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240 • NOV 2015<br />
CAMILL E<br />
SLEDGE<br />
LALO COTA • BILL DAMBROVA • FRIDA KAHLO PHOTOGRAPHY • GIANFRANCO FERRÉ
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CONTENTS<br />
8<br />
12<br />
22<br />
32<br />
34<br />
FEATURES<br />
LALO COTA<br />
From Folklore to Phoenix<br />
By Rhett Baruch<br />
CAMILLE SLEDGE<br />
Soul PAOwer<br />
By Demetrius Burns<br />
Cover:<br />
Camille Sledge<br />
Photo by: Enrique Garcia<br />
8 12 22<br />
34<br />
THE WHITE SHIRT<br />
According to Me<br />
Photography: Hilary Ramos<br />
Styling: Margaret Merritt<br />
BRYANT VAZQUEZ<br />
All Damn Day/The Greatest Hits<br />
By Mitchell L. Hillman<br />
HEARD MUSEUM<br />
Brings Frida Kahlo to Life<br />
By Jenna Duncan<br />
COLUMNS<br />
7<br />
16<br />
20<br />
30<br />
38<br />
40<br />
BUZZ<br />
Folklore, Family and Frida<br />
By Robert Sentinery<br />
ARTS<br />
Pedro Guerrero Photography<br />
By Amy L. Young<br />
Gianfranco Ferré Fashiony<br />
By Jenna Duncan<br />
Bill Dambrova<br />
Anatomy of a Painter<br />
By Amy L. Young<br />
FOOD FETISH<br />
The Return of Silver Dragon<br />
By Sloane Burwell<br />
SOUNDS AROUND TOWN<br />
By Mitchell L. Hillman<br />
GIRL ON FARMER<br />
A Purrfect Plan<br />
By Celia Beresford<br />
NIGHT GALLERY<br />
Photos by Robert Sentinery<br />
JAVA MAGAZINE<br />
EDITOR & PUBLISHER<br />
Robert Sentinery<br />
ART DIRECTOR<br />
Victor Vasquez<br />
ARTS EDITOR<br />
Amy L. Young<br />
FOOD EDITOR<br />
Sloane Burwell<br />
MUSIC EDITOR<br />
Mitchell L. Hillman<br />
ASSOCIATE EDITOR<br />
Jenna Duncan<br />
CONTRIBUTING WRITERS<br />
Rhett Baruch<br />
Celia Beresford<br />
Demetrius Burns<br />
Tom Reardon<br />
PROOFREADER<br />
Patricia Sanders<br />
CONTRIBUTING PHOTOGRAPHERS<br />
Enrique Garcia<br />
Hilary Ramos<br />
WEB DESIGN<br />
Allen Sentinery<br />
ADVERTISING<br />
(602) 574-6364<br />
<strong>Java</strong> Magazine<br />
Copyright © 2015<br />
All rights reserved.<br />
Reproduction in whole or in part of any text, photograph<br />
or illustration is strictly prohibited without the written<br />
permission of the publisher. The publisher does not<br />
assume responsibility for unsolicited submissions.<br />
Publisher assumes no liability for the information<br />
contained herein; all statements are the sole opinions<br />
of the contributors and/or advertisers.<br />
JAVA MAGAZINE<br />
PO Box 45448 Phoenix, AZ 85064<br />
email: javamag@cox.net<br />
tel: (602) 574-6364<br />
www.javamagaz.com<br />
4 JAVA<br />
MAGAZINE
Carolyn Lavender, Portrait (detail), 2011,<br />
graphite and gouache on canvas, 45 x 86”<br />
DRAWN TO THE AIRPORT?<br />
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FIRST FRIDAYS<br />
AT THE HEARD<br />
FEATURING painter Ruben Galicia in the<br />
courtyard from 6 to 8 p.m. Supported by<br />
the Margaret A. Cargill Foundation.<br />
LILIANA GOMEZ + PHOENIX FRIDAS<br />
KAHLO MERCADO + CLANDESTINO<br />
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NOV. 6 | 6 TO 10 P.M. | FREE*<br />
Encanto/Heard Museum Light Rail Stop<br />
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heard.org/firstfridays<br />
* Museum admission and some events are free.
FOLKLORE, FAMILY AND FRIDA<br />
By Robert Sentinery<br />
BUZZ<br />
The arts have always been a fertile territory for dissent and a voice of the<br />
repressed. During my youth in the ’70s, the Chicano movement was very<br />
strong and highly publicized in Phoenix, as Black Power was in cities back<br />
East. While that sense of zeal may be lacking today, progress made during<br />
those more radicalized years carries forward. Being the capital city of a<br />
border state provides Phoenix with an endless amount of artistic influence<br />
and inspiration.<br />
One of our most prized visual artists, who has risen from the streets, is<br />
actually an immigrant from Sinaloa, Mexico. Lalo Cota left his hometown<br />
when he was only eight and brought with him an awareness of folklore<br />
and culture ingrained by his grandmother. He blends that imagery (often<br />
associated with Dias de los Muertos) with the common symbols of Chicano<br />
life, such as lowriders that are more like fantastical sculptures. This fusion<br />
of folklore and modern iconography, tempered by sheer talent and a high<br />
degree of craft, has made Cota’s work stand out and a favorite among local<br />
luminaries, including chef Silvana Salcido Esparza (see “Lalo Cota: From<br />
Folklore to Phoenix,” p. 8).<br />
As the lead singer and frontwoman for the band PAO (Phoenix Afrobeat<br />
Orchestra), Camille Sledge has some pretty large shoes to fill. She grew up<br />
in a family of successful musicians. Her mother and aunts formed the group<br />
Sister Sledge, whose disco-era anthem “We Are Family” still lives on.<br />
Often the children of successful artists will take a completely different path;<br />
some even become lawyers or accountants. For Sledge, finding her place<br />
meant moving around a lot—like a new city every three years. Lucky for us,<br />
she has begun to put down roots here in Phoenix. As mother of two young<br />
children and member of an awesome 15-piece band, she appears to officially<br />
have her wanderlust in check. Sledge talks about how having her own babies<br />
and her mom nearby has really given her that sense of family that Sister<br />
Sledge sang so passionately about back in 1979 (see “Camille Sledge: Soul<br />
PAOwer,” p. 12).<br />
As of late, perhaps no other artist of the 20th century has captivated our<br />
imagination as much as Frida Kahlo. Her life story is magical yet deeply<br />
tragic, and her trajectory as an artist is skyrocketing, albeit posthumously.<br />
This month the Heard Museum opens the show “Frida: Her Photos,” and the<br />
timing couldn’t be better. The beginning of November is when Mexico honors<br />
its dead, so this timing seems especially apropos. The photos on display<br />
come from a collection of Frida’s personal effects that were locked in a room<br />
in her home until 2004. A not-be-missed night of festivities honoring all<br />
things Frida will take place on First Friday, Nov. 6, at the Heard Museum (see<br />
“The Heard Museum Brings Frida to Life,” p. 34).
8 JAVA<br />
MAGAZINE<br />
Photos by Jaryd Neibauer
Lalo Cota<br />
From Folklore to Phoenix • By Rhett Baruch<br />
Not too long ago, many viewed street art in a negative way—perhaps, in<br />
a gang-related type of way. But what we now have throughout the Valley<br />
has realistically beautified buildings that often had been nothing more than<br />
forgotten structures. I’m not sure what could be worse than staring at a<br />
taupe or tan-colored wall on your commute or during your exploration of the<br />
city—but I’m glad things have gone this way.<br />
Many, including some of our politicians, agree that this is a step in the right<br />
direction. In fact, the art form and the projects that have come along have<br />
become increasingly accepted by the masses in the Valley. It’s obvious that<br />
the murals have provoked locals and visitors to explore, in turn stimulating<br />
local business, which is yet another way to create a point of destination and<br />
encourage walkability—a concept that is finally becoming more of a reality.<br />
For most locals, transportation and public services have made up a lot<br />
of ground over the past decade. A lot of good moves, but perhaps there<br />
have been some poor decisions regarding how we should create artistic<br />
attractions and what assets are granted to particular artists.<br />
Last year I sat in on some panels at the AIA downtown. Walkability was the<br />
main topic, and there were ideas from all sorts of professionals. However,<br />
most of these solutions required a lot of capital and engineering. Working<br />
with what is already present is not only a more economical route, but also<br />
ecological. It also allows creation to occur more quickly.<br />
Someone true to his game since day one of the Phoenix street art scene,<br />
Lalo Cota has been creating what he likes, primarily where he chooses, for<br />
20+ years. Cota moved here from Sinaloa, Mexico, at the age of eight and<br />
is mainly inspired by Chicano folklore and lowrider culture. The folklore that<br />
inspires his work is about teaching lessons in a darker way to scare children<br />
into doing the right things in life. Most of his works, however, do not<br />
present an alarming amount of horrific scenery; they are more on the playful<br />
end of things. Expect a vast array of bright colors, bomb lowriders, Arizona<br />
skylines, desert plant life and Dias de los Muertos skulls. Also, there are<br />
the occasional stabs at your not-too-friendly state politicians, clever and<br />
always fun to look at.<br />
I interviewed Lalo Cota as he was starting his newest piece on 5th Street,<br />
a location where some of our current top muralists, including Cota, Pablo<br />
Luna, Angel Diaz, Breeze, and JB Snyder, made their start.<br />
JAVA 9<br />
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Explain how Chicano folk art affects<br />
your work.<br />
The piece that I’m working on now is a common<br />
image from Mexican folklore: La Llorona, the<br />
weeping woman, who is actually quite dark<br />
and horrific in her history. Most every culture<br />
has folklore or tales, and this is one that my<br />
mother and grandmother told me specifically<br />
to prevent me from going out at night—a<br />
scary story to keep kids off the streets and<br />
out of trouble. I guess you could say it worked<br />
because I resorted to painting instead of being<br />
up to no good.<br />
Is there a meaning intended for each<br />
piece? If so, how can viewers interpret it if<br />
they are unaware of the background?<br />
I don’t like to predefine what a piece might<br />
mean for someone. Every piece is individual,<br />
and I don’t often title my work for that reason.<br />
10 JAVA<br />
MAGAZINE<br />
Since so much of my work is public, there is<br />
often something that I like to keep for myself.<br />
Plus it’s more entertaining, to see how people<br />
read into it and interpret how it relates to them.<br />
When sending a specific message, I may assign<br />
a title, but it’s usually open for interpretation.<br />
