Coachella Magazine Vol. 2 No. 4

COACHELLA M A G A Z I N E

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kehinde WILEY Annie leibovitz ken FOTO JOYWAVE giselle WOO MORE

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ONE YEAR ANNIVERSARY ISSUE

Renaissance Indian Wells Resort / Indian Wells, CA

ARTWORK BY: BILL SHERWOOD, NATASHA KERTES, MICHAEL SHEWMAKER, GIANNA D., ANGELA GEBHARDT, CONDE CONTEMPORARY, SOUREN MOUSAVI, MICHAEL CARINI

ARTWORK BY 50+ GALLERIES SPECIAL EVENTS EXCLUSIVE AFTERPARTIES

Discover Spectrum Indian Wells—a contemporary art show in the heart of the Coachella Valley. Featuring an international slate of artists and galleries, Spectrum Indian Wells will take place during the last weekend of the prestigious BNP Paribas Open. In town for the tennis tournament? Show your BNP ticket for free admission to Spectrum Indian Wells, where exceptional art meets an equally stunning backdrop. Join us for an unforgettable four days of cutting-edge art, entertainment, and special events.

OPENING NIGHT PREVIEW

SHOW HOURS

SHOW LOCATION

Thursday, March 17: 5:00 – 9:00PM

Friday, March 18: 12:00 – 7:00PM Saturday, March 19: 12:00 – 7:00PM Sunday, March 20: 10:00AM – 5:00PM

Renaissance Indian Wells Resort 44400 Indian Wells Ln Indian Wells, CA 92210

Be the first to preview stunning artwork from top galleries. Meet this year's chosen Spotlight Artists, see live artist demonstrations, and witness the unveiling of innovative Art Labs, inspired by this year's show theme, [EXPANSE].

W W W. S P E C T R U M - I N D I A N W E L L S .CO M

www.goodfewfamily.com

COACHELLA M A G A Z I N E

FOUNDER / PUBLISHER EDITOR IN CHIEF JORGE E PEREZCHICA ASSISTANT EDITOR KRISTIN WINTERS VP MARKETING JERRY PEREZCHICA CREATIVE DIRECTOR LUNAFORA ART DIRECTOR KRISTIN WINTERS FASHION EDITOR VERONICA GONZALEZ WRITERS KRISTIN WINTERS JORGE PEREZCHICA CONTRIBUTING WRITERS MICHELE CASTILLO ROWLAND AKINDURO MICHELE PARRA CHRISTINA RAINER MASTHEAD PHOTOGRAPHY BRIANNA PARRA

Coachella Magazine © 2016 All rights reserved. No part of this magazine may be reproduced in whole or in part without permission from the publisher.

The views expressed in Coachella Magazine are those of the respective contributors and not necessairly shared by Coachella Magazine.

VOLUME 2 ISSUE No. 4 Coachella Magazine ( ISSN 2471-5980 ) is published quarterly and printed in the usa

Celebrating the Arts & Culture of Coachella Valley, California info@coachellamagazine.com | COACHELLAMAGAZINE.COM

clothes from tiendique.com / model Samantha Whipple / photography Brianna ParRa @YTDOTTIE

CONT E NTS

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SPRING 2016

DEPARTMENTS 11 14 20 22 26 30 32 34 36 38

ART

editor’s LETTER haute spot aesthetic individualITY CHRONICLE CHELLA GIRL CHELLA GUY BUZZ COLLAB PROFILE

Randerson Romualdo Cordeiro, 2008, Kehinde Wiley, American, b. 1977, oil on canvas, 48 x 36 in., Private collection, Golden Beach, Florida, courtesy of Roberts & Tilton, Culver City, California. © Kehinde Wiley.

Photo: Robert Wedemeyer, courtesy of Roberts & Tilton

FEATURES ART 42 44 56 64

ANNIE LEIBOVITZ KEHINDE WILEY ALISON HUNT BALLARD KEN FOTO

MUSIC 78 JOYWAVE 84 GISELLE WOO

MUSIC

FILM 90 PALM SPRINGS INTERNATIONAL FILM FESTIVAL FASHION 102 TOTALLY BLOWN CULTURE 118 INDIAN CANYONS 120 BOOKS 122 FOOD+DRINK

APPENDIX 126 CALENDAR 128 INDEX 130 THOWBACK

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FILM ON THE COVER

Anthony of Padua, 2013, Kehinde Wiley, American, B. 1977, Oil on canvas, 72 × 60 in., Seattle Art Museum, Gift of the Contemporary Collectors Forum, 2013.8. © KEHINDE WILEY. Photo: MAX YAWNEY, Courtesy of the artist and ROBERTS & TILTON, Culver City, California.

SEÑOR APACHE VINTAGE from tiendique.com / model ROSALIA ROMERO / photography BRIANNA PARRA @ytdottie

CONTRI B U TORS

CHRISTINA RAINER

DAMARIS EARLEWINE

contributing writer

hair stylist

Is a DJ, model, writer and more.

Christina wrote this issue’s Culture article on the Indian Canyons, revealing the hidden treasures off the beaten path in Palm Springs, CA.

Damaris is an independent award winning hairstylist, graphic designer and photographer. She contributed her expertise to create this issue’s fun and fresh Aesthetic looks. We are proud to present her as our Chella Girl.

ROWLAND AKINDURO contributing writer

Father, musician, actor, writer, entrepreneur, critical thinker, researcher, teacher, philosopher, and now journalist. Rowland Akinduro decided to take us on a wild magnetic storm of eclecticism accompanied

by Daniel Armbruster, the frontman of JOYWAVE.

VERONICA GONZALEZ

BRIANNA PARRA

stylsit

YT artist/photographer

Veronica truly understood the image and designers passion behind the brand Totally Blown. She brought her styling expertise and collaborated with the designers’ vision, making this issue’s photo shoot at Mission Creek Preserve a blooming success.

26. Traveler. Lives in EL CENTRO CA. Brianna Parra is an artist who works with all kinds of media, from wood pieces, assemblages, drawings, collages, and her very well known “YT Photography.”

Treated as one of the desert’s hidden gems, YT specializes in street photography, fashion, and portraits.

MICHELE PARRA

contributing writer

Private accountant, book lover, fashion aficionado, vegan, traveler, kombucha brewer from EL CENTRO CA. Michelle also models for fitness videos and fashion shoots. She wrote our Tiendique article interviewing her good friend Liz Rodriguez.

MICHELLE CASTILLO

ENOCH WATERS

CHRISTINA RAINER

KELLYE GEDNEY

TAYLOR ANN TRAD

LANI ELIZABETH

LACEY MIRANDA

MICHAEL MEZA

poet/writer/teacher

photographer

writer

hair stylist

model/artist

model

model

writer

BROOKLYN LEONARD

LISA MORENO

LINDA LEMUS

AUBREY COOKE

JORGE HERNANDEZ

LEAH JUAREZ

ROSE WINTERS

TOTALLY BLOWN

makeup artist

hair stylist

makeup artist

model

makeup artist

model

writer

clothing brand

ed i tor’s LETTER

idée fixe noun: an idea or desire that dominates the mind; an obsession.

— Oxford Dictionary I grew up in the Coachella Valley and have been fortunate enough to observe the desert evolve since the 70s. In my youth there was a drive-in theater off Ramon Road in Cathedral City, I saw the original Star Wars film screening there. Nowadays, we have YouTube and Netflix and many more escapisms. Back then, I enjoyed spending hours reading, writing, making art, exploring the desert landscape and daydreaming.

I used to write stories and poetry on a used typewriter — now I spend countless hours gazing into the LED screen of my MacbookPro. Oh how the times are a changin’.

The idea of Coachella Magazine was kicked around for ten years before our website launched in late 2013, followed by the first print issue published in spring 2015. Of course, the process was never easy; call it optimism, a labour of love, or just a grand obsession. From one story to the next, the work was endless and every issue of Coachella Magazine evolved again and again into what you see today. It brings me great joy as we celebrate our one year anniversary. I am grateful for the countless opportunities; meeting artists, working with talented contributors and covering a multitude of events sprawled across the Coachella Valley. I thank you for joining us on this journey and look forward to meeting new faces and traveling to new places — and of course, what the future will bring. Oh how the times are a changin’.

In Vol. 2, Issue No. 4, we discover Kehinde Wiley’s vision of 18th century portraits meets hip-hop, Ken Foto documenting desert youth, Alison Hunt Ballard’s artist books exhibiting strange behavior, the culturally diverse Palm Springs International Film Festival, Rowlow’s eclectic interview with Joywave, Giselle ‘Woos’ us with her music, and Totally Blown’s conceptual fashion blooms in the desert. Where passion meets obsession, we are pleased to present our idée fixe issue.

Jorge Perezchica, Founder / Editor in Chief

CONTRI B U TORS

SPECIAL THANKS

FASHION

CULTURE

Oranj Palm Vacation Homes Eureka! Indian Wells The Dinah Shore Weekend Palm Springs International Film Festival Coachella Valley Music and Arts Festival Stagecoach American Documentary Film Festival Rhythm Wine and Brews Fest Fashion Week El Paseo Native FilmFest Cinema Diverse Sundance NextFest Spectrum Indian Wells Splash House Raices Cultura Crisálida Community Arts Project Cinémas Palme d’Or Camelot Theatres McCallum Theatre Palm Springs Art Museum Annenberg Theatre Coachella Valley Art Center The Coachella Valley Art Scene writers: Michelle Castillo Michelle Parra Kylie Knight Christina Rainer photography: Brianna Parra George Duchannes Enoch Waters Tom Fowler hair/mua/styling: Damaris Earlewine Jorge Hernandez Roberto Madera Salon J. Russell! The Salon Liberty Salon Veronica Gonzalez Linda Lemus Kellye Gedney Lisa Monique Brooklyn Leonard Jessica Gotalli models: Leah Juarez Lani Elizabeth Tina Rainer Taylor Ann Trad Charlene Robbins Lacey Miranda Aubrey Cooke Christina Kim Melinda Vida fashion: Trina Turk Flow Modern Penny Lane Boutique The Frippery The Fine Art of Design Epidemic Skateboard Shop Totally Blown Goodfew Casen Kreations Dreamwrker Niyama Sol Sanuk Tiendique The End, in Yucca Valley

FLOW MODERN FLOWMODERN.COM

FINE JEWELRY / 20TH CENTURY DECORATIVE ARTS 768 N Palm Canyon Dr., Palm Springs, CA 92262 COACHELLA MAGAZINE 13

H AU TE S P OT NOMADIC STATE OF MIND NOMADICSTATEOFMIND.COM Nomadic State of Mind is a grassrootsstyle handmade sandal company founded by Chris Anderson. Nothing goes to waste, as we have used the scraps to make one of a kind rope art including bags, rugs, and water bottle carriers. Most recently, we began using hemp, old sails from sail boats, old tapestries, and other kinds of up cycled materials to broaden our horizons in the sandal market, and to have fun bringing life back to stuff that had lost its purpose.

SANUK SANUK.COM From its early roots in Southern California surf culture to the global lifestyle brand it is today; Sanuk® continues to deliver lo-fi innovation and comfort through its full range of footwear for men, women and kids. Founded in 1997, the brand takes its name from the Thai word for “fun” and continues to stay true to its “Never Uncomfortable” attitude. Taking cues from its iconic Sidewalk Surfer®, the first-ever shoe/sandal hybrid, the brand has expanded into vulcanized footwear and street-style inspired casual canvas.

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NATIVE FOOTWEAR NATIVESHOES.COM Native Shoes was established in Vancouver, Canada in 2009 with a vision to create ‘Future Classics’ by combining iconic, casual silhouettes with the best of evolving technology. The result is lightweight, future forward shoes for men, women, and children. Distributed in more than 45 countries, Native makes innovative, creative, and above all, lite products.

FASHION / BEAUT Y / ACCE SSORIE S

NATIVE FOOTWEAR COACHELLA MAGAZINE 15

H AU TE S P OT

shoes from SANUK

TRINA TURK TRINATURK.COM Founded in 1995, Trina Turk has evolved into an iconic lifestyle brand, celebrating California style with chic women’s ready-towear and accessories, residential décor and bold signature prints.

Trina Turk’s fun and elegant designs have become staples of Palm Spring’s Modernism, inspired by it’s architecture, multicultural scene and landscape.

TRINA TURK Park Ave Crossbody Saddle Bag

FLOW MODERN FLOWMODERN.COM Flow Modern represents the work of a talented group of painters, photographers and sculptors. They also focus on the careful selection of fine vintage furniture and accessories concentrating on the high end mid century modern Palm Springs aesthetic. The shop carries a selection of vintage jewelry and fine artisan silver and brass pieces.

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FASHION / BEAUT Y / ACCE SSORIE S

SANUK YOGA MAT MAGENTA MULTI TRIBAL STRIPE This mat is designed to add that extra bit of comfort to your practice.

NIYAMASOL AMETHYST AGATE SHORT Whether you are meditating, swimming, or dancing in purple rain, amethyst agate leggings will infuse you with peaceful and intuitive energy, initiating your crown chakra.

ADINA MILLS ADINAMILLS.COM Adina Mills’ creations blur the lines between Art and Fashion, embodying the striking juxtaposition that can occur between the urban and organic worlds. Combining carefully selected gemstones with unique settings and materials, Adina’s work reflects her unparalleled aesthetic and couture eye. The “chic meets bohemian” pieces are all hand-crafted and one-of-a-kind, as unique as the individual who wears them.

RASTACLAT RASTACLAT.COM Spreading Positive Vibrations® One Wrist at a Time.

RASTACLAT® is a symbol of righteousness, doing good for yourself and others. Positive action can change lives, inspire confidence, and unite us as human beings. #SEEKTHEPOSITIVE

GYPSAN.COM COACHELLA MAGAZINE 17

H AU TE S P OT

model

TAYLOR ANN TRAD hair/mua LAWRENCEDOESHAIR, MAI SALON

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FASHION / BEAUT Y / ACCE SSORIE S

NIYAMASOL NIYAMASOL.COM NIYAMASOL - a recycled fitness & fashion brand that is good for the environment and good for the sol.

Recycling is magic and so are our products! We are yogis, teachers, lovers & friends who possess an overall (albeit healthy) obsession for fashion, fitness, durability and sustainability. our products reflect our individual personalities and our enthusiasm for creativity, design, color, art and movement!

footwear

NOMADIC STATE OF MIND

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AE STH E TIC

SHAPE / COLOR / FORM

LIBERTY SALON 41750 RANCHO LAS PALMAS DR RANCHO MIRAGE, CA 92270 hair

DAMARIS EARLEWINE

mua

JORGE HERNANDEZ

models

CHRISTINA KIM MELINDA VIDA photography

LUNAFORA

I N D IVID UAL IT Y ANGEL SANCHEZ Hometown: Indio, CA. What is on your mind now? Calling the doctors. Interests include: music.

Plans for this year: Finish what I started.

Describe your fashion style? Bohemian chic. Currently listening to: LINGER by The Cranberries. Who or what is most important in your life? My family and close friends. Occupation: Student.

Goals: To be a star! What makes you unique and stand out? I'm a very eccentric person, there's more to me than meets the eye. I write songs, I self taught myself to play the piano, I know how to sew.

JOCELYNE HERNANDEZ Hometown: Coachella Valley. What is on your mind right now? Nothing. Just food! Interests include: Theater, music, going to shows with my best friends. Describe your fashion style?

Simple and laid back. Currently listening to: Rihana and Best Coast. What inspires you?

Beyonnce, because she inspires me to be myself. Who or what is most important in your life? My parents. They are my everything. How would you describe yourself? Shy at first but outgoing, silly and laid back. What do you look forward to most each day? Just waking up and be alive! What makes you unique and stand out? My "I don't care" attitude.

BLUE Hometown: Indio, CA. Interests include: A lot of things.

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VIRIDIANA RIVERA Hometown: Indio, CA. Interests include: laying on the grass, learning new things, listening to music. Pets: I have a puppy, her name is Peaches. Plans for this year: Work hard and have a lot of fun. Describe your fashion style? It's a mixture of sixties mod and goth. Currently listening to: Cold Cave, Glass Candy, Animal Collective, The Strokes. What inspires you? Daydreaming, Ana Krina, Ida No, Sadness, elderly people. Who or what is most important in your life? My mom.

How would you describe yourself?

Quiet and shy but not to the point where I get stepped on. What makes you unique and stand out?

My style and the way I present myself. I'm very friendly and bubbly.

EXP RE SS YOURSELF

CEDRIC WOLIK Hometown: Birmingham, Alabama.

What is on your mind right now? Wondering why it’s so hot outside. Interests include: Basketball, football, food, rapping, writing music. Describe your fashion style: Hip Hop. Who or what is most important in your life? My family, they are my everything. How would you describe yourself? Very mellow, laid back but filled with good vibes. What do you look forward to most each day? Waking up everyday and being able to see and talk to my loved ones.

AUBREY COOKE Hometown: Salt Lake City, Utah. Interests include: Exercise, listening to music, going on road trips. Favorite vacation spot? Hawaii. Goals: be successful in my career and help change the world!!! How would you describe yourself? Very laid back, spiritual and very caring. What makes you unique? I wake up every day with a smile and positive attitude :)

MYZELL HARRIS Hometown: San Bernardino, CA. What is on your mind now? Recording music. Interests include: music, photography, videography. Plans for this year: book shows, network with everybody. Describe your fashion style?

Rasta, Haitian, Barbadian style. Currently listening to: Future-Purple Reign. Who or what is most important in your life? I value carrying out my plans with action.

