City Weekly April 11, 2019 by Copperfield Publishing

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CWCONTENTS COVER STORY INLAND PORT CAUTIONARY TALES

Gather ’round the campfire, kids, and get ready for a foreshadowing story. Cover illustration by Derek Carlisle

CONTRIBUTOR

4 LETTERS 6 OPINION 13 NEWS 20 A&E 26 DINE 31 MUSIC 42 CINEMA 45 COMMUNITY

EMMA PENROD

Cover story When not caught up in the midst of investigations on the subjects of health, business, energy, agriculture and other environmental topics, Penrod can be found tweeting about the wonders of freelance writing and the effect severe drought has on baby deer. Give her a follow at @EmaPen.

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POP CULTURE

Local politicos react to LDS Some post-Dumbo selfchurch’s reversal of 2015 policy. cannibalizing ideas for Disney. facebook.com/slcweekly

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COMMENTS@CITYWEEKLY.NET

News, March 28, “Missing Metals”

There is no role in science for politics. Keep them separate or we’re all in trouble. Just like church and politics needs to stay separate. DIANE ARMSTRONG Via Facebook

Dine, March 28, “Battle of the ’Tos”

The machaca burrito from Alberto’s on 500 South and 300 West! (The other Alberto’s add tomatoes; yech!) STEVE BAYER Via Facebook

Beer Nerd, March 28, “The Politics of Beer”

The ridiculousness in state legislation never ceases to amaze. ALISON ECKS Via Facebook “Not wanting another Prop 2 situation on their hands, legislators struck a deal that would up the ABW of beer to 4 percent” Except Prop 2 was a grassroots effort to legally change the law which was hijacked by an illegal abuse of power. When Walmart and Maverik or any other corporation speaks … the righteouslature for sale listens. JODY EASTMAN Via Facebook

Online news post, March 29, “Mayoral March Madness”

I feel offended I was not included since my campaign promise of beer gardens and taco trucks on every corner is a hit with the voters. @THEJAZZYUTE Via Twitter My money is on [Richard] Goldberger. ROBERT GEHRKE Via Twitter I’m shocked that the percentage of female candidates is higher than 15%. @DREA228A Via Instagram

Online news post, April 2, Guv signs hate crimes bill into law

And there’s the church! And proof there is no separation between church and state in Utah. DIANE ARMSTRONG Via Facebook Why wish upon a star, when you can pray to the man who made it? JENNIFER HANSEN Via Facebook Nothing says hate more than a ban on abortion after 20 weeks. Less than 8% and after a time women

@CITYWEEKLY

find out medical issues. SARA PITTMAN Via Facebook I’m good as long as hating Gov. Herbert isn’t a crime. BRANDON TAYLOR Via Facebook

Opinion on Opinion

Dear City Weekly, Yesterday marked the second straight week of looking up from the Opinion page and asking myself out loud “What did I just read?” I can’t speak to a larger sample size, but please consider the ramifications of Michael S. Robinson Sr.’s recently problematic writing while editing his work and publishing it in the future. “Chastity Belts: The Latest Fashion Craze?” buried the actual issue of our legislature’s recent tightening of women’s rights (HB136 and ... what? I’d like to learn something reading Weekly opinions) behind juvenile satire. The false equivalence of female genital mutilation (FGM) to conversion therapy in “Utah and Somalia: Not So Different” is also unhelpful, although there was a slightly informative (if heavy-handed anti-Mormon) explanation of the failure of HB399, bookended by the head-scratching comparison to FGM. FGM is a separate, serious issue that deserves better than to be

trotted out in the margins for clicks and views. Ultimately, thank you for continuing to cover the issues that I and so many Utahns care about. I hope that those issues, including reproductive rights and LGBTQ rights, can be covered with informative, accurate and constructive seriousness that is a hallmark of the City Weekly and good journalism everywhere. DANNY GIBSON, Salt Lake City

Win-Win?

Jim Winder does not play well with others. One of the nicest things I can say about him is he will never be accused of being a politician. As sheriff of Salt Lake County, he refused to talk to the city’s mayor and police chief. When he was hired as police chief, the city of Moab was desperate to find a replacement for Police Chief Michael Navarre, who quit suddenly and without warning. Winder took advantage of the situation. He demanded and received a salary of $150,000 a year, $20,000 more than Chief Navarre was getting—and the same amount he was being paid as sheriff of Salt Lake County! He is disturbingly thinskinned, something I ex-

perienced first-hand after I politely wrote asking to see him about the behavior of one of his officers. Chief Winder refused to call me for three months. Eventually, I had to call the mayor and the city manager before he relented to call me back. According to Chief Winder’s daily appointment calendar I obtained, (thank you, GRAMA) he did very little in his first year. Over 80% of his appointment calendar was blank! What little he did as police chief was mostly ceremonial. In my opinion, he took the job in Moab to remove himself from the toxic situation he helped create in SLC—while collecting the same salary. During his subsidized hiatus here, he

began the task of looking for a real job back in Salt Lake. That real job turns out to be chief of investigations for the S.L. County D.A.’s office, something he forgot to tell the good people of Moab last week when he announced he was leaving. I hope the new job isn’t too political for Mr. Winder—I wish him luck. I also think he owes Moab an apology for his cynical use of the people and resources of this community. BRIAN DONEGAN, Moab

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B Y J O H N S A LTA S

PRIVATE EY

Happy Ignorance I don’t write in this space a tenth of what I formerly did, as the task of keeping a newspaper alive far outweighs what I may opine about from time to time. As well, there are fewer and fewer issues that I believe I can impact by picking up my fingers and start pounding down into a keyboard. I also used to have more time to think about writing something that is even worth thinking about. There are plenty of folks out there who will challenge me on the notion that I actually thought about anything with any depth beyond the width of a copper penny. But, there was something about watching people wade through a column of mine—or Scott’s, or Bill’s, or Katharine’s, or Ben’s, or Holly’s—and seeing their reactions over a beer or breakfast, that spoke to the personal nature of print. Letters would then roll in, and we all knew that if someone took the time to write a handwritten note or to peck out a tribute or dagger, what we said had some degree of importance. I still observe people reading City Weekly. I watch what pages they read, what pages they turn to, and it’s an especially nice feeling when I see people hold up a paper and point something out to a nearby companion. I love that and I’m happy to report that our readership remains loyal. Factoring in our new products that have introduced new readers (Devour, Vamoose, three additional Best of Utah editions, We Are Utah and our upcoming City Guide), we might be reaching more people and a more diverse audience now than we ever have. Not that long ago, we used to print 52 editions of City Weekly annually plus a City Guide. Now, we print 52 issues of the Weekly, plus more than 30 glossy print magazines annually. Yeah, we’re nuts.

@johnsaltas

But today, writing doesn’t feel the same. I blame myself and for one reason: Twitter—that time and brain-cell killer. In 2010, I was having dinner with my good friend, David Carr, columnist for The New York Times. We’d known each other for years, each wearing down molars in the alternative newspaper industry, me with City Weekly, him with the Twin Cities Reader, then as editor of the Washington City Paper. We both pulled out our phones and checked how many Twitter followers we had. Each of us had but a couple hundred. I remember David saying Twitter was going to be the next big thing. Yeah, right. Pass the fry sauce, man. This April marks my 10-year Twitter anniversary. I have around 1,500 followers (less than some cats, herrings and most fake memes have), but I swear I only have 27. I’ve averaged two tweets and four likes a day for 10 years. When David died suddenly four years ago, he had more than 400,000 followers, and was a certified Twitter star. He was right. David thrived on Twitter where his bullet-point insights, quick wit and clever perceptions were tailor-made for users who found it acceptable to communicate about even the most sensitive subjects with keyboard shortcuts, diminutive analysis, anonymous threats, false praise and emojis. And they did it—even taking on deep-think topics like climate change, gender equality or social politics—in fewer characters, 140, than are in this single sentence. We believe we understand the gist of a long tale or government policy by just reading a single tweet. We believe that, because we have come to the point of not reading an author or position paper. It’s really the exact opposite: We simply trust the person composing the tweet; we only follow who we trust. Just as God died in the 1960s, analysis died in the 2010s—maybe sooner—but we missed it. Actually, we did miss it. In his 1995 book, The Demon-Haunted World, Carl Sagan pronounced (as sages have for millennia) that societies eventually become ignorant. The catch-all phrase we

use now—attributed by those on the right to smart, elite “libtards”—is that democracy dies in darkness. What Sagan actually wrote is this: “… the dumbing down of America is most evident in the slow decay of substantive content in the enormously influential media, the 30-second sound bite (now down to 10-seconds or less) the lowest common denominator programming, credulous presentations on pseudoscience and superstition, but especially a kind of celebration of ignorance.” Poor Carl. He’d have to pare off four characters from that quote, which is barely a fraction of his entire book, in order to enter the Twittersphere, which now allows 280 characters. Some people criticized that double-down by Twitter, but give credit where it’s due: If not for those additional characters, we wouldn’t have @realDonaldTrump who is a person Sagan foreshadowed when he described our essence as a “celebration of ignorance.” If there’s one thing Trump is good at, it’s dumbing down ideas. Sagan would be lost today. His quote doesn’t leave room for #cosmos or #weareallstardust hashtags or to thank @god. He’d have to hope that people shared his quote and people on his team surely would. They perhaps would if they saw it or had time. We pretend to, but don’t care as much about nearly everything, though. Fewer things add up to anything; just lines of randomness, nothing deep, everything motivated by how mean or smart we might appear. The dumbing of us all. Someone tweeted that Sagan quote in my direction recently or else I’d never have seen it. I also had never heard of that book until now. I never knew his thoughts were ancient thoughts. I sure feel smart. You might even think I’m smart, and we’re both smart if we both agree it was a smart quote. Which means of course, we’re both ignorant, and that’s what Sagan was talking about. CW Send feedback to comments@cityweekly.net

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CITIZEN REV LT IN ONE WEEK, YOU CAN CHANGE THE WORLD

TRASH CHALLENGE

How about combining a hike with restoring the natural beauty of Utah’s outdoors? The Fit to Recover Trash Challenge takes you on a day of hiking and service to show the community that you care, not only about your immediate environs, but about the Earth and how you leave it for future generations. The idea is to walk together while picking up as much trash along the way. Clean-up supplies are provided and accommodations made for those with physical handicaps. “Littering is one of our planet’s biggest issues, and it needs our help!” the event’s Facebook page says. In fact, more than 51 billion pieces of litter land on U.S. roads each year. Fit to Recover, 789 W. 1390 South, Sunday, April 14, 11 a.m., free, bit.ly/2WNdrFu.

DISSECTING POVERTY

Learn how to deal with the politics of poverty at The Borgen Project Information Event where you learn how to get involved through volunteer work, interning and raising awareness about global poverty. This innovative national campaign seeks to make poverty a focus of U.S. foreign policy. Think about “the caravans” and why they are trekking from their homes. “The Borgen Project’s team includes political leaders, diplomats, celebrities and thousands of individuals from all walks of life. The Borgen Project believes that leaders of the most powerful nation on earth should be doing more to address global poverty,” the organization’s website says. Do you? Westminster College-Converse B2, 1840 S. 1300 East, Wednesday, April 17, 5-5:30 p.m., free, bit.ly/2CZlrM5.

QUIET FORCE

Too much national focus has been on how immigrants affect citizens. Take a look at how our federal immigration policies—ineffective as they are—affect the Latino immigrant workforce in Intermountain area communities. The Quiet Force —Film Screening & Panel explores their social and economic impacts, after which a panel will discuss problems and solutions to what is an imminent humanitarian crisis. Don’t forget the upcoming U.S. Census when undercounting immigrants would translate into shrinking federal dollars for cities, counties and states. Centro Cívico Mexicano, 155 S. 600 West, 801-388-0785, Thursday, April 18, 6:30-8:45 p.m., $10 (students and children free), bit.ly/2WMHkWb.

—KATHARINE BIELE Send tips to revolt@cityweekly.net

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HITS&MISSES BY KATHARINE BIELE @kathybiele

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Some Utah parents get an A for effort for respectfully teaching their kids about the First Amendment. This little effort led by Cherise Udell of Utah Moms for Clean Air used colored chalk to draw art and messages protesting Geneva Rock’s gravel pit expansion in Lehi. They’re unhappy, according to Fox13 News, about the operation’s effect on air quality and the city’s insensitivity to its residents’ health. For this, Lehi police came out to threaten charges of criminal mischief and city officials claimed that taxpayer dollars must be used because the chalk defaced walkways outside city hall. Udell says the rain would take care of it, and has since joined the ACLU in filing a complaint against the city. This is hardly a case of malicious graffiti, but the city seems to think these children need to learn their place.

The Cost of Success

If you’ve been up the canyons lately to ski, hike or sightsee, you know you could spend hours in traffic and might even be turned back for lack of parking. Little Cottonwood Canyon alone sees 1.2 million trips a year. This is the cost of success and it’s a bummer for residents. The trick will be to create a solution that not only helps recreationists and residents of the canyons, but also considers the environmental effects. Officials are seeking public input on two related studies, according to The Salt Lake Tribune. The Little Cottonwood Canyon Environmental Impact Statement and the Cottonwood Canyons Transportation Plan roll out a number of scenarios, including toll roads, buses and even an additional road lane, which sounds like a lot of work. Make your voice heard at bit.ly/2uQuB95.

San Juan Conspiracy?

OK, have you heard of the blog The Petroglyph? I hadn’t until recent articles sparked the wild interest of conspiracy theorists. And frankly, everything that goes on in San Juan County lately smacks of conspiracy, although whose conspiracy is the question. First, consider the many GRAMA requests flooding the county. One asked for a memo from Steven Boos’ law firm to Commissioner Willie Grayeyes. This has to do with a “conspiracy” against the San Juan County prosecutor. Meanwhile, a Petroglyph opinion piece questioned whether it was against the law to say a prayer in Navajo, you know, because English is spoken here—or there. And of course, there’s always Rep. Phil Lyman, R-Blanding who wants the county split, as if it isn’t already. San Juan’s politics are anything but normal and are already immersed in racist overtones and costly, if questionable, strategies. It’s not likely to end soon.

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Distilling Hope

Against archaic regulations, these Utah distilleries manage to leave their boozy mark. BY RAY HOWZE rhowze@cityweekly.net @rayhowze1

“The craft spirits movement nationwide is growing,” Ogden’s Own Distillery owner Steve Conlin says, reflecting on 10 years in Utah.

