Pop culture and art history collide in Alex Da Corte’s new exhibit at the Modern.
BY JANEEN NEWQUIST
ATE DAY8 A WEEK
St. Paddy’s Day celebrations are here, and we’ve got you covered. BY JENNIFER
BOVEE
Near West 7th, Terry Black’s does barbecue traditionally and splendidly. BY
And the Mavs’ season just keeps getting worse. BY
New tunes from
and
out
ANTHONY MARIANI
PATRICK HIGGINS
MUSIC
Summer Dean, Claire Hinkle, Matthew McNeal,
more are
now. BY STEVE STEWARD
Keep Fort Worth Beautiful is hosting its 40th Annual Cowtown Great American Cleanup! This is the City’s largest cleanup event of the year, averaging approximately 4,500 volunteers each year. The first 4,000 volunteers to register will receive a free t-shirt. All volunteers receive litter cleanup supplies.
After the cleanup, celebrate Earth Party at Rockwood Park from 11 am - 1 pm to show appreciation for all the hard work done to keep our city clean and green.
Let’s not forget about the Trashion Fashion Show! Reduce, reuse, and refashion is the foundation for this event. Deadline for submissions by Thursday, March 27.
For details about the Cleanup, Earth Party, and Trashion Fashion Show, visit www.fortworthtexas.gov/cowtowncleanup.
INSIDE
Listen Up
Anthony Mariani, Editor
Lee Newquist, Publisher
Bob Niehoff, General Manager
Michael Newquist, Regional Director
Ryan Burger, Art Director
Jennifer Bovee, Marketing Director
Clint “Ironman” Newquist, Brand Ambassador
Emmy Smith, Proofreader
Julie Strehl, Account Executive
Sarah Niehoff, Account Executive
Stacey Hammons, Senior Account Executive
Tony Diaz, District Manager
Wyatt Newquist, Account Executive
CONTRIBUTORS
Christina Berger, E.R. Bills, Jason Brimmer, Buck D. Elliott, Juan R. Govea, Patrick Higgins, Laurie James, Kristian Lin, Cody Neathery, Wyatt Newquist, Steve Steward, Teri Webster, Ken Wheatcroft-Pardue, Elaine Wilder, Cole Williams
EDITORIAL BOARD
Laurie James, Anthony Mariani, Emmy Smith, Steve Steward
COPYRIGHT
Cover photo by Abeeku Yankah
The Whale
Pop culture and art history collide in Alex Da Corte’s new exhibit at the Modern.
BY JANEEN NEWQUIST
Alex Da Corte has a deep connection with the Modern Art Museum of Fort Worth. His visit 20 years ago left a lasting impression on him. The architecture of the museum, along with its permanent collection, became not only a place of reflection but also a source of inspiration for his future work, particularly Martin Puryear’s “Ladder for Booker T. Washington” and Ellsworth Kelly’s monochromatic canvases “Red Panel,” “Dark Blue Panel,” and “Dark Green Panel.” Da Corte’s experience with the seamless integration of art and architecture at the Modern changed his understanding of how art interacts with the space it occupies. The artist reflects on a novel idea: that art can extend into and harmonize with its surroundings. His new show at the Modern, The Whale, is grounded in the idea that art, space, and symbolism all come together in unexpected ways to convey deeper meanings.
Weekly: The Whale surveys several bodies of your work over the last 14 years, including an “alien view” of the familiar. Could you elaborate on that?
Da Corte: I guess I’ve always felt like an alien, and, for one way or another, I’ve felt sort of on some kind of perimeter of, say, society. And so I have found that, you know, in being what I like to call “a wallflower,” someone like sort of living on the edge, that you kind of have the best view of what is in the center, what is familiar, what is common, and bringing that perspective to the familiar … makes the work or makes the familiar change. It makes it stranger. … Over time, your relationship to the work can change because you yourself change, and I didn’t want to look back at the work with any kind of sentimentality. I wanted it to feel like I could approach the work as though I was receiving it or looking at it for the first time and therefore arrange it in ways that were new to me or alien. And I could also do that with the work from the collection that was also familiar to me because it is in history books and in the world for a long time, not to disrespect the work but only to see it fresh and see it as though I’m meeting it for the first time.
How important is creating an environment when presenting your work — the murals, the benches, the colors of the display tables — and showing your art in tandem with the Modern’s permanent collection?
Da Corte: Well, you know, I have a kind of aversion to whiteness, and, historically speaking, the white cube has been the kind of place where there are rules around how
Da Corte: “I hope that for any moment in time — be it going into a sandwich shop or going into a museum — that the viewer, the visitor, will change and is open to change.”
art is shown. And although art is free in its making within an artist’s studio, it gets kind of confined. There’s a potential for it to be confined and constrained within the white cube space, even so far as calling the label that accompanies the painting or the sculpture on the wall a tombstone. It’s a wild thing. … A museum wants the work to stay alive. Its mission is to keep artworks alive and preserve the legacy of an artist and remember them, so my interest in changing the white space — making it a color, making the benches different — is just to say, “I want to introduce precarity when looking at the work. I want to destabilize the white space, so that when you’re viewing the work, what you think is a real Warhol is actually a replica of one or what you think is a real Marisol is a replica of one.” It creates a kind of anticipation that what you’re looking at or how you’re looking at what you’re looking at is not secure and that it’s liable to change, which is just to say that change is good and change is righteous and to introduce color to white walls is to introduce a new feeling or a new way, sort of psychologically speaking, of viewing work that is old to you or familiar to you. And what does it feel like to look at work in a red room if red makes you hungry or red makes you angry? What does it feel like to
the frame. It’s talking about color. You know, it’s thinking about red and all the ways that red is. It’s thinking about humor. It’s thinking about violence. It’s thinking about the cosmos and being alive and being a person in the world. You know, I was thinking about how the art world oftentimes loves itself and sort of looks at the world but thinks that it doesn’t need the world. But we know that the world needs art and the world benefits from art, but oftentimes the art world forgets that it, too, benefits from the world. And Vernon Fisher is a perfect example of an artist who’s looking out into the world, embracing it for all of its strangeness, and then bringing it back in and saying, “Now look at this, look at how strange and weird and mad this world is” but not dismissing it. Just saying, “Let’s consider it.” How cool that you knew Vernon.
I just thought he was so funny. Well, there was some sadness to him, but he was very funny. I thought he was a fantastic artist.
Da Corte: He is.
