Java.NOV.2016

251 • NOV 2016
FOUND:RE HOTEL • FLAGSTAFF FOOD TOUR • NO VOLCANO

NOVEMBER 4 6 – 10 pM Opening Night
EMPHATICS:
AVANT-GARDE FASHION 1963 – 2013
+ Free general admission
+ $5 exhibition tickets
+ Fashion show by
The Art Institute of
Phoenix students
+ Site-specific
performances and one
night only installations
+ DJs, Cash bar
and more!
+ Sashay your way
to our Snapchat,
Facebook and
Instagram to
find out about a
special guest to be
revealed soon!
sponsored by
Visit phxart.org for details including parking and tickets.
2 JAVA
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#phxartff
#Emphatics

15th Annual
MERCADO
DE LAS ARTES
SATURDAY & SUNDAY | NOV. 12 & 13
ARTISTS | MARIACHIS | FOOD & FUN
2016 SIGNATURE ARTIST SHANE CASIAS
CLOSING PROCESSIONS BOTH DAYS!
SIGNATURE SPONSOR
2301 N. CENTRAL AVE. PHOENIX, AZ 85004
602.252.8840 | HEARD.ORG
STERLING SILVER BRACELET BY SHANE CASIAS

CONTENTS
8
12
22
30
34
FEATURES
Cover: Kehinde Wiley
Photo by: Tony Powell
8 12 22
34
CONVERSATIONS WITH
KEHINDE WILEY
“A New Republic” at Phoenix Art Museum
By Demetrius Burns
FOUND:RE
Downtown’s New Art Hotel
By Jenna Duncan
EMPHATICS
Photography: Thomas Ingersoll
Styling: Margaret Merritt
NO VOLCANO
Dead Horse Power
By Mitchell L. Hillman
FLAGSTAFF FOODCATION
An Insider’s Guide to Eating, Drinking
and Being Chilly
By Justin Lee
COLUMNS
7
16
20
30
38
40
BUZZ
AZ Delights
By Robert Sentinery
ARTS
Take/Aim at ASU’s Northlight Gallery
By Amy L. Young
Jel Martinez at {9} The Gallery
By Amy L. Young
Discovering the AZ Heritage Center
By Jenna Duncan
FOOD FETISH
Duza’s Kitchen for Breakfast and Lunch
By Sloane Burwell
SOUNDS AROUND TOWN
By Mitchell L. Hillman
GIRL ON FARMER
The Election Rejection
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
Thomas Ingersoll
Enrique Garcia
ADVERTISING
(602) 574-6364
Java Magazine
Copyright © 2016
All rights reserved.
Reproduction in whole or in part of any text, photograph
or illustration is strictly prohibited without the written
permission of the publisher. The publisher does not
assume responsibility for unsolicited submissions.
Publisher assumes no liability for the information
contained herein; all statements are the sole opinions
of the contributors and/or advertisers.
JAVA MAGAZINE
PO Box 45448 Phoenix, AZ 85064
email: javamag@cox.net
tel: (480) 966-6352
www.javamagaz.com
4 JAVA
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INLAID GUITAR MASTERPIECES
Opens November 5, 2016
Presenting an unparalleled combination of imagination and
artistry in an exhibition featuring instruments with
incredible inlay by North America’s finest artists and luthiers.
Only at MIM.
For details, visit MIM.org.
In partnership with:
Sponsored by:
Lorraine Lum Calbow
MIM.org | 480.478.6000 | Open Daily 9 a.m.–5 p.m.
4725 East Mayo Boulevard, Phoenix, AZ 85050

JEL MARTINEZ
Solo Exhibition
COMING SOON TO THE
MIM MUSIC THEATER
Rumer Willis: Over
the Love Tour
Sun., Nov. 6 | 7:00 p.m.
Tickets: $58.50–$68.50
“Rumer Willis has the voice
of God!”
—Us Weekly Magazine
Bria Skonberg
Mon., Nov. 14 | 7:00 p.m.
Tickets: $30.50–$38.50
Trumpeter and vocalist Bria
Skonberg is “poised to be
one of the most versatile and
imposing musicians of her
generation.”
—Wall Street Journal
URBAN ABSTRACTION
On Display November 2016
Opening Friday Nov 4th • 6-10 PM
{9} The Gallery
1229 Grand Ave, Phoenix, AZ 85007
9thegallery.com • Facebook/9thegallery • @9thegallery
Teneia
Fri., Dec. 2 | 7:30 p.m.
Tickets: $20.50–$28.50
“…Teneia can make her voice do
just about anything — charm
you into a hypnotic trance, make
your heart beat faster, or motivate
you to get out of your chair and
dance.”—Phoenix New Times
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

AZ DELIGHTS
By Robert Sentinery
BUZZ
November is in full swing and the city has awakened from its summertime
slumber. The dreamy weather means weekends are jam-packed with openings,
events and festivals. Phoenix Art Museum has ramped up for fall with a massive
Kehinde Wiley retrospective that fills about 12,500 sq. ft. of the Katz
Wing. Wiley’s exuberant personality made last month’s opening festivities
(artist talk, media preview, etc.) something very special, and the show itself
is not to be missed.
Walking through Wiley’s “A New Republic,” one can’t help but feel a sense of
awe, not only from the scale of the works but also the sheer amount of Wiley’s
artistic output over the last 15 years. More importantly, Wiley’s work speaks
about deep cultural changes taking place in society with regard to race and
cultural perception. JAVA was fortunate enough to sit down with Wiley for
an exclusive interview and photo shoot. The man is a fountainhead who
speaks with amazing eloquence about his work and the cultural conditions that
make it so relevant (see “Conversations with Kehinde Wiley,” p. 8).
The opening of the FOUND:RE Hotel and its restaurant, Match, in the burgeoning
Roosevelt Row district was one of the most anticipated events of late. Last
month, the doors swung open to reveal a true art hotel where every detail—
from the floors, to the walls, to the fixtures and furnishings—seems touched
by creative hands. The really cool thing about the FOUND:RE is that it doesn’t
pull any punches. The industrial chic décor, complete with raw steel, concrete
and I-beams, may not exude the idea of comfort, but the design is elegant and
stimulating for the senses. Best of all, the hotel is committed to the Phoenix art
scene and promises to be a hot spot on First Fridays (see “Downtown’s New Art
Hotel,” p. 12).
One of the best times to head up north is when the leaves are changing and
fall colors abound. A run up to Flagstaff might produce some tasty surprises for
those willing to veer off the beaten path. Things have changed quite a bit from
the sleepy granola days, and Flag has developed a very interesting culinary and
cocktail scene, bursting with authenticity.
Chef Brian Konefal at Coppa Cafe is one of the top personalities. An avid forager,
he makes frequent trips to the forest for seasonal mushrooms, bitter greens,
edible flowers and more, which end up on his plates. This sort of forest-to-table
philosophy abounds in Flagstaff, where sourcing ingredients has become an
obsession. There are seven breweries—the most lauded being Mother Road.
There is even a butcher shop, Proper Meats, that specializes in local humanely
raised meats (and has delicious sandwiches). Nationally heralded Pizzicletta
makes an amazing pie with naturally leavened crust and top-notch ingredients
(see “Flagstaff Foodcation,” p. 34).

