12 HOT ITEMS TO STAY WARM &FRESH WITH OUR SWAG GUIDE RICHARD AVEDON: PORTRAIT OF AN ARTIST
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HEALTHY BENEFITS OF RED WINE
COMING SOON
SOCAL MAGAZINE ISSUE #1 DECEMBER 2013 | AMERICA’S CRAZIEST SWEETHEART
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AGENDA: EPICURIA LIBATION FIDM’S 5TH FLOOR
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PRODUCTS: UNDEFEATED, THE HUNDREDS, STUSSY, RVCA, & MANY MORE
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RADAR: THE NAUGHTY AND NICE STORY OF MILEY CYRUS
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AVEDON: THE PORTRAIT OF AN ARTIST
WE GOT THIS CALI
MASTHEAD EXECUTIVE PUBLISHER RANDY DUNBAR EDITDOR-IN-CHIEF SCOTT DUENAS III
TODAY, WE THE EDITOR: START TODAY. LETTER FROM
Just looking at the final product I am please to anouce the first issue of SOCAL Magazine. Its been a long time waiting for the first issue to drop and here it is. All the hard work and effort finally pays off. SOCAL Magazine will showcase nothing but the finest of Southern California. From the Flashing Lights in Hollywood to those cold breezy nights in Santa Monica, we will be on our toes giving you up and close... just kidding BEHIND THE SCENE of every poppin event around. I would like to thank Randy Dunbar for the opportunity to collaborate and put together a fabulous magazine. To Miley for our one-on-one interview. AND TO OUR SUPPORTERS, we promise to keep the heat coming and bring SOCAL to the top of the New Stands. We strive to test our limits and work those extra hours to bring you nothing but the best of SOUTHERN CALIFORNIA. Nothing But Love.
Scott Duenas III Editor-and-Chief
SO CAL MAGAZINE A magazine reflecting the everyday life of Southern California. We give you the best coverage from DTLA to the flashing lights of Hollywood. Stay Connected as we get an EXCLUSIVE interviews with Los Angeles very own Fairfax shops on the block. We also caught up with most talked about artist of 2013, Miley Cyrus after her toke in Amsterdam and never forgot about VMA performance. So Cal Magazine, not only keeps it real with readers, but put this together for your pleasure, so kick off those Js, twist up a blunt and enjoy the good vibes of Cali.
www.socal.com
epicuria • libation • 5th floor
NOT YOUR ORDINARY CHOCOLATE CHIP COOKIES. by: Scott Duenas III
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libation
A red glass, is a healthy glass.
R
ed wine, in moderation, has long been thought of as heart healthy. The alcohol and certain substances in red wine called antioxidants may help prevent heart disease by increasing levels of “good” cholesterol and protecting against artery damage. While the news about red wine might sound great if you enjoy a glass of red wine with your evening meal, doctors are wary of encouraging anyone to start drinking alcohol. That’s because too much alcohol can have many harmful effects on your the human body. Still, many doctors agree that something in red wine appears to help your heart. It’s possible that antioxidants, such as flavonoids or a substance called resveratrol, have heart-healthy benefits.
“ ”A Glass a day, helps the days.”
8 SOCAL | FALL 2013
the 5th floor FIDM’s 5th Floor Windows Celebrate the Surreal work of Elsa Schiaparelli. By: Hamish Bowles
“Madder and more original
fur and zippers (newfangled in the thirties) were everywhere love of than most of her contemporaries, trompe l’oeil can be traced to the Mme Schiaparelli is the one to whom faux-bow sweater that kick-started the word ‘genius’ is applied most Schiaparelli’s career and brought her often,” Time magazine wrote of its quirky style to the from masses. cover subject in 1934. Coco Chanel once dismissed her rival as “that “Dare to be different,” is the advice Italian artist who makes clothes.” (To she offered to women. Pace-setters Schiaparelli, Chanel was simply “that and rule-breakers waved that flag milliner.”) through the sixties, the seventies, and beyond. Indeed, Schiaparelli—“Schiap” to friends—stood out among her peers as a true nonconformist, using clothing as a medium to express her unique ideas. In the thirties, her peak creative period, her salon overflowed with the wild, the whimsical, and even the ridiculous. Many of her madcap designs could be pulled off only by a woman of great substance and style: Gold ruffles sprouted from the fingers of chameleon-green suede gloves; a pale-blue satin evening gown—modeled by Madame Crespi in Vogue—had a stiff overskirt of Rhodophane (a transparent, glasslike modern material); a smart black suit jacket had red lips for pockets. Handbags, in the form of music boxes, tinkled tunes like “Rose Marie, I Love You”; others fastened with padlocks. Monkey Portrait: Irving Penn Windows Photography By: Carlos Diaz
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1. HUF WORL 2. ASAP FE 3. air max 9 4. Stussy Wi 5. Blvck Sc 6. Beats 7. shewood 8. billionair 9. ben baller 10. suprem 11.. mister
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LDWIDE CAP ERG X bape 90s (atmos) indbreaker cale Ring s by dre d eyewear re boys club r jesus piece me hoodie r braclet
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IM 21, IM OVER IT
THE NAUGHTY & NICE STORY:
MileyCyr W
hen we hung out with Miley Cyrus for our new cover story, the 20-year-old superstar didn’t just get Rolling $tone tattooed on her feet and jump out of an airplane. She also said a bunch of smart, funny things! It turns out Miley’s mouth isn’t just the place her tongue hangs out between posing for photos. The interviews covered way more ground than could fit in the story, so we’ve gathered some of the best parts. Presenting the Wisdom of Miley.
