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FINE LIVING IN THE GREATER PASADENA AREA<br />

October 20<strong>17</strong><br />

FALL<br />

ARTS


FINE LIVING IN THE GREATER PASADENA AREA<br />

October 20<strong>17</strong><br />

FALL<br />

ARTS<br />

PRSRT STD<br />

U.S. POSTAGE<br />

PAID<br />

PASADENA, CA<br />

PERMIT #422


2 | <strong>ARROYO</strong> | 10.<strong>17</strong>


Design Art.<br />

Build Art.<br />

Lic.653340 Photo by Meghan Beierle-O’Brien<br />

ARCHITECTURE. CONSTRUCTION. INTERIORS.<br />

626.486.0510 HartmanBaldwin.com


4 | <strong>ARROYO</strong> | 10.<strong>17</strong>


arroyo<br />

VOLUME 13 | NUMBER 10 | <strong>OCTOBER</strong> 20<strong>17</strong><br />

27<br />

IMAGES: (top) Courtesy of The Huntington Library, Art Collections, and Botanical Gardens; (bottom right) courtesy of Los Angeles Children Chorus; (bottom left) Maria Varela Photography.<br />

35 40<br />

FALL ARTS<br />

11 THE GINDLER HAS LANDED<br />

Kiki and David Gindler donated $1 million toward the new Glendale<br />

theater that bears their name.<br />

—By BETTIJANE LEVINE<br />

27 VISUAL VOYAGES<br />

A new Huntington show spotlights rare artworks depicting Latin American<br />

nature, from the time of Columbus to Darwin’s era.<br />

—By SCARLET CHENG<br />

35 STILLS OF A MOVEMENT<br />

Newspaper images of the Chicano rights movement in L.A. are on view<br />

in La Raza at the Autry Museum.<br />

—By SCARLET CHENG<br />

40 THE END OF AN ERA<br />

Anne Tomlinson steps down as artistic director of the acclaimed L.A. Children’s<br />

Chorus after 22 years.<br />

—By BETTIJANE LEVINE<br />

DEPARTMENTS<br />

09 FESTIVITIES Arcadia Performing Arts Center Inaugural Gala, Sheldon Epps<br />

takes a bow at the Pasadena Playhouse, HBO Emmy Party<br />

<strong>17</strong> <strong>ARROYO</strong> HOME SALES INDEX<br />

42 KITCHEN CONFESSIONS In divisive Syria, a shared culinary background<br />

is not enough<br />

43 <strong>ARROYO</strong> COCKTAIL OF THE MONTH Camping at the Ridge<br />

44 THE LIST A Cuban festival at PMCA, Chinese dance at Caltech, beer fl ows in<br />

Burbank and more<br />

ABOUT THE COVER: Detail from Relación Geográfi ca Map of Guaxtepec, 1580, unknown<br />

artist; courtesy of the Huntington Library, Art Collections and Botanical Gardens<br />

10.<strong>17</strong> <strong>ARROYO</strong> | 5


EDITOR’S NOTE<br />

This year’s installment of Pacifi c<br />

Standard Time: LA/LA, a Getty-led<br />

assemblage of 80 coordinated art<br />

exhibitions around Southern California,<br />

focuses on the region’s Latino<br />

heritage. That’s certainly fi tting given<br />

L.A.’s population, which is nearly half<br />

Hispanic. (At 33 percent, Pasadena’s<br />

Latino population is proportionately<br />

smaller but still signifi cant, according<br />

to the 2005-07 American Community<br />

Survey Estimates.)<br />

For this Fall Arts issue, contributor<br />

Scarlet Cheng explores two of those<br />

exhibitions, which unveil aspects<br />

of Latino culture from the long-ago days of New Spain, when the region<br />

was part of the Spanish Empire, to L.A.’s political turmoil of the 1970s. As an<br />

adjunct associate professor of fi lm and art history at Otis College of Art &<br />

Design and a well-established culture writer, Cheng brings an expert eye<br />

to both shows — Visual Voyages: Images of Latin American Nature from<br />

Columbus to Darwin, which runs through Jan. 8, 2018, at the Huntington in<br />

San Marino; and La Raza, stirring photos from an L.A. alternative newspaper<br />

that covered the Chicano movement in the 1970s, on view at the Autry<br />

Museum of the American West through Feb. 10, 2019.<br />

We also look at some comings and goings in Arroyoland’s busy arts world.<br />

Bettijane Levine talks to arts philanthropists Kiki and David Gindler, who<br />

gave $1 million to the new Glendale performing arts center that bears their<br />

name and serves as the home of the Antaeus Theatre Company. And she<br />

says goodbye to the gifted Anne Tomlinson, who will step down as artistic<br />

director of the acclaimed L.A. Children’s Chorus after 22 years.<br />

Finally, Kitchen Confessions columnist Leslie Bilderback fi nishes her series<br />

of columns about the countries of President Trump’s heartless travel ban with<br />

a moving piece on Syria and her close Syrian relatives. Don’t miss it.<br />

—Irene Lacher<br />

EDITOR-IN-CHIEF Irene Lacher<br />

ART DIRECTOR George Flores<br />

ASSISTANT ART DIRECTOR Stephanie Torres<br />

PRODUCTION DESIGNERS Rochelle Bassarear,<br />

Richard Garcia<br />

EDITOR-AT-LARGE Bettijane Levine<br />

COPY EDITOR John Seeley<br />

CONTRIBUTORS Denise Abbott, Leslie Bilderback,<br />

Léon Bing, Martin Booe, Michael Cervin, Scarlet<br />

Cheng, Richard Cunningham, Kathleen Kelleher,<br />

Brenda Rees, John Sollenberger, Nancy Spiller<br />

ADVERTISING DIRECTOR Dina Stegon<br />

ACCOUNT EXECUTIVES Lisa Chase,<br />

Brenda Clarke, Leslie Lamm<br />

ADVERTORIAL CONTRIBUTING EDITOR<br />

Bruce Haring<br />

HUMAN RESOURCES MANAGER Andrea Baker<br />

PAYROLL Linda Lam<br />

CONTROLLER Kacie Cobian<br />

ACCOUNTING Alysia Chavez, Perla Castillo,<br />

Yiyang Wang<br />

OFFICE MANAGER Ann Turrietta<br />

PUBLISHER Jon Guynn<br />

arroyo<br />

FINE LIVING IN THE GREATER PASADENA AREA<br />

SOUTHLAND PUBLISHING<br />

V.P. OF OPERATIONS David Comden<br />

PRESIDENT Bruce Bolkin<br />

CONTACT US<br />

ADVERTISING<br />

dinas@pasadenaweekly.com<br />

EDITORIAL<br />

editor@arroyomonthly.com<br />

PHONE<br />

(626) 584-1500<br />

FAX<br />

(626) 795-0149<br />

MAILING ADDRESS<br />

50 S. De Lacey Ave., Ste. 200,<br />

Pasadena, CA 91105<br />

ArroyoMonthly.com<br />

©20<strong>17</strong> Southland Publishing, Inc.<br />

All rights reserved.<br />

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FESTIVITIES<br />

Richard Chamberlai<br />

Kate McKinnon with Nicole Kidman<br />

Sheldon Epps and Brad King<br />

Sharon Lawrence<br />

PHOTOS: Earl Gibson (Pasadena Playhouse); Gabor Ekecs (HBO Emmy Party); Courtesy of Arcadia Perrforming Arts Center<br />

Billy, Margaret and Brian Butchkavitz<br />

Jean-Marc Vallée, Michelle Pfeiffer<br />

and David E. Kelley<br />

Alumni of past Pasadena Playhouse productions turned out on Sept. <strong>17</strong><br />

for an onstage tribute to the theater’s emeritus artistic director, Sheldon<br />

Epps, who recently stepped down after 20 years. Past cast members who<br />

praised Epps or performed selections from their shows included Wayne<br />

Brady (Kiss Me, Kate), who hosted the evening, as well as Richard<br />

Chamberlain (The Heiress), Sharon Lawrence (Orson’s Shadow), Kacee<br />

Clanton (A Night With Janis Joplin) and many more…Pasadena event<br />

designer Billy Butchkavitz, who fi nds fresh inspiration in his global travels,<br />

looked to the art and artifacts collections of the Royal Pavilion Brighton<br />

to create a spectacular Chinese-style fantasyland as the setting of<br />

the 20<strong>17</strong> HBO Emmy Party Sept. <strong>17</strong> at the Pacific Design Center in West<br />

Hollywood...Local officials joined revelers celebrating the inaugural gala<br />

of the Arcadia Performing Arts Center with headliner Chris Mann on<br />

Sept. 16.<br />

(From left): Adam Hsu, Gene Glasco, APAC Executive Director Maki Hsieh, Arcadia Mayor Pro Tem Sho Tay, APAC Board Chairman Jim Romo, U.S. Rep. Judy Chu, L.A.<br />

Supervisor Kathryn Barger and Arcadia school board President Fenton Eng and Superintendent David Vannasdall<br />

Yvette Cason<br />

10.<strong>17</strong> | <strong>ARROYO</strong> | 9


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THE GINDLER HAS LANDED<br />

Arts philanthropists Kiki and David Gindler donated $1 million toward the new<br />

Glendale theater that bears their name.<br />

BY BETTIJANE LEVINE<br />

PHOTO: Courtesy of Kiki and David Gindler<br />

Los Angeles has the Getty and the Geffen, both on the Westside. And now, the<br />

newest G-space for the arts is here in Arroyoland: it’s the Gindler in Glendale.<br />

Technically, the building is named the Kiki & David Gindler Performing Arts<br />

Center. It was created as the home of the Antaeus Theatre Company, which had<br />

outgrown its old North Hollywood digs and was lucky enough to have a pair of generous<br />

benefactors; the Gindlers donated $1 million to help build a space for this acting<br />

ensemble whose work they’ve ardently admired and long supported.<br />

Most who attend the new theater will not know much about the couple for whom<br />

it was christened. Gindler is not (yet) a household name, like Geffen and Getty. But in<br />

philanthropy circles, they’re being hailed as emerging “top supporters of the arts in Los<br />

Angeles,” according to Inside Philanthropy magazine. And in Glendale, they’ve been<br />

praised by civic leaders for weaving a vibrant new arts space into the fabric of Glendale’s<br />

urban life and for enhancing the city’s role as an arts and entertainment destination.<br />

The new arts center sits across the street from the Americana at Brand, not far from<br />

the iconic Alex Theatre and the remodeled public library. Its interior is a flexible, multi-<br />

use space that includes an 80-seat theater, a reconfigurable performance/classroom space,<br />

a theater-classics library and a large lobby that doubles as an art gallery. It’s a gift that<br />

will keep on giving, civic leaders say, because Antaeus offers community involvement<br />

programs as well as great performances of plays with enduring themes that will resonate<br />

for generations to come.<br />

So who are the Gindlers, and what makes them tick? And why did they choose Glendale<br />

for the new arts center when they live in Hancock Park, except when they’re at their<br />

homes in Montecito or New York? They’ve been married for 31 years; both are attorneys,<br />

both actively work to advance the music and theater arts on both coasts and together they<br />

have an eclectic flair for finding and funding unheralded small arts groups along with<br />

large, well-established ones. Philanthropy trackers say the couple — she’s 55, he’s 57 —<br />

have given hundreds of thousands of dollars in unpublicized donations over the past few<br />

years, as well as $1 million grants to the L.A. Master Chorale, the L.A. Philharmonic<br />

and Center Theatre Group. Each sits on multiple boards related to the arts.<br />

In 2015, Kiki Ramos Gindler became the first Latina president of the Board of<br />

–continued on page 13<br />

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–continued from page 11<br />

Directors of Center Theatre Group, one of the country’s largest nonprofit regional theater<br />

organizations. She also serves on the boards of the Music Center and L.A. Opera (CTG’s<br />

parent and sister organizations, respectively) as well as Pomona College. Her memberships<br />

also include the advisory committee to the L.A. County Arts Commission Cultural Equity<br />

and Inclusion Initiative and the National Council for the American Theatre, an advisory<br />

committee for the country’s regional theaters, which meets in New York. After earning<br />

degrees from Pomona College and Harvard Law School, she practiced corporate and entertainment<br />

law until she left to focus on philanthropy.<br />

David Gindler is a senior partner at the law firm of Irell & Manella, where he’s carved<br />

out a reputation as one of the country’s leading experts in intellectual property litigation and<br />

licensing, with emphasis on complex patent disputes in life sciences, biotechnology, medical<br />

devices, computer architecture and microprocessor design. When not at work, he serves<br />

as chairman of the boards of Antaeus and the L.A. Master Chorale and a member of the<br />

boards of the Music Center and Beth Morrison Projects, a top producer of indie opera and<br />

new music. For seven years until this past February, he was a board member of the L.A.<br />

Phil.<br />

The Gindlers recently spoke to Arroyo Monthly about where they came from, how they<br />

met and why they’re so passionate about the arts:<br />

Before we get personal, a question about the new theater that bears your names. David,<br />

you and Kiki gave $1 million to spearhead the theater’s building fund. And you are chairman<br />

of the Antaeus board. You live in Hancock Park, nowhere near Glendale, and you had<br />

all of Los Angeles to choose from. What made you choose Glendale as the theater location?<br />

David: Antaeus operated out of North Hollywood for a number of years, and produced<br />

[shows] on an ad hoc basis. We started our first regular season of programming in 2010,<br />

and it became apparent within the first two years that we needed a bigger space. In 2012<br />

we began looking for a space, and the process of identifying a location was challenging. We<br />

didn’t want to actually build a building. We wanted to take an existing space and then create<br />

and model it as our own performing arts center. So that required a combination of the right<br />

building with the right ceiling heights with the right zoning, with the right parking, with<br />

the right restaurants. And then on top of that you need a landlord who’d be willing to basically<br />

make a tremendous deal so we could pay below market rent. Finding a space like that<br />

took over two years.<br />

We have a number of company members, actors in the ensemble, who live in Glendale.<br />

