Not A Mirage: La Quinta Is A Golfer's Desert Oasis
The Nicklaus Course at PGA West
For a good handful of decades now, I have utilized the Coachella Valley as an escape hatch from the hurly-burly and persistent thrum of Los Angeles, a city with more angles than angels on a given day. The desert escape two hours west of the city is perhaps best known for the mid-century kitsch of Palm Springs, where rat-pack royalty like Sinatra and Bob Hope, and even a true king--the one and only Elvis Presley–maintained homes away from home. Mini- and maxi-malls now line Highway 111 that runs north/south through the desert communities here, that and miles of golf-centered residential communities packed with retirees and snowbirds come the winter months.
A desert house designed by Richard Neutra for Edgar J. Kaufmann, Palm Springs, California, January ... More 1970. Lita Baron approaches, while in the foreground Nelda Linsk (right) wife of art dealer Joseph Linsk, is talking to her friend, Helen Dzo Dzo. (Photo by)
Palm Springs proper is a fantastic destination for architecture zealots: Desert Modernism is the prevailing style, a minimalist pastiche of flat or butterfly roofs, open floor plans and a blissful blend of indoor and outdoor spaces. Frank Lloyd Wright disciple Richard Neutra's pair of masterpieces--the Miller and Kaufmann Residences--are well worth a tour, as are homes by John Lautner and Donald Wexler. You can self-explore these marvels by car or seek expert guidance from the folks at Modern Tours Palm Springs. Martinis are in order, as well as garish floral print shirts and oversized sombreros.
Much as I relish a visit to Palm Springs proper, it does get fairly packed with vacationers from autumn until springtime, and especially during spring break and the nearby Coachella Valley Music and Arts Festival in mid-April. For older codgers like me who prefer golf clubs to nightclubs, a serene and charming alternative is the city of La Quinta, best known for its incomparable golf courses at PGA West and the historic La Quinta Resort & Club, another redolent whiff of Hollywood's glorious days gone by.
La Quinta Resort offers a quiet place for a nap amidst a garden setting. There are also 41 pools ... More scattered amidst the casitas at the desert resort. (Photo by Gina Ferazzi/Los Angeles Times via Getty Images)
Director Frank Capra–who adapted his screenplay for 'It Happened One Night' at the resort--is but one of dozens of Tinseltown's marquee names who flocked to La Quinta for needed rest and relaxation. 'It is the kind of place everyone was looking for,' he said, 'a wonderful green oasis in the middle of the desert, and it is absolutely private.' Chances are he'd have run into colleagues like Bette Davis or Clark Gable there, or even the reclusive Greta Garbo, pictured with Capra poolside in the below photo.
Garbo and Capra, cold-chilling at La Quinta Resort.
Nowadays, you're more likely to find musicians performing at Coachella at the resort, or tennis legends like Serena Williams or Roger Federer, who call one of the cozy casitas home while appearing at celebrity events at the stadium court. Live like the pampered swells by checking into the Starlight Casita, a second-floor luxury room with arresting mountain views and a private patio replete with an outdoor fireplace. In the name of utter indulgence, soak in your own private hot tub while tucking into one of the Whirlpool Casitas, a good way to loosen up after a day on the links.
Hole #7 PGA West Stadium Course PGA TOUR Archive via Getty Images
Speaking of the game of gentlemen (and women of course), the family of golf courses at nearby PGA West are an integral component of a visit to La Quinta. Nine championship designs grace the mountain-surrounded greenery, as well as five clubhouses and two private clubs. Called 'the Western home of golf in America,' its courses are familiar to viewers of professional golf and NCAA tournaments. Those of a certain age may remember Lee Trevino's hole in one at the challenging Stadium Course during the 1988 Skins Game, earning him a cool million buckaroos (half of which he graciously donated to St. Jude Children's Hospital).
PALM SPRINGS - A General View of the 9th hole on the Mountain course of the LA Quinta resort Golf ... More Course, Palm Springs California, United States of America.(Photo by)
One would do well to tune up the old swing at one of the resort's two courses--the Mountain or Dunes layouts--before doing battle at Pete Dye's demanding Stadium layout. Dye also designed the Mountain Course, known for its dramatic elevation changes and eye-catching views of the Santa Rosa Mountains. The course's signature 16th hole is a par 3 with a tee shot over a cavernous quarry, a test of both skill and nerve alike. The Dunes Course is more of a traditional Scottish links design with its hard-rolling fairways and strategically-placed bunkering.
