ISSUE 12.3 July/Aug 2020
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Silicon Valley’s Innovative and Creative Culture
PERFORM
Crystal Mendoza Model | Medical Assistant
CONTENT MAGAZINE, SAN JOSE $9.95
FEATURING: SVLAUREATES | MADISON NGUYEN | PATRICK HOFMEISTER | SJSU PHOTO 125
COVID-19 Paper Doll Cutouts by Gabriel Edwards
Instagram: gabrieledwards
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C CONTENT ISSUE 12.3 “Perform”
July/Aug 2020 Cultivator Daniel Garcia Editors Elizabeth Sullivan, Rah Riley Linnea Fleming, Yale Wyatt Esther Young, Grace Olivieri Samantha Tack Community Partnerships Kristen Pfund Interns Aaron Caruz, Jacquiline Contreras Melody Del Rio, Jesse Garcia
Design Ralph Buenconsejo, Gabriel Coke Photographers Robert J. Schultze, Sannie Celeridad Avni Levy, Stanley Olszewski Mark J. Chua, Arabela Espinoza Writers Michelle Runde, Chris Jalufka Jacqueline Contreras, Nathan Zanon Johanna Hickle, Grace Talice Lee Yale Wyatt, Isaiah Wilson, David Ma Brad Sanzenbacher, Taran Escobar-Ausman Esther Young, Albert Jenkins, Peter Allen
Publisher SVCREATES
“Perform” is our annual issue featuring people “performing,” either in a literal sense, such as a model, an actor, or musicians, or in a more figurative way, those recognized for what they have been doing in their craft and the community, such as the SVArts Award recipients. These creatives have demonstrated both a level of community engagement and a level of mastery in their field. Also, we highlight the work of students in San Jose State’s fashion photography 125 class, who managed to do creative work during the shelter-in-place order. I am conflicted as we present this issue. I am not in denial of critical cultural events; however, I am always reluctant to add to the endless commentary and reporting on any current event (like COVID-19). Still, I am crestfallen for the people and their families who have died because of the pandemic, and I am concerned for the number of people that are, and will be, affected by the economic fallout. Because we are a part of SVCreates, and because of our role in supporting artists and the creative sector, we have many friends and colleagues whose lives and livelihoods have been disrupted. Furthermore, we, ourselves, are not immune. Hence the slightly reduced page count in this issue. I have added a couple of elements to memorialize this time in history—the mask on the cover and the COVID Paper Doll Cutouts by Gabriel Edwards. The continuation of the series with San Jose Arts Advocates gives voice to the troubling and uncertain days to come. We hope that this issue finds you well, and that you are encouraged and strengthened to perform at your best in all you do and face.
Thank you, Daniel Garcia THE CULTIVATOR
IN THIS ISSUE
Pivot: Art of Fashion | Madison Nguyen | Patrick Hofmeister | COVID-19 Paper Dolls To participate in CONTENT MAGAZINE: daniel@content-magazine.com Subscription & advertising information available by contacting editor@content-magazine.com
501(c)(3)
CONTENT MAGAZINE is a bimonthly publication about the innovative and creative culture of Silicon Valley, published by
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COVID-19 Paper Doll Cutouts by Gabriel Edwards
Instagram: gabrieledwards
CONTENT PERFORM 12.3.
July/Aug 2020 San Jose, California
CULTURE 8 TOToast, Peter Allen 12 Former San Jose Vice Mayor, Madison Nguyen 16 Conscious San Jose Festival ART & DESIGN 20 Artist/Muralist, Patrick Hofmeister 26 SVArts Recipients 2020 32 Pivot: The Art of Fashion, Tina Brown & Rose Sellery 36 Model and Medical Assistant, Crystal Mendoza 44 SJSU Photo 125
Patrick Hofmeister, pg. 20
SOUND 56 Crooner Thiccricc, Ricardo Arastiazaran 58 Album Pick, Needle to the Groove 60 Contributors
SJSU Photo 125, pg. 44
All materials in CONTENT MAGAZINE are protected by United States copyright law and may not be reproduced, distributed, transmitted, displayed, published, broadcast, or modified in any way without the prior written consent of Silicon Valley Creates, or in the case of third party materials, the owner of that content. You may not alter or remove any trademark, copyright or other notice from copies of this content. For further information, or to participate in the production or distribution, please contact us at editor@content-magazine.com.
Crystal Mendoza, pg. 36
CONTENT magazine’s production is powered by
SVArts Awards , pg. 26
CREATE : CONNECT : SAN JOSE
Photography by Adrien Le Biavant
Ichiro Sacred Beings Artists: Marianela Fuentes in collaboration with Sarahi Carrillo and Arturo Gonzalez The City of San José Office of Cultural Affairs in partnership with Burning Man Project proudly present the artwork Ichiro Sacred Beings as part of Playa to Paseo, an initiative bringing art from Burning Man to Downtown San José. This work was created by Mexico City-based artist Marianela Fuentes in collaboration with Huichol artist Sarahi Carrillo and Paleontologist Arturo Gonzalez.
Appearing through October 2020
Ichiro Sacred Beings is located in front of the Children’s Discovery Museum at 180 Woz Way www.sanjoseculture.org
Why
San Jose culture is t e g abcrout to
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u hed.
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TOToast
Transient Occupancy Tax
Written by Peter Allen Illustration by Daniel Garcia sjartsadvocates.org Social media sanjosearts
IT’S AN OVERWHELMING understatement to say this has already been a rough year for California’s creative ecosystem. No sooner had we begun to grapple with the unintended yet utterly predictable consequences of Assembly Bill 5 and explore potential solutions with lawmakers, COVID-19 came around and threw the whole world upside down. Suddenly, theater companies, music festivals, and the artists and technicians they support weren’t just figuring out how to cut corners in order to ensure compliance with new state employment laws. They were having serious conversations about the future of their organizations and their very careers. And those conversations will continue well into next year, as the full scale of the damages comes into focus. Americans for the Arts, a national advocacy organization, recently conducted a survey in an attempt to assess the human and economic impacts of COVID-19. As of this writing, the survey had received responses from more than 11,500 artists, arts organizations, and arts agencies of all
types, genres, sizes, and tax statuses—with an overwhelming majority (75 percent) being nonprofit arts organizations. According to survey results, the nationwide arts sector is estimated to have lost a combined $4.5 billion due to the human impacts of COVID-19—so far. The median loss of revenue per organization was $38,000 in just over three weeks of pandemic mitigation measures. More than two-thirds of respondents estimated that the crisis would have a “severe” or “extremely severe” impact on their businesses. As if that weren’t enough, it’s estimated that we will see upwards of $6.2 billion in losses from event-related spending. Taken together, this $10.7 billion hit will amount to $1.8 billion in lost tax revenue to federal, state, and local governments—much of which could potentially have been reinvested in the community to aid in recovery efforts. Speaking of the human impact, all of this translates into 304,000 jobs disappearing. Just. Like. That. But the repercussions of AB 5 and the Novel Coronavirus are
just the latest body blows to an industry that’s constantly on the ropes, dancing on the fine line between sustainability and extinction. This is particularly true in San Jose, where government funding that is so vital in filling the deltas for local nonprofits and creatives, is linked almost entirely to factors that are effectively beyond our collective control. The city hall rumor mill is already churning with chatter about how this unprecedented and unpredictable public health crisis will affect upcoming budget discussions for the fiscal year beginning July 1, and anyone who works in the local arts sector doesn’t need a crystal ball or psychic powers to predict the future. As the saying goes, we know how this movie ends. We’ve seen it all before, back when the Century Domes were still a thing. You see, 100 percent of the City’s budget for arts and cultural programming comes from what is commonly known as the “Hotel Tax,” better known by policy wonks as the “Transient Occupancy Tax” or “TOT.” This is that surcharge you see on your 9
“Ironically, it’s the creative community that’s already being tasked with helping us heal and recover with words of wisdom and uplifting public art projects funded by well-meaning philanthropy.” - Peter Allen
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“Nonprofit arts organizations generate nearly $200 million in annual economic impact in San Jose alone. Nationwide, that number reaches $174.6 billion.”
