Lovin' Life after 50 - Tucson - March 2021

March 2021

An ‘Important Voice’ ‘Romerofest’ honors ATC’s Elaine Romero

Stirring the Pot

Grand Hopes

Barbara Grygutis wants public art pieces worldwide

Chef Janos Wilder cooks up new ways to reach foodies ‘Waiting for the World’ Drake Bell is burning to perform again

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Inside This Issue 4

Upfront

5

An ‘Important Voice’

An Advocate for the Arts

6

Sharing Inspirations

Maribel Alvarez is the 2021 Shelley Award honoree

‘Romerofest’ honors ATC’s Elaine Romero Mute Swan put a twist on psychedelic dream pop

Arts 7

Safety in Bubbles

True Concord quarantines to bestow live music to hungry audiences

Food & Wine 12 Breadwinners

9

Grand Hopes

Barbara Grygutis wants public art pieces worldwide

13 Tucson’s City of Gastronomy Designation gives a cultural taste of Southern Arizona

14 Stirring the Pot

Making the most — of toast

Chef Janos Wilder cooks up new ways to reach foodies

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Sports 15 The Wait is Nearly Over

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Music 16 ‘Waiting for the World’

Drake Bell is burning to perform again

Columns

17 Ask the Expert

18 Gabby Gayle

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MARCH 2021 |

3

Upfront

An Advocate for the Arts Maribel Alvarez is the 2021 Shelley Award honoree

BY OLIVIA DOW Every year since 2006, the Shelley Award is presented to someone who has furthered Arizona arts and culture through work that supports public policy that benefits the creative arts.

This year, Tucson anthropologist Maribel Alvarez will be honored with the Shelley Award at the Governor’s Arts Awards on March 26.

“It’s an honor to be receiving an award that is named after Shelley Cohn, who I met in the ’90s and who always impressed me with her incredible vision for inclusivity for all Arizonans in the arts,” Alvarez says.

“To be recognized as someone who advocates for the importance of culture in our public life is an honor. That’s my life work.”

Alvarez is the founder of the Southwest Folklife Alliance, the associate dean at the UA in the College of Social and Behavioral

Sciences and the Jim Griffith chair in public folklore at the Southwest Center.

“When I think of legacy, I only think of relationships of others entering the circle and others shining in the circle,” Alvarez says. “My hope is that every action I do to foster the arts in Arizona, especially in my field, the traditional arts, is an opportunity for someone else to step in to shine and actually benefit.”

Alvarez says the traditional arts are things that people learn through informal transmission, family or occupation.

“They’re attached to the meaning of a group or a community,” she says.

“It’s not the things you go to school to study. It’s not art school in the conventional sense. This is art school because you live it, because this is what you learn from your father, your grandmother or your group of members in your community. From altar making for celebrations to basket making in the Native American in the Tohono

O’odham tradition, you don’t go to school to learn these things. They are traditional.

You learn them by being in touch with the communities that practice these things for whom these things are joyful ways of engaging” Showcasing the traditional arts at Tucson’s Meet Yourself Festival is one of the ways that Alvarez has contributed her time to fostering the traditional arts in Arizona. She began as a festival volunteer in 2005 and took the role as the person in Anthropologist Maribel Alvarez, the 2021 Shelley Award honcharge in 2010. oree, is an arts advocate. (Photo courtesy of Maribel Alvarez) “I think it’s been the highlight of my life and the joy that their recipes and cook their food there.

I experienced when I see others succeed,” “I’ve heard people tell me this is the first Alvarez says. time they feel they are part of this country, For example, she says, immigrants who part of this community, because they were attend the Meet Yourself Festival can share given this space, this democratic space,” Alvarez says. “To me, all I need to know that my work helped make that possible.”

The sense of community is something that Alvarez was looking for when she began studying anthropology and culture.

She got a master’s degree in political science in the ’80s, when she questioned the bigger meaning of politics.

“I came to it first as a member of the community who was seeking a truth or a sense of connection to what felt authentic that was beyond just the politics of things,” Alvarez says.

“I remember sitting in my first job thinking, ‘There’s got to be more to politics than just people tossing around ideas. There’s got to be a place where the meaning of things fit somewhere in people’s real life.’”

This led Alvarez to eventually switch to anthropology and the work that she does for culture and the traditional arts in Arizona.

“I discovered early on that art was the vehicle through that you can accomplish and through which we are talking about important things,” Alvarez says.

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An ‘Important Voice’

“RomeroFest” arizonatheatre.org

‘Romerofest’ honors ATC’s Elaine Romero

BY STEVE CARR Elaine Romero has never had a problem putting words to paper. She’s been making those transfers since she was small child.

“I’ve always written,” she says. “In high school, it was mostly poetry and short stories,” she says. “But her awakening as a playwright happened during her freshman year in college.

“The semester before I took a theater course, I had taken a fiction course. I met with one of my professors and told him, ‘I don’t know what’s wrong with me. I can only think in dialogue.’ He told me to write a play. I wrote my first one at 18.”

She’s never stopped.

Over the course of a 20-plus-year career, most of them as playwright-in-residence at Arizona Theatre Company (ATC), her work, her name and her reputation have reverberated across the international theater community.

That impact will become even clearer during March, when her body of work drives a monthlong celebration dubbed “RomeroFest,” the brainchild of Arizona Theatre Company Artistic Director Sean Daniels.

“In the American theater, we foolishly only do celebrations of a body of work when a playwright dies or moves away. Let’s not wait for either with Elaine,” Daniels says.

“Elaine Romero is an internationally produced and recognized playwright who chose to make Tucson her home. It’s time for us to start celebrating the artists who are here, and how better to do that but by experiencing her work. She is an important voice of our generation — and just a ton of fun. So, who doesn’t want more Elaine around?”

And that she will be www.LovinLife.com

when 16 theater companies in the United States and Mexico present her plays in digital readings, performances and even a film.

“RomeroFest,” presented by ATC and Tucson-based Winding Road Theater Ensemble and The Scoundrel & Scamp Theatre, launched at a March 1 live event hosted by ATC that featured a town halltype panel discussion about Romero’s work and its impact.

Each of the plays presented for free

by ATC can be viewed at arizonatheatre. org and on YouTube, Facebook and Vimeo. Viewers can watch presentations by other theaters, including Childsplay in Tempe, by visiting arizonatheatre.org/ romerofest.

When Sean Daniels first uttered the

word “RomeroFest,” I thought he was joking. I think we all chuckled for a second,” Romero says.