Occupation: Student, attending Art Institute of the Inland Empire. Goals: Bachelors degree in Audio Production.

How would you describe yourself? Creative in everything I do. Humble. What do you look forward to most each day? Waking up to world peace.

DEJA FIELDS Hometown: Fontana, CA. What is on your mind right now? How life if beautiful. Interests include: Fashion, shopping, music, dancing. Goals: To be in the Airforce. Describe your fashion style? Hip hop swag also classy.

Currently listening to: Bryson Tillor, Fetty Wap, Rhianna. What inspires you? My family. Who or what is most important in your life? My daughter, my parents and God. How would you describe yourself? Very down to earth, very funny and outgoing.

What do you look forward to most each day? Waking up each day and seeing people smile, and laugh and be happy.

All clothes models own. photography LUNAFORA

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CHR ON I CL E

DR. BENNET OMALU and WILL SMITH PALM SPRINGS INTERNATIONAL FILM FESTIVAL

HE’S MY BROTHER, SHE’S MY SISTER NEW YEAR’S EVE PARTY ACE HOTEL & SWIM CLUB PALM SPRINGS, CA

RIDLEY SCOTT and MATT DAMON Q&A following the screening of THE MARTIAN at ANNENBERG THEATER 27th annual PALM SPRINGS INTERNATIONAL FILM FESTIVAL

CITY OF GOLD DAVID ANSEN, with director LAURA GABBERT and Pulitzer Prize-winning restaurant critic JONATHAN GOLD

KRISTIN WINTERS NORTH SHORE PROJECTIONS North Shore, CA

director RIDLEY SCOTT

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PEOPLE / PLACE S / CONNECTED

ADAM ENRIQUEZ RODRIGUEZ Selfie-Examination, opening artist reception at the MAKE gallery. A collaboration between Coachella Valley Art Scene and Westfield Shoping Center, Palm Desert, CA

SIA introduces the 12th annual DESERT SMASH at Westin Mission Hills

JAMES MONTENEGRO reads LUCILLE LOOKS FOR LOVE at Bohemian Cafe, Coachella Valley Art Center Indio, CA

COACHELLA WALLS: AMERICAN WOMEN mural by La PIZTOLA

THINH NGUYEN

Disappearing Act: The Politics of Being Unpolitical.

“I’m only an artist.”

DAMARIS EARLEWINE (right) First Place winner at Sebation Professional’s What’s Next Awards. photo by RANDY TAYLOR

LAnCV group exhibition at

COACHELLA VALLEY ART CENTER, Indio, CA

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CHR ON I CL E

SERENA WILLIAMS BNP PARIBAS INDIAN WELLS TENNIS GARDENS

THE BROSQUITOS

CULTURAS ART & MUSIC PARTY Gonzalez Ranch, Coachella, CA

SOFIA ENRIQUEZ EMPOWERMENT of WOMAN mural in Coachella, CA sponsored by Crisálida, a communiy arts project of McCallum Theatre

GISELLE WOO music director of KCOD CoachellaFM ‘ROCKS & ROLL NIGHT’ Desert Rocks Indoor Climbing Gym

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THE HIVE MINDS

‘ROCKS and ROLL NIGHT’ Desert Rocks Indoor Climbing Gym

PEOPLE / PLACE S / CONNECTED

CHICANO BATMAN

The Hood, Bar & Pizza Palm Desert, CA

CHRIS SANCHEZ (aka Kas-Infinite) art installation “Optical Beacon” 5th annual Rhythm Wine & Brews Festival, Empire Polo Club, Indio, CA JUSTIN BOWER “Future Anesthetics II”

at Neo-Psychedlia group exhibition

MELISSA MORGAN FINE ART GALLERY Palm Desert, CA

BLACK HISTORY MONTH CULTURAL APPRECIATION FASHION, MUSIC & ART EXTRAVAGANZA photo credit DANIEL JAMES RYAN PHOTOGRAPHY CRISTOPHER CICHOCKI Circular Dimensions Annenberg Theater at Palm Springs Art Museum

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left, model MARTINA, right DAMARIS EARLEWINE holding the SEBASTIAN PROFESSIONAL’S WHAT’S NEXT AWARD in the Professional Category photo ADAM ADOLPHUS

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C HEL L A G IRL

damaris EARLEWINE HAIR BY DAMARIS text JORGE PEREZCHICA potography ADAM ADOLPHUS “I use people as my canvas,” says Damaris Earlewine, aka Hair

by Damaris, a Coachella Valley native. To describe Damaris as just a hairstylist would be too limiting — she is an artist in the true sense of the word. “Art is an expressive form. Art is not something you can limit someone on.”

For someone who never had beauty school on her mind, Damaris has come a long way. After graduating from high school, Damaris wanted to pursue a career in graphic design.

“I love photography, and graphic design, I also wanted to be a tattoo artist,” says Damaris. “I always liked to draw since I was a little kid.” But, it was out of concern that her mother suggested, “is there anything else you’re interested in?” Damaris eventually attended beauty school and graduated after a year and three months. To supplement her training, she served an internship for five months at Raphael Salon in Palm Springs. “When I graduated beauty school, I didn’t know that much,” admits Damaris. “Like, you wouldn’t want me to touch your hair.”

With dedication, Damaris spent four years working at Raphael Salon. “That was the beauty of working in a salon, working with a team — if you learn something, you give something back.”

Damaris then began a new chapter in her career as an independent hairstylist at Liberty Salon in Rancho Mirage, CA. “When I went out on my own, I’m going to be honest with you, I wasn’t super-confident. But I was hopeful.” Damaris set goals for herself to create her own schedule, and to create her own brand. “In order to be successful as a hairstylist, you have to constantly seek education. You have to keep an open mind — that you don’t know everything. The only way to truly learn something is by doing,” explains Damaris. “Your bound to make mistakes, but it’s okay because you learn from it. If you want something bad enough you have to work for it.” Damaris does everything from running her own website, sending out newsletters, photography, graphic design and displaying her latest creations on social media like works of art. “My goal is to help a client reveal something beautiful in them they might not see. Emphasizing someone’s best attributes shines a sense of confidence that we don’t realize we have.”

Inspired to combine her passions for hair and photography, Damaris entered the Sebastian Professional’s What’s Next Awards competition in 2015. “To keep myself excited I have to do things outside my work.” Equipped with a model, Chanel Tiffany, photographer Paul Chon and a creative workspace at the Coachella Valley Art Scene — Damaris spent hours creating a unique look. On the first try Damaris hated the results, but continued playing with the model’s hair to get to know its texture. Damaris spent four hours on hairstyling, one hour for the makeup and three hours on the photography.

“I was looking at what I wanted to say with this. What is it that I wanted to convey? I wanted to create something that looked effortless,” explains Damaris. She visualized how a butterfly goes through metamorphosis and is born — that’s when Damaris finally arrived to what she describes as, “Coy and seductive at the same time, but also very elegant. It was the delicate balance between exuding sex appeal without going overboard.”

Her entry aptly titled, “Magnetic Flux” stood out of a thousand others and captured the attention of The Sebastian Professional’s What’s Next Awards. It earned Damaris a berth towards the final round in Miami Fl. “I got a call to say, ‘You are a potential finalist — I was shaking just from excitement, and what this experience is going to bring.” Just two weeks before the big event, Damaris expressed modestly, “I’m just going in without any expectations, seize the moment, that’s it. My goal is just to continue learning.”

With all travel expenses paid, Damaris flew from Palm Springs to Miami, FL. Sebastian Professional’s What’s Next Awards was broadcast live over the internet. When the winners were finally announced, Damaris proudly accepted first place in the Professional Category to a rousing applause, and stood under a sea of glittery confetti. Basking in the afterglow, Damaris expresses, “I don’t know where it will take me. I want to continue to enter competitions like this and get my work out there.” web hairbydamaris.com

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JASON EVERAGE ROWHIGH LOWDEGREE AKA APRIL, 2015 /atRANCHO MIRAGE, CA photographed SAGUARO, PALM SPRINGS, CA 32 COACHELLA PHOTO

by TOMMAGAZINE FOWLER

CHEL L A GUY

high DEGREE THE GOOD LIFE text + photography JORGE PEREZCHICA

Jason Everage aka High Degree is a 26 year-old Hip-Hop/ Rap/R&B artist, born and raised in Palm Springs. He recently moved to Los Angeles to pursue his dream, touring the Southern United States and working on a new album. His music journey began at at a young age, from 8-12 he took piano and guitar lessons and saxophone from 12-17 years old. At 16 Jason attended a month-long workshop in Ontario, California and practiced his craft, “It showed me how to work the stage — projecting on stage.” Jason sings, dances, writes his own lyrics and puts authenticity at the forefront of his music. He recored his first album, “Good Life” to show that everyone is equal and respect for women. The lyrics are autobiographical and inspired by stories in the Coachella Valley.

What are you currently working on?

I’m Currently working on revamping my sound. I’m moving more into the R&B category while still performing my album “Maneuver” and planning the release date. I am closely being mentored by Garrett Clark, owner at SMG Records/Whatevaok Entertainment. He is a Sony Red Distribution partner. I am being prepared for signing with artist development, as I am touring.

How is your tour going so far?

I am touring the Southern states and it has been an amazing experience. I am still all about getting out and representing myself, so I’ve mostly been selling my merchandise by hand, as I always have. Also, I am working on a DVD documentary of my touring/journey from California to the South. The fans are the definition of “interesting” because when they see me recording, or I ask for video footage, they are more then excited to be apart of it.

What artists have inspired you?

Tupac and Aaliyah. Because of their diverse styles, I feel it progressed them to be more successful. She [Aaliyah] was so truthful and real. She expressed loyalty.

Is there anything personal you’ve been inspired by lately?

I been inspired by the people, the fans. They have such big hearts and strong spirits. Anybody that can stand up against a tornado, and keep a straight face, is inspirational to me. All in all, I’m inspired by the brotherly love and unity. When they say southern hospitality, they mean it.

Do you have a favorite city or venue to play and what has the reception towards your music been like?

The reception is great. The vibes are always very positive. Since the towns are small, I can say, I am considered the neighborhood celebrity. Club Heat is one of the venues that has been very good to me but I am just getting started on this tour. So we will see!

What’s it like when you are on stage performing?

When I’m performing, I feel like time stops. I feel amazing.

I feel like, I let my soul illuminate to others. I watch them [the audience] and feel their energy. I can feel people and the differences. I love making them happy. It’s happy music.

If you could play Coachella what would your show be like and who would you bring as a special guest?

My show would be power driven, the energy would be very high, the presentation would be astonishing, and the performance would be one you could never forget. If I were to bring out a special guest, it would be my good friend Noah Ayala, radio personality at radio station U92.7 FM. What is most challenging about being an artist on tour?

It’s not being able to wake up and hug your kids or even missing a phone call.

What do you enjoy the most about touring?

I enjoy knowing the my music is making more people in the world happy. It’s spreading in places that an artist hopes for.

Seeing smiles on fans faces, while dancing to my music, is a great feeling.

Do you pay much attention to lyrics in music?

I listen to the lyrics, but the way they say it. I take things that I have experienced in my life and try to express it more truthfully.

I’ve had many experiences in my life. I’ve been a single father for five years. It makes me want to work a little bit harder because I want to provide for her.

What do you miss the most about the Coachella Valley?

I miss the palm trees, the cool breeze, and the summer time heat. Most of all, I miss my family and all my promoter friends. twitter @HIGHDEGREEHD

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BUZZ

elizabeth RODRIGUEZ TIENDIQUE: CUT CRAFT & CULTURE text MICHELLE PARRA photography BRIANNA PARRA In the city of El Centro, lies Tiendique, the perfect destination for treasure hunters. Local residents, along with Tiendique's owner Liz Rodriguez, have played a major role igniting an artistic and cultural revival. It's the ideal venue for local artists and musicians to exhibit their work. Beyond the doors of this newly remodeled boutique, visitors will be transported into a place that is eclectic and modern yet still resonates an old world feel. Tiendique specializes in a unique selection of designer resale, vintage clothing, and décor. Rodriguez has spent many years collecting gems from all around the world. These coveted items now lie in Tiendique for anyone seeking rarities.

Where did you get your sense of style?

My interest in hair, vintage, and interior design began around the same time; when I was about 10 years old. I was raised by my very stylish grandmother, Mercedes Robles. Despite a humble background, she was a spectacle! I tagged along to her hair appointments. I was amazed by my grandmother's stylist, who could quickly and completely change her. I vividly remember her stylist asking me "What do you want to do when you grow up?" I replied, I want to do what you do.

My grandmother also loved thrifting. Not knowing the treasures within a thrift shop, I reluctantly went with her. To fight boredom I explored the racks where I found clothing like no other; bold patterns, bright vivid colors. After that, I was hooked!

What is the story behind Tiendique?

As a teenager, I had a rack full of vintage pieces in the corner of my bedroom. They had been restored, ironed, and carefully hung. It was my personal mini museum. At about 18 my friends asked about the clothing. I told them I was hoping to have my own shop someday and at 19 I opened Deviant's doors, Imperial Valley's first vintage clothing store. Despite loving Deviant for several years, I closed it to pursue cosmetology. I moved to Los Angeles to attend Vidal Sassoon, but couldn't afford it. Luckily, I was instantly hired at the famous Wasteland on Melrose, one of the best vintage clothing stores in L.A. Wasteland expanded my knowledge and eventually I became one of the buyers.

I returned to Imperial Valley and attended the new cosmetology school. The director, Mrs. Soto, had been an educator and platform artist for Matrix. I thought she hated me because she gave me the most challenging tasks. In retrospect, I appreciate

how tough she was, because of her I aced all my classes and quickly gained a clientele which followed me to a local salon; where I worked for many years. I loved hairstyling, but I missed the creativity of Deviant, so I left. That was the hardest and scariest thing I have ever done.

I was afraid to start anew, but I didn't want to live in wonder or regret. With that leap, Tiendique was born. A space for Cut, Craft and Culture — all my passions under one roof.

Where did the name Tiendique come from?

Tiendita+boutique=Tiendique. English and Spanish just like me. I'm from Calexico, a border town in Imperial Valley. Our community and culture is very unique. A Mexico and California blend.

What style defines Tiendique?

Style doesn't define Tiendique. Tiendique is more than style, it's a space for appreciating handmade, a space for individualists, a space for those who want to stand out and experiment with style.

What is the most challenging part of working at Tiendique?

Parting with my pieces is always difficult. As I'm prepping a vintage piece to be sold, I appreciate every aspect of it's design; it hurts me to let it go.

And the best part?

Seeing people come in and leave with positive reactions.

Raising someone's self-esteem with a new look that reflects them confirms that I am exactly where I should be.

What can we expect to find in your store?

You can find unique handcrafted items and artwork from local artists, jewelry from our travels, handmade apothecary items, and one of a kind vintage clothing. You'll have a very unique experience and have a chance to meet a local artist.

Finally, what's next for Tiendique?

I'll follow wherever it takes me! I'll happily take the opportunities that are given to me, and I will always challenge my creativity. If it's easy then it's not worth it. Ha! I invite you to follow me on this creative journey.

617 WEST MAIN ST., EL CENTRO, CA, UNITED STATES 92243 web TIENDIQUE.COM

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CO LLA B

jenna LAMB FLOWBOX text JORGE PEREZCHICA photography ALEX AHUMADA

Jenna “H20” Lamb is the founder and director of Flowbox, a professional circus troupe starring local Coachella Valley performing artists. Originally from Delaware, Jenna moved to the Coachella Valley in 2009. “I used to travel as a physical therapist assistant, passing through the desert and there was something about it that I really liked. The weather was always nice,” Jenna enthused. After graduating from college with a degree in physical therapy, Jenna worked at a Baltimore hospital, The Kennedy Krieger Institute, entertaining children with disabilities. Once a month for three years she performed “Jenna’s Crazy Rockin’ Circus Show.”

been the key to her success. “Physical therapy was good for allowing me to learn, but also to teach others,” says Lamb. “I’m like a mechanic for the body, I feel like I am cheating because I can go to the gym and work on certain sets of muscles to help me out in specific things such as walking on stilts.” Although Jenna loves performing, she admits, “I’m a director at heart.

I love performing, but I like writing the show. It’s about love, forgiveness and trying your best — triumph for the little guy.”

Over the years Jenna has acquired a wide range of skills, from fire dancing, stilts, and aerial arts, to juggling, clowning/improv and hula-hoops.

Overcoming obstacles has been commonplace for Jenna Lamb. She was born with a broken collar bone and endured scoliosis and back pain growing up. In spite of this, she pushed through adversity. She began dancing at the young age of three and by five her mother had started a dance team. Jenna advanced to Junior Director of the team by the age of 12. In high school, Jenna expanded her capabilities, showing proficiency in stretching, strengthening and traditional gymnastics. She became captain of her cheer squad and developed skills in pyramid style acrobatics and overhead spotting. At the age of 15, Jenna participated in equestrian vaulting which took her own acrobatic skills to the back of a moving horse. At 17 Jenna attended a professional circus camp for advanced performers. From this moment on, with the exception of physical therapy, circus arts have taken center stage in her coaching and performance.

The origin of Flowbox progressed through a series of events: Jenna lived in Joshua Tree for six months but didn’t find much performance work and the driving to and from events became too much of a hassle. As a solution, she decided to move to North Palm Springs and started an event called, “Flow in the Park” for budding performers to learn and practice skills.

