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SWAG From Good To Great

ADELE

RECORD BREAKER Take a

GLANCE at La Luz De Jesus Gallery Angeles MagazinE Spring 2012

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Table of Contents

GLANCE

Be Good to Your Body

7 FOOD

MARCH 2012 22

EPIC ARCHITECTURE

How a once-stalled Frank Gehry project became one of his triumphs.

20 8 DRINK

Stabucks: More of an Experience than the Coffee

10 PEOPLE

Fashion Never Sleeps

Not Just a Beach

12 TRAVEL

18 SWAG

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Go From Good to Great

TOXIC BEAUTY

The price of looking good may be higher than you think.

14 CULTURE

LA LUZ DE JESUS Galley

ON THE COVER

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ADELE She rose to fame after winning the

critics’ choice award at the Brit Awards in 2008. In 2009, she won best new artist and best female pop performance at the Grammy Awards. She said recently: ‘I’m not, and never have been, very academic -it was always music for me. I remember when I was 10, I nicked my mum’s Lauryn Hill album and listened to it every day after school in my bedroom, sitting on my little sofa bed and hoping to God that one day I’d be a singer.

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Editor in Chief

Yuranni Contreras

Creative Director

Yuranni Contreras

Advertising Director Sales Director Account Manager

Tiffany Hendrix Raudel Avila Wendy Carrera

Marketing and Sales Arlene Acero Assistants Karina Gonzalez Writers

Christopher Hawthorne Mercedes Cambridge III Copywriter Copywriter

Photographers

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Angeles MagazinE Spring 2012

Yuranni Contreras Grayden Hough


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Enjoy our March 2012 Issue Angeles MagazinE Spring 2012

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Angeles MagazinE Spring 2012


GLANCE Be Good to Your Body

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✤ copywriter

photography by Yuranni Contreras Angeles AngelesMagazinE MagazinESpring Spring2012 2012

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Angeles MagazinE Spring 2012

Your Artificial Enthusiasm

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âžť COPYWRITER 10 Angeles MagazinE Spring 2012


Paradise Cove Beach 28128 Pacific Coast Highway Malibu, California 90265 310.457.2503

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GLANCE

Not Just a City S

anta Monica has 3.5 miles (5.6 km) of well-maintained California beach locations and enjoys on average 340 days of sunshine a year plus a nearly constant gentle ocean breeze. Cycling, movie shoots, beach volleyball games, and the finest of people-watching all happen here, and it’s no wonder. People love to gather at this California beach, partially because it is so pristine. Santa Monica Beach in particular is a natural asset that we take great care to preserve; the city of Santa Monica cleans and rakes the sand daily, and even offers a “trash valet” service on Fridays, weekends and holidays. Lifeguard stations are staffed during all daylight hours – though the lifeguard headquarters provides 24-hour assistance year-round.

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3rd Street Promenade Anchored by the pedestrian-friendly Third Street Promenade, Downtown is 30 city blocks of retail stores, entertainment and dining. Within blocks of the Promenade are the beach, Palisades Park and Santa Monica Pier. Parking is available at seven public parking garages, as well as at metered street spaces.

photography by yuranni contreras


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GLANCE

The La Luz Jesus Gallery is a showcase for post-pop California art

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howcasing mainly figurative, narrative paintings and unusual sculpture, the exhibitions are post-pop with content ranging from folk to outsider to religious to sexually deviant. The gallery’s objective is to bring underground art and counter-culture to the masses. Past shows have been groundbreaking, launching unknown artists who have since become famous, such as Manuel Ocampo, Joe Coleman, and Robert Williams. A new exhibit opens on the first Friday of each month, with an opening reception that DETAILS Magazine calls “the biggest and best party in Los Angeles.”

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La Luz de Jesus Gallery was established in 1986 as the brainchild of entrepreneur and art collector Billy Shire, considered largely responsible for fostering a new school of California art and prompting JUXTAPOZ Magazine to dub him “the Peggy Guggenheim of Lowbrow.”

La Luz De Jesus Gallery

4633 Hollywood Boulevard Los Angeles, CA 90027-5413 (323) 666-7667


It’s your city.. dive in and explore. Angeles magazine caters to fit your lifestyle with the latest news, trends, and must see hot spots. angelesmag.com Angeles MagazinE Spring 2012

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The Finds That Will Shift You From Good to Great! MERCHANDISE Hendae nos ad mil il id quo quianda ntibus dolupta turiorendis in essunt, core volore inctios inum, tenduciate rem ex et ressimin et mincid ut facient ibusae. Erion parchil

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“Not only are these beauty products toxic for humans, they are toxic to the environment.”

