Zรณcalo TUCSON ARTS, CULTURE, AND DESERT LIVING
FEBRUARY 2018 / No. 93
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07. Borderlands 13. Art Galleries & Exhibits 17. Arts 22. Performances 23. Food & Drink 31. Events 37. Folklore 40. Tunes 44. Scene in Tucson 46. Poetry On the Cover: Abe Aronow, Ansel Adams, 1981, © Abe Aronow, Collection Center for Creative Photography, University of Arizona. This month, the Center for Creative Photography celebrates Ansel Adams’ Birthday. See page 17 for more information.
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The Border Wall Will Stop Wildlife Migration, but Do Very Little, Otherwise by Craig Baker The Tucson-based nonprofit Center for Biological Diversity (CBD) and Congressional Representative Raul Grijalva are appearing together on Friday, February 9 in federal court in hopes that a judge will put a halt to the Trump Administration’s proposed expansion of the nearly 700 miles of barriers already in place along the United States’ 1933-mile border with Mexico. The lawsuit, filed last April, calls into question the authority of the U.S. Department of Homeland Security to waive any and all federal laws they deem necessary— including the National Environmental Policy Act, Endangered Species Act, and others—in order to expedite the construction of the Trump’s monolithic campaign promise, which he signed into law by executive order on January 25, 2017, just a few days after taking up his post in the Oval Office. The case will be reviewed by Judge Gonzalo Curiel in San Diego (remember the judge who Trump claimed should recuse himself from ruling on cases involving the nowdefunct Trump University due to his Mexican heritage?) in consolidation with two other lawsuits making similar allegations; one which was filed by the State of California, and another filed by the Defenders of Wildlife, the Sierra Club, and the Animal Legal Defense Fund.
In a report released last May, CBD identified 93 endangered, threatened, and candidate species— including jaguars, pronghorn antelope, cactus ferruginous pygmy owls, ocelot, Mexican gray wolves, and black bears—that would be directly impacted by construction activities along the border, as well as 25 species that would experience the loss of critical habitat within fifty miles of the border in either direction. And, according to CBD Southwest Conservation Advocate Randy Serraglio, “disrupting that web of life has ripple effects that impact the whole ecological system.” Says Serraglio, “What people need to realize is that a border wall is not just a border wall—it’s not just this tiny strip of land that’s going to be impacted.” Rather, he says, that construction also means new roads built in wilderness areas and wildlife refuges, land being bladed for equipment yards and operating bases, as well as “low-level helicopter flights, extremely bright lights, and a tremendous amount of vehicular traffic.” And since the Sky Island region is one of the most biodiverse areas in the world, with small parcels of suitable habitat occurring at infrequent intervals amidst vast expanses of uninhabitable terrain, that makes the wildlife of the Sonoran Desert region especially susceptible to such intensive human interference. continues... February 2018 | ZOCALOMAGAZINE.com 7
Photo Courtesy of UA/USFWS
Male jaguar photographed by automatic wildlife cameras in the Santa Rita Mountains on July 4, 2014, as part of a U.S. Fish and Wildlife Service/Department of Homeland Security-funded jaguar survey conducted by University of Arizona.
The last environmental impact study on U.S./Mexico border enforcement was released in late 2001, according to the CBD lawsuit. Further analysis of the environmental and sociological impacts of such enforcement have not been conducted since, though the 353 miles of metal fencing and 300 miles of vehicular barriers (which still allow for traffic by pedestrians and wildlife) in place now were mostly erected during the tenure of President George W. Bush. Under Bush, then-Secretary of State Michael Chertoff subverted the requirements of analysis five separate times under the protection of the 2005 Real ID law, which gave him the power to essentially ignore any federal law that might impede enforcement and construction along the border. The current lawsuit alleges that DHS is now in abuse of that law, which the plaintiffs claim was never meant to be maintained in perpetuity. Since standard environmental analysis has been sidestepped for the vast majority of the border enforcement strategies and structures in place today, there is very little scientific literature available that concerns itself with the environmental impacts of border militarization and patrol. But the literature that does exist suggests that, though human traffic across the border would not be impacted in any measurable way by the construction of a physical barrier spanning the entirety of the southern border of the U.S., animal traffic would be halted almost completely, and that could have a devastating impact on a number of vulnerable populations here in the Sonoran Desert. Aaron Flesch is a Research Scientist at the University of Arizona’s School of Natural Resources and the Environment. As his research has focused largely on cactus ferruginous pygmy owls—miniature raptors that occupy territories in both Arizona and northern Mexico—he’s seen first hand the way that border infrastructure can impact fragile populations. Pygmy owls are less than seven inches tall—diminutive when compared to larger birds of prey such as Harris’ Hawks, which can grow to almost thirty inches. And, as such, Flesch says that they are incredibly vulnerable to predators. Thus, the owls tend to stick to densely wooded areas with thick clusters of mesquite and acacia, diving from
the top of one perch toward the ground before arcing upward to the next perch. With an average flight height of only 1.4 meters, a wall, as proposed by Trump, would have an isolating effect on the already-devastated population of pygmy owls in Arizona. Plus, says Flesch, pygmy owls are exceptionally sensitive to human disturbance. He explains that when juvenile birds set out in search of habitable territories to call their own, “when they encounter large roadways, large agricultural fields, and big disturbances that are similar to the types of changes that are associated with a border wall, we’ve found that they tend to turn around.” And, according to his 2009 paper in the journal Conservation Biology, we could expect to see similar patterns in other similarly fragile species. The key to wildlife conservation in the southwest, says Flesch, is connectivity. “The ability of wildlife to move across the border is really, really important for several different reasons,” he says, “the biggest of which is that habitats for most animals that live in the borderlands are really fragmented.” This not only makes movement between populations somewhat difficult even without additional, human-caused impediments, but it also means that those populations are especially susceptible to changes, and potential disasters, in their individual ranges. And without the ability to move relatively unrestricted across the border, many populations of Arizona’s fauna would struggle to cope, and some, like the jaguar and cactus ferruginous pygmy owls, would likely disappear. Though a common Trump refrain since he announced his candidacy, the “Build a Wall” movement seems to have little traction amongst residents of, and representatives from, the border region itself, though the struggle to secure funding for the thing remains in the headlines. All that’s left to do on our part is convince the rest of the country—and the rest of Washington—of what the vast majority of human beings in the Sonoran Desert already know. Download the CBD report on species potentially impacted by the proposed border wall at biologicaldiversity.org/publications. Read Aaron Flesch’s report on pygmy owls and big horn sheep at aaronflesch.com. n February 2018 | ZOCALOMAGAZINE.com 9
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art galleries & exhibits Z
