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Review: Avett Brothers at Park City Live

By Music

It’s not everyday that a band is welcomed to the stage by musical kingmaker T Bone Burnett. But Thursday night at Park City Live was no ordinary night.

Burnett was in town for the Sundance premiere of a film he co-produced with Jack White (of the White Stripes) and Robert Redford (of Sundance, obviously).American Epic is a documentary the started with the discovery of a vintage American recording device and follows the device around the country while modern artists from Merle Haggard to Alabama Shakes record with it.

One of the bands in featured in the film is the massively popular Avett Brothers. And so, in a little bit of Sundance magic, the Avetts played the afterparty. And at 10:35, after Burnett called them “a great American band,” the party really started.

 

Opening with “Satan Pulls the Strings” the band hit the stage with their trademark energy and didn’t slow down, not even during a charming if not a little confusing kazoo medley. The Avetts don’t talk much during their shows, preferring to go from one song to the next at exhausting speed. And because of that, they were able to rip through 17 songs not counting the encore in about an hour and a half.

During the show the room seemed to be divided into to groups. The fans who were close to the stage knew every word and jumped and danced along, and then there were those who stayed in the back of the room and, apparently, paid a hefty $125 to chat with their friends. Ah, Sundance.

In the hour and a half they were onstage the band played lots of crowd favorites, including “Talk on Insolence,” “Murder in the City,” “Head Full of Doubt/Road Full of Promise,” and “Slight Figure of Speech.” They played a song from a new album, expected this fall, “Divorce, Separation Blues.” But the highlight of the night, for this reviewer was a rollicking take on George Jones’ “The Race Is On.”

That was my favorite until the encore, that is. The band came back onstage for one song, a long version of “Kick Drum Heart” complete with a jam-band musical interlude that included Seth Avett walking through the crowd as members of the audience held the cables attached to the guitar above their heads.

In the end, I can’t tell you if American Epic is a good movie. I didn’t go to the premiere. You can find out yourself when it airs on PBS later this year.

But I can tell you this: American Epic can throw one heck of an afterparty.

Preview: Avett Brothers at Park City Live

By Music

There aren’t a lot of bands like the Avett Brothers.

The North Carolina natives are one part rootsy indie, one part country and one part rollicking good time. Call it bluegrass with a cello. Or Rock with a banjo. Or both at the same time.

Whatever you call them, the band has proven over a slew of Salt Lake City tour dates that they’re the real deal. In fact, they’ve sold out every show they’ve played in Utah in recent memory.

Their scheduled stop in Zion this Thursday is different. This time the boys are playing Park City Live, a much smaller (and much more indoor, thankfully) venue than their usual Red Butte Garden gigs. The evening promises to be a stop unlike any other Utah show to date.

And, perhaps because of that, or perhaps because it’s in Park City during Sundance, their faithful fans are going to pay the price. $125-$250, to be exact.

The hefty price by Utah standards is because the show is part of a premier party for the Robert Redford, T-Bone Burnett and Jack White produced American Epic, a film that rediscovers an early American recording device and commissions modern-day artists (including the Avetts) to record with it.

The film’s premiere is sold-out, but it will be coming to your television this fall on PBS. Tickets for the after party (including the Avetts and, one might guess, other artists featured in the film) are still available, at the above mentioned steep price. But, as any music fan will tell you, some things are worth it.

This show may well be one of them.

Sundance Review: “Jim: The James Foley Story”

By Arts & Culture
If you see one thing doc this year, see this

Early on in “Jim: The James Foley Story”, Foley is speaking at Marquette University after having been captured by forces loyal to Muammar Gaddafi, jailed in Libya, and released 44 days later. He tells the audience he’s not a hero; he’s just a regular guy…

…but that’s bullshit.

For 120 absorbing minutes, “Jim: The James Foley Story” chronicles the life, death, and legacy of James Foley, the American journalist beheaded by ISIL in August of 2014.

Directed by childhood friend Brian Oakes, “Jim” is an intimate and moving account not to be missed. Thankfully, it was acquired by HBO, and airs February 6. Take two hours out of your life and watch it.

Oaks deftly intertwines revealing interviews with family, friends, fellow reporters and fellow captives; photos and videotape from holidays and from Jim’s own reporting; and artistic reenactments into a testimony to the character of James Foley. By the end, you’ll wish you’d known him in real life.

From his early days as a young man finding his place in the world, to one of his first “real jobs” as a teacher with Teach For America, to his life’s work as a freelance conflict journalist with GlobalPost and Agence France-Presse (among others), Oaks’ use of potent, first-hand knowledge of the man is undeniably affecting. Two hours doesn’t seem long enough for this courageous man, who was a trusted friend to his fellow journalists, and a source of support to his fellow captives until the bitter end.

