These are two indicators, along with the lack of pawn shops and train tracks nearby, that Vivid is an upscale establishment.
I was concerned about Eon McKai, late of VCA and prone to fits of sadness.
"People are always Instant-Messaging me and I need to keep telling them that I'm male," he said.
We walked around the building.
The reception area is all white. The floor, wall-length curtains, and ceiling are white. In the corner sits a friendly receptionist, just like in Judaeo-Christian Heaven. I passed through several levels of security to get there, including a guard, a card-swipe, and a camera in the elevator. The passphrase was "Jenna Loves Gram".
Eon's job will include shooting and editing his own videos, and administering to the needs of the new label Vivid-Alt. Octavio Arizala has finished shooting the label's first movie, Re-Belle Rousers, and photographer Dave Naz will also be directing.
The first Vivid-Alt movie will not be released for several months. "We don't even have a logo yet," McKai said, "so I took matters into my own hands and designed my own."
"My job is a little easier because we offer everybody the same directing deal," McKai said.
We went upstairs to a series of editing bays annd duplicating machines. It was cold and dimly-lit. It was difficult imagining Tera surviving up there. I did not see Vivid co-founder Steve Hirsch driving his Bentley through the hallways, drunk with power and cash.
"No, it's a nice work environment here," McKai said.
I drove McKai to Woodman Avenue where his car was being repaired. There was another In & Out there, which I utilized.
