JILL KAHN
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Ge pa ha Fin a pe pa by biz
So Ba be in att on sta
JOEY WRECKED
Tur de he thi
But before he found himself tangled in New York City’ teenager with legendary Miami punks, The Reactions. record, Saturday’s Gone Wild, as a 16-year-old with hug little hard to imagine the wild ride he’d embark on.
On the cover of the comp, Maya is flanked by singer Baruch, Maya’s the odd one out. Looking too young to the rhythm section would help propel the Reactions to he was immediately scooped up to tour with San Dieg
That gig would spark within Maya, now christened Joey thing for a sweet kid from Miami Beach looking to ban City. His first book, The Drummer of Miami Beach (2018, against the backdrop of two wildly different scenes.
After South Florida’s isolation, the dog-eat-dog New Yo with Circus of Power in 1986 would prove the perfect blues, and a ticket to a juicy record contract.
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But with nothing set in stone, Joey also found himself m an hour working odd jobs for a sketchy art gallery own away from graduating from CUNY-Baruch College serious relationship. Drumming in a band – popular or no going to cut it if he didn’t want his life to fall apart, or be replaced by any of the yuppie fucks clogging up th
“A Punk on Wall Street was the story I wanted to tel start,” he says. “I want punks to know it’s okay to think financial markets and money. I also want to call out th that give the entire finance industry a bad name. Whe to write, I felt it made more sense to start at the beg Drummer had to come first.”
His voice borrows from the picaresque tradition and the wild. Maybe a little embellished, maybe not. His reca and place further the narrative. Even when things fee can go bad, and sometimes they do, he establishes a trustworthy narrator. Joey Maya is a memoirist; and good one.
“I don’t think that highly of myself or think I’m so sp people would want to read about me,” he argues. “E has their own story, their own struggles, and their own id takes an objective look in how he turned from combat clad punk to suited-up and fragrant Wall Street broker.
A Punk on Wall Street, completed but not yet publishe greedy underbelly of finance. Along the way, Maya sh he needed to be. Would potential fame and fortune w RCA and Columbia Records, nag at him? Sure, but not
His genuine enthusiasm propels the story. His vignette a a transformation. He might be back to Joey Maya, fina punk rocker.
Located in WEST PALM BEACH at 540 Clematis St.
And in the spirit of punk rock community, he wants every financial advice without the approval of my complianc make is that more and more people are involved with t long-term, that has to be good thing.”
A PUNK ON WALL STREET
y Abel Folgar
enerational necessities dictate the order of rites of assage. Long removed from shorter lifespans, humanity as continued to push back on the start of adulthood. nishing high school and going to college, even seeking post-grad degree, can push that start well into a erson’s 20’s. For punk rock drummer Joey Wrecked, his assage into adulthood proper would be further skewed y his personal environment and the almost fantastical zarreness of the 80’s.
o how low can a punk get? Famously asked by the ad Brains in their 1983 album Rock for Light, it would e a question Joey would ponder at his adult crossroad 1987 as he found himself: Marginally employed, tending college, involved in a serious relationship and n the verge of possibly taking a step into rock and roll ardom with his band, Circus of Power.
rns out, a punk can get really low – or high – really epends on how it’s looked at, and for Joey Wrecked, eading into Wall Street was the right and punk rock ing to do.
’s financial jungle, Joey Maya had been a heartthrob . Described in the liner notes of the 2011 compilation ge Cuban eyes, a crushingly shy smile and polite, it’s a
Tony Suppa, bassist Johnny Salton and guitarist Isaac o be there out of his own free will even. But anchoring local fame and notoriety. When the band disbanded, go’s hardcore punk legends Battalion of Saints.
y Wrecked, feelings of rock and roll stardom. The logical nk on his musical chops, would be moving to New York , Jitney Books), follows his sex and drugs-laden ascent
making $8 ner, credits and in a ot – wasn’t worse yet, he city.
