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X-WR-CALDESC:Events for Mike Brown Group
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DTSTART;VALUE=DATE:20240816
DTEND;VALUE=DATE:20240826
DTSTAMP:20260519T122641
CREATED:20240711T143919Z
LAST-MODIFIED:20240711T143919Z
UID:80472-1723766400-1724630399@www.mikebrowngroup.com
SUMMARY:Western Idaho Fair
DESCRIPTION:Since 1897\, the Western Idaho Fair is a celebration of agriculture\, ranching\, and life in the state of Idaho. With events and attractions for all ages\, there is something for everyone\, so make sure you don’t miss out! \nFor information please visit the IdahoFair.com. \nHours\n\nMonday-Friday: 12pm-11pm\nSaturday & Sunday: 11am-11pm\nClosing Sunday (Aug 25): 11am-10pm\n\nThe Social Event of the Summer for Over 125 Years.\nFrom 1897 to the Present Day\nWestern Idaho Fair’s history dates back to 1897 when it got started as the Intermountain Fair. Although the foundation is the same for the Fair today as what was started all those years ago\, many events have changed over time. The Intermountain Fair sprung out of a need for the community to connect Boise and other larger cities that were 300 miles apart. With Boise’s strong agricultural roots\, the first Fair featured three major departments: livestock (sheep\, cattle\, horses and hogs)\, products of the soil and a domestic manufacturing/home department. These bigger categories were subdivided in later years into smaller departments that can still be found today. The Intermountain Fair highlighted Idaho’s natural resources as its prime motivation. Fair colors of purple\, white and yellow symbolized fruit\, silver and gold. \nA second economic benefit for the Fair was the increase in local businesses to Boise. People flocked to the Fair for the exhibition and social gathering\, spending money in the city. The income helped supplemented the war effort of 1943 through events such as a benefit rodeo supporting Gowen Field. Throughout the history of Western Idaho Fair\, the doors have remained open since 1897 to the present with some extreme cases when it closed its doors due to severe economies. With a limited supply of volunteers in 1914\, the fair board had not yet been created\, and there was no one to manage the event. In 1915\, the state legislature stepped in to help run the Fair. In 1922\, the economy strangled the life out of the event for the next four years. During the Great Depression the grounds would not open for the Fair in another three-year stretch. Following the economic strife\, in 1936 Ada County appointed a regular fair board to organize what they named “Western Idaho State Fair.” A perilous year in 1944 put the Fair on shaky ground after it was hindered by a new bill prohibiting all fairs from opening on Sundays and holidays. As a result\, the 1944 Fair opened for just four days. \nEven though the Western Idaho Fair has had its challenges (as most fairs realize during their tenure) one constant remains: children. Kids come to see and enjoy the Fair’s many entertainment offerings\, but also to enter livestock or crafts. Area youth show those who walk through the Fair gates what their hard work has done for them. With the creation of the Intermountain Fair\, 900 children walked in the opening “Queen of the Fair Parade.” In 1912\, 4-H (not called 4-H at the time) began at the Fair and in 1917 the U.S. Department of Education recognized FFA as an educational organization. Since then FFA and 4-H have exploded in growth and have changed in demography. In 1969\, about one-quarter of FFA members were girls. Today\, girls outnumber the boys. Currently youth from all cultures and backgrounds experience the American fair in many different ways. Western Idaho Fair is no different\, continuing to offer a multitude of youth activities every year. \n  \nThe Main Attraction in Town\nMain attractions for the Fair have changed a great deal from 1897. In the early beginnings of the Intermountain Fair\, only agricultural events were held along with horse racing and cowboy contests. The Fair partnered with Boise City Jockey Club and held daily racing events reported by the local paper\, Idaho Daily Statesman. Cowboy contests such as steer roping\, and bronco riding drew large crowds. Horse racing and cowboy contests remained until the formation of the Snake River Stampede. Highlighting the West theme came Buffalo Bill’s Wild West Show. It was featured on August 18\, 1902 and was said to be so big that it was an international show. \nJust a few years into its arrival\, the Fair expanded into carnival rides and games. The Ferris wheel was a much-anticipated attraction for fairgoers everywhere\, as was the merry-go-round. The Ferris wheel at the Intermountain Fair was said to be the first ever west of the Mississippi. Another staple attraction was the Idaho Queen of the Fair contest. Judged by the public\, local female contestants were nominated from various counties with each vote costing 10 cents. A rambunctious few would nominate prominent businessmen for crowd laughs. The First Idaho Intermountain Fair opened with the queen’s parade\, a band playing the national anthem and the Queen of the Fair receiving gifts