Tag: Salt Lake City

  • The Day After My Birthday

    “As a solid rock is not shaken by the wind, so the wise are not moved by praise or blame.”
    Dhammapada, Chapter 6 (The Wise), Verse 81

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    The day after my birthday always feels like a boundary post—an invisible marker I step over each year, taking stock of who I’ve become and who I’m still trying to be. This year, what keeps surfacing is how much of my adulthood has felt like stepping into a role meant for an oldest son or parent rather than a daughter. Responsibility has its own sense of direction; it settles where it wants, not where tradition says it should.

    I think about my mom, unexpectedly pregnant with my youngest brother, Ethan—a one-night-stand baby conceived after she’d already been divorced for several years and was raising two kids as a single mom. It was a “red letter” episode in a devout religious community like ours; every family member had an opinion.

    Ethan was due on my birthday, November 22, 1998, but stayed put for two extra weeks so he could be born on my mom’s. On my eighth birthday, while everyone was waiting for his arrival, I went with friends to the Anastasia movie premiere. I remember being excited for the new baby brother who was supposed to show up any day—imagining he’d make our little family feel even more complete. He finally arrived late, but perfect in the way babies feel when you’re young enough to believe they can fix things just by existing. After that, my mom, Seth, Ethan, and I were “the four amigos.”

    Salt Lake City in the 1990s

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    Before my parents were divorced, our family had been a very devout Mormon household. But as the early ’90s went on, my dad became more ideological and rigid, and what had once been ordinary Mormon family life tightened into something narrower and more punishing. My mom left him in 1994, when I was three and Seth was still a baby.

    She later told me how my father controlled all the money, didn’t want to celebrate holidays or birthdays, and insisted his tithing be calculated before taxes—a huge financial strain for a family that already had next to nothing. The closest I ever got to a Halloween costume in those years was a shirt with a leaf pattern; I was, as my mom said, “a personification of the harvest season.”

    The breaking point came when he tried to neuter our German Shepherd in the house. (What a bizarre thing to type.) My mom walked in—holding me and my infant brother—to a home covered in dog blood. That was it. She left.

    After the divorce, my mom, Seth, and I moved into a red-brick house in Millcreek near St. Mark’s Hospital, where police sometimes chased “suspected gang members” through our backyard and cars idled outside what people then called “crack houses.” It wasn’t dramatic; it was simply the texture of life in the late ’90s in a city working very hard to appear cleaner than it was.

    My dad went on to work exclusively for the LDS Church for the next thirty years. There was limited contact after the divorce, mostly fighting between my parents, and once I reached my teens and stopped participating in the religion, he chose the simpler route: pretending we didn’t exist.

    Tearing Myself Away from Europe

    In 2017, when I was living in France and in a long-term relationship with the French boyfriend I’d met in graduate school, Ethan became addicted to benzos and attempted suicide. I listened to my mom cry on the phone every weekend, and I began studying psychoanalysis and therapeutic methods, trying to help from afar. I flew back and forth between Europe and Utah—ten- to twelve-hour trips, multiple times a year—struggling to build the life I wanted while feeling guilty for leaving my family behind.

    Ethan descended into heroin addiction during the years I was working for a Cambridge tech startup—a real turning point in my career—and the stress of it all began hollowing me out. I became thin in the way actresses and models are thin, which felt like the lamest possible exchange for the inner anguish I was living with. On the surface, I looked polished and enviable; inside, I was collapsing under the pressure of financially supporting my PhD-student boyfriend and arranging any and every vacation around long-haul flights home, hoping my youngest brother wouldn’t overdose before I could get back to Utah to say goodbye.

    By 2019, my relationship had begun to collapse too. The gender reversal—me as the breadwinner, him unable to take even a single trip back to Utah to meet my family, unable to ask me to marry him after years together—destroyed me in more ways than I can ever fully explain. My deteriorating health forced me to leave Cambridge and return to Salt Lake in the summer of 2019.

    As I was trying to cope with the culture shock and just after my thirtieth birthday, the pandemic hit. As 2020 kicked off, I took a Marketing and IT Manager job at a bookstore/warehouse and hired Ethan so he would have structure, a paycheck, and someone who cared watching out for him. I also wanted to build a relationship with him before he died—a real possibility for years, which became a more immediate threat as fentanyl started pouring across the Southern border and into Utah. I automated the bookstore’s e-commerce operation so the store could survive the pandemic and so could my family.

