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1st Issue Cover by Houston Sharp, Digital Painting, Commisioned for Rokoko Magazine, 2010.

Literary 4Articles and Essays

• More Than A Market

• An Impossible Journey

• The Process of Goal Definition

• Collaborative Fashion

• Tough Love

• Breaking Out: Jeana Lee

Creative Fiction

• Taxi

• Ode to Art, Music, Poetry

• Ink Settled Images

• Buoy

• First Snow

VisuaL 18• Se7en

• Brings Madness with the Bliss

• Sand Nude

• Spoons

• Untitled

Community 24• Gastronomic Map of the A.V.• Use Your Democracy!• From our Kitchen

Contents

rocaille… Rokoko was, several months ago, a half-baked idea, an imaginary newslet-ter between the editor and his friends. The idea spread through casual conver-sation, word of mouth and hard work until it became a full-fledged magazine, here for your reading pleasure. This is the premier issue. The mission of Rokoko Magazine is to be an advocate for the artists, writ-ers and other creative people of the Antelope Valley and beyond, especially for youth, students, hobbyists and beginning professionals. The popular opinion that our cities and towns are vacuums or dead zones is very much wrong and needs to be challenged. It is in all our interest to recognize these talented peo-ple before we lose them to the glamour of large schools and big cities. We need only scratch the surface to realize that our friends and neighbours have some-thing important and worthwhile to share. This is why Rokoko is compiled, to give back to these people and to bring exposure to their gifts. It's a community project, printed and produced in ab-sence of a profit, which the editor and staff hope will in turn shape our commu-nity for the better and become a source of inspiration and education. This first issue is dedicated to the earliest supporters, the ones who recom-mended us to their friends and who bravely sent perfect strangers their personal work for public display.

You will encounter the astonishing art of Houston Sharp, a young man only recently out of high school with great ambition and talent. You will also read a great observational piece by Yollotl Lopez and two very inspiring essays by Susan Moses and John Tebar. You may enjoy and relate to our interviews with Jeana Lee, Walter Moran and Jenine Necerina Juri, all three aspiring young people on the verge of breaking out of their shells and into their respec-tive fields. We have a variety of creative fiction, prose and poetry, from Molly Lasslet, Benjamin Andrews, Ranée Dillon, Patricia A Slijepcevic and Joseph Christian Ligunas. If you're feeling visual, we have photographs and paintings by Johanna Rae Waasdorp, Cervants, Ali Rae Pursley and Jonathan Garcia. We've even included a guide on where to eat if you're a librarian pressed on time, courtesy of Oleg Kagan. Jesse Duncan's infamous fried chicken, the edi-tor's secret tamales with red mole, and a neutral look at your representatives by Kelli Fallon cap off this issue. There is something for everyone and we hope you will consider being part of Rokoko's future issues. If you want to tell us how much you loved or hated something, want to know how to contribute or to contact one of our contributors—send us a mes-sage to inquire@rokoko.me We will help you in any way we can.

César Vega

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More Than a MarketMany of us drive past thinking it’s just a Mexican supermarket, but Vallarta Markets have long been veritable community

centers and hubs for a surprising variety of people, ideas and cultures.

Vallarta Supermarkets are often dismissed as the “immigrant corner”, but as they become more numerous in our community, they have come to

symbolize a lot more than a grocery store but rather repre-sent the inhabitants of the surrounding area. The demand for imported products comes not only from the minority population, but the others who frequent the store as well, showing a growing interest in diverse food and low prices. The building is no longer just a building; it has become a pillar for the community and a center for trade, just as the Silk Road was for the Romans and the Chinese. Food is no longer just food, but a language that perforates the cultural differences, allowing people to see the similarities among themselves. The shoppers are no longer just shoppers, but a community of people speaking and sharing ideas that were waiting in silence for one ice breaker to set them free. Vallarta Supermarkets have become a symbol of positive change for Southern California, but most importantly, the Antelope Valley. The similarities between the open-air markets in other countries and Vallarta Supermarkets have been created in order to give immigrants a chance to feel as though they are back in their native land. People from different upbringings, who would otherwise keep to them-selves, are joined together by a supermarket, while seeking

the most vital necessity of life–food. The building itself is designed in the architectural Hacienda style that is prominent in both the Philippines and Latin America, due to the Spanish colonization of both areas. Although Southern California has many examples of this style, there are few businesses that purposely choose this style in order to create a mood as the creators of Vallar-ta Supermarkets have done. Crossing the threshold of the store, my eyes are filled with color bursting from the ceiling to the floor. Color is a prominent feature of a market place in Latin America and Vallarta has fully exploited every color in the rainbow, whereas every “American” grocery store is bland in its décor. The hacienda style that is exem-plified on the outside is mirrored inside the building on the walls with replicas of hacienda windows with bougainvillea vines crawling up the walls. The ceiling is painted sky blue with floating clouds resembling a beautiful spring day. The market is divided into sections as would be an open-air market: fruits and vegetables in the middle area, fish and meats in separate corner, and baked goods by the entrance. All the food is categorized and displayed by how one might prepare it in a meal. The jars of condi-ments are placed next to the meat area because no meat is ever complete without at least twenty different spices and