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“If we have 100 [products] in the vodka category and they are ranked by demand within that category, we may drop the bottom five,” Wood tells City Weekly via email. “But we also look to see how long a product has been on the shelves and if it is trending up or down. The decision to de-list considers several factors, including price band and it helps us keep product on the shelves that customers are buying.” “I think the spirits industry is about 20 years behind and maybe a little behind in the state of Utah for cultural reasons,” Cross says. “We have some catching up to do because people don’t know how to read a production statement on the back of a bottle … they don’t know how to interpret labels so they can be smart consumers and understand to which degree they’re supporting a local product and not supporting big booze. Yet, you talk to a beer geek and they can tell you all of that.” Locals like Conlin foresee nothing but growth ahead. The avid photographer even goes as far as to say Ogden’s Own won’t look the same in as little as two years with his company’s anticipated growth both at the brick-and-mortar location and in new products. But he’s still curious to see how the craft distilling world changes. “I think what happens is the drinking population is more willing to go out and experiment with beer than they are with spirits,” Conlin says about appealing to consumers. “It will be interesting if the distillery trends hold out and match up to the craft-beer trend.” CW

says. “It’s the same for breweries, wineries, everybody, so I can sell at a higher wholesale point and at the same retail price point and have a bigger margin— that’s very unique.” However, not all see a rosy distilling climate in Utah. Ashley Cross, who founded New World Distillery in Eden more than two years ago, says that while she doesn’t regret how they’ve grown their operation and marketed it as a destination outing, the only thing she’d change is to do it in a different state. “I kind of throw up a little bit in my mouth any time I really think about them,” Cross says about the DABC. “It’s a real challenge.” The stodgy department, of course, is a distilling company’s only option for distribution in the state. Businesses can sell product at their own locations, but are required to have the correct licenses and report sales to the department. If they want their product in bars, the bar has to purchase it for the same price a consumer would from the DABC. For a smaller operation such as New World’s, they also have to worry about their products’ demand and if it’s selling well. “The expectation that a small craft distillery is supposed to present the same sort of sales data as a large commercial big booze company is unrealistic, and yet that’s a constant threat, because the DABC threatens us with de-listing a product if you can’t hold your own next to a big booze product,” Cross says. Terry Wood, spokesman for the DABC, however, says de-listing a product comes down to consumer demand.

the craft distilling growth could be a sign of the latest trend. Take a stroll along West Temple in South Salt Lake and you can see it for yourself. The craft hub is home to breweries like Shades Brewing, SaltFire Brewing Co. and the newest Level Crossing Brewing Co.; and it’s also site of the Beehive and Sugar House distilling operations. Chris Barlow, a partner at Beehive, says the business is waiting on its bar license approval from the Department of Alcoholic Beverage Control, but the expansion has been welcomed with open arms. Noting a change from the top, he says the city’s mayor included a supporting letter in Beehive’s application. “South Salt Lake is super excited about it,” Barlow says. “I can stand on my front porch and see all of those buildings … South Salt Lake is really trying to push it to be a fun little walking area—we border the Trax line; there’s a bike path right next to us.” And Barlow says the state-controlled system even helps small operations like his. Beehive still has to apply for a number of permits, however, such as a manufacturing license, a package agency license (known as Type 5) and the new bar license. “It is what it is,” Barlow says about working with the DABC. “Every state has weird shit.” The distiller says Beehive is most successful in Utah because the way the state system “is set up to deal with small distributors like me.” “If you’re under a certain volume of alcohol sales a year, the DABC doesn’t mark my product up as much as they mark up a big player like a Bombay Sapphire,” he

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RAY HOWZE

en years ago, Steve Conlin sought out to claim a chunk of the $230 billion national alcohol market. Perhaps if he struck gold by creating the next frat boy spirit du jour, he’d soon be sipping mai tais beachside, ruminating on his next million-dollar idea. In reality, the road to creating and growing Ogden’s Own Distillery was a bit rockier. Initially, Conlin was trying to sell something he thought would be the next Jägermeister—an herbal liqueur known as Underground. When that didn’t take off with as much speed, he made adjustments. Enter the now well-known products rooted in Utah lore such as Five Wives Vodka and Porter’s Fire. “It’s a fascinating business and it’s a fascinating sociological marketing business,” Conlin says about surviving in the liquor world in Utah. “What does it take to change people’s habits and how do you make them switch from something they’ve been loyal to something new? It’s very challenging.” Still, amid the state’s restrictive regulations and consumer interests, the gin, liqueur and vodka peddler soon will break ground on a sprawling 30,000-squarefoot facility and launch the company’s 10th product, a rye whiskey. And he isn’t the only craft distiller expanding in Utah. Within the past decade, more and more distilleries have opened, including in under-the-radar towns like Moab and Eden. Last month, Beehive Distilling announced its expansion in South Salt Lake, complete with a 4,000-squarefoot bar and customer space. Contrary to the easy blame-it-on-the-DABC mantra, some distillers say the state’s liquor control hasn’t hindered their growth as much as some might initially think. “It’s a growing market,” Conlin says about the state. “People are moving here and arguably, I’m not sure of the statistics, the population here is becoming more of a drinking population … there’s an increase in drinkers overall.” Currently, there are about a dozen distilleries in the state. It’s far below the number of breweries that have opened— seemingly every month these days—but

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k c a łA ofł łhe

A cautionary tale on how a similar project wreaked havoc on a small Illinois town. By Emma Penrod | comments@cityweekly.net |

he residents of Elwood, Ill.—home to North America’s largest inland port—didn’t picket when community leaders announced their plans, more than a decade ago. Not at first.

APRIL 11, 2019 | 15

evaluate the progress—and decide that, when a second port was proposed, this wasn’t the kind of development they wanted. This time, the community rallied in opposition—and won. With further development on hold for the time being, Irvine says, communities considering similar projects now have an opportunity to learn from the mistakes made in Elwood. It’s not that this form of development can’t be beneficial, she says, but the community needs to be involved from the onset to ensure positive outcomes. And while Utah’s port proposal has been contentious from the onset, it’s not clear whether the public’s voices will be taken seriously.

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“It was largely welcomed by the community,” says Stephanie Irvine, a resident of nearby Jackson Township who helped lead recent protests against plans to build a second port. “No one had the foresight to know what was actually going to happen when they agreed to build the intermodal. It wasn’t a project that was hotly contested, mostly because nobody thought it would turn

out like it did.” Although she lives some 1,500 miles from Salt Lake City, the similarities between Elwood’s CenterPoint Intermodal Center, and Utah’s proposed inland port are striking. CenterPoint is located in part on land contaminated by a former ammunition plant, and partially on protected prairie habitat. The tracts of land designated for Utah’s port include a leaky old landfill, and valuable Great Salt Lake wetlands. Both are located just off interstates known as I-80. Both have promised jobs and economic growth. But construction began at CenterPoint in the early 2000s, giving the local residents enough time to

A struggling town blighted by contaminated land and the loss of American manufacturing, Elwood, population 2,279, welcomed the prospect of becoming a logistics hub with open arms. But that was before developers left it strewn with broken promises—low-wage jobs, crumbling infrastructure, insane traffic and, in a first for a largely rural community, air pollution.

@emapen

Inland Porł!

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20,000-acre

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“People were really enticed by the idea of good warehouse jobs, and that’s never really manifested.”

RAY HOWZE

—Roberto Clack, associate director, Warehouse Workers for Justice

Mirror-image Woes

To Irvine, the central problem with the CenterPoint Intermodal Center is the broken promises. Trucks do not use designated routes to avoid traveling directly through the village, where they’ve become a hazard. On I-80, the severity of traffic incidents has increased with the rise of wrecks involving semis—trucks from CenterPoint now represent some 30 percent of the traffic on nearby freeways. The town’s infrastructure is crumbling and diesel fumes have degraded the air. And what did Elwood get in return? A new town hall and a Dollar General, Irvine says. “It’s not like it made the community so much better,” she says. Instead, the economic situation in Elwood is such that “the age of the population is declining to the point that there is concern that the schools may close, because no people with young kids are moving in.” This is the No. 1 complaint among locals—the broken promises about jobs. Irvine estimates that CenterPoint has created “maybe 1,600 jobs, but that comes at the price of changing our lives forever.” The thing is, these aren’t desirable jobs, Irvine says. The construction gigs were decent, but the warehouse jobs that follow them are “low paying, low skill—and they’re not even full-time jobs. So it doesn’t benefit the community.” There are now more than 300 warehouses associated with CenterPoint, and just shy of 100 temporary staffing agencies that supply more than half their workers. The exploitative nature of these jobs led locals to form Warehouse Workers for Justice, an advocacy group dedicated to improving warehouse working conditions. “We definitely think that these could be quality jobs,” says Roberto Clack, associate director at Warehouse Workers for Justice. “But the way things are now, there’s a lot to be desired.” Clack believes locals initially supported CenterPoint because the developers promised jobs. When the port was proposed, he says, unemployment in the region was especially high. The steel mills and other large employers had begun to disappear, leaving hordes of residents without work. “People were really enticed by the idea of good warehouse jobs,” Clack says, “and that’s never really manifested.” Don’t mistake—there are plenty of jobs to go around. “If you’re well bodied, you can get a job,” he says. “But they’re low-wage jobs” and subject to a problem Clack has dubbed “permatemping.” Instead of hiring full-time employees on their own, Clack says, the

majority of local warehouses hire temporary workers from one of the many local staffing agencies. Typically, he says, workers will be told that if they stay on for a certain number of days or months, the warehouse will eventually hire them full time. But that’s rarely the case. “In this absurd kind of way,” Clack says, “they will get told they’re not going to be hired, but get called back again by the very same warehouse” hoping they’ll temp for them, again. Residents can spend years stuck in these permatemping situations, Clack says. One study found that some 63 percent of all warehouse workers were sourced through these sorts of temporary staffing agencies. In addition to the instability of the work, the jobs available at local warehouses are frequently dangerous, Clack says. Work in the warehouses tends to be fast-paced, with heavy equipment and trucks racing to meet deadlines alongside the crews working to unload them. Workers have been hit and killed on the job. Exposure to diesel fumes while performing hard physical labor has been known to trigger heart attacks. Some of the warehouses have no heat in the winter. Managers sometimes fail to provide safety gear or will cut corners to increase profit margins on a job. And on top of that, Clack says, the warehouse workers have recurring issues with wage theft and discrimination. Wages are up in recent years, Clack says, but with rates sitting around $15 an hour, it’s not the kind of money necessary to support a family—and that reflects on the town, he says. While Elwood no longer faces economic collapse, the residents don’t seem to take the same level of pride in their community, Clack says. “It looks blighted to me.” And it’s not just the jobs that don’t pay, Irvine says. Desperate to make use of otherwise undesirable land, Elwood gave developers within the CenterPoint development handsome tax cuts, believing the developers would prove right about bringing in support businesses—hotels and restaurants—that would make up for the revenue lost to tax breaks within the port itself. The port “grew much faster, in terms of traffic, than anyone projected,” Irvine says. “All the numbers ended up being way higher than they initially predicted.” Except for revenue, which never caught up. Before it became apparent that the support businesses were never going to show, Elwood took out significant debt to build infrastructure to serve the port. Now, the town struggles to pay its debts and maintain local roads. This is why, when a developer proposed a second port area near Elwood called North Point, the community pushed back. Although local

ENRIQUE LIMÓN

—Community activist Deeda Seed

Salt Lake Rising

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The one piece of good news to be had out of Elwood, as Salt Lake community activist Deeda Seed sees it, is the fact that locals believe they could have made a difference had they become engaged earlier in the process “because our community absolutely has been engaged since the beginning, and that engagement has been growing with each day that passes.” Salt Lake-area residents formed a loose coalition in early 2018, just as the legislation creating the Utah Inland Port Authority was made public. The group now has about 1,000 members on its mailing list. Seed, who has worked in advocacy for some 30 years, suspected Salt Lake residents would have something to say about the port—the community is increasingly progressive, and many who live here do so because of the landscape’s natural beauty and recreational opportunities. But the sustained intensity of the opposition has surprised her. “This is the most community engagement I have ever seen on an issue like this, that is very sustained, and the vast majority of people working on it are volunteers,” she says. “It’s impressive to see.” The coalition continues to attract new participants, and many of the volunteers have started their civic service young—some are still in high school. To Ari Bruening, president of Envision Utah, intense public interest in the port’s development is a sign that public engagement probably should have started long before now. “The idea has been around for decades,” he says, “And there has been a real hunger for people to participate and weigh in for a long time.” Envision Utah was tapped this January by the Utah Inland Port Authority to conduct a series of community surveys on what the future port ought to look like. And trends have already begun to emerge, Bruening says, especially citizens’ preference for manufacturing jobs over warehousing. “Almost to a person, what I’ve heard is we would rather be making things here and shipping them out,” he says, “than just taking containers and unloading them here instead.” In addition to economic concerns, Utahns routinely express worries about how the inland port will impact local air and traffic, with air quality and job quality trading places for top priority, depending on who’s being surveyed, Bruening says. That mirrors issues raised by Seed’s community coalition, although the coalition’s language takes a decidedly environmentalist angle with questions about light pollution, noise, land use and conservation.

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officials tried to keep their plans for the area under wraps, maps of the would-be port were eventually leaked online. “Once we realized where the project would be, we started going to village board meetings, got to know our neighbors, and … decided this wasn’t really something we wanted for our community,” Irivine says. When the town planning-and-zoning commission finally held a hearing on North Point, she continues, over 100 residents arrived to speak, mostly in opposition to the project. It took 14 hours over three days to hear everyone out, and then “without asking a single question or any discussion, they voted to recommend the project to the village board,” she says. But that’s where North Point essentially died. The community created such an uproar, Irvine says, that multiple officials were forced to resign. The mayor of Elwood canceled the scheduled hearing on the project and the North Point developers withdrew their application—only to re-file for a smaller facility with the county. “It’s like mom said no, so now we’re going to ask dad for permission to build the project.” Irvine says. Whether they’ll get that permission remains unclear. The county has yet to hold a hearing, Irvine says, and “pretty much every taxing body in the area has filed objections to the project.” Elwood has already filed a preemptive lawsuit, asking a judge whether they’re required to cooperate with any county-endorsed development. It’s not that the locals are against warehouses and ports, Irvine says. But this time around, they’re aware that promises can be broken. If anything can prevent a repeat of CenterPoint, she says, it is years of careful government study, coupled with ample public participation. “The rose-colored glasses have to come off, and realistic projections made,” she says. When that happened with the second port, everything changed. Neighbors arrived at public meetings armed with facts; county and even state officials showed up to back them. “Understanding what we are capable of has been pretty awesome,” Irvine says, “because we are coming from communities that are very small, and I think the developers thought they would come in and we were going to be a bunch of dumb hicks and they were going to steamroll right over us. We were able to assemble an opposition that made a huge, huge impact. “It’s a lot of work, and it’s not for the faint of heart, but it absolutely can be done.”

“This is the most community engagement I have ever seen on an issue like this.”

