Java.Sept.2017-1

260 • SEPT 2017
FRANK GONZALES • UNEXPECTED ART GALLERY • LAS CHOLLAS PELIGROSAS

SEPTEMBER 1, 2017 | 6 – 10 PM
Opening Night
PAST/FUTURE/PRESENT: CONTEMPORARY BRAZILIAN
ART FROM THE MUSEUM OF MODERN ART, SÃO PAULO
ON VIEW THROUGH DECEMBER 31, 2017
+ Purchase $5 exhibition tickets at phxart.org
+ Hear music by DJ Nico, DJ Seduce, and Afro: Baile Records
+ See performances by SambAZ and Axé Capoeira
+ Enjoy drink specials and a cash bar
FIRST FRIDAY AT PHOENIX ART MUSEUM IS SPONSORED BY PETSMART
Visit phxart.org for details including parking and tickets.
@phxart #phxartff #phxartbrazil

Maricopa Community College District is an EEO/AA institution
Flexible Start Dates
maricopa.edu/flexible-start-dates

CONTENTS
8
12
22
30
34
FEATURES
FRANK GONZALES
Artificial Realism
Cover: Larry Alan and Tara Hutchison
Model: D’Arcy Aleric Goodman
(IG: @Princessbitchass)
8 12 22
34
EXPECT THE UNEXPECTED
The Phoenix Art Space that
Defi es Categorization
ARTIFICIAL
By Larry Alan and Tara Hutchison
THE WOODWORKS
LASER. MOUTH. EXPLOSIONS.
By Mitchell L. Hillman
LAS CHOLLAS PELIGROSAS
Bringing Change Through Music
By Demetrius Burns
COLUMNS
7
16
20
32
38
40
BUZZ
Happy 23!
By Robert Sentinery
ARTS
Kit Abate at Eye Lounge
By Amy Young
Contemporary Brazilian Art
At Phoenix Art Museum
By Amy L. Young
FOOD FETISH
Gallo Blanco
By Sloane Burwell
SOUNDS AROUND TOWN
By Mitchell L. Hillman
GIRL ON FARMER
The Intruders
By Celia Beresford
NIGHT GALLERY
Photos by Robert Sentinery
JAVA MAGAZINE
EDITOR & PUBLISHER
Robert Sentinery
ART DIRECTOR
Victor Vasquez
ARTS EDITOR
Amy L. Young
FOOD EDITOR
Sloane Burwell
MUSIC EDITOR
Mitchell L. Hillman
CONTRIBUTING EDITOR
Jenna Duncan
CONTRIBUTING WRITERS
Rhett Baruch
Jack Cavanaugh
Sam Clark
Jeffery Kronenfeld
Tom Reardon
PROOFREADER
Patricia Sanders
CONTRIBUTING PHOTOGRAPHERS
Larry Alan
Enrique Garcia
Johnny Jaffe
Chris Loomis
ADVERTISING
(602) 574-6364
Java Magazine
Copyright © 2017
All rights reserved.
Reproduction in whole or in part of any text, photograph
or illustration is strictly prohibited without the written
permission of the publisher. The publisher does not
assume responsibility for unsolicited submissions.
Publisher assumes no liability for the information
contained herein; all statements are the sole opinions
of the contributors and/or advertisers.
JAVA MAGAZINE
PO Box 45448 Phoenix, AZ 85064
email: javamag@cox.net
tel: (480) 966-6352
www.javamagaz.com
4 JAVA
MAGAZINE

PHOTO: CRAIG SMITH, HEARD MUSEUM
Exhibition ExtenDed
Through Sept. 4
We would like to thank everyone who came to enjoy
and support this exhibition and we gratefully thank our sponsors:
PRESENTED BY
SUPPORTED BY
2301 N. CENTRAL AVE. PHOENIX, AZ 85004
602.252.8840 | HEARD.ORG

SUNDAY
S U P P E R
AT MATCH
“hoboken style
sunday gravy”
Sept 3, 10,17, & 24
$22 per person
ACUPUNCTURE, CUPPING
AND MORE...
www.NaturalMedicineAndDetox.com
(602) 307-0888
Spaghetti and meatballs
Fresh ricotta cannoli
Clams casino
Wedge salad
Chocolate chip cannoli
Robert Sinskey Pinot
Noir is just $7 per glass
RESTAURANT & COCKTAILS
1100 N. Central Ave.
602.875.8080 | 602.875.8000
www.matchphx.com | www.foundrehotels.com
Social: @MATCHPhx @FOUNDREPhx

HAPPY 23!
By Robert Sentinery
BUZZ
This month JAVA kicks off its 23rd year of publication. From its humble
beginnings as a Tempe-based coffeehouse zine, on through to its current role as
the Valley’s premier alt-culture monthly, it’s been a wonderful ride. In this day of
digital media domination, the magazine is a sea of calm in the chaos of nonstop
information. While moving with the times is important, and JAVA’s website,
digital fl ip book and social channels are key, the print edition will always be the
capstone of this company’s pyramid. Thank you to all of our readers, supporters
and advertisers for another great year.
During these divided times of political unrest, we need things that can bring
us together. Music is something that crosses boundaries and creates unity.
Enter Las Chollas Peligrosas, a six-piece, all-female band comprised of women
from diverse ethnicities who play music with a decisively Latin fl avor. Their set
list is a mix of standards, some romantic, some political, along with originals
that espouse more current messages. But rather than feeling like you’re being
preached to, the vibe is giddy, fun and danceable. You can even get your cumbia
moves on (see “Las Chollas Peligrosas,” p. 36).
Frank Gonzales’ artist journey is not a typical one. Growing up a Chicano in
Mesa, he was between two worlds: that of his Spanish-speaking relatives
who teased him for only knowing English, and the outside world where he was
viewed as a second-class citizen. Neither was easy. Gonzales found a safe place
in his artwork, and a natural talent emerged that began to command attention.
He was awarded a scholarship to Laguna College of Art + Design. As his work
evolved, two prominent elements emerged: cacti and birds. His art is lush and
beautiful, seemingly devoid of the politics one might expect, but truly a visual
feast that shows immense talent (see “Frank Gonzales: Artifi cial Realism,” p. 8).
The 10,000+ square feet that comprise the Unexpected Art Gallery has been a
welcome addition to the downtown art scene since it opened at the end of 2015.
Like most large warehouse venues, they supplement their income by hosting
corporate meetings, events and weddings, etc. But there is a real commitment to
showing art on a regular basis and building a vibrant rapport with the community
that seems lacking at other spaces.
Earlier this year they hosted a fascinating exhibition of works from the collection
of Roland E. Hill, a now-deceased American artist and bon vivant, who rubbed
elbows with the artistic greats in 1920s Paris. There is the possibility that one
of the pieces from his collection is a missing Salvador Dalí work that would
be valued at well over a million dollars. The gallery will host a reveal event on
September 15, where a researcher presents her fi nding on the veracity of the
possible Dalí (see “Expect the Unexpected,” p. 12).
ALL GOOD THINGS
HAPPEN AFTER MIDNIGHT.
Midnight Deejays Every Week
THURSDAYS | Maneone & Pickster | 11p-1a
FRIDAYS | DJ Michael Hooker | 12a-2a
SATURDAYS | Just Fresh | 12a-2a
LIVE MUSIC WED-SAT | HAPPY HOUR 4-7 M-F
CLOSED MONDAYS FOR THE SUMMER
5749 N. 7TH ST. PHOENIX, AZ 85014 | THEWOMACK.US
LIVINGROOMWINEBAR .COM
I
LA S A L ACANT INA. COM

8 JAVA
MAGAZINE

Phoenix artist and Arizona native Frank Gonzales believes in the power of
mythology. Specifically, he is drawn to Joseph Campbell’s idea of the hero’s
journey as it pertains to his life, artwork and purpose. In Campbell’s narrative
arc, the hero leaves his home and journeys through the world only to return with
the lessons and wisdom gained in order to help the community that knows him. There’s
a certain power to homecoming—returning—the process of always returning, always
going out, that can propel people to do art and make meaning: Gonzales is one of
those people.
Ordinary World
Gonzales was born in Mesa at what was Desert
Samaritan and grew up on the Tempe/Mesa border.
He was his parents’ only child in a Chicano family
and struggled to learn Spanish. His friends and family
teased him, and this sense of separation may have
sown the initial seeds of an artist. An artist is often
cultivated by isolation or feelings of isolation—
especially from one’s own family.
“When I was a kid my mom took me to see La
Bamba,” Gonzales said. “It was funny because I felt
like I related to this dude. His Spanish was terrible. I
would get shit because I couldn’t speak the language
very well. You kinda feel in a weird place. It helped
to see that he still made it even though his Spanish
sucked.” Nevertheless, Gonzales had a typical,
simple childhood in Arizona. He played sports and
made friends with a lot of kids. He was never fully
immersed in one social circle or another and kind of
made friends with everyone.
In high school—before he started listening to rap—
he would listen to a lot of reggae, and people would
make fun of him for wearing Bob Marley shirts as a
Chicano kid. In many ways, Gonzales was stepping
out, stepping in to his mythology of adventure as a
kid. He was calling into question what it meant to be
Chicano in Arizona. He was defying his space.
Gonzales would draw for kids in high school. A lot
of kids would ask him to draw their names on brick
walls or draw cartoons for them. He was playing
sports in high school, but at a certain point he didn’t
feel like doing it anymore. “During my senior year I
walked into my football coach’s offi ce and told him
I didn’t want to play anymore. I wanted to make art.
It was the best decision I made in my life.” Gonzales
didn’t have great grades by any means, so going to
college wasn’t necessarily on his radar, but he knew
he wanted to make art.
While in high school, Gonzales had developed a love
for hip hop. It was a world where it didn’t matter
where you came from. It didn’t matter what you
looked like. All that mattered was that you were
fresh and if you could rock it. Hip hop provided
Gonzales with community. He was a part of the
Tempe Bronx Krew, which was a hip hop/graffi ti art
collective in the ’90s. The collective would perform
on Mill Avenue on Fridays and Saturdays. They would
have emcee battles, b-boy battles and graffi ti writing.
He was defi nitely someone who could create some
good graffi ti writing.
Eventually Gonzales started attending Mesa
Community College and enrolled in art classes. It
was there that he learned about form and fi gurative
art. He also took critical reading classes and learned
about Greek mythology, which was inspiring for him.
His professor Jim Garrison was especially infl uential
and suggested that Gonzales seek out an art degree.
Up to that point, art school hadn’t seemed like a
possibility to Gonzales or even something that he
wanted to do necessarily. But Garrison recognized a
talent in Gonzales and wanted him to develop that.
Gonzales got a scholarship to Laguna College of Art
+ Design. His family was initially against it. They
wanted him to go to Arizona State University, but he
was intent on going to Laguna and developing his
skills as an artist. Against his family’s wishes, he
began his hero’s journey away from the home.
JAVA 9
MAGAZINE