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Photo: Enrique Garcia

Conversations with
KEHINDE WILEY
“A New Republic”
at Phoenix Art Museum
By Demetrius Burns
“F*ck.”
Kehinde Wiley jokingly says it after touching one of his pieces. He seems
befuddled by the irony of creating a work—only to have it policed by collectors
and museums once it is sold. There’s a moment of laughter that bounces off the
walls at the Phoenix Art Museum, accompanied by a release of tension, as the
media, invited for press day, realizes that he is human, too.
This moment serves as a kind of template for Wiley’s work. In his own words,
he seeks to mix opposing aspects that often don’t meet in the corridor where art
happens. “So much of my work deals with the sacred and profane. We create this
sacred space for culture. We boil down all of those things that are considered our
best parts, our best merits. Then there are adults who say ‘this is acceptable’ and
‘that’s acceptable.’”
Wiley’s “A New Republic” is a traveling retrospective curated by the Brooklyn
Museum. The show highlights 15 or so years of his illustrious career in art
making. Wiley is best known for depicting people of color in urban attire, in
imperial poses, juxtaposed against classical art backgrounds. The art world is
often testament to the best of culture—and the people who make decisions in
this world aren’t often people of color. “My work does away with that system and
problematizes that system,” Wiley said. “Eventually you want to see yourself in
that narrative.”
In a lot of ways, Wiley doesn’t just include people of color, but he reverses the
narrative itself. For many artists, brown bodies are there to serve the artist and
his vision. Principal to Wiley’s work is the storytelling aspect—having people of
color tell their own story, and his along the way.
The piece that Wiley touches is no accident; it is the second work he
presents to us: an African American youth with his back to the viewer. Wiley
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eferences Foucault’s Panopticon, which is a tower at the center of a prison
where a guard can sit and see all the prisoners without their being able
to tell whether or not they are being watched. In the same way, people
of color who are objectified under the gaze of art are trapped in this
shadow of visibility.
Wiley’s show is an important one for the Phoenix Art Museum. In many
ways, it embodies the vision of the museum’s chief curator, Gilbert
Vicario, who believes that Wiley “represents our community. He
represents a large segment of people in Phoenix.”
Beginnings
Wiley grew up in South Central Los Angeles with five siblings and a tireless
mother—her name is Freddie Mae Wiley—who studied linguistics at UCLA. She
raised the children on welfare checks and whatever spare change she could gather from
her thrift shop. Wiley’s Nigerian father left him at a young age, and his mother discarded
all photographs of him.
Wiley was a twin and spent a lot of his early years hanging out with his brother, who was
also artistically inclined. The two of them would tinker around their mother’s shop, fi xing
and repurposing things. In many ways, this early childhood experience serves as the guiding
movement in his work: cataloguing and refurbishing the past, playing with narratives.
Wiley’s mother recognized his artistic acumen and took him to the Huntington Library, outside
Los Angeles. It was here that Wiley first encountered the lavish European portraits of colonial
masters. At age 11, he began taking art classes at a state college. Around the same time, his
mother sent him to Russia to study the fall of the Soviet Union in an art program.
This was the first time that Wiley left Los Angeles, and it did a lot for his growth as an
individual. After going to Russia, he continued to take art classes and eventually went on
to study at San Francisco Art Institute. He secured a scholarship to attend Yale in 2001,
and later became an artist-in-residence in Harlem at the Studio Museum.
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Mrs. Waldorf Astoria, 2012. Oil on linen. Private Collection, Los Angeles, courtesy of Sean Kelly,
New York. © Kehinde Wiley. Photo: Jason Wyche.
Morpheus, 2008. Oil on canvas. Courtesy of Roberts & Tilton, Culver City, California; Sean Kelly,
New York; Galerie Daniel Templon, Paris; and Stephen Friedman Gallery, London. © Kehinde Wiley.
Houdon Paul-Louis, 2011. Bronze with polished stone base. Brooklyn Museum, Frank L. Babbott
Fund and A. Augustus Healy Fund. Photo: Sarah DeSantis, Brooklyn Museum.
The Two Sisters, 2012. Oil on linen. Collection of Pamela K. and William A. Royall, Jr. Courtesy of
Sean Kelly, New York. © Kehinde Wiley. Photo: Jason Wyche, courtesy of Sean Kelly, New York.
Anthony of Padua, 2013. Oil on canvas. Seattle Art Museum; gift of the Contemporary Collectors
Forum. © Kehinde Wiley. Photo: Max Yawney, courtesy of Roberts & Tilton, Culver City, California.
A Mugshot Becomes an Opportunity
Around the time Wiley was in residence at the Studio Museum, Wiley found a
discarded mugshot on the street that would cause a turning point in his work. He
wanted to properly combat the stereotypes that often spoke for his culture and
instead present his people in a more esteemed light. Wiley began approaching
people on the street and inviting them to his studio in Harlem to look through art
books and find artworks that spoke to them—that somehow told their story. The
subjects would then choose wardrobe items, and Wiley would shoot a photo and
create a painting based on the historic piece.
To Wiley, the African American diaspora shares a lot in common with nomadic
tribes. “People who have to deal with radical contingency—always on the move,
always insecure. Insecurity breeds a way of thinking about the future that is
radically different. That’s why jazz is about inventing a tune in real time. Nothing
is written down. It’s all about call and response. It’s about how one reacts to an
environment. It’s an adaptive, almost a Darwinian response,” said Wiley.
Ever seeking to expand his horizons, Wiley decided to travel the world and
photograph people of color. His journey has led him to many places, including
Israel and Africa. He stresses that he’s more interested in the people than
the politics—especially with regard to Israel. “How does anyone walk into a
conversation about Israel without being mired in the conflict?” Wiley asked.
“What gives me the right to go into that place and have anything to say? I see
those brown bodies and identity questions, and want to respond.” Portraits from
around the world were put together in Wiley’s popular “World Stage” exhibition.
For Wiley, one of the most interesting aspects of his travels was seeing how hip
hop has been projected throughout the world. “The leading edge of American
imperialism is hip hop,” said Wiley. “We beam it out all over the world, and
young people pick it up. They fashion themselves and figure out their revolution
stories. It’s not surprising that hip hop is the great unifier—it’s free radical
expression,” Wiley said.
A New Republic: A Retrospective
One of the most iconic pieces in “A New Republic,” and the only commission on
display, is of the late Michael Jackson on horseback. The piece is more than 10
feet tall and occupies its own wall in the museum. It’s not surprising that this is the
fi rst piece in the exhibition and one of Wiley’s most recognized worldwide. It was
featured on the Fox television show “Empire,” and in many ways Wiley is building
his own empire. He is inspiring other artists to tell their own stories, rather than
having stories told to them.
It must be noted, however, that a lot of the storytelling that Wiley engages in
borders on self-portraiture in some way—the telling of his own story. At a young
age, he would engage in actual self-portraiture, but he says it felt embarrassing to
render himself, Michael Jackson-esque, in costumes. However, he was engaging in
the play of colonial power he saw festooned in classical art depictions. “It sounds
silly, but that was the propaganda of the day. That was the convincing apparatus at
the time. I think it’s much more important to recognize that this entire project is a
self-portrait,” Wiley said.
“There’s a queer aesthetic, an American-ness and a black-American sensibility to it.
As we get closer and closer to this thing, we are arriving at me. It’s important that
it broadens from the United States, because it approximates an even more accurate
depiction of the source. In the end, you stand on the shoulders of so many people
who come before you. You’d be a fool to think that it’s about you. All we are doing is
fi ghting against mortality,” Wiley said.
Kehinde Wiley
“A New Republic”
Through January 8, 2017
Marley Gallery
Phoenix Art Museum
phxart.org
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Visitors traveling along the Central corridor toward downtown Phoenix have
witnessed many changes to the surrounding edifices. One of the façades
along the light rail tracks that stands out is the former Lexington Hotel. In
the early 2010s, the Lexington seemed like a lonely, outdated, stucco sore-thumb.
In 2011, members of the development group Habitat Metro and hotel developer
BOND Partners purchased the hotel. They operated it for about a year and then
closed it in 2012. “We got tired of using Scotch tape and chewing gum to keep
things going, so we came up with a redevelopment plan,” says owner (and Habitat
Metro partner) Tim Sprague.
Thus began an enduring remodel project that has lasted nearly five years and cost
around $25 million—the boutique concept hotel FOUND:RE, along with Match
Cuisine & Cocktails, which just opened October 25.
FOUND:RE boasts 105 guest rooms, a handful of which are considered deluxe and
have been updated with ample balconies. At the time of this writing, bookings
were stated to be at around 90 percent capacity for the hotel’s opening month.
Before the unveiling, many locals wondered how the FOUND:RE would be different
from the Lexington. “The materials and color palette have completely changed. We
have a lot more metals involved; more of an industrial aesthetic,” general manager
Vittal Calamur describes. “We have deluxe rooms that run up and down the Central
corridor that have added balconies, so on the exterior, things have changed as well.”
The feeling inside the FOUND:RE is much more industrial, with open ceilings
exposing steel beams and air conditioning ducts. The walls are mostly clean and
white, like a gallery, and the floors are finished concrete. Steel girders break up the
reception and dining spaces, and there are low coffee tables of dark wood in the
open lobby seating area.
A strong reason that FOUND:RE will stand apart from other local boutique hotels
is that the concept really elevates the restaurant space. “It’s almost like we built
a restaurant and there happen to be rooms above it,” Executive Chef Akos Szabo
laughs. Szabo takes some time away from training his new wait staff to provide a
tour of the elegant and edgy Match Cuisine & Cocktails.
The concept for Match is globally inspired street food made from local ingredients
whenever possible. There has yet to be such a strong dedication to locavorism
(local sourcing) on the hotelier/restaurateur level in the Valley. The original goal,
according to Calamur, was to source food, beverage and kitchen supplies from 60
local vendors. But they have surpassed that goal and are now gathering goods
from 80 different local sources. About 80 percent of the food they will serve
comes directly from Arizona growers, farmers and vendors. “The plan is to take
fl avors, textures and colors from around the world, but recreate them with Arizona
products,” Chef Szabo says.
Planned menu items include samosas, empanadas, Moroccan meatballs and a vegan
Thai salad. Curator of libations Maxwell Berlin says they soon will be adding a list of
drinks to pair with their menu, as well as developing their own custom cocktails. There
are eight taps in the bar, and seven of them pour local brews. They also have wine
storage with around 500 bottles, 15 percent of which is Arizona wine.
The restaurant uses a Forno Bravo wood-fired oven to prepare many of the small
dishes and entrées, Chef Szabo says. The kitchen crew also cooks meats on a Santa
Maria-style grill, which can be raised or lowered with a crank to control cooking temps.
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In keeping with the local sourcing, the grill will use pecan, mesquite and other woods harvested from the
Cottonwood area for grilling. The entire kitchen is filled with a pleasant aroma of wood and light hints of smoke
from the grill. Szabo says that the key to preparing meat and other foods perfectly is finding the right heat from
the flame. Many people think that the best way to grill is to let the red, yellow and orange flames lick the food,
but really the best heat is from the white-hot coals at the heart of the flame, Szabo says.
One of the non-fired items on the menu is a vegan Thai-style green papaya salad. Szabo describes it as being
built with shaved green papaya, cilantro, mint and the pichu berry—a round, fat yellow berry that looks like
a cross between a tomato and a tomatillo, with a pleasant lightly sweet finish. “We are actually sourcing
cashews for the salad from a vendor called Nutsack,” Szabo laughs. Scooptacular, an ice cream maker in Laveen,
is developing custom flavors, such as bay leaf and molé ice cream.
Most of the job titles for the hotel and restaurant staff begin with “curator,” so it’s no surprise that Michael
Oleskow, the visionary behind programming the hotel’s many expansive art spaces, is called the Culture Curator.
Oleskow recently commissioned a custom red neon sign for the exterior of the hotel, keeping with one of Arizona’s old
Route 66 traditions. The sign reads “Find Yourself” and will help guide weary travelers day and night.
The walls of the galleries and rooms at FOUND:RE will showcase the paintings and photographic works of local
artists, including Diego Perez, Diane Silver and Niki Woehler. “The hotel itself is a gallery,” Sprague says. “We
want to be the gallery for art in this part of the world.”
A series of very large prints by local artist Linda Ingraham, featuring a young Latina woman’s face branded with
items from nature and patterned artifacts, greets visitors as they enter the lobby. A brightly colored outdoor
mural with tikis and cool water images by artist Lucretia Torva splashes across the Southwest end of the main
building. Another outdoor mural, designed by Diego Perez, haunts the exterior—Oleskow describes it as “a dark
circus meets ‘Twin Peaks’.”
A smaller, stand-alone art space located poolside is called The Studio. It can be reserved for private dinners
or meetings. The Studio will feature a solo show by one artist every month, and the public will be invited to
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openings on First Fridays. Oleskow explains that he plans to utilize the space for
the more edgy, risqué and provocative shows—some material may be for ages
18 and older. For starters, he has invited art pal Robert Pela to curate the grandopening
show. Pela presents works by Travis Ivey, a.k.a. Hank, so it’s kind of like
two different shows in one, Oleskow says.
On Central Avenue, the ground floor also features what Calamur describes as a
“window box.” The space, which is about 16 feet wide by 9 feet tall, will feature
changing exhibits of local artists. “It’s kind of like a creative window display in a
department store in a major city—like Macy’s in New York City,” Oleskow says.
The hotel also has a larger gallery space that will be available for events. When
it isn’t being rented, it will be open for visitors to peruse the work of local artists.
This 2,500-square-feet gallery will have mobile art walls that can be moved out
of the way for conference-style meetings. Everything from paintings to photography
and other two- and three-dimensional works will be on view. For the hotel’s opening,
large abstract paintings by Lawrence Kurasik and Niki Woehler will be on display.
“All of the art in the guest rooms has been done by local artists,” Calamur
says. Oleskow adds, “And all of it is for sale!” He explains that the hotel will be
selling giclée art prints on canvas, not just posters for guests to roll up. The fullsize
canvases can be shipped.
Oleskow points to a bare area of open white wall in the lobby area. This is
where projectors will be mounted and video art and experimental projection
will be shown to welcome guests. There is such attention to art in every detail
at FOUND:RE that even the room numbers have each been handcrafted by local
artist Cheryl Murine, Oleskow says. The rooms themselves are works of art that
feature industrial chic handcrafted furnishings by local artisans.
Back in the main room of the restaurant, Match is doing what they call a “chef’s
counter.” It’s a 21-foot-long counter with a window that opens on the kitchen.
During normal business hours, some of the four-top high tables are simply nestled
beside it, but this chef’s table can be rented for special events where select
parties can have a more interactive experience with Chef Szabo.
Much of Match’s “street food” was designed to be shared. There will be many
small dishes on the menu, and Szabo suggests the restaurant has thought hard
about strategic sourcing to keep the price-point affordable. “One of our taglines is
‘not the usual’… We want to be a local hangout,” he explains. Unlike other hotel
restaurants that close at 11 p.m., Match will stay open until midnight and until 1
a.m. on weekends.
In addition to its commitment to source food and other materials locally, Match
has also committed to keeping the restaurant and hotel low-waste producing,
with a minimal environmental footprint. They have teamed with Recycled City,
a weekly compost-processing site, to pick up their compostable waste and will
dedicate space for growing vegetables.
FOUND:RE and Match’s public soft-opening was Oct. 25, but other events will be
taking place throughout the year. Follow Match and FOUND:RE on Facebook for
upcoming events.
FOUND:RE Hotel and Match Cuisine and Cocktails
1100 N. Central Ave., Phoenix
foundrehotels.com

