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We make music.
www.noiseroot.com email:rob@noiseroot.com
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contributors Sobrina Tung
Born and raised in San Jose, Sobrina has lived in Los Angeles, San Francisco, and Walnut Creek but has found that the availability of parking and friendly people in San Jose just can’t be beat. She loves the delicious and whimsical aspects of life. In addition to her writing and styling contributions for Content Magazine, you can find her musings on delightful things to eat, see, and wear on her blog at www.QuietLikeHorses.com.
Paul Ferradas Paul Ferradas is a fashion photographer based in San Francisco, CA. Just a few years ago he picked up a camera, subscribed to countless top fashion magazines, and quickly started developing his own style. He currently shoots ads and editorial campaigns for designers and helps develop portfolios for models and actors seeking representation from the Bay Area’s local talent and modeling agencies. Paul gives ua look at some Eatern influenced designs from FNK Asiap in a Western landscape p. www.ferradasphotography.com
Morgan Kalakosky A writer and DJ, Moragn has lived in San Jose since 1997, first on the East Side then Willow Glen and most recently in Fruitdale. He can tell you where all the best taquerias and pho noodle houses are. He is the creator of www.cinequesting. org which is devoted to bringing us all the great happenings and films shown each year at Cinequest. Morgan also has the coolest collection of board games. This issue Moragn give us a look in one of Cinequest’s Co-Founders, Kathleen Powell.
shapers Daniel Garcia-Cultivator daniel@content-magazine.com Sarah Garcia-Marketing sarahg@content-magazine.com Sobrina Tung-Marketing sobrina@content-magazine.com Satcy Ernst-Connector Stacy@content-magazine.com Sarah Hale-Sustainer sarahh@content-magazine.com
For advertising information please contact: advertising@content-magazine.com. Submissions and contributions are welcome. Please read “Submission” details under the “About Content” tab on our website. content magazine is a bi-monthly on-line publication about life and style in San Jose, California. Reproduction, duplication, distribution and remix are encouraged provided you give credit to the material source and artists and allow the same conditions to your contributions. Find out more about our copyright license at creativecommons.org.
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Contributors Design FIkat Profiles FChristine Benjamin FKathleen Powell Feature FOn-line Dating Fashion FEast + West FSpring T’s Cultivator’s Notes F Information FContent Magazine FSan Jose, Ca FInquires Feditor (at) content-magazine.cm Fwww.content-magazine.com
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tableofcontents March/April 2011
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design
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Ikat
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Ikat
by Steveyann Jensen
Ikat patterns are everywhere this spring‌again! We love that there has been a continual revival of this trend over the past few years; maybe it’s making its way from trend to classic? Either way, these bold, bright patterns can instantly add an exotic pop of color to your home this spring. Ikat (pronounced EE-kaht) is a method of weaving that uses a resist dyeing process similar to tie-dye where the dye is applied to individual sections of yarn before being woven together to create the final fabric pattern. The patterns can range from simple dots to elaborate designs, but they are easy to recognize given their distinctive blurry, geometric designs.
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Here are some ways to add a little Ikat into your life! Target Blue & White Dinnerware Collection $9.99 – $14.99
Sheherazade Accent Pillow $125
Anthropologie Loomed Bowls $14 ea
CB2 Accent Pillow $29.95
Crate & Barrel Dishtowels $3.95 ea (also available in blue & green)
Urban Outfitters Slipper Chair $329
West Elm Woven Baskets $39 - $59
Anthropologie Finn Rocker $1698
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profiles
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Christine Benjamin Kathleen Powell
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christine benjamin Interview & Photography by Daniel Garcia
“I feel like there is not enough time to do all the things I want to do. There is a never ending amount of ideas coming into my head…. “
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Tucked in the quiet homes of Willow Glen, San Jose Native Christine Benjamin balances art, family and daily walks with her dog, Mr. Bon Bon. In her home studio, Christine is able to chip away at the flood of ideas that come to her and create amidst taking her son to school, errands and working into the late hours. Her home is welcoming and bright just like her paintings and illustrations: bright colors and funky vintage. Christine’s Spanish and Italian heritage seem to echo in her and her surroundings, that at the same time represent the distinct style that is San Jose: raw and edgy but playful. Content: What is your story of how you got to where you are now as a artist? Christine: I started out as Graphic Design and Illustrations major at San Jose State and had to take a fine arts class. Since I had an illustration job when I graduated, so I started doing graphic design right away. And I continued that until I went out as a freelance illustration and graphic designer. I was able to do tons of work for Yahoo, especially in the boom of 2000-2001. I did stuff for Weezer and Sundance Film festival. But then things started to dwindle down and people began to do more things in-house. So Illustration was getting cut from the budget. I was getting low-balled...I understand, people just had to cut budgets. So, I thought I should go out, stop doing illustration and do my painting and get into galleries. This was in about 2006.