Crossing the Threshold
At the school, Gonzales further improved upon his figurative foundation. “They say
once you learn all the rules, you have to learn how to break them. I still have a love
for figurative art. I think personally, I didn’t have much to say with it,” Gonzales said.
While at Laguna, he met fellow artist and student Richard Salcido. Gonzales and
Salcido would have competitions with each other. They would work with several
different subjects and try and stretch the boundaries of what they could paint.
One time, Salcido challenged Gonzales to paint birds. “The birds started stylistic,”
Gonzales said. “It was more about how I was handling the paint. As time went on,
they became more descriptive. I have always liked things that were of the curious
nature. Eventually I started having a great time with it. I started getting more books
on birds. I never thought that my work would become tight. Eventually it comes
down to trying to find your own voice. That’s the idea of an artist, trying to find your
own language.”
So, Gonzales somehow became the bird artist. He jokes that people have teased
him about it. But birds were something that inspired him. Maybe it’s because birds
inhabit the Joseph Campbell story. They are constantly leaving and returning. They
are constantly on a homecoming tour.
During Gonzales’ senior year, he got a job working at the Finger Hut as the gallery
assistant. While working there, some of the staff let him hang his art on the wall
anonymously. They would create a pseudo artist bio and come up with names for
his pieces. Eventually some of his stuff sold, and he would anonymously hang
the pieces in the buyers’ homes. In some ways, this helped give Gonzales a lot of
10 JAVA
MAGAZINE

confidence to step out more as an artist. Right before graduating, Gonzales was
able to show at a gallery.
After graduating from college, Gonzales moved to New York with his girlfriend.
Living in New York was sort of a dream come true for such an ardent hip-hop fan
and artist in general. While living there, he got married. He was producing art full
time, and life was good for the most part. Unfortunately, things didn’t stay in blissful
stasis. The relationship between him and his partner devolved, and he ended up
having to get a divorce.
“Getting divorced really played a huge role in my life,” said Gonzales. “I started to
just paint. It was this whole self-revolution, an unfortunate event that sparked an
evolution in my work. Tragedy often breeds some type of creativity. It was great—
you chop a tree down and all these sprouts come out. I got to experience life alone
living in New York. It was intimidating but it was still exciting,” Gonzales said.
Fortunately for Gonzales, he was able to reconnect with an old flame from
junior high. After a long distance courtship, they eventually decided to try out a
relationship again, and he moved back to Arizona, where his story began.
speaks to me for whatever reason and will try to fit it into the composition,” said
Gonzales.
“My work takes different elements from nature and puts them together to see
what happens,” Gonzales said. “It’s a lot of play. I like to play with elements that
don’t necessarily thrive together in real life. It’s like an artificial realism. There’s
this element of design and a mixture of realism, along with graphic elements as
well. It’s a contemporary approach to an age-old subject matter. I’m just trying to
present it in a new way. If you strip it down, these could be scientific illustrations,
but I try to make it believable on the surface.”
Eventually Gonzales got a job as a preparator at the Mesa Contemporary Art
Museum. Now he does art when he can, which sometimes means waking up at
five in the morning to paint. Recently he’s done murals at Starbucks throughout the
city and shows in the annual Chaos Theory exhibition. He has exhibited throughout
the West Coast and in Santa Fe. He has a kid with his partner and has a studio in
his mother’s backyard. The hero has returned, and he’s happy.
The Hero Returns
After spending 12 years away from Arizona, Gonzales returned to his origins.
“Moving back to Arizona, I fell in love with the desert again. I collect a lot of
cactuses. I love to see them in people’s yards. I’ll use them for inspiration to start a
drawing on panel with those elements. I’ll look for a reference and find a bird that
JAVA 11
MAGAZINE

Expect the
Unexpected
The Phoenix Art Space that Defies Categorization
By Jeffery Kronenfeild
12 JAVA
MAGAZINE

A long-lost Salvador Dalí masterpiece, a murderous cuckold, a host of female cannabis entrepreneurs and,
of course, art, lots of art—what do all these things have in common? They’re all unexpected, and yet, at the
Unexpected Art Gallery in Phoenix, you quickly learn to expect that.
Auction-company entrepreneur John Lines and his wife, Sammy, founded the Unexpected Art Gallery in 2012.
Since then, the gallery has hosted a range of art exhibitions: “The Veteran Vision Project,” by photographer
Devin Mitchell, featuring images of veterans in and out of their uniforms to highlight PTSD; “(Ink)arcerated:
Creativity within Confinement,” a show facilitated by ASU featuring works by current prisoners in Arizona;
“Crystals and Lasers,” by Francisco Flores, featuring video and photographic works exploring the convergence
of spirituality and technology—and that’s just to name a few.
The gallery also plays host to a wide range of events, including meetings of Women Grow, a group dedicated
to supporting female cannabis entrepreneurs, on the first Thursday of each month; a graffiti mural live painting
event every Tuesday; full moon parties and more. On May 3 of this year, they launched Ustudios, a creative
cooperative and studio space housed in the western portion of the building and run by the gregarious and
energetic Shane Smith.
For modern galleries in downtown Phoenix, it’s hard to sustain the ever-increasing rents, and this is particularly
true for Unexpected, with its 10,000-plus square feet of space, A/C bills and other operating expenses.
In addition to all the above-listed endeavors, the space is available for rent for private functions such as
weddings or business and professional association meetings. For a modern art gallery and mixed-use space,
it’s all part of the hustle.
The vast openness of Unexpected is matched by the openness that Cherish Coole, director of operations, and
Chelsea Rusing, director of sales, try to foster. Both explained repeatedly that Unexpected is open and safe to
people of all backgrounds. On a given visit you might find yourself brushing elbows with Phoenix Mayor Greg
Stanton and a host of veterans, or partying late into the night with an eclectic ensemble of local characters.
You’ll find none of the snootiness or elitism sometimes associated with traditional galleries. Instead, there is a
friendly atmosphere where seemingly anything could happen.
Coole is a bit of juggler. She has to be: the gallery
is in a near constant state of flux. One day it serves
as a meeting space for Women Grow, which sees
the gallery turned into a theater. This monthly event
regularly draws crowds of 100, 200 or more. The
next day the chairs disappear, replaced by a massive,
modular screen and a maze of temporary walls that
workers are frantically hanging with art for the next
show. Despite this, Coole and Rusing try to take the
time to make all comers feel welcome.
Running auction companies has naturally led Lines
to accumulate a staggering array of, well, stuff. A
helmet with what looks like ibex horns lies casually
beside a pile of loosely bound scrolls, as if some
sorcerer had just stepped out for a moment. There
are hundreds of paintings, framed and unframed,
sketches, statues, wood carvings and even a fullpiece
papier-mâché mariachi band. While one might
be inclined to label much of it junk at first glance, it
was from this pile that Unexpected Gallery may have
unearthed a long-lost Salvador Dalí painting. If it is
authenticated, the painting stands to complete Dalí’s
“William Tell” series. One expert said if the painting
is authenticated, it could fetch upwards of $10 or $15
million at auction, though the actual sale price could
be even higher. More on this later.
As you might expect, Unexpected has a unique
backstory. It was born out of one of Lines’ other
ventures, Surplus Asset Management Auctions. SAM
Auctions coordinates the sale of items from recently
closed businesses, mainly through online auctions.
From giant corporations like Fresh & Easy down to
local mom-and-pop outfits, they work with a wide
range of business types and sizes. While the closing
of a business is usually a sad affair, Lines tries to get
his clients the most for their assets. He tries to reuse
and recycle materials that he can’t sell. In keeping
with this philosophy, many of the elements within
Unexpected are recycled, including its temporary
walls on wheels that were salvaged.
In 2012, Miller Store Fixtures closed and Lines
acquired its 734 W. Polk St. location, which
would become the site of Unexpected Gallery.
The building is vast, perhaps one of the largest
galleries in Phoenix in terms of raw square footage.
Wedged on Polk Street between 7th Avenue and
Grand Avenue, at that time the neighborhood was
decidedly less advanced in the steady march from
run down to gentrified. “It was a little bit of a scary
neighborhood,” Lines said. Initially, the Lineses were
JAVA 13
MAGAZINE

