in the coming weeks. You are entering a phase conclusions? Hell no. Treat this sudden onrush of tomorrow as when the best way to thrive is to know in your gut that life is a bracing opportunity to be as creative as you dare. Cultivate always vaster, wilder and more mysterious than it appears to be a beginner’s mind. Be alert for unexpected openings that you on the surface. If you revere the riddles, the riddles will be your sweet, strong allies. assumed would take longer to appear.

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here’s so much being planned for downtown lately, I’d have to take up the entire weekly edition to take you block by block and point out what’s what. It’s not city planners who have their pencils worn down to their nubs but developers who are envisioning our future. For example, you’ve heard about Joel LaSalle’s exclusive deal with the RDA to split the cost of a study of what to do with the Utah Theater property on Main? He owns Gandolfo’s NY Deli and Murphy’s Bar and Grill, right next door to the theater. What you probably didn’t notice, though, was the big hat coming down on 111 Main this past week. Salt Lake’s newest high rise, coated in exterior glass plates (windows to us lay people) of 24 stories got loaded with its “hat” of trusses at the top. Those huge white I-beams were placed there and all the developers and worker bees held their breath because this kind of building design causes the whole structure to then settle from the top down. On Saturday the building dropped four feet, from top to bottom, and not one glass panel cracked—a miracle of modern architectural genius. Then again, this building design is how the Twin Towers in New York were designed and built. The 95 story Shard in London (a glass pyramid structure completed in 2012) is also an example of hat truss construction. Matt Baldwin, the director of City Creek Reserve, explained to me that this kind of building has a “2,500 year event” rating for earthquakes, and that it’s built similar to something like a popsicle at its core. When the truss is placed on the top of the building, the core doesn’t move, but the rest of the building does and sets permanently on its frame. The Twin Towers came down after the aircraft impact because gravity loads that were previously carried by severed columns were redistributed to other walls and columns. The steel expanded with the fire and the temperature of the core became hotter than the exterior walls of the towers. Engineers figured that once the upper building section began to move downward due to heating and gravity, the cores collapsed and every wall around them followed down to the streets. That act of terrorism doesn’t scare builders today because the hat truss system is respected around the world as a very smart and stable way to build tall, tall buildings. When completed, 111 Main is going to be the home for not only more Goldman Sachs employees but the District Attorney’s Office, too. As the hat dropped successfully, the folks involved with 111 Main had a little gathering on 1/11 at 1:11 p.m. to celebrate. Hats off. n

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56 | JANUARY 21, 2016

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