It looks like any other gallery from the street - fine art paintings, sculptures and glass treasures grace the large display windows. But Desert Artisans’ is far from the norm. All the fine art exhibited there is created by local Tucson artists who also happen to run the operation. There are no paid employees at Desert Artisans. Rather the member artists share all the responsibilities of running a business … from finances, to advertising and marketing, to staffing the sales floor seven days a week. Established in 1987, and at its current location on Tanque Verde since 1990, Desert Artisans’ is one of the longest continuously operating cooperative galleries in the Southwest. Despite huge obstacles, most notably the economic recession of 2008-09, the membership has always managed to keep the doors open and to even flourish. What is the secret to its longevity and success? Founding member Jan Thompson, who is still active in the Gallery today, believes it is twofold: high quality art and member commitment. “We have a common goal at the Gallery. That is to present the work of the best artists in Tucson in a supportive, all-for-one team environment.” Today the thirty member artists, many of whom are award-winning, form the core of the business. And thirty additional consignment artists contribute to the unique and diverse mix at the Gallery, which includes oil, watercolor and acrylic paintings, photography, sculpture, mosaics, metalwork, pottery and jewelry. Everything from small house gifts to grand statement pieces are available for sale at Desert Artisans’. The Gallery invites all Tucson art lovers to share in its 30th Anniversary Celebration at a reception at 6536 E Tanque Verde on Friday, February 9th from 5 PM til 7 PM. Meet the artists and enjoy artwork, live music and complimentary refreshments. More information at DesertArtisansGallery.com n
photo by RICHARD ROHRBOUGH
DESERT ARTISANS’ GALLERY CELEBRATES 30TH YEARS
Desert Artisans’ Gallery
ARIZONA HISTORY MUSEUM Currently on view: History Lab, The Silverbell
DEGRAZIA GALLERY IN THE SUN In the Little Gallery, Ralph Prata is on
Artifacts, Geronimo Exhibit, Arizona Historical Society 150 Exhibit. Hours: Mon & Fri 9am-6pm; Tues-Thurs 9am-4pm; Sat & Sun 11am-4pm. 949 E. 2nd Street. 520-6285774. ArizonaHistoricalSociety.org
view through Feb 9 and Jane Stern & Ira Wiesenfeld is on view Feb 11 to 23. Hours: Daily 10am-4pm. 6300 N. Swan Rd. 520-299-9191. DeGrazia.org
ARIZONA STATE MUSEUM Long term exhibitions include, Life Along the River: Ancestral Hopi at Homol’ovi and Paths of Life. Hours: Mon-Sat 10am-5pm. 520-6216302. 1013 E. University Blvd. StateMuseum.Arizona.Edu
Miniatures opens Feb 6, with a reception on Feb 9 from 5-7pm. Trunk Show: Geri Bringman & Susan Libby is on Feb 3 from 10am-1pm. Hours: Mon-Sat 10am-5pm; Sun 10am-1:30pm. 6536 E. Tanque Verde Rd. 520-722-4412. DesertArtisansGallery.com
CACTUS WREN GALLERY See website for details. Hours: Everyday from 9am to
ETHERTON GALLERY In the main gallery, Mementos: Rodrigo Moya, Graciela
4pm. 2740 S. Kinney Rd. 520-437-9103. CactusWrenArtisans.net
Iturbide, Masao Yamamoto is on view to Mar 3. Tue-Sat 11am-5pm or by appointment. 135 S. 6th Ave. 520-624-7370. EthertonGallery.com
CENTER FOR CREATIVE PHOTOGRAPHY Ansel Adams: Performing the Print opens Feb 17 and is on view to May 20; The Logic of the Copy: Four Decades of Photography in Print is on view to April 15 and Courting Failure, Embracing Risk: Mark Klett and Collaboration is on view to May 20. Hours: Tue-Fri 9am-4pm; Sat 1-4pm. 1030 N. Olive Rd. 520-621-7968. CreativePhotography.org
CONRAD WILDE GALLERY High Fiber opens Feb 1 with a reception on Feb 3 from 6-9pm and closes Feb 24. Hours: Tues-Sat 11am-4pm. 101 W. 6th St. #121. 520622-8997. ConradWildeGallery.com
Winter Dreams opens Feb 3 with a reception from 6-9pm and is on view to Feb 24. Hours: Tues-Sat 10am-3:30pm. 110 E. 6th St. 520-3986557. ContrerasHouseFineArt.com
DESERT ARTISANS GALLERY Happy 30th Anniversary and Desert Secrets
EVERYBODY GALLERY Servane Mary - Untitled is on view to Feb 25. Hours by appointment. 101 W. 6th St, Studio Q. Everybody.Gallery
IRONWOOD GALLERY Colors of Cabo Pulmo is on view to Apr 8. Hours: Daily 10am-4pm. 2021 N. Kinney Rd. 520-883-3024. DesertMuseum.org
JOSEPH GROSS GALLERY
Elsewhere: A Group Exhibition Co-curated with Martina Shenal is on view to Apr 6. Hours: Mon-Fri 8am-4pm. 1031 N. Olive Rd. 520626-4215. CFA.arizona.edu/galleries
LOUIS CARLOS BERNAL GALLERY Trans-Atlantic Fusion is on view to Mar
DAVIS DOMINGUEZ GALLERY Works by Josh Goldberg and Claire Campbell
9 with a reception and gallery talk Feb 1 from 4-6pm, followed by a lecture at 6pm. Hours: Mon-Thurs 10am-5pm, Fri 10am-3pm. PCC 2202 W. Anklam Rd. 520-206-6942. Pima.Edu/CFA
Park are on view to Feb 24. Hours: Tues-Fri 11am-5pm; Sat 11am-4pm. 154 E. 6th St. 520-629-9759. DavisDominguez.com
MADARAS GALLERY On Feb 11 a reception for Lauri Kaye to honor her “Tucson Portrait Series” will be from 11am to 2pm. Hours: Mon-Sat 10am-6pm, Sun 11am-5pm. 3035 N. Swan Rd. 520-615-3001. Madaras.com
February 2018 | ZOCALOMAGAZINE.com 13
Z art galleries & exhibits
The Mini Time Machine Museum of Miniatures presents On Point: Sculptures on the Tips of Lead Pencils, opens February 1, 2018 and runs through April 15, 2018. The exhibit features over 30 micro-miniature sculptures on the tips of lead pencils created by internationally recognized artists Cindy Chinn, Salavat Fidai, and Dalton Ghetti.
MEDICINE MAN GALLERY Ed Mell - New Works is on view to Feb 16. Howard
TUCSON DESERT ART MUSEUM Vaquero and Charro: An Enduring Legacy
Post Retrospective Show and Sale opens Feb 23 with an artist opening from 5-7pm and is on view to Mar 9. Hours: Mon-Sat 10am-5pm, Sun 1-4pm. 6872 E. Sunrise Dr., Suite 130. 520-722-7798. MedicineManGallery.com
is on view through June 30. Ongoing exhibitions include: Colors to Dye For, The Dawn of American Landscape, and Arizona Women Uncovered. Hours: Weds-Sun 10am-4pm. 7000 E Tanque Verde Rd. 520-202-3888. TucsonDArt.Org
MINI TIME MACHINE MUSEUM On Point: Sculptures on the Tips of Lead is
TUCSON MUSEUM OF ART
on view Feb 1 to Apr 15 and David Fischer: Model Builder Extraordinaire is on view to Apr 29. Hours: Tues-Sat 9am-4pm and Sun 12-4pm. 4455 E. Camp Lowell Dr. 520-881-0606. TheMiniTimeMachine.org
MUSEUM OF CONTEMPORARY ART Current exhibitions on view to Mar 25 include: Rosson Crow | Westification; Rose Even | In Residence; Victoria Fu | Out of the Pale; Robert Melee’s Town and Country; Brian Zanisnik | Carl Jung’s Assault Rifles The Game. Hours: Weds-Sun 12-5pm. 265 S. Church Ave. 520-624-5019. MOCA-Tucson.org
PHILABAUM GLASS GALLERY & STUDIO The Flame: Tom Philabaum celebrating nearly five decades of work opens Feb 3 with a reception from 5-8pm and a talk by the artist at 5pm with first come, first serve seating. Tues-Sat 11am-4pm. Call for glassblowing viewing. 711 S. 6th Ave. 520-884-7404. PhilabaumGlass.com
Mid-Century Perspectives: Paintings by Andy Burgess & Objects of Modern Design opens Feb 1 with a free public reception from 5-8pm. Dress Matters: Clothing as Metaphor continues through Feb 18. Ongoing exhibits include the J. Knox Corbett House and the La Casa Cordova. Hours: Tues-Wed & Fri-Sat 10am-5pm; Thurs 10am-8pm; Sun 12-5pm. 140 N. Main Ave. 520-624-2333. TucsonMuseumofArt.org
TUCSON PASTEL SOCIETY Winter Charity Show is on view to Mar 1 at the Murphey Gallery, St. Phillip’s in the Foothills Episcopal Church, 4440 N. Campbell Ave. TucsonPastelSociety.org
UA MUSEUM OF ART
8:30am-4:30pm. 2150 N. Alvernon Way. 520-326-9686. TucsonBotanical.org
Current exhibitions include, The Myth and the Mirror: Artwork of the American West on view to Apr 1; You Are Here: Mediated Understanding Of Our World on view to Apr 1; Our Stories: Mapping Q on view until April 22; In Transit / En Transito is on view until Mar 11 and X, Y, Z: Art In Three Dimensions on view to Jun 24. Ongoing exhibitions include, The Altarpiece From Ciudad Rodrigo. Hours: Tues-Fri 9am-5pm; Sat-Sun 12-4pm. 1031 N. Olive Rd. 520-621-7567. ArtMuseum.Arizona.Edu
SOUTHERN ARIZONA TRANSPORTATION MUSEUM Dinner in the
UA POETRY CENTER Suzanne Hesh: Cursive is on view to Feb 17. Hours: Mon
Diner is currently on display featuring original china and silver service from the named first class Pullman trains. 414 N. Toole Ave. 520-623-2223. TucsonHistoricDepot.org
& Thurs 9am-8pm; Tues, Weds, Fri 9am-5pm. 1508 E. Helen St. 520-626-3765. Poetry. Arizona.Edu
ARIZONA WATERCOLOR GUILD All Members’ 2018 is on view Feb 6 to Mar 4 with a reception Feb 15 from 5-7pm. Hours: TuesSun 11am-4pm. Williams Centre 5420 East Broadway Blvd #240. 520-299-7294. SouthernAzWatercolorGuild.com
WILDE MEYER GALLERY Art Gems is on view Feb 1 with a reception from
TOHONO CHUL PARK In the Main Gallery, Desert Corridors is on view to Feb 7
PORTER HALL GALLERY Manabu Saito is on view to April 2018. Hours: Daily
and the Wadsworth Bolo Tie Collection is on view in the Welcome Gallery until Feb 7. In the Garden Bistro, Art du Jour | Dee Cox is on view through March. Hours: Daily 9am5pm. 7366 N. Paseo del Norte. 520-742-6455. TohonoChulPark.org
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4-7pm and closes on Feb 24. Hours: Mon-Fri 10am-5:30pm; Thurs 10am-7pm; Sat 10am-6pm; Sun 12-5pm. 2890 E. Skyline Dr. Ste. 170. 520-615-5222, WildeMeyer.com
Edward Weston, Ansel Adams, Just after He Got the Contax, 1936, Â© 1981 Arizona Board of Regents, Collection Center for Creative Photography
Performing the Print The Center for Creative Photography Mounts a New Ansel Adams Exhibit by Gregory McNamee
February 2018 | ZOCALOMAGAZINE.com 17
Ansel Adams, Arches, North Court, Mission San Xavier del Bac, Tucson, Arizona, 1968. © 2018 The Ansel Adams Publishing Rights Trust All Rights Reserved Collection Center for Creative Photography .
