249 • SEPT 2016

Celine Rille






october 7

6 – 10 pm

In a world of remakes and reboots, he revolutionizes.

october 7, 2016 — january 8, 2017

image credit: Kehinde Wiley: A New Republic is organized by the Brooklyn Museum and made possible by

the Henry Luce Foundation and the National Endowment for the Arts. Kehinde Wiley, Shantavia Beale II,

2012. Oil on canvas. Collection of Ana and Lenny Gravier. © Kehinde Wiley. (Photo: Jason Wyche, courtesy

of Sean Kelly, New York)




Last chance to take advantage

of #HeardLocalLove this summer

with a special offer for



Email or call the Membership

Department at 602.251.0261 to join today!


*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 |


8 12 22




Robert Sentinery


Victor Vasquez


Amy L. Young


Sloane Burwell


Mitchell L. Hillman








Cultivating a City

By Demetrius Burns


From Chez Nous to The Womack

By Tom Reardon


Photography: Enrique Garcia p. 22


Sound of Phoenix

By Mitchell L. Hillman p. 30


The Brains and Vision Behind CURIIOS

By Jenna Duncan p. 34

Cover: Celine Rille

Photo by: Grant Aumiller









Bringing It Back

By Robert Sentinery


Nic Wiesinger and Rhetorical Galleries

By Jenna Duncan

Rembrandt Quiballo at Bokeh Gallery

By Amy L. Young

Bentley Gallery

Expands Its Artists Roster

By Jenna Duncan


Top-10 Uber Eats for Central Phoenix

By Sloane Burwell


By Mitchell L. Hillman


Big Trumple

By Celia Beresford


Photos by Robert Sentinery


Jenna Duncan


Rhett Baruch

Celia Beresford

Demetrius Burns

Tom Reardon


Patricia Sanders


Enrique Garcia


(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.


PO Box 45448 Phoenix, AZ 85064


tel: (480) 966-6352




Tickets on sale now at

Lera Lynn

Wed., Sep. 21 | 7:00 p.m.

Tickets: $30.50–$35.50

Singer-songwriter Lera Lynn’s album

The Avenues continues to receive

praise and critical acclaim from many

sources for its classic Americana

blend of country and folk.

Tal Wilkenfeld

Fri., Sep. 30 | 7:30 p.m.

Tickets: $38.50–$43.50

Australian bass sensation Tal

Wilkenfeld has gained worldwide

attention after performing with

music legends such as Jeff Beck,

Herbie Hancock, and Chick Corea.

Ben Wendel Group

featuring Gerald Clayton,

Joe Sanders and Henry Cole

Sun., Oct. 2 | 7:00 p.m.

Tickets: $23.50–$33.50

Highly revered young sax player who

is “as tuned to Bach and Bjork as

Monk and Shorter.”—New York Times

Allen Stone

Opening Act: King Charles

Sat., Oct. 29 | 7:30 p.m.

Tickets: $40.50–$45.50

A throwback to “when songwriters like

Stevie Wonder, Marvin Gaye, Donny

Hathaway and Bill Withers brought

introspection and social commentary

to soul music.”—New York Times

Rumer Willis:

Over The Love Tour

Sun., Nov. 6 | 7:00 p.m.

Tickets: $58.50–$68.50

Actress, dancer, and singer Rumer

Willis blends her sultry voice and

reverence for music in a captivating,

cabaret-style night of music.

Dave Damiani and The

No Vacancy Orchestra

with Renee Olstead and

Landau Eugene Murphy Jr.

Thu., Nov. 10 | 7:30 p.m.

Tickets: $38.50–$43.50

Classic big-band swing.

To purchase tickets or for the full concert series lineup, call 480.478.6000 or visit

Sponsored in part by

4725 E. Mayo Blvd., Phoenix, AZ 85050

For nearly 30 years, we have

put the “art” in martini...

Artist: Cristian Candamill

and we’re still

a great place to be seen.



By Robert Sentinery

This year’s summer break has kept me land-locked in the desert, working on

a real estate project. Those of you who’ve grown accustomed to my annual

travelogues from far-off places will have to wait till next year, but I’ll make

up for it with something special.

We get back into the swing of things with an article that grooves with a

loungy R&B vibe. Roscoe Taylor is a Phoenix musical staple and a tried-andtrue

entertainer. Taylor held court for many years at Chez Nous, the mecca

of the local lounge scene, until it was abruptly leveled by developers. When

they took away that bastion of old-school class (think tuck-and-roll booths,

flocked fleur-de-lis wallpaper, waterfall behind the bar—and dark, so dark

you couldn’t tell if it was day or night), they ripped a piece of the soul right

out of this city.

The good news is that Tucker Woodbury and the crew at Genuine Concepts

are re-creating that classic lounge vibe at The Womack, which is named

after the founders of Chez Nous. They have hired Roscoe to bring back the

magic every Thursday through Saturday night, so dust off your dancing shoes

(see “Roscoe Taylor: From Chez Nous to The Womack,” p. 12).

Bringing back Phoenix history seems to be a theme these days, and Celine

Rille has been working on some exciting projects that celebrate our city’s

past, while updating them for the future. Rille has always had the eye,

which served her well as photo editor for the Republic for 10 years. When

newspapers started to slow, Rille began to look for other opportunities. She

was part of the team that created the Saguaro Hotel in Scottsdale, somehow

infusing an old-Arizona feel into the cutting-edge design.

She worked on CityScape downtown and later played a key role in branding

the DeSoto Central Market. She had a baby, Otis, and remodeled her midcentury

home, then went to work on the McKinley Club, a co-work space in

Roosevelt Row that she and her husband, Kevin, co-founded. Now they have

acquired Roland’s Market, a truly classic Phoenix building from 1917. While

the neighborhood where it sits (near 15th Street and Van Buren) still has a

ways to go, Celine and Kevin now have a foothold into Phoenix’s future (see

“Celine Rille: Cultivating a City,” p. 8).

Parisa Zahedi also speaks to the future of this city, as a twenty-something

entrepreneur whose online retail store, CURIIOS, is generating quite a

buzz. Zahedi has a degree in fashion design from FIDM in Los Angeles but

is careful to explain that she is selling more of a lifestyle than a specific

product or brand. And what a lifestyle she lives: a peek into her social media

reveals a gal about town who seems to live life to the fullest (see “Parisa

Zahedi: The Brains and Vision Behind CURIIOS,” p. 34).

Celine Rille



By Demetrius Burns

Photo: Grant Aumiller

An old whitewashed, boarded-up building barely catches the eye when you drive down Van

Buren near 16th Street, except for its cherry-red letters announcing: Roland’s Market. It’s like

a lot of other buildings around that area of entombed dreams and faraway prosperity. Some

parts of Phoenix are just fossilized, waiting for people to re-imagine them. But the bones of

Roland’s show great promise, according to Celine Rille, owner and director of Rille & Co., a creative

studio that offers branding, design and marketing services for the greater Phoenix area. She is part of

the team that recently purchased the building.

Rille has helped to re-imagine a lot of inert spaces in Phoenix—from aiding in the development of the

DeSoto Central Market, to her work at the McKinley Club, and now Roland’s Market. She is interested

in helping make Phoenix a place she wants to live in. “It’s a big goal of mine to help grow downtown

Phoenix and make it the city I want it to be. [I hope] I can leave some sort of lasting impression on

downtown—that would be great,” said Rille.

Rille is originally from England; she graduated with a degree in filmmaking from the Surrey Institute

of Art and Design. “I got my degree in filmmaking and I came out to L.A. and did a bunch of interviews

but didn’t find much common ground. At the time, the industry felt like it was more business than

it was artistic,” said Rille. Despite not really finding her footing in film, she always had a passion for

photography. She ended up taking a job as a photo editor at a magazine in New York. The hustle and

bustle of the city proved a little much for Rille, so she decided to make her way back to England.

But before she went, she dropped in to visit her parents, who were living in Arizona.

On a whim she called the Arizona Republic and asked if they needed a photo editor. They did. She

worked as a photo editor there for 10 years. Eventually, she felt the need to move on to other things.

“Given the state of the newspaper industry, it didn’t make sense for me to stay there any longer,”

Rille said. “Next, I worked with the team who created the Saguaro Hotel in Scottsdale.” She helped

create the vibe of the hotel by doing things like developing the soundtrack for the lobby, creating décor

elements and working closely with the chefs and mixologists.



Spending so much time in Scottsdale made her miss Phoenix, so she decided

to take a position with Red Development, the company that built CityScape.

She helped develop the seasonal ice skating rink and worked on many details

around the complex, including at the Hotel Palomar. One of Rille’s main

passions is food and cooking, and during her time at Red Development, she

gained a lot of experience working with the restaurants at CityScape.

During this time, Celine and her partner, Kevin, had a baby. So that she

could have more flexibility raising the child, Celine decided to start her own

business. She launched Rille & Co. around the beginning of 2015 and landed

her first big client, DeSoto Central Market, shortly thereafter.