It’s interesting for me to hear how pieces relate<br />
to or move people.<br />
What type of evolution has taken place<br />
in your work?<br />
I have become more technical, more refined. If<br />
you were to look at something from 10 years<br />
ago, the same image today would be cleaner<br />
and the expression I want to capture would be<br />
more crisp. It’s something I’ve heard a lot lately<br />
as well—about the cleanliness of my work—so<br />
I know it’s showing too. One technique that<br />
I’ve changed is using less bold outlines, which<br />
creates less of a tattoo or cartoon style. The<br />
images become more realistic in how alive<br />
they look and a lot of that comes with using a<br />
lot more shadowing and more color hues for<br />
blending. For me, it’s really worth it in the end.<br />
What keeps you inspired to make art?<br />
Art has taken me on its own path of success.<br />
If you follow your instincts and do what you<br />
love with passion, then only you are able to set<br />
your limitations. It’s great for me to not need a<br />
steady 9-to-5 job, and that’s been the case since<br />
June of 2000. I’ve lived a better life since—less<br />
stress and more money, honestly.<br />
What’s the most notable thing to happen<br />
while you were painting?<br />
It doesn’t happen too much anymore, but cops<br />
used to mess with me a lot. I’ve mentioned<br />
this before, but random people come up and
appreciate what you do. There is one instance<br />
that felt especially sincere. I was painting<br />
Tacos De Juarez off 7th Street and I noticed<br />
somebody from across the street watching me<br />
paint. I painted for a few hours and the guy<br />
watching me asked if I wanted anything from<br />
Circle K or any money, which he pulled out from<br />
his jacket. It was very apparent this guy was<br />
homeless, but he just wanted to let me know<br />
he enjoyed watching me paint—and he stays<br />
in the neighborhood. Because of his situation<br />
and what little he had to offer, it really made<br />
me appreciate the sincerity of the offering and<br />
compliment. If I ever felt someone was genuine<br />
with me, this would be the moment.<br />
my hometown of Sinaloa, Mexico. I left when I<br />
was eight and, truthfully, I have not been back<br />
since. There was a recent instance where my<br />
brother recognized an art piece of mine tattooed<br />
on a woman who happened to be from Sinaloa.<br />
It reminded me in a way, why I need to go<br />
pay my respects and possibly gain some new<br />
perspective.<br />
www.lalocota.com<br />
facebook.com/lalo.cota.7<br />
instagram.com/lalocota/<br />
What do you imagine being next?<br />
Next for me for would be to get some traveling<br />
done that I have been planning. For the past<br />
20 years, Phoenix has been my main focus for<br />
art and creation. I’m very interested in touring<br />
JAVA 11<br />
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12 JAVA<br />
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Camille<br />
Sledge<br />
Soul<br />
PAOwer<br />
By Demetrius Burns • Photos Enrique Garcia<br />
Camille Sledge apologizes when I finally connect with her.<br />
Her mom kept her on the phone too long—something that<br />
happens often to her and to others who are close with their<br />
parents. Sledge’s mom is a typical mother, apart from the<br />
fact that, well, she was part of the super group Sister Sledge, which<br />
created the international hit “We Are Family” in 1979 at the height<br />
of disco.<br />
Some artists are reticent to talk about their influences because<br />
it might expose their work as mimicry or seem to discredit their<br />
individual aesthetic, but with Sledge—who is the lead singer of<br />
Phoenix Afrobeat Orchestra—it’s obvious who her main influence<br />
is, and she’s not shy about it.<br />
“I saw my mom [while] growing up,” said Sledge. “I saw how she<br />
was able to reach people. I would see people cry and thank her.”<br />
It wasn’t until Sledge became a mother herself—she has threeyear<br />
old daughter and an eight-month old son—that she realized<br />
her true calling in music was to continue the positive message<br />
espoused by her mother. “The kids are getting messages from music<br />
that are just wrong. Once you have a message that is spread across<br />
the masses and it’s a good message then the masses want it. When<br />
people want to hear your good message that means you’ve done<br />
something in the world.”<br />
Her mother performed with the Jackson 5 and other huge acts, but<br />
in ordinary life she was one of the people. She would walk into<br />
grocery stores wearing sweats and her hair in a bun; she’d feed<br />
and pray for every homeless person she came across. That’s just<br />
the type of person she was, Sledge said. Though fame required her<br />
to travel, Sledge remembers her mom always being there for her.<br />
“My mom was the one constant. I don’t know if she knows that,<br />
but she was a very good mom. She raised six of us and none of us<br />
are addicts or in jail,” Sledge said. What stands out to Sledge is<br />
her mom’s ability to be a universal mother to the world—to see the<br />
world as hurting and in need of family, in need of a hand. Sledge<br />
wants to help provide to that to people through her music, as well.<br />
In that way, the proverbial apple didn’t fall far from the tree. But<br />
in many other ways Sledge is her own person. Whereas her mom<br />
would walk into a grocery store in normal, humble clothes, Sledge<br />
would be just fine walking in wearing a fur coat and sunglasses.<br />
Sledge is one of those people who likes to talk about herself; it’s<br />
natural and reflects a deep self-awareness that was nurtured by her<br />
caring mother, whose shadow she felt she lived in as a performer<br />
for a while. She doesn’t have the voice of her mother—the booming<br />
R&B voice that’s typified by modern singers like Beyonce. Instead<br />
her voice lends itself to funk and soul a bit more. Her voice was a<br />
natural fit for the local super group PAO, a 15-member band that<br />
plays in the Afrobeat tradition of Fela Kuti and Tony Allen and has<br />
shared a stage with The Roots and George Clinton, to name a few.
Sledge lived as a gypsy of sorts before she settled in Arizona. She was<br />
always galvanized by music. At one point she was part of a rap group in<br />
New York, but they were criticized for sounding too much like The Fugees.<br />
When she arrived in Arizona she wasn’t really aware of the music going<br />
on in Phoenix until a friend told her about PAO and that they were looking<br />
for a vocalist. She went to the rehearsal intending perhaps to sing vocals<br />
on a few tracks, but after the rehearsal they asked her to become the lead<br />
singer. What felt good to Sledge was the fact that they did this purely off<br />
the strength of her voice—they hadn’t seen her perform, yet.<br />
Sledge is a self-professed ham on stage, and she is able to take on a<br />
litany of forms. “I like to act; I’m an actress. I need to do something more<br />
theatrical on stage. There was never an opportunity for me to do that<br />
with just one genre of music. I can dance like nobody’s business. I can go<br />
outside of my own body with PAO and I can also rap and sing folk.” In that<br />
way, Sledge is a full tour de force on the stage, whipping her body and<br />
voice with every inclination in her spirit to the tribal rhythms brought out by<br />
the band.<br />
It seems like Sledge has found her fit and lives without regrets these<br />
days, living a life of purpose and calm. “I have moved around a lot,<br />
lived in like seven different states. I am a Gemini. We like change,<br />
new things. We like to explore. When you have kids you have to have<br />
some stability for them, so that’s good for the band situation. I normally<br />
wouldn’t stay anywhere for very long. I might be somewhere for two or<br />
three years, then I’d be out. Now I am getting this new visual on what life<br />
is supposed to be,” said Sledge.<br />
In terms of its message, PAO is inherently political, yet it tries to reach<br />
many different people on myriad levels. According to Sledge, anyone<br />
can make a good groove, anybody can make a song to dance to, but not<br />
anybody can make a great song. The difference, for Sledge at least, is<br />
whether the song can affect someone positively. If a song with a great<br />
groove has a negative message, then it is not a great song—it’s just a<br />
great groove.<br />
As the primary songwriter for PAO, Sledge is trying to dismantle the<br />
prevailing social injustices of the world one song at a time. PAO’s album,<br />
set for release at the beginning of the year, includes a song called “Come<br />
With Us” that is a continuation of the “We Are Family” message. As<br />
Sledge puts it, “I’m part of you, you’re part of me. Let’s help each other<br />
breathe.” The teamwork inherent in the conglomeration of PAO, bringing<br />
15 people together to breathe and act as one musical organism, reflects<br />
the reality of the planet: we need each other in all our divergent pieces.<br />
PAO has a song that addresses police brutality, which is an issue that’s<br />
been in the spotlight of late. However, many of PAO’s songs address longstanding<br />
issues in the world that are often ignored. In that way, PAO is<br />
here to remind us of the old African (though not limited to that) values<br />
that can help bring us back to our core. PAO is a call back to the beat of<br />
the world—the beat of love as a revolution where we all have a part to<br />
14 JAVA<br />
MAGAZINE
Fresh Seafood<br />
FLOWN IN DAILY<br />
“Top 5 Best New Restaurants”<br />
– Phoenix Mag<br />
Courtesy of Camille Sledge<br />
play because we need each other to make a joyful noise. “There are<br />
so many things you can do with a microphone. [And] now we have the<br />
Internet. There’s some power behind that. If you can say something<br />
important it is worth it to try,” said Sledge.<br />
For Sledge, it all comes back to being a mom. She describes herself as<br />
a mom first, then an artist and activist. Her role as a mother informs<br />
everything else in her life and how she views music especially. Like<br />
her own mother, Sledge reaches out to the world and offers a hand.<br />