It may make you question the United Sates’ involvement in areas such as Syria, or the policy to not negotiate with terrorists. It was such negotiation that secured the release of Foley’s fellow captives, citizens of other countries such as France and Italy. They testify to the horrors they endured, of the moments of relief while in captivity, and of Foley’s strength in the face of pure evil. The conditions these journalists risk their lives to report are brutal, unbelievable; but that is precisely why James felt a need to get those stories out to a world that knows more about the Kardashians than about the Assad regime.

And why Oaks felt a need to keep Jim’s story and legacy alive in a world that moves on to the next news cycle far too quickly.

A

120 minutes

Directed by: Brian Oakes

#StuartSelfie Updates!

By Arts & Culture
Stuart Graves, our man on Main Street, has been hittng the pavement in Park City, and he’s spotted plenty of celebrities in the first two days of Sundance.

Let’s see what Day 3 brings. And don’t forget to Instagram your own #stuartselfie for a chance to win some great Sundance prizes.

 

 

Nick Jonas.

 

Molly Shannon

 

Adam Scott

 

Jesse Plemmons

 

Bradley Whitford

 

Sam Neil

 

Elijah Wood

 

Penn Jillette

 

gilbert gottfried

Slamdance Review: Director’s Cut

By Arts & Culture

Slamdance Review: Director’s Cut

 

Adam Rifkin’s (maybe I should say Herbert Blount’s) Director’s Cut is a twisted horror-comedy.

Written and narrated by comedian and magician Penn Jillette (of Penn & Teller), the film has a biting wit that is reminiscent of Jillette poking holes in popular topics and movements on his Showtime series Bullshit!

Jillette plays movie buff Herbert Blount, who is obsessed with actress Missi Pyle (playing herself). To get close to Pyle, Blount donates to a crowd funding campaign and earns a spot on the set of her film Knocked Off, a cop drama directed by Rifkin (also playing himself). After filming Pyle on and off set, Blount kidnaps her and steals Knocked Off footage to splice it all together and make his own amateur director’s cut, including scenes he forces Pyle to act in.

Blount also includes his own director’s commentary, which exposes the lazy writing, product placement, cliché plot points and insults to a viewer’s intelligence we’ve all seen in similar suspense shows.

Of course, he also obsesses over Pyle in the commentary, even fast forwarding through scenes she’s not in.

Rifkin’s movie in the movie, Knocked Off, stars Pyle as a hard-hitting FBI agent teaming up with local two cops to stop a serial killer, who is taking cues from famous killers of the past like Albert Fish and Charles Whitman. But it’s only Blount’s version we see in Director’s Cut. Who knows? Maybe there will be a special edition Blu-ray with both films.

Director’s Cut was a great way to kick off the 2016 Slamdance Film Festival.

It’s funny, innovative and pretty disturbing. Oh, and Teller’s in it, too.

Three Stars

Meet the Sundance Team

By Arts & Culture

January in Utah means one thing: Sundance.

Below you’ll find bios on the best darn Sundance team in town.

Movie Reviewer: Michael Mejia

 

Michael Mejia is the author of a novel, Forgetfulness (Fiction Collective 2). He teaches Creative Writing at the University of Utah.

Two Things I’m Looking Forward To at Sundance 2016: The return of former Sundance stars Todd Solondz (Wiener-Dog) and Whit Stillman (Love & Friendship), as well as new work from Apichatpong Weerasethakul (Cemetery of Splendor) and Werner Herzog (LO AND BEHOLD Reveries of the Connected World).

Josh Fox’s (Gasland) new documentary examining how communities around the world are responding to the effects of climate change, How to Let Go of the World and Love All the Things Climate Can’t Change.

One Thing I’m Going to Miss (On Purpose): Nothing Left Unsaid: Gloria Vanderbilt & Anderson Cooper. I mean, what do we really expect Gloria to “reveal”? Maybe where the commercials will be inserted when this airs on CNN.

 

Movie Reviewer: Richard Bonaduce

 

President of the Utah Film Critics Association, Marvel Unlimited member, and Film Critic for The Standard Examiner and Salt Lake Magazine, Rich also hosts “Critical Mass” (a movie-review show), TALK 365 (a services-centered talk show), and is Video Coordinator for WGU, where also he’s enrolled in their MBA program. You can see him Friday mornings on “Good Day Utah” on KSTU-Fox13 for on-air film reviews.

Two Things I’m Looking Forward To at Sundance 2016: Eat That Question: Frank Zappa in His Own Words. A sharply edited and energetic celebration of Zappa through his public persona, allowing us to witness his shifting relationship with audiences.

