Java.NOV.2015

240 • NOV 2015
CAMILL E
SLEDGE
LALO COTA • BILL DAMBROVA • FRIDA KAHLO PHOTOGRAPHY • GIANFRANCO FERRÉ

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CONTENTS
8
12
22
32
34
FEATURES
LALO COTA
From Folklore to Phoenix
By Rhett Baruch
CAMILLE SLEDGE
Soul PAOwer
By Demetrius Burns
Cover:
Camille Sledge
Photo by: Enrique Garcia
8 12 22
34
THE WHITE SHIRT
According to Me
Photography: Hilary Ramos
Styling: Margaret Merritt
BRYANT VAZQUEZ
All Damn Day/The Greatest Hits
By Mitchell L. Hillman
HEARD MUSEUM
Brings Frida Kahlo to Life
By Jenna Duncan
COLUMNS
7
16
20
30
38
40
BUZZ
Folklore, Family and Frida
By Robert Sentinery
ARTS
Pedro Guerrero Photography
By Amy L. Young
Gianfranco Ferré Fashiony
By Jenna Duncan
Bill Dambrova
Anatomy of a Painter
By Amy L. Young
FOOD FETISH
The Return of Silver Dragon
By Sloane Burwell
SOUNDS AROUND TOWN
By Mitchell L. Hillman
GIRL ON FARMER
A Purrfect Plan
By Celia Beresford
NIGHT GALLERY
Photos by Robert Sentinery
JAVA MAGAZINE
EDITOR & PUBLISHER
Robert Sentinery
ART DIRECTOR
Victor Vasquez
ARTS EDITOR
Amy L. Young
FOOD EDITOR
Sloane Burwell
MUSIC EDITOR
Mitchell L. Hillman
ASSOCIATE EDITOR
Jenna Duncan
CONTRIBUTING WRITERS
Rhett Baruch
Celia Beresford
Demetrius Burns
Tom Reardon
PROOFREADER
Patricia Sanders
CONTRIBUTING PHOTOGRAPHERS
Enrique Garcia
Hilary Ramos
WEB DESIGN
Allen Sentinery
ADVERTISING
(602) 574-6364
Java Magazine
Copyright © 2015
All rights reserved.
Reproduction in whole or in part of any text, photograph
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JAVA MAGAZINE
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email: javamag@cox.net
tel: (602) 574-6364
www.javamagaz.com
4 JAVA
MAGAZINE

Carolyn Lavender, Portrait (detail), 2011,
graphite and gouache on canvas, 45 x 86”
DRAWN TO THE AIRPORT?
COME AND SEE ART
Happy Hour
Drawing With Everything
Terminal 4, level 3, eight display cases
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Phoenix Sky Harbor International Airport
skyharbor.com/museum | 602 273-2744
Monday - Friday | 7AM-6PM
WINES BY-THE-GLASS
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SELECT COCKTAILS
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FIRST FRIDAYS
AT THE HEARD
FEATURING painter Ruben Galicia in the
courtyard from 6 to 8 p.m. Supported by
the Margaret A. Cargill Foundation.
LILIANA GOMEZ + PHOENIX FRIDAS
KAHLO MERCADO + CLANDESTINO
HAIR BRAIDING by PALABRA COLLECTIVE
NOV. 6 | 6 TO 10 P.M. | FREE*
Encanto/Heard Museum Light Rail Stop
2301 N. Central Ave, Phoenix, AZ 85004
heard.org/firstfridays
* Museum admission and some events are free.

FOLKLORE, FAMILY AND FRIDA
By Robert Sentinery
BUZZ
The arts have always been a fertile territory for dissent and a voice of the
repressed. During my youth in the ’70s, the Chicano movement was very
strong and highly publicized in Phoenix, as Black Power was in cities back
East. While that sense of zeal may be lacking today, progress made during
those more radicalized years carries forward. Being the capital city of a
border state provides Phoenix with an endless amount of artistic influence
and inspiration.
One of our most prized visual artists, who has risen from the streets, is
actually an immigrant from Sinaloa, Mexico. Lalo Cota left his hometown
when he was only eight and brought with him an awareness of folklore
and culture ingrained by his grandmother. He blends that imagery (often
associated with Dias de los Muertos) with the common symbols of Chicano
life, such as lowriders that are more like fantastical sculptures. This fusion
of folklore and modern iconography, tempered by sheer talent and a high
degree of craft, has made Cota’s work stand out and a favorite among local
luminaries, including chef Silvana Salcido Esparza (see “Lalo Cota: From
Folklore to Phoenix,” p. 8).
As the lead singer and frontwoman for the band PAO (Phoenix Afrobeat
Orchestra), Camille Sledge has some pretty large shoes to fill. She grew up
in a family of successful musicians. Her mother and aunts formed the group
Sister Sledge, whose disco-era anthem “We Are Family” still lives on.
Often the children of successful artists will take a completely different path;
some even become lawyers or accountants. For Sledge, finding her place
meant moving around a lot—like a new city every three years. Lucky for us,
she has begun to put down roots here in Phoenix. As mother of two young
children and member of an awesome 15-piece band, she appears to officially
have her wanderlust in check. Sledge talks about how having her own babies
and her mom nearby has really given her that sense of family that Sister
Sledge sang so passionately about back in 1979 (see “Camille Sledge: Soul
PAOwer,” p. 12).
As of late, perhaps no other artist of the 20th century has captivated our
imagination as much as Frida Kahlo. Her life story is magical yet deeply
tragic, and her trajectory as an artist is skyrocketing, albeit posthumously.
This month the Heard Museum opens the show “Frida: Her Photos,” and the
timing couldn’t be better. The beginning of November is when Mexico honors
its dead, so this timing seems especially apropos. The photos on display
come from a collection of Frida’s personal effects that were locked in a room
in her home until 2004. A not-be-missed night of festivities honoring all
things Frida will take place on First Friday, Nov. 6, at the Heard Museum (see
“The Heard Museum Brings Frida to Life,” p. 34).

8 JAVA
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Photos by Jaryd Neibauer

Lalo Cota
From Folklore to Phoenix • By Rhett Baruch
Not too long ago, many viewed street art in a negative way—perhaps, in
a gang-related type of way. But what we now have throughout the Valley
has realistically beautified buildings that often had been nothing more than
forgotten structures. I’m not sure what could be worse than staring at a
taupe or tan-colored wall on your commute or during your exploration of the
city—but I’m glad things have gone this way.
Many, including some of our politicians, agree that this is a step in the right
direction. In fact, the art form and the projects that have come along have
become increasingly accepted by the masses in the Valley. It’s obvious that
the murals have provoked locals and visitors to explore, in turn stimulating
local business, which is yet another way to create a point of destination and
encourage walkability—a concept that is finally becoming more of a reality.
For most locals, transportation and public services have made up a lot
of ground over the past decade. A lot of good moves, but perhaps there
have been some poor decisions regarding how we should create artistic
attractions and what assets are granted to particular artists.
Last year I sat in on some panels at the AIA downtown. Walkability was the
main topic, and there were ideas from all sorts of professionals. However,
most of these solutions required a lot of capital and engineering. Working
with what is already present is not only a more economical route, but also
ecological. It also allows creation to occur more quickly.
Someone true to his game since day one of the Phoenix street art scene,
Lalo Cota has been creating what he likes, primarily where he chooses, for
20+ years. Cota moved here from Sinaloa, Mexico, at the age of eight and
is mainly inspired by Chicano folklore and lowrider culture. The folklore that
inspires his work is about teaching lessons in a darker way to scare children
into doing the right things in life. Most of his works, however, do not
present an alarming amount of horrific scenery; they are more on the playful
end of things. Expect a vast array of bright colors, bomb lowriders, Arizona
skylines, desert plant life and Dias de los Muertos skulls. Also, there are
the occasional stabs at your not-too-friendly state politicians, clever and
always fun to look at.
I interviewed Lalo Cota as he was starting his newest piece on 5th Street,
a location where some of our current top muralists, including Cota, Pablo
Luna, Angel Diaz, Breeze, and JB Snyder, made their start.
JAVA 9
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Explain how Chicano folk art affects
your work.
The piece that I’m working on now is a common
image from Mexican folklore: La Llorona, the
weeping woman, who is actually quite dark
and horrific in her history. Most every culture
has folklore or tales, and this is one that my
mother and grandmother told me specifically
to prevent me from going out at night—a
scary story to keep kids off the streets and
out of trouble. I guess you could say it worked
because I resorted to painting instead of being
up to no good.
Is there a meaning intended for each
piece? If so, how can viewers interpret it if
they are unaware of the background?
I don’t like to predefine what a piece might
mean for someone. Every piece is individual,
and I don’t often title my work for that reason.
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Since so much of my work is public, there is
often something that I like to keep for myself.
Plus it’s more entertaining, to see how people
read into it and interpret how it relates to them.
When sending a specific message, I may assign
a title, but it’s usually open for interpretation.
It’s interesting for me to hear how pieces relate
to or move people.
What type of evolution has taken place
in your work?
I have become more technical, more refined. If
you were to look at something from 10 years
ago, the same image today would be cleaner
and the expression I want to capture would be
more crisp. It’s something I’ve heard a lot lately
as well—about the cleanliness of my work—so
I know it’s showing too. One technique that
I’ve changed is using less bold outlines, which
creates less of a tattoo or cartoon style. The
images become more realistic in how alive
they look and a lot of that comes with using a
lot more shadowing and more color hues for
blending. For me, it’s really worth it in the end.
What keeps you inspired to make art?
Art has taken me on its own path of success.
If you follow your instincts and do what you
love with passion, then only you are able to set
your limitations. It’s great for me to not need a
steady 9-to-5 job, and that’s been the case since
June of 2000. I’ve lived a better life since—less
stress and more money, honestly.
What’s the most notable thing to happen
while you were painting?
It doesn’t happen too much anymore, but cops
used to mess with me a lot. I’ve mentioned
this before, but random people come up and

