City Weekly March 17, 2022 by Copperfield Publishing

CONTENTS COVER STORY

ALL THAT UTAH JAZZ Finding the great American art rorm in Salt Lake City. By Thomas Crone

Cover design by Derek Carlisle

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OPINION A&E DINE CINEMA MUSIC COMMUNITY

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

Editorial Contributors KATHARINE BIELE ROB BREZSNY JOHN RASMUSON MIKE RIEDEL ALEX SPRINGER

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Salt Lake City Weekly is published every Thursday by Copperfield Publishing Inc. We are an independent publication dedicated to alternative news and news sources, that also serves as a comprehensive entertainment guide. 15,000 copies of Salt Lake City Weekly are available free of charge at more than 1,800 locations along the Wasatch Front. Limit one copy per reader. Additional copies of the paper can be purchased for $1 (Best of Utah and other special issues, $5) payable to Salt Lake City Weekly in advance. No person, without expressed permission of Copperfield Publishing Inc., may take more than one copy of any Salt Lake City Weekly issue. No portion of this publication may be reproduced in whole or part by any means, including electronic retrieval systems, without the written permission of the publisher. Third-class postage paid at Midvale, UT. Delivery might take up to one full week. All rights reserved.

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SOAP BOX The ‘Wrong’ Questions Need to Be Asked

Latter-day Saint leader Brad Wilcox recently addressed controversial topics at a speech in Alpine. In the subsequent barrage of social-media reactions, many found his remarks to be, at best, insensitive and ignorant and, at worst, condescending and bigoted. Perhaps the most derogatory remarks dealt with the faith’s former priesthood ban on Black men. “Maybe we’re asking the wrong questions,” Wilcox said. “Maybe instead of saying, why did the Blacks have to wait until 1978, maybe what we should be asking is, why did the whites and other races have to wait until 1829?” For Wilcox to imply that white church members have experienced a comparable degree of suffering and oppression to Black members is an egregious dem-

onstration of revisionist history. He also tackled the issue of women and the priesthood. “How come women aren’t ordained to the priesthood? Maybe we’re asking the wrong questions. Maybe we should be asking, why don’t they need to be?” Echoing the sentiments of other leaders, Wilcox reassured women that they possess all priesthood blessings, so it doesn’t matter that they cannot serve in priesthood leadership positions. And it is interesting that questions exposing inequity and oppression are “wrong,” whereas questions that serve to justify church policies are “right.” “So what is it that sisters are bringing with them from a premortal life that men are trying to learn through ordination,” Wilcox asked. This premise furthers longstanding LDS claims that women are inherently more virtuous than men, and thus do not need the priesthood.

@SLCWEEKLY Also eliciting widespread opposition was his statement that other religions are simply “playing church.” “They’re sincere. They want it to count,” Wilcox said. “But they don’t have the authority. They don’t have God’s permission.” Despite the wounds his remarks inflicted, I credit Wilcox for publicly apologizing, something that LDS leaders sparingly do. “To those I offended, especially my Black friends, I offer my sincere apologies, and ask for your forgiveness,” Wilcox said. “I am committed to doing better.” Still, many have concerns that his apology was more a response to public scrutiny than a genuine expression of remorse, particularly because Wilcox has presented the same message in previous speeches. In addition, his apology never walked back the racist belief that God was responsible for the priesthood ban to begin with. As Black LDS author Zandra Vanes put

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it, “I don’t know why we are more comfortable calling God racist than a man racist.” While it is difficult to speculate on the sincerity of his apology, it is easy to observe the effects of Wilcox’s remarks. The racist, sexist and condescending ideas Wilcox expressed expose deep-seated prejudices and bigoted ideologies that must be acknowledged and taken seriously. And most importantly, such harmful rhetoric must no longer be tolerated in a church that aspires toward love, understanding, and acceptance. KEITH BURNS

Mount Vernon, New York

Care to sound off on a feature in our pages or a local concern? Write to comments@cityweekly.net or post your thoughts on our social media. We want to hear from you!

THE BOX

What do you need help with most often? Benjamin Wood

I can’t smell very well. I’m constantly asking my wife if the milk has spoiled.

Katharine Biele

I would say my sanity, but I’ll be truthful and say opening jars and bottles. Whoever thought up these “child”-proof caps?

Scott Renshaw

Answering poll questions like this.

Chelsea Neider

Picking up dead animals in the yard. I cry and can’t do it. The birds always like to die in my yard.

Bryan Bale

Transportation. Cars are too expensive, public transit takes too long and my bicycle won’t let me carry very much.

Carolyn Campbell

I admit I need help leaving the house on time.

Eric Granato

Remembering to eat. I rarely get that hungry feeling until it’s too late.

Thomas Crone

Pretty much weekly, I’m given an ad hoc tutorial on the directional street grid. Despite the good will of my teachers, I’m a lost cause.

Paula Saltas

Excel spreadsheets.

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OPINION

Ode to Joy

Joy is an act of resistance. That line popped up in a Pandora advertisement, bold as a flourish of herald trumpets in the midst of another winter of discontent at the hands of the Utah Legislature. It gave pause. I wondered: If joy is indeed volitional, could it be called upon to forestall the bouts of anger I feel when the legislators return to the Capitol and begin to scheme? I was still thinking about how joy might be willed when this headline in The New York Times caught my eye: “Yale’s Happiness Professor Says Anxiety Is Destroying Her Students.” The article was about Laurie Santos, a Yale professor whose 10-week, online course—The Science of Well-being—has attracted more than 3 million people. Twenty-five percent of the Yale student body enrolled in Santos’ inclass version, and her “Happiness Lab” podcast has been downloaded 35 million times. I spent a few minutes Googling Santos before moving on to “Happiness.” I found two types described in the literature—hedonic and eudaemonic. Hedonic is the state of happiness that results from pleasure maximized, pain minimized. Eudaemonic happiness is associated with selfactualization, a subject for another day. Hedonic happiness is subjective. I shrink from sports bars and Twitter, but singing is as pleasurable as a game of pickleball. I think back to a Sunday crowd of Unitarians gathered to hear Robert Fulghum, a renowned minister, give a sermon. Now in his mid-80s, Fulghum is famous for his bestselling book, All I Really Need to Know I Learned in Kindergarten. At one point in a spellbinding sermon—to illustrate a point I cannot remember—he began to sing the “Ode to Joy” melody from Beethoven’s Ninth Symphony—“La La La La… .” Finishing, he asked the congregation to sing with him

BY JOHN RASMUSON and began the ode again. A few people joined in tentatively. Then, more and more began to sing. Soon, most were singing confidently. By the third time through, voices rose in a triumphal crescendo, eyes welled up. It was a joyful moment sourced in iconic, joyful music. Fulghum’s sermon left the Unitarians aglow. A similarly affecting experience was a concert in Boston in 2004. Peter, Paul and Mary (PP&M) performed for an audience of a few hundred graying Boomers in return for a donation to John Kerry’s presidential campaign. The nostalgia in the theater was palpable. A second encore brought the trio back to the stage, and without any introduction, they strummed the opening chords of “Puff the Magic Dragon.” The audience took up the lyrics spontaneously and PP&M yielded: They stopped singing but kept playing their guitars. The audience sang every verse and chorus, word for word. Afterward, they left the theater wiping their eyes, having sung a song about lost youth in the company of the no-longer-young. I don’t consider theirs a joyful experience, per se—whereas I think it was for the Unitarians. So, if not joy then, what did the PP&M audience feel? Was it pleasure? Happiness? Contentment? It is an important distinction. Contentment is the source of joy, the dictionary says, and the denotation of “contentment” describes a hybrid noun derived from satisfaction and happiness. The pursuit of happiness is like peddling a bike into a headwind because of “cultural forces telling us that we are not happy enough,” Santos says. We chase one pleasurable moment after another on a hedonic treadmill. Our happiness is torqued by external events—a TikTok video, an above-average alpine snowpack or a high-handed scheme by legislators—but the resultant change in the level of our happiness is short-lived. We adapt to the up-

ticks or downturns but soon revert to our pre-event state, back on the treadmill. A final memory illustrates the point. My wife and I took a hot-air balloon trip along the coast of Maine a few years ago. The treetop flight ended in a rough landing, and we became the ground crew willy-nilly, muscling the deflated balloon across a field to a waiting truck. From launch to load, the balloon’s hedonic cycle was brief. So were the impromptu singing sessions with Fulghum and PP&M. They lifted my hedonic happiness level for no more than a few hours. I conclude that like a flash mob, joy is episodic—a fleeting, orgasmic moment, a shout, a spike on a graph, an exclamation mark, a texted “w00t” or a spasm of groans. All signal an encounter with a hedonic event. Some bring joy; others elbow joy aside. Utah’s Republican legislators like to meddle in areas congruent with their self-interest. If I could counter the unhappiness they inflict—sweep it aside like a storm clears the pollution from Utah’s air—I surely would. In my own self-interest, I would try to jack up my hedonic happiness level on the Legislature’s first day and keep it aloft like a kite in a steady wind for the following 45. But could my joy also serve as an act of resistance to the legislators’ meddling? It is an attractive idea for these troubled times. I think Santos might argue that if you want to deploy joy defensively, you must first be grounded in a state of contentment. Achieving contentment is what her many students are seeking. Sleep and exercise help, says Santos. So do mindfulness, writing in a gratitude journal and random acts of kindness. One of Fulghum’s kindergarten lessons is: “Live a balanced life—learn some and think some and draw and paint and sing and dance and play and work every day some.” But it does take work, Santos says emphatically, “because it is hard.” CW Private Eye is off this week. Send feedback to editor@cityweekly.net

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HITS&MISSES BY KATHARINE BIELE @kathybiele

MISS: Barrels Loaded

We’re always curious as to why anyone thinks we must “defend” the Second Amendment, but whatever the reason, Utah’s Sen. Mike Lee is all over it. “We write to express our grave concern over the Bureau of Alcohol, Tobacco, Firearms & Explosives’ (ATF) continued pattern of enforcing secret guidance,” he and 19 other Republican senators wrote recently. Apparently, someone somewhere received threatening letters about buying or owning certain firearms accessories, none of which are illegal. It was unclear whether any action had been taken, but the emails seem to reference silencers, which are legal but regulated. Still, it’s comical to think the Second Amendment is in some kind of jeopardy from this “secret” guidance, which seems to be not-so-secret.

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Here’s the thing. The war in Ukraine has highlighted a critical issue facing Utah and the rest of the nation—how to produce energy when all else goes wrong. President Biden has stopped all Russian imports of oil in another attempt at hobbling Russia’s economy. This, of course, led our Republican delegation to hyperventilate because— gee whiz—we can activate that fossil fuel pipeline in an instant and not look to countries like Venezuela for help, the Deseret News reports. They have a point in that it seems self-defeating to turn away from one dictatorship to another. On the other hand, this could be an opportunity to fund and support clean energy alternatives. At the same time, The Salt Lake Tribune ran a story about preparing for wildfire “season.” That season has been exacerbated by climate change and an unwillingness to look for alternatives to fossil fuels.

