Editorial

THE PUBLISHED INTERVIEW FOR VOYAGE L.A. MAGAZINE

My last semester at ELAC.  May 2019

My last semester at ELAC. May 2019

// update // In a sudden turn of events and as of October 2nd of 2019, this interview has been published. You can find the article: HERE

// foreword // Here it is folks, my interview for VoyageLA Magazine that was rejected for reasons unknown. Although I have a strong inclination as to why it was rejected, this isn’t a gossip blog, so I’ll save that conversation over Mezcal if you’d like to hear my rant on the state of nepotism in the art community. As of this writing, it’s been three weeks since I’ve submitted the interview, I’ve sent them three emails, two DM’s and I’ve yet to hear back from them. I feel like a bad date that keeps getting ignored while the other person hopes I go away after a few unread DMs. This isn’t the first time my work and writing have been rejected because of my conservative values, nor will it be the last. It matters little to me however, since I create work that I’m happy with and I’m well aware not everyone will appreciate what I do or say and that’s ok. What matters most is that you’re here now and I sincerely thank you for that. And quick disclaimer, I wrote the entirety of this interview over a bottle of Gracias A Dios Mezcal while listening to a massive playlist of synthwave. I strongly recommend you listen to this playlist while you read this interview, click here.

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// introduction // My name is David Cruz and I’m a wedding photographer. I’ve been in business for a little over five years, though I’ve been taking photos for at least fifteen years I’ve only started to focus more on my photography business as of this year. Because I owe my success to those around me, I reached out to my clients and friends on Instagram and asked them what they’d would have asked had they been interviewing me. The answers to their questions offer bite sized morsels as to how I started my business, some of the struggles I faced and ultimately how I got to where I am today. I tried to stay on topic as much as I could when answering these questions because I tend to go off the rails rather quickly during any conversation, especially when it comes to current events.

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Your main appeal to stand out from a saturated wedding photography market is to use 35mm film, I’m sure it’s an expensive business model, why not switch to digital?
dreamy look I love seeing in indie cinema. Aside from the magical quality of exposing an image on a negative and waiting for it to be developed into a tangible photograph, film has a magical way of rendering light. In the process of shooting film, I’m present with my clients and models at every moment without the conflict of looking at the back of a digital camera. There’s definitely a strong, personal craft behind being a film photographer. I’m no stranger to digital however, as I use it for certain clients and time sensitive jobs. My sole purpose is to photograph my clients in the best light possible so in the end it doesn’t matter which format or camera I use, but I love how people look on film so I won’t be giving it up anytime soon.

You don’t seem like a thrill seeker, but what has been the most thrill-seeking experience you’ve had?
A year ago my classmate (@johnnyshots) asked if I would help out with this editorial, something I do often do for classmates. He wanted me to hold his cameras while he photographed his model in a flying helicopter. The helicopter was the size of a small car with no doors on one side and to my great fortune, I got the side without the door. Boy was I scared to fly out of that thing, not to mention the heavy ass air flow that prevented me from moving around and seatbelts that felt as if they would snap at any second. Thankfully I didn’t fly out and managed to take a few good shots of both East L.A. and Echo Park while flying by them. Would I do it again? Heck yeah, but I’ll have high-end digital camera on hand next time because its no easy feat changing rolls and I don’t have a good zoom on my film cameras. Check Anthelion Helicopters here.

While on the subject of thrills, do you believe in the supernatural?
I’m Roman Catholic of course I believe in the supernatural. The bible is jammed packed with references of angels, demons, ghosts, aliens, resurrections, etc. I’ve had my fair share of strange and usual things I’ve seen over the years and I even believe a shadow person has been following me around since we lived on the house on 64th street back in South Central. I’m not the only one that believes the house had a supernatural presence, so did my family. In fact, one of my Aunties refused to set foot in that house for a few months after the lettuce she was cutting levitated and flew across the kitchen. My own experience with the house spans a few years, so I might dedicate a blog post for the subject sometime soon. There’s nothing more that I love than to listen to people’s accounts of the bizarre. I want to have a YouTube series of these stories, but I can barely get my Mezcal show off the ground let alone get two.

