It might be 90 degrees outside, but it is fall and with fall comes a series of delicious and refreshing Oktoberfest-ivals. This weekend, the fest to not miss is 4thtoberfest.
This Saturday, Oct. 22 from 1 to 7 p.m., enjoy bands, brats and so many local beers on 4th Avenue.
Now, you can get into the bars and see the bands without purchasing a $15 ticket, but it does sound like a good deal (and a portion of sales will be donated to KXCI): A ticket gets you eight tasting tickets redeemable for 1 nickel pour each, a 5 ounce logo glass and a discount on your brat plates (plan to spend $5 on those) plus exclusive access to some specialty beers—but we'll get to those in a second.
First, lets get you in! Five lucky people are getting a pair of tickets from us. Fill out our entry form here and we'll get in touch with winners today (Thursday, Oct. 20) and tomorrow (Friday, Oct. 20).
Now that we've got all the logistics out of the way, let's go over what you'll be putting in your mouth:
Exposed as someone who fibs about following the law, Miller has fought back by requesting hundreds of thousands of emails from Pima County Administrator Chuck Huckelberry and her fellow Pima County Supervisors in an unsuccessful effort to prove there was a massive conspiracy among county officials and local media to discredit her. This is a perfect example of Miller's paranoia; there is no conspiracy. We media types pursued the story not because we were ordered to by Chuck Huckelberry; we pursued them because (a) it was a bizarre story and (b) it was obvious to anyone with half a brain (which evidently excludes Miller and her various flying monkeys in social media and conservative radio circles) that now-former Miller aide Timothy DesJarlais was lying about not being involved in the harebrained Arizona Daily Herald caper.
Miller still hasn't turned over her emails and is the subject of a slow-moving investigation by the Arizona Attorney General's Office. Meanwhile, rounding up the records this would-be champion of the taxpayer has requested is taking up an insane amount of time and financial resources for the County Clerk's Office while producing zero evidence that anything improper has been taking place, no matter how hard the dumbass Arizona Daily Independent tries to spin things. Miller is now the equivalent of one of those vexatious litigants who file an endless number of lawsuits to harass people.
To: Thomas Weaver
Chief Civil Deputy County Attorney
From: C.H. Huckelberry
Re: Continued Burdensome Records Requests by Supervisor Ally Miller
Supervisor Ally Miller has renewed her expansive and onerous requests for public records from me and other members of my staff. While her previous July 13, 2016 requests for records were equally expansive, they at least carried the pretense, stated repeatedly by her on various social media accounts, that she was seeking evidence that my office, the other four supervisors and the County Communications Office conspired with the local media to have them write stories about her mishandling of her employee’s attempt to masquerade as a journalist. She also sought proof we subsequently conspired with the media to have them report her apparent four-year effort to illegally cloak the business of her office in secrecy via the use of personal email and encrypted computer files and portable data storage devices.
Supervisor Miler’s records requests of September 22, 2016 are virtually identical to the requests of July 13, but without the pretense. The media have mostly moved on from the Timothy DesJarlais scandal, and her gross violations of State public records laws are being investigated by the Arizona Attorney General’s Office. Yet Supervisor Miller continues her expansive and onerous requests of my office, Chair Bronson’s office and the Communications Office; attempting to discover any mention of the DesJarlais scandal – as well as obtain every email sent or received by any of my staff, the Communications Office, and Chair Bronson and her staff – as well as a host of other electronic communications and internet browser data. Lacking the DesJarlais scandal pretense, one can only conclude the sole purpose of this latest series of requests is harassment.
Think back to 2008. The stock market has just crashed and things you used to be able affordable, luxuries no longer an option. Well, this misfortune became reality to one man in particular. While this exact mishap happened to many back in 2008, it is what this man did in the face of adversity that is the real story.
“I was a contractor, I owned my own business for eight years. It went under with the housing market crash, but I made a lot of money during that time,” said Matt Montgomery, founder and co-owner of Three Wells Distilling Company. "I got really used to high dollar tequilas, but suddenly I couldn't afford them, so I thought ‘How hard could it be?’”
Three Wells Distilling Company was incorporated in 2013 by two men that still run the company to this day, Matt Montgomery and Chris Dudding.
“We really never expected to do anything like this,” said Montgomery.
Three Wells started off as a dream and since has grown tremendously. With a total of four spirits under their belt (Agave Silver, Sonora Copper, Sonora Silver tequilas, and Mt. Lemmon Gin), they are continuing to expand and innovate, while still maintaining the principle that all ingredients are completely Arizona born and never sourced.Not only are they innovating when it comes to their spirits, Three Wells has another trick up their sleeve.
“What we have learned being in the craft distilling industry, is that it is not so much that you open a craft distillery and people just come in and buy your booze, to get the point of where you are making enough money, we had to do something,” said Montgomery.
After much research and development, Three Wells have decided to open up a Cocktail Room.
Inspired by what other craft breweries were doing in the area, Montgomery and Dudding decided on the next step for their business.