Ansel Adams never cropped a photograph. If you go poking around in photographic magazines of the pre-digital age, you’ll find, here and there but altogether too often, opinion to that effect— erroneous opinion, as it happens. True, Ansel Adams was a strong believer in composing in the camera, and he would wait for days or even weeks for the optimal conditions in which to capture a view, as with his famous image from 1944, Moonrise, Hernandez, New Mexico. In a moment of bravado, he even hinted that manipulating the image was a violation of the artist’s pact with truth. But Ansel Adams was both an artist and a technician, a master of the enlarger and the darkroom. That is precisely the point of an illuminating new exhibit at the Center for Creative Photography, “Ansel Adams: Performing the Print.” Timed to coincide with Adams’s 116th birthday, the exhibit emphasizes the photographer’s superbly developed craft, honed over decades of practice, inside the darkroom. “The negative is like a composer’s score,” he once remarked, “but the print is like the performance.” “There’s no law against cropping,” says the noted photojournalist David Kennerly, a close friend of Adams’s who will give a talk at the Center for Creative Photography on February 17, when the public celebration is free of charge. (The exhibit will remain up until May 20.) “Granted, Ansel’s frames were unbelievable. He spent a great deal of time considering how the image was going to be made out in the field—but then he had no problem with removing 18 ZOCALOMAGAZINE.com | February 2018
a little sky or whatever to emphasize what the picture was really about. It’s not like the kinds of things you can do with Photoshop, but instead getting at the heart of the photograph. No Adams print looks as it did in the negative. When you have seen a completed print, you have seen God.” Still, it’s easy to see how Adams acquired the reputation of shunning tricks with the enlarger. I interviewed him in 1974, when he was traveling to promote a new published collection of his images, and asked him for advice about how to take a photograph. He thought for a moment, then answered, “Always look at the corners of the image.” I took that to mean that, because we tend to look straight on at the subject of a photograph, we miss the odd plastic bottle or telephone wire off in the corner, as well as the possibility that the more interesting composition within the viewfinder might just be a few feet away from the one before us. In any event, it happens in the camera, and not in the darkroom. As a founding member, with Edward Weston and Imogen Cunningham, of Group f/64, Adams espoused a “straight photography” aesthetic in reaction to the prevailing school of pictorialism, whose proponents, among them George Seeley and Alfred Stieglitz, added effects and textures to images in order to make them seem more like paintings. Stieglitz proclaimed, “Atmosphere softens all lines; it graduates the transition from light to shade; it is essential to the reproduction of the sense of distance. . . . What atmosphere is to Nature,
Ansel Adams, Cactus Detail, 1950. © 2018 The Ansel Adams Publishing Rights Trust All Rights Reserved Collection Center for Creative Photography.
tone is to a picture.” That tone was acquired by darkroom tricks, many of which made photographs seem misty and ethereal, to say nothing of gloomy. The Group f/64 reaction came in the form of photographs of startling clarity, representational but artistic. The occasional anti-pictorialist manifestos that came from its members were, like so many programmatic declarations, overstated—and sometimes repeated uncritically. Consider, for instance, one of Adams’s best-known photographs, Mrs. Ryie Yoshizawa, Teacher, Fashion Designing Class, Manzanar Relocation Center, California. Adams’s safety negative, made on a visit to the internment camp in 1943, has a few extraneous elements in it: an intrusive bolt of cloth in the upper right corner, a glimpse through a sunny window of the outside on the upper left. In printing, Adams pulled in the shot to remove them, cropping it to focus more closely on six students listening attentively to their teacher. In printing as well, he darkened the view, and where that bolt of cloth stands on the negative, a mysterious shadow figures in the print, hinting, perhaps, at the secrecy the government tried to maintain about the relocation of Japanese American citizens during World War II. “What does it mean to make a picture that speaks to someone?” says CCP curator Rebecca Senf, an Adams scholar who planned the exhibit. The answer comes in a long process of evolution, as seen in the seventeen photographs on exhibit, some in two or three printed variations, for a total of twenty-eight
objects. The earliest of the photographs dates to 1921, an evocative view of a stand of lodgepole pines at the Lyell Fork of the Merced River in Yosemite National Park. One of the things that we see in these images is how the the print is conditioned by light and darkness, as well as the kind and quality of the paper. As Senf notes, all of the photographs in the Adams exhibit are gelatin silver prints, where the image practically cuts into the paper, but each is different, sometimes subtly, sometimes quite dramatically. Another thing that emerges from the exhibit, quite apart from the technical aspects of Adams’s work, is the expression of his most important interest: namely, the American land, and particularly the lands of the West. Adams knew his way around just about any photographic challenge on hand: He was a fine architectural photographer, as his image from the Tucson of 1968, Arches, North Court, Mission San Xavier del Bac, shows, and he was a skilled portraitist, as evidenced by Spanish-American Youth, Chama Valley, New Mexico. Yet it’s worth noting that, along with an interior of a Cape Cod church from 1939, these are the only built forms or humans in the CCP show: the rest of the images on display are of places, including the famously moonlit hamlet of Hernandez, New Mexico, and the craggy, chiaroscuro eastern face of the Sierra Nevada as seen from Lone Pine, California, not far from Manzanar. “Ansel was first and foremost an environmentalist,” says Kennerly. “More continues...
February 2018 | ZOCALOMAGAZINE.com 19
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arts Z ANSEL ADAMS: PERFORMING THE PRINT Feb. 16 to May 20, 2018 Center for Creative Photography
Abe Aronow, Ansel Adams, 1981, © Abe Aronow, Collection Center for Creative Photography.
than anyone else of his time or ours, he was the direct heir of John Muir, and his photographs reflected the beauty of the American landscape. He was a warm, wonderful, funny man who didn’t take himself very seriously, but he was quite serious about the land, and he was able to bring a unique eye to the places that are important to us in part because he showed us that they are important.” Those important places are now under siege, but the occupants of the White House were not always their enemies. Kennerly, who was the official photographer for Gerald R. Ford, recalls inviting Adams to meet the president in 1976. Adams and Ford immediately set about talking about the national parks and wildernesses, with Ford coming to share Adams’s passion for those places. Adams gave Ford a copy of his photograph Winterstorm, Yosemite National Park 1944, a masterwork of light and shape that would have pleased any pictorialist, and Ford hung it in his private study just off the Oval Office. “He looked at that photograph every day he was in the White House,” says Kennerly. “Can you imagine the current president doing that?” “Performing the Print” brings a long story full circle. The Center for Creative Photography began, in effect, as a repository for the work of Adams. It has since grown to become one of the world’s premier photographic archives. As new director Anne Breckenridge Barrett notes, it houses more than five million objects— including, of course, the Ansel Adams archive, which came to the CCP in 1975 with Adams’s proviso, “I don’t want it just to be about me—
it’s about the photograph.” Notes Barrett, “No other place is both archive and museum, where photographs are available to view in many ways, and the Adams exhibit is exactly the kind of thing that highlights our ability to reach out to the community.” The point is well taken. When I visited the Center a few weeks ago, an archivist was working through dozens of linear feet of Gary Winograd’s prints, many of them documenting the hipster demimonde of 1970. Adds Senf, “One of the things that curator think about is what their institution can do that no other can. Well, here is one answer: these photographs by Ansel Adams. But we have many other possibilities here.” The gallery in which Adams’s work is presented is flanked by an ongoing exhibit by photographer Mark Klett, an heir of Adams’s both as an interpreter of the land and as a technician. I wrote the text for a book of Klett’s and so have a bias. That caution aside, few photographers more deserve to be considered a direct descendant of Adams’s in the way that Kennerly considers Adams a direct descendant of John Muir’s, which makes the pairing an ideal one—and a striking education for anyone interested in the photographer’s art. “Ansel Adams: Performing the Print” Opening reception and events, February 16, 5:30–8:00 pm. Free for CCP members, $30 general admission. Public celebration, Saturday, February 17, 12:00–4:00 pm Free for all visitors. For more information, see www.ccp.arizona.edu n
Ansel Adams famously said that the photographic negative is like a composer’s score, and the print a performance. As home of the Ansel Adams Archive, the Center is uniquely positioned to illustrate Adams’s meaning. This exhibition of twenty-four photographs will feature sets of prints—grouped in twos and threes—that show how on different occasions Adams created varying interpretations from his own negatives. The exhibition will also feature a small selection of prints that span the master’s six-decade career to highlight Adams’s particular talent and sensitivity as a photographic printer. Comparing and contrasting more than one print from the same negative demonstrates Adams’s choices about cropping, dodging and burning, and overall contrast and brightness. Above all, these comparisons show that Adams invested time and care in each hand-made print, producing interpretive artworks that come as much from his imagination as from the landscapes before which he stood. The exhibition will opens in conjunction with the Center’s celebration of Adams’s birthday on Friday, February 16 and Saturday, February 17. Details below. ANSEL ADAMS BIRTHDAY CELEBRATION EVENTS The Center for Creative Photography at the University of Arizona will present their second annual celebration of Ansel Adams’ birthday on February 16 and 17, 2018. This year’s festivities include an evening event with behind-the-scenes access, a public celebration, and the opening of the exhibition Ansel Adams: Performing the Print. Friday, February 16, 5:30-8:00 pm Evening event Print viewing of Adams prints not on display in the exhibition; Archival object viewing from the Adams archive; First look at the Ansel Adams: Performing the Print exhibition. Saturday, February 17, 12:00-4:00pm Public Celebration Opening of Ansel Adams: Performing the Print exhibition, 1:00pm Presentation by Pulitzer Prizewinning photojournalist David Hume Kennerly on his collaboration and friendship with Adams; Hands-on family activity; Photo booth; Vintage camera display; Birthday cake. #inspiredbyansel In conjunction with the events and exhibition, all are invited to share their best Ansel Adams-inspired photographs on Instagram for the #inspiredbyansel campaign. A selection of the photos posted will be streamed at the events. n February 2018 | ZOCALOMAGAZINE.com 21
Z performances Robert Earl Keen and Lyle Lovett, photographed at the Paramount Theatre in Austin, Texas on May 22, 2013. Photograph © 2013 Darren Carroll
An Evening with Lyle Lovett and Robert Earl Keen, February 15 at 7:30pm, at the Fox Tucson Theatre.