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a sauce that will make your nose run with its potency. The coffee is next to the cookies for a late night discussion on the economy before bed. The sausage is next to the cheese because that is how it is served in the early morning for the strength to complete a long day of work. The shelves and displays are not the only places used for the exposure of products, but the top of shelves are filled with clay pots and wooden whisks for making Mexican hot chocolate. Everything is ordered in the way it is prepared or the way it is found in an open-air market and this factor appeals to those who grew up with this kind of environment. When I observe the employees at Vallarta Supermar-kets, they seem to separate themselves into two groups dictated by age and upbringing, rather than ethnicity as happens at other supermarkets. The younger employees that walk around with one or two buttons undone and wrinkled pants are usually USA-born and come in after normal school hours. These younger employees saunter around and comment on the latest iPod they wish to buy or the attractive fruit arranger in the next aisle, ignoring the pile-up of shopping carts in the parking lot. The older employees are pristinely dressed with freshly pressed clothes and combed hair. These older employees also move at a much faster pace, because many of them are immigrants that have come looking for a better life and take their em-ployment as a life changing factor, not a dispensable after-school job. The older employees also seem to take pride in their task even if it is simply polishing and arranging apples in an attractive manner. All my life I had wondered why the fruit had to be polished with a shiny, greasy wax, but no worker ever had an answer for me. I asked one of the older employees about the shiny tomatoes and he gave me a five minute lecture about the process and reason behind it. He smiled as he explained and then told me, “You know, no one really cares about this. They think I just stack tomatoes mindlessly.” I was later told by another worker, that the tomato man was an agriculturist in Colombia, but had to come here because there was no work available in Colombia. This fact brought me new insight and appreciation, not only for tomatoes, but the opportunities available in the United States. It seems that even if difference between older and younger workers separates them into cliques; some people work at Vallarta Supermarkets because it provides a comfortable environment where they can use their knowledge of Latino food products. The shoppers that come from as many back-grounds as employees themselves and seek to find not only products, but workers that will know what they are talking about when they ask, “Where are the chiles habaneros?.” While the typical image of a shopper in a grocery store is a female pushing a shopping cart with a small child inside amusing him or herself with Legos, the shop-

pers of today are both men and women of all ages and backgrounds. While both genders often bring their small children, most of the women place the children inside the shopping cart in the passenger seat; the men let the chil-dren walk beside them. Another significant difference is the manner in which they move about the store; the men pull the carts from the smaller end with one hand while women push from the side with the handles. Children tug at their parents’ clothes and point to a rainbow of paper crepe piñatas hanging from a wire strung across the store like a clothesline which sways in the breeze created by the air conditioner. Children smile when they see Dora the Explorer, Spongebob Squarepants and Batman pictures plastered on the round, cardboard piñatas, unaware that it will only get ripped to shreds with the next birthday party. Immigrants are frequent shoppers in Vallarta Super-markets and use it as a place where they can reminisce about home and point to products they wished they could afford in their country. One shopper without children points to the piñatas, but says that one day he will be able to buy one for his son who is still in Mexico. Some im-migrants buy candy wishing they could have their children

here with them in a land of plenty where they can finally afford these small luxuries. A possible cause for this variety of shoppers is the fluctuating economy of Southern California that has more employment opportunities than other places in the United States at this time. More people today find themselves with jobs that take place at irregular hours as opposed to a nine-to-five job and this allows both parents to work at different times and trade off care of the children while the other is at work. A possible cause for the gender variety is the changing gender roles in contemporary society where more men have decided to become the primary caregivers of the children while more women work outside the home. These economical and sociological changes have allowed men to become more involved with the food choices of their families. The environment of Vallarta Supermarkets in the Southern California differs from other parts of the United States, not only for the fact that it is unique in its set-up, but for the concentration of immigrants in the Antelope Valley. Places, such as New York City, that have a large number of immigrants do not necessarily have a gathering place for many cultures to mingle. New York City is di-vided by districts that each contain a culture of people that

This fact brought me new insight and appreciation, not only for tomatoes, but the opportunities available in the United States.

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have their own grocery stores that cater to only their needs. The Antelope Valley is a kaleidoscope of various races and cultural backgrounds including the Latinos and Filipinos who are brought together by this market for its unique establishment and imported goods. The cultural mixing may seem obvious to most South-ern Californians, but this did not occur until the recent crop up of Vallarta Supermarkets in the late 1990s. Before Vallarta Supermarkets, there was only Ralph's, Albertson’s, and Stater Brothers available for groceries in the Antelope Valley and anything slightly ethnic was only available in Los Angeles, in Chinatown or Olvera Street. Even as more immigrants poured into the Antelope Valley, Vallarta Supermarkets were only located in the “barrio” areas of Simi Valley, and thus unavailable for anyone living on the outskirts of L.A. County until the recent extension of the company to the Antelope Valley. Vallarta Supermarkets have become the pillar of our community for minority races and immigrants due to their location and imported products. Whereas the center of many American communities used to be a religious gather-ing place, the Antelope Valley is so religiously diverse; the idea does not apply at all. Instead, the gathering place for many minority groups has become Vallarta Supermarkets and not a religious temple. The similarity between the Latino and Filipino culture may not seem apparent to the observer at first, but the fact that both groups come to Val-larta Supermarkets seeking the same ingredients, found in few other places, exposes the almost-invisible thread that ties the cultures together. People can seek out what they desire aisle by aisle, because the food is not separated by culture, as is done in other markets, such as Wal-Mart. The aforementioned cultures scoff at one another’s method of preparing food, but at Vallarta Supermarkets the shoppers are forced together by tomatoes and chiles guajillos, giving people the opportunity to see how much they have in common. Latino and Filipino people are able to bond over food purchases, thus bringing the commu-nity members an inch closer to understanding one an-other which promotes a healthier community. The urge to separate and feel unique as a people is human nature, but Vallarta Supermarkets have broken down these natural bar-riers exposing the legation that is otherwise hidden and has become a gathering place that much resembles the interac-tion of a community bound by the same religious beliefs, but instead the binding factor is food. The cover to any book will only give a vague idea as to what the story is about and even less about its true message, so is true with Vallarta Supermarkets. A building with pretty decorations, ethnic food, and more Spanish than English spoken may seem like just another place for immigrants to run and hide from “real American life”, but

it truly provides a warm corner for those seeking help in everyday life. Many immigrants do not have bank accounts and thus cash their checks with companies offering the ser-vice, but must pay a fee for doing so. Vallarta Supermarkets provide this same service, but give the people store credit for the amount that would have been charged as a fee. This is a courtesy that is not necessary, but much appreciated, because it allows people to buy more food instead of losing part of their paycheck to a fee. Services such as these are not only available to immigrants or minority groups, but to everyone, but were created with the immigrant population in mind. Vallarta Supermarkets are not a hiding place for igno-rant people who do not wish to assimilate into American society, but rather a warm outreached hand willing to help people live their lives a little bit more comfortably. The simple fact that it brings jobs into the Antelope Valley exemplifies a positive change for the community allowing more parents and students to work close to home in an honest employ. The store has allowed many to buy the im-ported products at a low price, without having to journey far in order to obtain them, which also helps contribute to the economy of the Antelope Valley. The store whom many believed to bring gangsters and low class minorities to a “clean” neighborhood, has in fact, brought money, jobs and people together.

