enCORE Cultural Arts Source | June 2016 by Encore

Issue 2 • JUNE 2016

encorecultural.com

Remembering

Richard

HYSLIN

In the Studio with

Alexander

COMMINOS The Cicada’s Song

DeZorah

ART MUSIC FOOD CULTURE & MORE

Cultural arts source Volume 2 • Issue 2 • JUNE 2016 CONTENTS Note from the Editor......................... 4 Audible Justice................................... 6 On the Fringe..................................... 8 DeZorah........................................... 10 From the Prelude............................. 14 Alexander Comminos...................... 16 Remembering Richard Hyslin.......... 21 Eyebeam by Sam Hurt..................... 24 Frontiers of Slumber by Rick Geary..... 25 Edward Vidaurre.............................. 30 Traveling Fork.................................. 34 Recipe: Grilled Polenta Cake........... 37 Hecho en Texas................................ 39 Downtown Spotlight....................... 42 Harlingen Art Night Map................. 44 Artist Listings................................... 46 DeZorah cover photo: Jonathan Montemayor Cover art and this page: Alexander Comminos

Cultural arts source www.encorecultural.com Daniel Wright Publisher Stefania Trimboli-Wright Editor-in-Chief Cayetano Garza Jr. Managing Editor, Design Victor Moreno Bookkeeping, Advertising (956) 264-7720 Tammy Corbette Lopez Design, Advertising For advertising please call (956) 367-1049 or (956) 264-7720 ©2016 LFN, LLC. All rights reserved. Reproduction without expressed written permission of the publisher is prohibited. The opinions and views expressed in this magazine do not necessarily reflect those of our advertisers or collaborators. enCORE cultural arts source is published monthly with a circulation of 10,000 copies across the Rio Grande Valley and beyond.

NOTE FROM THE Editor

during a frenzy of controlled chaos to get cameras, equipment and instruments in place. The band was going to run through their song several times, recording through a mobile setup while Jon shot the band, footage to be edited and mixed into a music video later. What we didn’t count on were the stange, wonderful moments that would ensue in the process. The impromptu warm up jam session between DeZorah drummer extrordinaire Trey Puga and the building owner (tearing it up on bongos!). The ebb and flow of street traffic becoming an inpromptu audience that would stop to listen and clap when the band finished up each take. Inside, I beamed. THIS was the true purpose of enCORE to my mind. The ability to bring art to the public, to facilitate the artists to take their work to the public - live, in print and online. DeZorah would headline at our monthly La

t was a hot, sunny morning on a Thursday in the first week of May. Publisher Daniel Wright and I were meeting Jonathan Montemayor of Monte Mayor Pictures for an early morning video shoot and interview with local band DeZorah. Jon had chosen the early morning so that the lighting in the particular back lot we’d chosen would be at its optimum. We’d decided to shoot the band in the back lot behind Carlito’s Wine House (off A Street and Jackson) where the huge murals by Alexander and Rachel Comminos span the huge walls, encompassing the whole back of the building. Alexander Comminos was slated to be the featured artist for our June issue, so it seemed fitting to shoot the video (and the cover photo) in front of the mural. During the next few hours I would be witness to a happening. First the lengthy setup process. Tacos and coffee were relished in intervals

Pla Art Market at the end of month, bringing in a large crowd of fans to help swell the numbers of regular Art Market traffic. We “premiered” DeZorah’s video for “Las Flores” that night and the response was encouraging. The band couldn’t thank us enough, but it was we that needed to thank them. Their talent and perserverance is an inspiration and it drives what we try to do with the magazine and the events. On the 9th of May the Rio Grande Valley art community lost an influential and talented artist and teacher - Richard Hyslin. I’d had the pleasure of having Hyslin as a professor when I’d enter the first graduate art program to be offered at UTPA in the late 90’s. Hyslin taught our 3D art concentration. He was as patient, insightful, kind and motivational as all the sculpture and ceramics majors had professed when I was an undergrad. Hearing of his passing was a blow that I hadn’t been expecting, but I knew we had to pay tribute to this great artist and teacher in our magazine. I asked for some words in memoriam from mutual friends who graciously, generously shared their

photos and memories. This month we also present the amazing comics of master cartoonist Rick Geary and Texas legend Sam Hurt as well as local and regional talent that should not be ignored. Chef Stefania Trimboli-Wright reports on a recent dinner at the Frontera Audubon hosted by the Rio Grande Valley Chef’s Association on May 12th and provides a delicious recipe from that evening’s event, with great pictorial reportage by contributor Tam Corbette Lopez. Another month has come and gone and we continue in earnest. We couldn’t do it without the help of all our wonderful advertisers, our vibrant art and music scene, and you, dear reader, who makes this all worthwhile. Until next month. – Cayetano “Cat” Garza Jr. enCORE Managing Editor

“Art is a living organism that must be nutured in order to grow.” – Daniel Wright, Publisher

360 DEGREE DIGITAL

MEDITATION by John Justice

After a few questions about “trackballs” and “coin mechs,” I actually received an invitation to test some games at Pinballz third and newest location, BEFORE they opened to the general public. I would think the excitement would lead me to speed or drive recklessly, but on the contrary, I actually drove with extreme caution, just in case some over-achieving authority figure might pull me over, not realizing how important this day was to me. I had only taken a few steps through the front door, early that Sunday morning, when my brain and body suddenly and

awoke amidst a torrent of conflicting emotions. Circumstances days prior had extenuated and I found myself in the eye of a hurricane. As I got behind the wheel I focused my thoughts: “Today cannot bend to the will of disaster. Not today. Today is infinite and full of promise, because today… I am officially a game tester!” Weeks before, I had noticed an ad in need of, “Serious Gamers Only! If you think you have what it takes to be a tester, fill out the quiz and we may get back to you.” The ad was placed by Pinballz, a classic arcade in Austin with the largest selection of pinball machines in Texas, (possibly the world.)

