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fALL 2012

nothinG BUt ALYShA nEtt tHe HUnDreDs / KaWs / scion Fr-s

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Brian FLoresEditor in ChiEf

CrEAtiVE dirECtor

Brian FLores

AdVErtiSinG dirECtor

Brian FLores

ASSiStAnt Editor

Brian FLores

PhotoGrAPhEr

Brian FLores

Photo Editor

Brian FLores

Sr. GrAPhiC dESiGnEr

Brian FLores

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AdVErtiSinG dirECtor

Sr. GrAPhiC dESiGnEr

contents

ePicUriaLiBationsoJoUrncULtUratisWaGcoVer storYFeatUre

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Some say it’s a quick look at something that catches one’s attention. Others may claim it to be a short stare into space.Whateverthedefinition,itallcomesdowntotheindividual.Aglancecanbewhatcausessomeonetorealizeyourexistence.It’swhatleadthemtoyouinthefirstplace.It’showyouwerenoticed.Theyglancedatyou,andforthatmomentintheireyes,youmeanttheworldtothem.Youstoodoutamongstthecrowd.

Noticeus. Takealook.

W W W . G L A N C E M A G . C O M

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sincereLY, tHe eDitor

Design is in everything. The worldbreathesbeauty.It’sourjobtofinditintheplacesthatmosttakeforgranted.Fromthecurvesofafemalbody,tothewaysunlightpasses through window blinds, it alldeservespraise.Thismagazinerepresentsthis ideal. It featuresmodels that are notknownworldwide,notbecausetheydon’thavewhat it takes,butbecause theyarenot the typical idea of such a thing. Artthat doesn’t fall within the boundaries ofa particular movement also makes the list inwhatyoumightseewithinthesepages.Limitsareconstructsoftheminddesignedtoeditthereality.Asyoureditorwilldojusttheopposite.Iwilldeliverareallookatwhattheworldhastooffer,minusallthebullshit.

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BriAn fLorES

Photo CrEdit: BriAn fLorES

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S t A r tePicUria / LiBation / soJoUrn / cULtUrati

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MACAROONSBottEGA LoUiE’S finESt dESErt

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Photo CrEdit: BriAn fLorES

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L I B A T I O N

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Ficidit et, eatesed molorat iusandande volupta tatusam facculpa sequatquis as modipsanda voluptur aut fuga. Iquid modicto tem voluptas aliquias dolupta sperum ullis nulparunt adipidist, sum quo tota soluptus. Cerita deratem. Itaes del ilis eos sinima qui omnimi, tem quiame dolorerfero dipis ducit eicaes non nistemqui re saperch ilique nis as consent doluptur? Quiate pero dolesedi ipis il inciate molupta sam qui ania quo id millore.

Cerita deratem. Itaes del ilis eos sinima qui omnimi, tem quiame dolorerfero dipis ducit eicaes non nistemqui re saperch ilique nis as consent doluptur? Cerita deratem. Itaes del ilis eos sinima qui omnimi, tem quiame dolorerfero dipis.

SCREWDRIVERG

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YTHE BEST TOOL FOR THE JOB

don’t WorK too hArd thoUGh,YoU MiGht GEt hAMMErEd.

I grew up knowing and appreciating good Mexican food. Since I can remember, I’ve preferred green salsa to red. Don’t know why, just have. I love salsa verde.

So naturally, I made it into a drink.In my research, I came across recipes for salsa verde, other green Bloody

Marys and green gazpacho. This is a twisted love child of all three.

• 3 celery stalks (plus more for garnish)

• 1 cucumber (plus more for garnish)

• 4 tomatillos• 1/2 green bell pepper• 2-3 jalapeños

• 1 small yellow onion• 3 oz. fresh lime juice• 1/2 cup fresh cilantro• 6 c. water• Prepared horseradish (optional)• Salt and pepper, to taste• 1.5 oz. of vodka per drink

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S O U J O U R N

n o t h i n G S t A n d A r d A B o U t i t

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doluptatibus elique volent. Am rerum rerum expliat.