Yollotl López

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Filmmakers share many things in common, but none more so than a passion for bringing their stories to the screen. Writer/Director, Daniel Wilson, began

imagining stories and creating characters as the corner-stone for his passion while still in high school. Armed with a consumer video camera, he turned to capturing family vacations and poignant moments with his friends. In due course, he was directing short scenes with school chums who were unwittingly cast in the roles he created. Writing, filming and directing on a beer budget with champagne taste eventually necessitated his immersion into hands on editing. Within a few years, his home movies and shorts became more elaborate incorporating cheap camera tricks and novice special effects. His friends and family tagged him Dawson after the character in Dawson’s Creek. The Biblical book of Revelation became the foundation for his Nephilim trilogy based on over the top characters battling between good and evil. His decision to create a trilogy was actually an easy one because the story naturally played out in three parts. Recognizing that a major trilogy with CGI and choreographed fight scenes was beyond his initial funding reach, he decided to start with a prequel introducing the characters and previews of the back story. He set about on the long journey to writing, producing, directing and editing his first film, Darkest Days, to serve as a “test” for the franchise concept. His first challenge was raising money to produce the film. Under the guidance of his father and other family members, he completed a crash course: funding an LLC, pitching to investors and writing a business plan. He heard the word “impossible” so often that he considered changing the title of the film.

After raising only fifty thousand dollars, seasoned crews turned him down, many actors declined to work on the film, and no one seemed to share his vision or the level of passion for the project. After hundreds of rejections his solution was to train all of the actors who finally agreed to work on the project to also operate equipment. When they were not on the screen, they worked behind the scenes. Any job an actor could not do, Wilson did himself. He was DP, Sound, Director, Producer, Writer and Editor on the film. Many nights provided him less than two hours of

sleep, but he was deter-mined not to succumb to the word “impos-sible.” In addition to per-forming multiple roles on the production, he also found it neces-sary to jury rig equip-ment. Wilson designed a complicated dolly shot, for Darkest Days, involving a moving car. Dollies, cranes and specialized equipment were mere fantasies on his budget. He took a trip to a local hardware supply store, with his crude draw-ings, and within a short time, he and his younger brother welded parts for a dolly, crane, steady cam and tracks. To shoot a scene through a car windshield without proper equipment, he secured the camera with rock climber’s gear and strapped himself to the front of the car. On a freezing cold Virginia day, Wilson got the impossible shots. Against all odds Darkest Days found distribution, had a theatrical release in Spain and was sold in several for-eign countries. While not a big pay day for Wilson or the investors who backed his vision, the “test” was successful and provided enough visual confirmation for the franchise that the investors agreed to triple-down 3X on the original investment raising enough money to create the first twelve issues of the Nephilim comic book series, hire a story board artist to create 2500 fully animated images for the first film and to attract my attention. Nephilim has attached seasoned DP, Bernd Heinl, award-winning composer, Misha Segal and a commitment for $10million from an investment group to produce the first film in the trilogy set to start pre-production in the fall of 2011 in Budapest, Hungary. Wilson’s passion made the seemingly impossible, pos-sible through determination, relentless focus on his goals and by thinking outside the box for solutions when money was not a part of the equation. His story is typical of the Indie Filmmaker and while the outcome may not always be as victorious, the process holds the same possibilities.

An Impossible JourneyThe Possibilities Of Independent Film Making

Wilson’s passion made the seem-ingly impossible, possible through determination

Susan Moses

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A major factor that becomes a stumbling block, is that we generally do not define what our goal truly is. We already posses

the ability to be, do and have anything we want. How do I know this? Well it is very simple. When we want to achieve a goal, we always strive to get it. There are few parameters that surround goal achievement that does not vary, no matter what you do. You can achieve any realistic goal that you want. I will give you the example of getting a drivers’ license. Remember when you were young and you just turned of age to get a drivers’ license? One of the things that happened was that you got excited. You set the goal to get the license, not for the sake of having one, but for what it represented to you at the time. Right before I even started my driving lessons, I was excited I could see and feel myself in possession of that license. Now, what was happening was that the license represented freedom, liberty to travel beyond a limited area, also to go where I want to go at any time. I did not have a car, but the motivation was there. The goal was not to learn how to drive; the goal was to have in my possession the drivers’ license. Why did I want that drivers’ license? It is how it made me feel, pure and simple. Did I have to learn to drive? Of course, I had to go through the process or better yet through certain steps to get to the goal. The goal redefined was to obtain the freedom that the drivers’ license represented, the steps were to pass the written test, get the driving lessons, take the driving test and with a pass on all of these, then obtain the official license.

What was the process? It was these steps:1) Know what you want2) Get excited about it3) Know, why you want it4) Set your mind to it5) Get on with the work

Here is the bonus, this process is already in you. When you own a goal then you can make it work for anything that you really want. Yet, this is where it can get tricky; today you might want a fit body; tomorrow you want to be a daredevil, the next day you want to run for a government office, now you are all over the place and you do not achieve a thing. This does not require any circumstance or resource, you simply focus on what you want and fix your mind to it. You keep yourself excited and remind yourself about what achieving this goal represents to you. The more clarity the more steps you will achieve or go through at a faster pace. This is why the vision of where you want to go is so important. The more clarity the more the desire, the more order and movement will bring about desired results. Realize as well that there are always obstacles to achieving any goal. I do not normally buy the idea that we can achieve everything, yet I believe that one will achieve what they really want in life if there heart and mind is in harmony to do so. That power to achieve what we want is already in our possession, we were born with it and we just have to learn how to use it effectively.

