Java.July.2016

248 • JUL/AUG 2016
ISS
RYSTLE
PHOENICIAN CLOTHING • HOMEBOY’S HOT SAUCE • BRAVE WINGS FASHION

local & global goods for the modern shopper
proudly introducing
mid-century modern inspired furniture
handcrafted in the USA
proud member of
5102 North Central Avenue
602-954-4009 | forthepeoplestore.com
are you social? follow us!
@shopforthepeople

CONTENTS
8
12
22
32
FEATURES
8 12 22
34
SEEING MISS KRYSTLE
CLEARLY
By Aiyana Havir
SAM GOMEZ
Forever Rising
By Rhett Baruch p. 12
SWAN
Concept and Styling: Jen Deveroux
Photos: Shot By Jonny Photography
KONGOS
Egomaniac
By Mitchell L. Hillman
COLUMNS
7
16
BUZZ
Summer Break
By Robert Sentinery
ARTS
The New Animist
By Amy L. Young
Justin Queal
Artistic Synergy
By Demetrius Burns
Patricia Sannit
Works in Clay
By Jenna Duncan
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
Johnny Jaffe
Shot By Jonny Photography
ADVERTISING
(602) 574-6364
34
BRAVE WINGS FASHION
SHOW TAKES FLIGHT
By Jenna Duncan
Cover: Miss Krystle
Photo by: Shot By Jonny Photography
20
30
38
FOOD FETISH
Jacob Cutino from Homeboy’s Hot Sauce
By Sloane Burwell
SOUNDS AROUND TOWN
By Mitchell L. Hillman
GIRL ON FARMER
Keep It Hot
By Celia Beresford
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
40
NIGHT GALLERY
Photos by Robert Sentinery
4 JAVA
MAGAZINE

For nearly 30 years, we have
put the “art” in martini...
Artist: Cristian Candamill
The Gallery
1229 Grand Ave. Phoenix, AZ 85007 Visit 9thegallery.com
OPENING SEPTEMBER 2016
and we’re still
a great place to be seen.
Co-working Artist Studio Spaces
1501 Grand Avenue (Roosevelt and Grand Ave.)

BUZZ
SUMMER BREAK
By Robert Sentinery
Welcome to our annual double summer edition. A long break with no
responsibilities reminds me of those endless summers in elementary school
when we practically lived in swimming pools between family road trips to the
cool pines or California beaches.
Krystle Delgado (aka Miss Krystle) is one of those people who refuse to let
setbacks stop them from reaching their goals. She and her siblings grew up in
a remote area in northern California about an hour from civilization. She was
home-schooled by her mom with a strong emphasis on classical music, art and
creative thinking. It was perhaps this unusual upbringing that gave Krystle her
personal strength and willingness to approach things differently.
When she was still a young teen, Krystle set three goals for herself: 1. To start
her own nonprofit, which she did at age 16, co-founding Young Ones Unlimited
(YOU) for child abuse prevention and awareness; 2. to become an attorney,
which she did, having graduated from ASU and started her own practice
specializing in entertainment law; 3. to become a pop star, which she is doggedly
working toward, having just released her third album. Krystle’s fan base is
growing and she is starting to capture the attention of industry execs, so it
seems like just a matter of time. Frankly, we just don’t know how she does it all
(see “Seeing Miss Krystle Clearly,” p. 8).
The duo of Jenesis Laforcarde and Mabel Cortez are also giving back to those in
need. Their annual Brave Wings Fashion Show donates proceeds to a different
Valley charitable organization every year. Now in its fourth year, this not-bemissed
event will take place in Phoenix’s warehouse district on July 16. Hats off
to these two busy fashion designers who take time from their own lines to help
the community (see “Brave Wings Takes Flight,” p. 34).
Sam Gomez is a Phoenician through and through. He grew up on the mean
streets of west Phoenix, in an area rife with gangs and violence. Sometimes the
toughest conditions produce the most honest forms of expression. Gomez always
found a sense of security in art—not necessarily in making it (although he is a
talented photographer) but in embracing and supporting the work of others. He
started Phoenician Clothing back in 2001 as a way to share the work of artists
he respects and to help get it seen by larger audiences. Over the years, his
collection reads like a list of Valley street art Illuminati, including such names as
El Mac, Lalo Cota, El Moises and more (see “Sam Gomez Forever Rising,” p. 12).
Finally, to add a little more heat to our already sweltering conditions, we’ve
profiled Jacob Cutino, founder of Homeboy’s Hot Sauce. This guy created a
business by pursuing his passion for the perfect hot sauce, and it is building
steam. Some of the Valley’s top chefs, including Cullen Campbell and Bernie
Kantak, have even created special menus around his fiery sauces (see
“Homeboy’s Hot Sauce: Some Like It Hot,” p. 20).
WE OUR
COMMUNITY!
Showing our #HeardLocalLove this
summer with a special offer for
$25 OFF MEMBERSHIPS
AND RENEWALS*
Email members@heard.org or call
the Membership Department at
602.251.0261 to join today!
Members
*Offer good for residents of Maricopa
County. Valid through September 18.
Not valid for Student Memberships.
2301 N. Central Ave. Phoenix, AZ
602.252.8840 | heard.org

SEEING
MISS KRYSTLE CLEARLY
PHOENIX’S POP PRINCESS RELEASES HER THIRD ALBUM • By Aiyana Havir
8 JAVA
MAGAZINE
Shot By Jonny Photography

danieltookerphoto.com
Various straight lines, all of unique length, intersect at a singular point. For
many years, Krystle Delgado drew this symbol on her wrist as a sort of ritual.
In instances of extreme stress, she would use this technique to minimize
the situation—zoom out and take on a refreshed perspective. Tony Robbins
inspired this method, and it reminded her that she was in control of her own
reality. Now the symbol is neatly nestled in ink upon her torso as a permanent reminder.
More popularly recognized as Miss Krystle, Delgado practically puts Wonder
Woman to shame. Those series of lines could illustrate her multiple paths
in life: as a pop star, lawyer, non-profit co-founder, pageant princess and
classically trained musician.
At 27 years old, Krystle is a force to be reckoned with. She is always working in
pursuit of making it. Even when going out for a quick bite, she struts in with black
heels, booty shorts, a lace-up crop top and voluminous waves of red hair shaping
her curves.
Krystle releases her third full-length, Woman in Motion, on July 12 in conjunction
with a new music video. She has already released videos for the singles, “Swear”
and “Dukes Up,” and with nearly 10,000 combined views on YouTube there’s
certainly a buzz. With another shoot in the works, the five videos in total will convey
a strong visual statement to accompany the music.
Krystle went off the radar for nearly a year to put this album together. With a
mountain of experience under her footsteps, Krystle’s no-nonsense aural creation focuses on
human empowerment, or as she says, “kicking ass and taking names.” The new record
pushes the edge, both musically and lyrically, with a mix of fun, personal, upbeat,
sexy, groovy flavors. “I want to make sure everything coming out is as deep and
meaningful as I feel when I’m writing it,” she says.
Even with a carved-out pop style, Krystle can’t deny her deeply rooted love of
rock music. “I wanted to be Marilyn Manson,” she says, speaking of her musical
influences. This inspiration came full circle when Marilyn Manson member Andy
Gerold recently released a remix of Krystle’s new bang-pop single, “Dukes Up.”
“When other musicians step up and support you, it means the world,” she says.
It’s refreshing in the often cutthroat music scene, where you are either starving for
someone to care or fighting off contenders for a spot in the ring.
In the infancy of her solo career, Krystle played the dive bar circuit with a full
band. Her audience began to see her more as a rock artist, and fans expected a
rock ’n’ roll show. Now she has claimed her identity. Instead of blood and thongs,
the focus is more on lights, props and choreography. “There’s a lot more attention
to detail,” Krystle says. “We treat it like a full-production show.”
Krystle met her current producer/manager/co-writer/partner-in-crime, Anthony
Kirksey, (aka That Orko) in the rock scene when he filled in for one of her band members
at a show. Together, they have trudged through the grit of hard work to create
Krystle’s vision. “She’s so talented,” Orko says. “There’s no way I wasn’t going to
work with her.” His aha! moment happened after practice, when all the other band
members had left and it was just her, sitting alone at the piano pouring out her
heart over the keys.
One of Krystle’s soul-carving moments came at age 15 when her parents split up
and she watched her family fall apart. The experience served as a catalyst for
learning to express herself and figure out what she wanted out of life. From that
moment forward, she set out to pursue her dreams with extreme clarity (crystal):
she wanted to go to law school, she wanted to start a charity, she wanted to
become a pop star. A little over a decade later: check, check, check.
JAVA 9
MAGAZINE