By embodying Marcel Duchamp and acting the part [in the video “ROY G BIV”], what did you discover about him and his intent as an artist?
look at a Manet in a purple room versus a white room? It may feel quite luxurious or just different, and those differences are the things I’m wanting when viewing work.
I love the fact that you chose Vernon Fisher’s “84 Sparrows.” I love that piece, and I loved Vernon Fisher, and I loved the fact that he had a degree in English, in writing, that was very important to him, so he has this kind of absurd story. It’s about … a guy who, I think, is dying. He’s bleeding to death under a van. And those sparrows are this metaphor or somewhat of a reference to blood. … You’re used to seeing a contained canvas or a sculpture. It’s one piece in a space. Here you get three disparate pieces telling one story. Loved it. And I see that with what you’re doing. There is a little bit of absurdity. There is a little bit of humor. There is a little bit of, “You know what? The world’s wacky, and there’s some crazy stuff going on, but it’s also beautiful. It’s a beautiful world we live in, but it’s rough.”
Da Corte: But it’s also been rough for a long time, like, as long as time has existed. And I wanted to start with Vernon Fisher’s work because of all the things you say. It’s out of
Da Corte: That’s a great question. Well, with embodying Duchamp and then Rrose Sélavy, his alter ego, one of my first wants was to kind of humanize him because I myself did not know him, [but] a friend, Calvin Tompkins, did know him and … wrote the biography on Duchamp and a very cool little pamphlet … The Afternoon Interviews. It’s really a quick read, and it’s fantastic for any artist. It’s like the best thing ever because it’s just him and Duchamp talking about things and what it means to be an artist that’s so, so deeply cool. It’s very cool. But I grew up, you know, going to the Philadelphia Museum [of Art] and seeing these works, his final work, “Étant donnés,” and all of his other works, which are paintings, and these, you know, very opaque sculptures, and although I knew they were celebrated and at some point I understood why they were radical, I felt like I was being lazy in my understanding of them. I accepted that to be true, but I thought, “Why am I accepting that to be the one radical thinker of that time?” Or, “Why was that act so singularly celebrated, and who was that person?” And so outside of reading so much about him, I wanted to kind of put that skin on me. I wanted to kind of wear the clothes and kind of feel, even if just for a day or two days or weeks of rehearsing, like him, and studying him, I wanted to kind of just understand what was it like to be that body, not my body, to maybe understand a little bit more about how things were lifted, how things were cobbled together. It is in some ways like a kind of a method. It would be like method acting, but you don’t think about that in terms of artmaking. But here I am just trying to immerse myself if only to understand and to say, “Even if I don’t get you, even if it is not you and will never be you, how can I empathize and really understand you?”
When did you start doing performance? When did you start dabbling in that, bringing that into your process?
Da Corte: It was about 1999. So, it’s been quite a long time since I started making work. I was in undergraduate school, and I had met some friends who were interested in that. It’s not what I studied. I was studying animation, but they spoke about installations, and we spoke a lot about making a diner. And in my mind, I thought, “Installation art sounds pretty cool because if it means making diners, I like diners. That works for me.” I didn’t think about it in terms of art. I just was like, “Gosh, I like diners, a place to drink coffee all the time.” But that then slowly introduced kind of performances around being in a diner: drinking coffee, living inside of a salt shaker, carrying a ketchup bottle. … Due to so much time spent in the diner and being immersed in this really safe space — which was just a booth with some friends, unlimited coffee, French fries, ketchup, salt, pepper, sugar, the whole bit — that became our theater, and we started imagining all of these cool ways to kind of have our theater be bigger than that. And that’s when I started performing. I started making little videos where I was, you know, dancing all night and, you know, watching some balloons fall.
continued on page 7
Da Corte: “When the young person becomes a flower, that’s a beautiful thing.”
No talking. No food and drinks. No Bubbles.
Come break the rules and say “yes!” to new art experiences at the Carter’s Second Thursdays! Every Second Thursday is different than the last — mingle with fellow art lovers, make art, and meet visiting artists, sometimes with live music and always with themed cocktails. You’ll never think of museums in the same way again.
SECOND THURSDAYS ARE ALWAYS FREE!
THURSDAY MAR 13 | 5–8 P.M.
PATTERNS & PROSECCO
Meet artist Jean Shin and unravel the Carter connections in our immersive installation, Jean Shin: The Museum Body.
SPRING BREAK STARTS HERE
With Trinity Metro TEXRail, your spring break can actually feel like a break. Start relaxing as soon as you board and let the stress of airport tra c and parking melt away. Ride to or from DFW Airport for just $2! Plan your trip now at
RIDE TRINITYMETRO .org/ TEXRAIL-SCHEDULE .
It must be fun, but that’s work.
Da Corte: It’s absolutely work, and it’s also, you know, like I said, I can be quite a wallflower. It was not my nature to speak at all, like I was so quiet, and as a young person, I was in my head. I was a nerd, and I was not, you know, not saying much at all. … And so to even be a performer: As young people, when you’re taking risks and learning, you want to try on a new hat, and you want to say, “I can get outside of this show because although I’ve been this person, maybe there’s something else I don’t know.” When the young person becomes a flower, that’s a beautiful thing.
You’re learning about yourself.
Da Corte: Exactly. And who that is and how far can it stretch. And I think my interest in performing and being Duchamp or Jim Henson or Eminem is to say, “How far can you stretch this mask?”
How did being a kid with two homes, New Jersey and Venezuela, shape your imagination and worldview?
Da Corte: It is a great question and so essential to how I think about everything.
As a young person, when you’re developing a sense of family and what that is and home and what that is, [it] sort of links to, for some, security or a kind of stability. My relationship to living in two places always meant that, in my mind, I was always half complete. I was always like a half of a finished person in that all of my loved ones were very far away. And because this was before the internet and before cell phones, you know, when we were still making very expensive long-distance phone calls or writing letters, there was a kind of distance. … The ways that I remembered places were through color or through smell, which are these really formative things. And so I remember being steeped in Caracas and being with my abuela and my abuelo and all of my cousins, and all of the piñatas and the fruits and the clay tiles and all of the colors and textures that I love, and then to leave and go somewhere very far away, where all of the textures and colors were different and all of the people were different [along with] the names and the language. It stretched my mind in ways that have stayed with me, because I have since tended to want to bridge a gap between different things. I’ve wanted to say, “How is Eminem something so very different [from] Life cereal?” Or “How is Duchamp like the Muppets?” You wouldn’t think that typically, but it is to say I am a person who is of many places. You know, that is a kind a common condition for a diasporic body. They’re stretched across places.
continued on page 8
Da Corte: “I wanted to start with Vernon Fisher’s work because … [it’s] out of the frame. It’s talking about color. You know, it’s thinking about red and all the ways that red is. It’s thinking about humor. It’s thinking about violence. It’s thinking about the cosmos and being alive and being a person in the world.”
