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272 • OCT <strong>2018</strong><br />

THE LAVATORY<br />

OTTAVIA ZAPPALA • CONCEPTUALLY SOCIAL • WYVES


FIRST FRIDAY<br />

OCTOBER 5<br />

FREE GENERAL<br />

ADMISSION<br />

+<br />

$5 SPECIAL<br />

EXHIBITION TICKET<br />

6 – 10 pm<br />

SPECIAL<br />

EXHIBITION<br />

PREVIEW<br />

Enjoy art and programming inspired by the exhibition,<br />

including an opening ceremony at 6 pm, a special installation<br />

by the Fortoul Brothers, dance performances, food trucks,<br />

life drawing, music, a lowrider car show, and more.<br />

PHXART.ORG<br />

CENTRAL + MCDOWELL<br />

@PHXART<br />

image credit: Fortoul Brothers, The Morning Star, <strong>2018</strong>. Quadriptych. Acrylic on canvas.


Upcoming Concerts<br />

Nobuntu<br />

<strong>Oct</strong>ober 22<br />

The Steel Wheels<br />

<strong>Oct</strong>ober 25<br />

DHOAD Gypsies<br />

of Rajasthan<br />

<strong>Oct</strong>ober 27<br />

And many more!<br />

JOHN PAUL WHITE<br />

A Solo Acoustic Performance<br />

<strong>Oct</strong>ober 12 | 7:30 p.m. | $38.50–$48.50<br />

“John Paul White’s voice was meant<br />

to be heard on its own.”<br />

—NPR<br />

<strong>2018</strong> Concert Series sponsored by<br />

MIM.org | 480.478.6000 | 4725 E. Mayo Blvd., Phoenix, AZ


CONTENTS<br />

<strong>JAVA</strong> MAGAZINE<br />

EDITOR & PUBLISHER<br />

Robert Sentinery<br />

ART DIRECTOR<br />

Victor Vasquez<br />

ARTS EDITOR<br />

Amy L. Young<br />

8<br />

12<br />

22<br />

30<br />

34<br />

FEATURES<br />

BILL TONNESEN<br />

Flushes Out the Lavatory<br />

By Rembrandt Quiballo<br />

Cover: Bill Tonnesen the Lavatory<br />

8 12 22<br />

34<br />

OTTAVIA ZAPPALA<br />

A True Crime Podcast in Search of Truth<br />

By Jeff Kronenfeld<br />

GOODBYE SUMMER<br />

Photography: Danni Ordoñez @synesthesia___<br />

Styling: Lauren Moser @lauren.isadora<br />

CONCEPTUALLY SOCIAL<br />

Feeds the Downtown Scene<br />

By Jenna Duncan<br />

WYVES CLIMB TO THE TOP<br />

By Tom Reardon<br />

COLUMNS<br />

7<br />

16<br />

20<br />

38<br />

40<br />

BUZZ<br />

Immersive Art<br />

By Robert Sentinery<br />

ARTS<br />

Fortoul Brothers<br />

By Ashley Naftule<br />

Michael Viglietta<br />

By Amy L. Young<br />

FOOD FETISH<br />

Casa Corazon<br />

By Sloane Burwell<br />

GIRL ON FARMER<br />

What’s Your Sign?<br />

By Celia Beresford<br />

NIGHT GALLERY<br />

Photos by Robert Sentinery<br />

FOOD EDITOR<br />

Sloane Burwell<br />

CONTRIBUTING EDITORS<br />

Jenna Duncan<br />

Rembrandt Quiballo<br />

CONTRIBUTING WRITERS<br />

Celia Beresford<br />

Jeff Kronenfeld<br />

Ashley Naftule<br />

Tom Reardon<br />

PROOFREADER<br />

Patricia Sanders<br />

CONTRIBUTING PHOTOGRAPHERS<br />

Enrique Garcia<br />

Johnny Jaffe<br />

Danni Ordoñez<br />

ADVERTISING<br />

(602) 574-6364<br />

Java Magazine<br />

Copyright © <strong>2018</strong><br />

All rights reserved.<br />

Reproduction in whole or in part of any text, photograph<br />

or illustration is strictly prohibited without the written<br />

permission of the publisher. The publisher does not<br />

assume responsibility for unsolicited submissions.<br />

Publisher assumes no liability for the information<br />

contained herein; all statements are the sole opinions<br />

of the contributors and/or advertisers.<br />

<strong>JAVA</strong> MAGAZINE<br />

PO Box 45448 Phoenix, AZ 85064<br />

email: javamag@cox.net<br />

tel: (480) 966-6352<br />

www.javamagaz.com<br />

4 <strong>JAVA</strong><br />

MAGAZINE


YUA HENRI MATISSE AND THE INNER ARCTIC SPIRIT<br />

Original Works by Henri Matisse and the Native Alaskan Masks that Inspired Him<br />

ONLY AT THE HEARD MUSEUM | OCT. 29, <strong>2018</strong> - FEB. 3, 2019 | MEMBERS SEE IT FIRST | MATISSE.HEARD.ORG<br />

Central Yup’ik, Pastolik village, Pastolik River, Alaska. Dance mask representing Tuunraq (Shaman’s helping spirit). c. 1880s. Wood, feathers, pigment. 6. x 4⅝ in. (16.7 x 11.9 cm)<br />

Phoebe A. Hearst Museum of Anthropology, University of California, Berkeley; 2-6625. Photo: Sibila Savage.


IMMERSIVE ART<br />

By Robert Sentinery<br />

BUZZ<br />

It all started with a strange post floating around Instagram: a model’s face<br />

dusted white, looking like an apocalypse survivor. Then I got a direct message<br />

from @lavatoryphx: “R- I didn’t know you were following me. Having people<br />

out Saturday night if you want to check it out before we open. -B.” Based on a<br />

different photo, I figured out that “B” was Bill Tonnesen.<br />

To most folks, especially in the design community, Tonnesen is known as an<br />

outspoken landscape-architect-turned-developer-turned-artist, who borders<br />

on controversial. There is no real question of the quality of his work, which<br />

includes a sexy palette of materials: rusted steel, sandblasted block, cast<br />

concrete, etc. – de rigueur for modern desert builds. But Tonnesen’s practice<br />

seems to transcend all that, especially where budgets are less constrained, as<br />

with his Empire Southwest (heavy equipment dealer) headquarters, completed<br />

more than a decade ago, which is mind-boggling in its detail and execution.<br />

Lately Tonnesen has been dabbling more in art. One of his most visible pieces<br />

is the “fat lady” sculpture mounted above the entrance to AZ88 bar/restaurant<br />

in Scottsdale. But what is sure to be his opus is the Lavatory, an immersive art<br />

environment built inside the mid-century retail center he owns at 12th Street<br />

and Highland called The Strip. Woven throughout the various retail spaces,<br />

seemingly in the bowels of the building, is a series of rooms that border on the<br />

bizarre, culminating with the Pit, a giant subterranean space filled with many<br />

surprises (see “Bill Tonnesen Flushes Out the Lavatory,” p. 8).<br />

Ottavia Zappala grew up in Palermo, Sicily, once the epicenter of the Italian<br />

mafi a. Her grandfather, a judge, was friends with two other judges who<br />

were killed in separate mafia car bombings in 1992. To say Zappala has an<br />

understanding of organized crime and violence would be an understatement.<br />

She went on to earn a master’s degree in criminology, making her uniquely<br />

qualified to investigate and report on the subject.<br />

Now a Phoenix resident, Zappala has released a serial podcast called “Missing<br />

Alissa” that chronicles the cold case of a missing teen who disappeared<br />

from her West Phoenix neighborhood in 2001. Despite what seems like an<br />

overwhelming amount of evidence pointing toward Alissa’s stepfather,<br />

he never stood trial for the case. Hopefully, with the stir created by the<br />

podcast, that will change (see “Ottavia Zappala: A True Crime Podcaster in<br />

Search of Truth,” p. 12).<br />

Another feature looks at Conceptually Social, a restaurant and catering<br />

company that has opened three brick-and-mortar concepts in the downtown<br />

area: Be Coffee + Food + Stuff, the Dressing Room (both in the monOrchid<br />

complex) and now The Larry, which has brought a spark to the historic<br />

warehouse district. Their catering company exploded when they landed the<br />

contract to provide lunches at the Uber headquarters, and they now serve<br />

upwards of 1,000 meals a day, while still maintaining a creative edge (see<br />

“Conceptually Social Feeds Phoenix’s Downtown Scene,” p. 30).


