Telluride Festivarian Vol. 1 Winter 2012 by Telluride Festivarian Magazine

ISSUE

ONE

2012 SUMMER IN REVIEW

EVERY FESTIVAL MOUNTAINFILM TO HORROR SHOW, WITH: CHARTING WINE

TVFD’S VOLUNTARISM

GEORGE PORTER ON RECORD

Welcome to the

Telluride

summer

Photo Courtesy of Mariah Elmore Space provided by Telluride Sports

Founder's Letter Telluride Festivarian Magazine number one

Chief Executive Manager Chad Wallace Editor-in-Chief Eli Wallace Copy & Design Editors Sam Chavis, Angie Erickson, John Glover, Victoria Guida, Jill Wilson Publisher Jackdawg Productions LLC Lead Design Eli Wallace Contributors Sam Chavis, Steven Craig, Nelson Dougherty, Jack Goose, Graham Hoffman, Geoff Peck, Shaina Refnik, Eli Wallace, Katherine Warren Comics Pete Hilstrom, Dave Kirmse

Beware of the thoughts that go through your mind while driving the Dallas Divide. It was a crazy idea, a magazine only covering the festivals in Telluride. This was nothing new though. You see, crazy ideas come to me all the time—as if there is some kind of cosmic idea incubator on Highway 62, and I just ran over one that stuck. After a bit of luck, assembling a great team, and some hard work, I am proud to present to you our first edition. The amount of generosity and kindness that has been shown to us by the Telluride community has been overwhelming. This would not have been possible without all those whose support has kept our spirits high and our vision clear. To our advertisers, writers, green sponsors, the festival producers, and all those who have lent your kind words of support--we thank you. It has been a joy to live and document in a place as special as Telluride. So my friends, please sit back, relax and enjoy the quality content that we have put our hearts and souls into. And remember: beware of the thoughts that go through you mind while driving the Dallas Divide.

Photography Chad Wallace, Eli Wallace Advertising Sales Chad Wallace, Derrick Webb On the Cover: The Mancos wildfire smoke blows into the Telluride Valley during the 39th Bluegrass Festival, dyeing the sunset orange. Photo by Chad Wallace. Telluride Festivarian is published twice a year by Jackdawg Productions LLC, P.O. Box 2614, Telluride, Colorado 81435. Reproduction in whole or in part without written permission is strictly prohibited. To advertise in Telluride Festivarian, call 970.239.4224. For editorial inquiries, please email eli@telluridefestivarian.com Photo Credits: Mariah Elmore, Chad Wallace, Eli Wallace stock: 123rf.com users picsfive, frameangel, gpalmer1477, Jovani Carlo Gorospe, and Dmitriy Denysov

Chad Wallace P.S. Please return this magazine to a rack or your concierge for others to read. Just don’t go throwing it in the trash—at the very least, recycle! Think green, y’all.

CONTENTS THE FESTIVALS

06 12 15 17 18 28 32 34 42 44 46 48 49 51 56 58 62 65 69 77 84 87

Mountainfilm Balloon Heritage Wild West Bluegrass Wine Plein Air Firemen’s 4th Playwrights Yoga KOTO Doo-Dah Nothing

BLUEGRASS

THE MOTHER OF T E L L U R I D E FESTIVATION

N E W B I E S

65.84

THE RIDE AND BARBEQUE BREAK INTO THE FRAY

G E O R G E P O R T E R

Americana Music Jazz Chamber Music Mushroom Festival of the Arts The Ride Film Blues & Brews Barbeque Horror Show

INTERVIEW WITH THE RENOWNED METERS BASSIST IN THIS ISSUE

05 24 40 83 88

Going Green Comic Break Eats, Drinks, & Diggs The Brews Report Festivarian Directory

Thank you to our first green sponsors, Mountainfilm and EcoAction Partners!

We recognize the environmental responsibility that comes with publishing a print magazine— which is why we’re working with EcoAction Partners to set up a green sponsorship fund. We’re trying to make our printing natural, our footprint small, and our conscience green. Green sponsor funds that go through Eco Action Partners are earmarked to make our next publication print on Forest Stewardship Council certified, Elemental Chlorine-Free paper—which means our paper will be made from responsibly-logged wood in a process which will minimize negative effects on the ecosystems where it is made and distributed. Our current green sponsors are also hard at work to keep the earth happy and healthy—just look at Mountainfilm, which has minimized its waste and impact by eliminating the use of single-use disposable dishware and silverware. They also offset their carbon footprint by purchasing hydropower and annually commit to offsetting the 90,000 pounds of automobile and air-travel emissions created by people traveling to the festival. The people at EcoAction Partners constantly work to increase sustainability in the Telluride

Donate to our Green Fund

region through environmental consulting, energy efficiency, increasing local food and reducing waste. The folks coordinating and staffing the compost bins at your rad summer festivals—that’s EcoAction Partners and volunteers. From assisting festivals and businesses in finding local, organic food options to helping them rethink waste and the way they use energy, EcoAction Partners demonstrates a constant commitment to the environment of and for our community. Help them help us by visiting www.ecoactionpartners.org. YOU can play a part in achieving our green goals. First, please return this magazine to one of our racks, to your concierge, or—if you must—to the recycling bin! To donate to our green fund, use the QR Code below, or click the PayPal button on telluridefestivarian.com. Please type “Telluride Festivarian Green Fund” in the purpose line of the donation. Organizations wishing to become green sponsors should contact eli@telluridefestivarian. com. Kermit says it’s not easy being green. Maybe when you’re all alone, little frog. Together, with the help of the generous support of our sponsors, being green doesn’t seem so hard.

Volunteer with EcoAction

Heart,

indomitable. may25-28, 2012

WENTY-THREE MILE PER HOUR winds gust through Telluride, and the roughly hundred people lined up outside the Sheridan Opera House couldn’t be happier. A woman holding on to her hat laughs, “If you don’t like the weather in Telluride, wait five minutes.” Sure enough, the wind dies down minutes later as the line inches forward. It’s the third day of Mountainfilm in Telluride, and we’re waiting to get into the screening of Right to Play, directed by part-time Telluridian and Hollywood Producer Frank Marshall. The film, like many in the 2012 Mountainfilm lineup, both jerks tears and uplifts hearts. It follows the story of Johann Olav Koss, 1994 Olympic speed skater, beyond his gold medals to the development of his greatest passion: giving the right to play back to children in war-stricken areas. The organization that sprung from his efforts, also called Right to Play, donates balls and materials in

By Eli Wallace addition to leading games and sports for children across the globe, many of whom only know how to fight and kill. It is now the go-to nonprofit for Olympic athletes and helps more than 700,000 children. Right to Play highlights Koss’s indomitable spirit, a buzzword around Mountainfilm screenings--and likely one reason that audiences chose it for the 2012 Audience Award. The films chosen for the festival generally fall into three groups: extreme sporting, environmentalism, and social activism. These categories come together in Mountainfilm to celebrate spirit, pushing beyond boundaries, and overcoming adversity. The much-discussed Bidder 70, for instance, follows environmentalist Tim DeChristopher through his trials and their ensuing tribulations, after he presented false bids during an oil and gas lease auction for public land in the Red Rocks area of Utah. His message, to act on your values, inspires audiences as much as his resilience in >>

Mountainfilm facing the legal consequences of his civil disobedience. His work instigated the founding of Peaceful Uprising, a Salt Lake City-based environmental activist group dedicated to defending a livable future. Though DeChristopher could not attend the premier of Bidder 70, the members of Peaceful Uprising spread their message of environmental empowerment throughout the festival. At its roots, however, Mountainfilm remains a festival about life in the mountains. This year’s Adventure and Adrenaline Programs raised hairs with outstanding displays of mountain biking, skiing, surfing, climbing, road racing, and ice climbing. During the Adrenaline Program, All.I.Can JP Auclair Street Segment took skiing to an urban level, with gorgeous, surreal shots of skis sparking on pavement, urban ice melt at dawn, and daring flips over parked cars—ultimately winning this year’s cinematography award. Even in these beautiful shots and blood-pumping

action, heart appears in the sheer determination and passion of these highest-octane films. From surfing one of the largest swells ever seen off the coast of Tahiti (Code Red) to waking up before Los Angeles marathon runners to crash their racecourse on bikes (Racing the End) or base-jumpcartwheeling off insanely high cliffs (I Believe I Can Fly), Mountainfilm features people crazy in love with what they do and willing to put up with just about anything to do it. Passion is what brings people from across the globe to Telluride for any festival—and it certainly explains how Mountainfilmers gathered at Honga’s Lotus Petal for coffee at 8 a.m. on Mountainfilm’s last day. Coffee talks, now institutional at Mountainfilm, bring together audiences with many of the directors, adventurers, and activists involved with films and subjects screened during the festival. Each talk centers on a theme, such as habitat loss and the state of non-fiction or the topic of this particular discussion: pushing mental and physical >>

Authors and audiences merge at the Reading Frenzy, a testament to the intimacy of the festival.

>> limits. Jimmy Chin, whose film House of Cards follows his second unsuccessful attempt to summit the extremely technical Shark’s Fin on the Himilayan mountain Meru, figures he’ll be back on the summit after a year or two. Also present are the National Geographic Young Explorer Sarah McNair-Landry, Cory Richards of Mountainfilm 2011’s Cold, and Jon Turk, author of The Raven’s Gift. Together these adventurers have suffered metabolic shock, polar bear attacks, heat stroke, extreme exhaustion, and some of the coldest temperatures on the face of the planet — all in

the name of pushing exploration forward. The inevitable question arises: Why? Jon Turk grins, sun-worn wrinkles cutting into the side of his face. “This is my day job,” he says. “I’m not employable.” For Jimmy Chin, pushing himself to harder summits and even more intense conditions is “a part of basic human nature.” He keeps going because it’s what he has to do. The others nod, an unspoken understanding between them. And that, festivarians, is why we Mountainfilm.

Space provided by Telluride Sports

13 Mountainfilmâ&#x20AC;&#x2122;s last look: Heavy winds brought in thick dust, but that certainly didnâ&#x20AC;&#x2122;t stop the ice cream social, also pictured opposite.