Your editorial work is known for a bright and airy look to it, where do you get the inspiration to create this look? 
When I took the advance photography class at ELAC a year ago my instructors were amazed how I would create beautiful editorials based off horror movies. Often with the body of work having nothing to do with my source of inspiration. Most photographers get inspiration from famous photographers or artists, not me, I don’t care much for famous artists and photogs. Ask me about a famous photographer and I would know as much about them as my Grandmother knows of Donald Trump. I mean it makes sense from technical standpoint why I get my inspiration from indie cinema, since most horror movies are made on a shoestring budget and I mostly work alone or with a small team in natural light. I study how these film makers create something out of nothing. I take the basic, bare bones approach of storytelling of this genre and mold it into my own editorials. When it comes to The Twilight Zone series in which I draw heavy inspiration from, I take mental notes on wardrobe and acting, as it helps me direct my own models when I guide them through a scene.

What first sparked your passion for photography?
The spark was lit after I read an article in Men’s Health stating that being a photographer was the sexiest job for men back in 2003. However, I’ve always been into cinema especially horror and I wanted to be a film maker as a kid, but since my parents didn’t have the means to throw me into an affluent school, I managed with what I was given and went with photography instead. I graduated from Washington Preparatory High School in 2005 a school located in the Athens sub division of South Central. LAUSD never gave the school enough resources to have its own media arts department focusing its limited resources towards the football team instead. Which was a shame since the school was filled with many talented artists. I was fortunate however to have my Mom pay for disposable cameras and the film processing at our local Sav-On. The photos consisted of my friends doing stupid teenager stuff. After picking up the prints I would cut (because I didn’t know how to do it on Photoshop Elements) and scan them to upload them to our very own Yahoo! GeoCities website. I’m talking way back in 2003 when having your own free website meant you can only have ten visitors per hour ‘cause it would crash. The web page itself had the aforementioned photos of my friends, along other photos of random folk around school. Each photo had a snarky and sometimes very offensive caption that eventually had me thrown into the dean’s office a handful of times, based off the complaints the students made. They could never pin it on me since my name was nowhere to be seen on the web page. Not to mention I was the only kid with a disposable camera in the whole school. The web page was the Perez Hilton page of Washington Prep two years before Perez Hilton. I only wish I had sold the idea to him. Oh well. I do have a book version though if you ever like to see. 

// additional rant // You know how it’s said that you should create your own table if they don’t let you sit at theirs? Well, that’s exactly what I did high school when I ran and won my Senior Class President campaign in hopes to sway the popular opinion of supporting the football team (which never won anything) and focus instead on our student artists. It didn’t work, since I was forced to give opening pro-football speeches at games and school assemblies. At least I went down trying. However, what sparked the business side of photography was the local punk and ska scene after a friend of mine ask if would photograph his ska band for a few months at local venues, specifically at The Allen Theater in South Gate. 2003-2004.

What were you goals in the beginning of your photography journey and what are your current goals now? 
After my short-lived career of being a local band photographer in 2004, I wanted to be a Quinceañera photographer because I was tired of seeing the same cheesy, outdated poses in the Quince photos my friends would show me. Not to mention the awkward poses the photographer had us in when I was a chambelan, I only hope those photos are lost forever. Unfortunately, I’ve since stepped away from this market when I switched to an hourly fee business model. On account that photographing Quinceañeras requires you to be there all day and no way in hell will a client pay me to be there all day.