8 <strong>JAVA</strong><br />

MAGAZINE


Bill<br />

Tonnesen<br />

Flushes Out the Lavatory<br />

By Rembrandt Quiballo<br />

Within a large subterranean interior space, a tall figure guides people toward a light under the floor.<br />

The picturesque group is dressed in matching white jumpsuits; white powder covers their faces.<br />

The figure tells them to put their hands over the orb of light, and they follow his direction without<br />

question. The atmosphere is one of religious piety and is visually mesmerizing. This is not a cult<br />

gathering that we are witnessing, but a photo shoot at a new immersive art installation called the<br />

Lavatory. The person overseeing it all is artist, designer and developer Bill Tonnesen.<br />

It’s hard to pin down exactly what the Lavatory is or what it will ultimately become. One thing<br />

is for sure; the Lavatory is undeniably direct from Tonnesen’s mind. His unflinching vision, and<br />

the past controversies that have arisen from his relentless pursuit of said vision, have been well<br />

documented. Never one to back down from a challenge, Tonnesen is undertaking his newest and<br />

boldest project yet.<br />

<strong>JAVA</strong> 9<br />

MAGAZINE


Tonnesen’s current obsession was sparked by a wave of immersive art<br />

exhibits that have popped up nationally and internationally. This new form of<br />

entertainment runs the gamut from blissed-out selfie factories such as Happy<br />

Place or Candytopia, to more high-minded projects like Meow Wolf or teamLab<br />

Musuem. The Art of Ice Cream Experience opened last year in Scottsdale (not to<br />

be confused with the more well-known Museum of Ice Cream that took place in<br />

Los Angeles and other major cities). “I was introduced to the idea of these kinds<br />

of destinations,” Tonnesen said. “That’s what got it going. As I investigated, I<br />

realized that I wanted to jump in with both feet and do it myself. I feel like I was<br />

born to do it.”<br />

These immersive art spaces have their genesis in the installation art found<br />

within the fine art world. Popular exhibits such as Yayoi Kusama’s Infinity Mirrors<br />

or Random International’s Rain Room have given us inventive museum-quality<br />

experiences, as well as Instagram-ready visuals.<br />

10 <strong>JAVA</strong><br />

MAGAZINE<br />

Most of the recent pop-up exhibits are far from fine art, though. As millennials<br />

continue to eschew the consumption of objects and seek out more real-life<br />

experiences, these interactive art installations are literally popping up in metropolitan<br />

areas around the globe.<br />

One large-scale exhibit garnering media attention is Happy Place. Visited by more than<br />

100,000 during its sold-out run in Los Angeles, it then moved to Chicago over the summer<br />

and will open in Toronto in November. The company’s website describes Happy Place as<br />

a “massive pop-up experience filled with larger than life size installations, multi-sensory<br />

immersive rooms, and dozens of moments curated to Capture Your Happy.” Aspirations for<br />

places of this ilk are to create lasting experiences, but most visits turn primarily into a<br />

quest for the perfect Instagram moment.<br />

At the far end of the spectrum is the MORI Building DIGITAL ART MUSEUM: teamLab<br />

Borderless, which opened in Tokyo this summer. A team of interdisciplinary artists,<br />

made up of professionals who specialize in programming, animation and engineering,<br />

has created the first all-digital art museum. Their end goal is more ambitious than the<br />

typical pop-up art environment, with an interest in exploring the relationship between


humans, nature and technology. Nevertheless, the project provides opportunities for<br />

killer selfies.<br />

Somewhere within this spectrum is the Lavatory, where Tonnesen aims to turn the<br />

notion of the selfie factory on its head. These temporary exhibits inspired him, but<br />

make no mistake, he is motivated to do something completely different and much<br />

closer to his own sensibilities. “I’m not after the bright colors, the fluorescent lights.<br />

They’ve got a lot of interesting components, but that isn’t what I would do,” he said.<br />

“There was a common thread when I went to see the Happy Place and the Museum<br />

of Ice Cream. What I saw was a candy-coated Barbie-land, and I’m going the<br />

opposite direction. The Lavatory is not for everybody.”<br />

Many of these immersive art installations are temporary and travel to different<br />

cities. Tonnesen is developing the Lavatory to be a permanent destination in Phoenix.<br />

Currently, the interior space is cavernous, with raw block, unfinished surfaces and<br />

exposed wiring and ductwork. There are glimpses of his eventual vision throughout<br />

the space. The cast sculptures of human figures that he is known for are strewn<br />

about. Reams of toilet paper rolls adorn a wall like some kind of minimalist bathroom<br />

shrine. One can only imagine the finished results, but for now Tonnesen is too busy<br />

having fun creating in the moment to really care.<br />

The Lavatory is being fashioned gradually as thoughts of art, sugar, cash, urine and<br />

even feces permeate Tonnesen’s mind. At any given moment, he can think something<br />

up, create a sketch, and by the next day his crew is busy bringing it into existence.<br />

This method of creation can be both challenging and rewarding. “There’s the good<br />

and the bad,” he said. “The good is that when an idea surfaces that has merit, we<br />

move quickly, because we control everything. We’ve got the men, the materials – we<br />

have everything. The bad is that you can end up spending yourself into oblivion.”<br />

The final outcome of the Lavatory is still up in the air, but certain features are firmly<br />

in place. We know it will have several thematic rooms. A blindingly all-white room<br />

with endless textures, featuring sculptural figures sitting at some kind of game table,<br />

appears the closest to being finished. There are plans to fill the floors with mounds<br />

and mounds of sugar. There’s the Gallery, where notions of scarcity in fine art are<br />

questioned with the use of mirrors. There’s a room filled with portable toilets similar<br />

to the ones found in outdoor music festivals. Their interiors will contain surprising<br />

enhancements, and they might even act as portals to other unknown places.<br />

Another room will require all visitors to sign a non-disclosure agreement in<br />

order to enter. The secretive nature of the room is due to a surprise element<br />

that Tonnesen wants to preserve. “I’m trying to create the most memorable<br />

experiences, room by room, that I can,” he said. “So it’s been an ongoing<br />

process. There’s been an evolution. Every single room has gone through changes.<br />

When we see a need, we act on it right away.”<br />

The most ambitious and largest room is the Pit. Tonnesen doesn’t want to give<br />

too much away, but it’s precisely what it sounds like. It’s a large underground<br />

chamber in the main room that required excavating 300 tons of dirt from under<br />

the building. He plans to have a mechanism that discharges 120,000 clear<br />

plastic balls pneumatically onto a giant net that will hang over visitors, so<br />

that conceivably the balls will cascade down and engulf them. There is a large<br />

turbine that will enable Tonnesen to produce different moods and generate the<br />

environmental condition he chooses.<br />

“What I want to do in the Pit is create a kind of instrument,” he said. ”Meaning, I<br />

want to give people the tools to create an experience. What I’m thinking about is the<br />

atmospherics, the lighting, the movement of the balls, the mirrors, sound undulation<br />

and the temperature, all of those things.” The Pit is already remarkable in its<br />

unfinished state and is sure to be a visual spectacle when completed.<br />

An essential and distinct aspect of the Lavatory in relation to other exhibits is<br />

its theatrical component. Unlike other immersive art installations, Tonnesen is<br />

recruiting professional actors to complete his vision. He wants visitors to not<br />

just look but be engaged and possibly provoked. Actors will be interacting with<br />

visitors in a way that will make them think. In this sense, Tonnesen is truly<br />

curating an experience, not just a selfie opportunity. “I want to create a dramatic<br />

experience that is unexpected,” he said. “That’s the bottom line. At every turn,<br />

the more unexpected, the better.”<br />

Mikey Butzine and Michelle Meyer, both Phoenix artists, have come to the<br />

Lavatory to take part in the aforementioned photo shoot and are excited about<br />

the ongoing project. “The ambiguity is what is beautiful, because you can look<br />

at it and just be pleased, or if you really want to get involved, you can,” Butzine<br />

said. “We both are trying to figure out what this place is trying to be. To this<br />

day, I still don’t totally get it, and that’s one of the most enticing things and<br />

why I’m so intrigued by it,” Meyer adds. “Enough people in the network have<br />

already jumped into the buzz about what’s happening within these walls. But<br />

there is a mystique because there isn’t a clear definition of what you’re going to<br />

experience here.”<br />

How popular the Lavatory becomes will not be the decisive indicator for its<br />

success. The fact that we have Bill Tonnesen even attempting such an audacious<br />

project is. We might not know the final outcome for a while, but the journey is<br />

guaranteed to be more compelling than any art project we’ve seen in the Valley<br />

for a while.<br />

Next up for Tonnesen is the Dumpster Show slated for <strong>Oct</strong>ober 26. He will be<br />

working with Weezy’s Playhouse to produce a fashion show featuring trash as<br />

the medium and the Lavatory as the runway.<br />

www.lavatoryphx.com<br />

@lavatoryphx<br />

@billtonnesen<br />

<strong>JAVA</strong> 11<br />

MAGAZINE


By Jeff Kronenfeld<br />

12 <strong>JAVA</strong><br />

MAGAZINE


From the iconic theme of “Law & Order” to the cheeky banter of “NCIS,”<br />

Americans’ view of crime and punishment is strongly influenced by the<br />

media. According to such fictional television programs, every murder is<br />

solved and every murderer brought to justice. In her podcast, “Missing<br />

Alissa,” about the unsolved disappearance and likely murder of 17-year-old high<br />

school student Alissa Turney in 2001, Ottavia Zappala demonstrates that these<br />

ideas about our criminal justice system are naive.<br />

“Missing Alissa” and other true crime podcasts show that people do get convicted<br />

of crimes they did not commit and that if the victim is not important enough to<br />

police and politicians, the case may never be fully investigated, let alone solved.<br />

If the victim worked at a Jack in the Box, as Alissa did, then police are less<br />

likely to follow up. Investigators did not revisit Alissa’s case until bizarre outside<br />

circumstances intervened, but more on that later. However, thanks to dedicated<br />

journalists and empowered listeners, true crime podcasts are able to do more<br />

than index these grievances. They are renewing public interest in unsolved cases,<br />

sometimes exonerating the wrongly accused and bringing justice to the guilty.<br />

