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angeles magazine spring 2012 1

A NGE L ESM A R C H 2 0 1 2

Disney Hall

Purveyor of Post-Pop CULTURE

13Beauty EssEnTiaLs

Kristen StewartWOMan On

THE VERGE

BUiLDinG WiTH a twist

2 angeles magazine spring 2012




A NGE L ES

Indulge yourself in Angeles Magazine, the gateway to beauty, fashion, celebrities,

and health.

More than a city , a l i festy le.


EDITOR-IN-CHIEF | Van DoEXECUTIVE EDITOR | John HomansEDITORIAL DIRECTOR | Jared HohltPHOTOGRAPHY DIRECTOR | Van Do

CULTURE EDITOR | Lane BrownNEWS EDITOR | James Burnett

FEATURES EDITOR | David HaskellSENIOR EDITORS |Rachel Baker, Christopher Bonanos,

Raha Naddaf, Carl RosenFOOD EDITORS | Robert Patronite, Robin Raisfeld

FASHION DIRECTOR | Amy LaroccaASSOCIATE EDITORS | Patti Greco, Ben Mathis-Lilley

ASSOCIATE ART DIRECTOR | Andrei KallaurIA/UX DESIGNERS | Dave Epstein, Bart SzyszkaSENIOR INTERACTION DESIGNER | Alicia Brooks

JUNIOR DESIGNER | Jen CottonASSOCIATE PHOTO EDITORS | Jed Egan, Mary Price

PRODUCTION ARTIST | Marisa WoocherTECHNICAL PRODUCER | Sarah Ruddy

A NGE L ES


A NGE L ESM A R C H 2 0 1 2

09 | LETTER FROM THE EDITOR

13 | GLANCE: FOOD

14 | GLANCE: DRINK

16 | GLANCE: TRAVEL

18 | GLANCE: PEOPLE

20 | GLANCE: CULTURE

24 | DISNEY HALL

32 | SWAG

34 | TOXIC STORY

38 | KRISTEN STEWART

Photographs by Mert Alas & Marcus Piggott; Styled by Edward Enninful; Hair by Luigi Murenu for John Frieda; makeup by Lucia Pieroni for Clé de Peau Beauté; manicure by Lorraine Griffin for Chanel. Production by Lalaland; set design by Happy Massee; digital capture by Dtouch Paris. Photography assistants: Maurizio Bavutti, Gareth Horton, and Matt Easton. Fashion assistants: Felicia Garcia-Rivera, Laura Jones, Jack Borkett, and Lucy Kebbell.

THE COVER LOOK:

p38

p34



letter from theeditor

editor in chiefvan do

Time flies by extremely fast when you’re attending FIDM | Fashion Institute of Design and Merchandis-ing. I can’t believe I am already in my second to the last quarter here at FIDM. One more quarter to go and I will be attending my graduation at the Staples Center; One step closer in retrieving my Associates of Arts degree in Graphic Design. There is nothing more important than making yourself happy. If you are not able to bring happiness to yourself, you will not be able to bring happiness to those around you. Just a little more than a year ago, I put my own happi-ness aside and followed my parents’ wishes to pursue the medical field. I just wanted them to be proud of me. I wanted them to be happy. And so, I went to the University of California, Riverside to major in biochem-istry, hoping that one day, I will become the phar-macist that my parents had envisioned that I will one day become. I gradually became lost, confused, and stressed. I felt hopeless when I didn’t understand the science courses as well as my classmate. It bothered me that I wasn’t getting A’s in my classes. I became very depressed. Eventually I withdrew from the school and applied for FIDM. If I had not made that change, I cannot imagine how my life would be today. You must realize that you yourself should be placed first before anybody! It is better to be selfish than to be selfless. I hope all of you a happy journey in your life!

“T here is nothing more important than

making yourself happy.”




