Volume 8 Issue 2
Firing on all Cylinders: the Creative Center of Scottsdale $5.99 mar-apr 2019 Serving Contracting Firms and the Arizona Community. . . Then & Now
Meep Meep! Beep Beep!: Phoenix’s Roadrunner Truck Stop Blacktop Innovators: Sahuaro Petroleum & Asphalt Jay McCormick “Mack” Sheesley’s Truck Museum John S. M. Hamilton, Jr., AIA: Focused on Design MDI “Rocks” the Trucking Industry
Special Trucking Issue
Reliance Trucking: Phoenix’s “Atomic” Mega-Mover
Arizona’s Timeless MagAzine
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Jim Latto - Business Development jim@azdbm.com | (602) 696-4139
Contributors Alison Bailin Donna Davis Carly Hanson Frank Pearson Rebecca Stallman Doug Sydnor Production Manager Laura Horner Laura@arizcc.com Magazine Advisor Chuck Runbeck Chuck@arizcc.com
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Visit us online at arizcc.com Serving Contracting Firms and the Arizona Community… Then & Now Arizona Contractor & Community (ACC) magazine is published bi-monthly (Jan/Feb, Mar/Apr, May/ June, July/Aug, Sept/Oct, and Nov/Dec). ACC is a professional publication designed for the contracting industry, engineers, architects, equipment rentals, suppliers, and others interested in Arizona and its history. Content including text, photographs or illustrations may not be reproduced without the written permission from the publisher. The publisher does not assume responsibility for unsolicited submissions. ACC reserves the right to reject any editorial and advertising material and reserves the right to edit all submitted content material. Arizona Contractor & Community Copyright © 2019 All rights reserved.
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Alison Bailin
Carly Hanson
Article on page 21 + 23
Article on page 36
F
rom the current state of public relations to hot new restaurant trends to the Notre Dame Fighting Irish, Alison Bailin has a lot to say…about pretty much everything...all the time. And even more to write about it all. So much so that in addition to her day job working as an award-winning executive at one of Arizona’s most lauded boutique public relations agency – HMA Public Relations – she is also a freelance writer for more than two dozen magazines on business, colorful characters, food, wine, cocktails, beer, travel, tourism, resorts, and events across the region. Bailin got her start in communications in 2004, but began freelance writing regularly in 2008. When not working at her day job or writing, Bailin volunteers in the kitten ICU at the Arizona Humane Society and for the National Academy of Television Arts and Sciences’ Rocky Mountain Southwest Chapter. She also serves on the board of directors for Subway Kids & Sports of Arizona and is currently helping to plan the 2019 Public Relations Society of America Western District Conference, which will take place in Arizona in April. She is an unabashed and unashamed television fanatic who dies a little inside whenever anyone brags about “cutting the cord” or calls the love of any show “a guilty pleasure.” To read her musings, visit instagram.com/ abseesitall (get it?).
C
arly Hanson is a marketer by day, and a freelance journalist by night - or whenever she can find an extra moment. Whether she’s writing fiction, news, socialmedia content or blog posts, she has loved putting pen to paper since her primary years. While she was earning her journalism degree at ASU, Carly wrote for the Arizona Contractor & Community blog and print magazine, and several local news outlets. Some of her favorite topics to cover during those years were homelessness in Phoenix, autism awareness, and women’s issues. Since graduating in 2018, her full-time work week consists of writing marketing content for Nexus 21, a technology company in North Scottsdale. Carly describes her position at Nexus as her dream job, especially because Friday happy hour is a weekly tradition at the office. She also likes to return to her storytelling roots in AC&C, and by creative writing at home. Carly lives in Phoenix, where she was born and raised. When she isn’t doing yoga after work, she’s attending concerts with her friends, or playing with her adorably clumsy, short-haired daschund, Buddy. She also goes to the movies almost every week with her father, and her personal favorites are political and crime dramas. For any questions on her work, you can connect with her at linkedin.com/ carlyhanson96. Mar-Apr 2019
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Back When: Flight of the Phoenix Douglas Towne Meep Meep! Beep Beep!: Phoenix’s Iconic Roadrunner Truck Stop - Douglas Towne Blacktop Innovators: Sahuaro Petroleum & Asphalt Carly Hanson Whiting Bros.: Cheap Gas, a Comfy Bed, and a Memorable Sign - Douglas Towne
Reliance Trucking: Phoenix’s “Atomic” Mega-Mover Douglas Towne
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Building On The Past: 1960: Lin Tee Panel Convoy
52 ROC 233308
Construction Around Arizona: Projects • People • Practices
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Architect’s Perspective: John S. M. Hamilton, Jr., AIA: Focused on Design - Doug Sydnor
Digging Through the Archives: Jay McCormick “Mack” Sheesley - William Horner
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Bid Results - Bidjudge
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ACC Advertisers’ Index
Front Cover A 1967 Peterbilt 358A model receiving a massive steel girder at Reliance Trucking’s yard in Phoenix, 1980s. Story on page 50
Image courtesy of Buddy Pelts
Tempe Office: (480) 730-1033 Dispatch: (602) 268-9011
From The Editor: One Trucker’s Award-Winning Road Rage - Douglas Towne
Inset - Reliance Logo.
