Salt Lake Magazine;s Mud in Oscar&#39;s Eye!2015-01-29T22:48:00+00:00Glen Warchol/blog/author/glen/<p><span><span><span><img alt="" height="300" src="/site_media/uploads/Jan2015/cocktail3.jpg" width="450"></span></span></span></p> <p><span><span><span>Bambara Restaurant is holding its annual month-long Oscar-voting extravaganza. To the credit of Bambara's bartenders, they eschew sealed envelopes, lame celeb presenters and naked gold dudes in favor of a straight liquid vote.</span></span></span></p> <p><span><span><span>Yes, Bambara's shakeologists have again created a beckoning ballot in booze. Eight drinks, each symbolizing a Best Picture nominee, will be offered up to voters. Ingredients vary from an Anejo tequila celebrating an equally aged Michael Keaton in <em>Birdman</em> to Jagermeister for <em>The Grand Budapest Hotel</em> (it was filmed in Germany) to Ransom Vermouth—which has a complexity easily matching that of the Enigma Machine in <em>The Imitation Game</em> (not to mention the complexity of Benedictine Stumblebum's name)<em>.</em></span></span></span></p> <p><span><span><span><img alt="" height="675" src="/site_media/uploads/Jan2015/cocktail1.jpg" width="450">  </span></span></span></p> <p>You get the idea.</p> <p>For those who don't get it (We're in Utah after all)—<em>ahem</em>—you buy the cocktail that honors your favorite film. Whatever cocktail sells the most decides the best motion picture. It's scientific, see?</p> <p>Teetotalling cinephiles can participate, too. Simply buy a drink to register your vote—then someone in the room will volunteer to fall on the grenade for you (too bad <em>Fury</em> didn't get nominated).</p> <p><br><br></p>Sundance Review: &#39;712015-01-29T20:20:00+00:00Glen Warchol/blog/author/glen/<p><span><span><span><img alt="" height="324" src="/site_media/uploads/Jan2015/71.jpg" width="490"></span></span></span></p> <p><span><span><span>When watching Sundance films, there's always an impulse to auger down deep for The Meaning—mainly because most of the filmmakers demand—for better or worse—that you critique their work for its artistic intention, biases, politics, convictions and obscure symbolism.</span></span></span></p> <p><span><span><span>By the end of a fest with 127 entries, it gets a little tiresome. You find yourself longing for a movie that's got unforgetable characters, is competently made and reels you in like a fish.</span></span></span></p> <p><em><span><span><span>'71</span></span></span></em><span><span><span>, directed by Yann Demange, certainly carries its burden of timely issues: religious-based terrorism, the fate of innocents caught in the crossfire, the tragedy of would-be peacekeepers in over their heads and the irrepressiblity of history, corruption, betrayal, stupidity, vengeance, life's utter meaninglessness and why the Irish drink.</span></span></span></p> <p><span><span><span><img alt="" height="300" src="/site_media/uploads/Jan2015/'71hookrifle.jpg" width="450"></span></span></span></p> <p><span><span><span>In a turnabout from big-budget <em>American Sniper</em>, <em>'71</em> speaks of the tragedy of young soldiers driven into the military by economic necessity who fight and die for forces beyond the understanding. Patriotism doesn't enter into it.</span></span></span></p> <p><span><span><span>Forget all that and see <em>'71</em> for what it is—a piano-wire taunt story of escape from behind enemy lines that is made with meticulous precision and suspense that will keep you on the edge of your seat for 99 minutes. Private Hook (Jack O'Connell) is a 20-year-old recruit in the British Army sent to Belfast in 1971 to keep the peace during the Troubles.</span></span></span></p> <p><span><span><span>Hook, who joined the army to support himself and younger orphaned brother, hasn't a clue why he's in Ireland, never thought much about religion and is basically a good-hearted older brother with a deep empathy for kids (since he is one himself).</span></span></span></p> <p><span><span><span><img alt="" height="326" src="/site_media/uploads/Jan2015/'71hook.jpg" width="490"></span></span></span></p> <p><span><span><span>His inexperienced regiment, complete with naive officers, enters a Catholic neighborhood to cover local police who are brutally doing a door-to-door search for weapons. Within minutes, all hell breaks loose and Hook is separated from the unit. And finds himself on the run from IRA fighters who want to kill him for simply being a “Brit.” Meanwhile, undercover British operatives want to kill him for having stumbled into their world of double-dealing.