Palm Springs

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The Hoppy House

The Hoppy House in the early '60s.

The Hoppy House in the early '60s.

Another thing I really like about The Mod Resort: it’s so close to everything. In fact, since I got here, I haven’t gotten in my car once (and, yes, I actually have left my room—on occasion). Sometimes in the morning, before it gets too warm out, I’ll just stroll aimlessly about the neighborhood. There are a lot of interesting homes out here. For instance, just a block away is Hopalong Cassidy’s old house (officially called the William Boyd House but known to locals as “Hoppy House.”).

Boyd, who always dressed in black and rode a pure white horse named Topper, decided when he built the house in the early ‘50s to stick with the black-and-white color scheme. So just about everything inside and out was either black or white. Wild, huh?

I got to see the house a few years back when the then-owner, a local contractor, had rehabbed the home before putting it up for auction. He’d repainted both the interior and exterior in Hoppy’s trademark black and white colors. There wasn’t much inside in the way of furniture since Hernandez had already cleared out a lot of the memorabilia—like the old saddles that Hoppy had turned into bar stools—for a memorabilia auction in the Bay Area.

Boyd and his wife, Grace, lived in the house until 1971. He died a year later at age 77. And what happened to the house? Well, it was sold at auction to a direct mail executive for $467,000. Stan Fedderly, who bought it, said after the auction, “I’m just a lucky guy. I didn’t think I was going to get it.”

Lucky indeed.

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Jell-o shots at The Mod

As I mentioned, when I last stayed at Laura Slipak’s The Mod Resort, she made me a martini upon check-in. Actually, she called it a Mod-tini and when I asked her if she did that for all her guests, she shrugged and said, No. “I have to get a vibe about someone. If I like them, I’ll make it.”

Well, she’s not making the Mod-tini anymore. She’s moved on. Now she makes a Jell-o-tini although she says, “That’s not a very good name for it, is it? I need to come up with something with a retro twist.”

In any case, if she’s got time in the afternoon (and often she doesn’t), she’ll make Jell-o shooters from vodka and Sour Apple Pucker schnapps, put the cubes in a cute little martini glass, top with a little whip cream, and take them out to guests lounging around the pool in the late afternoon.

“It’s just a fun thing,” she says. “And I’m all about fun.”

Okay, yes, Jell-o shots are fun. But I don’t know. I kind of miss the Mod-tini.

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Laura Slipak at The Mod Resort in Palm Desert. Yeah, baby!

Laura Slipak at The Mod Resort in Palm Desert. Yeah, baby!

One of the fun things about the desert is that it attracts a lot of interesting people. Like Laura Slipak. I met Laura, an Argentinean fashion designer who owns The Mod Resort in Palm Desert, a couple of years ago. I dragged my sorry ass into her Austin Powers-chic hotel after a long, hot drive from Los Angeles and she took one look at me and, before I’d even registered, offered me a martini. So, yeah, you go to a nice resort in Hawaii and they bring you a cold washcloth and some tropical punch while you’re signing in, but when was the last time someone offered to make you a martini while you registered? Never.

I knew immediately that Laura and I were going to hit it off, and we did. Here’s another thing I liked: Laura told me I could have my pick of rooms. So while I sipped my martini, she took me on a little tour of the vacant rooms, which were all very stylish, very well done (as you’d imagine they would be since she designed them), giving me little bits and pieces of her life and the history of The Mod which, before she bought it five years ago this month was called the Desert Patch Inn and was, she says as she sashays past the pool, “every bit as tacky as its name.”

I asked Laura how she came to own a hotel, and this is what she told me: One night, while she was living in Malibu, she went to the Viceroy, a very hip Santa Monica hotel known for their retro-chic design (dog-shaped lamps, lime-green accents, lots of black, white, and gray), and “I thought to myself, I can do this.”

So first Laura bought a house out here, two doors down, “and I’d walk by the Desert Patch Inn and think about what I’d do to it if I owned it. So I bought it. But then I had to decorate it.”

“I had a yard sale to get rid of all the crappy old furniture they had and by the 4th day, I was actually paying people to haul away the junk that hadn’t sold,” she told me. Then she started buying vintage furniture at estate sales and on eBay. “God, what a process.”

The result, she says, is not really authentic mid-century. “I call it Mod-century. It’s more late 60s and early 70s. If Frank Sinatra and Austin Powers picked a place to stay, this would be it. Because it’s retro, but it’s not kitschy. Does that make sense?”