Being a film critic and a drummer, I love documentaries about musicians, especially the docs that get behind the creative process; and there’s no one more creative than Zappa!

Michael Jackson’s Journey From Motown to Off The Wall. Director Spike Lee assembles a wealth of archival footage, interviews with contemporary talents and family members, and Michael’s own words and image to create this insightful chronicle of the star’s early rise to fame.

I’m sure you’re sensing a theme, but yes I’m excited for this one too, especially with Lee at the helm; I’m sure he’ll do the subject matter justice. There is a world of wonderful music from Jackson before he was a household name, and I think much of it dwarfs anything from “Thriller” onward.

But I’m not looking forward to: Navigating all this stuff in the wintertime. The winter is for snowboarding, not bar-hopping. Why the hell can’t we have SUN-dance in the summer?  Why doesn’t that make more sense? Anyone?!

 

Movie Reviewer: Jaime Winston

 

Jaime Winston once wrote for Salt Lake magazine and edited SLmag.com full-time, and then he left to do similar work at Weber State University. But once he was out, we pulled him back in (after he pestered the editor for freelance work). Look for his stories in upcoming issues of the magazine and his film reviews on SLmag.com during the Sundance Film Festival. In his free time, he reads big stacks of comic books, hikes Utah’s trails and tracks down copies of silent horror films. If he’s not catching a film at the Rose Wagner during the fest, you may find him across the street at Gracie’s enjoying a burger and a pint of pale ale.

What to see:

The Bad Kids: Keith Fulton and Lou Pepe (the latter deserves a Sundance award for coolest director name) are bringing their documentary about a high school in a patch of the Mojave Desert to Sundance. What makes this high school unique? Educators at the school actually believe they can help at-risk kids, who are dealing with abuse, addiction and more, succeed with empathy, teaching life skills and just giving a damn.

The film follows the daily lives of three of these “bad” kids and their principal. Bring tissues to dry your eyes.

Slam! I bet you didn’t expect a Slamdance film in this blog. This horror film directed by Adam Rifkin (Detroit Rock City) and starring/written by Penn Jillette (Penn and Teller) is opening this year’s Slamdance Film Festival. It’s about a crazed movie buff who kidnaps his favorite actress and forces her to star in his own twisted film. I’m anticipating a bloody good mix of witty dialogue, mystery and scares—and hopefully Penn’s sleight of hand.

What to miss:

How to Let Go of the World (And Love All the Things Climate Can’t Change)

While acknowledging we may be unable to slow climate change, Oscar-nominated director Josh Fox’s Sundance film focuses on the survival spirit of cultures around the world (my understanding based on the trailer).Did Fox admit defeat in the climate change fight, given the fact he travelled to 12 countries on six continents to make the film and will be taking it on a world tour? Otherwise, he would have gone green and pitched it to Netflix.

And with that attitude, shouldn’t the film be titled “You’re All Doomed, And So Are These People?” I have a feeling his excellent “Gasland” films on fracking did more good than “How to Let Go” will. Maybe my assumptions are wrong, and I hope they are. Either way, audiences will think it must be important given the subject matter, and it will win a bunch of documentary awards and get standing ovations.

Celebrity Watcher: Stuart Graves

 

Stuart, an avid traveler, runner and music and movie afficianado, will be Salt Lake magazine’s celebrity correspondent. He’s traveled the world to run marathons and climb mountains, but, he says, Nepal and Australia are his favorite spots.

Two things I’m looking forward to: I’m looking forward to meeting a new round of film stars in 2016, and hopefully I’ll get to revisit with my pal from the last coule years, Molly Shannon. Also, I’m looking forward to the possibility of finally seeing my Sundance white whale,  James Franco. If you need me, I’ll be practicing so that I don’t sound scary if and when I do meet him.

One thing I’m not looking forward to: The possibility of a celebrity shut out.  I don’t want to walk away from this Sundance with only a half dozen souvenir water bottles to show for it.

Photographer: Natalie Simpson

 

Educated in the Fine Arts program at BYU, Natalie has 16 years experience in photography. She lives in Salt Lake with her two sons and the world’s best looking dog. She has been a breakfast cereal guru for 35 years and counting.

 

Videographer: Mike Hansen

 

Mike is a native of Northern Arizona and currently works at a lifestyle and fine art photographer.  His business Brushfire Photography has taken him around the world to document weddings and events.

 

Sundance Culture Reporter: Christie Marcy  

 

Christie Marcy is the associate editor at Salt Lake magazine and though she has lived in Salt Lake for eight years she has not once stepped foot into a Sundance related event. Until now.

For the next two weeks she’ll report on cultural happenings at the festival. What’s the worst that could happen?