Up In The Air

Tellurideâ&#x20AC;&#x2122;s 29th balloon festival june 1-3, 2012 by tfm staff

ON’T LET the propane tanks fool you: ballooning is as delicate an art as predicting the wind. With no method of steering other than changing their hot air balloon’s elevation, pilots must seek out different wind currents in order to move from Town Park down-valley towards Lawson Hill,without crashing into Telluride’s picturesque box canyon. Of course, this creates a flexible, easygoing group of pilots. At 6:15 in the morning, the sun has yet to flood the valley floor. Pilots, crew, and volunteers sip coffee provided by fundraising high schoolers and wait for the official word on the weather. Pieballs, small test balloons that otherwise look like the decorations of your niece’s 6th birthday party, float above Telluride, their movements carefully

tracked to map out the air currents. Wind in the valley is especially difficult; Bear Creek often acts as a cold microclimate, swirling with the fast-switching winds moving over the mountains. On Saturday morning, pilots cancelled flights due to a storm suddenly blowing in from Cortez. “That’s just how it works,” says Peaches Crawford, who heads crew on Jr., a balloon from Las Lunas, New Mexico. “That’s why there’s tomorrow.” Before Sunday morning, however, balloonists filled Main Street with jets of flame. The annual Main Street GLO usually features tethered rides, but winds turned the night into the ultimate fireshow, with balls of blue-orange flame puffing from the large flamethrowers used to fuel the balloons. The presentation stretched from the courthouse past Pine, >>

16 >> delighting children and adults alike. Clear skies and gentle winds the next morning lifted the festival off the ground, and the balloons soared aboveâ&#x20AC;&#x201D;and occasionally straight throughâ&#x20AC;&#x201D;Telluride. While the first balloons to take off took advantage of the down-valley wind, that wind stagnated and switched directions, sending several balloons east towards the mountains. Several pilots landed on town streets, with one balloon landing directly on Main. For first-time riders, even this shortened trip was worth it. Crews packed up their balloons, returned to Town Park, and held a short ceremony to initiate these novice riders into the world of ballooning. By 8:20 a.m., with a successful flight under their belts and the champagne flowing, the festival drew to a close with spirits flying high.

kickin’ it old school Heritage Fest JUNE 8-10 By TFM Staff

heritage

ROM THE ORIGINAL UTE tribespeople to miners searching sixteen hours per day for veins of gold, from the famous Jack Dempsey to the equally infamous Butch Cassidy— page Telluride’s rich heritage goes far beyond its current ski/festival-town status. In 1858, prospectors found gold in the surrounding mountains, which led to Telluride’s founding two decades later as Columbia, Colorado. After a name change and significant development, Telluride was wealthy enough for Butch Cassidy to make out with $24,580 in his first major bank robbery. Development continued, with Nikola Tesla helping build the world’s first major AC power plant in the area at the Ames Hydroeletric Generating Plant, launching the town into the modern world. But while settlers first came for the gold, by the 1970s, they stayed for the skiing—not to mention the hiking, kayaking, mountain climbing, hang gliding, and festivals, which all together put Telluride on the map as the vacation destination we know today. The Telluride Historical Museum’s annual

Heritage Festival educates and entertains all ages by taking Main Street back to its roots. Sheep shearing, gold panning, and blacksmithing keep it educational, but there’s plenty of room for whimsy. Kids especially enjoyed the all-day facepainting and the scramble for money at the old-fashioned nickel drop. Standouts for this year’s programming included the stunning performances by Ute drummers and dancers, who shared a mix of their traditional and modern dance styles. World-renowned hoop dancer Charles Denny performed with twenty hoops, dazzling audiences with his footwork and seamless movements through multiple hoops simultaneously. Following these Ute dances, Telluride Theater recreated Jack Dempsey’s match against “The Beast” of Denver, Colorado. Dempsey worked part-time as a dishwasher in Telluride before his boxing career took off, and during the match took down his favored opponent. Finally, it came time for the hairy and sweet competitions to begin. The all-ages mustache contest, featuring real facial >>

18 >>fringes and a good deal of stick-ons, saw everything from the “Hernandez” mustache (real fringe, upward, curling ends) to the newly coined “loop-de-loop” (stick on, rolled on itself) and “totally awesome mustache” (stick on, gender-bending) styles. Afterward, competitors vied for sweet success during the no-hands pie-eating competition, divided into rounds for children and adults. The festival concluded Sunday with a retreat to Schmid Ranch, where the owners showed parents and kids their newest kids— that is, their week-old baby goats. Hands-on exploration of ranch life, followed by a picnic overlooking the serene Wilson Mesa, brought the weekend to a quiet close. Telluride has come far from its prospecting days. For one weekend per year, however, the past returns for everyone’s enjoyment.

by the numbers

wild west fest

days

filled

with

activity

years

changing

l i v e s

students in attendance

annually

1,050 number

students

affected

8,000+ total

miles

students

traveled

50,000 yearly amount of money

raised

Leading,

Learning by KATHERINE WARREN

s summer began to take a hold of Telluride, 45 underprivileged youth came to town from such places as Atlanta, Dallas/Ft. Worth, Denver, Phoenix and Santa Fe. June 4-9, the Sheridan Arts Foundation, the 501(c)3 that owns and operates the historic Sheridan Opera House, hosted kids ages 12-18 from Boys & Girls Clubs from around the country for the 21st annual Wild West Fest. It’s not your typical Telluride festival--crowds don’t pour in from Denver, and the camp grounds still have extra space. It’s a celebration of Western culture and youth empowerment. Many of the kids who came to Telluride in the beginning of June had never been on a hike or ridden a horse. But after a week in Telluride, they’ve fly fished, hiked up Bear Creek, roasted marshmallows at Schmid Ranch, and expanded their horizons. The most integral part of Wild West Fest is the Chip Allen Mentorship Program (CAMP). Participants were

grouped with professionals in the fields of drama, dance, horsemanship, fly fishing, outdoor adventure and music, who work with them through the week to learn more about their chosen field. “The very best thing about Wild West Fest is seeing the kids lose their inhibitions, gain confidence and become more aware of their own potential throughout the week,” said Mentorship Director Jennifer Julia. “You can see them grow as individuals, it’s very exciting!” One participant from Denver wrote the following in a thank you note: “The experience here in Telluride was amazing! As soon as we entered into the town, I felt welcome. Everyone is so friendly, it felt like home, almost like I’ve been living here all my life. … It’s nice to get out of the city and enter into that calm, heart-warming glowing stars place, Telluride.” Wild West Fest wrapped up with a benefit concert featuring Imagine, a Beatles Tribute Band, and the drama, dance and music mentorship groups performed on the historic Sheridan Opera House stage.

tellurideâ&#x20AC;&#x2122;s Mother of Festivation

bluegras

by eli wallace

June 21-24

ed p a h s l a v i t s e F grass e u l B e d i r u l it. l e w o n k The T e w s a e d elluri T n i e r u t l u c l ht festiva g i m u o y , k r a wn P o T n i m a 0 :3 3 At y. understand wh

t’s 3:30 in the morning and, despite having gone to bed around midnight, I’m awake, eggrolled in a blanket, sitting in the dark between a bubbling stream and a line of port-a-potties. Similarly bundled, yawning people stretch into a line around the corner. In front, the earliest birds stand in circles, chatting about last night’s set, somehow staving off sleep and cold. Hours later, the sun crests over Ajax. The makeshift camps have been packed up and slung over their occupants’ shoulders. I shift my chair from arm to arm, backpack stuffed and ready. The daily tarp run is about to begin. At the start of each day of the Telluride Bluegrass Festival since time immemorial (1973), devoted festivarians have lined up dark and early to grab a queue number for the tarp run. It’s like a Black Friday

sale with $50 plasma screens, except instead of cheap electronics, festivarians bust down the metaphorical doors for prime real estate in front of the stage. Numbers are given out at an unannounced time that changes from day to day. The real trick, as an expert with a below 50 number informed me, is to come early and have people in your crew swap out with you. That way your stiff, cold joints won’t need to carry the team for the run. Also, pack light. Running with blankets and chairs spewing from your backpack is harder than it seems. The gates open, and the race is on. Perhaps the idea of mad-dashing for space first thing in the morning, especially a morning after a festival, sounds a little crazy to you. After all, it’s cold, it’s early, and you have to carry all of your stuff. But that’s exactly what the

Telluride Bluegrass Festival is: one part crazy, one part resilience, and three parts fun with strings. The festival spirit is one of being unstoppable, so come a week early, put your whole heart into it, and just keep going. No matter what happens, you’re going to have the time of your life. That’s just how Bluegrass works. After all, it’s this spirit that gave birth to the Telluride festival season, when the first Bluegrass changed the way Telluride thought of itself. Back then, the town of disgruntled miners begrudgingly accepted hippies and skiiers into the area and was plenty content to add nothing else into the mix. But those first Bluegrass festivals, in their spirit and performances, showed performers and attendees that Telluride’s potential had yet to be met. >>

©[Picsfive]/123RF.COM

>> As the story goes, Bluegrass grew out of the annual Independence Day celebration, which Telluride built up through the ‘60s into a major area fireworks display and all-out party. With the culture shifting away from the all-American miners, Telluride grew caustic to the hippies’ rollicking celebrations. The town compacted the festival in 1973 into one day. Still, the celebration raged on; this time, with two local bluegrass bands—Fall Creek Band and Black Canyon Gang—and about one seventy-fifth of the attendance of the modern festival (around 200 people) in addition to other activities.

The next year, Bluegrass expanded to take on its own festival weekend. The Library of Congress records an attendance of 7,500 by the sixth year, likely due to word-ofmouth and the recording of two live albums. The small, beautiful, and geographically isolated venue engendered fierce loyalty in its attendees, and the festival’s open-minded attitude towards progressive bluegrass music and styles attracted a mix of people from across America. This loyalty comes out in the fans as well as performers, and the Bluegrass festival has plenty of returning veterans to prove it. ‘Veteran’ is a relative term

here—after all, one to five years of playing before festivarians hardly stands up to Sam Bush’s 38 years at Telluride Bluegrass (he’s called ‘The King’ for a reason) or Peter Rowan, who first played at the 1977 festival and has returned regularly since. Other veterans--from The Punch Brothers to banjo hero Béla Fleck to more recent acts like Greensky Bluegrass--read like a catalogue of the creators of modern bluegrass and point to where the musical style’s headed. But in the performances and festival’s booking, it’s clear that Bluegrass is about making great music and having fun, not seniority. In this year’s >>

©[Picsfive]/123RF.COM

festivarian comics

To view more of Dave Kirmse and Pete Hilstromâ&#x20AC;&#x2122;s collaborations, check out the comics page on our website, telluridefestivarian.com.

mance in >>FirstGrass, the free perfor dnesday before We the Mountain Village on ed new-tothe festival, Peter Rowan join stage. New and on e Ma lla Telluride band De lla Mae’s picking, old, Rowan’s vocals and De tastic show. fused together to make a fan nger to stra no is ass Telluride Bluegr ularly reg it as er, eith blurring the lines, sound and h wit n tio nta me encourages experi ious styles and brings together artists of var there was New influences. In the beginning t questioned what Grass Revival, the band tha music by it meant to make bluegrass other genres, m fro s nce introducing influe k. This lives on such as protest songs and roc performers and in the campgrounds, where us jam sessions, attendees bust into spontaneo two falling to the the distinction between the n guitar-bagpipeswayside over a combinatio s, it’s just part of fiddle jam. If the music fail it works, it might the overall good times. If . end up on stage the next day row told Planet Sor ls Kil Matt Arcara of Joy was the first Bluegrass, “Telluride in ’99 In a lot of ways bluegrass festival I went to.

Sam Bush rocks it mainstage.