ARTS
TAKE/AIM
at ASU’s Northlight Gallery
By Amy L. Young
At the beginning of the year, we covered artist
William LeGoullon’s exhibition at Modified Arts, (Un)
Intended Targets. It put a spotlight on found objects
that had been left behind, sometimes on National
Forest land, after being used for legal and illegal
target practice. LeGoullon is interested in examining
man’s relationship with nature and how humans
inhabit and utilize the land.
With Take/Aim, LeGoullon is in the curatorial role,
and it’s hunting and hunting culture that is the focus.
This exploratory show is a natural extension of his
own work’s interest in nature and environment. It
runs through December 2 at ASU’s Northlight Gallery
and is presented in conjunction with Phoenix Institute
of Contemporary Arts (phICA), a local nonprofit.
LeGoullon is a fan of the organization’s collaborative
nature and turned to phICA for support in bringing the
exhibition to fruition. The programming also includes
lectures from participating artists.
LeGoullon said that Take/Aim was developed
over the last four years and has culminated in an
intriguing look at hunting culture via the work of ten
nationally and internationally recognized artists. “It’s
my own self-exploration into the topic,” he said. “I’m
not a hunter and I’m not advocating for or against it.
I’m simply observing. I am looking at the relationships
between predator and prey, life and death, and the
romance of what it means to go hunting and to have
that experience.”
In researching hunting culture, LeGoullon says that
it allowed him to think more broadly about the topic.
“I used to think of it as a sole-focused act; that there
was only one point—a need and desire for someone
to have a dominant force upon nature,” he said.
“The more I have learned about it though, especially
through the work of photographers in the show and
hearing their stories, I came to realize that a lot
of people involved in this culture have a lot more
respect for nature, and a stronger desire to be out in
it, than many who aren’t involved or who advocate
against it. That was really interesting to me.”
“For some, there’s this idea that they can just take at
will,” LeGoullon said. “Then there are people who go
hunting for other reasons—not for dominance or the
adrenaline rush—but for things like family traditions.
And of course there are those just going to kill stuff.
Where is the line drawn, is there a right or wrong
side, and what defines that?”
LeGoullon continues, “The work offers different
perspectives visually and aesthetically. Many of
the photographers come from families who have
longtime hunting backgrounds. Then there are people
like Brooks [Dierdorff]. He’s not a hunter; if anything
he advocates against it through his work, which is
metaphorical and observational. It asks questions and
put the viewer in the position of the prey.”
Take/Aim
Curated by William LeGoullon
Through December 2
Northlight Gallery
asuevents.asu.edu/content/takeaim
Erika Larsen, The Watering Hole
Andrea Tese, The Hungry Moon
Erika Larsen, Wayne Bailey
Jason Vaughn, Waupun
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JEL MARTINEZ
at {9} The Gallery
By Amy L. Young
In November, Jel Martinez returns to Phoenix for
a solo exhibition titled Urban Extraction at Grand
Avenue’s {9} The Gallery. The Miami-based artist
is not a stranger to the Phoenix art scene. In 2013,
he participated in Crosscurrent, an exhibition that
brought him together with another Miami-based
artist, Kiki Valdes, and Phoenix-based artists Kristin
Bauer and Bill Dambrova. That exhibition took place
in a giant, partially renovated warehouse in Phoenix,
and was curated by Steve Hanson, who is, among
many things, an artist and patron of the arts. The
combination of artists and mix of styles made for a
dynamic, interesting exhibition.
“The show we did in 2013,” said Martinez, “was
very well received. Steve invited me to come back
and do a solo exhibition, which I was really excited
about. I have been working on the paintings for
Urban Extraction for about a year and a half now.”
Through his unique perspective and personal lens,
Martinez’s paintings are reflections of the street art
that permeates his landscape, predominately work
that has been removed by the city, through processes
that cover it up. “I take a lot of photos of walls—the
paintings and the removals,” said Martinez. “I spend
a lot of time studying them, and then when I’m
painting, it is me using my own style.”
In creating his work, he follows the timeline and
process in which street art is created to the finality it
sees during the removal process, but his work serves
to remind that even though something is erased, it
still has life. “I run into the cover-ups all the time,”
he said. “I don’t really have to search them out. I get
canvases and then I start creating.” He recreates the
texture of the walls, adds the graffiti, and finishes
by removing the writing using rollers and brushes. In
doing this, patterns and techniques occur. He refers
to these as “buffs,” and feels that these also mirror
the textures of the industrial landscapes he studies.
“I have found that there are four different styles
that were subconsciously created by the city and the
graffiti writer,” Martinez said.
Graffiti writing has been a part of Martinez’s life
since the late 1980s. “I started doing graffiti in 1989,”
he said. “The removals actually made me stop for a
while; they were covering up everything. I started
doing some fine art and then realized how I’d like
to incorporate the process of the graffiti and the
removals into the paintings.” He added, “I was in a
graffiti crew from 1994 to 2005. We’ve all gone our
own ways to do art but sometimes we get together
and do mural work. I do commissioned walls and
sometimes assist other artists who come to town to
do murals.”
Martinez’s thoughtful process has resulted in the
creation of intriguing and bold paintings. These
pieces are thick, textured and layered. Their physical
depth reflects the complex nature of the ephemeral
art form. “This is a zoomed-in look at the removals,”
said the artist. “It’s a chance to see the textures and
the shapes of the removals.”
“There are others,” he added, “that are more uniform,
where you can still see a glimpse of the writings on
the wall.”
Jel Martinez
Urban Extraction
Through November
www.9thegallery.com
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DISCOVERING THE
AZ HERITAGE CENTER
By Jenna Duncan
Tucked into the hills of Tempe is a cultural and
historical asset that, surprisingly, not many locals
know about. The space formerly called Arizona
Historical Society Museum has recently rebranded
as the AZ Heritage Center at Papago Park, and it
offers visitors about 30,000 square feet of galleries,
historical and interpretative exhibits and gathering
spaces, all created with the intention of bringing
Valley residents together to learn about and celebrate
Arizona history.
The AZ Heritage Center is a local chapter of the
Arizona Historical Society, which also operates
museum and community spaces in Flagstaff, Tucson
and Yuma. Themes of the exhibits range from local
natural history to Arizona government and state
history, from the territorial days to the present.
Central Division Director Tawn Downs has been
serving at AZ Heritage Center in her role for about
a year and a quarter. She says that the rebrand
happened about a year ago, with the intention of
letting the community know that the space is there
for so much more than storytelling about the past. “Our
mission is to be more than [just a museum],” Downs
says. “It is to perform a public service, so that’s what
we do here.”
The gigantic space is available as a facility for
rentals. The center also hosts annual historical
league meetings, provides interpretive stations and
tours of the galleries, and maintains a comprehensive
library of Arizona history. According to Downs, the
public has a perception that the space is old-timey,
full of dusty artifacts stuck in glass cases. She wants
to change that.
This year, the center launched a range of new
programming—from educational programs and fieldtrip
tours to learning packages that can be delivered
to schools. Downs notes that most local elementary
schools put a focus on natural history in fourth grade
and then require up to a year of Arizona history by
the end of sixth grade. The center helps meet these
curriculum demands by packaging information and
lesson plans, drawing from its wealth of materials
and research.
The center has also recently hosted storytelling
events and offers low-cost space to non-profits for
symposiums, conferences and meetings. Downs says
that the center recently hosted a Women in History
symposium and a symposium with a focus on African-
American youth.
Despite all of the space and the wonderful cultural
features the center has to offer, getting people there
has been a challenge, Downs says, because the
location is a little off the beaten path. “Our hope
is to one day become a destination, like the Desert
Botanical Garden,” she says.
One upcoming special exhibit that bridges Arizona
history with today is At Work in Arizona, which
features a variety of historical photos of laborers,
entrepreneurs and small business owners, including
many well-known local personalities from the past to
the present. This show runs from October 27 through
February 2017.
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Local photographer and curator Marilyn Szabo
did most of the image selection for the show. She
explains that with the support of Alliance Bank, she
and the center’s staff selected 50 images from around
the state, borrowing heavily from the photography
collections at various Alliance branch locations.
The show is presented in two galleries that are not
especially large. Of the space, Szabo says, “It is
underused, but it’s the perfect place.” This show
features a historical photo of Isabella Greenway,
one of the first women elected to Congress in
the United States. She owned the Arizona Inn in
Tucson, which is still operating. After World War
II, she hired veterans to make furniture. Greenway
also ran the Quarter Circle XX ranch in Williams and
once hosted President Franklin Delano Roosevelt and
Eleanor Roosevelt, who came through by train in the
1930s. A photograph captures their visit.
Szabo co-authored a book also titled At Work in
Arizona that features images from the Alliance
Bank photography collection. About ten photos in
the exhibition are by Szabo herself. Some of her
work features iconic local residents, including
Craig DeMarco, co-founder of Upward Projects (the
operator of Postino, Federal Pizza, Windsor and
Joyride Taco House). Another Szabo image features
former Phoenix Suns owner Jerry Colangelo during
the construction of Chase Field (formerly Bank One
Ballpark). She also captured the well-known barber
Joe Davis in his longstanding barbershop in Mesa.
Most of the photos in the At Work in Arizona exhibit
are quite large, but one movable wall is dedicated
to portraits. “These photos are big because they
normally hang on the walls of offices,” Szabo says.
They selected 15 portraits, reprinted them in smaller
sizes and framed them in white. Due to space
limitations, they hung the show salon style. Szabo
hopes that after the show has its run in Phoenix, it
might travel to the historical society’s other spaces in
Flagstaff and Tucson.
Recently, “hipstorian” Marshall Shore gave a talk
at the center about iconic neon signs from around
the Valley and ended by giving a behind-the-scenes
tour of some of the vintage neon pieces that the
AZ Heritage Center has on-site. Exciting upcoming
events include an AZ Storytellers event on November
3 hosted and curated by local journalist Megan
Finnerty. Tickets are available for $10 (tickets.
azcentral.com). The theme will be craft brewing and
craft cocktails.
The AZ Heritage Center Museum is open Tuesday through
Saturday 10 a.m. to 4 p.m.
The library and archives are open Monday through
Thursday 10 a.m. to 6 p.m. and Friday 9 a.m. to 4 p.m.
Admission is $10 for adults, $8 for students
and $6 for children. For more information visit
arizonahistoricalsociety.org.
Marilyn Szabo, Bill Johnson’s Big Apple Restaurant, Phoenix, 2008
At Work in Arizona, Instalation view, photo, Marilyn Szabo
Marilyn Szabo , Jerry Colangelo, Owner, Arizona Diamondbacks,
Bank One Ballpark, Phoenix, 1996
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Duza’s Kitchen for Breakfast and Lunch
By Sloane Burwell