And yet you kinda feel like you don’t belong anywhere.
Da Corte: You don’t belong anywhere. You know, they call that kind of being an immigrant of time, a person who sort of says, “In time, I will land somewhere,” and yet you can feel like you never land. You know, in all of the discussions I’ve had with my dad about being an immigrant, he says, “I’ve been here for 56 years now, and yet something about me is always incomplete because my home is elsewhere.” And there’s also a part of me that says, “Maybe I’ll never be welcome here.” And that kind of longing is also baked into the work because there’s a kind of, as much as there’s humor, there’s also a melancholy in the work. And there is a kind of sense for searching for home and searching for belonging.
You first came to [the Modern] 20 years ago?
Da Corte: Yup.
What impression did it leave, and how has that influenced you making your art — or has it? — from seeing it 20 years ago?
Da Corte: I was raised Catholic, and so a lot of the art we were looking at was sort of
born out of art that would be in Rome. And so, it’s not quite the art that you find in the Museum of Modern Art, et cetera, or here. And, in my early 20s, when I came here 20 years ago, I remember both being struck by the museum itself and its grandeur and its very complicated architecture but also the actual artwork that was there. I hadn’t seen Stellas, and I hadn’t really known Warhols, these pillars of 20th-century art. And then, really, what kind of blew me away was Martin Puryear’s “Ladder for Booker T. Washington.” And that, I think, singularly changed my life. I was so moved by it for its craft, for its ability to be transformative, to be beyond metaphor, to be so inspiring and free and yet still abstract, for it to be made by a person, for its relationship to history and politics. It blew me away. And I don’t think I ever was the same after that. I just really left. … I just didn’t even know what to do with myself. And I went to school
for craft. I went to school for animation, and then I transferred to a school that now just recently shuttered, University Arts, which was the Philadelphia College of Arts, and it was one of the oldest art schools in the country. And it was really known for craft, wooden craft, jewelry making, metal making, you know, ceramics. And so that was my mindset. That was sort of my space, where I thought good art is really made by hand and made well. And the first time I ever saw Martin Puryear’s work, I just think that changed my life.
What do you hope viewers will take away from The Whale?
Da Corte : Well, The Whale is named after Carl Jung’s writings around [Jonah] and what it might mean to be consumed by a whale. And if I think about this experience in the museum as a whale that has
consumed many artworks, Jung proposes that you can change, that the body inside the whale will change. In darkness, they will change. Things that were one thing may be new because of a relativity. I hope that for any moment in time — be it going into a sandwich shop or going into a museum — that the viewer, the visitor, will change and is open to change. And that change does not have to be, “I like the art.” That change doesn’t have to be just two thumbs up. It can be, “I don’t like cartoons,” or “I don’t like that art at all.” That’s also good. But my want is that viewers are open and receptive to renegotiating how they thought about something they hadn’t thought about before.
And “What is an art museum? How does that display work?”
Da Corte: Exactly. And saying, “Hey, we have kind of rested on our laurels in relationship to white walls and paintings that’re 60 inches high and tombstones. What if we introduce a newness to that experience, which will give it life, which will say, ‘These wall labels aren’t tombstones. They’re celebrations. They’re ways of reenergizing and requestioning and reinvestigating work that has been supposedly laid to rest in a museum, but now here we are, and it can be new, and it can be fresh.’ ” l
Local artist Janeen Newquist has been a docent at the Modern Art Museum of Fort Worth for 18 years.
GIDDY UP MARCH 1-30
Cowtown Goes Green ™
AMERICAN BASKETBALL CHAMPIONSHIPS BLOCK PARTY
March 8-16 | Livestock Exchange Lawns
STOCKYARDS CHAMPIONSHIP RODEOS
Fridays & Saturdays | March 1-29 | 7:30PM
Men’s and Women’s tournament games, outdoor celebration and big screen action.
Saturday, March 15 | 10AM-8PM
Rodeo 1:30PM | Parade 4PM
Saturday Matinee | March 15, 22 & 29 | 1:30PM
Sunday Matinee NEW! March 9, 16 & 30 | 1:30PM
PBR STOCKYARD SHOWCASE
Exciting parade, armadillo races, cow milking, rodeos, craft brews, roll-o-ropers, Irish music, face painting and more!
Sunday, March 16 | 11AM-7PM
$5 Michelob Ultra green drafts, App giveaways, rodeos and Irish music!
BASSMASTER CLASSIC CELEBRATION
March 20-23
Official kickoff party, tournament streamed live on the big screen, exhibits and more.
THANKS TO OUR PARTNERS
Thursdays | March 6, 13, 20 & 27 | 7:30PM Fort Worth’s favorite bull riding series.
COWTOWN
CATTLE BATTLE JR BULL RIDING & MUTTON BUSTIN PRESENTED BY RUNNING B RODEO
Friday, March 14 | 12PM-4PM
100 junior athletes let it loose at Cowtown Coliseum!
ULTIMATE BULLFIGHTERS
Sunday, March 2 & 23 | 2:30PM
STUFF
Cursed
Since the Mavs inexplicably jettisoned the face of their franchise for basically nothing, the bad mojo has just gotten worse.
BY PATRICK HIGGINS
What can I say? It’s downright hellish in Mavsland right now. We’ve spent a little over five weeks in this miserable post-Luka world, and every day is worse than the one before. We mourn. We wail. We pour bleach into our eyes at the sight of a No. 77 jersey in purple and gold. There has been much gnashing of teeth and rending of garments. Human sacrifices! Dogs and cats living together! Mass hysteria!
What’s worse, there’s seemingly no end to our basketball pain in sight. I know some may be sick of hearing about The Trade, a term that has already joined the ranks of Dez Caught It or One Strike Away, infamous phrases that will forever instantly bring a local sports fan back to the heartbreak that those words have come to embody. The topic has dominated the media in the month since, with SNL even dropping an offhand line about it during a sketch last weekend, and it’s understandable to have trade talk burnout. However, even if we fans have consciously decided we want to move on, events surrounding the team continue to make that an impossibility.
