Pilates+Sip at LA’s First Distillery

Sunday Funday’s sweat sessions are only made better when it starts off with Pilates & Sips! Set inside LA’s very first distillery, opened in Downtown Pilates+Sip is a great way to have an accessible, social, workout experience to DTLA. Pilates & Sip is an opportunity to  build core strength, increase flexibility and boost endurance followed by post practice socializing with all-natural Greenbar Distillery organic spirits. A fun balance of work and play, Pilates & Sip is a great pre-brunch adventure that will leave you feeling refreshed and relaxed lead by Trainer Mari Porter.

  • Date: Sunday October 29 2017
  • Start time: 11am – 12.45pm
  • Price: $39.99
    • Save $10 with Early Bird Coupon Code: SIPONSUNDAY
  • Location: Greenbar Distillery, 2459 E 8th St, Los Angeles, California, 90021

Reserve your spot today! https://greenbardistillery.com/visit-distillery/pilates-sip/


Ely Anne Vedar

Fashion & Lifestyle Editor

While California feels like it’s always been her home, Hawaii, San Francisco, Las Vegas and the Philippines are just a few places Ely Anne has lived thus cultivating her lifelong appetite for finding, trying and sharing new adventures, especially through food and wellness activities. She loves how food can always bring people together – anywhere, any time – and that’s what fuels her passion for public relations and marketing. Ely finds it invigorating to have a hand in seeing brands thrive in their community by using her PR, marketing and event production skills.

Jorge Ayala at PERI.A Trunk Show Alert

Jorge Ayala at PERI.A Trunk Show Alert

PERI.A Los Angeles will be hosting a special trunk show for Designer Jorge Ayala this Thursday October 26th.


The namesake ready-to-wear label, Jorge Ayala Paris, is founded in Paris by Mexico-born Ayala in 2013. Created for the daring and outspoken, Ayala takes a novel architectural approach to design, merging often different patterns, prints and textiles.

Jorge Ayala will be customizing limited edition denim styles designed for PERI.A exclusively at the event.

Guests will also be able to enjoy champagne, light bites, and music from 4p-8p at PER.A located at 146 N. Robertson Blvd.

Space is limited so RSVP today [email protected]

The “Neo Native: Toward New Mythologies” show at the Sam & Alfreda Maloof Foundation: An interview with curator and contributing artist Tony Abeyta

The “Neo Native: Toward New Mythologies” show at the Sam & Alfreda Maloof Foundation: An interview with curator and contributing artist Tony Abeyta


“We are exploring ways that traditional forms and practices, iconography and ancestral mythologies influence the expression of contemporary Native artists’ urbanity, modernity, technology and social priorities.”

 Tony Abeyta

Neo Native: Toward New Mythologies is a current show of over forty contemporary Native American artworks, now on view at the historic Sam and Alfreda Maloof Foundation for Arts and Crafts in Rancho Cucamonga (www.malooffoundation.org)

Ancestry Image 02 by Steven Paul Judd (Kiowa/Choctaw) (photo courtesy of Steven Paul Judd)

Ancestry Image by Steven Paul Judd (Kiowa/Choctaw) (Photo courtesy of Steven Paul Judd)

Racial Profiling by Craig George (Navajo) (photo: James Hart)

Gunfire Muted Light 03 by Monte Little (Navajo/Dine) (photo: Tom and Tony Bostick, courtesy of the Sam and Alfred Maloof Foundation)

Racial Profiling by Craig George (Navajo) (photo: James Hart)

After the Fall by Cannupa Hanska Luger (Arikara/Hidatsa/Mandan/Lakota)(Photo James Hart)

Wild Man of the Woods by Preston Singletary (photo: Preston Singletary Inc)

This dynamic show runs thru January 7, 2018 (gallery is open Thursdays and Saturdays, 1-4pm) and features the work of eleven North American tribal artists – representing a variety of indigenous tribes. Curated by the New Mexican (Navajo/Dine) painter, Tony Abeyta the show includes works of painting, glass, ceramics, photography, video and mixed media.

NeoNative explores the ways in which indigenous artists are thinking about their place in modern culture and the continuing challenge of preserving their traditions in the face of modernity. This theme seems particularly important in the current political climate, celebrating the views of all Americans, and honoring our indigenous populations.

Well-known makers such as contemporary glass artist Preston Singletary (Tlingit) who recreates traditional forms in contemporary glass share the space with up-and-coming artists such as Steven Paul Judd (Kiowa/Choctaw) whose mixed media works include altered early photographs of native peoples incongruously matched with modern “mythical creatures” such as the ubiquitous yellow Minions, Teenage Mutant Ninja Turtles and a particularly powerful image of Star Wars TIE fighters buzzing over Plains Indian Teepees.

