Each year, the publication ranks its top 20 whiskeys of the year based on price, accessibility for buyers and, of course, taste, including scores from a blind panel of international judges.

Old Elk Distillery (253 Linden St., Fort Collins) made the list in 2023 with its Port Cask Finish straight bourbon. It ranked No. 15 out of 20 and received a score of 94 points (out of 100) from the tasting panel. Old Elk was the only local spirits maker on the list, which showcased liquors from a collection of whiskey heavyweights from Kentucky to Scotland and beyond.

“We are very proud to be recognized by Whisky Advocate for our Port Cask Finish Bourbon utilizing our high malt bourbon whiskey. The end product is the culmination of Old Elk’s desire to transcend the industry through innovation,” master distiller Greg Metze said by email. “The award is an honor and tribute to the passionate and skilled people that we have at Old Elk.”

What makes this recipe unique is the way it’s finished. Old Elk takes its straight bourbon and does a secondary aging for 10 months to one year in port wine barrels from Portugal, giving it ripe fruit notes against aromas of oak and sweet honey.

“The palate is redolent with spice and fruit, practically oozing with red berry compote, cinnamon, cocoa powder, and a bit of nuttiness,” Whisky Advocate noted. “Add water, and those chocolate and cinnamon notes become even more vibrant. On the finish, there’s candied sweetness and more spice, both also expanding delightfully with a dash of water.”

Old Elk Port Cask Finish bourbon retails for $90 per bottle. The distillery’s products are widely available at retail liquor stores across Colorado. Drinkers can also buy select bottles online at shop.oldelk.com.

Subscribe to our new food newsletter, Stuffed, to get Denver food and drink news sent straight to your inbox.

Fireworks are a quintessential New Year’s Eve event, whether your plans include a raucous party or a chill gathering of friends. Only a couple of cities on the Front Range will be hosting fireworks this year, so they are bound to be prime attractions.

Or you could head to the mountains where many towns will be shooting fireworks off early to accommodate kids (and the cold). Most include a torchlight parade, in which skiers carry flares for a spectacular visual effect as they come down the mountain.

Join us as we count down the 10 best places to see New Year’s Eve fireworks in Colorado.

Downtown Denver

The 16th Street Mall (1001 16th St., Denver) will be the epicenter of the Mile High City’s New Year’s Eve celebrations, with a free, outdoor block party featuring multiple fireworks shows. At 9 p.m. and midnight, fireworks will illuminate the skyline and DJs along the promenade will play a soundtrack to the 8-minute show. Live music will continue between displays, too, for NYE revelers in the area.

Find more information at denver.org/event/new-years-eve-fireworks/108069/.

Parker

Douglas County celebrates New Year’s Eve with a fireworks-inspired drone show at EchoPark Stadium (11901 Newlin Gulch Blvd., Parker) starting at 7 p.m. Attendees will be able to watch from the parking lot and because no food or drinks will be for sale, they can also bring their own.

Find more information at douglas.co.us/event/new-years-eve-drone-show/.

Keystone

The best spots for viewing Keystone Resort’s NYE fireworks display, which starts at 7 p.m., will be at the base of River Run Gondola and River Run Village (100 Dercum Square, Keystone). That is, unless you choose to go night skiing, in which case you can take in the spectacle from the slopes.

Find more information at keystoneresort.com/explore-the-resort/activities-and-events/events-calendar.aspx.

Copper Mountain

Skiers celebrating the end of the year with laps at Copper Mountain can join a party in the Center Village (206 Ten Mile Circle, Frisco) that kicks off with a torchlight parade at 6 p.m. and ends with fireworks at 10 p.m. A DJ will spin tunes as vendors sell food and drinks at this free, family-friendly event.

Find more information at coppercolorado.com/things-to-do/events/december-events/new-years-eve-2023.

Vail

The Vail Ski and Snowboard School kicks off the NYE fun with a torchlight parade down Golden Peak (75 S. Frontage Road, West Vail), followed by fireworks that will be visible throughout the mountain town. The parade starts at 6:15 p.m. and fireworks start at 6:25 p.m.

Find more information at discovervail.com/event/new-years-eve-torchlight-parade-fireworks/.

Beaver Creek

The Winter Circus comes to Beaver Creek Village (26 Avondale Lane, Avon) to add a little wonder to this New Year’s Eve. The party starts with a 6 p.m. “ski down” the mountain, during which 200 skiers equipped with glowsticks will traverse the slopes down to the base where aerialists, contortionists, jugglers, break dancers, and fire dancers will be performing. Enjoy food and drinks until fireworks go off over Beaver Creek Mountain at 10 p.m.

Find more information beavercreek.com/explore-the-resort/activities/beaver-creek-events.aspx.