Duza’s Kitchen quietly opened about a year ago in a gorgeous little spot,
previously home to a BBQ joint and another breakfast/lunch endeavor.
I’d like to think that the third time’s a charm and this might be the last
iteration for this location. The food is great, and I’ll get to that, but in
order for this little charmer to be a regular in my rotation, something might have
to change, or perhaps I’ll have to adjust my expectations as a diner. In reality,
I’m hoping for the former.
I’m not opposed to a fast casual approach, when it’s appropriate. A model that is
like a glammed-up fast food experience: you order at the counter and someone
delivers the food to your table. It’s annoyed me a little at Famé, to be fair. There
is something slightly jarring about paying around 20 bucks for breakfast and still
having to get your own coffee. Duza’s Kitchen’s version is more confusing than
your standard fast casual joint, and less straightforward.
Normally I wouldn’t spend so much time critiquing the lay of the land,
but when every guest I’ve brought, over multiple visits, indicates that
Duza’s ordering approach is a reason they aren’t likely to return, it’s worth
mentioning. I have a routine when I bring friends to try a place that I’m going
to write about. Every meal ends with, “Would you come back?” All five people I
brought to Duza’s over several visits said the same thing: “The food is great, but
the layout…” Let me explain.
To begin with, the line for Duza’s begins outside. That is because you aren’t
allowed inside for a table until you are called to order. First your name goes on
a list, and then you wait. Outdoors. I’m assuming this is so the chef doesn’t get
overwhelmed. You can see him and his assistant busting an impressive move in
their tiny space—so I get that. I’m even on-board with their sign that says fresh
good food isn’t fast. It’s less fun though, when it’s hot outside, you can’t order a
coffee at 9:00 am, and you’re eagerly eyeballing the empty tables inside where
you can’t sit. And if it’s busy, you can’t even sit outside. So you stand.
Once your name is called, you order, prepay and tip, and then find a table inside,
out front or out back on the charming patio. If you order coffee ($2.50), you’ll get
a delicious mug of steaming elixir of life. But if you need refills, and you will if
it is brunch, you’ll have to go back to the counter and wait for someone to refill
your cup. On only one visit did I see someone pouring coffee for patrons.
You’ll hear other patrons loudly ask things like, “Am I doing this right?” and
“Is this the line?”—and if you unwittingly select a seat where an inevitable
line of patrons happens to form, you’ll find yourself bumped into oblivion. For
me, if you have tell your customers what to do all day, every day, something isn’t
right. But I digress.
What is right is the delightful, light-as-air Omelette ($9.99), a build-your-own
adventure that includes four choices from a very well curated selection of
meats, veggies and cheeses. My prosciutto selection did not disappoint, and
came loaded up with enough to make me wonder how they can make any money
on this. A gorgeous garlic chive comes laid across, with a tiny blossom at the
top. The food here is as visually appealing as it is tasty. Add a side order of two
perfectly cooked pieces of bacon ($2), and this is about as close to breakfast
perfection as you can get.
The English Breakfast ($11.99) is an enormous presentation of the full deal,
including kicky pinto beans and tasty sautéed mushrooms. The jalapeno cheddar
sausages were perfectly cooked with a gorgeous sear, as was the bacon. The
toasted ciabatta was the ideal foil to soak up all of the juicy goodness.
The House Hash ($11.99) is a large bowl of sautéed prime beef, ham, smoked
brisket, peppers and potatoes. The flavor of the peppers manages to carry through
each and every bite. This was well cooked and delicious. I’d love to see a sautéed
egg on top for some extra creaminess. It doesn’t need it, but a dish this flavorful
makes me dream of different ways to eat it. Right now I’m fantasizing about getting
some cheddar in there, stat.
The French Toast ($10.99) appears to change regularly, at least that is what the
menu suggests. We had heard about theirs being made with Sweet Tea bread. I
wish we had found out, but based on the dish itself, it is the consistency of banana
bread. This French toast is like an enormous, warm, breakfast dessert. At least
three layers of sweet, dense bread are sautéed in butter and topped with a fruit
compote and mascarpone cheese. I might get the syrupy fruit on the side, because
by the end, the toast was a titch soggy. Sweet, tasty and fantastic, but a bit mushy.
However, if you shared this giant portion (and two people very easily could), it would
be decimated before the aforementioned sogginess kicked in.
Lunch fans will adore the open-faced Prime Rib on Ciabatta ($11.99), with the
same unctuous and melt-in-your-mouth beef as the hash. I’d pick the small romaine
wedge salad over the kettle chips that are served alongside.
The Beet Salad ($5.99) is a creamy, almost gooey dish that is so tasty you’ll gobble
it down before your friends get a bite. I wish they’d serve this in those one-pound deli
containers. I’d make a reason to swing by every day to ensure I always had some.
You’ll also find an interesting array of tasty baked goods in the deli case. I loved the
Lemon Bar ($3.50), a kicky citrus blast that isn’t too sweet. The Double Chocolate
Brownie ($3.50) is better warm, so try not to devour it in the car before you get
home, and nuke it for 35 seconds (the perfect amount of time in my trials).
But mostly I wish they’d take the ever-present staff of four and turn at least one
into a server. Austin, the charming guy who helped me one time, is clearly customer
focused and attentive. The same is true of the other staffers. It just seems to me
that the whole operation would be much more fluid and better received.
Duza’s Kitchen has great food in a great space. It looks gorgeous, and on every visit
we saw the chef whipping out some amazing creations. It was like theater. So that
is why the layout is so frustrating. They already have the staff there, and the food is
great quality and tastes great. Usually when a restaurant is challenging, it’s the food
that needs help. That is absolutely not the case here.
I’d love to see a server to help guide patrons, instead of watching the woman at the
register explain to every single person who came in how their routine works (put
your name on a list, go outside with a menu, and wait till your name is called so
you can order immediately and then sit down). You’d think after a year, they would
either have enough regulars who don’t need a rundown, or they’d switch it up. I’ll
still go to Duza’s and enjoy the food. I just won’t enjoy waiting outside first.
Duza’s Kitchen
2243 N. 12th St., Phoenix
Tuesday to Sunday 6 a.m. to 1 p.m.
Duzaskitchen.com
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AVANT GARDE
FASHION
1963–2013
In 2015, Phoenix Art Museum
acquired an extensive archive
of avant-garde fashion collected
by James and Karin Legato who
owned and operated Emphatics,
an exclusive boutique in
Pittsburgh. This dynamic,
multi-media installation
features works by designers
such as Azzedine Alaïa,
John Galliano, Jean Paul
Gaultier, Romeo Gigli, Alexander
McQueen, Issey Miyake and
Thierry Mugler, along with
original runway show invitations,
videos and accessories.
This editorial features looks
inspired by the exhibit lent
by Karin Legato, Co-founder
of Emphatics.
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AVANT GARDE
FASHION
1963–2013
PHXART.ORG
NOVEMBER 6, 2016 – JANUARY 16, 2017
Photographer: Thomas Ingersoll / Assistant: Chris Lambeth
Hair & Make-up: Diane Aiello / Stylist: Margaret Merritt
Assistant: Hannah Nosco / Models: The Agency AZ: Sarah, Deja, Gwen
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Photo: Bill Yanok