with tokens/coins, they were immediately removed from public gathering-places. Believe it or not, in New York City, pinball remained illegal until 1976! I bet that pentup creativity played a big part in the violent eruption of pinball machines that occurred in the 1980’s. Vibrant pinball machines, making an array of unimagined sounds, permeated American culture. It was around this time that solid-state circuitry joined the party. Putting computers inside pinball machines brought about a unique movement in the history sound. It could best be described as a hostile audio invasion of the United States. Shopping malls and bars became a sort of “8-bit” fertile crescent as digital soundtracks began to reverberate throughout the country. This is something we’re no stranger to in 2016. We live in an age where we can sit on our couch and experience every video game ever created, accessed in seconds, wirelessly! We live in an era of ease in one sense. And yet... If we’re willing to venture the journey, there are still sacred spaces in this world that brim with light and especially sound. I’m not saying that a room full of Xbox One’s wouldn’t be as “cool.” But I am willing to say there is a vast difference. I would be mistaken, during pinball’s 40th year of freedom, 40 years of visuals, and 40 years of the endless evolution of sound, if I didn’t encourage you to seek out a machine, even if it’s the only one in your area, and listen. There is a secret concert hall tucked away in corners next to vending machines, off to the side in bars, and in the middle of enormous arcades.

subconsciously came to an agreement: Stand still for a second, and just observe. Something very important is happening and we need to figure this out. I stood stoic and motionless for a moment, trying to pinpoint this premature perplexity. To my surprise, I had not been taken aback by the vivid colors of the blacklight carpet, or the sheer number of pristine and functional machines, (many that surpass me in age!) What had actually halted my overjoyed progression was... the sounds! Woven into the audible chaos of a thousand speakers was this strangely coherent thread of magic. Now, let me explain so we don’t “mistake the forest for the trees.” No matter how fun or attention-getting the theme song of any one game can be, something supernatural happens when you are surrounded by a choir of cabinets. There is something intangibly divine, (and even a bit transformative,) about standing in the middle of a couple hundred metal demigods, each of which singing its own bit-crushed siren-song. In past articles I’ve discussed Pavlov and his results from specifically timed sounds, repeated regularly. While his K-9 salivation research IS involved in this concept, I believe the experience goes far deeper than that. What I’m talking about specifically is the subtle difference between “noise,” and “audible experience.” While I have a much larger catalog of knowledge about classic arcade-games, I must admit that the visual and audible art displayed by pinball machines is exponentially superior. Maybe it stems from the fact that pinball was actually illegal in the United States throughout most of the previous century. When alcohol prohibition became law, the government also shut down anything that could possibly resemble gambling. Since some pinball games rewarded players

ON THE FRINGE

by Cayetano Garza Jr.

n 1967 an enigmatic MexicanAmerican folk singer named Rodriguez put out his first single “I’ll Slip Away” on a small label called Impact. Three years later he would sign to Sussex Records, an offshoot of a label called Buddah Records, and released two albums - Cold Fact in 1970 and Coming from Reality in 1971. Whether due to lack of airplay, a lack of promotion, or the tastes of the record industry at the time, the albums did not do well financially in the domestic market and Sussex would drop Rodriguez very shortly after releasing his work. Sussex itself would shutter in 1975. Rodriguez would subsequently fade into obscurity, unknown but to the most eclectic of collectors.

Although Rodriguez remained unknown in the United States, overseas in countries like Australia, Botswana, New Zealand, South Africa and Zimbabwe, his music was becoming very well known. By the mid-70’s his music enjoyed significant airplay in that part of the world. When imported copies of his albums became sold out, an Australian label bought the rights to publishing in Australia and began releasing his work as a compilation featuring several unreleased tracks from 1973 recording sessions originally intended for an unreleased third album. The title of the compilation was At His Best. At His Best went platinum in South Africa, where his music was compared 8

star in South Africa, yet nothing was known of the artist himself, where he was from or what had become of him. He became the stuff of legend as rumors began to circulate that he had actually committed suicide, some went so far as to say he did it during a performance! The 2012 documentary Searching for Sugar Man is a the story of two South African fans and their journey to find out what really happened to Rodriguez. The documentary soundtrack features a compilation of Rodriguez tracks from both studio albums as well as the three unreleased tracks from the failed third album. The film is worth watching not only for the unusual story it tells, but also for its stunning cinematic direction that gives us beautiful views of South Africa and inner-city America. Directed by Swedish filmmaker Malik Bendjelloul, Searching for Sugar Man debuted at the 2012 Sundance Film Festival and won several awards over the years including an Academy Award in 2013 for Best Documentary Feature.

to Bob Dylan and Cat Stevens. At the height of Apartheid, South Africans related to Rodriguez’ anti-establishment protest songs and they served as anthems for many in the growing Anti-Apartheid movement. Rodriguez was considered a super

“Born in the troubled city In Rock and Roll, USA In the shadow of the tallest building I vowed I would break away”

THE CICADA’S SONG by Cayetano Garza Jr. • Photos by Jonathan Montemayor

eZorah drummer Trey Puga sports a bass drum head that has a line drawing of a cicada with the band’s name cleverly inscribed in the thorax of the insect. This image is apt in that much like the cicada, which after hatching burrows deep underground to develop into an adult, the band is the culmination of a gestation period of two years since its creation and is emerging onto the music scene a full formed entity ready to sing its song into the humid summer air. The band began its life with the collaboration between singer Danica Salazar and guitarist Eric Martinez when they first met in Dallas, Texas. Eric started playing guitar when he was very young, cutting his teeth by playing in a heavy metal throughout high school and for a few years afterward. Danica sang in choir for her junior and senior year in high school, but despite being singled out by her choir teacher to receive special private lessons from his wife, an accomplished opera singer, she never felt entirely confident in her abilities and decided to put music aside while she attended college in Austin. Throughout this time Eric would encourage Danica to sing for him, finding time to collaborate during visits ► Exclusive video for “Las Flores” by DeZorah aT WWW.Encorecultural.com

Dezorah is a band that defies classification. It is a conglomerate of four extremely talented and technically proficient musicians, each bringing with them an arsenal of musical knowledge and a deep love for sonic experimentation.

