Glance

DECEMBER 2013

A R T. M U S I C. S T Y L E.

THE ARTIST OF MANY MEDIUMS

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DECEMBER 2012 EDITOR IN CHIEF TRISHA ANDRADA

ART DIRECTOR TRISHA ANDRADA

CREATIVE DIRECTOR RANDY DUNBAR

FASHION EDITOR ERIN HUGHES

FASHION DIRECTOR ERIN HUGHES

ART ASSOCIATE JOSEPH KNECHTEL

PHOTOGRAPHER TRISHA ANDRAD

ARTISTS BRANDON BOYD

FOUNDING PARTNER JOSEPH KNECHTEL

MARKETING MELISSA GOLEBOWSKI

PUBLISHER ALI COHEN

PRODUCTION THOMAS HORAN

CREATIVE SUPPORT NICK CASTLES

PUBLIC RELATIONS NICOLE D’AMORE

EVENT SUPPORT NORA LEARY

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words from the

editor

Trisha is an aspirational graphic designer that strives to make a difference through her visual innovations. Her exploration with different forms of art while attending the duCret School of Art opened up new perspectives as a designer, and allowed her to graduate at the top of her class. She has received recognition at several art exhibitions for her graphic design pieces, photography, ceramics, jewelry design and paintings. Always eager to learn she continued her studies at FIDM/Fashion Institute of Design & Merchandising where she received an Associate of Arts Degree in Graphic Design.

Trisha gained her excellent work ethic through her experiences of working in multiple industries especially retail. Her enthusiastic capabilities for problem solving came along with an aptitude of leadership and being a team player.

As a designer her proficiency shines through with executing layouts, conceptual thinking, and logo and package design. Being focused and a well organized worker she is always determined to make sure her designs stimulate through form and function. Trisha continuously seeks for ways to fill her mind with knowledge that will enhance her abilities as a designer. Whether she is introduced to a new culture, an artist or even a book she continues to keep an open mind, and leaves space for new opportunities and room to grow.

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contents 7

LIBATION S AT I S Y YOUR SENSES

12

EPICURIA COOL DOWN WITH THE PERFECT T R E AT

COVER FEATURE

BRANDON BOYD in the art studio with incubus’ lead singer

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SWAG STUFF WE ALL GET

SOJOURN BEAUTY IN S A N TA MONICA

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16

2013

DEC. 14

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THE CITY OF NNOVATION S

tep into the underground creative world of Los Angeles, California. This publlication is all about where the undiscovered gets discovered, and the famous is commemorated. Targeting everything and anything that has to deal with art, music and style. Get the scoop on your favorite graffiti artist, be the first to know about upcoming concerts, or take a walk down Melrose with the latest street trends. Everything you need to know to stay in tune with the unique subculture side of L.A.

a diamond in the rough

w w w. g l a n c e m a g a z i n e . c o m

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JULY 2 0 1 3

L I BA T I O N

EP I C U R I A S O J O U R N CU L TU RE TH E ETC.

SPLASH OF

GOODNESS

SATISFY YOUR SENSES

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EPIC UR IA

POPSICLE PERFECT

ENJOY THE TASTE OF SUMMER ON A STICK

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WHERE TO FIND THESE TREATS U llitatum

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latatibus saerrorpos sapiciae v elite M inctotat aut omnis q uibus eost estiur ?

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SOJOUR N

TRAVEL

INTO THE ABYSS FIND THE HIDDEN BEAUTIES OF SANTA MONICA PIER

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SKULL CAND

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TB R A S CANVA

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MOONE Y LABR RING INTH

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CANON DIG

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LOST AT

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PICKMASTER

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C ULTURE

LET’S PAINT THE TOWN RED! L.A MONTHLY ART WALKS

SWO ON

FEATURED ARTIST OF THE MONTH

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LIVELY LOS ANGELES! THE ETC.

experience the music and night life of l.a best sounding club in l.a Olest,

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DECEMBER 2012

LU C I E N ITETR E C U S E S D O LU PTATO MIUSAPEGLANCETIUMIMRERIOSA D UTE X ETU R I B U S PO R R O V I D Q UAT IONSEDITIORUMAUTOFFICTONTO M N I STOTATE M R E R U M Q U O D I G I D U S Q U E E O STE STI S Q UATU M Q E I D I S APE LM O STS O LO R E STRATIASALI G NATE M Q UAM N E PR O Q U ITE S S E CTA ECESTIBUSALOSANGELESIBERCI S ITV O LU PTATU R O R I O Q U ITE R E ST OFFIC TEMINTIA NIAUTENTEMRAE TOCUPTASPEDMINCIDICTORRUM QUIDUSRDQUOMINCIDEMARUMIL LAB O R E T U N T U R E M E T V O LO R E P U I DAEERSPECONSENTIBUSCORMO LU PI C I V E LITATI UT ETETE LI Q U O E VELITQUAECONESEQUOVOLOAME NISETQUEE AEROVIDETUTREVOL U PTATI S I LI Q UATU M E X PLI Q U IAUT E M PO R E R U M ETAB O B U S C I M D O LE CTOTATI I STR U M N E CTU R S ITE OTI