This exhibit is just the latest in a long running series of art and design shows at the Maloof Foundation’s Jacobs Education Gallery Center.

“Exhibitions are an important part of the Maloof’s ongoing education mission,” notes executive director Jim Rawitsch. “Last year’s Maloof Centennial exhibitions gave us a way to bridge Sam’s legacy to the future, and Neo Native adds to that forward journey, celebrating Sam’s passion for Native American art in surprising and contemporary ways and opens eyes, I think, about the range of what contemporary Native art can be.”

Tony Abeyta, the curator of NeoNative, was a close friend of Sam Maloof and considered him a father figure. Abeyta and Maloof had discussed the idea of a contemporary Native show years previously, but it took some time for this show to materialize. Maloof passed in 2009, before the show had a chance to take shape. In the Maloof Foundation newsletter Abeyta notes:

“In so many ways this exhibition grew organically from ourdialogue, carrying forward Sam’s progressive interest in Save & Exit indigenous art and artists.”

SoCal Magazine was fortunate to speak at length with Mr. Abeyta about the unique origins of the Neo Native show as well as his special relationship with his mentor and friend, the late California legend, Sam Maloof (1916-2009).

Katie Nartonis: The “Neo Native: Toward New Mythologies” show that you put together is top level – it’s so good.

Tony Abeyta: I know, I know (enthusiastically) I’m super proud of that, and I got to pick the work that went in!

A lot of the artists are friends, that community of artists is a circle of super progressive Native Americans that are engaged in full-time art careers. They are addressing modernity and also looking at the traditional connections between indigenous people. It is also about what is the progressive role of art and where are we going next.  It’s one of the eternal questions.  

 I think many of the artists that I curated in the show are all engaged in the same conversation. ‘Where did we come from and where are we taking all of this? How can we create change?’ I think that was sort of the criteria for any of these artists. There were 10 artists that didn’t make the cut on the show – we just didn’t have the space!

At some point I’d like to see this as a larger exhibition. You know, to merge it into a more comprehensive show, but we had to consider the economics. There are some really wonderful people who are not included in the show that I felt should have been.

KN: The show that you put together feels very rich, it doesn’t feel like you had to cut any corners.

TA: We got a nice grant from one of the local Indian tribes, the San Miguel tribe, and that was really important.  And the Maloof Foundation was supportive with money and the really super gallery space. I initially took a look at the space and determined we were at 11 artists. It took a while, just to talk to the artists and get an idea of what they were currently working on, as well as the ideas that they could create and engage in. I also wanted to look at how they would relate to the theme.

Curator Tony Abeyta and ceramicist Diego Romero (Cochiti Pueblo) at the NeoNative Show (Diego’s ceramic work in foreground) Photo courtesy of Tom and Tony Bostick, Courtesy of the Sam and Alfreda Maloof Foundation)

KN: Tell me about your relationship with Sam Maloof and the origins of the show?

TA: I met Sam right after my father Narciso Abeyta (Painter and silversmith 1918-1998) had died. Sam had collected some paintings of my fathers, but I had never heard of Sam Maloof.  Regionally, I had barely heard of Nakashima! (laughs)

And so, I was working on a show at LACMA West of my own paintings and I just called him and I said “Sam, my name is Tony and my Dad was Narciso Abeyta.” Sam remembered me from when I was a little kid, and he immediately invited me to visit him at his studio and home in Southern California.

The Sam Maloof home and studio (photo courtesy of the Sam and Alfreda Maloof Foundation)

TA: The next week I just showed up, and Sam and I just hit it off.  We talked a lot about art, and furniture and pottery and Native American Art. He was very paternal from the very beginning – In giving me advice and spiritual insight, and you know, artistic direction. So he came into my life when I probably needed somebody like that. I’d lost my Mom and my Father, and meeting Sam was just a blessing.

Sam and I would go to the Palm Springs Modernism Show and he would show me stuff and introduce me to everybody. I learned a lot from him by looking and watching him work, seeing how he handled people and his relationship with artists. He always gifted people with an immense amount of care, attention. He was clear about craftsmanship, and loving what you did and knowing how to talk about it. The relationship was incredibly “father/son” I just kinda came into his life at a good time.

When they moved the house and studio and built the gallery, Sam told me he wanted to curate a show of Native American Art. At that time, I had started getting really busy and Sam passed away before we had the chance to do it together. We left that idea hanging, but it was always on the table and something I always wanted to do. When the (Maloof) Foundation came to me and said, ‘we’d like to pick up that ball’ I just had it on the tip of my tongue, and I knew who I want to be in the show. So, I just said – let’s just do it!