The Process of Goal Definition

John Tebar

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• Describe your typical day. Well, I’m a mom. I take care of my son for pret-ty much the whole day. I go to school for medical transcription during the night or day. Sometimes I do sketching. I haven’t done photography too much, but if somebody wants a photoshoot. I try to pre-plan everything through sketching.•What does fashion mean to you? That’s a tough question. I don’t know. I mean I love fashion. I watch some shows religiously and it depends on the designer. I’ve been into fashion since I was young. Once I asked somebody, “If you don’t end up becoming a DJ, do you think you could have another future?” He said, “Yes I’ll find something else and be successful.” Then he asked me, “If you don’t ever successful in fashion, do you think you can be successful in something else?” I said no. It’s really personal.• Describe the first time you got into fashion. I was in the Philippines when I was seven years old. I would have my grandma sew some-thing for me with her big, antique industrial ma-chine. She got me into crafts. From the beginning, all of my Barbie dolls would be undressed and I’d try to make clothes for them. It wasn’t really anything serious since I was little. I came to America when I was 9. I stopped sewing for a while since. I lived with my mom, and she wasn’t into that stuff. I picked it back up when I was 14 or 15—one

night, I just started sketching. I don’t know. It was December and a little bit before my birthday. I think it was because I didn’t like how some of my clothes looked. They needed something else: a little extra or a little less. I need to remix it my own way. • Describe your style. I would say balanced. Although a lot of peo-ple wouldn’t say so. I’ve calmed down a lot since high school. I like a lot of things very bright but sometimes I want it one tone or mix them both. In high school, I used to get made fun of. My style in high school was very bright. I was noticed by everyone. “She’s the girl who dresses weird.” My best friend in French class—she pretended to be my friend—took pictures and sent it to her friends to make fun of us for years. •Why styling instead of designing like when you were little or when you fourteen/fifteen? Right now, I’m doing styling because it’s more accessible. I’m really trying to get back into designing especially with my whole drama with school about to end. Honestly, it’s a totally differ-ent career. One, it’ll help fund my fashion career. Two, it’ll benefit my child. I can work and style since I’ll be at home. I moved back from Vegas, I started styling this year. I don’t know how I got into it. I saw my friend Celina’s pictures and just thought about it.

One time I was just cleaning my room and I just had a bunch of stuff. I have a massive shoe col-lection. I don’t even know how many I have now because it’s all unorganized. I can start styling. I hit her up and we did a shoot at her house. Weeks later, I did one with my friend Daniel. There are not a lot of people that are into photography. When I find someone, I try to engage in something (collaborating with them). Some people don’t like to do that because they want to get paid. • Describe the process. When I’m styling, I just want to be careless and throw things on. Sometimes it doesn’t make sense. I pre-plan before the shoot. I’d put stuff together,

Collaborative FashionInterview with Jenine Necerina Juri: Fashionista

The best thing is that your creativ-ity is just everywhere. I feel like it’s unlimited just like a painter with a blank canvas.

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and I’d send pictures of the outfits to the photog-rapher so they’d know what they’re working with. I just bring what’s necessary and not everything. That’s what works for me. I’m sure it’s different with other stylists. I can think of it on top of my head. As for styling for men, you have to be care-ful. And when I’m too careful, I just overthink.• How does your family feel about your passion for style? They’re actually semi-supportive. If I came to my mom, and asked her, “Can I have this much money?” Like $3,000, I don’t think she would say yes. If I have a showcase and ask, “Do you want to come?” They’ll say yes. They show support when it’s convenient. My friends and acquaintances are supportive. They give me my main motivation. I get feedback from everyone. Everybody else is most support-ive. My boyfriend and my closest friends are most supportive. He’s always pushing me to get back into everything and my closest friends. A month ago, I recently made a portfolio. My grandma googled my name and that portfolio popped out. There’s a contact section so I got this message from her, “I’m so proud of you that you’re doing this.”• From where or whom do you draw your

inspiration? A good style icon for me is Katy Perry. For inspiration, honestly, I got to style.com and look at past past past (stuff from the past, not vintage, even from 90s—it looks better for some reason). John Galliano, Lanvin, old pictures from Nylon. I don’t want to go with what style is already going on right now. • Where do you like to shop? I usually do a lot of online shopping. I like to go on Etsy. But at the same time, I go to Topshop. I like all of the H&M (get “designer” clothes at an inexpensive price). Sometimes I go to Forever21, but I refuse to get anything at full price. Even some sale items are overpriced. I feel that they watch all runway shows and try to copy what’s there. •What is the best thing about being a stylist? The best thing is that your creativity is just everywhere. I feel like it’s unlimited just like a painter with a blank canvas.• What’s the most difficult (challenging) thing about being a stylist? Attending to a lot of people. You have to depend on each other. Like the photographer to direct. I’m supposed to dress people and not do the directing. Mostly, working with people is a

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challenge. What else is difficult is also the fear of having your stuff lost, stolen, or ruined. What trends do you see in 2011? A lot more vintage. It’s popular now and has been for awhile. That trend of looking back will keep on being popular. More pastel colors too.•What trends should stop? Uggs, period. If you’re trying to have thick vintage pieces with uggs. No. If you’re trying to be a fashionable person, no. Also, you do not wear uggs with shorts even during the summer or win-ter. McQueen’s armadillo shoes. Imagine if the ar-madillo shoes was available in public, girls would try to wear that with skinny jeans. People are start-ing to like it even though it’s weird. Another bad trend is to wear leggings without anything covering your butt. • Do you still design? What happened? Yeah, actually. My friend and I are starting but we just haven’t gotten it in progress. We’re start-ing our own line called Herstory. It’s going to be female-empowered. Look back into the past (look for inspiration there), but bring it back in a mod-ern way. We read about a movement in the 60s. They were all over female empowerment and called it “herstory.” I’ve been on it, but I would say it will open February or January. Latest is March. Hope-fully put on something for spring. • What is your ideal career? I’ve always wanted to own a little boutique. I never wanted my clothes at chain stores. I’ve al-ways dreamed of having a team of 5 people I hire to design. 2 sizes or 3 sizes of a couple of pieces. A petite-size setting. Offer styling services. If that can’t happen, I can be a freelance stylist. • Tell me anything about yourself. I’m easily inspired and usually inspired by ev-erything. My goal is to inspire people like people who have inspired me.

