Connect with us


Saturday Night Speed – Going Trackside at the I-25 Speedway

The I-25 Speedway, the fastest quarter mile track in the West, is also home to stories of men and women who chase speed every Saturday night in the summer.



Photo PULP 

Photo PULP 

Every Saturday night, just north of Pueblo near Beacon Hill, fans cheer for the thrill of racing. Just down pit road are the stories of men and women drivers who put up their own fortune for the chase of speed. Racing often has a stereotype, but every single driver at the I-25 Speedway will shatter everything you think you know about racing.

PULP spent two Saturday evenings with the drivers and the fans in the elusive chase for Saturday Night Speed.

Eight miles north of Pueblo perched in solitude on “Beacon Hill” sits a paradise for motorsports enthusiasts, families young and old, and entertainment aficionados in general.

The quarter-mile paved track, touted “I-25 Speedway,” hosts weekend events that are both memorable and exciting. Racers take to the track in a multitude of classifications, ranging from street cars to furious, modified cars.

The roar of the bellowing engines, squealing tires and gunshot-like backfires from cars rounding the corners turns a blaring whistle from a train passing by on the rails behind the speedway obsolete.

Jack Roberts and race fans watching the action at the I-25 Speedway | Photo PULP

Jack Roberts and race fans watching the action at the I-25 Speedway | Photo PULP

I-25 Speedway hosts events weekly from late May through mid-September, providing non-stop action every Saturday evening featuring anywhere from five to seven different race classes.

The classifications vary from week to week and can include Super Late Models, Grand American Modifieds, Sportsman, Street Stocks, Mini Stocks, Hornets, Charger Figure 8, Legends, Modified Coupes, Dwarf Cars, Bandolero and Super Modifieds.

Points are accumulated throughout the racing season for drivers in each of their respective categories. Points are earned by having the fastest speeds in time trials, placing in the 10-lap trophy dash race, or winning your division’s main event of the evening.

Photo PULP

Photo PULP

Drivers of the vehicles are as diverse as the fan base; ranging from men young and old, experienced veterans, rookie drivers, to girls aged in their teens.

The cars are plastered with masterful paint jobs featuring bright and unique designs that showcase the character and individuality of each of the warriors of the sport.

Even if a spectator doesn’t know much about cars while attending the races, it is very easy to learn about what makes the track, and the sport, so captivating.

It’s easy, for instance, to see why the Hornet classification is so named; the engines from this classification of cars make a tenacious buzzing sound while looping around the track at average speeds of almost 60 miles per hour.

The Super Modified cars provide high quality entertainment as well, reaching the fastest speeds on the track. The slim, Indy-style bodies of the cars are complemented by a tower-like back carriage, and the speeds reached on a quarter-mile oval are truly an exhibition to be experienced.

Super Modified cars average speeds of around 80 miles per hour–amazing when considering having to slow down to round the turns on the north and south sides of the speedway.

Fans, drivers, managers and owners of the track are very personable and knowledgeable when it comes to racing, and much can be gained from sitting next to a seemingly casual spectator in the stands.

The secret is this:  the spectators are rarely just casual fans. Many of them have racing in their blood, whether they are watching a family member race or sitting in the stands reminiscing about their checkered-flag glory days from years past.

One former, two-time I-25 Speedway champion explained to first time attendees how the heats in the divisions work. Normally, each division would have several heats, taking the 20 fastest cars from the qualifying heats and placing them into a feature race.

Lately, though, the track has had a tough time garnering enough participants to make that happen. The fan explained that the new owner and race director, Chris Cullen and Charlie Wilson, respectively, recently took over.

Charlie Wilson, Race Director at the I-25 Speedway | Photo PULP

Charlie Wilson, Race Director at the I-25 Speedway | Photo PULP

The change in the ownership has been a delightful one for the fans and drivers alike after seeing a decline in the participation due to what they called poor management by the previous owners.

“A lot of things that are different at this racetrack are that the attitudes of the owners, the attitudes of the staff that works here, and the attitudes of the racers have seemed to change,” explained Charlie Wilson, the track’s new Race Director. “We treat people with respect, and we get respect back.”

Wilson took over as Race Director last August after Chris Cullen acquired ownership of the track. Wilson started in racing on dirt tracks in Oklahoma in 1983. After moving back to Colorado in 1987, he became familiar with I-25 Speedway, formerly known as Beacon Hill Speedway.