appreciate what you do. There is one instance
that felt especially sincere. I was painting
Tacos De Juarez off 7th Street and I noticed
somebody from across the street watching me
paint. I painted for a few hours and the guy
watching me asked if I wanted anything from
Circle K or any money, which he pulled out from
his jacket. It was very apparent this guy was
homeless, but he just wanted to let me know
he enjoyed watching me paint—and he stays
in the neighborhood. Because of his situation
and what little he had to offer, it really made
me appreciate the sincerity of the offering and
compliment. If I ever felt someone was genuine
with me, this would be the moment.
my hometown of Sinaloa, Mexico. I left when I
was eight and, truthfully, I have not been back
since. There was a recent instance where my
brother recognized an art piece of mine tattooed
on a woman who happened to be from Sinaloa.
It reminded me in a way, why I need to go
pay my respects and possibly gain some new
perspective.
www.lalocota.com
facebook.com/lalo.cota.7
instagram.com/lalocota/
What do you imagine being next?
Next for me for would be to get some traveling
done that I have been planning. For the past
20 years, Phoenix has been my main focus for
art and creation. I’m very interested in touring
JAVA 11
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12 JAVA
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Camille
Sledge
Soul
PAOwer
By Demetrius Burns • Photos Enrique Garcia
Camille Sledge apologizes when I finally connect with her.
Her mom kept her on the phone too long—something that
happens often to her and to others who are close with their
parents. Sledge’s mom is a typical mother, apart from the
fact that, well, she was part of the super group Sister Sledge, which
created the international hit “We Are Family” in 1979 at the height
of disco.
Some artists are reticent to talk about their influences because
it might expose their work as mimicry or seem to discredit their
individual aesthetic, but with Sledge—who is the lead singer of
Phoenix Afrobeat Orchestra—it’s obvious who her main influence
is, and she’s not shy about it.
“I saw my mom [while] growing up,” said Sledge. “I saw how she
was able to reach people. I would see people cry and thank her.”
It wasn’t until Sledge became a mother herself—she has threeyear
old daughter and an eight-month old son—that she realized
her true calling in music was to continue the positive message
espoused by her mother. “The kids are getting messages from music
that are just wrong. Once you have a message that is spread across
the masses and it’s a good message then the masses want it. When
people want to hear your good message that means you’ve done
something in the world.”
Her mother performed with the Jackson 5 and other huge acts, but
in ordinary life she was one of the people. She would walk into
grocery stores wearing sweats and her hair in a bun; she’d feed
and pray for every homeless person she came across. That’s just
the type of person she was, Sledge said. Though fame required her
to travel, Sledge remembers her mom always being there for her.
“My mom was the one constant. I don’t know if she knows that,
but she was a very good mom. She raised six of us and none of us
are addicts or in jail,” Sledge said. What stands out to Sledge is
her mom’s ability to be a universal mother to the world—to see the
world as hurting and in need of family, in need of a hand. Sledge
wants to help provide to that to people through her music, as well.
In that way, the proverbial apple didn’t fall far from the tree. But
in many other ways Sledge is her own person. Whereas her mom
would walk into a grocery store in normal, humble clothes, Sledge
would be just fine walking in wearing a fur coat and sunglasses.
Sledge is one of those people who likes to talk about herself; it’s
natural and reflects a deep self-awareness that was nurtured by her
caring mother, whose shadow she felt she lived in as a performer
for a while. She doesn’t have the voice of her mother—the booming
R&B voice that’s typified by modern singers like Beyonce. Instead
her voice lends itself to funk and soul a bit more. Her voice was a
natural fit for the local super group PAO, a 15-member band that
plays in the Afrobeat tradition of Fela Kuti and Tony Allen and has
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
always galvanized by music. At one point she was part of a rap group in
New York, but they were criticized for sounding too much like The Fugees.
When she arrived in Arizona she wasn’t really aware of the music going
on in Phoenix until a friend told her about PAO and that they were looking
for a vocalist. She went to the rehearsal intending perhaps to sing vocals
on a few tracks, but after the rehearsal they asked her to become the lead
singer. What felt good to Sledge was the fact that they did this purely off
the strength of her voice—they hadn’t seen her perform, yet.
Sledge is a self-professed ham on stage, and she is able to take on a
litany of forms. “I like to act; I’m an actress. I need to do something more
theatrical on stage. There was never an opportunity for me to do that
with just one genre of music. I can dance like nobody’s business. I can go
outside of my own body with PAO and I can also rap and sing folk.” In that
way, Sledge is a full tour de force on the stage, whipping her body and
voice with every inclination in her spirit to the tribal rhythms brought out by
the band.
It seems like Sledge has found her fit and lives without regrets these
days, living a life of purpose and calm. “I have moved around a lot,
lived in like seven different states. I am a Gemini. We like change,
new things. We like to explore. When you have kids you have to have
some stability for them, so that’s good for the band situation. I normally
wouldn’t stay anywhere for very long. I might be somewhere for two or
three years, then I’d be out. Now I am getting this new visual on what life
is supposed to be,” said Sledge.
In terms of its message, PAO is inherently political, yet it tries to reach
many different people on myriad levels. According to Sledge, anyone
can make a good groove, anybody can make a song to dance to, but not
anybody can make a great song. The difference, for Sledge at least, is
whether the song can affect someone positively. If a song with a great
groove has a negative message, then it is not a great song—it’s just a
great groove.
As the primary songwriter for PAO, Sledge is trying to dismantle the
prevailing social injustices of the world one song at a time. PAO’s album,
set for release at the beginning of the year, includes a song called “Come
With Us” that is a continuation of the “We Are Family” message. As
Sledge puts it, “I’m part of you, you’re part of me. Let’s help each other
breathe.” The teamwork inherent in the conglomeration of PAO, bringing
15 people together to breathe and act as one musical organism, reflects
the reality of the planet: we need each other in all our divergent pieces.
PAO has a song that addresses police brutality, which is an issue that’s
been in the spotlight of late. However, many of PAO’s songs address longstanding
issues in the world that are often ignored. In that way, PAO is
here to remind us of the old African (though not limited to that) values
that can help bring us back to our core. PAO is a call back to the beat of
the world—the beat of love as a revolution where we all have a part to
14 JAVA
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Fresh Seafood
FLOWN IN DAILY
“Top 5 Best New Restaurants”
– Phoenix Mag
Courtesy of Camille Sledge
play because we need each other to make a joyful noise. “There are
so many things you can do with a microphone. [And] now we have the
Internet. There’s some power behind that. If you can say something
important it is worth it to try,” said Sledge.
For Sledge, it all comes back to being a mom. She describes herself as
a mom first, then an artist and activist. Her role as a mother informs
everything else in her life and how she views music especially. Like
her own mother, Sledge reaches out to the world and offers a hand.
She shares her voice, not to speak for the world but to speak with
the world. To sing in agony and joy, to dance in wonderment and
abandonment, but unequivocally to join the cacophony of sound of the
miracle called earth.
Music means a lot of things to different people. In its most raw form
it is a reaction to the earth. It is African in root, indigenous in voice
and powerful in all of its manifestations. For Sledge, language adds
a beautiful dynamic that pushes music into the realm of soul therapy.
She is helping liberate the earth from itself in many ways.
5632 North 7th St., Ste. 120
(602) 680-4044 | www.littlecleos.com