The price of looking good may be higher than you think. 20 Angeles MagazinE Spring 2012

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ou’ve been dying to try that new shampoo that’s supposed to make your hair thick, lush and shiny. You can’t wait to use that new exfoliating scrub because the label tells you that it’s going to make your skin soft and glowing. You love that new cologne; every time you wear it you get so many compliments on how great you smell! You love these products and how they make you look and feel, but

did it ever occur to you that what you put on your hair or your skin could make you sick? Did you know these products contain chemicals, toxins and hormones that can cause anything from an unsightly rash to learning difficulties to birth defects and even cancer? Even though each product may contain a limited amount of these toxins, please keep in mind, most people use several products each day, from the moment they wake up (soap, shampoo, conditioner, shave cream,


Photography by Dustin Middleford Styled by Amber Kelly

deodorant, toothpaste, hand soap, make up) until they go to bed. After many years of daily use, these toxins accumulate in your body to cause the ailments I’ve listed above, among many others. If they cause these concerns for adults, just imagine the damage they can do to children who are smaller and weigh less. Although each product you may use may contain a restricted amount of chemicals, hormones and toxins, they

can, and many times they do cause a myriad of damage to us all.

save 81,000 barrels of oil in one year. How’s that for incentive to switch?

Not only are these beauty products toxic for humans, they are toxic to the environment, as well. Many of these products are made with petroleumbased ingredients, which contributes to global warming. Did you know that if you switch just one bottle of a petroleum based product for a vegetable based product we could

So now you decide it’s time to go “green”, you go to the health food store and purchase “Organic” or “Natural” products and you no longer have to worry about these concerns... or do you?

➻ Mercedes Cambridge III

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photography by Yuranni Contreras Grayden Hough 22 Angeles MagazinE Spring 2012


ith its exuberant, swooping facade, Frank Gehry’s newest building, the Walt Disney Concert Hall in downtown Los Angeles, looks anything but old-fashioned. And yet in at least one way, it’s an architectural throwback. In an era when office parks, suburban developments, and even skyscrapers seem to zoom to completion in a matter of months, the $274 million hall, which opens Oct. 23 with three nights of inaugural performances by the L.A. Philharmonic, recalls the days when significant public buildings sometimes took decades to finish.

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It wasn’t planned that way, of course. The project had its start back in 1987, with a $50 million gift from Walt Disney’s widow, Lillian. Working with a Japanese acoustician named Yasuhisa Toyota, Gehry quickly produced some very promising preliminary designs. The building seemed destined to be not just Gehry’s most important in Southern California, where he’s lived for nearly 60 of his 74 years, but among the most important of his career. Advertisement Then, in the mid-1990s, a ballooning budget, fund-raising troubles, and other problems stalled the project. It wasn’t

revived until 1997, when it received a new infusion of cash from the Disney family and others. That year saw the opening of Gehry’s Guggenheim Museum in Bilbao, Spain, which turned Gehry into a world-famous “starchitect,” doing exactly for his reputation what Disney Hall was supposed to. And indeed the two buildings have a lot in common: Both are composed of a jumble of organic forms sheathed in gleaming, windowless metal panels. (In Spain the material is titanium. In Los Angeles the facade was originally going to be limestone, but budget cutbacks or seismic worries, depending on which story you believe, forced Gehry to go with panels of brushed stainless steel.) Is the long-delayed Disney Hall, then, just a consolation prize for Los Angeles? Does one of the biggest cities in the world find itself in the odd position of playing second fiddle to a Basque regional capital with a population under 400,000? Not exactly. The building is a fantastic piece of architecture—assured and vibrant and worth waiting for. It has its own personality, instead of being anything close to a Bilbao rehash. And surprisingly enough, it turns out that all of those postponements and budget battles have been a boon for the hall’s design. What the finished

product makes most clear is that like plenty of artists, Frank Gehry tends to work better with restrictions, whether they’re physical, financial, or spatial. Without them, his work tends to sprawl not just figuratively but literally. Even though it cost more than a quarter of a billion dollars and covers 293,000 square feet, Disney Hall is a tighter, more focused effort than many of those Gehry has produced after Bilbao, when the commissions came rolling in, his budgets suddenly became freer, and he found himself with clients perhaps less likely to challenge his authority. The hall manages to be at once lean and wildly expressionistic. It looks like a building in which every design decision has gone through two layers of scrutiny: one financial, the other aesthetic. Gehry had many years to tweak the project, and he’s managed to polish it without sacrificing any of its vitality. Like a lot of Gehry’s work, the new building relates remarkably well to the city, though the visual fireworks of its facade and its plush interior spaces may well distract a lot of people from this fact. It occupies a full city block at the top of Bunker Hill, across the street from Dorothy Chandler Pavilion, a gilded latemodernist mistake that used Angeles MagazinE Spring 2012