“I never dreamed anyone in the American theater would give such precise attention to my work, especially launched from here in Arizona, where sometimes I have felt particularly anonymous.”

That may change with presentations by theater companies in Phoenix, Tucson, Mexico City, Colorado Springs, New York City, Portland, Raleigh, North Carolina, and South Bend, Indiana.

“I had often dreamed of seeing my plays next to each other — to better understand how they are in conversation with one another but also to better understand each one individually more,” Romero says.

“A playwright is not in a position to say, ‘Hey, I’ve written all these plays. It’s really my life’s work. Pay attention to me.’ A playwright can only keep doing the work and pray that people see the quality of what they have created — that folks have the curiosity to see their plays as part of a larger body of work — that theaters see their commitment to refining the work — that others will be excited about the voice of the writer and the voice of their plays.”

Her connection to and deep love for the theater became clear through her mentors and the discovery of “what it means to write a play and how a play lives and breathes in those three dimensions,” she explains. “I’ve always been attracted to that three-dimensional world where writing could live in a bigger way.”

Daniels will direct two of the plays “Halsted,” presented by ATC on March 10, and “Wetback,” presented by Winding Road Theater Ensemble on March 15.

Among Romero’s most important works are those included in her war pentalogy.

“When I was 5 years old, my uncle was killed in the Vietnam War,” she says of her motivation. “I have written the war plays to understand what happened to my cousins, my extended family, my country, our world, and to him.”

Her play “Barrio Hollywood” was the first in publisher Samuel French’s 175year history to be published in English and Spanish acting editions.

In addition to the plays being presented during “RomeroFest,” each Friday episode of ATC’s livestreaming podcast “Hang & Focus” will feature guests associated with the productions.

Elaine Romero is an internationally produced and recognized playwright who chose to make Tucson her home.

(Photo by Carolyn Rae Maier) MARCH 2021 | 5

Sharing Inspirations Mute Swan put a twist on psychedelic dream pop

BY LAURA LATZKO Tucson band Mute Swan’s music is an homage to the psychedelic dream pop/ shoegaze style of the ’90s. Think My Bloody Valentine, the Cocteau Twins, The Sea and the Cake, Stereolab and Slowdive.

Vocalist Mike Barnett says the band’s sound is defined by its complex rhythms, use of abrupt key changes and unusual chord progressions.

“I think the original idea was to make stuff that is challenging but still listenable,” Barnett says.

Mute Swan was formed in 2013 and now includes Barnett, bassist/singer Prabjit Virdee, guitarist Thom Sloane and drummer Gilbert Flores.

The COVID-19 pandemic has proven to be challenging. To stay relevant and busy, Mute Swan released its first full-length album, “Only Ever,” in February. The ninesong album, available in vinyl and digital formats, follows two EPs, “Feel How It Sees” and “Ultraviolet.”

The “Only Ever” album was recorded at Dry Liver Studios, and a Downtown Tucson studio owned by Frank Bair also mixed the album.

Barnett says the album involved laying the drum and bass foundations, taking the recordings home to add layers, and re-recording guitar sounds and vocals.

“This particular style is tricky balancing everything, because the guitars are so loud,” Barnett says. “To have it balance with the vocals and drums, it’s a delicate process.”

Barnett got creative during this process, setting up cymbals and recording in the kitchen and putting a mic in the bathroom to capture reverb.

Barnett says the new album isn’t a major departure from the sound of its first two EPs, but it is more refined.

“Compared to the first two EPs that we did, I wanted to just let myself be really nitpicky to committing to the vision of each song,” he says.

“It seems like in the first two EPs, we were figuring out what we wanted to sound like. In this one, we figured it out a little bit more, even though what we sound like is a lot of different things.”

The group was inspired by a variety of sources. “Sedative Sun” was written in response to a documentary about the

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opioid crisis in Cape Cod. “Only Ever” comments on American politics’ corrupt leadership, and “Get Out in Light” honors Barnett’s grandmother who died.

The Dakota Access Pipeline protestors and abusive Catholic priests are the topics in “Enough Fun.” “Burnt Almonds” was inspired by a lecture by Alan Watts, who mentioned a man who, after being on anesthesia, thought the universe smelt of burnt almonds.

“Alan Watts’ point was that the meaning of the universe is completely subjective,” Barnett says.

Mute Swan also explores the topics of meditation and nonduality in several songs. The group initially held off the release of the new album because of the COVID-19 pandemic. February was a better time because of an Australian label collaboration.

The label helped to fund the purchase of vinyl record copies in larger quantities, as well as selling and promoting the album.

“The advantage was we were able to get vinyl pressed for cheaper and to disperse the album a lot wider,” Barnett says.

The band has also saved money by self-promoting.

“We were definitely planning on sitting on it,” Barnett says. “It could have been months or years. We didn’t know what was going to happen. Usually, you play a release show. You plan a tour around it. You make a big splash. We couldn’t do any of that stuff, so we were just going to hold off, but it feels like we made the most of it.”

To celebrate the release, Mute Swan held a livestream listening/launch party in February from Catalyst Collaborative Arts and Maker Space. During this event, they played music from their album on turntables.

The livestream had an art-installation vibe, with wall projections and lighting cast on amplifiers.

“The phone that was filming it was on a rotating jewelry display. So, the phone was slowly rotating around so that it would catch all of the amps, and then it would look at the turntables,” Barnett says.

Mute Swan, which recently returned to

Mute Swan

“Only Ever” muteswanmusic.bandcamp.com

Tucson’s Mute Swan is hoping to tour Europe once the pandemic restrictions ease.

(Photo by Christina Romero and Gabriela Molina)

practicing in person, is working on new material.

Although the group members have different backgrounds, they share a common love of music and drive to share their unique sound with audiences.

They have held Zoom and Facebook meetings, during which they created new songs inspired by some of their favorite groups.

“It was just something to do at night when everything was closed and there were no shows,” Barnett says. “We couldn’t really hang out with each other or do band practices. It was also a way to keep the ball rolling. Each stage of the record-making process takes such a long time that if we came out of the pandemic with a whole batch of new material, we’d be ahead of the game.”

Hailing from Massachusetts, Barnett plays the guitar and drums. He got his first guitar at age 10, after his uncle started teaching him. Barnett grew up listening to grunge, punk and metal.

Along with Mute Swan, the musician is part of the ’60s/’70s-inspired folk rock group Forest Fallows.

Born and raised in Phoenix, Virdee started with music at age 17. He joined his first band in 2004 with Sloane after he moved to Tucson. Growing up, he listened to pop music before he discovered underground tunes.