Eventually she moved the event into a warehouse and named the studio “The Flowbox” established in 2011. Through the success of Flowbox, Jenna and the troupe have performed at the annual Joshua Tree Music and Arts Festival and many other events throughout the Coachella Valley. “The troupe is not about being the best,” says Jenna. “It’s about getting people involved. I meet people and they say, ‘When I was a kid, I always wanted to be in a circus.” So she tells them, “Well... come! Come join us!”

At 27, Jenna traveled to Joshua Tree and met Susan Bruntage PT, the therapist who helped improve her scoliosis and changed her life. “Finding that therapist finally helped change my back — all these things would not be happening the way they are happening without her,” Jenna explains.

Unfortunately, as Jenna’s back improved, she started having pain in her shoulder. To compensate and allow healing, she bought a rolling globe — a circus skill in which the performer balances atop a large sphere that weighs approximately 35 pounds.

Performing at a young age and physical therapy education have

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For a while, Jenna lived in a four-bedroom house in Cathedral City, occupied by fellow performing artists - it became a true communal haven. “I’m kind of a talent agent,” says Jenna enthusiastically: “I find artists to work with and figure out what skills they perform. When clients call me, I get to tell them I know just the person for the job! For better or worse its been my desert family.” To aspiring performers, Jenna says the most important quality is: “Confidence! Learn to be in the moment. Learn to be the character that is yourself.” web FLOWBOX.ORG

left CHELSEA “SPHERE” ONEIL right JENNA “H2O” LAMB photography ALEX AHUMADA

COACHELLA MAGAZINE 37

PR OFI LE

scott WEXTON HOODOO! COMICS, RECORDS, T-SHIRTS & TIKIS text KRISTIN WINTERS photography ENOCH WATERS

There are many strange sights along the stretch of HWY 62: the spooky figures of joshua trees, ominous ancient rock beds, reported UFO sightings, and a peculiar record store that sticks out amongst the scene. With a name like HOODOO, you’re not likely to forget this spot anytime soon. Owner and founder Scott Wexton, (also known under his stage name Voodoo Organist) opened HOODOO as a one-stop shop for vinyl, comics and rock n’roll and exotic decor. The dark walls are covered with tiki heads of all shapes and sizes that grimace back at you in an unnerving, yet jovial welcome.

HOODOO houses thousands of new and used vinyl in eclectic genres, packed full of unique finds to please even the most fanatic collector. For lovers of music, comics and curiosities, it is impossible to leave without new treasures, and anticipation for your next visit.

When did HOODOO get started?

We opened on October 1st, 2010. Prior to us opening, there was no pop-culture store up in the high-desert and I come from a pop-culture/counter-culture background as a teenager. In Detroit I used to work at a store that was similar in vibe in the 1980s. A very important focus for the store from day one has been to have new and used everything: t-shirts, graphic novels, records, and tikis. I think it’s important to have a place where you can get some good tunes, good reads, cool tees- all the jazz.

When did you begin to appreciate vinyl and comics?

I started buying records in the 80’s as a teenager. It’s something that, when people make a comment that they’re coming back, for people like me- they never went away (laughs). A lot of the things that I like to listen to, the underground stuff- especially from the 50s, 60s, 70s, space-age pop, lounge, organ jazz, exotica, latin music- have never been available in digital release.

I’ve always been a record guy for those reasons. If you’ve got the proper stereo system, it does indeed sound better than digital.

You get the art, you get the liner notes, its’ much more of an art package, as opposed to just a digital download.

Which music and comic genres do you keep stocked?

With graphic novels, we try to have a very broad, wide approach and appeal because the comic world is everything from superheroes to super-absurd. We try to keep a nice balance of everything from DC characters like Batman and Harley Quinn

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to Marvel - Deadpool is really hot right now. Personally in terms of the superhero world, I’m a fan of Dr. Strange and Sliver Surfer, but more so, I like a lot of the indie stuff better.

We actively stock a lot of the, ‘Image Comics,’ titles -Image is a really hot publisher right now. Saga is a really hot series of course Walking Dead. The Wicked+The Divine is a really cool series; East of West is my favorite current trade series. In terms of comics, it’s really trying to find a balance between the superhero and the non-superhero genres.

For records, I always actively stock the desert rock stuff.

Of course bands like Kyuss, Queens of the Stone Age, anything Gram Parsons related. We’ve always been local artist friendly, so if a band releases a new record or a cd or single, they’re always welcome to bring it into the store to sell. I like to keep a good selection of rock, indie, punk, and I also try to curate decent odd sections. I’ve got an exotica section, a latin world-music section, synthesizer music sections and of course jazz, funk, soul.

Why did you choose such unusual decor and tiki theme?

A lot of the art we carry is called, “Lowbrow.” Shag would be kind of the king of the lowbrow art movement. I think generally the art I seek is Lowbrow, and that ties in with all the tiki stuff. There was a tiki lounge-exotica revival in the 90s that got me hip to the whole scene and ever since then I’ve been a fan of the whole tiki world. Tiki often goes hand-in-hand with the Lowbrow art -which also goes hand-in-hand with rock n’ roll, which also goes hand-in-hand with comics. Although it may all seem random, it kind of works together in some strange way.

What’s the story behind the name HOODOO? Being a small store, we wanted a small name but yet a multifaceted name. I didn’t want to be called, ‘Scott’s Records and Comics,’ or whatever- I wanted a jazzy-funky name. Hoodoo is a simple one word, but it is multifaceted. Hoodoo refers to the weird rock formations that you see in the southwestern desert, the other-worldly ones that look like they defy gravity. Hoodoo also refers to folk magic, and I think in a lot of ways you can kind of see the folk magic in what I do. HooDoo is also a fun play on words: “Hoodoo you love?” I often like to say. So it’s a simple fun word that has a few different meanings. It’s something intriguing and eye-catching that makes you think, “Ooh what’s in there?”

55866 TWENTYNINE PALMS HIGHWAY, YUCCA VALLEY, CA 92284

twitter @HOODOO_STORE

Scott Wexton owner of HooDoo Records Yucca Valley, CA

“

For me, what I’ve always been fascinated with, and why art is so great, is the joy of discovery or the sense of exploration.

Art is a very strange behavior.

— Alison Hunt Ballard

”

ART

annie LEIBOVITZ WOMEN: NEW PORTRAITS

World acclaimed photographer Annie Leibovitz has launched an exhibition that will span 10 cities in 9 major countries. Leibovitz’s new work, “Women: New Portraits” will be displayed on tour throughout the world and is free to the public. This exhibition launched by UBS will see countries such as Germany, China, Mexico, Switzerland and many more. Annie Leibovitz’s new work is a continuation of her previous project “Women.” The new portraits are of women from different backgrounds, class levels and ethnicities. Women who are CEOs to athletes to artists are shown in the beautiful style of Annie Leibovitz. Some portraits from the original project will be included along with some unpublished photos that have been taken since her release of “Women.”

The exhibition includes educational programs on photography and arts in the regions of the exhibition. The programs are workshops for families and student photographers, to aide in the expression of art. There are also talks and presentations of women and women’s rights on a global scale.

The workshops and talks are free to the public just as the exhibition is. The London exhibition has ended, but the new venue in Tokyo is available, no reservation required, open 7 days a week from 11am to 7pm. The Tokyo site will have activities for schools, where teachers can take their students and educate them on Leibovitz’s portraits; what is being expressed and what the pictures are trying to get at. They also show how students opinions of women has changed and how they can change the opinions of others with art. For families with children ages 4 to 10 years old, there is a guide to help them think critically about the portraits and the subjects. These activities are designed to be fun, interactive and educational.

This tour of Annie Leibovitz’s work has come at no better time, especially in the United States. In a time where women are so close to achieving equal pay, where reproductive rights are called into question again, and where the United States has a chance to elect it's first female president. Globally women are battling for equality and are crying out to end the male oppression. World wide the exhibition will be an empowering statement for women everywhere, showing the strength of femininity and female culture.

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Annie Leibovitz, born in 1949, is renowned to be one of the finest portraitist of our era. Her love of photography developed while she attended San Francisco Art Institute, to study painting. Finishing her college experience, Annie was hired by Rolling Stone magazine where she quickly ascended to chief photographer. It was with Rolling Stone that she established her trademark use of bold colors and unique poses. After Rolling Stone Leibovitz joined Vanity Fair, where her more recognizable celebrity work was done for the cover; Caitlyn Jenner revealing her identity was one of the latest dazzling, yet controversial portraits. Her distinct body of work has been displayed in museums from Brooklyn to Russia. web UBS.COM/MICROSITES/ANNIE-LEIBOVITZ

Misty Copeland, New York City, 2015 © Annie Leibovitz from WOMEN: New Portraits Annie Leibovitz, New York City, 2012 © Annie Leibovitz Annie Leibovitz, New York City, 2012 © Annie Leibovitz

COACHELLA MAGAZINE 43

kehinde

WILEY A NEW REPUBLIC text JORGE PEREZCHICA

Kehinde Wiley is a leading American artist originally from Los Angeles and based in New York. His new exhibition, “A New Republic,” is currently touring the United States, includes an overview of the artist’s prolific fourteen-year career and features sixty paintings and sculptures.

Wiley’s interest in art history’s portrait painting tradition began at a young age, influenced by the city of Los Angeles’ cultural diversity and by visits to the Old Master-filled Huntington Art Collections. At age twelve, he attended school in Russia on an arts fellowship. Wiley further developed his artistic craft through earning a BFA from the San Francisco Art Institute in 1999 and his MFA from Yale University, School of Art in 2001. In January 2015, Kehinde Wiley was honored by the U.S. Department of State as a recipient of the Medal of Arts for his commitment to cultural diplomacy.

Traditional portraiture has been tied to representation of power, European courts and churches. Today, portraits have become commonplace with the rise of technology and social media — our eyes constantly bombarded with a deluge of selfies at every click. In “A New Republic” Wiley raises questions about race, gender, and the politics of representation by portraying contemporary African American men and women using the conventions of traditional 18th century European portraiture. With attention to detail, bold colors and sublime beauty, Wiley’s portraits break through stereotypes and engages viewers to have an important conversation about identity.

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Anthony of Padua, 2013, Kehinde Wiley, American, b. 1977, oil on canvas, 72 × 60 in., Seattle Art Museum, gift of the Contemporary Collectors Forum, 2013.8. © Kehinde Wiley. Photo: Max Yawney, courtesy of the artist and Roberts & Tilton, Culver City, California.

Morpheus, 2008, Kehinde Wiley, American, b. 1977, oil on canvas, 108 x 180 in. Courtesy of Roberts & Tilton, Culver City, California; Sean Kelly, New York; Galerie Daniel Templon, Paris; and Stephen Friedman Gallery, London. Š Kehinde Wiley.

LAUREN SZABO

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THIS PAGE: Saint Gregory Palamas, 2014, Kehinde Wiley, American, b. 1977, 22k gold leaf and oil on wood panel, 40 x 24 x 2 in.

Collection of Edward Tyler Nahem, New York, courtesy of Sean Kelly, New York. © Kehinde Wiley. Photo: Max Yawney.

OPPOSITE PAGE: Shantavia Beale II, 2012, Kehinde Wiley, American, b. 1977, oil on canvas, 60 x 48 in. Collection of Ana and Lenny Gravier. Courtesy Sean Kelly, New York. © Kehinde Wiley. Photo: Jason Wyche.

web SALVATIONMOUNTAIN.ORG book WHERE THE HEAVEN FLOWERS GROW: the life and art of leonard knight OUTSIDERBOOKS.COM

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Salvation Mountain: A Beacon of Love in the Desert. The barren slopes of Imperial County’s desert plains can leave very little to the imagination. The typical frame of reference for the land east of the Salton Sea is a seemingly endless stretch of sand, rock, and expired plant life suffocating underneath a blanket of sweltering heat. Miles of arduous territory seldom explored by human feet can leave a lone traveler thirsting for more than just water — some form of gratification or surprise, perhaps? Hours of trekking lead to wondering if the splash of color up ahead is merely a mirage. There’s a mountain in the distance, which isn’t unusual for this kind of environment, but the hues of red, green, blue, and yellow covering it strike a loud chord of disharmony around the neighboring desert. Upon closer inspection, you notice the painted designs of nature and Biblical scripture embedded on the rock, culminating into large text reading “GOD IS LOVE” towards the top of the mass. You have reached Salvation Mountain.

Behind every piece of art is a creator who made it come to life with a purpose, and Leonard Knight was no exception. Although he passed in February of 2014 at the age of 80, Knight left behind a legacy with Salvation Mountain — a colorful testament that promotes love and hope for future harmony among people. It was always his intention to spread word of God’s unwavering mercy and acceptance, but the effort would prove to be more difficult than anticipated, as Salvation Mountain’s origins span about 40 years in the making.

Leonard Knight lived a quaint existence in his childhood home of Vermont until a trip to San Diego to visit his sister completely changed his outlook on life. The year was 1967 and Knight, 35 years old at the time, had found himself repeating the Sinner’s Prayer by himself: “Jesus, I’m a sinner, please come upon my body and into my heart.” It was then that Knight had a new undying faith overcome his heart and he was determined to spread this newfound passion to the world somehow. One day he came across a hot air balloon in the sky with words printed on its side. Knight thought it was the perfect way to show the Sinner’s Prayer to others around the world. There were many failed attempts at making his own hot air balloon; Knight bought all of his materials with money earned through various odd jobs and stitching the fabric with a sewing machine given to him from a friend. The project soon became too overwhelming THIS PAGE: Houdon Paul-Louis, 2011.off the ground. After 14 to handle and had no success getting Kehinde Wiley, American, b. 1977, bronze years, Knight decided to put his efforts to a halt. with polished stone base, 34 x 26 x 19 in.

Feeling disappointed from L. theBabbott supposed Brooklyn Museum, Frank Fundfailure, Knight wanted to leave a kind of symbol to represent and A. Augustus Healy Fund, 2012.51.all his efforts to promote Photo: Sarah God’s love.

He DeSantis, used halfBrooklyn a bag Museum. of cement to create a small monument, which eventually grew into a bigger monument, OPPOSITE PAGE: The Two Sisters, 2012. andKehinde in the course of four years it became Wiley, American, b. 1977, oil ona full-fledged mountain standing over 50 feet.

The mountain ultimately fell apart because linen, 96 x 72 in. Collection of Pamela K. andway William A. Royall, Jr. Courtesy of Sean of the it was constructed — made from old junk from the Kelly, New York. © Kehinde Wiley. Photo: dump and sand covered with paint and cement. Knight did Jason Wyche. not At quatist dolo et lant, etur, ut harumquia voluptibusam

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Randerson Romualdo Cordeiro, 2008, Kehinde Wiley, American, b. 1977, oil on canvas, 48 x 36 in., Private collection, Golden Beach, Florida, courtesy of Roberts & Tilton, Culver City, California. Š Kehinde Wiley. Photo: Robert Wedemeyer, courtesy of Roberts & Tilton

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Colonel Platoff on His Charger, 2007–8, Kehinde Wiley, American, b. 1977, oil on canvas, 122 x 122 in. Modern Art Museum of Fort Worth; Gift of the Director’s Council and Museum purchase, 2008. © Kehinde Wiley.

COACHELLA MAGAZINE 53

Kehinde Wiley’s latest exhibition, A New Republic, was featured at the Seattle Art Museum from February 11 through May 8, 2016. Coachella Magazine is proud to present Catharina Manchanda, Jon & Mary Shirley Curator of Modern & Contemporary Art. In our interview, Catharina Manchanda shares her insight on Kehinde Wiley’s artwork, cultural themes, and reaching influence in Seattle’s community and beyond.

What is the role of a curator and do you have a favorite piece within the exhibit?

Generally speaking, the curator develops the scope and selection of works for an exhibition in conversation with the artist. As this is a traveling exhibition, the checklist of works was already set by my colleague in Brooklyn.

I configured the exhibition for our spaces and organized the works thematically (rather than chronologically).

This arrangement is different from the presentation in Brooklyn.

In addition, I added one painting to the show, which is on view in our entrance hall. In addition, I am happy that we can show the documentary film—An Economy of Grace in the exhibition galleries. Finally, I wrote new interpretive texts for our galleries, including a brochure that visitors can take home.

What attracted you to Kehinde’s work to begin with?

Kehinde Wiley is an important and influential contemporary artist whose work has particular resonance and urgency when considering the social and political developments in the United States in recent years. Please note that this exhibition was curated by Eugenie Tsai at the Brooklyn Museum and is touring the country. I reconfigured the show slightly for our spaces.

What have you learned about Kehinde Wiley himself over the course of curating this exhibit? Did this process change your perception about the work? How so?

It was wonderful to meet the artist in person and hear him speak about his work and ideas. He is nuanced and extremely articulate. He wants to make sure we look carefully at the paintings. It was also clear from his own comments about the works that he wants to keep us on our toes-there is no single pat interpretation of his work but rather many layers.

What is the relationship of past and present motifs in Kehinde’s work? And what is the new meaning as a result by combining the two?

The paintings are hybrids where elements borrowed from historic works (and their past) rub up against contemporary images, and attire. The paintings open a host of questions about the performance of masculinity and its representation.

How do you project a powerful image and authority through your pose, your gestures, your dress? How is this turned into visual program—historically and in a contemporary arena?

How do Kehinde Wiley’s paintings inform the way we look at the history of painting? How do his works inform how we read contemporary culture in all its facets? Does the artist make us more aware of visual stereotypes in the representation of people of color in contemporary culture? Do we become more aware

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of colonial histories and their legacies when we measure the dynamic of past and present in Wiley’s portraits? How does the conversation change when we are looking of portraits of women of color? The questions goes on and on and some questions may only come to us long after we have seen this exhibition.