She shares her voice, not to speak for the world but to speak with<br />
the world. To sing in agony and joy, to dance in wonderment and<br />
abandonment, but unequivocally to join the cacophony of sound of the<br />
miracle called earth.<br />
Music means a lot of things to different people. In its most raw form<br />
it is a reaction to the earth. It is African in root, indigenous in voice<br />
and powerful in all of its manifestations. For Sledge, language adds<br />
a beautiful dynamic that pushes music into the realm of soul therapy.<br />
She is helping liberate the earth from itself in many ways.<br />
5632 North 7th St., Ste. 120<br />
(602) 680-4044 | www.littlecleos.com
ARTS<br />
Picnic at Taliesin, Spring Green, Wisconsin, 1940, Silver Gelatin Print.<br />
Pedro E. Guerrero, Dinner with Julia, Cambridge, Massachusetts, 1962, Silver Gelatin Print.<br />
Studio Self Portait, New York City, c. 1948, Silver Gelatin Print.<br />
All images ©2015 Pedro E. Guerrero Archives.<br />
PEDRO GUERRERO<br />
PHOTOGRAPHY<br />
at Mesa Contemporary<br />
By Amy L. Young<br />
Mesa Contemporary Arts Museum opened their fall<br />
season with a series of strong, captivating exhibits,<br />
including the group show Chicano State of Mind and<br />
Take 10, which features art from legendary performer<br />
Cheech Marin’s personal collection. Yonder Peasant...<br />
The Photography of Pedro Guerrero is part of this roster<br />
of stellar exhibits, one that should not be missed.<br />
Guerrero’s career as a photographer included a<br />
range of notable highlights, including the 20 years<br />
he spent shooting the work of architect Frank Lloyd<br />
Wright. A young Guerrero, who is from Mesa,<br />
approached Wright with his portfolio in 1939,<br />
and the architect gave him a job documenting his<br />
work. Pedro spent the next year photographing<br />
Wright’s Taliesin and Taliesin West estates, until<br />
world events found him serving as a photo officer<br />
in Italy during World War II. When he returned in<br />
1945, Guerrero sought out Wright once again and<br />
became Wright’s on-call photographer.<br />
Guerrero based himself in New York City, where<br />
his career started to flourish. He created quite a<br />
name for himself, not only for documenting Wright’s<br />
creations but also for his magazine work in prominent<br />
magazines such as Harper’s Bazaar, Home and Garden<br />
and Architectural Forum, showcasing the intriguing<br />
work of modernist architects such as Philip Johnson<br />
and Edward Durell Stone.<br />
Guerrero’s subjects were not limited to architecture.<br />
Some of the most iconic pieces he photographed<br />
for his magazine clients include actor/director John<br />
Huston’s castle in Ireland and Julia Child’s kitchen<br />
in Cambridge, Massachusetts. The latter happened<br />
in 1962 in correlation with the publication of Child’s<br />
first book, Mastering the Art of French Cooking. The<br />
spread was for House and Garden, and Pedro’s<br />
widow and archivist Dixie Guerrero says that<br />
the famous chef cooked duck à l’orange for the<br />
magazine folks that day.<br />
Dixie, a writer, met Pedro at Taliesin West in 1987.<br />
She reached out to the Mesa Contemporary’s curators<br />
because, in addition to her admiration for the venue,<br />
she felt that it was important for Pedro finally to have<br />
an exhibit in his hometown. “We wanted to honor<br />
both Pedro and the Guerrero family. They have deep<br />
roots in Mesa. The family owns a sign company that<br />
has existed since the 1920s. It was wonderful to have<br />
dozens of family members in attendance.”<br />
“Dressed Up for Easter” is a silver gelatin print, like<br />
Guerrero’s “Studio Self-Portrait,” that—also like<br />
the self-portrait—isn’t exhibited often (exhibits of<br />
Guerrero’s work are often of an architectural focus).<br />
The former is a sweet and universally classic shot<br />
that highlights familial cohesiveness while subtly<br />
exemplifying the individuality of each member. In the<br />
latter, the artist himself is featured at his desk; the<br />
waning sun creates patches of light across his body.<br />
In a shirt and tie, minus the suit jacket, Guerrero<br />
enjoys a cigarette as the smoke swirls in waves<br />
around him. All signs point to it being the day coming<br />
to a close, and Pedro’s expression is intense as he<br />
squints a bit from the light, perhaps pondering the<br />
occurrences that took place prior to this moment.<br />
“Picnic at Taliesin” shows Wright and other creative<br />
minds lounging in the tall grass, while “Robert<br />
Llewellyn Wright House” offers an alluring look at<br />
this Maryland home, which Wright constructed for<br />
one of his children.<br />
Mesa Contemporary’s associate curator, Tiffany<br />
Fairall, says, “The exhibition provides a brief<br />
snapshot into the remarkable life and career of this<br />
significant artist, who came from provincial Mesa and<br />
gained access to some of the most pivotal artists of<br />
the 20th century.”<br />
Yonder Peasant...The Photography of Pedro Guerrero<br />
Through January 17th<br />
Mesa Contemporary Arts<br />
mesaartscenter.com<br />
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Sailor Glam shirt, S/S 1982, prêt<br />
á porter, look 84, silk organza,<br />
honeycomb patterned cotton<br />
pique Photo by Luca Stoppini.<br />
Scomposta shirt, F/W 1994, prêt<br />
á porter, look 96, nylon tulle, silk<br />
taffeta. Photo by Luca Stoppini.<br />
Grey silk trench coat, Prêt-à-<br />
Porter, Spring/Summer 1988<br />
Pencil, fine black felt-tip<br />
pen, colored felt-tip pen on<br />
construction paper, Courtesy of<br />
Gianfranco Ferré Foundation<br />
GIANFRANCO FERRÉ FASHION<br />
at Phoenix Art Museum<br />
By Jenna Duncan<br />
The white shirt is like a blank drawing board upon which<br />
a skilled designer can showcase his or her originality,<br />
creativity and personal touch. Variations on a woman’s<br />
white shirt became a hallmark of Gianfranco Ferré’s<br />
fashion career. With a deep background in design,<br />
Ferré first trained as an architect. His work in fashion<br />
is considered intellectual and powerful, detailed and<br />
technical, and is strongly associated with the late<br />
20th-century movement of power dressing, for career<br />
women who still displayed femininity in their modern<br />
suits and accessories.<br />
This exhibition of the designer’s structured-oriented<br />
work has been put on view in a variety of different<br />
architectural contexts. The show originated at the<br />
Foundazione Gianfranco Ferré in Prato, Italy, where<br />
most of Ferré’s garments were produced. According<br />
to PAM’s curator of fashion, Dennita Sewell, “It was<br />
at Prato, then in Milan at the Palazzo Reale—right<br />
in the central square next to the Duomo in a historic<br />
building—so first a 19th-century space, then a<br />
Baroque space and now our very contemporary<br />
American space.”<br />
The Steele Gallery at PAM has undergone a complete<br />
transformation from its traditional white walls to a<br />
high-contrast, modern labyrinth, almost like a sci-fi<br />
movie set, to support the show. At the entry of the<br />
exhibit, long curtains of tulle are illuminated by<br />
projections of Ferré’s sketches. Visitors must brush<br />
past these white draperies and then travel through a<br />
dark geometric archway to enter the main gallery.<br />
The entire room has been transformed with geometric<br />
niches and hallways that curve and then reveal the<br />
enormous, wide-open Steele Gallery. The pathways<br />
and way-finding into the exhibit were crafted by<br />
Richard Jensen’s WORKSBUREAU team—the same<br />
group responsible for the Hollywood Costume exhibit<br />
design. Ferré’s white shirts hang from triangular,<br />
architectural clothing forms—a modernist nod to the<br />
female form with wider shoulders and cinched waist.<br />
They almost look like sails on sharp metallic masts.<br />
Accompanying the 12 white shirts are magazine<br />
clippings, sketches and other ephemera related<br />
to each design. And at the far end of the room, a<br />
gigantic mirror creates the illusion of an “infinity of<br />
white shirts,” Sewell says. “We are really looking at<br />
him as a designer who had an impact on setting the<br />
styles of the ’80s and ’90s,” she says.<br />
Playing overhead is Keith Jarett’s Köln Concert,<br />
a contemporary classical piano piece recorded in<br />
January 1975. “The architecture of that piece of<br />
music is very much like the architecture of Ferré’s<br />
style. There’s a real refinement to it, but a fresh<br />
modernity,” says Sewell.<br />
Down the dark exit hallway are X-ray–like prints<br />
of many of garments, which help illustrate the<br />
sophisticated and exacting constructions. Sewell<br />
points to a round, flowing blouse assembled from<br />
three concentric circles. Another white shirt, this<br />
one with a corset and bracelet-like, free-hanging<br />
cuff accessories, looks historically feminine (think<br />
Victorian era) while simultaneously hard-edged (think<br />
mild bondage allusion).<br />
The White Shirt According to Me will be on view<br />
simultaneously with a supporting show of Ferré’s<br />
drawings, Gianfranco Ferré Designs, in the upstairs<br />
mezzanine Ellman Gallery. This exhibit draws<br />
together nearly seven dozen of Ferré’s sketches<br />
and shows how these drawings are translated into<br />
patterns to become actual garments. Ferré reportedly<br />
once said that drawing was a supreme expression<br />
of “freedom and rigor—creativity and tool,” but that<br />
drawing was also a tool for summing up the general<br />
parts of a project.<br />
Programming around the two simultaneous shows<br />
provides many “must see” opportunities for fashion<br />
students, Sewell says. In addition to talks and an<br />
opening-weekend panel, there will be a one-time “see it<br />
free” screening of La Dolce Vita, as well as other Italian<br />
film screenings throughout the season. “‘Made in Italy’<br />
has a cachet that has developed over the years,” Sewell<br />
says. “Ferré represents that cachet.”<br />
The White Shirt According to Me &<br />
Gianfranco Ferré Designs<br />
Through March 6, 2016<br />
phxart.org<br />
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BILL DAMBROVA<br />
