City Weekly February 27, 2022 by Copperfield Publishing

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COURTING DISASTER

A Southern Utah town’s apocalyptic spending project raises eyebrows. BY SARA TABIN

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COURTING DISASTER Southern Utah town’s apocolyptic spending raises eyebrows. By Sara Tabin Cover photo courtesy of The Spectrum & Daily News

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SUNDANCE REVIEWS Check out capsule reviews from every day of the 2022 Sundance Film Festival at cityweekly.net facebook.com/slcweekly

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STAY INFORMED! Want to know the latest on coronavirus? Get off Facebook and check out these three online resources: Centers for Disease Control and Prevention: cdc.gov/coronavirus/2019-ncov World Health Organization: who.int/emergencies/diseases/novel-coronavirus-2019 State of Utah Coronavirus Updates: coronavirus.utah.gov

STAFF Publisher PETE SALTAS Associate Publisher MICHAEL SALTAS Executive Editor JOHN SALTAS News Editor BENJAMIN WOOD Arts & Entertainment Editor SCOTT RENSHAW Contributing Editor JERRE WROBLE Music Editor ERIN MOORE Listings Desk KARA RHODES

Editorial Contributors KATHARINE BIELE ROB BREZSNY SARA TABIN MIKE RIEDEL ALEX SPRINGER Production Art Director DEREK CARLISLE Graphic Artists SOFIA CIFUENTES, CHELSEA NEIDER Circulation Manager ERIC GRANATO

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NEWS of the WEIRD

Bogus, Dude! At the Tabor, South Dakota, Senior Center, a regular card game got a little weird on Jan. 4 after players enjoyed some brownies supplied by the mother of 46-year-old Michael Koranda. KTIV-TV reported that Koranda, an elementary schoolteacher, had recently traveled to Colorado and brought back some THCinfused butter, which he used to make a batch of brownies. His mother unknowingly shared half the treats with her fellow card players, which resulted in multiple calls to county officials about a possible poisoning. Sheriff’s deputies spoke to Koranda and took the remaining brownies as evidence, charging him with possession of a controlled substance. He is scheduled to appear in court on Jan. 25. Unclear on the Concept On Jan. 7, the California Court of Appeal ruled that the Los Angeles Police Department was justified in firing two officers in 2017 after they ignored a robbery call to play Pokemon Go, the Los Angeles Times reported. On April 15, 2017, Louis Lozano and Eric Mitchell were assigned to patrol the LAPD’s southwest division. But when a call for backup came

BY T HE EDITO R S AT A ND RE WS M cMEEL

over the radio, Lozano and Mitchell were captured on their in-car video responding, “I don’t want to be his help” and “Screw it.” Instead, they continued their hunt for Pokemon, eventually meeting up with their sergeant at a 7-Eleven. When he questioned them about the robbery call, they said they hadn’t heard it because they were responding to another call, leading their supervisor to review the dashcam footage. After the officers were fired, they sued, saying that the video captured their “private communications” and that they were improperly questioned. Five years later, the courts disagreed, and Lozano and Mitchell have plenty of time to hunt for Snorlax and Togetic. Family Values Cypress Falls High School teacher Sarah Beam took her 13-year-old son to a Houston-area COVID-19 drive-thru testing site on Jan. 3, KHOU-TV reported. When a worker there approached her car, Beam told her that the boy was in the trunk because she didn’t want to be exposed to the virus. Police were alerted, and Beam was arrested and charged with endangering a child. While he was not hurt, officials said in the event of an accident, he could have been. But the Cypress Falls community has shown support for Beam, posting messages outside her home to say they “have her back.” She was released on bond and put on administrative leave, the school district said.

Awkward “Ms. Wang,” 30, of Zhengzhou, China, agreed to a blind date arranged by her parents (“I’m getting quite old, so my parents arranged more than 10 blind dates for me,” she said) and went to the man’s home for dinner on Jan. 6. But during the meal, they learned that his community had gone into a rapid lockdown because of COVID-19, and she wouldn’t be able to leave for several days, the BBC reported. She posted on WeChat that the situation was “not ideal”—while he did cook for her, “he doesn’t speak much,” she noted. “I feel that apart from him being reticent like a wooden mannequin, everything else about him is pretty good.” Wang said she thinks his friends alerted him to the posts, so she removed them. “I think it has affected his life.”

Inexplicable Need something to do during a snowstorm in Queens, New York? One person had an idea: Around 3:15 a.m. on Jan. 7, someone rode up on an electric bike to a speed camera in Howard Beach. The camera caught the action, Pix11-TV reported, as the person calmly stopped the bike, aimed a handgun and shot multiple rounds at the camera (which did not appear to be damaged), then put the gun away and rode off into the snowy night. Police released the video in hopes someone can identify the shooter.

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@johnsaltas

uring a press conference on Monday, Jan. 24, President Joe Biden correctly answered a question from Peter Doocy of Fox News. And then came the fireworks. After nearly all press conferences, the scrum of reporters attending often begins shouting questions to the president, as has been tradition for as long as I can remember. Decorum and courtesy are lost. At the end of Monday’s presser, Doocy—the apple that didn’t fall far from the dimwitted tree of his father, Steve Doocy—asked Biden, “Do you think inflation will be a political liability ahead of the midterms?” By any account, Doocy wasn’t being impolite to the president, just simply baiting him with a question that would result in face time on that evening’s broadcasts. I haven’t tuned into Fox since the night of the 2020 presidential elections. I don’t really know if there’s anything new on Fox, —yet I suspect that Sean Hannity and Laura Ingraham persist in not discussing relevant news and remain mired in the foibles of persons named Obama, Clinton or Biden. Any question by Doocy that frames a question about inflation around Joe Biden and not Joe Citizen would play well that evening. Doocy knew that. Biden—who may have thought his mic was off—made a mocking, eye-rolling answer to Doocy’s political personal liability question. “That’s a great asset. More inflation,” Biden said. Then after another eye roll, “What a stupid son of a bitch.” I’m sure Biden knew the mic was on. Doocy—who gets spanked daily by Biden’s spokesperson Jen Psaki—is not regarded as the next Sam Donaldson or Helen Thomas, but he does have a White House press pass and is entitled to ask dumb questions. He may even be a dumb son of a bitch. So, I give him points for being a willingly dumb son of a bitch, because no reporter I ever

knew would ask such gallingly predictable and off-point questions day after day. It didn’t start on Monday. In 2017, Doocy applied the same personalizing tactic to the late Sen. John McCain. He approached the visibly ailing, soon-to-be-not-living McCain and asked, “Has your relationship with the president frayed to the point that you are not going to support anything that he comes to you and asks for?” McCain—who famously spent five years in a North Vietnamese prison camp communicating with his fellow inmates in various codes— delivered his answer in plain English, “Why would you say something that stupid? Why would you ask something that dumb? Huh? My job as a United States senator, is a senator from Arizona, which I was just reelected to. You mean that I am somehow going to behave in a way that I’m going to block everything because of some personal disagreement? That’s a dumb question.” Doocy didn’t get the memo, and the aftermath of this latest Doocy dud has been a doozy. The New Yorker magazine (in the tongue-in-cheek Borowitz report) proclaimed that the manner in which Biden answered Doocy proves that Biden has sound mental acuity. Makes sense to me. And it’s certainly a better signal of cognitive sharpness than Trump boasted about when he lit off his famous five flash card memories: Man. TV. Camera man. Hot blonde and … and … and I forget the last one because my own mental acuity remains locked in 1977. Trump has me on mental acuity. I have him on fewer Big Macs. Right-side political media was its predictable nonsensical self. Rep. Jim Banks, Insurrection Planner-Indiana, asked, “Have we ever seen a president attack and malign the free press like Joe Biden?” Well, yes, Jim, like when the ever-dainty wordsmith Donald Trump called a reporter a criminal, when he constantly encouraged his groupies to go after journalists, and when he called those journalists the “enemy of the peo-

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ple.” As well, Glenn Greenwald—who like many libertarians simply use that word to hide their inner bigotries and political insecurities—tweeted that Biden’s muffled utterance was a “grave attack on press freedom. That is what the Nazis did,” he said, and he asked, “other media to condemn this attack.” Biden’s comment was not an attack on the free press. It’s also not what the Nazis did—they didn’t waste time calling some doofus “der Hurensohn” (assuming my Google translate is up to par). They had other methods. As for me— someone who has rarely been accused of being a journalist, just a smart ass—I’m not bothered a bit by Biden calling Doocy a son of a bitch. Anyway, Biden telephoned him afterward and they had a nice chat, according to Doocy. Would Hitler have done that? Nah. Neither would Trump. He’s never apologized to anyone for anything—ever. Not even to the world for spawning us Donald Trump Jr. Yet, it’s frightening to all journalists—to be one, or to be associated as one—these days. For some reason, persons on social media get a hall pass, even though they do far more harm, foment more unease and tell more lies than persons attached to a traditional media outlet ever could. That’s not right. Last week, a member of The Salt Lake Tribune editorial board shared social media posts that threatened her life, ostensibly because the Tribune embarrassed Gov. Spencer Cox in an editorial regarding COVID mask mandates. Now that is Nazi-esque. The editorial board member’s tweets are now deleted— such magic not possible in print. Prior, however, I saw nothing from our four-headed Utah Republican delegation except adulating praise for Cox, nor from the office of Gov. Cox, either. If I missed it, sorry, but I’m just a stupid son of a bitch from Bingham Canyon, Utah, and, well, I’m not the enemy. I am the people. And you are. The enemy isn’t us. CW Send comments to john@cityweekly.net

HITS&MISSES BY KATHARINE BIELE @kathybiele

MISS: Read a Book

Let’s talk about the people in charge and how they make up the rules as they go along. First up: schools banning books. It doesn’t take much these days to activate parents—or anyone—once they see something posted on social media. Take the Canyons School District, for instance. The district pulled nine books from high schools because, you know, “porn.” Well, it was because one woman saw videos on social media showing something sexually explicit. She didn’t have high schoolers, but she was “exhausted” watching the videos (rather than reading the books), a KSL story said. The district tried to defend not following its own policy to review the books first before removing them. The issue blew up as Parents United called it sex in schools, but the district has since returned the books, maybe because “a lot of these books were about marginalized and oppressed identities, and it’s important that students with these identities have access to books that relate to them and put them in a positive light,” the ACLU told the BYU Daily Universe. The lesson? Read the books.