We reached out to the Glendale City Council and government to see if they could help<br />

us identify a space. They were incredibly helpful. They said, ‘There’s this space that’s been<br />

empty for the longest time and you should talk to the owner.’ We did, and at first he said,<br />

‘Thank you, but I’m not interested.’ We just sort of kept going back, and ultimately he<br />

decided to talk. As it turned out, we’d found somebody with an extraordinarily generous<br />

heart, who agreed to lease the space to us at incredibly reasonable terms. That allowed us<br />

to raise the money to build our theater. Glendale was incredibly supportive, gave us a great<br />

location in this sort of arts corridor in downtown Glendale. It’s easy to get to, it’s got great<br />

parking, great restaurants, and we built this extraordinary theater and I know the [Antaeus]<br />

company could not be happier.<br />

David, you sound like a proud father when you talk about Antaeus.<br />

D: Well, we have a phenomenal company of extraordinarily talented actors.<br />

Kiki and David Gindler cut the ribbon at the theater’s opening on March 2.<br />

born at St. John’s Hospital in Santa Monica, spent my childhood on the Westside. Two of<br />

my uncles had shops on Olvera Street. My dad was a tax accountant and worked for<br />

McDonnell Douglas in Culver City. My parents then moved to Ventura County and I went<br />

to Simi Valley High School, then to Pomona College, which is where David and I met.<br />

David, where did you grow up?<br />

D: Woodland Hills in the San Fernando Valley. I went to Taft High School, then to Pomona<br />

College and UCLA Law School. I met Kiki at Pomona, and we had our first date about<br />

a week after I graduated in 1981. We got married in August of 1986.<br />

You’re both so devoted to the arts. Did that happen during your marriage or was that a<br />

shared interest from the start?<br />

K: My father was incredibly artistic. He played piano, guitar, accordion. He knew how to<br />

paint and sculpt and he taught me all those things. My cousins with whom I grew up were<br />

always focused on the arts; we were always doing little plays, with one of my cousins directing.<br />

He’s now head of the theater department at the University of Vermont. Another cousin<br />

is now a visual artist. My connection with the arts is ingrained in my DNA.<br />

And you, David?<br />

PHOTO: Howard Wise<br />

Kiki: Glendale is an example of government commitment to the arts. They’re kind of bucking<br />

the trend and leading that vision of actually understanding that the arts are integral and<br />

important to the community.<br />

You each seem to have come from different backgrounds. Kiki, where did you grow up, and can you<br />

talk about your Latina roots?<br />

K: My mother was Canadian, here on a green card. My father was a naturalized Mexican<br />

citizen. My parents met in L.A., so I’m first-generation American, and Angeleno. I was<br />

D: I was lucky enough to go to public school at a time when arts education still mattered,<br />

when it was still an important part of the curriculum. For example, from junior high school<br />

through high school I played in the school orchestra, because that was an elective you could<br />

have. I learned to play the bass and developed a love of classical music. At the age of 16 I got<br />

a really cheap student subscription to the L.A. Philharmonic. I sat high in the balcony at<br />

the Dorothy Chandler Pavilion and it was fantastic.<br />

I was also lucky enough to be part of large educational programs where students at public<br />

schools were brought downtown to see plays. I remember as a kid being taken downtown<br />

–continued on page 14<br />

10.<strong>17</strong> <strong>17</strong> | <strong>ARROYO</strong> | 13


–continued from page 13<br />

to see Oliver! at the Chandler Pavilion. And one of the most meaningful, almost lifechanging<br />

experiences I had in high school was when my English class went downtown to<br />

see two plays performed at the Mark Taper Forum. One was The Importance of Being Earnest<br />

by Oscar Wilde. The other was Tom Stoppard’s Travesties. Seeing those performances was<br />

extraordinarily powerful for me, gave me a real understanding of what a force drama and<br />

storytelling could be in helping to elevate and educate. In fact, one of the most wonderful<br />

gifts I’ve ever gotten was [years later] when the folks at the Center Theatre Group found<br />

[and gave to me] what’s called the one-sheet from that performance of The Importance of Being<br />

Earnest in the 1976–77 season. A one-sheet is the [poster] that appears in the glass cases<br />

outside the theater, advertising the performance.<br />

So the arts were important to each of you when you met. And together, you’ve built a career<br />

of giving time and money to promote the arts, both to large organizations and small,<br />

emerging ones. David, you’ve quoted Gustavo Dudamel’s reported statement that “music<br />

is a fundamental human right.” And you’ve quoted an article that said, “If as much money<br />

was spent on the arts as on the military, we wouldn’t need the military.” Kiki, you’ve said<br />

that “the arts save lives.” So I wonder what each of you think it will take to reintegrate the<br />

arts into public education? Or is it destined to all be STEM (science, technology, engineering<br />

and mathematics) from here on out?<br />

K: I understand that this whole emphasis on STEM started because we were falling behind<br />

in the international marketplace, and we needed to catch up to be competitive. But with the<br />

shift toward STEM, we dropped the arts education aspect, which had been so ingrained in<br />

public education for so long. One reason I just joined the Pomona College Board of Trustees<br />

is because they’re acknowledging the importance of arts education even though a good<br />

portion of their students is focused on becoming doctors, engineers or tech people. They’re<br />

understanding how important the arts is and the relationship between the parts of the brain<br />

that are used, for example, in mathematics and music. I think it’s not enough to rely on philanthropists<br />

to support the arts in children’s lives. There has to be a shift of consciousness in<br />

society and in our leaders who make decisions about curricula in schools. Brain researchers<br />

are all over this issue about how the arts are fundamental and can enhance human experience.<br />

The government is lagging behind in that realization.<br />

D: I agree with Kiki, but I’m a bit more cynical. There was a huge retrenchment in taxation<br />

in the 1980s, when tax rates were cut dramatically at the state and federal level. The<br />

first thing that got cut was the arts. It just got decimated in California and throughout<br />

the country. It had really tragic implications for our country. We’ve basically had an entire<br />

generation who were raised without any meaningful arts education in the public schools.<br />

And now those people who never had any exposure to the arts when growing up, they are<br />

now the people who are the decision-makers. So the climb right now is a very steep one,<br />

and Kiki and I are trying our best to rail against what we think is an attitude that can really<br />

negatively impact people’s growth. The arts do matter. And I agree with Kiki that arts<br />

education saves lives. It just does.<br />

You’ve given four gifts of $1 million and many smaller gifts. How do you choose?<br />

D: Kiki and I think very hard about how we donate our dollars. We give to organizations<br />

that are truly committed to making an impact on Los Angeles as a community and at all<br />

levels. They’re devoted to expanding the arts and access to the arts. Some are organizations<br />

that have been impactful to Kiki and me when we grew up in Los Angeles and we want to<br />

try to help sustain that for the next generations who live here. ||||<br />

Antaeus Theatre Company presents Les Liaisons Dangereuses, Christopher Hampton’s<br />

award-winning adaptation of the scandalous novel by Choderlos de Laclos, at<br />

Glendale’s Kiki & David Gindler Performing Arts Center from Oct. 26 through Dec. 10.<br />

It’s a story of seduction and intrigue, complete with sex, revenge and betrayal, set in<br />

the decadence of prerevolutionary France. Performances are scheduled for 8 p.m.<br />

Thursdays and Fridays, 2 and 8 p.m. Saturdays and 2 p.m. Sundays through Dec. 10.<br />

Tickets cost $30 to $34. The Kiki & David Gindler Performing Arts Center is located at 110<br />

E. Broadway, Glendale. Call (818) 506-1983 or visit antaeus.org.<br />

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10.<strong>17</strong> | <strong>ARROYO</strong> | 15


16 | <strong>ARROYO</strong> | 10.<strong>17</strong>


arroyo<br />

~HOME SALES INDEX~<br />

HOME SALES<br />

4.12%<br />

AVG. PRICE/SQ. FT.<br />

0.18%<br />

aug.<br />

2016<br />

485HOMES<br />

SOLD<br />

aug.<br />

20<strong>17</strong><br />

505HOMES<br />

SOLD<br />

<br />

HOMESALESABOVE<br />

RECENT HOME CLOSINGS IN THE PASADENA WEEKLY FOOTPRINT<br />

source: CalREsource<br />

ADDRESS CLOSE DATE PRICE BDRMS. SQ. FT. YR. BUILT PREV. PRICE PREV. SOLD<br />

ALHAMBRA<br />

420 North Hidalgo Avenue 08/25/<strong>17</strong> $1,050,000 2 2306 1924 $470,000 05/30/2002<br />

<strong>17</strong>19 South 2nd Street 08/23/<strong>17</strong> $1,035,000 3 2416 1923<br />

ALTADENA<br />

1665 Braeburn Road 08/21/<strong>17</strong> $2,800,000 4 4274 1924 $1,<strong>17</strong>5,000 05/10/2007<br />

3832 Luna Court 08/22/<strong>17</strong> $1,525,500 5 3886 1999 $1,152,000 08/07/2009<br />

2027 Holliston Avenue 08/09/<strong>17</strong> $1,319,000 4 2428 1936 $1,638,545 08/01/2013<br />

1985 Roosevelt Avenue 08/24/<strong>17</strong> $1,250,000 5 2230 1941 $1,100,000 06/26/2015<br />

2282 Maiden Lane 08/01/<strong>17</strong> $1,240,000 3 2764 1924 $236,000 12/30/1998<br />

<strong>17</strong>34 East Mendocino Street 08/09/<strong>17</strong> $1,200,000 3 2128 1950<br />

1890 Homewood Drive 08/18/<strong>17</strong> $1,200,000 2 2041 1954 $402,000 11/15/1995<br />

<strong>17</strong>87 Pepper Drive 08/31/<strong>17</strong> $1,135,000 2 <strong>17</strong>50 1946 $799,000 09/02/2016<br />

4542 El Prieto Road 08/30/<strong>17</strong> $1,075,000 3 2991 1958<br />

2044 Pepper Drive 08/28/<strong>17</strong> $1,053,000 3 2221 1940<br />

1000 East Mt. Curve Avenue 08/31/<strong>17</strong> $1,020,000 4 2557 1949<br />

ARCADIA<br />

2209 South Santa Anita Avenue 08/08/<strong>17</strong> $2,700,000 3 2104 1947 $1,430,000 06/25/2014<br />

29 Hacienda Drive 08/21/<strong>17</strong> $2,659,000 4 2983 1939 $1,800,000 03/10/2011<br />

1424 Caballero Road 08/29/<strong>17</strong> $2,650,000 4 3797 1950 $2,420,000 08/01/2016<br />

2615 Greenfi eld Avenue 08/18/<strong>17</strong> $2,200,000 5 5620 2016 $1,150,000 05/01/2014<br />

2047 Carolwood Drive 08/07/<strong>17</strong> $2,130,000 4 3852 1966 $1,130,000 07/01/2004<br />

1834 Watson Drive 08/11/<strong>17</strong> $2,062,500 3 1301 1951 $910,000 08/22/2014<br />

33 Bonita Street 08/24/<strong>17</strong> $2,000,000 9 4746 1969 $531,000 12/29/2000<br />

327 East Newman Avenue 08/23/<strong>17</strong> $1,950,000 0 0 $950,000 12/30/2014<br />

101 Crystal Court 08/23/<strong>17</strong> $1,750,000 5 3640 2001 $1,300,000 03/04/2008<br />

2030 Canyon Road 08/31/<strong>17</strong> $1,680,000 4 2392 1959 $57,000,570 07/02/2001<br />

<strong>17</strong>30 Alta Oaks Drive 08/22/<strong>17</strong> $1,510,000 3 1992 1951 $1,150,000 06/18/2015<br />

1427 Linda Way 08/04/<strong>17</strong> $1,500,000 4 3161 1988 $5<strong>17</strong>,500 01/03/1996<br />

73 East Grandview Avenue 08/08/<strong>17</strong> $1,482,500 3 2260 1951 $233,000 07/11/1986<br />

110 Elkins Avenue 08/15/<strong>17</strong> $1,375,000 3 2434 1953<br />

1954 Highland Oaks Drive 08/18/<strong>17</strong> $1,348,000 3 2047 1953 $1,125,000 12/15/2005<br />

2060 Elkins Place 08/25/<strong>17</strong> $1,250,000 3 2329 1957<br />

1119 Mayfl ower Avenue 08/03/<strong>17</strong> $1,230,000 4 2591 1979 $420,000 05/31/2001<br />

608 East Sandra Avenue 08/02/<strong>17</strong> $1,190,000 3 2145 1958 $907,000 12/06/2013<br />

586 South 2nd Avenue #B 08/25/<strong>17</strong> $1,180,000 3 2<strong>17</strong>0 2015<br />

144 East Norman Avenue 08/09/<strong>17</strong> $1,148,000 3 2627 1987 $500,000 09/23/1988<br />

1815 Lee Avenue 08/25/<strong>17</strong> $1,110,000 3 1323 1951 $930,000 03/15/2016<br />

2265 Highland Vista Drive 08/25/<strong>17</strong> $1,000,000 3 2309 1960 $237,500 01/04/1999<br />

EAGLE ROCK<br />

5446 Mt. Helena Avenue 08/04/<strong>17</strong> $1,343,000 2 1956 1951<br />

GLENDALE<br />

3635 Deerpass Road 08/23/<strong>17</strong> $4,300,000 4 5684 2013 $900,000 08/30/2010<br />

1542 Valley View Road 08/30/<strong>17</strong> $1,900,000 4 3546 1929 $1,132,000 12/16/2011<br />

2587 Cascadia Drive 08/01/<strong>17</strong> $1,689,000 4 1564 1956 $675,000 08/08/2014<br />

1500 Greenbriar Road 08/<strong>17</strong>/<strong>17</strong> $1,575,000 4 3301 1967 $1,400,000 03/03/2016<br />

1132 Sweetbriar Drive 08/04/<strong>17</strong> $1,375,000 4 2658 1963 $965,000 05/28/2010<br />

1841 Arvin Drive 08/<strong>17</strong>/<strong>17</strong> $1,310,000 3 2588 1995 $415,000 08/20/1997<br />

720 Fay Drive 08/30/<strong>17</strong> $1,295,000 3 2276 1936 $429,000 02/19/2002<br />

2026 West Mountain Street 08/03/<strong>17</strong> $1,290,500 3 2080 1938 $1,135,000 06/02/2005<br />

1842 Ransom Road 08/30/<strong>17</strong> $1,290,000 3 3096 1956 $433,000 11/25/1998<br />

1009 Calle Sonrisa 08/<strong>17</strong>/<strong>17</strong> $1,290,000 4 2777 1990 $825,000 10/03/2011<br />

1121 La Zanja Drive 08/07/<strong>17</strong> $1,255,000 5 2546 1928 $895,000 04/26/2005<br />

2450 Hermosita Drive 08/23/<strong>17</strong> $1,238,000 2 19<strong>17</strong> 1950 $785,000 09/21/2012<br />

660 Caruso Avenue 08/09/<strong>17</strong> $1,230,000 2 1560 2008 $915,000 04/<strong>17</strong>/2015<br />

1122 North Everett Street 08/01/<strong>17</strong> $1,200,000 4 2437 1930 $272,000 09/15/1987<br />

1800 Niodrara Drive 08/<strong>17</strong>/<strong>17</strong> $1,194,000 4 2445 1947<br />

<strong>17</strong>42 Flower Street 08/25/<strong>17</strong> $1,<strong>17</strong>2,500 4 4058 1929<br />