ARTS
Picnic at Taliesin, Spring Green, Wisconsin, 1940, Silver Gelatin Print.
Pedro E. Guerrero, Dinner with Julia, Cambridge, Massachusetts, 1962, Silver Gelatin Print.
Studio Self Portait, New York City, c. 1948, Silver Gelatin Print.
All images ©2015 Pedro E. Guerrero Archives.
PEDRO GUERRERO
PHOTOGRAPHY
at Mesa Contemporary
By Amy L. Young
Mesa Contemporary Arts Museum opened their fall
season with a series of strong, captivating exhibits,
including the group show Chicano State of Mind and
Take 10, which features art from legendary performer
Cheech Marin’s personal collection. Yonder Peasant...
The Photography of Pedro Guerrero is part of this roster
of stellar exhibits, one that should not be missed.
Guerrero’s career as a photographer included a
range of notable highlights, including the 20 years
he spent shooting the work of architect Frank Lloyd
Wright. A young Guerrero, who is from Mesa,
approached Wright with his portfolio in 1939,
and the architect gave him a job documenting his
work. Pedro spent the next year photographing
Wright’s Taliesin and Taliesin West estates, until
world events found him serving as a photo officer
in Italy during World War II. When he returned in
1945, Guerrero sought out Wright once again and
became Wright’s on-call photographer.
Guerrero based himself in New York City, where
his career started to flourish. He created quite a
name for himself, not only for documenting Wright’s
creations but also for his magazine work in prominent
magazines such as Harper’s Bazaar, Home and Garden
and Architectural Forum, showcasing the intriguing
work of modernist architects such as Philip Johnson
and Edward Durell Stone.
Guerrero’s subjects were not limited to architecture.
Some of the most iconic pieces he photographed
for his magazine clients include actor/director John
Huston’s castle in Ireland and Julia Child’s kitchen
in Cambridge, Massachusetts. The latter happened
in 1962 in correlation with the publication of Child’s
first book, Mastering the Art of French Cooking. The
spread was for House and Garden, and Pedro’s
widow and archivist Dixie Guerrero says that
the famous chef cooked duck à l’orange for the
magazine folks that day.
Dixie, a writer, met Pedro at Taliesin West in 1987.
She reached out to the Mesa Contemporary’s curators
because, in addition to her admiration for the venue,
she felt that it was important for Pedro finally to have
an exhibit in his hometown. “We wanted to honor
both Pedro and the Guerrero family. They have deep
roots in Mesa. The family owns a sign company that
has existed since the 1920s. It was wonderful to have
dozens of family members in attendance.”
“Dressed Up for Easter” is a silver gelatin print, like
Guerrero’s “Studio Self-Portrait,” that—also like
the self-portrait—isn’t exhibited often (exhibits of
Guerrero’s work are often of an architectural focus).
The former is a sweet and universally classic shot
that highlights familial cohesiveness while subtly
exemplifying the individuality of each member. In the
latter, the artist himself is featured at his desk; the
waning sun creates patches of light across his body.
In a shirt and tie, minus the suit jacket, Guerrero
enjoys a cigarette as the smoke swirls in waves
around him. All signs point to it being the day coming
to a close, and Pedro’s expression is intense as he
squints a bit from the light, perhaps pondering the
occurrences that took place prior to this moment.
“Picnic at Taliesin” shows Wright and other creative
minds lounging in the tall grass, while “Robert
Llewellyn Wright House” offers an alluring look at
this Maryland home, which Wright constructed for
one of his children.
Mesa Contemporary’s associate curator, Tiffany
Fairall, says, “The exhibition provides a brief
snapshot into the remarkable life and career of this
significant artist, who came from provincial Mesa and
gained access to some of the most pivotal artists of
the 20th century.”
Yonder Peasant...The Photography of Pedro Guerrero
Through January 17th
Mesa Contemporary Arts
mesaartscenter.com
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Sailor Glam shirt, S/S 1982, prêt
á porter, look 84, silk organza,
honeycomb patterned cotton
pique Photo by Luca Stoppini.
Scomposta shirt, F/W 1994, prêt
á porter, look 96, nylon tulle, silk
taffeta. Photo by Luca Stoppini.
Grey silk trench coat, Prêt-à-
Porter, Spring/Summer 1988
Pencil, fine black felt-tip
pen, colored felt-tip pen on
construction paper, Courtesy of
Gianfranco Ferré Foundation
GIANFRANCO FERRÉ FASHION
at Phoenix Art Museum
By Jenna Duncan
The white shirt is like a blank drawing board upon which
a skilled designer can showcase his or her originality,
creativity and personal touch. Variations on a woman’s
white shirt became a hallmark of Gianfranco Ferré’s
fashion career. With a deep background in design,
Ferré first trained as an architect. His work in fashion
is considered intellectual and powerful, detailed and
technical, and is strongly associated with the late
20th-century movement of power dressing, for career
women who still displayed femininity in their modern
suits and accessories.
This exhibition of the designer’s structured-oriented
work has been put on view in a variety of different
architectural contexts. The show originated at the
Foundazione Gianfranco Ferré in Prato, Italy, where
most of Ferré’s garments were produced. According
to PAM’s curator of fashion, Dennita Sewell, “It was
at Prato, then in Milan at the Palazzo Reale—right
in the central square next to the Duomo in a historic
building—so first a 19th-century space, then a
Baroque space and now our very contemporary
American space.”
The Steele Gallery at PAM has undergone a complete
transformation from its traditional white walls to a
high-contrast, modern labyrinth, almost like a sci-fi
movie set, to support the show. At the entry of the
exhibit, long curtains of tulle are illuminated by
projections of Ferré’s sketches. Visitors must brush
past these white draperies and then travel through a
dark geometric archway to enter the main gallery.
The entire room has been transformed with geometric
niches and hallways that curve and then reveal the
enormous, wide-open Steele Gallery. The pathways
and way-finding into the exhibit were crafted by
Richard Jensen’s WORKSBUREAU team—the same
group responsible for the Hollywood Costume exhibit
design. Ferré’s white shirts hang from triangular,
architectural clothing forms—a modernist nod to the
female form with wider shoulders and cinched waist.
They almost look like sails on sharp metallic masts.
Accompanying the 12 white shirts are magazine
clippings, sketches and other ephemera related
to each design. And at the far end of the room, a
gigantic mirror creates the illusion of an “infinity of
white shirts,” Sewell says. “We are really looking at
him as a designer who had an impact on setting the
styles of the ’80s and ’90s,” she says.
Playing overhead is Keith Jarett’s Köln Concert,
a contemporary classical piano piece recorded in
January 1975. “The architecture of that piece of
music is very much like the architecture of Ferré’s
style. There’s a real refinement to it, but a fresh
modernity,” says Sewell.
Down the dark exit hallway are X-ray–like prints
of many of garments, which help illustrate the
sophisticated and exacting constructions. Sewell
points to a round, flowing blouse assembled from
three concentric circles. Another white shirt, this
one with a corset and bracelet-like, free-hanging
cuff accessories, looks historically feminine (think
Victorian era) while simultaneously hard-edged (think
mild bondage allusion).
The White Shirt According to Me will be on view
simultaneously with a supporting show of Ferré’s
drawings, Gianfranco Ferré Designs, in the upstairs
mezzanine Ellman Gallery. This exhibit draws
together nearly seven dozen of Ferré’s sketches
and shows how these drawings are translated into
patterns to become actual garments. Ferré reportedly
once said that drawing was a supreme expression
of “freedom and rigor—creativity and tool,” but that
drawing was also a tool for summing up the general
parts of a project.
Programming around the two simultaneous shows
provides many “must see” opportunities for fashion
students, Sewell says. In addition to talks and an
opening-weekend panel, there will be a one-time “see it
free” screening of La Dolce Vita, as well as other Italian
film screenings throughout the season. “‘Made in Italy’
has a cachet that has developed over the years,” Sewell
says. “Ferré represents that cachet.”
The White Shirt According to Me &
Gianfranco Ferré Designs
Through March 6, 2016
phxart.org
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BILL DAMBROVA
Anatomy of a Painter
By Amy L. Young
Your Thoughts Are Not Your Own is an exhibit of 10
