I AM L.A.

From fashion, and advertising to writing and marketing.  The “I AM L.A.” shirt was a means of translating a new message in a simple way.  That was my Coca-Cola bottle.

   I AM L.A. started off as a T-shirt concept that I had come up with, and had decided to get a sample made.  The concept was fairly simple.  It was a take on the “I ♥ NY shirt that’s synonymous with New York Pizza, riding subway trains, and the flashing lights in time square.  It’s a signifier.  Except I would complete the I AM L.A. concept, by replacing the heart with “AM”  It was suppose to be a concept shirt that brought all Los Angeles natives together, no matter what nationality or gender.  Its message was simple, and precise, and it spoke volumes.  It also was something completely new and unique.

   About a week later NBC Universal stared running “I AM L.A.” commercials.  At first I didn’t know how to react.  To be super excited, and I was, or to be completely discouraged.  I mean to have a mainstream network run one of my ideas in its entirety was amazing.  I was so excited that I couldn’t stop telling my mother, and grandma.  I thought I was on top of the world.  The commercials were visually stunning short interviews of Los Angeles natives stating which part of Los Angeles they lived in, followed by stating the slogan “I AM L.A.”  It captured regular people, to news anchors.  The interviews ranged from people of all different races from all different parts of Los Angeles, it was amazing.  I even know some of the people in the commercials.  But that was just the beginning.

   It was the night of the Oscars, and Jimmy Fallon was the host.  Ad space for the Oscars had to be well into the millions, and after about a month of the commercials running on television in Los Angeles, the “I AM L.A.” commercials were run during the Oscars, and it was then that I knew this was big.  As soon as I saw the commercial I started tweeting about it on twitter.  I think I tweeted throughout the whole awards ceremony.  It was the first year that some of the viewers tweets would be read by the host.  That’s when I knew that my “I AM L.A.” concept was seen from Los Angeles to New York.  In my eyes that was like receiving an Oscar in itself. Then the dream ended, and I woke up.  I was like I should be compensated for my work. Period. 

A LOT OF BROADWAY BUMS USED TO BE EXECUTIVES -basquiat

   I started tweeting about it, and was like, let’s arrange a meeting.  Shortly after they stopped running the commercials, and replaced it with “We are L.A.” and expanded into billboards, and advertising space on Metro buses. NBC Universal knew that I’d be coming for them, and having a kid from South Los Angeles going after them over a campaign that resonated so well with their audience, and all Angelinos wouldn’t sit right with executives.  I mean it was my idea, and it hadn’t even gone public yet.

   But essentially, it was the way I conceptualized things.  I use my left, and right brain. I’m as analytical, as I am creative, and I can see the end product, before it even goes into production.  I have a universal view, most times without bias, and conveniently it’s how I translate what’s in my mind.  From fashion, and advertising to writing and marketing.  The I AM L.A. shirt was a means of translating a new message in a simple way.  That was my Coca-Cola bottle.

EXCLUSIVE

Exclusive 

I walk in through the foyer passing the large arch ways, and pass the craft services table, as I see extras, back-up dancers and production staff, walking round.   As I head into the main set, passing a group of people in the director, and star seats, behind the monitors are the talent, and other security, as I try to place everything.  I stand next to one of the extras and one of the marketing directors for Young & Reckless clothing. I start to talk to them, and decided to make the best out of this experience.  Watching the monitors in front of us, Keri Hilson is on the screen shooting her solo performance. As you can see the set chairs, with the titles on them “Director Lorianne Gibson” “Keri Hilson” and “Mom.’  As Lorianne’s mom sat there, as still as could be, as all of the commotion went on.

I watched the monitors, as I asked where the director was. “…she’s inside directing!” one of the video talents tells me.  I then looked through the doorway, where Lorianne was sitting, as she was directing.  At moments, watching her set from the inside of the performance room, as I looked at her from afar, she’s in control of everything.  I start to look around, as I see the people from Keri’s record label, while talking to the guy who’s apart of the talent. I am not leaving I think to myself, as this is one of the best places that I’ve been as of yet.  I stand there, and dream amongst a dream, and think I have to make it.  “…This is Loriane’s Directorial debut” one of the P.A.’s says, as I start to talk more to other people in the room.

