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15979 N. 76th St., Suite A, Scottsdale 480-922-WINE • WINECELLAREXPERTS.COM
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ARTISTIC EVOLUTION Writer Joseph J. Airdo Photography Courtesy of Wonderspaces
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COMMUNITY EVENTS Writer Amanda Christmann
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STOP AND SMELL THE FLOWERS Writer Amanda Christmann Photography by George Gruel
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RALPH HAVER BUILDING DREAMS Writer Amanda Christmann
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Photography Courtesy of Modern Phoenix
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HIP HISTORY Writer Amanda Christmann Photography by Bryan Black
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GRAPEFRUIT POMEGRANATE SALAD Writer and Photographer Kyndra Kelly
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BRETT DENNEN
Thu. & Fri., May 16 & 17 | 7:30 p.m. $33.50–$43.50 “The breezy songs of California native Brett Dennen combine the earnest sentiments of activist folk with briskly sweet-natured pop.” —NPR Upcoming Concerts Band 2 featuring Tim Ries, Bernard Fowler, and Guests May 8 Marcia Ball May 10 Joanne Shaw Taylor May 11 Raul Midón May 23 The Mother Road Trio May 24 Terry McBride May 25 Todd Herzog June 2 Patty Griffin June 6 And many more!
2019 Concert Series sponsored by
MIM.org | 480.478.6000 | 4725 E. Mayo Blvd., Phoenix, AZ M ay 2019 imagesar iz ona .c om 5
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
PHOTOGRAPHERS Scott Baxter Bryan Black Kyndra Kelly Loralei Lazurek
ADVERTISING SALES Cooper Langston 480-544-8721 cooper@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.
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It’s hard to believe that it’s May already! As time flies by, I find myself becoming increasingly sentimental about the past. With every year that goes by, I realize the importance of becoming deeply rooted in the community. We are all part of a continuing storyline that joins past, present and future generations of people who live, love, struggle and find joy in this amazing world. Our writers and photographers seem to be feeling the same way. As I look through this month’s editions, I’m moved by the history shared within our pages. Inside are stories of some of the people and places that have helped to create the cultural identity of our community and beyond. Talented photographer George Gruel contributed to this month’s photo essay, which poignantly reminds us to “stop and smell the flowers.” This essay is a particularly meaningful departure from George’s decades of touring with Bob Dylan, the Grateful Dead and other rock and roll icons. It represents some of the deeper lessons he’s learned along his journey. I’m also thrilled to share Cynthia Stewart’s passion for preserving and repurposing centuries-old artifacts. Her story touched me deeply, and I know you’ll enjoy it too. In fact, I love her line of Cynthia Ann Jewels so much that we’ll be featuring one-of-a-kind pieces from her collection throughout the month of May—just in time for Mother’s Day—at Grace Renee Gallery in Carefree. Not only are they beautiful, but they’re also a physical reminder that love and humanity transcend space and time.
Reproduction, in whole or part, without permission is prohibited. The publisher is not responsible for the return of unsolicited material.
May you find beauty, love and connection in all that surrounds you. Thank you for letting our Images Arizona family be part of that journey.
Local First A R I Z O NA
Happy Mother’s Day! Shelly Spence Publisher, Images Arizona magazine shelly@imagesaz.com 623-341-8221
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Grace Renee Gallery | 480-575-8080 | GraceReneeGallery.com
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# 7 imagesar | Carefree, Grace Renee Gallery | Historic Spanish Village | 7212 E. Ho HumMRd. ay 2019 iz ona .c om AZ 9
Submergence by Squidsoup - Photo by Adam Elmakias Writer Joseph J. Airdo Photography Courtesy of Wonderspaces
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The landscape of the arts world is changing. Classic architecture, ceramics, paintings, photography and sculptures continue to carry significance in today’s society, but artists are finding new methods to express the way in which they see the world. Whereas creativity used to be about finding ways to color outside the box, it is now about finding new canvases to color, and new tools with which to do so. As seen in Wonderspaces’ debut exhibit in Scottsdale, many of these new methods invite audience engagement via virtual reality, body movement or three-dimensional exploration. The Wonderspaces team hopes that by exposing audiences to new and unorthedox works from artists, it can expand upon the audience for art while also challenging perspectives and creating conversations that lead to new ideas.
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Blooms by John Edmark
“[Wonderspaces] is an art show that is designed to be accessible to all audiences, whether or not you commonly identify with art,” says creative director Kendall Warson. “It is a place that features work that is engaging, multi-sensory and probably unlike anything you have ever seen before. One of the strengths of Wonderspaces is that we are showcasing work with a diverse array of mediums.” Occupying the former Harkins movie theater inside of Scottsdale Fashion Square, Wonderspaces partners with artists from around the world to create art shows that run for about three months, creating a place where people can connect with art and with each other. The 16,000-square-foot venue is Wonderspaces’ first permanent location. “We have had two pop-up shows in San Diego,” Warson says. “The first show was in 2017 and was put together by our co-founders Jason Shin and Patrick Charles. It was put up in a tent and kind of thrown together in a sense. Over the course of about 10 weeks, there were 56,000 people who came to experience it. The next year, we had 111,000 people come to a pop-up show at a cruise ship terminal.” Realizing the intrinsic benefits of exposing new audiences to artists’ work, but also the inherent challenges of popup venues, the team put into motion a plan to sign longterm leases in cities across the country. It hopes to plant seeds in Austen and Philidelphia later this year. Blooms by John Edmark
“The intention is for these shows to go from city to city—not only to bring a really exciting offering to local communities but also to scale the impact of all the artists and their work,” Warson explains. “That way, it is constantly reaching new audiences. Our intention is to be sort of a movie theater to the Arizona community and to have this continual offering that is rotating every three months.” The art installations are not the only things that will change every three months. The space has been redesigned to act as sort of shell, with modular walls and other easily modified elements that allow Wonderspaces to regularly reinvent itself. The space itself will change based on the theme of the exhibit, as will the food and shopping options.
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Body Paint by Memo Akten - Photo by Anne Vetter
Entry is staggered every 15 minutes to ensure individual installations do not get too crowded, giving visitors an opportunity to peacefully and personally engage with each piece of artwork. Each show is designed to take about 80 minutes to experience but visitors have the freedom to enjoy the exhibit at their own pace. Running through July 21, Wonderspaces’ debut exhibit in Scottsdale—Point of View—features 13 installations that explore how new perspectives expand our concept of the world. “A lot of the works are offering new perspectives or are abstracting perspectives—not only visually but also from a narrative sense,” Warson explains. “People come to Point of View with their own perspectives as a visitor and that is interacting with the perspectives that the artists are bringing to the table. People are able to converse, share opinions, share ideas and walk out with an enlightened sense of reality and a larger scope on their point of view.” One of the highlights of Point of View is Dinner Party, a virtual reality film based on the story of Betty and Barney Hill—the couple who reported the first nationally known UFO abduction case in America in the 1960s. The installation, which was created by Angel Soto, Laura Wexler and Charlotte Stoudt, makes use of virtual reality headsets and is designed to replicate a mid-century dinner party atmosphere. “It is exciting, a little scary and super engaging,” Warson says. “You watch the film at a dinner table that we have designed in partnership with the artists. There are themes of isolation and of community. The installation format helps push forward those themes and engages the audience in the larger dialogue of what the director, writers and producers are exploring through the concepts of the film.”
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Warson is also proud that Wonderspaces can bring Body Paint to the Valley. The installation, which was created in 2009 by artist Memo Akten, is a visual instrument that enables people to paint on a virtual canvas with their bodies. Playing on our natural instinct to express ourselves through movement and dance, Body Paint interprets our physical gestures into evolving compositions.