“At the time I was forming Rille & Co., my husband was the president of the

Evans-Churchill neighborhood association. He had been meeting with Shaun,

the owner of DeSoto, while they were still under construction. I was totally

curious and excited about the concept and wanted to pick this guy’s brain. I

tagged along and we just got chatting. He needed help with branding and the

interior design. I said, ‘Hey, I have a chef friend that I can pull in, too.’

Next thing I know, I’m working away at it,” said Rille. At DeSoto she was

able to have her hands in a wide variety of things, from the logo design,

to the soundtrack, to the aprons the bartenders wear—just to name a few.

Working with DeSoto was a huge boost for Rille, connecting her with other

chefs and restaurants.



“I [still] remember opening day, the line outside and just the way that everyone

was experiencing the space,” said Rille. “I designed the wall of chalk and knew

that it would be a great focal point for photos. So many people post pictures of

themselves in front of it. Same with Tea and Toast, when you get your drink, you

also get affirmations. It helps people feel good about themselves, which was

exactly my goal. Coming up with those details was really fun for me.”

One of Rille’s proudest accomplishments is her work at the McKinley Club,

a co-work space located near McKinley and First Avenue. “My husband

was looking for a place to office for his real estate business,” said Rille.

“We were both actually looking for workspaces. He found the building

and fell in love with the bones of it. I could see underneath years of bad

renovations that it had the potential to be a really good space. We set

the bar pretty high for ourselves. We weren’t sure what it would become at

first, but then I decided it would be a great portfolio piece for Rille and Co., so

I went to town designing, furnishing it and decorating it,” she said.

Celine had spent the early part of her career working in uninspiring office

settings, and she didn’t want to continue that trend, so one of the core

components of the concept is that work should be fun and inspiring. The

McKinley Club offers three different types of memberships that provide

various perks to the members. What caught Rille off guard was the

community’s response. The building was full of members almost immediately,

and the community came together in ways that she couldn’t have imagined.

Rille hired Kim Larkin—former director of Modified Arts and current owner of

MXD Arts—to curate the art at McKinley Club. Larkin says she tries to make

selections according to the style of the space, which she feels represents

old, lively and classy art. Though there are more and more co-work

spaces in Phoenix, Larkin feels that the McKinley Club offers a unique

angle. “What’s different is that this is more of a community space. The

people who are working here are almost all creatives. Everybody feeds off

each other. Yet, it’s very diverse as far as the types of businesses here,”

said Larkin.

In terms of creative process, Celine says hers varies from project to

project. However, one of the consistent aspects of branding any concept is

finding out what its story is. “That is the most important thing to me,” says

Rille. I looked at [former President] McKinley’s life story. We picked one of

his sisters and created a dialogue around her. Once I had the story, then I

created the visuals for it. Everything always comes back to that story. It’s

rooted in there to make it meaningful, rather than just look pretty.”

“The most rewarding thing is how it’s brought the downtown community

together,” said Rille. “People come there wanting to commune. We’ve had

several fundraising events. We’ve had gay weddings, straight weddings. I

love standing back and looking at a room full of people together. That’s the

biggest thing to me.” This all ties back into Rille wanting to help create a

city where she wants to live. The McKinley Club is in many ways an

incubator where people make connections and try to reach that same goal:

Make Phoenix exceptional.

Roland’s Market represents Rille’s vision and drive. Located near 15th

Street and Van Buren, the 1917 building was originally a Chinese market,

back when Phoenix had a substantial Chinatown. A man by the name of

Roland purchased it in 1941 and turned it into a restaurant to serve the

Chinese population. Despite having multiple owners over the decades, a

lot of the bones of the building are still intact.

Celine and her partners are currently working to return the building

to functional condition. It’s a little too soon for it to become a restaurant

or bar, even though historic spaces are in high demand. Rille believes it

will initially best serve as an office space for a unique tenant. “Once this

becomes more of a walkable neighborhood, we will consider other uses.

Right now, we are ahead of the curve, so we have to be patient for the

time being,” said Rille.

Rille enjoys the process of uncovering history and bringing places back to

life, which is helping push Phoenix forward. “It’s cool to be able to go into

parts of the city that need help. We try to breathe the life back in, which is

great for neighborhoods,” said Rille.





By Tom Reardon

For many of us, the late, great Chez Nous

cocktail lounge on the southeast corner

of Seventh Avenue and Indian School

in Phoenix was a cool refuge from both

the sun and real life, perfect for day or night

drinking, conversation, dancing and fun.

The one-story building doesn’t even exist

anymore, thanks to a string of developers who

eventually put a Fresh & Easy (now home to

Natural Grocers) on the property, but for those

who remember it, the feeling of venturing

through the three or four steps it took to walk

through Chez Nous’ entryway was completely

unique. Simply put, Chez Nous transported

patrons to a different world and was unlike any

other establishment in Phoenix.

The first thing you noticed was the darkness.

Chez Nous was dark. If you’ve ever had your

eyes dilated during an eye exam, you know the

feeling of helplessness when you can’t adjust

quickly enough to the daylight outside the

doctor’s office. The experience of entering Chez

Nous was the extreme opposite of this. Even if

you were a regular and knew what was coming,

you would enter the bar and it would take a

few minutes to really be able to see anything.

When the joint was jumping on a Friday or

Saturday night and the dance floor was full, it

was difficult to really get a good look at anyone

who wasn’t directly in front of you, which made

the place great for feeling anonymous in your

pursuit of a good time.

It took a trained and well-adjusted eye to see

all the little nuances that made Chez Nous

like no other place. The flocked wallpaper was

exquisite, with an intricate French-themed

pattern that would occasionally seem to glow

in the light of the bar. The dance floor was tiny,

and when Roscoe Taylor was playing, good luck

finding a spot without making some friends. For

years, Taylor and his musical partners were the

main attraction, and no one commanded the

room the way Taylor did.

No one.

“I started off [at Chez Nous] with two nights

a week, then three nights a week, and then I

made Bob [Pavlovic, who owned the club at the

time] an offer to do five nights a week. Every

month we had a business meeting, the owners,

staff and everybody, about how we could make

the club better. He [Pavlovic] made you feel

like a family member. That’s why I stayed so

long. I was part of the family. I was not just a

hired musician,” shares Taylor over a beer at

another great neighborhood joint, the Original

Wineburger on 19th Avenue.

Taylor exudes charm and charisma. It’s hard

to imagine him not seeing someone he knows

just about every place he goes, and every

person he sees gets the same great energy

and acceptance as someone he’s known for

years. He worked the room at Chez Nous like it

was his own living room and you were there for

a party.

Taylor continued, “I just greeted everybody. I

made sure everybody at every table was going

to get a handshake to let them know how much

we appreciated them being there. The next

thing I knew, I had such a big family. I didn’t

know everybody by name, but I knew faces,



and the bartenders knew what people drank.

The customers were always taken care of and,”

Taylor pauses before continuing, “nobody ever

felt like they were left out.”

But this, like much of what made “old” Phoenix

bearable to locals who knew there really was

culture and cool things happening in town all

along, is the past. The building is long gone,

and a whole new generation of Phoenicians

have turned 21 (or more) since then without

having the opportunity to enjoy anything

remotely similar to the Chez Nous or an evening

dancing to Roscoe Taylor and friends serving up

some delicious rhythm and blues.

In the nine years Chez Nous has been gone,

Taylor has continued to perform around town

at a variety of different clubs. He has graced

stages large and small, including the American-

Italian Club on North 12th Street, and has often

been seen performing with his cousin Tommy

Washington or excellent saxophonist/keyboard

man Jimmy McElroy. But the feeling he created

at Chez Nous has never been matched.

Luckily, though, salvation is right around the

corner. The Womack is coming.

Valley restaurant and club entrepreneur Tucker

Woodbury and his company, Genuine Concepts,

have purchased what used to be Apollo’s, on

North Seventh Street in Phoenix, just south of

Bethany Home Road. The building, which for a

long time housed a gay bar, is similar to Chez

Nous in size, and it has no windows—which

was part of what gave Chez Nous its unique

vibe. There was a feeling you could have

been anywhere in the world having a cocktail,

because there was no hint of the outside world

at all.

Taylor is certain The Womack will be a big


“Well, I think since Tucker is such a PR man…

he knows how to sell his club. He’s going to let

everyone know I’m back. People who like old

school R&B are going to come. Old friends, new

friends, young people. Once everyone comes

in and sees the same club [Chez Nous], they

are just going to flip. I can’t wait to see it all

finished. I loved Chez Nous. You could just get

lost in there,” says Taylor.

Woodbury has dubbed the bar The Womack, as

a tribute to the original owners of Chez Nous,

Andy and Maureen Womack. It’s a place for

Taylor to call home.

“Tucker told me two or three months ago that

he was going to open up The Womack in my

honor. The hardest part has been the waiting.

