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contents DyerTimes: Who wants to live in a world where you can’t ride your horse to Utah? by Joel Dyer

....................................................................... NEWS: Remembering CU professor Al Bartlett by Paul Danish

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....................................................................... Boulderganic: How oil and gas drillers avoid paying royalties by Abrahm Lustgarten

#9424A

....................................................................... Rock film tour marks new heights for Boulder filmmakers by Elizabeth Miller

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departments

45 47 49 55 56 60 61 63 65 66 67 69

7 LETTERS: The Waters ‘mistrial’; Lost police reports 7 the highroad: The ‘Climate Name Change’ campaign 10 icumi: Erie’s water is safe; Construction function? 12 commentary: The Zinn witch hunt continues 43 OVERTONES: Local band Summa balances the rock equation ARTS & CULTURE: IFS launches with digital projection equipment ARTS & CULTURE: DocuWest festival aims for the ah-ha moment BOULDER COUNTY EVENTS: What to do and where to go reel to reel: Films showing locally screen: Austenland TIDBITES: Food happenings around town CUISINE review: Zoe Ma Ma BOULDER WeeklY Beer tour: Sanitas Brewing Company boulder marketplace: Your community resource SAVAGE LOVE: Politely upsizing a partner’s penis astrology: By Rob Brezsny Weed between the lines: Council considers cannabis rules and regs

Boulder Weekly

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Erie’s water is safe We love the recent news that Erie’s water has been voted the best-tasting in the Rocky Mountain region. This comes from the American Water Works Association’s annual conference in Keystone. What were they drinking? Apparently people have been getting used to oil and gas toxins. The pollution is getting so prevalent that people are associating it with the norm! Can we get some lemon with that? But seriously, we are lucky, in many of our Front Range communities, that we get most of our water from high-altiSusan France tude reservoirs, not from aquifers that may have been tainted by those damn frackers. In fact, The Denver Post reports this breaking news: Erie gets its water from … wait for it … the Granby area. By the same token, Denver Water was smart to create Lake Dillon and start draining agua from that area, since the groundwater down along the Front Range is bound to be tainted by oil and gas drilling at some point. Actually, we are more concerned about air pollution than water quality. It is far more likely that spewing methane will be more of a threat than oil/gas waste finding its way into our groundwater. But still, we’ve got to marvel at the news that Erie, which lies in the middle of prime fracking country, has been held up as a model for prime drinking water. We sure hope those Granby-area reservoirs don’t dry up and Erie actually has to drill down for its fluids. Some areas of the country aren’t lucky enough to have higher ground to draw from. It may just end up being our saving grace. Construction function? Can anyone tell us the real point of the construction along Highway 119 between Boulder and Longmont, at Jay Road and Niwot Road? For months, we have seen massive backups in traffic, and extensive activity in the medians, but for what? To add a couple of turning lanes? Here’s how the Colorado Department of Transportation described the project (which, by the way, was originally supposed to be completed last spring): “As part of the project, crews will reconfigure the intersections of SH 119 and Jay/Niwot roads, including widening SH 119 to accommodate turn lanes in both the northbound and southbound directions of the highway, widening Jay Road and Niwot Road to accommodate turn lanes in both the eastbound and westbound directions of each, adding medians, improving traffic signals, adding and improving sidewalks, and making drainage/irrigation improvements.” How about you start using taxpayer money for good rather than evil and do something about the bolus of the snake that builds up at Highway 52, the turnoff to IBM? That’s where many of us who can’t afford to live in Boulder get snarled and have to bail off to side roads. Don’t get us wrong, it’s been a pure pleasure for those of us who live in the northeast corner of the county to take 95th and 63rd into Boulder, seeing all of those beautiful hawks on the poles and wires (not to mention all of those oil and gas wells). It may take us a bit longer to get to and from work, but it’s much more soothing and therapeutic than sitting in a parking lot on 119. We can’t imagine what other beautiful details those hardy souls who actually bike to work from the far reaches notice on their way to Boulder, as we whiz by in our SUVs. Respond: letters@boulderweekly.com Boulder Weekly

dyertimes

COWBOY from Page 8

police. They charged him with drunken horseback riding, animal cruelty and prohibited use of weapons. It seems that Schumacher had an old black-powder pistol and some empty beer cans in his saddlebags and someone supposedly claimed to have seen him hit his horse near Baseline and Broadway. Welcome to the new West. Was he drunk? I don’t know. He says he wasn’t and he seemed fine when I was talking to him, just a fellow on a grand adventure, the magnitude of which he hadn’t given a second thought. He was just riding out to his brother’s wedding using the only transportation he had, his horse. Schumacher claimed he didn’t hit his horse but was instead knocking flies off its head. Having watched the two interact, I don’t think he was cruelly beating his traveling companion. He was incredibly proud of Dillon and the fact that the horse was half wild mustang. He was constantly patting Dillon as we talked, and the horse seemed really gentle and well-behaved. They seemed to have a strong bond. Same with the pug. Sometime on Monday night the cowboy bonded out, and the next morning he was reunited with his horse and the dog and continued on his journey across the new West. I should note that several amazing people from around the county offered help to get Schumacher and his animal friends to his brother’s in time for the wedding. And while that is great and generous and why I choose to live here, it can’t replace what’s been lost. When I was 19, I took 30 cans of cheese soup (long story) and drove my horse, a ’72 Ford Pinto, as far as I could from Oklahoma until I ran out of gas and money to buy more. The Pinto came to a stop on a sandy road on the Gila River Indian Reservation outside Coolidge, Ariz. I lived where the car died for two months on that road, eating cheese soup and walking around the desert with the occasional thumbed ride into town to get water and, every so often, to work a shift as a temporary day laborer in an Army munitions plant. I eventually put together enough gas money to get back home, for a while, until the next time the West called, and the next. The West was wide open for a kid with a thumb and an ample supply of curiosity. My wanderlust took me to the high camps with Basque sheepherders. It found me holed up in a line shack two days’ walk from the nearest road, trading stories with an 83-year-old man who as a child had helped his father bury the last few members of the Hole in the Wall Gang, who managed to die Boulder Weekly

of old age. Who knew? Sure, things sometimes went wrong. I can still remember eating crackers from a box I found on the side of the road in the empty high desert of Idaho after being stranded for days by a January snowstorm. Yes, hitchhiking across Idaho in January is a bad idea. But no one ever arrested me for trying to see the world on my own terms, not back then, not out West where peculiarity is — or at least once was — a thing to be celebrated, not feared. But

the West has changed. The rules meant to keep rats from killing each other in a maze of skyscrapers are being applied to the West, as if rules are progress and self-determination a crime. As I stared into the blackness and rain on Monday night, I felt like that cowboy in his jail cell, trapped and out of place. Something has been lost, taken without permission, stolen. I waited for a lightning flash that would show me some way forward, but it never came. The truth is, the old West

is mostly gone, disappeared beneath a blanket of undisrupted cell phone coverage. For a thousand reasons that I don’t expect many people to understand, it’s hard to live in a world where you can’t ride your horse to Utah anymore. But thank God somebody is still willing to try. Good luck, Mr. Schumacher. Enjoy the ride, wherever it takes you from here. I’ll try to do the same. Respond: letters@boulderweekly.com

September 12, 2013 11

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commentary The Zinn witch hunt continues by Dave Anderson

n 2010, after historian Howard Zinn died, then-Indiana Gov. Mitch Daniels sat down at his computer and started a quiet witch hunt with a flurry of emails to top state education officials. This only became public this summer after the Associated Press obtained copies of the emails under Indiana’s public records laws. In one email to Tony Bennett, then the superintendent of public instruction, Daniels wrote: “This terrible anti-American finally passed away. The obits and commentaries mentioned that his book A People’s History of the United States is ‘the textbook of choice in high schools and colleges around the country.’ It is a truly execrable, anti-factual piece of disinformation that misstates American history on every page. “Can someone assure me that it is not in use anywhere in Indiana? If it is, how do we get rid of it before any more young people are force-fed a totally false version of our history?” In another email, seeing that a professional development course for teachers included readings from Zinn, Daniels wrote, “This crap should not be accepted for any credit by the state.” He didn’t want any high schools or public universities teaching the works of Howard Zinn, sought a statewide investigation into “what is credit-worthy” to see that similar works weren’t being taught for credit, and was considering ways to cut state funds to a program led by a professor who had criticized him. Daniels is presently the president of Purdue University and continues to insist that Zinn’s works are “truly execrable” and fraudulent. More than 90 Purdue professors wrote an open letter to him on July 22 criticizing his comments and his call for “reconsidering” the tenure system. The American Historical Association, a nonpartisan group that sets academic standards of review and publication for historians nationwide, issued a statement on July 19 saying it “deplores the spirit and intent” of Daniels’ emails. The association said it considered any governor’s effort to interfere with an individual teacher’s reading assignments “inappropriate and a violation of academic freedom.” When People’s History is used in high schools, it typically is used as a supplement to the conventional main-

stream narrative found in the course history textbook. For 15 years, John Zola used Zinn’s book in a social studies class he taught at Boulder’s New Vista High School (which he describes as “a non-traditional break-the-mold public high school for kids who might not have succeeded in more traditional settings”). He guesses that one-tenth of 1 percent of U.S. high school teachers use A People’s History. His class compared Zinn’s bottom-up story of America from the point of view of ordinary people (factory workers, women, African-Americans, Native Americans, the working poor and immigrant laborers) to a mainstream history book emphasizing the role of political and economic leaders. He said the students found this approach exciting. Howard Zinn was a unique figure, not only as a historian, but as a public intellectual who had a considerable impact outside academia. A new book from Boulder’s Paradigm Publishers, Agitation With A Smile: Howard Zinn’s Legacies and the Future of Activism (edited by Stephen Bird, Adam Silver and Joshua C. Yesnowitz), explores his political thought and his views of activist scholarship and political dissent. He was a pragmatic and eclectic radical, describing himself as “something of an anarchist, something of a socialist. Maybe a democratic socialist.” He felt that a historian couldn’t be neutral “in a world where children are still not safe from starvation or bombs.” He was deeply skeptical of claims of scholarly “objectivity”: “Surely, we want to be objective if that means telling the truth as we see it, not concealing information that may be embarrassing to our point of view. But we don’t want to be objective if it means pretending that ideas don’t play a part in the social struggles of our time, that we don’t take sides in those struggles.” He was an activist in the civil rights and anti-war movements. But he also brought the politics of the street onto the university campus. He supported the union struggles of Boston University’s clerical workers, librarians, and building and grounds workers. He almost got fired for that. He stood up for what he believed in. With optimism and humor. As a teacher, he spoke American. We need more Zinns. Respond: letters@boulderweekly.com Boulder Weekly

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Boulder Weekly

news Tribute: Remembering Al Bartlett

A man whose impact on Boulder County grew exponentially by Paul Danish

t was a deeply held belief of Al duce huge increases in the size of a Bartlett that “the greatest shortnation’s population or the consumption coming of the human race is our of a resource, even when the annual inability to understand the expogrowth rate is seemingly small. nential function.” If oil consumption increases at 5 Bartlett, a University of Colorado percent a year, for example, annual physics professor and Boulder environglobal consumption of oil will double in mental giant who died Sept. 7 at the 14 years. If a country’s population is age of 90, spent a lifetime trying to cor- increasing by 3 percent a year, the rect that shortcoming. country’s population will double in 23 He shared his views on the imporyears. tance of understanding If there was one single Courtesy of the University of Colorado the exponential function thing Bartlett would have with anyone who would wanted you to take away listen, and a lot of people from his talk, it probably did. He crafted a speech would have been the folexplaining the implicalowing equation: tions of the exponential T2= 70/P function as it pertained to The equation tells you population growth and how to calculate how long resource and energy conit will take for the annual sumption and gave verconsumption of a resource sions of it 1,742 times. A or population of a country YouTube video of the to double, assuming the Al Bartlett died on Sept. 7 speech has been viewed annual rate of growth of at the age of 90. nearly 5 million times. the consumption of the I think the most fitresource (or the annual ting way to memorialize Al may be to growth rate of a population) is susshare some of the thoughts that were in tained. The number 70 divided by the that remarkable talk, which he delivered annual percentage growth rate (P) will under several titles, including “The give you the doubling time (T2). Arithmetic of Growth” and “The forFor example, if Boulder’s population gotten fundamentals of the energy criwas growing at a rate of 5 percent a sis.” year (the rate it averaged during the The essence of the talk was this: decade of the 1960s) its population When the population of a country or would double in 14 years. And that is the consumption of a resource, such as pretty close to what happened. The oil or gas, grows at a fixed percentage 1960 Census put Boulder’s population per year (say 5 percent a year), the at 37,718. Ten years later the 1970 growth rate is said to be “exponential.” Census put it at 66,870. In 1975, And exponential growth rates can proBoulder’s population was about 76,000;

Balancing act

Head of CU’s new ‘industry collaboration’ office vows to protect academic freedom

by Jefferson Dodge

Boulder Weekly

some estimates put it as high as 80,000. A growth rate of 5 percent may seem modest, but it is actually a pretty torrid pace. During the 1960s countries like India and Pakistan were growing at a rate of more than 3 percent annually, and the prospect of global famine was an imminent threat. Bartlett’s speech contained some cool examples that cast the implications of exponential growth into sharp relief. Here are two of my favs: • Legend has it that after the inventor of chess presented his game to his king, the king asked him what he would like for his reward. He said all he wanted was some wheat, the amount to be determined by the following process: A single grain would be placed on the first square of a chess board, two grains would be placed on the second square, four grains on the third square, eight grains on the fourth square, and so on, with the number of grains on each square doubling through the 64th square. Using this method, the total amount of wheat in the reward would come to 264 grains less one — or 18,446,744,073,709,551,615 grains, or about 300 times the 2012 global wheat harvest. • The bacteria-in-a-bottle case illustrates the consequences of exponential growth in a finite environment. Bacteria reproduce by division so that a single bacterium becomes two, the two divide to become four, the four divide to become eight, and so on. Thought experiment time: Consider a

he news that the University of Colorado Boulder has created an Office of Industry Collaboration may send shivers up a few faculty spines, conjuring images of selling the university to the highest bidder, compromising academic freedom in the name of the almighty dollar, or allowing sponsoring companies to squelch research findings they don’t like. Indeed, when CU officials announced the creation of a “Strategic Advisory Council” largely populated with current and former business executives and venture capitalists last April, it raised red flags with some faculty who feared that major corporations, in exchange for their investments, might try to exert

hypothetical strain of bacteria for which the division time is one minute. One bacterium is put in a bottle at 11 a.m., and it is observed that the bottle is full of bacteria at noon. Bartlett would point out that this scenario is “mathematically identical to the case of the exponentially growing consumption of our finite resources of fossil fuels.” Now for a short quiz: At what time was the bottle half full? Answer: At 11:59 a.m. At what time was the bottle 1.5% full? Answer: At 11:54 a.m. In other words, an exponential growth rate can occur with little or no noticeable impact during its early stages, but its impact during its later stages can be staggering and can burst upon us with little warning. This arithmetic is one of the factors that in 1976 led me to propose the growth limitation ordinance colloquially known as the Danish Plan — and prompted Al to support it. (He agreed to be one of the five sponsors of the initiative petition that put the plan on the 1976 ballot. This took some political courage. Several then-prominent Boulder environmentalists chose not to get involved, but Al stepped up.) From 1970 to 1975 Boulder’s housing stock grew at an annual rate of 3 percent a year, down from the 5 percent rate of the 1960s, but still fast. If that 3 percent growth rate had continued (and the average number of people in a Boulder household had remained the same) the city’s population would have increased to more than See TRIBUTE Page 18

influence on the faculty-controlled curriculum or prevent the publication of undesirable study results, for example. “You sign an agreement that gives the corporation that’s sponsoring the research final right of refusal to not let it be published,” Math Professor Marty Walter told BW at the time. “If the results don’t come out the way Exxon or Monsanto would like them to come out, then it doesn’t get published. … Even if you don’t sign something like that, it can be made very clear that if you want more funding, you better try to cooperate. … I think the university See CU Page 18

September 12, 2013 17

news

CU from Page 17

will say that [academic free- Jefferson Dodge research results before they dom] is what they are dediare published, to see if anycated to, but you wave a few thing should be patented million dollars in front of before it goes public, for them, I think that probably instance, but it would might change their mind.” never be permitted to But CU leaders insisted change or squelch any of that the university would those findings. never make such comproDepending on the mises, despite the increasnature of the research, ingly dire financial situation agreements with industry CU faces thanks to state are sent through one of Caroline Himes is director funding levels that have three CU offices, and of CU’s new Office of dwindled to a trickle over Himes says each has strict Industry Collaboration. the past 15 years, as well as parameters on what is perincreasing competition for mitted. Any request to declining federal grant funding. deviate from those parameters or create an Similarly, Caroline Himes, the person exception must be reviewed by CU’s hired to be director of CU’s Office of Standing Committee for Restricted, Industry Collaboration this summer, is Proprietary and Classified Research, she assuring faculty that her effort to increase explains, “and it’s only done with an awful industry involvement with — and funding lot of thought and discussion.” for — the university won’t result in the According to Linda Morris of the CU corporatization of CU or its research. Office of Research Administration and While she acknowledges that there Support, there have been 24 waivers of the can be “natural conflicts” because “the university’s policy on restricted, propriegoals of industry are different than the tary and classified research issued since goals of a university,” she says the National 2004. Academies’ University-Industry If a company seeks too much control, Demonstration Partnership has developed “we are fully willing to walk away from some template agreements that “don’t those,” Himes says. “We understand the compromise the values of either group.” It importance of academic freedom and the benefits the university to refer industry to freedom to publish. We’re not comprothis national organization’s models because mising a faculty member’s career path for “it’s not just CU being difficult,” Himes the gain of initial research dollars.” explains. Himes says her role will be to expedite She says a company might ask to see the process of creating agreements between

the university and industry, serving as point person for both the companies and the faculty. Instead of having corporations attempt to navigate the university’s procedures, a process that has taken as long as six months to a year in the past, Himes will serve as their primary contact and shepherd the agreement through the right offices, making sure the right people are at the table. “We don’t want to waste time on going down the wrong path and retracing our steps,” she says. According to Himes, part of her role will be to secure the university’s intellectual property in the agreements, in hopes of increasing royalty revenue. The campus chancellor’s office has agreed to fund the office for five years, she says, but by then it is expected to run its operations using a percentage of the revenue it generates. CU spokesperson Malinda MillerHuey told BW that the office is receiving $650,000 in start-up funding this first year, an amount that will decline over the following four years. “The idea is that the office will become self-supporting,” she says. Himes stresses the importance of increasing funding from industry, given the uncertainty surrounding federal research grants, which are being cut due at least in part to sequestration. When there is less money, she explains, there are fewer calls for grant proposals, or application rounds, “and there’s a whole bunch more people jumping into each one,” resulting

in more competition. Himes notes that if a federally funded university operation, like a lab or other type of research facility, loses its grant money, industry-provided revenue becomes especially important just to keep the doors open, the staffers employed, the line of inquiry alive. “It keeps the technicians going and the equipment calibrated and up to date,” she says. According to Himes, the most likely areas of growth when it comes to university/industry partnerships include CU’s strengths nationally, like the biosciences, space sciences, “green” technologies, the hard sciences and business. But she adds that a whole host of fields could benefit from such agreements when one considers that many local companies are in need of university expertise and/or facilities. The effort is expected to have a positive effect on students as well, Himes says, since students working on an industryfunded project could become good candidates for internships or full-time jobs with the corporation involved. While there may be more pressure to run the university more efficiently, like a company, Himes reiterates that the academic side of the house will not be compromised. “We’re not trying to turn the university into a business,” she says. “I think we have a number of checks and balances in place.” Respond: letters@boulderweekly.com

of publicly owned greenbelts that prevented urban sprawl in the Boulder Valley and limited the city’s size. Al Bartlett was intimately involved in the creation of both. He also was a founder of the local environmental group PLAN Boulder. Al spent thousands of hours arguing

for the reduction of exponential rates of population growth and resource consumption, and in his civic life he worked for policies and programs that would further those ends. To a large extent, Boulder as we know it today is his legacy. Respond: letters@boulderweekly.com