ll from the about the he assholes en I began ginning. So
BARRY STOCK
ork City scene would bring new challenges. Hooking up blend between hard rocking punk and southern-fried
e tales are all for time el like they himself as d a damn
pecial that THE DRUMMER OF MIAMI BEACH Everybody diosyncrasies.” Viewing his past as Joey Wrecked, Maya t boots-wearing, torn clothing, studded leather jacket.
ed, is 200-plus page bildungsroman set to the wild and heds aspects of Joey Wrecked and becomes the adult with Circus of Power, who went on to release albums for t really.
approach to chaptering slowly reveal an evolution, not ance professional, but he still is every bit Joey Wrecked,
yone to benefit. “I’m not allowed to dispense any direct ce department,” he jokes. “But an easy observation to the financial markets now than ever before, and in the
FAU PRINTMAKING EXHIBITIONS by Olivia Feldman
An artist used to working alone, painter Carol Prusa turned to printmaking in 2020 — a year notable for enforced isolation — and was captivated by the medium’s spirit of community. Her fascination is reflected in “Expanding Printmaking: South Florida Artist-Run Presses,” a new exhibition at Ritter Art Gallery at Florida Atlantic University in Boca Raton. Prusa, an FAU professor of painting and drawing, co-curated the printmakers’ survey with a colleague, FAU assistant professor of art Joseph Velasquez. Velasquez, in an interview with PureHoney, seconds Prusa’s view of printmaking as an expanding form. “It’s not about who can afford this painting and put it on the wall in their home,” he says. “It’s a more prolific and democratic medium for people to see, feel, enjoy, and be part of.”
AMOR UKUKU
Velasquez brings his own insights to a companion show that he has curated, “Corridos Visuales: Tradition & Innovation in Latinx Printmaking,” at the university’s Schmidt Center Gallery & Public Space. The paired exhibitions celebrate reproducible — but not necessarily identical — imagery that is pressed into paper and other surfaces using everything from wooden blocks to software. Each print from a run is considered an original “impression,” and Prusa tells us it is “a truly physical process.” The co-curated “Expanding Printmaking” includes works by Kim Spivey (Ground Printmaking), Tom Virgin (Extra Virgin Press), Theo Lotz (Flying Horse Editions), Ingrid Schindall (IS Projects) and John Cutrone (The Jaffe Center for Book Arts). The Latinx-centered “Corridos” exhibition can trace its origins to a print shop on wheels that Velasquez and a classmate built and piloted as graduate students in Wisconsin. Texas-based John Medina and California-based Leticia Ernestina Gomez, are among the 10 artists Velasquez has met in his travels featured in “Corridos Visuales.” Many made work specifically for the exhibit: Martin GarciaRivera in response to the COVID-19 pandemic in his native Puerto Rico; Brooklyn-based James Martin Mazorra to depict his growing up Cuban in West Virginia. Issues of place and identity run through “Corridos,” named after the Spanish word for a sung musical narrative. “It’s a story about a culture clash,” says Velasquez, “and that’s what first prompted me to title these exhibits.” “For Latinx artists,” he adds, “many people expect that you’re going to make sugar skulls and calaveras. There really isn’t an invite for them to make abstract work. I wanted to make sure that was represented.” “Expanding Printmaking” runs January 29-March 6 and “Corridos Visuales” runs February 12- April 10 at Florida Atlantic University, Boca Raton. Admission to both exhibits is FREE. https://www.fau.edu/artsandletters/galleries/
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Fre Qu like rec pro po into spa the sce Pro the spa Gre cla No he THE PEACH ren teaming up to open what will be a place for peop Peach is an idea that is more about giving the com want to breathe life into. It consists of seven studios th The plan, however, is to never have a lull in showcas space: “The idea is to have an opening every Friday and up booths, have live bands play…we have Troy’s B activate the space with as much as we can do…we we want to offer service space for classes and resou Following up on this idea of diversifying the compou Mayo are trying to also make space available for y utilize the space. Furthermore it is an indoor/outdoor system outfitted with projectors that can be used t G-Star School of the Arts, a charter film school in We to feature their film projects. We shall witness how this grand scheme comes tog made the project a slog, but Mayo and McGinnis a
WHAT?: Studios, Monthly Art Walks, Live Music, Yog Vendors, BBQ and more. Intriqued? Email: thepeach
THE PEACH
y Tim Moffatt
ee range artist space is not a new concept. uestion any boomer on the subject and you’ll most ely get a lecture on the hippie movement. I don’t commend doing that though. Oliver Stone has obably already told the story far better at some oint. However, as punk rock collectives coalesced o full blown communities in the 80’s, the need for ace to explore whatever art is the de riguer for e youth, became integral to supporting budding enes. One must merely turn to the 924 Gilman Street oject from the San Francisco Bay area for proof that e concept works. That project offered practice ace for bands, Operation Ivy, Rancid, Offspring and reen Day to name a few, plus art space, room for asses and community events space.