Aspen

Fireworks will illuminate the sky over Aspen Mountain at 8 p.m. on New Year’s Eve. Before the show, stop by the outdoor pedestrian mall in downtown (at the intersection of Mill Street and Cooper Avenue, Aspen) to enjoy music, firepits, hot chocolate and entertainment such as winter fairies and stilt walkers (noon to 3 p.m.). Or head to the Aspen Ice Garden and go ice skating for free from 3 to 6 p.m. (233 W. Hyman Ave., Aspen).

More information at aspenspecialevents.com/new-years-eve/.

Snowmass

So you’ve watched a torchlight parade, but have you ever participated in one? Snowmass invites intermediate skiers ages 8 and up to join its New Year’s Eve torchlight parade – no lift ticket required. The parade starts at 6 p.m. and cascades down Fanny Hill before a fireworks show at 10 p.m. To watch the festivities, head to the Snowmass Base Village (84 Carriage Way, Snowmass Village).

Find more information at gosnowmass.com/event/nye-torchlight-parade/.

Telluride

Dual torchlight parades will descend from the peak of Telluride Ski Resort down the mountains to the town center and to Mountain Village starting at 6:30 p.m. Fireworks follow the parades and visibility will be best from the Mountain Village core (670 Mountain Village Blvd., Mountain Village), which is also a public consumption area. That means you can grab a beer to-go from one of the bars to enjoy during the show.

Find more information at telluride.com/event/new-years-eve-torchlight-parade-fireworks/.

Steamboat Springs

Snowcats decorated with lights will help Steamboat Springs ring in 2024. The snowcat parade precedes a torchlight parade and fireworks to cap off the evening. The free event runs 5:30 to 6 p.m. at the base of the ski resort (2305 Mt. Werner Circle, Steamboat Springs).

Find more information at steamboat.com/things-to-do/events/new-years-eve-fireworks-and-light-up-snow-cat-parade.

Subscribe to our weekly newsletter, In The Know, to get entertainment news sent straight to your inbox.

Typically, Olander would let the soil rest through the winter months, but in recent years he’s begun experimenting with new varieties of barley that have been specifically adapted to withstand cold temperatures. Growing in the winter means the crops will absorb precipitation through the spring, a vital advantage as weather in the Western U.S. continues to get hotter and drier.

As the proprietor of both Olander Farms and Root Shoot Malting, which supplies Colorado breweries and spirit makers with locally grown and malted grains, Olander has to innovate to sustain his family’s 97-year-old farm. About five years ago, he began taking proactive steps to prepare for what he expects to be the next big challenge: the water crisis.

That looming threat was enough to begin cultivating the winter-friendly Lightning, Thunder and Buck barley without yet having customers for them.

“I can see the writing on the wall just with everything going on with water in Colorado. There’s a possibility of a reduction in our allotment and also the possibility of not having runoff we typically see from snowpack,” Olander said. “That’s why I’m trying to be ahead of the game.”

As the Colorado River continues to dry, local barley growers and maltsters are seeking out creative solutions to sustain their businesses in the face of climate change. Some are embracing nontraditional and drought-resistant grains while others are investing in technology to become more efficient. Their innovations aim to reduce water usage and bring the supply chain for craft beer and spirits closer to home, in hopes of ultimately building a resilient ecosystem that supports farmers, brewers and distillers in Colorado.

In 2022, local farmers grew 4,440,000 bushels of barley, the sixth most in the nation, according to the United States Department of Agriculture. A large portion of that is purchased by Coors Brewing, which contracts with around 800 growers in the Western states and Canada, according to the company’s website.

But Colorado is also home to several craft malthouses that kiln and roast barley for smaller brewers and distillers to use in making beer and liquor. Still, buying local has yet to become the norm since craft malt usually fetches a premium price.

Brewer Eric Larkin has been working with Troubadour Maltings in Fort Collins to procure custom malts since he opened Cohesion Brewing Co. in Denver two years ago. It’s not the cheapest option, but it works because the brewery specializes in specialty Czech-style lagers.

Larkin’s other options would be to import malt from Europe or use European-style malts grown in the U.S. While sourcing local might present unique challenges, the benefits of keeping his dollars in the local economy outweigh any potential downfalls, Larkin said.

“Every crop I get from Troubadour, the malt changes and I have to make adjustments in the brewhouse,” he said, acknowledging it’s easier for a small operation that focuses on a limited portfolio of styles to do that. “Keeping your dollars with local and small producers, the impact it can have really multiplies. It stays a little closer to home. That idea has always been really valuable to me from an economic standpoint and environmental standpoint.”

Spreading the gospel of local grain

The nonprofit Colorado Grain Chain aims to spread that ethos more widely with a variety of projects that connect local producers and makers, and incentivize collaboration. For example, the organization is currently building a digital marketplace where farmers can connect with companies or entrepreneurs seeking to purchase locally-grown grains.