Sundance Lounges Open To The Public

By Arts & Culture
Sundance can be a slog. Sometime you just need to rest, grab a snack and charge your phone. We’ve got you covered with a list of lounges that you don’t have to be a somebody to enjoy.

Watch for updates from Christie Marcy on lounges through the weeked, on the blog and on instagram @whynotboth.

This list will be updated as more information is available.

 

 

-Barclaycard Arrival Presents 364 Main

364 Main St.

Friday, 1/22 to Sunday, 1/24,11 a.m-4 p.m.

Featuring

  • Dell Workshop: Adrian Grenier will be hosting daytime workshops with Dell, and exclusive film dinners at night, which Grenier will be personally curating with his celebrity friends.

  • The Points Guy, which helps travelers find the best deals, will be providing a convenient and combined work/play space with complimentary Wi-Fi and panel discussions for attendees

  • The first floor of 364 Main will also include the following:

    – Campbell’s will be offering a make-it-yourself soup station
    – V8 will have a Bloody Mary and fresh fruit cocktails bar
    – Chuda Hydrating Healing Cream, launching on Feb 1, will be showcasing their new product!

 

 

-Chase Lounge

573 Main St

Open daily from 11:00 a.m.–5:00 p.m. Schedule subject to change for special events

-Acura

201 Heber Ave. (at the corner of Main St.)

Friday, January 22–Friday, January 29 10:00 a.m.–6:00 p.m.

Saturday, January 30 10:00 a.m.–2:00 p.m.

-Brookside Chocolate

Festival Co-op 608 Main St

Friday, January 22–Friday, January 29 10:00 a.m.–6:00 p.m.

Saturday, January 30 10:00 a.m.–2:00 p.m.

-Luna Lounge

1821 Sidewinder Dr (adjacent to Festival HQ)

Friday, January 22–Friday, January 29 10:00 a.m.–6:00 p.m.

Saturday, January 30 10:00 a.m.–2:00 p.m. Schedule subject to change for private  events.

-Dropbox

Festival Co-op 608 Main St

Friday, January 22–Friday, January 29 10:00 a.m.–6:00 p.m.

Saturday, January 30 10:00 a.m.–2:00 p.m.

-Filmmaker Lodge

Elks Building 550 Main St., 2nd Floor

Friday, January 22 – Saturday, January 30, 2016 10:00 a.m. – 6:00 p.m

Sunday, January 31, 2016 10:00 a.m. – 12:00 p.m.

-New Frontier

573 Main St. / Floor 2-3

Friday, January 22- Friday, January 29 1pm – 8pm

Saturday, January 30 11am – 3pm

-Salt Lake City Festival Café

Sicilia Pizza Kitchen

35 W. Broadway (300 South)

-Festival Base Camp presented by Canada Goose

475 Swede Alley, Park City

Friday, January 22–Friday, January 29, 11:00 a.m.–8:00 p.m.

-Sundance TV

268 Main St.

Open Daily 10am to 6pm: January 22nd through January 29th; Panels 1-2pm, Pre-Party 4-6pm

-The Living Room

528 Main St.

Open Friday, January 22–Thursday, January 28 from 10:00 a.m. to 4:00 p.m.

-Uber Lounge

Corner of Heber Avenue & Swede Alley

Open daily from morning to night

Why Sane Liquor Laws Matter

By City Watch
With the Legislative session on the horizon, we offer the conclusion of Salt Lake magazine’s exploration of Utah’s Byzantine liquor laws.

Utah’s predominately teetotaling Legislature and governor are well aware of the dangers of alcohol abuse and the state liquor monopoly’s skyrocketing revenues—from $156 million in 2002 to $396 million in 2015. But what they don’t understand are the intangible aspects of wine, beer and spirits as a part of food culture, a passion and an art form.

Since the turn of the century Utah’s population has been bolstered by young professional transplants who see drinking a part of a “good life.” Consumption overall is going up and wine drinkers are becoming more discriminating—the national trend is towards higher-price, higher-quality wine. Utah’s one-style-suits-most wine and spirits selection doesn’t cater to a wide selection of interests and palates, which is why aficionados return from places like California and Washington—where stores may stock more intriguing or rare wines—with bottles stashed in their suitcases. Buying wine is just like buying anything else—tastes differ. Some fashion customers shop at Nordstrom, some shop at Walmart.

Joel LaSalle

“One of the things that is sort of intuitive is that visitors come here for convention and leisure travel and they’re a different demographic than the majority of folks who live in the state,” Scott Beck, president of Visit Salt Lake, told The Salt Lake Tribune. “Outside of Utah, drinking is not a moral issue. It’s a social issue.”

 “If we want the highest quality in hospitality, in food and beverage—they go hand in hand,” says restaurateur Joel LaSalle, “especially for visitors and people who are moving here who are foodies. Around the world, everyone knows that great wine means great dining.”