©[Picsfive]/123RF.COM

life.” It’s a it changed the course of my d the festival, and common sentiment aroun for Telluride itself. something that holds true Telluride, the After Bluegrass took root in ntation, and fun spirit of dedication, experime luride festival gave rise to the booming Tel er juggernauts culture that thrives today. Oth ide, from Blues also found success in Tellur and Jazz. and Brews to Telluride Film n, Playwright’s, Smaller festivals like Balloo o flourished, Heritage, and Yoga have als ive attitude that, fostered by the town’s inclus welcomes and like in campground jams, encourages all types. n Park for the So even if sleeping in Tow ped about tarp run doesn’t get you pum ious credit due to Bluegrass, there’s some ser ke Telluride the the festival for helping ma nk of it as today. summer wonderland we thi s and tip our For that, we raise our glasse ne involved: the hats to Bluegrass and everyo most of all, the artists, the organizers, and l kind of festivarians. It takes a specia rious thing. madness to create such a glo

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A toast to Bluegrass.

charting

june 27 to july 1, 2012

the Telluride course Wine by Steven Craig

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OYAL BLUE VERSUS ROBIN’S egg but are unable to identify, relax and let your mind blue, the sound of an electric guitar drift back to a memory associated with that scent or flavor. versus an acoustic guitar, a loving Scents are hard-wired into our brains--we just hug versus a bear hug. For most of need to trigger a recollection to identify them. us, these are readily identifiable and conjure more or less the same image in our minds. We are taught Walking through a pungent lemon grove, a freshly cut lawn, your dog emerging from a river, Grandma to identify colors and sounds and tactile sensations, baking brownies, your neighbors’ rose bed, hay in yet when it comes to aromas and flavors we tend the barn, vanilla in a Madagascar market--let the to grasp for descriptors if we don’t have a visual or scent conjure the scene in your mind. Like most tactile cue. things, the more you do it, the easier it gets. >> While we have the ability to distinguish around 10,000 different odors, we are not conditioned to label them. When an aroma of berries wafts into your olfactory cavity, how easily can you differentiate raspberry from blackberry without seeing or touching the berry? One way is to use the chart below. Developed over a span years and first released in 1984 by Ann C. Noble, a professor at UC Davis Department of Viticulture and Enology, the Wine ry er cot Ac Sh h eti e C pri h rr ca Aroma Wheel y A ac cid E ( (na th Pe ple vin classifies il p yl a eg Ap Ox ar) t oli cet i u sh id a hee aromas Fr ize rem te Lyc apple d ee ove r e T r) Pin on typically found Sulfu r dio O Mel na Pun xi cal xide in wine. Start di gen opi Bana r z T t Wet do ed m) it g u / r w y erry (ja F e t t from the wool Strawb rui F Burnt mat Raisin ch center of the ed/ Fruit ( dri Cooked cabbage Prune cooked) wheel and Fig l a c i m C he Skunk Sulfur work your way O ther Artificial fruit Garlic He Methyl an out. r b ) n thranilate pta Ve ace (foxy) as (merca o ge Fres N atural g Care to tat us/ s) C g g h u e t g n r een gra te i t o v r ( e ss Bell lfide identify ber p m gen Su Rub Euca epper Ca Hydro leu l o y Co nne aromas and tr Min ptus sel Pe t ok d/ Die ne dy e l d e flavors without o G s r o ic r M As een Ke Plast r using a chart? Gr para bean Ta B ee gu k Association is the Ar lack n ol s or tic o ive C ho live key. When you are dy ol ke M presented with a scent or flavor that you recognize

>> Weight, texture and other tactile sensations within our mouth contribute to our gustatory experience. While we typically use flavors to describe food and wine, mouth-feel is rarely mentioned. Would a flourless chocolate decadence cake be the same if it delivered all the same flavors, but were thin as water? A classic textural delineator in wine is tannin. Some people seek it, while others avoid it. >>

RedRed Wine Characters WineVarietal Varietal Characters

>> Another set of descriptors breaks down the characteristics typically found in wine varietals. The charts on this page display varietal characteristics for red and white wines. Identify characteristics you find appealing in a familiar wine, then look for the same or similar characteristics in other varietals. For example, if menthol in cabernet sauvignon enchants you, look for menthol in another varietal, such as shiraz. Cheers!

White WineVarietal Varietal Characters White Wine Characters Chardonnay

Sauvignon Blanc

Riesling

Semillon

Gewurztraminer

Cucumber Celery Mineral Flint Green apple Grapefruit Citrus Lime Perfumed Honey Apple Nectarine White peach Pineapple Peach Melon Mango

Lantana Cats urine Boxwood Broom Tomato bush Blackcurrant bud Elderflower Nettle Asparagus Artichoke Capsicum Green bean Pea Pod Vegetal Cut grass Dill Celery

Herbal Mineral Flint Green apple Grapefruit Lemon Lime Citrus Orange peel Citrus blossom Rose Jasmine Musk Honeysuckle Floral Perfumed Bath salts

Lantana Asparagus Green bean Pea pod Herbal Gooseberry Cut Grass Gooseberry Green apple Lemongrass Lemon Citrus Hay Apple Pear Tropical fruit Quince

Grapefruit Citrus Cologne Perfumed Cold cream Rose Musk Lavender Potpourri Floral Lychee Passionfruit Mango Guava Tropical fruit Spice

Quince Fig Hazelnut Chestnut Tobacco

Gooseberry Green apple Grapefruit Citrus Passionfruit Melon

Cold cream Apple Pear Pineapple Passionfruit Guava

Fig Honey Lanolin Biscuit Toast Smoke

Muscat

Viognier

Mango Tropical fruit Mineral Flint Gunpowder

Tropical fruit Quince Kerosene

Flint

Citrus Orange blossom Violet Iris Ylang ylang Floral Perfumed Musk White melon Lychee Pear Peach Apricot Tropical fruit Marmalade Honey

Chenin Blanc

Verdelho

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Cut grass Citrus Honeysuckle Pineapple Passionfruit Melon Guava Tropical fruit Spice Musk

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Herbal Tomato Pepper Spice Raspberry Cherry Loganberry Blackberry Blackcurrant Briar Plum Fruitcake Walnut Cola Raisin

Tarragon Capsicum Dusty Cherry Blackberry Blackcurrant Plum Violet Musk Perfumed Mint Mineral Pencil shaves Tobacco

Bacon fat Earthy Beetroot

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©[Picsfive]/123RF.COM

TSR_Festiv_Ski School_TSR_Festiv_Retail 10/4/12 11:46 AM Page 1

Experience the Unmatched

with Telluride Ski & Snowboard School For information: 970.728.7507

P R I VAT E & G RO U P L E S S O N S

july 3-5, 2012

plein talk

artists from the 2012 plein air festival in elks park speak about their chosen form, studio work, and the wonders of telluride

on the meaning of plein air “’Plein air’ just means ‘in the open air.’ You’re breathing it, and you’re feeling it, and you’re able to capture the light, and capture what’s going on in the scene in a way that you can’t capture in a photograph. I know because I’ve tried.” -Rita Pacheco, Carlsbad, CA “It’s the most fun you can have as a painter.” -Susan Lynn, Kansas City, MO “To make a really, really great piece of artwork, you need to go outside.” -Joshua Clare, Clear Creek, AZ “It’s my life. It’s my lifestyle.” -Greg Barnes, North Carolina Susie Hyer in her display tent

on what the form affords over studio painting “You think about things a little differently in the studio. You have more time. When you’re outdoors you’re responding to what you see—there’s more of an immediacy... but the best part to me is just hanging out in the woods, listening to the birds.” -Susie Hyer, Evergreen, CO “You see it as it is, as it’s changing. You’re there, in the moment, painting it.” -Bill Kramer, Prescott, AZ “It’s an opportunity for me to interact with and be a part of nature, not simply to depict it.” -Deborah Paris, Clarksville, TX

on telluride and the surrounding scenery “Oh my word. This is the most beautiful place on earth.” -Joshua Clare “The thing I like the best [about coming to Telluride] is the camaraderie of all the other artists…we’re all inspired by each other.” -Susie Hyer “Anywhere you look or go, there’s a painting to be done.” -Greg Barnes “The clarity of the air [in Telluride] makes the mountains a special color. That blue!... It’s like no place else in the world.” -Julia Munger Seelos, Redwood City, CA “This is my first time [to Telluride]. I got here and I was just flabbergasted.” -Rita Pacheco

FIREMANS FOURTH

FIREMAN’S FOURTH

HE F-16S SCREAMED BY with a thunderous flyover above Telluride. They followed Colorado Ave. eastward towards the end of the canyon for what seemed like a perilously long time before pulling up and disappearing from view. The Fourth of July parade in Telluride was underway. Despite the threat of rain, the town and surrounding areas turned out in large numbers, lining both sides of main street four and five rows deep and covering the town in their red, white, and blue attire. The euphoric cheers that followed the jets out of the canyon also welcomed the first fire trucks down main street at the head of the parade. Every Fourth of July the town of Telluride stages a parade led by the Telluride Volunteer Fire Department, which in turn hosts a picnic-style barbeque in Town Park. And while there were no fireworks this year due to statewide low water levels and sparse rainfall, there is usually quite the pyrotechnic display. To Telluride and the almost four hundred square miles that are under the protection of the fire district, the TVFD exists as so much more than a typical fire department. The department means a great deal to the community and vice versa. This fire department is interwoven into the

fabric of the community even more than the ski mountain and as much as the mining history of the town. Volunteer firefighters have been protecting this community since 1878, a mere two years after Colorado’s acceptance into the Union. This sense of tradition in the town has created a strong bond between the two. Telluride Fire Chief Jamey Schuler has been with the department for nineteen years and is a fourth generation member. For over a hundred years, heritage, tradition, and civil service have connected the community and department, and that continues today. Voluntarism is as singularly American as baseball, apple pie, and jazz—and volunteer organizations such as the TVFD have existed in this country from its inception. The French political thinker Alexis de Tocqueville noted this altruistic attitude when he visited America in the early 1800’s, calling America a “nation of joiners.” This attitude has only grown and helped to create communities as tightly knit as Telluride. Part of what makes America one of the greatest countries in the world is this spirit of giving back to the community. During the Fourth, the town picnic and would-be fireworks are organized and produced for the community at a financial loss to the Fire Department.>>

>>The investment that the department makes in the town is returned by support and donations. The community supports the department with a shared sense of duty displayed by working together on various projects. One example is the Galloping Goose, the free bus transportation system connecting many towns in the area that is owned and operated by the department. This was recently refurbished in collaboration with the town. Donations to the department are also reinvested into the town in other ways—for example, every year the department gives a $6,000 scholarship to a graduating senior. And while the department takes a hit

financially on the Fourth, it increases town traffic and results in a spike for local businesses. The Telluride community’s vibrancy and togetherness was on full display during the parade. Fire trucks led the way down Main Street followed by every and any organization or group that wanted to participate in the American jubilee. Local kids were out in force walking, biking, skateboarding, or hitching rides on one of the many floats. They kept the parade watchers entertained by tossing out candy and spraying the crowd—and each other— with super soakers. Amongst them, numerous Captain America Juniors showed their American pride.

Additionally, the local chapter of the Humane Society was present walking puppies and other dogs close to the crowds along the street, and animated applause arose for the procession of military veterans from the area. Of course, Telluride added its own flavor to the parade. There was the Michael Jackson dancing troupe shimmying along to “Thriller” as well as an entire group of people bizarrely dressed and moving as robots. One man did a handstand on his skateboard down the street as far as I could see. Perhaps it’s the remoteness of Telluride that brings out the bizarre on days such as this but, whatever the reason is, the parade was an exciting and eclectic mix

39 with no shortage of entertainment. The emotional ties that people imbue in the community and the love of that community became clear during the parade. As a volunteer organization, the Telluride Volunteer Fire Department is made up of only those who want to be there. What sets apart Telluride, however, is the lack of firefighter turnover. There is a set number of full time firefighters: three battalions of seven, plus officers. In order to be voted a full time member, a spot must open up. The waiting list in Telluride from associate to full time can be months or even years. Associates are trained for the entirety of the time they are waiting to be voted upon. Thus, they are well trained and

ready to hit the ground running the moment theyâ&#x20AC;&#x2122;re voted a full time firefighter. Full time members go out of their way during this time to make associates feel welcome and a part of the group. This attitude and fostering of team unity is one reason the department means so much to Telluride. Firefighter Jon Martin describes them as â&#x20AC;&#x153;the kind of people you want to be associated with.â&#x20AC;? Because the department firmly believes in the Telluride community and wants to be part of it, the TVFD is unique in its strength and meaning for Telluride. For the vast majority of the time, the TVFD is alone and unable to call on professional units for assistance, unlike most volunteer departments.