Wilson won seven track championships in three different classifications during his time as a racer at I-25 Speedway, giving him an insight to what a racer needs from track ownership in order to have a successful relationship.

Now, Wilson handles the ins and outs of the racing side of things at I-25 Speedway. Maintaining everything from organizing practice hot laps to getting the drivers’ questions answered, Wilson is a busy man on race day.

“I do still get to enjoy some of the races,” Wilson said. “I’m here for the drivers, though. I told Chris when I started that I was going to be on the driver’s side of things, because I am a racer and Chris is a racer, and I think that’s why it’s working so well also.”

Wilson gets a majority of his help from the aforementioned Cullen, a native of Pueblo who has been involved in racing since he was a young boy. Cullen began by racing motocross as a kid and got involved in auto racing through his dad, a driver.

Cullen said he built his first race car about ten years ago and even has a brand new one sitting in his garage that he has been itching to get onto the track.

As for the ownership side of things, Cullen is striving to make the speedway into a bigger, better environment.

“I’m just hoping to make it a good, fun place to race,” Cullen said. “Hopefully it can become bigger than it is and we can get some more race cars in here.”

Cullen said they are already taking steps to improving the overall experience of racing at the track by following the rules, cleaning up the driving, and cleaning up the track.

Cullen and his staff make the race experience very fan friendly and interactive, holding raffle drawings for kids and adults in the stands, broadcasting commentary through the public address system and even allowing fans to test their own cars in a one-lap “street drag” competition. That is, of course, if they brought their helmets.


Shawn Johnson races the #90 car in the Grand American Modified class. 

Shawn Johnson races the #90 car in the Grand American Modified class. 

Driver: Shawn Johnson

Having a track isn’t about driving, it’s about the racing. That’s why fans turn out and that’s why the racing teams park next to the railroad tracks behind the speedway.

If you are a racing fan you know why. If you aren’t a racing fan, it’s foreign. The images you see on TV of drivers going 200 MPH then crashing and walking like it it was a movie seems fake and distant. It’s not there and it’s not here.

It’s hot on the pavement, just past the north side pit gate. To the left are the rows of teams, banging, hitting, tweaking, and thinking about how to get faster. To the right, is the pit road leading to the entrance of the track.

On any Saturday night, you might find drivers like Shawn Johnson here.

Shawn Johnson looks like he was built to race. Focused eyes, tight smile and a mechanic’s handshake – Shawn is the driver. If he was standing behind the #88 Chevy at Talledega, you wouldn’t question if he had the right to be there.

Shawn drives the #90 in the Grand American Modified Class. His uncle, Gary Johnson, is the team owner, sponsor and boss. His family and friends are the crew chief, mechanics, tire changers and supporters.

Most every Saturday night, fifty yards away from the railroad tracks, Shawn is thinking one thing: how to get the best out of the car. It’s also the day where he finally gets to see if his hard work from the week paid off.

Nathan Parson (11) and Brenda Fontaine | Photos PULP

Nathan Parson (11) and Brenda Fontaine | Photos PULP

His week, like most peoples’ weeks, starts with the morning commute on Monday at 6:30 AM. He lives in Colorado Springs and every morning he heads to the Ray Nixon Power Plant just south of the city. Here, he’s a power plant plant mechanic and his job is to fix stuff. “If there’s anything mechanical – we fix it,” Johnson said.  

If there are no hangups at work, he returns home, gets something to eat and then punches the clock in the garage. Four days out of the week he’s in the garage with the team, plotting. To the team it’s all about what happened last Saturday that determines how to get the car to the next Saturday.

Fridays are for the wives, says Shawn. “Have to give them some recreation.”

It’s almost an apology the way he says it. With working a full time job where the week is always longer than the forty hours in the written job description, racing is a full time “hobby.” There’s little time for much else — the team and their wives know it.

Come Saturday, that’s his day. It’s race day.

For the drivers the normal Saturday evening follows a similar pattern. Pull up with your car in what amounts to portable garages. Unpack the cars and get to work. None of the teams are sitting in lawn chairs waiting for the pit announcer to call them to the track. Every team is poking, tweaking, turning, bending, jacking, and inspecting. That small turn could be a tenth of a second off their time, or it could make the car loose and take you out of the evening.

