Fort Worth Weekly // December 20-26, 2023 by Fort Worth Weekly

December 20-26, 2023 FREE fwweekly.com

The 2023 Panthies

You shoulda been there Sunday night. Our Music Awards were a big ... hit. B Y

FWF+WF Don’t buy your favorite foodie another apron — gift them an experience at the Fort Worth Food + Wine Festival. BY LAURIE JAMES

A N T H O N Y

M A R I A N I

EATS & DRINKS At the new Crescent Hotel in the Cultural District, Emilia’s is a fancy, fab retreat. BY EDWARD BROWN

ART MUSIC The Amon Carter’s new class In which we list our of community artists looks favorite tracks of the year. B Y W E E K LY M U S I C S TA F F to make an impact. BY EDWARD BROWN

FO R T WO R T H W E E K LY

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DECEMBER 20-26, 2023

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Volum e 1 9

N umber 35

D ecember 20 -26, 2023

INSIDE

STAFF Anthony Mariani, Editor Lee Newquist, Publisher Bob Niehoff, General Manager Ryan Burger, Art Director Jim Erickson, Circulation Director Edward Brown, Staff Writer Emmy Smith, Proofreader Michael Newquist, Regional Sales Director

Eat, Drink, Be Merry

Jennifer Bovee, Marketing Director

By Cole Williams

By Weekly Music Staff

CONTRIBUTORS Christina Berger, E.R. Bills, Jason Brimmer, Buck D. Elliott, Juan R. Govea, Patrick Higgins, Laurie James, Kristian Lin, Cody Neathery,

The Amon Carter’s latest class of arty proselytizers readies for ’24. By Edward Brown

FWWMA23 And the winners are... on page 22!

Cover photo by Juan R. Govea

Clintastic, Brand Ambassador

Wyatt Newquist, Steve Steward, Teri Webster,

Community Artists

Top Spotty

Patrick, Steve, and Johnny offer their favorite tracks of the year.

Wyatt Newquist, Digital Coordinator

Ken Wheatcroft-Pardue, Cole Williams

EDITORIAL

BOARD

Anthony Mariani, Edward Brown, Emmy Smith

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Godzilla Minus One is the emotional experience we didn’t know we needed.

Tony Diaz, Account Executive

DECEMBER 20-26, 2023

Just Breathe

Julie Strehl, Account Executive

FO R T WO R T H W E E K LY

By Laurie James

Stacey Hammons, Senior Account Executive Cour tesy Amon Car ter Museum of American Ar t

A ticket to the FWF+WF is more than just a stocking stuffer.

FWF+WF

Don’t buy your favorite foodie another apron –– gift them an experience at the Fort Worth Food + Wine Festival. J A M E S

The original festival board members joined chefs at the Chefs Gathering in 2014.

Doug Renfro runs the 83-year-old company that his grandparents started with cousins Becky Renfro Borbolla and James Renfro. Doug said that their grandfather worked for a grocery distributor in Fort Worth during the Depression and started a business out of his home in the 1940s initially focused on producing syrup — “no maple trees were harmed,” Renfro said. And that turned into making chow chow, “a slow-moving item, specific to the South,” according to Renfro. If you’ve sampled the Southern pickled relish of garden odds and ends, you may know why it wasn’t an immediate success. Mrs. Renfro’s officially became a taco sauce company in the 1970s with four flavors: mild, medium, hot, and green. With the third generation came some creativity. Renfro said the company that continued on page 5

Tr a c y A u t e m P h o t o g r a p h y

FO R T WO R T H W E E K LY 4

culinary-industry hopefuls. Kirkpatrick, who also serves as chair emeritus of the foundation, said that over the last nine years, FWF+WF supporters raised $325,000 for scholarships and restaurant-employee relief. For the last six years, the foundation has also honored local chefs, businesses, and culinary innovators with the Walter F. Kaufmann Lifetime Achievement Award. Kauffman was legendary in town, both as the owner of The Swiss House and for his service to many food-related boards, including the Tarrant Area Food Bank. The acknowledgement is a genuine nod to a community food-and-beverage superstar. This year’s award went to Renfro Foods, now operated by the third generation of Renfro grandchildren. Kirkpatrick said that the sixth recipients of this award are ambassadors who “put Fort Worth on the map worldwide and in over 30 countries.”

into the Austin Food and Wine Festival in 2011. In 2014 with the support of pretty much everyone in the food-and-beverage industry and City Hall, the inaugural FWF+WF launched all across town, from The Worthington to Pier 1 headquarters and from Billy Bob’s Texas to Panther Island. Earlier this month, I caught up with Kirkpatrick to reminisce about how much has changed and how many things remain as the festival enters its 10th year. From trucks in the dirt at Panther Island and desserts at midnight to cleaver selfies and intimate dinners with the best chefs, all the hoopla serves a dual purpose. In addition to promoting the area’s food-and-beverage scene, the festival is a fundraiser for the FWF+WF Foundation, a nonprofit that supports the training of and educational opportunities for the next generation of chefs, restaurateurs, and other Cour tesy Facebook

My two favorite giving opportunities in Fort Worth this time of year are The Greatest Gift Catalog Ever and the Fort Worth Food + Wine Festival (FWF+WF). Both allow the giver (in this case, perhaps you) to gift something to someone who doesn’t need another plastic thing that continues to contribute to our trade deficit. The Greatest Gift Catalog Ever (TGGCE.org) allows the giver (in this case, perhaps you) a streamlined opportunity to donate to one of 16 local charities. Whether your loved one’s heart beats for helping educate a kid, granting a wish, or taking care of stray animals, the list is vetted and ready to go. Because this is a food column, we’ll focus on the FWF+WF. If you’ve read about a restaurant in this publication, chances are that the chef has participated in this fourday spring culinary extravaganza. And the bonus is that your ticket purchase actually benefits local culinary students. Celebrating a decade of creating oneof-a-kind culinary experiences for even the most jaded foodie, the festival started when co-chair Russell Kirkpatrick (then part of management at Reata Restaurant) began a community discussion around promoting Fort Worth’s food-and-beverage scene. The proposed event wasn’t the first of its kind: The Texas Food & Wine Alliance had been hosting a get-together in the Texas Hill Country since the 1990s which morphed

L A U R I E

DECEMBER 20-26, 2023

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B Y

Chef Jon Bonnell, a backer of the FWF+WF since its inception in 2014, brought some friends on ice to promote the event in 2015.

The chuckwagon event at Panther Island in 2014 has morphed into Ring of Fire at Clearfork.

