City Weekly September 7, 2023

Cover Story

By Scott Renshaw and Merritt Mecham

S AP

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@SLCWEEKLY @SLCWEEKLY @CITYWEEKLY

Fueling Change

The fossil fuel industry is heavily subsidized, and for good reason. Globally, this totals $500 billion in subsidies to keep the cost of oil, gas and coal low.

If subsidies were to diminish rapidly, households would bear the true cost of heating their homes, driving their cars and powering their lifestyles. It would cause mayhem and affect the poorest households most, those already living on shoestring budgets.

We need affordable energy. We also need it to be healthy for our community’s

use. Fossil fuels have a negative externality: emissions. They hurt our health, especially during inversion months, but they also have externalities beyond our local communities. This includes national security (the U.S. military considers climate change a “threat multiplier”) and an unpredictable climate that will cost billions in natural disasters, cleanup and rebuilding.

So how do we go about eliminating these issues and go about funding the progress needed to make it happen? We can do what we’ve done for so long with our energy—subsidize it. How do we do this? Enter carbon pricing.

By setting a price on carbon, we can fund our energy future. A carbon fee and dividend bill has already been discussed—the idea being that we charge a fee to the highest carbon users to reduce fossil fuel use and pay a dividend out to the American people to mitigate increased energy costs.

Alternatively, in lieu of spurring mar-

ket growth through a check to the people, like the recent stimulus checks, why not put the money directly back into the investment of our energy? This will spur rapid development, create new U.S.based jobs and ensure our energy needs are met in a healthier manner.

A carbon fee can subsidize renewable energy investment and save the American people on energy costs by owning their power.

Carbon pricing is not a new idea. It’s a discussion economists have been having for some time and a policy that has already been enacted in several countries. We need to make the transition to renewables happen quickly and affordably. Solar, wind and geothermal energy—to name a few alternatives—can power our economy in a cleaner and healthier way than 20th-century fossil fuels.

We live in a world of technological advancement. The most logical next step is to modernize our energy systems. Renewables will improve our air, economy

and communities. Renewables reduce our reliance on foreign governments and allow us to produce our energy locally. The technology has become viable and has reached the efficiency levels of fossil fuels.

The true cost of fossil fuels will continue to rise as the ability to reach and extract oil, gas and coal becomes more complex and costly. Whereas the cost of renewables is decreasing as we scale through deployment. We need to help spur the growth of renewables now, even as the cost may seem higher.

Let’s create healthier communities by subsidizing not fossil fuels, but renewable energy. Power to the people!

TOM MAGNUSON Salt Lake City

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

THE WATER COOLER

What would you bring to the office for show and tell?

Kelly Boyce

Some psychedelic mushrooms to show people the beauty they can create and how they’ve changed my life.

Wes Long

My cat Crumpet—the sweetest, most guileless creature you’ll ever meet. Of course, he has a habit of lulling me to sleep, so it’s best to keep him home.

Paula Saltas

My daughter Eleni’s Greek cookbook that she published: All You Can Greek. If you don’t have one, purchase it on cityweeklystore.com. You’re welcome.

Scott Renshaw

I’m not much of a person for “stuff,” and I don’t really have odd collections to show off. I’d say my cat, except every moment he’s ever been forced to be in a pet carrier has been high drama.

Benjamin Wood

I already bring my ebike in every day. Maybe my unicycle? Gotta remind folks that there’s more than one way to get around these parts.

Katharine Biele

What’s an office? Aren’t we all still working from home? I guess I shouldn’t bring my dog or cat, but the staff might be interested to see a floppy disc on which we used to store and share articles.

PRIVATE EYE

BY JOHN SALTAS @johnsaltas

Funny Not Funny

We are now on Week 3 of our 40-year history recap of this newspaper. Hope you like us sharing some of our memories. I’m personally getting some good feedback, about as much as I could expect considering most of the people who were associated with the paper 40 years ago have died.

It used to be that I was the youngest in the room. Now, I’m the oldest. It’s both melancholy and sobering, because when I try to explain the characters and methods we formerly used to put out a newspaper—and especially how to communicate by actually speaking—I’m reminded of so many great moments. I’m also reminded that the 20- and 30-somethings I spend most of my time with often have no clue what I’m talking about.

I’ve given up counting the number of times I’ve had to explain where the common computer or mobile phone instructions “Cut” and “Paste” actually come from. Don’t even get me started on “waxing.” I feel like my parents did when we all watched the Beatles on The Ed Sullivan Show in 1964. They didn’t get it, but I got it. I now grudgingly admit that I finally understand them.

A mong the messages I’ve received were thank you notes from folks I mentioned as being pioneers of early independent newspapers and magazines. Others must also be remembered. Among them is Susen Sawatzki, the founder and publisher of Utah Ad News, the beacon for Utah’s advertising community from 1982 through 2012.

We had only a few of our street issues out in the late 1980s when Sawatzki featured us on her cover, along with the other free publications that were circulating at the time. That was awesome.

In 1989, Red Oelerich would begin publication of his Cycling Utah newspaper, which later became Outdoor Utah Adventure Guide. Oelerich is a supporter of all things local, including the advertisers on these pages. If you see him around town, please buy him a beverage and send me the bill.

Nothing of historical nature gets by the eye of Utah icon Ken Sanders. You may know he’s moving his notable Ken Sanders Rare Books into The Leonardo (can you imagine moving a bookstore?), but he found time to remind me of the olden days of Utah’s first street newspapers.

At the consequential and historic Cosmic Aeroplane, a movement was afoot. As Utah’s first “head shop”—as far as I know—selling such exotic hippie-era items as incense, Grateful Dead albums, tie-dye, black light posters and roach clips (the most perfectly named utensil ever), founder Steve Jones and his partner Bruce Roberts were also engaged in wording the counterculture, not just selling items to it. Their print media was among the first in Utah to be labeled as “underground,” a movement that took over city by city with similar newspapers, some lasting even until today.

However, in Salt Lake City in the 1960s and even the 1970s, such thought provoking, establishment-poking media projects were doomed—energetic and necessary, but doomed. Still, Jones managed to give life to The Electric News for five issues in the late 1960s, while later, Roberts would beget The Street Paper, but that also couldn’t get traction.

Around the same time, some folks Ken Sanders describes as “BYU dissidents” produced the Seventh East Press. But, really, who isn’t a BYU dissident? Aren’t we all?

In Moab, a paper arose called String Desert Gazette and was lost to the red sands, I suppose, while in the late 1970s, Richard Goldberger founded and published what could fairly be called Utah’s first alternative newspaper, the Salt Flat News. I think that’s it, at least for now.

We chug on, last week completing the voting for Best of Utah 2023. In Year 1—1989—about 300 mailed-in bal-

lots were submitted. This year, over 19,000 individuals voted. That’s a crazy number, producing a record number of votes, which will culminate in our annual Best of Utah issue and party (Utah’s best) in November. I can’t spill the beans on any winners yet, but here’s something I don’t mind sharing.

We run the category of Worst Utahn. That category has the most votes of any other category by a bigly margin. Utah’s favorite annoying sprite, Sen. Mike Lee, R (for Ridiculous), has been a consistent winner for the past several years. But lo! This year, he has some competition.

We’ll see who wears this dishonorable crown in the end, but be assured it is not someone nice or normal. One thing about our readers, they know a creep when they see one.

On the eve of the ballot closing, City Weekly ran an online teaser promo with the faces of three ill-distinguished Utahns—Lee, state school board member Natalie Cline and Attorney General Sean Reyes—urging people to hurry up and vote at the last minute, and asking who might win this year’s Worst Utahn.

The three nominess were wearing the ceremonial mariachi-style costumes worn by Chevy Chase, Steve Martin and Martin Short in the early 1990s comedy, The Three Amigos—a movie that has clearly lost whatever cultural relevance it once had. Some community members have never even heard of it, but no matter. We at times become our dated parents.

City Weekly lists the Top 3 winners in each category. The Three Amigos casting caused a vocal number of people to call for us to be removed from our own heads for being ethnically insensitive and for cultural misappropriation. The worst pinch of all is to offend someone you care about and, for this outlet, that’s especially true.

To my friends and our friends in Utah’s Hispanic and Latino communities … lo siento, mis amigos. (Note: Utah celebrates Latino and Hispanic Heritage Month from Sept. 15 through Oct. 15.) CW

Send comments to john@cityweekly.net

HITS & MISSES

BY KATHARINE BIELE | @kathybiele BY WES LONG |

MISS: Coronation Primary

“[The] Candidate who wins Tuesday’s GOP contest will ‘in all likelihood’ capture seat being vacated by Chris Stewart.” With news like this, who even needs to vote in Utah? That was The Salt Lake Tribune’s front-page story on Sunday. The voting will be over by the time City Weekly publishes, but apparently we all know the outcome—sort of. It will be the anointed Republican. It’s not that all Republicans in the state vote—they don’t have to. They know the outcome and don’t really want to think about it. Former Gov. Gary Herbert, in a Deseret News opinion piece, tried valiantly to tell voters that the process is important and that off-year and municipal elections have merit. “Please open your ballot envelope today and start considering your choices. Do your research. Cast your vote,” he wrote. Last week’s turnout was at 21%. And it seems no one expects the Democrat to make waves.

MISS: Sour House

There’s good news and bad news and, well, news about Sugar House. In a nutshell, traffic is not getting better any time soon. The “good” news came a while ago when the Salt Lake City Council began considering a drive-thru ban. This comes after horrendous gridlock from drivers waiting to order at Chick-fil-A. The city still hasn’t figured out whether it is OK being car-centric and the inevitable vehicular traffic that entails. The council is expected to make some decision on drive-thrus this week. In the meantime, don’t expect an end to the ubiquitous construction detours. Some pretty messy sewer line work will be happening until April 2024, and then there will be more as the city reconfigures 2100 South between 700 and 1300 East. And that’s just the roads—Sugar House has plenty of private construction going on to keep you guessing.

HIT: Deadly Driving

People are angry. We don’t know exactly why, but it seems like everything makes them angry. At last, someone’s paying attention. The Legislature is considering laws to tamp down on troubling trends in road rage. In Utah, up to 800 crashes a year are attributed to road rage, and deaths have climbed from 12 in 2017 to 28 last year, according to the Department of Public Safety. KUTV 2 News made note and has run a series of stories on road rage in Utah. “Utah was voted by Forbes to be the worst state in the nation when it comes to dealing with aggressive drivers in September of 2022,” the station reported. KUTV found that at least half of the incidents involved firearms. We know how Utah reveres its guns, but the intersection of high-speed driving and firearms has simply made the roads a more dangerous place.

Roads Kill

On a recent family excursion to Hogle Zoo, I caught sight of a fawn that had wandered from the direction of the Bonneville Shoreline Trail. The sounds of nearby car doors might have spooked it, so instead of heading back into the foothills, it sprang across the parking lot of This Is the Place Heritage Park and took refuge under a tree.

We wondered what could be done to usher it back into the hills and after some abortive attempts to do so, we decided to leave well enough alone. We hoped that the fawn would be safe from the cars on Sunnyside Avenue, but I have no idea what happened to that beautiful creature. For its sake, I hope it found its way back home.

Sadly, many animals don’t have the open-ended prospects that this fawn had when finding themselves beside our roads and highways. How many times do we drive by the bodies of deer, raccoons, dogs or cats as we hurry on our way?

Utah’s roads bring an unceremonious demise to many of our animal neighbors, and it does influence us as human beings. We can stand to be more mindful of this in our travels and in our infrastructure.

Indeed, we have become so accustomed to such a phenomenon that living creatures—whose record of habitation upon this land at the very least exceeds our own—become mere things (“roadkill”) when they happen to get stuck upon our rivers of cement and asphalt. It is a heartbreaking sight each time I come upon it.

I am grateful for the efforts of groups like the Utah Wildlife Migration Initiative in their work to establish bridges and culverts for safe animal crossings. Such labors are both a needed and humane action to take, a recognition that we do not own everything that exists, and that the boundaries between human communities and the wild needn’t be thoughtlessly enforced in death and disposal.

This is not a trivial matter. Our stubborn refusal to acknowledge any faults in our accepted means of travel does indeed play a part in our ongoing environmental crises. Similarly, our acquiescence and proximity to “acceptable” deaths in transit encourages a rather callous view of life, placing our own convenience and timetables ahead of all other concerns.

What happens to one will ripple to others both in health as well as soul, and no car can shield us from that seemingly banal kind of damage.

“I’ll not hurt thee,” says Uncle Toby to the fly in Tristram Shandy. “Why should I hurt thee? This world is surely wide enough to hold both thee and me.” CW

Small Lake City is home to local writers and their opinions.

Arts Issue 2023

Following a calling to be an artist is never easy. Leaving aside the possibility that family members might not support those dreams as “realistic,” there are financial constraints, fierce competition for opportunities and a world that seems to be throwing new obstacles and accusations at creative people all the time.

Every fall, Salt Lake City Weekly takes some time to celebrate the work of local artists and to give them even more of a focus. But that focus can take different forms as the realities of being an artist change from year to year, and moment to moment. In 2023, in addition to our traditional calendar of performances for the artistic year ahead, we asked local artists in a variety of fields about the question of artificial intelligence and how it might have an impact on the act of creation, whether for good or ill. Yet we’re also turning a spotlight on artists who are making their passion work for them in the realm of seasonal markets and arts festivals. Doors close and doors open, and it’s important to explore both.

We invite you to explore with us the life of local artists, getting to know the challenges and successes they face on a daily basis. For all the joy and enlightenment they bring to us, they’ve earned all this and more.

Scott Renshaw Arts & Entertainment Editor

Arts-ificial Intelligence

Local creators talk about how AI does—and could in the future—impact the arts.

BY SCOTT RENSHAW scottr@cityweekly.net @scottrenshaw

When Florida-based playwright Jenny Kokai was creating her absurdist play The Florida Variations—which has received a workshop in the playwrighting lab for Plan-B Theatre Co.—she opted to include the creation of an AI-generated piece of writing as part of that absurdity. “Right now, [AI] writes plays on about a fourthgrade level,” Kokai says. “In my case, I was doing something very meta and high-concept, and the inclusion of AI as a gift for [the character of] The Writer—a story she did not have to create to make sense of the world for herself—was the point. But without that framing, [AI] is just writing very bad, very soulless children’s literature.”

