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blackkudos · 5 years ago

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Carrie Mae Weems

Carrie Mae Weems (born April 20, 1953) is an American artist who works with text, fabric, audio, digital images, and installation video, and is best known for her work in the field of photography. Her award-winning photographs, films, and videos have been displayed in over 50 exhibitions in the United States and abroad, and focus on serious issues that face African Americans today, such as racism, sexism, politics, and personal identity.

She said, "Let me say that my primary concern in art, as in politics, is with the status and place of Afro-Americans in the country." More recently however, she expressed that "Black experience is not really the main point; rather, complex, dimensional, human experience and social inclusion ... is the real point."

Early life and education

Weems was born in Portland, Oregon, in 1953, the second of seven children to Carrie Polk and Myrlie Weems. She began participating in dance and street theater in 1965. At the age of 16 she gave birth to her first and only child, a daughter named Faith C. Weems. Later that year she moved out of her parents’ home and soon relocated to San Francisco to study modern dance with Anna Halprin at a workshop Halprin had started with several other dancers, as well as the artists John Cage and Robert Morris. She decided to continue her arts schooling and attended the California Institute of the Arts, Valencia, graduating at the age of 28 with her B.A. She received her MFA from the University of California, San Diego. Weems also participated in the folklore graduate program at the University of California, Berkeley.

While in her early twenties, Carrie Mae Weems was politically active in the labor movement as a union organizer. Her first camera, which she received as a birthday gift, was used for this work before being used for artistic purposes. She was inspired to pursue photography after she came across The Black Photography Annual, a book of images by African-American photographers including Shawn Walker, Beuford Smith, Anthony Barboza, Ming Smith, Adger Cowans, and Roy DeCarava, who Weems found inspiring. This led her to New York City, and the Studio Museum in Harlem, where she began to meet other artists and photographers such as Coreen Simpson and Frank Stewart, and they began to form a community. In 1976 Weems took a photography class at the Museum taught by Dawoud Bey. She returned to San Francisco, but lived bi-coastally and was invited by Janet Henry to teach at the Studio Museum and a community of photographers in New York.

Career and work

In 1983, Carrie Mae Weems completed her first collection of photographs, text, and spoken word, called Family Pictures and Stories. The images told the story of her family, and she has said that in this project she was trying to explore the movement of black families out of the South and into the North, using her family as a model for the larger theme. Her next series, called Ain't Jokin', was completed in 1988. It focused on racial jokes and internalized racism. Another series called American Icons, completed in 1989, also focused on racism. Weems has said that throughout the 1980s she was turning away from the documentary photography genre, instead "creating representations that appeared to be documents but were in fact staged" and also "incorporating text, using multiples images, diptychs and triptychs, and constructing narratives." Sexism was the next focal point for her. It was the topic of one of her most well known collections called The Kitchen Table series which was completed in over a two year period, 1989 to 1990 and has Weems cast as the central character in the photographs. About Kitchen Table and Family Pictures and Stories, Weems has said: "I use my own constructed image as a vehicle for questioning ideas about the role of tradition, the nature of family, monogamy, polygamy, relationships between men and women, between women and their children, and between women and other women—underscoring the critical problems and the possible resolves." She has expressed disbelief and concern about the exclusion of images of the black community, particularly black women, from the popular media, and she aims to represent these excluded subjects and speak to their experience through her work. These photographs created space for other black female artists to further create art. Weems has also reflected on the themes and inspirations of her work as a whole, saying,

... from the very beginning, I've been interested in the idea of power and the consequences of power; relationships are made and articulated through power. Another thing that's interesting about the early work is that even though I've been engaged in the idea of autobiography, other ideas have been more important: the role of narrative, the social levels of humor, the deconstruction of documentary, the construction of history, the use of text, storytelling, performance, and the role of memory have all been more central to my thinking than autobiography.

Other series created by Weems include: the Sea Island Series (1991–92), the Africa Series (1993), From Here I Saw What Happened and I Cried (1995–96), Who What When Where (1998), Ritual & Revolution (1998), the Louisiana Project (2003), Roaming (2006), and the Museum Series, which she began in 2007. Her most recent project, Grace Notes: Reflections for Now, is a multimedia performance that explores "the role of grace in the pursuit of democracy."

In her almost 30-year career, Carrie Mae Weems has won numerous awards. She was named Photographer of the Year by the Friends of Photography. In 2005, she was awarded the Distinguished Photographer's Award in recognition of her significant contributions to the world of photography. Her talents have also been recognized by numerous colleges, including Harvard University and Wellesley College, with fellowships, artist-in-residence and visiting professor positions. She taught photography at Hampshire College in the late 1980s. She was awarded a MacArthur Foundation Fellowship in 2013. In 2015 Weems was named a Ford Foundation Art of Change Fellow. In September 2015, the Hutchins Center for African & African American Research presented her with the W. E. B. Du Bois Medal.

The first comprehensive retrospective of her work opened in September 2012 at the Frist Center for the Visual Arts in Nashville, Tennessee, as a part of the center's exhibition Carrie Mae Weems: Three Decades of Photography and Video. Curated by Katie Delmez, the exhibition ran until January 13, 2013, and later traveled to Portland Art Museum, Cleveland Museum of Art, and the Cantor Center for Visual Arts. The 30-year retrospective exhibition opened in January 2014 at the Solomon R. Guggenheim Museum in New York City. This was the first time an "African-American woman [was] ever given a solo exhibition" at the Guggenheim. Weems' work returned to the Frist in October 2013 as a part of the center's 30 Americans gallery, alongside black artists ranging from Jean-Michel Basquiat to Kehinde Wiley.

Weems' work is included in the collections of the Metropolitan Museum of Art and the Museum of Modern Art, New York; the Museum of Fine Arts, Houston, the Minneapolis Institute of Arts, the Cleveland Museum of Art, the Portland Art Museum, the Tate Museum in London and the Museum of Contemporary Art, Los Angeles. Weems has been represented by Jack Shainman Gallery since 2008.

A full-color, visual book, titled Carrie Mae Weems, was published by Yale University Press in October 2012. The book offers the first major survey of Weems' career and includes a collection of essays from leading and emerging scholars in addition to over 200 of Weems' most important works.

Weems lives in Fort Greene, Brooklyn and Syracuse, New York, with her husband Jeffrey Hoone. She continues to produce art that provides social commentary on the experiences of people of color, especially black women, in America.

Weems is one of six artist-curators who made selections for Artistic License: Six Takes on the Guggenheim Collection, on view at the Solomon R. Guggenheim Museum from May 24, 2019, through January 12, 2020.

Select exhibitions

Presentations of her work have included exhibitions at:

Women in Photography, Cityscape Photo Gallery, Pasadena, CA, 1981

Multi-Cultural Focus, Barnsdall Art gallery, Los Angeles, CA, 1981

Family Pictures and Stories, Multi-Cultural Gallery, San Diego, CA, 1984

People Close Up, Fisher Gallery, University of Southern California, Los Angeles, CA, 1986

Social Concerns, Maryland Institute of Art, Baltimore, MD, 1986

Past, Present, Future, The New Museum, New York, NY, 1986

Visible Differences, Centro Cultural de la Raza, San Diego, CA, 1987

The Other, The Houston Center for Photography, Houston, TX, 1988

A Century of Protest, Williams College, Williamstown, MA, 1989

Black Women Photographers, Ten.8, London, England, 1990

Who Counts?, Randolph Street Gallery, Chicago, IL, 1990

Biological Factors, Nexus Gallery, Atlanta, GA, 1990

Trouble in Paradise, MIT List Visual Arts Center, Boston, MA, 1990

Whitney Biennial, The Whitney Museum of American Art, New York, NY, 1991

Of Light and Language, Pittsburgh Center for the Arts, Pittsburgh, PA, 1991

Pleasures and terrors of Domestic Comfort, MOMA, New York, NY, 1991

Calling Out My Name, CEPA Gallery, Buffalo, NY (traveled to PPOW gallery, New York, NY), 1991

Disclosing the Myth of Family, School of the Art Institute of Chicago, Chicago, IL, 1992

Schwarze Kunst: Konzepte zur Politik und Identitat, Neue Gesellschaft fur dingende Kunst, Berlin, Germany, 1992

Dirt and Domesticity: Constructions of the Feminine, Whitney Museum of American Art, at Equitable Center, New York, NY, 1992

Art, Politics, and Community, William Benton Museum of Art, University of Connecticut, Mansfield, CT (traveled to Tyler School of Art, Temple University, Philadelphia, PA), 1992

Mis/Taken identities, University Art Museum, University of California, Santa Barbara, CA (traveled to Museum Folkwang, Essen, Germany; Forum Stadtpark, Graz, Austria; Neues Museum Weserburg Bremen im Forum Langenstraße, Germany; Louisiana Museum of Modern Art, Humlebaek, Denmark; Western Gallery, Western Washington University, Bellingham, WA), 1992–1994

Photography: Expanding the Collection, Whitney Museum of American Art, New York, NY, 1992–1994

Sea Island, The Fabric Workshop, Philadelphia, PA, 1993

Carrie Mae Weems (traveling exhibition), The National Museum of Women in the Arts, Washington, DC, 1993

And 22 Million Very Tired and very Angry People, Walter/McBean gallery, San Francisco Art Institute San Francisco, CA, 1993

Enlightenment, Revolution, A Gallery Project, Ferndale, MI, 1993

Fictions of the Self: The Portrait in Contemporary Photography, Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC; Herter Art Gallery, University of Massachusetts, Amherst, MA, 1993–1994

The Theatre of Refusal: Black Art and the Mainstream Criticism, Fine Arts Gallery, University of California, Irvine, CA (traveled to University of California, Davis, CA; and University of California, Riverside, CA), 1993–1994

Women's Representation of Women, Sapporo American Center Gallery, Sapporo, Japan (traveled to Aka Renga Cultural Center, Fukuoka City, Japan; Kyoto International Community House, Kyoto, Japan; Aichi Prefectural Arts Center, Nagoya, Japan; Osaka Prefectural Contemporary Arts Center, Japan; Spiral Arts Center, Tokyo, Japan), 1994

Imagining Families: Images and Voices, The Smithsonian Institution, Washington, DC, 1994–1995

Black Male, Representations of Masculinity in Contemporary American Art, The Whitney Museum of American Art, New York, NY, and The Armand Hammer Museum of Art, Santa Monica, CA, 1994–1995

Carrie Mae Weems Reacts to Hidden Witness, J. Paul Getty Museum of Art, Malibu, CA, 1995

Projects 52, Museum of Modern Art, New York, NY, 1995

StoryLand: Narrative Vision and Social Space, Walter Phillips gallery, The Banff Center for the Arts, Banff, Canada, 1995

Embedded Metaphor, Traveling exhibit, curated by Nina Felshin, 1996

Inside the Visible, Institute of Contemporary Art, Boston, MA; The National Museum of Women in the Arts, Washington, D.C., international traveling exhibition, 1996

Gender - Beyond Memory, Tokyo Metropolitan Museum of Photography, Tokyo, Japan, 1996

2nd Johannesburg Biennale, Africus Institute for Contemporary Art, Johannesburg, South Africa, 1997

Bearing Witness: Contemporary Works by African-American Artists, traveling exhibition, 1998

Taboo: Repression and Revolt in Modern Art, Gallery St. Etienne, New York, NY, 1998

Tell me a Story: Narration in Contemporary Painting and Photography, Center National d'Art Contemporain de Grenoble, Grenoble, France, 1998

Recent Work: Carrie Mae Weems 1992–98, Everson Art Museum, Syracuse, NY, 1998–1999

Who, What, When, and Where, Whitney Museum of American Art at Phillip Morris, New York, NY, 1998–1999

Ritual & Revolution, DAK'ART 98: Biennale of Contemporary Art, Galerie National d'Art, Dakar, Senegal, 1998–1999

It's Only Rock and Roll, traveling exhibition, 1999

Claustrophobia: Disturbing the Domestic in Contemporary Art, traveling exhibition, 1999

Histories (Re)membered, The Bronx Museum of Art, New York, NY, 1999

Carrie Mae Weems: The Hampton Project, Williams College Museum of Art, Williamstown, MA, 2000–2003

Looking Forward, Looking Back, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT, 2000

Material and Matter: Loans to and Selections from the Studio Museum Collection, The Studio Museum in Harlem, NY, 2000

The View From Here: Issues of Cultural Identity and Perspective in Contemporary Russian and American Art, Tretyakov Gallery, Moscow, Russia, 2000

Strength and Diversity: A Celebration of African-American Artists, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA, 2000

Reflections in Black: A History of Black Photographers 1840 to the Present, Smithsonian Anacostia Museum and Center for African American History and culture, Washington, DC, 2000

History Now, touring exhibition beginning at the Liljevalchs Konsthall and Riksutstallningar, Stockholm, Sweden, 2002

Pictures, Patents, Monkeys, and More... On Collecting, traveling exhibition curated by Independent curators International, Institute of Contemporary Art, Philadelphia, PA, 2002

The Louisiana Project, Newcomb Art Gallery, Tulane University, New Orleans, LA, 2003

Cuba on the Verge, International Center of Photography, New York, NY, 2003

Crimes and Misdemeanors: Politics in U.S. Art of the 1980s, Lois & Richard Rosenthal center for Contemporary Art, Cincinnati, OH, 2003