This evening consists of a trophy dash: a 10 lapper of 6 cars, and two main events. The main events are 30 lap races with 10 to 20 cars on the track, depending on how deep the field is that night. Most evenings the race card is full with qualifying, then heats and the main event.

Shawn’s strategy most nights is to make the car fast, and if it’s not fast, do enough to be competitive.

“I just want to keep my nose clean,” he said referring to his goal of getting through qualifying and the early heats. It’s the simple racing strategy of, as he puts it, “Not doing anything stupid to take you out of the race.”

Tonight’s early trophy dash is a timely chance to get the competitive juices flowing.

With a third fastest qualifying time at 13.476 seconds, Shawn slots third on the outside lane. The outside lane at I-25 speedway has been trouble all evening long. If your car isn’t fast, there’s no room to overtake. On a small track like this you have to be crazy to go three-wide (three cars side-by-side).

The cars take a few laps around the track to get everyone lined up, and then the green flag is dropped.

Inside the car, Shawn’s actions are automatic.  For non-drivers a lap follows a pretty similar pattern.

Come off turn four, and push it to reach the top speed. Throttle down before turn one, massage the brakes and get the car into the right line going into the apex of the turn. Break too early and kill all your momentum. Brake late and your speed could result in your slamming into the wall on the exit turn.

After the apex, as Shawn describes, is like pulling a trigger. Pull the trigger too hard on a gun and it will cause a jerking motion and a missed target. In a race car, “it’s like there’s an egg between my foot and the pedal . . .  you roll into the throttle.”

If it’s a good turn, he’ll be “right up against the wall” coming into the backstretch of the track. Shawn accelerates for less than a few seconds before it’s into turn three and hitting the right line.

On a good lap these Grand American Modifieds will hit mid to low 13-seconds, or in speed terms hitting 80-plus miles per hour going into the turns.

Add in the rest of the cars, and the race turns into a high-speed guessing game wondering what the car on the outside is doing, not giving an inch to the guy in the back and always looking to see what’s going in front you.

In the Trophy Dash, Shawn is having a tough time. Right at the start the #99 car bumped the #67, though #67 might categorize it as a hit, forcing the #97 car to spin out. Shawn avoided the mess but clearly is disrupted in the flow of the race. In the short laps, the car didn’t have it. Once he was forced to the outside lane, with no help in front, Shawn was pushed to the back of the pack.

One lap to go and exiting turn two, the car is loose. “Loose” in racing terms is when the back end of the car swings wide coming out of turns. Shawn’s back end of the car swings out wide and he struggles to gain control. Into turns three and four and Shawns is not racing; he’s fighting the car. Finally, he spins out right on the front stretch and his trophy lap race is over. This is short track racing.  There’s not enough real estate to recover.

“I couldn’t recover once the car got loose. We’ll go back and work on it,” Shawn said after the 10-lapper.

He has two main events tonight, so there’s not much time to dwell on this one. But for the team it’s a frustrating end to a frustrating couple of weeks. With all the work they’ve put on the car it’s still not where they want it.

The 30 lap Grand American Main Event is the first race after intermission. It was a better race for Shawn, but not up to his standards. The #90 car isn’t fast and Shawn knows this. He finishes in sixth place and while it’s a solid finish, Shawn said that there weren’t many opportunities out there.

After ten laps it looked like the #90 didn’t have it, falling back and to the outside. At the halfway point, a yellow flag bunched up the racers and Shawn took advantage of the caution flag. This time he stuck to the inside and grinded out position against seemingly faster cars on the outside. He had the all important track position and worked his way to sixth. For the next eight laps he couldn’t gain any ground on the car in front but he didn’t lose any either.

The end of the race resulted much like the rest of Shawn’s night: disappointing. At lap 29, a car spun out leaving oil on the track and the checkered flag in the race official’s pocket. It was a white flag finish.

While the winner thanked his sponsors and “his smoking hot wife,” Shawn and his team were working on his car getting ready for the next race, though it would later be rained out.

“I couldn’t do much two-wide and you aren’t going to go three-wide here,” a frustrated Shawn said. “Handling of the car isn’t where I want it.”

As the moon chases the sun and night settles on the track, Shawn sits in the chair plotting his next 30 laps, then the next 100 laps, then the next qualifying heat, then the next season.