A New Jersey native who grew up in

Phoenix, Sloane has been playing music since age 13. He was inspired by groups with “strange guitar sounds,” such as Radiohead, Deerhunter and the Secret Machines.

As a group, Mute Swan played around Tucson in venues like Club Congress and the Owls Club. Often, however, they would play at unconventional locations.

“It’s cool playing grittier, less official spots,” he says. “It doesn’t seem like anybody really does house shows anymore, but there’s something about the energy of a house show.”

Before the pandemic, the band toured New Mexico, Colorado, the Midwest, New York, New Jersey, Massachusetts, Tennessee and Texas. They’ve also done Arizona/ Southern California and West Coast tours as well as visiting Texas with Phoenix shoegaze pop group Citrus Clouds.

Barnett says the band hopes to try to build a following in and travel to Europe.

He says that bands often get better treatment and make more money there.

“It’s very limited what you can do in the United States, just because of how smaller bands get paid — if they get paid at all,” he says.

“It is shocking to a lot of people that you are doing this tour, and you may or may not get paid at the show that you are going to. It’s more of a promotional campaign. You are doing the tour not as a job as much as putting yourself out there.” www.LovinLife.com

Arts

Safety in Bubbles True Concord quarantines to bestow live music to hungry audiences

BY BRIDGETTE M. REDMAN Being an artist — especially during a pandemic — takes a lot of commitment.

It can place unruly demands on one’s time and break the mold of how things have previously been done.

The result of the sweat, tears and labor can be a wave of effusive, powerful gratitude from audiences who have hungered for live art and its transformative power.

It’s why the singers and musicians of the Grammy-nominated True Concord Voices and Orchestra are willing to spend weeks in quarantine away from their families so that they can once again perform live.

Using the “bubble” model that the NBA and WNBA developed, Concord Voices and Orchestra management spent months consulting with doctors, artists, volunteers, patrons and donors to come up with a similar plan.

Last fall, they flew the artists in, tested them as soon as they arrived and then sent them into quarantine for 10 days.

Halfway through, they were tested again and at the end, if they were symptom free, they knew they were ready to go.

In the fall, following the 10-day quarantine, they put on 22 live outdoor concerts to limited, socially distanced, masked audiences and recorded four more concerts for those who were uncomfortable about or unable to attend the outdoor concerts in Tucson.

This spring, they’re repeating the process, building on that success to finish their 2020-21 season entitled “Her.” They

are scaling it back slightly to relieve pressure on the artists and their voices.

Based on revised CDC recommendations, they’ll quarantine for seven days and then perform 12 concerts and three video recordings (made by Arizona’s award-winning PBS crew) and will only have to be away from home for four weeks instead of five and a half.

“We learned a few things (from the fall concerts),” says Music Director Eric Holtan.

“One is that the world truly does need music and art and beauty in these very challenging times. The affirmation we received from our audiences and also our artists — how powerful it was to be engaged and surrounded by live music making. We are just compelled to do it again in the spring.”

The process received national attention and the National Endowment for the Arts recognized the True Concord Voices and Orchestra in its guide to reopening.

The spring concerts, scheduled for April 5 to May 2, will include: • Corinne Winters Returns • The Trailblazers • Music for the Royal She • The Goddess: Camina Burana!

All these concerts had been planned months before the pandemic. The organization framed its season around women as part of the celebration of the centennial of the passage of women’s suffrage.

“The theme for the season is really celebrating the indelible impact of women on the world,” Holtan says.

True Concord Voices and Orchestra rehearse “Brahms Requiem.” (Photos courtesy of True Concord Voices and Orchestra)

Back by popular demand The spring series opens with the return of Corinne Winters, one of the opera world’s rising stars. The soprano has sung major roles with opera houses worldwide.

She performed with True Concord Voices in 2019 as her recital debut and audiences wanted her back.

She’ll perform a solo recital with her pianist, allowing her to have different quarantine protocols than the others.

“Her solo recital celebrates the legacy of women,” Holtan says. “That’s how we start the spring part of the season.”

Her recital, titled “A Woman’s Legacy,” is divided into four parts: Lover, Artist, Muse and Patroness. She’ll perform classical works including an excerpt from Aaron Copland’s “Twelve Poems of Emily Dickinson” and pieces by Strauss, Debussy and Tchaikovsky.

Breaking new ground “The Trailblazers” concert focuses on works written by female composers or based on text by female poets. It will primarily be performed by choir and the chamber orchestra. The artists for that concert will be in quarantine when Winters is performing.

They will perform the works of game changers and rule breakers in three concerts. One will be in Green Valley and the other two will be in Tucson with dates and exact locations yet to be announced.

Recognizing royalty The third concert in the series — which will have two performance dates, both in Tucson — is “Music for the Royal She,” featuring work by Joseph Haydn and George Frideric Handel paying tribute to two royal women, the Empress Maria Theresa and Queen Caroline.

It will include the choir, soloists and the orchestra.

True Concord Voices and Orchestra wrapped up the “bubble” season with “Handel’s Messiah.” www.LovinLife.com

The Haydn piece is “Theresienmesse for the Empress Maria Therese.” Maria Therese was the last Holy Roman Empress and the first Empress of Austria.

Maria Therese was an important patron of Viennese music. A musician as well as royal, she was a soprano and gave private court performances as a soloist performing Haydn’s “The Creation” and “The Seasons.”

The Handel number is “Te Deum for Queen Caroline.” It was written when Caroline was still the Princess of Wales. She traveled overseas and arrived in Britain in September 1714. Haydn wrote the “Te Deum” to celebrate her safe arrival. Caroline’s father-in-law, King George I, liked it so much that he doubled Handel’s salary from 200 pounds a year to 400 pounds a year for life.

Worshipping the divine The concert’s final concert is the authorized Carl Orff Carmina Burana for choir, two pianists, percussion and soloists.

They’ll have 18 voices singing four performances of the work based on a collection of 13th century poems.

“The poems amount to an uninhibited celebration of the pleasures of life, bed, bawdiness and particularly, love,” according to the True Concord website.

Orff selected and organized 24 of the poems into a libretto of Latin, Middle High German and Old French. The chamber arrangement that True Concord will perform was arranged by Orff’s disciple Wilhelm Killmayer and allows for smaller ensembles to undertake what was originally written for a large orchestra.

Celebrating with music While the schedule is intense and the demands of being away from home are great, the artists are grateful they can perform when others cannot.

“We’re in the business of making music True Concord...continues on page 8 MARCH 2021 |

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True Concord...continued from page 7

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and art because we believe that art, and particularly music, has the capacity to touch the human spirit and elevate the spirit and make the world more beautiful even for a fleeting moment,” Holtan says.

