Images Arizona January 2019 by Images Arizona Magazine Carefee/Cave Creek Edition

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Upcoming Concerts Special EFX All-Stars January 5 MusicaNova Orchestra: The Mystical Muse—Cycles of Inspiration and Hope January 6 Joey Alexander January 10 Alison Brown January 17 Dakh Daughters January 21 Johnny A. “Just Me . . . and My Guitars” January 27 Lizz Wright January 31 And many more!

BOOKER T. JONES Sat., January 19 | 7:30 p.m. | $48.50–$53.50 Sun., January 20 | 7 p.m. | $48.50–$53.50 The father of modern soul and arguably the most famous Hammond B3 player in history “Booker T. Jones is one of the legends of soul music.” —The New Yorker

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Since the early days of The Cave Creek Coffee Company, Dave Anderson has been poviding the local community with fresh roasted organic coffee for over 20 years. Stop by and visit The Roastery and pick up a bag. (First bag is free.) 7003 E. Cave Creek Road www.roc2.coffee | 480 330 0504 CAVE CREEK, AZ

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INFLUENCE AND INSPIRATION Writer Shannon Severson Photographs Courtesy of Western Spirit: Scottsaleâ&#x20AC;&#x2122;s Museum of the West

16 12

COMMUNITY EVENTS Writer Amanda Christmann

TIMELESS TONTO 25 YEARS Writer Amanda Christmann Photography by Bryan Black

SCENES FROM THE MOTHER ROAD

Writer Amanda Christmann Photography by Terrence Moore

INTO THE QUIET Writer Amanda Christmann Photography by Bryan Black

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WINTER HARVEST SALAD Writer and Photographer Kyndra Kelly

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PUBLISHER Shelly Spence

MANAGING EDITOR Amanda Christmann

GRAPHIC DESIGNER Meaghan Mitchell

CONTRIBUTING WRITERS Joseph Airdo Amanda Christmann Sue Kern-Fleischer Kyndra Kelly Shoshana Leon Shannon Severson Fadi Sitto

This year marks my 20th year of publishing Images Arizona magazine. I say that with wide eyes a sense of incredulity. As 18th century poet Alexander Pope said, “swift fly the years …”—and how right he was! At times, the days have been long and hard, but the weeks and the years have passed in a beautiful blur. Looking back, I am nothing short of amazed all that our Images Arizona family has been able to accomplish.

PHOTOGRAPHERS Scott Baxter Bryan Black Kyndra Kelly Loralei Lazurek

ADVERTISING SALES Tatum Williams 480-280-9490 tatum@imagesaz.com

Images Arizona P.O. Box 1416 Carefree, AZ. 85377 623-341-8221 imagesarizona.com Submission of news for community section should be in to shelly@imagesaz.com by the 5th of the month prior to publication. Images Arizona is published by ImagesAZ Inc. Copyright © 2019 by ImagesAZ, Inc. All rights reserved. Reproduction, in whole or part, without permission is prohibited. The publisher is not responsible for the return of unsolicited material.

Local First A R I Z O NA

In 1999, I purchased an eight-page newsletter with a circulation of 3,000 households in Anthem with the idea of creating the kind of images and content that I wanted to read. I wanted to lift up the community and share stories that unite us. Through the years, thanks to our wonderful and talented team of writers, photographers and graphic designers, we’ve managed to do just that. In our communities, we are so fortunate to have so many people who are making positive impacts on the lives of others. Whether they are championing causes, creating incredible art, sharing their musical gifts, or using their talents to help or bring joy to others. Every month, I find myself giddy with anticipation, knowing these stories are on their way to the mailboxes of 67,000 homes. As we begin this milestone year, I have nothing short of deep pride. I’m proud of my family for riding along with me on this sometimes difficult but rewarding journey. I’m proud of the writers, photographers, designers and other behind-the-scenes people who have made it all happen. And I’m proud of the growing community that has embraced my dream by welcoming Images Arizona into their hearts and homes year after year. Cheers to all of us! Shelly Spence Publisher, Images Arizona magazine shelly@imagesaz.com 623-341-8221

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S SA AN ND DE ER RS SO ON N L L II N NC CO OL LN N

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G R A C E

R E N E E

G A L L E R Y ’ S

F E B R U A R Y

E V E N T

FEATURING

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Charles M. Russell, Lady Buckeroo, c. 1920–1925 watercolor, pen and ink on paper; Montana Historical Society, Mackay Collection, Helena, Montana.

Writer Shannon Severson Photographs Courtesy of Western Spirit: Scottsale’s Museum of the West

Known as the “Father of Western Art,” Charles Marion Russell is primarily known for his powerfully detailed depictions of men in the West. Cowboys atop furiously bucking broncos, wranglers driving cattle over the rugged mountain terrain of Montana, strong Native American chiefs leading their men into battle, tribes skillfully tracking and hunting bison and the many adventures of Lewis and Clark all found their way into a visual narrative that largely shaped the ideas that we as Americans, and those in other countries, still hold today about the nature and character of the Old West.

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But peek through the haze of dust and gunfire and you’ll find that Russell also depicted the powerful role that women played, not only in the landscape and culture of the West, but also in his own life and career. “Charles M. Russell: The Women in His Life and Art” at Western Spirit: Scottsdale’s Museum of the West (SMoW) through April 14, 2019 is a collection of 60 works in oil, watercolor, pen and ink, and bronze, along with a number of physical artifacts that span Russell’s career from 1890-1926. The works predominantly feature female figures and allow the audience an opportunity to view his celebrated artwork, life and career through a new, contemporary lens. A series of educational and entertaining programming is tied to the exhibition, including scholarly lectures, a film series and even a performance by historical enactor, educator and storyteller, Mary Jane Bradbury. This exhibit goes beyond “cowboys and Indians” and gives us a peek into how Russell saw and appreciated the women around him. “The different perspectives of women and their roles in the West haven’t been very prominent,” says SMoW Assistant Museum Director of Collections, Exhibitions and Research, Dr. Tricia Loscher. “Russell’s work is seen as very masculinized with stories about the male and the American West. With this show, we see his sensitivities and all of his portrayals of women—not only how he portrayed them, but how they inspired him and really promoted his career.” Even audiences who are new to Russell’s work will find much that is familiar. Hollywood borrowed heavily from his depictions. Everything from set design to story narratives were clearly lifted from the mind of this artist who was the consummate Westerner, cowboy, writer, conservationist, philosopher, historian, advocate of the Northern Plains Indians and the list goes on. He left behind both a visual and written account of his remarkable life and times. As a young boy in St. Louis, Missouri, Russell’s cowboy dreams were kindled at the knee of his grandmother, Lucy Bent Russell, who regaled him with stories of the West and the adventures of her famous fur trader

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Charles M. Russell, Keeoma, 1898, oil on canvas; Montana Historical Society, Mackay Collection, Helena, Montana.

brothers who opened the Santa Fe Trail. His artistic mother, Mary Elizabeth Mead Russell, encouraged young Charlie to read adventure novels of westward expansion and to sketch and sculpt. By the age of 16, Russell set out to live the cowboy life in Montana and never looked back. His sketches and watercolors of life on the range, both as a cowboy and during the time he spent living with the Blood Indians, a branch of the Blackfeet Nation, received little recognition early on. All that changed when, at age 32, Russell married 18-year-old Nancy Cooper. He quickly went from being a working cowboy to a working artist at the urging, and under the business-savvy management of his young wife. He lived to be just 62 years old, but he produced over 4,000 works in his short lifetime. He sold his paintings for $25 to $35; in 2005, his painting, “Piegans,” fetched $5.6 million at auction. In fact, it is the work of a woman that inspired this exhibition. The late Ginger K. Renner, a Paradise Valley resident, published “Charlie Russell and the Ladies in His Life” in 1984. “Ginger was a big influence in this museum and was a big inspiration for others to have this museum built, although she passed away before we opened in 2015,” says Loscher. “The curators, Joan Carpenter

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Troccoli and Emily Crawford Wilson, did a spin on her title for the show.” Renner’s husband, Fred, grew up in Great Falls, Montana and sometimes visited Russell’s log cabin studio there to watch the artist at work. Both were premier Russell scholars and collectors of Russell’s life history and art. They were heavily involved in creating definitive catalogs of his work and in helping to establish SMoW and the C.M. Russell Museum in Great Falls. “The Renners did a lot to forward not only Russell but Western art,” says Loscher. “In the whole scheme, they were huge promoters and philanthropists of Western art. Ginger sat on the boards of a lot of museums and was involved in various award programs promoting the West.” Notable in the collection is the portrayal of Native American women performing the duties and responsibilities of their everyday lives, from moving camp to caring for children and mourning the dead. “Keeoma” is one of a well-known series of paintings that depict a lounging Native American woman in the exotic tradition of the nineteenth and early twentieth centuries, when it was common to paint women who existed outside of restricted Victorianera norms. She rests against a teepee backrest. “It’s a Native woman inside a teepee, but he’s drawing on the larger European sensibilities of exoticizing indigenous women,” says Loscher. “He’s playing up the exoticism of a time when it was often Middle Eastern women who were depicted, but he does it with an indigenous woman in Montana.”

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Charles M. Russell, The Capture of Laura Edgar, 1894, oil on canvas; Petrie Collection, Denver, Colorado.

Nancy Russell at Bull Head Lodge, c. 1910, black and white photograph; C.M. Russell Museum, Great Falls, Montana, gift of Richard Flood II.

Charles M. Russell, Wood Nymph, c. 1898, watercolor, gouache, and graphite on paper; C. M. Russell Museum, Great Falls, Montana, purchased with funds from Friends of the Exalted Ruler and the Louise Smith Memorial Fund.

Charlie and Josephine Wright, c. 1900, black and white photograph; C.M. Russell Museum, Great Falls, Montana, gift of Richard Flood II.

EXPERIENCE Western Spirit: Scottsale’s Museum of the West Charles M. Russell: The Women in His Life and Art January 6 through April 14 | Tues.–Sat. 9:30 a.m.–5 p.m. | Sun 11 a.m.–5 p.m. | Western Spirit: Scottsdale’s Museum of the West m a Marshall g e s a r i z o n aWay, . c o mScottsdale january| $8–15; 2 019 Thursdays free for Scottsdale residents | 480-686-9539 | scottsdalemuseumwest.org 203830 iN.

Charles M. Russell, Life Saver, 1910, watercolor on paper; C.M. Russell Museum, Great Falls, Montana, gift of R.F. Jennings and M.A. Dutton.

The woman is surrounded by objects that give us a glimpse into her everyday life: a parfleche, which was a case made of rawhide, trade blankets, her beaded buckskin dress and the backrest she’s leaning against. Nearby, a real teepee backrest is displayed, as are saddles and clothing of the time. “Lady Buckeroo” is a rare depiction in watercolor, pen and ink of a woman skillfully riding a wild bronc, neck kerchief flying and hat held aloft. Strength and determination shows through in her expression. Russell loathed the industrializing forces of westward expansion, and juxtaposed contemporary white women with impoverished Native Americans who were being displaced by development and urbanization in “The Last of His Race” and “Mothers Under the Skin.” They are painful, raw and real. “Russell humanizes what different cultures were doing at the time,” says Loscher. “He really gives you a feeling of what it was like to be there, a sense of place, because he lived it. That’s why everything about his paintings—the objects, the animals, the people— are so vivid. It’s something to keep in mind that not only are the stories in all these works masterfully told, but they’re so beautifully rendered. He was able to capture everything so realistically.” Also in the collection are examples of his collaboration with family friend and librarian, Josephine Trigg. The pair wrote hundreds of letters, which Russell would adorn with incredibly detailed, and often humorously themed, watercolors depicting life in the West during those days. Trigg composed poems in beautiful calligraphy that he would then illustrate. What resulted was a beautifully rendered and very personal historical narrative. “Along with the theme of women,” says Loscher, "the groundbreaking aspect of this show is how it’s contextualizing his work in terms of the broader history of what is happening across the world at that time.” scottsdalemuseumwest.org

Charles M. Russell, The Waterhole, 1906, oil on panel; Petrie Collection, Denver, Colorado.

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COMMUNITY

2019 JANUARY

Writers Amanda Christmann

Jan. 7

MEDICINE IN YOUR BACK YARD Find out which plants can replace what’s in your medicine chest. Donations appreciated. Holland Community Center, 34250 N. 60th St., Scottsdale. 6:30–8 p.m. azfcf.org

Jan. 2

than 50 remote webcast locations

for an informative, relaxed session

worldwide to broadcast this national

about podcasts, what to do with

leading lecture and cultural arts series.

them, and what other people are

The 2019 January Series features

listening to on their own time. Free.