Rib-eye steak sandwich with potato fries at Royal-T Cafe in Culver City. photographed by Van Do

FOOD | DRINK | TRAVEL | PEOPLE | CULTURE

The Great Sandwich Plusieurs variations de Lorem Ipsum peuvent être trouvées ici ou là, mais la majeure partie d’entre elles a été altérée par l’addition d’humour ou de mots aléatoires qui ne ressemblent pas une seconde à du texte standard. Si vous voulez utiliser un passage du Lorem Ipsum, vous devez être sûr qu’il n’y a rien d’embarrassant caché dans le texte. Tous les générateurs de Lorem Ipsum sur Internet tendent à reproduire le même extrait sans fin, ce qui fait de lipsum.com le seul vrai générateur de Lorem Ipsum.

Jordana Gel


photographed by Van Do

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Green Tea Soy Latte, and Strawberry Italian Soda from Honey Badger Cafe

Tea is the New Coffee by Janet Curfee


Coffee and tea remain to be two very different beverages that do different things for different folks, but when it comes to greater health benefits tea will ultimately beat coffee.



This year in the Flower and Garden Pavilion you will see the beautiful flora and fauna of our national parks. You will experience the beauty of nature and all its creatures in the new Wildlife Preserve, located in the Atrium, next to the Flower and Garden Pavilion.

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The Wonders of Nature


A tribute to America’s national parks, only at the L.A. County Fair.

by Janet Curfee



by Jane Doe

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The Modern Day Cinderella


The Modern Day Cinderella


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

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.”

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 Gallery4633 Hollywood Boulevard Los Angeles, CA 90027-5413 (323) 666-7667

Soey Milk depicts lone women in romance, she gifts the ladies with symbols of pleasure and agony. Often enriched with subtle oddity or darkness, her delicate

works tell stories of tender and sensitive shared encounters.



A

AANGEL ES

M A R C H 2 0 1 2

A R T I N T H E C I T Y


Building w i t h a Twist


Building w i t h a Twist

Building w i t h a

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

By Melissa Rubenstein Photographed by Van Do


The Los Angeles Philharmonic continues its reinvention of the concept of a 21st-

century orchestra under the vibrant leadership of Gustavo Dudamel. Embarking on its 92nd season in 2010/11, the Philharmonic is recognized as one of the world’s outstanding orchestras and is received enthusiastically by audiences and critics alike. Both at home and abroad, the Philharmonic is leading the way in innovativ e programming and redefining the musical experience.

This view is shared by more than one million listeners who experience live performances by the Los Angeles Philharmonic each year. The Philharmonic demonstrates a breadth and depth of programming unrivaled by other orchestras and cultural institutions, performing or presenting nearly 300 concerts throughout the year at its two iconic venues: Walt Disney Concert Hall and the Hollywood Bowl, a popular summer tradition since 1922. The orchestra’s involvement with Los Angeles also extends far beyond regular symphonic performances in a concert hall, embracing the schools, churches, and neighborhood centers of a vastly diverse community.The Los Angeles Philharmonic was

founded by William Andrews Clark Jr., a multi-millionaire and amateur musician, who established the city’s first permanent symphony orchestra in 1919. The 94 musicians of the new ensemble met for their first rehearsal Monday morning, October 13 of that year, under the direction of Walter Henry Rothwell, whom Clark had brought from the St. Paul (Minnesota) Symphony Orchestra. Eleven days later, Rothwell conducted the orchestra’s premiere performance


before a capacity audience of 2,400 at Trinity Auditorium in downtown Los Angeles. The audience heard Dvořák’s New World Symphony, Liszt’s Les Pré-ludes, the Overture to Weber’s Oberon, and Chabrier’s España.

Rothwell remained the or-chestra’s Music Director until his death in 1927. Since then, ten renowned conductors have served in that capacity: Georg Schnéevoigt (1927-1929); Artur Rodzinski (1929-1933); Otto Klemperer (1933-1939); Alfred Wallenstein (1943-1956); Edu-ard van Beinum (1956-1959); Zubin Mehta (1962-1978); Car-lo Maria Giulini (1978-1984); André Previn (1985-1989); Esa-Pekka Salonen (1992-2009); and Gustavo Dudamel (2009-present).