How does queer culture intersect into Kehine’s work? And what has been the public’s response?

What you see in these paintings will depend on what you bring to them. Your own gender identity/ies will inform your readings of the works.

The way he renders bodies and illuminates his sitter’s skin is very seductive. You may understand this in a very literal way or more metaphorically as the seduction folded into a figure of power and authority. There are a few points that will only emerge if visitors look closely and read the titles. For instance: Wiley may show us a painting of a young woman but the painting’s title suggests that the original work depicted a man. One example is “St. John the Baptist.”

His Dogon couple, modeled on a famous African sculpture, shows us not a man and a wife but two young men embracing.

A painting like this has plenty of ambiguity:

To Western eyes this may suggest an intimate relationship but in many parts of the world, men going hand in hand or embracing is just an expression of friendship. It points to cultural differences as well.

How do the sculptures compare/contrast with his paintings?

They are part of the same conversation. In his paintings he is looking at representational strategies of aristocratic portraits, religious portraits, etc. In his sculptures, he has been engaging different representational conventions of the portrait bust.

How does this exhibition impact the Seattle art culture and community and beyond?

I think it is too soon to tell. What we know so far is that the show is incredibly well attended. We are seeing an amazingly diverse audience—young and old, people of different racial and ethnic backgrounds are coming to see the show. Our entire roster of tours for school groups were booked up before the exhibition had opened.

What are the social and political impact of Wiley’s work and how does it tie into current events?

It seems to me that the social and political conversations that are percolating in the country right now, are a fruitful and productive context for his work.

What conversations would you like the audience to have?

As many as possible. To me, this is the most important and most measurable impact an exhibition can have. I would hope that conversations take place not only in the galleries but continue outside the museum with family, friends and acquaintances. web KEHINDEWILEY.COM links SEATTLEARTMUSEUM.ORG

"Equestrian Portrait of King Philip II (Michael Jackson)." CREDIT: Jonathan Dorado; Courtesy Brooklyn Museum

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alison hunt

BALLARD Wolves and women run free — they dance together and leap through the woods, through houses, and through the pages. But where are they heading and what do they seek? Red ink becomes blood as teeth are barred, the walls of the home close in, igniting fear the need for escape, and the wild woods are just as a foreboding refuge. This is not a fairytale — this is the world of Alison Hunt Ballard. interview KRISTIN WINTERS

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Spirit Animal: Arbitrium Multi-Color Reduction Woodblock Print

A

lison is a printmaking and artist-bookmaking artist currently residing in Palm Springs. Born and raised in Idllywild, she grew up isolated from much of modern day necessities, yet had a rich experience exploring the mountains and wilderness which would later become a central theme in her work.

Alison graduated from California College of the Arts in 2008, with a BFA in Printmaking and Bookmaking. The Bay-Area metropolis was a stark contrast to her childhood home, and where she flourished and refined her craft. Alison’s Prints and Artist Books tell a primeval story set in the modern world- a tale of humans and animals facing each other and danger lurking where you least expect it.

KRISTIN WINTERS: Can you you tell us your personal background and how you came to be an artist?

ALISON HUNT BALLARD: I grew up in the mountains, in Idyllwild, California, and it was a very small, obviously, limited town. With its charms, yes. I think that the ruralness of it and the very mountainous quality of it and the very dark and silent aspect of it, very much influenced a lot of my language and my work.

Certainly, I was very excited to go to San Francisco and I fit in much better in the Bay Area in terms of my peers and people there. My family is very typically mid-western. They come from the mid-west and they are very religious. They’ve very Christian. They’re very Republican. They’ve all been in Idyllwild forever. Generation after generation. My mother died when I was young, which also informed a lot of my wanting to be an artist and having an outlet to talk about things that were hard.

She died of cancer and it was a very long arduous process that I watched at a very young age that was very transformative. After my mother died, my grandparents inherited me.

I’ve been making work for a long time. Though only recently do I feel like it’s taken on the life that I’ve been trying to find. I think artists spend a lot of time finding their language and finding the right fit and the right mediums and the right way of making things that express what they’re trying to express and talk about what they're trying to talk about.

KW: How did growing up in Idyllwild influence your work?

AHB: The mountain is always this huge influence on me and being raised in a place that was very isolated and very much still apart from modern living.

We had the benefit as kids of just running out into the woods and nobody is stopping us and our parents not really wondering where we were going even though we were out in the middle of nowhere. Being very connected in that sense to animals and to trees and to nature, in a way that a lot of modern children don't have.I think that definitely influences a lot of the ways that I interact with my imagery too, in my work.

KW: How did you discover printmaking and bookmaking, and how do those mediums speak to your art?

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AHB: [Originally] I went to college as a fine art major. Basically, that really just means painting and drawing. It was my second year in college, I had been going through the whole painting and drawing curriculum and things just weren’t really lining up. The print shop was right below the painting and drawing studios. I’d always seen the print makers down there and we always shared cigarette breaks together.

I was watching their process and their process really spoke to me, the way that they were making work. Then I realized that it was connected to books — I always wanted a way to use words and language in my work. Painting just wasn’t cutting it. Using words in painting. You can do it but it wasn’t the right fit for me.

When I found bookmaking, I was like, “This is it for me. I can speak in a more narrative way.” Because my work is very narrative. I was always trying to tell a story. I like to think of myself as a storyteller. I think in pages. I think in a linear way.

When I realized that there was this option that I could actually major in printmaking and bookmaking, that I could start to talk about what I needed to talk about. It was liberating.

Because painting, you get one shot, you get one canvas, it’s one thing. It's one final piece. Whereas when you’re working with a book, you have multiple different pages that you’re working with.

KW: In your own words, how would you define what a book is, or what a book can be?

AHB: From an artistic perspective, to me, a book is just a way of communicating. Whether that is in a traditional book form or in a more sculptural idea of communication, it’s [another] way of telling stories. It’s a way to communicate to other people and really, what I think artists are doing or what I’m doing as an artist is it’s having a conversation.

For me, the traditional book structure never really ... Again, that was also a limitation KW: A traditional book that people are used to thinking of are very different from your work, which is books as art objects.

AHB: What happens is when you exhibit a book like that, when you put a book like that in a gallery or in a space, nobody wants to touch it. No one's going to touch it, because to them it’s art, it’s untouchable. You look at them, you don’t touch it. That’s a real problem when all of your content and everything you’re trying to talk about is inside My way of getting around that was starting to make more sculptural objects that, to me, were books, but were sculptures in a way that people could approach and interact with and understand the content without having to open and go page by page.

KW: What has been the viewers response to your books as an exhibited art object?

AHB: For me, the best reactions that I've ever gotten to my work have been from children. I use symbols that children recognize as houses or animals, things that you would normally

Two Cities: Humana Multi-Color Reduction Woodblock Print

I think artists spend a lot of time finding their language and finding the right fit and the right mediums and the right way of making things that express what they’re trying to express and talk about. — Alison Hunt Ballard

HOUSEWORK 2011

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From an artistic perspective, to me, a book is just a way of communicating.

Whether that is in a traditional book form or in a more sculptural idea of communication, it’s [another] way of telling stories. It’s a way to communicate to other people and really, what I think artists are doing or what I’m doing as an artist is it’s having a conversation.

— Alison Hunt Ballard

QUELL 2010

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see in children’s books. Kids, they want to go up. They want to touch it. They want to move it around and I couldn’t be happier when that happens. A lot of my work is interactive where you go inside, you pull things out or whatever. Kids don't hesitate with that stuff. They're interacting with it in a much more authentic way. I’ve had good response from adults too. It’s always a little bit different.

I want to have conversations with the average viewer, and I want them to be able to approach the work and to find something of themselves in it and to be able to tell themselves a story about it as well and identify very archetypal things from childhood or from their own experiences or from dreams or things that they understand as these symbols that they can then interpret for themselves and create the self-analytical or introspective way of considering something.

KW: What are the themes and concepts behind your work?

AHB: For me, what I've always been fascinated with and why art is so great is the joy of discovery or the sense of exploration.

Art is a very strange behavior. People who want to make art, you could just go hiking or you could do yoga. There are so many people who never make art.

For me, the very cool nature of that is, yeah, the excavation or the exploration of something or an idea or a theme. I’ve always been just endlessly fascinated with people and their motivations and what’s going on with people and the idea of consciousness and the idea of us as human beings being evolved animals and moving away from our sense of self as mammals into this more higher sense of self as people human beings.

I think a lot about people's motivations and what’s the root of behavior and what's the root of a lot of these issues that people face that are unique to humans and not to animals. Most of my work has always dealt with that form of exploration.

I think art is very political, whether we mean to be political artists or not. I think that art reflects the political and the social and the cultural climate of the time. When I look at things, I think we all think a lot about what's going on in the world, things like racism and sexism.

When I distill it down for myself, to me, it really comes back to a sense of human's behavior and what is the root cause of the reasons we lash out or the reasons we create in us versus them or with the reasons that we have hatred.

I think that art is a way into tackling those issues.

Through our evolution, there’s been this push away from the animal- we are different, we are separate and we’re elevated and we’re different from them, we’re not animals, we’re people.

By trying to push down the animal, we’ve ignored it completelybut we still are animals and we still have this raw instinct that boils under the surface. For me, there’s always this tension between the human mind and the animal mind essentially and which part of us wins out in any given circumstance.

For me, this series is really dealing with that tension and that dichotomy between the two. We all have this restlessness inside of us. We want to be human and we want to have all these successes: the car, the house, the job. Yet even when we have all those things, we have this sense in ourselves -We just want to

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throw off everything and go live in the woods and fuck it all.

I think that's that inner sense of animal coming out where it’s like we aren’t meant for this: We aren’t meant to be trapped by all this stuff and we aren’t meant to go to jobs 40 hours a week, 50 hours a week. There’s very much this animal scratching inside of everyone and how we choose to let that animal control our behavior. It can either be this pet that sits inside of us like a good dog or a wolf that comes out and destroys everything. Tacking that inside of ourselves, I think, is the like the jumping off point to being able to tackle the larger issues that we are facing as a culture and as a world.

KW: You have a lot of symbols and archetypal images in your work — Can you describe how you use them?

AHB: I always use houses as a sense of the domestic and a sense of civilization and the human side of things. I use trees or animals as the wild aspect of our psyches and of our personalities.

Same with the color — I use a simplistic color of pallet to talk about things that are very whitewash, things that are pure versus things that are very raw and very open.

KW: All these images together in your work seem to paint a picture of a fairytale.

AHB: I think folklore is really important. Again, that goes back to the sense of narrative and storytelling, and that being a very archetypal consistent way that people understand talking about themselves and the world.

You go back as far as civilization, as far as humanity and they were telling stories in symbols and in parables that helped population understand their place in the world or understand their place in their own culture. We used ideas and characters and these archetypal symbols to talk about lessons we should learn or things we should know or ways that we should approach the world. In a lot of ways I think I am making more modern fairy tails or folklore.

I think even if you go back to the Little Red Riding story- it’s a very linear conclusion to draw from the images and symbols.

That was very much a story about that sense of the domestic being safe or not safe. The sense of dark wood being the unknown or the mysterious. Certainly, from a child’s perspective. What does that mean, to go into the unknown or the mysterious, and how do we approach that?

Again, that goes back to my hope that people take the opportunity to be introspective within themselves and have more personal and self-analytical experience with these symbols and ideas that are so much taken for granted in our lives and in the current state of the world.

I really would hope that people [when viewing my work] will be able to sit with that sense of being unsettled and that sense of discomfort and be able to talk to themselves about that. “Why am I uncomfortable? Why does this feel unsettling?

What about that is inside of me? What is happening there?”

I think we were wolves once, and I would like people to sit with that notion. web ALISONHUNTBALLARD.COM

Alison Hunt Ballard printing wood blocks at her home studio.

KEN

FOTO Ken Foto has traveled the world, stationed in ports, drifting through highways and wandering wherever life takes him.

Along the way, Ken has captured sprawling landscapes, people’s interactions, and candid moments through the eye of his camera. He has created prolific bodies of work throughout four decades, from the late 70’s when he took his first photography class as a high school student, to the present day as a Fine Artist. Despite a previous nomadic lifestyle, serving 20 years in the United States Navy- Ken has retired and settled in the Coachella Valley for eight years now, documenting young musicians and artists in their element. Ken’s images capture a fleeting moment in time, a scene that I was a part of in my formative years as a young artist in the desert. interview KRISTIN WINTERS

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TONY & KYLIE backyard house show Coachella, CA 2012

Big Lizard the Ace Hotel & SWIM CLUB Palm Springs, CA 2010

Couple at JDees Palm Springs, CA 2010

Yessinia, Alva & Freddy Coachella, Ca 2013

Bar Palm Springs, CA 2015

Ty Segall Band Oasis BAR Thousand Palms, CA 2011

TY segall show Oasis bar THOUSAND PALMS, CA 2011

ALVA 2012

James & Yessinia 2013

K

en became immersed within the youth culture himself, he went to shows, befriended and supported many of the young creatives - our joys were his joys, and our sorrows his sorrows. These images reveal friendships forming, loved ones lost, and the fierce passion in which the desert kids drove their art and creative force, and how we lived our lives. Ken’s photos reveal the beating heart and spirit of the desert youth. As a documentarian and an empathetic friend, his photography celebrates the lives of local artists and continues to inspire the ever evolving culture of the Coachella Valley. I am honored to present my dear friend, and eminent artist Kenneth Geiger, known to all as the truly one of a kind — Ken Foto.

KRISTIN WINTERS: Introduce yourself to the world Ken! KEN FOTO: I’m Ken Foto, I take pictures and I’ve been doing it for a long time.

KW: When did Kenneth Geiger first become, “KEN FOTO?” Tell us the origin story!

KF: In 1986 I heard about a photographer named Ken Geiger who won a Pulitzer prize, he now works for National Geographic, so I started thinking about changing my name, as other artists had done- like Man Ray and Bob Dylan. That’s when I came up with Ken Foto. In ‘88, I was the photo editor for the Ohio State University newspaper, and I started a weekly series of nonjournalistic images called “Ken Foto’s Misguided Tour,” a play on the name of a series from the Village Voice, “Sylvia Plachy’s Guided Tour.” I guess you could say this is when I became, KEN FOTO. I also started to graffiti my name around Columbus: “Ken Foto 88 Lives.”

Carlos 2013

KW: What’s in your equipment bag?

KF: Yeah, I use a digital SLR, and I use Adobe Photoshop as my doctrine. I shoot a Canon 5D Mark II, which is an excellent camera.

KW: Can you tell us your background and how you came to the Coachella Valley?

KF: I came to the desert the last time in ‘08, that’s when I retired from the United States Navy. I came here because my children were still living here and it’s like, “Where should I go?” It made sense to come here and I had always liked the desert even as a kid driving cross country. The desert has always intrigued me.

I’m from New York City originally, but then my dad went on active duty on the military, so I spent my whole youth traveling around from New York to Kentucky, Texas, Louisiana and North Carolina, to California. I lived in Tehran, Iran for two years and in the Panama Canal zone for two years and that’s where I graduated high school.

Then I went to college in Louisiana for a year and a half studying photography and then in the spring of ‘79, I moved to Columbus, Ohio to study photography at the Ohio State University. I ended up being in school there for nine years, but of course, I never graduated. I’m not the world’s greatest student, but I do enjoy going to college and I learned a lot. In Columbus, that’s when I started making the art scene series, hanging out with writers and artists, musicians and other creative people. I really got into documenting the scene.

KW: You have been documenting the Coachella Valley for several years now — How would you describe the people and the place?

KF: I’ve been in the Coachella Valley for the past eight years, which is the second longest place I’ve lived. So far I’ve lived in DHS, Palm Springs, Indio, and now I’m moving to Rancho Mirage- So I’ve had the opportunity to meet many

Joshua 2013

Colonel Platoff on His Charger, 2007–8, Kehinde Wiley, American, b. 1977, oil on canvas, 122 x 122 in. Modern Ar

people in the arts and music scenes, from Shurpers, the gay community, to the east valley hardcore scene. The Ace, JDs, the Hood, and the backyard shows were all good, [although] I’ve never been to Coachella Fest. The Coachella Valley is a multi-ethnic, multi-cultural place so it’s hard to say one thing about the people, I search out the creatives. I do like the young people 18-30ish, they are filled with energy and angst, I tried to provide a space for them when I was an artist in residence at the Coachella Valley Art Center, by hosting such events as “Acoustics Sounds” and, “Office Hours.”

I have always liked the desert, even as a child, driving across country with the family, the American Southwest intrigued me. Recently driving back from Florida, when I saw the first yucca plant and red earth, I felt like I was home. The Coachella Valley is a visually stunning place, from Mt. San Jacinto always looking down at us, Whitewater, the Thousand Palm Oasis, and of course the Salton Sea. KW: Your Columbus scene series that you created in the ‘80s

“

moved to the desert a lot of the artists and musicians I met to begin with were friends of my kids, Gabe and Sarah. I started going to see these bands or these art events.

KW: At that point your subject matter changed to the young art scene in the Coachella Valley happening in 2009. That’s more my generation.

KF: Yeah. Again, that 20s crowd is what I’m interested in. I’m much more interested in music and art by people that I know.

It’s fun to go to museums and whatnot: they’re like temples of art and you look at stuff and you think about it. [But] it’s about being in the present; a jam at someone’s house can be the most exciting, because, again, it’s the moment of creation.