Grab a hot cup of joe and talk about

15 live-streamed speakers, including

RSVP. Desert Foothills Library,

cool topics. Mark Sweeney facilitates

Rachael Denhollander, Nicholas

38443 N. Schoolhouse Rd., Cave

a discussion about important global

Kristof, Mary Robinson and Jenna

Creek. 4–5 p.m. 480-488-2286;

issues. What is the best fast-forward:

Bush Hager, to name a few. Free.

desertfoothillslibrary.org

nationalism or globalism? What

25150 N. Pima Rd., Scottsdale.

problems will we face in a world of

10:30–11:30 a.m., Mon.–Fri. 480-

ten billion? $2. Holland Community

585-9448; calvin.edu

MORNING JOE WITH TED

Center, 34250 N. 60th St., Scottsdale. 9–11 a.m. 480-488-1090; azfcf.org

Jan. 3–23

JANUARY LECTURE SERIES

Jan. 4

PODCASTS: THE NEW RADIO SHOWS

Jan. 8, 9

JOI PRATER INTERIORS OPEN HOUSE Come see the latest in outdoor fabrics from Italy and learn the newest trends

Podcasts have become a large part

in fabric and tile. Bring your kitchen

of how people get information

and bath remodeling questions. Light

The award-winning January Series of

and entertainment but knowing

bites and sparkling beverages. Free.

Calvin College is coming to Pinnacle

where to start is confusing. Join

Joi Prater Interiors, 748 Easy St., Ste.

Presbyterian Church, one of more

Desert Foothills Library librarians

9, Carefree. 2–6 p.m. 602-930-8679; joipraterinteriors.com

i m a g e s a r i z o n a . c o m january 2 019

B E T T E R C L U B S . B E T T E R R E S U LT S .

Jan. 9

P X G 0 3 1 1 G E N 2 I R O N S.

NEW VIEWS ON PAQUIMÉ Dr. Paul Minnis, professor emeritus of anthropology at University of

B I L LY H O R S C H E L 5x PGA TOUR Winner 2014 FedEx Cup Champion

Oklahoma, will present a discussion about Paquimé in northwestern Chihuahua. This site was one of the major and most influential communities in the U.S. Southwest and northwest Mexico. Free. Good Shepard of the Hills Episcopal Church, 6502 E. Cave Creek Rd., Cave Creek. 7 p.m. azarchsoc. wildapricot.org/desertfoothills

S C H E D U L E YO U R F I T T I N G N O W.

Jan. 10

BUFFALO BASH Buffalo Collection will be serving Buffalo Buzz signature craft cocktails

Nobody makes golf clubs the way we do. Period.

P X G . C O M / 1.844.PLAY.PXG

N/E Corner Pinnacle Peak and Scottsdale 23587 N. Scottsdale Rd. | 480-502-0555 Monday–Saturday 9am – 6pm | Sunday 11am – 5pm

and delectable hors d’oeuvres. Come browse the furniture, art and collectibles to live music and more. Free. 7044 E. Fifth Ave., Scottsdale. 5:30–8 p.m. 480-946-3903; buffalocollection.com

Jan. 11–March 24 ARIZONA FINE ART EXPO

Enjoy a mix of contemporary and Western artists from as far away as Israel and Zimbabwe. Glass blowing classes and demonstrations in the sculpture garden. Season passes $10; seniors and military $8; children under 12 free. Free parking. 26540 N. Scottsdale Rd., Scottsdale. 10 a.m.–6 p.m. arizonafineartexpo.com

j anuary 2019

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Jan. 18–Feb. 11

MAX HAMMOND: AN HOMAGE TO FRANZ KLINE Abstract impressionist Max Hammond honors Franz Kline, one of his early influences. Artist reception Jan. 18, 6–8 p.m. Free. Bonner David Galleries, 7040 E. Main St., Scottsdale. 480941-8500; bonnerdavid.com

Jan. 12

GOLDEN REEF STAMP MILL RUN

universal. Today, these loomed and woven threads convey new meanings

Jan. 12–20

The restored Golden Reef Stamp Mill

St., Scottsdale. 4:30–6:30 p.m. 480-

BARRETT-JACKSON COLLECTOR CAR AUCTION

will once more be heard through the

488-1090; azfcf.org

If the rev of a muscle car engine or the

and cultural insights. Exhibition lasts through Jan. 25. Free. 34250 N. 60th

hills and dales of Cave Creek—just as it was 100 years ago. Free with museum admission. Cave Creek

sheen of a newly polished ’55 Ford

Jan. 13

excites you, Westworld of Scottsdale is the place to be. This annual car

Creek. 1:30 p.m. 480-488-2764;

PETROGLYPHS ARE FUN!

cavecreekmuseum.org

Learn about common symbols found

website for schedule and pricing.

on petroglyphs, why are they there,

16601 N. Pima Rd., Scottsdale. 480-

and how we care for them, then make

421-6694; barrett-jackson.com

Museum, 6140 E. Skyline Dr., Cave

Jan. 12

WEAVE WEFT WARP

show and auction has something for everyone and is sure to please. See

your own to take home! Part of Cave Creek Museum’s Second Sundays.

A reception for “Weave Weft Warp,”

Free with museum admission. Cave

an exciting exhibit showcasing the

Creek Museum, 6140 E. Skyline Dr.,

Valley’s finest fiber and woven-

Cave Creek. 2–4 p.m. 480-488-2764;

media artists, will be held at Holland

cavecreekmuseum.org

Jan. 13

COLDWELL BANKER GLOBAL LUXURY CONCERT SERIES

Community Center. The history

Enjoy the sounds of Beth Lederman

of fabric making is ancient and

on keyboards, Felix Sainz on bass and vocals, and Emerson Laffey on

i m a g e s a r i z o n a . c o m january 2 019

drums as they share the stage with

the art of organization

noted saxophonist Joseph Wytko. $35. Tohono Ballroom at El Pedregal Boulders Resort, 34505 N. Scottsdale Rd., Scottsdale. 4 p.m. 480-204-7292; coldwellbankerconcerts.eventbrite.com

Jan. 15

PLANNING FOR LIFE’S BIG EVENTS Significant life changes can throw a curveball at your financial situation. Having a plan in place for starting a family, dealing with divorce or end-of-life decisions can ease the transition and emotion surrounding challenging events. Free. 9 a.m. Carefree Council Center, 33 Easy St., Carefree. 480-488-6131; dflt.org

Jan. 15

PEACE, SIMPLICITY AND THE NATIVE AMERICAN FLUTE The sound of the Native American flute has the power to soothe and heal. Playing the flute is a wonderful means of relaxation. Learn the history of the Native American flute and enjoy meditation and prayer with

Home Ofﬁces

Garages

Entertainment Centers

Wall Units

flute music. You’ll also learn the basics of flute playing. No experience necessary. $50. RSVP. Desert Foothills Library, 38443 N. Schoolhouse Rd., Cave Creek. 2–5 p.m. 480-488-2286; desertfoothillslibrary.org

Jan. 16–19

RUSSO AND STEELE CAR AUCTION One of the largest auto auctions in the nation, the much-anticipated Russo and Steel Car Auction comes to Salt River Fields at Talking Stick Resort.

480-998-2070 www.closetfactory.com

www.facebook.com/closetfactory

Pima Rd., Scottsdale. 9 a.m.–5 p.m.

602-252-2697; russoandsteele.com

See website for admission. 7555 N.

j anuary 2019

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Jan. 24–March 31

THE LIFE AND TIMES OF DOC HOLLIDAY True West executive editor and local favorite Bob Boze Bell will launch the third edition of "The Illustrated Life And Times Of Doc Holliday" at Cattle Track Arts Compound. The exhibition will include 16 of his original gouache paintings and will be on display through March 31. Cattle Track Arts Compound, 6105 N. Cattletrack Rd., Scottsdale. cattletrack.org

Jan. 18

WWI, WWII AND NORMANDY LANDING

than 155 juried fine artisans from throughout the United States and

souvenir engraved glass with six

A TRIBUTE TO DR. MARTIN LUTHER KING JR.

Francois Gauthron, a military historian,

tastings; admission $3. 101 Easy St.,

Experience a birthday celebration

will discuss his recent book, “Colors of

Carefree. 10 a.m.–5 p.m. 480-837-

of the Episcopal martyr and chief

War, not Black and White but Nuances

5637; thunderbirdartists.com

spokesman for the Civil Rights

abroad and a selection of local and imported wine for tasting. $10 for

of Gray.” He and his wife hope to connect with others who love history and conduct research for his next

Movement, Martin Luther King

Jan. 19

Jr., with traditional gospel music repertoire, script and media.

Library, 38443 N. Schoolhouse Rd.,

ANTIQUES AND COLLECTIBLES SEMINAR

Cave Creek. 11 a.m.–12:30 p.m. 480-

Cave Creek Museum welcomes

Luther King Jr.’s life. Free-will

488-2286; desertfoothillslibrary.org

Channel 8 “Arizona Collectibles”

offering. The Episcopal Church of

certified, licensed appraiser Sean

the Nativity, 22405 N. Miller Rd.,

Morton. Learn to manage your

Scottsdale. 7 p.m. 480-307-9216;

collection, assess value and creatively

artsatnativity.org

book about the WII glider crashes in Normandy. RSVP. Free. Desert Foothills

Jan. 18–20

CAREFREE FINE ART & WINE FESTIVAL

Jan. 21

market your pieces. Admission TBD. Cave Creek Museum, 6140 E. Skyline

Thunderbird Artists’ Carefree Fine

Dr., Cave Creek. 9:30 a.m.–4:30 p.m.

Art & Wine Festival features more

480-488-2764; cavecreekmuseum.org

i m a g e s a r i z o n a . c o m january 2 019

Experience an evening filled with strong emotion as you witness the historical presentation of Martin

Jan. 23

BAD MEN, BAD TIMES & BEAUTIFUL DOLLS Writing under the nom de plume Nicolas D. Charles, Dr. Gary Lindner presents the pulp fiction era, 1900-1950s. His insights into the differences between the pulps and the slicks, the authors, and the prevalent writing styles of that era are sure to please old and young alike. Free. Sedona Public Library, 3250 White Bear Rd., Sedona. 6:30 p.m. nickverriet.com

Jan. 23

TOMMY CASTRO AND THE PAINKILLERS Musical Instrument Museum presents blazing soul-blues rocker Tommy Castro and his band. $33.50–$43.50. 4725 E. Mayo Blvd., Phoenix. 7 p.m. 480-478-6000; mim.org

Jan. 24

TRUE WESTERNER AWARD True West magazine executive editor Bob Boze Bell and publisher Ken Amorosano will present the 2019 True Westerner Award to American screenwriter, producer and television series creator John Fusco, best known for Young Guns and Young Guns II. RSVP to Ken@twmag.com by Jan. 15. Cattle Track Arts Compound, 6105 N. Cattletrack Rd., Scottsdale. 5:30–7:30 p.m. cattletrack.org

Jan. 26–Feb. 1

LIGHT AND BEAUTY Christian Artists Group, which meets regularly to support each other in their art and their Christian faith, will hold a juried exhibition titled “Light and Beauty” at Holland Gallery of Fine Art. A wine and chocolate reception will be held February 9, 4:30 to 6:30 p.m. Oil painters Lucy Dickens, Linda Budge and Joye DeGoede; gourd artist Beth Cox; acrylic painter Melanie Frey; watercolor artists Yvonne Joyner and Catherine Sickafoose; jewelry maker Patricia Kidwell Lown; metal and mosaic artist Marjorie Risk; and hot sculpture glass artist Megan Somerville-Loomis will be featured. Free. Holland Gallery of Fine Art, 34250 N. 60th St., Scottsdale. See website for hours. azfcf.org

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Jan. 28–Feb. 3

WASTE MANAGEMENT PHOENIX OPEN This year’s Greatest Show on Grass lineup includes Phil Mickelson, Rickie Fowler, Bubba Watson, Gary Woodland, Charley Hoffman and Cameron Champ. See website for ticket prices and schedule. TPC Scottsdale, 17020 N. Hayden Rd., Scottsdale. wmphoenixopen.com

Jan. 27

VALLEY CHAMBER CHORALE

stress of fulfilling daily tasks for loved ones. Includes a 110-page personal

Feb. 1

The Valley Chamber Chorale

Community Center, 34250 N. 60th

DENVER AND THE MILE HIGH ORCHESTRA

presents an eclectic repertoire,

St., Scottsdale. 3-4:30 p.m. 480-488-

It’s a red-hot horn section with

including unaccompanied works

1090; azfcf.org

jazz and big band roots; Denver

document organizer and 36-page estate planning guide. $65. Holland

of the Renaissance and selections by twentieth century American composers. Free. Desert Hills Presbyterian Church, 34605 N. Scottsdale Rd., Scottsdale. 4 p.m. deserthills.org

and the Mile High Orchestra have

Jan. 30

SOCK MONKEYS: AMERICA’S LOVE STORY

created a power funk sound that defies description. Free. Desert Hills Presbyterian Church, 34605 N. Scottsdale Rd., Scottsdale. 4 p.m. deserthills.org

Artist, award-winning photographer

Jan. 28

THE ART OF PREPARING FOR LIFE-CHANGING EVENTS

Lindner invites you to join in the fun

Learn to protect family assets, lessen decision-making burdens and ease the

and the “Sock Monkey Lady” Dee

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Feb. 9

tradition. Bring your own to show

ROLLING OUT THE RED CARPET

off! Free. Sedona Public Library, 3250

RSVP now for the 10th Annual Desert

White Bear Rd., Sedona. 6:30 p.m.