The Utah Way

While others view community interest as perhaps the only positive outcome tied to the port so far, Biskupski worries state officials have deliberately sidelined the public. First, there was the initial 2018 legislation that created the Utah Inland Port Authority—that bill was introduced late in the session and consequently didn’t get a public hearing. Public input on this year’s legislation restricting the ability of the city to weigh in on the port’s development was similarly limited, she says.

that it’s all a game, it’s all for show. What is the point of getting together and acting like we’re in this together? Because we’re not in this together. This is getting rammed down the throats of Salt Lake City residents.” It would be better, she says, if the port authority released plans before asking for feedback, rather than the other way around. By attempting to engage the public before releasing specifics, Biskupski suspects the Utah Inland Port Authority Board has engineered a scenario where, when it finally releases its plans, it will be able to claim whatever it chooses to build is already endorsed by local residents. She worries comments collected by Envision Utah will actually have very little bearing on the process. “They are behind the scenes working on their plan, and then they’ll say, ‘Voilà, here’s our plan, thanks for your input’” and offer very little opportunity for further discussion, Biskupski predicts. Garth “Tooter” Ogden, who represents rural Utah on the inland port board, feels differently. The Inland Port Authority, he says, isn’t trying to control Utah’s fate. Rather, the board represents a means for Utah to ensure that it has control over future development in the Northwest Quadrant—especially if the state’s assertion that like it or not, development is coming, proves accurate. “People need to be paying attention, because whatever goes in and out of that port can be restricted,” he says, “but if the port authority goes away, there are no restrictions.” Ogden remains optimistic that with public input—the board itself receives public comments each month—Utah will succeed in crafting a port that suits its needs and interests, even on the pollution front. “It’s not going to be zero emissions,” he says, “but I think you can certainly reduce a lot of the problems, if you’re sensitive to some of this stuff.” One matter still concerns him. The state, he says, seems determined to offer tax incentives to developers within the port area—and federal tax credits are available as well. If the official story that growth is inevitable is correct, Ogden says, why should the state give away the revenue that could come with the state’s newfound popularity? The potential for tax credits worries Seed as well. Carving out a new taxing authority, she says, Utah has opened the door to preferential treatment of “companies that don’t really need that kind of help,” at the expense of the city’s libraries and schools. But if she lacks faith in the officials overseeing the process, Seed still believes a more positive outcome is possible for Utah. “I think community engagement can stop this thing,” she says. “We have people power, and we have the port, and we plan to use every option available to us to prevent harm to our community.” CW ENRIQUE LIMÓN/FILE

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Jobs also are part of the discussion within the coalition. In early discussions about the port, Seed says, officials seemed to imply that distribution businesses would encounter favorable labor conditions in Utah because it is a right-towork state with few unions. Although the process could have started earlier, Bruening says, it’s not too late to shape Salt Lake’s economic future. “The thing that ought to give people comfort is, there really isn’t a concrete plan for what the inland port is yet,” he says. As Envision Utah continues to survey the public, Bruening says, scenarios for how the port could be developed will emerge. If, for example, the public continues to favor clean, high-tech manufacturing over warehouses, Envision Utah will consult experts in those industries to determine what facilities or incentives would be necessary to attract desired businesses. Several scenarios based on citizen input will be drafted and submitted to the public for additional feedback, Bruening says. But it’s still too early to say for sure what those scenarios will look like. In the three months that they’ve been on the board, Envision Utah struggled to reach residents on Salt Lake City’s west side, particularly low-income and minority populations. Envision Utah has already released surveys in three languages—Spanish, Samoan and Tongan—in addition to English. They’ve held special meetings and launched media campaigns targeting the west side. “It’s important that we make sure that voice is heard,” he says. “I’d hate to come up with some sort of plan we think works, and those who are impacted the most don’t know anything about it and haven’t weighed in.” Seed suspects she knows why some residents have failed to engage with the Envision Utah process: “It’s a game, and people aren’t buying it.” The community coalition meetings, she says, have been very diverse, although they too plan to do more outreach on the west side of the valley. As Seed sees it, the Utah Inland Port Authority hired Envision Utah to essentially co-opt the civic process. Rather than truly listening to the community, she says, Envision Utah has presented the public with a baseline scenario that suggests massive growth is inevitable, and that the port will help reign in and control rapid development in the Northwest Quadrant. To Seed and many other residents, Envision Utah’s behavior smacks of public relations, not public engagement. “We’re all very skeptical of their process because … right now they’re just being spin doctors will all of this,” she says. “This thing is a disastrous proposal, and it’s amazing that Envision Utah is cheerleading for it.” But not every public official in Utah supports building the port. Salt Lake City Mayor Jackie Biskupski is a “champion” who is “standing with us,” Seed says.

“I think it’s time that the state reveal exactly what they want to do.” —Mayor Jackie Biskupski “I think it’s time that the state reveal exactly what they want to do,” Biskupski tells City Weekly. “That has always been the issue here, is the lack of transparency, and this desire to just overrun a local community, and the only reason to do that is because you’re hiding things that you know the community will not get behind.” The mayor, like Seed, suspects Envision Utah has struggled to engage some Salt Lake City residents because the state-funded surveys require citizens to answer questions that assume the port’s development is a given. “Nobody wants to participate as if they want this to happen,” Biskupski says. “The community is frustrated, because they know it’s a farce,

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The Bee: Checkmate The Bee is modeled, unapologetically, after The Moth, a live storytelling forum and podcast that lets everyday people—like you, perhaps—tell their stories on stage. The Moth started in 1997 with five storytellers in a Georgia living room, and grew to larger events with a trademark format: 10 storytellers, five minutes, one theme, no notes. The Bee adapts it for Utah storytellers speaking to Utah audiences, because as we all know, there are some stories you can only really understand if you know the state and its peculiarities. Since 2014, The Bee has hosted their forum monthly; in 2017, they also began hosting periodic storytelling workshops led by Giuliana Serena, the organization’s founder, and Nan Seymour, whom The Bee calls their “director of narrative encouragement.” Their call to action: “We believe that stories matter, that we are all storytellers and that everyone has stories to tell.” If that resonates with you—or terrifies you— consider how you might tell your story. Audience members put their names in a hat before the show starts; attendees are not required to participate. Then 10 storytellers are picked at random to speak on the theme of the night—which for April is “checkmate”: “Stories of surprise moves, worthy opponents, sudden endings and the times you realized something was really, truly over.” A picture of storyteller Emily Mkrtichian at a previous gathering is pictured. It is, always, an evening for laughter, tears, gasps, groans and emotional honesty. At the end, a panel of guest judges composed of local community members evaluates and scores performances, and chooses a winner. But really, when we tell our stories, everyone wins. (Naomi Clegg) The Bee: Checkmate @ Metro Music Hall, 615 W. 100 South, April 11, 7 p.m., $15, 21+, thebeeslc.org

Complete listings online at cityweekly.net

THURSDAY 4/11

Salt Lake Acting Co.: Silent Dancer It probably doesn’t sound like groundbreaking art to say that Salt Lake Acting Co.’s world premiere of Kathleen Cahill’s Silent Dancer is a theater piece that includes dance; choreographed movement has been part of musical theater for almost as long as there has been theater. But there’s something unique about the way the play’s creative team—playwright Cahill, choreographer and Ballet West veteran Christopher Ruud, director Cynthia Fleming—and their cast make use of dance. Set in 1920s Jazz Age New York, Silent Dancer combines the fictional story of an aspiring dancer with famous real-life figures from the era. The dance sequences at a cabaret club are eraappropriate pieces choreographed by Fleming, but the narrative also includes actors speaking—not singing—their dialogue while moving to Ruud’s choreography. “With all the years we’ve been developing plays, I feel that we’re diving into this new form,” Fleming says. “I had a lot more fear going into this project than I would ever let anybody know. The development process has taken more than four years, from Cahill’s initial broad concept, to approaching Fleming and SLAC, to inviting Ruud on board, and then through workshops and feedback from longtime friends of the company as the artists tried to balance text and movement. The result is something that Fleming proudly refers to as “a COLLABORATION, in all-caps.” “I’m proud of the artists and actors, that they all know what they’re getting into,” she adds. “These actors have to think differently. Speaking while dancing, it’s two different ways of thinking.” (Scott Renshaw) Silent Dancer @ Salt Lake Acting Co., 168 W. 500 North, 801-363-7522, through May 12, dates and times vary, $41, saltlakeactingcompany.org

PAUL MOBLEY

MAKAYLA CUSSEN

ANNA POCARO

THURSDAY 4/11

ENTERTAINMENT PICKS, APRIL 11-17, 2019

RICHARD GATE

ESSENTIALS

the

FRIDAY 4/12

Gabriel Iglesias is hard to miss. The veteran stand-up comedian is a big guy, a fact he consistently references in his self-effacing monologues. He refers to himself as “fluffy,” suggesting that with all his bulk, he’s really kind of cuddly. That said, he notes that there are four other overweight categories: “big,” “healthy,” “husky” and “damn!” He later added one more: “Oh hell no!” The fact that he takes pride in his size suggests he’s not exactly a prime candidate for the next Weight Watchers spokesperson. As a Mexican American, he’s also well versed in sharing the cultural quirks that accompany his heritage, with the ultimate result that even as the crowd laughs along, they recognize a common connection that’s obvious to all. That might be part of the reason he’s garnered tens of millions of followers on social media and has been accorded an international audience. His penchant for wearing shorts on stage has also become one of his trademarks. Iglesias insists he simply hates wearing pants. Besides, he says, a nice breeze makes for a really good day. Hmmm ... nothing wrong with a cheap thrill. While Iglesias touts the fact that his shows are family-friendly, he admits that sometimes an obscenity will slip out. That often finds him apologizing to the families with children he meets after his shows. “It’s nothing they don’t hear at home,” he quotes the parents as saying, adding that he finds it sad to see a 4-year-old shrug and nod in agreement. Too true. Too funny. (Lee Zimmerman) Gabriel Iglesias @ Vivint Smart Home Arena, 301 W. South Temple, 801-745-3000, April 12, 8 p.m., $37-$52, vivintarena.com

Presenting a pictorial autobiography spanning 30 years of work and many decades of transformation, Richard Gate’s Anthology intertwines his personal experiences with the influences of science, history and art. Born in Ontario but raised in the red rock country of Southern Utah, Gate has spent a lifetime sketching impressions born of his travels. With a childhood spent mainly outdoors, Gate had very little exposure to art or culture. Yet inspired by Utah’s landscapes, jazz, and the subcultures of the ’60s, Gate began making collage artwork in high school. Merging modernism with key personal moments, Gate’s pieces display the heavy influence of the Southern California hard-edge painting movement, fusing geometric abstraction and bold color into patterns of poetry on paper. “Even though Abstract Classicism seeps into my collages, making them crisp and colorful, I work hard putting images together so they don’t look like they are collaged,” Gate says. He works seasonally from his rural studio in Sanpete County, Utah, traveling to remote areas of Canada to fish and visiting Los Angeles to connect with the art scene. These pilgrimages are evident in the evolution of his creative process. His work is included in collections as far-reaching as Kanagawa, Japan. Gate recalls selling an original piece to Wrigley Field in Chicago, only to find out the artwork is now floating around in the Pacific Ocean on a yacht. “You hate to lose the good ones,” he says. “But it is very interesting to have a piece of art somewhere out there in the world.” (Colette A. Finney) Richard Gate: Anthology @ Granary Arts, 86 N. Main, Ephraim, 435-283-3456, through May 10; reception April 12, 6-8 p.m., granaryarts.org

Gabriel Iglesias

Richard Gate: Anthology

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Turn in expired medication to the University of Utah Police Department Find out what drugs can be disposed at www.commerce.utah.gov/declutter

Yes, And …

Salt Lake City DuoFest showcases improv comedy with one-on-one intimacy. BY SCOTT RENSHAW scottr@cityweekly.net @scottrenshaw

mprovisational comedy might seem like something that’s created entirely in the moment, but it takes dedication, practice and training to make a performance look effortless. So imagine the work required to create an entire festival of improv comedy. The inaugural DuoFest isn’t the first local improv comedy festival, as producer Danielle Susi-Dittmore is quick to point out; Cedar City’s Red Rocks Improv Festival, which has been running for over a decade, and Midvale’s Wasatch Improv Festival, launched in 2018, provided both a foundation and inspiration from which to draw. But this showcase offers a unique angle in its focus on two-person improv teams. “I wanted to do something that was more like, ‘Let’s do the Salt Lake experience, and let’s focus on duality,’” Susi-Dittmore says. “We have this city that’s a desert surrounded by mountains. That right there is a duality.” Susi-Dittmore herself is relatively new to that local duality. The Boston native began her improv journey in Chicago, after receiving her graduate degree in writing from the School of the Art Institute of Chicago. “After I graduated, I realized there was a whole performative world in Chicago that I hadn’t stepped into,” she recalls. “So I started doing improv and fell in love with it because it was terrifying. Terrifying and wonderful. There’s nothing like being on stage with a bunch of people who trust you, and who you trust.” It was also in the Chicago improv scene that she met her now-husband, Calvin Dittmore, a Utah native. When the two relocated to Utah in 2016, they began performing locally, and Susi-Dittmore produced monthly variety shows as well as multi-media shows at the Utah Museum of Contemporary Art, focusing on themes related to the gallery’s exhibitions. With that combination of production experience—“It’s not my first rodeo; just my first of this kind of rodeo,” she says—and connections to the wider improv-performer world, she set out to let people know about this new event. That included making use of the online community The Improv Network, which offers a festival submission platform. “I had to actively promote this submission process,” Susi-Dittmore says. “A lot of Facebook posting in different groups, all the national and international networks I’m part of on there. Also, a lot of people I reached out to personally are friends, and I asked them to submit. But there are also

COURTESY THE COMEDY LOFT

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A&E

COMEDY

people I’ve never met before. And that’s both nerve-wracking and really exciting. It’s an opportunity to show them what a wonderful city this is.” After receiving what she describes as “way more submissions than I expected,” Susi-Dittmore locked in a program of 17 pairs, performing in a format that emphasizes a showcase and workshops rather than any sort of competitive component. “I got super excited that people just wanted to be part of this,” she says. “We have people who run theaters and other festivals. That, to me, was incredibly validating—that they saw an opportunity to come and be part of a festival that doesn’t have a reputation yet. Having 34 people say, ‘Yeah, that sounds great, we’ll do that,’ is really exciting.” Susi-Dittmore also is interested in the unique dynamic offered by the two-person teams, which might be unique to audience members who are more familiar with improv troupes that incorporate larger groups into their games. “For me, there’s an opportunity to develop a really strong connection with that one other person,” she says. “You have an opportunity to have a really good conversation about how you want your show to be. As an audience member, I’m watching two people on stage, and it’s only going to be those two people for the next 20 minutes, I feel a real intimacy. Any choices made on the stage are made by those two people. That, to me, is a hyperintimate connection between those two people, and also with the audience.” Even more than the two-person-team restriction, though, it was important to Susi-Dittmore to create a space that was

Calvin Dittmore and Danielle Susi-Dittmore perform improv welcoming to every possible kind of performer—a commitment that included using the Sugar Space as a venue because it’s operated by women. “I’ve just been part of so many instances where I was excluded because I was a woman, or thought of as not as funny because I was a woman, and I don’t want that for anyone else—only seeing teams that allow men to play,” she says. “I wanted to be really serious about running a festival that was inclusive of women, people of color, queer people, people with disabilities.” That openness simply seems like a natural extension of the mutually supportive nature of improv and the interplay between performers. While an event like this provides a place for improvisers from all over to share ideas, Susi-Dittmore feels strongly about the human component. “For me, improv is really about human connection and emotion—having something earnest and real and genuine happen between two people,” she says. “If something is technique- and tool-masterful, but also really honest—if you can combine those two, holy crap!” CW

SALT LAKE CITY DUOFEST

Sugar Space Arts Warehouse 132 S. 800 West April 12, 8 p.m. April 13, 7 p.m. $10-$25 facebook.com/sugarspaceslc

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Art Access Gallery (230 S. 500 West, Ste. 125, accessart.org) presents 15 pieces by local artist Grant Fuhst exploring his childhood experiences with alcoholism and domestic violence (“Family Crest” is pictured) in Life During Wartime, through Friday, April 12.