TRIBUTE from Page 17

150,000 by 1998, from 76,000 in 1975. Today, Boulder’s growth rate is under 1 percent and its population is about 97,000. This reduction in the city’s exponential growth rate was achieved by the adoption of a number of growth-related measures starting in the 1950s. Two of the most important

were adoption of the Blue Line in 1959, which helped prevent Boulder’s mountain backdrop from being developed by preventing water mains from being extended above a certain altitude, and creation of the Boulder open space program in 1967, which has encircled the city with tens of thousands of acres

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Unfair share

How oil and gas drillers avoid paying royalties

by Abrahm Lustgarten, ProPublica

on Feusner ran dairy cattle on his 370-acre slice of northern Pennsylvania until he could no longer turn a profit by farming. Then, at age 60, he sold all but a few Angus and aimed for a comfortable retirement on money from drilling his land for natural gas instead. It seemed promising. Two wells drilled on his lease hit as sweet a spot as the Marcellus shale could offer — tens of millions of cubic feet of natural gas gushed forth. Last December, he received a check for $8,506 for a month’s share of the gas. Then one day in April, Feusner ripped open his royalty envelope to find that while his wells were still producing the same amount of gas, the gusher of cash had slowed. His eyes cascaded down the page to his monthly balance at the bottom: $1,690. Chesapeake Energy, the company that drilled his wells, was withholding almost 90 percent of Feusner’s share of the income to cover unspecified “gathering” expenses and it wasn’t explaining why. “They said you’re going to be a millionaire in a couple of years, but none of that has happened,” Feusner said. “I guess we’re expected to just take whatever they want to give us.” Like every landowner who signs a lease agreement to allow a drilling company to take resources off his land, Feusner is owed a cut of what is produced, called a royalty. In 1982, in a landmark effort to keep people from being fleeced by the oil industry, the federal government passed a law establishing that royalty payments to landowners would be no less than 12.5 percent of the oil and gas sales from their leases. From Pennsylvania to North Dakota, a powerful argument for allowing extensive new drilling has been that royalty payments would enrich local landowners, lifting the economies of heartland and rural America. The boom was also supposed to fill the government’s coffers, since roughly 30 percent of the nation’s drilling takes place on federal land. Over the last decade, an untold number of leases were signed, and hundreds of thousands of wells have been Boulder Weekly

sunk into new energy deposits across pany was entitled to charge the fees. ments. The federal government sued, the country. Costs such as these are normally and won. But manipulation of costs and other only documented in private transactions The government has an arsenal of data by oil companies is keeping bilbetween energy companies, and are tools to combat royalty underpayment. lions of dollars in royalties out of the almost never detailed to landowners. The Department of Interior has rules hands of private and government land“To find out how the calculation is governing what deductions are allowholders, an investigation by ProPublica done, you may well have to file a lawable. It also employs an auditing agency has found. suit and get it through discovery,” said that, while far from perfect, has uncovAn analysis of lease agreements, Owen Anderson, the Eugene Kuntz ered more than a dozen instances in government documents and thousands Chair in Oil, Gas & Natural Resources which drillers were “willful” in deceivof pages of court records shows that at the University of Oklahoma College ing the government on royalty paysuch underpayments are widespread. of Law, and an expert on royalty disments just since 2011. A spokesman for Thousands of landowners like Feusner putes. “I’m not aware of any state that the Department of Interior’s Office of are receiving far less than they Jefferson Dodge expected based on the sales value of gas or oil produced on their property. In some cases, they are being paid virtually nothing at all. In many cases, lawyers and auditors who specialize in production accounting tell ProPublica energy companies are using complex accounting and business arrangements to skim profits off the sale of resources and increase the expenses charged to landowners. Deducting expenses is itself controversial and debated as unfair among landowners, but it is allowable under many leases, some of which were signed without landowners fully understanding their implications. But some companies deduct From Oklahoma to Colorado to Pennsylvania, bizarre accounting practices being applied expenses for transporting and oil and gas companies to production from private and public lands is depriving processing natural gas, even when by Americans of billions of dollars owed to them. leases contain clauses explicitly prohibiting such deductions. In other cases, according to court files and requires that level of disclosure.” Natural Resources Revenue says that documents obtained by ProPublica, To keep royalties low, companies over the last three decades, the governthey withhold money without explanasometimes set up subsidiaries or limited ment has recouped more than $4 billion in unpaid fees from such cases. tion for other, unauthorized expenses, partnerships to which they sell oil and There are few such protective and without telling landowners that the gas at reduced prices, only to recoup the mechanisms for private landowners, money is being withheld. full value of the resources when their though, who enter into agreements Significant amounts of fuel are subsidiaries resell it. Royalty payments without regulatory oversight and must never sold at all – companies use it are usually based on the initial transacpay to audit or challenge energy comthemselves to power equipment that tion. panies out of their own pockets. processes gas, sometimes at facilities far In other cases, companies have barProPublica made several attempts to away from the land on which it was tered for services off the books, hiding contact Chesapeake Energy for this drilled. In Oklahoma, Chesapeake the full value of resources from landdeducted marketing fees from payments owners. In a 2003 case in Louisiana, for article. The company declined, via email, to answer any questions regardto a landowner – a joint owner in the example, Kerr McGee, now owned by ing royalties, and then did not respond well – even though the fees went to its Anadarko Petroleum, sold its oil for a to detailed sets of questions submitted own subsidiary, a pipeline company fraction of its value – and paid royalties afterward. The leading industry trade called Chesapeake Energy Marketing. to the government on the discounted group, the American Petroleum The landowner alleged the fees had amount – in a trade arrangement for been disguised in the form of lower marketing services that were never See ROYALTIES Page 24 sales prices. A court ruled that the com- accounted for on its cash flow stateSeptember 12, 2013 23

boulderganic ROYALTIES from Page 23

Institute, also declined to comment on landowners’ allegations of underpayments, saying that individual companies would need to respond to specific claims. Anderson acknowledged that many landowners enter into contracts without understanding their implications and said it was up to them to do due diligence before signing agreements with oil and gas companies. “The duty of the corporation is to make money for shareholders,” Anderson said. “Every penny that a corporation can save on royalties is a penny of profit for shareholders, so why shouldn’t they try to save every penny that they can on payments to royalty owners?” *** Gas flows up through a well head on Feusner’s property, makes a couple of turns and passes a meter that measures its volume. Then it flows into larger pipes fed by multiple pipelines in a process the industry calls “gathering.” Together, the mixed gases might get compressed or processed to improve the gas quality for final sale, before feeding into a larger network of pipelines that extends for hundreds of miles to an end point, where the gas is sold and ultimately distributed to consumers. Each section of pipeline is owned and managed by a different company. These companies buy the gas from Chesapeake, but have no accountability to Feusner. They operate under minimal regulatory oversight, and have sales contracts with the well operator, in this case Chesapeake, with terms that are private. Until Chesapeake sold its pipeline company last winter, the pipelines were owned by its own subsidiaries. As in many royalty disputes, it is not clear exactly which point of sale is the one on which Feusner’s payments should be based – the last sale onto the open market or earlier changes in custody. It’s equally unclear whether the expenses being charged to Feusner are incurred before or after that point of sale, or what processes, exactly, fall under the term “gathering.” Definitions of that term vary, depending on who is asked. In an email, a spokesperson for Chesapeake declined to say how the company defines gathering. Making matters more complicated, the rights to the gas itself are often split into shares, sometimes among as many as a half-dozen companies, and are

frequently traded. Feusner originally signed a lease with a small drilling company, which sold the rights to the lease to Chesapeake. Chesapeake sold a share of its rights in the lease to a Norwegian company, Statoil, which now owns about a one-third interest in the gas produced from Feusner’s property. Chesapeake and Statoil pay him royalties and account for expenses separately. Statoil does not deduct any expenses in calculating Feusner’s royalty payments, possibly because it has a different interpre-

“If you have a system that is not transparent from wellhead to burner tip and you hide behind confidentiality, then you have something to hide.” — Jerry Simmons, Executive Director of the Association of Royalty Owners

tation of what’s allowed. “Statoil’s policy is to carefully look at each individual lease, and to take post-production deductions only where the lease and the law allow for it,” a company spokesman wrote in an email. “We take our production in kind from Chesapeake and we have no input into how they interpret the leases.” Once the gas is produced, a host of opaque transactions influence how sales are accounted for and proceeds are allocated to everyone entitled to a slice. The chain of custody and division of shares is so complex that even the country’s best forensic accountants struggle to make sense of energy companies’ books. Feusner’s lease does not give him the right to review Chesapeake’s contracts with its partners, or to verify the sales figures that the company reports to him. Pennsylvania — though it recently passed a law requiring that the total amount of deductions be listed on royalty statements — has no laws dictating at what point a sale price needs to be set, and what expenses

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are legitimate. Concerns about royalties have begun to attract the attention of state legislators, who held a hearing on the issue in June. Some have acknowledged a need to clarify minimum royalty guarantees in the state, but so far, that hasn’t happened. “If you have a system that is not transparent from wellhead to burner tip and you hide behind confidentiality, then you have something to hide,” Jerry Simmons, executive director of the National Association of Royalty Owners (NARO), the premier organization representing private landowners in the U.S., told ProPublica in a 2009 interview. Simmons said recently that his views had not changed, but declined to be interviewed again. “The idea that regulatory agencies don’t know the volume of gas being produced in this country is absurd.” Because so many disputes come down to interpretations of contract language, companies often look to courts for clarification. Not many royalty cases have been argued in Pennsylvania so far, but in 2010, a landmark decision, Kilmer v. Elexco Land Services, set out that the state’s minimum royalty guarantee applied to revenues before expenses were calculated, and that, when allowed by leases, energy companies were free to charge back deductions against those royalties. Since then, Pennsylvania landowners say, Chesapeake has been making larger deductions from their checks. (The company did not respond to questions about this.) In April, Feusner’s effective royalty rate on the gas sold by Chesapeake was less than 1 percent. Paul Sidorek is an accountant representing some 60 northeastern Pennsylvania landowners who receive royalty income from drilling. He’s also a landowner himself – in 2009, he leased 145 acres, and that lease was eventually sold to Chesapeake. Well aware of the troubles encountered by others, Sidorek negotiated a 20 percent royalty and made sure his lease said explicitly that no expenses could be deducted from the sale of the gas produced on his property. Yet now, Sidorek says, Chesapeake is deducting as much as 30 percent from his royalties, attributing it to “gathering” and “third party” expenses, an amount that See ROYALTIES Page 26

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adds up to some $40,000 a year. “Now that the royalties are flowing, some people just count it as a blessing and say we don’t care what Chesapeake does, it’s money we wouldn’t have had before,” Sidorek said. But he’s filed a lawsuit. “I figure I could give my grandson a first-class education for what Chesapeake is deducting that they are not entitled to, so I’m taking it on.” Landowners, lawyers, legislators and even some energy industry groups say Chesapeake stands out for its confusing accounting and tendency to deduct the most expenses from landowners’ royalty checks in Pennsylvania. “They’ve had a culture of doing cutthroat business,” said Jackie Root, president of Pennsylvania’s chapter of the National Association of Royalty Owners. Chesapeake did not respond to questions on whether its approach differs from that of other companies. Root and others report good working relationships with other companies operating wells in Pennsylvania, and say that deductions — if they occur at all — are modest. Statoil, which has an interest in a number of Chesapeake wells, does not deduct any expenses on its share of many of the same leases. In an email from a spokesperson, the company said “We always seek to deal with our lease holders in a fair manner.” Several landowners said that not only do deductions vary between companies using the same gas “gathering” network — sales prices do as well. On Sidorek’s royalty statements, for example, Chesapeake and Statoil disclose substantially different sales prices for the same gas moved through the same system. “If Statoil can consistently sell the gas for $.25 more, and Chesapeake claims it’s the premier producer in the country, then why the hell can’t they get the same price Statoil does for the same gas on the same day?” Sidorek won-

Susan France

Publicly traded oil and gas companies also have disclosed settlements and judgments related to royalty disputes that, collectively, add up to billions of dollars. dered. He thinks Chesapeake was giving a discount to a pipeline company it used to own. Chesapeake did not respond to questions about the price discrepancy. Chesapeake may be the focus of landowner ire in Pennsylvania, but across the country thousands of landowners have filed similar complaints against many oil and gas producers. In dozens of class actions reviewed by ProPublica, landowners have alleged they cannot make sense of the expenses deducted from their payments or that companies are hiding charges. Publicly traded oil and gas companies also have disclosed settlements and judgments related to royalty disputes that, collectively, add up to billions of dollars. In 2003, a jury found that Exxon had defrauded the state of Alabama out of royalty payments and ordered the company to pay nearly $103 million in back royalties and interest, plus $11.8 billion in punitive damages. (The puni-

tive damages were reduced to $3.5 billion on appeal, and then eliminated by the state supreme court in 2007.) In 2007, a jury ordered a Chesapeake subsidiary to pay $404 million, including $270 million in punitive damages, for cheating a class of leaseholders in West Virginia. In 2010, Shell was hit with a $66 million judgment, including $52 million in punitive fines, after a jury decided the company had hidden a prolific well and then intentionally misled landowners when they sought royalties. The judgment was upheld on appeal. Since the language of individual lease agreements vary widely, and some date back nearly 100 years, many of the disagreements about deductions boil down to differing interpretations of the language in the contract. In Pennsylvania, however, courts have set few precedents for how leases should be read and substantial hurdles stand in the way of landowners interested in bringing cases.

Pennsylvania attorneys say many of their clients’ leases do not allow landowners to audit gas companies to verify their accounting. Even landowners allowed to conduct such audits could have to shell out tens of thousands of dollars to do so. When audits turn up discrepancies, attorneys say, many Pennsylvania leases require landowners to submit to arbitration — another exhaustive process that can cost tens of thousands of dollars. Arbitration clauses can also make it more difficult for landowners to join class action suits in which individuals can pool their resources and gain enough leverage to take on the industry. “They basically are daring you to sue them,” said Aaron Hovan, an attorney in Tunkhannock, Pa., representing landowners who have royalty concerns. “And you need to have a really good case to go through all of that, and then you could definitely lose.” All of these hurdles have to be cleared within Pennsylvania’s four-year statute of limitations. Landowners who realize too late that they have been underpaid for years — or who inherit a lease from an ailing parent who never bothered to check their statements — are simply out of luck. Even if a gas company were found liable for underpaying royalties in Pennsylvania, it would have little to fear. It would owe only the amount it should have paid in the first place; unlike Oklahoma and other states, Pennsylvania law does not allow for any additional interest on unpaid royalties and sets a very high bar for winning punitive penalties. “They just wait to see who challenges them, they keep what they keep, they give up what they lose,” said Root, the NARO chapter president. “It may just be part of their business decision to do it this way.” Read more of ProPublica’s coverage

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Photo courtesy of Reel Rock

adventure

Hazel Findlay filming for Reel Rock in England’s limestone cliffs, where the nature of the rock makes it difficult to protect a climber’s fall. It gives the climbs more character, Findlay says.

Peaks behind the screens

he climbed, we climbed together …” “No, but I mean you get yourself in these situations — and only a few years after moving to Boulder, there I am at the top of this massive formation in Patagonia, which is like the worst weather in the world and I’ve gone up there with these elite climbers,” Rosen says. “Well, with a guy who wingsuits off,” Mortimer says as Rosen, almost talking over the top of him, says, “Who then, one of them, like just, BASE jumps off.” To “wingsuit” is to use a special jump suit when BASE jumping, as in, launching yourself from a cliff with a parachute on your back. The wingsuit, with fabric panels between the arms and body and between the legs, propels the wearer farther forward — basically the closest humans can come to flying. “These guys know the storm is coming in, they know the weather like meteorologists,” Mortimer says. “They BASE jump off and I’m stuck

Eighth Reel Rock marks new heights for Boulder filmmakers by Elizabeth Miller

t this point, it’s impossible to know whether Pete Mortimer and Nick Rosen could always tell stories in tandem, or whether that’s the product of eight years working together or the friendship that dates to their days as students at Colorado College. But the way the two can riff off one another to build a scene may say everything about how and why they’ve come together to run one of the most successful film production companies, Sender Films, to make movies about the niche sport of rock climbing. “Let me contextualize this,” Mortimer begins. “Nick was brought in as a writer to script because I think I saw early on that this was where we could push it in a way that no one else in the outdoor industry was doing. And I was already kind of doing it, but I’m 28 September 12, 2013

not a writer. … So Nick was brought in to write and he was not brought in, that was kind of it, he was just gonna …” And here Nick Rosen picks up to help, “Well, I was gonna work on one movie.” “But the nature of this kind of thing is — he was basically employee number two,” Mortimer says. “Employee number one,” Rosen corrects. Mortimer wasn’t his own employee. He was the founder of Sender, a solo operation from 1999 to 2004, when he invited Rosen back from a career in New York City as a writer and documentary film … let’s say dabbler, for a single project that led to Rosen joining Sender as partner, writer and producer. “The next thing you know, your neurotic writer from New York is dangling off the side of a cliff,” Mortimer says. “I mean obviously Nick grew up,

up there with this other dude with this giant Patagonian storm just bearing down on us,” Rosen says. “And, you know, 12 hours later — ” “I was actually in the tent below watching,” Mortimer says. It’s not doing the climbs himself that’s the scariest thing; it’s having his team out there. “We could watch the headlights. It was one of the wildest — ” “It was literally like having a fire hose in your face,” Rosen says. “And you guys had left your jackets at the base,” Mortimer adds. “We didn’t have Gore-Tex, we were so — and then it took, and then you’re trying to rappel 18 pitches, the wind is blowing 70 miles an hour, all your ropes are getting caught, and then you’re cutting the ropes so they’re getting smaller and smaller and smaller,” Rosen says. “Fortunately it wasn’t freezing — I think there have been several of these.” The story of Sender Films is, in part, the story of a couple of local Colorado boys made good and living the dream — climbing hard and making a living telling the stories of other climbers. But it’s also the arc of the evolution of climbing films as a genre. When Mortimer started making films Boulder Weekly