Foothills Library Gala to be held

sockmonkeylady.com

Feb. 9 at the library. Enjoy hosted

of America’s red-heel sock monkey

cocktails, a gourmet dinner and a

live and silent auction, all within the newly remodeled Desert Foothills Library. Entertainment provided by celebrated pianist Nicole Pesce and performers from the Phoenix Opera. $200/person. 38443 N. Schoolhouse Rd., Cave Creek. 480-488-2286; dcourt@dfla.org; dfla.org

SCOTTSDALE PHILHARMONIC WELCOMES INTERNATIONALLY ACCLAIMED PIANIST Internationally acclaimed Chinese pianist Qingqing Ye has been named artist-in-residence with the Scottsdale Philharmonic. After Ye’s initial performances, the orchestra received over 900 letters from the audience, requesting that he be allowed to become a permanent member of the group. He hopes to obtain U.S. citizenship and marry soon. The Scottsdale Philharmonic will kick off its free 2019 concerts Feb. 10. scottsdalephilharmonic.com

CAVE CREEK MUSEUM TAPS DEVELOPMENT DIRECTOR Anne Wallace has been named Cave Creek Museum’s new development director, in charge of building the museum’s base by procuring grants and integrating more community and business involvement into museum operations. Before joining Cave Creek Museum, Wallace was local host coordinator for the American Alliance of Museums and served in fundraising development, event management and education for Heard Museum, Phoenix Museum of History, Heritage Square Foundation, and West Valley Art Museum. Highlights of her career include successful grant writing for the Arizona Capitol Museum and Desert Caballeros Western Museum in Wickenburg. cavecreekmuseum.org j anuary 2019

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Writer Fadi Sitto Photographs Courtesy of Star Barn Planetarium

They say the best things in life are free, and one of those things is hiding in plain sight in the middle of Cave Creek. It’s not uncommon for cars to stop in the middle of a semi-paved residential road to stare at a white domed structure. This Cave Creek curiosity is the Star Barn Planetarium. It’s nothing short of a thriving testimony to the grandeur of our nighttime skies, and a labor of love for one determined, passionate man. “I’m the happy idiot that built it and runs it,” founder Ronald Walker jokingly says. One of only two planetariums in the state, the Star Barn replicates Arizona’s night sky with stunning

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exactness. The projector apparatus in the middle of the domed Star Barn is the star of the show, reproducing about 6,000 individual stars. The Star Barn projector was originally assembled and installed in 1976 at Scobee Planetarium in San Antonio, Texas. In 2008, the planetarium was transitioning to the video projection model. Ronald got word about the unwanted machine from a friend and went to Texas to check it out. The old Scobee Minolta projector went to auction and was accepting bids. Ronald knew that he could never afford a contraption that originally cost the taxpayers of Texas half a million dollars. Still, Ronald’s friend kept pushing him to bid on it. “I said there’s no way, but fine. I bid a penny on the dollar, and come Monday morning, I got a call that I won the bid,” Ronald explains. He was giddy, dumbfounded and in shock, but there was a catch. He was informed that he had two weeks to come pick up his new pride and joy. He drove a truck to San Antonio, took it apart and brought the projector to its new home in Arizona. The last show the projector gave at the Scobee Planetarium was June 13, 2008. The first show the projector gave here at the Star Barn was June 13, 2014. Ronald calls it a beautiful coincidence. The projector is a museum-grade optical mechanical projection machine. It reproduces the night sky anywhere on Earth, any time 25,000 years into the past or future. In 5,000 planetarium years, nothing will be off by more than one degree. That’s how accurate the reproduction and placement of the night sky is with this projector. If you build it, they will come. He finally got the

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building permit for the planetarium structure and started constructing the dome in December 2011. It took 169 bags of cement for the foundation, and six coats of mud to even and smooth the dome out. With the unwavering help of friends and neighbors, the planetarium itself took about two years to build. At 72, Ronald is refreshingly still young at heart and mind. The dedication, motivation and physical energy needed to take on do-it-yourself planetarium construction from scratch are nothing short of extraordinary. Ronald Walker has one goal; he wants to share this planetarium to the world. “When people say, ‘Why did you this?’ I still wonder. It’s just something I had to do,” he says. From the original 12 people who showed up on that first day he decided to put on a star show, the Star Barn has grown to be a unique Cave Creek experience that awes all ages throughout the calendar year. The planetarium’s events are all narrated by Ronald himself. He doesn’t just show you the stars; he explains the where, why and how. His curated shows are light hearted and informative, and you’ll come out of the barn smarter than when you walked in. The entire presentation and atmosphere is cathartic. The production is also accompanied by a soundscape of music intertwined with the lights. It’s calming and peaceful—not to mention Ronald is pretty funny as well.

“

When people say, ‘Why did you this?’ I still wonder. It’s just something I had to do. Ronald Walker

The planetarium typically holds 25-35 people and is routinely sold out. Perfectly tilted chairs and sofas strategically placed inside the dome make the experience comfortable. “A planetarium is better than the allsky movie style videos shown today. It’s more accurate, and if you walk outside you can see the exact same thing you’re seeing when inside the Star Barn, at the exact same time,” Ronald explains. This is the ultimate organic, word-ofmouth gathering. You’ll feel a human connection with the night sky and the other Star Barn visitors. It’s an experience that I won’t soon forget. This is Ronald Walker’s calling. The mission of the Star Barn Planetarium is to open people’s eyes. Mission accomplished.

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As a steady stream of people comes through the rustic wooden door at Tonto Bar & Grill, John Malcolm weaves his way through the bar. He stops at several tables, greeting regulars and out-of-town visitors—some with handshakes and hugs—and asks with genuine interest how their drinks, food and family are. Quick with a warm smile, Malcolm rarely comes to a full stop, appearing where he is needed and disappearing just as quickly so that guests never sense disruption to their relaxing dining experience. It’s a skill Malcolm has honed in a lifetime of restaurant work, and one that, after a quarter of a century in Cave Creek, most business owners would be happy to retire. For Malcolm, coming to work each day is about gratitude—a gift from a community that has more than welcomed him and his dream. “We’re starting our 25th year,” said Malcolm. “To me, it’s just about thanking the community for their loyalty. They’re the ones who have curated the longevity we’ve had.” In an era in which restaurants come and go faster than the flash of an Arizona monsoon, Tonto Bar & Grill has earned its status as a mainstay in the North Valley. With its fantastic food, beautiful views of Rancho Mañana and the rugged mountains beyond, and nod to Arizona’s Native American origins, it’s a destination.

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Writer Amanda Christmann Photography by Bryan Black j anuary 2019

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Air Conditioning • Electrical • Plumbing • Water Treatment None of it is by accident—except for maybe the very beginning.

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About 35 years ago, Malcolm and Eric Flatt were working together at Pebble Beach Monterey, Flatt as a sous chef and Malcolm as a food and beverage manager. The two became best friends and, before wives and children came into the picture, roommates.

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The two came to Cave Creek for a golf outing at Rancho Mañana with Flatt’s dad, Dave, and his friend, Ron Allred, who had just purchased the resort. During the game, Ron looked at Eric and said, “You know, we’re looking for a guy to take over the restaurant.” Flatt and Malcolm, who had worked at restaurants on some of California’s most exclusive real estate, must have looked at the restaurant and shaken their heads. It was rough. The kitchen was tiny and the rest of the building was little more than a snack shack for golfers. There are moments in each of our lives that define the rest of what will come next. Had the two returned to California and left the desert behind, things may very well have been different, not only for them, but for hundreds of people. As it happened, though, the two returned a week later and decided to dive in, hoping that the community would receive them and their modern twist to ranch house cuisine—and they did. In many ways, Tonto Bar & Grill has become just as much part of the community as the community has become part of it. Staff members, many of whom have been at Tonto since the early years, would certainly have led different lives. Through the years, too, countless proposals, weddings, holidays and other special occasions have been celebrated in the dining rooms and on the beautiful patios.

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Kindergarten Roundup

TUESDAY, JANUARY 17, 2019 5:00 – 6:30 PM

Visit our five A+ elementary schools – each one with its own Signature Curriculum and Point of Pride.

Black Mountain Elementary School PERFORMING ARTS • SPANISH PRE-K-6

Desert Sun Academy

FRENCH IMMERSION • SPANISH PRE-K-6 • STEAM

Desert Willow Elementary School

SPANISH IMMERSION • TECHNOLOGY • INTERNATIONAL SCHOOL

Horseshoe Trails Elementary School CHINESE IMMERSION • HORSEMANSHIP

Lone Mountain Elementary School STEM PROGRAM • CHINESE PRE-K-6

480.575.2000

www.CCUSD93.org

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A UNIQUE HISTORY More than a little part of Tonto Bar & Grill’s appeal is that its history began long before there was a restaurant, and long before the beautifully manicured golf course at Rancho Mañana existed. The ground that Tonto Bar & Grill sits on was once home to Native Americans, who hunted and gathered near a natural spring that flowed on the property. As ranchers and miners began to arrive in the area, skirmishes with Tonto Apaches in the area became more common. The U.S. Cavalry saw the need to increase their presence in central Arizona, and they soon made the natural spring, which would become Howard Ranch, a regular stop as they traveled en route from Camp McDowell in Phoenix to Fort Whipple in Prescott. After a series of bloody clashes between Apaches and the Cavalry, led by General George Crook, the Cavalry declared victory, paving the way for growth in Cave Creek and many other Arizona outposts. Forward to the 1940s. After World War II, Americans developed a taste for the romanticized notion of “cowboys and Indians.” Dude ranches sprang up throughout the West, and as quickly as roadways could be paved, tourists flooded to the desert for a “real” cowboy experience. Chicagoans China and Ted Loring and their partner Romaine “Romy” Lowdermilk, who was a cowboy musician and author, took over Howard Ranch in the mid-1940s. They renamed it the Rancho Mañana Dude Ranch, and soon it became the largest and most notable dude ranch in the state. The Lorings lived and worked at the ranch, raising their children while hosting stars and other who’s who of the area. Though kitchens and dining spaces have been added on, what was once their home is now the foundation for Tonto Bar & Grill.

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The charm of the Lorings' era remains, kept alive in part through photographs in the Grill Room, which was the original lounge area. Loring family members are captured in black and white riding horseback near what is now The Boulders Resort, as well as men in cowboy hats enjoying a campfire. The swimming pool that was built around the historic natural spring is also memorialized in a frame. Malcolm and Flatt seamlessly recreated the roughhewn wooden ceiling beams and saltillo tiles of the original restaurant. It’s easy to imagine ranch guests clustered around the fireplace as they listened to Lowdermilk strum his guitar and sing stories of lore. The ranch changed hands a few times before becoming a golf resort. Allred, who has also invested in the historic Hermosa Inn and Tubac Golf Resort, purchased it in 1994, not long before proposing the idea of expanding the restaurant to Flatt and Malcolm.

MAINTAINING TRADITION When Malcolm and Flatt set out to create a restaurant in Cave Creek, they wanted to do things a little differently. Flatt, who is a big fan of history, wanted to honor indigenous traditions by incorporating Native American methods of harvesting the bounty of the desert into its food. Several times a year, date palms, prickly pear, jojoba seeds, local pinion nuts, mesquite beans and creosote are harvested from the desert and used in many of the delicious, seasonal menu items. The chefs butcher their own high-quality meats, and every sauce, dessert and side dish is made from scratch with delicious layers of flavors that can’t be found elsewhere. Everything possible comes from local farmers, who also benefit from the restaurant’s success.

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“We found that, with mindfulness and care for the fragile ecology, the desert has a tremendous amount

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to give,” said Malcolm. “Like the Native Americans who occupied these lands long before we were here, preserving the land and the history here became central to our purpose.” Cocktails at Tonto are unique as well. The Tontorita is the bar’s best seller, so much so that Tonto Bar & Grill has become the biggest buyer of Sauza Hornitos in Arizona. Tonto doesn’t always stick to the expected in a Southwestinspired menu. Chef Kurtis Purdy puts a delicious twist on regional favorites like sand dabs, onion-crusted walleye, barbecue salmon, and German pork schnitzel—some of the restaurant’s most in-demand options. “We constantly listen to our guests,” said Malcolm. “I think that, where other restaurants fail is that they go in with concepts or ideas that don’t necessarily keep the guest’s preferences in mind. “We’ve tried to evolve into what the community is asking for. To me, that four- to five-month spring peak period is great, but it’s the other eight months of the year of taking care of the local community that makes our business whole.”

A LASTING LEGACY On any given day, hundreds of customers, many of whom have come to Tonto Bar & Grill regularly for decades, sit down in a dining room that feels much like it would have a century ago and order a meal that they know will be outstanding. Now on their twenty-fifth year, things have only gotten better for Malcolm and Flatt. Flatt now lives with his wife and son in Bend, Oregon. To this day, he and his best friend Malcolm have yet to have an argument—an accomplishment that makes both men proud. The concept, quality and community remain.

EXPERIENCE Tonto Bar & Grill

5736 E. Rancho Mañana Blvd., Cave Creek | 11 a.m.–9 p.m. daily | Happy Hour 3–6 p.m. | Sunday Brunch 10 a.m.–2 p.m. i m a g e s a r i z|otontobarandgrill.com n a . c o m january 2 019 42480-488-0698

Tonto continues to contribute to the community, as it always has, through local charities and events, but it’s what the community contributes to the restaurant that means the most to Malcolm. For him, it’s what makes every day worthwhile.