Power of Belonging

Well, if we can’t do it in our K-12 schools, maybe we can teach some empathy in higher ed. What is it like to feel different, to have an identity and experiences that are foreign to your peers? And what is it like to embrace a diverse community if you are among the majority? The Power of Belonging seeks to unravel the mystery and ensure that everyone feels a part of the whole. Panelists come from a wide variety of backgrounds dealing with racism and education. For instance, panelist Martell Teasley’s major areas of research interests are African American adolescent development, school social work practice and diversity in social work education. Virtual, Friday, Jan. 28, 1 p.m. Free/ register at https://bit.ly/3GNRhtX

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You’re in Session

Utah’s Legislature is in session now, and for sure, they’re preparing some unwelcome surprises for you. However, you can stay up on what they’re doing without trekking up to the Capitol. The Legislature has an easyto-use virtual platform from which you can choose the dates, subjects and times of meetings you’d like to attend. Are you worried about the bad air or our ongoing drought? You can follow the Natural Resources, Agriculture, and Environmental Quality Appropriations Subcommittee by going to the website le.utah.gov and clicking on the calendar. You can even observe the floor times in both chambers—always amusing. It might be interesting to see what’s hiding among the hundreds of proposed laws. Weekdays until Friday, March 4, free. le.utah.gov

Anger and Shame

In case you missed it, our country grapples with the effects of anger and shame every day and on every level. “We live in an age of anger and shameless disregard for what is true and good. What can we learn from other cultures about better ways to do anger and shame?” ask the Duke University organizers of The Ethics of Anger and Shame and Lessons From Other Cultures. The idea is to create norms of being angry at the right things at the right times. Looking at other cultures may help us better understand our own morality. Virtual, Thursday, Jan. 27, 1 p.m., free. https://bit.ly/3fGa9iF

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Even if you weren’t thrilled to hear Gov. Spencer Cox bearing his testimony during his State of the State address, you might have been surprised at his defense of voting rights. He smiled, he gestured and, yes, he even teared up during the speech, in which he called on Utahns to “unite” and be nice. But Cox also accused outlier Republicans of spreading “unsubstantiated claims and flat-out lies” based on the false claim that the 2020 election was stolen. Sure, he was pretty milquetoast overall—and particularly about masking and testing requirements—but when it came to voting, he was the man. Of course, he also used to be the lieutenant governor who ran Utah’s vote-by-mail elections.

The doctor is in, and there’s no better time to hear from her. At An Evening With Dr. Angela Dunn, you’ll hear what Salt Lake County’s health department director thinks of drawing parallels between HIV and COVID-19—the epidemic and the pandemic. While HIV is spread through bodily fluids, COVID spreads through droplets in the air. But there is so much more to this story. Certainly, the public reaction to them has been very different. While public health threats come in many versions, so do the responses to them. You will hear Dr. Dunn’s perspective on the significant parallels and what she thinks is the future of public health in Utah. Afterward, you can choose to join a Q&A session with her through the AIDS Foundation’s inaugural Public Health Champions Virtual Forum. Virtual, Thursday, Feb. 3, 6 p.m., suggested $25 donation/$50 for Q&A. https://bit.ly/3rA8Nvv

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HIT: The Election Was Not Stolen

HIV and COVID

Next up: masks, the role of government and death panels. All of this is up for debate while people continue to get sick and die because they have the freedom to do that. The Nebraska attorney general is suing a county health director after she issued a mask mandate for Omaha. And Utah Jazz great and anti-vaccine advocate John Stockton lost his Gonzaga season tickets for refusing to mask up. Despite fact checks that refute his claims, “Dr.” Stockton claims he has done “significant research” on pro athletes who died from the vaccine. In Utah, the Legislature is working overtime to clear the way for COVID. Robert Gehrke of The Salt Lake Tribune wrote about how House leaders—all male—tried to bully two Salt Lake County Council members— both women—into voting against their duly-enacted county mandate. When they wouldn’t budge, the Legislature changed its own local-control rules to overrule county mask orders. Republicans love to talk about how you can’t mandate caring, but you can apparently mandate a lot of disdain.

IN A WEEK, YOU CAN CHANGE THE WORLD

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MISS: Wear a Mask

CITIZEN REV LT

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Culture Clashes

A&E

Three current art exhibits get provocative about the modern world. BY SCOTT RENSHAW scottr@cityweekly.net @scottrenshaw

Contemporary Arts (455 25th St.). Masks are currently required for admission. Visit ogdencontemporaryarts.org for additional exhibition and venue information.

Frank Buffalo Hyde: New Works

figure in Puck Ficasso (pictured). He also draws on the pop-culture images of his childhood, like breakfast cereal mascots, and shifting the perception of such “allAmerican” images as the cheerleader by placing them in a Native context. There’s even work that deals with his identity as an artist with a disability in the two Congenital paintings. “When working on a piece, I tap into the universal mind,” Buffalo Hyde writes on his website. “The collective unconsciousness of the 21st century.” Visit the online exhibition through Feb. 28 at modernwestfineart.com.

Frank McEntire: And No Birds Sing

It’s no exaggeration to suggest that the modern environmental movement really began in 1962, with the publication of Rachel Carson’s landmark book Silent Spring, in which the author explored the impact of pesticides, particularly DDT, on declining bird populations. In recognition of its 60th

CREDIT

McEntire

anniversary, local artist Frank McEntire— one-time director of the Utah Arts Council and Salt Lake Tribune art critic—takes Carson’s book as the launching point for his investigations of a “natural world in crisis” in the exhibition And No Birds Sing. McEntire’s sculptural work draws on images of both humanity and the natural world at risk, like a feather caught in a tangle of thorns. The series of pieces is meant to celebrate our planet and call attention to the mounting threats to its sustainability, evidenced by ongoing loss of bird populations. “Our response,” McEntire writes, “will determine if humanity remains in the expansive scope of geological time. And No Birds Sing hangs in Nox Contemporary Gallery, located at 440 S. 400 West in the Homeless Healthcare Clinic Complex, by appointment through Jan. 28. Masks are required in the facility, and indoor attendance will be limited. For additional information, visit facebook.com/ noxcontemporary2021. CW

The collision between the traditional ways of indigenous peoples and the realities of modern life have long informed the work of artist Frank Buffalo Hyde, including provocative images like Native Americans in traditional attire being photographed on cell phones, or an American bison transformed into a trendy hamburger. His attempts to break the boundaries of what people think “Native American art” should look like continue in his current online-exclusive exhibition of new work via Modern West Fine Art. The represented pieces still find Buffalo Hyde investigating the iconography of the American Indian in tension-filled ways, like the gun-wielding yet resigned-looking

Buffalo Hyde

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LandBody

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The notion of “Mother Earth” is just one of the many ways that we have traditionally given the landscape human qualities. Land Body, the current group exhibition at Ogden Contemporary Arts curated by Kelly Carper, explores the connection between the human body and the landscape through the perspective of eleven female artists working in the American Southwest states of Utah, Arizona and New Mexico. Included among the represented artists is Nikesha Breeze, whose film work Stages of Tectonic Blackness (pictured) takes on the history of the African diaspora by comparing the exploitation of Black bodies with the extraction exploration of the land. Native American artist Cara Romero investigates the connection between indigenous women and their ancestral landscapes along with the hyper-sexualization of Native women, while Utah’s Wendy Wischer compares land management policies with the legislative “management” of female bodies. Also participating in the show are Al Denyer, Sonia & Miriam Albert-Sobrino, Chelsea Call, Jaclyn Wright, Jill O’Bryan, Josie Bell and Sama Alshaibi. Land Body runs through Feb. 20 at Ogden

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Land Body @ Ogden Contemporary Arts

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ESSENTIALS

the

ENTERTAINMENT PICKS, JANUARY 27-FEBRUARY 3, 2022

Complete listings online at cityweekly.net

Information is correct at press time; visit event websites for updates on possible COVID-related cancellations or re-scheduling

MUSE presents George Takei

presents Isabel Allende discussing Violeta. This ticketed virtual event takes place Saturday, Jan. 29 at 5 p.m., with tickets $40 including access to the event and a hardcover copy of Violeta (shipped after the event). Zoom link will be sent within 24 hour of event time via email. Visit kingsenglish.com for tickets and additional event information. (SR)