new paintings and a smaller selection of mixed-media
work by Phoenix-based artist Bill Dambrova. It opens
on November 20th at downtown Phoenix gallery Treeo.
Dambrova creates layered and complex artwork
that explores human biology in stunning anatomical
depictions. These powerful pieces bring what lives
beneath the skin to the forefront, providing viewers
both a unique perspective and window to our
multifaceted internal beings. the work is individually
and collectively so vibrant that it’s nearly impossible
to look away. The palette alone is gripping. Each piece
is alive and dripping with luscious color so bright and
engaging that you can’t hide from it. You’re compelled to
take a visual tour of the work to absorb these vivid colors
and the motion before allowing your eyes to settle on
the images as whole entities.
Though Dambrova’s work is a showcase of the life systems of the human body, it also is a nod to the depth
of the human mind, as the title suggests. It’s also reflective of the artist himself, whose exploration and
inquisitiveness about life and spirituality have led him on physical travels, as well as extensive research on
different cultures and their indigenous spiritual practices. He isn’t looking for one final answer to the mystery
of life but understands the importance of living in that mystery and continuing to seek out information that
helps him learn and grow. “Painting,” he says, “is a way for me to wrap my head around my thoughts and
ideas. I like to paint the unseen worlds that happen in our bodies and to create and express visual versions of
those worlds.”
Dambrova often works on multiple pieces simultaneously, allowing himself time to come back and revisit
them, which sometimes changes the focus or perspective and gives him the opportunity to add more imagery
and depth. In the final outcome, often the original images can’t be seen, but their intent and sentiment
resonate in the result.
The work has resonated with many people on multiple levels, and Dambrova is thrilled to hear from those
who have contacted him to say that the work has inspired them and helped them understand their physical
conditions in new and different ways. “These paintings have become communicative entities,” he says.
“I like that they can help people; healing ourselves, however that may be, is important.” He adds, “It also
makes painting feel like less of a self-indulgent act.”
In addition to his 20 years of painting, Dambrova has also had a successful career as an exhibit designer
at venues such as the Getty in Los Angeles and Phoenix’s own Heard Museum. He has recently garnered
attention from many who appreciate the intensity of his work. He was one of the recipients of the Phoenix Art
Museum’s Contemporary Forum grants in 2014 and has received much-deserved local and national press. The
exhibit runs until mid-December.
Bill Dambrova
Your Thoughts Are Not Your Own
November 20 – December 14
Treeo
treeohouse.com
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The Return of
Silver Dragon
By Sloane Burwell
Growing up in a tiny farming community, eating out was a bit of a luxury, and not
just because as my dad liked to remind me, “Restaurants are expensive.” Even
if we had won the lottery (we never did), there just weren’t that many options.
Surprisingly, our little rural community had one itty-bitty Chinese restaurant.
I remember being fascinated by the concept of Column A and Column B, and
that your dinner was likely to be called out by a number. It wasn’t General Tso’s
Chicken; it was #3. So when my dad decided to loosen his wallet, Chinese was
always my choice.
It’s no surprise that I spent years trying to find my favorite Chinese spot in the
Valley. It’s also worth noting that the question most commonly asked of me
is, “Where is the best Chinese spot in town?” Like all things in Phoenix, good
things often close down. As was the case with Silver Dragon. When they closed
a couple of years ago, I cried a little. And when I heard they’d opened again, I
felt like I was welcoming a long-lost friend. Surely, the spot that garnered 10
consecutive “Best Chinese Restaurant” awards hadn’t lost their mojo.
They have not.
Located next to a Filiberto’s (who will not waste a second having your car
towed, should you park in their lot), Silver Dragon’s parking lot is a bit of a
trick to access (pro tip: turn into Filiberto’s or else you’ll end up in the 17th
Avenue turning lane). Inside you’ll find an immaculately clean spot, run by a
very charming family. Their cuisine is Hong Kong style, which means it finds
influence from Cantonese cooking, as well as other global influences.
You’ll find these inspirations in dishes like French Style Filet Mignon with Black
Pepper Sauce ($13), a rather large dish of impossibly tender bite-sized filet,
tossed with mushrooms and onions. The tender, flavorful meat is made more
earthy by the mushrooms, and the pepper sauce is a nice compliment to the
onions, which are slightly sweet from the wok treatment.
But before I get ahead of myself, please note that Silver Dragon has two
menus. Ask for the Chinese menu—it’s much more extensive, and dare
I say, authentic and special. While you can order from the Americanized
menu, you’ll get American-style cuisine. Not that it’s something to scoff
at—dishes like #63, Shrimp with Cashew Nuts ($10.25), are lovingly prepared.
A giant plate of perfectly diced veggies and well-cooked shrimp in a light sauce
will disappear quickly, and with good reason.
But if you stay on that menu, you’ll miss things like Sui Kui Soup ($6.95), a Hong
Kong–style soup dumpling. Tender pasta wraps the tasty dumpling, loaded with
huge hunks of shrimp, ground pork and veggies, which floats in a tasty and
warming broth. It’s a pleasant appetizer for two, or even a wonderful dinner.
I’m a huge fan of the Scallops with Chinese Vegetable and Milk Puffs ($12).
Gorgeous scallops are cooking perfectly, releasing just enough sweet flavor to
complement the milk puffs—a dessert-like cream puff minus the filling. With just
a hint of umami flavor, these milk puffs manage to say “dinner” not “dessert.” The
veg is nothing to sneeze at here, either—a robust handful of well-cooked Chinese
broccoli makes this dish feel healthy.
Fans of noodle dishes will enjoy the Singapore-style flat rice noodle in curry sauce
($9.50). Impossibly thin noodles appear, slightly yellow from the mild curry. Pieces
of chicken, pork and shrimp dot the landscape, and the scent of Chinese five spice
wafts from the dish. This is the perfect intro to curry for the uninitiated. A gentle
hand keeps the curry from overpowering the shrimp and delicate noodles, and this
dish has the added perk of being large enough to feed a small army.
Crispy Hong Kong–style chicken ($10.50 for a half chicken) manages to blend the
crispy skin of a Peking Duck with the more gentle flavor of chicken. Their choice of a
leaner chicken means I enjoyed the skin bits. There’s a tendency for crispy skin to go
rubbery if there is too much fat. Not here—the skin is crispy to the end. Their
kitchen pays such attention to detail that this entree comes with a small dish of
house salt, which tastes faintly of soy sauce. I am deeply tempted to volunteer
to wash dishes for a shift to learn how this is made.
As for the service? The very kind and attentive family pays attention to what is
happening and how you are enjoying the meal. On one visit, we’d ordered far
too much food, and our inability to finish any dish did not go unnoticed. They
were relieved to know we loved them, we’d just ordered too much. Glasses get
refilled immediately, you’ll get help navigating the menu to find your perfect
dish, and leftovers are boxed by the staff.
I missed Silver Dragon when they were away. Happily, they are back and firing on
all cylinders. I’m overjoyed to have my favorite Chinese spot back—a culinary home
away from home. And with such generous portions of high-quality ingredients, even
my father couldn’t say, “It’s too expensive.”
Silver Dragon
1739 W. Glendale, Phoenix
silverdragonaz.com
Monday, Tuesday, Thursday & Sunday: 11:00 a.m. – 9:30 p.m.
Wednesday: Closed
Friday & Saturday: 11:00 a.m. – 10:00 p.m.
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White
The
Shirt
According To Me
Taking inspiration from the current
fashion exhibition at Phoenix
Art Museum, our latest editorial
demonstrates the timeless beauty
of the signature style showcased in
The White Shirt According to Me:
Gianfranco Ferré.
Known as the “architect of fashion”
and the purveyor of “power dressing,”
Italian designer Gianfranco Ferré saw
the white shirt as more than just a
classic. Over his 30 year career, he
deconstructed and reconstructed its
basic elements, infusing them with
high fashion details.
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MAGAZINE

