Fashion Institute of Design & Merchandising
The Fashion Institute of Design & Merchandising is a for-profit college in California. It offers courses in fashion, beauty, interior design, graphic design; the college was founded in 1969 by Tonian Hohberg, its president and CEO. The college offers 26 Associate of Arts degree programs; the college has been accredited by the Western Association of Schools and Colleges Senior College and University Commission since 2007. It is an accredited institutional member of the National Association of Schools of Art and Design; the college has four campuses: Los Angeles, San Francisco, San Diego, Orange County. The campuses feature the modern architecture of Clive Wilkinson. FIDM's main campus, Los Angeles, features innovative study spaces, a stunning Design Studio, the world-class FIDM Museum & Galleries; the San Francisco campus is located in Union Square. The San Diego campus occupies about 30,000 square feet on the third floor of a high-rise office building; the award-winning Orange County campus is a dynamic visual experience with ultra-modern lofts, an indoor/outdoor student lounge, eye-popping colors, a sensational, one-of-a-kind audio visual igloo.
FIDM served as the location of Lifetime's Project Runway season six, Project Runway: Under the Gunn, Project Runway: Threads, Project Runway: Junior. Several FIDM alumni, including Santino Rice, Daniel Franco, Guadalupe Vidal, Kelli Martin, Leann Marshall, were contestants on the original Project Runway show. FIDM was featured in the MTV show The Hills, which shows the life of upcoming fashion designer, Lauren Conrad, who comes from Laguna Beach and wants to become famous for her designs; the Fashion Institute of Design & Merchandising Museum, located at the Los Angeles Campus, is home to a large collection of fashion and costume pieces from the 1800s to today. The museum features permanent and temporary exhibits, including costumes and designs from early 20th-century Hollywood and current televisions shows and films. Lubov Azria, fashion designer Katie Bender, filmmaker Gessica Brooke and accessories designer Amanda Bynes, fashion designer, actress Lauren Conrad and fashion designer Cris Crotz, Miss Nevada 2010 Candice Cuoco, fashion designer, Project Runway 14 finalist Kyra Davis, novelist Jill Dodd, fashion designer, Roxy brand founder Lil Debbie, rapper and fashion designer Surily Goel, fashion designer, costume designer Mario Hollands, pitcher for the Philadelphia Phillies Sassa Jimenez, fashion designer, Philippines Karen Kane, fashion designer Lisa Kristine, fine art photographer Michael Kuluva, fashion designer, professional figure skater, owner of Tumbler and Tipsy Monique Lhuillier, fashion designer Masiela Lusha, Albanian-American actress and humanitarian Leanne Marshall, fashion designer, Project Runway 5 winner Ashima Sharma, fashion Designer & Internationally ranked Artist Jeane Napoles, daughter of Janet Lim-Napoles, believed to have masterminded the PDAF scam Santino Rice, fashion designer, Project Runway 2 finalist Yotam Solomon, fashion designer Marlene Stewart, costume designer Nikita Dragun, Beauty YouTuber Kevin Reagan, Grammy Award-winning graphic designer and author of Alex Steinweiss: The Inventor of the Modern Album Cover Bradford Shellhammer and designer, founding editor of Queerty Nick Verreos, fashion designer alumnus Official website FIDM Museum and galleries
Los Angeles Times
The Los Angeles Times is a daily newspaper, published in Los Angeles, since 1881. It has the fourth-largest circulation among United States newspapers, is the largest U. S. newspaper not headquartered on the East Coast. The paper is known for its coverage of issues salient to the U. S. West Coast, such as immigration trends and natural disasters, it has won more than 40 Pulitzer Prizes for its coverage of other issues. As of June 18, 2018, ownership of the paper is controlled by Patrick Soon-Shiong, the executive editor is Norman Pearlstine. In the nineteenth century, the paper was known for its civic boosterism and opposition to unions, the latter of which led to the bombing of its headquarters in 1910; the paper's profile grew in the 1960s under publisher Otis Chandler, who adopted a more national focus. In recent decades, the paper's readership has declined and it has been beset by a series of ownership changes, staff reductions, other controversies. In January 2018, the paper's staff voted to unionize, in July 2018 the paper moved out of its historic downtown headquarters to a facility near Los Angeles International Airport.
