VOLUME 2: SPRING 2009
A Time For
Renewal FROM THE EDITORS | AMPERSAND
I’m sure you’re aware, dear reader, of the traditional images that spring conjures. Images of new beginnings; flowers blooming, trees blossoming, of fresh starts, of new beauty, of renewals, and of warmth. If you remember, we’re all about connections. In the second installment of Ampersand, we’re still pursuing this. The Kansas City Art Institute is still connecting internally and reaching out to the community, it’s bringing together art and culture. It has since evolved from our debut issue, though. The members of Ampersand have been scattered througout the world this semester, in Spain, in England, and the magazine has progressed into a more all-encompassing publication. The focus has turned more towards the wider audience of Kansas City and beyond. There are some exciting treats in here, and we would like everyone to have the opportunity to enjoy them. Issue 1 has received wide acclaim, and we hope our spring issue does the same—maybe more.
This Issue: 4/5
A TEASPOON & THE OCEAN
THE KING photo essay
heavy headed boy
what to look for
TIMOTHY MORALES featured artist
dogs & dust
spanish pisto recipe
morgan ashley allen
DO IT YOURSELF
morgan ashley allen
VOLUME 2: SPRING 2009
Paul MacLeod’s Graceland Too exists as a bizarre testament to the King of Rock and Roll. EMILY HENSON | PHOTOGRAPHER
It might be the best kept secret of the South. Or it might just be the strangest scenic detour you’ll ever take. 4
1. Drive to Memphis. Forget about Graceland–it’s too expensive. Instead, hop on the first route out due northeast. 2. Drive an hour to Holly Springs, Mississippi, and find Graceland Too. This personal-shrine-turned-museum is hard to miss, because it’s a house built to be a replica of the real Graceland. If you get lost, just ask any cop where it is. They’re all lifetime members. 3. Knock on the door. It’s open 24 hours a day and $5 to enter. If you go at night, just knock louder. 4. Meet Paul MacLeod. He’s the creator of Graceland Too and the real reason for visiting. 5. Begin an elaborate 3 hour tour inside Paul’s house. Tip: Don’t get distracted by the unusual sensory overload of walls, floors, and ceilings covered in Elvis memorabilia - Paul will think you aren’t paying attention and begin to poke you. 6. Forget about Elvis. The real and better tour will be about Paul MacLeod, or his son, Elvis Aron Presley. Be sure to ask which famous personalities have visited, and how much money they’ve offered him for his collection. 7. Let Paul MacLeod sing some karaoke. While you’re at it, sit in the electric chair—that he built himself out of colanders and planks of wood. 8. Meet the dog, Lisa Marie Presley. 9. Now’s the time to make for a swift exit. Before you go, ride the plaster lion, just like Xena the Warrior Princess can be found doing at night. 10. Let enough time pass to be able to question whether what you have seen is a figment of your imagination, or the South at its craziest. 11. Repeat these steps two more times to get a Lifetime Membership. Don’t forget to ask about getting married or buried in the backyard.
PAUL MACLEOD QUOTE # 457 “I’m trying to buy out this neighborhood piece-bypiece so get a bulldozer little sections of it turn this into Elvisland and turn this street into Memphis Street and Heartattack Hotel ... Sam Walton’s grandson comes here all the time for Walmarts.”
PAUL MACLEOD QUOTE # 962
A Guide to Graceland
PAUL MACLEOD QUOTE # 94 “I’ve got his guns, I’ve got his helmet, I’ve got his badges, I’ve got his jewelry, I’ve got his pants, I’ve got his underwear. Two hundred fifty thousand dollars in cash. Just giving you fact.”
“I walked out of Paris Hilton’s hotel laughing like hell with seven hundred fifty thousand dollars in cash in my hand in one card game. My wife told me, ‘I’m the mother of your son I’ve been with you for 22 years you’ve been doing this for 55 years, make up your mind now is it me or the Elvis collection?’ I handed her one million dollars and told her bye.”
