enCORE Cultural Arts Source | May 2016 by Encore

Volume 2 • Issue 1 encorecultural.com

MaY 2016

AN ART AWAKENING

Mario GODINEZ TEAM EFFORT

OK Robot

ART s MUSIC s FOOD s cULTURE s MORE

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Cultural arts source Volume 2 • Issue 1 • May 2016

CONTENTS Note from the Publisher..................4 MUSIC Audible Justice.................................. 6 On the Fringe.................................... 8 OK Robot......................................... 10 From the Prelude............................ 14 ART The Art of Mario Godinez..............18 BOOKS La Poeta Power............................... 26 Bison Bill’s Weird West Show........29 FOOD Happy Plates................................... 33 Traveling Fork.................................34 Taste of Harlingen.......................... 37 Hecho en Texas...............................40 LIVING Downtown Spotlight......................43 Harlingen Art Night Map................44 OK Robot cover photo: George Villarreal Cover art and this page: Mario Godinez

Cultural arts source www.encorecultural.com Daniel Wright: Publisher Advertising Supervisor Stefania Trimboli-Wright Editor-in-Chief Cayetano Garza Jr. Managing Editor, Design Victor Moreno Bookkeeping/Sales Tammy Corbette L. Design/Sales For sales and advertising please call (956) 367-1049. ©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 PUBLISHER

Hello readers, It has been five years since the first incarnation of enCORE was in print. It was about this same time of year - when spring begins to come into full flourish and creativity seems to flow more easily. Since that time I’ve grown, my family has grown (and then there was Dylan), and the art scene in our town and throughout the Rio Grande Valley has grown. I feel blessed to have been a part of this movement for artistic growth in our cities, but we couldn’t have done it without our collective community’s support. In this new issue we revisit a true savant whose precision in his artistry awakens parts of your brain you didn’t know existed - Mario Godinez. Throughout our journey in this world we find intances where we couldn’t have done anything without the help of our friends. Ok Robot exemplifies this perfectly and finds the perfect groove through tenacity and friendship. In this issue we also get an introduction to an event entitled the Taste of the Market where some of the Valley’s most prominent chefs come together to raise funds and awareness for the Harlingen Farmer’s Market. Thank you so much for taking the time to support your local artists. We believe we have one of the most vibrant and dynamic art scenes here in the Rio Grande Valley and it needs our support!

Art is a living organism that must be nutured in order to grow.

– Daniel Wright, Publisher

Revolution Through

Impermanence I

by John Justice

believe we are in a revolution. A revolution might seem big and loud, but this one is a bit more subtle. You see, revolution, in its heart, is a geometric term. In its most basic sense it describes a pattern of circular motion. Although, as monumental as it may sound, to begin a revolution, you simply need to revolve. Today I would like to discuss the previous, present, and future revolutions in the world of music. In 1877 a huge musical transition began. The birth of the Phonograph transported music from the world of live performances, where it resided for the previous 1,000+ years, directly into the homes of 19th century music fans. When they discovered they no longer had to make a lengthy trek to the concert hall, (perhaps even to a separate city from their own,) and all they had to do was spend the modern-day equivalent of a few dollars to enjoy music in their own home, a true musical revolution had begun.

When we dig deeper into the concept of revolution, the dictionary gives us our next big clue; to revolve, you must have something to revolve around. Without a central point you are not creating a circle, or even a spiral, you are merely bending a line. In the case of the Phonograph, the metaphoric “central point” of geometric revolution would be technology. The phonograph was the 1877 equivalent of the iPhone. With the 1980’s came the advent of cassette tapes. Finally, a way to record a personalized album just for you. It wasn’t long after “The Mix-Tape Revolution” that “Personal Computer Revolution” gave rise to a whole new world of “free” customized music for the masses. Starting with Napster in 1999 and branching out in all directions, a handful of young adults began creating pathways for the average music-lover to bring any song they want into their home, free of charge. (In this author's opinion, I believe this is the most 6

relevant recent revolution to unfold.) In the case of most political revolutions, somewhere along the line, something will be lost as something new is gained. Many have thought that the "Recorded Music Revolution," started by the Phonograph, played a major part in the decline of classical music. It's no surprise that singers began to saturate the Phonograph market, as one person's voice translates much more easily to a monophonic wax cylinder than 100 individual instruments. All this talk of “ease” and “convenience” is sounding a bit familiar, wouldn't you agree? As mix-tapes lead to digital music sharing, we find ourselves in a fresh cycle of loss and gain. But finally, here's the good bit: Without shifting our world from concert halls to record-players we could have never given rise to music genres like Blues, Rock, or Reggae, (all of which succeeded due to vinyl.) While computers ushered

in an era of “lazy convenience” they also opened the doors to thousands of bands, artists, and new genres. We are in the beginning a revolution as we speak. Not because of invention, but because of opportunity. We know more today than any previous time in mainstream history. While the previous revolution gave birth to one-hit-wonders and club-banger-anthems, I can’t help but envision the birth of music as a tool, music with a new purpose. We have the ability to levitate objects with standing sound waves, and the ability to obliterate tumors with high-frequency sound waves. There is so much space for creation in our current moment. There is a blank canvas awaiting the next generation. It is seemingly infinite, and I can't wait to see where we go from here. Pay close attention to the musical Bell-curve. It is fast approaching a new dawn. I urge you to create your own piece of the pie.