“Music is the universal language that transcends differences. It is the language we can all relate to and has the power to bring people together.”

Bringing people together, Holtan says, is especially important when people have spent nearly a year isolated.

“Music is a balm, a healing agent,” Holtan says. “It has the power to heal and the power to bring people together and people are hungry for that.”

Every step of the way for the True Concord Voices and Orchestra has been informed by medical advice, including from an infectious disease specialist at the Mayo Clinic. They have adopted protocols to ensure everyone stays safe and healthy.

“We had crackerjack medical advice and tremendous access to a great body of knowledge and expertise in this area,” Holtan says.

“Every aspect of what we did in the fall and will do in the spring is guided by this expertise.”

Another thing they learned was to not just look after physical health, but mental health as well. Audiences and artists need reassurance that together, they will get through this pandemic, be safe and rely on each other. If someone breaks the protocols, he says, the whole thing collapses.

Everyone has to do their part and follow the rules.

“For those who are concerned, I just want them to know that it is safe,” Holtan says. “Having all those concerts in the fall, we can say with great assurance that we’re doing it right, we’re doing it safely.

People should feel comfortable coming out to these concerts knowing everyone is expected to follow the rules, wear their masks, be socially distant. We’re really doing a lot of steps to ensure that everyone can and will be safe at these events.”

MORE INFO

What: Spring season of “Her,” a series of four concerts performed by True Concord Voices and Orchestra When: April 5 to May 2, exact dates and times TBD Where: Tucson and Green Valley Info: Trueconcord.org

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Grand Hopes Barbara Grygutis wants public art pieces worldwide

Barbara Grygutis is a Tucsonbased large-scale 3D artist. Her “Conversation” lights up Dublin, California. (Photos courtesy Barbara Grygutis)

BY SUSIE TIMM Tucson-based large-scale 3D artist Barbara Grygutis believes that, particularly in today’s COVID-19 world, public art can be a way to people to experience culture and joy in a safe environment — outdoors.

With a multitude of public art pieces on display in locations around the United States and even as far as Venice, Italy, Grygutis’ projects often have themes of connectivity, empowerment, education, healing, nature and humankind — all things that the world could use more of right now.

“Public art is a way to educate, inspire, connect and share — and I hope that people take the opportunity now to go seek it out in their own cities and towns,” Grygutis says.

“I’ve always used art to express important messages and to help bring people together. I’m grateful that my art aligns with, and serves to represent, powerful experiences, messages and events around the country and throughout history.”

For example, Grygutis’ “Dialogue” sculpture resides at the University of Minnesota Health Sciences Learning Center, representing and highlighting important human interactions necessary for public health, including the ability to listen and the ability to dialogue.

The piece, featuring two monumental 20-feet-high aluminum sculptures with

integrated lighting, is highly visible as part of the University’s Health Sciences Education Center and serves as an addition to the campus’ robust public art collection.

The shape of each sculpture is a generalized human head that neither conveys gender nor race — simply humanity.

The sculptures are each unique — one is more transparent while the other is less transparent but more complex in its system of transparency.

In the summer of last year, the dedica-

Barbara Grygutis’ “Stand” is the first public sculpture to honor historic women in Downtown Lexington, Kentucky. www.LovinLife.com

tion of another largescale public art piece

by Grygutis was part of a celebration in Lexington, Kentucky, that served as a commemoration of the women suffragists who fought for the right to vote, and the 100-year anniversary of the passage of the 19th amendment.

Grygutis was commissioned by Breaking the Bronze Ceiling for the massive sculpture that is exhibited in Downtown Lexington and is aptly titled “Stand.” She says the piece was designed to capture the courage, willpower and tenacity of a group of women that forever changed society for the better and the contribution made by the women of Lexington and Fayette County to this monumental achievement.

“Stand” is a 20-foot-high, 30-foot-wide aluminum sculpture with integrated lighting that encompasses five silhouetted sculptures intended to serve as a reminder of the historic significance of the women who pushed for suffrage, the achievement of the 19th amendment, and the continuing fight for women’s rights, representation and equality.

“Stand” is the first public sculpture to honor historic women in Lexington.

The artist’s works have even caught the attention of the European art community.

Grygutis created “Portal,” an aluminum piece with integrated lighting specifically for an exhibition at the European Cultural Center space Giardini della Marinaressa in Venice, Italy. Melding art and architectural elements on a human scale, “Portal” was on display through February 16 as part of the Open Space exhibition.

Grygutis’ home state of Arizona is

graced with the artist’s works as well.

Phoenix Light Rail riders can enjoy Grygutis’ “Creosote Lace,” which brings art, light, shade and the concept of healing through the natural world to the new 50th Street Station in Phoenix.

The project features 11 steel pieces, each 11 feet high, with integrated light.

Creosote, the native plant living in the Southwest for more than 17,000 years, served as Grygutis’ inspiration for the project, which was fabricated with steel, laser cut with the creosote pattern, and then painted with a silver finish designed to evoke the shimmering light of the desert. She considers this work a tribute to the creosote bush — and to the healing powers that thrive within the Sonoran Desert.

A second piece that Grygutis recently created, titled “A Path for Water,” brings beauty and light to a neighborhood pocket park in Phoenix. The stainless steel project with integrated lighting stands 25 feet high and symbolizes the complex relationship between nature, humankind and the desert’s most precious resource — water — through a massive conical shape with a cutout pattern representing the shadow patterns of native plant life.

Grygutis has a decades-long career in art that began with clay and ceramics and then evolved into large-scale 3D works that are featured in environmental and public spaces around the world.

With each piece, Grygutis works to create pieces that are at the same time relevant to the area and also universal in their messaging. Now more than ever, she feels public art can help connect people during these isolating times. Public art can be enjoyed by everyone, anytime, whether simply driving by in the car while on the way to work or taking a walk to enjoy art intwined with nature.

MARCH 2021 |

9

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MARCH 2021 |

11

Food & Wine

The New Yorker ($10) is French toast coated in house graham cracker crumble and cheesecake filling and topped with strawberries and fresh mint. (Photos by Jonathan Revies)

Breadwinners Making the most — of toast

BY VALERIE VINYARD When the loaded breakfast tots arrived at our table, we were sold on Toast 101.

The starter was a mini mountain of pillowy yet crunchy tater tots smothered with shredded chicken carnitas, scrambled eggs, pieces of bacon, peppers and cheese.