Click here for DABC Smashed in chapters.

Or read the article on our digital edition.

DABC Detox

By City Watch

Editor’s note: When the Legislature meets later this month, they are expected to consider “tweaks” to Utah’s arcane liquor laws. But restaurateurs, bar owners and resort executives say that falls far short of the fixes required to keep the state competitive in bringing in tourists, conventions and developing a robust local dining culture.

In short, the myth, “You can’t get a drink in Utah,” is alive and well.

 

Mike Mower, long-time Republican political operative, hustles down a Capitol staircase to a meeting. “I love it,” he says of his job as Gov. Gary Herbert’s deputy chief of staff. “As a kid in Ferron, I would have never have believed that someday I would be working in this beautiful building.”

Mower is good at his job. You would never guess from his Boy Scout enthusiasm that he was handed the nightmare task of controlling the spreading public rage at Utah’s dysfunctional Department of Alcoholic Beverage Control. On this sunny afternoon, Mower cheerfully explains that the Governor’s Office’s scrutiny of the DABC is just a part of a state-wide efficiency program being implemented by Kristen Cox, executive director of the Governor’s Office of Management and Budget.

In truth, DABC’s problems are vastly more politically perilous. Besides an avalanche of complaints, Mower is faced with DABC Commission meetings at which former employees, wine lovers and even a state senator leveled charges of employee abuse and gratuitous firings, inept customer service, security problems, inventory shortages and arrogant disregard of the state’s tourism economy that depends on providing quality wine and liquor. Utah hoteliers and restaurateurs bitterly complain that after a short period of progress under former Gov. Jon Huntsman Jr., Utah is again the laughingstock of the world for its puritanical and absurd liquor laws.

“The morale at the DABC has never been lower,” says Brent Clifford, retired wine buyer at the agency for 37 years, who has become one of DABC management’s angriest and most knowledgable critics. “Employees feel they are under siege and badgered to constantly do more. And the current leadership is clueless.” Tracey Creno, a police officer who provides security at the Sandy store, complained of intimidation, spying and retaliation against employees. “I’ve had a gutfull of DABC,” she told the commission.

Sen. Karen Mayne, a West Valley City Democrat, tore into the DABC over “email after email” she had gotten from employees complaining of arrogant managers who bully them. Two wine experts quit the Metro Wine Store downtown in protest of their work environment and the decline in quality of selection. “[Selling alcohol and wine] is a skilled craft and should be treated that way,” Mayne told the commissioners at a public meeting. “We [the state] are generating millions of dollars from your business.”
The roiling controversy at the DABC has spread far enough to splatter Herbert.

 

“That’s how I got involved,” Mower explains his role. “If there isn’t enough time for people to meet with the governor, I meet with them. I look to see if some changes need to be made. I said, ‘Let’s get Kris’s team on the ground. Let’s see if there are changes that should be made—operational stuff.’ ”

But Clifford, who resigned in 2012 from the DABC, protesting the agency’s short-sighted shift to profits over quality, and other critics inside and outside of the agency aren’t optimistic Herbert will do much. “Mower’s one of the best political handlers out there,” says Clifford. “Gary Herbert wants the bad press to go away. He wants it to happen before he runs [for reelection]. I don’t believe he’s serious about fixing the issues down there.”

 

Others, including retired DABC Human Resources Specialist Kerri Adams, who has brought the employee complaints to the commission and Mower, also fears the governor’s office is doing little more than letting employees vent, hoping it will mollify them. After all, only the Legislature can make meaningful fixes and Adams and Clifford agree there is little appetite on the Hill for significant law changes to make liquor sales easier.

Click here to continue with DABC: A Peculiar Institution

Or read it in its entirety on our digital edition here.

DABC SMASHED

By City Watch

Mike Mower, long-time Republican political operative, hustles up a Capitol staircase to a meeting. “I love it,” he says of his job as Gov. Gary Herbert’s deputy chief of staff. “As a kid in Ferron, I would have never have believed that someday I would be working in this beautiful building.”

Mower is good at his job. You would never guess from his Boy Scout enthusiasm that he was handed the nightmare job of controlling the spreading public rage at Utah’s dysfunctional Department of Alcoholic Beverages. On this sunny afternoon, Mower  cheerfully explains that the his office’s scrutiny of the DABC is just a part of an state-wide efficiency program being implemented by Kristen Cox, director of the Governor’s Office of Planning and Budget.

