Making Self Expression Relatable

For 34 years, the Contemporary Crafts Market has provided creators and art lovers a place to explore where art, history and science come together. Years past have proven to be successful in connecting people to art they love, however, the retirement of the market’s CEO will bring about the end of an era.

“We are retiring, but art is timeless,” says CEO Roy Helms.

“When I launched this show 34 years ago, my goal was to showcase fine craft and wonderful products you cannot find anywhere else. There’s nothing like hand-crafted artistry to enhance home and everyday life.”

The market serves as not only a place to showcase talent and dedication, but as a medium to exchange stories. From November 1 to November 3, the Pasadena Convention Hall will house more than 150 booths filled to the brim with art that has a strong history and a plethora of stories behind it.

One such booth is that of enamelist Marianne Hunter.

Fifty-two years ago, Hunter started enameling atop pennies that she sold to friends and family. She prides herself in only using each design once, even over the last half century, and being inspired by something new for each piece.

Though her originality has persisted throughout the years, Hunter’s ability to keep simple titles for each piece has not.

“When I’m working on a piece, I have to immerse myself into that feeling,” Hunter says. “I have thought about it and what I’m trying to communicate as my vision comes together. Soon enough my one-word titles for each piece grew longer and longer, so I gave into it and started engraving short poems on the back that tell the piece’s story.”

From the colors used to the shape of the jewelry itself, everything about the piece shares a role in relaying Hunter’s narrative.

While the pieces can be worn, her techniques allow the art to look just as wonderful in a translucent case in which all sides can be seen.

“The biggest thing for me is that I do everything free-hand, every emotion comes through the work naturally. It’s raw, it’s authentic, it’s my vision of the story straight from my soul to my hands to the work itself,” Hunter says.

It can take Hunter anywhere from two weeks to a month to perfect a fired glass piece, which can take more than 120 individual firings somewhere between 1,500 and 1,600 degrees Fahrenheit before completion.

Hunter says, however, she doesn’t mind the process, as delicate and tedious as it may be.

Starting her own small enameling business in the summer of 1967, Hunter says she, “hasn’t had the need for a straight job since. I’ve been self-employed my whole life. I haven’t been to Europe or the other things I might’ve done if I got two-week vacations, but doing this everyday challenges me. It drives me, and there’s no other place I’d rather be than doing this.”

Due to the time, concentration and use of materials, Hunter’s pieces start at $5,000. She has started utilizing a layaway program to make her art accessible to anyone who can relate to the stories she tells through her work.

“I want people who relate to my art and these pieces to be able to have it. That’s what it’s for, that’s the reason I do this. If it speaks to you, you need to have it,” Hunter says.

Through an entirely different medium, watercolorist Liz Covington has also used her art to tell a story entirely her own. Though her art she has expressed the balancing act of being a practicing physician and crafter.

Ten years ago, the painter got her start in the art world through calligraphy, where she specialized in italics. Though she took it on for fun, Covington says it was more demanding than she could have ever imagined.

“I wanted to do something fun and easy to kind of take my mind away from my practice and I enjoyed the technique and discipline, but it’s a lot more involved than most people think,” Covington says.

As she began mastering calligraphy she sought out embellishments like watercolor flowers to pair with her writing. And without a moment’s notice she had discovered her true passion- painting.

“I started in watercolor because it was cheap, but I stuck with it because I think, personally, it’s one of the most challenging ways to deliver a scene. It requires so much practice and patience. I loved it immediately,” Covington says.

Today, Covington is able to produce nature scenes, flowers, portraits and abstract works. She says a particular fan favorite is her mixed abstract-portraits pieces.

As Covington takes on the complexities of nature, politics, and urban unrest, through her art she says painting the world as she views it through watercolor helps her see overwhelming aspects of life in their simplicity.

“I’m eclectic so I usually paint what’s on my mind. Sometimes is soft, and gentle, other times it’s a harsh truth that needs to be acknowledged. Either way, I feel it’s important to put it on paper. Once I’ve painted it, I feel like I’ve expressed it and it’s okay to let it go,” Covington says.

Covington has also explored the fashion market, and has recently gone under contract with a clothing company that put’s her art on shirts, dresses, scarves and bags, which she says brings her art to life.

Though her clothing can only be found online at the moment, Covington will be featuring greeting cards, prints, posters, and originals that range from $10 to more than $250 at the craft fair.

“Really, I just hope my paintings have a unique perspective and composition that provokes you. I want my art to draw you in, and make you think on an emotional level,” Covington says.  


Contemporary Crafts Market

10 a.m. to 6 p.m. Friday, November 1, and Saturday, November 2, and 10 a.m. to 5 p.m. Sunday, November 3
Pasadena Convention Center Exhibit Hall, 300 E. Green Street, Pasadena
Limited passes are available at craftsource.net

Making Noise

On a sunny Pasadena day, the interior of the historic Stuart Pharmaceutical building was refreshingly cool even as the sun filtered in from the building’s distinctive milky white Persian inspired lace-like facade.

Backlit by this glow, Jonathan Muñoz-Proulx enthusiastically explained A Noise Within’s diversity directive: Noise Now. In-person, Muñoz-Proulx is warm and welcoming with a quick smile and a disarming eagerness to listen and share possibilities.

Since he was hired last fall to be the director of cultural programming for Noise Now, the Southern California native has been reaching out to local community organizations. ANW’s managing director, Michael Bateman, said Muñoz-Proulx has been in touch with more than 300 organizations. The program launched in February and has brought in over 800 audience members. Some of these programs have been as intimate as 15 people while others have attracted 250.

ANW has been recognized for its high-quality classical theater productions since the 1990s. Under two of its three original founders, the husband-and-wife team of Julia Rodriguez-Elliott and Geoff Elliott, ANW moved from the Masonic Temple in Glendale to a state-of-the-art, 324-seat performing space in Pasadena in 2011. Now well-established in the Pasadena community, ANW continues to expand.

“We see Noise Now as our commitment to being of service to all audiences,” Rodriguez-Elliott explained. “It also presents a wonderful opportunity to animate our campus by presenting art in nontraditional spaces throughout A Noise Within.”

According to Bateman, Noise Now came about when the house of the mouse squeaked some advice. Bateman said it was discussions with Disney Imagineers that set these plans into motion. ANW was challenged to consider that for the community, “theater didn’t have to be their primary access point” and that ANW could become “a hub where art happens.”

So enter center stage the Muñoz-Proulx. Graduating from USC, School of Dramatic Arts, he also served as an adjunct faculty to the USC MFA in acting program. Muñoz-Proulx previously served as an associate producer at the Skylight Theatre and as an artistic assistant at East West Players. He has also worked for Center Theatre Group and Pasadena’s Boston Court Theatre and is on the Latinx Theatre Commons National Advisory Committee. Like many transplants to Los Angeles County, Muñoz-Proulx wanted to be an actor, but realized he was more interested in “choosing the stories I was telling.”

Being of Mexican and French heritage, in college, he had another realization.

“I began to understand my role and responsibility to illuminate underrepresented communities,” he said.

Yet at times, he’s found himself “tokenized” as a “cultural ambassador” when he was contracted to direct the one Latino-themed play within a season. “I accepted that because it got me in the door.”

With Noise Now, he’s opening the door to the Pasadena community by offering dance, music, art exhibits and bits of nontraditional theater. Structured in “semesters” because many organizations aren’t ready or equipped to commit to a year-long initiative, in its first semester, Noise Now took on the topics of mental illness, black identity, transgender identity and water in Latin America.

Muñoz-Proulx explained that instead of offering what one thinks the community needs and be trapped in a “savoir complex,” Noise Now works on the concept of “consensus organizing.”

While Bateman spoke of “cross-pollination” between ANW and its Noise Now partners, Pasadena’s theater community has already been inspiring each other. Muñoz-Proulx credited Seema Sueko, who came to the 647-seat Pasadena Playhouse in 2013, for bringing the concept of consensus organizing to his attention. Consensus building is “asking the community what type of plays” and other presentations they want to see and “accepting accountability as an institution” for asking and producing results. In his outreach to local organizations, he asks, “Where’s the overlap in our missions?”