Stepfanie Aguilar

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• Can you briefly describe the short film youdirected and your intentions for filming? Tough Love sheds light on child abuse and substance abuse. It’s a silent film, a drama. I actually just wanted to get used to directing; this was hard because I wasn’t working with actors but family.• How was the process from conception until editing, and the inspiration along the way? I loved the process. First, I always wanted to make a short film but since I didn’t have a budget I filmed what I had, my two younger brothers and my stepdad. I came up with a story for them and filmed it. Editing was a little difficult since my computer isn’t that great so I used the local college’s software. The main inspiration came from Nine Inch Nails’ Ghost album—two of the songs are in the movie. Josh Martinez, a local musician, and a great one, I might add, worked on the last touches of the music for the film• So you worked with a lot of people to get to the final outcome, how was that? Well, Josh worked on the music, April Cueva worked on the logo for the production, Kalina Martin worked on an art piece of a bunny that sits on the wall of the brother’s room—great art work Kalina! Andrew Bybee was our producer, and provided the dolly and beer cans—always a pleasure working with him!• What prompted you to make a movie? This is my second movie, the first was a project for school. It was a documentary that ended up lost in cyberspace. Tough Love is my first short, one that I always wanted to do, and I’m planning to make more movies in the future—maybe even a few commercials and get paid. But yes, this is my career and nothing will stop me from making movies.• What is being a film student like? Being a film student at Antelope Valley College, which isn’t a film school, is somewhat hard. Maybe I don’t know anyone out here or they don’t tell us what we should do, it’s completely unorganized, they expect that all students should know everything around the film department. They tell us, “Okay, make a movie,” and that’s it. It’s frustrating when they offer you a hand but don’t

tell you, “Here, take my hand.” So being a film student for me means to completely do everything by myself, no help from the school besides using their computers.• When making a movie, do you have a specific audience in mind? No, in fact I don’t have an audience in mind. I don’t think of that. I film what I like to see, but being limited, I film what I can see and how I like it to be shown.• Do you happen to have a film-making philosophy? Philosophy? I do, and there’s many. I’ll give you one: movies are stories of moral or entertainment value. It should still have some kind of moral though.• What do you think of the internet in terms of film-making? The internet is the tool of our age. It’s awesome, but for the movie industry it sucks, anyone can download movies. I think the internet gives everyone the opportunity to do whatever. It’s really how you use it.• In that case, what does “the age of YouTube” and Hollywood mean to aspiring directors like yourself? YouTube is just another channel, but more like on-demand—you type what you want, you get it. It’s awesome because anyone can easily publish and share their projects. Hollywood to me is just a big numbers game. Those in it get the numbers, the viewers, and once the viewers stop tuning in, the players change while the game stays the same. There’s money in numbers, and Hollywood is a business.• In 10 years, where do you hope to be in your directing career? Making movies that will be shown in theaters or working for TV.

Walter's short movie can be viewed at :http://www.rokoko.me

Courtesy of the filmmaker

Tough LoveInterview with Walter Moran: The Challenges of Amateur Film Making

Rokoko | 13

Breaking OutAt first glance, in a busy local cafe, Jeana Lee is

unassuming. Her manager sits next to her, a slickly dressed, petite woman with a tight chignon. Jeana is dressed in a jacket and jeans, the only quirk is a blue knit scarf paired with a lipring. Her make-up is minimal, lipgloss and sheer eyshadow. We exchange greetings. She is bright and excited, full of life and laughter. Instantly relatable, we be-gin talking about her roots in the Valley. "I was born in Lake Los Angeles. I lived there for nine years. Then, I moved to civilization: Palmdale, then Lancaster!" Jeana is refreshingly enthusiastic about her beginnings in the Antelope Valley. She doesn't hesitate to mention her life in the Greater Antelope Valley and the people she has met as inspirational or educational. "I've been in this desert for a long time and it's taught me a lot. I've grown a lot here. Just being me and being here. I think the Antelope Valley has a lot to play in making me who I am. I went to school here and grew up here. It's a great place. "I used to go to Dance Studio 81, performed every year at LPAC. I was part of Oliver at Highland High School. I was part of the choir for three of four years I attended Highland. "Shout out to my choir teacher Ms. Anderson! She was great and she's taught me so much that I still use to this day and I graduated three years ago, so it was great. I went on all kinds of trips, won awards. "There's so much talent out here it's ridiculous. I'm so glad to know that it's here. Including myself, I would say so myself. I'm very talented as well." The conversation hits a serious tone for the first time when the lack of art education in the Val-ley comes up. " I feel like there would be a lot more youth who would like to be involved in more positive things, yes. Because, that avenue is free. I wish I was able, that there was some type of art school out here. I would've been there! So many people don't have the means or opportunities that we could have in our valley to propel us to be greater. "I think I would've already been making a difference given that. I would've already had that opportunity to fulfill a goal, maybe further. I think

I would have excelled. I really do." For this young woman, singing has never been a caprice or a hobby. She has a church background, having been raised since early childhood in an environment of music. It had been an inseperable part of her life, as it is for most musicians. The choice to become a popular recording artist and the rough lifestyle that comes with it, however, was decidedly more spontaneous. "This was just a couple of months ago [August 2010], I was working with my family at the time and a lot of different things unfolded and different things didn't work out. It was my turning point to really recognize: Am I going to do this without my family? Am I going to press forward and pursue what I've been wanting to do. So, I hooked up with a team of people I was blessed to know. Camille Marie took on the role of manager, she has my best interest at heart and I believe she wants to see me succeed. So, we work hand in hand together with the Jean-team and work really hard, putting our best foot forward."

She's a new face, but has already put herself out there, performing for jaded audiences and find-ing encouraging responses. "I've performed in Hollywood actually; the TaTou, the Key Club and other venues out there. I have a residency in Glendale now. So that's great. The booker that I'm booked with, Ace Michaels, has been booking me in a lot of different places to get me exposure." When asked if she has received media training from someone, she responds charmingly. "Media training? No. [laughter] I practice in the mirror by myself." We take some time to stop chatting, to listen to a handful of covers. Jeana Lee's voice is pleas-ant, a brassy and soulful voice. Not unlike those of Fantasia Barrino, Macy Grey or Martina Topley-Bird, her voice has texture and kick. She doesn't

On the Verge of Making It, An A.V. Original

I'll know i've made it when I can buy my daddy a car. When I can give so much of myself.

