09-19-16

More in the Kitchen September 19, 2016 I VOL. 45 I #38

Diners Win as Chefs Utilize Downtown’s Growing Roster of Shared Kitchen Spaces SEE PAGE 8

Tent Fires in Skid Row : 7 The DTLA Film Fest Returns : 10

A dinner last week at Feastly in the Arts District.

photo by Gary Leonard

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Downtown ‘Insider’s Guide’ Arrives Next Week

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owntown Los Angeles is constantly changing, with new housing complexes, restaurants and nightlife opportunities. How do you keep up? Try Downtown Los Angeles: An Insider’s Guide to Exploring the City. The 88page glossy magazine, created by Los Angeles Downtown News, publishes Monday, Sept. 26, and is full of helpful information for residents, workers and visitors. There are sections on where to buy clothing and home goods, as well as rundowns of top restaurants and cocktail bars. That’s just the start, as the Insider’s Guide details parks, kid-friendly activities, outdoor opportunities and Downtown history. The Insider’s Guide will be distributed with Downtown News.

Guides will also be available at multiple Downtown News distribution locations, stores and visitors centers. It can also be seen online at downtownnews.com or losangelesdowntown. com. Additional copies can be requested by calling Downtown News at (213) 481-1448.

The Broad Turns One

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ne of Downtown Los Angeles’ most important destinations is turning 1 year old this week. The Broad opened to the public on Sept. 20, 2015, and to commemorate the anniversary, the museum at 221 S. Grand Ave. is lining up a slate of festivities and “pop-up” art

TWITTER: @ DOWNTOWNNEWS talks throughout Tuesday. Every guest will get a birthday hat to sport as they wander the galleries, and will leave the museum with a free Broad-branded cupcake courtesy of Sprinkles.

Museum founders Eli and Edythe Broad, along with Founding Director Joanne Heyler, will also be making appearances. Free general admission tickets for the day are fully booked, but advance tickets for the Cindy Sherman: Imitation of Life special exhibition, which closes Oct. 2, are still available. The $12 tickets (free for visitors 17 and under) include general admission to the entire museum. By the way, the happening even has its own hashtag: #BroadYear1. More information and tickets are at thebroad.org.

September 19, 2016

TAKE MY PICTURE GARY LEONARD

Arts District Grows Taller

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he developer Bolour Associates has filed new plans for a project at 527 S. Colyton St. in the Arts District. Instead of the lowrise complex originally envisioned, the company intends to develop a structure up to 12 stories tall with 310 condominiums. There would also be 11,375 square feet of commercial space and 394 parking spaces on-site. No budget or timeline have been announced.

The story was first reported by the website Urbanize.la.

Staples Center Finishes $20 Million Renovation

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t might surprise you, but Staples Center actually opened in October of 1999 (with a Bruce Springsteen concert). That’s a significant time period for a building with so much foot traffic, and in 2013 owner and opera-

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tor Anschutz Entertainment Group kicked off a multi-year renovation. Last week, it announced the completion of the $20 million project, just in time for Staples Center’s 17th birthday. AEG upgraded all 170 private suites, 16 event suites and the premium level concession stands; the last part of the renovation cost $5 million and began in May. The building also saw a $7 million investment in 2014-15 that included an upgrade to energyefficient LED lighting, the installation of a retractable seating system for part of the arena, and the expansion of the Team L.A. merchandise shop. The $8 million in remaining

Grand Opening

9/15/2016

improvements included the creation of the Draft-Kings Fantasy Sports Bar & Lounge and upgrades to 14 concession stands.

Correction The Downtown Development section that published Sept. 21 contained some inaccurate information for the write-up on the Hotel Figueroa renovation. The operator of the establishment that opens in November will be HHM. Additionally, there will be 268 guest rooms, not the 270 reported. The building originally opened in 1926, not 1927.

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September 19, 2016

Urban Scrawl by Doug Davis

The Art and Theater You Probably Miss

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his month, Los Angeles Downtown News wrote about The Temptation of St. Antony, a bit of avant-garde theater being mounted in an easy-to-overlook space at Second Street and Broadway. It comes from the company Four Larks, and while few people are familiar with the group, the show has earned a hefty amount of praise. That’s no small feat considering that St. Antony eschews a traditional narrative structure and instead combines dance, live music, art installations and dialogue from a Gustave Flaubert novel.

It is not the only genre-smashing show to find success in Downtown Los Angeles in the past year. In May, the 80-minute The Day Shall Declare It opened in a warehouse on Seventh Street in the Arts District. Crowds were limited to 30 people a night for the site-specific dance-theater performance where the actors were prone to getting very close to startled audience members. The reception was so strong that the show was extended several weeks.