For most artists, the current state of AI-generated artistic works—from visual art to writing—registers on that same level of absurdity and lack of quality. Yet it has also become almost omnipresent culturally, to the point where it has become a key point of contention in the ongoing strikes by the Writers Guild of America, Screen Actors Guild and American Federation of Television & Radio Artists against the Alliance of Motion Picture and Television Producers, registering concerns about corporations replacing artists with technology. There is the present of generative AI, and the future of generative AI, and it’s unclear when today’s silly distraction might become tomorrow’s genuine threat to artistic expression.

City Weekly spoke to several local artists in a variety of different creative fields to get their perspective on artificial intelligence—as a distraction, as a tool and as a danger. Their thoughts seem representative of a larger community that sees a massive gap between art created by people and “art” created by algorithm, and they wonder what might happen if and when that gap starts to narrow.

The AI of Today

Photographer and artist Cat Palmer (who is an occasional contributor for City Weekly) recalls making a recent attempt to create a brief biography of herself using generative AI. The results, she found, were … unimpressive.

“I was testing it out, trying to have it write something on me,” Palmer says, “and even though there’s a lot of content out there about me … it was garbage. There’s so much that’s been written about me in two decades that it could have come up with something brilliant. But it’s just not there yet.”

“Not there yet” is probably the most generous way that artists tend to see the artificial intelligence of the moment. “In practical use, it is still in its infancy,” observes visual artist Brent Godfrey. “Literarily, I find it overexaggerated and ridiculous. In the web/online contact world, where I most see it, it often sounds like a stupid being—not quite human— clumsily using big words they don’t know the meaning of surrounded by an overabundance of flamboyant adjectives.”

“It’s word salad,” adds novelist Jessica Day George. “There’s sort of a plot line, but often the adjectives are placed randomly, tons of redundancy, and something always seems just slightly off. It might serve as an outline to a book, but it hasn’t been created by a human, and it shows.”

What’s true of writing seems just as true of visual artwork created by artificial intelligence. Says Jerry Rapier, artistic director for Plan-B Theatre Co., “All the images that people went nuts over for a while—see how this AI program sees you—I have yet to see one that looks anything like the person sharing them. It’s like electronic, overdone Botox.”

“My minimal experience with visual AI is on its home turf: the internet; specifically, social media, where it makes pretty boys prettier and gives all things sexy a shiny, unblemished sheen,” adds Godfrey. “I find it to be obvious and boring, but the number of followers

and likes these sites generate tells me that I am well outside the norm.”

These artists do often acknowledge that being immersed in the world of art might make them both more sensitive to what qualifies as “real art,” and a bit distanced from the perspectives of the average viewer, reader or consumer. “I think you’re going to run into people who aren’t going to know the difference,” Palmer says. “My very sweet, naïve spouse— they’re not on social media—and they’re already looking at photographs that are AI-generated and asking, ‘Is this real?’ … And they have a Ph.D. You’re going to run into that.”

The Good With the Bad

As fraught as the world of AI can be for artists, many also recognize ways in which the technology can be used as a tool to make their work easier. For Godfrey, there’s a recognition that other kinds of technology, for some time now, have been used as ways to streamline the process for painters and other visual artists.

“When Photoshop first came out,” he said, “some artists contemplated its use in fine art, but those valuing craftsmanship were prone to ignoring it. Now, many figurative painters use Photoshop to play with images to fine-tune composition and many elements of a painting. This speeds the painting process considerably, as one used to do this directly on the canvas, leading to scraping, overpainting and prolonged drying times to get to the painting you wanted.

“I see possibilities of AI being used in a similar way,” Godfrey said. “‘Here is my subject, my concept, palette and details that I am considering. Now, make a screen image of what this might look like. Now I crop this here, delete this distracting detail, darken here, make this more brilliant ... there. Click print, and here is a starting point to evolve from.’”

Playwright Matthew Ivan Bennett sees the opportunity for AI to serve the same function that many other kinds of creative “prompts” have in the work of writers. “As a creativity tool, I’m in favor of language modeling programs, in the same way that I’m in favor of writers using creativity decks or exercises or games or reading to spur their process,” he says. “In school, I was taught to borrow one line from an existing poem and let my imagination run with it. Certainly, the same can happen in coordination with these programs.”

For Rapier, something within the artistic world that isn’t specifically artistic, like writing grant proposals, might seem to be an opportunity to take advantage of AI’s abilities. Yet even there, he sees inherent limitations. “Grant writing, even though it’s technical writing, is also an artform,” he says. “What makes the difference between a decent grant and a fundable grant is the human element in the writing. I just don’t see how that is possible.”

Photographer and artist Cat Palmer

Visual artist Brent Godfrey

Jerry Rapier, Plan-B Theatre Co. artistic director

Novelist Jessica Day George

COURTESY PHOTO

IZZY ARRIETA

COURTESY PHOTO COURTESY PHOTO

Replacement Value

As the current impasse in the movie-industry strikes over the use of AI would suggest, many artists find themselves wondering if technology is destined to take over what they do as creative people. Depending upon the field in question, there are varying perspectives on whether that danger is real, or imminent.

“I can definitely see it impacting artists negatively,” notes Jessica Day George about the publishing industry. “I haven’t seen evidence that it’s costing novelists—yet. I have seen a dozen or so authors, however, find that someone is feeding their books into AI to train it, so that it will soon be able to write books in their style. Which means that books will soon be available that are Author XYZ-like, [so] why wait for Author XYZ to work on that next book when you can have it faster and cheaper from an AI? … I mostly worry that it will be used to make scraping faster and more efficient: taking a book that’s out of print and changing the names and a couple of other details, then releasing it as a new work.”

“Working exclusively in fine art (mostly painting), I have not yet seen AI negatively impact artist income,” Godfrey says. “I think that it has a near-future possibility of creating new artist income sources for less expensive art (e.g., replacing some of the old poster market). … Long term, it has the potential to cut out the artist all together, becoming another corporate income source. But this won’t happen until someone figures out how to scale it up and make it broadly desired enough to make it worthwhile as a larger money generator.”

While some kinds of writing and visual art have been at the forefront of the AI revolution, live performance would seem to be a form least likely to be impacted directly by robotic replacement. “Theater in particular and dance are insulated a little bit,” Jerry Rapier says. “Even though playwrights do not have the financial power that we all wish they could, one really wonderful thing about theater is playwrights control their own work.”

Still, Matthew Ivan Bennett can envision a scenario that does bring live theater into the realm where technology takes work from human artists and artisans. “It’s not hard to think that Disney Theatricals will one day tour the world with mere holograms of its musicals instead of paid live performers. Imagine: the Eccles [Theater] sold out for a week of performances of The Little Mermaid, and the only labor cost for Disney Theatricals is paying a few people to set up the holography equipment. Or perhaps touring houses will install equipment like that themselves, and will only need to license the digital file of the ‘play.’”

Legal Matters

As is often true for new technologies, their use has raced ahead of any attempts to regulate them or apply existing law. Just this summer, however, has seen a flurry of new activity that could have long-range implications regarding how and when AI can be used for creative work, and the extent to which it could be used to replace human-created art.

On Aug. 18, 2023, U.S. District Court for the District of Columbia ruled that the U.S. Copyright Office did not abuse its discretion when it determined that works generated by artificial intelligence were not eligible for U.S. copyright protection, potentially disincentivizing corporations for releasing such work. Subsequently, on Aug. 30, 2023, the U.S. Copyright Office began a public comment period, inviting input that might be used “to analyze the current state of the law, identify unresolved issues and evaluate potential areas for congressional action.”

“Technology is bound to disrupt culture and society, but any disruption can be mitigated by norms and rules,” Bennett says. “Given the state of AI right now, I think the most rational decision we could make is changing copyright law so that only human creations are protected as IP. Anything largely or wholly derived from a language modeling program should not be regarded as intellectual property. … In granting patents, the government requires that new inventions be sufficiently novel. A similar standard should apply for copyright: if a piece of writing was not created by an intellect, it should not be granted protection as intellectual property.”

Bennett adds that industry policies can also have a significant impact, simply by reducing the financial incentive to create works that producing and publishing entities won’t accept. “Publishers and editors I respect—both in poetry and fiction—have decided not to accept submissions created from, or largely in assistance with, language modeling programs,” he notes. “Their mission is supporting human creativity and [human] workers. … Personally, I hope that theater companies will make the same commitment that publishers are making in poetry and fiction.”

Meanwhile, the legal system continues to try to play catch-up with the question of whether, and to what extent, existing intellectual property created by humans can be used to train AI, and what kinds of generative works could be considered a violation of a creator’s copyrights. “Ethically, where are the boundaries there?” Cat Palmer asks. “You’re going to see lawsuits. As a photographer, if you took the photo, you owned the copyright to the images. Now, AI can create anything.”

The Way of the Future?

Beyond questions of legalities, the artistic community is understandably troubled by what embracing AI says about what we value in art—or, to paraphrase the words of Ian Malcolm in Jurassic Park, that we were so worried about whether we could, that we didn’t stop to consider whether we should. And there are legitimate concerns about what the future holds should the AI train continue picking up steam, and becoming more and more advanced.

“Will it replace human craftsmanship? Probably not,” Godfrey says. “But then again, I’m thinking with a mature mind in 2023. It is foolish to believe that young people, having constant exposure and manipulation by technologies and the powers intent on using them for their purposes, won’t be very different in their thinking and perceptions from myself, today. … How [AI] will actually be used will, I’m sure, be far beyond my current thought processes.”

“There are going to be advances in this that we don’t see coming,” Palmer says. “When our math teachers [decades ago] said, ‘You’re not going to have a calculator on you at all times,’ did they foresee us actually having a calculator on us at all times? I’m going to be obsolete probably in 20 years, and I’m OK with that.”

Still, one of the key matters for artists isn’t necessarily what AI might someday be able to do, but what it could never do, given its origins from something that isn’t human. If art is fundamentally a way to explore and express the experience of being human, is there a level on which AI-generated art is inevitably doomed to fail?

“From the inside, having spent my entire career inside the performing arts world, I resonate with things where I can feel the artist sharing their person,” Rapier says. “That is impossible for a machine to do. It can approximate it, or imitate it, but it can’t be it. The ‘A’ [for “artificial” in “artificial intelligence”] is still present. … For me, experiencing art in any form is about that visceral connection—the synching of heartbeats in the audience with those onstage.”

“Shiny, smooth things are not what excite me, but it might work for somebody else, because art is subjective,” Palmer says. “There’s always going to be a need for texture, and for emotion. And robots don’t have emotion. They haven’t been through that journey. … There’s a depth that comes with making artwork, that you’re never going to find with AI.”

“I think that we’re losing touch with connecting with humans,” Palmer adds. “I was capturing someone laughing today [in a photograph]. That was such a human moment. There’s something about the spark in that person’s eye—and I don’t think you’re going to computer-generate that.” CW

Will AI be able to someday create its own self-portrait?

Market Artists

BY MERRITT MECHAM comments@cityweekly.net

In 2022, global art sales increased to an estimated $67.8 billion, signaling once again that the world of fine art has largely become one of finance. The art world evokes images of exclusive galleries and conceptual pieces with remote emotional connection—in other words, not a scene the average person would be comfortable engaging in.

And yet, every summer and fall, white 10-by-10-foot tents pop up in parks around the city, featuring not only local vegetables and bakeries and businesses, but also art.

Outside of galleries and museums, there’s a robust art community to be found at markets. Here, the artists may or may not have been formally trained. They may or may not have shown their work in galleries, had glowing critical reception or even sold their art before. However, what you’re sure to find at an art market are artists with whom you’ll be able to make a connection.

On paper, artist Jennifer Worsley appears to be the kind of artist who you might expect to see primarily in the gallery world. She earned her education at Boston University and the New York Academy of Art and was even the recipient of the prestigious Hudson River Fellowship in 2009. Her work has appeared in galleries and installations across the country. “When I was in school,” she said, “I was thinking I would do big paintings and be a gallery artist … but the best thing for me is outdoor events.”

After several years on the East Coast, Worsley returned to her native Utah. As a landscape artist, she missed the connection she felt with Utah’s scenic nature and felt her work wasn’t doing well in galleries. In 2001, she was accepted into the Utah Arts Festival. “It was very dusty and hot,” she recalled, laughing. “People came and bought my pictures, and I was like, ‘This is so cool.’”

She fell in love with selling her work in the market setting. More than 20 years later, Worsley still sells her work at markets across the state, and people all over Utah have

purchased her work for display in their homes. Markets and festivals provide a place for artists and customers to meet face to face. In doing so, they create a more accessible art world for both artists and customers.

For artists, the less-formal environment of a market makes it accessible to those who haven’t come up through a traditional route of universities and galleries. Anyone can be accepted to a market, and anyone can sell their art.

Stephanie Swift, a digital artist, began selling her work in markets in 2008, when she made an illustration of a sign for Bronco Burgers, a favorite local joint in her hometown of Omaha. Inspired by vintage signs and the memories people have of local institutions, Swift has created illustrations of many Salt Lake City signs, from Coachman’s and Dee’s, to The Tavernacle and Southern Xposure. Her style has a nostalgia to it, with bright pop-art colors and dynamic angles.

But that first piece, Bronco Burgers—“I did it just for shits and giggles … for me and my sister,” Swift says. Her sister suggested applying for the Utah Arts Festival, and when Swift got in, she just went with it: “Well, the opportunity is right there. Let’s just go with it and see where it goes.”

Swift wasn’t completely detached from the art world, with a career as a freelance graphic designer, but she hadn’t really intended to be an artist who sells their artwork, and likely wouldn’t have if she hadn’t “stumbled” (her words) into the market scene. That’s one of the wonderful things about markets: They’re open to anyone.

For example, artist Hannah Moore had always enjoyed painting and drawing, but she hadn’t considered it as a potential career. In fact, prior to returning to Utah last year, she worked as a marine biologist and scuba diving instructor. “We all have the left brain, which is our logical scientific reasoning brain, and we all have our right side, which is the creative. … I think really successful people have a balance of both,” she said. “You know, over the last 10 years to be so scientific and logical … I think my brain almost wanted a break from constantly thinking about, you know, writing scientific papers and doing research.”

