March echo

Echo Eats
We give you plenty to feast on, from delicious
dishes to organizations combating food insecurity
LGBTQ NEWS, VIEWS AND ENTERTAINMENT | Vol. 32, #6 | Issue 738 | March 2021 | COMPLIMENTARY

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4 MARCH 2021 | ECHOMAG.COM

PUBLISHER’S LETTER
Whew! We made it
through 2020, and
here we are at the
beginning of 2021. A new year,
a new sense of optimism and
opportunity, and a new direction.
2020 had many challenges, but
it also presented opportunities
for those that were ready. We
acquired three new LGBTQ+
media assets Echo Magazine,
Phoenix Out & About Magazine,
Nashville, CAMP Magazine,
Kansas City, and launched
OUTvoices, Chicago. We
developed and launched two
new industry associations, The
Aequalitas Content Creators
Association and the Gay Travel
Business Network, and we are
far from being done.
We currently have three
LGBTQ+ media properties in
the acquisition pipeline for 2021,
and there are more in various
stages of negotiation and we are
on track to launch the first-ever
24/7 LGBTQ+ internet-based
Talk Radio Station aptly named
OUTvoices Radio in March.
We will also be rolling out our
OUTvoices TV YouTube Channel
in May featuring original content
such as the Gaycation Travel
Show w/Ravi Roth and the
Gay Gourmet cooking show
with chefs Art Smith and Joe
Morales, and much more.
2021 will also see BIG changes
coming to all of our individual
brands. As we continue to unify
our voices and our media assets,
one of the biggest changes will
be the name changes. Beginning
on May 1, Echo Magazine will
become OUTvoices Phoenix, Out
& About Nashville will become
OUTvoices Nashville, and
CAMP Magazine will become
OUTvoices Kansas City.
Our strategy has been and
is a simple one. To create a
network of local LGBTQ+ media
that maintains a relationship
with the communities they serve
as we increase our national
OUTvoice. Each local media
and members of OUTvoices will
add their voice to our growing
national OUTvoices network.
OUTvoices “bureaus” will be able
to share content with each other
allowing access to a much larger
audience. A new OUTvoices.us
website (Going live May 1) will
reflect an LGBTQ+ website that
offers content from the whole
spectrum of our community,
not just from the gay male
perspective. The .us extension
for the website makes a bold and
clear statement that OUTvoices
is about US, ALL of US.
New initiatives on the
OUTvoices Network will include
content that speaks to our
Transgender, Lesbian, and
Queer audiences and much
more.
As we continue our policy
of supporting LGBTQ+ media
we will offer ALL LGBTQ+
websites that are part of the
OUTvoices Network access
to OUTvoices Radio and all of
the programming contained
therein for 24/7 LGBTQ+ talk
radio, and they will also be able
to broadcast all of our original
OUTvoices video content on
their digital platforms, all at no
cost.
“A rising tide lifts all
boats.” As small to medium
sized websites continue to be
overlooked by major brands
and agencies, we are creating
DJ Doran, President/CEO, Aequalitas Media
a FREE network where others
can join with us to change an
industry squeak to a roar. We
can add all of our small reaches
and audiences to a single
point, OUTvoices.us to get a
piece of the digital advertising
pie. Whereas, many blue-chip
advertisers would not normally
consider advertising on our
individual websites, they will not
be able to ignore the combined
audience and voice of our
membership.
While others may beat the
drum of impending doom and
gloom for LGBTQ+ media, I
see opportunities to unify and
become stronger, to evolve and
grow, to reinvent ourselves and
become indispensable.
I see the opportunity to not
only survive, but thrive in an
evolving media landscape.
It may be true that parts
of our media like print are
struggling, but I don’t believe it’s
on its death bed, not by a long
shot. The market is telling us
what it wants and needs, and we
need to listen and pay attention.
Print publishing is here to stay,
period, but it’s relationship to
advertisers is changing.
Whereas print used to be
the lead entrée for advertisers
and digital offerings were
the "added value," that is now
changed. Digital content has
become the lead platform for
many advertisers and print has
become the "added value."
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in the transition from print to
digital in 2020 and will continue
to do so in the future. 2021 will
still have its challenges, but it
will also have an abundance
of opportunity. These latest
changes reflect our dedication
and commitment to the
survivability of legacy and
non-legacy publications and
will continue to preach the
importance of a vibrant, healthy
and locally focused LGBTQ+
media.
Change can be scary, I
know, but change can also be
reinvigorating and exciting. The
name of the publication may
change but our history will not,
our relationship to our audience
will not and our dedication
and commitment to journalistic
excellence will not.
I am looking ahead to a
brighter future as we focus
forward and continue to
re-invent ourselves to better
reflect the needs and wants
of our evolving sophisticated
audience.
I hope you will stay with us
and share the journey toward an
exciting future as we continue to
transition into a unified, stronger
new brand, OUTvoices.
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ECHOMAG.COM | MARCH 2021
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INSIDE THIS
ISSUE
Matthew Moody and Ruben Gonzales
Issue 738 | Vol. 32, #6 | March 2021
NEWS
5 Publisher’s Letter
8 Editor’s Note
COMMUNITY
14 Without Reservations
20 Not That You Asked
ON THE COVER
Handmade pretzels from The Salted
10
Intense ‘Industry’
opening
Matthew Moody and Ruben
Gonzales took a big chance
opening Industry during the
pandemic. Jason Keil talks
to them about how things
are going in this central
Phoenix spot.
16
Kitchen basics from a
professional chef
Joe Morales is the pro chef
behind Joe Eats World, a
site where he shares recipes,
tips, and culinary information.
Here, he examines the many
options of cutting boards
available to help you maximize
your kitchen skills.
Knot AZ
www.facebook.com/thesaltedknotaz
Photo by Maria Vassett
Echo Eats
We give you plenty to feast on, from delicious
dishes to organizations combating food insecurity
LGBTQ NEWS, VIEWS AND ENTERTAINMENT | Vol. 32, #6 | Issue 738 | March 2021 | COMPLIMENTARY
18
Mutual aid efforts strengthen relationships in communities
Jonmaesha Beltran examines food insecurity in the community and the people
and organizations striving to provide help.
Leon Polk Smith: Hiding in Plain Sight; courtesy of the Heard Museum
WEB EXCLUSIVES
Visit echomag.com for more
food-related articles, including a
restaurant feature by Niki D’Andrea
and an update on farmers’ markets
around the Valley. You’ll also find
the launch of a new, monthly column
titled Just A Stage, which focuses
on local theater, by longtime Echo
contributor Buddy Early.
22
Leon Polk Smith: Hiding in Plain Sight at Heard Museum
Painter and sculptor Leon Polk Smith’s current exhibition features more than
40 of his most celebrated works. Jenna Duncan discusses the artwork, talks to
curators, and delves into the artist’s history.
ECHOMAG.COM | MARCH 2021
7