PERFORMANCE THEATER

Alice Kingsbury Hall, 1395 E. Presidents Circle, April 12, 7 p.m.; April 13, 11 a.m., tickets.utah.edu Enter the Hex The Hive Collaborative, 591 S. 300 West, Provo, through May 11, Fridays & Saturdays, 7:30 p.m., thehivecollaborative.com Let Me Down Easy Salt Lake Acting Co., 168 W. 500 North, April 15, 7 p.m., tibhospice.org Little Shop of Horrors The Off Broadway Theatre, 272 S. Main, April 12-13, 7:30 p.m., theobt.org Newsies Hale Center Theater Orem, 225 W. 400 North, through April 20, haletheater.org Othello Courage Theatre, Westminster College, 1840 S. 1300 East, April 11-13, 7:30 p.m., westminstercollege.edu The Rapture Happens at Midnight An Other Theatre Co., 1200 S. Towne Centre Blvd., Provo, Fridays & Saturdays, 7:30 p.m., through May 4, anothertheatercompany.com Silent Dancer Salt Lake Acting Co., 168 W. 500 North, through May 12, saltlakeactingcompany.org (see p. 20) Steel Magnolias Hale Centre Theatre, 9900 S. Monroe St., Sandy, through June 1, hct.org Sweat Pioneer Memorial Theatre, 300 S. 1400 East, through April 13, pioneertheatre.org

DANCE

Ballet West: Onegin Eccles Theater, 131 S. Main, through April 13, balletwest.org Ring Around the Rose: Dance Across the Valley Rose Wagner Center, 138 W. 300 South, April 13, 11 a.m., artsaltlake.org School of Dance Gala Marriott Center for Dance, 330 S. 1500 East, through April 20, tickets.utah.edu The School of Dance with Salt Contemporary Dance Marriott Center for Dance, 330 S. 1500 East, through April 20, tickets.utah.edu Repertory Dance Theatre: Voices Jeanne Wagner Theatre, 138 W. 300 South, April 11-13, 7:30 p.m., artsaltlake.org

CLASSICAL & SYMPHONY

Brown Bag Organ Recital First United Methodist Church, 203 S. 200 East, Wednesdays at noon, firstmethodistslc.wordpress.com Family Concert Series: Musical Contrasts BYU de Jong Hall, 800 E. Campus Drive, Provo, April 13, 11 a.m., arts.byu.edu Mozart’s Vespers UVU NCPA Concert Hall, 800 W. University Parkway, Orem, April 11, 7:30 p.m., uvu.edu/events Ogden Bach Fest: NEXT Ensemble St. Paul’s Lutheran Church, 3329 S. Harrison Blvd., Ogden, April 11, 7 p.m., symphonyballet.org Ogden Bach Fest: Weber State Choir Ogden Tabernacle, 2145 S. Washington Blvd., April 12, 7 p.m., symphonyballet.org The Story Pirates w/ the Utah Symphony Browning Center, 1901 University Circle, Ogden, April 16, 7 p.m., utahsymphony.org Utah Symphony: Finishing Touches Rehearsal Abravanel Hall, 123 W. South Temple, April 12, 10 a.m., utahsymphony.org Utah Symphony: Rachmaninoff & Shostakovich Abravanel Hall, 123 W. South Temple, April 12, 7:30 p.m.; April 13, 5:30 p.m., utahsymphony.org Utah Valley Symphony: Gustav Holst’s The Planets Covey Center for the Arts, 425 W. Center St., Provo, April 17-18, 7:30 p.m., provo.org The Wind Ensemble Libby Gardner Concert Hall, 1375 E. Presidents Circle, Apr. 11, 7:30 p.m., tickets.utah.edu

COMEDY & IMPROV

And That’s Why We Drink Wiseguys SLC, 194 S. 400 West, April 11, 7 & 9:30 p.m., wiseguyscomedy.com Dan Soder Wiseguys SLC, 194 S. 400 West, April 12-13, 7 & 9:30 p.m., wiseguyscomedy.com Don Friesen Wiseguys Ogden, 269 25th St., April 12-13, 8 p.m., wiseguyscomedy.com Gabriel Iglesias Vivint Smart Home Arena, 301 W. South Temple, April 12, 8 p.m., vivintarena.com (see p. 20)

Laughing Stock Improv Comedy The Off Broadway Theatre, 272 S. Main, Fridays & Saturdays, 10 p.m., theobt.org Open Mic Wiseguys SLC, 194 S. 400 West, Wednesdays, 7 p.m., wiseguyscomedy.com Salt Lake City Improv DuoFest Sugar Space Arts Warehouse, 132 S. 800 West, April 12, 8-11:30 p.m.; April 13, 7-11 p.m., facebook.com/sugarspaceslc (see p. 22)

LITERATURE AUTHOR APPEARANCES

Ronald Scott: The Mending The King’s English Bookshop, 1511 S. 1500 East, April 11, 7 p.m., kingsenglish.com Rosalyn Eves: Winter War Awakening The King’s English Bookshop, 1511 S. 1500 East, April 13, 2 p.m., kingsenglish.com Fran Wilde: Riverland The King’s English Bookshop, 1511 S. 1500 East, April 15, 7 p.m., kingsenglish.com Deja Earley: To the Mormon Newlyweds Who Thought the Bellybutton Was Somehow Involved The King’s English Bookshop, 1511 S. 1500 East, April 17, 7 p.m., kingsenglish.com

SPECIAL EVENTS FARMERS MARKET

Winter Market Rio Grande Depot, 270 S. Rio Grande St., through April 20, Saturdays, 10 a.m.-2 p.m., slcfarmersmarket.org Locali-Tease: Local Artist Showcase The Boxcar Studios, 156 W. 500 South, Provo, April 18, 7 p.m., misterpauper.com/boxcar-studios The Viva La Diva Show Metro Music Hall, 615 W. 100 South, April 12-13, 6:30 p.m.; April 14, noon, metromusichall.com

FESTIVALS & FAIRS

TALKS & LECTURES

GALLERIES & MUSEUMS

APRIL 11, 2019 | 25

Bill Reed: Emotionscapes Local Colors of Utah Gallery, 1054 E. 2100 South, through April 16, localcolorsart.com Bonnie Susec & Susan Beck: Landscapes Calm and Desperate Alice Gallery, 617 E. South Temple, through May 3, artsandmuseums.utah.gov Claire Taylor: Transcendence by Observation UMOCA, 20 S. West Temple, through April 20, utahmoca.org Dreamscapes Utah Arts Alliance, 116 S. Rio Grande St., through April 15, utaharts.org

| CITY WEEKLY |

VISUAL ART

The Bee: Checkmate Metro Music Hall, 615 W. 100 South, April 11, 7 p.m., thebeeslc.org (see p. 20) Scott Silven: At the Illusionist’s Table Kingsbury Hall, 1395 E. Presidents Circle, April 12, 6 & 9 p.m.; April 13, 6 p.m., tickets.utah.edu Composers Forum Dumke Recital Hall, 1375 E. Presidents Circle, April 13, 7:30 p.m., utah.edu The Planet We Call Home: The Buzz on Bees Ogden Nature Center, 966 W. 12th St., Ogden, April 15, 6 p.m., ogdennaturecenter.org

Cotopaxi Questival Downtown SLC, April 12, 5 p.m.-April 13, 6:30 p.m., cotopaxi.com Lamb and Wool Festival Thanksgiving Point Farm, 3003 N. Thanksgiving Way, Lehi, April 13, 10 a.m.-2 p.m., thanksgivingpoint.org Tulip Festival Thanksgiving Point, 3003 N. Thanksgiving Way, Lehi, through May 4, thanksgivingpoint.org

| CITYWEEKLY.NET |

LGBTQ

Erik Jensen: Pixelations Utah Cultural Celebration Center, 1355 W. 3100 South, West Valley City, through May 28, culturalcelebration.org Erika Cespedes: Unborn Main Library, 210 E. 400 South, through May 16, slcpl.org Heidi Jensen: Sit Comfortably in a Darkened Room and Think of Nothing UMOCA, 20 S. West Temple, through May 4, utahmoca.org The International Tolerance Project Utah Museum of Fine Arts, 410 Campus Center Drive, through June 23, umfa.utah.edu Jim Frazer: Glyphs Finch Lane Gallery, 54 S. Finch Lane, through April 12, saltlakearts.org John Sproul: An Underness of Being Main Library, 210 E. 400 South, through April 26, slcpl.org Kallie Hancock: Spectacles Finch Lane Gallery, 54 S. Finch Lane, through April 12, saltlakearts.org Karen Millar Kendall: A Collective Tapestry Downtown Artist Collective, 100 S. 258 East, through May 13, downtownartistcollective.org Lenka Clayton: Under These Conditions UMOCA, 20 S. West Temple, through May 11, utahmoca.org Grant Fuhst: Life During Wartime Art Access Gallery, 230 S. 500 West, through April 12, accessart.org (see p. 24) Mary Pusey: Moab en Plein Air Main Library, 210 E. 400 South, through April 13, slcpl.org Mike Simi: Gettin’ By UMOCA, 20 S. West Temple, through May 11, utahmoca.org Nancy Starks: Roll, Fold and Pinch Main Library, 210 E. 400 South, through April 26, slcpl.org Nicholas Coley A Gallery, 1321 S. 2100 East, through April 20, agalleryonline.com Out of the Night Art Access Gallery, 230 S. 500 West, through April 12, accessart.org Pale Blue Dot Urban Arts Gallery, 116 S. Rio Grande St., through April 28, urbanartsgallery.org Richard Gate: Anthology Granary Arts, 86 N. Main, Ephraim, through May 10, granaryarts.org (see p. 20) The Race to Promontory: The Transcontinental Railroad and the American West Utah Museum of Fine Arts, 410 Campus Center Drive, through May 26, umfa.utah.edu salt 14: Yang Yongliang Utah Museum of Fine Arts, 410 Campus Center Drive, through June 2, umfa.utah.edu Sarah Lewis: Mharthanóir Art Access Gallery, 230 S. 500 West, through April 12, accessart.org Shady Acres UMOCA, 20 S. West Temple, through May 25, utahmoca.org Tracing the Path State Capitol, 350 N. State, through June 26, goldenspike150.org Transcontinental: People, Place, Impact Rio Gallery, 300 S. Rio Grande, through June 16, artsandmuseums.utah.gov Valkyrie Johnson: Watercolor Wildlife Sweet Branch, 455 F St., through April 27, slcpl.org

ENRIQUE LIMÓN

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| CITY WEEKLY |

26 | APRIL 11, 2019

Meat Cute

Rediscover your love of the sandwich at Orem’s Lomito’s. BY ALEX SPRINGER comments@cityweekly.net @captainspringer

ately, I’ve felt like the modern sandwich has been homogenized into flavorless nonsense. How did we get to a point where dozens of different fast food sandwich joints are essentially selling the same thing? Is a turkey sub from Subway really that much different than a turkey sub from Jimmy John’s? While I’m not exactly sure how our sandwich identity crisis has gotten so out of hand, I do know that this most elegant of foods deserves much better than the constant replication that it’s currently getting from mainstream eateries. Thanks to the valiant efforts of local Vietnamese restaurants, banh mi consumption is on the rise, but there’s so much more that can be done. For a taste of what I mean, head down to Orem and check out Lomito’s (180 W. Center St., 801-607-1602). It’s a familyowned Argentine and Chilean restaurant that has brought a welcome dose of South American sandwich culture to our

backyard, and it’s a testament to the sandwich’s ability to balance flavor and textures. While they’re only available at a few places locally, the lomito sandwich is a powerhouse in Argentina and Chile. Like most sandwiches, versatility is a key factor in the food’s success, but the basic foundation consists of thin slices of grilled beef tenderloin or filet, ham and fried eggs. It’s typically topped with

lettuce and tomatoes, but you might also get some mayo, avocado or pebre sauce depending on who happens to be running the grill. “It’s better than chimichurri—less citrusy,” Lomito’s patriarch, Fernando Caballero, says of the Chilean salsa. A lomito typically comes served on a dinner plate of a bun that gets stuffed with all those gorgeous eats and sliced in half. There are some similarities between lomitos and traditional Mexican tortas, but where tortas hit their stride with experimentation, a lomito sticks to a tried-and-true blueprint. Armed with some fascinating cultural knowledge about this blockbuster of a sandwich—did you know that there’s a Chilean variation called Barros Luco, which was named after one of the country’s former presidents?—I ventured southward to Lomito’s. Once you hit Orem proper, the restaurant isn’t far from the Center Street off-ramp—it’s close enough to the freeway that I’d consider it a spot to remember on any southbound road trip. The space is tucked away inside an unassuming strip mall, and it’s easy to miss if you’re not keeping an eye out. Once you’re there, however, your first priority is to order anything with the word lomito in front of it. I happen to love the lomito Argentino