ARIZONA FRIENDS OF CHAMBER MUSIC Jasper String Quartet, Febru-
LAFFS COMEDY CAFFE Johnny Beehner, February 2 & 3; Lisa Landry, February
ary 14, 7:30pm Leo Rich Theater, 260 S. Church Ave.; Remi Geniet, Piano, February 25, 3:00pm. Berger Performing Arts Center, 1200 W. Speedway Blvd. 520-577-3769. ArizonaChamberMusic.org
9, 10 & 14; Marc “Skippy” Price, February 16 & 17; Thai Rivera, February 23 & 24; 2900 E. Broadway. 520-32-Funny. LaffsTucson.com
ARIZONA REPERTORY THEATRE Doubt, A Parable, February 4 - 25. Marroney Theatre, 1025 N. Olive Rd. 520-621-1162. Theatre.Arizona.edu
The Best Brothers, February 15 to March 24; RAPunzel through March 18 in the Family Theatre. 5317 E. Speedway Blvd. 520-327-4242. LiveTheatreWorkshop.org
ARIZONA THEATRE COMPANY,
ODYSSEY STORYTELLING SERIES You Don’t Know Me, February 1, doors
Outside Mullingar, through February 10. Temple of Music and Art, 330 S. Scott Ave. 520-884-8210. ArizonaTheatre.org
ARTIFACT DANCE PROJECT Spring Fundraiser at Hacienda del Sol, February 10. See website for more information. 17 E. Toole Ave. 520-235-7638. ArtifactDanceProject.org BALLET TUCSON Winter Concert - Bernstein & Ballet, February 2-4. Steve Eller Dance Theater, 1737 E. University Blvd. 520-901-3194. BalletTucson.org
BROADWAY IN TUCSON Stomp, February 2 & 3; Centennial Hall, 1020 E. University Blvd. 520-903-2929. BroadwayInTucson.com
CARNIVAL OF ILLUSION February 17, 4:30pm and 7:30pm at the Scottish Rite Cathedral Grand Parlor, 160 S. Scott Ave. 520-615-5299. CarnivalOfIllusion.com
FOX THEATRE The Petty Breakers, February 2 at 7:30pm; Jo Koy, February 3 at 7:00pm and 10:00pm; A Night with Janis Joplin, February 6 at 7:30pm; An Evening with Amy Grant, February 7 at 7:30pm; UA Presents: Rene Marie, February 14 at 7:30pm; An Evening with Lyle Lovett and Robert Earl Keen, February 15 at 7:30pm; Girls Night: The Musical, February 16 at 7:30pm; The Kingston Trio, February 17 at 7:00pm; The Very Best of Dave Mason Live, February 18 at 7:00pm; John Mc Even and the Circle Band, February 24 at 7:30pm; Ten Tenors - Wish You Were Here, February 27 at 7:30pm; The Chieftains, February 28 at 7:30pm. 17 W. Congress St. 520-624-1515. FoxTucsonTheatre.org
THE GASLIGHT THEATRE
LIVE THEATRE WORKSHOP The House of Blue Leaves, through February 10;
at 6:30pm, show at 7:00pm, The Sea of Glass Center for the Arts, 330 E. 7th St. 520-7304112. OdysseyStorytelling.com
PIMA COMMUNITY COLLEGE Priscilla, Queen of the Desert, February 22 March 4. PCC West Campus, Center for the Arts, Proscenium Theatre, 2202 W. Anklam Rd. 520-206-6986. Pima.edu
TUCSON CONVENTION CENTER Shen Yun, February 6 at 7:30pm and February 7 at 2:00pm. Tucson Music Hall, 260 S. Church Ave. TucsonConventionCenter.com
TUCSON DESERT SONGFEST Bernstein at 100, continues through February 4. See website for details. TucsonDesertSongFestival.org
TUCSON SYMPHONY ORCHESTRA
Tahiti for Two, February 2-4; Let’s Dance!, February 10; Rachmaninoff Rhapsody, February 16; TSO Just for Kids: The Little Fiddle, February 17; The Story of Babar the Elephant, February 24; See website for locations and performance times. 520-882-8585. TucsonSymphony.org
UA PRESENTS Stomp! Presented in collaboration with Broadway in Tucson, February 2 & 3; Philadanco! & Rennie Harris Puremovement, February 8; Rene Marie, February 14; Mummenschanz, February 18; Verdi Requiem, February 25. 520-621-3364. UAPresents.org
The Lone Stranger, through March 25. 7010 E. Broadway Blvd. 520-886-9428. TheGaslightTheatre.com
UNSCREWED THEATER Family friendly shows every Friday and Saturday night
INVISIBLE THEATRE Black Pearl Sings!, February 13 to 25, 1400 N. First Ave.
WINDING ROAD THEATER ENSEMBLE The Fantastics, February 1 - 18 at
the Temple of Music and Art, 330 S. Scott Avenue. 520-401-3626. WindingRoadTheater.org
22 ZOCALOMAGAZINE.com | February 2018
at 7:30 pm. 3244 E. Speedway Blvd. 520-289-8076. UnscrewedTheater.org
Saturday, February 17, 2018 Do wnto wn Tucson
35 Brewers / 10 Venues VIP check-in starts at 11:30am (12pm entry), and 1:00pm entry for General Admission. TICKETS:
TucsonCraftBeerCrawl.com GA tickets $40 online ($50 door). VIP $70 online ($75 door).
A portion of the proceeds
February 2018 | ZOCALOMAGAZINE.com 23
35 Brewers CROOKED TOOTH: Green Feet Brewing, Crooked Tooth Brewing, Dillinger Brewing Co.
Downtow 228 E. 6TH ST. BEER ALLEY: BlackRock Brewers, Two Brothers Artisan Brewing, Uncle Bears Brewery, Oskar Blues Brewery.
Beer Alley SE CORNER 6TH & 6TH
TAP & BOTTLE / BORDERLANDS BEER GARDEN: Borderlands Brewing Co, Huss Brewing Co, New Belgium Brewing, Firestone Walker, Grand Canyon Brewing Co, Hop Valley Brewing Co.
BEER GARDEN ON 5TH: Founders, Sierra Nevada, La Cumbre Brewing, Lumberyard, Four Peaks.
PLAYGROUND: Ten55 Brewing, Dragoon Brewing Co, Mother Road Brewing Co.
Beer Garden 7TH ST, EAST OF 6TH
Beer Garden on 5th Ave 5TH AVE, NORTH OF CONGRESS
VIP check-in starts at 11:30am (12pm entry
278 E. CONGRESS ST. List of brewers subject to change.
GA tickets $40 online ($50 doo
ruary 17, 2018
309 E. 7TH ST.
CORBETT BREWING: Catalina Brewing Co, Corbett Brewing, SunUp Brewing, Lagunitas.
ERMANOS: Tombstone Brewing Company, Pueblo Vida Brewing Co.
220 N. 4TH AVE.
PUBLIC BREWHOUSE: Public Brewhouse, Button Brew House.
209 N. HOFF AVE.
HOTEL CONGRESS: Upslope Brewing Company, Barrio Brewing Co, 1912 Brewing Co.
THUNDER CANYON: Thunder Canyon Brewery, Modern Times Beer.
311 E. CONGRESS ST.
y) - 1:00pm entry for General Admission.
or). VIP $70 online ($75 door).
220 E. BROADWAY BLVD
Please Drink Responsibly.
COCKTAIL BAR OF THE YEAR 139 S. EASTBOURNE, ACROSS FROM BARRIO BREAD OPEN DAILY TILL LATE, HAPPY HOURS TILL SIX
26 ZOCALOMAGAZINE.com | February 2018
When Sushi Came to Tucson by Gregory McNamee AFTER WORLD WAR II, many Americans returned from the Pacific theater with Japanese brides and a taste for their food. In the small Little Tokyo section of Los Angeles and the Miyako Restaurant in downtown San Diego, one could find curious dishes made of vinegared rice and raw fish. This sushi, as it was called, was a kind of Japanese fast food whose origins can be traced to the year 1824, when a Tokyo food vendor began to make these bite-sized treats by hand— nigiri, that is—for hurried customers, a handful of pressed rice here and a thin slab of fish there. Yohei Hanaya’s innovation spawned a legion of imitators, and nigiri sushi then as now was a popular snack. American military personnel in Japan brought a liking for sushi, as it’s usually called, back from Japan with them, then, and it was through their influence that sushi spread into the Southwest and the rest of the country. Ground zero was Tucson, where an (undocumented, technically, as I recall) immigrant from Chihuahua, Gene Sanchez, had returned from service in the Air Force with a Japanese bride named Michiko, nicknamed Michi. After he left the service, Gene told me way back when, he opened a shop selling Japanese imported goods and small appliances not far from Davis-Monthan Air Force Base, and in the small back room of his Tokyo Store, Michi would serve sushi on weekend nights. I celebrated my 25th birthday there in 1982 with a group of friends, filling the dozen or so seats. By my 26th birthday the word had spread, and Gene and Michi were serving sushi in a larger room seating 30 or so diners. Within a year, they had opened three sushi restaurants, bringing in assistant chefs from Japan to help Michi. Within another year, there were at least two dozen sushi
restaurants in the city—one of them opened by a Mexican couple of Japanese descent, who served up a sobering line of nigiri laced with chiles, just the thing to work off a hangover with and perhaps get going on another one. Elsewhere in the Southwest, the story is the same: Military personnel, usually connected to the Air Force, sustained a Japanese-owned small restaurant that gained in popularity to the point that sushi attained the status of a food craze. In the mid-1980s, the number of Japanese restaurants throughout the United States quintupled. Many failed as the fad played out, but many remain, including long-lived places like Sachiko on the east side and Yamato north of the university. Sushi long ago lost its connotation of working-class, cheap snack as it became a familiar on the American scene. Indeed, a restaurant once located on the corner of Fort Lowell and Stone, gone for 30 years now, was famed for being one of Tucson’s toniest spots, owned by an impeccably elegant Punjabi man by way of London who wore bespoke linen suits and a hundred-dollar haircut, and whose clientele, apart from what passed for the Old Pueblo’s jet set back in the day, seemed largely to have consisted of drug dealers from across the line, guns sticking out of their belts and diamonds gleaming. I’ve forgotten the name of the place, but I had a lot of fun. Incidentally, the best sushi maker I’ve ever encountered worked, at one point or another, in all of Gene and Michi’s restaurants, and in practically every other Japanese restaurant in town, too, it seems. A paladin of the handroll, he’s now, four decades later, gracing a sushi counter in Sierra Vista. Seek Jun out if you’re down that way. Happiness will ensue. n February 2018 | ZOCALOMAGAZINE.com 27