Project manager Lisa Boldt, who also co-owns Primitive Beer in Longmont, sees a unique opportunity to amplify the Grain Chain’s message in the beverage space. That’s why the organization recently offered $4,000 “microgrants” to brewers and distillers who used novel grains in a new product.

Cohesion and WeldWerks Brewing Co. in Greeley received one grant to team up on a special release, Foamies Czech-style pale lager, using custom malts from Troubadour. The beer debuted in August and a second batch is due for release in November.

WildEdge Brewing Collective in Cortez earned a grant to experiment with a Munich wheat from Root Shoot Malting, with which it created a Dunkelweizen-inspired beer called From the Fields. Steamboat Springs’ Routt Distillery, another grant recipient, leveraged a trial batch of barley grown in Montrose by Proximity Malts for its new West Slope Sarvis Gin, which also features locally foraged sarvisberries.

Perhaps the most intriguing microgrant project came from Dune Valley Distillery in Mosca, which will release a vodka made from quinoa in January. The distillery, which opened this summer in the historic Mosca Community Hall and Gymnasium, shares a campus with a local food hub and a potato and quinoa processing plant. It specializes in making potato vodka specifically because of the resources at its disposal, said managing partner Nicholas Chambers.

“The local food approach is that you learn to consume what’s grown right near you,” Chambers said. “We are at literally the center of North American quinoa right here. It’s such a good crop for us because of low water use and it fits with our valley.”

Reducing water usage

One underutilized opportunity Audrey Paugh, marketing and networking specialist at the Grain Chain, sees for beverages is in millet. Colorado is the country’s top producer of proso millet, a gluten-free and drought-tolerant ancient grain. The state is also home to Grouse Malt House, one of the few U.S. maltsters dedicated to gluten-free grains.

Twila Soles founded the company with her late partner in 2013 after years of having celiac disease and being dissatisfied with gluten-free beer options. Malting even gluten-free grains requires a lot of water. Recently, Soles upgraded her system to include a steep tank that uses up to 40% less water than her original equipment.

Soles sources most of her grains within 200 miles of the malting facility in Wellington and has seen her producers weather unpredictable and sometimes devastating growing seasons.

“Using a crop (such as millet) that takes less water to thrive is important now and will be even more important as climate change continues to impact weather patterns,” said Soles, whose biggest Colorado client is the gluten-free Holidaily Brewing Co. “I’m hopeful that the use of more drought-tolerant crops for craft beer grows.”

In Alamosa, Jason Cody knows the value of diversifying crops and revenue streams. Cody saw firsthand the desire for local, craft malts when he opened Colorado Malting Co. in 2008. At one point, Cody had more than 100 breweries waiting for the opportunity to buy his products. The venture saved his family farm, which first began growing barley for Coors in the 1990s.

But business has slowed amid economic pressures and larger companies cashing in on demand for cost-effective malts. So these days he focuses on serving a niche base of distillers and brewers.

Water usage is always top of mind for Cody, who manages the 300-acre farm his ancestors purchased nearly a century ago. In 2018, Cody began making original beers at his Colorado Farm Brewery, which highlights sustainable practices from grain to glass. He grows and malts his own grains, uses an original strain of yeast and recycles all the water from the brewing process to irrigate his farm.

“Every single gallon of water we use in the brewery that goes down the drain, goes out to the center pivot irrigation sprinklers and is injected into the line that the sprinkler is running on,” Cody said.

An added bonus: The brewery’s wastewater repeatedly tests high in nitrogen, sulfur, potassium and other compounds that reinvigorate soil, so he needs fewer fertilizers to keep the ground healthy.

Back in Berthoud, Olander has yet to malt last year’s winter crop, so he doesn’t know what it tastes like or if brewers will be interested in using it. Olander is hopeful Lightning in particular will be an apt pilsner-style product and catch on, but he’s not waiting for feedback to continue his experiment.

Last year, he planted 15 acres of Thunder, 15 acres of Lightning and seven acres of Kernza. This year, he planted 20 acres of Lightning and 10 acres of Buck.

“We decided, let’s roll the dice and go with Lightning,” he said. “Hopefully winter treats everything well and they’ll survive.”

Get more Colorado news by signing up for our Mile High Roundup email newsletter.

On Monday, the Denver City Council approved a contract that will allow an airport concessionaire to open a Fat Sully’s Pizza restaurant inside Concourse A.

Known for its ginormous New York-style pies, Fat Sully’s is owned by the Atomic Provisions group, which also owns Denver Biscuit Co. and Atomic Cowboy. Airport concessionaire FM Juice Company will operate the pizza shop under the Fat Sully’s name. (All of DIA’s branded concessions, from Tattered Cover to Great Divide Brewing, do business this way.)

The restaurant group declined a request for comment.

The city council also approved a second Chick-fil-A and a second Shake Shack in Concourse A. Both Chick-fil-A and Shake Shack opened their first DIA locations in Concourse B.