EDITOR’S NOTE
By Amy Young
Welcome to our March issue, Echo
Eats. Our annual food issue
comes during a time when food
insecurity dominates the lives of many,
around the globe, due to the COVID-19
pandemic. It’s not merely a result of the
pandemic, of course, as in this country,
particularly, there is a wealth inequality
that makes the daily need to eat a struggle.
COVID, however, has intensified the
situation.
Many individuals, groups, and
organizations are finding ways to help
people in need. Mutualaidphoenix.com
and a group moderated by Equality
Arizona that you can find at facebook.
com/ groups/632742627272730/ are two
destinations that come to mind if you’re in
need or if you have time, money, or items
to donate. The saying, ‘Together, we are
stronger,’ is further cemented as truth
by groups like this. Reporter Jonmaesha
Beltran, in her article on page 18, talks to
and about people involved in mutual aid
groups around the Valley.
Owning a restaurant is a challenging
business adventure in the best of times.
Opening one during a pandemic, well, I don’t
think I need to point out how hard that could
be. Matthew Moody and Ruben Gonzales
opened Industry PHX since COVID hit. They
talk to Jason Keil about how it’s going. We
appreciate them taking the time.
Did you know there was a speakeasy
above Citizen Public House in Old Town
Scottsdale? In this intimate space, you
can find Benjamin’s Upstairs, where Chef
Benjamin Graham serves up his signature
dishes. Head to page 14 for all of the
delicious details.
We’ve also got a new food-focused
column debuting this issue: Joe Eats World.
Joe Morales loves food. He’s a trained
chef and culinary instructor who is also
passionate about traveling, so when he’s
on adventures, he’s partaking in the food
culture of wherever he lands. Each month,
he’ll be sharing new information, from tips
on kitchen equipment, as you’ll see in this
issue, to mouthwatering recipes.
What you don’t see in print, you’ll find
online. Please visit echomag.com as new
content is added daily. Additional Echo Eats
articles include a feature on a local dining
spot by Niki D’Andrea and a roundup of
area farmers’ markets by Tim Rawles.
As you’re checking out this latest issue,
you’ll also see a letter from our publisher,
DJ Doran. He explains all of the changes
in the works for Echo and the other
publications under the Aequalitas Media
umbrella. There’s so much in store as the
Aequalitas team works to broaden its
LGBTQ media network.
Amy Young is the editor-in-chief
of Echo Magazine. A longtime
journalist, her work has appeared
numerous publications, regional
to international. Please contact
her at editor@echomag.com.
LGBTQ NEWS, VIEWS
AND ENTERTAINMENT
PUBLISHER: Aequalitas Media
EDITORIAL
EDITOR-IN-CHIEF: Amy Young
CONTRIBUTORS:
Jonmaesha Beltran
Kimberly Blaker
Grace Bolyard
Stefan Contreras
Niki D'Andrea
Jenna Duncan
Buddy Early
Michelle Talsma Everson
Endia Fontanez
Jason Keil
Jason Kron
Jeff Kronenfeld
Megan Lane
ART DEPARTMENT
PHOTOGRAPHY: nightfuse.com.
ADVERTISING
ADVERTISING SALES:
Kris Radtke
602-266-0550x704 or kris@echomag.com
National Advertising Sales: Aequalitas Media at
312-600-8823 or sales@aequalitasmedia.com
ECHO READERSHIP: 50,000
SUBSCRIPTIONS: $29/year
Echo Magazine LLC
Laura Latzko
Sydney Lee
Logan Lowrey-Rasmussen
Anika Nayak
David-Elijah Nahmod
Timothy Rawles
Tom Reardon
Terri Schlichenmeyer
Carly Schorman
Anika Nayak
Sojas Wagle
Velvet Wahl
MAILING ADDRESS: P.O. Box 16630
Phoenix, AZ 85011-6630
PHONE: 602-266-0550
EMAIL: manager@echomag.com
Copyright © 2016 • ISSN #1045-2346
MEMBER:
Echo Magazine is published by Echo Magazine LLC, Inc. Echo
is a registered trademark of Echo Magazine LLC, Inc. All rights
reserved. Written permission must be obtained in advance for
partial or complete reproduction of any advertising material
contained therein. Opinions expressed therein are not necessarily
those of the publisher or staff. Echo Magazine LLC, Inc. does
not assume responsibility for claims by its advertisers or advice
columnists. Publication of a name, photograph of an individual
or organization in articles, advertisements or listings is not to be
construed as an indication of the sexual orientation, unless such
orientation is specifically stated. Manuscripts or other materials
submitted remain the property of Echo Magazine LLC, Inc.
8 MARCH 2021 | ECHOMAG.COM