The Times was first published on December 4, 1881, as the Los Angeles Daily Times under the direction of Nathan Cole Jr. and Thomas Gardiner. It was first printed at the Mirror printing plant, owned by Jesse Yarnell and T. J. Caystile. Unable to pay the printing bill and Gardiner turned the paper over to the Mirror Company. In the meantime, S. J. Mathes had joined the firm, it was at his insistence that the Times continued publication. In July 1882, Harrison Gray Otis moved from Santa Barbara to become the paper's editor. Otis made the Times a financial success. Historian Kevin Starr wrote that Otis was a businessman "capable of manipulating the entire apparatus of politics and public opinion for his own enrichment". Otis's editorial policy was based on civic boosterism, extolling the virtues of Los Angeles and promoting its growth. Toward those ends, the paper supported efforts to expand the city's water supply by acquiring the rights to the water supply of the distant Owens Valley; the efforts of the Times to fight local unions led to the October 1, 1910 bombing of its headquarters, killing twenty-one people.
Two union leaders and Joseph McNamara, were charged. The American Federation of Labor hired noted trial attorney Clarence Darrow to represent the brothers, who pleaded guilty. Otis fastened a bronze eagle on top of a high frieze of the new Times headquarters building designed by Gordon Kaufmann, proclaiming anew the credo written by his wife, Eliza: "Stand Fast, Stand Firm, Stand Sure, Stand True." Upon Otis's death in 1917, his son-in-law, Harry Chandler, took control as publisher of the Times. Harry Chandler was succeeded in 1944 by his son, Norman Chandler, who ran the paper during the rapid growth of post-war Los Angeles. Norman's wife, Dorothy Buffum Chandler, became active in civic affairs and led the effort to build the Los Angeles Music Center, whose main concert hall was named the Dorothy Chandler Pavilion in her honor. Family members are buried at the Hollywood Forever Cemetery near Paramount Studios; the site includes a memorial to the Times Building bombing victims. The fourth generation of family publishers, Otis Chandler, held that position from 1960 to 1980.
Otis Chandler sought legitimacy and recognition for his family's paper forgotten in the power centers of the Northeastern United States due to its geographic and cultural distance. He sought to remake the paper in the model of the nation's most respected newspapers, notably The New York Times and The Washington Post. Believing that the newsroom was "the heartbeat of the business", Otis Chandler increased the size and pay of the reporting staff and expanded its national and international reporting. In 1962, the paper joined with The Washington Post to form the Los Angeles Times–Washington Post News Service to syndicate articles from both papers for other news organizations, he toned down the unyielding conservatism that had characterized the paper over the years, adopting a much more centrist editorial stance. During the 1960s, the paper won four Pulitzer Prizes, more than its previous nine decades combined. Writing in 2013 about the pattern of newspaper ownership by founding families, Times reporter Michael Hiltzik said that: The first generations bought or founded their local paper for profits and social and political influence.
Their children enjoyed both profits and influence, but as the families grew larger, the generations found that only one or two branches got the power, everyone else got a share of the money. The coupon-clipping branches realized that they could make more money investing in something other than newspapers. Under their pressure the companies split apart, or disappeared. That's the pattern followed over more than a century by the Los Angeles Times under the Chandler family; the paper's early history and subsequent transformation was chronicled in an unauthorized history Thinking Big, was one of four organizations profiled by David Halberstam in The Powers That Be. It has been the whole or partial subject of nearly thirty dissertations in communications or social science in the past four decades; the Los Angeles Times began a decline with Los Angeles itself with the decline in military production at the end of the Cold War. It faced hiring freezes in 1991-1992. Another major decision at the same time was to cut the range of circulation.