Double Consciousness: Black Conceptual Art Since 1970, Contemporary Arts Museum, Houston, TX, 2004

Beyond Compare: Women Photographers on Beauty, BCE, Toronto (traveling exhibit), 2004

African American Art - Photographs from the Collection, Saint Louis Art Museum, Saint Louis, MO, 2005

Figuratively Speaking, Miami Art Museum, Miami, FL, 2005

The Whole World is Rotten, Jack Shainman gallery, New York, NY, 2005

Common Ground: Discovering Community in 150 Years of Art, Corcoran Gallery of Art, Washington, DC, 2005

Out of Time: A Contemporary View, Museum of Modern Art, New York, NY, 2006

Black Alphabet: Contexts of Contemporary African-American Art, Zacheta national gallery of Art, Warsaw, Poland, 2006

Hidden in Plain Sight, Metropolitan Museum of Art, New York, NY, 2007

Embracing Eatonville, University of Michigan Museum of Art, Ann Arbor, MI, 2007

The 21st century, The Feminine Century, and the century of Diversity and Hope, 2009 International Incheon Women Artists' Biennial, Incheon, South Korea, 2009–2010

Colour Chart: Reinventing Color, 1950 to Today, Tate Liverpool, UK, 2009–2010

Afro Modern: Journeys through the Black Atlantic, Tate Liverpool, UK, 2009–2010

From Then to Now: Masterworks of Contemporary African American Art, Museum of Contemporary Art, Museum of Contemporary Art, Cleveland, OH, 2009–2010

Carrie Mae Weems: Estudios Sociales, Centro Andaluz de Arte Contemporáneo, Seville, Spain, 2010

Pictures by Women: A History of Modern Photography, Museum of Modern Art, New York, NY, 2010

Slow Fade to Black, Jack Shainman Gallery, New York, NY, 2010

The Record: Contemporary Art and Vinyl, Nasher Museum, Durham, NC, 2010

Myth, Manners and Memory: Photographers of the American South, De La Warr Pavilion, East Sussex, UK, 2010

Off the Wall: Part 1 – Thirty Performative Actions, Museum of Contemporary Art, Cleveland, OH, 2010

The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973–1991, Neuberger Museum of Art, Purchase College, Purchase, New York, NY, 2010

Posing Beauty: African American Images From the 1890s to the Present, Newark Museum, Newark, NJ, 2010

Stargazers: Elizabeth Catlett in Conversation with 21 Contemporary Artists, Bronx Museum, Bronx, NY, 2010

Unsettled: Photography and Politics in Contemporary Art, Philadelphia Museum of Art, Philadelphia, PA, 2010

Carrie Mae Weems: Three Decades of Photography and Video, Frist Center for the Visual Arts, Nashville, TN, 2012

This Will Have Been: Art, Love & Politics in the 1980s, Walker Art Center, Minneapolis, MN, 2012

La Triennale: Intense Proximity, Palais de Tokyo, Paris, France, 2012

Havana Biennial, Havana, Cuba, 2012

The Maddening Crowd (video installation), McNay Art Museum, Sa Antonio, TX, 2012

Carrie Mae Weems: Three Decades of Photography and Video, Portland Art Museum, Portland, OR; Cleveland Museum of Art, Cleveland, OH; Cantor Center for the Visual Arts, Stanford, CA, 2013

Feminist And..., The Mattress Factory, Pittsburgh, PA, 2013

Seven Sisters, Jenkins Johnson Gallery, San Francisco, CA, 2013

Carrie Mae Weems: Three Decades of Photography and Video, Solomon R. Guggenheim Museum. New York, NY, 2014

P.3 Prospect New Orleans, The McKenna Museum, New Orleans, LA, 2014

Color: Real and Imagined, Pippy Houldsworth Gallery, London, England, 2014

Carrie Mae Weems: The Museum Series, Studio Museum in Harlem, New York, NY, 2014

Wide Angle: American Photographs, University of Kentucky, Lexington, KY, 2014

The Memory of Time, The National Gallery of Art, Washington, DC, 2015

Triennale di Milano, Milan, Italy, 2015

Winter in America, The School (Jack Shainman Gallery), 2015

An Exhibition of African American Photographers from the Daguerreian to the Digital Eras, Marshall Fine Arts Center at Haveford College, Haveford, PA, 2015

Represent: 200 years of African American Art, Philadelphia Museum of Art, Philadelphia, PA, 2015

Under Color of Law, The Philip and Muriel Berman Museum of Art and Ursinus College, Collegeville, PA, 2015

30 Americans, Detroit Institute of Arts, 2015

Grace Notes: Reflections for Now, Spoleto Festival, Spoleto, Italy, 2016

The Ethelbert Cooper Gallery of African & African American Art. Cambridge, MA, 2016

Viewpoints, Henry Art Gallery, University of Washington, Seattle, WA (February 18–June 18, 2017)

We Wanted a Revolution: Black Radical Women, 1965–85, Brooklyn Museum, Brooklyn, NY (April 21–September 17, 2017)

Blue Black, Pulitzer Arts Foundation, St. Louis, MO (June 9–October 7, 2017)

Matera Imagined: Photography and a Southern Italian Town, American Academy in Rome, Rome, Italy (2017)

...And the People, Maruani Mercer, Knokke, Belgium (August 5–September 4, 2017)

Medium, Zuckerman Museum of Art, Kennesaw State University, Kennesaw, GA (August 29–December 3, 2017)

Carrie Mae Weems: Ritual and Revolution, Block Museum of Art, Northwestern University, Evanston, IL (September 12–December 10, 2017)

Dimensions of Black, Manetti Shrem Museum of Art, University of California, Davis, Davis, CA (September 17–December 28, 2017)

Posing Beauty in African American Culture, Mobile Museum of Art, Mobile, AL (October 6, 2016 – January 21, 2018)

We Wanted a Revolution: Black Radical Women, 1965–85, California African American Museum, Los Angeles, CA (October 13, 2017 – January 14, 2018)

Edward Hopper Citation of Merit in the Visual Arts Recipient Exhibition, Carrie Mae Weems: Beacon, Nyack, NY (November 10, 2017 – February 25, 2018)

Making Home: Contemporary Works From the DIA, Detroit Institute of Arts, Detroit, MI (December 1, 2017 – June 6, 2018)

We Wanted a Revolution: Black Radical Women, 1965–85, Institute of Contemporary Art, Boston, MA (June 27–September 30, 2018)

Be Strong and Do Not Betray Your Soul: Selections from the Light Work Collection, Light Work, Syracuse, NY (August 27–October 18, 2018)

Carrie Mae Weems: Strategies of Engagement, McMullen Museum of Art, Boston College, Boston, MA (September 10–December 13, 2018)

Family Pictures, Milwaukee Art Museum, Milwaukee, WI (September 14, 2018 – January 20, 2019)

Heave, 2018 Cornell University Biennial, Cornell University, Ithaca, NY (September 20, 2018–November 5, 2018)

Carrie Mae Weems: Strategies of Engagement, Allentown Art Museum, Allentown, PA (January 13, 2019–May 5, 2019)

Carrie Mae Weems II Over Time, Goodman Gallery, Johannesburg, South Africa (September 7, 2019–October 5, 2019)

Awards

2005: Distinguished Photographers Award

2007: Anonymous Was A Woman Award

2013: Congressional Black Caucus Foundation's Lifetime Achievement Award

2013: MacArthur Fellow, "Genius" Award

2014: BET Visual Arts Award

2014: Lucie Award

2015: ICP Spotlights Award from the International Center of Photography.

2015: Ford Foundation Art of Change Fellow

2015: W.E.B. Du Bois Medal from Harvard University

2015: Honorary Doctorate from the School of Visual Arts

2016: National Artist Award, Anderson Ranch Arts Center

2016: Roy and Edna Disney Cal Arts Theatre

2016: College Arts Association

2016: DeFINE ART

2016: Art of Change Fellow, Ford Foundation

2017: Honorary Doctor of Fine Arts degree from Syracuse University

2017: Inga Maren Otto Fellowship, The Watermill Center

2019: Honorary Fellowship of the Royal Photographic Society, Bristol.

Publications

Carrie Mae Weems : The Museum of Modern Art (N.Y.), 1995.

Carrie Mae Weems : Image Maker, 1995.

Carrie Mae Weems : Recent Work, 1992––1998, 1998.

Carrie Mae Weems: In Louisiana Project, 2004.

Carrie Mae Weems: Constructing History, 2008.

Carrie Mae Weems : Social Studies, 2010.

Carrie Mae Weems : Three Decades of Photography and Video, 2012.

Carrie Mae Weems: Kitchen Table Series, 2016.

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pokermalaysia-blog · 5 years ago

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Judi Online Malaysia

If you ask players on the tournament circuit who they think are the best poker players in the world, T. J. Cloutier’s name always conies up.

Not because he’s won the Big One: He hasn’t… yet, although he’s come mighty close to winning it several times.

And not because he’s made the most money at the World Series … he hasn’t, although he was the first player to make more than $1 million at it without winning the main event.

T. J. Cloutier’s name is always mentioned because he is the player that they all respect and fear.

T. J. is one of the last of the legendary road gamblers whose numbers are, unfortunately, dwindling each year. He brings a wealth of experience, card skill, and natural ability to every game that he plays.

But more importantly, he always brings along his knowledge of the thousands of players that he has faced head up in the 21 years that he has made his living as a professionalpoker player.

And that sixth sense about what makes his opponents tick … that innate ability to put a player on a hand … is why his opponents fear him.

It is as though he is looking at you through an invisible microscope, knowing what you are thinking, detecting you tells, delving into the inner spaces of your mind … you know that he knows you, knows what you’re going to do next.

And he’s going to use his encyclopedic memory of how you play to beat you.

I got to know T. J. first through hearsay, then by talking with him and Tom McEvoy while we were working on this book, and finally by observing him in action. All three encounters have been awesome.

While T. J. and I were recording his life’s story, I somehow had the feeling that I was sitting at the feet of a master … a master of people.

And I knew that there was much that I could learn from the man whom Mansour Matloubi has called “the greatest living no-limit holdem player in the world.”

Here is his story.

T. J. Cloutier graduated from Jefferson High School in Daly City, CA, where he was a three-letter man. At 6'3" tall, he was the center on the basketball team, played football, and still holds the home run record in baseball.

So, were all the girls waiting in line for a date with him?

Well… when I was a senior, I dated Pat Kennedy, who later won the Miss California title,“ he modestly admits. We had a study group of 10 or 15 kids that ran around together, and high school came very easy to me.

It was when I got into college that I found out that you had to study.” T. J. entered the University of California at Berkeley on a baseball and football athletic scholarship and played for Cal in the Rose Bowl in 1959 as a sophomore.

But when his mother became ill, he dropped out of college to go to work and help his father pay some of her medical bills.

Then the army snapped him up, since he no longer was a draft-deferred student.

T. J. gained his first experience playing poker when he was a caddy at the Lake Merced and San Francisco Country Clubs. When he and the other caddies came in from taking their loops (caddying), they played a form of poker in the caddy shack.

One day, somebody passed around some “lucky bucks” from Artichoke Joe’s, a cardroom in San Francisco. For $15, he received a $20 buy-in for the lowball game. So, at the age of 17 years, T. J. started playing poker in a public cardroom and by the time he was 19 years old, he was playing head-up draw poker against Artichoke Joe himself.

“When I began playing, all the games were no-limit, including no-limit lowball without the joker and no-limit high draw poker,” he reflects.

“Then when I entered college, I played poker at the Kappa Alpha house with Joe Capp, the Cal quarterback who later played in the NFL, and Bobby Gonzalez, who became a supervisor in San Francisco. I found out that I had a knack for the game, although I lost everything I had at the time. I was honing my skills at observation and getting to know people. I’ve always had a sort of photographic memory for how people play their hands in certain situations. If you and I had played poker together five years ago, I wouldn’t remember your name, but I would remember your face and how you played your hands in different situations, your tendencies. It’s a visual memory thing; I’ve always been very observant throughout my entire life,”

So, you keep a book on players, I asked?

“No, it’s nothing that formal. It’s more like pages opening in a book in my mind. And that helps … especially in no-limit games.”

He then went on to play poker in the army, where he furthered his training at cards. When T. J. got out of the army, he walked into the office of the Montreal Allouettes and asked if he could try out with them.

After checking out his record at Cal, the general manager told him, “We’ll put you up for two weeks, and then you can come out and show us what you have.”

He went to one workout and made the team, after not having played any football for two years. The team paid his expenses until the training camp began, and he played first string tight end for the Allouettes until he was traded to the Toronto Argonauts.

Canadian football was a lot different from American football in those days. Thirteen Americans were suited up, along with 17 Canadians.

“My value was that my father was born in Canada, so I could play as a Canadian — an American - trained Canadian was just what they were looking for,”

The team had only 12 players going each way, leaving just six reserves, including the kickers and other special players. So, in addition to playing first string tight end, T. J. also was first backup to the defensive ends.

“It’s a rugged brand of football, wide open. When I was playing, you couldn’t block for a pass receiver once he caught the ball past the line of scrimmage. The field was 110 yards long, the end zones were 20 yards deep, and the field was wider. You had to make a first down in the first two downs or else kick the ball, since there were only three downs. It was a real fast game, and everybody was in motion all the time.”