Atomic Provisions, owned by former CU Buffs football player Drew Shader, boasts seven Colorado locations with all three restaurant brands, including the newest, which opened this fall, in Golden, and two locations in Kansas City.

Other local businesses with their names at the airport include: Snooze, Heidi’s Brooklyn Deli, New Belgium Brewing, Smashburger, Elway’s, Etai’s, Steve’s Snappin’ Dogs, Boulder Beer Tap House, and Mercantile Dining & Provisions.

Subscribe to our new food newsletter, Stuffed, to get Denver food and drink news sent straight to your inbox.

The couple announced the birth of their daughter, Amora Princess Wilson, on Monday, a day after the Denver Broncos defeated the Los Angeles Chargers.

“2 wins in less than 24 hours!” Russell Wilson posted on Twitter, adding the baby made her debut at 9 pounds and 1 ounce.

AMORA PRINCESS WILSON
9lbs 1oz
We Love You so much! @Ciara

2 wins in less than 24 hours! pic.twitter.com/UbhZJMIA3T

— Russell Wilson (@DangeRussWilson) December 11, 2023

Amora is the fourth kiddo to join the bunch. The Wilsons share a daughter Sienna, 6, and a son Win, 3. Ciara’s first child, 9-year-old Future Zhair, is with her ex, Future.

Subscribe to our weekly newsletter, In The Know, to get entertainment news sent straight to your inbox.

Taylor Swift, Ed Sheeran and Denver DJ-producer Illenium likely set records at Empower Field at Mile High, from the most tickets sold for a weekend run (Swift), to the biggest, venue-based concert in Denver history (Sheeran) and the biggest-ever show from a Colorado artist (Illenium).

As state and federal legislators again failed to pass meaningful legislation protecting consumers from outrageous ticketing fees, prices soared. A nosebleed seat to one of Swift’s shows at Empower Field may have cost less than $50 if you were lucky enough to get one during the disastrous Ticketmaster pre-sale. But thousands were forced to buy them on the secondary market for prices ranging from $500 to $10,000 per seat.

The Wall Street Journal found that the average price of a concert had doubled in the past five years, increasing from $125 in 2019 to $252 in 2023. The story was the same with re-sellers such as SeatGeek, whose resale averages doubled from the previous year to roughly the same price.

Those secondary-market tickets were also sold on sites like StubHub which, it should be noted, was forced to refund $3 million to more than 8,500 Colorado consumers in 2021 after the Colorado Attorney General’s Office found it wasn’t honoring its refund guarantees. Senate Bill 60 — a.k.a. Consumer Protection in Event Ticketing Sales Act — easily passed the state legislature, but was vetoed by Gov. Jared Polis in June because it could upset “the successful entertainment ecosystem in Colorado,” he said after killing it. Supporters vowed to revive it.

Local notes, some off-key

Denver strengthened its hold on electronic dance music, with artists, fans and promoters reinforcing the Mile High City as the global capital of the bass subgenre. Transplants such as French producer and DJ CloZee notched crucial headlining spots on the way to bigger, better appearances at venues such as Red Rocks Amphitheatre. Provided you were willing to align yourself with mega-promoter AEG Presents Rocky Mountains, the path from support act to Red Rocks headliner had never looked clearer.

Even as massive concerts continued at the 18,000-seat Fiddlers Green Amphitheatre, and heritage acts played their final Colorado shows (see Eagles, Dead & Company, Foreigner), festivals in metro Denver took a dip. The pause of this year’s Westword Music Showcase left a local music hole in June as the multi-venue event took the year off. Fortunately, South Broadway’s Underground Music Showcase got more equitable and community-oriented as it increasingly catered to all-ages, sober and BIPOC performers, such as the fast-ascending, R&B/hip-hop sensation N3PTUNE, amid a hundred-plus other acts.

The jazz world wobbled as Vail Jazz shut down after nearly than three decades, Denver Post jazz columnist Bret Saunders wrote. The free City Park Jazz series was also clipped by a series of June rainouts, denting its much-needed donations and attendance. The dearly departed El Chapultepec made a comeback of sorts with a legacy/archive project. The former owners sponsored shows at the nationally acclaimed Denver jazz club Dazzle — which itself reopened in a slick, more affordable space in downtown’s Performing Arts Complex. There, blockbuster Broadway musicals such as the jukebox-hit “Tina: The Tina Turner Musical” wowed audiences at the nearby Buell Theatre, drawing people to an urban core that’s still hollowed out from the pandemic.

Icons such as the historic Denver Folklore Center changed hands to an equally capable owner in Ian Dehmel, while nearby folk-music hub Swallow Hill welcomed a new concert director in music veteran David Dugan, just days after executive director Aengus Finnan finished out his first full year at the nonprofit.