Since the fateful day that sent the most beloved athlete in the city to one of the most hateable franchises in all of sports, the Mavs’ front office has been stridently giving fans the double birds while flying in the face of karma. At every turn, they’ve done the exact opposite thing to what any franchise even slightly focused on building goodwill among a frustrated and hurt fanbase would do. They initially approached suppression of fan discontent with all the fervor of Chinese President Xi Jinping trying to erase satirical images of him as Winnie the Pooh. (Look it up.) For a time, they wouldn’t allow signs (of any kind) in the arena and, prior to eliciting more backlash, had multiple fans removed from their seats for chanting the words that literally every local sports fan has been repeating to themselves like a prayer daily since Feb. 2: “Fire Nico! Fire Nico!” As a
hilarious aside, though the tyrannical Mavs regime has somewhat successfully squashed these sorts of chants inside American Airlines Center, angry former #MFFLs have taken to striking up the chorus in new strange and fun places like FC Dallas soccer games and overpriced jousting-tourney meals at Medieval Times.
Also, like all effective authoritarian strongmen, GM Nico Harrison and owner Patrick Dumont have revved up the propaganda machine, actively running an ugly smear campaign on our departed hero through the media, painting our boy as a lazy, beer-swilling crybaby (which he very well might have been, but he was our lazy, beer-swilling crybaby). And all this while sticking their finger two knuckles deep into fans’ ocular cavities by jacking up ticket prices for next season.
It was only a matter of time before karma caught up with the organization. It looks like it has. This team is cursed.
For Monday’s 133-129 victory against the San Antonio Spurs, the club’s first win in six games, the number of Mavs players in uniform on the bench were outnumbered by those of them in street clothes. An already injury-plagued season has become a veritable tragicomedy. With the most recent addition of point guard Brandon Williams, who exited Sunday’s game against Phoenix with a bad hamstring, the number of names on Dallas’ injury report has been increasing faster than anti-vaxxer measles cases in West Texas. Williams joins an ever-growing $100M cheering section already consisting of point guard Jayden Hardy (ankle); forwards Olivier-Maxence Prosper (out for the season with a broken wrist), PJ Washington (ankle), and Kai Jones (quad); and centers Derrick Lively (foot) and Daniel Gafford (knee). These names are in addition to the loss of both of the team’s remaining superstars in Kyrie Irving with a season-ending ACL tear (one
of the most heartbreaking things I’ve ever seen) and Luka-trade return Anthony Davis with an adductor strain suffered just three quarters into his Mavs debut. (Tell me that’s not karma.) Though Davis is thought to have a chance to return, at this point, why? Seems his representation has similar feelings, and though absolutely dominant in those three quarters, it’s all Mavs fans will get this year in return for sending away their Superman.
As eye-popping as the injury scenario is, believe it or not, it could be worse. Both forward Kessler Edwards and the club’s last remaining center, Dwight Powell, collided horribly on Sunday, sending both to the locker room, with the latter bleeding from his face. Powell getting hit in the kisser during a Mavs game is so common it should be a weekly prop bet with the over/under set at 0.5, and you should take the over. Dallas dressed just eight players on Monday, and even the most hardcore NBA fan would not have heard of any one of them outside of Klay Thompson. Like, literally, who are these guys? The only two players left who were on the team last year are Dante Exum and the aforementioned Dwight “Let-MeTake-One-in-the-Face” Powell, and last year they were garbage-time players at most. They’re starters playing 30 plus minutes now. Things are dire.
The worst thing is that Dallas somehow effed up and won the game against the Spurs, which moves the Mavs further away from a potential lottery pick. The only thing that might reverse this franchise’s current center-of-the-Earth downward trajectory is to somehow win the lottery this year and draft Duke freshman phenom Cooper Flagg. Though far from the generational talent that Luka Doncic is, he could go a long way in filling the hole left by “The Don” as the face of the franchise. That is, until Nico trades him to the Sixers in 2030 for a 35-year-old Joel Embiid. l
This Mavs’ season continues to kick us in the nuts.
NIGHT & DAY
Pantera and Rigor Mortis weren’t the only underground thrash outfits to come out of Arlington in the late 1980s. Their contemporaries Gammacide formed in 1986 and released one epic album, Victims of Science, in 1989. Before parting ways in the early ’90s, they had shared the stage with Dark Angel, Death, Exodus, Kreator, Morbid Angel, Sacred Reich, and more. Members Alan Bovee, Rick Perry (currently in Iron Jaw), and Scott Shelby went on to form Warbeast, while vocalist Varnam Ponville moved away from the area and formed Varnam Ponville’s Cauldron. With the addition of drummer Joey Gonzales (Phil Anselmo & The Illegals, Warbeast), Gammacide are getting back together for a reunion show at the upcoming Hell’s Heroes festival in Houston. Tonight’s pre-festival hometown gig at Haltom Theater (5601 E Belknap St, Haltom City, 682-250-5678) will be Gammacide’s first time onstage together in more than a decade. Bed of Nails goes on at 7pm, followed by Perico, then Gammicide at 9pm. Admission is $10.
The Fort Worth Botanic Garden (3220 Botanic Garden Blvd, Fort Worth, 817-463-4160) is hosting its first after-hours event of the season. From 6:30pm to 8:30pm, Blooms & Beats features spring blooms and live music by local country band Seven6 in the Horseshoe Garden. Food and drinks will be available for purchase from Gordo’s Mexican Cantina and Mission Burgers. Tickets are $15 at FWBG.org.
Decolonizing the Music Room, a nonprofit working toward a more equitable future for minority voices in music education, research, and performance, is hosting its Fifth Annual Fort Worth African American Roots Music Festival at Southside Preservation Hall (1519 Lipscomb St, Fort Worth, 817-9262800) noon-10pm featuring Dom Flemons and Kyshona, plus Demeanor, Rev. Robert Jones Sr., Kafari, Rising Stars Fife & Drum Band, Yasmin Williams, and more. Tickets start at $20 on Prekindle.com. For more info, visit FWAAMFest.com.
In November, I bought my husband a new set of patio furniture for his birthday. Last weekend, during the storms, the umbrella took flight, never to be seen again. To prevent such happenings at what was meant to be the first Rock ’N’ Roll Rummage Sale of the season, Honeysuckle Rose Events canceled its Mar 8 market and rescheduled it for today. It’s noon-6pm at the South Main MicroPark (105 S Main St, Fort Worth, 817-923-1649) with more than 40 local vendors selling antiques, art, books, collectibles, jewelry, oddities, retro items, vintage finds, and more. Food is available for purchase. Admission is free.