Danica’s intense stage presence is a combination of calisthenics and acrobatics as she moves over the stage engaging the audience unflinchingly. and Rachel in the parking lot of Jitterz before playing the stage. From that moment on, Angel would invite the duo to participate in open mic nights throughout the Valley. In two months’ time they would find themselves playing a show at now defunct McAllen venue The Sound Factory where they would first see Trey Puga playing drums with Your’s Truly, Gloria. Danica and Trey immediately hit it off. Eric was impressed but wanted to exercise care in the inclusion of new bandmates. “I wanted someone who was going to be able to be our friend first, be able to hang out, be in the same room and tolerate each other,” Eric explains. “It turned out to be way better than we could have ever ask for.” Despite Eric’s initial apprehension, the addition of a drummer was the catalyst they needed to help them round out the lineup and develop the music of DeZorah into what it has become. Trey Puga played drums throughout high school in marching band, jazz band and even conjunto. He is the rarest of players, one who not only sets the pace and keeps the beat for the group, but also communicates intuitively with the bass player to create a rhythmic foundation for each song. He expertly works the cymbals and toms to create a sound that blends Latin, rock, metal and jazz rhythms but is also uniquely his own. From the moment he started working

and holidays, but nothing would come of it. “Every time I would visit Dallas he was like ‘Hey, I have this song… I have this riff… can you do something over it?’ but I just couldn’t! I was so shy. I couldn’t do it.” Danica explains. It wasn’t until Danica graduated and found a job offer in the Rio Grande Valley that things really started to happen. “Eric’s like last minute ‘Ok, I’m going to go with you’” but the proviso Eric laid out was that they would work on music together in earnest. Leaving his family and home in Dallas, Eric and Danica arrived in McAllen almost two years ago and began writing together, visiting local open mics and checking out local bands. Eric found a job working at Guitar Center in McAllen which would open him up to a whole community of musicians. “We lived pretty close to Simon Sez in McAllen and Daven was in a cover band and we would go and watch them play,” says Eric. Daven Martinez was a co-worker of Eric’s. It was during one of those visits that they also saw local songwriters Angel Rodriguez and Rachel Udow perform under their old moniker Something Solar. After the performance they introduced themselves to the couple and before too long they found themselves asked to come play at a local coffee house open mic night. Armed with two songs between them, Eric and Danica insisted on auditioning for Angel

with Eric and Danica in the band’s practice space the musical chemistry was palpable. Sensing the strength in the new rhythmic possibilities, Eric asked co-worker and multi-instrumentalist Jonathan Garza to fill in bass duties as they began to track demos and perform shows. Garza, who was already in a band, finally had to amicably bow out after six months and Daven, who is also an accomplished guitarist, settled into a permanent role as DeZorah’s full time bass player. The band now had five songs and gigs were coming at a fast pace. To round out a set during their days as a duo Eric and Danica would perform Passion Pit, Circa Survive, and Mars Volta covers but as a full band they wanted to perform their own material and began to experiment sonically. Demand grew as more local promoters heard the band and began booking them for larger, high profile venues like Yerberia Cultura. Like the emerging cicada, DeZorah was now on the highest limb, broadcasting its song. DeZorah is a band that defies classification. It is a conglomerate of four extremely talented and technically proficient musicians, each bringing with them an arsenal of musical knowledge and a deep love for sonic experimentation. Their songs swing effortlessly between smooth Latin rhythms, heavy metal chugging grinds, technically mystifying acid jazz and dizzying math rock. Weaving through the maelstrom is Salazar’s vocals. Her unconventional vocal delivery

borders on the operatic, bringing to mind the vocal stylings of performers like Jeff Buckley, Thom York, and Bjork. Even those comparisons don’t begin to fully describe her fervent attention to melody. Incorporating an effects processor as part of her performance, Salazar’s vocals become an instrument a whole other instrument that compliments and counterpoints the band’s movements during songs and also during interludes of sonic experimentation. It was at this point they were ready to record an EP. They travelled to Dallas to work with a sound engineer Eric knew from his days in a metal band - Scott Rubealcaba of Game Room Productions. In a marathon session of three days of booked studio time the band recorded their forthcoming untitled effort. “I’d never woken up so early, gone into a building and then a whole day goes by and you come out it’s the time it was when you first got there in the morning,” says Eric. “It was so surreal.” That was only a few short months ago. Since then the band has continued to refine their live show, which is just as dynamic as the music they play. Danica’s intense stage presence is a combination of calisthenics and acrobatics as she moves over the stage engaging the audience unflinchingly. The band plans to release their EP in late July, followed by a small Texas tour in the fall. For the time being you can hear their demos online at dezorah.bandcamp.com or soundcloud.com/dezorah. Like the emerging cicada, Dezorah was now on the highest limb, broadcasting its song.

FROM THE PRELUDE

Making the street your stage:

BUSKING by Rachel Udow • illustration by Chuck Farmer

treet performance, or “busking,” happens all over the world and dates back to antiquity. To gain a little more insight into busking and opportunities in the Rio Grande Valley, I interviewed Prelude coowner Angel Rodriguez. RU: Tell me about your experience with busking. AR: I’ve done a lot of busking in a lot of different places. My experience has been that it’s all about how you approach it – it can be pretty lucrative if you take it seriously and if you make it a regular occurrence.

RU: What do I need to look into if I want to busk?

Treat busking like gig. Put it on your schedule, show up on time, and be consistent.

AR: The first thing I would do is pick a location. Decide what city you’re going to do it in by thinking about your travel costs, the amount of time you’ll be out there, and the amount of people who will be around. Shrink that down to an area of the city that will have a lot of activity.

The next thing you’ll want to do is look into the laws about busking in your chosen area. Sometimes you have to get a permit, and sometimes that involves getting on a waiting 14

there isn’t and you go all acoustic, be sure to play and sing louder than you’re used to.

list. You can break the rules, but you might get shut down. That could mean you just have to move, but sometimes they’ll take your earnings. Usually a busking permit is only $5-$10 anyway, so it’s worth the investment.