It’s not overworked. It’s not over thought. It’s just being there.

KW: A lot of photographers will just be documenting, as an outsider looking in, but you on the other hand, participated in this music and art scene. You know everyone. You get out there and dance. You talk to people. You’re involved in

It’s about being in the present; a jam at someone’s house can be the most exciting because it’s the moment of creation. It’s not overworked. It’s not over thought.

It’s just being there.

— Ken Foto

while attending Ohio State is similar, almost like a precursor, to the desert scene from ‘09 to 2015 that we are featuring.

How did you immerse yourself in that scene at the time?

KF: In Columbus, there was a lot of alternative music. The punk, the new wave thing and also toward downtown, there’s this area called the Short North that was in the process of being gentrified. I was involved with two galleries in Columbus that I helped run. One was the Red Cat Gallery at the community center on Northwood and one was Artreach Gallery that was a cooperative gallery and I booked shows there for awhile.

KW: Were they shows that featured younger artists as well?

KF: Yeah, definitely. At that point, I was 21-ish. Yeah, it was the people I knew, young artists. Yeah, that’s a good question, because over the years, even after Columbus and in ‘88 I joined the military, but I found, in the military, it never stopped me from being Ken Foto. I always worked on my art. Whenever I got to a duty station, I’d find out where the independent coffee house is, the community arts shit and that’s how I had worked my way in.

Usually, I hung out with the younger sailors, 21-ish, again, that’s because the people at that age, they’re, in some ways, the most creative. They might not have their work ethic down, but they’re just very energetic. I realized even after I

”

people’s lives. How do you think that impacts the photos you take, and do you consider it essential to your art form?

KF: That’s a good question. I used to photograph strangers a lot and I still do that if they’re at a club or something and they’re interesting. Photographing random people on the street, I don’t do that anymore. You know how we say, “the Indians say,” that when you photograph someone you’re taking their soul. If I’m being present with them, and we’re hanging out or whatnot... in some ways, I am taking their soul, but they’re not leaving anything, they’re not losing anything. Without their presence, I can’t create my work.

Now you said, in some ways I’m not an outsider because I participate, but since I was a military brat and even did 20 years in the military myself, I always feel like I’m an outsider. When I started to make the scene in Columbus, I used the photography to maybe ingratiate myself. It was just my way to be involved.

KW: Do you think the relationship with your subjects goes both ways then? Maybe when you were photographing us, you were taking a piece of us — but you were giving something back and maybe that’s what’s captured in the photos.

KF: It seems like I’m able to portray people in interesting way. Or maybe I’m just lucky, I don’t know. It seems like I

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Las Feas the hood Palm Desert, CA 2013

DATE farmers studio Coachella, ca 2013

kylie, bolin, brian, rafa & andrew COACHELLA VALLEY ART CENTER INDIO, CA 2013

ty segall SHOW Oasis bar Thousand palms, CA 2011

Corey 2013

have some ability to represent a visual kind of truth or something like that. I’m sort of like a celebrity photographer in some ways, so imagine …

KW: Yeah, like a local paparazzi. A little bit.

KF: I’m a Paparazzi of the people I know, the people in the local art scene.

KW: Are there any famous art photographers that have inspired your approach to your work?

KF: Larry Clark -he photographed his scene in Tulsa, Oklahoma and all his friends were speed freaks. This is back in the late 60s and they’re just hanging out, but he photographed them. That influenced me, but it didn’t actually influence me to make the decision to do my photographs, but it was something that I saw someone else documenting their scene.

Then later on, almost a contemporary, is Nan Goldin who did that whole series on transvestites and drug addicts in New York City. The scene I documented... Okay, there could be some meth addicts in our scene. But my photography is not completely down and dirty.

Ian & Nigel 2013

lady in red 2013

KW: What do you think it is that brings young people together in the desert?

KF: Well, it’s the music. It’s almost more you know, the local music versus the local art. The music I follow is youth generated between, you know, Desert Hot Springs and Palm Springs. Now that I live in the East Valley, the visual art is more varied than the musical art.

KW: I’m interested in what you think the spirit of the youth in the Coachella Valley is- What qualities do you see, because you seem to capture them in your photographs?

KF: What I like ... Okay. What’s charming about the Coachella Valley one, is it’s just smaller, and as a... You know, New York, LA, San Francisco you are just one of many. I’ve noticed when I was stationed 29 Palms, or even in West Virginia it’s in some ways easier to find other creatives.

crystal & bracken 2010

KW: This seems to be a valid point, you are saying in larger cities like LA and San Francisco you are only one of many- Does the Coachella Valley, in spite of it’s small size, allow more opportunities for young artists and musicians to flourish?

KF: [As opposed to] where you have to pay to play or something.

Right, there’s room for us to do what we want. Potentially, in terms of the music in the East Valley, house shows are a good way to do it. Now, one thing though, because venues are somewhat readily available out here, is that you can show your stuff maybe before you are ready to show it. Either your visual art, or your music, which is okay- that could be true but it’s not necessarily bad. How else do you learn how to play or paint besides by getting out there and doing it?

KW: Do you have an interesting or crazy story you documented and can share with us?

KF: [I photographed my wife after] I delivered my son in an adobe

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“

Photography gives me a way to interact with the world around me.

Some people have religion, I have my art.

— Ken Foto

house in Albuquerque, the mid-wife showed up ten minutes after he was born — nothing will ever compare to that.

KW: Do you remember the first time you picked up a camera and started taking pictures?

KF: My first camera, I was 13 years old. In 1972 my family took a trip from Monterey, Ca. To San Diego and Guymas, Mx. I shot 5-10 rolls of film on the trip. In early ‘73 I got my first 35mm camera, a Canon FT QL. I used to shot wild flowers, resting a magnify glass on the lens as an improvised macro.

KW: Digital cameras and digital media have greatly impacted photographers today — How did you transition into this new digital landscape?

KF: In the 90s I did a lot of color xerox work, which is sort of digital. It took me six years to completely transition from analog to digital. I got my first computer in 1997, I had traded a photograph for it. It came with photoshop and I purchased a photo-quality printer and negative scanner. Eventually photo labs would scan your negatives, when developed, that was useful.

In ‘04 I got my first DSLR, a Canon 10d, and stopped shooting film all together. One of my favorite parts of shooting digital is that I have complete control from shooting to printing, like the old “black and white” days. I enjoy processing my images with photoshop, and it’s a lot easier to spot the pictures digitally, than with the old paint brush. Of course chimping is useful and I get to shoot as much as I want. But on a basic level I’d say, I shoot the same, just a change in tools.

”

KW: What advice would you give to emerging photographers and documentarians?

KF: You just got to do it! Don’t talk about it. Don’t tell me what you are going to do, show me what you have done. Look at lots of photographs, to take a good photo you have to know what one looks like. Learn some history of photography. Read lots in general, it will add depth to your experience. Network.

KW: What do you love most about photography?

KF: Photography gives me a way to interact with the world around me. Some people have religion, I have my art.

KW: When all is said and done, how would you like to be remembered as an artist and photographer?

KF: I guess I just want to be remembered like: “You’re that Ken Foto dude!” and “He really did some shit!” web flickr.com/photos/kenfoto instagram @KENFOTO

Ken Foto Coachella Valley Art Center, Indio, CA

KW: How do you feel fine art photography compares to other art mediums?

KF: Not all my work is about people creating a scene. I do nonrepresentational work. I do pure abstract work that doesn’t even start as a photo. Along those lines, many painters paint from photographs. That’s interesting. If you’re making a photograph that looks like a painting, one might say: “Oh, did you use a filter?” (Laughs). But if you paint a painting from a photograph, that’s more okay. With some photorealist painters, it’s like their painting from bad photographs. That makes me sad.

KW: What do you think about photography apps like Instagram?

How does a photographer function in the new social media environment where everything is so accessible?

KF: There were snap shooters before [social media] and I wasn’t in competition with them because we were all taking pictures.

We’re doing it from a different perspective. Social media allows everyone to share. I like to share... For me, social media has really worked because I like to share my photographs. The problem with that though is now I don’t print as much.

portrait by LUNAFORA

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“

I generally hope that people love us or hate us and when people hate us, I never get upset about it. Yeah, it makes sense that it’s not for you, it’s specifically for the people who love us.

— Daniel Armbruster, vocals & guitar JOYWAVE

”

MUSIC

Joywave

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photography JESSE LIROLA

interview ROWLAND AKINDURO

THEGREATESTINTERVIEWEVERWRITTEN.COM (YOU SHOULD GOOGLE IT)

W

hat’s Platinum!? Discussing topics like, life on tour, the Russian American Space Race, Kanye, the complexities of George W. Bush, having kids, and much more, I can say this interview with Joywave front man Daniel Armbruster was an eclectic journey to say the least.

With a 2016 Coachella Music & Arts Festival performance, a successful album titled How Do You Feel Now?, a performance on Jimmy Kimmel Live, a new single entitled Destruction, and a rapidly growing hardcore fan base, it has become quite clear for the Rochester, New York based band and their fans, that they have chosen an overwhelmingly appropriate band name.

ROWLAND AKINDURO: How would you describe your band and your sound?

DANIEL ARMBRUSTER: It’s a mix of everything I’ve ever been exposed to and then I sing over the top of it.

RL: What would be your main influence because for some reason I heard a little bit of The Killers, David Bowie, Under the Influence of Giants, which is the singer of Awolnation’s first group, and I’m like, dude these guys from New York are like killing the game right now. I just saw your video for Somebody New and dude it was like Tony Hawk [Pro Skater 3] on steroids.

DA: Oh nice, yeah we’re all big ‘Killer’s fans and anything 80s really. I’ve never really heard Under the Influence of Giants, but I think someone has said that to us before. I think I saw their CD on a Best Buy end cap one time but I didn’t listen to it. But really anyone who does whatever they want to do whenever they want to do it, is what’s inspiring us, like Damian Albarn and watching him reinvent himself every five years is pretty exciting.

Every new Kanye West record is more exciting than the last one, so really anybody that’s not being afraid to change and try things that are different.

RL: What are your thoughts on Kanye?

DA: He’s awesome dude, we’re all really, really big fans. The new record is pretty awesome. The artwork on the new record is basically the same as our entire fall tour campaign from last year which was crazy to see. We’re actually just really excited about it. We were like, “ah we really like our artwork, and we’re really proud of it.” It’s really awesome, and he basically did exactly the same thing on his record with the all caps Helvetia, and the orange and black. We’re like, “okay now we know it was awesome.” It’s crazy there is this outdoor ad, I don’t know of anyone actually witnessed our outdoor ads or anything, but it

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seems probable, but it’s more exciting than anything.

RL: I agree, he’s definitely a polarizing character. There’s a lot of people out there and everybody either loves him or hates him.

Do you guys feel, at any point, if you were to acquire that status of polarization, that you guys would be able to hold your own in that kind of global arena?

DA: Yeah I think so, I kind of enjoy when people [thoughtful pause]. I generally hope that people love us or hate us and when people hate us, I never get upset about it. Yeah, it makes sense that it’s not for you, it’s specifically for the people who love us.

It’s fine and exciting and I think the best things are polarizing.

RL: Right I agree, I 100% agree. Now I got a quick question for you about your music and remixes. I noticed that many bands who have a relatively popular jam like “Tongues” for example, (congratulations by the way like 12 million plays on Spotify that’s huge dude) but they have a popular jam that other people are remixing like crazy and don’t really feel the need to remix other peoples’ work after they’ve kind of ‘took off’ so to speak. But I noticed you guys are still in the trenches supporting good remixes of your own work and even doing remixes of your own, despite your busy tour schedule. Talk a little bit about that if you can.

DA: Yeah it’s a way to be creative on the road. Sean, our bass player, does all of our remixes. It’s something you can do while on the road on a laptop and try to maintain some type of normalcy to your day. It’s creating the thing that we like to do more than anything else when you’re on the road touring. We were on the road to 200 dzays last year. There’s not a lot of time to spend creating and sometimes it gets kind of almost depressing when you’re not making something if you’re a creative person, so it’s a way of staying creatively active when you’re on the road and it’s fun to do.

RL: I got a quick question for you and I’m totally going to throw you a curveball. What do you think of the secret space program?

DA: The Secret space program!? What is that?

RL: So apparently there’s a secret space program, right? We’re talking, you know, NASA and all that, right? That’s what the public knows, right?

DA: Right, yeah yeah RL: Well lately on the Internet there’s been this conspiracy about a secret space program and this ‘break away civilization’ where their technology is way more advanced than we can comprehend and they’re literally traveling/exploring way into space. Do you think there’s any legitimacy to that?

JOYWAVE Members: Daniel Armbruster, Sean Donnelly, Paul Brenner, Joseph Morinelli, Benjamin Bailey

DA: (Laughing) I don’t think I can comment on that because I don’t know anything about that other than what you just said. It’s what I will need to Google. Do I google secret space program?

RL: Right on! There you go man. That’s exactly what I would recommend doing.

DA: OK I’ll read up on it and get back to you.

RL: So Daniel, I read on one of your other interviews you guys started talking a little bit about sci-fi and being sci-fi nerds.

Maybe a couple if you guys are into it. I know that because you’re the lead singer, you may be able to speak on it a bit. If you had your own sci-fi movie what would it be like?

DA: I’m the wrong person to ask. I don’t actually really like sci-fi stuff. I know I look like I do, but Paul our drummer, and Joey our guitar player love it. Yeah, they’re the guys to ask. My sci-fi movie would be really regular. It would be like a political

alternate history thriller like The Man in the High Castle, but it would be better done.

RL: So you’re more of a history buff then? Do you like assassins creed?

DA: No, my historical taste is very specific. I was a history major in college, so I basically wrote all my papers in college on the space race. That’s kind of what I get into, like the Cold War stuff.

RL: Oh, so the secret space program might actually be up your alley.

DA: It would be for sure. I do look forward to reading up on that.

RL: I kind of wanted to tap into the lyrics of the song “Tongues.”

You know, when you’re saying ‘palms are down, I’m welcome back in town, but I feel like they don’t understand me.’ Can you kind of elaborate on that?

COACHELLA MAGAZINE 81

DA: Yeah the chorus is like an allegory. It’s kind of like a messiah complex type thing. Being from Rochester New York, there’s not many people who make it out of Rochester who do something on a National scale from Rochester. And everyone in our band works extremely hard and is very focused on creating and making it the best it possibly can be. It’s very strange, I was DJing in Rochester for a few years once a week, and I would see the same people out to every single night. But they where not doing anything. And they would always talk about how they were going to write a novel and move to this place, or do this cool thing, start a band, or make a movie. And no one ever did anything and it was just un-relatable to me because these people were trying to say the same things to me that I wanted to do, like mix things or make something that’s inspiring or awesome, but they just didn’t do it. So, it just felt after a while, though people talked about being creative, they weren’t, and actually didn’t have anything in common with us.

“ “

RL: You were going against the grain, but it ended up working to your advantage.

DA: Yeah yeah yeah for sure.

RL: So how have you been dealing with being in Rochester?

Have you been back and how have people reacted to you?

DA: Yeah we also live there. I mean It’s an awesome place. The people, they’re great. They’re really happy for us and proud of us, it’s awesome. We did a show there for the first time in a while in January and there were 4500 people there, so it was awesome.

I have to extend my influence on the world ‘cause right now I’m using music, but I guess sperm would be more effective.

— DANIEL ARMBRUSTER

RL: So it was kind of a classic case of persistence overcoming resistance in a way then?

DA: Yeah yeah, after, when things started going well for us, a lot of people who were in that situation wanted to latch on a little bit and be like oh we should do this, or we should work on that song, and I’m like, “no that doesn’t make any sense.” (laughs) A lot of people want to party or socialize and want to have part of the lifestyle and not do any of the work.

RL: I encounter that a lot. There are people that are around that are interested and they’re doing the same thing everyone else does because they’re interested, but it was a struggle for you guys to separate who is committed… I can hear it in your voice that you are committed. That’s the difference between the people that make it and the people that don’t.

DA: Yeah for sure.

RL: So you say that history has had a large impact on you. What else has had an impact on your sound in the electronic scene?

DA: You know, I think being from Rochester, there’s a lot of metal bands and just the idea that we wanted to do our own thing. I would kind of describe Rochester as this creative desert island. Anytime we would have a rehearsal space, you know, like the warehouses with 30 bands practicing. It was 29 metal bands

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and then us. So our gut reaction is, if we see something being done, or we hear something, we wanna do the opposite. The fact that metal bands were on every single side of us, we were like ‘ungh we have to do the farthest thing from metal that we possibly can.

”

RL: There aren’t haters like in the rap game where somebody leaves the city, they can’t ever go back because they’ll get blasted or something?

DA: I think it helps that we still live there, but I mean you know it’s only a matter of time until the haters emerge because we become the establishment and then the next generation of kids and their band are like “lets do the opposite of Joywave, they suck.” It’s inevitable. Everything is cyclical.

RL: That’s a good way to look at it. Now who would be your ultimate guest interview on Coffee with Joywave?

DA: Uh man um, probably, you know what? It would be George W. Bush.

RL: (laughs) DA: Because he’s such a fascinating character to me. He’s either like a diabolical genius or a lovable buffoon. I know which one everyone thinks it is, but you know, he might be an evil genius too, and I just don’t know. I want to ask him so many questions.

I mean he was terrible and I hated his politics, but I always loved that it seemed like what he thought he was doing was the right thing. That level of conviction that he felt every time he made a bad decision was just mind blowing to me. We would have to go longer than 15 seconds I think.