Happy St. Patrick’s Day!
In honor of the occasion, Messina Hof Winery (201 S Main St, Grapevine, 817-442-8463) is hosting St. Paddy’s Day Pairings 6:15pm-8:15pm. Your taste buds will dance a jig as you enjoy expertly paired Messina Hof wines with delicious Irishinspired bites, including corned beef tacos, shepherd’s pie, and more. Tickets are $40 at ExploreTock.com/Messina-Hof-Grapevine. For more shenanigan ideas, read this week’s ATE DAY8 a Week a few pages back.
Do you have used formal wear or accessories collecting dust? The Mansfield Public Library (104 S. Wisteria St, Mansfield, 817-728-3690) is hosting its inaugural Once Upon a Dress formal wear exchange, offering a free option to teens this prom season. Now thru Wed, Mar 19, the library will accept clean, gently used prom dresses, plus accessories, shoes, suits/suit pieces, and tuxedos. These donations will go directly to local high school students looking for stylish prom attire, all at no cost. To donate, drop off items at the library 10am-6pm Mon/Wed/Fri, 10am-8pm Tue/Thu, or 10am-4pm Sat. (The shopping opportunities for students will be 2pm-5pm Fri, Mar 21, and noon-3pm Sat, Apr 12. All high school students are welcome to shop for free during these events.)
By Elaine Wilder
Gammacide has reunited for an upcoming metal festival in Houston. Catch their prefestival hometown show at Haltom Theater on Thursday.
The Fifth Annual Fort Worth African American Roots Music Festival is Saturday at Southside Preservation Hall.
EATS & drinks
Just Right
Terry Black’s is elite barbecue near the heart of West 7th.
Terry Black’s Barbecue, 2926 W 7th St, Fort Worth. 817-615-9408. 10:30am-9:30pm Sun, 11am-9:30pm Mon-Thu, 10:30am-10pm Fri-Sat.
BY ANTHONY MARIANI
It’s taken a while, but my 13-year-old finally loves barbecue. He’s not finicky. He’s kind of a super-taster, and up until just a year or two ago, something about barbecue, uh, rubbed him the wrong way. Now, he’s a master at slow-cooking ribs (and eating them!) and can pinpoint where some local restaurants may have gone wrong slow-cooking theirs (often leaving it on too long). And like me, he’s a ribs-and-brisket guy when he orders, with the occasional sausage thrown in, and
sides. Always sides. We have our favorite spots around town, no doubt, and near or at the top of the list sits an Austin transplant in the West 7th corridor.
The recently opened Terry Black’s Barbecue is the newest and fourth of its kind, with other locations in Dallas and Lockhart. It’s a family affair. Owned and operated by descendants of the 90-year-old Black’s Barbecue in Lockhart, this 6,400-squarefoot gem cost $6 million to build. And by the looks of the long lines and crowded parking
lot, it’s made 100 times that since opening.
The kid and I had to park way the hell down by Fort Worth Camera, forcing us to hoof it through the cold about 75 yards to reach Terry Black’s entrance. While the line wasn’t out the door, it was pretty long. It snaked through rows of merch (hats, sauces, everything) and the glorious beer cooler. After grabbing an adult beverage (or three), you’ll reach the sides counter, off to the side, and there’s a lot to choose from: all your traditional offerings, including — especially
mac ’n’ cheese, which is important considering it’s not as popular at barbecue joints as you would think. All that, plus Mexican rice. And we were right up on the servers behind the sneeze guard before I could even check the weather on my phone (because checking the weather on my phone constantly is sort of like my thing). Soon as you turn around with your tray full of sides, you’re ushered by a worker from your place in line to the main counter, where you order, and this efficiency is much appreciated. There are multiple setups, and every one includes a cashier, a cash
continued on page 17
This is Texas ’cue done right. Abeeku
Grab a brew or three while in line.
register, a slicer-dude, and a heap of meat for the selecting.
There was no place to sit inside among the neon-bathed wooden booths, long tables, four-tops, and two-tops, so the kid and I grabbed a booth in a short row of them on the sheltered portion of the spacious patio. We were insulated from the crisp air by hanging, clear, plastic slats. Blazing space heaters watched over the exposed, and empty, patio beyond.
For us, part of the charm of sitting out back was in being able to watch two workers fuel the rows of smokers sitting inside a massive shed. All that fire. All that wonderful beef and poultry. I don’t recall any TVs inside to compete, which is fine — Terry Black’s meats, sides, and veggies demand your full attention.
The sliced brisket ($35.98/lb) was scrumptious: tender, not too fatty, and peppery, and the tableside barbecue sauce (there are several varieties, all homemade) only enhanced the natural, smoked flavors of the moist meat.
The pork ribs ($30.98/lb) could not have been done any better. Our local burgeoning pitmaster said they were cooked “just right.” Juicy and zesty, they weren’t small, either. For sides ($4.25 5 ounce, $9 pint, $17 quart, $45 gallon), we went with the creamy, gooey mac ’n’ cheese and some bright, refreshing cole slaw. As if reading my mind,
Terry Black’s also gifted us with two slices of white bread and a ramekin of raw red onion and dill pickles. I thought I’d made up that sub-side combo myself over the years. For every bite of beef, you need a nibble of one of your sides or of onion, pickle, and bread. Trust me.
Terry Black’s other meat options include beef ribs ($35.98/lb), turkey and chopped beef (both $30.98/lb), and original sausage and jalapeno-cheese sausage (both $28/lb). There are also sandwiches ($15.50-$17) and sandwich combos ($19.75-$21.25 with chips and a regular drink).
As much as my son and I love Terry Black’s, it’s not cheap, so we save our visits for special occasions. And it’s not just Terry Black’s. Prices are up all over, and economists say things are only going to get worse — especially for us nonmillionaires. He and I are still excited to visit once the weather becomes more pleasant more regularly. We may even walk out of there with some of that merch. Or at least a bottle of sauce. l
Booths in the sheltered portion of the spacious patio are insulated from any crisp air by hanging, clear, plastic slats. Blazing space heaters watch over the exposed patio beyond.
Dinner and a show: Part of the charm of sitting out back is in being able to watch two workers fuel the rows of smokers sitting inside a massive shed.