“When Eric and I brought our families to the tiny town of Cave Creek in 1994,” he said, “we couldn’t have known how much a part of the community we would become—and we didn’t know how much the community would become a part of us.” tontobarandgrill.com j anuary 2019

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Writer Amanda Christmann Photography by Terrence Moore

If ever there were symbols of the American spirit, it would be the diners, service stations and stops along Historic Route 66. Now long past its heyday, the Mother Road’s place in history, and shadows and memories of the midcentury American soul remain. The first road signs for the 2,448-mile route, which ran from Chicago, Illinois to Santa Monica, California, through Arizona, New Mexico, Texas, Oklahoma, Kansas and Missouri along the way, were erected in the dirt in 1927.

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It was a year of innovation: Lindbergh piloted the Spirit of St. Louis through the first trans-Atlantic flight that same year, and “The Jazz Singer” opened in theaters, marking the end of silent film. The Holland Tunnel opened beneath the Hudson River, and the first trans-Atlantic telephone call was placed between New York and London. With so much growth going on, the creation of the U.S. Highway System in 1926 seemed only logical. After all, soldiers had returned from World War I and the economy

Williams, Arizona

was booming. The nation was in the peaceful 18-year interwar period, and there seemed no better time to create the grid work for a nation. Here in Arizona, Route 66 traversed 401 miles, putting towns like Holbrook, Winslow, Two Guns, Williams, Seligman, Peach Springs and Oatman on the map. Flagstaff was the largest town on the route, and it, too, benefited from the increase in traffic. By the 1950s, baby boomer parents found a different kind of dream in Route 66: vacations. Since the road connected

The most surprising thing to me that happened while compiling 'Rte. 66: The Mother Road' was that so many of my old friends got behind the project and truly made it happen. After trying to piece a book together for some 40 years, I had reached a point that I never expected it to happen. It has been a wonderful experience, and I must thank every single person who has helped make this project a reality. Terrence Moore, Photographer j anuary 2019

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Parks, Arizona | 1999

a large swath of the Midwest to the allure of Los Angeles, it soon became well-traveled by Ford Fairlanes, Chevy Thunderbirds, and a host of other powder blue and cherry red cars of the era. The Painted Desert, the Petrified Forest, Grand Canyon and Meteor Crater became major tourist attractions, and themed motels, ice cream shops, “Indian” outposts and roadside animal attractions sprang up along the way. Arizona’s cowboys, Native Americans, saguaros and lore of the West became bawdy icons.

Today, though the Mother Road has been replaced in large part by interstate highways, many of the neon signs, mom

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and pop motels, including the “sleep in a tee pee” Wigwam Village in Holbrook, and eclectic diners remain. Noted photographer Terrence Moore has spent much of his life documenting the Southwest. His photographs of sights along America’s most well-known road form the imagery for his and author Michael Wallis’s “Rte. 66: The Mother Road.” We are excited to share a few of these photographs in Images Arizona magazine. How many of these Arizona symbols of bygone days can you identify?

ROUTE 66 FACTS: DID YOU KNOW … U.S. Route 66 became the first completely paved highway in 1938. The steep, hairpin turns near Oatman made up the most imposing section of the route. Travelers often hired locals, who were eager to earn a buck, to help them navigate the road through the Black Mountains. John Steinbeck is credited for creating the moniker “The Mother Road,” a term he used in his novel, “The Grapes of Wrath,” in 1939. The name has endured for decades. During the 1960s, throngs of disenchanted young people, lured by hippie counterculture of the West, packed into microbuses or hitched rides along Route 66. They, too, influenced the people and towns along the way, many of which became havens for artists and dreamers. Construction I-40 spelled the end of an era for Route 66, and for Arizona. When the final stretch of highway near Williams was decommissioned in 1984, the American Association of State Highway and Transportation Officials decertified it—effectively making it cease to exist in all but remnants and history books. In 1999, former President Bill Clinton signed the National Route 66 Preservation Bill, providing $10 million in grants to restore and maintain the historic features along Route 66.

Ashfork, Arizona | 1976

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Jackrabitt, Arizona | 1978

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Flagstaff, Arizona | 2012

ABOUT THE PHOTOGRAPHER Terrence Moore is originally from northern Minnesota. As a child, he moved with his family to northern California where he fell in love with the desert. Years later, he made his way to Arizona—a place he has called home for much of the past 45 years. Having grown up along Route 66, there is something about the Mother Road that has always resonated with Moore. “I went to high school on it and lived on it or right off it many times,” he says. “It just is a part of who I am. If a road can feel like home, Highway 66 represents that for me.” “Rte. 66: The Mother Road” is one of several books Moore has illustrated with his photography. He has an eye for the large and small details that bring history to life. From neon signs to kitschy dinosaurs, he has captured a disappearing era worthy of preservation. “I’m happy to have my new book to share some of my experiences and places that grabbed my eye over the past 50 years,” he says. “It is a National Historic Highway and will soon become a National Historic Trail. It has charisma and will undoubtedly live on and on.” schaffnerpress.com

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Air Conditioning • Electrical • Plumbing • Water Treatment j anuary 2019

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THE MAKING OF THE MOTHER ROAD

Winslow, Arizona | 1976

Route 66 was billed as part of a growing system of highways carrying people and cargo westward, connecting a growing network of towns to goods and services, but the route became something more before much of it was paved.

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When the Great Depression struck in 1929, waves of weary families from the Dust Bowl states of Oklahoma, Arkansas, Kansas and Texas made their way along the route as they headed for new lives in California. Ironically, their hard luck created opportunity for businesses along the route. Route 66 was responsible for a healthy share for the boon in mom and pop businesses. Family-owned restaurants, filling stations and motor courts popped up along the road. Because of the highwayâ&#x20AC;&#x2122;s relatively flat topography, it also became a popular truck route. Though times were difficult everywhere, Route 66 ushered business to and from small towns across the West, keeping food on the table for more than a few.

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Writer Shoshana Leon Photography Courtesy of Omni Scottsdale Resort and Spa at Montelucia

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Omni Scottsdale Resort and Spa at Montelucia is known for its spectacular views of Camelback Mountain and its Spanish inspiration. From restaurants to private dining and special events, the Montelucia’s Desert to Dish program highlights Arizona’s local ingredients and farmfresh offerings prepared with international flair. The Montelucia, which recently celebrated its 10year anniversary, features nearly 300 guest rooms, the Moroccan-themed Joya Spa and Salon, three pools, over 100,000 square feet of meeting and event space, and a variety of dining options. The Montelucia’s food and beverage program is driven by Executive Chef Marcos Seville, an Arizona native. Prior to joining the Montelucia in 2013 as executive sous chef, he worked in kitchens at the Peabody in Orlando, Renaissance Glendale Hotel and Spa and Arizona Biltmore. “We believe our guests enjoy the combination of our unique flavors paired with the picturesque landscape,” said Chef Seville. “From the Spanish architecture to sweeping views of Camelback Mountain, Omni provides a true escape for our guests, and our culinary offerings really push the envelope in terms of experience.”

PRADO The Montelucia offers several dining options. The resort’s Prado restaurant offers Spanish cuisine featuring local ingredients in a communal atmosphere with indoor and outdoor seating, two private dining rooms and a display kitchen. Prado serves breakfast, lunch and dinner, and offers special menus for holiday dining throughout the year. In 2018, Chef Belal Rajab was named Chef de Cuisine at Prado. Originally from Iraq, his passion for cooking comes from his mother. His culinary career began in Tucson as a butcher before he joined the Omni Tucson in 2008. He came to the Omni Montelucia five years ago to serve as sous banquet chef and sous chef at Prado. Prado offers Spanish favorites including a few varieties of paella, as well as salads, steaks, seafood and pasta. Prado’s tapas menu includes albondigas (meatballs),

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ceviche and grilled octopus. Guests also have the option to build a charcuterie board featuring Spanish meats and cheeses. On Saturdays from 5 to 10 p.m., Prado’s guests can enjoy a tapas tour and get a taste of every tapas item on the menu. Every Sunday evening from 5:30 to 10 p.m., groups can enjoy a four-course, family-style tapas meal. Prado’s Mbar offers happy hour specials Sunday through Thursday from 4 to 6 p.m. On Wednesdays, select bottles of wine are half price with the purchase of two or more tapas. There is live music on Thursday, Friday and Saturday evenings, as well as Sunday mornings. Mbar’s signature cocktails include the Montelucia Caipirinha inspired by Brazil’s national cocktail; the Omni Negroni with gin, vermouth and Campari; and the Camelback Cooler featuring jalapeno-infused tequila and cilantro.

CENTRO TAQUERIA The Montelucia’s Centro Taqueria restaurant highlights authentic Mexican cuisine with ingredients supplied by farms across Arizona. Chef de Cuisine Laura Gonzalez began her career at the Montelucia in 2014 as a cook at Prado. The menu at Taqueria Centro is inspired by her upbringing in San Luis, Mexico, a small town on the border of Arizona and Mexico. A graduate of the Scottsdale Culinary Institute, she previously worked at the Herb Box. In 2018 she won Food Network’s popular “Chopped” cooking competition show. Mexican favorites on the menu include street corn, chicken mole and a variety of tacos, from fish and carne asada to squash blossom and chicken tinga. The beverage menu includes sangria, craft beer, wine, margaritas and cocktails. Centro Taqueria hosts Taco Tuesday and Thirsty Margarita Thursday during which guests can get a complimentary salsa trio with the purchase of two margaritas. On Sundays, guests can customize their own bloody Mary and enjoy selections from Centro Taqueria’s game day menu featuring Maker’s Mark barbecue pork ribs, Maker’s Mark barbecue chicken

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flatbread and Buffalo Effen Vodka cauliflower fritters.

CHEF’S KITCHEN In addition to its restaurants, the Montelucia has an indoor/outdoor chef’s kitchen featuring high-end appliances and a 2,500-square-foot herb garden. The Montelucia hosts private events and monthly theme dinners in this unique space. The monthly theme dinners give guests the opportunity to see chefs working in the kitchen and enjoy a multi-course meal highlighting local ingredients paired with wine or spirits. 2019’s monthly chef’s kitchen dinner series starts January 22 with courses paired with luxury champagnes. The February 21 dinner will feature wines from Frog’s Leap Vineyards, and the March 20 dinner will celebrate the flavors of spring.

ADDITIONAL DINING OPTIONS The Montelucia’s other dining options include the casual Crave Café market and the Joya Terrace featuring healthy options for guests at the resort’s award-winning spa. The resort also offers several indoor and outdoor spaces and culinary experiences for private dining and special events. “2019 is gearing up to be an exciting year for the Omni culinary team,” said Chef Seville. “We’re bringing several new enhancements to the Prado menu with refreshed flavors and bold dishes. Our chef’s kitchen dinners continue to grow, and 2019 will be sure to inspire diners with more influence from local farms along with bringing in internationally recognized spirit and wine vendors. “We’re excited to bring our guests energized dishes that will elicit exciting conversations and bring each and every guest back wanting to experience more of the local flavor.” omnihotels.com

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Joshua Dopp has his head in the clouds. The glass artist’s body of work illustrates his interest in ethereal things. Among his collections are faceted forms, arches, domes, spikes, squiggles and of course, clouds. He is especially fascinated with the mystery of the shapes that float above our heads. “There’s a transformative power that they hold on us,” says Dopp, noting his hope of one day being commissioned to turn clouds into public artwork. “One of the first types of clouds that I got into making was a repurposing of an old material. I would take transistor diodes—electronic components—and solder them into non-functioning sculptures. It was referencing a bunch of different things using technology and kind of rendering it more as an art form.”

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Writer Joseph J. Airdo Photography Courtesy of Joshua Dopp

Dopp discovered glassblowing in 1987 while studying fine art at Santa Barbara Community College. In between drawing classes, he would watch glassblowers through windows down the courtyard. He knew right then and there that he had to try it out for himself—and he was immediately hooked.