VOLUME 2: SPRING 2009
MILK SQUIRREL MELTS movie
Harvey Milk is the politician you wish your teachers told you about, and “Milk” is the documentary you wish they showed you in school. Powerful civil rights history is seamlessly intertwined with tender personal moments that draw the viewer into an empowering narrative. The viewers get more than just the facts about Harvey Milk’s political career, they get to experience him as a person. When the movie culminates in the assassination of this man, one feels more than just the loss of what he has done, but the loss of who he was as a friend, a lover, and a inspirational leader. The performances in this movie are nothing short of phenomenal; the acting superstar Sean Penn manages to finesse the role without overpowering Milk’s character, which is what earned Penn his second Oscar. James Franco gives meaning and sensitivity to the role of Milk’s lover and campaign manager, Scott Smith. Alison Pill brings flavor to the brief role of Anne Kronenberg. Josh Brolin fleshes out the political adversary and eventual assassin, Dan White, giving a glimpse into his disturbed nature. Brolin’s performance illustrates events leading up to the tragedy more clearly than what was portrayed in the media and the courtroom at that time. The most valuable moments are in the intimate details. A scene with Harvey and Scott lounging about discussing their future or the death threat tacked to the refrigerator door serve to add depth to an already meaningful characterization. The larger historical proceedings are given equal weight—at the same time that Milk becomes the first openly gay elected official, the national spotlight is on Anita Bryant and her homophobic agenda. Footage of newscasts and interviews with Anita flow smoothly into the production to highlight the harsh anti-gay movement that we are now seeing resurface. “Milk” is a movie that should be seen by everyone, not just those interested in political history or the gay rights movement. The beautiful character portrayals and the striking similarities to current events make this film engaging for all audiences.
Wait until you see what this woman loves to make for her little boy when he gets home from school. The video begins with a mother and son in the woods, hunting in harmony together. “Only five minutes in the woods and you got one!” she exclaims, proud of his primal triumph. Then we are taken inside the mother’s kitchen, where her long, flowing, platinum blonde hair (which was previously concealed under her hunting hat) mesmerizes you, luring you in to witness her deranged cooking. Every second of this Lady Godiva clip will captivate and horrify you.
Kittens Inspired by Kittens
A little girl narrates still images from a book called, “Kittens.” Pretty simple; pretty hilarious. Must see.
The first minute and a half is a thumbnail slideshow with French commentary, so you may want to skip through it. But once the animation begins, we were captivated by the strange eloquence of the illustration style and movement.
Electric Stimulus to Face www.youtube.com/watch?v=pLAma-lrJRM
look& Incredibly odd synthesis of music and science. A scientist has hooked electric stimuli to people’s faces, and has linked the other end to a synthesizer. You have to see for yourself.
DUSTIN MABERRY l STAFF WRITER
VERONICA HOUGHTON l STAFF WRITER
VOLUME 2: SPRING 2009
Black Moth Super Rainbow “Eating Us” DUSTIN MABERRY l STAFF WRITER
This is MSTRKRFT’s first album since their original electro-house album, “The Looks.” Now they are back, but with the addition of some big-name artists. Among the line-up of contributors are: E-40, Ghostface Killah, and N.O.R.E. to name a few. Available digitally now.
Fever Ray “Fever Ray” Andrew Bird “Noble Beast”
Dan Deacon “Bromst”
Yeah Yeah Yeahs “It’s Blitz!” Long anticipated, the Yeah Yeah Yeah’s new album is everything we hoped it would be. With a stronger sound than their previous albums, this is music that you can get into on the first try, and will be happily stuck in your head for days.
Beirut “March of the Zapotec/Realpeople Holland” song / artist / album /
Animal Collective / Black Moth Super Rainbow / Bon Iver / C.S.S. / Chairlift / Fever Ray / Fiery Furnaces / Gang Gang Dance / New Villager / Gravy Train!!!! / Here We Go Magic / Miike Snow / Dan Deacon / HEALTH / Pop Levi / Róisín Murphy / Stereolab / Tilly & The Wall / Dirty Projectors + David Byrne /
MSTRKRFT “Fist of God”
Animal Collective “Merriweather Post Pavilion”
Summertime Clothes / Sparkling Pink Teeth / Skinny Love / Left Behind / Bruises / When I Grow Up / My Egyptian Grammar / Princes / Rich Doors / Call Me In French / Tunnelvision / Animal (Crookers Remix) / Red F / Die Slow / Mai’s Space / Dear Miami / Three Women / Dust Me Off / Knotty Pine /
This Pennsylvania group’s music is ethereal but with a heavy beat. They are really one of the more unique sounds waving around out there. There is an album sampler “medley” on their Myspace if you would like a sneak peak.