Feature

Nancy Farrar

started selling syrup down the street now sells craft-beer salsa, habanero salsa, and even a ghost pepper salsa nation- and worldwide. This summer when I was visiting relatives in a small town at the edge of Skokomish Nation in Washington State, we found Mrs. Renfro’s Nacho Cheese Dip in the local convenience store. “We get to see what my grandparents didn’t see,” Renfro said. “My grandpa never made it to California, and we sell products in Morocco.” Every year since 2013, the festival has brought hundreds of Fort Worth chefs, students, and food-and-beverage experts and thousands of foodies together, and each successive year, the FWF+WF has continuously expanded in stretch and scope –– except for the COVID closures of 2020, when the foundation spotlighted relief efforts for local restaurants and their employees. In the festival’s first year, I volunteered at the family-friendly food truck event at Panther Island. Kirkpatrick reminded me that the initial excursion was called “Meals on Wheels” and that Panther Island was the only place that food trucks could roll into. Since then, the FWF+WF has consolidated the majority of events into Heart of the Ranch at Clearfork and has adopted an over21 policy.

Laurie James

continued from page 4

The original BBQ event (now called Ring of Fire) was originally held at the Will Rogers Memorial Center.

The FWF+WF was doing food trucks before food trucks were cool.

Burgers, Brews + Blues, Kirkpatrick said, “is the only event that has stayed the same, in the same location, from Year 1 to now.” The FWF+WF began expanding outside the confines of the designated weekend within the first few years, with events during the fall (Shooting with the Chefs, which

pairs outdoorsy skeet shooting with local chefs’ small plates) to last year’s collaborative Noche Del Sol dinner with Chefs Juan Rodriguez (Magdalena’s) and Tiffany Derry (Dallas’ Roots Southern Table and a perennial cooking contest favorite). Kirkpatrick said that spreading out helps the organizers deal with “all the moving pieces on top of

the already busy festival weekend.” Managing those pieces isn’t easy. Sometimes volunteers are clearing one event while other volunteers are setting up another, everyone practically on top of one another. To manage some of the historical favorite events, compromise was needed. continued on page 6

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Feature

Laurie James

Night Market, a beloved evening event with mixologists and light bites, was formerly held the Thursday before the festival at TX Whiskey Ranch. This year, Night Market kicked off the festival last month at The Shack at Panther Island. To control the chaos of an ever-increasing number of events, as well as augment scholarship funds from the FWF+WF, the foundation also produces more intimate opportunities in which attendees can theoretically enjoy a little extra facetime with the chefs involved. “We wanted to keep the concept of the sit-down dinners for people who don’t want to walk around in the dirt at Heart of the Ranch,” Kirkpatrick said. One of several highly anticipated, higher-priced, fancier soirees this year is Beyond Borders: A Culinary Journey at TX Whiskey Ranch. In collaboration with Texas Monthly, three James Beard-recognized chefs — Don Artemio’s Rodrigo Cárdenas, Austin restaurateur Michael Fojtasek, and Tom Perini of Perini Ranch — will produce “an unforgettable evening of cross-cultural gastronomy” in January. Tickets are also on sale for The Reserve Wine Tasting at the Modern Art Museum of Fort Worth in March. The repeat evening is

Laurie James

continued from page 5

Diners went home with these cute souvenir wine glasses in 2016.

anchored by what Kirkpatrick calls “stuff that can’t be poured at a festival” paired with light passed appetizers from Café Modern’s Chef Jett Mora. One criticism of the festival is that the cost in time, food, and personnel is prohibitive for smaller restaurants. Since 2021, a $500 stipend has been meant to offset some of that expense. Kirkpatrick also points to partnerships with culinary schools “to get the booths a few extra hands” so that indie

eateries can have a presence at the weekend festivities without having to encumber entire staffs. “It’s an attempt to help those who aren’t the Jon Bonnells, who don’t have the resources, and would possibly have to close to attend,” Kirkpatrick said. “It is a big ask for restaurants to participate. Anything we can do, we will.” Another criticism is that the least expensive events are still $85 a ticket (Tacos

The 2023 Food + Wine Foundation Walter F. Kaufmann Lifetime Achievement Award goes to Renfro Foods, who sell Fort Worth products everywhere, including at a tiny convenience store in Washington State.

+ Tequila on a Thursday night and Rise + Dine on a Saturday morning). If you want to get involved but don’t have the dough for you and your partner, the festival actively courts volunteers to make all these events run. Last year, it took more than 200 volunteers about 2,200 hours to do so. As a thank you for volunteering for a 6-8-hour shift, you’ll be continued on page 7

FO R T WO R T H W E E K LY

DECEMBER 20-26, 2023

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continued from page 6

DECEMBER 20-26, 2023

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Chef Ben Merritt helped promote the FWF+WF during the year of the “cleaver selfies,” 2016.

FO R T WO R T H W E E K LY

From Pier 1 headquarters, the FWF+WF brunch event Rise and Dine is now at Clearfork.

Cour tesy Facebook

Fort Worth Food + Wine Festival April 4-7, 2024, at Heart of the Ranch in Clearfork, 5000 Clearfork Main St, FW. $55-250. FWFWF.org.

Tr a c y A u t e m P h o t o g r a p h y

offered a ticket to another event. Volunteer slots open in February, and everyone must be over 21. Visit FWFWF.org/get-involved/ volunteer. Whether you gift the tickets to a loved one or use them yourself (putting on your eating pants counts as therapy, right?), tickets for the Friday and Saturday night shindigs tend to sell out quickly. Core events for the 10th Annual FWF+WF include Tacos + Tequila April 4; The Main Event April 5; Rise + Dine and Burgers, Brews + Blues April 6; and Ring of Fire: A Next-Level Cookout April 7. All events will be at Heart of the Ranch in Clearfork. Then you can feel virtuous about supporting the local food-and-beverage scene and the next generation of young’uns who want to sustain it. l

MERRY CHRISTMAS

Black Nativity

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said, with an average monthly commitment of several to 10 paid hours. The 2024 outreach team is illustrator and art educator Colleen Borsh, author-illustrator Stuart Hausmann, painter and illustrator Anna Joy Pham, and collagist and acrylic painter Kelsha Reese. In recent years, Blake said she began involving museum departments outside of her education branch to encourage more members of the Amon Carter team to collaborate with the community artists. The members of the 2024 class come from varied artistic backgrounds. Hausmann, for example, is a children’s book author whose 2023 debut was published by one of the Big Five. By representing other, perhaps nontraditional media, he and the other community artists show how art is a lot more than what you can simply hang above the sofa.