the art of organization
“Even though it was created 10 years ago, Body Paint is still so relevant and engaging,” says Warson, noting that Wonderspaces will occasionally dig into an artist’s archive to find work that should be brought back to the forefront of people’s consiousness. “Body Paint is less about the outcome and more about expressing yourself physically.” Point of View also brings Submergence back to the Valley after its 2017 exhibition at Scottsdale Museum of Contemporary Art. An immersive installation comprised of 8,064 individual points of light that visitors can walk through, Submergence was created by Squidsoup—an international group of artists, researchers, technologists and designers who work together to create interactive experiences. “It is great because you are seeing this landscape but then all of a sudden you are a part of it,” says Warson, noting the lights continually change colors in correspondance to music thereby creating feelings of movement within physical space. “It is a very visceral, accessible artwork that is just extraordinary and awe-inspiring.” Other noteable Point of View installations at Wonderspaces include a
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Sweet Spot by Shawn Causey and Mark Daniell - Photo by Victor Ren
videotaped performance of two handymen sweeping trash for 12 hours; an audiovisual installation that distorts space and blurs the lines between what is digital and what is real; an immersive installation made of 19 miles of multicolor nylon string; and 3D-printed sculptures designed to animate when spun under a strobe light. Daydream v2 by NONOTAK Studio - Photo by Victor Ren
Come Together by Michael Murphy
The Last Word by Illegal Art
“A lot of the artists that we are working with are excited about their work reaching a broader audience,” Warson says. “I think that the goal is to create a communal conversation and a space where people can confidently enter into and explore the concepts and perspectives that these artists are sharing.” Wonderspaces acts as an invitation for people who may ordinarily not be drawn into the art world to discover it through totally surprising and unexpected works. It activates visitors’ senses in new and innovative ways, encouraging them to explore artists’ perspectives and challenge their own while also sparking discussions with their friends and family. “A lot of these pieces are not conventional,” Warson says. “We strive to support installation art and find ways to present work that is challenging to present and might not otherwise exist in a traveling format. We feel like people are really moved by a lot of these pieces and are able to share experiences with one another and connect with each other through the context and lens of this artwork.” arizona.wonderspaces.com
EXPERIENCE Wonderspaces: Point of View i m a gJuly e s a r21 izon a . c o m M ay 2 019 Square | 7014 E. Camelback Rd., Scottsdale | $19+ | arizona.wonderspaces.com | Scottsdale Fashion 14Through
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COMMUNITY
2019 MAY
Writer Amanda Christmann
May 1–31
SOMETHING SPECIAL FOR MOM Special Cynthia Ann Jewels’ limited edition jewelry created from centuries old medals will be available at Grace Renee Gallery throughout the month of May. These one-of-a-kind collections of crosses, guardian angels, memento moris and more are the perfect gifts for the special women in your life. Grace Renee Gallery, 7212 E. Ho Hum Rd., Carefree. 480-5758080; gracereneegallery.com
April 25–May 5 THOROUGHLY MODERN MILLIE
Scottsdale Musical Theater’s largest cast ever, including TV and stage stars Dawnn Lewis and Marc Koeck, will appear in jazz treat “Thoroughly Modern Millie.” $32–$58; student and senior discounts available. Tempe Center for the Arts, 700 W. Rio Salado Pkwy., Tempe. 602-909-4215; scottsdalemusicaltheater.com
beginning at 5:45 p.m. that evening. Lanning, a Bryant Nagel Gallery, 431 SR 179, A1–2 at Hozho, Sedona. 928-
TALK DERBY TO ME
282-6865; lanninggallery.com
Enter the best hat/best Southern attire
contest, drink mint juleps and enjoy
May 3–19
a Southern-inspired spread by chef
FRANK FOWLER: THE DESERT WAS MY TEACHER Accomplished Navajo artist Frank
MASTERS OF GLASS
Peter Wright and Peggy Pettigrew
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de cuisine Tandy Peterson during the Kentucky Derby at the Phoenician’s Derby Day Porch Party at Mowry & Cotton. $95. 6000 E. Camelback Rd., Scottsdale. 1–4 p.m. 480-423-2530
Fowler uses acrylics to depict what he sees in his own visions. Meet the artist May 3 from 5–8 p.m. May 3; artist’s
May 3–19
May 4
May 4
a Bryant Nagel Gallery, 431 SR 179,
WINE & WHISKEY WITH WILDLIFE
A3 at Hozho, Sedona. 928-282-2262;
Enjoy appetizers, wine tasting and
turquoisetortoisegallery.com
whiskey tasting with signature
talk at 6:15 p.m. Turquoise Tortoise,
Stewart showcase very different styles
whiskey cocktails, a silent auction,
of glass creations. Meet the artists 5–8
live music and more while supporting
p.m. May 3, including an artists’ talk
Liberty Wildlife. $50 online; $55
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at the door. 2600 E. Elwood St., Phoenix. 4–7 p.m. libertywildlife.org
May 4
EPICURIAD The only thing better than great chefs is great chefs competing against each other for charity. Funds raised benefit brain tumor research and programs. $49. Harley Davidson of Scottsdale, 15656 N. Hayden Rd., Scottsdale. 6:30 p.m. headforthecure.org/epicuriad
May 6
MONDAY NIGHT CHEF’S TABLE This monthly series pairs four delicious courses with complimentary wine. $75. ZuZu at Hotel Valley Ho, 6850 E. Main St., Scottsdale. 6:30 p.m. 480-376-2600
May 11
SCOTTSDALE WHISKEY FESTIVAL Try whiskey, bourbon and scotch from around the world. $25–$35. Wasted Grain, 7295 East Stetson Drive, Scottsdale. VIP entrance 2 p.m. General admission 3 p.m. oldtownfests.com
May 11
CELEBRATIONS OF MOTHERS The Carolyn Enyon Singers sing tunes from the 60s to honor mothers at this special event, which also features an art exhibit by Young Arts Arizona and commissioned work by Anne Kilstofte. Boys’ and Girls’ Club will also sing. Adults $20; children $10; children under 5 enter free. Ascension Lutheran Church, 7100 N. Mockingbird Ln., Paradise Valley. carolynenyonsingers.com
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May 22–27
DISCOVER GRUEL PHOTOGRAPHY Experience the photography of George Gruel, featured in this month’s Images Arizona photo essay. His work will be on display for a limited time, so catch it while you can! Grace Renee Gallery, 7212 E. Ho Hum Rd., Carefree. Free. 480575-8080; gracereneegallery.com
May 17
MIXED: A COCKTAIL CULINARY SERIES Support Scottsdale League for the Arts at this dinner that highlights desert delights with cacti-infused cocktails enriched with botanical
that features some of the greatest
arizonarestaurantweek.com
music of our time—the music of Gershwin and Strauss, complete with
May 18
LEARN & LUNCH COOKING CLASS Ever wonder how to cook like a
liqueurs. $100. Nellie Cashman’s at
real chef? Here’s your opportunity.
Westin Kierland Resort & Spa, 6902
Famed Chef Marcellino will teach
E. Greenway Pkwy., Scottsdale. 6 p.m.
you how to cook Pollo Involtino
480-624-1357; kierlandresort.com
during this intimate class at Chef’s
May 17–26
ARIZONA RESTAURANT WEEK It’s that delicious time of year again! Arizona Restaurant Association’s Spring Arizona Restaurant Week will showcase some of the Valley’s best culinary menus with prix fixe menus and specials. See website
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for participating restaurants.
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a guest appearance by the Fred Astaire Dancers. Free. VIP seating available for $15 donation. 7601 E. Shea Blvd., Scottsdale. 4–6 p.m. 480-951-6077; scottsdalephilharmonic.com
May 23–26
Island. $45 plus tax and gratuity.
PHOENIX FAN FUSION
RSVP. Marcellino Ristorante, 7114 E.
Discover your inner geek! Jeff
Stetson Dr., Scottsdale. 1–3 p.m.480-
Goldblum, Nichelle Nichols, George
990-9500; mercellinoristorante.com
Takei, Walter Koenig and Paul Reubens are among the guests. See
May 19
GERSHWIN, STRAUSS AND FRED ASTAIRE Scottsdale Philharmonic will present a free concert at Scottsdale Bible Church
website for ticket packages. Phoenix Convention Center, 100 N. 3rd St., Phoenix. phoenixfanfusion.com
May 29
ROSÉ ALL MAY Part of Omni Montelucia’s monthly
OUTDOOR LIVING AT ITS FINEST
HIGH END, LOW-VOLTAGE, OUTDOOR LIGHTING
Desert to Dish series, this intimate dining experience pairs wine and spirits with courses prepared by Executive Chef Marcos Seville. $125. 4949 E. Lincoln Dr., Scottsdale. 6 p.m. 480-627-3039; omnihotels.com
May 30
5CS DINNER: CATTLE Part of the Scottsdale Resort at McCormick Ranch’s dinner series celebrating the 5 Cs of Arizona, copper, cattle, cotton, citrus and climate, with three courses
FREE BBQ LIGHT WITH ANY INSTALL OVER $2000!
LIGHTING, IRRIGATION, LANDSCAPE
www.lettherebelightllc.com (480)575-3204 info@lettherebelightllc.com Licensed | Bonded | Insured
paired with Arizona wines. $85. Kitchen West, Scottsdale Resort at McCormick Ranch, 7700 E. McCormick Pkwy., Scottsdale. 6 p.m. 480-596-7525; destinationhotels.com/ scottsdale-resort
May 28–31
ARTFUL SUMMER CAMPS Register now! Scottsdale Artists’ School will host a variety of fun Y Y • FA MI L
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schedule. Scholarships available. 3720
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session. See website for costs and
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share their creations in a youth art
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watercolor and mixed media, as well
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is held in professional art studios
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groups 6–8, 9–13 and 13¬¬–17. Each
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summer camps for students in age
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FAMILY MEMBER BENEFITS Unlimited Access to the Fitness Facility Discounts & Priority Registration on Swim, Sports, Childcare & MORE No Contracts! Scholarships Available
THE AVERAGE YMCA FAMILY SAVES $ 600 A YEAR ON OUR PROGRAMS.
REGISTER FOR A PROGRAM
& WE WILL WAIVE YOUR JOINING FEE
FREE Group Fitness Classes FREE Parent’s Night Out FREE Child Watch FREE Parent/Child Swim Lessons Members Are Eligible for Our Nationwide Membership Program SCOTTSDALE/PARADISE VALLEY FAMILY YMCA 6869 E. Shea Boulevard, Scottsdale, AZ 85254 (480) 951-9622 DESERT FOOTHILLS FAMILY YMCA 34250 N. 60th Street, Scottsdale, AZ 85266 (480) 596-9622
valleyYMCA.org M ay 2019
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Writer Fadi Sitto Photography Courtesy of Musicians On Call, Phoenix Children’s Hospital and Cindy Weir
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Music has a way of opening our hearts and helping us feel more connected to others, to ourselves and to the world around us. It’s a direct line to our emotions and state of being, and it’s no secret that music can help us feel better. Hospitals around the world are using music therapy as a way to ease a patients’ pain and reduce overall anxiety, allowing them to heal faster. There is evidence that music even reduces the side effects of cancer therapy. Listening to music is known to ease the stress level associated with chemotherapy, and it may also suppress patients’ nausea. For patients suffering from intense chronic pain like arthritis, music therapy can reduce the amount of pain medication needed, and gives people a sense of better control over their pain. Perhaps one of the most common and beneficial ways that music helps, is when it’s used to improve the quality of life for dementia patients. It can help to recall memories, assist in communication and improve physical coordination. Music therapy is live and in action here in Arizona at the Phoenix Children’s Hospital and at Carl T. Hayden VA Medical Center. Both partner with Musicians On Call, a non-profit that brings the healing power of live music to the bedsides of patients in healthcare facilities. By bringing live, in-room performances to patients undergoing treatment or who are unable to leave their beds, Musicians On Call volunteers bring a welcomed joy that is palpable.