They cut circulation in California's Central Valley, Nevada and the San Diego ed
Museum of Contemporary Art, Los Angeles
The Museum of Contemporary Art, Los Angeles is a contemporary art museum with three locations in greater Los Angeles, California. The main branch is located on Grand Avenue in Downtown Los Angeles, near the Walt Disney Concert Hall. MOCA's original space intended as a "temporary" exhibit space while the main facility was built, is now known as the Geffen Contemporary, in the Little Tokyo district of downtown Los Angeles; the Pacific Design Center facility is in West Hollywood. The museum's exhibits consist of American and European contemporary art created after 1940. Since the museum's inception, MOCA's programming has been defined by its multi-disciplinary approach to contemporary art. In a 1979 political fund raising event at the Beverly Hills Hotel, Los Angeles Mayor Tom Bradley, Councilman Joel Wachs, local philanthropist Marcia Simon Weisman happened to be seated at the same table. Throughout the evening, Weisman passionately discussed the city's need for a contemporary art museum. Weisman's brother, Norton Simon, had stepped in to bail out the financially ailing Pasadena Art Museum in 1975, but was unable to retain its focus on modern art.
In the following weeks, the Mayor's Museum Advisory Committee was organized. The committee, led by William A. Norris, set about creating a museum from scratch, including locating funds, directors, curators, a gallery, most an art collection; that same year and five other key local collectors signed an agreement whereby they would pledge chunks of their private collections, worth up to $6 million, "to create a museum of standing and repute."The following year, the fledgling Museum of Contemporary Art was operating out of an office on Boyd Street. The city's most prominent philanthropists and collectors had been assembled into a Board of Trustees in 1980, set a goal of raising $10 million in their first year. A working staff was brought together. Following Weisman's initiative, $1-million contributions from Eli Broad, Max Palevsky, Atlantic Richfield Co. helped securing the construction of the new museum. Many of MOCA's initial donors were young and supporting the arts for the first time. Making up well over 90% of the museum's works, gifts from several major private collectors form the cornerstones of MOCA's permanent collection of nearly 6,000 works.
Much of it has come from board members who donated or bequeathed key works or entire collections, or sold art to the museum at favorable terms. Within months of its fall 1983 opening, MOCA was able to turn itself into an instant player in the international art world by striking a deal with one of its board members, Giuseppe Panza, who agreed to sell a group of works for $11 million and stagger the payments over five years, interest-free; the 1984 purchase of parts of the Panza Collection encompasses 80 seminal works of abstract expressionism and pop art by Jean Fautrier, Franz Kline, Roy Lichtenstein, Claes Oldenburg, Robert Rauschenberg, Mark Rothko, Antoni Tàpies. In 1985, the museum accepted Michael Heizer's earthwork Double Negative in Nevada desert, donated by Virginia Dwan. A 1986 bequest by television executive Barry Lowen included 67 works of minimalist, post-minimalist and neo-expressionist painting, sculpture and drawing by artists such as Dan Flavin, Ellsworth Kelly, Agnes Martin, Elizabeth Murray, Julian Schnabel, Joel Shapiro, Frank Stella, Cy Twombly.
In 1989, pieces by the Rita and Taft Schreiber collection were donated to the museum, encompassing 18 paintings and drawings by Jackson Pollock, Piet Mondrian, Arshile Gorky, among others. Hollywood agent Phil Gersh and his wife Beatrice, both founding members, gave 13 important pieces from their collection to the museum the same year, including Pollock's early drip painting Number 3, 1948 and David Smith's 8-foot-tall stainless steel sculpture Cubi III — as well as works by artists such as Ed Ruscha, Cindy Sherman, Susan Rothenberg; the museum's co-founder Marcia Simon Weisman bequeathed 83 works on paper from artists including Willem de Kooning, Barnett Newman, Jasper Johns and California-based painters Richard Diebenkorn and Sam Francis. In 1991, Hollywood screenwriter Scott Spiegel donated works by Jean-Michel Basquiat, Mark Innerst, Robert Longo, Susan Rothenberg, David Salle, among others. In 2003, the museum received the promise of a gift of 33 pieces from advertising executive Clifford Einstein, chair of MOCA's board of trustees, his wife, Madeline.