Immersive entertainment company Meow Wolf, meanwhile, continued making good on its promise to support local artists with diverse, thoughtfully booked shows at the 488-person capacity Perplexiplex venue, from drag showcases to up-and-coming queer singer-songwriters.

Meow Wolf also brought back a slightly reworked Vortex music and art festival to Live Nation’s new-ish JunkYard outdoor venue. Smaller festivals and block parties mingled craft brews and local music favorites. The Colorado Music Hall of Fame inducted progressive bluegrass legend Yonder Mountain String Band, which celebrated the achievement at Telluride’s 50th anniversary bluegrass fest. Hazel Miller, Big Head Todd and the Monsters, and jazz pioneer George Morrison Sr. also got overdue spots in the state’s music hall. Alongside, jamgrass veteran The String Cheese Incident (already in the music hall as of 2022) celebrated its 30th anniversary of helping create and lead the genre.

Colorado Symphony dipped further into its pop collaborations with its Imagination Artist Series, which included not only local platinum-seller Nathaniel Rateliff but also a world premiere from Wu-Tang Clan’s RZA. (More were just announced with the same artists for 2024.)

But as venues and performers struggled to sustain comebacks in the face of cost-of-living and rent increases, every little bit of support made a difference. That included potentially career-changing shows at Levitt Pavilion Denver, which presented 50 free, quality concerts over the summer, and programs from the nonprofit Youth on Record and the state’s Take Note Colorado music education drive.

A garden of faceplants

In terms of national acts, Drake came up with perhaps the most lame excuse for a concert postponement in the history of Colorado music, blaming a last-minute ghosting on “the distance the road crew has to travel along with the magnitude of the production,” which made it “logistically impossible to bring the full experience of the show to Denver … .” The show was rescheduled for January at Ball Arena, with another date added, but one would’ve thought they figured out production details before putting tickets on sale and prompting more than 10,000 people to schedule their lives around it.

We also mourned the latest tour-dissing by Beyoncé, and wondered why current tours from Janet Jackson, Pearl Jam and Metallica snubbed Denver.

Bizarrely, and sadly, Royal Trux leader and indie rock veteran Neil Hagerty was charged with a trio of felonies in an alleged assault on a Denver police officer. The gloom also hung over some indie venues as HQ (formerly 3 Kings Tavern) flooded and closed after a devastating water break (it has since reopened), and workers at the Mercury Cafe — which hosts jazz, experimental music, poetry and comedy — pushed for a union after complaining of unsafe work conditions. Punk rock mainstay Carioca Cafe (a.k.a. Bar Bar) and Wax Trax Records grappled with the city over noise complaints and permits, while jam band Lotus and other acts lost crucial members to untimely deaths.

Broomfield’s troubled FirstBank Center shut down, and Loveland’s Budweiser Events Center announced a name change to Blue Arena. In Colorado Springs, the $55 million Sunset Amphitheater complex broke ground on its way to a planned June 2024 opening. And at a Louis Tomlinson show at Red Rocks in June, nearly 100 fans got cuts, bruises and broken bones after intense hail. Some concession stand workers reportedly laughed at them from their shelters, prompting calls for earlier storm warnings and more safety coverage at the city-owned venue. With climate change worsening, it seems to be just the tip of the extreme-weather risks for future outdoor concerts.

On the brighter side, salsa destination La Rumba marked its quarter-century milestone as Spanish-language concerts at venues ranging from Ball Arena to Levitt Pavilion and Aurora’s Stampede proliferated. That, along with supportive, sober and all-ages options, are a pair of trends we’d like to see continue into 2024.

Looking for a preview of the musical year ahead? Check out our updated list of 2024 Red Rocks concerts, plus music news, profiles and more at denverpost.com/tag/music.

And The Denver Post’s readers love to dig into those stories. This year, as always, skiing was one of the top topics of discussion, especially Epic Pass sales and a resort ranking. But hiking and camping were also big, especially when it came to Rocky Mountain National Park.

We also had an unusual sighting, literally, in our top 10. But we’ll let you see that for yourself. Here are our 10 most-read outdoor recreation stories of the year, with the number-one story at the end.

Bad drivers in the backcountry are a big problem

The sheriff in San Miguel County called a group of people who slid off Black Bear Pass in their truck “ass clowns,” which is funny. But the problem is real: More and more people, who lack skills or experience or proper maps, are driving on backcountry roads they can’t handle in Colorado — or simply ignoring closures — resulting in more rescues.

First-of-its-kind hiking permit proposed for Blue Lakes

The gorgeous Blue Lakes in the San Juan Mountains near Telluride have become so crowded in recent years that the U.S. Forest Service wants to require permits just to hike there during the day — as well as to camp. The goal of the plan, which would be the first in Colorado of its kind on forest service land, is to reduce the environmental impact of recreation.