Then there was Hopscotch, the automobile opera from the company The Industry. It ran last November and attendees climbed into one of 24 cars and were ferried about the community while being serenaded by opera singers and musicians. It garnered international attention, much of it centered on visionary company head Yuval Sharon.

It’s worth mentioning these three shows together because they serve as a reminder of how Downtown, despite the increasing gloss and arrival of billion-dollar projects, remains a vibrant place where not everything is of the mainstream. The glitz is here, but some of the grit remains.

This is counter to the easy narrative, which is that Downtown is defined by big-budget arts institutions such as the Ahmanson Theatre, the Mark Taper Forum, The Broad and MOCA. Those places are great and deserve all the praise they get, but they don’t tell the whole story.

Downtown has a long tradition of hosting unconventional art and theater. The Arts District’s Cornerstone Theatre Company has spent more than a decade producing thought-provoking works that destroy the traditional concept of community theater. REDCAT stages the kind of music, dance and theater that too often has trouble finding a home. The late punk haven Al’s Bar once had an in-house theater troupe, and there were always hardscrabble companies such as the former Wolfskill that mounted plays in small spaces. Then as now, nobody was doing it for the money.

The Temptation of St. Antony and other “small” productions do not command as much attention as the shows in shiny venues, but they remind Downtown of its roots and serve an audience looking for something different. It’s worth nurturing these programmers and ensuring that they have a space to mount their work well into the future. Downtown is a better place with all kinds of art and theater.

The Bigger Problem With the Tagging of Angels Flight

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he graffiti tagging of Angels Flight the other week was disgusting and discouraging. Angels Flight is one of L.A.’s rarest treasures, and should be treated as such. The extended closure of the iconic funicular has been painful enough. Still, even if the Olivet and Sinai cars were not running between the Cal Plaza Watercourt and Hill Street, just seeing them standing stately and regal was somehow comforting.

No one has identified the fools who clambered onto the tracks and used white spray paint to deface the railway. In addition to

WHAT MADE THE TAGGERS CONSIDER ANGELS FLIGHT AN INVITING CANVAS? THIS DEAD ZONE SO CLOSE TO THE FUNICULAR PROBABLY HELPED. THE SITUATION BRINGS TO MIND THE PHILOSOPHY BEHIND THE “BROKEN WINDOWS”THEORY OF POLICING, WHICH HOLDS THAT SMALL BITS OF LAWLESSNESS THAT ARE TOLERATED LEAD TO LARGER INSTANCES OF LAW-BREAKING. being vandals, they proved to be pretty poor “artists” — some unimaginative scrawled names and a rat-looking thing will never gain traction in tagging lore. Fortunately, cleanup crews were out early last week and removed the offending paint from the orange and black cars.

Yet focusing on the tagging itself is shortsighted. What matters more is why the graffiti occurred, and here we think it is only partly

to do with bored youth. It’s complicated. Even the prolonged closure of the railway is just part of the problem.

The bigger issue, we think, is that a large plaza on Hill Street just steps from Angels Flight continues to be shut off to the public.

There is fencing around the once-inviting area that is full of benches and plants. Although the plaza should beckon to patrons of Grand Central Market across the street, instead it is unmaintained, ugly and decrepit. The foliage inside has withered. Part of the plaza is scarred with graffiti.

What made the taggers consider Angels Flight an inviting canvas? This dead zone so close to the funicular probably helped. The situation brings to mind the philosophy behind the “broken windows” theory of policing, which holds that small bits of lawlessness that are tolerated lead to larger instances of law-breaking. In this case the plaza has been allowed to look like junk — one has to wonder if the vandals would have struck if the area was active and well lit.

Local officials have done virtually nothing to address the situation. In July 2013, the plaza, the adjacent hillside and the Angels Knoll park at the top of the hill were suddenly fenced off — the land had been owned by the Community Redevelopment Agency, and after Gov. Jerry Brown shut down CRAs across the state, the local CRA successor agency began trying to sell off its former holdings. The sales process has been painfully slow. In April 2015, Los Angeles Downtown News reported that the plaza and park were likely to remain shuttered for years until a buyer takes over and unveils a vision for the site.

One can’t expect the successor agency to operate the plaza and park — it’s not built for that. However, elected leaders should have the foresight, creativity and connections to step in and improve the situation. This is a problem that begs for a leader, and the solution doesn’t seem all that hard — find some money, take down the fence and hire or instruct some entity to maintain the land. Or forge a partnership with a business improvement district or a landowner. This should be low-hanging fruit.