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ECHOMAG.COM | MARCH 2021
9

Intense ‘Industry’ opening
The restaurant has struggled since opening
during the pandemic
By Jason Keil; photos courtesy of Industry PHX
It’s tough getting any Valley
restaurant off the ground.
But Ruben Gonzalez, the
owner of Eleventh Monkey,
and Matthew Moody really had
their work cut out for them
when they opened Industry
PHX, located where The Louie
once stood at 607 West Osborn
Road, late last year. Even before
the pandemic forced businesses
to readjust, the duo, who were
the minds behind The Hustle
10 MARCH 2021 | ECHOMAG.COM
dance parties at Kobalt, dealt
with investors pulling out and
headaches from neighbors.
What’s kept them going
through all of the stress is their
desire to give the community
something they knew it needed:
a safe space for everyone.
They shared some of their
stories with Echo Magazine in
February. This interview has
been edited for length and
clarity.
Echo Magazine: I’m sure
this has been an intense
experience. Is there a
particular moment that stands
out?
Matthew Moody: You can start
with the obvious: we are in an
unprecedented time in the
history of the world. We were
under the belief that we would
be able to open and function
as a whole entity. Then you
learn you can only open at half
capacity, and you have to do
this and that, so you’re already
dealing with a lower income
rate, and bills are coming in.
And people understandably
don’t want to come out, but you
need them to so you can stay
open. And we’ve never opened
a restaurant before, so there’s
a lot we had to learn in a short
amount of time.
Ruben Gonzales: We also got
put into litigation by our old
partner. We can only say so
much [about it], but it put us
in a position that almost any
money that Matt and I did have
leftover as a cushion was gone.
We had to go to something
else, and that added a ton of
stress. We were going to start
in the negative, but we figured
it out and got on our feet. But
there’s always something you
don’t know. Water lines break,
pipes don’t work, and toilets
don’t flush.
Matthew Moody: I tried to
route a cable through a ceiling,
and I drilled into a water pipe.
I had a full mental shutdown. I
didn’t know what to do.
Ruben Gonzales: It was like
a waterfall, but now we know
where all the water valves are.
Are you able to hold events
right now?
Matthew Moody: A couple of
weeks ago, I got four phone
calls back to back from a city
inspector saying that we can’t
have events. I told them we’re
not, but it took a while into
the fourth phone call for him
to understand that watching
RuPaul’s Drag Race is like
watching the Super Bowl. He
said, “I need to call back. How
big is your stage?” “It’s exactly
zero inches. We don’t have a
stage,” I replied. He asks, “Are
people going to be dancing
with masks on?” He didn’t
know that it was a television
show. And he finally grasped it,
but the word “event” causes a
problem.
Since the day we opened, I
don’t think there hasn’t been a
public office that hasn’t been
called on us. When we started,
we got a “Stop Work” sign on
our window. And that’s not a
joke. And it’s because I started
posting pictures of our progress
as we go, so the community felt
part of what we were doing. All
that did was allow somebody
to make up stuff that was
happening in the photo that
wasn’t real and send it to the
inspector’s office.
Ruben Gonzales: The city
manager came in with a stack of
photos. He saw what we were
doing, and he was so annoyed
that he had to come in.
It amazes me that people have
the time to call and complain.
Matthew Moody: It’s so we
wouldn’t exist or be competition
to their favorite place. One of
the things we’ve said from the
beginning is that we didn’t want
to compete with anyone. We
thought there were missing
pieces in our community. There
FEATURE

were people who didn’t feel
safe in certain spaces. We’re
shouting, “This is for you!” We
are all about radical inclusion.
Once we fully get to open, we
won’t be doing anything near
what other bars do.
Ruben Gonzales: I’ve
experienced this with Eleventh
Monkey. People tend to get
into this thing when a new
business opens where they
need to be greedy and can’t
allow someone to go to another
place. There’s enough business
for everyone everywhere.
Instead of being greedy, why
don’t we work together to
see what each other is doing
to coincide with each other?
Share the wealth.
PPP Loans weren’t available
for anyone who opened after
February 15. Are there other
options you’re looking into?
Ruben Gonzales: Every bank
is getting it differently, and I’m
taking on that role and seeing
what we can do. We’re allowed
to apply for the second round.
Matthew Moody: We’ve had
zero dollars of help.
Ruben Gonzales: People told
us we could still apply during
the first round. Technically we
couldn’t. We had no money
flowing. There was no number
they could derive from because
we didn’t have any employees.
Now there is, so we’ll see what
comes of it.
Matthew Moody: We’re trying
to do all these things that the
money is here for, but they
mean everyone but us.
Have you used social media to
help drum up business?
Matthew Moody: We’ve paid
for ads and are working with
alcohol distributors.
Ruben Gonzales: And anytime
we have a viewing party, we’ve
had local organizations come
out and give out condoms,
lubes, lip balm, and at-home
HIV testing kits, which is very
important right now. These are
things that we’re able to do
because we have the space now.
The community needs it.
Matthew Moody: Both Ruben
and I are crazy different guys
who happen to like a lot of the
same stuff, but we both said
coming in that this wasn’t going
to be a rush for bucks for us.
It’s about our community and
having a creative space for
creative queer and non-queer
people to come out.
We have a giant neon sign
that says, “You are safe here.”
It’s the focal point of the space,
and it’s the whole point. The
only rule is don’t be an asshole.
We want people to talk to each
other.
Ruben Gonzales: The city has a
hold on our permit because of
COVID. We’re at a point where
if we can’t navigate through the
pandemic as safely as possible,
then nobody will be open. We
both take COVID as seriously
as possible. Eleventh Monkey
is partially a mask show, which I
never thought I’d be doing.
We want people to feel
comfortable walking in the doors
knowing that we’ve taken the
best precautions we can take
to survive. It’s still nice to see
someone. There are things as
human beings that we all need.
We get flack from some people
for being open, but they’re not
paying our bills. We have to do
this. We employ people, and we
need to keep their livelihood
going, too.
Learn more about Industry PHX
at industryphx.com.
Jason Keil is a freelance journalist based in Phoenix and is
the co-host of the podcast What the Fork: Exploring The
Good Place. His work has appeared in Phoenix New Times,
AZCentral, and Phoenix Magazine, and he tweets about pop
culture @jasonekeil.
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FEATURE
ECHOMAG.COM | MARCH 2021
11