Shawn’s a driver and with the nights cooling off, he’s running out of evenings to tinker with the car. He’ll get a rest in the winter, but he will be back out here next season to see if he can get his car right.

He will spend three to five hours a night until the last race figuring out his car.  He will be at work, fixing stuff. His uncle will continue to sponsor the car, but with a sly smile tell you, “We expect better results.” The #90 car will be packed up and driven south. And Shawn will continue to pull the trigger out of the turns.


Kaley Cullen & Aurianna Jones | Photo PULP

Kaley Cullen & Aurianna Jones | Photo PULP

A Family

The Casters, Johnsons, Thayers, Cullens. The young boys with their dads wearing Jimmie Johnson caps. If there’s anything you feel once you walk into the speedway, it is that this is a racing family.

At every paddock, or in the stands, the fans at a track are family by blood, by oil or by car engine.

Pay a few bucks at the parking lot and you may run into Ed Thayer. His family races. Walk a few steps more and you may see Chuck Hawkins leaning over a railing. Mr Hawkins, originally from Crowley County, is the one of the tow truck drivers.

Though don’t ask him a dumb question like “How hard is it to tow a race car?”

Mr. Hawkins will say, “All you have to do is hook it.”

Tow truck driver Chuck Driver | Photo PULP

Tow truck driver Chuck Driver | Photo PULP

Chuck, with steel blue eyes, the poetic rural Colorado draw, isn’t going to mix words, “I wait all winter for this.”

All of them do. Few have aspirations to become the next Tony Stewart or Junior, yet they come back because this track is family.

The Casters, from Bennett, Colorado, run in the Super Modified Class and are a special breed in themselves. The class doesn’t have a lot of races in Colorado, only six this year, so they will take this evening at the track.

Super modifieds to the non-race fan are like “fighter jets in a gymnasium . . .  or however that quote goes,” said Rich Caster, Super Mod driver. “Half of the field [super mods] would have qualified for the Indy at Pikes Peak.”

Rich, who was the fastest in qualifying and won his main event on this evening, is a heavy equipment operator with Nelson Pipeline Constructors. He’s been around racing since he was two, “growing up in the pits” as he puts its. The term “growing up in the pits” should just be called “If your dad races you will probably race too.”

In 1983, Rich made a deal with his father that he could put rubber on the track if he graduated from high school. He did and has been out on the track every summer since.

Today, Rich is flanked by his fourteen year-old son Cody, who races Legends (think 1940’s mobster cars), wife Leigh and brother, Jason, a fellow Super Mod car driver. Like any father with a son in the same sport, Caster gets nervous watching his son because he’s not the one in control.

Still, he’s the modern dad with Cody. “I want him to want to do it,” Caster said.

Why spend so much time on the track and why so much money on a car? Rick tells it this way, “I have a friend who spends the same amount of money on his girl’s softball.”

In talking to the Casters, there’s only unwavering love for racing. But, if you hear their words, really listen, they are saying, they get to work on cars as a family, get to race as a family, get to be a family and enjoy every minute of racing.

“If you ever need anything, you just have to look around; someone will give it to you.” says Rich proud of the family he brought to the track that night.

Vanessa Simpson, driver | Photo PULP

Vanessa Simpson, driver | Photo PULP

The Unexpecteds

Walk past the concession stand, take a right, and you might find Andrew Fisher. He races the Hornets and Figure 8’s, the class where they cross in the middle. Yes, it’s the class where the name comes from making a figure 8 on the track; after turn two the cars cross and meet in the infield.

Do they meet? When asked if Andrew was ever involved in a crash in a race, he responded, “Yeah, but I never saw it. I was knocked unconscious.”

Andrew Fisher is your typical high school drama teacher racer from Canon City. At this point, whatever normal questions you are supposed to ask to a driver on a racetrack get thrown out the window, and the next thing out your mouth is, “Wait, what?”

Andrew is maybe 5 foot 7, maybe a goatee, maybe has a ball cap that looks like he went fly fishing yesterday. His clothes are maybe dirty; at least dirty enough to show that he’s been working on a car. He maybe looks like a drama teacher and maybe he looks like a driver.

“Students tell me, no way you race cars.” says the drama teacher. “Most teachers are surprised I drive cars. And most drivers out here are surprised I’m a drama teacher.”

Andrew’s car costs about $1,000, has street tires and pump gas and it is a piece of ju– work. Being a teacher, somehow the questions move away from driving and this can’t possibly be supported by his family.