Their strength as a department is necessary for the continuing of the community they protect. There is a sentiment in town to professionalize the department so as to receive more funding for further training, equipment, and a full time staff. This could lead to numbers as few as half of the current firefighters, since each firefighter would be paid and on call more frequently than the volunteer set up of one week on and two weeks off. With fewer numbers, the department would risk being undermanned if a situation ever became uncontrollable. Aspen is similarly a volunteer outfit, while nearby Snowmass is a paid unit. Snowmass has a very small squad and has an official agreement with Aspen to be able to call on more manpower. >>

>>Aspen is called in on â&#x20AC;&#x153;anything [larger] than a dumpster fireâ&#x20AC;? for more men, says Chief Schuler. For the protection of the county, the TVFD is and will remain a volunteer organization for the foreseeable future. Over 75% of the members of the TVFD are red-carded and therefore on a federal list for responding to large forest fires. This particular summer has been exceedingly harsh for forest fires with record lows in state water levels. Telluride sent crews to assist in fighting multiple fires over the course of this summer, including Boulder, Ft. Collins, and nearby Mancos. Telluride is ready, willing, and able to assist in fires far outside the region because it has the support and belief from the town necessary to shape it into a successful department. The tradition and heritage that creates the bond between the TVFD and community is apparent every day and especially so on triumphant occasions like Independence Day. As a result, the parade is quite the spectacle, encompassing a variety of floats. One local couple was even married upon a float during this yearâ&#x20AC;&#x2122;s parade. From the Air Force flyover and procession of fire trucks to the Michael Jackson dancers, the parade blended the passionate patriotism of the region with the sometimes offbeat and unique spirit that can only be found in Telluride.

FIREMAN’S

EATS. DRINKS. DIGGS. TELLURIDE FESTIVARIAN RECOMMENDS

EATS FLAVOR TELLURIDE 122 S. Oak St., (970) 239-6047

Located in the historic Dahl Haus, Flavor features the highest quality seasonal ingredients in an upscale atmosphere. The top-notch après-ski options get even better on Tuesday nights, when Flavor celebrates all things New Orleans with its Fat Tuesday menu. Full bar and wine list.

ALLRED’S St. Sophia Gondola Station, (970) 728-7474

As the only restauraunt located at the top of the gondola, Allred’s easily has the best view in Telluride. Reserve for dinner and enjoy the sunset over fine meal options like Colorado rack of lamb or Alaskan Halibut.

BROWN DOG PIZZA 110 E. Colorado Ave., (970) 728-8046

When it comes to having a slice and a beer while watching the game, Brown Dog Pizza is the place to be. Voted Best Pizza in Telluride, Brown Dog’s deep dish is a local favorite—but festivarians ought to take note of the late-night slices, served from 9pm-midnight.

BAKED IN TELLURIDE 127 S. Fir St., (970) 728-4775

Well-known for its range of breakfast options, Baked in Telluride also offers quality lunch and dining options in an informal setting. Beyond the doughnuts and egg burritos, B-I-T’s options include wine, sandwiches, hand-made pasta, Mexican dishes, and pizza.

CORNERHOUSE BAR & GRILL 131 North Fir St., (970) 728-6207

Voted the best specials in Telluride, Cornerhouse Bar & Grill’s daily offerings range from the Sunday-morning favorite, White Trash Brunch with PBR-mimosas, to a half price ladies night. Wash down the casual American food with a brew from their wide tap selection.

COSMOPOLITAN RESTAURANT 300 W. San Juan Ave., (970) 728-1292 Located in the Hotel Columbia, Cosmo serves contemporary food in an elegant setting near the base of the Gondola in Telluride. Dinner options include

some of Telluride’s best sushi and seafood options, and the establishment has received the Wine Spectator Award of Excellence for 12 years straight.

DIGGITY DOGGS Mountain Village Core., (970) 369-0364

The Chicago-style hot dogs flow like water from the Dogg House in Mountain Village, while the hot dog cart underneath the Courthouse on Telluride’s Main St. fills bellies until 2am on weekends. A staple in Telluride since 1996, Diggity Doggs also offers bratwurst, polish sausages, and tofu dogs.

PEAKS RESORT & SPA Mountain Village Core., (970)-728-6800

Onsite dining includes the upscale Palmyra, drinks at the clubhouse-atmosphere of the Great Room, coffee at The Lift, a skiier’s buffet at Legends, and lunch and drinks options at Deep End Grill (summer only), as well as in-room private dining.

TOMBOY TAVERN Mountain Village Core, (970) 728-7467

Just off ‘the Beach’ in Mountain Village by Lift 4, Tomboy Tavern makes an excellent lunch or après-ski meeting spot. Cozy up to American fare inside or enjoy the snowy view and a cocktail underneath the huge yellow umbrella outdoors.

TRACKS CAFE & BAR Mountain Village Core., (970) 728-0677

For fast, fresh breakfast in Mountain Village, Tracks’ coffee and hot food items hit the spot before a trek on the mountain or down to a festival. After hitting the slopes this winter, warm up with chili and drinks from the bar; with lunch and early dinner options, the café provides refuge only a short walk from the base of the Gondola and Lift 4.

DRINKS ARROYO FINE ART GALLERY AND WINE BAR 220 E. Colorado Ave., (970) 239-2006

THE LAST DOLLAR SALOON 100 E. Colorado Ave., (970) 728-4800

Every evening at Arroyo’s jazz-inspired wine bar feels like an exclusive gallery opening. With a carefully selected range of wines, nibbles, and ever-changing gallery of artwork, Arroyo provides a romantic ambiance for drinks before or after dinner.

‘The Buck,’ as it’s called by locals, is a fixture of Telluride’s drinking scene and famed enough to appear in Frommer’s “5 Great Après-ski Bars.” With the largest selection of bottled beers in Telluride, the bar fills up après-ski and keeps going until late night.

GOLDERREZ FINE ART & JEWELRY 224 E. Colorado Ave., (970) 239-2014 Golderrez’s lounge is easily Telluride’s most intimate drinking spot—with a small bar and offerings like paired Champagne and caviar, the new lounge combines art and the finest edibles for a truly upscale experience.

O’BANNON’S IRISH PUB 121 S. Fir St., (970) 728-6139 Between the jukebox, pool, darts, and flowing alcohol, O’Bannon’s draws a regular crowd of locals and tourists ready to unwind. Located in the basement of the historic Tompkins H ardware building on Fir Street, O’B’s has an atmosphere all its own.

DIGGS BOOTDOCTORS AND PARAGON OUTDOORS 650 Mountain Village Blvd., (970) 728-8954

PEAKS RESORT & SPA Mountain Village Core., (970)-728-6800

With gear for every season, Bootdoctors and Paragon Outdoors, located near the Gondola Base in Telluride, outfits anyone ready for adventure. Bootdoctors is the only place to get Trew Gear in Telluride, the super-technical skiwear perfect for the backcountry.

The Peaks Resort offers slopeside access in the winter and is the home to the Telluride Golf Club championship course and Pro Shop for the summer months. The 42,000 sq. ft spa, which is the largest in Colorado, offers a complete salon, a fitness center, Telluride’s only indoor water slide, a Laser Center, and more.

ELINOFF FINE JEWELRY & FINE ART 204 W. Colorado Ave., (970) 728-5566 With jewelry and art galore, Elinoff offers one-of-a-kind handcrafted wears alongside esteemed designer lines like Hermes timepieces. The store has the unique distinction of being the only American seller of Biancograt timepieces and also houses an impressive art collection that ranges from French impressionists to serious modern-period works.

PIP’S FINE AND FUNKY CONSIGNMENTS 100 E. Colorado Ave., (970) 728-3663 Pip’s fabulous collection of quirky consignment wears will delight vintage hunters and serves as Telluride’s premier costume-crafting grounds. Located in the basement of the Wintercrown building off of main street, Pip’s inventory offers unique fashion alternatives to the flood of Colorado mountain gear.

GRAVITY WORKS 205 E. Colorado Ave., (970) 728-4143

SCARPE 250 E. Pacific Ave., (970) 728-1513

Gravity Works, a locally-owned full-service mountain sports outfitter, features a climbing wall, ski, board, and mountain bike rental, and a range of seasonal gear—and they’re the only local carriers of the outstanding DPS line of skis.

With a to-die-for collection of the latest designers and trends, Scarpe’s women’s and children’s fashion is always on-point. If your luggage is too full to pack in their pieces, Scarpe’s website, shopscarpe.com, conveniently offers their full line.

HERITAGE APPAREL Mountain Village Core, (970) 738-7340

SWANKY BUCKLE Mountain Village Core, (970) 738-7511

With chic looks for men and women alike, this Mountain Village staple gives off refined, casual vibes and effortless cool. Designers carried include Ted Baker and Rag & Bone.

The name says it all: Swanky Buckle is Mountain Village’s newest women’s fashion store with all the looks necessary to dress and impress, including Cole Haan and Nicole Miller.

MOUNTAIN STANDARD TIME Mountain Village Core, (970) 738-7322

TELLURIDE SPORTS 150 W. Colorado Ave., (970) 728-4477

Dedicated to fine Swiss watches and jewlery, Mountain Standard Time also carries sunglasses and bags, ensuring the finest quality in their accessories.

With several locations scattered throughout Telluride and Mountain Village, Telluride Sports is the most convenient ski shop in the Telluride region. Outside of rentals, Telluride Sports carries winter gear and accessories.

PATAGONIA TELLURIDE 200 W. Colorado Ave., (970) 728-4303 Patagonia hardly needs introduction as a premier winter clothing outfitter specifically geared towards climbing and skiing. The local outlet near the center of town on main street offers the classic lines necessary for mountain living.

WIZARD ENTERTAINMENT 126 E. Colorado Ave., (970) 728-4924 Telluride’s best video rental selection also sells and frames the coolest vintage posters around, many of which come from Telluride’s illustrious festival scene. Additionally, tickets to local events can be purchased in store, which is located off of Main Street.

elluride Playwrights’ Festival serves as laboratory for nascent plays to develop. Through man y discussions, staged readings, and intim ate talkback sessions with playwrights-in-progress, a direct connection develops between the play wrights, actors, and audience. The 2012 festival’s theme was ‘Revolution’— fitting not only as a tie between the diffe rent performances, but because the playwrights themselves und erwent revolutions in their understandings of their plays. It takes a special artist to allow their visio n to be exposed before their work is finished. To follow that with an open critique by the audience must take either an extreme ly brave or foolish soul. But as Yuri Ornov, a Russian-born dire ctor working in Washington, D.C., pointed out, Playwrig ht’s is able to pull off the exposing and critiquing of unfinished work because of the rare confluence of attitude, culture, and peop le found in Telluride. He said, “What I find amazing about this place is that you can find nature that’s pretty in some places, you can find art that’s interesting in many places, and you can find people that are probably interesting in many places. All these three together is something you never find. It really is explosive.” Not only do those explosions help visit ing playwrights reorganize and renovate their work, they often act to blow the minds of audiences. The hysterical and mind-bending performance “Free Range Thinking” by the one-man show Robert Dubac seamlessly bounced between a number of the character’s alter egos. Through the performance , the character’s previous political assumptions collapse, and audi ences are left thinking. “The Gleam,” written and stage-read by Carol Mack, also took audiences on an adventure between und erstanding, total confusion, and meaning. By opening themselves up to outside criticism, the playwrights at the Telluride Playwrights’ Festival inte nsify their works and create explosions and revolutions of thei r own.