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Musicians On Call volunteers have performed for over 700,000 patients, families and caregivers across the country since 1999. The organization has been performing for patients in Phoenix since 2016, and has weekly programs at Phoenix Children’s Hospital and the Carl T. Hayden VA Medical Center. Volunteer musicians have played for over 8,400 patients, families and caregivers in Phoenix to-date.
and a second master’s in speech and language pathology. She has also completed specialist and master certifications at Berklee College of Music in Massachusetts.
One such selfless volunteer Arizona musician is Cindy Weir.
“One night, I sang ‘No Worries Here.’ It’s a fun, beachy themed song about being loved and safe and not having any worries. After singing this, the children started following me out of the room and down the hall. The families and staff were delighted to round them all up and bring them back to their beds; it brought some joy and levity to the evening,” she warmly recalls.
Cindy is a highly acclaimed singersongwriter who expresses themes of selfawareness,compassion and transformation through her unique organic style. She’s also an accomplished speech-language pathologist and music teacher. She skillfully infuses creative acoustic guitar harmonies, fluid grooves, inspired vocal melodies and poetic, lyrical imagery though her songs. Cindy conceives and creates music as a vehicle for healing in a variety of settings, with a range of diverse audiences like the patients at Phoenix Children’s Hospital. “What’s great about going room-toroom is that it’s so personal and so intimate. One time a sweet little girl gave me a magnetic flower she’d made, that was really special. I keep it in my guitar case for good juju!” Cindy says. “A grandad was holding a little infant, with a feeding tube in her nose and IVs in her tiny arms. He was just swaying with the groove, rocking her gently, and the most beautiful tears trickled down his cheek as he looked into her sleepy eyes. My guide had to leave the room, it was a very tender moment where you just realize how music touches people so deeply, softening the roughness of life,” She recalls. Cindy holds a master’s degree in humanities from New York University
For the past two years, Cindy has played at both the Phoenix VA Community Center and Phoenix Children’s Hospital. She currently plays a couple times per month for Musicians On Call.
Another talented local musician that participates in the Musicians On Call program is Bruce Vaught. A true artist, Bruce is a singer-songwriter, licensed massage therapist and guitar teacher. “Performing at Phoenix Children’s Hospital served as a reminder of how fortunate I am to be healthy. Seeing children who are ill is difficult, but watching them respond to my music is so fulfilling. I’ve also found that often the family needs the music more than the patients,” Bruce explains. Bruce is an Air Force veteran, and when the Musicians On Call Phoenix chapter was founded, he signed up immediately and performed at the Phoenix VA Hospital, as well as Phoenix Children’s Hospital. “Having family members thank me for providing them an uplifting distraction from their struggles reminded me of the importance of my gift and the power of music,” he says. “My favorite part of our program is the incredible patient interactions, the
“
Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything. Plato
kids who smile for the first time since admission and the ones that sing along and smile. The parents are touched so deeply they’re overwhelmed with emotion,” says Jenna Zayatz, manager of volunteer services and programs. It’s real-life warm and fuzzy stories like these that show how important the music therapy volunteer program is for the families involved. This musical healing process can bring about miraculous changes for patients. It’s the amazing volunteers at Phoenix Children’s Hospital, wonderful organizations like Musicians On Call and the talented local musicians with the hearts of lions, who make our world better. phoenixchildrens.org musiciansoncall.org cindyweir.com brucevaught.com
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Writer Amanda Christmann Photography Courtesy of The Phoenix Theatre Company
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The year was 1920. Arizona had become a state just eight years prior, and Phoenix was beginning what would become one of the biggest growth spurts in the West. Cotton, which had been in high demand during the war, had attracted pioneers eager to plant their lives in the Salt River Valley. When World War I ended in November 1918, the market for cotton would see a tremendous decline. Many were forced to move to the city, where construction jobs and other opportunities were ripe. For the first time, the U.S. Census showed more people living in Arizona cities and towns than on farms. Growth in Phoenix meant diversity. People from all different backgrounds were moving into the Valley. It was a fertile ground of opportunity, and it didn’t matter if people were rich or poor. Everyone wanted their piece of the dream. These early residents were beginning to build a foundation for the state’s retail, insurance, wholesale, distribution and banking sectors, and as they came, so did bars, brothels and gambling dens. It was, after all, still the Wild West in ways. But less reputable forms of entertainment weren’t the only ones available. It was the beginning of the Age of Jazz and of the proliferation of cinema, and the city’s wealthier and more educated upper crust in particular wanted more sophisticated forms of art.
A DRAMATIC ASIDE Within the theater scene was an undercurrent of discontent. In 1895, theater owners across the nation had held a secret meeting, forming a syndicate that would, in effect, monopolize competition, artistic content and pricing. Playwrights, directors, producers and actors would all feel a stifling effect on their creativity. Many in the theater community wanted to express political ideas and address social issues that many felt were important. Chicago was the first to launch what is now called the Little Theatre Movement. These free-standing theaters gave the industry’s “small players” a venue in which to experiment. They didn’t care about the commercial value of what they were producing so much as they were interested in creating a message, and like many passion-fueled, grassroots efforts, these smaller theaters began to spread like wildfire. M ay 2019
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Two Phoenix figures were carefully watching this movement: Harry Behn and Maie Bartlett Heard. They would become the founders of a now-century-old legacy that continues to play a part of our Valley towns.
TAKE IT FROM THE TOP Harry Behn was born in the now-abandoned ghost town of McCabe, located in Arizona’s Bradshaw Mountains. His parents were immigrants, his father from Germany and his mother from Denmark. Harry was a smart and thoughtful young man and a prolific writer, even from a young age. At 18, he was accepted into Stanford University. That summer, as he was preparing to go off to school, he took work as an assistant to photographer Henry Berger. The two took off on assignment to Yellowstone and Glacier National Parks. As the story goes, Berger was called away for a family emergency, leaving young Harry to guard his expensive Kodak camera equipment. While he waited, Henry befriended some Blackfoot Indians from a nearby reservation. He is said to have been invited to join the tribe, and he received the name “Big Wolf Medicine.” Harry went on to earn his first degree from Stanford, and a second from Harvard. He married Alice Lawrence and had two sons, Prescott and Peter, and a daughter, Pamela, and would go on to write screenplays for cinematic hits, including “The Big Parade” in 1925, and “Hell’s Angels” in 1930. He also wrote dozens of children’s books and was a professor of English at University of Arizona in Tucson, where he was put in charge of educational radio programs. It is likely that the series of events that formed the foundation of his young adult years, combined with his intellectual and social affinities led to his eventual friendship with someone else who shared his appreciation for Native tribes, Maie Bartlett Heard. Maie Bartlett Heard was born in Chicago to a wealthy family. Her father was Adolphus C. Bartlett, president of the Hibbard Spencer Bartlett & Company, which would later become True Value Hardware.
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It was not her father’s work that interested Maie so much as his apprentice did. Dwight Heard was handsome and rugged looking, with dark hair and a strong brow. He was ambitious, too. Before long, the two were smitten. Dwight and Maie married in 1893, but all was not perfect. Dwight suffered from health issues, and like many people at the time, he was convinced that the dry desert air would be good for him. In 1895, the couple made the long trek to Phoenix. It would be a good move for them. Dwight became one of the largest land owners in the Salt River Valley, and was president of the Arizona Cotton Growers Association. He started Bartlett-Heard Land and Cattle Company, an extremely lucrative venture that sold beef, alfalfa, citrus and cotton to a growing Phoenix market. In 1912, the same year Arizona achieved statehood, he purchased the Arizona Republican newspaper, which would later become the Arizona Republic. In the meantime, Maie kept herself busy as a leading lady of the new state of Arizona. She involved herself with civic organizations and was passionate about the plight of others. She became an avid collector of art—particularly Native American artifacts. She and Dwight built their 6,000-square-foot home, Casa Blanca, in what is now northern Phoenix. They entertained often, inviting not only the local who’s-who, but national figures as well, including Marshall Field, Harvey S. Firestone, and even Theodore Roosevelt and Herbert Hoover. Politics were a frequent discussion, as was the Native American art the couple had become enamored by. In fact, in 1926, the Heards would purchase a Hohokam ruin. Its artifacts would join their collection in becoming some of the foundational pieces in their Heard Museum.
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What’s the difference between “theater” and “theatre”? According to the folks at grammar.com, the word “theater” is by far the preferred spelling in American English, while “theatre” is preferred nearly everywhere else. The American preference is a late-20th century development, so uses established prior to then are often spelled the British English way.
It was no surprise, then, that with so much in common, Maie found a friend in Behn.