Instead, Downtown has a public plaza that looks like a dump.

Worse, we see the danger of inaction in the form of the tagging of a beloved railway.

September 19, 2016

Downtown News 5

DOWNTOWNNEWS.COM

Finally, L.A. Football Is No Longer a Fantasy With the Rams Back, a Last Look at L.A.’s Two Decades in the Pigskin Desert

By Jon Regardie n Sunday, Sept. 18, something truly amazing happened in Los Angeles. I don’t mean the loose, 2016 version of the word, where a muffin or an Instagram photo of a cat wearing pajamas can be described as amazing. Rather, I mean something that, for anyone who has spent a decade or more here, should literally cause amazement.

O

THE REGARDIE REPORT The amazing thing is that, for the first time in 22 years, a National Football League game took place in this city. At 1 p.m., the Rams kicked off against the Seattle Seahawks at the Los Angeles Memorial Coliseum in Exposition Park.

This was astonishing because it seemed like the day would never come. A pro football-less city had become the new normal, which was fine, because there were 2,631 things to do every Sunday in L.A. besides watch the NFL. A lot of people are cheering the return of the Rams, who last played a home game in the city in 1980, before moving to Anaheim. The Raiders came to town in 1982, playing at the Coliseum and bringing with them loads of unruly fans who looked like Road Warrior extras and scared the bejesus out of the city. Both teams skedaddled after the 1994 season, the Raiders returning to Oakland, the Rams heading to a bunker in St. Louis.

Thus began a seemingly never-ending game — which at times was far more entertaining and vicious than the game on the field — full of bat-

tles, brouhahas, false promises and false prophets. In the years right after the Rams and Raiders left, everyone predicted that another team would move to the city shortly or that the NFL would award an expansion franchise to Los Angeles. No one thought the league would abandon the country’s second-largest media market or risk a generation of fans turning from football to futbol. Another, even more compelling argument was that falling TV revenues spurred by the lack of L.A. fans watching a home team would force the league to fill the void.

All this proves that, as the adage goes, no one knows anything. The NFL does what the NFL wants.

Don’t Trust ’Em Not that there weren’t attempts to bring football back. Heavens to Goodell, there was attempt after attempt after attempt, all of it accompanied by breathless media coverage and loads of pretty stadium renderings. But nothing worked. The Sphinx’s riddle was easier to solve.

If two-plus decades in the pro football desert taught us anything, it’s that you should never, ever, ever believe anything the NFL says.

That’s not an overstatement. After all, this is the league/mega-business that for decades downplayed concussions, effectively pretending that brutal blows to the head were no worse than a scraped knee.

No, over the course of those two decades, the NFL batted about Los Angeles like a farm cat does a field mouse. Every few years a slate of stadium proposals would rise, with local millionaires

photo by Gary Leonard

More than once local officials sought to bring an NFL team to the Los Angeles Memorial Coliseum, where the Rams will play temporarily until their Inglewood palace is ready. Then-Mayor Antonio Villaraigosa spoke at this 2006 event that envisioned a team in a refurbished stadium by 2010.

and billionaires working to assemble land, hire architects and persuade politicians to join them on their vision quest. The league brass proved downright Machiavellian, and would carefully foment competition, urging each would-be owner to sweeten the pot and craft a deal full of public giveaways. Yet the NFL would never commit to anyone, and eventually the suitors would throw up their hands and walk away. Then a few years later new owners would rise out of the ground, like locusts, and try again.

Eventually, there were more casualties than in the opening scene of Saving Private Ryan. I’ve written this a couple times before, but here’s a rundown of some of the places in Los Angeles that were supposed stadium solutions: the

Dodger Stadium parking lot (with several different team owners), the Coliseum in Exposition Park (a couple times), the City of Industry, the city of Carson, Hollywood Park, the Rose Bowl and Anaheim. Then there’s South Park, which had two rounds with Anschutz Entertainment Group, including Farmers Field, an idea that died after five years of work and an estimated $50 million of Phil Anschutz’s fortune.

Farmers Field bears special mention, and not just because of the cash. The stadium generated some of the best political theater Los Angeles has ever seen, with highlights such as a 2011 pep rally, complete with a blimp, to announce a naming rights deal for a stadium that Continued on page 16

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6 Downtown News

September 19, 2016

Made in the Shade Grand Park Unveils ‘Paper Airplane’ Structure, Promising to Keep Visitors Out of the Sun

By Nicholas Slayton n the day the Grand Park shade structure was unveiled, Mother Nature didn’t want to play nice.

