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Show Page 14 Thursday, May 22, 1980 The Newspaper PaA dry jhmim jm-iIh pi-.m-M -tud unM Mum ihi4m You can bet The Park City Summer Arts Institute combines study and play in the most pleasant surroundings sur-roundings (and for college credit, too). Artists like Frederick Wonq, Sandi Fox and the Repertory Dance Theatre will conduct a special series of workshops desiqned to develop a close workinq relationship between artists. Dance down Main Street, applique a quilt, paint the town, feel the coolness of clay under your nails, carve a woodblock, explore illustration, or really got away in the world of tho.ttru. Just send word and we will send the dt-tails (full schedule, our inexpensive lodging rates, how to qet here and more). You can work on your backhand in the morning and your brushstroke in the afternoon. after-noon. Looking forward to seeing you. ,..:.n?f'.t 1 ' JL 'ci; ! Sound good? Send a postcard. I.Hi4hiX An i itiif CO Km l-TH David Fernandez Director, Kimball Art Center O 'KELL Y-LE A VITT Insurance Agency Inc. Shirley O Kelly, Agent All types of Insurance 421 Main Street 649-6831 YOURftndtoendenn IBUrtWff AGENT ftfMVfk VOU'MtT Representing over 50 Companies Let us putyour RACQUET BACK TOGETHER! UNG? A 'y NEW HOURS 10-6 628 Park Ave. 649-9712 MlDDlTDllDW mis SKi&Spcrt 614 Main St 649-9066 I ' rn'im i I , mm 7 Park City Players Set Year's Plays The Kimbaljl Art Center this week announced the schedule sche-dule of pla.ys and musicals that will be produced by the Park City Players for the 1980-81 season. A summer production of Stephen Sondheim's adult musical, "Company" will be presented August 8, 9 and 14-16. Jonathan Bochberg, who served as musical director for the Players' productions of "Oliver" and "Fiddler on the Roof," will direct. The regular season of plays will be part of the Kimball Art Center's overall Performing Per-forming Arts Series. The season will open with the classic comedy, "Harvey" by Mary Chase, October 3, 4 and 9-12. Lerner and Lowe's "Camelot" will play December Decem-ber 5, 6 and 11-13. A comedy, "6 Rms Riv Vu" by Bob Randall will be presented February 6, 7 and 11-15. Show dates for Dalo Wasser- man's "One Flew Over the Cuckoo's Nest" are April 3, 4 and 9-12. The season finale will be the musical "Applause" "Ap-plause" made famous by Lauren Bacall's Broadway performance. Show dates are June 5, 6 and 11-13. These shows will be Directed Di-rected by Don Gomes, Kimball Kim-ball Art Center Theatre Director, with a possible Guest Director for "6 Rms RivVu." "We feel this is an interesting interest-ing and challenging season," said Gomes. "After the steady growth this past season, these shows will challenge the actors and actresses and provide good theatre for all." Gomes added that audition dates for each show will be well publicized and that anyone wanting to participate partici-pate in cast or crew can call him at the Kimball Art Center, 649-8882. Wong Coming to KAC For Arts Institute One.' of the nation's most highly respected watercolor-ists, watercolor-ists, Frederick Wong, will be at Kimball Art Center June 2-6 to help open the first Park City Summer Arts Institute. Wong will be teaching the first half of a watercolor workshop, while Utah State University's Ray Hellberg will conduct the second week. Wong, the author of "Oriental "Or-iental Watercolor Techniques" Tech-niques" (Watson-Guptill Publications, 1977), is best kndwn for his use of classic Chihese and Japanese techniques tech-niques in contemporary painting. He has exhibited across the country. Wong's works will be included as part of the Park City Summer Arts Institute Faculty Fa-culty Exhibition June 29-July 24, The New York resident has never been to the Utah area. Lijce many of the other Institute instructors, he has stressed the importance of working on a one-to-one bakis .with students. Persons involved with the. watercolor V'Orkshop wilH undoubtedly hajve access to Wong outside of'the:lassroom setting. ' 'It have found that workshop work-shop students enjoy talking art and would agree, certainly, certain-ly, that there is much value in the informal exchange of attitudes and ideas on areas of art that frequently extend beyond the watercolor medium," med-ium," Wong said. "I am very receptive to these discussions, discus-sions, and while my areas of expertise are limited, students stu-dents are understandably curious about the life of a professional painter. These exchanges of information can be interesting and I am prepared to participate with the students on a class basis or small, informal gatherings gather-ings at any time during the period I am in Park City." Thus far, a number of local watercolorists have expressed ex-pressed an interest in the Wong Hellberg workshop. The workshop will be limited in size and some registrations registra-tions have already been received. The watercolor workshop is being cospon-sored cospon-sored by the Utah Water-color Water-color Society. Participants may earn up to three hours ; of college credit for the ' experience. Cost of the two-week course is $75 for noncredit and $90 for credit. 