($8.59, pictured), which is about as perfectly balanced as any sandwich can be. This balance is the reason that the essential framework never really gets changed—it’s hard to improve on a sandwich when it’s dressed to kill like this. It’s got that thinly sliced steak, grilled ham and a gooey fried egg bringing the salty and savory with the counterpoint of iceberg lettuce, tomato and mayo providing the sweet and crispy. The bread itself is crucial to this balance—it’s like a toned-down version of focaccia that packs just enough spring in each bite to bring this party together. In addition to its namesake goods, Lomito’s also carries a few other Argentinian sandwich staples. The choripan ($6.99) is a fist-sized explosion of grilled chorizo, lettuce, tomato and mayo that lands somewhere between a hot dog and a sandwich; and the Milanesa chicken ($7.99) is a sandwich that focuses on a lightly breaded chicken filet. Both of these sandwiches are also important to the Argentine diet, and the fact that they’re all available under one roof shows that Lomito’s has its bases covered. Rounding out the menu are deepfried empanadas ($1.99-$3.99) and a decadent dessert called milhojas ($2.25). It’s always a bit of a gamble

when a place offers up empanadas— I’ve noticed quite a size disparity among these tasty, meat-and-cheesestuffed pastries. Empanadas here are among the biggest I’ve seen, and they’re deep-fried to a fry bread-like consistency. Many of the sandwiches on the menu offer a cheese empanada in place of fries in a combo meal, and it’s a deal you should definitely take. If you happen to have room for dessert, the milhojas is a must. Think of a Napoleon cake made from layers of flaky puff pastry and thick, dark dulce de leche. The sweetness bomb is a lovely jolt of contrast after all that savory sandwich sampling, and it’s certain to end the meal on a high note. For those currently in the throes of severe sandwich doldrums, a trip to Lomito’s will surely snap you out of it. Its well-rounded menu of stacked Argentine and Chilean sandwiches offers up a wide variety of meal-worthy offerings that come with a bonus peek at South American sandwich culture. I’d take a lomito joint on every corner over a Subway any day of the week. CW

AT A GLANCE

Open: Monday-Saturday, 11:30 a.m.-8 p.m. Best bet: The balanced lomito Argentino Can’t miss: Save room for that milhojas

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GRAND OPENING SOUTH SALT LAKE CITY LOCATION

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Lunch Buffet: $8.95 Adults, $4.95 Kids, Mon-Fri 11am-3:30pm Dinner Buffet: $12.95 Adults, $7.75 Kids, Mon-Fri 3:30pm-9:30pm Saturday, Sunday & Holidays $12.95 All Day / Take-Out: Lunch $4.75/lb Dinner $6.25/lb

the

BACK BURNER BY ALEX SPRINGER @captainspringer

year

Mark of the Beastro Opens

F O O D H E AV E N N A M R E G man Delicatessen & Restaura n r Ge

| CITYWEEKLY.NET |

| CITY WEEKLY |

28 | APRIL 11, 2019

Celebrat i

Adding another entry in Salt Lake’s already impressive roster of vegan restaurants, Mark of the Beastro (666 S. State, 385-202-7386, facebook.com/markofthebeastro) has officially opened its doors. Owned and operated by Andrew Earley, Mark of the Beastro is geared toward serving plant-based comfort food like chick’n and waffles and tofu Benedicts with a strong side of tonguein-cheek branding. The restaurant is currently open for three-hour chunks Monday through Sunday with plans to expand their hours and host a plant-based pandemonium of a grand opening later this year. May the diabolic dark lord of dairy-free demons watch over and protect this new establishment.

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“Like having dinner at Mom’s in the mountains” -Cincinnati Enquirer

Epic Casual Dining (707 E. Fort Union Blvd., Midvale, 801-748-1300, epiccasualdining.com) hosts SaltFire Brewing Co. (saltfirebrewing.com) for a tasting dinner on Thursday, April 11, at 6:30 p.m. The partnership aims to introduce diners to some of SaltFire’s newest brews by pairing them with dishes like baked potato flatbread, sautéed Pacific shrimp and bacon-wrapped tenderloin. For those interested in learning more about SaltFire, the brewery operates a tavern and bottle shop at 2199 S. West Temple. The event also boasts a modestly-priced tasting menu, with $55 securing a fourcourse meal with the beer pairing or $40 per person without. Reservations can be made on Epic’s website.

Italian Village italianvillageslc.com

Curry Up Now Comes to Utah

In 2009, husband and wife Akash and Rana Kapoor teamed up with co-founder Amir Hosseini to create Curry Up Now as a food truck in the San Francisco Bay Area. Over the past decade, their operation grew into several different locations in Northern California, and the restaurant recently unveiled plans to come to Utah. Local entrepreneur John Netto and his family clinched the deal that will bring one location to the shops at Fort Union this fall with plans to expand to downtown Salt Lake and Provo within a year. With a menu that includes items like naughty naan and sexy fries, you can color me intrigued. Quote of the Week: “I think it’s important to encourage gluttony in all its formats.” —Lydia Lunch Back Burnter tips: comments@cityweekly.net

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150 South 400 East, SLC | 801-322-3733 www.freewheelerpizza.com

| CITY WEEKLY |

APRIL 11, 2019 | 29

UTOG promises to be the next great beer destination. BY MIKE RIEDEL comments@cityweekly.net @utahbeer

tah has yet another new brewery to satisfy your craft beer cravings. The Utah Ogden Brewing Co. (UTOG) officially opened its doors on March 28, taking up residence at 2331 Grant Ave. in downtown Ogden. The brewery is another indication that Utah’s adult-beverage landscape is becoming more diverse. Head brewer and coowner Carson Foss has created a full service brewpub that features an eclectic food menu and an adults-only atmosphere. Now, let’s get on with the important part: the beer. Golden Grant: This American golden ale has a lightly floral, slightly malty aroma with some nice orange and grapefruit notes just interesting enough that I wouldn’t exactly describe the aroma as mellow. The taste shows slightly malty and hoppy, with a nice floral and spicy kick. Next come caramelized malts, freshly baked bread and light crackers. The end is more hoppy, with hints of floral, orange and grapefruit, leading to a light amount of bitterness in the finish. Overall: This 4.0 percent beer is a no-frills ale that delivers on what it’s supposed to be—a light and refreshing table beer that doubles as a lawnmower beer. Citra Pale Ale: This ale is straw-colored with tinges

MIKE RIEDEL

Ogden Brews

of red. Citra hops are front and center in the nose, with a subtle touch of grassiness and some sweet malts as well. Once in the mouth, you get a light and subtle sweetness that gives the hops something to build upon. The result is a tangerine peel-like flavor that is semi-bitter and fruity. Toward the end, it fades to a more rounded-out maltiness, resulting in something that’s super drinkable. Overall: A simple and good example of a basic American pale ale. At 4.0 percent, it’s slightly more malt-driven, but that’s par for the course with this style. Hops Deep IPA: This high-point IPA has an aroma that is fairly subdued—white bread, biscuit-like malt and light citrus fruit along with pine and some wood character. Some fresh grapefruit-like hops start us off in the taste, with a light and earthy herbal bitterness. The malt profile is sweet with bready/biscuit grains. It feels quick and clean with just a hint of oily hop resins lingering on the palate. Overall: On the lighter side at 6.1 percent, I can see this being a good summertime IPA, and I would definitely have it again. Buffalo Soldier Black IPA: The aroma is full of dark roasted and charred malts with grassy and pine-forward hops. Hints of caramel are present as well. Flavor-wise, it opens with that same dark roasted and charred malt, with hints of caramel and a strong presence of mostly citrus hops. A malt-driven nuttiness emerges next, but hop bitterness manages to drive and dominate the flavors in the back end with grapefruit coming to the fore, until it finishes with lingering pine and char from the grains. Overall: Despite the IPA designation, this comes across as a generously hopped 7.2 percent dark ale—very pleasant and drinkable. The Golden Grant and Citra Pale ale can be found on draft and in 16-ounce cans at the brewery. The two high-

point IPAs are also available in 16-ounce cans and can be purchased to enjoy in-house or taken home via the brewery’s retail shop located in the back of the facility. If you’re a fan of suds and baseball, UTOG shares a fence with Lindquist Field, home of the Ogden Raptors. The fence provides an excellent view of the field, and the outdoor area behind the building will be perfect for game days, once completed. Stay close for updates. As always, cheers! CW

30 | APRIL 11, 2019

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BEER NERD

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| CITY WEEKLY |

who suffer from mental illness don’t want it to be their biggest defining trait. But they also want to know there are others out there who can relate. “People, they don’t talk about it,” he says. “These kids really do feel isolated; they really do feel alone and crazy.” Wayde says his highs are really high and his lows are really low, a common trait among those with BPD. When he has high and low moments, he turns to music to help cope with his anxiety and express his emotions. He began to struggle with BPD and anxiety at a young age, a period he recounts in his most recent album, So Young & So Damaged, which delves into intense relationships and powerful emotions. Music has been shown to improve mental health, according to NAMI (National Alliance on Mental Illness): “Music acts as a medium for processing emotions, trauma and grief—but music can also be utilized as a regulating or calming agent for anxiety or for dysregulation.” There are multiple methods to assist with emotional regulation, including therapy and exercise, but music is almost universal. Whether you’re someone who writes music, like Wayde, or someone who listens to it or dances along with it, it can serve a valuable function beyond mere entertainment. “I just want to love people and make music,” Wayde remarks right before he goes onstage. Watching him connect with his fans at Kilby Court, it’s clear he is anything but alone; his fans scream out lyrics to every one of his songs. “This is the first show that the audience sang my songs with me,” Wayde happily tells the crowd. That connection is something that clearly touches him deeply, as he expressed in an Instagram post about the show: “I never thought my damage could relate to other people like this. I didn’t even expect anyone to show up, let alone sell out [the show] so fast. I finally feel like I belong here and I have a purpose.” You can see snippets of this interview with Wayde in Episode 1 of a YouTube series titled The Damaged Mini-Series. Wayde releases his first studio single, “Psycho,” on April 11. CW

RETRO RIOT DANCE PARTY

n the green room at Kilby Court this January, 21-year-old Dallas Wayde waits to play his first sold-out show at the venue. His opener has just finished playing. Dressed in a red flannel shirt and track pants and smiling from ear to ear, he offers a hug and introduces himself, flustered: “I totally spaced it. I forgot we had an interview. I’m just nervous.” The Utah rapper and pop singer, who spent his childhood in Frisco, Texas, writes songs brimming with strong emotions. Wayde says songwriting helps him cope with the symptoms of borderline personality disorder, something he was diagnosed with at 17. BPD affects the way individuals feel about themselves and also includes bouts of intense emotion. Wayde’s BPD plays a pivotal role in the music he creates and performs, and he hopes audiences feel less alone while listening to it. “It really plays into my music. I can’t feel more than one emotion at a time. If I’m happy, I’m just happy. Rationality is so far away from my personality,” Wayde says. Listeners can tell there’s no hiding the way he feels. And, he asks, what’s wrong with that? “There has become such a stigma [about] mental health and feeling too much emotion,” he says. “People are going to mess up, people are going to have emotions, people are going to be human.” Wayde also tries to emphasize a middle ground between the two common extremes that are so common in public perceptions about mental health issues: “I think mental health now has become either written off, or treated like a trend,” he says. He feels that folks

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THURSDAY 4/11

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Bluegrass ain’t what it used to be, especially if your definition revolves around a group of hillbillies pluckin’ and stompin’ on the back porch, delivering their homespun harmonies with barely a care in the world. Nowadays, most bands with contemporary credence extend that high lonesome sound with a new form of drive and intensity, one that spills over with populist appeal and a vibe and veracity that can forge a distinct festival following. So while the West Coast combo Front Country reflect a decided reverence for their roots, their pluck and strum transform them into far more than your average string ensemble. Each of the musicians arrived at the core of the band’s sound from different directions. Vocalist Melody Walker was weaned on world music and roots rock. Bassist Jeremy Darrow leaned toward jazz. Mandolin player Adam Roszkiewicz and violinist Leif Karlstrom were classically trained, while guitarist Jacob Groopman served his apprenticeship in an Afrobeat band. After banding together, they entered a local bluegrass competition, and in true storybook fashion, they won. Still, they’ve made it a point to avoid being typecast as a typical bluegrass band. They supplement their standards with original material, creating a hybrid of rugged Americana and purposeful pop. It might not appeal to purists, but it’s clearly capable of garnering mainstream appeal. (Lee Zimmerman) The Depot, 13 N. 400 West, 7:30 p.m., $15 presale; $17 day of show, 21+, depotslc.com

Twin brothers Amiri and Rahiem Taylor have a lot in common as co-frontmen of the Brooklyn-based psychedelic rock band Blac Rabbit. They often double each other’s guitar riffs for a monophonic effect, and it’s difficult for new listeners to tell their singing voices apart. They are musically intertwined—which makes sense, given their shared DNA—but they have their differences, too. Although both men sing and play guitar onstage—backed by Patrick Jones on drums and Josh Lugo on bass—the Taylor twins assume complementary roles in the studio. Rahiem plays drums, bass and guitar, while Amiri plays guitar and keyboards; Rahiem is more the big-picture thinker, whereas Amiri is detail-oriented. At this point, the Taylor twins aren’t best known for their original music: YouTube videos of them performing spot-on renditions of mop-top era Beatles songs such as “We Can Work It Out” and “Eight Days a Week” on the New York City Subway have garnered millions of views. (As a result, the group is often mistaken for a cover band.) So far, Blac Rabbit has one album to its name, 2017’s six-song, self-titled EP (released digitally by How Far Music) displaying the band’s penchant for richly textured ’60s psych-pop loaded with fuzzy guitar riffs, à la early Tame Impala. Look for the band’s debut full-length album sometime this year. (Howard Hardee) Kilby Court, 748 S. Kilby Court, 7 p.m., $12 presale; $15 day of show, all ages, kilbycourt.com

Front Country

Blac Rabbit

Blac Rabbit, Adult Prom, The LNRS

Front Country

Shana Cleveland

Best known as the frontwoman of West Coast surf-punk foursome La Luz, Shana Cleveland has quietly pursued a surreal side project that’s as indebted to psychedelia and country as it is to straight-up rock ’n’ roll. On new solo album Night of the Worm Moon, Cleveland ventures even farther afield, blending the influence of Afro-futurist jazz à la Sun Ra, the sci-fi novels of Octavia Butler, pastoral Southern California folk and celestial divinity. Night of the Worm Moon was even birthed in the midst of 2017’s solar eclipse; during a break in recording, Cleveland viewed the eclipse’s totality “through a piece of cardboard projecting onto a garbage can,” as she related in a news release for the album, then returned to the studio to find it “covered in crescent suns refracted from a mirrored disco ball” that engineer and band member Johnny Goss had hanging in the window. Such supernatural themes abound on songs like “In Another Realm” and “The Fireball.” Night of the Worm Moon expands increasingly outward into our strange 21st-century existence, adding the vibrant perspective of UFO sightings and futuristic plagues to Cleveland’s solo output, which started in 2011 with the isolated Oh Man, Cover the Ground. We can’t wait to see how Cleveland interprets her songs in the cozy environs of Rye Diner & Drinks. (Nick McGregor) Rye Diner & Drinks, 239 S. 500 East, 6 p.m., $12, all ages, ryeslc.com