Like every good detective novel, a true crime podcast needs an investigator who<br />

feels deeply, almost obsessively, about the case. Zappala’s interest in the missing<br />

girl at the heart of her podcast runs deep. Growing up in Palermo, Italy, Zappala<br />

was no stranger to crime and death. “The late ’80s and ’90s were kind of a<br />

gruesome time in the city where I’m from,” Zappala said. Her grandfather was a<br />

judge, and she recalls that he was friends with the Italian judges Giovanni Falcone<br />

and Paolo Borsellino, who were infamously killed in separate car bombings by the<br />

Sicilian Mafia in 1992.<br />

Much of Zappala’s young life in Sicily was shaped by that brutal war between<br />

organized crime and the Italian state. Car bombings, assassinations and<br />

disappearances were regular occurrences among the cobblestoned streets<br />

and alleys. Though highly romanticized in American popular culture, organized<br />

crime and criminal violence were a brutal reality that Zappala faced daily. She<br />

remembers reading about the Monster of Florence case, a gruesome series of<br />

murders between 1968 and 1985 where the victims were killed at or near the<br />

moment of sexual climax and often had their genitals mutilated after their deaths.<br />

The mystery of the case stayed with her. Bombings, mutilations and bodies being<br />

dissolved in acid fed her adolescent horror and curiosity.<br />

It’s no surprise then that Zappala eventually ended up pursuing journalism and<br />

criminology, obtaining a bachelor’s degree in journalism and communication in<br />

2007 and a master’s in criminology in 2012, both from the Université Libre de<br />

Bruxelles in Belgium. However, despite the university’s reputation as one of the<br />

country’s top schools, Zappala did not find what she was looking for from her<br />

criminology studies there.<br />

Unfortunately for Zappala, the program was set up around the sociology of<br />

crime and the justice system rather than focusing on solving crimes. “It was<br />

something that academics would be interested in, people who would spend<br />

the rest of their lives in an office researching and writing useless papers about<br />

methodology,” Zappala said. “I wanted to learn the hard science behind crime<br />

scene investigation, ballistics and genetics, as well as the justice system.”<br />

Despite these disappointments, Zappala did learn some useful things, which<br />

served her while developing and researching the Alissa Turney case for her<br />

podcast – things such as the psychology of criminals and the structure of the<br />

criminal justice system. She also interned for five months with the police in<br />

Belgium, where she got to observe and help with suspect interrogations, criminal<br />

investigations and other police duties.<br />

Zappala moved to Phoenix after meeting her then boyfriend, an American from<br />

the Midwest. Though they hadn’t planned to relocate to Phoenix, a visit to his<br />

parents at a retirement community in the Valley led them to spend a few months<br />

in Phoenix and eventually decide to stay. At first Zappala did odd jobs, working<br />

as a sales associate at Anthropologie in Scottsdale and then a resource manager<br />

for Games CoLab, a company that helps game developers. She also explored her<br />

creative side, selling handbags made from repurposed textiles through Etsy.<br />

Zappala then interned for Arizona Attorney General Mark Brnovich for five months<br />

in 2016 before she took the plunge and became a freelance journalist. She started<br />

to write a real estate column for the Arizona Republic in early 2017.<br />

It was around this time that Zappala listened to her first podcast, “Serial,” a<br />

spinoff of the popular NPR program “This American Life.” Hosted by bespectacled<br />

journalist Sarah Koenig, the first season of “Serial” explored the 1999 murder of<br />

18-year-old high school student Hae Min Lee. Narrated by Koenig’s dulcet tones,<br />

“Serial” was a breakout success. It was the fastest podcast ever to reach five<br />

million downloads, and according to Serial Productions, the first season has been<br />

downloaded more than 175 million times. Further, “Serial” helped bring podcasting<br />

in general and true crime podcasts in particular into the mainstream. Even Kim<br />

<strong>JAVA</strong> 13<br />

MAGAZINE


Kardashian is getting into the series, albeit four years after its release and to<br />

much ridicule on social media.<br />

In the wake of the incredible success of “Serial,” a wave of true crime podcasts<br />

and documentaries has attracted an ever-widening audience. There is “Serial”<br />

spinoff “S-Town” and others such as “Crimetown,” “In the Dark” and even the<br />

Netflix series “The Making of a Murderer.” Like so many of these programs,<br />

Zappala’s podcast draws inspiration in terms of format, storytelling and music<br />

from “Serial.” Also like “Serial,” she explores the case in painstaking detail,<br />

walking the listener through every twist and turn.<br />

Zappala first learned of Turney’s disappearance and probable murder the way<br />

most people did, by watching the “20/20” episode exploring the case. She<br />

enjoyed watching reruns of such shows and was keenly on the lookout for a<br />

potential cold case meriting further investigation. As she watched the “20/20”<br />

episode “What Happened to Alissa?” which originally aired in <strong>Oct</strong>ober of 2014,<br />

Zappala became fascinated by the strange story and knew she had to dig deeper.<br />

“I’ve had very few moments of clarity in my life like this one,” Zappala said.<br />

While we can’t recount the whole case here, the basic points are that Alissa<br />

Turney was checked out of school early by her stepfather, Mike Turney, on May<br />

17, 2001. She was never seen again. For whatever reason, police accepted Mike<br />

Turney’s story that Alissa had run away to California. The case languished until<br />

2006, when Thomas Hymer, a convicted murderer incarcerated in Florida, sent<br />

investigators a letter stating, “I am going to make you famous. I am a serial<br />

killer.” He claimed that he had kidnapped and murdered Alissa Turney, and was<br />

ready to confess.<br />

Investigators traveled to Florida and interviewed him, concluding he had likely<br />

seen something in a newspaper about Alissa Turney’s disappearance and<br />

fabricated the story for attention. However, this dead end did serve to reignite<br />

the investigation, leading detectives to look deeper into Mike Turney. As they<br />

looked further, the detectives found all the red flags they missed the first time.<br />

When they searched Mike Turney’s residence in late 2008, they found more<br />

than two dozen improvised explosive devices, 19 firearms and two homemade<br />

silencers. They believed Mike Turney had been preparing a murderous rampage<br />

against an electrical workers union local who he claimed had taken Alissa as part<br />

of a decades-long conspiracy against him. They even found a 98-page document<br />

outlining his plan and motivations. Though he was arrested, prosecuted<br />

and incarcerated for this, he has never been charged for his stepdaughter’s<br />

disappearance and likely murder.<br />

Sarah Turney, Mike’s natural daughter and Alissa’s half-sister, features<br />

prominently in the podcast. When Zappala and Shanna Hogan, an early<br />

contributor to the project, initially contacted her, Sarah Turney was skeptical. She<br />

had been unhappy with aspects of the “20/20” program. Over the course of their<br />

many talks, phone calls and interviews, Sarah Turney and Zappala grew to share<br />

a deep trust and friendship. “It became more and more clear that she was serious<br />

and that she wanted to do something and wanted to help,” Sarah Turney said.<br />

14 <strong>JAVA</strong><br />

MAGAZINE


Zappala was able to interview people who had not come forward to the police<br />

– people such as Alissa’s biological father and Jessica Case, a friend of Alissa.<br />

Zappala and Sarah Turney supported each other when Mike Turney was released<br />

from prison, and when Sarah Turney met with her father, she secretly recorded<br />

him. “It was a journey,” Sarah Turney said of her and Zappala’s collaboration on<br />

the case. “It got emotional. We would spend nights on the phone together.”<br />

With all six episodes and five bonus episodes currently available for listening,<br />

the podcast continues to spread the word about this unsolved missing-person<br />

case. Whether Mike Turney will ever face a jury of his peers is up to Maricopa<br />

County Attorney Bill Montgomery. Sarah Turney is hopeful he will listen to<br />

Zappala’s podcast and move to indict, as are the 39,380 people who have signed<br />

an online petition calling for Mike Turney’s prosecution. She also hopes that a law<br />

mandating investigations into all underage runaways can be passed – what she<br />