Anatomy of a Painter<br />
By Amy L. Young<br />
Your Thoughts Are Not Your Own is an exhibit of 10<br />
new paintings and a smaller selection of mixed-media<br />
work by Phoenix-based artist Bill Dambrova. It opens<br />
on November 20th at downtown Phoenix gallery Treeo.<br />
Dambrova creates layered and complex artwork<br />
that explores human biology in stunning anatomical<br />
depictions. These powerful pieces bring what lives<br />
beneath the skin to the forefront, providing viewers<br />
both a unique perspective and window to our<br />
multifaceted internal beings. the work is individually<br />
and collectively so vibrant that it’s nearly impossible<br />
to look away. The palette alone is gripping. Each piece<br />
is alive and dripping with luscious color so bright and<br />
engaging that you can’t hide from it. You’re compelled to<br />
take a visual tour of the work to absorb these vivid colors<br />
and the motion before allowing your eyes to settle on<br />
the images as whole entities.<br />
Though Dambrova’s work is a showcase of the life systems of the human body, it also is a nod to the depth<br />
of the human mind, as the title suggests. It’s also reflective of the artist himself, whose exploration and<br />
inquisitiveness about life and spirituality have led him on physical travels, as well as extensive research on<br />
different cultures and their indigenous spiritual practices. He isn’t looking for one final answer to the mystery<br />
of life but understands the importance of living in that mystery and continuing to seek out information that<br />
helps him learn and grow. “Painting,” he says, “is a way for me to wrap my head around my thoughts and<br />
ideas. I like to paint the unseen worlds that happen in our bodies and to create and express visual versions of<br />
those worlds.”<br />
Dambrova often works on multiple pieces simultaneously, allowing himself time to come back and revisit<br />
them, which sometimes changes the focus or perspective and gives him the opportunity to add more imagery<br />
and depth. In the final outcome, often the original images can’t be seen, but their intent and sentiment<br />
resonate in the result.<br />
The work has resonated with many people on multiple levels, and Dambrova is thrilled to hear from those<br />
who have contacted him to say that the work has inspired them and helped them understand their physical<br />
conditions in new and different ways. “These paintings have become communicative entities,” he says.<br />
“I like that they can help people; healing ourselves, however that may be, is important.” He adds, “It also<br />
makes painting feel like less of a self-indulgent act.”<br />
In addition to his 20 years of painting, Dambrova has also had a successful career as an exhibit designer<br />
at venues such as the Getty in Los Angeles and Phoenix’s own Heard Museum. He has recently garnered<br />
attention from many who appreciate the intensity of his work. He was one of the recipients of the Phoenix Art<br />
Museum’s Contemporary Forum grants in 2014 and has received much-deserved local and national press. The<br />
exhibit runs until mid-December.<br />
Bill Dambrova<br />
Your Thoughts Are Not Your Own<br />
November 20 – December 14<br />
Treeo<br />
treeohouse.com<br />
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The Return of<br />
Silver Dragon<br />
By Sloane Burwell<br />
Growing up in a tiny farming community, eating out was a bit of a luxury, and not<br />
just because as my dad liked to remind me, “Restaurants are expensive.” Even<br />
if we had won the lottery (we never did), there just weren’t that many options.<br />
Surprisingly, our little rural community had one itty-bitty Chinese restaurant.<br />
I remember being fascinated by the concept of Column A and Column B, and<br />
that your dinner was likely to be called out by a number. It wasn’t General Tso’s<br />
Chicken; it was #3. So when my dad decided to loosen his wallet, Chinese was<br />
always my choice.<br />
It’s no surprise that I spent years trying to find my favorite Chinese spot in the<br />
Valley. It’s also worth noting that the question most commonly asked of me<br />
is, “Where is the best Chinese spot in town?” Like all things in Phoenix, good<br />
things often close down. As was the case with Silver Dragon. When they closed<br />
a couple of years ago, I cried a little. And when I heard they’d opened again, I<br />
felt like I was welcoming a long-lost friend. Surely, the spot that garnered 10<br />
consecutive “Best Chinese Restaurant” awards hadn’t lost their mojo.<br />
They have not.<br />
Located next to a Filiberto’s (who will not waste a second having your car<br />
towed, should you park in their lot), Silver Dragon’s parking lot is a bit of a<br />
trick to access (pro tip: turn into Filiberto’s or else you’ll end up in the 17th<br />
Avenue turning lane). Inside you’ll find an immaculately clean spot, run by a<br />
very charming family. Their cuisine is Hong Kong style, which means it finds<br />
influence from Cantonese cooking, as well as other global influences.<br />
You’ll find these inspirations in dishes like French Style Filet Mignon with Black<br />
Pepper Sauce ($13), a rather large dish of impossibly tender bite-sized filet,<br />
tossed with mushrooms and onions. The tender, flavorful meat is made more<br />
earthy by the mushrooms, and the pepper sauce is a nice compliment to the<br />
onions, which are slightly sweet from the wok treatment.<br />
But before I get ahead of myself, please note that Silver Dragon has two<br />
menus. Ask for the Chinese menu—it’s much more extensive, and dare<br />
I say, authentic and special. While you can order from the Americanized<br />
menu, you’ll get American-style cuisine. Not that it’s something to scoff<br />
at—dishes like #63, Shrimp with Cashew Nuts ($10.25), are lovingly prepared.<br />
A giant plate of perfectly diced veggies and well-cooked shrimp in a light sauce<br />
will disappear quickly, and with good reason.<br />
But if you stay on that menu, you’ll miss things like Sui Kui Soup ($6.95), a Hong<br />
Kong–style soup dumpling. Tender pasta wraps the tasty dumpling, loaded with<br />
huge hunks of shrimp, ground pork and veggies, which floats in a tasty and<br />
warming broth. It’s a pleasant appetizer for two, or even a wonderful dinner.<br />
I’m a huge fan of the Scallops with Chinese Vegetable and Milk Puffs ($12).<br />
Gorgeous scallops are cooking perfectly, releasing just enough sweet flavor to<br />
complement the milk puffs—a dessert-like cream puff minus the filling. With just<br />
a hint of umami flavor, these milk puffs manage to say “dinner” not “dessert.” The<br />
veg is nothing to sneeze at here, either—a robust handful of well-cooked Chinese<br />
broccoli makes this dish feel healthy.<br />
Fans of noodle dishes will enjoy the Singapore-style flat rice noodle in curry sauce<br />
($9.50). Impossibly thin noodles appear, slightly yellow from the mild curry. Pieces<br />
of chicken, pork and shrimp dot the landscape, and the scent of Chinese five spice<br />
wafts from the dish. This is the perfect intro to curry for the uninitiated. A gentle<br />
hand keeps the curry from overpowering the shrimp and delicate noodles, and this<br />
dish has the added perk of being large enough to feed a small army.<br />
Crispy Hong Kong–style chicken ($10.50 for a half chicken) manages to blend the<br />
crispy skin of a Peking Duck with the more gentle flavor of chicken. Their choice of a<br />
leaner chicken means I enjoyed the skin bits. There’s a tendency for crispy skin to go<br />
rubbery if there is too much fat. Not here—the skin is crispy to the end. Their<br />
kitchen pays such attention to detail that this entree comes with a small dish of<br />
house salt, which tastes faintly of soy sauce. I am deeply tempted to volunteer<br />
to wash dishes for a shift to learn how this is made.<br />
As for the service? The very kind and attentive family pays attention to what is<br />
happening and how you are enjoying the meal. On one visit, we’d ordered far<br />
too much food, and our inability to finish any dish did not go unnoticed. They<br />
were relieved to know we loved them, we’d just ordered too much. Glasses get<br />
refilled immediately, you’ll get help navigating the menu to find your perfect<br />
dish, and leftovers are boxed by the staff.<br />
I missed Silver Dragon when they were away. Happily, they are back and firing on<br />
all cylinders. I’m overjoyed to have my favorite Chinese spot back—a culinary home<br />
away from home. And with such generous portions of high-quality ingredients, even<br />
my father couldn’t say, “It’s too expensive.”<br />
Silver Dragon<br />
1739 W. Glendale, Phoenix<br />
silverdragonaz.com<br />
Monday, Tuesday, Thursday & Sunday: 11:00 a.m. – 9:30 p.m.<br />
Wednesday: Closed<br />
Friday & Saturday: 11:00 a.m. – 10:00 p.m.<br />
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White<br />
The<br />
Shirt<br />
According To Me<br />
Taking inspiration from the current<br />
fashion exhibition at Phoenix<br />
Art Museum, our latest editorial<br />
demonstrates the timeless beauty<br />
of the signature style showcased in<br />
The White Shirt According to Me:<br />
Gianfranco Ferré.<br />
Known as the “architect of fashion”<br />
and the purveyor of “power dressing,”<br />
Italian designer Gianfranco Ferré saw<br />
the white shirt as more than just a<br />
classic. Over his 30 year career, he<br />
deconstructed and reconstructed its<br />
basic elements, infusing them with<br />
high fashion details.<br />
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“In the lexicon of<br />
contemporary elegance,<br />
I like to think that the<br />
white shirt is a universal<br />
term that each woman<br />
may ‘pronounce’ as<br />
she prefers . . .”<br />
– Gianfranco Ferré<br />
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Credits<br />
Photography: Hilary Ramos<br />
Models: The Agency Arizona<br />
Hair & Makeup: Jaclyn Cipolla<br />
Stylist: Margaret Merritt<br />
White Shirt According to Me:<br />
Gianfranco Ferré<br />
November 4 - March 6, 2016<br />
Phoenix Art Museum<br />
phxart.org<br />
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Photo: Mackenzie Canavarro<br />
Bryant Vazquez<br />
All Damn Day/The Greatest Hits<br />