For the fall, the answer lies in Ibarionex Perello’s “The Three-Fifths Project” photo exhibition (now through November 16), Josh Gershick’s staged reading of “Dear One: Love & Longing in Mid-Century Queer America” (October 13), the Diwali Festival of Lights block party with the Bollystars Dance Company (October 26), a staged reading of a feminist adaptation of Shakespeare’s “The Winter’s Tale” (November 17), a staged reading of a play based on the myth of Daedalus and Icarus (December 7), a Latina Christmas Special presented with the Latino Theater Company. (December 9), staged readings from Wicked Lit’s repertoire (December 15) and a staged reading generational trauma—“Ballad of Haint Blue” presented with the Pasadena Mental Health Advisory Committee & Project Sister Family Services.


All events are pay what you choose. For more information, call 626-356-3100 or visit anoisewithin.org/noisenow.

Telling the Story of ‘Arroyo’

Though Pasadena claims to value honesty, integrity, and accountability, one author challenges the seemingly utopic history of the city through his debut fiction novel “Arroyo.”

Pasadena-born Chip Jacobs has spent the last three years studying the idiosyncrasies of the Colorado Street Bridge. While history books portray the bridge as a beacon of Pasadena’s withstanding financial and industrial success, Jacobs has uncovered gruesome truths about the structure locally dubbed, “Suicide Bridge.”

“Pasadena is a beautiful place, but it’s not perfect. No place is perfect that’s made by man,” Jacobs says, adding, “there’s a lot of coffee table books about Pasadena and about our history, and they’re great, but they don’t seem to capture human suffering, drama, and confusion—all things that build a city.”

Having worked in journalism for seven years, Jacobs found the industry was tailor- made for him because of his “curious” and “annoying” personality that made getting to the bottom of stories exhilarating.

There was one story, however, that changed Jacobs’ trajectory in the field of writing.

Jacobs published an article in Pasadena Weekly about a very obscure accident that befell the Colorado Street Bridge in the midst of construction. The catastrophe killed several construction workers, but the brilliance of the bridge shadowed over the lives sacrificed to erect it.

“It really bothered me that these men who died in this dramatic collapse had been forgotten, kind of brushed aside by history; swept over by the glory of this bridge and what it meant for the history of the city,” Jacobs says.

Not long after the story was published, Jacobs began receiving very passionate responses from the community. Some of the letters and emails believed the piece to be distasteful, but others highlighted their appreciation for the truth of what happened to the men killed while building the bridge.

“When you live in Pasadena you’re always connected with that bridge because you drive over it, you know somebody that has gone for a walk or a jog on it and has seen a dead body at the bottom. You’re inundated with lithograph paintings of the bridge in art galleries and in organizational literature. You’re absolutely dazzled by the aesthetics of it,” Jacobs says, adding, “you’re either someone who views it as a symbol of how far the city has come, or how far we have to go.”

Jacobs’ resume includes two nonfiction novels published. “Strange as It Seems: The Impossible Life of Gordon Zahler,” a story about a maternal uncle whom he couldn’t stand, but turned out the be the most astonishing man he’d ever met; and “Smogtown: The Lung-Burning History of Pollution in Los Angeles,” which offers a social—not technical—history of the smog crisis.

Jacobs says he had “all the ingredients to write a fiction novel”—a book-publishing history, a natural curiosity for the world, the ability to dig for the truth and a passion for writing.

“I had so many people tell me ‘with your smart-ass personality and imagination, you really should be going into fiction.’ So I did,” Jacobs says.

“Being a journalist, you’re capturing history on the fly, but I wanted to capture the drama on a deeper spectrum and of course do it with my own sort of flare,” Jacobs says.

And so, “Arroyo,” the novel, was born.

The hilariously grim story embarks readers on a journey through the lens of a young inventor and his dog, inspired by his beloved dog Auggie, in both 1913 and 1993 Pasadena.

Though the inventor was once the “biggest homer, all-American Pasadena boy possible,” in his second life he will discover his purpose as a whistleblower reincarnated to bring truth to the dark past of the bridge as it celebrates its 80 years.

As the inventor discovers the purpose of his second life with the help of his dog, the story walks the audience through the contrasting ideologies of history and myth, progress and vanity, even the contrasting approaches to various obstacles by dog and man.

“Teddy Roosevelt once famously said, not all movement is necessarily progress,’ and I think that does apply to this bridge at this point in our city’s history,” Jacobs says.

Although there are elements to the story that rings true of fiction, like the dialogue, Jacobs says it was extremely important to him that he reflects the information on the bridge accurately when writing the book.

He also insisted on keeping true to the area’s personalities, including hints of a local business owner’s voice, and a pharmacist who recorded the bridge’s history from his perspective as it was under construction. He says both accurately portray the shared feelings of hesitation and excitement for the area’s future.

The book seamlessly alludes to both an epoch of doll-style dresses and ice cream parlor and another era filled with technology and “Seinfeld;” however, while writing the book, Jacobs says switching between two worlds wasn’t effortless.

“Going from a journalist to being a nonfiction author to a novelist wasn’t always easy. I ripped up and threw away thousands of pages. I burned through printer ink like crazy. I got a hand injury from backspacing so much. I was so paranoid about digging in and touching down on that blank page—problems I never had when I was writing nonfiction. I mean it was grabbing me around the throat,” Jacobs says.

Jacobs’ father also died while writing the book, which sent him “sideways.” Beyond the shock of losing a loved one, the conflicted author was writing about a 1913 falsely utopic Pasadena world while in modern-day Pasadena as his world went dark and his family mourned.

“I was split down the middle of these worlds, but that helped me relate to this character even more than I already had because he’s doing the same thing. He’s trying to figure out who he is in this world of confusion and chaos,” Jacobs says.

Jacobs hopes “Arroyo” brings as much clarity and reflection on life and history while looking toward the future to readers as writing the novel did to him.

Jacobs says he believes past decisions affect Pasadena today and hopes readers can learn lessons that carry into their choices.

“Be careful about your secrets and machinations because they might just ricochet back at you in unintended ways,” Jacobs says.

Pasadena philanthropists Carol and Warner Henry are guardian angels for L.A. Opera and LACO.

C

arol and Warner Henry are two of the biggest supporters of classical music in Los Angeles: She’s chairman of the executive committee of L.A. Opera’s board; he’s one of five board vice chairmen. When they met, he was already a huge fan of classical music, inspiring her to love it too — love it so much that she joined an early support group for opera, the Opera League, and then helped to found L. A. Opera in 1986.

Carol was born in Baltimore; her family moved to Chicago before heading to Sacramento when she was nine. “My main memories of growing up are of Sacramento,” she says during a recent afternoon in their dining room in Pasadena. The view out the window is of the lush green Arroyo, with the San Gabriel Mountains beyond. Warner, in contrast, is a native Angeleno, born at Good Samaritan Hospital downtown and raised in Hancock Park. 

As a young man he had been a serious jazz fan. While a Stanford student, he often went to San Francisco to enjoy the lively music scene. “I’d listen to Turk Murphy and Bob Scobey, they were Dixieland jazz people,” he recalls with a smile. “And there were a couple of new guys getting started — one named Dave Brubeck, another one named George Shearing. I started hitting the bars they were playing in. A professor said, ‘If you’re interested in them, you should take Music 1.’” So he did. “When I heard Bach, it was all over — he was the original boogie-er,” Warner continues. For him, listening to classical music is “a spiritual experience. It reaches a part of you that isn’t reached in any other way.”

After college, he served two years in the Navy before returning to Palo Alto for Stanford’s business school. Carol attended Stanford at the same time, but their paths didn’t cross until after both moved to Southern California. Warner returned in 1963 to join the family business, a glue and roofing products manufacturing company started by his father in 1933, and Carol settled in Manhattan Beach, teaching elementary school — “We taught every subject, including P. E.” The two were introduced by Warner’s cousin.

“When Carol and I started dating I was going to about 50 concerts a year, about one a week,” Warner says. “She just got on the train and came along with me.” He laughs, as Carol looks on with an approving smile.   

“Growing up in Sacramento, the music that I knew was musical theater,” Carol recalls. “We had very good musical theater, and we would also go to San Francisco for musical theater. And I loved it. Then I met Warner, who had studied classical music at Stanford, and I discovered this art form that was both wonderful musical theater and also beautiful music.” That art form was opera, and in the 1980s Carol became an early member of the Opera League, along with fellow Pasadenan Alice Coulombe and Lorraine Saunders of San Marino.  In the early days, they were a presenting organization, hosting touring opera companies, such as the New York City Opera. But they believed L.A. deserved its own opera company, and in 1986 L.A. Opera was born.