After golf, it would behoove the hungry golfer to stop at Ernie's Bar & Grill in the PGA West Tournament Clubhouse, where the drinks are cold and frosty and the food several cuts above your usual golf course fare (revolving wrinkled hot dogs and bland processed turkey wraps, et al). We had a surprisingly credible/edible Margherita pizza with buffalo mozzarella and fresh basil, as well as a crisp and refreshing Chinese Chicken Salad. Okay, I confess, we also gorged out on The West Dog, an all-beef frankfurter with jalapeno aioli and PGA West's own house bacon on a brioche bun. House bacon! This ain't your pappy's golf course tubesteak, folks, and vive la difference.
Point Happy Room at La Quinta Cliffhouse
As cushy and cozy as life can get at the Resort, it does pay to take a short drive into the city of La Quinta proper to get a better picture of the town's charm and character. Dinner at the La Quinta Cliffhouse Grill & Bar is a mandatory watering hole, with its elegant indoor/outdoor setting abutting the rocky cliffs that surround the dining area. The pan-roasted Chilean Seabass was prepared perfectly, accompanied by sticky rice and a curry-coconut sauce. Down the road a piece near Old Town is another standout, Lavender Bistro, with its pistachio-crusted rack of lamb and Maine lobster ravioli among the best dinner choices. Its open-air terrace was packed with diners on a Tuesday night, which speaks volumes. A unique setting with great food and service.
A view of Old Town, La Quinta CA
Finally, if you need a pit-stop for coffee, craft beer or gift-gathering, Old Town La Quinta comprises over 30 eateries, boutiques, salons and services. Main Street Coffee is known for their friendly staff and fresh pastries, while the Alexandrite Active & Golf Wear shop will outfit you in style for golf, tennis, cycling and yoga. Remember, as Billy Crystal used to quip: 'It's better to look good than to feel good.' Top it all off with a Sunday visit to the Certified Farmer's Market every Sunday morning for locally-farmed honey, fresh-squeezed juices and bushels full of organic fruits and veggies. Not only is it pooch-friendly, our trusty hound Lucy found her way to some delicious treats--but then again, that crazy dog would eat anything!
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Forbes
9 hours ago
- Forbes
Directing ‘The Rose: Come Back To Me' Felt Just Right To Eugene Yi
When Eugene Yi was asked to direct the music documentary The Rose: Come Back To Me, it was an easy decision. 'I've always been interested in Korean rock and roll,' said Yi. "For myself, growing up as a Korean American here, I was always exposed to k-pop and Korean popular culture, but it was always harder to come across rock music. It just wasn't quite as mainstream. And for me growing up here, loving rock and roll, it was this breath of fresh air. It's like, ah, this feels good to me.' The film documents the journey of The Rose, the Korean indie rock group composed of Woosung Kim (Sammy), Dojoon Park (Leo), Taegyeom Lee (Jeff), and Hajoon Lee (Dylan) from their beginnings as k-pop trainees to their band's appearance at Coachella. As a filmmaker Yi is drawn to Asian American stories and stories that focus on diasporic communities. Together with Julie Ha, he directed Free Chol Soo Lee, a film about a Korean immigrant unjustly accused of a Chinatown gangland murder. While The Rose: Come Back To Me may seem like a far cry from his first film, Yi sees similarities in the ways it explores cultural interface. Two members of The Rose spent time growing up outside of Korea. Woosung was born in Korea, but grew up in the U.S. Dohoon spent some of his childhood in New Zealand. Taegyeom and Hajoon grew up in Korea. The band's musical influences are global, which helped to create their distinctive sound. '"I think it's really fascinating the path that they've been on and the mix of guys in the band,' said Yi. Eugene Yi directed 'The Rose: Come Back To Me.' Eugene Yi As a rule, k-pop bands do not form organically. They are usually formed by entertainment companies with a concept in mind. Trainees sign up for a disciplined system that requires them to live and train together, often for years before they debut. While the k-pop training system has launched the careers of many talented performers, it's not ideal for everyone. After starting out as k-pop trainees, the members of The Rose each realized the system did not give them enough creative freedom. So, they struck out on their own, with three members busking on the street, before Woosung joined them as a front man. The band released their first song, 'Sorry' in 2017 and by 2018 Billboard pronounced them one of the 'top five k-pop groups to watch.' 