WITHOUT RESERVATIONS
Shucking and clucking at
Benjamin’s Upstairs
By Jeff Kronenfeld
Hidden in the speakeasy above
Citizen Public House in Old Town
Scottsdale is Benjamin’s Upstairs, a
new restaurant and bar offering sanctuary
to the hungry and amorous alike. While not
actually a secret, ascending its stairs makes
you feel like a VIP nonetheless, and we
haven’t even gotten to the fried chicken,
oysters, or natural wine. Chef Benjamin
Graham succeeds in serving up a unique
dining experience that is both romantic
and filling.
Opened in August of last year, the space
has just six tables and is only open three
nights a week, which is why reservations
are essential. I booked five days in advance,
and most of the coming Saturday’s time
slots were already spoken for, though not
all. I considered this a good sign while also
wondering how crowded the swanky sky
parlor would be. Old Town was certainly
bustling when we arrived shortly before
the appointed time. As we approached the
entrance, the beauty from the thousands
of golden bulbs strung from trees and
awnings was balanced by the loud yelling
from a pack of passing carousers.
This and all other thoughts of the
outside world were quickly forgotten
once we entered CPH. A host escorted us
around the bar, through a narrow hall, and
up a dark flight of stairs. Emerging from
the shadowy underworld into the gleaming
light of the chandelier and flickering glow
of the candles was disorienting in a good
way. There were no clocks or windows.
Chef Benjamin Graham; courtesy of In Good Spirits
Oysters and fried chicken; courtesy of In Good Spirits
Instead, the walls were covered in old
recipes framed like works of art. The
room’s black and white color scheme was
occasionally interspersed with an intricate
geometric pattern. Here the food, drinks,
and, of course, your company are the
evening’s center of attention, with the
other elements serving as complements
rather than distractions.
My concerns that the elevated eatery
might be too small or densely packed were
quickly allayed. A little like a Tardis from
“Dr. Who,” the space seems larger than you
would guess from the outside. In fact, the
distance between tables is greater than
in most full-size restaurants I’ve visited of
late. Ensconced in our romantic nook and
far from the two couples who were there
before us, we felt comfortable turning our
attention to ordering when our very helpful
waiter Scotty arrived.
The food and drink menu is small but
varied. Wanting to take our time after
hustling all week, we opted to start with
refreshments. Cocktails, beer, and more
familiar varieties of wine are all available,
but the selection of natural wines are
the real stars. Listed under the heading
pétillant naturel, which literally translates
into natural sparkling, these bubbly drinks
are made by adding wild or ancestral
varieties of yeast at the time of bottling. As
the fruity fluid ferments, CO2 is produced
as a natural byproduct, giving these wines
an effervescent quality without recourse to
some cringy industrial process. Sometimes
14 MARCH 2021 | ECHOMAG.COM
DINING OUT

Yellowfin tuna sashimi; photo by Jeff Kronenfeld
also called the Méthode Ancestrale, this
winemaking technique is the definition of
an oldie but a goodie.
My dining companion ordered the
Morphos, a merlot rosé from Maine.
Described on the menu as wild and tart,
we found it tickled the tongue with a
refreshing but mild dry sweetness. Readily
confessing my ignorance on matters of the
vine, I asked Scotty for a recommendation.
He suggested the Vegas Altas, a Macabeo
and cabernet rosé from Spain. It, too, was
lighter and more refreshing than what
I usually drink, leading me to conclude
the natural wine craze is not just some
gimmicky fad.
As we savored our pleasantly
intoxicating aperitifs, I again turned to
Scotty for advice. Like the space itself, the
menu is compact. With only eight dishes,
picking what to order might seem simple. I
knew we were going to try the Benjamin’s
fried chicken, which comes with mashed
potatoes and collard greens. I also planned
on ordering at least a half-dozen oysters,
but I was torn when it came to selecting
our third dish. The shrimp cocktail and
cornbread waffle both looked inviting,
but so did the vegetable Crudo and beef
tartare.
Scotty pointed me to the Yellowfin tuna
sashimi, which I ordered as an appetizer.
When it arrived soon thereafter, I knew
our waiter had again nailed it. Thin slices
of almost neon pink fish rested beneath a
lean-to of crispy leeks, cubes of cucumber,
crushed peanuts, and a few fresh greens.
Beside it was an arty smear of jalapeno
ginger aioli sprinkled with what I believe
were toasted sesame seeds. The crispy
leek straws added a satisfying crunch and
complex flavor to the tender, cool fish. We
quickly scraped the plate clean as omega-3
fatty acids flooded my brain, or maybe it
was just wine. Whatever the case, I liked it.
It was not long before our next oceanic
delight arrived. The half-dozen raw
oysters were served
on a plate packed
with ice, three sauces,
a lemon slice, and
two small forks. The
oysters were large
and filled with juices,
as well as the fleshy
mollusk bodies. After
a generous spritz of
citrus, I decided to use
one sauce per oyster
since we split the six
evenly. I enjoyed both
the classic mignonette
and the hot sauce, but
the vinaigrette was my
personal favorite. I felt like I could have
eaten about 100 more of these delightful
bivalves but was glad I exercised restraint
when our bird at last arrived.
Before I even saw the fried fowl,
the dish was already winning on the
presentation. It came neatly packed in a
white metal bucket. Lifting the lid was a
little like opening presents on Christmas
morning, or so this Jewish journalist
imagined. Inside were two large pieces
of reddish-gold fried chicken, two white
containers filled with collard greens and
mashed potatoes, respectively, plus a little
side of bourbon honey.
I started with a few bites of the sides.
The potatoes were good, your classic
milk butter clouds, but the greens were
exceptional. Soft, tangy, spicy, and
savory, they were the best collard greens
I’ve ever had the pleasure of inhaling. I
thought I tasted the smokey fat flavor
of bacon but later learned from Graham
it was actually smoked pork shank.
Regardless, the greens were so good I
devoured them all before even trying the
chicken.
When I did finally get to the bird, it
didn’t disappoint. The breading was crispy,
warm, and loaded with savory flavors. A
24-hour bath in pickle brine kept the meat
inside moist. Aromatic steam wafted from
the juicy flesh as I slowly pulled it apart.
It was so good I completely spaced the
bourbon honey until I was nearly finished.
Once I finished it, I could understand
why the owners of In Good Spirits — the
company behind Benjamin’s Upstairs,
CPH, and the Gladly — were so eager to
build a menu around this delectable dish.
While both the atmosphere and food
served at the speakeasy are fancy,
Graham himself is refreshingly down to
earth. The Minnesota native attended
culinary school and got his start cooking
for a professional hockey team in his
home state. In 2008, the then 21-year-old
got fed up with the Midwest winters and
migrated to the Valley.
Graham soon found work for Gio Osso,
who we interviewed about Pizzería Virtù
in October. Not just a boss, Osso was also
a mentor. Through him, Graham met the
owners of In Good Spirits, who brought
him on when they opened CPH roughly
a decade ago. He worked his way up the
kitchen’s hierarchy over the years, though
he never forgot his first culinary teachers.
“I actually got into cooking because
of my mom and my grandma,” Graham
explained. “I would always cook with my
grandma when I would go visit her, and
then obviously I cooked with my mom all
the time.”
Graham’s mom initially freaked out when
he moved to Arizona without a job lined
up, something he enjoys teasing her about
today. It’s those early lessons in the kitchen
that helped him climb up the culinary
ladder to the very lofty perch he inhabits
today, not that he lets it get to his head.
Case in point, Graham originally wanted to
name this restaurant within a restaurant,
the Shuck and Cluck. While we prefer the
name Benjamin’s Upstairs, whatever it’s
called, Graham has us crowing for more.
Jeff Kronenfeld is an independent journalist
based out of Phoenix, Arizona. His writing has
been featured in Java Magazine, the Arts Beacon,
PHXSUX, and the Phoenix Jewish News, where he
received the Simon Rockower Award
for excellence in news reporting
from the American Jewish Press
Association. Links to his previously
published work are available at
www.jeffkronenfeld.com.
DINING OUT
ECHOMAG.COM | MARCH 2021
15