adventure

about climbing, and Rosen returned “Within the climbing genre, Sender whole series of different filmmakers like then Mortimer took off on his own from the rat race in New York City to are the benchmark,” says Jim Baker, you would in a film festival. I mean it work. Each independently ran tours to join him writing those films, no one world tour manager for the Banff basically was Pete and Josh [Lowell] and show their films around the country, expected it would go as far as it has — Mountain Film Festival, which has feathen when I joined up it was the three before deciding to pool the efforts and to partnerships with National tured a Reel Rock film every year of the of us, and over the years I think what infrastructure necessary to coordinate a Geographic, brand recognition that has 10 he’s been with the festival. “In terms we’ve done is sort of worked to define multi-stop tour: Reel Rock. made their festival the opening move for of the volume of films and the sheer “In 1997, when I first started filming this genre and create kind of a new way many climbing careers and sponsorship consistency of top-level products, I don’t of telling film stories about climbing.” people bouldering, I never imagined that and commercial work that’s blossomed think Sender is matched for climbing it could be a viable business. It was just Mortimer and Rosen went on to from the Boulder Rock Club and films. … They have a genuine commitsuch a small, niche thing,” Lowell says. create The Sharp End, about top-level Neptune Mountaineering, which supment not only to the craft of filmmakclimbers climbing, bouldering, free-solo- “The sport of climbing nowadays is ported the original Reel Rock screening, ing but to the climbing world, and that much bigger — the number of climbers ing, BASE jumping, aid climbing and to Land Rover, which recently commisshows through.” themselves, but also the awareness of high lining at their limit (the trailer sioned the Sender team for a commer“What I noticed right away was one climbing, and I think it kind of feeds on alone is a veritable whipper-fest), and cial. This eighth installation of the Reel thing was, nobody else was doing it and itself. One of the ways that awareness of the Emmy-nominated National Rock tour, created by Sender Werner Braun climbing is increasing is and its partner Big Up, once through film and TV conagain sets out to push the bar tent, which we’ve had a siga little higher with the festinificant hand in creating and vals, tackling the tougher publicizing.” topic of the Sherpa fight on It’s a chicken and egg Everest, which included two argument to say which came climbers on a Sender expedifirst — an interest in climbtion and their filmmaker, and ing or an audience for teasing for the final debut of climbing movies. We can the five-year-long project only say that in the last that has been their debut decade, both have boomed. feature film, Valley Uprising, Reel Rock has ridden that wave. a retelling of the climbing “I think we’ve had a history of the Yosemite hand in putting that out Valley. Amid it all, Mortimer is coordinating a live televithere to the world, and then sion broadcast of Alex the more people respect and Honnold free soloing a skyadmire climbing and climbscraper. ers, the more interest there is “Each one independently for what we do, so it’s all is potentially bigger than been growing hand in hand,” anything that we’ve done,” Lowell says. Mortimer says. “Each one As a whole, the cultural should be our highest profile literacy rate for climbing is project yet, and the fact that Reel Rock will include an excerpt from the upcoming Valley Uprising, Sender Films’ first feature-length film, which up to the point that free solo we’re doing all three of them recounts the last 50 years of climbing at Yosemite Valley, including the Stone Masters of the 1970s. climber Alex Honnold was back to back —” profiled in a 60 Minutes seg“Either means that we’re going to be it was clearly going to become a genre,” Geographic television series First Ascent. ment and on the cover of National off the charts, or we’re just going to Rosen says of his start at Sender. The Geographic, and it’s fodder for commerReel Rock has taken on a life of its crash and burn,” Rosen finishes. former journalist, whose career began in own — it’s not just a convenient vehicle, cials — like that CitiBank commercial the news department of Boulder Weekly that finishes with a female climber topnow, it’s a pride-soaked product that’s The Boulder Theater was booked in more than a decade ago, was recruited ping out on the red sandstone spire of carefully cultivated, each year aiming to optimism to screen their first set of films for one film after discussing a script Ancient Art (which, of course, was a somehow improve on the last. for Reel Rock 1 in 2006 — then, as Sender project). It’s become fashionable concept with Mortimer during a climbPart of the explosive growth has now, an avenue for Boulder’s Sender to wear clothes that look trailhead-ready ing trip. been a matter of good timing in terms Films and New York City-based Big Up “We were just bouncing things off of of technology, equipment, the rise of the — and even Manhattan has an REI Productions to screen their rock climbnow. Yes, it sells climbing gear. each other and got somewhere pretty Internet and YouTube and the growing ing films. They sold the theater out and “Nowadays, everybody knows what fast,” Rosen says. “He was like, ‘Hey, I interested in the relatively new sport of went on to tour to about 45 stops. In climbing is, everybody’s kid has gone to could use someone to help me write this free climbing, says Josh Lowell, co2012, they stepped up from two nights a birthday party at the gym, everybody’s film,’ … And I was just, like, ‘You know founder and director of Big Up. Lowell at the 1,000-seat Boulder Theater to seen something on TV — some of what? Yeah.’” turned from climbing bum to climbing two nights at the 6,000-seat which we probably made — and it’s just At the point Rosen was putting his filmmaker when a finger injury took Chautauqua Auditorium. They sold that New York City life in storage to come a whole different thing now,” Lowell him off the rock for a few months. out, too. This year’s tour, which presays. “There is definitely a lot more gento Boulder to work on the film, it was a “Because there weren’t a lot of other mieres at Chautauqua on Sept. 19, will eral awareness about what it is and a lot different landscape. people doing serious film work about kick off a 450-city tour. After eight “Eight years ago, the genre of climb- climbing, stuff got noticed,” says Lowell, more kind of casual climbers.” years, that tour is now reaching more Climbing, as a sport, is no longer the ing films as we know it today didn’t who knew Mortimer and Rosen from than half as many stops as the legendary really exist,” Rosen says. They had to go Colorado College. Mortimer collaborat- sparsely inhabited country of a few elite. Banff Mountain Film and Book Corporate gyms include climbing walls, it alone, he says — there wasn’t anyone ed with Lowell on a couple projects, Festival, which, at 38 years old, visits else to go along with them. “It wasn’t including the sports Emmy award-winsee REEL ROCK Page 30 800 destinations. like you could go and just draw on a ning King Lines, about Chris Sharma, Boulder Weekly

September 12, 2013 29

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Jonathan Griffith

Speed climber and mountaineer Ueli Steck at Mount Everest shortly before the fight broke out between climbers and sherpas. REEL ROCK from Page 29

and people who may start there perhaps transition to climbing gyms and eventually onto real rock. Climbing has become a pastime for weekend warriors, with an estimated 6.7 million people roping up in 2012, according to the Outdoor Foundation. It’s become a team-building, self-confidence-enhancing activity utilized by corporations and kids’ camps, like The Women’s Wilderness Institute, to spur the courage, confidence, independence and problem-solving skills of girls and women. But when it came to making climbing look appealing on film, the sport posed some unique challenges. The leading genre for outdoor sports film has long been ski films. They started making films about climbing when only ski films really had an audience. Mortimer and Rosen looked at that — what was essentially a film genre dedicated to, at its most sophisticated, visual poetry, and at a baser level, skiing porn prime for smoking bowls and swapping fist bumps to — and thought about how the differences in climbing don’t translate. Even from a distance, a casual observer can see the difference between a skier hucking cliffs and doing back flips versus a newbie half bent at the waist, pizza-wedging her way down a slope less steep than the average playground slide. “If you just put on music and watch someone climb, you know, they do a move and then they stop and chalk up and they think about it,” Mortimer says, “The difference between a climb that we could go do and then the hardest climb in the world is this,” he curls his 30 September 12, 2013

knuckles to a right angle, “versus this,” and he opens his hand so only the ends of the fingertips bend. “So you have to tell stories, you have to engage the audience,” he says. “That was just a necessity borne of the medium that we’re passionate about, but it’s been our biggest asset because we’re constantly forced to push the narrative side of things to keep people excited.” And it’s those storytelling chops that have made it possible for their work to transition to the mainstream — you don’t have to know a lot and care a lot about climbing to care a lot about a person who’s stacked up against the odds and facing what looks like a superhuman obstacle. “A lot of our best films aren’t about life-or-death scenarios, they’re about athletic achievement, they’re about relationships between people, because that’s also a big theme in climbing, mentors and mentees,” Rosen says. “There’s a lot of elements to a good story. Sometimes it’s ‘Is he gonna die?’ Sometimes it’s ‘Are they gonna get along?’” And it works. Audiences get so sucked in to the storytelling, he says, that they’ll put up a film about Alex Honnold ropeless 2,000 feet in the air and there’s a buzz of “Is he gonna die?” — even when Honnold is sitting in the auditorium, waiting to sign posters. “The big moments are still the spectacular footage of the person up there dangling from the cliff by their fingertips, and you’re just like cheering them on, but it’s giving you all the context and the everything you need to know to be totally invested with that person,” Mortimer says. “We want your palms to

sweat.” From his first film, the 2001 Scary Faces, about Zac Barr’s attempt at a climb of the same name in Eldorado Canyon, and the 2003 Front Range Freaks (which won awards at Banff, Telluride Kendal, Vancouver and Taos mountain film festivals), Sender Films, and Mortimer’s work, has been about capturing the characters of climbing. “Climbing lends itself to those stories, I mean, climbers, they always tend to be these slightly lunatic, possessed, maverick types who are willing to pretty much sacrifice anything, including their bones, to accomplish some objective, and the objective is always something that seems impossible and is kind of unprecedented and requires all this sort of build-up and training, and the stakes are always high for that person,” Rosen says. Being in Boulder, in particular, has surrounded them with wild characters and an edgy counterculture that’s infused their work. “What I think Sender excels on, and Big Up, what I think they excel at is finding characters that are going to emerge, finding people who will jump out at you — in some cases literally,” says David Holbrooke, director of the Telluride Mountain Film Festival, which regularly features films from Reel Rock. “Humans need storytelling. When they see it done well, it resonates with them in a way that makes them passionate fans. You see that with Sender.” And there are very few other film companies in the world bringing that kind of storytelling to climbing. Lowell credits Mortimer and Rosen with making that push for stories, but

says it’s affected his work as it has matured, and has kept the Reel Rock tour ahead of the rising tide of content provided through the Internet. Anyone who wants to can hop online and watch 20 new films a day just to see some action, so to survive and succeed both as filmmakers and as a company in the steep slopes of documentary filmmaking, they’ve had to set themselves apart. “As the Internet has become flooded with free content that can probably fulfill people’s needs for pure action, that’s also pushed us towards telling deeper stories,” says Lowell. “Collaboratively, we’ve tried to combine the best of both worlds, high end action, amazing looking shots, really stylish editing, but at the same time, weaving deep stories throughout. … We want climbers to be proud of what we’re doing and get excited by it, but we also want the material to be accessible to people who maybe are just starting to get curious about climbing, or they’re interested in general outdoor sports, or anyone really. The stories we tell are about people with big ambitions, and I think there’s something in them that anyone can get value and entertainment and inspiration from.” It seems to be working. “Reel Rock is just, by far, the best climbing stuff out there. I go to the Reel Rock tours just to get psyched as a climber, just to enjoy the movies,” says Honnold, the only climber to have free soloed Yosemite’s Triple Crown of big walls — and done it in a day. “I still find the films pretty inspiring and exciting. I watched the trailer yesterday and I was see REEL ROCK Page 32

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like, ‘Oh yeah, I can’t wait to watch them all.’” Even though, as a frequent guest of Mortimer’s basement, he’s seen them all in rough cuts already. Like the films that they make, where relationships form the core of what appears on screen, the magic that makes those films happen hinges on the relationships they have with the athletes. Mortimer, a day after meeting with television networks in Los Angeles, says, “In L.A., people are like, what’s your contract with Alex? … And I’m like, ‘Dude, he’s my buddy, he’s sleeping on my couch right now.’ And they’re like, ‘Geez, he’s gonna fuck you, you gotta get a contract.’ … And we’re like, ‘No, we kinda come from this world and we’ve shared a rope together and we trust each other,’ and so I think we’re so uniquely positioned with these relationships with these athletes — and then our ability to tell these stories and work with the best filmers — to do this.” They’re all friends, Honnold says of Sender’s crew, so when he’s got a project and someone wants to film it, he goes to Sender. “I don’t really want anybody else hanging next to me while I’m doing that stuff because so much of it has to do with trust and relationships,” he says. They’ll talk in advance of a shoot to plan out where to station cameras, what might look more photogenic and what sections may not be worth filming, and which areas of the climb pose problems in terms of getting a roped-up camera crew into proximity for filming Honnold in action, but really, after years of working together, the process has become faster and more efficient. “You don’t necessarily have to even talk about planning for a lot of stuff because it’s always just kind of obvious this is the way we should do it, because we all know how much work will be involved to hike up to the top of something and rap in and shoot different

parts,” Honnold says. A team of riggers and cameramen will go in, days or weeks before a climb, and set everything so that by the time Honnold is on the rock, they’re locked in place and no one moves until Honnold is at a section where he can safely rest. Then the crew can jumar (ascend the ropes) to the next section and get set up again. “Filming him is definitely the limit of the risky side because he doesn’t use any ropes,” Mortimer. “If he falls, he would die, and then if you interfered and were to cause that in any way, you would basically, you’d be killing a guy. … A lot of what’s exciting about climbing is these guys who really are pushing it, not just in the physical way but in the mental way, doing, as they say, doing the most dangerous things as safely as possible. That’s what they’re trying to do. And, I mean, we have really strong relationships with them, and we know them and we trust them and they trust us, and there’s a real understanding that we’re not affecting what they’re doing and they would be doing this without us there.” And it is not, as they say, “Kodak courage” — gunning for a goal beyond your capacity just because someone is pointing a camera in your face — and a recipe for disaster or death. While Honnold’s climbing career is built on his climbing ascents, and not films, it’s films, particularly those at Reel Rock, that have made him something of a household name and seen him named one of the National Geographic Adventurers of the Year in 2011, and in The New York Times and on 60 Minutes. The Emmy-nominated piece on him on 60 Minutes (the climbing segment for which was filmed by a Sender crew, including Mortimer), came about because a 60 Minutes producer saw a Reel Rock film on him at the Banff Film Festival. Two years ago, “Sketchy” Andy

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Lewis was just a slackliner hanging around with climbers in Moab. Rosen and Mortimer got a tip about him — “People were like, you should shoot with this guy, he’s crazy!” Rosen recounts — went out, filmed him for the 2011 Reel Rock, and months after the premiere, Lewis was dancing beside Madonna at the Super Bowl halftime show. Before Lewis, there was Ueli Steck, who was known in the European climbing world but an unknown in the U.S. — until a Sender clip of him on a speed ascent up the north face of the Eiger went viral. And in 2012 there was Ashima Shiraishi, a bouldering prodigy tutored by bouldering champion Obe Carrion. She’s been profiled in The New York Times and by Outside magazine and is doing commercials in Japan — between crushing V13 bouldering problems. They’ve got an eye for character, you could say. “In the action sports genre that’s often one of the greatest challenges — how do you make it about more than just the action in a way that can engage audiences beyond that, and that’s an area where I think they excel,” says Baker, with Banff. “They’ve introduced us to many memorable characters over the years and told some really compelling stories.” Banff itself, which is now, for many, considered the pinnacle of outdoor sports writing and films, started as a small-scale festival conceived by a group of climbers. The success of Reel Rock is indicative of the significant growth in that market, Baker says. Reel Rock 8 revisits the themes seen in earlier years — they’ve captured some of the best climbers in the world on exciting projects. But as always, there’s an emphasis on characters and a classical storytelling approach to get audiences fully invested in rooting for the success and, in some cases, the survival of these climbers.

“That’s what made them so successful in climbing films to begin with,” Honnold says. “Other climbing films were just climbing porn the way like ski porn is just collections of cool shots, and they were the first people to really have real stories with characters that you care about. … That’s what Pete is super good at is telling a story like that — finding a story.” Among the stories they’ve found this year is that of Hazel Findlay, a British trad climber who’s built her skills on the notoriously run-out cliffs of the United Kingdom. Findlay was filmed on the cliffs in the U.K. and then traveled with a film crew, and Boulder-based Emily Harrington, to Morocco to climb Babel, a nearly 3,000-foot route in the Atlas Mountains with crux pitches graded at a brutal 5.13a. Their 16 hours of climbing started on technical slab climbing and went on to include microcrimps and runouts wandering up a bush-strewn wall and razor-blade holds prone to breaking off, making for mentally and physically demanding climbing, Harrington reported in a blog for National Geographic Adventure. On the tough pitches, Findlay says, she didn’t even notice the Sender crew was there. They returned to camp after 24 hours of hiking and climbing. For every minute they were climbing, the film crew was also sitting in a harness or hiking alongside, filming. “It’s not over once you do the climb. You have to go back and get extra shots,” Findlay says. Those include interviews, close-ups and scenic shots — everyone on the team is always on the lookout for extra content for the film. “It’s not like you just point the camera once and get the shot.” There’s no one style, Rosen says — sometimes they’ve got Chris Sharma, the first climber to complete routes graded 5.15, making repeated attempts at a 200-foot cliff face with a climb

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adventure stiffer than anyone has ever climbed before, and they can rig tracking systems and gyro-mounted cameras. Sometimes, it’s “expedition style,” with a cameraman they trust to travel through the misery of high alpine conditions and still run ahead to get in place for shots of faces, capturing emotions, when the camera’s hand-held — and forget about an extra sound guy, that’s never been on the menu. The camera crew they send out is entirely experienced climbers who know how to handle anything — seasoned climbers who would punch anyone they thought was worried about them. “Honnold 3.0” from the 2012 Reel Rock was shot in a handful of days, Honnold says. “I just told them I was going to do something and they were like, OK, sweet, we’ll make a Reel Rock piece out of it,” Honnold says. “It was such an easy project, so hassle-free, we all had fun and I did exactly what I was going to do anyway. Those were my climbing goals for the season, they just happened to be there at the same time. I didn’t even have to pose anything, they just captured my actual day of climbing and that was it.” The crew came to meet him in Bishop on a highball bouldering project, and then following him as he climbed the Yosemite Triple Crown: Mt. Watkins, El Cap and Half Dome, roughly 7,000 feet of climbing, in just under 19 hours, 95 percent free solo with a few points of aid. “I feel like I should have a disclaimer on this because basically you should not do this — even though I love it and I think it’s so fun,” Honnold says in the film. Off screen, Rosen can be heard laughing in response. By September, as the tour is just having its premieres and starting its circuit around the world, Mortimer says, the Sender staff is already mapping out next year’s Reel Rock, the expeditions, climbs and journeys they want to follow.