RL: Dang that is actually, wow, I didn’t think you would say that. I actually do some astrology, numerology, psychology on the side, and I’ve studied his character very intensely. Just on an astrological/numerological level, his charts state everywhere exactly what you’re saying. They state he’s actually very mentally astute and he has capabilities beyond comprehension. People around him have always said that he’s super smart, and the ironic thing is that the mainstream media portrayed him as an idiot.

DA: Right right right, have you seen any of his paintings?

RL: No no, wow, he’s got paintings?!

DA: Yeah, so, he started painting after he left the White House and a few of them, you should Google it, are really interesting paintings. Like there is one of him where he did a self-portrait of him in the shower, and his back is to you when you’re looking at the painting. There’s a mirror in the shower, and if you look at it briefly, you assume that he’s an idiot. You see his face in this little circular mirror and he looks like he doesn’t understand how perspective works. It looks like his head is facing the right and that’s not reflected in the mirror, but really the opposite is happening in the mirror. But if you think about it, the other theory on it, on his painting, there are theories on his paintings, is that it’s someone looking at him while he’s in the shower.

As if People are constantly looking over his shoulder, but he’s being watched and under all this pressure. It’s awesome because again you don’t know is he really saying something? Is he stating about how he feels about his post presidency? Are people out to get him? Or is he just bad at painting? And even down to the painting, you don’t know which way it is. It’s fascinating.

it’s always crying. The day to day experience is definitely as they described you won’t see anything except for the venue. I mean today is a day off and I can tell you right now, I’m looking at a Starbucks and I’m walking around a salad and people have been staring at me for an hour because I haven’t ordered yet because I’ve been busy taking phone calls. Soon I’ll eat a salad though.

RL: I don’t want to take too much more of your time I know how intense it is to want to get food. I actually just stopped

by Ralph’s and grabbed some Cliff Bars, so I totally know the feeling of just being on the go, but it’s on a whole new level then for you huh?

DA: Yeah yeah it’s always on the go for sure.

RL: Now do you plan on having kids one day?

DA: I don’t know but that’s the strangest question that anyone has ever asked me! (repeats question to bass player) Sean our bass player is next to me right now he’s like, “what did he ask?”

Uh, yeah, probably right? I have to extend my influence on the world ‘cause right now I’m using music but I guess sperm would be more effective.

RL: You’ll be in the next Coachella Magazine right around when Coachella is.

DA: Awesome I’ll look it up.

RL: It’s gonna be great! Well, it was great talking to you and enjoy the rest of your tour!

DA: Thanks so much man, Later!

RL: Some of the best things are that way—super complex, yet potentially simple. That’s really awesome. There’s a level of complexity that’s really insane. It’s crazy. Now MGMT, I remember, were speaking one time in an interview, and they were discussing life on tour. They were saying something along the lines of people think ‘oh it’s the glamorous apex of what you could potentially do as a human, oh my god this is amazing and you’re seeing the world and you’re seeing all these places.’

But MGMT kind of painted it in a way where they were saying -we will literally go to a place, say, Chicago, Illinois and we’ll see a club or a venue and we’ll see the back of the bus, we’ll see loading into a van, we’ll see the venue, maybe the bar if we’re not at the level of insane notoriety yet, then we’ll go back into the back of the venue, then back into the the bus, then to a gas station to get some snacks in order to get to the next venue then pass out. That’s our experience in whatever said city they’re in.

DA: That’s spot on RL: Would you be able to elaborate a little bit on the not so glamorous sides?

DA: Yeah so, the way that I describe it is, touring is kind of like an episode of Louis. You’re always crying basically, but sometimes you’re cry laughing because you’re hanging out with your friends, and sometimes you’re just crying from this deep personal sadness. And it depends on the day which one it is, but

web JOYWAVEMUSIC.COM links THEGREATESTSONGEVERWRITTEN.COM

COACHELLA MAGAZINE 83

Giselle Woo K

interview KRISTIN WINTERS photography LUNAFORA

L

Giselle Woo is a beloved desert native, hailing from Cathedral City.

Her music can be heard across Coachella Valley, at outdoor events, bars, and just about every venue from high to low desert. A true artist, Giselle transcends multiple genres while emanating a signature sound and presence of her own. When playing an acoustic set, Giselle’s deceptively simple cords sweep you away; you feel a sway in your hips and the lyrics speak to your heartache. The smooth guitar rhythms seem to melt into the desert sunset as her poetic soul casts a bewitching spell over the audience.

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GISELLE WOO at home in CATHEDRAL CITY, CA hair /mua LINDA LEMUS

Giselle Woo When Giselle collaborates with Davis Macias and bandmates of Machin to form, “Giselle Woo and the Night Owls,” another side of her persona is unveiled. Sultry vocals combined with electric power cords create an infectious rock n’ roll beat which brings the crowd to their feet and dance the night away.

Giselle’s passion for music overflows to support local bands of the Coachella Valley. Currently she holds the position of Music Director at College of the Desert’s radio station KCOD COACHELLA FM, and hosts her own show, “Coachella Valley Local Hour,” spreading the word on upcoming shows and desert musicians. Read on and listen up as Giselle Woo shares personal insight on the life and times of a singer-songwriter in the Coachella Valley.

KRISTIN WINTERS: How long have you been playing music?

“

GW: Yes, I definitely take pride in the fact that that’s where my talent rooted out of. It opens up a lot of feelings. I’ve always said one of my favorite venues to play at is church because nobody judges you. Actually, what we sing, the songs, the glory, amen and hallelujah are very moving. I’ve seen people tear up- even myself sometimes when I’m singing. I may be going through something that the words just hit and I just get emotional.

Definitely, I feel like I give off that energy anyway because I’m religious. But- I’m not like in your face religious.

KW: As a singer-song writer, you write your own lyrics- what are some of the stories in your songs?

GW: I’m a lover, a hard lover, but you go through your years, your younger years when you’re experiencing different relationships and different things. I think maybe that’s one way for me to cope, is to write a song down about it and just kind of- that’s all I wrote. That’s where it stays and it becomes history.

My style and sound though, I’m influenced by my Mexican culture. A lot of my music I write in Spanish and so it has that Spanish folk kind of feel.

— Giselle Woo

GISELLE WOO: I’ve been playing music for; I want to say since I was a teenager. Let’s see, how many years ago was that?

Almost 15 years ago- Oh my god, wow. I started off really basic and simple. I just started writing my own music and performing on my own for six or seven years- since ‘09.

KW: Can you tell us about your music style? How would you describe yourself as a musician or artist?

GW: My music style definitely leans more towards singersongwriter, which to me I feel like it’s basically only involving the instrument and the songwriter. It’s a very stripped down, raw and personal feel. My style and sound though, I’m influenced by my Mexican culture. A lot of my music I write in Spanish, and so it has that Spanish folk kind of feel. I think that explains it, but then again I also pick up the elements of the desert, which is more like Desert Rock. I feel like rock and a little bit of reggae here and there. That’s it- experimental rock.

KW: When you were growing up, you used to sing in your family’s church. Is there also a spiritual side to your music?

86 COACHELLA MAGAZINE

”

The stories that I tell are about how it can be painful to miss somebody. Some of them will try to be empowering, like I’m okay with this kind of story. Other stories, I’m just like down to hook up, kind of thing. I have one song, it’s called, ‘What I Want,’ and also, ‘Be Your Woman,’ or something like that. I haven’t really titled that song yet.

KW: Who or what then is the love of your life?

GW: Oh my god! -People are going to get their heart broken! (laughs) Who or what is the love of my life?.. I have a few people in mind. I dunno if I should say this, but I feel like all my exes. I feel like they still are, because we still talk and we’ve learned from each other. People that have loved me and I have loved tremendously. My little sister is one of the greatest loves of my life. She was born when I was 18 years old and it was automatic — I took over. She was like my baby. She’s growing up to be a very special, smart young lady. She’s got all the great traits of the three old siblings in one- so she’s like the perfect child.

Giselle Woo, music director of KCOD CoachellaFM, at College of the Desert, Palm Desert, CA

COACHELLA MAGAZINE 87

h oug e r h t ’r u go en you rent o y e h , but ars w nd diff ope, r e c a ye ov rd l unger nships r me to a h o o io ,a ver your y t relat e way f t it. o l , I’m a years fferen at’s on n abou i r h dow you cing d aybe t g n n m so erie ink Woo te a i exp gs. I th r elle s w i G n o — thi is t

“

”

KW: Since we’re getting personal- when and where were you the happiest?

GW: Hmm. It was a few summers ago in Guadalajara, that’s when I felt the happiest in a long time. When I was hanging out with my friend, one of my good friends. Those were some happy happy times. It’s beautiful there, and just being able to share it with a friend; you’re in this same mindset, you both speak the native language. Just enjoying each other’s company and just enjoying the area- just having so much fun, and falling in love- that’s what I think was happening. So that summer was when I probably felt my happiest recently.

KW: You often collaborate with other musicians: when you go onstage as Giselle Woo and the Night Owls -alongside members of the band Machin’ and Symara Stone to name a few. What are the differences between playing your solo act versus collaborating with all these artists?

GW: For me solo music is definitely scary or challenging.

It’s more challenging, but you don’t always have access [to equipment] when you play solo.Yes, it’s so hard. Sometimes it’s just more convenient to play solo, but in my head when I perform, I hear the whole band. Sometimes in between verses where usually there is a guitar solo I’ll hum, or I’ll whistle even, or I’ll try to make some beat box to give the audience that. I feel like in their head too, they are hearing the full band. With the time, it’s definitely one of the most challenging things between playing solo and playing with a full band. I see it as when I’m performing with the band it’s like my armor. It’s my armor. It adds to it. They all each bring in their own talent, and it just becomes this big roll, like explosion of crazy. Definitely, when it’s solo, you feel like more exposed for sure.

KW: Besides being a performing musician, you are also the host of, “Coachella Valley Local Hour,” airing now on College of the Desert’s radio station KCOD. How did that evolve from concept to reality?

GW: Okay. I don’t remember exactly what turned me on to reaching out to KCOD, but I did. There I am accepting this position, Public Affairs Director, just for the sake of being involved, but I did tell her [Toni Bakal, Station Manager], when she asked, “What is your interest?” and I’m like, “Music.

I feel like there is a lot of local music here.” I know a lot of people in the music scene because I’ve made it a point to geek out on everybody. I’m genuinely blown away by all these local artists. I’m not afraid to express my opinion on something when I like it. I’m like, “Why aren’t people looking into the Valley for bands and stuff? Where are all the managers?” I know music is everywhere, but this place is unique.

When the position [Music Director] happened to be open, she called me. This was only a few weeks after everything.

I was like, “Sure, if I can have it, then yeah.” Once I got in there I just started immediately, because the station plays local music artists and artists that have performed at Coachella Music

Festival. I started contacting everyone: “Send me over your music so we can mix it in between.” One minute you’re listening to Florence + the Machine, and the next you’re listening to DJ Day, ‘Land Of 1000 Chances.’ I envision myself as an artist with songs and it’s like being played in between these big acts, that’s kind of cool.

KW: Is there anything you’ve experienced through this process that has really surprised you?

GW: First of all, it surprised me that a lot of these local bands have music on iTunes. -Like,“What?!,” and they are professionally recorded products and they sound amazing. It’s like- I get it. Nobody likes to push their stuff in your face, but I feel like a little bit won’t hurt. That’s one thing that surprised me looking into all this music. The quality makes you hear the lyrics better. It makes it more cool, you can actually memorize the songs. I caught myself going to a J. Patron performance, and I was singing the whole song. I was almost about to jump on the stage and take his mic away.

KW: What would you say is the, “Desert Sound?” What makes this place so unique and infectious?

GW: I feel like the sound comes from a very humble place. It comes from the heart, but it comes in different genres. There is your punk, there is your screamer. More towards the East Valley, is the backyard scene- the backyard is like punks and screamer bands and super metal. Desert Punk is a mixture of desert rock, rock and roll, and psychedelic. In La Quinta, a lot comes from R&B, and there’s a lot of DJ stuff. Every section in the Valley is different. Palm Springs is a little more like a mixture of everything. I include the High Desert in that too because a lot of musicians in the High Desert come down here to perform at venues and vice versa.

KW: If there were something you could say to all the Coachella Valley artists and musicians what would it be?

GW: I’d say just keep rocking. If you feel deep down in your heart that something is going to come from it, that’s all you need. Whether it’s trying to get out there, trying to get your name out there, or whether it’s just doing it for fun. That’s the way you de-stress and let go of the daily rat race or struggle.

Whatever we are living and if that’s your outlet, nurture it, never stop and support each other. Listen to what’s out there.

I’m finding so many incredibly talented people here, and it makes you proud to be from here. That’s what it’s made me feel even more proud.

You can find Giselle Woo performing her acoustic set at Birba Palm Springs, College of the Desert and other cultural and music events around the Coachella Valley. Tune into her show featuring the latest tracks from local artists on the “Coachella Valley Local Hour,” every Thursday from 2pm-3pm on KCOD COACHELLA FM. web COACHELLAFM.COM

COACHELLA MAGAZINE 89

LAMB

writer/directorYARED ZELEKE

FILM

PalmSprings International

Film Festival 2016

STAFF PICKS + FULL LIST OF FESTIVAL WINNERS

LAMB

still image courtesy of PALM SPRINGS INTERNATIONAL FILM FESTIVAL

FEATURING

LAMB MUSTANG 100 YEN LOVE AMY text by ROSE WINTERS KRISTIN WINTERS JORGE PEREZCHICA

PALM SPRINGS INTERNATIONAL FILM FESTIVAL: 2016

LAMB

writer/director YARED ZELEKE

text ROSE WINTERS The very first image of Yared Zeleke’s Lamb opens with a caress that fills the entire screen; it is the brilliant orange wool coat of a sheep and a young boy’s hand, stroking and squeezing the fur.

This striking shot is an elegant symbol of devotion and humanity that echoes throughout the entire film. The camera then pans out to witness our protagonist Ephraim (Rediat Amare) and his pet sheep Chuni, side by side as small silhouettes in the vast Ethiopian countryside; they are alone in the world, but are bearing it together. A mere thirty seconds into the film, and already director Zeleke has captured the essence of the story; Ephraim’s beautiful silent friendship with Chuni.

In May of 2015, debuting director Yared Zeleke made cinematic history, as Lamb was selected as Ethiopian’s first film to be screened at the Cannes Film festival. Gaining critical momentum, Lamb became one of the many groundbreaking films included in this year’s Palm Spring International Film Festival. The story takes place in drought-ridden Ethiopia, where the young Ephraim seeks the companionship of his pet sheep. After losing his mother, Ephraim’s father, Abraham (Indri Mohamed), fears that they too will succumb to starvation.

Abraham leaves the village to find work and sends his son to live with distant relatives.

Rather than being greeted as a grief stricken boy in need of affection and sympathy, Ephraim’s arrival is accompanied

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with disdain. They live in an tightly confined space with his elderly aunt Emama (Welela Assefa), her son Solomon (Surafel Teka), Solomon’s wife Azeb (Rahel Teshome) with her sick infant, as well as Solomon’s rebellious daughter Tsion (Kidist Siyum). The family themselves are suffering from the effects of the drought, and living in poverty. Ephraim isn’t treated as a member of the family, but rather another stomach that needs to be filled. Without the comfort of a supporting family, Ephraim relies even heavier on Chuni’s friendship. While living with his great aunt and cousins, Ephraim’s pet and emotional surrogate mother, Chuni, is offered up as a slaughtered sacrifice. The duration of the film consists of Ephraim’s quest to keep his pet alive and find a way back to his old home.

Ephraim does not remain completely alone for long — Emama and Azeb grow found of the boy, and Tsion becomes his trusting, yet hesitant confidant. However, this only causes more conflict and oppression with his uncle Solomon.

Ephraim’s lack of physical ability proves useless in the field, and his tendency to bond with women anger Solomon. Here, Lamb gives us brief insight into the structured gender roles assigned by the Ethiopian culture. Ephraim is a fairly talented cook, taught how to make samosas by his late mother. He plans to sell them at the town market to collect enough money for his bus fair to return home; however Azeb misinterprets Ephraim’s actions as a gesture to be useful and collect money for the family.

STAFF PICKS

When Solomon sees him cooking, despite Azeb explaining the practical (although false) gesture, he still demeans Ephraim and forbids him to cook, simply because it’s, “woman’s work.” Part of the reason Solomon decides that Chuni must be slaughtered in the first place is to cure Ephraim’s femininity. It’s for the holy festival and to help the family, because it’s also due to Solomon’s inability to see traditional roles defiled. Similarly, Tsion finds herself up against the expectations of what is assigned to a woman. She is not interested in finding a husband and being a mother, something that Azeb and Emama implore her to do.

Constantly reading and pursuing knowledge, Tsion is chastised for not being a proper woman. Lamb uses these characters to illustrate the fight against gender stereotypes experienced outside of the western world.