Be as engaging as possible – and keep in mind that busking will be awkward for a good amount of time until you can develop a crowd. Be extremely charming, talk to people, and thank them when they give you money. Thank them from a true place versus giving an automated response – they’ll notice.

RU: What do you think it takes to be a successful busker? AR: The first thing is the songs, your playlist. Unless you’re Adele on the street, your originals probablywon’t fly that well, so you’re better off coming up with a cover playlist if your goal is financial. Look into which songs best suit you and also which songs best suit the environment.

RU: What busking opportunities are available in RGV? AR: I haven’t done a ton of busking around here, but it seems to be a wide-open market. Look into art walks, street markets, farmer’s markets, and other high-traffic events. Or, pick a city, gather a group of other musicians, and all go busking in certain block radius to attract more attention. Look into it – you might be a pioneer for busking in the Valley!

Treat busking like gig. Put it on your schedule, show up on time, and be consistent. Bring extra strings and any other stuff you might need being outdoors a long time, like sunscreen and water. Look for ways to get amplification if you need it. There may be access to outlets and public electricity, but if

The Prelude is a community hangout spot in Downtown Harlingen. We offer free WiFi and serve coffee/iced coffee, local baked goods, fresh wraps, and other quick eats. We are also a Buy-Sell-Trade music shop. We're open 10a.m. - 10p.m. Tues. - Sat and 4pm - 10pm Sun live music Thurs. - Sun. evenings, including a weekly Open Mic Night on Sun.

For more information, visit theprelude.net or call 956-335-5173.

son of two very talented, professional photographers who found stability in commercial graphic design and teaching. He and his siblings where exposed to art of all kinds from a very young age. He was no stranger to the work of Picasso, Calder, and Chagall as a child. When young Alex found himself on the wrong side of the law, the solution, as they saw it, was simple. “My parents decided I needed to find a ‘better use of my time’ so they enrolled me into early college courses at The School of the Art Institute of Chicago.” It was there that Comminos would begin studying drawing, soon moving on to sculpture before finally settling on metalwork.

he artist’s journey to find an artistic voice, a medium that best conveys their imagination, is often circuitous. A sculptor may spend years attempting drawing or a painter decades before discovering ceramics. Alex Commino’s journey, one that would lead him to the Rio Grande Valley and the burgeoning art scene there, is just such a journey. Alexander Comminos was a selfdescribed “troubled youth” as a teenager. Growing up on the south side of Chicago, Comminos was the

In the studio with

ALEXANDER

COMMINOS

by Cayetano Garza Jr. • photos courtesy Comminos Studio 16

with internationally renowned artist Jun Kaneko at his studio in Omaha, Nebraska. He would work with Kaneko for three years, refining his ceramic techniques under the master artist, assisting him with his production. It was through Kaneko’s connection to Ken Little, another nationally acclaimed artist who lived and worked in San Antonio, that his path toward graduate school became clear. Comminos would move to San Antonio, become immersed in its art scene, and receive his Master of Fine Arts degree from the University of Texas at San Antonio. It wasn’t too long afterward that Comminos would find his path leading him to the Rio Grande Valley. Working as an artist’s assistant after graduation, Comminos would assist artist Bill FitzGibbons with the fabrication and installation of a show at McAllen’s International Museum of Arts and Science (IMAS) in 2014. Through more mutual art connections Comminos met sculptor Brian Wedgworth, who offered to show him around. “And that’s how I ended up finding Harlingen.” Upon visiting Brian’s downtown studio, his jaw dropped. “I saw his space, which is, what? 5,000 square feet? I look up at the wood

After high school, Comminos would go on to attended Savannah College of Art and Design (SCAD) from 2001 to 2003, beginning his undergraduate studies in metals and jewelry. At SCAD, several professors inspired him to experiment with different materials, mixed media and fibers. At some point during his early college career he also discovered the work and life story of artist Lee Bontecou at a retrospective exhibition of the pioneering artist’s work. “That show really - that about made my head explode.” The desire to work in metal diminished and he found himself at a crossroads. Comminos reapplied to The School of the Art Institute in Chicago and was able to receive credit for the early college courses he had previously attended and went on to receive his Bachelor of Fine Art there. It was during his time back in Chicago that he got heavily into ceramics. After graduation Comminos apprenticed 17

rafters and I’m like Whoa! Shoot! Wow! So I asked him what he’s paying in rent - and yeah, this seems do-able!” Through Brian’s landlord, Comminos was introduced to the space at 214 North A Streed located within the historic Plaza Hotel near historic Route 77 in downtown Harlingen, Texas. It had been unoccupied for four years. It would become the future home of his

decent warehouse spaces for not too much money and you were able to work on em and rehab them.” He goes on to describe how the areas that support the arts have diminished over time or changed with the tastes of the art world and the ebb and flow of rental prices in San Antonio. The other thing that attracted Comminos to the Rio Grande Valley was the excitement level around the scene in contrast to the general apathy in a more metropolitan area. “You open up your door and people want to see the work. The students come out. People are excited.” After graduation from UT-San Antonio, Comminos made a living teaching at his alma mater as well as surrounding community colleges. Finding an opportunity to teach at The University of Texas - Pan American in the Fall of 2014 in the ceramics and design departments, the move was a natural one. The path had become clear. “The students down here, they actually appreciate information. They like working. They do have interests.