</span></span></span></p> <p><span><span><span>When your pulse drops to normal—you'll have time to think about what it all means.</span></span></span></p> <p><br><br></p>Giveaway: 2 tickets to the Missed Connections release party 2015-01-29T16:55:00+00:00Salt Lake magazine/blog/author/webintern/<p><img alt="" height="327" src="/site_media/uploads/Jan2015/missed-connections.jpg" width="490"></p> <p>Looking for a unique date night idea for the weekend? The release party and screening of locally shot film "Missed Connections" is tomorrow (Jan. 30) at 7 p.m. at Megaplex Sandy and we're giving away a pair of tickets!</p> <p><strong>To enter,</strong> comment below telling us your favorite movie that was made in Utah.</p> <p>"Missed Connections" is a story about love, timing, the universe and sandwiches. Marc is a discouraged romance novelist who is set up on a blind date by his enthusiastic sister Julia. Instead of picking up his date, Melissa, Marc accidentally picks up Jessie. To make matters more complicated, Jessie has a boyfriend—Trent. Will Marc and Jessie find love, or will they be another missed connection? </p> <p>Filmed exclusively in Utah, "Missed Connections" was nominated for 9 awards at the 2014 Filmed in Utah Awards Show, including Best Picture. It also won an Award of Excellence from the Film Festival for Comedy, Romance and Musical in Jakarta, Indonesia (2013), and was named Best Independent Feature in the Bakersville "Outside the Box" Film Festival (2013). </p> <p><iframe height="206" src="" width="480"></iframe></p> <p>We will pick at winner on Jan. 30 at 12 p.m. MST. Tickets will be held at the Megaplex box office. Please include your email in the designated field or in the comment itself, so we can get in touch with you.</p>Mary&#39;s Recipe: Mushroom Bruschetta2015-01-29T16:46:00+00:00Mary Brown Malouf/blog/author/mary/<p class="p1"><img alt="" height="631" src="/site_media/uploads/Jan2015/mushroommania1.jpg" width="490"></p> <p class="p1">Usually, bruschetta calls to mind the flavors of summer-grill smoke, ripe tomatoes and fresh basil. But bruschetta is a great cold weather nosh or appetizer, too. The secret is mushrooms.</p> <p class="p1"><strong>Ingredients</strong></p> <p class="p1">1 baguette, sliced diagonally</p> <p class="p1">3 to 4 Tbsp. olive oil</p> <p class="p3">3 minced garlic cloves</p> <p class="p3">1 pound mixed mushrooms, sliced or chopped into similar-sized pieces</p> <p class="p3">3 Tbsp. fresh thyme leaves</p> <p class="p3">1 bunch fresh flat-leaf parsley leaves, chopped</p> <p class="p1"><strong>Instructions</strong></p> <p class="p3">Toast the bread slices. Gently sauté the garlic in the olive oil until it's soft, then add the mushrooms and turn up the heat.</p> <p class="p3">Cook 3 or 4 minutes, season with salt and pepper and remove from heat.</p> <p class="p3">Stir in the parsley and thyme and spoon the mushrooms over the toast. You can spread the toast with soft goat cheese or ricotta before spooning on the mushrooms. You can add a couple of teaspoons of balsamic vinegar to the mushrooms while they cook. You can crumble blue cheese over the mushrooms. We could go on and on with variations, but you get the idea.</p>Blogger&#39;s Table2015-01-29T12:19:00+00:00Sarah Lappé/blog/author/sarahl/<p><img alt="" height="478" src="/site_media/uploads/Jan2015/becky.jpg" width="490"><em><br>Becky Rosenthal sat down with me on a beautiful afternoon to chat about her new book.</em></p> <p>Since jumping into the Salt Lake City food scene a few years ago, I have always wanted to meet Becky Rosenthal, the blogger and creator of <em>SLCFoodie</em> and <a href=""><em>Vintage Mixer</em>.</a> These blogs are thoughtful, well written, and captivating. <a href=""><em>SLCFoodie</em></a> is dedicated to celebrating Utah’s culinary culture, and <em>Vintage Mixer</em> shares recipes that use seasonal produce. Both of these blogs have been inspirations for my own blog, <em>Farm to Table Utah</em>.