Java.June.2016

247 • JUN 2016
LAWDAN SHOJAEE • WAYLON JENNINGS TRIBUTE • JO ANN LUJAN

CANYON CONVERSATIONS
AND COCKTAILS WITH THE
FRED HARVEY COMPANY
proudly introducing
mid-century modern inspired furniture
handcrafted in the USA
JUNE 16
Join us June 16, from 5:00-6:30 pm, as we kick off this
series. Curators of Over the Edge: Fred Harvey at the
Grand Canyon and in the Great Southwest, Diana Pardue
and Kathy Howard, will share fun-filled tales of searching
for the Fred Harvey Company car this summer as well as
little tidbits about the exhibition now on display.
Register online at heard.org/event-tickets
Complete series details available online at heard.org
2301 N. Central Ave. Phoenix, Arizona
602.252.8840 | heard.org
Detail from Louis Akin’s painting of El Tovar at the Grand Canyon.
Published as postcards by Fred Harvey, 1906.
5102 N. CENTRAL AVE
602-954-4009 | forthepeoplestore.com
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CONTENTS
8
12
22
32
34
FEATURES
Cover: Titus Fauntleroy
Photo by: Orlando Pelagio
8 12 22
34
THE OUTLAW
A Waylon Tribute with August Manley
By Tom Reardon
LAWDAN SHOJAEE
Axosoft CEO and Cultural Harverster
By Jenna Duncan
XXXXX
Photography: Orlando Pelagio
Concept: Titus Fauntleroy
GENRE
Legendary Rock Act
By Mitchell L. Hillman
FILMMAKER JO ANN LUJAN
By Demetrius Burns
COLUMNS
7
16
20
30
38
40
BUZZ
The Outlaw Spirit
By Robert Sentinery
ARTS
Casebeer
By Amy L. Young
Phoenix College Brings Fashion
to the Foreground
By Jenna Duncan
FOOD FETISH
Eat At Joe’s Midnight Run
By Sloane Burwell
SOUNDS AROUND TOWN
By Mitchell L. Hillman
GIRL ON FARMER
Treat Yourself
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
Carrie Evans
Enrique Garcia
Orlando Pelagio
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JAVA MAGAZINE
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4 JAVA
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JUNE CONCERTS AT THE
MIM MUSIC THEATER
Jack Ingram
Thu., June 9 | 7:30 p.m.
Tickets: $38.50–$45.50
Country singer-songwriter
Jack Ingram has built a
reputation for delivering
catchy songs and
unforgettable performances.
Melissa Manchester
Sat., June 11 | 7:00 p.m.
Sat., June 11 | 9:00 p.m.
Tickets: $38.50–$48.50
Don’t miss singer-songwriter
and GRAMMY Awardee
Melissa Manchester perform
songs from her latest album,
You Gotta Love the Life.
Joe Purdy
Fri., June 17 | 7:30 p.m.
Tickets: $33.50–$38.50
American folk singer-songwriter
Joe Purdy has positioned
himself at the forefront of a
new movement of successful
independent artists.
To purchase tickets or for the full concert series lineup,
call 480.478.6000 or visit MIM.org/concerts.
4725 E. Mayo Blvd.
Phoenix, AZ

For nearly 30 years, we have
put the “art” in martini...
Artist: Cristian Candamill
It’s not the size of the joystick,
It’s how you use it!
and we’re still
a great place to be seen.
CUSTOM QUALITY SCREEN PRINTING
PLASTISOL • WATERBASE • PROCESS COLOR
DISCHARGE • POSTERS • EMBROIDERY
602-752-1599

THE OUTLAW SPIRIT
By Robert Sentinery
BUZZ
This month we celebrate the independent spirit of Phoenix, with stories on such
diverse topics as filmmaking, the tech industry and a tribute to one of our city’s
musical greats—Waylon Jennings. If Waylon were alive today, he would be
celebrating his 79th birthday on June 15. He loved this place and left an indelible
mark on it. Although he passed in 2002, his influence continues today—in the
outlaw spirit that permeates not only our music scene but our creative climate as
a whole. To honor his legacy, we feature Waylon tribute artist August Manley.
Manley not only looks and dresses the part but seems to exude the spirit of
Waylon during his heyday in the ’70s, both on and off stage. Besides performing
with his local band, The Outlaw, Manley also tours the country as part of The
Highwaymen Live tribute act, performing as Jennings, alongside others who
do Johnny Cash and Willie Nelson. Manley talks about growing up with classic
country on his grandpa’s ranch outside Tacoma, Washington, and how upon
visiting the Valley he felt a kind of spiritual connection. A pilgrimage to Waylon’s
gravesite in Mesa sealed the deal, and he relocated here about two years ago
(see “The Outlaw: A Waylon Jennings Tribute with August Manley,” p. 8).
Lawdan Shojaee, CEO of Scottsdale-based software company Axosoft, is changing
the way tech companies do business in Arizona and beyond. Female CEOs are still
fairly rare, and Shojaee brings a very different sensibility to the workplace for
her employees. Large, open spaces with wide windows framing mountain views,
a gym and climbing wall, yoga spaces, showers and a large lunchroom with a
welcoming atmosphere are just some of the things that have earned Axosoft
recognition for being one of the best companies to work for in Arizona.
The #ItWasNeverADress campaign to encourage more women to enter the tech
industry was conceived by Shojaee and Axosoft’s in-house artist/provocateur
Tania Katan. The image, which co-opts the international symbol for woman,
highlights the dress portion, showing it instead as a superhero cape, along with
the catchphrase. Official versions of the #ItWasNeverADress symbol also feature
an “(Em)powered by Axosoft” graphic (see “Lawdan Shojaee: Axosoft CEO and
Cultural Harvester,” p. 12).
Filmmaker JoAnn Lujan is a native Phoenician who grew up in the heart of
the city. Her father was a mariachi musician, and all forms of creativity were
encouraged in her household. Being an only child, Lujan learned to entertain
herself by creating stories that played like filmstrips in her imagination. When it
came to choosing a career, filmmaking seemed like a natural for her.
Fiercely independent, Lujan completed seven solo backpacking trips through
Europe by age 22. She then pursued her dream of living in New York City,
supporting herself as holistic health practitioner while immersing herself in film
culture. She has since returned to the Valley to help care for her aging parents
and recently completed a degree in filmmaking from SCC. While in college she
met hip hop artist Candyman, and they have been collaborating on a hip hop
documentary for the last year and a half. With Candyman’s industry connections
and Lujan’s can-do attitude, the team has been gathering footage and interviews
with many of the hip hop greats (see “Filmmaker JoAnn Lujan,” p. 34).

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Country musician August Manley is a man with multiple missions.
First and foremost, Manley is a devotee of what he considers to be “truthful”
music, and he is a man who divides songs and musicians into two distinct
categories. “To me there are two kinds of music: good music and bad music.
Anything in the former category inspires me to play, sing and write music,”
Manley says.
This may be an oversimplifi cation, but when it comes to completely subjective
areas, like whether the music you are listening to is “good” or “bad,” it certainly
makes things easier to fi gure out where to spend your time. For a lot of music
lovers, this is probably very familiar territory. You either like a band, for example,
or you don’t. (If only music reviewers could get away with one-word reviews.)
Manley, who turned 41 on May 22, finds himself in the upper echelon of local
musicians, in that he is able to support himself by playing music and is doubly
fortunate that his main gig takes him all over the country to play music he
loves for enthusiastic crowds. Much of the year, Manley is part of an act
called The Highwaymen Live, an ensemble of musicians who pay tribute
to the work of country super group The Highwaymen, which was formed in
1985 with original members Johnny Cash, Waylon Jennings, Willie Nelson
and Kris Kristofferson. They were active for about a decade, racking up
numerous awards during their time together and selling millions of records
worldwide.
Manley, who holds a degree in orchestral music and cites artists as diverse
as Richard Wagner, Iron Maiden, Pink Floyd and Frank Sinatra among his
many infl uences, takes on the Waylon Jennings role in the tribute act that
he has worked with for the past two years. In addition to his duties in The
Highwaymen Live, Manley also fronts his own Jennings tribute band, called
The Outlaw, here in Phoenix. The Outlaw are billed on the singer/guitar
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player’s website, www.outlawcowjazz.com, as
“the world’s premier Waylon tribute.” Bold words,
for sure, but here at JAVA, we’re pretty convinced
it’s completely accurate. More important, these
are not the easiest boots to fill.