By Mitchell L. Hillman<br />
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When Bryant Eugene Vazquez lived in Arizona,<br />
everyone called him prolific, including myself.<br />
After all, not only did he have a slew of solo albums,<br />
but he was also in decker., Murdoch and Vagabond<br />
Gods. Needless to say, when he left Arizona for<br />
Philadelphia two years ago, he had already amassed<br />
an impressively large discography. Since that time,<br />
he’s released even more solo albums, with others<br />
in the works. It appears that Vazquez’ prolific period<br />
hadn’t actually started yet when he was living out<br />
here and has instead blossomed on the East Coast.<br />
His most recent accomplishment is All Damn Day/<br />
The Greatest Hits, which is his first full-length foray<br />
into the world of pop. This is not pop in the sense of<br />
current chart-topping acts—more like Dylan-esque hits<br />
from the 1960s. The results are impressive, especially<br />
considering that with few exceptions Vazquez is the one<br />
performing all the music on the album. It is consistent<br />
across the 13 tracks, and it features some of his finest<br />
works to date—certainly some of the catchiest.<br />
Despite the Arizona fingerprints on this recording—it<br />
was mastered by Fred Huang from Of the Painted<br />
Choir and the new Tucson-based project Asian<br />
Fred—All Damn Day/The Greatest Hits was born<br />
out of Vazquez’ time adjusting to life in Philadelphia.<br />
Upon its release, he said of the album, “Philadelphia<br />
kicked my ass all over the place in 2014. This is the<br />
result of such a thrashing.” He not only had to deal<br />
with living in a new place on a different coast, but he<br />
also had to deal with a bit of a drinking problem.<br />
“I started the album at the beginning of summer<br />
[2014], didn’t really finish it until this year, back in<br />
May,” he said. “I started the process of the album<br />
drinking a lot and finished it completely sober. Now,<br />
I’ve been sober for about a year.” He says that his<br />
productivity and creativity have skyrocketed. It appears<br />
that Vazquez’ super powers are even further enhanced<br />
by a clear head and healthy body. While many artists<br />
often find it difficult to create upon achieving sobriety,<br />
Vazquez has turned this change to his advantage.<br />
All Damn Day/The Greatest Hits starts off with the<br />
title track, and it’s a bit of a locomotive number with<br />
some twang to it. Vazquez’ comes out screaming<br />
lyrics of desperation with a voice that’s rough hewn,<br />
a throat filled with sawdust and gold. It’s a great<br />
beginning and a powerful one, both in the music and<br />
the words. “Reaching out upon the grey, why can’t<br />
my hands stay still? Trembling, mama!” he shouts<br />
at the start, with imagery familiar to anyone who<br />
has had to put down a bottle, if only for a day. If you<br />
listen to it with your full attention you’ll marvel at the<br />
complexity of the percussion and yet the minimalism<br />
of the composition. It’s even further fascinating when<br />
you consider this is a one-man operation making all<br />
this glorious music.<br />
“Daaang! (Cool Hand Sam)” follows and it has a<br />
heady, late ’60s feel to it, more akin to The Seeds and<br />
the Velvet Underground, yet with Vazquez’ unique<br />
vocal style. Fitting with the sound of the protest<br />
era, it comes across as a wry commentary on the<br />
everyman who works through 40 years of doing what<br />
he’s told. The guitar solo is inspiring and the congas<br />
in combination with the tambourine are sublime.<br />
The song that screams “single” early on is “How to<br />
Go About It...” and it’s one of my favorite tracks of the<br />
year. Bob Dylan and Lou Reed would both be proud<br />
of the lyrics, which seem like poetry about jaded<br />
self-destruction set in motion. The brilliant addition<br />
here is the trumpet courtesy of Kelley Cosgrove, one<br />
of the few instruments Vazquez doesn’t play. Vazquez<br />
recently released a video for this particular track that<br />
features seven different versions of himself at the<br />
same time performing the song.<br />
“What’s Paisley? (City Blues)” stays within the pop<br />
realm, but instead of recalling the 1960s, it brings<br />
Royal Trux to mind and other similar artists from Drag<br />
City and Merge in the 1990s. It has a quality akin<br />
to “Junkie Nurse” without sounding anything like<br />
it. Meanwhile, “Pretty Gotdamn!” is a slow-paced<br />
number with a druggy, heady feel and a bassline from<br />
hell. It’s almost haunting in its arrangement, with<br />
interesting vocals in a rare falsetto.<br />
“Ain’t Nothin’ Wrong With Cherie” returns to a bit<br />
of jangle indie pop, with playful guitar, harmonies<br />
and a lovely melody for sure. It’s difficult to tell if it’s<br />
about an actual girl amid the height of addiction or a<br />
fantasy found in that same state. “And if it’s all the<br />
same, We’ll both do nothing, but lay in bed, and drink<br />
and smoke and make it. It’s crazy, but let’s stay. The<br />
outside noise is all but loving, unlike the noise we<br />
make.” Even the phrases, words and imagery seem<br />
like they are from another era.<br />
There’s a slow but unsettling sense to the guitar that<br />
starts “The Barber’s Son,” and to tell you the truth, it<br />
reminds me of Brandon Decker. I’d love to hear decker.<br />
cover this song, because it would fit right in with their<br />
set. There is still more than a hint of the desert in<br />
Vazquez’ soul, and this song is a liberal sampling of that.<br />
It’s ghostly and achingly beautiful, with the poetic voice<br />
as raw as the words being sung.<br />
The pounding pop sound that pervades the album<br />
returns on “Madcap?!” It’s got a great guitar riff<br />
and rhythm that will keep your head bopping, foot<br />
tapping right along for all two minutes of this mini<br />
masterpiece. The same feeling continues unabated<br />
with “Mexican-American Modernist,” but with<br />
darker themes and a great lo-fi beginning, featuring<br />
street sounds from the window outside. The poetry<br />
continues to flow with lyrics like “Out of darkness,<br />
still in the night, showered by rains, during daylight,<br />
she said she fears the lack of color in my eyes.” The<br />
imagery is replete with desolation and more than<br />
a touch of pain. The mesmerizing guitar twang and<br />
VU-inspired rhythm in the end makes me want the<br />
song to go on for eight more minutes.<br />
“Le Sigh/Love Spit” has an amazing catchy hook<br />
and seems to revolve around imprisonment, whether<br />
real or metaphorical, but it also has a total sense of<br />
romantic yearning to it. This track features a great<br />
harmonica piece that underscores the Dylan vibe.<br />
It ends poetically, with what sounds like raindrops<br />
hitting hard.<br />
The tempo slows with a touch of Latin guitar that makes<br />
“2nd Time Around” go down smooth. It’s about returning<br />
to a love for another chance, with a pretty realistic list<br />
of all the baggage that kind of thing entails. It starts<br />
off sweet, but it ends with a languished howl, which<br />
is often how a second time around goes in real life.<br />
It’s actually a pretty touching number and is brutally<br />
honest about lying, lusting, trying, sighing, dying and<br />
trusting or not trusting, as it were.<br />
Referencing a key bit of dialogue from Wes<br />
Anderson’s Rushmore, “Fischer Ain’t Yer Mate” is<br />
another ’60s-drenched pop number with a classic<br />
groove and lyrics that even mention the Twist. It<br />
sounds like it could have been recorded in that era,<br />
and the only thing it’s missing is a group of girls<br />
doing backing vocals. Yes, there is hand-clapping<br />
and a break that kills me every time. The guitar gets<br />
twisted, the harmonies are alternately surf-like and<br />
eerie at once, like a demented take on beach blanket<br />
bingo with lyrics written by Rimbaud.<br />
The finale is only the second song on the album<br />
that features additional musicians, and in this case<br />
it’s keyboards, courtesy of Marcus Kitchen, who<br />
helped mix the album. Cosgrove returns, as well, to<br />
add background vocals. It is one of the finest moments<br />
on album and is Vazquez at his Dylan-esque best. The<br />
whole motion of the entire thing just sweeps you away<br />
and wraps you in the beat poetry of the passionately<br />
delivered lyrics. It’s about having a rough time of it,<br />
but essentially facing up to it all. In the end what that<br />
apparently does is produce some fine music. It is the<br />
perfect ending to this lo-fi document of a wounded artist<br />
burning with creative brilliance. The production value,<br />
or lack thereof, makes it all the better, all the more<br />
authentic and captivating. There is an urgency found<br />
here that is lacking in so many records.<br />
JAVA 31<br />
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MANIC MONKEYS<br />
Go West EP<br />
ACTION JETS<br />
Action Party Epic Fun!<br />
NEW CHUMS<br />
Tuolumne EP<br />
Just a year after their debut release, Manic Monkeys<br />
have dropped their second EP, Go West, and it shows<br />
how far a band can come in that time. While it almost<br />
seems like an extended single, with three songs that<br />
clock in under less than 10 minutes, it’s a solid effort.<br />
First off, it appears that lead singer Tiffany Hilstrom’s<br />
voice has truly developed into something great after<br />
a year of performances and a second swipe at getting<br />
it down on record. Mike Hilstrom’s guitar is better<br />
than ever, and with the rhythm section of Joel Ekdahl<br />
on bass and Derek Fernandes on drums, they sound<br />
almost like a completely different band from their<br />
initial release.<br />
Also, the songwriting is simply stronger here. They<br />
are definitely still pushing American rock to the<br />
hilt, but they’ve matured a lot. “Rodeo” kicks off<br />
with some slow-burning blues, and is a song that is<br />
perfect for driving late at night in the desert. Tiffany’s<br />
vocals come off as a bit of a sultry surprise, and Mike<br />
shows his chops on guitar—it’s pretty stunning.<br />
Meanwhile “Lawman” comes across as almost<br />