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TORI DUHAIME

CYBELE MALINOWSKI

great introduction for the uninitiated to her distinctive style, where personal essay meets the conversational orneriness of someone just wants people to be less dumb all the time. Spend An Evening With Fran Lebowitz at Eccles Theater Delta Hall (131 S. Main St.), Saturday, Jan. 29 at 8 p.m., with tickets $25 - $55. Proof of vaccination or negative COVID test is required for all Live at the Eccles performances, and masks are required throughout the performance per current health guidelines. Visit arttix.org for tickets and additional event information. (SR)

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the Regent Street Black Box Theater (131 S. Main St.), Jan. 27-29 at 7:30 p.m. nightly, with general admission tickets $25. A family-friendly and sensory-friendly matinee performance— including partially-raised lights and reduced sound and lighting effects—is also available Saturday, Jan. 29 at 1 p.m. for a reduced price. For those who prefer not to attend live performances at this time, a virtual live-stream and on-demand option for $25 is also available for purchase. Visit ririewoodbury.com for additional information, including up-to-the-moment health and safety information. (SR)

Through America’s history, precious few individuals had the skills—and the attitude, frankly—to earn the descriptor “public wit.” From Mark Twain through the regulars at the Algonquin Round Table, occasionally we get folks whose pointed observations and way with a sardonic turn of phrase just make people want to listen to what they have to say, no matter the subject. Over a career spanning more than 50 years, Fran Lebowitz has evolved into just such a person: a writer, yes, and a personality, most definitely, but first and foremost a person who people find it hard not to listen to when she speaks. The glory of Lebowitz simply holding court on the things that dazzle, delight and irritate her was certainly evident to legendary director Martin Scorsese, who has devoted not one but two film projects to Lebowitz’s charms: the 2010 documentary Public Speaking, and the 2021 Netflix limited series Pretend It’s a City. The most recent program is a

An Evening With Fran Lebowitz

Ririe-Woodbury Dance Company: Fill in the Blank Local companies have come up with many creative ways to keep dance alive during the COVID-19 pandemic—including door-todoor performances and virtual presentations—but there’s no question that live performance brings out the vitality of dance. If you’re in a head- and body-space where such an option is available to you, Ririe-Woodbury Dance Company offers you an invitation to fill in the blank that had been left by live dance’s hiatus. Fill in the Blank offers a program of three original works by gifted choreographers. Stephanie Batten Bland’s 2018 Look Who’s Coming to Dinner is inspired by the 1967 film Guess Who’s Coming to Dinner, exploring who is and isn’t welcomed around our tables. Company alum jo Blake brings the trio piece Coincidences, when we meet up, with original music by local composer Trevor Price. And Andrea Miller of New Yorkbased Gallim Dance presents the full version of I can see myself originally scheduled for 2020 and presented in abbreviated form in 2021. Live performances of Fill in the Blank were still scheduled at press time for

TDK

NITED TALENT AGENCY

with Q&A and book-signing to follow. Takei visits Kingsbury Hall (1395 E. Presidents Circle) on Thursday, Jan. 27 at noon, with tickets available to the public via utahpresents.org; tickets are free but a ticket is required for admission. While tickets were still available at press time, should there be an official sellout, there will be a wait list line with admission beginning at 11:45 a.m. Visit the website for upto-date health and safety information, including mask requirements. (Scott Renshaw)

The life of Isabel Allende might have turned out quite differently, had geopolitical events not intervened. Born into the family that included Chilean president Salvador Allende as her second-cousin, Isabel Allende wound up in exile in Venezuela after the 1973 military coup by Augusto Pinochet. Yet according to her, those events were part of what shaped her ultimate career path. “I don’t think I would be a writer if had stayed in Chile,” Allende once said. “I would be trapped in chores, in the family, in the person that people expected me to be.” Her family history shaped her 1982 debut novel The House of the Spirits, and that connection to family continues to shape her work 40 years on with her new book, Violeta. Told in epistolary form, it recounts the life of a woman born in South America in 1920, as her life is shaped by world events including the Spanish Flu pandemic, the Great Depression and worldwide struggles for women’s rights. It’s a historical epic told in Allende’s distinctive voice, built on personal experience of an individual life shaped by the circumstances of her time. In conjunction with Miami-based Books and Books and other bookstores around the country, The King’s English

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The multi-ethnic, multi-racial cast of the original Star Trek TV series provided a uniquely optimistic vision of the future, but it also provided rare opportunities for some actors to get standout roles. George Takei has taken full advantage of the celebrity offered by his role as Star Trek’s Sulu over the ensuing 50-plus years, including becoming a forceful advocate for LGBTQ rights after coming out as gay in 2005, and sharing the story of his family’s experience during the World War II-era internment of Japanese-Americans at California’s Tule Lake relocation camp. Now 84 years old, Takei is still far more than a pop-culture icon whose trademark “Oh, my!” has launched a thousand memes. This week, he provides the keynote address for the University of Utah’s annual MUSE (My “U” Signature Experience) Theme Year, which for 2022 is focused on “Rebuilding.” The centerpiece of that theme is Takei’s New York Times bestseller graphic novel They Called Us Enemy about the internment camp experience. His presentation includes stories from the book, and lessons for moving forward after adversity,

Isabel Allende: Violeta virtual event

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Courting Disaster A Southern Utah town’s apocalyptic spending project raises eyebrows. BY SARA TABIN comments@cityweekly.net

also be used for distributing food and medical supplies if a pandemic or “civil unrest” shuts down supply chains. “Seeing calamities occurring everywhere, I felt it important to prepare our city for any eventuality,” said Mayor Chris Hart in an email to The Utah Investigative Journalism Project. Hart said the Federal Emergency Management Agency (FEMA) has outlined disasters like fire, flooding and earthquakes as risks for Ivins. When asked about the city’s stated concerns about “civil unrest,” Hart said it wasn’t in reference to the police reform protests that gripped the nation in the summer of 2020, around the time the boxes were first installed. The risk he was specifically worried about? Hordes of refugees from Las Vegas. “It was something a FEMA staff person had mentioned to our Public Safety director, referring to the possibility of a disaster occurring in LA or Vegas that might force the migration of a large number of refugees in our direction—not

The following story was reported by The Utah Investigative Journalism Project in partnership with The Spectrum & Daily News and Salt Lake City Weekly.

JANUARY 27, 2022 | 13

CREDIT

a local protest or civil disturbance,” Hart explained. Hart said the idea for the boxes came to him after years of involvement in emergency planning. He became concerned that a communication link between neighborhoods and municipalities was missing in typical disaster preparation. Finding nothing on the market to fill the niche, Hart said he thought up the hub boxes and assembled a prototype with his own money. At least one outside disaster expert says the plan could fill an important gap, if it is executed properly. When a hazard like a flood or storm hits, it can take a lot of time to go out and survey the damage, said Aaron ClarkGinsberg, a behavioral and social scientist at the RAND Corporation think tank, who researches disasters. If the boxes can help survey the damage more quickly, that could be really valuable, Clark-Ginsberg said. He said

| CITY WEEKLY |

Disaster boxes might be used in the event of damage from wind, floods or fires, according to city records. They might

Some residents who spoke with The Utah Investigative Journalism Project were enthusiastic about the new disaster hub initiative. Lydia Nelson of Troy’s Custom Body and Paint said she thinks the boxes are “very positive.” Nelson, who identified herself as a local captain for the city’s disaster planning, said she thinks the boxes are well planned and well executed. She said they will be good to have in the event of natural disasters like floods or earthquakes. Most of those contacted by The Utah Investigative Journalism Project either hadn’t heard of the boxes or didn’t have an opinion about them. Several said it will be difficult to judge the boxes until the time comes to use them as intended. Hollie Hope said she didn’t know enough about the plan to have a strong opinion. “I suppose we will never know until it’s used in an emergency,” she said. Roger Head, a member of the board of Kayenta Arts Foundation, said he doesn’t think the boxes are a bad idea, but he isn’t sure people will actually use them in the event of a disaster. He said people might be too preoccupied to go open the boxes and connect with the city. “If they work as designed, they are awesome,” said Garold Dodds of Sew Fun. He said he plans to wait and see how things pan out. But not everyone is keen on the idea. Ivins resident Jamis Palmer said he doesn’t see the value in the boxes and is concerned they were a waste of city money. Palmer said he thinks neighbors will rely on each other, not city services, in the event of a large disaster. Palmer said he feels that the city erred when it decided the boxes were a good idea and moved forward without getting input from the residents who paid for them. He described the action as “government at its finest.” Materials and assembly for implementing the citywide box network cost $17,045.82. That figure includes the purchase of the exterior boxes, money for the radios and other interior pieces and the cost of the exterior decal, according to city officials.