ON THE FRINGE

The Four Most Country Albums

by Non-Country Artists by Cayetano Garza Jr. Arguably, the 70’s was a hotbed for what would eventually be labeled Country Rock by the 80's and morph into what we now define as Americana. This genre designation is surprisingly vague as much as it is descriptive because it allowed enough leeway for aging 60’s rock and rollers and protest folkies to jump a musical bandwagon melding rhythm and blues, rock and roll, country western and folk into a potpourri greater than the sum of its parts. This cultural mélange would by decade’s end spawn the rise of the Eagles and the “rhinestone cowboy” as it developed parallel to the “outlaw country” movement that had erupted in the genre’s own ranks. These musical developments would have a profound effect on all the genres it mixes together as the new century arrived and Americana was developed. influence on the music that came after it. The Byrds’ move away from rock and pop towards country music elicited a great deal of resistance and hostility from the ultra-conservative Nashville country music establishment. They viewed The Byrds as a group of long-haired hippies attempting to subvert country music. Despite being the most commercially unsuccessful Byrds album to date upon its initial release, Sweetheart of the Rodeo is a seminal and highly influential country rock album. Sweetheart of the Rodeo by The Byrds (1968) - It could be said that Gram Parsons is the father of country rock. Born in Winter Haven, Florida, Gram was the son of a Southern citrus magnate who discovered country music while attending Harvard in the mid-60’s. Parsons lead a tumultuous and colorful life which can be explored more fully in the documentary film titled Gram Parsons: Fallen Angel which was released in 2003. It was through serendipitous circumstances that a young Gram Parsons found himself recruited into the psychedelic rock outfit The Byrds and the result of his heavily western influenced writing would produce an album like Sweetheart of the Rodeo. The Byrds had experimented with country music and folk in their previous five albums, but Sweetheart of the Rodeo was the first major country rock album by an established act and would have a heavy

The Gilded Palace of Sin by The Flying Burrito Brothers (1969) - Shortly after recording Sweetheart of the Rodeo with the Byrds, Gram Parsons fell out with the band when he refused to accompany them on a tour of South Africa in 1968. Two months later bassist Chris Hillman left as well and joined Parsons to form The Flying Burrito Brothers, arguably the first “country-

rock” band. This first Burrito Brothers album continued Parson’s experimental fusing of folk and country with other forms of popular music like gospel, soul, and rock & roll was not a commercial success and was supported by a sloppy crosscountry tour that saw the band give up a chance to play Woodstock to instead ride cross country by railroad. Parsons would only record one more album with The Flying Burrito Brothers before being fired from the band as a result of his extreme alcoholism and drug abuse. Despite Parson’s self destructive downward spiral, he would manage to record again as a solo artist and help facilitate the discovery of a young female country singer that would go on to become a chart-topping country artist herself Emmylou Harris.

“american” music. Warmly received by the critics and commercially successful, Dylan’s Nashville Skyline helped usher in a new decade of country rock exploration.

Harvest by Neil Young (1972) - Canadian musician Neil Young had not had too much success with his first two solo albums after leaving Buffalo Springfield at the end of the 60’s. It wasn’t until his country experimentation on After the Gold Rush and especially it’s followup Harvest that Young would solidify his prominence as a country rock legend. Near the end of his tour for After the Gold Rush, Young would perform a new song on Johnny Cash’s television program, “The Needle and the Damage Done”. The song is a somber lament on the pain caused by heroin addiction inspired in part by Crazy Horse (Young’s band) member Danny Whitten, who eventually died while battling his drug problems. While in Nashville for the show taping, he would head into the studio with a group of hastily put together Nashville session musicians to record. Against the advice of his producer, he scrapped plans for an immediate release of this live acoustic recording in favor of a studio album consisting of the Nashville sessions, electricguitar oriented sessions recorded later in his barn, and two recordings made with the London Symphony Orchestra. The result was Young’s fourth album, Harvest, which would prove to be a massive success. These albums aren’t considered country albums. You won’t find them in the country sections of a record store. However, their borrowing of the country western genre would have a feedback effect, influencing rock music in the 70’s and americana in the new millennium.