I walk over more, as they start to move some equipment, and one of the other directors, tells everyone it’s the end for this shot.  Moments after, Keri walks out, tall and slender, with a swept bob cut hair due, to be refitted by her stylist.  I stand right in front of them, as there getting ready, and a camera man, comes over for an interview. I look at her Jacket, and ask who it’s by, as it looks like Skin Graft, a label located downtown.  As she’s doing her interview, I get her stylist attention, and ask “…Is that Skin Graft?”  “…Yeah!” She says.   “…They made sure that Keri was in Skin graft!” she said to me as she smiled, and we laugh, as we knew some of the same people.  Meanwhile, Keri was almost done with her interview, as she almost ran towards me, jokingly for the cameras, as she explained her attitude for the days shoot, afterwards talking with her stylist for the next look for the day.  They change the shiny collar on her neck, as she goes over to get her hair done.

Shortly after Lorianne comes out of the performance room as she strides over and speaks with her mom, and a few of her assistants.  She’s a few steps away from me, as I watch her, and they tell me that’s the director.  Her hair is long and wavy, with one side shaved, as the other portion cascades down the other, exposing her defined cheek bones.   Lying against her tailored blazer, and sharp white collar shirt, and men’s fitted slacks, and stilettos’.  She stands there, as I wait for her to finish, and walk over to greet her.  I say “Loreanne…How are you, what are you doing next?”  As she shakes my hand, and proceeds “…Well this is my Directorial debut...This is what I’m doing!” as I stand there, looking into her eyes, hoping to pick her brain, as she rushes off, to talk to more people on set, prepping for the next shot.  I stand there amazed, and take in all of the energy that’s going on.  Being that it was her set, she was ok with me being there, so once getting the confirmation, I was comfortable in capturing the events of the day, to take in everything that was going on, and learn more on how the business works.

Looking around the set, with people on Laptops, and bags everywhere, as well as other equipment, I started to talk to one of the talents again.  He’s African American, with long dreads, wearing a Tank top, and jeans, as he talks to a personal trainer who works with both Keri and Lorianne.  I walk over, and asked what she did in the business.  “I’m a personal trainer, I work with Lorianne, and Keri!” she told me, “…But I don’t think were going to train on set today.” She said. She’s Caucasian, with short hair, and well built, but not in a masculine way.  “Well …at least you’re still getting paid” I said to her, as she went off, into the foyer, stopping to speak with Lorianne.

After they walked into the main area, or foyer, I decided to talk to one of the P.A.’s and ask, if I could go ask Keri some questions, telling me “…I don’t think so,…No one usually talks to the stars!” he tells me.  Shaking it off, I walk up to one of her body guards, and ask him the same question, “No…she’s busy!” he tells me. Understanding the situation, I went back over and chatted with the P.A.’s and started to ask him more questions.  I wanted to know how he got this job, and what other projects he had worked on. He told me that he worked with one of the site directors, and had worked on previous projects with him.  “…I worked on a set with him for about fifty days once.  I just worked on one job, and got in good with people, and started working as a P.A. every since.” He told me.  He then asks me if I saw the dance sequence that was shot earlier.  “…No” I replied, being that I had just arrived.  He then went on about how they had really cool strobe lights going off everywhere, bouncing off of the massive set, with high ceilings.

After talking to him, I walked over to craft services to get something to drink, finally over the feeling of feeling like an outsider initially, but content with the welcome.  I was in a position to witness the business from an insider’s perspective, I was right where I wanted to be, and I knew I could make it happen.  I walk pass Keri, as I get something to drink. Passing dancers in provocative clothing and production staff I walk pass two male models standing there, talking about the business.  They were chatting about other projects they were doing, as I parted in, and asked who they worked for.  “We work with one of the talent agencies” the Asian guy told me, as he talked to an African American dude.  As I walked back on set, walking pass Keri and her security, making sure not to interrupt as I walked towards the other P.A.’s and reps from Keri’s label.  Excited to be amongst the people who create our reality, who convey these messages, we can’t express on a daily bases, on a level of professionalism and expertise, I was in a dream.