When it comes to Jennings himself, few musicians
have had careers as varied and, let’s be candid,
as legendary as the man who once played bass
with Buddy Holly and who wrote the theme song
for “The Dukes of Hazzard” TV show, as well
as serving as the iconic show’s narrator. While
Jennings’ importance in the entertainment world
is not news to anyone who has followed music
over the last five or six decades, it is important
that, even 14 years after his death, we remember
the legacy of a man who loved this Valley.
In 2005, Manley first did a set of Jennings’ music
at the Tractor Tavern in Seattle, Washington, and
the reaction was so good, he decided to keep
doing it. “I was making my living in Seattle
playing a lot of jazz and rock and roll. I had a
birthday coming up, so I asked some buddies if
they wanted to play Waylon’s music one night.
We were just expecting to have some beers and
some fun, but it ended up being a pretty good
crowd, and we started getting calls about once a
month to keep doing it,” Manley shares via phone
while driving through Austin, Texas, between
Highwaymen Live shows.
The draw of playing Jennings’ music, for Manley,
stems from growing up on his grandfather’s farm
outside of Tacoma, Washington, and listening to
many of the “classic” country greats, including
Jennings. “I grew up on all that—listened to
a lot of country music—so that’s where my
heart’s always been,” Manley says. “Growing up
watching ‘Dukes of Hazzard,’ I think [Jennings] is
the pinnacle of country recording artists. Where he
really shined was in the studio. I always thought
he was the best when he recorded a song, even
if it wasn’t one he wrote. He always made any
song his own.”
A fairly recent Valley transplant, Manley has
been learning the ropes of the local music scene
after spending time in Washington, Florida and
elsewhere, playing music since he was a teenager.
During his initial visits to town with his Jennings
tribute act, he was booked by Dana Armstrong, a
local music promoter and super fan whose Valley
Fever shows have been a Phoenix-area mainstay
since 2005. Armstrong says she was immediately
drawn to Manley.
“I was impressed right away with his dedication
and talent as a Waylon tribute artist. I love to
escape to other eras, so this is my kind of band.
His current [version of The Outlaw] featuring Tod
T. Bur, Chris Orf and Jim Bachmann is a top-notch
tribute to Jennings, and it’s a crowd pleaser for
sure,” says Armstrong, who went on to share her
love for Jennings’ music.
“Waylon played whatever he felt like playing,
and it wasn’t always country. His covers of
Steely Dan’s ‘Do It Again’ and Fleetwood Mac’s
‘Rhiannon’ come to mind. But his sound was
distinctly his own, and I think it’s very hard to
replicate. The driving simplicity and the unique
quality of his voice separated his sound from his
peers. To me it is linked synesthetically to the
desert. He does mention in his autobiography that
Arizona was his favorite place.”
There is clearly a small mutual admiration society
between Manley and Armstrong rooted deeply in
the music they both love. “[Dana and I] have real
similar tastes in music, and because of what she
does with Valley Fever, she was extremely helpful
with me getting my legs down in Phoenix. If it
wasn’t for her, I probably wouldn’t have moved
down here, but it was on the radar because
Waylon spent a lot of his life there,” adds Manley.
Armstrong also says, “[Manley] does a great job of
maintaining the aura of Waylon, who has a huge
presence here in Arizona. Not only his music, but
his independent spirit resonates with a lot of the
musicians here who have roots in punk rock or
other non-country genres.”
For Manley, there is a little regret that he did not
make the move sooner. “I probably should have
moved to Phoenix a long time ago. I really love it
here. It just kind of immediately felt like home. I’ve
met a lot of people who’ve become really close
and good friends, playing this music, because
Waylon was here and was so influential. Every
time I do a show, I meet people who share Waylon
stories with me,” says Manley.
When Manley is not playing Jennings’ music, he
follows an even more personal mission by writing,
recording and performing his original songs. He is
looking to release as many as four albums during
the remainder of 2016, which will be available
on his website. He has two albums (one recorded
in Nashville, the other locally) ready for release
on June 14, the day before Jennings’ birthday.
“I’m really excited about the [newest] record. I’m
happy with the songs and with the production on
it,” shares Manley. “I recorded it in the Coronado
district at Sonic Piranha. It’s a fantastic little place.
Darren Baum [who owns and operates the studio]
co-produced it with me. When I first moved out
here, I wrote a lot of material,” adds Manley,
who played every instrument on the album except
drums and pedal steel guitar (which was done by
Valley legend John Rickard).
From the two (early in the process) tracks he
shared with JAVA, it’s clear that Manley is one
supremely talented individual. Fans of Jennings
(and Manley’s tributes to Jennings) will definitely
respond to the original material, but this is not to
say it sounds exactly like Jennings. Manley has his
own style, which is firmly rooted in a more classic,
pre-1980 country sound. This is the sound that
brings a certain level of honesty or truthfulness
that Manley loves.
“I think that the stuff they are calling new country
today is, honestly, pop music. The thing that draws
me to the [outlaw country] sound and will allow
that music to live on forever, unlike a lot of what
is coming out today, is that there’s an honesty to
it that you just don’t find anymore. This is what
inspires me. I want to make records that I like to
listen to. There’s no fluff to it,” assures Manley.
Tracks like “Arizona Nights” and “Forty Years,”
which will be featured on Manley’s upcoming
album, are clearly reflective of his “no fluff” policy,
making it a must-have for any country (and honest)
music fan.
Manley and friends play Rooster’s Country in Mesa
on June 11.
www.outlawcowjazz.com
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MAGAZINE

LAWDAN SHOJAEE
AXOSOFT CEO & CULTURAL HARVESTER
BY JENNA DUNCAN
PHOTOS: CARRIE EVANS
In an otherwise nondescript building in
Scottsdale, right off the 101 freeway at
Thunderbird, giant windows provide views of
the surrounding mountains. This is where the
Arizona-based software company Axosoft has its
home, and CEO Lawdan Shojaee has her desk in a
shared workspace. It is tempting to stop and gawk
at the amazing views blending Phoenix’s natural
attributes with its modern, expanding cityscape.
But we don’t have time to stand still in this
bustling work environment. And the view is only
one of the many remarkable things that Shojaee
and her squad of developers, code curators, Scrum
masters and company evangelists get to share.
Acknowledged for its unique work environment,
Axosoft was named one of the “Top Companies
to Work for in Arizona” (by CareerBuilder and
Republic Media in 2013). Without the vestiges of
buttoned-down corporate workspaces, employees
can graze freely, moving from a cluster of
computer monitors to a meeting space, kitchen,
gym, shower and, occasionally, a climbing wall.
Shojaee stands in the middle of what resembles
an activities room at an exclusive middle school
for gifted children. There are bookcases filled
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with good reads, cozy chairs, yoga mats and
an impressive collection of Xbox accessories.
Each room off to the east and west is a different
department, for example IT or development, with
sliding glass dividers.
“You are in smaller rooms with others based
upon who you interact with and need the most,”
Shojaee says, describing various tasks and
projects. “We don’t have walls and we don’t have
cubicles.” Developers sit or stand at computer
workstations and freely commingle. Perimeter
walls are covered with white boards, and
employees can even write on the glass doors in
order to work out a certain task or challenge.
In front of the shared space is a large, open
kitchen with coffee makers, microwaves, a spice
rack and the smells of delicious catered lunches.
The kitchen also has three large vertical herb
gardens, growing from a warmly lit hydroponic
system (employees often go home with bags of
fresh cuttings for the weekend).
There is also a shared necklace wall. “The sparkly
one at the top goes to Vegas a lot,” Shojaee says.
“Kids who come here love to wear these [bubbly]
ones. We’ve had a lot of photo shoots with all
of them.” Why have a necklace wall, one might
ask? In case you want to “look a little fancy. It’s a
very subtle way to show that women are wanted
in this space, and that women are honored,”
says Shojaee. It is meant to resonate a certain,
perhaps nonliteral message. At Axosoft there are
also unisex bathrooms with feminine products in
baskets, set out in plain view.