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the Standard

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S Y n o n Y M o U S W i t h A S t o U n d i n G L Y G o r G E o U S1. ViEnnA tEE Fall2012Collection Supreme $322. hYEnAS CrEWnECK WINTERCOLLECTION‘12 TheHundreds $543. trAininG dAY fLEECE BALLCAP GreyHeather Stussy $264. hUf PLAntLifE SoCKS HUFXKeepABreast $125. troPiC JohnSon LoW BLACK LIMITEDEDITION TheHundreds $79

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1. thE nEW iMAC COMINGINNOvEMBER2012 21.5”or27” AppleInc. $12992. iLLESt X BEAtS STUDIOHEADPHONES Beats Studio $3503. fAtLACE X roCKEt BUnnY SKAtE dECK BYFATLACE Dimensions:8”x32” $554. AStro BoY (KAWS VErSion) APPROX15”TALL.vINYL PRODUCEDBYMEDICOMTOY ©TezukaProductions $2405. 2013 SCion fr-S 200HPENGINE REARWHEELDRIvE 6-SPEEDTRANSMISSION $24,955

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It’s a town after all. Seen at night by air, the city seems a large bracelet of lights and swimming pools. It is only 500 square miles but it feels larger. Divided into 80 districts and neighborhoods, at fi rst the city seems disjointed, a bewildering terrain of mountains and valleys that ultimately end at the sea. Second in population to

only New York City, no two cities could be more diff erent. In LA one can always hide in the shadow of a freeway, in the quiet solitude of an automobile, in a movie theater. Los Angeles is a private place. But it is the light that draws us, the comforting afterglow of a sunset, a forest fi re, that dappled amber sheen that reveals us all.

In Los Angeles, by the time you’re thirty-fi ve, you’re older than most of the buildings. - Delia Ephron “““ ”””

CITY OF LIGHTLALALA

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I’ll be the first to admit that I suck at punctuality. I’m working on it.

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fEAtUrE StorY

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31Paying tribute to music’s rich cultural history, this 21st-century museum

explores and celebrates the enduring legacies of all forms of music, the creative process, the art and technology of the recording process.

thE MUSEUM

of SoUnd

Photo CrEdit: BriAn fLorES

32 Photo CrEdit: BriAn fLorES

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

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

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

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

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

“We have to be able to safely store the items, insure them — and be sure we can make them accessible to the public at some point, because we are an educational museum,” he said. “We’re working without an acquisition budget, so we have to rely on donations.”

Grammy Museum assistant curator Ali Stuebner slipped on a pair of white cotton gloves to peek under the lid of a 4-foot-tall 1920s-vintage Edison phonograph resting against one of the storage space’s bunker-like concrete walls, and to show a visitor one of two old (but well cared for) piano

accordions donated by squeeze-box virtuoso Ernie Felice. She later riffl ed through a couple of large boxes, each holding perhaps thousands of 5-by-7-inch white notecards collected from one of Yoko Ono’s wishing trees, a project

for which passersby were invited to complete the thought “Imagine a world ...” in their own words and / or drawings.

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

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

Imagine a world...

Photo CrEdit: BriAn fLorES

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

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

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

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

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

The interviews and question-answer sessions have also

included record industry veterans such as Clive Davis (for whom the museum’s 200-seat concert theater is named), former Warner Bros.-Capitol-Asylum Records executive Joe Smith, and Curb Records founder Mike Curb.

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

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

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

Among the items: a pair of Johnny Cash’s boots and his lyrics for the song “Cry, Cry, Cry”; Bob Dylan letters and lyrics; a jacket and trumpet that belonged to Miles Davis; jewelry worn by Billie Holiday; a tie and letter from Louis Armstrong; one of Barbra Streisand’s dresses; a Willie Nelson bandanna; stage sketches and lyrics from Public Enemy’s Chuck D.; one of Pete Seeger’s banjos; and a trombone played by New Orleans jazz pioneer Kid Ory.

Glancing at the boxes of old Edison 78s and the inventor’s still-functional contraption once used to play them in homes around the country, Santelli said, “Our goal is to make sure we can find all these items a good home in the museum somewhere — and to make them available for the common good.”

The Recording Academy has announced its annual list of works to be entered into the Grammy Hall of Fame, and they include recordings by Big Mama Thornton, Buck Owens, James Brown, Bob Dylan, Richard Pryor, Whitney Houston and 22 others. As explained in the Academy’s announcement, the honor is bestowed as a way of “highlighting diversity and recording excellence, and acknowledges both singles and album recordings

of all genres at least 25 years old that exhibit qualitative or historical significance.”

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

the self-titled debut albums by Elton John and Whitney Houston.

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

the new Grammy Hall of Fame inductees

JOIN

ING

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JaZZ in BLacK & WHiteHerman Leonard’s Jazz Portraits.

Photo CrEdit: BriAn fLorES

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

Shot in New York between 1948 and 1956 and afterward in Paris, Mr. Leonard’s work was long known only to jazz buff s. More recently, it has enjoyed a renaissance,

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

“Herman Leonard had that rare ability to connect with his subjects, and capture a side of musicians that many had never been seen before.” GRAMMY Museum Executive Director Bob Santelli. }{

toP riGht: dizzy Gillespie, royal roost, nYC, 1948. riGht: herman Leonard, Self Portait, 2004

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