Merriweather Post Pavilion / Fucked Up Friends / For Emma, Forever Ago / Donkey / Does You Inspire You / Fever Ray / Widow City / Saint Dymphna / Rich Doors / All The Sweet Stuff / Here We Go Magic / Untitled/Unreleased / Bromst / Die SLow 7” Single / Never Never Love / Overpowered / Chemical Chords / O/ Dark Was the Night /
new ar tists
Vivian Girls It doesn’t matter that they use freewebs.com to host their website, because they are an up-and-coming trio of girls that are definitely catching people’s attention.
Here We Go Magic His/Their self-titled debut album is soft and delicious. Mellow vocals with some subtle chanting as well as light, tapping drum beats.
Fever Ray This debut album is some of the best work you are going to hear in 2009, I can already tell you. Half of the Swedish, electronic, brother-and-sister duo The Knife, Karin Dreijer Andersson has just released a solo project under the pseudonym “Fever Ray.” This masterpiece is dark, lyrical and rich. Her writing is strange and thought provoking, and reminds us of The Knife’s slow, dark work, but much less dance and more breathtaking.
Wavves is the San Diego one-man band created by Nathan Williams. It sounds just like being a teenager at the beach, being a cross between garage punk and noise, but it’s got a fun flair.
Jane is currently a junior in the painting department and always enjoys a good mustache. email@example.com
VOLUME 2: SPRING 2009
SHELDON LAURA BERGLUND l INTERIM EDITOR-IN-CHIEF
Jane’s work is a good excuse to tell stories. “I try to create some sort of instantaneous narrative, to put the viewer into this place of eavesdropping,” she said about her concept. “It’s more than just people watching, it’s something that the viewer can return to, and see differently the second time,” The more time Jane spends on her body of work, the more she feels the need to keep things vague. “It’s about leaving it up to the viewer, to make their own connections, and to experience these moments on their own time.” Jane wants each piece to connect to the next, to build on the previous story, whether it is by color, or thematic idea. Jane works primarily with acrylic and ink on paper, and her work should be seen in color if the chance arises, as her palette is nothing short of beautiful. 9
VOLUME 2: SPRING 2009
Hugh Merrill Hugh is a professor at the Kansas City Art Institute in the foundation and printmaking department and serves as artistic director of the Chameleon Arts & Youth Development in Kansas City.
With a trying economy affecting us on such a profound and personal level, it seems at times, our neighbors’ needs are furthest from our thoughts. Funds for nonprofit organizations are drying up while their demand increases; humanitarian crises should suffer due to the fact that no one can fit them in their budget—or schedule. So, is volunteering a dying cause? Can charity be selfpreserving? What will the end look like? With our somewhat grim outlook, Hugh Merrill illuminates the reality of how lucky we really are.
SP A O TE O A N O & CE T H AN E
MORGAN ALLEN l INTERIM EDITOR-IN-CHIEF
MORGAN ALLEN: I would love to believe that in a time of need we all become more willing to lend a helping hand, but I can’t help think the hard truth is just the opposite. We have become an individualistic society; As the head of a nonprofit you’ve seen this trend–I’m sure. Tell me about your organization. How is it being affected by the economy? HUGH MERRILL: Chameleon Art and Youth Development uses the arts to help disenfranchised communities. We work with homeless kids, kids at risk, incarcerated kids, and domestic shelters. If you’re on the edge, you lose your job, health care, it all goes
over the top–this drives people into drugs, violence (...) problems are increasing the more the economy fails. Finding people is the easy part. More and more are being pushed over the edge. It’s very expensive to be poor. MA: What tolls have the changes in economy taken on Chameleon? HM: The money from foundations has dried up. This money comes from the big players and their money is in the stock market. So there is simply less money available. Nonprofits get less in traditional funding, but on the other hand we have the new stimulus package. Millions of dollars will be pumped into social foundations, so all the money we used to get from private sectors, we are now getting from the government. MA: But what about the help? Where do they come from? HM: They come mostly from my classes. I have an extensive workbook that shows the possibilities of working with these communities and using art for social justice issues. And I just ask, “Is anybody interested?” And I make very clear that not everybody needs to be interested in voluntering. I can’t believe I do this because when I was younger, I didn’t get along with kids. All I wanted to do was be in studio and make my artwork. I was always very left wing and socially involved but the idea of actually going and helping... MA: What do you think being a volunteer does, socially, for our nation, for an individual? HM: You come in real contact with real people in real distress to solve real problems. If you’re a writer you can’t just go in a room sit down and start writing, if you’re going to write about Africa you need to go there. You can’t just do it from a good heart. You have to do it from smell, touch, feel, (...) And it’s not that
you are going to save everyone, that’s an impossible goal but the things that come out of those saved are much bigger than just being homeless or not. You know, it makes me sick, really. I used to go to these things and they could spend $200,000 to raise $300,000 and the wealthiest people were all proud and they’d throw themselves a big party to feel good about themselves. You give some money, ladle some soup, and go play golf. That’s not volunteering. MA: How do you think society has changed, in that respect? How do you feel about where it’s at now? HM: I’m extremely delighted about where society is right now. Right now the failure of the capitalist system is the best thing that has ever happened in my lifetime–this is fantastic. My father’s generation had the depression and WWII; my generation had civil rights and Vietnam. You’ve been given a gift because the system doesn’t work anymore, and it has to be rebuilt, and it has to be rebuilt green. This is the time to volunteer and get involved and make a difference. We’re going to make the greatest art that’s ever been made. The art of the 21st century is going to start with your generation–with a different kind of ethos and concerns. There is change happening.
