OCR Text |
Show Fife B6 Thursday, August 27, 1981 The Newspaper Me! Wirlldl by jm Rick Brough Audi 4000 55 iscoiinfc3 up to $1200.00 We have 8 Limited Edition, 1981 Audi 4000 5 5s ready for delivery, immediately. Good selection, fantastic equipment, great price, only at Dave Strong -K PORSCHE AUDI 1045 South State Salt Lake City, Utah 801-531-9900 i C0LG ' I iiJii j r Joyce Plowman, of Prospect Avenue, Park City, became the proud parent of a baby girl, Sara Joyce. Sara arrived at 3:07p.m., Saturday, August 22nd. at St. Marks Hospital, weighing in at 8 lbs. 3 oz., 19Vi inches in length. La Maze coach, Cathee Soares, credits Texas Red's 3 alarm chili with the surprising 1 hr. delivery. Joyce's original coach, John Jenkins was busily boiling water and tearing up sheets, but, unfortunately could not be reached at birth time to assist in the actual delivery. He did, however, arrive shortly there after with a bottle of '47 Don Perignon cleverly wrapped in plastic flowers saved for the occasion. Distinguished among Joyce's many visitors are grandparents, Mr. & Mrs. Lloyd Plowman of Fullerton, California and Dan and Jenifer Burge of Laguna Beach. Many of Joyce's friends, relatives and employees dropped in to honor Joyce and wish her the very best. Do you work in Park City but can't afford to live here? FOR SALE: IRON HORSE CONDOMINIUMS 2 and 3 Bedroom Units, $61,000 to $74,000 Now under construction - ready for March occupancy. For more information contact Silver King Bank. These units are offered subject to guidelines and requirements of the Park City Housing Authority, Richard Wilde, Chairman. Heavy Metal Cartoon is heavy on sight, sound, color A Classic Recommended Good double leaturr m.ilri;il Ti ne-killer For tnasiK hisls onlv s Heavy Metal If Cheech & Chong had grown up in the same neighborhood with Gahan Wilson, Stanley Kubrick, and Robert Bloch, and they all made animated cartoons in their parents' garage, the result might resemble "Heavy Metal", a bar-barically bar-barically hip collage of sights and sounds in the science-fiction-fantasy mold. It's a direct relation to the gory comics of the early 1950's which featured stories where some obnoxious character came to an appropriately ap-propriately gruesome end. (Example: a compulsive neatnik was dismembered by his harassed wife, and his body organs were meticulously metic-ulously stored in jars in the fruit cellar.) Social scientists and congressmen denounced the comics as pernicious influences on youth, but twenty years later turned over in their graves as pulp aficionadoes began to praise the comics for their grisly artistry. The stories range from a few minutes to nearly a half-hour. And they don't always follow a simple narrative. If you saw the film when you were half-asleep, half-asleep, you might be convinced con-vinced for several days that you dreamed the whole thing. The Common plot thread in this anthology is a glowing green ball a harbinger of Evil innocently brought home by an astronaut for his little girl. After the ball reduces Daddy to a screaming, dissolving skeleton, skel-eton, it summons the terrified ter-rified little girl to "look within" at examples of its horrible power. Under the influence of the green glow, a race of armored barbarians on a distant planet (perhaps ours) ravage the countryside and their victims call for salvation to the last survivor of a warrior race an Amazon flying what looks like a baby rock. Another story, "B-17" explores a monstrous metaphor . for war's destruction the dead members of a bomber crew purefy into skeletons who prey upon their living comrades. A . Finally, the dashing "Captain "Cap-tain Stern" is an intergalac-tic intergalac-tic heel who's on trial for so many crimes that the best he can hope for, his lawyer advises, is that he'll be buried secretly so his grave won't be violated. Stern bribes a friend to speak up for him, but the character witness, hypnotized by a strange green pebble he's found, can't help blurting out the truth. "The captain's never done an immoral thing ... unless you count the pre-school prostitution ring!" At it's best, the movie encompasses the varied artistic styles of the magazine. mag-azine. The most distinctive is Richard Corben, who draws horny guys and buxom women with lumpy muscles and heavy lines. His characters charac-ters look like they're made out of Play-Dough. There's a scuzzy, pencil-sketched pencil-sketched look to "Harry Canyon," the story of a hack who putters around futuristic futuris-tic New York. His yellow cab looks out of place amidst the space ships and monorails, but he has a few up-to-date devices, like a death ray in the back seat for passengers who try to stiff him. "Captain "Cap-tain Stern" is a cariacture of super-hero comics, with characters who have Dudley Doright grins and lantern jaws. Unfortunately, "Heavy Metal" isn't very enjoyable if you can't overlook the heavy sex-and-violence orientation. Every woman, it seems has breasts like footballs. Characters turn into slime or squirt blood like ketchup packets. But the film is still heavy on raunchy wit, expansive imagination, and vivid, cosmic cos-mic story-telling. Learn to be funny from Woody's teacher The man who taught Neil Simon and Woody Allen to write comedy will teach a one-week, intensive workshop work-shop in "The Craft of Comedy Writing," at the University of Utah Sept. 14-18. He's Danny Simon, Neil's older brother and 10-year collaborator in television comedy writing. In addition, Danny Simon was head-writer head-writer for several