Last year I gave No Volcano’s debut album, Who Saved the Party, a short review to
make sure people at least heard about it. I’ve always wanted to go back and write
a more in-depth analysis of that record, which I still keep on heavy rotation in the
local section. When I told lead singer Jim Andreas about that, he said not to worry
because they were already working on their second album, and it would be even better.
Not only did No Volcano put out one of my favorite records from 2015, but I’d drop
whatever I was doing on a dime to catch their live show. Still, I had my doubts that
they could actually top their debut, even though their live set had some promising new
songs. Rest assured, Dead Horse Power is every bit as good as Who Saved the Party,
and in fact, it’s a far more consistent album that establishes their sound stylistically.
Do not be confused by the oddly contradictory title. Dead Horse Power doesn’t have
a downbeat moment on it. If No Volcano saved the party with their last album, they
have become the party with this one. No Volcano is the powerful product of local
music veterans Jim Andreas (vocals/guitar), Christopher Kennedy (drums), Jeremy
Randall (guitar) and Jake Sevier (bass). Together they make some of the finest
proto-punk art rock you can feed your ears.
If you are a lover of garage rock, pre-punk perfection like Television or post-punk
aggression filled with angular guitars à la Gang of Four, No Volcano should be your
favorite band in Phoenix right about now. Not unlike their debut, Dead Horse Power
is seemingly lined up with single after single, each song as infectiously catchy as
the next. I suppose their hidden pop agenda is what separates them from their
legendary Bowery ancestors. This will be another year where No Volcano hits the
top of the year-end lists.
The first thing you may notice about the album is that the tracks are in alphabetical
order, which was purely coincidental. “It just worked out that way and we
really like it,” Andreas said. Happenstance or not, the running order enhances
the breathless pace of the album. “Another Angle” kicks it off with the furious
pounding percussion of Chris Kennedy, carrying a darkness that seems to be
looming around the edges of their sound. This is part of the attraction—that
essence of danger, which is very rock ’n’ roll. This song rolls out like caveman rock
but soon finds its way into Andreas’ intense vocals and takes off from there. To be
fair, this album remains Kennedy’s showcase through and through.
“Blackout” is the first single, and it dropped with an amazing animated video. This
song seems to be about drug and alcohol abuse. It certainly feels like a soundtrack
to a montage showing all the careless motions of someone uninhibited by any sense of
human control. It’s an amazing, driving number that keeps the record rocking hard.
I love it when a group celebrates the bass rather than burying it in the mix, and
“Crazy on the Level” does exactly that. The entire rhythm section is in charge here,
and it’s difficult not to admire the work of Sevier and Kennedy. Not to detract from
the twin guitar assault, but when the bass is something to marvel at, it’s worth
mentioning. Lyrically speaking, the song is about urging honesty out of someone
who may not be mentally stable and desperately attempting to head things off at
the pass. It’s pretty much a thrill ride on every level, whether inside the story or not.
“Death in a Dream” is another tune kicked in with Kennedy crashing. Here
Andreas’ lyrics continue to paint an urban mythology of gritty poetry, and his
neurotic vocals take the spotlight on this mid-album gem.
Dead Horse Power
by Mitchell Hillman
While it may ironically start as a slow burner, “Going Fast” is one of my favorite
songs on the album. It begins with a bluesy intro of dueling guitars, and for the
first couple of verses you might not be sure where they’re going. Then the chorus
hits with an organ and the line “I’m going fast but I think it’s gonna last.” One
of the reasons this is a standout track is that it sounds like nothing else here,
claiming the organ sound from the mid-1960s and adding harmonies; even a slight
jazz influence slips in.
Meanwhile, “Handsome Lover” returns to standard No Volcano territory, a soaring
rocker with one of the most infectious choruses on the album, both vocally and
musically. It may be an outsider’s view about the way beautiful people mingle
amid beautiful people—or not. Andreas keep his lyrics willfully abstract, allowing
listeners to imagine their own fitting scenarios.
“Minds the Brain” is another song that slows down the pace to start but
eventually releases the aggression as the song progresses. While it never goes
off the rails tempo-wise, it’s got a heaviness that maintains its rock integrity. The
song is ultimately about loneliness and the complexity of modern romance: “How
can I escape the curse of the lovers today, we collide like wires crossed, we rely
on happy thoughts, I find it hard to talk, I forget what to say.” It’s a relatable lyric
summing up our lives in light of the technological connections we keep.
“Summer Home” is set to be a follow-up single to “Blackout,” and it’s not difficult
to hear why, with another brilliant intro from Kennedy that will immediately have
you dancing in your seat. This tune has a killer groove with majestic ascending
guitar chords on the back of a deep and dirty bass line. It’s the closest No Volcano
comes to traditional alt rock, but Andreas’ vocals are a bit more aggressive here to
make up for it. It’s the first song in their catalog that feels reminiscent of alt rock
pioneers The Feelies.
“Take My Chances” is literally a feast of guitars, with Andreas and Randall
running the show. It’s also got a killer pop hook, and I can see this being a crowd
favorite in their live show. Yes, the rhythm section is again monstrous, but the
guitars wrap magic all around this tune. Andreas also adds a bit more character to
his vocal with quirky, hook-heavy effects.
“There Goes the Night” has slayed my soul in their live set for many months now.
It is, hands down, my favorite song on the album, with the entire band coalescing
into this massive art-rock crescendo. “Walk Into a Wall” closes the album with
a blistering bang. Starting with a sample from what sounds like an old TV nature
documentary, the guitar line immediately massages your brain and tickles your
mind, finishing the album with one of the more unusual numbers. No Volcano
has never sounded more like themselves. “I strengthen my resolve and make it
a shrine, mystery’s solved, I’ve got nothing to hide, when I obsess I take my best
shot off of the deep end, here I go again.” This line could describe the very album
itself, as everyone here should feel ten feet tall.
Be sure to catch No Volcano when they release Dead Horse Power live at Crescent
Ballroom on Saturday, November 26, where they will be joined by The Father
Figures and Less Pain Forever.
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CAROL PACEY &
THE HONEYSHAKERS
Eyes on the Prize
Carol Pacey & the HoneyShakers have done it again,
as they carve out their pioneering Americana thrashpop
sound. It’s what keeps me coming back to their
debut record. Now I have two full albums to get
my fill. A recent favorite in their live set has been
“One for Your Heart,” so it wasn’t a surprise that
this magnificent tune is both the first single and the
album opener. It takes half the song to take flight, but
when it does there’s no looking back.
This album is thick with Southwestern imagery, and you
can practically taste the dust in the air on such songs as
“Dust Devil Spin.” Meanwhile, there are longer songs
that show amazing songwriting growth, like “Dangerous
Games,” the title track, and the stunning “I Feel Love.”
In the realm of songwriting, this album makes leaps
and bounds over their debut and engages in more
forward rock ’n’ roll. Eyes on the Prize is a fantastic
romp that incorporates influences as far flung as
dixie and ragtime, making for a wonderfully thorough
exploration in purely American music.
Check out the horns and keys on “Oh Heart Where
Art Thou” or the trucker-rock feel of “Rock and Roll
Star.” The deep summer swing of “Just Right for
Me” has as much jazz influence as it does hip hop.
There are plenty of singles to be found here, like
“Walk Away Now,” which is another live favorite,
or “White Glove”—although they may want to
go with something a bit more unusual, like “Don
Julio.” The special surprise on the album is a cover
of Dramarama’s “Anything Anything (I’ll Give You),”
which I never expected them to record and am
forever grateful that they did. As fantastic as their
debut but with even more depth, style and ambition.
DINERS
“three”
Diners’ “three” is the perfect music to listen to
on headphones a little high on life. It’s an audio
soundscape that makes you feel like a kid in a
mythical suburb—a utopia on a sunny day in spring
with a skateboard. This would be the greatest
release of the year in an alternate universe where
everyone loves more obscure Beach Boys albums like
Friends, Sunflower and 20/20.
One of the most highly anticipated records of last
year, Tyler Broderick wanted it to match his vision
perfectly—so Diners made sure the extended wait
was worth it for their third full-length. Recorded by
Jalipaz at Audioconfusion, the record features a local
all-star cast beyond Broderick that includes Tristan
Jemsek (Dogbreth), Aaron Ponzo (The Expos) and
Stephen Steinbrink, among many others. This is a
pure indie pop delight, and when it’s not emulating
mid-period Beach Boys, there are hints of Burt
Bacharach, The Wondermints, The High Llamas,
Apples in Stereo and The Minders. To be fair, there
are many lyrical nods and homages to The Beach
Boys, including a reference to SMiLE in “Plastic
Cactus” and the very title of “Little Pad.”
This is warm, summery pop, filled with soft sounds
for gentle people. It’s the perfect album to relieve an
anxiety attack, the kind of record you spin when you
need to know that the world is going to be all right.
Before this album was released in its entirety, the
band released a new song each day. A good move,
since the album as a whole is a completely different
experience that’s easy to get lost in, while not
necessarily concentrating on each song.
JANE N’ THE JUNGLE
Jane N’ The Jungle EP
I’ve been keeping tabs on Jane N’ The Jungle for
about a year now and have been looking forward to
their debut record since my first JNTJ show. “Shake
Me Out” was the first song that got stuck in my head,
and it kicks the record off as an energetic rocker. It’s
infectious as hell, and you’ll have echoes of the “ooh
oohs” in your head for days after one listen.
They follow this with the powerful slow burner “Don’t
Say,” which starts as a ballad and then becomes far
heavier, a juggernaut anthem of empowerment—
pretty intense. “Faded Stars” slows things way down,
and delightfully so. This happens to be my second
favorite song in their catalog. I like it best when most
bands rock out, but Jane N’ The Jungle slays my soul
with their Americana-tinged ballads, like this stunner.
The piano and sample intro to “Sirens” make for
an interesting setup, like it might be an actual
straightforward ballad, with lead singer Jordan
White sounding like Tori Amos in her prime. Then
it explodes into a fascinating, manic rocker evoking
Heart, but with a bigger guitar assault courtesy
of Brian Tuffy. It’s a song that would make for
interesting video material.
My favorite JNTJ song is, and will most likely
always be, “Walking Cleopatra.” It’s another slow
number that really showcases their talent, featuring
the lovely harmonies of bassist Leah Brooks. I get
goosebumps every time they play it live, and I’m
happy to report the same occurs when I hear it on
record. With a fascinating confessional delivery,
it’s simply a catchy, beautiful tune wrapped around
poetry. The EP finishes with their hardest rocker yet,
“Smoke & Dust,” which bookends it perfectly.
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Sounds Around Town By Mitchell L. Hillman