What does his wife think? “My wife has been supportive. She’s bought me tires and buys gas.” Fisher said.

What’s harder: teaching or racing? He smiles and without flinching says, “Teaching is more challenging.”

Next to the drama teacher’s area is another unlikely driver.

Her name is Kayce Purcell. She drives a ‘72 Hornet, goes to Air Academy High School and can’t drive… legally. Kayce is 14-years-old and cannot drive a street approved car, but she can take the old junker for a few spins at the track.

If Andrew Fisher breaks every single stereotype of racing, then Kayce Purcell shows that women are breaking every single ceiling in racing. Oh, she’s your typical teenager who, in the middle of answering a few questions, will run out to grab the huge toad in the pits. She plays soccer, she swims, draws and just happens to drive 20 laps at 55 mph in the Figure 8 class.

Kaycee Purcell | Photo PULP

Kaycee Purcell | Photo PULP

“It’s not something I want to make a future career out of but I would like to move up.” says the 14-year-old.

Look over to dad and while one expects to see a father frothing at the mouth to turn his daughter into the next NASCAR superstar, what you get is the unassuming but wholly supportive and worried father.

“There’s a reason why NASCAR turns left,” says her father. “The wall is on the right side, the driver is on the left, but in the figure 8’s, the walls are right next to the driver.”

In Kaycee’s race corner every weekend is her grandmother and official sponsor, her aunt and the advantage of youth.

The surprise of finding the Fisher’s and the Purcell’s are less rare. The perception is that this is a male dominated sport. The reality is that women are racing because it runs in the family. Maybe their dad introduced them to the sport but they aren’t waiting on a man to help them.

Vanessa Simpson, is just one of these women. She’s the type of woman you want to have if you break down on the side of the road. The mini-stock driver, who works in booking at the Pueblo County Sheriff’s Department, is better at cars than most men.

“I can’t race, tonight,” said a disappointed Simpson with her race suit pants unbuttoned, black tank top, and soft brown eyes, “because of a broken tire rod.” Vanessa is the archetype of the modern woman.

“I dug dirt out of someone’s yard to get this car,” Simpson proudly claims. Her car is a mix of Pinto and Mustang called the Pintang.  The car on paper sounds like a horrific mix of a great car and the worst car but with the time and money Vanessa spent on it, it’s hers and has a quality most of these cars have — built by the driver’s own hands.

When asked the question, “Is it hard for women to be accepted in the racing world?” Vanessa is puzzled and says, “Out of the 15 or so cars on the track, 5 of them are women.”

Photo PULP

Photo PULP

Whatever you think of the stereotypic driver, you quickly learn there’s no mold. The family who came out to the track to support a granddaughter. The wife of the power plant mechanic. The tow truck driver. The girlfriend who came out to more races than her boyfriend. No one at the track can be put into a nice box. They are drivers and race fans.

Nowhere is this better illustrated than by the woman standing in the middle of the track’s infield — Kat Fidanza.

Kat is from upstate New York. She was the only person to refer to herself as a redneck. She’s here because her husband is stationed at Fort Carson. Before her husband transferred she saw there was a track in Pueblo and thought, “Yeah, I could move to Colorado.”

She has one job — track photographer. She doesn’t work as a receptionist, or a teacher — she is here to take photographs of the cars and racers and sell them to the racers. Coming to the track is family; her dad was a champion back in New York in Superstock; her family is heavily involved in racing.

On this Saturday, and most Saturdays, she is only I-25 track photographer and to her, “Nothing beats the thrill of getting killed in the infield.” She’s joking, of course, but she is the only one on the infield grass.

As another Saturday evening ended and a thunderstorm washed out the evening, Shawn Johnson pointed out, the “I-25 is an important mainstay of the region. There would be a lot of lost people if the track wasn’t here.”

In two nights out at the track, it’s clear that Chris Cullen is doing something special. The crowds were full and lively for a mid-July race and only threatening storms kept them away the week later.

Photo PULP

Photo PULP

From the pits the drivers are appreciative of the crowds who come out. They just want more people to be educated as Shawn puts it, “It’s a fun sport if you get educated.”

And right there, that’s the key, understanding racing. The cliche is a lot I-N-G’ing in the words of Chuck Hawkins, “I like the rubbin’, the shovin’, the fightin’, the grindin’, all for the lead of the competition.”