</p> <p>I sat down with Becky and her 2-year-old son, Everett, at Tulie Bakery on a beautiful afternoon. The gorgeous Utah landscape was gracing us with a clean-air day and sunshine was filling the room as we chatted about her passion for food, blogging and Utah.</p> <p>Becky’s enthusiasm for food and writing has been cultivated over many years. Growing up in West Texas, Becky’s mother would often take her to restaurants that were not typical for young children, exposing her to fine dining and high-quality food. Later, Becky attended the University of Oklahoma and received a degree in journalism. While studying, she was mentored by a woman who prepared simple, fresh food found in her small herb garden and local farmers’ market. These experiences helped to form Becky’s foodie palate.</p> <p>After falling in love and getting married, Becky and her husband, Josh, ended up moving to Utah for work. Exploring all of the great places to eat and things to do, they fell under the spell of our state’s charm. At home in their new place, they wanted to show that Salt Lake did not live-up to some of its unfortunate stereotypes, and felt it was their mission to tell a new story about the city through blogs and social media.</p> <p>In 2008, Becky started her blog <em>Vintage Mixer</em>. She started connecting and engaging with people that were using the tag #SLC. She would chat with tourists coming to visit and locals who would recommend places to eat. Through these conversations, Becky was able to build a community and reputation. In 2012, Becky started <em>SLCfoodie. </em>She refined her purpose and was able to make blogging her full time job.</p> <p><img alt="" height="327" src="/site_media/uploads/Jan2015/slcchef.jpg" width="490"> <br><em>Salt Lake City Chef’s Table is a perfect gift for any foodie</em></p> <p>It was through these blogs and her reputation that Becky and her husband were contacted regarding their most recent project, a cookbook featuring recipes from local chefs and restaurants titled<em> Salt Lake City Chef’s Table</em>. This book is one of a series, sponsored by Falcon Guides, that feature several major cities. I have picked up Baltimore Chef’s Table for my mom, who grew up in the area, and it’s information and recipes did not disappoint!</p> <p><img alt="" height="734" src="/site_media/uploads/Jan2015/books.jpg" width="490"> <br><em>The Chef’s Table series is one of the best insider's guides to what is happening and trending in food in various cities.</em></p> <p>Likewise, <em>Salt Lake City Chef’s Table </em>expertly showcases 200 pictures and 65 restaurants. It features photographs of each recipe and portraits of the chef(s) that created them. It also includes a great photo of my brother chef Ethan Lappé of Caffe Niche.</p> <p>I chatted with Becky about the process of making the book. She explained that they had only three months to complete the project. Understandably, it kept her and Josh quite busy. They were at a restaurant practically every day and wrote/edited every night as soon as Everett went to bed. Both Becky and Josh collaborated on every part.</p> <p>Often Becky took the food pictures and Josh did the portraits, but they “piggy-backed” on each other through out the entire process.</p> <p>When I caught up with Becky, they had just published the book and were in the middle of promoting it. Earlier in the day, Josh and Becky were featured on Radio West with Doug Fabrizio to discuss the local food scene. Later that night, they had a book signing at The King's English.</p> <p><img alt="" height="356" src="/site_media/uploads/Jan2015/everett.jpg" width="490"> <br><em>Two-year-old Everett was a perfect gentleman sitting on his mom’s lap.</em></p> <p>After promoting the book, Becky plans to continue blogging but is looking forward to taking some time off to travel and relax. They are heading to Spain to get away and unplug for a while. In Becky’s words, her next project is no project. They are looking forward to a simpler year and to focus on raising Everett.</p> <p>With that being said, Becky seems to always find projects and projects always seem to find her. I, for one, am looking forward to seeing what she does next.  </p> <p><em>Sarah Lappé is a local foodie, who worked in the restaurant industry for many years, and has a strong family legacy of food activism. Follow her blog, <a href="">Farm to Table Utah</a>. </em></p>Sundance Review: The Forbidden Room2015-01-29T11:53:00+00:00Salt Lake magazine/blog/author/webintern/<p><img alt="" height="276" src="/site_media/uploads/Jan2015/theforbiddenroom2.jpg" width="490"><br><em>Image courtesy of Guy Maddin and Evan Johnson</em></p> <p>Guy Maddin and Evan Johnson's gorgeous, labyrinthine feature <a href="">The Forbidden Room</a> lays its aesthetic cards on the table from its opening credits, a stunning visual pastiche of styles referencing several examples of early- to mid-twentieth century approaches to the form, constructed as if each card was spliced in from a different film that had been moldering in some former studio exec's back closet. The film is all digital, so its warping, bubbling, and leaping are approximations, evocations of decay that are nevertheless highly effective in establishing both a medium (one distinct from the studio films it references, which, once the lights go down, we never notice as a medium until we see the projection of their breaking or melting on the screen) and a mood, melancholy and unsettling, haunted. The shifts in genre presented by this opening montage of title cards also raise questions about just what we're in for. How does all this relate to the film's title? Where and when are we? How many of these people in the credits are real, or is this some kind of half-hoax?</p> <p>To further confuse things, the work's framing narrative is a creepy instructional film—scripted by poet John Ashbery—called "How to Take a Bath" and presented by an leering older gentleman (Louis Negin) wearing a threateningly insecure satin bathrobe. As he begins his somewhat sexualized instructions, the camera leans into the soapy water between the how-to's male subject's legs and magically descends to the depths of the ocean, into the explosive room of the S.S. Plunger, where a slab of some kind of munitions is melting into a gelatinous mess, its instability keeping the vessel from ascending to the surface for air because a reduction in pressure would cause a catastrophic detonation. The submarine's four man crew, afraid to disturb the captain about these problems, resigns itself to rationing the atmosphere left to them until a woodsman, Cesare (Roy Dupuis), unexpectedly arrives, somehow finding his way through leagues of water and the bolted hatches of the submarine. He begins to tell a tale of a woman he's been searching for, Margot, the apple of every saplingjack's eye in the Holstein-Schleswig forest. She was taken hostage by a band of fur-wearing thieves known as the Red Wolves. Cesare tried unsuccessfully to raise a band of men to rescue her, but, left to confront them alone, finds Margot not helpless, but in a strangely controlling position, the power behind the Wolves' leader, her mannerisms stilted, weird, provocative, not at all like the pure and true-hearted woman we've been led to expect. Margot has a dream. In it she has amnesia. A jungle vampire stalks her, a man named Pancho dies, a doctor is attacked by women in poison skeleton suits directed by a skull-faced man, Thadeusz M__ sets out to murder his doppelganger, who first must tell him a story….</p> <p>And so on.</p> <p>The film's narrative proceeds by a sequence of digressions through common melodramatic tropes and exotic settings of silent films in which actors, including Udo Kier, Geraldine Chaplin, and Mathieu Almaric, may play multiple roles, while locations such as Brain Island, the sphincter-like "valcano" [sic], and, naturally, the submarine make us wonder if we've ever left that man's body in the bathtub, or if we might return to this or any of the narratives from which we've been led away.</p> <p>As a knot of style and invention, The Forbidden Room is a stunningly engaging fever dream, a hypothetical spirit film about the world of silent cinema, its characters, modes and methods, and the inevitable loss of its material record through deterioration and neglect, like its credits, a pastiche that, while at first appearing inaccessible, will, like any complex work of art, likely reward (and require) repeated viewings.