I’m really looking forward to it. I think it’s going

to be great because I love what I do so much.

It’s going to be great for Jimmy [McElroy, who

will continue to partner with Taylor at the new

venue] because he doesn’t have to take his

equipment down for three days,” says Taylor.

For Taylor and fans of exceptional R&B,

soul and rock and roll, this is a great turn of

events, as Woodbury has brought on Taylor

to perform Thursdays, Fridays and Saturdays

exclusively. Taylor is well known for not

only putting on a great show but also, as

previously mentioned, making people feel at

home wherever he performs. The practice of



shaking every customer’s hand is one Taylor will

undoubtedly continue when The Womack opens

in September.

“I enjoy my job so much,” says Taylor, who at 64

still has an unmistakable gleam in his eye when

he talks about performing.

Many might think Taylor has enjoyed a life

of partying in addition to his long career as a

musician, but this is far from accurate. Around

the time he began working at Chez Nous, his

daughter Tawny Lynn was born. At the time,

her mother, whom Roscoe describes as his

best friend, was very ill with lupus, so Taylor

was a full-time father during the day, rushing

back to his sister’s house, who was looking

after Tawny Lynn, after his gigs to pick up his

young daughter. Tawny Lynn is now 20 years

old, and while she’s interested in singing, her

father is having none of it until she finishes her


“I told her, ‘The only way I’d let you sing is

for you to have all your ducks in a row.’ Music

is hard. You have to build up your life, first.

When she’s ready, I’ll show her all the tricks of

the trade. I want her to keep her job and keep

going to school. She would love to perform,

but there’s too much involved. It [music] is a

business. If you get caught up in the romance

part of it, you’re going to be out of business

quick,” shares Taylor.

In addition to music, Taylor has worked for the

City of Phoenix for the past 16 years. He enjoys

working with his hands and spends a great

deal of time outdoors, as his role with the City

includes taking care of the numerous trees and

the shrubbery around town on City property.

“I love my job with the City because it’s

physical. I’m never bored. I work from 5:30 a.m.

to 2 p.m., so I have plenty of time to do the

things I want to do,” says Taylor.

As The Womack nears completion and joins

a truly burgeoning area of Phoenix dining

and nightlife, Taylor seems ready for the next

chapter of his career. The man is a genuine

Valley legend, bringing the perfect combination

of talent, attitude, class and tenacity to the

table, while remaining a true gentleman along

the way. You would be hard pressed to find

anyone who would say anything bad about

Roscoe Taylor in this town, or any other, and

if someone did, there would be a long line of

ardent supporters for them to answer to.

Only time will tell if Roscoe will be able to

recapture the magic of the old Chez Nous, but

it’s really only a bonus if he does. Taylor’s been

creating magic consistently since the original

Chez Nous closed down in 2007, and the odds

are good that he will continue to thrive in his

new digs at The Womack. He likes to work

every weekend, still, and that will probably

never change.

“I had a good run. I just never quit. I book

myself and it’s been my own business for a long

time. I’m taking a chance with Tucker, because

I’ve been booked [at other places around town]

for a long time and had to let everybody know

what I’m doing now. I’m excited,” says Taylor.

He pauses and takes a good long sip of his beer

before he smiles and says, “I’m ready to go.”






by Jenna Duncan

Rhetorical Galleries was born in Phoenix when artist

and thinker Nic Wiesinger identified a need for local

gallery spaces that could “think outside the box.”

Last year, the Phoenix Institute of Contemporary Art

(PhICA)—a local non-profit that aims to support the

arts and build “new portals of entry” for engaging

with art locally—invited Wiesinger to curate the

Container Galleries on Roosevelt Row.

The galleries are made from three re-appropriated

shipping containers that were gutted, cleaned and

then inlaid with wood floors and white “gallery”

walls. “What I like to do is bring in people who

actually use and reference the space as a medium,”

Wiesinger says. For example, if he is working with

an artist who usually does two-dimensional work,

he likes to encourage the artist to expand out and try

something three-dimensional.

The Container Galleries previously sat on a lot with

acres of wide-open space around them. The new

location is more closed in and has an urban feel.

Wiesinger says this move changed the aesthetic


Wiesinger is also an adjunct professor of art at ASU

and Estrella Mountain Community College and has

taught at Phoenix College. He served as Temporary

Gallery Director for the Herberger Institute School of

Art last year, curating some of ASU’s undergraduate

and graduate art spaces. phICA asked him to return

to curate the container space again this year.

“Starting in October I will curate one of the three

containers through the season,” Wiesinger explains.

Artists currently on view in the phICA Container

Galleries include Nathanial Lewis (ASU 2010), who

creates miniature realistic-looking human forms

made of polymer clay; Ryan Parra (recent grad)

showing color photography; and Emily Ritter (still

at ASU), who has produced an installation of her

own plastic garbage that is both sculptural and a

statement about ecology.

There is no air conditioning in the shipping

containers, which can present a challenge

during the summer. “Last summer I tried to

curate around the heat and bring in artworks

we knew would not melt,” Wiesinger says. This

summer Wiesinger held a variety of events and

performances in the containers. In July, he hosted

a NueBOX dance performance, for one night only,

with Ashley Baker and Carley Conder of Conder

Dance. In August, he brought video and 3D artist

Steve Gompf, well recognized around the Valley

for his illuminated Televisor sculptures, and backprojected

some of his video works onto sheets

hung in the galleries’ doorways.

Besides running Rhetorical Galleries, Wiesinger

also maintains the arts blog and review site Neither Rhetorical Galleries

nor has turned a profit. But

that’s OK, Wiesinger says, for now. “If there are

strong artists coming out of school who are getting

their first shows, it means all the rest of the art

community is stronger. Myself included,” he says.

“I’m trying to be as much of a catalyst for the growth

artists as possible.”

Running concurrently with the container shows

is an exhibition at the ASU Harry Wood Gallery

curated by Wiesinger. He invited ASU graduates

who made the choice to remain in Arizona and

keep working, instead of moving away. This is

more than just an alumni show; Wiesinger wants

to prove that having a vibrant career in the arts is

actually possible in Phoenix.

Rhetorical Galleries presents Artists: In Residence

opening Tuesday, August 23 and running through

September 2 at ASU’s Harry Wood Gallery on the

Tempe campus.

Lewis, Parra and Ritter’s container shows will be on

view until mid September.




Bokeh Gallery

By Amy L. Young

If there has ever been a time to explore mass

media’s effects on society, it is definitely now.

Reality television programming has grown into such

a prevalent portion of that medium’s output, it has

made sense to many people to follow an obnoxious

former reality show host down the presidential

campaign trail. Phoenix-based artist Rembrandt

Quiballo explores mass media and its power in

his exhibit New Myths at Bokeh Gallery, located

at the monOrchid in downtown Phoenix. And yes,

Rembrandt is his given name, and it did play a part in

facilitating his interest in art.

“I was born in Manila in the Philippines,” he said.

“At the time I was born, my parents were taking

art classes and gave me the name Rembrandt. It

definitely had an effect on me; I’ve always been into

art from a young age because of it.”

Quiballo studied painting, photography and

philosophy at the University of Arizona and then,

in 2012, earned an MFA in photography at ASU.

Quiballo recalled that he has always been good

at art, although, he said, “I went through a period

in high school where I rebelled against it.”

During his undergraduate years, Quiballo was mostly

creating large-scale, abstract expressionist–style

paintings, but his focus on subject matter helped

his transition to photography. “I am really into

mass media—television, film and the internet—

and how we are bombarded with these visuals

from the media,” he recalled. “I was basically

taking images from TV and painting them, rendering

them into these large paintings, and then I thought

it would be interesting to capture the images myself

and use them that way.” He added, “I am very

interdisciplinary, regarding my art, using different

mediums to get the best or desired result.”

The current exhibition features a series of image

transfers, utilizing images Quiballo appropriates directly

from mass media. “I take screen captures of video that

I digitally manipulate,” he explained, “and then print

the digital composites onto transparency paper using

an image transfer technique. The final piece ends up

on plexiglass or archival paper.” Quiballo explained

that he creates multiple layers and uses Photoshop to

composite. “So, I’m digitally compositing as well as

compositing analogue-wise,” he said.

This involved process results in motion-filled pieces

that are deep, dark and complex. Subjects initially

appear subtly, but as the viewer moves through the

chaos and the color and finds the haunting eyes

within them—as in “Selfie in Eden”—it’s easy to

lock with the gaze as it looks back at you. Quiballo’s

multiple layers are as twisty as the questions that

explore how and why mass media has the influence

that it does.

“I experience a lot of mass media,” said Quiballo.

“My show argues that mass media has overtaken

religion and other things that govern how we act or

what we value.” He continued, “At one time, stained

glass and murals were used as a guide for how to

live, and mass media has that effect now. People look

at TV figures like the Kardashians to see what they

value and then adopt those values themselves.”