from the mayor. \nGrandstand acts were not the upbeat concerts of today. Instead the Fair hosted war reenactments and sometimes plane or “dog” fights. In 1898\, battles were replicated complete with soldiers and explosions\, while audience members looked on from the safety of their seats. Battles depicted wars with Germany and even Napoleon. On April 20\, 1911\, the Wright Brothers and Glen Curtiss sent their planes for an exhibition. Aviation was the highlight again when Charles A. Lindberg made an appearance on September 4\, 1927; Lindberg was famous for his solo flight from New York to Paris. Apart from the big acts\, smaller entertainment on the grounds was available. Music was always present with many bands sprinkled around the grounds for patrons to enjoy. The First Regiment Band of Utah performed in 1902. \nWestern Idaho Fair has come a long way with grounds entertainment showcasing national bands to dock dogs to a carnival section that has expanded to more than seven acres. Night shows at the grandstand feature big-name artists from country music to classic rock. Yet the foundation of the Fair is still agriculture\, where patrons can watch chickens hatch\, see a top livestock show or view the latest organic produce. \n  \nWhere It’s At\, Then and Now\nWestern Idaho Fair has not always been located where it is today on Glenwood Street. In fact\, the Fair has moved three times in its history. The first location was west of the city at the Idaho Agricultural Park\, known at present day as 21st Street between State and Idaho. The park was the site of the Fair in the fall of 1897 and a grandstand was built that looked over a scene of the majestic mountains. \nSoon the Fair outgrew its beginning location. In 1902\, the Idaho Intermountain Fair Association moved to the corner of Fairview and Orchard. Fairview and Orchard was more of a distance for fairgoers than in the center of town\, but with new innovations like horse drawn carriages\, trains and cars\, fairgoers came willingly. This new location held some changes for the Fair such as construction of a one-mile oval racetrack. The track grandstand seated 2\,000 spectators. A main exposition building built 150 feet long with 50 foot wings was fully equipped—including a saloon. \nThe last and final move was to Glenwood Street and Chinden Boulevard in 1967\, when the Fair assumed its current name of Western Idaho Fair. Fairgoers demanded different kinds of entertainment by this time\, and the grandstand acts changed along with the new location. A rodeo was not booked at the new location until 1988\, and was later phased out due to local competition by the nationally-recognized PRCA rodeos\, Snake River Stampede and Caldwell Night Rodeo. \n  \nHow the Fair Gets Funded\nSome wonder if the Western Idaho Fair is the official state fair of Idaho. Although the Western Idaho Fair is the direct descendent from the first Intermountain Fair held in 1897\, it is not the state fair of Idaho. In fact\, no fair in Idaho receives funding from the state\, similar to fairs operating in Montana\, New Hampshire\, Washington\, and other states. In 1914\, next door neighbor Canyon County assumed the title as “state fair” allowing Boise volunteers to run an interim fair. Although Canyon County had the state fair title\, Ada County bought Intermountain Fair’s grounds to create an “old time fair” that would focus on the fair work and products without the thrills like carnival rides. Canyon County’s fair would precede the Intermountain Fair by one week\, yet no resentments were held between the two counties. Canyon County would have a Boise day and the Intermountain Fair hosted a Canyon County day. Winners from Canyon County would take their winning goods to the Intermountain Fair for competition and vice versa. \nBetween 1887 and 1915\, many counties started to hold their own individual fairs but still coveted the “state fair” title that had once belonged to the “Boise” fair\, still without any state funding. In 1915\, under Ada County management\, officials called the Fair the Gem State Fair while Canyon County named its Fair “Idaho State Fair” that same year. For a brief window in time\, the state of Idaho stepped in to support the Gem State Fair\, officially naming the event the Idaho State Fair and retiring the Gem State name. But with the 1922 financial hardships—closing many area businesses as well as the Idaho State Fair—the state withdrew its support. Ada County assumed funding support for Western Idaho Fair at that time. \nSince the mid-1980s\, Western Idaho Fair has been independent of any taxpayer support. Entitled an “enterprise fund\,” it is entirely self-funded\, including salaries\, capital improvements\, and other costs. Ada County officially owns the property and buildings. In 2003 officials renamed the property “Expo Idaho” in order to attract more business to the facility during offseason (non-fair) months. \nMore than 250\,000 people attend Western Idaho Fair and another 750\,000 come through the facilities for trade shows\, auctions\, sporting events\, livestock activities and company gatherings. The current director\, Bob Batista\, is the longest-serving fair manager in its history.
