Tag Archives: Phoenix arts and culture

The Blarg No. 77: Jason Keil (plus a mini talk w/Dan Hull)

I had two conversations this weekend that made me think about religion. Specifically my personal relationship with religion, which, to be perfectly honest, isn’t that great.

One, with poet Katie Manning, made me consider religion and religious imagery as it appears in my writing, which is not often, but it does. That conversation will go up soon. The other conversation was with friend and neighbor Dan Hull, a short one that you can hear at the beginning of this edition of the show.

Dan has a film premiering on May 25th at The Newton called Bad Buddhist, and he invited me over to watch it with him. A recording of a fantastic one man show he staged at Space 55 a few years ago, the film mines veins of love, ritual, imperfection, and man’s inhumanity to man. Serious stuff, but it’s very funny as well, and the Buddhist lens through which everything is filtered serves to somehow make the film universally relatable in its specificity. The Buddhist rituals that Dan incorporates into the show connected me to memories of donning a yarmulke and saying the prayers as a kid. The ritual and the language of that came back to me instantly, and in Hebrew, too, and it’s easily been 20 years since I participated in anything remotely Jewish from a spiritual standpoint. Cultural and social Jewishness is inescapably ingrained in my personality makeup, but I was surprised, especially as a non-spiritual person, to find myself sort of missing the ritual, and it went a long way towards explaining a lot of my need for organization and routine. It’s something I’m going to have to really think about for a while, which I believe speaks directly to how powerful the film is. You should go see it on the 25th at 7 PM. If you can’t make it to the screening, visit the Bad Buddhist website and contact Dan for the Vimeo link.

Surprisingly, this weaves perfectly into my conversation with writer Jason Keil. Jason is a frequent contributor to The New Times, as well as other publications, and I highly recommend checking out his work. I connected with Jason via Twitter, and it did not take long for us to connect on a primally nerdy level. Jason is the sort of person that I can talk to endlessly about pop culture, so it was really hard to keep this conversation on the rails—which I swear I try to do despite all the evidence to the contrary. In addition to all the shared interests, Jason is just a really amazingly nice guy, and he’s so genuinely enthusiastic and in awe of the fact that he gets to do something he loves and is passionate about and in some way contribute to the pop culture fabric, that I want as many people to read his work and support him as possible. Check out Jason’s website, and be sure to follow all of his social media accounts.

One last quick note, a little bit of business, Hoot N Waddle is officially open for manuscript submissions. We’re currently accepting Poetry, Fiction, and Creative Non-Fiction. You can visit the Hoot N Waddle site, or go directly to our Submittable page to read our guidelines.

Best,
Jared

Listen to LE 77 – Jason Keil (plus a mini talk w/Dan Hull)

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The Blarg No. 74: Carly and Mark of Yab Yum Music and Arts

A couple nights ago, I sat with Janell—you know what, as I’m typing this, I realize that it’s the damn opening to “Simple Twist of Fate”: we “sat together in the park/as the evening sky grew dark.” At this point in history, I’m pretty sure that if people have done it, Bob Dylan’s written it down. And if there’s anything Bob missed, then Leonard Cohen took care of it.

Anyway, the park was the front lawn of Desert Song Yoga, and the occasion was a show featuring Jon Rauhouse and Robin Vining. I was under the impression that I’d never seen Vining play before, but I must have seen him play with Minibosses at some point. I’d never seen him solo or in Sweetbleeders, though, and I thoroughly enjoyed it. I’ve seen Jon play a number of times now, either with Neko Case, The SunPunchers, or as a duo with Betsy Ganz, but not as a bandleader, and it was the highlight of the night. Joining Jon onstage was his wife Jennifer, Megyn Neff, Vining, and a trombone player who I thought was really good, but whose name I didn’t catch. Aside from the fact that the music was fantastic, they looked like they were having such a blast up there playing together and enjoying each other’s company—it was a moving and infectious thing to witness. That’s the kind of joy in work I’m looking for. It’s getting there.

Speaking of…

If you happened be looking at Facebook this weekend, you might have caught the Hoot n Waddle announcement. If not, I’ll recap it briefly in this space. DOGSEAR. by Chris Danowski is HnW’s first book. We just got our proof copies back from the printer, and they look great. It’s all very exciting and real now. We’ll start taking pre-orders in June, and the official release will take place in mid-September. If anyone reading this is interested in reviewing the book for a media outlet, I have a few physical proof copies available, or I can provide a PDF copy. Email me at hootnwaddle@gmail.com.

On this edition of the show, I talk to Carly Schorman and Mark Anderson of Yab Yum Music and Arts. We discuss the origins of Yab Yum, how it’s evolved into an arts and culture beacon for Arizona, and some of the exciting projects they’ve got in the works. We also compare book collections. It was a blast talking to them, and you should definitely check out the happenings at the Yab Yum website and keep up with them on social media.