Fires, Floods and LA Refugees

Residents’ Reactions

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he past couple years have been rife with existential threats for Utahns—earthquakes, wildfires, supply chain shortages—not to mention multiple waves of coronavirus surges. It’s been enough to make anyone fear the worst. So-called “preppers,” once objects of ridicule, have been praised in the national media for their readiness in the face of catastrophe. But for the town of Ivins—a small bedroom community nestled among the red rocks near St. George—individual preparation alone was deemed insufficient against future calamities. Instead, local city leaders decided to take the survivalist mindset to the municipal level. Today, metal boxes labeled “DISASTER HUB BOX” in red letters decorate posts in neighborhoods across Ivins. The boxes can be opened with any flat, metal object like a coin, but a 150-decibel alarm is supposed to sound when the box is opened. Tampering with the box could lead to a $1,000 fine, the red print warns. And the boxes are under surveillance by motion-activated cameras. Each box contains a portable two-way radio (think walkie-talkie), an electric light, clipboards with paper forms and mechanical pencils. The city has 74 boxes in total, distributed throughout different sections of the city, which are dubbed “zones” and clustered into 13 “emergency preparedness areas.” The basic concept goes like this: In the event of a disaster that lays waste to the town and impairs standard communication lines, those who are able will assemble at the disaster hub boxes. The first person to arrive will be named a “zone leader.” Residents are expected to use the clipboards and paper to assess the damage at each house in the neighborhood. Their findings will be relayed to the city via the radios. The city can then deploy emergency resources to the the parts of town that are most in need. But the boxes have elicited a mixed response. Some residents laud them as a crucial safety measure. Others are concerned they amount to little more than a waste of public money. Either way, they are certainly unique—so much so that Ivins’ mayor has patented them.

the “devil is in the details” for disaster preparation, but he is interested to see how and if the boxes work. “If they are actually achieving their aim, then there’s a lot of benefits,” he said. “But who knows if they are achieving their aim or not?” One concern with such a project is access, and who can get to the boxes, said Clark-Ginsberg. He said it is great that Ivins’ boxes are spread out around the city, but there are still unknowns about who will use the boxes and whether community members are properly trained in how to use them. The boxes were put to the test during an Ivins-wide drill in September 2021. Residents were supposed to listen for the sound of a firehouse emergency siren and were instructed to then gather at their local box, open it, activate the radio and report to the city. That training plan hit a hitch when the city’s firehouse siren didn’t go off. Instead, emergency vehicle sirens were deployed around the city to signal the start of the drill. In the end, 371 residents—or about 4% of the population—participated, according to initial city results. Hart said in an email that actual participation was more than 450 people, since some resident counts that hadn’t been radioed to the city were found on clipboards later. Another drill is scheduled to happen in April amid Utah’s annual “shakeout” earthquake drills. Ivins also had a booth about disaster readiness, including the boxes, at its September Heritage Days celebration.

14 | JANUARY 27, 2022

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Blessing the City

The boxes are just one part of the city’s FEMA-based threetiered approach to disaster planning. Under Tier 1, Ivins residents are advised in city documents to prepare themselves and their families for disasters through steps like storing extra food and water or a first-aid kit. The city offers free seminars and workshops on disaster readiness, such as “Myths and Deceptions About Longterm Food Storage” and “Cooking Your Long-term Food Storage and Alternate Heat Sources.” There are also online resources with tips for gardening in Southern Utah and preparing pets for emergencies. Tier 2 of the plan is the community-level response, which includes deploying residents who are trained in disaster response and basic first-aid skills. “In a disaster, the resources that are available from cities and counties are gonna be exhausted very quickly,” said David Williams, the Ivins Disaster Preparedness Program area coordinator for Kayenta. “We need to be able to help each other in the meantime.” The disaster hub boxes fall under Tier 2. Tier 3 of the plan involves the city government and its public safety services, like firetrucks and ambulances. For his part, Hart says he created the boxes to do some-

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thing good for his city. “I have tried very hard to bless my city with what I believe to be the most advanced emergency response Tier-2 plan that exists anywhere,” said Hart in an email. “For its participation in the Disaster Hub Box experiment, I intend to further bless it with substantial royalty revenue should my idea prove to be commercially viable.” While Hart says he won’t profit from the boxes “at least” while in office, even profiting off potential future profits could be ethically problematic, says John Pelissero, senior scholar at the Markkula Center for Applied Ethics at Santa Clara University. He says officials should recuse themselves from voting on projects, even if they just have a “personal” interest in them. “The public’s trust in the mayor or city government could be eroded if the public believes that the mayor has profited from the actions of the city government that he leads,” Pelissero said, even if the private gain happens in the future. But future profits would also depend on how well the boxes ultimately work. The truest test of the boxes’ utility will indeed be time. As climate change exacerbates natural disasters worldwide, Ivins could get the last laugh. Maybe the boxes will fail as people forgo them in favor of focusing on dealing with problems themselves. Maybe they will be rendered unnecessary if cell service remains available in the wake of a natural disaster. Maybe the devastation that follows a disaster will be so great that the city won’t be able to do much anyway. But perhaps the rest of the state will be scrambling in the aftermath of earthquakes, fires and floods as Ivins’ citizens take stock of their canned food and form orderly lines in front of their hub boxes. CW

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and I have observed children in the neighborhood looking at it and being curious, and I would hate for a 9-year-old to be slapped with a $1,000 fine if they innocently did something.” He asked whether kids’ parents could be on the hook for $1,000 if a child opens a box out of curiosity. City Manager Dale Coulam said the fine is up to $1,000. It is not a mandatory minimum.

A search of Ivins’ City Council agendas and minutes did not find an agendized vote on the hub boxes. Hart asked members of the city council during an April 2019 meeting about budgeting $15,000 for “Rapid Damage Assessment Kits,” which would include a radio and forms. The council agreed. Funds for the hub boxes were included under the “equipment for public safety” line item for the 2020 and 2021 fiscal years. No separate vote occurred on the boxes, according to City Manager Dale Coulam. The creation of the boxes apparently caused a stir with some residents, who posted concerns on social media that Hart was profiting off the boxes, a claim he vigorously denied at a January 2021 City Council meeting. Hart said he hasn’t made a penny off the boxes, but has sunk hundreds of hours into creating them. Hart filed a patent for the boxes in September 2020, but says he did so for Ivins’ benefit. He said he wanted to make sure no one else could patent the boxes in the future and charge Ivins for using them. And the city could potentially profit from the boxes if they catch on, according to Hart. “Having no personal interest in manufacturing, marketing or distributing the box, I hired an attorney to draw up a licensing agreement should someone else desire to produce it commercially with substantial royalties stipulated to be paid to Ivins City and none to myself to avoid any perception of a conflict of interest,” he said in an email. “To date, I have received no compensation associated with the Disaster Hub Box and won’t for at least the period of time I will serve in public office.” Another point of concern has been the boxes’ $1,000 tampering fine. “Here’s what I’m worried about,” said City Councilman Dennis Mehr at the Jan. 21, 2021, meeting. “I have a box out in my front yard, thank you by the way whoever put it there,

| CITYWEEKLY.NET |

THE SPECTRUM & DAILY NEWS

“I felt it important to prepare our city for any eventuality,” Ivins Mayor Chris Hart said.

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18 | JANUARY 27, 2022

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AT A GLANCE

| CITY WEEKLY |

hough our midwinter has been a bit milder than usual, I am still committed to my go-to winter trend of eating copious amounts of ramen. I have my ramen staples around town, but I realized I hadn’t fully experienced the ramen outlets of West Valley as much as I should. To rectify this, I decided to check out Tonkotsu Ramen Bar (1989 W. 3500 South, 385202-5241, tonkotsu.us), arguably one of the city’s most popular ramen haunts. Tonkotsu is right in that West Valley sweet spot on 35th South where Korean grills, Latin markets, eclectic bakeries and sushi bars conglomerate. Its chunky, backlit sign makes it easy to spot, like a beacon guiding cold diners into its welcoming arms. The interior is a perfect mix of hip, casual and traditional; the murals that offered a nod to Katsushika Hokusai’s Great Wave painting are a nice touch. Cool neighborhood? Check. Cozy interior space? Check. So how good is that ramen? We’ll get to that. First, we need to talk about the appetizers, because the spirit of Japanese street food culture is alive and well at Tonkotsu. You’ve got the traditional offerings of tabaski ($9) and tori karaage ($7) for all your Japanese-style fried chicken needs. You’ve also got the deep-fried

BY ALEX SPRINGER comments@cityweekly.net @captainspringer

scallions, a hard-boiled egg and a spiral slice of tender pork belly. It’s the namesake at Tonkotsu for a reason—they’ve made this recipe their own, and it’s effortlessly replenishing to the soul. The distillation of pork flavor is somehow powerful while remaining understated. You can’t escape it, but it doesn’t overwhelm. Overall, it’s a beautifully subtle ramen that would take years of eating to truly understand. For something that does piledrive your kisser with powerful pork flavors, you’ll want to try the WTF Is Wrong Ramen ($15). It’s a riff on a Hawaiian dish called saimin, which is a riff on ramen, so the whole concept has a delightfully meta subtext. And Spam. Lots of Spam. The WTF consists of an entire breakfast smorgasbord—Spam, bacon, sausage and a fried egg—tossed with ramen noodles in a pork broth that gets a bit more overstated with all those additional porcine flavors. Subtlety is not an ingredient in this ramen, so fans of big, bold flavors will be right at home here. Those who like to customize their ramen adventure have a wide variety of add-ons such as bok choy, kimchi, and mushrooms, which creates plenty of opportunities to build the ramen lineup of your dreams. Whenever you visit Tonkutsu, ramen should definitely be the priority, but their rice bowls are solid as well—like the katsu curry bowl ($12-13), with its choice of katsu-fried pork, chicken or tofu and richly flavored Japanese curry. All the same, anyone craving a heaping bowl of nuanced broth, perfectly textured noodles and a flair for unexpected fusion is going to have a good time at Tonkotsu. CW