HARPER AND THE MOTHS
Mixtape
THE DARTS
The Darts EP
WOLVVES
Paradox Valley
On Halloween Day Harper and The Moths released a
surprise joyride for their fans. Mixtape collects five
songs from the 1980s heyday of MTV that the band
pulls off faithfully. One thing that makes this EP pop
even more, adding authenticity, is that the band used
the original songs’ midi patches for the synths. The
songs are guilty pleasures, but no one should really
feel guilty about loving them.
Human League’s “Don’t You Want Me” is the record
opener, and it was the first song I thought of when
lead singer Harper Lines mentioned the project to
me. They are going all-out here, and that’s what you
can expect from the rest of the record—magnificent
synth pop daydreams and sexually ambivalent
New Romanticism. Next up is “Rumors,” originally
rendered by Timex Social Club. It almost plays like
Harper and Kelsee Ishmael doing karaoke to the
backing track of the original. It’s pretty stunning for
an oft-overlooked hit. Also, Ishmael’s vocals take on a
much bigger role on this record than ever before.
Rockwell’s “Somebody’s Watching Me” is a nice
surprise and could almost stand as a single on its
own terms for Harper and The Moths. Once again,
it’s a faithful rendition; it just so happens that
Lines’ voice is perfect for the caffeinated histrionics
required. I had hoped A-Ha’s “Take On Me” would
appear here, and it does. Let’s face it, it had to be on
here. Once more, this is perfect for Lines’ vocal range
and his classy swagger. “West End Girls” by Pet Shop
Boys concludes the nostalgia trip that is Mixtape.
Brilliant fun!
The Darts are a new all-grrrl garage-rock group
featuring Nicole Laurenne (The Love Me Nots, Zero
Zero, Motobunny), Christina Nunez (The Love Me Nots,
Casual Encounters), Rikki Styxx (The Two Tens) and
Michelle Balderrama (Brainspoon). This is an exciting
and dark record that sounds cathartic as all hell. When I
mentioned that to Laurenne, she immediately said, “It’s
my favorite record I’ve ever recorded.” It’s not difficult
to see why. This is six songs that take off like a demon
from Hell and never stop once. It is a heavy record in no
uncertain terms, like Melvins heavy, and a bit of a shock
at first. But after a few listens, you’re screaming right
along to every song and it’s fantastically liberating.
“Running Through Your Lies” immediately gets
you set for the rest of the record—heavy fuzz bass
blistering through the amp, vocals in the red, a ghostly
Farfisa organ deep in the mix, buzz-saw guitars and
furious, frenetic drums create a sweltering sound that
consumes all of your garage-rock desires. The anthemic
“Revolution” is a favorite and definitely one of the
catchiest in the collection—as much homage to classic
garage rock as it is to the grrrl rock movement of the
1990s.
There is something about “Carry Me Home” that
reminds me of punk pioneers Suicide, and I think it’s
the bass and organ combination. The pace is only
momentarily slowed by “You Got Me,” but the need
for lyrical clarity on this heavy-as-hell number becomes
apparent soon enough. “Take What I Need” should be
an instant single because not only does it have that
Farfisa on blast, it also has the catchiest pop aesthetic
and fantastic harmonies. I am certain that a soundtrack
is waiting for this song somewhere. The Darts’ debut
ends with “Ramblin’ Stone,” which has the same
marked heaviness of the opener and bookends this fine
slab of wax perfectly.
Sounds Around Town By Mitchell L. Hillman
Wolvves are a paradox unto themselves. Upon breaking
up over a year ago, Aydin Immortal commented that
he wanted a sound that would fuse hip hop with more
avant-garde rock and pop influences. Wolvves has more
than delivered on that promise with Paradox Valley.
Their shift in sound is immediately apparent from the
textural instrumental “Intro.” It leads into “Ivory Drive,”
which was the first single released earlier this year,
announcing their reimagined lineup and sound.
The record eases seamlessly into the more aggressive
and brilliant “With My Niggas,” which comes off as
the absolute quintessence of the sound Immortal had
been searching for, while finding pure lyrical gold. The
dreamy “Interlude” follows like a come-down after the
previous track. It’s a woozy swoon of a song, filled with
intoxicating references to forties and snorting Vicodin.
“Harriets 1 & 2” serves as something of a centerpiece
to the record, with a minimalist arrangement that
veers away from rock as much as it veers from hip
hop, working more like a spoken-word tone poem on
part one, while part two is an exploration in drum and
rhythm. It finds more in common with Frank Zappa than
anything traditional.
“Into It” may be the shortest track on the record, but
it’s one of the most powerful—a shotgun-rapid rap
questioning activism and the commercialization of
dissent. “Gasoline (Live)” sounds more like proto punk
in the tradition of records by The Velvet Underground,
Modern Lovers and Television. The second single,
“Bouquet of Lightning,” follows, and it’s still one of their
best songs to date. The album finishes with the stunning
“Billie Holiday.”
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
JAVA 33
MAGAZINE