In all that shoving and fighting, there’s a strategy: money, pain, hard work, family, and passion. Understand a little of this and a little of how hard it is to get the car to do what the drivers want when they want, and you understand Saturday speed night at the local track.

by Nick Jurney with contributions by John Rodriguez

One more thing...

Local and independent journalism is under threat in the West and you change that.  With corporate raiders slashing newsrooms across the West, the PULP is one of the "Last Locals" in Colorado to produce original, compelling journalism missing in today's profit hungry world. But that costs money, time and hard work. We don't believe in spamming you with ads or putting up restrictive paywalls and that's why we need your help.

For every contribution, we put 100% back into producing original and amazing journalism. That's a promise only a local and independent newsroom can promise. Take heart because you will fuel stories just like this one and the future of journalism.

Arts & Culture

Acoustic heartbreak in the Colorado San Juans with John Statz



John Statz by Veronica Holyfield

Songs about heartbreak should resinate. And with John Statz they do. They’re equally soft and striking.

His new full-length album “Darkness on the San Juans,” available May 11, takes an acoustic turn from his other recent work. Then, he had full bands in studios. With this project, he gathered a few friends in his living room to record.

Like heartbreak itself, the album is more personal, more raw and more intimate. The Wisconsin native who now calls Denver home said he hasn’t done something quite as stripped down in a while, and when it came to get back into songwriting after the release of his last album last summer, there was also a reason to write.

It was the aftermath of a breakup.

“We retrace our steps. We look at what we thought we knew. We ultimately discover and face the truth under the stories we told ourselves along the way,” he says of the album.

In addition to the post-love songs, the album features a few songs Statz previously worked on but didn’t have a place on an album, and songs that are meant to be more acoustic. “Presidential Valet” is the story of Armistead, President John Tyler’s valet, or slave, who died alongside seven others in an explosion after Tyler and members of cabinet were watching the firing of the “peacemaker” in 1844.

So, this album is about heartbreak. Did that change how you wrote or approached the album at all?

Yeah. It just kind of comes out more — I don’t know — when you’re writing about heartbreak it’s just seems like the easiest type of writing. It’s just pouring out of you. You don’t have to come up with a concept or a story or any of that.

In the bio you released ahead of this album, it references a pretty famous Ernest Hemingway quotation: “Write hard and clear about what hurts.” Maybe as a writer I hear about this all of the time, but there’s definitely a writing style associated with Hemingway — to write very concise and clear. Did you take any of that with you into the songwriting or was it all about the emotion?

You know, it was the emotion part. I didn’t think about that, but the songs are fairly concise and short. So I appreciate that might also be relevant there even though I didn’t intend that.

The title of this album is “Darkness on the San Juans.” Explain that a little bit.

It’s a line in the song “Highways.” Geographical references are all over my songwriting. On every album I’ve ever written. So it’s a song about driving places with someone and either ending up back at those places later and having other memories being their previously. The San Juans was one of those locations that was important.

Why do you think you end up writing about places so much?

I mean, an obvious answer is that I spend a lot of time driving around to gigs, and I’ve been a lot of places because of that. And just for fun. I love roadtripping around Colorado, and camping and that sort of thing. So it’s not a planned thing. I’m living and breathing this lifestyle from A to B to C and that infiltrates the writing. But also, it’s a convenient rhyming scheme. Sometimes it can be hard to find a word, but there’s usually a city that will fill in.

How long did it take you to finish this album, being that the concept is fairly raw?

It all happened pretty fast. The two non-heartbreak songs, “Presidential Valet” and “Old Men Drinking Seagrem’s,” were older. They’re social commentary tunes. But I just hadn’t recorded them to yet and I was waiting for an acoustic album to do that. I started writing in the summer. I decided in December to record them. I called my friend Nate, flew him out in January. And we recorded it in three days in my living room.

Had you recorded like that before?

It’s been a while, but yeah. My first couple albums that I made when I lived in Madison, Wisconsin, were like that: recorded at home and more stripped down with the production and just making use of what we had. The last three albums were full bands or went to a really professional studio. This is how I made records way back.

Why did you decide to do it this way?

The songs mostly had an acoustic feel, and I sing in my living room a lot. I have this open, high ceiling. So I play my guitar and sing in my living room a lot. I think it sounds cool in there. I thought we could make a cool recording there. I liked the idea of making this intimate album in my home. It was a comfortable, cozy way to make an album.