The Henrys’ longtime support of the acclaimed company is well known in the classical music community. “Carol and Warner are pioneering and visionary founders of L.A. Opera; they helped create a world-class opera company where none had existed before,” says L.A. Opera President/CEO Christopher Koelsch. “They’ve been an essential part of the company ever since those formational early seasons, and they’ve been incredibly generous with their time, wisdom, inspiration and philanthropy throughout it all. The company would be simply unimaginable without them.”

These days the opera presents a full season, with the prominent tenor Placido Domingo as general manager. The Henrys are quick to point out they don’t do the programming — “It’s totally up to the professionals,” Carol says — but they have created the Carol and Henry Warner Production Fund for Mozart Operas. “We both feel that Mozart’s music is the most beautiful of all,” she says.

L. A. Opera’s upcoming season includes two Mozart operas underwritten by the Henrys — The Magic Flute (Nov. 16 through Dec. 15 ) and The Marriage of Figaro (June 6 through 28, 2020), but the uninitiated should expect some surprises. This highly popular production of The Magic Flute, which originated at Berlin’s Komische Opera and returns for its third run here, uses original animation to provide the backdrop and the fantastical creatures. The singers are made up and dressed in costumes mimicking silent-era black-and-white film.

Also of particular note this season is a world premiere of Eurydice (February 2020) with music by Matthew Aucoin and libretto by Sarah Ruhl, which will retell the Orpheus myth from the heroine’s point of view. And of course there will be opera greats treading the boards. Renowned lyric soprano Renée Fleming stars in Adam Guettel’s Tony-winning musical, Light in the Piazza (October), about an American woman who takes her grown daughter on tour of romantic Florence in the 1950s. And in February and March 2020, Domingo sings the prominent role of the Duke of Nottingham in Donizetti’s Roberto Devereux

For those put off by opera’s stuffy reputation, Carol points out that there’s no formal dress code anymore, and there are special programs with relatively affordable pricing. The Aria Package for people under 40 also offers special events for socializing and the Newcomer Package includes backstage tours, preshow discussions and even easy payment plans.

While L. A. Opera declines to reveal how much the Henrys have donated, and the couple themselves are not boastful people, it’s fair to assume their contributions are generous. The Henrys helped set up the Founding Angels program for donors who give at least $1 million over a four-year period. They were also early supporters of Los Angeles Chamber Orchestra (LACO), and in 2017 they donated $1.5 million to the group to celebrate its 50th anniversary. It was the largest gift in LACO’s history.

It’s certainly money well spent, given the wealth of musical talent available in this area, including those versed in the more “serious” arts. “We discovered that more than 50 years ago when Neville Mariner was auditioning musicians for the Los Angeles Chamber Orchestra,” says Warner. “He said, ‘I’m overcome by the quality of musicians in this city! Not in London, not in Berlin, not in Vienna, not even in New York are there musicians of such uniformly high quality.’ And it’s [because of] the studios that they were playing for, as well as the USC [Thornton] School of Music, and now, the Colburn. We are awash in great orchestral musicians.”

Inclusivity, reaching new audiences and instilling hope are the goals of Laura Farber, the first Latina president of the Pasadena Tournament of Roses

L

aura Farber knows her kids will be telling her to “chill out” and “calm down” on Dec. 31. It’s a battle they won’t win.

“They know how I get. They’ve seen me before. I just can’t help it,” says the 53-year-old South Pasadena lawyer. “The parade is one of those wonderful institutions that gives us joy, happiness and hope — something we all need these days — and look!” She holds up her arm. “I’m getting goosebumps right now just thinking about it!”

Farber’s infectious passion suits her well; after serving the Tournament of Roses for 26 years on various committees, she’s taken on the mantle of president for 2019. Her duties include planning and organizing the 2020 parade and football game, and providing direction and leadership as the official face and voice of the venerable organization. Farber has the distinction of being the first Latina to hold the yearlong post; she’s also the third woman to do so in the Tournament’s 130-year history.

“Laura represents the collective spirit of the Tournament, and her enthusiasm is contagious,” says Tournament CEO and Executive Director David Eads. “She has committed a year of her life to this role, traveling the world and making an impact. As the first Latina, she has reached out to lots of diverse communities to make important connections.”

Times are indeed changing, contends Farber, who wholeheartedly embraces how the Tournament is evolving to be relevant in these days of social media buzz, short attention spans and cultural divisiveness. She’s excited that women are taking on more prominent leadership roles in the organization; in fact, the fourth woman president, retired construction industry executive Amy Wainscott, will take over for the 2022 parade, with more female representation on the horizon. (The Tournament announces presidents eight years in advance.) “The face of the Tournament is changing to better reflect the community we live in,” says Farber about the increasingly diverse leadership. “It’s an exciting time for us.”

Overall, Farber sees a Tournament future where the traditions of the past are intertwined with the diversity of today — ideals well represented in “The Power of Hope,” the theme of the 2020 parade. “Interestingly, in our 130 years we have never used ‘hope’ in our theme,” she says. “That is fascinating because we have an event that celebrates the New Year, which is all about looking forward, starting off fresh, being hopeful for the future.”

The word hope has a profound personal meaning for Farber. Her parents were biochemistry students in Buenos Aires in the late 1960s when a military coup led to a period of dictatorship in Argentina. Through academic connections, the young couple — with 2-year-old Laura in tow — left everyone and everything behind and found refuge at UC Santa Barbara. “It was a difficult decision, but they didn’t feel comfortable in their own country. They came here and had to start from scratch,” she explains. “The United States represented freedom and the ability to pursue education, careers, religion and speech. My parents are proud immigrants. And they are. like me, always incredibly optimistic about the future.” Farber’s husband, Tomás Lopez, was also a youngster when his parents arrived in New York from the Dominican Republic, which was also racked with political instability. Again, the U.S. offered hope, says Farber.

Farber notes that the parade’s theme “is not just about immigrants. Hope is about dignity, respect, joy, happiness, aspiration and achievement. It never quits. It’s always there and tells you that everything is possible. It’s a way of thinking and no one can take it away from you. This is the message I share everywhere we go, and with everyone I visit.”

Hope notwithstanding, Farber is also eager to remind everyone she meets about the many facets of Tournament life: the cadre of 935 loyal volunteers who donate countless hours working year-round, not just on the New Year’s Day festivities but on other events held throughout the year; and the generous contribution of the Tournament’s Foundation which grants $200,000 annually to various programs benefiting children through seniors and which has, since its inception in 1983, invested $3 million–plus in more than 200 Pasadena-area organizations. Community programs receive grants in the categories of performing and visual arts, sports and recreation, and education; a new category is sustainable programs that invest in people. Recipients include Pasadena Educational Foundation (Summer Academic Support for Low Performing Middle School Students), PTA California Congress of Parents Teachers & Students, Blair High School (Aquatics program) and Boys & Girls Club of the Foothills (Think Digital STEM Education).

But, Farber adds, the Tournament gives more than dollars. “Our philanthropy is not exclusively supporting worthwhile causes with money,” she says. “It’s supporting with efforts and involvement and community outreach that’s grounded in the message of hope.” Recognition can provide an emotional and a potential financial boost, for bands that travel far to participate in the parade, for example. Under Farber’s leadership, the 2020 parade will feature a record number of Latin American bands, including groups from Mexico, El Salvador and Costa Rica. Several Latino authors will write an anthology about the bands and their experiences and Spanish broadcaster Univision is covering all the Tournament visits to Latin America, which, says Farber, shines a light on these bands and communities. “We don’t realize the impact we have all over the place, the world,” she says. “Most band members have never left their cities or their towns and they are going to come and perform on the biggest international stage. This is a life-changing moment for many of them.”

Farber witnessed the power of community support during a recent trip to Alajuela, Costa Rica, to meet with first-time participants Banda Municipal de Zarcero. When band members from nearby towns gather to practice every weekend, their families tag along and mingle with community members. Parents, shopkeepers and restaurateurs told Farber: “We have such energy and excitement in this town with this band representing us. We just don’t know what we are going to do when the parade ends.”