Literary | 14

so much sing the words as she does push them out, unpredictably adding emphasis to certain words. This is not an accident, she is on the hunt for a unique sound. "I've been influenced by Beyoncé, while I was growing up. Crisette Michelle, very jazzy. There's very many artists right now to pull from and listen to. "I developed my voice. Just to become my own sound, I pull from so many people. I think I was born with my own, special voice. But, I've grown from listening to other people. Riffs and runs, seeing how I can do them in my own way. My voice is very seasoned. "Singing in church, we can go back to that. Doing that for my first eighteen years. Just lis-tening outside the box. You'll hear Tweet and Aaliyah. You want to have a mellow sound, not always wanting to belt it out. I pulled from a lot of people and one day I woke up and went: I'm pretty freaking good." She answers quickly, her eyes looking in the distance, when I ask how she'll know Jeana Lee has made it big. "I'll know I've made it when I can buy my daddy a car. When I can give so much of my-self. When I'm able to take a break to go to Africa, to give back to those kids. When I'm on the Mo'nique Show. When my name is in lights. When people scream my name. All the things that come with stardom." Is she scared that day will never come? "I really cracked down on myself. I know it's something I want to do and am passionate about. I've never felt like it would take a long time, but I knew it was going to be a fight."

Jeanna Lee Can be ContaCted through her manager, CamiLLe marie.

you Can find her Videos on youtube and foLLow her on twitter and faCebook. she wiLL haVe performed at the bandstand Café,

January 14th. her anteLope VaLLey performanCe debut.

Rokoko | 15

She slammed the door in his face and ran to the window. She threw it open with all the force of a retarded Zeus, causing it to shat-ter into an infinitesimal number of jagged toothed pieces. She slipped off her purple mud-stained Mary Jane’s, exposing her nude stalkings and her pink feet. She walked slowly over the shards, reveling in the pin pricks of pain traveling through her toes and into her ankles, legs, knees, and up, firing away into the tips of her fingers, the insides of her ears. The fire escape ladder outside, though worn and rusted from many centuries exposed to the elements, blocked a large amount of the bone-chilling wind. She could still feel it though, snaking its way up her legs, and around her thighs, ‘til it came inside of her. Her eyes closed and she inhaled deeply through her nose, her hands still at her sides, but only for a moment. Her eyes snap open and she works mechanically, unbuttoning down, wiggling out of her dress, until she stands stark, and tiny snowflakes, waltzing in out of the cold, find her pale skin, and melt instantly. Droplets of water roll slowly down her chest, drip methodically off of her jutting breasts. Her long, stringy blonde hair is already clinging to her shoulders. She steps towards the window and swings one leg over. The other leg follows slowly, cautiously. She mounts the ladder on the fire escape and ascends. Up, up, up to the roof. Far below, a taxi driver waits for his final passenger.

Taxi

Molly Lasslet

Ink Settled Images

Ranée Dillon

Images reconciledon the page.A story written, colors drippingdown the bindingsof a book never meantfor pressing.

Images fade,as the ink settlesinto time;along with sentimentsconveyed by yielding prose.

The pen dripsintangible thoughtsthrough your being;implication seepingbetween characters.

Mentalities shifting,as vision clearsto reality,in this picture bookromanceof ink settled images.

Creative Fiction

Literary | 16

Oh Art, Music, PoetryYou are our expression of past injustice, present struggle, and future hope

Oh ArtYou are Truth beyond FactsOh MusicYou are Emotion beyond WordsOh PoetryYou are Observation beyond Science

Oh Art, Music, PoetryYou are the definition of our souls, the spark of the divine, and exhalation of our creative mind.

Ode to Art, Music & Poetry

Benjamin Andrews

BuoyThe viciousness of his incidental vortexgathered the whips of my storm; the frugal

nature of our kissescounter-balanced—

—and it was a diamondrecessed on some ring,forming before

our fastened eyes.There were hushes

swelling inside his lipsseeping from its fringes, butit was condensing—

the rainwas soonto fallI said

and he covered mein an embrace, foreignfrom both my languages.None fell

but his whisperscrumbling on my scalp—

the torture ofhis smudged cadencealso swellsthe insidesof my mouth.Like a sizable wave

my tongue deliberately licks my lips,only for me to bite it down—

words I do not mean,to regret later.

His crumbs kept drippinglike dew, until he has belayeda sea inside this borrowed spacebut I am dense

he is so buoyantand this ocean is too vast.

Joseph Christian Ligunas

Rokoko | 17

Soft, floating, crystalline beingsVisitors from old memoriesof youth spent in an icy world.Long, brilliant days and Starry nights of hushed silence,of glisten silver ribbons,Gracing bare branches of theSleeping trees.

A hulking white northern owl.Way up high in the tallest firBlinking its golden eyes Searching for tiny miceTo warm its belly against The searing cold.

He fell into a snow-bank andCouldn’t get up. Too weak, too drunk,Too old, too tired of living.He went to sleep in the cold embraceof a Buffalo snowstorm and Never woke up.George Bachman died that night.People said it was for the best.Everyone knew he was alcoholicfor years.

Why, he was so thin he couldbarely keep his pants fromfalling off. He barely ate enoughfood to keep him alive.

Once he was very handsome, anarchitect, a talented artist.He had a wife named Mae (but nochildren) When they divorced(because of his drinking) he cried.Now he really a good reasonto hit the bottle - so they said.I say, God bless him. He lent me twenty dollars once, when no one elsewould, he had a kind heart.God Rest his soul

First Snow

Patricia A Slijepcevic

Visual | 18

Rokoko | 19

HOUSTON SHARP, Se7en, 2010, digital painting

Visual | 20

JOHANNA RAE WAASDORP, Brings Madness With the Bliss, digital photograph with photo-shop editing

Rokoko | 21

CERVANTS, Nude Sand, sand and acrylic on canvas, 12”x12”

Visual | 22

ALI RAE PURSLEY, Spoons, 2010, digital photograph with photoshop editing.

Rokoko | 23

JONATHAN GARCIA, Untitled (unfinished), 2010, acrylic on found panel.