767 Cavanagh Road 08/07/<strong>17</strong> $1,155,000 4 2441 1959 $750,000 07/08/2009<br />

611 East Glenoaks Blvd. 08/01/<strong>17</strong> $1,150,000 2 1649 1931 $390,000 02/29/2000<br />

1832 Bara Road 08/11/<strong>17</strong> $1,125,000 4 2376 1954 $184,000 03/28/1986<br />

1552 Irving Avenue 08/01/<strong>17</strong> $1,100,000 3 2214 1940 $950,000 09/08/2005<br />

1539 Western Avenue 08/25/<strong>17</strong> $1,100,000 4 1984 1941 $889,000 11/05/2014<br />

1510 Stone Lane 08/30/<strong>17</strong> $1,100,000 3 2313 1968<br />

3048 Paddington Road 08/30/<strong>17</strong> $1,100,000 4 2444 1974<br />

1432 Norton Avenue 08/22/<strong>17</strong> $1,075,000 3 1526 1927 $765,000 12/22/2008<br />

1405 Highland Avenue 08/21/<strong>17</strong> $1,060,000 3 1826 1931 $825,000 07/16/2014<br />

954 East Dryden Street 08/14/<strong>17</strong> $1,055,000 3 2034 1926 $715,000 05/06/2010<br />

3009 San Gabriel Avenue 08/08/<strong>17</strong> $1,038,000 2 2090 1975 $775,000 08/12/2015<br />

3004 Hollywell Place 08/08/<strong>17</strong> $1,021,000 4 2380 1965<br />

1215 Viscano Drive 08/09/<strong>17</strong> $1,000,000 4 2180 1927 $112,000 11/15/1985<br />

<strong>17</strong>16 Hillside Drive 08/07/<strong>17</strong> $1,000,000 4 2190 1935<br />

4841 Maryland Avenue 08/03/<strong>17</strong> $1,000,000 4 2871 1932 $415,000 06/16/1999<br />

LA CAÑADA<br />

756 Greenridge Drive 08/01/<strong>17</strong> $3,799,000 5 5591 1985 $3,600,000 01/06/2015<br />

4927 Hampton Road 08/01/<strong>17</strong> $2,750,000 3 4076 1995 $1,225,000 05/12/2000<br />

ALHAMBRA AUG. ’16 AUG. ’<strong>17</strong><br />

Homes Sold 52 39<br />

Median Price $548,000 $580,000<br />

Median Sq. Ft. 1442 1380<br />

ALTADENA AUG. ’16 AUG. ’<strong>17</strong><br />

Homes Sold 43 34<br />

Median Price $740,000 $8<strong>17</strong>,000<br />

Median Sq. Ft. 1680 1481<br />

ARCADIA AUG. ’16 AUG. ’<strong>17</strong><br />

Homes Sold 36 41<br />

Median Price $990,000 $1,110,000<br />

Median Sq. Ft. 1960 2125<br />

EAGLE ROCK AUG. ’16 AUG. ’<strong>17</strong><br />

Homes Sold 23 16<br />

Median Price $690,000 $875,000<br />

Median Sq. Ft. 1396 1580<br />

GLENDALE AUG. ’16 AUG. ’<strong>17</strong><br />

Homes Sold 118 139<br />

Median Price $685,000 $748,000<br />

Median Sq. Ft. 1504 1540<br />

LA CAÑADA AUG. ’16 AUG. ’<strong>17</strong><br />

Homes Sold 23 26<br />

Median Price $1,800,000 $1,650,000<br />

Median Sq. Ft. 2349 2443<br />

PASADENA AUG. ’16 AUG. ’<strong>17</strong><br />

Homes Sold 139 <strong>17</strong>1<br />

Median Price $704,000 $775,000<br />

Median Sq. Ft. 1489 1460<br />

SAN MARINO AUG. ’16 AUG. ’<strong>17</strong><br />

Homes Sold 15 5<br />

Median Price $2,162,000 $2,000,000<br />

Median Sq. Ft. 2521 2792<br />

SIERRA MADRE AUG. ’16 AUG. ’<strong>17</strong><br />

Homes Sold 13 10<br />

Median Price $1,290,000 $962,000<br />

Median Sq. Ft. 1885 1862<br />

SOUTH PASADENA AUG. ’16 AUG. ’<strong>17</strong><br />

Homes Sold 23 24<br />

Median Price $950,000 $1,387,500<br />

Median Sq. Ft. 1698 2052<br />

TOTAL AUG. ’16 AUG. ’<strong>17</strong><br />

Homes Sold 485 505<br />

Avg Price/Sq. Ft. $564 $565 –continued on page 18<br />

The Arroyo Home Sales Index is calculated from residential home sales in Pasadena and the surrounding communities of South Pasadena, San Marino, La Canada Flintridge, Eagle Rock, Glendale (including Montrose), Altadena, Sierra Madre,<br />

Arcadia and Alhambra. Individual home sales data provided by CalREsource. Arroyo Home Sales Index © Arroyo 20<strong>17</strong>. Complete home sales listings appear each week in Pasadena Weekly.<br />

10.<strong>17</strong> <strong>ARROYO</strong> | <strong>17</strong>


18 | <strong>ARROYO</strong> | 10.<strong>17</strong><br />

–continued from page <strong>17</strong><br />

ADDRESS CLOSE DATE PRICE BDRMS. SQ. FT. YR. BUILT PREV. PRICE PREV. SOLD<br />

LA CAÑADA<br />

4936 Palm Drive 08/29/<strong>17</strong> $2,610,000 5 3868 1924 $2,375,000 08/25/2015<br />

260 Starlight Crest Drive 08/10/<strong>17</strong> $2,575,000 4 4730 2003 $2,100,000 04/15/2015<br />

5428 La Forest Drive 08/25/<strong>17</strong> $2,410,000 5 3019 1948 $1,350,000 07/28/2015<br />

4408 Commonwealth Avenue 08/15/<strong>17</strong> $2,336,000 4 3802 1939 $1,895,000 08/06/2013<br />

4743 Hillard Avenue 08/09/<strong>17</strong> $2,160,000 5 4818 1990 $1,000,000 05/18/1990<br />

49<strong>17</strong> Viro Road 08/09/<strong>17</strong> $2,000,000 5 2507 1950 $445,000 12/19/2001<br />

1200 Homewood Lane 08/22/<strong>17</strong> $1,853,500 3 2852 1987 $130,000 05/09/1986<br />

5<strong>17</strong>7 Vista Miguel Drive 08/01/<strong>17</strong> $1,801,000 3 2518 1951 $1,295,000 07/20/2010<br />

4901 Castle Road 08/18/<strong>17</strong> $1,750,000 4 2660 1961 $540,000 04/13/1999<br />

5256 La Canada Blvd. 08/10/<strong>17</strong> $1,660,000 3 2041 1954 $1,164,000 09/18/2014<br />

5830 Angeles Crest Highway 08/15/<strong>17</strong> $1,650,000 5 6381 1988 $1,500,000 06/15/2011<br />

1232 El Vago Street 08/31/<strong>17</strong> $1,650,000 2 2045 1950<br />

4816 Castle Road 08/07/<strong>17</strong> $1,635,000 4 2280 2007 $1,425,000 02/12/2016<br />

48<strong>17</strong> Carmel Road 08/10/<strong>17</strong> $1,630,000 3 2137 1950 $1,100,000 02/26/2004<br />

4164 Forest Hill Drive 08/14/<strong>17</strong> $1,577,500 3 2581 1958 $765,000 03/29/2001<br />

325 Knight Way 08/15/<strong>17</strong> $1,500,000 3 2379 1952 $1,068,000 09/14/2012<br />

4735 Orange Knoll Avenue 08/22/<strong>17</strong> $1,430,000 2 1567 1940 $1,145,000 11/09/2016<br />

325 Nancy Way 08/29/<strong>17</strong> $1,195,000 2 1595 1952<br />

2111 Tondolea Lane 08/25/<strong>17</strong> $1,142,500 3 2260 1956 $865,000 12/18/2014<br />

1427 Verdugo Blvd. 08/11/<strong>17</strong> $1,020,000 3 1571 1933 $944,000 03/30/2016<br />

5304 Godbey Drive 08/10/<strong>17</strong> $1,005,000 2 <strong>17</strong>84 1973 $970,000 08/18/2006<br />

PASADENA<br />

989 Mesa Verde Road 08/10/<strong>17</strong> $3,780,000 4 3634 1949 $3,388,000 06/08/2015<br />

569 Woodland Road 08/08/<strong>17</strong> $3,380,000 4 4452 1977 $2,500,000 03/10/2006<br />

100 South Orange Grove Blvd. #301 08/15/<strong>17</strong> $2,950,000 3 2989<br />

645 South San Rafael Avenue 08/22/<strong>17</strong> $2,920,000 5 3661 1950 $2,120,000 11/30/2010<br />

1336 Inverness Drive 08/28/<strong>17</strong> $2,350,000 3 2810 1945 $2,045,000 05/19/20<strong>17</strong><br />

345 East Colorado Blvd. #502 08/22/<strong>17</strong> $2,300,000 3 3540 2007<br />

1230 South El Molino Avenue 08/24/<strong>17</strong> $2,260,000 4 3077 1921 $800,000 01/06/1999<br />

1330 Lida Lane 08/30/<strong>17</strong> $2,150,000 4 3798 1979 $755,000 12/10/1999<br />

3465 Barhite Street 08/25/<strong>17</strong> $2,100,000 3 906 1938 $135,000 10/24/1986<br />

735 South El Molino Avenue 08/08/<strong>17</strong> $1,900,000 5 2972 1916<br />

3310 Yorkshire Road 08/31/<strong>17</strong> $1,888,000 5 3811 1932 $1,250,000 04/16/2013<br />

1457 Casa Grande Street 08/28/<strong>17</strong> $1,725,500 4 2768 1911<br />

456 South Orange Grove Blvd. 08/31/<strong>17</strong> $1,712,500 3 2700 1961 $1,250,000 03/20/2007<br />

390 South Allen Avenue 08/31/<strong>17</strong> $1,680,000 3 2544 1928 $1,315,000 08/01/2014<br />

1195 Charles Street 08/11/<strong>17</strong> $1,550,000 3 2139 1949<br />

2120 Kinclair Drive 08/14/<strong>17</strong> $1,540,000 4 3015 1966 $660,000 10/01/1998<br />

1575 Hastings Ranch Drive 08/01/<strong>17</strong> $1,500,500 3 2793 1958 $460,000 03/18/2010<br />

1155 North Hill Avenue 08/22/<strong>17</strong> $1,435,000 5 3266 1923 $1,320,000 11/02/2015<br />

3915 Skycrest Drive 08/03/<strong>17</strong> $1,425,000 3 2623 1971<br />

1279 North Garfi eld Avenue 08/29/<strong>17</strong> $1,397,000 11 5780 1890<br />

418 North Hill Avenue 08/11/<strong>17</strong> $1,360,000 4 4636 1924 $320,000 12/04/2001<br />

2756 Morningside Street 08/16/<strong>17</strong> $1,360,000 3 2164 1941 $585,000 11/12/2014<br />

3740 Greenhill Road 08/31/<strong>17</strong> $1,360,000 3 2135 1951 $320,000 04/19/1994<br />

42 Annandale Road 08/15/<strong>17</strong> $1,328,000 3 1909 1925 $880,000 08/05/2011<br />

2300 Casa Grande Street 08/01/<strong>17</strong> $1,325,000 3 <strong>17</strong>44 1947 $935,000 02/05/2016<br />

1235 North Garfi eld Avenue 08/18/<strong>17</strong> $1,270,000 7 3510 1934<br />

900 South Orange Grove Blvd. #A 08/21/<strong>17</strong> $1,260,000 2 2485 1964 $770,000 07/15/2010<br />

633 South Lake Avenue #4 08/30/<strong>17</strong> $1,258,000 2 1810 2010 $1,225,000 07/09/2014<br />

3426 Yorkshire Road 08/11/<strong>17</strong> $1,255,000 3 2055 1935 $749,000 12/08/2011<br />

188 South Sierra Madre Blvd. #2 08/21/<strong>17</strong> $1,254,000 0 0<br />

509 Woodward Blvd. 08/07/<strong>17</strong> $1,250,000 3 2333 1956 $460,000 09/09/1998<br />

480 Westgate Street 08/25/<strong>17</strong> $1,200,000 2 864 1928 $375,000 08/26/2015<br />

3423 Barhite Street 08/24/<strong>17</strong> $1,200,000 4 2358 1919 $529,000 07/12/1991<br />

885 South Orange Grove Blvd. #6 08/18/<strong>17</strong> $1,189,000 3 2544 1973 $935,000 02/10/2016<br />

2121 Lambert Drive 08/10/<strong>17</strong> $1,189,000 3 2746 1926 $830,000 01/05/2011<br />

448 South Oakland Avenue #11 08/23/<strong>17</strong> $1,180,000 4 2480 2004 $1,030,000 01/18/2013<br />

482 South Arroyo Parkway #504 08/09/<strong>17</strong> $1,180,000 0 0<br />

3228 George Circle 08/11/<strong>17</strong> $1,<strong>17</strong>8,000 3 <strong>17</strong>19 1931 $822,000 05/22/2008<br />