“It’s more than a year-long cycle now,” Lowell says. “The way we’re approaching making these films, we’re shooting things we think might develop into great stories sometimes a couple years in advance. If something really fascinating’s happening, a climber has a really compelling project or a big idea, we’ll start documenting, not knowing when or even if it’s going to come into fruition. But if it does it’ll be a great story.” Those stories don’t always turn out as planned, as this year’s segment on climbers and sherpas at Mount Everest illustrates. The film they set out to get was one of Ueli Steck, first brought to U.S. audiences in the Reel Rock film The Swiss Machine. Steck planned to link an ascent of Everest with its neighboring peak, Lhotse, in what would have been the longest deliberate stay above 8,000 meters. Cameraman Jonathan Griffith was on location to record that story. What he got, instead, was some of the only video footage of the climbers and sherpas involved in a physical fight near Camp 2 on Mt. Everest in April of this year that involved Steck and Simone Moro and ended with Steck huddled in his tent while people outside screamed death threats at him for most of an hour. “There are so many versions of events of what happened on that face before the fight,” Rosen says. “It’s a tricky thing, this was a really intense event that happened and we felt, one thing was clear, there was a lot of misinformation in the media about what happened.” They were never able to speak to the sherpas involved, but did get audio from an interview with one of those sherpas. They interviewed other sherpas, people who employ some of the sherpas who were involved, staff at International Mountain Guides, wilderness EMT and five-time Everest summiter Melissa Arnot, who helped break up the fight,

and Norbu Tenzing, vice president of the American Himalayan Foundation, a nonprofit dedicated to improving the lives of people and protecting the ecology in the Himalaya, and the son of Tenzing Norgay, the first Sherpa to reach the summit of Everest, as well as anthropologists in an effort to better understand what happened that day. “We’ve got exclusive footage of the fight and the only interviews with those guys,” Mortimer says. “So we’ll definitely be able to tell the full, deep story. We’ll be the first people who are able to tell that.” “Suffice to say there are pre-existing grievances on Everest, that day just in particular and in general,” Rosen says. “Sherpas are under a tremendous amount of pressure, they’re supporting entire families, sometimes entire communities, and they’re risking their lives to do it.” It may stir some debate in the climbing community, Lowell says. While they’re not trying to come down on any one side, he says, maybe the big question they’re asking is whether Everest, the tallest mountain in the world, is a mountain for climbers anymore. “Can you go there as a climber and do what you want to do or not, or is it off limits, is it for guided climbers that are paying $50,000 a piece?” he asks. After all, it is, ultimately, not just first ascents and speed records, but lives that hang in the balance, and that can become, as Rosen says, “an irreconcilable, horrible tension.” In the years they’ve been in business, only once was the film a memorial — the episode from the First Ascents series dedicated to Micah Dash, Jonny Copp and Wade Johnson, who were killed by an avalanche in China. “I think there’s an odds game … It’s not like one event is at all foreseeable, it’s just that you know that if you’re going to be in this business for a while,

you’re going to know people who die, and you might actually be there when it happens and it might be part of your production,” says Rosen, who departed from the camp where Copp, Dash and Johnson were basing their expedition up Mt. Edgar in China two weeks before the deadly avalanche. He was the last person from the U.S. to see them alive. “Definitely, our darkest hour was China.” The word that regularly appears in response to Valley Uprising, Sender’s first feature film, is “ambitious.” “There’s no question it’s ambitious,” Rosen says. “We’re trying to make the most ambitious film about climbing that’s ever been made. It’s potentially over-ambitious.” The goal, which has had Rosen in photo archives and digging up history for more than five years, is to retell the last 50 years of history of the Yosemite Valley, the cradle of American climbing and still the hotbed of some of its more cutting-edge and controversial developments, in a single film. The work on that film started in 2007, just a year after the first Reel Rock tour. They’ve interviewed climbing pioneers Royal Robbins and Yvon Chouinard. They’ve dug through the photographic archives of Glen Denny, who captured Yosemite and its climbers in the heyday of the 1960s and released an archive of hundreds of never-beforeseen images to their hands. They’ve used innovative graphics effects to reanimate those black and white photo negatives. “If Ken Burns is like chamber music, this is like the Sex Pistols,” Rosen says. It’s a counter-culture documentary — after all, climbing used to be counterculture. The film splits into three segments: the 1950s and ’60s, when Warren Harding and Robbins were battling over climbing styles and first ascents, the sex, see REEL ROCK Page 34

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drugs and rock n’ roll Stone Masters of the 1970s and the modern era of free soloing and BASE jumping. “It’s hard to make the ’50s and ’60s super exciting, at least when you read all that history in the books, it’s like, dudes climbing really slowly for long periods of time in black and white, but they did a super good job of telling it as an exciting story,” says Honnold, who will be featured in the modern segment. An abbreviated section on the Stone

Masters will screen in with Felix this year’s Reel Rock Baumgartner BASE On the Bill: Reel Rock screens at 7:30 p.m. on Sept. 19 tour. The short tells jumping from the and Sept. 20 at the Chautauqua the story of the drugstratosphere and Nik Auditorium, 900 Baseline Road, Boulder. Tickets are $20 and are smuggling plane that Wallenda crossing the available at www.chautauqua. crash landed in the Grand Canyon on a com. high country, out of two-inch-wide wire, reach of law enforcethe buzz is building ment but within range among television netof climbers, who raided it and lived works to see people who are pushing the lushly off the spoils for a season. levels of sport do it on television — to a In a year that saw the Space Dive live audience. That’s not action Sender

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is willing to miss out on. “I think people are now starting to say this stuff is interesting on a huge scale,” Mortimer says. “It’s a really exciting time, and I think we’re just at the tip if the iceberg for the levels of exposure that this stuff is getting.” Mortimer and Honnold arrived at their latest project together: a live broadcast of Honnold free soloing one of the world’s tallest buildings. “We have a bunch of different ideas,” Honnold says. “Our main thing was maybe we should do some kind of more mainstream project, something slightly bigger scale.” “With the networks, we kind of throw things at the wall and see what sticks and this idea — I mean it took saying it once for people to be like, ‘I didn’t hear anything else you said, let’s talk more about that,’” Mortimer says. At a point in the year when typically Mortimer would be wrapping Reel Rock, he was spending more of his time in conference calls with lawyers (National Geographic Channel is treating the broadcast as an “acquisition” to avoid liability), and meeting with television production companies to find a partner on what will be their first live broadcast. “For us, we’re like, that’s cool, we get to play around in a city. It’s something different,” Honnold says. “But now that we’ve discovered how crazy it is to have all the contracts and insurance and all the stuff that goes with climbing in a city, now we’re like, oh, maybe we should have stayed outside — or at least I am, for sure.” The building he’ll be climbing — as yet unannounced — is well within the range of a climber who has free soloed 5.12 pitches. He describes the 1,700 feet of juggy 5.10 climbing as “a romp.” And while the networks have fretted about wind and weather, Honnold shrugs. It can’t be any worse than camping on a glacier, he says, and the building isn’t as tall as Yosemite’s El Cap. As he’s been warming up for the climb and shooting a bit of b-roll for the broadcast, he’s gone out with Timmy O’Neill, the legendary and legendarily charismatic Boulder-based climber who chimneyed his way up a multi-story University of Colorado dorm “looking for his dog” and paused to grab snacks and chat with students through open windows along the way for the Sender film Front Range Freaks. The climb was reprised with Honnold, though whether the more shy Honnold proved similarly capable of charming students out of their Little Debbies remains to be seen. Respond: letters@boulderweekly.com Boulder Weekly

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Boulder Weekly

hen you see fringe, you are probably looking at ornamental highlights on a piece of clothing or something unconventional and extreme. Either way, Boulder is the perfect place if your mainstream exists on the periphery. The Boulder International Fringe Festival, an annual event since 2005, ties Boulder’s exceptional arts and performance community to a network that allows for an uncensored, non-juried journey into the pools of creativity and expression. Over 12 days at numerous area venues, Fringe will showcase live theatre, dance, various forms of visual art, spoken word and storytelling, puppetry, as well as workshops to tease the strands of fringy creativity wearing away from the center of the predictable. see FRINGE Page 40

September 12, 2013 39

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With a community bursting with individual creativity, fringe performers in Boulder and beyond have found a comfortable base from which to showcase their talents. Fringe can provide a measure of exposure to an artist, but by definition fringe participants are usually forced to go it alone. A first-comefirst-serve and lottery entry system might guarantee an artistic platform, but it falls upon the artists to promote and stage their own performances. While 100 percent of the box office goes back to the artist, the riches being earned are not monetary. “The Boulder Fringe has been a great resource for the arts community here in Boulder. It’s really an incubator INTERNATIONAL for performers where we can come and try out new material and build a folSCREENING IN TWO VENUES ON THE BOULDER CAMPUS $7 GENERAL ADMISSION - $6 CU STUDENT WITH ID lowing audience for what Boulder’sand 1st Artfind Housean Series - Locally Programmed Since 1941 we’re doing,” says Gregg Tobo, a magiMUENZINGER AUDITORIUM cian performing an interactive theater piece called Patterns: A Numbers and Symbols Show. Based on numbers and symbols interlocking in random patON COLORADO AVENUE WEST OF FOLSOM STADIUM terns to make sense of the universe around us, Tobo’s show is one of the various performances that make the festival an orgy for the senses. SEP 20-21 In 7 & its 9 PMninth year against the backMUENZ drop of the Flatirons, Fringe performers can take advantage of a larger venue, more publicity and greater feedbackSUN than they might normally find while independently producing what SEP 22 7 PM ONly are one- or two-person oftentimes MUENZ shows. Putting a magnifying glass on these performers not only helps to entertain paying customers, but helps spiral into a larger creative force for the tUE artsSEP community. 24 7 “The & 9:15 PM Fringe Festival in Boulder is MUENZ what theater is supposed to be,” says Margarita Blush, a 20-year veteran of puppet theater who infuses Western culture into her adaptation of The wED SEPWife, 25 a traditional Japanese folk Crane 7 & 9:15 PM come together and it tale. “People MUENZ builds community. It is the artist and the people, and there is conversation and it’s accessible. It’s fringy and not mainstream that gives an opportunity 27-28 outlets and to also build forSEP creative 7 & 9:15 PM community.” MUENZ Jim Walker, who is debuting Normal Heights, a musical inspired by his own life experiences as well as societal SUN changes in the way GLBT people SEP 29perceived, feeds his creativity have been 7 PM ONly by MUENZ performing at Fringe. “Fringe Festival is a great place to workshop new work, because you get FOR MORE INFORMATION CALL 303-492-1531, OR: WWW.INTERNATIONALFILM SERIES.COM the experience of putting together and M E D I A S P O N S O R S publicizing the event,” Walker says. “It becomes [12] days of inspired lunacy

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40 September 12, 2013

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SCREENING IN TWO VENUES ON THE BOULDER CAMPUS $7 GENERAL ADMISSION - $6 CU STUDENT WITH ID Boulder’s 1st Art House Series - Locally Programmed Since 1941

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Margarita Blush and Robert Blush present The Crane Wife, an all-ages performance combining puppetry and Japaene folklore, at the Boulder International Fringe Festival. ON COLORADO AVENUE WEST OF FOLSOM STADIUM

— in a good way. There’s so much energy that comes through from all over the world, I always get inspired by the shows at the Fringe.” SEP 27-28 7 & 9:15 PMthe plethora of acts this Among year MUENZ include the dance performance The 13th and Final Principle, based on societal saturation of digital media and its influence SUN on the arts. Synergy and Sparks, a four-woman dance choreoSEP 29 7 PM ONly graphed by locals Lyra Mayfield and MUENZ Tonya Goodwin, reveals the world of mystery, sensuality and depth that parallels real life. Bronx-based Corky Has a Band,tUE a self-proclaimed hyper vaudevillian performance duo dubbed Professor Oct 1 7 & 9and PM Sgt. Whiskers, will perTickles formMUENZ their variety show-cum-improvisational concert for all who show up. Theater will have a huge presence againwED this year, with a glorious mix of talentOct from2 around the globe to satiate 7 & 9:15most PM obscure entertainment even the MUENZ tastes. 5th Circle Productions of Boulder brings Serum 37, about a futuristic experimental drug untested on humans fRI that “may induce unwarOct 4 ranted feelings of sympathy and ques7 & 9 PM tionsMUENZ about the nature of truth.” Annie Nash of Boulder travels through the mind of a woman dealing with her own hysteria while trying to fit into SUNsocietal role mainstream the proper Oct society has6carved out for her in Ha, 7 PM ONly Ha, MUENZ Ha, Hysteria. Martin Dockery of Brooklyn will bring two plays to Fringe. The Pit features a stereotypical FOR MORE INFORMATION CALL 303-492-1531, OR: SERIES.COM domesticWWW.INTERNATIONALFILM couple that wakes up late for M E D I A S P O N S O R S work, only to find out they have lost the ability to do anything about it,

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ON COLORADO AVENUE WEST OF FOLSOM STADIU

while The Bike Trip recreates history’s first LSD experience. Gemma Wilcox is returning to fRI FringeOct this year 4 in celebration of the 9 PM 10-year7 &anniversary of her one-woman show MUENZ The Honeymoon Period is Officially Over. The five-time recipient of the Boulder Fringe Encore Winner award basks in the glow of an understanding SUN and adventurous crowd. Oct 6 7 PM ONly “Fringe audiences are very receptive MUENZ and open to taking risks and exploration,” Wilcox says. “What I love about by the independence Boulder Fringeco-sponsored is the incredible net- insti work oftUE fringe performers in town. It’s so supportive Oct 8 in Boulder. I can really PM shows ONly in hone 7my ITH front of the audience MUENZ WDKAOVPIDEL N here.” R SO IN-PE You live in Boulder County, so you may think you’ve seen it all. But as the safety wED of normal starts fraying at the Oct will 9 always be the fringe to ends, there 7 & 9:15 PM explore. As long as you don’t eat PBJ MUENZ three meals a day, Fringe has something for every taste. Tickets can be purchased individually, and theAUDITORIU festival VISUAL ARTS COMPLEX has multi-day passes available. Prices range from gratis to around $15. “I (((underground))) would encourage audience memN O R T H O F T H E E U C L I D A U T O PA R bers to come and be adventurous — see several shows,” Tobo says. “All of the Fringe performances are modestly pricedthUR because we want audiences to Oct10 they normally wouldn’t see something 7:30 PM ONly see.” vAc For a complete schedule of the Boulder International Film Festival, FOR MORE INFORMATION CALL 303-492-1531, O WWW.INTERNATIONALFILM visit www.boulderfringe.com orSERIES.COM call the M E D I A S P O N S O R S main box office at 303-803-5643. Respond: letters@boulderweekly.com

IFS

OCT 3

Boulder Weekly

September 12, 2013 41

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Boulder Weekly

overtones Balancing the rock equation

On the Bill: Summa plays Bohemian Biergarten on Wednesday, Sept. 18. All Chiefs, No Indians also plays. Show starts at 9 p.m. 2017 13th St., Boulder, 720328-8328.

Local band Summa brings equal parts indie rock and pop to Bohemian Biergarten by Stephanie Riesco

ake O’Neal, the front man of local indie out their sound. side is that many local indie rock groups find it easrock outfit Summa, is neither left-brained As a self-described “practical math and science ier to head to Denver than attempt to woo Boulder nor right-brained. He’s both a falsettoperson,” O’Neal wasn’t always this set on pursuing fans. O’Neal points out that reggae-funk group wielding singer-songwriter who pens lyrics his music seriously. It was his decision to audition Intuit, a band he plays with on the side, fits the charged with emotion and an electrical for the 2012 CU Idol competition during his senior local vibe seamlessly and rarely struggles to draw a engineer who graduated summa cum laude from year that ended up changing everything. crowd, whereas Boulder audiences needed time to CU-Boulder last year (hence the name “Summa”). “I actually tried out my junior year and didn’t warm to Summa’s darker lyrics and heavy guitar But there’s another piece to O’Neal’s lines. He says this challenge most likely Nick Callaio perspective, one that partly inspired the lies in the feel-good attitude the area is single “Microlove” off the band’s new EP known for. — O’Neal grew up on a farm in “It’s really difficult, borderline imposHolyoke. sible, I think,” O’Neal says of breaking “I was driving a tractor from when I into the Boulder scene with a group like was 8 years old — it was a completely Summa. “Boulder is so laid back and it different life,” O’Neal says about his has beautiful scenery, and people here upbringing. “You help with pretty much like happy music. Summa is much more everything on a farm, and it definitely intense and emotional, and it’s not that teaches you how to work hard. And I people don’t like it, but there’s definitely like that; I still go back to the farm for a certain sound that people gravitate to every harvest.” here more.” As his budding band steadily climbs Despite a slower start getting off the to new heights, it’s clear that O’Neal is ground, O’Neal is enthusiastic about the someone who knows how to work hard. chance to carve out a new niche in Summa was born in December when he Boulder’s music scene and the success and drummer/producer Max Grossman the group has found already. Summa left electronic rock group Kronen in stops next at the Bohemian Biergarten search of their own sound. Eventually on Sept. 18 and will play original tracks landing on a brand of indie pop that still Boulder band Summa will play Bohemian Biergarten on Wednesday, Sept. 18. off their Microlove EP. O’Neal says that cuts with a hard-rock edge, they scored a the main goal with their EP was to simFox Theatre gig opening for Technicolor ulate a live Summa show: raw, intense Tone Factory early on and soon began playing veneven get in,” O’Neal laughs. “But placing second in and with an even mix of hard and soft. ues like Cervantes’ Other Side and Larimer Lounge. CU Idol my senior year … I’ve been playing music “It’s funny because our style is changing all the Featuring instrumentation by Michael Kang of The since I was a little kid, so it was a turning point for time. I used to be obsessed with writing intimate, String Cheese Incident on the groovy, sultry track me. It made me think I could do music as more poppy songs like Microlove, but we’ve been kind of “Sex Gun” and the distorted “Forces,” the duo than just a hobby and as a full-time thing.” moving toward really hard rock songs too,” O’Neal released its inaugural five-song Microlove EP in July. However, O’Neal has found that launching his says. “On our EP we want to show we can write pop In the last few months, they welcomed 16-year-old music career with Summa to be especially tricky in a songs with catchy hooks, but we can also rock hard; Miles Bragg on bass, and added guitarist James town like Boulder. While it’s no secret that Boulder it’s a balance between both.” Respond: letters@boulderweekly.com Thorpe just weeks ago in a step to further round is a paradise for bluegrass and jam bands, the flip-

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Dance, science, ancient Asian puppetry and traditional fables intertwine in choreographer and “punk ballerina” Karole Armitage’s powerful exploration of connections among humans and animals, science and art, culture and nature. Sponsored by: Funded in part by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation.

CUPRESENTS.ORG 303-492-8008 Global performance. World-class entertainment. You have to be here.

44 September 12, 2013

Hear This American Life on KUNC, Saturdays at 1 PM at 102.7FM or 91.5 FM in Boulder Boulder Weekly

arts & culture New era for IFS

Film series kicks off season showcasing brand new digital cinema projection equipment by David Accomazzo

Courtesy of Cinema Guild

ell, film had a good Kiyoshi Kurosawa is a contemporun. rary Japanese filmmaker whose When 2013 films have marked differences from wraps up, it will the standard Hollywood fare, mark the last year Kjolseth says. All screenings will be major Hollywood releases films on free, courtesy of the Consulate35 mm. The studios’ switch to digiGeneral of Japan in Denver. tal is ostensibly for cost savings — “He’s been making films since though, as International Film the ’80s,” Kjolseth says. “He’s Series Director Pablo Kjolseth known as being unsettling and points out, he’s not seeing any being disturbing. … He’s got this cheaper fees — but it put a squeeze aesthetic where he does things on on little guys, like Kjolseth and the the peripheral side. Most Western IFS, who suddenly faced the dauntmovies are based on front and ing task of buying specialty digital center, and everything happens cinema projectors (DCPs), which right in front. He’ll have a body can cost up to $100,000. just fly off a building on the side. But after almost a year of fundIf you’re not paying attention, raising — with help from donors you’re like, ‘What’s happening?’ A scene from Lucien Castaing-Taylor and Vèrèna Paravel’s Leviathan. such as Jerry Aronson, Derek It’s this unsettling way of doing Cianfrance, South Park Producer things that really puts him in Courtesy of Cinema Guild Eric Stough, the MacArthur another category.” Foundation and the CU film studFrequent IFS volunteer Julia ies department — the IFS was able Joun will guest-curate the Chow to raise enough money to upgrade Down! IFS Food Film Festival, its equipment. featuring two feature films and And so begins another era for four documentaries and correthe IFS. A Boulder institution for sponding events, screening Oct. more than 70 years, the IFS’s fall 9-13. The first film, Garlic is as season kicks off Monday, Sept. 16, Good as Ten Mothers, will show at with a free double screening in the Boulder Public Library on Muenzinger Auditorium — both Wednesday, Oct. 9, as a tribute. projected digitally. The film’s director, Les Blank, Renoír, a biopic of famous passed away earlier this year. Other highlights include a painter Pierre-Auguste, and screening of the freshly restored Leviathan, a visually staggering classic M, Fritz Lang’s gritty look documentary about deep-sea fishing vessels that James Franco at how a child murderer terrifies a recently dubbed “modern-day city and arouses the ire of the Melville,” kick off the season. On underworld. Richard Linklater’s Lucien Castaing-Taylor, who used to teach at the University of Colorado, has received almost unieach subsequent Tuesday, the IFS first film, Slacker, will screen on versal praise for Leviathan, a documentary he made with Vèrèna Paravel. will screen a documentary. Nov. 13, and Kjolseth says that the Wednesdays will see obscure, hardcopy IFS will show is the last to-find movies dubbed as “specialty arthouse.” the days of CGI and digital monsters. remaining 35 mm print of the film. Room 237 (Sept. 24) Thursdays will see films co-sponsored by Alamo “What you’ve got with the stop-motion is that you highlights various conspiracy theory-level interpretaDrafthouse Cinema, and the weekends will be a catch- can see with the monsters; it’s all analog,” Kjolseth tions of The Shining. all for various themes, from films fresh off the festival says. “There’s no green screen. There’s no CGI. It’s all It looks to be a full season for the IFS. Kjolseth’s circuit to a food-on-film festival and a retrospective of being done stop-motion, and it has a very unique look deep love for celluloid carries on in the face of a Japanese director Kiyoshi Kurosawa. to it. And, because it’s on film, it’s got a visual feel to it sweeping digital revolution. But, as he points out, 12 Thursday nights will see an interesting series, guest that’s also very different.” out of the roughly 50 films the IFS is showing this curated by Dan Halsted, head programmer of the Of the seven films showing on Thursday at the season are on film, not ones and zeros. Hollywood Theatre in Portland, Ore. Called IFS, only one (The 7th Voyage of Sinbad, showing Oct. “Telluride [Film Festival] is known as the haven for “Handmade Monsters,” the series is a tribute to special 17 in the Visual Arts Center on the CU campus) featrue cinephiles,” Kjolseth says. “Out of all their movies, effects pioneer Ray Harryhausen, who died this year. tures special effects by Harryhausen, but the rest feaonly 10 were on film. So technically, we are showing Harryhausen’s “Dynamation” was an instantly recogture similar stop-motion techniques. more films this season on film than Telluride.” nizable brand of stop-motion special effects that Another feature will be the Kiyoshi Kurosawa retroVisit www.internationalfilmseries.com for a comallowed movies like Jason and the Argonauts (1963) and spective, happening on two consecutive weekends, Oct. plete schedule and list of films. Clash of the Titans (1981) to stage epic battles before 25-27 and Nov. 1-3. No relation to Akira Kurosawa, Respond: letters@boulderweekly.com Boulder Weekly