JOE EATS WORLD
By Shopify Partners/Burst
Kitchen basics from a professional chef
By Joe Morales
I
wasn’t sure how I wanted to
introduce myself, considering
this is a new monthly column. I
planned to jump in feet first and
give you some amazing recipes,
but at the same time figured it
might be best to start with the
basics.
By basics, I mean what tools
to use, what tricks are out there,
what you really need to be a
good, or better, cook.
It’s always important to use
the right tool for the job. So,
what are you cutting on? The
first discussion is going to be
about cutting boards. I know,
it doesn’t seem that would be
a likely place to start but trust
me, this is going to be just as
important as what knives you
use (next article).
Cutting boards come in
several different materials:
stone, glass, wood, and plastic.
Stone Cutting Boards
Stone cutting boards are
beautiful, heavy, and expensive.
I only use these for charcuterie
boards or large serving platters.
You can find stone boards in
a variety of forms: marble,
granite, and slate.
Why, you ask? Because stone
boards are hard surfaces. It
will take one time of chopping
vegetables before you will need
to sharpen your knife because
the stone dulled your blade.
Sure, they’re easy to clean
and sanitize, but they are hard
on knife blades, requiring more
frequent sharpening.
Glass Cutting Boards
Glass cutting boards are much
more cost-effective than stone
but are also hard on your
knives. They are tempered,
lightweight, durable, and you
can place them in dishwashers
(usually).
You will still have the same
issues with dull knives and the
ease of cleaning and sanitizing.
Wood Cutting Boards
Wood cutting boards are made
from bamboo, walnut, cherry,
maple, or a combination of
walnut, cherry, and maple. You
have to work a bit harder at
keeping them clean, but they
definitely provide less wear and
tear on your knives. Wooden
boards are prone to knife cuts
and dents but are forgiving.
Unlike marble or glass cutting
boards, you cannot place
wood cutting boards in the
dishwasher. It should go without
saying that you cannot put them
in the oven to dry, either. Trust
me; it’s been done, with no
positive results.
The easiest way to clean the
cutting board is to use soap
and water. To rid the board of
smells and stains, use a lemon
cut in half with some kosher salt
and rub it on the surface of the
wood, then rinse. After washing,
towel-dry the excess water and
set the board standing up or on
an angle to dry thoroughly.
Every once in a while, it is
necessary to oil the board, so it
isn’t stripped of its natural oils
and prolongs its life. Make sure
you use food-grade mineral oil
or creams.
It’s more work, but it will
save you money on knife
replacement in the long run.
Plastic Cutting Boards
You can find plastic cutting
boards in just about every
restaurant kitchen around the
world. Why? Because they are
easy to use, clean, and store.
All they have to do is run them
through the industrial sprayer
and dishwasher, where they get
cleaned and sanitized in one
shot.
Cutting boards made of
plastic are prone to knife
cuts just like wood but last
quite a bit longer. They come
in several different types of
plastic, too. You can purchase
the thin, foldable “boards,” or
you can go with a inch to inch
thick plastic. You would think
that all plastic is created equal,
but it isn’t. There are harder
plastic boards, and there are
softer plastic ones. It’s all
about your preference, but I
16 MARCH 2021 | ECHOMAG.COM

By Bonnie Kittle/Unsplash
tend to lean toward the softer
plastic ones.
The best part, you can rinse
them off and toss them in the
dishwasher and run them with
the rest of your dishes.
My Recommendation
As a professional chef, I use and
recommend wooden and plastic
cutting boards. I have both at
home, and they get equal use ...
well, almost. I tend to favor the
wood cutting board — just my
personal preference.
I don’t ever use stone or glass
(for cutting); I strictly use wood
and plastic. I usually catch my
husband using just the granite
counter, and I always ask if he
is using a cutting board. Also,
don’t use your countertop as a
cutting board. This is why I don’t
allow him to use my good chef
JOE EATS WORLD
knives, which we’ll cover next
time.
I don’t recommend using
the thin folding plastic boards.
While they seem convenient,
over time, they warp and never
lay flat. They are also flimsy and
can get holes in them or stab
marks. Trust me, that happens
too.
You can find cutting boards
in all shapes and sizes. Pick the
one that fits your needs.
Professional tip: To keep
your cutting board from sliding
around while using it, wet some
paper towels or a tea towel,
wring out the excess water,
place it on the counter and put
your cutting board on top of
it. This will keep your cutting
board in place and stop the
extra sliding around, which
leads to injury.
Joe Morales is a passionate traveler, trained chef, and culinary instructor. When
he isn’t off exploring the world, you can find him at home with his husband DJ and
dog Oliver. Joe spends a lot of time in the kitchen working on his latest recipes.
You can read more about Joe’s easy to follow recipes and
how to’s by visiting his website, Joe Eats World (joeeatsworld.
com). You can also follow him on instagram at JoeEatsWorld1
and also on Facebook at JoeEatsWorld.
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ECHOMAG.COM | MARCH 2021
17