466 East Del Mar Blvd. 08/09/<strong>17</strong> $1,166,500 4 3262 1905 $676,000 09/24/2009<br />

442 South Roosevelt Avenue 08/16/<strong>17</strong> $1,160,000 3 1963 1924 $700,000 12/21/2011<br />

2751 Madera Drive 08/08/<strong>17</strong> $1,137,500 4 2628 2010 $868,000 09/02/2010<br />

251 South Orange Grove Blvd. #4 08/01/<strong>17</strong> $1,125,000 2 1932 1980 $975,000 08/10/2006<br />

1388 East Orange Grove Blvd. 08/23/<strong>17</strong> $1,100,000 0 2287 1948 $289,000 03/29/2000<br />

384 Fillmore Street 08/14/<strong>17</strong> $1,070,000 2 1530 1923 $965,000 08/12/2005<br />

3390 Fairpoint Street 08/18/<strong>17</strong> $1,063,000 2 2168 1953 $700,000 08/22/2003<br />

<strong>17</strong>90 East Orange Grove Blvd. 08/11/<strong>17</strong> $1,055,000 4 2876 1927 $740,000 09/24/2009<br />

362 South Orange Grove Blvd. 08/<strong>17</strong>/<strong>17</strong> $1,050,000 2 2288 1974 $1,038,000 06/01/20<strong>17</strong><br />

620 South Euclid Avenue 08/28/<strong>17</strong> $1,035,000 3 1530 1890<br />

1395 Riviera Drive 08/08/<strong>17</strong> $1,028,000 3 2202 1955 $1,000,000 09/09/2014<br />

<strong>17</strong>67 Casa Grande Street 08/08/<strong>17</strong> $1,025,000 2 1888 1925 $133,000 06/04/1984<br />

2151 East Mountain Street 08/23/<strong>17</strong> $1,025,000 3 1637 1939<br />

19 Oak Knoll Gardens Drive 08/11/<strong>17</strong> $1,025,000 2 1082 1921 $770,000 05/01/20<strong>17</strong><br />

594 East Elizabeth Street 08/22/<strong>17</strong> $1,020,000 6 3004 1903 $625,000 01/07/2014<br />

1293 North Chester Avenue 08/16/<strong>17</strong> $1,018,000 2 1458 1923 $404,000 08/26/1999<br />

288 South Oakland Avenue #212 08/16/<strong>17</strong> $1,010,000 2 1480 2016<br />

234 Glenullen Drive 08/04/<strong>17</strong> $1,000,000 2 1833 1949<br />

2134 Oakdale Street 08/23/<strong>17</strong> $1,000,000 3 1683 1925<br />

SAN MARINO<br />

830 Chester Avenue 08/24/<strong>17</strong> $5,500,000 9 6294 1938<br />

560 South Greenwood Avenue 08/31/<strong>17</strong> $2,150,000 3 2870 1926 $87,000 06/03/1980<br />

2815 Shakespeare Drive 08/11/<strong>17</strong> $2,000,000 3 2524 1946<br />

2275 Brentford Road 08/04/<strong>17</strong> $1,788,000 3 1990 1940 $460,000 10/31/1996<br />

2705 Monterey Road 08/22/<strong>17</strong> $1,600,000 4 2792 1934 $133,000 08/18/1977<br />

SIERRA MADRE<br />

2221 Sunrise Hill Street 08/03/<strong>17</strong> $2,425,000 3 4425 1978<br />

1919 Stonehouse Road 08/16/<strong>17</strong> $1,100,000 4 2294 1968 $230,000 02/15/1984<br />

461 West Grandview Avenue 08/11/<strong>17</strong> $1,080,000 4 1956 1941 $729,000 12/14/2011<br />

269 East Grandview Avenue 08/25/<strong>17</strong> $1,005,000 2 <strong>17</strong>55 1925 $295,000 11/05/1997<br />

61 Olive Avenue 08/<strong>17</strong>/<strong>17</strong> $1,000,000 3 1584 1956 $815,000 03/11/2005<br />

SOUTH PASADENA<br />

<strong>17</strong>19 Marengo Avenue 08/16/<strong>17</strong> $2,520,000 4 3519 1927 $275,000 02/20/1987<br />

716 Flores De Oro 08/31/<strong>17</strong> $2,188,000 4 3009 1965 $1,800,000 08/14/2013<br />

1844 Monterey Road 08/03/<strong>17</strong> $1,995,000 4 2034 1913 $1,065,000 09/29/2016<br />

330 Alta Vista Avenue 08/16/<strong>17</strong> $1,807,500 4 2873 1925 $806,000 08/02/2002<br />

625 Camino Verde 08/31/<strong>17</strong> $1,758,000 3 2751 1967 $310,000 01/28/1986<br />

601 El Centro Street 08/04/<strong>17</strong> $1,700,000 5 3000 1895 $485,000 08/14/2002<br />

1<strong>17</strong> Peterson Avenue 08/23/<strong>17</strong> $1,530,000 3 3011 1934 $1,068,000 04/22/2011<br />

<strong>17</strong>32 Monterey Road 08/14/<strong>17</strong> $1,510,000 4 2726 1936<br />

515 Grand Avenue 08/23/<strong>17</strong> $1,492,500 4 1829 1927 $1,248,000 06/<strong>17</strong>/2009<br />

1033 Avon Place 08/15/<strong>17</strong> $1,480,000 3 2111 1911<br />

718 La Portada Street 08/25/<strong>17</strong> $1,460,500 4 2848 1968<br />

4935 Harriman Avenue 08/01/<strong>17</strong> $1,400,000 4 3020 1979 $387,000 01/14/1998<br />

<strong>17</strong>20 Wayne Avenue 08/<strong>17</strong>/<strong>17</strong> $1,375,000 3 <strong>17</strong>40 1923<br />

1243 Brunswick Avenue 08/31/<strong>17</strong> $1,242,000 5 3591 1906 $579,000 08/26/1999<br />

1208 Orange Grove Avenue 08/11/<strong>17</strong> $1,220,000 2 1323 1948<br />

705 Charter Oak Street 08/25/<strong>17</strong> $1,200,000 4 2009 1927<br />

1233 El Cerrito Circle 08/01/<strong>17</strong> $1,185,000 3 2070 1956 $188,000 10/25/1985


<strong>ARROYO</strong><br />

HOME & DESIGN<br />

SPECIAL ADVERTISING SUPPLEMENT<br />

SERENITY IS THE BEDROOM<br />

WATCHWORD<br />

Create a private oasis by limiting noise and designing for comfort<br />

BY BRUCE HARING<br />

THE BEDROOM IS ONE OF THE HOME’S SANCTUARIES. IT’S A PLACE<br />

WHERE YOU CAN REST, SLEEP, AND RETREAT FROM THE REST OF THE<br />

WORLD TO A PRIVATE INNER PLACE. BRIAN WILSON OF THE BEACH<br />

BOYS SAID IT BEST WHEN HE NOTED IN HIS CLASSIC, “IN MY ROOM:<br />

“THERE’S A PLACE WHERE I CAN GO AND TELL MY SECRETS TO.”<br />

But not every bedroom offers the luxury of peace and quiet. If they<br />

are part of a household, they are subject to intrusions by others who<br />

live there, noise from inside and outside the house, excessive light, heat<br />

and cold, and a general ambiance that’s usually found in places that<br />

rent by the hour.<br />

There are, however, modifi cations that you can make so that any<br />

bedroom becomes the Sanctum Sanctorum of your dreams. Some<br />

are simple, some not-so-simple, and some you may fi nd ludicrous for<br />

your particular lifestyle and taste. However, even the most outlandish<br />

suggestions carry a kernel of wisdom, in that changing a room creates<br />

a whole new vibe, opening up possibilities, and introducing a renewed<br />

way of looking at your world.<br />

It’s wise to remember that success in life starts with changing<br />

simple things. On May <strong>17</strong>, 2014, Admiral William H. McRaven addressed<br />

the graduating class of the University of Texas at Austin on their<br />

Commencement day.<br />

He shared the ten principles he learned during Navy Seal training<br />

that helped him overcome challenges not only in his training and<br />

long Naval career, but also throughout his life; and he explained how<br />

anyone can use these basic lessons to change themselves-and the<br />

world-for the better.<br />

His biggest suggestion – and the title of his best-selling book – was<br />

“Make Your Bed.” Why? Because by doing that simple task each<br />

morning, you start your day having accomplished something. And from<br />

that, you can build up to bigger tasks.<br />

Here are some things you can try to modify the bedroom, beyond<br />

tidying your beddings:<br />

Lighting<br />

Illuminating your room is best done in layers. There are three types of<br />

lighting to consider – ambient light (sometimes called general light),<br />

which is akin to natural sunlight and covers the entire room; accent<br />

–continued on page 21<br />

10.<strong>17</strong> | <strong>ARROYO</strong> | 19


20 | <strong>ARROYO</strong> | 10.<strong>17</strong>


—ADVERTISING SUPPLEMENT—<br />

–continued from page 19<br />

lighting, used to punch up certain areas; and task lighting, used<br />

for reading, sewing and other tasks that require a concentration of<br />

light. Most bedrooms have a combination of all three types, but all<br />

really have the same goal: creating a peaceful oasis. When you’re<br />

considering changing your lighting, consider the room’s size, your<br />

ceiling heights, and what kind of fi xtures are suitable for your existing<br />

décor. Keep in mind that you will probably have a mix of wattage,<br />

creating bright spots and more diffuse offerings that can be adjusted<br />

for moods and activities. Not everything has to be overhead or in<br />

the walls – table lamps are effective illuminators and add style to a<br />

room, while accent lighting on your artwork also enhances the room’s<br />

beauty.<br />

Temperature:<br />

Ask any sleep expert (go on, we’ll wait) and they’ll tell you that a<br />

cooler room - about 65 degrees - is best for sound, restful sleep. That’s<br />

because body temperatures rise and fall during the day, with its lowest<br />

level around 5 a.m. and climbing from there. Too hot in the bedroom,<br />

and the natural dip may be affected, making you restless and often<br />

interfering with sleep. So adjust the thermostat, install air conditioning,<br />

or fi nd a fl oor fan or two that may help with air circulation.<br />

Furniture:<br />

Today’s bedroom is becoming more than a place to sleep. Many<br />

modern bedrooms are places where retreat is possible, and that<br />

can mean settling into a comfortable chair for reading or relaxing in<br />

other ways. Some bedrooms even try to duplicate hotels, with small<br />

refrigerators. Again, think comfort, advise stylists. This is your relaxation<br />

space, so make it as cozy as possible. As for bedding, headboards can<br />

add a statement to the room and accent designs of other furniture.<br />

Having one custom-made for you can often be cheaper than buying<br />

one at a store. And these one-of-a-kind types really can change the<br />

room’s feel and look. Now making a comeback: the four-poster bed,<br />

which, in modern times, does not feature a canopy, or dust-collector,<br />

as harried housewives of the past called them. Sleek canopy beds<br />

work well even in contemporary bedrooms. And if you’re the groovy<br />

sort, mid-century modern style from the 1950s through the 1970s,<br />

popular in living rooms in the past few years, have now headed into<br />

the bedroom. Orange, red and other louder accents are the trend if<br />

you go for that look.<br />

Sound:<br />

If you’re bothered by noise from the outside, thick draperies are one<br />

solution. Insulated and thermal, they can also help regulate the<br />

temperatures. You can also hang tapestries or cover the walls with<br />

fabric. If you’re a homeowner, you can add an additional layer of<br />

drywall with dampening glue in between. And if the noise is coming<br />

from the downstairs neighbor, consider soundproofi ng mats and/or<br />

thicker carpeting. When all else fails, consider a white noise machine.<br />

The sounds of crashing waves or rainfall are much preferred to the<br />

rants of the neighbors or the screeching of their television.<br />

Color and Your Wall:<br />

Light purples, creams and soft greens are very popular, according to<br />

designers. And gold is coming back as an accent color. If you’re a<br />

person who loves patterns, colored wallpaper can create a dramatic<br />

–continued on page 23<br />

10.<strong>17</strong> | <strong>ARROYO</strong> | 21


22 | <strong>ARROYO</strong> | 10.<strong>17</strong>


—ADVERTISING SUPPLEMENT—<br />

–continued from page 21<br />

new look, whether as a stand-alone piece or to accent other walls.<br />

One trend that’s emerging: paneling. No, not the kind of dark wood<br />

that your parents lined the basement with several decades ago.<br />

Today’s paneling can feature distressed wood or lighter textures that<br />

can be used to accent certain corners.<br />

Accessories:<br />

Throw pillows always help brighten a room and create a cozy space,<br />

but consider fresh fl owers wherever possible. Their color and fragrance<br />

can enhance any space, creating a mood-changer anytime you<br />

venture in. Your selection doesn’t have to be the most expensive<br />

fl owers. Even grocery stores now have selections to fi t any budgets.<br />

When considering your bedding, soft fabrics in silk, cotton and natural<br />

fi bers are popular. If you want some metal in your bedroom – and<br />

who doesn’t? – then think cool tones, which are making a comeback.<br />

Silver, chrome and pewter were the stars of the last few years, but gold<br />

and copper are now the rage. Use them like salt – a little for accent,<br />

but don’t spoil the soup with too much.<br />

The Ceiling :<br />

It’s easy to overlook the top of the room. Designers now say making<br />

a statement with a light fi xture can really make a difference in room<br />

décor. Whether that’s a chandelier, unique sculpture, or something<br />

whimsical is a matter of personal taste. But designers indicate that it<br />

should be large enough to instantly attract the eye when you enter<br />

the room. ||||<br />

10.<strong>17</strong> | <strong>ARROYO</strong> | 23


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10.<strong>17</strong> | <strong>ARROYO</strong> | 25