I was a late bloomer when it came to alcohol as I had my first drink at age 25 at a house party. A year later I educated myself as much as I could on the topic of Mezcal, alongside other ancestral drinks, i.e. Tepache, Pulque, Tuba, Aguardiente etc. I have since self-proclaimed myself a Mezcal Connoisseur and have made it my life goal to teach others about this spirit. With the financial help from my clients and fan base I uploaded my first Mezcal show episode of // dix・ee・be // a mezcal show. You can find it on IGTV, YouTube and right next to this paragraph. My hopes with for this show are to get others exited for Mezcal and hopefully land a coveted brand ambassador gig from one of my favorite Mezcal labels back at home in Oaxaca. I do want to have my own label in the not so distant future as well. At the same time, I’ve been traveling with clients as of 2017. This service invites my clients to take me with them on their vacations. They get to enjoy their vacation while I take photos of them walking around, relaxing, exploring the sights of the location and even driving them around acting as a faux tour guide. It was a goal I gave myself three years ago and I’m happy its finally coming into fruition. 

Outside the Beverly Center right after getting fired from Ritz Camera.  October 2006

Outside the Beverly Center right after getting fired from Ritz Camera. October 2006

Has it been a smooth road? If not, what were some of the struggles along the way?
I’m Mexican of course it hasn’t been a smooth road. It’s in our nature as Mexicans to swim against the current. Let’s face it, being a working artist of any sort is more of a rich white kid thing seldom for Mexicans and even in Mexico these jobs are usually held by the wealthier class. I put the blame on my own culture however, as being a photographer is not a real job in the eyes of most Hispanic parents. Because Hispanic parents expect you to either one, go into the workforce right out of high school or two, go to school for a real career i.e. doctor, lawyer, teacher etc. Anything outside of that is not a real job and thus seldom affords the same level of support from parents as say for a child that takes the aforementioned career choices. Which leads to the whole, limited Hispanic representation in Hollywood. It stems at home, where Hispanic parents don’t support the children who want to go into the performing arts. The only ones to blame are ourselves. 

Which lends to the difficulty of being a photographer in the Mexican market. Because it’s seen as a hobby by most, people don’t initially pay what you ask for. I’ve done nothing but push to break through this mentality and although I still face clients like these, in recent years the younger Hispanic culture is coming around and is seeing the value of paying top dollar for a photographer that cares about aesthetics. A reason why I use 35mm film as a key selling point when I sit down with potential clients. To offer them something other photographers no longer offer. It’s been a very rough career choice, not the sexiness I was promised from that Men’s Health article those many years ago. 

Because my parents didn’t have means to have me attend Brooks Institute of Photography (no longer in business) after high school and because I couldn’t sign up for the Air Force on account of my flat feet and poor vision, I went straight into the workforce after graduation. Which was the best thing that could have happened to me. I got a job at Ritz Camera in the Beverly Center and hung around for a year until I got fired. During that year I learned a lot about being an adult. I took the bus at midnight just to get back home at times. I learned how to drive and bought my first car. I had my whole life ahead of me. It was my first job. It was the first time I genuinely fell in love…. with two people. I understood who I was meant to be and it breaks my heart realizing I haven’t felt that way since.

If I get around to making Semiotic Nights into a magazine, this will be the cover of the first issue.

If I get around to making Semiotic Nights into a magazine, this will be the cover of the first issue.

I noticed you know your way around Los Angeles like no other person, is it because you’re a photographer?
To be honest I know the city in and out because I’m poor and I’ve had to move around out of necessity. I was born in Oaxaca and grew up with practically nothing, not even a real restroom or a floor it was dirt, both of them. Because of it, I’ve been able to settle pretty much anywhere and work with very little. When we first moved to this country we settled in what is now Historic Filipino Town a few months before the Northridge Earthquake, followed by South Central for a few years up until I graduated from Washington Prep. We then moved to Palmdale and I moved out in 2006 to Downtown L.A. when it was affordable, followed by La Cañada Flintridge, Riverside and finally calling East L.A. home for the following years. Not to mention the countless neighborhoods I’ve worked in during my retail career. Because I’m a people person, I love moving to new places and getting to know the sub culture of each neighborhood in our ever-expanding city. I’m currently living in Palmdale again with plans on moving back to Oaxaca in the following years.  