Blake said bringing in outside artists from diverse backgrounds demystifies the museum’s work in the eyes of people who traditionally may not have interacted with an art museum outside of in-person tours. “We have had wonderful K-12 programs on-site” for many years, Blake said. “One of the big goals I had since joining was expanding the work the Carter did in the community.” School districts in Mineral Wells, Brock, and other small North Texas cities are less able to bus students to the Cultural District, Blake said, due to tighter academic schedules, longer travel times, and four-day school weeks, so the Carter Community Artists will spend additional time driving to far-flung campuses. The 2024 community artists will also help draft museum literature, lead drawing classes, visit community

Cour tesy Amon Car ter Museum of American Ar t

When Amanda Blake launched the Carter Community Artists in 2017, she did so based on lessons she learned from her previous work at the Dallas Museum of Art. “I thought the most beneficial and fun [events] were when we brought in an artist,” said Blake, who is now director of education at the Amon Carter Museum of American Art. Six years ago, the Amon Carter had a robust system for busing students to the museum but fewer options for accessing the community outside of the Cultural District. The basic Carter Community Artists idea hasn’t changed, she said. It’s just that the scope of the venture has evolved. Every fall, the Amon Carter reviews around two dozen applications to select four artists to be integrated into the museum’s programming with a special emphasis on education. The workload varies month to month, Blake

Kelsha Reese lives a dual life as an educator and active visual artist.

Stuart Hausmann said art museums were always intimidating to him as a child, and he hopes to be a friendly face welcoming folks of all ages inside.

centers, and augment museum events, among other tasks. While Blake launched the venture with a focus on educating children, the community artists now also engage adults and families. The education aspect of the community artists project really appeals to Reese, who grew up on the East Side in a single-parent household. She looks forward to working with underserved youths. “I enjoy listening to the stories they bring,” she said. “I am giving them an outlet to be themselves. Many of them are having to be the head of the household because they are missing a parent. They may have to pretend to be tough, but with me, they can be free.” Reese’s childhood years came with challenges, but she benefited from a strong mother and grandmother who supported her artistic ambitions that have now gravitated toward collage. The artform is something that she’s “falling in love with,” she said, because she’s “creating a juxtaposition between the subject matter and the materials used — Black women are expected to be seen as strong and powerful, but paper is fragile. That juxtaposition is interesting to me. My art is about reclaiming narratives we are used to hearing and reclaiming the power of being a Black woman.” As a teenager, Hausmann got nervous every time he walked into a museum. As a Carter Community Artist, he hopes to be a “smiling, friendly” face of the institution. “Museums can be intimidating,” he said. “I’m motivated to do anything I can to alleviate that.” With each new class of Carter Community Artists, the alumni base grows, Blake said, adding that past participants are often invited back to lead programs and work with museum staff. “We like to say, ‘Once a Carter Community Artist, always a Carter Community Artist,’ ” Blake said. l

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B Y

DECEMBER 20-26, 2023

The Carter Community Artists program begins its sixth year with an expanded focus on serving locals of all ages.

FO R T WO R T H W E E K LY

Reaching Out

Cour tesy Amon Car ter Museum of American Ar t

ART

fwweekly.com DECEMBER 20-26, 2023 FO R T WO R T H W E E K LY 10

Experience the light and color of France Closing January 28

The exhibition is organized by the Kimbell Art Museum and The Phillips Collection. It is supported in part by Frost, the Texas Commission on the Arts, the Fort Worth Tourism Public Improvement District, and by an indemnity from the Federal Council on the Arts and the Humanities.

Promotional support provided by Pierre Bonnard, Dining Room in the Country (detail), 1913, oil on canvas. Lent by the Minneapolis Institute of Art, The John R. Van Derlip Fund. © 2023 Artists Rights Society (ARS), New York

SCREEN

W I L L I A M S

Who’d have thought one of the year’s best movies would be a Godzilla film? Me, for one. I’ve been loving these things since before I could speak, and I know how well the stories they tell, the spectacle they show, and the titular monster can resonate with people and entertain them. But Godzilla Minus One goes deeper than perhaps any entry save the haunting original, not just settling for exciting monster action but going all in on a moving story that touches poignantly on both universal and distinctly Japanese themes. This latest entry from Toho Studios — like their last, 2016’s Shin Godzilla — has no connection to the original 1954 Gojira. Minus One takes place even earlier, right after WWII. The country of Japan is slowly rebuilding and healing from wounds inflicted not just by the Allied military and the atomic bombings of Hiroshima and Nagasaki but by the sickening suicide-attacking mindset of its old militaristic government. A former kamikaze pilot returning to Tokyo, Koichi (Ryunosuke Kamiki) finds his home city devastated by firebombing, his parents dead,

characters’ relatable struggles and solid writing and acting, we care about their plight. Kamiki’s performance as Koichi anchors the movie, showing the shame and guilt he feels via slouched posture and slight glances, before nightmares of his early encounter with Godzilla send him into panic attacks. This also makes every victory he gains, from getting a steady job to making friends with the crew of the ship he’s on, that much more engaging. It seems as if he and others might be able to put the past behind them and heal. And then Godzilla emerges. Beginning with a thrilling boat chase that evokes Jaws and moving toward his inevitable attack on Tokyo, the movie tightens a noose of tension around the audience’s throat. Nearly invulnerable and equipped with perhaps the most destructive version of his atomic breath yet, this is one of the scariest versions of the King of the Monsters ever shown. With no self-defense force to stop him and with the Americans absent keeping the Soviets at bay, what can a country full of barely-scraping-by, trauma-inflicted survivors like Koichi do in the face of a nuclear-powered living natural disaster? What they can do amounts to one of the most moving and inspiring films of the year. As many former soldiers and other

characters come out from under a military and government that viewed their lives as expendable, they learn to live again in the face of a monster that doesn’t just represent the horrors of nuclear war but also their shared trauma. With a musical score that both chokes you with dread and dares you to hope, accompanied by new renditions of Godzilla’s classic theme, you’ll find yourself gripping your seat and, maybe like me, holding your breath — and also maybe shedding a tear or two along the way. Some might find the story bordering on melodrama, but other than that, about the only thing missing is some good ol’ fashioned giant-monster pugilism — fans can look forward to that in next year’s Godzilla x Kong: The New Empire. So, for everyone wanting a movie to make you deal with and feel deep themes, all alongside one of cinema’s greatest creations, you can’t ask for much more than Godzilla Minus One. l

Godzilla Minus One Starring Ryunosuke Kamiki, Minami Hamabe, Kuranosuke Sasaki, and Hidetaka Yoshioka. Written and directed by Takashi Yamazaki. Rated PG-13.