A lot of these artists (included in NeoNative) are really moving and shaking at the top of their game. Because of that, they are opening other shows in other cities, they are lecturing, and so it was really tough to get the paintings from all over. The bulk of the work we got from the artists directly and it took us a good year to get it all shipped and to prepare the catalogue. I’m very proud of it.

 KN: It’s a beautiful show catalog, and I’m so grateful I could be there for the show opening. What a great crowd! It was good to see so many of the artists there in person.

TA: Yeah, a lot of them were there, and they had a super time. It’s all really a part of the tradition that Sam spent so much of his life doing which was cultivating creative people and inspiring them. So really, it’s what being an artist is authentically about. It’s about creating a community of like-minded creative people merged to show one another what they are capable of. You know, human experience is whatever we make from our culture.

 KN: Thanks so much Tony, for your time.

 TA: It was perfect timing, I needed a break from painting!

The exhibition, made possible with support from the San Manuel Band of Mission Indians and others, seeks to share the vision of artists whose work is informed by traditions within tribal cultures, but whose themes express a newfound contemporary narrative.

Show Information:

The Sam and Alfreda Maloof Foundation

Jacobs Education Gallery Center

5131 Carnelian Street, Rancho Cucamonga, CA 91701

All exhibits FREE to the public and is open on Thurs and Sat, 12-4 pm, or with custom tour.


Featured artists (and tribal affiliations) include: 

Christi Belcourt (Metis)

Gerald Clarke, Jr. (Cahuilla)

Craig George (Navajo – Diné)

Steven Paul Judd (Kiowa/Choctaw)

Monty Little (Diné)

Cannupa Hanska Luger (Arikara/Hidatsa/Mandan/Lakota)

Kent Monkman (Cree),

Cara Romero (Chemehuevi)

Diego Romero (Cochiti Pueblo)

Preston Singletary (Tlingit).


Katie Nartonis, Art & Design Editor for SoCal Magazine, is a writer, curator, documentary filmmaker and design specialist whose focus is the historical West Coast art and design scene.



Fashion & Coding Come Together at CS+X Dress Code Event At Google Venice

Fashion & Coding Come Together at CS+X Dress Code Event At Google Venice

For it’s third installment, the CS+X event series presented the Google Dress Code event at Google’s Venice offices on a recent Thursday evening.

In collaboration with The National Center for Women & Information Technology (NCWIT), Miss Bella Graham Consulting, and Eileen Brown Kahn Consulting, Google presented a special event for high school students from the greater Los Angeles area that allowed them to explore how computer science can take many forms into our everyday lives, specially in fashion technology!

Photo Credit: Getty Images for Google

Photo Credit: SoCal Mag / Ely Anne Vedar

Photo Credit: SoCal Mag / Ely Anne Vedar

Students were than treated to Freeform’s The Fosters’ Cierra Ramirez introducing opening remarks by Google’s Head of CS in Media Multicultural Strategy, Daraiha Greene followed by a Keynote Speech by Founder and CEO of PlayWerks and WhizGirls Academy, Lecturer at USC Viterbi and Gamer Shirin Salemnia.

The evening’s first panel, “CS+Fashion Industry Panel” treated students in attendance to life steering career advice from industry leaders (Pictured below left to right): 3D Designer, Entrepreneur, Digital Sculptor and Co-Founder, Pixsweet – Janne Kyttanen; Jacquard by Google’s Experience Design Lead, Nina Walia; Dalia MacPhee, Celebrity Fashion Designer and Tech Innovator; 22 year old Nina Vir, Founder and CEO of Daily Dress Me; and Digital Media Strategist and Fashion Influencer, Ishmael Mayhew; Moderated by Bria Sullivan, a Software Engineer at Google.

Photo Credit: Getty Images for Google

The “Tech Style Influencers Panel” rounded off the evening with insights from (Pictured below left to right): Moderated by Jon Youshaei, a Product Marketing Manger at Google; Fashion Designer and Editor-in-Chief of Fashionlyfe.com and the BritxBrat2Fashion YouTube Channel Brittany Dke; Digital Media Strategist (Coding)/Fashion Branding Mentor, Jon Phenom; YouTuber and Owner of LA Sunnies, Ale La Chula; YouTube star, Cloe Couture; and Fashion, Lifestyle and Travel Influencer, Darren Moulden.

Visit g.co/csedu to learn more about Google’s mission to increase CS opportunities for all – regardless of gender, ethnicity, geography, or socio-economic level – and aim to inspire young people everywhere not just to use technology, but to create it.