URL:https://www.mikebrowngroup.com/event/western-idaho-fair-11/
LOCATION:Expo Idaho\, 5610 North Glenwood Stree\, Garden City\, Idaho\, 83714
CATEGORIES:All Ages,Family,Festivals & Events
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DTSTART;TZID=UTC:20240819T100000
DTEND;TZID=UTC:20240819T110000
DTSTAMP:20260519T122641
CREATED:20240711T190244Z
LAST-MODIFIED:20240711T190244Z
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SUMMARY:2C Yoga on the Plaza
DESCRIPTION:Join us for Yoga on the Plaza every Monday at 10:00 AM\, brought to you by 2C Yoga! This free\, weekly event is perfect for all levels\, from beginners to seasoned yogis. Enjoy the benefits of outdoor yoga in a beautiful\, open-air setting\, guided by experienced instructors. Bring your mat\, wear comfortable clothing\, and connect with fellow yoga enthusiasts. No registration required—just show up and start your week with relaxation and rejuvenation!
URL:https://www.mikebrowngroup.com/event/2c-yoga-on-the-plaza-3/
LOCATION:Indian Creek Plaza\, 120 S Kimball Ave\, Caldwell\, Idaho\, 83605
CATEGORIES:Stay Active
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DTSTART;TZID=UTC:20240819T180000
DTEND;TZID=UTC:20240819T210000
DTSTAMP:20260519T122641
CREATED:20240715T183424Z
LAST-MODIFIED:20240715T183424Z
UID:81780-1724090400-1724101200@www.mikebrowngroup.com
SUMMARY:Jazz Monday - Robyn O’Donahue and Friends
DESCRIPTION:Jazz Monday is presented by the Idaho Jazz Education Endowment
URL:https://www.mikebrowngroup.com/event/jazz-monday-robyn-odonahue-and-friends/
LOCATION:The Riverside Hotel\, 2900 W Chinden Blvd\, Garden City\, ID\, 83714
CATEGORIES:Arts & Music
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DTSTART;TZID=UTC:20240819T190000
DTEND;TZID=UTC:20240819T190000
DTSTAMP:20260519T122641
CREATED:20240715T183653Z
LAST-MODIFIED:20240715T183653Z
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SUMMARY:WAXAHATCHEE w/ Tré Burt
DESCRIPTION:‘Tigers Blood’ by Waxahatchee \nOne of the hardest working singer-songwriters in the game is named Katie Crutchfield. She was born in Alabama\, grew up near Waxahatchee Creek. Skipped town and struck out on her own as Waxahatchee. That was over a decade ago. Crutchfield says she never knew the road would lead her here\, but after six critically acclaimed albums\, she’s never felt more confident in herself as an artist. While her sound has evolved from lo-fi folk to lush alt-tinged country\, her voice has always remained the same. Honest and close\, poetic with Southern lilting. Much like Carson McCullers’s Mick Kelly\, determined in her desires and convictions\, ready to tell whoever will listen. \nAnd after years of being sober and stable in Kansas City–after years of sacrificing herself to her work and the road–Crutchfield has arrived at her most potent songwriting yet. On her new album\, Tigers Blood\, Crutchfield emerges as a powerhouse–an ethnologist of the self–forever dedicated to revisiting her wins and losses. But now she’s arriving at revelations and she ain’t holding them back. \nCrutchfield says that she wrote most of the songs on ‘Tigers Blood’ during a “hot hand spell\,” while on tour in the end of 2022. And when it came time to record\, Crutchfield returned to her trusted producer Brad Cook\, who brought her sound to a groundbreaking turning point on 2020’s Saint Cloud. \nThey hunkered down at Sonic Ranch in Tornillo\, Texas–a border town known for cotton and pecans–and searched for another turn\, waited for a sign. Initially\, MJ Lenderman\, Southern indie-rock wunderkind (much like Crutchfield when she started out) came to play electric guitar and sing on “Right Back To It.” But as soon as they tracked it\, Cook told Lenderman he had to stay for the rest of the album. And he did. \n“Right Back To It” is ‘Tigers Blood’’s lead single. A nod to country duets like Gram and Emmylou\, winding over a steadfast banjo from Phil Cook. Together\, Crutchfield and Lenderman harmonize on the chorus: “I’ve been yours for so long/We come right back to it/I let my mind run wild/Don’t know why I do it/But you just settle in/Like