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C O L E

and all the neighbors blaming soldiers like him for failing to stop it all from happening. Wearing survivor’s guilt like a shroud, Koichi forms a found family with Noriko (Minami Hamabe) and the infant she’s caring for (Sae Nagatani), and he finds a dangerous job dismantling unexploded mines. However, it’s not just the war that haunts Koichi. Near the end of it, he landed on a remote island and encountered a creature that had risen up from the depths and slaughtered his fellow soldiers. A creature the locals called “Godzilla.” A creature that has since been mutated by nuclear bomb tests and is headed directly for Tokyo, ready to smash an already suffering country from a state of “zero” into the negative. If that sounds more like a slice-of-life drama than a monster movie, it is, and it’s a great one. Director Takashi Yamazaki, who also handled the special effects on Shin Godzilla, is perhaps best known for directing the Always: Sunset on Third Street films, a series chronicling the lives of people on the titular street during Japan’s postwar boom (and whose second installation began with a dream sequence involving the Big G), so he’s at home handling period-piece dramas. And he makes the most of the setting with a simple yet involving story. Thanks to the

DECEMBER 20-26, 2023

B Y

The King of the Monsters returns to terrorize Japan.

FO R T WO R T H W E E K LY

Likable characters, deep themes, and monstrous action make Godzilla Minus One a must-see.

To h o S t u d i o

KaijuSized Feels

Jaune Quick-to-See Smith:

MEMORY MAP

FO R T WO R T H W E E K LY

DECEMBER 20-26, 2023

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October 15, 2023–January 21, 2024

MODERN ART MUSEUM OF FORT WORTH 3200 Darnell Street • Fort Worth, Texas 76107 • 817.738.9215

themodern.org

This exhibition was organized by the Whitney Museum of American Art, New York. Pictured: Jaune Quick-toSee Smith, The Rancher, 2002. Acrylic and charcoal on canvas, 72 ¹/₄ × 48 ¹/₈ inches (183.5 × 122.2 cm). Hood Museum of Art, Dartmouth College, Hanover, New Hampshire; purchased through the William S. Rubin Fund 2005.13. © Jaune Quick-to-See-Smith. Photograph courtesy the Artist and Garth Greenan Gallery, New York

Drake Milligan plays Billy Bob’s Texas with Music Awards nominees Hazard County on New Year’s Eve.

of the Year 2023 Party in the Haltom Side Stage room with DJ P is 7pm Fri, Dec 29 (admission is $10), and the KISS tribute act Rock and Roll Over will perform with The Argonaut and Music Awards nominees Novakain at 7pm on New Year’s Eve. Tickets start at $30 at Eventbrite.com. Grammy winner, Tejano songstress, and Panthy nominee Monica Saldivar will perform with Texas Latino, Los Musicos, and Pression at the New Year’s Eve Bash at Kazadorez Venue (2010 E Lancaster Av, Fort Worth, 817-846-9206) at 7pm. Tickets start at $40 at TXVenue.com.

For the fifth year in a row, best country and Tejano winners the Squeezebox Bandits will perform at The Post at River East (2925 Race St, Fort Worth, 817-945-8890) at 10pm, this time with Mitchell Ford. Tickets continued on page 14

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Two of Music Awards nominees, Big Heaven and The Troumatics, are playing with Sunny Disposition at the Eve of New Year’s Eve Party at Magnolia Motor Lounge (3803 Southwest Blvd, Fort Worth, 817-3323344) — winner for best music club — at 9pm on Sat, Dec 30. Admission is $10. For NYE at MML, Joey Green will play along with Tyler Bond at 7pm. Tickets start at $25 at OuthouseTickets.com.

DECEMBER 20-26, 2023

Rock and metal fans should gather next weekend at the Haltom Theater (5601 Belknap St, Haltom City, 682-250-5678). This best-venue #FWWMA23 nominee has two big year-end shows on the books. The End

FO R T WO R T H W E E K LY

Music Awards best tribute winners Poo Live Crew are playing the Rockin’ in the New Year Party at Birdie’s Social Club (2736 W 6th St, Fort Worth, @BirdiesSocialClub) at 9pm. Tickets start at $10 at Prekindle.com.

Cour tesy Drake Milligan

Pinball wizards, head to the New Year’s Eve Arcade Party at Electric Starship Arcade (5620 Denton Hwy, Haltom City, 817-4796366) from noon to midnight. For $10, receive an all-day pass for gameplay starting at noon with more than 100 retro arcade games set to free. The party starts at 8pm for those 21 and up with music by Vic-20. A variety of beers and more than 25 kinds of ciders along with hot dogs, Frito pies, nachos, and popcorn will be available for purchase.

Cour tesy Facebook

You have two weekends to decide what you’re doing for New Year’s Eve (Sun, Dec 31). Along with the shows submitted by our 2023 Music Awards nominees (#FWWMA23), there are great options all over town. Here’s what I’ve found so far in and around the Fort. You’re welcome.

The New Year’s Eve Party at Billy Bob’s Texas (2520 Rodeo Plz, Fort Worth, 817624-7117) features Drake Milligan on the Main Stage and Music Awards nominees Hazard County on the Honky Tonk Stage. Doors open at 6pm, giving you ample time to eat at the Honky Tonk Kitchen, shop at Billy Bob’s gift store, and check out some live bull riding at this year’s best music venue before the first note rings at 8pm. Tickets start at $45 at BillyBobsTexas.com.

You wanted the best, you got the best NYE show at Haltom Theater with KISS tribute act Rock and Roll Over. 13

Free Gallery Admission Every Friday

FO R T WO R T H W E E K LY

DECEMBER 20-26, 2023

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Galleries open until 8 pm

The Modern Lights November 24–February 2

Friday Night Dinner Seating in Café Modern from 5–8:30 pm

Friday Night Films 4, 6, and 8 pm MODERN ART MUSEUM OF FORT WORTH 3200 Darnell Street • Fort Worth, TX 76107

www.themodern.org

continued from page 13

start at $33 at TixR.com and include complimentary champagne for the midnight toast and some breakfast tacos. With NYE falling on a Sunday, you can also catch #FWWMA23 best DJ nominee Reckless 1 in his natural habitat at the new Wonder Bar Fort Worth (910 Currie St, Fort Worth, 817-776-3174) starting at 7pm. No cover! I’ll meet you back here next week with some New Year’s Eve events in other parts of North Texas. To submit your shows for potential future listings, please email Jennifer@FWWeekly.com. As for who won all those Panthies at our 2023 Fort Worth Weekly Music Awards ceremony a few days ago, check out this week’s Music section. If you’re reading this online, visit https://bit.ly/FWW_The2023Panthies.