It was noon on Tuesday, Sept. 13, and an unexpected cloud cover remained stubbornly in place as a cadre of Music Center and Grand Park officials gathered near the western end of the 12-acre park. They were there to dedicate a $100,000 response to something that bedevils many open spaces in Los Angeles — the heat of the summer sun.

Then, just as the event was getting started, the sun peeked through. If only briefly, the shade structure actually provided some shade, and gave a hint of what will happen when traditional weather patterns return.

The shade comes in the form of an installation dubbed “Paper Airplane.” Designed by Elenita Torres and Dean Sherriff, it is a collection of 11 overlapping pieces of canvas intended to capture a sense of movement. At the unveiling, Sherriff said he wanted a bright but neutral color scheme to catch people’s eyes and draw them in. Torres said they also wanted a design that reflects the nature of the park.

“It’s a park for everyone, young and old,” Torres said, referencing the space’s “the park for everyone” motto. “What do they play with?

Everyone plays with a paper plane, whether you’re 2 years old or 82.”

“Paper Airplane” came out of a public design competition, beating out 58 other submissions.

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The original design was revised during the building process, said Gregory Naiman, president of Canvas Specialty, which created and installed “Paper Airplane.” Naiman said they spent three weeks working on prototypes and revisions.

The installation, which hangs from a metal support structure, is designed to provide shade and UV protection for park goers. Although the individual canvas mesh pieces do not overlap as initial renderings show, the artists said they are pleased with a work that is built on a mass of almost-flying objects.

“We wondered, should we have one or two planes? Then we realized a whole wave of them would be interesting,” Sherriff said. “We started thinking about what they would be like to stand under and how that would work in the sun.”

When the sun paid its brief visit, the installation cast an interlocking triangular pattern of shade across the Olive Court, which is just east of the park’s splash fountain. Grand Park Director Lucas Rivera said that the artwork is “semipermanent” and will remain for two years. He noted that it can be relocated to different spots inside the park if the need arises.

The installation was funded by a $100,000 grant that Grand Park won from the Goldhirsh Foundation’s MyLA2050 Challenge. Torres and Sherriff are getting a $15,000 commission for their work.

“Paper Airplane” marks a new direction for

Artists Elenita Torres and Dean Sherriff at the Grand Park shade structure they designed. It was installed last week.

photo by Gary Leonard

The structure was made possible after Grand Park won a $100,000 grant. It is made from 11 pieces of canvas and is intended to look like a collection of paper airplanes in flight.

photo by Gary Leonard

the park, which has become a popular gathering spot for festivals, New Years Eve celebrations and other events since opening in 2012.

Rivera said that Grand Park has focused on pro-

gramming, but now a goal is to use the shade structures as a first step toward showing more public art. nicholas@downtownnews.com

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Downtown News 7

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Skid Row Dealing With Rash of Tent Fires Blazes, Many Set Intentionally, Have Become a Regular Occurrence, Endangering Homeless Individuals and Businesses

A tent was set on fire at the northeast corner of Fifth Street and Towne Avenue on July 2.

The fires are often underreported, according to the Los Angeles Fire Department.

photo by Raquel Beard

By Eddie Kim aquel Beard helped lead the Central City East Association for nearly a decade, but it was only over the last 18 months of her tenure as executive director that she started receiving urgent reports of fires on the sidewalks of the Industrial District and Skid Row. At first it was just one or two incidents every few months.

Then the numbers surged through 2016, to the dismay of Beard, business owners and residents both homeless and housed.

“This has been a really bad year. It got to the point where we were seeing at least one tent fire per week,” Beard, who left the CCEA in July for a job in Manhattan Beach, recalled.

Beard pointed to two incidents that occurred during her last week. On July 2, a tent and shopping cart with belongings went up in flames at the northeast corner of Fifth Street and Towne Avenue, alongside a fortress-like building often lined with tents.

Four days later, a tent and belongings burned outside of the rust-brick Crab House Seafood Company at 616 Stanford St. Tent fires in Skid Row often happen quickly and go unreported to the Los Angeles Police Department and the Los Angeles Fire Department, said LAFD Senior Arson Investigator Robert McLoud. He said the causes are difficult to pinpoint, though many times they are sparked by disputes between people living on the streets.

“Individuals are often arguing over food, money, drugs,” McLoud said. “We’ve heard from people who were just sitting in their tent when they realized their shelter was set on fire. Others mention, ‘Oh, I got into an argument with John, he was upset, my tent burned down and I’m pretty sure he did it.’”

The tent fires are often difficult to track because the LAFD categorizes them as “rubbish fires,” and the corresponding reports frequently do not include details on whether the burned material was a tent or shelter. Through May and June, there were 31 emergency calls made for “rubbish fires” in the area covered by Skid Row’s Fire Station 9, according to the department.

