Here at DPJ, we’re all about sharing what we love. Beyond the stories that make us love downtown, we often come across things that catch our eye, tingle our senses or have us dancing in delight. “We Like…” turns a brief spotlight on the little treasures that make our day, with helpful links so you can share in the fun.
Like it or not, our urban world is “by design.” The urban landscape is filled with images conceived and created by people trying to catch our attention, communicate a message, and most of the time, sell us something. Much of it is so badly conceived and executed that it creates a noisy backdrop of “blah” that barely registers in our consciousness, except as an irritation. But people, I am here to sing the praises of an instance of real design brilliance that rises so far above the crowd that you simply must take an extra minute out of your day to stop, look and swoon.
What’s got me all a-twitter and goose-bumpy? It’s an example of top-notch, world-class, divinely realized graphic genius: the drop dead gorgeous poster art for this year’s Arizona Opera season of performances. Have you seen the images? Have you stopped for that extra minute to really appreciate their brilliance? If not, now’s your chance to sit back and revel in an example of creative synergy that combines marketing vision, clean design sensibilities, and truly artful illustration to create a nearly perfect series of images that directly communicate what this season is all about. (Click on the thumbnails to enlarge.)
I am not trained in design, but when something beautiful and meaningful smacks me between the eyes and provides that elusive spasm of delight, I just have to stand up and cheer! And then I have to find out, WHO DID THAT?
I’ve long been a fan of the genius marketing minds of the Arizona Opera. I first became aware of how far above average they were when they were working with the brilliant Jacques Barbey, whose work combined photographs and surreal settings into jaw-dropping images that beautifully conveyed the power and magic that opera aspires to. The season brochures with his imagery were hugely popular over several seasons and helped bring renewed energy to the organization.
Eventually, Ryan Taylor, Director of the Arizona Opera, and his staff decided it might be time to try a whole different tack. To break through the saturated visual marketing landscape, they wanted to see what could be accomplished with a bold, simple graphic style. The challenge would be to communicate the emotional heart of the stories in a new and compelling way.
The far-flung team behind the new look includes Laura Schairer, Marketing Director for the opera; Rodd Whitney, long-time AZ Opera designer, now based in Pennsylvania; and Emiliano Ponzi, an award-winning, Milan-based illustrator. Whitney had spotted Ponzi’s work in Communication Arts, an internationally prestigious design and illustration magazine. Whitney said, “It was amazing how he could capture the essence of stories so simply. You are immediately captivated and it makes you want to know more.”
Whitney reached out to Ponzi via email and communicated what Arizona Opera was looking for. With the time differences between Italy and Pennsylvania they never actually spoke, which makes the brilliance of the collaboration even more stunning. Whitney sent him synopses of the season’s operas and placed his faith in Ponzi’s estimable talent. In a few short weeks, Ponzi sent back “nice, tight sketches” that were very close to the finished pieces. Ponzi hit the nail on the head with simple, but extremely sophisticated illustrations that catch the eye and communicate the stories with color, wit, and poignancy that matches the depth of feeling inherent to the art form.
Schairer and Whitney have worked together for nearly 20 years and the level of trust that has been developed gives them a sturdy foundation for expressing their creativity. As Whitney puts it, “When you are left to do a good job is when you can do your best work.” Schairer’s confidence in Whitney, and Whitney’s confidence in Ponzi’s talent and skill gave everyone the permission to do their best work. And what amazing work it is.
The Arizona Opera has been ahead of the crowd in recognizing the power of artful marketing for many years. With this new look, they are once again setting a very high bar that challenges every other art organization in this city to step up their game. A very low bow to everyone involved!
DPJ’s Wire series delivers news and information straight from the source without translation.
Iconic Phoenix storytellers discuss three Phoenix time periods, public invited to storytelling salon on October 29 in downtown Phoenix
The public is invited to learn about three distinct time periods in Phoenix history, brought to life through intimate stories and iconic photographs shared by Phoenix leaders and authors.
Speakers include authors and historians Jana Bommersbach, Shelly Dudley, and Frank Barrios as well as city leaders and noted community development experts Grady Gammage, Jr., Larry Lazarus and Joy Mee.
Topics feature the early stewards of Phoenix, the era of air conditioning and shift from agriculture to industry after World War II, as well as unique perspectives unveiling the history of Downtown Phoenix high rises built during the 1960s to mid-1980s.