Shana Cleveland

ELEANOR PETRY

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32 | APRIL 11, 2019

THIS WEEK’S MUSIC PICKS

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APRIL 11, 2019 | 33

MARCUS MADDOX

MONDAY 4/15 Low Cut Connie, Balto

SPIRITS . FOOD . LOCAL BEER 4.10 DAVE MESERVY

4.11 MICHELLE MOONSHINE

4.12 THE PRANKSTERS

4.13 WISEBIRD

4.17 JOHN DAVIS

If you like piano-pounding rock ’n’ roll, blueeyed soul filtered through a manic rockabilly lens and the sweaty R&B gumbo of mid-century New Orleans, Low Cut Connie is a mustsee. This Philly five-piece lights every stage on fire, frontman Adam Weiner mounting his piano like Little Richard’s long-lost grandson while he screams and shouts and a rotating cast of backing band members match that ferocity, often writhing and stomping on the floor. Last year’s full-length Dirty Pictures (Part 2) attracted rave reviews from Rolling Stone, NPR and superstars like Elton John and Bruce Springsteen, but Low Cut Connie can bring the house down with any of their older material, too, expressing a zeal for transformation that Weiner lives and breathes every day: “We change the molecules in the room,” he says with confidence in Low Cut Connie’s biography. This show promises to be even more exciting because it serves as a homecoming of sorts for supporting band Balto, who’ve racked up more than three million Spotify streams plying a road-tested brand of Motown-influenced roots rock. Dan Sheron, Seth and Ben Mower and Carl Osterlof might call Los Angeles home, but the Mower brothers have deep ties in Utah, so expect them to breathe fire into 2018 tracks “Songs for Viktor,” “Still Don’t Know” and “Black Snake, Mojave Blues” here at The State Room. (NM) The State Room, 638 S. State, 8 p.m., $18, 21+, thestateroompresents.com

Low Cut Connie

Failure, Swervedriver, No Win

Failure might have initially found themselves a bit lost in the shuffle of the 1990s alt-rock boom, but the richly detailed soundscapes and strong melodic instincts of albums such as Fantastic Planet and Magnified garnered the group a devoted following long after their breakup in 1997—a following that includes members of Tool, Depeche Mode and Queens of the Stone Age, to name just a few. In recent years, Failure has proven to be one of the more successful ’90s reunion acts, releasing two more wellreceived albums since getting back together in 2014. Their most recent effort, last year’s In The Future Your Body Will Be The Furthest Thing From Your Mind, shows their heady blend of grunge, art rock and psychedelia is just as potent as ever, addressing themes of technological paranoia and isolation that will likely only become more relevant with time. Failure is currently on tour in support of In the Future alongside fellow ’90s soundsmiths Swervedriver, themselves fresh off a run of two comeback albums over the past half decade. The bands co-headline at the Urban Lounge; Los Angeles indierock group No Win opens. (Nic Renshaw) The Urban Lounge, 241 S. 500 East, 7 p.m., $30 presale; $35 day of show, theurbanloungeslc.com

Failure

4.19 & 20 STONEFED

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LIVE

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APRIL 11, 2019 | 35

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36 | APRIL 11, 2019

TUESDAY 4/16

CONCERTS & CLUBS

LIBOR GALIA

Health, Youth Code

THURSDAY 4/11 LIVE MUSIC

Cardinal Bloom + Sea Elephant + James Robin (Velour) Front Country (The Depot) see p. 32 Jackyl (Liquid Joe’s) John Davis (Hog Wallow Pub) The Legendary Joe McQueen Quartet (Gracie’s) Lonehand (Gold Blood Collective) Mercy Me (UCCU Center) Michelle Moonshine (Lake Effect) Social Disco Club w/ Onra + Devin Morrison + Bo York + Typefunk (Urban Lounge) The Proper Way (Rye) Wisebird (Gracie’s)

DJ, OPEN MIC, SESSION, PIANO LOUNGE

DJ Chaseone2 + DJ Cristos (Lake Effect) Dueling Pianos: Drew & JD (Tavernacle) Dueling Pianos (The Spur) Dusty Grooves All Vinyl DJ (Twist) Hot Noise + Guest DJ (The Red Door) Jazz Jam Session (Sugar House Coffee) Jazz Joint Thursday (Garage on Beck) Synthpop + Darkwave + Industrial + Goth w/ DJ Camille (Area 51)

Therapy Thursdays feat. Markus Schulz (Sky) Tropicana Thursdays feat. Rumba Libre (Liquid Joe’s)

KARAOKE

Areaoke w/ DJ Kevin (Area 51) Cowboy Karaoke (The Cabin) Karaoke (Willie’s Lounge) Karaoke Night (Tinwell) Karaoke w/ DJ Benji (A Bar Named Sue) Karaoke That Doesn’t Suck w/ Mikey Danger (Chakra Lounge) Live Band Karaoke (Club 90)

FRIDAY 4/12 LIVE MUSIC

Blac Rabbit + Adult Prom + The LNRS (Kilby Court) see p. 32 Blazin’ Aces (Outlaw Saloon) Clyde & The Milltailers + King Strang (Garage on Beck) Colt.46 (The Westerner) Dan and Krisann (The Yes Hell) Eric Anthony (Gracie’s) Framing the Red (Liquid Joe’s) Grand Theft Audio (Ice Haüs) John Flanders (The Bayou) Live Local Music (A Bar Named Sue)

Listening to Health is a bit like listening to the sonic equivalent of an apocalyptic hellscape. “Here alone/ We didn’t choose to be born/ Under the dying sun,” Jake Duzsik sings, disaffected, on “Feel Nothing,” a track from Health’s fourth album, Vol. 4 :: Slaves of Fear, released in February of this year. The underlying sentiment of the L.A.-based noise rock group’s music has always been the bewildering, brutal nature of being alive and human: “Life is but a burning rotten stinking ground/ Here we’re young and ugly, only if we’re lucky/ We get to watch the ones we love get sick and break down,” Duzsik chants on “Loss Deluxe.” Duzsik, the band’s guitarist and lead vocalist, described their latest album as “darker, heavier, dirtier” than their previous work in Flood Magazine—a kind of pure nihilism. But that doesn’t mean the band can’t see the beauty, too (drugs help): In a 2015 interview with the Los Angeles Times, Duzsik said, “I find it bewildering that we’re all alive, but existence is kind of magical. You can minutely change your brain’s chemistry and have a whole new perspective.” Duzsik is accompanied by BJ Miller (drums) and John Famiglietti (bass); together, the three have carved a path from relentless, obliterating noise rock to a finely tuned, melodic noisescape that incorporates elements of electronica, dance music, industrial—screeching, scraping, abrasive intrusions of sound—and, in a strangely perfect pairing, pop, courtesy of Duzsik. Bring earplugs. (Naomi Clegg) The Urban Lounge, 241 S. 500 East, 8 p.m., $20 presale; $25 day of show, theurbanloungeslc.com

Lorin Walker (HandleBar) Metal Dogs (The Spur) Michael McDonald (DeJoria Center) The Pranksters (Hog Wallow Pub) The Reverend and the Revelry (Harp and Hound) Richie Furay Band (Egyptian Theatre) Shana Cleveland (Rye) see p. 32 SLC Metal Showcase feat. Tomb of Belial + Necrowolf + Blood Purge + Heretic Temple + Path of the Haunted (The Complex) Sydnie Keddington (Lake Effect) Timeless (Club 90) Vegan Cemetery + Sav’ Joe (Gold Blood Collective) We Love Us Some Brewskis (Brewskis) William Clark Green + Randall King (The State Room)

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Funky Friday w/ DJ Godina (Gracie’s) Hot Noise (The Red Door) Lavelle Dupree (Downstairs) Mi Cielo w/ DJ Exile (Sky) New Wave ’80s w/ DJ Courtney (Area 51) Top 40 All-Request w/ DJ Wees (Area 51)

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SATURDAY 4/13 LIVE MUSIC

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SATURDAY 4/13

CONCERTS & CLUBS

DANIEL RAMOS

Gunna, Shy Glizzy, Lil Keed

Gunna (The Depot) see above Johnny Utah (Gracie’s) Joy Spring Band (Sugar House Coffee) Kirk Dath (HandleBar) Live Local Music (A Bar Named Sue) Live Trio (The Red Door) Mountain Country Spring Stomp (Ice Haüs) The Pour (The State Room) Pixie & The Partygrass Boys (The Spur) Quiiet (Gold Blood Collective) Richie Furay Band (Egyptian Theatre) Sammy Brue (Heavy Metal Shop) Sex Park (PDX) + Ani Christ + Glume (Diabolical Records) Spazmatics (Liquid Joe’s) Spook Block (Brewskis) Timeless (Club 90) Tydi (The Complex)

DJ, OPEN MIC, SESSION, PIANO LOUNGE

Dance Music (Chakra Lounge) DJ Chaseone2 (Gracie’s) DJ Juggy (Downstairs) DJ Latu (The Green Pig) DJ Soul Pause (Twist) Gothic + Industrial + Dark ’80s w/ DJ Courtney (Area 51)

Dueling Pianos (Tavernacle) Scandalous Saturdays w/ DJ Logik (Lumpy’s Highland) Sky Saturdays w/ Kid Conrad (Sky) Top 40 + EDM + Alternative w/ DJ Twitch (Area 51)

KARAOKE

Areaoke DJ Kevin (Area 51) Karaoke (Willie’s Lounge) Karaoke w/ B-Rad (Club 90)

SUNDAY 4/14 LIVE MUSIC

The Jacob Jolliff Band + Michelle Moonshine (Urban Lounge) The Lazlos (Gracie’s) Live Bluegrass (Club 90) Lorin Walker Madsen (Garage on Beck) Lumberjack Fabulous (Woodenshoe Park in Peoa) Muddlepuddle (Park Silly Sunday Market) Richie Furay Band (Egyptian Theatre) Rig Time (Gold Blood Collective) Steel Pulse (The Depot)

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Gunna is having himself a nice little run. From his and Lil Baby’s collab project “Drip Harder,” appearances on Travis Scott’s “Yosemite,” Rich The Kid’s “Fall Threw” and his own Drip or Drown 2 album dropping in February, the 25-year-old rapper has officially wiggled his way into the mainframe of hip-hop listeners everywhere. He isn’t new to the scene by any means, but if you want to find another torch carrier coming out of Atlanta, Gunna’s flame is currently one of the brightest. Just as he floats submerged in designer clothing on the Drip or Drown 2 cover, Gunna’s drowsy tone is much like that—wet, and dripping with character. Gunna’s made strides to enhance his artistry, and he can no longer be categorized as just another one of Young Thug’s disciples. Joining him are Shy Glizzy, out of Washington, D.C., and fellow YSL signee Lil Keed. (Isaac Biehl) The Depot, 13 N. 400 West, 7 p.m., $27.50, depotslc.com

Dueling Pianos (The Spur) Open Blues Jam (The Green Pig) Sunday Night Bluegrass Jam w/ Nick Greco & Blues on First (Gracie’s)

KARAOKE

Karaoke (Tavernacle) Karaoke (Willie’s Lounge) Karaoke w/ DJ Benji (A Bar Named Sue)

MONDAY 4/15

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Karaoke (Poplar Street Pub) Karaoke Bingo (Tavernacle) Karaoke w/ DJ Benji (A Bar Named Sue) Karaoke (Cheers To You)

TUESDAY 4/16 LIVE MUSIC

LIVE MUSIC

Amanda Johnson (The Spur) Failure + Swervedriver + No Win (Urban Lounge) see p. 34 Low Cut Connie (The State Room) see p. 34

DJ, OPEN MIC, SESSION, PIANO LOUNGE Better Off with the Blues (Lake Effect) Industry Night w/ DJ Juggy (Trails) Monday Night Blues & More Jam hosted by Robby’s Blues Explosion (Hog Wallow Pub) Monday Night Open Jazz Session w/ David Halliday & The JVQ (Gracie’s) Open Blues Jam w/ West Temple Taildraggers (The Green Pig)

Andy Black (The Depot) Bri Cauz (Lake Effect) Epic Beard Men + Vockah Redu (Metro Music Hall) Health + Youth Code (Urban Lounge) see p. 36 Sydnie Keddington (The Spur)

DJ, OPEN MIC, SESSION, PIANO LOUNGE Groove Tuesdays (Johnny’s on Second) Locals Lounge (The Cabin) Open Jazz Jam (Bourbon House) Open Mic (The Wall at BYU) Open Mic Night (The Royal) Tuesday Night Bluegrass Jam w/ Pixie & The Partygrass Boys (Gracie’s) Tuesday Night Jazz (Alibi)

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FILM REVIEW

TWITTER @CITYWEEKLY

Past and Present

CINEMA

Transit presents a moral tale that’s part history, part warning. BY SCOTT RENSHAW scottr@cityweekly.net @scottrenshaw

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hristian Petzold’s Transit opens with Georg (Franz Rogowski) sitting in a café, sirens howling on the streets outside. Paris is bracing for an impending occupation by Germany—and the accompanying threat to anyone deemed a subversive—but it’s hard to tell exactly when this story is set. Is it 1940s France, tracking the World War II setting of the Anna Seghers’ source-material novel, with 20th-century technology like manual typewriters? Or is it the present day, as suggested by cars, graffiti and music of a more modern vintage—and nary a reference to Nazis? That uncertainty is a significant part of the subtext of Transit, though the narrative follows a fairly straightforward path. At risk of arrest because of his association with leftist writers, Georg flees Paris for Marseilles with an injured colleague who dies along the way. He’s in possession of documents intended for a writer named Weidel, who has committed suicide, that offer Weidel the possibility of safe passage to Mexico. Upon his arrival in Marseilles, Georg inadvertently finds himself with the opportunity to take advantage of these documents to secure transit out of France by adopting Weidel’s identity, even as he befriends Driss (Lilien Batman), the young son of his dead friend. His relationship with Driss is just one of the interactions that present Georg with a moral choice beyond prioritizing his own safety. Eventually he encounters Marie (Paula Beer), Weidel’s estranged wife, who finds herself pulled back and forth between her own opportunities to flee France and her desire to wait and trust Weidel’s professed intent to return to her. While Petzold could have built the entire narrative around the deception in Georg’s relationship with

Marie—with whom he begins to fall in love, even as he can’t tell her that her husband is already dead, lest he blow his own cover—he doesn’t lean into the potentially tragic romance, or the “when will she find out” plot point. She might be one of the people Georg has to mislead or leave behind to save his own skin, but she’s not the only one. The anchor for these interactions is Rogowski, who offers a deeply internalized character straddling the rapidly closing border between hero and anti-hero. With piercing eyes and a dead-ringer resemblance to Joaquin Phoenix, Rogowski brings a coiled intensity to a character who spends much of the film waiting—waiting in lines at government offices, waiting for the scheduled departure of the boat on which he has secured passage, waiting for someone to open a door. Scene after scene depends on the sense that Georg is wrestling with whose needs he’s willing to prioritize and whose unhappiness he’s willing to cause. As much as it’s a story of Georg’s moral choices, however, it’s also a fairly brilliant study of people’s lives held in the hands of bureaucracy. As Georg makes his way to various consulates to get the documents he requires, he finds himself spotting familiar faces in each subsequent room full of queueing people, all desperate for the papers that can get them to a safe, secure place. Key moments in Transit repeatedly revolve around who has the power to