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rank Gehry was born Ephraim Owen Goldberg in Toronto, Canada. He moved with his family to Los Angeles as a teenager in 1947 and later became a naturalized U.S. citizen. His father changed the family’s name to Gehry when the family immigrated. Ephraim adopted the first name Frank in his 20s; since then he has signed his name Frank O. Gehry. Uncertain of his career direction, the teenage Gehry drove a delivery truck to support himself while taking a variety of courses at Los Angeles City College. He took his first architecture courses on a hunch, and became enthralled with the possibilities of the art, although at first he found himself hampered by his relative lack of skill as a draftsman. Sympathetic teachers and an early encounter with modernist architect Raphael Soriano confirmed his career choice. He won scholarships to the University of Southern California and graduated in 1954 with a degree in architecture. Los Angeles was in the middle of a post-war housing boom and the work of pioneering modernists like Richard Neutra and Rudolph Schindler were an exciting part of the city’s architectural scene. Gehry went to work full-time for the notable Los Angeles firm of Victor Gruen Associates, where he had apprenticed as a student, but his work at Gruen was soon interrupted by compulsory military service. After serving for a year in the United States Army, Gehry entered the Harvard Graduate School of Design, where he studied city planning, but he returned to Los Angeles without completing a graduate degree. He briefly joined the firm of Pereira and Luckman before returning to Victor Gruen. Gruen Associates were highly successful practitioners of the severe utilitarian style of the period, but Gehry was restless. He took his wife and two children to Paris, where he spent a year working in the office of the French architect Andre Remondet and studied firsthand the work of the pioneer modernist Le Corbusier.

PHOTOGRAPHY BY yuranni contreras 24 Angeles MagazinE Spring 2012


buildings from Paris to Seattle, Gehry has produced what easily qualifies as architecture’s most varied and complete collection of convex curves. There’s no definitive word yet on whether Disney Hall’s acoustics are indeed good; the orchestra’s first performance is still a few days away. But the early word from the musicians, who began rehearsing in the new auditorium over the summer, has been positive.

to house both the Philharmonic and the Academy Awards and today hosts neither. (The Oscars are now handed out at the new David Rockwell-designed Kodak Theater, a few miles away.) The facade soars, bends, and dives in a number of directions, in typical Gehry fashion, but that movement is always checked by the limits of the city grid. Seen from above, the building looks like a bunch of flowers contained, barely, within a perfectly rectangular flower box. Indeed, that tension—between free-flowing imagination and the limits imposed by physics and budgets—is what defines the building as a whole. That tension continues inside. There is a small performance and lecture space, for example, that Gehry created simply by stretching out one rounded corner of the huge lobby until it was big enough to operate as a quasi-separate room. It’s a setting for chamber music and pre-concert lectures that didn’t require any new walls or floors or even a stage. It makes something remarkable out of nothing. Click on image to expand Skylights in the otherworldly lobby Other details in the lobby, from the walls lined in Douglas fir to the remarkable treelike columns (whose stocky, branching form Gehry says he stole from the Czech architect Joze Plecnik),

promote a dreamlike and otherworldly feel, a detachment from the hustle-bustle and the grime of the city. But the lobby is also open to everybody: You don’t need a ticket to walk through it, as is the case in many concert halls. This is an old-school public space in the tradition of Grand Central Terminal or Bertram Goodhue’s low-slung central branch of the Los Angeles Public Library, which is only a few blocks away from the new hall. Click on image to expand The auditorium’s convex curves There is still more productive tension inside the auditorium itself, which holds about 2,200 people and during daytime performances will be naturally lit by mostly hidden skylights and one tall window. The free-flowing, organic forms that Gehry loves to use are offset by the rigorous acoustic demands that any architect of a concert hall has to contend with. (In an auditorium of this kind, every exposed surface, from balcony railings to seat upholstery, can affect how the orchestra sounds.) As it turns out, Frank Gehry and concert halls are well-matched. Acousticians have realized over the last few decades that convex—or outwardly bulging— curves can be very effective, bouncing and dispersing sound waves produced by an orchestra. (Concave curves, on the other hand, can trap sound.) And in

All of these dualities are fitting for a concert hall. An attraction of going to the symphony is trading in your regular self for a better-dressed, more cultured one. Symphony orchestras these days are looking for ways to attract younger, hipper audiences as their core supporters grow older, while at the same time preserving the sense of refuge that will always be classical music’s main drawing card. Gehry’s design cleverly explores both sides of that divide: It is a building where the members of a democracy can go to feel refined, to be lifted from the everyday. Gehry, along with a few of his more admiring critics, likes to define himself as a combination of artist and architect. That job description suggests that he envies the kind of pure creation that painters and sculptors can indulge in, distant from the demands of zoning boards, engineers, and French horn players. But in fact the Disney Concert Hall seems to make the opposite case about his talents. It’s full of evidence that Gehry is an architect in the most publicminded and collaborative senses of the word—that he’s a master at figuring out ways to allow inspiration to serve practicality, and vice versa. a large garden.