“I’ve always been attracted to materials. It’s a different kind of relationship, but it’s always me responding to the materials.” studio and gallery. “What was cool about Harlingen was Harlingen still had potential. Right? It wasn’t all defined yet. And basically you could carve out a space or you could make a space or you could rehab a space and you could actually afford to do it. Unlike a lot of other cities. San Antonio about ten years ago was about the same as Harlingen is today. You could find

“The students down here, they actually appreciate information. They like working. They do have interests. And they’re open to new things.” And they’re open to new things.” Comminos splits his time between his studio and his work as an instructor at the newly renamed UTRGV. Although he still spends his time making ceramics, he doesn’t limit itself to one medium, or one approach. “I started painting when I was working for Kaneko. The funny thing about clay is that it needs down time. You can’t just work on it and work on it and work on it. So basically the paintings came in to play about 2006. I’d be stuck in a building firing a kiln for two weeks straight, wouldn’t be allowed to leave the building.” Finding himself responsible for millions of dollars worth of ceramics

being fired in one of the largest production kilns in North America he was looking at being trapped for weeks on end. “I’d work on clay things and waiting for them to dry I’d hop on over to painting.” For Comminos, painting has been one of the most lucrative pursuits, but he continues to push the boundaries dabbling in silkscreening, painting, printmaking, and ceramics. “I’ve always been attracted to materials. It’s a different kind of relationship, but it’s always me responding to the materials.” When asked about his inspiration for the downtown Harlingen mural he 19

completed last year he says, “It’s color, surface and texture to manipulate the space.” Comminos describes the Shinto idea of ascribing power to objects. Depending on where they’re displayed, they exhibit power. “Painting, ceramic, it’s all the same. Objects.” Comminos describes the wall, it’s constant presence in the day to day normal street life of downtown business hours. A massive 20 foot tall by 80 foot wide expanse of wall behind the storefronts on the west end of Jackson Street. “What I was hoping to do - I call it a visual rift or rip - i wanted a tear in

your everyday blah life. I always joke that humans are really good at putting things into boxes. With that piece day in and day out basically you have a huge color field, a lot like a Rothko or any abstract expressionist painter.” He goes on to describe how the use of broad action painting via squirt gun to paint at a vertical what someone like Pollack would have done on a horizontal and adding rectilinear forms of varying hues to transform the space. Recently joined by his wife, artist Rachel Comminos, they open the doors to Comminos Studio every month during Harlingen Art Night where they exhibit their latest work as well as host other artists. 20

IN Memoriam

ichard Hyslin, aged 77, died May 9, 2016 in McAllen, Texas. Raised in Portland Oregon, Richard initially earned a BA degree in Chemistry at Oregon State University, and then pursued his true passion for ceramics and sculpture, earning his MA at the University of New Mexico. He accepted a teaching position in 1968 at Pan American College, now The University of Texas-Rio Grande Valley. During his 47 years at Pan American, he established and developed the ceramics program and facilities and later, during the UT-Pan American era, he oversaw the sculpture program and development of new facilities. Serving as Chair of the Art Department for 13 years he was critical in the overall excellence of the department. He was a Left: â&#x20AC;&#x153;Goat in Bramblesâ&#x20AC;? by Richard Hyslin (photo courtesy Nancy Moyer); Below: Hyslin in the studio (photo courtesy Brian Wedgworth)

recognized artist who exhibited his ceramics and sculpture nationally and internationally, including the creation of a 50 ft. Virgin of Guadalupe statue in Windsor, Ohio, and more recently a steel work accepted at Grounds for Sculpture, headquarters for the International Sculpture Center. He was preceded in death by his parents Catherine and Thor Hyslin. He is survived by Nancy, his wife of 44 years, sons Lee Hyslin, Zachary Hyslin, daughter Kirstin Somsen, son-in-law Herman Somsen and beloved grandson Dylan Somsen. A celebration of his life was held May 14, 2016 at Grace Presbyterian Church. Perhaps his most lasting and important contribution has been as a teacher. He has served as instructor, mentor and friend to generations of artists in the Rio Grande Valley. He will be missed.

â&#x20AC;&#x153;Looking back, it seems like Richard Hyslin and I sailed through the last three decades of the 20th century together as colleagues with the best jobs ever - memorable students and the space to create whatever art we wanted. Richard arrived at Pan American College in the late 60s, a year before I got there, and had already established the ceramics area complete with two large gas kilns. At this time, the college served 5,000 students in Edinburg, a rural town with a population

Below: Hyslin working in the studio. Photo courtesy Eloy Rodriguez Above right: Study of a Boulder by Richard Hyslin. Photo courtesy Nancy Moyer

of 17,000. We started out sharing an office, and then later shared the department as Chairs at both Pan American University and UT-Pan American. During all that time we never experienced any major conflicts; if there was a studio course that suddenly needed an instructor, Hyslin was the guy. His painting class was amazing, and I still fondly remember our clandestine team-taught life drawing class before it was approved by the administration. Philip Field accompanied us with that one. When his interest shifted, Richard developed the sculpture area. His artistic excellence was always unwavering. Did I mention that he was a recognized artist on the national level in both ceramics and sculpture? His was a precious era that will never be replaced.” – Nancy Moyer, Professor Emerita of Art, UTRGV Right: “Quetlacoche 1-3” by Richard Hyslin. Photo courtesy Nancy Moyer Below: Richard Hyslin with former student and friend, artist Brian Wedgworth, at an exhibit of their work at the Museo de Arte Contemporáneo de Tamaulipas, Matamoros, México. Photo courtesy Brian Wedgworth

Doc, It’s hard to imagine a world without you; so many things left to do. But I am so very thankful for our friendship. You left an incredible mark in this world by the works you created and the people whose lives you touched. I am very grateful to have been a part of it and will cherish the time spent working by your side. You were a true teacher, allowing your students to find their way, all while providing a nurturing environment to hone their craft. I will keep the forge in my heart running, that you lit so many years ago, and continue the journey. – Brian Wedgworth, artist