“In the lexicon of
contemporary elegance,
I like to think that the
white shirt is a universal
term that each woman
may ‘pronounce’ as
she prefers . . .”
– Gianfranco Ferré
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Credits
Photography: Hilary Ramos
Models: The Agency Arizona
Hair & Makeup: Jaclyn Cipolla
Stylist: Margaret Merritt
White Shirt According to Me:
Gianfranco Ferré
November 4 - March 6, 2016
Phoenix Art Museum
phxart.org
JAVA 29
MAGAZINE

Photo: Mackenzie Canavarro
Bryant Vazquez
All Damn Day/The Greatest Hits
By Mitchell L. Hillman
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When Bryant Eugene Vazquez lived in Arizona,
everyone called him prolific, including myself.
After all, not only did he have a slew of solo albums,
but he was also in decker., Murdoch and Vagabond
Gods. Needless to say, when he left Arizona for
Philadelphia two years ago, he had already amassed
an impressively large discography. Since that time,
he’s released even more solo albums, with others
in the works. It appears that Vazquez’ prolific period
hadn’t actually started yet when he was living out
here and has instead blossomed on the East Coast.
His most recent accomplishment is All Damn Day/
The Greatest Hits, which is his first full-length foray
into the world of pop. This is not pop in the sense of
current chart-topping acts—more like Dylan-esque hits
from the 1960s. The results are impressive, especially
considering that with few exceptions Vazquez is the one
performing all the music on the album. It is consistent
across the 13 tracks, and it features some of his finest
works to date—certainly some of the catchiest.
Despite the Arizona fingerprints on this recording—it
was mastered by Fred Huang from Of the Painted
Choir and the new Tucson-based project Asian
Fred—All Damn Day/The Greatest Hits was born
out of Vazquez’ time adjusting to life in Philadelphia.
Upon its release, he said of the album, “Philadelphia
kicked my ass all over the place in 2014. This is the
result of such a thrashing.” He not only had to deal
with living in a new place on a different coast, but he
also had to deal with a bit of a drinking problem.
“I started the album at the beginning of summer
[2014], didn’t really finish it until this year, back in
May,” he said. “I started the process of the album
drinking a lot and finished it completely sober. Now,
I’ve been sober for about a year.” He says that his
productivity and creativity have skyrocketed. It appears
that Vazquez’ super powers are even further enhanced
by a clear head and healthy body. While many artists
often find it difficult to create upon achieving sobriety,
Vazquez has turned this change to his advantage.
All Damn Day/The Greatest Hits starts off with the
title track, and it’s a bit of a locomotive number with
some twang to it. Vazquez’ comes out screaming
lyrics of desperation with a voice that’s rough hewn,
a throat filled with sawdust and gold. It’s a great
beginning and a powerful one, both in the music and
the words. “Reaching out upon the grey, why can’t
my hands stay still? Trembling, mama!” he shouts
at the start, with imagery familiar to anyone who
has had to put down a bottle, if only for a day. If you
listen to it with your full attention you’ll marvel at the
complexity of the percussion and yet the minimalism
of the composition. It’s even further fascinating when
you consider this is a one-man operation making all
this glorious music.
“Daaang! (Cool Hand Sam)” follows and it has a
heady, late ’60s feel to it, more akin to The Seeds and
the Velvet Underground, yet with Vazquez’ unique
vocal style. Fitting with the sound of the protest
era, it comes across as a wry commentary on the
everyman who works through 40 years of doing what
he’s told. The guitar solo is inspiring and the congas
in combination with the tambourine are sublime.
The song that screams “single” early on is “How to
Go About It...” and it’s one of my favorite tracks of the
year. Bob Dylan and Lou Reed would both be proud
of the lyrics, which seem like poetry about jaded
self-destruction set in motion. The brilliant addition
here is the trumpet courtesy of Kelley Cosgrove, one
of the few instruments Vazquez doesn’t play. Vazquez
recently released a video for this particular track that
features seven different versions of himself at the
same time performing the song.
“What’s Paisley? (City Blues)” stays within the pop
realm, but instead of recalling the 1960s, it brings
Royal Trux to mind and other similar artists from Drag
City and Merge in the 1990s. It has a quality akin
to “Junkie Nurse” without sounding anything like
it. Meanwhile, “Pretty Gotdamn!” is a slow-paced
number with a druggy, heady feel and a bassline from
hell. It’s almost haunting in its arrangement, with
interesting vocals in a rare falsetto.
“Ain’t Nothin’ Wrong With Cherie” returns to a bit
of jangle indie pop, with playful guitar, harmonies
and a lovely melody for sure. It’s difficult to tell if it’s
about an actual girl amid the height of addiction or a
fantasy found in that same state. “And if it’s all the
same, We’ll both do nothing, but lay in bed, and drink
and smoke and make it. It’s crazy, but let’s stay. The
outside noise is all but loving, unlike the noise we
make.” Even the phrases, words and imagery seem
like they are from another era.
There’s a slow but unsettling sense to the guitar that
starts “The Barber’s Son,” and to tell you the truth, it
reminds me of Brandon Decker. I’d love to hear decker.
cover this song, because it would fit right in with their
set. There is still more than a hint of the desert in
Vazquez’ soul, and this song is a liberal sampling of that.
It’s ghostly and achingly beautiful, with the poetic voice
as raw as the words being sung.
The pounding pop sound that pervades the album
returns on “Madcap?!” It’s got a great guitar riff
and rhythm that will keep your head bopping, foot
tapping right along for all two minutes of this mini
masterpiece. The same feeling continues unabated
with “Mexican-American Modernist,” but with
darker themes and a great lo-fi beginning, featuring
street sounds from the window outside. The poetry
continues to flow with lyrics like “Out of darkness,
still in the night, showered by rains, during daylight,
she said she fears the lack of color in my eyes.” The
imagery is replete with desolation and more than
a touch of pain. The mesmerizing guitar twang and
VU-inspired rhythm in the end makes me want the
song to go on for eight more minutes.
“Le Sigh/Love Spit” has an amazing catchy hook
and seems to revolve around imprisonment, whether
real or metaphorical, but it also has a total sense of
romantic yearning to it. This track features a great
harmonica piece that underscores the Dylan vibe.
It ends poetically, with what sounds like raindrops
hitting hard.
The tempo slows with a touch of Latin guitar that makes
“2nd Time Around” go down smooth. It’s about returning
to a love for another chance, with a pretty realistic list
of all the baggage that kind of thing entails. It starts
off sweet, but it ends with a languished howl, which
is often how a second time around goes in real life.
It’s actually a pretty touching number and is brutally
honest about lying, lusting, trying, sighing, dying and
trusting or not trusting, as it were.
Referencing a key bit of dialogue from Wes
Anderson’s Rushmore, “Fischer Ain’t Yer Mate” is
another ’60s-drenched pop number with a classic
groove and lyrics that even mention the Twist. It
sounds like it could have been recorded in that era,
and the only thing it’s missing is a group of girls
doing backing vocals. Yes, there is hand-clapping
and a break that kills me every time. The guitar gets
twisted, the harmonies are alternately surf-like and
eerie at once, like a demented take on beach blanket
bingo with lyrics written by Rimbaud.
The finale is only the second song on the album
that features additional musicians, and in this case
it’s keyboards, courtesy of Marcus Kitchen, who
helped mix the album. Cosgrove returns, as well, to
add background vocals. It is one of the finest moments
on album and is Vazquez at his Dylan-esque best. The
whole motion of the entire thing just sweeps you away
and wraps you in the beat poetry of the passionately
delivered lyrics. It’s about having a rough time of it,
but essentially facing up to it all. In the end what that
apparently does is produce some fine music. It is the
perfect ending to this lo-fi document of a wounded artist
burning with creative brilliance. The production value,
or lack thereof, makes it all the better, all the more
authentic and captivating. There is an urgency found
here that is lacking in so many records.
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MAGAZINE