26 | <strong>ARROYO</strong> | 10.<strong>17</strong>


Chimborazo, 1864, Frederic Edwin Church<br />

IMAGES: Courtesy of The Huntington Library, Art Collections, and Botanical Gardens<br />

A new Huntington exhibition spotlights rare artworks depicting Latin American nature,<br />

from the time of Columbus to Darwin’s era.<br />

BY SCARLET CHENG<br />

IN 1492 CHRISTOPHER COLUMBUS SAILED WEST IN SEARCH OF A NEW ROUTE TO INDIA AND ITS<br />

SPICES. DURING HIS FIVE-MONTH EXPLORATION OF THE AMERICAS, HE PAID CLOSE ATTENTION TO<br />

TO THE FLORA AND FAUNA. WHEN HE RETURNED HE WROTE A LONG LETTER TO HIS PATRONS, QUEEN<br />

ISABELLA AND KING FERDINAND OF SPAIN, AND WORD OF HIS REMARKABLE VOYAGE QUICKLY<br />

SPREAD. THAT WAS AIDED BY AN INVENTION LAUNCHED JUST A FEW DECADES BEFORE HIS VOYAGE<br />

— THE PRINTING PRESS WITH MOVABLE METAL TYPE DEVELOPED IN THE MID-1450s BY JOHANNES<br />

GUTENBERG. COLUMBUS WROTE OF “MANY SIERRAS AND VERY LOFTY MOUNTAINS...ALL ARE MOST<br />

BEAUTIFUL, OF A THOUSAND SHAPES,” AND “TREES OF A THOUSAND KINDS AND TALL, SO THAT THEY<br />

SEEM TO TOUCH THE SKY.” THERE WERE COLORFUL BIRDS, AND PLANTS THAT WERE A “WONDER TO<br />

BEHOLD.”<br />

–continued on page 28<br />

10.<strong>17</strong> | <strong>ARROYO</strong> | 27


–continued from page 27<br />

Pacific Standard Time: LA/LA initiative focusing in Latin American and Latino art,<br />

deliberately offers some indigenous views. For example, in the late 1500s the Spanish<br />

Council of the Indies ordered administrators to draw maps of their townships and<br />

resources, and many were done by indigenous artists.<br />

The two in the exhibition are delightful maps that present surrounding features<br />

such as mountains and rivers in multiple perspectives. “It is not the trained, vanishing-point<br />

perspective of European depiction,” says Hess, leading a preview tour of<br />

the exhibition. “It is a more creative way of depicting one’s surroundings.” A couple of<br />

centuries later, the Royal Botanical Expedition to the New Kingdom of Granada (in<br />

what is now Colombia and Venezuela) of <strong>17</strong>83–1816 recruited some 60 local artists,<br />

many of whom must have been of mixed heritage. Hess has chosen 20 of these beautiful<br />

illustrations, borrowed from the Archivo del Real Jardin Botanico in Madrid, and<br />

they are gems of elegantly arranged leaves, tendrils and flowers on paper.<br />

“PST: LA/LA gave us the opportunity to look at our three collecting areas — research<br />

library, art and botanical — and see what topic might be relevant to the initiative,”<br />

says Hess, the Huntington’s chief curator of European Art and interim director<br />

of the Art Collections. “Partnering with Daniela allowed us to celebrate, and put to<br />

use, the amazingly rare and rich Latin American material on nature and natural his-<br />

Nopal plant detail from Reports on the History, Organization and Status of Various Catholic<br />

Dioceses of New Spain and Peru, 1620–49<br />

Fruits, pineapple and melon, etc., 1640–50, Albert Eckhout<br />

Many explorers and soldiers of fortune followed Columbus, and they brought along<br />

draftsmen and cartographers. In the new exhibition Visual Voyages: Images of Latin<br />

American Nature from Columbus to Darwin (through Jan. 8, 2018) at The Huntington Library,<br />

Art Collections and Botanical Gardens, co-curators Catherine Hess and Daniela<br />

Bleichmar outline the early European views of the New World, using a deft combination<br />

of maps and artifacts, art and illustrations, manuscripts and books, three-quarters<br />

borrowed from other institutions. Some of the period accounts were by actual visitors,<br />

but many were by fabulists who freely adapted known accounts and drew imagined scenarios,<br />

both plugging into and creating myths and stereotypes about indigenous culture.<br />

Of course the arrival of the Europeans in the Americas is now a morally contentious<br />

subject. Europeans claimed the land and resources for their own, subjugated the local<br />

population pp and introduced devastating diseases. Visual Voyages, ,part of this year’s Getty’s<br />

Detail from Historia General de las Cosas de la Nueva España, (General History of the<br />

Things of New Spain), also known as the Florentine Codex, ca. 1577<br />

28 | <strong>ARROYO</strong> | 10.<strong>17</strong>


tory that’s in the library’s collections and doesn’t often<br />

come to public light.” Bleichmar is an associate professor<br />

of Art History and History at USC, specializing in<br />

the history of science with a particular interest in how<br />

intercultural contacts have transformed what we know.<br />

Deeply familiar with the Huntington collections since<br />

she came to Los Angeles 13 years ago, she proposed<br />

the exhibition idea to the Huntington when the PST:<br />

LA/LA initiative was announced.<br />

The lobby of the MaryLou and George Boone<br />

Gallery en route to the main exhibition displays several<br />

taxidermied animals from the new World, borrowed<br />

from the Natural History Museum of Los Angeles<br />

and other sources. They include a colorful macaw, a<br />

brown sloth hanging upside down and a beautiful<br />

black-and-white anteater with a long, elegant snout<br />

— examples of wildlife European visitors would have<br />

found so astounding. So bizarre and astonishing as to<br />

inspire His Majesty’s Giant Anteater, a large painting<br />

from <strong>17</strong>76 now hanging in the middle of the exhibition.<br />

The anteater had been shipped from Argentina<br />

to King Charles III of Spain, who was so proud of his<br />

unusual pet he had his court painter do her portrait.<br />

Agricultural map in Atlas pintoresco é historico de los Estados Unidos Mexicanos, (Picturesque and historical atlas of the<br />

The perspective is at the animal’s eye level, and her<br />

United States of Mexico), Antonio Garcia Cubas, 1885<br />

long, skinny tongue protrudes. One can almost hear the<br />

oohs ohs and aahs<br />

of visitors i<br />

to the<br />

Spanish court as they admired this oddity of nature.<br />

Perhaps the exhibition’s most striking object is on view in the center of the first gallery<br />

— a long red cape composed of thousands of feathers, dating from the <strong>17</strong>th century<br />

and displayed in its own showcase. The cape is not only gorgeous, it is rare — only one<br />

of 12 existing feather capes made by the Tupinambá people of Brazil. “They are really<br />

important prestige objects,” Bleichmar says in a phone interview. “Very important men<br />

wore them in ceremony. It’s an object that helps us to begin to understand a different<br />

world view, one in which humans and the natural world are not separate, but completely<br />

fluid. The person who put this on was becoming a bird, transforming from human to<br />

Le Chimborazo, vu depuis le plateau de Tapia (Chimborazo Seen from the Tapia<br />

Plateau) in Alexander von Humboldt‘s Vues des cordillères, et monuments des peuples<br />

indigènes de l’Amérique, (View of the cordilleras and monuments of the indigenous<br />

peoples of the Americas), 1810–13<br />

Loranthus, Royal Botanical Expedition to the New Kingdom of Granada led<br />

by José Celestino Mutis, <strong>17</strong>83–1816, José María Carbonell<br />

–continued on page 31<br />

10.<strong>17</strong><br />

<strong>17</strong> | <strong>ARROYO</strong> | 29


30 | <strong>ARROYO</strong> | 10.<strong>17</strong>


–continued from page 29<br />

Intermediate Stages of Blooming from Victoria regia; or The Great Water Lily of<br />

America,1854, John Fisk Allen<br />

animal-like.”<br />

A nearby vitrine showcases two illustrations about the cultural contact Bleichmar<br />

studies. They are two versions of the same image, circa 1600, one an original ink<br />

drawing borrowed from New York’s Metropolitan Museum of Art, the other an engraving<br />

in the Huntington’s own collection. The Discovery of America: Vespucci Landing<br />

in America depicts the imagined meeting between Amerigo Vespucci, the “discoverer”<br />

of America, and a female figure representing America. Standing on shore, Vespucci<br />

is fully clothed, wearing a suit of armor beneath his tunic and holding a staff topped<br />

with a cross in one hand and an astrolabe in the other — symbolizing Christianity<br />

and civilization, respectively. Meanwhile, “America” is nude, about to step down<br />

from a hammock where she has been resting. The nudity indicates her “savage” state.<br />

In the background, members of her tribe are roasting a human leg, since cannibalism<br />

was thought part of the uncivilized culture she represents. The image seems almost<br />

Yapanga from Quito, Quito (Ecuador), <strong>17</strong>83, Vicente Albán<br />

–continued on page 33<br />

10.<strong>17</strong> | <strong>ARROYO</strong> | 31


32 | <strong>ARROYO</strong> | 10.<strong>17</strong>


–continued from page 31<br />

Relación Geográfi ca Map of Guaxtepec, 1580, unknown artist<br />

comical, except that this played into prejudices of the time and encouraged Europeans<br />

to look at indigenous peoples as less than human.<br />

What a contrast this image is to the two large paintings at the end of the show,<br />

which exalt the grandeur of the Latin American landscape and suggest the civilization<br />

there. One is by the famous American Hudson River School painter Frederic Edwin<br />

Church, who traveled to South America twice, in search of vistas. His 1864 painting,<br />

Chimborazo, shows a highly picturesque view of a jungle and mountains beyond. In<br />

the foreground is a cute hut on a river with a couple on the dock and their child nearby.<br />

Through an opening in the trees, we see a town beyond. Mount Chimborazo, a volcano,<br />

hovers like a ghost even farther in the distance.<br />

On the other hand, Jose Velasco’s Valle de Mexico (1877) has details only a native<br />

could offer. Standing on a hill, one looks down a valley with Lake Texcoco on the left<br />

and two landmark volcanoes beyond. A long aqueduct leads down the center of the<br />

painting to a small town at the base of a small mountain, and from there two roads lead<br />

to Mexico City. One can barely make<br />

out spires and rotundas of a burgeoning<br />

metropolis. In the foreground is a prickly<br />

pear and an eagle in flight: two symbols<br />

of Mexican nationalism, which was no accident.<br />

The artist wrote after his signature<br />

on the painting, “mexicano.” ||||<br />

Alstroemeria multiflora, Royal Botanical<br />

Expedition to the New Kingdom of Granada<br />

led by José Celestino Mutis.<strong>17</strong>83–1816,<br />

José Maria Carbonell<br />

Visual Voyages: Images of Latin<br />

American Nature from Columbus to<br />

Darwin runs through Jan. 8, 2018 at<br />

The Huntington Library, Art Collections<br />

and Botanical Gardens, 1151<br />

Oxford Rd., San Marino. Hours are 10<br />

a.m. to 5 p.m., Wednesday through<br />

Monday (closed Tuesday). Adult<br />

admission costs $25 on weekdays<br />

($29 on weekends and holidays),<br />

$21 ($24) for students 12 to18 and<br />

seniors 65+ and $13 ($13) for kids 4<br />

to 11; children under 4 and members<br />

are admitted free..<br />

10.<strong>17</strong> | <strong>ARROYO</strong> | 33


34 | <strong>ARROYO</strong> | 10.<strong>17</strong>


Activists voice support for alleged airline hijacker Ricardo<br />

Chavez Ortiz, ca. 1972, La Raza staff<br />

STILLS<br />

PHOTO: Courtesy of the photographers and the UCLA Chicano Studies Center<br />

OF A<br />

MOVEMENT<br />

Spirited and tragic newspaper<br />

images of the Chicano rights<br />

movement in L.A. are on view in La<br />

Raza at the Autry Museum.<br />

BY SCARLET CHENG<br />

10.<strong>17</strong> | <strong>ARROYO</strong> | 35


Young families join La Marcha de la Reconquista along a rural highway<br />

through Southern California, 1971, Daniel Zapata<br />

A young Chicanita hawks La Raza newspapers at the Poor People’s<br />

Campaign, Washington, D.C., 1968, Maria Varela<br />

–continued from page 35<br />

EVERY IMPORTANT POLITICAL MOVEMENT<br />

HAS ITS SIGNATURE PUBLICATION, AND THE<br />

CHICANO RIGHTS MOVEMENT HAD LA<br />

RAZA. THE BILINGUAL PUBLICATION BEGAN<br />

AS A NEWSPAPER IN 1967 AND MORPHED<br />

INTO A MAGAZINE BY THE TIME IT FOLDED<br />

IN 1977. STARTED IN THE BASEMENT OF AN<br />

EPISCOPALIAN CHURCH IN LINCOLN HEIGHTS<br />

BY LABOR ACTIVISTS ELIEZER RISCO AND RUTH<br />

ROBINSON, LA RAZA WOULD BECOME AN<br />

INFLUENTIAL VOICE AND ADVOCATE FOR THE<br />

MOVEMENT, OR EL MOVIMIENTO.<br />

La Raza published satire, poetry, art and political commentary, but key to its impact<br />

were the photographs –- shot by a team of volunteer photographers who dutifully<br />

went out to record what was happening in El Movimiento and the lives of Chicanos.<br />

In recent years, those photographs — some 25,000 of them in prints, negatives and<br />

contact sheets — were gifted to the Chicano Studies Research Center at UCLA.<br />