RICK GEARY was born in 1946 in Kansas City, Missouri and grew up in Wichita, Kansas. He graduated from the University of Kansas in Lawrence, where his first cartoons were published in the University Daily Kansan. He worked as staff artist for two weekly papers in Wichita before moving to San Diego in 1975. He began work in comics in 1977 and was for thirteen years a contributor to the Funny Pages of National Lampoon. His comic stories have also been published in Heavy Metal, Dark Horse Comics and the DC Comics/Paradox Press Big Books. His early comic work has been collected in Housebound with Rick Geary from Fantagraphics Books. During a four-year stay in New York, his illustrations appeared regularly in The New York Times Book Review. His illustration work has also been seen in MAD, Spy, Rolling Stone, The Los Angeles Times, The Old Farmerâ&#x20AC;&#x2122;s Almanac, and American Libraries. He has written and illustrated three childrenâ&#x20AC;&#x2122;s books based on The Mask for Dark Horse and two Spider-Man chil-

dren's books for Marvel. His children’s comic “Society of Horrors” ran in Disney Adventures magazine. He was the artist for the new series of GUMBY Comics, written by Bob Burden, for which they received the 2007 Eisner Comic Industry Award for Best Publication for a Younger Audience. His graphic novels include three adaptations for the Classics Illustrated, and the nine-volume series A Treasury of Victorian Murder for NBM Publishing. The new series A Treasury of 20th Century Murder began in 2008 with “The Lindbergh Child.” His other historically-based graphic novels include Cravan, written with Mike Richardson, and J. Edgar Hoover: A Graphic Biography. Rick has received the Inkpot Award from the San Diego Comic Convention (1980) and the Book and Magazine Illustration Award from the National Cartoonists Society (1994). He and his wife Deborah can be found every year at their table at San Diego’s Comic Con International. In 2007, they moved to the town of Carrizozo, New Mexico. You can see more of his work online at www.rickgeary.com.

more articles, photos and content on our website

(956) 364-0097

1003 W Harrison Ave | Harlingen, Texas gothamcomixs@hotmail.com

CHICANO BLOOD TransFUSION:

EDWARD VIDAURRE 30

Local Author Spotlight

ometimes the grind of life in modern America sucks Latin@s dry: between the daily microaggressions and institutional racism, la gente find themselves drained of that essential chispa. At times like those, we need a Chicano blood transfusion like the one Edward Vidaurre injects straight into our souls in his most recent collection. So just lean back and let yourself be guided through the graffitied recesses of our collective barrio by one of the most important poets of deep South Texas, whose unique voice blends street, Beat, form and striking breadth. Born in Los Angeles, California in 1973, Edward Vidaurre has been been published in several anthologies and literary journals including La Bloga, Bordersenses, La Noria, Left Hand of the Father, Brooklyn & Boyle - Boundless Anthology of the Valley International Poetry Festival 2011, 2012, & 2013. Chicano Blood Transfusion is Vidaurre’s fourth collection of poetry and published by Flowersong Books. You can find this book and others for purchase online at www.amazon.com/ Edward-Vidaurre/e/B00E6KNJLC/

Opposite page: Author Edward Vidaurre (right) poses with cover artist Mario Godinez (left), whose art graces the cover of Vidaurre’s latest effort. Photo: Tam Corbette Lopez Above: The cover for Vidaurre’s Chicano Blood Transfusion.

aBOUT fLOWERSONG bOOKS FlowerSong Books exists to nurture essential words from the borderlands. The press is named for the Nahuatl phrase in xōchitl in cuīcatl—literally “the flower, the song,” a difrasismo or kenning for “poetry.” Its mission is to promote both the voices of writers in the Río Grande Valley and the literacy of Latinas and Latinos in general. To achieve these goals, FlowerSong hopes as it grows to implement a multi-tiered strategy: publishing a small number of titles by Valley authors (or by authors whose work would appeal to readers in the Valley) each year (the present catalogue includes work by Alejandro Cabada, Edward Vidaurre, Shirley Rickett and René Saldaña, Jr.); editing anthologies of established and upcoming writers whose work has special relevance to the Río Grande Valley; providing creative writing workshops to aspiring local writers; conducting writing contests for elementary and secondary children.

956.440.7760 1327 E Washington Ave Harlingen, TX 78550

harlingenprintpackship.com

antiqueartisansemporium.com

Mon - Sat

10:00am 5:30pm

123 E. Jackson St. Harlingen 423-4041

4954 Space Center Dr., San Antonio, TX 78218 210.804.0390 | www.shweiki.com

Sell Your Stuff with Us! Broker

956.742.2741 315 E. Jackson Ave. Suite 6 â&#x20AC;˘ Harlingen, TX

thebodsquadtraining.com

Our Passion is personal training and helping our clients make living active and healthy a LIFESTYLE! 212 East Jackson Harlingen, Texas

by Chef Stefania Trimboli-Wright â&#x20AC;˘ photos by Tam Corbette Lopez

Bohemian Nights at Frontera Audubon

n Thursday May 12th, the Texas Chefs Association was found grilling over some open fires at the 5th Annual Dine on the Lawn presented by and benefitting the Frontera Audubon in Weslaco, Texas. This little (big!) urban nature preserve is 15 acres of native beauty, providing a home for birds, butterflies and other wildlife who

setting up her blankets and pillows, and the chefs were sizzling, drizzling and chopping away at their stations. Musical guest, Chris Marshall was setting up and the auction items were being brought in. Participating members of the Texas Chefs Association included Chef Dustin Stair of The Gardens at Brookridge, Chef Stefania Trimboli-Wright of Rio Grande Grill, Honey’s Cakes, University Draft House, and Culinary Instructor Chef Claudia

thrive in the habitats of its Tamaulipan Thornscrub forest, orchard butterfly garden, wetlands, and ponds. As you enter the preserve, you see a Spanish Mediterranean style house, the Skaggs House, that was built in 1927 for early Weslaco residents, C.L. “Lester” and Florance R. Skaggs who were bankers and citrus growers.The house serves as the Visitor’s Center and is a Texas Historic Landmark. This unique, non profit nature preserve attracts enthusiasts from all across North America and parts of Europe. On this particular night, the evening was settling nicely, the lights were strung, a beautiful masterpiece made of bay laves and colorful ribbons hung from the branches, a henna artist was