During the presentations, artists will be capturing the highlights from each of the three topics in order to create additional murals to be added to the Phoenix Phabulous History Mural collection, on display at the A.E. England Building. This indoor mural collection depicts nine time periods in Phoenix history.
The evening is presented by Phoenix Phabulous Experience, City of Phoenix and Arizona State University at the Downtown Campus. The A.E. England Building is located at 424 N Central Ave (at Taylor St.), Phoenix, Arizona, 85004.
Images courtesy of Phoenix Phabulous Experience.
David Krietor has served as CEO of the newly-formed Downtown Phoenix, Inc. (“DPI”) since April 8, 2013. In that time, he has begun work with community stakeholders to develop the downtown we want. “Your Downtown” shares his thoughts and DPI’s progress with the downtown community and beyond. Read the other chats here.
Admit it. You sometimes spell Phoenix wrong. Pheonix. Phoneix. Even the City of Phoenix does too. But it’s going to be pretty hard – and heavy – to make edits on several misspelled cast iron manhole covers spotted by eagle-eyed downtowners. From here on out, as you read this update on downtown Phoenix goings-on, be assured that spell-check is on.
While there continues to be concern about the regional and state economy, downtown projects continue to move forward. Here’s the latest news on several notable downtown and midtown projects in the works: Central Station (Central & Van Buren), Lennar Multifamily Communities (Central & McDowell), and several Phoenix Convention Center-managed spaces, including the former Matador restaurant (1st St. & Adams).
A noted local attorney has contributed $10 million to help build Arizona State University’s new Arizona Center for Law and Society, including the future home of the Sandra Day O’Connor College of Law, in downtown Phoenix. The contribution from Leo and Annette Beus is the largest single donation ever to the law school.
Last spring, Professor Lauren Allsopp and 16 graduate students from ASU’s School of Geographical Sciences and Urban Planning set out to create a reactivation plan for downtown’s historic, yet endangered, Warehouse District. The students’ work is summarized here.
Grand Canyon University is housing nearly 200 upperclass students at Roosevelt Point Apartments (3rd St. & Roosevelt) due to a shortage of onsite housing at the university’s 35th Ave. & Camelback campus. Last year, Roosevelt Point housed some GCU students, but on a much smaller scale.
On September 27 (before the rains came), a group of young downtown advocates organized and staged “Better Block PHX” on the block between Pierce and Garfield to demonstrate how existing “dead zones” (e.g., empty lots, vacant storefronts, asphalt parking lots) can be transformed into lively streetscapes, marketplaces, and community hubs.
On September 18, the U.S. Federal Aviation Administration changed the west outbound flight path for planes departing from Phoenix Sky Harbor International Airport. The change directs planes to turn at a lower altitude between early afternoon and 2 a.m. over Lower Grand Avenue, rather than a more westerly and higher turn. The public in general and residents of the affected residential neighborhoods specifically were not made aware of the change, resulting in more than 240 noise questions or complaints in two weeks. In comparison, airport officials received 221 such complaints in all of 2013. The FAA and city officials will hold a community meeting on October 16 to discuss the noise complaints and rationale for the change.
City and economic development leaders are touting Phoenix to host one of three NCAA Basketball Final Fours in 2017, 2019, or 2020. Downtown Phoenix is key to the Final Four bid package because of the number of hotel rooms and the Phoenix Convention Center, which would be the site of the National Association of Basketball Coaches convention and the “Bracket Town” fanfest event. This is another great example of the working partnership that has emerged between the Phoenix CVB, Phoenix Convention Center and DPI.
My colleague Dan Klocke with the Downtown Phoenix Community Development Corp. noted in a Downtown Devil article that this summer’s retail outlook in downtown was on par with, if not better than, previous years. “We’ve seen a few more restaurants open up and a couple more coming, and we see hotel occupancy levels climbing in the first six months of the year compared to last year, so that’s good.”
Some of the businesses that recently announced their intent to open downtown include GrabbaGreen (CityScape) and Sutra Yoga (2nd St. & Portland). Unfortunately we did lose one, The Local restaurant (3rd St. & Roosevelt) after a six month run.
Last month, the City of Phoenix won a $1.6 million Transportation Investment Generating Economic Recovery federal grant to extend light rail from downtown Phoenix to Baseline Road. Thousands of residents of south Phoenix will reap the benefits of a stronger public transportation system that increases their mobility to other parts of the Valley. This is a big deal and one more important contribution by retiring Representative Ed Pastor.