BY JUSTIN LEE
34 JAVA
MAGAZINE

Something happened to Flagstaff.
Once a repository for all-too-familiar roadside eateries and any-town franchises
catering to unconcerned lowlanders on layover, Flagstaff is now enjoying a very big
moment in food. From dining to booze and of-the-moment culinary culture, if you
don’t already know—go. It’s an insider’s paradise no more.
The corporate dining scourge along the city’s main drag, Milton Road, remains
inescapable for those who eschew thoughtful effort, but a few turns off-track open
up a high-spirited mountain city on the rise. Restless, talented young chefs, resourceful
culinary minds, and forward-thinking entrepreneurs are gravitating and taking root in a
community once established as a dining afterthought, even for locals.
For weekend pilgrims throughout Arizona, particularly those from the Phoenix area,
Flagstaff has always been the effortless promised land: a quiet, even-tempered
alpine go-to that is both a high-altitude shield to the summer’s frying sun, and
a winter reward when 85 degrees in December feels like punishment for our
sprawling suburban sins.
Where Sedona feels exploited, Prescott is swamped in nostalgia, and the White
Mountains in the eastern part of the state are, well, not ready for prime time,
Flagstaff has always been the youthful, approachable choice in the middle—a
simple transaction, the reward being the escape, and the contrast being the
scenery and weather. Now, it’s also a dynamic place to eat and drink well.
One commendable, if not oversold, trend at restaurants in buzzier markets is the
idea of farm-to-table. At many of Flagstaff’s most relevant restaurants, both highend
and everyday, before your food ever touches the plate, there’s a good chance
that it isn’t just sourced in Arizona—it’s likely grown, foraged or plucked from
within a few miles of your table. This fundamental ethos of food sourced locally
and ethically is thankfully much more than menu rubber-stamp in Flagstaff.
Beyond customary staples like local produce or farm-raised meats and poultry,
Flagstaff chefs and restaurants want more to play with—from increasingly popular
late-monsoon mushroom foraging to ingredients more fragile and temperamental,
such as bitter greens, wild berries, edible flowers and, yes, crayfish. As the
seasons change and bloom, it’s now a sport among top local chefs to explore
the nature that surrounds them in a sort of rigorous experiment to find out what
“Flagstaff food” truly means.
Flagstaff’s most revered fine-dining altar to what can be used, deliciously abused
and reimagined when it comes to northern Arizona’s bounty, Coppa Cafe has
become a case study in tireless culinary creativity and experimentation. With
menus that change as often as the weather outside, chef and co-owner Brian
Konefal, along with his enthusiastic team, orchestrates one of the state’s most
influential foraging programs. Konefal, in an act of bright-eyed determination,
rummages neighboring foothills, valleys and forests almost daily for inspiration.
Ingredients that don’t make that night’s cut often become laboratory-like fodder
JAVA 35
MAGAZINE

for discovering what can be finessed, pickled or otherwise transformed for debut
another day.
Up the road in the progressively cool Southside neighborhood, just off the railroad
tracks near downtown, exists ground zero for what represents Flagstaff today—
and where it can go tomorrow. A patchwork of pre-war warehouses, mid-century
motels and turn-of-the-century houses is reincarnating into new independent
businesses, restaurants, bars, breweries and more.
Case in point: Pizzicletta. Already one of the city’s dining firebrands, the popular
pocket-sized pizzeria is now one of the most celebrated pizzerias in the country. Wedged
inside a thoughtfully restored 1920s flatiron, Pizzicletta has become hallowed ground for
impassioned pizzaiolo Caleb Schiff’s ideally chewy, wood-charred, Neapolitan-inspired
pies. Traditionally, leavened dough, made without commercial yeast, is the secret to
their signature pockmarked pies. Thirsty? Swing around the corner to the famous,
and rightfully so, Mother Road Brewery pre or post Pizzicletta for their prize-fighting
parade of distinguished, handcrafted beers on the patio.
Stay anchored Southside for Proper Meats + Provisions, the state’s only exclusively
local, whole-animal butcher shop and delicatessen. In addition to specialty cuts
of meats for sale retail, devoted local businessman Paul Moir and his team offer
eat-in and takeaway menus featuring house-cured charcuterie platters, hulking
sandwiches (don’t pass on the pastrami) and Arizona cheeses, as well as a
carefully curated menu of craft beers and local wines.
36 JAVA
MAGAZINE
For dinner in the neighborhood, any visit to Flagstaff would suffer without the
inclusion of Tinderbox Kitchen, the indisputable pioneer among the city’s new
wave of tent-pole dining over the past decade. Pushing local boundaries early and
forcefully, Tinderbox Kitchen’s forward-thinking menus are steered by talented
rising chef Derek Christensen, who sharpens the restaurant’s focus squarely on the
same hyper-local sourcing that the ever-unfolding backyard of Flagstaff provides.
Or opt for slightly more straightforward comforts at next-door Tinderbox Annex
cocktail lounge, where you will find well-curated booze, a capable bar staff and a
limited chalkboard food menu featuring colossal charcuterie boards and one of the
city’s best, if over-the-top, burgers. Sorry, Diablo Burger.
Longtime Flagstaff chef David Smith, whose star-studded resume lists some
of the state’s top restaurants, has helped launch what must be the city’s most
talked-about new spot: Root Public House. This stunning two-level destination
along South San Francisco Street spearheads what could be described as the
city’s latest wave of high-minded dining. It features a modern if not eclectic
menu of comfort foods, both global and closer to home, as well as a smart,
seasonal cocktail program. Tip: the rooftop bar at sunset is a matchless local
experience.
While the Southside neighborhood monopolizes most of what’s new and compelling
in the city, downtown Flagstaff is also enjoying a renewed lease on life
beyond the sundries, gimmick shops and hum of rudderless tourists. Must-dos
are the lineup of new watering holes, like the stylish, re-tailored upstairs wine
bar, eatery and bottle boutique FLG Terroir. Also, The Commerce, located on the

Flavors of Mexico and Latin America
NOVEMBER
former site of Flagstaff’s storied Commerce Hotel, has quickly become the city’s
terminus for serious craft cocktails, featuring a menu that incorporates largely
Arizona-distilled spirits.
The Commerce shares a wall (and local ownership) with next-door Sosoba
noodle shop, the original sibling to the recently opened Roosevelt Row
Phoenix location. Locals and visitors alike swarm early and stay late for the
popular hangout’s rich, soul-hugging bowls of ramen and modern, Asianleaning
shareables.
For sunrise seekers, solace, caffeine and sugary morning carbs can be secured
at Tinderbox Tourist Home, the latest concept by T-box owners Kevin and Scott
Heinonen, in the Southside neighborhood. For something more sinister, spicy
and south-of-the-border, wake up at downtown’s classic diner, MartAnne’s, over
a plate of their infamous and oh-so-glorious chilaquiles. “Christmas-style” and
another cup of coffee, please.
No longer in the shadow of Phoenix, Flagstaff has quietly changed. What
used to be a high-elevation playground for locals in the know—artists,
activists, students, outdoor enthusiasts—Flagstaff hasn’t just come of age,
it’s come due. This is no more visible than from a seat at one of the city’s most
sought-after tables.
DOWNTOWN OCOTILLO
DECEMBER
GAINEY RANCH
Gainey Ranch - DecembeR
LivingRoomWineBaR.com