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“The thing about glassblowing is that it's a very immediate medium,” Dopp explains. “It requires your full attention when you're working so you're completely engrossed in what you're doing and that really appealed to me. I needed that focus and I guess I still do. It's very dynamic and it uses all of your body and mind. I love that about it.” Glassblowing is unique in that it not just engaging for the artist, but also quite fascinating to watch. It is not unusual for a crowd of about 300 people to gather around Dopp as he is working at Highway Hotshop, a mobile glass studio with which he travels to festivals, schools and other venues. Dopp is currently using his mobile glass studio to teach a seven-week glass-working class to juniors at Desert Marigold High School. He has been offering the class to students for the past three years. Highway Hotshop will briefly drop anchor Jan. 19 at Mesa Arts Center, where Dopp will demonstrate glassblowing for attendees of spark! After Dark, a free monthly event that features live art, music, food and more. Dopp also teaches a beginning glassblowing class Wednesday nights at Mesa Arts Center, during which students get hands-on experience making drinking glasses and developing other skills. His classes fill up fast so it is best to reserve spots early. He has been teaching the class at Mesa Arts Center for the past 10 years. In addition to affording Dopp more opportunities and flexibility with which he can create his artwork and leading to serene inspiration, Highway Hotshop gives him an easy way to beat the heat—a rarity when it comes to glassblowing. Each summer, Dopp escapes Phoenix and enjoys the cooler temperatures of Pinetop for a series of weekend workshops and other events. “I see it as an artist-in-residence opportunity for myself,” Dopp notes. “I get out of my own studio and I am able to go somewhere else. I'll always try to work on new bodies of work while I'm at remote locations. It's just a nice way for me to kind of separate studio time from producing products, to a time where I'm actually developing new products. Dopp loves the fine art aspect of his work but admits that glass better lends itself to utilitarian- and craft-

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based pieces. Therefore, he has always seen himself straddling both sides of the fence when it comes to his creations. While clouds and other ethereal things fuel Dopp’s imagination, his bread and butter is decorative art. This includes dazzling ribbed bowls, exquisite flower bouquets, beautiful butterflies, elegant vessels and a variety of gorgeous pendants, chandeliers and sconces. His most popular products are his spikes, sublime glasswork that add color and personality to gardens. “People often say the spikes that I sell are very [Dale] Chihuly-like,” says Dopp, referencing the worldfamous glass sculptor who has had art installations at Phoenix’s Desert Botanical Garden. “I don't mind that comparison. But spikes have been something that I've worked on and produced for the past 30 years. I came to it naturally on my own.” Nonetheless, Dopp admits that he—and all other glass artists—owe a debt of gratitude to Chihuly as the artist has promoted the field to such an extent that school programs and collector bases have grown as a result. He also admits that glassblowing is a privilege due to the tremendous amount of energy and natural resources that are required for the medium. “This material has a huge footprint when it comes to its energy consumption, Dopp explains. “It’s not wellknown, but early glass blowing factories were largely responsible for the deforestation of the European continent, and now there are no naturally standing forests left in Europe. Nonetheless, this 2,000-yearold art form has a rich and varied history. It was arguably responsible for the industrial revolution.” In response to these revelations, Dopp started a series of pieces in 2002 which he titled “The Last Piece I Will Ever Make.” The pieces are the artist’s attempt to make a sociological statement on human nature and our relationship with petroleum and energy consumption. Despite the existence of alternative energy sources, Dopp maintains a belief that he must have respect for the glass and be a good steward. Glassblowing has taught Dopp to be a more resilient and resourceful human being. When he is not on the road with Highway Hotshop, Dopp can be found at his design studio, working on

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everything from $20 objects to $20,000 high-end sculptures that he sells to galleries and museums. He also does repair work for people who have damaged glass objects and assists other artists to actualize projects that they are not capable of completing themselves. However, Dopp’s favorite memory is when one of his colleagues purchased a collection of irises for her mother, who loved the flowers. Shortly thereafter, his colleague's mother passed away and her dying wish was that she would be buried with his irises. “I was just honored,” Dopp says. “I see a lot of what I do as an opportunity to give back. It's sharing what I have. I don't do this in a bubble or in a vacuum. I have a gift and I have to share it. It doesn't belong to me. It comes through me. And it's an honor to just be part of that.” joshdopp.com

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Writer Fadi Sitto Photography Courtesy of Barry Gossage / Phoenix Suns

“I get to perform for thousands of people every season and bring smiles to people’s faces. I love the fact that I create long-lasting memories of joy and excitement with the fans. I wouldn’t trade what I do for the anything in world,” says Go, the Phoenix Suns Gorilla. Go is one of the most iconic mascots in all of sports, and though he gets hot in the summer from all his hair, he’s still happy to call Arizona home. Go the Gorilla has been a fan favorite for almost 40 years. This beloved five-foot-tall Valley icon is as recognized and sometimes even more famous than Suns players or anyone else who’s part of the Suns organization. The Gorilla has a huge impact in the local Valley community, partnering with charities, schools, hospitals and local businesses. In addition to attending Phoenix Suns home games, he does about 400 appearances per year. Any time people—especially kids—see Go, two things inevitably come to mind: the Phoenix Suns and fun! The Gorilla first appeared in 1980 at the Mad House on McDowell in downtown Phoenix, also known as Veterans Memorial Coliseum. The origin story of the NBA’s most significant mascot is simply a happy hairy accident. Henry Rojas was a somewhat shy 23-year-old messenger from Eastern Onion Telegram Service. He was sent to the coliseum in early 1980 to deliver a singing telegram to a fan during half time of a Phoenix Suns basketball game.

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His job that day was to show up and deliver that singing telegram dressed as a gorilla, and that’s what he memorably did.

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As Henry was leaving the arena, security stopped him and suggested that he stay for a while to entertain the boisterous Suns fans during time-outs. He did a few dances underneath the basket and joked with fans during timeouts, and the fans instantly loved it. Loyal Suns fans began calling and asking for this gorilla the very next day, and it wasn’t long after that Henry Rojas and his gorilla attire became the norm at Phoenix Suns home games. Henry just kept coming to games until he was officially invited to be the Suns' mascot for good. He was given a Suns warm-up jacket, and the rest is history. Henry Rojas was the original Suns Gorilla, and would be until 1988. Mascot history and in-game entertainment changed forever, as this occurrence led to the creation of one of the most recognized mascots in sports. The iconic Gorilla started to become the talk of the town—and the talk of the NBA, thanks to his epic pranks, high-flying acrobatic dunks and shenanigans. It was as if there was a Go Show and it just so happened that a professional basketball game broke out. The Gorilla’s comedic routines during time-outs have become legendary. At a New York Knicks home game, for example, he came out to Frank Sinatra's "New York, New York" wearing Sinatra’s signature hat and a garbage stuck to his body. Halfway through the song, a group of "muggers" attacked him, and he staggered off the court. After Henry Rojas, the second Suns Gorilla was Bob Woolf. He introduced some of the most notable moves Go performs even today. Bob entertained audiences from the 1988-89 NBA season until the 2005-06 season. The next Suns Gorilla was Devin Nelson, who performed from the 2006-07 season until the end of the 2011-12 season. He was also revolutionary with his skillful stunts and acrobatics.

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The current person behind the costume and antics is a closely guarded secret. The Phoenix Suns organization will only reveal the name when he or she passes the torch to someone new. The daily routine of our mischievous friend is pretty straightforward. “I wake up, I eat a banana, go out and wreak some havoc and prepare for the game,” Go the Gorilla says. Go is a primate with a passport. He has entertained Suns fans in Phoenix for almost four decades, but is also a world traveler, bringing universal joy to many people overseas. Go has wowed crowds and made appearances in over 20 countries, including China, Argentina, Spain and Australia, just to name a few. In 2005, he was selected and inducted to be one of three inaugural members of the Mascot Hall of Fame. The Gorilla will forever be remembered among the greats, alongside Phillie Phanatic, the famous San Diego Chicken and Aubie the Tiger. Even though Go the Gorilla is a Hall of Famer, an elite megastar and highly professional, there are those rare times that embarrassing moments simply can’t be avoided. “I’ll never live it down, no matter how hard I try,” Go says.

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Our Encore 2018-2019 Season The infamous “drumstick on the court” incident occurred during a Suns home game against the Washington Wizards on a Tuesday night in March 2017. The Gorilla dove head first onto the basketball court to remove what the NBA says was a rogue drumstick during the game, during the course of play! It was definitely not a ploy to get attention. Go was trying to encourage the home crowd with cheer and hype using a chicken drumstick that abruptly slipped from his ape fingers. The Gorilla had no choice but to quickly grab the drumstick and shuffle off the floor, as it could have caused a professional basketball player harm or injury. How does one get to be the Suns Gorilla anyway? Eventually, no one knows when, the current gorilla is going to want to hang up those hairy high tops and sip banana margaritas next to a pool. Among the many requirements for being a future Suns Gorilla is a college degree—best if attained at Fur-man University. A minimum two years’ mascot experience on a collegiate or professional level is necessary, and applicants must be skilled in gymnastics and dance, something that takes an extreme level of athletic fitness. They must also have the availability and willingness to work extended hours, including nights and weekends. Then there are requirements like needing to be able to withstand and perform within extreme heat conditions, restrictive outfits and occasional impaired vision. Oh, and they need to be proficient in Microsoft Office, Outlook, Excel, Word, PowerPoint and other related computer skills too. No matter who the Gorilla is, the message from our loveable furred ambassador remains the same: happiness, fun and Arizona pride. One more thing, says Go the Gorilla. “I hate banana jokes. No one should ever joke about a banana.” sunsgorilla.com

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Stepping into the Musical Instrument Museumâ&#x20AC;&#x2122;s new electric guitar exhibit is like traveling through a time machineâ&#x20AC;&#x201D;not standing on the other side of it, but rather actually traveling through it, seeing the swirl of different eras surrounding and engulfing you. It is almost necessary to take a 360-degree spin immediately upon entering the doors to fully appreciate the dynamic history and cultural significance of the many stringed wonders on display before finally focusing in on one and making your way through the breathtaking exhibit.

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Writer Joseph J. Airdo Photography Courtesy of Musical Instrument Museum

The Electric Guitar: Inventing an American Icon, available through Sept. 15, showcases more than 80 of the rarest electric stringed instruments and amplifiers in the world. The exhibit reaches as far back as the 1930s and features the personal instruments of groundbreaking artists such as Ron Wood and Keith Richards of the Rolling Stones. The museum has a permanent display on its second floor called “Amplified Guitars.” Dr. Richard D. Walter, Ph.D., MIM’s curator for United States/Canada and Europe, explained that this special exhibition expands upon that, concentrating on the origins of the electric guitar while also taking a look at their j anuary 2019

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RESIDENTIAL technology and the most innovative, pioneering figures in their history. Many—but not all—of the items on display in the exhibit belong to guitar historian Lynn Wheelwright. MIM staff looked for highlights in Wheelwright’s private collection that allowed them to find a cohesive and coherent narrative that would be both educational and interesting for visitors. From there, three themes were selected: the technology behind amplification, the designers and manufacturers responsible for the electric guitar’s success and the influence the instruments had on music.

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“The electric guitar is certainly the standard focus of the exhibition but even during the earliest moments of amplification people were applying it to anything with strings,” Dr. Walter said. “Manufacturers were building an incredible array of different instruments and offering them to the public—although some were more successful than others.” MIM’s gallery also includes electric Hawaiian guitars, electric lap steel style guitars, electric violins, electric banjos and electric mandolins. All of these instruments influenced genres that defined American music— including Hawaiian music, dance orchestras, Western swing, jazz and especially rock and roll. “When amplification was emerging as a new solution to these things and people realized they could amplify a stringed instrument, a lot of the earliest efforts had to do with anything that would have been in vogue at the time. People were making music and needing to play to a dance audience, social club or community event,” Dr. Walter explained. “It was

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MIM showcases more than 80 of the rarest electric stringed instruments and amplifiers in the world.

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an advantage for anyone to be able to play more loudly, so they were applying this technology right off the bat to virtually anything with strings.” The highlight of the exhibition is, without a doubt, the electric guitars themselves. Dr. Walter’s personal favorite piece in the gallery is Alvino Rey’s Electro A-25, an instrument that was likely the first electric guitar ever played on a national radio broadcast. “Alvino Rey had his hands directly in the true first developments and steps into making the electric guitar successful,” Dr. Walter said. “We've got six of his personal instruments on display in the gallery. It lets us say with a straight face that we are reaching back and displaying the real beginnings of this electric guitar story.” Other notable inclusions in the collection are Charlie Christian’s Gibson ES-250, Paul Bigsby’s “Standard” guitar, Pete Townshend’s Gibson Les Paul Deluxe and Bo Diddly’s “The Bad Dude.” The gallery even features the Wrecking Crew’s session guitarist Tommy Tedesco’s main guitar. “That guitar really might be one of the most recorded musical instruments on the planet,” Dr. Walter said. “He was such a busy studio musician and played for TV shows, film scores and all kinds of hit records with artists ranging from the Beach Boys to Frank Sinatra to Simon and Garfunkle. That's an instance of one of these instruments that virtually every person who walks into that gallery has heard thousands of times.” To help illustrate the story, The Electric Guitar: Inventing an American Icon

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Alvino Rey's Electro A-25

Pete Townshend's Gibson Les Paul Deluxe

Charlie Christian's Gibson ES-250

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features an original video production that appears on displays within the exhibit. Interviewees include Wheelwright, Grammy Awardwinning jazz guitarist George Benson, and Sandra Boggs, daughter of late country steel guitarist Noel Boggs and goddaughter of Leo Fender—founder of one of the most successful electric guitar manufacturers in the world. “You're not just seeing static instruments, but you're actually getting to see how they're held, hear how they sound and see what the people look like who played them,” said Dr. Walter, noting that Tommy Tedesco’s guitar is accompanied by a monitor that plays samples from the “Bonanza” and “Twilight Zone” themes to drive home the instrument’s significance and recognizability. Dr. Walter added that working on the exhibition and seeing all of the earliest efforts has taught him that, for as relevant and contemporary as the electric guitar still is, the people who first attempted to amplify the stringed instruments got it right and were sophisticated in their thinking. “There haven't been any especially significant improvements or changes to the electric guitar since the 1930s,” Dr. Walter explained. “It has been fun to realize just how exciting and sophisticated the music was as well. It didn't take years to turn into rock and roll. People were playing radical, exciting music as soon as they had their hands on these amplified guitars. “These are 80- to 90-year-old designs but they look modern if not futuristic still today. It’s really fun to see the original versions of those instruments and realize that people were way ahead of their time—both in the concept of amplification and in the design.”