'I thought there was just something really powerful about that,' said Yi. 'They really are choosing to do this music with each other. On some level it's a very familiar story for a lot of European or American or Latin American bands, but just one that you hear less of in Korea. In that way, being able to hear a lesser heard story, that was something that really, really resonated with me, as well as in terms of giving a much rounder vision and look into what it is to be a Korean musician and a Korean artist right now. That there isn't just this one way to do things. For them, the fact that they were able to exercise that agency, is just something that's so central to them. They really chose their own destiny and decided to do things their own way. I love that part of their story.' Filming began in the summer of 2023 and lasted until mid 2024. Shot in Los Angeles and in Korea, the story culminates with the band's memorable performance at Coachella. Part of getting the film just right, said Yi, was deciding how much of the band's music to include, which he accomplished with the help of editor David E. Simpson. 'It was interesting to try and figure out how much music is too much music and how much music needs to necessarily make narrative sense, for it to make emotional sense, if that makes sense,' said Yi. 'There's that scene that David put in where he edited one of the songs, 'You're Beautiful,' in the midst of the scene about their fandom and their fan base. It was this wonderful moment where the footage and the song and the feeling that the song evokes really all came together in a way that made it feel like, okay, this is the music documentary magic doing its thing, where this serves both a narrative purpose and an emotional purpose. Even if it doesn't necessarily fit an outline or a timeline or anything like that, this just felt right.' The film includes intimate conversations with the band's members, often focusing on their personal and professional struggles. Taegyeom spoke about his mental health struggles, which Yi felt was important to include. Yi describes Taegyeom as the heart of the film. His struggles illustrate the band's message that music can be healing. 'So much of his difficulties and the candor with which he spoke about it really took me aback,' said Yi. 'It was really bracing and not something that I feel like I had heard much of in terms of when people are talking about what they've been through. Because of its connection to the theme of healing and because of the beautiful art that came out of it, how he was able to take that and turn that into music. It seemed to encapsulate something that was really central about the band.' Trust had to be an essential part of the collaboration. 'We did consult with the guys as we were working on the film,' said Yi. 'We tried to make sure that they felt comfortable with our approach to a lot of these very sensitive topics that we're talking about, because some of these topics are still very difficult to talk about, for anybody, but there's a specific South Korean context to it, as well as their own individual comfort.' The band, which currently has more fans in the U.S., Indonesia, the Philippines and Mexico than it does in Korea, is managed by Transparent Arts, a company founded by Asian American electro hip-hop group Far East Movement. While the film can be seen as a primer on staying true to your own creative goals, it doesn't sugarcoat how difficult that process can be, 'I think it's harder to see how bumpy that road can be,' said Yi. 'And how hard it can be at times to keep your eyes on that signal light that you're trying to follow in terms of what's important to you. I certainly had those experiences in my life where in creative collaboration or creative expression, you sort of start to lose your way.' Yi, who worked as a film editor and in print journalism before turning to directing, enjoys making documentaries and sharing the stories of real people. He describes the inspiring story of The Rose as a tale of perseverance. 'They had every single possible thing that could happen to a Korean musician happen to them that could have easily derailed their career," he said. "But their perseverance is really something that I found inspiring, not just to their music, but to each other. Something about that really stayed with me." The Rose: Come Back To Me premiered last week at the Tribeca festival and also airs at the festival on June 12 and 15. The Rose is currently on their Once Upon A WRLD tour.