In 2004 the museum received the largest group of artworks donated by a private collector in the its 25-year history when E. Blake Byrne, a MOCA trustee and retired television executive, gave 123 paintings, drawings and photographs by 78 artists. Over the years, major donations of art collections have come from the Lannan Foundation and through funding from the Ralph M. Parsons Foundation. In 2000, MOCA received gifts from artists themselves, including major pieces by sculptor and performance artist Paul McCarthy, video artist Doug Aitken and photographer Andreas Gursky. Los Angeles-based artist Ed Moses made a major gift of his work to the museum in 1995, surveying nearly 40 years of his artistic development. Included within today's permanent collection are works by further influential artists such as Greg Colson, Kim Dingle, Sam Dur
3rd Street, Los Angeles
3rd Street in Los Angeles is a major east–west thoroughfare. The west end is in downtown Beverly Hills by Santa Monica Boulevard, the east is at Alameda Street in downtown Los Angeles, where it shares a one-way couplet with 4th Street. East of Alameda it becomes 4th Street, where it heads to East Los Angeles, where it turns back into 3rd Street upon crossing Indiana Street. 3rd Street becomes Pomona Boulevard in Monterey Park, where it turns into Potrero Grande Drive and turns into Rush Street in Rosemead and ends in El Monte.3rd Street passes along the south side of The Grove and "The Original" Farmers Market at Fairfax Avenue, near the headquarters of The Writers Guild of America, West. There are many other restaurants and antique stores on this specific strip of 3rd Street, less upscale and more relaxed than nearby Robertson Boulevard and Melrose Avenue.3rd Street is parallel to two other major thoroughfares, Wilshire Boulevard to the south and Beverly Boulevard to the north. It is four lanes wide east of Doheny Drive, it passes through the same communities as Wilshire Boulevard.
From east to west: Bradbury Building Million Dollar Theater St. Vincent Medical Center Marlborough School Yeshiva Aharon Yaakov-Ohr Eliyahu Park La Brea Farmers Market and The Grove Writers Guild of America, West Joan's on Third Beverly Center Cedars-Sinai Medical Center Little Bangladesh Los Angeles Board of Education Headquarters Evelyn Thurman Gratts Elementary School, 3rd Street and Lucas Avenue Miguel Contreras Learning Complex, 3rd Street and Lucas Avenue Metro Local bus lines 16, 17 and 316 serve west 3rd Street. Montebello Transit line 40 serves east 3rd Street; the Metro Gold Line runs on 3rd Street between Atlantic Boulevard. Collapse of 3rd Street Tunnel construction in 1900 West Third Street Business Association
Walt Disney Concert Hall
The Walt Disney Concert Hall at 111 South Grand Avenue in downtown Los Angeles, California, is the fourth hall of the Los Angeles Music Center and was designed by Frank Gehry. It opened on October 24, 2003. Bounded by Hope Street, Grand Avenue, 1st and 2nd Streets, it seats 2,265 people and serves, among other purposes, as the home of the Los Angeles Philharmonic orchestra and the Los Angeles Master Chorale; the hall is a compromise between an arena seating configuration, like the Berliner Philharmonie by Hans Scharoun, a classical shoebox design like the Vienna Musikverein or the Boston Symphony Hall. Lillian Disney made an initial gift of $50 million in 1987 to build a performance venue as a gift to the people of Los Angeles and a tribute to Walt Disney's devotion to the arts and to the city; the Frank Gehry–designed building opened on October 24, 2003. Both Gehry's architecture and the acoustics of the concert hall, designed by Minoru Nagata, the final completion supervised by Nagata's assistant and protege Yasuhisa Toyota, have been praised, in contrast to its predecessor, the Dorothy Chandler Pavilion.