Farber’s enthusiastic response: You’ll find another project or event to keep this energy going. You must do it. You will do it.

Closer to home, Farber continues to connect with the local Latino community, whether by reading in Spanish at library storytimes (“a rewarding and wonderful experience”), being a keynote speaker at the Adelante Mujer Latina Conference held this year at PCC or supporting East L.A.’s Roybal Foundation by offering the Tournament grounds free of charge for the nonprofit’s annual fundraising gala. On Oct. 19, she’ll wave proudly as the grand marshal of Pasadena’s Latino Heritage Parade.

Beyond those endeavors, Farber is helping make inroads in connecting the Tournament with new audiences. The organization has developed a new Innovation Team comprised of folks in varying leadership roles from all walks of life. Their assignment: If money was no object, what types of things, events and activities make sense for the Tournament? What direction would you like to see the Tournament take? Ideas will be discussed, researched and submitted to various committees to see if such concepts have a place at the Tournament’s table. “We want concepts that will be disruptive, but in a good way,” Farber says. That prompts a discussion about the Funny or Die Rose Parade broadcasts with faux local newscasters Cord Hosenbeck and Tish Cattigan, a.k.a. comedians Will Ferrell and Molly Shannon. “That is a great example of thinking outside the box,” she says with a laugh.

In years past, such an idea would probably have been jettisoned by the tradition-bound organization, but now, such concepts are considered and pursued. “No one would have thought we could be so hip or cool to do something like Funny or Die,” she says. “We want to continue to surprise and reach audiences, especially those who don’t watch TV the traditional way. We are looking to engage with interactive opportunities and experiences beyond the TV box. Maybe it’s augmented reality. Maybe it’s connecting audiences directly with the floats or bands. There is so much potential moving forward for us.”

From mingling with foreign dignitaries to chatting up schoolkids in Altadena, from giving children tours of the Tournament House in Spanish to meeting with local leaders, Farber has been having the time of her life as president and Tournament booster. “Giving hope and supporting hope, that message has been extremely well received everywhere,” she says. “Everyone has their own interpretation of hope, their own experiences and they have shared their experiences with us. This year has been so moving for me. We need to know to never ever lose hope.”

Echiko Ohira’s stunning paper sculptures go on view at L.A.’s Craft Contemporary this fall in the Pasadena artist’s first one-woman museum show

P

aper is Echiko Ohira’s medium of choice. Not only does she draw and paint on it, as many artists do, she dyes it, cuts it, tears it into pieces, crumples it and assembles it into sculptural configurations that can look like a giant rose or, when compacted, an oval stone. She learned how to do all this pretty much by herself, through experimentation with inexpensive or found material. Some of her early works were made from paper shopping bags.  “We had so many of them,” she says, during a studio visit, “and I thought they shouldn’t go to waste.”

This month, Echiko, who lives in Pasadena with her artist husband, Minoru, will have her first museum exhibition at Craft Contemporary in midtown Los Angeles. Finding the Center: Works by Echiko Ohira opens Sept. 29 and runs through Jan. 5, 2020, showcasing some 40 artworks of hers from the last three decades. “I love the density and layering she creates in her pieces,” says Holly Jerger, the museum’s exhibition curator. “I personally love works using paper. It’s a material most people think of as a flat surface, but she can layer it so dramatically.”

Jerger had seen her work at several group shows, including one at the now-shuttered Offramp Gallery in Pasadena and in Paperworks, a 2015 group show at Craft Contemporary, when it was known as the Craft & Folk Art Museum. In recent years the museum has been moving away from folk art and traditional craft in favor of contemporary art at the exciting intersection between craft and design — thus the name change.

Echiko grew up in Tokyo, where her architect father would bring home scrap blueprints for the kids to draw on. (She is the youngest of six.) She later studied graphic design at the prestigious Musashino Art University. Shortly after graduating, she attended an art opening where she met Minoru Ohira, a successful young sculptor who was
already getting gallery shows and winning commissions. They married, and in 1979 they moved to Mexico. “I wanted to see the world. Japan is a small island,” says Echiko, who still speaks English haltingly. “I was very curious. And we were both interested in pre-Columbian art.” The low cost of living also helped them stretch out Minoru’s earnings.

In 1982 they decided to return to Japan, so they packed up their things, put them in a van and drove across the U.S. border to Southern California. “We wanted to look around,” says Minoru, who joined us for part of the interview. “We saw we could do something here, [different] kinds of possibilities,” Echiko adds. “It was more free.”

They had planned to stay just a few months, then ship their things back to Japan. But they ended up settling in L.A. At first Minoru made a living doing carpentry, then began to show some of his sculptural pieces in commercial galleries and museums. They lived downtown when downtown was more affordable, but when they decided to buy a house, they turned to Pasadena, where they found a bungalow in 1987. Echiko started making art in the mid-’80s and says she may have been influenced by all the arts and crafts they saw in Mexico. “The materials they used were so simple.”

Today the couple shares a studio in San Gabriel, with Minoru’s workshop and machinery in the front, and Echiko working in rooms on the side and in the back. They’ve been there for more than two decades, and work is stored everywhere, propped against tables and walls, and of course in flat metal files. A petite woman with an elegant demeanor, Echiko gives me a tour through her area, filled with drawings and collage on flat paper, as well as sculptural works on the wall, a table or the floor.

Three of her larger works are on the floor, and she gingerly removes the protective plastic sheets so I can see better. Part of her Red Whirl series, the paper sheets were painted deep crimson before being assembled. They look like giant roses, their “petals” gathered densely around a center. The artist likes to work with a limited palette, mostly white, red, brown and sometimes black. White is the paper’s natural color, and she uses a watered-down acrylic for the red and black; sometimes she stains the paper with tea, which yields a soft beige and brown.

From a flat file, Echiko pulls out two albums from the late 1990s. She opens them and randomly begins to pull out one sheet at a time. “I made one every day,” she says. On the middle of each sheet is a drawing or collage or combination thereof. “It was a kind of diary,” she notes. Some individual pages may be in the Craft Contemporary show, but it hadn’t been finalized as of our interview.

Working with paper came naturally to Echiko, she says. There was always plenty of it around, and some early work was made with recycled material. She has also used newspaper, cardboard and craft paper. It’s no coincidence that several early sculptures seem to refer to the torso or the spine — she was having chronic back problems then. Untitled (Torso) (1995), measuring nearly six feet tall, is made from hundreds of pieces of tea-stained cardboard stacked horizontally, wider at the top and narrower at the bottom, like a person’s back. Nearby on a rear wall is a more columnar piece, Black Torso, made seven years later and painted in gray-black acrylic.

More recent work in the show will include the “globes,” stone-like shapes the size of ostrich eggs sitting on a table. She made them by wetting paper and forcing it into round plastic containers — she shows me a storage container she used. Then she lets them dry and paints them, at some point coating them with beeswax. While her techniques may not be complicated, they are very time-consuming.

Fortunately, her back is much better now, Echiko tells me. How did she do it? Through exercise — yoga and “every morning walking in the neighborhood.”

Finding the Center: Works by Echiko Ohira runs from Sept. 29 through Jan. 5, 2020, at Craft Contemporary, 5814 Wilshire Blvd., L.A. Hours are 11 a.m. to 5 p.m. Tuesday through Friday, 11 a.m. to 6 p.m. Saturday and Sunday, 6:30 to 9:30 p.m. the first Thursday of every month. Admission costs $9, $7 for students, teachers and seniors 65 and up; free for members and children under 10.

Mixology Month

Rev up your summer cocktails with the freshest mixers.

These past six months of examining the National Day Calendar have made me realize that, for certain causes, certain  awarenesses, the calendar is a brilliant way to get the word out and expand their reach.  For instance, July 1 is National Postal Worker Day, and I think we can all agree that it’s nice to honor these dedicated workers.  However, the calendar is also clearly a place for loonies. Do the nudists of America really expect us all to strip on July 14 for National Nude Day? (Probably not coincidentally, it is the same day as National Tape Measure Day… I do not make this stuff up.) Some of these days have clearly been created by certain groups just to show off how smart they are. I had to look up the meaning of National Yellow Pig Day (July 17), which has something to do with calculus and the number 17. (Even after I looked it up I’m still not sure what that’s about.) And I’m betting not many of you know who Edmund Clerihew Bentley is, yet July 10 is National Clerihew Day, during which you are urged to write a Clerihew –- a very specifically formatted biographical poem. It has four rhyming couplets (aa/bb), must use a person’s name in the first line, must say something about that person and must be humorous. Let try it, shall we?