</p> <p><em>Click <a href="/blog/2015/01/29/sundance-review-the-forbidden-room/">here</a> to read Jaime Winston's review</em></p>Sundance Review: The Forbidden Room2015-01-29T10:20:00+00:00Jaime Winston/blog/author/jaime/<p><img alt="" height="276" src="/site_media/uploads/Jan2015/theforbiddenroom1.jpg" width="490"><br><em>Image courtesy of Guy Maddin and Evan Johnson</em></p> <p class="p1">Guy Maddin and Evan Johnson’s <a href="">The Forbidden Room</a> is like a nexus of realities—familiar characters in each taking on different forms. </p> <p class="p2">It’s unlike anything else you're likely to see at Sundance this year, and it shows what New Frontiers is all about (innovative storytelling).</p> <p class="p2">The viewer gets stories within stories within stories, which are all—with the exception of maybe a tubby man named Marv explaining the history and importance of bathing—part of a larger narrative. We usually get to the next story when a character in the previous one has a dream, a memory or tells a tale. It’s often amnesia that brings us to the next storyline—showing us that maybe some actors have been playing the same roles all along.</p> <p class="p2">“It’s a good excuse to put stories in stories in stories,” Maddin says. “All of us need amnesia to get from part A to part B sometimes.”  </p> <p class="p2">A lumberjack (Roy Dupuis) and Margot (Clara Furey), the damsel he’s trying to rescue, help stitch the stories together. It all comes back to Margot and her lumberjack, who makes a discovery relating to each of the tales.</p> <p class="p2">This Russian doll storytelling also gives us four men running out of oxygen on a submarine, eating flapjacks with air pockets in them to survive, and a man obsessed with rear ends who tries to cure himself by having a doctor remove portions of his brain. My favorite is a man who forgets his wife’s birthday, so last minute, gives her a collection of his own junk, claiming that he bought exact duplicates for her, which somehow, leads to a murder.</p> <p class="p2">Maddin says his film was often shot in public, but each story takes us to a different world, often through the use of rear screen projection. The resulting film is beautiful. Each story looks as if the film had been beat up over decades of use, with scratches and flickering images—and while silent techniques are recreated through digital means, we often get stunning color and hear the actors speak—the dialouge is often hokey, which fits the look and feel.</p> <p class="p2">Unfortunately, maybe due to it’s length (131 minutes) and experimental form, it’s has not been everyone’s cup of tea. While I love it, <a href="">The Standford Daily</a> reports that it saw the most walkouts during the film festival.</p> <p class="p2">But if you're a fan of Maddin’s work, The Forbidden Room is worthwhile.</p> <p class="p2"><em>Click <a href="/blog/2015/01/29/sundance-review-the-forbidden-room-1/">here</a> to read Michael Mejia's review.</em></p>Art Review: Art of Blake Donner2015-01-28T22:31:00+00:00Salt Lake magazine/blog/author/webintern/<p><img alt="" height="297" src="/site_media/uploads/Jan2015/rrrtop.png" width="490"></p> <p>When Blake Donner became disenchanted with Hare Krishna philosophy, he turned his focus exclusively on railroad chalk graffiti art for his transcendental spiritual quest that was the heart of his zine <em>The Fifth Goal</em>.</p> <p>At 17, in 1998, Donner started his zine and the early issues represented a mix of photos and personal reflections upon freight train graffiti as well as his takes on Hare Krishna philosophy. These issues also reflected elements of the straight-edge movement, punk music and veganism. By his early 20s, Donner’s near-zealot passion for Krishna spirituality changed course. .</p> <p>‘<em>The Fifth Goal</em> explains how his spiritual-religious journey moved toward finding the right art medium through which he could pursue his own sense of beauty, purpose, meaning and truth,” says his mother Laura Hamblin, a Utah Valley University instructor and poet. “From his birth, he felt like a mystery to me; with the deep sensation that he was an ancient soul.”