against something else? That’s the way good and evil works–it’s never ending. They’re always going to be this way. But volunteering gets into your soul and it becomes a part of your life. MA: Once you start you can’t stop, right? HM: Exactly! MA: But if attrition holds true, why do it? If there’s no end–ever, at least no end in sight? HM: The Mother Superior at Huruma in Nairobi, she does it out of faith and she said, “Saving the children is like taking a teaspoon and trying to empty out the ocean.” She says: it’s absolutely foolish, yet each teaspoon full is of the highest value. So if you look at the ocean and you had a teaspoon, you’d say “this is useless–this isn’t going to change anything.” But if you look at a child whose life you saved, and then if that child goes on to be productive and helps save a thousand more, you make a critical difference. Societies do get better and they do get worse. If you were to apply a nihilist view, there’s always going to be Hitlers. So what’s the point? I think that I don’t want to live that way, I think it’s deeply ingrained in us to try for the best in people.
MA: Your generation protested for change. Why aren’t we standing in the streets? HM: It doesn’t work. We’ve outgrown that. Its romantic to remember Birmingham, but you have to remember TVs were fairly new then. We grew up watching John Wayne movies and Roy Rogers and then all of a sudden you see Vietnam and you see racism. It’s because people had to see these things, see the marches, and the reactions it got from the government. It was romantic (which can also mean naive) and something I thought was going to be easy–you know the word attrition? The pushing of something 11
If you wish to learn more about Hugh Merrill, volunteering your time, or other topics related to helping your Kansas City community through Chameleon, check out the links below: www.hughmerrill.com www.chameleon-ayd.org www.gkccf.org
LITERATURE / POETRY
VOLUME 2:2: SPRING SPRING 2009 2009 VOLUME
The Baty House is home of KCAI’s Liberal Arts department. The following exerpts were curated by Ampersand, and by the faculty of the school of liberal arts.
Heavy Headed Boy
James crouches at the foot of his bed, nose pressed against the window, staring down into the yard next door. The heavy headed boy pushes and pulls his head through the mud making wavering little trenches and mounds. His body looks like a broken triangle, lumpy head anchored to the ground, bony neck curving upwards into a spine that shows through his soiled t-shirt. His hips jut downward sharply, forcing his heels into the soil. James watches him lurch about this way, back and forth through the dilapidated yard, until his vision clouds and he has to wipe his breath from the window.
SU B M ISSIONS AR E WE LCOM E Send worthwhile pieces to: firstname.lastname@example.org
The heavy headed boy plows his way slowly to the base of the pecan tree in the back half of the yard. His body shudders as it relaxes into a crumpled arch, twisted pelvis causing his feet to curl together, his left arm coiled beneath the top half of his body. James matches his breathing to that of the heavy headed boy, their chests rising and sinking simulaneously. James’ nostrils flare slightly, shoulders rise and fall as his diaphragm expands and sinks with exhalation. The heavy headed boy ratchets his lungs open as the air proceeds down a crooked path, his bones creak against each other and the skin tightens to show his ribs. Exhalation is violent and sharp, as is air was not meant to be in his body. The heat is on him now and a semi-circle is marked around the tree. His milky eyes now stare towards the window. James breathes—a squirrel jumps from branch to branch. The heavy headed boy’s armhairs are honeyed by the sun.