MISS: Don’t Fence Me in

Does anyone in the Legislature think before they mess up a good thing? Well, at least we know Rep. Phil Lyman, RBlanding, doesn’t. Listen to this leap of logic: “Who controls the land, controls the economy, they control the people,” said Lyman in a Salt Lake Tribune story. We know Lyman is all about the land— and control. Still, it’s a stunning statement in a time when many people can barely afford an apartment, much less land. This, however, was Lyman’s way of scuttling a land swap deal between the BLM and the state institutional trust lands. It happens all the time in a win-win scenario where land is consolidated, and the proceeds go to Utah schools. Lyman stopped the latest bill because: “If you take these sections … and move them to a more ‘productive place,’ then in 20 years, you can take the kids out of that county and send them to that more productive place to get jobs. It’s not fair.” And so under Lyman logic, children should not be able to seek better opportunities.

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

Never Say Never

In a salute to Women’s History Month, Striving for Equality & the ER A will show us just how far we haven’t come. Kate Kelly, the Mormon feminist who started Ordain Women, will talk about the century-long battle to put women in the Constitution. Here in Utah, people like to say equality of women is written in the state Constitution. Still, women are second-class citizens, earning 30% less than men. Utah women are right up there with South Korea. Kelly will introduce you to “incredible women like Patsy Mink, the first woman of color ever elected to Congress, and other advocates of the Equal Rights Amendment like Pauli Murray, Barbara Jordan and Sen. Pat Spearman.” If you think the ERA will never pass in Utah, then you don’t understand why ERA bills are filed each and every year with the Legislature. Learn about how close we are to passage. Virtual, Thursday, March 17, 9 a.m., free. https://bit.ly/3t5bK9q

How About That Energy?

The war in Ukraine has highlighted the challenges behind providing safe, reliable and clean energy to citizens. While the world is focused on gas and oil supplies, the Russians targeted a huge nuclear facility and took over Chenobyl amid fire and anxiety. Preparing for a Brilliant Future: Renewable Energy in Utah is a topic policymakers need to understand because without a plan, Utah is doomed under a failing fossil fuel industry and an untenable nuclear future. Join Thom Carter, executive director of the Governor’s Office of Energy Development and Lisa Romney, economic development and regional business manager at Rocky Mountain Power, for this timely and important discussion. Virtual and at Hinckley Institute of Politics, 260 S. Central Campus Drive, Room 2018, Wednesday, March 23, noon, free, https://bit.ly/3CzGiD0

Caucus Night for Dems

The state’s Republican caucuses are done, but the embattled Democratic base is about to hold its neighborhood caucus meetings to elect delegates to its convention. If you are a Democrat or unaffiliated, it pays to get involved, especially when big decisions are looming. One big decision is whether to even run a Democratic candidate in the U.S. Senate race. In person, hybrid, virtual, Tuesday, March 22, 7 p.m., https://bit.ly/3tSpuTS

Youth in the Pandemic

It hasn’t been easy, has it? It’s been especially hard for kids and for young people about to enter adulthood. The pandemic has taken its toll, and then you add in racial animus, the threats to democracy and an inflationary economy for the final blows. Progress in a Time of the Pandemic will be presented by the Utah Division of Multicultural Affairs. “Despite the setbacks … we must not overlook the astonishing progress that humanity has made in health, wealth, happiness, peace, freedom, tolerance and safety,” says Harvard psychologist and New York bestselling author Steven Pinker. Kingsbury Hall, 1395 President’s Circle, Tuesday, March 22, 7 p.m., $17-$27. https://bit.ly/35Om24M

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ESSENTIALS

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ENTERTAINMENT PICKS, MARCH 17-23, 2022

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moderates a conversation with University of Utah Department of Film & Media Arts chair Andrew Patrick Nelson. Dr. Nelson’s emphasis is on the American Western, with book credits including Still in the Saddle: The Hollywood Western, 1969-1980, as well as service on the board of the John Wayne Birthplace Museum. The Searchers screens on Thursday, March 17 at 7 p.m. at the Rose Wagner Center (138 W. 300 South). Tickets are free, but advance registration is required; this event requires proof of vaccination, as well as face coverings to be worn throughout the event. Visit utahfilmcenter.org for reservations and additional event information. (Scott Renshaw)

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When it comes to depictions of Native Americans, the track record of vintage Hollywood Westerns was … not great. From white actors in “red-face” makeup playing the rolls of indigenous peoples, to stereotypes of whooping savages, it was a genre that typically contributed to dehumanization of Native Americans. That’s why it felt like such a seismic shift when the 1956 Western The Searchers from director John Ford—who had made plenty of those aforementioned less-than-enlightened Westerns—cast his long-time leading man John Wayne as a man on a relentless quest for the Commanches that killed his family members and kidnapped his niece, but recognized the possibility that his “hero’s” racism was just as destructive. Utah Film Center presents a rare local opportunity to see The Searchers on a big screen, with a post-film opportunity to discuss some of its unique story components, and the impact of the film on perception of Native Americans. KUER’s Doug Fabrizio

WARNER BROS. PICTURES

Utah Film Center: The Searchers

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ESSENTIALS

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ENTERTAINMENT PICKS, MARCH 3-9, 2022

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tribal nations and federal, state and local governments, will address a wide range of topics connected to the future of the Colorado River. Talks are scheduled to include “Law & the Living Colorado River,” “Science & Governance: From Overallocation to Climate Change to Megadrought,” and “First in Time: Native Americans and the Colorado River System.” The Stegner Symposium takes place March 17-18 at the University of Utah Quinney College of Law (383 S. University St.), as well as a virtual component. Registration is $20 (student) - $150 for the full session, with lunch included. Visit sjquinney.utah.edu/event/the-colorado-river-compact-navigating-the-future/ for full event schedule and additional information. (SR)

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In case you’ve been asleep for the past decade or so, water issues in the American west face a unique historical tipping point. Years of drought and the ongoing likelihood of climate change disruptions to weather patterns have put a strain on the Colorado River, the key source of water for the region. The year 2022 marks the 100th anniversary of the Colorado River Compact that formalized water-rights decision-making throughout the Colorado River Basin, and with the current iteration of that compact set to expire in 2026, this hydrological crisis could result in huge changes For its annual two-day symposium, the Wallace Stegner Center at the University of Utah’s Quinney School of Law—in conjunction with the Water & Tribes Initiative—will focus on this unfolding saga in The Colorado River Compact: Navigating the Future. Experts from the fields of law, public policy and science, plus stakeholders from

COURTESY PHOTO

Stegner Center Symposium: The Colorado River Compact: Navigating the Future

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ESSENTIALS

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ENTERTAINMENT PICKS, MARCH 3-9, 2022

Complete listings online at cityweekly.net

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quizzing: “Aren’t you cold? Why aren’t you wearing socks? … What are you wearing? You could look nicer, you’re on a show now.” Melissa Villaseñor visits Wiseguys Gateway (194 S. 400 West) March 18-19 for shows at 7 p.m. & 9:30 p.m. nightly. Tickets are $25 general admission; face masks are recommended but not required for guests while they are not actively eating and drinking. Visit wiseguyscomedy.com for tickets and additional event information. (SR)

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COURTESY PHOTO

Taking the form of letters to Nafisi’s father, it uses works by James Baldwin, Toni Morrison, Salman Rushdie and others to explore the interconnection between great literature and the great problems of our time. The King’s English Bookshop partners with other independent booksellers around the country for a live virtual event with Nafisi, in conversation with author/journalist Jacki Lyden. The event takes place Saturday, March 19 at 5 p.m., with ticketed reservations for $36 that includes Zoom link access to the event and a hardcover copy of Read Dangerously. Visit kingsenglish.com for tickets and additional event information. (SR)

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It can feel like a dark time for intellectual freedom in America, as conservative advocates across the country work to purge certain works—specifically those that address LGBTQ issues and/or the history of institutional racism in America—from school libraries and curricula. Azar Nafisi is all too familiar with how that kind of dogmatic censorship can play out, as her 2008 memoir Reading Lolita in Tehran recounted her experience as a literature teacher in the Islamic Republic of Iran, secretly teaching forbidden books of Western literature to young women. It provided a fascinating glimpse for what it meant to defend the value of certain books, especially when they’ve become targets by self-appointed moral warriors. In her new book Read Dangerously: The Subversive Power of Literature in Troubled Times, Nafisi continues to dig into the notion of “literature as resistance.” The book is a call for using literature as a way to engage on a genuine level with the perspectives of the “other” in a democratic society.

Azar Nafisi: Read Dangerously @ King’s English virtual

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It’s interesting how someone can be on national television, as part of one of American comedy’s most established institutions, and still feel like a little bit of an unknown. When Melissa Villaseñor debuted on Saturday Night Live, just past her 29th birthday, the Southern California native had already been performing as a stand-up comedian for nearly half her life. She had even reached the semi-finals of America’s Got Talent in 2011. Yet becoming known for sketch comedy—and for being the first Latina repertory cast member of SNL—made it easy to forget that Villaseñor had plenty of experience in front of live audiences all on her own. A lot more folks got introduced to the stand-up of Villaseñor thanks to the most recent season of Netflix’s The Comedians series of half-hour specials, which included a showcase for her. With a bouncy, giggly stage presence, Villaseñor gets to share her huge repertoire of impressions—including a killer Dolly Parton—as well as her relationship with her parents. Describing coming home late after a gig while staying with her parents, she imitates her mother’s 1 a.m.