Its $6 cost flirts with being criminally underpriced, not that we’re complaining.

Owner Amanda Kim has worked in the restaurant business for almost half of her 29 years. Her parents own Azian, a Korean restaurant on Alvernon Way just north of Broadway Boulevard. And for about two years, they owned 7 Ounce, a Korean steakhouse that closed in July and occupied Toast 101’s Speedway Boulevard location.

To sharpen her skills, Kim took business classes at Eller at University of Arizona but opted against an MBA. “I wanted to further my education about running a business, but I feel like I was learning by doing more hands on,” she says. “My parents taught me from the bottom up.”

Toast 101 opened February 1 with a brighter, more open look. There are new paint colors and wallpaper, and there’s a combination of seating that includes booths, tables, high top and barstools. There’s also an airy, foliage-filled outdoor patio right inside.

“It’s a trendy breakfast place and brunch restaurant,” Kim says. “We wanted to have a fun atmosphere.”

She says the music that plays throughout the restaurant includes hip-hop, rock and pop.

“We wanted to be different from other breakfast restaurants,” Kim says. “We wanted to incorporate more gourmet options.”

And that they do. The restaurant features a variety of toasts, sandwiches, burgers, waffles, French toast, quesadillas and doughnuts.

Although the bread is not baked in house, Toast 101 features freshly made options that include wheat, white, rye, sourdough, gluten free and brioche.

The restaurant offers local Yellow Brick Avocado Sunrise ($9) comes with two slices of toast spread with cream cheese along with a poached egg, three slices of bacon, roasted tomatoes and avocado.

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| MARCH 2021

coffee and even has its own Toast Roast brand. Kim is a fan of nitro cold brew coffee ($3), which comes from a keg.

“It’s really good,” she says. “A lot of people order it and love it. It tastes like a really fancy cold brew coffee.”

Five French toast options ($8 to $10) include The New Yorker ($10), one of the restaurant’s most popular. The New Yorker came coated in graham cracker crumbles and was stuffed with a delectable cheesecake filling. Sliced strawberries and fresh mint topped the dish. It was a filling, sweet dish.

Under “Toasted Options,” one of the six varieties included Avocado Sunrise ($9), a hearty option that could be avocado toast’s big brother. Two thick-cut slices of toasted bread came slathered with cream cheese and avocado. Microgreens and roasted tomatoes were piled on top, along with three slices of apple-smoke pecan bacon and a poached egg — on each slice. One slice was enough for a meal; two slices seemed like a dare.

Under waffles and pancakes, there’s a classic bubble waffle ($7) with whipped cream and powdered sugar. Meat lovers might opt for chicken and waffles ($9), which is a choice of Belgium or bubble waffle with fried chicken strips and maple butter.

Other categories include “Back to the Basics” ($9-$13), which include corned beef hash ($11) and Breakfast for Champs ($13), which is three eggs prepared in any style, a choice of any four meats, hash browns and fresh fruit.

Lunch features a variety of sandwiches

($9 to $14), including a brisket burger ($12), which is a brioche bun that envelops a seasoned brisket beef patty that comes with lettuce, tomatoes, pickles, cheddar cheese and sriracha ketchup. Tater tots also come with the sandwiches.

Breakfast boards ($20) are veritable feasts, and a $6 kids menu will satisfy even picky youngsters.

The Hangover ($10) is a popular house hash skillet that comes with seasoned potatoes, chorizo, scrambled eggs, pico de gallo, sour cream and is topped with crispy tortilla strips and a roasted whole jalapeno. Any skillets can be transformed into an omelet for $2 more.

While eating The Hangover, diners have an opportunity to perhaps create one with access to a full bar. Drinks include cocktails ($3.99 to $8.99), bottled beer ($3.50) and mimosas ($5.99), which are made with house sparkling wine and a choice of seven flavors. A mimosa or bloody mary flight of four ($19.99) offers an opportunity to try a variety of flavors.

Kim wants to keep the menu to breakfast and lunch, but she can envision a karaoke night or club-like atmosphere in the future.

For now, though, Kim says she’ll focus on feeding the hungry hordes of breakfast lovers who have embraced the concept.

Toast 101

4699 E. Speedway Boulevard 7 a.m. to 3 p.m. daily toast101.com

www.LovinLife.com

Tucson’s City of Gastronomy Designation gives a cultural taste of Southern Arizona

BY CLAIRE SPINNER While Arizona is filled with rich culture and unique cuisine, there is no culinary destination quite like Tucson. It can once again boast that it is one of only two Cities of Gastronomy in the United States.

This designation was given to Tucson in 2015, when the United Nations Educational, Scientific and Cultural Organization (UNESCO) deemed it a part of its Creative Cities Network.

Tucson City of Gastronomy (TCoG), the nonprofit created to support the UNESCO designation, is recognizing the 23 local restaurants that were certified by it in 2020. This year, it is certifying another 25 as well as food and beverage artisans.

“To be given the title of City of Gastronomy means there is something extremely unique about your food and the culture behind it,” says Janos Wilder, TCoG president.

He says the City of Gastronomy is essentially the nexus between food and culture in Tucson. To be recognized as a City of Gastronomy by UNESCO, this intersection must create distinctive food experiences.

According to Wilder, Tucson’s early history played a role in earning the designation.

Tucson’s agricultural history is considered to be the oldest in North America, dating back more than 4,000 years. The story begins with Santa Cruz River, where early Tucsonans used riverbanks to grow and cultivate crops. To date, the Santa Cruz River is considered to be the longest continuously cultivated region in the country.

“There’s been culture here for thousands of years,” Wilder says. “Food has always been a part of Tucson’s history.”

The City of Gastronomy designation has also been instrumental in driving tourism to the city. Despite being the second-largest city in the state, Tucson often goes overlooked by tourists, who are more likely to spend time north of the city.

“It’s been huge for Tucson,” says Jonathan Mabry, TCoG executive director. “It has really put Tucson on the map for a lot of people who would never think about coming here.”

After receiving the title of a City of Gastronomy in 2015, the Tucson City of Gastronomy Board was formed in 2016 with www.LovinLife.com

a mission to grow a rich, sustainable and locally driven desert community of food.

According to Mabry, the Tucson City of Gastronomy program highlights the cultural leaders within Southern Arizona.

“The goals of the program are to recognize locally owned food businesses that are leaders in our culinary industry by the way that they support the local food economy, the way they give back to the community, and the ways in which they use responsible business practices,” Mabry says.

To become certified by the TCoG, locally owned restaurants and artisans must submit an application to the board.