Why worry about women feeling comfortable
in the workspace? When it comes to software
development, the female population has been
traditionally underrepresented. But Shojaee and
her team of innovators and disruptors are taking
on a gender gap that’s been in place not just
decades but likely centuries, and has its roots
not only at work but in education, religion and
the home—deeply entrenched stereotypes with
different ideas of worth and merit for men and
women.
Let’s back up and explain how Shojaee got here in
the first place. Axosoft was started in 2002 as an
“agile project management software.” For those
who don’t know what that is: “We are a very niche
market. Specifically, developers use our tools to

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make software,” Shojaee says. She does not have
a background in IT or software development but
earned a PhD in physical therapy. She entered
the tech industry the day she met her husband,
Hamid Shojaee, founder of Axosoft. He turned the
company over to her in 2014 and stepped away
(but only a few steps, literally) to run his startup,
Pure Chat.
There are many models for companies dealing
with a conglomerate of techie-minds collaborating
on projects. The challenge of getting everyone in
one place and keeping them happy has been taken
on by Apple, Google, Yahoo! and many other tech
giants, with varying degrees of success. Axosoft
is a smaller company—with 50 employees
currently—but they have a unique approach to
employee satisfaction, a system that Shojaee
designed herself.
When asked directly: How do we get more
women into tech? she answers that a big step is
simply hiring more women. But the challenge of
finding them is not so simple. “We have diversity
programs. But what does that really mean? First
you need diversity in the field for these programs
to work,” Shojaee says. To solve the problem of
lack of representation, she suggest that we move
one step further back and get more girls interested
in pursuing technology studies in school. She is
working with community members, educators and
scientists to address why girls drop out of techand
science-focused curriculums much earlier than
boys. “We work on hiring more, and we work on
educating them younger,” she says.
Last year, under the smart guidance of artist,
provocateur and monologist Tania Katan, Axosoft’s
current “evangelist” and “code curator,” the
company launched the #ItWasNeverADress
social media campaign to urge more women to
enter the tech industry. The idea co-opted the
international symbol for woman (the familiar icon
used on public restrooms), and highlighted the
dress portion, showing it instead as a superhero
cape. Since then, the idea has taken on a life
of its own, going viral and getting international
recognition and support.
Shojaee is on the board of Girls in Tech
(girlsintech.org), and Axosoft lent much
support at the Girls in Tech Catalyst
Conference held this past April at the
Palomar Hotel in downtown Phoenix. (Axosoft
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has also participated in the Sally Conference
for Women in Tech and conducted Women Who
CODE and Girls Develop IT meet-ups.) Shojaee
says that the speaking events and conferences
are an important part of Axosoft’s outreach.
Axosoft has committed to a model where their
developers work together, in person, much of the
time. All of the developers are local, and they
rarely work remotely. They do occasionally have
“Remote Work Wednesdays,” Shojaee says, but
they rotate through team members, so they don’t
have many missing at the same time.
Applying Shojaee’s knowledge of physical therapy,
with an attitude about embracing work as an
integral part of life, Axosoft has intentionally built
out the workspace so people will stay longer.
Shojaee expects her employees to work mostly
nine-hour days. That is why they have the gym,
showers and other amenities, such as a large,
comfortable lunchroom. “We have what I think is
the best wellness program of any company,” she
says. “Other companies give you a pedometer or
they kick you $50 to join a gym, but who knows if
anyone even does that.”
The idea of the nine hours is that nobody is
keeping track of one another. “There are many
business schools that say if you have friends at
work, you are happier at work. So we create an
environment conducive to that here.
“I don’t believe in work–life balance, I believe in
work–life integration,” Shojaee says.
“Our interview process is about four to five hours
long,” she says. They screen potential employees
first by phone to see if the candidates will answer
silly questions, indicating they have an easygoing
personality and a sense of humor. If they pass
the phone interview, they will meet with two
associates. If those fellow employees give the
thumbs-up, they will move to the next HR round.
“I’ve hired people who were right skillset-wise but
not the right company culture fit, and I’ve had to
let them go,” Shojaee says.
Another benefit of working at Axosoft is that
they provide a sort of in-house incubator period.
In the summers, they give developers 30 days
of paid time off to work on their own individual
software projects. Axosoft even offers incentives
to employees who choose to move closer to the
office ($1,500 to $5,000). Some employees ride
skateboards to work.
Last year, the staff banded together and completed
the Spartan Race with a team of 25 employees
and spouses. They trained for almost a year prior
to competing. It was crazy, according to Shojaee,
but really valuable as a team-building effort.
“Nothing takes forever here. We move so quickly
that sometimes speed is the issue,” Shojaee says.
“We’d rather put something out there and have it
fail than be stuck on it forever.” The emphasis is still
on producing quality products, but if something
doesn’t work for clients, then they can always
rescind. “The sooner you catch it, the better. Then
you iterate and move forward,” she says.
Just as the Spartan Race runs on endurance and
high energy, the leader of this successful Valley
tech company is always on her toes—steering,
motivating, inspiring and investing in the
community. “Tech is getting somewhere now in
Arizona,” Shojaee says.
www.axosoft.com
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Photo: Charles Anthony Darr
CASEBEER
By Amy L. Young
It’s been several years since JAVA profiled artist and writer Casebeer. She was
born in Spain and raised in Flagstaff, where she received a degree in journalism
from NAU. At the time of our last article, she, along with her kids and then-partner,
had recently returned to Arizona after residing at NYC’s famed Chelsea Hotel; the
events of 9/11 propelled their decision to come back to Arizona.
Her penchant for words, along with a keen sense of their power, has evolved into
her using them in her mixed-media paintings. Much like the artist herself, her work
is layered, emotional, simultaneously precise and chaotic, and always real.
Her current exhibition, I Hope You’re Feeling Better, is at Scottsdale’s Tilt Gallery,
where she is represented. It includes 27 pieces, each loaded with a unique blend
of sharpness and style. We took the opportunity to get to know more about
Casebeer and her exhibition.
Your exhibition, I Hope You’re Feeling Better, is currently running at Tilt
Gallery. Tell us about the theme.
Each piece is a kind of postcard to a troubling thing in the world. The title came to
me one night, last winter, while collaging an actual postcard to a beloved person
who experienced a series of painfully unfortunate and dark events. “I hope you’re
feeling better,” was all I could come up with. It was an insufficient and true
sentence. And it clearly belonged to the restless work I was doing in the studio,
and my mind, at that time.
How does the work embody that theme?
Each piece is addressed to a specific person, trouble or condition, or is a
remedial instruction in self-preservation. They are open letters, unlikely to
be opened, to things like addiction, captivity, Alzheimer’s, self-doubt, hunger,
dysfunction, inevitability, emotional map-making, and other disquieting facts of
this strange existence.
Regarding the text in your paintings, do you look for words to fit the piece
or vice versa?
Chicken and the egg. I think it’s often misunderstood as totally random and fast,
but it’s a fairly distinct, intentional and often lengthy process that involves a lot of
factors, like collecting, selecting, rejecting, connecting and, if things are working
at all, meaningful coincidence. I hit thrift stores and garage sales for new source
material, and tear out language and images that relate to what I’m working out
at the time. This evolves with painting and other inclinations, painting over and
crossing out, like marginalia on a draft of a manuscript—rewriting, essentially.
Eventually, the elements I’ve collected, the big red x-outs, the glued-down matter
and the original thought assemble themselves.
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It’s been more than a decade since you returned to Arizona from New
York. How do you feel your art has changed or evolved?
Artistically I considered myself much more a fiction writer when I was living
in New York. I was painting then, too, but mostly I was writing every day,
in a dedicated closet at a child’s desk and chair in room 1024 of the Hotel
Chelsea. That big day in September [9/11], I was on the way back from walking
my son, Tosh, to school and I was intent about a whole day ahead of writing (I had
some serious momentum going for a book I was writing at the time) when that
spectacular set of events started to unfold.
A dastardly case of writer’s block ensued, and some other kinds of blocks. When I
finally found my way back to Phoenix and could justify creating again, I landed on
the visual side of things, painting and collaging and connecting found-sentences
that unfold and evolve much like writing does. For five of those years, in a project
I call “the sentence camera,” I wrote overheard sentences of interest to me on my
arm in Sharpie. At the end of the day, I’d write these individual phrases in a book,
and these unrelated things would connect to themselves, to each other, and form
an uncanny prose.
What creative works are inspiring you lately?