a song with no end.” Crutchfield says it’s the first real love song she’s ever written. \nThe song “Bored” opens with blase drum beats from Spencer Tweedy that crash under Crutchfield as she throws her voice high: “I can get along/ My spine’s a rotted two by four/Barely hanging on/My benevolence just hits the floor.” Lenderman’s scuzzy riffs and Nick Bockrath’s climbing pedal steel add power to the album’s most ‘Southern Rock’ a la Drive-By Truckers moment. \n“365” is a story of recognition told from a hard-won place of self-acceptance/forgiveness. Crutchfield initially started writing it for Wynonna Judd\, with whom she has written and performed in the past\, until the lyrics started hitting closer and closer to home. The writer Annie Ernaux says\, “writing is to fight forgetting.” Like Lucinda Williams\, Crutchfield’s lyrics are memoir. Throughout ‘Tigers Blood’ Crutchfield is addressing a “you\,” but the ‘you’ in “365” evokes raw closeness\, vulnerability. “Ya ain’t had much luck but grace is/In the eye of the beholder/And I had my own ideas but/I carried you on my shoulders\, anyways.” \n“365” is essentially ‘Tigers Blood’’s aria about addiction\, with little to no accompaniment to Crutchfield’s voice. Her backing band is hushed\, as if the spotlight’s coming down on her\, alone on the stage\, giving her testimony. Crutchfield slings her voice with arresting precision\, reaching its highest harmony on the whole album. “So when you kill\, I kill/And when you ache\, I ache/And we both haunt this old lifeless town/And when you fail\, I fail/ When you fly\, I fly/And it’s a long way to come back down.” \n“365” circles back to the beginning of ‘Tigers Blood\,’ where Crutchfield’s words ring clear as a bell. Album opener “3 Sisters” starts with Crutchfield singing over hymn-like piano chords: “I pick you up inside a hopeless prayer/I see you beholden to nothing/I make a living crying it ain’t fair/And not budging.” ‘Tigers Blood’ is Crutchfield at her most confident and resilient. Staring straight at the truth\, forgiving but not forgetting\, not batting an eye. \n— Ashleigh Bryant Phillips \n\n\n\n \n\nTré Burt\nTré Burt was standing on a stage in Philadelphia in early 2023 when the latest bit of bad news arrived: His grandfather\, a native of that very city\, was dead. It wasn’t entirely unexpected. For years\, Tommy Burt had struggled with early-onset dementia\, slipping away a bit more each time Burt saw him. Burt even began recording his grandfather\, letting his tape recorder roll as they had some of their final conversations. He wanted to preserve those moments\, however repetitious or fragmented they might be\, before the opportunity vanished forever. In fact\, Traffic Fiction—Burt’s third album on Oh Boy Records and an unexpected musical reinvention rooted in his new and idiosyncratic version of classic soul—also preserves their relationship by committing another key piece of it to tape. The soul that animates so many of these 14 tracks? That was the music shared by grandfather and grandson. \nBurt’s California childhood was not easy. His parents split when he was young\, so he would often shuttle between their houses in Sacramento and the Bay Area. He was a bit of a wild child\, too. From time to time\, though\, he would accompany his father to work at a plant nursery\, riding shotgun in a 1975 Cadillac Seville as they listened to The Delfonics and Otis Redding\, Marvin Gaye and The Temptations. Those drives were his sanctuary\, that music their blessed score. \nBut as Burt became a musician himself\, he was a peripatetic troubadour\, tapping into American folk and blues partly as a matter of necessity—it’s not sensible to busk\, after all\, with some sophisticated band at your back. Bits of those other roots and compositional ambitions finally emerged on 2021’s You\, Yeah\, You\, the vivid result of Burt’s first proper studio sessions. On Traffic Fiction\, they are in full bloom\, from the sweet country-soul surrealism of the title track to the skywriting rock of “2 For Tha Show\,” Burt as urgent and commanding as he’s ever