hotel bill wherever you travel around the country. Each municipality sets its own TOT rate— with the will of the voters. In San Jose, the current allowable TOT is 10 percent. So every visitor spending $200 a night on a hotel room here is essentially kicking $20 to the cause. Generally, TOT dollars fund tourism, marketing, and cultural activities in the municipality where the tax is collected, a nifty reciprocal relationship that benefits locals who get to enjoy the benefits without “paying the piper.” And this is precisely what happens in San José. But there’s a catch. Sixty percent of the money collected from the TOT in any given year goes straight to the city’s general fund, where it can be spent on anything that six city councilmembers see fit to support on any given Tuesday. The remaining 40 percent (or 4 percent of the TOT surcharge) is split two ways. Half goes toward operating subsidies for the (amazing) nonprofits that steward San Jose’s (amazing) cultural facilities like the Museum of Art, Children’s Discovery Museum, and Mexican Heritage Plaza. The other half (2 percent of the TOT) is split once more between a subsidy to Team San Jo s e — a .p u b l i c - n o n p ro f i t - l a bor partnership that ostensibly serves as our Convention and Visitors Bureau—and the entire budget of the city’s Office of Cul-
tural Affairs (OCA)—including all staff salaries and a community grants portfolio of more than $5 million. While it’s not unusual for grants to be funded by a specific source, nearly every other city employee is paid out of General Fund dollars, which are not (quite) as vulnerable to economic fluctuations. The ratio by which that final 2 percent is split can be determined by the City Council on an annual basis. Which means that in any given year, it is within the Council’s power to defund all arts and cultural programming in San Jose. Think that could never happen? Too big of a black eye on the city’s image? In a world where the TOT takes a nosedive, it’s not hard to imagine who would win out in a bare-knuckles match for funding scraps between the labor movement and the creative community. (We may have scored some big wins of late, but we’re not what you’d call city hall insiders.) And like I said, we’ve seen this before—as recently as the Great Recession in 2008, when local arts leaders were told to “prepare for zero dollars.” While zero dollars never truly came to pass, the cuts were severe, and it’s only due to a recent growth in the TOT that funding has returned to pre-recession levels and even exceeded them. This is in no small
part due to major public events— many of them organized, produced, and/or presented by our nonprofit arts community—that draw hundreds of thousands of visitors to San Jose each year. When the TOT tanks, the OCA stands to face layoffs and a reduction in available grant funds. That, in turn, leads to a decline in cultural activity, which makes San Jose an even less desirable destination for living, working, and playing, which means less general fund dollars from sales, business, and property taxes, and...you can see where I’m going here. Why should this matter right now while we’re all just trying to stay healthy and avoid touching our faces? Nonprofit arts organizations generate nearly $200 million in annual economic impact in San Jose alone. Nationwide, that number reaches $174.6 BILLION. According to a 2019 Otis Report, 15.4 percent of all jobs in California are tied to the creative industries. And because ticket sales and other “earned” revenue account for an average of one-third of nonprofit arts budgets, this is an industry that relies on diverse funding streams. When hotels and arenas and theaters and restaurants are empty, the TOT coffers are just as bare. Even one year of the Sharks missing the playoffs can have a significant im-
pact on San Jose’s TOT revenue. Think about what the current crisis will mean. After all we’ve already been through, the immediate crisis could lead to disaster a year from now, when we learn the full economic effects of COVID-19. Ironically, it’s the creative community that’s already being tasked with helping us heal and recover with words of wisdom and uplifting public art projects funded by well-meaning philanthropy. Parents and kids and retirees are posting TikToks and going live on Instagram to share their imaginations and talents with the world, proof positive that the arts serve a higher purpose that connects us all. But what about that theater down the street that will need to shut down because nobody took the time before the world turned upside down to recognize that our cultural ecosystem was hanging by a thread? And when this is over, and the world has fundamentally changed, will anyone in a position of leadership do anything about fixing this? Better question: Will any of us be left to advocate for it? C
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MADISON NGUYEN Former San Jose Vice Mayor
From the Ground Up
Written by Johanna Hickle Illustration by Ralph Buenconsejo Instagram madisonnguyensj
MADISON NGUYEN’S REMARKABLE JOURNEY IS A TESTAMENT that life has a way of taking us in unexpected directions. As a refugee, she couldn’t have known she would one day work the fields in California. And while picking strawberries and cherries, she was unaware of her future as a PhD student—and as a groundbreaking local politician. Yet each step, so different from what would follow, somehow prepared her for the next, forging the path to her future. Nguyen comes from a family of strong women—undoubtedly one early-life influence that would shape her. When Vietnam suffered a communist takeover, it was Nguyen’s mom who made the executive decision that the family would escape. Four-year-old Nguyen, the rest of her family, and a few neighbors, boarded her father’s fishing boat under cover of night. As young as she was at the time, she remembers the heaviness: everyone withdrawn into their own corner of the little craft, everyone in their own head. They’d uprooted everything, not knowing when (or if ) they would be found in that infinite stretch of sea. Not knowing who would find them. On day five, they ran out of food. It took another two painfully long days for a freighter to rescue the group and bring them to a Philippine refugee camp. Here, they spent the next three years, living in a tent and waiting in line for their daily allotment of food. “I pretty much learned English with the missionaries,” she recalls. Already, she was forming a resilience that would come in handy later. When they arrived in the States, the family did a stint in Scottsdale, Arizona. Nguyen has fond memories of that time—of a local church that donated a green station wagon, of a neighbor lady who brought them candy corn and meatloaf. However, the retirement community dynamic of the area wasn’t sustainable for a larger refugee family. Hearing of field work near Modesto, they again uprooted themselves for a new life. Kids over 12 can legally work in agriculture, so Nguyen and her siblings (of which she has nine) worked alongside their parents every summer break. “While my friends at school were going to science camp and doing all this fun stuff, I woke up at four o’clock in the morning,” she recollects. On the 45-minute drive, Nguyen joined her siblings for a quick nap in the truck camper. By the time the sun broke the skyline and poured over the treetops, they had already polished off a quick breakfast of sweet rice and were ready to begin work. 13
“Ships are safer at harbor—but that’s not why ships are built.” –Madison Nguyen*
*In reference to original quote from author John Augustus Shed.