Moore’s background is certainly apparent in her artwork; a majority of her work features marine wildlife, and she began painting in earnest when she felt photography didn’t accurately capture the vibrant sea life she observed on her dives. However, that work didn’t give her all the preparation necessary to be a professional artist—which is exactly why she decided to pursue markets.

“I’d never sold my art before, and I wanted to be able to

gauge what the response to it was, especially here in Utah,” she said. “Maybe people wouldn’t relate to ocean art at all! And so, going to markets allowed me to see people’s reactions to my art. It allowed me to see what people wanted, or what they were really vibing with.” Over the past year, Moore has grown her business and her pursuits within the art world.

Markets have also been a great outlet for Janell Heck, an art teacher at Hillcrest Junior High. “You would think, as an art teacher, you would have a lot of time for your artwork, but you really don’t,” she said. “Having the summer, actually being able to do my own artwork, has been super nice.”

And beyond that, Heck says that she never felt particularly at home in the gallery setting. During her studies at the University of Utah, she felt there was a disconnect between her reasons for pursuing art, and what her teachers were expecting.

“During art school, professors always want you to have this in-depth concept and idea of what this art piece is about,” she said. “I hated that. I disliked doing it. I like doing art because I like doing art.”

Creating work for markets doesn’t have the same pressure, and Heck finds her style—nature-based, sometimes tattoo-style, watercolor and drawing—resonates with the people she meets. This summer, she worked on a series of Utah wildflower paintings that she’s sold at her markets. Worsley in particular loves selling her work at markets rather than galleries for two reasons. First, the natural light: “Some galleries had some of my work, and it just never really took very well … The pastels that I do show better when they’re in natural light.”

The second reason is that her other primary medium— in addition to pastels—is a woodblock medium that is extremely unfamiliar even to art connoisseurs here in the West: Moku hanga. According to Worsley’s website, the Japanese woodblock printmaking technique not only includes the carved woodblock, but also starch paste to manipulate the pigment’s texture.

“It’s a very unusual technique that nobody in a gallery is really going to be able to describe,” she said. At a market, however, she can not only describe the medium, but give demonstrations. “The only way that the person’s going to learn about [the medium] is from me, so it really helps to actually be there, interacting with people and showing them my woodblocks and showing them a little bit of how the process works.”

For many Utah creators, there’s no better place for sharing work than a white tent.

Jennifer Worsley, a moku hanga (woodblock) and pastel artist

Stephanie Swift’s vintage signage artwork

COURTESY PHOTO COURTESY PHOTO

In addition to the flexibility markets provide for different backgrounds and mediums, markets give artists access to something else: each other. Moore has experienced this more recently, as she’s participated in markets for the first time this year.

“The people that I have found have been so amazing,” she said. “It’s been not only a great networking tool for what other markets and business opportunities are out there, but it’s also made going to markets so much fun … There’s a really, genuinely, lovely community, and I have yet to experience the competition. … But everybody has been so supportive and excited, and just really uplifting to be around.”

Worsley says that the artist community “just has a really warm kind of welcoming quality in Salt Lake. That definitely wasn’t the case on the East Coast.”

When she moved back to Utah, Worsley observed that the artists weren’t overly competitive and often shared recommendations for classes and workshops. “I do think that that’s unique about Utah,” she said.

There’s no better way for customers to access the art world of Utah than through a market, whether or not they think of themselves as an “art person.” As exclusive as the art world can appear to be, people interact with art every day. They have prints and photos on their walls, they collect postcards or greeting cards and put doodles up on their refrigerators.

“I have a lot of people who come into my booth who are like, ‘Yeah, I’m not really like an art person,’” said Moore. “And when I hear that question, I always ask them … ‘You have nothing hanging on your walls? You have no plants, you have no furniture, you have nothing?’ And they’re like, ‘Well, no …’ Well, that’s art! … It’s functional art, but it doesn’t mean that you didn’t make a conscious choice to find something beautiful to put in your space.”

For many, coming to a market will be one of the few times they come face-to-face with original artwork. Markets take place in neighborhoods and parks where communities already gather. Most don’t charge an entry fee. They’re diverse: In 2022, the Downtown Farmers Market reported that “nearly one third of vendors were people of color, and 55% were women.” And, finally, the casual atmosphere of markets can help the customer feel at home and find an original piece of art that they’ll truly enjoy.

“The gallery [owner] is not going to be looking at the picture for the rest of your life on your wall. You’re the one that’s going to be looking at it,” said Worsley. “I think it’s better if people choose their own art.”

“[Markets] take out the intimidation factor,” added Swift. “If you go to an art festival or any market like that, you see such a variety of stuff—and stuff that most people can afford.”

Moore also said you shouldn’t discount how special it is to own a unique, original piece of art. To make original art more accessible, Moore adds unique elements to her prints like gold leaf in various designs. “Some of them are gold, some are copper, some are silver. … Find the one that resonates with you the most, and it’ll be completely unique to you,” she said.

The fact that they’re prints keeps the price down, but each piece is still unique and specifically worked on by her. “I think we all kind of want that [exclusivity],” Moore said. “We want to feel seen no matter what it is. So we want to feel that the art that we pick is unique to us.” Overall, this chance to interact directly with people seems to be the primary reason these artists love markets. “The more you interact with someone, the more they’re going to feel a connection to you, to your work. And if it’s a positive connection, they’re going to want to take it home,” said Moore.

Figuring out how to facilitate that connection is exciting for her. She describes a time a boy, around 15, and his dad entered her booth. She directed them to pieces she thought they might enjoy, but the boy seemed to be drawn to Moore’s more abstract portrait series. “He pulled one out and was like, ‘Oh my gosh, this is me.’ … It was so interesting, because it was the last thing that I ever thought that this teenage boy would pick out.” The father ended up purchasing that piece for the son. “It’s the coolest reaction to get to see a little glimmer of people’s inner self without knowing them at all,” Moore said.

Heck says one of her favorite-ever market interactions was “getting to chat with these girls—they were in fourth and seventh grade—and that’s about the grade that I teach. When I told them that I started with drawing anime, they were like, ‘You did?!’” The girls ran off and returned a few moments later with a phone and proudly showed Heck their own anime drawings.

Swift says her work, in particular, brings her the best stories. “Because of what I do,” she says, “a lot of it [brings up] people’s memories.” When people come into her booth and see signs, she can hear everything from “that’s the first bar I got kicked out of!” to “my grandpa used to take me to Snelgrove!” She described a man coming into her booth who worked as a bouncer for Southern Xposure paying her all in ones. “I treasured that money for a while,” she said.

Another time, someone came in and told her they had previously bought one of her pieces. “Their grandfather was an Alzheimer’s patient, and he hadn’t remembered anything for a while. His wife brought him the piece because that’s where they used to go on dates. She said, ‘Do you remember what this is?’ and he said, ‘Yes! That’s where I met you, my girlfriend.’”

And while she could do without hearing the old Dee’s advertisement jingles that people inevitably break into when they see her illustration of the old Dee’s clown, hearing these memories is one of the best parts of her work.

“It makes everyone happy,” Swift said. “I just like listening to everybody’s stories.”

Heck also finds that the local nature of markets means that you’re more likely to find a connection with a piece. The art you find at a market will be work made by your peers and neighbors, and will often be of the subjects the average market-goer cares about. This is why Heck, who has primarily sold at the Millcreek Twilight Markets, says local markets cater to her prime demographic.

“I am from Salt Lake. I’ve lived here all my life,” she said. “You make art based in Utah. You draw national parks. You draw the state flower. And people are very drawn to that, because that’s where they’re from. More people are willing to buy the things that they know.”

As for whether or not these artists feel their presence as market sellers is stigmatized by the gallery world, their answer is … not really. Both Moore and Heck are pursuing exhibitions, but at galleries that fit their style and vibe.

When asked about the differences between a gallery audience and market audience, Worsley said, “I don’t think it’s as different as people might think.” While she says she’s come across a few people who think festivals have “lowerquality art,” and would only buy high-end work at galleries, they’re in the minority by far.

And Swift? “I don’t really try to show in galleries, because that doesn’t feel like that’s my people.”

The market and festival seasons will die down as summer ends and the weather gets colder. However, Worsley hopes that artists will think about coming to markets with their own work. “You know, people think, ‘Well, if you want to make art, you’re not going to make any money,’” she said.

But with markets, Worsley said, “there’s actually this door in the wall that opens up and … you’re showing your work and people are actually buying it. And it’s like, that’s like the thing that everyone says doesn’t happen. So, I definitely recommend it.” CW

Marine wildlife artist Hannah Moore

Janell Raye Heck’s nature-based watercolor and drawing

COURTESY PHOTO COURTESY PHOTO

2023-2024 Performing Arts Calendar

BY SCOTT RENSHAW

Many of Utah’s amazing performing arts organizations have announced their season calendars beginning in 2023 and running into 2024. Here’s a roundup of some of the key companies, titles and dates that are confirmed for this year; information is always subject to change, so confirm with the individual organization when planning to purchase tickets.

Ballet West (balletwest.org)

Oct. 20 – 28: Dracula

Nov. 3 – 11: Firebird

Dec. 8 – 27: The Nutcracker

Feb. 9 – 17: Swan Lake

March 29 – 30: Beauty and the Beast

April 12 – 20: Love and War

June 5 – 8: Choreographic Festival VI

Broadway at the Eccles (saltlakecity.broadway.com)

Nov. 12 – 18: My Fair Lady

Dec. 19 – 24: Mamma Mia!

Jan. 9 – 21: Six: The Musical

Feb. 27 – March 3: MJ: The Michael Jackson Musical

April 2 -7: Pretty Woman

April 26 – 28: Come From Away

May 10 – 12: Annie

June 11 – 16: Girl from the North Country

July 31 – Sept. 1: Hamilton

Desert Star Playhouse (desertstar.biz)

Aug. 24 – Nov. 4: Addams Family: Wednezday’s Haunted Mansion

Nov. 9 – Jan. 6: Miracle on 42nd Street

Hale Centre Theatre (hct.org)

July 31 – Nov. 11: Catch Me If You Can

Sept. 13 – Oct. 21: Around the World in 80 Days

Nov. 6 – Jan. 6: Elf: The Musical

Nov. 24 – Dec. 28: A Christmas Carol

Kingsbury Hall (artstickets.utah.edu)

Sept. 23: Tom Papa

Oct. 25: Circa-Humans

Nov. 9: Timothy White Eagle: The Indigo Room

Nov. 17: Justin Willman

Dec. 16: Joe Gatto

Jan. 15: Step Afrika

Feb. 1: Healthcare Stories: Promise

Feb. 21: Banff Centre Mountain Film Festival

March 14: Music from the Sole

April 4: Matt Rife

April 19: University of Utah School of Dance: Alchemy

Live at the Eccles (live-at-the-eccles.com)

Sept. 29: Lewis Black

Oct. 7 – 8: Taylor Tomlinson

Oct. 10 – 11: Derek Hough

Oct. 21: Jonathan Van Ness

Oct. 29: Eddie Izzard

Nov. 8: David Sedaris

Dec. 1: Wheel of Fortune Live

Jan. 26 – 27: Bluey’s Big Play

Ballet West Dracula COURTESY PHOTO

Off Broadway Theatre (theobt.org)

Oct. 6 – 28: Dracula vs. The Hunchback

Nov. 3 – 25: It’s a Wondrous Life

Feb. 2 – 24: Utahoma!

April 5 – 27: Lore of the Rings

May 31 – June 29: TBD

Aug. 2 – 31: The Scarlet Pimpernel

New World Shakespeare Co. (newworldshakespeare.com)

Nov. 17 – 18: A Winter’s Tale

Feb. 2 – 11: Henry IV Part 1 & 2

May 3 – 11: The Merry Wives of Windsor

July 12 – 20: All’s Well That Ends Well

Pioneer Theatre Co. (pioneertheatre.org)

Sept. 22 – Oct. 7: Murder on the Orient Express

Oct. 20 – 31: The Rocky Horror Show

Dec. 1 – 16: Christmas in Connecticut

Jan. 12 – 27: Native Gardens

Feb. 23 – March 9: Bonnie & Clyde

March 29 – April 13: The Lehman Trilogy

May 10 – 25: Natasha, Pierre & The Great Comet of 1812

Plan-B Theatre Co. (planbtheatre.org)

Oct. 27: Radio Hour 17: Sherlock Holmes and the Final Problem

Feb. 15 – March 3: Balthazar

April 11 – 28: Bitter Lemon

Pygmalion Theatre Co. (pygmalionproductions.org)

Nov. 3 – 18: The Half Life of Marie Curie

Feb. 9 – 24: TBD

May 3 – 18: Mother of the Maid

Repertory Dance Theatre (rdtutah.org)

Oct. 5 – 7: I Am …

Nov. 16 – 18: Venture

Jan. 5 – 6: Emerge

March 2: Regalia 2024

April 11 – 13: Gamut

Ririe-Woodbury Dance Co. (ririewoodbury.com)

Sept. 21 – 23: Groundworks

Dec. 13 – 15: Synthesis (Young Artist Showcase)

Feb. 1 – 3: Traverse

April 18 – 20: Ascent

SALT Contemporary Dance (saltdance.com)

Oct. 20 – 21: Radio Silence

March 29 – 30: Spring 11

Salt Lake Acting Co. (saltlakeatingcompany.org)

Sept. 27 – Oct. 29: Can I Say Yes to That Dress?

Dec. 1 – 30: Elephant and Piggie’s “We Are in a Play!”