been. Traffic Fiction is the sound of Burt confidently bending a sentimental past to his present will. \nTo get to this new alchemy of soul\, dub\, and more than a little punk\, Burt returned to the basics—self-recording in sequestered silence. During a Canadian tour\, he set aside a few days to stay in a friend’s spare apartment and write\, renting enough instruments from the affordable gear emporium Long & McQuade to build a makeshift studio for his GarageBand demos. The title track soon emerged\, its effortless magnetism prompted by a poem he’d written about stupid city congestion and a piece by saxophonist and singer Gary Bartz. \nBurt recognized he had found the sound of the next album\, so he booked another rural cabin in Canada for 9 days and rented more guitars\, basses\, and the same keyboard he’d bought during the You\, Yeah\, You sessions. For the better part of a lifetime\, Burt had told himself he didn’t have the chops to sing like those childhood heroes from the Cadillac days. But now\, as he built his one-man-band demos before returning to Nashville’s The Bomb Shelter to work with a trusted band of pals and esteemed producer Andrija Tokic\, his versions of those sounds poured out in circumspect love songs and joyous tunes of existential reckoning. His grandfather was dying. The world was struggling with a pandemic and the specter of a third world war. But Burt gave himself permission to have fun and be funny\, to let these songs lift him and\, eventually\, maybe others\, too. \nTraffic Fiction indeed feels like a buoy amid these turbulent times\, something that pulls us above the wreckage. The love-or-something-like-it songs are crucial. With its rocksteady motion\, rainbow keys\, and slippery riff\, “Wings for a Butterfly” is Burt’s honeyed plea to at least try a relationship out. Like The Beatles rebottled in Muscle Shoals\, the brilliant “To Be a River” crescendos in a litany of all the things Burt knows he can be for someone—“your favorite word\, a letter you read.” It is pure infatuation. \nEven ostensible breakup songs luxuriate in the wonder of existence. “Santiago” recounts an overseas tryst that ended too soon\, Burt jubilantly narrating moments of mirth and lust over go-go keyboards and a beat so simple and propulsive The Ramones would have loved it. And during “Piece of Me\,” Burt turns the sting of ending it into an anthem of wishful thinking alongside sashaying organs and rail-grinding guitar. Maybe one more chance is all he needs? “You like me better when I’m in pain\,” he sings slyly. “Well\, baby\, just look at me now.” Amid these warped jewels of psychedelic soul\, you’ll find yourself pulling for Burt\, hoping the world can come to its senses on his behalf. \nBurt first earned notice for his imaginative and trenchant social protest songs\, where he’d capture some corrosive element of American life—unchecked capitalism\, unwavering racism\, so on—in a compelling snapshot. Traffic Fiction isn’t that kind of album\, necessarily\, though his defiance hasn’t disappeared. Referencing his ancestral homeland of Promised Land\, South Carolina\, “All Things Right” scorns apathy and bureaucracy\, the way we strand each other via our own pursuits. “I’ll never be free/but I can pretend\,” he snaps with verve during the verse of “Kids in the Yard\,” a mighty theme of self-empowerment. Burt finds the joy even here\, pushing past problems rather than succumbing to obstacles. \nAnd isn’t that a crucial role of music\, especially now—to show us how to handle our burdens with aplomb and vision\, to model the behavior of persevering with élan? At three points during Traffic Fiction\, Burt interweaves bits of those recorded conversations with his late grandfather\, Tommy. They talk about Stevie Wonder\, Burt’s career and the fatigue it can bring\, and\, finally\, the sense that he’s carrying on a family tradition through these records. It’s a reminder not only of what Burt experienced while making Traffic Fiction but also of what he overcame. He found strength in the soul of his youth\, and\, for that\, he’s never sounded stronger.