New Myths

September 2–25

Bokeh Gallery at monOrchid

1. Pop Immaculate

2. Flower Soldier

3. Pieta

4. Beyond Cosmos

5. Selfie in Eden

6. The Awaken




Expands Its Artists Roster

By Jenna Duncan

Bentley Gallery is bringing seven new artists on board for representation, the

gallery announced in August. The new talents will be welcomed with a show titled

“HELLO!” opening September 16. “It is big news. Especially since [founder] Bentley

Calverley stepped back into the director role,” says Lisa Greve, who consults for

Bentley Gallery and oversees much of its marketing. Greve says, “One of her goals

was to thoughtfully bring in new artists that meet the criteria of the gallery.”

The diverse lineup includes internationally recognized abstract and figurative

painters, master sculptors and artists working with space in creative ways. “Young

or old, I feel my responsibility to my clients is to introduce them to different

types of art,” Calverley explains. “The criteria I follow are: it needs to be

beautiful, and it needs to be well executed.” Art is more than “oil on canvas,”

she says. She assesses the work of artists she might want to represent by

their ability to meet their own intentions. “I will introduce anyone I find

worthy of attention,” she says.

“Sometimes you can look at a work and just know that it is not what the artist

was trying to achieve, but that’s what his limitations were,” she says. Her

quest for the best and most beautiful works sometimes has led her beyond

what other galleries might expect from a particular known artist. Although it

might be unconventional or unexpected, as long as the work has beauty and

integrity, Calverley might be drawn to it.

She describes the work of one of the featured “HELLO!” artists, Stephen

Knapp. Knapp works with fragments of dichroic glass, a medium that many

may recognize from art fairs, where it’s often used in jewelry. But Knapp does

something completely different, according to Calverley—he paints with light.

He installs or arranges light to pass through fragments of this glass in order

to produce “paintings” on the walls. His work can even be displayed outdoors,

she says. One of his pieces will be on view near the entrance of the gallery

space in order to capture the maximum amount of light passing through.

Another featured artist is ASU School of Art MFA graduate Jake Fischer, whose

work has shown in the Valley and has sold internationally. Calverley describes his

oil paintings as night scenes that blend the “isolation of the night” with familiar

circumstances, an eerie juxtaposition. “They are very dark, color-wise,” she says,



“but it makes what color he does use—whether it’s a passing red car or yellow

taxi—stand out all the more.”

“HELLO!” also includes work by Leopoldo Cuspinera Madrigal, an artist from

Mexico whose work examines industrial impacts on the environment and social

contexts, and master sculptor David Kuraoka, who headed the San

Francisco State University Ceramics department from 1982 to 2008. He was

honored as a Hawaii Living Treasure in 1982.

Michael Marlowe, another “HELLO!” artist, is a Phoenix-based painter who

incorporates other eclectic materials, such as clay, coal and wood, into his

works. It has been some time since Marlowe has had a show in the Valley,

though he’s very active—a workaholic, Calverley says—and often donates

works to non-profit fundraisers. “One of the joys of being a gallerist is

actually going into studios and seeing the breadth of what these artists are

doing,” she says.

Tom Lieber is an abstract painter and National Endowment for the Arts

grant recipient who has work in the Guggenheim, the Met and the Tate

Gallery, as well as many others. He will also be showing at Bentley again

in November alongside sculptural artist Woods Davy, whose work pairs

very nicely, Calverley explains.

Udo Nöger’s work on canvas and experiments with light have been

exhibited around the world and can be found in many important

international collections, including the Art Institute of Chicago, the Met,

the Kunsthalle Bielefeld and Haus der Kunst in Germany, and Microsoft’s

Chicago and San Francisco operations.

Bentley Gallery will host an opening reception for “HELLO!” on Third Friday

September 16 from 6 p.m. to 9 p.m. The show is on view through October 15.


Through Oct. 15

Bentley Gallery



By Sloane Burwell

Perhaps the most decadently delicious part of urban living is food delivery. Any

number of online sites let even the most anti-social among us order without

talking to anyone. Uber Eats makes that even easier with their app, as they’ve

now joined the multi-billion-dollar food delivery business.

Uber disrupted the transportation game, so the question is, can they do the same

with food delivery? Maybe. Sometimes the answer seems to be, absolutely. And

sometimes, not even close.

I’m almost embarrassed to say how soon I jumped on the Uber Eats bandwagon.

At this point, I’m giving up my amateur status to go pro. Here’s my guide to

enjoying the ride and my take on Uber Eats Top 10 options in Central Phoenix.

Delivery chow is hardly new. Nary a sports fan, slacker or, dare I say, 420

aficionado exists on earth who has not ordered delivery. Where Uber Eats

attempts to impress is in its culinary credentials. This isn’t Domino’s, or even

merely pizza. Second-wave food delivery attempts to literally drive fine dining to

your living room.

Does it travel well, and is it worth it? I might have had a different answer as a

consumer before Uber Eats added a $3.99 delivery charge on August 12. Hopefully

this upcharge benefits the restaurants, who were previously charged 30% per

order (yowza!). As a consumer, I’m still on the fence.

The drivers are generally nice, and they drive newer cars than your average

pizza delivery person. They are also more inclined to call to find your house. That

happens to me most of the time. It’s worth noting that a pizza delivery person has

never called to find out where I live.

One last thing before the Top 10: Pizza joints have had decades to perfect their

space-age delivery bags to keep food warm and not soggy. Uber Eats provides

drivers with profoundly mediocre thermal bags with less insulation than my

reusable lunch bag. That is IF the driver uses them. Most often, they don’t. How

do I know? The bags are impossibly small and only fit one order. The driver will

inevitably bring them to the door so I can pull out my order.

And at the risk of being accused of blasphemy, several top Phoenix spots didn’t

make my list. Crudo, I love you, but it’s far too hot for raw fish to be driven to

anyone’s house, especially given Uber Eats’ poor-quality insulation. And some

legendary dishes travel so poorly that I’d prefer you save your money (so sorry,

Ramen Burger!). With that aside, here we go:

1. The Larder + the Delta: Their cauliflower take on buffalo wings is amazing

and makes me happy to be alive. The portion is larger than if you order in house,

which is reflected in the price difference ($8 vs. $6). The crispy pig’s ears ($8)

travel well, but the toast/bread/bruschetta doesn’t fare as well. It’s too hot for the

burrata to travel right now, so wait until fall. Also, they don’t always keep their

posted hours, which almost dropped them to #2. That cauliflower, though.

2. Tacos Chiwas: The most talked-about taco parlor in town brings $3 lengua

tacos (and burros) to my front door? YES PLEASE. They travel well, and are often

delivered faster than waiting during lunch rush.

3. Paz Cantina: The best Mexican side dishes on Uber Eats (YES, Street Corn!

$5). Don’t miss the Tinga Taco ($3.50). Bacon isn’t listed as an ingredient in the

Fried Brussels & Crispy Kale—bonus for me, but not for vegetarians

4. Okra: Fried Chicken Skins ($7)? These are so decadent it almost feels like a sin,

eating them at home alone. The Grilled Broccolini with Almond Pesto & Egg ($8)

was a successful risk. A cracked egg in the summer? Thankfully it arrived still runny,

having traveled well. Love the smoky grill flavor.

5. Armadillo Grill: Sometimes you just need chicken wings. These are my pick as

the best wings on Uber Eats, and at $8.95 they almost feel like a bargain. Sauce

them up your way, but I prefer the classics. If there are meatier, higher-quality wings

on Uber Eats, I haven’t found them.

6. Pork on a Fork: Excellent brisket and pulled pork, with sides that are no mere

afterthought. These guys spend money on their to-go packaging. I’m still using mine

after at least 10 times through the dishwasher. The baked beans come loaded with

burnt ends from the brisket, and one of my friends thinks their potato salad is the

best in town.

7. Thai Long-an: $7.95 gets one of the best Pad Thais in town delivered to your

door in 30 minutes, with a great egg roll. Please note, their stripped-down menu

is spiced down. Make sure when your order you up the spice game, because the

standard takeout Pad Thai borders on sweet. The portion is slightly smaller than

their in-location version ($10.95), but is a fair value.

8. Sweet Republic: Brownie Sundae to your door for $7.50. They basically dropped

the mic. There is nothing more I can say. Except $18 gets you four ice cream


9. Forno 301: Because sometimes you need a pizza. Hands down the best pizza on

Uber Eats is the Quattro Formaggi Blanca ($12), with four amazing white cheeses,

fresh from a wood-fired oven. It’s what every chain pizza delivery wishes they could

be. Also excellent salads. However, Uber Eats needs to provide pizza bags. It’s

summer and they don’t need the heat now, but there is no reason for food delivery

people (especially working for such a tech-heavy company as Uber Eats) to have

such poor tools.