    Just Another Episode of Breaking Bad

    While I worked at the bookstore, I went to my mom’s house every day at lunch to check the property. One afternoon I pulled up to see the back window of Ethan’s car smashed out—his crack dealer teaching him a lesson over money owed. My mom and I just stared for a moment and laughed: another day, another episode of Breaking Bad. Each night, she slept with her two standard poodles barricaded in her bedroom. I seriously considered buying a gun.

    I watched my baby brother, six-foot-two, waste away to 130 lbs. It was one of the worst kinds of grief: the slow kind, the kind that sits beside you at work. My boss, usually hands-off, told me I had to fire him, which I did, after crying and begging him to get clean yet again.

    Then everything snapped at once. Ethan went on a crime spree, robbing several 7-11s and ending up on the evening news across the West. Since 2021, he’s been in and out of jail. He’s totaled more cars—his own and my mom’s—than I want to tally. Recently, after getting almost clean, he was picked up on a minor traffic charge and, amid conflicting police accounts, was sentenced to five years in prison.

    I feel like I helped raise him. I feel like I’ve been both sibling and parent in the same exhausted body. And I’m not sure I ever had the emotional infrastructure for the job.

    My other brother, Seth, mirrors our father: a near-religious refusal to mention us. He’s built a life that pretends his mother, sister, and younger brother simply evaporated. And still—I go on. Because that’s what I was taught to do, and because stopping has never felt like an option.

    “If it is endurable, then endure it.” — Marcus Aurelius

    Some days I feel like the rock; other days I feel like the storm. But adulthood, I’m learning, isn’t the clean, upward trajectory I imagined. It’s a series of roles we never asked for but carry anyway. Another year older. Another year still standing.

  • Coming to You from Wizard Tower 9th x 9th

    When I lived in the 9th & 9th neighborhood during the pandemic, behind
    the Dolcetti
    I mentioned yesterday, I walked past the Tower Theatre nearly every day. The marquee stayed dark, the brickwork grew more weathered, and the whole building held that peculiar stillness the city carried in 2020. Even so, the corner near Liberty Park still felt like a point where Salt Lake history pooled.

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    Revolution 9th & 9th

    900 South and 900 East — known locally as “9th & 9th” — grew out of early streetcar suburbs and farmland into one of Salt Lake’s most walkable residential districts. Much of the surrounding housing stock dates from before 1940, with a mix of Victorian, Tudor, Prairie, and Craftsman homes.

    The business district along 900 South developed into a cluster of independent shops, restaurants, and cafés — what some writers once described as an “anti-mall.” The roundabout at 900 S and 1100 E is home to Out of the Blue, a 23-foot humpback whale sculpture that became a neighborhood landmark almost overnight.

    The Tower Theatre

    The Tower Theatre opened around January 1928 at 876 E 900 S, one of the earliest purpose-built neighborhood cinemas in the valley. It originally featured two small masonry towers on either side of the entrance — a facade modeled loosely on fortress architecture, possibly even the Tower of London according to early promotional descriptions.

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    By the 1950s, the towers and much of that ornate facade were removed or covered during mid-century “modernization” efforts; Carter Williams at
    KSL
    says: “Its current facade dates back to the 1950s, when the building underwent a major renovation to keep up with the industry.” Over its long life the Tower has been a single-screen movie house, an art-house venue, and eventually a key site for the Salt Lake Film Society, which took over operations in the early 2000s. It is one of the oldest cinema spaces in Salt Lake City still intended for film exhibition, even as renovation plans continue to move through approvals.

    999 Magic

    When I lived in that apartment during the pandemic, one of the few social things that never really stopped was the 999 bike ride — this loose, late-night Thursday swarm of cyclists that always managed to gather at 9th & 9th no matter how strange the world felt.

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    It was this oddly steady pulse of life in a year when almost everything else had shut down. We’d drift downtown, sliding through empty parking garages and echoing stairwells, the whole group lit by bike lights and someone’s portable speaker bouncing around the concrete. It was loose and a little chaotic, but it was one of the few things that made the city feel alive.

    The Tower as a Symbol

    In tarot, The Tower card (XVI) represents rupture — structures breaking apart, assumptions falling away, and the moment when something old can no longer support what has been built on top of it. The actual Tower Theatre carries a milder, architectural version of that symbolism: built with confidence and ornament, stripped of its towers mid-century, and now in the process of another reinvention.

