The Las Cienegas National Conservation Area in Arizona includes more than 45,000 acres of rolling grasslands and woodlands that connect several “sky island” mountain ranges and lush riparian corridors. Located in the heart of the Las Cienegas NCA, the historic Empire Ranch includes a 22-room adobe and wood-frame building which dates to 1870 and is listed in the National Register of Historic Places. The setting makes it a favorite of classic western film fans. Red River, Duel in the Sun, Hombre, Winchester 73, The Big Country, and many others were filmed on or near the Empire Ranch – still a working cattle ranch to this day.
You can camp in this historic NCA for up to 14 days – just stay at least one-quarter mile from wildlife and livestock watering areas. Check out the two designated primitive camp and picnic areas: Cieneguita Camp Area and Road Canyon Camp.
Pitch Fic: Raise My Glass ‘Cause Either Way I’m Dead
A semi-angsty, Mike Lawson-centric look at how Ginny Baker’s first season with the Padres might end.
A/N: FIRST BAWSON FIC OMG. Happy to be here, hope y’all enjoy!
Title from “La Cienega Just Smiled” by Ryan Adams, because it’s Mike LawsonAF. When the “San Francisco” episode opened with a Ryan Adams song, it sent me into a spiral. Also, don’t tell me Mike Lawson hasn’t gotten divorce drunk with Ryan Adams at like, No Name Bar or something.
As luck would have it, Mike Lawson’s last good knee finally gives out just after Ginny Baker’s pitched the final game of her rookie season.
If he’s honest, really, it goes out sometime in the top of the eighth. But she’s pitched seven scoreless, her fastball’s still in the mid-80s and the screwball looks so nice it belongs on a magazine cover. He’ll be damned if he’s gonna leave this game before his pitcher, and she shows no signs of slowing down.
He strikes out on purpose in the bottom of the eighth, just so he won’t have to try and run anywhere. (They’re up 7-0 and he’s not even sure he could jog out a walk at this point, his teeth are gritted to the point that he’s worried about adding an oral surgery to the lengthy list of procedures he knows are in his very near future.) Of course, that’s when Ginny realizes something’s up.
Joe Jonas Says Friends ‘Don’t Want to See’ Him in His Underwear in Sexy Guess Billboards: It’s ‘Torture’ for Them
Between fronting funk-pop act DNCE and his new gig as an underwear model, Joe Jonas is the complete package!
The singer, 27, is the new face of Guess Men’s new underwear line, and PEOPLE caught up with the singer about getting in shape for the sexy shoot.
Is it weird seeing billboards with your crotch splashed across them?
[Laughs] Yeah, it’s pretty funny. My friends who don’t want to see that … like, my buddy who’s a real estate agent in L.A., his office is right near [the billboard], and he drives by on La Cienega every day. He’s like, “Screw you!” He’s sending me pictures, like, “I hate this. Why do I have to look at this?” I love it. It’s torture for him.
When was the first time you saw the ad in person?
I was actually in London. At store, they have a really big sign that says “Joe Jonas for Guess.” I was like, “Woah!” It’s exciting. I wanted to pose with it. People were walking by, like, “That guy kinda looks like the guy on the wall!”
The ads look really sexy, but what’s it really like behind the scenes of those shoots? Is it awkward getting greased up and posing like that?
Everyone knows what they’re walking into. It’s one of those funny things where the moments off-camera are when you’re laughing because you’re walking around casually in your underwear talking to people, grabbing catering and whatnot. I’d find myself talking to a friend, and then he was like, “Dude, this is really weird; you’re talking to me, and you’re just in your underwear.” “Oh, yeah, I forgot!” So I had a great team to help out. The photographer is amazing, and he made it really funny and comfortable. Even with Charlotte [McKinney, his model-costar from DNCE’s “Body Moves” music video], it was like a handshake, then we’re holding each other in our underwear. So it was great to be able to work with her — someone who’s really easygoing.
You look great! How did you go about getting into shape?
I joined a gym in L.A. that my friends were going to, called Unbreakable. I was only able to start training there for like two weeks, and I loved the place. You could do MMA-style training, boxing, weight-lifting, even just some sort of yoga stuff, and I really thought it was an interesting way of doing the gym. I always do the trainer-client sessions where it’s just you and him, and after a while it’s the same thing. You’re by yourself; you have no one encouraging you, so you’re kind of bored. I wanted to try something else.
I met Ava Knight, who is a boxing champion, and she came on tour with me — I was about to go on tour with Selena Gomez and DNCE for four months — and just busted my ass and trained me with a lot of boxing and, of course, dieting was important; she oversaw that. It’s been nice because I worked out for a while: I had a few months to get ready for it, so the dedication of that is life-changing for you, when you say, “Okay, I’m gonna be standing in my underwear for the world to see!”
Your brother Nick has done some sexy underwear shoots, too. Is there any kind of brotherly competition there between the two of you?
We have an open dialogue about stuff like this. He was really thrilled for me, and he was actually at dinner when I got the phone call to possibly do it, and we were talking at dinner [about] if it was something I wanted to do. I was a big fan of Guess, but you know the kind of dedication you need for something like this. And Nick was like, “Dude, you’ve got to do it. This will be really good for you.” So I was glad.
Looking back at your own style throughout the years, do you have regrets — maybe from your Jonas Brothers days?
There was one time, me and my brothers went to the Kids’ Choice Awards, and I think we hit that age where we didn’t want to be kids anymore, and we were trying to be adults. We wore really oversized suits to the Kids’ Choice Awards, which is just kinda fun and wild and crazy. I’m not saying it was a bad look! It just probably a little bit premature and wasn’t right, exactly. I had an ascot underneath. It was really great. I think we were one step away from top-hats! Which we ended up doing, as well, for a while.