When you’re not photographing clients, what do you love to photograph?
My absolute favorite genre of photography is night architectural photography. Naturally I take it a step further with my own work and photograph on 35mm Kodak T-Max and the now discontinued Fuji Across. I started this side project, Semiotic Nights in 2006 as a love letter to Downtown L.A. and have slowly added to the collection of images. I love this project because what you see is definitely not what you get back on film. There’s plenty of room for error photographing at night, as each exposure takes anywhere between fifteen seconds to two minutes. Not to mention the level of danger one faces if a random killer pops out of nowhere. But I would love to get paid to photograph at night. I’m considering selling prints from this project. I’ll wait to see if there’s interest after the publishing of this interview. Hopefully I can make limited edition magazines when I have a solid set of images. I seldom advertise Semiotic Nights as it’s something I create for myself, although some of these images were on exhibit at the Vincent Price Museum in the Fall of 2018. You can find my second Instagram account here: www.instagram.com/semioticnights

Lend me your kitchen and I’ll cook for you.

Lend me your kitchen and I’ll cook for you.

If you weren't a photographer, what would you have been instead?
It’s funny because it took my parents a long time to finally realize that being a photographer was my real job. Even though it hasn’t made me rich or famous and considering my Dad is fairly conservative, he’s still waiting for me to finish the Real Estate License program I dropped out from after one class right out of high school. Don’t get me wrong, they’ve both been very much supportive of my ‘muerto de hambre’ career choice and they’ve both come around as I’m now being paid to travel with my clients. My parents wanted me to have an easy life and I believe they’ve paved the way for it. My life for the most part has been very good thanks to them. But to answer your question I think I might of have gone into teaching or cooking. I’m a rather gifted cook of the traditional Oaxacan pre-Hispanic kitchen.

My friend Jeffrey.  October 2005

My friend Jeffrey. October 2005

What advice would you give your younger self about photography?
If I could, I would tell my seventeen-year-old self to sign up for business and photography classes at the local community college. Advice that was given to me by my friend Jeffrey whom I met on MySpace those many years ago, who then introduced me to my very good friend Andy (@andyhairart). Jeffrey not only wanted me to go to school but also open my eyes to have a brighter outlook in life, he’s the reason why I try everything at least once yes, even that. Because of my stubbornness I never took his advice to go to school back in 2005. That was until I lived in East L.A. and I had some free time on my hands in late 2015 and I finally signed up for those business and photography classes at East Los Angeles College. I now hold a degree in Business Management, Marketing, Accounting and Photography. I believe success comes from those around you and I think I would of have reached success a lot sooner had I not been for my stubbornness and listened to Jeffrey’s advice those many years ago when we were sitting at the registration office at LACC. Though he passed away four years ago, I’m sure he would have been proud of my achievements of eventually going back to school.

NOCHIXTLÁN, OAXACA | A PILGRIMAGE TO THE PAST

While my Grandmother, Mother and I were born in the Central Valley region of Oaxaca, our roots dig further back to the Mixtec region of Oaxaca as well its peoples. Like most children, I was never curious to know where my Great Grandparents were from or my family for that matter. As I’ve grown older however and accepted my own mortality, I’ve grown fond with the small towns of Oaxaca and the connections they have with my family and where we’re from, as well as my family history which I may not comprehensively be able document. Though we no longer have living relatives in San Pedro Tidaá, I was adamant on visiting the town during my visit in October of 2016 to gain further knowledge of where my family had its beginnings. After all its where my Great Grandparents were born, met, married and now their eternal resting place.

My Great Grandparents were minimalists at heart and of few words, born in the early 1900’s in the village of San Pedro Tidaá, a satellite that sits in the outskirts of Asunción Nochixtlán, about a two-hour drive north of the Oaxaca capital. Both spoke little Spanish on account of the Mixtec dialect being their native tongue, an ancient language that dates before the arrival of the Spanish Conquistadors to the New World. Atage fourteen he asked her parents for her hand in marriage, she was twelve. In the early 1920’s, they married on August 6thduring a patron saints day festival of the town. During their mid-twenties, the construction of a main highway connecting the capital of Oaxaca to Mexico City brought him to Oaxaca as a laborer. After the highway was complete, they picked up what little belongings they had along with their three children and moved to Oaxaca, they later had four additional children. During the Mexican Revolution, the Presidential Building (record building) of San Pedro Tidaá was burned down forcing them to pick up new birth certificates while in Oaxaca, unfortunately they sort of made a date of birth up and because of this, we never really knew how old they were upon their death.