Feb. 7 – March 3: You Will Get Sick

April 10 – May 5: Bald Sisters

June 26 – Aug. 18: SLAC Summer Show 2024

The Sting & Honey Co. (stingandhoney.org)

Sept. 22 – Oct. 7: Oleanna

Utah Opera (utahopera.org)

Oct. 7 – 15: La Bohème

Jan. 20 – 28: The Little Prince

March 9 – 17: The Marriage of Figaro

May 4 – 12: Thaïs

Utah Shakespeare Festival (bard.org)

Through Oct. 7: Coriolanus

Through Oct. 7: Timon of Athens

Through Oct. 7: The Play That Goes Wrong

Through Oct. 7: Jane Austen’s Emma: The Musical

Summer 2024: Henry VIII

Summer 2024: The Winter’s Tale

Summer 2024: The Taming of the Shrew

Summer 2024: Much Ado About Nothing

Summer 2024: The 39 Steps

Summer 2024: The Mountaintop

Summer 2024: Silent Sky

Continued from p. 20

Utah Symphony (utahsymphony.org)

Sept. 8 – 9: Black Panther in Concert

Sept. 14 – 16: Dvorák’s New World Symphony

Sept. 18: Celebración Sinfónica

Sept. 22 – 23: Beethoven’s “Emperor”

Piano Concerto

Oct. 19 – 21: Rachmaninoff’s Symphony No. 2

Oct. 26 – 28: Harry Potter and the Deathly Hallows, Part 2 in Concert

Nov. 2 – 4: Beethoven’s 9th Symphony

Nov. 9 – 11: Audra McDonald

Nov. 17 – 18: Brahms’ Symphony No. 2

Nov. 22: Salute to Youth

Nov. 25 – 26: Messiah Sing-in

Nov. 30 – Dec. 2: Appalachian Spring

Dec. 8 – 9: Schumann’s “Rhenish” Symphony

Dec. 11: Celtic Woman

Dec. 15 – 16: Holiday Pops

Dec. 16: Here Comes Santa Claus

Dec. 21 – 23: Frozen in Concert

Jan. 4 – 6: Beethoven’s 7th Symphony

Wasatch Theatre Co. (wasatchtheatre.org)

Sept. 7 – 11: Art and Class

Sept. 22 – 30: Possessive! The Musical

Nov. 3 – 11: The Thanksgiving Play

Dec. 7 – 10: Disney’s Frozen Junior

Jan. 12 – 20: JQA

March 26 – April 7: Hangmen

April 19 – 27: The Realistic Joneses

Wiseguys Gateway (wiseguyscomedy.com)

Sept. 7 – 9: Michael Rapaport

Sept. 10: Two Dykes & a Mic

Sept. 12: Justin Rupple

Sept. 14: Uncle Lazer

Sept. 15 – 16: Matt McCusker

Sept. 19: Will Burkart

Sept. 21: Are You Garbage?

Sept. 22 – 23: Steve Rannazzisi

Sept. 24: Sean Patton

Sept. 28: Don McMillan

Sept. 29 – 30: Becky Robinson

Oct. 3: Frank Caliendo

Oct. 5: Morgan Jay

Oct. 6 – 7: Pete Holmes

Oct. 8: Brittany Schmitt

Oct. 13 – 14: Christina P

Oct. 19 – 21: Felipe Esparza

Oct. 27 – 28: Ryan Sickler

Nov. 2: Maria Bamford

Nov. 3 – 5: Michael Blaustein

Nov. 9 – 11: Chad Daniels

Nov. 17 – 18: Duncan Trussell

Nov. 24 – 25: Preacher Lawson

Dec. 1 – 2: Natasha Leggero

Dec. 7 – 8: Chris Distefano

Dec. 15 – 16: Zarna Garg: Practical People

Dec. 29 – 31: Dusty Slay

Jan. 5 – 6: Josh Blue

Jan. 19 – 20: Ashley Gavin

Jan. 25: Zoltan Kaszas

Jan. 26 – 27: Akaash Singh

Feb. 2 – 3: Drew Lynch

Feb. 9 – 10: Jeff Arcuri

Feb. 23 – 24: Ian Bagg

Wiseguys Ogden

(wiseguyscomedy.com)

Sept. 8 – 9: Todd Johnson

Sept. 15 –16: Pete Jr.

Sept. 22 – 23: Rodney Norman

Sept. 29 – 30: Andy Gold

Oct. 6 – 7: Craig Bielik

Oct. 13 – 14: Marcus and Guy

Oct. 20 – 21: Karen Rontowski

Oct. 27 – 28: Russ Nagel

Nov. 17-18: Brad Bonar

Wiseguys South Jordan

(wiseguyscomedy.com)

Sept. 8 – 9: Russ Nagel

Sept. 15 – 16: Beth Stelling

Sept. 16: Two Girls One Ghost

Sept. 21 – 23: Pauly Shore

Sept. 29 – 30: Paul Sheffield

Oct. 6 – 7: Aaron Weber

Oct. 13 – 14: David Nihil

Oct. 20 – 21: Jen Fulwiler

Oct. 27 – 28: Jon “Polar Bear” Gonzalez

Nov. 3: Liza Treyger

Nov. 4: That’s Messed Up

Nov. 10 – 11: Jordan Jensen

calendar listings

Frank Caliendo Wiseguys Gateway

Plus Ones

Free SLC student transit program expanded to include parents after runaway success.

BY BENJAMIN WOOD bwood@cityweekly.net

CAPITOL HILL—Since he was a seventh grader in West High School’s ELP program, Derek Wilhelm has relied on the Utah Transit Authority to get around. In those days, riding transit to campus left his parents free to “work or sleep as needed,” he said. Over time, he learned to use transit for after-school jobs and other destinations inside and outside the city.

“Being able to go to work, school and home, I was able to accomplish a lot independently,” Wilhelm said. “When you’re getting picked up by a vehicle that’s worth a couple hundred thousand dollars, you must be doing something right.”

Wilhelm was something of an early adopter, but he’s now just one of thousands of Salt Lake City School District students who regularly travel on public transit. Beginning in the fall of 2022, all district students became eligible for a free UTA transit pass, which saw the monthly number of school-aged riders jump from 400 to 3,000—a more than sixfold increase in a single year—according to Carlton Christensen, chairman of the UTA Board of Trustees.

And thanks to the success of the program, it’s being expanded. Free transit passes will now be available to one parent or guardian in each SLC student’s household, as well as to school district faculty and staff, under a new pass program announced last week at West High School.

“Getting to school has never been easier, safer or more convenient,” Christensen said.

With school buses typically running twice each day—to school and from it— many families are forced to rely on private transportation for things like after-school activities and parent-faculty meetings. That dynamic, by extension, can have the effect of excluding families—and particularly low-income families—from extracurricular participation.

“This is more than just a free ride for our families—this affects their bottom line,” the district’s new superintendent, Elizabeth Grant, said. “More than half of our students are low-income. Every dollar saved on transportation makes a great deal of difference.”

Salt Lake City Mayor Erin Mendenhall noted that without the option of free transit, many of the tens of thousands of transit trips taken by students last year would likely have required the use of a car, adding to the city’s air pollution levels and contributing to greater traffic congestion on the roads.

“It’s mind-blowing,” Mendenhall said of the program’s success. “But also, it isn’t—because our young people adopt and adapt easier than most of us do after we get our diploma.”

UTA has increasingly dabbled in nofare services, partnering with private employers to distribute passes and with event promoters to count things like concert and sporting tickets as transit fare.

In 2022, Salt Lake City worked with UTA to offer a full month of free-fare services in February, an effort that was partially repeated for a little more than one week during the NBA All-Star events in February of 2023.

Data released following each of the Free Fare February pilots showed a significant uptick in transit riders, particularly on

weekends and on the system’s passenger rail services.

Those free-fare periods also capitalized on major transit improvements implemented in recent years, including new Trax and FrontRunner rail connections, higher-frequency services on key routes and better pedestrian and cycling facilities around bus and train stops, mitigating the so-called “last mile” service gaps that keep transit out of reach for many would-be riders.

“This is changing lives, it’s changing families today and their budgets as they pay for ever-growing costs around gas and ownership of a car and insurance,” Mendenhall said. “It’s changing opportunities for our students who don’t have to go home because they don’t have another way home after school.”

Christensen noted that the new guardian pass, like the student pass, is not limited to the academic calendar and can be used year-round. In June and July, he said, more than 2,500 students took a combined 62,000 trips on the UTA network.

There are a little more than 20,000 students, total, enrolled in Salt Lake City School District.

Christensen said the success in Salt Lake City could be an “example” to other school districts in the UTA service area— which includes all of Salt Lake County as well as portions of Utah County, Davis County, Weber County, Box Elder County, Summit County and Tooele County.

“Clearly, this is a pattern that we as a transit agency—and certainly as a community—hope to see continue,” Christensen said.

City councilmember Chris Wharton, whose district includes West High School, said the student ridership data after one year of the program speaks for itself. “The impact has been so great,” he said, “and we’re already expanding it.” CW

COURTESY PHOTO

Parents of SLC students can ride transit for free under an expanded pass program.

CITY WEEKLY

BY WES LONG wlong@cityweekly.net

Notable adjustments to the Private Eye took place during its third publication cycle. Review features began making regular appearances in June of 1986, extending to theater, music, film and the burgeoning home video market. By the end of the third volume in May 1987, the paper was sporting a snazzy new masthead design.

Remebering Vol. 3: In the news

“Salt Lakers who like to celebrate the St. Patrick’s Day Parade have a debt of gratitude to pay,” remarked the Private Eye in March 1987. “Without a noble band of crazies who marched out of Stanyon Street on St. Patrick’s Day in 1971, Irish implements in hand, past Dee’s Drive-In and around the block, we might be without a St. Patrick’s Day Parade today.”

Don McGivney (1931-2000), a transplant from New Hampshire and proprietor of Club Stanyon Street (now Charlie Chow’s Dragon Grill at 255 E. 400 South), discussed the impromptu festivities in which he and his peers participated. “Earlier, we Irish used to go around to parties and then from club to club,” he told Private Eye, “but by 1971, we decided the city needed a parade. There were only about 30 of us, but still the police didn’t quite know what to do about us.”

That small band of people—playing nothing but kazoos—transformed into the Stanyon Street Marchers, a group that would be frequent participants of the official St. Patrick’s Day Parade, which didn’t fully take off until the end of the decade. What McGivney called a “parade” was really a one-off excursion, an early taste of what was yet to come.

John Francis Welsh (1934-2020), in a written recollection, described the “whirlwind of creative genius that started as a lark,” which he and his friends undertook in 1977.

During their annual revelry at Club Stanyon Street, Welsh—with his fellow conspirators

Robert Quinn, John Brockert and Michael Rodman—performed military march maneuvers in the downtown area while singing old Irish tunes.

Their lark completed, the group then decided to have “a real parade.” And thus, the St. Patrick’s Day Parade was born, in tandem with the birth of the Hibernian Society of Utah, which has run the parade since its 1978 debut. To all these people, we do indeed owe a debt of gratitude.

In the running

In October 1986, Private Eye contributor Ron Yengich announced a new honor— the Douglas Stringfellow Morality Award, highlighting “a politician from the State of Utah (generally) who shows those qualities of duplicity and waste which most exemplify former Congressman Stringfellow’s tenure in office.”

Decided by a vote of Private Eye readers, the Stringfellow Award received its namesake from Utah’s own Douglas R. Stringfellow (1922-1966), a one-term Republican U.S. Senator who built an image upon tales of his Silver Star-winning exploits during WWII in the OSS intelligence agency, and the resultant injuries he incurred. Running for reelection in 1954, Stringfellow was exposed as having lied about practically all aspects of his record, down to his claim of having attended the University of Cincinnati and Ohio State University. Think of him as the George Santos of the 1950s.

In any event, Yengich’s Stringfellow Award offered four finalists and a write-in option, presenting readers with the likes of such “distinguished” public figures as West Valley’s then-state senator Verl Asay (1922-1991), Utah Attorney General David Wilkinson (1936-2022), U.S. Attorney Brent Ward and SCOTUS Chief Justice William Rehnquist (1924-2005). Looking back upon those four candidates today, Yengich believes “they all deserved the award.” But he is quick to point out that in an era of Donald Trump, Mike Lee and Jan. 6, our political climate has deteriorated to an entirely new low. “As bad as Utah politics were then,” he said, “it’s way worse now.”

In the city

In August 1986, sports writer Dave Blackwell reported on the new leadership decisions being made for the Utah Jazz by Larry H. Miller (1944-2009), who at the time was rumored to have been eying the talents of one Julius Erving.

“With new sole owner Larry Miller at the helm,” wrote Blackwell, “working as feverishly as Farragut and Hornblower, the franchise gains credibility by jumping with both feet into the free agent market, which heretofore was verboten.”

In September 1986, Private Eye theatrical critic David Pace lamented the closing of the Promised Valley Playhouse (132 S. State St.), a vintage theatrical stage that at the time had been operated by The Church of Jesus Christ of Latter-day Saints since 1972.

“Area actors,” Pace wrote, “now have one less stage to present their craft. (A reason for the theater’s closure was stated as an attempt to revise the ‘theater’s mission,’ but strong criticism from locals over gay actors performing at the church-owned theater may well have been the real reason.)”

While the beloved theater has been gone for some time now, the facade of that classic venue still exists to some extent at the corner of State Street and Orpheum Avenue.

In the ads

Remember the Yugo, that charming conveyance from Yugoslavia? Well, in June 1986, Gus Paulos Chevrolet was touting the car as “the road back to sanity,” a return to basic affordability. Coming in at slightly over $4,000, some drivers might have seen the appeal, until they discovered that they were operating what Car and Driver magazine later described in 2010 as “the most wretched car ever to sully American highways.”

What do you call a Yugo with a flat tire? You call it “totaled.”

The Private Eye of May 1987 sported the ads for two unique businesses. One was for Splash Transit, a mobile hot tub and sauna; the other for a then-new music exchange store called Graywhale. While customers can no longer hail Splash Transit’s services

for parties, Graywhale is still operating today as a storied entertainment retailer with multiple locations.

And on a more sobering note, the Private Eye of March 1987 contained a reminder of the ongoing AIDS epidemic in Utah, warning that women and straight men were also at risk for the disease: “If you were exposed to AIDS five years ago—you may not know it yet.” Would that more people had paid attention and taken action against the health risk, even when it was perceived to be confined to their LGBTQ neighbors and loved ones.

In the ring

“Hulkamania” had come to the Salt Palace, reported the Private Eye in December 1986. To the delight of an audience of almost 13,000 people, Terry Bollea—better known by his ring name Hulk Hogan— came to the Beehive State in November with his cohorts from the World Wrestling Federation (WWF).

“Anyone who disagrees that prowrestling is more than fantasy is kidding themselves,” wrote John Saltas for the cover story. “But, anyone who believes pro-wrestling is not fun, exciting and entertaining probably had dry toast for breakfast.”