Mutual aid efforts strengthen
relationships in communities
By Jonmaesha Beltran
Every Sunday, NourishPHX,
a group of volunteers,
meet in Phoenix to
assemble and deliver food
boxes to queer families in need
of food, household supplies,
hygiene products, and diapers,
emphasizing that the service is
solidarity, not charity.
Since the beginning of the
coronavirus pandemic, mutual
aid projects, like NourishPHX,
appeared in almost every city
throughout the United States.
Volunteers utilized Google Docs,
Facebook, Instagram, Slack, and
other social media platforms to
create networks that picked up
where the government lacked.
Last year, a host of Arizonans
created mutual aid networks to
sew masks, deliver groceries and
medication, collect household
supplies, and more for
vulnerable communities. Many
mutual aid organizers focused
their efforts on combatting food
insecurity.
Almost one in three
households in Arizona
18 MARCH 2021 | ECHOMAG.COM
experienced food insecurity
since COVID-19, which is a
28 percent increase from the
year before the pandemic,
when the food insecurity rate
was 25 percent, according to
the National Food Access and
COVID Research Team.
Before the pandemic,
the Williams Institute, which
conducts research on sexual
orientation and gender identity
law and public policy, found that
one in four LGBT individuals
experience food insecurity. Boss
is the name of one of the people
we spoke with who, like others,
created networks that center
queer communities.
“I was looking for a way to
keep us connected and make
sure we were in communion
in a safe way, and we continue
to affirm that we got us and
that our family doesn’t die just
because the spaces that we
usually gather do,” Boss, 28, said.
In March, Boss, who uses ‘they’
pronouns, began networking
through Instagram with friends
in the drag community that they
usually would see at the bar
every week, asking if anyone
needed food or had a surplus
of food to donate. Boss started
collecting food donations in their
studio apartment and making
deliveries to the homes of those
who needed it.
Boss, 28, lead organizer with NourishPHX. Photo courtesy of Boss
“It was really heartening every
day to wake up and be reminded
of why that food was there — it’s
because I was connected with
the community.”
Soon later, the network
grew to more volunteers and
implemented two donation
sites at Whyld Ass and Xanadu.
NourishPHX also stopped taking
in dairy and meat products,
requesting that people donate
plant-based non-perishables.
The network doesn’t accept
plastic bags and tries to work
outside of institutions like
Amazon and Walmart.
The network serves 10 to 15
families throughout the Valley,
from healthcare workers,
independent business owners,
bakers and chefs, and out-ofwork
drag queens. It also has
six volunteers who assemble
the food boxes and three
people who deliver to houses in
Phoenix, Mesa, and Tempe.
Before each Sunday, a
volunteer picks up homemade
sourdough on Fridays, made
by a friend of Boss in Tempe.
Another volunteer picks up 70
pounds of produce on Saturday
that NourishPHX purchases for
$12 from Borderlands Produce
Rescue. The volunteers also
create prepared foods for the
families, and volunteers are
encouraged to also receive the
food as a way to eliminate the
idea of charity work.
Each family’s food box
includes a grain, protein,
veggies, fruit, and fluid. “We
might do some Gatorades, some
veggie broths, some pasta, and
sauce, with a bunch of fruit and
FEATURE
Boxes prepared by volunteers of NourishPHX. Photo courtesy of Boss

vegetables on top,” Boss said,
adding that they are currently
looking to include zines that
highlight how the community can
stay united.
Mutual aid networks have a
long, rich history and can be
traced back to early fraternal
organizations. But it wasn’t until
1902 when Peter Kropotkin, a
Russian anarchist, popularized
the term “mutual aid” in his essay
collection “Mutual Aid: A Factor
of Evolution.” Kropotkin used
examples of animals and humans
to argue that cooperation was
the most important factor of
evolution.
For communities of color,
mutual aid networks have always
been formed out of necessity and
as a response to discrimination.
During the 1700s, free Black
Americans founded societies that
aimed to provide aid to freed
slaves. In the late 19th-century,
Mexican Americans founded
Sociedades Mutualistas that
aimed to provide economic
protection, education, and
community services to members
who emigrated from Mexico and
native Texans.
When Chinese immigrants in
San Francisco were denied health
care by mainstream hospitals in
the 1800s, they built Tung Wah
Dispensary, a hospital that served
primarily Chinese residents.
When it was destroyed in the
earthquake of 1906, 15 community
organizations formed the Chinese
Hospital Association to reinvent
it as the San Francisco Chinese
Hospital.
During the height of the HIV
epidemic in the 1980s, many
queer activists organized mutual
aid networks. One network was
the AIDS Coalition to Unleash
Power, which advocated for HIV
research, treatment, and policy
change. After Hurricane Katrina
in 2005, New Orleans activists
formed the Common Ground
Clinic, which started as a first aid
station.
Through these mutual aid
projects, many have learned
that it’s okay to ask for help and
that people don’t have to go
through things independently.
NourishPHX educates people who
donate and volunteer about the
practice of mutual aid and how it
works as a service rather than a
favor.
“For all the volunteers who
come to us, we let them know
that while a one-time volunteer
is appreciated,” Boss said. “The
long-term commitment and
working these practices in your
everyday life is what really causes
transformation from the inside
out.”
Randall Denton, co-owner of
Xanadu, said he appreciates the
mutual aid efforts residents are
making in Phoenix and that it
reminds him of his experiences of
being in a punk rock band.
“Sleeping on people’s couches,
trusting that when you go to a
city that there will be a place for
you to sleep and people who will
take care of you. I feel like a lot of
this comes out of that, where you
try to pay it forward, and you pull
resources, distribute them evenly,”
he said.
Paulann Egelhoff, a
photographer, started delivering
food created each Sunday for
NourishPHX in the fall. She
delivers food to two families,
which she already knew from
other queer spaces.
“It’s interesting to be in a
position where there’s a mutual
aid group that’s not only feeding
our community but feeding the
queer families that we know,”
Egelhoff, 33, said.
Egelhoff said since her
involvement in the mutual aid
network, her relationship with
the people she delivers to has
become stronger.
“I feel better knowing that I can
help meet their needs in some
way with some group,” she said.
Some have questioned the
longevity of many of the mutual
aid projects that arose during the
pandemic. Still, many organizers
are figuring out ways to combat
food insecurity after the
pandemic.
“I’m hoping that Nourish
continues to be something that
queer Phoenix know is always
there them,” Boss said.
Jonmaesha Beltran is a California native living in Phoenix, Arizona, where
she studies journalism at the Walter Cronkite School of Journalism and
Mass Communication. She’s passionate about amplifying the voices of
marginalized communities. Her dream is to become a staff writer at a
national magazine.
FEATURE
ECHOMAG.COM | MARCH 2021
19