Nashville Skyline by Bob Dylan (1969) During the tumultuous end of the 60’s Bob Dylan, who had already lost favor with the folk community when he went electric at the Newport Folk Festival in ‘65, was dabbling with country western music. Broadening the scope of the rustic style he experimented with on John Wesley Harding, Nashville Skyline displayed Dylan’s complete immersion into country western music. Along with the more basic lyrical themes and simple songwriting structures, it introduced audiences to a radically new singing voice from Dylan—a soft, affected country croon. Recruiting Nashville musicians for the recordings, the album opens on a high note with Dylan singing a duet with Johnny Cash on “The Girl from the North Country”. The opening song almost serves as a stamp of approval from the country music legend, or a passing of the torch, as the album launches into an exploration of truly

Bringing Back the Big Sound

by Cayetano Garza Jr. • Photos by Tam Corbette very band has an evolution. Growing up together in San Benito, it was Oftentimes the founding members inevitable that they’d soon turn their shared are childhood friends who spent love of music, in particular the music of hours upon hours together sharing Blink 182, into a passion that would see inspirations, learning how to play them spending much of their teen years their instruments, perfecting their craft. trying to emulate their heros. “We just wanted to write songs and play Members come and go, gigs start to add up and around the founding nucleus a fully shows so badly,” says Jimi of that time. “But in my mind it was playing talent realized vision starts to form. Like many of the bands that came out of shows and being the best band in my the suburban bedrooms of kids growing up town.” in the aughts, OK Robot shares a similar He describes pushing Mario and Eddie to origin. learn their respective instruments. Despite Founding members Jimi Fro, Mario only being 16 he scrounged up an extra Gonzalez and Eddie Skyline had known $100 so they could get their first drum set. each other since they were eight years old. They purchased it at Mr. Music in Valley 10

Vista Mall in Harlingen. “It was so cheap. It didn’t even have a logo. It said ‘drum’ on it.” These first instruments were generic but affordable - perfect for three young kids to monkey around with while they cut their teeth. What followed was a period of discovery as they figured out which instruments they wanted to play and shared music that they discovered throughout those years as their influences, inspirations, and aspirations grew and evolved well beyond their initial love of millennial pop-punk. For the first few years of the band’s existence, the hours of practice barely saw

them leave the bedroom or garage. They would need to level up for that. Like many nascent bands, it takes the talent of a new member to help take the band to that next level. That catalyst came in the form of guitarist Lina Valdez. The trio met Lina at the end of their time at San Benito High and her timing couldn’t have been better. “She was better then all three of us combined,” mused Jimi. Valdez brought a much needed component that facilitated the young band to finally start writing songs. The band was closer to the elusive sound

they imagined for themselves. Their first gig was a graduation party at the beginning of the summer in 2009. The next big milestone for the band was the inclusion of vocalist Emily Faith Rodriguez. They had been working with a vocalist for a while but for various reasons found themselves needing to put a call out for a new vocalist. They did so online and immediately got three responses. One response from a vocalist in particular that they had their eye on, but that person couldnâ&#x20AC;&#x2122;t make it for an audition on that particular day. Neither could the second

OK Robot slips comfortably between the driving pop punk that they grew up listening to and playing to a sound that hearkens back to the jingle jangle and buzz of acts like Superchunk, Pavement or Sonic Youth. person that responded. Only Emily could meet them that very day. They had no idea how fortuitous her availability would be. For the audition, Emily chose to sing a Flyleaf song. The members of the band were impressed with her song selection as much as her vocal ability. By this time it was 2011 and the band had continued to grow and evolve. Eventually Emily would take over the lyrical duties as well as the vocal duties as the band perfected their songwriting skills together. Jimi, Mario and Lina write music that they bring to Emily. Emily labors over the vocal melodies and lyrics. Eventually the full band practices the new material, each adding their special flavor to the songwriting soup as they settle into the 12

parts that they play and sing. The final element would come just a couple years ago with the inclusion of third guitarist and backup vocalist Robert Saldana of the bands Champagne for Radio and Raging Thrill. By the time he joined up with OK Robot they were well into recording their first album “What’s Your Reason for Existing”. A new father at the time juggling gigs with several projects, Saldana says it wasn’t the easiest time for him to join the band, but the chemistry that resulted was so potent that the band finally attained its final form. Saldana brings to the table a deep love of atmosphere and presence that bands like the Pixies first perfected and an almost encyclopedic knowledge of rock and alternative music. The songs on “What’s Your Reason for Existing” simultaneously echoes the sounds of the 90’s “alternative” scene where music had too many different influences to be pinned down to just one specific genre and all the music that would come at the turn of the last century. OK Robot slips comfortably between the driving pop punk that they grew up listening to and playing to a sound that hearkens back to the jingle jangle and buzz of acts like Superchunk, Pavement or Sonic Youth. They also embody a sound that was pioneered by bands that were at their height at a time when the band (and the Valley alt music scene) first got its momentum. “I really miss The December Drive,” says Saldana. “I miss bands like The Child Forgives and Creates. Those really big sounding bands.” “What’s Your Reason for Existing” brings that big sound back but with a refinement that only an album two years in the making can deliver. You can preview and purchase “What’s Your Reason for Existing” at okrobot. bandcamp.com.

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FROM THE PRELUDE

10 tips for getting

booked

(and invited back!)