Listen to LE 74 – Carly and Mark of Yab Yum Music and Arts

Best,
Jared

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The Blarg No. 72: Mop and Bucket Press

It’s going to be okay. This is what I keep telling myself. Everything will be fine. The muse occasionally finds another partner. I’m in one of those phases. A spiral. It happens. No big deal. Sometimes I get depressed and feel like I’m not capable of anything good. I know that’s not the case, but I can’t escape the feeling. Over the years, I’ve learned to cope with my head problems. I’m not perfect at it by any means, but generally speaking, I can get by well enough by reminding myself this is just a passing thing. I think that all creative types go through this at some point or another—and some more often than most. There is this looming, perpetual fear that you will never create again, that you will never live up to the way others perceive you and you have presented yourself.

This one’s bad, though. At Chatterbox last week, I went up to tell a story that I had down. I knew all the beats, where all the threads tied together. I went up to the mic, started the story, everything felt great, I hit my first beat, and then… I just totally lost it. Thread gone—the whole thing completely unraveled. I’ve been doing this long enough now that it wasn’t enough to send me running from the mic. I rambled my way through for a few minutes, hoping I’d get it back, but it never happened. I just went off on some semi-related political tangent that was absolutely not part of the story I was planning to tell. It was awful.

I don’t know. I’m tired, I’m stressed out, I have a lot of anxiety right now. None of that makes for a healthy creative atmosphere. Whatever. It’s going to be okay.

If you missed it, there was an announcement. Hoot n Waddle, which is the company Janell and I started that has found its purpose as a hub for arts and culture podcasts based in Phoenix, is also taking on publishing. It’s big stuff, and if you want to know more about what’s going on, you should check out the Hoot n Waddle website and follow our social media accounts.

On this edition of the show, I talk to Levi Smith and Kenny Puckett who are the creative team behind the comic Sleight of Mind and Mop and Bucket Press. It’s a great conversation about enduring friendship and creative synergy, as well as not giving up on your dreams and passions. That sounds corny, but it’s not. Levi and Kenny are great guys, and their comic is really cool, so you should check out their site, follow them on social media, and check out their merch.

Listen to LE 72 – Mop and Bucket Press

Best,
Jared

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The Blarg No. 71: Doug Bale

I can tell you exactly when and where I first heard the music of Doug Bale. It was Thursday, May 30th, 2013 at The Most of Lit Lounge at the Scottsdale Museum of Contemporary Art. I went because my uncle, Scott Krause, was part of the lineup which also included Tania Katan, Leslie Barton and Where Are All the Buffalo. It was a great show, but I remember being particularly struck by Doug’s sound, which managed to sound like music I loved without being derivative. I really dug it. I dug Doug.

So, when I started this podcast, Doug was one of the first people I wanted to have on. For reasons that will become clear when you listen to our conversation, it was not a good time for Doug to be on the show. I didn’t know that then, though, and then Doug just kind of disappeared. Well, he didn’t really disappear, but he might as well have, having first scooted to California, and then exiling himself in Apache Junction. Well, maybe it wasn’t exile, and my apologies to the residents of Apache Junction, but it sounds like exile to me.

When I heard that Doug had a new music project he was working on, I was ecstatic. I was like, Doug, there’s no excuse now, do the show, and he said, let’s do it, so here you go. It’s one of the strangest, best conversations I’ve had on this show, and it illustrates why I leave so much in all the time. I know some listeners would prefer I cut things down, keep it around an hour, and that would actually probably help me out as far as making the show more commercial, but that would ruin the journey. We had a really serious conversation about some deep shit, but to get there, we also had to joke around about lemons and DJ Boboli, and go off on a long R.E.M. tangent in order to get to the deep stuff.

Quick note: Doug wanted me to let you all know the name of the book he was referring to on why we read is called All Things Shining.

Another quick note: Doug gave me permission to put one of his new Flighty Tronys tracks at the end of the show, so be sure to listen all the way to the end. The new tracks are great!

Doug Bale is an artist and musician. His artwork has been featured in galleries around Phoenix, and you should absolutely check out his Society 6 page and buy some. His new musical project, Flighty Tronys has released its first EP (available on Bandcamp, Google Play Music, iTunes, and Spotify), and you should get the companion t-shirt. Oh, and go listen to Mergatron while you’re at it. Basically, support Doug. He’s awesome.