Leslie Bilderback writes
And sometimes picks fights
Occasionally about food
Or whatever her mood
Okay, well, that was fun, and now I can see why they made it a National Day.    

Although July is the season for grilling and patriotism, there are relatively few such days in this month’s National Day Calendar. There is, however, a lot of booze. So much booze, in fact, that it’s doubtful anything will get done this month. Stay hydrated, everyone, because we have Anisette Day (July 2), Piña Colada Day (July 10), Mojito Day (July 11), Grand Marnier Day (July 14), Daiquiri Day (July 19), Wine and Cheese Day ( July 25) and Scotch Day (July 27). All these boozy days are certainly a clever way for companies to boost sales, though I am a bit worried that national productivity may find itself in a slump as a result. Nevertheless, I have pledged to celebrate the National Calendar this year so, in response, I am offering some homemade cocktail elements for your summer soirées.

Cocktail mixing has taken on a new life in recent years. In fact, bartenders have taken to calling themselves mixologists to emphasize new creative aspects of this vocation that have evolved. No longer is it simply the martini and gin and tonic. In finer restaurants, cocktails — and the unfortunately named “mocktails,” without alcohol — are being paired, as wine has traditionally been, with each course. Unique mixers, fancifully decorated rims, clever garnishes and artfully molded ice cubes are all a part of the cocktail arsenal now. So, to ensure you don’t look like a rookie this summer, I offer not drink recipes, but homemade cocktail ingredients that will boost your cocktail game.

The easiest cocktail mixer to make is simple syrup, which is nothing but equal parts sugar and water. (Combine them and bring the liquid to a boil until the sugar dissolves. That’s it.)  Simple syrup is the reason why drinks taste better at the bar than in your kitchen. It has long been a component of cocktails, making its way into such classics as the old-fashioned, the whiskey sour, the daiquiri, the julep — and many more. But today, the best mixologists are infusing simple syrup with flavors, opening up infinite cocktail possibilities. I love flavored syrups because, not only do they make interesting cocktails possible, they make great homemade sodas. Just combine with soda water and ice for a refreshing offering your guests will really appreciate.  (FYI — designated drivers are really sick of Diet Coke.) I’m giving you below not only my favorite summer soda syrup — strawberry rhubarb — but also lots of variations for you to try. 

The second cocktailing recipe is for homemade bitters. Bitters are another classic bar ingredient, comprised of alcohol flavored with botanical aromatics and herbs. It is designed to bring balance to your cocktail. The bitterness, which varies by brand, enhances the other flavors of the drink and helps align the ingredients, much the way salt and acid work in cooking. There are many bitters on the market, and most keep their ingredient list secret. But homemade bitters are easy to make and, like simple syrup, can be concocted to suit your personal bitter preferences. 

Both of these recipes are just examples. There are hundreds of variations to be made of and I encourage you to experiment. With these in your pantry, your summer barbecue will be the talk of the town.

Syrup and bitters from scratch
Whip yourself up a big batch
With these in your bar
I declare you a star ||||


Strawberry—Rhubarb Syrup
If you have trouble laying your hands on rhubarb, replace it with a full 2 pounds of strawberries, or substitute another tart ingredient, such as raspberry or cranberry. In addition, you can use this same basic recipe with any number of fruit, fruit-and spice or fruit-and-herb combinations. Use your imagination, and get creative. You’ll find some variation ideas after the recipe.


Ingredients

1 pound strawberries, washed, hulled and quartered
1 pound rhubarb, washed and cut into half-inch pieces
1 cup white sugar
½ cup brown sugar
2 cups water
Grated zest and juice of 1 lemon
1 teaspoon sea salt


Method
1. Combine all ingredients in a large, heavy saucepan. Bring to a boil, stirring, then reduce to a low simmer and cook, stirring occasionally, until the fruit has softened to the point of mush. It should take about 20 to 30 minutes.   

2. Place a fine mesh strainer over a large bowl, and line it with cheesecloth. Pour the fruit purée into the strainer and let it sit and drain slowly. For clear syrup, it is best not to force or press the purée free of liquid;  let gravity do it for you. After an hour, if it appears there is still liquid suspended within the pulp, squeeze it gently. Transfer the clear syrup into sterilized jars or bottles, and store in the refrigerator. Syrups should last you through the summer. For longer storage, pack in plastic containers and freeze for up to a year. (Defrost slowly in the refrigerator for best results.)

Here are some of my favorite fruit syrup variations. You may need to adjust the amount of sugar, depending on the ripeness of the fruit: plum–sage, peach–basil, cherry–vanilla, mango–lime, papaya–lemongrass, pineapple–black pepper. Once you start syrup–making, it won’t be long before you come up with your own signature syrup.


Homemade Bitters
This is a basic bitter, close in form to Angostura. But Angostura uses ingredients such as cinchona bark and gentian root — not something you can pick up at Ralphs.  Here I use accessible ingredients, but the end result is equally effective.   If you catch the bitters bug after this, the more exotic elements can be ordered online.


Ingredients
Dried peel of 1 orange (remove with a potato peeler, and set in the sun for a day, or place in a dehydrator or very low-temp oven for an hour or so, until stiff and shriveled)
2 to 3 pieces dried apple or apple skin
6 to 8 pieces dried cherry
1 cinnamon stick, crushed
2 whole cloves
3 to 4 allspice berries, crushed
3 to 4 juniper berries, crushed
3 to 4 coffee beans
2 to 3 cardamom pods, crushed
1 teaspoon cacao nibs, crushed
½ teaspoon coriander seed, crushed
¼ vanilla bean, scraped
1 quart neutral alcohol, grain alcohol or vodka (Rye or bourbon can also be used, but will impart their flavors to the finished product.)
2 to 4 tablespoons simple syrup


Method
1. Combine all ingredients except alcohol and simple syrup in a large, sterilized canning jar. Cover the ingredients with the alcohol, then cover with the top and place in a cool, dark space for 2 weeks. Shake the jar once a day to help distribute the infusion. 

2. After 2 weeks, strain out the contents of the jar, and combine the infused liquid with simple syrup to taste. (The sugar is not to sweeten as much as it is to neutralize the bitterness.)

3. Return to a sterilized jar, and set aside again for another week. At this point the bitters can be used, bottled and shared. 

Go Glamping, Backyard-style

With a little (or a lot) of help, your summer party can be the talk of the town.

The staycation phenomenon spotlighted the pleasures of hanging out inside your home, offering you a chance to relax and unwind in the comfort of your own recliner or bed, where you can get lost in an assortment of Netflix-binging options. And a new trend aims to reintroduce you to your patio, porch, deck and backyard in ways you didn’t think possible.

Now glamping, or luxurious camping — combining a nature experience with lavish furnishings — is hitting closer to home. Backyard barbecues are becoming more extravagant, baby showers more memorable. Birthday sleepovers are celebrated with enchanted flair, and simple family gatherings are benefiting from greater creativity.

Backyard glamping is officially a thing. Just scan Pinterest and see the thousands of images folks are posting of their elaborate thematic setups, their clever use of lighting draped inside and outside of canvas tents that are artfully decorated with throw pillows, Moroccan rugs and hanging chandeliers. Kids’ sleepover parties are enhanced with Martha Stewart–inspired crafts, tasteful design elements encircling the “campfire” (a.k.a. fire pit) and giant outdoor versions of Jenga and Connect Four.

If these extras sound exhausting for the time-crunched host and hostess, don’t worry. A handful of companies are making it easier for clients to throw a backyard glamping experience, because organizing a gathering — no matter how big or small — comes with its own set of stresses. Hosts work with designers to tailor the events (such as bridal showers, graduations, book-club meetings or girls’ night-outs) to be as elaborate or simple as needed. On the day of the event, all the necessary gear and accessories will be delivered and often set up for you. After the shindig, crews pack everything up so there’s no post-party hassle and cleanup.