Following its opening season

in 1919/1920, the orchestra made Philharmonic Auditorium, on the northeast corner of Fifth and Olive, its home for the next 44 years. In 1964, the orchestra moved to the Dorothy Chandler Pavilion of the Los Angeles Mu-sic Center, which was its winter home until its final performances there in May 2003.

In October 2003, the doors to one of the world’s most celebrat-ed venues — the Frank Gehry-designed Walt Disney Concert Hall — were opened and the Los Angeles Philharmonic took the stage in its new home, which has become known not only as a local cultural landmark, but also as “…a sensational place to hear music... In richness of sound, it has few rivals on the international scene, and in terms of visual drama it may have no rival at all.” (The New Yorker)

Praise for both the design and the acoustics of the Hall has been effusive, and the glisten-ing curved steel exterior of the 293,000-square-foot Walt Disney Concert Hall embodies the energy, imagination, and creative spirit of the city of Los Angeles and its orchestra.

Inspired to consider new direc-tions, Gustavo Dudamel and the Philharmonic aim to find pro-gramming that remains faithful to tradition, yet also seeks new ground, new audiences, and new ways to enhance the sym-phonic music experience. During its 30-week winter subscription season of 110 performances at Walt Disney Concert Hall, the Philharmonic creates festivals, artist residencies, and other thematic programs designed to delve further into certain artists’ or composers’ work.


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 hous-

ing boom and the work of pioneering modernists like Richard Neutra and Rudolph Schindler were an excit-ing 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 suc-cessful 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.


The Los Angeles Philhar-monic’s commitment to the presentation of music of our time is evident in its subscrip-tion concerts, the exhilarating Green Umbrella series, and its extensive commissioning initia-tives. Now in its 29th year, the Los Angeles Philharmonic New Music Group, devoted exclu-sively to performing composi-tions on the cutting edge of the repertoire, attracts leading composers and performers of

contemporary music.

The Los Angeles Philharmonic Association expands its cultur-al offerings by producing con-certs featuring distinguished artists in recital, jazz, world music, songbook, and visit-ing orchestra performances, in addition to special holiday concerts and series of organ recitals, chamber music, and baroque music.

The Philharmonic has led the way into the digital age, with groundbreaking web and mobile device applications. Through an ongoing partner-ship with Deutsche Gram-mophon, the orchestra has a substantial catalog of concerts available online, including the first classical music video released on iTunes. \




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eauty

TOXICbeautythe price of looking good may

be higher than you think

You’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 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? \

“Not only are these beauty products toxic for humans,

they are toxic to the environment.”




WOMAN ON THE VERGETWILIGHT’S KRISTEN

STEWART ON GROWING UP, GETTING MARRIED, AND GIVING BIRTH—AS

MILLIONS LOOK ON.By Lynn Hirschberg

Photographs by Mert Alas & Marcus Piggott

Styled by Edward Enninful

Lynn Hirschberg: Everyone knows you as Bella Swan, the heroine of the Twilight series, whose penultimate installment, Breaking Dawn Part 1, premieres on No-vember 18. What audiences may

not know is that you’ve been act-ing since you were a child. How did you get your start? Kristen Stewart: It’s weird, be-cause I would be the last person in my school to be in plays, but I was forced to sing a song in a school thing. I sang a dreidl song, which is funny for me. I’ve never celebrated Hanukkah—it wasn’t in my upbringing, but it was one of those deals where everybody has to pick a song or participate somehow in the cho-rus. It wasn’t the normal dreidl song; I can’t really remember the words, but it was a more seri-

ous dreidl song. The dreidl was huge, it was really honored. And that’s how I met my agent, who was in the audience. I was eight. I was nine when I did my first movie, The Safety of Objects.