They must show they are a melting pot of TCoG’s values, whether it is supporting locally grown ingredients or the way they treat their employees.

Of all 36 Cities of Gastronomy around the world, Tucson is the only one that uses a certification program for restaurants, making it easy for visitors and residents to identify the best representations of local flavors.

John Martinez, owner and chef of Tito & Pep, a neighborhood bistro, says he is proud of his restaurant’s City of Gastronomy designation.

Martinez opened Tito & Pep in November 2018 to create food for Tucsonans by Tucsonans. Martinez is a third-generation Tucsonan and uses his roots to cultivate an experience that uses traditional and modern interpretations of the city’s cuisine.

“I really wanted to have food that was reflective and palatable to those who enjoy those culinary traditions that we have here in Tucson. That’s what we do and what our focus is,” Martinez says.

Martinez says he believes his restaurant stands out because of its inspiration and preparation. Tito & Pep uses a traditional wood-fired mesquite grill.

“We want to create Tucsonan food, not just Mexican food,” Martinez says.

Tucson’s restaurant community has continued to show resilience throughout the pandemic. Certified restaurants have acted as grocery stores with the local government’s permission, while others sold to-go food and drinks. The TCoG board will continue to support its restaurant culture as the pandemic continues to dictate the way businesses can operate.

Tito & Pep’s owner John Martinez hopes to keep his restaurant open seven days a week, instead of Wednesday to Sunday.

(Photo courtesy of John Martinez)

“In the time of COVID, it becomes important for us to be able to be an asset to not only our certified restaurants but for the entire restaurant community, by being a clearinghouse for information for restaurants and suppliers and growers, to advocate for restaurants in ways that are important to them,” Wilder says.

Martinez says, without a doubt, Tucson’s restaurant community will continue to step up to the plate despite challenges.

He plans to keep Tito & Pep open seven days a week, instead of Wednesday to

Sunday. He hopes the designation will continue to inspire people to try a taste of Tucson.

“I am just excited to be able to share my corner of the globe with people across the country, and any recognition we can generate for our great city will be extremely valuable now and down the road,” he says.

Tucson City of Gastronomy tucson.cityofgastronomy.org

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Stirring the Pot Chef Janos Wilder cooks up new ways to reach foodies

BY VALERIE VINYARD Janos Wilder is back in the kitchen — and he’s loving it.

The James Beard Award-winning executive chef has started a new venture where he showcases his mastery in the kitchen through a series of videos called “Janos Cooks.”

The recordings are a must view for aspiring cooks or foodies who want to learn how ingredients work together. Each video features tips and tricks on improving and enhancing meals.

“All of these people who have been cooking for nine or 10 months,” Wilder says. “Let’s give people a whole new repertoire of dishes so you can cook for your families, so you can learn how to cook like I cook.”

Wilder pointed out the ingredients to most of his recipes cost less than $20 for a family of four.

Each video begins with a cocktail recipe. In one video, Wilder starts out creating a pink lemonade for adults. After pouring the concoction into a rock glass, he takes a sip.

“That’s delicious,” he says, closing his eyes and slowly shaking his head in delight.

During a recent interview, Wilder says he borrowed many of the recipes from his restaurants.

“Every one of those dishes I personally love,” says Wilder, who pioneered the farm-to-table movement in Tucson. “I really want to work in the realm of the flavors of Tucson.”

Wilder’s recordings are fun and informative. He tells stories about ingredients and recipes and explains how to create better flavors in dishes. They will make people wonder how they ever will be able to follow a recipe in the future without Wilder’s assistance.

Each video comes with the complete recipes, an equipment list and a shopping list.

While Wilder provides tips along the way, viewers can see the color changes that signal when food is cooked perfectly, the time it takes to do things, and emulate the consistency of the recipe that you won’t find in the written instructions.

Tips like don’t put the lid on the blender when pureeing hot soup or the lid

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| MARCH 2021

could pop off because of the steam and make a mess.

Or when Wilder recommends that you “season aggressively” when creating the lamb burgers, you can witness how he vigorously grinds the pepper mill onto the meat.

Wilder shot the videos at Carriage House’s impressive-looking kitchen that seems to have every possible cooking implement. He opened Carriage House, 125 S. Arizona Avenue, as a catering kitchen in January 2016 and still does catering for 25- to 30-person events.

He also owned Downtown Kitchen and Cocktails at 135 S. Sixth Avenue but had temporarily closed the restaurant when the pandemic arrived. Unfortunately, the building was sold in October, so Wilder just has Carriage House.

The longtime restaurateur first opened Janos in 1983 on the grounds of the Tucson Museum of Art. He later moved his acclaimed Southwestern-st yle restaurant to the grounds of the Westin La Paloma and added a more casual restaurant called J Bar. If you buy Wilder’s videos individually, each will cost $12.50. It’s more economical to buy packs of three for $35; five for $55; or all 10 for $100. Each video includes one freebie module of basic skills, which cover topics such as how to chop garlic, how to peel garlic, how to cut an onion and how to sharpen a knife.

Making the videos are second nature.

“I could get up in front of an audience and cook forever,” he says. “It’s me; it’s very authentic. I’m not trying to be something I’m not.

“I’m talking to you.”

Wilder’s other venture began before Valentine’s Day weekend, when he debuted Vamos Janos.

Vamos Janos is a weekly changing menu that offers a $35 three-course meal and includes one of two salads, one of three entrees and dessert. Entrees can be ordered a la cart.

The Valentine’s menu included a “won-

Janos Wilder regularly cooks meals for the 40 residents at the men’s shelter for Primavera Foundation.

(Photos courtesy of Janos Wilder)

derful Arizona-raised New York strip with bordelaise sauce, served with horseradish mashed potatoes, trumpet mushrooms and honey minted carrots. There also was a pan-roasted salmon topped with lump crab lime butter sauce on creamy polenta with roasted broccoli with lemon and garlic. And for vegetarians, Wilder cooked a Szechwan eggplant dish with baby bok choy and mushrooms.

“I’m loving this,” he says. “I’m cooking every morsel of food that comes out of here.”

Wilder culls the recipes from his Downtown Kitchen menus. He prepares a different menu each week.

“This is real-deal food,” he says. “We’re keeping the prices reasonable. I’m putting everything I learned into every dish I make.”

Customers must order online at carriagehouse.com by midnight Wednes-

day each week for pickup from 4 to 6:30 p.m. Friday or Saturday.

The dishes come cold with complete reheating instructions and in microwave-safe dishes.

Each menu is posted well in advance — the Thursday before, or eight days before the Friday pickup day. Customers must order and pay on the website.