“We started thinking we would focus on children, but we learned quickly that adults want these kinds of experiences as much as kids do,” says Trish Healy, founder of Studio City–based WonderTent Parties, launched in 2017. Originally from Australia, Healy said the idea for the company was sparked by a request from 13-year-old Celia, a child she and her husband were fostering at the time. Celia’s Christmas wish list included a sleepover, something she had yet to experience. This simple request turned into not just an unforgettable event for Celia (who’s now officially adopted by the couple) but a business opportunity for Healy, who decided to elevate the humble slumber party into a memory-making event.

And who can blame parents when they see kids having fun with their friends in a relatively nondigital manner? In addition to tents, sleeping bags, mattresses and lanterns, parties can include a karaoke machine, popcorn cart, dress-up clothes and more. Adults, says Healy, have options to kick it up a notch with five-star experiences that have included gourmet dining on low tables, wine or tequila tastings, massage tables, sushi sampling, a Tiki bar, tarot card readings and more.

Of course, low-key requests are also popular. Healy once organized a Father’s Day backyard glamping party for a few families that involved a dinner, a movie and tents. “The families brought the dads’ favorite recliners outside for them to watch the movie,” she says, explaining that clients often personalize their parties with items they already own. “Backyard glamping is all about creating a shared experience with others.”

Another company that serendipitously fell into serving backyard glampers is Los Angeles–based Joymode, which has been offering camping bundles for folks wanting to camp — without the ruggedness and/or the gear hassle — at such far-flung destinations as Joshua Tree and the Pacific Coast. Joymode drops off all the gear for you at the campsite (yes, you have to set it up yourself) and picks it up afterward. In addition to warm canvas tents, they supply rugs, air mattresses, sturdy camp chairs and other accoutrements to make your campsite the envy of the others.

Realizing that a campsite can be a close as a client’s own backyard, Joymode started offering home glamping bundles which can, according to Molly Schmidt, the company’s head of merchandise, “take an ordinary weekend or sleepover party and turn it into a magical event because you are outdoors. You can do all the traditional camping things — roast marshmallows, tell ghost stories, snuggle in your sleeping bags — but you’re not far from home. It’s the ultimate in low-tech comfort.”

Camping gear is bulky and often needed only sporadically, so renting from a company that will supply and sanitize everything is a popular choice, says Schmidt. If a person has never set up a tent before, detailed but simple instructions are included for novices. Rental products are intensely curated so folks will experience the crème de la crème of blenders, projection screens, Go-Pro cameras, even TheraGun professional massagers. “This is a way for many of our clients to get access to these items and test them out,” says Schmidt. Clients often suggest items for the company to carry; a big request lately is baby gear available for traveling parents who don’t want to lug all the extras with them. Likewise, Healy has had clients who have fallen in love with certain items (usually cushions and tableware along with kids’ products) and want to purchase them outright. “That’s another area we never thought about before,” she says.

But cool accessories aside, the experience is what really matters. When her preschool daughter’s annual camping trip to Big Pines was rained out earlier this year, Mary Everard of West Los Angeles canceled her Joymode gear delivery but decided to rent a backyard tent package that included a projector and screen for Disney movies. “It was really fun, we made a weekend of it,” she says, explaining that she wanted her two older children (ages 3 and 5) to have good memories of these “little things that are out of the ordinary that they did with their family when they were young.”

At its core, backyard glamping is about human connection, explains Healy. “We are living in an age when people are a little removed from each other, even with social media,” she says. “This is about bringing friends and family together in a loving home environment where you can create amazing experiences. It’s a natural extension of the comfort and warmth of your home — and how wonderful that you want to share that with friends and others around you.”

Should You Backyard Glamp?

Hosting an event in your own backyard has pros and cons, says Kelsey Sheofsky, the founder of Shelter Co., a luxury pop-up camping and outdoor-events supplier based in Northern California. In addition to managing large events, Sheofsky has overseen numerous backyard kid’s parties, bar mitzvahs and 50th birthdays as well as large weddings and other formal events.

Smaller events are easier to plan, and “when you are in your backyard, you are on familiar ground,” she adds. Crowd control is not the only issue with large events. “There are lots of considerations and costs, especially things you might not automatically think about, like landscape lighting, parking and how a septic system will hold up,” she says.

For overnight events, there is always a fear that guests won’t enjoy the experience. “People are always concerned, saying that ‘My family doesn’t camp!’ They don’t like being outdoors” says Sheofsky. “But 100 percent of the time, we get people telling us that they have had the best sleep in years in our tents. So warm and cozy. Don’t be afraid if you think you don’t have an outdoor crowd — they will really enjoy themselves.”

Thinking about a summer backyard glamping event? Designers and party-planners say to let your own creativity be your guide, especially when you want to keep the budget low but fun factor high. Keep the audience in mind, whether it’s adolescent girls, middle-school boys, members of your book club or out-of-town family members.

In general, look around your closets and garage for items that can — with a few glam touches — be repurposed outside. Maybe a trip to local thrift stores, Ikea, Cost Plus, Costco and Target is in order.  Remember, style and substance along with unusual activities can transform a simple gathering into the Best Summer Party Ever.

Here are suggestions to get your
glamping started:

1) It’s glamping, so you’ve got to have a tent or a tent-like enclosure to define a party-mood space. You can dust off that extra-large tent that’s been in your garage for years, or assemble a series of pop-up canopies decorated with fabric swaths to create a breezy gazebo structure. There’s always the “tie a rope between tall trees and create tipi-like structures” approach as well. Depending on your gathering, you may want just one main party space or a series of rooms. Will there be a food tent? Lounge tent? Movie tent? Sleeping tent? Even for the budget-minded, this is one item you may want to rent since it’s the main piece of infrastructure. You might want to think beyond traditional canvas tents; consider inflatable bubble tents, which are all the rage in the eco-glamping community. Based in Arizona, Bubble Huts (bubblehuts.com) offers a selection of see-through structures so you can feel like you are outside…even when you are technically inside.

2) Furnishings: From mud-cloth to frills, from velvety to plush — pillows of all sizes and shapes will make your backyard event even glampier. Woven rugs add earthy textures to the landscape. Colorful rugs beckon guests to sit, stretch out and relax among friends. Low tables encourage lounging.

3) Eating spaces can be tricky. How formal or casual is the event? Simple dishware can be easier to clean up. Will there be a sit-down area or buffet line? Maybe food will be sprinkled throughout various tables and tents? Prepare food in advance so you’re not stuck behind a grill the entire party. Finger foods are perfect. Of course, what’s a camping dessert without the obligatory s’mores? Use dark chocolate, trendy flavored marshmallows and toast over your fire pit.

4) Lighting: The event will probably incorporate dusk and nighttime — it’s camping! Light up the Tiki torches and string twinkly white lights around the landscape. Strategically position camping lanterns to set the mood. Opt for flameless candles. Solar-powered wine-bottle lights cast a rosy golden glow after the sun goes down. Create a kaleidoscope of color with Bliss Lights laser projections (blisslights.com), which fling a whirl of rainbow colors onto trees, fences and outdoor walls.

5) Forgo the candles and bug spray, and glam up your insect deterrent. The Mosquito Repellent DecoShield Lantern (decoshield.com) uses pleasant-smelling all-natural essential oils and repels mosquitos and biting flies within a 300-square-foot space. It’s encased in a stylish cover and also serves as a lantern, casting a soft glow.

6) The details: As with all creative endeavors, the devil is in the details. Arrange cut flowers in mason jars. Incorporate antique sculptures and colorful swaths of flowy scarves and other materials, lacy hangings and art weavings. Possibilities are endless.

7) But in the end, it’s the shared activities that will make your party. Have friends bring over their guitars, ukuleles, bongos and keyboards for an impromptu jam session. If it’s warm, splurge on a three-person adult-size inflatable pool (from Target) and take turns. Oversized Jenga and Connect Four seem more fun outdoors. But hands down, watching a movie on a large outdoor screen — maybe a GPX projection screen — while you are snuggled up in a sleeping bag with your kids or cozying up to your sweetie could be the ultimate in backyard glamping. Now, the big decision: Which movie will you watch?

            B.R.

The Beefless Summer

Save the planet and your taste buds by grilling veggies and topping them with dressings and marinades.

It’s officially summer, which in Southern California (and most of America) means outdoor activities. The beach, the park, the public pool and, of course, the backyard. This is the season when entertaining officially moves outside.