Another different facet was that you couldn’t block for a punt receiver; once he caught the ball, he was on his own.

“You had to give the punt receiver five yards to catch the ball. So, the other team would circle him like the Indians circling the settlers, and as soon as he caught that ball, he was dead, flatter than a pancake,”

T. J. played Canadian football for five years … until his knees gave out. Then he received a call from Victoria when they were trying to form the Continental Football League.

Victoria offered him its coaching job, but he also would have to play.

“Are you kidding?” he asked. “If I could still play, I’d be playing for Montreal or Toronto.

“Of course, football wasn’t the only game in town: A cardroom in Vancouver, B.C., spread a poker game called “sousem,” a form of five-card stud. In sousem, a four-card straight or a four-card flush beats one pair, so it puts a lot of action into the game,“ T. J. explained.

“It was quite a game, no-limit. The only other game we played was no-limit ace-to five lowball.” And even that game wasn’t the only one in town. In Montreal, the Hebrew Businessmen’s Club spread five card studs. I was getting whipped pretty good, but it was all a part of the learning process,“ T. J. admits.

When he left Canada, T. J., his father, and his brother-in-law started Bets Quality Foods, an acronym for Bill, Ed, and Tom (T. J.’s first name), and later brought T. J.’s brother in with them.

“We used the money that I had left from football and my dad’s retirement to start the business. Our slogan was ‘Your Best Bet in Quality Foods.’ We bought a huge freezer from Foster’s, a big cafeteria chain in San Francisco, when they went out of business and rebuilt it in our warehouse to handle our frozen food. We had a big egg business, too, although you don’t make much money from eggs. But when you’re serving big hotels, you have to give them the eggs at a good price to keep their other business. I was working 16 hours a day — I would take orders, load trucks, and pick up and deliver products. Later, we merged with A & A Foods, and they stole us blind. My dad won an 11 -count court case against them, but the owners left the country.”

After suffering this bad beat, T. J. began delivering bread for Toscana and eventually wound up as night manager for Wonder Bread in San Francisco.

“My first wife and I split up about that time, and I ended up heading for Texas with $100 in my pocket,” he remembers.

That was in 1976. “I went to work for six months as a derrick man on the oil rigs down there. On my off days, I was playing poker. Pretty soon, I was making more money at poker than I was on the rigs… and I’d been freezing up there, anyway… so that’s how I moved into playing poker full time.”

He played no-limit hold'em in Longview, Texas, and pot limit hold'em in Shreveport, Los Angeles, 51 miles away.

T. J. had only played hold'em a few times before that. While he was playing lowball at the Cameo Club in Palo Alto, CA, a club across the street tried three times to start a hold'em game, but the police came in and busted them every time.

Because of the good games in Shreveport, T. J. moved mere to play poker every day at the Turf Club.

“The games much smaller than we’re playing now. On Sundays, they would have a big game run by an old gambler named Harlan Dean who was well known in all the gambling places. He used to be George Barnes’ partner in the bridge tournaments in Vegas, and he was one of the original holdem players. I ended up selling the chips, and if I got broke or something, he’d call up on a Sunday and ask, ‘Well, we’re broke, are we, or partner?’ And I’d say, ‘Well, Mr. Dean, I know you’re not broke, but I am.’ Then he’d say, ‘Well, you come on by today and I’ll give you some chips.’ And if I got loser in the game, I could have the chip rack because he didn’t want the game to end. That’s when I started playing real serious poker.”

In 1978, T. J. made his first trip to the World Series of Poker, although he didn’t play in the championship tournament until 1983 (the year that Tom McEvoy won it).

But the third year that he played for the World Championship (in 1985), he finished second to Bill Smith, with Berry Johnston taking third.

“When it got down to three-handed, Berry Johnston had the best hand, an A-K. I had an A-J. The flop came K-J little and we got it all in. On the turn, I caught a jack and drew out on him to put him out of the tournament. Then it got to two-handed and I had the lead against Bill,”

“But the key hand of the whole match happened when I had two nines and he had two kings. He moved in and I called him with my nines. He won the pot and doubled up. Now he had a big lead, and I started chopping back at him,”

There were 140 players that year, so there was $ 1,400,000 in chips; I got back to $350,000.

Then Bill came in with a little raise, and I looked at an ace in my hand … didn’t even look at the other card, but made it look like I had.

I just went over the top of him with the whole $350,000. I knew that he had to decide… if he made the wrong one, I’d be back even with him again.

He had started drinking, and he gave away money when he was drinking. He called. When I looked back at my hand, my kicker was a three. And Bill had two threes. They held up and he won the title.

He was one of the greatest players of all time, Bill Smith was. Bill was the tightest player you’d ever played in your life when he was sober.

And when he was halfway drunk, he was the best player I’d ever played with. But when he got past that halfway mark, he was the worst player I’d ever played with.

And you could always tell when he was past the halfway point because he started calling the flop. Say a flop came 7-4-10 — he would say, ‘21!’ or some other remark like that.

When he got up to take a walk, he would have a little hop in his step, a ‘git up in his getting’ we used to call it. And then you knew he was gone.

But he had such great timing on his hands when he was younger and wasn’t drunk… he was out of this world. He knew when to lay down three of a kind, when to call with a baby under pair with two or three over cards on the board.

He was a fabulous player, but he became an alcoholic and that was that. You never worried about Bill when he was sober because you knew that he played A-B-C — tight — and you knew where he was all the time.

The only time that you worried about him was when he was about halfway drunk, and then he’d play all the way to ‘H’. He’d make some fabulous plays, plays you couldn’t believe.

Bill Smith was a truly great player.

In those days, T. J. was living in Shreveport, playing poker every day. “In fact,” he said, “I was having a gay old time. I was single then and would go to the Louisiana Downs 100 out of the 105 days of the meet, and then go out and play poker every night. I learned more about poker in Shreveport than anywhere else in the world.”

There was a real good game on Sunday and a guy named Jim “Little Red” Ashee used to P% in it. He’s bigger than I am — about 6'5” tall and 300 Pounds, but they called him Little Red because he started playing there when he was about 16 or 17 years old.

“I learned more from just watching him play than any other way. It was like sitting at the feet of the master, except that the master was not instructing T. J.”

“I was actually absorbing what Red did, and then suiting those moves to my own style, which was aggressive at times and passive at other times. You can’t let them pigeon hole you, you know.”

“A lot of people think that Sarge Ferris was the best five card stud player in the world … well, when Red was 17 years old, he was playing with Sarge, Corky McCorquodale, Homer Marcotte … all the big names in five-card stud used to play in Shreveport. And Little Red beat them all the time.”

Marcotte was killed in Dallas. “He was called 'The Louisiana Man’ because wherever he went, he would say, “I’m the Louisiana Man.” He was shot dead by some guy about 5'5” tall in a Dallas bar back around 1978 over a $50 bar bill.

The little guy kept dunning Marcotte for the $50 and Homer kept saying, 'Don’t you know me? I’m the Louisiana Man. You don’t dun me for $50.’

Finally, this little guy had heard enough, went out to his car to get his gun, came back in, and shot Marcotte.

Anyway, when Sarge went out to Vegas and won all that money, he put up a bankroll for Red while the World Series was on so that if Red came out, he’d have the money to play against anybody that wanted to play him.

The only person I know of that they ever got a game on with was George Huber, and he didn’t last two hours against Red. Lost about $40,000 to him.

Of course, Red didn’t come out very often because he hated to fly. You’d almost have to give him a shot like Mister T on the old A-Team show just to get him on an airplane.

Red liked horses and sports betting, so all his money went there, and after he got into that, poker wasn’t fast enough for him. But at one time, he was very well respected in poker, especially in the South.

A lot of good holdem players came from the South, from the Sun Belt states. T. J. is one of the best of them.

“While I was living in Shreveport, I found out about a real good game in Dallas that was run by a man that I will call The Big Texan. It was a $5-$10-$25 no-limit holdem game with either a $500 or a $ 1,000 buy in. I used to drive the 200 miles from Shreveport three days a week to play in that game.”

The first 12 times that he played in the game, he won. Then, on his next visit, the Big Texan told T. J., “I’m dropping the latch on you. If you don’t give me half your play, you can’t play here anymore,”

So, T. J. gave him half his action for his next 10 visits … and he won all 10 times.

“Then one day I went down there and out of the blue, the Big Texan said to me, 'I’m out today.’ That rang a warning bell in my head. I knew that there was something going on, something was wrong. There were two new players in the game, so I just bought in for $500 in chips, played for about an hour, and hardly ever got into a pot. Then I left.”

That was around the time that Bill Smith and T. J. became friends. Bill’s wife, Cleta, was working at Mitsubishi Aircraft in New Orleans and introduced T. J. to Joy, whom he married in 1984.

“That’s the reason I moved to Dallas from Shreveport, not just because of the game but because Joy lived there. She was the personal secretary to the president of Mitsubishi,”

Joy Cloutier has one daughter from a previous marriage, whom T. J. put through Texas A & M where she received her training as a petroleum engineer.

Today, Joy travels with T. J. to most of the tournaments on the circuit.

“Joy is amazing. I don’t know what she does while I’m playing the tournaments, but the day does not have enough hours for her,”

Lyle Berman was T. J.’s first tournament backer. At the time, Berman was backing Jack Keller and another player. When the second player fell out of their arrangement, Berman asked around to find out who else he might back.

T. J.’s name was suggested, so he and Lyle spoke on the telephone and then met at the airport on their way to the Bicycle Club’s big tournament in 1989.

“He’s a super guy. At the Bike, he asked how much I needed to play the side games during the three days that we were there. 'Well, I guess about $10,000 would be plenty,’ I said. 'I’m giving you $30,000,’ he answered,”

“He wanted me to have plenty of money to play with in those ring games, so I wouldn’t be playing scared money. I’ve been lucky for him in side games and in tournaments. We’ve made a lot of money together,”

T. J.’s play at the World Series of Poker is always open to Lyle as a backer.

Lyle doesn’t get to many tournaments anymore, but he always makes it to the WSOP. As high as you’ve ever heard of in a poker game, Lyle plays it. He plays in that high game at the WSOP with Doyle and Chip and the Greek and the others.

And when they play high, Lyle’s as good a player as anyone alive. He’s one of the two or three people that play in that game who can really afford it.

But that’s not it: He’s a great card player, a brilliant poker player. He has no fear whatsoever, no matter how much you bet at him.

In fact, in the final game that he and Bob Stupak played before the Stratosphere thing, Stupak brought it in for $25,000. They were playing no-limit deuce-to-seven with no cap. Usually, they played with a $75,000 cap, which means that you can’t lose more than $75,000 on one hand, but that night they were playing the game with no cap.

Lyle called the bet with 2-3-5-7, drawing at the deuce-to-seven wheel. He drew one card while Stupak stood pat.

When all the shouting was over, Stupak had bet $390,000 on his hand, an 8-5 pat, which is a great hand in deuce-to-seven. But Lyle caught a six and made a seven on Stupak to win the pot.

“From what I understand, Stupak still owes Lyle some of that money.”

T. J. has three World Series titles, along with a lot of place wins at the WSOP. In fact, he was the first man to earn $1 million at the Series without winning the big one. When I asked which year, he won the limit Omaha title, he said:

“I’d have to go look at my bracelet. I’ve won 43 titles and I can’t keep them all straight. The only major tournament where I haven’t won the big title so far is the World Series, but I came in second to Bill Smith and placed fifth to Chan the year that he beat Eric Seidel for the championship.”

In 1994, T. J. won two WSOP tournaments during its silver anniversary, one in pot-limit hold'em and the other in Omaha high-low split.

In no-limit hold'em, you’ll recognize the faces at the final table more than in any other tournament because it’s the Cadillac of poker. I won the last $5,000 tournament held at the Stardust, the Stairway to the Stars.

That was the year that I won the last Diamond Jim Brady tournament at the Bicycle Club, and I told them before it started, 'I won the last one at the Stairway to the Stars, I won the last one at the Union Plaza, I won the last one at the Frontier … this place might blow up next week if I win the big one here, too.’

I wound up winning the Bike’s Diamond Jim Brady tournament three years in a row.

That was sort of a peak for me that I don’t think can ever be repeated.

The first year that I won the Diamond Jim Brady, Mansour Matloubi and I started head-up play with about even chips. I had played with him for about five hours that day at the final table and he never ran a bluff on anybody one time, not once.

He wanted to get down to the final two. When we got head-up, he bet me $120,000 on the final hand, and I called him with third pair in a New York split second because I knew that I had the best hand.

I’d been chipping away at him so bad that he decided to try to run a big bluff on me. And that was the end of it.

Then when Tuna Lund and I got head-up the next year at the Diamond Jim Brady, Tuna had $360,000 and I had $120,000. I chipped away at him and chipped away at him and chipped away at him.

Finally, he made a $50,000 bet on the end on one hand and I called him with a pair of nines. He said, 'You got me.’ And I answered, 'Wait a minute … before you show your hand, I’ll bet you have a Q-10 off suit.’

He turned it over and sure enough, that’s what he had. That was the key hand.

The third year I won the Diamond Jim Brady, it got down to Bobby Hoff and me, so I played a formidable player every year. But in this one, I had three-to-one chips on Hoff, not like the second year that I played when I came into the second day of the tournament with the low chips.