10. Short Leash Hotdogs: Unlike some burgers that I’ve tried, their naan-wrapped

dogs travel very well. However, Short Leash needs to up their game. Both my orders

came in open-topped paper boats. As in no cover—no paper, no tin foil, no nothing.

I’m trusting that the driver didn’t turn a corner and my hot dogs rolled onto the floor,

but this isn’t good. That aside, those Fried Pickles ($3) travel well, and pair perfectly

with the Igby ($6.50), a dog with coleslaw, bbq sauce and blue cheese. Live a little

and get the Cinnamon Gigante ($6), a fabulous cinnamon roll the size of your head.

For the most part, I’m a fan of Uber Eats. Most of the time they get it right. But

when they fail—watch out. One order literally never showed up. The restaurant

cared, a lot in fact; one of the employees was ready to personally drive to my house.

Uber Eats? Well, it was 5:01 on a Friday, and they were closed until Monday. That’s

an issue if you have a customer service request for something you pre-paid for.

It’s faster to dispute something with your credit card. Uber Eats would do well to

remember that.

Clearly, some food does better in our summer heat. Packaging will be an issue at

some point. But the business model is fluid—there have already been changes in

the pricing model. I’m sure that is all part of being a disruptor. And I’m sure once

the seasons change a whole new world of delivery options will appear, as new

restaurants join in. I’m almost counting down the days until it’s cool enough (for me)

to order crudo from Crudo.

One last thing: Tip your delivery driver. The app says it’s included. It’s not.


















Photographer: Enrique Garcia

Photo Assistant: Audrey Pekala

Models: Rosa Rivas and Pirscilla Urrutia

Hair: Pirscilla Urrutia

Styling: Carolina Gomez

(The Segunda Vintage & GROWop Boutique)

Location: Unexpected Art Gallery









Photo: Ray Squared Photography

Since 2013, not a year has gone by without

Emby Alexander releasing a record,

and every one of them has graced the

pages of JAVA. Watching this art-rockmeets-chamber-pop

combo transform and grow

since their inception has been one of the most

fascinating musical journeys in the local music

scene. With the exception of lead visionary

Michael Alexander and bass player Kyle Grabski, the

lineup has changed, but their focus has remained the

same. The sound has become more refined, and the

lyrics are as cleverly charged as ever.

On this album, the band consists of Alexander

(voice, guitars, banjo, organ, keyboards, tambourine,

glockenspiel, viola, lap steel guitar), Grabski (bass,

vocals, percussion), Jeremy Lentz (drums) and Peter

Granata (guitar, vocals). Sound of Phoenix feels like a

final chapter in a book, and that’s not just a feeling.

According to Alexander, Sound of Phoenix is the

finale to the first three albums.” The Emby Alexander

EP (2013) and Frontispiece (2014) were very birdcentric,

while Behaves Like Beehives (2015) is the

bee era. Sound of Phoenix is the offspring of those

birds and bees.

Sound of Phoenix is the culmination of all the records

that preceded it, and it feels like it, with intense

layers of sound and obscure poetic lyrics sung like

a nascent Tom Verlaine. The lyrics may be obscure

for an entirely different reason than their art-rock

poetry. Apparently, there is a riddle or intellectual

game within the album. Each song is associated with

a crossroads somewhere in the Phoenix metro area.

“The crossroads are hints or clues to the listeners,”

Alexander said. “The listener should travel to each

designated location to listen to each song. There will

be more clues.”

The concept is fascinating enough that I may actually

check out a location or two to see if things line up

or if it’s high-minded sociological experimentation.

Emby Alexander have been artsy from the start, so

you never know exactly what they may have planned.

Though, to be fair, whether there are clues or not,

by going to each of these locations and playing the

given song, listeners end up literally making this

album the sound of Phoenix.

“Rich As the Priest Asks” (55th Ave. & Thunderbird)

kicks off the album with a weird, unsettling vibe

and sets the listener up for a slightly darker ride on

this than their previous efforts. The repetition of the

lyrics is nearly as dizzying as the swirling music that

surrounds them. It feels like an invocation and instills

the feeling that Alexander will eventually start a

cult, with himself as the musical holy man. The song

builds in waves and complexity as it flows through

over five minutes, until it arrives at a chant, “It’s not

polite to stare at the sun.”

What follows is one of the catchiest tunes on the

entire album—that will never get played on radio.

“Phoenix Sons” is brilliant indie-pop tune, but the

refrain is, “Phoenix sons, who fucked you first?” It’s

right in line with the band’s signature style and an

instant classic for sure. It’s an unusual moment of

whimsy on this otherwise heavy album. Fifth Street

and Roosevelt are the cross streets, and the song

references Roosevelt Row directly. It seems to be

about the transitory nature of downtown and its

residents, but there may be more to it than that.

The piercing tones that begin “Blackout in the Black

Light” are nearly too difficult to handle, but this

opening soon leads to some of the most aggressive

rock in the band’s entire catalog. The momentary joy

of “Phoenix Sons” is lost with this song’s searing

guitar and dark vocal delivery. It’s an unusual number

for Emby, to be sure. It creates a hell of a mood that

is thematically consistent with the rest of the record.

Meant to be listened to at 32nd Street and Shea, it

is hypnotic and heavy, with the title being their hardrock

mantra for the moment.

Levity, or perhaps psychedelic strangeness, returns

on “California Drugs,” which is a heady dreampop

number with some completely obscure and

fascinating lyrics. I have no idea what was done to

someone in the kitchenette, but I will wonder about

it for the rest of my days. This is pure psychedelic

pastiche that borders on freak folk. The song is pretty

intoxicating itself, which isn’t surprising on the corner

of 19th Ave. and Grand.

Another instant classic is “Honey, I Know,” which

could be a single and should be, because more

singles need to have lyrics as weird as this. Clearly

it’s about a woman with some incredibly deep-rooted

daddy issues, but beyond that, I can’t suppose

what it’s actually about other than that the father in

question seems to be fairly terrible. Still, it’s catchy

as hell and hearkens back to their early sound more

than nearly any other track found here. There is an

elementary school on the corner of 14th Street and

McKinley, if you’re looking for clues.

The first single from the album was “In Your Doorstep

Bleeding,” and it begins with what sounds like

stock sound effects from an old horror movie, before

providing some of the most sunshine-laden pop on

the album, combined with some of the most macabre

lyrics. Whether the protagonist is literally bleeding

from, say, self-inflicted wounds or is metaphorically

bleeding from romance-inflicted wounds is unclear,

but it’s a powerful image in either case. I’m not

sure if the suburban cross streets of 65th Ave. and

Altadena will clear things up, but there are plenty of

literal doorsteps there.

The woozy din that begins “Orange Orchards” turns

dark quickly with an intro that feels like codeine

cough syrup for the soul. This track is more darkedged

psychedelic territory, to be sure, and it’s nearly

a minute and a half before any vocals come out of the

shadows. It’s a weird mystical number shrouded in

esoteric lyrics, until the last minute, when it becomes

an art-rock dance number. It’s a sweet soundtrack

to play while losing your mind on the corner of

University and Hardy in Tempe.

“Franny Zooey,” with its obvious nod to J.D. Salinger,

takes place on the I-10 Eastbound at 7th Avenue,

which is a tunnel and, in reference to the lyrics,

potentially an efficient location to take one’s own life.

It’s a stunning song that becomes more accessible

and pop-oriented as it goes on. The lyrical wisdom

of “Don’t let me get too far away, because we know

when we’re strong and well, we’re not good at being

alone” feels like the truth of uncertainty as we find

our way through life. Musically, it’s a fascinating

adventure in how a song can start as one thing

and then become a completely different song

in the end. This has always been one of Emby’s

compositional strengths.

The near epic-length finale of “Matador” feels like

the obvious conclusion to everything Emby Alexander

has achieved so far with this thematically connected

record. It is the only song that does not have an exact

location, instead attributed to “right here.” It is the

only song with straightforward lyrics that don’t seem

to be shrouded in much of anything. Musically, it’s

simply a lovely tune that evokes gospel, folk and,

of course, psychedelic pop lines, with a frenetic

ascending guitar line. Alexander’s voice also sounds

more like David Byrne here, something that was more

prevalent on previous albums.

Sound of Phoenix, an album inspired by locations

throughout the metro area, is brilliantly executed as

a conclusion to all their previous works, celebrating

the city they have called home since the start. It’s

definitely Emby Alexander’s most esoteric release

to date, which is not to say that any of their albums

are easily accessible—they aren’t. For the most part,

these records are high-minded mini-symphonies

embodying Alexander’s intense vision, but this album

makes you work for it even a little harder.




Snake River Blues


The Bible 2



Snake River Blues may be the shortest record decker.

has released to date, but it is also the most powerful

and succinct. It’s stripped-down raw twelve-bar blues

and rock ’n’ roll, as harrowing as it is exciting. Here

are five tracks born of authentic desperation. Clocking

in at 23:23, the entire thing seems to be a mystical

journey through the mind of a man searching for his

own truth and finding it.