With the announcement of Pacific Standard Time LA/LA, the Getty-sponsored<br />

initiative exploring art and culture in and between Los Angeles and Latin America,<br />

the time was ripe to make them public. The Center decided to partner with the Autry<br />

Museum of the American West in Griffith Park to present the exhibition La Raza<br />

(through Feb. 10, 2019), a selection of some 200 of those photographs.<br />

As visitors enter the gallery, they will see a changing series of photographs<br />

projected onto the wall, giving a quick snapshot of exhibition. On the left will be a<br />

series of portraits — the two founders of La Raza on the upper left and then a dozen<br />

of the photographers with their cameras. One of them is Luis C. Garza, the show’s<br />

co-curator along with the Autry’s chief curator Amy Scott, and he recently previewed<br />

the exhibition during installation. Garza worked with La Raza from 1968 to 1972.<br />

“There were 48 or 49 issues over a 10-year period,” he says, pointing at the adjoining<br />

wall where actual issues of the publication would be displayed. “It was hard to find a<br />

complete set,” adds Scott, who has also joined us.<br />

The term “la raza” literally means “race,” but is usually interpreted as “the people.”<br />

How did Garza come to join the publication? “It was karma, it was fate, it was God<br />

guiding my search for employment as a young man,” says Garza, a tall and courtly<br />

man who was a student at UCLA when he started working at La Raza. “I was introduced<br />

to Joe Razo and Raul Ruiz, who were becoming the co-editors of La Raza. I<br />

had a camera, a Pentax, with a 135mm lens and a 50mm lens. Because I was a camera-<br />

Photo: Courtesy of Daniel Zapata and the UCLA Chicano Studies Research Center; Maria Varela Photography<br />

36 | <strong>ARROYO</strong> | 10.<strong>17</strong>


Homeboys, Aliso Village/Pico Gardens housing projects, Boyle<br />

Heights, East L.A., 1972, Luis C. Garza<br />

PHOTO: Courtesy of Luis C. Garza<br />

man, I became involved with La Raza, which forever changed the course of my life.”<br />

They covered demonstrations, marches and speeches, they captured scenes of<br />

police surveillance and brutality, they portrayed communities and individuals. They<br />

were not only recording what was happening, they were part of the movement.<br />

The photographs in the exhibition have been divided thematically into five sections<br />

and include a couple dozen by Garza. His 1972 photograph in the “Portraits of<br />

a Community” section, Homeboys, is a casual closeup of two pals hanging out at the<br />

local playground of a Boyle Heights housing project. One wears a tall and dapper<br />

fedora, while his buddy sports a flower-patterned shirt. Both look calmly into the<br />

camera, certainly at ease since they knew the man on the other end of the lens was<br />

one of their own. In a photo in “The Body” section, Garza has captured an actor in a<br />

calavera (or skull) costume, dancing with a tambourine during a performance by the<br />

Teatro Campesino on a college campus.<br />

“This is one of my favorite sections,” says Scott, as we move to the “Portraits”<br />

section. “They’re beautiful portraits in and of themselves, but they also speak to the<br />

complex and nuanced nature of the Chicano community, one that defies stereotypes.<br />

It speaks to the way multiple generations, from elders all the way to the smallest,<br />

were really participants and had experiences of bias and discrimination firsthand.”<br />

There is an enlargement of a boy happily carrying a “Viva La Revolución” sign as he<br />

walks in a march, and another of a young girl in pigtails with a bundle of La Raza<br />

papers clutched in her arms — the headline, “La Raza Raided.”<br />

The exhibition shows how El Movimiento was part of a larger national movement<br />

for civil rights, with images of Chicanos demonstrating for farmworkers’ rights<br />

and against the Vietnam War, and in solidarity with Native Americans and African<br />

Americans. Something earth-shattering occurred at one of those demonstrations in<br />

1970, leading to the death of noted Chicano journalist Ruben Salazar of KMEX-TV<br />

and the LA Times. One corner is devoted to the tragedy:<br />

It was the day of the National Chicano Moratorium March, a protest against the<br />

Vietnam War, which seemed to draft a disproportionate number of Chicano recruits.<br />

–continued on page 39<br />

10.<strong>17</strong> | <strong>ARROYO</strong> | 37


38 | <strong>ARROYO</strong> | 10.<strong>17</strong>


Joe Razo (right) and Fred Lopez outside the La<br />

Raza City Terrace offi ce, 1970, La Raza staff<br />

Founding co-editor of La Raza Ruth Robinson<br />

(right) with Margarita Sanchez at the Belmont<br />

High School Walkouts, 1968<br />

PHOTO: Courtesy of the photographers (Pedro Arias, Gilbert Lopez) and the UCLA Chicano Studies Research Center; Los Angeles Herald Examiner Photograph Collection/L.A. Public Library (Ruth Robinson image)<br />

Manuel Barrera photographs Gilbert Lopez,<br />

ca. 1971, Gilbert Lopez<br />

Youthful United Farm Workers of America supporter<br />

from Texas, ca. 1973, Gilbert Lopez<br />

–continued from page 37<br />

Viva la Revolución, ca. 1968, Pedro Arias<br />

Deputy with shotgun at the ready, National<br />

Chicano Moratorium, East L.A., 1970,<br />

La Raza staff<br />

After the march La Raza photographer Raul Ruiz was resting on a curb on Whittier<br />

Boulevard, when he noticed L. A. County Sheriff ’s deputies arriving. Something was<br />

up, so he raised his camera to take pictures, until the deputies asked him to leave. At<br />

one point the police fired a tear-gas canister into the crowded Silver Dollar Bar and<br />

Café where Salazar had been sitting, enjoying a beer. It killed him instantly. To this<br />

day many question whether his death was accidental or political, since he was known<br />

to be supportive of the Chicano movement. Ruiz’s photographs of the incident are<br />

included in the show.<br />

Luis Garza went on to become a television writer, producer and director, making<br />

documentaries for several television stations, including KABC-TV Channel 7. Surveying<br />

the Autry exhibition this afternoon, he says wistfully, “This project here has<br />

brought me full circuit, I’ve returned back to my roots.” ||||<br />

La Raza runs through Feb. 10, 2019, at the Autry Museum of the American West,<br />

4700 Western Heritage Way, Griffi th Park. Museum and Autry store hours are<br />

10 a.m. to 4 p.m. Tuesday through Friday, 10 a.m. to 5 p.m. Saturday and Sunday<br />

(10 a.m. to 2 p.m. Oct. 7); closed Monday. Admission costs $14, $10 for students<br />

and seniors 60 and over and $6 for children 3 to 12; free for members and children<br />

under 3. Call (323) 667-2000 or visit theautry.org.<br />

10.<strong>17</strong> | <strong>ARROYO</strong> | 39


THE LAST STANZA<br />

Anne Tomlinson steps down as<br />

artistic director of the acclaimed<br />

L.A. Children’s Chorus after 22 years.<br />

BY BETTIJANE LEVINE<br />

When Anne Tomlinson steps down as artistic director of the Los Angeles Children’s Chorus<br />

at the end of 2018, she will have spent 22 years establishing her chorus internationally as<br />

one of the world’s best, and herself as a legend in the world of children’s choral music.<br />

Tomlinson lives in Pasadena, where the chorus was born in 1986, and where it is still based in its original home, the Pasadena Presbyterian Church. Under her guidance, its size has<br />

almost tripled (from 150 to 425) and its budget quadrupled (from $350,000 to more than $1.5 million), and what’s been called LACC’s “signature bel canto sound” has soared from the<br />

stages of the Hollywood Bowl, L.A. Opera, the L.A. Philharmonic, the L.A. Master Chorale, the L.A. Chamber Orchestra and the Pasadena Symphony and Pops, as well as venues<br />

across America and on all five continents during annual tours she leads with the youngsters she refers to as “my children.”<br />

Tomlinson’s children have sung the beloved music of the world’s great composers, both live and on record, with orchestras conducted by such greats as Gustavo Dudamel, Esa-Pekka<br />

Salonen, Placido Domingo, Julius Rudel, Lorin Maazel, James Conlon, Susanna Mälkki, Andrew Litton and many others. The choristers sing in Latin, French, German, Italian, Urdu<br />

and other languages, all of it with what reviewers have called an “extraordinarily polished” and “hauntingly beautiful” sound. Salonen has been quoted as calling it “the best children’s<br />

chorus I have ever heard.”<br />

Tomlinson has won many awards for her acclaimed teaching and conducting artistry, including Chorus America’s 2014 Margaret Hillis Award for Choral Excellence, the nation’s<br />

highest choral honor. All these accomplishments and many more are already being hailed in music publications and other press as Tomlinson enters her final year as the group’s artistic director,<br />

during which she’s planned an extraordinary array of performances. (More about that later.) But when Arroyo Monthly chatted with Tomlinson, what we really wanted to know was<br />

how she manages to wring such angelic sound from a group of 6- to 18-year-olds from 50 communities across Southern California, and from varying socioeconomic backgrounds — kids<br />

who never studied most of the languages in which they must sing, who may never have had a single singing lesson or learned to read music before joining the chorus, and yet who seem so<br />

serene, professional and unperturbably perfect onstage. How does she train them never to giggle, wriggle, fidget or whisper while making such marvelous music in front of huge audiences<br />

in some of the world’s greatest concert halls? Are these children musical prodigies who arrive at her door with superb voices and seemingly supernatural self-control?<br />

“Well, no,” Tomlinson says. “They’re mostly just children who like to sing.”<br />

How does she find them? “We’re very fortunate because most of them find us. Their parents ask around to find a chorus where their child can sing. Many come to us by word of<br />

mouth. Parents of children in our chorus tell other parents whose children like to sing. Or they see our chorus perform at places like the L.A. Opera or the Phil and make inquiries.”<br />

40 | <strong>ARROYO</strong> | 10.<strong>17</strong><br />

PHOTO: Jaime Phan


Anne Tomlinson<br />

PHOTO: Courtesy of Los Angeles Children’s Chorus<br />

Are many from church choirs?<br />

“When I started with the chorus over 20 years ago, almost every child was singing in<br />

their school or church choir,” she says. “That’s no longer the case. Very few churches have<br />

children’s choirs, and we all know schools have struggled to keep their arts programs alive.<br />

It’s a sad state of affairs. So no, our children don’t come from other choirs, except in very<br />

rare cases. We hold auditions once a year, in June, and I firmly believe that every child,<br />

with time, could be successful in our program. But we have size limitations in the facility<br />

we rent, and a limited amount of teachers. We also have a very, very low attrition rate. So<br />

we can only take about one in every four who audition. “<br />

We asked about the training program she’s developed, which has reportedly been emulated<br />

by other children’s choruses across the country. It would take a full-length book to<br />

explain the various educational stages and nuances, so we’ll boil it down to some essentials<br />

Tomlinson mentioned. “The program is developmental and sequential,” she says. Chorus<br />

members are divided into six groups: Preparatory Choir, Apprentice Choir, Intermediate<br />

Choir, Concert Choir, Chamber Singers and Young Men’s Ensemble for boys with changing<br />

voices.<br />

“Five of the choirs meet once a week for an hour-and-a-quarter or an hour-and-a-half.<br />

The preparatory group is our entry level choir. Here they learn everything about singing,<br />

how to take a breath that helps the voice, how to actually create our beautiful bel canto<br />

sound, and they begin to learn to sing in one or two languages. The emphasis is on learning,<br />

not performing.<br />

“Once they learn how to sing beautifully in unison, they progress a level, learn to sing<br />

in two parts, and in more languages, and they sing a little bit more in public. Intermediate<br />

is the next step. They sing in three parts, in even more languages and at more concerts.<br />

And once they reach the level of Concert Choir, which is our premier ensemble, they meet<br />

twice a week because of our busy performance schedule, and they are ready to sing with the<br />

L.A. Philharmonic, the L.A. Master Chorale, the L.A. Opera, the Hollywood Bowl, at<br />

all the great venues.”<br />

In addition to those singing classes, Tomlinson says, each child is assigned an aditional<br />

40-minute minute class each week “in which they learn about quarter-notes, eighth-notes,<br />

all the various parts of music, musical notation and how to sight read [a musical score]. By<br />

the time they’re in the advanced ensembles,” she adds, “they can open a piece of music and<br />

read it as easily as they read a book.”<br />

So each child spends a few hours each week with LACC, both singing and studying.<br />

Add to that the travel time getting to and from the Colorado Boulevard church, and it’s a<br />

huge investment in time for the parents or others who have to drive them there and back.<br />

“Yes, but the adults seem to look forward to it,” Tomlinson says. “Pasadena has so many<br />

great restaurants, shops, markets and cultural institutions, and they can drop the children<br />

off and go do something they want or need to do.”<br />

The nonprofit choir has a staff of about 30 music teachers, conductors, piano accompanists<br />

and vocal coaches. Tomlinson oversees it all and leads the premiere Concert Choir<br />

in local and national performances and on tours to far-flung countries every year. In order<br />

to prepare choristers for the big trips when they reach Concert Choir level, the lower tiers<br />

first travel on local day trips for concerts, then on weekend trips to perform somewhere in<br />

the Southwestern states, gradually accelerating the distance and the challenges of performance.<br />

“That’s so they gradually learn things like how and what to pack, and not to forget<br />

to bring their uniforms and their music,” Tomlinson says with a chuckle.<br />

One of the more amazing facts about Tomlinson is that she’s never had a single course<br />

in music education. She graduated from the prestigious Oberlin College and Conservatory<br />

of Music, where she mastered the pipe organ. “I realized that making a solo career as a pipe<br />

organist would be rather limited, and I’d probably wind up playing organ in a church, so<br />

I’d better learn how to conduct a church choir,” she says. “I took one course in conducting<br />

at Oberlin and fell in love with it.” She got her master’s degree in conducting at Northwestern<br />

University, then worked at various churches around the country before joining LACC<br />

as a piano accompanist in 1992. That’s when she met Rebecca Thompson, who founded the<br />