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Angel of Harmony - Hold Onto Hope

Writer Sue Kern-Fleischer Photography Courtesy Arizona Fine Art EXPO

When Stacy Bayne and Jerry Vaughn begin to work with blocks of clay, they both get lost in their subject matters. For Bayne, the clay becomes a conduit for hope as she sculpts beautiful, culturally-unique angels. For Vaughn, a fourth-generation rancher, sculpting the clay is instinctive as he captures the spirit of the cowboy. Both artists are self-taught, and both prefer sculpting freely, with limited or no use of an armature. Both began sculpting later in life after being in the spotlight for many years. Bayne traveled the world working as a model; Vaughn competed in national and regional rodeos as a team roper.

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While on different paths, the two artists’ lives will intersect as they spend 10 weeks creating original work at the Arizona Fine Art EXPO, open daily from 10 a.m. to 6 p.m., rain or shine, January 11 to March 24. Known as one of Arizona’s best venues for collecting fine art, the event features 124 patron-friendly artist studios within a 44,000-square-foot space under the festive white tents on the southwest corner of Scottsdale and Jomax Roads, next to MacDonald’s Ranch. “When we jury artists into our show, we not only look at the quality of work, we take into consideration how their presentation will enhance our patrons’ experience,” said Judi Combs, Arizona Fine Art EXPO co-founder. “We want people to interact with our artists, see them in action, and learn about their passion, inspiration and techniques.”

ANGELS FOR HEALING Before October, Stacy Bayne had an idea of what she might exhibit during her second year at Arizona Fine Art EXPO, but then the mass shooting at Squirrel Hill Synagogue in Pittsburgh happened. Bayne had been disturbed by so many mass shootings before, but this one jolted her into taking action. “My heart was so heavy, but I began sculpting through my tears,” the Colorado sculptor said. “I had already been creating angels, but I was compelled to do more. I started a new collection, ‘Angels for Healing,’ and I’ve been sculpting furiously in my studio ever since.” The new collection will offer hope for people dealing with everything from grief and debilitating diseases, like cancer, to bullying and gun violence. Her first series, "Hold on to Hope" will be unveiled at the Arizona Fine Art EXPO.

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Angel of Mercy - Hold Onto Hope

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Angel of Serenity - Hold Onto Hope

The angels are pressure-cast with new material for Bayne that consists of bonded stone and white cement. Each angel varies in size and cultural background, and several are holding doves. The series also includes wallmounted angels and sculpture and mixed media pieces. “Hope soars on the wings of an angel,” Bayne said, adding that her sculptures don’t represent any religion. “There’s a spiritual, calming effect of angels, and everyone can benefit from having an angel these days.”

FROM DOLLS TO SCULPTURE Bayne’s life certainly has not been boring. A former fashion model, she lived in five countries before finding commercial success creating porcelain dolls. Back then, as a single mother of twoyear-old twins and a three-year-old, she sold her work in doll magazines and also competed in and won many national competitions. Before she knew it, she was one of the top sellers on the Home Shopping Network. Years later, after moving to Dallas, Bayne attended a signing event where she met the world-renowned sculptor Giuseppe Armani. Because she spoke Italian, he invited her behind the roped off area where, over a five-hour period, he shared some of his sculpting tips. “That was my aha moment! The experience completely changed my approach and understanding of my talent as well as my future endeavors,” Bayne said. In 1997, she began to work as the creator and artist of a home décor line of sculpture titled ‘The Maasai Collection.’ The collection went on to sell in over 21 countries over the next seven years.

She began experimenting with bronze in 2005, and created her first angel in 2008, after losing a dear friend to cancer. The angel had red curly locks, just like her Irish friend. Sculpting angels was put on hold when the Great Recession hit. After her father passed in 2013, she found her passion for sculpting again and she also began experimenting with mixed media pieces. Now on a mission, she draws upon her intuition to guide her as she sculpts. “I don’t use photographs, and I don’t use an armature, not even with my life-size pieces,” she said. “I sculpt from my mind’s eye.” Guests to the Arizona Fine Art EXPO can watch her sculpt angels and see some of her mixed media pieces, which delve into the history of our country’s railroad expansion. The three-dimensional wall sculptures are created with pages from rare tariff books from the late 1800s and early 1900s. Bayne hopes viewers will reflect upon the bigger picture of the railroads and how the expansion impacted Native Americans, bison and other wildlife.

COWBOY RETURNS HOME Jerry Vaughn was 40 years old when he discovered his passion for sculpting. He credits his daughter with helping him discover his talent. “She came home from school with a sculpting project, and I started helping her. After that, I was hooked,” Vaughn said. Growing up on ranches, first in Arizona and then in Oklahoma, Vaughn lived the life of a cowboy. Junior rodeo was a family affair and many happy hours were

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spent in the arena. As an adult, he was an active team roper whose work took him to several states, including Texas, where he settled and began creating art. Naturally, Vaughn first began sculpting Western subjects. The movement of the horse, the bucking bull, the roping cowboy and cowgirl all came to life in his imagination. As a child, he was fascinated with horses. “My grandfather would take me to look at them and learn their anatomy. He would point out their features and help me understand what they were best built for,” he said. Decades later, when he first started sculpting, he would take a sculpting tool and pretend he was brushing a horse to follow the contours of its build and muscles. Now he often imagines himself on a horse or a bull so he can correctly sculpt stride, footing and other details. “I want people to connect with my pieces and recognize that they’re not only anatomically correct, the motion reflects a true rodeo or ranch scene,” he said. He prefers to sculpt freely, without measurements and just one armature so he can move the piece easily as he sculpts. Self-taught, he has extensive experience working in a foundry, and he credits Hefestus Fine Arts Bronze Casting with letting him work beside them on projects. “I am very fortunate in that they allow me to be involved with all aspects of bronze casting, through the lost wax process,” he said.

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Last year, he began sculpting figurative female pieces. “I’m trying to capture the beauty and delicate nature of women. It’s been challenging, but I’m enjoying it.” Vaughn recently moved back to Arizona, and he’s looking forward to his second year exhibiting at the Arizona Fine Art EXPO. “It’s been a wonderful experience, and I enjoy the camaraderie,” Vaughn said, adding that he feels grateful to have found his calling as a fine artist. “I feel so much joy when I sculpt. It almost feels like I’m off the ground in the air.” arizonafineartexpo.com

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Enveloped by deep sofa cushions in his Scottsdale home, Max Hammond shifts nervously in his seat as he searches for words. I’ve asked him, in not so many words, to explain his art, and he’s struggling as he tries to articulate matters of the heart. His chocolate lab, Luke, is excited to have a visitor, but from the moment I stepped into his comfortable, rambling ranch, it’s clear that, courteous though he is, this is Hammond’s personal sanctuary—a place where an easy silence settles into the corners, and where solitude is a comfortable friend. The interior of the living space, once the home of notable Valley designer Lawrence Lake, is structured around a colonnade—a perfect gallery for Hammond’s work. Its studies in color and texture are a beautiful contrast to clean lines and turquoise pool standing in placid stillness just outside a large wall of glass. On the coffee table is a photographic homage to mid-century abstract expressionist Franz Kline. Perhaps a little flustered, Hammond uses this tangent as a starting point. He lifts the book and flips through the pages to show some of Kline’s stark creations. Like Kline, Hammond began as a figurative painter, focusing on figures and landscapes. Kline began his career in the 1940s by painting the colors and shapes of his coal mining childhood home; decades later, Hammond was influenced by the Great Salt Lake marshes near his rural Utah home. There was something about the abstract that called to each of them. In the late 1940s and throughout the 1950s, Kline abandoned the form and structure of his paintings that he’d spent years perfecting, in large part because he’d become friends with other abstract pioneers, Willem de Kooning, Jackson Pollock and Philip Guston. Together, the four would wax eloquently about art, existence and the relationship between the two at New York’s Cedar Bar. They discarded traditional ideas about both, each instead embracing his own progressively avant-garde style of abstract expressionism.

Writer Amanda Christmann Photography by Bryan Black j anuary 2019

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“

I'm not interested in 'abstracting' or taking things out or reducing painting to design, form, line and color. I paint this way because I can keep putting more things in it—drama, anger, pain, love, a figure, a horse, my ideas about space. Through your eyes, it again becomes an emotion or idea. Willem de Kooning

For Kline’s part, he experimented with scale and eschewed color. Instead of fine art brushes, he began using housepainting brushes to make broad black and white strokes resembling calligraphy on massive canvases. He developed an oeuvre that bore little resemblance to the physical world, but that broke through artistic barriers in bold, new ways. As much as Hammond admired Kline, and despite their similar artistic beginnings, his work took on a very different personality. While Kline’s stark black and white brush strokes reflect and elicit the angst and anger that underlied—and perhaps even undermined his life, Hammond’s work is far more complex. In fact, it could be argued that Hammond’s thick layers of color, thoughtful transitions and unexpected details, some even whimsical, are more emotionally evolved than Kline’s work. “They seem to end up rather quiet,” Hammond says of his art, glancing toward the floor through black browlinerimmed glasses. “I don’t know that I’ve ever set out to make them that way, but they seem to end up that way.” Sharing time with Hammond in his home, the difference

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appears obvious; it’s not so much a difference in technique or perception of art so much as it’s a reflection of the very soul of each artist. Wearing a blue camp shirt and practical jeans, he measures his words before he speaks. His voice is gentle and his thoughts are deep. It is nearly impossible to imagine him in the throes of the boozing and brawling that Kline became known for. That simply would not be Hammond, or his work. Following his early Utah childhood, Hammond attended University of Utah to learn classical figure drawing. After earning his bachelor’s of fine arts, his eyes were opened widely during a trip to Mexico. He was struck by the vivid colors there—primary hues that seemed to form the very foundation of Mexican culture. When Hammond entered Arizona State University to study for his master’s degree, one of his professors noticed disconnect between his student and the art he was creating. “He said, ‘You like the color, line, texture and pattern of paint, but try dropping the figure,’” Hammond says. “So I dropped the figure.” He’d also held on to the memory of a photograph he’d seen years before of one of Kline’s pieces—a rare one that featured a splash of color—in a Time magazine he’d found in the library. “I was a young teen at the time, and it got me fired up for some reason,” Hammond says. “It made me feel something. I don’t really know how to describe it.” Those two impressionable moments became a fortuitous combination. They launched Hammond’s foray into abstract expressionism—one that would lead him to become a widely collected artist with work in the permanent collections of the Scottsdale Museum of Contemporary Art, Neiman Marcus, Nordstrom, Finova Corp., the City of Scottsdale, and the City of Mesa, among others. Today, married to wife Michele, a city planner, and a father of three, Hammond leads a much more balanced life than Kline, and the “quiet” of his work reflects that.