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“We pretty much picked everything that grew under the sun, from strawberries to peaches to apricots, nectarines, pears,” she says. “We picked them, we sliced them, we canned them,” weekends as well as weekdays. More than two decades later, her fingers and palms still bear the callouses. Despite the intense sun exposure and back-breaking, finger-numbing labor, Nguyen notes she wasn’t dissatisfied by her quality of life. “I didn’t know any better,” she observes. It did, however, nurture a zeal for education. In comparison to these grueling, sweaty days, school was a treat. She excelled in the classroom, even joining the academic decathlon. Years later, a PhD student at UC Santa Cruz, a career in local government still wasn’t on Nguyen’s radar. “My parents left Vietnam because of political reasons,” she remembers. “The last thing they wanted was for their daughter to get involved in politics in any way, shape, or form.” Instead, her studies focused on sociology. “It’s true that, whatever you’re studying at college, it might not translate into what you wanted to do with your career,” she laughs. After considering it for a moment, she adds, “although I think it frames the fundamental understanding of life itself—and society.” During her course of education, she researched the contributions of Vietnamese Americans in San Jose. Although she found a fruitfulness in the areas of economy, art, and education, the field of government was a sparse plane. “Politically, they lacked a voice.” After further digging, she unburied the root. “Like many recent immigrant groups or communities, people tend to worry more about their financial stability than their contributions to the local community,” she realized. “Our community was no exception to that.” This revelation inspired an event. Nguyen determined to make the change she wanted to see. “I took a page out of MTV’s Rock the Vote program and duplicated that for our own voter registration drive in the Vietnamese community,” she says. She recruited A-list Vietnamese artists for a big event at the county fairgrounds. Anyone who registered got a free concert ticket. That evening, she celebrated alongside 5,000 voters. Observing her can-do energy and innovative ideas, others encouraged her to run for a seat on the local school board. She ran a door-todoor grassroots campaign, chatting with residents and learning from their input. Her persistence did not go unnoticed. She started overhearing her name tossed out at Vietnamese coffee shops and restaurants. She won the position. In 2003, a Vietnamese woman was shot by a police officer who mistook her vegetable peeler for a meat cleaver. Nguyen headed protests and vigils on the slain woman’s behalf, further establishing herself as a community leader. When she chose to run for city council as the District 7 representative, Vietnamese Americans (less than 10 percent of the San Jose population at the time) showed up to vote in record numbers—quite the shift from that previous lack of involvement. And that’s how, without even having taken a political science class in college, Nguyen became the first woman of Vietnamese descent elected to office in California (and the second in the United States). She was only 30 years old. Nguyen served nearly a decade on the city council, ascending to the lofty position of vice mayor and advocating for education, food security, and affordable housing. She achieved this without buckling under the immense pressure and visibility that comes with being “the first.” Considering the high expectations of those who counted on her to serve as a mouthpiece for minorities, women, and low-income families, this was no easy feat. She admits her time on the city council wasn’t without mistakes. “When you’re a trailblazer, you don’t have anyone to model after.” But risk taking had always been a way of life for her, and she treated
errors as learning opportunities rather than an excuse to grow passive. “Ships are safer at harbor—but that’s not why ships are built,” she observes with a knowing smile. Overall, it was a wild and rewarding ride. “One day I was down in the homeless encampment, trying to clean up and talking to the homeless, trying to get them into temporary shelters and motels,” she recalls. “And the next day, I met President Obama.” Since her time on the city council, Nguyen has worked with Hunger at Home (a nonprofit that recruits hotels and other businesses to provide surplus food to those in need) as well as the Silicon Valley Organization (an organization seeking to drive economic prosperity in this region). From her current position as SVO’s executive vice president, she created Candidate Cultivation Academy to equip individuals with an interest in running for public office. The program maps out the route to an effective political campaign and educates on public policy. “It’s one thing to get elected. It’s another thing to be an informed elected official,” Nguyen notes. As she reflects back on her journey so far, Nguyen identifies one motivator that stuck with her over the years. It stems from a memory during her field-working days, from the time her dad accidentally knocked over the fruit crates—and the foreman blasted him with racial slurs and profanities. Outraged by this act of discrimination, Nguyen confronted the man, but her dad pulled her aside. “Calm down,” she remembers him saying. “These things happen all the time. We should feel lucky that we actually have a job…go do what you need to do and leave the situation alone.” At the time, she respected his wishes. But all these years later, she has the power to tackle injustice head on, to be a voice that will not be silenced. And that’s an influence she gained, quite literally, from the ground up. C 15
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Written by Grace Talice Lee Illustrations by Kyle Harter conscioussanjose.org Instagram concscioussanjose
f the people, by the people, for the people: such is how the Conscious San Jose Festival came about—how it operates in every moment and how it dreams for the future of our world. It’s a celebration of yoga, wellness, music, art, food, but most of all, community—a rosy bubble of possibility where anyone is accepted, and everyone belongs. This ideal extends all the way back to the humble beginnings of the festival, when co-director Taraneh Sarrafzadeh applied for city support to offer free yoga and meditation in St. James Park through her enterprise Be The Change Collective. “It was in that grant process that we started the name ‘Conscious San Jose’ to cover all the work we were doing at the park—acknowledging the power of public spaces to welcome people who wouldn’t typically walk into a yoga studio,” she said. And it worked—the initiative attracted all types of interest. From park residents who fell in love with sound healing and later signed on to work for the program itself, to like-minded thinkers and organizers who yearned to bring a yoga festival to San Jose—such as the event’s other co-director, Kat Da Silva. The first time they met, Kat
immediately struck up a conversation with Taraneh about starting something new together. Born and raised in San Jose, Kat itched to make a lasting impact on her hometown. “I’ve spent many years now going to Berkeley and Oakland and Santa Cruz for my spiritual events,” she said. “Every time I’d be driving home, I’d think, ‘I can’t be the only person in this city who wants it to be more accessible!’ ” She was certainly right about that. People started stepping out of the woodwork with similar intentions, soon forming a core group of 16 volunteers to pull off the inaugural Conscious San Jose Festival. This included co-founder Scott Adam, who brought his experience from working the Wanderlust yoga festival; Matt Lawley, who took on branding and marketing; and Mark Quijano, who signed on to direct operations and still serves in that capacity today. The team solidified in March 2017, with the first festival scheduled just six months later. They met once a week at Forager, often hopping over to Good Karma afterwards, and usually ending late at night around a blue velvet couch in Be The Change’s previous location downtown. Everybody worked on a volunteer basis, thriving off 17
a shared dream—a collective ideal. Taraneh said, “From the start, it was very important for us to really live out the founding tenets of yoga. It’s not just a practice we do on our mats— yoga is living unity. And how do we ‘live unity,’ and reach out to people who don’t do so on mats?” First and foremost, for the Conscious San Jose Festival, it meant bringing services to the park residents whom Be The Change communed and worked with every day— free showers, haircuts, food, water, clothing, and laundry. It also meant programming the event to include as many forms of consciousness as possible, from gardening demonstrations to parenting workshops to music performances—with Baba Zumbi of Zion I as headliner for the inaugural event. Then came the day of the festival. The organizers ran on adrenaline alone, having gotten no sleep for the month prior and then showing up for the event long before dawn—if not the evening before. They worried. Would anybody come? Would all the logistics work out? Would their hard work pay off? Yes, yes, and yes. People showed up in droves. They danced with abandon in broad daylight. They picked new outfits at the clothing swap. They downward dogged in the shade of oak trees. The ideal turned
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into reality. But the significance extended far beyond the joy of the event itself. It shifted the paradigm for what was possible for the festival, for the city of San Jose, and for the way that people can work together, led by shared values instead of driven by capitalism. Kat said, “I was operating in such an individualistic mindset before, and then getting frustrated with these bigger inspirations and passions I had inside of me—I felt like I would never, ever be able to make them realized because I was still trying to do it on my own. And when I found this community…it’s been so healing.” It was never a question. Conscious San Jose Festival would come back each following year—with a stronger and bolder identity each time, no longer mimicking the precedents set by other yoga festivals. There would be a sound healing tent—for people to engage in meditative practices without moving a single muscle; greater ethnic diversity in the lineup of teachers—so any student could find a reflection of themselves on stage; more focus on showcasing hyperlocal musicians and dancers—to celebrate the vibrancy of San Jose itself; specialized programming for children and families—to increase accessibility for an audience of truly any age; surveys of the St. James Park residents—
to incorporate their feedback and optimize their experience. “We have to counter the narrative of mainstream yoga and wellness: that you have to be well-off, that most people who get to participate are affluent white women,” said Taraneh. “At first we thought it was enough that we’re not that image. But now we’re getting more and more strategic about how do we reach people, how do we adjust our marketing, how we adjust everything we do to convey that message (that this is more than just a yoga festival). We want there to be something for everybody.” Last year’s event drew an audience of roughly 1,500 people, effecting an overwhelmingly positive response. But the co-directors refuse to settle—they keep pushing the envelope of what’s possible. Now approaching its fourth iteration, the Conscious San Jose Festival evolves yet again—for the first time with an official theme: “In This Together.” It’s a herald of the joy and togetherness that can arise in San Jose. It’s a response to the crisis of coronavirus and the unprecedented isolation of quarantine. And—no less important—it’s a call for solidarity between the organizers and the greater community. Ideals and adrenaline sufficed to fuel the first three years of the festival, but it’s no longer sustainable
to keep giving so exhaustively without also receiving at least a little bit in return, especially when the fundraising last year fell so short of expenses that it required borrowing $4,000 from Be The Change’s coffers. This year the co-directors plan to raise enough funds to reward the entire collective, with their exact budget posted on their event website to maintain pure transparency. The first half of the money would go to event production fees such as tent rentals, city permits, and insurance. Then the next chunk would return the $4,000 debt to Be The Change. Then, after witnessing so many local creatives and healers lose their income during the recent quarantine, the next few thousand would double the pay for festival yoga teachers, musicians, and live painters. Then, some compensation would go to the creative contributors and volunteer staff leads. And finally, if or when the fundraising goal gets met, a modest sum would go to the co-directors, the heads of operations and marketing, and the project manager. And Taraneh and Kat would then commit to bringing back Conscious San Jose Festival in 2021— to continue expanding the possibilities of collective leadership—and to keep providing this beautiful space, where we can all dance freely in the sun. C
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PATRICK HOFMEISTER Finding Purpose Through Art
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Written by Taran Escobar-Ausman Photography by Daniel Garcia hofmeisterart.com Facebook hofmeisterart Instagram hofmeister.art
here are few things more powerful than an individual who finds their inner strength. It is this strength that enables one to navigate the outside world and the vicissitudes of life. At 20 years old and homeless, it was the gift of a paint set and easel that presented Patrick Hofmeister with a path to find his inner strength. Through art, the San Jose native discovered a compulsion to create, thus giving himself a sense of purpose and determination. Patrick immersed himself in the many different styles that came his way, first absorbing the likes of painter Mars-1 and pop surrealist Greg Simkins, among many others. Like Simkins, Patrick dabbled in graffiti at an early age. While he didn’t commit to developing his skills in this style, elements of graffiti gradients still influence his work. The overwhelming variety of artistic expression in the world
filled Patrick with awe. Though it would be many years before he developed his own stylistic niche, he knew he had discovered the vehicle for self-expression and his purpose in life: “I didn’t have shit going on for me, and I was so engrossed with advancing my skill set, I made the decision that there was no plan B. I was going to be a successful artist or die broke trying.” Now 37, he continues to create within this mindset. In 2010, Patrick developed the personal mantra: “Dream Daringly, Execute Fearlessly.” In turn, this gave birth to DDEF, a seven-artist-strong collective he founded in 2013, with a working studio space in the Heritage Millworks warehouse in downtown San Jose. Patrick’s body of work mirrors the mad intake of influences in his early years. While his style definitely falls within surrealist parameters, he can adapt his skills to a variety of mediums, calling upon many techniques, 21
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styles, and influences. His geometric pattern and motif design work has been used on everything from custom shoes, furniture, cars, and murals, to large paintings on wood and canvas. The deeper surrealism work, which often marries his pattern work and free-flowing lines, is usually done in acrylic, oil, or spray paint. Patrick pours himself into his work. Even with commissioned items, he becomes absorbed in self-reflection and can only work on one piece at a time. “These pieces tend to be more emotionally driven than concept driven. They consume me,” he says. One commissioned piece, Time, shows off Patrick’s surrealist style with a bell reverberating over water, sending ripples to the shore where different creatures gather and forests come in from all corners. An antelope dressed as a monk sits cross-legged at the edge as orbs of light float above his outstretched palms, and large snails whose heads have been replaced with human hands in the apana mudra posture occupy the foreground. Patrick’s brush strokes and lines are alive with movement and energetic intention, producing a feeling of movement toward the center, all while a galaxy swirls in the background.
