Athena_Blake

MAGAZINE

A N GEL E S winter 2012

GLANCE PG. 7

toxic beauty

swag

PG. 25

PG. 14

calvin harris rising star PG. 23 Disney hall Special PG. 18

angeles magazine Spring 2012 1

MAGAZINE

angeles TOC 005 Letter From the Editor 007 Glance 014 Swag 018 Disney Hall Special

023 Calvin Harris Rising Star 025 Toxic Beauty

ANGELES

MAGAZ INE 4 angeles magazine Spring 2012

Letter From the Editor

T

he goal of the first edition of Angeles Magazine was to create a magazine with xontent relevant to our generation and location in beatiful Southern California.

In this publication series you will find stories ranging from talented artists to delicious foods, local attractions and beauty tips.

In this first issue you will come across a variety of stories that are important and represent what Angeles Magazine is all about. Starting on page 7 you will find stories about wonderful

bars, restaurants, people and places throughout the SoCal area. Page 18 starts a story about the infamous Disney Hall.

On page 23 you will come across a story about the rising DJ Calvin Harris. The story explains his background and how he got to where he is today.

The last story is on page 25 and talks about some of the dangers in the common beauty products used today.

We hope you enjoy the first issue of Angeles Magazine. You can also find us on Facebook and Twitter.

-Athena Blake

angeles magazine Spring 2012 5

6 angeles magazine Spring 2012

GLANCE FOOD

DRINK

TRAVEL

PEOPLE

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Photographed by Athena Blake angeles magazine Spring 2012 7

GLANCE DRINK

HAP PY HOUR

LA

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Evendit et rae non resti odit latur, ius, to volora quatquis eaquiat ernatiunt Photographed by Athena Blake

GLANCE

TRAVEL

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-Walter Copywriter

Photography by Athena Blake

angeles magazine Spring 2012 11

GLANCE

PEOPLE

Riccardo Woodsen

Model

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MUSIC FUN BEAUTY

ANGELES

MAGAZINE

TRAVEL

MORE THAN A CITY... A LIFESTYLE ANGELES MAGAZINE- YOUR ONE AND ONLY NEED FOR EVERYTHING MUSIC, FUN, BEAUTY AND LA RELATED. angelesmag.com

swag

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something we all get

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14 angeles magazine Spring 2012

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16 angeles magazine Spring 2012

Building with a Twist The Frank Gehry designed Disney Hall is a mass of reflections and curious angles.

By Melissa Rubenstein Photographed by Alden Walters angeles magazine Spring 2012 19

“And yet in at least one way, it’s an architectural throwback.”

With 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.

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.

angeles magazine Spring 2012 21

In Los Angeles the facade was origThen, in the mid-1990s, a balinally going to be limestone, but looning budget, fund-raising troubles, and other problems stalled the budget cutbacks or seismic worries, project. It wasn’t revived until 1997, It wasn’t revived until 1997, when it rewhen it received ceived a new infusion of cash from a new infusion of cash from the Disthe Disney family and others. ney family and others. That year depending on which story you besaw the opening of Gehry’s Guggenheim Museum in Bilbao, Spain, lieve, forced Gehry to go with panels of brushed stainless steel.) which turned Gehry into a worldIs the long-delayed Disney Hall, famous “starchitect,” doing exactly for his reputation what Disney Hall then, just a consolation prize for Los Angeles? Does one of the bigwas supposed to. And indeed the gest cities in the world find itself in two buildings have a lot in common: Both are composed of a jum- the odd position of playing second fiddle to a Basque regional capital ble of organic forms sheathed in gleaming, windowless metal panels. with a population under 400,000?