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Ramen Revelations

balls of octopus and pickled ginger topped with bonito flakes known as takoyaki ($8). None of these appetizers should be overlooked, but make sure you take the time to try the beef bulgogi fries ($10) and the Gyozachos ($7.50-$9), both of which represent the kind of cultural and culinary fusion that make dining out such a fun experience. If you’re a fan of Korean food, then the marinated and barbecued beef known as bulgogi is not unknown to you. Now imagine all that savory, gochujang-infused barbecue piled atop a stack of crispy waffle fries, and topped with melty cheese and wasabi mayo. I can’t overstate the importance of waffle fries when composing a dish of loaded spuds, and this dish is why. The fries are primed to scoop up all that gooey goodness and deliver it to your mouth with a satisfying mix of flavors and textures. And oh, those Gyozachos. If you’ve ever looked at a deep-fried gyoza dumpling and wondered if nacho cheese would improve the situation (hint: It does), then this is the dish for you. It’s a great idea as far as bonkers food fusion goes, but upon digging into these, I realized the method to this madness. A regular plate of gourmet nachos typically has something like ground beef or shredded chicken on top of everything else, but it can sometimes be hard to get all the proteins on each chip every time. When you use pork or chicken-filled gyoza as your chip, however, you get an equal amount of protein every time. It’s gastroengineering at its finest. I wouldn’t begrudge anyone a visit to Tonkotsu just to check out their stellar appetizer menu, but that level of controlled chaos that seems to pervade the establishment is definitely present in their roster of ramen. A first-time visit should include the tonkotsu ramen ($14) from which the restaurant gets its name. Tonkotsu is ramen in its most traditional state—a creamy pork broth filled with slippery noodles, chopped

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Bewilder Brewing 445 S. 400 West, SLC BewilderBrewing.com On Tap: Druish Princess Schwarzbier

Mountain West Cider 425 N. 400 West, SLC MountainWestCider.com On Tap: 7 Mile Session Cider

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Bohemian Brewery 94 E. Fort Union Blvd, Midvale BohemianBrewery.com Bonneville Brewery 1641 N. Main, Tooele BonnevilleBrewery.com On Tap: Peaches & Cream Ale Desert Edge Brewery 273 Trolley Square, SLC DesertEdgeBrewery.com On Tap: RyePA Epic Brewing Co. 825 S. State, SLC EpicBrewing.com On Tap: Cap’n Ron’s Raisin Stout

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20 | JANUARY 27, 2022

TUESDAY TRIVIA! 7-9 PM

Fisher Brewing Co. 320 W. 800 South, SLC FisherBeer.com On Tap: Fisher Beer

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A list of what local craft breweries and cider houses have on tap this week

Level Crossing Brewing Co. 2496 S. West Temple, South Salt Lake LevelCrossingBrewing.com On Tap: Smoked Porter

Ogden River Brewing 358 Park Blvd, Ogden OgdenRiverBrewing.com On Tap: Injector Hazy IPA Policy Kings Brewery 223 N. 100 West, Cedar City PolicyKingsBrewery.com Proper Brewing 857 S. Main, SLC ProperBrewingCo.com On Tap: Veni Vidi BiBi- Italian Pilsner Red Rock Brewing Multiple Locations RedRockBrewing.com On Tap: Tarty McFruit Face RoHa Brewing Project 30 Kensington Ave, SLC RoHaBrewing.com On Tap: Mild & Free British Mild Roosters Brewing Multiple Locations RoostersBrewingCo.com On Tap: Cosmic Autumn Rebellion SaltFire Brewing 2199 S. West Temple, South Salt Lake SaltFireBrewing.com On Tap: Saison de Trahison Salt Flats Brewing 2020 Industrial Circle, SLC SaltFlatsBeer.com On Tap: Barrel-Aged Winter Amber Shades Brewing 154 W. Utopia Ave, South Salt Lake ShadesBrewing.beer On Tap: Winter Warmer Amber Ale

Strap Tank Brewery Multiple Locations StrapTankBrewery.com Springville On Tap: PB Rider, Peanut Butter Stout Lehi On Tap: 2-Stroke, Vanilla Mocha Porter TF Brewing 936 S. 300 West, SLC TFBrewing.com On Tap: Edel Pils Talisman Brewing Co. 1258 Gibson Ave, Ogden TalismanBrewingCo.com On Tap: Kingslayer Toasted Barrel Brewery 412 W. 600 North, SLC ToastedBarrelBrewery.com Uinta Brewing 1722 S. Fremont Drive, SLC UintaBrewing.com On Tap: Was Angeles Craft Beer UTOG 2331 Grant Ave, Ogden UTOGBrewing.com On Tap: Snowcat IPA Vernal Brewing 55 S. 500 East, Vernal VernalBrewing.com Wasatch 2110 S. Highland Drive, SLC WasatchBeers.com Zion Brewery 95 Zion Park Blvd, Springdale ZionBrewery.com Zolupez 205 W. 29th Street #2, Ogden Zolupez.com

Local to National

What to expect from new ownership of local breweries.

year

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he week of Jan. 10, 2022 saw one of the biggest upheavals in Utah’s craft beer industry since its inception in 1986. In one week, it was announced that two of Utah’s largest beer makers were acquired by two different beverage companies: Uinta Brewing by United States Beverage out of Stamford, Conn.; and CANarchy-owned Wasatch/Squatters by Monster Beverage Corp. (makers of Monster Energy drinks). While one of these deals may affect local consumers less than the other, changes are definitely coming to Utah’s adult beverage landscape. We’ll start with the Uinta Brewing deal. Founded in 1993, Uinta was the third craftbrewing entity to take root in the state. With staples like Cutthroat Pale Ale and Golden Spike Hefeweizen, the brewery quickly became popular around the state. In August 2014, Uinta announced that it sold a percentage of the brewery to the Riverside Company, a New York-based private equity firm. In 2019, Riverside exited its investment in Salt Lake City’s Uinta Brewing Company, as Golub Capital Investments came in to fill the gap. The new U.S. Beverage deal offers something new that Uinta hasn’t had in the last eight years: decision-makers who know the beverage industry. Having an importer at the helm will open many doors to Uinta’s brands, and provide access to new markets. Some of the cons: new and popular non-beer beverages, like alcoholic seltzers and cocktails, may squeeze out space previously occupied by beer brands. The local themes that Uinta has built their brand on may become more diminished as well. Only time will tell. The Monster Beverage acquisition may have a greater impact on the local craft

beer scene and in other craft beer markets where CANarchy has had a foothold. Fireman Capital, a private equity firm out of Boston, was the first to invest in the Utah Brewers Cooperative (Wasatch/Squatters) in 2012, when it purchased a majority interest in the UBC. Over the years since then, Capital would acquire other brewers, including Oskar Blues, Cigar City and five other regional craft breweries, forming CANarchy in 2015. Monster said the deal would add Cigar City, Oskar Blues, Deep Ellum, Perrin Brewing, Squatters and Wasatch to its portfolio, but would exclude CANarchy’s many restaurants and brewpubs. So basically, what they’re saying is that all Monster wants is the big production brewing facilities, and that it has no interest in being in the restaurant/hospitality industry. This has the potential to shutter two of Utah’s founding craft breweries: Wasatch’s Park City Main Street Brewery/Pub, and Salt Lake Brewing Company (Squatters). There’s a lot of history wrapped-up in these two locations. The Park City brewery was the first craft brewery in the state, and Squatters’ downtown location on Broadway was Salt Lake City’s first craft brewery. These two institutions could be closed, or become properties that can no longer bear their historic names. This would also affect many other Wasatch Squatters locations, including Squatters Roadhouse Grill, Squatters Airport Bar, Wasatch/Squatters Craft Cafe and Wasatch’s Sugar House pub. And if you’re a fan of places like Oskar Blues’ Boulder and Longmont, Colo. brewpubs, along with Cigar City’s Spruce Street Brewery/Taproom in Tampa, Florida, you may find those gone as well. Before the beer laws changed in 2019, Utah’s craft beer market existed in a bit of a bubble. Not many out-of-state breweries looked toward Utah, and only a handful of local brands spread the home flavors beyond our borders. This has changed greatly over the last few years. These are just some of the benefits (and problems) that having a seat at the grown-ups’ table can bring. It’s very early in the acquisition process, and all plans are still in their infancy, so keep your eyes here for updates—and support Uinta, Wasatch and Squatters throughout what will likely be a crazy beer year. As always, cheers. CW

| CITYWEEKLY.NET |

BY MIKE RIEDEL comments@cityweekly.net @utahbeer

MIKE RIEDEL

MIKXE RIEDEL

BEER NERD

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22 | JANUARY 27, 2022

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Kendra Scott will be showcasing her delectable spin on baklava at City Creek Center (50 S. Main Street) this weekend. I’m a fan of baklava in all its iterations, but Kendra Scott’s Nutella nightingale baklava is something special. When you take what you already love about traditional baklava—the pistachio, the phyllo, the honey—and then throw Nutella in the mix, you’re looking at something singular and indulgent. Of course, fans of traditional baklava will be able to satisfy their cravings, and Mosaic Bakery will also be serving up Arabic coffee to complement their sweets. The Mosaic Pop-up market will take place on Jan. 29 from 11 a.m. to 1 p.m.