Yakia’s apartment is part of a complex with a private beach, though it has no sea view. Instead the balcony faces onto the desert highway and dirt mountains beyond. The apartment is on the second story. I carry my bags up from the car, then run back down to take Yakia’s so he won’t hurt himself. “The apartment below belongs to a doctor,” Yakia says as we walk up the stairs. “He has a lovely garden. Roses, cherry trees.” “Yeah?”
Dogs & Dust
“Yes, and the apartment opposite belongs to a lawyer.”
“Good people then?” “Oh yes, very good, very educated. They are not here now because they work in Cairo. It is only Tuesday, you know. This place has a lot of weekend homes.”
If I could keep you in the attic of this house behind a door held fast with twenty-some odd locks and room for six or seven more, I would. And if inside the attic I kept five ferocious dogs to guard the box with locks on bottom and on top and all four sides, well, I would feed the dogs at midnight through the crack beneath the door, in the attic of this house alive with you and dogs and dust and nothing more.
His breathing becomes noticeable as we reach the landing. Once inside he walks to a wicker side table and picks up his phone. “Oh, Yoseph hasn’t called.” “No?” I hadn’t imagined he would. “No. How is Yoseph doing?” “Oh I don’t know, I haven’t spoken to him for about three weeks.” “I haven’t spoken to him in months, it feels like.” I don’t know what to say, so I look around the apartment and notice, above the wicker sofa, a black and white photo of a chimpanzee in a baseball cap, t-shirt and shorts, clapping in the middle of a sports field. Yakia walks to the balcony and pulls open the mosquito door with a cough. I follow him out and watch a young Somali boy watering the Doctor’s hyacinths. “You see this?” Yakia asks, pointing to a broken ceramic bowl he is using as an ashtray. “Yoseph made this when he was very young—oh, five or six maybe.” “Oh, nice.” “Yoseph made this also,” he says, pointing to an empty vase studded with limpet shells. “Yeah? Did he make them here?” “Oh no, he made them at school. He hasn’t been here in years. Since school maybe.” Again I don’t know what to say, so I leave Yakia smoking, heading inside to use the toilet. I notice that the foam mats beside the shower match the shower curtain. Both are adorned with tropical fish. Washing my hands I notice more tropical fish, stickers, the kind children stick on notebooks. They border the gilt mirror above the sink and as I dry my hands I realize I can’t tell if Yakia or Yoseph put them there, but looking closer, I notice they cover a long crack in the glass. 13
Tim’s work may not catch your eye from across the room. But that’s just the point: his work is generally never taller than a foot, his smallest no bigger than
VOLUME 2: SPRING 2009
a 3/8 of an inch. Yet the clean detail and attention to craft makes his sculptures definitely something worth talking about.
LAURA BERGLUND l INTERIM EDITOR-IN-CHIEF
FEATURED ARTIST DEPARTMENT: Sculpture LEVEL: Sophomore LOCATION: The Kansas City Art Institute EMAIL: email@example.com
This image: 12-sided walnut circle with brass arms; 7.5in by 2.5 inches. Became the maquette for a larger version.
Exploring the concept of scale Tim works with wood, brass, found objects and other materials to create pieces that reference insects, architecture, and antique science equipment. “It feels natural to work on a small scale,” he says, and with that comes the question of monumentality. Just looking at images of his work, it can be hard to tell whether they are miniature or something much larger.
2 inches by 1 inch ipe wood and brass box, with feet
Right now, he is in the process of creating an 11 foot tall steel version of the 2.5 inch piece on the opposite page, which has been installed on campus since mid-April near the Vanderslice building. It’s been a worthwhile exploration, seeing how the two extremes can relate, and it has led Tim to dive into some new territory, based on an “in-between” size.
Dollar bill head and dissected insect wings
Interestingly enough, his complete and finished body of work to date could fit on this spread of Ampersand in real life.
Found object assemblage, stands 15 inches
Accompanying 3/8ths inch tall ipe wood and brass-edged box Dissected and reassembled praying mantis Stands 3 inches tall
VOLUME 2: SPRING 2009
shelter for up to 75 women and children, a violence prevention program in 37 schools, and a hospital advocacy program located in 6 area hospitals. They also offer a children’s therapeutic program, court advocacy, outreach counseling, and a transitional-housing program. For more than 30 years, this Kansas City facility has been the leading resource for new opportunities and safer environments; more recently though, a group of young artists is bringing a different light to this safe haven.
