In the looming, epic battle over gun regulation, the outcome will be a matter of which side mobilizes the most Americans.
Right now, aside from a willingness to sign online petitions, those favoring stricter regulations on assault rifles, high-capacity magazines, etc. haven’t shown anything near the zeal of pro-gun folks to get personally involved—even down and dirty if necessary.
This weekend, we will have an chance to see the mobilization might of the gun-rights grassroots. The Nutnfancy Project (no way am I making that name up) is calling for gun supporters to rally at state capitols across the nation on Saturday at high noon (local time).
The Nutnfancy call has gone out in Utah through various grass roots groups and shooting clubs. According to the call to action email:
“The proposed [assault weapons ban] seeks to criminalize millions of good Americans is a power grabbing, Marxist attempt at people control. We stand and be counted NOW, not cower in our houses hoping for the best and ranting anonymously on the internet about crap that doesn’t matter. Time to nut up or shut up.”
(Again, not making up the “nut” part.)
The weather forecast for Utah’s capital city is clouds, relatively high temperatures (a balmy 32 degrees) and no precipitation. It’ll be interesting to see the turn out.
One of the great things about the Sundance Film Festival‘s arrival each January (and some might argue, THE only great thing) is the preponderance of music that arrives in Utah that might otherwise pass us by.
The festival inevitably brings a bunch of Vegas resident DJs, and some hip-hop that would NEVER come to Zion. And some shows prove to be more memorable than the year’s films. I remember seeing the Beastie Boys throw down at a party at Park City Mountain Resort (a MySpace party no less), but I can’t remember any films from that same year.
This year, I imagine I’ll mostly remember the Sound City party Friday night at Park City Live, featuring Dave Grohl and a bunch of guests from his documentary. That’s just a prediction at this point, but I’ve seen Grohl play drums a few times in concert, and I’m counting on the fact he’ll do the same as he collaborates with a lineup that includes John Fogerty, Stevie Nicks, his fellow Foo Fighters, former Nirvana bandmate Krist Novoselic, Rage Against The Machine’s Brad Wilk, Fear’s Lee Ving, Cheap Trick’s Rick Nielsen and a few others.
That show sold out almost instantly, but there are several other music options still available for folks wanting a piece of the Sundance action. You don’t need any credentials or passes for these shows, but you need a willingness to spend more than you might on the average concert.
Here are a few venues and Websites worth checking out to see if something is happening that might inspire you to join the frenzy in Park City, or in SLC.
Park City Live (formerly Harry O’s), has a selection of DJs from the Wynn Resort in Vegas, like AfroJack on Sunday, and an appearance by 2Chainz on Monday, and Utah’s own Neon Trees headlining on Wednesday, Jan. 23.
The Star Bar is reopening in time for Sundance with a diverse slate of rock, hip-hop and potential train wrecks (hello, Courtney Love!). If you ever wanted to see Tommy Lee play DJ, or hear “OPP” in person from Naughty By Nature, you’ll want to check out the entire lineup of the Star Bar’s Sundance offerings.
Downstairs is always a popular spot for DJ action, thanks to owner DJ Mom Jeans, and this year you can find the likes of Lil’ Jon and DMX involved in the festivities. Go to the Ticketcake Website to check out Downstairs shows, as well as small shows all over Park City.
In Salt Lake City, a real treat comes courtesy of the Sundance Festival Cafe at the Beehive Tea Room, where you’ll find an all-star slate of local talent including Mark Dago dropping rhymes, the Folka Dots bringing the delectable harmonies, and a stylistic smorgasbord on a nightly basis thanks to bands like Hot Club of Zion, Triggers & Slips, the Moth and the Flame and more. Visit the Beehive Tea Room’s Website for the complete rundown of the free shows every night during the festival.
ROBIN WILLIAMS, KINGSBURY HALL, Wednesday, Jan. 16, 7:30 p.m., $80-$150
It’s easy to look at this appearance by the manic Robin Williams that’s being billed as “an evening of sit-down” and be disappointed that it’s not an evening of stand-up comedy. After all, Williams is one of the legends of the form, rising through the comedy club circuit of the ’70s to become a TV star (via his own sitcom, Mork & Mindy, and regular appearances on Johnny Carson) and eventually an Oscar-winning actor starring in films like Good Will Hunting, The Fisher King and Good Morning Vietnam (we’ll go ahead and try to forget about Toys and some of the family-friendly fare he’s worked on).
Here’s why this night at Kingsbury Hall is still a good bet. Williams has always been a great talk-show guest, and he’ll be joined by long-time friend and fellow comic legend David Steinberg, who will act as interviewer to Williams, and who undoubtedly knows more about Williams trials and tribulations through Hollywood than anyone. It’s most likely a once-in-a-lifetime chance to see Williams up close and in person, and I’m betting you’ll laugh as much Wednesday as you would have at one of his stand-up shows.
