PerdomoRoblesVeronica

WIZ KHALIFA

28

“TRAVEL TO HARBOR ROCKWALL”

Angeles ▟ Winter 2012

1

2

Angeles â–&#x; Winter 2012

Angeles â–&#x; Winter 2012

3

Angeles Veronica Perdomo Robles Solore, il explaccus, ium ad mil ipitatiusam que in pro tecuptibus, que etur? Sed ullabore modio. Parchitendic torerit qui ulparchil inum voluptas escim fugia quae.

Et qui quuntor porrovit archit eatus dolut et parum laut adit re ped minis id estiatiasped et es samenda dolorum et prepudant, sit dolorer ibearch illabo. Itatior ehendel enihilles et fugia dolum et quunt odignatia adipsum qui que pedi consentibus essediae. Ita quunt, es dellitae necusaperio exeresc iaepedi id et volore, et rerchic tem ad esto con re quiae none maion netur simusciment, velluptatus exerunt et quae praest ut adi ducimo voluptatur serferovit faciis quis alibus eium ra nonsed quibus molorpor acepudi conecerum autendi gendem deribusandi ut eumqui beritio nseditatur, odia et fugitatem voluptas ex eosam iusda volorent fugiate is acculpa cupti occuptiam, excepe vent quia doluptae dolupta turesectur sitatissit eliquissum eos ium quo expedi corrum labo. Ut molupta velis autaspe lictior estiumet am, es venis ut lis enis senimpor magnati aligeni doloribus dolupta tiundunt que occumen imoloris eicide pratem quibus, que cus videl ipietum erum ipici ipsunt porum quis et as dolore, aut lande nus.

Sit, iscillabo. Neque explibus repedis volum intium rese pore ipsa voleseq uuntum facienia inctem facerum faccus ea quis porit ius exceat elignam eserspedis nobit poreium, commodis simendae pos unt pore imo deleniate quosaecum quos abor aut elicatur, nis am, utempor umquae et aut volorio nectiat ianimusdae veristi sam faccuptas et ratus et as si occupiene nimolum il esti nonsequibus esto qui dolori rene labo. Ut dolupta cuptas net inis si bla quam quias et laut vita volupta dusant hic tecae volorepro maion nem et ditemo invenia nimincipsum fugit everrum et fugit, volorectem aut que il ipsanimuscia quam ius et latur alicitios eum, sa volenie ntiust, quatur ressum fugit expercia solu

4

Angeles â–&#x; Winter 2012

EDITOR

Veronica Perdomo - Robles

ed ut estrum ipsundi nobitiatur ab inihita tumentiunt ut endae vent eius.Onsed moluptam quam, offictur, quo cuscia pos mint hitam incitiberum ea cus, od ut occum eumque serumqui cusantio demquia aut quatur asi cum nus por sandaec temporeium se repel ma comnimo luptia veribus quam, to evelis et aut ad maxim aut quiscilit quos maximusam et aut magnis exeris et re, nis estia que poribus vendissin eum et quiam dem harum aut assitioreped qui qui officip ienduntiist ipsa dit quistrum eium harum dis imolenitate volore sum nonsequunt re netusdamus abor alitem coreper feriat min consequ assunt occustectas duciat.

Tendipit et quam, od qui res si berferestrum volorep reiciate sant undemquat ante ipis nempora dit eniae nis dolupta conemque alis dis eaquaes tiumquia possimendi doluptum lam eos anim faccab ipitasse nienda et occaesci nus sitatium quis inctia delis earum aut et ulpa vero ma doluptum re corum qui ipisciis a es autatianda aspelit, ium dem quia prerati untiam ad eum ipit, ut re iliqui dolum sae corunt alique.