My friend Bryn Chancellor recently published a book of short stories titled, When
Are You Coming Home? It’s beautiful and reminds me where I was once, and
that I still want to write. Musically, I’m inclined to the random and have been
experiencing a lot of what a friend calls “talknology”—amazing coincidences in
language and theme, as if the podcast were coming from inside my brain. Early
on, I was very connected to John Cage’s ideas in discovering chance, and I think
that has been a fundamental itch I scratch in my work.
What does exhibiting your work mean to you?
Communication. Connection. Story. Synchronicity. We’re all in this together. I’d
make these things whether they’d be exhibited or not. I’m not at all technically
adept, I can’t draw at all, and I often say, “I use paint more than I am a painter.”
What I make is a result of these limitations. But as my piece, I planned to mail
them, says, “listen, I must speak you something.” I know that connection, or even
comprehension, isn’t remotely going to happen in every piece with every viewer,
but when it does, the synchronicity makes my brain tickle.
Casebeer
“I Hope You’re Feeling Better”
Tilt Gallery
Through June 14
Closing reception: Thursday, June 9, 6–10 p.m.
www.tiltgallery.com
Now a Leading Independent Research Firm Proves it, 48x48
The Dog Bone of Inequity, 10x10
There’s One Reason, 20x20
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PHOENIX COLLEGE BRINGS
FASHION TO THE FOREGROUND
By Jenna Duncan
While there certainly is such a thing as natural talent or an “eye” when it comes
to fashion, no one makes it far in the industry without a foundation in drawing
and constructing garments and a knowledge of standards and practices. For those
things, many aspiring designers turn to art schools and fashion design programs.
Sylvia Phillips is the department chair overseeing the fashion associate’s degree
and certificate programs at Phoenix College. She has been at PC for 31 years and
launched the very first courses in clothing construction. This seed blossomed into
the popular Fashion Merchandising Associate of Arts degree (AAS) and Fashion
Design AAS, and a handful of different certificates.
This year, Phoenix College introduced a new certificate for more advanced students
in Fashion Entrepreneurship. Phillips designed this new focus with adjunct
instructor Naomi Ellis, who has worked for Tommy Hilfiger and Ralph Lauren.
The new program is designed for those students who have completed their foundation
in clothing construction, illustration and design, who now want to go one step further and
start a fashion company, which many do.
“We also have another adjunct who was the program director at Texas Tech
before she moved here. Now she is teaching fashion design,” Phillips says.
Instructor Lori Nam, Ph.D. led the fashion department at Texas Tech from 2004
to 2007. Most of the instructors teaching fashion courses at PC have master’s
degrees in the field or related areas. “We can say that our strength is in our
adjunct instructors,” Phillips says. “Many of them have industry experience.”
Some of the core classes include fashion illustration and computer-assisted
design (CAD). At Phoenix College, they focus on construction and patternmaking,
some of the essential ingredients. Courses are also offered in decorative
arts, hand panting and dyeing textiles, and hand stitching. “We focus a lot
on construction skills and patternmaking,” Phillips says. “These are very
important skills. Once a student knows how to sketch out a design and make the
pattern, they can create an original.”
After getting their start studying fashion at Phoenix College, many students
move on to bigger-name universities and art programs, such as Parsons, Fashion
Institute of Technology (FIT) in New York City, the San Francisco Art Institute, and
Fashion Institute of Design & Merchandising (FIDM) in Los Angeles. Recently, one
student continued to Baylor on a full-ride scholarship, and others have interned at
fashion design houses in New York City.
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The capstone of the program is a fashion internship. This year Phoenix College
students interned at ASU’s Lyric Opera House, Valley Youth Theatre (costume
design) and Lillian Lottie (couture wedding dresses), among other community
partners. Two interns at Lillian Lottie were offered paid positions.
One of Phillips’ favorite success stories is that of designer and innovator Galina
Mihaleva, who came to Phoenix College after relocating to the United States
from Bulgaria (she already held a master’s degree in the arts). She came to the
college mainly to learn English, but became involved in the fashion program and
eventually graduated. She began teaching courses at Phoenix College in 1999
and subsequently at Arizona State University. She now teaches at Nanyang
Technological University in Singapore most of the year and owns a couture
boutique in Scottsdale that she opened in 2007.
More recently, Mihaleva completed a Ph.D. from the National Academy of Fine
Art. Her specialty is smart textiles—garments that can read information from
the human body, measuring things such as heart rate and metabolism; they
can even report info to healthcare professionals. For her thesis, she designed a
protocol to help scientists and developers of smart textiles communicate with
fashion designers. She recently showed new work at a Scottsdale Museum of
Contemporary Arts gala (SMoCA Mix) and hopes to show her new collection in a
gallery exhibit later this year. “We are so lucky to have this program in Phoenix,”
Mihaleva says. “I am honored to be a part of Phoenix College.”
Another Phoenix College graduate, Jennyvi Dizon, has been featured in many
magazines and helped organize Bronx Fashion Week in 2014. She currently runs
Jennyvi Couture, her wedding gown company, out of New York City.
This year Phoenix College updated its construction lab with 14 new “sewing
computers,” at a cost of around $20,000. These are high-tech machines where
most of the functions are computer programmable. PC is now offering new online
courses, including Developing Your Fashion Business and Apparel Production
Management, which teaches new designers important skills such as sourcing
fabrics (and how to research sources), how to write assembly specifications and
how to design a business plan.
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EAT AT JOE’S MIDNIGHT RUN
By Sloane Burwell
Sometimes I think that if people knew how difficult it is to start a restaurant,
they probably never would. After a cool half million spent on a decent
commercial kitchen and bar, you’d better hope there aren’t any demolition and
build-out issues. Even then, you have to be lucky to escape the food & beverage
industry truism that over half of all new restaurants fail in the first six months.
Does your wallet hurt yet?
Somehow, first-time restaurateur Rick Cordova doesn’t appear to be fazed. Joe’s
Midnight Run is a gorgeous renovation of an erstwhile drive-through liquor store
named after a fictitious character (the original owner thought Joe was an easy
name to remember), and it’s situated so close to Otro Café, they could practically
share a wood pile for their wood-burning kitchens. Today, the character of the
place bridges the mid-century lines of the space with an impressive menu and
seriously tasty cocktails.
“I would love to say it was a lifelong dream, but I would be lying,” says Cordova,
in describing how this place came to be. “It was more of a timing thing for
me. I was looking to expand into another business and bought the property.
After seeing what was happening on 7th Street, I realized that there was an
opportunity here.” With multiple new dining concepts in the area and a real buzz
developing, his timing was impeccable.
Unfortunately, in Phoenix, most developers would rather raze a place than
remodel, which is why the work here is all the more inspiring. “Some buildings
are too far gone or have no business being saved. But there are some cool
buildings that have history. If you find something like that, you have to at least
explore the possibility of keeping it. Our concept is better off because we
restored the building,” says Cordova.
And he is right. They kept every piece of the former space that they could and
enhanced what was left. Joe’s is a long rectangle, with a tempting patio in
front. The bar is situated in the back, and it takes a minute to grasp that the
only bottles on display are house 40 oz. The bar stocks liquor on tap. Beverage
director Jessica Fleming’s great drink program features $8 cocktails, like the
Crazy, Sexy Coconut, which sounds like a riff on the TLC song and features fiveyear
Plantation rum rounded out by vanilla, so the coconut isn’t so cloying.
Metal barstools surround the eat-in bar, which makes the Argentinian-inspired
open-flame cooktop more like performance art. Lyrics to Cordova’s favorite jams
line both exterior and interior walls, and the anteroom near the bathrooms
sports wallpaper that mimics ’70s speaker cabinets. Clearly, Cordova likes
music, which of course at his restaurant is heavily curated, as well.
The menu itself pays tribute to hip-hop artists, with Notorious B.I.G. making an
appearance in likeness and the Notorious B.I.G. Burger ($14), an eight-inch-tall
monstrosity loaded with a chuck/brisket burger mix, red wine braised pork, freshly
fried chicharones, coleslaw and cheese. This mega burger requires disassembly to
eat (unless you’re Shrek), and is easily shared by three people, not that you’ll want
to. The tasty fries come with curry ketchup that is so good I’d buy it by the bottle.