September 12, 2013 45

Boulder’s Upstart Crow Theatre Company presents Aug. 30-Sept. 14 by William Inge Directed by Richard Bell Performed at The Dairy Center for the Arts 2590 Walnut St., Boulder. Tickets: $25 General Admission $21 Students/Seniors Thursdays Name-Your-Price Nights! Tickets available at www.thedairy.org or call (303) 440-7328 Performances may sell out - we strongly recommend reservations for all performances

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46 September 12, 2013

Boulder Weekly

arts & culture

With zero filmmakocumentaing experience, Silha ry film enlisted the help of cofestivals director Eric Slade to can be a tell Broughton’s story, hard sell. who agreed, on the conYou don’t get the star dition he not have to power that goes with raise any money. The fictional films, the two had different views impossibly dramatic of the final product — moments, or the singularly well-crafted Silha’s more poetic, with denouement that animation and perforwraps the whole thing Buzkashi!, a documentary about the Central Asian sport of the same name, plays at Golden’s American Mountaineering mance art, and Slade’s Center on Thursday, Sept. 12, as part of the DocuWest Film Festival. The sport has been described as being similar to polo, if more conventional — up into one resonant piece. The documen- polo were played with a headless goat carcass instead of a ball. but they managed to tary is all about stosplit their creative difries. ferences. In turn, the docu“The result of our mentary film festival differing visions makes is only as good as its for a better film,” Silha stories. At this year’s says. fifth annual Along with Big Joy’s DocuWest Broughton, DocuWest Documentary Film Festival, they’re in no short supply. gone largely forgotten in history, but not by those he has another low-key protagonist in fellow headliner “I could talk your ear off on that,” says Wade spent time with — including Big Joy co-director Good Ol’ Freda. The documentary explores the story Gardner, artistic director and co-founder of Stephen Silha. of Freda Kelly, who at the ripe age of 16 nabbed her DocuWest. “I first encountered [Broughton] when I ran into first job as secretary to The Beatles. (Yes, those According to Gardner, each year, he and his staff his films at an auditorium at the MoMA in New York Beatles.) Kelly would serve the band for more than spend six to eight months searching for the best docu- in 1979,” Silha says. Entranced by the “poetic eroti10 years, longer than the band was officially togethmentaries for the festival. Unlike cism” of his films, Silha was er. The documentary screened on Sept. 11. some other film festivals, thrilled to meet the man himself Both documentaries appeal to what Gardner DocuWest doesn’t program on 10 years later at a Radical Faerie called the “ah-ha! moment” of many appealing nonOn the Bill:The DocuWest festival any theme beyond what gathering in Oregon, where fiction films: “Documentaries that make you go, ‘Huh! runs through Sept. 15 at the Boedecker Theater in Boulder and at Gardner thinks will interest its Broughton became his friend, I didn’t know there was such a thing,’ or ‘I didn’t the Foothills Art Center and American audiences in Boulder and and later, mentor. know there was such a person.’” Mountaineering Center in Golden. For Golden. A writer, Silha had initially The DocuWest film festival continues Thursday, a complete schedule visit www.docuwestfest.com. “I really do my best to put conceptualized Big Joy as a book, Sept. 12, with a screening of selected documentary myself in the seat of those that but soon realized it was meant to shorts at the Foothills Art Center in Golden and the are going to come,” he says. be a film. Boedecker Theater in Boulder, as well as feature films According to Gardner, festival headliner Big Joy is “I think that in order to really show his struggle, at the American Mountaineering Center in Golden. particularly well-suited to its audience in Boulder, you need to be able to quote from his films,” Silha Shorts and features will run at all three venues home of Naropa’s School of Disembodied Poetics. explains. The stakes were high: “There’s nobody that’s through Sunday, Sept. 15. For a complete schedule, The film centers around James Broughton, a Beatever put together his whole story, including himself in visit www.docuwestfest.com. generation poet and avant-garde filmmaker who has his autobiography.” Respond: letters@boulderweekly.com

Looking to illuminate

DocuWest festival aims for the ah-ha moment by Dylan Owens

Friday Sept. 13th

Saturday Sept. 14th

Friday Sept. 20th

Friday Sept. 27th

$7.00

$5.00

$8.00

$5.00

8:00pm

Boulder Weekly

8:00pm

September 12, 2013 47

THURS, MARCH 13 with • 8CASEY PM COLLINS, ERIK DEUTSCH, L

The Onion Presents

Free with valid CU ID

A TRIBUTE TO BJORK with CASEY COLLINS, ERIK DEUTSCH, LIZA, SONYA VALLET, NICK URATA and more www.BoulderTheater.com

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48 September 12, 2013

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Boulder Weekly

Courtesy of Jen Spolnik

See full EVENT listings online, INCLUDING HAPPY HOURS. To have an event considered for the calendar, send information to calendar@ boulderweekly.com. Please be sure to include address, date, time and phone number associated with each event. The deadline for consideration is Thursday at noon the week prior to publication. Boulder Weekly does not guarantee the publication of any event.

Thursday, September 12 music All Waffle Trick, Glenn Roth, and Tenth Mountain Division. 8 p.m. Club 156, 1669 Euclid Ave., Room 115, Boulder, 303-492-7704. Bluetech — With Project Aspect. 8:30 p.m. Fox Theatre, 1135 13th St., Boulder, 303-443-3399. Dave Gerard. 7 p.m. Oskar Blues Grill & Brew, 303 Main St., Lyons, 303-823-6685.

Boulder Pridefest The 19th anniversary of the Boulder Pridefest comes at a time when the LGBTQ community has much to celebrate. The legalization of civil unions in Colorado was a major victory, one that should be celebrated at the Boulder Pridefest. A series of events will occur during the weekend, including a cruiser ride on Saturday, Sept. 14, and the main event on Sunday, Sept. 15, at Central Park in Boulder. The Pridefest on Sunday will feature local food and drink vendors and music, including headliners God-Des & She. For more information, visit www. outboulder.org or call 303-499-5777.

The Deltasonics. 7:30 p.m. Swallow Hill Music Café, 71 E. Yale Avenue, Denver, 303-777-1003. Dexter Payne Quartet +1. 8 p.m. Caffè Sole, 637R S. Broadway, Boulder, 303-499-2985. Felonius Smith Trio. 6 p.m. Upslope Brewing Company, 1898 S. Flatiron Court, Boulder, 303-396-1898. George Nelson Band. 7:30 p.m. Nissi’s, 2675 North Park Drive, Lafayette, 303-665-2757. Kort McCumber. 8 p.m. Jamestown Mercantile Cafe, 108 Main St., Jamestown, 303-442-5847. M Squared. 10 p.m. Pioneer Inn, 15 E. First St., Nederland, 303-258-7733. Nick Charles. 5:30 p.m. Oskar Blues Home Made Liquids & Solids, 1555 S. Hover Road, Longmont, 303-485-9400. Open Mic. 7 p.m. Dickens Opera House, 300 Main St., Longmont, 720-297-6397. Peoples Brothers Band. 7:30 p.m. Boulder Outlook Hotel, 800 28th St., Boulder, 303-443-3322. Preservation Hall Jazz Band — WIth Greg Harris Vibe Quintet. 7 p.m. Boulder Theater, 2032 14th St., Boulder, see EVENTS Page 50

dance

Friday, Sept. 13: Glenn Roth, The Laughing Goat, Boulder, 8 p.m. The Connecticut-based finger-style guitarist makes a stop in Boulder, part of a nationwide tour of coffee shops, guitar festivals and farmers’ markets. Roth is adept at creating fully realized sonic atmospheres using his fingers and a guitar, and his skills should be apparent when he opens for piano-drum duo Sit Kitty Sit at The Laughing Goat.

Boulder Weekly

Saturday, Sept. 14: 2013 Colorado Forestry Fair, Nederland Sort Yard, 10 a.m.

music

festival

Tuesday, Sept. 17: Jimmy Cliff: Many Rivers Crossed Tour, Boulder Theater, Boulder, 7 p.m.

The third annual Colorado Forestry Fair comes for the first time to Nederland this weekend, offering forestry equipment demonstrations, activities for kids (puppet shows and tree seed plantings), field tours on ecology and weed identification, and more. If you’ve ever had an interest in pursuing forestry as a career, here’s your opportunity to explore.

Jamaican musician Jimmy Cliff was reggae’s first international star, according to the Rock ’n’ Roll Hall of Fame, where Cliff was inducted in 2010. He had his first hit in 1969, “Wonderful World, Beautiful People,” and later he starred in the eventual cult film The Harder They Come, which came out in 1972. The film’s soundtrack appears on Rolling Stone’s list of the 500 greatest albums of all time, and, buoyed by the song with the same name as the film, the album became a hit. Cliff has been making music ever since, and his appearance at the Boulder Theater offers a rare chance to see a living legend in the flesh.

September 12, 2013 49

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arts

coffee drink

Carbon: Elemental Experiences showcases the work of three artists at the Firehouse Art Center in Longmont. BEER! Boulder’s History on Tap. Boulder History Museum, 1206 Euclid Ave., Boulder, 303-449-3464. Through Oct. 27. CARBON: Elemental Experiences. Firehouse Art Center, 667 Fourth Ave., Longmont, 303-651-2787. Through Oct. 6.

Char Campbell — Nature photography and abstract watercolors. Aqua Fleur Day Spa, 4688 Broadway, Boulder, 303-449-1040. Through Sept. 30. Cheryl Carter Pierce, Norman Singer. NCAR Visitor Center, 1850 Table Mesa Drive, Boulder, 303-497-1000. Through Sept. 28. Cut and Paste. Boulder Museum of Contemporary Art, 1750 13th St., Boulder, 303-4432122. Through Sept. 15. Electrical Room — Artist Tatiana Blass. Museum of Contemporary Art Denver, 1485 Delgany St., Denver, 303-298-7554. Through Sept. 29. Figure to Field: Mark Rothko in the 1940s. Denver Art Museum, 100 W. 14th Ave. Parkway, Denver, 720-865-5000. Through Sept. 29. Heart Lines: Expressions of Native North American Art. CU Art Museum, 1085 18th St., Boulder, 303-492-8300. Through Dec. 21. It’s Electric — Artist Jen Lewin. CU Art Museum, 1085 18th St., Boulder, 303-4928300. Through Oct. 26. Julie Puma: The Immortal Jellyfish.

Marco Pino-Yancovic’s art is on display at the Firehouse Art Center in Longmont through Oct. 6. Andrew J. Macky Gallery, Macky Auditorium, 285 University Ave., Boulder, 303-492-8423. Through Jan. 12. Longmont Studio Tour Preview Exhibition. Muse Gallery, 356 Main St., Longmont, 303678-7869. Through Sept. 29. Nick Cave: Sojourn. Denver Art Museum, 100 W. 14th Ave. Parkway, Denver, 720-8655000. Through Sept. 22. Open Studios Fall Artist Tour. Boulder Public Library Main Branch. 1001 Arapahoe Ave., Boulder, 303-441-3100. Through Oct. 13. PAPER/PRODUCT: Portfolios from the Polly and Mark Addison Collection. CU Art Museum, 1085 18th St., Boulder, 303-4928300. Through June 21. Spun: Adventures in Textiles. Denver Art Museum, 100 W. 14th Ave. Parkway, Denver, 720-865-5000. Through Sept. 22.

EVENTS from Page 49

303-786-7030. Slanted Jack. 10 p.m. Conor O’Neill’s, 1922 13th St., Boulder, 303-449-1922. Smokestack Relics. 5 p.m. Boulder Beer Company, 2880 Wilderness Place, Boulder, 303-444-8448. Something With Strings — With Rupert Wates. 8 p.m. The Laughing Goat, 1709 Pearl St., Boulder, 303-440-4628. Wellington Bullings. 6:30 p.m. St Julien Hotel, 900 Walnut St., Boulder, 720-406-9696. events Boulder Salsa Social. 8:30 p.m. The Avalon, 6185 Arapahoe Road, Boulder, 303-6687355. Brewery Founders Speaker Panel. 6 p.m. Boulder History Museum, 2205 Broadway, Boulder, 303-449-3464. The Great Indian Novel. 4:30 p.m. Boulder Public Library Main Branch, 1001 Arapahoe Ave., Boulder, 303-441-3100. Jason Thielke for a “Print & Mural Release Party.” 6 p.m. madelife, 2000 21st St., Boulder, 303-927-0802. LGBTQ Parents Social/Support Group. 5:30 p.m. Parenting Place, 1235 Pine St., Boulder, 303-449-0177. The Power of Video Storytelling for Non50 September 12, 2013

Profits. 6 p.m. Boulder Digital Arts, 1600 Range St., Boulder, 303-875-0276. Friday, September 13 music The Blender Cats. 8 p.m. Oskar Blues Home Made Liquids & Solids, 1555 S. Hover Road, Longmont, 303-485-9400. Brad Upton Quartet. 8 p.m. Caffè Sole, 637R S. Broadway, Boulder, 303-499-2985. Casey James Prestwood & The Burning Angels — With Mike Finders & Alex Johnstone. 8:30 p.m. Oskar Blues Grill & Brew, 303 Main St., Lyons, 303-823-6685. Chain Station. 10 p.m. The Lazy Dog Sports Bar & Grill, 1346 Pearl St., Boulder, 303-4403355. Daniel Levine and Lesley Kernochan. 6 p.m. Jamestown Mercantile Cafe, 108 Main St., Jamestown, 303-442-5847. Esther Sparks & The Whiskey Remedy. 10 p.m. Pioneer Inn, 15 E. First St., Nederland, 303-258-7733. Folk Ragoût. 8 p.m. Swallow Hill Tuft Theatre, 71 E. Yale Avenue, Denver, 303777-1003. Glitterbox. 10 p.m. Conor O’Neill’s, 1922 13th St., Boulder, 303-449-1922. Karla Bonoff. 8 p.m. Swallow Hill Daniels Boulder Weekly

theater

The Full Monty flashes through Boulder’s Dinner Theatre from now to Nov. 9.

events

END OF SEASON

BIKE SALE NOW ON!

Brian Norber

After the Revolution. Curious Theatre, 1080 Acoma St., 303623-0524. Sept. 7 through Oct. 19. Bus Stop — Presented by Upstart Crow Theatre Company. The Dairy Center for the Arts, 2590 Walnut St., Boulder, 303-4407826. Through Sept. 14.

Cabaret. Jesters Dinner Theatre, 224 Main St., Longmont, 303-682-9980. Through Oct. 6. Evil Dead, the Musical — Presented by Equinox Theatre Company. Bug Theatre, 3654 Navajo St., Denver, 720-984-0781. Through Sept. 14. Fox on the Fairway. Longmont Theatre

Hall, 71 E. Yale Avenue, Denver, 303-7771003. Lotus — BOOMBOX, Break Science and Minnesota. 7:30 p.m. Red Rocks Amphitheatre, 18300 W. Alameda Parkway, Morrison, 720-865-2494. Paa Kow’s By All Means Band — With Liebermonster. 8:30 p.m. Fox Theatre, 1135 13th St., Boulder, 303-443-3399. Sambadende. 6:30 p.m. St Julien Hotel, 900 Walnut St., Boulder, 720-406-9696. Selwyn Birchwood. 8 p.m. Boulder Outlook Hotel, 800 28th St., Boulder, 303-443-3322. Shakedown Street performing Friday the 13th, 1984, Greek Theatre, Berkeley, CA

ALL 2013 RENTAL BIKES AVAILABLE FOR SALE Company, 513 Main St., Longmont, 303-7725200. Sept. 6 through Sept. 21.

CHOOSE WHICH BIKE YOU WANT, PAY A DEPOSIT, AND GET YOUR NAME ON THAT BIKE

The Full Monty. Boulder’s Dinner Theatre, 5501 Arapahoe Ave., Boulder, 303-449-6000. Through Nov. 9.

2432 Arapahoe Ave. (Folsom & Arapahoe) 303-443-1132 • BoulderBikeSmith.com Open 9am-6pm every day

Priscilla Queen of the Desert. Buell Theatre, Denver Performing Arts Complex, 14th and Curtis streets, Denver, 303-893-4100. Through Sept. 15.

NEW

Fall Styles

— Grateful Dead cover band. With Dr. Phil Good. 8:30 p.m. Boulder Theater, 2032 14th St., Boulder, 303-786-7030. Sit Kitty Sit — With Glenn Roth. 8 p.m. The Laughing Goat, 1709 Pearl St., Boulder, 303440-4628. Sol Kids. 9 p.m. D Note, 7519 Grandview Ave., Arvada, 303-463-6683. Soul School. 7:30 p.m. Nissi’s, 2675 North Park Drive, Lafayette, 303-665-2757. Steve Itterly. 10 p.m. Bohemian Biergarten, 2017 13th St., Boulder, 720-328-8328. see EVENTS Page 52

Professional Yarn

Baker Kid Suede Charcoal

373 Main Street • Longmont, CO 80501 • 303-776-2920

words

Wenonah Hauter will discuss her book about local food, Foodopoly, at the Boulder Book Store on Tuesday, Sept. 17.

Friday, Sept. 13 Ducktown — by Josh Divine. 1 p.m. Time Warp Comics, 3105 28th St., Boulder, 303-4434500. If You Want to See a Whale and Hello My Name is Ruby — by Erin & Phil Stead. 11 a.m. Innisfree Poetry Bookstore and Cafe, 1203 13th St., Boulder, 303-579-1644. Saturday, Sept. 14

Advanced Studies of the Human Aura — by David Christopher Lewis. 2 p.m. Barnes & Noble, 2999 Pearl St., Boulder, 303-444-0349.

Monday, Sept. 16 “So, You’re a Poet.” 8 p.m. The Laughing Goat, 1709 Pearl St., Boulder, 303-440-4628. Tuesday, Sept. 17 Foodopoly — by Wenonah Hauter. 7:30 p.m. Boulder Book Store, 1107 Pearl St., Boulder, 303447-2074. Weekly Open Poetry Reading. 7 p.m. Innisfree Poetry Bookstore and Cafe, 1203 13th St., Boulder, 303-579-1644. Wednesday, Sept. 18 Fitness Cycling — by Shannon Sovndal. 7:30 p.m. Boulder Book Store, 1107 Pearl St., Boulder, 303-447-2074.