Listen to LE 71 – Doug Bale

Best,
Jared

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The Blarg No. 69: Jenna Duncan

I’m not gonna lie, I’ve had a hell of a time coming up with this edition of The Blarg. Sometimes they flow, and sometimes they don’t. This time it REALLY didn’t flow—no matter how many chips I ate, or how long I stared at the screen, so this one is going to be pretty brief, but don’t let that reflect on the episode, because it’s one of my favorites so far.

I do have a couple of things to plug if you’ll permit me that indulgence. I’m not really sure why I phrased it that way, because I’m about to do it regardless. The Blarg isn’t really democracy, is it? I write something, and either you read it or you don’t. That’s the way it should be.

This Thursday, January 25th at 7pm, I’ll be sharing a story as part of the lineup for this month’s Storyline Slam at the Phoenix Changing Hands location. Tickets are $6 in advance, $8 at the door. The theme is “music.” I may have a story or two (thousand) that fits in.

Last week, I went on at length about my feelings regarding the way the Insight II project went down. Outside of those feelings which had to do with the venue and the way the organizers failed to communicate the affiliations of that venue or their politics, I’m actually really proud of the work I did in collaboration with artist Ryan Parra. If you want to see/read that work, you can pick up the chapbook published by Four Chambers Press. Pick up any of the other 17 chapbooks containing the writer/artist collaborations for this project while you’re at it. The work is stunning—focus on the work.

You may know Jenna Duncan from her work for JAVA magazine, her participation in storytelling events around the valley (including Untidy Secrets and Chain Letter), or more generally for her integral role in the Phoenix arts scene. In addition to JAVA, you can read Jenna’s work in the anthology The Grey Alley: Vol. 2 from Empty City Press; you can also see her on Check Please, Arizona on PBS on January 25th at 7pm (available now for Arizona PBS Passport members); and she will be taking part in a reading on February 3rd at 7pm coinciding with an upcoming art sale for Phoenix Nasty Women Unite benefiting Planned Parenthood (location TBA, though probably Grand ArtHaus or {9}).

This show with Jenna is a long one. I tried editing it down, but on listening back to it there wasn’t much I felt I could cut (except for all the “you know”s—I said that a lot this time, sorry about that). This conversation with Jenna is one of the easiest, most laid back ones I’ve ever had on this show, and that’s saying something, because this show can be pretty laid back.

Listen to LE 69 – Jenna Duncan

Best,
Jared

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LE 68: Amy Young and Ashley Naftule

Happy New Year, everyone. We made it!

Not shitting anyone, I was going to write this entire blarg about optimism and determination. That was the plan. Then, something came up, and now I feel like I have to talk about that instead. Maybe I’ll try and sneak some optimism in at the end.

This month, first Friday, Four Chambers Press published a series of chapbooks which was the culmination of the collaborative efforts between 18 artists and 18 writers called InSight II (in case the title didn’t give it away, it the follow up to last year’s InSight). I am one among those 18 writers, and my collaboration was with artist Ryan Parra. I’m really proud of the finished work, and this weekend should have been a celebration of the efforts of all those involved. Instead, it all collapsed into a horrible, stinking shithole. New City Studios, the gallery where the work is currently on display, instructed the curators of InSight to remove one of the artist’s pieces (incidentally, the artist, Malena Barnhart, is the person with whom Ashley Naftule, one of this episode’s guests, collaborated for the project) for what amount to religious reasons—specifically that the work is overtly sexual.

I’ve been thinking about how I wanted to respond to this, and if I’d written this immediately upon receiving the news of the work’s removal, I would have written a venomous tirade all about theological fascism. Given some time, this is what I’ve distilled those initial feelings of outrage down to in a much more constructive and objective fashion. Personally, I am vehemently anti-censorship. Additionally, while I am not anti-religion—as I believe that would be hypocritical on my part, I am against the idea that religious institutions have the right to impose their values on anyone who does not choose to subscribe to those values, and that extends to their creative output. New City Studios purports to “[exist] to serve and flourish the arts scene of downtown Phoenix. [We] make a point of promoting local art and artists across as many mediums as we can support.” These words and two other similarly worded expressions of community support are the only elements of text outside of external links that exist on the studio’s site. Nowhere on the website is the fact that the gallery is owned by New City Church reported, nor is there any wording which would suggest that the gallery’s support of the Phoenix arts scene is dependent on that art’s alignment with the church’s views. To use words the church may be familiar with, this presentation of the gallery to the community is both overtly and covertly deceptive. To use words that I would in any normal conversational context, this is really fucking far from okay. If the gallery is a part of the church, and it has become blatantly obvious that it is, then the way to support the arts community is not to deceive it. Even something as simple as the addendum “…so long as the work coincides with the church’s views and beliefs” would serve as an honest attempt to convey the gallery’s aesthetic to any artists who may find themselves involved with the gallery to make an informed decision. I know that would have been enough for me to decide that I did not want to be involved with such an establishment, nor have my work on display. I know that my statement as a writer and creative type is that I will only work with and contribute work to an establishment that is honest, inclusive, and truly supportive of an artist’s right to express themselves without restriction. In other words, not a bunch of theological fascists.