NOT THAT YOU ASKED
Why I Love Nancy Pelosi and AOC
By Buddy Early
Some time ago, I ignited a firestorm
on social media when I said I would
most appreciate a viable presidential
candidate under 50. Holy smokes, did
I get roasted for being ageist! How
could I possibly just write off an entire
generation of hard-working, experienced
Americans when it comes to our nation’s
highest office? I was even called part
of “the entitlement generation” by one
particularly triggered individual.
Now, while I stand by my belief that a
fresh, energetic change-maker would’ve
best served our country’s needs during
this messed up time, I’ll also accept
that dismissing a large portion of our
population in that way was a bit harsh.
Maybe it’s because I will, in fact, turn 50
this year, and I certainly don’t want to
be overlooked in favor of some young
whippersnapper who wears skinny
jeans and Converse and understands
Bitcoin – and that goes for any upcoming
presidential race or a game of dodgeball.
But back to my point: I was wrong.
Ironically, most of the folks who tried
to cancel me for my ageist views are
the same folks on the progressive left
who wanted to run Nancy Pelosi out
of her House leadership because she
is out of touch with young folks. (This
is called a segue.) Pelosi will turn 80
this month, and in her more than three
decades as a member of the U.S. House
of Representatives has been elected four
times to the position of Speaker. Prior
to taking on that role she was tapped as
20 MARCH 2021 | ECHOMAG.COM
Minority Whip and then Minority Leader
by her Democratic colleagues.
Essentially, Nancy Pelosi has earned
and has long had the respect and
appreciation of her peers. Those who
have worked with her in Congress,
people inside the beltway, and pretty
much everyone who has followed national
politics for the last few decades know her
as a leader, a tough negotiator, and an
effective policymaker. Even opponents
on the other side of the aisle who hate
everything Pelosi stands for would not
argue she hasn’t been good at her job.
We can and should expect Republicans
– particularly the current brand that has
no integrity or morals, and relies on lies
and conspiracy theories to inform its
actions – to balk at the things Pelosi tries
to accomplish. What we shouldn’t have to
deal with is members of the Democratic
Party disrespecting her accomplishments
and experience. Even more dispiriting,
I’ve noticed, is the manner in which many
members of the LGBT community have
decided Pelosi is ready for the trash heap.
It’s not just disrespectful; it’s ignorant.
Nancy Pelosi has been there for us,
time and time again. During her first
speech on the House floor in 1987, she
made it clear that fighting AIDS would
be a top priority. And she has stayed true
to that promise: challenging President
Reagan to step up in the fight; securing
AIDS funding first for her home district
then subsequently through the Ryan
White CARES Act and even across
the globe; and she was instrumental in
bringing the AIDS Memorial Quilt to
Washington and increasing awareness
when most Americans were still clueless.
On the political front, Pelosi was
among the first members of Congress
to support same-sex marriage, joining
an underwhelming minority in 1996 to
vote against the Defense of Marriage
Act. She’s supported our community on
every issue facing the country. She lent
her name to and was present at major
LGBT events, including the 1987 March on
Washington for Lesbian & Gay Rights.
Despite any missteps or occasions
where Pelosi had to be educated about
an issue, and despite any time she had to
compromise to get shit done, I will always
love Nancy Pelosi.
If I’m being perfectly honest, I might
be more closely aligned politically with
Alexandria Ocasio-Cortez than I am with
Nancy Pelosi. I’m somewhere in the middle
right now but becoming more progressive
with each passing year. AOC’s role as an
ally to the LGBT community is unmatched.
She is uncompromising, unflinching, and
you can be damned sure she will never sell
us out. Beyond her support for gay and
lesbian equality, she has been vocal about
the rights of Trans Americans more than
anyone else ever in Congress.
I am thrilled that AOC and other
young progressives like her are making
waves in Washington. While I may not
be on board (yet) with every aspect of
her agenda, nothing she is proposing
would bring harm to America. She has a
vision of an American utopia that doesn’t
deserve to be disrespected by older, more
conservative members of her own party.
And I like that she scares the shit out
of the likes of Ted Cruz, Lindsay Graham,
and Josh Hawley.
Even in scenarios where her approach
may not be incredibly wise, or she may shoot
herself in the foot with her own actions, I will
always love Alexandria Ocasio-Cortez.
Nancy Pelosi and AOC are two sides of
the same coin. They will have battles, for
sure, and some may even argue they will
ultimately “fight for the soul of the party.”
But they support us and will go to the mat
for us; the last thing they need is for us
to pit them against one another. We need
both of them.
Buddy Early grew up in Tempe
and has been involved in various
communities across the Valley since.
He is a former managing editor of
both Echo Magazine and Compete
Magazine.
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21