rus SOCAL | FALL 2013 15
RADAR: MILEY
ON HER VMAS PERFORMANCE I know what I’m doing. I know I’m shocking you. When I’m dressed in that teddy bear thing, I think that’s funny. I was saying yesterday, I had this obsession about this character that’s like an adult baby. Like if you see a baby do something like that it’s so warped and weird, but there’s something creepily hot about it. So when I’m in that teddy bear suit, I’m like a creepy, sexy baby. But I forget that it’s, like, people in Kansas watching the show. That people sit their kid in front of the TV and are like, “Oh, an awards show! Let’s watch.” ON DRUGS I think weed is the best drug on earth. One time I smoked a joint with peyote in it, and I saw a wolf howling at the moon. Hollywood is a coke town, but weed is so much better. And molly, too. Those are happy drugs – social drugs. They make you want to be with friends. You’re out in the open. You’re not in a bathroom. I really don’t like coke. It’s so gross and so dark. It’s like what are you, from the Nineties? Ew.
ON LIVING IN LOS ANGELES The thing about L.A. is it’s pretty much always nice out here. Even when it was 100 the other day, I loved it. It felt good. I worked on my album in Philly, and I would take the train to New York on the weekends, and I’d get off the train and immediately want to die. I would just hate my life. And I’m from Nashville, which is kind of similar – when it’s hot, it’s fucking miserable. But Nashville, at least it kind of rains in the summer. I don’t even remember the last time it rained out here. I always wondered how those big-ass fires start in L.A., and then I’ll throw my cigarette out the window or something, and I’m like “There it is.”
16SOCAL | FALL 2013
“Hollywood but weed is
ON RACE AND POP MUSIC Me and [producer] Mike WiLL were talking about it. He said, “For me, my biggest achievement has been working with a white girl – but for a white girl to work and associate with black producers, you’re being ratchet.” He’s like, “Why am I on the come-up if I work with you, but if you work with me, it’s like you’re trying to be hood?” It’s a doublestandard. I didn’t really realize it, but people are still racist. It’s kind of insane. Like if I had come out [at the VMAs] with all white-girl dancers, and done the fucking “Cha Cha Slide” –ame outfit, same everything – it wouldn’t have been bad. But because of who I came out with, people got upset. Because they were girls from the club. They had thick asses. They were twerking. That’s what I want, though – I want real girls up there who can really party. The Baker girls [her backup dance crew, the L.A. Bakers] don’t give a fuck about me. They love me, but they’re not kissing my ass. They’re just excited to not be dancing at the club.
d is a coke town, s so much better.”
RADAR: MILEY ON THE WRECKING BALL VIDEO It’s the opposite of the VMAs. It’s like the Sinead O’Connor video [for “Nothing Compares 2 U”], but, like, the most modern version. I wanted it to be tough but really pretty – that’s what Sinead did with her hair and everything. The trick is getting the camera up above you, so it almost looks like you’re looking up at someone and crying. I think people are going to hate it, they’re going to see my ass and be like, “Oh my God, I can’t believe she did that” – and then when we get to the bridge, they’re gonna have a little tear and be like, “Fuck you!” I think it will be one of those iconic videos, too. I think it’s something that people are not gonna forget. Hopefully an artist 30 years from now will be like, “Yo, you remember that Miley Cyrus video? We gotta do something like that.”