Nor are the blazes confined to Skid Row. McLoud said he is seeing tent fires across the city, and that in August, 13 people in Los Angeles were arrested for tent fires. Many of those detained, he said, were homeless individuals.

Under-Reported In Downtown Los Angeles, many of the fires have been concentrated in the five-block stretch between San Julian and Gladys parks. McLoud also believes that there are more fires than shown in the books, as some people living in the area are wary of being involved in an arson report, or simply got used to putting up with such dangers.

“It’s not being reported as it should be. One person against another, and someone’s tent goes up? They just choose to pick up and move on,” McLoud said. “If the cops show up, maybe they want ID, and maybe you have a warrant.”

The incidents aren’t just frightening for those in encampments, but also for business owners who have had to deal with damage from the blazes. Melted paint, scorched masonry and charred awnings are common in parts of Skid Row, and insurance premiums have spiked in the wake of several high-profile

R

photo by Raquel Beard

Former Central City East Association Executive Director Raquel Beard said that the number of incidents spiked in 2016. “It got to the point where we were seeing at least one tent fire per week,” Beard said.

incidents, Beard said. A warehouse at 830 E. Fifth St., owned by Mutual Wholesale Liquor, caught fire and had to be partially rebuilt late last year.

“Insurance paid for it, but the owners were sent a letter of non-renewal, and their premiums had quadrupled. They came to me for help, but any inspector could come and see the tents weren’t going anywhere,” Beard said.

In some instances, victims or businesses affected by fire choose to literally put it out on their own. A small blaze outside of seafood distributor Ore-Cal led employees to rush outside with a hose, said Mark Shinbane, the company owner and chair of the CCEA’s board of directors.

“These people live in a dream world if they think it’s going to get better,” Shinbane said. “It’s a disaster out there, and the city’s been completely unable to change anything.”

Indeed, there appears to have been little formal or coordinated response to the blazes. Despite the number of arrests citywide, Deputy City Attorney Kurt Knecht, who works on Downtown issues, said in an email that he has not prosecuted any tent fire cases. LAPD Senior Lead Officer Deon Joseph, who has patrolled Skid Row for 18 years, is familiar with the fires, but has not led investigations into the incidents. He remains critical of how the sprawling tent encampments can be a danger to those living in them and an obstacle for law enforcement looking for evidence and people.

The causes of the fires may not dissipate, but the environment could change: Knecht noted that the city is rolling out updated implementation and enforcement of existing laws that prohibit tents and personal property on the sidewalk between 6 a.m. and 9 p.m. The policy was scrutinized this spring as part of a lawsuit against the city for its confiscating of homeless individuals’ possessions. eddie@downtownnews.com

8 Downtown News

TWITTER: @ DOWNTOWNNEWS

September 19, 2016

At Shared Kitchen Spaces, They’re Cooking Up Talent Food ‘Incubators’ Offer New Opportunities for Downtown Chefs and Diners. Consider them the Airbnb of the Culinary Industry

By Eddie Kim t’s a humid night in late July, and along the northeastern corner of the Arts District, a few people are getting lost on their way to dinner.

One couple peers east on First Street, looking for a doorway into the Newberry Lofts. They turn back and notice the glow of fluorescent lights — the entrance waits in an alley off Vignes Street.

Upstairs, chef Jason Fullilove greets visitors as they enter a cozy loft wrapped in brick, wood beams and rustic-chic furniture. The scents of warm bread and roasting meat waft in the air.

Over the next two hours, Fullilove will serve a four-course dinner to about 20 people, with dishes including grilled Spanish octopus on polenta and sea urchin with black rice and kimchi.

The cocktails flow freely. The meal costs $45.

This isn’t an actual restaurant, but a sort of Airbnb for chefs, one of several in Downtown Los Angeles. They allow chefs to rent a space for a night or longer and experiment with ingredients or techniques without paying for the infrastructure of an actual restaurant. Fullilove is cooking in a space run by the company Feastly, and up in Chinatown there is Unit 120.

A third spot, Crafted Kitchen, will arrive soon.

Fullilove, the former executive chef at Clifton’s, has been testing his concept for “elevated soul food,” dubbed Barbara Jean, and views the Feastly dinners as an extended workshop before taking the idea to a permanent restaurant.

“It takes a lot of pressure off me to find a lo-

I

Feastly operations head Adam Zolot (left) greets diners at the Arts District space. Chefs can rent out the kitchen to experiment and try new techniques and dishes.

photo courtesy Adam Zolot

cation, work out the pricing, find the furniture and equipment,” Fullilove said. “I can focus on building my brand, my site, and the actual food. I’ve been learning a lot.”