Krystle spent her childhood near Lake Wildwood in northern California, about an
hour away from any sign of population. Nestled in the safety of the woods, she had
ample opportunity to explore her passions without inhibition from her introverted
nature. Her mother, Joanne Jolee, was and is to this day her biggest supporter.
Jolee, a classically trained musician from New Zealand, facilitated her daughter’s
dreams by homeschooling her, along with her siblings, all the way through high
school. Krystle’s daily lessons included cello, violin and voice.
“It gave me an opportunity to hyper focus on what I wanted to do,” Krystle says.
“I’ve always wanted to create.” She could knock out her studies by the early
afternoon, leaving her the remainder of the day to concentrate on her training in
music and dance. Krystle graduated from high school at16.
She knew she wanted to go to college, but taking ownership of her vision came
with a hefty price tag. Krystle began participating in beauty pageants to help pay for
school. She earned scholarships and the titles Miss Palo Verde and Miss Sonoran
Desert along the way.
Her early shot at the stage came when she was performing with her family’s
crossover band, CJA, which gave her some much-needed live performance
experience. The group had moments of notoriety on shows like “Next Great
American Band” and “America’s Got Talent.” Eventually time ticked along and her
sisters went their own ways, leaving Krystle and her mother to perform as a duo.
They tried it for a while, but with Jolee sitting at the piano and Krystle running
around the stage practically in her underwear, it clearly wasn’t working.
Krystle’s debut album came about during her undergrad studies in political science at
Arizona State University. For her Barrett honors thesis, she wrote, funded, produced
and recorded Identity in her mother’s home studio. Not only did this album give her
a platform for commentary, but it gave her the boost of confidence she needed to
inch her dreams forward.
She decided early on to become a pop artist in hopes of reaching the largest
audience possible. “You have to take yourself very seriously before anybody
else ever does,” Krystle says, alluding to the many trials that come with pursuing
pop stardom.
As if putting herself through law school wasn’t enough, she wrote her sophomore
album during her first year of law studies. Revisiting sentiments of strength,
heartbreak and love, Run solidified her commitment to music.
Krystle chose to go to law school because of her zest for knowledge. She feels
her passion for learning has influenced her to become an even better artist.
“Going to school helped me to discover myself, and I can now represent that
through my music,” she says.
Now, Krystle works as a full-time associate for the Law Office of Timothy M.
Collier, as well as for her own practice, Delgado Entertainment Law. She works
on entertainment issues for both practices in addition to complex civil litigation
when necessary.
Timothy Collier says that the combination of Krystle’s analytical mind and her
multi-dimensional creativity conjures an interesting perspective that is rare
to come across. All of her years of music industry experience, along with her
creative vision, are a huge asset to the firm, he says. “You only meet so many
people in your life that truly impress you,” Collier says. “She is definitely one of
those people.”
10 JAVA
MAGAZINE

COMING SOON TO THE
MIM MUSIC THEATER
Devon Allman
Thu., Jul. 14 | 7:30 p.m.
Tickets: $33.50–$38.50
Devon Allman is a vocalist,
guitarist, keyboardist, and
songwriter known for his blues
and rock music.
Krystle speaks the language of music. Her intimate knowledge of the subject
quickly earns her the trust of novices and professionals alike. Her only conflict is
time. “I’ve never seen a woman take on so many different things. She is probably
one of the hardest-working people I’ve ever met and not just in one area, but with
both her musical and law careers together. She’s essentially carrying two full-time
jobs. She keeps them both thriving and moving forward,” Collier says.
Collier and Miss Krystle work closely together as friends and coworkers in a
variety of capacities, ranging from charity work to legal and musical endeavors.
“There’s no other person on the face of the earth I could spend this much time
with and not come to a disagreement,” Collier says. “She’s my go-to person, not
only with law, but also in life.”
Collier and Krystle met back in law school. He was a year ahead of her. One of
the first things he learned about Krystle was her passion for charity and pro-bono
work. At 16, she co-founded a charity, Young Ones United (YOU), for child abuse
prevention, awareness and education. The organization celebrated its 10-year
anniversary at the end of last year with a fund-raising event, “The Art of Scotch
Tasting,” where guests enjoyed fine dining and libations.
There’s no end in sight for the many waves made by Miss Krystle. She will be
booking shows locally and along the West Coast to help share her newest musical
creations. She compares her enthusiastic spirit to painting. When learning the
strokes of how to create, most people give up at a certain point, letting resistance
and frustration get in the way. She says you can’t stop there—you have to push
through to end up with what you want. “If you don’t stop, you will eventually
succeed,” Krystle says.
Billy Strings Trio
Sun., Jul. 24 | 7:00 p.m.
Tickets: $28.50–$33.50
Born loving bluegrass, Billy
Strings is known for his oldsoul
voice and his razor-sharp
string-picking precision.
The Maya Spectra
and House of Stairs
Fri., Aug. 26 | 7:30 p.m.
Tickets: $15.50–$21.50
“Indie electronic group The Maya
Spectra has a sound uniquely their
own that breaks conventional
standards and soars above a slew
of to-the-cuff tracks.” —Earmilk
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

SAM GOMEZ
12 JAVA
MAGAZINE
by rhett baruch

Portraits by Johnny Jaffe
In a city where most men feel comfortable in giveaway tees and cargo shorts
left over from high school, there is a growing cadre of those who would
rather support local brands and high-quality wares. Although the Valley of
the Sun is not known as a particularly fashionable region, a few Phoenix
companies stand out when it comes to contemporary men’s street wear. Sam
Gomez of Phoenician Clothing could be the answer to this city’s fashion woes.
The guy has been keeping it real since the beginning in 2001, and his message
remains intact time and time again.
I originally found out about Gomez through JAVA’s art director, Victor Vasquez,
who had done some design work for Phoenician Clothing. Shortly thereafter, I
met Sam at his booth at the annual “Lowtography” show, a lowrider photography
and lifestyle event. It was here that I first showed my support for the brand by
purchasing one of their newly designed tees. I am now residing in Los Angeles,
but Gomez made our remote dialogue effortless. There is a lot to take from the
words of a man so dedicated to his craft.
Where are you from, and how did where you grew up
influence you?
I’m from Phoenix, born and rising! I grew up mainly in west Phoenix, off 35th
Avenue and Van Buren. I went to Carl Hayden High School. Growing up in that
area has influenced me in so many ways. Although I lived in the hood called
Mini Park, I always gravitated toward those few homies that created art,
skateboarded and rode bikes. Every hood has artists that keep themselves busy
creating art, keeping them out of major trouble.
One of my first influences was Johnny Tejeda, who is still painting to this day. He
used to make these Playboy bunnies with full bodies in popping/locking positions
with long flannels. They would be wearing those cutoff gloves that people wore
in the ’80s! My other friend, Gustavo, used to do these dope hand styles all the
time after school. He was older than me and lived down the street. Also, I had
a crush on his sister Mayra, so my ass was always over there! My friend Carlos
Elias use to be ill with detail and shading—faces, evil clowns, lowriders and old
Chevy trucks. All of us use to skate from like the summer of ’87 into the ’90s. I
always had an eclectic group of friends that, to this day, remains the same—true
to themselves and their art.
What music and art inspired you? Your brand?
I listen to a diverse style of music, but my foundation is in hip hop—early ’90s
stuff and some early 2000s. I’m a big fan of Project Blowed (Aceyalone) from
LA2TheBay (2Mex, Awol One). I was always bumping the homies ILLPHONIX and
FNX—some of Phoenix’s finest in the ’90s. Their music was raw and a narration
of what I felt and saw on the streets of Phoenix. It was the Phoenix sound for me.
Right now, I have been listening to a lot of Mulatu Astatke. He is an Ethiopian
musician and arranger best known as the father of Ethio-Jazz. His instrumentals
are melodic and funky at the same time. His music really helps me come up with
concepts or just overall mind expansion and perspective on things in my life or
with the brand.
JAVA 13
MAGAZINE

I like art of all types. My favorite styles are symbols, lettering, pin striping or
anything from Old World cultures and esoteric, secret-society type stuff. There is a
lot of power in symbols and lettering. I’m a photographer myself, which helps with
the business, saving money on product shots.
How did you get started with Phoenician Clothing in 2001?
I wanted to do something that would represent the city I came from and
my community. I’ve always had pride for this city and the artists from here.
Representing for me went back to the ’80s, when I used to hear about B-Boy crews
and poppers from Phoenix battling L.A. and other cities—crews like TBM (Total
Body Movement), Paragon Poppers and PBS (Playboy Showtime).
I was able to see lots of battles at a place called Silver Fox. It was an arcade and
billiard on 35th Ave. and Van Buren, which was like the Radiotron of Phoenix for
me. Before shopping local was trendy, Phoenicians represented and showed their
pride through the arts, just like any other big city did and still does. Phoenix artists
are the true home team.
What mistakes have you made and changes have you seen
along the way?
I have made many mistakes, but always try to take them as a learning experience.
One of my biggest mistakes has been relying on people who do not have the same
vision as me. However, trying to do everything myself takes away from putting 100
percent into marketing and sales. Also, I can be very indecisive about concepts,
which will hold the site back from getting updated. One thing I have learned,
though, is to always stick with the identity of your brand, which I have done since
the start. Just like a musician, you want to expand your sound, but still be you. I like
designs that involve a Phoenix bird creatively or an accent of it. Phoenician Clothing
probably has the most diverse array of Phoenix birds in existence.
What does your day-to-day look like, and how does it start and
end? Both on a working day and on a relaxing day.
I usually get up at 6:30 a.m. to take my daughter, Mixzel, to school at around 7:45
when it’s school season. I then go get my iced green or black tea, except when
it’s too cold, then I’ll grab a regular coffee, no fancy stuff, just something local. I’ll
check some emails, peep out some world news and, of course, check my IG. Then
I will head to buy ink supplies and pick up some blank shirts. Afterwards I head to
the print shop and get ready to print any Phoenician orders or jobs that need to be
done for clients. I screen print for a living, so that keeps me busy for most of the
day. I try to get a little workout done at least three days a week to keep me feeling
good as I get older. I try to work smarter these days and minimize how much [time] I
spend at the shop and work on the other side gigs I get.
On a relaxing day, I like to spend time with my family and friends, do some photo
shoots or go check out some local shows. But work never really quits for me. I am
an entrepreneur at heart, so I’m always looking at other ventures. I spend a lot of
time researching and reading.
14 JAVA
MAGAZINE