Such a funky, fun vibe makes the grown-up menu an enjoyable surprise. Chef
Michael Goldsmith spent time at Lon’s at the Hermosa Inn, which shows up
in dishes like Bone Marrow ($14), a split bone roasted until the marrow is the
consistency and taste of meat butter. I loved it smeared on the grilled bread served
alongside, or on some wayward roasted fingerling potatoes from the Roasted
Veggies ($7). The wood-fired oven does its magic on these veggies, and you can
taste the almond wood that they are cooked over. The romesco (a chunky tomatobased
sauce made thick by bread) served alongside is no slouch, and to be honest,
we gorged on veggies and ate the romesco by the forkful.
Succulent scallops ($14) top an enormous portion of kale and hunks of pancetta.
Honestly, this is more entree than appetizer (known here as “shorties”). The trio
of perfectly cooked scallops isn’t so easy to share when you are with me (get your
own!). I quite enjoyed the Ahi Tuna Plate ($18) on the biggie menu (that would be
the entree section), which retains some of the woody-smokiness and literally melts
in your mouth. A smattering of very good finishing salt was mopped up along with
the grilled pineapple tidbits and drizzles of coconut cream. The Fresno chiles kick up
the heat a notch, and remain flavorful and not palate blasting.
I especially enjoyed the Tart Tartine ($8), a classic French dessert of sliced apples in
pastry cooked in a cast iron skillet in its own caramel, until it’s turned upside down
and served with a scoop of vanilla ice cream. Pro tip: it’s hot, as in nuclear hot. Give
the ice cream a second to melt into the tart until it is sweet, gooey perfection.
Rick Cordova has made opening Joe’s Midnight Run look easy. The space is a stunner,
the kitchen is impressive, and the staff all appear very happy to be there, which makes
every diner glad to be there. Somehow the crazy nature of the food business hasn’t
scared him away. Honestly, though, if I had his deft hand first time out of the gate in
a place this interesting and well done, I’d be smiling all day, too.
Joe’s Midnight Run
6101 N. 7th St.
(480) 459-4467
www.joesmidnightrun.com
Monday – Friday, 11 am to 2 am; Saturday – Sunday, 9:30 am – 2 am
Happy Hour: Monday – Friday, 3 – 6 pm
Reverse Happy Hour: Sunday – Thursday, 11 pm – 2 am
#jomies
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Photographer: Orlando Pelagio
Models: Alfred G, Nick C, Chad J,
Wade S, Titus F , The Agency Arizona
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Photo: Frank C Photography
GENRE
Legendary Rock Act
By Mitchell L. Hillman
It is hard to believe that Genre first blew me away over half a decade ago. In that time, there have been a
few lineup changes. They were reduced to the core duo of Zac Markey and Corey Gomez on their 2014 EP,
Scrape Your Voices on the Stars. This time around, they have brought on Trevor Denton (Sun Ghost) to make
their first fully realized full-length. Denton has been part of Genre’s live act for quite a while, but this is his
first appearance on record.
You have to have some impressive stones to call your full-length debut Legendary Rock Act. While the title
may be a bit off-putting, they do their damnedest to live up to their own hype.
Their songs and their songwriting have only strengthened over time. Where Scrape Your Voices far exceeded The
Weepy Omelette, Genre’s EP debut, Legendary Rock Act blows their entire back catalog clean out of the water.
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One thing to be sure, this album is meant to
be taken as a whole. Sure, there are singles
throughout, but it is consistent from beginning to
end and is best enjoyed exactly that way. With Zac
Markey (vocals, guitar, bass, programmed drums,
samples) fronting this album much of the way, along
with Corey Gomez (keys, vocals) and Trevor Denton
(guitar, bass, vocals), there is a balanced, cohesive
feel to the band itself.
Legendary Rock Act begins with “Royal Plain 2,”
thrusting the listener into a jarring whirl of
static, feedback, a guitar mis-start and a sampled
conversation between Markey and local rocker
Kevin Doll. From that description you wouldn’t
get the idea that this is a pretty gentle start for
the album. It begins with a couplet of lyrics that
are pure gold: “While morale is down, I’m up at 4
a.m. discerning miracles from sins.” The keys accent
every nuance, and you are seduced into the album with
a sense of curiosity if nothing else. It is apparent from
the start that Genre is becoming more of an art band
than ever before and that this is the album where their
vision gels.
“Beatles Shirt” has been a live favorite for a while,
and I’ve been waiting for it on record with eager
anticipation. It doesn’t disappoint. This is pretty
much where the album launches into the indie rock
juggernaut, and it doesn’t let up on the edgy tension
for the rest of the record. It’s a look at a crass
society inspired by commercialized merchandise,
like a Beatles shirt worn by someone who has
no real investment in The Beatles. As cynical as
it sounds, it’s actually quite hopeful in the end:
“I’m still convinced we could save the world, see
benevolence in the angry boys and girls who won’t
rest until everyone has what they need, transmute
fear to love and equality from greed.” This is one of
the best rockers in their entire catalog, and when
Markey starts screaming, “That’s the way that it
goes” while the guitars explode, it’s electric.
It sounds as though a radio dial is being tuned
before landing on “Bad Neighbors.” This seems
like a gentle number at the start, until Markey
starts screaming maniacally and delivers some of
his most self-loathing and esoteric lyrics. Still, it
is littered with wisdom like “I just believe in me
and I came here to set me free” and references to
their last record: “Been scraping vocal cords across
the galaxy.” Markey sings of more cosmological
viewpoints throughout, and Denton’s background
vocals are simply perfect to add more sonic weight.
“Tell Ya’ Later” is the sole song where Gomez takes
the helm on lead vocals, and unlike their last record,
it’s not a shocking transition and fits in with their
refined sound. It provides a break similar to the way
that Keith Richards does on a Stones record. It’s
still high energy and certainly more pop-oriented
than the other tracks found here. Yet the lyrics are
accurately acerbic, with wry commentary on the
zombie-like consumerist culture of laziness.
The dial on the interstellar radio receiver is twisted
once again, with interesting, near celestial sounds
in the background as it tunes in on the explosive
“Riding the Tension.” It seems to be a cathartic,
post-breakup tune at its finest, and at a minute
and a half, it comes at you like a freight train.
The guitars are super heavy, gilded by the keys,
held together by the fuzzy bass. It is gorgeous in
its confessional approach to a lasting emptiness
filled with subtle realizations that come only after
something has finally ended.
The dial gets another twist, filled with feedback and
wild sounds, before tuning in to a guitar with an
echo of The Velvet Underground and a drumbeat to
match. Genre approach The Jesus & Mary Chain circa
Darklands, especially with Markey’s most restrained
and touching vocal at the start. It explodes caustic
vocals and a wall of guitars, so brilliantly that
“Papago Psychic Chic” is one of my favorites, if for
no other reason than the finale alone.
“Marines” starts like a take on Southwesternsoaked
Americana, and like every other song here,
it lulls you into wondering if it is going to be the
ballad. It’s not, and the wall of feedback and guitars
nearly overshadows Markey’s vocals here. It’s
clearly a heartfelt tune, with lyrics about a friend
lost in military action, with the image of that friend
remaining as only a ghost in everyone’s mind. It’s
haunting, harrowing and still manages to kick out
the jams despite such a heavy thought.
Trevor Denton tackles lead vocals on “Gravity
Bridge,” and as he was formerly the frontman for
Sun Ghost, I’ve been eager to hear this track. Again,
the transition is subtle, but it’s a palate cleanser.
It’s also a straight-out rocker that doesn’t sneak
up. Cosmological concerns are raised once more,
involving interstellar time travel and the gravity
bridge, of course. While it may end on the nearly
horrifying refrain of “All the rest can go die,” this
is because the traveller has already discovered
“I’m here strictly ’cause of love.” It’s great to hear
Denton sing in a band again. The backing vocals at
the end serve as icing on the cake as the radio dial
is twirled again to land on the next song.
The appropriately titled “Emo AF” is torn between
anxiety and depression. The song is much deeper
and yes, more emo, lyrically, than it may seem
at first. It revolves around a lost relationship but
speaks more of the process of dealing with that loss
than the loss itself. Musically, it is indie rock, with
wailing guitars and synths up front. Everything here
is set to make your blood pressure skyrocket.