The key hand that year was when I had two nines against Hal Kant’s two eights, which doubled me up from $9,000 to $18,000 and then I just went from there.

While T. J. is competing in a tournament, he often plays side games, too, although there are times when he doesn’t play any side action at all. He also occasionally plays in the satellites.

“At the Hall of Fame, I had a run one year when I played in six super satellites and got a seat in four of them, and I played in six one-table satellites and won four of those. So, I won close to $35,000 on the side in the satellites,”

He loves playing satellites for big events. One year, Berman told him to play in every $10,000 one-table satellite for the WSOP that he could enter, because at that time T. J.’s record was one win for every three satellites he played.

You get some pretty weak fields in satellites, although at the big one they’re not usually as weak as they are for some of the other tournaments. In a $10,000 satellite, you get $2,000 in chips so you can play the game.

But you have only $200 or $300 in chips in the super satellites, so everybody’s just moving in all the time and you’ll get drawn out on a lot. If you only have that many chips, all of them are in jeopardy the first round that you play.

Or you’ll try to draw out on somebody else, whereas you wouldn’t try to do that with a big stack.

One year, I played in a $10,000 satellite at the Golden Nugget and five people moved in all of their chips on the first hand.

So, one guy ended up with $ 10,000 in chips after the first hand.

Some people advise limit players to play the satellites if they want to learn to play no-limit or pot-limit hold'em. T. J. disagrees with that approach.

“I disagree with that idea 100 percent. I think that you must play in a live game to learn how to play those games because satellites are played so differently from a regular game. About the only thing you get a feel for from satellites is the raise in limits,”

The thing that has made T. J. so successful at no-limit and pot-limit holdem is his observation powers.

I know what Joe Blow is going to do in this situation and in that situation. That’s what helps me. When I’m in a tournament with all strangers, after 15 or 20 minutes I’m going to know how they play.

Say what you want, but there are people who have that ability, and there are people who don’t have it. You’re either born with it or you aren’t.

I have a knack for picking up people tells and all the little things that they do. Caro has a book on tells, but I have my own book.

What about the young new breed of “scientific” players, I wondered.

There are several good players among the young bucks. Phil Hellmuth is still young and he’s a great player. Howard Lederer is another one. There’s also a kid from Los Angeles named David Oppenheimer who’s a very good limit player. Huck Seed’s a great young player, too.

He took on the best and beat them. A lot of the old timers say, 'Well, they haven’t been breaking yet. Let’s see what kind of players they are when they get broke,’

You see, all the top players have had big money and have been broke and have come back and been broke and then come back again.

They’re the top players, and that’s the nature of the game. But when your factor in how much money you have to make to meet your nut, you have to be pretty successful to just stay alive every year.

So, are these new players playing something like “formula” poker?

The guys I’ve mentioned are all very good young players. But all the rest of the new players seem to be the same type — they’ve read some books, and they all play the same way.

I don’t think that’s good, because I like to see them when they have a few moves to them, a little creativity, some moxie. But you just don’t see that among them. The old-type players like Doyle and James “Goodie” Roy and Buck Buchanan (who’s dead now), and maybe even guys like me, are dying out.

Everybody today is book-learned, but in the old days it was experience-play, where you had to learn your players. I played with a kid down in L. A. who can’t win a hand unless money is given to him.

But I’ve never seen him lose because somebody will get in the game and just give his money to him.

Any top player would see that this kid doesn’t play a hand unless it’s a huge, huge hand, so why would you even get involved with this man?

Those types of players can’t beat me out of any money unless I do it to myself.

Are these new, young players making “formula” plays and relying on what they learn from books because they don’t have the training ground available to them that the “vintage” players, the road gamblers, had?

We used to 'fade the white line,’ the white line of the highway going from game to game.

You don’t have to do that anymore because of all the cardrooms and casinos. In California, the new players learn limit poker and most of them don’t have a chance in no-limit.

They learn to play hands in limit holdem like second pair and draws, and you can get eaten alive in no-limit with that kind of play.

Plus, they only have one move when they play no-limit: They’re afraid to play out a hand. So, when they play no-limit, they just put in their whole stack in situations where an experienced player might make just a decent little raise and get more money out of a person.

You see, the whole idea in poker is to maximize the money that you can get out of a hand. But these new guys are ramming and jamming when they get a big hand, playing limit style.

They’re so afraid of the draw outs that they’re used to getting in limit that they just put in all their chips and put somebody to the test on every hand… which is not the way to do it, because people just throw their hands away.

Say that you have $10,000 in front of you. You have two queens and some guy bet $10,000 before the flop. He might have aces or kings or A-K. You’re going to throw your queens away.

Why takes the chance?

Just throw the hand away and wait to pick up another hand. These types of inexperienced bettors aren’t going to get paid on their good hands.

These are the types of things that road gamblers have learned; they aren’t things that you pick up from reading books at home.

I can remember one time in the World Series when I had two kings twice during the first two hours of the $ 10,000 championship tournament. Both times, I made a little raise and was re-raised, and I threw the kings away before the flop.

And both times, I was right: Mike Allen showed me aces on both hands. I knew the player and so I knew the kings weren’t any good. It’s very hard to lay down two kings; it’s easier to play queens because you can get away from them easier than you can two kings.

But then, I remember a time when I blew it at the Hall of Fame. There was one guy at the table that I didn’t know. It was the first hand that was dealt, and I was in the big blind with the K-9 of diamonds in an unraised pot. The flop came 7- 2-3 of diamonds.

This guy led off and bet from the number one seat, the fellow on the button called, and I raised right there. The guy in the one-seat moved all in, and the man on the button (who had turned a set) called.

Ordinarily, I would have thrown away my hand. The only player that I didn’t know was the guy who moved all in … and he had the A-J of diamonds in his hand. So, I went broke on the hand and went out first in that tournament.

Do beats like that cause players to steam, I wondered.

No, I never steam. I might steam on the inside, but I never let other players see it. But I remember one time when Phil Hellmuth got knocked out of the Diamond Jim Brady tournament.

A velvet rope was connected to two poles at each door so that people couldn’t wander into the room. Phil went on a dead sprint and tried to leap over that rope, caught his foot on rt, and went tumbling out into the room.

Another time during a limit holdem tournament at the Diamond Jim Brady, the whole room was completely packed, and you know how much noise there is in a tournament room like that.

A Mulatto girl came into the room wearing a dress with cross hatches down the back of it cut all the way down, real low. She was an beautiful woman. She walked over to talk with Jerry Buss, and the whole room went silent, totally silent.

When she finished talking with Jerry, the entire room started clapping … in the middle of the tournament. In contrast, I was in a tournament at the Normandie one time when I saw an older lady pick up her hand to look at it up closely, had a heart attack, and keeled over dead.

The two tables around her caused some commotion, but the other tables didn’t even stop playing… nobody even noticed. But this girl stopped the whole room!

Do players prepare for tournaments?

When I’m taking my shower in the morning, I think about a few things, devise a plan. Then my wife, who’s with me most of the time, gives me a kiss and says, 'I love you and good luck.’ Then she says, 'Now, concentrate and don’t do anything foolish. Catch some cards.’ It’s the same thing each time.

T. J. also plays in tournaments other than no-limit and pot-limit holdem, including seven-card stud, Omaha, Omaha high-low split, and lowball.

I never used to play stud tournaments, because being from Texas and seeing what things can be done with a deck, I never liked a game where the same person always gets the first card like they do in stud. I’ve run into enough cheats and mechanics in my lifetime who could win every pot if the right guy was dealing.

And, of course, most of the players in a stud tournament play the game every day, so I wouldn’t play in one. But we were back in Foxwoods and Phil talked me into playing the $5,000 satellite for the seven-card stud tournament, and I won it.

Then I finished fourth in the tournament, and he said, 'Now you’ve got to play in all the stud tournaments.’ So, in the first 12 stud tournaments that I played, I won one, had two seconds, two thirds, and a fourth-place finish.

Today, he no longer feels unkindly toward stud.

You that there’s nothing going on in stud tournaments like there used to be in some of the ring games. Except for the year that Larry Flynt played in the tournament at Binion’s when he tried to buy off the table. He had a big bet with Doyle, something like $1 million-to-$ 10,000 that Larry couldn’t win the tournament.

When it got down to three or four tables, Larry tried to buy off some of the players and did buy off some of them by getting them to throw off their chips to him.

But Jack Binion had gotten wind of it and he had Dewey Tomko watching the table for him from the side. He saw what was going on, and Larry Flynt was never allowed to come back and play in the WSOP. Of course, none of this poker stuff was in the movie about Flynt.

I was curious about how T. J. opened his repertoire of poker games to include Omaha and Omaha high-low split.

The first time that I ever played limit Omaha, I won the WSOP title. I had never played limit Omaha, although I had played a lot of pot-limit. But tournaments are tournaments. You use the same process in every game; you work yourself up to the final table.

Final table play is the same, no matter what the game is. So, if you have a knack for playing the final table, you have a chance to win. I know a lot of players who can get to the last table, but very few of them know how to play it once they get there.

Of the tournaments that T. J. has played over the years, there have been only two or three times when he hasn’t placed in the top three in at least one of them.

Usually, he scores at least one victory in each tournament. The Place finishes that he makes “pays the freight,” takes care of his tournament expenses

Is it difficult to maintain a stable relationship when you Play poker professionally?

My poker playing is my job, and I separate it from my life outside the poker room. I cannot understand people who can play poker three or four days in a row and then can’t wait to get right back to it again … they don’t have any other life.

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I used to play steady in Dallas, five days a week, strictly no-limit hold'em against the best players in the world. Players used to come from Vegas and everywhere else to play in that game.

At least once a week, we had over $100,000 on the table. This game was played every Monday, Wednesday, and Friday; there was another game that was played on Tuesdays and Thursdays. You could play at noon every day, and then again at 7:00 that night.

So, I would play until 5:00 each night, go see a movie, and then go play the evening game, unless the first game was so good that I didn’t want to leave it. I followed that schedule for years; and I never played on the weekends.

When poker is your profession, you treat it like a job. But for some players, poker not only is their vocation, it’s their avocation as well. You need some balance.

When they are at their home in Dallas, T. J. doesn’t like to go out in the evenings. He enjoys golfing at the country club and then meeting his wife for dinner after he leaves the greens.

She likes antiquing and taking care of their home.

“Joy is my support. She never sits right by me at a tournament; she sits in the background. She’s right there and she knows that I know she’s there. I look over and smile at her, or if I’ve lost a hand, I’ll make a little expression that she recognizes. She doesn’t know anything about poker, but she knows that if I move all of my chips in and then get the pot back, I’ve won; but if I don’t, I’ve lost.”

She does all the book work and takes care of the business end of things.

When he and Joy went on their honeymoon, they spent a few days in New Orleans. While Joy went antiquing, T. J. went to the track and won $5,000 on the horses.

From there, they traveled to Tampa where they went to the dog races and won another $3,800.

“After all our expenses were paid, we came home $5,000 ahead,” he laughed.

In what other profession in the world, I thought, can you go out for an evening’s dinner and entertainment, play some poker along the way, and come home with more money than you started with?

“Yes, but in what other profession can you work all day long and come home losing for the day?!”

Considering that he is one the most feared players on the tournament circuit today, T. J. comes across as being quite modest about his accomplishments.

“I wouldn’t say that I’m modest, but I’m not the type to go around saying, 'I’m the Louisiana Man.’ I feel in my own bones that I can play with anyone, and I don’t fear anybody alive.”

That feeling of confidence without the drawback of ego involvement may be the combination that gives T. J. his edge at the poker table.

Like so manypoker playersand tournament winners that I have interviewed, T. J. admits that he doesn’t have that same edge in every gambling game that he has played.

Even the best has a few leaks in their gaming activities.

I’ve had a lot of holes that I’m trying to patch up. I love craps and over the years, I’ve lost a lot of money at it. I used to love to run to the crap table all the time and, of course, that hurts your side play because it’s so much faster than the poker.

But now if I play craps, I never go to the table with more than $400, no ATM card, nothing like that. I’ve made several scores of over $50,000 off of $500, but if I go to the table with $20,000, I don’t win a single bet!

So now, playing craps is a once-in-awhile thing for me,“ It’s just another of the lessons that T. J. has learned throughout his career. The rest of them, he has down pat.

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We are committed to environmental sustainability. Our remodeling practices incorporate eco-friendly materials and energy-efficient fixtures to reduce your carbon footprint. We believe that a beautiful bathroom can also be environmentally responsible, contributing to a greener future.

Our Seamless Process:

Consultation

Our journey begins with a thorough consultation. We take a moment to learn about your vision, demands, and budget limits. During this phase, our experts provide valuable insights and suggestions to help you make informed decisions.

Design and Planning

Once we have a clear understanding of your expectations, our design team gets to work. We create detailed plans and 3D renderings, allowing you to visualize the final result. We pay meticulous attention to every detail, ensuring that your dream bathroom takes shape on paper before construction begins.

Expert Execution

With a solid plan in place, our skilled craftsmen commence the construction phase. They work diligently to bring the design to life, adhering to strict timelines and quality benchmarks.

Quality Assurance

Our commitment to excellence extends to every aspect of the remodeling process. We conduct thorough quality checks at every stage to ensure that the work meets our rigorous standards. Your satisfaction is our top priority.