COURTESY PHOTO

Melissa Villaseñor

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A&E

VISUAL ART

Lost Souls

Two artists collaborate on a vision of connecting with those who are no longer with us. BY SCOTT RENSHAW scottr@cityweekly.net @scottrenshaw UMFA AND COURTESY OF THE ARTISTS

hroughout two years of pandemic, we’ve learned a lot about the many different ways people can be connected even when they’re apart. For an art exhibition that explores themes of separation and reunion, it’s fitting that the creative process involved a cross-country collaboration. This week, the Utah Museum of Fine Arts’ ACME Lab opens Transcending Time and Space, which presents multimedia pieces by New York-based artist David Rios Ferreira complemented by work and writing by Utah-based artist Denae Shanidiin. Focused around Ferreira’s images of portals made up of images from popular culture, children’s coloring books and other sources, the exhibition explores the idea of connecting with lost loved ones, linked directly to the issue of missing and murdered indigenous women for which Shanidiin works as an advocate. It was something of a necessary collaboration, as Ferreira describes it, because it was important to him to fulfill the ACME Lab’s mission of making art that connects with the local community. When he was invited by UMFA’s Jorge Rojas to create an exhibition, Ferreira needed to consider how he, as a life-long New Yorker, could connect to Utah. “I was really reflecting on my place in Utah, a space I’ve never been,” he says. “So in doing the research, I was really attracted through the indigenous presence [in Utah]. And what starts to spiral is, ‘Okay, there’s that interest, but what next?’” What was next was Rojas introducing Ferreira to Shanidiin. And according to both artists, the sense of interconnection was immediate, with Shanidiin recognizing the respect for and understanding of indigenous issues Ferreira brought to the table from his own Puerto Rican heritage. “All indigenous people are displaced, in one way or another,” Shanidiin says. “It’s the same, same-same but

“Every time it feels so good, it hurts sometimes,” by David Rios Ferreira different. We share that same memory in our bodies and in our stories.” That sense of shared experience extends to a discovery Ferreira made about the link between white American teachers of indigenous children in the 19th and early 20th centuries, and white American teachers of Puerto Rican children when the island became a U.S. territory. “They planted U.S. reps in public schools, to basically try to obliterate Spanish culture,” he says. “All those strategies came from teachers who had worked in the boarding schools [for indigenous children]. At first [in Puerto Rico], they used the military. But then they realized, they had already done this. They would ship the teachers [from the boarding schools] over, and these same teachers were teaching [in Puerto Rico].” For the UMFA exhibit, Ferreira developed early on the idea of portals, in a kind of science-fiction narrative about being able to connect immediately with absent loved ones. “I was thinking about all this loss,” he says, “not through a lens of sadness … but that we might reach them—not just

someday, but today.” As he began to share the images with Shanidiin, she provided feedback that offered a different perspective on the work. “For me, it was enlightening to see what was coming through,” Ferreira says. “I almost think about my creation in a very spiritual way, even though I’m using lines and cartoons. Some of these images have tough histories, and it’s nice to hear someone pick up on some of that.” “His portals just made sense to me, in the way we think of indigenous people with interwovenness,” Shanidiin adds. “When you do lose somebody, it creates that fracture in the universe. [Ferreira] just gets it; we got it together.” “Getting it” can be a big issue in the world of contemporary art, as Ferreira recognizes. Since the ACME Lab space is one that invites attendees to participate in and contribute to the exhibit experience—in this case, by sharing their own messages to loved ones, among other participatory opportunities—it was important that the emotion of the theme override some need to “decode” the work. “When you think about contemporary art, there’s a lot of academia surrounding that practice,” Ferreira says. “It was good to just think about love, and spirituality through art. … All too often, people think with contemporary art, ‘Do I get it?’ They say something to you and it’s like, ‘Is that right?’ It’s not a game of Clue. There’s no ‘win.’ If anything, the win is that maybe you’ve thought more about what I’ve just shared with you.” That sharing connects with the reality of ongoing violence faced by indigenous people, and it was clear to Shanidiin that Ferreira showed sensitivity in delving into that subject. “Those realities are not fairy tales; they’re very real, but they’ve been hidden and tucked away violently, with the utmost intention to erase us,” she says. “Navigating [that subject] now in a way of beauty just feels really good. … I really trust [Ferreira] with what he’s saying. This connection feels like something I personally needed.” CW

DAVID RIOS FERREIRA: TRANSCENDING TIME AND SPACE

Featuring work and writing by Denae Shanidiin Utah Museum of Fine Arts ACME Lab 410 Campus Center Dr. March 19 – Dec. 4 Artist conversation Friday, March 18, 6 p.m., in person and via livestream umfa.utah.edu

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ALL THAT

UTAH

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Finding the great American art form in Salt Lake City. By Thomas Crone trone@cityweekly.net

Raw Materials

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One of the folks I spoke to referenced the old jokey “Utah Jazz” chestnut before I even had a chance to mention it. Christian Asplund, a composer and bandleader living in Provo, says that “the naming of the basketball team gives a one-liner to people outside of Utah. But I don’t think they realize that [jazz music] is more popular here than in most places I’ve lived.” Asplund lives, teaches and performs in Provo and doesn’t play jazz in Salt Lake City, at least not often. He’s also a self-described avant garde jazz multi-instrumentalist and composer, not necessarily clued into the specifics of what gets booked in SLC and what doesn’t (and why). But he’s not a full outsider, either, with a long string of creative pursuits that’ve pushed jazz forward in the region. He’s got ideas about jazz in Utah. Informed ones. “The sense, in general, is that Utah is a very musical place,” Asplund says. “Kids take music lessons here. People enjoy classical. Music plays a large role in the dominant religion here. To my mind, there’s a perfectionist streak that’s a little counterproductive at times. That’s where the raw part comes in. We need something like a venue where things don’t

need to be perfect, they could be raw and new.” That said, there’s a history and pedigree to jazz here, he says. “In the ’40s, ’50s and ’60s, there was a real love of jazz in the state,” he offers. “Certainly, as I talk about it now, I have many students who are jazz musicians. BYU and the U of U have always had good jazz programs and Snow College down in Ephraim has this weirdly good, very small Jazz Studies program.” Beyond educational settings, Asplund noted that Utah’s ski lodges and resort spaces have also played host to acts. “There’s a history of hiring jazz groups to play for those,” he said. “There have been all kinds of interesting little venues.” Asplund has certainly put his fingerprints into contemporary music history. His name dots more than a few articles about regional jazz, including some in this publication. When written about in City Weekly by Nick McGregor in 2019, Asplund’s impressive resume was boiled down well: “Professor in BYU’s School of Music. Co-founder of the Seattle Experimental Opera. Acclaimed composer of sacred music. Associate editor of esteemed academic journal Perspectives of New Music. Co-author of a forthcoming book on Christian Wolff, a member of the legendary 20th-century New York School of experimental composers.”

s someone with the shallowest of roots in Salt Lake, but an abiding interest in local music wherever it may grow, a comment that often appeared in my social media feeds when I recently moved to SLC was a jibe about Utah jazz. Essentially, the gag was that a newcomer would have a hard time coming across actual jazz music in this region, a joke inherently wedded to the local basketball franchise’s name. It wouldn’t take long, though, before this newbie found out how well you can find jazz here. It may take a little bit of digging, but not all that much. You can track it down at clubs, in record bins at multiple shops, on digital streams, on overnight radio and on the occasional street corner downtown (at least once the weather breaks, or so I’m told). As a newbie, I’ve been told that jazz institutions like the GAM Foundation’s SLCJazz series—which brings in national touring jazz performers—and outdoor concerts hosted by Excellence in the Community, highlighting local performers, are events that anchor the jazz scene. There are also clubs around town such as Gracie’s and Bourbon House that host regular jazz nights. But I set out to find out for myself.

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Provo musician Christian Asplund hosted the Avant GaRAWge venue at his home.

“There’s so much jazz histor y here that it bl o w s m y mind. And it does seem like t a jazz ren here’s been aissance he re in the last few y ears. More l ive jazz, more improv.” — Br

He’s also an advocate for jazz in Provo who’s turned his garage into a mini-venue multiple times—it’s called Avant GaRAWge, now in its third, home-based location. And Asplund has booked a church for jazz as well, hosting the Avant Vespers series at Provo’s St. Mary’s Episcopal Church. He’s also an active player—when pandemics allow— most recently with a three-year-old trio called We Free Kings, which includes Erik Larson (contrabass) and Timm Tippetts (drums). From 2020 through the very beginning of this year, Asplund found time to write and record, releasing 35 tracks in early March. He did so across two records, “Tippy Shed” and “Tree’d Up,” both available for purchase on the digital service Bandcamp. Being on sabbatical, which he’s enjoying this semester, allowed for him to indulge himself in the simultaneous release of two records. “Basically, I would say that it’s kind of a pandemic project,” he says. “The compositions and the rehearsals and the recording sessions all came when my gigs and performances got canceled. I didn’t have collaborators to work with for the first little while and just started composing jazz tunes. For me, they’re kind of like poems. There’s less infrastructure in writing a jazz piece that can be used for different ensembles. It’s music I can play on my own as a pianist, or I can bring people in.” And with the pandemic receding and many public performance venues reopened or reopening, Asplund’s planning on making some live dates happen in 2022. With two albums of material to present, why not? “I’ve started making inquiries,” he says. “I think this trio is so good. We have a really good esprit de corps. Everything’s there, musically and texturally. We have good improvisation, good composition. These are great players and we work well together. I would love it if we could turn some people on with this sound.”

500 Shades

At 9 a.m. every weekday morning, listeners of KUA A 99.9 FM are treated to a 15-20 minute block of jazz, compliments of the station’s exceptional morning shift curator, David Perschon. He also spots jazz into other portions of his 7-10 a.m. Spin Cycle show, while the station’s program director, Bad Brad Wheeler, highlights jazz sounds throughout the day, both on his own afternoon shows and during the pre-programmed hours

ad Wheeler

that take up much of 99.9’s mid-day. At no time, though, is jazz more heard in Salt Lake City than during the overnights, as the 100-watt station delivers a 10 p.m.-5 a.m. jazz block. “There’s a history of jazz in Salt Lake,” Wheeler says. “There’s so much jazz history here that it blows my mind. And it does seem like there has been a jazz renaissance here in the last few years. More live jazz, more improv.” “Jazz is important,” Wheeler says with evident passion. “I’m not so much a jazz guy as a blues guy, but just as there are 500 shades of blues, there are 500 shades of jazz.” When Perschon and Wheeler get talking about jazz and the station and its role in keeping a diverse musical palette on the radio waves in Salt Lake City, the conversation stretches from a few minutes after Perschon’s show and continues into the next hour. It’s kinda like sitting around the counter of a record store, as the experienced heads there start dropping knowledge and names. They get off to the races as they discuss key folks, all worthy of further listening. Red Nichols and His Five Pennies get brought up as some of the earliest stars here. Lloyd Miller is highlighted as a key name to research by both. They mention drummer Steve Lyman’s time here and the need to invest real energy in learning about the career and music of Alan Braufman. Other, earlier jazz programmers are mentioned, too, such as Steve Williams, “The Mayor of Jazz City,” who, until 2015, spun jazz at KUER 90.1 FM for 31 years. (He went on to host a Sunday night jazz program on KCPW 88.3 FM until April 2021.) It’s around the time that Williams’ program left KUER’s airwaves that KUA A decided to invest in the sound. “We’re putting jazz on the radio …,” Wheeler starts, to which Perschon finishes, “... and are taking on the jazz torch.” They do so on a station that has limitations, if only due to that low-wattage. You can catch KUA A at 99.9 all around the city of Salt Lake. But when you drive toward Ogden, a Spanish-language station begins to clash with their signal. Going in the other direction, an oldies station called “The Goat” takes over the signal, telling you to head down the dial to their permanent home a few clicks away. Even with a transmitter located on top of downtown’s Wells Fargo building, 100 watts is 100 watts and once you start leaving the city limits, you’ll hit a bit of