Lamb gives viewers insight to the everyday life of the Ethiopian people. Whether they are bustling through the dirt streets of the town market, hiking through the lavish greenery of the jungle outskirts, or breaking their bread while singing and dancing. There is always a fight against dead customs accompanied by the preservation of traditions; and while there may be loss and rejection, there is also life and acceptance. Lamb is not only a story about a boy and his pet; it is a coming-of-age film that shows the contrast between mere surviving and living. web KIMSTIM.COM/LAMB.HTML

January 2016, Q&A with writer/director Yared Zeleke “Lamb,” at the 27th annual Palm Springs International Film Festival

COACHELLA MAGAZINE 95

PALM SPRINGS INTERNATIONAL FILM FESTIVAL: 2016

MUSTANG

director/co-writer DENIZ GAMZE ERGÜVEN

text KRISTIN WINTERS

Nominated for Best Foreign Language Film at both the 88th Academy Awards and Golden Globes Awards, Mustang is an internationally acclaimed film that examines the role of women in the Middle East. Inspired by Turkish-French director Deniz Gamze Ergüven’s own life experiences living in Turkey, Mustang weaves a story of five sisters fighting for their independence and identity within a world that values the desires of men over women’s rights and freedom.

Mustang opens with a poignant statement from Lale (actress Günes Sensoy), the youngest of the sisters and narrative protagonist, “It’s like everything changed within a blink of an eye. One moment we were fine, then everything turned to shit.”

The scene shows the five sisters saying a tearful good-bye to their teacher as they leave for summer holiday. Along their walk home, they meet up with their male schoolmates and play at the beach. Still adorning school uniforms, the young women jump into the ocean laughing and cheering, while sitting on the boy’s shoulders; they burst with youthful joy and blissful naivety that will soon be taken away forever.

Mustang dramatically shifts tone the instant the sisters step inside their house. The girls laughter becomes silent and their expressions stone-faced as they meet the stern gaze of their grandmother standing in the darkened hallway. To the fierce protest of the sisters, their grandmother proceeds to beat them 96 COACHELLA MAGAZINE

one by one, as it is revealed that a lady neighbor has accused them of sexual misconduct with boys. Their fate is sealed when their strict, conservative uncle Erol hears about the scandal.

Fuming with rage, Erol declares the sisters are no longer children and must now be suited for marriage. Within this moment the sisters lives are transformed from young educated modern women to powerless orphans at the mercy of their uncle’s rule.

Lale laments, “After that the doors were always locked…the house became a wife-factory, that we never came out of.” Shortly after, the sisters are forced into traditional female roles, where they are solely valued for their obedience to men. “Anything likely to pervert us was banned.” Their fashionable clothes are taken away, their phones, computers, and anything that would give them access to the outside world is denied. Scenes continue to unfold through Lale’s eyes as she witnesses demoralizing and horrifying acts imposed on her sisters: underage arranged marriage, medical virginity tests, and sexual abuse. The middle sister, Ece, suffers the worst — she commits suicide, choosing death over arranged marriage and living within the cruel societal-role that has imprisoned her.

Lale’s character comes to represent hope for the sisters and embodies their fight against oppression, she never gives up or gives in under pressure from her grandmother or uncle Erol.

She breaks through female stereotypes with her rebellious spirit

STAFF PICKS

and passion for football. Despite being the youngest, Lale champions her sisters to attend the final football match, and leads the charge to overthrow Nur’s wedding. Lale tenaciously learns how to drive in secret and meticulously plots a final escape from the “wife-factory.” She fights for her freedom and in the end is reunited with their school teacher in modern Istanbul, where women have more rights and opportunities.

At the Palm Springs International Film Festival 2016, Mustang audiences were invited to join director Deniz Gamze Ergüven in a Q&A. Ergüven described her inspiration and arching theme, “I wanted a film where the characters win in the most glorious way possible. It is a film that says courage pays.” Mustang takes a powerful stand, that access to education is key to fighting oppression and is essential to women’s independence. Mustang reminds us that although Western countries enjoy many freedoms, there are still girls and women today who are denied basic humans rights. Their fight is our fight and through courage and perseverance, women everywhere can triumph to win equality.

OPPOSITE: Tugba Sunguroglu-Doga Zeynep Doguslu-Elit Iscan-Ilayda Akdogan and Gunes Sensoy in MUSTANG. photo courtesy of Cohen Media Group. TOP: Tugba Sunguroglu, Ilayda Akdogan, Doga Zeynep Doguslu, Elit Iscan, and Gunes Sensoy in MUSTANG.photo courtesy Cohen Media Group.

January 2016, Q&A with director Deniz Gamze Ergüven “Mustang,” at the 27th annual Palm Springs International Film Festival

web COHENMEDIA.NET/FILMS/MUSTANG COACHELLA MAGAZINE 97

PALM SPRINGS INTERNATIONAL FILM FESTIVAL: 2016

100 YEN LOVE

director MASAHARU TAKE

text JORGE PEREZCHICA

100 Yen Love is a Japanese sports drama directed by Masaharu Take and starring Sakura Ando. It was screened at the 27th annual Palm Springs International Film Festival and selected as the Japanese entry for the Best Foreign Language Film at the 88th Academy Awards.

When we first meet 32-year-old Ichiko (Sakura Ando) she is a reclusive slacker with low self esteem. Her clothes are scruffy and slobbish, and she still lives at home with her parents.

She passes the days watching television and playing video games without much ambition. Ichiko refuses to work at her parents restaurant and feuds with her younger sister Fumiko who is recently divorced and has moved back home with her son. One day, Ichiko is scolded by her sister for her lazy ways, the heated argument escalates and provokes Ichiko to pack up her things and charge out of the house for good. The scene shows that Ichiko still has some fighting spirit to turn her life around.

Down-and-out on her luck, it’s round two for Ichiko, as her life is flung into a new direction. Ichiko takes a job working the night shift at a 100 yen shop (dollar store),

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where she is confronted with a slew of characters: Co-worker (Shohei Uno) is a smarmy lech, while her manager (Yuki Okita) is a nagging stickler for the rules, a homeless woman (Toshie Negishi) regularly raids the store for throwaway food, and a silent customer Yuji Kano (Hirofumi Arai) nicknamed “Banana Man” is a boxer who trains at a neighborhood gym. On her way home each day she passes the boxing gym where she watches Yuji Kano practice. Ichiko finds romance with Yuji and they begin to live together. But just when things seem to be going well for Ichiko, everything goes kaput through a series of life blows. Yuji Kano disapears with another woman, and Ichiko is raped by a co-worker. Battered by physical and emotional abuse, Ichiko finally signs up for boxing training herself, and begins a fierce fightback. The bell rings and Ichiko’s rematch with life begins!

Ichiko pumping herself up into training mode echo films like Rocky or Raging Bull, yet 100 Yen Love proves to be more than just a sports film. 100 Yen Love is layered in quirkiness, romance, humor and a drama about a depressed Tokyo woman fighting to win back her self-respect in the boxing ring. web 100YEN-KOI.JP/ENGLISH

STAFF PICKS

AMY

director ASIF KAPADIA

text JORGE PEREZCHICA

Amy is a 2015 documentary film that recounts the life and death of British singer-songwriter Amy Winehouse, directed

by Asif Kapadia. Amy became the highest-grossing British documentary of all time and is the 2016 Oscar Winner for Documentary Feature. The success of the film and the music from the soundtrack of the same name also led Winehouse her second posthumous nomination at the 2016 BRIT Awards.

The film starts with a 1998 home movie footage depicting a teenage Winehouse at a birthday party, singing along with her friend Juliette Ashby and Lauren Gilbert. The documentary goes on to cover the six-time Grammy-winner’s life from early childhood, to the rapid rise and of her music career. Winehouse is featured talking about her early influences and how she felt about fame, love, family, her music career and the commercial success of her debut album, Frank (2003), to her second and final album Back to Black (2006). Amy brings to light her troubled relationships, bulimia, media attention, and how the paparazzi took a toll on her personal life. The film chronicles her addiction with drugs and alcohol, leading to her death from alcohol poisoning in July 2011 at the age

of 27. Director Kapadia conducted more than 100 interviews with Winehouse’s friends and family that combine to provide a narrative around the star’s life and is billed as “the singer in her own words.” The film shows extensive unseen footage and unheard tracks Winehouse had recorded in the years before she died. Amy concludes with footage of Winehouse’s body being taken out of her home after her death, and scenes from three days later of Winehouse’s funeral.

“I know there are people in the world who have worse problems than falling in love and having it blow up in your face, but I didn’t want to just wake up drinking, and crying, and listening to the Shangri-Las, and go to sleep, and wake up drinking, and listening to the Shangri-Las. So I turned it into songs, and that’s how I got through it,” Amy Winehouse states.

Amy can be tough to watch at certain parts, but audinces who stay through the end will be rewarded. Whether you are a fan or a newcomer to Winehouse’s music — Amy is powerful testament to her unquestionable talent and legacy she left behind. web A24FILMS.COM/FILMS/AMY COACHELLA MAGAZINE 99

Congratulating The Festival Winners

27th ANNUAL PALM SPRINGS INTERNATIONAL FILM FESTIVAL 2016

Labyrinth of Lies and Everything is Copy Receive MercedesBenz Audience Awards The Assassin Receives FIPRESCI Prize; Alena Mihulová, Sigurður Sigurjónsson and Theodór Júlíusson Receive Acting Prizes; Death By Death Receives New Voices/New Visions Award and Thithi Receives a Special Mention; The Birth of Saké Receives The John Schlesinger Award; Umrika Receives The HP Bridging The Borders Awards The runner-up narrative films in alphabetical order included: 1944 (Estonia), The Brand New Testament (Belgium), The Carer (Hungary), Eye in the Sky (UK), The Fencer (Finland), Liz in September (Venezuela), Mustang (France), My Internship in Canada (Canada), Viva (Ireland) and A War (Denmark).

The runner-up documentary films in alphabetical order included: A Good American (Austria), Made in Bangkok (Mexico), Miss Sharon Jones! (USA), Sherpa (Australia) and Where to Invade Next (USA).

The winner of the New Voices/New Visions award is Death By Death (Belgium/France), directed by Xavier Seron. The film is a tale about the relationship of anxious, part-time actor Michel and his ailing, overly attached mother, who has been told that she is living on borrowed time, but has no intention of dying.

A special jury mention goes to Thithi (India/US). “The jury commended director Raam Reddy for taking his audience on a happily rambling journey, weaving a complex and layered narrative into an inviting film whose structure mirrors the content of the story.”

THE JOHN SCHLESINGER AWARD The Birth of Saké (Japan), directed by Erik Shirai, received The John Schlesinger Award, which is presented to a first-time documentary filmmaker. The winner received a Kennedy statue.

The jury issued the following statement, “With its aesthetic approach, patience and intimacy, The Birth of Saké mirrors the craft of making saké, and the director’s singular passion for his subject embodies the spirit of the John Schlesinger Award."

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THE HP BRIDGING THE BORDERS AWARD The HP Bridging the Borders Award is presented by Cinema Without Borders and Hewlett Packard, which honors the film that is most successful in exemplifying art that promotes bringing the people of our world closer together. The prize includes an HP ZBook 17 mobile workstation, valued at $3,000.

Umrika (India), directed by Prashant Nair, received the award.

The film traces the journey from mountain village innocence to big city experience of young Rama, who follows in his older brother’s footsteps to discover if he made it to the USA, or came to a sticky end in Mumbai.

Mercedes-Benz Audience Award for Best Narrative Feature Labyrinth of Lies (Germany), directed by Giulio Ricciarelli Mercedes-Benz Audience Award for Best Documentary Feature Everything is Copy (USA), directed by Jacob Bernstein and Nick Hooker FIPRESCI Prize for Best Foreign Language Film of the Year The Assassin (Taiwan), directed by Hou Hsiao-hsien FIPRESCI Prize for the Best Actor of the Year in a Foreign Language Film Sigurður Sigurjónsson and Theodór Júlíusson from Rams (Iceland) FIPRESCI Prize for Best Actress of the Year in a Foreign Language Film Alena Mihulová from Home Care (Czech Republic) New Voices/New Visions Award Winner: Death By Death (Belgium/France), directed by Xavier Seron Special Mention: Thithi (India/US), directed by Raam Reddy The John Schlesinger Award The Birth of Saké (Japan), directed by Erik Shirai HP Bridging the Borders Award Umrika (India), directed by Prashant Nair web PSFILMFEST.ORG

TOTALLY BLOWN

co-founders SARAH HARRIS & CODY MONTGOMERY

FASHION

Totally Blown photography LUNAFORA ENOCH WATERS styling Veronica Gonzalez art direction Sarah Harris CODY Montgomery models LEAH JUAREZ LANI ELIZABETH hair KELLYE GEDNEY mua LINDA LEMUS

clothes TOTALLY BLOWN opposite page: blue necklace and ring by ADINA MILLS pink necklace by NEON ZINN from THE END in YUCCA VALLEY

clothes TOTALLY BLOWN salmon pink fiber art necklace NEON ZINN bracelet ADINA MILLS from THE END in YUCCA VALLEY opposite page: clothes TOTALLY BLOWN necklace SPIRIT SPEAK ring ADINA MILLS

clothes TOTALLY BLOWN necklace ADINA MILLS

clothes TOTALLY BLOWN necklace SPIRIT SPEAK rings ADINA MILLS crown LOSCHY DESIGNS from THE END, in YUCCA VALLEY

clothes TOTALLY BLOWN jewelry SPIRIT SPEAK opposite page: suede tassel on jeans by VONDRENIK from THE END in YUCCA VALLEY

clothes TOTALLY BLOWN black sacred knot necklace LISE SILVA from THE END in YUCCA VALLEY

“

It’s a family run place that considers cooking a way to make everyone feel at home. We have snowbirds, regulars who have been coming here for years, and it has been a joy to see them and their families grow — Brenda Ayala EL SALVADOR CAFE owner

”

CULTURE

INDIAN CANYONS text CHRISTINA RAINER photography LUNAFORA

A

s the seasons change, the benefits of each new arrival reveal themselves. When the departing winter leaves behind its cooler temperatures combined with the summer breeze that approaches the horizon, we here in the desert are afforded the opportunity to bask in the bloom of a beautiful spring. Considered the true paradise of California, Coachella Valley is the ultimate getaway. Yes, Southern California has its coastal cities but what attracts tourists and locals alike to step outside is the perfect weather and the activities that accompany those conditions.

From golfing to poolside lounging the best way to seize the day and its most natural of offerings are the hiking destinations.

There is one specific cluster of canyons that offer the premium experience: The Indian Canyons.

Nestled in the San Jacinto Mountains right up S.Palm Canyon Road, south of the well-known downtown Palm Springs strip.

As you drive up Palm Canyon you will also pass by the Moorten Botanical Garden (on the right), which is a great detour to see 100s of different species of cacti. As you continue down the road you will notice the dissipating man-made structures from power lines and buildings to rocks and shrubbery neatly divided by a paved road. Finally a toll gate appears, labeled clearly and priced modestly, even discounts are offered for the elderly and the studious (military are free). Open from 8 am to 5pm it is recommended to get an early start so the possibility of exploring multiple canyons is greater (if you have the water and energy of course!). However be assured, each canyon is its own entity and provides a completely enjoyable observation with a plethora of natural unique geological beauty. The Indian Canyons are located on tribal land and have been preserved for centuries by the Agua Caliente Band of Cahuilla Indians.

There are several trails to explore that meander across the three canyons that make up the Agua Caliente reservation. The Andreas Canyon, Murray Canyon, and Palm Canyon are all comprised of hiking and equestrian trails that are rated from easy to moderate to strenuous. After paying the toll you will have to choose whether to go right and experience the Andreas Canyon or left and head towards the Murray and Palm Canyons.

The Andreas Canyon is a pleasant beginners’ introduction to

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the lands for it is a 2 mile loop that follows streams through acres upon acres of native California fan palms. The fire and flooding from the summer of 2013 that ravaged portions of the canyon are but mere memories with your occasional blackened trunk; trees stand tall as a testament to the strength of Mother Nature and her healing abilities. Breathtaking scenery of foothills meeting jagged mountains and paired with desert landscape and surrounding vegetation, it’s the contrast this magical place holds that lends to its very wonder. A true oasis in all aspects, Andreas Canyon also has elements of historical remnants that are preserved to this day convincing today’s traveler of how very possible it was to sustain life here as the Agua Caliente Band of Indians so successfully did.

The canyons are unique but also do have their similarities from hosting different types of wild life from rare birds to mountain sheep at higher elevations, to thousands of species of flowers and plants. When reaching the parking lot outside of Murray and Palm Canyon you will notice the settle gain in elevation and on the north side lays a small outlook of Palm Springs below and the south side holds wild untouched lands of naturally maintained oasis. Marking the start before the trail begins is the trading post that holds many treasures and artifacts from the authentic to awe-worthy. As you delve into the many trails you are surrounded by hundreds of fan palms, thick as a forest, it’s surprising how dense the oasis gets. It’s almost as some of the palms grow like weeds for some trees are completely knocked over but still attached to the ground growing in a horizontal position, and others grow almost to resemble Joshua Trees with all their curves and twists. Picnic tables can be found situated between the palms in certain openings to expand your hike to even more of a full day experience. The more moderate to strenuous trails can be found in these canyons jumping through creeks and dry waterfalls of sleek stone the beauty of this place is something to experience in a lifetime.

Palm Canyon is about 15 miles long so the elevations that the trail reaches are at the hiker’s discretion. From sea level to Jacinto peaks, adventure is waiting at every turn! web indian-canyons.com

BO O KS

EDWARD S. CURTIS ONE HUNDRED MASTERWORKS

2.

1.

This page: 1. Edward S. Curtis, Bear's Belly - Arikara, 1908, photogravure, courtesy of the Christopher G. Cardozo Collection 2. Edward S. Curtis, A Mono Home, 1924, photogravure, courtesy of the Christopher G. Cardozo Collection 3. Edward S. Curtis, An Oasis in the Badlands, 1905, photogravure, courtesy of the Christopher G. Cardozo Collection

3.