THE BIRTH OF A THEATER In 1920, Heard and Behm formed a collaboration and joined the Little Theatre Movement. They started the Phoenix Players with a goal of bringing creativity and expression to the Valley through live performance. Four years later, with the troupe growing, the Heards donated their carriage house at Central and McDowell Roads. Just four years later, when the group applied for its articles of incorporation, there were 424 registered members. Phoenix Little Theatre was born. Phoenix was in an adolescent period of growth, still defining its political, economic and social personality. Theater played an important part of that growth, and in particular, smaller theaters like Phoenix Little Theatre were making strides. Through performance, writers, directors and actors could express ideas and touch audiences in ways that cinema, radio and newspapers could not. By 1940, nearly 1,000 members had registered with the theater, which was still putting on shows in the Heards’ converted carriage house. Even the onset of World War II, when families were separated by oceans and bullets, Phoenix Little Theatre continued to open its curtains and entertain the crowds. In 1951, the theater needed a new home. Board president Stephen Shadegg joined the Heard family and Barry Goldwater to secure funding
for a municipal cultural complex. The new theater would be alongside two of Maie Bartlett Heard’s other seminal endeavors, the Phoenix Art Museum and the Phoenix Public Library. It kept growing, incorporating a children’s theater in 1954, and solidifying its role among the core of the community. In 1985, the word "Little" was dropped from the theater’s title, and it would remain “The Phoenix Theatre” until it would eventually be renamed “The Phoenix Theatre Company.” Those who have not yet had the opportunity to experience The Phoenix Theatre Company’s newly renovated space will be more than pleasantly surprised. Beginning in 2013, The Phoenix Theatre Company launched one of the most ambitious expansions of a performing arts center in the Southwest, including a soaring glass atrium lobby, new rehearsal and entertainment spaces, and the addition of the chic and contemporary Hormel Theatre. The Phoenix Theatre Company has continued to realize the vision of its founders, and has likely gone far beyond what they dreamed. Their star-worthy performances challenge and delight audiences of all ages, and their programs are aimed at helping to develop new faces and voices in the performance arts. As the century mark approaches this year, it’s more than a look back at the past. “Our 100th season is a true celebration of everything we’ve been through as
THEATER Celebration of the Century It’s dinner under the stars followed by an unforgettable stage show featuring celebrity guests! Applause! Gala | Saturday, October 19 | 5:30 p.m. | The Phoenix Theatre Company | 1825 N. Central Ave., Phoenix | See website for pricing i m a g e s a r i z| ophoenixtheatre.com n a . c o m M ay 2 019 26602-889-5291
a company, everything we’ve been working toward and everything we believe we can be,” said producing artistic director Michael Barnard. “We can’t wait to share this historic, celebratory season with our community!”
The Phoenix Theatre Company 2019/20 Performances June 12–Aug. 11 Spamilton: An American Parody Aug. 28–Oct. 13 Kinky Boots Oct. 9–Nov. 10 The Curious Incident of the Dog in the Night-Time Nov. 13–Dec. 29 The Sound of Music Dec. 18–Feb. 16 Million Dollar Quartet Jan. 29–Feb. 23 Americano! World Premiere Feb. 26–Apr. 12 Sondheim on Sondheim Feb. 28–March 15 Festival of New American Theatre March 18–Apr. 19 Something Rotten! Apr. 15–June 7 The Rocky Horror Show May 20–June 28 HAIR The Phoenix Theatre Company 1825 N Central Ave, Phoenix 602-254-2151 phoenixtheatre.com
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I
It reads as if it came from the pages of a fairy tale. On the streets of Paris, where emperors once ruled, revolutions were borne, and where creative minds like Picasso, Hemingway, Matisse and Wilde found their muses, Cindy Stewart was searching for something she couldn’t name. She wasn’t interested in the souvenir postcards or Eiffel Tower figurines that fill many of the shops that line the city’s roads. Even the artists with their easels and palettes couldn’t tempt her eye. Pretty things and baubles may have brought a momentary smile, but Cindy needed something bigger—something deeper—to fill an emptiness in her heart. Her mother had died a few months earlier, and she was drowning in waves of grief. She wanted something to hold onto, and she was searching for it an ocean and a world away from her Houston home. She pushed open a door to a shop whose window promised old and interesting finds. As she closed the door behind her, the busy sounds of the street gave way to the heavy, reverent silence of a long, narrow antique store. She made her way through the stiff, ornate furniture and large and small leftovers of other people’s lives when a box caught her eye.
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Writer Amanda Christmann Photography Courtesy of Cynthia Ann Jewels
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It wasn’t the plainness of its shape or its solid weight. Its contents were what drew her nearer. Thousands of medals, each hand-forged and crafted to signify something that was once special to its owner, were piled inside. Atop the pile was a small Madonna medal inscribed with the words “Jesus,” “Mary” and “Joseph.” Cindy’s breath caught in her throat. She grew up with her mother using the phrase, “Jesus, Mary and Joseph,” and she could almost feel her mother’s presence as her fingers traced the coolness of the metal. “That was the epiphany moment for me,” Cindy says. “I was struck with an overwhelming sense that she hadn’t left, and she was telling me she hadn’t left. That’s what really started me on my journey.” Cindy bought the entire box of 2,000 medals. They dated back hundreds of years, symbolizing everything from small crosses to patron saints. That box would be the start of a soulwork of sorts that has touched thousands lives.
THE PRESENTS OF THE PAST Once home, Cindy got busy. She’d always had an interest in fashion and design. Though she’d been working in the corporate retail world for over 25 years, she’d also begun a jewelry boutique on the side. She had no trouble at all determining what she wanted to do. “Life is short,” she says. “My whole path and journey has taken me here. I closed up my store and started designing jewelry around these medals.” Using techniques and resources she’d learned about in her corporate life and as a boutique owner, she cleaned and polished each one, inset them in gold and added diamond bezels and bales.
EXPERIENCE Cynthia Ann Jewels Trunk Show | 7212 E. Ho Hum Rd., Carefree | 480-575-8080 | gracereneegallery.com i m a g e|s Grace a r i z o n aRenee . c o m Gallery M ay 2 019 30May 1–31
She took them to a trade show and received an overwhelming response. People didn’t just like them because they were pretty; they liked them because they felt their deep connection to the present and the past, and to the part of life that cannot be broken by distance or death. “They had the same response I had when I found my first medal,” she explains. “It was just a cascade of people who were relating to a product that was so important and so close to my heart.” They became the first in a long line of Cynthia Ann Jewels. She soon found herself combing European antique fairs. She was most attracted to Victorian-, Edwardian- and Georgian-era jewelry. Their history, brilliant craftsmanship and unique stones tugged at her heart. The more that she found, the more people wanted. Unlike most start-ups, Cindy’s problem wasn’t that she couldn’t reach customers; with a retail base that reached 65 stores in a relatively short amount of time, her issue became maintaining the integrity of her mission. “The number of medals available is very, very limited,” she says. “We started growing too fast. People wanted me to reproduce the medals, but I wouldn’t do that. “It was important to me to use those pieces that had passed through history, that people had held, and that people were happy with, sad with, and that had a story that went along with them. We may not know the whole story, but every one of them has a story. “I love that each one has a life that continues, and that helps people in their own journeys, whatever that journey may be.”
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It was important to me to use those pieces that had passed through history, that people had held, and that
BEAUTY IN SYMBOLISM
people were happy
Medals have been recorded in history since the early Egyptians forged jewelry out of fine metals to show their devotion to deities.
with, sad with, and that had a story that went along with them. Cindy Stewart
In the fourth century, Roman emperors Constantine and Maxentius were fighting over power. Christianity had not yet been embraced by the empire, so when Constantine saw a vision that he should use “Chi-Rho,” the first two Greek letters of Christ’s name, upon his sword, he was likely as confused as any. Still, “Conquer by this sign,” is the message Constantine would heed. Constantine’s army soundly defeated Maxentius, paving the way for Constantine to rule the western half of the Roman Empire. Religious jewelry would become an important symbol for people to show they’d renounced their earlier religions and had embraced the Christian God. “Chi-Rho” loosely resembled a cross, and it metamorphosed into a primary Christian symbol. It is one of many symbols Cynthia Ann Jewels showcase.
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“I have grown to really appreciate the symbolism in old jewelry,” Cindy says. “I love the meaning of a swallow and the symbolism in heart bracelets, for example. All of them have interesting connotations, and I’ve loved learning about them throughout this journey.”
Cynthia Ann Jewels is currently working on new collection memento moris, and although they are limited in number to about 46 in total, Grace Renee Gallery in Carefree will feature several pieces, along with many of her other limited editions.
Guardian angels are among her favorites.
About 80% of Cynthia Ann Jewels have religious connotations, and not all are Christianity-based. Many date back to biblical times, between 300 and 450 AD; others are from 19th century European and Russian collections.
“Whatever the language it is, it’s ‘Let me be your guide.’ We’re all born with a guardian angel. It’s in the Old Testament and the New Testament; we’re all born with this guardian here to be our spiritual guide throughout our lives. I love that. I don’t leave my house without my guardian angel spiritually, but I keep my guardian angel medal with me as well.” Another favorite seems like an unlikely affinity at first glance. The Latin term memento mori translates literally to “remember you must die.” Represented by a skull, it seems a morbid reminder for someone so positive, but Cindy doesn’t see it that way. “The skull is such an amazing representation and appreciation of life,” she explains. “We’re all so afraid of death because we’re not educated about it. That’s why it was so difficult when my mom passed away. We just had no grasp about where we are going, and the memento mori is a reminder that God promised eternal life in his kingdom with him. “I found my first piece from the 1700s in Bulgaria. I now understand who he is and what he represents. He’s not creepy at all. He’s a reminder that we are to live each and every day to the fullest because we were promised eternal life. That’s what we were promised here.”