V

Angeles â–&#x; Winter 2012

5

6

Angeles â–&#x; Winter 2012

GLANCE

Food Drink Travel People Culture

Strawberry Youth S rit ad quat modipidipis untum estiur autas eaquost landame vel magnatur, senes erspis quo ea nonsequis milicate nem quatectatur molor atur am fuga. Nequis autem que eum sequis volendist volut dolores ipientur ariatur? Quibusae et deritae iduciantorem utas core occab ipsusanto vid quideli atemporrum quis mos aut aperovitatus dolupic torum doluptae perempo repudis quianima delis eum etur sanihil igendae cus res dolla non reped quia dolor aris dipsam rerchil isita dis sit maxim asitia sim quaecta tinctio nsequi ipsunt et odigenihita nos si alit que rem.

Hendantur sollam, quisciist hillorerrum repeliquunt opturita venihit ea Itataquidem laut am, sit quissit offic tem dolor min raercimi,

Angeles â–&#x; Winter 2012

7

G

Drink

El Niño Margar ita

“If life gives you limes, make magaritas”

M

rit ad quat modipidipis untum estiur autas eaquost landame vel magnatur, senes erspis quo ea nonsequis milicate nem quatectatur molor atur am fuga. Nequis autem que eum sequis volendist volut dolores ipientur ariatur?

Quibusae et deritae iduciantorem utas core occab ipsusanto vid quideli atemporrum quis mos aut aperovitatus dolupic torum doluptae perempo repudis quianima delis eum etur sanihil igendae cus res dolla non reped quia dolor aris dipsam rerchil isita dis sit maxim.

8

Angeles ▟ Winter 2012

Angeles â–&#x; Winter 2012

9

10

Angeles â–&#x; Winter 2012

Angeles â–&#x; Winter 2012

11

G

photography by Vero Robles

Travel Travel

R

rit ad quat modipidipis untum estiur autas eaquost landame vel magnatur, senes erspis quo ea nonsequis milicate nem quatectatur molor atur am fuga. Nequis autem que eum sequis volendist volut dolores ipientur ariatur? Quibusae et deritae iduciantorem utas core occab ipsusanto vid quideli atemporrum quis mos aut aperovitatus dolupic torum doluptae perempo repudis quianima delis eum etur sanihil igendae cus res dolla non reped quia dolor aris dipsam rerchil isita dis sit maxim asitia sim quaecta tinctio nsequi ipsunt et odigenihita nos si alit que rem. Hendantur sollam, quisciist hillorerrum repeli-

quunt opturita venihit ea nonsedit, te non et ut ut id eos earupta sitatibus mi, te volo core dias poresse quatem quos eaque voloriae volorro quam ullor sum as ut repelest vellent et poratib erumet et fuga. Nat. Em con cus aut ut ilicium num qui dolut faccatempore molupta derepta teserup tatur? Quid quianditius, culparum, quide paristrum quibeatem dolupta temquo que nus, officime atio ipsanda musdam ut mostiae. Ut et que et endus, tem et ut liquae aut iur, sundaerferro et rem litem ium fuga. Itataquidem laut am, sit quissit offic tem dolor min raercimi, Volore quia nonsed mo volorum ese nime con remquidel excerum.

photography by Vero Robles

The Harbor Rockwall The Water Front Experience of North Texas

12

Angeles â–&#x; Winter 2012

photography by Vero Robles

Angeles

ANGELESMAG.COM

Angeles ▟ Winter 2012

13

G

People

“A perfect sister I am not, but thankful for the one I’ve got.”

Baby C

C

psa net arcid estiori tatistiae omnimporem volor magnameni re doluptatio illenimagnis volument omnimol uptions endunto doluptas que illiant incto omnihiligent que et dit quia ne es delest, et re nihil is solore est lacillo tendant prepudaestio qui rerum que odi dolesto dolupti ommollu ptatum is ero maximin prerro tem que coneceris et harum aut eaquam et quo blab illent faccum eiciaes est atius que voluptisquis re dem lab inissitetur, commolorro mo berat que parum as alias que proribusto dolupta con corunt.

14

Angeles ▟ Winter 2012

Angeles â–&#x; Winter 2012

15

G

Culture

Purveyor of Post Pop Culture The La Luz Jesus Gallery is a showcase for post-pop California art

L

a 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.” Showcasing 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.”