Alvin Cailan, who opened Unit 120 in February, likens his space to a baseball team’s farm system, where new chefs can experiment and minimize risk.

One Unit 120 success story is Lasa, a modern Filipino restaurant run by brothers Chase and Chad Valencia. The duo had garnered attention and confidence from pop-ups around

the city before they were drawn to Unit 120, which has a minimalist dining room and a large attached kitchen. They do dinners there several nights a week.

“The idea we loved was the consistency.

When you do a dinner a month, you’re hyping up one night. But the business can’t be judged by that,” said Chase Valencia. “We were doing multiple dinners a week, changing the menu every month, so it became real R&D.” Add Cailan’s recognized position in the city’s food scene, and Lasa caught fire. Even L.A. Times

critic Jonathan Gold visited, praising elegant takes on Filipino dishes like kinilaw (citrus-marinated raw fish) and pinakbet (vegetable stew).

Cailan selects partners based on their experience and growth potential. Some arrive fully formed, as with the Valencias. Others are more green, but if they have a good idea, Cailan and his team (which includes pastry chef Isa Fabro and chef Lung Lee) can help.

Unit 120 charges a flat fee of about $400 for a seated dinner, and Cailan suggests partners sell at least 30 tickets at $40-$70 each. If they break

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a set number of tickets, Unit 120 takes an additional 10%.

Other Unit 120 residencies include Golden Boys (chefs Hunter Pritchett and Adam Midkiff, serving eclectic Chinese food) and Chinoko (modern Japanese izakaya food from Alex Chang).

Cailan also courts private meetings with chefs and investors for menu and brand development.

Unit 120 makes a small profit for Cailan, who also runs the mega-hit Eggslut, but that’s not the aim of the incubator, he said.

Los Angeles has “nothing but money” for restaurants, Cailan notes, thrown around by the “most ambitious investors in the country.”

“There’s way more investors than qualified chefs. Cooks know that but they’ll take anyone’s money to open their own restaurant,” Cailan said. “They get amazing build-outs and kitchens and they open flat, and next thing you know, someone else is moving in.”

Arts District Options Feastly also provides a steppingstone to chefs, though on a smaller scale and without the one-on-one experience of Unit 120. It launched in San Francisco in 2014 and has grown to five venues there. The Arts District locale, the first in L.A., debuted this summer.

“We look for live/work lofts, or a partner space like a cafe that closes at night,” said Feastly operations head Adam Zolot. “But the big difference is we don’t need a lot of curb appeal or foot traffic. It gives us the ability to create destinations out of unconventional spaces.”

Pop-ups in unlikely locales are nothing new in Downtown.

They have been happening for years, and past examples include several multi-week runs of Ludovic Lefebvre’s LudoBites in the easy-to-miss Fashion District space Gram & Papa’s, and Nguyen and Thi Tran’s Starry Kitchen, which took over Tiara Café in the evening after it had shuttered.

Other pop-up series are running strong in Downtown, from chef Robert Castaneda’s Living Breathing Kitchen (it takes place in various locations) to the Old Bank District’s Re Creo supper club. What separates the new businesses is the group approach, expanded creativity and the opportunities available for less-established chefs, without the improvisation needed to broker a

random pop-up deal.

Feastly took just a month to open, from signing the lease to setting up the interior and kicking off meals. It hosts dinners from notable chefs including Fullilove, Ricardo Zarate, and Gary Nguyen and Taylor Persh (who run the food menu at the acclaimed bar Westbound). They pay a small one-time fee plus a percentage (similar to Airbnb). Feastly keeps its fees down in order to attract top cooking talent with the promise of decent profits, Zolot said.

“Our model means we don’t really make money off venue fees, but we take a small percentage and can scale this idea up in any city around the world,” Zolot said.

Next up is Crafted Kitchen, which is slated to open in October at 672 S. Santa Fe Ave. Cindi Thompson has gutted a 96-yearold Arts District warehouse with bow-truss ceilings and filled its 8,000 square feet with four private kitchens, an eight-bay shared commissary, and a large test kitchen attached to a 1,300-squarefoot patio.

Thompson ditched the world of finance after the 2008 crash to work in culinary arts. She did time as a private chef and caterer before realizing she could fill a different niche. While working on a small food business, Thompson ran into trouble finding shared kitchen space in L.A. She began developing the plan for Crafted Kitchen three years ago.