From medallions to St. Benedict symbols to guardian angels, Cindy’s goal is to make beautiful pieces that are unintimidating. “It’s meant to be modern, very accessible jewelry. I don’t want it to be something people are afraid to wear. It’s beautiful, but it’s not so overly serious that you wouldn’t feel comfortable wearing it every day. “Whether you have on lululemons, jeans or a little black dress, my jewelry is accessible.” In its short time here in the North Valley at Grace Renee Gallery, it’s clear that message, and her jewelry, is being embraced. For Cindy though, it’s more than just creating pretty jewelry. Restoring and repurposing historical artifacts has given her peace, and helped her to recognize that we are all part of something much bigger than ourselves. “My collection holds a very special place in my heart. It’s my journey, and I am excited to share it!” gracereneegallery.com
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Bougainvillea
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There are plenty of facts to be said about Arizona plants. For example, there are about 3,400 species of plants that grow in our state, and we have an unusually diverse variety due to our contrasts in climate, topography and habitats. Anyone who has been struck with the awe by the sight of the desert floor transformed by bright confetti flowers knows that facts don’t really matter. The blooms that fill the ground with such sweet and piercing dichotomy between fragility and strength are a testament to beauty and endurance. Photographer George Gruel has spent his life capturing rock and roll icons like the Grateful Dead, Bob Dylan and the Band, Graham Nash and Warren Zevon. He has also accrued collections of the quirkily ordinary, including neon signs and eateries across the globe. Gruel’s experience of life in the fast lane has given him a unique perspective on finding beauty in the natural world. Not only are his botanical photographs striking, but their singularity and micro perspective tell a different story than the broadstroke of views we’ve come to know so well. Images Arizona is proud to share a bit of insight into Gruel’s work in this month’s photo essay. We hope that you’ll gain an appreciation for the detail in the beauty all around us, and that you, too, will stop and smell the flowers.
Writer Amanda Christmann Photography by George Gruel
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Photographing plants allows me to really see the amazing beauty and intricacies of their being. I hope these images inspire you to stop and really look, in depth, at a flower the next time you see one. George Gruel
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Ruellia Peninsularis
ABOUT THE PHOTOGRAPHER Encelia Farinosa Brittlebush
For George Gruel, art and music have been more than just hobbies. While attending photography and art school in Michigan, he decided to travel to San Francisco to photograph the journey as part of his photographic thesis. That trip changed his life. “It was a creative mecca like nothing I’d seen or experienced before,” he says.
Opunga Santa Rita
The Bay called him back, and in the early 1970s, he lived with Grateful Dead founder Bob Weir and became part of the Grateful Dead family. Rock and roll in those days was a little different than today, and many of the day’s biggest names hung out in the same circles. Gruel fit right in. He toured with New Riders of the Purple Sage, and he photographed Bob Dylan’s entire 1974 tour. In 1977, he took photos for the Eagles during their European Hotel California tour.
Kalanchoe Delagoensis Flower
“In 1978, Warren Zevon asked me if I would be his aide-de-camp,” Gruel says. “Of course I accepted. It went way beyond the money for me; it was pure joy—fabulous people, rock-nroll craziness, travel and most of all, amazingly great music. “Working with Warren was the best job of my life. He was in his heyday. I was listed on all albums as his aidede-camp. It was an all-encompassing term, which included me being his road manager for many tours, in the USA and Europe. We had great
fun together through a myriad of adventures, including some that bordered on insanity.” Gruel’s friend Graham Nash made him art director for the Crosby Nash album, “Another Stoney Evening.” He also photographed a few of Rick Springfield’s shows for a tour book. “Throughout this portion of my life, I kept my eyes, hands and mind involved with photography. My photos from those days grace Zevon albums, Rolling Stone, books and are in a new book about Warren published by Harper Collins called “I’ll Sleep When I’m Dead.” Gruel published a book of his adventures with Warren Zevon called “Lawyers, Guns and Photos.” “I could ramble on and on about many obtuse times in Los Angeles and the world of rock-n-roll, but let’s fast forward. Ten years ago, my life took yet another marvelous leap into the unknown—the world of true love. “I had never really known what great partner could do for one’s art and creativity, let alone, life. This all happened when I met my wife Jan. She is, by far, the best thing that has ever happened to me—and I’ve have had some pretty wonderful and unique experiences.” georgegruel.com biggorillabooks.com M ay 2019
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Sphaeralcea Laxa - Globe Mallow
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Opuntia Blossomopen
Aloe Blue Elf
Trichocereus Candicans
Images have always been the fabric of my life. I see photos everywhere I look, all day and all night. I frame the visual without even trying. It just makes seeing more enjoyable. I have frames around most everything I see. Life is one large rich gallery to me. George Gruel
Pima Cotton
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It's fun to go out and photograph whatever you see and moves you. George Gruel
Cactus Mitt
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Saguaro
A Little Prickly …
Opunga Santa Rita Yellow Blossom
One of the most common Sonoran Desert plants is the prickly pear cactus. Nearly every part of the prickly pear is edible, including the fuschia fruits, called “tunas,” and the green pads, or nopales. Arizonans also tend to love their bright blooms, which are among the heartiest and first to appear after seasonal rains. Because of their versatility and robustness, Australians began importing prickly pear cacti in the 1800s, with devastating results. The plants quickly became an invasive weed, smothering over 100,000 square miles—much of it farmland—with their impenetrable spiny paddles. Many farmers were driven off of their land by what they called “green hell.” In 1919, the Australian government formed a board to try to eradicate the prickly pear. First, they tried to manually remove the cactuses, then they tried, also unsuccessfully, to poison the plants using chemicals. In a last-ditch effort, entomologist Alan Dodd introduced a moth aptly called cactoblastis cactorum, which has a larvae that feeds on prickly pear. His efforts worked, and a memorial hall in Queensland now commemorates not Dodd, but the moth that saved the day.
EXPERIENCE George Gruel Photography Exhibit M ay 2019 May 22–27 | Grace Renee Gallery | 7212 E. Ho Hum Rd., Carefree | Free | 480-575-8080 | gracereneegallery.com
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D
Driving through historic neighborhoods of downtown Phoenix, the slump block houses and low-slung rooflines may seem unremarkable upon first glance, especially compared to the expansive newer homes found in the suburbs. Look a little closer at the otherwise non-descript homes and you’ll see historical gems that not only provided housing for thousands of post-war families, but that defined the way Valley residents lived, worked and played. Haver Homes and so-called “Haverhoods” sprung up— sometimes nearly overnight—in Phoenix over a 30-year period, beginning in about 1945. Behind them was a man named Ralph Haver, whose firm would become responsible for the design of about 20,000 tract homes and hundreds of buildings. Together, Ralph Haver, his partner Jimmie Nunn, and a short list of other partners made major contributions toward the surge of growth in Phoenix that would lead it to become the nation’s sixth largest city by the end of the 20th century. Throughout the 1950s, Haver and Nunn went it alone. In 1961, their firm was renamed Ralph Haver & Associates. Two years later, when Ross Jensen joined, it became Haver, Nunn & Jensen. As third partners came and went, it became Haver, Nunn & Nelson, then became Haver, Nunn & Collamer in the 1980s. All of these changes led their contemporaries to humorously dub it “Haver, Nunn-the-less.” Nunn’s contribution was primarily in the many civic and commercial buildings, including the Revlon factory in South Phoenix and the transformation of the Phoenix College campus in the 1960s. Though Haver had his hand in commercial development projects, his passion was for creating residential designs. His designs would fill a much-needed hole in affordable housing, and would form the foundation of an aesthetic that can still be appreciated in the Valley of the Sun. Writer Amanda Christmann Photography Courtesy of Modern Phoenix
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ALL IN THE FAMILY Haver was born in 1915 in Pasadena, California to working-class parents—a background that would provide him with insights into the needs of the changing American family. Haver’s father, Harry, was a mason, and mother Alice was a former teacher before her children were born. Young Ralph worked alongside his father and recognized early on that he wanted to be an architect. He earned his degree in architecture from University of California at Pasadena before joining the war effort as an Army engineer. Haver met his wife, Millie, at an Ohio USO dance in 1943. According to an interview with his son published by Modern Phoenix, he told Millie that the Army engineering castles on his collar were churches, and that he was a chaplain. Unflustered, Millie asked if it was standard for an Army chaplain to put his hand on a girl’s thigh. They were married within the year. By early 1944, the newlyweds were expecting their first child. Later that year, they decided to follow Haver’s father, who had been hired by Del Webb as a mason for Luke and Williams Air Force bases a few years earlier, to Phoenix. His brother Robert, who was a building contractor, had also relocated to the Valley, in part because federal dollars aimed at building the city made it an easy place to find work. The couple got as far as Oklahoma before Ralph Jr., or “Bucky” as he would later be called, made his appearance. Bucky was the first of three sons, and he was born at Tinker Air Force Base, where Ralph Sr. had been forced to pull over the car before resuming their long trip west.
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Photography Courtesy Jacob Lichner
Once in Phoenix, Haver resumed a mentorship under architect Ed Varney, whom he had worked for before the war, and developed a life-long friendship that lasted even after Haver started his own firm. Haver’s brother, Robert, was busy building his construction brand. He purchased land in South Phoenix and enlisted his help in designing a planned subdivision. The unpretentious red brick, 900-square-foot homes that became the Southdale neighborhood sold for approximately $5,000 to $7,000, and would be among the first of tens of thousands of utilitarian, straightforward homes designed by Ralph Haver.
MID-CENTURY IDEALS Haver and Nunn were influenced by great mid-century builders and designers, including Mies van der Rohe and other Bauhaus designers and architects, and by the work of Frank Lloyd Wright. The concept of “form follows function” had been established in the 1930s, and Haver wasn’t the only residential architect who embraced that philosophy. Designer Joseph Eichler, who was making a name for himself in California, and Al Beadle, who was also changing design in Phoenix, were among his likeminded contemporaries. Haver’s niche was in homes a bit smaller and more homey than the more ultra-modern designs that Beadle and Eichler were coming up with. His market was the “everyday man” and his family, and his average three-bedroom, two-bathroom, 1,500-square foot homes were in high demand.
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Ralph Haver
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Haver Homes and socalled “Haverhoods” sprung up—sometimes nearly overnight—in Phoenix over a 30-year period, beginning in about 1945. Behind them was a man named Ralph Haver, whose firm would become responsible for the design of about 20,000 tract homes and hundreds of buildings.