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opposite page: Book cover, Edward S. Curtis, A Qahatika girl, 1907 (detail, plate 14)

Edward S. Curtis: One Hundred Masterworks is on display at the Palm Springs Art Museum from February 20th – May 29th, 2016. The public is invited to view Curtis’ photography up close and learn more about the artists and a part of American history. The museum presents a special installation of photographs taken by Curtis on loan from the collections of the Agua Caliente Band of Cahuilla Indians and Agua Caliente Cultural Museum, along with a selection of Native American objects from Palm Springs Art Museum’s permanent collection.

One Hundred Masterworks is a book and traveling exhibition that highlights both iconic and rarely seen images by Edward S. Curtis (1868-1952). The works demonstrates the artistry and mastery of photographic mediums, and his commitment to documenting and preserving for posterity the Native Americans’ traditions and ways of life. Considered the world’s leading authority on Edward S. Curtis, author Christopher Cardozo selected from an unmatched private archive of rare and unique Curtis original, vintage photographs. Never before have Curtis’s finest photographs been presented with such fidelity and power in book form. Every style, subject matter, cultural and geographic area, and print medium Curtis worked in is included. The stunning photographs are further enriched and contextualized by essays from world-recognized experts. The photographs presented in the book and exhibit, give the viewer a deep, rich understanding of Curtis’s accomplishments as an artist, while exploring the crucial role the Native American participants played in co-creating this iconic body of work.

Beginning in 1900, Edward S. Curtis set out on a monumental quest to create an unprecedented, comprehensive record of the Indians of North America. The culmination of his 30-year project led to his magnum opus, “The North American Indian,” a twenty-volume, twenty-portfolio set of handmade books containing a selection of over 2,200 original photographs.

Today One Hundred Masterworks stands as a landmark in the history of photography, book publishing, ethnography, and the history of the American West, producing an art historical record of enormous and irreplaceable importance.

The exhibition showcases seven photographic print mediums including photogravure, platinum, goldtone (orotone), toned and un-toned gelatin silver, cyanotype, and gold-toned printing-out paper prints. Arranged by geographic region, the exhibition includes a selection of Curtis’s most compelling and rare photographs that look beyond the documentary nature of his work to focus on his aesthetic and technical contributions to the art of photography.

As a supplement to the exhibition, Palm Springs Art Museum features, Changing the Tone: Contemporary American Indian Photographers features photographs and videos by artists of Native American heritage including Gerald Clarke, Will Wilson, Kent Monkman, Nicholas Galanin, Shelley Niro, and Lewis de Soto. In images that reflect on portraiture, cultural heritage, and their relationship to the land, these artists offer diverse perspectives on Native American identity as well as on critical issues around photography as a documentary medium, i.e., the extent to which it is fact, fiction, or some combination of both. These works provide a contemporary context for Curtis’s historical photographs. Changing the Tone is organized

by Palm Springs Art Museum with generous support from Roswitha Kima Smale and John Renner.

Edward S. Curtis: One Hundred Masterworks is a 184page book available for purchase at Palm Springs Art Museum.

101 MUSEUM DRIVE, PALM SPRINGS, CA

web PSMUSEUM.ORG

COACHELLA MAGAZINE 121

FOOD + D R I N K

El Salvador Cafe text MICHELLE CASTILLO Just off North Sunrise Way in Palm Springs, California, you will find a tucked away mom & pop diner of a gem serving up the best authentic Salvadoran food our desert offers. The eatery is locally owned and operated by two generations of the Ayala family. What started as a catering business has turned into a restaurant that cultivates Salvadoran culture, community, and a passion for sharing their love of cooking with others. Currently, there are only three Salvadoran restaurants in the Coachella Valley, and El Salvador Cafe was the first one to emerge in 1990.

26 years later they are still going strong with the same concept of serving their customers traditional Salvadoran cuisine made only from scratch.

As I walked into the cafe, I was met with a myriad of delicious smells from freshly cooked pupusas, platanos fritos (fried plantains), to the subtle scent of quesadilla Salvadoreña (poundcake-like sweet bread). The ambiance inside reminded me of a grandmother’s kitchen, cozy, quaint and familiar. The tabletops are covered in postcards and photographs of their hometown San Pedro Perulapán. Two generations of owners Brenda, “Lizzy” and their mother Betty sat with me while their dad Hector “Tito” took care of the kitchen and bustling customers.

An hour or so quickly passed by while the ladies shared

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their stories about the political, social, colorful and beautiful landscape of their hometown. In between their laughter and smiles; I started to see how this place was not only a restaurant but an experience crafted by family, warmth, and pride in their cultural roots. While listening to the stories of the sisters growing up inside of the restaurant it reminded me of my closeknit family. Something incredible starts to unfold when you bring food and people together, I felt a similar sentiment while sitting and conversing with the Ayala family. Not only did they share a slice of their culture with me but after spending time with them, I felt like a long lost family member. “It’s a family run place that considers cooking a way to make everyone feel like at home. We have snowbirds and regulars who have been coming here for years; it has been a joy to see their families grow,” said current owner Brenda Ayala.

In the future, El Salvador is making plans to create an extension for an outdoor patio. If you haven’t been to El Salvador Cafe yet, you are in for a pleasant surprise. Tell em’ Michelle sent you!

EL SALVADOR CAFE 1759 N SUNRISE WAY, PALM SPRINGS, CA

2016 Commemorative Poster Image “Spirit of Indian Wells” by Marna Schindler

APRIL 1-3 AT THE INDIAN WELLS TENNIS GARDEN An International Palette with 200 Juried and Acclaimed Artists representing more than 25 Countries | Paintings, Sculpture, Jewelry, Pottery & Ceramics, Photography, Art Fashion and more | Children’s Activities | Admission $13 Children Admitted Free | Free or Valet Parking | Open 10 a.m. to 5 p.m.

IndianWellsArtsFestival.com Produced by Dianne Funk Productions © 2016 Festival Information: 760.346.0042

FOOD + D R I N K

SHIELDS DATE GARDEN Romance & Sex Life of the Date text MICHELLE CASTILLO Define Dates: 1) Nutritious 2) Varying in size, texture, and color 3) I’m going out on a date this Saturday 4) A day in time 5) Try them, you may like it.

As I drove along HWY 111, I wandered into a magical date oasis better known as our Coachella Valley’s beloved and historic Shields Date Garden. The first thing I encountered was a massive knight statue that almost touched our desert blue skies. In 1953, the Knight was put out front by Floyd Shields in an attempt to stand out from all the other fruit stands on the strip. It was a balmy 75 degrees, and the parking lot was filled with cars of curious tourists and local regulars. The shop carried tasty treats from date gift boxes, bizarre trinkets, and an assortment of items made with Shields dates. At the vintage ice cream counter, I found fresh pressed juices, date ice cream, root beer floats and the nostalgic favorite--the famous date shake. I was kindly greeted by the media manager Jessica H. Duenow, and we proceeded to walk into the theater that showcased the ongoing free movie, The Romance & Sex Life of the Date. I sipped on my creamy date shake concoction while I became schooled in the wild and fascinating process of the date life cycle. After the movie and learning more about the history and lengthy cultivation process of nature’s candy, I grew more appreciative of these date palm gems.

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I wanted to experience everything, so I followed Jessica through The Walk at Shields that showcases fourteen episodes of the life of Jesus. We came across nopales (cactus), old ladders hooked on to date palm trees and flowers in bloom. Although, I’m not a religious person I was still in awe of the beauty and stillness I found during our walk.

The Cafe at shields caters to California and Mexican cuisine and uses dates on the site for some of their signature items. Chef Jose Arellano brought me some stuffed dates to try, and needless to say, they were mouth-watering. The date had a mélange of cheese stuffed inside wrapped with bacon, drizzled with date caramel sauce and edible flowers. In the cafe, we ran into the current owner who discussed plans for an outdoor amphitheater that would allow them to have family movie nights, art shows and live local music to help promote community engagement. I’ve been coming here since I was a child, and the place feels just as dreamy as the first time my grandmother took me. Apparently, the recipe for the dates shakes has not changed. Traditional, simple and all natural thick goodness goes into each shake. So, if you are looking for an excellent way to relax and cool off for our upcoming spring and summer months, Shields Date Gardens is a must do! web SHIELDSDATEGARDEN.COM

CALEN DA R

MAY

NOW THRU

MAY 29

7

EDWARD S. CURTIS ONE HUNDRED MASTERWORKS A selection of vintage photographs both iconic and previously little known images. psmuseum.org

WOMEN RISING CULTURE/UNITY Celebrating women in Art, Music, politics, and more. spectrum-indianwells.com

MAY

7

OPEN DESERT opendesert.org

Open Desert Music and Photographic Arts Showcase will take place at Palm Springs Art Museum’s prestigious Annenberg Theater. This onenight only event will feature an eclectic array of some of the desert’s brightest musical talent along with a photography exhibition.

Image credit: KEN FOTO

MAY

MAY

JOSHUA TREE MUSIC FEST An Intimate Festival Experience.

Where the line between the artist and audience is blurred. joshuatreemusicfestival.com

EAST VALLEY VOICES OUT LOUD! Crisalida presents...a night of art, music, poetry, theater and more at the McCalum Theatre. mccallumtheatre.com

14

12-15 MAY

12-15 TIKI CALIENTE 8 An annual event that creates the aura of island living, but transports it to Palm Springs, CA tiki-caliente.com

21

DESERTED AT THE PALMS A weekend of music and camping at a dusty saloon oasis known as The Palms. desertedparty.tumblr.com

JUN

JUN

CONTACT IN THE DESERT A weekend of exploration into ancient astronauts, extra terrestrials, human origins, crop circles, UFO sightings, contact experiences and the need to know. contactinthedesert.com

GREATER PALM SPRINGS RESTAURANT WEEK A perfect time to experience some of the best restaurants the Valley has to offer. palmspringsrestaurantweek.com

3-6

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MAY

3-12

ART & CULTURAL EVENTS IN THE COACHELLA VALLEY + SO-CAL

Image credit: Cindy Sherman, Untitled #92, 1981

JUNE 11 — OCT 2

JULY

CINDY SHERMAN: IMITATION OF LIFE The first major museum show of Sherman’s work in Los Angeles in nearly 20 years, with more than 100 works drawn primarily from the Broad collection. thebroad.org

PALM SPRINGS TATTOO CONVENTION The Palm Trees and Tattoos Convention and retreat at the Hard Rock Hotel Palm Springs. palmtreesandtattoos.com

8-10 JUNE

21-27

PALM SPRINGS INTERNATIONAL SHORTFEST & FILM MARKET

psfilmfest.com

Renowned worldwide for the extraordinary community of filmmakers it attracts, and for the quality and scope of its programming. ShortFest will present more than 300 short films from over 50 countries. The ShortFest Film Market will make available 3,000 films to film buyers, industry representatives and the press.

JULY

AUG

14-16

20-21

THE RED RECORDS 25TH ANNIVERSARY Featuring performances from bands spanning the existence of the label and rock n’ roll. theecho.com/echoplex/

AUG

26-28

COMIC CON PALM SPRINGS Will feature famous ARTISTS, writers, producers, special guests, cosplayers, in addition to a wide array of comic con programming providing a rewarding three-day convention for all ages. comicconpalmsprings.com

IDYLLWILD 23rd ANNUAL JAZZ IN THE PINES Featuring over two dozen bands.

Performers and fans of jazz, blues, and R&B. idyllwildjazz.com

AUG

27-28 FYF FEST An annual two-day music festival held at the Exposition Park in Los Angeles, California fyfpresents.com

JUN 15-17 AUG 22-24

SPLASH HOUSE

splashhouse.com

Back to the desert this summer for its fourth year in Palm Springs.

The festival returns to the colorful crowd favorite of the Saguaro Hotel and checks in for the first time at the iconic multi-pool Riviera Resort & Spa. After Hours found its home at last year’s memorable Air Museum parties, and Splash House will host its biggest late-night program yet this summer on the tarmac.

COACHELLA MAGAZINE 127

I NDE X

Art SUNNYLANDS CENTER & GARDENS

PALM SPRINGS ART MUSEUM

(760) 202-2222 37977 Bob Hope Drive Rancho Mirage, CA 92270 sunnylands.org

(760) 322-4800 101 North Museum Drive Palm Springs, CA 92262 psmuseum.org

COACHELLA VALLEY HISTORY MUSEUM

AGUA CALIENTE CULTURAL MUSEUM

(760) 342-6651 82616 Miles Avenue Indio, CA 92201 cvhm.org

(760) 778-1079 219 S Palm Canyon Drive Palm Springs, CA 92262 accmuseum.org

MARKS ART CENTER

RAICES CULTURA

(760) 776-7278 43-500 Monterey Avenue Palm Desert, CA 92260 marksartcenter.com

1494 Sixth Street Coachella, CA 92236 raicesdelvalle.org

THE COACHELLA VALLEY ART SCENE Gallery / Office 68571 East Palm Canyon Dr. Cathedral City, CA 92234

CULTURAS MUSIC+ARTS

(760) 409-6445 thecoachellavalleyartscene.com

facebook.com/culturas.musicarts

COACHELLA VALLEY ART CENTER The Coachella Valley Art Center (CVAC) is an innovative non-profit facility for the arts, providing artists of all levels access a space where they can cultivate growth and exposure.

(760) 799-4364 coachellavalleyartcenter.org

Non-profit organization dedicated to promoting the arts in the Eastern Coachella Valley.

VENUS STUDIOS & ART SUPPLIES (760) 340-5085 Art supplies • Demonstrations Classes Gallery Shows • Workshops • Parties Custom Creativity Events venusstudiosartsupply.com KCOD COACHELLA FM Where the music comes together. coachellafm.com

CRISÀLIDA ARTS

A COMMUNITY ARTS PROJECT OF McCALLUM THEATRE

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The Crisàlida Community Arts Project is an initiative of the McCallum Theater to create, celebrate and inspire meaningful cultural experiences. crisalida-arts.blogspot.com

JACK FARLEY’S ART SUPPLIES Where fine artists shop.

Idyllwild, Palm Springs, Indio & Yucca Valley jackfarleysartsupplies.com

THINGS TO DO / PLACE S TO GO

Theater

Vintage McCALLUM THEATER (760) 340-2787

THE FINE ART OF DESGN (760) 565-7388 73717 Highway 111, Palm Desert, CA thefineartofdesign.com

73000 Fred Waring Dr Palm Desert, CA 92260 mccallumtheatre.com

THE END A shop & gallery featuring vintage and new artisan work.

CAMELOT THEATRES (760) 325-6565 2300 E. Baristo Rd Palm Springs, CA 92262 camelottheatres.com

55872 29 Palms Hwy Yucca Valley, CA 92284 @theendyuccavalley

FLOW MODERN

CINÉMAS PALME D’OR (760) 779-0730

(760) 322-0768 Mid Century Modern

Westfield Palm Desert 72840 Highway 111 Palm Desert, CA 92260 thepalme.com

768 N. Palm Canyon Drive Palm Springs, CA 92262

flowmodern.com TIENDIQUE

COYOTE STAGEWORKS (760) 318-0024

CUT / CRAFT / CULTURE (760) 554-0754

P.O. Box 5401 Palm Springs, CA 92263 coyotestageworks.com

617 West Main Street El Centro, CA 92243

tiendique.com

Lifestyle

Hotels ACE HOTEL (760) 325-9900

EPIDEMIC SKATEBOARD SHOP

701 E. Palm Canyon Dr Palm Springs, CA 92264 acehotel.com/palmsprings HARD ROCK PALM SPRINGS (760) 325-9676

(760) 808-9906 epidemicskateboardshop.com

DESERT OASIS

COMICS

DESERT OASIS COMICS (760) 799-6938

150 South Indian Canyon Drive Palm Springs, CA 92262 hrhpalmsprings.com

73-241 Hwy 111, Suite 4B Palm Desert CA 92260 desertoasiscomics.com

ARIVE HOTEL (760) 507-1650

PALM SPRINGS VINYL RECORDS AND COLLECTIBLES (760) 778-2636

1551 N Palm Canyon Dr. Palm Springs, CA 92262 arrivehotels.com

220 N Palm Canyon Dr Palm Springs, CA 92262 palmspringsvinylrecords.com

COACHELLA MAGAZINE 129

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1. Hairstylist Damaris Earlewine with model Christina Kim. 2. MUA/Hairstylist Brooklyn Leonard with model Lacey Miranda for Trina Turk photoshoot at Coachella Valley Preserve in Thousand Palms, CA. 3. “Give peace a chance.” Giselle Woo, music director at KCOD CoachellaFM, College of the Desert.

4. Howdy stranger! It’s Sarah Harris, co-owner of Totally Blown.

5. Michelle Castillo is enlightened by her desert poets article.

6. Look, it’s Venus and the Traps!

7. Taylor’s Tips: Stretching may improve your performance and decrease your risk of injuries. #namasate 8. Totally Blown’s portable closet.

9. Mission Creek Mystery Theater (Totally Blown photoshoot).

10. Linda, Leah, Lani and Kellye.

11. The Rastaclat crew. #seekthepositive 12. Leah Juarez is the sun goddess at The End, in Yucca Valley, CA.

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COACHELLA MAGAZINE 131

Then and now...

We celebrate our one year anniversary.

SEÑOR APACHE VINTAGE from TIENDIQUE • 617 WEST MAIN STREET, EL CENTRO, CALIFORNIA 92243 • TIENDIQUE.COM