'K 'i The Park City Summer Arts ;lnstitu.te,Js joade. possible througha graft fr4he I Utah Arts Council. In addi-I addi-I tion to the watercolor work-I work-I shop, the institute will offer 1 courses in ceramics, woodcut, wood-cut, theatre, illustration, dance and quiltmaking. For . further information, contact the Kimball Art Center at 649-8882. 1980 Arts Festival Deadline Nears The 1980 Park City Arts Festival has received nearly 300 applications to date from artists across the country, according to Don Gomes, Arts Festival Director. Many more are expected to arrive by the deadline, which , is 6 p.m., Friday, May 23 for hand delivery to the Kimball Art Center, or postmarked by midnight, May 23, 1980. Artists can call the Arts Festival Office at 649-8892 for applications or information. QiLAMiaeaMiPAisre i s PROSPECTOR VILLAGE 2198 Sunrise Circle, 4 bedroom, 2'2 baths with family room. This 2,000 sq. ft. house features 2 decks and fireplaces in the family room and master bedroom. Fully landscaped and fenced with built in sprinkler system. Purchase price, $128,000. Contract available, call Dusty at Skyline Land Co., 649-9066. Newspaper Classified Advertising doesn't cost ...IT PAYS! Call us... 649-901 4 Masln Wirfl by Jack Hash We all understand the meaning of skidrow. Mention of it brings on a nostalgia for winos, and sterno, and overcoats made out of newspaper. But "skidrow" is not a city word, or a slum word, or a down-and-out word. It is a lumberjack word, and came on the clean wind of the Pacific Northwest. It is also, according to natives of Seattle, a corruption and a mistake. "Skidrow" began life in Seattle, as "skidroad." Henry Yesler's skidroad was a mudtrack that wound down from the big woods to the sawmill. It was a magnet for small business, and the jewels of society, and along its snaky length saloons grew up, and boarding houses, for ladies. When Seattle changed from a logjam into a metropolis, the skidroad, as it was known and loved by loggers, vanished, but the road was still called the skidroad. Trent Avenue in Spokane is an old skidroad, as is Howard Street in San Francisco, and Vancouver's West Pender Street. And skiroads they remained, until 1938. In that year a journalist from a large national magazine came to Seattle. His assignment was to illuminate Seattle for the reading public; and the skidroad was the essence of Seattle, and its heart. According to legend, the journalist demoted de-moted by popular opinion to "that quickie writer" lost his way in a local saloon. Next day, while interviewing the townies, his hearing was not everything that it used to be, due to a pounding in the brain. When the skidroad was pointed out to him, as a landmark sight, he ushered it, as "skidrow," into a permanent blot on recorded history. A lot of decent Seattle pillars, when they heard about the defaming of "skidroad," and its ruination, were mortified. It roused them, so that they harassed the magazine, and tormented it, until "skidrow" was ousted out of its rTVc Rut not out of Amprifan lpffprs. and not as fast as the journalist, who never went back, even to get his hat, was ousted out of Seattle. ... Fan is another misunderstood word. Most people will tell you that it comes from "fanatic." But they have been led astray, if they think a "fanatic" is a "fan" in formal attire. Formal attire, for a fan, is Converse sneakers, with high tops. "Fan" comes from "fancy," which was used for a hundred years in England as a name for a follower of the fight game. "Fancy" was shortened to "fance," then to "fans," and finally to "fan." Another refugee from the world of sports is southpaw. It is dugout lingo, and first made print on the sports page of the Chicago "Herald" in 1891. When he stood on the mound in Chicago's old ball park, a picther faced the west, and facing the west, he faced the western hemisphere. Therefore pitchers who threw the ball left-handed let fly with their south poles, or "south paws." Speaking of pill-slammers, how did the old Brooklyn team come to be called the Dodgers? At the turn of the century, the trolley car was the king of the road in Brooklyn. Traffic was so littered with trolleys, and the pavement was so littered with pooches, that a citizen had to watch his step, in the borough of Brooklyn. Soon Brooklynites were; calling themselves "trolley dodgers;" or "dodgers," to cover the whole situation. When the time came to give the local ball club a title of distinction, "Dodgers" was the natural choice. The fortunes of war have uprooted its native son and replanted it in Los Angeles, but Brooklyn knows what is what, and to old-timers the Dodgers are New York, and the Mets and the Nets are words of one syllable. WimeT by Rick Lanman European Table Wines As wine drinkers, we Americans