@thesalon_la: Bojana and Cara at White Girl In Nepal photo exhibit. If you couldn’t make it to last night’s opening event, you can see the show this week at The Salon, 2656 S La Cienega Blvd. open Monday - Friday 10:00am - 5:00pm. @boyzbi @caradelevingne
On Thursday, August 5, 1938, the Regina-Wilshire Theatre at
Wilshire and La Cienega in Los Angeles, trying to stave off bankruptcy,
began what was intended as a four-day run of a tripple-bill feature of Dracula, Frankenstein and Son of King Kong.
The bill unexpectedly captured the public’s imagination and became an
overnight sensation. It was soon playing 21 hours a day to packed houses
while police controlled the crowds queuing around the block. At the
same time, an unemployed Bela Lugosi, who, apart from one week’s work in
the Republic serial S.O.S Coastguard in 1937, had not been
offered film work for two years, was suffering dire financial problems.
At the start of the year, he had been forced to apply to the Motion
Picture Relief Fund for help with medical costs when his son, Bela
George Lugosi, Jr., was born on January 5th, 1938. His only work during
1938 had been an appearance on the Baker’s Broadcast radio programme on March 13th, on which he sang a duet with Boris Karloff. As
the crowds began to grow outside the Regina-Wilshire, he was forced to
move into a rented house when the mortgage company foreclosed on his
beloved mansion at 2227 Outpost Drive. Realising the goldmine he had
stumbled upon, Emil Umann, manager of the Regina-Wilshire, quickly hired
the unemployed actor to make nightly public appearances at the cinema.
Universal, which had rented the
films to Umann at a flat rate, found itself missing out on the massive
profits that the cinema was making. Quickly striking 500 new prints of
Dracula and Frankenstein, the studio set a publicity campaign in
motion and rented the newly struck prints to cinemas across the country,
which all duplicated the success of the Regina-Wilshire under terms
more beneficial to the studio. As the campaign gained momentum,
Universal, who had taken credit for Emil Umann’s inspired idea, pulled
their prints from the Regina-Wilshire after four weeks, leaving him out
in the cold as the profits continued to roll in. Bela Lugosi headed off
on a West Coast tour of personal appearances at cinemas to promote
the Dracula and Frankenstein double-bill. On October 17th,
Universal rushed Son of Frankenstein into production, heralding the
beginning of the second cycle of Hollywood horror films and the end of
Lugosi’s financial woes. Of his unexpected return to the spotlight, he
told the press, “I owe it all to that little man at the Regina Theatre. I was dead, and he brought me back to life.”
Five thousand people queued outside the Victory in Salt Lake
City to see the double-bill. Unable to meet the demand, the manager
rented the Broadway Theatre across the street and the films played
simultaneously through the night.
Spring comes to the grassland! #weekendinspiration
The last frost is long gone and the cottonwoods have put on their best green, all of which signals a change in seasons on the high grasslands of southern Arizona. At Las Cienegas National Conservation Area southeast of Tucson, the rush of life – from new pronghorn fawns and prairie dog pups to calves at the Empire Ranch – is reason to celebrate.
Pronghorn antelope are among North America’s fastest animals, but just minutes after birth even walking in a straight line looks like a challenge. This year’s fawns will join a growing herd in the area that once dipped below 20, but now stands near 300 thanks to cooperative conservation work and improved habitat.
This is also ranching country. A drive of cows and calves through the sacaton grass and mesquite into the Empire Ranch headquarters corral calls to mind over 140 years of continuous tradition.
Smaller critters thrive amidst all the action. The Black-tailed Prairie Dog – a skittish but curious mammal that builds elaborate tunnel networks - was extirpated from Arizona by 1960, but now at Las Cienegas several colonies welcome new pups to the mix each spring.
Summer is on the way, but for now some appreciation of spring is in order.
Post by Adam Milnor, BLM Arizona; new photos by Bob Wick, BLM
Our #Oscars celebration continues with classic and modern western movie sets on BLM-managed lands!
Alabama Hills near Hollywood – photo by Bob Wick, BLM. Since the early 1920’s, movie stars such as Hopalong Cassidy, Gene Autry, and the Lone Ranger have been shooting it out at the Alabama Hills.
Diablo Canyon Recreation Area in New Mexico – photo by Steven W. Martin. More than a well-known rock climbing location, Diablo Canyon’s cracked basalt walls served as the perfect film backdrop for Cowboys and Aliens, 3:10 to Yuma, and City Slickers.
Red Rocks National Conservation Area in Nevada – photo by Bob Wick, BLM. Red Rocks featured Roy Rogers and his horse Trigger in Bells of San Angelo (1947).
The historic Empire Ranch in Las Cienegas National Conservation Area in Arizona – photos by Bob Wick, BLM. Rich with history, this is still an operating cattle ranch that looks much the same as it did in the 1800’s. It provided the perfect setting for Red River (1948) and McLintock (1963) starring John Wayne, Outlaw Josie Wales (Clint Eastwood, 1976), and Gunsmoke (James Arness-series).
Grand Staircase Escalante National Monument in Utah – photo by Bob Wick. The Pariah townsite in the southern part of the monument included a movie set which was built in the early 1960s for Sergeants Three, a Western featuring Dean Martin and Frank Sinatra. It also provided settings for the television series Death Valley Days and Gunsmoke. The last movie filmed there was The Outlaw Josie Wales in 1976.
Stay tuned for our final #Oscars post of the day – sci fi and horror film locations on your public lands!