In truth, DABC’s problems are vastly more political. Besides the avalanche of complaints, Mower is faced with DABC Commission meetings at which former employees, wine lovers and even a state senator, leveled charges of employee mistreatment and gratuitous firings, inept customer service, security problems, inventory shortages and arrogant disregard of the state’s tourism economy that depends on providing quality wine and liquor. Utah hoteliers and restaurateurs bitterly complain that after a short period of progress under former Gov. Jon Huntsman Jr., Utah is again the laughingstock of the nation for its puritanical and absurd liquor laws.

In short, the reputation that you “can’t get a drink in Utah” is alive and well.

“The morale at the DABC has never been lower,” says Brent Clifford, retired wine buyer at the agency for 37 years, who has become one of DABC management’s angriest and most knowledgable critics. “Employees feel they are under siege and badgered to constantly do more. And the current leadership is clueless.”

Sen. Karen Mayne, a West Valley City Democrat, tore into the DABC Commission over “email after email” she had gotten from employees complaining of a culture of arrogant managers who spy on and bully them. Two wine experts quit the Metro Wine Store downtown in protest of their work environment and the decline in quality of selection. “[Selling alcohol and wine] is a skilled craft and should be treated that way,” Mayne told the commissioners at their April public meeting. “We [the state] are generating millions of dollars from your business.”

The roiling controversy at the DABC has spread far enough to splatter Herbert.

“That’s how I got involved,” Mower explains his role. “If there isn’t enough time for people to meet with the governor, I meet with them. I look to see if some changes need to be made. I said, ‘Let’s get Kris’ team on the ground. Let’s see if there are changes that should be made—operational stuff.’ ”

But Clifford, who resigned from the DABC, protesting the agency’s short-sighted shift to profits over quality in 2011, and other critics inside and outside of the agency aren’t optimistic Herbert will do much. “Mower’s one of the best political handlers out there,” says Clifford. “Gary Herbert wants the bad press to go away. He wants it to happen before he runs [for reelection] next year. I don’t believe he’s serious about fixing the issues down there.”

Others, including retired DABC Human Resources Specialist Kerri Adams, who has brought the employee complaints to the commission and Mower, also fears the governor’s office is doing little more than letting employees vent, hoping it will mollify them. After all, only the Legislature can make meaningful fixes and Adams and Clifford agree there is little appetite on the Hill for significant law changes to make liquor sales easier.

A Peculiar Situation

It speaks volumes about the culture of the DABC that many restaurant, bar and club owners refused to speak on the record for this article. As one put it, “You have no idea of the power of the DABC. They have long memories and they arevindictive.”

But Joel LaSalle, who is an owner of several restaurants and bars and is president of the Salt Lake Area Restaurant Association, was clear. First and foremost, he says, the absurd Zion Curtain requirement must be eliminated. He’s talking about the Legislature’s 2010 requirement that a partition be erected between restaurant patrons and bartenders preparing drinks to  prevent non-drinking customers from witnessing drinks being made. Former Sen. John Valentine, ironically dubbed “Mr. Liquor” as thepoint man for the law changes, the governor and other lawmakers feared that the entertaining spectacle of cocktail mixing would lure children into drinking.

Restaurant owners—and about two-thirds of Utahns surveyed by Utah Policy.com—say the  Curtain should come down. “The biggest single issue is the Zion Curtain because it is a barrier that is sitting out there for everyone to see,” LaSalle says of the partition’s symbolic power. “It’s in our customers’ faces. And it’s an absolute embarrassment for us in serving people coming from out of town.”

From a restaurateur’s point of view, the Zion Curtain is a financial burden, too. LaSalle says the partition at Current cost $16,000 to install. And it impact doesn’t stop there, he says, “It costs us thousands of dollars a month in sales—I can’t seat people at the bar—they don’t want to sit six or seven inches from a glass wall.”

Another absurdity for diners and restaurant owners is the “intent to dine” requirement, which forces restaurant servers to quiz patrons on whether they intend to order food before they can serve them a drink. Like many of the state’s vague liquor laws, it annoys customers and ultimately is probably unenforceable. As one beverage manager  asked, “What can I do if they get up and leave before they order food?”

LaSalle is more to the point: “A judge in a court of law would be hard pressed to go against a restaurateur who said, ‘We own a restaurant, we serve food and they asked for a table—we could only assume food was what they were there for.’

Mower deflects such frustrations by patiently explaining that Utah’s monopolized liquor regulations really are not that much different from the 17 other states that directly control liquor sales. And, he points out, these fixes can only be implemented by the Legislature. “I’m not here to defend or change the liquor laws,” Mower says. “The Legislature will do that.”

But Utah diners, imbibers and restaurants say that’s a simplistic brush off—Herbert is complicit in the status quo. Huntsman obviously was able to push through liquor changes. “Things like this make us look like idiots,” the owner of one of Utah’s trendiest restaurants says of the international perception of Utah liquor laws.