So everything about this album seems more intimate that what you’ve done in the last few years.
Yeah. Definitely. Everything is. There’s only four musicians on this album, and one of those is my roommate who did knee slaps.

I also noticed on the album credits was an oatmeal container.

So I bought a plastic egg shaker because I thought I maybe wanted to some percussion. But it just didn’t sound that cool. I was like, well we have oatmeal around the house. There wasn’t much left in one container and so we shook it and it was a way better shaker sound, you know?

The inspiration for these songs were the feelings that linger after a break-up. Was there a cut-off point there since emotions always evolve, especially in these instances?

It’s a process. A relationship ends and we all go through the phases. Months go by and you change how you feel. The me that wrote those songs and recorded them months back is a different person. I’ve evolved in the process.

Did you have to simmer to write these songs or was it immediate?

I wrote the first song like a month after. I was trying to write again because I write in cycles. I had just put out an album at the beginning of last summer and when I’m in album release mode I’m not writing as much. But when that’s over I want to write. This time I wanted to write again and I had a fresh reason. I find it a little uncontrollable. I’ve never not written about any breakup I’ve ever had. It’s just part of the territory of being writer. I haven’t written anymore since I wrote those. I’m in album-release mode. I think I decided I’m done with these songs on this album. That’s part of the reason why I wanted to get it out. This part of my life is completed and now I will write a bunch of songs about U.S. presidents or something like that.

I noticed on your social media you like presidential biographies.

Yeah, I do. My friend Jeffrey Foucault is a songwriter and he gave me a LBJ biography. I really liked it, so I thought I’d give George Washington a try and I just kept going.

How many are you up to?

I’m almost done with Grant, so 18.

So far do you have a favorite based off of biographies?

Grant has been really interesting. Lincoln was fascinating. Martin Van Buren. Great sideburns.

Back to the album. Do you think the listener can hear an evolution throughout the album?

Yeah, those songs were written at different times, so probably. I’d say it’s a snapshot of what somebody goes through, or at least what I went through. But I think what most of us go through after a breakup.I just think most people have been through it so I hope they can identify.

I just think most people have been through it so I hope they can identify.

You can purchase Darkness in the San Juans at 

One more thing...

Local and independent journalism is under threat in the West and you change that.  With corporate raiders slashing newsrooms across the West, the PULP is one of the "Last Locals" in Colorado to produce original, compelling journalism missing in today's profit hungry world. But that costs money, time and hard work. We don't believe in spamming you with ads or putting up restrictive paywalls and that's why we need your help.

For every contribution, we put 100% back into producing original and amazing journalism. That's a promise only a local and independent newsroom can promise. Take heart because you will fuel stories just like this one and the future of journalism.
Continue Reading


Denver’s Wes Watkins dynamic new future-funk EP is from another planet




Future-Funk Party Starter | Wes Watkins

Dreams Out from Denver’s best kept secret Wes Watkins wears so many musical hats it needs a rack; downtempo G-Funk homage and sweltering nee-Soul / Rn’B are all over this release, all covered with a thicc pop glaze and a penchant for electronic-sonic experimentation that keep every song fascinatingly adventurous while maintaining a danceability and groove that easily, easily warrants multiple listens. Don’t sleep on this one.

Lo-Fuzz Folkie | Hoi Ann

The beauty of Hoi Ann’s Tangenier lies in both what you can hear and what it may want you to not hear. Lo-fi folk and bedroom-pop are easily tangible on its surface, but the buzzy electronic tones that sparingly flourish the 5 songs of this release lie low and create a unique aural atmosphere for listeners, like hidden secrets for your ears only.

Indie-Punk Sweeties | Gestalt

The pop-punk shred-bois in Gestalt are back at it again; The irresistible combo of the Get Up Kids earnest midwestern-emo and smart pop-punk wit of the Wonder Years is strong on the tracks that encompass LongBoix, as is an acute fondness and growing appreciation for the finer indie rock of yesteryear. Well I guess this is growing up.

Psych-Rock Screamcore | Gone Full Heathen

On their criminally good self titled EP, Fort Collins heavies Gone Full Heathen friggin dare you to try and trap them in a single genre. Nice try, but they’ll just chew right through your puny ropes using a gnashing blend of crushing stoner-rock laced hardcore punk and overdriven psych-rock / post-metal induced bite like the righteous rock and roll wolves that they are.