I never got a chance properly get to know my Great Grandparents, an unfortunate side effect of living in a different country. After fifteen years however, I finally got to see them for the first time in the summer of 2007. It was here my Great Grandfather told tales of finding ancient artifacts in the ground during the yearly monsoon season. Showed me a boulder he found at the hill near the ancient city of Monte Alban, which produces a sound like that of a ringing bell when hit with a piece of the same boulder, I concluded it was a meteorite. Advised me to save and bury my money, which I have not done yet, but then again, he did live through the Mexican Revolution where it was common to bury your possessions. During my daily visits to their house, my Great Grandfather made sure I had a cup of coffee at the ready when I walked into the house, I picked up the morning coffee habit thereafter. My Great Grandmother on the other hand didn’t talk much on matters but did mention how Oaxaca has never changed since she moved there, which is why she never left house at her age and prayed for it not change after she’s gone. A little less than a year after this visit my Great Grandfather passed away in 2008 at what we believe was at age one hundred and three.

I took a day trip with my Mom, Grandmother and Great Aunt to San Pedro Tidaá during my visit in October of 2016, we left Oaxaca in the morning and arrived in Asunción Nochixtlán around mid-day. I treated myself to some consommé and a pound of barbacoa at the local Mercado and shopped around for the elusive Aguardiente, while my Great Aunt picked up a few things to cook once we got to her property in San Pedro Tidaá. There’s no reliable public transit from Nochixtlán to Tidaá, however, with her ever-impressive negotiation skills my Grandmother tric…. convinced, a local taxi driver to take us out there and pick us up in the afternoon. Mind you, it’s close to an hour each way. Upon arriving we first stopped at the cemetery were my Great Grandfather is buried to pay our respects and decorate the grave site with marigold flowers (Flor de Muerto). My Great Aunt placed marigolds on the grave sites of our distant relatives as well, though I couldn’t tell, as Mother Nature had wiped the names off the grave stones. What took me by surprised was the way people are buried here. Men are buried on the north side of the cemetery, while the women are buried on the south. I asked why but got the usual “that’s just how things are done around here” answer. We didn’t spend much time in the village as there isn’t much to see or do outside of a patron saints day festival. I was on the phone with my Grandmother for a couple hours asking her questions for this blog post, it turned out the church where my Great Grandparents were married is still standing, which I will pay my visit sometime next year. My Great Grandfather was the bell ringer for this church in his youth, and the very bells he’d ring collapsed during an earthquake, but I was told these bells currently sit at the foot of the church. 

My Great Grandmother, the Matriarch of my family passed away in the landing months of 2017 at the age of a hundred, this was after my last visit to Oaxaca that year. With her went the ancient language of the Mixtec peoples as she was the last native speaker in our family. My Grandmother understands the language though not to the full extent as her eldest siblings who picked up the language sufficiently enough to speak it. However, I believe my Great Grandmother’s legacy will live on forever through her food, as she taught my Grandmother how to cook, who in turn taught my Mom, who then taught me the pre-Hispanic dishes of the family at an early age. I have done my best to carry on her legacy with my versions of these dishes when I cook for my friends. As I believe the best way to continue, appreciate and showcase my family’s culture and heritage, is through the food that has been passed down to me by the women of my family. 

My Great Grandparents lived through every major event of the 20th century, and were both superstitious and believed cameras to be soul thieves, so they didn’t appreciate their photo taken while I was around them during the summer of 2007, even if I asked kindly for a portrait. To my surprise on my last visit to their house while I was walking out after my goodbyes to them, my Great Grandfather stopped me in my tracks and asked to have his photo taken together with my Great Grandmother. He picked up his best dress shirt and hat, and she picked up her best shall, and both stood elegantly for the camera as if they somehow knew, this would be the last time I would see them both together.