Ultimately, things come down to a breakdown in communications between organizers and artists, and as usual, it’s the artists that take the brunt of the negative consequences. All the hard work and collaboration that went into this project is currently being overshadowed by the sensationalized news story surrounding it. The possibility of this was overlooked by the determination of the organizers to see the project come to fruition regardless of the cost to the artists and writers involved, and I’m not talking monetarily, I’m referring to personal ethos and feelings surrounding the work contributed. As I said earlier, I’m immensely proud of the finished work. I feel like my response to Ryan Parra’s art, and his to my writing, speak to each other in a shared language developed without us ever having worked together in the same room. As a result of the events surrounding what should have been a joyful occasion, I cannot feel good about sharing or promoting the completed project. For me, the whole thing has fallen under a cloud of negativity and resentment. My heart goes out to any other artist or writer who contributed to this project and feels the same way.

Fuck.

Right, onto something much more positive. Amy Young and Ashley Naftule came over to the house to talk with me about their new film podcast, Prizefighting Kangaroo, and we sort of managed to do that. I won’t speak for them, but I had a blast. Our conversation went all over the place, and I haven’t laughed like that in a long time. I think I said during our conversation that I was going to edit a bunch of it out, but I didn’t end up cutting much, because when I was listening back to it, it was all too much fun. I hope you enjoy the chaos.

Amy Young and Ashley Naftule are both deeply ingrained in the Phoenix arts and culture scene. Their new film podcast, Prizefighting Kangaroo, is produced by Yab Yum Music and Arts, and you can hear it on Bandcamp, or via Yab Yum. You can also catch Amy and Ashley hosting Triviadome: Cinema and Culture Trivia over at Valley Bar on January 30th, and curating a new monthly series at Film Bar called “Gateway Drugs: A Director’s Showcase” beginning on February 1st. More info on those events here.

Best,
Jared

Listen to LE 68 – Amy Young and Ashley Naftule

P.S.
If you listen to us on iTunes, we could really use some ratings and reviews love there.

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The Blarg No. 65: Joy Young

Wearing sweaters as the world burns…

December showed up as it always does. Right on time. One moment it’s November 30th at 11:59 pm, and then, boom, December 1st is right there on top of things. Despite despising the holidays, I actually really like December. I’d say it’s probably my favorite month, and not just because I was born in it. I like the atmosphere, I like the crisp snap of the air, but above all I like wearing sweaters. I love wearing sweaters. I wish it were sweater weather all the time, but in Arizona, sweater time is very, very limited. I’m not weird about it or anything—I don’t have some weird sweater fetish—I like the softness of them, I like that you can get away with wearing them at work, and they’re super-comfortable, so it’s almost like you feel you’re getting away with something. I guess I should say “I” feel that way, because it is extraordinarily presumptive of me to think anyone else might feel the same.

This year, though, something feels off. I’m not getting to enjoy my sweater time as much as I normally do. Maybe, and I’m just hypothesizing here, it’s because it seems as though the entire world is either literally or metaphorically on fire. Hard to feel good about being comfy and cozy when you are also an empathetic person and paying attention to everything going on around you. Again, that “you” is presumptive, and I’m doing my best to quit presumption. I’m sure there’s some sort of presumptive support group or multi-step program, but I’m determined to quit presumption cold turkey.

I had a really fun conversation with Joy Young. I really like their work, and this was the first time I’ve had occasion to talk to them about their process, where their stories come from, and connect creatively. It turns out the reason for this might be that, although we’re both pretty active in similar, often connecting or intersecting literary circles, we’re also both pretty cripplingly shy and suffer from heavy social anxiety. It’s apparently not terribly uncommon for literary types who appear confident and have success on stage to be incredibly introverted. Who knew? Well, I did know actually, but it’s still nice to connect and not feel so alone.

Joy Young is a performance and teaching spoken word artist based in Phoenix, Az. Their poetry and workshops, much of which centers on transgressing borders, entering topics pertaining to social justice through poetic personal narratives has been featured on Button Poetry and Everyday Feminism as well as on stages and in colleges and classrooms across the country. Joy is a co-founder of Off the Page—a monthly recurring workshop and open mic at Wasted Ink Zine Distro that seeks to build connection and community within Phoenix’s diverse literary and performance communities. Learn more about them at https://www.joyyoungpoetry.com/

Best,
Jared

Listen to LE 65 – Joy Young

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