Haver homes would soon become iconic for their signature single-story, red brick construction and plaster walls, lowpitched rooflines, angled gable beams, floor-to-ceiling windows and clerestory windows, or angled windows just above eye-level. When Superlite concrete masonry block was introduced, he embraced that trend, reserving red brick for his more expensive projects. As a departure from tradition, Haver’s beam construction meant that there were fewer load-bearing walls in his homes. He preferred a more open concept than in homes of the past so that families could interact and move freely. Another standard in Haver homes were carports. For the first time in history, the automobile was becoming part of American family life. Though many of his carports have now been modified to fit modern car sizes, they were a first for many families. Sidelight windows flanked entrance doors, and those doors were placed in unconventional places, such as in carports or on the side of the house. Rather than placing picture windows in the center of the front of the house, as
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was common at the time, Haver preferred to offer families their privacy by placing them on the side or rear of the house. Windows were often incorporated over the kitchen sink so that mothers could keep an eye on their children as they made dinner at night. Built-in cabinets were another Haver standard. They eliminated the need for working class families to buy additional furniture, and the need to dust. Bedrooms, kitchens and other living spaces often had them. This idea very well could have been a contribution of Haver’s wife, Millie, who is said to have had significant influence on the designs. Modern Phoenix’s Alison King carefully studied Haver in an effort to preserve his influence on Phoenix architecture. In an interview she conducted with Jimmie Nunn, who now lives in Flagstaff, Nunn said that Haver homes were designed to be added onto. In fact, Haver added a bedroom on to his own modest first Phoenix home as his family grew. Once building material restrictions were lifted in the late 1940s, that’s just what people did. In fact, many Haver homes that remain have been modified in one way or another.
Today’s revival of mid-century design and architecture has brought a renewed enthusiasm for Haver homes. Though many have been demolished through the years, these desert gems are now being renovated and sold at prices hundreds of thousand of dollars more than their original cost. Janet Manor, Starlite Vista, Marlen Grove, Town & Country Manor, Mayfair Manor, Town & Country Paradise, Northwood Homes and Town & Country Scottsdale are some of the neighborhoods where homes remain. It’s difficult to imagine what the Valley would have looked like had Haver’s influence not been part of it. Without the practical, affordable housing he created for the middle class, it’s possible that an entirely different demographic would have settled here. Says noted Cave Creek architect Michael P. Johnson, who, at 80 years old, has an historical perspective of Haver’s work, “The important thing about Haver was that he made very affordable houses for middle class families. There was no innovation in his architecture; his homes were just beautiful. They were economically efficient, efficient to build, and they made good architecture for the common man.” Haver retired in 1980, and died in 1987. He and his firm’s significant influence on both the residential and commercial landscapes set precedents and created a unification of the overall ascetic of Phoenix for many years, and through rehabilitation and revitalization, continue to set trends and to remain a significant part of our Arizona history. modernphoenix.net ralphhaver.com M ay 2019
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Writer Amanda Christmann Photography by Bryan Black i m a g e s a r i z o n a . c o m M ay 2 019
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Once you’ve met Marshall Shore, you won’t soon forget him. With his bold and eclectic taste in vintage fashion, his edgy pompadour and his larger-than-life personality, Shore stands out in any crowd—which is the way he likes it. It’s only apropos that Shore has become the unofficial ambassador for something else that shouldn’t be forgotten: Arizona history. In fact, as self-proclaimed Arizona’s Hip Historian, Shore has made it a point to dust off and share some of the most notable—and quirky—bits of local lore. For example, even people who have lived in the Valley for years may not know the haunted and harried history of the downtown Clarendon Hotel. In its early days, it played host to Hollywood stars, and it still does, thanks to renovations that have brought back its “Mad Men” swankiness. Ask Shore about the hotel, though, and he’ll tell you stories that go beyond the allure of its mid-century architecture and rooftop bar. With the skill of a true wordsmith, Shore draws audiences in with the story of the jilted lover who put on her best dress and threw herself to her death from the roof of the hotel. Some hotel patrons claim they can still smell her rose perfume in the room where she stayed. He’ll also tell you about Phoenix’s most notorious unsolved murder that happened just outside of the hotel’s front doors: the car bombing murder of Arizona Republic reporter Don Bolles. In fact, that’s just one of the tales he can tell about the days when Central Phoenix was home to quite a few mob figures. He takes tourists and locals alike on guided tours, sharing stories about infamous Phoenix murderess Winnie Ruth Judd, and about the governors, prostitutes,
and other colorful characters who share an unlikely eternal companionship in the downtown Pioneer and Military Memorial Park cemetery. There’s nothing routine or predictable about Shore or his tours. He’s been known to play bingo in cemetery tours, and the yellow school bus he uses for others make learning about Phoenix history more of an adventure than the intellectual pursuit that it is. In fact, Shore is doing a bang-up job of turning a town with “no history” into a fun historical mecca. Not bad for a guy from a one-horse town in Indiana. Shore grew up in Odell, Indiana—and you’re not alone if you haven’t heard of it. With a population of 25, and boasting two roads and one stop sign, it’s probably safe to assume that Shore is Odell’s most colorful export. “I always marched to my own drum,” he says, his eyes smiling from behind peculiarly shaped green wire rims. “That drum has just gotten louder.” At 23 years old, Shore bought a one-way ticket to New York, where he landed a job in a library in Brooklyn. It was a practical decision. “It was ingrained in me early on, ‘Don’t be an artist! Don’t be an artist!’” Shore explains. The library gave him an opportunity to dig through books and archives for stories about the people and places that surrounded him. Every story he read made him feel more alive and connected to the city. A few years later, his parents moved to northern Arizona. He soon followed, but not too closely. He didn’t want to leave the glow of the city lights, so he took a job as a librarian in Phoenix.
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“As soon as I got here, I heard all of these stories about how there is no history here,” he says. “Yet, I was working in the Central Library and I was hearing all of this fascinating oral history. It gave me a whole fresh perspective. Now, I kind of look at stuff and I think, ‘Look at that building. I wonder what happened inside.’ And I find out.” Shore combs through old newspapers and other documented accounts, and he reaches out to authors and others who either remember or have researched old stories. To Shore, who refers to himself as an “information curator,” each of these stories is a thread in the fabric of our city, and finding them has been a personal journey. “When I first moved here, I was like, ‘I moved where?!’ It really was about finding things that connected me to this place, and finding all of these amazing people who were finding themselves and forging new paths. “That’s still true today. There are people today whose stories we’ll be telling generations from now. The idea that we’re all trying to leave our mark is nothing new.” Anyone who has been to one of Shore’s now-famous ghost tours, Phoenix in Film, Arizona LGBT History, Arizona by Design or any of his other experiences at local bars, Scottsdale Museum of the West, the Alwun House, the Arizona State Fair or other venues knows what a good time history can be—especially when its told by Phoenix New Times’ Best Unofficial Phoenix Historian and Phoenix magazine’s Best Bespectacled Phoenix Celeb.
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Give him an hour and Shore will pique your interest and make you want to know more. “I’m most interested in the people and events that have made Phoenix what it is today,” he explains. “Sharing my passion is how I got connected to Arizona. I could be anywhere doing anything, and history is why I’m here.” He’s also set his sights on creating a little history of his own. Currently, he’s collaborating with Marilyn Szabo and the Casa Grande Historical Society to put together a book about the life and work of Casa Grande photographer James Gorraiz. Gorraiz’s work documented the incredible post-war boom that Phoenix experienced in the mid-20th century. Like so many other Phoenix characters, he’s always got a few other tricks up his sleeve, too. The best place to find out what tours and fun he’s got coming up is to follow his Facebook page. Being a hip historian isn’t the only thing Shore does. He’s on the board for Arizona Apparel Foundation, where he works with emerging designers in helping them brand apparel unique to Arizona. Shore has become a liaison for the city’s most notable destinations, people and events, and he’s doing it with spectacular style. “There’s a whole city to explore!” he says. And with Shore, exploring it is a treat.
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Writer Joseph J. Airdo Photography by Loralei Lazurek
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One of Topher Keene’s favorite home movies of his childhood is one that features him babbling into a microphone when he was only 3 months old. Some might say he was just being a joyful infant, emitting nonsensical sounds to mimic the world around him. Others might call the video a form of foreshadowing, indicating a propensity toward music that would eventually mold him into who he is today—a man enriching the music education of more students than he ever could have imagined. “I have always loved to sing, but I did not see it as a career at all for most of my life,” Keene says. “I knew that I did not want to be a professional singer but I have always loved singing in groups. Choirs and musicals were where I got my real passion. There are jobs for professional choir singers, but they are few and far between, so I kind of always set that on the back shelf.” From a very young age, Keene knew that he wanted to help people and make a difference in the world, so he set his sights on becoming an attorney. Keene joined his school’s mock trial team and watched countless hours of law shows on daytime TV. During his senior year of high school, Keene started to consider a career as a psychologist instead, as that would make use of his interest in how the brain works. He even applied to the University of Maine as a psychology major. However, destiny intervened when Keene attended a summer camp for music. “It just clicked for me,” Keene says, noting he suddenly saw choir director and music teacher as the ideal career choice considering his strengths and interests. “Once I had that lightbulb moment, I called the university and said I wanted to audition for the music program.” After obtaining a bachelor's degree in vocal music education from the University of Maine with additional studies at the New England Conservatory, Keene began working toward a master’s degree in curriculum and instructional design.
“I like learning and I have found that I learn the best when I share what I have learned with others,” Keene says. “Anytime I have had a subject that was important to me, I have tried to find an opportunity to become a coach, a teacher or a tutor with that subject so that I could solidify my own knowledge.” He initially saw himself teaching high school and college students, but discovered that most singers at those age levels are not as skilled as they could be. Believing that early intervention in one’s music education is key, he began focusing his attention on teaching youth.