LaSalle puts it more diplomatically: “It’s not very welcoming.” And, he says, it hurts the state’s economy. “We have a convention center, a new performing arts center and huge hotels, yet we still aren’t able to compete with Seattle, Denver, Phoenix or even Portland because this state has reinforced a misconception that you can’t get a drink in Utah.”

Spies and Bullies

Beyond the state’s irrational laws, the DABC has internal problems.—The employees point to arrogant, incompetent managers who spy on and intimidate them,  driving out knowledgable store managers and employees and undermining customer service. A “metrically” guided ordering system has reduced the inventory of fine wines and alcohol. And a budget cut last year exacerbated the situation with poorer pay, dependence on part-time workers and requiring store managers to take on two or more outlets. “The new clerks know zero about wine and liquor,” says one bar owner.

For purveyors of new and unusual liquors and exceptional wines and residents who seek out products not in the stores, the state’s special ordering system that was supposed to allow them to bring in case lots has been a fail. “If you really want to satisfy these customers, you need to hire enough staff, but they won’t,” Clifford says of the issue. “The system was set up to fail.”

Cox says that while some of the allegations are employee “grousing” and finger pointing, “When they’re legitimate, we’ll look at them.” Cox’s office’s review of DABC operations (completed in November but not released before Salt Lakemagazine went to press) may clear up many of the employee problems and customer service issues—including special ordering, Cox says. “It will take effect over 18 months,” she says. “The work is never done.”

Cox explains she wants to instill an efficient, yet compassionate environment at the DABC. “We want to meet customer demand, to be profitable for the state and to have a culture where our employees feel respected and honored and feel like they are contributing and feel like they are paid fairly,” Cox says. But she defends the Legislature- and Herbert-driven “improvements” made six years ago that led to many of the issues the DABC faces now. “There were changes that needed to be made down there. There are people who were impacted by those changes that are upset by the current management. They have made their opinions loud and clear.”

Many of those opinions were about DABC Director Sal Petilos and his team, whom Herbert-appointed Acting-director Christine Giani installed after—what its victims refer to as the “Reign of Terror.” Deputy Director Tom Zdunich, whom employees called Petilos’s “Dick Cheney,” resigned last summer in the middle of the controversy. Mower says a search is being conducted to replace him. But many critics and employees don’t think that any real change is possible at the DABC if Petilos and his minions stay.

Christine Giani declined to be interviewed for this article. Petilos’s Adminstrative Assistant Vickie Ashby put off interviews with Petilos until a week before the deadline for this article, only to report a few hours before the interview that Petilos had taken sick. She explained that DABC Chairman John T. Nielsen, who also had agreed to a meeting, declined to be interviewed without Petilos present.

Mower and Cox were reticent to discuss DABC personnel issues. But when Cox explained the DABC needs effective and compassionate managers who made “employees feel respected and honored,” it seemed fair to ask if Petilos fits that description.

“Yes, I think he’s a compassionate man. He does a good job,” Cox says, after prodding. “He needs to have a strong deputy on the operations side and he needs to work on some of the cultural issues—which I think he is addressing. It’s just this issue of respect. Management needs to respect employees and on the flip side, employees need to realize that management has constraints as well.” Most of all, Cox said she wanted the finger pointing to stop.

Mower and Cox launched a series of “reviews” into DABC operations. Salt Lakemagazine obtained the reports through a Government Records Access and Management Act request, but employee complaints, allegations or suggestions were not included.

Utah’s Alcohol Czar

Utah’s contorted drinking politics are impossible to compare to other states. In the dominant Mormon culture, the consumption of alcohol, like tobacco and coffee, is forbidden. Making alcohol a moral issue produces a backlash from the non-Mormon population, who complain of the puritanical control of the Legislature—and by extension the LDS Church. One indication of how peculiar the subject is is that the media specifically identifies the rare DABC commissioner who is “a social drinker.” (Two of the seven current commissioners imbibe—licensees consider this an unusually progressive panel.) Commissioners are appointed by the governor, and, by law, none can be involved in any aspect of the liquor business. (It is worth noting that the Utah Air Quality Board includes representatives of mining and oil-refining industries.)

On the other hand, Utah’s monopoly on the sale of alcohol brings ever-increasing treasure to state coffers—$396 million in 2015. Though state leaders are regularly jeered as cash-driven hypocrites—lawmakers say Utah’s regulations are it the best way to control alcohol abuse. In any event, Utah’s state booze trust is going nowhere soon.