Brandon Decker has always had a knack for creating

his own mythology drawn from the desert and

the red rocks he surrounds himself with, and this

record is no exception. Having referred to their style

as psychedelic desert folk, the band has clearly

reimagined their sound and replaced the folk with

rock ’n’ roll and a whole mess of blues.

The opener, “The Holy Ghost,” immediately grabs

your attention and announces that “decker. 2016

is a slightly different, howling, growling beast,

fast as a locomotive, beating down your door, with

no illusions about where this record will go. “The

Phantom” is the clear choice for the second single

after the opening track. It’s been a live favorite

since they started including it in their set, and

on record at over six minutes, there is never a dull

moment. “The Black Widow” gets deep and dark with

a tale of finding a psychopath amid friends. It is both

haunting and unforgiving. Continuing in that vein is

“Blackwash,” a blues-drenched stunner, which has

been another live favorite.

The record finishes with the title track, where Brandon

Decker declares he is a man and a rolling stone, in

classic blues fashion, so you can nearly feel the spirit

of Muddy Waters channeled through his veins. It starts

slow and steady, before exploding into wailing guitars.

It’s a hypnotic finale that leaves a lasting impression of

the new and exciting direction decker. has found.

The Bible 2, from the enduring, recently re-branded

AJJ, is easily one of the best albums of the year,

showing the depth of talent that AJJ has in their

arsenal. It kicks off with the folk-punk sensation

of “Cody’s Theme,” which has the amusing and

original lyric, “When I was a kid, I was a total dick to

inanimate objects,” which makes me laugh out loud

every time. It’s a complete blast that immediately

draws you in.

Sounds range from the fiercely tribal rave-up of

“Golden Eagle” to the restrained acoustics of “Junkie

Church,” which comes across as folk music for the

mentally unsure. On the other hand, there’s the

Sparks-like synth and vocal delivery of “American

Garbage,” backed by the comparatively epic-length

“No More Shame, No More Fear, No More Dread,”

which mournfully delivers clever, lyrical witticisms.

It’s a bit like My Chemical Romance if they had

a sense of humor. “Goodbye, Oh Goodbye” is

easily the most commercially accessible song that

AJJ has ever released. The video parodies OkGo,

and the song is pretty close to that level of slickly

produced perfection.

AJJ return to the roots of their sound with “White

Worms” and “My Brain Is a Human Body.” “Terrifyer”

begins like it’s going to go straight metal before

turning into a jaunty, trad folk song. “Small Red

Boy” is nearly five minutes of voice, acoustic guitar

and minimalist string and orchestral arrangements,

building into the full-on band, with the most

unsettling lyrics this side of Neutral Milk Hotel. The

album finishes with the 93-second “When I’m a Dead

Boy,” sounding like a demo, stripped completely and

without embellishment. When the record is done, you

will just want to start it again from the beginning.

Whether it was his intention or not, lead singer Andrew

Phipps seems to be channeling his inner Elvis Costello

on the second full-length PRO TEENS album in less than

a year. Coming quick on the heels of their self-titled

debut, Accidentally is a testament to the talent of the

band and witness to the development of their sound.

While the debut was fantastic, Accidentally is a far

more consistent record that seems to be a concept piece

about the trappings of life as a twenty-something: that

second most awkward time in life, when you are unsure

of everything all over again, not quite an adult, but no

longer a kid.

PRO TEENS are Andy Phipps on guitar and vocals,

Eamon Ford on guitar, Zach “Molly” Parker on bass and

Matt Tanner on drums. On Accidentally they prove that

they have grown into their own sound. Phipps croons

across the entire thing, and the songs themselves are

layered and near-psychedelic in their delivery. It’s a bit

like space-age lounge music. Several of the tracks are

reworked songs from the start of their career, including

“Teen Feels,” “Puberty” and “Contact High,” songs that

I had figured were lost in the band’s stunning growth.

Instead they are delightfully redesigned for where their

sound has taken them.

Other highlights include “Feather Boy,” which comes

across as an homage to ’60s pop, the dreamy “Motel

Reflections” and the musically fascinating “Hamuela.”

Pre-release singles are “Goodnight Moon’d,” “Decoy”

and “Tobacca,” which ends the album on a very trippy,

Slow Moses-esque trajectory. The latter makes sense

since the album was produced in part by Slow Moses’

Wally Boudway. What’s amazing is that some of these

songs could have big band arrangements behind

them and still work. That speaks volumes about the

songwriting and compositional skills that PRO TEENS

have developed in their two short years.



Sounds Around Town By Mitchell L. Hillman


Songs Before Paradox EP


Strawberry Lashes EP


Second Home

The return of Wolvves is some of the best news of

2016 for the local music scene, especially with their

reconfigured lineup and reimagined sound. Last year,

after releasing their debut album, they immediately

broke up. Then at the start of 2016 they suddenly

began releasing singles, sounding quite different

than before. Aydinn Immortal is still behind the helm,

and this is his authentic vision for Wolvves.

Songs Before Paradox starts with “Money Song,”

which begins as an experimental noise piece before

any hint of a melody emerges from a guitar. It literally

feels like it’s scrambling your brain—absolutely the

least commercial start to any record possibly since

Lou Reed’s Metal Machine Music. Throughout it there

are spoken-word bits, vocal loops and samples, and

waves of feedback. The irony of the title should not

be lost on anyone, and yet the last 20 seconds lull

you out with a beautiful guitar line.

A violent shift, sounding like a spin of the radio

dial, brings the pre-release single “Untitled,” with

soulful lyrics in the first third and brilliant, melancholy

trumpet in the remaining two thirds. The brief “Late

for Work” begins with a guitar interlude, before

switching to half sung, near spoken lyrics that work

to build a rhythm and a groove with the rest of the

band. “XYZ” revisits the lyrics from “Late for Work”

in a completely different arrangement, over a minimal

synth and sample background; the effect is very

nearly hypnotic. Closing out the EP is “Voodoo Child,”

a synth-heavy, darker number, with a sinister vibe and

a fascinating confessional-rap delivery, mixed with a

chorus that sounds like gospel vocals heard through

a crappy radio. Dark synth passages with chanting,

samples and sound effects close out one of the most

unusual and fascinating releases of the year.

Since the release of their debut album, Paper Foxes’

lineup has changed completely, and they have

become an incredibly tight outfit and one of the most

solid live bands in town. Frontman CJ Jacobson and

keyboard wizard Patro Gaston (Zodiac Bash) are

joined by Uche and Jahlani Ujania on bass and drums

on their sophomore effort, Strawberry Lashes.

The record is far more aggressive than their debut,

and darker as well. There is no finer example of this

than the opener, “Nightmares,” which pays homage

to Interpol and Joy Division and indeed the whole of

Goth, new wave and post punk. Jacobson has one

of the most distinct voices in the indie scene, and it

has become the centerpiece of their sound. “Indica”

maintains the fast, steady guitars and pounding

drums, with more than a hint of Peter Murphy/

Bauhaus in this mix. Gaston’s synths absolutely make

this song shine and come alive.

The cleverly titled “LSDaydream” gets into Love &

Rockets’ territory in the introduction. At this point

in the record, I was convinced that Paper Foxes had

time-travelled to the 1980s to write these songs. It’s

a swirling psychedelic fantasy of a number, with a

tinge of darkness around the edges that becomes

more and more trippy as it goes on. “Strawberry

Lashes” is the finale of this all-too-short taste of

Paper Foxes 2016, exploding with synths, guitars and

rhythms that evoke Devo, Gang of Four and other

post-punk outfits with that angular guitar sound. It’s a

neurotically paced number filled with anxious chords,

sounding exactly like an obscure band called Kitchens

of Distinction from the early ’90s. I’m not sure if

they’ve ever even heard of them, but they nail that

sound with authenticity.

Sounds Around Town By Mitchell L. Hillman

Second Home has been three years in the making and

one of the most highly anticipated albums of the year.

The title could refer to the fact that the band has one

foot in Phoenix and the other in Seattle, or it could be

eerily prescient that Erin Caldwell would leave the

band for a dream job in Philadelphia.

The album itself was well worth the wait (since 2013’s

Sentimental Health), and it’s clear from the sheer

quality that the band took their time crafting each

song into a perfect indie-pop gem. It’s a heady mix of

rock and pop that never once loses its way, maintaining

an upbeat vibe throughout the entire affair.

“Almost Right” nearly approaches the rock of The

Replacements and seems to be about recording

itself. “Steeping,” one of three pre-release singles,

seems like a bit of double entendre, or else they are

imagining themselves as a hot cup of tea. “Cups and

Wrappers” is the early standout single. Meanwhile,

“Hot Plate” and “Walky Talky” are both charming

numbers written by Caldwell, with her on lead vocals,

which is slightly bittersweet to listen to with her

departure in mind.