TV series, including "Kraft Music Hall," "The Danny Thomas Show," and "One Day at a Time." He has also written for "The Jerry Lewis Show," "My Three Sons," and "McHale's Navy." Woody Allen has said of him, "I've learned a few things on my own and modified a few things he taught me, but everything, unequivocally, that I learned about comedy writing, I learned from Danny Simon." In "The Craft of Comedy Writing," Simon will teach students how to differentiate between various forms of comedy writing and how to adapt their writing accordingly. accord-ingly. Lectures, discussion and simulation of actual professional writing conditions condi-tions will cover what problems prob-lems to expect and how to make the most of material. The workshop will meet from 10 a.m. until 5 p.m. each day in room 110 of the Behavioral Science Building on the U of U campus. A brown bag lunch is recommended. recom-mended. Fee is $225 for three hours credit in theatre or $200 noncredit. To register, phone the U's Division, of Continuing Education, 581-6483. t Paul DeGroot and Don Gomes talk over Silver Wheel renovations.'; , ' . . Silver Wheel Theatre soon to be Egyptian by Rick Lannian Selecting good wines If you have walked along upper Main Street lately, you probably have stumbled on or at least noticed the piles of rubble being removed re-moved from the Silver Wheel Theatre. It may not look like much, but those remains of old props and concession stands represent the beginning begin-ning of a new era for performing arts in Park City. By October, the theatre will officially be returned to its original name, "The Egyptian," and audiences will enjoy an enlarged lobby, a redesigned stage and new technical equipment. The decor, right down to pha-roah-head lighting fixtures, will emphasize the original Egyptian revival architecture architec-ture popular when the theatre was built for vaudeville vaude-ville and silent movies in 1926. Don Gomes, executive director di-rector of Park City Performances, Perform-ances, is managing the renovation which is being undertaken by the owners of the theatre, Silver Mill of Park City. When Park City Performances begins programming pro-gramming the theatre in October, Gomes says, "In all ways, we will have one of the finest performing arts facilities facili-ties in the Intermountain area. And, we're not only involved in the historic preservation of a vital facility, facili-ty, but also an infusion into the business community and a revitalization of performing perform-ing arts in Park City. We're especially grateful to Silver Mill of Park City for their commitment to preservation and their financial investment invest-ment in making this happen." hap-pen." Paul DeGroot of Park City is the contractor in charge of construction. During the past two weeks, he and his crew have been tearing out walls and preparing for new construction. DeGroot, who local projects have included renovation of the Blue Church Lodge and the Meyer Gallery, has worked on historic buildings as far away as Harpers Ferry, W. Va., and Lewes, Del. Working Work-ing with him on the Egyptian are Kim Boley, Mark Walsh, Bill Peck and Larry Peck. Local actors and theatre fans, such as Fred High-tower High-tower and Peter Holdorf, are lending assistance in clear ing out rubble and tearing Quntested assumptions Frequent trips to the wine store reveal an astonishing number of wines, both domestic and foreign. As a wine writer, I am questioned regularly about preferred wines and suggested bargains. Typically, I feel frustrated at my inability to provide quick answers detailing simple choices. Wine is a complicated subject not given to simplicity; short articles on wine normally found in college magazines, for example, often produce misinformation and leave behind down walls. "To me, this is renovation project, which is different from a remodeling. It means bringing the structure back to its original aesthetics while incorporating new amenities and technical equipment like modern bathrooms and a more comfortable lobby," said DeGroot. "Park City has excellent opportunities for renovating, rather than ripping rip-ping down existing structures; struc-tures; and I hope to see builders do more of this in the future." Kim Boley points out that many of the walls being torn out inside the theatre are "interim structures" that were added after the building build-ing was first constructed. "So, in many ways, we are taking the theatre back to what it was in 1926," he said. "It's exciting to see that the theatre can become clean and comfortable while preserving pre-serving its original look." One of the most interesting components of the renovation renova-tion work is the discovery of old theatre memorabilia in dark corners and among the dust and litter that has piled up over the years. Old programs tell the tales of early performances, and an old building permit gives a clue of earlier construction work. One long-forgotten poster advertises the auctioning auc-tioning of a lot on Woodside, and a batch of five-cent tickets are a reminder of pre-inflation times. Particularly Particu-larly interesting is a stack of theatre pass coupons with the heading "Money Night At The Egyptian 1935." Each is signed by local residents who apparently joined the festivities that night, including, "Jack Green of 421 Park Avenue." The renovation work will continue through September and early October, with completion scheduled just before the re-opening of the Egyptian on Oct. 10. Topping the difficult question list (and probably