MUSIC TO HIS EARS Keene first arrived in Phoenix for six months in 2013, during which time he worked for Great Hearts Academies. He returned to Boston for a couple of years and taught private lessons before returning to Phoenix on a permanent basis in 2015. “The last year I spent in Boston, there was still snow on the ground in the middle of July,” says Keene, noting the Valley’s warm weather was a major factor in his decision to make a home for himself here. “I had 23 years of brutal winters, and I had as much as I could handle.” Keene continued making a living for himself teaching private lessons, but was swiftly sought out by Phoenix Boys Choir, a Valley organization founded in 1947 that provides training in voice, music theory and performance for boys between the ages of 7 and 18. Not really wanting a full-time gig, Keene immediately declined a job offer to lead the group’s education department. His tune quickly changed, though, when he realized the widespread difference he could make in the role. “The flexibility to go into schools and work with teachers and college students who are training to be music educators, as well as with students from kindergarten through high school, was really inspiring to me,” Keene says.
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As Phoenix Boys Choir’s director of education, Keene presents music education workshops at elementary and middle schools across Arizona at no cost to the schools. Since taking the position in 2017, he has been to about 150 schools and worked with approximately 5,500 students. ”About one-third of Arizona schools do not have music teachers,” Keene says. “Many of them have the funding, they just cannot find the candidates to actually fill the roles. So many Arizona schools do not have music programs for their students. I am able to help provide music enrichment for those schools, as well as work with the schools that already have established music programs.”
CARRYING HIS TUNE In addition to working with Phoenix Boys Choir, Keene directs several choruses throughout the Valley, including Sounds of the Mouth Vocal Collective, Simply A Capella, Sweet Adelines Chorus and the Fountain of the Sun retirement community chorus. He is also active as a music director, having directed shows for Phoenix Theatre, Pinnacle Creative Arts and Act One Youth Theatre. Keene also continues to teach private lessons—not only to students in the Valley, but to students all over the world via video chat. He acknowledges that there are some clear advantages to in-person lessons but has found that lessons over video chat can be quite effective as well. “There are things that you can hear in person that you cannot hear over a microphone,” Keene explains. “And because of lag and delay, you cannot play on a piano while somebody is singing. But what I can do with video chat is record a student singing, play it back for them and show them specific things that they are doing right or wrong. I see in-person lessons and virtual lessons as completely equivalent. They just have different pros and cons.” Keene believes that virtual lessons will become a bigger part of his career moving forward as technology improves. He even co-founded and serves as CEO for ChoirUnlimited.com, a sheet music publishing company through which he is able to donate sheet music to school districts and choirs
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that do not have sufficient funds in their budget to afford high-quality music.
SINGING HIS PRAISES This spring, Keene received the 2019 Outstanding Emerging Educator Award from the Organization of Kodály Educators—a group that aims to support music education, promote universal music literacy and lifelong music-making, and preserve musical heritage. The organization was founded on the principals of Zoltán Kodály, a Hungarian composer who believed that music is meant to develop one's personality, intellect and emotions. Keene studied the Kodály Method at the New England Conservatory and is now a level III certified Kodály educator. He also serves as a board member of the national OAKE organization as well as president of its Arizona chapter. Although Keene is tremendously proud of his award, he remains humble and committed to making a difference
in the world of music education. He stays active in his work with children so that he can remain current on best practices. He then shares his findings with other teachers so that they can be more effective with their own students. “The work that a neighborhood teacher does at a small school, working with the same students day after day, is far deeper and more impactful than the work that I do,” Keene says. “But I have chosen to focus my life on helping those teachers do their jobs better, either by showing up in their classrooms and demonstrating some of these methodologies, or by doing professional development training for them at conferences and through school districts.” By making a difference in music educators’ approach to their work with children, Keene’s efforts propagate through thousands of children across the country. He believes that music education is more important now than ever before.
“Nowadays, most adults do not feel comfortable singing in front of others— even just their close friends and family,” Keene says. “That is a dramatic shift in the culture from music producers to music consumers. We have created a culture of musical consumption instead of musical engagement.” Keene hopes that if he can make a difference in a child's music education when they are very young, an even 1% shift will make a remarkable difference in the rest of his or her life. “For me, it is not about them ending up as professional musicians,” he explains. “That is not my concern. My concern is that, when they are 80 years old they can comfortably sing Christmas carols with their family and sing a lullaby to their great-grandchildren.” topherkeene.com
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Have you ever dreamed of being able to check off multiple bucket list destinations in one seamless trip? If you are at all like me, the answer is absolutely! And since we’re dreaming, you’ll want as much time to explore in your chosen destination as your itinerary will allow. Introducing luxury journeys by private jet; not new by any means, but an expanding portfolio of destinations and suppliers provides many more options and opportunities for luxury travelers than ever before. Luxury private jet journeys are all-inclusive, and itineraries are meticulously designed to foster a spirit of discovery. Some tours allow you to circle the globe or continent, while others allow you to delve deeper into a country or region. Enjoy the ease and comforts of personalized in-flight service and five-star or “best available” accommodations while experiencing the incomparable advantage of insider access and exclusive experiences on the ground. Throughout the journey, guests can take part in unique dining experiences complete with local entertainment and gorgeous natural backdrops. Guests can picnic on the slopes of a dormant volcano, have a torch-lit feast on the shores of Easter Island and enjoy an authentic Australian barbecue with a view of the Royal Perth Yacht Club. At times, touring on these journeys is private, allowing each traveler their own car, driver and guide for all airport transfers and touring, alongside customizable and personalized itineraries. Private jet journeys have been designed to ensure that passengers enjoy the journey as much as the destination. These spectacular adventures provide the advantage of luxury small group travel experiences with the time-saving convenience of privately chartered flights that let you get the most from every day of exploration. Every journey lets you fly from one extraordinary destination to the next, allowing you the convenience of visiting remote places with less time spent getting there and a more enriching, immersive travel experience.
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Writer Margie BouttĂŠ M ay 2019Courtesy imagesar iz ona .c om Photography of Elite Travel of Scottsdale
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Margie Boutté, owner/luxury travel consultant of Elite Travel of Scottsdale and Grayhawk resident, has been designing unforgettable travel experiences for clients nationally for over 20 years. Her motto is, “If you can imagine the dream, I can create the reality.” Margie, an affiliate of Montecito Village Travel - A Virtuoso Member, holds numerous specialist certifications with hotels/resorts, cruise lines, destinations, Virtuoso & Virtuoso Cruise Host accreditation, and keeps current through continuing education and travels. She has traveled to 153 cities in 33 countries around the world. 480-451-0612 elitetravelofscottsdale.com
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Touch down in exotic destinations not easily accessible via the major carriers and experience arrivals like royalty, often at private terminals where you hardly realize the usual customs and immigration formalities have taken place. Even those annoying customs and immigration cards are filled out for you in advance; all you have to do is sign. You’ll also enjoy an expedited fast-track through immigration and security lines at major airports. Sink into luxury in your leather seat aboard a small jet or a custom-fitted chartered Boeing 757 jet equipped with fully lie-flat, first-class seats for 50 to 75 passengers, versus the standard 239 onboard a commercial flight. Savor carefully planned cuisine with flavors from around the globe by an international network of awardwinning chefs served on fine china, and toast to your journey with your choice from a fine selection of spirits and wine, or a flute of bubbly. Most importantly, enjoy the camaraderie of anywhere from eight to 75 like-minded travelers and relax in the comfort of a totally worry-free experience knowing all the details, such as tipping guides and drivers, making restaurant reservations, and providing personalized attention are taken care of. New destinations on the radar include Kosovo and Serbia (Balkans), Uzbekistan, Georgia; Northern Iceland, Greenland and the Faroe Islands. Choose the journey that makes your travel dreams take flight in 2019 or 2020, and explore your favorite destinations on an unforgettable adventure. These journeys fill up quickly. Prices available upon request. Elite Travel of Scottsdale 480-451-0612 margie.boutte@att.net elitetravelofscottsdale.com
A SAMPLING OF UPCOMING
2019/2020 JOURNEYS: Sept. 8 - 13 days China Journey: Beijing, Xi’an, Hangzhou, Chengdu, Lijiang, Zhangjiajie, Shanghai
Oct. 3 - 24 days Around the World: Peru, Easter Island, Samoa, Australia, Cambodia, Nepal, Bhutan, India, Tanzania, Jordan, Morocco Oct. 12 - 23 days Cultural Treasures Around the World: Japan, Mongolia, Nepal, Bhutan, India, Abu Dhabi, Jordan & Sicily Oct. 19 - 19 days South American Odyssey: Colombia, Uruguay, Argentina, Chile, Easter Island Oct. 28, 2019 and March 2, 2020 - 13 days Spain & Morocco: Granada, Fez, Erfoud, Marrakech, Córdoba, Seville Dec. 29, 2019: 20 days Best of Africa: Greece, Rwanda, South Africa, Namibia, Botswana, Zambia, Madagascar, Kenya; Feb. 4, 2020: 21 days Central & South America: Guatemala, Panama, Peru, Brazil, Chile, Argentina, Colombia Feb. 15, 2020 - 25 days Wildlife Safari: Japan, China, Philippines, Malaysia, India, Rwanda, Madagascar, Kenya Feb. 22, 2020 - 16 days African Adventure: South Africa, Namibia, Zambia, Tanzania Mar. 20, 2020 - 22 days: Japan, China, Vietnam, Thailand, Bhutan, India, Greece, Montenegro, Italy Apr. 12, 2020: 19 days Best of Australia/New Zealand: Sydney, Hobart, Uluru, Kangaroo Island, Cairns/Daintree Rainforest, Lizard Island/Great Barrier Reef, Auckland, Queenstown, Milford Sound Apr. 19, 2020 - 17 days: Japan, Philippines, Indonesia, Sri Lanka, UAE, Turkey, Greece
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Writer Joseph J. Airdo Photography Courtesy of Prescott Film Festival
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Despite all of the advances in technology and changes to our world, Prescott still retains the Old West charm that once made it a popular destination for filmmakers. Prescott first played host to a film production in 1912 when actor, screenwriter and director Romaine Fielding filmed “The Cringer” in the city. The Lubin Film Company opened a studio in Prescott that same year. Over the next six years, more than 100 movies were filmed in the area, including “Roping a Bride,” “Sagebrush Tom” and “The Sheriff of Yavapai County.” The Prescott Film Festival continues the city’s time-honored history within the film industry while also bringing the community together to appreciate the art of moviemaking. That art goes far beyond the blockbusters that big studios churn out on a regular basis. Yavapai College Film and Media Arts Director Helen Stephenson believes that educated audiences are becoming bored with those cookie-cutter flicks whose screenplays almost seem to have been copied and pasted from one another. That is one of the reasons why she founded the Prescott Film Festival, which will be celebrating its 10th anniversary June 7 through 16 at the Yavapai College Performing Arts Center in Prescott.