have increasingly turned to California to satisfy our indulgences and simplify what appears to be a confused array of wine types and vaieties. Yet it would be foolish for us to deny wine its European heritage and our own taste buds some delightful sensations because of complexity. Perhaps it is the remoteness of Europe and a host of unpronounceable names that send us scurrying in. the opposite direction. This need not be the case, however, if we would only take the time to examine some key European cities. ... The name Bordeaux resounds of winej'it is probably the largest wine center in Europe, producing more wine than any other area. Located on the Garonne River, Bordeaux is in southwest France, perhaps 60 miles from the ocean,. Jn , relation to,, the United States, Bordeauxdjesiibput 4,000 miles due east of Minneap'oiisVWhile most of us imagine Bordeaux as gilt facades and ancient buildings covered with gargoyles, it is also noisy, somewhat dirty, littered with neon signs and congested with large tractor trailers. While sporting dilapidated warehouses, Bordeaux still does retain part of its old world charm. Some of the world's largest wine deals are made in the back streets of Bordeaux and some are made in the suburbs. Yes, suburbs; as in American cities there are suburbs to which some of the more prosperous wine merchants have moved. While most of us envision Bordeaux wines as "Chateau this and Chateau that," much of the wine shipped from Bordeaux is of a regional nature, or if you prefer, simply table wine. Bordeaux warehouses are owned by shippers, vintnors and negociants. A majority of the grapes grown in the Bordeaux area actually comprise a variety of regional wines rather than the famous estate or Chateau bottled wines. In many cases bulk grapes are purchased by negociants and blended to create pleasing inexpensive wines. Increasingly however, negociants have had trouble producing reasonably priced products. pro-ducts. In the 10 years, for example, from 1963 to 1973 the value of an acre of vineyard land nearly tripled in value. In 1963 an acre in St. Emilion (outside Bordeaux) sold for $2,200; that same acre today might cost $7,500 or more. In addition, the cost of planting that acre has risen to over $4,000, indicating partly why wine costs what it does. Finally, the cost of cultivating an acre of vineyard has gone above $1,200 compared to only $800 in California. Since wine prices have not matched that phenomenal increase in cost, it is becoming increasingly difficult for growers to stay in business at least while producing table wines. Consequently vineyards attempt to improve their grapes and production in order to create great wines or classed (rated) growths. As this move intensifies, the reasonably priced wines' disappear until not enough is produced to export. In addition, as land values increase more vineyard owners are apt to sell their acreage for large real estate profits, profits certainly greater than those found in producing nice, but not great wines. Still, these wines are available and they provide excellent drinking. Regional wines are produced in a variety of ways with the merchant or negociant playing a vital role. A respected shipper and negotiant (sactv as Barton & Gupstier--look,for B & GnMhe label) may jJurcftase grapes orwiiif from many vineyards near Bordeaux. Since 60 percent of the grapes grown in Bordeaux eventually wind up in regional wines, a shipper has a wide variety to choose from. A negociant such as B & G may buy the wine and then store it in their own casks and age it for a period of time in carefully controlled conditions before shipping it to Great Britain or the United States to be bottled. They may also do some of their own bottling and even crushing depending upon the wine demand. There are numerous options to be pursued with decisions frequently based upon the quality of that year's crop. Over the years, a number of people knowledgeable in the wine trade have become increasingly involved with its importation. For example, Frank Schoonmaker, (a wine merchant and writer here in the Vnited States, has in recent years gone abroad to pick particular wines. These selections are imported with his name attached; some are premium wines, others simply good table wines. His name on the bottle assures you that what you purchase is at least of reasonable quality. Maison Sichel (house of Sichel) is another name you can generally trust. Peter Sichel, the negociant, does his best to pick a wide variety of wines for the American market. In this case the negociant acts in yet another manner, exporting many chateau bottled wines. As an informed wine drinker we must begin to think of the negotiant's role as myriad; he may export the finest chateau bottled wine or a humble regional alternative. In either case, it is the name you can trust and use to find that bargain in the confusing world of European wines. 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