URL:https://www.mikebrowngroup.com/event/waxahatchee-w-tre-burt/
LOCATION:Treefort Music Hall\, 722 W. Broad Street\, Boise\, ID\, 83702\, United States
CATEGORIES:Arts & Music
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DTSTART;TZID=UTC:20240819T200000
DTEND;TZID=UTC:20240819T200000
DTSTAMP:20260519T122641
CREATED:20240715T183940Z
LAST-MODIFIED:20240715T183940Z
UID:81787-1724097600-1724097600@www.mikebrowngroup.com
SUMMARY:The Aristocrats - The Duck Tour 2024
DESCRIPTION:The Aristocrats show scheduled for August 19\, at The Olympic has been moved 9th St. Parallel at Knitting Factory. All tickets will be honored. If you are unable to attend due to the venue change\, please reach out to Ticketweb for a refund by July 27th\, 2024
URL:https://www.mikebrowngroup.com/event/the-aristocrats-the-duck-tour-2024/
LOCATION:Knitting Factory\, 416 S 9th St\, Boise\, Idaho\, 83702
CATEGORIES:Arts & Music
ATTACH;FMTTYPE=image/png:https://www.mikebrowngroup.com/wp-content/uploads/2024/07/74_Original-1.png
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DTSTART;TZID=UTC:20240819T200000
DTEND;TZID=UTC:20240819T200000
DTSTAMP:20260519T122641
CREATED:20240715T184117Z
LAST-MODIFIED:20240715T184117Z
UID:81790-1724097600-1724097600@www.mikebrowngroup.com
SUMMARY:DANIEL NUNNELEE - June\, Baby Fall Tour
DESCRIPTION:Daniel Nunnelee to play an all ages show in Boise on Monday\, August 19th at the Shrine Social Club
URL:https://www.mikebrowngroup.com/event/daniel-nunnelee-june-baby-fall-tour/
LOCATION:Shrine Social Club\, 1118 West Idaho Street\, Boise\, Idaho
CATEGORIES:Arts & Music
ATTACH;FMTTYPE=image/jpeg:https://www.mikebrowngroup.com/wp-content/uploads/2024/07/shrine-social-club.jpg
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DTSTART;TZID=UTC:20240819T200000
DTEND;TZID=UTC:20240819T220000
DTSTAMP:20260519T122641
CREATED:20240715T184346Z
LAST-MODIFIED:20240715T184346Z
UID:81792-1724097600-1724104800@www.mikebrowngroup.com
SUMMARY:Kansas
DESCRIPTION:With a legendary career spanning five decades\, KANSAS has firmly established itself as one of America’s iconic classic rock bands. This “garage band” from Topeka released their debut album in 1974 after being discovered by Wally Gold\, who worked for Don Kirshner\, and have gone on to sell more than 30 million albums worldwide. \nThe band is currently comprised of original drummer Phil Ehart\, bassist/vocalist Billy Greer\, vocalist/keyboardist Ronnie Platt\, keyboardist/vocalist Tom Brislin\, violinist/guitarist Joe Deninzon\, and original guitarist Richard Williams. With no signs of slowing down\, KANSAS continues to perform in front of large and enthusiastic audiences. \nThe band will be performing a set of KANSAS Classics such as ‘Carry On Wayward Son\,’ ‘Dust in the Wind\,’ ‘Point of Know Return\,’ ‘Fight Fire With Fire\,’ ‘Hold On\,’ deep cuts\, and much more. \nDetails\nGates open at 6:30pm\nShow starts 8pm
URL:https://www.mikebrowngroup.com/event/kansas-2/
LOCATION:Expo Idaho\, 5610 North Glenwood Stree\, Garden City\, Idaho\, 83714
CATEGORIES:Arts & Music
ATTACH;FMTTYPE=image/png:https://www.mikebrowngroup.com/wp-content/uploads/2024/07/kansas-thumb.png
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