“To be successful with a small food business, you need not just space, but access to buyers and pre-screened industry figures and planning support,” she said. “I’m building the space and resources I wish I had when I was struggling to bring ideas to reality.”

Like Cailan, Thompson will essentially curate the tenants at Crafted Kitchen, and emphasizes the need for people who want to build a supportive community in the shared space. She also gushes about the vibe in the Arts District, and is talking to Urban Radish and the Arts District Farmers Market, among others, about future collaborations.

Whether it be a home cook with grand plans to scale up, or a chef needing to reassess his or her ideas, or a hospitality group that needs a space to wow investors, shared kitchens and incubators are pushing a smoother path toward dining success. For

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Chef Alvin Cailan’s Unit 120 in Chinatown is being used for chef residencies, one-off dinners, investor meetings and everything in between. Also shown is Isa Fabro.

diners, the spaces offer a chance to eat inventive food at low prices.

Consider it a win-win, especially if the talent invests back into Downtown. Lasa’s Chase and Chad Valencia, for one, are hunting for their own space in Chinatown. eddie@downtownnews.com

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The eighth annual DTLA Film Festival will show more than 100 movies over eight days at the Regal Cinemas complex at L.A. Live.

Highlights include a 40th anniversary screening of Nicholas Roeg’s The Man Who Fell to Earth, starring the late David Bowie.

Celebtival Returns,nd a es Film F w Location s vie a Ne 00 Mo With 1 n a Th More

Music documentaries are a big part of this year’s festival, including BJORK: The Creative Universe of a Music Missionary, about the Icelandic singer. photos courtesy of the DTLA Film Festival

Six Films to See at the DTLA Film Festival

By Nicholas Slayton he summer blockbuster season has ended, and we’re still at least a month away from the deluge of prestige films that often resonate with Oscar voters. Still, starting this week, there will be more than 100 options for Downtown movies fans to check out.

The flood of features, documentaries and shorts comes via the eighth annual DTLA Film Festival (formerly the Downtown Film Festival).

It opens Wednesday, Sept. 21, with the political satire Swing State starring Sean Astin and Billy

T

Zane, followed by a gala party. It ends the following Wednesday with a showing of The Man Who Fell to Earth, featuring the late David Bowie.

The festival has a new home this year. After operating throughout Downtown with a base at The Regent theater on Main Street, it has moved to L.A. Live. All films will be shown at the destination’s Regal Cinemas complex. Festival Director Greg Ptacek said that the new location not only means a centralized hub, but one that is already dedicated to the cinematic arts.

Continued on page 12

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Director Daniel Grove’s The Loner is a modern noir that follows an Iranian gangster on the hunt for missing drugs in Downtown Los Angeles. It screens on Saturday, Sept. 24.

Design Disruptors Thursday, Sept. 22, 7:15 p.m.

The word “design” has come to mean a variety of things depending on the industry. Design Disruptors looks at the role, creative process and importance of a variety of designers, from those working on software for tech companies to individuals sculpting aesthetic looks for businesses and brands.

Robert Trujillo Presents Jaco Friday, Sept. 23, 7:30 p.m.

Bass guitarist Jaco Pastourias died at the age of 35, but left behind a powerful legacy. Director Paul Marchand and Metallica bassist Robert Trujillo worked together on this documentary about the jazz legend, looking at his collaborations and his influence on future bassists.

Groundwork Saturday, Sept. 24, 2:45 p.m.

The documentary Groundwork digs deep into inequality and broken institutions, following five people in Philadelphia trying to make ends meet. It also explores the fight for a $15 minimum wage and the effects of poverty on daily life.

The Loner Saturday, Sept. 24, 7 p.m.

The history of film noir is deeply intertwined with the history of Los Angeles. So it makes sense that a modern noir would be set and filmed in Downtown. The Loner is a story about a low-ranking Iranian gangster trying to recover stolen goods lost in the criminal underworld. The cast and crew will attend this screening.

Do Not Resist Sunday Sept. 25, 4:45 p.m.

! dtowWnNein an s U e k Li ws wn Facebook.com/L.A.Do Like Downtown News on Facebook & Be Entered to Win Movie Tickets!

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Part social commentary, part stark display of military-grade hardware, Do Not Resist examines the increased militarization of American policing institutions. Filmed over two years, the documentary includes footage from the protests in Ferguson, Missouri, and other sites of conflict between activists and authorities.

I Was There Sunday, Sept. 25, 9:45 p.m.

Fifteen years after 9/11, the attacks still weigh heavily on the American public. Los Angelesbased director Jorge Valdes-Iga taps into those emotions with a feature that follows Gus, a New York City firefighter struggling with survivor’s guilt and trying to come to terms with what he endured.