In between basting ribs and putting them back in the oven, Wilder also talked his philanthropy work. He regularly cooks meals for the 40 residents at the men’s shelter for Primavera Foundation. The meals are funded by crowdsourcing at carriagehouse.com. Depending on funding, Wilder will cook meals up to five days a week.

Wilder’s new concepts appeared to have imbued him with energy.

On his first Vamos Janos weekend, he cooked takeout dishes for hundreds of people. Alone.

The 67-year-old still has it.

“I was so proud to have done that,” he says. “I still have the chops to do it.”

Order the “Janos Cooks” videos at janoscooks.com.

Order takeout meals from Carriage House at carriagehouse.com. www.LovinLife.com

Sports

The Wait is Nearly Over Tucson Sugar Skulls are ready for IFL season The Tucson Sugar Skulls had good reason to be excited following their inaugural Indoor Football League Season in 2019. They finished well enough to make a playoff appearance, almost upset the eventual championship-winning Sioux Falls Storm in the first round, and hired two-time IFL Coach of the Year Dixie Wooten to serve as head coach and general manager.

Then the COVID-19 pandemic happened, effectively halting that momentum.

“When we first heard the news, it was very disappointing,” says Wooten. “We had a great camp. ...I feel like we had a team to win a championship.”

With the 2021 season soon approaching, Wooten still holds firm to this belief.

He hopes to find that success with a philosophy based on physicality.

“We’re going to be tough,” he says.

“We like to run the football, and we like to stop the run. So, we’re going to come down the field, hit people, and make sure we set the tone early. We want teams, when they play us, to know that we’re going to be a physical team. But we’re also going to have a high IQ. You’re not going to see all these penalties. You’re not going to see personal fouls. We’re going to be a hard-nosed football team, but we’re going to be one of the smartest as well.”

Sugar Skulls owner Cathy Guy is counting on Wooten to be the right man to he

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take the team to the next level, and her actions support it. Although Wooten did not coach a single game in 2020, Guy made the decision to extend him through 2022 as head coach and general manager of the team last September.

“Dixie has a history of being a successful coach,” Guy says. “Wherever he’s been, he’s won. He’s averaging about 13 wins a season. He’s already won a championship. We did get an opportunity to work with him even though we didn’t have any on-field games. He structured a team. So, there was really no reason not to extend.”

Guy is counting on fan attendance.

The IFL owners came together in recent weeks and rescheduled the 2021 season based on the current outlook.

“It’s really depending on how COVID has affected that city or state,” Guy says.

“The local authorities have different rules on what they can do. Some places are more relaxed or their infection rates are lower, so they’re already allowing in-person events to happen. So, the whole thought behind that was, ‘Let’s structure the schedule so that each market can benefit from what is happening locally.’

Our first home game is not until June. So, that gives us another three months to see where our state and the local market are going with vaccines and that kind of thing.”

Guy does not know how many fans will be allowed in the arena, or the specific guidelines. However, the organization

No landline? No problem! www.LovinLife.com

opener at the Tucson Convention Center on June 5 against Wooten’s former team, the Iowa Barnstormers.

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The Sugar Skulls’ first game is scheduled for May 21, when they’ll tentatively travel north to Green Bay to play the Blizzard. They’re slated to play their home

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The Tucson Sugar Skulls’ first game is scheduled for May 21. (Submitted photo)

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Music

‘Waiting for the World’ Drake Bell is burning to perform again

BY ANNIKA TOMLIN

… and all this stuff.”

The memes quickly went viral, with Bell posting his favorites on his social media pages.

“It was a viral thing for a second,” he says. “It was really funny, but then the United States picked it up. It’s like, ‘Oh, my God, he changed his name, he moved to Mexico, he’s doing this, he’s doing that,’” Bell recalls.

“My fans and I were like, ‘What?’ It was just something fun that I was doing with my fans and then it just caught on and took off.”

Drake Bell released two albums

The COVID-19 pandemic in 2020: “The Lost Album” caused musicians around the and “Sesiones en Casa.”

(Photo courtesy of Drake Bell) world to cancel their tours and park the tour bus at home.

Drake Bell was one of them, but he used the time to create music in the new albums “The Lost Album” and “Sesiones en Casa.”

“It’s just a bummer because I played like five concerts in 2020, maybe more than that,” Bell says via Zoom. “But still, going from hundreds of shows to like 10 the whole year was crazy.”

Bell will return to the stage, though, at 3 p.m. Saturday, March 13, at the Park Place Mall Drive-In Venue in Tucson.

“I play off of all the records,” he says about his live shows.

“Obviously, I do the theme song (for ‘Drake and Josh’). I do ‘Found a Way,’ a couple of the other songs from shows that were also on my record and then some of in Florida and it was pretty empty.” the new stuff. It’s all mixed.”

One of the few shows he played last New music during pandemic year was a socially distanced concert in Prior to the start of COVID-19, Bell finOctober at a Florida college, which, ac- ished and released his first album for cording to Bell, was “really cool and very 2020, “The Lost Album,” which features different.” previously unfinished songs.

“It was really strange (because) that was “It was really nostalgic to go back and the longest time that I had gone without hear these songs and do it right from 10 performing,” Bell says. years ago,” Bell says. “(‘The Lost Album’) “I got on stage and was like, ‘Do I even came out in February and then COVID hit. know how to do this? What am I doing?

“I put out a song called ‘Diosa’ in July, Shoot.’ Usually, it’s like I play this set ev- and that did pretty well, and then I put ery night for the past six weeks, so it was out a song called ‘Waiting for the World,’ like, ‘Wait a minute, probably should have which is basically my quarantine song.” rehearsed.’ It went great, but that is the When asked about his second 2020-reonly show since lockdown.” leased album “Sesiones en Casa,” Bell Bell did a socially distanced meet and says, “I forgot I released that last year, too. greet after the show, which was also I released a lot of music that year — wow.” strange, but he needed to connect with “Sesiones en Casa” was Bell’s first prifans. marily Spanish album. It featured “Diosa” “Everyone knocks Florida, but I felt and his 2018 song “Fuego Lento” incredibly safe,” Bell says about the 12 hours he spent there for his concert.

Drake Campana “When I got to LAX, it was packed; Bell grew up in Southern California, there were people everywhere, masks close to Mexico, where he and his family down over their chins; and then I arrived visited regularly.

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| MARCH 2021

Quarantine and the future

“Living in Orange County, where I grew up, it’s very hot rod culture and just very Hispanic,” Bell says.