Seed Spot, the non-profit social entrepreneurial incubator, hosted Maria Contreras-Sweet, administrator of the U.S. Small Business Administration. Upon touring the Seed Spot office at Central and Thomas, Contreras-Sweet commended founder Courtney Klein on the group’s achievements, noting “I love the feel. It feels so organic.”
Co+Hoots, a coworking space in downtown Phoenix, has been ranked #8 on a list of the top 75 coworking spaces in the U.S. Symmetry50, a national bookkeeping service for small businesses, compiles the list. Founder Jenny Poon and Co+Hoots Foundation leader Kristin Romaine serve on the DPI Community Advisory Panel.
On the 25th anniversary of the founding of the Greater Phoenix Economic Council, Barry Broome and Ioanna Morfessis, respectively the current and past CEOs of GPEC, wrote this Arizona Republic op-ed and noted that downtown is all about what metro Phoenix could be: diversity, creativity, education, and entrepreneurship.
News for a Health, Fitness & Safety Checkup
DPI, Downtown Phoenix Journal, PCA and the Phoenix Suns invite you to attend our third Radiate PHX business and community networking event on Tuesday, October 21 from 5 to 7 p.m. at the Verve Lounge at US Airways Center. Topics include updates on sports and fitness initiatives such as “FitPHX” and “Meet Me Downtown,” plus a preview of the Suns basketball season. Guest speakers include Councilman Daniel Valenzuela, chair of the Downtown, Aviation, and Redevelopment Committee; Suns President Jason Rowley; and Ralph Marchetta, vice president of ticket operations and general manager of sports and entertainment services for US Airways Center.
The urban bicycle advocacy group, Phoenix Spokes People, has organized a series of events and activities in “Biketober” to promote the cause of cycling in metro Phoenix.
Thanks to the Arizona Cardinals, Super Bowl Host Committee, and NFL Foundation, the high school football field at the Arizona State University Preparatory Academy received much needed new sod, paint, and scoreboard. ASU Prep, a K-12 school at 7th St. & Fillmore, sits on the site of Montgomery Stadium. The then, 22,000-seat stadium was the largest in Arizona and one of the largest high school arenas in the country.
Students from Phoenix Union Bioscience High School gathered with members of the downtown Phoenix community on September 27 to build a community learning garden as part of the third annual Green Apple Service Day.
On October 4, an estimated 1,500 Garfield neighborhood residents – young, old, and in-between – participated in one of the city’s largest “Getting Arizonans Involved In Neighborhoods” (GAIN) events. Garfield’s unique social mixer and health fair, GAIN-FIESTA, was sponsored by numerous corporate, nonprofit, and educational groups, and organized by dozens of volunteers.
Fall-ing for the Arts
Goodbye summer heat, hello fall not-as-hot weather. What fall also brings is a jam-packed schedule of arts and culture events and activities throughout downtown Phoenix. October’s First Friday was as popular as ever, as evidenced by the 1,000-plus riders on the Artlink Trolley. Large crowds enjoyed Chaos Theory 15 and new this month was the AZ365 pop-up gallery on Roosevelt Row, sponsored by the Arizona Republic and Artlink.
Congratulations to the ASU International Artist Residency Program, located at Combine Studios in downtown Phoenix, for being awarded a $144,000 grant from The Institute of Museum and Library Services to commission three new artists from across the globe to develop art projects that engage the public, such as exhibits, lectures, performances, and publications. Greg Esser, director of the program, is a superstar.
Congratulations also to the Ground Cover Public Art Project, sponsored by the City of Phoenix Office of Arts and Culture and situated on a vacant lot in downtown Phoenix, for receiving a first place award in Arizona Forward’s 34th Annual Environmental Excellence Awards.
Phoenix was one of more than 300 cities chosen to participate in a 10-day global film festival late last month and early this month. The Manhattan Short Film Festival is an annual showing of international, independently produced short films. Ten finalists were selected by an international panel of experts.
Let’s note the life and passing of Patrick Anthony Lawlor, age 94, the last of the core group to build a place for Arizona’s Irish families to gather, the Irish Cultural Center at Margaret T. Hance Park. According to Mary Moriarty, the Center’s operations manager, Patrick was the patriarch of the local Irish community, having been involved in its formation for 60 years. “Plus he was the gentlest and nicest little man you would ever want to meet.”
DPJ’s Wire series delivers news and information straight from the source without translation.