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Whether you’re looking for a fresh loaf of challah to observe Shabbat or simply after a wonderfully soft and pillowy challah loaf because it’s awesome, now’s the time to learn how to bake one yourself. Dganit Herzig and Talia Goldberg will be hosting a challah baking class on Jan. 28. The class will walk attendees through the process of baking challah and provide a recipe to take home. Attendees will also receive a challah to take home with them. The class will be held from 9 a.m. to 12 p.m. at the IJ and Jeanné Wagner Jewish Community Center (2 N. Medical Drive).

Yumz Bakery and Café Opens

The Wasatch Front’s plant-based options are wonderfully diverse, and it looks like we’re continuing that trend with Yumz Bakery and Café (3490 State Street, 801590-8092). This South Salt Lake restaurant specializes in tacos of the al pastor and birria variety, along with quesadillas, gorditas and fajitas. In addition to all manner of savory plant-based eats, Yumz prepares plant-based desserts like flan and coconut custard. This new addition to South Salt Lake is shaping up to be a haunt for those after a bit of plant-based taco goodness, but based on early reports it’s going to be popular among all fans of Mexican food, regardless of dietary preference. Quote of the Week: “If baking is any labor at all, it’s a labor of love. A love that gets passed from generation to generation.” –Regina Brett

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Milena Smit and Penélope Cruz in Parallel Mothers

A Spanish setting for two veteran filmmakers not working at their peak.

Parallel Mothers BB½

After more than 40 years of feature filmmaking, we know that Pedro Almodóvar can do outrageous melodrama; what’s less clear from his latest effort is whether that outrageous melodrama can work when he’s playing it dead serious. Penélope Cruz plays a 40-ish professional photographer named Janis, who chooses to keep the unplanned pregnancy resulting from an affair with a married man. In the hospital for her delivery, she befriends another unwed mother-to-be, Ana (Milena Smit), and their lives begin to intertwine in unexpected ways. One of the rea-

Rifkin’s Festival BB

It somehow makes it even harder to know what to do with contemporary Woody Allen movies when it seems that even Woody Allen doesn’t know what to do with contemporary Woody Allen movies. Here he travels to Spain for a setting at the San Sebastian Film Festival, where one-time film studies professor/frustrated never-was writer Mort Rifkin

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(Wallace Shawn) accompanies his wife Sue (Gina Gershon), a publicist representing an up-and-coming French filmmaker (Louis Garrel). While there and at loose ends, Mort becomes smitten with cardiologist Jo (Elena Anaya), inspiring dreams and musings that take the form of blackand-white nods to classic works by Bergman, Godard, Buñuel and others. “Nod” is really the only appropriate word, as Allen rarely does anything more interesting with the concept than make it a New York cinephile version of “I understood that reference,” though Christoph Waltz does a nice job as a chipper version of The Seventh Seal’s Death. Yet while Allen waves his hand at a potentially self-aware notion of self-isolating artistic snobbery, this half-baked script feels like little more than the umpteenth variation on the filmmaker’s wordy musings on existential angst, marital fidelity and the heart wanting what it wants. His compositions with cinematographer Vittorio Storaro make for a stunning travel brochure, Shawn at least manages something besides a Woody impression as the filmmaker’s latest surrogate, and the dialogue makes it clear that continuing to make a movie every year for decades doesn’t mean you have found anything new to say. Available Jan. 28 in theaters and via VOD. (PG-13) CW

BY SCOTT RENSHAW scottr@cityweekly.net @scottrenshaw

sons those ways are unexpected is the use of a device torn from tabloid headlines, though it’s given a twist that could have made for a unique spin on the idea. But as earnestly as Cruz plays the emotional turmoil Janis faces, she can’t completely make it possible to forget that many of the plot developments here range from improbable to just-plaindumb. More frustrating still is Almodóvar’s attempt to connect this narrative with the lingering generational traumas of the Spanish Civil War, in a way that serves neither the historical context nor the soap-opera theatrics well. Almodóvar certainly still knows his way around a bold, striking visual sensibility, but the kinds of stories he generally prefers to tell really shouldn’t be told with a completely straight face. Available Jan 28 at Broadway Centre Cinemas. (R)

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The Plain in Spain

Wallace Shawn, Gina Gershon and Louis Garrel in Rifkin’s Festival

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The creators of Ogden City Limits introduce viewers to how musicians learn a song. BY ERIN MOORE music@cityweekly.net @errrands_

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“W

e go in with no expectations, and come out with the unexpected,” says Scott Rogers in the opening intro to Ogden City Limits, a mini-documentary-like series that lets viewers get a glimpse at the process of learning and playing a song. But it’s got a compelling local bent, featuring Rogers and his bandmate Shane Osguthorpe of The Proper Way, the videography of Natalie Simpson of Beehive Photography, and whatever local artist the trio connect with. Now at the start of their second season of the series, we’ve got a preview of what’s to come, and why this series is such a special one. Season One of Ogden City Limits debuted back in 2020, and was filmed in all black and white, with deft little moments of intimate cinematography and down-to-earth goodness recorded in the small studio of The Proper Way. That first season featured names like Marny Proudfit, Christian Scheller, Andrew Wiscombe, Carrie Myers (who also plays in The Proper Way) and Michelle Moonshine, all huddled into the studio. “We spend a lot of time on the road, driving around and getting gigs,” says Osguthorpe. “We listen to podcasts or music we wanna learn, or whatever. And one of the podcasts we always listen to is Song Exploder, [which] takes a song and they break

it apart and reverse engineer it.” On that podcast, they bring the musicians, songwriters, engineers and anyone else who worked on the song to explain the process of getting a certain sound, and how they got to the finished product. Their fondness for this process made Osguthorpe wonder, “‘Why don’t we do that and document how a song just starts?’” Rogers explains further that they wanted to find a way to document the process of actually learning a song the whole way through, with all the candid bumps that come along with that. “All of our musician friends, we’re kind of on the same circuit together. We were like, ‘Wouldn’t it just be cool to get in on a Sunday when there’s not any gigs and just be able to hang out with our friends, work on songs together and document how that happens when a bunch of musicians come together?’” And so Ogden City Limits was born, even if the artists they feature aren’t limited to Ogden alone. The music isn’t the only part of the equation, either. What was first supposed to be a planning element, the traditional pre-recording brunch at UTOG Brewing Company—just a few yards away from their studio—became a part of their friendly, hangin’-out process, too, and there they talk more about the menu’s French toast than any music. After brunch, Simpson gets her multiple cameras rolling in the studio, and Rogers and Osguthorpe go about learning two songs from the guest musician of choice— an original and a cover. Osguthorpe says, “We’ve had some artists ask if we want them to send over the lyrics or the tabs beforehand, and we’re like ‘Nope, we just want to sit here with you, and you teach it to us.’ None of it is rehearsed. “The cover thing is just because it’s a nice easy way to learn that musician’s language,” he adds; “what kind of music do you like? We kind of figure out our vibe that way.”

Ogden City Limits with Gordon Greenwood The sessions usually last around seven hours, but they say it goes by fast, and the cameras aren’t an issue. “Her ability to document all that without being intrusive is the coolest part of the whole thing, I think,” Osguthorpe says of Simpson’s film set-up. “Most of the musicians who come in know her already … and you forget it’s even happening at all,” Rogers adds. That first season just happened to debut at the beginning of the pandemic, in 2020, and the trio says they rushed to put out all the episodes as quickly as they could, as a way to support their working musician friends who were suddenly out of jobs. Over the intervening time, they’ve been working on a second season, while also scooping a grant from Ogden City Arts. With the time and the support came a remodel of the studio space, and a new series debuting in color. The first episode of Season Two features the ever-so soulful Gordon Greenwood, who broke tradition in his recording, first teaching Rogers and Osguthorpe an original track of his, before the cover. The resulting episode is exactly what Ogden City Limits set out to be: a deconstructed and honest view of what it looks like when musicians learn a song together, built for any appreciator of music composition. It also shows how easy musicians still make it look to pull a song out of thin air, even as they’re learning together. Next up on the list is Alicia Stockman, whose episode debuted this week, followed by Carson Wolfe (of Vincent Draper and The Culls), Cherry Thomas, Nick Nash, Daniel Young and Sammy Brue. If you had any doubts after Season One’s lineup that Ogden City Limits picks the créme de la créme of local music talent to hang out and jam with, you shouldn’t have any now. See how a song gets made, and watch Ogden City Limits at facebook.com/ogdencitylimits or on YouTube. CW

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iDKHOW

iDKHOW at The Depot

Longtime Salt Lakers may already be wellacquainted with the star power of I Don’t Know How But They Found Me—or iDKHOW for short. But if the name isn’t ringing a bell, it will once you hear the stuff. On their debut RAZZMATAZZ, which came in 2020, they dial the electricity up to 11, channeling the style and glitz of the kind of pop that straddled the late ’70s and early ’80s—while they also channel the deeper inner workings of the duo’s history. Ryan Seaman and Dallon Weekes used to make music together as the SLC-famous group The Brobecks, whose wacky, weird and funked-out style is somehow still tangible in this new stuff all these years later. Perhaps they don’t want those comparisons to old work anymore, but an old die-hard is writing this piece, so they’re getting them. The simple presence of swaying, jazzy, melodramatic tracks like “From The Gallows,” the delightfully charming “Nobody Likes The Opening Band” and the buzzing synths on “Clusterhung” are, after all, direct throwbacks to their bygone indie-rock experimentations. There are songs on the album that are all new and fresh, though, like the groovy “Sugar Pills,” the hooky-as-hell opener “Leave Me Alone,” the sweet and tender “Kiss Goodnight” and the big punch of Weekes-signature bravado on the title-track closer; there’s even some sax on that last one. History or no history, iDKHOW certainly proved themselves with the album, and you can hear proof on the SLC stop of their Thought Reform tour on Friday, Jan. 28 at The Depot. Doors are at 6 p.m. for the all-ages show, and tickets are $27.50 at depotslc.com.