MANIC MONKEYS
Go West EP
ACTION JETS
Action Party Epic Fun!
NEW CHUMS
Tuolumne EP
Just a year after their debut release, Manic Monkeys
have dropped their second EP, Go West, and it shows
how far a band can come in that time. While it almost
seems like an extended single, with three songs that
clock in under less than 10 minutes, it’s a solid effort.
First off, it appears that lead singer Tiffany Hilstrom’s
voice has truly developed into something great after
a year of performances and a second swipe at getting
it down on record. Mike Hilstrom’s guitar is better
than ever, and with the rhythm section of Joel Ekdahl
on bass and Derek Fernandes on drums, they sound
almost like a completely different band from their
initial release.
Also, the songwriting is simply stronger here. They
are definitely still pushing American rock to the
hilt, but they’ve matured a lot. “Rodeo” kicks off
with some slow-burning blues, and is a song that is
perfect for driving late at night in the desert. Tiffany’s
vocals come off as a bit of a sultry surprise, and Mike
shows his chops on guitar—it’s pretty stunning.
Meanwhile “Lawman” comes across as almost
’60s-tinged garage rock, which is another surprise.
Tiffany and Mike sing together on this one, and it’s a
great mix. This could have come straight out of 1966,
both musically and lyrically. If there’s a single, this
should probably be the one, for the groovy vibe alone.
We return to bluesy rock for the finale of “Drag Me
Down,” which is another stunner from Tiffany on
vocals and Mike with some of the most impressive
guitar he’s committed to record. I only wish there
were more songs here. Three songs just get you into
the groove and you want more when all is said and
done. Let’s hope for a longer EP or a full-length album
to follow this one.
Every music scene should have a fantastic powerpop
group, and ours has Action Jets. These guys are
dyed-in-the-wool power pop, sounding like they came
to us straight out of the 1970s with great melodies,
catchy hooks and an awesomely furious pace. They
also really, really like the word “action” and fit it
into all of their artist names, as well as four of their
song titles. If you’re a sucker for Cheap Trick, Shoes,
20/20 or The Raspberries, this may just be your new
favorite band.
If you approach the album with that mindset, this
may be your record of the year. It’s just a hell of a lot
of fun, but it also makes me think there’s not enough
of this kind of sound and fun around town, so I’m
damned thankful for Action Jets. Action Dave (guitar),
Action Gary (drums) and Action Jeff (bass) roll
through nine songs in less than 25 minutes. There’s
not a duff track in the bunch, and not one exceeds
the three-minute mark. They clearly have a sense
of humor about themselves, with self-referencing
songs like “Action Jets (Time for the),” the title track,
“Action Girl on Instagram” and “Action Boys (Let’s
Hear It for the),” which are just fun anthems.
The good news is there is no ballad here, nothing
slowing down the pace. There’s no time for that with
single-worthy gems like “In Your Arms Tonight,”
“After the Show” and “Sucking My Soul.” There are
crunchy guitar riffs for miles, and every moment is a
joy. The great news is that from the evidence in their
live show they are already working on new songs,
and I have a feeling the next record is going to be
even better. Definitely one of the most rollicking and
enjoyable of the year. Get some Action Jets for your
ears immediately.
I actually have no idea how I happened upon New
Chums, but I’m damn glad I did. Their debut EP,
Tuolumne, is a five-track breath of fresh air. Seth
Boyack (guitar & vocals), Greg Winters (bass), Ben
Hedlund (drums) and Chad Bergman (guitar) have
put together a great melodic sound on their debut.
It’s just straightforward alternative rock, with no
fl ourishes, and a hell of a starting point for a band
just getting it together.
The opening track, “For the Cause,” stayed in my
head for a few days after I heard it just once. For
however good that song is, “Come On, Come On”
blows it out of the water. If they haven’t picked a
single yet, this is it. This is the one they should send
to radio stations everywhere. It’s got a power-pop
touch to it and fantastic stuttering vocal that’s catchy
as all hell. It’s one of THE standout tracks of the year.
“Bad Part of Town” follows in its wake, a mid-tempo
number that seems to be a pretty good song about
scoring drugs (“I got my drugs in my pocket and my
money’s all gone”). It’s almost a ballad, but a ballad
with guts. The pace immediately picks up on “City
With No Dreams,” which has a great guitar line and
some fabulous percussion going for it. The drum
break is to die for and the bass kills it on the bridge.
“Recall” finishes the EP, and it’s quite close in sound
and structure to its predecessor. Here, however, the
bass is the superstar throughout. A couple things are
for sure: I can’t wait to catch these guys live, and
I will be keeping my eye on anything they put out
in the future—because this is an impressive debut
fresh out of the box.
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Sounds Around Town By Mitchell L. Hillman

DON’T PANIC
The Sleepy EP
PRO TEENS
PRO TEENS
SPIRITUAL WARFARE
Suite 16
If you’ve wondered what Dylan Rowe from The
Heathers is up to these days, you are going to want
to check out Don’t Panic immediately. Together with
Jeffrey Robens (vocals, guitars & programming)
and Johannes Lar (bass), they have put together
an interesting fusion of electronica and heavy
rock that is completely engaging on this five-track
EP. I missed their first EP last year, but I’m glad
I’ve been able to catch up with their sophomore
offering. I’ve listened to it a few dozen times and
find it endlessly fascinating, as it walks a thin line
between EDM and hard rock without sacrificing
one for the other. All the while, Rowe’s vocals are
stunningly seductive at the center.
“Crush” is the opener and clearly the first single;
it’s also a damn fine introduction to their sound.
It definitely sets the tone for the entire record.
Following in its wake, “Palisades” is far more
complicated in its structure, and for that reason
fascinating—filled with dense layers that will
send your ears reeling. “Dark Matter” slows down
the tempo and is almost hypnotic in its delivery.
It’s a dreamy combination of guitars and keys that
crafts an atmospheric cocoon while you are lulled
by its beauty. In the end, it explodes in time to blow
your mind.
Within the context of the band, the strangeness of
“Sleeper” is perfectly appropriate as they approach a
prog rock sound with verve and style. Compositionally
speaking, it’s one of the EP’s finest moments, as it
builds into a terrific maelstrom across nearly five
minutes. The grand finale is “I am, Moon,” which
is a mini-masterpiece unto itself. It’s like a pocket
symphony, with different movements throughout,
summing up their sound in one last epic blast. A
thoroughly fascinating and unique release.
I have loved watching PRO TEENS become the wellcrafted
band that they are over nearly two years of
single releases. They have finally released their
eponymous debut album on Moone Records,
and have moved beyond their surf-pop roots,
crafting a densely atmospheric album, with a retro
sensibility. Filled with chiming guitars and a hell of
a lot of beauty, it still maintains a great indie-pop
aesthetic. This is clear right from the opener and first
single, “Control.”
There is a definite psychedelic bend found here, as
evidenced in numbers like “One of These Days,”
which becomes a swirling, mind-bending affair.
Lead man Andy Phipps has a hell of a crooner inside
as he explores more soulful numbers like “Gjeez,
Kjinny.” It’s difficult to tell if this song is authentic
and heartfelt or complete farce, but I guess that’s for
the listener to decide. They get to their surf sounds
with “This Cop Is God,” which is pretty comical
lyrically. “On Its Own” is a lo-fi link vignette of less
than a minute, while the muzak-laced “Mona” serves
as something of a centerpiece to the entire album,
slowly approaching disco.
On the other hand, “Lisa” is a rave-up rocker that’s
just fun, while “Abbie” finishes the trio of girl-named
songs and has some of the best guitar work, hitting
an almost Caribbean stride. The juxtaposition of
the brief, watery “I Wanna Die” and the epic-length
Calypso pop of “Don’t Wanna Die” is the most
fascinating pairing on the album, to be sure. It all
finishes with the retro-mod dance number “Randal
Can’t Handle,” which is one of my favorites in their
live set and a fantastic way to end their first record.
Sounds Around Town By Mitchell L. Hillman
Joel Marquard has been a local music legend for the
last decade since he started Dear and the Headlights
and many other bands after that. Sadly, Marquard
has relocated to Idaho for the time being, but not
without unloading a ton of music for his fans and
friends. His latest project is called Spiritual Warfare,
which is mostly him solo, making no less than four
records, all to be released on the local Moone
Records this fall. Each record is distinctly different in
style and genre, as well.
The first, Suite 16, is a top-notch lo-fi album that hints
at all of Marquard’s musical endeavors and interests.
For those who have followed Marquard’s musical
career, there is something for everyone. It almost
sounds like a collection of songs for his other bands.
Marquard describes it as “Damaged Doo-Wop,
Rhythm and Blues, and Lo-Fi Soul,” and that’s pretty
accurate, for this record and much of his previous
output. Still, songs like “You Know That I Do,” and
“My Day Off” would have fit nicely on a Samuel L
Cool J record. “Give Me a Reason” has the choir-like
feel of Through and Through Gospel Review, while
“Heat of the Night,” “Tossed and Turned” and “Go to
Her” would have been great Gospel Claws tracks.
The entire album is a testament to Marquard’s talent
and range, as both performer and songwriter. Gospel
Claws was easily one of my top-five local bands of all
time, and any extension of that just makes my ears
scream for joy. Suite 16 ends with the coyly titled
“One Down, Three to Go,” which is amusing since
three more records are set to follow. I simply can’t
wait to hear the rest.
For more on these events and other highlights of
the Phoenix music scene, check out Mitchell’s blog
at http://soundsaroundtown.net. For submissions
or suggestions contact him at mitchell@
soundsaroundtown.net
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The Heard Museum Brings
FRIDA KAHLO To Life
By Jenna Duncan
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The secret to Frida Kahlo’s intrigue could
take centuries to fully explain. Not afraid of
recognition, the painter frequently made herself
the subject of her own works, and she wasn’t
shy before the camera. Her unorthodox marriage
to fellow artist Diego Rivera has been the focus
of several bios, including the well-read tome by
biographer Hayden Herrera and the big-screen
2002 hit Frida, starring Salma Hayek.
Not long after the Hollywood buzz about Frida
and her intense, boundary-crossing love affairs
simmered, another of Frida’s secrets was
unlocked—a virtual treasure chest of her most
intimate belongings and prized possessions.
In 2004, after sitting dormant for almost half a
century, a locked closet was finally opened at
the Blue House Museum—Frida Kahlo’s family
home. This closet had been ordered sealed
around the time Diego Rivera died in 1957,
Heard Museum Curator Janet Cantley says.
In Frida’s closet, museum workers found
clothing and personal objects, letters and
thousands of photographs, and even her
prosthetic leg, Cantley says. Because she
spent much of her life in convalescence,
letter writing and taking photographs were
very dear to her heart. For Frida these
processes allowed her to stay connected
to the outside world. “Photography and
letter-writing kept her in touch with people,”
Cantley says.
Frida: Her Photos is on view in the Bernard
Jacobson Gallery, a two-story space on the
Western side of the Heard Museum. The
exhibit is divided into six expressly themed
sections, including Frida’s Origins; The Blue
House (her childhood home, and the house
where she died); Politics, Revolutions and
Diego; Her Broken Body; Frida’s Loves; and
Photography. More than 6,000 photographs
were discovered in the Blue House closet,
Cantley says. Among them were some
historic daguerreotypes and other antiques.
Of the items discovered, most were in
very good condition; not many required
restoration.
To add to the narrative, many of the
photographs are marked by Frida’s special,
personal touches, Cantley explains. For
example, some of the photos have faces and
bodies of people Frida may not have been
getting along with cut out of the picture. One
photo of Diego Rivera with his first wife was
found folded in half so Frida wouldn’t have
to look at this rival. Another photo of Rivera
is marked with Frida’s bright red lipstick kiss,
“almost like a comment directly from Frida!”
Cantley says. Many of the notations from the
backs of photos have been enlarged and adorn
the gallery walls.
Within the photography section are not only
photos shot by Frida and of Frida, but also
images by Manuel Álvarez Bravo, Nickolas
Muray, Gisèle Freund, Martin Munckácsi,
Man Ray, Edward Weston and Guillermo
Kahlo (Frida’s father). Many of these
JAVA 35
MAGAZINE