</p> <p>The last four of his eight zines were produced in cut-and-paste form and stark back and white photocopy printing that record a rare, first-hand discovery of chalk drawn monikers, images and drawings of hobos, trainworkers and trainhoppers from across North America. <br>Donner also included interviews with graffiti artists along with contributions by Texas filmmaker Bill Daniel, who directed the superb 2005 documentary <em><a href="/admin/blog/blogpost/11385/(http:/">Who is Bozo Texino</a> </em>that investigates an mysterious freight train tag of a character wearing a cowboy hat with a pipe.</p> <p><img alt="" height="765" src="/site_media/uploads/Jan2015/249.jpg" width="490"><br>Donner’s work is encapsulated in a new book titled <em><a href="">The Fifth Goal 1998-2003</a>: Transcendental Graffiti Zine</em> which has just been published jointly by <a href="">Division Leap</a> and Hierophant. <br>The book is a tribute to Donner, who died at the age of 24 in the summer of 2005 when he and three of his friends tried to swim through an underground passageway in a cave near Provo, Utah. At the time of his death, Donner was working on a debut album for his punk band Parallax. <br>Donner’s work gained widespread notice, including by Daniel who dedicated the 2008 book <em>Mostly True</em>, based on his earlier documentary, to the young Utah artist’s memory. Donner’s zine also featured photographs and interviews Daniel conducted.</p> <p><img alt="" height="776" src="/site_media/uploads/Jan2015/358.jpg" width="490"></p> <p>In 2002, Donner interviewed Colossus of Rhodes, a railroad graffiti artist who had been working since the early 1970s and was among the individuals featured in Daniel’s documentary. The interview offers a clear glimpse of graffiti different from the usual perception of it as, Greg Bennick describes, “the empty domain of vandals and property destroyers.” <br>Here is Colossus of Rhodes:<br>“As another isolated individual, in a vast system of cold practically [sic], I felt a certain kinship with self-expressive outrage release towards social inequalities, but at the same time, I had a vague sense of fear that I could be easily pinpointed and punished. This paranoia, plus the awareness of the railroads’ hsotility towards graffiti … gave me pause to reflect on my own graffiti. It wasn’t meant to be provocative proselytizing for revolution, but merely boxcar icon sloganeering as an equlibrium device for my own sanity.”</p> <p><img alt="" height="626" src="/site_media/uploads/Jan2015/rip.jpg" width="490"><br>He sees his persona as a Zen existentialist:<br>“[As] I’ve said in a boxcar icon caption, ‘Practice Non-certainty.’ In a patently absurd world, trust your intuitive guidance for individual responsibility, yet ponder the equation of, ‘Well, which is it?’ If you have time. Zen quote: ‘A frog rises up with the same force that he leaps in.’”<br>Donner’s own graffiti tag was ‘RIOT.’ He wrote in one of his last issues, “But the trains are always there. Silent, but screaming at me. The yards are where I find peace. I still yearn for expression, although I may not always know what I am expressing. This is my attempt.”<br>The book is drawing rapidly growing interest, even before its formal release at Printed Matter's 2015 Los Angeles Art Book Fair, which runs today through this weekend at the Geffen Contemporary at Museum of Contemporary Art (MOCA). <br>Preorders already have exhausted the first print run and pre-orders are now being taken for a second run, which will ship in early March. More information is available <a href="">here</a>.<br>All proceeds from the 436-page trade paperback book, which is priced at $25, will be donated to the <a href="">Donner/Galbraith Scholarship Fund</a> at Utah Valley University in Orem.</p>Sundance Review: Station to Station2015-01-28T17:28:00+00:00Salt Lake magazine/blog/author/webintern/<p><img alt="" height="276" src="/site_media/uploads/Jan2015/stationtostation.jpg" width="490"><br><em>Image courtesy of Doug Aitken</em></p> <p>Doug Aitken returns to Sundance aboard <a href="">Station to Station,</a> "a journey through modern creativity" in the form of 61 one-minute films documenting a 4,000 mile ride, east to west, across the United States on a train tricked out with an exterior light show created by Aitken himself, and loaded with artists, musicians, and dancers, who pile out at 10 stops along the way to provide a curious crowd with "nomadic happenings." These happenings, defined by Aitken prior to the film's screening as "moments in time that are unrepeatable," include yurts