Completion and Beyond

Once your bathroom transformation is complete, we walk you through the final result. We believe in transparent communication and make sure that you are delighted with the outcome. Our services don’t end with the project; we offer post-construction support to address any queries or concerns you may have.

Why Choose Our Bathroom Remodeling Services?

Experience and Expertise

With years of industry expertise, we continually improve our talents and knowledge. Our team consists of experts who are passionate about delivering excellence in every project.

Tailored Solutions

We understand that no two bathrooms are alike. That’s why we offer personalized solutions that cater to your unique needs and preferences.

Quality Assurance

Quality is the cornerstone of our services. We go the extra mile to ensure that every aspect of your bathroom remodel is of the highest quality.

Transparent Pricing

We believe in transparency. Our pricing is competitive and free from hidden costs. You’ll know exactly what to expect from the start.

Customer-Centric Approach

Your satisfaction is our ultimate goal. We prioritize open communication and strive to exceed your expectations at every turn.

Ready to embark on your bathroom remodeling journey? Contact HANDYMAN SERVICES OF OAKLAND-BERKELEY’s Bathroom Remodeling Services in Berkeley California, today and let us transform your bathroom into a sanctuary of beauty and functionality.

Contact Details: HANDYMAN SERVICES OF OAKLAND-BERKELEY Local Handyman Services in Berkeley, CA! (415) 874-8040 Monday to Sunday 7 am – 11 pm https://remodelinghandymanberkeley.com/ Berkeley California

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Zip Codes:

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remodelingheroesberkeley · 2 years ago

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Troubleshooting Common Room Addition Issues

Adding a room to your home can be an exciting and valuable project. A new space can provide more living area, increase the value of your property, and improve your overall quality of life. However, as with any construction project, room additions can come with some challenges. Here are some common issues that arise when adding a room to your home and how to troubleshoot them.

Permit Issues

One of the first things you'll need to do when adding a room to your home is to obtain the necessary permits. This can be a complicated process that varies by location. It's crucial to research the requirements in your area and adhere to them throughout the project. If you're having difficulty navigating the permit process, consult with a professional contractor or architect for assistance.

2. Zoning Issues

Another potential issue is zoning regulations. Depending on your location, there may be restrictions on the size or height of your addition, setbacks from property lines, and other factors. Before beginning your project, it's essential to research the zoning requirements in your area and ensure that your plans comply. Again, consulting with a professional can help you navigate these regulations.

3. Structural Issues

When adding a room to your home, you'll need to ensure that the structure can support the additional weight. This may require additional foundation work, reinforcement of load-bearing walls, or other structural modifications. Failure to address these issues can lead to significant problems down the road. It's best to consult with a structural engineer before beginning your project to ensure that everything is in order.

4. Electrical and Plumbing Issues

Integrating your new room into your home's electrical and plumbing systems can be a complex process. You'll need to ensure that the wiring and pipes are properly installed and up-to-code. This may require the services of a licensed electrician or plumber. Additionally, you'll need to consider the increased demand on your HVAC system and possibly upgrade it to accommodate the new space.

5. Budget Issues

Room additions can quickly become expensive, especially if unforeseen issues arise during construction. It's crucial to create a realistic budget at the outset of the project and to stick to it as closely as possible. It's also essential to build in a contingency fund to cover unexpected expenses that may arise.

In conclusion, adding a room to your home can be an excellent investment that provides many benefits. However, before embarking on a room addition project, it's essential to do your research, consult with professionals, and plan carefully to avoid common issues. With proper attention to these details, you can successfully add a beautiful and functional new space to your home.

#room addition #room addition costs #room addition contractors near me #room addition in berkeley #room addition ideas for small homes #room addition ideas in berkeley

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rajproperties-blog · 2 years ago

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Berkeley Apartments For Rent: Tips For Finding The Perfect Place

When you come to the realization that you want to start the next chapter of your life and move out of your parent's home, finding a place of your own can be both exciting and overwhelming. To help make this process a little easier, we’ve put together some tips for finding apartments for rent near Berkeley ca.

1. Make a list of must-haves

Before you start your search, sit down and make a list of the things that are most important to you in an apartment. Do you need to be close to campus? Are you looking for a place with roommates already lined up? Do you need a parking spot? Once you know what your must-haves are, you can start narrowing down your options.

2. Consider your budget

This is probably the most important factor in finding an apartment near Berkeley. Make sure to consider not only the rent but also utility costs, parking fees, and any other monthly expenses that might come up. It’s also a good idea to have some money saved up for a security deposit and the first month’s rent, just in case.

3. Start your search early

The sooner you start looking for apartments near Berkeley, the better chance you have of finding something that meets all of your criteria. Keep in mind that the closer it gets to the start of the school year, the more competition there will be for places. So if you can, start searching for apartments several months before you need to move in.

4. Use all your resources

There are a lot of different ways to find apartments for rent in Berkeley. In addition to online listings, you can also ask friends, family, and classmates if they know of any places that might be available. Once you’ve found a few potential options, schedule tours so you can see the apartments in person and get a better feel for them.

5. Trust your gut

When you’re looking at apartments, it’s important to go with your gut feeling. If something doesn’t feel right or you have a bad feeling about a place, it’s probably not the right apartment for you. But if an apartment feels like home as soon as you walk in, then it might be worth considering.

With these tips in mind, finding an apartment near Berkeley should be a little easier. Just remember to take your time, do your research, and trust your gut, and you’ll find the perfect place in no time.

If you're looking for an apartment near Berkeley, start by making a list of your must-haves.

Consider your budget and start your search early to give yourself the best chance of finding the perfect place. Use all the tools you have, like online listings, friends and family, and tours of possible apartments that you set up in advance. Finally, trust your instincts to guide you through the decision-making process.

Conclusion

We hope these tips have helped you in your search for the perfect apartments in Berkeley. While there are many factors to consider, we believe that if you take the time to find an apartment that suits your needs and budget, you'll be much happier in the long run. With a little bit of research and effort, we're confident that you'll be able to find the perfect place to call home.

#Apartments in Berkeley #apartments for rent in Berkeley #apartments for rent near Berkeley ca

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neptunecreek · 3 years ago

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The Movement to Ban Government Use of Face Recognition

In the hands of police and other government agencies, face recognition technology presents an inherent threat to our privacy, free expression, information security, and social justice. Our faces are unique identifiers that can’t be left at home, or replaced like a stolen ID or compromised password. The technology facilitates covert mass surveillance of the places we frequent, people we associate with, and, purportedly, our emotional state.

Fortunately, communities across the country are fighting back. In the three years since San Francisco passed its first-of-a-kind ban on government use of facial recognition, at least 16 more municipalities, from Oakland to Boston, have followed their lead. These local bans are necessary to protect residents from harms that are inseparable from municipal use of this dangerous technology.

The most effective of the existing bans on government face surveillance have crucial elements in common. They broadly define the technology, provide effective mechanisms for any community member to take legal enforcement action should the ordinance be violated, and limit the use of any information acquired in an inadvertent breach of the prohibition.

There are, however, important nuances in how each ordinance accomplishes these goals. Here we will identify the best features of 17 local bans on government use of face recognition. We hope this will help show authors of the next round how best to protect their communities.

You can press the play button below to see a map showing the 17 communities that have adopted these bans.

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Privacy info. This embed will serve content from google.com

Here is a list of these 17 communities:

Berkeley, CA

Boston, MA

Brookline, MA

Cambridge, MA

King County, WA

Madison, WI

Minneapolis, MN

New Orleans, LA

Northampton, MA

Oakland, CA

Pittsburgh, PA

Portland, ME

Portland, OR

San Francisco, CA

Santa Cruz, CA

Somerville, MA

Springfield, MA

Definition of “face recognition”

Particular consideration must be given in any tech-related legislation to define what tools and applications are, and are not, intended to be covered. Complicating that challenge is the need to define the relevant technology broadly enough to assure that emerging capabilities are suitably captured, while not inadvertently impacting technologies and applications that should not fall within the bill's scope.

Here, many forms of government use of face recognition technology may present significant threats to essential civil liberties. They may also exacerbate bias. Today, the most widely deployed class of face recognition is often called “face matching.” This can be used for “face identification,” that is, an attempt to link photographs of unknown people to their real identities. For example, police might take a faceprint from a new image (e.g., taken by a surveillance camera) and compare it against a database of known faceprints (e.g., a government database of ID photos). It can also be used for “face verification,” for example, to determine whether a person may have access to a location or device. Other forms of face matching include “face clustering,” or automatically assembling together all the images of one person, and “face tracking,” or automatically following a person’s movements through physical space. All of these threaten digital rights.

Another application of face recognition is “face analysis,” also known as “face inference,” which proponents claim can identify demographic traits, emotional state, and more based on facial features. This invites additional bias, and suggests a return to the age of phrenology.

Bans on government use of face recognition must be drawn broadly enough to address all of these threats. Fortunately, many of the existing bans follow Boston’s example in defining face surveillance and face surveillance systems as:

“Face surveillance” shall mean an automated or semi-automated process that assists in identifying or verifying an individual, or in capturing information about an individual, based on the physical characteristics of an individual's face.

“Face surveillance system” shall mean any computer software or application that performs face surveillance.

Critically, these definitions are not limited just to face identification and face verification, but extend also to other technologies that use face characteristics to capture information about people.

Oakland, California offers another strong example:

“Face Recognition Technology” means an automated or semi-automated process that: (A) assists in identifying or verifying an individual based on an individual's face; or (B) identifies or logs characteristics of an individual's face, head, or body to infer emotion, associations, expressions, or the location of an individual.

Notably, it extends beyond face characteristics, to also cover head and body characteristics. It thus captures many of the current uses and future-proofs for some of the most concerning types of biometric data.

Importantly, each definition effectively captures the intended technology and applications, while not inadvertently capturing less-concerning practices such as ordinary film, video, and still photography.

Don’t use it, don’t outsource it

While it is critical that cities ban their own agencies from acquiring and using face recognition technology, this alone is not enough to protect residents from harm. It is also necessary for cities to ban their agencies from acquiring or using information derived from face recognition technology. Otherwise, city employees banned from using the technology could just ask others to use the technology for them.

While police departments in large cities like New York and Detroit may have in-house face recognition systems and teams of operators, many more local police agencies around the country turn to state agencies, fusion centers, and the FBI for assistance with their face recognition inquiries. Thus, legislation that addresses the technology while not addressing the information derived from the technology may have little impact.

Lawmakers in several cities including Berkeley have taken the important additional step of making it unlawful to access or use information obtained from Face Recognition Technology, regardless of the source of that information:

it shall be a violation of this ordinance for the City Manager or any person acting on the City Manager’s behalf to obtain, retain, request, access, or use: i) any Face Recognition Technology; or ii) any information obtained from Face Recognition Technology...

Berkeley's ordinance further elaborates that even when city employees inadvertently gain access to information derived from face recognition technology, the data generally must be promptly destroyed and cannot be used. Also, any inadvertent receipt or use of this information must be logged and included in the city’s annual technology report, including what measures were taken to prevent further transmission or use. This vital transparency measure assures residents and legislators are made aware of these errors, and can better identify any patterns suggesting intentional circumvention of the law’s intent.

Exemptions

Exceptions can swallow any rule. Authors and supporters of bans on government use of face recognition must tread carefully when carving out allowable uses.

First, some ordinances allow face detection technologies that identify and blur faces in government records, to prepare them for disclosure under Freedom of Information Acts (FOIAs). This can help ensure, for example, transparent public access to government-held videos of police use of force, while protecting the privacy of the civilians depicted. Face detection technology does not require the creation of faceprints that distinguish one person from another, so it raises fewer privacy concerns. Unfortunately, there can be racial disparities in accuracy.

King County’s ordinance provides two necessary safeguards for government use of face detection technology. It can only be used “for the purpose of redacting a recording for release …, to protect the privacy of a subject depicted in the recording.” Also, it “can not generate or result in the retention of any facial recognition information.”

Second, some ordinances allow local government to provide its employees with phones and similar personal devices, for use on the job, that unlock with the employee’s faceprint. Some employees use their devices to collect personal information about members of the public, and that information should be securely stored. While passwords provide stronger protection, some employees might fail to lock their devices at all, without the convenience of face locks.

Third, some ordinances allow local government to use face locks to control access to restricted government buildings. Portland, Maine’s ordinance has two important safeguards. As to people authorized for entry, no data can be processed without their opt-in consent. As to other people, no data can be processed at all.

Fourth, a few ordinances allow police, when investigating a specific crime, to acquire and use information that another entity obtained through face recognition. EFF opposes these exemptions, which invite gamesmanship. At a minimum, police prohibited from themselves using this tech must also be prohibited from asking another agency to use this tech on their behalf. Boston has this rule. But unsolicited information is also a problem. San Francisco police broadly circulated a bulletin to other agencies, including the photo of an unknown suspect; one of these agencies responded by running face recognition on that photo; and then San Francisco police used the resulting information. New Orleans’ ordinance goes a step farther, prohibiting use of information generated by this tech “with the knowledge of” a city official. Fortunately, 12 of 17 jurisdictions do not have this exemption at all.