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In fact, he often equates his process to the hikes he loves to take near his Scottsdale home and in southern Utah, where he owns 11 isolated acres of land. “Hiking is a great metaphor for painting,” he explains. By now, he is visibly more relaxed. “You wander around on a trail, and maybe you end up somewhere and maybe you don’t. “With painting, I get a little lost in my head, mixing colors and trying to make it feel right. The composition gets worked out along the way. One area might begin dark, but it becomes light … I scratch it off and put it back on. I just keep going until it feels right.” Based on his reception for the last three decades, he’s accomplishing that goal and developed a following doing so. He has dozens of solo shows, public art projects and exhibitions under his proverbial belt. For the last 16 years, in addition to galleries around the country, Hammond’s work has been featured at Scottsdale’s Bonner David Galleries. This month, he will hold a special show: an homage to Franz Kline. Kline is quoted as saying, “I paint not the things I see, but the feelings they arouse in me.” In this way, Kline’s and Hammond’s thoughts and purpose are parallel. “I want an emotional reaction instead of a thinking reaction,” Hammond explains with his dog now fast asleep on the cushion beside him. “I just want to make a little spot of quiet in people’s lives.” bonnerdavid.com

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Writer Amanda Christmann Photography Courtesy of Jessica Peterson

Sitting behind his desk in his busy office near Scottsdale Airpark, Kevin Sprague is in his element. With stacks of papers divided into neat piles, he keeps a growing number of projects organized in his busy mind. Richly textured fabric samples are stacked upon his desk, and newly delivered furniture sits wrapped in plastic just outside of his door. Two brilliant yellow chairs make a splash in the design room where two associates are busy at their desks. Fun and functional lights illuminate the space, and a long workbench covered with plans and ideas crosses the room. For Sprague, this is what being creative is all about. Sprague, owner and principal designer of Kevin Robert Interiors, is using this space to conceive timeless, comfortable designs that, after only five years, have already begun to make their mark among Paradise Valley and Scottsdale homeowners. Kevin’s affair with design began over 20 years ago with a successful art finish painting business. His outstanding reputation was born from a keen eye for color and his innate ability to translate this special relationship with color to a unique design aesthetic. This passion for design led Kevin to complete his certification at the American Institute of Interior Design with honors. Sprague’s own predilections tend toward mid-century-inspired design made contemporary through neutral palettes, matte finishes and natural fabrics like leather, linen and hemp. Still, he avoids pigeon-holing his work, and never insists that his clients conform to his personal taste. “My design style is whatever you want me to give you,” he says. His eyes form a smile behind roundrimmed glasses, and he continues. “Everyone has their own taste, but not everyone knows how to put it

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together. They’re afraid. I’m there to take the fear out of it.” Sprague’s journey into interior design came honestly. He grew up in Mesa, where his mother had an interior painting business. He went off to college at ASU thinking he’d become a meteorologist, but he soon realized he’d headed down a road not meant for him. Upon graduation, he returned home to help his mother with her business, eventually taking it over. Sprague found that the biggest rewards were the smiles on clients’ faces when he created a new look with designer finishes. Why not, he thought, do that on a grander scale? “Seven years ago, I decided that’s what I wanted to do,” he says. “I closed my painting business and went back to school at the American Institute of Interior Design. Now, here I am!” Sprague seems to have found his niche. Browsing through his designs, it’s clear that he listens to his clients. Though there is always a distinctively “Kevin Robert” flair to each project, whether reflected in a piece of art, a combination of fabrics and textures, or even in the simple elegance of a space, the designs are as eclectic as their owners. “I have an appreciation for all things beautiful,” he explains. “I tend to go for ‘timeless’ and I stay away from trends. Trends go away, and I like my designs to last.” Often, especially during remodels, that means creating unexpected mixes of old and new. Sprague loves the challenge of incorporating antiques or

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existing pieces into his work. Whether it’s utilizing a painting that has been in the family for generations or reimagining an existing sitting area, Sprague breathes new life into the rooms he designs. Functionality is at the center of what he does, but he manages to accomplish that by weaving a tapestry of aesthetically pleasing colors, textures and patterns. A Kevin Robert Interiors room is one that immediately feels warm and inviting—that feels like home. He uses colors and artwork with a rare panache, sometimes whimsically, as with a rug he chose for a vacation rental printed with bold orange slices. While his clients love the seeming spontaneity in his designs, nothing is truly left to chance.

“

Everyone has their own taste, but not everyone knows how to put it together. They’re afraid. I’m there to take the fear out of it. Kevin Sprague

“I like to create beautiful spaces for people without falling victim to fads,” he says. “In remodels especially, I thrive on creating 100 percent transformations. “There is nothing better than sitting down with clients at the end of a project, enjoying a glass of wine, and seeing them smile in their new space.” Whether he’s designing a remodel, a new build, or a commercial space such as a med spa, Sprague seems to manage a balance of comfort and openness, and a natural combination of traditional and contemporary styles. For him, it’s art—almost a poetic effect. Through Kevin Robert Interiors, Sprague is living his dream. Still, there’s one project he hopes to land in his increasingly distinguished career. “I would love to do a restaurant,” he says, his face alight with ideas. “That’s where I could really go for it because it’s nobody’s personal space. Every time I go out to eat, I envision so many things in my head. It would be just a beautiful steakhouse, traditional, yet modern …” He trails off, then adds, “I know I’m not explaining that well, but I see it in my head.” There is no doubt that, whatever he has brewing in his mind, it will be wonderful—as are all of his designs. Between his attention to detail and his ability to conceive what others can only dream, Sprague is truly gifted. kevinrobertinteriors.com

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Design Trends Thinking about redesigning your space? Although he likes to avoid trends, clients often want to incorporate contemporary elements. Here are some trends Sprague says are on the way out, and on the way in:

OUTGOING TRENDS Gray and white palettes Stacked stone Granite countertops High-gloss finishes Brushed champagne metallics Painted accent walls Bold wall colors Stark whites Tuscan design Heavy, dark woods

THE NEXT BIG THINGS Textured or flocked wallpapers Mixed metallics Clean, straight lines Natural fabrics Quartz countertops High-quality veneers on cabinetry Vinyl plank flooring Cream-colored palettes Small pops of accent colorâ&#x20AC;&#x201D;think pillows Matte finishes Monochromatic, subdued, tone-ontone colors Walnut wood or veneers

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From inside the doorway of a compact brick building beneath the shadow of a downtown 7th Avenue bridge, Mayme Kratz emerges. Wild brown curls frame a gentle smile, and her deep hazel eyes shine from within as she greets me with a hug. A squad car is parked outside of her gated studio entrance, its occupants catching up on paperwork as a homeless man passes on a nearby sidewalk. Mayme pays them no mind as she introduces me to her latest rescue cats, whose curiosity has led them to wander outside to see a new face. This dark underbelly of the city is one few suburbanites experience, and not just because of its almost hidden location. For years, it was home to a large encampment of the homeless and the mentally ill, and it remains a safe spot for them to wander during the day as they wait for the nearby CASS shelter to open for the night. Many people wouldn’t dream of coming to this place, yet Mayme finds comfort, purpose and inspiration here—and for her, it is only fitting. Like in life, her art communicates the message that what is outcast by nature and by society has beauty. Without trying, Mayme Kratz is easily one of the most interesting souls I have come across. She is unassuming and humble, well grounded in solitude, yet perfectly charming to spend time with. Inside her mind is visual poetry with a cadence so unique that, no matter how much time is spent with her, until they understand the art that emerges from, they will never really know Mayme.

Heart of Light

Inside the studio, tangled birds’ nests, chunks of animal skeletons, tiny snake carcasses, seeds, cicada wings, weed and pea pods dried by the sun are gathered in small piles, making it appear more like a witch’s lair than an artist’s haven. Two black cats wandering the yard likely add to the mystique for curious passers-by.

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Writer Amanda Christmann j anuary Photography 2019 imagesar iz ona .c om Courtesy of Lisa Sette Gallery

Grasshopper Moon

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Outside the back door is a garden. Mayme created it, along with a path that led to the nearby street so that homeless people could share in its bounty. The path is now gated off by the city for safety reasons, much to Mayme’s disapproval.

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“Everybody loves a garden,” Mayme explains when asked why she’d invited those whom others want to keep out. Her graceful harmony with the outcast is mysterious for many, but to me and to so many of her art collectors, it’s quite lovely. “I enjoy giving value to things that are normally ignored, overlooked, stepped on, swept up as debris and thrown away,” she says matter-offactly. “It’s my purpose, I think. I see these things in my dreams, and it is my job to figure out why they’re there.” “What are you looking for when you create what you do?” I ask her. She pauses for a moment, going within for an answer. “A soul,” she says.

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“Do you find it?” “Sometimes,” she answers with a knowing smile. On this day, Mayme is preparing for a show. Large installations that look nearly celestial upon first glance are hung on the walls, while others are in various stages of creation.

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Cedar Moon Vanishing Light

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She shows me a piece that is nearly finished. Rabbit brush, collected from the desert on one of her regular hikes, has been carefully arranged over an emerald background. Set in a thick layer of resin, it is perpetually frozen in time and space. The next step, she explains, is to sand the top to make it smooth. This process reveals shades and details that will add intriguing dimension, making the piece pop in striking, unexpected ways. “I never know what each part of the process will reveal,” she says. “That’s part of the beauty of it all.” Nearby are several other works in various stages of process. Each is an ode to change; a nod to the idea of life interconnected and eternal, even after death. One stunning piece of wall art catches my eye. A ring of what appears to be flower petals or seedpods is embedded within a brilliant blue background. Even close up, I can’t quite identify what I’m looking at. “That’s actually small sections of deer femur,” she says, pointing to the center ring of one of the “flowers.” With a slim finger pointing to the “petals,” she says, “These are mouse ribs.” Under different circumstances, I may have cringed. Not so with Mayme. Her comfort with the macabre not

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Circle Dream Vanishing Light

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only makes it approachable; it allows people to embrace the idea of death without fear. “I have always been interested in the idea that something within us continues on even when the flesh is not here any longer,” she says. “I like to think that our energy continues on even after we’re separated from our physical bodies. That’s what I am searching for, and that is the work.” Here in this studio, among the stirrings of the destitute and downtrodden, and surrounded by the sounds of traffic and airplanes flying overhead, pieceby-piece and bit-by-bit, Mayme Kratz is doing the work. Through her stunning wall art, public installations and resin sculptures, she stops time, forcing us to look—and to notice—what comes next, and to celebrate the cycles of change and rebirth. It’s not only remarkable; it’s a message seldom heard in a world where youth is revered and death is only spoken of in hushed tones. And Mayme makes it beautiful. “I picture the work happening, and I need to get all of the chapters written,” she says, her lips stretching into a warm smile. “That’s what its about.”

Each Visit includEs:

• Visual inspection of all rooms • Check HW heater • Check for pests, insects • Check landscaping, pool and spa • Check for signs of leaking • Check thermostats • Visual inspection of garage and systems • Run water, flush toilets • Check fridge

Weekly Checks While You’re Away

Peace of Mind While You’re Away.

HomeWatchAZ sends a report with photos detailing any problems via email after each inspection. We work with a large network of trusted contractors and servicemen, and can arrange & oversee cleaning and repairs. We meet deliveries, pest control and tailor our services to meet your individual needs.

Serving the NE Valley including Scottsdale, Carefree, Cave Creek and Desert Ridge since 1998.

602-909-6635

lisasettegallery.com

Our mission is simple...

“We relieve the stress of leaving your home vacant for extended periods of time.” Diane Mitchell - Owner

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R e f e r e n c e s

A v a i l a b l e

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B o n d e d

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Writer Fadi Sitto Photography Courtesy of George Namamura, Bob Link and Airi Katsuta

There’s something poetic, romantic and therapeutic about a garden, and this is especially amplified when it’s a Japanese garden. In the middle of high-rise condos, sounds of construction cranes and the constant hurried pace of a modern city’s hustle and bustle, you’ll find the Japanese Friendship Garden, the most peaceful place in Phoenix. Located on 3rd Avenue, two blocks north of Roosevelt Street in Downtown Phoenix, the Ro Ho En Japanese Friendship Garden boasts over 3.5 acres of spectacular serene green space. The tranquil and meticulously landscaped setting features a koi pond with hundreds of colorful fish, a softly roaring 12foot waterfall and a tea garden with an authentic and functional Japanese teahouse. Ro Ho En is a combination of three Japanese words. Ro means “heron,” a bird symbol of Himeji City. Ho is the Japanese word for the mythical phoenix bird. En means “garden.” Wandering along its peaceful paths, it’s difficult to ignore the joyful, harkening sounds of the flowing streams through over 1,500 tons of rock. The handpicked stones are from the quarries near Congress,

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Arizona, and they shape and line the streambeds, walking paths and main garden waterfall. The backbone of a true Japanese garden is highlighted by stones, and is the foundation for its greenery. Showcasing more than 50 varieties of plants, the original designers of the Phoenix Japanese Friendship Garden purposely chose plant life that can adapt and withstand elements of the Sonoran Desert. The unique shared cultural vision of this garden came to life in November 1976 when Himeji, Japan became a Phoenix sister city. Himeji is one of Phoenix's 10 sister cities around the world today. Phoenix and Himeji participate in business, cultural and educational exchanges that promote mutual goodwill. The Japanese Friendship Garden is a nonprofit organization in partnership with the City of Phoenix Parks and Recreation Department. The mayor of Himeji wanted to build and strengthen the relationship between the two cities, hence the Friendship Garden. The best of the best landscape architects from Himeji, Japan have made numerous trips to Phoenix over the years to contribute to this garden project. Their expertise in Japanese-style architecture and Japanese flora are featured throughout the garden. Stepping foot onto the immaculately kept garden grounds, it is nearly impossible to frown or be in a bad mood. The garden contains nature’s spell, only allowing for breath, relaxation and smiles. “I tell people to not bring any worries to this garden. Leave them behind and focus on the moment,” says Reiko Reavis, executive director of the Japanese Friendship Garden. She’s been at the gardens for over 20 years. Reiko is originally from Kyoto, Japan, known as the mecca for Japanese gardens like the one here in Phoenix. The garden is not designed in a straight line; it’s designed to encourage visitors to walk and explore— to discover something new just around each corner. The garden is a masterpiece of strategic natural design.

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Reiko is proud of sharing her culture with the people of Phoenix. She says, “our garden is very authentic, it really is Japan in the center of Phoenix, and the only difference is the climate. We are a big part of the arts district here in downtown. The garden is a living art.” In keeping the promise to collaborate with the City of Phoenix and their neighborhood, the Japanese Friendship Garden also stays open during the monthly First Friday Art Walk. The garden graciously hosts live music, art and other local experiences. Reiko’s kindness is as alive and infectious as the garden she oversees. Every tree, shrub and bend of the branches here has meaning. Exquisitely maintained, artisan-sculpted trees and vegetation that seem to shape themselves, a variety of breathtaking plants and flowers surround the magical koi pond. The person responsible for this stunning cultivated gardening is Ben Schrepf. Few people love what they do as much as Ben; you can see it in his eyes and hear it in his voice.