“Cat Problems 2” continues the theme established
in “Cat Problems” from Scrape Your Voices, but it also
feels like a continuation of “Emo AF,” as it further
explores the trappings of a classic heartbreak
scenario, although it’s more self-reflective and
objective in its view of the dissolution. It may be a
great love, but when you both tear it apart because
you bring about the worst madness in each other,
it’s best to walk away.
“Speak Now” is an example of how Genre has a
knack for slamming some of their best material
inside a two-minute song. It’s pure pop punk and
it’s catchy as hell. This is easily my favorite radioready
song here, and it’s not surprising that it was
the natural pick for the first single. Not unlike “East
Coast...” the song leaves you wanting more, and
you may have to spend time away from the album
sometimes, so that you can play it over and over again.
“Royal Plain” is the finale, and it’s the
perfect conclusion to Legendary Rock Act, as a
straightforward rocker that is single worthy. As hard
as it rocks, the backing vocals apply a pop esthetic
that makes it even more engaging. It’s another
number with more sardonic commentary. The lyrics,
delivered at breakneck speed, are pure poetry.
While it is the last proper song on the album, Genre
have once more added a secret song, which I have
mixed feelings about, at best. I’m more impressed
by the experimental noise orchestra that goes on for
nearly two minutes, until the magic space receiver
tunes in to the ridiculous coda. But it wouldn’t be
Genre if after this intense and heavy record they
didn’t still have a sense of humor.
This record takes the band to a completely new
level, with an overall ferocity they’ve only hinted
at before. Their music has always been authentic,
but in some instances it felt like it was hiding
from itself. Here there is no holding back. There
is a density to this record and a notable aspect of
maturity, both compositionally and psychologically.
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MRCH
I Love You, But You Don’t Know What
You’re Talking About EP
NANAMI OZONE
Desire
THE HARDWAYS
Whittle It Away
Last year MRCH (pronounced March) first appeared
as a side project of The Prowling Kind’s Mickey and
Jesse Pangburn and Erin Beal. They released a string
of three singles that were quick to catch the attention
of radio and press. The last one, “Spin,” was featured
as the soundtrack when Alexis Krauss (Sleigh Bells)
and Bethany Cosentino (Best Coast) interviewed each
other for the Pitchfork-produced “In Focus” series.
“Spin” is the only of those singles to make it to
MRCH’s debut I Love You, But You Don’t Know What
You’re Talking About EP, which leaves room for four
brand-new tracks.
“Light” opens the EP on a darker note and is one of
their more synth-heavy efforts. Still, MRCH fulfill
their promise of delivering breathy dream pop.
The atmospherics give way to a slightly more
Eurodisco vibe on “Ruins.” This tune would have
been supremely popular in the mid to late ’80s, and
given current trends may make for a great single with
a radio edit. “Spin” is the centerpiece of the EP and
deservedly so. It also feels like the song that helps
define the sound of the entire record.
“Impulse” is a little heavier than the other tracks—a
slow-burning, seductive number that draws you into
its strange, dreamlike atmosphere. Mickey’s sultry
vocal delivery moves this song like a slow dance on
your soul. The finale, “Drift,” is perfect, with its near
church organ beginning that transports the listener to
a celestial state. It’s damned dreamy and dizzying in
its pleasure.
Nanami Ozone is a sort of local indie-pop supergroup
formed by members of The Thin Bloods, Numb Bats,
North Dakota and Sun Ghost. They just released their
debut album, and it will be on my summer soundtrack
(or maybe my soundtrack for the rest of the year).
One of my favorite shows ever was The Thin Bloods
with Numb Bats, so the idea that Colson Miller,
Sophie Opich and Mo Neuharth have teamed up is
a game changer—add Chris Gerber on bass and it
is perfection.
The album has a classic early alternative feel; think
Blake Babies, The Breeders or Belly. It has that same
energy, same youthful drive, as well as a bit of a
surf groove here and there. One thing that keeps
the album engaging is the switch of vocal duties
throughout. Miller’s songs, “Wet Mouth,” “I Dunno”
and the Nirvana-meets-Pixies jam “Michigan Man,”
seem like more straightforward anchors for the
album. Meanwhile, Opich handles lead vocals on
“Right by Your Side,” which sounds like it could have
been written by the Deal sisters, and “Be Cool to
Me,” which serves as the centerpiece of the album.
It’s got a great fuzzed-out Jesus & Mary Chain vibe to
it, with breathy, baby-doll vocals.
Neuharth takes lead on the indie rock single “Desire”
and the equally fantastic shoegaze “Clear.” Opich
and Miller team up for the adorable “Sonny Bono,”
which has a Mazzy Star/Opal feel to it. On “Push Me
Down the Stairs” Gerber is actually the lower register
while Miller handles the high range. Be sure to listen
all the way through, as after “Michigan Man” there’s
a secret track by none other than Jordan Owen of
Petty Things. In an alternate universe where Twin
Peaks never stopped airing on television, this is the
number one record in America.
The Hardways present a rather fascinating portrait
of themselves on Whittle It Away. The band is
steeped in Americana sounds, banjo and country
tones, but they have a way of mixing that with rock,
metal and even salsa. Gingher Leyendecker (vocals/
guitar), Daniel Bain (guitar), Nate Hawbaker (drums)
and Christopher Lee Lykins (bass) have a knack for
presenting Americana themes inside surprisingly
breakneck speeds.
Both “Whittle It Away” and “Ghost Rider” showcase
The Hardways’ brand of Americana thrash pop with
vigor. “Old Blacktop Road” slows the pace down for
a bit and comes on with the same ominous tone as a
murder ballad. Country slam dancing could become
a thing with the likes of “Prairie Fire,” while “Hard
Times” is its musical companion, sounding like it’s
going down at a hoedown.
The ballad of the album is “The Wonder,” and the
sheer beauty of it tugs at your heartstrings. The
transition into “Road to Hell” is a little rough, with
the bombastic drums and pounding bass, but it just
straight-up rocks out, as does the blues-drenched
“One for the Road,” which pairs with it perfectly and
name checks the Palo Verde Lounge. It’s ironic that
“Simple” is possibly the most musically complex
song here, throwing any country feel out the window
and exploring more Latin sounds as it works its way
through different movements. “Zombieland” is a
hilarious hootenanny romp that pokes fun at Sheriff
Joe and Jan Brewer and grins the entire way. The
album ends perfectly with the slow-burning blues of
“So Long Baby.”
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Sounds Around Town By Mitchell L. Hillman

SUN HEX
Downer EP
BAD HAIRCUTS
Thank You Thank You Thank You
FORESTEATER
Nightlife of the Exploding Heads EP
Sun Hex is one of the newest bands in the evergrowing
shoegaze noise-pop scene. They are also
doing it more aggressively than nearly anyone
else. When you hear “Blue Moon West” explode,
you’ll know exactly what I mean. It is one of my
favorite recorded moments of the year, evoking so
many great influences from the ’80s and ’90s, and
then spinning them in a blender of aural confusion.
Sun Hex are harnessing the same kind of power that
made the likes of My Bloody Valentine and Sonic
Youth so great.
“Just Wait” continues nearly seamlessly from the
stunning opener, and it’s an easy pick for a single,
evoking Spacemen 3, MBV and Ultra Vivid Scene.
It’s as hypnotizing as it is catchy, somehow slipping
a bit of pop sensibility into the maelstrom. Exploding
out of nowhere, “Sun Hex,” the song, is almost
straightforward rock, dressed in shoegazing guitars.
“Fearway” seems much in the same vein as “Sun
Hex,” and the two go together as well as the first two
tracks, creating a nice dichotomy. Both sides have
their merits and both are equally engaging. Whether
that was their intent or not, that’s how it sounds.
Sun Hex is Chris Morales (guitar/vocals), Jesus
Medina (guitar/vocals), Alberto Gonzalez (guitar),
Diego Garcia (bass) and Aaron Medina (drums), and
their debut EP, Downer, is one of the best shoegaze
releases of the year. I have to hand it to them,
whoever they may consider their influences, they’re
doing it better.
Recalling the kind of albums that K Records would
put out from home-recording bands out of Olympia,
Bad Haircuts make some damn smile-worthy indie
pop, with a wonderful homegrown aesthetic. This is
the kind of music Calvin Johnson would have been
all about in 1992. Well, it’s 2016 and I am all about
this charming little record. And I do mean little: most
songs don’t make the two-minute mark across the
nine tracks found here.