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PUTTING PRESCOTT ON THE MOVIE MAP
BUILDING A FILM CULTURE IN YAVAPAI COUNTY
Stephenson, who also serves as executive director of the Prescott Film Festival, was born and raised in Arizona before attending college in the American film capital, California. She returned to Arizona in 1995 and made a home for herself and her husband in Prescott. However, she was immediately disconcerted that there was virtually no independent film scene in the city.
Initially, Stephenson tried to imitate the Phoenix Film Festival and the Sedona International Film Festival for her event, but the Prescott Film Festival now has its own identity— one that reflects the populations of Prescott and Yavapai County. One of the ways it does that is through the presentation of a horse-related film, which is consistently among the event’s most popular screenings.
“I started thinking about doing a film festival,” says Stephenson, noting she asked Sedona International Film Festival executive director Patrick Schweiss for guidance. “We decided to start with a monthly series because a festival is a huge thing to take on.” In 2009, Stephenson began hosting film screenings once a month at Frontier Village Cinema 10. Unfortunately, the movie theater eventually closed its doors, forcing Stephenson to look into other venues. She hosted subsequent screenings at Prescott Mile High Middle School, Prescott College and Yavapai College. “In 2010, we decided to jump in with both feet and do a film festival,” says Stephenson, noting the Prescott Film Festival’s venues over the past 10 years have included Prescott Elks Theater and Prescott Center for the Arts before finally settling in at Yavapai College Performing Arts Center. “The first day we opened the door to sell tickets, people kept coming in and we could hardly believe it. People were longing for independent film.” Stephenson admits that she and her volunteer crew were unprepared for the demand as they frantically printed and cut tickets in the basement of an old bank building as quickly as they could. However, their efforts were well worth it as Prescott finally made a name for itself within the film community.
This year’s festival will showcase “My Paintbrush Bites,” a documentary short about a man battling reclusion who adopts an injured racehorse that he later discovers has a hidden talent for painting—a skill that changes both of their lives. Stephenson assures that there will be plenty of options at the Prescott Film Festival to appeal to all audiences— including a sing-along afternoon matinee of “The Sound of Music” Saturday, June 8. Actress Kym Karath, who played Gretl Von Trapp in the 1965 family film, will even be in attendance for the screening. “When I was in junior high, all the choir songs we sang were from ‘The Sound of Music,’ and it continues to resonate with me,” says Stephenson, noting ticket sales for the screening will benefit Yavapai Big Brothers Big Sisters. “We hope this will be an inter-generational screening with parents and grandparents, who loved the film when it first came out, bringing their children and grandchildren.” Another screening that Stephenson is especially excited about is “Pipe Dream: The Unlikely Success of Carol Burnett.” Lisa Ferris portrays actress Carol Burnett in the short film, which tells the story of the television pioneer’s early years—particularly how she went afrom total obscurity to starring on Broadway. Writer/director Chris King calls the film a passion project that took seven years to complete.
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This year’s festival will showcase “My Paintbrush Bites,” a documentary short about a man battling reclusion who adopts an injured racehorse that he later discovers has a hidden talent for painting—a skill that changes both of their lives.
“As a lifelong fan of Carol Burnett, I was curious as to how her road to fame came about,” King says. “Once I began to research her backstory, I was inspired to learn that there was not any nepotism or easy road to stardom that got her to where she is today. Born into poverty and losing both parents early in their lives to alcohol-related illnesses, hers is a story of guts and determination to entertain people through song and laughter.” Other highlights of the Prescott Film Festival include a series of free workshops hosted by Yavapai College Film and Media Arts Program, a pair of gourmet dinners and a wine and spirit tasting. Additionally, after the opening and closing night films, the theater curtains will open and the movie screen will be raised to reveal a stage-set party during which attendees can mix and mingle with one another.
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That is not the only time audiences get to chat with one another, though. Impromptu conversations between audience members and filmmakers who are in attendance for Q-and-A’s are a common occurrence after each screening. In fact, Stephenson often finds herself having to shoo people who are excitedly discussing what they just saw out of the theater and into the lobby due to time contraints. “Film brings people together in a communal experience,” Stephenson says. “What I really wanted to do was build a film culture in Yavapai County. Once I started the film festival, people who were involved in film that lived here came out of the woodwork. I did not know that they lived here. There was no way of us to connect. Now people can connect through the film festival.”
MAKING THE MOST OF A MIRACULOUS MEDIUM New to the Prescott Film Festival this year is a special event that aims to combine the love of music with the love of film. Silent Symphony will see the presentation of a silent film with live accompaniment from Denver’s Mont Alto Motion Picture Orchestra. “For more than 25 years, this orchestra has been accompanying silent films across the country from Lincoln Center to the Telluride Film Festival and beyond,” Stephenson notes. “It is known for its authentic photoplay style, which allows the music to speak for the film—just as music did over a century ago when films were not ‘talkies.’” For the inaugural Silent Symphony, Stephenson selected “The General,” a 1926 comedy in which Buster Keaton plays a train engineer whose beloved locomotive is stolen by Union spies. Keaton’s character single-handedly pursues the locomotive straight through enemy lines in the movie, which Stephenson calls a true classic. She also believes its restoration accentuates the beauty of black-and-white film.
EXPERIENCE Prescott Film Festival i m a g e|sYavapai a r i z o n a . cCollege o m M ay 2 019 Performing Arts Center | 1100 E. Sheldon St., Prescott | $13+ | 928-458-7209 | prescottfilmfestival.com 62June 7–16
“I think that it is good for students of film and people who want to be storytellers to look at silent films because they are telling a story without words,” Stephenson explains. “Film is a visual medium, so this is just about the best lesson that you could ever have.” Stephenson hopes that the movies presented during the Prescott Film Festival educate, entertain and inform audiences. She also hopes that they ultimately make a difference in their lives. “I see film as a miraculous medium,” Stephenson says. “It might be something funny or it might be a mystery or it might be a thriller. All of these different genres of film evoke emotion. These are people's individual stories. We want people to leave inspired.” The film festival’s founder and executive director believes that Prescott is the perfect place to do that. “Prescott is a place to escape,” explains Stephenson, noting visitors can go on hikes, visit museums and explore downtown Prescott between screenings. “Our city is beautiful. It has got the cleanest air in the United States according to the American Lung Association. It is a place to relax. We have a lovely film festival community in Arizona. We are just another little chapter in the book of film in our state.”
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Grapefruit Pomegranate Salad This fresh treat is the perfect light salad for any gathering, not to mention, it’s bursting with summery flavors and colors! Feel free to substitute oranges or any other fruit you’d like for the grapefruit. Serves: 4-6 Prep time: 20 minutes
Ingredients: 1 package baby lettuce mix, or any mix of salad greens you like 1/3 cup pomegranate seeds 1 ruby red grapefruit (save juice for dressing) 1 cup sliced strawberries 1/2 cup candied pecans or walnuts 1/4 cup crumbled feta or Gorgonzola Dressing: 1/4 cup olive or avocado oil 2–3 tablespoons grapefruit juice 2 green onions, sliced thin 1 teaspoon Dijon mustard 1/2 tablespoon honey, or to taste salt & pepper
Directions: Place lettuce in a large salad bowl. Over a small bowl, use a knife to section grapefruit by cutting away skin, then cutting in between each membrane to create slices, letting the juices collect in the bowl for use in the dressing. Arrange grapefruit sections, pomegranate seeds and strawberries on top of lettuce.
Writer and Photographer Kyndra Kelly
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In a small shaker jar, combine the oil, reserved grapefruit juice, sliced green onions, mustard, honey, salt and pepper. Shake well and drizzle over salad. Top with nuts and cheese.
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Ancho Chile Chicken Tenders This is the quickest, most delicious chicken you will ever make! Use it in tacos, on a salad or just by itself. Chile powder can be adjusted, depending on how much heat you prefer.
Ingredients: 1 tablespoon ancho chile powder 2 garlic cloves, smashed 1/2 teaspoon salt 1/2 teaspoon pepper 1 tablespoon olive oil 1 tablespoon water 1 pound boneless, skinless chicken tenders
Directions: Combine marinade ingredients in a small bowl. Place chicken tenders in a Ziploc bag and add marinade. Squish them around until all of the chicken is coated. Place in refrigerator for at least 20 minutes. Grill chicken tenders until done, about 10 minutes. Cut up or shred chicken and use for tacos or salad. Enjoy!
Writer and Photographer Kyndra Kelly
kyndraclaire.com
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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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