HOME IN NOWHERE | Pt. II

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You have gone through heavy facelifts since I’ve met you those many years ago when I left my home in 1993. I remember spending my weekends on Broadway blvd. with my parents walking up and down the street stopping at each swap meet you once had, where I discovered my short-lived fascination for magic tricks from a magic shop that has now been replaced by an organic, farm-to-table something. One day those many years ago, my Dad bought a stereo off a guy on the street and when we got home to open the box, were met with a cinder block instead of the high-end stereo he purchased. On my seventh birthday my Mom took me to the Chuck E. Cheese knock-off you had on 3rdSt., it’s now a cell phone store and it breaks my heart every time I see it now.

I protested the changes you started going through in 2005 and against my best judgment, I moved in a beautiful building with my then ex-wife in 2007, though your parking sucked ass. I had my car broken into twice while parked on your streets, even got my car towed once and was billed $90 per hour for it.

I celebrated my 21st birthday with you and married my then girlfriend with you by my side. In recent years I’ve managed businesses along your dingy streets, waited for the bus late into the night, watched people eat fancy dinners while I walked hungry in the rain, got a $350 jaywalking ticket, walked through streets filled with urine and poop and sadly, grew a sour, loathing taste for you. But now that I live around you, I’m beginning to see why I fell in love with you those many years ago when I moved from Oaxaca and called you my new home. Unfortunately, I can longer afford what you ask for rent, but I much rather see you from a distance where I live now; and I have to say you’re looking as beautiful as ever. I never thought I could miss anything as dearly as much as you, but I believe I’m going miss you when I move back to Mexico in a few years, though I’ll never forget what you provided for me while I lived with you.

Downtown L.A., how I wish you were a real person even for a single second, just to tell you how much, I love you. 

ARTISTS, BE KIND TO OTHERS

I find it comical that the very people who paint themselves as inclusive and a supporter of (insert your cause here) tend to be the biggest jerks out there. They virtual signal you, bash your work, then turn around and hold prestigious gallery openings in the ritzier parts of town spatting they’re with you and your struggles as an (insert “oppressed” group here). Heartbreaking when I hear the very people talk down on photographers who are just starting out or aren’t in the same pedestal they believe to be sitting on. Perhaps it’s because academia tells them that those who don’t have the same education as they do, don’t fit the mold and are therefore inferior artists. While your own photos could be considered bad to these people, bear in mind photography as an art form is a subjective one. As artists we mustn't discourage others who have yet to find their why, their voice, the message and story they want to tell through their art.

At any level in our career, I believe we have a moral obligation to reach out and help our fellow photographers and not see them as the competition. Considering academia perpetuates the snobby attitude attributed with the fine arts, we must support each other however small the gesture. Photography has a multitude of genres some of which I don’t fully understand however, we can agree when we see beautiful work created by beautiful people. We have the freedom to express our opinions through our art, through our photography, even form opinions as to why we don’t like certain art forms. I believe if you form an unpopular opinion, say it out loud, but don’t be quick to judge if you don’t immediately understand what you’re seeing. Always state why.

Then there are the gear snobs. I believe it doesn't matter which medium you choose to take photos with; be it film, digital, SLR or mirrorless because labels are for cameras, not people. Let us appreciate photography for what it is, a way for us to connect with strangers, to build bonds with our friends, to have people fall in love with themselves in our photos, to capture moments that slip through our very hands. If you’re a new photographer, use the camera you’re comfortable with. Don’t listen to people who act like children and talk down on your gear. If they don't like it, have them buy you a new camera, simple as that. No one obsesses over the tools people use to make our food, so why do we obsess over the tools photographers use? Your camera should be and is an extension of you. Your camera is simply a precision tool. I’ve learned over the years that simplicity is key, the less is more approach. A one lens, one camera, one film stock combination is all you need to be a master of your craft. Someone once said, “to be a master do the same thing a thousand times, not a thousand things one time.” Learn to hone the tools you have on hand; you’ll be surprised that as you grow as an artist so will your tools.

