Dennis Romero's vintage features


  • The Rainbow Collision (Ciudad magazine, Oct./Nov., 2005): Tensions erupt between African-Americans and Latinos on Los Angeles streets.
  • Dead of Night (Ciudad magazine, June/July, 2007): A look back at the Night Stalker's murderous reign of terror in the summer of 1985.
  • Pop's Living Dead (LA CityBeat, 2003): An argument for the end of rock and an embrace of electronic dance music.
  • The Other Side (Ciudad magazine, Feb./March, 2006): An examination of Latinos who vociferously oppose illegal immigration.
  • The Gentle Beast (Ciudad magazine, Aug., 2007): A profile of Ultimate Fighter Tito Ortiz, who overcame a hardscrabble childhood to become a champion in a controversial sport.
  • Desolation Boulevard (LA CityBeat, Feb. 5, 2004): A pre-Steve Lopez feature about the intractable conditions for the homeless people living on L.A.'s Skid Row.
  • A Turbocharged Obsession (Los Angeles Times, Jan. 22, 1997): The first mainstream look at the import-racing scene that would inspire the Fast and the Furious movie franchise.
  • Gangster's Paradise Lost (LA CityBeat, Nov. 6, 2003): A different angle on the gentrification of L.A.'s urban Westside; decades-old gangs face extinction.
  • A Shadow on the Waves (Los Angeles Times, Sept. 26, 1994): The rarely-told story of a mythic wave-charger who changed the sport of surfing by inventing the modern board.
  • Boomtown (LA CityBeat, Nov. 18, 2004): The gleaming resurrection of downtown represents a new era for Los Angeles, but leaves working-class residents in the dust.
  • Sample This! (LA CityBeat, Oct. 14, 2004): A little-known court ruling outlaws most sampled music in hip-hop, dance and beyond, but artists find creative loopholes.
Above: Dennis Romero interviews electronic musician Felix Da Housecat in Miami in March, 2003. Photo by Eddie Lin.

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Gangster's Paradise Lost

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LA CityBeat Nov. 6, 2003 By Dennis Romero Cover photo by Steve Appleford Losing the mural, it seems, was a sign of the times. In 2002, when the city renovated the recreation center at Stoner Park in West L.A., the last remnants of the Westside's Latino gang culture were told that the building's big Chicano-era mural would be temporarily removed to accommodate construction, but then returned. The big tableaux from the side of the building was an homage to the Mexican flavor of the neighborhood, and a point of homeboy pride. But when Mayor James K. Hahn presided over ribbon-cutting ceremonies celebrating the completed makeover last summer, the mural was absent, and the homies still haven't seen it. (A council district field deputy who keeps his eye on parks in the area said he has no idea what happened to the artwork.) Today, a few survivors of the Sotel 13 gang, which has claimed the park since the early 1950s, still congregate at the rec center each weekday at 3 p.m.
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Dennis Romero's bio

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Dennis Romero is a third-generation journalist who covers national news for NBC News Digital . He has reported on the housing crisis, wealth disparity, police and crime, popular culture, youth culture, raves, electronic dance music, ecstasy abuse, cannabis legalization, surfing and skateboarding. He's been a features staff writer at the Los Angeles Times, the Philadelphia Inquirer and local and national magazines. He's covered the Los Angeles Police Department from its headquarters newsroom. And he was recently a contributor to the op-ed pages of the Los Angeles Times. His work as also appeared in the New York Times, the Washington Post, Rolling Stone, and the Guardian. His byline has appeared on MSNBC multiple times. He's appeared on CNN, Investigation Discovery, E! News, and Reelz.  His late father  Fernando Romero  worked at the San Diego Tribune and Los Angeles Times. Fernando's eponymous father was a television reporter, anchor and sports announcer in Tijuana,
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Sample This!

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LA CityBeat Oct. 14, 2004 By Dennis Romero It's a squealing guitar riff that's barely background noise in N.W.A.'s "100 Miles and Runnin'." Just a bit of acid ax buried under the rap. Nonetheless, this three-chord bit has helped make those who sample without permission - and permission means paying up - industry outlaws. Astonishingly for some, the practice of sampling has been pushed against the ropes by the U.S. 6th Circuit Court of Appeals in Cincinnati. A recent ruling by the court forces producers to get clearance for using even one-note snippets of others' performances. It has sent a chill through the hip-hop and dance music worlds. "In an instant," declared the anti-industry website downhillbattle.org, "this act made the majority of sample-based music illegal." More than any other instrument, the sampler symbolizes pop music's post-rock, postmodern era. Hip-hop, electronic dance music, boy bands, and teen pop sex symb
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