It is one thing to find and hone your inner voice, it is another to do so along a path that is neither straight nor easy. Patrick has found it imperative to keep true to himself and accept rejection, to grow and blaze his own path in San Jose’s burgeoning art scene. With over 300 pieces, including 30 murals and a spectacular renovation of Tandoori Fusion Grill on Santa Clara Street, it is evident his dedication has paid off. In December of last year, Patrick won a commission in conjunction with the nonprofit Local Color to adorn the Third Street parking garage with a 3,500-square-foot mural. This win was a moment that validated all the hard work he has put into his art career and confirmed that the path he blazed for himself was the right path. At the end of the day, however, it is the pure relationship he has with his work that speaks to him deeply. “The times that I feel most like I’m on the right path are when I’m alone and just about finished with a project I’m proud of,” he shares. “Nothing else matters. I’m full. That level of accomplishment for me lets me know this is where I need to stay. It’s pure.” C
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“Nothing else matters. I’m full. That level of accomplishment for me lets me know this is where I need to stay. It’s pure.” –Patrick Hofmeister
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SVLaureates 2020 THE SVLAUREATES PROGRAM is a prestigious honor given annually to South Bay–based artists in a variety of categories and disciplines. Awardees for 2020 are in two categories: Artist Laureate Award, for established artists working in any discipline and Content Emerging Artist Award, for young artists showing promise for continued growth and excellence. The Laureates are chosen based not only on their individual body of work, but also on their community involvement, educational efforts, volunteerism, and other forms of engagement. As educators, artists, and performers, each of them has devoted time to their own craft while also seeking to mentor others and forge new cultural connections in the diverse Silicon Valley community. C
Written by Nathan Zanon Drawings by Gabriel Coke
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DANA HARRIS SEEGER ARTIST LAUREATE AWARD Visual Artist and Educator, School of Visual Philosophy Instagram: painterdana
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orn in the coastal town of El Granada, north of Half Moon Bay, Dana Harris Seeger grew up immersed in the arts. “My mom is an artist and would make us little books that we could draw and write in. We practically grew up in the Legion of Honor, going on scavenger hunts to locate imagery in impressionist and classical paintings,” she recalls. “I always knew I wanted to be an artist. I also always knew I wanted to teach art. I love to share my inspiration, knowledge, and love of learning with others.”
Seeger received her MFA in printmaking from San Jose State University in 2011 and her BA in painting from Anderson University in 2004. She has been a member of the California Society of Printmakers since 2011. A twin herself, Seeger is now the mother of twin boys. In 2014, she and her sculptor husband, Yori, founded the School of Visual Philosophy in San Jose, an artist studio and incubator that offers classes in a variety of disciplines. Seeger has exhibited her work nationally, was named one of KQED’s 10 Bay Area Women
to Watch, and was recently awarded a solo show for 2022 at the Triton Museum of Art. “I have an opportunity and a responsibility to create work that is relevant to the culture here, using the technology available to me while innovating and putting my own spin on traditional printmaking media. I plan to reach out to local groups, societies, schools, and businesses and educate about the value of art in any culture, particularly this culture, time, and place. Especially with the current health crisis, the opportunities for art-
ists to integrate technology are overwhelming. My practice is changing, as I imagine it is for a lot of artists, and I aim to share some of my experiences as an artist, business owner, mother, and educator dealing with the changing times. Art is, above all, a communication process, and I plan to communicate visually as well as virtually about my practice, experience, and passions.”
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RODRIGO GARCÍA ARTIST LAUREATE AWARD Stage Director/Artistic Director, Teatro Visión teatrovision.org
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fter working with the San Jose–based Chicanx theater company Teatro Visión for nearly a decade, actor, director, and educator Rodrigo García moved into the role of artistic director in 2017. Teatro Visión presents professional-quality theatrical productions to the South Bay, bringing relevant cultural works to the Spanish-speaking and immigrant populations here, and often partnering with other local nonprofits to leverage the spotlight on the themes in their productions into efforts that benefit the community. García’s work is key to these collaborations. A graduate of the National Institute of Fine Arts in Mexico City in modern dance and drama, he has created Spanish translations of numerous stage productions by
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American Latinx writers, including Rudolfo Anaya, Octavio Solis, Cherríe Moraga, and others. He was a part of the creative team that developed Teatro Visión’s popular original play Macario, which he co-directed for the 2013 world premiere and directed in subsequent productions. For the 2014 production, he created an English translation to be projected during the show, bringing non-Spanish-speaking audiences in to experience the performance. In addition to his work with Teatro Visión, Rodrigo directs Teatro Alebrijes, a theater company dedicated to the voices of the LGBT Latinx community. In 2015, he received the Beacon of Light Award from the Santa Clara County Office of Human Relations.
“Ever since I was little, I remember wanting to be an actor and a dancer. I like to hear people’s stories, particularly from our elders. The first stories that I remember are from my abuela who would share stories from the times of the Mexican revolution or stories of what people believe. Those stories inspire me because they create the fabric of my culture and the experiences that shaped my identity. Hopefully, my personal experience as a recipient artist echoes in somebody’s heart and mind to continue challenging the status quo of the arts in mainstream America.”
FANNY RETSEK ARTIST LAUREATE AWARD Visual Artist fannyretsek.com
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anny Retsek grew up in Southern California and earned her undergraduate degree in European studies and French from Loyola Marymount University. She was interested in “socialism and art as a means to record and interpret history” but did not initially think of herself as an artist or consider an art career. It wasn’t until after graduation, when, prompted by a roommate, she began a deep exploration of her artistic side through painting. Art soon became her focus, and she eventually went back to school at San Jose State for an MFA. Since 2000, her work has been in exhibitions from California to Mexico to Australia, and she is currently the studio program director at the Palo Alto Art Center. She opened and ran the
San Jose Institute of Contemporary Art Print Center from 2007 to 2012 and has been selected for residencies at Works/San Jose, Jentel Artist Residency in Sheridan, Wyoming, and Zygote Press in Cleveland, Ohio. “My mom was a huge inspiration to me. She always made art every day, but she never called herself an artist. She was so creative and prolific. She made ceramics when I was young, and when she could not work with clay anymore because of health reasons, she made wire and bead sculptures and the most whimsical collages. She is why I am now working in collage. I worked in printmaking for the past 20 years or so, but when my mom died five years ago, I inherited all her collage papers, and I just started using them.