CITY OF

LIGHTS

I

n Los Angeles, by the time you’re thirty-five, you’re older than most of the buildings.” - Delia Ephron It’s a town after all. Seen at night by air, the city seems a large bracelet of lights and swimming pools. It is only 500 square miles but it feels larger. Divided

into 80 districts and neighborhoods, at first the city seems disjointed, a bewildering terrain of mountains and valleys that ultimately end at the sea.

Second in population to only New York City, no two cities could be more different. In LA one can always hide in

the shadow of a freeway, in the quiet solitude of an automobile, in a movie theater. Los Angeles is a private place.

But it is the light that draws us, the comforting afterglow of a sunset, a forest fire, that dappled amber sheen that reveals us all.

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C OV E R ST O RY

In The Art Studio

visual artist and incubus’ frontman

“

yes , my creative and personal come together as one , and I do it every night and have fun with it .

“

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“I was raised in a creative environment, and that does wonders for a young person’s mind.”

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The Museum of

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Paying tribute to music’s rich cultural history, this 21st-century museum explores and celebrates the enduring legacies of all forms of music, the creative process, the art and technology of the recording process.

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D

eep within the high-security Iron Mountain storage facility in Hollywood, where nearly every doorway except for the restroom is protected by a security-card swipe lock, sits the Grammy Museum’s permanent collection of pop music artifacts, recordings and memorabilia.

Hundreds of 10-inch 78 rpm discs — some from Thomas Edison’s record label — reside in archival boxes on 20-foot-long metal shelves, near antique radios and phonograph players, musical instruments, posters and some celebrity fashion items stored out of sight in sturdy garment bags.

Vintage synthesizers in their original cases take up a shelf right below three distinctively different accordions, an instrument Mark Twain famously dubbed “the stomach Steinway.”

The Grammy Museum may have opened a little less than four years ago in downtown’s L.A. Live entertainment complex, but it’s already looking at myriad new ways to store and exhibit its extensive collection of music history.

“People offer to donate things, but until we had someplace to properly store and preserve them, we’ve had to turn a lot of those offers down,” executive director Robert Santelli said last Friday during a walk-through of the museum’s growing archive.

“We have to be able to safely store the items, insure them — and be sure we can make them accessible to the public at some point, because we are an educational museum,” he said.

“We’re working without an acquisition budget, so we have to rely on donations.”

Grammy Museum assistant curator Ali Stuebner slipped on a pair of white cotton gloves to peek under the lid of a 4-foot-tall 1920s-vintage Edison phonograph resting against one of the storage space’s bunker-like concrete walls, and to show a visitor one of two old (but well cared for) piano accordions donated by squeeze-box virtuoso Ernie Felice. She later riffled through a couple of large boxes, each holding perhaps thousands of 5-by-7-inch white notecards collected from one of Yoko Ono’s wishing trees, a project for which passersby were invited to complete the thought “Imagine a world ...” in their own words and / or drawings.

It’s gems like these that caused the museum to enter into a partnership with Iron Mountain about 18 months ago, the company providing the storage space about six months later.

The Grammy Museum’s spot in the massive building is modest: It’s a repository of about 900 air-conditioned square feet, compact compared with some of Iron Mountain’s 800 other entertainment-world clients, whose holdings fill a 10,000-square-foot floor of the 14-story building.

Jazz in Black & White

Herman Leonard’s Jazz Portraits.

M

r. Leonard never set out to document the birth of bebop, though he wound up doing just that. He was simply a young jazz lover whose camera gave him entree into the many New York clubs — the Royal Roost, Birdland, Bop City — whose cover charges he could not afford.

Shot in New York between 1948 and 1956 and afterward in Paris, Mr. Leonard’s work was long known only to jazz buffs. More recently, it has enjoyed a renaissance, collected in books and exhibited worldwide.“He was a master of jazz, except his instrument was a camera,” K. Heather Pinson, the author of “The Jazz Image” (University Press of Mississippi, 2010), a study of Mr. Leonard’s work, said on Tuesday. “His photographs are probably the single best visual representation of what jazz sounds like. Featuring more than 30 of Leonard’s portraits from performances, rehearsals, recording sessions and backstage gatherings, Herman Leonard: Documenting the Giants of Jazz features photos ranging from the years 1948 - 2000. Providing a glimpse into the world of jazz, bebop and even Leonard himself, the exhibit features both rare and iconic shots of musicians from including Duke Ellington, Etta James, Billie Holliday, Miles Davis, Quincy Jones, Trombone Shorty and many, many more.