also leading the most asked question), is "should I buy imported or domestic wine?" The r;uestion is usually posed by people who have spent a year or two drinking good jug wines. They are now ready to purchase fifths of better wines for special dinners and parties. They would like to learn about wine, yet find the wine store a very confusing place with a myriad of even more confusing names. Several Winepress columns have addressed ad-dressed the labeling associated with European Euro-pean wines. While we have simplified the process to some extent, choosing good French and German wines is complicated. Even a grasp of regional names and vineyards can be circumvented by a lack of vintage knowledge. European wines definitely definite-ly experience bad years, and a bad year means flat or acidic wines. At $6 to $10 a bottle, poor wine becomes very expensive drinking. California wines, however, rarely have bad years, for even during droughts, irrigation provides for the vital aquatic demands of the grapes. Why worry about vintage years then? Why not simply buy California wines with assured quality? Well a second rule about wine selection is that adversity produces greatness. great-ness. The tougher growing environment of Europe, especially in Germany, occassional-ly occassional-ly results in unequaled wines. To explain this difference in growing conditions we might examine a chart detailing degree days in various wine districts. The International Wine and Spirits Competition in London recently released a degree chart on some of the more famous growing districts. "Degree days" is developed develop-ed as a number indicating the amount of sunshine and heat received by the vines during an April to October growing season. The comparisons made by the chart are especially revealing in light of comments made during the past year In Winepress. For example, we have always considered the Bordeaux area similar to the Napa Valley of California. Both regions lie on the west coasts of their respective countries, both are within 100 miles of the ocean, and both lie in the westerlies at matching latitudes. Subsequently, a look at our chart shows Bordeaux receiving 2,500 to 2,800 degree days of sun. The Napa Valley receives 2,300 to 3,300 degree days. So at least with respect to climate, Napa should produce a classic Bordeaux wine. Needless to say, when comparing wines we are assuming a wine in the classic style is preferred. Thus a great Cabernet Sauvignon should taste like a Bordeaux and a great Riesling should taste like a Rhine or Mosel. This question is always open to debate, but for this article we will assume that is the goal. The Rhine and Mosel River Valleys normally receive about 1,700 degree days of sun per growing season. This number, when compared to the 2,300 to 3,300 of Napa, reinforces a theory Winepress has raised many times; that Napa is too hot to produce classic Riesling wines. Our chart shows Monterey County with 2,100 degree days perferable to Napa. Yet still more interesting are chart figures on Oregon and Washington, states that Winepress has always been impressed with. Northwestern Oregon, for example, shows 1,950 degree days and eastern slope Washington comes through with a reading of 1,785. While the wineries deal with temperature extremes and attempt to produce the very concentrated flavors of these difficult wines, you risk buying poor wines and dueling with disaster. Some of the finest wine grapes have grown accustomed to severe climates: the Pinot Noir, White Riesling (Johannisberg Riesling is actually not a correct term for the grape), Gewurztraminer and Chardonnay. In growing these grapes, vineyards in Oregon worry about rot, lack of sunshine and rain just like their European counterparts. To answer the original question posed then: European or domestic? Those of you who wish to graduate beyond the jug wine are applauded and we will try to provide direction. We will start with individual grapes of the domestic variety and then move on to foreign soil. Let us narrow ourselves down to white wines and two grapes in particular, the Riesling and Chardonnay. Once you have learned to identify the grapes by taste, you will have a basis to test the European ancestors. In the next month or two you should drink four or five bottles of wine featuring each of the two grapes. Select your choices from the list below and we shall drink our way northward. With five Rieslings and five Chardonnays under your belt, you will be amazed at your ability to judge quality among these wines. To begin, select one Riesling and one Chardonnay from any of the following vineyards: Mirassou, Monterey Vineyards, Monterey Peninsula Winery or J. Lohr. Next, select two bottles of each grape from any of these vineyards: Beaulieu, Simi, Beringer, Sebastiani, Sterling, Charles Krug or Mondavi. Select one bottle of each grape type from either Sokol Blosser, Eyrie Vineyards, or Tullatin, all Oregon Wineries and probably only available at the Trolley Square Wine Store. Finally, select one bottle of each grape from the following: Chateau St. Michelle or St. Chapelle, Washington State and Idaho State wineries respectively. These also will be available only through Trolley Square. Be prepared for prices of $3.85 to $8 a fifth; these are good wines and you will have to pay the price. Purchase the oldest vintage available, but stay away from 1976, with 1978 being preferable. After five bottles of each, you will easily recognize the grape and from a position of knowledge we will depart for Europe. |