Domestic violence can be hard to talk about. But just knowing that it exists is the only reason that someone needs to bring it up and try to make things better. A group of students from KCAI dedicate their time and talent to the cause.
THEODORE BUNCH & MEREDITH ADAMS l CONTRIBUTORS JESSICA LYEW-AYEE l ILLUSTRATOR
The reality of what we can manage to articulate with words will always pale in comparison to the pain domestic violence creates. Often times, people have no other option than to start a new life, which is an elaborate process in itself: relocating without notice and finding a safe refuge. This taxing means to an end is filled with emotional, physical, and financial strain. Rose Brooks’ sole purpose is to make this transition less painful and more hopeful. Each year Rose Brooks serves close to 10,000 women and children, offering opportunities to fulfill the mission of “breaking the cycle so that individuals and families can live free of abuse.” The center offers a number of programs that include an emergency
On Mondays and Wednesdays, a team of Kansas City Art Institute students comes in to connect with the children through art and paint portraits of the women. On the weekends, a different group paints murals on the walls lining the facility, while others install birdhouses made by the children. These projects amass into one cohesive work of art, as the children’s art from earlier in the week is used as inspiration for the mural work, and the portraits of the women are given back as new family portraits–to replace those lost in the transition. Though it all may seem like idealistic work, clinging to charged words like “love” and phrases like “It takes a village…,” these results are irrefutable and those affected will tell you it helps. Ponder, for instance, what self-expression (or “art”) has done for you in your own life. Self-authored artwork might change your outlook, clarify your feelings, or channel a subconscious being. Any form of spiritual articulation can empower the psyche’s ability to escape, expand, and grow. So, naturally, these somewhat simple acts of Rose Brooks’ volunteers are creating pride in celebratory portraits, and wonder in murals honoring honest doodles. These women and children become the models, the artist’s muse; someone thinks they are beautiful. The team of young artists does more than just give those sheltered at Rose Brooks art, they work with them to create meaning and new purpose in their lives. If you or someone you know needs help because of domestic violence, Rose Brooks has a 24-hour crisis hotline. You can call them at (816) 861-6100.
KC COMMUNITY COMMUNITY
VOLUME 2: SPRING 2009 2008
JUST DOESN’T CUT IT
IAN TIRONE l STAFF WRITER
In keeping with the super hero tradition, it looks like it could have fallen into a vat of radioactive chemicals or was bombarded with gamma rays from space. Honestly, take every aspect of a flea market and multiply them all by 1,000. You would then have a vague idea of what Super Flea is like. Located in northeast Kansas City, you’ll have to fork over 50¢ to get inside, but once admitted, a world of mystery, pleasure, fear, and stomach aches (if you make the hilarious decision to eat something while there) awaits you. The most startling thing about the Super Flea is the enormity of it. It’s easy to become engrossed in some strange item at one of the various booths and not realize your “flea mates” have continued on, leaving you hopelessly lost for an hour or so. Even the presence
of cell phones doesn’t make relocating your party any easier. Assuming you can actually get reception long enough to make a phone call, your party would have to have reception as well, then you’d have to try and describe where you are so they could find you. This can tend to be difficult when you’re in a concrete labyrinth where everything looks the same and things seem to shift from one place to another without the courtesy of letting you know they are. There is no official literature on the Super Flea, but by looking at it one could surmise that it used to be a gigantic factory or storage building of some sort that was shut down, purchased, half was closed off the public, and the other half was rented out to various venders to do with as they pleased. Now this could mean setting up shelves upon which your items could be displayed, repurposing a glass case from a jewelry store to house pogs and video games, or making a pile and putting chicken-wire around it, allowing patrons to wade through your bog of ephemera.
say, “Huh?” Perhaps the craziest thing there was a pet shop that sold “love birds,” or maybe it was the stall blasting Hindustani music and selling a $300 chain male suit. Or better yet the barrel full of horse hair. It could have been the “Poo Nah Nee” scented oil that claimed to make 900 square feet fragrant. Maybe it was the television that the vendor claimed was from a penitentiary, and had a clear plastic shell so that weapons couldn’t be hidden within. No, all this pales in comparison to the tin of “survival crackers” from 1962: 1,092 crackers, 82 rations. There wasn’t just one tin however, it would be reasonable to guess that there were at least 600 square feet of the stuff. Upon being confronted with the absurd quantity of these ancient eats, it is impossible not to be tickled by the thought that a survival cracker from 1962 would probably kill you upon consuming. If you have at all been enticed to attempt an expedition to the Super Flea, it will be well worth the time. Even if you don’t find anything to purchase, you will leave with what is assured to be an experience.