Pro wrestling was then riding a wave of popularity, and joining Hogan at the Salt Palace event were such notables as Jake “The Snake” Roberts (with python Damien in tow), the Iron Sheik and Randy “Macho Man” Savage. These luminaries of athletic theater brought Saltas back to the “rassels” that once took place at the old Fairgrounds Coliseum with the likes of Ali Bey, Karl von Brock, and “Krusher” Kowalski. Perhaps they had a similar effect for other Salt Lakers as well, for by Saltas’ reckoning, the event was well-attended by a diverse group and all in high spirits.

“If the Utah Jazz win the NBA championship,” he observed, “it may not be possible for a noise meter to record as high a sound as that which is heard when the Hulkster enters the ring.” CW

Wasatch Theatre Company: Art and Class

In 2017, Mateo Rueda—an art teacher at Lincoln Elementary School in Cache County—showed his students prints from the school library, which included images of classical art works that featured nudity. Depressingly, but perhaps not surprisingly, outraged parents accused Rueda of exposing their children to pornography, and Rueda was subsequently fired in early 2018 (though the district issued a statement clearing him of any wrongdoing, and permitting him to reapply to positions in the district). Local playwright Matthew Ivan Bennett saw the story as one that explored the fraught intersection in a conservative state of religion, culture, gender and race, and the result is the play Art and Class.

After receiving workshops at multiple companies in 2019 and 2020, Art and Class received its first production as a radio presentation by Plan-B Theatre Company in spring 2021, when many theater companies still were not offering in-person productions. As a result, Wasatch Theatre Company’s presentation—as part of its Page-toStage Festival—marks the first in-person production of the play by the popular Utah playwright. “Art and Class is more than a play about censorship,” Wasatch Theatre Company shared in a press release. “It provides a complicated look into relationships as they strain against the culture of an area [and] themes of the ways we honor our true selves in the midst of societal and professional expectations.”

Wasatch Theatre Company’s production of Art and Class runs Sept. 7 – 11 at the Regent Street Black Box at the Eccles Theater (144 Regent St.). Tickets are $12$15; visit arttix.org for tickets and additional event information. (Scott Renshaw)

JAMES MARTIN

20 W. 200 S. SLC | (801) 355-3891 siegfriedsdelicatessen.com

Utah State Fair

For lack of a better word, there’s something pure about the idea of a fair. It evokes images of family fun, midways full of flashing lights and the smell of fried food, competitions involving animals and baked goods, and more simple pleasures. It all comes back to you when you hit the fairgrounds for the Utah State Fair.

General admission brings you a chance to experience entertainment like barnyard animal races, a rainforest adventure by Minotaur Mazes, Mobile Dairy Classroom, Sunflower Pedal Ranch, the Unicycling Unicorn and more. Entertainment stages include magician Adam the Great, comedy hypnotist Tyzen, plus dozens of local bands on the South Plaza Stage. Competitive exhibits showcase Utah’s finest home arts, photography, flower arranging and fine arts, plus all the barns with animal competitions including hogs, goats, sheep and cattle. Those looking to add a little extra to their fair experience can grab tickets to the evening concerts featuring national music headliners: classic-rock legends The Steve Miller Band; ’80s Rock Invasion including bands like Great White, Quiet Riot and Vixen; rap artist Yung Gravy; and country singer-songwriter Lee Brice.

The 2023 Utah State Fair runs Sept. 7 – 17 at the Utah State Fairpark (155 N. 1000 West), with operating hours varying by day. Single-day general admission tickets run $8 - $12, with all-you-can-ride wristbands adding another $25 per ticket, good opening until close on day of redemption; headliner concerts are also in addition to regular admission. Visit utahstatefair.com for tickets, schedule and additional event information. (SR)

Utah Symphony: Marvel’s Black Panther in Concert

After a summer in the hills, entertaining guests of the annual Deer Valley Music Festival, the Utah Symphony returns to the acoustical wonder that is Abravenel Hall for its season opener. In this case, the series of “symphony on screen” movies offers up a blockbuster spectacle that was also one of the most critically- (and awards-) successful releases of 2018: Marvel Studios’ Black Panther

Fans had waited a long time for the introduction into the Marvel Cinematic Universe of T’Challa (Chadwick Boseman), ruler of the fictional African kingdom of Wakanda. The story—which follows T’Challa’s clash with his cousin, Eric Killmonger (Michael B. Jordan), over how Wakanda should interact with other countries in a complicated world—became a phenomenon, currently ranking sixth in all-time North American box-office earnings. Yet unlike many such hits, it was also respected by critics and awards groups, including receiving an Academy Award nomination for Best Picture and winning three other Oscars, among them Best Original Score for Ludwig Göransson’s music; Göransson also won a Grammy Award that same year for Best Score Soundtrack for Visual Media. It is that score that the Utah Symphony will be playing live while you get a chance to watch the movie, and get a fresh reminder of the talent we lost upon Boseman’s death from cancer in 2020.

Utah Symphony plays Marvel’s Black Panther in concert at Abravanel Hall (123 W. South Temple) on Friday, Sept. 8 and Saturday, Sept. 9 at 7 p.m. Tickets are $14.50 - $98; visit utahsymphony.org for tickets and additional event information, including purchasing 2023-2024 Symphony season tickets. (SR)

Salt Lake City Greek Festival

In case you’ve been asleep or not part of our little City Weekly family, this publication’s founder, John Saltas, is a proud member of the Utah Greek-American community. But if you think that’s the only reason that we make sure to give some love and attention to the annual Salt Lake City Greek Festival, you’d be much mistaken. For nearly 50 years, local folks of Greek descent open up their doors, their hearts and their gifts for wonderful food and entertainment for one of the state’s most enduring cultural-festival traditions, celebrating everything that Greeks have contributed to the state since the first immigrant arrivals ca. 1900.

If you’ve never visited the largest Greek festival west of the Mississippi River previously, you can expect festival grounds full of food offerings representing some of the community’s most talented purveyors of dolmathes, kefethes, gyro, souvlaki, baklava and more. Entertainment stages will feature several local groups like Dionysios, Minotavros and Goya Dancers showcasing traditional Greek dances, plus music from Detroit-based traditional Greek music quartet Oneiro. You can even get a chance to learn more about Greeks in Utah by visiting the Hellenic Cultural Museum on the Cathedral’s lower level, full of vintage photos and exhibits.

The Salt Lake City Greek Festival runs Sept. 8, 9, and 10 at Holy Trinity Cathedral (279 S. 300 West). Operating hours are 11 a.m. – 10 p.m. Friday and Saturday, noon to 9 p.m. Sunday. Admission is $5, free for children 5 and under. Visit saltlakecitygreekfestival.com to purchase tickets and for additional event information. (SR)

MARVEL STUDIOS COURTESY PHOTO

Thai Hard

Thai Better is close to perfecting fast-casual Thai.

BY ALEX SPRINGER comments@cityweekly.net @captainspringer

Not too long ago, I wrote a Back Burner blurb about Thai Better, a new Thai place that opened up in South Jordan. I usually like to give a place a bit of time to find its sea legs before giving it the full restaurant review treatment, but I’ve eaten there about six times since it opened, which got me thinking. It’s a fast casual concept that has consistently delivered exactly what I want when Thai takeout is on my mind, and they’ve already got plans to open a second location in Saratoga Springs—so I’d say they hit the ground running. On the nights we don’t feel like cooking dinner—which are maybe more frequent than I’d like to admit—Thai Better has shimmied its way up our top five list for a few different reasons.

First of all, there is something about Thai Better’s aesthetic that I find very endearing. Inside the restaurant itself, you have a gallery of paintings that feature their chubby mascot at various landmarks; he’s even posing in front of Delicate Arch in one pic. He shows up on all their takeout boxes, and is featured prominently in the restaurant’s logo. This little fatty is all of us, just living our lives, broadening our cultural horizons and seeking out nice things to eat. Through the esoteric powers of marketing magic, he has also become Thai Better, condensed into a rotund avatar that is easy to fall in love with.

I suppose a big reason this little guy is so likable comes from the quality of food that he’s associated with. Thai Better’s menu sticks pretty close to the local Thai restaurant playbook—you’ve got the rainbow of traditional curry, stir fry and noodle dishes that most Thai places feature. As the restaurant’s concept leans heavily into the entrée-in-a-cup approach that has made CupBop so popular, delivering your items with fast-food level speed is one of Thai Better’s strengths. This can be tricky to pull off while also ensuring the menu’s quality doesn’t suffer, but it happens to be where Thai Better shines.

Let’s look at their curry ($11.95), for example. They’ve got fiery red, herbaceous green, subtle yellow, peanutty massaman and its spicier cousin panang—all of which are up to the challenge of crushing a curry craving. I wouldn’t go as far as saying these are reinventions of classic Thai dishes, but the fact that they taste as good as they do, and are ready as fast as they are, is an impressive feat.

I have been bouncing back and forth between their panang curry—for when I want something on the spicier side—and their yellow curry, but each one stands out on its own for fans of traditional Thai curry. I do sometimes wish the spicier curries had more bite to them, but the small cups of dried chili flakes that accompany them add a nice punch to each dish. I haven’t quite worked up the nerve to ask them to make me something really spicy, but I’m sure they’d be happy to oblige.

The dish that comes closest to setting your mouth on fire is one of their special single entrees, the Thai spicy chicken ($11.95), which is a riff on their milder but tasty nonetheless orange chicken ($11.95). This takes the sweet-and-sour sauce of the orange chicken and zests it up with

a good dose of Thai chili. It’s served on some steamed broccoli and white rice, and makes for a decent detour from Thai Better’s regular menu.

Other standouts on the menu include their drunken noodles ($11.95), flat rice noodles tossed with plenty of veggies and enrobed in a thick, saucy glaze. These can hang with some of the best drunken noodles in town and not lose any swagger. The Thai fried rice ($11.95) was another pleasant surprise. Its fluffy rice gets tossed around with eggs, carrots and peas along with whatever protein you request—choose between tofu and chicken—and the whole affair is salty, savory and satisfying.

I’ve come to appreciate the inclusion of curry dumplings ($5.95) on a Thai place’s appetizer menu, and those offered at Thai Better are always a good way to start things off. They use their spicier green curry to highlight the herby notes of the dumpling filling, and they’re just lovely little pops of flavor. Of course, you can’t be a Thai restaurant in America without offering mango sticky rice ($3.95), which comes in a cute little plastic cup for easy travel. Mango sticky rice is mango sticky rice—it’s good here at Thai Better, but not really reinventing anything.

It’s fair to say that I’m excited by the presence and ambition of Thai Better. I’m always responsive to curry joints that offer a seamless takeout ordering process, but I’ve also become fond of dining in so I can further reflect on the chubby mascot. If fast, tasty eats with an emphasis on cuteness interest you at all, you’ll want to keep an eye on Thai Better. CW THAI

ALEX SPRINGER

2 Row Brewing

6856 S. 300 West, Midvale

2RowBrewing.com

Avenues Proper

376 8th Ave, SLC

avenuesproper.com

On Tap: Midnight Especial- Dark Mexican Lager

Bewilder Brewing

445 S. 400 West, SLC BewilderBrewing.com

On Tap: Mango Goze

Bohemian Brewery

94 E. Fort Union Blvd, Midvale BohemianBrewery.com

Bonneville Brewery

1641 N. Main, Tooele BonnevilleBrewery.com

On Tap: Peaches and Cream Ale

Chappell Brewing

2285 S Main Street Salt Lake City, UT 84115

chappell.beer

On Tap: Playground 4 with 1019 & Madusa

Craft by Proper 1053 E. 2100 So., SLC craftbyproper.com

On Tap: Purple Rain - Marionberry

Helles

Desert Edge Brewery

273 Trolley Square, SLC

DesertEdgeBrewery.com

On Tap: Munich Lager

Epic Brewing Co.

825 S. State, SLC

EpicBrewing.com

On Tap: Hopsters IPA

Fisher Brewing Co.

320 W. 800 South, SLC FisherBeer.com

On Tap: Rotating up to 17 Fresh Beers!

Grid City Beer Works

333 W. 2100 South, SLC GridCityBeerWorks.com

On Tap: Cask Nitro CO2

Helper Beer

159 N Main Street, Helper, UT helperbeer.com

Hopkins Brewing Co.

1048 E. 2100 South, SLC HopkinsBrewingCompany.com

On Tap: Raspberry Gose

Kiitos Brewing 608 W. 700 South, SLC KiitosBrewing.com

Level Crossing Brewing Co. 2496 S. West Temple, South Salt Lake

LevelCrossingBrewing.com

On Tap: Vienna-Style Lager

Level Crossing Brewing Co., POST

550 So. 300 West #100, SLC

LevelCrossingBrewing.com

On Tap: Nitro Coffee Uncommon

Moab Brewing

686 S. Main, Moab TheMoabBrewery.com

On Tap: Golden Sproket Wit Mountain West Cider 425 N. 400 West, SLC MountainWestCider.com

On Tap: Tropical Crush–POG–Passionfruit, Orange & Guava!

Offset Bier Co 1755 Bonanza Dr Unit C, Park City offsetbier.com/

On Tap: DOPO IPA

Ogden Beer Company 358 Park Blvd, Ogden OgdenRiverBrewing.com

On Tap: Injector Hazy IPA

Policy Kings Brewery 223 N. 100 West, Cedar City PolicyKingsBrewery.com

Prodigy Brewing 25 W Center St. Logan Prodigy-brewing.com

On Tap: Tranquili-Tea HefeweizenEpic Collaboration

Proper Brewing 857 S. Main, SLC

ProperBrewingCo.com

On Tap: Whispers from Krakatoa - Helles Lager with Habanero and Mango

Proper Burger: Sour RangerBlackberry and Lemon Sour

Proper Brewing Moab 1393 US-191

Moab, Utah 84532

On Tap: Angus McCloud- Scottish Ale

Red Rock Brewing

254 So. 200 West RedRockBrewing.com

On Tap: Gypsy Scratch

Red Rock Fashion Place 6227 So. State Redrockbrewing.com

On Tap: Munich Dunkel Red Rock Kimball Junction Redrockbrewing.com

1640 Redstone Center

On Tap: Bamberg Rauch Bier

RoHa Brewing Project 30 Kensington Ave, SLC RoHaBrewing.com

On Tap: Lighthouses Rule

Hazy IPA

Roosters Brewing

Multiple Locations

RoostersBrewingCo.com

On Tap: Identity Crisis Session

West Coast Hazy Cold IPA – the name says it all!