Not exactly. The building is a fan(In Spain the material is titanium. tastic 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 late-modernist mistake that used to house both the Philharmonic and the Academy Awards and today hosts nei-

ther. (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.

angeles magazine Spring 2012 23

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

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 Other details in the lobby, from the curves, on the other hand, can trap walls lined in Douglas fir to the resound.) And in buildings from Paris markable treelike columns (whose to Seattle, Gehry has produced what stocky, branching form Gehry says he easily qualifies as architecture’s most stole from the Czech architect Joze varied and complete collection of conPlecnik), promote a dreamlike and oth- vex curves. There’s no definitive word erworldly feel, a detachment from the yet on whether Disney Hall’s acoustics hustle-bustle and the grime of the city. are indeed good; the orchestra’s first But the lobby is also open to everyperformance is still a few days away. body: You don’t need a ticket to walk But the early word from the musicians, through it, as is the case in many con- who began rehearsing in the new audicert halls. This is an old-school public torium over the summer, has been posispace in the tradition of Grand Central tive.

Terminal or Bertram Goodhue’s lowslung central branch of the Los Angeles Public Library, which is only a few blocks away from the new hall.

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

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 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.

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 public-minded 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.

Frank 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.

angeles magazine Spring 2012 25

Toxic Beauty {

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the price of looking good may be higher than you think

Y

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!

products each day, from the moment they wake up (soap, shampoo, conditioner, shave cream, 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 You love these products and how and weigh less. Although each they make you look and feel, but product you may use may contain did it ever occur to you that what a restricted amount of chemicals, you put on your hair or your skin hormones and toxins, they can, and could make you sick? Did you know many times they do cause a myriad these products contain chemicals, of damage to us all. 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

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By Mercedes Cambridge III Photography by Dustin Middleford Styled by Amber Kelly

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

”

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

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? angeles magazine Spring 2012 27

Calvin Harris (born Adam Richard Wiles;[1] 17 January 1984)[2] is a Scottish DJ, singer, songwriter, and record producer. His gold-selling debut album, I Created Disco, was released in 2007 and contained the top ten singles “Acceptable in the 80s” and “The Girls”. His second studio album, Ready for the Weekend (2009), reached number one in the UK Album Chart and includes the chart-topper “I’m Not Alone”, the UK top five hit “Ready for the Weekend”, and the singles “Flashback” and “You Used to Hold Me”.

A remix album titled L.E.D. Festival was released in July 2010 as a free album in the August issue of Mixmag. Harris is currently working on his third studio album— due in 2012—which has produced the singles “Awooga”, “Bounce” and “Feel So Close”. He has written and produced records for other recording artists including Kylie Minogue, Sophie EllisBextor, Dizzee Rascal, and Rihanna (on the international chart topper “We Found Love”).

Calvin Harris

In 2007, Harris caught the attention of pop singer Kylie Minogue after his recordings had been passed on to her by another record producer.[11] This led to him cowriting and producing two songs on her 2007 album X—”Heart Beat Rock” and “In My Arms”, the latter a top ten hit in

the UK. Harris said that working with Minogue was “surreal, but fun” although he admitted to Mixmag in 2007 to “needing a few drinks before meeting her”. Harris returned to work with Minogue on her album Aphrodite (2010), co-producing the track “Too Much”.

In 2008, Harris collaborated with rapper Dizzee Rascal on his single “Dance wiv Me”, producing the track and singing the hook. The single reached number one in the UK and has been certified platinum by the BPI, selling 300,000 copies. It was shortlisted for the 2008 Popjustice £20 Music Prize and, in 2009, received a BRIT Award nomination for British Single and an Ivor Novello Award nomination for Best Contemporary Song. In 2009, he produced Dizzee Rascal’s next single entitled “Holiday”, which also reached number one. He was supposed to make an appearance in its music video, but objected to dancing along in some scenes, wearing a certain shirt for the video and not wearing his “fly eye” glasses.

[1] Also in 2009, Harris made a guest appearance on Tiësto’s song “Century” on the Dutch producer’s album Kaleidoscope.[35] Harris produced a track for English singer/rapper Example for his second album Won’t Go Quietly (2010), “Time Machine”, and mixed The Ting Tings’ UK top forty single “Hands”, having previously remixed the band’s singles “Great DJ” (2008) and “We Walk” (2009).vv

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