Cayetano Garza Jr.

by Rachel Udow

onfession: five years ago, I didn’t have a clue about any of the information I’m about to share. I spent most of my free time hunched over my guitar in my bedroom, pouring my heart into songwriting. I told myself that the reason I only played at home was because I was just doing this for me, though the real reason was that I had no idea how to go about booking a gig or performing in public.

Soon after, I connected with people who taught me what I needed to know, and everything took off from there. I’ve done solo gigs, played in three different bands, and booked successful tours in various parts of the U.S. and Canada. Now, I own a music venue as well. These different experiences and perspectives have taught me a lot about how to get booked and get invited back, and I hope this information will be 14

that you’re serious about what you do as a musician. This doesn’t mean you have to be uptight – just show that you’ve taken the time not only to learn about the venue you’re approaching, but also to anticipate the information they will need from you and to give it to them as clearly and concisely as possible. For example, if you’re emailing the venue, state up front the date/performance slot you’d like to book and include links to video and audio samples. (Note: when we’ve booked out-of-state gigs for our tours, most venues have required that we submit either our website or electronic press kit [EPK] – not just social media pages.)

useful to musicians of all experience levels throughout the Valley.

Find venues that are a good fit for you Thankfully, live music is alive and well – and while there are a lot of venues out there, not every venue is going to be the right fit for you. Brainstorm a list of qualities that would make a venue a good fit – e.g., a large venue with standing room or a small venue with seating? 21+ or all ages? Then, find the venues that fit! Websites like Indie on the Move and plain old Google can be very helpful; another good strategy is to find bands like yours and find out where they perform.

Set reasonable expectations

Do your homework

Most music venue owners love music – but they’re also business people who are trying to make a living, and they’re going to be interested in artists with a following. If you think you can draw a crowd, say so, but always underpromise and overdeliver. If you’re trying to book a gig in a city where you don’t have a following, it’s a good idea to propose that you could open for a popular band in the same or a similar genre the first time around.

Before you reach out to any of the venues on your list, do some background research. Find out what kind of music the venue books, when they have live music, how they prefer to be contacted by musicians looking for gigs, etc.

Make a professional first impression When you reach out to a venue, make sure your first impression communicates Peggy Allen, CPF Custom Framing Art Galley

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Do your part to promote the gig

Pink Floyd, if you start pacing next to the stage if the evening is running a few minutes behind schedule, etc.

A successful gig requires strong promotion by both the venue and the artist. In no way does the responsibility for promotion fall solely on the artist, but venues always appreciate artists who do their part or go above and beyond in this area – especially since, often times, the venue will have multiple live music events to promote during any given week and will only have so much “air time” to give each one.

Put on a great performance no matter what On one tour, we played for a crowd of three hundred one night and a crowd of three (one of them being our photographer) the next. Obviously, it was easier to turn on the energy and charisma in the former situation, but the sign of a true pro is being able to put on a great show regardless of the circumstances. Playing to a tiny crowd can feel demoralizing, but you can also use it as an opportunity to practice connecting deeply with the people who did take the time to show up for your performance. Venue owners recognize and appreciate musicians who can achieve this – and will often make the effort to get these musicians a prime spot the next time around.

Show up – on time Cancellations happen, but unless you’ve got a real emergency on your hands, don’t cancel within 24 hours of the gig. If you do – I’ll admit, I did it once – apologize and go out of your way to show the venue that you respect them and can be trusted to come through in the future. And of course, be on time for gigs. If you’re running late, communicate this as soon as you can to the venue so they’re not left wondering whether or not you’re going to show up.

Stick around to hear the other performers This one’s a bonus. We all have busy lives, and very few venue owners or talent buyers will hold it against you if you show up on time for your set, deliver a great performance, and leave shortly after. However, artists who come early and stick around to support other performers on the bill, even if it’s just once in awhile, are noticed and appreciated. This gesture communicates that you see yourself as part of a broader live music community and that you’re about more than just yourself. Not only is this a good thing in and of itself, it may also keep you at the forefront of venue owners’ minds the next

Be (as) low maintenance (as possible) There’s a fine line between coming off as professional and coming off as high maintenance. You’ll come off as professional if you communicate your setup/sound needs to the venue ahead of time, arrive on time with whatever you said you’d bring, and do a thorough sound check before your set if time permits. You might come off as highmaintenance if your setup rivals that of 16

time a big opportunity comes around.

musicians to sustain a thriving live music scene, and the more we take the time to acknowledge each other’s contributions to this end, the better!

Say “thank you” Remember to say thank you to the folks who were involved in making your gig a success – from the person who booked you to the sound engineer to the other artists who performed on the bill. It takes a partnership between venues and

Rachel Udow is co-owner of the Prelude, a musician and has years of writing, editing and gigging experience.