With the Internet it is pretty easy to find out what is going on and where to show. You can look at the style of their showing and then submit. Most places are really good about responding and giving feedback. I am involved at Kaleid Gallery, Kaleid Gallery and I am also the curator for Psycho Donuts. So it is fun to look for people to show and to be involved in that process. I think it is important to be involved and helping younger artists. But, I do show all over, like Atlanta, Iowa, Michigan, and San Francisco. And, I try to encourage the younger artists to submit to different shows. And, in turn they have encouraged me to submit to shows I didn’t know about. Content: Do you still feel “trepidation” when you are submitting work? Yeah, there was a show that my friend kept telling me to submit to but it was a big gallery so I kept putting it off. But she just told me, “you never know
Content: How do you promote your work?
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until you try” so I did, but it is funny to have that feeling even now.
I really just love looking at other people’s work and trade and buy other people’s art. But Jim Woodring, a cartoonist, his stuff is very bright with colors and weird creatures with a real creepiness and playfulness. And Chuck Close, his technique just floors me. Just amazing. There seems to be a transition to more dolls in your work. Is that to stretch you as an artist? Christine: It’s because I get bored easily (laughter). And, I have to stretch myself. I had a friend who showed me a book about needle felting and there were examples of this woman’s work who had created these three dimensional dolls out of this needle felting technique and I thought, “yeah, that’s cute, but nah…” Then I heard about a needle-felting workshop so I invited that friend to go with me because I thought she’d like it. I didn’t really think much about. So, I was sitting there and started to get really excited and thinking, “I can make my creators and people from my paintings out of this material.” I had done 3-D work for some children books with Sculpey, but it was very brittle. So, when I saw this material I was amazed at the possibilities of seeing my characters. I thought, “Wow, imagine if they could be held. ” So I made my first doll, which was this green alien cat, and when my friend saw it she fell in love with it and didn’t want to put it
There is a “spunky” edge to your work and characters. Is that a reflection of who you are, or who you want to be? I would say that it is definitely me. I am social and fun, I still think I am 20-something (laughter). I still go to the Blank Club and see punk bands. I love that edgy raw work--that’s what inspires me. I love monsters, aliens, Sci-Fi and all that funky stuff. You know like Twilight zone, I love the Twilight Zone. It seems that even though you have monsters and aliens you have more of a “joy” in your work than most artists that have these same characters. They seem darker, or don’t have the “fun” I see in your work. Yeah, I do want to have a joy in it. I love stuff that can be sad, but I get tired of that stuff too. I’d rather see stuff where the colors are brighter. I like a really creepy monster with one eye hanging out but then bright colors that are more like the classic sci-fi, like the B-movies with a fun side and playfulness. I like that kind of thing. Whose work inspires you?
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down. So, I thought, “Oh, there is something going on here!” And, I thought, “this is good, I need to do this.” So I started using paper clay that air-dries really lightweight and started covering it with the felt. And, now, I am really excited about it. Something’s really happening. What have you seen in your own progression as an artist from the commercial graphic artist to now? It is a lot more interesting to me and a lot more inspiring to me to do my images rather than to do an illustration for a magazine. I am really good at “concepting” and having the Illustration background has really helped in that I can come up with concepts and meet deadlines, really tight deadlines. It helps you become an artist who has that kind of background that isn’t just working on something forever or going to art school but to actually produce. It’s just a whole way of thinking. So I don’t think I’ve changed but that I am bringing something to my fine art part that others who haven’t had that commercial experience can’t draw from. But I don’t think I have been changed. What is your voice, what are you trying to convey? I just want to be able to keep coming up with new ideas and to grow as an artist, technically. Artists always want to get better, technique wise, or color wise and the way they are showing it. As an artist, I just want to improve. I just want to keep exploring and to be progressing forward. It seems like the artists that produce great work always keep growing. They seem to always feel like they haven’t arrived. It is always the quest for getting better. I want people to look at my work and maybe “forgot to swallow.” You know, to have people look at my work and see something different the next time they look at it. And, then they look at it again and see something else. It’s fun to have a narrative or something going on…with little mystery.