unsure what to do with the huge building. Having amassed a considerable art collection,
and as the result of long-standing personal interests, they decided to open a gallery. It was
Sammy who came up with the gallery’s name. It seemed to perfectly encapsulate the nexus
of the peculiar location and the assorted objects that made up the gallery’s initial collection.
Constructed in the 1930s, the building once housed a Chevrolet dealership. It was during this
phase of the building’s history, sometime in the 1940s, that a mechanic was stabbed in the
back by another mechanic while washing his hands in the locker room upstairs, Coole said.
She explained that the story they heard was that the victim was stabbed for having an affair
with the perpetrator’s wife. The locker room is still present and preserved upstairs in a room
just off the speakeasy.
Did I mention the gallery has its own speakeasy? As I stood in the spot where the murder
may have occurred, Coole told me they believe it may be haunted. They even brought in a
psychic, who claimed to have sensed a presence there. Coole said that when working late
at night, they sometimes hear footsteps and other unusual sounds emanating from the old
locker room. While my neck hairs remained decidedly flat, the space is a little creepy. I
attempted to find further details on the murder but was unable to confirm it. Coole assured
me copious amounts of sage had been burned.
Another mystery of Unexpected is the status of a select number of the works included in the
art collection of Roland E. Hill, which was initially brought to Unexpected by his grandson
Steven Hill, a longtime friend of Lines. Roland E. Hill was an artist and architect whose most
iconic work is the Disneyland Castle. Hill first fell in love with drawing castles while serving
in France during World War I.
Initially a fighter pilot, after 13 sorties, Hill was shot down. According to Steven, Roland
was significantly injured and was reassigned to driving officers due to his French-language
skills. During this time, it is likely that Hill first met Walt Disney, who was then serving as
a Red Cross ambulance driver in France. Disney had been too young to enlist in the military
proper but was eager to serve. We can’t know if they were dreaming up magic castles and
magnificent spectacles, but whatever Hill and Disney talked about would land them in a
lifelong friendship and creative partnership.
Hill stayed in France after the war, eventually enrolling at the École des Beaux-Arts, a
prominent art school in Paris. While there, he walked the banks of the Seine amid the
famous or soon-to-be-famous artists, writers and others who called Paris their home during
that fateful time. They mingled in cafés and bars in neighborhoods like Montparnasse.
It was during this time that Hill first met Kiki Montparnasse. While we have no
documentation of their first encounter, family legend holds that it may have been in a life
drawing class, according to Steven. Wherever and whenever it was, Roland was smitten,
judging by the vast collection of images of Kiki that he acquired and kept the rest of his life.
These sketches, photographs and paintings done by various artists are part of the Roland E.
Hill collection.
Born Alice Prin, Kiki Montparnasse was a master of self-invention who used her beauty and
charm to become something like a 1920s Kardashian. Apparently born literally in the streets
of Burgundy, she had a hard childhood, bouncing around and sometimes having to steal or
work for food at a very young age. Flouting convention, she began posing nude for artists
around the age of 14.
Kiki became the muse to a troop of creatives, inspiring greats from Man Ray to the filmmaker
Fritz Lange. In Lange’s still popular science fiction masterpiece Metropolis, the female lead’s
iconic style is believed to be modeled on Kiki. Two of Man Ray’s most famous works, “Le
Violon d’Ingres” and “Noire et Blanche,” use her as both model and subject. Her memoirs
14 JAVA
MAGAZINE

feature introductions by Man Ray and Ernest Hemingway, who traipsed about Paris
at the same time as Hill.
According to Steven, his grandfather and Kiki dated for a few months before she
left him to begin her storied relationship with Man Ray. Heartbroken or not, Hill
completed his studies before moving back to the United States in 1924. He started
working formally with Disney in 1925. Whether it was during his initial stint in
France or on one of his later excursions that he first met Salvador Dalí is unknown.
What is known is that he knew Dalí and may have helped introduce Dalí and Disney,
who collaborated on a long-unreleased short film, Destino, finally completed and
released in 2003.
This information is important, as it could bolster Steven Hill’s claim that one of
the paintings in his grandfather’s collection could be Dalí’s long-lost “The Youth of
William Tell,” part of a famous series widely seen as a reflection on Dalí’s troubled
relationship with his father. The series also marked the beginning of Dalí’s split
with the Surrealists, who were angered over a depiction of Lenin’s face in one of
his paintings and went so far as to (unsuccessfully) attack the painting when it was
shown in the Salon des Indépendants in Paris in 1934. Painted in 1932, “The Youth
of William Tell” disappeared from the history books shortly thereafter.
Could this be the painting in the Roland E. Hill collection that was recently exhibited
at Unexpected? There is some evidence to suggest that it is. Emilee Simpson is
currently researching the painting for Unexpected and will reveal her findings at an
event scheduled at Unexpected on Friday, Sept. 15 at 7:00 p.m. If the painting is
shown to be authentic, could this mean that works in the collection appearing to
be by van Gogh, Monet and Matisse may be authentic, as well? This is all beyond
the knowledge and expertise of this reporter, but if the answer is yes, not only
would it be one of the most extraordinary artistic finds of the century, it would be
quite unexpected as well.
If you’re looking for something fun and thought-provoking, whether it’s a full moon
party, live body painting or the potential reveal of a long-lost work by one of the
20th century’s most groundbreaking artists, then you should make a journey to the
Unexpected Art Gallery.
734 W. Polk St., Phoenix
unexpectedartgallery.com
JAVA 15
MAGAZINE

ARTS
KIT ABATE
at Eye Lounge
By Amy Young
An exhibition that is as timely and fascinating as it is visually stunning, Where
We Once Were examines the intertwining of universal human emotions with
the anonymous nature of the Internet. Artist Kit Abate presents 57 pieces that
originate from the Missed Connections section of the website Craigslist—each its
own story and slice of life.
Each piece is paired with a Polaroid photograph taken by Abate at the location of
each post’s origin. See it through September 10 at Eye Lounge. We spoke with the
artist about the details of this complex project.
What inspired you to create this exhibition?
I was taking my work to different portfolio reviews, and I had these three images
that got grouped together, as they didn’t really go with anything else I was making.
I liked them but didn’t really know what to do with them. Two separate reviewers
brought up the idea of missed connections. I’d been thinking along those same
lines. I took the scientific approach and decided to look at all the ways people have
explored missed connections and how the subject has been dealt with. There’s
been novels written, cartoons and much more. In my investigation, I went to
Craigslist (CL) and started reading the Missed Connections section.
Was it immediately intriguing?
At first, it felt very surface, because 90% of them are directed towards strangers,
like “I saw you on the bus, you’re hot,” type of posts, and I wasn’t really attracted to those.
However, I kept reading and I found ones that are very clearly directed to specific individuals
regarding personal relationships and friendships—that was the meaty stuff I wanted.
Then you started pulling out the posts you were most interested in?
Yes, but the criteria then became that they had to have maps. On CL, you can
choose if you want a map and how specific you want your map point to be. I
thought it was so interesting that this idea—what I call shouting into the void—in
this limited and anonymous Internet space allows adding a very specific map point
to the post. For me, it allowed me to infiltrate these posts in a deeper way.
Each post in the exhibition is paired with a photograph. You took
the photos at each map point, right?
Yes. I went to every single spot. Every post with a map pin is where I went to
photograph. It became a very interesting dialogue between putting a very specific
place on the map along with this anonymous message.
16 JAVA
MAGAZINE

When you went to shoot, how did you determine what you were
going to photograph to correspond with the post?
I tried to get as close to the point as I possibly could. Some of them do have the
exact address or other specificities. And then observe my surroundings.
Did you intentionally try to relate the image to the text?
I tried to not read into the posts too deeply when I was making the photographs
because I didn’t want to fall into a trap of trying to literally express what the text
in the posts was saying. I did want to convey a feeling. There were three times
when I ended up in the middle of an empty field, and in those cases, I decided to
attack it from the point of a photographer and uncover what there was to be seen.
When you were reading these, did you become emotional?
It really resonated with me. I’m not a person who shares a lot of personal things
on social media. What resonated is that we have the need to share this personal
information while maintaining a level of anonymity, without everyone commenting
or liking or sharing. As far as my emotions, there are lines in some of these…I
could write a novel that starts with lines from many of them. There’s one that
starts with, “I forget about you every day,” which is very impactful—the type of
line that makes you think about your own life.
When you went to the locations, did it intensify any of those
feelings or emotions?
No, because most of the time everything was so banal and normal.
Did you hope to get a deeper look or see some of the people who
created these posts?
Not really. There were times when I was at an exact address and I’d think, “I
wonder if the person who wrote this is home right now,” or that they could be looking
out of their window at me and not realize that we have this weird connection. The
Internet is such a strange place and I find the anonymity that comes along with it to
be fascinating—that it can sometimes create a safety net.
Learn more about Kit and her work at www.thekitabate.com.
JAVA 17
MAGAZINE