The Rio Grande Valley’s Musicians’ Incubator! The Prelude is a “musicians’ incubator” located in Historic Downtown Harlingen, Texas. They offer a comprehensive and focused set of services designed specifically for musicians. No matter age or experience level, The Prelude can help you clarify where you are as a musician, set specific, measurable goals for the future, and develop a roadmap to get there. The Prelude is also a resource center that you can access at any time as you travel along your career path as a musician. theprelude.net

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by Cayetano Garza Jr.

of practice on his off-time, he utilizes his instructional time to demonstrate technique to his students by letting them see his process firsthand. The students work in tandem with their instructor as he guides them through the process from initial sketch to finished piece. “I take out a canvas and I start the whole process,” says Godinez, describing how he’ll then offer his students different ways to proceed with their own piece. “I like to start a project with the kids so I'm not just talking the talk but also walking the walk. And they learn better this way.” Godinez instructs his students best through live demonstration, being careful to explain creative decisions and offering the students a variety of answers to any questions they might have. Once they grasp the concepts he’s laid out for them, he’s conscientious about giving them the breadth to explore and experiment. In a lot of ways his teaching technique echoes his own experience as a student and the way his

rtist Mario Godinez signs his work with the cognomen “El Mago”, which is Spanish for “the magician”. In many ways his Surrealist paintings can only be described as magical. He conjures internal reactions from the viewer as deftly as a magician pulls a rabbit from a hat leaving just enough room in each piece for one’s own interpretation. This mental slight of hand is as much a mechanism of the Surrealist style that Godinez chooses to paint in as it is a byproduct of the artist's own working methods and visual language. With each new series of paintings Godinez dives deep into his own subconscious bringing to light his own fears, wishes and ambitions which then resonate with the viewer through the universality of these themes. As a high school art teacher in Roma, TX for the past eight years, Godinez has had an opportunity to perfect his teaching skills while finding his own unique voice as an artist. Avoiding the occupational pitfalls of falling out

artist’s soul with some shades half drawn and some wide open. It would be easy to ascribe their presence to Godinez’s role as a teacher, but that would be limiting the metaphor. “It's funny because it’s one of the first things we teach them. They’re so fascinated by it. We go through a whole session on how to draw eyes.” Godinez points out the importance of eyes in a piece of art. “It’s one of the first things you look at.” Their importance takes a front seat in his latest series “The Heart of the Artist” where we see Godinez again paying homage to his favorite artists, his cultural heroes, and biggest influences by painting surreal portraits of their hearts. Godinez revisits Dali, Kahlo, Cantinflas and others in this series but the devil’s in the details. Godinez has plunged deeper into his own unique way of blending multicolored biomorphic shapes that teeter on the edge of representation and illusion - a pair of eyes could be seen as part of the sides of two opposing faces or the face of an owl simultaneously being part of what looks to be humanoid figures, melding one into the other, seemingly meandering within the outline of what represents a heart. Somewhere in that mix the viewer will begin to make out the face of Salvador Dali himself staring at you with his iconic wild gaze before the portrait melds back into a cacophony of imps and dimensional portals. Although Godinez says the colors he uses are a callback to the multicolored neighborhoods of his native Guanajuato, his work manages to supersede any cultural cliches. For Godinez the work is ultimately motivated by the joy of producing art itself and its therapeutic properties.

favorite instructors taught him. “They really let me do my own thing,” says Godinez, “They weren’t behind me telling me what to do or how to do or you’re doing this wrong. I really don’t like telling my kids ‘this is wrong.’” Godinez says he came by this realization the hard way in the beginning of the career and now he allows his students to explore art on their own terms knowing that an unconventional approach can sometimes create fantastic results. “They become unique and one of the best artists we have.” He’s also careful to council the students that fall into the trap of emulating their teacher a little too much encouraging them to work past it and find their own way. “A lot of eyes,” laughs Godinez. If eyes are the window to the soul then the eyes that are peppered throughout Godinez’s latest output are the windows of a skyrise apartment that houses the 20

â&#x20AC;&#x153;Godinez has plunged deeper into his own unique way of blending multicolored biomorphic shapes that teeter on the edge of representation and illusionâ&#x20AC;? 21

“When I create my artwork I usually do things I like. What’s going to make me happy when I do this.” Although he admits to repeating himself thematically, he says he approaches the work subconsciously letting the small details fill themselves in. “Sometimes my images just repeat,” he says. “I end up doing a lot of Salvador Dalis, a lot of Fridas, a lot of little monsters, Cantinflas because that's what makes me happy.” Godinez may start with a familiar and comforting theme but then he unleashes his subconscious as he begins to work

on an initial idea only taking time to step back and try to interpret any deeper meaning once the piece is complete. “This is my outlet to a lot of the monsters we all have inside - depression, anxiety, stuff like that.” In this sense even the eyes he’s been painting take on a deeper meaning like self awareness and enlightenment. “I’m becoming aware of a lot of the things I’m doing and a lot of the decisions I’m making and a lot of the things I’m going through.” Godinez admits that the greatest epiphany is one that he’s carried since childhood - the pursuit of art. 22

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Local Author Spotlight

la poeta

power

Playful, artful, and wholly memorable, these poems prove Erika Garza-Johnson deserving of her enduring moniker

year and a half ago, the micropress FlowerSong Books launched with the debut poetry collection of one of the Rio Grande Valley’s most unique voices— Erika Garza-Johnson, known to many as La Poeta Power. Erika grew up in Elsa, Texas, and has been reading and performing her poetry in the Río Grande Valley since 2001. Garza-Johnson received her MFA in Creative Writing from the University of Texas Pan American. A writing instructor at South Texas College, she has served as the poetry editor for New Border Voices: An Anthology (Texas A&M University Press, 2014) and ¡Juventud! Growing Up on the Border (VAO Publishing, 2013).