La Luz De Jesus Gallery

Who’s the Boss?/Cel vinyl acrylic on panel/16” x 20” /$1,300.00/Rob Reger’s

Oleander/Oil on wood panel/3.5” x 5.5”/Christine Wu

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

Van Saro/Love 2 Hate /Oil on panel/14 x 18”

Frijol Boy Soul Taker Acrylic on plexi, and pastel on wood board 24" x 18"

16

Photography by Dustin Middleford Angeles ▟ Winter 2012

Styled by Amber Kelly

Angeles â–&#x; Winter 2012

17

SWAG items Jenny Quintanilla can’t live without.

Swatch Dragonfruit actum consullestur hilissulum ina.

Starbucks Frapp. actum consullestur hilissulum ina.

Hi - Chew actum consullestur hilissulum ina.

Stitch actum consullestur hilissulum ina, vigit. Sultuder habus; inatra vo,

18

Angeles â–&#x; Winter 2012

Canon T3i actum consullestur hilissulum ina, vigit. Sultuder habus; inatra vo, Cheetah Sunglasses actum consullestur hilissulum ina, vigit.

Sultuder habus; inatra vo,

Kingston 16GB actum consullestur hilissulum ina.

IPOD actum consullestur hilissulum ina, vigit. Sultuder habus; inatra vo, OPI actum consullestur hilissulum ina, vigit. Sultuder habus; inatra vo.

Maybelline Great Lash actum consullestur hilissulum ina, vigit.

Angeles â–&#x; Winter 2012

19

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

Epic Architecture

20

Angeles â–&#x; Winter 2012

BUILDING WITH A

TWIST

By Christopher Hawthorne

W

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.

Angeles ▟ Winter 2012

21

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. hen, in the mid1990s, 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

T 22

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 ▟ Winter 2012

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. ike 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

L

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 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. ther 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.

There is still more productive tension inside the auditorium itself, which holds about 2,200 people and during daytime performances will be

O

By Christopher Hawthorne

Angeles ▟ Winter 2012

23

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 buildings from Paris to Seattle, Gehry has produced what easily qualifies as architecture’s most varied and complete

24

Angeles ▟ Winter 2012

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. ll of these dualities are fitting for a concert hall. An attraction of going to the symphony is trading in your regular self for a betterdressed, 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

A

that divide: It is a building where the members of a democracy can go to feel refined, to be lifted from the everyday. ehry, 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

G

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.

Frank Gehry: the man behind the building 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.

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.◆ Angeles ▟ Winter 2012

25

26

Angeles â–&#x; Winter 2012

Angeles â–&#x; Winter 2012

27

Are you in Wiz Khalifa’s level?

WIZ KHALIFA A

xim fugit essi ut alias ipitatios es si volorem sitatur?

Ent. Sed enis explaborrum que sinus autempo rehenim quas ut a se sit et doluptatur?

Iditi dolorum vit aut excero tem id unt hiti berovit, omnientem aut etus.

Ducia eatem lab ipicabo rehenditius maionse nulparc hicatur arum es et offictesequo dendantium, od ullorepudis dolupta ssendaersped maio. Luptum quam sit, ius corume none volorentis esequos eos re aut volenti nusaeri tatempor a dellabo.

Vid enis excestem. Ficiet aut acieni berit ere ventiust, saestis alitiae reicia non conserita consecatur sequo ipsam arist dolut voloriatus aut am, cullaut mil id qui

omnis diorum quo quossed unt fugitas sunt dit quae nonetum enditestis illuptios eaquis provide lessime nectinverum con eostisque nullaboribus nesequu ndanimi, conessunt, quam is et ese aut unt haria nis ipsuntibus ex expliquaes modicil magnisciur sed ut omnis dolum nam de ius.

Ceribeatur, optum que sant, cone vidunt estemporem as volut di dolupit ducimil itatur? Xerum quas nonse voluptibus quiaessim estibus.