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Washed Out at Metro Music Hall

Many probably know Washed Out as part of the soundscape of the early 2010s, where saccharine dream pop reigned. The contribution by Washed Out’s Ernest Greene to this wave of woozy, often synth-driven music was altogether slinkier than others, a sound represented well on the cover of 2011’s Within and Without—an apex example of soft-core aesthetics popular on Tumblr and the budding Instagram of the time. The songs on that album matched the vibe of the cover’s two lovers, embraced on wrinkled white sheets—the lyrics, like the lovers’ hidden faces, are unintelligible, and the beats are rhythmic, infectious and emotionally familiar, more likely to make moments freeze in memory than to make one shift into dancing. Endlessly chill, with oceanic motifs and drums and rippling synths at the backbone, it was especially Washed Out’s famously hazy track “Feel It All Around,” which soundtracked Portlandia, that placed them at the apex of what was quickly becoming a genre of vibes—as in, chillwave. Greene found more success with the 2013 album, Paracosm, which produced such hits as “It All Feels Right” and “All I Know,” the latter of which exemplifies Greene at his most upbeat. And while 2017 found the artist hiccupping into experimentalism and sampling on Mister Mellow, on his 2020 latest, Purple Noon, he’s returned to form—though to an even more lax extent. His stop into Metro Music Hall will come alongside the softly grooving duo of Brijean. See both acts on Friday, Jan. 28 at 7 p.m. Tickets to the 21+ show are $25 at metromusichall.com.

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Beeson

Beeson at Kilby Court

A lot of promising new music is packed into this night, plus some recent participants of the most recently wrapped up Velour Battle of the Bands. Opening up the night at Kilby Court is Casio Ghost, a sweet little surf band that fuses their melodies with light psych influence, enough to keep it funky but not too wild. On their recently-released, self-titled EP, tracks like the opener “The Other Side” muse on the surprising turns that life can end up taking, warmly completed by tinkling, electric keys. They don’t sound identical or anything, but the EP is pretty reminiscent of the casual innocence of Smith Western’s swinging indie pop, though Casio Ghost have their own lackadaisical hue. They’ll be joined on stage by Cardinal Bloom, who just won the Velour Battle of the Bands last month with their balanced blend of crunchy guitars and delicate song progressions— everything about the band feels painstakingly constructed, and that’s probably what lent to their stellar BotB winning performances. If you want a taste of their winning songs, make sure to stop in and hear stuff from their 2021 EP, To Love Someone. The night will be rounded out by Beeson, another Battle of the Bands favorite. While so far her online discography is richest on SoundCloud, more widely available singles like “Syrup” illustrate her appeal—with honeyed vocals akin to Lourde and spare but punchy production, her sound feels like the kind that’s ready to take off. The all-ages show is this Friday, Jan. 28 at 7 p.m. and tickets are $11 at kilbycourt.com.

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Augustana’s Dan Layus

Augustana at The State Room

For Augustana’s Dan Layus, this might be a weird time to take the act on tour. That’s mostly because the most recent work from the artist was a chronological guide through Augustana hits since their 2006 debut All The Stars and Boulevards. Titled Live, and recorded during a livestream event, the album contains hits such as the unmistakable “Boston” and songs from 2008’s Can’t Love, Can’t Hurt like “Sweet and Low” and “Twenty Years,” to name just a few really recognizable songs. The artist spent more of the aughts as a defining member of an alt-rock genre that was growing increasingly radio-friendly with their approachable angst and sincerity—songs like “Boston” really swelled to the perfect heights of drama, suiting it to all kinds of the era’s romcom needs. Performed solo by Layus, the livestream’s subsequently recorded album is Augustana’s first live album, and following the precedent of its recording, Layus will also be touring solo. Like the live performance that premiered on the web, this tour will undoubtedly be an intimate encounter with the artist and the best of Augustana’s songs. He’ll be touring alongside a more contemporary type of crooner in John-Robert, who combines modern beats with his own sentimental style. See them both on Tuesday, Feb. 1 at The State Room. Doors are at 7 p.m. and tickets to the 21+ show are $25 at thestateroompresents.com.

Son Volt at The Commonwealth Room

A family affair of sorts is coming through to The Commonwealth Room, by way of the ’90s classic Americana act Son Volt and their opener, Jesse Farrar. Farrar is related to Son Volt’s Jay Farrar, his uncle and also a famed member of Uncle Tupelo, an alt-country act he formed with Jeff Tweedy before their disbanding in 1995. That year found the older Farrar forming a new band, the dusty Americana-fueled Son Volt, and seeing their debut album Trace find critical acclaim and success on year-end lists. Since that debut, the band has released several more albums, endured a hiatus and lineup shuffles with Farrar still at the center, and have all the same cozied up closer to that original Son Volt sound. On their latest, Electro Melodier, that sound is the same, and Farrar explores everything from his own decades-long love story to the past few years’ social unrest, embellishing Son Volt’s country rock signature sound with roots rock spirit. In a review of the album, Paste Magazine noted, “It’s been said that Farrar has been making a version of the same album over and over since Son Volt’s 1995 debut … but that’s a simplistic perspective. What’s true is that his sound is unmistakable, no matter what direction he steers Son Volt’s music.” It’s also not a bad thing for bands to chase something that’s working for them, and Son Volt’s music sounds as warm and comforting now as it did in ’95. As for the younger Farrar, he’s spent his time as the vocalist and bassist of the prog string band Old Salt Union, and will be joining solo on this tour ahead of the release of his first solo album The Art of Leaving. See them this Tuesday, Feb. 1 at The Commonwealth Room at 8 p.m. The 21+ show is $32 at thestateroompresents.com.

Information is correct at press time; visit event websites for updates on possible COVID-related cancellations or re-scheduling

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EDITOR

BY DAVID LEVINSON WILK

ACROSS

1. “What was ____ was saying?” 2. Stumblebum 3. Beehive State native 4. #carpediem 5. Sea of Serenity setting 6. Big order for a wedding reception 7. “Quicker than ____ of light” (Madonna song lyric) 8. Get in the way of 9. Yoga pose 10. Tiber tributary whose name means “black”

SLC Gets High A 11. Manny’s last name on “Modern Family” 12. It often involves a Snellen chart 13. City on the Italian Riviera 15. Arizona State city 20. 0% ____ financing 21. Many withdraw from it 22. “____ Duke” (1976 Stevie Wonder hit) 23. Bushel or barrel: Abbr. 27. Was sure of 28. “Let’s ____!” 29. Uranians, e.g. 30. Amanda Gorman works 31. Fumble 34. “Narcos: Mexico” actor Michael 35. ____ Psaki, Biden press secretary 36. Tit for ____ 37. Cook with Apple 38. Facility for small planes 39. Popeye’s “boy-kid” 40. Metric pressure unit 42. “Fourth periods” in hockey, for short 43. Infinitesimal 44. Prohibition, e.g. 46. “The Tell-Tale Heart” author 47. Go against

48. More together mentally 50. Lip application 53. Bitter ____ 54. Israeli statesman Abba 55. Part 56. Crystal ball gazer 57. “... ish” 60. Years and years 61. Period 62. Texter’s “I can’t believe this”

Last week’s answers

No math is involved. The grid has numbers, but nothing has to add up to anything else. Solve the puzzle with reasoning and logic. Solving time is typically 10 to 30 minutes, depending on your skill and experience.

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Complete the grid so that each row, column, diagonal and 3x3 square contain all of the numbers 1 to 9.