Join us for our Spring Exhibitions Opening Reception, Thursday, February 22, 5:00-8:00 pm For information on exhibitions, programs, membership and events, visit www.artmuseum.arizona.edu 520–621–7567 | 1031 N Olive, Tucson, AZ 85721
28 ZOCALOMAGAZINE.com | February 2018
The Sonoran Hot Dog A Tucson Treasure by Gregory McNamee
and when. All evidence points to an origin far south in Mexico, and the likelihood is that it stems from a food-cart snack served to construction workers in the Mexican capital as far back as the 1950s, when American manufacturers such as Oscar Meyer began to penetrate the lucrative Mexican market with the things, called salchichas or panchos there but likelier to be called just, well, hotdogs closer to the international line. Whatever the case, the Mexican or Sonoran hot dog makes use of the bolillo, the puffy brioche-style bun favored for what are called lonches in Mexico, a step or two down on the hardness scale from the toothier German-inspired hot dog bun served north of the border. Blending another German innovation, the beef hot dog, with thick bacon courtesy of Mesopotamian pigs, Mediterranean onions, Central American beans, and Amazonian peppers and tomatoes, it makes for a guilty international pleasure of the best kind, and a real treat for those unafraid of nitrates. Nearly every city in the Southwest has since embraced food truck culture, perhaps most notably Austin, Texas, which has whole mini-villages of the things tucked away among the tall trees of Lamar and South Congress Avenues. Los Angeles is also a world capital of mobile food, nourishing cultural blends that might seem unlikely elsewhere, as with Vietnamese American chef Hop Phan’s truck Dos Chinos, with its blends such as curry chicken with sour cream and roast pork with salsa verde. Tucson remains the epicenter of the Sonoran hot dog in the United States, and while it has spread to other cities, converted into a cargo-cult object of food tourism, no place else does it better. Try Aqui Con El Nene (4415 N. Flowing Wells), newly bestowed James Beard Award winner Güero Canelo (2480 N. Oracle and other locations), or BK Tacos (2680 N. First Ave.) for some local favorites. n ph
THE FIRST KNOWN food truck, at least of a kind we would recognize, dates to 1872, when an entrepreneur in Rhode Island, Walter Scott, sold lunches and coffee out of a wagon to passers-by in downtown Providence. The “lunch wagon,” as Scott called it, quickly spread, finally melding with the railroad dining car to become the immovable diner. In the early 1990s, converted panel trucks and other vehicles began popping up in number on the south side of Tucson, motorized taquerias of Tucson and moveable feasts with fixed addresses. Modified vans, RVs, and utility trucks that sit on freshly poured concrete pads or alongside tile patios, these “taco wagons” offered delicacies not usually found in area restaurants, as my friend Hector Acuña and I discovered on a hot day in July 1995 when we decided, in the interest of journalistic comprehensiveness, to eat at as many of them as we could in a single day. One was a Chevy van bedecked with a cheesy mermaid-and-surfscape mural that turned out some fine, inexpensive seafood dishes: huge cocktails of scallops, shrimp, crab, and oysters; seafood tacos and burritos; and a first-rate ceviche tostada, with shellfish cooked in citrus juice and a light trace of peppers. Another, a stepvan set under a broadspreading paloverde tree, served up a mixed caldo studded with chunks of abalone, scallops, shrimp, and vegetables. A roadside santo shared the shade, commemorating the scene of a grisly death a few years earlier, but we ate on undaunted. But our greatest discovery that day, and the hands-down winner in our quest, was a truck emblazoned with the name Papa Chino’s, which served up the perfect syncretistic meal: the Sonoran hot dog. Now, archaeologists of food will argue long into the future about precisely who invented this concoction
February 2018 | ZOCALOMAGAZINE.com 29
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A NIGHT WITH JANIS JOPLIN FEB 6 • 7:30 PM
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30 ZOCALOMAGAZINE.com | February 2018
HIGH ENERGY ACTION OF JAPANESE DRUMMING
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BOX OFFICE 17 W. CONGRESS 520-547-3040
Flame Off returns, Friday, February 4 at Sonoran Glass. Pictured: torchworker Alex G. Williamson does detailed touch-ups on his 2017 Flame Off piece.
JANUARY 27 - FEBRUARY 10
SAT 3, SAT 17, SAT 24
TUCSON SCULPTURE FEST The 9th annual
FC TUCSON MOBILE MINI SUN CUP
festival features sculptures of all sizes and in a variety of mediums, on display and open Monday-Saturday from Noon-6pm. Sculpture Resource Center, 640 N. Stone Ave. For more information visit: SRCStudios.Yolasite.com
Tucson’s major league and semi pro soccer club hosts the premier MLS preseason tournament. Kino Sports Complex, 2500 E. Ajo Way. 520-334-1115. See website for teams, schedule, and more information: FCTucson.com
JANUARY 27 - FEBRUARY 11
WEDS 7 - SUN 11
TUCSON GEM, MINERAL & FOSSIL SHOWCASE Experience over 40 sites offering a look
TUBAC FESTIVAL OF THE ARTS Arizona’s
into the world of gems, minerals, beads, jewelry making, and fossils during this standout annual event. Various locations across town. 1-800-638-8350. For more information visit: TucsonGemShows.net
longest running outdoor arts festival offers a range of artwork by hundreds of visiting artists. Live entertainment, food court and a beer garden. 10am - 5pm. Free admission, parking is $8 with proceeds benefitting local non-profits. Tubac, Arizona. 520-398-2704. TubacAZ.com
THURS 1 - SUN 4
TOHONO O’ODHAM NATION RODEO & FAIR Southern Arizona’s longest-running All-Indian rodeo celebrating the culture of the Tohono O’odham Nation. Events include the Indian Masters Rodeo, Jr. Rodeo, O’odham Wapkial team roping, ladies only roping, wild horse race, parade, carnival, pow wow, arts & crafts, live music, and much more. Presented at the Eugene P. Tashquinth Sr. Livestock Complex in Sells, Arizona. 520383-2588. Tonation-nsn.gov
FRI 2 FLAME
Tucson’s annual torchworking competition features 18 glass artists racing against the clock to make a molten glass masterpiece. Live auctions, Thunder Canyon Brewery beer, wine, raffle prizes, and food trucks. Tickets: $20, $50 for VIP. 7-11pm. 633 W. 18th Street. SonoranGlass.org
Families and kids of all ages can experience hundreds of science, technology, engineering, and math activities, demonstrations and experiments. Museum admission is free all day. 10am – 2pm. Children’s Museum Tucson, 200 S. 6th Ave. 520792-9985. ChildrensMuseumTucson.org
2ND SATURDAYS DOWNTOWN
A free, family friendly urban block party! 5pm to 10:30pm. Performances, vendors, food trucks, and more. Free family friendly movie at the Southern Arizona Transportation Museum. Downtown Tucson. 2ndSaturdaysDowntown.com
SAT 10 - SUN 11 OPENING WEEKEND AT DOWNS Enjoy a weekend of horse
racing at the birthplace of Quarter Horse racing and the “photo finish”. Races continue on weekends through March 18. Contact the track for reserved table seating. 520-745-5486. See website for details. RillitoRaceTrack.com
SUN 11 EDIBLE SHADE MESQUITE PANCAKE BREAKFAST Celebrate the delicious shade of mesquite and other edible native and desert-adapted vegetation. Bring the whole family to enjoy live music, puppet shows with Puppets Amongus, educational presentations, local nonprofits, and demonstrations. Explore the environmentally sustainable practices at Watershed Management Group’s Living Lab & Learning Center! Free native trees from TEP for the first 100 TEP customers (bring your TEP bill). Limited to 500 people. $8 for 4 pancakes & beverage. Tickets at: Watershedmg. org/EdibleShade.