Jean of Donna High School brought her students to volunteer, which taught them some valuable work experience. The chefs all put their own unique twist to Texas cuisine. “A rustic, yet elevated style of cooking is what the RGV Chefs Association has become known for, and we love sharing that with Frontera’s

local wild cherry tomatoes, sorrel, purple basil and topped with grilled local sweet corn. On the side, some local orange and yellow carrots grilled with a perfect char and drizzled with olive oil and sea salt. University Draft House brought a solid, very flavorful green tomatillo chili and Honeyâ&#x20AC;&#x2122;s Cakes served up the perfect sweet supporters,â&#x20AC;? RGV Chefs Association Vice President Dustin Stair said. Dustin is inspired by cajun and creole flavors and made a starter of Texas Cheese spread with garlic whipped cream cheese with roasted jalapenos and bacon on toasted bread and a Creole rubbed Chicken with Dirty rice and Pontchartrain sauce topped with local grilled purple okra. He also made a beef and mushroom farfalle pasta with spinach, tomato and a garlic cream sauce. Chef Stefania TrimboliWright infused Italian and Texas with a grilled polenta cake topped with 18hour smoked pork shoulder with a coffee barbeque sauce, a fresh salad made of

ending with some beautifully decorated citrus cupcakes with buttercream flowers and filled with blueberry preserves. The Texas Chefs Association is an organization that works to connect, build and educate chefs. The local Rio Grande Valley chapter is constantly volunteering and participating in fun and exciting events like this one. It provides a great creative outlet for chefs outside of their day to day job. It serves a purpose in the

community as well as to the individual chefs who have access to valuable tools to further their education. TCA provides their members with networking tools and professional advancement opportunities to help them further their goals within the food service industry. 36

RECIPE

Grilled Polenta CakE by Chef Stefania Trimboli-Wright

For the Frontera Audubon event on May 12th I made a grilled polenta cake. Usually polenta is know for being this grits-like, creamy side dish. Since I can’t help working with fire, I threw that polenta on the grill. And the result? A crispy, charred outside and that familiar creamy inside. It worked.

is tender, stirring often, about 15 minutes. Turn off the heat, add the butter and stire until melted. Other optional add ins at this time could be: cheese, herbs, spices but not entirely necessary. Pour polenta onto a cookie sheet, wrap with plastic wrap and let cool in the fridge for at least a couple of hours, preferably overnight. Take polenta out, cut into 2”x2” squares. Heat a cast iron griddle with or without grill marks, both work. When cast iron is hot,

Ingredients (for 6 servings) • • • •

6 C. water 2 tsp. kosher salt 1 3/4 C yellow cornmeal 3 Tb unsalted butter

Directions Bring 6 cups of water to a boil in a heavy large saucepan. Add salt. Gradually whisk in the cornmeal. Reduce heat to low and cook until the mixture thickens and the cornmeal

drizzle polenta with olive oil and put on the griddle. Don’t move the polenta until it comes off easily. About 7 minutes. It’s worth the time and patience to let the polenta sear and have that crispy crust. Flip over and sear the other side. Do the rest of them. Take off when both sides are to your liking, eat immediately. I topped these cakes with some 18 hour smoked pork shoulder with coffee barbeque sauce but I realize not everyone has a smoker firing 24 hours a day. A good braised pork shoulder done in the oven or crock pot would work well with this. You can pretty much top it with whatever you’d like. Something that has been braised and has juice would be best since the polenta cake absorbs all that flavor. A good ratatouille would be great over this providing a filling vegan option (replacing butter with olive oil, or other oil of choice). This polenta cake is sure to become a favorite side for your next barbeque.

Ride Ride with with the #1 car Ride with the #1 car Ride with the #1 car Ride with the #1insurer car insurer in Texas. in the #1 car insurer insurer in insurer in Texas. Texas. Texas.Texas.

Daniel Reza, Agent With competitive rates and 21 S 77 Sunshine Strip Harlingen, TX 78550 personal Reza, service, it’s no Agent 425-3276 Fax: 866-528-2326 DanielDaniel Reza,Daniel Agent Reza, Agent wonder drivers trust With competitive .reza.ngiz@statefarm.com 1221 S 77 Sunshine 1221 SStrip 77more Sunshine Strip

Withcompetitive competitive rates rates and rates and With and no personal service, it’s no personal service, it’s no trust wonder more drivers drivers trust State Farm is there. daniel.reza.ngiz@statefarm.com State Farm . wonder more trust daniel.reza.ngiz@statefarm.com CALL FOR A QUOTE State Farm . Like a24/7. good neighbor, State Farm . State Farm is there. Like a good neighbor, a 24/7. good CALL FOR A Like QUOTE State Farm neighbor, is there. State Farm is CALL FOR Athere. QUOTE 24/7.

1221 TX SState 77 Sunshine Strip Harlingen, 78550 Farm TX . 78550 personal service, it’s Harlingen, Bus: 956-425-3276 Fax: 866-528-2326 Harlingen, TX 78550 Like a good neighbor, Bus: 956-425-3276 Fax: 866-528-2326 wonder more drivers daniel.reza.ngiz@statefarm.com ® Bus: 956-425-3276 Fax: 866-528-2326 ®

CALL FOR A QUOTE 24/7.

State Farm Mutual Automobile Insurance Company State Farm Indemnity Company Bloomington, IL

ThE

HAMMERED

HEN

BEER CAN CHICKEN Story, photos and playlist by Bryan Maxwell briefly, how he did his beer can chicken. He didn't go step-by-step or anything. It was more along the lines of "hey here's a chicken, and I put a beer inside of it." The rest of the recipe came from all the differences I found through experimentation and practice. I'm going to show you how to cook a beer can chicken my way, save you some time. You're welcome. Do yourself a favor and turn on the Magic City Hippies... the song “Limestone” is a good start.

verybody's got their own way of doin' things. From eatin' cereal to brushing your teeth, we pretty much all do everything a little different. I think that's a good thing. Differences make the space for innovation, creativity and uniqueness. The space between how it has been done and how you do it is how we got to where we are now. Without somebody thinking or doing something a little bit different, we wouldn't have cameras, cell phones or the internet. BBQ is all about doing it your way. That being said, let's make ourselves a beer can chicken. I have to thank the pitmaster who years ago showed me, albeit

Beer Can Chicken

Some people call it beer can chicken as that’s the most self-explanatory description, some call it Borracho Chicken or even el pollo borracho. I refer to it as the hammered hen, because that’s who I am and that’s how I do things. Why did the chicken cross the road? She didn’t, she was hammered.