SaltFire Brewing 2199 S. West Temple, South Salt Lake SaltFireBrewing.com

On Tap: New! HeadhunterDouble IPA

Salt Flats Brewing 2020 Industrial Circle, SLC SaltFlatsBeer.com

On Tap: Oktoberfest Vienna Lager

Scion Cider Bar 916 Jefferson St W, SLC Scionciderbar.com

On Tap: Finn River Vista Ridge 9% ABV

Second Summit Cider 4010 So. Main, Millcreek https://secondsummitcider.com

On Tap: Spiced Peach Cider

Shades Brewing 154 W. Utopia Ave, South Salt Lake ShadesBrewing.beer

On Tap: Hellion Huckelberry

Sour Ale

Live Music: Thursdays

Shades On State 366 S. State Street SLC

Shadesonstate.com

On Tap: Hellion Blond Ale, an ode to Ellie, manager at Shades on State Karaoke: Wednesdays

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

Squatters Pub Brewery / Salt Lake Brewing Co. 147 W. Broadway, SLC saltlakebrewingco.com/squatters

On Tap: Salt Lake Brewing Co.’s Slippery Otter Nitro Vanilla Porter Squatters and Wasatch Brewery 1763 So 300 West SLC UT 84115 Utahbeers.com

On Tap: Squatters & Kiitos Collab: Ginger Rye Lime Sour, 5%

Strap Tank Brewery, Lehi 3661 Outlet Pkwy, Lehi, UT StrapTankBrewery.com

On Tap: Three on the Tree’ Hoppy Lager Collaboration with Proximity Malt and Roy Farms Hops.

Strap Tank Brewery, Springville 596 S 1750 W, Springville, UT StrapTankBrewery.com

On Tap: Three on the Tree’ Hoppy Lager Collaboration with Proximity Malt and Roy Farms Hops.

Stratford Proper 1588 Stratford Ave., SLC stratfordproper.com

On Tap: Yacht Rock Juice BoxJuicy IPA

TF Brewing 936 S. 300 West, SLC TFBrewing.com

On Tap: Mango Raspberry Berliner Weisse

Talisman Brewing Co. 1258 Gibson Ave, Ogden TalismanBrewingCo.com

On Tap: King Slayer-Pilsner

Uinta Brewing 1722 S. Fremont Drive, SLC UintaBrewing.com

On Tap: Was Angeles Craft Beer

UTOG 2331 Grant Ave, Ogden UTOGBrewing.com

On Tap: Golden Grant 5% ABV.

Vernal Brewing 55 S. 500 East, Vernal VernalBrewing.com

Wasatch Brewery 2110 S. Highland Drive, SLC saltlakebrewingco.com/wasatch

On Tap: Salt Lime Cerveza

Zion Brewery 95 Zion Park Blvd, Springdale ZionBrewery.com

Zolupez 205 W. 29th Street #2, Ogden Zolupez.com

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

2496 S. WEST TEMPLE, SLC LEVELCROSSINGBREWING.COM

BEER NERD

Hops in the ’Hood

These neighboring breweries bring out new hop-forward brews.

BY MIKE RIEDEL comments@cityweekly.net @utahbeer

Proper - Riled Up Red: This beer is named for Bill Riley, three-time local sports broadcaster of the year, who broadcasts from ESPN 700 in Salt Lake City. Proper says this ale was made to capture the intensity and excitement that Riley brings to every broadcast, while also toasting the legacy of the University of Utah Utes football team.

This beer is a traditional American red ale hopped with Galena and Cascade varietals. Its deep ruby color is nearly opaque, and has a large foamy off-white head. Aroma is pretty hoppy with pine and citrus rinds. American styles utilize American hops, and can vary from piney to fruity, while English styles will be more floral. No malts are detected—and now I’m just hoping it’s not just another all-hops amber ale.

The taste begins really full and malty—balanced, smooth and sessionworthy. This is definitely an American, with the Cascade hop being most prominent. There is that upfront tealike flavor with a bit of chocolate malt poking through, mostly for complexity.

For a lighter ale, its robust malt qualities are really round and full. That being said, it’s not ultra-sweet at all, finishing rather dry, actually. I find this style fairly distinct from ambers and browns. And there is a notable hop presence. I tasted this one at near room temperature as well as slightly chilled, and it held up both ways.

Verdict: It is a style that takes me back, and reminds me of many happy pints with friends. It is a beautifully-executed example, and it’s a shame beers like this have lost so much popularity.

I hope this style won’t continue to be so hard to find, and would gladly buy a four pack, as this red clearly holds up. I could imagine buying now and again, while passing on others. It’s not going to be enjoyable if you’re an “extreme beer” fiend; instead, think session beer done right. A good find.

Epic - Hopsters: This is a classic, West Coast-style double IPA brewed with new-age techniques and ingredients, including Amarillo Hopburst. This is the first year-round recipe developed by Epic’s new head brewer, Jake Kirkwood, who has been experimenting with Hopburst for a while now.

Hopburst allows brewers to showcase the delightful hop profile in the flavor and aroma of the beer.

This DIPA pours a very hazy orangeslash-pineapple combination color, with a thumb-sized dense off white head that falls slow and laces well. Aroma is different—definite fruity pineapple notes, but also big hemp and grassy notes mingled in as well. The cannabis-like aromas aren’t completely overwhelming, but it all makes sense within the theme of the beer. Initially, it’s weird to have so much fruit, herbal and earthy hints together, but I think I like it.

Wow, there are some hops happening here as we get into the first swig. Herbal and resiny all over, with intense terpene swirling around citrus peel and stone fruit. Then, it mellows out slightly, transitioning to hints of pineapple and mango with lingering herbal notes from the front boomeranging back. It’s interesting how the Hopburst lingers the way it does, hitting so fast and hard upfront but also lingering throughout the finish. I must say, this is an unusual double IPA, but I’ll be damned if I’m not enjoying Hopsters’ uniqueness.

Verdict: Well, this was a fun surprise, and definitely not the same-old double IPA. The 9.5 percent alcohol is a bit much with everything that’s happening here, but I’m probably in the minority in that regard. Definitely worth trying.

I like that Epic put this high-ABV beer in a 12-ounce can. On the flip-side, Proper Brewing putting the lower-ABV Red Ale in a 16-ounce can works equally well. As always, cheers! CW

MIKE RIEDEL

MIKE RIEDEL

BACK BURNER

BY ALEX SPRINGER | @captainspringer

Spice on 9th Opens

Our friends at Spice Kitchen Incubator (spicekitchenincubator.org) recently expanded their operation with Spice on 9th (422 W. 900 South, Ste. 101) in the Granary District. This market and café helps feature the restaurant incubator’s culinary entrepreneurs. In addition to providing a rotating menu of Spice Kitchen participants, it will also serve as a multi-purpose space for Spice Kitchen and other local small business owners who receive services from Salt Lake’s International Rescue Committee. Depending on the week, Spice on 9th will function like a pop-up restaurant where diners can get made-to-order eats, or a marketplace where business owners can sell their pre-packaged goods. With such a wide variety of talent participating, this place will be worth checking out regularly.

85°C Bakery Café Opens

Our local love for boba and other Asian desserts has put us on the radar for 85°C Bakery Café (3390 S. State Street, Ste. 18, 385-355-9991, 85cbakery.com), which opened its first Utah location recently. This Taiwanese bakery has a few locations in California, but it looks like Utah might be the first stop on its eastward expansion. You can get all your milk tea favorites here, but it’s the menu of colorful cakes and grab-and-go pastries that has my attention. This part of the menu hinges on dessert buns filled with everything from mango custard to the purple-hued ube. This place just became my latest excuse to visit the Chinatown Supermarket again.

Three New Spots at The Local Market & Bar

The Local Market & Bar (310 E. 400 South, 801-413-1360, thelocalsaltlakecity.com), one of Salt Lake’s newest food halls, recently announced the opening of three new concepts. First, you’ve got Porteña, an Argentinian spot that serves empanadas, sandwiches and salads inspired by the flavors of Argentina. Then you’ve got Verona Pizzeria, which uses an Italian hearth oven to whip up Veronese pizza along with a few desserts. Finally, there is Pokeologist, offering a build-yourown poke bowl concept to diners. Their “floating” sodas and emphasis on creativity makes me think this place will be a more hands-on poke concept. Check out the Local to see what they’ve all got cooking.

Quote of the Week: “There’s no great chef without a great team.” –Daniel Boulud

Fall Movie Preview 2023

What’s on tap for an uncertain season in theaters.

BY SCOTT RENSHAW scottr@cityweekly.net @scottrenshaw

Generally, when I put together a seasonal movie-release preview, it’s presented with the caveat that “release dates are subject to change.” And as far as the scheduled releases for fall of 2023 are concerned, that goes double.

Probably not since the earliest days of COVID has the theatrical release calendar been more influx, thanks to the dual strikes by the screen actors’ and screen writers’ unions that are still ongoing at press time, affecting the ability of studios to promote their releases; Dune Part Two has already been bumped to next spring. Nevertheless, we’re offering it up as things now stand, understanding that some of these titles may end up appearing on a 2024 preview as well.

SEPT. 8: It’s been seven years since we last checked in on Toula (Nia Vardalos) and Ian (John Corbett), and My Big Fat Greek Wedding 3 takes the surviving family members on a trip to Greece after the passing of Toula’s father (the late Michael Constantine); The Nun II offers the sequel to the spinoff from The Conjuring universe, with a malevolent entity continuing to terrorize Sister Irene (Taissa Farmiga).

SEPT. 15: Kenneth Branagh takes his third spin as Hercule

Poirot in A Haunting in Venice, with another mystery featuring an allstar cast.

SEPT. 22: Sylvester Stallone leads another mission of all-star action heroes in The Expendables 4; filmmaker John Carney (Once, Sing Street) unleashes his latest musical, with Eve Hewson as a single mom trying to connect with her child through song in Flora and Son

SEPT. 29: Rogue One director Gareth Edwards tells the futuristic story of a human soldier (John David Washington) in a war with AI tasked with destroying a robot in the shape of a child in The Creator; the long-dead John Kramer/ Jigsaw somehow continues to torture people creatively in Saw X; the wildly popular kid copaganda show gets a shot at big screens in PAW Patrol: The Mighty Movie; The wild story of how a bunch of subredditors cost hedge funds millions of dollars in GameStop stock gets a cinematic treatment in Dumb Money;

OCT. 6: Oscar nominees Saoirse Ronan and Paul Mescal headline the psychological thriller Foe; Director David Gordon Green moves from his recent Halloween legacyquels to bring Ellen Burstyn back to a tale of demonic possession in The Exorcist: Believer.

OCT. 13: Hilary Swank stars in a fact-based story of a hairdresser who becomes a good Samaritan for a widowed man’s critically-ill child in Ordinary Angels

OCT. 20: Martin Scorsese and Leonardo DiCaprio are together again for the true story of a terrorized Native American community in Killers of the Flower Moon

OCT. 27: Five Nights at Freddy’s adapts the popular video-game franchise about evil animatronic characters at a family pizza restaurant.

NOV. 10: Kamala Khan (Iman Vellani) from the MCU series Ms. teams up with Carol Dan-

vers (Brie Larson) and Monica Rambeau (Teyonah Parris) to save the universe in The Marvels; Paul Giamatti reunites with Sideways director Alexander Payne, playing a boarding-school teacher supervising the one student not going home for the Christmas holidays in The Holdovers

NOV. 17: The Hunger Games: The Ballad of Songbirds & Snakes takes the dystopian franchise back to an origin story of the original series’ fascist leader President Snow; writer/director Taika Waititi takes a comedic look at the factbased story of the legendarily bad American Samoa soccer team in Next Goal Wins; the frizzy-haired, bulb-nosed creatures return for a third animated adventure in Trolls Band Together

NOV. 22: Disney’s Wish somehow finds an actual story in the star that everyone in fairy tales is always wishing on; director Ridley Scott casts his Gladiator co-star Joaquin Phoenix as the emperor/ soldier in the biopic Napoleon.

DEC. 8: Director Yorgos Lanthimos (The Favourite) tells a Frankenstein-esque story of a scientist (Willem Dafoe) whose experiment brings a young woman (Emma Stone) back to life in Poor Things

DEC. 15: Timothy Chalamet puts on the purple coat and cavorts with Oompa Loompas in the origin story Wonka; Sydney Sweeney and Glenn Powell play old college nemeses who pose as a couple during a destination wedding in Anyone But You

DEC. 20-22: Jason Momoa returns as the undersea DC superhero in Aquaman and the Lost Kingdom; a family of ducks takes a long trip in the animated comedy Migration

DEC. 25: George Clooney directs the true story of a 1930s American Olympic rowing team in The Boys in the Boat; Alice Walker’s The Color Purple gets a film adaptation of the Broadway musical version. CW

My Big Fat Greek Wedding

Killers of the Flower Moon

The Marvels

Trolls Band Together

Musical Mailbag Revisited

New music from Scott Lippitt, Die Shiny, Tim Tincher, Soultown Revivalists

BY EMILEE ATKINSON eatkinson@cityweekly.net @emileelovesvinyl

We could publish a musical mailbag every week and still have more left over news each time. Okay, okay, that’s a bit of an exaggeration, but there’s always an exciting abundance of musical news to share. If you’re in a music slump, head online and add these tunes to your library.