“I was so honored to receive this award. I feel very connected to the Silicon Valley arts community, and there are so many talented people here. The times in which we live shape my work as an artist: this pandemic and shutdown, global wildfires, climate change, mass extinction, a nation and world divided. In reaction to this, I make my traditional works on paper, but with radical intent, through my imagery and subject matter. I aspire to spark an interest in the local ecosystems that make up our backyards, wild nooks and crannies of neighborhoods, and open spaces. I hope that if more people are moved by my work, this could lead to activism in whatever way is appropriate to the individual.” 29
HARUMO SATO CONTENT EMERGING ARTIST AWARD Visual Artist harumosato.com
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arumo Sato was born in Tokyo, Japan, and went to school for philosophy and international relations in Kyoto before an illness struck and her initial career path was permanently altered. She spent several years overcoming her resulting disability and found solace and inspiration by drawing. “It was one of the only things I could do without asking for direct assistance,” she says. After several years of recovery, she decided to embrace her creative side and transfer to the University of Buffalo, where she earned a BA in art. Her experience with illness combined with her interest in environmental issues brings depth to her whimsical murals, paintings, and prints. She holds a studio space at Cubberley Artist Studio in Palo Alto; she
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made contributions to Pow! Wow! San Jose in 2018 and Superfine! Art Fair in Los Angeles in 2019, and was muralist for Facebook’s Artists in Residence Program in 2019. “Our ancestors knew how to respect and create harmony with nature, earth, and life itself. With advanced technology, we enjoy convenience and forget we are part of nature. I want to rejuvenate our forgotten respect [for] nature and make a bridge between technology and harmony with Earth. Since my art practice started as a rehabilitation and I now know the power of art, I really want to find opportunities to work for a hospital [or] nursing home, where people need positivity though art.
“When I got sick nine years ago, I thought I was so unlucky to become a disabled person. It was painful and depressing. But, through this sickness, I met awesome people, gained new dreams, and opened a new path to where I really want to be. I believe any difficulties we confront can be a gift. Now, we all share the difficulties [of surviving] this global pandemic. It will be tough to pass through, but I really hope we learn from it and find a better way to live with others.”
OSCAR PANGILINAN CONTENT EMERGING ARTIST AWARD Jazz Saxophonist Twitter: oscarpangilinan
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orn and raised in San Jose’s Alum Rock neighborhood, saxophonist Oscar Pangilinan began playing in jazz ensembles in middle school, and his passion for music continued as he pursued a degree in jazz studies at San Jose State. In fact, passion is a key concept for Pangilinan as an inspiration and driving force behind his own creativity as well as something he hopes to instill in his students. Along with being co-leader of the jazz, funk, and R&B group the Bad Ones and performing alongside Bay Area musicians whenever the opportunity strikes, he works as a woodwind instructor with the Alum Rock Jazz Band and an educator for SJZ Summer Jazz Camps. He also performs with his trio as part of the SJZ Jazz Jam.
“I count myself fortunate to be surrounded by so many different people from all around the world—and living in Silicon Valley means we get to enjoy the very best that each culture has to offer. Choosing to make a career in a creative field means the desire and push to remain passionate about what you do is very, very real. I’m inspired by people who possess great passion for what they do. “Teachers inspire me and [that] is probably a huge reason why I became one myself. And teachers aren’t just those in the classroom; they’re everyday people you meet, people in your family, and even your friends. Great teachers…take something you thought was complicated and overwhelming and make those feelings go away by making it re-
latable and understandable. Working with young students as much as I do, one of the biggest criticisms I have is that we’re loading our kids’ schedules with too much and demanding a level of productivity from them that’s on par with some CEOs. My greatest fear with all of this is that we’re teaching an entire generation of students to only get ankle deep in many subjects, rather than picking one or two that they truly are passionate about. “We have an amazing cache of creative artists here in San Jose and Silicon Valley. I hope to show others around me a path they could follow, and I want to encourage them to be passionate and take chances.”
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Pivot Co-Founders Tina Brown (L) and Rose Sellery (R)
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rt of ashion Blurring the lines between fashion and art
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Written by Jacqueline Contreras Portrait by Daniel Garcia pivot-artfashion.com Facebook pivotartfashion Instagram pivot.artfashion
t a typical fashion show you might see grandiose or elegant runways that models strut down, dressed in the latest pieces by prominent designers in the fashion industry. But stripped of all the glitz and glamour are garments that only serve the purpose of meeting current fashion trends or setting the status quo of the fashion world. Pivot: The Art of Fashion puts on events that are not your typical fashion show. Founders and producers Tina Brown and Rose Sellery have set out to blur the lines between fashion and art while engaging their community and setting themselves apart from the norms of the fashion industry. The visionaries for Pivot originally met while working together at FashionART Santa Cruz and found themselves wanting to support designers and artists outside the mere bounds of Santa Cruz and with events scheduled throughout the whole year, not just on an annual basis. Their background in fashion and art allow them, and Pivot, to flourish in their mission of bringing fashion and art together. Brown holds a degree in environmental design and gained experience in the fashion world by working her way up from making millinery hats to eventually working on runway events and photo shoots for Macy’s, Saks Fifth Avenue, and Giorgio Armani. On the other side of the spectrum, Sellery works closely with different mediums in the visual arts. Sellery encapsulates gender norms and her own personal struggles through conceptual garments and
sculptures. With a goal and vision set in mind and the skills and knowledge they possess, Brown and Sellery provide artists and designers who collaborate with Pivot with opportunities to further advance their place in the art and fashion scene. The process begins with artists submitting an online application with examples of their work and a detailed overview of the performance aspect that would be incorporated into their clothing line modeled at the fashion show. Applications are reviewed by board members who decide if the submitted work fits with a certain venue. Though Brown and Sellery are always looking for new talent, often attending events for West Valley College, the Academy of Art in San Francisco, and City College of San Francisco for potential talent, they have worked with the same artists and designers for many years. At its core, Pivot is a platform for local artists and fashion designers to showcase their work through photo shoots and runway events, to find the help to sell their work, as well as to foster a sense of community. Blurring the lines between fashion and art at Pivot translates into coiled mattress springs swirled around the lower frame of a model, peanut butter jar labels used to adorn a dress centered around a pun, and flowing designs hand painted on silk scarves, dresses, and skirts. Brown and Sellery work closely with artists and designers to modify pieces that are featured in the runway 33
Pivot Finale, Rio Theatre
Garment Designs by Rose Sellery
Tina and Rose Crafting a Show, the Armory
“We’re bombarded with a certain look and told, ‘This is what beauty is.’ “
-Rose Sellery
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All photos on this page courtesy of Pivot
“A lot of times designers, especially in New York and in Paris, they’re only cutting for models that basically have no shape and figure; they’re a clothes hanger. That doesn’t really translate to the real world.” -Tina Brown events, providing constructive criticism to ensure the pieces are cohesive collections. “Really what it’s about is creating an artistic community and supporting artists and designers,” Brown says. Pivot is a learning process. Brown and Sellery brainstorm ideas with designers and artists and provide them with feedback to incorporate into their designs and eventually the finished product. In that learning process, however, unlearning is necessary. The thin frames of the models who grace the runways are an issue Brown and Sellery can’t look past. To them, these models do not represent inclusivity or the body positivity they strive to include at Pivot. While the fashion industry does receive some criticism for its size-specific standards, it has become just that— the standard. Brown finds herself telling designers at Pivot to make clothing for all shapes and sizes. “A lot of times designers, especially in New York and in Paris, they’re only cutting for models that basically have no shape and figure; they’re a clothes hanger. That doesn’t really translate to the real world,” says Brown. Aside from Pivot, Brown is the founder of her company, Ilkastyle. The name derives from the ancient Scottish word “ilka,” which means each and every. She applies the philosophy of ilka to style to reflect the need for wearing something people feel comfortable and happy in. As for Sellery, she expresses her views on the fashion industry’s beauty standards through her art. While watching fashion shows online a few years ago, Sellery found herself struck by how thin the models were. “The women were so emaciated, it was appalling. You could see the bones that ran across their chest and their clavicle poking out, I was just thinking these women were just skin and bone, and it was horrific to look at and not beautiful, in my mind,” Sellery says. Her immediate thoughts led her to create the wearable art piece titled, “Skin and Bones” which symbolizes the normalization and glorification of thin and petite bodies. With sliced bones scattered across the body of the model wearing it, the piece mimics a corset in the way that it tightly clings to her body. “We’re bombarded with a certain look and told, ‘This is what beauty is,’ “ Sellery continues. Body image is only one of the issues Brown and Sellery work to address through Pivot.