Community & Miscellany | 24

$ [0-5]A. CARAMEL'S Delicious plain/blueberry mini-muffins and fruit tarts.B. SUBWAY (2) Five-dollar Veggie Delite and cookies. Costs more to eat-in!C. MCDONALDS (3) Filet-o-Fish Combo (extra tartar sauce), sweetened iced tea. D. PERK PLACE COFFEE Plain with few snacks. New owner, I think, so may be different now.E. BANDSTAND COFFEE & TEA New place with nice pastries and lots of choices. Shane works here. F. SAGEBRUSH CAFÉ Art inside. June works here.

$$ [6-10]G. LITTLE SZECHUAN Cheap lunch special of shrimp with lobster sauce fills me up. Sally works here.H. WHOLE WHEATERY (NATHERYL’S CAFÉ) Lukewarm food, but nice staff and bread pudding!I. PANDA EXPRESS Wholly unremarkable but okay for a change.J. PUEBLO VIEJO Pupusas!K. MASALA MAGIC Homestyle Indian food. Would go here more if it was closer to work.L. THE THAI RESTAURANT Good curry though these days I always get Journey to Heaven.

$$$ [10-15]

M. LEMON LEAF Tuna wrap with extra peperoncini. Expensive but tasty.N. KATZ N’ JAMMERS Best tuna melt (with grilled onions). Mashed potatoes on Wednesdays. Closes at 2. O. IHOP Just right in the afternoon.P. DENNY’S Satisfying Western Burger (Veggie Patty) but the service here is incompetent so no-go.Q. BROOKLYN DELI Large matzo ball soup for five dollars. Egg bagel with lox costs nine-something but worth it.R. CRAZY OTTO’S DINER Gigantic scrambled eggs that are so-so when served and terrible on day after.S. CAMILLE’S SIDEWALK CAFÉ Nice place for soup and salad. A bunch of Toastmasters Clubs meet here.T. PIZZA HUT Surprisingly luscious pizza.

$$$$ [15 =>]U. DON CUCO This place is always empty. How do they stay in business? V. ROUNDTABLE PIZZA Crack pizza!! They put something in it so you HAVE to keep coming back.W. BIG TUNA SUSHI Rowdy experience, but eating sushi inland is weird. X. CHILI’S GRILL & BAR This is no place for pescatarians. Even when it is, it is inconsistent.

Anyplace he goes, a visitor always plays the dual role of listener/

learner and creator; multiple realities function in tandem as the visitor is introduced to various native orienta-tions while constantly attempting to establish his own reference points. Over time, the visitor internalizes native orientations, mapping them onto and along with his own. The Gastronomic Map of Lancaster, CA was drawn and annotated during my ninth month working as a Librarian at the Lancaster Regional Library. The map features every restaurant I have eaten in during this time pe-riod. Since my lunch time is the only hour I have to explore the area, my map of Lancaster necessarily reflects my food preferences, budget, and the people I’ve met along the way.

Oleg Kagan

Rokoko | 25

The Antelope Valley is generally repre-sented through four districts: two districts on the statewide level and two congres-

sional districts on the federal level. With various communities and towns making up the Antelope Valley, these districts draw lines and divide this large region into areas with specific elected rep-resentatives who are then responsible to tailor to the needs and mindsets of those they represent. Through voting for these representatives, residents have the specific power to elect candi-dates who they believe will effectively advocate on the issues most important to them. After the Election Day, residents can continue to hold these representatives accountable by calling their offices, writing letters, scheduling meetings etc, to urge their support for particular legislation or to even ask the representative to draft a bill addressing an issue or campaign. Below is the contact information on the state and national representatives for the Antelope Valley following with brief records on legislation that they have made a priority in the recent years of their term.

State Government:

Assemblyman Steve Knight: 36th DistrictServes: Acton, Adelanto, Hesperia, Lancaster, Palmdale, and VictorvilleCommittees: Vice Chair of Public Safety and Natural Resources Committees; member of the Local Government, and Utilities and Com-merce Committees, and the Assembly Rules Committee.

Issue Positions: Opposes gay marriageSecuring borders against illegal immigrationProtecting second amendment and concealed weapons rightsReforming government spending

Introduced Legislation: AB 2034 - School Volunteers: Conforms Employment Regulations And Volunteer Regulations: It currently stands that a person convicted of a controlled substance offense or a sex offense are not eligible to work for a school district. This bill would expand the prohibition to those volunteering for a school

or district. AB 2115 - Carry Concealed Weapon Permits: “Shall” Issue to Veteran’s: The county sheriff or police chief “shall” issue a conceal weap-ons permit to veterans who meet the require-ments.AB 454 - Repeal of Exemption from Non Resident Tuition: Would repeal AB 540, which allows undocumented students to apply for and pay in-state tuition rates at higher educa-tion institutions. AB 1703 – Veteran’s Home Nursing Care: Student Loan Reimbursement: Expands the existing program (SNAPLE) which forgives up to $20,000 in student loans for registered nurses that have worked at a state veterans home for 5 years. This bill will add an addi-tional $5,000 that can be forgiven.

Senator-vacant: 17th DistrictServes: The Antelope Valley, most of Santa Clarita Valley, portions of San Fernando Val-ley including parts of Northridge, Granada Hills, Chatsworth, Sunland, and Tujunga. Also serves parts of the San Bernardino County including Victor Valley and Ventura County including Santa Paula, Fillmore and Piru.

Federal Government :

U.S. Congressman Buck McKeon: 25th DistrictServes: Santa Clarita Valley, Antelope Valley (Palmdale, parts of Lancaster, Victorville), San Bernardino County, Inyo County, Mono CountyCommittees: Ranking member of House Armed Services Committee and member of Education and Labor Committee

Issue Positions: Voted to support the war in IraqOpposes national Health Care Reform legisla-tionSecuring borders and using missile defense tactics for homeland securitySmaller government control Opposes stimulus money and government spendingSupporting Seniors through the protection of

Use Your Democracy

Community & Miscellany | 26

MedicareProtecting the environment and natural re-sourcesSupports the reauthorization of No Child Left BehindSimplifying student aid system in higher edu-cation and supports increased funding for the federal Pell Grant.

Sponsored Legislation: H.R. 4892 - Enemy Belligerent Interrogation, Detention, and Prosecution Act of 2010: “Re-quires an individual who is suspected of en-gaging in hostilities against the United States or its coalition partners through an act of terror-ism and who may be an unprivileged enemy belligerent to be placed in military custody for purposes of initial interrogation and determina-tion of status.”H.R. 2474 – Veterans Educational Equity Act: “Provides that, in the case of an individual en-titled to veterans’ educational assistance under the Post-9/11 Educational Assistance program and who is enrolled at an institution of higher education in a state in which the public insti-tutions charge only fees in lieu of tuition, the Secretary of Veterans Affairs (VA) shall allow the individual to use all or a portion of the amount payable under the educational assis-tance program to pay the tuition or fees for that program of education.”H.R. 5468 - Bridgeport Indian Colony Land Trust, Health, and Economic Development Act of 2010: “Declares certain federal lands in Mono County, California, to be held in trust by the United States for the benefit of the Bridge-port Indian Colony.”