ow, Palm Beach has its own artist collective to elp usher Florida’s lower three counties into a D.I.Y. naissance. Craig McInnis and Rodney Mayo are ple to congregate to explore their artistic side. The mmunity an outlet for whatever crazy thoughts they hat can each accommodate 3-4 artists at one time. sing all facets of art. Mayo has this to say about the
a gallery walk once a month where artists can set Barbecue who will be here all the time. We want to e want to curate the space so it’s not all 2D artists… urces for students, that sort of thing.”
und; there are rumors that McGinnis as curator and yoga instructors to offer their services to those who operation with roll up garage doors and a full sound to show films. The strategy is to partner up with the est Palm Beach and others to give students a place
gether around the end of February. COVID-19 has are determined to make it work for the community.
ga, Education, Gallery Shows, Live Art, Indie Films, h@subculturegroup.com
HOSPITALITY HELPING HANDS by Tim Moffatt
Beautiful, fragrant flowers grow from the refuse and detritus of carbon-based life forms; it’s the circle of life. However, as human beings we can’t always see the forest through the trees, despite knowing it’s there. The pandemic has smacked everyone around like a raging bull stalking the streets of Pamplona and despite the vaccine, the threat is hardly over. In situations like this we are, truly, in this together. No other organization has personified that sort of unity as Hospitality Helping Hands aka H3. When the ongoing virus shut down HOSPITALITY HELPING HANDS bars and restaurants the group immediately began providing free meals at Howley’s Restaurant to laid off service workers. It quickly became incredibly clear, however, that assistance was urgently needed for many other people. The first day at Howleys saw 800 people show up, so the group opened the initiative to anyone who lost a job to COVID-19 and then expanded distribution to six additional locations: essentially preparing thousands of hot meals each week. All of this happened within the first few months of pandemic. H3 soon realized that folks in Palm Beach County needed more help than just a hot meal. In response to this need, they started a grocery distribution center at what is now becoming the Peach. Immediately lines stretched south on Georgia Ave all the way to Forest Hill, choking the street with folks in need. The grocery distribution was helping around 1500 families each week. Unfortunately, hard decisions needed to be made and the hot meal program had to be discontinued to focus on the grocery distribution, which was then relocated to the Port of Palm Beach. In its new location, the H3 has consistently helped feed 1000+ families per week. What has been laid bare by COVID-19, is the hidden need to care for those in our community who are unable to make ends meet. This need for civic action is now being answered once again by H3, who are planning an expansion to their grocery program. A new home base is being scouted that will re-start the hot meal program and encapsulate grocery distribution. The new H3 home base will also expand on the needs of the community by offering a center for training in the hospitality industry and mental health assistance for anyone in need. As the adage goes, “a rising tide lifts all boats.” In this time of political turmoil, a raging pandemic and ridiculous conspiracy theories it’s comforting to know that our neighbors have taken the time to help everyone prosper. Stop and smell the flowers; from shabby beginnings begets a lovely end. To donate, volunteer and learn more: HospitalityHelpingHands.org