THOMAS CRONE

E S CRON THOMA

COURTESY PHOTO

KUAA 99.9’s “Bad” Brad Wheeler

David Perschon runs blocks of jazz music on 99.9.

friction in your community radio listening. That said, kuaafm.org does cover the entirety of the world wide web. So there’s that. Just as they sketch out the fandom they share for jazz, both Perschon and Wheeler note that they’re not limiting programming to SLC artists, no matter the genre. New, old, experimental and traditional, the jazz played on KUA A crosses a lot of boundaries. That’s particularly true during Perschon’s 9 a.m. block, when the giants of jazz rub shoulders with newer artists and those working on more-exploratory edges of the form. “I seek out jazz that’s interesting to me,” Perschon says. “We all know Miles and Coltrane but I like a lot of new stuff, experimental stuff, too. “I find it to be incredibly interesting music,” he adds. “It’s challenging to a lot of people, but I love that jazz pushes boundaries.” For a station like KUA A, “it’s good to push musical boundaries.” The station, which is run under the auspices of the Utah Arts Alliance, is found in a low-rise building along some extremely-in-use railroad tracks, inside the Utah Arts Hub (663 W. 100 South, SLC). In its location in an industrial pocket on the edge of downtown, it shares some artistic and cultural kinship with other businesses on the block, such as The Sun Trapp bar and the Metro Music Hall, both of which are a hop-skip down the way. Wheeler figures the clean-and-tidy little studios will be at The Hub for a time, sharing space with rollerskating classes, textile and podcasting studios—a bit of everything, really. “We might possibly be the unofficial entertainment district of Salt Lake,” Wheeler says. “You can come down here at night, and it’s nuts.” But the incursion of condo projects nearby suggests that a move could be in the offing at some point. Wherever the station goes, these two on-air voices will be providing jazz grooves. “We don’t worry about ratings,” Wheeler says. “We just have to worry about the quality. If we put out a good program, everything will take care of itself.”

Jazz on Tap

Chad Hopkins is the eponymous owner/brewer of Hopkins Brewing, a facility in Sugar House that draws a good lunchtime crowd and, oftentimes, a great dinner service. Twice a week, the 193-seat dining room and taphouse

Memory Lane

The house trio at Hopkings Brewing anchors one of two weekly jazz nights.

So About That New Orleans Jazz Thing...

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overall,” he said. “We’re starting to see a lot of the same people here for jazz.” Hopkins notes that the style played by the brewery’s weekly house trio, for example, is flexible enough that folks are able to “come in and converse” or “immerse themselves in the music,” depending on mood. Ditto on Wednesday nights, when sax player David Halliday often serves as a musical director of the evening’s direction and sound. Immersion in the music was on display a couple of weeks back on a Thursday, as the house trio involved the usual suspects of Alicia Wrigley on bass and vocals, Parker Swenson on drums and keyboardist Tony Elison. With no knock on the first two players in saying so, Swenson had heads turning and eyes fixed on him as he took a pair of solos during the first set. Even the non-jazz fans in the house had to take in a moment of that, while those upfront locked in, heads-a-boppin’. Heartened that some local bars and restaurants are bringing back live music in this period of relaxed COVID protocols, Hopkins is happy that some are spotting jazz into their lineup. But as someone who’s invested in the myriad sounds of jazz making it in Salt Lake, he’s realistic. The options aren’t endless now, but the trend lines might be pointing in the right direction. For casual music fans, “there’s not a lot of jazz around, and people may not go out and find interest in it. It’s not really a mainstream sound,” Hopkins said. “But I’ve been to Manhattan and LA and other places with cool jazz clubs. There’s a lot of movement to Salt Lake and with that, people are bringing culture.” When they arrive, they can find some local jazz culture cooking twice a week at a busy brewpub in a heavily trafficked neighborhood. That’s not a small thing, no matter the motivation. As Hopkins says, “I definitely like the jazz vibe a couple of nights of the week. Selfishly, it’s for me. These are my friends, and we’ll keep it going.” 

Despite having a few top-flight players come through its roster—playing alongside a popular franchise cornerstone in the offensively inclined “Pistol” Pete Maravich, a collegiate star at nearby LSU—the New Orleans Jazz were also-rans in the NBA between 1974-79. The team would ultimately run up a modest combined record of 161–249 over five seasons, all but the first of which were played inside the monstrously scaled Superdome. The original Jazz had some bad luck all right, from splitting arenas in its first year, to seeing Maravich hobbled by injuries during his high-scoring years there, to struggling to fill a major arena that was far too large for a sub-.500 team. In the summer of 1979, the team was successful in lobbying for a move to Utah, just in time for the 1979-80 season that saw Magic Johnson and Larry Bird enter the NBA. The star power of the two rookie players would help to raise the fortunes of the entire NBA from that moment on—a period currently being chronicled on the HBO series Winning Time. (TC)

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is treated to jazz, with a jam on Wednesday nights followed by a Thursday night staple featuring a house trio. Both events take place during the 8-11 pm prime time. These days, when the band takes over a flat-surfaced stage area near the expansive front windows, there’s a full house on-hand to watch and listen. That wasn’t the case all that long ago. When the bar was new, less than a halfdecade back, Hopkins says “it was kind of awkward because it was so dead in here. You’d have these excellent jazz musicians, some of the best around. And there was no one here but me.” Because these were friends of his, some musicians would ask if they should keep playing into the third set, the answer was always, yes, “since I’m here and enjoying this.” “It was always a dream to have jazz in my spot,” Hopkins says. “Mainly, I do it because I enjoy it. I wanted my own jazz club! But we also showcase other bands that are fun.” Hopkins sketches out a bit more of his personal fandom, describing how he “grew up” as a musician. “My dad was a musician, and I grew up around them,” he said. “I had a few bands in high school, and one of my best friends was an incredible drummer, who went on to become a world-class drummer.” (That would be Steve Lyman, mentioned by the cats at KUA A.) Even in the course of a short conversation between lunch-and-dinner rushes, Hopkins mentions a few times that jazz has a solid hold on two of the “four or five nights a week” of live music at his spot—even if his staff is sometimes a tad vocal about their lack of jazz fandom. Hopkins says that keeping jazz on the calendar brings a certain loyalty, and he’s seeing fans through the doors weekly. “We’ve got a following, people are coming here every Wednesday and Thursday to hear jazz,” Hopkins says, while throwing some playful shade at his crew. “While some of my bartenders don’t like it, people come in and have a good time,

eams within the “Big Four” American sports leagues (Major League Baseball, the National Football League, the National Basketball Association and the National Hockey League) have been moving around for better financial opportunities for no small amount of time, with each of the leagues seeing ebbs and flows in franchise movement. Occasionally, as in the case of the current Super Bowl champion Los Angeles Rams, a team can find itself cycling through a market more than once. In this case, the NFL franchise known as the Rams enjoyed a decade in Cleveland before a lengthy move to Los Angeles, then a two-decade stay in St. Louis before returning to LA in 2016. For folks who’ve moved to SLC in more recent times, there could be a tendency to assume that the Utah Jazz are a legacy franchise for the state, one that’s been rooted here since the team was birthed by the NBA. That name, though, “The Jazz,” clearly suggests a different story. The team’s not the Mountaineers, the Pioneers, the Saints or another name that would hint at geographical or historical kinship to Utah. Instead, it’s the Jazz, an import from a city that truly knows jazz. For those in back not paying attention to the guy at the bar telling the story to some new locals, here’s the quickest of recaps: the Jazz were originally a New Orleans NBA franchise, a team that enjoyed five uneven and, to be honest, mostly unsuccessful seasons in NOLA during the 1970s. It was a team that followed, by five years, the New Orleans Buccaneers of the American Basketball Association, the doomed competitors of the NBA—that nowdefunct league also included, incidentally, the Utah Stars (1970-76).

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30 east Broadway, SLC

801.355.0667 Richsburgersngrub.com

MARCH 17, 2022 | 25

AT A GLANCE

Open: Mon.-Fri., 11 a.m.-10 p.m., Sat., 10 a.m.-10 p.m., Sun., 10 a.m.-9 p.m. Best bet: Bratwursts and more bratwursts Can’t miss: Always have a side of spaetzle

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t’s not very likely that I’ll take up with a band of adventurers tasked with a dangerous but lucrative quest to secure a rare artifact or destroy a tyrannical monster. Even if I got that opportunity, I really don’t know what my doughy ass could contribute—unless said adventurers needed someone to document their exploits. If a bushy-eyebrowed wizard did push me out the door on a grand adventure, however, I would make sure to start things off with a visit to Bohemian Brewery (94 E. 7200 South, 801-566-5474, bohemainbrewery. com). With its exposed stone interior, log walls, antler-fashioned chandeliers and 32-ounce mugs of beer, it feels like a place where heroes would gather. Bohemian Brewery originally opened in 2001, the passion project of the late Joe Petras, who wanted to bring the food, culture and lagers of his native Czechoslovakia to the Wasatch Front. In 2018, Matt Bourgeois, Byron Lovell and Brian O’Meara—owners of The Dodo, Porcupine Pub and Grille and the Rio Grande Café—purchased the brewery, and preserved its rustic décor and Eastern European menu. I’ve been meaning to write up Bohemian Brewery for a while now, and

Whatever your quest may be, stop at Bohemian Brewery before you venture forth.

egg noodles that’s served in an inviting pile of irregular shapes. You can get it as a side ($5.75) with a cup of dark brown mushroom gravy, or you can get it as the base for your beef stroganoff ($22.95). Of course, the latter option is the best way to experience their spaetzle—its soft, dumpling-style texture goes very well with oceans of gravy and chunks of tender roast beef. If you’re not feeling making it the focal point of your meal, the side portion will be an excellent complement to whatever entrée you get. Once you’ve conquered the food menu, it’s time to turn your attention to the menu of craft beer on tap, and it’s a staggering variety. I went with my server’s recommendation of the Viennese Lager, which comes in 16-, 24- and yes, 32-ounce mugs. I was happy with the choice—it starts sweet and smooth and leaves a nice, pretzelly flavor on the tongue. Again, making your perfect beer and food pairing at Bohemian Brewery is a serious endeavor, but I could see that Viennese Lager being a good allaround choice. As I finished my food and savored the scent of grilled bratwursts and rich brown gravy, I thought about how my longing for adventure and my visit to Bohemian Brewery may have been cosmically related. This place has been a Utah favorite for years now, and perhaps I am just now being drawn to it because adventure is looming on my horizon. Whether that’s true or not, I’m glad I paid a visit to this Midvale mainstay. If a grand quest doesn’t come my way, I’ll be happy with undertaking a moderate quest to try all the beer on the menu. CW