Still, Bad Haircuts can fit a lot of joy into short songs
like “Take the Bus Instead” or “Weird When Ur
Driving.” The found sound sample “Breakfast” serves
as a great intro to the title track, “Thank You, Thank
You, Thank You.” It’s a wistful number with a church
organ part that almost sounds like a funeral dirge,
giving the whole affair a slowcore vibe. “Sweaty”
is listed as a demo, but it’s actually a rollicking fun
track that fits in well with the rest of the material.
Another track listed as a demo is the seemingly fully
realized “Soccer,” with a great Mo Tucker drumbeat
to boot. The demos may be more minimalist in their
presentation, but they are no less engaging.
Meanwhile, “Bonus Track” is synthesized silliness
that makes you feel like you’re in a bad video game
from a 1980s console. “Message from a Friend”
comes on like a breath of fresh air, an uplifting
synthesizer-laden instrumental that seems to
continually ascend. The album ends with the
one-minute noise experiment “I Woke Up Sick,”
which serves as the perfect arty ending to this
fascinating album.
Foresteater is the new project from Mikey Pro of La
La Lust. Last month he dropped his debut EP, Nightlife
of the Exploding Heads, on which he sings and plays
nearly every instrument, with Bob Hoag of Flying
Blanket on drums, percussion and production. This
four-track debut is a pretty impressive collection of
indie pop rock that sounds radio ready. The opener,
“Very Friendly People,” is a pure, psychedelictinged
welcome mat for the aural experience ahead.
The bridge on this number is worth the price of
admission alone.
“High and Bright” was the first single Foresteater
dropped at the start of the year, and it’s easy to hear
why. It’s a desert driving number, with a rock vibe
that shows off the exciting vocal range of Pro. It’s
pretty catchy, with a taste of the Sonoran wind
in it. Meanwhile, “Nighttime Honey” sounds like
what would have happened if Oasis had come
to the desert and dropped peyote. It’s a fantastic
gem a bit buried behind two obvious singles, but a
standout track on its own. It’s more a song for artistic
exploration and musical discovery, than crafted as a
hook-heavy single.
Nightlife of the Exploding Heads ends with another
obvious single, the synth-charged “Dress in Yellow.”
Seemingly a paean to boredom and perhaps
substance abuse, it’s as fascinating musically as it is
lyrically. It’s also catchy as hell. This debut EP goes a
long way to prove that Mikey Pro can pretty much do
anything, whether he’s with a band or on his own.
Sounds Around Town By Mitchell L. Hillman
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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Filmmaker
Jo Ann Lujan
By Demetrius Burns
Photos: Enrique Garcia
Hair & Makeup Tomas Esparza, aka Glam Tek
Location: Palabra
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Phoenix filmmaker Jo Ann Lujan developed her imagination at an early age. As an only child, she was
always inventing stories and coming up with characters in her head to stay entertained. However,
the very things that kept her sane made her outcast among her peers. She was bullied throughout
school and never quite fit in. “Everything was real imaginative to me. I lived in a different world,”
said Lujan.
A native Phoenician, Lujan was born at the county hospital and grew up off Van Buren and Thirteenth
Street. Her household was one that inspired creativity, as she came from a family of artists. Her father
was in a mariachi band and provided her with kaleidoscopes and film slides to help her develop vision and
imagination. He wanted her to become a musician like him, and in school she played the trumpet and sang.
Yet, she was called to do something that took her outside of herself and into the world of other people.
She got her diploma from Maryvale High when she was 16 and decided to go to Spain. By the time she was
22, she had backpacked throughout Europe seven times by herself. Traveling helped her develop a sense of
self. At one point, she was part of a female mariachi group in New York, but her lively imagination led her to
develop a love for film. What immediately drew her to film was the logical component—the technological
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precision of it all. Lujan eventually moved back to Phoenix and started going to film
school. She won an award for an experimental film. Oddly enough, she didn’t even
attend the award ceremony. “As a filmmaker, at least with me, you’re not really proud
of anything. I could keep working on the same film for years,” said Lujan.
Lujan kept a passion for film, but unfortunately it didn’t pay the bills. So she
dropped out of film school and developed skills as a practitioner of the holistic
sciences. “Being Mexican, we always had natural remedies. My grandfather was
very into herbs. It was just programmed in my head,” Lujan said. At one point,
Lujan was even working at Bloomingdale’s tweezing tourists’ eyebrows. She said
this experience helped her learn to deal with high-stress situations and practice
perfection.
Through it all, she still had dreams of making films. “It never left my mind. I
always wanted to be a filmmaker,” said Lujan. “I needed a good job with 401k, to
take care of myself. I don’t have a wealthy family. Living in New York City on your
own, you have to watch your back. But I would see movies all the time. That’s all I
did. I saw it as one big school. If film comes first, everything else is second.”
The subject matter of her films up to this point is surreal in nature. One of her
favorite directors is David Lynch. She sees him as very mysterious, yet evocative.
She employs a lot of hidden messages and tries to challenge her audience to look
beyond the surface. Her work also involves lots of theatrics and costumes. Her
film entitled “Purgatory,” for example, includes a scene where milk is poured over
a girl while she is chained up.
Lujan was able to continue to pursue film during the periods when she returned
to Arizona. She would take classes at Scottsdale Community College. Most
of her stays were temporary, until her parents became ill, which has made it
necessary for her to return for an extended period. During this time, Lujan decided
to continue her degree program at SCC, and just a month ago, she received her film
degree after almost 20 years—completing the dream that she had as a teenager.
Everything about her story celebrates the spirit of pioneering individuality, which is
captured in the Phoenix spirit, as well. Lujan is a Phoenician through and through,
in herself and her art.
“Phoenix is a desert, so it’s very spiritual in a way. You have to go into yourself and
find yourself. You have to make peace. It’s just a blank canvas here. You can do
things,” said Lujan. One of her main inspirations in the city is a fellow artist named
Tara Logsdon. “I admire her raw, artistic view. She has things to say that I’ve never
thought about saying. She is really intellectual, but she hides it,” said Lujan.
Near the end of her term at SCC Lujan met the rapper Candyman (Candell Manson)
in a documentary class. Candyman is known for his hit song “Knockin’ Boots.” He
was interested in doing a documentary on the origins of hip hop, and wanted to make
it a sort of a save-the-music public service announcement. Lujan believed that she could
help tell the story and joined Candyman as the director on the film. The project was
awarded a grant by SCC; however, it has not been an easy process. Everybody on
the crew eventually quit, so at this point, it’s just Candyman and Lujan.
At one point, the school banned Lujan from the soundstage right before she was
about to shoot a major interview. She had to scramble, using her own money to
rent equipment to conduct the interview. Candyman attempted to fire her from the
project, but she was resilient. She argued with him for three hours, earning his
respect and letting him know that she wasn’t going to back down. “It’s just a lot. I
can stay up for days and watch the sun come up. Then I have to go on tour and film
it. I have to design everything. I have to get all these celebrities on board. Then I
have to go to all these concerts and after parties, lugging equipment on my back.
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loft style
offices
in the heart of the
arts district
downtown phoenix
I am filming and have to be technical with all the sound. The thing is, I can do
everybody’s job. I did everybody’s job. I have done everything,” said Lujan.
“For the first year and a half, I kind of just threw myself into this documentary.
It took me that long to fully understand the story—what the motive is. I feel
like it’s for everybody. I’m not looking to make a profit out on this project,”
Lujan said. “Candyman has been an amazing mentor. He has always been that
way. He is a real professional. If he says he is going to do something, he does
it. We work well together. I would never have been able to meet all these
people without him.”
Lujan sees herself as an activist by sharing truth through film—an attribute
Candyman believes is an asset to the project. “Jo Ann is a go-getter,” he said.
“She has a background in hip hop and that helps. She also has a feel for what
it is I’m trying to do. We’ve worked together for over a year and a half, and
we can still sit at the table together and complete each other’s thoughts. As
far as her being a director, I feel like she is going to be one of the greats if she
continues to do it. She puts her heart into her work, and not everybody has that
kind of heart.”
Hip hop is defined by rebellion—going against the grain. Lujan has lived a life
filled with individualism and experimentation. If there is a filmmaker that can
capture that dimension, Lujan certainly is that person. A lot of people want to
make films and tell stories, but not everybody can. It takes time. Even when
Lujan visits her parents in the hospital, she takes her notes to work on the
documentary. It is an all-consuming project.