Saturday, Sept. 15

March Against Monsanto Community Night. 7p.m. Innisfree Poetry Bookstore and Cafe, 1203 13th St., Boulder, 303-579-1644.

Boulder Weekly

brownsshoefitco.com/Longmontshoes.com

13th St., Boulder, 303-579-1644.

Spirit Touch: The Masteries in Meditation — by William Martino. 2 p.m. Barnes & Noble, 2999 Pearl St., Boulder, 303-444-0349. Voices Open Mic: Intergenerational Story Telling. 3 p.m. Innisfree Poetry Bookstore and Cafe, 1203

Hours Mon-Fri 9:30-6, Thursday until 7, Sat 10-5, Closed Sunday

September 12, 2013 51

EVENTS from Page 51

Thumpin’. 8 p.m. Dickens Opera House, 300 Main St., Longmont, 720-297-6397.

Bob’s Big Band. 4 p.m. D Note, 7519 Grandview Ave., Arvada, 303-463-6683.

events

The Clay Kirkland Band. 8 p.m. Swallow Hill Daniels Hall, 71 E. Yale Avenue, Denver, 303-777-1003.

Group Handwork. 6 p.m. Longmont Yard Shoppe, 454 Main St., Longmont, 303-6788242. Saturday, September 14 music

Darden Smith. 8 p.m. Swallow Hill Tuft Theatre, 71 E. Yale Avenue, Denver, 303777-1003.

Bluezhouse. 8 p.m. Boulder Outlook Hotel, 800 28th St., Boulder, 303-443-3322.

Dead On. 5 p.m. Boulder Beer Company, 2880 Wilderness Place, Boulder, 303-4448448.

Big Gig featuring The Lumineers. 7:30 p.m. Red Rocks Amphitheatre, 18300 W. Alameda Parkway, Morrison, 720-865-2494.

Desciples. 8:30 p.m. Dickens Opera House, 300 Main St., Longmont, 720-297-6397. Hazel Miller. 7:30 p.m. Nissi’s, 2675 North

Park Drive, Lafayette, 303-665-2757. Honey Comb. 8 p.m. Oskar Blues Home Made Liquids & Solids, 1555 S. Hover Road, Longmont, 303-485-9400. Kutandara. 6:30 p.m. St Julien Hotel, 900 Walnut St., Boulder, 720-406-9696. Like Explorers. 8:30 p.m. Shine, 2027 13th St., Boulder, 303-449-0120. New Family Dog. 10 p.m. Pioneer Inn, 15 E. First St., Nederland, 303-258-7733. Ott — With Filastine, Anomie Belle. 8 p.m. Boulder Theater, 2032 14th St., Boulder, 303-786-7030.

Pete Kartsounes. 8:30 p.m. Oskar Blues Grill & Brew, 303 Main St., Lyons, 303-823-6685. Pyschodillo. 8 p.m. Jamestown Mercantile Cafe, 108 Main St., Jamestown, 303-4425847. Rowdy Shadehouse. 10 p.m. The Lazy Dog Sports Bar & Grill, 1346 Pearl St., Boulder, 303-440-3355. Strangebyrds. 4 p.m. Bootstrap Brewing Company, 6778 N. 79th St., Niwot, 303-6524186. Tom Weiser Jazz Quartet. 8 p.m. Caffè Sole, 637R S. Broadway, Boulder, 303-4992985. Tyr — With Proper Motion, Nyevz. 8:30 p.m. Fox Theatre, 1135 13th St., Boulder, 303443-3399. WadiRum. 8 p.m. The Laughing Goat, 1709 Pearl St., Boulder, 303-440-4628.

MUSICAL INSTRUCTION for All Ages and Musical Abilities

• Private lessons for all instruments, ages and abilities • Instruments include piano, voice, guitar and all school band and orchestra instruments • Intro classes for piano, guitar, clarinet, flute, saxophone and violin

• FREE Intro to Piano and Instruments Workshops • FREE All-State Choir “Boot Camp” Workshops

events 2013 Colorado Forestry Fair. Nederland Sort Yard, 291 Ridge Road, Nederland, 720564-2641. Adobe Illustrator Hands-On Intensive. 9 a.m. Boulder Digital Arts, 1600 Range St., Boulder, 303-875-0276. Cruiser Pride Ride. 3 p.m. Boulder Pridehouse, 2132 14th St., 303-499-5777. Denver Roller Dolls. 7 p.m. 1stBank Center, 11450 Broomfield Lane, Broomfield, 303410-0700. Hot Rod Hill Climb — Through Sept. 15. Hot rods climb up Guanella Pass. Georgetown, visit http://hotrodhillclimb.com for more info. Scandinavian 2nd Saturday Dance Party. 8 p.m. Pearl Street Studio, 2126 Pearl St., Boulder, 303-442-7689. Women of the West Saturday group. 10 a.m. Boulder Public Library Main Branch, 1001 Arapahoe Ave., Boulder, 303-4413100. Sunday, September 15 music

• Group Piano and Guitar classes for adults • Musical Theater Performance Prep Classes

Acoustic Jam. 4 p.m. Conor O’Neill’s, 1922 13th St., Boulder, 303-449-1922. Billy The Mountain. 6 p.m. Oskar Blues Grill & Brew, 303 Main St., Lyons, 303-8236685. Blues & BBQ with Ash Ganley. 2 p.m. Dickens Opera House, 300 Main St., Longmont, 720-297-6397. The Boondiggas. 10 p.m. Mountain Sun, 1535 Pearl St., 303-546-0886. David Booker. 6 p.m. Oskar Blues Home Made Liquids & Solids, 1555 S. Hover Road, Longmont, 303-485-9400. Jazz Jam with Abdy Wahl & Big Swing Trio. 7:30 p.m. Boulder Outlook Hotel, 800 28th St., Boulder, 303-443-3322. Lucrezio — With Ian McFeron and Alisa Milner. 8 p.m. The Laughing Goat, 1709 Pearl St., Boulder, 303-440-4628.

the Dairy center 2590 Walnut street, BoulDer

all classes take place in

The Lumineers. 7:30 p.m. Red Rocks Amphitheatre, 18300 W. Alameda Parkway, Morrison, 720-865-2494.

303.442.0006

info@parlanDo.org parlanDo.org

SCHOOL FOR THE ARTS

The Strobes. 7 p.m. Dickens Opera House, 300 Main St., Longmont, 720-297-6397. Takács Quartet. 4 p.m. Grusin Music Hall, 1020 18th St., Boulder, 303-492-8008. events Bears in our Backyard. 10 a.m. Bald Moun-

52 September 12, 2013

Boulder Weekly

events tain Scenic Area, Boulder, 303-678-6214. Boulder Pridefest 10-Year Anniversary. 11 a.m. Boulder Central Park, 13th Street and Canyon Boulevard, 303-499-5777.

Branch, 4800 Baseline Road, Boulder, 303441-4390.

Dechen Hawk. 7 p.m. Niwot Tavern, 7960 Niwot Road, Niwot, 303-652-0200.

JoAnne Arnold Memorial. 7 p.m. Shine, 2027 13th St., Boulder, 303-449-0120.

eTown Live Radio Show Taping with Leon Russell and Caitlin Rose. 7 p.m. eTown Hall, 1535 Spruce St., Boulder, 303-4438696.

Let’s Talk Chickens. 1 p.m. Agricultural Heritage Center, 8348 Ute Highway, Longmont, 303-776-8848.

Sound Editing 101. 6 p.m. Boulder Digital Arts, 1600 Range St., Boulder, 303-8750276.

Pajaki — Learn how to build a paper chandelier. 11 a.m. Boulder Museum of Contemporary Art, 1750 13th St., Boulder, 303-443-2122.

Wednesday, September 18

Trail to Farm Bike Tour. 9 a.m. Along the LoBo Trail between Niwot and South Longmont, 303-678-6181. Monday, September 16

music Blues Jam. 10 p.m. Pioneer Inn, 15 E. First St., Nederland, 303-258-7733. Boulder Blues Quartet. 8 p.m. Caffè Sole, 637R S. Broadway, Boulder, 303-499-2985.

Earth, Wind & Fire. 7:30 p.m. Red Rocks Amphitheatre, 18300 W. Alameda Parkway, Morrison, 720-865-2494. Fallout Boy — With Panic! at the Disco, twenty one pilots. 7 p.m. 1stBank Center, 11450 Broomfield Lane, Broomfield, 303410-0700.

Boulder, 303-440-4628. Mezzo Mestizo. 6:30 p.m. St Julien Hotel, 900 Walnut St., Boulder, 720-406-9696. Open Bluegrass Pick. 9 p.m. Conor O’Neill’s, 1922 13th St., Boulder, 303-4491922. events Community Cycles Social Ride. 5 p.m. Meet in the grassy area between Bandshell and the Market, Boulder, 720-565-6019.

Josh Quinlan Trio — With Pete Kartsounes. 8 p.m. The Laughing Goat, 1709 Pearl St.,

music Electric Blues Jam. 6 p.m. Oskar Blues Home Made Liquids & Solids, 1555 S. Hover Road, Longmont, 303-485-9400. Kid Cudi with Tyler the Creator and others. 6:30 p.m. Red Rocks Amphitheatre, 18300 W. Alameda Parkway, Morrison, 720-865-2494. Moors and McCumber. 10 p.m. Southern Sun, 627 South Broadway, Boulder, 303543-0886. Open Stage — With Prairie Scholars. 6 p.m. Oskar Blues Tasty Weasel, 1800 Pike Road Unit B, Longmont, 303-776-1914, ext. 313. Takács Quartet. 7:30 p.m. Grusin Music Hall, 1020 18th St., Boulder, 303-4928008. events Cosmology and Modern Physics. 7 p.m. Boulder Public Library Meadows Branch, 4800 Baseline Road, Boulder, 303-441-4390. Getting Started with Google Analytics. 6 p.m. Boulder Digital Arts, 1600 Range St., Boulder, 303-875-0276. Tuesday, September 17 music Faculty Tuesday: Brenda Romero, guitar. 7:30 p.m. Grusin Music Hall, 1020 18th St., Boulder, 303-492-8008. Greg Harris Vibe Quintet. 8 p.m. The Laughing Goat, 1709 Pearl St., Boulder, 303-4404628. Jimmy Cliff: Many Rivers Crossed Tour — With Ethan Tucker. 7 p.m. Boulder Theater, 2032 14th St., Boulder, 303-786-7030. Jump Swing Blues with The Stilettos. 7:30 p.m. D Note, 7519 Grandview Ave., Arvada, 303-463-6683. Kort McCumber Trio. 6:30 p.m. St Julien Hotel, 900 Walnut St., Boulder, 720-4069696. The National. 7 p.m. Red Rocks Amphitheatre, 18300 W. Alameda Parkway, Morrison, 720-865-2494. Open Mic. 6 p.m. Twisted Pine, 3201 Walnut St., Boulder, 303-786-9270. Open Mic Night. 8 p.m. Conor O’Neill’s, 1922 13th St., Boulder, 303-449-1922. Open Mic. 8 p.m. Pioneer Inn, 15 E. First St., Nederland, 303-258-7733. The Prairie Scholars. 6 p.m. Dickens Opera House, 300 Main St., Longmont, 720-2976397. events Boulder World Affairs Discussion Group. 10 a.m. Boulder Public Library Meadows Boulder Weekly

PLANET BLUEGRASS WILDFLOWER PAVILION BOULDER WEEKLY 20TH ANNIVERSARY PARTY Sunday, September 22 – 5:30pm

CALL NOW to book the band for a Rockin’ Party! • 303-819-8182 www.hindsightclassicrock.com September 12, 2013 53

+ HAPPY HOUR EVERY DAY

M, W, TH, F 3-7pm • ALL DAY TUESDAY • SAT/SUN 12-7pm • $5.00 Cheeseburger & Fries • $3.00 Micros & Wells

Open Space & Mountain Parks Open Space & Mountain Parks

Volunteer on OSMP Streambank Restoration Proje Volunteer on OSMP Streambank Restoration Projects!

Photo Stephanie Danyi Photo credit: credit: Stephanie Danyi

our crews for one day or both toRussian remove Rus JoinJoin our crews for one day or both to remove olive trees andtrees plantand native shrubs. plant nativ Weiser Property - September 28th & October Weiser Property - September 28th 19th & Octo

Register at at www.bouldercolorado.gov/pages/stewardship-program Register www.bouldercolorado.gov/pages/stewardshipOr call Kristin 303-413-7632 Or callatKristin at 303-4 54 September 12, 2013

Boulder Weekly

reel to reel Adore

shouldn’t miss it. NR. At Century.

Naomi Watts and Robin Wright deliver riveting performances in Adore, a sensual and provocative drama about two lifelong friends who find unexpected happiness in relationships that cross the bounds of convention. At SIE FilmCenter. — Denver Film Society

Science on Screen: Autism and Adam

Afternoon Delight Rachel (Kathryn Hahn) is a quick-witted and lovable, yet tightly coiled, 30-something steeped in the creative class of Los Angeles’ bohemian, affluent Silver Lake neighborhood. Everything looks just right — chic modernist home, successful husband, adorable child, hipster wardrobe. So why is she going out of her gourd with ennui? At Mayan. — Landmark Theatres

Ain’t Them Bodies Saints After his pregnant wife makes one false move during a bloody shootout, a bank robber faces a 25-year sentence that destroys his dreams of a family life. At Boedecker. — Boedecker Theater

Dr. Debby Hamilton, pediatrician and author of a book on autism and ADHD, will offer her point of view before the screening of the 2009 Alfred P. Sloan Feature Film Prize winner Adam, starring Hugh Dancy, Rose Byrne and Peter Gallagher. The film profiles a lonely man with Asperger syndrome as he develops a relationship with his upstairs neighbor. At Boedecker. — Boedecker Theater

Insidious: Chapter 2

There is apparently nothing more terrifying than a 12-year-old with his eyes closed.

Short Term 12 Director Destin Daniel Cretton has turned his 2008 short film of the same name into a feature. A compassionate 20-something who works with troubled kids runs into her own troubles when her life starts spinning out of control. Rated R. At Mayan and Century.

The Spectacular Now With sly humor and an intensity of feeling, The Spectacular Now creates a vivid, three-dimensional portrait of youth confronting the funny, thrilling and perilous business of modern love and adulthood. At Century and Mayan. — Landmark Theatres

Austenland Thirty-something and single Jane Hayes (Keri Russell, Waitress) is a seemingly normal young woman with a secret: her unhealthy obsession with all things Jane Austen. Desperately seeking her own Mr. Darcy, Jane sinks her life savings into a trip to England to stay at an Austen theme manor ruled by Mrs. Wattlesbrook (Jane Seymour) where everything is Austen, including the actors who court the lady visitors with decorous dalliance. Rated PG-13. At Century and Esquire. — Landmark Theatres (See full review on page 56.)

Blackfish The documentary Blackfish unravels the complexities of our relationship with orca whales, employing the story of notorious performing whale Tilikum, who has taken the lives of several people while in captivity. So what exactly went wrong? At Boedecker, Chez Artiste, SIE FilmCenter. — Landmark Theatres

Star Trek: Into Darkness/World War Z Sci-fi geeks night out. Watch them both and make a full evening of it. At Colony Square.

The Family An offbeat action comedy starring Michelle Pfeiffer and Robert DeNiro, who play mobsters in the witness protection program who revert to their old ways when they are moved to France and find themselves threatened. Rated R. At Twin Peaks, Colony Square and Century.

Getaway A former racecar driver’s wife is kidnapped. With the help of a hacker, he must return to his driving exploits if his wife is to be saved. Really. Rated PG-13. At Twin Peaks and Colony Square.

The Grandmaster

against the backdrop of the first World War with this impassioned English-language adaptation staged to coincide with the 250th anniversary of the master composer’s birth. At Boedecker. — Boedecker Theater

The Mortal Instruments: City of Bones A teen girl discovers she’s the descendant of a line of half-human, half-angel warriors who prevent demons from destroying the world. Rated PG-13. At Century and Twin Peaks.

One Direction: This is Us

A Teacher A high school teacher in Austin, Texas, has an affair with one of her students. Her life begins to unravel as the relationship comes to an end. At SIE FilmCenter. — Denver Film Society

Terraferma On a seemingly idyllic Sicilian island, 20-year-old Filippo, whose father died at sea, lives with his mother, Giuletta, and his grandfather Ernesto, an old-time fisherman. One day while out fishing the two men encounter a raft of desperate illegal immigrants. Defying the orders of the coast guard, Ernesto obeys the law of the sea and saves a drowning pregnant woman and her son. This creates an agonizing moral dilemma for Filippo and his family that threatens to tear them apart: Hide the survivors and endanger their own livelihood, or turn them out as they are legally required to do. At Chez Artiste. — Landmark Theatres

Stunning cinematography accompanies this Kung Fu classic by director Wong Kar Wai. Rated PG-13. At Century.

This is one of those films that takes you on the road with the band so you get to see them as real people with real emotions, problems and personalities. If that’s not enough, you can watch it in 3-D. Rated PG. At Twin Peaks, Colony Square and Century.

In a World...

Paradise: Faith

Carol, a struggling vocal coach, strikes it big in the cutthroat world of movie-trailer voiceovers, only to find herself in direct competition with the industry’s reigning king — her father. At Chez Artiste and Century. — Landmark Theatres

Ulrich Seidl explores what it means to bear the cross. For Anna Maria, an X-ray technician, paradise lies with Jesus. She devotes her vacation to missionary work, so that Austria may be brought back to the path of virtue. At SIE FilmCenter. — Denver Film Society

This Is the End

Insidious: Chapter 2

Planes

Director James Wan gives us a terrifying sequel to his original horror film. Rated PG-13. At Twin Peaks and Century.

The Way, Way Back

Kids will love this Disney spinoff of the company’s animated classic Cars. Rated PG. At Twin Peaks, Colony Square and Century.

Lee Daniels’ The Butler

A lonely and awkward yet intelligent teenage boy begins his transition into adulthood. At Colony Square and Mayan. — Landmark Theatres

Percy Jackson: Sea of Monsters

We’re the Millers

It’s time for more Minion madness in this animated sequel. Rated PG. At Twin Peaks and Colony Square.

Forest Whitaker stars as a White House butler whose 34-year tenure sees incredible social change. Based on the life of Eugene Allen. Rated PG-13. At Century, Colony Square and Twin Peaks.

In this sequel, Percy teams up with his other-worldly friends to go after the Golden Fleece. Rated PG. At Twin Peaks.

Drinking Buddies

Life Architecturally

Everything that can go wrong does in this comedy when a small-time pot dealer to the soccer mom world decides to help out some local kids. Rated R. At Twin Peaks, Colony Square and Century.

The ever-prolific Joe Swanberg (Hannah Takes the Stairs) delivers this seductive romantic comedy, a departure from his previous work. Kate (Olivia Wilde, Tron: Legacy) and Luke (Jake Johnson, Safety Not Guaranteed) are co-workers at a Chicago brewery, where they spend their days drinking and flirting. They’re perfect for each other, except that they’re both in relationships with other people. At Mayan and SIE FilmCenter. — Denver Film Society

Life Architecturally looks at the changing face of architecture, innovation and design in Australia through the eyes of an award-winning husband-and-wife team, architect Robert McBride and interior designer Debbie Ryan. This intimate documentary observes the pressures of building a multi-story, twin-tower development; revolutionary new schools, including one in the shape of an infinity symbol; and the ongoing construction and design of their own family home — which is on the back burner once again due to how busy they are. At SIE FilmCenter. — Denver Film Society

Blue Jasmine After everything in her life falls to pieces, elegant New York socialite Jasmine moves into her sister Ginger’s modest apartment in San Francisco to try to pull herself back together again. Rated PG. At Esquire, Colony Square and Century. — Landmark Theatres

Closed Circuit After a busy London market is decimated by an explosion, only one member of the suspected terrorist cell survives: Farroukh Erdogan (Denis Moschitto), who is arrested and jailed. Preparations begin for what promises to be the trial of the century. But there’s a hitch: the government will use classified evidence to prosecute Erdogan — evidence so secret that neither he nor his lawyers can be allowed to see it. Rated R. At Century and Chez Artiste. — Landmark Theatres

Despicable Me 2

Elysium In the future, two classes of people exist: the very rich who live a beautiful life on a space station called Elysium, and the very poor who carry on a dreadful existence down on Earth. Rated R. At Twin Peaks, Colony Square and Century.