Colorado’s oldest chairlift will be retired at age 70

Sunlight Mountain Resort’s Sunlight chairlift began its long life at Aspen in 1954 before being relocated in 1973. Since then, it has faithfully served skiers at Sunlight. The relic of ski history engineering is still safe, but is scheduled to be put out to pasture this spring.

High-alpine lake is one of Colorado’s most spectacular hikes

Nearly 2,500 feet below the summit of Long’s Peak in Rocky Mountain National Park is a beautiful alpine tarn called Chasm Lake. The 4.2 hike to get there is strenuous, but the steep rock walls soaring into the air above the water make it one of the most beautiful payoffs in Colorado.

Another hassle awaits Rocky Mountain National Park visitors

Rocky Mountain National Park has been feeling the heat. Not only will its busiest campground, Moraine Park, be closed into this summer (see below), but visitation continues to soar, resulting in what will likely be a permanent ticketing system. To make things worse, one of its two Estes Park-area entrances, Fall River, was under construction all summer and fall.

Epic Pass prices increase, early bird on sale for 2023-24 season

Vail Resorts announced its early bird prices in March for this season’s Epic Passes — and Denver Post readers wanted to know all about it. Of course they did. The pass, which includes Vail, Beaver Creek, Keystone, Breckenridge and Crested Butte, is one of the hottest items in Colorado. so the costs, the on-sale dates and every other detail is big news.

Colorado ski resort named the best in North America by website

Magazines, newspapers and websites love to rank things, including ski resorts, and since Colorado has some of the best in the world, they often end up on lists. In March, readers of OnTheSnow, a website, voted Steamboat as North America’s best overall resort.

Campground closure at RMNP could have ripple effect across Colorado

Rocky Mountain National Park’s largest campground, the immensely popular Moraine Park, shut down last summer so it could undergo a major modernization project, meaning 244 fewer sites in the area. That figured to put more pressure on nearby campgrounds in the adjacent and already overloaded national forests. The campground will hopefully reopen in June 2024.

Coloradans may see Northern Lights more often in coming months

Seeing the Aurora Borealis, or Northern Lights, is on a lot of people’s bucket lists. So, how cool would it be to be able to see them from Colorado rather than having to travel to the Arctic? Space weather predictors say there is more of a possibility of that happening in 2024 with increasing solar storm activity — something that happens in an 11-year cycle.

Bigfoot may have been caught on camera from Durango train

In October, a Wyoming couple was looking for elk while riding the Durango & Silverton Narrow Gauge Railroad in southwest Colorado when they spotted, well, something that looked like Bigfoot. The story made national news after a video taken by another passenger went viral online. Was it really the famed but elusive cryptid? We’ll let you judge for yourself. See our story, with video, here.

Subscribe to our weekly newsletter, The Adventurist, to get outdoors news sent straight to your inbox.

Travel guides, transplants (and even this publication) have plenty of thoughts about Colorado’s best pizza places. I’m a transplant, too, and have fallen in love over the years with local favorites ranging from Beau Jo’s honeyed crust to Cart-Driver’s wood-fired pie.

Related: 11 of the best pizza joints in and around Denver

But having arrived here 23 years ago from Dayton, Ohio — a city that’s no slouch when it comes to pizza — I’ve become dependent on a Denver shop that feels positively old-school compared to the new class of local pie-slingers.

Since 1996, Enzo’s End Pizzeria has been a comforting anchor on the semi-gentrified stretch of East Colfax Avenue between Colorado Boulevard and York Street, where pedestrian traffic is fairly constant. Its red, thatched shingles and vinyl-booth dining room share space (and an interior door) with the also excellent, also old-school PS Lounge.

Tipplers at that bar can order pizzas from Enzo’s while they hang at PS — itself a cash-only classic where women get free roses upon entering, and everyone gets a free shot of the (admittedly weak) Alabama Slammer.

I don’t drink alcohol anymore, but I do have many fond and blurry memories of digging into a New York-style, thin-crust pie from Enzo’s during nights out. Fortunately, Enzo’s stands alone. Its clean-finishing, toothsome crust and 30 high-quality toppings (the usuals, but also garlic chicken and sautéed spinach) are brought together with mozzarella that is lactose-free.

As my food-writer wife informed me, there are various reasons why cheeses tend to lose their lactose (in the production process, as they age, etc.). But Enzo’s version has always had an ideal mix of gooey and giving and savory, concealing a tart and perfectly applied sauce with garden-fresh tomato flavor.

A 12-inch small ‘za costs $18 before toppings, so it’s definitely not cheap. But do you always want the cheapest pizza available? With a refund guarantee and a tasty side salad, there’s little risk in eating Enzo’s. The reward, however, is immediate and lasting.