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kathleen powell 18
Engineering Cinequest
Interview by Morgan Kalakosky
Photography by Daniel Garcia
Styling by Sobrina Tung
Make-up by Christa Lakoduk
Jewelry from Ibiss
Knits from Very Knit Shop
Kathleen Powell on two decades of Cinequest and making the best damn French fries you possibly can
It is Saturday, February 20th 2011 and I am standing in the lobby of the Cinequest headquarters for the first time. After attending the festival for 9 years and blogging about it for 5, it feels a bit overdue. Like meeting your fiancé’s parents for the first time during your walk down the aisle. It’s a little surreal to say the least. I am met by Britney Welbey, my PR sherpa, and together we walk up a stairway that leads to two offices. In the left office is Halfdan Hussey, a co-founder of Cinequest. He is working on a laptop, sitting in a fairly plain looking office chair. To be 100% honest I am a little disappointed. I always imagined he worked on a yoga ball in the lotus position, his blue eyes calm as a reflecting pool, a trained eagle perched nearby, a portrait of strength, Zen and...wait a sec, where am I? I’m here today to interview Kathleen Powell, co-founder of Cinequest and occupant of the office to the right. I go in, take a seat and ask my first question: Morgan: What inspired you to co-found Cinequest? Was it 1990 when that happened? Kathleen: Halfdan and I were inspired to start the company in 1989 after going to Venice Italy. We were there to premiere He’s Still There, a film that we worked on while I was in graduate school in Colorado. We went to the Venice Film Festival and just had an incredible experience. It was held in a huge Italian movie palace, with people that just love arts and film. So we wanted that unique experience back with us to America and found a home for it in San Jose.
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Highland Alpaca shrug - $295 Gold Branch necklace - $20
Morgan: Why do you think Cinequest and San Jose are such a perfect match for each other? Kathleen: Well, Silicon Valley was founded by mavericks. Maverick technologists and engineers. Last year did you have a chance to see The Real Revolutionaries? I did, yes. It was just such an inspiring film about the engineers of the first microchip, they had no idea what they were going to create, they had no idea what they were doing or how it would change the world. That inspiration, that creativity and that passion they had aligns directly with what Cinequest is all about. Why do you think for it’s important for people to see independent films? Well, the independent filmmaker has so much to say. It really is where the true art of filmmaking takes place; it’s not based upon box office or who’s the hottest actor at the time or what the marketing
trends are. They’re making films they’re passionate about. It is an incredibly long and painstaking process. That is what our audiences seek out and connect to. I think that’s where you see really unique, inspiring films. You’re talking about a desire to do something great. And letting that come through everything you do. Yes, exactly. A couple of weeks ago I was just on a roll about something, that somebody hadn’t performed to the level that I needed them to perform. I was really livid. Dorinda, our bookkeeper, teaches classes on accounting, and she said to me “Kathleen, some of my students are under performers and proud of it. One student told me ‘some people have to cook the French fries.’” That’s fine, I told her, but if you’re going to cook the best damn French fries. Don’t waste your fucking time on making greasy stuff that people are not going to enjoy eating. Cook the French fries that you are going to experience at a 5 star resort. Otherwise don’t cook them. And so we’ve started the Golden
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Andina Alpaca Cowl - $175 Gunmetal knot bracelet - $24 21
“The mission when we began was always about empowering the maverick.” Fry award. Where you are recognized by your peers for doing a great job. It’s about really executing that level of excellence and it’s what has sustained Cinequest for 21 years. What do you attribute your continued success to here in year 21? Well, I think the staff, who are all incredible, committed people with us for a very long time that create Cinequest. Halfdan is at the center of all of that, because he has always been the visionary behind Cinequest. He has held true to that vision of empowering the maverick. When others push us in one direction, he always pulls us back. And really wants to ensure that that company really focuses on integrity and champions artists first. So through his vision that inspires 400 volunteers who comes out every year and work around the clock to make Cinequest happen. They’re committed, for sure. Absolutely committed. I think that ties into my next question, which is, what do you think is the mission of Cinequest, or at least, what was the mission when you began? The mission when we began was always about empowering the maverick. So it really was always focused on the maverick artists, the people who have no boundaries, people of integrity and vision who does not conform to a certain path. That’s what we’ve always been about. How has your mission evolved, has technology changed Cinequest? It really has. Cinequest was about 10 years old when technology started impacting independent filmmaking in a profound way. It seems like the technological advances in filmmaking, making it cheaper, faster, with better quality shifts the balance back to storytellers. And the tools are small enough to fit in your pocket. I have a phone on my desk right now that let’s you shoot and edit a Ken Burns-style documentary right on the fly. There are places where bringing a full sized camera would be inappropriate or dangerous. It’s incredibly empowering for the next generation of maverick filmmakers. OK, I’m switching gears here, I know Cinequest starts in ten days so your mind is on the myriad of things you have to do before then. Put that aside and jump forward to the day after closing night