    The neighborhood around it has shifted too, from a quiet streetcar corridor to a lively strip of shops, galleries, filmgoers, festivals, and public art. The Tower’s name, once literal, now feels symbolic in a different way: a reminder that Salt Lake City’s cultural spaces don’t stay static — sometimes they erode, sometimes they’re restored, sometimes they return as something new.

  • Fairytales We Tell Ourselves: The Utah Pantages Theater and Ingmar Bergman’s Persona

    Dolcetti Gelato interior


    The intricate designs of my lethal lines, criminal rhymes
    From the mind of a thug shaking state time
    Take it to the next phase you had your time to talk sh*t
    Now b*tches bustas getting checkmated

    To all the players on the Westside
    We’ll still be ballin’ on these b*tches when the rest die
    Players on the Westside

    2Pac

    2020–21 was an oddly energetic, almost enchanted time to live in downtown Salt Lake City. After moving back from England to my hometown in June 2019, I rented a small apartment behind Dolcetti — the gelato shop founded by Mark and Kari England in 2004, known for its 150 rotating, small-batch flavors (Dolcetti). Inside, the place looks like the I Spy books and Wes Anderson had a baby and then coated everything in thrift-shop gold: curiosities on every shelf, saturated colors, odd treasures arranged with the confidence of someone who knows exactly where beauty hides. I loved sitting next to the window to write and observe passersby.

    My apartment was a tight 900 square feet for me, my cat, and a plant collection increasingly convinced it could overthrow the living room. But it sat at the center of a downtown that felt, even in the quietest moments of the pandemic, strangely evolving. I watched George Floyd marches move past my corner, mourned the independent shops that couldn’t survive the shutdowns, and nurtured a growing affection for the Criterion Collection as if it were an underground library I’d smuggled back from another life.

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    It was in the middle of all this that I met Michael Patton, who works under the artistic name Michael Valentine. Patton is a direct descendant of General George S. Patton — a lineage he acknowledges even as he rejects its militaristic implications. He chose Valentine as a kind of ongoing protest against war culture, a refusal to be defined by the mythology of battle. And yet, his ancestor’s grit runs straight through him, whether the peace-loving activist in him likes it or not. Once, when I was interviewing him for an article for SLUG and we were driving around looking for a place to get lunch, he said, almost resigned and almost proud, “Yeah, I know where the grit comes from. I can’t pretend I didn’t inherit it.”

    Michael Valentine

    Valentine hosted a weekly vintage-film gathering outside the shuttered Pantages Theater on Main Street, and I hadn’t even noticed the building until I wandered across a cluster of folding chairs, a projector, and a rotating cast of people keeping cinematic vigil. He and Casey O’Brien McDonough — the Irish preservation activist who later ran for governor — were partners in the fight to save the building, a kind of two-person engine powered by research, outrage, and sheer stamina. Their efforts were widely documented, including in a 2023 Utah Stories report (saving the Pantages) and by archival groups like Preservation Utah (Pantages archive). Together, they welcomed every rag-tag citizen of downtown Salt Lake — film geeks, artists, unhoused neighbors, accidental passersby, and the rest of us drifting through pandemic-era loneliness — into the Pantages film club.

    Two Bloody Characters

    It occurs to me now that both Valentine and I grew up in the shadows of men known for bloodshed: his, the general who charged across Europe; mine, the mythic king who dies in every retelling. Patton and Macbeth — tactician and traitor, hero and villain, depending on who’s telling the story. Maybe that’s why we both gravitated toward fairytales, and toward the Pantages, which offered its own kind of mythic refuge.

    As I wrote in my last blog, the Pantages didn’t survive. The campaign to save it ended in a brutal civic heartbreak in April 2022: Valentine’s hunger strike, a lawsuit filed against him by the mayor, and eventually his decision to run for mayor himself in an attempt to protect his ability to protest. None of it was enough. The building was demolished, and with it went a strange but vital axis of the downtown arts ecosystem — the kind of space where eccentricity, history, and stubborn idealism could still sit side by side.

    Salt Lake City Mayor Erin Mendenhall

    The demolition unfolded under the administration of Salt Lake City’s mayor, Erin Mendenhall — a Democrat who branded herself as a progressive environmentalist while advancing some of the most aggressive pro-development and anti-preservation policies the city had seen in decades. Mendenhall’s office not only dismissed community objections to the demolition but actively escalated conflict with activists; at one point her administration filed a lawsuit against Valentine, alleging he was “stalking Erin” while the Mayor’s office was also obsessively following everything Michael did. The gap between her public rhetoric and her actual governance was so wide it felt like its own kind of theater — a performance of civic virtue masking a pattern of decisions that consistently favored developers over communities.