✒ Christopher Hawthorne

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On The Cover

Taking Six Home

She Set Fire to That New Record inger Adele today became the first living artist since the Beatles to have two top-five singles and two top-five albums in the same week. The London-born 22-year-old achieved the feat after she beat Lady Gaga to secure this week’s number one single for Someone Like You, while remaining at the top of the albums chart with 21. The star, full name Adele Adkins, received a standing ovation after she performed at last week’s Brits. Her debut album, 19, moved up from six to four, and her other single Rolling In The Deep from five to four. In January 1964 The Beatles’ I Want To Hold Your Hand and She Loves You were numbers two and five, and the albums With The Beatles and Please Please Me were at one and two. Martin Talbot, managing director, Official Charts Company, said: “It is a fantastic week for both Adele and the Brits. For Adele to match a record of the Beatles is an extraordinary,historic achievement.” Last week’s number one single holder, Brit-winning songbird Jessie J, dropped to number two. Superstar Lady Gaga had expected to secure number one spot with her new single Born This 26 Angeles MagazinE Spring 2012


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Way, but remained at number three. Brit winners Mumford & Sons scored their highest album placing to date as their disc climbed to number two from 15. Adele studied music at the BRIT School in Croydon in the same class as X Factor winner Leona Lewis. She was signed to the XL record label after posting her recordings on her social networking page. She rose to fame after winning the critics’ choice award at the Brit Awards in 2008. In 2009, she won best new artist and best female pop performance at the Grammy Awards. She said recently: ‘I’m not, and never have been, very academic -it was always music for me. I remember when I was 10, I nicked my mum’s Lauryn Hill album and listened to it every day after school in my bedroom, sitting on my little 28 Angeles MagazinE Spring 2012

sofa bed and hoping to God that one day I’d be a singer. “But it was never something I purposely pursued. Me and my friends at the time all had dreams

“I’m not, and never have been, very academic - it was always music for me” and none of theirs were coming true, so I thought, “Why the hell will mine?”’ The singer, who also made a triumphant comeback from vocal

cord surgery on the Grammy stage, sobbed as she won the night’s final award, album of the year, for “21.” It was last year’s top-selling album with more than six million copies sold and remains lodged at the No. 1 spot on this year’s charts. Her victories tied her with Beyoncé as the most wins by a woman in one evening. “Mum, girl did good!” Adele shouted as she took the album of the year trophy. The celebration of Adele, a big-voiced, soulful singer, came on a night where the Grammys marked the loss of one of music’s great female voices – and one of its most prized talents overall. Whitney Houston died the night before the Grammys, casting a shadow over music’s biggest night. What’s the background to your forthcoming single ‘Hometown


Glory’, which has been described as a dark, brooding love poem to London? “I wrote ‘Hometown...’ on the guitar - it`s just four chords pressing one string - and it was actually the first song I ever wrote from start to finish. It was kind of about me and my mum not agreeing on where I should go to university. Because, though at first I’d wanted to go to Liverpool, later I changed my mind and wanted to go to university in London. But, because I love being at home and I`m really dependent on my mum, she still wanted me to go to Liverpool. So that Id have to learn how to do things on my own, rather than still be coming home for dinner, having her do my washing and stuff like that. So in that way it was a kind of protest song about cherishing the memories - whether good or bad - of your hometown. Whereas - having only been to Liverpool about twice - there`s nothing there that comforts me, here in London - even if I`m having a really shit day - there`s still something I love about the place. So really yeah, in general it is an ode to the place where I`ve always lived.” So why title your debut album `19`? “Because I couldn`t come up with anything else! I always think debut album titles are really important. The best ones for me are ‘Debut’ by Bjork and Lauryn Hill`s ‘Miseducation’. They`re ones that everyone just KNOWS, that don`t make you think TOO much, and are just quite obvious. And to me this album does very much represent my age. I was only 19 years old when I was writing it, and I just kinda remember becoming a bit of a woman during that time. And I think that is definitely documented in the songs. So, while some people think I was trying to use my age as like a selling-point, I really wasn`t AT ALL. You know, when I was signed at 18, I only had three songs to my name. But yet, literally within a month of turning 19, a load more just suddenly came out of me. Which really reflects how I was feeling at that age.”

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