Lujan believes that filmmaking is like walking, and with every step, she is coming
closer to realizing her dreams and the dreams of the artists she documents.
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GIRL ON FARMER
Treat Yourself.
“Treating yourself” is a real whitey, middle-class
thing to do. Maybe everyone does it, but all I’ve
ever been is white and middle class, so I know
these people say things like, “Oh, just treat
yourself!” when you are prepared to spend money
you don’t have or indulge in something that might
not be good for you. I live a pretty privileged life
on the big-picture scale, considering that a third
of the global population doesn’t have access to a
working toilet. So, the whole “treat yourself” is a
guilt alleviator when we should just do what we
want anyway and not justify it as a treat.
See, I feel so guilty about treating myself that
I had to get all Debbie Downer on you. And my
self-treat hardly counts, because it was a gift card
that someone gave me for being wonderful. The
card was for a spa, and it was worth $75, which to
me indicates being very wonderful. With it, I got
myself a nice massage.
The spa card wasn’t for a real, retreat-style, fancyass
spa, like the one I went to many years ago,
where workers step aside when you walk through
the hallway and you are served iced cucumber water
and walk around in a fluffy robe like a pharaoh. It is
at the same time both incredibly uncomfortable and
indulgently delicious.
Anyway, this was not like that. It was a massage
place in a strip mall. No one was pouring me
anything and I wasn’t asked to put on a robe made
of angel feathers. They led me to the little room
where I was asked to “undress to my comfort level.”
My comfort level is naked, but I didn’t really get the
protocol and I wondered if you were supposed to be
lying around butt naked in the strip mall massage
place. I also had my period and decided that it would
be a little gross to be all sprawled out and have my
tampon string hanging there like a fishing line. So I
kept my underwear on.
It was very calm and relaxing in the little room. There
was a dim light and waterfall sounds. I was looking
forward to being all peaceful and quiet and maybe
even falling asleep on the table. Then the massage
lady, Sherri, came in and I quickly found out that this
was a therapy session—for her. She asked me all
kinds of questions about my massage preference, my
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I had my period and decided that it would be a
little gross to be all sprawled out and have my
tampon string hanging there like a fishing line.
So I kept my underwear on.
body injuries, my day and how many pets I had. She also let me know that she is
familiar with body trauma because she’s “been through a lot.”
As she babbled on about her life, I gave one-word answers, trying to politely
signal her to shut up. Finally she got the picture and stopped talking. Now I could
really start treating myself properly by going into a Zen-like state of relaxation.
Also, I had opted for aromatherapy oil, which meant that I was being replenished
with fragrant oil at regular intervals, and that was nice. It was so nice that I
thought about how hard it must be to be a masseuse.
I had requested a female because I didn’t want to be worried about a big boner
creeping up on me. I’m not accusing massage people of being creepy or anything,
I just don’t see how you wouldn’t get a boner ALL DAY LONG if you were a male
masseuse. Any attractive person, you’re rubbing all over with nice oil? Hard-on.
Seriously, it had even crossed my mind to make out with this crazy lady, who was
definitely not my type—not to mention I am not a lesbian.
Another thing I wondered is: should I be getting a discount? I am small, 5’1”, and
not fat. It takes a lot less time and effort to work on me, square footage-wise,
than bigger people. Maybe they should consider charging per square inch or
something, because this lady stopped short of my hour. I think, because she had
rubbed all the necessary areas. She also dug her big-ass elbows into my shoulder
blades because she had run out of ideas and places to massage. I mildly told her
she was hurting me, but after all her talking of hard times and letting me know
she’s “been through a lot,” I didn’t want her to think she was bad at her job.
When it was all over, I was so oiled up, I was afraid of slipping off the table. My
shoulders hurt and I think I earned a few clinical therapy hours listening to Sherri.
This massage place acts like they are a doctor’s office. When you leave they give
you a “recommended follow-up” to maintain health. Then there is a diagram of
your body and the masseuse puts an X on all your problem spots to really let you
know you are in trouble if you don’t come back. I told them not to worry about
rescheduling me. I was just here treating myself.

NIGHT
GALLERY
Photos By
Robert Sentinery
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1. SMoCA Mix: Fashionably Avant-Garde
2. Tondra & pal getting caught up on the latest issue
3. Chad and Shawn at the Postino Highland Grand Opening
4. Oscar M. is back on the scene
5. Sy from Couture Customs and his pretty lady at SMoCA Mix
6. Gould Evans 20th Anniversary Celebration
7. Preston and Yvonne at the Downtown Renaissance
8. Accessorized ladies at SMoCA Mix
9. Lovely mother-daughter duo at “Fashionably Avant-Garde”
10. Brea Burns at the Merle Haggard Tribute show at Rhythm Room
11. Peter’s rocking the Pac Man suit

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12. Angelina and wifey at the For The People opening
13. Postino Highland VIP opening
14. Lucha Libre fun and the Gould Evans anniversary
15. Sexy flamenco at the Downtown Renaissance
16. Amazing all-Prince afterhours set at the FORM Arcosanti
17. Colton made some tasty sangria for Stacey’s house party
18. Lauren from Upward Projects at her Postino Highland pre-opening
19. Interesting couple at Stacey’s house party
20. The incomparable Oscar on the red carpet at SMoCA Mix
21. Yuki, Ann and friend at the Gould Evans 20-year fete
22. Cutie rockin’ at Fortoul Bros. Shirt
23. SMoCA staffers getting into the Mix
24. Postino Highland patio by architect Frank Henry
25. Love the harlequin look
26. Somebody got frosting on his nose
27. Triple threat at the Postino Highland fete
28. John, Mia and Eric at SMoCA Mix
29. For the People grand-opening fete

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30. Anita celebrates her birthday in the museum
31. Fortoul Brothers official FORM Arcosanti shirt
32. 3:00 a.m. revelry at FORM
33. Jon Arvizu does live art at the Postino opening
34. Couture in the Suburbs in the house at SMoCA Mix
35. Valley Fever’s Merle Haggard Tribute at Rhythm Room
36. Forrest and Henry on the red carpet
37. Hmm…red or white? Postino Highland opening
38. Philippine posse at “Fashionably Avant-Garde”
39. Kicking back with the band at Stacey’s
40. More For The People opening fun
41. Vinyl Station on the new Postino patio
42. All dressed in black, black, black
43. My, what a big board you have
44. At SMoCA with director Sara Cochran and Claire
45. Grant with the girl in the cool zebra dress
46. “Fashionably Avant-Garde” at SMoCA
47. Gould Evans anniversary fun

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48. Table talk at the Renaissance
49. Trio of talented artist ladies
50. This local fashion designer has mad talent
51. Fab on the runway at SMoCA
52. Ryan and Kylie from Modern Manor
53. Cynthia Sassi and friend have the sequins going on
54. Wendell and his lovely lady
55. Always fabulous Katie and friend
56. He’s got the vintage Generra Hypercolor t-shirt
57. Tyda and his lovely fiancé
58. FORM friends at Arcosanti
59. Good seeing these guys at the Merle Haggard tribute
60. Bumped into Karina and pal late night at FORM
61. Group shot with Sandra and friends
62. High in the vibe at FORM
63. Liliana and friend at the For The People opening
64. It’s pancho weather at Arcosanti
65. Purple-haired girl sandwich

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66. Jonathan and his pretty lady
67. Hugs on the stage/dance floor
68. Flamenco night with Gypsy and pal
69. All together now – Postino Highland VIP opening
70. Festive trio at FORM
71. Arcosanti with Quincy, Charis and co.
72. Saturday wee hours at FORM Fest
73. Photog Chris Loomis gets snapped with the birthday girl
74. A rare photo of Samir
75. These guys are all wrapped up in each other
76. A toast to pink bubbles
77. Blonde on blonde
78. SMoCA Mix headlining designer Rocky Gathercole
79. For The People grand opening fun
80. Put you hands in the air
81. David and his lady at FORM
82. Having fun at Stacey’s house party
83. Michelle gets a hug from Mia

THE COLONY
5538 N 7TH ST
PHOENIX, 85014
602 283 4503
READY
FOR
SUMMER