No, you will not be an overnight success, but don’t let that stop you when they tell you no. Keep pushing because you don’t know what’s around the corner. Stick to your guns and make a correction when it feels right to do so. Yes, this is an industry that requires a ton of hard work with very little pay off for a long time, you’ll even see others reach overnight success the second they step in. So do your best to guard your heart against jealousy and find a way to find joy in peoples success while you continue to push yourself forward. If you learn to keep it simple, support local businesses that help your work shine, as well as other artists and vendors within your respective community and continue to purchase American made products like Kodak film and Tap & Dye leather wrist straps, together we will keep our love for film alive for years to come. 

LOS ANGELES MAGAZINE | AN ODE

Downtown Los Angeles has gone through profound changes over the last thirteen years, and depending on your politics and socioeconomic status, you might see this as a good or bad shift towards the future ahead. The crusade to clean up Downtown L.A. in order to compete with the likes of New York City, began around 2005 by former mayor Antonio Villaraigosa, dubbed The Rejuvenation Project of Downtown Los Angeles. I personally don’t agree with some of these changes, on account the storefronts I grew up with in the early to late 90’s, have been wiped into nothing. But it’s not the town itself or the aesthetic I disagree with. Yes I’m pro-business however, I reluctantly disagree with the new wave of businesses that displace longtime residents and business owners of years past. These new businesses have alienated those of us who’ve grown up here, those of us who have romanticize the idea of Downtown L.A., and those of us who once lived here.

To my knowledge, no publication pushes this alienation far more than Los Angeles Magazine. To quote the headline in the article, The New New Downtown, as seen in the 2017 July issue, “The revival of our once idle city kicked off about a decade ago and it’s only picking up pace.” If I’m to understand correctly, the writer Marielle Wakim (deputy editor), and in turn Los Angeles Magazine, are essentially saying Downtown L.A. did not exist until after 2007. Nor did my weekends spent with family walking up and down Broadway Blvd., browsing through its once crowed swap meets, in the aforementioned 90’s. The businesses that existed then are also irrelevant to the writer because she’s a transplant from Ohio and thinks that if an area isn’t on Instagram or is Hipster friendly, or on a travel blog, it plain out doesn’t exist. Mind you, I’m not against gentrification wholeheartedly, but it begs the question on whether or not the writers of Los Angeles Magazine care about our local culture. I question when the said writers publish articles stating they alone have discovered Los Angeles and its diverse neighborhoods. and adjacent areas, worse yet, even take a pretentious attitude towards it. While I’m not a native Angelino, a term I hate using by the way, however I’ve been here practically my whole life, and I’ve seen many changes since 1994, so I’m not going to sit here tell you I know everything there is to know about this town. 

Further proof Los Angeles Magazine doesn’t care about immigrants, small businesses and most importantly local culture, I’ll turn your attention to the 2017 November issue with the article, All Hail the Pastry King. The writer, Joel Stein, a self-proclaimed Angelino, admits to stalking and kissing ass to pastry Chef, Dominique Ansel, French immigrant and inventor of the coveted Cronut, in hopes of getting ‘special treatment,’ once his new bakery opened its doors in the winter of 2017 at The Grove. The writer is then appalled to learn Ansel doesn’t care who you are once you’re in his bakery, with a firm, no-cutting rule, as to provide equal hospitality to all guests. The writer closes off by saying, “no matter how good his food is, he’s never going to make it in this town.” To be clear, Joel Stein isn’t a true Angelino, he’s in fact a New Jersey native. Los Angeles Magazine, if you’re reading this, don’t hire transplants who claim to be L.A. natives, who then virtue signal us as to who’s going to make it in this town, and who’s not. I’m tired of you bastards claiming you know everything and everyone is this town and the constant stomping of those of us, who hustle in our local, respective communities on the daily. Then turn around and slander those who don’t fit your mold, to further promote your unwanted gentrifying agenda.