Four Chambers—what certain members of the community are calling Phoenix’s pre-eminent literary magazine (but only in jest)—has just released its second issue. The magazine—which measures a satisfying 6” x 9”, is exactly 152 pages long, has relaxing margins, and is printed on a luxurious 70# Husky White in an pleasantly legible 10 pt font—features 13 short stories and 62 poems from 64 authors—about 50% local—including but not limited to the following names you may or may not recognize: Allyson Boggess; Dexter L. Booth; Josh Rathkamp; Jefferson Carter; Gregory Sherl; Jack Evans; Kimberly Mathes; Elizabeth McNeil; and many more.
As far as aesthetics are concerned, Four Chambers is just trying to publish contemporary work. “We don’t know exactly what that means, but I think not knowing exactly what contemporary art means is part of what it means to make contemporary art in the first place.” That’s Jake Friedman, Founder and Editor in Chief, explaining the goals of the magazine in the third person, using words he has used to other people in other places at other times. He continues, “We’re just trying to put together something that’s eclectic, accessible, contemporary, and diverse. We’re inclusive. We don’t limit ourselves. We want to provide something for everybody. We’re trying to create a market for independent / grassroots literature. We like lots of different things.”
Friedman looks off into the distance and thinks about going further than is probably necessary or appropriate for a press release. Four Chambers is a heart, after all: something central, organic, and part ofa larger body that connects, supports and circulates life. It views itself as tied to the cultural development of Phoenix more generally speaking; while it’s relatively easy for people to find and consume music, visual art, dance, theatre, and other forms of art here in the Valley, it’s still relatively difficult for people to engage with literature. There are so many people here who are already doing fantastic things for literature. But as more or less the only independent literary magazine in Phoenix with a degree of public presence and visibility, Four Chambers is in a unique position to help bring greater visibility to the literary arts and encourage their larger participation in the cultural scene. In this vein, Four Chambers also places a strong emphasis on organizing various events and programming that present literature in relatively novel forms and seeks to create meaningful and relevant public art (e.g. the Festival of Literary Oddities last March, the Literary Flash Mob on the Light Rail just a few weeks ago, a wine tasting or Valentine’s Day dance and dinner in February, and some exciting stuff for Art Detour in the Spring). Four Chambers isn’t just publishing a literary magazine. It’s legitimately trying to make this place a better a city. It’s legitimately trying to build a stronger community. But this is already too long and it’s time to move on.
Topics covered in Four Chambers 02 include but are not limited to: sex with Anne Hathaway; relationship problems created when you have a genetic condition that causes flowers to grow out of your wounds; twenty things you should know by the age of 30; miscommunications with soldiers from World War II; local churches falling in love with area libraries; Phoenix daycare children eating fake snow; Xanax; delivering bread; the Israeli-Palestine conflict; thoughts on Allen Ginsberg’s “Suffering Eastern night sweats and Tangerian bone-grindings” while listening to punk rock music / The Smiths; nervous breakdowns in the Dutch section of the art museum; basketball; team-building activities; Juggalos; Sigmund Freud; and many more.
The magazine also includes four illustrations from local artists Rebecca Green, Joseph ‘Sentrock’ Perez, James B. Hunt and Carol Roque. Cover and design are provided by Isaac Caruso.
Four Chambers 02 is available for purchase online at the magazine’s website, at select venues around the Valley, at any number of events and programs through December (First Fridays, the Downtown Phoenix Public Market every 1st and 3rd Saturday, etc etc), or by contacting the magazine directly. Review copies are available upon request. Submissions are also currently open for Issue 03.
More information and sample work is available online at http://fourchamberspress.com/issue02.
Images courtesy of Isaac Caruso.
While our changing leaves may not be as colorful as back east, Phoenix has one unique signifier of fall that comes back every year, right on time: PoeFest.
Every October, suspense fans from around the Valley gather to hear classic Edgar Allan Poe stories recited in decidedly dramatic fashion by local actors at the storied, and probably haunted, Hotel San Carlos. This year marks the sixth showing of the local event, which features dramatic recitations of classic Edgar Allan Poe stories such as “The Raven,” “The Red Mask of Death,” and the “Tell-Tale Heart.”
Perfect for Poe fans, literature nerds, and adventurous first dates, PoeFest is the creepy brainchild of the Arizona Curriculum Theater (ACT), an educational charity that works in Valley schools to help students learn in new ways with the help of performance. From literature and history, to more traditionally staid subjects like math and science, ACT brings new life to standard subjects and attempts to make education more fun.