Fifth, a few jurisdictions exempt compliance with the National Child Search Assistance Act. This is unnecessary: that Act simply requires agencies to report information they already have, and does not require any acquisition or use of technology or information. Fortunately, 13 of 17 jurisdictions eschew this exemption.

Enforcement

It is not enough to ban government use of face recognition. It is also necessary to enforce this ban. The best way is to empower community members to file their own enforcement lawsuits. These are called private rights of action.

The best ones broadly define who can sue. In Oakland, for example, “Any violation of this Article … constitutes an injury and any person may institute proceedings …” It is a mistake to limit enforcement just to a person who can show injury from being subjected to face recognition. It can be exceedingly difficult to identify such people, despite a brazen violation of the ordinance. Further, government use of face recognition harms the entire community, including through the chilling of protest in public spaces.

Private enforcement requires a full arsenal of remedies. A judge must have the power to order a city to comply with the ordinance. Also, there should be damages for a person who was subjected to face recognition. Oakland provides this. A prevailing plaintiff should be paid their reasonable attorney fees. This ensures access to the courts for everyone, and not just wealthy people who can afford to hire a lawyer. San Francisco properly allows full recovery of all reasonable fees.

Other enforcement tools are also important. First, evidence collected in violation of the ordinance should be excluded from court proceedings, as in Minneapolis. Second, employees who blow the whistle on rule-breaking should be protected, as in Berkeley. Third, employees who break the rules should be subject to workplace discipline, as in Brookline.

Other bans

When legislators and advocates write a ban on government use of face recognition, they should consider whether to also ban government use of other kinds of surveillance technologies. Many are so dangerous and invasive that government should not use them at all.

For example, EFF opposes government use of predictive policing. We are pleased that four cities have ordinances forbidding municipal use: New Orleans, Oakland, Pittsburgh, and Santa Cruz. Likewise, EFF supported Oakland’s ban on municipal use of voiceprints.

Nationwide ban

City and county-level lawmakers are not alone in understanding that government use of face surveillance technology chills free speech, threatens residents’ privacy, and amplifies historical bias. Federal lawmakers including Senators Edward Markey, Jeff Merkley, Bernie Sanders, Elizabeth Warren, and Ron Wyden alongside U.S. Representatives Pramila Jayapal, Ayanna Pressley, and Rashida Tlaib have stepped forward in introducing the Facial Recognition and Biometric Technology Moratorium Act (S.2052/H.R.3907). If passed, it would ban federal agencies like Immigration and Customs Enforcement, the Drug Enforcement Administration, the Federal Bureau of Investigation, and Customs and Border Protection from using face recognition to surveil U.S. residents and travelers. The act would also withhold certain federal funding from local and state governments that use face recognition.

Take Action

If you don’t live in one of the 17 cities that have already adopted a local ban on government use of face recognition, there’s no place like home to begin making a change. In fact, there may already be groups in your community setting the wheels in motion. Our About Face campaign helps local organizers educate their representatives and communities, and every resident to take that first step in calling for change. If you have an Electronic Frontier Alliance group in your area, they can also be a great resource in finding like-minded neighbors and activists to amplify your efforts. If your city has already protected you and your neighbors (and even if it has not yet), you can still stand up for friends and loved ones by letting your congressional representatives know it’s time to ban federal use of face recognition, too.

from Deeplinks https://ift.tt/wafKHbU

#Deeplinks

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toogoodmusic · 3 years ago

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THE TOO GOOD TEN with CALICO

When the COVID-19 pandemic struck in March of 2020, four longtime friends, Tony Cecchetti, Chris Couto, JeanSe Le Doujet and Will Lloyd decided to use the lockdown to come together to create the Folk-Americana band CALICO. It all begin with Tony who had decided to find time between his six-month-old daughter’s sleep schedule to record several of the songs he had been sitting on. Chris joined in next - who Tony had played live music with to yoga classes in Squamish, BC - who produced the songs and added percussion. Shortly after JeanSe and Will were added to the mix to finish off with their additions of bass and electric guitar respectively. The result was the debut album, Under A Sudden Sun that came together with each musician being able to add their own unique style with no direct guidance and all while being completely separated geographically. Under A Sudden Sun resonates as an introspective and refreshing view on nostalgia, life and love. The band already has their second album recorded and while they continue to already work on their third album, we’ve been lucky enough to have Tony take on the latest Too Good Ten interview. Check out the full interview below to learn more about the album, how they felt about getting a song playlisted on Spotify, how Tony’s mom came to paint the album cover, his biggest pandemic learnings and so much more.

The Too Good Ten. Ten Questions. One Artist. Too Good.

1. Now you guys all started making music during the pandemic in early 2020. Describe how starting a band in the middle of pandemic has been? What were the pros and cons of doing so?

TONY [on behalf of CALICO]: Starting a band during the pandemic had many moving parts. In some ways, CALICO would never have been a thing if it wasn’t for the pandemic. When the world shut down and we were all stuck at home we had the time to do things we may of never had the time to do given the normal pace of life. We could record and really dive into the songs that I had written over the years. The pandemic allowed for us to do that. It was our silver lining during the incredibly difficult time. That said, we also didn’t get the opportunity to play together in the same room until this summer, in late July of 2021, just before we released, Under a Sudden Sun. We started CALICO in March of 2020, so that’s a really long time to not get together. We did a good job Zooming and creating music from afar but it wasn’t easy and it lacked the energy that bandmates bring to a room. All in all it was an incredible experience and is definitely a large part of the backstory of our band.

2. Congrats on the release of your debut album, Under A Sudden Sun! What was it like putting this together? What was the most personal song to release off the album?

T/C: Thank you so much! We couldn’t be more excited. It’s been amazing to put music out and get so much support back from our community. The reaction has been above and beyond our expectations. Given that we all recorded our parts from different locations, putting together the album had a lot of components. The process for each song was more or less the same. I recorded vocals and rhythm guitar from home. That was then sent off to Chris Couto, who recorded percussion/drums. That was then sent off to JeanSe Le Doujet, who recorded bass. And lastly, sent off to Will Lloyd who recorded lead guitar. Chris Couto produced the album and put an incredible amount of time into making sure each song sounded like we were in playing in the same room.

The most personal song off the album is “Oh My Mind.” The song is about searching for something that has yet to be fulfilled. In many ways it represents the album as a whole. I always wanted to play and make music. The pandemic allowed me to start a musical journey, with close friends, that seemed unattainable prior to. “Oh My Mind” is about putting one foot in front of the other, exploring, and searching for something that you know is out there, you just haven’t found it yet.

3. Tony – your mom actually painted the cover for the album. What kind of direction did you give her for the album cover? Were there other versions of the album?

T/C: Yes, my mom painted the album cover. It is something I am very proud of that my mom could be a part of it. I did give her an idea but she had complete creative freedom to take that idea and run with it. I loved wandering the hills of Berkeley, CA when I grew up. Hills that my mom knows well and still hikes regularly. The initial vision was to capture that first light of day when the sun just peaks over the hills. It is a special moment. My mom did a wonderful job capturing it. I have the original painting at my house. I have yet to frame it but will soon and will treasure it for a long time.

4. As mentioned, the title of the album is named after “that magical moment when the first light of the day peaks out from behind the hills.” What is so enticing about that moment that it inspired the name of the debut album? Which song off the album most encompasses that “tranquil and meditative” moment?

T/C: One of my favorite things to do as a kid was get up at the break of dawn and go fishing. We had reservoirs in the Berkeley Hills where I would go fish. When I was too young to drive, one of my moms would take me. When I became old enough to drive I would go with my closest friends and my sister. To this day, fishing at those lakes is one of the fondest memories I have of growing up in the Bay Area. We would sit for hours in our lounge chairs, look out at the beautiful scenery, and wait for a bite. It was so peaceful and a wonderful place to connect with myself and my favorite people.

“A Little Light,” which is the first song of the album, best described that tranquil and meditative moment. It is about the importance of light in our lives and was first written as a poem about spending time in those hills as a kid.

5. “My Darlin’” off the album made it onto your first official Spotify playlist – Renegade Folk. Where were you when you found that out? What does it mean as an artist to make it onto an official Spotify playlist?

T/C: I got an email from Spotify a couple days after we released, “My Darlin’.” I was sitting at home feeding my 2 year old daughter breakfast. I was so excited. For me, it was a testament that we had made music that was quality enough to be grouped with some great names in the Folk world. I was very proud of everyone in the band. It means a lot to be recognized. I don’t think that Spotify is the be all end all but it’s important to be on that platform. Most people listen to and find new music there nowadays. I still think we have a long way to go. We have yet to play our first show and have a lot of things we want to achieve. We believe we have potential to write more music that moves people and plan to do so.

6. Although the band started early 2020, you guys only recently got together in person to play songs and take band photos. What was that moment like – finally being all together and playing the songs live after over a year of working on them? Do you think the music would’ve sounded any different if you had all been in the same room instead of remote for the entire process?

T/C: It was an incredible feeling to watch the guys get off the ferry in Victoria, BC. Chris Couto had come out a few days early to settle in and do some prep for our recording session. Will and JeanSe came in on the Friday Night ferry and had to leave on Sunday morning. We didn’t have much time but we made the most of it. The four of us have been friends for years long before CALICO was a thing. Chris, Will, and JeanSe have all played in other bands together. When we all lived in Vancouver I would go hang out and watch them play. I always thought I had the most talented friends. They are incredible musicians and wonderful people.

I do think there would have been some differences if we had all been in the same room. I am not sure how much that would come through with the sound but definitely with the energy in the room. There is an irreplaceable dynamic that is created when musicians physically play together. It’s a vibe thing. I will say that recording from afar had immense perks, too. Everyone had complete creative freedom with their individual parts. What you hear as a final product is what four musicians felt added most to each song. There was little guidance. With everyone recording from afar, we could do it on our own time, when we felt we played best. There wasn’t the pressure of doing it at a specific time in the recording studio.

7. What is the main thing you hope listeners take away from your music?

T/C: I hope that you all resonate with the stories that we share. Most of the songs began as poems and grew from there. They are snippets of our lives that bring us back to particular memories. My hope is that the music can do similar things for you. That you find some inner peace listening to the music and that, maybe when the album has finished, you’re brought back to a place that you think of fondly.

8. For you, what was the biggest learning from this past year and a half in quarantine/pandemic?

T/C: I learned to slow down and treasure the small things. The pandemic was a time to be introspective. I gained insights about myself, my ambitions and pursuits that I had never given space for. There was also immense struggle that we all went through. The virus was one thing but the loss of community was a whole other. Losing connection with loved ones was difficult. I had never felt so far from those I cared about. All in all I think it was a time to reflect on what’s important and begin to prioritize that. The pandemic really highlighted the fragility of this life.

9. If you could only listen to (5) artists for the rest of your life who would they be?

T/C: If I could listen to 5 artists for the rest of my life it would have to be Bob Dylan, The War on Drugs, Nathaniel Rateliff & The Night Sweats, The Beatles, and The Highwomen.

10. What’s the rest of 2021 and early 2022 look like for CALICO?

T/C: We will continue writing and hopefully can start playing some live shows soon. Now that shows are happening again we plan to get our foot in the door. That might not happen until next summer but we are really excited about the idea and await the opportunity. We have recorded our second album, that will be released in 2022, and are working on our third album currently. Stay tuned for more music and we really look forward to playing live for you all one day. Thank so much for checking us out and giving our music a listen.

Excited to have had Tony from CALICO join for the latest Too Good Ten Interview! Be sure to check out all their socials and music below and be on the look out for those upcoming shows and upcoming second album.

SOCIAL LINKS:

Facebook

Instagram

Website

MUSIC:

Spotify

YouTube

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i-am-very-very-tired · 3 years ago

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alibu is a beautiful city famous for its beaches, natural hiking trails, and the many celebrities that have homes in its region.

With a mix of laid-back attractions and upscale luxury hotspots, there are so many places to see and places to go within the vibrant, sunny town.

With so many choices, you might not know how you can spend your time here or where to head to first.

To help you out, here’s our travel guide for the 28 best and fun things to do in Malibu, California.

Things To Do In Malibu

1. Point Dume State Beach and Preserve

If you’re seeking a quintessential Malibu beach, Point Dume State Beach and Preserve must be on your list of places to visit.

This gorgeous expanse of sandy beach, decorated with an overhang of cliffs and headlands and packed with coves of rock, is a beautiful spot to relax and have fun in the sun!

Operated and maintained by the County of Los Angeles, this beach provides all sorts of facilities.

Whether you want to fish, dive, swim, or surf, there’s plenty that you can enjoy at Point Dume State Beach and Preserve.

Between the months of December and April, you can even spot California gray whales as they migrate for the season!

A hiking trail within Point Dume State Beach and Preserve brings you up a short but interesting hike that rewards you with delightful views of the Santa Monica Mountains, Santa Monica Bay, and even Catalina Island.

The clearer the day, the better!

These views can be enjoyed thanks to a unique mix of terrain from dunes and coastal bluff.

Near to its summit, you’ll find a lovely viewing platform and some paths that lead to lesser-known, more isolated beaches.

Address: Cliffside Dr &, Birdview Ave, Malibu, CA 90265, United States

2. The Getty Villa

When the Getty Villa was opened, it was subject to a fair bit of controversy, especially from art experts.

The museum was opened in a faux Malibu villa that was designed based on the famous Villa dei Papiri ruins of Herculaneum.