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Cashmere wrap /scarf $375 Chain star bracelet $20
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Grey fabric & turquoise necklace- $36
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and take me through planning for next year. Well, we’re already planning for next year. [laughs] OK, so it’s already begun. There is never downtime at Cinequest, and there are certain areas that ramp and have peak moments, but for Halfdan and I there is never any downtime. How do you keep up the endurance needed to run Cinequest? Well, it’s tough at times. Halfdan and I have moments throughout the year where we’re tired. Probably twice a year for each of us. Never at the same time, luckily! And then we get a letter from a former volunteer, like we did a few days ago, who was impacted by Cinequest 7 or 8 years ago. He wrote about how Cinequest changed his life. He was a kid who weighed over 300 pounds, and was headed for suicide and just spiraling downward but he was inspired by his experience at Cinequest. Now he is in shape, and running triathlons and, you know, off in a filmmaking career... Letters like that have to help sustain you. Anything else that keeps you going during the year? Well, when the festival opens next week, you’ll know. You’ll understand why when you see artists connecting with an audience. You see how appreciative people are to be part of it. You’ve said that Halfdan is the visionary, but who is Kathleen? What’s your role for Cinequest? Well, I think my role has always been really on the business side, the foundation of keeping Cinequest in the black all these years. That’s probably an area I’m most proud of. Cinequest is not a burden on our sponsors or the community. From day one Halfdan and I pledged that we would never run the company outside of our resources, and that we would never take loans or go into debt. And that means we make tough choices... Would’ve been tough the first few years, I imagine. Oh, it’s tough every year. It really is, because you have to look critically at every single thing. My role is always saying no, that we can’t do it, and cut back, and so on. Quality is the first thing on my mind at all times. I can tell you the exact pages in the program guide this year that I wish were different. I come from an engineering background and my Master’s thesis was on testing. My mindset is a test engineer: somebody who doesn’t care how it works, only how it can be broken and fixed to make it better. And so it really is kind of my mentality. That’s how I look at things. From an engineer’s eye. From an engineer’s eye, exactly. They will have the website ready to go live and the first button I poke is broken. I just instinctively know. That’s my nature but I work on it. I really do work on trying to give more positive feedback. But that’s the only way Cinequest will ever get better. Not settling for something that’s mediocre, and trying to find the best people to help you get there. If you are going to produce anything at all, produce something that’s really great. Even if it’s just French fries. [laughs] Yes! Especially if it’s French fries.
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feature
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On-line Dating
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THE DATING WEB
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I nterview by So b r ina T u ng www .qu ietli keh o rses. co m
L ayout by k im Le Illustrations by Ben Alexy
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aving tested the online dating waters on and off for near ly four years, Nat, a S an Jose native, is a pro at identifying the profiles to avoid. She has a list of red flags, or “no -no’s” as she calls them, that she steers clear of, such as profiles that
contain grammatical er rors, blur r y pic tures, or the use of “z ” instead of “s” to pluralize words such as “gamez ” or “ lolz.” “I’ve also lear ned that ever ybody loves outdoor ac tivities, traveling, and cook ing. When I first star ted online dating, I’d see these listed as hobbies on a guy ’s profile and it used to be eye catching—until I saw it listed on ever yone’s profile,” Nat says. Even though it may be hard to discr iminate true outdoor lovers in the sea of selfproclaimed rock- climbing junk ies, online dating has had its appeal in ter ms of providing a large pool of dating candidates. “ When I first moved back to S an Jose from L.A., I didn’t k now anyone, and all my co -wor kers we re
“Online dating was becoming more common, and it’s really efficient,”
mar r ied. Online dating was becoming more common, and it ’s really efficient,” she says. “ You can either send out lots of winks and messages online or go to a bar and talk to a bunch of people. But online, you can assume ever yone on a dating site is single, unless you are on AshleyM adison.com. You don’t have to have that awk ward first date to find out someone’s not a fit.”