’60s-tinged garage rock, which is another surprise.<br />
Tiffany and Mike sing together on this one, and it’s a<br />
great mix. This could have come straight out of 1966,<br />
both musically and lyrically. If there’s a single, this<br />
should probably be the one, for the groovy vibe alone.<br />
We return to bluesy rock for the finale of “Drag Me<br />
Down,” which is another stunner from Tiffany on<br />
vocals and Mike with some of the most impressive<br />
guitar he’s committed to record. I only wish there<br />
were more songs here. Three songs just get you into<br />
the groove and you want more when all is said and<br />
done. Let’s hope for a longer EP or a full-length album<br />
to follow this one.<br />
Every music scene should have a fantastic powerpop<br />
group, and ours has Action Jets. These guys are<br />
dyed-in-the-wool power pop, sounding like they came<br />
to us straight out of the 1970s with great melodies,<br />
catchy hooks and an awesomely furious pace. They<br />
also really, really like the word “action” and fit it<br />
into all of their artist names, as well as four of their<br />
song titles. If you’re a sucker for Cheap Trick, Shoes,<br />
20/20 or The Raspberries, this may just be your new<br />
favorite band.<br />
If you approach the album with that mindset, this<br />
may be your record of the year. It’s just a hell of a lot<br />
of fun, but it also makes me think there’s not enough<br />
of this kind of sound and fun around town, so I’m<br />
damned thankful for Action Jets. Action Dave (guitar),<br />
Action Gary (drums) and Action Jeff (bass) roll<br />
through nine songs in less than 25 minutes. There’s<br />
not a duff track in the bunch, and not one exceeds<br />
the three-minute mark. They clearly have a sense<br />
of humor about themselves, with self-referencing<br />
songs like “Action Jets (Time for the),” the title track,<br />
“Action Girl on Instagram” and “Action Boys (Let’s<br />
Hear It for the),” which are just fun anthems.<br />
The good news is there is no ballad here, nothing<br />
slowing down the pace. There’s no time for that with<br />
single-worthy gems like “In Your Arms Tonight,”<br />
“After the Show” and “Sucking My Soul.” There are<br />
crunchy guitar riffs for miles, and every moment is a<br />
joy. The great news is that from the evidence in their<br />
live show they are already working on new songs,<br />
and I have a feeling the next record is going to be<br />
even better. Definitely one of the most rollicking and<br />
enjoyable of the year. Get some Action Jets for your<br />
ears immediately.<br />
I actually have no idea how I happened upon New<br />
Chums, but I’m damn glad I did. Their debut EP,<br />
Tuolumne, is a five-track breath of fresh air. Seth<br />
Boyack (guitar & vocals), Greg Winters (bass), Ben<br />
Hedlund (drums) and Chad Bergman (guitar) have<br />
put together a great melodic sound on their debut.<br />
It’s just straightforward alternative rock, with no<br />
fl ourishes, and a hell of a starting point for a band<br />
just getting it together.<br />
The opening track, “For the Cause,” stayed in my<br />
head for a few days after I heard it just once. For<br />
however good that song is, “Come On, Come On”<br />
blows it out of the water. If they haven’t picked a<br />
single yet, this is it. This is the one they should send<br />
to radio stations everywhere. It’s got a power-pop<br />
touch to it and fantastic stuttering vocal that’s catchy<br />
as all hell. It’s one of THE standout tracks of the year.<br />
“Bad Part of Town” follows in its wake, a mid-tempo<br />
number that seems to be a pretty good song about<br />
scoring drugs (“I got my drugs in my pocket and my<br />
money’s all gone”). It’s almost a ballad, but a ballad<br />
with guts. The pace immediately picks up on “City<br />
With No Dreams,” which has a great guitar line and<br />
some fabulous percussion going for it. The drum<br />
break is to die for and the bass kills it on the bridge.<br />
“Recall” finishes the EP, and it’s quite close in sound<br />
and structure to its predecessor. Here, however, the<br />
bass is the superstar throughout. A couple things are<br />
for sure: I can’t wait to catch these guys live, and<br />
I will be keeping my eye on anything they put out<br />
in the future—because this is an impressive debut<br />
fresh out of the box.<br />
32 JAVA<br />
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Sounds Around Town By Mitchell L. Hillman
DON’T PANIC<br />
The Sleepy EP<br />
PRO TEENS<br />
PRO TEENS<br />
SPIRITUAL WARFARE<br />
Suite 16<br />
If you’ve wondered what Dylan Rowe from The<br />
Heathers is up to these days, you are going to want<br />
to check out Don’t Panic immediately. Together with<br />
Jeffrey Robens (vocals, guitars & programming)<br />
and Johannes Lar (bass), they have put together<br />
an interesting fusion of electronica and heavy<br />
rock that is completely engaging on this five-track<br />
EP. I missed their first EP last year, but I’m glad<br />
I’ve been able to catch up with their sophomore<br />
offering. I’ve listened to it a few dozen times and<br />
find it endlessly fascinating, as it walks a thin line<br />
between EDM and hard rock without sacrificing<br />
one for the other. All the while, Rowe’s vocals are<br />
stunningly seductive at the center.<br />
“Crush” is the opener and clearly the first single;<br />
it’s also a damn fine introduction to their sound.<br />
It definitely sets the tone for the entire record.<br />
Following in its wake, “Palisades” is far more<br />
complicated in its structure, and for that reason<br />
fascinating—filled with dense layers that will<br />
send your ears reeling. “Dark Matter” slows down<br />
the tempo and is almost hypnotic in its delivery.<br />
It’s a dreamy combination of guitars and keys that<br />
crafts an atmospheric cocoon while you are lulled<br />
by its beauty. In the end, it explodes in time to blow<br />
your mind.<br />
Within the context of the band, the strangeness of<br />
“Sleeper” is perfectly appropriate as they approach a<br />
prog rock sound with verve and style. Compositionally<br />
speaking, it’s one of the EP’s finest moments, as it<br />
builds into a terrific maelstrom across nearly five<br />
minutes. The grand finale is “I am, Moon,” which<br />
is a mini-masterpiece unto itself. It’s like a pocket<br />
symphony, with different movements throughout,<br />
summing up their sound in one last epic blast. A<br />
thoroughly fascinating and unique release.<br />
I have loved watching PRO TEENS become the wellcrafted<br />
band that they are over nearly two years of<br />
single releases. They have finally released their<br />
eponymous debut album on Moone Records,<br />
and have moved beyond their surf-pop roots,<br />
crafting a densely atmospheric album, with a retro<br />
sensibility. Filled with chiming guitars and a hell of<br />
a lot of beauty, it still maintains a great indie-pop<br />
aesthetic. This is clear right from the opener and first<br />
single, “Control.”<br />
There is a definite psychedelic bend found here, as<br />
evidenced in numbers like “One of These Days,”<br />
which becomes a swirling, mind-bending affair.<br />
Lead man Andy Phipps has a hell of a crooner inside<br />
as he explores more soulful numbers like “Gjeez,<br />
Kjinny.” It’s difficult to tell if this song is authentic<br />
and heartfelt or complete farce, but I guess that’s for<br />
the listener to decide. They get to their surf sounds<br />
with “This Cop Is God,” which is pretty comical<br />
lyrically. “On Its Own” is a lo-fi link vignette of less<br />
than a minute, while the muzak-laced “Mona” serves<br />
as something of a centerpiece to the entire album,<br />
slowly approaching disco.<br />
On the other hand, “Lisa” is a rave-up rocker that’s<br />
just fun, while “Abbie” finishes the trio of girl-named<br />
songs and has some of the best guitar work, hitting<br />
an almost Caribbean stride. The juxtaposition of<br />
the brief, watery “I Wanna Die” and the epic-length<br />
Calypso pop of “Don’t Wanna Die” is the most<br />
fascinating pairing on the album, to be sure. It all<br />
finishes with the retro-mod dance number “Randal<br />
Can’t Handle,” which is one of my favorites in their<br />
live set and a fantastic way to end their first record.<br />
Sounds Around Town By Mitchell L. Hillman<br />
Joel Marquard has been a local music legend for the<br />
last decade since he started Dear and the Headlights<br />
and many other bands after that. Sadly, Marquard<br />
has relocated to Idaho for the time being, but not<br />
without unloading a ton of music for his fans and<br />
friends. His latest project is called Spiritual Warfare,<br />
which is mostly him solo, making no less than four<br />
records, all to be released on the local Moone<br />
Records this fall. Each record is distinctly different in<br />
style and genre, as well.<br />
The first, Suite 16, is a top-notch lo-fi album that hints<br />
at all of Marquard’s musical endeavors and interests.<br />
For those who have followed Marquard’s musical<br />
career, there is something for everyone. It almost<br />
sounds like a collection of songs for his other bands.<br />
Marquard describes it as “Damaged Doo-Wop,<br />
Rhythm and Blues, and Lo-Fi Soul,” and that’s pretty<br />
accurate, for this record and much of his previous<br />
output. Still, songs like “You Know That I Do,” and<br />
“My Day Off” would have fit nicely on a Samuel L<br />
Cool J record. “Give Me a Reason” has the choir-like<br />
feel of Through and Through Gospel Review, while<br />
“Heat of the Night,” “Tossed and Turned” and “Go to<br />
Her” would have been great Gospel Claws tracks.<br />
The entire album is a testament to Marquard’s talent<br />
and range, as both performer and songwriter. Gospel<br />
Claws was easily one of my top-five local bands of all<br />
time, and any extension of that just makes my ears<br />
scream for joy. Suite 16 ends with the coyly titled<br />
“One Down, Three to Go,” which is amusing since<br />
three more records are set to follow. I simply can’t<br />
wait to hear the rest.<br />
For more on these events and other highlights of<br />
the Phoenix music scene, check out Mitchell’s blog<br />
at http://soundsaroundtown.net. For submissions<br />
or suggestions contact him at mitchell@<br />