L.A. Children’s Choir in 1986 at the Pasadena Presbyterian Church, where Thompson’s<br />

husband was head of staff. When the Thompsons left to take a position elsewhere, Rebecca<br />

asked Anne if she’d like to take over as head of the children’s choir. “I told her I didn’t<br />

know if I’d be any good at it, but I’d like to try,” Thompson recalls. In honor of her “immeasurable<br />

contributions,” the Board of Directors named her Artistic Director Emeritus<br />

after she leaves LACC.<br />

For her final season, she’s planned an extraordinary array of music for her children,<br />

including four performances of Leonard Bernstein’s theatrical Mass with the L.A. Phil,<br />

led by Gustavo Dudamel, at Walt Disney Concert Hall; six performances of L.A. Opera’s<br />

production of Carmen at the Dorothy Chandler Pavilion; two performances of Carl Orff’s<br />

Carmina Burana with the L.A. Master Chorale at Disney Hall; and performances with<br />

the Pasadena Symphony and Pops, as well as the Glorya Kaufman Presents Dance at the<br />

Music Center. The L.A. Phil will honor Tomlinson by presenting a stand-alone LACC<br />

concert which she’ll conduct at Disney Hall in December. And that’s just part of the<br />

schedule, which also includes a two-week international tour. She hasn’t finalized plans for<br />

what she’ll do when she leaves the chorus and says she wants time to consider “all the many<br />

options.”<br />

Why is she stepping down? “I’ve deeply enjoyed sharing my love of classical music with<br />

children, and it’s time for a new voice and new vision to lead the organization.”<br />

After a nationwide search for her replacement, the LACC has named Fernando<br />

Malvar-Ruiz to succeed Tomlinson as of Aug. 1, 2018. For the past 13 years, he’s been<br />

music director of the acclaimed American Boychoir in Princeton, N.J. ||||<br />

10.<strong>17</strong> | <strong>ARROYO</strong> | 41


KITCHEN<br />

CONFESSIONS<br />

Revolution Brings Us Together<br />

— Or Not<br />

Kibbeh<br />

IN A DIVISIVE PART OF THE WORLD, A SHARED CULINARY BACKGROUND IS NOT ENOUGH..<br />

BY LESLIE BILDERBACK<br />

For the past six months, you loyal readers (both of you) have indulged me in my quest for a<br />

better understanding of countries singled out in Trump’s travel ban through an investigation<br />

of their culinary traditions. My journey began at LAX, shouting and waving signs, and has<br />

ended with me being literally afraid to turn on the news. Every day is worse than the last. But in<br />

that time I have gained a vast appreciation for these countries. They are all suffering so much more<br />

than I can even imagine. Being on Trump’s stupid list is literally the least of their worries.<br />

So far, I have covered the history and culinary traditions of Yemen, Sudan, Somalia, Libya<br />

and Iran. I am finishing with Syria, for a few reasons. I’m guessing that, if you are not fully aware<br />

of the intricacies of the conflict, you at the very least are aware that the Syrian situation sucks. It<br />

has certainly gotten more media coverage than the other travel-ban countries, in no small part<br />

because of the staggering flood of nearly 5 million Syrian refugees. The death toll has surpassed<br />

400,000; 13.5 million people are in need of humanitarian assistance; 6.3 million are displaced<br />

internally.<br />

But in reality, I saved Syria for last because I have a special connection to that country. My<br />

brother-in-law is Syrian, which makes my sweet niece and nephew Syrian, and it means I have<br />

shared all of our family’s milestones with an extended Syrian family and have been a lucky guest at<br />

their tables. But to be honest, we have never really discussed the political situation in Syria. It is an<br />

understandably upsetting topic. Something I imagine akin to a bad break-up.<br />

Really? Do we need to talk about it? Can we just move on?<br />

Lucky for me, my brother-in-law has never shied away from sharing his cuisine with us. I have<br />

had my fill of (and learned the intricacies of) hummus, baba ghanouj, tabouleh. I have become<br />

a devotee of kanafeh, a superior variation of baklava made with shredded phyllo (kataifi), filled<br />

with cheese and soaked in a rosy sugar syrup. But my favorite, by far, is kibbeh. Oh, how I love the<br />

kibbeh.<br />

Imagine the best, most succulent meatball you’ve ever had. Now add bulgur, nuts and exotic<br />

spices. I like it best grilled, but you also find kibbeh baked, stuffed and even raw (a Lebanese<br />

specialty), like a heavenly exotic tartare, served with mint, onion, olive oil, peppers and flatbread.<br />

Kibbeh is found across the Middle East, with dozens of regional variations. The meat is typically<br />

lamb or beef, but poultry and fish kibbeh are not unheard of. The meat can be mixed with fruit<br />

(such as quince, lemon, pomegranate or cherry) and sometimes yogurt. They are served plain,<br />

or swimming in thick sauces or floating in soup like a dumpling. Kibbeh means “to form into a<br />

sphere,” but it can take a number of forms apart from the standard meatball — oblong, footballshaped,<br />

patted into small or large discs, molded into long sausage shapes and teardrops or packed<br />

into an outer shell of bulgur or rice. There are also unique variations throughout Latin America<br />

and the Caribbean, where there are a substantial number of Middle Eastern immigrants.<br />

When I asked my brother-in-law about Syrian foods, he sent me his favorite recipes from a<br />

Lebanese cookbook. Granted, much of the region’s cuisine is similar, because of the long shared<br />

history. “But why not a Syrian cookbook?” I asked.<br />

“Because Syria has been living under strong government control since 1963,” he replied. “No<br />

room for creativity.” I was aware of the repression, but I had no idea it extended to the kitchen.<br />

A quick Amazon search proved him wrong. There were several Syrian cookbooks — except,<br />

wait — they were all published in the West. Suddenly I am feeling lucky that I have someone who<br />

passed these traditions down.<br />

After Ottoman rule, French control under a League of Nations mandate, attacks on Christian<br />

and Assyrian populations, occupation by Vichy France during World War II, Syria experienced a<br />

short, tumultuous independence, suffering through 20 different cabinets and four constitutions.<br />

A brief union with Egypt from 1958 to 1961 ended in a transition to secular presidential<br />

government, putting power in the hands of the Ba’ath Syrian Regional Branch (socialist in its<br />

initial creation, but fascist in its final practice), making Syria the second Ba’athist state after Iraq.<br />

In 1970, Hafez al-Assad declared himself president and created a government based on<br />

loyalty to the leader, whose wisdom was portrayed as “beyond the comprehension of the average<br />

citizen.” Government, military and intelligence organizations were soon dominated by Alawites<br />

(a minority branch of Shia Islam), and nepotism was rampant. His leadership dominated Syrian<br />

politics, and a new constitution in 1973 removed the mandate that the president be Muslim,<br />

which led to armed revolts by the Muslim Brotherhood. Regardless of opposition, Assad’s rule<br />

of this one-party state survived until his death in 2000. The nation’s first multiparty elections<br />

in 2001 placed his oldest surviving son, Bashar al-Assad, in power, and there was, for a brief<br />

moment, hope for democratic reform.<br />

But in 2011, the Arab Spring emboldened the opposition, and those who called for reform and<br />

Assad’s removal were violently suppressed. The protests quickly devolved into an armed conflict,<br />

with the Assad government and its allies fighting against a loose alliance of Sunni Arab rebels (the<br />

Free Syrian Army) and ultra-conservative Sunni fundamentalist Salafi jihadist groups, including<br />

the al-Nusra Front and the Islamic State of Iraq and Levant (ISIL).<br />

Over time, moderate forces split off from their original groups and joined Islamist militant<br />

forces. In 2015 the mostly Kurdish militia called People’s Protection Units (YPG) led a<br />

multiethnic Syrian Democratic Force, hoping to create a democratic, secular Syria. But outside<br />

42 | <strong>ARROYO</strong> | 10.<strong>17</strong>


forces continue to support the war, directly and indirectly, with Russia and Hezbollah supporting<br />

Assad and NATO forces fighting ISIL. Also on Assad’s side are Iran, which provides financial,<br />

technological and training support, and Shia militias from Afghanistan and Pakistan. Also in<br />

the mix are the pro-Assad Syrian Armed Forces, National Defense Force, Shabiha (an Alawite<br />

and Shi’ite militia created in the 1980s as the regime’s enforcers — considered semi-criminal<br />

gangs by critics) and anti-ISIL Christian militia. There is even a Female Protection Force, allfemale<br />

Christian soldiers fighting ISIL.<br />

Really, the conflict is so convoluted, so deeply ingrained, that there is no way I can shed much<br />

light on it here in my little food column. I haven’t even touched on the Damascus Spring, the<br />

intellectual salons, the socialists, communists, fascists, anti-Semites or anti-Persian factions. Nor<br />

have I discussed the mindboggling list of massacres, imprisonments, torture and rampant human<br />

rights violations. To summarize, this region — in the heart of the Fertile Crescent, inhabited<br />

since the Paleolithic era, ruled by ancient Sumerians, Assyrians, Babylonians, Phoenicians,<br />

Persians, Macedonians and Romans, and home to the great ancient cities of Palmyra and Dura<br />

Europos — is a goddamn catastrophe.<br />

I urge you to familiarize yourself with Syrian history and to support the population in any<br />

way that you can. There are local resettlement agencies that could use your help, including the<br />

Episcopal Diocese of L.A.’s Interfaith Refugee and Immigration Service (IRIS), Catholic<br />

Charities of L.A. in Glendale, the International Institute of L.A. and the International Rescue<br />

Committee, also in Glendale.<br />

In addition, find a Syrian family and make friends. I will always be thankful for my husband’s<br />

sister’s exotic taste in men, which brought these people into my life. And I am thankful that my<br />

brother-in-law and his extended family and friends are here rather than there. I am grateful to<br />

have been given the chance to be a part of their family, and I am supergrateful for kibbeh. ||||<br />

Kibbeh<br />

There are at least 50 variations of kibbeh. This is the one I like best so far, but that’s only<br />

because it’s the one I have the most. I’m totally open to more kibbeh suggestions.<br />

INGREDIENTS<br />

1 pound bulgur<br />

1 pound ground lamb or beef<br />

½ onion, minced<br />

½ cup pine nuts<br />

METHOD<br />

1. Wash and drain bulgur, cover with an inch of cold water and let stand for 10 minutes. Rinse and drain<br />

again, pressing out excess liquid. It should be soft but not mushy.<br />

2. Add the remaining ingredients to the bulgur and mix well. At this point, some cooks run the mixture<br />

though a meat grinder or food processor to create a fi ner meat paste. I do not, because I like a thicker<br />

texture. Also, I am lazy. Form the mixture into balls and skewer for the grill (cook at medium heat until<br />

marked and firm), or place in a baking dish (350° for about 30 minutes, or until firm to the touch). You<br />

can also press it into a baking dish and score it into 2-to-3-inch square or triangular portions before<br />

baking at 350° for about 40 minutes, until firm. Serve it with a minty yogurt sauce, a spicy tomato<br />

sauce, a heaping helping of hummus and baba ghanouj and flatbread, or just eat it, reheated in the<br />

microwave at 2 in the morning in your PJs, standing over the sink, which I have been known to do.<br />

Bharat<br />

COMBINE INGREDIENTS BELOW<br />

1 tablespoon ground allspice<br />

1 teaspoon crushed black pepper<br />

½ teaspoon ground cinnamon<br />

¼ teaspoon ground ginger<br />

½ cup fresh mint, chopped<br />

1 teaspoon bharat (see below)<br />

½ teaspoon sea salt<br />

¼ teaspoon ground nutmeg<br />

¼ teaspoon ground cloves<br />

¼ teaspoon ground cardamom<br />

Leslie Bilderback is a certified master baker, chef and cookbook author. She<br />

lives in South Pasadena and teaches her techniques online at culinarymasterclass.com.<br />

CAMPING AT<br />

THE RIDGE<br />

INGREDIENTS<br />

CAMPING AT THE RIDGE<br />

METHOD<br />

Mix ingredients in shaker, add ice, shake again, strain and pour into glass. Top with sparkling apple<br />

cider floater, grated nutmeg and cinnamon graham crackers.<br />

THAI CHILI AND GINGER-INFUSED SCOTCH<br />

INGREDIENTS<br />

METHOD<br />

Infuse chili and ginger in Scotch for 30 minutes. Strain and serve.<br />

CINNAMON GREEN CHARTREUSE CREAM<br />

INGREDIENTS<br />

METHOD<br />

Mix ingredients by stirring and serve.<br />

INGREDIENTS<br />

STORY AND PHOTO BY MICHAEL CERVIN<br />

Built over 100 years ago, Magnolia House on South Lake Avenue was originally a<br />

private residence, then became a post-Prohibition liquor store, an antique coin shop<br />

and a number of other businesses. Today this restaurant and bar keeps things lively<br />

with an quickly rotating cocktail menu. “We have to keep up with Los Angeles,” says lead<br />

bartender Jorge Figueroa, referencing the trendy cocktail scene in downtown L.A. To<br />

keep Arroyolanders happy closer to home, Figueroa and his team are constantly crafting<br />

stimulating new cocktails. With indoor and outdoor seating areas, the bar itself sits behind<br />

the restaurant, a long red-brick wall guiding you straight to it.<br />

Figueroa created this cocktail as an homage to the fall season here. He calls it a riff on the<br />

Ramos Fizz. “Fall in Pasadena is still warm, but these traditional fall flavors are mitigated<br />

by summer notes of apple.” This is a refreshing and light cocktail, heavier on the palate, but<br />

nonetheless a balance between spice and heat, viscosity and comfortable, familiar flavors. Try<br />

it with their fried chicken sandwich or the mushroom and roasted garlic flatbread. ||||<br />

1½ ounces Thai chili and ginger–infused<br />

Scotch (see below)<br />

½ ounce lemon juice<br />

¾ ounce pure maple syrup<br />

1 Thai chili<br />

20 grams of fi nely diced fresh ginger<br />

10 ounces heavy cream<br />

1 ounce cinnamon syrup (see below)<br />

CINNAMON SYRUP<br />

½ ounce cinnamon Green Chartreuse<br />

cream (see below)<br />

Dash of chocolate chili bitters<br />

Dash of aquafaba (liquid in can of beans)<br />

750 ml of Scotch<br />

½ ounce Green Chartreuse<br />

1 cup sugar<br />

40 cinnamon sticks<br />

1 cup hot water<br />

METHOD<br />

Add sugar and cinnamon sticks to water and steep for 30 minutes. Strain and serve.<br />