Did you do any commercials, or did you go straight into films? I did two commercials, one for Porsche, but I was definitely not the type of child one would cast in a commercial or any TV that you’d typically go out for as a young kid. I wasn’t the type of kid who would be in stuff that kids watch. I wasn’t cutesy.

Kristen Stewart


Kristen StewartIn 1999 David Fincher cast you as Jodie Foster’s daughter in Panic Room. He likes to do dozens of takes for each scene. Was that difficult, as a child? I didn’t realize that 80 takes wasn’t normal. But it’s funny: Some of my proudest moments from film sets are in Panic Room. My character had seizures. Just being able to say, I was 10 years old and I broke all the blood vessels in my eye on that take, is cool. It was fun.

You had a tomboy quality, which was unusual. I have brothers, and that so-called boyish quality was something that I was deathly self-conscious about when I was younger. I was,

like, No, I’m a girl. Actually, I’m still embarrassed to say that.

But it sets you apart from other young actresses. And it made you more interesting. I don’t really know what to say. I just knew I wanted to work. And I did. I was working when I read the script for Twilight. I read the script before I read the book. I actually did the audition before reading the book, which was kind of crazy. Obviously, I tore all four books apart over the course of three years, but initially I had no idea that Twilight was such a big deal.

Did you have a particular interest in vampires? All young girls like

vampires. I fucking love me a vampire [Laughs]. I was 17 when I read Twilight, and at the time it was so perfect for me. The script was about young kids who think they can handle stuff that they just can’t. And they’re going to do it anyway. Because, why not? Just torture yourself. I relate to that. Vampires are a little dangerous—and we girls like to test ourselves.

In Breaking Dawn, Bella and Edward, her beloved vampire, get married. What was the wedding like? Awesome. This was my first wedding. It was insane. And odd. The wedding dress experience was a huge deal. I tried on one

“This was my first wedding. It was insane. And odd.”


Hair by Luigi Murenu for John Frieda; makeup by Lucia Pieroni for Clé de Peau Beauté; manicure by Lorraine Griffin for Chanel. Production by Lalaland; set design by Happy Massee; digital capture by Dtouch Paris. Photography assistants: Maurizio Bavutti, Gareth Horton, and Matt Easton. Fashion assistants: Felicia Garcia-Rivera, Laura Jones, Jack Borkett, and Lucy Kebbell.


version of the dress, and it was like tweak and tweak and alter and tweak and change, and then it’s done. BFD dress. Huge deal.

How was the actual wedding? It was major. The last Twilight book is filled with BFDs, things that people have been waiting for for so long. For me, it was ridiculously dramatic: I get married, give birth, the baby has an incredibly accelerated growth rate we’re all very concerned about, and I say goodbye to my dad for the last time ever. It was all big—I could never go, Whew, I’m losing this character.

Did you finally say goodbye to Bella in some meaningful way? You’ve been liv-ing with her for a long time. I’d been anticipating that end-of-Bella moment. I was going, Oh, my God—I wonder how I’m going to feel. And the last scene of the shoot was at the wed-ding. Every single character was there on set. At the end of that day, I was kind of whacked. And so I never really had that moment then. Instead, it happened later. We needed to film one more sort of honeymoon scene and we went to the Virgin Islands. After that scene, my true final scene, I felt like I could shoot up into the night sky and every pore of my body would shoot light. I felt lighter than I’ve ever felt in my life.

Twilight was your college, and you graduated, in a way: You became Bella Swan at 17, and now you’re 21. Yeah—and that time has been sort of nuts for me. In film, I have chronicled every stage of my life since I was nine. And it’s more intense now, obviously, because I’m not in control of it anymore.

You’re not in charge of your life? No. Not really. Not if I want to think solely about what I really like to do. It’s a funny thing: You want so badly for people to see what you do—you’re proud of it—and I like the effect that movies have on people. But the atten-tion can also make me uncomfortable. In certain situations, people say to me, “C’mon, what’s wrong with you?” I apologize. I love what I’m doing, but I’m a little uncomfortable. \




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