©frameangel/123RF.COM

July 12-15, 2012

The Fifth Annual

Telluride Yoga Festival

Story by Shaina Refnik

adasana, or mountain pose, connects me to the beauty in nature. Surrounded by the San Juan Mountains, I find more inspiration to stand a little taller, root my feet into the earth a little harder, to be strong just like these amazing mountains that are the setting for the Telluride Yoga Festival. Yoga takes on many forms, such as meditation and asana, which is the physical practice that most people think of when they say they practice yoga. With yoga, I can practice wherever I am, whether on a mat, the beach, the grass, or at home. At this particular yoga festival, there is a little bit of everything. There are asana classes as well as meditation classes, and workshops where I can take notes. There are classes offered inside buildings and classes offered outside as well. Here I have the best of both worlds; I have the opportunity to ground myself during practice and the backdrop of Ajax Peak to welcome me off my mat. The variety of classes offered range from beginner to advanced levels with many to choose from each day. The classes I took ranged from 50-75 students. I was able to speak with Forrest Yoga instructor Allison English immediately after a class I took with her. Just being able to have this opportunity is what is special about Telluride Yoga Festival. It is big enough to bring in talented instructors from around the world, yet small enough to get an intimate, hands-on class and

discuss it in detail with the instructor afterward. English shared my sentiments about Telluride and what makes it different from other yoga festivals. “It is special the way I can get to know people here. It is small enough, unlike New York or San Francisco, for example. I can get to know the students individually. I can get to know other presenters…I got to talk with Sean Johnson last night for an hour!” Sean Johnson, a yogi, kirtan musician, and the founder of the Wild Lotus Band, also presented at the festival this weekend. So why do I practice yoga and why did I want to go to this festival? Yoga can calm my stressed mind, help relieve physical ailments, and increase flexibility and strength. Yoga can be incredibly empowering and gives me a positive outlook on life. The list goes on and on. Beryl Bender Birch, another presenter this weekend, said during one of her classes that “Yoga is practice. That can be breathing, stretching, meditating. It is practice. Practice is the effort to quiet the mind.” Therefore, whether it is through meditation, deep breathing, asana, or brushing my teeth in the morning—there are no limits as to where or when I can practice. I choose to practice in order to be aware and pay attention to each and every moment in the present, not get stuck in the past or run away to the future. I do yoga because it makes me feel great inside and out. According to Birch, we feel the happiest when we are aware and in the present moment. >>

>> I want to share another experience I had over the festival weekend. I asked Veronica, a yoga instructor from Chicago (not presenting at the festival), perhaps the most vague question I could think of, “What is yoga for you?” She responded: “Yoga has saved my life in so many great ways. Most importantly, it has helped me shed old skins, revealing a more positive, authentic sense of who I am. Without yoga, I was constantly tangling myself in a web of self-doubt, negativity, and insecurity. My practice broke that web by awakening every fiber in my being to this present moment, which for a long time I never fully felt. By being right here, right now, I am able to see clearly what matters, helping me to connect to a stronger, more focused state of mind. A yoga practice cultivates a process of self-inquiry where you physically, emotionally, and mentally dive deeper into yourself. This excavation helps out scars and past emotions release, giving you more space to be who you are. It teaches us that our negative thought patterns are not a reflection of who we truly are, and that we can let them go to make room for positive ones.

When I am on my mat, I often feel like I am part of an adult play date, where I get to explore my edge and break past barriers of my potential. Yoga was the first time I felt positive about my whole body, even living with society’s standards of beauty. I could admire my body for its strengths and capabilities. Feeling the connection between my body, heart and mind helped me to cultivate this positive outlook towards my whole self. Practicing self-love only expands your capacity to give authentic love and compassion to all those around you, even in the most challenging times. Yoga has therefore transformed my relationship with myself, improving all of my relationships with others.” One aspect of yoga practice that I feel is so amazing is that I can take what I learn on the mat in a class, for example, and use those tools in every day life at any moment. As Veronica said, “Dive deeper into yourself.” I came here to “deepen my practice, deep in the mountains,” as the festival tote bag states. I did exactly that.

JULY 15, 2012

KOTO DOO-DAH

HULLABALLOO-A-DOO-DAH

BY JACK GOOSE

he sog that had descended on Telluride after the flammable month of June was palpable. Fortunately, the rain relented just before Beats Antique took the stage in Town Park. KOTO Doo-Dah commenced in a musical orgy of banjos, clarinets, synthesizers, and drumming bellydancers. The mesmerizing twirls and form-changes of Zoe, the lead bellydancer, induced a trance-like dizziness and amazement throughout the crowd. In a daze, I took refuge at the beer tent, provided by the hosts of the event, the good people at KOTO 91.7 public radio. With spirit-restoring beer firmly in my gullet, I re-entered into the beast from whence I had come. “Onto the dance-floor!” I proclaimed gallantly (to myself). But this was no disco dance-floor; this was a fantastically sultry dance pit. A tapestry of thick sludge intermingled with the occasional mudhole.

There was no escaping the hypnotic music or the primodial ooze seeping between my toes and caked on my Chacos. The only choice was to embrace the ooze. “This is good ooze,” I thought, “Ooze this country was made of.” But nay! No need to let a Pulitzer-worthy article like this one digress into the merits of fine ooze. Back at the show, time slowed while preparing for Ziggy Marley. The crowd’s adrenaline waned after Beats Antique’s incredible costumed finale, featuring humans, rats, horses, and Mexican wrestlers. Ziggy then finished the festival on a sublime note, playing classic hits of both his and his father’s, as only a Marley can. In only one day, Doo-Dah’s surreal performances transported the audience through a frenzied vortex, drawing them from the realm of mere concerts into the festival ether. If there’s anything to take from the manic hullaballoo that is KOTO Doo-Dah, it’s that it is, truly, a manic hullaballoo.

n o t h i n g july 18 to 22 2 0 1 2 by tfm staff

The Nothing Festival is lying to you.

This is Telluride. There’s always something going on--indeed, even on the ‘nothing weekend’ there are two other festivals. But once upon a time, some locals got tired of the constant festivation (hey, everyone needs a break?) and, in classic Telluride style, made a festival out of not having a festival. Confused yet? Think of it this way: Nothing is about all the great, everyday somethings about Telluride that aren’t celebrated in the

rest of the year. Things like hiking and the simple joy of living in the shadow of the mountains. Even with Nothing going on, the Telluride region has an inordinate amount to offer. The main festival non-event is a naked bike ride down main street. We’d put up some photos, but(t) it didn’t seem like a good plan. If that’s not something, then, well, there’s nothing to say.

Americana Music Festival

July 18-21, 2012, sheridan opera house by jack goose

THREE-DAY MUSIC FESTIVAL AT THE Sheridan Opera House, the Americana Music Festival featured acts ranging from the cowboy-poet Ray Wylie Hubbard, to the gritty country-rock band Reckless Kelly. Still, a second look at the festival begs the question: What exactly is Americana Music? Is it country, combined with folk and rock (can those really combine?) with a dash of bluegrass thrown into the mix? Fortunately, Ray Wylie Hubbard cleared this Americana confusion up with characteristic eloquence: “Well, [Americana Music] is more the audience than it is the music. You know, it’s the type of people that like integrity with their folk,

blues, bluegrass, rock & roll, so [it is] defined by the people who listen to it.” With the original question cleared, I began to digest the knowledge-bomb that Ray Wylie dropped. Integrity, music, and people—but how do they fit as a genre? At the Telluride Americana Music Festival, it made sense— Americana is defined by great live performers who reverb their audience’s feedback during shows. It’s for the show lover who wants to feel involved in the performance, that allows Americana music as a genre—and as a festival—to transcend the typical labels put on music.

Ray Wylie Hubbard: always eloquent, ever wily.

Jacob Damsell enjoys the alpenglow during the 2012 Telluride Compassion Festival and Conference.

The

Telluride

Jazz

Celebration

August 3-5, 2012

George Porter, Jr. on Record. Interview by Nelson Dougherty

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He’s toured with ated funk as we near finished. Porter goes on

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Buffet and The Stones, creknow it, and he’s nowhere Legendary bassist George record at Telluride Jazz.

Have you played here before?

’ve been playing Telluride off and on for probably—what was the first?—Blues and Brews festival. I played the very first one here, with Runnin’ Pardners. And Stanton Moore and Galactic opened for us…in fact, they had to tow their van in because they blew their engine out coming up the mountain. The guy had to tow them in here, and we were leaving the night after our performance and we gave them our hotel rooms here in town. You’re constantly working. How many bands are you in currently? I play in, right now, 4 bands. That being: the original Meters from time to time, the Funky Meters, Runnin’ Pardners, from time to time, and I’m on the road a lot more with 7 Walkers. And I guess now the fifth band is going to be Zig, Leo, and myself, from the original Meters. We’re starting another outfit, going to be called The Meter Men. We’re going to use guest keyboard players from different areas of the country. I’m working now, trying to get George Duke to be one of the keyboard players. New Orleans is extremely unique, obviously. What was it like developing, or growing up as a musician there? I guess it depends on what neighborhood you grew up in. Because all of the different neighborhoods all were very instrumental in churning out different types of music, you know? The Tremé area had a lot more of the brass bands, going down the 6th, 7th, 8th wards, almost into the 9th ward, more the blues-oriented type of R&B artists,

Fats Dominos and those guys. And then uptown, kind of went into the R&B, you know the Neville Bounce… family kind of stuff, but more I guess in the late 60s when the original Meters started kind of coming into [the spotlight] ...we were equated with [them] because every member of the band was from a different neighborhood. So we all brought our own different neighborhood into that band.

playing in New Orleans for 27 years. It gets out of the city every now and then, but for the last 2 years it’s been more on the road than it’s ever been. For 25 years it was a strictly New Orleans band. You only saw that band at home. Over the years you’ve done a lot of studio work. What I’ve noticed is that you’ve been able to play pretty much whatever you want, not just funk. How did that ability develop?

Which ones in particular? Well, Leo (Leo Nocentelli) was from the 7th ward and Zig (Joseph “Zigaboo” Modeliste) was from the 3rd ward. I was from the 3rd Ward also, but from a different part—I was from front of town, Zig was from back of town. And then Art (Art Neville) was from the 13th ward. Actually, originally, Art might have been part of 11th, maybe 12th ward. Uptown. ‘Cause the wards don’t count forward in mind, it’s not 1, 2, 3, forward, it’s scattered around. You might have 13 next to 1.

I believe it has to do with my musical belief, which is that if I’m hired to play your music, then I need to check my ego at the door and come in and contribute. Contributing for me is easy. Because, as a bass player, my job is to play as closely as I can to the drummer. The two of us need to be almost as one. And it becomes very, very easy because I know what my job is. I never considered myself a funk player. Everybody else put those labels on me. I consider myself a musician. Music is music.