well-known photographers were friends,
associates and colleagues of Frida’s, Cantley
says, so it’s fitting that their works should
appear in this recently unearthed collection
of her prized possessions.
Frida Kahlo grew up around her father’s
photographic studio and reportedly even worked
as his assistant from time to time, helping mix
chemicals and process prints. There is no doubt
her early artistic interests were fostered and
supported in her family home.
Among her photos are not only self-portraits
from which she painted, but also photos of her
beloved animals. Frida was known for keeping
a menagerie in her house that included cats,
monkeys and birds. Some of her beloved dogs
were Xoloitzcuintli, a breed of Mexican hairless
dog that looks similar to the Chihuahua, but
with longer legs. At the exhibit’s opening, fans
of Frida and this famous breed will be allowed
to bring their dogs, and many are expected to
show up in costume.
36 JAVA
MAGAZINE
As an extension of the traveling show of
photographs, the Heard Museum invited local
artist collective the Phoenix Fridas to curate
a related show honoring Frida Kahlo. For Los
Favoritas de Frida, the Phoenix Fridas scoured
the Heard’s permanent collection for items that
connected to Frida Kahlo’s life and indigenous
roots and assembled a collection including
objects such as Oaxacan women’s garments,
ceramics and textiles.
Displayed centrally are some Zapatec tapestries
from Oaxaca, which museum staff say are
very rare. The walls of the Lovena Ohl Gallery,
located closer to the museum’s entrance, are
painted in daring greens, blues, yellows and
reds to match the vibrant colors of Frida’s
artwork and the decorative arts of Oaxaca.
The Los Favoritas exhibit includes hands-on
activities for Frida fans of all ages, including a
letter-writing station (Querida Frida) and a mock
kitchenette called Cooking with Frida where
younger visitors can pretend to fry felt tortillas
and stir kettles over an imaginary cooking fire.
Opening weekend, human-sized puppets,
or flacas (the artistry of Carmen and Zarco
Guerrero) will dance around the courtyards of
the museum. The flacas are built as giants, and
a human player, or puppeteer, animates them
from inside. One of these flacas, an enormous
Frida puppet, on loan from the Guerreros, will
greet patrons at the door near admissions.
First Friday (Nov. 6) should be a full house at
the Heard when the museum hosts “Frida in
Focus” from 6 to 10 p.m. Guests are invited to
dress up as Frida and her friends (there will be
a photo booth on site), and local dance artist
and choreographer Liliana Gomez will present
a special dance performance. Gomez invited
six other dancers and cast them in solos and
duets based on some of Frida Kahlo’s paintings,
including The Two Fridas, Frida and Diego Rivera,
and Self Portrait with Cropped Hair, as well as a
photo of Frida by Nicholas Muray.
Gomez explains her personal connection to
Frida Kahlo in her artist statement. “The work

I created is based on the research I did on
each painting and also reflects what she
means to me as a female artist. Each dance
is emotional and heartfelt, and after viewing
them all, I hope the museum patrons can
gather the connection between them. Each
piece created for the evening represents
different versions of Frida; who she was as
an individual, who she was in her marriage,
her sexual fluidity, the woman Frida wanted
to be, and who she became after her death,”
Gomez writes.
“My family spent Saturday afternoons sharing
stories about art and history from my culture.
We learned about Frida Kahlo and many other
painters from Mexico,” Gomez says. “My
parents collected Mexican-inspired art and
home decor, and every weekend we searched
for beautiful objects and bright colors to
add to the warmth of our home. The home
my parents created inspired creativity and
imagination. In a way, it was a prelude to my
life as an artist.”
Also the night of Nov. 6, musician Ruben
Galicia will perform in the Central Courtyard
and Clandestino will perform in the Steele
Auditorium. The Palabra Collective will also
be on site, creating “Frida-style hairstyling”
for a $10 donation.
The Heard will also host a Frida-inspired
dining experience, “Fiesta con Frida,” Dec.
4, Cantley says. “Fiesta con Frida” will offer
a buffet-style party spread including mole,
poblano peppers, meatballs in chipotle sauce
and corn pudding with chiles in cream. The
dishes that will be served are based on Frida’s
Fiestas: Recipes and Reminiscences of Life
with Frida Kahlo, co-authored by Guadalupe
Rivera, Frida’s step-daughter. Tickets are
$35 for members and $45 for non-members,
available online.
Frida Kahlo’s life was short; she died at
age 47 in 1954 after undergoing more
than 30 surgeries for complications after a
devastating bus accident she suffered during
her college years. But her intensity and
eccentricity inspired generations, and through
her many loves, she lives on.
January 31, 2016, the Heard hosts “Espiritu
de Frida,” a panel discussion on contemporary
Latina artists. The panel will include
Vanessa Davidson, Phoenix Art Museum’s
Curator of Latin American Art. For more
Frida-inspired events at the Heard Museum,
visit www.heard.org.
Frida Kahlo, by Lola Álvarez Bravo, ca. 1944 ©Frida Kahlo Museum
Frida Kahlo, by Guillermo Kahlo, 1926 ©Frida Kahlo Museum
Frida stomach down, by Nickolas Muray, 1946 ©Frida Kahlo Museum
Frida painting the portrait of her father, by Gisèle Freund, 1951 ©Frida Kahlo
Museum
Frida Kahlo after an operation, by Antonio Kahlo, 1946 ©Frida Kahlo Museum
Diego Rivera (in his study at San Ángel), Anonymous, ca. 1940 ©Frida Kahlo
Museum
Frida Kahlo in the Blue House, Anonymous, 1930 ©Frida Kahlo Museum
JAVA 37
MAGAZINE

GIRL ON FARMER
A Purrfect Plan
By Celia Beresford
Wait a second. It is November already? How
the hell did that happen? That means it’s almost
Thanksgiving, aka, Festivus for those of us who
don’t believe in celebrating a little thing called the
slaughter of the natives. Thanksgiving is so rude.
Basically some English folk came over to escape
oppression from their king and nearly starved to
death. Some empathetic Wampanoag (naïve tribe
on the East Coast) decided to teach them what’s
what and saved their lives. They have a big feast to
celebrate living! Fast forward two weeks and the
English decide to repay the favor by rape, pillaging,
enslavement and oppression. Happy Thanksgiving,
everyone! Let me just answer the question I know is
on your mind right now: Yes, I am available for dinner
parties if you’d like to bring me as a Debbie Downer
to your family table.
Whew, I really had no intention of giving you a quick
history lesson like that. It just slipped out. I guess
when you know big words like Wampanoag and
oppression you just need to find a place to showcase
them. Anyway, now you have some verbal ammo
to cause a ruckus at the dinner table. What I really
wanted to talk about is vaping. What did I want to
say about it? Just. Don’t. No. One. No one looks
suave with the ole vape pen. Not that smoking is
cool these days, but I have to say I’d rather everyone
risk some throat cancer and smoke some good ole
fashioned cigs than to vape. Even the name, vape.
Vaping? You’re vaping? No. Stop saying it and stop
doing it.
Also, those tiny water bottles? I need everyone to
stop that, too. All water bottles are bad and evil, but
I’ve already schooled you in history, I’m not going
to give a rundown of Environmental Science 101:
Global Warming. So, let’s put aside that all plastic
water bottles are inherently stupid. Those teeny tiny
ones? Extra stupid. Because they are smaller than
baby bottles and no grown person should have one.
I saw someone walking around campus the other
110-degree day acting like that drip-drop of water
was really refreshing. Those bottles hold less water
than a Dixie bathroom cup. You may as well just fill
up your mouth before you leave the house and hold
it there like a chipmunk until you’re thirsty because
it’s probably more water than you get in one of those
38 JAVA
MAGAZINE