Garza-Johnson received her MFA in Creative Writing from the University of Texas Pan American. A writing instructor at South Texas College, she lives in McAllen with her husband and her two children.

Additionally, her poetry has been featured online in La Bloga, Con Tinta, and Poets Against SB 1070. Her work has also appeared in Texas Observer and Border Senses. Since the publication of Unwoven, her unflinchingly honest exploration of Chicana womanhood along the border, Erika has received wide critical acclaim, and her poetry is now on syllabi in multiple universities. Not content with just the expression of her own expression as a mujer and nepantlera, she works with FlowerSong Books to bring the work of other border writers to the attention of readers everywhere.

Erika Garza-Johnson’s debut book of poetry, UNWOVEN, is available for purchase on amazon.com as well as other online book outlets.

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. 27

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Carrot Muffins by Chef Stefania Trimboli-Wright Sometimes it takes a little sugar to get a kid to eat his vegetables. Carrots have a natural sweetness to them which makes it easy to sneak them into some Carrot Muffins. I like mixing the flours to produce a less grainy muffin. Of course, there are a few flour alternatives that could work as well. It’s about experimenting. With all these beautiful local carrots in the markets right now, I couldn’t help but to whip up a batch of these guys. Ingredients • 3/4 cup organic whole wheat flour • 3/4 cup organic all purpose flour • 1/2 cup organic light brown sugar • 2 teaspoon baking powder • 1 teaspoon baking soda • 1 teaspoon cinnamon • 1/2 teaspoon salt • 3/4 cup plain Greek yogurt • 4 tablespoon butter, melted • 1 teaspoon vanilla extract • 1 egg (there’s some at the farmer’s market!) • 1/4 cup milk • 1 1/2 cup grated carrots (try local!)

Directions Preheat oven to 375. Measure out all ingredients. Line muffin tins with paper liners. In a mixing bowl, combine dry ingredients (flours, sugar, baking powder, baking soda, cinnamon, salt) In a separate mixing bowl, mix wet ingredients (yogurt, milk, butter, extract, egg). Add the dry ingredients to the wet ingredients and mix until a batter is formed. Fold in carrots until just mixed. Divide batter into muffins tins and bake 18-20 minutes or until a toothpick comes out clean.

by Chef Stefania Trimboli-Wright cheese, maybe a rillette while you get to know the other guests. Then, you sit, and the first course comes, usually a fresh seasonal salad or cold vegetable starter. Next, comes either a fresh hand made pasta or polenta, any grains. Then we have the main protein course with more vegetables, highlighting every ingredient and treating it with the respect it deserves.

flowing air, would surround the backyard. Beautifully decorated tables with flowers and candles set the perfect tone to the fun evening. At first, to allow for guests to arrive, you mingle and munch on some local charcuterie, cheese and grilled bread. Something pickled, something sweet. You try things like pate, head

Dessert closes the evening, using local, at times exotic, fruit. Iâ&#x20AC;&#x2122;m ready to start the process of developing the menu the day after I have a dinner. First, I start with the month, the season, what it makes me feel, think remember. Food memories play an integral part of my menu planning and 34

Logo: Tam Corbette

knew I wanted to have another creative outlet besides the daily menu. The idea started forming in my mind, all local fresh ingredients would be the stars, a warm communal setting with stringed lights hanging over head would be the backdrop. The ambiance, created by the live music filling the

Photo: Jonathan Montemayor

development. I love how a spoonful can take you back years and make you feel like you’re in mama’s kitchen again. Or remembering that summer afternoon I spent with my brother and made pesto. I love my food memories. I love making more and being a part of other’s. I’m

Photo: Tam Corbette

inspired by the seasons, and the imposed limitations following them creates. You have asparagus, swiss chard, spring onions and mushrooms, what are you going to do? It forces something to come out that might otherwise never have been given a chance to surface.