All releases available for purchase now thru Bandcamp. Go Local!

One more thing...

Local and independent journalism is under threat in the West and you change that.  With corporate raiders slashing newsrooms across the West, the PULP is one of the "Last Locals" in Colorado to produce original, compelling journalism missing in today's profit hungry world. But that costs money, time and hard work. We don't believe in spamming you with ads or putting up restrictive paywalls and that's why we need your help.

For every contribution, we put 100% back into producing original and amazing journalism. That's a promise only a local and independent newsroom can promise. Take heart because you will fuel stories just like this one and the future of journalism.
Continue Reading


The Haze Craze for Lazy Days



There are many different styles of beer. Ranging from light lagers (think Bud Light) and ales to sours, stouts, and IPAs.

Within those styles, however, are varying styles.

For example, one would think a sour beer is a sour beer, right? Wrong. According to the Beer Judge Certification Program, which defines every style of beer, there are six recognized European sour styles.

For IPAs, there are seven. American beers have four; stouts have three… You get the point.

Even with viewing the list of recognized styles, it’s not a complete list.

Take New England IPAs (NE IPA), as a prime example. Many breweries are currently mass producing this style of beer, and it’s selling like crazy.

You may have heard one of your annoying beer loving friends talk about drinking a “juice bomb,” or a requesting a “hazy IPA” at the pub, and shrugged it off. It turns out, they (sometimes) know what they are talking about.

What makes NE IPAs so popular when compared to a more traditional, West Coast IPA? NE IPAs have all of the hop flavors, without an overabundance of bitterness.

Instead of constantly adding hops throughout the boil to achieve a fruity flavor balanced by bitterness, the NE IPA has a small hop addition at the begging, and then nothing else until after the boil has finished.

That translates into a beer with very little bitterness, and plenty of hop aroma and flavor. Hops like Citra, Mosaic, Mosaic, Galaxy, and El Dorado are most common in NE IPAs, according to the Homebrewers Association. Those hops tend to impart a fruity, and dare I say, juicy flavor profile.

Between the juicy flavor and the seemingly natural haziness to NE IPAs, it’s not far fetched for an NE IPA to look like a tall glass of orange or grapefruit juice, only carbonated and full of alcohol.

NE IPAs are starting to gain momentum here in Colorado, with breweries turning their focus to the haze craze. Specifically, Odd13, WeldWerks, and Epic Brewing coming to mind.

Odd13 is based in Lafayette, Colo. and has a long list of NE-inspired IPAs constantly rotating through the tap room and distributed throughout the state. Codename: Super fan and Noob are two beers that are found in cans, and both offer a different approach to the haze craze.

WeldWerks is based in Greeley, Colo. and has accumulated a cult-like following in just a few short years for its Juicy Bits NE IPA. The brewery just started self-distributing locally, so you’ll have to make the trip to the brewery and pick up a crowler or four. Be sure to check the WeldWerks Facebook page for availability and limits. Yes, they have to place per person limits on how much you can purchase.

Epic Brewing recently announced its NE IPA, which will rotate between four different flavor profiles throughout the year. The cans will look the same but will be different colors as a quick way to tell identify which version you have.

So the next time you walk into a brewery or liquor store, it’s OK to ask for a hazy or juicy IPA. It’s a thing, and, frankly, they are damn good.

On Tap: By the time this hits newsstands, ThunderZone Pizza & Taphouse will have opened on the CSU-P campus. Located at 2270 Rawlings Blvd., the ThunderZone features 32 taps, a carefully curated tap list, and is locally owned.

At the opening, the tap list includes tasty brews from the likes of Florence Brewing and Lost Highway.

One more thing...

Local and independent journalism is under threat in the West and you change that.  With corporate raiders slashing newsrooms across the West, the PULP is one of the "Last Locals" in Colorado to produce original, compelling journalism missing in today's profit hungry world. But that costs money, time and hard work. We don't believe in spamming you with ads or putting up restrictive paywalls and that's why we need your help.

For every contribution, we put 100% back into producing original and amazing journalism. That's a promise only a local and independent newsroom can promise. Take heart because you will fuel stories just like this one and the future of journalism.
Continue Reading