Andrew Bird
I don’t know what the maximum checkout is.
Maybe if you’re having a rough day you can
check out like five kittens. Also, I wonder how
they organize all those kitties. Do you think
they use the Mew-ey Decimal System?
mini guys. They are just pointless in the type of heat we are dealing with over
here in the desert.
So far I’ve given you a few things to feel bad about (pillaging and plunder) and
a few things to never get involved with (vaping, mini water bottles). Now, in the
spirit of the month, I will concede to one thing you should be happy and thankful
to know about—kitten libraries. Apparently, someone who is smart decided that
people are stressed out at work and they could use a little love and relaxation
during the workday.
Yes, in Las Cruces, New Mexico, there is a kitten library in the county office. And
just like the name suggests, employees can go down on their breaks and check
out a kitten. All they have to do is show their ID to the librarian and she lets them
pick out a kitten or two so they can snug bug. Actually, I don’t know what the
maximum checkout is. Maybe if you’re having a rough day you can check out like
five kittens. Also, I wonder how they organize all those kitties. Do you think they
use the Mew-ey Decimal System?
Anyway, so this librarian, uhm, can I have her job? I’m not sure when I decided I
want to be 72 and hold kittens all day, but I do. Obviously, or how would I have
even known that a kitten library existed? (How, also, would I know that if you
Google “cat, duck babies, friends” you will find an adorable video that shows a
cat taking care of baby ducklings?) So, we all need to move to Las Cruces and
work for the county. I think with a little innovation a bar can be added to this
whole setup, and it will be called “Cocktails and Kittens,” with a one-kitten,
one-drink limit. Everyone will be ready to relax and have a nice day at work.
The world would certainly be a better place if kittens were readily available for
holding at random places.
I think I might be on to something. Why are just the Las Cruces people getting
this purrsonalized treatment? Kitten libraries should expand beyond the
workplace and to lots of public places when people need to chill. What about the
airport? Have a layover? Miss your plane and you’re all angry? Turn that frown
upside down. Just head over to the kitten corral and get yourself some TLsnug.
And why stop at kittens? Let’s include some other cute-ass animals in all this. I
want to say puppies, but I think they are a little too crazy for this program. Who
can fill the gap? Baby bunnies, baby chicks and maybe some baby chinchillas.
I’ve gotta say, I think this idea is going places. Even better, everywhere it goes people
are going to smile and relax. And that is something we can all be thankful for.
NOV. 7 & 8 | 10:30 A.M.–5 P.M.
A two-day outdoor music festival featuring:
• Ozomatli, Run Boy Run, TriBeCaStan, Victor Wooten,
Phoenix Afrobeat Orchestra, and more!
• Food trucks
• Four Peaks beers and Arizona wines
Tickets and lineup at MIM.org
MIMFest is a rain-or-shine event.
No refunds or exchanges.
Programming subject to change.
#MIMFEST

NIGHT
GALLERY
Photos By
Robert Sentinery
1
2
3 4
5
6
7
8 9
10 11
1. Partida Tequila pretty at AZ Taco Fest
2. Get your kicks with the crew from Proof at the Four
Seasons
3. Denise’s show at First Studio
4. Met these blondies in the tequila tent
5. Cool country singer Brea Burns at the Rhythm Room
6. Angelica and Leonor at Chaos Theory
7. The tartan crew from Rare Scarf in the house
8. Beth shows up for Dinner in the Stacks library benefit
9. The plaid couple at Rhythm Room
10. Candice’s opening at Tempe Center for the Arts
11. Babes at Valley Bar-land

12 13 14 15 16
17 18 19 20 21
22 23 24 25 26
27 28 29
12. Rachel and Matt at Chaos Theory
13. Interesting couple at SideBar
14. My… what big cameras you have
15. Back door shenanigans at Crescent Ballroom
16. Two of a kind at Blunt Club
17. Christine’s installation at TCA
18. Crescent Ballrooms 4-year fete
19. Getting our Blunt Club on at Valley Bar
20. Sending lots of love to Chris
21. First Friday at Chartreuse Gallery
22. Chaos Theory with this cute couple
23. Double-fisted whiskey girl
24. DJ Dana and Forrest at the Rhythm Room
25. Lauren and Laura and {9}
26. Pretty lady and her entourage
27. Victor and Saskia at Dinner in the Stacks
28. More fun at Chaos Theory with this stylish trio
29. Sure, you can pour me a shot

30 31
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37 38
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40 41
42 43 44
45 46
47
30. Randy’s epic Burt for Chaos Theory’s Sweet Sixteen
31. It’s a Paris sandwich
32. The Sullivan clan at Legend City Studios
33. Hot Bird Andria and pal at Valley Bar
34. These guys rocked the Crescents 4-year party
35. Angela’s impressive installation at TCA’s “Green and Grey”
36. Look who showed up for Chaos Theory
37. Lindsay and Bill at Tara Sharpe’s opening at {9}
38. Pretty trio with pup
39. More Rare Scarf fashion magic
40. Bessie and Steve show up for Marc’s big 4-0
41. All together now—Blunt Club at Valley Bar
42. Chaos Theory’s sweet sixteen
43. Snapped these two peas in a pod at Crescent
44. Treeo 1-year featuring Fred Tieken’s work
45. Drinks and beats at Blunt Club
46. Hip-hop heads in the house at Valley Bar
47. Peewee Moore at the Rhythm Room

48 49
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53 54
55 56
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58 59
60
61
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48. Hamm-in’ it up at Blunt Club
49. MEI Gallery Scottsdale grand opening with director Mary Irene
50. It’s the triple threat
51. Check out Mitch Freedom’s Phantasmagoria
52. Drinks at The Hive courtesy of Colton Brock from Barrio Urbano
53. Daniel is taking care of business at Taco Fest
54. Scott with purple-haired pal at Blunt Club
55. This cutie’s bringing the Sweet Heat
56. “Gods and Kings” book signing with these VBM beauties
57. Matt and his Official Road Code pal at Crescent
58. Monique and Jacob at the VHRA reception
59. Zane and pal with Tieken art at Treeo
60. Tacos and tequila girls at Taco Fest
61. Shane and Tiffany at Chaos Theory
62. Doug from Otro and Gennaro at AZ Taco Fest
63. VHRA media reception at the AZ Biltmore
64. Super friendly Taco Fest attendees
65. Fred, Gail and Pedro at Tilt Gallery

66 67 68
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72 73
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76 77 78
79 80
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66. Love the lady with the edible dress at the VHRA mixer
67. “I hate tacos” said no Juan ever…
68. Kellie’s moonlighting as the DeLeón tequila girl
69. Hanging with the crew from Toro at TPC Scottsdale
70. more tequila shots in the tequila tent
71. Intriguing trio at the AZ Biltmore
72. “Gods and Kings” book signing at PAM
73. Native inspired fashion on this pretty chick
74. Nice talking to this friendly gal from the Royal Palms
75. Ed’s rocking the State 48 tee
76. Milagro bottle service
77. American Valet in the house at the VHRA mixer
78. Espolon tequila meets Chaco Flaco at Taco Fest
79. Happy hour at North Arcadia
80. These guys came to see Peewee at the Rhythm Room
81. MEI Gallery Scottsdale grand opening
82. Deseo crew meets Proof princess at the VHRA reception
83. Adam takes a break from painting at Blunt Club

REGISTER for
SPRING 2016
CLASSES
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First
Friday
At Phoenix
Art Museum
NOVEMBER 6, 2015
FREE, 6-10 PM, CASH BAR
LA DOLCE VITA
GARDEN PARTY
DORRANCE
SCULPTURE GARDEN
In celebration of our current fashion exhibition
The White Shirt According to Me: Gianfranco
Ferré, we’re throwing a fabulous Italian themed
garden party for everyone to enjoy.
Free exhibition admission, one night only.
phxart.org / @phxart