La Gazelle - Page 106

évasion fly away ّ ‫لنتحـلق‬ voyage dans le temps I journey through time I ‫رحلـة عبـر الزمـن‬ 1 2 anymore. Second, the hipster is convinced that his thoughts are worth more that anything else in the world. Third and because of the latter, he thinks it is perfectly reasonable to pay 8$ for a coffee at Intelligentsa ! » A marginal population, but not too much, that rejects all mass market products – except the Apple ones, obviously ! – and prefers exclusive objects. Even if they are a minority, hipsters have a real influence on the current angelenos culture and the renewal of Downtown. Downtown’s renewal 1. Le restaurant Axe est une cantine d’un nouveau genre qui prône le retour aux sources. I The Axe restaurant is a new kind of canteen that stands for a return to the roots. I ‫مطعم "آكس"، نوع جديد‬ ‫من املطاعم، يقدم الوجبات‬ I .‫التقليدية‬ 2. Cabane de sauvetage en mer à Venice Beach. I Lifeguard cabin in Venice Beach. I ‫البيوت التي تأوي رجال ونساء‬ I .‫اإلنقاذ البحري يف فينيس بيتش‬ La Gazelle 59 I 108 A bohemian and antiestablishment spirit Because Los Angeles never forgot its bohemian heart. To realize that, one only has to walk the streets of Silver Lake, original neighbourhood of Hollywood studios where a part of the arty youth lives nowadays. Silver Lake is an unclassifiable place that brings to mind Brooklyn in the 90s. Even if the residential quarters are protected from traffic and do not lack charm, at first it can be difficult to understand why young Angelenos want to live near the two East Hollywood crossings where there are only a few cafés and second-hand stores. A paradox that says a lot about the antiestablishment spirit of the hipsters behavior. Besides certain outward signs of recognition such as the rolled up trouser legs, the tattoos or the moustache, these young people, mostly from the middle classes, define themselves by an unclassifiable way of living. Michel Tabori gives an ironic definition : « First, the hipster never says he is a hipster or he is not Since the middle of the nineties and the inauguration of the Walt Disney Concert Hall by Frank Gehry, the centre of Los Angeles, until then completely abandoned in favour of Hollywood, regains a significant power of attraction. On one hand, important public and private investments to recreate emblematic places of entertainment such as the MoCa, the L.A. Live or the Standard Hotel. On the other hand, the arrival of a young generation of artists attracted by the huge industrial wasteland stuck between Little Tokyo and Los Angeles River. Despite the crisis, the concentration of its urban fabric and the relative remoteness of Hollywood, Downtown’s notoriety continues to decrease. An improvement in the evolution of the Gallery Row, the area of art galleries on Main and Spring Streets, with the opening of some fourty places in less than ten years and the successive implantation of trendy cafés and restaurants such as the Umamicatessen or the Wurstküche. For Nicolas Silberfaden, a young photographer who lives and works in Downtown, it is only fitting : « In Downtown, we find everything that is scattered in other neighbourhoods of Los Angeles. Because it all started here. Walking up Broadway, we understand the extraordinary history of this town. »