On its surface, the retro romantic-comedy charmer The Philadelphia Story seems a mere trifle–a pleasant evening of theater offering a look into the family foibles of upper class East Coasters.
Pioneer Theatre Company’s take on Philip Barry’s classic certainly works on that level. Any fans of witty wordplay and so-called “comedy of manners” will enjoy the dive into life at the Lord estate, where elder daughter Tracy (Allison McLemore) is slated to get married the weekend the play takes place in late June, 1938.
The show has more layers, though, that are readily apparent as more characters join the wedding weekend.
The arrival of a couple of tabloid reporters shines a light on Americans’ obsession with celebrity and the idle rich–even back in the 1930s. The Lord family patriarch has caused a scandal through his alleged relationship with a New York City dancer, and we still love a little personal scandal in our “news” in 2013. And a love triangle/quadrangle between Tracy, her fiance George (Jay Stratton), her ex-husband C.K. Dexter Haven (Todd Gearhart) and the tabloid writer Macaulay Connor (Todd Lawson) is a classic combination of “will-they-or-won’t-they-and-will-it-be-ugly?” relationship mayhem that fuels all manner of modern “reality” television.
Simply put, The Philadelphia Story‘s various machinations and subplots would fit right into an episode of Keeping Up With the Kardashians. I’m going to refrain from spoilers for the benefit of those who don’t know the story, but suffice to say, there is plenty here for modern audiences to relate to.
I don’t mean that Kardashian comparison as an insult, either–just a reflection that the popularity of Barry’s show is understandable given how timeless his themes proved to be. And together on Pioneer’s stage, those themes become a witty show that should please fans familiar with The Philadelphia Story, as well as newbies discovering it for the first time. (For those folks, I highly recommend the film version with Katherine Hepburn, Cary Grant and Jimmy Stewart–great stuff).
Pioneer’s production leans heavily on McLemore’s skills, and she proves up to the task of playing the character that evolves the most over the course of the show, from the uptight bride-to-be to a young woman seemingly just discovering who she really is through the events unfolding over the weekend. Other performance highlights come from Joyce Cohen as Tracy’s mother Margaret, and Bill Nabel as Uncle Willy.
Wilson Chin’s scenic design deserves a nod–the lifestyle of the ’30s-era wealthy came through loud and clear through his work, as it did through costume designer David Toser’s. The combined efforts of the artists involved on the production side certainly were able to evoke the era with great style.
The Philadelphia Story runs Mondays through Saturdays at Simmons Pioneer Memorial Theater through Jan. 26. Visit the Pioneer Website for showtimes and tickets.
SHEMEKIA COPELAND, EGYPTIAN THEATRE, Park City, Friday, Jan. 11-Saturday, Jan. 12, 8 p.m., $25-$39
Shemekia Copeland was born in Harlem, not exactly a place known as a hotbed of the blues, but don’t let that fool you. The 33-year-old blues belter is the real deal. She’s been declared the “Queen of the Blues” via an official declaration by the city of Chicago, and they know a little bit about the blues in the Windy City. She was also named Living Blues Magazine’s “Most Outstanding Blues Singer” in 2012, and she’s opened for none other than the Rolling Stones in her still-new career. Her most recent album, 33 1/3, was released in the fall, and seeing a rising star like Copeland in the cozy confines of Park City’s Egyptian Theatre should be a real treat.
Former Utah Museum of Contemporary Art director Adam Price will leave in mid-February to lead the Bemis Center for Contemporary Art in Omaha.
Price, who announced his departure from UMOCA last month, says the Bemis, which offers an extensive residency program for artists, is a “good next step” for him as an arts administrator.
Price, a Harvard-trained lawyer, entered the Utah contemporary art scene through his 337 Project, in which street artists swarmed over a soon-to-be-demolished building creating a transitory art gallery. 337 is seen by many Salt Lake artists as a milestone in the city’s cultural development.
Though the new position is administrative and involves the usual fund-raising responsibilities, Price says the Bemis’ generous residency program — offering 36 residencies each year — will give him an opportunity to interact more with artists as they create.
“I loved 337,” he says. “The Bemis gets me back closer to that—I enjoyed working closely with artists during the creative process.”
It sounds nice and the Bemis has money and cred—Christo is on the board, but Omaha? So is it a step down or up? The Greater Omaha area includes about 1.2 million people compared to the Wasatch Front’s 2.5 million. The gallery space of the two museums is about the same, though the Bemis is spread between a couple buildings.
Price’s legacy to Salt Lake is contemporary art programs that take art outside the walls of the museum to engage the public, including a lawn art competition and the “Fallen Fruit” exhibit that mixed museum art works with family mementos and conducted tours of Salt Lake’s remaining fruit trees.
It’ll be interesting to see if UMOCA’s exuberant outreach continues under its new regime.
Daniel Nailen 