CONTEMPORARY BRAZILIAN ART
At Phoenix Art Museum
By Amy Young
On September 1, the Phoenix Art Museum (PAM)
opened the doors on an exciting new exhibition,
Past/Future/Present: Contemporary Brazilian Art
from the Museum of Modern Art, São Paulo (MAM).
The panoramic show shines a light on diverse and
innovative works that were produced in Brazil from
the 1990s to the 2000s and is viewable through
December 31.
It gets doubly thrilling being that it is the first major
showcase in the U.S. of objects from the MAM’s
collection. The results of this unity between Phoenix
and São Paulo don’t stop at the exhibition level.
The show also features a large-scale, collaborative
installation that will be constructed with local
labor and materials, deepening the benefits of
intercontinental connectivity.
Past/Future/Present includes 70 works of art
created by 59 artists in a variety of mediums,
including painting, photography, sculpture, video and
performance. Featured artists include Albano Afonso,
Keila Alaver, Efrain Almeida, Rogério Canella, Carlito
Carvalhosa, Leda Catunda, Lia Chaia, Sandra Cinto,
Felipe Cohen, Rochelle Costi, Nelson Leirner, Jac
Leirner, José Leonilson, Rivane Neuenschwander,
Nazareth Pacheco, Regina Silveira, Valeska Soares,
Carlos Zilio and Marcelo Zocchio.
In their curatorial statement, co-curators Dr. Vanessa
K. Davidson (Phoenix Art Museum) and Dr. Cauê
Alves (Museu Brasileiro da Escultura e Ecologia de
São Paulo) talk about how the exhibition examines
regional and cultural identity. “More than a crosssection
of contemporary Brazilian art ... it constitutes
an exhibition of contemporary art made by Brazilian
artists. This distinction highlights a fundamental
question: In the era of globalization, in which the
internationalization of art has increasingly eroded
regional differences, what is ‘Brazilian’ about
contemporary Brazilian art?” It’s an important
question about this exhibition and for regionally
focused exhibitions worldwide.
It’s not something that can be explained simply,
and invites a continuous examination. Later in their
statement, the pair gives some answers to their
question, saying, “At first glance, it may seem that the
works in Past/Future/Present have little in common
beyond artists of a common origin. The works range
from small objects to giant installations, each unique
in scope and subject matter. However, the exhibition
reveals that there is much that binds these objects
together conceptually. These pieces dispel stereotypes
of a country often viewed through a lens of exoticism,
eroticism and violence, and the featured artists embrace
the difficulties and opportunities that accompany art
production in an era of globalization. Some thematic
strands that tie the works together include an
engagement with Brazilian history, social norms,
indigenous mythologies and national traditions in
Brazilian art as well as global art trends.”
As it implores important conversations to develop and
grow, Past/Future/Present is especially remarkable
18 JAVA
MAGAZINE

in presenting some very significant and provocative
pieces of art. For starters, there is multimedia artist
Dora Longo Bahia’s Fulvio e a Medusa (Fulvio and
the Medusa), 2001. The Cibachrome transparency,
light box and alabaster piece is eerie and subtle. A
male figure seems to reside inside, as if trapped,
rather than externally portrayed on the artwork’s front
surface. Regarding the piece’s name, perhaps it’s a
result of an encounter with Medusa. Longo Bahia’s
work never shies away from depth or darkness. An
artist born in the early ’60s, under the shadow of a
military junta, she began making art in the mid-’80s,
and an understanding of adversary in her work does
not come as a surprise.
Keila Alaver’s Sem titulo (Untitled), from 2000,
is leather, photograph and wood. What from a
distance appears to be conjoined twins is given a
new perspective upon closer inspection. Heads are
separated, bodies are indeed joined, but only by arms
wrapped around one another’s shoulders. Faces and
other body parts are shrouded. Though it’s a look at
humans via their physical constructs, the disjointed
nature of their beings, along with the faceless
presentation, makes the work a reflection on the
delicacy of human nature and bonding.
Cássio Vasconcellos’ Uma Vista (A View), from 2002, is
a Lambda photographic print assembled in a tree-like
presentation that offers slick slices of city structures.
José Damasceno’s Nota sobre uma cena acesa ou os
dez mil lápiz (Note on a Lit Scene or the Ten Thousand
Pencils), from 2000, is actually 10,000 pencils inserted
into a wood panel that create an image of a person
looking at a large screen. It’s minimal, with just outlines
of the figure and the object, but given shading and
dimension through the pencils’ placement.
Those examples are just a handful from this extensive
exhibition that gives us an important firsthand look at
Brazilian contemporary art. Throughout the duration
of Past/Future/Present, PAM will host related events
that both celebrate and inform guests about Brazilian
culture, including music and dance performances.
Related films include Vidas Secas, a movie from the
’60s that looks at oppression in Brazil in the 1940s.
Past/Future/Present
Contemporary Brazilian Art from the Museum of Modern Art,
São Paulo
September 1 – December 31
Phoenix Art Museum
Steele Gallery
www.phxart.org
Dora Longo Bahia, Fúlvio e a Medusa (Fúlvio and the Medusa), 2001. Cibrachrome
transparency, light box, and alabaster. Museum of Modern Art, São Paulo Collection,
Loan from Eduardo Brandão and Jan Fjeld. Photo by Ding Musa.
Pazé, Transeunte (Passerby), 2001. Articulated puppet of plastic resin and
polychrome paint, clothing, sneakers, and metal support. Museum of Modern
Art, São Paulo Collection, Energias do Brasil Acquisition Prize, Panorama 2005.
Photo by Marcelo Arruda.
José Damasceno, Nota sobre uma cena acesa ou os dez mil lápiz (Note on a Lit Scene
or the Ten Thousand Pencils), 2000. 10,000 pencils on wood panel. Museum of
Modern Art, São Paulo Collection, MAM São Paulo Contemporary Nucleus
Acquisition. Photo by Romulo Fialdini.
Sandra Cinto, Sem título (Untitled), 2000. Automotive paint on wood and iron.
Museum of Modern Art, São Paulo Collection, MAM Contemporary Nucleus
Acquisition. Photo by Romulo Fialdini.
la Alaver, Sem título (Untitled), 2000. Leather, photograph, and wood.
Museum of Modern Art, São Paulo Collection, Loan from Eduardo Brandão and
Jan Fjeld. Photo by Ding Musa.
JAVA 19
MAGAZINE

GALLO BLANCO
THE REINCARNATION OF THE ROOSTER
By Sloane Burwell
Very few restaurants get a do-over. Usually, when a spot closes, that is the
literal end, memories and flavors be damned to the trash heap of history. Maybe
because we are Phoenix, like a phoenix, a place can climb out of the ashes and
start again. But will it be any good?
I thought a lot about that when Gallo Blanco closed. I dig Otro Cafe, Chef Doug
Robson’s other spot (ha ha), but it wasn’t Gallo. I know that is kind of the
point—separate spots, separate vibes—but there was always something
hopeful about such a successful place finding a way to reimagine itself.
I’m quite certain that I wasn’t the only person in town who kicked off a
countdown clock when the announcement came that Gallo was opening again,
and I’m pretty sure I was not alone in crossing my fingers and praying to the taco
gods that it would be good again.
After its fateful opening in July, I can confirm: it is as good, if not better than the
original. Of course, I’ve had to go back numerous times to collect more data points
(read: tacos), so I feel confident in asserting that happy asada days are here again.
It took about a year to rehab its new home, an almost 100-year-old brick building
in downtown’s Garfield neighborhood, the kind that are disappearing faster than
you can say ensalada cortada. And that amount of time was clearly spent doing
the Lord’s culinary work. The new Gallo Blanco is shiny, modern and welcoming.
The front of the space is the bar area, with full service. I must confess that I
prefer the back section, the fast casual model, with a counter for ordering. Busy
times include a creative solution, where the hostess checks you in and drops your
number on a table while you proceed to order, so there is no circling like a shark
hoping a spot will open soon.
The menu is more streamlined and sophisticated, while never losing what made Gallo
Blanco so tasty the first time, with a few new kicked-up additions. Fans of tacos will
appreciate that they have now been stripped down to their core—grilled meat, a
smattering of onions and herbs, perched on freshly made tortillas.
Of course, the Carne Asada (all tacos are $3.25) is not to be missed. A slightly smoky,
flavorful explosion that is even better than its previous version. You’ll love the Al
Pastor, a kicky pork creation, and their Vegetable version is no mere afterthought.
You’ll also want to try the Campechano, a carnivorous blend of al pastor, carne asada
and longaniza that is inventive and tasty, an homage to protein.
Taco fans rejoice, because you can now order tacos family style, dubbed La
Parillada ($15). A sizzling cast iron skillet arrives with enough filling for at least
six very generous tacos, with tortillas on the side. I love the addition of a grilled
long green onion, and you’ll even get a choice of two kinds of filling. I love the
Campechano and Vegetable combo; it feels almost virtuous. Veggies change
seasonally, and today it was a savory mix of squash, onions and earthy mushrooms.
Don’t skip the Torta, a resplendent mix of the aforementioned options (carne asada,
al pastor or veggie $9, or campechano $10), served on a warm grilled bolillo roll. If
you’ve been missing their Naco Torta ($10), you’ll find it again, and it is every bit as
ooey gooey as it once was, thanks to the expertly fried eggs placed on top of grilled
ribeye and fresh guacamole.
Fans of their housemade sauces can rejoice—they are back. Consider upgrading
to the La Charola ($9), a tray of perfectly thick, salty, warm chips served alongside
three more housemade salsas and an impressive guac, loaded with hunks of orange
and grapefruit.
I’d forgotten how much I loved the Chicharon de Queso ($7), a slab of perfectly
grilled cheese, crisped to perfection until it mimics a tortilla chip, and its luscious
yellow spice that packs a surprising hit of heat. Personally, I think strips of this
crispy cheese treat are the perfect delivery mechanism for the aforementioned guac,
but it’s fantastic on its own. This dish defies the laws of physics, since there is no
spreading oil slick anywhere, which happens every time I attempt this at home.
Salads are no mere afterthought here, as well. I’m still in love with the Cortada
Dos ($10), quite possibly the crunchiest salad on earth, filled with ribbons of kale,
crunchy peas, hunks of grilled cheese, egg and giant local corn nuts. Spend the
extra $4 to gild the lily with some of the killer carne asada. This time there are no
size options (as opposed to the small or large before). Sized slightly larger than
previously, this iteration comes served in a gorgeous ceramic bowl that almost
seems handmade.
Gorgeously grilled seasonal veggies ($5, the same as in the tacos) also come in a
largish bowl, and are nearly a meal in themselves. I confess to using chunks of the
crispy cheese to scoop up the veggies, which seemed to vary from visit to visit.
One of the perks of truly seasonal cooking is that particular fact—the dish evolves
through the year. I’m especially looking forward to eating veggies and herbs that
will one day be grown on site.
Perhaps my favorite new addition is the Enveluto ($12), which is almost like an al
pastor burrito, except the tortilla has been replaced with another form of grilled
cheese. I sense a theme here, a delicious theme. You’ll find tiny bits of grilled
pineapple folded inside, with another slice perched atop. It’s no mere garnish—this
pineapple amplifies the flavors and contrasts with the slightly kicky heat.
An impressive cocktail program is in effect, with handcrafted drinks ($10) and an
impressive list of mezcals, served in a generous two-ounce pour. Like all things at
Gallo, expect selections to rotate with the seasons. Their house margarita is an
affordable option ($6) and during happy hour, cocktails are a dollar off.
I shouldn’t have been worried about this version of Gallo Blanco. Doug Robson is
a great chef with a fantastic team and an impressive attention to detail. It’s clear
the entire project is a labor of love. It looks great, feels like it’s always been there,
and Robson managed to keep the existing signage of the building, a cool nod to its
previous life. He has built upon Gallo Blanco’s foundation, and it is already special. I
can’t wait to eat what happens next.
Gallo Blanco
928 E. Pierce, Phoenix
Monday: Closed
Tuesday – Thursday: 10 a.m. to 11 p.m.
Friday – Saturday: 10 a.m. to midnight
Sunday: 10 a.m. to 10 p.m.
JAVA
MAGAZINE
21