ON BEING IN THE SPOTLIGHT I said I was going to take a year off before I made this record. But it’s hard to take a break. It’s almost depressing when you’re not working. You’re so used to people calling your name, and that energy, and when you don’t have it anymore . . . That’s why I never complain about people wanting autographs or pictures. Because if there were a few days where no one asked, I’d probably be like, “What the fuck’s going on? Do people not like me?” I hate the paparazzi – but when they’re not sitting there waiting for you, you’re like “Who’s bigger news? Who are you trying to get a picture of?” ON HER ROLE MODELS I watch people like Dolly [Parton]. Dolly knows what she is. She’s smart. She’s not just a blonde with big titties – she is a genius under there. She literally came from nothing, and now you go anywhere in the world, and they know Dolly Parton. It’s like, don’t let people’s judgment define who you are. Don’t read the comments and get nervous. Know who you are. 18SOCAL | FALL 2013
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A Portrait of an Artist
RICHARD AVEDON Fahey Klein presents a major retrospective of the photographers work.
By Kely Smith
What do Jean Genet, Jimmy Durante, Brigitte Bardot, Georgia O’Keeffe, Jacques Cousteau, Andy Warhol, and Lena Horne have in common? They were a few of the many personalities caught on film by photographer Richard Avedon. For more than fifty years, Richard Avedon’s portraits have filled the pages of the country’s finest magazines. His stark imagery and brilliant insight into his subjects’ characters has made him one of the premier American portrait photographers. Born in New York in 1923, Richard Avedon dropped out of high school and joined the Merchant Marine’s photographic section. Upon his return in 1944, he found a job as a photographer in a department store. Within two years he had been “found” by an art director at Harper’s Bazaar and was producing work for them as well as Vogue, Look, and a number of other magazines. During the early years, Avedon made his living primarily through work in advertising. His real passion, however, was the portrait and its ability to express the essence of its subject. As Avedon’s notoriety grew, so did the opportunities to meet and photograph celebrities from a broad range of disciplines. Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized by the public and the celebrities themselves. Many sought out Avedon for their most public images. His artistic style brought a sense of sophistication and authority to the portraits. More than anything, it is Avedon’s ability to set his subjects at ease that helps him create true, intimate, and lasting photographs.
“All photographs are accurate. None of them is the truth.” -Richard Avedon
Throughout his career Avedon has maintained a unique style all his own. Famous for their minimalism, Avedon portraits are often well lit and in front of white backdrops. When printed, the images regularly contain the dark outline of the film in which the image was framed. Within the minimalism of his empty studio, Avedon’s subjects move freely, and it is this movement which brings a sense of spontaneity to the images. Often containing only a portion of the person being photographed, the images seem intimate in their imperfection. While many photographers are interested in either catching a moment in time or preparing a formal image, Avedon has found a way to do both. Beyond his work in the magazine industry, Avedon has collaborated on a number of books of portraits. In 1959 he worked with Truman Capote on a book that documented some of the most famous and important people of the century. Observations included images of Buster Keaton, Gloria Vanderbilt, Pablo Picasso, Dr. J. Robert Oppenheimer, Frank Lloyd Wright, and Mae West. Around this same time he began a series of images of patients in mental hospitals. Replacing the controlled environment of the studio with that of the hospital he was able to recreate the genius of his other portraits with noncelebrities. The brutal reality of the lives of the insane was a bold contrast to his other work. Years later he would again drift from his celebrity portraits with a series of studio images of drifters, carnival workers, and working class Americans.
Throughout the 1960s Avedon continued to work for Harper’s Bazaar and in 1974 he collaborated with James Baldwin on the book Nothing Personal. Having met in New York in 1943, Baldwin and Avedon were friends and collaborators for more than thirty years. For all of the 1970s and 1980s Avedon continued working for Vogue magazine, where he would take some of the most famous portraits of the decades. In 1992 he became the first staff photographer for The New Yorker, and two years later the Whitney Museum brought together fifty years of his work in the retrospective, “Richard Avedon: Evidence”. He was voted one of the ten greatest photographers in the world by Popular Photography magazine, and in 1989 received an honorary doctorate from the Royal College of Art in London. Today, his pictures continue to bring us a closer, more intimate view of the great and the famous.
Avedon died on October 1st, 2004.
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