“The unique experience of drinking beer crafted right there, while looking at the inner workings of a craft brewery is so cool and Chris and I realized that we have the opportunity to provide folks with a similar experience at our distillery,” said Montgomery.
Groundbreaking New York City band Television released the equally groundbreaking Marquee Moon in 1977, the year I was born. Aside from a self-titled album in 1992 and a handful of onstage reunions, the band has been largely inactive since 1978. With the very notable exception of guitarist Richard Lloyd—especially for a group so renowned for its dual guitar interplay; Lloyd has been replaced by the surprisingly worthy Jimmy Rip in recent years—the sight of the (mostly) classic line-up on the Rialto stage tuning their guitars warranted a double take, if not a complete jaw drop. I never expected to see these songs played by these people in my lifetime—after the previous week’s sterling Echo & the Bunnymen show, I’m half-expecting David Bowie to show up with the Velvet Underground to play the Rialto any day now.
C. Elliott Photography
Tom Verlaine at the Rialto Theatre Tuesday night.
The sound Television laid out on Marquee Moon and its ’78 follow-up, Adventure, is nearly mythical and its influence (yet both total commercial flops) on the last four decades of alternative guitar rock is as vast as the music itself was unprecedented. Despite years of imitators and bad onscreen portrayals (in punk-era fictionalized movies), nobody really sounds like Television. The ringing, droning guitars with Billy Ficca’s jazzed up drums and Tom Verlaine’s strangled whine—this is something that most people still have never heard coming from a stage. And though its members, as famous for their feuding as for their playing, are all AARP-eligible, Television’s performance was invigorating and electrifying.
As for the songs, what can be said of “Venus de Milo,” “Prove It,” the world-changing “Marquee Moon” and the heart-destroying “Guiding Light” that hasn’t been repeated for 40 years? Yet, the band’s casual affability lent itself to the hymn-like nature of the performance and soon the whole show began to feel like a religious service. Excluding the encore of “Friction,” the set closed with the title track of that epochal ’77 debut album. By the time Verlaine’s famous extended guitar break built into the song’s pounding climax, it sounded like a skyscraper was being constructed. And the following quiet section was wondrous and incandescent, the equivalent of countless buzzing fireflies scattering, and not unlike the lightning Television itself unleashed into the world.
Your Weekly guide to keeping busy in the Old Pueblo.
Pick of the Week
Dusk Music Festival: Music festival season has officially hit Tucson! Dusk is an all-ages music festival held featuring greats Calexico, Danny Brown, Matt and Kim, RL Grime, A-Trak, DJ Mustard, Wild Belle, Gaby Moreno and Luna Aura. Fill out the day enjoying local food and beer, taking in the art installations and letting loose with carnival games and rides. Rumor has it the festival has big plans to expand into a two day event next year, so that must mean this year's event is gong to be pretty spectacular. See for yourself: Noon, Saturday, Oct. 22. Rilito Regional Park, 600 E Bromley Street. $49 general admission.
Food & Booze
4thtober Fest: The fall brings a change of weather, a change in the color of the leaves and also many delicious and refreshing Oktoberfest festivals. But the only one to have beer, bands and enjoy the deliciousness of a brat plate contest on 4th is the 4thtoberfest. Enjoy 10 brews from local brewers, 18 live performances and food throughout bars in Tucson’s 4th Ave. For more info and tickets visit 4thtoberfest.com. 1-7 p.m. Saturday, Oct. 22. It's free to attend, but a $15 ticket grants exclusive access to special beers, a logo sample glass, and 8 five-ounce pours for a nickel each.
Tucson Firefighters Chili Cook Off: Warm your belly and your heart this weekend and spend a day with your local firefighters as they compete in the 21st annual Chili Cook Off. All proceeds made from the event will go to the Local 479 Adopt-A-Family program. 10 p.m. Saturday, Oct. 22 The Bandshell at Reid Park, 998 S. Concert Place. Free.
Southwest Craft Beer & Sports Festival: The name pretty much says it all: This festival is about sampling (more than 40!) craft beers, eating great local food and competing in target golf, beer pong, bean bag, toss and a putting contest for prizes. Brin the kids, dance near the DJ, and see what you can score at the silent auction. 1-6 p.m. Saturday, Oct. 22. Tickets range from $35 to $75—but designated drivers can get in for $20.
Billy Sedlmayr's only major-label record deal included Superfly.
The advertisement went something like this: “8 FREE ALBUMS FOR A PENNY.” It came out of T.V. Guide, Parade Magazine, and important journals of the day.This part was simple, you really did receive eight records and for them you signed on to pay for more LPs at Record Club prices ($9.99 a pop plus tax and you had four months to get them). Today I can recite all eight of them, those first ones I got. They’re part of my DNA.
The last platter I liberated from shrinkwrap was Curtis Mayfield's Superfly. Came out winter ’72, some months before the film would run in theaters.The cover sported a yellow Super Fly logo with red trim. Next to that was Mayfield’s face, and standing next to his chin was Priest, wearing an immaculate white suit coat and white Italian zip-up boots, with arms crossed and holding a non-threatening pistol. (Priest [Ron O’Neal] is the film’s conflicted coke dealer, with a stable of vague black women dropping in and out—he’s in for the big score so he can get off these streets once and for all.) A bikini-clad sister with an Angela Davis Afro is splayed behind Priest.