The project was initiated in 1987, when widow of Walt Disney, donated $50 million. Frank Gehry delivered completed designs in 1991. Construction of the underground parking garage began in 1992 and was completed in 1996; the garage cost had been $110 million, was paid for by Los Angeles County, which sold bonds to provide the garage under the site of the planned hall. Construction of the concert hall itself stalled from 1994 to 1996 due to lack of fundraising. Additional funds were required since the construction cost of the final project far exceeded the original budget. Plans were revised, in a cost-saving move the designed stone exterior was replaced with a less costly stainless steel skin; the needed fundraising restarted in earnest in 1996, headed by Eli Broad and then-mayor Richard Riordan. Groundbreaking for the hall was held in December 1999. Delay in the project completion caused many financial problems for the county of LA; the County expected to repay the garage debts by revenue coming from the Disney Hall parking users.
Upon completion in 2003, the project cost an estimated $274 million. The remainder of the total cost was paid by private donations, of which the Disney family's contribution was estimated to $84.5 million with another $25 million from The Walt Disney Company. By comparison, the three existing halls of the Music Center cost $35 million in the 1960s; as construction finished in the spring of 2003, the Philharmonic postponed its grand opening until the fall and used the summer to let the orchestra and Master Chorale adjust to the new hall. Performers and critics agreed that it was well worth this extra time taken by the time the hall opened to the public. During the summer rehearsals a few hundred VIPs were invited to sit in including donors, board members and journalists. Writing about these rehearsals, Los Angeles Times music critic Mark Swed wrote the following account: When the orchestra got its next in Disney, it was to rehearse Ravel's lusciously orchestrated ballet and Chloé.... This time, the hall miraculously came to life.
Earlier, the orchestra's sound, wonderful as it was, had felt confined to the stage. Now a new sonic dimension had been added, every square inch of air in Disney vibrated merrily. Toyota says that he had never experienced such an acoustical difference between a first and second rehearsal in any of the halls he designed in his native Japan. Salonen could hardly believe his ears. To his amazement, he discovered that there were wrong notes in the printed parts of the Ravel that sit on the players' stands; the orchestra has owned these scores for decades, but in the Chandler no conductor had heard the inner details well enough to notice the errors. The hall met with laudatory approval including its performers. In an interview with PBS, Esa-Pekka Salonen, Music Director of the Los Angeles Philharmonic, said, "The sound, of course, was my greatest concern, but now I am happy, so is the orchestra," and said, "Everyone can now hear what the L. A. Phil is supposed to sound like." This remains one of the most successful grand openings of a concert hall in American history.
The walls and ceiling of the hall are finished with Douglas-fir while the floor is finished with oak. Columbia Showcase & Cabinet Co. Inc. based in Sun Valley, CA, produced all of the ceiling panels, wall panels and architectural woodwork for the main auditorium and lobbies. The Hall's reverberation time is 2.2 seconds unoccupied and 2.0 seconds occupied. Los Angeles County Metropolitan Transportation Authority has an agreement with the Los Angeles Music Center to use the most advanced noise-suppression measures for construction of the Regional Connector Transit Corridor subway under 2nd Street where it passes the hall and the Colburn School of Music. Metro will use procedures to ensure that the rumble of trains does not intrude on the sound quality of recordings made in the venues or mar audiences' musical experience within this sensitive stretch of the tunnel. Metro will build an elevated walkway from the station to the concert hall. After the construction, modifications were made to the Founders Room exterior.
The reflective qualities of the surface were amplified by the concave sections of the Founders Room walls. Some residents of the neighboring condominiums suffered glare caused by sunlight, reflected off these surfaces and concentrated