22 JAVA
MAGAZINE

23 JAVA
MAGAZINE

24 JAVA
MAGAZINE

25 JAVA
MAGAZINE

26 JAVA
MAGAZINE

27 JAVA
MAGAZINE

28 JAVA
MAGAZINE

Artificial by Larry Alan and Tara Hutchison
Models:
D’Arcy Aleric Goodman (IG: @Princessbitchass)
Jeff Young (IG: @therobotjeff)
Alex Bain
Justin Care (IG: @Justin_care)
Brandon Toigo (IG: @scruffylookingnerd)
Ben Lewis (IG: @cursh)
Tyra Phillips (IG: @ty.ra.nt)
Clothing and Style by Modifiedminds
(IG: @Modifiedmindsclothing)
Hair by Laura Slater
(www.laraslatersalons.com)
Makeup by Yolanda Lake
(www.yolandalake.com)
JAVA 29
MAGAZINE

LASER.
MOUTH.
EXPLOSIONS.
THE WOODWORKS
By Mitchell Hillman
30 JAVA
MAGAZINE

It boggles the mind that The Woodworks have
been storming local recordings for five years
now. During that time they’ve gone from
fringe curiosities to one of my local favorites.
Even if they’d never recorded a single album, I would
be checking into their live shows, which are
always eventful rock ’n’ roll experiences.
In 2012 they appeared on the scene with Fregoli
Delusions, which served as their calling card. Safe
Mode was their first album that I reviewed in 2014.
By then it was clear they were on to something,
cementing their own sound and flying with it. Safe
Mode sealed the deal for me on being a fan. In May
of 2015 they released their most accomplished
album to date with Unhealthy Decisions, an album
they’ve played behind for some time while building
an audience.
It had been far too long since the band had released
a record, and they surprised everyone at the start
of this year with Au Naturel, an acoustic EP that
proved, even unplugged, this band can rock. Upon
that release, the band let me know an album was in
the works and to look forward to an autumn release.
Well, here we are.
Solo Lounsbury (vocals/guitar), Steve Beer (bass/
vocals) and Konstantin Bosch (drums) have returned
once more as The Woodworks, this time with the
stunning LASER. MOUTH. EXPLOSIONS. It’s got all of
the funk, the folk, the fun and a hell of a lot of rock ’n’
roll happening, with an emphasis on experimenting
with the limits of the sound. It’s clear that all three
members are accomplished musicians, and this is
their cornucopia. Experimental thrash folk may be
the best way to describe their sound when all is said
and done.
If you thought you had The Woodworks figured
out, the opener, “Ain’t Got the Nerve,” may prove
otherwise. It’s one hell of an introduction, and the
immediate reaction is that the band has had time to
work through some amazingly complex compositions
and intricate arrangements since Unhealthy Decisions.
This tune is all over the place, unleashed, untethered
and unfettered by convention. Don’t worry about
locating a catchy hook, just enjoy the five-minute ride
of madness.
In startling contrast, clocking in at under a minute,
“The Woodworks Show” sounds like a TV theme
song for a show about puppet rock. It even ends with
an amusing voiceover introduction. I guess, if this is a
television show, “Ain’t Got the Nerve” is the opening
tag and this is the credits.
“Elephant” explodes with some sax and bass
madness, right before the funk kicks in and Lounsbury
delivers a smoking hot vocal. While the music swirls
in three dimensions, the voice is the centerpiece,
the eye of the storm. This should be in consideration
for a single, and the imagery would lend itself to an
amazing video. I’m a sucker for sax, especially when
it’s Kyle Woo from Banana Gun. Whether in her own
band or helping out Wyves and The Woodworks, her
sax has a style you can hear a mile away.
The pre-album single, “The Doctor Says I’m Fine,”
immediately follows. If you are a fan of the band, you
may be familiar with this tune from their live set. The
Woodworks present their music on their own terms
and continually explore the edges of their comfort
zone. I suppose there is a blues rock backbone in
there somewhere, but they have a unique sound all
their own. It’s arty, literate and entertaining, and this
song is one of the finest examples of that. It’s a rock
monster that is unrelenting from beginning to end.
“Without a Crew” may be one of my new favorites
because it’s so damn weird. I’m pretty sure this is
Steve Beer going to town on lead vocals and the
strange mouth sounds turned into psychedelic loops
that are as fascinating as they are disturbing. The
construction keeps your brain endlessly entertained.
I’ve listened to it about a dozen times, and I hear
different things every time. It’s a psychedelic swirl of
madness to be sure, but it also sticks in your head.
The “regular” Woodworks groove returns on “Fly
Trap,” another showcase for Lounsbury’s vocals,
but with one hell of a hook. It may be more of a
straightforward rock song than you’re used to with
this crew, but it’s every bit as engaging as their sonic
experiments. The solo bass riff alone blows my mind.
This is as close to pop as this band ever gets, which
means you’re going to be hearing Solo singing this
long after it’s over.
“I Am the Seeker” veers immediately off that path
and gets into some truly weird and wonderful territory.
Similar in the production loops to “Without a Crew,”
this expands more on the psychedelic approach.
At one point, it features a fiddle courtesy of Kevin
Wiscombe (Dirty Sunset) as layers of vocals collide
and rounds of music are added. It may only be three
minutes, but it creates an entire aural universe—a
place the listener doesn’t really want to leave.
The finale for the album is a behemoth, a rock ’n’ roll
juggernaut spanning an epic twelve and a half minutes.
That impression is sensible, since it’s named for a
Demon Duke from The Lesser Key of Solomon called
Amdusias. It starts off slow, with gentle percussion,
guitar and drum rolls, and lulls you into a bit of
a dream. The gauzy tapestry of sound surrounds
you, and you feel you have been dropped into a
completely different album of lush dream pop and
hints of shoegaze fantasy.
That lasts for the first quarter of the song before
pounding drums and a jazzy vocal introduce a total
gearshift and the guitar rages. Soon a new bass
riff emerges and the listener is transported to
another part of the song, seemingly controlled by
Beer while guitar licks wrap around his pounding
groove. At the halfway point, you fall down another
dream-pop rabbit hole with Lounsbury sounding like
Debbie Harry from Blondie. In fact, this portion of
“Amdusias” sounds like Blondie. A crunching guitar
riff cuts into that and we’re back to a more typical
rager for The Woodworks, but only for a minute.
The song, like Amdusias himself, refuses to rest in
one spot for too long, and eight minutes in it sounds
like the beast has finally emerged and darkness
pervades. Hell’s cacophonic composer aside, slowly
Lounsbury’s vocals reclaim the liberating light found
earlier in the song, while the snares kick up and
the guitar becomes melodic once more. Leading
the album to its ultimate, magnificent conclusion,
a hurricane of guitars and vocals disintegrate into
themselves until they are nothing but echoes,
reverb and feedback. It is rumored Amdusias prefers
trumpets, but somehow I think he’ll be honored with
this epic tribute.
LASER. MOUTH. EXPLOSIONS. is The Woodworks’
most mature and most experimental album to date.
While it is artistically challenging, to say the least,
it’s an obvious show of the band pushing themselves
beyond their typical comfort zone. There is no filler
here, and the eight songs work together to create a
cohesive vision.
I thought the title was ridiculous when I first heard it,
but upon hearing the album, it makes perfect sense.
The band creates new dimensions on this go round,
but don’t confuse the map with the territory. Let the
songs take you on the journey.
The Woodworks are set to release LASER. MOUTH.
EXPLOSIONS. on September 16 with a celebration
at Last Exit Live, where they’ll be supported by Sara
Robinson Band, The Haymarket Squares and The
Psychedelephants.
JAVA 31
MAGAZINE