How do your new ideas and designs come to you?
Ideas usually come to me when listening to music or looking at symbols in books and
online. I like things to manifest from a thought or idea and then see it on a shirt. I am
also a design hoarder, which means I have pieces commissioned from artists that have
never been put out. A lot of concepts just feed the mind, so I wait until it feels right to
release them. In the last few years, I have been vibing on some spiritual and esoteric
tips. Like anyone who is trying to learn and evolve, Phoenician Clothing is about the
passion and consistent growth of the self. I put messages on shirts like “Blood, Sweat
and Fire,” which is about the blood from your roots, the sweat and struggle we go
through in the process of reaching our goals, and fire is the passion we have to move
forward and see our vision come to life—no matter the odds.
You mainly collaborate with other locals. Do you also design in
house?
Phoenician, from the start, has always been about working with local artists. I have
been blessed to have such amazing artists work with my concepts, including El Mac,
Lalo Cota, El Moises, Matt Dickson, Victor Vasquez, Bisie, ABOMB and so on. I
am also thankful to have recently worked with L.A. artist Chaz Bojorquez, who is
internationally known.
What’s next for the brand?
I am looking to take the brand to Japan. I have had a lot of people and artists telling
me that Phoenician Clothing would do great in Japan because of the feel of it and
symbolism of the Phoenix. “Foreverising” is what I’ve considered as the global name
for the brand. Like the Phoenix is the soul of Ra, Phoenician is the soul of Foreverising.
Passion and ideals never die; they just get manifested in a different time. I am also
creating some classic cut-and-sew pieces for women with a future primitive style that
will be relevant for years to come. Lastly, I hope to put together another fashion show
that I can travel with.
Personal goals for the future?
To stay healthy and have fun doing what I love with family and friends. Finally, to learn
a third language and maybe a fourth!
phoenician.bigcartel.com
facebook.com/phoenicianclothing
instagram.com/phoenicianclothing
JAVA 15
MAGAZINE

ARTS
THE NEW ANIMIST
By Amy L. Young
Animism is the age-old belief that non-human
entities, like animals, plants and rivers, can have
a soul or spiritual essence. For those who hold
this belief, it affects how they perceive and treat
elements of the natural environment. Though the
unfortunate continued disregard and decimation of
elements from our natural world is part of daily life,
awareness continues to grow, with a growing list of
advocates to foster change.
The New Animist, an exhibition at ASU Art Museum
created by Kev Nemelka, presents pieces from the
museum’s permanent collection that highlight an
elevated level of eco-awareness while also outlining
how animist beliefs parallel the collective concern
for our present-day environment. In keeping with
today’s meta-oriented culture, the show itself serves
to promote a strengthened relationship with nature
that occurs from the use of many non-natural means
to facilitate knowledge, and thereby action.
When you look at a piece like sculptor Deborah
Butterfi eld’s Horse #2, it’s easy to see how it can
inherently provoke an emotional human response.
Composed from wood, tin, metal and rubber, it’s not
just the horse’s loose and patchy frame that gives
this piece a sense of distress but the way it rests, as
if it crumbled to the ground from sheer exhaustion.
With the body ringed by a rubber tire, this work pulls
no punches as it creates an obvious look at man’s
destruction of the natural world.
Karl Appel’s figurative abstract painting Untitled
(Animal and Figure) uses a bold and minimal palette
to bring together a man and an animal. Big strokes
and stern outlining create a sense of both solidarity
and similarity that examines the uniqueness of
human–animal interactions and bonds. It definitely
inspires broader thought on the different ways
animals factor into human lives on a global level.
Arthur W. Hahn’s On the Rocks is a chalk and pastel
work on paper that offers a back view of a human
fi gure sitting on rocks, its mood alluding to a lake
or beach scene. The curves and cuts of the minimal
portion of the body match the sharp edges and the
fi ner, rounder sides of the rocks. As one gets lost in
the other, the indentations of the musculature, along
with the hint of bone, also exemplify the sameness
found in both subjects.
Whether they are focusing on a solo subject, like
Butterfi eld’s sculpted horse, or on the pairings of
man and animal, or man and mineral, as in the
aforementioned works, the pieces in The New Animist
nod to the ancient belief system by subtly considering
the idea that if we attribute a soul or spiritual
force to humans, then why not to these other life
forms, as well? Or maybe we have already, if even
subconsciously, and that’s what has established their
care, preservation and sustainability as significant
points of existential concern.
The New Animist
ASU Art MuseumJuly 16 – September 3
asuartmuseum.asu.edu
Deborah Butterfield, Horse #2-85
Mixed media assemblage
Karel Appel, Untitled (Animal and Figure), 1971
Color lithograph on paper, 26 1/4 x 40 1/8 in.
Gift of Christina Carroll.
16 JAVA
MAGAZINE

JUSTIN QUEAL
Artistic Synergy
By Demetrius Burns
Many artists struggle to put words to their work.
That’s not the case with Phoenix artist Justin Queal.
Sitting in front of his massive piece at Squid Ink,
he exudes the confidence of a musician, not a
visual artist. He rushes to greet me and shakes my
hand firmly as fading day bends light through the
downtown sushi bar and the colors of his Hindu shirt
greet my eyes.
“I like to create art like a musician,” said Queal. “I’m
building rhythm in the piece. You’re paying attention
to the relationships of everything. When you create
art from the musical perspective, you start to see art
as an energy recording.” When Queal talks, his eyes
pour into you. His energy fills up a room, sticking out
like the electricity of a saxophone.
Queal’s childhood was a bit transient. His father
was in the Air Force, so they moved a lot. At one
point, he had to transition from living in the UK
to living in the American South. One of the most
important lessons he learned from being uprooted
was perspective. He learned that life includes
multiple perspectives, not limited to his. In this
way, life prepared him for his artistry.
In 1997, at the age of 21, Queal settled in Phoenix
and began selling his paintings. He was inspired by
live painting in what used to be a basement jazz club
called Belo’s in Tempe. This was where he learned
about the synergy between painting and music.
Later on, he worked as a carpenter in Nebraska and
developed the skills he would use for sculpture work.
His first major commission was to sculpt an eagle
for a client. Once he began getting commissions, he
was hooked. “It’s like when a musician first rocks the
crowd. Once you experience that, your life is forever
changed,” said Queal.
Eventually Queal moved back to Phoenix with his
wife, and he received a commission to do a mural
at the original Squid Ink location in the northwest
Valley in 2010. “That’s what really got me going out
here in Phoenix,” Queal said. This piece got him
tons of recognition and a lot of work. He even got
a commission from Susie Buffett (Warren Buffett’s
daughter) to make a sculpture for the Orpheum
Theater in Omaha.
Along with music, women are one of Queal’s primary
inspirations. “A beautiful, powerful woman is one
of the highest experiences we can have as humans.
They are like special sparks that speak to you about
the beauty of the world,” Queal said.
Queal recently was selected to create a piece for
locally based Internet giant GoDaddy. He was one of
100 artists who were considered. Now, three weeks
into the commission, the mural-like a modern
cave painting-illustrates the success story of the
tech company.
It isn’t surprising that Queal was chosen for this
high-profile commission. A person with his energy,
ambition and wherewithal can go far. One of the
hardest things for any artist is marketing their work.
Queal’s marketing scheme is simple: doing good
work. However, when you can put words to your
strokes, you can add reality to ambition.
“You have to have it in you to go after that kind of
stuff, then you have to follow through,” Queal said.
“It’s great that they passed the ball to make the
game-winning shot, but you can’t miss it.”
JAVA 17
MAGAZINE