Cour tesy Facebook

FRIDAY NIGHTS at the MODERN

Crosstown Sounds

Grammy Award-winning Tejano songstress Monica Saldivar performs at Kazadorez Venue on New Year’s Eve.

By Jennifer Bovee

FO R T WO R T H W E E K LY

DECEMBER 20-26, 2023

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GIOVANNI’S I TA L I A N K I T C H E N

B O O K YO U R H O L I D AY R E S E R VAT I O N S C AT E R I N G AVA I L A B L E 5733 crowley rd • fort worth tx 76134

FO R T WO R T H W E E K LY

DECEMBER 20-26, 2023

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817.551.3713 | GIOVANNISFW.COM

Emilia’s, 3300 Camp Bowie Blvd, FW. 817-6611855. 7am-2pm and 5pm-10pm daily. S T O R Y A N D P H O T O S E D W A R D B R O W N

B Y

For discerning diners, Fort Worth has two new destinations right near each other. Both upscale developments boast lavish hotel rooms, bars, and exceptional fine-dining experiences. Bowie House, located just west of the Amon Carter Museum of American Art, plays off Texas’ Western flare, showcasing

continued on page 19

With juicy meat, crispy skin, and a few charred veggies, Emilia’s pollo al mattone tantalizes.

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The new Crescent Hotel houses a dining hotspot that truly shines.

DECEMBER 20-26, 2023

Elegant Emilia’s

FO R T WO R T H W E E K LY

EATS & drinks

cowboy-inspired decor, while the chic aesthetic of The Crescent Hotel-Fort Worth would fit comfortably in any modern city. Chef Preston Paine, whose career has taken him to major cities across the country, oversees a handful of eateries and lounges at The Crescent (the second hotel of its kind outside Dallas), including Emilia’s. Located on the ground floor, the hotel’s main dining attraction offers an unobstructed view of Camp Bowie Boulevard and the broader Cultural District — to gently remind you of the prime real estate beneath your feet. Ample glass, metal, and light-colored wood define much of the interior, while burnt orange and emerald velvet-covered seats, along with a handful of large colorful artworks, lend a visual pop to the two spacious dining rooms. Near the bar resides an intimate lounge area and a single TV likely tuned to sports or sports talk. Mercifully, the volume was either very low or on mute from what I could make out on my first visit. At the time, the circular bar was bustling. Cocktails and wine were the beverages of choice for all the dressed-up couples around me. The Crescent Martini (Belvedere vodka, dry vermouth, orange bitters), served with a lemon peel garnish, featured a generous pour of spirits which left me lightly tipsy and relishing the clean, citrusy aftertaste. The main course, pollo al mattone (chicken roasted on clay), centered on two perfectly cooked wings and half a breast served with a few charred caulilini. Flavored

FO R T WO R T H W E E K LY

DECEMBER 20-26, 2023

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Hefty and rich, Emilia’s rigatoni burst with garlic, tomato, and beefy flavors.

Emilia’s Crescent Martini is a smooth-sipping pleasure.

Heavy on flavor and immaculately plated, Emilia’s dry-aged beef tartare makes for a great start to the meal.

Eats & Drinks

Emilia’s offers several pasta options, including dense, filling rigatoni. The mound of thick, perfectly chewy noodles arrived doused in a hearty meat sauce and topped with dollops of ricotta. The rich blend of garlic, tomato, and beef was simple and delicious. One of several starters, the dry-aged beef tartare exploded with beefy flavor. The bits of meat packed into a puck shape glistened

beneath a salty, lemony crown of diced herbs that added a welcome zing. Thick potato chips provided a sturdy platform for scooping up the succulent cuts. Service was polite but sometimes uneven, which may be because the restaurant only recently opened. Still, the overall experience was delightful. The Crescent Hotel-Fort Worth is uniquely designed to accommodate refined palates, cocktail

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Emilia’s Pollo al mattone ......................................... $33 Rigatoni ...................................................... $25 Dry-aged beef tartare ................................ $22 Crescent Martini ........................................ $18

DECEMBER 20-26, 2023

with lemon and tinged with salt from green olives, the crispy skin and juicy meat kept moist by a puddle of oil had me craving every next bite.

lovers, and lounging sports fans — a lofty goal and one that may pay off in an ever more competitive local dining scene. l

FO R T WO R T H W E E K LY

continued from page 17

MUSIC Our Top Spins of ’23

Some local, some national, all killer — here’s what the little green dot and actual physical media say thrilled our writers this year.

FO R T WO R T H W E E K LY 20

It’s the time of year we all look forward to. We work hard all year long with one simple goal in mind: make it to this moment. It is without a doubt the greatest segment of the annual calendar. I’m speaking of course of Spotify Wrapped time, that ego-stroking date when we turn into little Anthony Fantanos, no doubt impressing the adoring masses with the staggering breadth of our vast musical consumption — how anti-commercial, irreproachable, and diverse our taste. We bask in the hard-earned esteem from our friends, family, and followers for our meticulously catered, carefully refined top artists and songs of the past 365 days. Quick sidenote: Spotify is irredeemably vile. It’s an industry-killing monopoly whose business model is based purely on stealing labor and creativity simply to generate profits for people whose sole purpose on this planet is profit generation and who are otherwise completely uninvolved in any way with the artistry of the product elevated by the platform. Which makes it a quintessentially American business model. However, as with Amazon, Disney, and AT&T, good luck finding a comparable and more ethical alternative. Like Crocs™ and Timothée Chalamet, the green dot app is, we suppose, a sort of necessary evil. Artists, especially local ones, just do not have any other options that have the reach that Spotty does. They’re left with no choice but to put their work out there essentially on spec. Let’s just hope most of the app’s users, like us, actually also go to shows and buy physical media to support the artists we listen to at home or in the car when we can. Below are some of our favorite acts that tickled our eager ears in a variety of media in 2023. — Patrick Higgins Cour tesy Bandcamp

DECEMBER 20-26, 2023

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B Y P A T R I C K H I G G I N S , S T E V E S T E W A R D , A N D J U A N R . G O V E A