U.S. Congressman Kevin McCarthy: 22nd District

Serves: Arroyo Grande, Atascadero, Bakers-field, California City, Frazier Park, Kernville, Lake Isabella, Lancaster, Mojave, Paso Robles, Ridgecrest, Taft, Tehachapi, and Temple-ton. Also covers the Sequoia and Los Padres National Forests. Committees: Chief Deputy Republican Whip (Majority Whip), member of the Financial Services Committee, Ranking Member of the Subcommittee on Elections for the House Ad-ministration Committee.

Issue Positions:

Lower taxes and protect small businessesInvest in new technology and education in math and scienceStrengthening border enforcement to secure bordersProvide military troops with adequate resourc-es to keep the nation secureUsing renewable resources, environmentally sound fossil fuels, and less reliance on foreign sources of energyOpposes national Health Care Reform legisla-tion and supports market-based solutions to the health care systemImprove No Child Left Behind

Sponsored Legislation: H.R. 2119 – “Amends the Emergency Econom-ic Stabilization Act of 2008 (EESA) to require that assistance repayments from Troubled Asset Relief Program (TARP) funds be used to pay down the public debt.”H.R. 1743 – WIND Energy Act: “Wind Incen-tives for a New Decade Energy Act of 2009 or the WIND Energy Act - Amends the Internal Revenue Code to:  (1) extend through 2019 the tax credit for producing electricity from renewable wind resources;  (2) extend such credit through 2019 for other renewable resources, including biomass, geo-thermal or solar energy, municipal solid waste, trash, and hydropower; and  (3) allow such credit as an offset against the alternative minimum tax”H.R. 2440 – More Transparent and Honest Communication with American Workers Reform Act of 2009

Information on how to contact your representa-tive is on: http://www.rokoko.me

If you don't know who your specific represen-tative is or if you want more information on legislation, you can also find links to those tools on our website.

Kelli Fallon

Rokoko | 27

From Our KitchenRokoko Magazine’s friend Jesse Duncan is a master of soul food. And if we are to be honest, nothing beats the simplicity of good fried chicken. Jesse’s fried chicken is the best: tasty, not greasy, and holds its crisp even after refrigeration. It is magical. But be warned, this finger food is addictive—twenty pieces are sometimes not enough, for even one person.

Equipment:Large cast iron skilletIngredients:2 ½ to 3 lbs. chicken, ready to cook, cut up1 cup vegetable oil (Omega-3 or Cholesterol-free)1 cup all-purpose flour2 tbsp. seasoning salt2 tbsp. garlic salt2 tbsp. unsalted meat tenderizer2 tbsp. onion powder1 tbsp. cayenne pepper

The key to cooking chicken is preparation and quality ingredients.

Directions:1. Clean and cut chicken if whole. Jesse says: It’s best to buy the party mix (drumsticks and wings).2. Ready seasoning mixture by combining seasoning salt, garlic salt, unsalted meat tenderizer, onion powder, and cayenne pepper.3. Generously sprinkle seasoning mixture on chicken, ensuring the seasoning is applied on all sides. You can do this in advance and keep in the refrigerator.4. Take seasoned chicken out of the fridge 5-10 minutes before you start cooking. Coat with flour after 5-10 minute wait. Jesse says: You can also just put the seasoning with the flour and in a plastic tub or tupperware shake with chicken. This makes for an even coat.5. Over medium-low heat, heat vegetable oil in skillet large enough to hold all of the chicken.6. Fry chicken over medium-low heat until browned on one side. Turn chicken over and brown the other side evenly.7. Enjoy, but not too soon. Don't burn your tongue!

Secret Recipe, don't tell: makes enough for a large Mexican family. About three dozen tamales.Masa for Tamales:1 ½ cup Lard.*4 cups of prepared corn masa mix4 cups warm water, warm broth is ideal2 tsp. baking powder.1 tsp salt

*Veg. Shortening will not work as a substitute. Avoid substituting unless you have dietary restrictions. This will affect the texture.

Relleno for Tamales2 lbs of stew cuts of pork/beef.2 cloves of garlic,2 pinches* of salt2 pinches of Mexican oregano4 or 6 pepper corns4 or 6 cloves

Mole Rojo for Tamales2 scant spoonfolls of corn starch1 pinch of oregano*2 or 3 Chiles California1 clove of garlic

*a pinch is defined by my Tia Marta as how much a person can grab with the thumb, index and middle finger and put in the their palm. Mexican Oregano is different, she told me. But, use what you have.

Preperation:The meat should be defrosted, corn husks soaked and lard should be out of refrigerator well before prepar-ing tamales. The masa can be made following the simple steps on the prepared masa mix package. 1. The meat and all ingredients for the relleno can be put in a pressure cooker with enough water to cover it. 45 minutes, or until fork tender. This can be done in a normal pot, but will take several hours to reach fork-tenderness. 2. The ingredients for Mole Rojo should all be put in a blender with a reasonable amount of water. Enough to make a loose slurry. Make sure to elimi-nate all starch clumps.3. Once meat is done, it should be pan friend with a small amount of oil until it browns and pieces begin looking fried. The slurry can then be poured on top. Cook until it thickens into an unctious sauce. Taste for salt before turning off the heat.4. Tamales should be assembled following the steps on the prepared masa package, be generous with fill-ing and invent your own folding method!5. Place as many tamales as will fit standing in a ta-malera (large steamer) or your tallest pot with a bas-ket steamer and water. Turn heat on high and cover. Within an hour and a half or two, tamales should be ready. They should be tender, but hold their shape. Be wary of the water level and steam when opening your pot.

Jesse's Chicken

Los Tamales de la Tia Marta

Community & Miscellany | 28

ROKOKO'Art' is an invention of aesthetics, which in turn is an invention of philosophers…what we call art is a game.

—Octavio Paz