James David Porter, the founder and executive director of ACT, said the idea for PoeFest came about thanks to some very disappointing experiences in run-of-the-mill haunted houses.
“I longed for something different in Halloween entertainment. And the idea for PoeFest was born out of that disappointment. I had always loved the works of Edgar Allan Poe, and I had always wanted to perform “The Tell-Tale Heart” on stage,” Porter said.
The first run in October 2009 debuted in a small art space in the Grand Avenue arts district, provided by friends of Porter’s. The first show featured two classic stories, one performed by Porter himself, and a quaint six people in the audience.
“We did four shows over two weekends for the run, and by closing night we were turning people away. The show became very popular very quickly.”
By the third year, the show had outgrown the small space, so Porter began the search for a new venue: specifically, a haunted venue. He soon came across the many stories behind Downtown Phoenix’s Hotel San Carlos.
“At that historic hotel you can walk with all kinds of ghosts from the past – taking up the same space once occupied by Marilyn Monroe, Mae West, Spencer Tracy, Jean Harlow, Cary Grant, Ingrid Bergman, Gary Cooper, Humphrey Bogart, and Gene Autry,” said Porter.
“The history seeps from the walls … It sounded like a perfect place for PoeFest. So I called up the hotel, had a meeting with General Manager Angela Hentz, and she agreed to let us try out one weekend inside the Ghost Lounge. It was such a success that we moved into the Hotel for our entire run the following year.”
After six years, Porter says his nightly audiences are a mixture of diehard fans and newbies looking for a thrill.
“PoeFest is also a fundraiser for our company, and I think our audience really digs that they are not just getting some great Halloween theater, but they are also helping our literacy and arts programs in Arizona schools and libraries. Our audiences care deeply about keeping the arts in schools, and so it’s a win-win for them.”
Phoenix resident and first-time PoeFest attendee Danielle Stephens said she found the format unconventional, but completely enthralling.
“PoeFest was a refreshing look at our favorite stories written by Edgar Allan Poe. I loved it!”
Porter started ACT after his work with the Southwest Shakespeare Company and taking part in their education outreach program in area schools.
“We just thought, ‘Why stop at Shakespeare? Why not do Poe, Emily Dickinson, historical reenactments, interactive story-telling, teach math through music, science through dance?’ I read a report that said the arts had declined more than 40 percent in Arizona schools, and there was all of this emphasis on curriculum – and so it was natural to find a way to connect the arts and the curriculum together. Why not use the arts to teach the curriculum? Two birds with one stone, as they say.”
ACT has brought the arts to more than 100 Arizona schools and libraries from Bisbee to Flagstaff, and have matched private donors to 37 schools in underserved or underfunded areas, schools that could not ordinarily afford professional artists or who have lost their funding for arts programs.
“What better way to learn about the Salem witchcraft trials, for instance, than to take part in a historically-accurate reenactment of the examination of an accused Salem witch?”
Porter hopes to continue traveling to schools across the valley and developing their programs to better serve teachers in classrooms. By continuing PoeFest, they are able to reach out to a new audience, share the goals of ACT, and inspire community support for their efforts.
In PoeFest, however, Porter hopes to finally provide a cure for the common haunted house by creating an Edgar Allan Poe-themed haunted asylum, in which each room features a different story or poem.
“Poe wrote many of his stories and poems as first person narratives, so the transition to the stage was quite natural. His stories sound like the confessions of the kinds of madmen that haunt my own nightmares. I don’t think there could be a more perfect marriage between the stage and classic literature.”
If you go:
Where: The Ghost Lounge at the Hotel San Carlos, 202 N. Central, downtown Phoenix
When: October 17 & 18, 24 & 25, Oct 31* & Nov 1 at 8:00 – 9:30 p.m.
Tickets: (for each individual night) $25 – general admission; $20 – students, seniors and military; Festival passes (good for all dates) are available for $38. Buy online.
*Special performances of “The Raven” will be presented on Halloween Night, Oct. 31, 2014 every twenty minutes from 7:30pm-9:30pm at Rosson House Museum, 113 N 6th St Phoenix, AZ. No seating is available, standing room only. (“The Raven” explores adult themes. This show is not recommended for very young children. Parental discretion is advised. Children under 13 will not be admitted without an adult.)