soundsaroundtown.net<br />
JAVA 33<br />
MAGAZINE
The Heard Museum Brings<br />
FRIDA KAHLO To Life<br />
By Jenna Duncan<br />
34 JAVA<br />
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The secret to Frida Kahlo’s intrigue could<br />
take centuries to fully explain. Not afraid of<br />
recognition, the painter frequently made herself<br />
the subject of her own works, and she wasn’t<br />
shy before the camera. Her unorthodox marriage<br />
to fellow artist Diego Rivera has been the focus<br />
of several bios, including the well-read tome by<br />
biographer Hayden Herrera and the big-screen<br />
2002 hit Frida, starring Salma Hayek.<br />
Not long after the Hollywood buzz about Frida<br />
and her intense, boundary-crossing love affairs<br />
simmered, another of Frida’s secrets was<br />
unlocked—a virtual treasure chest of her most<br />
intimate belongings and prized possessions.<br />
In 2004, after sitting dormant for almost half a<br />
century, a locked closet was finally opened at<br />
the Blue House Museum—Frida Kahlo’s family<br />
home. This closet had been ordered sealed<br />
around the time Diego Rivera died in 1957,<br />
Heard Museum Curator Janet Cantley says.<br />
In Frida’s closet, museum workers found<br />
clothing and personal objects, letters and<br />
thousands of photographs, and even her<br />
prosthetic leg, Cantley says. Because she<br />
spent much of her life in convalescence,<br />
letter writing and taking photographs were<br />
very dear to her heart. For Frida these<br />
processes allowed her to stay connected<br />
to the outside world. “Photography and<br />
letter-writing kept her in touch with people,”<br />
Cantley says.<br />
Frida: Her Photos is on view in the Bernard<br />
Jacobson Gallery, a two-story space on the<br />
Western side of the Heard Museum. The<br />
exhibit is divided into six expressly themed<br />
sections, including Frida’s Origins; The Blue<br />
House (her childhood home, and the house<br />
where she died); Politics, Revolutions and<br />
Diego; Her Broken Body; Frida’s Loves; and<br />
Photography. More than 6,000 photographs<br />
were discovered in the Blue House closet,<br />
Cantley says. Among them were some<br />
historic daguerreotypes and other antiques.<br />
Of the items discovered, most were in<br />
very good condition; not many required<br />
restoration.<br />
To add to the narrative, many of the<br />
photographs are marked by Frida’s special,<br />
personal touches, Cantley explains. For<br />
example, some of the photos have faces and<br />
bodies of people Frida may not have been<br />
getting along with cut out of the picture. One<br />
photo of Diego Rivera with his first wife was<br />
found folded in half so Frida wouldn’t have<br />
to look at this rival. Another photo of Rivera<br />
is marked with Frida’s bright red lipstick kiss,<br />
“almost like a comment directly from Frida!”<br />
Cantley says. Many of the notations from the<br />
backs of photos have been enlarged and adorn<br />
the gallery walls.<br />
Within the photography section are not only<br />
photos shot by Frida and of Frida, but also<br />
images by Manuel Álvarez Bravo, Nickolas<br />
Muray, Gisèle Freund, Martin Munckácsi,<br />
Man Ray, Edward Weston and Guillermo<br />
Kahlo (Frida’s father). Many of these<br />
JAVA 35<br />
MAGAZINE
well-known photographers were friends,<br />
associates and colleagues of Frida’s, Cantley<br />
says, so it’s fitting that their works should<br />
appear in this recently unearthed collection<br />
of her prized possessions.<br />
Frida Kahlo grew up around her father’s<br />
photographic studio and reportedly even worked<br />
as his assistant from time to time, helping mix<br />
chemicals and process prints. There is no doubt<br />
her early artistic interests were fostered and<br />
supported in her family home.<br />
Among her photos are not only self-portraits<br />
from which she painted, but also photos of her<br />
beloved animals. Frida was known for keeping<br />
a menagerie in her house that included cats,<br />
monkeys and birds. Some of her beloved dogs<br />
were Xoloitzcuintli, a breed of Mexican hairless<br />
dog that looks similar to the Chihuahua, but<br />
with longer legs. At the exhibit’s opening, fans<br />
of Frida and this famous breed will be allowed<br />
to bring their dogs, and many are expected to<br />
show up in costume.<br />
36 JAVA<br />
MAGAZINE<br />
As an extension of the traveling show of<br />
photographs, the Heard Museum invited local<br />
artist collective the Phoenix Fridas to curate<br />
a related show honoring Frida Kahlo. For Los<br />
Favoritas de Frida, the Phoenix Fridas scoured<br />
the Heard’s permanent collection for items that<br />
connected to Frida Kahlo’s life and indigenous<br />
roots and assembled a collection including<br />
objects such as Oaxacan women’s garments,<br />
ceramics and textiles.<br />
Displayed centrally are some Zapatec tapestries<br />
from Oaxaca, which museum staff say are<br />
very rare. The walls of the Lovena Ohl Gallery,<br />
located closer to the museum’s entrance, are<br />
painted in daring greens, blues, yellows and<br />
reds to match the vibrant colors of Frida’s<br />
artwork and the decorative arts of Oaxaca.<br />
The Los Favoritas exhibit includes hands-on<br />
activities for Frida fans of all ages, including a<br />
letter-writing station (Querida Frida) and a mock<br />
kitchenette called Cooking with Frida where<br />
younger visitors can pretend to fry felt tortillas<br />
and stir kettles over an imaginary cooking fire.<br />
Opening weekend, human-sized puppets,<br />
or flacas (the artistry of Carmen and Zarco<br />
Guerrero) will dance around the courtyards of<br />
the museum. The flacas are built as giants, and<br />
a human player, or puppeteer, animates them<br />
from inside. One of these flacas, an enormous<br />
Frida puppet, on loan from the Guerreros, will<br />
greet patrons at the door near admissions.<br />
First Friday (Nov. 6) should be a full house at<br />
the Heard when the museum hosts “Frida in<br />
Focus” from 6 to 10 p.m. Guests are invited to<br />
dress up as Frida and her friends (there will be<br />
a photo booth on site), and local dance artist<br />
and choreographer Liliana Gomez will present<br />
a special dance performance. Gomez invited<br />
six other dancers and cast them in solos and<br />
duets based on some of Frida Kahlo’s paintings,<br />
including The Two Fridas, Frida and Diego Rivera,<br />
and Self Portrait with Cropped Hair, as well as a<br />
photo of Frida by Nicholas Muray.<br />
Gomez explains her personal connection to<br />
Frida Kahlo in her artist statement. “The work
I created is based on the research I did on<br />
each painting and also reflects what she<br />
means to me as a female artist. Each dance<br />
is emotional and heartfelt, and after viewing<br />
them all, I hope the museum patrons can<br />
gather the connection between them. Each<br />
piece created for the evening represents<br />
different versions of Frida; who she was as<br />
an individual, who she was in her marriage,<br />
her sexual fluidity, the woman Frida wanted<br />
to be, and who she became after her death,”<br />
Gomez writes.<br />
“My family spent Saturday afternoons sharing<br />
stories about art and history from my culture.<br />
We learned about Frida Kahlo and many other<br />
painters from Mexico,” Gomez says. “My<br />
parents collected Mexican-inspired art and<br />
home decor, and every weekend we searched<br />
for beautiful objects and bright colors to<br />
add to the warmth of our home. The home<br />
my parents created inspired creativity and<br />
imagination. In a way, it was a prelude to my<br />
life as an artist.”<br />
Also the night of Nov. 6, musician Ruben<br />
Galicia will perform in the Central Courtyard<br />
and Clandestino will perform in the Steele<br />
Auditorium. The Palabra Collective will also<br />
be on site, creating “Frida-style hairstyling”<br />
for a $10 donation.<br />
The Heard will also host a Frida-inspired<br />
dining experience, “Fiesta con Frida,” Dec.<br />
4, Cantley says. “Fiesta con Frida” will offer<br />
a buffet-style party spread including mole,<br />
poblano peppers, meatballs in chipotle sauce<br />
and corn pudding with chiles in cream. The<br />
dishes that will be served are based on Frida’s<br />
Fiestas: Recipes and Reminiscences of Life<br />
with Frida Kahlo, co-authored by Guadalupe<br />
Rivera, Frida’s step-daughter. Tickets are<br />
$35 for members and $45 for non-members,<br />
available online.<br />
Frida Kahlo’s life was short; she died at<br />
age 47 in 1954 after undergoing more<br />
than 30 surgeries for complications after a<br />
devastating bus accident she suffered during<br />
her college years. But her intensity and<br />
eccentricity inspired generations, and through<br />
her many loves, she lives on.<br />
January 31, 2016, the Heard hosts “Espiritu<br />
de Frida,” a panel discussion on contemporary<br />
Latina artists. The panel will include<br />
Vanessa Davidson, Phoenix Art Museum’s<br />
Curator of Latin American Art. For more<br />
Frida-inspired events at the Heard Museum,<br />
visit www.heard.org.<br />
Frida Kahlo, by Lola Álvarez Bravo, ca. 1944 ©Frida Kahlo Museum<br />
Frida Kahlo, by Guillermo Kahlo, 1926 ©Frida Kahlo Museum<br />
Frida stomach down, by Nickolas Muray, 1946 ©Frida Kahlo Museum<br />
Frida painting the portrait of her father, by Gisèle Freund, 1951 ©Frida Kahlo<br />
Museum<br />
Frida Kahlo after an operation, by Antonio Kahlo, 1946 ©Frida Kahlo Museum<br />
Diego Rivera (in his study at San Ángel), Anonymous, ca. 1940 ©Frida Kahlo<br />
Museum<br />
Frida Kahlo in the Blue House, Anonymous, 1930 ©Frida Kahlo Museum<br />
JAVA 37<br />
MAGAZINE
GIRL ON FARMER<br />
A Purrfect Plan<br />
By Celia Beresford<br />
Wait a second. It is November already? How<br />
the hell did that happen? That means it’s almost<br />
Thanksgiving, aka, Festivus for those of us who<br />
don’t believe in celebrating a little thing called the<br />
slaughter of the natives. Thanksgiving is so rude.<br />
Basically some English folk came over to escape<br />
oppression from their king and nearly starved to<br />
death. Some empathetic Wampanoag (naïve tribe<br />
on the East Coast) decided to teach them what’s<br />
what and saved their lives. They have a big feast to<br />