Scott Lippitt, “Packed in a Minute”: “‘Packed into a Minute’” was super exciting for me to create,” Lippitt said about his most recent single. “I was exploring more charged emotions, like anger and frustration, which led me to heavier instrumentals, lyrics and vocals. I even asked my friend in a metal band how to properly scream. I’m still learning, but I think I got a decent take on the recording! Given my bent towards soft, melancholic songs, I think the song is still chill when compared to alt-rock or heavier genres. But, for me, this was a new and exciting direction to explore.” Lippitt’s foray into the alt-rock world is definitely paying off for him. It’s a great surprise to hear some screaming vocals and more distortion on the guitar tracks. “Packed in a Minute” briefly turns into a loveable and heartfelt emo track, and it’s a fantastic listening experience. This new track is the first from an EP scheduled to dropo this fall, so hopefully we get to hear more of these elements in the coming months. Instagram: @scott_lippitt_music

Die Shiny, “Healthy Sex Drive”: “‘Tis the season of Barbie, and this fierce female-

power anthem is on theme,” Die Shiny says of their new single. “This upbeat alt hiphop bop speaks to the mixed messages girls are fed about their sexuality and the menacing ‘male gaze,’ and does so with savage confidence.” This new single is a long time coming for the duo, according to vocalist Callie Crofts. “Partly because venturing into the alt hip-hop world is totally new for me, and I had to find my vocal style, and partly because the subject matter is so real and sometimes heavy. I changed the lyrics over and over, trying to properly convey what it feels like to be constantly bombarded since childhood with misinformation, judgment and dogma regarding my body,” they explained. “Connection is a very important part of this artist’s journey for me, so I must point out that Zac (my music and life partner) and I are both queer, and we are a safe space for marginalized people. My feminism (and by extension the spirit of my songs) includes any human being with any arrangement of chromosomes who experiences discomfort, harassment, alienation, etc. from our patriarchal system. And to our lovely queer community we say: Be fabulous and give ’em the finger.” When you press play on this latest single, you’re greeted with a tasty bassline underneath Crofts’ sassyyet-clever rapping that will have you immediately hooked. Although hip-hop is new to the duo, you wouldn’t think so from listening through. It’s expertly crafted, and has so many great lyrics that you’ll have to listen a second, third, or even fourth time to catch the bad-ass lines. Not that listening to it repeatedly is a chore—quite the contrary, in fact. “Healthy Sex Drive” is an enjoyable and entertaining entry into Die Shiny’s already lively music catalog. Instagram: @dieshiny

Tim Tincher, “Circles”: If you need a good dose of dreamy, moody indie-pop inspired by the likes of Lana Del Rey, Caroline Polachek and Sky Ferreira, Tim Tincher’s new single “Circles” is just what the doctor ordered. “I wrote ‘Circles’ last year after the height of the summer doldrums,” Tincher said. “I was doing the

same thing every day, feeling like I was in a rut when something as simple as a car driving by was able to catch my attention and re-center me. ‘Circles’ is about coming back down to Earth, becoming present again and finding a way to push forward during those stagnant moments, where you’re finally able to lean into something exciting on the other side.” It’s hard not to get swept up in that feeling of doing the same things over and over each day, but to ease that feeling, listen to this new song and mix it up a little—you’ll be glad you did. Instagram: @timtincher Soultown Revivalists, “Meet Me at the River”: Last, but certainly not least, is a brand-new project that brings together some well-known creative minds and an intriguing mix of musical elements. Burning Daylight is the debut album coming from the R&B/neo-soul band Soultown Revivalists, but as of right now, only two singles have been released from the new body of

work. “Meet Me at the River” was the first single to introduce the project, and what an introduction. The single starts lively and huge in its energy, the sound so full, saturated and smooth, you won’t want it to end. The album is helmed by the longtime creative partnership of noted composer, arranger and recording artist Sam Cardon, and lyricist Don Stirling. The two have also recruited The Voice finalist Ryan Innes, who offers vocals on the majority of the upcoming album. “I was surprised to walk into this project with the Soultown Revivalists,” said Innes. “I thought I was just being hired to sing some R&B/ soul songs like I’ve done 100 times. What I actually walked into was all my musician buddies coming together to have fun making really good music. It was a true pleasure to be introduced for the first time to Don Stirling, and to his and Sam Cardon’s songs.” If the rest of this upcoming album is as good as this debut single, we’re in for a tasty, tasty treat. Instagram: @soultownrevivalists CW

Die Shiny NANA GENTRY

THURSDAYS

FRIDAYS DJ FRESH(NESS)

SATURDAYS

POKER @ 2PM DJ DELMAGGIO

SHARK SUNDAYS POOL TOURNEY HOSTED BY JARED AND TANNER

MONDAYS REGGAE MONDAY WITH DJ NAPO

TUESDAYS

WEDNESDAYS KARAOKE

By Emilee Atkinson

Park City Song Summit @ Canyons Village 9/7-9

The Park City Song Summit is a multi-day music and wellness event that features intimate conversations and musical performances. “We are literally in a category of one. The focus is on having a community around the power of music to connect with one another, and maybe move the human experience forward,” said CEO and founder Ben Anderson. “It is really like a love letter to the power of song and a healing platform in a divided country, in a divided world. One thing that we can usually agree on, something that does bring us together, is music.” This festival is stacked with live musical performances. Through their new collaboration with the More Than Music Foundation, tickets for Thursday and Saturday amphitheater shows at Canyon Village are now offered at a price of $15 minimum donation. Live show highlights will include performances by Darryl “DMC” McDaniels and Chuck D celebrating the 50th anniversary of hip-hop; Bobby Weir; Cimafunk; Matisyahu; Eric Krasno & Friends; and locals like Talia Keys, Alicia Stockman, Shannon Runyan and many more. A standout feature of the Park City Summit is the Summit Labs, a place for guests to have in-depth discussions on various topics. These intimate sit-down, artist-led discussions promote conversations of mental health, substance recovery, representation and social equity. Some of the Summit Labs include: Hip-Hop: The First 50 years; Havana Funk Experience; Songs in the Key of Life: Songwriting of Stevie Wonder; The Tangled Roots of Black and Latinx Music; Rhythm of Recovery: Music and Mental Health; and an event specifically for veterans. “Songwriting with Soldiers is where veterans use the power of songwriting and being in songwriting circles,” Anderson explained. “It’s a nationwide program to be able to heal and to connect, and it’s a wonderful form of therapy.” Songwriters in the Round, a favorite for event-goers, is back and stronger than ever this year—an immersive experience where the audience will hear the story behind their favorite songs from award-winning songwriters. Guests will be able to listen to Grammy-nominated producers and artists like Ruby Amanfu, Sam Ashworth and Earl Bud Lee wax poetic about the hit songs that you know and love. There will also be many Wellness Activities guests can take part in, like recovery hangs, yoga sessions, hiking, biking and afternoon re-centering, among other chill-out ventures, offered throughout the entirety of the fest. All of this is just the tip of the iceberg, so to find out more, be sure to visit the official website and download the app. “When we can be inspired by others who are also on that same journey, especially artists, musicians that we love or that we’re going to learn to love,” Anderson said. “It is a way that you can leave with sore feet and a big heart and a head that’s been inspired with love, connection and the creativity of music.” Catch this all-ages event at the Canyons Village in Park City on Thursday, Sept 7 – Saturday, Sept 9. Tickets for the event can be found here at parkcitysongsummit.com (Mark Dago)

Adia Victoria JOSHUA ASANTE (PARK CITY SONG SUMMITT)

By Emilee Atkinson

Honey Days Festival @ The Commonwealth Room 9/8-9

As we drift steadily into fall, more and more fantastic festivals pop up to say goodbye to the hot days of summer. “Honey Days is a locally-founded festival that focuses on showcasing and spotlighting all of the talented musicians in Utah, and bringing people together for a magical week of music, art, food, and community-building. Please join us Friday and Saturday at the Commonwealth Room for an unforgettable two days of musical performances,” says the event’s website. The full lineup is chock full of local talent that you will not want to miss: Sugar Candy Mountain, 26fix, The Plastic Cherries, Over Under, Lee Rafugee, The Lingo, Musor, Guava Tree, Lapdog, The Fervors, Mustard Service, De Lux, Fonteyn, Dad Bod, Sunfish, future.exboyfriend, The Mellons, Daytime Lover, Anais Chantal, Harpers, Nicole Cannan, Tomper, Modern Speed and Compass Rose. The only drawback to the Honey Days Festival is that it’s 21+, so only bring your friends who are of age. Times are a bit different for both days of music; on Friday, Sept 8, doors open at 4:30 p.m. with the show kicking off about an hour later, while on Saturday, Sept 9, doors open at 2:30 p.m., with the show starting shortly after. Make sure to have it right in your calendar! Don’t miss your chance at this incredible local lineup. Tickets are $35 for each day. Grab tickets at thestateroompresents.com. (Emilee

Atkinson)

By Emilee Atkinson

Steve Miller Band @ Utah State Fairpark 9/12

Steve Miller’s saga has many chapters. After first becoming fixated on the blues, he made his name as a psychedelic scene-maker in San Francisco’s budding progressive landscape throughout the mid- to late1960s. He then established his commercial credence with a series of best-selling albums throughout the early ’70s, among them, The Joker, Fly Like An Eagle and Book of Dreams, each of which established Miller as a bona fide chart-topper, courtesy of such mega-hit singles including “Fly Like An Eagle,” “Rock’n Me,” “Take the Money and Run,” “Jet Airliner” and “Jungle Love.” He became a stadium-sized superstar, touring alongside the Eagles and any number of other headliners from the ’70s through ’90s. That said, Miller found his mantra early on. His mom and dad were jazz enthusiasts and close friends of guitar legend Les Paul. In fact, it was Paul who encouraged the younger Miller to pursue the guitar, while much of Miller’s early technique was taught to him personally by blues great T-Bone Walker. Miller, in turn, would later nurture the talents of his school buddy, Boz Scaggs, who first made his name as an early member of the Steve Miller Band. Given the lingering legacy that Miller still maintains, one might say that the proverbial Jet Airliner has never needed to stop and refuel. The Steve Miller Band performs at World of Illumination, Utah State Fairpark at 7:30 p.m. on Tuesday, Sept 2. Tickets cost $55 - $85 (plus fees) and include admission to the fair. Go to utahstatefair.com/events.

(Lee Zimmerman)

Southernmost Gravy, FISHBOWL @ Kilby Court 9/7

Southernmost Gravy is the spiciest thing to come out of Utah since fry sauce—at least, according to their Instagram. I’m inclined to believe them, especially when you hear their distinct and unique sound. They create music that blends EDM, dance and rock—a combo that may not sound like it would work together, but give it a try, you’ll like what you hear. Especially if you’re a fry sauce fan. Their most recent single, “Sunflower Dreams Freestyle,” features fellow SLC musician Kaygo the Kid, who helps bring a fun and exciting mixture of elements to their new song. Previously released without Kaygo, it starts out with a lively electric guitar strumming, like a typical indie-jam, but then Kaygo comes in with some fast bars, rapping over the rock elements. It’s one of the creative ways the group has merged different genres into one good time. The original version of the song can be found at the beginning of their latest album, Freshly Squeezed Lemonade, a magical blend of electronic and indie-rock fun. Southernmost Gravy is joined by Idaho natives FISHBOWL at one of SLC’s favorite venues, Kilby Court. Come rock on Thursday, Sept 7 at 7 p.m. Tickets are just $10 and can be found at 24tix.com. (EA)

free will ASTROLOGY

BY ROB BREZSNY

ARIES (March 21-April 19)

Aries chess grandmaster Garry Kasparov says war is “more like a game of poker than chess. On a chess board, the pieces are face up, but poker is essentially a game of incomplete information, a game where you have to guess and act on those guesses.” I suspect that’s helpful information for you these days. You may not be ensconced in an out-an-out conflict, but the complex situation you’re managing resembles a game of poker. For best results, practice maintaining a poker face. Try to reduce your tells to near zero. Here’s the definition of “tell” as I am using the term: Reflexive or unconscious behavior that reveals information you would rather withhold.

TAURUS (April 20-May 20):

Raised in poverty, Taurus-born Eva Peron became a charismatic politician and actor who served as First Lady of Argentina for six years. The Argentine Congress ultimately gave her the title of “Spiritual Leader of the Nation.” How did she accomplish such a meteoric ascent? “Without fanaticism,” she testified, “one cannot accomplish anything.” But I don’t think her strategy has to be yours in the coming months, Taurus. It will make sense for you to be highly devoted, intensely focused and strongly motivated—even a bit obsessed in a healthy way. But you won’t need to be fanatical.

GEMINI (May 21-June 20)

Gemini author Ben H. Winters has useful counsel. “Every choice forecloses on other choices,” he says. “Each step forward leaves a thousand dead possible universes behind you.” I don’t think there are a thousand dead universes after each choice; the number’s more like two or three. But the point is, you must be fully committed to leaving the past behind. Making decisions requires resolve. Second-guessing your brave actions rarely yields constructive results. So are you ready to have fun being firm and determined, Gemini? The cosmic rhythms will be on your side if you do.

CANCER (June 21-July 22)

Journalist Alexandra Robbins was addressing young people when she gave the following advice, but you will benefit from it regardless of your age: “There is nothing wrong with you just because you haven’t yet met people who share your interests or outlook on life. Know that you will eventually meet people who will appreciate you for being you.” I offer this to you now, Cancerian, because the coming months will bring you into connection with an abundance of like-minded people who are working to create the same kind of world you are. Are you ready to enjoy the richest social life ever?

LEO (July 23-Aug. 22)

Author Kevin Kelly is a maverick visionary who has thought a lot about how to create the best possible future. He advocates that we give up hoping for the unrealistic concept of utopia. Instead, he suggests we empower our practical efforts with the term “protopia.” In this model, we “crawl toward betterment,” trying to improve the world by 1% each year. You would be wise to apply a variation on this approach to your personal life in the coming months, Leo. A mere 1% enhancement is too modest a goal, though. By your birthday in 2024, a 6% upgrade is realistic, and you could reach as high as 10%.

VIRGO (Aug. 23-Sept. 22)

In honor of the Virgo birthday season, I invite you to be distinctive and singular in the coming weeks, even idiosyncratic and downright incomparable. That’s not always a comfortable state for you Virgos to inhabit, but right now it’s healthy to experiment with. Here’s counsel from writer Christopher Morley: “Read, every day, something no one else is reading. Think, every day, something no one else is thinking. Do, every day, something no one else would be silly enough to do. It is bad for the mind to continually be part of unanimity.” Here’s a bonus quote from Virgo poet Edith Sitwell: “I am not eccentric! It’s just that I am more alive than most people.”

LIBRA (Sept. 23-Oct. 22)

Do you sometimes wish your life was different from what it is?