    She even contacted SLUG to ask who had anonymously published the story about the Pantages — a moment that made the whole situation feel less like civic governance and more like an administration unusually preoccupied with controlling the narrative. When my article on the Pantages came out, it was hit by the publication’s most intense troll attack in recent memory — an onslaught that many in the local arts and activist community speculated was coordinated, possibly even by people aligned with her PR team. Whether that rumor was true or not, the effect was clear: the piece struck a nerve inside the machinery of power.

    But the back-and-forth between Valentine and Salt Lake City didn’t not stop there. In June 2025, through his cider company Six Sailor Cider LLC, he filed a lawsuit in 3rd District Court against the tyrannical Utah Department of Alcoholic Beverage Services (DABS) and the commission that oversees it. The complaint argues the commission violated Utah’s Open and Public Meetings Act when it voted on May 29 to deny a liquor license to his bar, Apparition. The suit asks a judge to void the vote, overturn the decision, or send it back to the commission with instructions to grant the license. It’s another chapter in the same long narrative: one man insisting that institutions should follow the rules they claim to uphold. But Michael’s not a saint: He also garnered controvery for saying Zionists weren’t welcome at Apparition (which I publically condemned).

    Telling Ourselves What’s Really Real

    And maybe that’s where the fairytale really begins — not the sweet, storybook kind, but the darker kind we use to warn ourselves, to name what’s broken, and to survive contradictions we can’t fully articulate. That’s actually what Zionism is: a fairytale told to keep people from losing hope after they lost everything else. Valentine has his fairytale of the Pantages. The city has its fairytale of progress. We all carry narratives like that: simplified, hopeful, a little irrational, just coherent enough to hold back the chaos. The truest fairytales are the ones that don’t quite make sense, because they tell the truth slant — they let the light and the darkness sit in the same room without resolving anything.

    Which is maybe why Persona hit me the way it did. I think it’s the best film ever made — Citizen Kane be damned — and in 2021 I watched every Bergman film in chronological order. Nothing prepared me for Persona. It’s the rare work of art that doesn’t just tell a story but exposes the narratives we use to protect ourselves: the ones that collapse under scrutiny, the ones too sugary to be real, the ones that turn toxic when we mistake them for truth. It’s a film that diagnoses the human condition by peeling back the performances we cling to and showing what happens when they finally split.


    The Plot of Persona (Briefly)

    A famous stage actress, Elisabet Vogler (Liv Ullmann), abruptly stops speaking during a performance. Nothing is physically wrong with her — she simply refuses to talk. A young nurse, Alma (Bibi Andersson), is assigned to care for her, and the two retreat to a remote seaside cottage. There, with Elisabet silent and watchful, Alma begins to fill the quiet, confessing her insecurities, affairs, fears, and buried shame. Slowly the boundary between them dissolves. Elisabet studies Alma; Alma imitates Elisabet; their identities merge, fracture, and reassemble. By the end, it’s unclear whether two women exist — or one consciousness split across two bodies.

    The Psychological Terrain

    Bergman uses this plot as a kind of Freudian X-ray. The entire film is built around the terrifying simplicity of a question: Who are you when you stop performing? Alma is the “good girl” who has spent her life being pleasant, compliant, socially acceptable — a mask so airtight she doesn’t realize she’s wearing it. Elisabet, the actress, stops speaking because she can no longer tolerate the falseness of her own public self. Her muteness is a rebellion against the “theater” she was born into, professionally and socially. She opts out.

    Put them together and the film becomes a study in identity erosion: the psychological cost of pretending, the masks we inherit and the masks we craft, the social demand to always perform the self people expect, the way silence can be a weapon, and the way speaking can expose more than it protects.


    Alma’s breakdown is essentially the collapse of a persona she can no longer hold upright. Elisabet’s silence is the collapse of a persona she refuses to uphold any longer. They meet in the wreckage. And Bergman’s point, delivered through a surreal, self-reflexive film that literally breaks apart on screen, is that when the performance becomes unbearable, the self starts to disintegrate.