Yahoo
11 hours ago
- Yahoo
What do young Angelenos think of cellphone bans and Instagram age limits? We asked
"If you're a parent, Lauren Greenfield's new doc about teens and social media 'is a horror movie.'" That Los Angeles Times headline ran on an August story about Greenfield's acclaimed five-part docuseries that followed Los Angeles-area high school students during the 2021-22 school year, tracking their cellphone and social media use for a revealing portrait of their online life. Greenfield remembers the headline. "I've heard that from parents," Greenfield says. "And I keep hearing it whenever we screen the series." Greenfield has taken "Social Studies" to schools around the country since its premiere last summer, airing episodes and answering questions, speaking alongside a rotating group of the show's subjects. And, yes, the most common takeaway remains: Parents have no idea what's going on with their teenagers — though "horror" is in the eye of the beholder. Read more: Column: The disturbing new after-school special that parents of teenagers need to see Today, Greenfield and three of the "Social Studies" participants — Cooper Klein, Dominic Brown and Jonathan Gelfond, all now 21 — are in a Venice bungalow, just back from showing the series to some 6,000 teenagers in San Francisco — young people who, by and large, had a much different reaction than their elders to the depictions of online bullying, body-image issues, partying, hooking up and FOMO culture. These teens were sometimes gasping and talking to the screen, laughing at points, fully immersed, fully relating, even feeling nostalgic for TikTok trends that were popping three years ago. In one episode, teenager Sydney Shear is having a text exchange with a guy Greenfield describes as "creepy." We see the message he sends: "Permission to beat." Right after she tells him no, the group of girls sitting behind Greenfield screamed, "You know he did anyway!" "It's really fascinating how differently adults versus adolescents reacted to the show," says Klein, now a junior at Vanderbilt. "Adults are terrified by it, but young people find it funny. It's like watching reality TV." Much has changed for these "Social Studies" subjects since Greenfield stopped filming in 2022. How could it not? The years immediately following high school usually bring about intense growth and change and, hopefully, a little maturity. The world around them is different. Palisades Charter High School, which many of the students in the series attended, was heavily damaged in the January wildfires. ("The show's like a time capsule," says Gelfond, a Pali High grad. "Looking back, the series is even more special now.") Some things haven't changed at all, though. Technology remains addictive, they all agree. Even when you are aware that the algorithms exist to snare your time and attention, it can be hard to stop scrolling, the self-soothing leading to numbness and deepening insecurities. "You can have a greater understanding about the effects, but it still pulls you in," says Brown, who, like Gelfond and Cooper, has worked at teen mental health hotlines. "It's hard to stay away from what is essentially our lifelines." Which is one reason why they all see the value in the Los Angeles Unified School District's cellphone ban, which went into effect in February. "The pull-away from tech only works if it applies to everyone," Klein says. "When a whole group doesn't have access, that's when the magic happens. You're going to start to connect with the people in front of you because ..." She pauses, smiling. "I mean, you want to be engaging with something, right?" Then you have time to do things like read and solve jigsaw puzzles with friends, two hobbies Klein says she has taken up again recently in a conscious effort to disengage from her phone. Reclaiming your time, she says, can only work if you've got a plan. Read more: With 'Adolescence,' Stephen Graham wants you to consider the unthinkable If the takeaway from the series was that parents couldn't fully comprehend how technology shapes and defines their teens' lives ("They're the guinea pig generation," Greenfield notes), watching "Social Studies," either together or alone, has served as a conversation starter. "I have always had a very open relationship with my parents," Gelfond says, "but the way this really explains social media has led to eightfold more transparency." "It made me more grateful for the way my parents navigated all this," Klein adds. "I thought they were overstepping boundaries, trying to protect me too much. And I think this show validated that they did a really great job. Because we were the first generation, they were kind of flying blind." Now Klein wonders what she'd do differently if she ever has kids. She started on Instagram at 12. If she could go back, she'd probably delay that entry, even though Klein says it now seems normal for kids to join the app when they turn 8 or 9. So what would be the ideal starter age? "Maybe I'm crazy for saying this, but I think it should be 16," Brown says. Greenfield nods her head, noting Australia recently banned social media — Snapchat, TikTok, Instagram and X — for children under 16. "I got on Instagram when I was 10 or 11, and I had no idea of the world that I had just gained access to," Brown continues. "You should wait until you gain critical thinking skills. Sixteen, 17, 18, maybe." "It is the end of childhood," Greenfield says. "You get that phone and everything that comes with it, and it is the end of innocence." In that respect, Greenfield sees "Social Studies" in conversation with "Adolescence," the Netflix limited series about a 13-year-old boy suspected of killing a girl. The boy had been actively exploring incel culture online. "What's scary about 'Adolescence' is how did they not know he was involved in something so terrible," Greenfield says. "But it makes sense. That's the world we live in now." Get exclusive awards season news, in-depth interviews and columnist Glenn Whipp's must-read analysis straight to your inbox. This story originally appeared in Los Angeles Times.