Enzo’s End Pizzeria. New York-style thin-crust pies. For dine-in, takeout and delivery; closed Mondays and Tuesdays. 3424 E. Colfax Ave. enzosend.com or 303-355-4700

Subscribe to our new food newsletter, Stuffed, to get Denver food and drink news sent straight to your inbox.

Those admission price add-ons are usually saved for blockbuster shows built around artists most people know and love already. (DAM actually has one on display now in the form of “All Stars,” a traveling blow-out featuring names like Georgia O’Keeffe, Jacob Lawrence and Jackson Pollock.)

Retrospectives of work by living and lesser-known artists are nearly always included with the regular ticket, and that newcomer description still fits Boafo, who is just 39, and who has had limited exposure to U.S. audiences. With so much to see at DAM already, and with admission costs already steep, visitors will be reluctant to take a risk.

But I encourage paying a bit more to see this offering. Boafo is a unique talent and a rising star in the international art scene. The exhibition, titled “Soul of Black Folks,” is a terrific introduction to his work.

The exhibition, curated by Larry Ossei-Mensa and now making the rounds of regional museums, has more than 30 paintings (mostly oils on canvas or paper) and they are all in his signature style of portrait-making. They are handsomely, and leisurely, arranged on the first floor of DAM’s Hamilton Building, with a soundtrack of upbeat pop songs, curated by the artist himself, providing the viewing experience with a solid momentum.

Portraits, of course, are old news in the painting world, and Boafo fits snugly into the tradition — in some ways. His subjects pose for him, patiently and with vulnerability, and he has them gaze directly back at him in a way that captures their personalities while engaging viewers in deep conversations. Looking at Boafo’s pictures is something of a staring contest with the people in them.

The subjects are of-the-moment — men, women, pairs, several self-portraits — but the show has a timeless feel. Boafo is sometimes put in a  class with contemporaries such as Kerry James Marshall and Jordan Casteel, two other Black painters who are popular with collectors and critics in the current age, and he does, like those artists, often paint Black subjects.

But it is just as easy to frame him as an heir to the influences of European heroes past, such as Gustav Klimt and Egon Schiele. Like those old-school stars, he is heavy into silhouettes, disappearing backgrounds and very conscious choices in the personal details that he paints into his work. He might play up a certain article of clothing or an accessory or a pet as a way of making those items appear crucial to the identity of his subjects.

At times, he makes those details central to the viewing experience. Take, for example, the painting “Green Clutch,” which depicts an adult female figure seated on a chair. She is dressed in a bright green botanical-print top and with her hand at her chin. She appears confident and comfortable and invites us to meet her eye-to-eye.

But because Boafo titles his painting as he does, he forces us to give extra consideration to the small handbag that sits at her hip. The purse is just a split second in a work that is full of motion, but the artist wants us to see how the things we carry or wear are crucial to our identities.

Similar considerations are raised by the painting “Red Collar,” which points us to a very small detail in a portrait of a couple holding a dog. A viewer would naturally focus on the human faces in this work, or on the brightly colored blue-and-red striped dress one of the people is wearing, and which Boafo renders in bright hues. But the title suggests we need to focus on the dog if we really want to understand their essence. It is rare to see titles used with such power in contemporary artworks.

Boafo’s paintings are also notable for the way he depicts skin color. In public discourse, his subjects are often reduced to easy descriptions. We tend to say these people are Black or Brown.

But Boafo isn’t content with such simplicity. His Black and Brown people have traces of reds, grays, yellows and other colors in their flesh. In the piece “Umber Brown Belt,” which depicts a woman dressed in a flower-patterned blouse and black shorts (and, yes, an umber-colored belt), there are all of those shades in her face, plus a distinct blue around her mouth, eye and forehead.

What does he want us to see? Again, you can look at his titles, though this time at the title of the overall exhibition, which is drawn from an essay by civil rights activist and social scholar W.E.B. Du Bois, “The Souls of Black Folk,” which was published in 1903.

In the work, Du Bois discussed the idea of “double consciousness” or, as the exhibition text points out, the experience of Black people feeling a need to see themselves through their own eyes and, simultaneously, through the eyes of white people around them.

With these images, Boafo invites viewers to see them on their their own terms. The portraits are direct, the subjects are empowered organically to simply be themselves. They control, as much as possible, how they are viewed by all.

In that way, the pictures are simple and complex at the same time. And, it needs to be said, they are endlessly compelling, tactile, colorful, exaggerated, light-hearted, open and, in their way, super serious. They are also commercial works. No surprise that Boafo is represented by New York’s legendary Gagosian gallery.

The pieces are relatable in a way that many portraits are not.  Boafo employs numerous techniques in his work, oil paint and paper transfer. Sometimes he works on canvas and sometimes directly on paper. He uses a brush, but most prominently he uses his fingers, and you can see the width and trails of them in the paintings. His objects feel hand-made and human — because that is how they are created.