Unique and locally made artworks from over 50 artists, vintage goods, and handcrafted Valentine’s cards. 9am - 2pm. Affairs of the Art Gallery, 2740 S. Kinney Rd. AffairsoftheArtGallery.com
FRI 16 - SUN 18 24 HOURS IN THE OLD PUEBLO As one of the largest 24 hour events in the world, this annual endurance event with team and solo rides includes a massive bike expo, dedication dinner, live entertainment, and 24 hours of tunes provided by KXCI Community Radio. See website for entry information and schedule. 520-623-1584. EpicRides.com February 2018 | ZOCALOMAGAZINE.com 31
NEAR UA: 2001 E. Speedway ** Buffalo Outlet in Nogale•s,795-0508 441 N. Grand Ave. • 520-287-9 AZ ** 241 BUFFALOEXCHANGE.COM • 32 ZOCALOMAGAZINE.com | February 2018
UNIQUE BAZAAR LIVE MUSIC
2740 S KINNEY RD
9a - 2p CatMountainStation.com
FRI 16 - SUN 18 SPRING ARTISANS MARKET More than 100 juried artisans of finely crafted pottery, glass, jewelry, textiles, fine art, with free museum admission all weekend. Hours: Friday & Saturday 10am - 5pm; Sunday 10am 4pm. Tucson Museum of Art, 140 N. Main Ave. 520-6242333. TucsonMuseumofArt.org
photo by Alicia Foley
The 40th annual show features quilting demonstrations, vendors, raffle, door prizes, a special kids row, and quilted items in a range of styles, along with guest speaker Dixie McBride. Presented by the Tucson Quilters Guild. Hours: 9am - 5pm Friday & Saturday; 10am - 4pm Sunday. Admission: $10-$20, kids under 14 free. Tucson Convention Center 260 S. Church Ave. 520-791-4101. TucsonQuiltersGuild.com
SAT 17 ANSEL ADAMS PUBLIC CELEBRATION An afternoon of fun with Ansel, including the opening of Ansel Adams: Performing the Print, self-guided archival object tours, vintage camera display, hands on family activities, cake, and a special presentation by Pulitzer Prize winning Photojournalist, David Hume Kennerly. 124pm. Free and open to the public. Center for Creative Photography, 1030 N. Olive Rd. CCP.Arizona.edu
CHINESE YEAR CELEBRATION The
Chinese Cultural Center celebrates the Year of the Dog with a special program that includes a raffle, dinner, and live performances. Tickets: $150. 6-10pm. Westin La Paloma Resort & Spa, 3800 E. Sunrise Dr. 520-292-6900. TucsonChinese.org
TUCSON CRAFT BEER CRAWL More than 25 participating brewers at six downtown venues all featuring amazing Arizona craft beers. Tickets: GA $40 online, $50 at the door. VIP tickets are $70 online, $75 at the door. Designated driver tickets: $7. VIP check in starts at 11:30am; general admission at 12:30pm. 520-7912739. TucsonCraftBeerCrawl.com
TURQUOISE TRAIL WALKING TOUR
A docent led walking tour covering Tucson’s history through the 2.5 mile Turquoise Trail in the heart of Downtown Tucson. Register online: $15 for non-members, $10 for members. 10am - 12:30pm. Tucson Presidio, 196 N. Court Ave. TucsonPresidio.com
SAT 17 - SUN 25 TUCSON RODEO & PARADE – LA FIESTA DE LOS VAQUEROS The 93rd annual event kicks off with a ProRodeo competition and a Coors Barn Dance on Feb 17. The Rodeo Parade begins at 9am on Feb 22 with over 200 non-motorized floats on display beginning at Park Ave and Ajo Way. Competitions and live entertainment all week long. Tickets and more information: 1-800-964-5662. Tucson Rodeo Grounds, 4823 S. 6th Ave. TucsonRodeo.com
8th Rodeo Days Arts Celebration returns to Plaza Palomino. Pictured: former Mayor Bob Walkup and event founder Susan French.
SAT 24 RODEO DAYS ARTS CELEBRATION The 8th annual event features live music all day, a fine art silent auction, pony rides, a western dress costume contest judged by Former Mayor Bob Walkup, beer garden, food by Vero Amore, Cafe Francais, Trident Grill II, and food trucks. Guests are encouraged to dress in western attire. Free admission. 10am - 4pm. Proceeds from the event will benefit the Gospel Rescue Mission homeless shelters of Tucson and the Tucson Association of Museums. Plaza Palomino, 2920-2990 N. Swan Rd. 520-907-7325.
PEACE FAIR & MUSIC FESTIVAL Arizona’s largest gathering of peace, justice, and environmental groups with live music and entertainment, food, and activities for kids. Free to attend. 11am-4pm. Armory Park Center, 220 S. 5th Ave. For more information call 520-623-2388 or visit: TucsonPeaceCalendar.org
MONDAYS MEET ME AT MAYNARDS
Southern Arizona Roadrunners’ Monday evening, non-competitive, social 3-mile run/walk, that begins and ends downtown at Hotel Congress, rain/shine/holidays included! Free. 5:15pm. 311 E. Congress St. 520-991-0733, MeetMeAtMaynards.com
THURSDAYS SANTA CRUZ RIVER FARMERS’ MARKET Locally grown foods and goods with live music. 4-7pm. Mercado San Agustin, 100 S. Avenida Del Convento. MercadoSanAgustin.com
FREE FIRST THURSDAYS On the first Thursday of every month, the museum is open late with free admission from 5-8pm, featuring special performances, live music, lectures, cash bar, and food trucks. For more information visit: TucsonMuseumofArt.org
February 2018 | ZOCALOMAGAZINE.com 33
34 ZOCALOMAGAZINE.com | February 2018
Support Local with a From-Scratch Menu Daily! Perfect RosÃ© weather & pet friendly patio!
Brunch all day Tues-Sun OPEN TUES - SAT HOURS 10AM-5PM
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Dinner menu! Fri & Sat!
Dinner hours 3-9pm Happy Hour 4-6pm
Give the gift of our great food with a gift certificate!
French Caffe & Bistro 1803 E. Prince at Campbell | 326.9095 www.ghiniscafe.com February 2018 | ZOCALOMAGAZINE.com 35
DOWN-FILLED ITALY (Retail $300) OZMA $32
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36 ZOCALOMAGAZINE.com | February 2018
The Spaniard and The Señorita by Abraham Cooper THOSE WHO have lived in Tucson for any considerable length of time have likely heard of the legend of La Llorona, or the Wailing Woman. Variations of the story are common throughout Latin America and within Mexican communities throughout the United States. For many Mexicans, La Llorona is a figure as familiar as the Tooth Fairy, though an entity to be feared–and certainly not invited into our bedroom while we sleep. La Llorona is a Hispanic bogeyman who is known to wander along corridors of water, or dry riverbeds, hopelessly searching for her lost children. Like so many Mexican folktales, the essence of her story is one of forbidden love, betrayal, and doomy pathos. The story goes more or less like this. Centuries ago, a beautiful yet humble Mexican woman fell madly in love with a man from Spanish nobility. The feeling being mutual, he could not resist his desire for the stunning señorita, despite his class. The two carried on their love in secret, fearing they would be condemned by their parents. Eventually, the pair had two sons and the man would visit them and their mother as often as possible. Years went by and although the man continued to see his family, his visits became less and less frequent until finally the señorita became convinced that he would never return. Nevertheless, she kept a fire burning brightly for him in her heart, praying that God would bring him back into her arms. Then one day, a handsome Spanish nobleman rode into the pueblo accompanied by his beautiful family. As the man rode passed the señorita on his horse, the two met eyes and in that instant she realized that it was her lover, only a little older-looking. He had married a Spanish woman from a wealthy family, with whom he had a baby. The señorita and the Spaniard momentarily gazed into each other’s eyes, imagining the life they might have had together which would never be fulfilled. The man simply rode on by as though they were strangers and proceeded to the next pueblo, never to be heard from again. The señorita was in such a state of shock that she remained silent for days afterward. Her heart was shattered. Worse still, every time she looked into her children’s eyes she felt tormented as she was reminded of her lover. Then one day, the señorita took her children to the nearby river Illustration by Slava Gerj to wash clothes. She led them to a secluded area along the riverbank and instructed one of her sons to collect wood from a nearby mesquite grove and the other to help her scrub garments in the water. Unable to reconcile her grief, she became filled with vengeance. In that moment, she gripped her son from behind and with all her strength held him underwater until he ceased to struggle. When her other son returned, she repeated this diabolical act, allowing both children to drift down the river. Upon realizing her incomprehensible deed, she had nothing left to live for and drowned herself by tying a heavy boulder to her ankle. For obvious reasons, her soul was not permitted into heaven. Instead, she remained trapped on earth, forced to relive the pain of murdering her children for all eternity. It is said that to this day she wanders the waterways, desperately seeking her children, or temporarily contented to replace them with others. Beware her wails as she cries, “¡Aye, mis hijos! ¡Aye, mis hijos!” According to some folklorists, the origin of this legend can be traced back to the beginning of the Spanish Conquest when Hernan Cortés and his army began their fateful journey into Mexico, initiating the collapse of the Aztec Empire. In his violent quest for domination, he acquired a Nahua slave named Malintzin, or La Malinche, who soon became his interpreter and advisor, aiding him in negotiations with the indigenous communities they encountered. Malinche later became Cortés’ mistress, and gave birth to his son Martin who is regarded as one of the first Mestizos, and a symbol of the birth of the
Mexican people. Because her actions assisted in the eventual demise of the Aztec Empire, Malinche is often viewed by Mexicans as a villain who betrayed her own people, despite being forced into a situation which was beyond her control. In this sense, at least some thematic overlap exists between the dark allegory of La Llorona and the history surrounding La Malinche, if not a literal interchangeability between both stories. It shouldn’t be surprising that in certain versions of the folktale, La Llorona is directly portrayed as La Malinche; her biographical account retold, but expanded to include the murder of her son Martin after Cortés abandons her for a Spanish noblewoman. The parallels are rather intriguing. Like her Sonoran, folkloric siblings, La Mala Hora and La Penitente, La Llorona represents a cautionary tale. Such narratives are convenient for dissuading children from roaming around alone at night or from generally disobeying their parents. These are stories ripe with disguised warnings which have been implemented for countless generations as a disciplinary device. Nevertheless, there are a vast number of adults who insist that La Llorona is more than a myth. Tucson native Robert Norzagaray, who grew up in Barrio Viejo, vividly recalls a bizarre encounter with what he believes was La Llorona, when he was seven years old. Robert introduces his account with his version of how this forlorn specter came to be. “Supposedly she got mad at her husband, or something like that and she threw her kids in the Santa Cruz River, and there was a flood, and so every now and then when there’s a monsoon she comes out, crying for her kids. I was seven years old. I was with my brother, my sister Sara, and my mom and my grandmother. We were going to see my aunt Dolores. She had a pretty big ranch house – the house is still there. It’s underneath the freeway on 18th St. Anyway, furthest thing from my mind was La Llorona. So we’re walking up there and it started raining, so we kind of started walking faster. So we’re inside the house waiting for it to stop. There was thunder and lightning. So we just walked in and started playing hide-and-go-seek. My aunt had these really long curtains. So I’m hiding behind the curtains, I look out the window and…oh!” Robert reenacts an expression of shock. “She had like a white veil, like cheesecloth-looking material. Lips like ruby red. Just…scary. And I close my eyes and open them back up and she was still there. I think I lost my breath. I didn’t scream, I didn’t yell. I was so scared and terrified I couldn’t tell anybody. I just sat there. I know what I saw. So it stopped raining. It was time to go and I was walking in the middle of the crowd because I didn’t want to look in that little arroyo.” For many Mexicans, stories such as Robert’s are passionately retold at family gatherings, while drinking café con leche late into the evening. Discussions about the supernatural have a way of bringing the family together as they embark on an oral journey through realms of desire and bewilderment. Folktales like La Llorona are cherished, whether they are regarded as mere fiction or believed to be connected to real phenomena. Their essence radiates through the daily lives of the people who retell them, giving depth and meaning to the mundaneness of routine. Listening to such stories over and over again, one may get the sense that folktales are inherited, not designed. They are stories which have been in our lives since time immemorial and are repeated with the hope, if unconsciously, of sustaining their livelihood. This is why La Lloronas exist in just about every neighborhood where there is a ditch, river, or a wash. Her multiplicity is a sign that she is alive and well, even if trapped in purgatory. n February 2018 | ZOCALOMAGAZINE.com 37
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February 2018 | ZOCALOMAGAZINE.com 39
Z tunes Photo courtesy of Johnny Giles
Mean Mary performs February 4 at Monterey Court.