has dubbed Alissa’s Law – so that others like Alissa can be found.<br />

missingalissa.com<br />

<strong>JAVA</strong> 15<br />

MAGAZINE


FORTOUL BROTHERS<br />

Build a City of Paint and Sand at PAM<br />

By Ashley Naftule<br />

“It’s a portal,” Gabriel Fortoul explains, pointing<br />

at a large circle of tables that fill the center of<br />

the workspace he shares with his brother Isaac.<br />

Oversized forms carved in wood cover the surfaces<br />

of the tables. They’re cut into shapes that look<br />

primeval and ancient. “People can leave everything<br />

they have going on in their lives behind as they<br />

walk in,” Gabriel says, gesturing at the circle that<br />

surrounds us. “Hopefully, they’ll walk out seeing<br />

things a little differently.”<br />

The circle Gabriel and Isaac are constructing is<br />

meant to be a giant mandala. Encased in wood, the<br />

giant black and white sand sculpture is sure to be<br />

one of the highlights of the Fortouls’ collaboration<br />

with the Phoenix Art Museum for the upcoming<br />

“Teotihuacan: City of Water, City of Fire” exhibition.<br />

The “Teotihuacan” exhibition promises to be an<br />

enlightening and ambitious show for PAM. More<br />

than two hundred objects from the National<br />

Museum of Anthropology in Mexico City will be on<br />

display between <strong>Oct</strong>ober 5 and January 27 in PAM’s<br />

Steele Gallery. It’s a rich treasure trove of aesthetic<br />

beauty and historical significance, as the exhibit<br />

pays tribute to one of Mesoamerica’s most enduring<br />

mysteries: the city the Mayans called “the place of<br />

reeds” and the Aztecs declared to be the birthplace<br />

of the gods.<br />

The origin of Teotihuacan remains a mystery.<br />

Believed to have been constructed almost a<br />

thousand years before the Aztecs, the ancient<br />

city was renowned for its crafts: pottery, jewelry<br />

and obsidian objects, as well as vibrant murals.<br />

Considering the Fortoul brothers’ knack for creating<br />

eye-popping and evocative murals, it makes perfect<br />

sense that they would be brought in to add some<br />

local flavor to this touring exhibition.<br />

The museum staff “saw a connection in the art that<br />

we do and in the art, architecture and way of life in<br />

this ancient metropolis in Mexico,” Gabriel Fortoul<br />

says. “I believe we provide a kind of contemporary<br />

take on what was going on there. A way to bridge<br />

the gap between the past and the present.”<br />

In addition to the large-scale sand sculpture, the<br />

Fortouls are also working on a pair of massive<br />

multi-panel pieces to accompany the exhibition<br />

– a triptych and a quadtych. Both of these larger<br />

pieces display the hallmarks of the Fortouls’ art:<br />

bold monochromatic colors, thick lines, visages and<br />

characters that resemble the figures on the inner<br />

walls of an ancient ziggurat. There’s a timelessness<br />

to the Fortouls’ work: It might look just as at home<br />

in the B.C. as it does today.<br />

Part of what gives their art an ageless quality is<br />

the sheer scale of the work. Whether adorning the<br />

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anners surrounding the stages at Lost Lake music<br />

festival or thrown up on the exterior wall of a radio<br />

station on Roosevelt Street, their figures achieve a<br />

kind of Nazca Lines grandeur.<br />

Reflecting on why working in a large scale appeals<br />

to them, Gabriel credits it to their immersion in<br />

public art. “You have the largest of canvases<br />

available to you,” Fortoul says. “And I believe the<br />

images and their simplicity lend themselves to<br />

being large.”<br />

Simplicity is a word that comes up often with<br />

the Fortouls. While some artists embellish and<br />

complicate their work, like a garage band dragging<br />

in a string section for their third record, the Fortouls<br />

have gone in the opposite direction. As they’ve<br />

matured and refined their craft, they’ve stripped<br />

away extraneous details and flourishes, honing a<br />

style that’s bold, simple and elemental.<br />

“Most of the imagery here comes from inside,”<br />

Gabriel says of the triptych and quadtych panels<br />

lining the walls of their workspace. “It’s a collection<br />

of thoughts, experiences and memories. We’re<br />

putting them together into a format – a language –<br />

that can be universally understood.”<br />

The Fortouls are interested in creating art that<br />

makes people ask questions similar to the ones<br />

the objects on display in “Teotihuacan” are sure to<br />

pose. “You know all the physical tools that create<br />

something, but what is the magic behind all of this?<br />

What are the energies that allow us to be here?”<br />

Gabriel asks. “We want to show the unseen forces<br />

that allow everything to be alive.”<br />

Teotihuacan: City of Water, City of Fire<br />

Phoenix Art Museum’s Steele Gallery<br />

<strong>Oct</strong>ober 5 – January 27<br />

phxart.org<br />

Ceramics photo by Airi Katsuta, courtesy of Phoenix Art Museum<br />

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Photo: Wayne Rainey<br />

MICHAEL VIGLIETTA<br />

Eroding Language at monOrchid<br />

By Amy Young<br />

On September 21, downtown Phoenix gallery<br />

monOrchid opened its doors to Michael Viglietta’s<br />

exhibition Eroding Language: People, Places and<br />

Things. The show of mixed-media paintings provides<br />

an up-close look at Viglietta’s multilayered creations<br />

that have come to fruition via his frenetic internal<br />

nature and inherent, continuous need to lay down<br />

foundations and build on them until he gets the<br />

desired result.<br />

The New York–born artist has been in Phoenix for a<br />

few years, after spending 25 years in Los Angeles,<br />

where he worked as an assistant director in the<br />

entertainment industry. His list of credits is long. His<br />

skills are part of several movies and TV shows, from<br />

the vampire blockbuster Twilight to the superhero/<br />

sci-fi show “Agent Carter.”<br />

Viglietta has been sketching his whole life. As<br />

a kid, he was always drawing, and that never<br />

stopped. He’s a collector of memories through the<br />

mass of drawings that has always paralleled his<br />

other activities and jobs. “I kept a sketchbook when<br />

I was working on a set,” Viglietta says, “and filled<br />

it with drawings and diagrams, and these souvenirs<br />

and artifacts, as I call them, found their way into<br />

the collage pieces that eventually became part of<br />

my paintings.”<br />

Paint, for Viglietta, came into the picture about 12<br />

years ago. He would lay out drawings for a collage<br />

piece and then decided to bring paint into the mix to<br />

tie the drawings together – to add a cohesion to the<br />

situation. He found that it worked and also brought<br />

a chaotic sense that he liked, too.<br />

When you view the work, chaos isn’t the first thing<br />

you think. Complex might be a better word. You<br />

see the paintings and think, “I don’t know what you<br />

have been through; you deeply involved pieces of<br />

art, but I know it was intense.” That’s where the<br />

real chaos comes in – during Viglietta’s process.<br />

He revels in the frenzy and mayhem behind each<br />

piece of work. “I often like to cannibalize my<br />

paintings,” he tells us. “When I was working on<br />

Twilight, I left paintings out in the rain and then<br />

sanded them.” It’s not uncommon for him to use<br />

pressure, mallets and heat sources to blend things.<br />

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“I like the primal feeling in my processes. My DNA<br />

is in the work.”<br />

Viglietta loves abstraction in general and has a<br />

deep fondness for Pollock-era abstract expressionist<br />

art. That’s especially noticeable in his takes on<br />

human and animal forms, which sometimes come<br />

with a sense of whimsy. At completion, his art<br />

enables a benevolence and a sense of control that<br />

neither exemplify nor defy his methods of working.<br />

The stories he tells in each piece evolve over<br />

different periods of time, and they are all subject to<br />

his cyclical create-destroy-create style of layering.<br />

“I get obsessed with certain things, sometimes<br />

things going on in the world, and those things come<br />

out in the work.”<br />

Viglietta often works on several paintings<br />

simultaneously and loves to come back to one<br />

after a period, strip it down and discover what<br />

he has included in its layers. “Each piece is like<br />

an archaeological dig site, full of buried artifacts<br />

that I’ll get to rediscover. I love deconstructing<br />

and unveiling the work. I look at what I find and<br />

then think about how I can then turn that into<br />

something.” At the same time, he is infusing<br />

every piece of work with a unique language. “I am<br />

building a grammar,” he says, “that threads through<br />

the paintings.”<br />

His relationship with monOrchid Gallery – who is<br />

now representing his work – came after an initial<br />

visit to the gallery and a chat with owner and<br />

director Wayne Rainey; a subsequent studio visit<br />

was also instrumental. Viglietta has previously<br />

shown at galleries in Los Angeles and here in<br />

Phoenix at Chartreuse Gallery.<br />

Rainey and his curatorial team feel a strong<br />

connection with the work and attribute that affinity<br />

to this very specific point in Viglietta’s creative<br />

evolution. “We are excited to show Michael’s work<br />

because we feel like we were introduced to him at<br />

that magical point in time when an artist finds their<br />

center. When the inner struggle that they’ve fought<br />

to define becomes apparent in each and every<br />

painting,” Rainey says.<br />

“When you walk into the gallery and see the<br />

almost overwhelming complexity and depth of this<br />

assemblage, it invokes a shockingly emotional<br />

reaction. It’s interesting to see each viewer<br />

gravitate to the piece that speaks the loudest to<br />

them. Each one is different. It seems that he’s made<br />

a show for ‘everywoman’ and ‘everyman,’ and that’s<br />

quite a feat today,” says Rainey.<br />

Eroding Language: People, Places and Things<br />

Through December 2<br />

monOrchid Gallery<br />

monorchid.com<br />

The Understudy, Mixed Media On Canvas<br />

American Voodoo, Mixed Media on Canvas Mounted on Wood Panel<br />

Untitled, Mixed Media On Canvas<br />

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CASA CORAZON<br />

Comida from the Heart<br />

By Sloane Burwell


Situated in a restored historic house on 16th Street near Barrio Cafe,<br />

Casa Corazon captures all of the elements of a burgeoning, about-to-bean-institution<br />

kind of joint. It’s located in an adorably renovated home<br />

with loads of exposed wood, including a well-crafted barrel ceiling, so<br />

perfectly preserved and presented that I’m willing to bet it is a re-creation. Not<br />

that it matters, really, because eating at Casa Corazon is as much a feast for the<br />

eyes as it is for the palate.<br />

Like many charming historic spots, the entrance feels a bit wonky. In this case,<br />

going in the side entrance is like sneaking backstage, since you walk in right next<br />

to the cooking line, which is fine with me. If a place doesn’t mind you peeking at<br />

the chef, it means they don’t have anything to hide about their suppliers and skills.<br />

And for the nascent germophobe in my brain, there is a dedication to cleanliness (I<br />

dare you to find a speck of dust in the entire place).<br />

This backstage entrance also drops you in front of an impressive salsa station.<br />