PATRICIA SANNIT
Works in Clay
By Jenna Duncan
Scribes and historians often look to the past to
decode the secrets of humanity. In the epic poem
Trilogy, by H.D., the poet transports readers to the
site of Pompeii to have a look at what was left of
those ancient people, trapped in time during the
mundane activities of life.
Sculptor Patricia Sannit has always been interested
in history, culture and the lives of different people
around the world. She’s interested in intersections, the
ways in which people of any era and in any place are
alike. “When you’re young you don’t always know what
is going to have the most impact on you,” she says. For
Sannit’s life and the aesthetic direction of her art, it was
time spent in the Middle East—Jordan, Israel and
Turkey—that made all the difference.
In Israel and Jordan, she kept noticing the same little
marks on objects and architecture. These markings
would follow her around and show up in her dreams.
She began to make connections between what she
was doing with her work in the late 20th century and
what had come before.
She was helping a team excavate a site where they
had found many small ceramic human figures. A
particular memory of that time stands out—a story
Sannit has frequently told about the experience.
She was sweeping the floor of what her excavation
team had identified as a home. The floor was plaster
and was painted with small iron oxide markings—
beautiful and memorable. While she worked, she
thought to herself, perhaps a woman 5,000 years ago
was sweeping this same floor. Shortly thereafter, she
uncovered the burial site of an infant under that floor.
“I just felt that chain—as if we were connected,” she
says. “It’s that cycle: first we build things, then we
destroy things. We get hungry. We take care of our
kids. I bring that elemental quality to my work. I think
of this as a universal language.”
Sannit grew up in Cleveland, one of two children
who were adopted by her parents. In high school,
she was an exchange student in Norway. She took a
long time to complete her undergraduate degree, she
says, because she moved around. In between years
of study, she studied art in Norway again and spent
some time working as a potter.
Sannit earned her bachelor’s degree in ceramics
at the University of Minnesota. She also attended
Carleton and the University of Minnesota. She did a
year in Norway and earned a degree in art. She was
awarded a Master of Fine Arts degree from California
College of the Arts. In graduate school, she focused
on sculpture. At that time, she showed her work at
Catherine Clark Gallery in San Francisco.
She moved to Phoenix with her family when her
son was six months old. Her husband had been
offered a job at ASU leading the Institute of Human
Origins. Following the birth of her son, Sannit says
that her studio time changed considerably. Instead
of doing big, serious sculptural works all the time,
she went back to making smaller vessels for a while.
“Sculpture is daunting for me,” she says. “Physically,
it’s big. Emotionally, it’s really challenging. I work
really hard at it in a deep way.”
Sannit works with clay full time out of a studio at her
home in north Phoenix. She also teaches ceramics
18 JAVA
MAGAZINE

at Phoenix College. She is currently represented by
Gebert Contemporary in Scottsdale and had a show
there earlier this year.
Following a ceramics residency at the Red Lodge
Clay Center in Montana this past January, Sannit
started working with a new cylindrical form in her
sculpture. She was also visiting artist at the Archie
Bray Foundation, also in Montana, the previous year.
Eventually the forms became a sort of elongated
balloon-shaped head, she says. Sannit has been
making dozens of them. These will very likely
populate her solo show at the Phoenix Art Museum
next summer, along with other more ambitious works.
She says she beats them up and then puts them
back together again. “They were all damaged. All
the heads had holes in them, or they were ripped
up,” she says. “And then I tried to repair them with
little girders and screws.” She was inspired by
recent images from Damascus, Syria, and has been
thinking a lot about human destruction, but also
human resilience.
All of the clay Sannit works with is reclaimed from
schools and community centers. She gets intrigued
by what she finds in the used clay. Often half-dried
buckets tell their own small stories of life and the
other artists who have touched it.
In the last year, Sannit’s art life has really picked
up pace, starting with her big show at Gebert, then
a show with her friend and art collaborator Chris
Jagmin currently at Mesa Arts Center. Recently,
Phoenix Art Museum alerted Sannit that she has
been selected as the Contemporary Forum Arlene and
Morton Scult Mid-Career Artist and grant recipient.
Sannit was recently commissioned to make two large
sculptural pieces for the new Marriott AC Hotel on
Tempe Town Lake. These were a bit different from
her usual work, but a good experience, she says. “I
got these gigantic commissions,” she says. “And
when you get commissions, you have to actually do
the work!”
Sannit often makes her sculptural installation art an
interactive experience. For example, at Artel over
a year ago she installed different-sized ceramic
cylinders and wheels. Throughout the weekend
Sannit rearranged many of the pieces, almost like
Tinker Toys or Legos. At a recent show at Gebert,
she created a large wet clay floor for guests to walk
on. Sannit hints that she is planning something
interactive for her show at Phoenix Art Museum. She
says the scale of the installation will be daunting.
Journey and Memory: Past the Rock, the Sun’s Gates and the
Land of Dreams
Painting by Christopher Jagmin and sculpture by Patricia
Sannit
Through August 7
Mesa Arts Center
mesaartscenter.com
patriciasannit.com
JAVA 19
MAGAZINE

Chicken fried hot dog
Photo courtesy of OKRA

JACOB CUTINO
FROM HOMEBOY’S HOT SAUCE
Some Like It HOT
By Sloane Burwell
Phoenix likes it hot. No, not the inveterate solar fire that we’ve been
experiencing lately, but the slow burn in the back of the throat that comes from
devouring peppers and chiles and the whole enchilada. Heat that comes from
carefully crafted sauce that is good enough to top any tasty treat. Jacob Cutino
knows all about this kind of soulful fire, and he’s bringing it to the masses.
Unless you’ve been hiding under a culinary rock lately, you’d be hard pressed to
miss Cutino’s Homeboy’s Hot Sauce. Restaurants like Okra are creating one-off
dinner events around his fiery concoctions, and places like Citizen Public House and
The Gladly are cooking up dishes that feature his saucy sauces on the regular.
With this kind of success, you’d think Cutino would have been the Head
Homeboy forever. But the reality is more impressive. “This (making these
sauces) had been a passion for me, a hobby in my spare time,” he says. “But my
wife told me that I needed to share this with the world!”
Cutino knew he was onto something when he was working as a restaurant
manager, and his staff would text him pictures of them stealing the magic
potion out of the walk-in. In fact, his hot sauce’s reputation as a game
changer is how he came up with the name. “People would ask me in front of
other people, ‘Have you tried homeboy’s hot sauce?’ and that is how I came
up with the name,” says Cutino.
Homeboy’s Hot Sauce recently added Verde to their lineup, joining the Jalapeño
and Habanero. A gorgeously green color, the Verde is tart and exceptionally
balanced. The Jalapeño hot sauce is a beautiful dusky red color that is hot,
of course, but well balanced and earthy. When the sauce settles into the
bottle (a quick shake fixes that), you can almost see tiny flakes of grated local
carrot. The Habanero is an almost orange color, with a blast that takes about 15
seconds to hit you.
Ghost, named for the nuclear chile pepper, is a seasonal sauce—although
Cutino does make a year-round special blend for Okra. The finale, The Hot Ones,
is a collaboration with heatonist.com from Brooklyn. Each sauce is fire, to be
sure, but still flavorful. That is due to Cutino’s careful blending. “I think carrots
have their own natural sweetness,” he says; other ingredients round out the
flavor profiles. This blending is what allows you to get both heat and flavor.
Cutino began selling Homeboy’s Hot Sauce only last April, at the Uptown
Farmers Market. “We sold 30 bottles on the first day. To be honest, we were
kind of blown away,” he says. “We’re really grateful and are just taking
everything in stride.” You’ll still find Homeboy’s every week at the Uptown
Farmers Market, where even the market manager is a fan. “She tells me that she
puts it on cereal,” says Cutino. This isn’t even the weirdest way he’s seen it used.
You’ll find it on local menus in beef jerky, pecan pie bars and dessert impresario
Tracey Dempsey’s homemade peanut butter.
For Cutino, success is still a family affair. He and his wife run the business, and
another family member, who designed the logo, helps part time. They are expanding
to add more staff to keep up with the demand, which is pretty impressive for a
concept that didn’t exist prior to October 2014. “I quit my job, and just went for it,”
says Cutino. Locally sourcing ingredients as much as possible, Cutino and his team
are hoping to add a fruit-based hot sauce to their lineup.
The sleek, clear bottles show off the ingredients, all of which are gorgeously
colored, due to their natural ingredients. The clean, modern concept behind
Homeboy’s branding goes along with the concept behind the sauces. “We are
modern, we are local, and we think the clean images are really what we are
about,” Cutino says. And that is clear—great ingredients and great passion make a
great hot sauce.
A Denver native, Cutino has managed to carve out a niche for himself in Phoenix
with Homeboy’s Hot Sauce. His background in running local restaurants has helped
endear him to the food community. His commitment to excellence is apparent in the
respect he’s earned by virtue of his work ethic. “Everywhere that I’ve worked as a
manager, I made sure I could personally cook each of the items on the menu. That’s
important to me,” Cutino says. That dedication has helped him understand what
makes something work in the kitchen and on the table—as well as how our growing
season impacts his ingredient choices. Cutino is hardworking and ambitious, and I’m
eager to see his next endeavor: The Homeboy’s Hot Sauce Cook Book.
We like it hot here; there is no denying it. And it isn’t just the weather. The heat
has managed to imbue itself into our collective flavor consciousness. Food doesn’t
always need to be hot. It just needs the right jolt of sinus-clearing flavor from time
to time. Or if you’re a hot sauce lovin’ Phoenician like myself, at least once a meal.
And the fact that Jacob Cutino has managed to make all of this happen in less than
two years makes me wonder what will come next. I’m thinking about a peanut
butter and fruit–based hot sauce jelly sandwich right about now. My recipe entry in
his cookbook is just writing itself.
Homeboy’s Hot Sauce
homeboyshabanero.com
JAVA
MAGAZINE
21