Patrick’s Faves

Though I do my best to listen to actual records like a proper, self-righteous, middle-aged

hipster, Spotify, admittedly, is just too convenient, especially for checking out local artists who either don’t have physical releases or aren’t on Bandcamp. Which, unfortunately, is most of them. My listening habits with the app tend to center around playlists with various artists so even my top song of the year — “Snowman,” the lead single from Blonde Redhead’s first new album in nine years — was played only, like, 15 times. Along with that track, it should never be a surprise to find “Dreams” by Fleetwood Mac among my top listens. It’s basically a perfect song, and I simply don’t give a fuck if it’s overplayed or has enjoyed more than one viral moment on TikTok, which has undoubtedly contributed to its being overplayed. I’ve loved it since I was a kid, I’ll never tire of it, and I’ll probably still listen to it at least a couple times a week. Best air drum song — ever. Yes, even better than “In the Air Tonight.” Nor is it surprising to find Coltrane or Pink Floyd or Blaze Foley or any of the other timeless artists that have become essential to my musical soul occupying some of my top spots, yet I am always intrigued by the oneoffs and randos. Due to my kids somehow linking my account with their Alexa smart speakers and hijacking my otherwise impeccable tastes, I’ve had my algorithm challenged to square those artists above with the likes of Miley Cyrus’ “Party in the U.S.A,” Journey’s “Don’t Stop Believing,” and some EDM dude I’ve never heard of called Marshmallow. Then there’s my son’s penchant for Rick Rolling, a gag he’s, uh, probably never gonna give up that has undoubtedly further lined Rick Astley’s pockets in the process of confusing Spotify’s robot curators. Least surprising is the number of locals who found their way to the top of my listens this year. Of course, there’s local singer-songwriters Cameron Smith and Eric Osbourne — I not only have the pleasure of occasionally backing them onstage, but I am easily among their biggest fans. Smith’s two singles this year, “Under the Cover of Darkness” and “Poison Summer,” and Osbourne’s EP When … would have been in steady rotation even if I wasn’t involved with them. There’s also soulful Fort Worth singer/keyboardist Katie Grace Robertson, whose debut song, “Just to Say,” was my favorite track of the summer. I could reside in the E minor vamp at the end for days. The album I was most excited for this year was by industrial/horror rockers All Clean. The twisted metal brainchild of Fort Worthian Zachary Edwards proved worth the five-year wait. As chilling as it is blistering, Down from the Inner Work drew blood from my ears as reliably as it fried my brain. The artist with the second most spins on my Spotty this year behind Blonde Redhead — the New York dream-pop/noise-rock trio is my very favorite band — is Spring Palace. Their debut EP Whatever Happens had two tracks in my Top 5 most played. Hooky harms, clever guitar lines, and a constantly moving bass? It’s as if the Fort Worth continued on page 21

Steve’s Faves

Cour tesy Bear Family Records

At the end of every November, when Spotify presents me with its annual Wrapped list of my 100 Top Songs, I always feel a little surprised and suspicious of the app’s tracking. For instance, in 2020, I know I listened to the Golden Girls theme probably more than most people that year (except for maybe Art Tooth’s Shasta Haubrich), but did I listen to it enough for it to come into the No. 1 slot? One year — maybe 2021? — I seem to recall finding a Jason Aldean song in that year’s Wrapped list, which is shocking given that I have never even made it to the end of a single one of his songs in my life. That brush with the dipshit avatar of Bro Country was enough to keep me from poisoning my algorithm with willy-nilly larks or accidental taps, which is why I have vigilantly avoided even thinking about Taylor Swift while my Spotify account is running. But what’s weird is how my memory of what music soundtracked my life every year is different from Spotify’s record. Does that make me an unreliable narrator? Or does Spotify just kind of gaslight you into thinking you gave Oliver Anthony a chance? This year, I expected to find Insane Clown Posse’s “Hokus Pokus” capering around my Top 100, but apparently my 2023 listening habits did not appear to Spotify to be down with the clown. I can attest that the top spot on my list, “Entering Darkness,” off cinematic vaporwave composer Ron Cannon’s 2018 album Passage, scored many a moment of my 2023. I run two regular D&D games most weeks, and rather than the soaring, epic scores of fantasy properties such as Lord of the Rings or The Witcher, I prefer stuff that sounds like an ’80s horror movie. Cannon, along with other composers like The Night Monitor and Terrortron, produce ominous synth-heavy scores to movies that don’t actually exist, making them choice for when I’ve burned myself out on John Carpenter, Charles Bernstein, and Tangerine Dream. Thus, “Entering Darkness” checks out. So does Son of Stan, the local power-pop outfit of which I am a member which returned to the stage in April following a

Juan’s Faves

Spotify Wrapped says I listened to more than 4,000 artists this year. Below are just a few, local and national, that I feel may be of interest to you. I can never get enough of Denver Williams & The Gas Money. Williams and his gang released a new EP of their hooky and adroit indie-rock earlier this year called Sing Along. A single from which, “Key Lime Pie,” won song of the year in our 2023 Music Awards. And rightfully so. Williams has been playing tunes for several years in our city and is also a wizard at guitar, a skill that saw him take home honors for best guitarist at the awards as well. Another great local artist I’ve enjoyed having in my ear is Matt Tedder. I own his album I Can Dream You on vinyl and absolutely cherish it. It still gets several spins on my turntable. Tedder’s sound is bluesy and original, with guitar riffs and smooth vocals that I can’t get enough of. It’s no wonder that he also took home a Panthy for best album this past weekend. I’m a sucker for hardcore punk, and Fort Worth’s Phorids hits me in all the right angsty, angry spots. Sadly, the West Coast-style hardcore outfit was forced to disband earlier this year after the sudden passing of guitarist Shannon Greer from a blood disorder. They had just released their only album, Feel the Pressure. It’s heavy with lyrics and titles that tackle themes of rebellion and societal injustices, keeping with the tradition the punk genre is known for. I also love Australian indie rocker Courtney Barnett. Her smart story-songs are guaranteed a play if I’m feeling down. Her latest album is a soundtrack to a documentary describing her musical career called Anonymous Club. I can’t wait to see it. — Juan R. Govea l

RIDGLE A THE ATER SAT 1/6 PALE PRO WRESTLING SAT 4/27 CARVIN JONES SPECIAL 35TH ANNIVERSARY SHOW RIDGLE A ROOM SAT G I R L S N I G H T O U T 1/13 M A G I C H U N K S

FRI L I L 2 Z & P E S O P E S O 1/26 T E X A S TA K E D O W N FRI D A V I D R U S T 1/27 1ST TEXAS APPEARANCE!