Please indulge – on my first few visits, I really thought this was a no-no. It isn’t,<br />

so load up on all the flavors. I loved the pineapple salsa – a dark green mix that<br />

is herbaceous, sweet and complex. The rest were resplendent. I found all the<br />

green flavors to be super tasty. I found the red salsas to be hot. Hopefully, this<br />

information will save your tongue and your time.<br />

After you fill several tiny plastic cups with salsa, you’ll be led to your table. Enjoy<br />

the gorgeous views – someone spent significant time and energy here. Plaster is<br />

gone from most of the walls, leaving exposed brick. Where it is left, it has become<br />

canvas for gorgeous paintings, mostly botanicals of several kinds of desert agave,<br />

as well as a stunning vaquero.<br />

At the end of the building, to the left, is a tiny bar, fully bedecked with loads of<br />

liquor and four barstools. The service, while charming, felt slightly understaffed.<br />

While one server should be able to handle the eight tables in the dining room,<br />

they are also responsible for bartending duties. On one visit, this created long<br />

waits while two big parties had complex drink orders filled. Having grabbed salsa,<br />

I was prepared. The hot basket of uber-fresh red, white and blue tortilla chips is<br />

delivered quickly enough to placate most.<br />

Thick, hearty chips with excellent salsa don’t need any extras, but I am in love<br />

with their Queso Fundido ($12), a large, hot dish loaded with melted cheese, fresh<br />

chopped herbs and super-spicy chorizo that is dippingly decadent. Clearly, this is<br />

a real-deal cheese sauce, since it doesn’t solidify into one solid mass when it’s no<br />

longer piping hot (this is a good thing).<br />

Next we jumped right into the tacos. I loved the Carne Asada ($4.50); a generous<br />

amount of well-cooked asada arrives, perched on freshly made tortillas. I also<br />

enjoyed the Fish ($4.00), battered and served with crema and cabbage – a supercrunchy<br />

treat that had the perfect amount of salt and freshly squeezed lime juice,<br />

allowing the whole thing to sing.<br />

You’ll be asked if you want rice and beans. Say yes. A long, rectangle-shaped dish<br />

appears, with one half covered in the most savory rice you can imagine. Cooked in<br />

a bit of fat and loads of fresh stock, it’s the faintest shade of beige, and so smooth<br />

and savory you’ll eat every single forkful. The other side is stocked with superb<br />

black beans topped with queso fresco and crema – so delicious and toothsome<br />

we used the second basket of chips to scoop these up with quickness. I seldom<br />

indulge rice and beans (typically a waste of carbs), but do not skip them here.<br />

They are special enough to be enjoyed on their own.<br />

The Enchiladas Corazon were something special ($16). Served three to a dish, do<br />

try all three kinds – beef, chicken and cheese. Served in slightly puffy fresh corn<br />

tortillas, these were magic. I have been roped into making enchiladas before – the<br />

long-simmered sauce, the tortillas lightly fried and dipped into enchilada sauce and<br />

then rolled with ingredients – but these were different. The tortillas were so soft<br />

and light, they melted into nothingness when consumed. The sauce has the perfect<br />

amount of kick, and they are all topped with just enough melty cheese to feel like an<br />

indulgent treat.<br />

As wonderful as the beef and chicken were (well cooked, well flavored, well<br />

prepared), the cheese enchilada was perfectly crafted, with an incredible balance<br />

of flavors. The right acidic hit from the sauce, the perfect chile punch (order it<br />

Christmas style, with both red and green sauces) and the pillowy tortilla that cradles<br />

the cheese – it was love at first, and every, bite. These are like the sophisticated<br />

enchilada cousins to your favorite dive’s version, back from a world tour and<br />

showing off. The aforementioned rice and beans come alongside, and I’m okay with<br />

their presence on a second plate. There’s more to enjoy, and it allows the true flavor<br />

of each dish to be experienced unadulterated, as the chef intended.<br />

The Chiles En Nogada ($18) are pure poetry. Two chiles are stuffed with meat and<br />

dried fruits, swimming in creamy sauce, and topped with rather large macerated<br />

currants. Yes, you heard me. The slight tang of the currants is a great foil to the<br />

creaminess of the sauce, and as you spear them, they release their stunning colored<br />

juices into the perfect white of the sauce. It’s like art, and the taste is something<br />

special. A crunch of walnuts and ground beef provides both texture and umami<br />

flavors, rounding out the sweetness of the fruit and the goat cheese in the sauce. I<br />

loved this dish. And we used the third basket of chips to ensure none of this lovely<br />

sauce went to waste.<br />

Their Mole ($19) is perfect. The well-cooked chicken is hidden under ladles of<br />

near-black mole. A dusting of sesame seeds covers the sauce. Complex and subtle,<br />

this mole is spicy, with a hint of sweet, tart and savory. We did a lot of thinking<br />

about the dish, wondering how many ingredients might be loaded inside (in some<br />

traditional mole recipes, there could be 100 components) and how many days someone’s<br />

Nana stood over an open flame, ensuring it was perfect (could be a week, depending on<br />

recipe and region). I could see her in my mind, stirring this silky mole.<br />

Flavors this well developed don’t happen overnight. A lifetime goes into perfecting<br />

dishes like this, so complex and luscious. Sometimes with a sauce this good you’ll<br />

ignore the protein, although that was not the case here. Large hunks of tender and<br />

juicy chicken withstood the sauce. We used forkfuls of the chicken to swirl more<br />

and more mole into each bite. Finally, the remnants from our basket of chips were<br />

used to scoop up the last bits of sauce.<br />

Casa Corazon is gorgeous inside, and the food crafted within these walls is equally<br />

tasty and magnificent. Being here felt like sitting at a famous place, right before<br />

it becomes famous. Rightly so: the staff is adorable and charming, and they do<br />

not hesitate to keep bringing more freshly made chips, which is good. They could<br />

probably use a bartender, so that the wait isn’t as long. A trifle, really, since Casa<br />

Corazon is one of those places – you inherently know good food takes time and<br />

energy – that is meant to slow you down, to immerse and engage all of your senses.<br />

So slow down, find your salsa bliss; enjoy the architecture, art and bountiful chips.<br />

Before it’s nearly impossible to get a table.<br />

Casa Corazon<br />

2637 N. 16th Street, Phoenix<br />

Open 7 days a week, 10 a.m. to 10 p.m.<br />

casacorazonrestaurant.com


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Goodbye<br />

Summer<br />

<strong>JAVA</strong> 23<br />

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Photographer : Danni Ordoñez @synesthesia___<br />

Models : Sage Muniz @overdosagee<br />

Elisa Rebecca @ohherrokitty00<br />

Stylist : Lauren Moser<br />

@lauren.isadora<br />

Hmua : Sage Muniz<br />

Elisa Rebecca<br />

<strong>JAVA</strong> 29<br />

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Phoenix continues to burst at the seams with new dining establishments.<br />

The target market for brick-and-mortar ventures has grown well beyond<br />

Roosevelt Row toward Grand Avenue and is reaching further, crawling<br />

up Central Avenue, inching east into the Garfield neighborhood and even<br />

creeping south into the warehouse district.<br />

One of the newest downtown Phoenix eateries, The Larry, is situated inside the<br />

Lawrence Building (also home to the Galvanize Center for Entrepreneurship) on Grant<br />

Street in the otherwise austere historic warehouse district. The district is primarily a<br />

hub for office space – housing forward-thinking companies like WebPT, ad agencies,<br />

design firms and the like, but certainly not known as a dining or entertainment<br />

destination.<br />

Owners Kyu (pronounced “Q”) Utsunomiya and Troy Watkins first opened Be Coffee<br />

+ Food + Stuff in the small café space inside monOrchid Gallery. The coffee shop has<br />

been in operation since 2014. Within a year, Utsunomiya and Watkins began working<br />

on their next concept, converting the adjacent Dressing Room, an old performance<br />

space and tiny music venue, into the Dressing Room restaurant. They added on<br />

a front and back patio and built a full kitchen. The Dressing Room has been in<br />

operation for almost two years. During that time, Utsunomiya and Watkins have<br />

been hustling – getting one project off the ground and then immediately dreaming<br />

up the next.<br />

But Utsunomiya says that being so, so busy (almost too busy for a quick interview)<br />

is a good problem to have. Their new concept, the Larry, was built out and opened<br />

earlier this summer; it’s the third brick-and-mortar under their Conceptually Social<br />

umbrella. Utsunomiya and Watkins will maintain their business headquarters at<br />

monOrchid. Utsunomiya says, “As much as we continue to grow, Be Coffee and<br />

the Dressing Room are still fundamentally our flagships.”<br />

Their catering company, also called Conceptually Social, was created in<br />

conjunction with Dressing Room. The team found that when it came time to make<br />

food for larger-scale social gatherings and other corporate events at monOrchid<br />

and elsewhere, there was simply not enough kitchen space available in Be and


the Dressing Room, so they had to expand. Then<br />

their catering company landed the contract to serve<br />

lunches at Phoenix headquarters for Uber, and the<br />

rest is history.<br />

The Larry was another big jump for them. “We went<br />

with almost triple the size menu from the Dressing<br />

Room,” Utsunomiya says. Dressing Room has a<br />

limited selection of what the kitchen can produce<br />

because of its small size. Daily, you can find 12 items<br />

at most at the Dressing Room, but they are now<br />

offering 30-plus menu items at the Larry.<br />

Another bonus is that they can support in-house<br />

catering at The Larry, whereas with Dressing Room,<br />

they always had to use their big-sister catering<br />

space. “We have to be a bit more corporate with<br />

The Larry, but we can be a little looser and more<br />

ourselves at Dressing Room,” Kyu says. “Our<br />

corporate catering has grown to the extent that we<br />

are often feeding upwards of 1,000 people per day at<br />

the Uber offices and more,” he says.<br />

Clients such as Uber provided them with exposure<br />

to the tech world growing in downtown Phoenix.<br />

The area is quickly attracting more tech startups. In<br />

addition to their big client base at Uber, Utsunomiya<br />

says Indeed is present in downtown, as is Zillow. “As<br />

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we were building those relationships and making<br />