with installations by artists Urs Fischer and Ernesto Neto, projections of photographs by William Eggleston and Stephen Shore, and performances by Beck, THEESatisfaction, Patti Smith and the Solar Flare Arkestral Marching Band with its rendition of "Space is the Place." </p> <p>Aitken quickly puts to rest any questions about the legitimacy of re-experiencing an "unrepeatable" moment in time by eschewing the form of document. Rather, he offers his 61 films as a kind of eleventh happening, each section artfully gathering footage from the tour around a variety of themes, interviews and encounters, erasing boundaries of sequence and geography and encouraging the viewer to consider how all of this cumulatively produces the portrait of creativity the film claims for itself and what creativity may mean.</p> <p>Of course, the individuals Aitken invited to participate—also including Cat Power, Jackson Browne, Gary Indiana, Lawrence Weiner, Thomas Demand and Giorgio Moroder—are all talented and creative in their own right, though they respond to questions about the process of making in different ways. Thurston Moore says creating a song "is really animal," and we see what he means in an illustrative performance. Ariel Pink, on the other hand, is shown singing <em>a capella</em> on the train, his voice eventually overlaying the sound and image of his band Haunted Graffiti playing the same song on stage, implying an ineffable personal connection between inspiration and realization, which is further individualized in the space of each performance.</p> <p>The railroad, we're told in one film, was once "what we call the Internet." So, by extension, we may consider Aitken's train a particularly diverse interactive web experience. Often the film focuses on how musicians communicate onstage and how audiences respond to and interact with them. Composer Dan Deacon says that, for him, the audience is the show as we watch his relentless electronic music produce rave-like situations, one of which requires participants to illuminate the darkness with the light of their cell phones. Olafur Eliasson's kinetic drawing machine provides the train itself the materials to make images based on its motion.</p> <p>Creativity, the film seems to say, begins with action and response and lives through dialogue and interaction. It also requires mobility and freedom. Aitken's pair of performance pieces <em>The Hammer Goes Up </em>and <em>The Hammer Goes Down</em> combine the patter of two auctioneers and two flamenco dancers, producing a spellbinding and rhythmically complex composition that, by recontextualizing a familiar language of commerce, posits it as music, celebrating the potential of all the mundane world while effectively neutralizing creativity's greatest enemy: its exchange for profit as just one more consumable object.</p> <p>The final result of Aitken's journey is an energizing and innovative essay, an inspiring ride one feels compelled to take again and again.  </p>Bowling for Lunch2015-01-28T16:43:00+00:00Mary Brown Malouf/blog/author/mary/<p><img alt="" height="327" src="/site_media/uploads/Jan2015/zao1.jpg" width="490"></p> <p class="p1">This Asian variation on a burrito bar seems to be what everyone wants for lunch. Fortunately, the line moves fast. Choose a bowl (rice or noodles), a wrap, a salad or a bun. Choose a protein: chicken, meatballs, tofu or beef. Top it with green beans, carrot daikon, ginger scallions, crispy shallots, crushed peanuts and your choice of sauce: sweet soy, green curry or chili lemongrass. (I generally choose the bowl and a blend of the curry and chili sauces by asking for “super sauce.” ) Serve yourself a Maine Root, Thai iced tea or Vietnamese iced coffee. There’s no claim to authenticity at <a href="">Zao</a>—witness the beverage selection. This food is an Americanized amalgam of generically Asian flavors. Look, you get veg, protein and flavor in one fresh dish for a reasonable price. What more do you want for a working lunch? Oh, that’s right: speed. Like I said, the line here moves fast, faster than the line at In N Out.</p> <p class="p1"><em>639 E. 400 South, SLC, 801-595-1234.</em></p> <p class="p1"><a href="/in-the-magazine/february-2015/">Back&gt;&gt;&gt;Click here for more stories from our Jan/Feb 2015 issue.</a></p>