Leon Polk Smith —Hiding in Plain Sight
Leon Polk Smith: Hiding in Plain Sight at
Heard Museum
By Jenna Duncan. Photos courtesy of Heard Museum
The mood of the midcentury
built many memorable
masters in art and
architecture — many of whom
were reacting to American and
European recent history and
events. Family life and education
often shaped an artist’s
experience, but an even more
intrinsic, influential force came
from the environment.
Such is the case of painter
and sculptor Leon Polk Smith,
who may have emerged from
obscurity in New York City, but
was captivated by the American
Southwest from the time of his
youth in Oklahoma Territory,
throughout his later life, work
and travels. “Leon Polk Smith:
Hiding in Plain Sight” at Heard
Museum features more than 40
of the artist’s most celebrated
works.
LPS grew up on a farm near
Pocasset, Oklahoma, living with
his mother, father, and nine
brothers and sisters. He was
born in Oklahoma, a year before
the territory received statehood.
He grew up near Chickasha, the
nations of the Chickasaw, and
Chocktaw, his neighbors. Smith
claimed the Southwest as his
home, describing its influence
on his art and his spirit.
“I believe his creative self was
already shaped by this exposure
to the Tribal communities,” Baker
says. “The dances, the social
gatherings — all of which he
participated in,” Baker says the
evidence is shown in his free use
of color, which reflects palettes
of historic beadwork and ribbon
work.
Baker describes the
development of Oklahoma
state as a time of creativity,
lawlessness, and invention.
“From that space, that place,
came all sorts of innovations
and creative individuals.” For
example, Richard Adams,
Delaware Indian poet, writer,
and activist; Lewis W. Ballard,
composer and former music
director of Institute of American
Indian Arts; and Lynn Riggs, who
wrote the play “Green Grow the
Lilacs,” Baker says.
As a young man, Smith’s
mother and father faced the
foreclosure of their land and
family farm, and he was sent to
work to try to save it. Different
accounts find him traveling the
country, working as a laborer
with Roosevelt’s Civilian
Conservation Corps, and as
a railroad laborer, where he
landed a brief stint in Arizona.
The wildly colorful desert
sunsets may certainly have
played into Smith’s adopted
color palette, as did the
decorative trends of the time.
In one of his most memorable
paintings, “Stonewall,” (1956),
two red-orange orbs gently
graze one another. But these
shapes are more than just
decorative — they suggest
human energy, momentum — two
planets about to form an eclipse
or two lovers about to share a
kiss.
“To me, it’s very much a part
of the pow wow,” Baker says of
Smith’s vibrant color palette and
what informs it. “A riot of color,
in movement.”
Though some of LPS’s early
work was figurative, and he
did experiment somewhat with
Surrealism, LPS never truly
“[Leon Polk Smith] spent
the first 40 years of his life in
Oklahoma. It has a warm place
in my heart and everywhere in
his painting,” says Joe Baker,
co-curator of the exhibit
and executive director at
the Mashantucket Pequot
Museum. “I give all the credit to
Oklahoma,” Baker quotes Smith
as saying near the end of his life.
Leon Polk Smith —Hiding in Plain Sight
While he was interested in the
artist for many years prior, Baker
says co-curating this exhibit gave
him the chance to delve into
Leon Polk Smith’s early years.
22 MARCH 2021 | ECHOMAG.COM
FEATURE

veered from Hard-Edge painting,
Baker says. Geometry and
vibrant color play big roles in
Smith’s work. Many attribute Piet
Mondrian as one of his primary
influences, and he was friends
with many other working artists
of the time, including Martha
Graham and Carmen Herrera.
Baker has a special connection
to Heard Museum and Leon Polk
Smith. For one, Baker was at
Heard Museum for 12 years, first
in education and then serving
as Lloyd Kiva New Curator of
Fine Art. And another significant
connection, Baker is also from
Oklahoma and a member of the
Delaware tribe. “I know the town
he was born in,” Baker explains. “I
know how that part of Oklahoma
feels — the difficult history of
the founding of the state of
Oklahoma. It became a very
personal experience for me.”
The difficult history, as Baker
explains, covers Oklahoma’s
timeline from the 1800s into the
early 20 th century. “It’s important
to realize there were over 60
Native American communities
that were forced into what I
refer to as a holding area,” Baker
says. “They were misplaced by
expansion until something could
be decided about what to do
about the ‘Indian problem.’”
It was a time in the nation’s
history when communities of
diverse Native people, owning
different customs and different
languages, were forcibly pushed
together into the “no man’s lands.”
“What I do know that resulted
from that action was really
something quite beautiful,”
Baker says. “Tribal people
came together; there was a
lot of sharing and exchange.
They contributed formatively
to the formation of the state of
Oklahoma.”
Smith was also coming of
age in this era, embedded in
a turbulent time. Baker says
he wasn’t able to find any
documentation that the Smith
family had a tribal affiliation, but
it has been said they were of
Cherokee heritage. LPS didn’t
speak much during his life about
his Native American background,
but his lifelong partner, Robert
(Bob) Mead Jamieson, in
interviews with the Leon Polk
Foundation, did state that both
of LPS’s parents had Cherokee
ancestors.
FEATURE
Smith and Jamieson met in
a bar called Goody’s in New
York City in the early 1950s,
Baker says. Baker tried to track
down the place but could not
find a record of it. He did find
records, though. The Smith
maintained studios around
Union Square and Greenwich
from the mid-century to his
later life.
But before he got to New
York, he enrolled in some
classes at a college in Aida,
Oklahoma. Initially, LPS had
planned to become a teacher.
“Somehow, during his time on
campus, he walked by an open
studio in the department of art
and was just fascinated with
painting class,” Baker says. “He
looks in the door and somehow
this moment of recognition
that this was his calling.” LPS
convinced the professor to
let him sit in, and this initiated
his formal investigation of the
medium.
Throughout his active art life,
LPS evolved his style to include
more curves. He also began
to experiment with alternative
shapes for his canvases,
embracing the “tondo,” or round
disk shape.
“All of that was inspired
by baseballs,” Baker says.
His interpretation is that the
seams on the ball held for
LPS a connection to space
and the endless horizons,
inspiring his group of paintings,
“Constellations.”
Baker says last year, he
visited the foundation and LPS’
home studio in Long Island
before it was sold.
“What we found in a box was
his notebooks, which had never
been seen before by anyone
at the foundation. It was really
exciting because there are
really meticulous records of
the painting — where they were
exhibited, where they traveled.
Along with pencil sketches.
References to colors. All of
this provided insight into the
mind of the artist; you could
see his literal side. He was also
very fastidious with his recordkeeping
and note-taking.”
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The Heard has on view some
never-before-exhibited pages
of the notebook. Also on view
is a painting very atypical of
LPSs work, “Black Black,” Baker
says, which was produced
during his time in Santa Fe on a
fellowship.
Leon Polk Smith died in 1996
at age 90. He was active in
painting for more than 70 years.
“Hiding in Plain Sight” is on view
at Heard Museum through May
31. For more information, visit
heard.org.
Jenna Duncan is writer, community college instructor and artist based in Phoenix,
Arizona. She leads the training program for journalism at Glendale Community
College. Her video art and documentaries have screened in Phoenix, NYC,
and Berlin. Jenna holds a bachelor’s degree in journalism from University
of Arizona, an MFA in Creative Writing from Goddard College in
Vermont, and a Masters in Media Studies from The New School.
Jenna is a freelance reporter and editor for a few local magazines and
co-hosts a biweekly pop culture podcast with fellow Phoenix writer,
Jared Duran, called HootNReview.
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23
Leon Polk Smith —Hiding in Plain Sight

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