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You Meet in a Tavern…

based on the midweek crowd that was present during my visit, I’m the only one who has been sleeping on this Midvale gastropub. Whether it’s the tempting aroma of grilling brats or the wide variety of lagers and ales on tap, Bohemian Brewery knows how to maintain a following. My objective for the evening was pure Bavarian—I always enjoy a well-grilled bratwurst, but I was also eager to try some of Bohemian Brewery’s other European eats. The menu includes a plate of pierogies and bratwurst ($19.95) which is a great place to start. Pierogies and brats together on one plate is a perfect double feature for me, since both foods have a special place in my heart. The savory pierogies at Bohemian Brewery are stuffed with cheesy potatoes and topped with chopped bacon—never gonna say no to that—and the two bratwursts spooning on my plate had achieved caramelized perfection from the grill. The center of the plate is dominated by house-made sauerkraut with generous dollops of mustard and dillinfused sour cream, which helps add some contrast to the primary flavors. I started by cutting into the brats and relished the satisfying pop of the casing as soon as I took my first bite. These are as good as grilled bratwurst can get—piping hot, full of garlicky, black-peppery flavor and immensely satisfying. The pierogies are a nice foil to the rich, meaty flavor of the brats, and swiping them through that dill sour cream is a good way to reset your palate for more. My only gripe about the dish was that the sauerkraut was a bit on the sweet side, which threw me off, as I like my fermented cabbage to lean a bit more on its acidity. Regardless of my preference, this plate is a knockout, and I’d definitely want this in my belly before striking out on a grand adventure. The other thing your complete experience at Bohemian Brewery requires is a bit of their signature spaetzle, a variation on

Burgers so good they’ll blow your mind!

onTAP Moab Brewing 686 S. Main, Moab TheMoabBrewery.com On Tap: Bougie Johnny’s Rose

Silver Reef 4391 S. Enterprise Drive, St. George StGeorgeBev.com

Bewilder Brewing 445 S. 400 West, SLC BewilderBrewing.com On Tap: Vitruvian Pils

Mountain West Cider 425 N. 400 West, SLC MountainWestCider.com On Tap: Manzana Rosa Passionfruit Cider

Squatters 147 W. Broadway, SLC Squatters.com

TUESDAY TRIVIA! 7-9 PM LIVE JAZZ Thursdays 8-11 PM

Bonneville Brewery 1641 N. Main, Tooele BonnevilleBrewery.com On Tap: Peaches and Cream Ale Desert Edge Brewery 273 Trolley Square, SLC DesertEdgeBrewery.com On Tap: British Mild Epic Brewing Co. 825 S. State, SLC EpicBrewing.com On Tap: Experimental IPA #2

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26 | MARCH 17, 2022

2 Row Brewing 6856 S. 300 West, Midvale 2RowBrewing.com On Tap: Feelin’ Hazy

Bohemian Brewery 94 E. Fort Union Blvd, Midvale BohemianBrewery.com

OUTDOOR SEATING ON THE PATIO

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

1048 East 2100 South | (385) 528-3275 | HopkinsBrewingCompany.com

Grid City Beer Works 333 W. 2100 South, SLC GridCityBeerWorks.com On Tap: Extra Pale Ale

VOTED BEST PIZZA 2021

Thank you for your support!

2021

Hopkins Brewing Co. 1048 E. 2100 South, SLC HopkinsBrewingCompany.com On Tap: Black Sesame Stout Hoppers Grill and Brewing 890 E. Fort Union Blvd, Midvale HoppersBrewPub.com Kiitos Brewing 608 W. 700 South, SLC KiitosBrewing.com

1465 S. 700 E. | 801.953.0636

brickscornerslc.com

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

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

Ogden River Brewing 358 Park Blvd, Ogden OgdenRiverBrewing.com On Tap: Injector Hazy IPA Policy Kings Brewery 223 N. 100 West, Cedar City PolicyKingsBrewery.com Proper Brewing 857 S. Main, SLC ProperBrewingCo.com On Tap: Veni Vidi BiBi- Italian Pilsner Red Rock Brewing Multiple Locations RedRockBrewing.com On Tap: Zwickle Mandarina RoHa Brewing Project 30 Kensington Ave, SLC RoHaBrewing.com On Tap: Spudnik 7 Roosters Brewing Multiple Locations RoostersBrewingCo.com On Tap: Cosmic Autumn Rebellion SaltFire Brewing 2199 S. West Temple, South Salt Lake SaltFireBrewing.com On Tap: Mobius Trip Oak Aged Sour Salt Flats Brewing 2020 Industrial Circle, SLC SaltFlatsBeer.com On Tap: Barrel-Aged Winter Amber Shades Brewing 154 W. Utopia Ave, South Salt Lake ShadesBrewing.beer On Tap: Winter Warmer Amber Ale

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

Keeping it weird in 2022 BY MIKE RIEDEL comments@cityweekly.net @utahbeer

Celebrat i

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or this Saint Patrick’s Day edition of Beer Nerd, I thought I’d throw at you a novelty beer and a non-traditional option. Both will help you achieve your festive goals, while keeping it local and making your tongue happy. Kiitos - Glitter Green Ale: This beer is mostly about the visuals. The first thing you’ll notice is that it’s emerald green. That’s not too unusual this time of year; you’ll find dozens of green beers at pubs today. But not many are green using natural ingredients. The green in this beer comes from Spirulina, a blue-green algae that has been added to food or eaten by itself for centuries. It gives the beer a natural green look, which is then shattered by the hypnotic storm of edible glitter that swirls throughout the liquid as it’s poured. You’ll spend as much time taking photos of it as you will drinking it. Once you’ve pulled yourselves away from the disco in your glass, you get stone fruit on the nose, along with citrusy orange peel and lime zest, all of it undergirded with crackery, bready pale malt sweetness. Clean cereal grains, crackery pale barley malts and light honeyed sweetness are immediately apparent on the tongue, with the Northwest hops soon jumping in, providing characteristic hints of stone fruit, orange and passion fruit. The hop bitterness is very much minimized throughout, with only a touch of pithiness towards the finish—and even this is thereafter overcome by the pale malts and residual fruitiness of the hops. The aftertaste is soft and dry, the body light, with middling carbonation

that softens over time, giving this brew a smooth mouthfeel and pleasant texture. Nothing to write home about, but a properly-constructed blonde ale nonetheless. Overall: Glitter Green Ale is a respectable mainline offering, albeit a fairly conventional one. The hops are used rather conservatively, but in the end, that only makes it more approachable (to non-beer nerds) and more session-able (to all beer drinkers). Uinta - Birthday Suit: This series of sour beers is brewed annually to celebrate Uinta’s anniversary. This version celebrates 29 years of brewing beer in Utah, and features apricot as this year’s flavor. This sour ale has a glowing orange appearance, with a head that dissipates fairly quickly. The nose has a nice blend of tannic, lactic and some citric acid for a nice, balanced mix. Out of the glass, it elicits pleasant minerally and tannic tones that bring a bit of crabapple. The mellow, melon-like sweetness of apricot flesh comes out a bit more, while a clean, zingy lactic aroma balances it out. Very mellow lactic, citric sourness is accompanied by a nice balance of apricot flavor that actually comes up sweet against the acids that are present. It’s smooth, mellow, and contains that slightly creamy sweetness of stone fruit. The apricot really does come though brilliantly, though, and its rich sweetness happily counters all of the acidproducing bacteria in this beer’s production. I’m really into this, to be honest. Overall: This is a well-crafted sour, in my mind. It’s got a good, balanced structure with firm and nuanced acidity, while incorporating the fruit character in a way that it both blends in in key areas but sticks out in others. It’s not too sour, not too sweet, not too dry, and not too fizzy or anything else. In my mind, it exudes a high level of craftsmanship, and while it doesn’t blow my mind in any particular way, it’s either very good or excellent in every regard. I’m really happy to have tried it. No matter if you’re drinking these on Saint Patrick’s Day, or days after, you’re going to find an ocean of locally made beers that fit Irish tradition, or play heavily on the theme. Keep your wits about you and as always, sláinte! CW

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Uncommon Saint Patrick’s Day

MIKE RIEDEL

BEER NERD

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Southeast Market (422 E. 900 South), the Asian grocery that has been operating on the outskirts of Central Ninth for 23 years, recently announced their decision to close via social media. Based on the post, the owners have decided to retire after these last harrowing years, as the COVID-19 pandemic took its toll on our local eateries. I can’t imagine all that Central Ninth construction and development has made things any easier. I’ll miss popping in to see what’s new at Southeast Market when I’m in the Central Ninth area, and we wish the owners all the best with whatever the future holds for them.

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Incomparable Mark Rylance dazzles in a rare leading role in the suspense thriller The Outfit. BY SCOTT RENSHAW scottr@cityweekly.net @scottrenshaw

FOCUS FEATURES

quadruple-crossing heist thriller. Moore and co-writer Johnathan McClain need to establish multiple relationships—the conflict between Richie and Francis; Burling’s paternal affection for his secretary, Mable (Zoey Deutch); the respect Boyle has for Burling—in a fairly tight span of time, and they do so remarkably well. Though the performances are spare, the characters all register as distinct individuals, right down to Boyle’s mountainous bodyguard who laments that he’s “not good at riddles.” Mostly, however, this is a marvelous showcase for everything that makes Mark Rylance such a tremendous actor. Though Moore hints at a tragic back-story for Burling—with nightmare flashbacks to a fire, for example—Rylance builds the character through his reactions to the threatening situations that emerge over the course of that one fateful evening. While the structure might have led to Burling feeling more like a man of reaction than a man of action, every eye movement and every improvised excuse by Burling makes it clear that the action is going on in his head as he figures out how to keep himself (and Mable) alive. It’s screen acting at its finest: restrained,

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magnetic and filled with an interior life that only gradually bubbles to the surface. At times, The Outfit’s various revelations veer into refrigerator-logic territory that doesn’t entirely hold up upon reflection (though one late character appearance brilliantly subverts expectations). But despite the gangster backdrop and the effective crafting of moments where lives hang in the balance, this isn’t primarily a genre exercise. It’s a character piece—and when Mark Rylance is playing that character, you realize that you’re dealing with someone who deserves to have other actors compared to him. CW