Critics of the DABC, including Clifford, say that under an overwhelmingly teetotaling Legislature, real improvement in liquor distribution is unlikely because any alcohol consumption is considered dangerous and immoral. Many of the controversial liquor regulations were created under former Sen. John Valentine and former Senate President Michael Waddoups, a Mormon whose wife was seriously injured by a DUI driver. In just a couple of legislative sessions, they turned Huntsman’s so-called liberalized approach to providing alcohol on its head. (Huntsman signed his 2009 changes into law in the New Yorker restaurant’s bar. Core to the liberalization was the elimination of Utah’s “club” law that required imbibers pay to join a private club before they could order liquor.)

As the DABC controversy continues with lobbyists massing this month for the 2016 session, the Legislature has a new point man on liquor laws, Sen. Jerry Stevenson. G.O.P. leaders selected the Layton Republican “Mr. Alcohol”—point man for all drinking laws.

“When John [Valentine] walked in here and said I was the guy, he said it was because I was fair,” Stevenson says. “The selection is an informal thing—he passed the gauntlet.”

Stevenson is a non-drinking Mormon, but has relatives who imbibe and says he isn’t offended by social drinking. Still, he has a steep learning curve ahead. “Two weeks ago, I didn’t know what a flight of beer was,” he says. To get up to speed, Stevenson read Toward Alcohol Control, a 1933 study commissioned by John D. Rockefeller Jr. shortly after Prohibition ended.

If nothing else, Stevenson is frank. “Alcohol is a touchy issue in the state of Utah. [But] I don’t know that Utah liquor laws are that far off center,” he says. “It started with the Olympics—we spend a lot of money welcoming the world. We want people to come. We say we want them to like us—but we really want them to spend their money here. So, we want to make things comfortable for them.”

But the state also is at the low end for DUIs, binge drinking and other alcohol abuse. “We don’t want that to change,” he says.

Stevenson declined to be specific about legislation that may emerge in the session beginning this month, but said his approach to making changes would be piecemeal—a couple fixes—rather than the sweeping omnibus-bill approach that Valentine favored. His goal, he says, to get three alcohol-related bills through.

“There’s a lot of tweaks that could make things much friendlier. But I don’t think we need to wholesale tear things apart and put them back together again. Let’s not choke on the elephant, let’s eat it a bite at a time. Some bills will deal with administration and most of them make sense, and we’ll move them forward under my name,” he says, then jokes: “I don’t think they’ll throw me out of church.”

One of his biggest challenges in fixing liquor regulation, Stevenson says, is that the players—bar, restaurant, distillery, brewery and resort owner—can’t agree on what they want changed. “If you walk into four different places downtown, you get four different conceptions on what needs to be done,” he says. He has spoken with LaSalle and the owners of Alamexo, the Gastronomy group and resort owners. “These are real business guys,” Stephenson says. “They want different outcomes if I run legislation than the people who sell beer and pizza.”

LaSalle says all players agree on one issue: tearing down the Zion Curtain. “I have high hopes for this Legislature,” LaSalle says. “I’m all for working with these people. I don’t think legislators know the harm that is being done [by the law].”

But Stevenson sees the issues more broadly than home-grown restaurateurs and barkeeps. For instance, more than an annoyance to local businesses, he fears some state liquor laws may be causing large resort and restaurant chains to pass over Utah because they run counter to their business models—including forcing modifications of restaurant architecture to meet the Zion Curtain requirement. Stevenson acknowledges that many Mormon legislators may be resistant to liquor law changes, but dealing with the Church of Jesus Christ of Latter-day Saints, he insists, isn’t much different than working with any other special interest. “The church has a set of gentlemen on Capitol Hill who are lobbyists.” Still, he acknowledges, “The LDS Church has a dog in this fight—their welfare program has seen the problems of over-use of alcohol.”

Surprisingly, Stevenson admits that some of the issues at the DABC are, indeed, the result of punitive actions by the Legislature. DABC managers had been “doing things that weren’t quite kosher,” he says of  Giani’s removal of top DABC managers for questionable financial dealings.  When all state agencies were told to take a 7 percent funding cut, Stevenson says, “We had a [DABC] director who basically said, ‘We produce a lot of revenue for the state. We aren’t going to do this.’

“I said, ‘I bet you do’ —we control the pursestrings.”

When state revenues came in better than expected, every agency saw the cuts returned to them—except the DABC. Stevenson admits it exacerbated the problems. “We made an error last year and part of it is my fault,” he says. “For some reason, we kept a half million dollars from DABC. Sometimes the Legislature punishes, for lack of a better word. DABC needs that money back if they are going to operate in an efficient way.” He vows the $500,000 in cut funding, and perhaps more, will return to the DABC.

“We are going to go through this. We are going to sort this out,” he says. “Besides this, I’m dealing with prison relocation—so I can take any kind of bullet you shoot.”

Still, Utah’s alcohol history has shown that Stevenson may be rashly confident.