THE
MOONLIGHT
SWANS
22 JAVA
MAGAZINE

23 JAVA
MAGAZINE

24 JAVA
MAGAZINE

25 JAVA
MAGAZINE

26 JAVA
MAGAZINE

27 JAVA
MAGAZINE

28 JAVA
MAGAZINE

Art Direction : Jen Deveroux
Designer: LooksgoodAnya
Photographer: Jonny Stalnaker / ShotbyJonny
Lighting: Joe Abbruscato, Kayla Dawn Cooper
Models: LuxBot Lächeln, Scarlett Xander
MUA: Tara Hutchison
​Location: The Clarendon Hotel
Special thanks to Ben Bethel, Monique Sanderson
Mata, David Dimmick, Melisa Schisel, Justin
Fanelli & Rex Deveroux
JAVA 29
MAGAZINE

KONGOS
egomaniac
by Mitchell Hillman
It’s hard to believe that it’s been four years since KONGOS released their breakout album, Lunatic. The rest of the world only had
to wait since 2014, when Lunatic, fueled by the platinum-selling single “Come With Me Now,” saw global release on Epic
Records (with the track listing slightly rearranged). Since that time they’ve toured the world, joining up with such acts as
Imagine Dragons, AWOLNATION and Kings of Leon, while slowly slipping new songs into their live show.

I’m not sure there has been more anticipation for a
semi-local album in years, possibly decades. After
nearly 50 spins of Egomaniac, I have to say the wait
was well worth it. The brothers KONGOS clearly took
the last four years to fortify their strengths, add new
elements to their sound and hone their craft. The day
it came out, someone was blasting Egomaniac in the
parking lot of a local music venue and people were
dancing all around in the madness of the heat. It was
a beautiful sight to see.
Anyone worrying that Egomaniac would not live up
to its predecessor can extinguish those fears straight
away. When all is said and done, it’s a better, more
consistent and mature album. The songwriting and
lyricism have strengthened, and they’ve clearly benefited
from their travels. If anything, they show more
intellectual acuity.
Dylan Kongos (vocals, bass, pedal-steel guitar, guitars),
Danny Kongos (guitar, slide guitar, vocals),
Jesse Kongos (drums, vocals, guitars, bass, synths,
programming) and Johnny Kongos (accordion, piano,
vocals, synths, programming) each help lay to
rest any concerns that Lunatic was a flash-in-thepan
accident loaded with singles. With the release
of the pre-album single, “Take It From Me,” back
in April, it seemed clear that Egomaniac was aiming
at being every bit as fantastic as the album that put
them in spotlight.
“Take It From Me” kicks off the affair in fine style.
The drums hit harder than ever before as Jesse wails
on vocals. There’s a fair amount of studio wizardry
when it comes to vocal effects, but unlike an experiment
with Auto-Tune, these only serve the song for
the better. Johnny’s synth work is also apparent, as
well as the signature accordion, which no one rocks
better than KONGOS. Danny’s guitar is on point, making
his brief solo memorable as a bluesy riff guides
it throughout. It is the perfect lead-off single—excitable,
upbeat and concise. Lyrically, it’s about pushing
things too far, whether it’s fame, money or anything
else—the kind of obsession that can consume you if
you don’t stay grounded.
Youngest brother Danny’s song “The World Would
Run Better” is next. He has really come into his own
with both songwriting and guitar work. This is a
slower number at first, and it feels like it’s going to
stay that way, until after the minute mark when it
takes on a sort of disco feel. Lyrically it’s got more
than a bit of humor. The underlying notion is a wry
look at wanting to control things beyond one’s ability.
Each brother contributes three songs, and each gets
to sing on his own songs—except Jesse, who wrote
a fourth for another brother to sing: “I Want It Free.”
It was joked that this makes Jesse the biggest
egomaniac in the band, during an interview with
local luminary Beef Vegan from TMI Radio Show
on KWSS 93.9 FM. The song is going to be a great
foot-stomper live and it’s going to drive crowds
wild all across the globe. It takes careful aim at the
1% lyrically, but it doesn’t make its politics unpalatable.
That aside, it has some of the best rhythm combos
on the entire album.
Dylan put his pen and his voice to one of my favorite
tracks on the album, “Underground.” It’s got a
darker feel than much of their work, and yet it’s
still fantastically danceable. It also has one of the
most brilliantly obscure lyrical references when it
mentions Flight 305: an allusion to the case of D.B.
Cooper, who hijacked a flight by that number and
parachuted into the Pacific Northwest woods never
to be seen again. It takes some talent to turn that
idea into a perfect pop song.
“Autocorrect” begs to be a single and is one of Jesse’s
finest moments. With references to Google, The
Matrix and cybernetics, it seems an almost cautionary
tale of how technology is consuming us, and more
to the point, how we are welcoming it, despite all
warning signs. Words of warning aside, this is going
to have people chanting “I wanna get fucked up” for
years to come with their unique intonation and pacing.
Who wouldn’t want to have autocorrect for their
life, since it works so well on their phone?
There is a certain charm and introspection to Danny’s
songs, and one of the best examples is “Where I
Belong”—a soul-searching number and one of the
most reflective on the album. It’s also got some of his
best slide guitar work. There is a down-to-Earth quality
to it that makes you feel right at home.
Johnny’s “Birds Do It” marks his first solo songwriting
appearance on the album. It’s a wry tale of sexual
politics with an emphasis on his much beloved accordion,
even getting a solo in with that. It’s deceptively
catchy but doesn’t fly off the record at first. Then,
days later for no apparent reason, you will find yourself
singing it on the street. It’s low key, but a subversive
earworm nonetheless.
Danny’s “2 in the Morning” is the most touching song
on the album. It’s ostensibly about trying to pick up a
girl at a bar after last call, while being such a paean
to late-night loneliness that it’s an instant classic. He
even sings “Don’t you know we’ve all been there,”
and he’s right, because we have, if only in our youth.
It’s this soft, reflective tone that makes Danny’s songs
so formidable in their own right.
“Look at Me” is the song that gives the album its
title, and it’s another from Jesse. It’s as much about
the modern state of narcissism as it is about an
unhealthy relationship. This particular track has endless
remix potential, and the mix of synth strings with
African percussion only adds to that sensibility.
One of my favorite tracks probably won’t be a single,
but it’s a fantastic place to lose yourself for nearly
four minutes. “I Don’t Mind” will bore a hole through
your brain and stay there for months, I assure you,
which is why it should be a single. It is one of the
catchiest things Dylan has ever written, which says
a lot. What’s it about, though? Getting drunk and
going to Lost Leaf, according to Dylan’s interview
with Beef Vegan.
All right, maybe “Hey You, Yeah You” is the catchiest
thing Dylan has ever written, or maybe my mind just
heeds his hooks. This late in the album, though, you
could make the case for nearly every song here to be
a single somewhere. It is clear there was painstaking
effort applied to the track listing of Egomaniac and
the pacing of the entire thing. This may be the biggest
difference between it and Lunatic, which is why I
believe this is the better album.
A lot of my friends are losing their mind over Johnny’s
“Repeat After Me,” and I can understand that sentiment.
It is a total indictment of organized religion and
as fascinating a ride lyrically as it is musically. It is
one of the most intellectually astute songs KONGOS
have ever committed to record and also a damn fine
foot-stomper that will make festival crowds lose their
minds in no uncertain terms.
The album finishes with the lush beauty of “If You
Could,” which bears a striking resemblance to how
Lunatic finished with “This Time I Won’t Forget.”
This is Jesse’s most touching song on the album—a
romping party of an album with a sweet, soft landing.
The African music influence has never been more
prevalent in what is essentially a folk song, peppered
with African Shangaan Electro touches.
Once more, the esoteric references are striking. One
is “Heropass,” from G.I. Gurdjieff’s epic Beelzebub’s
Tales to His Grandson, referring to the passage of
time that, try as we might, we cannot fight. It leaves
the album on a thoughtful note. Egomaniac is a triumphant
return for KONGOS, and upon repeated listens
it grows greater in its power. KONGOS have grown
up in front of our eyes since they released their first
album nine years ago, and with this third record, they
seem primed to take over the world. I for one welcome
our KONGOS overlords.
JAVA 31
MAGAZINE