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Zoey Deutch and Mark Rylance in The Outfit

tion from a secretive “underworld United Nations” called The Outfit. When Boyle’s son Richie (Dylan O’Brien) is wounded in a shootout with a rival gang, Boyle’s chief lieutenant Francis (Johnny Flynn) brings Richie to Burling’s shop to lay low, launching a tense night of suspicion and violence surrounding the possibility that an informant in Boyle’s operation tipped off the rival. Co-writer/director Graham Moore—the Oscar-winning The Imitation Game screenwriter, making his feature directing debut—sets virtually the entire film within the confines of Burling’s shop with only a handful of speaking parts, giving it the feel of a stage adaptation (which it is not). Moore takes full advantage of the idea that Burling’s entire world consists of his shop, and allows the confines of the small rooms to build the physical and intellectual confrontations between the characters, while Alexandre Desplat’s prowling score punctuates the sense of consequence at all the right moments. The Outfit is also a pretty efficient piece of writing for something that ultimately takes the twists and turns of a double-/triple-/

| CITYWEEKLY.NET |

or a few minutes there, I was about to make a huge mistake in contemplating Mark Rylance’s performance in The Outfit: I was about to compare him to another actor. It was, I believe, quite a complimentary comparison, in that the East End lilt Rylance adopts for The Outfit made me think of Michael Caine, and the coiled intelligence that Caine keeps behind his eyes. But eventually it occurred to me that Rylance is truly an original, an actor who vanishes inside characters so effectively that he had been working steadily for 30 years before he was “discovered” in his Oscar-winning Bridge of Spies performance. Even the otherwise insufferable Don’t Look Up couldn’t dim Rylance’s ability to bring something utterly singular to the screen. What American audiences generally hadn’t had a chance to see, however, is what Rylance could bring to the table when, rather than being part of the supporting cast, he has to carry a film. That’s the opportunity The Outfit gives to him, and it makes me wish he had many more such opportunities. This snappy little chamberpiece of a suspense drama has plenty to offer all-around, but gets its biggest kick from watching Rylance build complexity of character over its full running time. In a story set in 1956 Chicago, Rylance plays Leonard Burling, a post-World War II British immigrant who runs a shop making fine bespoke suits for men. Through Burling’s friendship with local crime boss Roy Boyle (Simon Russell Beale), that shop has also become a drop point for cash to Boyle’s operation—and possibly for communica-

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Settled in Salt Lake City, Megan Blue keeps growing as singer, songwriter and teacher.

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DJ DELMAGGIO

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BY THOMAS CRONE tcrone@cityweekly.net

egan Blue isn’t a newbie to performance, having fronted bands in the musical hotbeds of Austin and New Orleans, as well as in Salt Lake City, which she’s called home during several periods of her life. That includes the present—a time when her musical career is seeing growth across several disciplines. March, in fact, has become something of “her” month as a live performer. First came a turn as an opening act for Robert Earl Keen at The State Room, where she and guitarist Dylan Baker got to spend two evenings warming up the crowd in a guitar duo setting. Later this month, on Friday, March 25th, she and her full band (including the veteran rhythm section of drummer Mark Chaney and bassist Kevin Stout) will offer up a five-song EP called From the Soul at the Garage on Beck (1199 N. Beck Street). The style of the EP that she’s written stretches across a few genres—which was the plan. “I don’t like to fit myself into one style of music,” Blue says. “We play some country, funk, blues. What we’re really heading into now is country and blues. Blues is definitely my strongest, as far as vocals go. I have a huge voice.” It’s not bragging if it’s true. And Blue’s been perfecting her primary instrument—her voice—since she went away to Loyola University in New Orleans as a 17-year-old, soaking in that city’s music culture for four years. “After bouncing around a bit,” she says, she landed at the University of Missouri-Kansas City, where she received a master’s degree, much of her studies involving opera. “After that,” she recalls, “I moved to Austin, Texas, for four years, and got into the blues and singer-songwriter stuff, all of that. That’s when I started my first band, a country-blues band, and had a full-on blues band there for a while. I felt the call to go back to New Orleans, moving back there in 2010 for another three years. I had a band there called The Blue Trees, doing all-original music. That was a great experience.” Unfortunately, after a band member from that group began to experience some addiction issues, Blue had decided to leave the Crescent City a second time, decamping for Salt Lake City and resetting herself in a familiar situation. “I wasn’t planning on staying, but I met my husband here,” she recalls. “We were able to buy a house. I teach voice for a living, and have been building up the studio that’s in the front of my house.” Along with the responsibilities of parenting a four-year-old, Blue’s able to keep her work life close, with a group of students able to work on their skills at her home. “My students are basically anybody who wants to learn how to sing better,” she says simply. “I am to the point of not taking people who can’t hold pitch. But if you can do that, I can usually help you. I have all kinds of different

Megan Blue

KARI FINSTAD

SATURDAYS

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30 | MARCH 17, 2022

Shades of Blue

MUSIC

students. Most sing pop, or some type of musical theater. I have a huge variety of ages. The youngest is probably about eight, and I teach adults into their 50s. I’ve been teaching for over 20 years, and it’s a passion of mine.” As is working with “musicians who are trying to sing better. I really love helping people who are passionate about singing get to the next level. It’s a great gig for me, and a great thing to do while still being a performer. It’s just about impossible to make a living just gigging, unless you’re at the highest level.” For the balance of 2022, Blue hopes to expand her reach in the region, exploring gigs in places like Provo, where she’s typically not performed, as well as homebases like the unlikely location of Stanley, Idaho, where she’s come to find a receptive audience in a beautiful setting. “I want to get this EP going,” she says, “and try to get into all the good and great places that I can, to connect with people as much as I can through the music. I feel that things were ramping up before the pandemic. But I was able to keep tracking, keep the studio going, write and record this EP and still do the things I love through this crazy time. And I’m looking forward to getting out more.” As for this release, “We always try to put on the best show. I practice every day. We’ll be ready for it. As a musician, it’s always about what’s next. But I’m not thinking about writing right now. Once we get past this month, that’s the next step: Keep writing, keep producing songs.” To find Blue’s most-recent album, a bio and other information, visit her site at reverbnation.com/meganblue/songs. CW

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32 | MARCH 17, 2022

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Marqueza returns to live performance, while turning to more collaborative creation.

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BY THOMAS CRONE tcrone@cityweekly.net

s Marqueza took the stage at Kilby Court in early March, the snow outside fell from well before showtime all through the set and deep into the evening. As few folks seemed to be braving the elements that evening, Marqueza and collaborator Adam Fuller played to relatively a small house—a few people drifting every few minutes, entering the venerable allages venue with heads topped by snow. It was an intimate show in some respects, the opening set of a three-act bill. But it was a meaningful one for the performer, as well. Some outdoor shows last summer aside, this was the Japanese-Venezuelan artist’s first full indoor show since the pandemic, and the crowd that was inhouse was coaxed up to the stage by set’s end. It’s also a place that they’ve enjoyed playing since high school, so it was a good night, all things considered. A nice return to form. “I’m the most happy onstage,” Marqueza says, “and the most comfortable. I hope the people there enjoyed it.” In some respects, the night was an opportunity to highlight new songs and those with a bit of history. Alongside the keyboards and programming of Adam Fuller, Marqueza cited several songs as “very special,” among them the track “Golden Hour.” It’s the SLC artist’s latest single, distributed digitally through all of the usual channels. In an email about the track, Marqueza adds that “Golden Hour is a deeply personal

@OMARGOTTHESHOT

Marqueza

and experimental track that features a return to my signature darker and emotional R&B, with unique electronic elements, and a constantly evolving song structure that ends with a hopeful piano moment. I wrote ‘Golden Hour’ in the first year of the pandemic during a very lonely time when I hadn’t had any physical contact with a loved one in months. I think many people will relate to aspects of the song that have to do with trying to hold on to goodness, light, and appreciating moments of joy no matter how fleeting, because nothing lasts forever.” Marqueza also notes that the cut is “a single that I fully wrote, produced, and recorded by myself.” Apparently, that’s a thing of the past. At this point, collaborations are multiple. Fuller’s a primary portion of that musical equation, having come into Marqueza’s orbit when they performed onstage with Fuller’s act Ivories at Urban Lounge just prior the pandemic. Together, Marqueza and Fuller have been writing and recording, with other ideas in progress or on deck. “Yeah, I’m doing a lot more collaborations right now,” Marqueza says. “I’m writing for another artist, and I’d always wanted to do more of that. I’m co-producing music with Adam. I’m writing music for a video game, which is random. And another goal has been to write for a sci-fi soundtrack or indie film. I’m trying to expand into all the little things I’ve wanted to do. “The last little bit of time I’ve said that I’m a singer, a producer, a songwriter. And doing all of that by myself. Now’s the time to table that for other things.” Though Marqueza will be recording over the next few months, some live shows— likely sans snow—will also take place around Salt Lake and nearby environs. With the recent Kilby date as a reminder, “I’ve missed playing at a venue. I hope to do that a lot more often.” “Golden Hour” is available on Spotify among most other platforms. There, you can also find a 34-track, self-curated playlist called This Is Marqueza. Further information can be found at the Linktree available through Marqueza’s Instagram handle marqueza.music. CW

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The Circle Jerks @ The Grand at The Complex

Much to the (mild) shock and (slight) dismay of a certain demographic of fans, the key albums of youth are hitting some bignumber anniversaries. Some of punk rock’s elder statesmen are finding their album anniversary numbers crawling up and into the 40s. With about two-months left in a string of live dates that’ll end their 2022 touring cycle, Circle Jerks are in Salt Lake this week, with their first two albums—Group Sex and Wild in the Streets—each now surpassing four decades of life. To bring those songs to life is a lineup featuring new/old and back-in-the-fold members in: vocalist Keith Morris, guitarist Greg Hetson, bassist Zander Schloss and drummer Joey Castillo. As the group’s seen a fairly large and occasionally acrimonious number of membership splits, this particular lineup has all the “classic” feel you could hope for, alongside a pair of tour support acts that could (and have) headlined shows on their own in recent(ish) years. Though they’d called it a career in 2018 and haven’t released an album in over a half-decade, 7Seconds remains a live favorite of the punk scene, with a sound that can veer between hardcore and a more-melodic vibe (that they flashed in the ’80s), all depending on how they wish to stack their playlist. Detroit-bred hardcore act Negative Approach rounds out the night’s entertainment, featuring a road-tested lineup that’s been active on/off since 2006. It’ll be fascinating, as is always true when seeing bands birthed at the dawn of the ’80s, to see the mixture of audience members, be they new converts or the oldest of old heads. Tickets for this monster show at The Complex (536 W. 100 South) are $30, available via thecomplexslc.com. Some Covid-19 protocols are detailed there, as well. Doors at 7 p.m., show at 8 p.m. on Thursday, March 17.