Photo: Julie Ng-Castillo

The Wildfire Dinner is a monthly dinner hosted by Chef Stefania Trimboli-Wright at the Rio Grande Grill. She uses all local ingredients and cooks outside over an open fire. Seating is communal with beautifully decorated tables sprinkled with lights overhead. Enjoy a multicourse meal paired with carefully selected wine while listening to live music. One of the Harlingen’s most unique dining experiences. Find out more and make reservations

facebook.com/wildfiredinner

Photo: Tam Corbette

GREEN LIVING

Taste of the Harlingen

Farmers Market Story and photos by Kate McSwain

he Harlingen Farmers Market is rapidly becoming the place to be on Saturday afternoon from 3-4:30 pm. The market, which is currently located on A St. between Monroe and Jackson, is always hopping with activity. Fresh local produce, live music, and a friendly community of shoppers made up of young and old alike dashed with a healthy mix of children and dogs make the market the best show in town! The Harlingen Farmers Market, founded by Michael Mascha and

Donna Navarro, opened six years ago with just a few local farmers offering local vegetables grown using organic and sustainable principles. Today the Harlingen Farmers Market has grown to include over 20 vendors of local farmers and new entrepreneurs. The commitment remains to providing the freshest local sustainably grown vegetables and fruits along with local honey, eggs, and nuts. Shoppers can also find locally made products such as salsa, jams, artisanal breads, and goat cheeses. Local Wild Gulf shrimp and butterfly 37

at the market, food ideas, environmental info, and questions from the community on a wide variety of topics. Long operated by a tiny volunteer group in February 2016 the Harlingen Farmers Market was approved as a nonprofit 501C3 organization. Under the guidance of its new Board of Directors, added Saturday market day activities like chefs demos and childrenâ&#x20AC;&#x2122;s activities are on the horizon for the market along

attracting plants, herbs and vegetable starts and beautiful flower bouquets are also available to our shoppers. Prepared global foods using market ingredients ranging from Vietnamese spring rolls to Middle Eastern hummus and baklava are a delightful option for customers as well. Small batch goats milk soaps, Shea butter hand crĂ¨mes, & salt scrubs are also offered. All local, all healthy! The Harlingen Farmers Market has its own FB page with over 3,900 members. Daily postings consist of what is available 38

with expanded publicity to increase attendance. On Thursday, May 19th from 6-8:30 pm at the Jackson Square Event Center, five of the Valleyâ&#x20AC;&#x2122;s best chefs will create variety of appetizers utilizing market produce along with local grass fed beef, shrimp, & goat cheese. There will also be plenty of desserts to satisfy those who may have a sweet tooth. Chefs Stefania Trimboli-Wright of The Rio Grande Grill, Sopa Ely of Stone Court CafĂŠ, Graham Smith of Gramifer LLC, Adam Cavazos of Bodega Tavern and Grill and Jesse Castellon of The Loretto Bistro will shop the farmers market and then create their own unique tasty bites of local lusciousness. Live music, beer, wine, and other surprises will add to the fun. Tickets are $50 per person and will help fund the Harlingen Farmers Market upcoming activities. Please contact Julie Castillo at 956-9708344 for more info & tickets. By shopping the market you buy local

in season food, support local growers and emerging entrepreneurs, shop with a small carbon footprint, and build an environmentally sensitive community. All win-wins! Remember- Shop Local! Think Global!

Smokin’ Ribs on a Sunday

Story, photos and playlist by Bryan Maxwell

here’s something beautiful about Sunday. First, most of us get off work and second, each one's a little different and unique. You only get about four a month -- so I say use ‘em wisely. I prefer my Sundays to revolve around being outside with family & friends, good music, ice chests full to the brim with whatever suits your fancy and the smell of Rio Grande Valley Mesquite or Central Texas Post Oak on fire slow cookin’ something to perfection. That smell... ohhh that smell. Smoking food has served several purposes throughout history but this ain't no history lesson. It's about slowing down. The snail paced nature of the

whole process is like a personal slow motion machine. Time has a way of running away from us. That’s too bad. Let’s slow it down... go outside, and fire up the smoker.

Time To Slow Down I'm in the kitchen getting two racks of pork ribs ready for the smoker. Beck’s singin’ something about Debra in the background. The key to a properly cooked rack of ribs comes down to a few things:

The Ribs We’ll be using pork ribs for this. You can you choose Baby back, St. Louis or Rib tips. I prefer St. Louis cut myself. 40

You should already have a fire going at this point getting near about 275F consistent temperature while your ribs get to temp. Since we’re doing this in Austin, TX I’m using Post Oak but Mesquite’d do fine too.

They have a more uniform look to them and tend to have a bit more fat and marbling which you want with ribs. Ribs are easy to dry out if you’re not careful. Having a little extra fat won't hurt the flavor and will save you if you leave ‘em

Get Rid of the Silver Skin

in longer than necessary. Tame Impala’s playing now... something about Eventually. Sounds good. Let’s flip the ribs bone-side up. Grab a paper towel, a dull kitchen knife and scrape under the bone until the thin layer of tough skin starts to come off. Using your paper towel grab the skin while holding the rib down. Slowly pull away from the bone. If you’re lucky it’ll all come off in one piece. Don’t skip this step, you’ll get tough ribs.

Herein Lies The Rub First of all Black Keys on the speaker then get some salt, pepper, smoked paprika, garlic powder, onion powder, and brown sugar.

Let’em Hit Room Temp & The Fire

A little Glass Animals never hurt anyone. We’ll go with that. Remember we’re slowing down here. Let the ribs come as close to room temperature as you can.