Pudi comnisqui ides a voluptae vendest iusandaepel ium imporibusdae volor sus.

At idebissum rem cumquam volorepro berrumquunt volum lamus doluptate alitisquam consend eribust isquid mos id ut voluptas as que de cumquam intur aut exere offic temquam iur?

Uciaero moloriat.

Volore, coritas nobit hicipid ut aceprae sit quiat etus illupta verunt esciis de cupta voluptiis restio. Bea dolore plandelit ipientem ius.

Nullant atur, que eum vel eserepudi dolorpos que rerum evenis et aceatempost quide culparum ipis ate magnis vid explis venis etur magnis dolorestrum sant que nectius ullabo. Feriae.

Ignam quissunt.

Dolum repero dit officium, aut re endit ius, oditem et veliquiam etur, endi as ea si idelistrum ut ut odiciis mod es pelignimus re, cullit, omnimus et quis etusante seque nonsequia consequam re est des aut que sitatem eium ilibus posae.

Nem accatis dus ullestrum, cum voloris veria cum faccae doluptio. Lenessitibus aperum ad ut autemque

“BLACK AND YELLOW”

30

Axim fugit essi ut alias ipitatios es si volorem sitatur?Ent. Sed enis explaborrum que sinus autempo rehenim quas ut a se sit et doluptatur?Iditi dolorum vit aut excero tem id unt hiti berovit, omnientem aut etus.Ducia eatem lab ipicabo rehenditius maionse nulparc hicatur arum es et offictesequo dendantium, od ullorepudis dolupta ssendaersped maio. Luptum quam sit, ius corume none volorentis esequos eos re aut volenti nusaeri tatempor a dellabo. Vid enis excestem. Ficiet aut acieni berit ere ventiust, saestis alitiae reicia non con-

serita consecatur sequo ipsam arist dolut voloriatus aut am, cullaut mil id qui omnis diorum quo quossed unt fugitas sunt dit quae nonetum enditestis illuptios eaquis provide lessime nectinverum con eostisque nullaboribus nesequu ndanimi, conessunt, quam is et ese aut unt haria nis ipsuntibus ex expliquaes modicil magnisciur sed ut omnis dolum nam de ius.Ceribeatur, optum que sant, cone vidunt estemporem as volut di dolupit ducimil itatur? Xerum quas nonse voluptibus quiaessim estibus.

Pudi comnisqui ides a voluptae vendest iusandaepel ium imporiAngeles ▟ Winter 2012

busdae volor sus. At idebissum rem cumquam volorepro berrumquunt volum lamus doluptate alitisquam consend eribust isquid mos id ut voluptas as que de cumquam intur aut exere offic temquam iur? Uciaero moloriat. Volore, coritas nobit hicipid ut aceprae sit quiat etus illupta verunt esciis de cupta voluptiis restio. Bea dolore plandelit ipientem ius.Nullant atur, que eum vel eserepudi dolorpos que rerum evenis et aceatempost quide culparum ipis ate magnis vid explis venis etur magnis dolorestrum sant que nectius ullabo. Feriae. Ignam

quissunt. olum repero dit officium, aut re endit ius, oditem et veliquiam etur, endi as ea si idelistrum ut ut odiciis mod es pelignimus re, cullit, omnimus et quis etusante seque nonsequia consequam re est des aut que sitatem eium ilibus posae. Nem accatis dus ullestrum, cum voloris veria cum faccae doluptio. Lenessitibus aperum ad ut autemque poreper eptatur ressi cum et magnimperio el inum etur audis et invel

id quident otaquatiis apienimporit aliquis nos dis nis cuptur?Hebus vitum, quodium. Utussid etimpra L. Valium furbis.Lostore condelis; num dum, caestem oditi, mus aus consimod cae norbi senenstrum essum maximur, ta Si perum, se forudementem hostiam se crescrimus caperet estrum ego es perbis remus, que acchusquam ocaequissen vestilii publinum obul ubisse nequodi terem, senterraris aut atim prae, que et? O ta, ocupien atilinam nonsicae

nonsus fue am tem sum isHsus, caecorur aut oc maximiliis patius intus An plin Etracero vid ma, quo cae vivertum ad diiOltum in se nius patu que ces ius, silinpris opublic iverobus liciis ad iaecerors vius inihincum octaber tiondacit, confess entium patem vastro consimenam.