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The Main Squeeze

Msking, The Zissous, #1 Babe Team @ Urban Lounge

SLUG Magazine sponsors this three-band sampler of some of the best and brightest indie rock bands in Salt Lake. Included is Msking, which recently opened for Daytime Lover at the latter band’s album release. They’ve got a series of EPs and singles available for streaming on Spotify—some soft, some spiky, all solid. They’ve also got a name that autocorrect hates; like, really, really hates. In February, The Zissous released a five-song EP called She-Devil via Bandcamp, highlighting a fun, short set of pop-punk winners recorded in their living room. Rounding out this threeband bill is #1 Babe Team, which, based on a quick glance at Instagram, is currently in the studio at Archive Recordings. (In addition to this show, SLUG is throwing light on the local music scene with the sixth volume in its Death by Salt series, a 10-song, 10-band showcase featuring Lord Vox, Josaleigh Pollett, LAST, The Aces, Jay Warren, Marqueza (see p. 32), The Ph03nix Child, Jacob T. Skeen, Bobo and Choice Coin.) This Thursday, March 17 show at Urban Lounge (241 S. 500 East) is nicely priced at $5, with tix available via theurbanloungslc. com, where you can also find the room’s Covid protocol information. Doors at 7 p.m.

The Main Squeeze and Neal Francis @ The State Room

Now here’s one of those shows that features two ascendant bands, either of which seems as if a major run at success could be calling. Chicago’s Neal Francis is, perhaps, the in-the-clubhouse leader here, as he’s taken a recent tour run with Black Pumas and has started to crack TV appearances, such a recent slot on CBS Saturday Morning. He’s lauded as being there “for fans of ’70s-inspired psych-rock, jam bands and high-energy piano.” Nice, nice, yes. Our bet for the most chills-per-minute on this bill, though, lies with The Main Squeeze, a Bloomington, Ind., group that’s been around for over a decade, though their web presence fairly slim—except on social media threads, where new converts are losing their minds over the band’s musicianship and energy. Some of that’s because of new fans finding them at festival dates or at solo shows, becoming immediate disciples in the process. Gifted at the art of a cover song, the band’s got a decent selection of tracks available on YouTube, absolutely ripping through classics by Pink Floyd, Led Zeppelin, Black Sabbath and James Brown, as well as contemporary cuts by folks like Childish Gambino. In fact, there’s so much to love about their takes on known tracks that it’d be easy to simply look/listen past their original material, though that be a mistake. Their 2020 album 1 2 3 4 5 is available for purchase and streaming at Bandcamp, and does a fine job of introducing their original sound, which is rooted in rock’n’roll and funk, with no shortage of top-tier musicianship and a world class vocalist in Corey Frye. Catch ’em now; bigger venues and ticket prices are sure to follow. The two bands play The State Room (638 S. State) on Wednesday, March 23, with a 7 p.m. door. Tickets, at $28, are available at thestateroompresents.com. CW

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MARCH 17, 2022 | 35

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LIVE MUSIC NOON-CLOSE IRISH FOOD MENU Music Lineup Nathan Spencer noon to 3pm | Richie and Misis 3 pm to 5pm Murphy and the Giants 5:30 to 8:30 | Dj Brax 9pm to 1am corned beef special

Thursday March 17

36 | MARCH 17, 2022

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FREE WILL ASTROLOGY B Y R O B

B R E Z S N Y

Go to realastrology.com for Rob Brezsny’s expanded weekly audio horoscopes and daily text-message horoscopes. Audio horoscopes also available by phone at 877-873-4888 or 900-950-7700.

ARIES (March 21-April 19) Singer, dancer and comedian Sammy Davis Jr. disliked the song “The Candy Man,” but he recorded it anyway, heeding his advisers. He spent just a brief time in the studio, finishing his vocals in two takes. “The song is going straight to the toilet,” he complained, “pulling my career down with it.” Surprise! It became the bestselling tune of his career, topping the Billboard charts for three weeks. I suspect there could be a similar phenomenon (or two!) in your life during the coming months, Aries. Don’t be too sure you know how or where your interesting accomplishments will arise. TAURUS (April 20-May 20) I love author Maya Angelou’s definition of high accomplishment, and I recommend you take steps to make it your own in the coming weeks. She wrote, “Success is liking yourself, liking what you do and liking how you do it.” Please note that in her view, success is not primarily about being popular, prestigious, powerful or prosperous. I’m sure she wouldn’t exclude those qualities from her formula, but the key point is that they are all less crucial than self-love. Please devote quality time to refining and upgrading this aspect of your drive for success. GEMINI (May 21-June 20) “I’m not fake in any way,” declared Gemini actor Courteney Cox. On the face of it, that’s an amazing statement for a Gemini to make. After all, many in your tribe are masters of disguise and shapeshifting. Cox herself has won accolades for playing a wide variety of characters during her film and TV career, ranging from comedy to drama to horror. But let’s consider the possibility that, yes, you Geminis can be versatile, mutable and mercurial, yet also authentic and genuine. I think this specialty of yours could and should be extra prominent in the coming weeks.

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CAPRICORN (Dec. 22-Jan. 19) “All experience is an enrichment rather than an impoverishment,” wrote author Eudora Welty. That may seem like a simple and obvious statement, but in my view, it’s profound and revolutionary. Too often, we are inclined to conclude that a relatively unpleasant or inconvenient event has diminished us. And while it may indeed have drained some of our vitality or caused us angst, it has almost certainly taught us a lesson or given us insight that will serve us well in the long run—if only to help us avoid similar downers in the future. According to my analysis of your current astrological omens, these thoughts are of prime importance for you right now. AQUARIUS (Jan. 20-Feb. 18) “Life swarms with innocent monsters,” observed poet Charles Baudelaire. Who are the “innocent monsters”? I’ll suggest a few candidates. Boring people who waste your time but who aren’t inherently evil. Cute advertisements that subtly coax you to want stuff you don’t really need. Social media that seem like amusing diversions except for the fact that they suck your time and drain your energy. That’s the bad news, Aquarius. The good news is that the coming weeks will be a favorable time to eliminate from your life at least some of those innocent monsters. You’re entering a period when you’ll have a strong knack for purging “nice” influences that aren’t really very nice. PISCES (Feb. 19-March 20) “Never underestimate the wisdom of being easily satisfied,” wrote aphorist Marty Rubin. If you’re open to welcoming such a challenge, Pisces, I propose that you work on being very easily satisfied during the coming weeks. See if you can figure out how to enjoy even the smallest daily events with blissful gratitude. Exult in the details that make your daily rhythm so rich. Use your ingenuity to deepen your capacity for regarding life as an ongoing miracle. If you do this right, there will be no need to pretend you’re having fun. You will vividly enhance your sensitivity to the ordinary glories we all tend to take for granted.

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VIRGO (Aug. 23-Sept. 22) Starhawk, one of my favorite witches, reminds us that “sexuality is the expression of the creative life force of the universe. It is not dirty, nor is it merely ‘normal’; it is sacred. And sacred can also be affectionate, joyful, pleasurable, passionate, funny or purely animal.” I hope you enjoy an abundance of such lushness in the coming weeks, Virgo. It’s a favorable time in your astrological cycle for synergizing eros and spirituality. You have poetic license to express your delight about being alive with imaginative acts of sublime love.

SAGITTARIUS (Nov. 22-Dec. 21) Witty Sagittarian author Ashleigh Brilliant has created thousands of cheerful, sardonic epigrams. In accordance with current astrological omens, I have chosen six that will be useful for you to treat as your own in the coming weeks. 1. “I may not be totally perfect, but parts of me are excellent.” 2. “I have abandoned my search for truth and am now looking for a good fantasy.” 3. “All I want is a warm bed and a kind word and unlimited power.” 4. “Do your best to satisfy me—that’s all I ask of everybody.” 5. “I’m just moving clouds today, tomorrow, I’ll try mountains.” 6. “A terrible thing has happened. I have lost my will to suffer.”

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LEO (July 23-Aug. 22) Leo classicist and author Edith Hamilton specialized in the history of ancient Greece. The poet Homer was one of the most influential voices of that world. Hamilton wrote, “An ancient writer said of Homer that he touched nothing without somehow honoring and glorifying it.” I love that about his work, and I invite you to match his energy in the coming weeks. I realize that’s a lot to ask. But according to my reading of the astrological omens, you will indeed have a knack for honoring and glorifying all you touch.

SCORPIO (Oct. 23-Nov. 21) “This is the most profound spiritual truth I know,” declares author Anne Lamott. “That even when we’re most sure that love can’t conquer all, it seems to anyway. It goes down into the rat hole with us, in the guise of our friends, and there it swells and comforts. It gives us second winds, third winds, hundredth winds.” Lamott’s thoughts will be your wisdom to live by during the next eight weeks, Scorpio. Even if you think you already know everything there is to know about the powers of love to heal and transform, I urge you to be open to new powers that you have never before seen in action.

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CANCER (June 21-July 22) “Sometimes I prayed for Baby Jesus to make me good, but Baby Jesus didn’t,” wrote author Barbara Kingsolver about her childhood approach to self-improvement. Just because this method failed to work for her, however, doesn’t mean it won’t work for others. In saying that, I’m not implying you should send out appeals to Baby Jesus. But I suggest you call on your imagination to help you figure out what influences may, in fact, boost your goodness. It’s an excellent time to seek help as you elevate your integrity, expand your compassion and deepen your commitment to ethical behavior. It’s not that you’re deficient in those departments; just that now is your special time to do what we all need to do periodically: Make sure our actual behavior is in rapt alignment with our high ideals.

LIBRA (Sept. 23-Oct. 22) In 1634, English poet John Milton coined the phrase “silver lining.” It has become an idiom referring to a redemptive aspect of an experience that falls short of expectations. Over 350 years later, American author Arthur Yorinks wrote, “Too many people miss the silver lining because they’re expecting gold.” Now I’m relaying his message to you. Hopefully, my heads-up will ensure that you won’t miss the silver lining for any reason, including the possibility that you’re fixated on gold.

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TURN KEY

BY DAVID LEVINSON WILK

ACROSS

1. Jovovich of “He Got Game”

Spring Season T

2. Put a stop to 3. “____ Mañanitas” (traditional Mexican birthday song) 4. Grime on Santa’s suit 5. Ruffles the feathers of 6. Hunts, with “on” 7. Frenzy 8. *Record player 9. DuVall of “21 Grams” 10. Egyptian fertility goddess 11. “The Daily Show” host Trevor 13. Country that’s got Meg Ryan all mixed up? 15. Self-referential 16. Bit of stage scenery 21. Form 1099 agcy. 23. Sealing ring 25. Toothpaste additive 26. Tuskegee ____ (Second World War regiment) 29. Small rowboat 30. ____ Equis 31. Seeds some put in yogurt 32. *Way to kick a habit 34. Opposite of WSW 36. Lobbying grp. 37. Regarding that matter 41. Pot-au-____ (French stew) 45. Peter with the debut solo album “Legalize It”

47. Out cry? 48. Stop producing water, as a well 50. In need of calamine lotion 51. “The Two ____” (“Chinatown” sequel) 52. ____-deucey 53. Clean Air Act target 54. Henry VIII’s sixth 56. What’s pulled through a pulley 57. Weighs (down) 61. “How was ____ know?”