What You’ll Need A beer can and its contents. I prefer 39

Mexican beer in general. Just steer clear of that “light” nonsense. Use real beer. • A chicken (7 or so pounder’ll do) • 1/2 stick of Butter • 1 onion • A clove of garlic • Cilantro • The Rub: Seasoned salt, Black pepper, Garlic powder mixed together Let’s kick off the tomfoolery and wrangle this fowl. What’s that? Quaker City Night Hawks. That’s what.

The Hen

Rinse your chicken with cold water and remove the gizzards. Use a chefs knife and trim away any excess fat on the top or the bottom of the chicken. Using your fingers, from the top of the chicken separate the skin away from the meat and stuff both the front and the back with butter.

The Beer Can Open the beer can and pour the contents into a glass. Put the beer can on its side and cut into it so 3/4th of the bottom of the can remains. You don’t have to but I fold part of the can over itself to prevent myself from getting cut. Take your onion, halve it, cut into it about 1 finger width and cube it. Peel and cut your garlic into 4 pieces. Take a pinch of Cilantro shred it and put the onions, garlic, cilantro, some rub and beer back into the can. Fill it up so it’s just shy of full. Stir it with your knife. Drink whatever’s left over (If you’re of legal drinking age). Don’t be wasteful.

The Rub .

Apply the rub evenly both inside and outside of the chicken Take your chicken and beer can and carefully set the chicken (bottom side down) on top of the beer can. If you're having trouble fitting the can properly within the chicken you can pinch the can inwards to make it easier to fit. Below is a simple device (~$8 or so at your grocery store's BBQ section) that helps keep the can in place if you're cooking more than one. If you don't have this, simply just position the can, hold the chicken and spread the chickens legs on 40

an hour and a half or 170F degrees in the breast. Monitor it so if it does catch fire you can move it off direct heat long enough to stop it from burning. Smoking: get your fire rolling about 350F consistently and place the chicken in the smoker. Smoke until 170F degrees in the breast. Cook it for about 2 and a half hours or 170F degrees in the breast. This is a delicious way to prepare a chicken my personal favorite. It stays tender like it was prepared on a rotisserie yet crispy as if fried. The alcohol and the beer tenderizes the meat and steams it so you get a tender, juicy chicken that’s easy to cook (as long as you watch out for fire if you’re grillin’ it!). You get a subtle hint of beer in the flavor but it doesn’t taste like beer as the alcohol cooks out in the process. I mentioned it involves beer too. Just checking. This is a dish best prepared on a sunny Sunday afternoon with friends and family. Cheers.

the grill to keep it upright. We’re not trying to actually intoxicate the chicken, we’re trying to enhance what the good Lord gave it through what the good Lord gave me, cerveza.

The Cook

Now there’s two ways to do this. They both require Eagles of Death Metal on the speaker. You can smoke it, or you can grill it. Both ways will end up delicious but grilling it takes a bit more practice and monitoring as the butter and chicken grease tends to catch fire. Grilling: get your coals up to about 350-400F and place your chicken directly over the coals.Cook it for about

DOWNTOWN SPOTLIGHT

Each month we will feature a different business from the Historic Downtown District of Harlingen, Texas.

“I

Street, smiles brightly as she remembers the beginnings of her women’s clothing shop in Downtown Harlingen. Kelly’s shop is a retail reflection of her personality – sunny, inviting, and freespirited. She opened Quelle Boutique in 2007 and moved the shop to its current location in 2010. The building, which was the longtime

used to dream about shopping at a place like this – a place with bold colors, eclectic styles, a bohemian feel, and affordable prices. I woke up one morning and realized that store in those dreams was mine!” Kelly Hill Sanchez, owner of Quelle Boutique located at 117 E. Jackson

“I want all my customers to be able to take home pieces they love,” Kelly explains, but the big 50% off sale occurs the first Saturday of the month during Jackson Street Market Days. Customers of Quelle Boutique visit the shop as much for the experience as the great finds. As one customer put it: “I love stopping by [Quelle Boutique]. Kelly always makes me feel welcome. No matter what kind of day I’m having, I know I’ll leave Quelle Boutique feeling uplifted.” home of Wally’s Shoes, is now tastefully packed with vibrant, unique clothes and accessories, from vintage wedding dresses to funky hats and jewelry from around the world. Every visit to Quelle Boutique is a treasure hunt; Kelly receives shipments of new items twice a week, so even shoppers already familiar with the thousands of pieces in her shop will encounter fresh finds. Prices are always negotiable. 43

Y A D I R F L A N I F every OF nth mo

In the empty lot adjacent to

412 W. Van Buren Harlingen, Texas â&#x20AC;˘ 6 p.m. â&#x20AC;&#x201C; 9 p.m.

For more information please call us at (956) 367-1049 or email info@encorecultural.com

encorecultural.com

Artist Listings We offer ad space for artists in each issue at $20 a month. The listing will also guarantee a space at the monthly La Pla Art Market event during final Friday Harlingen Art Night. For more information please call (956) 367-1049, email info@encorecultural.com or contact the La Pla Art Market facebook community page.

This berry rich, oaked aged sour ale most definitely delivers. Cascade Brewing Co. is always spot on with their sour ales, so let this one help you take on the summer.

Cascade Cranberry Sour Ale Resaca City Liquor’s

Beer of the month 1595 W US-77 BUS • San Benito, TX • (956) 399-7500 Visit us at www.facebook.com/resacacityliquor And find us on Instagram: Resaca City Liquor

facebook.com/cineelrey

311 S. 17th St. McAllen, TX

Preserving the past for the future.

613 S. 17th St. facebook.com/YerberiaCultura

McAllen, TX