But lately, especially here in California, summer outdoor activities have faced a number of obstacles. Though we’ve had a record wet spring, I am bracing for a repeat of last year’s extreme heat, which drove me back inside more than once. A sky full of smoke from wild fires, which experts warn will become the new normal, also kept me in. And all that rainwater has produced an unusually large crop of mosquitos, which made hanging outside in the cool dusk — prime BBQ hours — miserable and hazardous. But even if none of those elements keep you inside this summer, these environmental changes are going to force us to reevaluate our idea of summer fun.There is no doubt that climate change has altered our environment. That I can see it in my lifetime is upsetting enough. What lies in store for my progeny is what keeps me up at night. Sure, your canvas tote bag and solar-powered phone charger are totally helping. But if you really want to make an impact, there is one significant thing you can do right now. 

Stop eating beef. 

By now, everyone is aware that factory farming is killing the planet. Numerous studies, international political movements and films have been highlighting the dangers for over a decade. (The 2008 film Food Inc. changed the way I sourced product at work.) There have been moderate attempts to offer planet-friendly alternatives to the masses, such as cage-free eggs and grass-fed meat. Chefs are creating plant-based menus, and the faux “Impossible Burger” is available from the best white-tableclothed joint to Burger King. But we still drool at the first whiff of charring meat. I’m fairly convinced that the Char Boy burger joint in my neighborhood doesn’t need to vent its grill smoke onto the street — but doing so is advertising genius. 

What will it take to get Americans to lay off cows? Perhaps the best incentive is fear of planetary extinction. 

While the “they’re coming for our hamburgers” rhetoric has been used as fodder for the anti–Green New Deal faction (the deal that, by the way, mentions nothing about beef), it is true that switching to a plant-focused diet is the single biggest thing we can do to lower greenhouse-gas emissions. In fact, of the four most important changes humans can make — eat plants, limit air travel, go car-free and have smaller families — giving up meat will have the largest impact, and it is the only one I am readily able to do. (Reminder — broccoli is cheaper than a Tesla.)

A recent National Academy of Sciences study on the environmental impact of animal foods looked at five of the most consumed animal products — beef, dairy, pork, poultry and eggs. It makes perfect sense that beef, the largest of the factory-farmed animals, is 10 times more damaging to the planet than other animal foods we consume. Beef production is responsible for 20 percent of greenhouse gas emissions. Cutting out red meat would do more for the planet than abandoning cars. It would also be easier and faster. (Which is a relief, because I love driving my manual transmission way more than I love beef.)

Although total livestock is the largest land user worldwide, the beef production uses 28 times more land, and 11 times more water, than each of the other four animal products. This means that you don’t even need to go as far as veganism to make an impact. Although, when compared to plant food production, beef uses 160 times more land, and creates 11 times the emissions. And because we live in a drought-familiar part of the country, you might find it interesting that one pound of beef requires 2,400 gallons of water, while one pound of wheat uses a mere 25 gallons. So, yeah, thanks for putting that brick in your toilet tank and turning off the faucet while you brush, but how ’bout you lay off the carne asada this weekend? It will save more water than a year of skipped showers.

I know. It’s grilling season. And grilling is as ’Merican as hamburger. And while I am encouraging you to lay off meat completely, I will settle for a temporary abstention from beef. To facilitate this, I am offering some suggestions for beef-free grilling that will not only make your smoke-choked, mosquito-infested barbeque a success, they will also help stem the tide of global warming.

My biggest peeve regarding vegetarianism is the compulsion many feel to make it seem like meat. Plants taste good as they are, and to disguise them does Mother Nature a disservice. Literally anything can be grilled, and everything is improved with the taste of the grill. Vegetable grilling is not rocket science, and there are a plethora of ideas in cookbooks and on the Internet for you to sift through. I have rounded up some of my favorites, with the caveat that you can easily create your own versions. I routinely grill all kinds of vegetables in the summer — not just the standard Portobello mushrooms and corn (which are perfect and delicious). Try quartered cauliflower, skewered Brussels sprouts, sliced winter squash, asparagus spears (place them perpendicular to the grill slats!), whole cherry tomatoes, hearts of romaine or radicchio and avocados (halved and pitted with skin on). Once the veggies are charred, they can be tossed with a dressing, chopped and stuffed into flatbread or sandwiched between buns.

Giving up meat altogether would be the ideal. But asking 400 million people to go meatless without some sort of immediate incentive (because it’s obvious that saving the planet is not enough of a motivator) is going to be challenging. What I will ask, though, is for you to give up red meat, at least a couple days a week. By doing this, you can still significantly reduce your carbon footprint.


GRILLED VEGETABLE DRESSINGS AND MARINADES

All of these marinades are prepared by simply mixing all the ingredients together and macerating with your chosen vegetables for about 1 hour before grilling. When the veggies hit the grill, cook them until they are marked and a little charred. No need to check internal temperatures! Times will vary depending on the vegetables, but nothing will take longer than five to 10 minutes. You can grill veggies individually, lock them into a grilling basket or thread them on skewers. It’s easier, healthier and more conscience-soothing than a steak ever was.


Indian Curried Yogurt Marinade
Try this with quartered red onion, cauliflower, halved new potatoes, green beans and pumpkin. It’s great for chicken too. Scoop it up with some garlic naan.

Ingredients
2 cups plain yogurt
6 cloves garlic, minced
2 to 3 tablespoons grated ginger
3 tablespoons tandoori or garam masala spice blend
¼ cup coconut or canola oil


Middle-Eastern Pomegranate Marinade
Try this with halved parsnips, turnips, carrots, romaine hearts or summer squash.  Not bad with lamb either. Serve with some grilled pita and fresh hummus.

Ingredients
1 cup plain yogurt
1 cup pomegranate juice
¼ cup balsamic vinegar
Grated zest of 1 lemon
1 chopped shallot
1 teaspoon sesame oil
1 teaspoon cumin
1 teaspoon cinnamon
Pinch of sea salt


Thai Green Curry Marinade
Try this with red or yellow bell peppers, zucchini, whole green onions, new potatoes, sweet potatoes, asparagus and wedged green or Savoy cabbage. Toss them into a dish of noodles or over a bowl of rice. It’s also great for shrimp.


Ingredients
1 cup coconut milk
Grated zest and juice of 1 lime
2 tablespoons coconut or canola oil
1 tablespoon grated ginger
1 teaspoon ground cumin
¼ cup finely chopped cilantro
2 to 4 tablespoons green curry paste


Provençal Marinade
Perfect for zucchini, mushrooms, tomatoes, eggplant, fennel and artichokes. Chop them and layer onto a grilled flatbread, then top with goat cheese for a decadent summer pizza.


Ingredients
Grated zest and juice of 1 lemon
¼ cup red wine vinegar
½ cup olive oil
2 tablespoons Dijon mustard
1 tablespoon honey
1 tablespoon prepared pesto
1 tablespoon herbes de Provence (or ½ tablespoon each of thyme, oregano, rosemary, lavender)


Soy Balsamic Marinade
Use this for summer squash, eggplant, whole baby bok choy, green onions, broccoli and carrots. It’s also perfect for your favorite firm fish filet. Finish with fresh chopped cilantro and black sesame seeds.


Ingredients
¼ cup balsamic vinegar
3 tablespoon soy sauce or tamari
1 tablespoon honey or maple syrup
2 tablespoons olive oil
½ teaspoon sesame oil
2 cloves garlic, minced


Sesame Peanut Marinade
Try with bok choy, cauliflower, whole small or halved large carrots, parsnips, zucchini, sweet potatoes and even pineapple wheels. Terrific on pork too.


Ingredients
¼ cup peanut butter
¼ cup rice wine vinegar
2 tablespoons soy sauce
2 tablespoons sesame oil
2 tablespoons peanut oil
1 tablespoon honey
1 to 2 tablespoons chili garlic sauce or Sriracha


Spicy Marinade for Tropical Fruit
Try this marinade for mango, pineapple, kiwi and bananas, firm melons and cucumbers. Then serve the finished fruits over cool sorbet with a coconut macaroon.


Ingredients
½ cup maple syrup
Grated zest and juice of 1 lime
¼ teaspoon ground cumin
¼ teaspoon nutmeg
¼ teaspoon cinnamon
¼ teaspoon cayenne


Honey Port Marinade for…
Try this with whole figs, peaches, plums, pears and, when the season arrives in the fall, persimmons. Spoon over vanilla ice cream, or into a crispy meringue cup.