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

URBAN L I V I N

WITH BABS DELAY Broker, Urban Utah Homes & Estates, urbanutah.com

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

1. Brooks who wrote the 2021 memoir “All About Me!” 4. Test the water? 7. Year the mathematician Pierre de Fermat was born 11. Simone known as the “High Priestess of Soul” 12. Boston Garden legend Bobby 13. Writers Collins and Sheehy 14. *Snow-capped peak of song 16. Mr. Miyagi, for one 17. Drink in a tavern 18. Website with a Seller Handbook 19. Writer Jong and others 20. Ran out of patience 22. High-ranking noncom 24. “The King of Clay,” familiarly 27. Org. that publishes the journal Emotion 28. Like 2021 31. Loops into a conversation, briefly 33. Uses, as a hammock 35. Soft murmur 36. “For me, a good bowl of ____ will always make me happy”: Anthony Bourdain 37. Fully equipped and ready to go ... or a hint to answering the asterisked clues 38. “Sound of da Police” rapper ____-One 39. Be down with something 40. Household skills class, for short 41. Youngest recipient of the Mark Twain Prize for American Humor (2010) 42. Scoundrel 43. “Blood hath been shed ____ now”: Macbeth 44. Rodin’s thinker? 46. Like a good workout 49. ____ board 53. Ejected, as froth 55. Space balls? 58. Sea-___ Airport 59. “My little” girl of ‘50s TV 60. *Thingamajig 62. Language in which “Shazbot!” is a profanity 63. Dungeons & Dragons genre, briefly 64. Nonbinary gender pronoun 65. Jennifer of “Dirty Dancing” 66. “Without a doubt!” 67. Kvetching cries

SUDOKU X

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38 | MARCH 17, 2022

CROSSWORD PUZZLE

he first day of spring is March 20. Spring is traditionally the time of year when people start putting their homes on the market. They’ve gotten through the year-end holidays, the crocuses are popping up in yards, it’s warm enough in the day to paint outside trim and to cut down branches on limbs broken during the winter. So what are some good steps to get your home ready to go on the market? Here are the basics: • What minor repairs are needed? Drippy faucet, running toilet? Fix the obvious, and if you want to get ahead of the game, drop $500 to a home inspection company to spend a few hours going from roof to foundation and everything in between at your property so that you can correct any issues that might scare away a buyer. • “Pack and Purge” is my motto. Generally, pack up 50% of what’s in the home, hanging on the walls and on top of counters. It’s OK to put all the boxes in an organized fashion in a spare room, the garage or in the basement while you’re on the market. Better yet, call for a U-Box and have U-Haul bring a storage container for you to fill up. They will take it back to a heated/air conditioned space until you need the items back. Use the universal “free” service by putting decent furniture out to the curb. You want rooms to look as big as they really are! • Arrange your closets. That does mean taking out half of what’s in there. You don’t need your super warm winter clothes now, so those can be packed up. If you’re anal enough, do a Marie Kondo and arrange hanging items by color and fold things on shelves evenly. Have a heart to heart with yourself/family as to what is worn out or damaged or what hasn’t been used in a year and take those items to the charity of your choice. Or head to Uptown Cheapskate or another clothing reseller and make a few bucks off your clothes. • Wash the windows inside and out. If you can afford it, have a professional do it for you, especially if it’s a two-story house. Check how the home and yard has fared over the winter. Are gutters down? Singles missing from the roof? Trim around doors and windows needs scraping and painting? People coming to see your home look at eye level. I’m amazed how many sellers forget to repaint/clean their mailbox/mail slot, clean the front door (or re-stain or paint) and wipe down the doorbell switch. It’s the first thing people see! We’re in a seller’s market, virtually statewide. Sure, you’ll get offers if you put up a sign, but you’ll get more offers—and better ones—if you pay attention to this list and put in some sweat equity to make even more money. It’s true that a home that shows well and is staged properly will always get better offers and sell for more money.  Content is prepared expressly for Community and is not endorsed by City Weekly staff.

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n A 15-year-old poodle named Snowball has been reunited with his owner, Kathy, of Norfolk, Virginia. What kept the two apart? Only about five years and more than 900 miles. Snowball, who arrived recently at the Cape Coral Animal Shelter in Florida with matted fur, infected eyes and ears and severe dehydration, had gone missing from Kathy’s home in Norfolk some five years ago. But thanks to the microchip Kathy had implanted in her bestie, the poodle was quickly identified, and Kathy booked a flight shortly after receiving a call from the shelter. Fox 4 Southwest Florida reports that Snowball’s eyes have been treated, his vaccinations have been updated, and his new health certificate will allow him to fly home with Kathy. Did Somebody Say “Shot”? On Feb. 27, the Smoking Gun reported, Christina Blair, 33, of Albuquerque, New Mexico, began honking her horn and yelling obscenities at Gabriel Chavez while the two drove their cars on an Albuquerque road. Blair told police she had become enraged upon seeing Chavez’s “Vaccinated” bumper sticker. After Blair hit Chavez’s car with an object (later revealed to be a water bottle) at a red light, Chavez accidentally backed into Blair’s car. The two pulled into a Walgreen’s parking lot, where Chavez expected to exchange insurance information; instead, Blair pulled a handgun from her car and racked the weapon. Chavez called 911, and police were able to use Chavez’s cellphone video to acquire Blair’s license plate info and track it to her residence. Blair was taken into custody and booked on a count of aggravated assault with a deadly weapon. Two-Drink Minimum The buggy-drifting skills of Ray Byler, 20, of Sigel, Pennsylvania, sound impressive; his alcohol tolerance, not so much. Byler was charged with a misdemeanor for driving under the influence and also was cited for reckless driving. Police began following the Amish buggy he was driving and watched as Byler sped up at a turn and locked the brakes, sending sparks flying. According to Trib Live, when Byler pulled over to let the officers pass and they asked if he was OK, Byler’s response was slurred, and he smelled of alcohol. When asked if he’d been drinking, Byler told the officers he’d had “a couple of beers.” Byler was allowed to stand by his agitated horse’s side after the field sobriety test; police said he refused to take the blood draw test at the hospital. Send your weird news items to WeirdNewsTips@amuniversal.com.

Babs De Lay

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Hanging Tough Looking to add some intensity to your workout routine? You could always take your inspiration from Roman Sahradyan’s latest Guinness World Record. All you need is excellent pull-up technique, 60 seconds ... and a helicopter. As reported by India Today, Sahradyan posted a video last October that went viral: In it, the Armenian performed 23 pull-ups in one minute, all while hanging from the landing skid of a helicopter floating several feet off the ground. The achievement earned Sahradyan an official

Guinness World Record for the “most pull-ups from a helicopter in one minute,” and the Instagram video posted by Guinness World Records has tallied more than 125,000 likes. One commentor gave a shout-out to the unsung hero of the video: “The real record is for the pilot for not crashing the helicopter.” Animal Adventures n The Lang family of Whidbey Island Station in Washington owns five horses, but on the morning of March 2, only four could be found. The family began a search and discovered that Blaze, the missing horse, was in deep trouble—15 feet deep, to be precise. The horse had broken through a barrier around 10 a.m. and fallen down a concrete well. Rescue workers from the Whidbey Island Naval Air Station dropped in and sedated the horse, and North Whidbey and Central Whidbey Fire & Rescue crews were able to get a harness around Blaze and lift all 2,000 pounds of equine out of the hole using an excavator from a neighbor’s farm. Blaze received an IV and was treated for a few minor cuts, but otherwise was unhurt in the incident. “If he had gone down any other way, he wouldn’t be alive,” owner Karl Lang told KING-TV 5. “Luckily, he went down heinie first.”

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This Gig Stinks Omni, a plant-based pet food company in Britain, is offering a lucky(?) few dog owners more than $6,000 to “record their experience of introducing their dog to a plant-based diet, monitoring their bowel movements, stool odor, health, energy levels, behavior, sleep pattern and physical attributes, such as weight, skin and fur condition” over a period of two months, according to the company’s website. Omni will provide a free supply of its pet food and will cover the cost of visits to a pet nutritionist, who will oversee the pets’ transition to plant-based food. Those dog owners who successfully complete the poop-monitoring period will earn the aforementioned cash for their work, while their dogs will receive a supply of dog toys and vegan treats. Applications will be accepted on Omni’s website through March 31. Check, Please! Michael Spressler, 58, of Brick, New Jersey, thought he had broken a tooth when he bit into a raw clam and felt something hard in his mouth during a Presidents Day weekend visit to his favorite Jersey Shore seafood restaurant, The Lobster House. “I thought one of my molars cracked,” Spressler told NJ Advance Media. But instead of one of his own pearly whites, Spressler found a perfectly round white pearl. “I’ve been eating clams all my life. This is the first time this ever happened to me,” Spressler said. Indeed, the odds of finding a pearl in a clam are said to be roughly 1 in 10,000, and The Pearl Source website says the little gem, which Spressler’s wife, Maria, would like to have set in a piece of jewelry, could be worth anywhere from $50 to $100,000. Golden Ticket On Oct. 26, 1984, Northwestern student Michael Cole attended a basketball game alone, having been unable to find a friend to use the extra ticket he had purchased for $8.50. Thirty-eight years later, on Feb. 27, Cole, now 55, watched that spare ticket, which he had held onto as a keepsake, sell for $468,000 at auction. What was so special about the ticket? It just happens to be the only known intact ticket from Michael Jordan’s debut game with the Chicago Bulls. Cole, whose 2012 Kia Sorento died just one week before the auction ended, said he plans to use some of his earnings to replace it with “a sensible used car.” A Little Faith in Humanity Perhaps it’s a sad critique of the world we live in when a story like the following is classified as “weird”—but greed abounds in this modern age, so when an act of kindness rises above the usual dreck, it is weird news indeed. Eduardo Martinez of Honduras, who works near Broadway in New York, probably expected a more typical ending to his story: According to UPI.com, on March 2, as he rushed to get to work through jam-packed Times Square, Martinez dropped his wallet. Losing his IDs and personal effects would have been devastating enough, but Martinez also had $4,000 in cash inside his billfold. As he waded through the crowd of tourists and searched the ground, two police officers approached and informed him that the wallet had been picked up by a fellow commuter and turned over safe and sound—with all $4,000 intact. Here’s to happy endings!

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40 | MARCH 17, 2022

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City Weekly March 17, 2022

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