“Herman Leonard had that rare ability to connect with his subjects, and capture a side of musicians that many had never been seen before.”

-GRAMMY Museum Executive Director Bob Santelli.

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JOINING THE CLUB:

T h e N e w G ra m my H a l l o f Fa m e Inductees

T All the major record companies store master recordings made over the last 90 years here, said Iron Mountain senior vice president of entertainment services Jeff Anthony. These recordings have increasingly become a part of revenue-generating plans as new music has become ever more challenging to break.

Though movie studios, record companies, sports franchises and the USC School of Cinematic Arts also store items here, Anthony says the pairing with the Grammy Museum dovetails with his company’s mission to assist clients in digitizing their collections and, ultimately for those businesses in the private sector, making them profitable.

“It’s about monetization,” Anthony said of Iron Mountain’s for-profit clients, who have since discovered the payoff — through home video, reissues and myriad licensing opportunities — for being mindful of history.

The Grammy Museum’s own recorded history is stored at Iron Mountain but in digital form, an archive of more than 200 performances and live interviews recorded at the museum since it opened December 2008. The audio-visual archive at the museum opens to the public on Wednesday.

Beach Boys creative leader Brian Wilson was the first in a continuing string of visiting musicians that includes Ringo Starr, Stevie Nicks, Bootsy Collins, Flavor Flav, Glen Campbell, John Mayer and, yes, even the accordion-wielding king of the novelty song, “Weird Al” Yankovic.

The interviews and question-answer sessions have also included record industry veterans such as Clive Davis (for whom

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the museum’s 200-seat concert theater is named), former Warner Bros.-Capitol-Asylum Records executive Joe Smith, and Curb Records founder Mike Curb.

“We’ve captured more than 800 songs played and performed in the museum, and we’re at about 225 artists we’ve interviewed for these living histories,” Santelli said. “Each of these are pieces that help to tell a greater story.”

The interviews and performances have been digitized and will now be available for students, academics, journalists and everyday music fans to see and hear at the museum.

The archive is opening in conjunction with the museum’s newest exhibit, this one surveying the 125-year history of Columbia Records, a show that’s also packed with pop-music artifacts.

Among the items: a pair of Johnny Cash’s boots and his lyrics for the song “Cry, Cry, Cry”; Bob Dylan letters and lyrics; a jacket and trumpet that belonged to Miles Davis; jewelry worn by Billie Holiday; a tie and letter from Louis Armstrong; one of Barbra Streisand’s dresses; a Willie Nelson bandanna; stage sketches and lyrics from Public Enemy’s Chuck D.; one of Pete Seeger’s banjos; and a trombone played by New Orleans jazz pioneer Kid Ory. Glancing at the boxes of old Edison 78s and the inventor’s still-functional contraption once used to play them in homes around the country, Santelli said, “Our goal is to make sure we can find all these items a good home in the museum somewhere — and to make them available for the common good.”

he Recording Academy has announced its annual list of works to be entered into the Grammy Hall of Fame, and they include recordings by Big Mama Thornton, Buck Owens, James Brown, Bob Dylan, Richard Pryor, Whitney Houston and 22 others.

As explained in the Avcademy’s announcement, the honor is bestowed as a way of “highlighting diversity and recording excellence, and acknowledges both singles and album recordings of all genres at least 25 years old that exhibit qualitative or historical significance.”

The 27 new titles bring the total number of recordings in the Hall’s collection to 933, and they include Bakersfield country (“Act Naturally,” Buck Owens), stand-up comedy (Richard Pryor’s “That ------’s Crazy”), Folk (Bob Dylan’s “The Times They Are a Changin’”) and Australian hard rock (AC/DC’s “Back in Black” album) along with the self-titled debut albums by Elton John and Whitney Houston.

Also included are historical gems such as the rural stomp of the Memphis Jug Band’s “Stealin’ Stealin’,” the original version of Jerry Lieber and Mike Stoller’s “Hound Dog” by Big Mama Thornton, and recordings by Louis Jordan, Carlos Gardel, “Pop Stoneman” (a 1924 country song called “The Titanic”) and Frank Sinatra (“Theme from ‘New York, New York’”).

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ALL WE ARE SAYING IS GIVE

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