10.<strong>17</strong> | <strong>ARROYO</strong> | 43


THE LIST<br />

A SELECTIVE PREVIEW OF UPCOMING EVENTS<br />

COMPILED BY JOHN SOLLENBERGER<br />

Dinner Boosts Help<br />

for Challenged Children<br />

Oct. 1 — Professional Child Development<br />

Associates, a Pasadena-based<br />

nonprofi t serving children with autism<br />

and other developmental challenges,<br />

hosts its annual Harvest Moon Gala at<br />

a private home in South Pasadena. The<br />

event starts at 5:30 p.m. with a reception,<br />

silent auction and music, followed by a<br />

gourmet dinner by Chef Claud Beltran<br />

and live auction. Tickets cost $<strong>17</strong>5 each,<br />

$350 for couples, and a table for 10 goes<br />

for $1,500.<br />

The event is located at the home of<br />

Mario and Therese Molina, 1311 Chelten<br />

Way, South Pasadena. Visit pcdateam.<br />

org for tickets.<br />

Huntington Shows Highlight<br />

Protestant Reformation, Tiffany<br />

Glass, Geometric Painter<br />

The Huntington unveils three exhibitions<br />

this month:<br />

Oct 7 — Tiffany Favrile Glass: Masterworks<br />

from the Collection of Stanley and Dolores<br />

Sirott features 32 exquisite glass vases<br />

that survey the full range of Tiffany’s<br />

Favrile glass vase production, ranging<br />

from experimental works from the 1890s<br />

to peacock vases from the early 20th<br />

century. The exhibition continues through<br />

Feb. 26.<br />

Oct. 21 — Frederick Hammersley: To Paint<br />

Without Thinking showcases the abstract<br />

painter’s sketchbooks, notebooks,<br />

inventories and vibrant color swatches,<br />

highlighting his painstaking process in creating<br />

hard-edged geometric paintings.<br />

The exhibition is on view through Jan. 22.<br />

Oct. 28 — The Reformation: From the<br />

Word to the World, marking the 500th anniversary<br />

of the Protestant Reformation,<br />

explores the power of the written word<br />

as a mechanism for radical change. The<br />

show focuses on “95 Theses,” German<br />

priest Martin Luther’s 15<strong>17</strong> critique of the<br />

Catholic Church’s corruption and pomp.<br />

A fl urry of written arguments and ideas by<br />

scholars, statesmen, clerics and lay believers<br />

followed, fueling the Reformation.<br />

The exhibition features some 50 relevant,<br />

rare manuscripts, books and prints from<br />

the era through Feb. 26.<br />

The Huntington Library, Art Collections<br />

and Botanical Gardens is located at 1151<br />

Oxford Rd., San Marino. Call (626) 405-<br />

2100 or visit huntington.org.<br />

GLENDALE FOUNDATION<br />

GALA AIDS HOSPITAL<br />

GROWTH<br />

Oct. 8 — The Glendale Memorial Health Foundation hosts its 30th annual<br />

Evening of Wine and Roses fundraising gala at the Langham Huntington,<br />

Pasadena hotel. The evening starts at 5 p.m. with a reception and silent<br />

auction, followed at 6:30 p.m. by dinner, a live auction and entertainment.<br />

The event raises funds for the foundation’s “Humankindness in the Making”<br />

initiative, benefiting the remodel of Glendale Memorial Hospital’s second<br />

floor into an updated center for outpatient services, including a new<br />

gastroenterology lab. Tickets cost $500.<br />

The Langham Huntington, Pasadena hotel is located at 1401 S. Oak Knoll Ave.,<br />

Pasadena. Call Tri Fritz at (818) 502-2364, email tri.fritz@dignityhealth.org or visit<br />

501auctions.com/wineandroses.<br />

Cuban Film Fiesta at PMCA<br />

Oct. 7 — The Pasadena Museum of<br />

California Art hosts ¡Fiesta Cubana! in<br />

conjunction with the exhibition Hollywood<br />

in Havana: Five Decades of Cuban Posters<br />

Promoting U.S. Films, through Jan. 7.<br />

The bicultural fi esta honors arts education<br />

supporters Reed and Chris Halladay<br />

and artist Dave Lefner, whose exhibition,<br />

L.A. Redux: Reduction Linocuts by Dave<br />

Lefner, is also on view through Jan. 7. The<br />

7 p.m. event in the museum’s Kosmic Krylon<br />

Garage includes dancing to Cuban<br />

music against a backdrop of classic silent<br />

fi lms and Cuban décor, a cocktail reception,<br />

live music, Cuban food and drinks,<br />

a silent auction and more. Ticket prices<br />

start at $150.<br />

The Pasadena Museum of California Art<br />

is located at 490 E. Union St., Pasadena.<br />

Call (626) 568-3665 or visit pmcaonline.<br />

org/support/fi estacubana/.<br />

Chamber Work Refl ects<br />

Changing Culture<br />

Oct. 7 — The Salastina Music Society<br />

opens its new season with an 8 p.m.<br />

concert at the Pasadena Conservatory<br />

of Music’s Barrett Hall, where<br />

the Glendale-based chamber music<br />

ensemble performs a new work, Sounds<br />

of Genius: American Mirror by Derrick<br />

Spiva. The piece refl ects the merging of<br />

cultures in societies consisting of multiple<br />

generations of immigrants. The concert is<br />

hosted by Brian Lauritzen, who discusses<br />

the work with Spiva. Tickets cost $32<br />

online in advance or $40 at the door, $10<br />

for students.<br />

The Pasadena Conservatory of Music is<br />

located at 100 N. Hill Ave., Pasadena.<br />

Visit salastina.org.<br />

Zoo's Boos to Feature Pumpkins,<br />

Puppets, Puzzles<br />

Oct 7 through 31 — The L.A. Zoo hosts its<br />

annual Boo at the Zoo program from 10<br />

a.m. to 4 p.m. daily through Oct. 31. Halloween<br />

festivities include a wide range<br />

of activities and learning opportunities,<br />

including a daily Halloween Maze and<br />

weekend puppet shows, pumpkin carving,<br />

animal feedings and close encounters<br />

with the zoo’s smaller creatures. Free<br />

with regular admission of $20 for visitors<br />

13 to 61, $<strong>17</strong> for 62 and older and $15 for<br />

children 2 to 12.<br />

The L.A. Zoo is located at 5333 Zoo Dr.,<br />

Griffi th Park. Call (323) 644-4200 or visit<br />

lazoo.org.<br />

Autry Gala Salutes Latino Laureate<br />

Oct. 7 — The Autry Museum of the American<br />

West hosts its annual gala fundraiser,<br />

this year titled “Celebración,” toasting<br />

Latino arts and cultures in L.A. and honoring<br />

U.S. Poet Laureate 2015–<strong>17</strong> Juan Felipe<br />

Herrera. The event starts at 6 p.m. with a<br />

cocktail reception, including live entertainment<br />

and access to current shows<br />

— La Raza (see page 35) and Harry<br />

Gamboa Jr.: Chicano Male Unbonded.<br />

The event also includes dinner, a live auction<br />

and dancing. Chicana TV journalist<br />

44 | <strong>ARROYO</strong> | 10.<strong>17</strong>


Giselle Fernández emcees the gala.<br />

Tickets cost $1,000.<br />

The Autry Museum of the American West<br />

is located at 4700 Western Heritage Way,<br />

Griffi th Park. Call (323) 495-4331 or visit<br />

theautry.org/gala.<br />

Chinese Dance, Chamber Music<br />

at Caltech<br />

Oct. 14 — The Lily Cai Chinese Dance<br />

Company performs its signature blend of<br />

ancient Chinese dance forms with modern<br />

dance. Tickets cost $10 to $40.<br />

Oct. 22 — A Coleman Chamber Music<br />

concert at 3:30 p.m. features the Heath<br />

Quartet performing works by Haydn,<br />

Tippett and Mendelssohn. Tickets cost<br />

$20 to $55.<br />

Both events take place in Beckman<br />

Auditorium, Michigan Avenue south of<br />

Del Mar Boulevard, Pasadena. Call (626)<br />

395-4652 or visit events.caltech.edu.<br />

ArtNight Pasadena Returns<br />

Oct. 13 — The annual event offers free<br />

admission from 6 to 10 p.m. at numerous<br />

Pasadena arts institutions, including<br />

the Norton Simon Museum, Pasadena<br />

Museum of California Art, Armory Center<br />

for the Arts, Art Center College of Design,<br />

the Pasadena Public Library Central<br />

Branch, Pasadena City Hall, Light Bringer<br />

Project, Kidspace Children’s Museum,<br />

Lineage Performing Arts Center, Pasadena<br />

City College and other venues.<br />

Free shuttle buses link locations during the<br />

event.<br />

Visit artnightpasadena.org.<br />

ArtWalk Plumbs Playhouse District<br />

Oct. 14 — Pasadena’s 12th annual Art-<br />

Walk runs from 11 a.m. to 6 p.m. throughout<br />

the Playhouse District. The free juried<br />

art show and sale spotlights more than<br />

70 visual artists working in a wide variety<br />

of media, from ceramics to watercolor.<br />

The event includes free admission to the<br />

Pasadena Museum of California Art and<br />

reduced tickets for the Southern California<br />

Children’s Museum as well as handson<br />

activities, entertainment, a self-guided<br />

walking tour and a festive atmosphere.<br />

The Playhouse District ArtWalk is located<br />

on Colorado Boulevard between Madison<br />

and Oak Knoll avenues, Pasadena.<br />

Call (626) 744-0340 or visit playhousedistrict.org/artwalk.<br />

LACO Presents World Premiere<br />

Oct. 14 — The L.A. Chamber Orchestra<br />

performs a world premiere of a violin<br />

concerto by composer-in-residence Andrew<br />

Norman featuring violinist Jennifer<br />

Koh, LACO’s artist-in-residence this fall.<br />

Also on the program are works by Mozart,<br />

featuring LACO Principal Trumpet David<br />

Washburn, and Stravinsky. The 8 p.m.<br />

concert takes place at Glendale’s Alex<br />

Theatre and repeats at 7 p.m. Oct. 15<br />

at UCLA’s Royce Hall. Ticket prices take<br />

place at $27.<br />

The Alex Theatre is located at 216 N.<br />

Brand Blvd., Glendale. Call (213) 622-7001<br />

or visit laco.org.<br />

Last Chance For Music Center's<br />

Arts Aid<br />

Oct. 16 — Southern California high school<br />

students have until today to apply for<br />

the Music Center’s annual Spotlight arts<br />

education and scholarship program.<br />

The program offers free arts training,<br />

experience and workforce skills development<br />

taught by professional artists and<br />

arts administrators and awards more<br />

than $100,000 in scholarships. Applicants<br />

must submit an online video in one or<br />

more categories, including acting, ballet,<br />

classical instrumental, classical voice, jazz<br />

instrumental, nonclassical dance and<br />

nonclassical voice.<br />

Visit musiccenter.org/spotlight.<br />

Burbank Loves Beer<br />

Oct. 21 — Downtown Burbank comes<br />

alive with the taste of beer in the third annual<br />

Burbank Beer Festival and Fall Street<br />

Fair from noon to 7 p.m. Three tasting stations<br />

offer the suds of some 45 breweries<br />

serving 85 craft beers. Choose from two<br />

tasting sessions, from noon to 3 p.m. ($40)<br />

or 4 to 7 p.m. ($45). Visit the website for<br />

tickets, which include beer samples and<br />

access to two different beer zones. If the<br />

event is not sold out, a limited number<br />

of tickets will be available at the door.<br />

Ticket holders check in at Orange Grove<br />

Avenue and San Fernando Boulevard.<br />

Admission to the street fair, featuring live<br />

entertainment, is free.<br />

Visit burbankbeerfestival.com for tickets<br />

and a festival map.<br />

–continued on page 46<br />

10.<strong>17</strong> | <strong>ARROYO</strong> | 45


THE LIST<br />

CONTEMPORARY CRAFTS AT<br />

CONVENTION CENTER<br />

Oct. 27 through 29 — The annual Contemporary Crafts Market returns to the<br />

Pasadena Convention Center for three days with unique American-made,<br />

functional, handcrafted, decorative and wearable art, created by inspired artisans.<br />

Hours are 10 a.m. to 6 p.m. Friday and Saturday and 10 a.m. to 5 p.m. Sunday.<br />

Admission is $8 at the door; free for children 12 and under.<br />

The Pasadena Convention Center is located at 300 E. Green St., Pasadena. Visit<br />

craftsource.org.<br />

–continued from page 45<br />

Fran Drescher’s Health Summit<br />

Offers Innovative Information<br />

Oct. 24 — Cancer survivor and health advocate<br />

Fran Drescher hosts Health Summit<br />

20<strong>17</strong> to transform guests from passive patients<br />

into informed medical consumers.<br />

The educational event, from 9 a.m. to 3<br />

p.m. at the Music Center’s Dorothy Chandler<br />

Pavilion, includes expert panels and<br />

Q&A opportunities on robotic surgery,<br />

biodynamic farming, natural alternatives<br />

to overcoming addiction and dependence<br />

on prescription drugs, detoxing the<br />

home, current environmental issues and<br />

numerous other topics. The event benefits<br />

Drescher’s Cancer Schmancer organization,<br />

which promotes prevention and<br />

early detection programs. VIP tickets cost<br />

$500 and include premium seating as well<br />

as a post-event Champagne reception<br />

with Drescher. General admission tickets<br />

are $300. All guests receive beverages,<br />

breakfast and lunch.<br />

The Dorothy Chandler Pavilion is located<br />

at 135 N. Grand Ave., L.A. Visit cancerschmancer.org/whs.<br />

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