RIDGLE A LOUNGE

FRI 12/29 LUCYLUVSFUR

ACOUSTIC SET

SAT 1/27 HOTEL BURGUNDY

GORGEOUS JETSON & CROWE BOYS

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Cour tesy Bandcamp

three-piece created their sound around a checklist of my favorite musical features. Departing from Spotify to Bandcamp (the only service where I can find his stuff) is BLKrKRT (pronounced “blacker carat”). Having discovered the sample-based producer’s chill and enveloping beats a few years ago, I’ve been a big fan ever since. I’ve probably given him more engagement than I did the “Lo-fi Beats to Study To” playlist on YouTube when I was in college. Luckily, the prolific Fort Worth beatmaker releases an album just about every other month, so there’s always plenty to check out. – Patrick Higgins

three-year hiatus. That I listened to set’s worth of tracks from SOS’s entire catalog is evidence that I practiced for the shows, but when did I listen to this “... And the Gods Made War” by Massachusetts stoner-rock band Black Pyramid? I couldn’t tell you what it sounds like (besides slow and heavy, I assume), but supposedly I heard it enough for it to find its way onto my list. I do recall playing plenty of Bongzilla, Bongripper, and Beelzebong, all of which were adequately represented, yet nothing by NOFX is, and I know (or I think I know) that I played at least three or four of their albums about 700 times each in anticipation of their show in San Jose in September. And what about the beautifully heartbreaking “Poison Summer” by Cameron Smith? When Smith dropped that single in August, it hit me like a killer whale falling out of the sky, over and over again, because I played the shit out of it. I guess I must have been using Bandcamp. Who can say for sure? – Steve Steward

DECEMBER 20-26, 2023

continued from page 20

FO R T WO R T H W E E K LY

Music

MUSIC

Producer Nick Tittle

DJ Artist DJ Soft Cherry

Punk Band Mean Motor Scooter

Drummer John Paul Thomas, Broke String Burnett

R&B/Soul Group 4 Ya Soul

Folk Act Jacob Furr Band

Regional Act Texas Flood

Guitarist Denver Williams, The Gas Money

Rock Band Royal Sons

Hip-Hop Artist 88 Killa

Song “Key Lime Pie” by Denver Williams & The Gas Money

New Band One-Eyed Monsters

Sound Engineer (tie) Clay Anderson, Mark Randall Tejano Band Squeezebox Bandits Tribute Band Poo Live Crew Video “Key Lime Pie” by Denver Williams & The Gas Money Female Vocalist Simone Nicole Male Vocalist Blake Parish, Royal Sons Open-Mic Night The Cicada, Open-Mic Night with Tommy Luke

Americana/Roots Band Cut Throat Finches

Bassist Kris Luther, Arenda Light

Country Band Squeezebox Bandits

Metal Band One-Eyed Monsters

Music Club Magnolia Motor Lounge Juan R. Govea

FO R T WO R T H W E E K LY 22

Pop Act Simone Nicole

Keyboardist Katie Robertson

Album I Can Dream by Matt Tedder

Avant Garde/Experimental Band The Go-Go Rillas

Blues Band Matt Tedder

Juan R. Govea

More than 200 rowdy souls piled into the Ridglea Theater Sunday night for our 22nd (or 23rd) Annual Fort Worth Weekly Music Awards, and in addition to the performances and partying, we, as always, handed out some Panthies — lots of them. Royal Sons won for best rock band while our readers also chose 88 Killa for best hip-hop and Squeezebox Bandits for both Country and Tejano. Matt Tedder’s I Can Dream was voted album of the year, and Denver Williams & The Gas Money’s “Key Lime Pie” took home top song. Check out all the winners below. Also receiving tiny panther heads were our Hall of Famers. For his decades opening and operating venues and managing artists (and making a lot of music in different bands on his own), Ryan Higgs was inducted, and Andre “Dre” Edmondson joined him as part of the 2023 class for his decades running sound all over town, including at Friday on the Green and Lola’s. We also presented Amplify 817 with an honorary award for the work they do promoting Fort Worth artists every day The performances kept the party going all night. Denver Williams & The Gas Money, The Grae, and Averi Burke melted faces along with house band the Cowtown Dugouts (James Hinkle, Matt Tedder, Andrew Skates, Sean Russell, Nick Tittle, J/O/E, Abel Castillo, Jeremy Hull, Steve Hammond, Max Kusin, and Jason Davis). And our MCs Greg Spicoli (KNON’s Reckless Rock Radio) and Ian Mac (The Great Unwashed podcast) did a stellar job moving things along with a smile. Thanks to Juan R. Govea for these photos and additional reporting. Until next year …

Juan R. Govea

M A R I A N I

Music Venue Billy Bob’s Texas

Juan R. Govea

A N T H O N Y

DECEMBER 20-26, 2023

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B Y

Juan R. Govea

You shoulda been there Sunday night. Our Music Awards were a big … hit.

Juan R. Govea

The 2023 Panthies

CLASSIFIEDS

employment public notices / services

Texas Commission on environmenTal QualiTy

Consolidated Notice of Receipt of Application and Intent to Obtain Permit and Notice of Application and Preliminary Decision Air Quality Standard Permit for Concrete Batch Plants Proposed Registration No. 174461 Application. WFO LLC, has applied to the Texas Commission on Environmental Quality (TCEQ) for an Air Quality Standard Permit, Registration No. 174461, which would authorize construction of a concrete batch plant located at 4700 North Main Street, Fort Worth, Tarrant County, Texas 76106. This application is being processed in an expedited manner, as allowed by the commission’s rules in 30 Texas Administrative Code, Chapter 101, Subchapter J. AVISO DE IDIOMA ALTERNATIVO. El aviso de idioma alternativo en espanol está disponible en https://www.tceq.texas.gov/permitting/air/newsourcereview/airpermits-pendingpermit-apps. This link to an electronic map of the site or facility’s general location is provided as a public courtesy and not part of the application or notice. For exact location, refer to application. https://gisweb.tceq.texas.gov/LocationMapper/?marker=-97.359438,32.831811&level=13. The proposed facility will emit the following air contaminants: particulate matter including (but not limited to) aggregate, cement, road dust, and particulate matter with diameters of 10 microns or less and 2.5 microns or less. This application was submitted to the TCEQ on October 27, 2023. The executive director has completed the administrative and technical reviews of the application and determined that the application meets all of the requirements of a standard permit authorized by 30 TAC § 116.611, which would establish the conditions under which the plant must operate. The executive director has made a preliminary decision to issue the registration because it meets all applicable rules. The application, executive director’s preliminary decision, and standard permit will be available for viewing and copying at the TCEQ central office, the TCEQ Dallas/Fort Worth regional office, and at the Saginaw Public Library, 355 West McLeroy Boulevard, Saginaw, Tarrant County, Texas 76179, beginning the first day of publication of this notice. The facility’s compliance file, if any exists, is available for public review at the TCEQ Dallas/ Fort Worth Regional Office, 2309 Gravel Dr, Fort Worth, Texas. Visit www.tceq.texas.gov/goto/cbp to review the standard permit. Public Comment/Public Meeting. You may submit public comments or request a public meeting. See Contacts section. The TCEQ will consider all public comments in developing a final decision on the application. The deadline to submit public comments or meeting requests is 30 days after newspaper notice is published. Issues such as property values, noise, traffic safety, and zoning are outside of the TCEQ’s jurisdiction to consider in the permit process. The purpose of a public meeting is to provide the opportunity to submit comments or ask questions about the application. A public meeting about the application will be held if the executive director determines that there is a significant degree of public interest in the application or if requested by a local legislator. A public meeting is not a contested case hearing. If a public meeting is held, the deadline to submit public comments is extended to the end of the public meeting.