Overall inclusivity of people across all walks of life is essential, which can be seen through the people who design and model the clothing at Pivot’s fashion shows. People of different ages, sexualities, and gender identities play a role in Pivot, whether they’re the designers or models, whether older women strutting down the runway or young boys and girls being the brains behind detailed and thought-provoking pieces. Brown and Sellery work closely with their production of FashionTeens Santa Cruz, a program open to middle and high school students in Santa Cruz County to design and model clothing—usually with recycled material—for its annual fashion show. The duo have enjoyed their time working with teens. It’s allowed them to see how the teens have grown as young people and developed as designers and artists. “There’s a struggle to fit in in a world where they don’t see anyone like themselves in magazines or on television. There’s very few that represent who they can look at and say, ‘That’s beautiful; she’s beautiful,’ ” Sellery says. While Brown and Sellery have seen impressive work from the teens, one of the most memorable designs came from a place of torment and rising above harsh bullying. A young indigenous Mexican girl living in Watsonville became the target of verbal abuse by her classmates for being distinctly different from the rest of the Latino community. Written largely on the girl’s garment were the hurtful words said to her by her classmates. As she walked the runway at the Civic Auditorium in Santa Cruz, her outfit lifted to reveal positive words about her that replaced the negative ones. The whole scene played out in a manner Sellery describes as hauntingly beautiful. “I think it changes how they experience themselves and the confidence they build, not only creating something but wearing it out on stage and getting this riotous applause,” Sellery says regarding the significance of events like FashionTeens and Pivot. Defying the norms of the fashion industry has proven to be much more than resisting the standards of beauty. Pivot has grown as a space for creative minds to collaborate and create quirky, whimsical, and inspiring pieces in a way that captivates its audience and engages community members beyond just clothing for the sake of pure fashion. C 35 35
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Crystal Mendoza
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limpse Crystal Mendoza on the glossy pages of a magazine and right away you’ll notice an air of certainty in how she presents herself. Poised in a sleek satin halter top and matching pants, both in a shade of smokey lavender, the Latina model observes the viewer coolly over a martini glass filled to the brim with pearls— as if it’s the most natural thing in the world. That assuredness wasn’t always the case. It’s the result of two modeling schools and over seven years of photo shoots. Before the launch of her career, Mendoza was a timid teenager. But at some point, she determined to stop tiptoeing through life like a ballerina on pointe. “I told my parents that, since I was really shy, I wanted to go to modeling school,” she recalls. Fueled from her experiences at Moda 15 Academy and Barbizon Modeling, Mendoza went on to win two pageants; pose for Hermosaz, Quinceañera Magazine, LYNA Couture, and the Goddess Boutique; and even land the occasional acting gig. When she isn’t striding the catwalk during San Francisco Fashion Week or cruising past palm-lined streets
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“If you’re doing something you really like and it’s your passion, you make the time for it… Is this what you like? Then you’ll accommodate your schedule and make things work!” –Crystal Mendoza
filming a Hector Andres music video, Mendoza is hitting the books or working in health care. Receiving her medical assisting license while she was still in high school, Mendoza performs injections and drug testing, while studying hard to become a certified nurse. As one can imagine, attempting to juggle modeling, studying, and medical assisting simultaneously is about as easy as a tomboy trying to stay upright in heels. But Mendoza is determined to pull off this remarkable balancing act. “If you’re doing something you really like and it’s your passion, you make the time for it. You don’t make excuses,” she notes. “Is this what you like? Then you’ll accommodate your schedule and make things work!” Mendoza matured at a young age. She’s the eldest of four, meaning she naturally fell into the role of translator for her immigrant parents. “And my sister…growing up she had epilepsy, and now she has schizophrenia, so that’s something that’s always motivated me to be better. I’ve always basically been like a mom.” She recognizes this situation with grace. “It’s been tough. But God doesn’t give us things we can’t handle. We’ve made it work.” Mendoza’s maternal side also reveals itself through a previous side hustle. She used to coach modeling for girls between the ages of 12 and 18, improving their confidence as her
teachers did for her. “That’s something that’s made me feel very proud—more so than the shoots or the music videos or everything else that I’ve done!” Mendoza made sure to convince her girls that models come in all shapes and sizes. “Honestly, if you know how to dress yourself and know what type of modeling you want to go into, there are so many opportunities. You don’t have to be the tall, slender type…I’m 5 feet 5 inches, so I’m not the runway type, but that still hasn’t stopped me!” She adds, “It made me really happy seeing how excited they were to be on their journey. Helping people in general makes me really happy.” The mindset that beauty comes in many forms is the reason why Mendoza attended two modeling schools. While Moda 15 Academy was taught in Spanish and emphasized Hispanic values, Barbizon Modeling was taught in English and concentrated on an Americanized approach. Both taught her about posture, photo movement, and makeup, but from different perspectives. “The Latino community, their type of modeling is very different as far as beauty standards and everything,” she says. For instance, she identifies a noticeable shift in technique. “I feel like the Hispanic side is more pose-y and exaggerated. The English side is more natural, not as much makeup.” Though different values and ideals will define beauty differently culture to culture, photographer to photographer, confidence will continue to be universally stylish. So whether Mendoza finds herself in the halls of a hospital or on the platform of a runway, she’ll stride its length with purpose. C
SJSU
PHOTO 125 S
an Jose State University’s “Photo 125” is a beginning fashion photography course taught by Professor Jonathan Fung. The course introduces students to basic beauty and editorial techniques using digital and film cameras, studio and location lighting, image processing, and digital printing to showcase clothing and accessories often used in advertisements and fashion magazines. Students learn about the fashion industry and styles from various top fashion photographers. Student assignments are designed to develop both technical skills and aesthetic nuances, as well as important communication skills, to help them succeed as artists in the industry. They conduct research and pitch their concepts for approval for each shooting assignment, as they would for a potential client. They are encouraged to build a collaboration team for editorial projects that includes make-up and hair artists and a stylist. Class critiques are an important component that helps each student grow and constantly improve their skills as an artist. This semester has been historically unique due to COVID-19. For the first half of the semester, students had access to professional cameras, strobe lighting equipment, and studio space to photograph their models. Since the quarantine, students no longer have access to equipment, studio or location space, models, hair and make-up artists or stylists, so Professor Fung encouraged his students to rise to the challenge and be creative in their approach to their fashion assignments. Students now have to design their fashion shoots with the resources they have available while adhering to safety and social distancing guidelines. Professional cameras were replaced with the students’ own equipment or a smartphone and studios were replaced with their living space and backyard, while roommates and family members (even the students themselves) became models. It was an amazing accomplishment and an invaluable opportunity for SJSU students to have this latest body of work published in CONTENT MAGAZINE. Not only did they learn how to become better professionals and deliver quality work on a deadline, they found their resilience as artists to create despite (or in response to) challenging circumstances. C
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Photographer Bios .1 Cindy Cuellar is a graduating senior who majors in journalism and minors in photography at San Jose State University. She is currently a part of the Spartan Daily newspaper as a graphics editor. She plans to write for a printed publication after graduating, while focusing on photojournalism. Instagram: _cindigo
.2 Jiang Chen Rodriguez’s work is often influenced by their cultures—Puerto Rican and Chinese. Growing up as a queer and multiracial individual, Jiang focuses on making work that draws inspiration from those experiences. Their work is a blend of their struggles, experiences, confidence, culture, and fashion. Instagram: jiangchenrodriguez
.3 Parker Canady is an African American creative designer who loves to collaborate and work in teams but who also thrives with solo projects. Creator of FittedByPark, a gender-neutral lifestyle fashion service and PARKDIDIT, a creative design service. Instagram: babyparka