Boulder Weekly

The Magic Flute Acclaimed director Kenneth Branagh skillfully lifts one of Wolfgang Amadeus Mozart’s most beloved works from its original fairy-tale setting and places it

Prince Avalanche

Seth Rogen, Jay Baruchel, Danny McBride, Jonah Hill, Craig Robinson and James Franco star as themselves at a house party facing the end of the world. Rated R. At Century, Colony Square and Twin Peaks.

Prince Avalanche is an offbeat comedy about two men painting traffic lines on a desolate country highway that’s been ravaged by wildfire. Against this dramatic setting, the men bicker and joke with each other, eventually developing an unlikely friendship. At SIE FilmCenter. — Denver Film Society

Women in Dirt

Riddick

Documentarian Abe Benjamin stumbles across an old cassette tape in a thrift store that leads him to investigate the mysterious origin of a bamboo bike and the odd little girl who accompanies it on its journey through time. At SIE FilmCenter. — Denver Film Society

The latest installment in the story of escaped convict Riddick (Vin Diesel) picks up where The Chronicles of Riddick left off — on a sun-baked planet with Riddick battling aliens and bounty-hunting mercenaries for a chance at surviving. Rated R. At Twin Peaks, Colony Square and Century.

RiffTrax Live: Starship Troopers Encore Making fun of movies like this is a gas. You really

Filmmaker Carolann Stoney chronicles the groundbreaking work of seven female landscape architects. At SIE FilmCenter. — Denver Film Society

Whensday

The World’s End A pub crawl aiming for a long-awaited pint at the World’s End pub draws a group of middle-aged friends into a battle to save the world. Rated R. At Century.

September 12, 2013 55

ITALIAN LANGUAGE FALL 2013 COURSE for BEGINNERS 6:30 to 8pm Mondays, Sept 16 – Nov 18 or Thursdays, Sept 19 – Nov 21

screen

10 CLASS SESSIONS • COURSE FEE $220 HANDOUT MATERIALS INCLUDED If you are interested in personal enrichment and/or the Italian language, you’ll enjoy this fun and informative event. We will build a core structure that will give you the basic knowledge to begin utilizing the language as well as give you insight into this beautiful culture with the language that sings.

Classes at Proper Grounds Coffee Roasters 990 S. Public Rd. Ste. B-3, Lafayette

Andrew Cangelose received his MFA in Florence, Italy where he lived, studied, and worked for several years. He lives in Boulder and presently teaches Art History online for Blinn College and taught Beginning & Intermediate Italian at Trinity University in San Antonio and also at Texas A&M University from 2004 through 2009. For further information & to register contact: Andrew Cangelose (979) 255-7794 cell • acangelose@gmail.com

A bit plain, Jane

‘Austenland’ is sweet but simple by Ryan Syrek

THE MERC JaMEsTown MERCanTilE CafE HoME of THE soMEwHaT fERal

Thursday September 12th • 8-10pm

Kort McCumber

Friday September 13th • 6-8pm

Daniel Levine & Lesley Kernochan

Saturday September 14th • 8-10pm

Psychodillo

Every Monday • 6-8pm (Open Jovan)

Open Mic, Jamestown Style Thursday September 19th • 8-10pm

Brian Ernst & Journey4YOUth

Friday September 20th • 6-8pm

Clay and Andy

Saturday September 21st • 8-10pm

Time and Temp

108 Main sTREET JaMEsTown, Co (303) 442-5847 56 September 12, 2013

BOEDECKER THEATER Independent film & cultural performances in high definition.

DOCuWEST FIlm FESTIvAl Free Teaser - shorTs

sept 12 - 4:30

DocuWesT BoulDer opening nighT

reception and screening sept 12 - 6:30

The pleasures oF Being ouT oF sTep: noTes on The liFe oF naT henToFF

- with filmmaker Q&a oTher FesTival Films incluDe: Furever, rediscovering gil, vectors in autism, The Keymaster, people of a Feather, plastic paradise, Big Joy (The adventures of James Broughton), open mic night after the apocalypse, and Which Way is the Front from here? DocuWest Full schedule available online docuwestfest.com

THE mAGIC FluTE Kenneth Branagh does mozart sept 15 - 1:00 | sept 17 - 1:00

SCIEnCE On SCREEn: AuTISm AnD “ADAm” sept 16 - 7:00

BlACKFISH

sept 17 - 7:00 talkback with vicki goldstein | sept 18 - 4:30 | sept 19 - 7:00 | sept 20 - 6:30 sept 21 - 4:00 & 8:30

AIn’T THEm BODIES SAInTS

sept 18 - 7:00 talkback with Jack hanley sept 19 - 4:30 | sept 20 - 4:00 & 8:30 sept 21 - 6:00

26TH & WAlnuT STREET - BOulDER

303.440.7826 x 110 WWW.THEDAIRY.ORG

ince Stephanie “Twilight” Meyers is a producer on Austenland, the following question is fair game: Why are readers who fangirl out about Mr. Darcy from Jane Austen’s Pride and Prejudice embraced or applauded while devotees of whatever-that-sparkly-vampire-dude’s-name-was are chided? Both of the male characters demonstrate icky behaviors that shouldn’t be desired in a mate, although admittedly the angstridden floppy-haired neck-biter does have a few more negatives on his side, including quasi-pedophilia and abusive tendencies. The point is, Austenland is a weird criticism of fans that made Meyers way, way wealthier than should have been possible. Jane Hayes (Keri Russell) is basically a Jane Austen twi-hard. With cardboard cutouts of Colin Firth as Mr. Darcy in her adult apartment, Jane is reminiscent of the mom-of-two wearing a “Team Jacob” shirt. She blows all of her savings on a trip to an immersive “authentic Austen experience” at an English estate. There’s no Twilight equivalent for that, although Hot Topic comes close. Once there, she is promised a fictional romance with one of several characters, including Mr. Henry Nobley ( J.J. Feild), the Darcy stand-in, and Martin (Bret McKenzie), the manservant with just the right amount of scruffy facial hair. With her buxom, brainless new friend, Miss Elizabeth Charming ( Jennifer Coolidge), Jane discovers the problems with actually living in the fictional world you always dreamed of living in. And it’s not just the stupid character names you have to deal with. One thing Austenland gets right is that

even though Jane acts like an awkward turtle, she’s actually painfully adorable; when empowered to be fearless she is the desire of all around her. If ever a part seemed tailor-made for Russell’s irrisista-dimples, it’s this. Meanwhile, McKenzie brings a nonchalant swagger that allows scenes between the two to be believable, a marked departure from the rest of the film. The whole concept from writer Shannon Hale and writer/director Jerusha Hess is to turn a trip to an Austen-theme park into basically an Austen novel. And they do. It’s just that’s not as fun as it seems. What makes the author’s work timeless and brilliant merely makes for an OK film. And honestly, if direct adaptations haven’t really captured Austen’s charms, what chance does an impression of an adaptation have? The other major problem is the drunken, scattershot tone that tries to be all things to all people. Coolidge is in a slapstick comedy, Russell is in a rom-com, Feild is in a dramatic romance and McKenzie is apparently daydreaming about working with The Muppets again. If Austenland is supposed to criticize obsessive fandom, the ending makes no sense. If it isn’t, the rest of the film makes no sense. And yet, the light, airy, innocent nature of it all is somehow pleasing enough. In an age when all comedies are required to have at least one “oh, no they didn’t” moment, it’s nice to see one you can watch with your parents without feeling Regency Era social shame. —This review first appeared in The Reader of Omaha, Neb. Respond: letters@boulderweekly.com

Boulder Weekly

2013

Hapa_validation_BWeekly.pdf

5/14/13

1:29 PM

personal validation:

youâ€™re perfect just the way you are. parking validation:

11:30 - 1:30pm at hapa

enjoy lunch at hapa Lodo 1514 Blake Street Denver, CO 58 September 12, 2013

landmark center 5380 greenwood plaza blvd. 303.267.8744

denver cherry creek 2780 e 2nd avenue 303.322.9554

boulder pearl street mall 1117 pearl street 303.473.4730

Boulder Weekly

Shooting animals for your own meat is one of the new trends in the locavore food movement.

cuisine

How locavores are the new gun nuts by Andrew Potter

e all know the typical face of rightwing gun nuttery, from the local camo-clad yahoos in a pickup with a gun rack and jacklights all the way to Wayne LaPierre of the NRA, who blamed the Sandy Hook school massacre on violent films and video games and called for armed officers in every school. But there’s a new gun nut in town. Once upon a time you could find him wandering gentrifying neighborhoods in skinny jeans and a retro T-shirt carrying an armload of vinyl in one arm and pushing a fixed-gear bike with the other. But lately he’s traded his turntable for a firearm, and slung over his shoulder is a 12-gauge birdgun or a scoped 30-06 hunting rifle, with loose shells spilling out of his coat pockets. Hunting is suddenly fashionable. But what is

3073 Walnut 303.447.2315 Boulder Weekly

remarkable is that this increased interest is coming not from people on the political right, but from those who usually identify with the progressive left. And it is threatening to undermine the gun control lobby from within at a time when the U.S. is having the most serious conversation about the issue in decades. The hipster hunter trend has been quietly building for a few years. In 2011, Facebook founder Mark Zuckerberg announced that he would only eat meat from animals he had personally slaughtered. He said his motivation was both ethical and environmental — to understand where his food came from, and to consume as much of the animals that he kills as possible. Similarly, in a column for Slate published last December, a writer named Emma Morris extolled what she sees as the progressive virtues of hunting. She argued that shooting wild animals for food is

WHO’S EATING AT THE WALNUT THIS WEEK?

more ecologically sound than buying industrially raised meat, and more ethically “honest” than outsourcing the killing of the animal to a slaughterhouse employee. Finally, The Vancouver Sun recently carried a feature about the phenomenon. Again, the story’s hip young subjects talked about the twin benefits of ethical honesty and environmental sustainability. It is important to realize that this is not one of those random countercultural hiccups that arise from time to time, like planking or the raw coconut craze of 2011. Instead, it is the deep internal logic of contemporary foodie culture working itself out. There is a self-radicalizing dynamic built into the values of the burgeoning locavore movement, and over the past decade, food-focused moral one-upmanship has see HUNTING Page 62

673 S. Broadway 720.304.8118

September 12, 2013 59

tidbites

Upgrades at the Rio Grande

The Rio Grande Mexican Restaurant already had a perfect storm in its classic house margarita. But as we all know, you can never have too many ways to drink tequila. So the Rio Grande is unveiling new cocktails and additional menu items to accompany the opening of a new space. The Shift Bar is converted from an office (but you’d have to ask to know) and a much smaller bar with a serving window. It’s a step up — well, actually, a full flight of stairs — from the more casual restaurant setting and a cozy location for Aubrey Cornelius private parties. Among the new cocktails is the Ranch Water, with silver tequila, soda water and lime, and, yes, the Perfect Storm, with tequila, ginger beer and … we forget. Cheers!

Food happenings

around Boulder County

Here’s yet another award that Boulder — or at least some restaurant in it — seems destined to win. The Nature Conservancy has Aubrey Cornelius announced that nominaresponse to positive tions are open for its reviews last year. The beer Nature’s Plate award, will be tapped at the which recognizes the Flatiron Park taproom Sept. state’s top “green” restau12 and will be on sale Oct. rant, as voted by the pub1 in four-packs. lic. The second annual set Speaking of doubling, of awards pits restaurants Avery’s Rumpkin is on its across Colorado against way as well. Rumpkin more each other. than doubles the ABV of Anyone can nominate almost any other pumpkin a restaurant on The Nature ale out there, coming in at Conservancy’s website at 18.5 percent. The rum-bar- Larkburger’s burgers will be $2 on Sept. 14 http://nature.org/naturesrel-aged (get the name to celebrate the start of the school year. plateCO. Last year, the now?) pumpkin beer spent Dushanbe Teahouse won six months in rum barrels. the award for the “Boulder/Denver area,” a Only 617 cases of Rumpkin are available. Nature Conservancy press release says. It will be released in the Nominations are open until Sept. 16, voting Avery taproom at 5 p.m. will begin Oct. 1, and the winner will be Sunday, Sept. 22, and cusannounced Oct. 17. tomers can purchase up to a case of the beer.

Good burger, low price

Colorado-based burger chain Larkburger will welcome students back to CU with a big discount: Pump it up Burgers will be $2 all day The interior of The Shift Bar on the second Finally, it’s not 95 floor of the Rio Grande. on Saturday, Sept. 14. degrees outside anymore. All Boulder residents And just in time, for beer lovers looking forcan participate in the special, which comes ward to crisp air to accompany their pumpkin with a three-per-person limit and does not ales. apply to online or call-in orders. Pumpkin brews from scores of breweries Larkburger, founded in Vail in 2006, makes are hitting liquor stores’ shelves across Boulder, the best burger in Boulder, according to votand several local breweries are getting in the ers in our 2013 Best of Boulder survey. The mix, of course. Upslope Brewing has Boulder location is the only one of its 12 resannounced the return of its Pumpkin Ale, taurants that will offer this special. which won gold at the Great American Beer Fest in 2011. The brewery will repeat last year’s recipe — while doubling it — in

60 September 12, 2013

Green award on the way

Think inside the box

We here at Boulder Weekly were recently introduced to the dangers of Black Box Wine. In the interest of public awareness, we’d like to share what we learned. The packaging of the California-based winery — which counts the Boulder/Denver area as its biggest market — makes it incredibly easy to decide you’ll have just a glass. Which, of course, only leads to another glass because the wine is quite good. And, because a Black Box has the equivalent of about four bottles, you can get into a lot of trouble with one box of wine, partly because you can’t see how much you’ve had. Take it out of the box, and you have a bladder that compresses easily, to be tucked into your bag and snuck into coffee cups everywhere. Your cups, of course.

Boulder Weekly

cuisine review

Blair Madole

Home, sweet Zoe by Blair Madole

ucked among the big names and my general belief is that small Americanized menus on West Pearl sits a menus produce the best food. rare find in downtown Boulder: There are no culinary buzzauthenticity. words or complicated Zoe Ma Ma is easy to overlook, with descriptions that make you its minimalist outdoor seating and small sign on 10th wonder if what you are orderStreet, not to mention the fact that you can pass it in ing is actually just a salad. about 15 steps. However, the awning professing The options are straightfor“Super Yummy Street Food” isn’t a lie, and a venture ward: potstickers, hot & sour inside is encouraged, even necessary, for those seeking soup, steamed buns, and so an eating experience beyond the monotony of braised forth. The results are straightAt West Pearl’s Zoe Ma Ma, the steamy buns are a masterpiece. pork belly and beet and goat cheese salads. forward too. They are also The place is tiny. Its eight tables are packed with unlike anything I’ve experian assortment of Boulder types, ranging from bikers enced in Boulder. means the roast duck wonton noodle soup special is up (the spandex-wearing type, not the leather-wearing I can’t fully convey the experience of the first bite for grabs. The fatty duck in this dish is smoky, silky, type) to families with small children to trendy couples of a steamy bun. The bun itself is light, fluffy, perfect. and perfectly balanced by the rest of the ingredients. to food snobs to singles with tables. This Similar to how I think a savory cloud Fresh bok choy provides crunch and spice, firm noomight be my favorite part about Zoe Ma might taste. While I am still in awe over dles add substance and delicate broth ties it all togethZoe Ma Ma Ma — it’s home to anyone who wants to this doughy masterpiece I reach for the er. The handmade wonton is simply an added bonus. 2010 10th St., claim it. next bite and discover the filling. It is a I’m a sucker for tea. Iced, jasmine, oolong — you Boulder The vast number of contradictions delightful and unexpected combination of name it, I love it. Zoe Ma Ma has all three options in 303-545-6262 flavors: Allspice, cinnamon, ginger. The jammed into the space is surprising: a self-serve silver carafes like you might find in a conferpork is tender and expertly seasoned. poster promoting a transvestite comedy; ence room or convention hall. They’re fresh and tasty, so Whatever the family secret behind this dish, it is the calming music reminiscent of a visit to the spa; red I don’t care how they are presented. I wash everything cafeteria trays; fresh ingredients on display behind the ultimate comfort food. down with the iced green tea and I’m a happy eater. Next, one of the rice and noodle dishes. I don’t counter. Perhaps most curious is how none of that I don’t believe a restaurant can excel just with matters, as though the presence of a chalkboard menu, think too hard on it. It’s hot out, so I go straight to fabulous food. Ambience is key. When I say Zoe open kitchen and Ma Ma bustling behind the counter the cool noodle, or Liang Ban Mian, with chicken. Ma Ma is authentic, I don’t just mean it has real, This refreshing dish is a brilliant bowl filled with overpowers any judgments about the décor. traditional, tasty Chinese street food. I mean it has I love the menu at Zoe Ma Ma. The chalk-written fresh egg noodles, cucumber, bean sprouts and a the entire warm-and-fuzzy atmosphere I crave in a menu isn’t a new concept and, if anything, it has been tangy-spicy-saucy combination of ginger and sesame, family-owned restaurant, from the mother-and-son overdone by trendy and overpriced eateries, but theirs all topped with cilantro and green onion. The bean pictures on the wall to the inevitable personal isn’t done to stay cool — it’s because it’s simple. In sprouts are a playful, crunchy counterpoint to the egg exchanges between customers and Ma Ma that will fact, everything at Zoe Ma Ma is simple. occur anytime you visit. Zoe Ma Ma may not be noodles. The cucumber is the perfect foil for the The selection is small, only five appetizers, or Dim your mother, but she does a helluva job making you slightly spicy sauce. The cilantro and green onion add Sum; six noodle and rice entrees; and four rotating spefeel at home. bite. It’s tough to find anything wrong with that. cials, which I appreciate. It’s not a set-in-stone rule, but Respond: letters@boulderweekly.com I was lucky enough to arrive on a Saturday, which

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September 12, 2013 61

cuisine

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62 September 12, 2013

shifted from the virtues of organic to local, then to artisanal food, while the DIY imperative quickly evolved from casually making your own charcuterie to taking pig-butchering classes to raising your own urban chickens. And once you’ve bought in, it is a short and entirely logical step to the conclusion that both ethics and environmentalism demand that you hunt, kill and dress any meat you choose to eat. Which means if you’re a sincere and consistent locavore, and you want to eat meat, you need to learn to shoot a gun. The problem is, neither of the main arguments in favor of shooting what you eat have been carefully thought out. Emma Morris argues that killing an animal yourself seems more ethically honest. But why is that the case? After all, every one of us benefits from people being willing to do, for money, things we can’t or won’t do ourselves, either out of lack of ability, principled objections or simple squeamishness. There is no obvious moral objection to outsourcing things we want done to those willing to do it, from housework to coal mining to national defense. Why should food production be any different? As for the argument that hunting is more environmentally sustainable, the claim does have superficial plausibility. Surely it is better, after all, to kill and eat a deer after it has spent its life roaming free and eating clover than to chow down on a steak cut from an industrially fed and slaughtered cow. The problem is there are simply not enough wild animals to go around. Hunters killed about 6 million deer in North America last year. Meanwhile, 38 million cattle were slaughtered. Since you get five times as much meat from a cow as you do from a deer, to substitute industrially raised beef for wild venison would require a deer harvest in the range of 190 million deer. That can’t happen, of course, since there are only about 32 million deer in all of North America. But what is so

strange about the locavore movement is how much it aims to reverse the single most important factor in the development of civilization, namely, the specialization of skills and the division of labor. The new mantra is to do everything yourself, regardless of time, talent, skill, or inclination. A handy tip for determining the validity of a moral injunction is to ask yourself, “What if everybody did that?” And it is surely problematic that fully implementing the “sustainable” locavore agenda would result in the extermination of the wild deer population at the hands of a foodie horde. There’s nothing wrong with the DIY ethos when it is pursued casually or recreationally, and in many ways, doing something for yourself that could be done cheaper and better through outsourcing or automation is the very definition of a hobby. But locavores don’t see themselves in those terms. Rather, the movement presents itself as a morally progressive and ecologically sustainable way of life that, properly implemented, will reform capitalism, agriculture and the environment. If anything, the locavore culture ties into an utterly reactionary worldview, seeking to drag society back to the 19th century. But more critically, it is — to put it mildly — a bit of a problem for the gun control lobby that a significant percentage of self-styled progressives are pushing a moral program that requires a massive increase in gun ownership among the very people it ought to be able to count on as its core constituency. The upshot is, you can believe in local food, or you can believe in gun control. But you almost certainly cannot believe in both. Andrew Potter is the author of The Authenticity Hoax: How We Get Lost Finding Ourselves, out now in paperback from McLelland & Stewart. This story first appeared in the April 19 issue of the Ottawa Citizen. — Featurewell.com Respond: letters@boulderweekly.com

A HANDY TIP FOR determining the validity of a moral injunction is to ask yourself, ‘What if everybody did that?’