Do you criticize yourself for not being a perfect manifestation of your ideal self? Most of us indulge in these fruitless energy drains. One of the chief causes of unhappiness is the fantasy that we are not who we are supposed to be. In accordance with cosmic rhythms, I authorize you to be totally free of these feelings for the next four weeks. As an experiment, I invite you to treasure yourself exactly as you are right now. Congratulate yourself for all the heroic work you have done to be pretty damn good. Use your ingenuity to figure out how to give yourself big doses of sweet and festive love.

SCORPIO (Oct. 23-Nov. 21)

Scorpio novelist Kurt Vonnegut testified, “I want to stay as close on the edge as I can without going over. Out on the edge, you see all kinds of things you can’t see from the center. Big, undreamed-of things—the people on the edge see them first.” I’m not definitively saying you should live like Vonnegut, dear Scorpio. To do so, you would have to summon extra courage and alertness. But if you are inclined to explore such a state, the coming weeks will offer you a chance to live on the edge with as much safety, reward and enjoyment as possible.

SAGITTARIUS (Nov. 22-Dec. 21)

“Where there is great love, there are always miracles,” wrote Sagittarian novelist Willa Cather (1873–1947). In accordance with upcoming astrological aspects, I encourage you to prepare the way for such miracles. If you don’t have as much love as you would like, be imaginative as you offer more of the best love you have to give. If there is good but not great love in your life, figure out how you can make it even better. If you are blessed with great love, see if you can transform it into being even more extraordinary. For you Sagittarians, it is the season of generating miracles through the intimate power of marvelous love.

CAPRICORN (Dec. 22-Jan. 19)

Capricorn author Alexander Woollcott (1187–1943) could be rude and vulgar. He sometimes greeted cohorts by saying, “Hello, Repulsive.” After he read the refined novelist Marcel Proust, he described the experience as “like lying in someone else’s dirty bath water.” But according to Woollcott’s many close and enduring friends, he was often warm, generous and humble. I bring this to your attention in the hope that you will address any discrepancies between your public persona and your authentic soul. Now is a good time to get your outer and inner selves into greater harmony.

AQUARIUS (Jan. 20-Feb. 18)

In 1963, Aquarian author Betty Friedan published The Feminine Mystique, a groundbreaking book that became a bestseller crucial in launching the feminist movement. She brought to wide cultural awareness “the problem that has no name”: millions of women’s sense of invisibility, powerlessness and depression. In a later book, Friedan reported on those early days of the awakening: “We couldn’t possibly know where it would lead, but we knew it had to be done.” I encourage you to identify an equivalent quest in your personal life, Aquarius: a project that feels necessary to your future, even if you don’t yet know what that future will turn out to be.

PISCES (Feb. 19-March 20)

“Among those whom I like or admire, I can find no common denominator, but among those whom I love, I can: All of them make me laugh.” Piscean poet W. H. Auden said that. After analyzing the astrological omens, I conclude that laughing with those you love is an experience you should especially seek right now. It will be the medicine for anything that’s bothering you. It will loosen obstructions that might be interfering with the arrival of your next valuable teachings. Use your imagination to dream up ways you can place yourself in situations where this magic will unfold.

who said “You shouldn’t dream your film, you should make it” (Less happy passenger)

34. Paris : Mme. :: Madrid : ____

35. Home for a 36-Across

36. Resident of a 35-Across

37. “The Silence of the Lambs” org.

40. Like some elections

43. Jeanne d’Arc, for one: Abbr.

44. Boot

46. Rank above maj.

47. “Lady Marmalade” singer with Pink, Lil’ Kim, and Christina Aguilera

49. “That’s got to be a joke!” (Least happy passenger, no doubt)

55. Not handwritten

56. “Can’t Help Lovin’ ____ Man” (“Show Boat” song)

57. It’s new in Rome

58. Economic warfare tactic

61. “The Clan of the Cave Bear” novelist

62. It’s represented -- in a variety of ways

-- in 19-, 31- and 49-Across

65. Earth, e.g.

67. Longtime sponsor in NASCAR events

68. Huffington of the Huffington Post

69. Center of gravity?

70. Landing info, briefly

71. 1996 Mario Puzo novel, with “The”

72. III, to Jr.

73. Like Mars

DOWN

1. Torment

2. NFL career rushing leader Smith

3. U.S. president Liberia named its capital city after

Urban Accolades

Utah continues to get accolades from around the country. U.S. News and World Report found it to be the best state in the nation overall for 2023—for things like fiscal stability, tourism, education and health care, our natural environment, infrastructure and low crime. Washington State took second place, whereas Hawaii was first for health care and natural environment, New Hampshire first for opportunity and crime and corrections, Minnesota first for infrastructure and Florida (believe it or not) first for education.

4. TV channel with the slogan “Very Funny”

5. ____-American

6. Wanderers

7. More foul-mouthed

8. Silver coin of ancient Greece

9. Let slip

10. Lyricist of “Cabaret” and “Chicago”

11. Poke fun at

12. Word on many fragrance bottles

13. Grade school subj.

21. Some 4WD rides

23. Best price

25. Semester, e.g.

28. Roger of “Cheers”

29. Part of QED

30. Brute

32. Antidiscrimination org.

33. As a friend, in French

37. Four-time Indy 500 winner

38. Elevate

39. “The jig ____!”

41. “It’s your world ... I’m just livin’ in it!”

42. Loretta who sang “Coal Miner’s

52. Cat on the prowl

53. “Community” actress ____ Nicole Brown

54. Stationery store purchase

59. He sings close to the Edge

60. Bicolor snack

62. Kobe Bryant’s team, on scoreboards

63. Follower of Bush or Clinton

64. They’re not vets yet

Big

Last week’s answers

Utah has also been ranked No. 1 for business several times during the past decade according to Forbes, and recently, BusinessWire reported that Amazon found Utah to be the most entrepreneurial in the country.

In July, checkr (a background check company) found that Provo is the biggest boomtown, the fastest-growing city in the U.S. Their metrics describe a city experiencing rapid economic growth and development in a short period of time. Factors include not just population growth, but unemployment rate—Utah’s rate is roughly 3%—housing growth, high-earning residents making more than $100,000 and the poverty rate.

Of the 10 fastest-growing cities, Utah had four of them—Provo, St. George, Logan and Ogden. Our neighbors in Boise and Coeur d’Alene, Idaho, took No. 2 and 3. Bend, Oregon, was No. 4 and Reno, Nevada, took the 10th spot.

No matter how you feel about living in Utah, we’re doing really well for a majority of our citizens. We actually have a surplus in our state coffers, which very few states can claim. On the flip side of the good news, no town in Utah made the “Slowest Growing Cities” list. The closest slow-growth town near Utah is Casper, Wyoming, which made No. 22 on the bad list.

1 to

SUDOKU X

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

9. 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.

With growth comes challenges for our population and our politicians. Poor air quality, high energy consumption, traffic congestion, increased levels of inequality and homelessness—all of which can be exacerbated by uncontrolled growth. As we speed up growth and urbanization, we need to ensure that we have adequate planning for our futures in the state.

Having served as a volunteer planning and zoning commissioner for eight years in Salt Lake City, and now as a member of Salt Lake City’s Historic Landmark Commission, I can highly recommend serving to help your city. It’s not only fascinating to learn about what folks want to build, develop, tear down or improve, but also fulfilling to be part of the urban planning process. Each city has a process in place to appoint citizens to commissions and committees, so submit your resume. Often, they look for people who live in and represent certain areas of a city, so you don’t have to be a politician, have a college degree or be an architect or contractor to listen and eventually help make good decisions for all of us to build better cities and towns. ■

System Manager (American Fork, UT) Responsible for managing & maintaining the computer systems & networks of an organization. Responsible for ensuring that the organization’s technology infrastructure is running smoothly & effectively, and that it meets the needs of the organization’s employees & customers. 40hrs/wk, Offered wage: $51,480/year, Bachelor’s degree in Computer Science / Information Systems or related required. Resume to Nutricost Fulfillment, LLC Attn. KIM, Saemi, 351 E 1750 N, Vineyard, UT 84059

Spooky Deals!

WITH BABS DELAY Broker, Urban Utah Homes &

NEWS of the WEIRD

BY THE EDITORS AT ANDREWS MCMEEL

But Why?

Seattle police officers were called to a home on Aug. 18 for a reported burglary, KOMO-TV reported. A young woman inside the home reported that someone was trying to break in with a stick. Officers went into the home and found the victim hiding upstairs. The suspect, who was identified only as a 40-year-old male, was discovered in the garage, in one of the homeowner’s vehicles, where he was guzzling gasoline from a jerrycan. He refused to leave the car, so police broke the driver’s side window and took him out. He was charged with attempted burglary.

It’s Come to This

United Airlines pilot Kenneth Henderson Jones, 63, told police officers that he had “hit his breaking point” on Aug. 2 after he took an ax to an employee parking lot gate at Denver International Airport, Denver7-TV reported. Video of the incident showed Jones hacking away at the gate with little effect, until he realized the sheath was still on the blade. With about 15 more seconds of striking it with the sharp blade, the gate broke. Jones then returned to the parking lot with a security guard in pursuit. After a brief struggle, Jones was detained in a nearby field by police officers. He was charged with misdemeanor criminal mischief and later released; United said he was “removed from the schedule.” Jones told deputies was “trying to get rid of issues for everyone waiting” in the exit lines.

Crime Report

Porch pirates, meet your leader. Robin Swanger of Arnco, Georgia, was charged with felony theft after he allegedly stole an entire porch from a neighbor’s yard, Fox News reported on Aug. 22. The 8-by-10-foot wooden porch was left on the property when the house was moved away, but investigators said Swanger ignored “no trespassing” signs and removed the “very well-constructed” structure. “Some people may shrug their shoulders and say it’s not a big deal,” said county investigator Chris Stapler, “but when you take someone’s property without their consent and the value of this porch is $3,000, you can’t just go and take stuff off someone’s property.” Well said.

Bad Dog

Magda Mazri and Donato Frattaroli of Boston are set to tie the knot on Aug. 31 in Lake Garda, Italy, Fox News reported, with almost 100 guests RSVPd to be in attendance. But on Aug. 17, as the couple dined out to celebrate getting their wedding license, their golden retriever, Chickie, chewed up Frattaroli’s passport. “I can’t be mad at Chickie because I’m the idiot who left the passport out where she could get it,” Frattaroli said, adding that he can’t sleep. Mazri jumped into action, contacting local officials and the passport agency. “It’s been a complete whirlwind,” she said. At press time, it appears that the couple’s congressional representatives helped expedite a new passport. Even still, Frattaroli was prepared for the worst: “Tell everybody that’s going to have a great time ... . I’ll see everybody when they get back,” he said.

News That Sounds Like a Joke

Dog ownership in Iran is frowned upon in many circles (dogs are considered “unclean”), but authorities took their biases to another level after a couple transferred the title to their apartment to their little white dog, Chester. The couple have no heirs, and Chester “signed” with an ink-covered paw. Yahoo! News reported that on Aug. 19, Iranian police “arrested the head of the real estate agency and shuttered the firm,” according to deputy prosecutor general Reza Tabar. The sale “seeks to normalize the violation of the society’s moral values” and “has no legal basis.”

News You Can Use

Along with all the other natural oddities going on this summer, people are reporting exploding watermelons, NBC New York reported. What? “My melon was on the counter and it must have already been bad when I got it, and the next day I came down to an awful smell and rotten melon everywhere,” one person commented on a Facebook post about the phenomenon. Keith Schneider, professor in the Food Science and Human Nutrition Department at the University of Florida, said the watermelon explosions are “probably due to the heat. The fruit, if slightly damaged, can begin fermenting. If enough fermentation occurs, which produces gas, enough internal pressure may build up for the watermelon to crack or pop.” And don’t eat it! “The watermelon is undergoing decay, so it’s best to bring it back to the store and get a replacement or just toss it,” Schneider added. Put that melon in the refrigerator before and after cutting it, experts advise.

Ewwwww

Thomas Howie of Madison Heights, Michigan, has become “increasingly depressed” and “paranoid about food served by others” since a March incident at a Detroit Olive Garden restaurant, The Detroit News reported. Howie filed a lawsuit on Aug. 18 against the restaurant for “tangible and intangible harm” to the tune of $25,000 in Macomb Circuit Court, claiming that he ate a spoonful of minestrone soup with a foreign object in it. When he felt a “stab,” he spit out the offending object, which appeared to be the foot of a rat with fur and claws. “My stomach just heaved; I threw up right in the restaurant,” Howie said. “Until this happened, this was my favorite restaurant. I still can’t believe it.” Olive Garden isn’t buying it: “We have no reason to believe there is any validity to this claim,” a representative said. Howie had a tetanus shot to treat the cut in his mouth and took the foot to police.

It’s Come to This

Suffolk (England) police have issued a special request to the Town Council as it considers its “Turning Our Town Around” project, the BBC reported. The area of focus, Arras Square, includes St. Stephen’s Church and graveyard, which police say is a site with “high levels of crime” and antisocial behavior. In particular, the tombstones are being used “as tables to consume alcohol and drugs ... (and) sometimes the site of sexual activity.” Police recommended that individual tombstones be enclosed or surrounded by small railings along the top edge to deter such activity. The council said the recommendation is under consideration.

Recent Alarming Headline

Sheila Ortega, 72, hadn’t been heard from for about a month before her family requested a welfare check on Aug. 15 in Lake Charles, Louisiana. Sheriff Tony Mancuso told KPLC-TV that his officers “went to the house. No car in the driveway, no signs of foul play.” Five days later, Ortega’s family reported her missing, and that day, Christopher T. Cater, 41, was pulled over as he drove Ortega’s SUV. The deputy asked Cater if he knew Ortega’s whereabouts, and he said he had dropped her in Arkansas to visit some friends and was due to pick her up in a few days. On the following day, Ortega’s van was seen in the parking lot of Prien Lake Mall, and deputies took a closer look, “finding her body in the car,” Mancuso said. When they confronted Cater, he admitted to killing Ortega about a month ago and getting several loans using her information. He said he was unsure what to do with her body. “We have never seen someone drive around with a dead body in the SUV for 30 days,” Mancuso said. Cater’s bond is pending.