IF YOU GO

Amoako Boafo, “Soul of Black Folks”: continues through Feb 19 at the Denver Art Museum. Info: 720-865-5000 or denverartmuseum.org.

Ray Mark Rinaldi is a Denver-based freelance writer specializing in fine arts.

Subscribe to our weekly newsletter, In The Know, to get entertainment news sent straight to your inbox.

But the arrival of King Henry VIII’s six wives to the Buell Theater (through Dec. 24) is proof that the whole can be greater than the sum of its parts.

In what can be considered one of the best concerts of Denver’s fall season, Toby Marlow and Lucy Moss’s blast-from-a-past, her-story lesson brings together Catherine of Aragon (Gerianne Pérez), Anne Boleyn (Zan Berube), Jane Seymour (Amina Faye), Anne of Cleves (Terica Marie), Katherine Howard (Aline Mayagoitia)  and Catherine Parr (Adriana Scalice) for a rock show. Or, as the opening song “Ex-Wives” so deftly and drolly introduces the sextet: “Divorced. Beheaded, Died … Divorced. Beheaded. Survived.”

The premise is simple, and seeks the participation of theatergoers. “Den-vvverrr! Make some noise!” Aragon shouts before launching into “No Way.” Although each woman was queen at some point, the audience is invited to decide which queen should don the evening’s crown. The ex with the best sob story wins. Naturally, Anne Boleyn, who infamously met her end due to the executioner’s blade, would seem to have a head start (pun intended). Throughout the show and in the “Don’t Lose Ur Head,” portrayer Zan Berube, with a quirky zest that calls forth Margot Robbie’s Harley Quinn, reminds us of that outrageous fate.

Over the next 80 minutes, each woman seeks to persuade the audience with numbers that are consistently winking, sometimes wise and biographically apt. There’s even a ballad. With show-stopping chops, Amina Faye as Jane Seymour — the one who was actually loved by VIII, who died shortly after the birth of son Edward — sings “Heart of Stone,” a tune that suggests that even for her, there was more to her story than the historical record captured.

Given the patriarchal vibe of the time (the Tudor past but also the #MeToo-ish present), the musical — with its (Spice) girl-power feminism — argues there was cause for hurt, outrage, even fear aplenty. But is this competition in misery the best way of going about historical comeuppance? “Six” asks, toys with and then answers that quandary.

As with a proper rock show, there’s a live band, directed here by Jane Cardona. And this being a work honoring queens, the nimble players — on keyboards, guitar, bass and drums — are the Ladies in Waiting.

The wild set (Emma Bailey) suggests a concert venue, one that allows for some measure of intimacy. Think the Fillmore, not Ball Arena. For Anne of Cleves and her tartly delivered tune “Haus of Holbein,” the action heads to Germany.  From start to encore, the light show (designed by Tim Deiling) plays off that conceit: twirling beams of light whirl; the dark, strobe-y energy of a dance club serving up electronica beckons; a cross, etched in glowing light bulbs, signifies piety with an attitude.

There are willfully LOL moments, intent on capturing the attention of the LOL generations. Cleves’s refrain of “I didn’t look like my profile picture” underscores who this lesson in European history aims for. Ditto its brevity.

Feminism lite, perhaps. Theater lite, maybe. This isn’t the sort of musical that bursts forth into song because regular dramatic language can’t contain the emotions. These are songs as biographical sketches, setting the record straight as pop confections.

For some theatergoers, the show might revive a familiar sticking point: Women who claim feeling sexy as a right and a pleasure often look like they’re delivering a mixed message when it comes to female empowerment. Just ask Queen Bey (a different monarch who gets a nod here) or the other pop figures the playbill tags as “Queenspiration,” among them: Adele, Avril Lavigne, Shakira, Britney Spears, Nicki Minaj and Alicia Keys.

Doubters will have to chew on the vivaciously delivered (it’s complicated) “All You Wanna Do,” by VIII”s other murdered mate, Katherine Howard (Mayagoitia). Or pay specific heed to Catherine Parr’s anthemic “I Don’t Need Your Love,” to rightly complicate matters — which makes this fleet, seemingly frothy show a perfectly spiked treat for a holiday month.

Lisa Kennedy is a Denver freelance writer who specializes in film and theater. 

IF YOU GO

“Six”: Written by Toby Marlow and Lucy Moss. Directed by Moss and Jamie Armitage. Choreography by Carrie-Anne Ingrouille. Featuring Gerianne Pérez, Zan Berube, Amina Faye, Terica Marie, Aline Mayagoitia and Adriana Scalice. The Ladies in Waiting: Jane Cardona, Sterlyn Termine, Rose Laguana and Kami Lujan.  At the Buell Theatre, 14th and Curtis streets. Through Dec. 24. For tickets and info: denvercenter.com or 303-893-4100.

Subscribe to our weekly newsletter, In The Know, to get entertainment news sent straight to your inbox.