the dailies, we discovered a gentleman named Mike<br />

Cowley,” he says. Utsunomiya explains that Cowley<br />

not only built them a new catering kitchen but also<br />

introduced them to the Lawrence building. Cowley<br />

owns a lot of the downtown warehouse buildings,<br />

including the addresses that house WebPT and<br />

the tech incubator, Galvanize, the tech incubator<br />

and collaborative workspace. Galvanize also has a<br />

200-person amphitheater available for companies<br />

and clients to rent out.<br />

“Galvanize really targets tech innovators; for example,<br />

Zillow is in there. Banner Health, too,” Utsunomiya<br />

says. Galvanize provides meeting and workspace for<br />

different corporate clients and puts on about 30 events<br />

per month. A few months ago, the Obama Foundation<br />

rented Galvanize for a few days for blockchain and tech<br />

training, Kyu says. Conceptually Social was able to<br />

connect those days of training downtown to hosted<br />

events at monOrchid Gallery.<br />

Through his warehouse district connections,<br />

Utsunomiya has also connected with Willie Itule<br />

Produce Inc., a local produce supplier that has been<br />

around since 1979. Further, Conceptually Social and<br />

its entrepreneurial leaders began to meet future<br />

clients. Then, The Larry was born. “What we saw<br />

was a venue/space, or really a neighborhood, that<br />

would allow us to grow Be Coffee and the Dressing<br />

Room and then have some strategic catering because<br />

of its proximity and location to these tech companies.<br />

I don’t see us going away from Roosevelt Row, just<br />

growing our roots a little deeper,” Kyu says.<br />

At The Larry, Conceptually Social envisioned a largerspace,<br />

full-service restaurant and catering company<br />

that could do all the things they wanted but couldn’t<br />

do previously due to space constrictions. “With<br />

The Larry we wanted to create a place for coffee,<br />

breakfast, lunch, grab-and-go and a full-service<br />

bar with edgy cocktails and ten handles of beer,”<br />

Utsunomiya says.<br />

The location is great because they are hitting an<br />

area that is practically a dining desert. Their closest<br />

neighbors are The Duce, Lo-Lo’s Chicken and Waffles<br />

and the Tee Pee Tap Room.<br />

Utsunomiya says that as far as menu variety goes,<br />

The Larry is focused on salads, sandwiches, sushi<br />

and grab-and-go items. At present, it seems that<br />

strong efforts are being put on lunch, however they<br />

do offer their breakfast items all day. “Guests can<br />

walk over from across the street, get a bánh mì


sandwich, a pizza or some of our wonderful vegan<br />

selections,” he says.<br />

As the warehouse district grows into a buzzing<br />

commercial area, it’s not all collaborative workspaces<br />

– Galvanize has that covered. “Within the Lawrence<br />

building, Galvanize is that next disruptor that brings<br />

a lot of acknowledgment of the tech industries out<br />

here,” Kyu says. Conceptually Social’s restaurants are<br />

seeing more daytime corporate employees due to the<br />

number of businesses that have relocated downtown<br />

from Scottsdale and other areas<br />

“Scottsdale Galleria still has space and is growing,”<br />

Utsunomiya explains. But businesses are catching on<br />

that the warehouse district has a lot of potential due<br />

to its proximity to business and civic services, ease<br />

of getting to light rail and increasing availability of<br />

housing. Utsunomiya also mentions that Uphold, a<br />

new company from the Pacific Northwest that does<br />

cyber-currency trading, has moved into the area.<br />

“There is just a lot of excitement [here now],” he<br />

says of the area. Former mayor Greg Stanton was<br />

recently on-site, and the space also recently hosted<br />

the Arizona Diamondbacks organization.<br />

Another perk of The Larry is that the restaurant and<br />

catering company is able to occupy the entire lobby<br />

of the Lawrence building, plus covered outdoor areas<br />

including a nice patio. This has allowed them to<br />

take things in a different direction than previously<br />

imagined. Lately they have been hosting some<br />

rehearsal dinners and are even getting requests for<br />

weddings. “We’re not pigeonholing ourselves into<br />

just being a neighborhood restaurant. We would love<br />

to be everything to everybody downtown.”<br />

“For The Larry, we are working on some programming<br />

in conjunction with the neighborhood, Galvanize and<br />

WebPT – promoting our happy hour special $5 menu<br />

of craft cocktails and pizzas,” Utsunomiya says. He<br />

also wants to bring more attention to their breakfast<br />

offerings and envisions a one-stop location where<br />

someone can grab a coffee, lunch or take advantage<br />

of a breakfast menu that lasts all day. They are<br />

putting the feelers out, but Utsunomiya says if it<br />

seems viable, there may soon be Saturday brunch.<br />

The Larry may get some quick help in these fullservice,<br />

all-day restaurant dreams, as plans have<br />

recently been shared for two proposed residential<br />

communities south of Jackson. More than 600 units<br />

will be coming soon.<br />

Back at the Dressing Room, Utsunomiya spent the<br />

latter part of September collaborating with BTS Event<br />

Management, True North Development and members<br />

in the collaborative workspace at monOrchid to<br />

host a massive event, the BTS “The Dream” fashion<br />

show that happened Sept. 26. Conceptually Social<br />

handled all the catering for a fashion show of very<br />

sophisticated bridal wear.<br />

Conceptually Social has also been hired to run the<br />

catering for Noche en Blanco (Phoenix’s grand white<br />

party) at Hance Park, the last Saturday in <strong>Oct</strong>ober (the<br />

27th). To raise funds for the Hance Park Conservancy,<br />

a picnic-at-the-park element will be hosted by the<br />

Dressing Room. The Dressing Room’s executive chef,<br />

Malone Deever, who has been with his company for<br />

over a year and a half, will work the event. He has<br />

also brought in chefs Justin Beckett (Beckett’s Table<br />

and Southern Rail) and Aaron Chamberlin (St. Francis,<br />

Phoenix Public Market, Ghost Ranch, etc.).<br />

All the proceeds from tickets and on-site food and wine<br />

sales will go to the Hance Park Conservancy foundation.<br />

Utsunomiya says they are expecting 1,000 people this year.<br />

The Larry is located at 515 East Grant St., Phoenix,<br />

and is open Monday through Friday from 7 a.m. to 8<br />

p.m., serving breakfast, lunch, dinner and cocktails.<br />

For more information, visit http://www.thelarryphx.<br />

com/ or follow #FriendsofLarry.<br />

<strong>JAVA</strong> 33<br />

MAGAZINE


34 <strong>JAVA</strong><br />

MAGAZINE


WYVES<br />

Climb to the Top<br />

By Tom Reardon<br />

The word “rare” is defined in a couple of ways. Sometimes you’re<br />

talking about how you like your meat cooked, and other times<br />

you’re talking about a thing that doesn’t happen very often. Let’s<br />

use “rare” to describe the Phoenix band Wyves, as in “This is<br />

the type of band that doesn’t come around very often” and also, “Like a<br />

beautifully cooked steak, damn if they aren’t tasty.”<br />

Wyves jumped on the scene in 2015 and have only gained momentum<br />

since. The quartet is made up of local music-scene veterans, which<br />

shows in both the polished performances they deliver on local and<br />

national stages and in their recorded output. Lead singer/guitarist Corey<br />

Gloden, 37, is joined by guitarist and vocalist Nick Sterling, 28, bassist<br />

Brenden McBride, also 28, and drummer Evan Knisely, 33, and the kinetic<br />

energy between them is palpable. Good-looking, talented and eager to<br />

please, it’s no wonder Wyves have gotten as popular as they have in<br />

their relatively short career.<br />

The band’s sound is modern but steeped in vintage rock ’n’ roll, because<br />

these guys can really play, and vocalist Gloden has got the goods. Their<br />

new album, R U OK? is completely solid from the first track through to<br />

the last. To celebrate their recent release, we had a chat with the band<br />

about R U OK? and how they come up with their songs.<br />

How did Wyves get started?<br />

Corey: Wyves was all four of us being in the right place at the right<br />

time. We had all been coming off stints in other successful local Arizona<br />

bands, and the pieces just sort of fell together in no time once we all<br />

started jamming and writing. It was nice that we were all seasoned<br />

players in the scene – but it was even better that we had a clear vision<br />

of the music we wanted to make and had the right skills and capabilities<br />

to do so. The knowledge from our past projects and what we could<br />

have done better in previous endeavors was communicated and put into<br />

immediate action with Wyves. We hit the ground running with a fulllength<br />

album shortly after starting playing shows around town.<br />

You guys have a pretty storied history in the Phoenix scene.<br />

What bands were you in?<br />

Evan: Corey was (and still is) in Dry River Yacht Club. Brenden and I<br />

were founding members of Sara Robinson & The Midnight Special. Nick<br />

Sterling was a young prodigy on guitar and released albums under his<br />

own name. He wrote an album with Sebastian Bach and toured overseas<br />

with him opening for Guns N’ Roses.<br />

Where was your first show?<br />

Evan: Our first show as Wyves was June 5, 2015, at Last Exit Live opening<br />

for Banana Gun, Bear Ghost (who recently played the band’s release<br />

show) and Captain Squeegee.<br />

<strong>JAVA</strong> 35<br />

MAGAZINE


When did you realize you guys had something special?<br />

Evan: We sold out the Crescent Ballroom eight months later for our first album release, Spoils of War.<br />