Los Angeles Times
11 hours ago
- Los Angeles Times
What do young Angelenos think of cellphone bans and Instagram age limits? We asked
'If you're a parent, Lauren Greenfield's new doc about teens and social media 'is a horror movie.'' That Los Angeles Times headline ran on an August story about Greenfield's acclaimed five-part docuseries that followed Los Angeles-area high school students during the 2021-22 school year, tracking their cellphone and social media use for a revealing portrait of their online life. Greenfield remembers the headline. 'I've heard that from parents,' Greenfield says. 'And I keep hearing it whenever we screen the series.' Greenfield has taken 'Social Studies' to schools around the country since its premiere last summer, airing episodes and answering questions, speaking alongside a rotating group of the show's subjects. And, yes, the most common takeaway remains: Parents have no idea what's going on with their teenagers — though 'horror' is in the eye of the beholder. Today, Greenfield and three of the 'Social Studies' participants — Cooper Klein, Dominic Brown and Jonathan Gelfond, all now 21 — are in a Venice bungalow, just back from showing the series to some 6,000 teenagers in San Francisco — young people who, by and large, had a much different reaction than their elders to the depictions of online bullying, body-image issues, partying, hooking up and FOMO culture. These teens were sometimes gasping and talking to the screen, laughing at points, fully immersed, fully relating, even feeling nostalgic for TikTok trends that were popping three years ago. In one episode, teenager Sydney Shear is having a text exchange with a guy Greenfield describes as 'creepy.' We see the message he sends: 'Permission to beat.' Right after she tells him no, the group of girls sitting behind Greenfield screamed, 'You know he did anyway!' 'It's really fascinating how differently adults versus adolescents reacted to the show,' says Klein, now a junior at Vanderbilt. 'Adults are terrified by it, but young people find it funny. It's like watching reality TV.' Much has changed for these 'Social Studies' subjects since Greenfield stopped filming in 2022. How could it not? The years immediately following high school usually bring about intense growth and change and, hopefully, a little maturity. The world around them is different. Palisades Charter High School, which many of the students in the series attended, was heavily damaged in the January wildfires. ('The show's like a time capsule,' says Gelfond, a Pali High grad. 'Looking back, the series is even more special now.') Some things haven't changed at all, though. Technology remains addictive, they all agree. Even when you are aware that the algorithms exist to snare your time and attention, it can be hard to stop scrolling, the self-soothing leading to numbness and deepening insecurities. 'You can have a greater understanding about the effects, but it still pulls you in,' says Brown, who, like Gelfond and Cooper, has worked at teen mental health hotlines. 'It's hard to stay away from what is essentially our lifelines.' Which is one reason why they all see the value in the Los Angeles Unified School District's cellphone ban, which went into effect in February. 'The pull-away from tech only works if it applies to everyone,' Klein says. 'When a whole group doesn't have access, that's when the magic happens. You're going to start to connect with the people in front of you because ...' She pauses, smiling. 'I mean, you want to be engaging with something, right?' Then you have time to do things like read and solve jigsaw puzzles with friends, two hobbies Klein says she has taken up again recently in a conscious effort to disengage from her phone. Reclaiming your time, she says, can only work if you've got a plan. If the takeaway from the series was that parents couldn't fully comprehend how technology shapes and defines their teens' lives ('They're the guinea pig generation,' Greenfield notes), watching 'Social Studies,' either together or alone, has served as a conversation starter. 'I have always had a very open relationship with my parents,' Gelfond says, 'but the way this really explains social media has led to eightfold more transparency.' 'It made me more grateful for the way my parents navigated all this,' Klein adds. 'I thought they were overstepping boundaries, trying to protect me too much. And I think this show validated that they did a really great job. Because we were the first generation, they were kind of flying blind.' Now Klein wonders what she'd do differently if she ever has kids. She started on Instagram at 12. If she could go back, she'd probably delay that entry, even though Klein says it now seems normal for kids to join the app when they turn 8 or 9. So what would be the ideal starter age? 'Maybe I'm crazy for saying this, but I think it should be 16,' Brown says. Greenfield nods her head, noting Australia recently banned social media — Snapchat, TikTok, Instagram and X — for children under 16. 'I got on Instagram when I was 10 or 11, and I had no idea of the world that I had just gained access to,' Brown continues. 'You should wait until you gain critical thinking skills. Sixteen, 17, 18, maybe.' 'It is the end of childhood,' Greenfield says. 'You get that phone and everything that comes with it, and it is the end of innocence.' In that respect, Greenfield sees 'Social Studies' in conversation with 'Adolescence,' the Netflix limited series about a 13-year-old boy suspected of killing a girl. The boy had been actively exploring incel culture online. 'What's scary about 'Adolescence' is how did they not know he was involved in something so terrible,' Greenfield says. 'But it makes sense. That's the world we live in now.'