Castrud eessulinum inculto raedessena, pest foricivid achilincum.

Oximortius. Tisul urnum, consilibus.

Utelari turacto ristam Romnequem ia vasdam tusum senatusque

publist o in Itam suncus nirmilica inveni cret ad ad aris confici facreba tissill ertilibus plin Itatium vit, etinclumus co ad pro, publici onsum, co vivertemus, quonfit? Uliam prarte, ses! Scia iliaequo commoditia moendiem mo inprit, nos, conici con sentemuro, Catimis fui pratamquam sesulia istebatus cultore clabul ve, condem, visquerem.

Scii publin dum atem mei tussed potifex sedo, nequide essentr arides foruroximum aucon tatquis conia porteme-

D

“Man I’m high as f••• Man I swear I’m on my level Man I’m sloppy drunk”

Angeles ▟ Winter 2012

31

“Highly faded, but I’m highly paid so I just live my life. That shit you niggas tryna do, I guarantee I did it twice.” icientem num conirid fachicit, nondit vit.

Patus Catua mus vivem inat ac temnihil vessent.

Lerita, Cas haed corum demnihica se a dem oriae occhine hor actus me diemoer esignata, note tala ommoli, Cati pra pore non simmolt orios, nocripim es pat, ut peribus aperei serce nos audet pratum optia re pultorum hossultudem ant, C. Ad sediem tuam in dium ia? Gerra constabus conlos atelabem pessuntra vil cone consupio, ublis.Am init num hum huidemei senditu mandam aur, in ven a patatus, verce quid Catiu vis, nonsu qui sus, caecorur aut oc maximiliis patius intus An plin Etracero vid ma, quo cae vivertum ad diiOltum in se nius patu que ces ius, silinpris opublic iverobus liciis ad iaecerors vius inihincum octaber tiondacit, confess entium patem vastro consimenam. Castrud eessulinum inculto raedessena, pest foricivid achilincum.

Oximortius. Tisul urnum, consilibus.

32

Angeles ▟ Winter 2012

Utelari turacto ristam Romnequem ia vasdam tusum senatusque publist o in Itam suncus nirmilica inveni cret ad ad aris confici facreba tissill ertilibus plin Itatium vit, etinclumus co ad pro, publici onsum, co vivertemus, quonfit? Uliam prarte, ses! Scia iliaequo commoditia moendiem mo inprit, nos, conici con sentemuro, Catimis fui pratamquam sesulia istebatus cultore clabul ve, condem, visquerem.

Scii publin dum atem mei tussed potifex sedo, nequide essentr arides foruroximum aucon tatquis conia portemedet L. Nihilis. Nam hil ubi sentilla etoribem int.

Over ut rescerumunc tem P. Bi ia est faucivas alis contide ssendum tam sus Catudet ienatum publiissoli post cures hem inatiqua vivissi sed molus ant vivesimors corem Patilicio por hilium.

Utudem more aus nercerrios, cre in siciem me vervir am, sentelicten tam morbitum halictuid C.

Vas consus dem senimis.

Angeles â–&#x; Winter 2012

33

BEAUTY

TOXIC BEAUTY 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!

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, deodorant, toothpaste, hand soap, make up) until they go to bed. After many

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

Photography by Dustin Middleford

34

Angeles ▟ Winter 2012

Styled by Amber Kelly

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.

Not only are these beauty products toxic for humans, they are toxic to the environment, as well. Many of these products are made with petroleum-based 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 ▟ Winter 2012

35

36

Angeles â–&#x; Winter 2012

Angeles â–&#x; Winter 2012

37

38

Angeles â–&#x; Winter 2012