That’s awesome. How did you come up with the title for the new record?<br />

Corey: The question “Are you okay?” is something I have found interesting since I was young. Sometimes<br />

there is a genuine concern, but often it seems condescending or a trigger to shine a negative light<br />

and ultimately create something that is not there. I believe that if the answer to the question is no, that<br />

is just as valid because it’s honest and everybody is dealing with something. The alternate title could be<br />

“Don’t dim my shine, motherfucker!”, which comes from the song of the same name (the epic second<br />

song on the record).<br />

We all ultimately felt this title represents this collection of songs and the state of the times we live in,<br />

from current events to our private lives. The spelling is a poke at the texting era, and we also felt that’s<br />

how Prince would spell it.<br />

Tell me a bit more about the title track.<br />

Corey: Here is a quote from a classic George Carlin bit that caused me to finally write about my hang-up<br />

in a song: “No, not me. I’m not nice. I’m not fine. I’m not great. People ask how I am. I answer, ‘Fairly<br />

decent.’ No superlatives. Sometimes I answer, ‘I’m not unwell, thank you.’ That pisses them off ’cause<br />

they have to figure that one out for themselves.”<br />

What formats will the music be available in for consumption?<br />

Corey: R U OK? is available on limited-edition, 180-gram blue vinyl, pressed at Third Man Pressing in<br />

Detroit, Michigan [which is owned by the inimitable Jack White of White Stripes fame]. It will also be<br />

available on all live streaming providers (Spotify, Pandora, SoundCloud, etc.) and is available for digital<br />

download, with online distribution through Tunecore.<br />

Fans should probably also check out your online store at ilovemywyves.com.<br />

“Princess Excess” starts off with a cool guitar<br />

riff, a very “this is our new album” guitar<br />

riff. Is this song about someone in particular<br />

or more of an idea about a lifestyle?<br />

Corey: Lyrically speaking, “Princess Excess”<br />

sounds like a party-girl rock song but is actually<br />

written about Lady Liberty and as an homage to<br />

the working class – the quickening of industry and<br />

technology and the unrealistic inflation/cost of living,<br />

et cetera.<br />

Nice! This makes me curious. Who is the primary<br />

lyricist in the band?<br />

Corey: I am the lyricist. To keep as much relevance<br />

and urgency in the vocals, I continued<br />

to write and rewrite the lyrics for every song up<br />

until walking into the booth to lay them down. Big<br />

thanks to Bob Hoag [of Flying Blanket Recording<br />

Studio and one fashionable and slinky drummer]<br />

and the Wyves guys for allowing me this freedom.<br />

I like to bounce my ideas off of the guys up until<br />

the last moment, especially on material that has<br />

more political or touchy subject matter. Their feedback,<br />

support and comfort with the material in the<br />

lyrics are key to getting the best results.<br />

How do you guys typically write, and does<br />

everyone bring songs to the table?<br />

Evan: Corey and Nick will bring riffs and melodies<br />

into the practice room, where we all mold and<br />

craft the structures, polish and finish them off.<br />

We often test them out live and will go back and<br />

change what we think wasn’t working.<br />

Corey: Brenden and Nick work tirelessly on their<br />

tones, parts and overall sound in pre-tracking<br />

leading up to the recording sessions. Evan went<br />

harder at his drum parts and supporting each song<br />

more perfectly than any drummer I have recorded<br />

with. Bob Hoag finished it off with his golden<br />

touch and advice, as usual. I heard a lot of different<br />

parts that could be played by horns, keys,<br />

string sections, et cetera, but we decided to do<br />

this ourselves. What we could not get with our<br />

guitars or synthesizers, we got with background<br />

vocals. Nick was in the booth for two days while<br />

we constructed this, with Bob adding his input and<br />

vintage effects. Along with everyone’s contribution<br />

and collaboration, the result is something we will<br />

be proud of for years to come.<br />

36 <strong>JAVA</strong><br />

MAGAZINE


What about “Mar-A-Lago”? Is this your attempt to win friends in the Republican party?<br />

Corey: In the words of Bruce Campbell, “It’s a trap, get an axe.”<br />

With its snowball effect, “Distractions” reminds me a bit of the old Trunk Federation song<br />

“Bad Dog-Reject.” How much influence do other local bands have on your sound?<br />

Evan: We find endless inspiration from all the local bands in town right now to keep writing, pinpointing<br />

our sound and perfecting the live performance. We try not to pull too much from any of our favorites.<br />

Corey: “Distractions” calls out the Orwellian nightmare that has gone on long enough: a manic song for<br />

manic times.<br />

“The Speed of Sound” has another great (and big) guitar riff as an intro. I’d guess this one is<br />

fun to play.<br />

Corey: “The Speed of Sound” is in first person narrative as Chuck Yeager, the day he reached Mach 1<br />

and broke the sound barrier.<br />

Nick: We’ve got a Sly Stone vocal line between Corey and I. It feels carefree in contrast to the heaviness<br />

of my guitar riff. I love playing this song live. I get to play the tambourine, which always gets the<br />

party started.<br />

I really dig “My Gravity,” and I’m always a sucker for a great song with a killer bass hook.<br />

Who wrote this one, and what is the story behind it?<br />

Brenden: Nick and I spent a lot of time making sure this song’s bass line is not just resting on the root<br />

notes, but instead moves around a lot. To achieve the tone, I used a P [Fender Precision] Bass, boost<br />

around 2k for pick click, sponge over the bridge, [and plugged] straight into the board, like Carol Kaye [the<br />

legendary session player with Elvis Presley, Sonny and Cher, The Monkees and more].<br />

Corey: “My Gravity” uses Einstein’s definition of<br />

gravity in the chorus background to explain love/<br />

self-doubt/purpose. This song is a great example<br />

of how we all wrote together on the album. I<br />

brought in the basic chord progression and melody.<br />

Brenden and Nick wrote that bass line, Evan and I<br />

dissected the hell out of the drum part, and he created<br />

something dynamic, musical and full of drive.<br />

Nick created those swirling “oooh’s” in the bridge.<br />

The night before I went in to sing it, a whole new<br />

melody, topic and title came to me when I was<br />

falling asleep. It was like the George Carlin bit:<br />

“The meaning of life? Don’t be crushed into the<br />

ground and don’t float away into space.” I went in<br />

and recorded it to the existing tracks without anyone<br />

hearing it and them trusting me.<br />

“Shake Off the Day” has a really positive vibe<br />

at the outset and some pretty powerful lyrics.<br />

What was the inspiration for this one?<br />

Corey: I had been sitting on this 75% written for<br />

years. It was taken from my early years playing in<br />

the scene as an out-of-towner, getting wrapped up<br />

in some random madness. The guys really liked it<br />

and were eager to finish it, adding some incredible<br />

elements to the arrangement. Bob encouraged me<br />

to write lyrics over a guitar break, which is now<br />

the chorus.<br />

Why did you choose “Leroy” as the album<br />

ender?<br />

Nick: We didn’t want to end the record going out<br />

blazing. We felt it was a nice bookend.<br />

Corey: “Leroy” is a tribute to my grandpa, who I<br />

share the same middle name with and who passed<br />

away a few days before we released our first<br />

album. This is a band favorite. It was the first song<br />

we wrote for the record, and we all agreed we<br />

couldn’t end it any better.<br />

<strong>JAVA</strong> 37<br />

MAGAZINE


GIRL ON FARMER<br />

BY CELIA BERESFORD<br />

Reading my horoscope is not something I do very<br />

often. I’m not even sure the last time I read it, but<br />

something, maybe boredom, had me check my<br />

horoscope this month. Maybe it’s my practical and<br />

logical Virgo nature that prohibits me from being a<br />

daily horoscope reader, but there were some years<br />

when I was a dedicated checker. I attribute this to<br />

my dad buying me Linda Goodman’s Star Signs, the<br />

astrological bible, when I was about 12. This wasn’t<br />

because my dad was into astrology, in fact, far from<br />

it. It was because I relentlessly nagged my father<br />

anytime we were at any type of store to buy me<br />

something. I would persist in asking until I either got<br />

something or, more often, my dad gave me “the look”<br />

that instilled immediate fear and occasionally caused<br />

me to pee my pants. I had recently figured out that if I<br />

asked for a book, he would not say no.<br />

Star Signs is heavy on the importance of your star<br />

sign, horoscope and numerology when making<br />

decisions and considering life overall. According to<br />

Linda, the unique vibrations of the day of your birth,<br />

the month, year and whatever the planets were<br />

up to will have a direct impact on your life. Both<br />

horoscopes and numerology allow you to pick and<br />

choose the information you like and discount the rest.<br />

For example, when I read about Virgo traits and I<br />

discover that I am balanced and fair, I nod my head in<br />

agreement and think, “I always knew that about me. I<br />

am fair and balanced.” The description continues and<br />

assures me I am also both humble and easygoing.<br />

“Yes, I am so good at being humble,” I congratulate<br />

myself, un-humbly. When it goes on to say that I am a<br />

persnickety perfectionist, prone to being pedantic and<br />

a harpy, I am sure this horoscope thing is nonsense.<br />

Pretty much all the good things seem like irrefutable<br />

qualities about me, while the undesired traits are just<br />

plain wrong.<br />

Similarly, with numerology, there are good numbers<br />

and bad numbers. Diplomatically, Linda would<br />

never designate a number as good or bad, but<br />

when you read between the lines, you can tell<br />

what she’s getting at. There is an entire section<br />

devoted to explaining numbers and their meaning,<br />

and complicated systems for translating words,<br />

like your name, into numbers and then gleaning<br />

messages from the number. I loved this part and<br />

spent time holed up with Star Signs discovering<br />

38 <strong>JAVA</strong><br />

MAGAZINE


When it goes on to say that I am a persnickety<br />

perfectionist, prone to being pedantic and<br />

a harpy, I am sure this horoscope thing is<br />

nonsense. Pretty much all the good things seem<br />

like irrefutable qualities about me, while the<br />

undesired traits are just plain wrong.<br />

secrets about the universe through math. This joy did not last long. At the end of<br />