• • • • • •

Now it’s time to

1/4 cup Kosher Salt 1/2 cup Freshly Coarse Ground Black Pepper 2 Tbsp. Sweet Paprika 1 tsp. Onion Powder 1 tsp. Garlic Powder Brown sugar (a dollop’ll do, any more is gluttonous!)

Sauce and Wrap.

A lot of people swear against sauce but I don’t. That’s why I listen to Father John Misty. Apply a small amount of your favorite BBQ sauce to the ribs evenly with a silicon or metal brush and wrap them so they’re completely covered in foil:

Rub the ribs, thoroughly until a nice even coating appears.

The Smoke (cook) Now’s a good time for Ghostland Observatory. We’re going to cook them for 4.5 hours at 275F. Throw’em on the smoker bone-side down: Cook for 2 additional hours at 275° F then open up the foil to expose the top of the meat for the final 30 minutes to make sure that sauce and rub congeals together forming a delicious crust. Take’em off and let’em rest for about 5 minutes. Cut inside bone to inside bone, leaving the majority of the meat on one side of the rib for an easy pull. The bone should come out with a little tug, but it shouldn’t completely fall out. If the bone just falls out they could potentially be overcooked. Turn on some French Kicks and bite into those amazing ribs. You earned it. Enjoy your Sunday.

Cook for about 2 hours unwrapped and they should look like this:

DOWNTOWN SPOTLIGHT

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

Sitting quaintly on the corner of 2nd Street and Jackson Avenue in Harlingen, Texas the Antique & Artisans Emporium at 123 East Jackson Avenue resides in what was once the Rexall Drug store back in the 50’s and 60’s. Even the old soda counter is still intact! It seems fitting that this space should house a beautiful and varied collection of antiques for over 25 years. June Ramirez and her husband Tony Ramirez opened the store in 1991 when June retired from work as a restaurant manager and it has been a

shopper will find Frank’s Collection Record Shop where those interested in music can find just about anything in vinyl, cassette, eighttrack, cd... even Edison record format, all at a reasonable price. Lauded as “The Best Little Record Shop in Texas”, Frank’s Collection is named in posthumous tribute to Tony’s brother’s first coin collection. The shop also boasts an amazing selection of vintage comics, coins, knives, fishing gear, and much more. Franks Collection is a DJ’s paradise for vinyl to scratch, sample and play though Tony quips,”Most of my customers are millennials looking for vinyl after discovering their parents records... Foreigner, Journey... BLONDIE.” Visit them online!

www.antiqueartisansemporium.com mainstay of the Historic Downtown District ever since. With over twenty five vendors housed within the antique shop, there’s a variety of beautiful forgotten treasures for antique hunters to sort through. “Most of the vendors have been with us for a long time,” says June, citing one that has been with the cooperative since its inception. In the far left corner of the store the casual

SUBMIT to encore We’re always looking for original content to publish in our magazine!

Submissions Guidelines for Writers

us may contact info@encorecultural.com with a link to your portfolio or samples of your work.

enCORE Cultural Arts Source publishes articles and reviews about cultural events, art, music, film, books/literature, fashion, graphic novels, video games, food, and sustainable living. Though our distribution and focus is primarily local/regional we also like to include a variety of articles about a wide range of subjects. We pay $25 for stories 250-499 words, $50 for stories 500+ words (not to exceed 1000 words, if possible). enCORE reserves the right to refuse any articles submitted. Payment will be made ONLY upon print publication of your article. You will be contacted in advance if an article is selected for publication. Writers interested in submitting articles for publication in enCORE Cultural Arts Source can email us a writing sample or story for publication submission to info@encorecultural.com. Articles selected for publication will be edited before being printed.

Submissions Guidelines for Cartoonists and Illustrators enCORE is seeking cartoonists interested in submitting their self-syndicated comic strips! We pay $25 for black and white comic strips and $50 for full color strips. Please email info@encorecultural.com with a link to your portfolio or samples of your work. Please note: Our magazine’s final trim size is roughly 5.5″ x 8.5″ and any comics submitted should reduce well and be readable at this size. All comics should be submitted in JPG or PDF format at 300 dpi. Freelance illustrators are also welcome to submit to our magazine. Illustrations are assigned between the 10th and 15th of every month with a 48-hour turnaround. Email us at info@encorecultural.com with a link to your portfolio and/or samples. Snail mail samples can be sent to: enCORE Cultural Arts Source, c/o Submissions Editor, PO Box 999, La Feria, Tx 78559. We reserve the right to reprint the work online when we archive our stories on this site but the creators will retain all republishing rights as well as copyright of their work.

Submissions Guidelines for Photographers enCORE Cultural Arts Source is a highly visual magazine, so we’re always in need of good, professional photographers to cover local events and/or provide illustrative photography for articles. Photographers interested in working with 46

311 S. 17th St.

McAllen, TX

facebook.com/cineelrey

Preserving the past for the future. facebook.com/YerberiaCultura

613 S. 17th St.

McAllen, TX 47