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One Trucker’s Award-Winning Road Rage Douglas Towne
F
ans of the highway thriller flick, Duel, have some specific driving habits. They pass semis with trepidation, even if the trucker gives a friendly wave with his arm out the window, encouraging them to go by. And they wouldn’t dream of honking at a big rig, no matter the circumstances. Duel, Steven Spielberg’s directorial debut, opens with these seemingly innocuous exchanges between a motorist and trucker on a lonely road. Soon though, viewers comprehend the gravity of the situation: the motorist is prey, hunted by an evil-looking semi. Much like Alfred Hitchcock’s Psycho indelibly links shower with a psychotic killer, Duel will forever make you think twice about passing a semi. The low-budget film, shot in 11 days, remains spellbinding almost 50 years later. The made-for-television movie presented a different image of truckers. Semi-drivers were long known as the “Knights of the Road” for their reputation of stopping for hitchhikers and assisting disabled vehicles. These days, company policies forbid such activities. Due to
congested highways and a few bad eggs with poor driving habits, truckers often get a bad rap. But it took Duel to elevate semis into people’s nightmares. Writer Richard Matheson has said the script was inspired by his own experience
Images courtesy of Author
Editor’s column
of being tailgated by a trucker in 1962. The story intrigued Spielberg, who attended Phoenix’s Arcadia High School for three years in the early 1960s. Spielberg shot the film in 1971, featuring Dennis Weaver as a salesman driving his red Plymouth Valiant through southern California. Weaver is late for an important appointment with an unhappy client, delayed due to a slowmoving truck in front of him on an empty two-lane highway. The seemingly ordinary trip, however, becomes a terrifying ordeal when Weaver becomes stalked by the unseen driver behind the wheel of a 1955 Peterbilt 281 tanker truck. Like Hitchcock, Spielberg
Top left: 1955 Peterbilt used in Duel. Top right: Duel movie poster, 1971. Right: Dennis Weaver in Duel. ten
Mar-Apr 2019
plays on the fear of the unknown, letting viewers see only the trucker’s arm and boots. The villain appears less the driver than the truck, which appears dirtier and more ominous in every scene. Spielberg reportedly looked at several semis and selected an older “needle nose” Peterbilt because its butterfly hood, split windshield, and round headlights gave it an anthropomorphic appearance, adding to its menace. The truck displays six battered license plates from Arizona, Idaho, Montana, Nevada, New Mexico, and Wyoming, which suggests the truck has been spreading havoc throughout the West.
Duel will forever make you think twice about passing a semi The Peterbilt featured in Duel was used by Union 76 for gas deliveries from the Los Angeles Terminal. When the old semi made a delivery at Universal Studios in 1971, the studio made an offer for the truck and bought it that same day for $7,000, according to the driver, Bruce Werner. “There was no powertrain update for the movie,” he says. “It had a 1674 Cat at 245 HP, a 13 speed, and it was a 3-axle tractor that had Page and Page suspensiononly one differential. They did not change much except to make the paint look a bit more sinister.” The original 74-minute, Emmy-awardwinning TV movie aired on ABC and received positive reviews. To capitalize on the film for theatrical release, Universal had Spielberg add more scenes to lengthen it to 90 minutes. Duel was subsequently released in Europe, Australia, and the U.S. Interestingly, Spielberg employed another Hitchcock characteristic in Duel by making a couple of cameo appearances. Spielberg is seen reflected in a phone booth’s glass when Weaver is attempting to call the police, which he later said was inadvertent. Another “appearance,” however, was very much planned. As Weaver is attempting to outrace the semi intent on killing him, he sees what appears to be a police car parked up ahead on the side of the highway. The vehicle, though, is actually a pest exterminator named “Grebleips,” which is “Spielberg” spelled backwards. Top: Plymouth Valiant and Peterbilt truck. Middle: Grebleips Pest Control vehicle. Right: Steven Spielberg while filming Duel. arizcc.com
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Projects . PEOPLE . PRACTICES
Rebecca Stallman
T
wenty years ago a teddy bear holding a machine gun was displayed outside of a Pepto-Bismol pink building in downtown Scottsdale. Mandall’s Shooting Supplies at 3616 N. Scottsdale Road opened in 1975 and closed in the early 2000s with the retirement of the owner, Marty Mandall. In its place, the Creative Center of Scottsdale emerged in February 2016 as a 4,000-square-foot shared-working space for creatives. Formerly a shooting supplies store with an underground shooting range, the Creative Center embraced the integrity of Mandall’s while transforming it for modern use. arizcc.com
Original shipping containers for weapons have been converted into a table and bar chairs, handmade filing cabinets have been converted into lockers for artists’ supplies, underground shooting tubes now support beer kegs from the neighboring Goldwater Brewery, and thousands of bullet casings extracted from the tubes are scattered throughout the facility. The center’s logo sports the same
Clockwise from above: The Creative Center of Scottsdale lobby; shooting tube; and range sign with dancers.
teddy bear, but now he’s holding a blow torch. The original can be found on display at the entrance of the wide-open space that makes up the main room. In the same room are 10-ft. x 10-ft open art spaces, as well as private studios that can be rented. Center owner Michelle Biely said the
Images courtesy of Author
Mandall’s legacy Evident in Creative Center of Scottsdale
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