Mailing List. You may ask to be placed on a mailing list to receive additional information on this specific application. See Contacts section. Information Available Online. For details about the status of the application, visit the Commissioners’ Integrated Database (CID) at www.tceq.texas.gov/goto/cid. Once you have access to the CID using the link, enter the registration number at the top of this notice. Contacts. Public comments and requests must be submitted either electronically at www14.tceq.texas.gov/epic/eComment/, or in writing to the Texas Commission on Environmental Quality, Office of the Chief Clerk, MC-105, P.O. Box 13087, Austin, Texas 787113087. Please be aware that any contact information you provide, including your name, phone number, email address and physical address will become part of the agency’s public record. For more information about this application or the permitting process, please call the TCEQ Public Education Program toll free at 1-800-687-4040 or visit their website at www.tceq.texas.gov/goto/pep. Si desea información en Español, puede llamar al 1-800-687-4040. Further information may also be obtained from WFO LLC, 260 North FM 148, Crandall, TX 75114-3811 or by calling Mr. Josh Butler, Principal Consultant, Elm Creek Environmental, LLC at (469) 946-8195. Notice Issuance Date: December 18, 2023

DECEMBER 20-26, 2023

TCEQ Action. After the deadline for public comments, the executive director will consider the comments and prepare a response to all relevant and material, or significant public comments. The executive director’s decision on the application, and any response to comments, will be mailed to all persons on the mailing list. If no timely contested case hearing requests are received, or if all hearing requests are withdrawn, the executive director may issue final approval of the application. If all timely hearing requests are not withdrawn, the executive director will not issue final approval of the permit and will forward the application and requests to the Commissioners for their consideration at a scheduled commission meeting. The Commission may only grant a request for a contested case hearing on issues the requestor submitted in their timely comments that were not subsequently withdrawn. If a hearing is granted, the subject of a hearing will be limited to disputed issues of fact or mixed questions of fact and law relating to relevant and material air quality concerns submitted during the comment period. Issues such as property values, noise, traffic safety, and zoning are outside of the Commission’s jurisdiction to address in this proceeding.

FO R T WO R T H W E E K LY

A person who may be affected by emissions of air contaminants from the facility is entitled to request a hearing. To request a hearing, a person must actually reside in a permanent residence within 440 yards of the proposed plant. If requesting a contested case hearing, you must submit the following: (1) your name (or for a group or association, an official representative), mailing address, daytime phone number; (2) applicant’s name and registration number; (3) the statement “[I/we] request a contested case hearing;” (4) a specific description of how you would be adversely affected by the application and air emissions from the facility in a way not common to the general public; (5) the location and distance of your property relative to the facility; (6) a description of how you use the property which may be impacted by the facility; and (7) a list of all disputed issues of fact that you submit during the comment period. If the request is made by a group or association, one or more members who have standing to request a hearing must be identified by name and physical address. The interests which the group or association seeks to protect must be identified. You may submit your proposed adjustments to the application which would satisfy your concerns. See Contacts section.

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Contested Case Hearing. You may request a contested case hearing. A contested case hearing is a legal proceeding similar to a civil trial in state district court. Unless a written request for a contested case hearing is filed within 30 days from this notice, the executive director may approve the application.

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FO R T WO R T H W E E K LY 24

The business records of the following customers of ACCESS INFORMATION MANAGEMENT (or any affiliates of ACCESS) located at 630 N. Freeway, Suite 300, Fort Worth, TX 76102 have been abandoned: SPS FAMILY PARTNERSHIP LTD and SAGECREST HOSPITAL OF GRAPEVINE. All records will be shredded 16 days after publication of this notice. Anyone claiming to have an interest in the records should contact Access Information Protected in writing at the following address: 500 Unicorn Park Drive, Suite 503, Woburn, MA 01801, Attn: Legal Department, Tel. No. (888) 869-2767 (Client Support); email: Collections@accesscorp.com.

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THE RIDGLEA is three great venues within one historic Fort Worth landmark. RIDGLEA THEATER has been restored to its authentic allure, recovering unique Spanish-Mediterranean elements. It is ideal for large audiences and special events. RIDGLEA ROOM and RIDGLEA LOUNGE have been making some of their own history, as connected adjuncts to RIDGLEA THEATER, or hosting their own smaller shows and gatherings. More at theRidglea.com

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EMPLOYMENT CorVel Healthcare Corp. seeks Senior Systems Administrator in Fort Worth,Texas 76109 (Various Unanticipated Worksites) to manage & maintain extensive Storage & SAN Infrastructure in 2 Datacenters. Reqs. Master’s degree or foreign equiv in Computer Science, Computer Engineering or rel. field & 2 yrs’ post-baccalaureate exp. as Database Engineer, DevOps Engineer or rel. role. Exp. must incl. AWS cloud services (EC2, ECS, ECR), Simple Scalable Storage (S3), RDS, Identity Access Management (IAM), Virtual Private Cloud(VPC), Auto scaling groups(ASG), Elastic Load balancer (ELB), Elastic Beanstack (EBS) Route53, & JSON. Position will be headquartered in Fort Worth, Texas, but is a telecommuting position, allowing for remote employment from various unanticipated worksites throughout the U.S..Email resume: GM-Symb-Careers@corvel.com

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