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I’m sure I can dig up further examples, however, I have since cancelled my subscription as of last year, on account the writers Los Angeles Magazine employ, seem to have limited views and experiences that don’t reflect those of us who have been here our entire lives. However, and you can quote me on this, I greatly appreciate the handful of new businesses that keep the old buildings they move into and take the daunting task of restoring them to their former glory. Downtown L.A. has stunning architecture from different eras scattered throughout. From 1994, to around 2006, Clifton’s Cafeteria was our go to place for a hearty, American comfort meal. It was the first restaurant I remember walking into upon arriving in this country at age five. A quick ride on the Metro Red Line from our apartment, as at that time, in the early 90’s, the Metro Red Line only went as far as MacArthur Park and Union Station. My family and I would eat here at least once a week, my parents would get me the tilapia filet with a side of rice and I’d get to pick my own gelatin for dessert, admiring how fast the cashier ladies would punch in the numbers on the cash registers. After a while, I started asking for the slice of ham with scalloped potatoes and a few slices of Texas Toast on the side, providing a much heartier satisfaction. As the years went by, Clifton’s laid forgotten through the ‘revitalization’ of Downtown that began in 2005. Then one day, it closed. Years later it reopened, with much anticipation on my part. Sadly however, it wasn’t the Clifton's I remembered. Though the new owners pianistically restored it to its former glory of the 1930’s, the food flat out sucked.

As did the new owners of Clifton’s, so have the owners of the Ace Hotel Building, formerly known as the Texaco Building; otherwise known as the Jesus Saves Building by locals. As a photographer, it makes my heart jump for joy when I see gorgeous, Art Deco architecture fully restored and beautifully presented. I appreciate how accessible Downtown has become over the years. I would say it’s mostly due to the MTA (public transit of L.A.) implementation of the light rail Metro Gold Line from Pasadena to Downtown as of 2003, and later with the 2009 East L.A. extension. I was living in Palmdale when the extension towards East L.A. was completed, irrelevant to me at the time. Who would of thought that a few years later, the Gold Line would become my main source of transportation when calling East L.A. my new home. I’m not completely against the changes Downtown L.A. is going through. I’m simply asking writers with a voice in a mainstream platform as well as new business owners of Downtown L.A., to promote the new while embracing the past. What do you miss of Downtown L.A. and if you were running things, what would you change, bring back or keep, do you agree or disagree with the changes?

THE ART OF STYLE | EVERYDAY LIFE

Art in everyday life, has a particular significance. It implies the belief that art may be so much a part of our daily life, that It’ll helps us to do the simple, homely things of life as well as the more unusual aspects, in a more beautiful and graceful way. As we surround ourselves with beauty, art becomes a part of our life and personality, not to be set apart for the occasional enjoyment however. Both beauty and art must be sought after and enjoyed in everything we do and in everything we select. As consumers, every time we make a purchase, however humble it may be, we’re consciously or unconsciously using our power to choose. Since art is involved in most of the objects seen and used in our everyday lives, one of the great needs of the consumer is knowledge of the principles of the fundamentals of good taste. Good taste, in the field of art, is the application of the principles of design to the problems in life where appearance as well as utility, is a consideration. With the development of our appreciation of these principles, the meaning of the term “principles of design” broadens and deepens. These principles should never be static. They should be regarded as flexible guides to be used in producing a desired result. It has been said that good taste is doing the right thing, unconsciously, at the right time and, in the right way. In the book Joseph Vance, Dr. Thorpe says, “I keep hoping for the development, in Joey, of the faculty of Good Taste…. It’s a quality of the inner soul, that gives a bias to the intellect.” Few people are born with this rare gift, but, fortunately for us, good taste in art can be acquired by applying the principles of beauty deliberately until the time is reached when the right thing is done, unconsciously.

- Art in Everyday Life, 1925