SNAILMATE
Leftovers EP
SOME DARK HOLLOW
Destination Unknown
SONORAN CHORUS
Laird EP
Tying a local record held previously by Field Tripp
and Merit, Snailmate have issued their third EP in a
year. This final installment of the “Escargot Trilogy”
is appropriately called Leftovers. What began last
July with Escargot and continued in Dine n’ Dash
in February, now finishes with Leftovers. It is a
fantastically bizarre record that combines a highenergy
punk vibe, crossed with synth-heavy funk and,
of course, Lander’s signature hip hop flow. When I
first heard the title of the record, I figured it was just
tracks that didn’t fit on the previous EPs, but whether
that’s the case or not, Leftovers works as a consistent
and wonderfully fun record.
“Radio DJ” is the opening track, which was
previously released as a split single with the Buglies.
It’s one of my favorites, as there is almost a disco
vibe in the beginning. Lander raps in the middle and
at some points takes on vocal histrionics reminiscent
of Captain Beefheart.
If anyone has ever been in a relationship where you
were “Always Loving Mostly Fighting,” the next
song is definitely for you, and it’s as caustic as it is
hilarious. I love this gastropodal universe that Lander
and his drumming partner, Ariel Monet, have created;
they have their own unique sound and vision, and are
happy to just own it.
“In Tents” will end up becoming a favorite track
for its clever lyricism alone (“shaving with Occam’s
razor”), plus it is pretty intense. I have to agree with
the title “Big Fish Don’t Taste Good” because it’s
something I’ve always thought to myself. The track
is also a perfect finale for the record. Now that the
trilogy of EPs is complete, Snailmate’s only option
will be to record a full-length, and I have a feeling
that’s what they have in mind.
If you are looking for some great country music to dig
your cowboy boots into, look no further than Some
Dark Hollow’s brand-new Destination Unknown. If
you didn’t hear their 2013 EP, Wander Wayward, I
would highly recommend you start there, then get
into their debut full-length. They should drop the
Americana pretense from their self-description,
because this is just great country music in the
classic sense—which is to say, country music that
I can truly enjoy.
Some Dark Hollow is Jason Stinson (vocals, banjo,
guitar), Joe Slater (bass), Ethan Pajak (drums) and
Shawn Skinner (lead guitar, vocals), and together
they remind me of what country sounded like in the
1970s, when it was at its crossover peak. This is the
kind of band that should be playing every hootenanny,
hoedown, shindig and bluegrass bash from coast
to coast because they will win audiences over on
a large scale. It’s the kind of thing you want as a
soundtrack to a hot, humid night on your front porch
slinging some beers, lemonade or sweet tea, just
relaxing and soaking it all in.
I suppose there is a hint of Americana here, since
there are moments (“Health and Women,” “Can’t
Trust My Eyes Anymore”) that recall Gram Parsons
and The Byrds’ Sweetheart of the Rodeo, but it’s got
more rootsy, down-to-Earth leanings. It must be said,
too, that the flawless harmonies reach deep into your
soul, so that even if you aren’t a fan of country music,
you can still appreciate the talent presented here.
Still, it’s songs like “Jump That Train” and the frantic
fun of “Bow My Head” that keep this album firmly
rooted in a deep country tradition.
Sonoran Chorus may record songs in their kitchen,
but somehow they come off sounding better
than some punks who actually use a legitimate
studio. There’s also something charming as hell
about this outfit. Most recently, they released
their sophomore EP, Laird, the follow-up to their
Lagoon Squad debut. Joe Allie (guitar, vox), Damon
Dominguez (bass, vox), Alex LeBlanc (guitar, vox)
and Troy Penny (drums) are Sonoran Chorus. While it
may seem like a stopgap release, Laird actually holds
its own against their debut, plus it has some of my
favorite songs I’ve seen live.
The EP is something of a Damon Dominguez
sandwich, as he takes lead vocals on “Cartons of
Bottles” and “Shitkicker.” In the middle LeBlanc
provides the vocals on “Terracotta Forest,” which
serves as a nice palate cleanser between the
straightforward, and intensely frenetic, punk rantings
of Dominguez. It gives this little EP the perfect
pacing. “Cartons of Bottles” has been a live favorite
and will leave you chanting, “I got the power, I got
the flower.” Also, Penny’s drums on this track are
thunderously awesome. “Terracotta Forest” comes
across as more lo-fi indie rock, but it also shows that
Sonoran Chorus are growing. It’s really a showcase
for their songwriting chops and expands their
horizons, like they wanted to record something for a
completely different audience.
Laird finishes with “Shitkicker,” which is a rave-up
rocker. Although Dominguez is in the spotlight here
vocally, it’s the twin guitars that are really the star
of this show and, once again, Penny’s bombastic
drumming. A solid effort that makes me excited to
see what’s next from this crew.
32 JAVA
MAGAZINE
Sounds Around Town By Mitchell L. Hillman

ANDY WARPIGS
GEEK ROCK! To the Nations! EP
YOUNG’S MODULUS
Somnabulist
RED TANK!
Bio/Feedback
I have been eagerly anticipating a new record from
Andy Warpigs ever since I played Folk-Punk Yourself!
nearly to death. Luckily GEEK ROCK! To the Nations!
was released last month, and it reminded me of
all the reasons I loved the first collection. On this
release, Andy Warpigs (the band) is Andy Warpigs
(vocals, guitar, angst), Andrew Attilio (drums), Lucas
Skywalker (lead guitar), Jackson Bollox (bass) and
Scott Mitting (production, synth). This is a collection
of lo-fi, nerdcore pop that just hits the ears right.
It’s clear that Warpigs (the songwriter) is something
of a pop savant, because it seems he could just sit
down at any minute and compose a perfect folkpunk
anthem with a pop hook. The EP is, in fact, a
collection of old songs that Andy used to play on
ukulele that were converted to pop-punk tunes with
the help of Mitting, from 20 Foot Neon Jesus. It
was completely recorded in Warpigs’ house, but it
somehow sounds great. There’s even conversation
about that at the end of the last song.
“Moe Not Emo” is a hilarious romp about a supercool
chick who resents being called emo, though she
is clearly obsessed with anime and hates Fall Out
Boy. The most fully conceived song is the delightful
“Faye,” which should be the single. It completely
reminds me of Apples in Stereo’s first album, and
that is a supreme compliment. Much in the same
vein, musically, “Willow” sounds like it may well be
about a character from “Buffy the Vampire Slayer,”
and who didn’t love Willow, anyway? The EP finishes
with “Sagas,” a perfectly crafted pop gem with
slight psychedelic leanings. The EP holds together
remarkably well, and it leaves me hoping for more of
the same from Andy Warpigs very soon.
I got tipped off to Young’s Modulus by Deon Doughty,
the artist commissioned to create the album
artwork. I checked out their demos and I was pretty
impressed, so I couldn’t wait to hear what they
whipped up with Curtis Grippe at STEM Recording.
For anyone who has a serious interest in ’90s rock
just past the crest of the grunge wave, this band is
for you. As deeply invested in blues rock as they are
in grunge, Young’s Modulus will remind you of Vs./
Vitalogy-era Pearl Jam, Aha Shake Heartbreak-era
Kings of Leon and even hints of Soundgarden and
Stone Temple Pilots.
Young’s Modulus is Mike Johnson (lead vocals,
guitar), Todd Becker (guitar), Sean Paulson (bass)
and Tom Combs (drums). When you have this much
vitality, talent and inspiration coursing through you,
you either go big or you go home. Young’s Modulus
take the former route in no uncertain terms. The
album is nostalgic enough to be entertaining, but
it’s thrilling enough to be an absolute rock ’n’ roll
joyride. It’s clear that the band worked damn hard on
making their musical vision become a fully realized,
consistently good record and one hell of a debut.
If you want a taste, check out “Laces Untied,” “Snow
Globe,” “Selfish” and the touching “Moving On.”
If they put their shoulders to the wheel, Young’s
Modulus could really go places with the sounds they
make. I was going to suggest that they play with
the likes of Japhy’s Descent and Ghetto Cowgirl, but
they beat me to the punch, as those bands will be
supporting them at the release party for Somnabulist
at Last Exit Live on July 15th.
Sounds Around Town By Mitchell L. Hillman
I was not prepared when Red Tank! released one
of last year’s finest albums with I Want You to
Crowdsurf My Body at My Funeral. I was even
less prepared for them to release their third
full-length just a year later. If you thought their
last album was their crowning achievement, I
can’t wait for you to hear Bio/Feedback. It’s more
than just an onslaught of punk energy there are goth
influences, post-punk and early alternative nods here,
as well. Upon first listen, I stared at my stereo for the
entire record in slight disbelief. This time around they
have dialed it in and produce an unapologetic sound
that is uniquely their own.
Clipper Arnold (guitar and vocals), Sam Russo
(drums), Jeff Habgood (guitar and backup vocals)
and Erik Naranjo (bass) take aim at noisy art punk
and level the whole damn place. They have a kind of
post-punk aesthetic with early American hardcore,
and the result is a perfect slice of excitable audio
bliss. This is music to mosh or slam dance to. It’s
not all screaming punk anthems, though; songs like
“Seattle (Elegy of Fractured Personhood),” “Anxious
Automatons” and the epic-length “Erosion” casually
show the range Red Tank! are capable of and any
number of directions they could easily own. The
record ends with the unlikely “Clean,” which slows
the album to a grinding halt with a sentimental ode
to sobriety and love. It’s a total 180, but proves they
can write heavy textured pop ballads, as well. This
record is something you can really sink your teeth
into and head bang to ceaselessly.
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