What’s Live Too Old to Sing (Not quite yet) by Jim Lipson LAST MONTH I got to see Frankie Valli & the Four Seasons at Centennial Hall. OK, it wasn’t really the Four Seasons but rather a 10-piece back-up with a big horn section and four additional singers. Depending on your point of view, they were either propping up or continuing to inspire this 83-year-old living legend of a Jersey Boy. Clearly tiring towards the end of a remarkable 100 minute-plus performance, he had just enough gas in the tank to hit the famed falsetto, albeit just barely at times, on a medley of some of the Seasons most recognizable hits. Hardly the epitome of hip, it’s difficult to explain why I became so taken with this band as a kid. But there they were in the mid-1960s, competing for my attention (and allowance) on an AM radio dial that was becoming increasingly dominated by the British Invasion. After a string of monster top 20 hits, Valli eventually evolved into a solo act as the magic of his era quickly gave way to the likes of Sergeant Pepper, the San Francisco sound and what came to be known as progressive FM radio, which tended to view bands like the Four Season and their matching suits, with no small amount of disdain. The repackaging of singers and bands, long past their prime, playing casinos and nice theatres and literally banking on baby boom nostalgia, has long been a part of the industry. Sadly, many of these acts are mere shadows of their former selves, with many groups featuring only one (or less) original members. But when Valli and his band came out of their video intro with “Workin’ My Way Back to You Babe,” I got chills, and in the end, that was good enough for me. And now, for more potentially chill inspiring music… Mean Mary – February 4, Monterey Court – Mary James is as compelling a singer/songwriter as there is these days having forged a sound unique to her, rooted in Americana, blues and folk. The product of a somewhat nomadic lifestyle growing up, her music presents as a reflection of almost all she has 40 ZOCALOMAGAZINE.com | February 2018
photo by Andy Mann 2014
Mike Gordon performs February 20 at 191 Toole. experienced. Highly accomplished on the banjo, Mary is a bit of a renaissance woman, now touring in support of her book, Hell is Naked and the accompanying album Blazing. A sure cure for your Super Bowl hangover. Lisa Otey and Diane Van Deurzen - February 11, Monterey Court – Still promoting their Desert Diva shows at various places around town, Lisa and Diane take their Wild Woman show duo to the intimate setting of the Monty. If you want to hear great singing and chemistry, this is the place. Bruce Cockburn – February 12, Rialto Theatre - In the mid-1980s, this Canadian native began making a name for himself with a series of politically charged tunes in regards to what was going on in Central America (“If I Had a Rocket Launcher”) politics and the environment (“They Call it Democracy,” “Stolen Land”). Backed by various ensembles, I’ve found his most affecting work to be with just him and the guitar, be it in a room with just hundreds or in a field of thousands. That voice, that guitar and those songs… Lyle Lovett/Robert Earl Keen – February 15, Fox Theatre – Lyle Lovett has played Tucson before with some very big bands and it has always been a thrill. On this night, he and fellow Texan Robert Earl Keen will be sharing the same stage at the same time. With only acoustic guitars in hand, they will be trading stories, songs and licks. This is my pick of the month. Commander Cody Band– February 17, Monterey Court – The Commander, aka George Frayne, seems to have struck gold at the Monty, returning for at least the third time within the last three years. Fronting a five piece, expect the same kind of country rock that made the Lost Planet Airmen, his band of the ‘70s, the phenomenon it became. Kevin Pakulis and his own hot shit band, opens the show. Slaid Cleaves – February 18, 191 Toole – This is the first of two Rhythm & Roots shows this month, both featuring return engagements. Cleaves is one of Austin’s best songwriters. A dozen records into a two-decade career, the Maine-born singer-songwriter stays relevant because he just keeps getting better. From the press kit…He’s now considered a master, as his new CD “Ghost on the Car Radio” proves. The characters found on Cleaves new CD are yearning for an easier life, for a romance- or ending one, or for the world to just be a little kinder. Cleaves is the champion of the underdog, spreading hope, warmth, and tenderness.
Dave Mason, February 18, Fox Theatre – About 10 years ago I saw Mason at the Fox on a bill with Stephen Stills. When icons from the early 70s are out on tour you can always expect the hits and a good backup band. What you don’t expect is to hear a vocal performance sounding better than anyone could actually remember him sounding. Expect more of the same. TKMA Triple Play Fundraiser – February 18, Monterey Court – This theme inspired fundraiser for the Tucson Folk Festival covers artists who are known by their three names. People like Townes Van Zandt, Rickie Lee Jones, Ramblin’ Jack Elliot, Jerry Jeff Walker, Big Mama Thornton…you get the idea. Local folkies doing the covering include Sabra Faulk, Earl Edmonson, Nancy McCallion, Annie Hawkins and Don Armstrong among others. This gig will also include event organizer Ron Pandy as well as a rare performance by Roth d’Lux. This afternoon show will go from 2-6 PM. Mike Gordon, February 20, 191 Toole – Question…Who is Mike Gordon? Answer…bassist for the jam band Phish. What more do you need to know? John McEuen and the Circle Band – February 24, Fox Theatre – McEuen’s on again/off again/on again and ultimately off again career with the Nitty Gritty Dirt Band (more than 50 years) may have come to an abrupt end several months ago, but he has in fact been cultivating a solo career for at least half of that time. For this show he brings a stellar cast of musicians, some of whom worked with him and the Dirt Band during their historic tour of the Soviet Union in 1977, a trip which will be chronicled here through video, story and song. Expect big helpings of bluegrass, old Dirt Band faves and tuneage from their seminal work Will the Circle Be Unbroken. Also expect new material mixed with rarities from the Carter Family. Joining in will be special guest Hans Olson from Phoenix. David Wilcox – February 25, 191 Toole – The second of this month’s Rhythm & Roots shows, Wilcox is a past winner of the prestigious Kerrville Folk Festival and a past headliner at Tucson’s Folk Festival. Often compared to Joni Mitchell and James Taylor, especially when it comes to unique guitar tunings and open chord harmonies, Wilcox knows how to write a great song that can mine the depths of the human experience. n
February 2018 | ZOCALOMAGAZINE.com 41
Bruce Cockburn performs at Rialto Theatre on Monday, February 12.
LIVE MUSIC Schedules accurate as of press time. Visit the web sites or call for current/detailed information.
191 TOOLE 191 E. Toole Ave. rialtotheatre.com Fri 2: The Octopus Project, New Fumes, Sad Reptilian Sat 3: Mark Farina Tue 6: Phoebe Bridgers, Soccer Mommy Thu 8: Mac Sabbath Fri 9: Lookas Sun 11: Black Sabbitch Fri 16: Cash’d Out Sun 18: Slaid Cleaves Tue 20: Mike Gordon Thu 22: Money Chicha Fri 23: Diego’s Umbrella Sat 24: Tucson Hip Hop Festival, Bun B, #THHF18 Sun 25: David Wilcox Wed 28: Coast Modern
2ND SATURDAYS DOWNTOWN Congress Street, 2ndSaturdaysDowntown.com Sat 10: See web site for more information
BORDERLANDS BREWING 119 E. Toole Ave. 261-8773, BorderlandsBrewing.com Fri 2: Mustang Corners Sat 3: Dash Pocket Sun 4: Kevin Pakulis Sat 10: Tortolita Gutpluckers
Sun 11: Kevin Pakulis Sun 18: Kevin Pakulis Sun 25: Kevin Pakulis
CHE’S LOUNGE 350 N. 4th Ave. 623-2088, ChesLounge.com See web site for information
CLUB CONGRESS 311 E. Congress St. 622-8848, HotelCongress.com/club Thu 1: Tow’rs, Corey Kilgannon Fri 2: Katie Haverly Album Release Celebration, Jillian and the Giants, House of Stairs Sat 3: Ned and the Dirt, Dirt Friends, Half-Broke Town Sat 4: Bad History Month, Longface, Alhha, Westoasis Tue 6: Open Mic Thu 8: Chuck Prophet Fri 9: Lowlife Album Release, Hannah Yeun, Amy Mendoza and the Strange Vacation Tue 13: Mardi Gras featuring Carnivaleros, Mammoth Grinder, Gatekeeper, Bloodtrail Fri 16: Big Business Sat 17: Dent May, Moon King, Liquid Summer Mon 19: Diet Cig, Great Grandpa, The Spook School Tue 20: Blitzen Trapper, Liz Cooper & The Stampede Fri 23: The White Buffalo Sun 25: Pat Keen, Whispering Wires, Sunset Strangers Tue 27: Magic Giant, The Brevet
42 ZOCALOMAGAZINE.com | February 2018
Photo courtesy checkprophet.com.