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e all enjoy being in on vel at the number of people at Sanitas a good secret. I mean, who evidently don’t need to be at if it’s a harmless, fun work — and remind ourselves that kind of secret, not the Sanitas is one of about 15 taprooms other kind. We all like across the city drawing in crowds at knowing about the shortcut home, the that hour. secret menu item, the password, where I get a sample of all four, from the the unmarked door will lead. buttery, not-yeasty-at-all saison (“One Or maybe that’s just me. Maybe it’s of the more mild-mannered saisons I’ve some kind of complex, buying into had,” Elizabeth says) to the black IPA “knowledge is Steve Weishampel power” and wanting to be more powerful than others. Maybe it’s about feeling special. I do know the fun comes not in knowing the secret but in showing it off, partially or fully. If I say I know a secret and stop there, not fun. But if I say there’s a bar in downtown Denver that marks down a The beers on tap at Sanitas on that Tuesday were a saison, drink at certain the Train Beer and two versions of the black IPA. times during winter, well, I’m giggling with glee over here. on nitro — which might be the best So it was with some trepidation, use of a nitro tap I’ve had, as the writing last week’s Tidbites, that I creaminess and smoothness contribute shared a more or less secret item on a new element to the black IPA, rather Sanitas Brewing Company’s menu, a than just piling on more creaminess discount on the brewery’s Train Beer like with a stout on nitro. Both on tap series when a train passes by the tapand on nitro, the black IPA has a room. One fewer secret to celebrate. hoppy finish, and it’s the favorite Then again, it looks like secrets among the staff, with Jeff and Joel both wouldn’t last long at Sanitas. The past ordering one. “That’s steal-worthy,” few months, its opening has been Elizabeth says. highly anticipated, even beyond a new The first installment of the Train brewery’s usual enthusiastic reception. Beer series is a session ale similar to an In the midst of an East County exploEnglish dark mild, with a caramel, sion — Twelve Degree and Gravity in slightly bitter taste. Unfortunately, Louisville, Kettle & Stone in we’re paying full price, thanks to an Gunbarrel and Front Range and absence of trains. Odd13 in Lafayette have opened Sanitas won’t have empty taps for recently — Sanitas is in Boulder itself, long. Calling their current saison a and not far from the mad rush of Pearl “baseline,” the brewers say they’ll be and 28th Street. experimenting with other Belgian styles The anticipation has definitely and variations on their brown ale. turned into traffic in the taproom. If I learn more, unfortunately for When I stopped by before Sanitas me, I’m kind of obligated as a journalist opened, six beers were on tap. After to share. That’s OK. If nothing else, I four days of operation, four beers can keep to myself the seven-letter remained, with the white IPA and code word that lets you drink for free imperial brown ale already tapped. all night. Respond: letters@boulderweekly.com On a Tuesday at 4:30, Jeff and I marBoulder Weekly

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Dear Dan: I’m a Savage Lovecast listener, but I’m sending this question to your column because my boyfriend would FOR SURE recognize my voice if I called the show. I’m 25, I live in Portland, and my boyfriend and I have been monogamous for five years. His dick is of average size. It’s not small enough for him to have dealt with the emotional baggage associated with “small dicks.” Yet, I’ve had sex with big dicks, and I would love to try one of those dick sheaths or extenders or whatever. But my boyfriend is a sensitive guy, and I feel like I’m going to permanently fuck up our sex life if I ask for one. How can I propose this without him feeling like his manhood is insufficient? I’ve heard you talk about how it’s best to share your kinks as if they were added bonuses — and not as if they were terminal cancers — but I can’t figure out how to talk about this without hurting his ego. Advice? —Sincerely Loves Average Man Dear SLAM: “Getting a sheath onto her boyfriend’s dick without hurting his feelings will be a bit tricky,” said Matthew Nolan of OhJoySexToy. com. “No matter their size, lads around the world are brought up with dick insecurities. Having said that, a dick sheath isn’t the worst thing in the world for her to bring to the table: It involves her boyfriend as a participant, and it keeps his dick in the loop.” Matthew and his partner, Erika Moen, collaboratively create an informative, subversive, and entertaining weekly comic that focuses on the world of sex — from sex-toy reviews to interviews with people in the sex industry to sharing sex-education lessons. They research and write the text together, and Erika does all the drawing. In a recent comic, Matthew gave cock sheaths a try. Cock sheaths — for those of you who haven’t visited a sextoy shop in a while — are a popular new sex toy that allows an average dude to be huge, and a huge dude to be ridiculous. They’re pliable-but-firm hollow dildos that a guy wears over his dick. The dude slides his hard, lubedup dick inside the sheath, pulls his balls through a ring at the base that prevents the sheath from sliding off, and proceeds to bang away at his partner’s hole(s) like a porn star. That’s the theory anyway. “The dick sheaths I tried weren’t the greatest thing for my partner and me,” said Matthew. “They dull the senses and turn your dick into an

Love

unwieldy mess. Despite owning a few, my preference is to use a big dildo on my partner instead of wearing a dick sheath.” But if it’s a dick sheath you want, SLAM, Matthew has some advice about how to get one. “SLAM should suggest going sextoy shopping with her boyfriend,” said Matthew. “She could tell her boyfriend she’s in a filthy mood and fancies something big. She should put the emphasis on wanting him to give her some big-toy fucking and add that this is something that you can both do together. Have him help pick out different toys — like some big dildos — while saying encouraging things like ‘Ooohh, wouldn’t you like to fuck me with this one?’ When you come across the cock sheath, add it to your cart explaining that it would be a perfect sex-toy solution for your mood.” I’m going to break in here for a second: If you feel like your boyfriend might have a meltdown if you start talking about wanting something huge for a change — the implication being, of course, that he isn’t able to provide you with that something on his own (how big are his forearms?) — head to the sex-toy shop without any stated agenda and see how he reacts to the cock sheaths on display. If he recoils from them, SLAM, you might wanna steer him over to the body paints and bondage gear. But if he seems intrigued and not threatened by the cock sheaths, ask him how he’d feel about fucking you with one of those, without seeming too hugely invested in being fucked by one of those yourself. And what do you do if you manage to leave the sex-toy store with a cock sheath and a boyfriend whose ego is still intact? “Be encouraging about enjoying the extra size and having him fuck you with toys,” said Matthew. “When it comes to the sheath, keep it jovial — laugh about it and tell him he’s sexy. A fun atmosphere can help alleviate insecurities. And by the time you’re done and dusted, you’ll know better if you prefer him with or without the sheath.” Go to OhJoySexToy.com to see examples of Erika and Matthew’s work. Their comic about pregnancy is particularly inspired and a great resource for parents who are having a hard time explaining where babies come from. Follow them on Twitter at @ PlusTenStrength and @ErikaMoen. Respond: letters@boulderweekly.com

Boulder Weekly

ARIES

March 21-April 19:

astrology

LIBRA

Sept. 23-Oct. 22:

“A good story should The current chapter of make you laugh, and a your life story may not moment later break your be quite as epic as I think Go to RealAstrology.com to check out heart,” wrote Chuck it is, so my advice may Rob Brezsny’s EXPANDED WEEKLY AUDIO Palahniuk in his book sound melodramatic. Still, HOROSCOPES and DAILY TEXT MESSAGE Stranger Than Fiction. what I’m going to tell you HOROSCOPES. The audio horoscopes is something we all need From what I can tell, to hear from time to time. Aries, the sequence is the are also available by phone at 1-877And I’m pretty sure this reverse for you. In your 873-4888 or 1-900-950-7700. is one of those moments story, the disruption has for you. It comes from already happened. Next writer Charles Bukowski: comes the part where you “Nobody can save you but laugh. It may be a sardonyourself. You will be put again and again into nearly ic chuckle at first, as you become aware of the illusions you impossible situations. They will attempt again and again had been under before the jolt exposed them. Eventually through subterfuge, guise, and force to make you submit, I expect you will be giggling and gleeful, eternally grateful quit and/or die quietly inside. But don’t, don’t, don’t. It’s a for the tricky luck that freed you to pursue a more complete war not easily won, but if anything is worth winning then version of your fondest dream. this is it. Nobody can save you but yourself, and you’re worth saving.” TAURUS

April 20-May 20:

Taurus musician David Byrne was asked by an interviewer to compose a seven-word autobiography. In response, he came up with 10 words: “unfinished, unprocessed, uncertain, unknown, unadorned, underarms, underpants, unfrozen, unsettled, unfussy.” The coming days would be an excellent time for you to carry out similar assignments. I’d love to see you express the essential truth about yourself in bold and playful ways. I will also be happy if you make it clear that even though you’re a work-in-progress, you have a succinct understanding of what you need and who you are becoming.

SCORPIO

Oct. 23-Nov. 21:

The cosmos hereby grants you poetic license to be brazen in your craving for the best and brightest experiences … to be uninhibited in feeding your obsessions and making them work for you … to be shameless as you pursue exactly and only what you really, really want more than anything else. This is a limited time offer, although it may be extended if you pounce eagerly and take full advantage. For best results, suspend your pursuit of trivial wishes and purge yourself of your bitchy complaints about life.

GEMINI

SAGITTARIUS

The French word sillage means “wake,” like the trail created behind a boat as it zips through water. In English, it refers to the fragrance that remains in the air after a person wearing perfume or cologne passes by. For our purposes, we will expand the definition to include any influences and impressions left behind by a powerful presence who has exited the scene. In my astrological opinion, Gemini, sillage is a key theme for you to monitor in the coming days. Be alert for it. Study it. It will be a source of information that helps you make good decisions.

At the last minute, Elsa Oliver impulsively canceled her vacation to New York. She had a hunch that something exciting would happen if instead she stayed at her home in England. A few hours later, she got a message inviting her to be a contestant on the UK television show Who Wants To Be a Millionaire? In the days and weeks that followed, she won the equivalent of $100,000. I’m not predicting anything quite as dramatic for you, Sagittarius. But I do suspect that good luck is lurking in unexpected places, and to gather it in you may have to trust your intuition, stay alert for late-breaking shifts in fate, and be willing to alter your plans.

May 21-June 20:

CANCER

June 21-July 22:

“Cataglottism” is a rarely used English word that has the same meaning as French kissing — engaging in liberal use of the tongue as you make out. But I don’t recommend that you incorporate such an inelegant, guttural term into your vocabulary. Imagine yourself thinking, while in the midst of French kissing, that what you’re doing is “cataglottism.” Your pleasure would probably be diminished. This truth applies in a broader sense, too. The language you use to frame your experience has a dramatic impact on how it all unfolds. The coming week will be an excellent time to experiment with this principle. See if you can increase your levels of joy and grace by describing what’s happening to you with beautiful and positive words.

LEO

July 23-Aug. 22:

This is Correct Your First Impressions Week. It’s a perfect time for you to re-evaluate any of your beliefs that are based on mistaken facts or superficial perceptions. Are you open to the possibility that you might have jumped to unwarranted conclusions? Are you willing to question certainties that hardened in you after just a brief exposure to complicated processes? During Correct Your First Impressions Week, humble examination of your fixed prejudices is one of the greatest gifts you can give yourself. P.S. This is a good time to re-connect with a person you have unjustly judged as unworthy of you.

VIRGO

Aug. 23-Sept. 22:

This is a good time to free yourself from a curse that an immature soul placed on you once upon a time. I’m not talking about a literal spell cast by a master of the dark arts. Rather, I’m referring to an abusive accusation that was heaped on you, perhaps inadvertently, by a careless person whose own pain made them stupid. As I evaluate the astrological omens, I conclude that you now have the power to dissolve this curse all by yourself. You don’t need a wizard or a witch to handle it for you. Follow your intuition for clues on how to proceed. Here’s a suggestion to stimulate your imagination: Visualize the curse as a dark purple rose. See yourself hurling it into a vat of molten gold.

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CAPRICORN

Dec. 22-Jan. 19:

“The only thing standing between you and your goal,” writes American author Jordan Belfort, “is the bullshit story you keep telling yourself as to why you can’t achieve it.” I don’t entirely agree with that idea. There may be other obstacles over which you have little control. But the bullshit story is often more than half the problem. So that’s the bad news, Capricorn. The good news is that right now is a magic moment in your destiny when you have more power than usual to free yourself of your own personal bullshit story.

AQUARIUS

Jan. 20-Feb. 18:

Is the truth a clear, bright, shiny treasure, like a big diamond glittering in the sunlight? Does it have an objective existence that’s independent of our feelings about it? Or is the truth a fuzzy, convoluted thing that resembles a stream of smoke snaking through an underground cavern? Does it have a different meaning for every mind that seeks to grasp it? The answer, of course, is: both. Sometimes the truth is a glittering diamond and at other times it’s a stream of smoke. But for you right now, Aquarius, the truth is the latter. You must have a high tolerance for ambiguity as you cultivate your relationship with it. It’s more likely to reveal its secrets if you maintain a flexible and cagey frame of mind.

PISCES

Feb. 19-March 20:

It’s a good time to indulge in wide-open, high-flying, anything-goes fantasies about love — if, that is … if you also do something practical to help those fantasies come true. So I encourage you to dream about revolutionizing your relationship with romance and intimacy — as long as you also make specific adjustments in your own attitudes and behavior that will make the revolution more likely. Two more tips: 1. Free yourself from dogmatic beliefs you might have about love’s possibilities. 2. Work to increase your capacity for lusty trust and trusty lust.

September 12, 2013 67

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EEDBETWEENTHELINES

by Leland Rucker

Council considers cannabis rules and regs

he second reading for the rules and regulaAt the beginning, the only businesses that can apply tions under which retail marijuana outlets will for licenses are already-existing dispensaries, but since be able to operate will be held at the Boulder the rules and regs for retail are generally in line with City Council meeting on Tuesday, Sept. 17. medical rules, any business that has been following state Council members will get a chance to go into laws (and living under the fear of a federal crackdown) more detail about the staff recommendations presented shouldn’t have that much of a problem converting to at the Aug. 3 meeting, and there will be a public hearing. retail, so the time delay seems unrealistic. Jan. 1, 2014 This isn’t the final vote — it will go to at least a third seems like a better target date. reading — but this is an important chance for citizens so Staff recommend a 1,000-plant limit per operation, inclined to air their viewpoints in front of council. with the reasoning that that’s all one staffer will be able One issue at stake is the date when the city will to track. No other city is asking for this limit, and it cerbegin taking retail licenses. The staff recommendation is tainly seems disingenuous to use a lack of staffing for June 1, 2014, with the reasoning that it will give it time basic regulation at the same time that marijuana tax to adjust to changes in the code. Given that applicants money will be flowing into the general fund. If marijuawill need both state and local na is going to become the Leland Rucker licenses, that would mean stores possible cash cow that some might not begin opening in on council and in the industry Boulder at least until this time are expecting, wouldn’t it be next year. Other cities working prudent to add staff now to toward retail — Denver, take care of the regulatory side Steamboat Springs, Breckenridge with money generated by the increased taxes? and Nederland — have applicaAnd given that licenses tion dates of Oct. 1 of this year today for medical facilities can — two weeks from now — minimally be 1,800 plants, which would mean they could be destroying plants at the same open by Jan. 1, 2014, or a little time that more product will be later. Denver attorney Robert Corry leads a press needed (and who knows how The industry argues that the conference/protest Monday in Denver Civic much that will be?) when staff application date will put Plaza against Proposition AA, which asks Colorado voters in November for taxes on marijuana local businesses at a competitive retail stores open again seems that are so prohibitive that Corry says it will disadvantage, and there is cercounterintuitive and expenkeep users out of retail stores and in the black market. Free joints were handed out to huntainly truth to that, since those sive. The city would begin curious and/or eager to buy from dreds of people who had proper identification. applying this regulation by a legitimate source will head to spending considerable money Louisville or Nederland or Denver, where shops could be to whittle down several existing inventories. To what opening sooner than Boulder. When stores do open here, end? To supply an expanding customer base with less a lot of that out-of-town traffic will return — nobody product? wants to drive to Denver just to buy something they Another issue about which council aired concerns is should be able to get close to home. But the sooner we whether existing businesses should be able to apply for can bring illegal consumers into legal stores the better, licenses for both adult-use and medical. This doesn’t especially if one goal of Amendment 64 is to shut down seem to be a question in any other jurisdiction. There are or slow the illegal market and begin to collect the tax some issues to deal with about access by those under 21 monies everybody is fantasizing about — there was some who have medical marijuana cards, but I don’t see these serious dreaming among members during first reading. as a hindrance to dual use. Each business would be

applying for two city licenses, and existing businesses that have been following medical marijuana rules should be able to comply with two sets of regulations. The staff memo asks that all retail businesses be at least 1,000 feet away from schools, daycare and universities. It was written about the time Attorney General Eric Holder’s memo concerning federal involvement in states that have legalized marijuana was released, and perhaps council should reconsider this in light of the memo. It states that the feds won’t interfere with businesses that follow state law. If the 1,000-foot limit were imposed, at least four current businesses would have to relocate to apply for a retail license. I personally don’t think the 500- or 1,000-foot limits are for anything more than showing citizens you’re trying to do something to keep it away from kids. We all want that, but kids aren’t getting their weed from the back doors of dispensaries. And if the 1,000-foot limit is imposed, at least grandfather those businesses in. Finally, the Downtown Business District, on the day after the first reading, sent council a letter asking that in the downtown area, retail marijuana outlets only be allowed below-grade or on second floors or above. “These businesses will operate with very high profit margins and will likely be able to pay above-market rents. This provides a distinct advantage over traditional retailers and restaurants,” the letter explains. What it really says is that if downtown has to put up with retail marijuana, let’s make it as difficult as possible for owners to find space, hide the ones that get in as best we can and try and pretend they aren’t there. Nobody knows what will happen, but I’m guessing that someone who stays at the Boulderado and wants to buy a joint before she goes into an expensive Pearl Street restaurant and later buys a souvenir isn’t going to be a member of the Rainbow people, and she might be checking the Downtown Boulder Inc. website for advice while she’s here, too. I hope council sees this request for what it is and denies it immediately. Send tips, suggestions and criticisms to weed@boulderweekly.com. Respond: letters@boulderweekly.com.

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