celebrate living! Fast forward two weeks and the<br />
English decide to repay the favor by rape, pillaging,<br />
enslavement and oppression. Happy Thanksgiving,<br />
everyone! Let me just answer the question I know is<br />
on your mind right now: Yes, I am available for dinner<br />
parties if you’d like to bring me as a Debbie Downer<br />
to your family table.<br />
Whew, I really had no intention of giving you a quick<br />
history lesson like that. It just slipped out. I guess<br />
when you know big words like Wampanoag and<br />
oppression you just need to find a place to showcase<br />
them. Anyway, now you have some verbal ammo<br />
to cause a ruckus at the dinner table. What I really<br />
wanted to talk about is vaping. What did I want to<br />
say about it? Just. Don’t. No. One. No one looks<br />
suave with the ole vape pen. Not that smoking is<br />
cool these days, but I have to say I’d rather everyone<br />
risk some throat cancer and smoke some good ole<br />
fashioned cigs than to vape. Even the name, vape.<br />
Vaping? You’re vaping? No. Stop saying it and stop<br />
doing it.<br />
Also, those tiny water bottles? I need everyone to<br />
stop that, too. All water bottles are bad and evil, but<br />
I’ve already schooled you in history, I’m not going<br />
to give a rundown of Environmental Science 101:<br />
Global Warming. So, let’s put aside that all plastic<br />
water bottles are inherently stupid. Those teeny tiny<br />
ones? Extra stupid. Because they are smaller than<br />
baby bottles and no grown person should have one.<br />
I saw someone walking around campus the other<br />
110-degree day acting like that drip-drop of water<br />
was really refreshing. Those bottles hold less water<br />
than a Dixie bathroom cup. You may as well just fill<br />
up your mouth before you leave the house and hold<br />
it there like a chipmunk until you’re thirsty because<br />
it’s probably more water than you get in one of those<br />
38 JAVA<br />
MAGAZINE
Andrew Bird<br />
I don’t know what the maximum checkout is.<br />
Maybe if you’re having a rough day you can<br />
check out like five kittens. Also, I wonder how<br />
they organize all those kitties. Do you think<br />
they use the Mew-ey Decimal System?<br />
mini guys. They are just pointless in the type of heat we are dealing with over<br />
here in the desert.<br />
So far I’ve given you a few things to feel bad about (pillaging and plunder) and<br />
a few things to never get involved with (vaping, mini water bottles). Now, in the<br />
spirit of the month, I will concede to one thing you should be happy and thankful<br />
to know about—kitten libraries. Apparently, someone who is smart decided that<br />
people are stressed out at work and they could use a little love and relaxation<br />
during the workday.<br />
Yes, in Las Cruces, New Mexico, there is a kitten library in the county office. And<br />
just like the name suggests, employees can go down on their breaks and check<br />
out a kitten. All they have to do is show their ID to the librarian and she lets them<br />
pick out a kitten or two so they can snug bug. Actually, I don’t know what the<br />
maximum checkout is. Maybe if you’re having a rough day you can check out like<br />
five kittens. Also, I wonder how they organize all those kitties. Do you think they<br />
use the Mew-ey Decimal System?<br />
Anyway, so this librarian, uhm, can I have her job? I’m not sure when I decided I<br />
want to be 72 and hold kittens all day, but I do. Obviously, or how would I have<br />
even known that a kitten library existed? (How, also, would I know that if you<br />
Google “cat, duck babies, friends” you will find an adorable video that shows a<br />
cat taking care of baby ducklings?) So, we all need to move to Las Cruces and<br />
work for the county. I think with a little innovation a bar can be added to this<br />
whole setup, and it will be called “Cocktails and Kittens,” with a one-kitten,<br />
one-drink limit. Everyone will be ready to relax and have a nice day at work.<br />
The world would certainly be a better place if kittens were readily available for<br />
holding at random places.<br />
I think I might be on to something. Why are just the Las Cruces people getting<br />
this purrsonalized treatment? Kitten libraries should expand beyond the<br />
workplace and to lots of public places when people need to chill. What about the<br />
airport? Have a layover? Miss your plane and you’re all angry? Turn that frown<br />
upside down. Just head over to the kitten corral and get yourself some TLsnug.<br />
And why stop at kittens? Let’s include some other cute-ass animals in all this. I<br />
want to say puppies, but I think they are a little too crazy for this program. Who<br />
can fill the gap? Baby bunnies, baby chicks and maybe some baby chinchillas.<br />
I’ve gotta say, I think this idea is going places. Even better, everywhere it goes people<br />
are going to smile and relax. And that is something we can all be thankful for.<br />
NOV. 7 & 8 | 10:30 A.M.–5 P.M.<br />
A two-day outdoor music festival featuring:<br />
• Ozomatli, Run Boy Run, TriBeCaStan, Victor Wooten,<br />
Phoenix Afrobeat Orchestra, and more!<br />
• Food trucks<br />
• Four Peaks beers and Arizona wines<br />
Tickets and lineup at MIM.org<br />
MIMFest is a rain-or-shine event.<br />
No refunds or exchanges.<br />
Programming subject to change.<br />
#MIMFEST
NIGHT<br />
GALLERY<br />
Photos By<br />
Robert Sentinery<br />
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1. Partida Tequila pretty at AZ Taco Fest<br />
2. Get your kicks with the crew from Proof at the Four<br />
Seasons<br />
3. Denise’s show at First Studio<br />
4. Met these blondies in the tequila tent<br />
5. Cool country singer Brea Burns at the Rhythm Room<br />
6. Angelica and Leonor at Chaos Theory<br />
7. The tartan crew from Rare Scarf in the house<br />
8. Beth shows up for Dinner in the Stacks library benefit<br />
9. The plaid couple at Rhythm Room<br />
10. Candice’s opening at Tempe Center for the Arts<br />
11. Babes at Valley Bar-land
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12. Rachel and Matt at Chaos Theory<br />
13. Interesting couple at SideBar<br />
14. My… what big cameras you have<br />
15. Back door shenanigans at Crescent Ballroom<br />
16. Two of a kind at Blunt Club<br />
17. Christine’s installation at TCA<br />
18. Crescent Ballrooms 4-year fete<br />
19. Getting our Blunt Club on at Valley Bar<br />
20. Sending lots of love to Chris<br />
21. First Friday at Chartreuse Gallery<br />
22. Chaos Theory with this cute couple<br />
23. Double-fisted whiskey girl<br />
24. DJ Dana and Forrest at the Rhythm Room<br />
25. Lauren and Laura and {9}<br />
26. Pretty lady and her entourage<br />
27. Victor and Saskia at Dinner in the Stacks<br />
28. More fun at Chaos Theory with this stylish trio<br />
29. Sure, you can pour me a shot
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30. Randy’s epic Burt for Chaos Theory’s Sweet Sixteen<br />
31. It’s a Paris sandwich<br />
32. The Sullivan clan at Legend City Studios<br />
33. Hot Bird Andria and pal at Valley Bar<br />
34. These guys rocked the Crescents 4-year party<br />
35. Angela’s impressive installation at TCA’s “Green and Grey”<br />
36. Look who showed up for Chaos Theory<br />
37. Lindsay and Bill at Tara Sharpe’s opening at {9}<br />
38. Pretty trio with pup<br />
39. More Rare Scarf fashion magic<br />
40. Bessie and Steve show up for Marc’s big 4-0<br />
41. All together now—Blunt Club at Valley Bar<br />
42. Chaos Theory’s sweet sixteen<br />
43. Snapped these two peas in a pod at Crescent<br />
44. Treeo 1-year featuring Fred Tieken’s work<br />
45. Drinks and beats at Blunt Club<br />
46. Hip-hop heads in the house at Valley Bar<br />
47. Peewee Moore at the Rhythm Room
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48. Hamm-in’ it up at Blunt Club<br />
49. MEI Gallery Scottsdale grand opening with director Mary Irene<br />
50. It’s the triple threat<br />
51. Check out Mitch Freedom’s Phantasmagoria<br />
52. Drinks at The Hive courtesy of Colton Brock from Barrio Urbano<br />
53. Daniel is taking care of business at Taco Fest<br />
54. Scott with purple-haired pal at Blunt Club<br />
55. This cutie’s bringing the Sweet Heat<br />
56. “Gods and Kings” book signing with these VBM beauties<br />
57. Matt and his Official Road Code pal at Crescent<br />
58. Monique and Jacob at the VHRA reception<br />
59. Zane and pal with Tieken art at Treeo<br />
60. Tacos and tequila girls at Taco Fest<br />
61. Shane and Tiffany at Chaos Theory<br />
62. Doug from Otro and Gennaro at AZ Taco Fest<br />
63. VHRA media reception at the AZ Biltmore<br />
64. Super friendly Taco Fest attendees<br />
65. Fred, Gail and Pedro at Tilt Gallery
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66. Love the lady with the edible dress at the VHRA mixer<br />
67. “I hate tacos” said no Juan ever…<br />
68. Kellie’s moonlighting as the DeLeón tequila girl<br />
69. Hanging with the crew from Toro at TPC Scottsdale<br />
70. more tequila shots in the tequila tent<br />
71. Intriguing trio at the AZ Biltmore<br />
72. “Gods and Kings” book signing at PAM<br />
73. Native inspired fashion on this pretty chick<br />
74. Nice talking to this friendly gal from the Royal Palms<br />
75. Ed’s rocking the State 48 tee<br />
76. Milagro bottle service<br />
77. American Valet in the house at the VHRA mixer<br />
78. Espolon tequila meets Chaco Flaco at Taco Fest<br />
79. Happy hour at North Arcadia<br />
80. These guys came to see Peewee at the Rhythm Room<br />
81. MEI Gallery Scottsdale grand opening<br />
82. Deseo crew meets Proof princess at the VHRA reception<br />
83. Adam takes a break from painting at Blunt Club
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SPRING 2016<br />
CLASSES<br />
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First<br />
Friday<br />
At Phoenix<br />
Art Museum<br />
NOVEMBER 6, 2015<br />
FREE, 6-10 PM, CASH BAR<br />
LA DOLCE VITA<br />
GARDEN PARTY<br />
DORRANCE<br />
SCULPTURE GARDEN<br />
In celebration of our current fashion exhibition<br />
The White Shirt According to Me: Gianfranco<br />
Ferré, we’re throwing a fabulous Italian themed<br />
garden party for everyone to enjoy.<br />
Free exhibition admission, one night only.<br />
phxart.org / @phxart