The soundtrack, unlike any of its kind, stands on its own, and nowhere do we see the word “soundtrack.” Yes, the back cover shows stills from the film, but clearly Curtis won this first fight of many. It follows the gritty screenplay in its own way, but this is not music to back a movie, possibly the other way around. This was Mayfield's music, his label, and his vision. From the first song to the last, the album provokes conversation. It’s trashcan fires, tenements and crime, black on black. This is urban renewal, welcome to it.
The music has many fathers, Delta blues, country blues, street-corner doo-wop, jazz, rock ’n’ roll, fusion, Latin and Puerto Rican rhythms. And Chicago was the last stop on the Chitin’ Circuit and the last storied few like Muddy, Buddy, the Wolf, and others, went straight to Britain before they died to soak up a little respect. Mayfield had been the de-facto leader/writer of the Impressions, a Chi-Town hit machine. He'd been watching, he'd been waiting, and now he was ready to protect his dream on his terms, with a true snapshot of the Chicago ghetto. No made for T.V. Movie-of-the-Week shit, this was badass, and blowin’ free.
The songs begin shy, twisting slowly as the bass and drums lock down, with congas and timbales dancing between the grooves of the song … “Freddie’s Dead” was the single they released, an instant climber on the R&B and pop charts. Fat Freddie’s a character in the film who gets runover, but Curtis makes him every junkee that is your father away doin’ time, sister who at 15 is pregnant and on methadone, it’s you man if you don't heed the call.
His lyrics are clever, never preachy and just the definition of conviction. Yet Mayfield’s never publically pro-violence to find the solution, and often working with all colors to help solve problems of poverty, urban decay and drugs. While the AM and FM radios played this record because everyone knew this was Chicago's high-water mark, “Freddie’s Dead” was a rolling wave of sound, strings are mixed as high as the vocals, no one else could touch Curtis's falsetto—because it was the street-corner talking. His vision was complex; he was all business and saw the sunrise from the recording studio control room. He was pristine, doing the tell by candlelight, and muted horns build a huge a hook.
In the movie, Priest and his woman take a bath together, it’s tender and reminds the watcher that everyone wants love and in the end might do just about anything to hold on to it. Wah-wah pedals and Cry Baby’s are used heavy in the mix; they’re urban and have so aged well. The first time I listened to this album at 12 I wept, for what or who I’m not sure. But I knew I had to see that life, those streets, those people. Man, if you don’t own this record I urge you to buy one of the 20 best records I have ever owned.
Fasten your irony belts, ladies and gentleman, we're going to take a drive down the at-will firing and patronage-hiring highway.
Under Republican Governor Ducey, the number of state workers who have been let go has increased. More important is the increasing number of employees who were ousted without being given a reason. The credit and blame for the growing number of state workers fired without cause goes previous Republican Governor Jan Brewer, who signed a law in 2012 making it all possible.
Why was it harder to fire Arizona state employees without cause before our two most recent Republican governors? Because in 1969, good-government Republicans put a merit protection system for state employees into place. The Arizona legislature was generally under Democratic control before the mid 60s, and Republicans felt the sting of the patronage system, also known as the spoils system, when Democrats would hire and fire state workers at will. Arizona was actually late to the employee merit protection party. The federal government passed the Civil Service Act in the 1880s which said that federal government jobs should be rewarded on the basis of merit, not political affiliation.
Brewer reversed the good work done by her Republican predecessors by signing a law increasing the number of "at will" state workers who can be fired at any time without a stated reason.
By Bob Grimm
on Wed, Oct 19, 2016 at 11:15 AM
Despite good performances from a cast that includes Emily Blunt, Justin Theroux and Allison Janney, director Tate Taylor’s The Girl on the Train winds up being a little too ridiculous for a movie that wishes to be taken seriously.
Blunt spends much of the movie blotto drunk as Rachel Watson, a slurring alcoholic who aimlessly rides a train to New York City every day, spying on the people living in her former house, as well as the neighbors.
Rachel is divorced from Tom (Theroux), who seemingly couldn’t take Rachel’s drinking and their inability to have a child. Tom is remarried to Anna (Rebecca Ferguson), they have a child, and they would really like Rachel to stay away. Tom and Nancy’s nanny, Megan (Haley Bennett), lives nearby with her husband, (Luke Evans). Rachel spies on them in their most intimate moments as she races by on the train, envying what she sees as the perfect young romance.
Then, Nancy sees Megan with another man—setting off an odd, drunken tailspin that results in her getting involved in the drama when Megan goes missing.
So, for starters, I’m just not down with this premise. A deliriously drunk woman is able to decipher the goings-on inside homes as she races by in a train. Yes, sometimes the train slows down, and she does know the inhabitants somewhat, but this is a highly unlikely plot gimmick that’s stretched out to unrealistic proportions. Then she gets involved with the missing woman’s husband, and eventually finds herself a target in the investigation.