Terry Black’s sliced brisket was tender, not too fatty, and peppery.
The pork ribs could not have been done any better. Juicy and zesty, they weren’t small, either.
Terry Black’s mac ’n’ cheese was creamy and gooey, and the cole slaw was bright and refreshing.
Call in Drunk Monday
Whether you’re Irish or not, don the green and get out there for St. Patrick’s Day.
BY JENNIFER BOVEE
Depending on your perspective, Dallas is either where it’s at today or the place to avoid at all costs. The annual Dallas Mavs St. Patrick’s Day Parade (DallasStPP.com) on Greenville Avenue is the biggest nonsporting event in North Texas. It is followed by an epic after-party all up and down the lower and lowest parts of the avenue as part of the Lower Greenville Block Party (LowerGreenvilleBlockParty. com). If you want to check it out, I have two words for you: Take DART!
For a different sort of street party, the British Emporium (140 N Main St, Grapevine, 817-421-2311) launches its inaugural St. Patrick’s Day Car Show and Corgi Parade 11am-2pm. The pups will strut their stuff and show off their costumes at 1pm. This event is free to spectators and participants, but they do ask that you bring a canned food donation for local food pantry GRACE Grapevine. Pub-crawl group 101Media is hosting the St. Paddy’s Bar Crawl in the Stockyards noon-5pm. Photo ops, themed decor, live entertainment, and discounted drink specials are all part of the $15 ticket price on Eventbrite. com. Three of the eight participating bars have been announced, and you’ll find out about the rest on the day of the event via a digital brochure. The meet-up spot is Second Rodeo (122 E Exchange Av, Ste 340, Fort Worth, 877-517-7548) at noon, then you’ll also visit Paloma Suerte (122 E Exchange Av, Ste 280, Fort Worth, 682-267-0414), Sidesaddle Saloon (122 E Exchange Av, Ste 240, Fort Worth, 817862-7952), and more.
While J. Gilligan’s has its main event on Monday (see: below), another pub group, PubCrawls.com, wants to take you there today as part of its Arlington St. Patrick’s Day Bar Crawl. Check in at 4pm at Hooligan’s, then from there hit up J. Gilligan’s (400 E Abram St, Arlington, 817-274-8561), On Tap (200 N Mesquite St, Ste 105, Arlington, 682-323-5561), Old School Pizza Tavern (603 W Abram St, Arlington, 682-282-0886), and Division Brewing Pizza Kitchen (513 E Abram St, Arlington, 682-259-7011). Tickets are $14.99 on Eventbrite.com and include exclusive food and drink specials at each venue, helpful pub-crawl staff, and a chance to sing karaoke with your new lifelong drunk friends at an afterparty at, you guessed it, J. Gilligan’s.
The City of Lewisville is celebrating St. Patrick’s Day and Texas Independence Day
in one event again this year at St. Paddy’s Texas Style at Wayne Ferguson Plaza (150 W Church St, Lewisville, 972-219-3401)
noon-7pm Sat. Admission and most activities are free, including carnival-type games, live entertainment, and mini train rides, while food truck eats, beer, and face-painting sessions will be available for purchase. The entertainment kicks off at 1pm with the McTeggart Irish Dancers, followed by live music until 8pm, including The Blaggards with J. Isaiah Evans & The Boss Tweed, plus Beyond the Pale, Dustin Perkins Band, Late to the Station, Pride in the Name of U2, and Reel Treble. There will also be lucha libre wrestling throughout the day. For performance times and parking info, visit bit.ly/StPaddysTexasStyle.
One of North Texas’ oldest bars, Plaza Pub (1605 New York Av, Arlington, 682-2763188), is celebrating its 70th anniversary on St. Patrick’s Day weekend with two days of live music, potato-leek soup with corned beef, shepherd’s pie, cabbage, and soda bread. Gypsy is playing on Saturday night (time TBD) and Whiskey Dick on Sun, Mar 16, at 3pm. No cover.
For #SundayFunDay, I’ll be swinging past the Rusty Nickel (2836 Stanley Av, Fort Worth, 817-528-1682) for the free Shamrockin’ St. Patrick’s Day Party with perennial Music Awards winners Poo Live Crew. The party starts at 3pm with live music at 5pm. Drink specials include $6 Deep Eddy Vodka, $6 Surfside Green Tea + Vodka, $5 Coors Light (green beer on draft), and $5 Jameson Irish Whiskey. Big Dawg’s food truck will be on-site for snacks. Hot dog!
Three Links (2704 Elm St, Dallas, 214484-6011) is hosting Punks & Painters, a local art market and music showcase, 7pm-2am. The headliner ¿Everything is Temporary? goes on at midnight and will be preceded by A Dangerous Affair, Justin Cashion, Spike Polite, Stailmate, and Wayside Motel. Meanwhile, on the back patio, there will be vendors selling art, food, and Delta 8. Tickets are $12 on TicketWeb.com.
It just wouldn’t be St. Patrick’s Day if we weren’t talking about J. Gilligan’s (400 E Abram St, Arlington, 817-274-8561). After all, they’ve been hosting a free block party annually for 46 years now, and they do have those Irish nachos. The party starts at 11am, rain or shine. Throughout the day, there will be green beer, Irish nachos, live music inside and out, and DJs.
The Blaggards headline this year’s St. Paddy’s Texas Style on Saturday in Lewisville.
MUSIC
New Music Roundup
Summer Dean, Claire Hinkle, Matthew McNeal, and more have recently released some primo work.
BY STEVE STEWARD
Spring has sprung, and the unpulled pages of my Far Side desk calendar are many. Along with nine weeks of old cartoons to catch up with, I have a list of new music by local artists I’d been sitting on that only gets longer by the week. In the interest of catching up (and also hoping to find Gary Larson’s notorious, debatably funny “Tethercat” cartoon in the past two months of unread Far Sides), here are some new tracks I liked a lot that debuted since the first of the year.
At the end of January, country artist Summer Dean released an even-groovier-than-the-original cover of the 1980 Terri Gibbs hit “Somebody’s Knockin’,” vamping in the video across a landscape of late-night, late-’70s dancehalls and watering holes, dodging the lariat of trick-roping legend Ketch Weaver. If you wanted to time-travel back to when Billy Bob’s was new, this track (and its video) is an effective portal.