Ingredients
1 cup Port wine
1 tablespoon honey
1 tablespoon brown sugar
Grated zest and juice of 1 orange
1 teaspoon cracked black pepper
½ teaspoon ground cardamom

Outdoor Fitness

Stadium Fitness promises to train you “where legends have played.”

It’s 5:55 a.m. on an overcast Friday in late May and I’m standing outside the entrance of the venerable Rose Bowl stadium in the Arroyo Seco. Looking around, I notice that the crowds of recreational runners and bikers so common on the weekends are nowhere to be found. It’s still and quiet. I turn back toward the stadium and think about its history: how it has been home to 105 New Year’s Day post-season collegiate football contests; how A-list musical acts, from Journey and Depeche Mode in the ’80s to Taylor Swift and Beyoncé in recent years, have performed here. I think of all the events I’ve personally attended: AmericaFest, the Independence Day fireworks extravaganza, UCLA football games, the longstanding annual Turkey Tussle game between Pasadena and Muir high schools, end-of-year American Youth Soccer Organization presentations, Billy Graham’s last Southern California crusade, in 2004. But this morning, I’m not here as a spectator. I’m here as a participant in what can only be considered an exceptional workout opportunity: In five minutes, I will be inside the Rose Bowl, running 77 stairs to the top of the stadium alongside other early risers who have made their way here for a 6 a.m. workout.   

I like the idea of exercising outside again, especially now that the days are warmer and longer. Running on the three-mile loop that surrounds the Rose Bowl used to be part of my regular routine, but lately my workouts — primarily weights and fitness classes — have been inside the gym. As I wait for the stadium gate to be unlocked, I’m not 100 percent sure what I’ll be doing this morning besides scaling the stairs. But I’m excited; I love new athletic challenges. Who will be in this early–morning session, I wonder. Marathon runners? Elite athletes? I soon find out that it’s a lot of regular folk who are just interested in staying healthy in a very cool setting.

David Liston, the founder and co-owner of Stadium Fitness, has a unique arrangement with the Rose Bowl Operating Company that has allowed him to bring health and wellness to the community, as well as the bowl’s own employees, since 2009. He greets me warmly at the gate and tells me to head into the stadium. If you’ve never done it, I recommend walking into a completely empty Rose Bowl. It’s a bit of a cinematic moment, heading through the dark tunnel and emerging into the early morning light (even on this gray day) to be greeted by the historic green field that has seen so many contests and the nearly 91,000 seats that surround it. “You should see it when it’s clear and the sun is just coming up,” he tells me.

There are about 16 of us this morning and we come in a wide range of ages. Liston is particularly proud of Bernie, 75, the group’s senior member, who has been maintaining her fitness by working out in the stadium three times a week for years.

Before I even begin, Liston asks me what kind of physical activity I already do, gauging my fitness level. I tell him about my gym repertoire and about the triathlons and half-marathons I’ve done in the past. Confident that I can handle a lap around the perimeter of the field, he sends me off with the other folks doing the same. Liston doesn’t lead a class in the traditional sense; rather, he works out each of his clients according to their ability, giving what he calls “individual workouts in a group setting.”

When I return, warmed up and eager for the next challenge, he asks me if I’m ready for some stairs. I nod enthusiastically. My next assignment is to run — four times and row by row — up the 77 steps that lead to the top of the stadium and back down again. In a race with myself, I bound up the stairs, making great progress…until I reach the 65th step. That’s when my legs start burning from the exertion, slowing me down to a walk-run pace. It’s not enough to make me stop, though. I make it to the top, feeling triumphant, before heading down for round two. By the time I reach the bottom, my legs have recovered enough for me to begin sprinting up the next row. Each time, I slow at stair 65. But I make it, and I feel good.

It turns out that Stadium Fitness workouts aren’t just about running. For the next hour, I alternate between stair sets and other moves that target my arms, legs and core: lunges, bicep curls, triceps dips and pushups. After each exercise, Liston checks in with me: “How do you feel?” “How are the legs?” “Ready to run the stairs again?”

Liston began his career as a seventh-grade social studies teacher in his native Massachusetts before arriving in Pasadena in 1996 to work with his brother, who was already involved in fitness. It’s easy to see that he still loves teaching. During the course of the hour, Liston connects with all his clients, not just me. He remembers each one’s workout goals, ailments and what’s going on in their lives. “I try to ‘touch’ everyone three times an hour. I can have multiple conversations going on at the same time. My wife says I would be a good air-traffic controller,” he says with a laugh.

Although we’re not down on the field today — the South Korean boy band BTS recently performed and, as a result, new sod has been laid  — Liston says that about 75 percent of the time his groups are down there running sprints and “doing a lot of fun group exercise stuff” such as partner and running exercises, relay races and agility training. Stadium Fitness participants work out in the locker room on occasion, particularly in the winter. “If it’s 39 degrees [outside] everyone is like, ‘Can we please start inside?’” he says. They also stay inside when it rains.

Kids as young as 11 have worked out with Stadium Fitness — Liston accepts youth based on their maturity level — but the youngest average about 12 or 13, he says. Particularly in the summer, “we encourage people to bring their kids to the 8:30 a.m. class,” he says. The 6 a.m. class I am sampling is for people, like me, who have to go to work.

The hour goes by quickly and, when it’s over, I ask Liston what makes his workouts so popular. “For most people, exercise has to be fun for them to do it on a regular basis,” he says. “Eighty percent of exercise is getting to the place to do the exercise. It’s easier to let someone tell you what to do.”


Stadium Fitness
(626) 232-6900 • stadiumfitness.com
Classes are ongoing and meet Mondays at 6 a.m., 8:30 a.m. and 6 p.m.;
Tuesdays and Thursdays, 6 and 6:30 p.m.; Wednesdays and Fridays, 6
and 8:30 a.m.;

Single class $25/Student $18
10-Class Pack ($22/class): $220
24-Class Pack ($16.63/class): $399
1-month unlimited: $150
Other pricing available


Boot Camp Pasadena

A couple of days before I ran the stairs with Stadium Fitness, I sampled a 5:45 a.m. class with Boot Camp Pasadena, another early-morning group-exercise business that has been putting people through their paces for a decade.

Founder Stephen Cooper, a personal trainer with nearly 30 years of experience, leads all the early-morning and early-evening (6 p.m.) classes, which take place Monday, Wednesday and Friday or Tuesday and Thursday near the Pasadena-Altadena border. (Contact him for details.) Despite what the name implies, there’s no military-style training at Boot Camp Pasadena. You won’t find Cooper wearing camouflage or barking instructions. His approach is decidedly low-key and he considers his clients friends, not soldiers. “I don’t think instructors have to yell to be effective,” he says.

Cooper touts BCP as a toning and fat-burning program. There’s no running of stairs, just some sprints, along with targeted muscle work using TRX suspension training, medicine balls, kettle bells and boxing, among other things. “People love the stress release of boxing,” Cooper says, “and some people have a lot of stress!”

His clients, who are primarily in their 30s to 50s, come to Boot Camp Pasadena not only because they want accountability in their workouts and wouldn’t necessarily exercise on their own but because it’s a friendly environment where people of different fitness levels can work out together. There’s no competition among the participants; in fact, they encourage one another. “They like being in the group because there’s camaraderie,” he says.

Cooper wants his clients to make their workouts a regular part of their lives, and a number of them have been with him almost from the beginning. “I can tell when it clicks with people; for a while they’re hoping that some kind of fad diet is going to help them lose the weight or change them dramatically,” he says. “It takes them a while to realize, ‘Okay, this is a serious commitment, it’s a habit; once they realize that, they’re calmer and they see the payoff.”

Like Stadium Fitness’ Liston, Cooper prides himself on knowing his clients’ needs. It’s that personal touch, he says, that keeps bringing people back.

            N.H.


Boot Camp Pasadena
(626) 509-9958 • bootcamppasadena.com
Classes are ongoing and meet Mondays, Wednesdays and Fridays or Tuesdays and Thursdays:
Mornings: 5:45 to 6:30
Evenings: 6 to 6:45
One-time rate: $18–$20 per class
Monthly rates: $135–$175