Besides the scale, there is other strangeness to excite and intrigue the imagination, or make you
Interested in visiting Super Flea? 6200 Saint John Ave Kansas City, MO 54123 (816) 241-5049 www.kcsuperflea.com
Grab bag Grandma Eunice Knows
VOLUME 2: SPRING 2009
opposite page: JOSEPH LAMBERT is an illustrator and storyteller who is currently working in Vermont, where he lives with his lovely wife in a tiny apartment. If you wish to learn more about Joseph’s work, log on to: submarinesubmarine.com. Any artist or illustrator interested in sharing a story, please submit black and white high-res images to: firstname.lastname@example.org.
Eat Me. Pisto de Castille, Mancha
Dear Grandma Eunice, My goat will not produce milk, not even a drop. I bought her at the petting zoo last July. She was a little rough from the children’s touches and their small sticky hands. She soon warmed up, however, when I began attempting to free her from her milk. Although her disposition is ever so cheerful, I am beginning to question her age and health. I do not have money for a vet, and noticed that her mammary glands–or should I say, mammary gland–is a bit strange. The goat seems to have only one large udder. I have promised my family much cheese and milk for the winter. I would love to have your expert opinion in this matter. -Cheese-less in Seattle
a.k.a. “My Name is Pisto Manchego, You Killed My Father, Prepare to Die” † ANDY ERDRICH l SPAIN CORRESPONDENT
Pisto is a traditional spring Spanish dish, eaten for lunch, dinner or marienda (an additional Spanish meal between lunch and dinner). This recipe can be served as an entrée, appetizer, or sandwich spread. “My Name is Pisto Manchego,
Dear Cheese-less in Seattle, Well, in my expert opinion you have purchased a male goat. -Grandma Eunice
Need some advice? Looking for an answer? Send questions to email@example.com. Questions are edited for length.
You Killed My Father, Prepare to Die” is a dish best served cold. In any case, pisto is always served with bread.
Optional add-ins • 1 medium onion • 1 medium zucchini • 1 medium eggplant • 4-5 cloves of garlic • 1 egg
Ingredients • 1 red bell pepper • 1 green bell pepper • 3 vine ripe tomatoes • extra virgin olive oil • white cooking wine • salt • “ciabatta” bread
(Grandma Eunice is not a professional. Advice from Grandma Eunice should not be taken seriously. All actions taken on the
this dish is not spicy
inquirers part are subject to no responsibility of Ampersand’s). 18
Directions (1) Fill the bottom of a pan with oil and put it on the stove at medium to high heat. (2) While the oil is heating up, dice the peppers. Then seed and cut the tomatoes (keep them separate from the peppers). Keep in mind the vegetables will cook down, so chop accordingly. (3) When the oil starts to pop, add the peppers (if you are using onion or eggplant, add them as well), stirring into the oil. Cook for about 10-15 minutes stirring occasionally. (4) Before adding the tomatoes, add a little white wine (one shot or so) and some more oil (about 2 shots). Add the tomatoes (and the garlic, zucchini). (5) Let everything simmer for about 5-10 more minutes. (6) If you are using egg, add it directly to the middle of the pisto, and cook it leaving the yolk runny. (7) To finish, add salt to taste and serve with bread, or let it chill in the fridge for a cold, delicious spread for later. ¡Buen provecho!
COMIC: “NIGHT CHASE”
VOLUME 2: SPRING 2009
DO I T Y O UR SEL F
VOLUME 2: SPRING 2009
JOSH LAMBERT l ILLUSTRATOR This is Peter. Previously, Peter spent his days penning long poems, petitioning for proper pet proprietorship, and was a practitioner of the pediatric sciences. Unfortunately Peter hasnâ€™t been as prosperous lately, and has plummeted into a pitiful pile of poppycock. Please put your Peter together so others will be persuaded to produce a Parade of Peters. This way, Peter will be popular once more, and prosper propitiously. *
* For a stronger construc-
Ampersand is not respon-
tion, or to keep from ruin-
sible for any creations
ing this issue, photocopy
made by these directions,
onto a more sturdy paper
or the damages that may
occur from their existence. 20
Ampersand is created at the Kansas City Art Institute, in Kansas City, Missouri.