“Do You Really Want Me” could and should be the

introvert’s national anthem for the line, “As a kid I

felt nervous around adults, and now I’m an adult and

I feel nervous around my friends.” The intoxicating

drone and intricate percussion of “Monday Night

Nitro” make the song fascinating, while “Stunner” is

straight-up pop punk. “Cool and Blue” is exactly that:

the title perfectly captures the song, and vice versa.

A single from over a year ago, “Hoarder House,”

finishes the album with perfection.

For more on these events and other highlights of the

Phoenix music scene, check out Mitchell’s blog at http:// For submissions or suggestions

contact him at





The Brains

Vision Behind CURIIOS

By Jenna Duncan

It is hard to predict the new trends in fashion

unless you are absolutely plugged into Paris,

Milan or New York City. But some pioneering

young designers are making the decision to

go it alone. With steadfast confidence and the

building blocks for a solid brand identity, Parisa

Zahedi—the passion and energy behind the CURIIOS

online fashion experience—has launched her startup


Zahedi’s concept is not just a brand or label, but an

entire identity, as she explains it. CURIIOS is not just

about the clothes, it’s also about the lifestyle. Zahedi

is challenging young women and men to be part of

her movement. And judging from the volume of their

social media traffic, the CURIIOS team is proving

itself as a force to be reckoned with.

CURIIOS launched its online presence in October

2014. They stock all kinds of fashion, from daywear

to women’s dresses, shoes, bags and wallets, as well

as men’s clothing and accessories.

Zahedi shared some of her personal sources

of inspiration and ideas about the powerhouse/

party lifestyle.

What was your introduction to fashion and


My introduction was the cliché of all clichés: flipping

through magazines at a young age, dreaming of being

a part of it some way, somehow. As far as styling

goes, I was always playing dress-up with friends

or giving advice when we would go shopping. As I

became older, I realized I had a knack for it and began

to take on friends as clients. Through that, word

spread and it turned into a job!

I started as a personal stylist/shopper, and to this

day it’s my favorite part of the gig. The smile from a

happy client is enough to keep me going. This led to

styling creatively. I began to explore the editorial/

visual art world. It took my heart and never let go.

Being a part of that transformation on set is so

exhilarating. Seeing the pieces you’ve been pulling

for days come together is amazing. It keeps me going,

keeps my creative mind working, and allows me to

have a job I love. I’m so thankful for that.

Did you go to art school or fashion school for

this? What is your formal training background?

I graduated from FIDM in Los Angeles with a Fashion

Design degree. I mainly went there to learn the

technical side of things, as I previously had a hand

at sewing. This process of school, living in a big city

Photo: Alina Celik

and being surrounded by incredibly talented people

aided in my ideas and motivation to open shop. As

far as my styling work, I have never had any training.

Everything I know is self-taught through research,

experience and making mistakes. Is there any better

way to learn? Doubt it.

How long have you been styling in Phoenix?

Can you share any stories with high-profile

clients? Who is your favorite to work with

and why?

I have been styling on and off for 12 years. Personal

styling, editorial styling and workplace styling

through seminars. Styling has followed me away

from Phoenix, to San Diego and Los Angeles. I prefer

not to discuss the high-profile clients. There have

been two, and both were incredibly kind, open to

everything I threw their way, and so appreciative! I

couldn’t ask for anything more.

What kinds of looks inspire you? Where do you

go for inspiration?

Let’s just say I am all over the place! I go bananas

over designers such as Issey Miyake, Rick Owens,

Alexander McQueen, Gareth Pugh, Proenza Schouler,

etc. They may be different season to season, but

Photo: Travis Seale

you can always tell which pieces are theirs. I’m

influenced by design that is impactful, has something

to say on or off the body and makes you think. On the

flip side of that, I am influenced by people and their

personal styles. These are just a few of the closets

I would gladly rummage through: Daphne Guinness,

Gwen Stefani, Freddie Mercury, David Bowie, Anna

Dello Russo and more. I go to certain brands, humans,

music and basically anything tangible for inspiration.

Inspiration is such a powerful and integral part of

life. It comes and goes, and sometimes I find it in the

oddest of places.

What is your involvement with Phoenix Fashion

Week? We know you have been called “top”

stylist when working with them. What was the

context? Do you plan to work through Phoenix

Fashion Week to launch your own original


Phoenix Fashion Week had chosen six top stylists in

the state of Arizona to showcase their work at the

“Spring Into Style” show back in March. I was so

honored to be chosen as one of them, to show among

all these other incredible stylists. Through this, I have

had several opportunities to do other projects with

PHXFW and other fashion industry people around the

state. I am so grateful.



Photo: Jim Hesterman

Photo: Blake Bonillas

I originally started out wanting to be a designer. I

stopped designing four years ago, and decided to

dream up CURIIOS instead. So far it’s been a bitchin’

ride! But with growth, I would hope to start designing

again. When that happens, if PHXFW will take me, I

would gladly showcase with them.

Can you explain what CURIIOS is? Is it

more than an online store? Are there others

(designers, stylists, creative types) involved?

CURIIOS is an online retail wonderland, but more

than that we are a lifestyle. A lifestyle for the

#curiiosbabes of the world. A #curiiosbabe is a

powerhouse by day, party junkie by night kind of

woman. A twenty-something with a non-apologetic

style, and thirst for life. A lover of all things

monochrome. Adventure molds her, architecture

inspires her and music moves her soul. She is a risk

taker and leader with a humble persona. To be one of

us, remember to be bold, but kind, curious but wise,

and never afraid to express yourself through clothing

or otherwise.

For now, it’s just me and my small group of babes

holding down the fort here in sunny AZ. There are

always creatives involved but no designers or stylists

linked to our team just yet. We mainly work with

local photographers and other business owners to

exude our image and lifestyle to the world.

Do you work closely with any particular

accessories designers? If so, who, and how

would you describe what they create?

I don’t typically work hands on with jewelry

designers, aside from Miss November Studio/Little

Hobo Bird by Sandra Logan. Anyone reading, if you

don’t know, now you know. Look up these two on

social media and Etsy. Have fun trying not to spend

your whole paycheck. I would describe her work as

perfect, in a way that is unique, in your face, and so

inspiring. I mean, shit, she even has a ring with a

hand giving you the bird. What is better than that?

This woman says what she thinks, makes what she

wants, and you’ll love her for it.

Will you stay in Phoenix forever? If so, what are

your big-picture plans? If not, where would you

go? (And why?)

This is always a hard one to answer. I usually say

no, but I don’t want to look back five years from

now and say damn, I can’t believe I thought I would

leave … as I’m sitting on my porch in Phoenix

flipping through this old JAVA interview. But in all

honesty, I have such a wanderlust that seeing myself

permanently anywhere is hard. I’ve searched for a

place for CURIIOS in Los Angeles, Seattle and Austin.

The big picture is to build an empire. A store here,

a store there, a charity built through the brand and

potentially something related to music. The options

are endless and my ideas are limitless. Ask me again

next year. Who knows what can happen.

Do you collaborate with anyone?

Collaboration is key to my creative process.

Bringing in other elements, different minds and

fresh perspectives makes my world go round. I have

collaborated in many ways throughout the years.

I have designed garments with others, created

visual art through fashion and the collaborating

photographers, brought pop-up shops to life with

other creatives and more. A favorite has to be the

photo series I did with Travis Seale of Blūm Magazine,

along with Brielle Bishop of Vade Mecum Beauty and

Paulina Poley of FORD Robert Black Agency. We all

brought unique elements to the project and worked

extremely well together to create a stunning visual.






A few months can really change a lot. Temperatures

are going down, students are back, the Olympics are

over, and Trump seems far, far away from being the

president. Whew. Prior to this year, the possibility,

even the mildest notion, of Donald Trump being

president sounded like an insane, made-up, 1989

cable-TV movie commissioned by Trump and starring

his then wife, Marla Maples, wearing her No Excuses

jeans. Even if you’re not familiar with the popular

denim brand No Excuses, you can guess they are

from the ’80s, because only the ’80s would consider

No Excuses a sassy brand label that says “I’m defiant

and alluring—in a trashy kind of way.” You know

they were acid washed.

Anyway, when I headed out of Arizona in June I felt

like we were in big trouble. I hadn’t been taking

Trump too seriously and not paying any attention

at all, aside from rooting for Bernie. When things

started looking not so hot for the Bern, I had a moral

crisis over voting for Hillary or not voting at all.

However, all this Trump talk had started to concern

me and I thought, “Things are getting serious, I may

have to vote for Hillary to block Trump.” I was not

happy about this but I felt it was what needed to be

done. I assumed that even though reluctance and

self-loathing would overcome me as I cast my ballot,

it could not be worse than the spasms to jump off

bridges and out of windows if Trump won. My vote

was mentally cast.

Now this seemed to me to be both a reasonable

and common conundrum for the Bernie backers.