Yeah, baby!

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The Spanish Revival style is evident at the La Quinta Spa building. Photo by David Lansing.

The Spanish Revival style is evident at the La Quinta Spa building. Photo by David Lansing.

I mentioned that La Quinta was designed in the ‘20s by an unknown architect from Pasadena named Gordon Kaufmann. Actually, Kaufmann was relatively unknown when he was hired by Walter H. Morgan to design the resort, but he later went on to fame designing such California icons as the Los Angeles Times building, the Hollywood Palladium, and the infamous Greystone Mansion in Beverly Hills where Ned Doheny, the son of Edward Doheny, the oil tycoon, died in his bedroom of a murder-suicide with his secretary, Hugh Plunket (parts of the movie There Will Be Blood, with Daniel Day-Lewis, were not only based on the Doheny family drama but the finale, where the Daniel Day-Lewis character bludgeons the ersatz preacher, Eli Sunday, to death with a bowling pin was shot in the basement bowling alley of Greystone Mansion).

Anyway, Kaufmann designed the cottages and offices of La Quinta Hotel (as it was called then) in Spanish Revival, though I don’t know that the style was actually called that back then. According to an architectural guide I have, Spanish Revival “refers to the architectural style that was popular from about 1915 to about 1940” and caught hold after the Panama-California Exposition in 1915. It also says that the growth of California and the film industry during the 1920s and 1930s facilitated the dissemination of this style.

“Spanish Revival,” it goes on, “is an extremely eclectic style. Many Mediterranean touches are combined to create an exotic, but harmonious appearance. Tile roofs and stucco exteriors are characteristic with half rounded doors and windows. Elaborate tilework, applied relief ornamentation, and wrought iron grillwork is used to create frames around doorways and windows, and is used widely as decorative accents throughout the house. Front entrances were often highly ornamented and many were balanced by a commanding triple-arched focal window.”

Well, that just about sums up the architectural style of La Quinta. It may, indeed, be a little eclectic looking but I find that, as I walk around, the buildings around the resort, from my little casita to the spa, are all quite pleasing to the eye—and charming. By the way, Kaufmann died in 1949 and while his obituary in the Los Angeles Times goes on and on about his design of an aircraft plant and the grandstand at Santa Anita Park, it makes no mention of one of his earliest and most indelible designs, La Quinta. Pity, that.

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I’ve been a bit obsessed with Audrey Saunders ever since she opened the Pegu Club in SoHo five years ago. Saunders took the name of her bar from the original Pegu Club, a famous British Colonial Officers’ club in Burma that, as Rudyard Kipling wrote, “was always filled with lots of people either on their way up or on their way down.” Perhaps what the club was most famous for was their house cocktail which, not too surprisingly, was called the Pegu Club Cocktail, a marvelous libation that pretty much disappeared from the scene along with the British in Burma (and Burma itself, for that matter). Until Audrey Saunders revived it.

Now before Saunders opened The Pegu Club she was working at The Carlyle Hotel where she fine-tuned a number of vintage cocktails for the legendary Bemelmans Bar. I mention all this because Morgan’s in the Desert, where I had dinner Saturday, has “borrowed” the recipes for many of the vintage cocktails from Bemelmans, including the Pegu Club and an Audrey Saunders original called the Gin-Gin Mule which I am convinced will one day join the pantheon of such classic cocktails as the Manhattan and Negroni. Thanks to my discovery of Saunders’ libation, the Gin-Gin Mule is my new summer drink (summer, for me, officially begins the day we move our clocks ahead an hour, which was last Sunday).

The other thing I love about Audrey Saunders is that, like me, she’s a big fan of Charles H. Baker, author of the 1939 cocktail guide called The Gentleman’s Companion, Vol. II (to read more about Mr. Baker, go here). She often talks about how she takes Baker to bed with her (not literally, of course) and just flips through the pages until she finds a section heading that just jumps off the page and grabs her. Like this one: “FIVE DELICIOUS CHAMPAGNE OPPORTUNITIES, which Are not to be Ignored.”

“When you read that, how can you not dive in?” Saunders says. “And when you see the first one is called the Maharaja’s Burra-Peg, that’s like putting cheese in front of a mouse.”

It does sound rather enticing, doesn’t it? But let’s save that story (and recipe) for another Friday. For now, let’s stick with Audrey Saunders’ Gin-Gin Mule as mixed in the bar at Morgan’s in the Desert at La Quinta Resort.

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