Photo courtesy facebook.com/officialbrucecockburn/
Chuck Prophet performs at Hotel Congress on Thursday, February 8.
FOX TUCSON THEATRE
201 N. Court Ave. 622-0351, LaCocinaTucson.com Thu 1: Freddy Parish Fri 2: Greg Morton & Friends, Natalie Pohanic Sat 3: Nathaniel Burnside Sun 4: Mik and the Funky Brunch Wed 7: Miss Lana Rebel & Kevin Michael Mayfield Thu 8: Louise Le Hir Fri 9: Greg Morton & Friends, Eugene Boronow Sat 10: Eric Schaffer & The Other Troublemakers Sun 11: Mik and the Funky Brunch Wed 14: Miss Lana Rebel & Kevin Michael Mayfield Thu 15: Mitzi Cowell Fri 16: Greg Morton & Friends Sun 18: Mik and the Funky Brunch Wed 21: Miss Lana Rebel & Kevin Michael Mayfield Fri 23: Greg Morton & Friends Sun 25: Mik and the Funky Brunch Wed 28: Miss Lana Rebel & Kevin Michael Mayfield
17 W. Congress St. 624-1515, FoxTucsonTheatre.org Fri 2: The Petty Breakers Tue 6: A Night with Janis Joplin Wed 7: Amy Grant Wed 14: René Marie Thu 15: Lyle Lovett, Robert Earl Keen Fri 16: Girls Night—The Musical Sat 17: The Kingston Trio Sun 18: Dave Mason Sat 24: John McEuen and the Circle Band Tue 27: Ten Tenors Wed 28: The Chieftains
CUSHING STREET BAR & RESTAURANT 198 W. Cushing St. 622-7984, CushingStreet.com Fridays: Pete Swan Trio featuring Matt Mitchell & Scott Black Saturdays: Jeff Lewis Trio
FLYCATCHER 340 E. 6th St. 798-1298, FlycatcherTucson.com Thu 8: Krab Legz, Bear Call, JL6
HACIENDA DEL SOL 5501 N. Hacienda Del Sol. 2991501, HaciendaDelSol.com Nightly: Live Music on the Patio
THE HUT 305 N. 4th Ave., 623-3200 huttucson.com Sundays: Acoustic Open Mic, with Cadillac Mountain Thursdays: Mockingbirds Saturdays: Mike & Randy’s 420 Show with Top Dead Center
THE LOUDHOUSE 915 W. Prince Rd., 393-3598 loudhousetucson.com Thu 8: OC45, Bleach Party U.S.A., Sucker for the Sour, Paid To Play Fri 9: The Arizona Love Tour with Mafiatic Misfits, McNastee Fri 16: Motive, Napalm Strike, Olden
Sat 17: Gaza Strip, Sait Augustine, Bryan Thomas Parker, Robbers Roost
MONTEREY COURT 505 W. Miracle Mile, MontereyCourtAZ.com Thu 1: Corey Spector- Piano-VocalsAcoustic Fri 2: Giant Blue Sat 3: ROH-Rockin’ Fossil ShowClassic & original dance rock Sun 4: Nancy Elliott & Friends Sunday Brunch Performances, Mean Mary is Blazing Tue 6: Nancy McCallion & Danny Krieger w/ Special Guests Wed 7: Nick McBlaine & Log Train Thu 8: Touch of Gray Fri 9: Tommy Tucker Blues, Roadhouse Sat 10: Little House of Funk Sun 11: Nancy Elliott & Friends Sunday Brunch Performances, Wild Women—Diane Van Deurzen & Lisa Otey Tue 13: French Quarter Fat Tuesday Celebration Wed 14: Valentines Day Sweetheart Dinner with Combo Unico Salsa Band Thu 15: Virginia Cannon Presents Fri 16: The Muffulettas—Love Shack Dance Extravaganza Sat 17: Commander Cody Band— With Kevin Pakulis Band Sun 18: Nancy Elliott & Friends Sunday Brunch Performances, Tucson Kitchen Musicians
Association (TKMA) Presents A Fundraising show—Triple Play— Songs by artists who are known by three names Sun 18: Area 51 Tue 20: The Tucsonics—Western Swing Wed 21: Carnivaleros Thu 22: The Titan Valley Warheads Fri 23: Jason & Michelle, Eric Schaffer & the Other Troublemakers, The Last Call Girls Sat 24: Key Ingredients of African Soul Sun 25: Nancy Elliott & Friends Sunday Brunch Performances, Petie Ronstadt & Friends Tue 27: Eb Eberlein’s Spontaneous Sessions w/ Joyce Luna Plaza Palomino 2990 N. Swan Rd., 907-7325 plazapalomino.com See web site for details
RIALTO THEATRE 318 E. Congress St. 740-1000, RialtoTheatre.com Thu 1: Carnival Fri 2: REZZ Wed 7: Iration, The Movement, Tyrone’s Jacket Thu 8: Fetty Wrap Fri 9: Sigils of Summoning, Minutes To Midnight, Like A Villain, A Fall To Break, Evasion, Sorrows Ruin Sat 10: Damage Inc., The Jack Mon 12: Bruce Cockburn Thu 15: Tribal Seeds, The Original Wailers, The Expanders
Photo courtesy lacocinatucson.com.
Photo courtesy foxtucson.com.
Dave Mason performs at Fox Tucson Theatre on Sunday, February 18.
Miss Lana Rebel and Kevin Michael Mayfield perform at La Cocina every Wednesday evening.
Sat 17: Dokken, Push Tue 20: Keys N Krates, PromNite, Jubilee Fri 23: Motionless In White, Every Time I Die, Chelsea Grin, Ice Nine Kills Sat 24: Luck Be A Lady Sun 25: Ron Pope, Jared & The Mill, The Heart Of Wed 28: Datsik
THE ROCK 136 N. Park Ave. rocktucson.com Thu 15: GhostMane Fri 23: Anti Valentine’s Show Sat 24: Marty Grimes
ROYAL SUN LOUNGE 1003 N Stone Ave (520) 622-8872 BWRoyalSun.com Sun-Tue: Happy Hour Live Music See web site for information
SAINT CHARLES TAVERN 1632 S. 4th Ave (520) 888-5925 Visit Facebook page for events
SAND-RECKONER TASTING ROOM 510 N. 7th Ave., #170, 833-0121 sand-reckoner.com/tasting-room Fri 2: Austin Counts Sat 3: Adam Townsend Fri 9: Sam & Dante Fri 16: Heather Hardy Sat 17: Naim Amor Fri 23: Amber Norgaard
SEA OF GLASS—CENTER FOR THE ARTS 330 E. 7th St., 398-2542 TheSeaOfGlass.org See web site for information
SKY BAR TUCSON 536 N. 4th Ave, 622-4300. SkyBarTucson.com Sat 3: Eric Schaffer & The Other Troublemakers Tue 6: Tom Walbank, Steff Koeppen Wed 7: Open Mic Fri 9: Cirque Roots Sat 10: T Trash, Bordertown Devils Tue 13: Tom Walbank, Dos Muñoz Wed 14: Open Mic Thu 15: Eric Schaffer and The Other Troublemakers Tue 20: Tom Walbank, Steff Koeppen Wed 21: Open Mic Fri 23: Cirque Roots Tue 27: Tom Walbank, Dos Muñoz Wed 28: Open Mic
SOLAR CULTURE 31 E. Toole Ave. 884-0874, SolarCulture.org See web site for information
TAP & BOTTLE 403 N. 6th Ave. 344-8999 TheTapandBottle.com Thu 1: Eric Schaffer & The Other Troublemakers Thu 8: Legion of Mario Thu 15: Al Perry & Loren Dircks Thu 22: Mitzi Cowell Band
February 2018 | ZOCALOMAGAZINE.com 43
by Janelle Montenegro instagram / @JMontenegroPhotography
44 ZOCALOMAGAZINE.com | February 2018
Celebrating over 35 colorful years of serving Tucsonâ€™s local publishing community. Contact us for a competitive quote on your magazine, newsletter, program or other short-run publication.
Left page, top to bottom: Bahn Mi Tacos from the Pin Up Pastries food truck; Jenny on 4th Avenue; Adrien at Playground for the Cookies and Cocktails Event; Vince on 4th Avenue; Girl skating on 4th Ave; Cass Preston performing at Playground for the Tucson Jazz Festival. This page: Startrail in Saguaro National Park West; Nookâ€™s dessert rendition of the Toffee-tastic Girls Scout cookie at the Cookies and Cocktails event.
February 2018 | ZOCALOMAGAZINE.com 45
A TUCSON CLASSIC Because Tucson today is a veritable hotbed of working poets, we sometimes forget our city’s remarkable poetic heritage. Occasionally, to pay tribute to this heritage, Zócalo Poetry will feature a previously published poem, one we consider a Tucson Classic.
Jon Anderson (1940-2007) was an associate professor at the University of Arizona from 1978 until his retirement. His first book, Looking for Jonathan, was an inaugural selection of the Pitt Poetry Series of the University of Pittsburgh Press in 1967. His second, Death & Friends, was nominated for the National Book Award.
Zócalo invites poets with Tucson connections to submit up to three original, previously unpublished (including online) poems, any style, 40 line limit per poem. Our only criterion is excellence. Simultaneous submissions ok if you notify ASAP of acceptance elsewhere. Email your submission to email@example.com. Please include contact information: phone number and email address. Notification of acceptance or rejection by email. Zócalo has first North American rights; author may re-publish with acknowledgment to Zócalo. Payment is a one year subscription. The poetry editor is Jefferson Carter, jeffersoncarterverse.com.
46 ZOCALOMAGAZINE.com | February 2018
– Jon Anderson Reprinted by permission of the literary estate of Jon Anderson.
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