If, however, you would prefer to revisit the era of scene hair, Evanescence shirts, and A7X tattoos done at the kitchen table in someone’s cousin’s apartment, check out Self (Titled), the debut EP of Still Echoes, a newish project of former Deaf Angel members Scott Van Slyke (drums, vocals), Tina Grace (vocals), and Jeremy Mewbourn (guitars). Still
Echoes’ take on melodic metalcore is forged with technical drumming and delicious, djent-y guitar crunch tempered with brief interludes of moody keys and drum loops. The sound builds a heavy, pummeling stage for the dramatic interplay of Grace’s soaring, hooky melodies and Van Slyke’s raspy growls, and by the end of the EP, you’ll find yourself grabbing the flat-iron and racoon eyeshadow again before you go out.
Singer-songwriter Claire Hinkle was born some time in that era of racoon eyeshadow and skinny jeans, but I don’t know what her affinity for the era’s music and fashion might be. Would a toddler have enjoyed a Devil Wears Prada CD? Perhaps while wearing an As I Lay Dying onesie? I bet there are people who became parents in the early 2000s who gave that a try! But anyway, Hinkle, who is no stranger to loud rock, having fronted a loud rock band called Tiny Giants, has pivoted back to her Americana roots with her new solo material. She dropped a new single at the end of January called “Bender,” a bruising, funny, don’t-givea-shit honkytonk ballad about the thought process leading to regrettable decisions at a bar. Recorded live at Billy Bob’s, the track is a great showcase for Hinkle’s voice — her delivery has a gorgeous, old-soul quality to it that hits the part of the road between heartbreak and laughing about the scars it leaves. “This is Day 2 of a five-week bender / I got your pleas, I returned ’em to sender!” she sings in the chorus, and for the rest of the song, you’re kind of like, “Oh, shit. What’s she gonna do next?” Hinkle is playing shows at South-bySouthwest, so maybe “Oh, shit. What’s she gonna do next?” is a good way to think about her music moving forward.
Christian Carlos Carvajal, another local singer-songwriter whose music occasionally drifts into the misty, indefinable, know-itwhen-you-hear-it realm of “Americana,” is also moving forward, having just released an EP of his own on March 1. Called 300 and recorded at the home studio of producer Reese Murphy with backing musicians Johnny Hatcher and Tyler Martin (both from Grady Spencer & The Work), it’s been in the works since 2021, finally wrapping up in 2024 with additional backing parts — Jeff Dazey on sax, Simone Nicole and Sam Anderson on backing vocals, and Bubba Bellin on pedal steel. This six-song collection of the live set Carvajal has been performing over the past few years will undoubtedly be familiar to fans. But given the added heft of a studio band, his
musings on disillusion, heartache, and abandoned faith will hit even harder than the first time you heard them. That’s probably an odd thing to say about a local songwriter with a friendly demeanor and hopeful message, but then again, he also just added a Motörhead cover to his live set.
Speaking of hitting even harder than before, electronic-music producer and DJ Richi Taylor, a.k.a. IAMKRT, also dropped an EP on March 1, though with eight tracks of pumping, polyrhythmic dance music, it could easily stand on its own as a vinyl LP. 00128 puts Taylor’s aesthetic — a blend of disparate sounds that merge into cinematic runs through the mech-tronic corridors conjured by his beats and samples — on brilliant display. The samba-fied house track “NAHNAHNAH” that leads off the record gets abruptly abducted into a pounding sci-fi purgatory of what Taylor describes as “pure electronic underground techno.” With 00128, Taylor, himself influenced as much by ’90s-vintage video game soundtracks as Frankie Knuckles and/or Carl Craig, crafts the score for an imagined world of high-velocity late-night travel from one underground dance spot to the next.
Matthew McNeal is about to drop his fifth album, High Lonesome, on April 4, and in anticipation of that, he released a second single on March 7, following “Chipped Teeth,” on Feb. 14. The new one’s name is “Sad Songs,” and in the way that Richi Taylor’s techno sounds like the score to a Playstation mecha-combat game that doesn’t exist, “Sad Songs” reminds me of a hit from the soundtrack of an Academy Award-nominated (Best Director, Best Actress, probably) indie comedy-drama from the mid-to-late-’90s (that also doesn’t exist), and that is specifically because of the optimistic tone of the keyboard that kicks off the horizon-looking sweep of this country-tinged jam. It’s perfect, and when McNeal gets to the lines, “Starting the song over when it doesn’t make me cry / What’s going on behind my eye? / I feel the need to walk outside in the pouring rain / The hurting makes me feel alive,” you really get a feeling for why the hypothetical music supervisor of this nonexistent, Oscar-baiting, career-making film picked “Sad Songs” for the big climax. On this imaginary OST, there’s probably a Blues Traveler song over the credits, but McNeal’s world-weary voice and the emotive heft of his guitar make this track really stick out to you.
Finally, the Fort Worth Police Department put out a diss track this week in response to a recruitment ad purchased by the Dallas police, found on a South Freeway billboard not far from the FWPD’s headquarters. Repurposing Kendrick Lamar’s Grammywinning, Super Bowl-halftime-slaying single “Not Like Us,” Officer Terrence Parker raps about the superior virtues of law enforcement in the 817, and the nicest thing I can say is that his flow is tolerable for about a minute before it starts to remind me of MCs like “Rappin’ Granny” and Jim McMahon in “The Super Bowl Shuffle.” You can watch the video yourself and find plenty of other things to induce second-hand embarrassment, assuming you can get past the weirdness of cops performing in a genre that became even more massively popular after 1988’s “Fuck tha Police,” as well as Kendrick Lamar’s 2015 hit “I.” l
Matthew McNeal recently released the single “Sad Songs” ahead of his new album, High Lonesome, out April 4. Dustin McLaughlin
IAMKRT’s new release is pure, electronic, underground techno.
Art by Richi Taylor
BULLETIN BOARD
ADVERTISE HERE!
Email Stacey@fwweekly.com today!
CATTLE BARN FLEA MARKET
4445 River Oaks Blvd
Saturday & Sunday 9a-5p
All your favorite vendors will be there, including Tino, Nina, Robert, Celia, and Earl! Come by and find some treasures!