THE REDEMPTIONS
The Worst. Summer. Ever.
PAPER FOXES
Devil on My Shoulder EP
THE EDISONS
Summer Camp EP
The Redemptions follow up last year’s Broken Hearts
and Shattered Glass with the wryly titled The Worst.
Summer. Ever. The Best. Idea. Ever. In theory it’s their
second EP, but what they’ve done here is brilliant
beyond the songs. The new EP is actually part of a
full-length album that contains the entire debut EP,
plus four songs that make up the second EP, as well
as three acoustic tracks that serve as a preface,
intermission and afterword.
Anthony Fama explained it to me at the record
release party, and I didn’t understand what the hell
he was talking about until I gave it a spin. It’s a
creative retro-construction that makes it sound like
a consistent record. Frankly, with the addition of the
three acoustic tracks, this was more new material
from them than I bargained for.
“Que Sera” is a quick and gentle introduction before
launching into the five songs from the first EP, with
limited themes that will be expounded upon across
the record. Then you’re brought to “Belgian Moon,”
which is surprisingly complex and possibly one of the
coolest songs found here. “But Anyway” kicks off the
EP proper—at least the four songs that have been
part of their classic set for some time. “Call It” kicks
up the angst a bit and delivers a gutsy rocker.
While the first two songs were released as preview
singles, I’ve been holding out for “Sail” and “Rain”
forever, and they are delivered here in powerful
succession. You’re literally waiting for it to pour at
the end of “Rain” from Fama’s lyrical insistence,
which he managed to recreate at the release party.
The album finishes with the oddly beautiful “Wo Ai
Ni” completing the entire listening experience.
Paper Foxes started as arty darkwave surfers riding
their own pipeline of death disco. It’s been a pleasure
watching their progression over the last few years
as they’ve shifted their lineup a bit and found their
own sound. Sure, there is plenty here that nods to
Interpol, Joy Division, Bauhaus, but this round they’ve
got the dance sound of the damned working for them.
“What Are You Afraid Of?” was the preview single,
and there was no lack of darkness on display. It kicks
off the EP perfectly, setting the mood and pace for
the rest to follow. The title track gets heavy on the
synth and almost alludes to the New Romantics, not
only musically but vocally. If they were looking for a
song to do a blue and white video, à la 1982-85, this
is the one. It definitely expands the horizons of their
sound, adding a funky pop to it.
“Breathing Underwater” gets into some serious
dance territory, and it may well be my favorite track
here. The dynamics of the song are bright, danceable
and upfront. It may have to do with bassist Uche
Ujania (Mr. UU, Jet Grind Mobb) handling the vocals
on this one. It just also happens to be a song that
belongs in alternative dance clubs, with a remix or
two. Ujania takes the lead on “Not Over Yet,” with
Jacobson on harmonies, and the result is stunning.
The song is delivered in heavy shades of New Order
or Depeche Mode, with a chorus that sounds lifted
out of the dance charts from 1988. I’ve been a fan of
Uche’s vocals for some time, and when all is said and
done he totally steals the show on this edition of the
Paper Foxes.
The Edisons emerged last year with their stunning
debut, Space Whales. Quick on the heels of that
comes their Summer Camp EP. In keeping with the
mood of many records released this summer, it’s
steeped in a bit of darkness. The opener of “Life
in Limbo” gives you the vibe from the get-go: this
is going to be a collection of indie rock that will
never once allow you to get too comfortable with it.
The Edisons explore more of an edge here, feeling
out their sound and creating songs that feel more
visceral.
“Bad Acid” follows with a vocal that becomes the
main attraction for its restrained desperation. The
sheer heaviness of the guitar at the start gives a
good indication that “Dancing with the Sharks” is
going to be nightmare material. Think early, early
Flaming Lips and Dinosaur, Jr. go to buy a keyboard
at a shop run by the Hold Steady. “Reptile Blood
in Neon Lights” is another shade of darkness, in a
completely different way. It reminds me of slowcore
at the start, but Caleb Followill’s singing insists on
bringing this into the light explosively halfway in.
Shifting gears into a comparatively pop sound,
“Shiver” is wonderful and an easy single if they want
it. It’s not necessarily the flagship of their sound and
is unlike anything else on this record. “Grin Reaper”
finishes the EP with a touch of cacophonic madness
before resting into a more melodic maelstrom. Vocals
rage, guitars create textural tapestries, and the song
leaves you wanting even more from this powerful act
emerging out of Phoenix. The talent is obvious, but so
too is the attention paid to constructing every nuance
of this record.
32 JAVA
MAGAZINE
Sounds Around Town By Mitchell L. Hillman

DENT
tweaker EP
DOMINICK PROVENZANO
Dominick Provenzano EP
DIRTY SUNSET
Give In
dent’s first single was called “1996,” and it sounded
like indie rock straight out of its prime. Their selftitled
debut EP only cemented this opinion. Clearly
this crew grew up well aware of Sebadoh, Pavement
and other progenitors of the lo-fi revolution. Not
unlike those pioneers, this entire EP could fit on a
45 for its succinct brevity. The thing that dent gets
right, in the same way as, say, Guided By Voices, is
that production value is discarded without losing any
sense of hook or melody.
“Hi Five” comes off as math rock madness and
something Slint would be proud to have released.
There’s a definite “No Wave” post punk feel
to it, recalling the vibe of late 1980s American
underground, but with a hidden pop hook. Coming in
at only 97 seconds, you kind of want “Keep It Cool”
to be longer, but it’s got a total indie pop sound
buried beneath Sonic Youth-ful musings.
The conclusion of “Rebeka” makes me think two
things. One, that dent is probably one of the most
underrated bands in town. And two, that after
waiting a year and a half for their second record,
it’s way too short. This song should be pressed as
a single, because it may well be their masterpiece.
If nothing else, the repetitive guitar line rings in my
head for days. It’s given a slightly bizarre coda that
falls apart into sounds of the “tape” squelching and
failing. dent doesn’t play out all that often, and they
release records less frequently than most, but I’ll take
whatever I can get from this crew.
You probably know Dominick Provenzano as the voice
behind Day Before Plastics or Old Star, but now he
has released his debut solo record, and his voice
has never sounded better. Provenzano is one of my
favorite vocalists in town and has been for some
time. There’s a quality in his voice that I simply love,
and it’s not something that can be learned or trained,
it just comes down to genetics and character.
He’s not exactly alone on the record, having
assembled a damn fine ensemble that includes
Gram Benike (slide guitar), Daniel Byers (piano),
Roy Cameron (drums) and Travis Snowberger (bass).
These songs would have seemed completely out of
place on a Day Before Plastics record, but outside
the context of his bands, Provenzano is allowed
to flourish with sentimental songs heavy on the
Americana vibe. There’s a feeling of Tom Petty meets
Mark Oliver Everett from Eels here, especially on the
opener of “Cruel,” a song Petty should record.
“All My Flowers” gets an even deeper country
treatment, with both guitar and vocals heavy on the
twang. Notable, though, is Benike’s amazing slide for
being surprisingly upbeat. I’m not sure if Provenzano’s
been listening to the Flying Burrito Brothers, but
you get the sense he has. By the time you get to
“Twilight Road,” you realize this is a great Sunday
morning record. Even though it has a far more stark
arrangement in contrast, “City With Lights” only
backs up this feeling.
There was an instant sense of excitement with the
pre-release single, “Get Loose,” and rightfully so,
because it’s one of Provenzano’s finest songs. The
Dylan-esque harmonica that kicks off the finale of
“Come Back” is as refreshing as the relative lightness
of the song itself. It’s a great way to finish off a first
solo release, with a smile and a sense of warmth.
Sounds Around Town By Mitchell L. Hillman
If I didn’t discover Dirty Sunset at the very start, it
was damn near it. I’ve been badgering them about
proper recordings for over a year. The band was
born as a side project for singer-songwriter Juan
Pablo Blanco and violinist Kevin Wiscombe but soon
became a fulltime endeavor. Currently, Dirty Sunset is
Blanco (vocals and guitar), Kevin Wiscombe (violin),
Adam Newbould-Schlund (bass guitar) and Chris
Chapman (piano/organ).
Give In, their debut album, features studio
performances by Thomas Hurley on drums, David
Moore on saxophone and studio musician turned full
bandmate Chris Chapman on piano and organ. The
album is so cohesive it’s difficult to pick favorites,
but the overarching architecture is exploring how far
the combo of guitar and fiddle can go. The sound is
intoxicating and unusual—approaching gypsy rock
in its mysticism—while clearly revisionist indie folk,
tempered by the Americana flourishes on the fiddle.
It’s unlike anything else going at this time, which is
exactly what makes their sound so engaging.
The album gets me high as I wander through it from
end to end. It’s a fantastic debut from a band that
emerges as surprisingly mature—comfortable with
both near-pop simplicity and intricate orchestrated
arrangements. There is magic all over the place here,
and it comes out of the combined vision of Blanco
and Wiscombe. Be sure to catch Dirty Sunset on
September 9 at Last Exit Live when they release Give
In, joined by House of Stairs, Banana Gun and The
Stakes.
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
LAS CHOLLAS
PELIGROSAS
Bringing Change Through Music BY TOM REARDON