EXPERIENCE Japanese Friendship Garden of Phoenix October through May | Tuesday through Sunday, 10 a.m.–4 p.m. | 1125 N. 3rd Ave., Phoenix i m a g e$6 s a rseniors; i z o n a . c o$5 m students/military; january 2 019 Free for children under 6 | 602-291-9209 | japanesefriendshipgarden.org 104$7 adults;

Ben does an extraordinary job of adapting the Sonoran Desert landscape within the Japanese setting. “It’s a labor of love,” he says, though he doesn’t describe his job as labor at all. He has worked in horticulture for over 20 years and traveled to Japan to heighten his craft. Ben knows his Japan-style gardens. One of the experiences highlighted at the gardens is the tea ceremony. A proper Japanese tea ceremony is called chanoyu, sado, or simply ocha. It’s a choreographed traditional ritual of preparing and serving matcha with traditional Japanese sweets. Ceremonies here at the Japanese Garden in Phoenix are presented by Tanko Kai tea group, who wear beautiful kimonos in the teahouse. Ceremony guests are met at the entry gate and guided to the teahouse by a docent who explains the intricacies about this popular garden attraction. As we walk through the authentic bamboo gate to the teahouse, we step back in time. The simplicity and rustic build of the teahouse is the key to a proper tea garden and ceremony. Upon entering, visitors are led to a special water basin to symbolically purify before entering the house. There is a respect for each detail. The delightful smell of cedar welcomes them in, and a sense of gratitude fills the air. Matcha tea, a strong and earthy tea, is prepared for the ceremony and placed in a Japanese tea bowl. The host creates froth with a bamboo whisk. Preparing tea in this ceremony means pouring all one's attention into the predefined movements. The entire process is not really about drinking the tea; it’s about aesthetics and preparing a vessel of tea from one's heart. The traditional host of the ceremony always considers the guests with every movement, action and gesture. Even the placement of utensils is considered from the guests’ viewpoint. It is all part of sharing another culture—another beautiful perspective. Sometimes a simple late autumn stroll in a downtown garden can change your life. Sometimes, it simply makes your day better. japanesefriendshipgarden.org

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Writer Shoshana Leon Photography courtesy of Hilton Sedona Resort at Bell Rock

Sedona is one of the most stunning and unique places on Earth. Over the years, the Sedona tourism industry has exploded, making Sedona an international destination sought out by nature lovers and those seeking spiritual enlightenment. Cindy Dean, spokesperson for Hilton Sedona Resort at Bell Rock, has seen the rise of Sedona’s tourism industry firsthand. “The designation of the national Red Rock Scenic Byway and All-American Road brought many changes to Sedona that have put it on the bucket list map,” said Dean. “The culinary scene has evolved tremendously, and it continues to do so with exceptional restaurants opening all across Sedona. Enhanced hospitality, national storytelling and social media have all aided in bringing additional attention and travelers to our destination. Sedona has changed from an amenity to the Phoenix area to a worldrenowned destination in its own right.” The Hilton Sedona Resort at Bell Rock recently celebrated its 20th anniversary. Dean has been with the resort since it opened. “Hilton Sedona started as a hotel in a remarkable destination and it has developed into a celebrated upscale adventure resort,” said Dean. Hilton Sedona features 221 guest rooms and suites which were renovated in 2015, a spacious lobby, two pools, a spa, fitness amenities, dining options, access to the Sedona Golf Resort’s golf course, and more than 20,000 square feet of conference space, ideal for meetings, weddings and special events.

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“Hilton Sedona’s focus on discovery and recovery is very unique,” said Dean. “We like to think of ourselves as Sedona’s adventure headquarters because we encourage our guests to discover the destination.” They do so by partnering with Pink Adventure Group, then providing exceptional amenities, offerings and facilities for after the adventures, such as the ShadowRock Tap + Table restaurant, the eforea spa, Cascades pool and rooms with private fireplaces. Hilton Sedona’s eforea spa offers 25,000 square feet of wellness, fitness and spa amenities, including nine treatment rooms, a heated lap pool, steam room, sauna, fitness center, three lighted tennis courts, complimentary fitness classes, and treatments featuring local and organic ingredients that highlight the healing powers of Sedona. In 2016, the resort completed its outdoor warrior pit. Equipped with tires, ropes, sledgehammers and anchors, resort guests can exercise at their leisure or attend a fitness class utilizing this unique space. In 2018 the hotel’s ShadowRock Tap + Table restaurant underwent a $2.4 million renovation and introduced a new menu. The restaurant features views of Sedona’s beautiful landscape and an expansive outdoor patio with games and fire pits. “The transformation of ShadowRock has made such a significant difference in our culinary program,” said Dean. “The restaurant is an upscale, casual gathering place where communal dining and shared plates are abundant, allowing guests to socialize, play games, make new friends or cozy up by one of the many fire pits.

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‘The indoor and outdoor spaces merge together so beautifully, and the foosball, ping pong, corn hole and many other games keep the atmosphere fun and lighthearted.” Open for breakfast, lunch and dinner, ShadowRock Tap + Table highlights locally sourced fare and Southwestern cuisine. The breakfast menu includes hickory smoked

brisket

hollandaise,

hash

salmon

with

chipotle

avocado

toast,

ShadowRock bloody Marys and prickly mimosas made with lemonade and prickly pear puree. Lunch

and

dinner

offerings

include

burgers, sandwiches, flatbreads, smoked short rib chili with chorizo, bacon and bison meatloaf, and a stuffed pasilla chile. Libations include local craft beers, fruity cocktails and festive margaritas. The Hilton Sedona continues to add amenities and programs to meet the needs of its guests. “In 2019, we will be focusing on fitcations and continued enhancements of our resort facilities, programming

and

activities,

OUTDOOR LIVING AT ITS FINEST

HIGH END, LOW-VOLTAGE, OUTDOOR LIGHTING

as well as some new food and beverage offerings,” said Dean. Congratulations to the Hilton Sedona on 20 years of relaxation and adventure. With continued upgrades and enhancements, the Hilton Sedona is sure to remain a guest favorite in Sedona’s booming tourism industry.

hiltonsedonaresort.com

FREE BBQ LIGHT WITH ANY INSTALL OVER $2000!

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www.lettherebelightllc.com (480)575-3204 info@lettherebelightllc.com Licensed | Bonded | Insured j anuary 2019

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Writer Amanda Christmann

With coffee shops popping up on corners all over town, it may not be difficult to find a cup of coffee, yet it can be an elusive goal to find a truly good cup of joe in a place that feels as welcoming as a mother’s kitchen. Straddling the border between Carefree and Cave Creek is a roastery and coffee shop that’s doing just that. From world-class coffees to high-quality organic teas and freshly baked pastries, Carefree Coffee Roastery is more than a coffee shop. It’s a place where the idea of “made from scratch” and other little details still matter. Behind tempting displays of mandorlata, German apple streusel, gluten-free apple muffins and vegan apple cake, Lars Hesse works his magic with a latte. With a lyrical German accent, he chats with customers, catching up on news of their families and remembering the way they like their brew. His formal training is in culinary arts, but he’s channeled his love for creativity a slightly different direction as he skillfully and effortlessly creates a swan out of foamy, white froth.

Lars and his mother, Uta Schmidt, co-owners of the roastery, have turned the idea of having coffee into something much more. Perhaps it’s the extra care Uta puts into forming each pastry by hand. Every bite is filled with the kind of melt-in-your-mouth goodness that begins with dusting a rolling pin with flour, and ends with patience as flaky circles, squares and triangles bake, filling the air with sweet scents of cinnamon, apples and berries. Maybe it’s the precision in each coffee bean, selected for their rich flavor profiles from single-source plantations from Ethiopia to Brazil, then roasted to perfection so as never to taste bitter or burned. Or it may be the wholesomeness of menu items like Modern Oats, handmade croissant sandwiches and chia power jars not available with quite the same twist anywhere else. Whatever the secret “it” may be, Carefree Coffee Roastery has it. It may be one of the best-kept secrets in the North Valley, but you can be sure that it won’t be for long. carefreecoffeeroastery.com

CAREFREE COFFEE ROASTERY g e s a rCreek i z o n a .Rd., c o m Carefree january 2 019 | Mon.–Sat. 6:30 a.m.–3 p.m. | Sun. 7–11 a.m. | 480-595-5050 | carefreecoffeeroastery.com 1107171 iE.m aCave

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Paleo Chili My grandfather has been making this chili every winter for as long as I can remember. It’s a staple in my household now, as it’s the perfect hearty chili for meat lovers! It keeps very well in the refrigerator and tastes better a day or two after it is made.

Ingredients: 2 pounds stew meat 1/2 pound ground beef 1/2 pound pork chorizo 1 cup coarsely chopped onion 3 tablespoons chili powder (or to-taste) 3 crushed garlic cloves 2 teaspoons cumin 1 teaspoon Mexican oregano 1 32-ounce container beef bone broth 1 26-28-ounce carton or can diced tomatoes 1 cup cilantro, finely chopped 4 cinnamon sticks 3 bay leaves 2 green jalapenos, slit lengthwise 3 times each, but left whole Salt Pepper 1 heaping tablespoon yellow cornmeal, optional

Directions: Drizzle olive or avocado oil in large pot over medium heat. Brown meat in very small batches so it browns nicely rather than boiling. Make sure the ground beef and chorizo are evenly broken up. This step is very important. Store each batch on a paper towel-lined plate and set aside. Sauté onions in the accumulated oil until they begin to soften (2-3 min). Add garlic. Sprinkle chili powder and add the rest of the ingredients except the cornmeal. Stir well and add the meat back to the pot. Bring to a boil. Reduce heat to low and simmer for least 2 hours, and preferably for 4 hours. Stir occasionally, skimming off surface fat, if desired. With one hour left of cooking time, add the cornmeal if extra thickening is desired. Writer and Photographer Kyndra Kelly

kyndraclaire.com

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Before serving, discard the cinnamon sticks, bay leaves and jalapenos. Garnish with sour cream, cheese, cilantro or green onions if desired.

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Winter Harvest Salad A really tasty salad using all the best winter veggies! Both the salad and orange shallot vinaigrette can be made in advance and stored covered in the refrigerator until needed.

Ingredients: Baby butter lettuce Arugula Radicchio, shredded 1 orange, peeled and sliced Shredded beets (can be found in most produce sections) Butternut squash Pomegranate seeds Candied nuts

Orange Shallot Vinaigrette Ingredients: 6 tablespoons olive oil 3 tablespoons red wine vinegar 1 tablespoon orange juice (if you slice the orange over a bowl, you will have this much) 1 tablespoon finely chopped shallot 1 teaspoon Dijon mustard 1 teaspoon honey Salt Pepper

Directions: Arrange lettuces, beets, squash and radicchio in salad bowl. Sprinkle with pomegranate seeds and arrange orange slices on top. Mix dressing ingredients in screw top jar. Shake well and drizzle over salad. Top with nuts and enjoy! Writer and Photographer Kyndra Kelly

kyndraclaire.com

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Need help in today’s complex market? You can “lean” on Saiedeh’s Expertise!

North Scottsdale-Carefree Office 34305 N. Scottsdale Road Scottsdale, AZ 85266

P. 480-488-2400

$744,900 4b/3bath over 3500 sq ft with sparkling pool. Cynthia Rahrig 480-650-1401 Sandy Comacchio 480-440-6706

For nearly 30 years, Saiedeh has combined her firsthand experience of orchestrating hundreds of transactions with continuing education. Currently, she is a licensed Associate Broker and has successfully completed the requisite training for Accredited Buyer Representative (ABR), Certified Residential Specialist (CRS), and Graduate, Realtor Institute (GRI). Not just an alphabet soup of credentials, but peace of mind for her clients. PLANNING TO BUY OR SELL? Call Saiedeh for Prompt, Professional & Proven Service! SHE WILL SURPASS YOUR MOST OPTIMISTIC EXPECTATIONS!

Saiedeh Karamooz, Associate Broker, ABR, CRS, GRI Chairman’s Board Top 3% 480-695-5522 saiedeh.com

$1,900,000 Beautiful Sunsets Views await you in this one-of-a-kind Mediterranean style home in Desert Mountain. Kathy Reed 480-262-1284

BACK ON THE MARKET

$949,000 Cave Creek, 5 ac, 3 bdrm, w/ 2 car, 2000 sf Shop with RV Door, Plus 2 room Casita. Patrick Rice 970-846-5461

Build your Dream Ranch in N. Scottsdale - 4+ Acres only $ 400K Debbie Omundson 480-375-1522 www.CarefreeProperty.com

$1,460,000 *Custom Home on 1.2 Acres* Stunning Mountain Views Irma Kuhweide 602-579-6955 Katie Atkison 602-769-1910

Carefree Ridgetop - Panoramic Mountain Views - Wall of Glass Debbie Omundson 480-375-1522 www.CarefreeProperty.com

Live where others vacation!

Lot for sale. $1,150,000 Golf course, sunset, mountains and city light views in Desert Mountain Joanie Barreiro 480-235-2776

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The Boulders Community 480-488-7550 Bouldersrealestate.com for complete market information.