How long have you done house gigs like the New Orleans PBS gigs, and what kind of effect does it have on your music? Well I think bands like PBS, and you know, the Cleary Band and Astral Project, we all go out and play. We don’t really make a living at home, but when we’re at home we play the local clubs. And that’s part of where we learn to… how you’d say, center our craft, you know? That’s where we learn how to do it. If you can win over New Orleans, ‘cause they see everything, they’re not as easy to win over. So you gotta work, you gotta bring it when you’re playing at home. Runnin’ Pardners has been

I play music. The only gig I haven’t taken at this point yet is a country gig. I think the gig I played with Jimmy Buffet might’ve been as close as I got to a country gig. I did a tour with him, y’know, that’s the closest I get to a country band. What are some of the other cool touring bands? I’ve read about them, but what are some of your more memorable ones? Well, you know, I don’t think I have anything that I especially attach myself to, because…if I’m there learning something, and I’m putting more

information in my toolbox, as I call it, then I’m paying attention. Like I said, I’m there to be support. I’m not there to be the front guy. I wasn’t hired to be the front guy, you know? I got two other bands that do that anyway. [laughs] Can you name a couple of your major musical influences? I would probably say Earl King and Allen Toussaint would have to be musical influences. What I gathered learning from working as a studio musician in Allen Toussaint’s, when we were recording with him back in the ‘60s--I learned a lot about what not to play. I didn’t learn what to play, but I learned what not to play. And that part of my musical input still lives with me. He always used to say, ‘It’s not what you play, it’s what you don’t play that makes the group happen.’ I live by that daily. Now, do you listen to music on a regular basis? Nah. Nah. Ok. No, because I’m still considering myself young writer, I like not listening to music because I don’t want to accidentally borrow something. I’ve always heard good composers steal. Yeah, and get away with it! [laughs] Stravinsky said, “good composers don’t borrow, they steal.” It’s curious because a lot of seasoned musicians don’t listen to music. I’m always surprised to hear that. Well, I do listen to classical music, and I listen to this new stuff they call New Age that has earth sounds. But I listen to that kind of stuff just to shut me down at night. When I get off of a gig, I go to my room, and I have a channel on my Pandora called ‘Meditation’ and whatever rolls around on that shuts me down, and

that’s it. Do you listen to classical music intently, and have favorite composers? No, the concept is just the same, just to shut me down. You know I used to collect classical music. I had, back in the sixties, I want to say it was Columbia, Columbus, Columbia House, something like that. They were putting out albums that I collected. I had every one of those things. I lost them in the hurricane, but I had every one of those great composers, I had all that stuff. On vinyl. Along with that--you seem to record every one of your performances. How far back have you documented, and I guess to add on to that, did you lose most of the tapes and stuff that you had [in Hurricane Katrina]? All my recordings were on the 3rd floor of my house, and we only had water on the first floor. On the third floor of the house it got steamy, but no, none of my recordings were lost…and I have tapes that go back to cassettes. So what year is that? Oh yeah. I’d probably say--I don’t think

I started recording The Meters until we were on the road, so that would be ’67. What year did you start touring with The Rolling Stones? The Stones tour was ’75 and ’76 – we weren’t allowed to record. But there are recordings. Fact, I have— oh Lordy, you know something? I may not have that anymore. I might have lost that in Hurricane Katrina. A 16-track recording of the ’76 tour. And the ’75 tour was on a 16-track also, and you know, that got lost in what you call a fandangle kind of thing. Somebody said, “I thought he had it, no I thought he had it!” Ain’t nobody know where the hell that one ended up. But I had the ’76 tour. I believe it was on the 1st floor of my house and I believe it drowned. That, and I believe my original Runnin’ Pardners album, on 24-track tape. Brutal. I’ve read about some bizarre stories when you were on tour with the Stones, with audience reaction. Aw shit man, we had a couple of spots where—at least one gig, I think it was Paris, they were booing us, throwing shit at us. Jagger and Keith came out on stage and shut them down, and told

}

Jagger and Keith came out on stage and shut them down, and told them honestly that, if y’all’d shut up and listen, y’all’d like these people.

>> them honestly that, if y’all’d shut up and listen, y’all’d like these people. And after that, they stayed on the stage while we sang “Fire on the Bayou.” They left off the stage and we finished the gig. And the next three nights we were killing. And we won Paris. So you played three nights in Paris with the Stones? Three nights in Paris and three nights in London. Would you consider that a high point for you? For those guys coming out? Yeah, absolutely, it was a high point to get past getting ready to be crushed by bottles. Wouldn’t it have been about 80,000 people? Oh, yeah, if not more. I would think that Paris, yeah, might have been 80,000 or 100. Up to 100,000 people, easy. Had you all made it in front of a crowd like that before? On tour? We had in ’75, on the US tour. We did a couple of outside venues that were a hundred some-odd thousand. I think the 3rd or 4th gig in the US tour was in Memphis, in a field, like a football field. I remember doing two gigs like that. On the ‘75 tour we only did about 16 shows. But on the ’76 European tour, we were out there for the whole 96 days. I believe it was 74 shows. And you got good responses from all that? Oh yeah, we did great. Well, most of

}

Europe loved us. And most of Europe that came after the France gig was looking forward to seeing us. Because the Paris days kind of made news… you know it’s hard for anybody to go on stage before The Stones. People come to see The Stones, they don’t want to see some opening band. They don’t give a shit who it is. I remember someone telling me that Stevie Wonder and Tina Turner did those shows. I heard that there were places where both of them got stuff from the audience. For a while, you’d record your shows and then you’d listen to them on the way to the next gig. Is that still something you do? Not as much anymore. Well, it depends on the band. I’ll put it like this. There’s a trio gig I do with Vadokavitch and whoever the third person is on Thursday nights at the Maple Leaf. For years, after that gig was over, myself and Tracy Freeman would sit in my truck in front of The Maple Leaf and listen to damn near the whole gig. Every Thursday night. Those gigs got more attention, mostly because it was all free form. There was, on a night with that bass synth, there were probably a bunch of musical concepts that got written. Those gigs get more credit, more listening time than just a gig that we play and call on our setlist every night. There may be a jam that happens in one of the solos where I may take a left turn and then everybody else gets caught off guard. So everybody’s just trying to catch up and find out, ‘Well we need to do something because Porter’s doing some other stuff and oh, wow, we need to pay attention.’ So that might be worth going up to look,

cut that out, and stick it on the side, and listen to that later. Because at that point it’s being taken away from what’s normally supposed to happen. That’s the most important part of recording. With the original Meters ones, we used to do that back in the day. Almost all of those instrumental albums got written from other songs. From your freeform stuff? Well, those songs were all 2 minutes long. You know, so back in the late ‘60s all the way up until the early ‘70s, we had three albums out with 12, 14, songs on them, all two minutes long. But we were playing 4 hour gigs. So there had to be a lot of jamming. With “Look-Ka Py Py,” that song itself was written in the station wagon on the way to Atlanta, on the way to record the “Look-Ka Py Py” album. It was set off when we blew a piston in our Mercury, in our station wagon. The car started making this sound— [pukacheeah, pukacheeow]. The car was making that sound. The next thing I know Zig-Zag is beating on the top of the car and we just starting singing, “Bow, cha, wow, wow,” and we were singing that with the rhythm just like that. We sang like that for probably sixty, seventy miles. And first thing we recorded was “Look-Ka Py Py.” But with those instrumental records, y’all were writing them as a group, right? Right. Did it develop into where you weren’t doing that by at the end? Well, by the time we got into the

Cabbage Alley albums and past that Cabbage Alley album, Zig and Leo started exercising the primary writers thing— because they were going home and doing homework, writing songs, and all that. Before that, Leo’d come up with a lick, I’d come up with a lick, and Zig’d come up with a groove, and we’d put a lick on top of a groove and something like that, pretty much. That’s how we rolled up with most of the songs. What do you have planned next, or what are you working towards? The next thing on the horizon for all bands concerned are recordings. I believe that the Meter Men which is Zig, Leo, myself, and various guest keyboardists, we’re going to do something like [Gov’t Mule] did with all the bass players— record a record, and invite a bunch of different keyboard players to perform. I’ve been trying to encourage the Funky Meters to do a recording. That may be a long shot. Runnin’ Pardners, I believe, will do another record, or Ice may do another solo record. Sort of like my “It’s Life” record was a solo record. Who else? The 7 Walkers, next, in about 10 days, we’ll start entertaining new music for their next new record. I know Robert Hunter has passed on 14 songs, or 14 sets of lyrics, to Rob (Bill Kreutzmann), to Papa Molly, so that I know that he has been having the music for 6 or 7 months. We’re going to have some downtime in San Francisco. We’re going to go hang out in the studio, and exercise our creative energies.

S THE TYPE OF PERSON generally predisposed to wander around with hypermodern indie bands jamming in my earphones over, say, a Shostakovitch quintet for piano and strings, I expected the 39th Telluride Chamber Music Festival to be a learning experience. I have plenty to learn, after all. My entire understanding of the famous Russian composer Igor Stravinsky stems from having watched the French film Coco Chanel and Igor Stravinsky during a short-lived foreign-film phase, and I’m fairly positive I’ve forgotten all that my childhood piano teacher ever taught me. My expectations going in were as follows: 1. I’ll make mother proud by suddenly becoming cultured and 2. There will probably be violins. I did not expect to tear up. And I definitely didn’t expect to head home and purchase Debussy for Daydreaming: Music to Caress Your Innermost Thoughts from Amazon.com that evening. On the first Friday concert, after a Brahms sonata for violin and piano, players took the Sheridan Opera House stage and broke into Debussy’s String Quartet (No. 1, his only). And somewhere in the swelling of the cello and the dancing of the violin, I found myself in love, heartbroken, hopeful, lonely, and dizzy with happiness. The aura of the whole thing stuck around

through the Shostakovitch quintet and into the reception, where I’m fairly positive I started gushing to cellist Stephen Harrison like some kind of crazed cello groupie. Luckily Harrison is a tall, affable guy who didn’t (as I had slightly feared) start quizzing me on my classical music knowledge. One truly striking aspect of the festival is its inviting atmosphere and accessibility. In addition to a concert in the park and two Friday evening performances, the festival has two Sunday matinee showings and a free children’s concert. Violins, decorated with paint or collage are auctioned for the benefit of the Telluride Chamber Music Society. These violins lined one reception table while small construction-paper violins, crafted by the kids’ program at the Wilkinson Public Library, covered the walls. The packed children’s concert took place at 11 a.m. on the second Friday, and featured young musicians in addition to the professionals, with ice cream after the performances. Finally, the festival concluded with the San Francisco Opera’s Erin Neff singing a Spanish-inspired program as persona Lola del Fuego, a switch from the purely instrumental performances usually found in chamber music. This is not your grouchy, second-grade piano teacher’s music festival. It’s the converging of people taken by the same transporting magic I discovered and ready to fill the world with more.

shroomf August 16-19, 2012

fest2012

a fungal education

BY TFM STAFF

KING BOLETE WALKS down the street, followed by a family of Amanita Muscaria. No, this isn’t the set-up of a lame joke; it’s the 2012 Shroomfest parade. Boletes and Muscaria, both species of mushrooms, were the chosen costumes of several mushroom enthusiasts for the annual parade, which proceeded from Elks Park down Colorado Ave. on the Saturday of the festival. For those on the outside, it might be surprising that a shroomfest is even possible. After all, how much can you really do with mushrooms? According to Scott Koch, the festival’s director, this kind of thinking is exactly what the festival hopes to dispel through education. “In America, we’re missing the fungal perspective. There’s so much out there that

people don’t know about,” he said. Participants range from kids to mycologists, which explains the incredible variety of programming available. Koch explained that there are essentially three tracks that the festival offers: cultivation and remediation, entheogens and medicinals, and the catch-all category of culinary, culture, and identification. The focus for the 2012 festival was cultivation and remediation, and presenters like the Radical Mycology group shared their ongoing attempts to utilize mushrooms as tools for social and environmental activism. For instance, the Amazon Mycorenewal Project uses oyster mushrooms to clean up oil-damaged land in Ecuador. These seminars and lectures advocate for open-source mycelial >>

A successful day’s haul. Art ‘Shroompa’ Goodtimes leads the parade.