EMPLOYMENT
Alcon Research, LLC has openings for Engineer III MS&T Product Steward for the Fort Worth, Texas office. Assist and lead the Lifecycle management of the ITC products; Lead the design and development of manufacturing processes for products, taking into consideration problems inherent in the transfer of technology from research to manufacturing; and Support End of Life (EOL) component changes, from simple resistor changes to major assembly changes to assure continuous uneventful production is maintained. Offering a salary of at least $119,000 - $141,000 per year, depending on experience. Job is 40 hours per week. Please send all resumes to Sylvia Cruz, Alcon Research, LLC, 6201 South Freeway, Fort Worth, TX 76134, Ref. No.MSB0225
EMPLOYMENT
Alcon Research, LLC has openings for Clinical Data Manager for the Fort Worth, Texas office. Provide feedback to assure well-developed databases and data validation setup and execution while making the best use of standards and best practices; and Support the team through database build requirements and complete startup activities for study including: building the eCRF, completion guidelines, standard and simple rules, data validation plan and user acceptance testing (UAT). Less than 5% domestic travel required. Job is 40 hours per week. Please send all resumes to Sylvia Cruz, Alcon Research, LLC, 6201 South Freeway, Fort Worth, TX 76134, Ref. No.MLJS0225
EMPLOYMENT
Alcon Vision, LLC has openings for Digital Solution Architect, ACE Tech - Connected Customer FI for the Fort Worth, Texas office. Responsible for creating and reviewing Application Architecture and providing technical leadership in the evaluation of Digital solutions to satisfy business and technical requirements; Design the overall technical architecture for Digital Heath team with the help of the Product Lead and Enterprise Architect; and Look for better ways of solving technical problems and designing the solution. Domestic and international travel required 5-10% of the time. Job is 40 hours per week. Please send all resumes to Sylvia Cruz, Alcon Vision, LLC, 6201 South Freeway, Fort Worth, TX 76134, Ref. No.AKD0225
EMPLOYMENT
General Motors Financial Company, Inc. has multiple openings in their Ft Worth, TX office: Software Dev Eng I (Ref#22029.127.2). Req. Master’s in CS, Comp Eng, or IT & 1 yr exp. using Java or .NET; Windows/ Linux operating systems; Azure pipeline automation or JavaScript-related frameworks; & SQL/C# or CSS. Software Dev Eng III (Ref#22029.148.2). Req BS in IT, CS, Comp Eng & 5 yrs exp. in Web API, Azure, Jenkins, AngularJS, Asp.Net MVC, Java, C#, Oracle, SQL Server, Selenium, Postman, & Windows. 100% telecom permitted for both jobs. To apply, email resume to recruitment@gmfinancial.com. EOE
EMPLOYMENT
Head Chef sought by Gurkha Bar & Grill in Euless, TX. Must have at least 2 yrs exp in prep’g high-quality authentic Nepalese & Indian cuisine incl Thakali sets & Newari sets using fresh ingredients & traditional Nepalese & Indian cooking techniques, methods, tools, eqpmt & ingredients. Send resumes to: Gurkha Bar & Grill, Attn: HR-13813,1060 North Main St, #118, Euless, TX 76039.
EMPLOYMENT
Structural Technologies LLC has opening in Fort Worth, TX for Sr Project Manager. Can manage generally 3-4 civil construction projects that include extensive posttensioning knowledge and expertise. Mast. or equiv. + 1 yr. exp. + U.S. Driver’s License or equiv. Travel up to 50% to projects across U.S. Send resumes Structural Technologies LLC, Attn: Tammy Goldbeck, 10150 Old Columbia Rd., Columbia, MD 21046. Must ref job title & code: SM-HM.
HISTORIC RIDGLEA THEATER
THE RIDGLEA is three great venues within one historic Fort Worth landmark. RIDGLEA THEATER has been restored to its authentic allure, recovering unique Spanish-Mediterranean elements. It is ideal for large audiences and special events. RIDGLEA ROOM and RIDGLEA LOUNGE have been making some of their own history, as connected adjuncts to RIDGLEA THEATER, or hosting their own smaller shows and gatherings. More at theRidglea.com
How’s Your Ride?
CALL COWTOWN ROVER!
With our handy pick-up and drop-off services, having your car checked out could not be easier. www.CowtownRover.com 3958 Vickery | 817.731.3223
NEED A FRIEND?
Ronnie D. Long Bail Bonds
Immediate Jail Release 24 Hour Service. City, County, State and Federal Bonds. Located Minutes from Courts. 6004 Airport Freeway. 817-834-9894
RonnieDLongBailBonds.com
NEED YOUR GED?
Goodwill Can Help!
We offer three programs geared toward preparing for and earning your GED. A2 Advancement & Achievement offers GED prep and optional paid work experience for Tarrant County residents (ages 25+). E2 Education & Employment offers the same for Tarrant County youth (ages 16-24). L2 Language & Learning offers an intensive English language instruction program provided by ESLcertified teachers (for ages 18+). Explore your options and get started today by calling 817-332-7866 or emailing E2@GoodwillNCT.org.
GoodwillNorthCentralTexas.org/Education
PHYSICAL MEDIA ROCKS!
Looking for Cassettes, CDs, DVDs & Vinyl? Come dig around, we have TONS!
The Published Page Bookstop (10 E Chambers St, Cleburne, 817-349-6366) is open 10am-6pm Wed-Sat and 1pm-6pm Sun. An authentic “Old School” bookstore on the courthouse square of Historic Downtown Cleburne, TX, just 20 minutes south of FW, it’s a true Texas treasure. For more info, visit PublishedPage.com or find us on Facebook (@BiblioTreasures).
PUBLIC NOTICE
The following vehicles have been impounded with fees due to date by Texas Towing Wrecker, 205 S Commercial St, Fort Worth TX 76107, 817-877-0206 (VSF0000964): Fruehauf, 1987, Dolly, $989.85; Fruehauf, 1984, Dolly, $989.85; Fruehauf, 1984, Dolly, $989.85; Great Dane Trailers, 2007, Trailer, $1689.25; Homemade, 20000, Trailer, $606.56; Homemade, 2016, Trailer, $1986.83; Small Boat, 2019, Trailer, $1227.20; Stoughton Trailers, 2013, Trailer, $1689.25; Wabash National Corporation, 2004, Wabash, $1689.25; Wabash National Corporation, 2004, Wabash, $1689.25; Wabash National Corporation, 2005, Wabash, $1689.25; Wabash National Corporation, 2006, Wabash, $1689.25; Wabash National Corporation, 2001, WANC, $1689.25; Wabash National Corporation, 2004, WANC, $1689.25; Wabash National Corporation, 2005, WANC, $1689.25; and Wabash National Corporation, 2006, WANC, $1689.25.