I n her time spent on eHar mony, M atch.com, and OkCupid, she’s had her fair share of good dates and bad dates. “Did I hit it off with ever yone? No. But for the most par t, I’d say the dates I went on were pleasant, although I’ve met few people where I’ve felt real chemistr y,” she says. Nat is quick to share her online dating stor ies, and it becomes clear that although online dating allows you to first connec t with someone via a vir tual “ wink ,” it ’s not too ter r ibly different than traditional dating.
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“I n lieu of having your fr iend introduce you to her other single fr iend at a supposedly random dinner par t y, when you meet someon e online you can exchange messages via email or IM before you decide to take the nex t step, which could be talk ing over the phone or meeting in person. I f I’m meeting someone for the first time, I meet in a public place like a coffee shop or a restaurant. O f course, my fr iends always ask for the guy ’s name, to see his pic ture, and for me to let them k now when I see him and when I leave the date —just to be safe. I f things are still good af ter the first date, you go out again. Isn’t that what happens in traditional dating?” She once dated a guy who’d regular ly wear a cowboy hat (“I thought it was cute,” she says) , and when she descr ibes their relationship, it sounds not unlike those of many of the couples I k now that met through fr iends or at a bar. “ We’d meet up af ter wor k to grab dr inks or dinner, watch Jeopardy together, or dance to countr y music in the back yard. He was always a gentleman and would insist on paying for ever ything. We’d ha ng out with each other ’s fr iends on the weekend.” However cute and fun her cowboy had been, she’s also exper ienced the side of online
Some o n l i n e d a te rs , emb old e n ed b y a n on descrip t s c re e n n a m e a nd w i t h o u t a fa ce to-face co n n e c t i o n to hold the m a cco u n t a b l e , say and d o t h i n g s t h e y probab l y wo u l d n eve r sa y o r d o i n rea l l i fe .
dating that results from user anonymit y. S ome online daters, emboldened by a nondescr ipt screen name and without a face -to face connec tion to hold them accountable, say and do things they probably would never say or do in real life. One
guy
she
had
exchanged
a
few
messages with ended up cutting their online
relationship
shor t
when
he,
in
bet ween spewing profanit y, called her attention-seek ing
and
average -look ing
and demanded she take her profile down.
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When I ask what abominable thing she had done to offend him, she answers simply, “I told him I was free on a Sunday when he asked me out. He told me Sunday is the lef tover day gir ls give to guys they ’re not really interested in, and that he can take a hint.” S eeing the sur pr ise on my face, she continues, “And he’s an elementar y school teacher.” Unner ved, Nat says she’s met a lot of people online and that nothing sur pr ises her anymore. I n fac t, she still keeps an ac tive profile up on one of the popular dating sites and stays in contac t with dates that have since become fr iends. Af ter telling me about her bad exper iences (which would have been enough to send me running), she offers hope and a word of advice to those new to online dating. “Anyone interested in dating should give it a chance — you have nothing to lose. Online dat ing is the new bar scene. Just be honest in ter ms of what you’re look ing for. R espec t other people’s search cr iter ia, too. I f the shoe doesn’t fit, don’t tr y to shove your foot in it.“
Visit w w w.content-magazine.com for Q&A with couples who met on-line.
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fashion
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East+West Spring T’s
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Left: Black embroidered shrug: $155 Right: Cranberry embroidered shrug: $155 Necklace: Green beads on a fabric braid: $30
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Photography by Paul Ferradas
Photography by Paul Ferradas Isabella with Ford Models Micha with Halvorson Hair and Makeup by Aliya Qazi Designs by FNK Asiap
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East + West
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3-piece beige netted dress with rhinestones, pants and scarf: $325
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Black flared dress with rhinestones: $385
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Black embroidered shrug: $155
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Peacock pattern brown top: $175 Brown chudridar pant: $65 Multicolor beaded bangles, set of 12: $15
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cultivator’s notes 2011 issue 3.0
I guess I am just curious. I want to know. I want to know what is going on and who is around me. I love San Jose and the more I have an oppurtunity to meet the people who live here, the more I love this place...and the more I want to know about it. And, that’s bottom line of what Content is about: getting to know what’s in San Jose. This issue we get to know San Jose native artist , Christine Benjiman and Kathleen Powell, co-founder of Cinequest. These two women are not only great people but have helped bring the arts and culture to San Jose. I think you will enjoy getting to know them and their work.
Daniel Garcia, Cultivator daniel@content-magazine.com
Cover Image: Ashley of HMM the 408. 46
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