>>information and combat the stereotypes and misinformation (think psilocybin) that face the fungal world. Entheogens and medicinals, the second track in the festival, focuses on mushrooms as medicine or an element of spiritual practice. “We try to bring levity and reality to the situation, over the stereotypes. There’s research out there about uses of mushrooms to treat cluster headaches and PTSD that has been pushed under the rug by traditional drug companies,” said Koch. One medicinal mushroom, the Reishi, made its way into a mycobrew at Smuggler Joe’s Brewery. Reishis have long been used in Eastern medicine for its health benefits, giving it nicknames like ‘the mushroom of immortality’ in China. Recent research supports the claim that Reishi mushrooms have anti-tumor, immunity-boosting properties, in addition to lowering blood pressure, cholesterol, and blood sugar. The mushroom beer also included Birch Polypore and Turkey Tail mushrooms, but, amazingly, tasted like good, cold beer—not dirt or medicine. The batch sold out before the weekend was up, and proved to be one of the most successful events of the festival. Also popular were the culinary, culture, and identification events—namely, the mushroom hunting forays and the library’s mushroom cook-off. Because the festival takes place at the height of Telluride’s monsoon season, the mushrooms are out in full force. “We take the most experienced people from this region or around the world and we have them lead novices or experienced people into the forest. They teach them about the forest they’re in,” Koch said of the super-popular forays. Mushrooms brought in from the forays are taken to the identification tent in Elk’s Park, where heaps of fungal specimens are available for comparison. So dump your ideas of wild mushrooms being icky and off-limits. The Telluride Mushroom Festival will change the way you understand the oft-ignored, incredibly useful, mystically delicious kingdom of fungi.

64 There is bacon in that chocolate.

There is chocolate in that bacon.

e r u t x te

t s a fe

the

Festival of the Arts August 17-19 - TFM Staff

acon truffles, steak, trout on arugula-hazelnut pesto, prosciutto wrapped peaches on Portobello, and tostada with balsamic reduction—the menu at Telluride’s Festival of the Arts’s Grand Tasting sounds like a foodie’s wet dream, except (let’s thank our stars) it’s real. On the weekend of Mushroom Festival and the last weekend of Chamber Music, it’s hard to believe town could provide something more salivary than the multitude of mushrooms sitting in the Elk’s Park ID tent. But those mushrooms weren’t dipped in chocolate (like Ouray Candy Company’s bacon strips) or stuffed with crab (like 9545’s stuffed peppers), although chef Sarah Mandell did give Shroomfest a nod in her oyster mushroom pizzas picked and prepared for Friday’s Martini Mambo. The Martini Mambo kickoff party featured drinks like the Blackberry

Manhattan, created with Bird Dog Blackberry Whiskey, and the Lavender Honey Martini, made with organic Palisade ingredients. Tiny tasting glasses in hand, attendees of the festival were treated to mambo lessons in the Mountain Village beach area. Although there’s plenty of feasting, the festival’s arts aren’t just culinary. Visual artists from across the country came to the Cherry Creek Arts Festival-produced event to exhibit their work, which ranged from painting to mixed media, drawing, glasswork, and photography. Both Friday’s Martini Mambo and Saturday’s Grand Tasting provided a casual, close atmosphere, allowing attendees to rub shoulders with artists when not scarfing down nearby delectables. I had the pleasure of talking with mixed-media artist Danny Hughes about the craft behind his silhouetted tree landscapes. Using modified decoupage techniques and

materials such as book pages, resin, gold, and paint, Hughes achieves a rippling texture frozen within his works, beneath their smooth acrylic surfaces. I pointed to one work that had a much smoother texture than the webs seen in his other works. “It all depends on the temperature of the resin,” Hughes explained, becoming animated as he pointed to various works in his gallery. “If you look here, you can see the resin wasn’t as hot, but in this one it slid off the surface really quickly, giving you that smoothness.” Care, passion, and texture—while Hughes’ work most clearly strikes these chords, the festival itself functions to emphasize these same elements. Chefs, artists, and audience mingle in the intimate setting as they feast their eyes and taste buds on local cuisine and world-class art. These components layer together like Hughes’ resins, culminating in one of Telluride’s most gratifying weekend festivals.

THE RIDE rock out in town park

AUGUST 25-26, 2012

Ben Harper (seated right) closed the show on Saturday night

KOTO’S The Ride Rolls onto the Scene by TFM Staff

ELLURIDE ALREADY HAD Bluegrass, Jazz, Americana, and Chamber Music, but at the end of August, a new music festival joined the ranks—and it totally rocked. The Ride was named in honor of the USA Pro Cycling challenge that sped through Telluride on the Monday before the festival weekend. Featuring the catchy, bluesy-rock sound of Big Head Todd and the Monsters, in addition to Ben Harper, Los Lobos, JJ Grey and Mofro, North Mississippi Allstars, The Lumineers, The Wood Brothers, and more, The Ride promised—and delivered—a real rock festival in Town Park. Despite being in its inaugural year, The Ride’s solid lineup drew sizable crowds whose spirits didn’t falter during the sudden storms that sprung up during several of the sets. Up-and-coming groups like Denver’s The Lumineers and guitar prodigy Matthew Curry and the Fury mixed with a variety of mountain favorites. Big Head Todd and the Monsters, who presented the festival along with KOTO Public Radio and Telluride Productions, boosted the lineup with two mainstage shows and an after show at the Sheridan Opera House. The North Mississippi Allstars’ performance stood out as the brother duo of Luther and Cody Dickinson shredded face even while missing their bassist, Chris Chew. Several of

the bands—including NMA and Big Head Todd—have significant live music followings, which filled the park during the day and aftershows at night. At two days long, there’s both a lot to live up to and plenty of room for The Ride to expand next year. With few hitches beyond finicky weather and minor delays, The Ride is set up to roll in plenty of rock from here on out.

Big Head Todd rocks mainstage on Sunday.

Notes from Telluride Film

August 29-31, 2012 | tfm staff

muffled dimness settles in

Coke at the Sheridan between a director, a

the auditorium as groups

screenwriter, and a starry-eyed, Junior-year

shuffle between cinema

film student. But since 1973, the Telluride Film

chairs, squeak them open,

Festival has drawn students, cinephiles, and

and settle into their red

Hollywood big-hitters to our remote mountain

cushions. The buttery saltiness of popcorn fills

town—even despite TFF’s shifty, secret-keeping

the air as a nearby man crunches through his

ways.

bag. The darkness breaks as the spotlight

The Show doesn’t release its program ahead

illuminates the podium; a hushed buzz

of time. The voyage into Telluride is a

precedes silence as a collective bated breath

pilgrimage based on trust and a solid past

drumrolls for the reveal.

record. You don’t know what movies you’re

The Show, or the Telluride Film Festival,

coming to see, and due to popularity, you don’t

loves this moment. This is why the festival

know which of those you’ll manage to actually

keeps so many secrets: all eyes turned to the

get in to. You can, however, place a safe bet on

podium, tension building before the break of

the chosen movies being top-notch.

the ‘sneak’–-an off-the-program screening that

Being chosen for a screening at TFF,

often steals the, er, show. Dramatic? Of course.

needless to say, is a big deal. While most of the

A flair for the dramatic can’t hurt the Telluride

films are new releases, they range from foreign

Film Festival’s target market: showbiz.

films to domestic films, some premiering and

It might be the only time of year that every

others being pulled from dusty shelves, edging

third person you meet in Telluride cites Los

out of obscurity. In the past, the festival has

Angeles as their home, and likely one of the

premiered overwhelmingly successful films

few times that you can be sipping Jack and

like The King’s Speech and Slumdog

>> Millionaire. This year will be no exception. The 2012 Show included Rust and Bone, with

storyline which ought to be seen, recorded, and turned into something with which people can

a stunning performance by Marion Cotillard,

relate. Walking down the street becomes part

the true-story thriller The Iceman, the

of an out-of-body montage, possibly set to a

adaptation of Salman Rushdie’s Midnight’s

Hall & Oates song.

Children, the silent 1926 comedy Hands Up!,

Or maybe watching three-to-five movies per

and the intense Dutch romance of A Royal

day starts to rattle your brain a little bit.

Affair, to name a few.

Either way, Telluride becomes a haven for

With nearly 40 full-length films and shorts, it’s simply not possible to see everything, though extra screenings are added for certain films in popular demand. After a while, the cinephilia starts to

movie buffs to see many films before they become tainted by reviews. It’s important to note, also, that this is a film festival where movies are watched. John Horn, of the Los Angeles Times, is oft-quoted for

pervade the air of Telluride. The mountains

saying, “Sundance has swag, Cannes has

seem electric, a perfect backdrop to some

yachts…Telluride has class.” Sure, the

>> paparazzi stay away and everyone— celebs, townies, movie fanatics—comes together over the love of film. But there’s a better description of what goes on in Telluride, which was said by the guy who took the podium at the sneak. “This is actually one of the few film festivals that really is about seeing movies instead of just walking around and talking about them,” said Ben Affleck while introducing his film, Argo. The sneak was met with rave reviews, and is expected to garner serious Oscar attention in the next year. Argo, starring and directed by Affleck, follows the true declassified story of the crack-pot movie cover used by the CIA in the evacuation of six American embassy workers from Iran during the 1981 Iran Hostage Crisis. Between the classics, the premiers, and the pure movie-love that pervades town during the festival weekend, the Telluride Film Festival stands out not only amongst the festivals in Telluride, but globally as a relaxed, down-home, top-notch film heaven. Again and again it proves itself to be, honestly, a darn good Show.

BLUES & BREWS SEPTEMBER 14-16, 2012

ABy SamPERFECT PAIR Chavis

EANUT BUTTER AND jelly, fish and chips, wine and cheese, Cheech and Chong, marshmallows and a campfire; there are some things in this world that pair together perfectly. Guitarists shredding through howling pentatonic blues licks and an abundant variety of palatable craft beers to enjoy with said music is another one of these pairs. This combined with one of the most breath-taking mountainous scenes in the US and a Colorado bluebird-sky weekend was what the 19th annual Telluride Blues & Brews Festival was all about. As I was riding the gondola over St.

Sophia from Mountain Village into town Friday, I was accompanied by a group of three guys from South Carolina, who were lapping back and forth from Telluride to Mountain Village just to stay warm. The campers were obviously not ready for the morning mountain chill. The morning was brisk but I was optimistic that the clear skies and strong sun would endure and soon heat up town. As we made small talk, the festival-going campers mentioned how impressed they were by Little Hurricane, who opened the festival up Thursday night at one of the Festival’s Juke Joints. Since the festival ended relatively early each night (Phil Lesh’s

set lasted until 10:30 p.m.), festival organizers arranged for various artists to play at indoor venues around town after each day. As one of the first festival openers, Little Hurricane stormed through Town Park, and the gust left the crowd wanting to do a rain dance for some more. The guitar/drum duo kicked out some rocking original tunes with a very raw sound similar to the White Stripes and Black Keys. The smiling charisma of the female drummer did not hurt the band’s allure. Soon after, I found the hammock tent and perched there in the shade to take a rest from the heat. Festivarians with beer-cuzis on necklaces strutted

by with free hands to do with whatever they pleased. Some beehive-wigged women (and men) started making their way into the crowd, their eyes shaded behind curvy exaggerated sunglasses guiding them to like minded B-52 fans, foreshadowing the evening to come. When a young couple approached me and began to inquire with an interest in buying the camping hammock on which I was resting, I realized it was time to get up to explore more. Heartless Bastards was finishing up their set with subdued, yet energetic grooves. This, combined with the female lead singer’s potent timbre drew in a large crowd. Next,

Robert Randolph and the Family Band took the stage and the gospel funkiness emitting from Robert Randolph’s pedal steel guitar combined with the precision of his Family Band resulted in everyone putting on their dancing shoes and embracing the soulfulness. Robert Randolph wrapped up with a cover of Hendrix’s Voodoo Chile, cunningly utilizing his pedal steel to create a similar tone to the classic Hendrix wah-wah sound we all know and love. Emitting a palpable energy that sent currents of electricity through Festivarians nerves, bringing me as close to a live Experience as ever. Following Robert Randolph, Little