    Pretty on the Outside

    In Salt Lake City, this idea of crafting a perfectly managed self takes on its own regional flavor. There are plenty of people who look beautiful, polished, virtuous — people from the right families, with the right social networks, projecting the right kind of civic goodness. And yet, time and again, you discover just how many of them are “two-face,” switching between public benevolence and private ambition with unsettling ease.

    The politicians and employees inside the city and state government — some truly are good people. But many mistake their own checklist of credentials, connections, and cultivated traits as proof of who they are on the inside. They forget that outward virtue is not the same thing as inner integrity. And some of them, make no mistake, are rotten to the core.

    We should all remember where we came from.

    Tupac image paired with Pantages fairytale theme

  • From Cambridge Chapels to Salt Lake’s B’nai Israel Temple

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    Yesterday I was reminicing about the churches I knew and loved in Cambridge—stone chapels tucked into side streets or towering over intersections, the kind of places that hold memory simply by continuing to stand. Today I’m thinking about another piece of historic architecture much closer to home: the B’nai Israel Temple in Salt Lake City, where the Salt Lake Art Museum (SLAM) is beginning to take shape. I recently published an article about the building’s long history and its new institutional future. The thread between the two posts is preservation—how inherited spaces carry memory, and what it means when a community chooses to keep or discard the places that define it.

    The Tragedy of the Pantages Theater

    My interest in preservation became personal during the Utah Pantages Theatre debacle in 2021, when I researched, wrote, and anonymously published an article about the zero-dollar deal that handed a nationally significant 1918 theatre to developers for demolition (read it in SLUG). The story had been in the news for a while and continue to gain traction, written up by multiple reporters at The Salt Lake Tribune and elsewhere. Months later, I learned that the Mayor’s office had contacted SLUG asking about the author behind the piece—an unexpected development that sharpened the sense of risk many preservation advocates already felt. When the city ultimately went through with the demolition during the pandemic, I remember standing on Main Street and looking at the cleared site where the theatre had stood.

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    What followed has only underscored the loss. The redevelopment tower promised in exchange for tearing down the theatre has yet to materialize. According to recent reporting, the property has been cleared and is being used as a temporary surface parking lot while the high-rise project remains stalled. The developer has requested paving and interim-use approvals, and the site continues to sit empty—an absence rather than a new beginning.

    In the words of the Salt Lake Tribune, the theatre was “torn down in 2022 … to make way for a parking lot,” a bitter outcome when the city gave up a historic landmark and a (rumored to be) priceless Tiffany skylight, taken from the site before the demolition. The RDA has been rebranded the CRA, with no mention of the name change on the city’s websites.

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    One Success Story

    Against that backdrop, the work happening at the B’nai Israel Temple feels like a rare counterexample. Instead of another teardown or another “too expensive to save” narrative, the building is being restored in a way that reconnects it to the community that built it. SLAM’s founder, art historian Micah Christensen—whose family operates Anthony’s Fine Art & Antiques just a few blocks away—has rooted the museum’s vision in the building’s layered cultural history, and in the relationships his family has maintained within the area for generations (more in the 15 Bytes article). The museum’s presence inside the old sanctuary weaves together family history, art, and the cultural life of the neighborhood. It’s a reminder that preservation can be generative—not just resistance to loss, but a way of making room for future stories inside an inherited space.

    Preservation always sits somewhere between memory and power. Cambridge taught me that some places endure because whole communities quietly steward them. Salt Lake taught me that some buildings require a public fight, and that those fights sometimes come with unexpected personal costs. The B’nai Israel Temple—and the work SLAM is beginning inside it—offers a different model: a moment where the city, the institution, and the community align long enough to let history remain visible. After watching the Pantages reduced to a cleared lot awaiting a project that still hasn’t begun, that alignment feels worth noting.

     


  • Paint like sound (when it’s thin)

    Color shifts by degrees —
    heat, distance, saturation.
    Peach into rose, rose into air.
    A thin white line cuts through —
    it hums but doesn’t waver.

    Edges blur then settle orange against shadow,
    geometry built from hesitation.
    Pattern like breath, repeated but never exact.

    Leaves or shapes —
    stamped like wallpaper,
    or under a child’s boot;
    rhythm steady either way,
    a pulse made visible.

    In another frame —
    pink and lilac flirt with yellow,
    a tone held long enough to remember.

    Paint behaves like sound when it’s thin —
    frequency without noise,
    the same horizon
    at different times.

    Bernini PlutoBernini Quote