.4 Xiaona Liu is a graphic design student who likes to create photos with interesting settings and dramatic feelings. She sees photography as a way to tell stories without words. Instagram: elenaliuca
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Jessika Ayon is a portrait photographer from San Diego, California, who is passionate about her community and is working towards her BFA in photography at San Jose State University. Instagram: jessika.ayon .5
.6 Veronica Mont-Reynaud is a fashion photographer in the Bay Area. She loves shooting with color film, and she is driven by her passion for creating a more inclusive space in the fashion industry. Instagram: vero_montreynaud .7 Nicholas Douglass is a graduating senior majoring in design and minoring in photography. Nich’s work as a portrait photographer is characterized by conceptual art, diverse subjects, and vivid colors. Instagram: Dougie16_5 .8 Anabelle Cole graduated from San Jose State University this past spring. Anabelle has been working in the vintage fashion industry for the past few years and hopes to continue working with fashion sustainability while learning more about art direction through photography. Instagram: anabellemcole
.9 Yvonne Bellido is an artist from the Bay Area. She’s working on a BFA in photography with a minor in film. She aspires to be in the fashion industry. Instagram: yvonnecaptures
.10 Vinh Au is majoring in photography at San Jose State University. He aspires to be a fashion and product commercial photographer. He is pursuing classy, elegant high-end styles. Instagram: auugiavinh
.11 Daren Chou is a young artist majoring in photography at San Jose State University. He often utilizes his surroundings and environment as inspiration for his works, visualizing and capturing images through various perspectives. Instagram: darenc_photo .12 Lily Su is a dedicated designer with a passion for photography. She strives to improve productivity and create effective visual communication for all. Instagram: offrecordlily
.18 Willow Ransom is a 21-year-old artist from Bakersfield, California. She currently resides in San Jose, where she is working to obtain a BFA in photography. Instagram: willowransom.photography
.19 Lydia Lim is a graphic design student at San Jose State University and also has strong interest in photography. As a graphic design student, she likes to bring the visual concepts and ideas of design into photography. Instagram: hehefanfan
.13 Adam Berni is a San Jose–based artist studying radio, television, and film. Adam’s passion for photography began in 2016, while he was photographing the people in his surroundings, vibrant landscapes, and street fashion. Instagram:_bernzzz
.14 Nicole Weyant is a digital photographer who uses the studio setting to create works with a deeper meaning and to push the boundaries of everyday photography. Instagram: nicoleweyant_photography
.15 Edwin Benavides is an artist from San Diego who aspires to work in the fashion and sports industries. Currently, his primary focus is mastering the process of film photography. Instagram: santo_edaben
.16 Chris Velasco is a fifth-year photography student at San Jose State University, and his goal is to share his platform with many beautiful and talented Asian Americans and through photography, share his mental health experiences. Instagram: that.cv.guy .17 Veronica Lechuga is an artist from San Jose. Her photography is focused on capturing moments from everyday life. Her images are hyperrealized with vivid colors and hints of nostalgia. Instagram: visforvice
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R E N O O R C THICCRICC “I make music for myself. I make music I want to listen to.”
-Ricardo Arastiazaran
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Crooner Thiccricc offers honest music from his bedroom to yours.
Written by Isaiah Wilson Photography by Fernando Astiazaran Spotify thiccricc Instagram thiccricc
“When I talk about my music, I sweat,” musician Thiccricc reveals, “which is ironic for a person who performs in front of an audience. But I still feel relaxed when I get on stage.” Ricardo Arastiazaran, also known as Thiccricc, has a complicated relationship with his own work. The 22-year-old lays his emotions, insecurities, and love life bare on his various projects and singles. And, somehow, he gets more socially anxious in conversations about his music versus singing intimate thoughts in a room of strangers. “They’re focusing on the song, not me,” is how Ricc explains it. And there is focus on him—on and off stage; bedroom artist Ricc is one of the most exciting sounds to come out of the San Jose local scene. “I remember I wrote my first song when I was 12,” Ricc reminisces. “And it was a corny ass love song.” He remembers having a terrible singing voice. Thanks to puberty, his voice improved, and he began to perform with friends in high school. Ricc purchased a ukulele in college, began learning music theory, and received an audio interface and Logic Pro. From there he took on the name Thiccricc and began to explore the bedroom pop sound. Unabashed honesty and mostly self-production are the key features that define DIY bedroom music, a genre that is shaping this generation. The advent of accessible music software and the cross-pollination among genres has led artists to self-record music. The result is a swath of young adults releasing full projects with little or no collaborators or producers. This aptly labeled “bedroom” music has come to the forefront of the San Jose Bay Area music sound. Ricc, who writes and produces his own work, neatly fits within this mold. “I do kind of identify with the whole bedroom pop movement, because I like to [mess around] in my room and make songs that are catchy,” Ricc claims. His work has a warm atmosphere—even when the subject can be melancholy, such as his single “Colored Pencils,” a slow song that mourns the simplicity of childhood. Rex Orange County, Daniel Caesar, Ritt Momney, Omar Apollo, and Oakland-based artist Still Woozy are among his influences. A bit of all of these artists shows up in Ricc’s music—his production heavily implements keys, synths, and vocal modulation, and typically sits in a space that is rooted in deviously melancholy pop with the dark edge found in modern R&B. Having a flair for the melodramatic and openness, his persona—or lack thereof—displays a creativity that is hard to not get behind. “I put it all on the page without thinking about it,” Ricc says when deciphering why his music is so catchy and beloved. Ricc’s music ranges from nostalgia, unrequited love, and the pressures of life to songs about his current girlfriend. “My music is pretty diverse. I kind of have trouble finding a consistent style.” Ricc says that he has room to grow and develop his sound and has a supportive art scene behind him. In his debut project, Leo Citrus, Ricc explores his reservations and anxieties over becoming a full-time artist and how it ties in with his life pressures. “I make music for myself,” he says, admitting he vibes with his own music. “I make music I want to listen to.” Ricc is currently pursuing a mathematics degree at San Jose State, working, performing, and steadily releasing projects. He is comfortably enjoying making music part-time and has not bought into the idea of becoming a tortured artist, being drained from his work. A distinguishing feature of Ricc’s is that every song feels fun because the artist is centered on enjoying the process of making good music, not so much the prospect of blowing up as a creative figure. “Never in my life have I pursued the idea of being an artist. If it happens, it happens.” C 57
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Curated by Needle to the Groove Instagram: needletothegrooverecords
Duster Duster
(Muddguts Records) Release date: December 12, 2019 Written by Jeff Brummett Unsure if they were ever to make another record, San Jose’s mysterious Duster comes through with a new batch of their distinct, spacey, emotional songs. Focusing on their side projects instead for these many years, the one-off release Eiafuawn and the prolific Helvetia, the world has longed for these guys to once again combine their forces for new music. Drenched in reverb and mood, Duster hits the same resonant space as the band’s previous material yet carves out some new territory with this latest release. Much has been written about their reclusive nature and cult image as well as their pioneering of lo-fi and slowcore, but the material is the thing as always. Starting with a shift from their normal sound, “Copernicus Crater,” with its piercing and hypnotic riff, is a great tone setter. Other highlights include the beautiful and sad “Letting Go,” a nice call back to their signature sound, multi-layered warm guitars combined with their buried and hushed vocals. “Summer War,” even with its foreboding lyrics, still has a calming memorable hook and catchy melody. The crushing “Lomo,” with its mournful acoustic chords and drippy guitars, captivates and singes the heartstrings. The haunting “Ghost World” blends perfectly with the droned out sludge of “The Thirteen,” making these last two tracks envelope the listener with feelings of warmth and dread simultaneously, the best traits of most Duster songs. Hopefully it won’t be another 19 years between releases, but the thrill of the unknown only adds to the mystique. Favorite track: “Summer War” DUSTERNUMERO.BANDCAMP.COM Instagram: thisisduster
SLIFT Ummon