Las Chollas Peligrosas are ready to change the world. Perhaps it will be one
beautiful song at a time, or it may be due to a persistent effort to be part of the
positive change this weary world needs. But make no mistake about it, Las Chollas
Peligrosas exists because we need them, and their time is now.
The six talented individuals who make up Las Chollas Peligrosas (which Google Translate says means
“The Dangerous Chollas”) are all female and all committed to the cause of creating beautiful music while
getting involved in making the world a more positive place.
Andria Bunnell, who is also a member of the wildly popular Phoenix Afrobeat Orchestra (PAO), adds vocals
and percussion to the mix. She wants one thing to be perfectly clear: “Some people are supposed to
be on the frontlines (of change) and some people are not, but we can utilize our fanbase to benefit the
community. We want to partner up with the community to address issues through our music and want
to have a wide variety of people involved. For us this isn’t just about a band. It is about a movement.”
Las Chollas Peligrosas is about creating a vehicle where fans and the community can get involved in
making their world a better place. There is also the benefit of hearing some truly great music, and
that is never a bad thing. Bunnell is joined by Scottsdale’s Anameike Quinn on upright bass and
guitar, Tempe’s Tatiana Crespo on accordion, Phoenix’s Melissa Medina on guitar and flute, Mesa’s
Rachel Villa on guitar, and another Phoenician, Marian Heinekken, on violin and percussion. Each of
the women in Las Chollas Peligrosas also sings lead on at least two songs per set as they play more
and more packed shows around town.
The six women who make up the band are all avid supporters of local music, citing bands like Bunnell’s
PAO, Snake!Snake!Snakes!, Jerusafunk, Playboy Manbaby and many others as influences. They enjoy
playing places like the Crescent Ballroom (Phoenix), Shady Park (Tempe) and anywhere, really, where
people want to sing along, dance and have a good time.
We caught up with the band via email and phone as they prepared for a tribute to the late great Sharon Jones
of the Dap Kings in August at Crescent Ballroom, and here is what they had to say:
How did Las Chollas Peligrosas come about?
Andria: I was talking to my friend Mike Logan, who helps to put on the Coronado Porch Concert Series in the Coronado
neighborhood. I had mentioned that I missed singing in Spanish so I was putting a duo together with Melissa Medina,
playing traditional Mexican songs. He was telling me that the next porch concert series was going to feature all women, so
it seemed like our new thing could be a good fit.
But as I thought about it, it just seemed like it would be so much cooler to add some additional instrumentation. There
were several other ladies around town that I’d really wanted to work with, so I hit them all up. Everyone was totally
into it from the jump. The thought was that we were only getting together for that one gig, but when we got into a
room together and started playing, we were like, “Um, I think we just started a band.” It was magic. That just doesn’t
happen very often.
At first, we were just going to play some traditional Mexican music, but we realized that everyone in the band was
a songwriter with incredible originals. So we thought, why not play a couple of each person’s originals and throw in
a few covers? Amazingly, although our styles are all different, everyone’s songs just seem to flow and complement
everyone else’s.
Where was your first show and when was it?
Andria: Our very first show was at The Lost Leaf. We had decided that it might be a good idea to do a show to get
the bugs out before the main event—the porch concert series. At this point, we had no idea what the response was
going to be, so we figured it would be an off-night show that would be super chill. Then we put up a Facebook page
and got 500 likes in two days, and we were floored.
We realized then that this thing might start taking off faster than we anticipated. That night at The Lost Leaf ended up
being packed, and we were overwhelmed by the response. Because of that night we were asked to play our second show
at Viva Phoenix two nights later—all of this before the show that we were originally getting together for.
JAVA 35
MAGAZINE

Then, of course, the Coronado Porch Concert Series was just incredible. That day was
really special. The whole neighborhood welcomed us with open arms, and we really
felt appreciated by our community.
What do you think about the current state of the Phoenix/AZ music scene?
Andria: We are blowing up! People have been sleeping on Arizona for a while, but
that’s about to change. Honestly, there is just WAY too much talent for it not to happen.
I feel like we are on the verge of something big happening. Not even kidding, like a
Seattle in the ’90s situation.
Except I don’t think it’s going to be about one genre. We have so many talented bands
here that are from different genres but they are all KILLIN’ IT, that I think some real
national and international recognition is on the horizon. You can quote me on that
(laughs).
Tatiana: I think that the music scene here in Phoenix is highly underrated. We have
so many wonderful musicians that play all over the Valley. From jazz, to punk, to Latin
music, Phoenix offers a great variety of acts every night of the week. I love being a part
of the music scene here.
How does Phoenix and/or Arizona influence your sound?
Andria: It’s been quite a shift in perspective for me since the early days of when I first
moved here. I talked a lot of crap about how little of a scene there was, and after a
couple of years, I decided to move back to L.A. Funny thing was, it only took a couple
of months back in L.A. for me to realize that I was wrong about Phoenix and that there
was a cohesiveness that I had just not found anywhere else. Long story short, it took a
couple of years for me to get back, but as soon as I did, everything started popping off
for me. It hadn’t changed that much, but my perspective had changed.
We have an incredible amount of talent in this valley and a thriving cultural scene that
has been growing exponentially. This band is a collective of women who have been playing
in different bands around the Valley for years. Our city has nurtured our growth and has
allowed us to cross paths and converge when it was the right time to happen. Arizona is
in all of our hearts. It is a magical place where we were meant to unite for our purpose.
Melissa: We all have experience playing with other groups, so we all bring something
different to the table. Arizona has so many interesting and diverse groups, and
we strive to showcase each lady’s strengths and individuality. Personally, my song
choices and compositions are a reflection of the different acts, musicians and venues I
encountered in Tucson.
Marian: Phoenix is growing rapidly, and people are craving new acts, new music. LCP
offers a variety of sounds and textures. I think that’s why we’ve been so successful.
Our music can be simple or complex, and I think we take people on a roller coaster
of emotions. It is rewarding seeing the people’s expressions as they embark on the
Chollas train.
Favorite local bands? Who influences you?
Andria: That is a really tough question. I don’t even know where to begin. It’s like when
people ask what my favorite song is. That’s like asking which limb I like better. I don’t
even know where to start. What genre, what period, based on what criteria? (laughs)
I’m kind of a music nerd. The Gaines Brothers are mind blowing, as is House of Stairs,
Son LED, NDGO Sista, The Geibral Elisha Movement, Treasurefruit, Lowlands, Playboy
Manbaby. But seriously, the list could go on and on.
36 JAVA
MAGAZINE

As far as influences, of course we are the totality of all we have experienced. My
parents were/are musicians who played rock, blues, reggae and a variety of styles. My
grandparents were mariachi musicians and were also huge fans of jazz. My brother
was a DJ who started out at the beginning of hip hop. I had so many influences
growing up.
Rachel: This band was formed in the heart of Phoenix with the intention of creating
music to bring light to issues involving human rights on all levels—things that affect so
many people here. We are the voice of those who are suffering and those fighting every
day to rise above and stand strong, despite people trying to knock them down. We are like
the cholla cactus we are named after. Our music is our message for all people.
When you’re not busy being Las Chollas Peligrosas, what are you doing?
Marian: Teaching violin at Pan-American Charter School.
Melissa: I am a loan officer for a company in Scottsdale, and I really enjoy helping
families obtain home ownership. I also love to play mariachi music, so you might find
me learning some traditional tunes on guitar or playing with the all-female Mariachi
Rubor. Another job I enjoy doing is tutoring Spanish. I also like to cook, hike, read and
travel in Mexico.
Andria: Usually playing with PAO and working with another idea for a band or show
that will take up all of my time.
Rachel: I am a mom of two amazing boys, and I work full time as a stylist at Madison
Avenue Salon and Day Spa.
Anameike: You’ll find me on the mic in my rock band Treasurefruit or running around
planning the next Sidepony Festival in Bisbee.
Favorite song of yours to play, and why?
Tatiana: My favorite song that we play is “A Medias.” I absolutely love playing cumbia
because it gets everybody dancing. It makes me feel like I am the audience and they are
the performers. It’s such a fun interaction!
Melissa: I enjoy playing all the songs! The two that stick out are “It’s Not For My Life”
and “Cuando Vivia.” On the flute, I really like jamming out to Anameike’s “Triple Fates.”
Andria: One of the most beautiful things about this band is how unique the songs are
that each lady brings to the table. If we are missing just one component, it feels like we
are missing a limb. Now that these songs are in the fabric of my being, I would feel a
profound loss without any one of them.
Rachel: I love playing “Bruja.” Everything about that song and the way the girls play it is
amazing. But I do love all of the songs so much.
Anameike: One of the songs that drew me to the genre is a cover featured in our set,
and it haunts me to this day. It’s called “Toro Mata.” But things get serious when we
strike up the cumbia on our original songs like Melissa’s “A Medias.”
You can check out Las Chollas Peligrosas at these shows coming up:
September 9 - Tempe History Museum
September 29 - Yucca Tap Room for Tempe Art A Gogh-Gogh
October 21 and 22 - Museum of Northern Arizona
October 28 - Apache Lake Music Festival
November 11 and 12 - Sidepony Music Festival
JAVA 37
MAGAZINE