I decided to conduct some of my own polling. As

a practice, I don’t typically engage in political

chats with strangers. Especially strangers who are

driving me around and essentially have my life in

their hands. I don’t want to give anyone a reason

to drop me off on the side of the freeway because

they don’t agree with me. Also, if I am getting a

ride home, that usually indicates that I am unable

to drive myself home because of blurriness and an

issue with motor skills brought on by cocktails. So,

even more likely than me getting abandoned on the

freeway due to a political disagreement, would be

me demanding to be let out of the car IMMEDIATELY

because I don’t share the opinions of my driver. I’m

known for being rational.



I asked my Uber driver who he is voting for. He

did not strike me as a Republican, and if his

seven scented-tree air fresheners could talk, I

have a feeling they would tell me that Mary Jane

is a frequent passenger, if you get my drift.

So, despite best practice, I asked my Uber driver who he is voting for. He did not

strike me as a Republican, and if his seven scented-tree air fresheners could talk,

I have a feeling they would tell me that Mary Jane is a frequent passenger, if you

get my drift.

He tells me that he wants Bernie but it doesn’t look like it’s happening, so he

has to think about it. Think about what, voting at all or who to vote for? He

answers, “Who to vote for.” How the hell can you like anything that Bernie talks

about or says or represents on any level and then have to decide between Trump

or Clinton? It’s not hard to figure out if you support a racist or not. I was having

a hard time deciding if I should stay in the car. However, I would have a much

harder time walking home, so I stayed. I chalked up this Uber guy’s nonsense as

an outlier.

Then, a few weeks later I was in a Lyft. Now you must know that this girl had a

Grateful Dead sticker on her car—and maybe a rainbow or unicorn. No, it was a

rainbow-colored unicorn. I felt like it was pretty safe to get her in on my election

poll. What does she do? She gives me the same runaround as the Uber guy!

Blah, blah, she likes Bernie and Hillary is a liar. A liar, yes. A misogynistic, racist

violence inciter? Not so much. I’ll take the liar. And this girl with her stickers!

Lulling me into a false sense of commonalities and a love of colorful mythical

creatures. She’s the liar! I do not understand. It is definitely against the rules of

bumper stickers to falsely advertise like that. You just don’t do that kind of thing.

The bad news is, I was starting to see a trend. According to my poll, things were

getting crazy, and not the way I like it. When I told my friend Lori about my job as

a pollster she was surprised. When I gave her the results of my poll, telling her

we were in trouble, she said no, it’s worse than trouble. We’re in Trumple.

Luckily, this was all in the past and now it just seems like a bad dream. Trump

has led himself down a long and windy path of talking shit and it seems he’s

pretty far gone. Not far enough gone that I will renege on my decision to vote for

Hillary. We seem to be out of the danger zone, but I can’t be too sure. The worst

thing would be to relax and think we’re out of Trumple and then blow it. So I’m

sticking to my reluctant decision to vote for Hillary. No excuses.



Photos By

Robert Sentinery



3 4




8 9

10 11

1. Unexpected meeting at the Unexpected Gallery

2. Phoenician Clothing at the Crystals and Lasers show

3. MYBOYB presents Verbs and Vibes

4. Runway squeeze at Brave Wings Fashion Show

5. Brandon Greer and Robert Gentile at Verbs and Vibes

6. Bathsheba from the Eyes Like Mine foundation

7. Francisco Flores produced Crystals and Lasers

8. Pretty lady selling her wares at Brave Wings

9. Sam and family and Unexpected Art Gallery

10. Pretty pair rocking Phoenician Clothing

11. Wine and good times

12 13 14 15 16

17 18 19 20 21

22 23 24 25 26

27 28 29

12. Escape to Bali with this posse

13. You never know who you’ll bump into at Brave Wings

14. Upstairs at the Unexpected with Sherry and friends

15. Blue glow at Crystals and Lasers

16. Two Latina beauty queens are better than one

17. Skyler and a pal at Verbs and Vibes

18. Electric Lyon fashion in the house at Brave Wings

19. Snapped at the Woman’s Touch booth with Mia

20. Abe Zucca Gallery on Grand

21. Cool keys at Verbs and Vibes

22. Woman up by Woman’s Touch

23. Kind of Blue at Crystals and Lasers

24. She got to wear wings at Brave Wings

25. Electric Lyon on the runway

26. Ghiaccio Fede fashion at Brave Wings

27. Star struck with Woman’s Touch

28. Yoga fit with these Sutra girls

29. Introductions are in order at the Unexpected space


your associate’s degree


to one of 40+





per credit hour*

The Maricopa County Community College District (MCCCD) is an EEO/AA institution and an equal opportunity employer of protected veterans, and individuals with disabilities. All qualified

applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, or national origin. *Maricopa County Residents.

Chandler-Gilbert | Estrella Mountain | GateWay | Glendale | Maricopa Corporate College

Mesa | Paradise Valley | Phoenix | Rio Salado | Scottsdale | South Mountain

30 31

32 33 34

35 36

37 38


40 41

42 43 44

45 46


30. Striking a pose to make the ladies swoon

31. When your girl dresses like a guy

32. You can interview me anytime

33. A different point of view, Francisco from Crystals and Lasers

34. “Polite As Phuck” by Woman’s Touch

35. Dain and L.B. at {9} The Gallery

36. I want #90 on my team

37. Thuong Nguyen’s opening at Chartreuse Gallery

38. High style with Shimeon and Ketonya at Brave Wings

39. Who wants to try Jessica’s raw vegan strawberry cake?

40. Ernesto does spoken word at A•Bloom

41. Fit for the runway

42. My fine feathered friend

43. Dani and pal at Brave Wings Fashion Show

44. Sam contemplating Crystals and Lasers

45. Front-row seating has it benefits

46. Posing on the cyc wall

47. Fashionistas looking for the after party

48 49

50 51 52

53 54

55 56


58 59





64 65

48. Striking a pose in a lovely dress

49. Mesmerizing effects at Crystals and Lasers

50. Sherry and her beau at Chartreuse Gallery

51. All wrapped up like a Christmas present

52. Phoenix icons Oscar and Marshall

53. Snapped these guys at the Lodge on Grand Ave

54. Brave Wings cofounder/organizer Mabel Cortez

55. Disco night at the American Italian Club

56. On the runway, ready to take flight

57. Phoenician Clothing at Unexpected

58. A wing and a prayer at Brave Wings

59. Cute couple at Chartreuse Gallery

60. Epic FX in the house at Crystals and Lasers

61. Dapper dudeness

62. This dress is…interesting

63. Verbs and Vibes presented by MYBOYB

64. Working it on the runway

65. Alpha Female by Woman’s Touch

66 67 68




72 73

74 75

76 77 78

79 80

81 82


66. Stylish trio at Brave Wings

67. Little black & white dress

68. Hamati Design creator takes a runway walk

69. Oui oui

70. Gotta be fit to rock this

71. Digging the bow tie

72. More fun at the Lodge art space on Grand Ave

73. Turning Japanese, I think she’s turning Japanese…

74. Omyra and pal got the b/w pattern memo

75. Hamati Design hottie at Brave Wings

76. Healing Waters with Anderson Modern and LB Painting at {9}

77. Multi-generational fashion

78. Who is that masked woman?

79. First Friday stroll down Grand Ave

80. The cute cape caper

81. More fun at the American Italian Club

82. Gonna rock this gown, rock it all night long

83. Kudos to Brave Wings for a great show






Contemporary Art

Influenced by Literature


Friday, Sept 9 (6-10pm)

Stephanie Trenchard, Dynamics, 2012, Assembled sand cast glass with inclusions, 15 x 25 x 4 inches. Courtesy of the artist and Piece Art Gallery.

One East Main Street • Mesa, Arizona 85201 • 480-644-6560 •

THE COLONY | 5538 N 7TH ST | PHOENIX, 85014

september @smoca

Artist Talk: Sama Alshaibi

Thursday, Sept. 8, 7 pm, Free

Multi-disciplinary artist Sama Alshaibi discusses borders, migration

and environmental collapse in her exhibition Silsila.

Volumes: The Lit Happy Hour

M Train by Patti Smith

Thursday, Sept. 15, 5:45 pm, $7 (Members Free)

Read the book, or don’t, but do join for tasty conversation,

cocktails and snacks. Tickets at

Art Handlers Triathlon

Friday, Sept. 16, 7 pm, Free

Join as art world pros discuss what happens behind-thescenes,

then cheer on your favorite Valley institution as they face

off for the coveted Golden Level trophy.

Stand-Up @SMoCA

Why is it Still Hot?

Friday, Sept. 30, 7 pm, $10 (Members $8)

Let’s take a break from the heat and laugh about it with a lineup

of renowned comedians. We may not have a beach, but you will

have a whale of a time!

Photo: Claire Warden

Visit the Museum today!


Call 480-874-4666

Visit 7383 E. Second St.

More magazines by this user
Similar magazines