Feat played a great set that drew me in with a ‘Scarlet Begonias’ phrasing that surely was a precursor for the Grateful Dead tunes that would ensue later on in the weekend. And finally, the colorful show that many seemed to be waiting for, the B-52s took the stage with their timeless act and deep, meaningful lyrics (just kidding about that one). But they put on a fun show to an eager crowd to end day one of Blues and Brews. Saturday began with the annual Grand Tasting featuring over 50 microbreweries. It was a raging way to start the day to say the least. A few large beer-bellied men tromped around quadruple-fisting sampler

80 Warren Haynes gets dark.

>>glasses during the funkiest get-down day of Blues and Brews. Monophonics, a six-piece psychedelic soul band from San Francisco, opened the day in conjunction with the Grand Tasting. This funky sextet brought an unbelievable amount of energy to the stage--remarkable for how early their set took place in the day. Kelly Finnigan, the newest addition on keyboard and vocals ended the show with vigor. His soulful Joe Cocker-esque voice moved the crowd to their toes in a vibrant call-and-response with the crowd. After the show, I was lucky enough to sit down with the band. It turns out this was not their first time playing Telluride, second to a show at the Steaming Bean in March. They said that they loved the crowd because the crowd’s energy was tangible, and they were able to feed off of that from the stage and send it right back in a cyclical energy feedback loop. Monophonics used to be all-instrumental until Kelly hopped on board. They found that as an instrumental band, they could appeal to the musicians in an audience, but the addition of vocals (and damn good harmonies) spread their appeal to a wider audience. The feel-good funky vibe continued through Orgone and March Fourth Marching Band, up until when Anders Osbourne took the stage and brought the bluesy theme back to Town Park. Anders closed his set with ‘Fire on the Mountain,’ which sent the Telluride crowd into yet another crazy Dead

whirl. Next, Trombone Shorty took the crowd to their feet and shared a little New Orleans Cajun lovin’ to the ears of the audience. He wailed on both trombone and trumpet, mixing in smooth vocals in covers like ‘I Got A Woman’ by Ray Charles. His band Orleans Avenue was animated, completing the show with a guitar vs. bass face-to-face battle. When the bass player’s strap fell off, he made a show out of it, boasting hilarious facial expressions and playing his electric bass like a standup. A final medley included samples from Jackson 5, Dr. Dre, and James Brown. This segued into Trombone Shorty proclaiming “I can’t get out of here without taking ya’ll down to New Orleans!”

and proceeding to play ‘When the Saints Go Marching In.’ When Warren Haynes took the stage for the headlining slot, I thought it was going to be a dark and sinister “I got the blues” sort of night. He kicked off with ‘The Joker’ by Steve Miller Band with a rather melancholic Aeolian twist. However the following ‘Thorazine Shuffle’ reminded us of that raw southernrock-blues-Warren sound that just generates the desire to shout “WARREN!!” with a thick drawl. There are very few people who can play the guitar and also sing in such a precise and appealing manner like Warren. Towards the end of the set, he was mixing songs “Zappa style” as he proclaimed, throwing in ‘Get Away’

Robert Randolph & The Family Band, punching it.

>> with ‘Jungle Boogie’ teases, into a hard rockin’ ‘Whole Lotta Love’ and finally segueing into the warmth of ‘Soulshine.’ Warren came out for a close to a thirty-minute encore, culminating in The Doors’ ‘When The Music is Over.’ This showcased Warren’s psychedelic shredding and Jim Morrison-like vocal expression, which became all the more complete with some free form poetic phrasing. A very appropriate way to end a great night. Similar to every festival, day three came and went in a whirlwind. Overall, it was a much more typical day of Blues. Blues legacies Phil Wiggins and Rev. John Wilkins kicked

it old school with their preaching guitar/harmonica duo. Afterward, Tab Benoit took the stage with his killer power trio, which is capable of creating as full of a sound as classic trios like Cream. This guy shredded his vintage Fender Telecaster with sick Southern pentatonic chops. Having never seen them before, they were the epitome of my expectation of unfamiliar Blues and Brews artists. The weekend culminated in a tie-dye frenzy as Deadheads gathered on the field to support Phil Lesh and Friends. Phil’s sons Grahame and Brian joined him along with Warren Haynes, Tony Leone, and Jeff Chimenti. The first set featured Warren singing a ‘She

Said, She Said’ cover, but it was the second set, opening with ‘Shakedown Street,’ that got people grooving (because ‘Shakedown Street’ is obviously about Telluride, right?). See next page for Phil and Friend’s complete set list. For being such a niche festival, Telluride Blues and Brews brought a very diverse and eclectic lineup this year. While a lot of the music could be traced back to having a blues theme, there was enough subtle variety to please anyone. The strong lineup, good vibes, and tasty craft beer coalesced into one of the most well-rounded and stellar weekends in Telluride.

pip’s half page

Phil Lesh and Friends set list: Sunday, September 16, 2012 Set I: Alabama Getaway Cumberland Blues Passenger Ramble on Rose She Said Mason’s Children Casey Jones

Set II: Shakedown> New Speedway Boogie> Caution> Low Spark of High Heeled Boys> Birdsong> The Wheel> Fire on the Mountain Stella Blue Uncle John’s Band

Encore: Going Down the Road Feeling Bad

The Brews Report

by Geoff Peck

HE PAIRING OF BLUES music and craft beers is truly a perfect match. The blues form exemplifies America’s love for improvisation and creativity, and is embedded deep in American heritage and culture. This same creativity and improvisation can be seen in the craft beer industry, where the careful use of various ingredients has a major impact on the finished product. The three-hour grand tasting on Saturday of Blues and Brews showcased the radical evolution of the beer industry over the last decade. With fifty microbreweries present for the tasting, the various malts spanned from golden yellow ales to rich black stouts. Just as musicians take risk in their solos, some beers, like Twisted Pine’s Ghost Faced Killah brew, leaned towards the unconventional. Brewed with ghost peppers, Ghost Faced Killah recalls the spicy culinary styles of the southwest. Some well-known craft beer makers present were Big Sky, Sierra Nevada and Oscar Blues, all of whom have gained national attention on their success in wide distribution. Additionally, several lesser-known breweries made a splash. For example, the line in front of Marble, based out of Albuquerque, New Mexico, never seemed to wane. Their Sour Apricot and Reserve Ales were extremely popular. Many festivarians simply filled their glasses and returned to the back of Marble’s line. The extensive range of breweries shows just how competitive the industry has become, which is

great news for beer enthusiasts. Before and after the grand tasting, Sierra Nevada and Telluride Brewing Company had their products available for sale. Many of the bars in town also joined the craft-beer celebration by adding more craft beers to their taps. The juxtaposition of fall and summer during Blues and Brews made it the perfect time to sample beer. While the cold mornings of fall gave way to the last warm days of summer, the changing aspens in the high alpine provided the finishing touches to an already stunning backdrop. The wonderful light ales during the day were followed perfectly by the darker porters in the evening, taking the edge off of Blues and Brews’ chilly nights.

THE TELLURIDE

BARBEQUE F E S T I V A L -SEPTEMBER 22-23, 2012-BY ELI WALLACE-

here’s something wonderfully innate—primal, even—about people coming together over a slab of sizzling meat (vegetarians, vegans, your disagreement is valid. Perhaps this is not the festival for you.) On one of Autumn’s first crisp, leaf-crunching days, mesquite smoke mingled with the sunshine over Mountain Village. The contestants for the inaugural Telluride Barbeque Festival filed into the Village’s parking lots to set up their professional grilling trailers and smokers. With $8,000 and some serious chops at stake, professional competitors in the Kansas City Barbeque Society-sanctioned event came from as far-flung as California and Texas to test their cooking skills. Meanwhile, the Telluride Conference Center, which was involved with the event along with sponsors Jim Beam, Southern Wines, and Spirits of Colorado, filled the Village’s Heritage Plaza with meat, drink, college football, and a mechanical bull. At $10 per plate of heaping slaw, baked beans, and either pork ribs, brisket, or pulled pork, the event provided a perfect hangout for a sunny Saturday. The smell of sauce and rub drew people from their private lives and into conversation, likely aided by the 1 p.m. whiskey tasting hosted by Jim Beam— though personally, I stand by the magic of being face-first in a pile of ribs.

On Sunday, the competition heated up as deadlines drew near. I hovered by the trailers, vulture-circling, drawn by hunger and the promise of free samples. Others like me, their craving for pulled pork gleaming in their eyes, gathered near Cooter’s Barbeque (“So good you’ll smack your grandma!” their slogan reads) as a plate of excess pulled pork was prepared for samples. “Please help yourself,” the Cooter’s team member said as she placed the meat out. We swooped in; devoured our prizes; were rewarded by the tang and smoke of savory joy. I repeated this ritual until I had stuffed myself with a rabid wolf’s portion of brisket and pulled pork. More than satiated, I communed with other stuffed samplers, offered my recommendations, and digested until the awards ceremony at 3 p.m. Alas, my favorite sample, Smokin’ R’s burnt ends in a honey-based sauce, took 2nd in the brisket category, and I didn’t sample the winning beef, cooked by OOPS of Grand Junction. Best in show went to The Smoke Ring, of Santa Fe, New Mexico. Festival Director Tony Kalyk said that next year the festival hopes to expand its public offerings by adding music, an amateur competition, and classes. Before then, I need to expand my barbeque offerings by figuring out how to land the barbeque-judging gig. I have 12 months.

Delicious, tangy pulled pork.

TSR_Festiv_Retail_TSR_Festiv_Retail 10/4/12 11:05 AM Page 1

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THE TELLURIDE HORROR SHOW October 12th to 15th

PACK EXTRA BRIEFS! By TFM Staff

he Annual Telluride Horror Show, just in time for Halloween, fills Telluride with everything from horror comedies to grindhouse. Werewolves and zombies? Telluride Horror Show has them, not to mention panel discussions with film creators and screenings of a host of

independent full-length films and shorts. Telluride, long-haunted by the unscrupulous spirits of grumpy mining-folk, is a fitting stage for the frights of the film festival. Screenings take place at The Sheridan Opera House and the Nugget Theater. Both venues were built in the early

20th century and feature creaky floorboards and décor that hearkens back to another era. Between Telluride’s saloons, secret tunnels, and the Town Cemetery’s mass graves, the town has all the creepiest elements of Western old-time charm to please even the most finicky horror buff. Now in its third year, the Telluride Horror Show has made its name in the independent film industry. This year brought a variety of films including the old favorite, King Kong (1933), to new releases out of Australia, Argentina, Norway, Spain, the UK, Germany, and Colorado. “You find the past, present, and future of the horror genre in the independent films. These are the filmmakers taking risks and pushing the envelope, taking us into deep, dark places that frighten, provoke us. The talented directors and producers behind both the features and short films are dangerous, because they’re not making their films to make money. They’re making movies to make movies, and the end result is films that are unhindered, wild, disturbing, shocking, and sometimes downright insane. This is horror at its best, and thankfully it’s in the capable hands of independent filmmakers, who know no boundaries,” said festival director Ted Wilson in a Horror Show news release. We couldn’t have said it any better.

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Arroyo Fine Art Gallery and Wine Bar 220 E. Colorado Ave., (970) 239-2006 Elinoff Fine Jewelry & Fine Art 204 W. Colorado Ave., (970) 728-5566 Golderrez Fine Art & Jewelry 224 E. Colorado Ave., (970) 239-2014 Mountain Standard Time Mountain Village Core, (970) 728-7340

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Telluride Green Room 250 S. Fir St., (970) 728-7999

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