Ely Anne Vedar

Fashion & Lifestyle Editor

While California feels like it’s always been her home, Hawaii, San Francisco, Las Vegas and the Philippines are just a few places Ely Anne has lived thus cultivating her lifelong appetite for finding, trying and sharing new adventures, especially through food and wellness activities. She loves how food can always bring people together – anywhere, any time – and that’s what fuels her passion for public relations and marketing. Ely finds it invigorating to have a hand in seeing brands thrive in their community by using her PR, marketing and event production skills. [email protected]

Safe Screen

Safe Screen

Take Your Pick

Two lab results by the same doctor on the same day, reveal two completely different results.

           “Breast cancer should be the #1 issue for any woman.

             They should all be saying “enough of this bullshit”.”

By Niki Smart * Photographed by Jared Rubin

This is a personal story for me because I’ve suffered with dense, fibrocystic breasts since forever. I was 15 when I had my first scare due to severe lumps, resulting in a breast aspiration. My lumps have gone on and on, and I know that caffeine exacerbates lumps, ergo I’ve always been careful with my caffeine intake.
Be that as it may, I’ve had several more cysts aspirated; I’ve had lumps surgically removed; I’ve had 2 biopsies, and it’s just no fun whatsoever. Each time a new mass appears, I worry that I have cancer, and dread the procedure that I’m about to face. Since I’m quite small-framed and don’t have much breast tissue, mammograms are fairly painful (I believe they’re painful even if you have ample breast tissue). I’ve grown to loathe mammograms, not only because they’re painful but because they’re 100% guaranteed to be inconclusive for my breast type, which means an ultrasound will soon follow. That too, is usually inconclusive, and then the surgeon will start digging about in my breast – which is scary, painful and expensive on top of everything else.
To add to my confusion/frustration, I once received two different results (they arrived on the same day).from a mammogram done at Kaiser Permanente
One letter said – you are in the clear, no follow up needed.
The other said – you urgently need a biopsy.
Both letters were signed on the same day, by the same doctor. Not very reassuring is it?
Another thing of note was that every lump that required attention was always in my right breast. You’d think that would have been a clue for any doctor right? Apparently not.
Finally, after years of scares and strange lumps, the biggest mass of all showed up on my mammogram results.
“That’s a 50% chance of being cancer,” the department head nurse at Kaiser Permanente told me when I refused to have a “core” biopsy.
I was sick and tired of people cutting and digging into my breast and I just couldn’t bear to have another biopsy. Plus, I’ve heard that if you do have cancer, a biopsy can sometimes actually spread the cancer cells. Whether or not that’s true, I can’t say, but it certainly puts me off. So I went on a mission to find out what alternative non-invasive tests were out there to determine breast health.
I went for Thermography – an infrared heat reading that can pinpoint cancer. I went for Suretouch – similar to an ultrasound experience but it detects differences in hardness under the layers of soft tissue, and professes to be able to catch cancer 5 years ahead of a mammogram.
Both the Thermography and the Suretouch are painless and radiation free, but they couldn’t completely put my mind at ease. They both registered a large mass in my right breast, and both results said it didn’t seem likely to be cancer, but they couldn’t 100% guarantee this.
A friend told me about Dr. Kelly and his SonoCiné ultrasound – she didn’t just tell me about him, she sang his praises, so I made an appointment with Dr. Kelly.

Okay – so what is this technique? The SonoCiné is an automated whole breast ultrasound – a simple procedure similar to a regular ultrasound, but more thorough.
First of all, you have to wear a mesh vest – a proprietary camisole developed for the SonoCiné that fits like a sports bra. This helps to hold your breasts in place (which is especially helpful for women with larger breasts), and prevents the technologist from going over the same area twice. Next, you have a hydrogel nipple pad placed over your areola to flatten it, which prevents any shadows from causing a false reading. (Dr. Kelly has a patent on this nipple pad).
You lie on your back as your technician scans your upper areas with a hand held roller device capturing rows sequentially from below the collarbone to the lower margin of the breast. Then the SonoCiné machine relays the images to film.