34 JAVA
MAGAZINE

A new entrepreneurial spirit is taking off in Phoenix when it comes to the fashion
industry. Runway movers and shakers seem to have caught on: if you want to bring
the masses to PHX fashion, the way to do it is through fun and exciting events.
This season, the big date for your calendar is July 16, when organizers will bring
the fourth annual Brave Wings Fashion Show (BWFS) to a runway near you.
Local designers Jenesis Laforcarde, founder of Woman’s Touch Apparel, and Mabel
Cortez (pronounced Mah-bel), founder of Mabella Chic, have teamed up to present
an evening of new looks, from the glamorous to the mainstream. Originally, the
whole idea behind the show was to provide a venue for start-up designers to
showcase their talents. But when Cortez started brainstorming with Laforcarde,
they decided they wanted community outreach, too.
Both young women had already successfully launched their own clothing
companies (and been featured at Phoenix Fashion Week), so it was time to take
their work to a new level. “Jenesis is very creative, that’s why we work so well
together,” Cortez says. “She has her own business and I have mine, and one day
we just decided to come together and do something for charity.”
“Brave Wings Fashion Show was born while Mabel and I were eating sushi. LOL!”
Jenesis Laforcarde writes in an email. “We were discussing what new shows we
were going to participate in. We realized, why invest in another business when we
can create our own? With my background in fashion show production and Mabel’s
background with sales and marketing, we are a force to be reckoned with.”
The first year that Laforcarde and Cortez partnered on Brave Wings, they selected
the Sojourner Center, a women’s shelter for victims of domestic abuse, as the
recipient for the proceeds. They decided to rotate charities annually in order
to spread the love. So the second year they selected Ryan’s House, a Valley
nonprofit that provides hospice support for families of children living with
terminal illness. Last year it was the local nonprofit Singleton Mom, for single
parents battling cancer. And this year, the proceeds will go to the Arizona Burn
Foundation.
“We always try to find a local organization that typically does not get federal
funding,” says Cortez. Last year’s event took place at the W Hotel in Scottsdale.
Not only were the seated passes sold out, there were food vendors, booths for
designers to sell their wares, and various other activities throughout the night.
“This being our fourth year, now we are definitely on the map. People look
forward to it and know what our purpose is—what we stand for,” Cortez says.
Prior to the event, a world of logistics and planning must take place. Cortez says
that these administrative duties are taken on solely by Laforcarde and herself.
They will invite a handful of local designers to help them promote Brave Wings
and hire a local independent videographer to produce a video about the featured
charitable organization, which will be shown on the day of the event to get their
stories out. They also secure the venue, sell tickets and find sponsors for the
event.
“Every year has been a little different,” Cortez says, who recently left her day
job to run Mabella Chic full-time and to organize Brave Wings. This year, the
runway show and full-day event will be held at a newly opened downtown event
space, Vintage 45, located in the heart of the warehouse district. The building,
which originally housed a meatpacking company, has a lot of history and a
JAVA 35
MAGAZINE

unique industrial look that the Brave Wings show will capitalize on. “It’s really cool
and kind of has the feel of a New York fashion venue,” Cortez describes.
“Woman’s Touch Apparel is growing rapidly! Our collaborations with Amber Rose
and Jenzi Russel have made our market grow even larger,” Laforcarde says. “We
can’t seem to hold on to inventory these days. We have our new line debuting at
the BWFS called the Alpha Female Collection. This will be bold, and you will see
some of the designs that we are so excited to release.”
The runway show will feature new pieces by not only Woman’s Touch and Mabella
Chic, but also six other designers ranging from casual to avant garde. The list
includes Electric Lyon, Hamati Designs, Lana May, Last Ones Left, My Style Mode
and Nazila Couture. Each designer will bring 10 to 12 looks, and the show will
conclude with formal gowns and bridal (as usual).
“This season I am excited to bring a collection of evening gowns with intricate
embroidery and fluid fabrics. The cuts and styles are edgy, but feminine,” says
Nazila Sawhney, designer and founder for Nazila Couture. “This collection, Pretty
Femme, offers a variety of weightless, fluid, edgy gowns in pastels and earthy
tones—a wonderful synergy of modern dresses with vintage Indian embroidery—
humble yet haute.”
Inspired by the Victoria’s Secret angel shows, the Brave Wings theme is a variation
on that concept. Every year, Brave Wings invites designers to put their own fashionforward
spin on a set of wings worn by the show’s models. “We have four different
wings designers,” Cortez explains. “Guests can vote for their choice by dropping a
token into their voting buckets.” The winning designer in the wings competition is
treated to additional prizes—gift certificates and special services.
36 JAVA
MAGAZINE
Inside the warehouse space will be a fashion show campus of sorts, with a variety
of activities. There will be a “shop villa” presenting local vendors, as well as
food trucks parked inside. There will also be a full cash bar and a beer station
(bartenders courtesy of Pour Masters and beer sponsor Peroni). “We are
expecting about 400 guests,” Cortez says. “We sell out every seat every year,
and it continues to grow.” Once the seats are sold out, standing room only
tickets will become available. Ticket prices range from $100 (VIP and close to
runway) to $35 (general admission).
Live DJ team Digital Phunk will return to spin this event. Photo and videography
services are covered by West Eal Photography. The hotel sponsor is The Clarendon,
and a rockin’ after-party is scheduled there following the festivities at Vintage 45.
In addition to continuing the annual Brave Wings show, Cortez has been busy this
year rebranding Mabella Chic. When she launched the business a few years ago,
it was exclusively gowns, high fashion and luxury design. Now, the brand is about
everyday glamour—the hip mom. “The new Mabella Chic collection contains more
timeless and classic pieces. Like dressing for work or running out the door but still
looking put together,” Cortez says. “The idea is to keep moms trendy and stylish
and help them feel good,” she says.
Cortez is eager to launch her new looks and casual chic styles at this year’s Brave
Wings. There is an air of anticipation as the final details of the show fall into
place. “I always knew BWFS was going to be BIG, and that it will continue to grow
and make a difference in the community,” Laforcarde says. “We recently launched
a new annual event, called the 100 Women Event, where we help 100 women who
are in need. We provide them with beauty pampering from some of Arizona’s top

ART EVERYWHERE
About Face
From the Airport’s Collection
Terminal 4, Level 3, two display cases
In All Terminals
PHX Sky Train Stations
Rental Car Center
AT THE AIRPORT
Light Rail Access
Max Lehman, You Scream - I Scream - We All Scream, 2008, ceramic
Phoenix Sky Harbor International Airport
skyharbor.com/museum | 602 273-2744
glam squads and provide them access to employers who are hiring,” she says.
It’s a sort of job fair and makeover party for women in need. She plans to expand
the event to include 200 women next year.
Cortez and Laforcarde continue their campaign to bridge community giving and
fashion while providing an event for people to look forward to in the thick of the
summer. “We are the only big fashion show that really gives back,” Cortez says.
“We do it in the summer for a reason!”
Brave Wings Fashion Show takes place July 16 at 45 W. Buchanan Street, Phoenix.
Doors open at 7 p.m. and advance tickets ($35 to $100) can be purchased online.
www.bravewingsfashionshow.com
www.facebook.com/Brave-Wings-Fashion-Show-315047821953953
All photos courtesy of Brave Wings Fashion Show
It’s not the size of the joystick,
It’s how you use it!

