The Boise Weekly editorial department was a ghost town at the tail end of last week. While part of our team made the trek to Sun Valley for the second annual Sun Valley Film Festival (see Review, Page 20), others journeyed to Austin, Texas, for the South by Southwest film and music festivals.
While BW's Josh Gross was checking out panels and exploring emerging bands at SXSW (see Noise News, Page 22), BW freelancer Marcia Franklin was sitting through a range of films, including Spark: A Burning Man Story, and TINY, which examines the so-called "tiny house" movement. Franklin also caught up with Peter Sagal from NPR's news quiz show Wait Wait... Don't Tell Me!, who talked about his new PBS television series on the Constitution and admitted to embracing over-zealous adoration from his fans.
"I want to be a piece of meat, frankly," said Sagal. "My dream is to have some beautiful young woman say to me, 'Shut up, stop talking; I just want to look at you.'"
For more coverage of SXSW and the Sun Valley Film Festival, head to boiseweekly.com.
While some BWers kicked it out of town, others held down the fort. BW Staff Writer Andrew Crisp swung by the opening of Bill Carman's new solo exhibit at Brumfield's Gallery March 16 in Hyde Park.
"In a small anteroom, Carman greeted both his Boise State students and fans as they asked questions and peered at the numerous pieces hung on the white walls," wrote Crisp. "The small room was cozy enough for visitors to circle through the items on display, then turn to Carman and ask a question."
Carman's work remains on display through April 28.
Later that evening, BW's Harrison Berry stopped by Ballet Idaho's Studio Series, a collection of four original dances choreographed by five Ballet Idaho dancers.
According to Berry, Ballet Idaho Artistic Director Peter Anastos prefaced the evening with a warning against the word "experimental," preferring to describe what the audience was about to see as "people at the beginning of their careers and positions of leadership."
"The evening ended with the epic-length The Hills in Orange and Black by James Brougham and Daniel Ojeda, with a beautiful score composed by Ben Kirby," wrote Berry. "The Hills opened with white-clad dancers observing the setting sun and growing tired and closed with a hearty cast leaping, indulging and cavorting in an exquisitely conceived shared-dream sequence titled 'Fires in the Hills of Mars.'"