Dr. Kelly stresses that it’s important to train the technologist to make enough images – 3mm apart at the most, so when watching the film, one can spot cancer small enough to stop it becoming a problem.
Once I was done being scanned, Dr. Kelly watched my film with me at his side. He pointed out everything he was
seeing, and assured me that my large mass was definitely NOT cancer. Well, I just wanted to kiss him for that alone, but then he asked me a question that no other health professional in 30+ years has ever asked me.
“What do you do on the right side of your body that is different form the left? Do you carry your handbag on your right shoulder?”
I had to think for a moment – then it came to me.
“I play guitar and the body of the guitar hits me exactly on my right breast.”
“That’s it” Dr. Kelly smiled. “The vibration from your guitar has altered the tissue in your right breast.”
He further explained that violin players can get this same tissue distortion in their necks from the vibration of their violins. Well, now I wanted to kiss and hug and squeeze Dr. Kelly, not only because he is adorable and the sweetest man, but because he had solved a life-long issue for me. Thank you a million times, Dr. Kelly.


I was so impressed with Dr. Kelly that I had to go back and interview the good doctor – because this man deserves attention – as do your breasts.

How long have you been in the “breast” business?
I’ve been a radiologist since 1975, and solely a breast radiologist since 1982. I realized that I could improve on the current ultrasound technology and by 1998 I’d come up with SonoCiné. Two years later (in 2000) I had a test run on 500 women. On one woman, the SonoCiné detected a cancer in each breast – her right and left – neither mammogram, nor ultrasound had picked up these cancers. This is when I knew I was definitely right – up until then my ideas had been theoretic.

Why is the SonoCiné better for dense breasts?
A mammogram stacks images and cancer is like a bear in the forest – fatty, or dense breasts have many leaves – meaning, mammograms aren’t great for dense breasts. Plus a mammogram has the extra risk of radiation and SonoCiné avoids the radiation. The SonoCiné can catch cancer at 10mm or less. 40-50% of cancers are felt before they are seen on a mammogram. By this time their size is 17mm-25mm.

Can you tell me more about your text and drive theory?
The human brain can’t successfully text and drive at the same time. You may think you can, but your brain physically can’t focus completely on both tasks at the same time – they require the same part of the brain to do. Same thing with a regular ultrasound. The technician is reading the monitor at the same time as focusing on sliding the roller across your chest. If you separate the two actions, there is less room for error and if you improve the gathering of information by having the images closer together – then the readings will be easier. With the SonoCiné reading, you give the film your entire attention in a distraction-free environment. This method of review has been shown to increase the detection of cancers as small as 5mm – 10mm in size.

What about MRIs as a way to screen for cancer of the breast?
People may think an MRI is the way to be sure – but MRI injects heavy metal into your system. In a tight spot, an MRI is okay, but you can’t use it once a year as a screening procedure. That would be reckless as the gadolinium stays with you and ends up in brain and your bones.

How many SonoCiné machines are there?
There are now 50 SonoCiné machines worldwide.

How many women do you see in a month on average?
About 100.

Do you think there are a lot of unnecessary biopsies/removals?
Ultrasound is more definitive – but understanding is variable in this country.
In UK, Europe and Canada – they are better at understanding the images.

What do you recommend for women at this point?
Do both – in the interim.

Do you think we keep doing mammograms because it’s cheaper for the medical field? Insurance companies? Is it expensive to replace the machinery?
Oh yes. This is a game changer. Disruptive technology means someone loses.

Talking of money, where do you get your funding?
The Bank of Kelly. I’ve put everything into this. I’ve even mortgaged my house, which didn’t make my wife too happy, I can tell you. But I know that about 3000 women die every month from breast cancer in America alone. The rate is higher in China, with 1 woman per minute. There are approximately 190,000 new cases of breast cancer annually. And about 40,610 women in the U.S. are expected to die in 2017 from breast cancer. Breast cancer should be the #1 issue for any woman. They should all be saying “enough of this bullshit”.

Here at SoCal magazine, we couldn’t agree more.

For more information on Dr. Kelly’s SoneCine click here


Other Screenings without Radiation
SureTouch: The SureTouch Breast Exam is painless, radiation free and delivers immediate results. Breasts are examined quickly and comfortably without compression. The patented, hand-held, SureTouch sensor glides easily over the entire breast and underarm area and detects differences in hardness under the layers of soft tissue. Its 192 sensing elements capture and document the shape, location, size and hardness of breast lesions.  Any breast lesions are displayed on the SureTouch console screen in multi-dimensional full-color images. Because images are digitally stored for future reference, results can be tracked and compared for changes over time. http://suretouch.us

Digital Infrared Imaging detects the heat produced by increased blood vessel circulation and metabolic changes associated with a tumor’s genesis and growth. A thermography session can detect thermal signs that may suggest a pre-cancerous state of the breast, or signs of cancer at an extremely early stage. However, Digital Infrared Imaging does not have the ability to detect 100% of all cancers. Consequently, Digital Infrared Imaging’s role is in addition (to mammography and physical examination, not in lieu of. www.breastthermography.com


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