GIRL ON FARMER
KEEP IT
HOT
By Celia Beresford
I have to tell the truth. I don’t really know what to
talk about. There is really never a shortage of things,
so no, that is not the problem, but I have to figure out
what I want to get going here. Is it something big,
like Orlando? Is it about the fact that the Democrats,
at the moment I write this, are on the floor of the
House demanding a gun bill be passed? Or is it me,
sitting on the floor of my house, because it’s the
coolest place, with a broken air conditioner that
clocks in at 90 degrees even when the thermostat
is set at 76? Life is short and there are so many
sad and scary things happening, so I think I have to
talk about the heat, which although uncomfortable,
is a mild inconvenience when we take a look at
the state of things. So let’s keep it light. And hot.
I’m usually out of this desert delight by the end of
May. Even though I’ve lived in Tempe for close
to 20 years, I haven’t spent a whole summer
here in a long time. I know, boohoo, I’m getting
sunburnt just by sitting in front of my window.
Still, I have to say, when things get to 120
degrees, that shit is crazy. Just, no. Stop it. Stop
all of your melting global icecaps and let’s agree that
things should not get over 110—anywhere.
When things get like this I fantasize about living
in Alaska or in some Canadian forest, foraging for
nuts, berries and tofu. My Inuit friends and me
will have a fire during the chilly summer nights
and tell stories while passing the peace pipe.
“This is the life,” I might say out loud to my sled
dog, Blizzard (who is actually a wolf that I tamed).
Then I remember, I am a wimp and when I have to
wear more than a scarf and pair of socks, I start
shivering, so I’ll just have to find some things to do
here while I pass the summer.
Thrifting is a great summer pastime. This is where
I spend my summer leisure hours when I’m not
working. I can tell you that many people agree, and
that is why it takes an hour to get in the Goodwill
dressing room. Good thing, long lines are not a big
problem for me. Not just because I have become
the woman who shamelessly shimmies into a pair
of pants under her dress, or changes her shirt like
a magician in the aisles. No, it’s more than that, it’s
because I have a greater goal—art.
38 JAVA
MAGAZINE

The looker is usually a small child who has
wandered away from their family. They appear
to be innocent, usually picking their nose or
grasping a dingy stuffed animal from the kid’s
section, but I view lookers as agents. Agents
hoping to find out what I am up to and expose
my million-dollar score to their grandmas.
Before you think I’ve gotten fancy and high class on you, let me straighten things
out. My art-thrifting is dual purpose: sure, I am looking for things to hang on my
walls, but more importantly, I want to grab some neglected piece that will end
up on “Antiques Roadshow” or even better, something I can directly auction for
millions on eBay. Since none of my get-rich schemes—like getting a job and
working 40 hours a week—have panned out so far, I am depending on thrift
store art to carry me through. More specifically, I’d like it to carry me on a cruise
through the Greek isles. On a private chartered ship. Crew and drinks included.
Pretty much every week or so I am convinced that I have found a gem. My phone
doesn’t have Internet, so I call my secret Irish husband to look things up. Usually
I can’t read the artist’s name, so I babble off a selection of spellings. Nothing
comes up and I describe in detail the picture or whatever it is. Then I get mad
that nothing is coming up saying that the picture is worth two million, so I blame
my husband for not knowing how Google works. This is when I start furiously
taking notes in a secret corner, making sure no one is watching me. I am so
convinced that whatever treasure I’ve discovered is so rare that I must hide while
I write down the details.
While frantically scribbling away precise details and half-guesses about the
artist’s signature, I often get a looker. A looker is a person that is paying too much
attention to me as I note critical information that will make me a millionaire. The
looker is usually a small child who has wandered away from their family. They
appear to be innocent, usually picking their nose or grasping a dingy stuffed
animal from the kid’s section, but I view lookers as agents. Agents hoping to find
out what I am up to and expose my million-dollar score to their grandmas. This
poses a problem because I have to hide my art score somewhere smart, so I can
go home and do some proper research.
Luckily, it is easy to lose the kid if I zigzag around the store and then start trying
on clothes in the middle of aisles. This is scary for children, and anyone else who
can see my stomach rolls. Once I know I’ve lost them I stash the art somewhere
clever, like a sports bin or maybe behind a bookshelf. Sadly, I’ve never had to go
back and get my hidden goods. It always turns out to be nothing. Although this
is disappointing, like the oppressive desert heat, it is a minor setback in the big
picture. So, I remind myself, keep it light. And of course, hot.

NIGHT
GALLERY
Photos By
Robert Sentinery
1
2
3 4
5
6
7
8 9
10 11
1. Strawberry blonde at Stock & Stable
2. Jessica and pal getting their cocktail on
3. Framed Ewe grand opening soirée
4. Birds of a feather Galielle and Omayra
5. Teddy and Diana check out Stock & Stable
6. Perfectly plaid pair
7. “Gods and Monsters” artist reception at {9} Gallery
8. Celine and Megan at the Phoenix General grand opening
9. Verde Valley train ride for Jerome Film Fest
10. Chris “The Maestro” Bianco
11. Oh so avant garde

12 13 14 15 16
17 18 19 20 21
22 23 24 25 26
27 28 29
12. They got the black/grey memo
13. Snapped this pair at {9}
14. Sexy reptilian
15. Jeremy (aka August Manley) gets a sneak peak of his feature
16. Drinks and Stock & Stable at The Colony
17. Dressed to impress
18. Phoenix art posse at PAM
19. Les and Diane, the power couple behind Stock and Stable
20. Food and wine time
21. John’s got a fancy ass jacket at SMoCA
22. This guy has the spoken word power
23. Behind the bar at Stock & Stable
24. Lorenzo sandwich
25. Laura and Bill at {9}
26. Patterned princess
27. Cooling off up north
28. Window into the world of Wendell Burnette
29. Art opening at Abe Zucca Gallery

30 31
32 33 34
35 36
37 38
39
40 41
42 43 44
45 46
47
30. Two shaved heads are better than one
31. Lauren and Kendra’s “Animal Land” installation at Chartreuse
32. Shana and Alyssa, disco night at the American Italian Club
33. Who is that masked woman?
34. Serving the night away
35. High on the vibe
36. Disco night with Dana, Pat and Brea
37. Ridin’ that train, Jerome Indie Film Fest
38. Hors d’oeuvres and a smile
39. Phoenix General grand opening fun
40. More fun at Phx Gen
41. Bar camping at Stock and Stable
42. Jammin’ and ridin’ the rails
43. Jerome Fest filmmaker and his lady
44. Joshua and Kenny from Phoenix General
45. True romance, disco night at the American Italian Club
46. Framed Ewe at The Colony grand opening
47. This photographer gets photographed

48 49
50 51 52
53 54
55 56
57
58 59
60
61
62
63
64 65
48. Pretty pair at the Framed Ewe opening
49. All together now, Stock & Stable grand opening
50. Nicole from Scorpius Dance at {9}
51. Jeff and Francie and Framed Ewe
52. Runway lady in red
53. Loved bumping into these guys
54. Funky filmmaker on a train
55. Phx Gen grand opening fun
56. Danielle, Michele and this guy
57. Enrique and his girl and Phoenix General
58. Oscar and Gary out and about
59. Happy shoppers Angelica and Leonor
60. Heavenly in white
61. Rhythm Room bar shot
62. Disco Night fun at the American Italian Club
63. Disco DJs in the house
64. Framed Ewe grand opening
65. Kicking back with a cold one

66 67 68
69
70
71
72 73
74 75
76 77 78
79 80
81 82
83
66. Political shirt guys
67. Kick up the jams for the Jerome Indie Film and Music Fest
68. Chill party in the cool north
69. Christina and Diane at Stock & Stable
70. Jerome Film Fest founder Toni Ross
71. Bad boys whatcha gonna do?
72. Stock & Stable chef in the house
73. Nothing quite like riding the rails with a live band
74. Projection artists Lauren and Kendra at Chartreuse Gallery
75. Living room scene at Joe B’s
76. Got Don Julio?
77. Mia tries on the wares at Framed Ewe
78. Geeked-out jam session
79. Jency and Christy
80. These guys will ring you up at Phoenix General
81. Phx Gen/Framed Ewe grand opening
82. Who’s got the shortest dress of all?
83. Tia makes a new friend at OHSO

BOOK NOW
BOOK NOW
THE DOC IS IN
ALLI HOPPERT, OD, FAAO
ALLI HOPPERT, OD, FAAO
602 283 4503
602 283 4503
THE COLONY | 5538 N 7TH ST | PHOENIX, 85014
THE COLONY 5538 7TH ST PHOENIX, 85014

Scottsdale Public Art presents their
Summer 2016 exhibition:
Nathaniel Lewis Presents:
The Catacombs
of Professor McGee!
May 23 - August 31, 2016
Gallery @ The Library, Scottsdale Civic Center
3938 N Drinkwater Blvd., Scottsdale, AZ 85251
Throughout the exhibition local artists will be
conducting FREE, family-friendly workshops to
assist visitors in their exploration.
July 2, 10am-noon Cyanotype Workshop
with Claire Warden
July 9, 2-4 pm Petroglyph Party with
Melissa McGurgan
July 18, 10:30-12:30 Camera Obscura
Workshop with David Emitt Adams
August 4, 10 am - noon Happy Cactus
Make and Find with Christina Lopez
In August, join us as we bid farewell to Professor McGee
with our fabulous Closing Reception at the Library:
CLUE Mystery Party with Professor McGee!
August 27, 7:00 to 10:00 pm.
Save the date for the dramatic and fun costume party
here at the library. Dress-up as your favorite character!
Visit ScottsdalePublicArt.org for more information.
Carstens Family Funds
is proud to support
Scottsdale Public Art,
a division of the
Scottsdale Cultural Council.
Photo by
Andrew Pielage