1. Acknowledgment of a debt 4. Some youth ctrs. 9. Home to the world’s three highest capital cities 14. Decorative ink 16. “I’m outta here!” 17. “Doing fine” 18. “Over the Rainbow” composer Harold 19. Personal finance expert ... or an apt clue for “editor” 21. “On the double!” 24. Certain craft brew, informally 25. Apt rhyme for “lumberjacks” 26. Official with a stopwatch ... or an apt clue for “editor” 31. Cheese used in Babybels 32. Onetime bodyguard of Muhammad Ali and Michael Jackson 33. Grp. with peacekeeping operations 34. Teaser ad 35. Society-page subject ... or an apt clue for “editor” 38. Off-center 41. Principal 42. What the middle of 1-Across stands for 45. “Victory is mine!” 46. Person of letters ... or an apt clue for “editor” 49. Seminary subj. 50. Political org. founded in 1854 51. Offshore 52. Outgoing sort ... or an apt clue for “editor” 58. H.S. class for science whizzes 59. Wind player’s purchases 63. “For ____!” (“Seriously!”) 64. Place to display goods 65. Malden and Marx 66. Diciembre follower 67. Utmost degree

SUDOKU X

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30 | JANUARY 27, 2022

CROSSWORD PUZZLE

s we like to say in real-estate sales, “They ain’t building any more land!” Dirt that you can build on is a precious commodity in all of our major Utah cities right now, so the next best frontier is to build up. I always thought that if I moved back to New York, I would want to sell “airspace,” or the air above buildings. I could sell airspace in Utah, but it’s not a common commodity … yet. When you buy a piece of land or a home, you ostensibly own all the way to the center of the earth and all the way up above the earth’s surface. You have the right to develop up or down without interference by others— within regulatory constraints—unless there is a water, mineral or air traffic right or a utility easement blocking your way. The idea that “Whoever owns the soil, it’s theirs up to heaven and down to hell” became common law in the 13th century. I remember, back in 2005, when a small New York City church agreed to sell its vertical development rights for $430 per square foot so a high rise (520 Park Avenue) could be built above it. They pocketed $30 million, and the church and the high rise co-exist today. Developers in our capital city just broke ground on Astra (Latin for “star”) Tower on the northwest corner of 200 South and State Street, where a Carl’s Jr. stood until recently. Astra Tower will be the tallest building in Utah when completed in 2025, at 450 feet above the street. This will beat out the Wells Fargo Center at 422 feet, the LDS Church Office building at 420 feet and Tower 8 of City Creek (95 State Street) at 395 feet. In theory, there are no height restrictions to buildings in Salt Lake (city ordinance allows for exemptions to its zoning rules)—or in New York City, for that matter. The One World Trade Center—which replaced the World Trade Center towers—is 1,176 feet above sea level, Central Park Tower is 1550 feet and the 30 Hudson Yards tower—next to the new “Vessel” attraction— is 1,270 feet. Old-timers in Utah will argue that “No building can be taller than the LDS Church Office Building.” But that, my friends, is a myth. For many years, the COB was indeed the tallest structure in Salt Lake City—and it actually looks taller than it is because it sits on a hill leading up to the State Capitol. As we built up our capital city for the 2002 Olympics, we learned the COB’s height was not a ceiling, and the church proved that when it built the high-rise condominiums at City Creek just in time for the games. Astra is not going to help the affordablehousing crisis. In fact, it will be offering 372 luxury apartments for rent. There will be 40,000 square feet of communal amenities, including an elevated urban park on top of a seven-level parking structure—similar to Salesforce Tower in San Francisco, which is now badly leaning!—a clubhouse with a chef’s kitchen, a pool on the 22nd floor, a roof terrace and a 24-hour concierge service. They will also seek the highest level certification—gold—for green construction. n Content is prepared expressly for Community and is not endorsed by City Weekly staff.

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ARIES (March 21-April 19) Author Helen Hunt Jackson said that one component of happiness is “a little less time than you want.” Why? Because you always “have so many things you want to see, to have and to do” and “no day is quite long enough for all you would like to get done before you go to bed.” I propose you experiment with this in the coming weeks. According to my astrological analysis, you will have even more interesting assignments and challenges than usual—as well as a brimming vitality that will make it possible for you to accomplish many, but not all of them.

physical appearance, then in our psyches. And yet, as Davis suggested, we can learn to not just tolerate those qualities, but use them to our advantage. Now is a favorable time for you to do that.

LIBRA (Sept. 23-Oct. 22) “It is the nature of love to work in a thousand different ways,” wrote the mystic Saint Teresa of Avila. According to my analysis of the astrological omens, you’re due to discover new and different ways to wield your love magic—in addition to the many you already know and use. For best results, you’ll have to be willing to depart from old reliable methods for expressing care and tenderness and nurturing. You must be willing to experiment TAURUS (April 20-May 20) Born under the sign of Taurus, Ethel Smyth (1858–1944) had with fresh approaches that may require you to stretch yourself. considerable skills as a composer of music, an athlete, an author, Sounds like fun to me! a passionate lover and an activist working for women’s rights. She was successful in all of them. I propose we make her one of SCORPIO (Oct. 23-Nov. 21): your role models for the coming months. Why? First, because “If you are drilling for water, it’s better to drill one 60-foot well she did more than one thing really well, and you are now primed than 10 six-foot wells,” advised author and religious scholar to enhance your versatility, flexibility and adaptability. Second, Huston Smith. He was using well-drilling as a metaphor, of because she described a formula for high achievement that course—as a symbol for solving a problem, for example, or would suit you well. She said, “Night after night, I went to sleep developing a spiritual practice, or formulating an approach to murmuring, ‘Tomorrow I will be easy, strong, quick, supple, psychological healing. The metaphor might not be perfectly accurate, dashing and self-controlled all at once!’” (PS: I sug- applicable for everyone in every situation. But I believe it is vividly apropos for you and your current situations. gest you make “supple” your word of power in 2022.)

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SAGITTARIUS (Nov. 22-Dec. 21) A well-worn proverb tells us, “All good things come to those who wait.” There’s a variation, whose author is unknown (although it’s often misattributed to Abraham Lincoln): “Things may come to those who wait, but only the things left behind by those who hustle.” I think that’s far more useful advice for you in the coming weeks. I’d much rather see you hustle than wait. Here’s a third variant, which may be the best counsel of all. It’s by author Holly Woodward: “All good things come to those who bait.”

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CAPRICORN (Dec. 22-Jan. 19) Author Harriet Beecher Stowe wrote, “To be really great in little things, to be truly noble and heroic in the insipid details of everyday life, is a virtue so rare as to be worthy of canonization.” CANCER (June 21-July 22) “If you are going to do something wrong, at least enjoy it,” I agree, which is why I authorize you to add “Saint” to the front wrote humorist Leo Rosten. I offer his counsel because I want of your name in the coming weeks. There’s an excellent chance you to have fun if you wander away from your usual upstanding you will fit the description Stowe articulated. You’ll be at the behavior. But may I make a suggestion? As you depart from nor- peak of your power to elevate the daily rhythm into a stream of mal, boring niceness, remain honorable and righteous. What subtle marvels. If you’re not fond of the designation “Saint,” I’m envisioning are experiments that are disruptive in healthy you could use the Muslim equivalent term, “Wali,” the Jewish ways, dares that stir up interesting problems and rebellious “Tzadik,” Buddhist “Arhat” or Hindu “Swami.” explorations that inspire beauty and truth. They’ll be “wrong” only in the sense of being mutinies against static situations that AQUARIUS (Jan. 20-Feb. 18) should indeed be prodded and pricked. Remember Bob Dylan’s Since the iconoclastic planet Uranus is a chief symbol for the Aquarian tribe, you people are more likely to be dissenters and idea: “To live outside the law, you must be honest.” mavericks and questioners than all the other signs. That doesn’t mean your departures from orthodoxy are always successful or LEO (July 23-Aug. 22) Leo actor Anna Kendrick bragged, “I’m so humble it’s crazy. popular. Sometimes you meet resistance from the status quo. I’m like the Kanye West of humility.” I’d like to see you adopt Having offered that caveat, I’m happy to announce that in the that extravagant approach to expressing your magnificence coming weeks, your unique offerings are more likely than usual in the coming weeks. I hope you’ll add another perspective to to be effective. For inspiration, read these observations by your repertoire, too—this one from Leo actor Mae West. She author Kristine Kathryn Rusch: “Rebels learn the rules better exulted, “Too much of a good thing can be wonderful!” Here’s than the rule-makers do. Rebels learn where the holes are, one further attitude I encourage you to incorporate, courtesy of where the rules can best be breached. Become an expert at the Leo author Rachel Pollack: “To learn to play seriously is one of rules. Then break them with creativity and style.” the great secrets of spiritual exploration.” PISCES (Feb. 19-March 20) Piscean author Juansen Dizon tells us, “Don’t find yourself in VIRGO (Aug. 23-Sept. 22) Sammy Davis Jr. (1925–1990) was multi-talented: an actor, places where people have it all figured out.” That’s always good singer, comedian and dancer. One critic described him as “the advice, but it will be especially germane for you in the coming greatest entertainer ever to grace a stage.” He didn’t think highly weeks and months. You need the catalytic stimulation that of his own physical appearance, however. “I know I’m dreadfully comes from associating with curious, open-minded folks who ugly,” Davis said, “one of the ugliest men you could meet. But are committed to the high art of not being know-it-alls. The ugliness, like beauty, is something you must learn how to use.” influences you surround yourself with will be key in your efforts That’s an interesting lesson to meditate on. I think it’s true that to learn new information and master new skills. And that will be each of us has rough, awkward, irregular aspects—if not in our an essential assignment for you throughout 2022.

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GEMINI (May 21-June 20) According to author Olivia Dresher, “Feelings want to be free. Thoughts want to be right.” Well, what about intuitions? In a sense, they’re hybrids of feelings and thoughts. They’re a way of knowing that transcends both feelings and thoughts. When intuitions come from the clear-seeing part of your deep psyche rather than the fear-prone part of your conditioning, they are sweet and fun and accurate and humble and brisk and pure. They don’t “want” to be anything. I’m pleased to inform you, Gemini, that in the coming weeks, your intuitions will be working at peak efficiency. It should be relatively easy for you to distinguish between the clear-seeing and fear-prone modes of intuition.

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