“I was spending a lot of time there (in Mexico) and even thinking about moving down there and just fell in love with it. I would do songs in Spanish live, but they would be covers. Then, back in 2018, I was like, ‘I have to write my own song in Spanish that is original.’ I wrote ‘Fuego Lento,’ put that out, and just everyone flipped.”

Within the last two years, Bell also started sharing messages on social media in Spanish.

“The majority of my fan base is Latin America, and so I was like I don’t even need to tweet in English anymore,” he says. “If I tweet in English, there will be more people hitting translate than if I wrote in Spanish.”

Bell switched his social media handle from “Drake Bell” to “Drake Campana,” which means “bell” in Spanish.

“It was just something funny that I was doing with my fans, and they just thought it was hilarious,” Bell says. “They started making tons of memes, like my passport

During quarantine Bell spent “a lot more time playing” and creating music.

“I’ve been able to have a lot more time to sit down at the piano, so I would say a lot more practicing,” Bell says about improving his piano skills.

“As far as songwriting, it’s not really any different. I just have more time to be creative and be home and write and do stuff.

“It’s sometimes hard to get motivated, but the time has helped. I’m not on the road. I’m not in an airplane. I’m not in a hotel or car. I’m sitting at home at the piano,” he adds, playing a few notes on the piano.

Bell hopes he can perform more in 2021. He’s always writing new music and wants to get the songs out there.

“I just want us all to get out there safely and back to normal life,” he says. “Playing live music was great, but not being able to do it is not great.”

MORE INFO

What: Drake Bell Live When: 3 p.m. Saturday, March 13 Where: Park Place Mall, 5870 E. Broadway Boulevard, Tucson Cost: $55 to $60 per car Info: bit.ly/3px31rr www.LovinLife.com

Columns

Ask the Expert

3 reasons why you need a primary care provider

BY TUCSON MEDICAL CENTER Healthy individuals may wonder why it’s so important to have a primary care provider.

In short, regularly seeing a primary care provider can help them stay healthy.

This is the person who individuals will see for annual checkups and any health concerns.

“Having a primary care provider is so important to identify risks, promote healthy lifestyle and to prevent future health issues,” says Eva Sietsema, a family nurse practitioner at TMCOne Rincon.

Need more convincing? Here are three important reasons why everyone needs a

primary care provider.

Your care provider knows you Having a meaningful relationship with a provider helps patients have care tailored to them.

Regular visits allow the care provider to get to know individuals and the intricacies of their health and wellness. These visits will also help them feel more comfortable asking questions and discussing their health. These visits build on a health history. The primary care provider must have knowledge of individuals’ health history because it’s important for the

prevention of diseases and helps doctors catch early symptoms and serious conditions.

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Primary care providers will screen individuals for major health-related conditions, creating a baseline for tracking health over time.

Providers, knowing the patient’s health history, will notice changes early, allowing for treatment before conditions become serious.

Help manage existing health conditions

With 18 convenient locations across Tucson, TMCOne is your one stop for primary, specialty and urgent care. TMCOne provides quick access to care that is convenient and compassionate.

As a TMC HealthCare affiliate, TMCOne patients have access to inpatient services at Tucson Medical Center and a whole network of like-minded health care professionals. Visit tmcone.com to find a provider for your health care needs.

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Catch health problems before they become serious

Providers may help individuals with chronic conditions, such as diabetes, arthritis or high blood pressure, manage it and improve their quality of life.

Providers will do routine tests to stay current on an individual’s condition and to stay on track when it comes to medications and needed lifestyle changes.

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17

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| MARCH 2021

Ask Gabby Gayle

COVID-19 no ‘myth’

BY GAYLE LAGMAN-CRESWICK Dear Readers: I received a very long letter from a gentleman with the initial M, who stated he could not wear a mask due to lung damage and breath insufficiency. He further stated that he carries a card from his cardiologist and pulmonologist stating that he cannot wear a mask. He claims that he has been refused service at numerous private businesses because he cannot wear a mask. He states that he disagrees with the mayor’s office that they cannot tell a private business what to do. He further states that he believes the CDC has debunked the theory that masks protect the wearer and others. He believes he is not being let inside these places because of his disability. He states he will not buy anything online because he was hacked, and he does not let anyone else pick out his food. He also mentioned that he had been assaulted several times for refusing to wear a mask.

Dear Mr. M: I read your letter at least six times. I also asked my son who is a doctor to read it. There was a lot of detail in your letter that space does not allow me to repeat in full. After studying your situation, I disagree with your statement that the CDC has debunked the theory that masks are necessary. In fact, some specialists are recommending two masks to protect from the new variant of viruses that are so easily spread!

The one thing that jumps out to me is this: Here is a man that has damaged lungs, who must not catch this horrible virus, and he is wanting to go into places where he will be exposed to it, and he is not wearing a mask. I am worried for your health. I am old, I am immunocompromised like you, and because I do not want the virus, I do not go into grocery stores, I do not go into anyplace I do not have to go. I order everything online or drive through service. I always wear a mask. I wash my hands. I do not even get to enjoy my family because they do not want to expose me. Mr. M. please think of your health. You do not want this virus. I have lost three friends to this virus. It is real.

With your health problems, you need to be extra careful. Give a little. Order online.

When it is over you will be alive and can have your freedom back. I wish you well.

Signed, GG Gabby Gayle: Recently you Q Dear had a letter from a reader who was ready to move into an assisted living place and her husband was dragging his feet. Part of your advice was to tell him you were going to move without him, which was good advice. I want to tell you that I went a step further and signed us both up for a good place and told him the date we would be moving. He was mad at me for a day then accepted it. We have lived here for six weeks, and he has not only accepted it, but he met an old friend here and he seems to be enjoying it. Sometimes one spouse or the other needs to make a firm stand!

Signed, MB MB: Thanks for writing. I A Dear agree. Change comes hard to most of us, and sometimes we do need someone to give us a whack on the side of the head (figuratively)!

Signed, GG Gabby Gayle: I am engaged Q Dear to a wonderful guy and I have agreed to move into his home, which is much larger than my condo. While planning to move in with him I see he is reluctant to change his decor/arrangements to accommodate my things. The whole thing has me wondering if this is a sign of disagreements to come. What do you think?

Signed, Wondering Wondering: I do believe A Dear this could be a sign of trouble to come! Maybe you two are one of those couples who marry and each stays put in their own place, but they visit each other.

Smile! Iron it out now before you marry!

Signed, GG If you have questions for Gabby Gayle, please send them to Ask Gabby Gayle at lagmancreswick@gmail.com.

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