Franz Rogowski and Paula Beer in Transit

provide the keys to that security and how easily it can be thwarted by the capricious decisions of someone with more power, a sharp metaphor for the way so much of the world—including our own country— deals with refugees. The message perhaps doesn’t require the underlining that occurs when Georg relates one of Weidel’s allegorical stories about the nature of hell, but Transit always understands how much suffering is caused by people choosing to do nothing. Transit ends with Georg sitting in a café, sirens howling on the streets outside. It’s a pointed bookend to the opening scene, tying together a story that is about both the horrors of a bygone time and the horrors so many people face right now. It doesn’t take much to recognize that our current political moment feels a lot like 1940s Europe. You can run from it, the way Georg tries to, but even if you make the right choices, that doesn’t mean you won’t find yourself in exactly the same place over and over again. CW

TRANSIT

BBB.5 Franz Rogowski Paula Beer NR

PAIRS WITH Casablanca (1942) Humphrey Bogart Ingrid Bergman NR

Barbara (2012) Nina Hoss Ronald Zehrfeld PG-13

Phoenix (2014) Nina Hoss Ronald Zehrfeld PG-13

Frantz (2016) Pierre Niney Paula Beer PG-13

CINEMA CLIPS MOVIE TIMES AND LOCATIONS AT CITYWEEKLY.NET

NEW THIS WEEK Film release schedules are subject to change. Reviews online at cityweekly.net HELLBOY [not yet reviewed] Reboot of the comic-book demon (David Harbour) fighting on behalf of humanity. Opens April 12 at theaters valleywide. (R) LITTLE [not yet reviewed] It’s like Big, but reversed, as a woman (Regina Hall) wishes to become her younger self (Marsai Martin). Opens April 12 at theaters valleywide. (PG) MARY MAGDALENE [not yet reviewed] Tale of a woman (Rooney Mara) who becomes a follower of Jesus (Joaquin Phoenix). Opens April 12 at theaters valleywide. (R)

SPECIAL SCREENINGS

TRANSIT BBB.5 See review on p. 42. Opens April 12 at Broadway Centre Cinemas. (NR)

CURRENT RELEASES

THE WIND BB There’s a mysterious chemical balance to great horror cinema between slow-burning suspense, booga-booga scares and thematic undercurrents, and this frustrating collaboration between writer Teresa Sutherland and director Emma Tammi never quite strikes it. Somewhere on the American frontier plains in the 1800s, Lizzy Macklin (Caitlin Gerard) comes to believe that some kind of supernatural force haunts her surroundings, much to the consternation of her skeptical husband, Isaac (Ashley Zukerman). The narrative weaves back and forth in time— between the aftermath of a traumatic event, and the arrival of neighbors (Julia Goldani Telles and Dylan McTee) months earlier—and drips out revelations with an acceptable degree of suspense. Yet there’s a disappointing shortage of real getsunder-your-skin terror and a wispy subtext that flits between gaslighting, the existential loneliness of housewives and some sort of commentary on the consequences of Manifest Destiny. While Gerard and Telles offer strong performances, it would be nice to think that a supernatural thriller will ultimately deliver something unsettling, whether it’s what you’re seeing, or what you’re asked to think about. Opens April 12 at Tower Theatre. (R)—Scott Renshaw

THE INFILTRATORS At Rose Wagner Center, April 17, 7 p.m. (NR) THEY SHALL NOT GROW OLD At Park City Film Series, April 12-13, 8 p.m. & April 14, 6 p.m. (R) WHITE WALLS SAY NOTHING At Main Library, April 16, 7 p.m. (NR)

DUMBO BB Disney’s ongoing self-cannibalization is a problem not because they’re trying to remake perfect films, but because they keep creating duplicates that lack a soul. Director Tim Burton and screenwriter Ehren Kruger set their story in 1919, with the big-eared elephant baby born into a traveling circus and soon discovering his ability to fly. That specific shift is a smart decisions, providing some semblance of a narrative through-line. Yet this is a story so packed with subplots and new characters that it feels like every five minutes, the creative team is trying out something else they hope will stick with an audience. Nobody seems clear that the only reason this story is beloved is because of an adorable, sad, lonely baby elephant. Finding something new in this narrative doesn’t necessarily mean finding something true. (PG)—SR PET SEMATARY B.5 Dr. Louis Creed (Jason Clarke) moves his family to the woods outside a small New England town and discovers things that are meant to be terrifying—fog, strange children, pets behaving oddly—but there’s little fear or even any genuine spookiness when it turns out the forest near their home harbors a preternatural secret. The unexpected deaths that haunt the family, past and present, should be disturbing and moving, but it all leaves us feeling nothing beyond occasional accidental amusement at its

manipulative cheapness and eye-rolling tedium at the straightforward deployment of genre banalities. It’s as if, perhaps, an attempt to find a middle ground between authentic, profound dramatic tragedy and cheesy schlock gorefest settled on a completely unsatisfying middle ground—as if this were preferable to either other option. “Elevated horror” this ain’t. (R)—MAJ SHAZAM! BB At last, a comic-book movie makes it explicit that superhero stories are, at their core, adolescent-male power fantasies. Fourteen-year-old Billy Batson (Asher Angel) is chosen by a wizard (Djimon Hounsou) to be his champion, complete with a spandex-clad grownup body (Zachary Levi) possessing capedcrusader abilities. From the get-go, the premise of Billy’s elevation to superhero is confused at best and suspect at worst; if you squint, you might discern a watered-down motif of “with great power comes great responsibility.” It’s a slog for the movie to get Billy to an encounter with ill-conceived putative villain Dr. Sivana (Mark Strong), who seems to have all the same powers Billy has. He’s just a generic villain—and I guess it’s fair to say he’s as generic as the rest of the clichés here. (PG-13)—MAJ US BB.5 Jordan Peele can’t quite re-create Get Out’s improbable alchemy of comedy, deft allegorical writing and effective horror filmmaking. The story follows a family—Adelaide (Lupita Nyong’o), Gabe (Winston Duke) and their two children—on a vacation where they’re tormented by doppelgangers. Superficial pleasures abound, from Nyong’o’s alternately terrifying/terrified dual performance, to set pieces that inspire both laughs and gasps. But there’s a frustrating hole where the thematic center should be, particularly after Peele’s climax undercuts everything he might be trying to say about the chickens of America’s ignored underclass coming home to roost. He gets so ambitious about building a mythology for jokes and scares that he appears unable to settle on one idea to pull them all together. (R)—SR

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MISSING LINK B.5 He’s a relic from the distant past. No, not Mr. Link (voice of Zach Galifianakis), a sasquatch of the Pacific Northwest, but the Victorian-era adventurer who “discovers” him, Sir Lionel Frost (Hugh Jackman). A cruel, selfish bully, Frost is on a quest to prove his worth to a London gentlemen’s club by bringing a mythic monster before its members in order that they might admit him, and he’s decided on the sasquatch. Perhaps it’s meant to be ironic or amusing that the giant, fur-covered Mr. Link—who is gentle, thoughtful and eloquent—is a better person than Frost, but Frost

is, quite literally, cartoonishly awful, and he’s the hero of this animated children’s movie. The plot ends up making no sense, not least because, enragingly, the most significant journey this movie takes is the one that sees a woman—Adelina Fortnight (the voice of Zoe Saldana), the widow of Frost’s former partner—tasked with the tedious chore of shaping Frost into a better person. Cheap “comedy” (crotch injuries; grossouts; “funny,” “exotic” people) rounds out the retro attitudes. You know, for kids! Opens April 12 at theaters valleywide. (PG)—MaryAnn Johanson

FAMILY FRIENDLY

BY DAVID LEVINSON WILK

ACROSS

1. "Qué ____?" 2. Satanic 3. General idea 4. Having no room for more 5. Tesla, for one 6. Miley Cyrus's "Party in the ____" 7. Bench press target, informally 8. Gathered dust 9. Vile 10. Spiral: Prefix 11. Peerless? 12. Cassiterite, e.g. 13. Caught in a trap 18. ____ of Good Feelings 21. Indonesian tourist destination 23. Karl Marx's "____ Kapital"

55. Clearheaded 58. It lets things slide 59. Heat meas. 60. Vodka in a blue bottle 62. Authority on diamonds? 63. "I think ____" 64. Stock listings: Abbr. 65. '60s hallucinogenic

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.

DOWN

24. Soft & ____ 25. Yang's opposite 26. Actor Patel 27. Little trickster 28. Olive of cartoons 29. Go hurriedly 33. ____ polar (animal del Ártico) 34. "Er-r …" 35. Org. for the Suns and the Heat 36. Neither's partner 39. Start of a kids' clothing line name 40. Winner of 11 World Series, for short 42. Crèche figure 43. ____ Jima 44. Checker of someone's vitals 45. "Zip-a-DeeDoo-____" 46. Direction from Mo. to Me. 47. Give, as homework 48. Place to rehearse 52. Five: Prefix 53. "____ Be the Tie That Binds" (Christian hymn) 54. It may be seeded

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

1. Classifies (as) 5. Recipe amounts 9. Closes 14. Big name in athletic footwear 15. On the briny 16. He said "A lie told often enough becomes truth" 17. Family-friendly 1992 movie? 19. Glazer of "Broad City" 20. Let out at the waist, e.g. 21. Key of Bach's most famous Mass 22. Family-friendly 2003 movie? 27. Apple apps use it 30. Disney mermaid 31. Presided over 32. Family-friendly 1992 movie? 37. Tissue: Suffix 38. Knuckleheads 41. Family-friendly 1981 movie? 47. Biter of Cleopatra 49. "Geez, that just ain't right!" 50. FedEx alternative 51. Family-friendly 2008 movie? 56. Without question 57. "Sunny" egg parts 61. "What have ____ to deserve this?!" 62. Family-friendly 1989 movie? 66. They're kept under wraps 67. "Old MacDonald Had a Farm" sounds 68. Parent company of StubHub 69. 0%, in the dairy aisle 70. Condition once called "shell shock," for short 71. Depend (on)

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asian/ameriCan, Female massaGe tHerapists. LIBRA (Sept. 23-Oct. 22): “Love is no assignment for cowards.” That’s a quote attributed to the ancient Roman poet Ovid. What did he mean? Was he 385.355.1241 foreshadowing the wisdom of pop singer Pat Benatar, who in lmt# 5832053-4701 VISIT OUR WEBSITE! LEOBUYSHOUSES.CO 1983 told us, “Love is a battlefield”? Was Ovid implying that to succeed in the amorous arts we must be heroic warriors prepared to overcome fears and risk psychological dangers? Probably. But I will also point out that it takes as much courage to create fun, interesting togetherness as it does to wrestle with the problems that togetherness brings. You need just as much APPLY IN PERSON bravura and panache to explore the sweet mysteries of intimacy *experience required* as you do to explore the achy mysteries of intimacy. Keep these TAURUS (April 20-May 20): for UNCENCENSORED fun! I hope that sometime soon you’ll acquire a new source of support thoughts in mind as you marshal your audacity to deepen and OTHER or inspiration. Now is a phase of your astrological cycle when expand your best relationships in the coming weeks. Browse and Reply for FREE PLACE you’re likely to attract influences that are in alignment with your ND AMERICAN F deep values. This addition might be a person or animal. It could SCORPIO (Oct. 23-Nov. 21): 801-512-2061 OO EK A RE be a vibrant symbol or useful tool. It might even be a fantasy The literal meaning of the French term jolie-laide is “pretty and www.megamates.com 18+ character or departed ancestor that will stimulate vitality you ugly.” Bloggers at wordsnquotes.com define it as follows: “It’s 469 East 300 South, SLC. haven’t been able to summon on your own. Be on the lookout a fascinating quirkiness that’s irresistible, like a face you want to 469 E AST 3 0 0 S OU T H keep looking at even if you can’t decide whether it is beautiful or for this enhancement. 801-521-6567 O P E N 7 DAYS A W E E K not.” Jolie-laide overlaps with the Japanese term wabi-sabi, which MediaBids_190103_24.indd 1 12/28/2018 5:15:20 PM M O N DAY - S AT U R DAY 7 A M - 1 1 P M describes a person or thing that is lovely because of its imperfecGEMINI (May 21-June 20): S U N DAY 8 A M - 1 0 P M Poet David Hinton analyzed the Chinese word for “poetry.” Its tion and incompleteness. I bring these facts to your attention etymological meaning is “words spoken at the fertility altar.” because I think you have extraordinary potential to be a master BREAKFAST Let’s make that your theme, even if you don’t write or read embodier of both jolie-laide and wabi-sabi in the coming weeks. GREEK OMELETTES, PANCAKES, KITCHEN CREW poetry. I suspect the coming weeks will be a favorable time to FRENCH TOAST, CHOPS, STEAKS $13+ PER HOUR take a vow or utter a solemn intention in front of a homemade SAGITTARIUS (Nov. 22-Dec. 21): SERVERS $3 BASELUNCH fertility altar. The oath you speak might express a desire to As Czech playwright Vaclav Havel (1936–2011) matured, he $20-25 PER HOUR HOMEMADE SOUPS, boost your use of your physical vitality: your lust for life, your became a political dissident who opposed the Soviet Union’s AVERAGE W/TIPS. GREEK SPEICALS, adoration of the natural world or your power to produce new authoritarian grip on his country. Eventually he was a key player BEST GREEK SALADS, SOUVLAKI, human life. Or your vow to foster your fertility could be more in the Velvet Revolution that banished Communism. When GYRO, HAMBURGERS, CHICKEN, metaphorical and symbolic in nature: the imaginative intimacy Czechoslovakia emerged as a new democracy, its people elected HOT AND COLD SANDWHICHES you’ll explore or the creativity you’ll express in future works of him president. Havel later thanked Lou Reed and the band the DINNERS Velvet Underground for fully awakening his liberationist leaderart or the generous effects you want to have on the world. MEZEDAKIA, STEAKS, LEG OF LAMB, ship. He said their unruly music stoked his longing to establish LAMB CHOPS, FISH, KABOBS, PASTA, 5909 S. STATE MURRAY a culture where total creative freedom was possible. I mention CANCER (June 21-July 22): DOLMATHES, MOUSSAKA, CHICKEN 675 E. 2100 S. SUGARHOUSE Christopher Robin Milne was the son of author A.A. Milne, this, Sagittarius, because now is a favorable time to identify the GREEK DESSERTS who wrote the Winnie the Pooh stories. He said there are two music or art or films or literature that might fuel your emancipaBEER AND WINE ways to navigate through life. Either you “take a bearing on tion in the coming months. something in the future and steer towards it, or take a bearing on something in the past and steer away from it.” So in his CAPRICORN (Dec. 22-Jan. 19): view, “There are those who look ahead and pull and those who Capricorn author J.R.R. Tolkien toiled on his masterpiece The -overnight dog boardinglook behind and push.” I’m hoping that in the coming weeks Lord of the Rings for 12 years. Once he finished, it wasn’t pub-cageless dog daycareand months, you will make a delighted commitment to the first lished for more than five years. So 17 years passed between the -dog washing stationsoption: taking a bearing on something in the future and steering time he launched his precious project and the time it reached toward it. I think that approach will inspire you toward the most an audience. I don’t think you will need that much patience in shepherding your own venture to full expression, Capricorn. But interesting success. I hope you’ll summon as much faith in yourself as Tolkien had to rouse in himself. To do so will bring out the best in you! LEO (July 23-Aug. 22): The national animal of Finland is the brown bear. The national 801-683-3647 • www.utahdogpark.com insect is the ladybug, and the national instrument is a stringed AQUARIUS (Jan. 20-Feb. 18): Woods Cross: 596 W 1500 S (Woods Cross) | Airport Location: 1977 W. North Temple instrument known as the kantele. As for the national author, it’s Released in 1998, The Prince of Egypt is an animated film that Aleksis Kivi, who produced just one novel that took him 10 years to tells the story of the Hebrew prophet Moses. In the climactic SALT LAKE write. He also published a short collection of odes and a few plays, event, the hero uses magic to part the waters of the Red Sea, adding up to a grand total of less than 800 pages of work. I think allowing his people to run across the sea floor and escape the that the efforts you make in the coming weeks could have a dispro- army that’s chasing them. To make that seven-minute scene, 28 portionately large impact as well, Leo. What you lack in quantity professional animators labored for 318,000 hours. In the comCITYWEEKLY.NET ing months, you could create your own version of that marvel, will be irrelevant compared to the sheer quality you generate. Aquarius. But you’ll need a team to help you, and that team is not yet ready to go. The coming weeks will be a favorable time VIRGO (Aug. 23-Sept. 22): I follow the blogger Evanescent Voyager because she makes to get it ready, though. City Weekly is looking for a Driver for the me cry with sad joy and exultant poignance on a regular basis. One of her other fans wrote her a love note I could have writ- PISCES (Feb. 19-March 20): SALT LAKE VALLEY AREA. ten myself. It said, “Your emotional brilliance and thoughtful Piscean businessman Steve Jobs testified that taking LSD was Drivers must use their own vehicle, passion break me into pieces and then weave me back together “one of the two or three most important things” he ever did with more coherence than I had before reading you. I revere your in his life. It opened his mind in ways he felt were crucial to his be available Wed. & Thur. alchemical talent for undoing me so you can heal me; for lower- development. What are the three most important things you’ve Those interested please contact ing my defenses so I can be open to your riches; for demolishing ever done, Pisces? I invite you to revisit at least one of them and my habitual trance so you can awaken my sleeping genius.” see if you can take it to the next step of its power to inspire you. I believe that in the coming weeks, life itself will offer to perform What if it has even more to offer you in your efforts to become the person you want to be? these same services for you, Virgo. I urge you to accept!