(Vicious Circle Records) Release date: February 28, 2020 Written by Taran Escobar-Ausman French trio, SLIFT, create fantastical heavy-psych music that demands your full attention with everything from heavy riffs to blissful astral harmonies. Just one track from their second full-length, Ummon, takes the listener on an epic journey through ever-shifting wondrous sonic landscapes that conjure images of bards, wizards, and interplanetary battles. Originally conceived as a soundtrack to an imaginary film about Titans exiled in space, the band embraces the prog-space-rock lineage that influences their sound. They describe their mix of psychedelic garage, space rock with “bass escaping from the Minas Morgül’s dungeons…distant echoes and reveries, celestial choirs illuminating space. Ancestral voices and ancient extraterrestrial rites. Abyssal doom and apocalyptic noise. There’s chaos. And there’s silence.” While just a trio, the three members create a kaleidoscope of sound more complicated than expected. This is due to Jean Fossat’s guitar work and his precise control of the effects pedal board. For the opening track, “Ummon,” he utilizes delay and reverb to create a layered effect on an ascending chord progression for the verse, then switches the fuzz on and off at the drop of a dime for short Hendrixesque solo workouts and distorted syncopated bursts for vocal accompaniment. The rhythm section creates a tumultuous bedrock that propels the heavy guitar riffs forward while simultaneously reacting to shifting melodies with jazz-like disposition and control. These elements become apparent in the longer tracks, such as “Citadel on a Satellite” and “Lions, Tigers, and Bears,” where you’re taken through a multitude of time signatures and styles washed in mystic grooves that tell a dreamlike space odyssey. While SLIFT may draw upon many different influences, their meandering journeys move with purpose. The band functions as a tight unit, venturing into new territory based on solid songwriting. SLIFT has upped the ante on a genre that is finding a new audience. It will be exciting to see how they top this release. Favorite track: “Dark Was Space, Cold Were the Stars” SLIFT.BANDCAMP.COM Instagram: sliftrock
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Jay Electronica
Conway the Machine and Alchemist
A Written Testimony
LULU
(Roc Nation) Release date: March 13, 2020 Written by Albert Jenkins
(ALC/EMPIRE, released in partnership with Patta) Release date: March 30, 2020 Written by David Ma
Over a decade ago I remember hearing “Exhibit C” on a random car ride with a friend. It’s an unforgettable Billy Stewart flip with clever rhymes by the rising talent Jay Electronica. From the opening I was drawn to his voice and his presence, which is that of an emcee, historian, poet laureate, and Muslim minister. That was 2009, and we now have his long-awaited debut album, A Written Testimony. Possibly the most anticipated hip-hop artist of all time, Jay Electronica is originally from New Orleans and doesn’t shy away from his roots. A Written Testimony is literally that: the narrative of a black man in America and the challenges he faces as a writer, rapper, and human being. The most perplexing item on the record is the presence of Jay-Z on almost every song. There’s no doubt Electronica can hold his own, but to be complimented by the greatest rapper of all time for a full project is an unexpected added bonus. We haven’t heard an emcee duo this talented together since Black Star, despite this being a solo album. Electronica handles most of the production on his own, but he’s also accompanied by Alchemist, No I.D., and Swizz Beatz. The production doesn’t disappoint, but the highlight of the record is the two Jays. Notable songs include “Never Ending Story,” “Shiny Suit Theory,” “Universal Soldier,” and “A.P.I.D.T.A.” On “Shiny Suit Theory,” Jay-Z raps, “In the world of no justice and black ladies on the back of buses / I’m the immaculate conception of rappers slash hustlers.” The true poesy of Jay Electronica can be felt on the final song, where he depicts the feelings of going through his phone and finding texts and images from loved ones who have died. Both he and Jay describe intense feelings of pain and suffering dealing with death. The chorus: “I got numbers on my phone that’ll never ring again / ’Cause Allah done called them home, so until we sing again.” Electronica writes “Teardrops on my face it’s like teardrops become waterfalls by the time they reach my laces / My eyelids is like levees but my tear ducts is like glaciers / As I contemplate creation.” Jay Electronica is one of the greatest poet rappers of all time. This isn’t for the club nor the underground. This is Electronica penning his life and sharing it with the world under the premise of hip-hop. Favorite track: “Shiny Suit Theory” ROCNATION.COM/MUSIC/JAY-ELECTRONICA Social media: jayelectronica
LULU, a short yet dense EP by Conway the Machine, produced by firebrand beatsmith Alchemist, couldn’t have come at a better time. Not only has there been a recent emergence of interest in independent rap, but both of their careers are at a mutual apex, with their skills more honed than ever. Conway, out of Buffalo, New York, is the brother of Westside Gunn, founder of Griselda. He raps in distinctive fashion, part of which is a physical adaptation due to Bell’s palsy, a condition that left half his face paralyzed after being shot in the back of the head years ago. Within the stable of witty, streetwise entrepreneurs, Conway is the best pure rapper, evidenced by ferocious freestyles and past projects, both solo efforts and group releases. On this latest work, however, he has all beats for himself, only sharing a couple segments with notables ScHoolboy Q and Cormega. On “The Contract,” a track driven by vérité storytelling and swelling string samples, Conway addresses his ascendance: “Let’s toast to my enemies, no let’s toast to my injuries / Turned my negatives to positives, I don’t need no sympathy / I’m the G.O.A.T. ’til infinity.” The backdrops on LULU are helmed by Alchemist, a relatively unknown producer in the mainstream but a heroic, consistent innovator in the indie rap realm. In fact, his career began in 1991 as part of the Whooliganz, a rap duo he cut his teeth with before joining the fabled Soul Assassins collective, a now-fabled crew led by DJ Muggs of Cypress Hill fame. He also toured as Eminem’s DJ in the early aughts. Alchemist’s moody and measured production, filled with intense strings and mournful loops, has attracted work with both popular modern rappers (Action Bronson) as well as legends like Prodigy of Mobb Deep (RIP). On LULU the pair are predictably in lockstep: visually intense, maudlin vocals over detailed production laid out with élan. Unlike most EPs, this release is short but not always sweet—an ominous listen filled with gunfights, bravado, and broken promises that unfold like a series of cold vignettes. Favorite track: “Calvin” GRISELDAXFR.COM Instagram: whoisconway
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CONTRIBUTORS The production of CONTENT MAGAZINE would not be possible without the talented writers, editors, graphic artists, and photographers who contribute to each issue. We thank you and are proud to provide a publication to display your work. We are also thankful for the sponsors and readers who have supported this magazine through advertisements and subscriptions.
ALBERT JENKINS Albert is a music producer, record shop owner, DJ, graphic designer, and co-founder of Needle to the Groove Ent. As an in-house producer, he’s currently working with Casual, Diamond Ortiz, and Valley Wolf, among others. instagram: djalbertjenkins
NATHAN ZANON Nathan has called San Jose home since the turn of the century. He works in social media, devotes much of his time to nonprofits, and is an advocate of the arts, community activism, and great movies.
GABRIEL COKE Oil painter Gabriel Coke created Silicon Valley’s first drawing and painting atelier. Gabriel teaches a new generation to study and prepare for an education, career and life in the arts.
LINNEA FLEMING Linnea is a lover of literature and the wilderness. When she isn’t reading or backpacking in Yosemite, she is enjoying her days as an enthusiastic middle school English teacher and private writing tutor.
PETER ALLEN Peter is a third generation San Jose native, an independent communications consultant, a former San Jose Arts Commissioner, and a founding member of San José Arts Advocates.
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MELODY DEL RIO Melody is writer and illustrator as well as a San Jose State graduating senior who creates content for student media.
JACQUELINE CONTRERAS Jacqueline is a journalism student at San Jose State University who will graduate this semester. Storytelling is her passion and enjoys writing for different platforms.
AARON CARUZ Aaron is a graduating Advertising student at San Jose State University. His creative work primarily consists of photography, videography, music production, and audio engineering.
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a few historic ‘firsts’ (from the early years) at works/san josé: 1977, san josé’s first community art space 1984, world’s first interactive artwork on a laptop 1985, premier of sonya rapoport’s biorhythm 1985, works demolished for sj convention center 1986, western u.s. introduction of alan rath 1986, first san josé grafitti art exhibition 1987, first bay area art exhibition on aids 1989, survival research laboratories retrospective www.workssanjose.org @workssanjose #workssanjose
there is much more to come. works hosts about 400 emerging to established artists and performers each year— several for the first time in a public venue. exhibits come from public proposals and are facilitated by works volunteers. participate in and support works—your community art center!
works is primarily supported by you: members, donors, and volunteers. it’s also funded, in part, by a cultural affairs grant from the city of san josé, by a grant from applied materials foundation, and by sv creates, in partnership with the county of santa clara and the california arts council. ad by joe miller’s company
PODCAST Conversations with Silicon Valley‘s Creatives bit.ly/TheContentPodcast
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