It was established by J Pau Getty, an oil magnate, and earned much derision when it began operation in 1974.

Today, it has grown into one of the city’s best things to see.

Getty used the villa as a home for his personal holdings, and after some renovation, the Getty Villa was converted into a genuine museum to store antiquities from the Mediterranean that Getty had collected.

For nine years, work was done on the building by expert architects, and the villa finally reopened in 2006 to much higher praise.

Over 1,200 different artifacts are on display at the Getty Villa.

Most date back to between 6,500 BC and 500 AD and have a wide range of themes, ranging from the Trojan War to ancient Gods and Goddesses.

Seminar rooms, temporary exhibitions, conservation labs, and research libraries are also scattered about.

There are a couple of hundred rooms at the Getty Villa, each one numbered and named based on its theme.

Room 113 maps out civilizations over the years, room 101 contains multiple Greek artifacts including a statue of Aphrodite dating back 2,500 years, and room 108 holds a magnificent statue of Hercules that is almost two millennia old!

There is also room 105, fitted with a large drinking horn, room 212, which is packed with Roman coins and gemstones “guarded” by a miniature bronze skeleton, and room 217, which packs a delightful and unnerving fertility goddess statue from 3,000 BC.

In addition to all of that, the Getty Villa is home to the University of California’s Archaeological and Ethnographic Conservation program.

There is also a lovely English ivy and rose garden outside dotted with majestic Roman statues.

Do note that a visit to this museum requires booking a ticket in advance, though tickets are free!

Address: 17985 Pacific Coast Hwy, Pacific Palisades, CA 90272, United States

3. Adamson House

Termed as one of the best places to visit in California, the Adamson House is a stunning marvel of architecture that looks out over the Malibu Lagoon State Beach.

Often referred to as the Taj Mahal of Tile, it has an eccentric and unique but undeniably beautiful interior that was likely originally designed with promotional intent.

In 1929, May Knight Rindge and Frederick Hastings Rindge had the estate constructed upon 13,000 acres of gorgeous land, encompassing the city and terrain with Spanish settlers.

The Rindges were entrepreneurs who operated a dairy farm and, in 1926, opened Malibu Potteries

The pottery company made a wide range of different ceramic tiles with different motifs, inspired by different cultures and muses, each one ornate and stunning.

Some of these tiles would go on to be installed at the Roosevelt Hotel, Los Angeles City Hall, and even the Mayan Theater.

The Adamson House was built by the Rindges as a wedding gift to their eldest daughter.

Built resembling Mediterranean Revival design, a few unique Rindge features made it one-of-a-kind – specifically, the multiple ceramic tiles.

A “Persian rug” in the entrance of the home spans 60 feet and is made up entirely of tiles.

Custom tiles pepper the rest of the interior, ranging from Art Deco to Native American and from nautical to Andalusian in theme.

The bathrooms, kitchen, floors, fountains, pool, and even benches are covered in them, almost top to toe!

Sadly, the pottery company shut down in 1932 when a fire burned down its factory.

In California, visiting the Adamson House is what to do if you want to view the greatest work of this family business in its truest form!

Address: 23200 Pacific Coast Hwy, Malibu, CA 90265, United States

4. Zuma Beach

Zuma Beach is one of the finest of the Malibu Beach options that dot California’s portion of the East Pacific Coast Highway.

It’s the biggest that the city has to offer, making it a hotspot and one of the main points of interest for some beachside enjoyment.

With 105 acres of land, 1.8 miles of clean beachfront, a couple of thousand parking spaces, beach wheelchairs, and tons of facilities, it’s a wonderful spot to head to!

A wide range of activities can be partaken of at Zuma Beach.

The golden sand is great for lounging and building sandcastles, the many lifeguards allow for safe surfing and swimming, nets make for good beach volleyball spots, and those with a permit can fish to their hearts’ content!

A smattering of eateries, ranging from casual to fancy, let you sate your hunger without ever fully leaving the beach area!

If you come by in the winter, you might get to watch the dolphins and seals, and all year round, the ridge above the beach lets you hike for a lovely view.

Still, regardless of the season, it’s a great spot to head to this weekend, though you should expect it to be somewhat crowded!

You should also be prepared for cool water that’s lower in temperature than some other beaches.

Address: 30000 Pacific Coast Hwy, Malibu, CA 90265, United States

5. Leo Carrillo State Park

Leo Carrillo State Park is a prime spot for sightseeing.

You might recognize its name, as it is named after conservationist and actor Leo Carrillo.

Carrillo is perhaps best known for appearing in Cisco Kid as the character Pancho.

For an impressive total of 18 years, he served the California Beach and Parks Commission and played a crucial role in the local acquisition of San Simeon’s Heart Property.

This state park, named in his honor, is primarily a long beach stretch spanning 1.5 miles.

A wide range of activities, such as beachcombing, swimming, windsurfing, and surfing, are commonly undertaken here.

Exploring the stretch will let you find coastal caves, tide pools, backcountry trails, campgrounds, and even interpretive displays.

As a dog-friendly beach, Leo Carrillo State Park is a great place to bring your leashed dogs.

With its relatively secluded location and serenity, a visit here to bask in the sun is one of the top things to do in Malibu.

Address: 35000 Pacific Coast Hwy, Malibu, CA 90265, United States

Visiting other parts of California? Why not check out some of the best things to do in Berkeley & some of the fun things to do in Irvine?

6. Malibu Pier

If you’re an avid angler looking for the best vacation spots, you can’t go wrong with Malibu Pier, which sits next to the popular Surfrider Beach.

A fishing pier, it spans 780 feet and is one of the must see places to visit for any anglers.

Cheerful and vibrant, it provides a great spot for people to sit or stand and watch the surfers at their craft.

This charming spot is filled with well-spaced brackets for fishing enthusiasts to place their reels or rods.

Even if you’re not into catching fish, the pier is a wonderful place to walk and relax, especially if you get there to watch the sunset.

Restaurants allow you to eat by the lovely California water, too.

The tranquility is unmatched!

Address: 23000 CA-1, Malibu, CA 90265, United States

7. Malibu Divers

It would be almost criminal to go to the sunshine state of California without diving at least once in its beautiful blue waters.

Malibu Divers helps you out with that!

This company is the main go-to for diving courses of all kinds, providing programs for people of all skill levels.

So if you’re looking for where to go to get your gear and some lessons, this is a good place to start!

In addition to providing equipment for the fun act of diving, the company also offers a range of different guided dive trips across the islands and reefs in the south of the state.

Charters can even be organized for father locations, and most trips include lodging, transportation, and food.

Training is offered for rescue divers, free divers, and even kids, so this is a cool way to get everything you need for the sport!

Address: 21231 CA-1, Malibu, CA 90265, United States

8. Malibu Country Mart

Lots of wealthy celebrities and business people live in the city, and a huge majority of them probably get their groceries from Malibu Country Mart.

Located in the Malibu Civic Center of California, the mart spans 6 acres and provides a range of high-end shopping, dining, and play options.

Whether you’re looking for couture fashion, fancy dinners, pampering, or even repair work, this shopping avenue has turned into one of the city’s tourist attractions in its own right.

Often called a boutique mall, multiple different buildings make up this lifestyle center.

Each one is surrounded by stunning gardens fitted with playgrounds, sculptures, picnic spaces, and eateries.

The structures themselves are made in many different designs, including rustic, Spanish, Mediterranean, and even modern architecture.

Upscale brands like L’Occitane, All Mankind, and John Varvatos can be found in the hub, as well as more localized offerings.

Desserts here are very popular, with places like Malibu Kitchen offering sweet treats and Grom Malibu famous for gelato.

Despite how busy it can get, the Country Mart is also quite laid back.

If you’re looking for even more shopping, check out the Malibu Lumber Yard next door, an extension of sorts of the original shopping center that provides more options in a more modern environment.

Address: 3835 Cross Creek Rd, Malibu, CA 90265, United States

9. Solstice Canyon

Solstice Canyon is situated in the Santa Monica mountains and has huge historical value.

A quick two-mile hike of low difficulty can bring you right up to the greatest spots – or if you want more of a challenge, a much more strenuous hike spanning six miles.

Flanked by tall, cascading waterfalls, Solstice Canyon is home to a stone house “shell” that remains in the area, dating to the year 1865.

It was built by a man named Matthew Keller and is believed to be this California city’s oldest stone building that is still standing.

It’s actually lasted through multiple wildfires before ultimately being destroyed by the Corral Fire of 2007.

Its walls, though bare-bones, are one of the most fascinating Malibu attractions.

Though the waterfalls of Solstice Canyon can get crowded, they truly are beautiful and relaxing, and most find them to be worth the visit.

It is no doubt, one of the most beautiful places in the US!

Address: 3455 Solstice Canyon Rd, Malibu, CA 90265, United States

10. Malibu Creek State Park

Malibu Creek State Park provides some of the city’s most peaceful and lovely campgrounds, as well as top locations for sightseeing.

It is often considered the Southern California region’s Yosemite and is widely referred to as the Santa Monica Mountains’ crown jewel for recreation.

With more than 8,000 acres of land and countless things to see, this state park boasts oak savannas, plains of tallgrass, thick forests, and sharp mountain and hill peaks.

It first opened its doors in 1976 and, for a long time, was owned by 20th Century Fox Studios.

It is here that certain terrain was used in the filming of things like M*A*S*H and 1968’s Planet of the Apes.

While at this state park, you can explore the hiking trails – such as the beautiful 15-mile oak and sycamore woodland trail by the stream – go riding, or try some climbing.

There is even some wildlife roaming around that you can try and spot.

Most stunningly, little of it has changed over the past several millennia when it was only lived in by the Chumash!

Address: 1925 Las Virgenes Rd, Calabasas, CA 91302, United States

11. Malibu Farm

Malibu Farm Restaurant and Malibu Farm Cafe are two of the go-to places to visit if you want a healthy meal with locally and mindfully sourced ingredients.

Both are located on the Pier.

The Farm Restaurant isn’t just popular for its waterfront location, but for its pride in using farm-to-table meals, with many ingredients taken from California.

It ensures sustainable food and quality fresh deliciousness.

The fun rainbow mimosas and open-face omelet are among its most popular options, and other must-tries include the cauliflower pizza and grass-fed burgers.

On the other hand, the Farm Cafe provides counter-service-only, but with the same sustainable concept.

Their breakfast burritos and BLTs are pretty well-known, and they’re easy to eat as you walk along the pier.

Address: 23000 Pacific Coast Hwy, Malibu, CA 90265, United States

12. Try Some Local Wine

If you’re looking for activities and fun things to do in California related to alcohol, then trying out the city’s local wine may be among the most fun things to do in Malibu.

After all, this is California, so you know the vineyards are aplenty!

Here are some of the places you can try.

Malibu Family Wines provides not just good drinks, but also great events.

At night from July to October, they host movie nights and comedy nights, and they even have a Yoga & Mimosas program.

Malibu Wine Safari brings you around a vineyard of 1,000 acres to meet all sorts of exotic animals that live onsite.

You can even feed them with bananas, carrots, and pellets provided by the establishment.

Enjoy tastings of local wine as you say hello to giraffes, alpacas, zebras, and bison.

Other common options for good wine tastings are the Cornell Winery and Tasting Room, the Rosenthal tasting room, and the ever-famous and simply named Malibu Wines.

13. Malibu Coastal Adventures

A trip with Malibu Coastal Adventures is one of the most fun activities you can enjoy in this California city.

The company specializes in planning and executing customized water adventures for its customers, providing unique options for what to do in Malibu that is accustomed to each group.

Bring cameras and get ready for the time of your life!

The goal of the Malibu Coastal Adventures company is to create exciting days, which can involve things like fishing trips, surfing lessons, boat trips, scuba diving, paddleboarding lessons, cruises around the coastline, and even whale watching.

Run by U.S. Coast Guard Certified Captain Dave Ogle and his licensed team, you know your safety will always be a priority, and will feel relaxed with all these new experiences.

14. El Matador State Beach

El Matador State Beach, California may be small, but it’s certainly beautiful, and its combination of rocky outcrops, stone formations, and caves creates many places to see.

One of the more laidback Malibu beach locations, it’s a little ways past Leo Carrillo State Park.

As a small and lesser-known beach, El Matador State Beach doesn’t have a lot of facilities and doesn’t have lifeguards.

This provides more privacy but a little less accessibility.

A steep gravel path brings you onto the sand.

Come at the right time to watch either the sunrise or sunset!

Address: 32350 Pacific Coast Hwy, Malibu, CA 90265, United States

15. Surfrider Beach

One of the best things to do in Malibu for surfers is to head to the fun and famous Surfrider Beach.

The waves are next level, even for California, and if riding the waves are among the activities you like, this is the go-to Malibu beach for you.

Known as a World Surfing Reserve, this beach boasts three point breaks in the waves that have grown incredibly popular among shortboarders and longboarders alike.

The first point is the most famous with the most crowded sands, but it’s a great spot for novices.

The second and third points are more known for being ideal for shortboarding.

Address: Pacific Coast Hwy, Malibu, CA 90265, United States

Looking for thrill outside Malibu? Why not check out Long Beach, Los Angeles, and Monterey? If you do plan the trip, here’s what to do in Long Beach, some fun places to visit in Los Angeles, and some of the best things to do in Monterey!