GIRL ON FARMER
THE ELECTION REJECTION
BY CELIA BERESFORD
Whew. November. Finally.
Soon, the looming fear and anxiety caused by the
narrow, slight and nearly impossible probability of
a bloated, orange media personality becoming the
president will be gone. Even better, we can stop
dissecting each and every comment, mannerism,
policy, picture and gesture of Clinton and Trump. Her
lies, his groping; her sassy pantsuits and his… just
his... face. Which is second only to the annoyance of
his voice.
But I guess I have to take partial responsibility for
this pre-election saturation. I do have NPR on all
day long, and the closer it gets to the election the
more nuanced and inane the conversations become.
I also happen to work from home, which means I get
an extra dose of the 24-hour news cycle over your
average listener. Working from home also means that
I spend eight hours in my underwear, and it is usually
around dinnertime that I realize I haven’t brushed my
teeth yet.
It’s kind of amazing what happens when you don’t
have to go to work—the complete lack of selfmaintenance.
And by “go to work,” I mean go to a
place you will be seen. Sure, I have to “go” to work,
but the go part is significantly different than your
conventional setup. I pretty much roll awake, make
coffee and log onto my computer. You’ll notice some
key verbs missing: dressing, washing and, most
importantly, going.
I have literally had days when I’ve been “at work” for
30 minutes before I realized that I was sitting in my
underwear. The meetings are conducted via call-in,
which is audio only. No one can see me. Even so,
I’ve never shown up to a meeting topless. That’s just
unprofessional.
A few weeks ago, I took a shower on my lunch hour
and went back to work in a towel, without even
realizing it. When a phone call came in I had to run
and put some clothes on. I know the caller couldn’t
see me, but there is just some kind of wrong feeling
in discussing deadlines and details with a co-worker
while in a towel.
Recently I woke up in the t-shirt I wore all day,
wore to yoga and slept in. This was also the day
38 JAVA
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Working from home also means that I spend
eight hours in my underwear, and it is usually
around dinnertime that I realize I haven’t
brushed my teeth yet.
I decided I would start getting up and getting dressed as if I were going to
a work place. By lunch, I had spilled coffee on my dress, and it just seemed
forced to wear heels and a blazer in my “office.” I was back in PJ’s by noon.
My office is formerly known as the spare bedroom/oversized closet. Despite my
best efforts, it has slowly taken those storage responsibilities back on, as the
tower of clothes, boxes and other things gets taller each week. In the event that
I do have a video meeting, I carefully keep the camera aimed at what I call the
professional zone, the square inches that make me look like a professional adult,
one who definitely does not conduct business in terrycloth.
Another side-effect of working at home has been way more long, drawn-out
conversations—with my cat—and sometimes with houseplants or a picture of
my dad. So far, none of these things have talked back—a pretty good indicator
that I am still sane. When someone else comes home, I am so excited to talk to
them, but see, they have been talking to people all day, at work or school, so they
want some quiet time. I kind of linger around the vicinity, checking in every few
minutes to see if I can talk yet.
Getting fat is another work-from-home danger. There is food everywhere and a
stove and dinner leftovers. Occasionally for lunch I will treat myself to a cooking
show. I mean, my cooking show. I talk to the food and an imaginary audience
while I whip a little something up. It reminds me of when I was younger and I
imagined myself the heir to Julia Child’s PBS cooking show and performed for
my mom, sister and brother. My specialty was a dessert I called Sherter Berter,
basically just a well-stirred bowl of ice cream. But now, it’s just me, the cat and
the plants. I don’t want to complain, but I’d appreciate a more rambunctious
audience. And the cat always acts like she has something better to do.
For all the potential craziness working from home can induce, it is also dreamy.
In fact, I like it so much that sometimes I feel guilty. I work longer than I have to
and actually write down the time I take for lunch, or if I am distracted from work
for more than a few minutes. These people are trusting me, dammit! I will not
abuse their investment in my honesty, and so I ultimately spend a lot more time
working than if I were at an office, wasting time yapping with people all day. As
I’ve mentioned, the cat conversations get pretty dull.
So this is why I have NPR on all day long. I need background noise. Talking noise.
And I am so excited for November 9, so I can hear the talking about something
besides this insane election. Although, I expect it will be a month more of contesting
the election and whatever other nutty conspiracies pop up as distractions. Even so,
I see the light at the end of the tunnel. And it sounds even better than it looks.

NIGHT
GALLERY
Photos By
Robert Sentinery
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1. This pretty is rockin’ a Royal Black Sheep tank
2. Melissa and Peter at the SMoCA Fall Opening
3. Color-coordinated DJ at SMoCA Lounge
4. Palabra’s amazing creation, First Friday at Phx Art
Museum
5. Mykel and Mello at SMoCA
6. Az Taco Fest co-founder Rick Phillips
7. Nicole and Rob at the SMoCA Fall Opening
8. A ride in Slack’s magic bus at Chaos Theory 17
9. Flagstaff Foodcation tour with lovely Mia
10. Laura Dragon with sculptor Joe Woodward at {9}
11. Colton Brock’s solo show at Treeo

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12. Margarita tent fun at AZ Taco Fest
13. Tijuana Sweet Heat hotties
14. Butcher boy at Proper Meats + Provisions in Flagstaff
15. Saskia Jordá with Mexico City artist Santiago Borja at SMoCA
16. A Jayme Blue mandala at the Icehouse
17. The Herb Box had the best looking booth at Taco Fest
18. Lovely SMoCA staffers at the Fall Opening
19. Lucha Libre takedown at Taco Fest
20. Extra guac for this pretty pair
21. Kudos to the tuba dude
22. Phoenix art scene veterans at Chaos Theory
23. Kate at the Framed Ewe Biltmore launch party
24. Tinderbox chef working his magic in Flagstaff
25. Good looking Raiders fans at Taco Fest
26. Stylish sunglass shoppers at Framed Ewe
27. Rossitza and friend at SMoCA
28. Mushroom foraging in Flag with Chef Brian from Coppa Café
29. Zebra rides five bucks

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30. These Herradura gals make a fine prickly pear margarita
31. Living fearlessly with Michelle and her hubby
32. Pizza chef at Pizzicletta in Flagstaff
33. More fun in the margarita tent
34. Great vibes behind the bar at The Commerce in Flag
35. Pretty duo at Henry Schoebel opening at Walter Gallery
36. Awesome Rare Scarf installation at Phx Art Museum
37. Caesar and co. at the Kehinde Wiley opening at PAM
38. Framed Ewe Biltmore opening with these guys
39. Louisiana girls doing AZ Taco Fest
40. Jessie Perry’s solo show at MonOrchid
41. Henry Schoebel opening at Walter Gallery
42. First Friday Kehinde Wiley party at PAM
43. Learned a lot from the Michelada experts
44. First Friday at PAM celebrates Kehinde Wiley
45. Champagne and shades at Framed Ewe
46. J.W. Fike’s exhibit at Bokeh Gallery
47. May and beau at Phoenix Art Museum

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48. Tears for Fears live brings tears to your eyes
49. All together now ladies
50. Chef Aaron May at Taco Fest
51. Chaos Theory smoke break
52. Dave, India and her pops
53. Yai and pal at Chaos Theory
54. Tato and Sara at the Kehinde party
55. Bow down to the Jenga queen
56. Slack checks out this classic Chevy van
57. My, what sharp nails you have
58. Bassim and Shauna at Chaos Theory
59. Flagstaff fun at FLG Terroir wine bar
60. Leonor is holding this whole group together
61. Dana and Indigo—Chaos Theory at Legend City
62. Mother/daughter date
63. Delicious dining at Root in Flagstaff
64. Diego Pops crew at Taco Fest
65. Henry Schoebel’s opening at Walter Gallery

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66. End of a crazy day at Taco Fest
67. Mello Jello strikes a pose at {9} Gallery
68. Christine and Kathy showed up for Aileen Frick’s opening
69. Brandon and Sarah at Legend City Studios
70. Poncho Mia at Proper Meats in Flag
71. Late night drinks at The Commerce in Flagstaff
72. Gennaro shows this this young artist the ropes at Chaos Theory
73. Shimeon is part of the Rare Scarf installation for Kehinde
74. Treoo’s two-year anniversary with Mayor Stanton
75. Bill’s latest Industrial Craftsman creations at the Icehouse
76. Dynamic trio at Chaos Theory
77. Enrique djs the Framed Ewe Biltmore launch party
78. Aye, aye captain
79. Gotta love the cute mini-me in this group
80. Todd Allison is the amazing chef at T. Cooks
81. First Friday at PAM with M Rocka and Gabe Fortoul
82. Teresa and Annalisa at the Kehinde Wiley party at PAM
83. A perfect pair at Chaos Theory

It’s not the size of the joystick,
It’s how you use it!

Streetscape: New Work by Travis Ivey and Hank
Streetscape: New Work by Travis Ivey and Hank
FIRST FRIDAY OPENING
FIRST FRIDAY OPENING
November 4 | 6-10pm
November 4 | 6-10pm
The STUDIO at FOUND:RE Phoenix | 1100 N. Central
The STUDIO at FOUND:RE Phoenix | 1100 N. Central
FOUNDREHotels.com
FOUNDREHotels.com
MATCH : CUISINE & COCKTAILS
1100 N Central
MATCH
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:
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AZ
& COCKTAILS
85003 : matchphx.com
1100 N Central HAPPY Ave : HOUR Phoenix, 420-620PM AZ 85003 M-F : matchphx.com
HAPPY HOUR 420-620PM M-F

Image: Guerrilla Girls, Do women have to be naked to get into the Met. Museum?, 2012. © Guerrilla Girls
girl power @smoca
In celebration of the fall exhibition Push Comes to Shove: Women and Power
VICELAND @SMoCA: DRC
Thursday, Nov. 10 I 7 p.m. I $7 (Members $5)
Join special guests to discuss the VICELAND television channel episodes that examine two diverse communities of women in
the Democratic Republic of the Congo.
Guerrilla Girls Take on Arizona
Friday, Nov. 18 I 7 p.m. I Free with RSVP
Legendary Guerrilla Girls founding member Kathe Kollwitz talks politics, art and activism.
At Arizona State University Murdock Hall Room 101. RSVP at GuerrillaGirls.rsvpify.com
Guerrilla Girls Art and Activism Workshop
Saturday, Nov. 19 I 10 a.m. I $35 (Members $30)
Aestheticize your protest! Learn more about the Guerrilla Girls’ style of activism and how
to produce your own project from Guerrilla Girls Kathe Kollwitz.
SMoCA.org I 7374 East Second Street, Scottsdale, AZ 85251 I 480-874-4666