GIRL ON FARMER
By Celia Beresford
When my dad and uncle decided it would be fun
to buy a boat, they got a 27-foot speedboat named
“The Intruder.” Shortly after joining the marina,
we discovered that our boat’s name was more
appropriate than we could have known. A marina is
essentially a country club where, instead of playing
golf, people dock their boats. Sure, my family was
doing well at the time, but my dad had grown up in
what amounted to the Little Italy of New Jersey. His
mom died young and his dad, my grandfather, worked
as a delivery truck driver—when he was working.
We were not “marina people.”
As one might expect, most marina folks had been
“boating” for several generations. We didn’t even
know that the word “boat” could be turned into a
verb. They had yachts called “The Silver Fox” and
“Horizons” or those sentimentally named for the
family matriarch, with Kennedy-esque titles like “The
Cristina” or “Jacqueline.” The Intruder delivered on
its name—we were defi nitely intruding.
In those days you could purchase and drive a boat
without a license or any evidence that you were
capable of commanding a high-powered water
vehicle. This was the case with my father and uncle.
Their sentiment was that they would buy the boat
and then learn to drive it and navigate the sea all at
the same time.
It seemed that one critical component of this
maritime education was vodka. While the boat did
not have a suffi cient number of life jackets, it did
have enough vodka on board to pickle a whale.
Being drunk was important because, as we kids soon
discovered, being sober could be frightening.
The unoffi cial cocktail was called a “Sea Breeze,”
which consisted of cranberry and grapefruit juice
mixed with vodka. The kids became the bartenders,
mixing drinks and serving the adults, while my dad
and uncle negotiated their way out of the channels
and no-wake zones into the open waters. Once we
were in open territory, whoever was driving would
blast on the gas, and the rest of the trip would vacillate
frequently between exhilarating and terrifying.
Just when it felt safe to be going what felt like 100
miles per hour over the water, we would hit a rogue
wave and the boat would fl y several feet into the
38 JAVA
MAGAZINE

While the boat did not have a sufficient number
of life jackets, it did have enough vodka on
board to pickle a whale.
air and then slap back down onto the ocean’s surface. Sea Breezes would spray
everywhere, and my brother would mix up a new batch while I retreated to the
cabin area, hoping we wouldn’t flip over.
I soon learned that the cabin was no safer. On deck you just had to be sure you
were gripping onto something so you wouldn’t be ejected from the boat on
impact. However, in the cabin you risked whiplash or a concussion as your head
slammed into the ceiling. I had a feeling the passengers on The Cristina were not
having the same experience.
Water-skiing posed its own dangers. The actual skiing was fun. However, once
you fell, you needed to let go of the rope and wait in the open water for the boat
to circle around and get you. I can still remember bobbing in the ocean like a
cork, watching The Intruder circle closer and closer, aiming to get near enough
that I could reach the side ladder. The ladder and the engine were much too close
for my liking, and although I implicitly trusted that my dad could do anything, I
never overcame the fear that I was one Sea Breeze away from a tragic accident.
I was afraid of limb loss by propeller, but my sister was the one who came closest
to actually losing her leg. Not being familiar with engines, I can’t name the size or the
horsepower or whatever is used to describe them. I can say that we were by far the
noisiest boat, and each weekend, the booming, gurgling engine of The Intruder
broke the tranquility of the marina when we came into dock.
Parking a boat is not easy. The boat coasts on the water and the steering
response is delayed. You need to know what you are doing. First, you need to get
your boat between the two bigger docks, which is what separates each “parking
area.” Then, you need to get into your slip, which is a boat parking spot, between
two narrow “finger docks.” There is a lot to hit and not much room for error.
As the Intruder was coasting into the area between the finger docks, my Sea
Breezed uncle way overshot and was going too fast. It was obvious we were going to
hit something, an event that the marina people had probably seen coming since we
joined their club. My father, also sufficiently Sea Breezed, shouted to my sister, “Stick
out your leg!” As my sister ran to the edge of the boat and actually stuck her leg
out, a horrified and experienced boater came to her rescue, yelling, “No!” and
waving his arms like a proper mariner. “No, she’ll break it!”
This gesture was kinder than it seemed, since the sacrifice of saving her leg
was that we ended up hitting his boat. Luckily, boats are pretty resilient and The
Silver Fox got away with just a scratch. Although we did notice that later in the
summer it was moved to a different slip on the other side of the marina. We
didn’t mind. Living the good life was fun, but being posh and upper crusty was
not our style. We were happy to intrude.

NIGHT
GALLERY
Photos By
Robert Sentinery
1
2
3 4
5
6
7
8 9
10 11
1. Kimberly and Vicky at the Van Buren soft opening
2. West Elm corporate in town for the Phoenix opening
3. Isaac Fortoul and friend at Gallo Blanco
4. Beautiful dancer at Casa Faranda in Castroreale
5. Bassim and Shauna at Phoenix Art Museum
6. Frida’s birthday celebration at the Heard Musuem
7. Look who’s pouring vino at the Xico Galería
8. Phoenix anti-Trump rally babes
9. More fun at the Van Buren opening
10. Kim E Fresh on the 1s and 2s at West Elm
11. Welcome to the new West Elm at Uptown Plaza

12 13 14 15 16
17 18 19 20 21
22 23 24 25 26
27 28 29
12. Pretty pair at the Van Buren opening
13. Patrick gets a kiss from lovely Alex
14. Rockin’ the kimono
15. Megan and Friend at West Elm Phoenix grand opening fete
16. Celebrating Frida Kahlo’s birthday at the Heard
17. Guarding the palace in Caltagirone
18. She’s got Nu Shooz on vinyl
19. Dorantes Trio takes a bow
20. “Frida and Diego” attendees at the Heard
21. Smile, you’re on JAVA camera
22. Mia and Shimeon at AZ88
23. Douglas and Denise at their Gallo Blanco preview party
24. Frida vibes at the Heard Musuem
25. Stylin’ at West Elm Uptown Plaza
26. Artlink is the beneficiary of the West Elm opening event
27. Portland and pal at the KegelBell launch
28. The grandson of Don Ciccio from “The Godfather”
29. Shop ’til you drop at the West Elm Phoenix opening

30 31
32 33 34
35 36
37 38
39
40 41
42 43 44
45 46
47
30. Chris and pal at AZ88
31. Will and friend got the black V-neck memo
32. Frida Kahlo birthday fun at the Heard Musuem
33. Ran into this guy at Phoenix Art Museum
34. Justin running wild on the streets of Palermo
35. KegelBell launch event with Stephanie and Kathy
36. Sheila the Brazilian with the cool B&B in Palermo
37. Celebrating Frida at the Heard
38. The amazing Dorantes Trio from Argentina
39. “20 Years of Printmaking” show at Xico Galería
40. Frontdoors media in the house for the KegelBell launch
41. Cuddles at the Van Buren soft opening
42. Bells and Bubbles Bash, KegelBell launch event
43. Frank, Marilyn and Joe, Xico’s 20 years of printmaking
44. Jazz harpist Park Stickney at the Castroreale Jazz Fest
45. Bells and Bubbles Bash
46. Street art strangeness in Sicily
47. Xico printmaking anniversary show attendees

48 49
50 51 52
53 54
55 56
57
58 59
60
61
62
63
64 65
48. All together now, Van Buren soft opening
49. More fun at Frida’s birthday celebration at the Heard
50. Rhetorical Galleries opening or RoRo
51. KegelBell launch event with Jane and pal
52. Who is that masked man?
53. Xico staffer at their anniversary show
54. Makeup artist extraordinaire Linda Valenzuela
55. The always-stylish Ed Wong
56. Jarson & Jarson at PAM
57. In the Frida spirit at the Heard
58. Fine mural art at the Van Buren
59. Jace Becker’s show at Rhetorical Galleries
60. House and his lady in the house
61. Van Buren soft opening with this crew
62. Behind the scenes at Xico Galería
63. Mykil and Mello at the Van Buren
64. Genet came out to play
65. Three cheers for Rhetorical Galleries

66 67 68
69
70
71
72 73
74 75
76 77 78
79 80
81 82
83
66. Servers with a smile at the Vanny B
67. More fun at the Van Buren soft opening
68. HQ Smoke and Vape crew in the house
69. Too much fun with these two
70. It’s Jack and Shane
71. Tato and Sara out on the town
72. Charlie Levy, the man behind the Van Buren
73. Henry takes a break from touring to hang out
74. Happy birthday week, Carson
75. My, what soft fleece you have
76. Mae and friend dig the chandeliers
77. Patrick and Alex redux at PAM
78. Post rally meet up with Caesar and Margaree
79. Shot this pretty pair at the Van Buren
80. Ashley gets blissful kisses
81. More fun at Xico Galería
82. Who’s who at the Van Buren opening
83. Tic, tac, toe

Robert Williams posing
with one of his large
scale sculptues, The
Rapacious Wheel.
Photo by Birdman Photos.
Sept 8, 2017 – Jan 21, 2018
Film Screening:
Robert Williams: Mr. Bitchin’
Followed by Artist Talk:
Thurs, Sept 7 (6:30pm)
$5 per person
Tickets: 480-644-6500
(Limited Seating)
FREE Opening Reception:
Fri, Sept 8 (6-10pm)
One East Main Street • Mesa, Arizona 85201 • 480-644-6560
• MesaArtsCenter.com

w w w . f r a mwww.framedewe.com e d e w e . c o m | :: www.phxgeneral.com
w w w . p h x g e n e r a l . c o m
B E S T
EYEWEAR
FRAMED EWE
O P T I C A L
O P T I C A L
BEST NEW
BOUTIQUE
MEN’S & WOMEN’S APPAREL | GIFT & HOME
Phoenix THE COLONY General & | Framed 5538 Ewe N. are 7th located Street, at 5538 Suite N. 7th Street, 120, Suite Phoenix, 120, Phoenix, Arizona Arizona 85014