16. Malibu Seafood

If you go to California without trying some local seafood, well – what’s even the point?

If that’s what you have in mind to do, one of the best places to visit for this type of fare is the simply named Malibu Seafood.

It has been opened since 1972 and is owned by commercial fishers of all kinds.

It serves tasty and fresh seafood and fish and is so popular that on most days, there’s at least a bit of a line!

Located along a stretch of the Pacific Coast Highway and marked by a large, unique signboard, this seafood establishment provides an ocean view with scrumptious meals.

Fish and chips, clam chowder, ceviche, and fish tacos are among the most popular, with some ice cream sandwiches ready for you to try, too.

The restaurant also doubles as a fish market, selling homemade coleslaw, fillets, and shellfish, as well as a number of cookbooks, spices, kitchen tools, and rubs for you to purchase.

Whatever you’re here for, it’s worth relaxing on the three-tiered patio outdoors as you look out over the waves

Address: 25653 CA-1, Malibu, CA 90265, United States

17. Escondido Falls

Escondido Falls boasts the tallest waterfall in the Santa Monica Mountains.

Spanning 150 feet in height, it’s one of those sights you shouldn’t miss, especially if you love beautiful places.

The two-tiered waterfall gushes down onto moss-covered limestone rocks.

To get to Escondido Falls, you need to travel about 3.8 miles via a private road beginning at Winding Way East.

You’ll have to be ready to hop across streams and rocks before you even first arrive at the 50-foot Lower Escondido Falls.

Stop here for a quick rest and continue on if you’re willing to go the distance via the safe official route to the Upper Escondido Falls.

It’s a steep climb, but with some provided rope, your efforts will be rewarded!

Do note that during hotter months in California, droughts may dry out the Escondido Falls, so plan accordingly.

Even if it’s a little dry, though, the hike up is quite fun and the pictures will be memorable if you’re looking for stuff to do!

Address: Escondido Canyon Trail, Malibu, CA 90265, United States

18. Malibu Hindu Temple

Contrary to its name, the Malibu Hindu Temple is not actually in the city but is near to it in Calabasas, California, within the Santa Monica mountain area.

Despite its huge differences compared to the estates, tract homes, and modern fancy houses surrounding it, the Hindu Temple actually often goes overlooked, but pay attention and you’ll be rewarded with a delightful, beautiful, and thoughtfully made place of worship.

This temple is dedicated to Venkateswara, the Lord of Venkata and a Hindu god.

It formally contains other alters to differing deities, as many Hindus are polytheistic.

Rooms within perform different functions and are just as beautiful.

A sanctuary dedicated to the god Shiva is fitted with gorgeous tiered chandeliers, an underground chamber that serves as a traditional music recital and religious service space, and an outdoor deck that has multiple shrines.

For those interested in other cultures, this Hindu Temple is one of the must do tourist attractions, as long as you’re willing to travel out of the city.

Just remember to be respectful, especially if you spot priests praying or chanting, or if you see some holy water gifting in the temple.

Planning to go this weekend?

The temple’s kitchen will be serving yummy vegetarian meals!

Address: 1600 Las Virgenes Canyon Rd, Calabasas, CA 91302, United States

Looking for more excitement outside Malibu? How about visiting Orange County and Palm Springs? If you do plan the trip, here are some of the best places to visit in Orange County, and some fun things to do in Palm Springs!

19. Neptune’s Net

Neptune’s Net isn’t exactly one of the typical Malibu attractions, as it’s actually a seafood restaurant!

Serving up fresh catches, it has been operating since 1956 and is located in a beautiful environment.

Its fun front porch is vibrant and colorful and it looks out over the beautiful water and the County Line Beach.

Among Neptune’s Net’s most famous offerings are its clam chowder, seafood basket, shrimp tacos, and fresh lobster.

It’s become quite iconic in California for quintessential regional seafood fare, so give it a try if you’re a fan of the food type and want to sample some of the state’s most delectable choices.

Need more reasons to check out Neptune’s Net?

It’s a screen star!

The location has been used in pop culture offerings like Losin’ It, Point Break, The Fast and The Furious, The Hills, Gossip Girl, People Like Us, Iron Man 3, and even GTA 5!

Head over and see if you can spot where some of your favorite shots were taken!

Address: 42505 CA-1, Malibu, CA 90265, United States

20. Westward Beach

Looking for fun things to do in Malibu by the ocean that isn’t too crowded?

Westward Beach might be a good bet!

Its shoreline spans three miles on Point Dume’s west, boasting crystal clear azure waves and lovely golden sand.

From the shore, you can spot sea cliffs that beckon you to swim, fish, and surf – though sunbathing is just as popular an option!

Facilities like picnic tables, showers, and restrooms make Westward Beach more comfortable.

If you want to do something a little more active, you’ll be able to find your way to multiple hiking trails that branch off from the beach to other popular California sites.

So head over this weekend and go exploring!

Address: 7103 Westward Beach Rd, Malibu, CA 90265, United States

21. Geoffrey’s

Geoffrey’s first opened its doors in 1948 and was a prime spot for stars and celebrities and one of the rare go-to places to visit for greats like Lana Turner, Frank Sinatra, Shirley MacLaine, and even Marilyn Monroe.

Now, Geoffrey’s remains one of the greatest that the city has to offer, known as a chic California eatery for fancy meals and special occasions.

From the outdoor terrace, you can view the stunning ocean, and indoors, the dining rooms are elegant and the epitome of an upscale experience.

It’s classy, intimate, and perfect for many meals.

Geoffrey’s is served by Executive Chef Bijan Shokatfard and its menu is primarily seafood-focused, though it also offers amazing wines.

One of the most loved dishes here is the Ahi Tuna Tartar, which is served with Tobiko caviar, ginger, avocado, scallions, and Wonton Crisps.

Another loved dish is the puff pastry stuffed with baked brie.

Address: 27400 Pacific Coast Hwy, Malibu, CA 90265, United States

22. Duke’s Malibu

Duke’s Malibu will take you away from California and transport you – metaphorically – to Hawaii!

A restaurant-bar, it’s situated so near to the waterfront that you might get splashed as you sit here – but if you’re looking for what to do when you’re hungry, this is a great choice!

The eatery is named after Duke Kahanamoku, a Native Hawaiian master waterman, and Olympian, famous for his surfing and swimming prowess.

It is thanks to him that surfing was popularized across not just California, but America and the rest of the world.

Today places like Duke’s honor the great man’s legacy.

It offers stunning views of the ocean, but even inside, the decor provides many things to see with its surfboards, funky colors, and fun, lively style.

It’s pretty popular with both tourists and locals and boasts a laid-back but vibrant atmosphere, with more romantic touches on the veranda.

Some of the more popular things to order at Duke’s are its furikake ahi tuna, coconut shrimp, hula pie, and other Hawaiian-inspired specialties.

Beer, tropical cocktails, and special foods make delicious and inviting offerings for all.

Address: 21150 Pacific Coast Hwy, Malibu, CA 90265, United States

Planning a trip outside Malibu? Why not travel to Pasadena and Sacramento? If you do plan a trip, here are some of the best things to do in Pasadena, and some of the best things to do in Sacramento!

23. Nobu Malibu

As it turns out, many of the places to go that aren’t to be missed in this city are eateries, and Nobu Malibu is one of them.

A fun spot with a modern, sleek design, delicious food, and gorgeous panoramic views of the ocean, add this to your itinerary if you’re in the mood for upscale meals.

Nobu is run by Nobu Matsuhisa, a famous “Iron Chef” who serves up delicacies like Tiradito, Rock Shrimp Tempura, and Black Cod Miso.

The Executive Chef, talented Gregorio Stephenson, has some of his own offerings, like Ribeye with Truffle Butter Sauce.

The pair are known for their exquisite dishes, and you’ve probably seen the restaurant itself plastered on the social media pages of celebrities like Liam Hemsworth, Miley Cyrus, or any Kardashian or Jenner.

Located on the Pacific Coast Highway, Nobu has a prime spot on a low cliff perched above a beautiful beach.

Its architecture is distinctly Japanese.

A lounge upstairs with exterior seating provides relaxation, and a bar has a number of great drinks to sell.

Address: 22706 Pacific Coast Hwy, Malibu, CA 90265, United States

24. The Roberts House

The Roberts House is named after its commissioners, Fred and Florence Roberts, who had the house built in 1952.

However, it is also often called the Williams House after its architect Paul Williams, who was one of the first certified African-American professionals in his field on this side of the Mississippi.

The home was intended to be Polynesian-styled and its magnificence earned it features in Architectural Digest, but unfortunately, it was also wrought with irony.

Fred Roberts requested that Williams use a lot of fire protection for the home.

Williams therefore only used materials resistant to fire, but even his genius mix of water-collection pools, pumps, and pipes could only hold off for so long against the fearsome regional wildfires.

In 1982, a fire rushed through the area and pretty much all but decimated the historical home.

Its remains were as ironic as they were sad: a bomb shelter, bathtub, four fireplaces, a studio, and the home’s foundation were all that were left.

Today, those ruins still stand, acquired in 1988 by the Santa Monica Mountains Conservancy thanks to real estate developer Bill Dempsey.

For those who enjoy a little touch of melancholic history, a trip to the Roberts House may be one of the top things to do in Malibu.

Address: Corral Canyon, Malibu, CA 90265, United States

25. Nicholas Canyon Beach

Nicholas Canyon Beach is one of the places to visit you shouldn’t miss if you’re a surfer.

It’s often referred to as Point Zero among those who like the sport, and it’s also just a nice place to hang out in general.

Idyllic in appearance, it’s a great location for wading, swimming, windsurfing, surfacing, scuba diving, and beachcombing.

Though not as famous as some other places in the city, Nicholas Canyon Beach is popular enough to have food trucks and lifeguards in the summer.

It also has modern facilities like showers, restrooms, sitting places, and picnic tables.

You can arrive here easily via the Pacific Coast Highway.

Address: 33850 CA-1, Malibu, CA 90265, United States

26. Circle X Ranch

If you’re looking for what to see as a hiker, Circle X Ranch is a wonderful place that’s even popular with Los Angeles residents.

Once upon a time, it was a camp for Boy Scouts, but it has since opened up to the public for use by anyone looking for a good time and a fun excursion in Malibu.

There are many parts of Circle X Ranch that are worth visiting, but its main draw is Sandstone Peak, which is the highest of its kind along the Santa Monica Mountain range.

If you go on a clear day, you’ll be treated to some truly incredible views of the Channel Islands, Anacapa Island, Mount Baldy, and Santa Cruz Island.

The trails themselves, though, are worth it even on less clear days.

The ranch is filled with paths to follow for many different levels of experience.

Some unique flora and fauna, native to the coastal location, can also be spotted.

You can even settle down in some of Circle X Ranch’s dedicated picnic and camping locations!

Address: 12896 Yerba Buena Rd, Malibu, CA 90265, United States

Planning a road trip around Malibu? Why not check out San Diego and Solvang? If you do plan a trip, here are some fun things to do in San Diego, and some cool things to do in Solvang!

27. Robert H. Meyer Memorial State Beach

The Robert H. Meyer Memorial State Beach is a pretty calming one of the city’s tourist attractions.

While beaches are a very common form of entertainment here, this one is lesser-known but equally picturesque, allowing for a calmer way to enjoy the sand and surf.

Bird watching, beachcombing, swimming, and surfing are pretty common at the Robert H. Meyer Memorial State Beach.

With its prime spot between Point Dume State Beach and Leo Carrillo State Park, it’s a good “middle ground” to try out if you want some more serenity but don’t want it to be entirely deserted.

Three pocket beaches, or coves, cover Robert H. Meyer Memorial State Beach, known by the names El Matador, El Pescador, and La Piedra.

They are all equally beautiful, and paths help guide you to each one depending on what your mood is.

Though they can fill up during the summer months, they’re peaceful and quiet in the off-seasons.

Address: Malibu, CA 90265, United States

28. Point Mugu State Park

Point Mugu State Park can be found in the Santa Monica Mountains and is one of the many beach-related and nature-themed Malibu attractions.

It is famous for its five miles of gorgeous coastline, but that’s not all that it has to offer!

With 40,000 acres to its name, Point Mugu State Park has two canopies, multiple valleys, hiking trails spanning a total of 70 miles, many hills and beaches, sand dunes, and more!

There are even places where you can go surfing and swimming, with many coastal areas to check out and explore.

Even better, there is a chance you may see some whales migrating, depending on the season, but especially in winter.

Want to stay at Point Mugu State Park for a prolonged amount of time?

Check out the designated campgrounds available – there are two of them, named Sycamore Canyon and Thornhill Broome respectively.

They can be used for trailer camping or tent camping as needed.

The relaxing natural atmosphere is perfect and one of the reasons this is among the many famous Malibu attractions!

Address: 9000 Pacific Coast Hwy, Malibu, CA 90265, United States

Start Planning Your Trip To Malibu

Malibu has many points of interest that provide opportunities for excitement, entertainment, and experiences of all kinds.

Whether you’re seeking beaches, celebrity hangouts, great seafood, good shopping, or natural parks, you’ll be sure to find must see and must do locations that bring out the greatness that this city has to offer.

With any luck, this list has further helped you choose the best things to do in Malibu, California!

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