the numerology section there is a warning several pages long that explains the<br />

treachery and danger if your birth number is a four or an eight. They are called<br />

the numbers of “Fate and Destiny,” which doesn’t necessarily seem so bad.<br />

When you continue reading, you will discover that it is bad. The bad “vibrations”<br />

associated with these numbers are strongest if you are born directly on either<br />

of these dates. If I was born the 26th, for example, which is reduced to an eight<br />

when you add the numbers together, this would be precarious, but not nearly as<br />

dangerous as being born on the number itself. Being that my birthday is the 8th,<br />

I was petrified.<br />

Linda Goodman isn’t mean though, and neither is the universe, because there is a<br />

way to alleviate the intense karma of the fours and eights. It’s simple: just make<br />

the number six appear in your life as much as possible. My fear of the curse of<br />

the eight compelled me to do an inventory of all the sixes I had in my life. So,<br />

naturally, I added up the most important numbers in my pre-teen life, like my<br />

phone number (and here’s where the picking and choosing comes in). You see,<br />

if you added up my phone number, it came to 42. That’s scary. There’s a four in<br />

there. But then, I can just add the four and two and I get a six. A six, as we all<br />

know, is the number necessary to mitigate the eight curse. Conversely, I could<br />

do the math on a number and get a 26, feeling happy about the six, but when<br />

they are added up, it’s another eight! So then what, Linda Goodman? I get to<br />

add together the numbers I want to and just leave the others alone? It seems it<br />

shouldn’t be so easy to manipulate fate and destiny.<br />

Now, the Star Signs pages are yellowed and the book is held together with a<br />

rubber band. Still, I can flip through and see, in my young handwriting, lists<br />

of names of family and friends with the letters crossed out and replaced with<br />

numbers. The calculations are on the pages, trying different ways to configure<br />

things, hoping for the magical six. It all seems kind of silly now, but I’d be lying<br />

if I said I didn’t still add numbers up in my head, preferring when they can be<br />

reduced to six. Like anything habitual ingrained in your thinking, it takes effort to<br />

undo the pattern. It doesn’t seem like it does any harm, so why bother changing<br />

it? So when I checked my horoscope this month and read that there are “great<br />

things in my future,” I was relieved. I also appreciated the vagueness of this<br />

prediction, because it makes it easier for things to come true. And if it doesn’t, I’ll<br />

just say I never believed in this stuff anyway.


NIGHT<br />

GALLERY<br />

Photos By<br />

Robert Sentinery<br />

1<br />

2<br />

3 4<br />

5<br />

6<br />

7<br />

8 9<br />

10 11<br />

1. Nice “Mad Men” vibe at the new Modern Manor<br />

2. Leon Bridges stopped by the Bikini after his Comerica gig<br />

3. Kylie, the woman behind Modern Manor<br />

4. Ryan, the man behind Modern Manor<br />

5. Bumped into these beauties at the Lavatory<br />

6. Metal artist Tom Tuberty with Becca and Maureen<br />

7. Celebrating Amanda’s “Crow’s Speak “opening<br />

8. In the Gallery at the Lavatory with Mitch from Rare Scarf<br />

9. Snakesblood and Burrito Babe at the Modern Manor preview party<br />

10. Rachel with Roscoe and co at the Womack<br />

11. Lord Zep and his sidekick at the Lavatory


12 13 14 15 16<br />

17 18 19 20<br />

21<br />

22 23 24 25 26<br />

27 28 29<br />

12. Fab Native fashion by OXDX – Cultivate show at FABRIC<br />

13. Kristen and Emmett at “New Phx Art” at Step Gallery<br />

14. White Room shenanigans at the Lavatory<br />

15. Day-Glo fun at Cool Off in Style 2.0 at Unexpected<br />

16. Rockin’ the vintage Casio SK-1<br />

17. Modern Manor preview party and art show<br />

18. Isse and pal sample some Mahalo Made shaved ice<br />

19. TP Shrine at the Lavatory<br />

20. Preston and Nomas at the Bikini<br />

21. All together now “New Phx Art” at Step Gallery<br />

22. Sometimes you gotta stop and smell the roses<br />

23. You and me and a Pomeranian makes three<br />

24. Lenny is getting chauffeured at MM<br />

25. Good to bump into my old pal, menswear guru Tom Simon<br />

26. Leonor Aispuro Private Collection on the runway at Cultivate<br />

27. Cool Off in Style 2.0 with the art crowd<br />

28. Inspired Sugar gals at Cool Off in Style 2.0<br />

29. Ring a ding ding at Unexpected Space


Flexible Start Dates<br />

Register Today!<br />

enroll-maricopa.com<br />

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<br />

consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, age, or national origin. A lack of English language skills will not be a barrier to admission and<br />

participation in the career and technical education programs of the District.<br />

The Maricopa County Community College District does not discriminate on the basis of race, color, national origin, sex, disability or age in its programs or activities. For Title IX/504 concerns, call the following<br />

number to reach the appointed coordinator: (480) 731-8499. For additional information, as well as a listing of all coordinators within the Maricopa College system, visit www.maricopa.edu/non-discrimination.


30 31<br />

32 33 34<br />

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42 43 44<br />

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30. Vintage finds at Modern Manor<br />

31. Nice to see Cristiana at the Royse Contemporary one-year<br />

32. On the dance floor at Bikini Lounge<br />

33. Met these guys in the bar line at the MM preview part<br />

34. Brews and cues at the Bikini<br />

35. Fausto and Gennaro make a Kandice sandwich<br />

36. Snapped this stylish couple at Unexpected<br />

37. Mini gelato scoops at Cool Off in Style 2.0<br />

38. Lee’s photography show opening at Sundown Gallery<br />

39. More fun at the at Bikini<br />

40. Cultivate fashion show at FABRIC<br />

41. A dude and two blonde beauties<br />

42. Amie and her beau at Unexpected<br />

43. Nicole and Daniel, Royse Contemporary one-year<br />

44. The maestro Joe Willie Smith, Mesa Contemporary Art Museum<br />

45. Susan, Chris and pal at MCA Museum<br />

46. Grand Canyon Brewing Co fans at Cool Off in Style 2.0<br />

47. OXDX Clothing on the runway at Cultivate


48 49<br />

50 51 52<br />

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55 56<br />

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48. Joe and pal at the Bikini<br />

49. WAYL.A. Studios has a space at the new Modern Manor<br />

50. “Jazz It Up” opening at Mesa Arts Center<br />

51. Triple the fun at MCA Museum<br />

52. Damiana and Charmagne at Royse Contemporary’s one-year<br />

53. Cultivate fashion show at FABRIC – design by Sea Snyder<br />

54. Mikey B and Michelle at Unexpected Space<br />

55. Design by Leonor Aispuro at Cultivate<br />

56. Shane and pal at FABRIC for Cultivate<br />

57. Michael Viglietta’s “Eroding Language” opening at monOrchid<br />

58. Bill Tonnesen in The Pit at Lavatory<br />

59. Christine with Jose and Frank at MCA Musuem<br />

60. Another Leonor Aispuro creation on the runway<br />

61. Sea Snyder celebrates a successful fashion show<br />

62. Towering El Mac piece at MCA Museum<br />

63. Cookie Brokers crew at Cool Off in Style 2.0<br />

64. Cultivate fashion show at FABRIC<br />

65. Danielle and friends at the “Eroding Language” opening


66 67 68<br />

69<br />

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66. Leonor takes a bow after presenting her collection<br />

67. Behind the scenes at Bill Tonnesen’s Lavatory<br />

68. Look who’s matchy-matchy, Artlink mixer at the new PAZ<br />

69. Walking the walk at Cultivate<br />

70. Glowing in the black-light room at Unexpected<br />

71. Leonor Aisporo Private Collection<br />

72. Curator Tiffany and Joe Willie Smith at MCA Museum<br />

73. Ginalyn and her beau at MM<br />

74. OXDX fashion by Jared Yazzie<br />

75. Beta Dance Festival with Michelle and Nicole<br />

76. Phoenix Center for the Arts for Beta Dance Fest<br />

77. Angela and Sherry from AZ Apparel Foundation<br />

78. Artlink mixer with this fab crew at the new PAZ<br />

79. Snapped these guys at the new PAZ<br />

80. Lee and Frank – Lee Lusby’s opening at Sundown Gallery<br />

81. Met these two at the Artlink mixer at PAZ<br />

82. Checking out AZ88’s new art installation<br />

83. Stay gold, fashion by Leonor Aispuro


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