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ARIES (March 21-April 19): The Qing Dynasty controlled China from the mid-17th century to the early 20th century. It was the fifth biggest empire in world history. But eventually it faded, as all mighty regimes do. Revolution came in 1911, forcing the last emperor to abdicate and giving birth to the Republic of China. I’m inclined to think of your life in 2019 as having some similarities to that transition. It’s the end of one era and the beginning of another; a changing of the guard and a passing of the torch. The coming weeks will be a favorable time to be very active in deciding and visualizing the empire you want next.

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Are You Prepared?

Springtime in the Rockies is terrific. We get four seasons in one day, so we can ski in the morning and golf in the afternoon. And we always get a snow dump of ultra-wet flakes that brings down branches from just about every tree around. Two weeks ago, we had a doozy in Salt Lake City when almost 2 inches of moisture fell overnight. Combined with precipitation from the other storms last month, that’s 2 inches more water than we usually get in March. With global warming keeping us wet, I predict we’ll have another one or two dumpers before the valley says goodbye to our famous white stuff. As I drove to my office that Friday morning, I saw several cars smashed to smithereens under huge downed limbs and trees. I know way too many folks who lost power during the early morning hours. Rocky Mountain Power reported that more than 18,000 residents in the capital city lost power as a result of the storm, and almost 4,000 didn’t get it back until more than 24 hours later. Local LDS saints are told to prepare for disasters and assemble an emergency food supply in case of the end of days. Let’s just say most of us don’t have more than a small cupboard of canned foods and a freezer stocked with frozen microwavable meals. Without power, though, milk goes bad and you can’t nuke your dinner. Even in summer, the power can go out and emergencies can occur. We all might do well to be a bit more prepared. Sure, you can invest in a small generator, but there are simpler ways to prepare for disaster. For example: 1. In the event of a fire, flood or earthquake, call the power company to check on outages. 2. Avoid opening and closing your fridge and freezer often. Food should last 24 to 36 hours if you keep the doors mostly closed. 3. Keep fuel for your barbecue handy, but never light your grill indoors. 4. Keep emergency candles and a few flashlights with good batteries in an area every household member can remember. 5. Search online or at local stores for 72hour kits that include food and survival items. Go to redcross.org for suggestions on making your own preparedness kit. 6. Always have a dash kit in case you have to run from home with a stash of cash, copies of IDs and passports, batteries, cords, extra keys, blankets, shoes and clothes. 7. Finally, make sure you have pet carriers, diapers, feminine hygiene products, toilet paper, food and water for three days. Don’t forget your meds, and backup any important documents on a USB stick. n Content is prepared expressly for Community and is not endorsed by City Weekly staff.

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WEIRD

Mystery Solved Along the Iroise coast in Brittany, France, residents have been puzzled by a mysterious phenomenon for more than 30 years. Broken pieces of orange plastic landline phones in the shape of the cartoon character Garfield have been washing up on the beach. BBC News reports the mystery has now been solved: A local farmer remembered the phone parts started showing up after a particularly fierce storm in the early 1980s, and, more important, he also knew the location of a lost shipping container—in a sea cave accessible only at low tide. Members of the Ar Viltansou anti-litter campaign climbed down to the cave and found not only the remains of the container, but also more Garfield phones, preserved better than any that had made it to the beach. The container cannot be removed, so officials have pledged to keep picking up Garfield phones as they wash ashore. Unclear on the Concept Bystanders at Moscow’s Domodedovo Airport got an unexpected show on March 23 when an unnamed man made his way through Ural Airlines flight registration, then suddenly stripped off all his clothes and ran onto the jet bridge. A fellow passenger told REN TV: “He shouted that he was naked because clothing impairs the aerodynamics of the body. He flies with more agility when undressed.” The nude man, who hails from Yakutsk but lives near Moscow, was intercepted by airport staff before he made it to the plane and turned over to police, then moved to a hospital. Witnesses said he did not appear to be drunk.

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Suspicions Confirmed Two employees of an Enterprise Rent-a-Car store in Arnold, Mo., couldn’t figure out why they suddenly felt dizzy and shaky on March 14, but after visiting an urgent care, they were transferred to a nearby hospital, KMOV reported. Police Lt. Clinton Wooldridge said officers questioned an unnamed 19-year-old Enterprise employee who admitted he put LSD in the water bottles of two of his co-workers, as well as in a third worker’s coffee cup, because they had “negative energy.” The two affected workers were fine after the drug wore off, and law enforcement is waiting for lab results before charging the young man, possibly with second-degree assault and possession of a controlled substance. n The nerve! Solange Troncoso paid $1.99 for a bag of TGI Fridays Sour Cream & Onion Potato Skins at a Bronx convenience store in June 2018. On March 27, she filed suit against TGI Fridays in the U.S. District Court of the Southern District of New York, claiming that the company misleads consumers because the snacks contain potato flakes and potato starch—but no skins. According to Reuters, Troncoso claims she and other consumers have been defrauded into buying an “inferior product.”

Awesome! Along the border between Mexico and the United States, the battle over a wall rages on. But one Los Angeles artist has taken matters into his own hands. Inspired to “Make America Grate Again,” Cosimo Cavallaro is repurposing blocks of expired cotija, a hard cheese from Mexico, to build his own wall in Tecate, Calif. Cavallaro’s wall is 5 feet high, and he hopes to make it about 1,000 feet long, he told the Los Angeles Times. “To spend all this money to keep dividing the countries, I think is a waste,” Cavallaro said. “You see the waste in my wall, but you can’t see the waste in (Trump’s) $10 billion wall, which in time will be removed? It sounds cheesy, but just love one another.” Police Report Seventeen Chicago police officers raided a home on Feb. 10 with a search warrant in hand as a 4-year-old child’s birthday party was underway. The suspect they sought hadn’t lived at that address for five years, WLS TV reported, but that didn’t stop officers from smashing the birthday cake, trashing the apartment and pointing guns at the birthday boy and his 7-year-old sister, who has now developed a fear of police officers, according to her mother. None of the contraband items listed in the warrant were found at the home. On March 26, the family filed a civil rights lawsuit in federal court. Send tips to weirdnewstips@amuniversal.com

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Seriously? At Palapas Tacos in Anaheim, Calif., the menu is presented in English and Spanish, which proved to be a bridge too far for one customer on March 25. On that day, a Monday, the unnamed man saw a sign advertising “Fish Tacos for $1.99 All Day” under the heading “Especial de Viernes,” or Friday Special. He became upset when he found out he couldn’t get the Friday special on Monday, yelling, “That’s bullshit! It says it in Mexican. We’re not in Mexico. We’re in America! ... I’m an American!” Palapas’ owner Juan del Rio followed the man outside to talk with him, but the man pulled out his phone, saying he was going to call “Immigration! Because you’re not legal!” “I just feel like it’s sad that there’s people [who] actually think like that,” del Rio told FOX 11. “But over a taco?”

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Fashion Victim I hate when this happens: Jarred Randal Womack, 37, agreed to exchange pants with another man in Boulder, Colo., on Jan. 22, but after the trade, he decided he didn’t like the other man’s pants after all, so Womack stabbed the man in the back. Detectives investigating the incident later found the pants in question soiled with feces, which “could be the reason for the altercation,” according to the police affidavit. The Daily Camera reported that Womack was eventually charged with first-degree attempted murder, two counts of first-degree assault and robbery; the stabbing victim sustained life-threatening injuries.

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Every Day’s a Holiday You don’t need to be celebrating a birthday to get a special cake these days. In Nashville, bakers at Signature Desserts made the news in early March when they filled an order for a woman trying to sweeten the deal for her husband, who was undergoing a vasectomy. FOX 17 reported the cake was decorated with lemons and read, “100% Juice, No Seeds. Happy Vasectomy!” The pleased recipient “loved it!” according to his wife. The news outlet also reports that doctors see a big spike in vasectomies during the NCAA basketball tournament, when men have a constant source of entertainment as they heal.

Mistaken Identity Passengers on a Melbourne, Australia, commuter train dove under seats, cried and texted their loved ones on March 28 when police locked down the Flagstaff Station in response to a report of a man with a rifle case acting suspiciously, according to the Associated Press. As it turned out, Will Austin, a busker aboard the train, was performing breathing exercises in advance of playing his didgeridoo—an indigenous wind instrument that Austin was carrying in a long bag. Oblivious to police wearing body armor and carrying assault rifles, Austin admitted “I probably looked pretty suspicious, I suppose, just waltzing around and slowly walking out” before officers stopped him to search his bag. Nothing to see here.

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2 CAR GARAGE BLITZ!

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Special Pricing Includes: 20' x 24'

Concrete footing & Floor; Building Material & Labor; 30 Year Roof; 2 Car Garage Door; 1 Entry Door & 1 Window

HURRY!

$14,990 Includes Concrete!

If you don’t want to pick it up - I do!

If it were me, I’d call me

The scent of Sandalwood, Soft music and a Relaxing Massage.

Sale Absolutely Ends EXP: 5/31/19 Last Sale Before Winter

GARAGES · SHOPS · BARNS · CUSTOM SHEDS

· We do plans and get permits! · Custom designs to match your home

Call today for a free estimate

801-842-3300

www.bonfirebuilding.com

$10 or $15/wk depends on yard size & location

Prefer Big Dogs

ch.bron1588@gmail.com 801-673-4372

MASSAGE

Defending DUI’s For Over 30 Years

(801) 627-1110

Vicki Nielson LMT 801.755.9510

CASH FOR JUNK CARS! • NO TITLE NEEDED!

SLC 652 S. REdwood 801-886-2345

Mention this AD for 10% OFF • TREE TRIMMING & REMOVAL • STUMP GRINDING • 24/7 EMERGENCY SERVICES

DIAMOND TREE

EXPERTS

FREE ESTIMATES 801-262-1596

SALT LAKE - DAVIS WEBER - UTAH

DiamondTreeExperts.com

G2 Secure Staff is

NOW HIRING at Salt Lake City Airport! Apply online at

careers.G2SecureStaff.com Positions and shifts vary from $8-$13.50/hr For questions, email: jarteaga@g2securestaff.com

$300 Sign-on Bonus

$500

Referral program

Beautiful Tall Blonde Melony will do full body rubdowns with lotions, showers are available. My working hours are Monday-Thursday from 12 noon - 7 pm. I answer all phone calls, but I don’t do texting on phone, My cell phone number is 385.335.7587

Sell Your Car Today With One PhOne Call

• We Make “House Calls” • Simple and Hassle Free • Paid For or Not • Quickly Sell Your Car, Truck or Van • Have a Check About 15 Minutes After We Arrive

WE PAY CASH

WE’LL EVEN PICK IT UP TEARAPART.COM

801-560-9933 WWW.CARSOLDFORCASH.COM

763 W. 12th St 801-564-6960

Busy executive individual is seeking a personal assistant. Our company is a fourthgeneration family-owned company providing design, build, finance, operation and outfitting services. We are looking for the right applicant who is personable, friendly and has great computer and communication skills. Hours are 25-30 hrs weekly. Salary is $25/hr. Applicant should apply to jobinquiries@mail.com

Springtime at

Glover Nursery

“It’s Worth Your Time To Call”

Call or Text 24/6

OGDEN

Funerals weddings Birthdays make someone ’ s day

Art l a r o l F

The Mon-Sat 8am-7pm Sunday 10am-5pm 9275 S 1300 W 801-562-5496 glovernursery.com

801-363-0565 580 E 300 S SLC theartfloral.com