—Nicholas Slayton

September 19, 2016

Downtown News 11

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Beauty and the Blues Meticulous Direction and Top-Notch Acting Propel the Taper’s ‘Ma Rainey’s Black Bottom’

By Jeff Favre he blues, born from the African-American experience, is a uniquely American musical genre. Filled with raw emotion that often expresses pain and loss, the sound is both universal and unmistakable.

Likewise, the stories of August Wilson, filled with waves of comedy and explosions of rage and violence, cannot be confused with that of any other playwright. His 10-play Century Cycle, completed the same year he died (2005), is one of the most important bodies of works in theatrical history. Timely and timeless, major revivals of these gifts by Wilson are always welcomed.

Center Theatre Group moves another step further in joining the few companies to produce the entire cycle with its entrancing version of Ma Rainey’s Black Bottom, meticulously directed by Phylicia Rashad and powerfully performed by a cast of Wilson veterans. The two-and-a-half-hour show opened recently and runs through Oct. 16 at the Mark Taper Forum in Downtown Los Angeles.

Rashad already has triumphed at the Taper as an actress (Gem of the Ocean) and a director (Joe Turner’s Come and Gone) in other Wilson works. Her skills are even sharper this time as she builds through tone, staging and pace. She gives Wilson’s 1984 play a pulsating rhythm of highs and lows that mirror the songs Ma and her band perform on stage.

Non-blues fans may not realize that Rainey is a historical figure who was dubbed the mother

Glynn Turman is the pianist Toledo and Lillias White plays the title character in the Mark Taper Forum’s Ma Rainey’s Black Bottom.

It is a revival of August Wilson’s 1984 work.

photo by Craig Schwartz

musicianship is strong enough to make them believable, and the four actors display a chemistry that reinforces a feeling of intimacy. Dirden in particular is magnetic, and delivers a riveting first act monologue that sets the upcoming climax in motion. Turman offers balance in tone by countering the tensest moments with sharp comedic timing.

Rashad masterfully uses John Iacovelli’s ideally designed three-level set. The action in the rehearsal room is frenetic, while the recording studio is steady, and the overhead recording booth serves as an ever-present eye for those with the power.

Rashad understands the need to almost overlap Wilson’s dialogue in a conversational manner that invites audiences into that world.

She also knows when to freeze everything to accent a powerful moment.

Wilson gravitated toward stories that careen headlong into tragedy. This was only the second play completed in the Century Cycle, and the first to find success, but the seeds for what to expect in the subsequent works are clearly planted. More than 30 years after its premiere, Ma Rainey’s Black Bottom may have even more impact on an audience today.

Center Theatre Group should return to the Century Cycle again soon — and so should Rashad. Together they are trusted caretakers of this American treasure.

Ma Rainey’s Black Bottom runs through Oct. 16 at the Mark Taper Forum, 135 N. Grand Ave., (213) 628-2772 or centertheatregroup.org.

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of the blues. The incidents in the 1927 Chicago recording session that unfold on the Taper stage are fictional, but it’s the year she released the titular song.

Rainey (Lillias White, in a dynamic turn) recorded for a white-owned label, but her fans were predominantly black. She’s a larger-thanlife character who personifies the struggle to gain respect and artistic control for an AfricanAmerican artist of the era. She’s able to have control in the studio if she’s forceful, but only because her white manager Irvin (Ed Swidey) and producer Sturdyvant (Matthew Henerson) need her record sales.

It’s her band, however, that experiences the heaviest frustration over the understanding that they likely will never be in charge of their careers. The racist society in which they live means they have to do what they’re told, a fact that injects an underbelly of anger.

Each member of the four-man band takes it differently. Cutler (Damon Gupton), who has Ma’s respect, has a sense of resignation and acceptance. Slow Drag (Keith David) tries to keep a sense of humor and perspective about the way things are. The elder statesman and wellread Toledo (Glynn Turman) provides several funny bits of philosophy on the black experience. The loose cannon is Levee (Jason Dirden), an ambitious trumpet player who believes his modern takes on blues will make him a star, if only Sturdyvant will record him.

The entire ensemble is first-rate. The band’s

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FILM FESTIVAL, 10 “For the filmmakers, I’m thrilled about that. It has the advantage of having a professional exhibition staff that’s used to doing film festivals,” Ptacek said. “We don’t have to reinvent the wheel. There is a comfort level there.”

Richard Gutierrez, the director of operations at the theater, said the festival is selling movie tickets through the venue’s website, the first time the Regal has done that with a guest program.

It’s an experiment, he said, with the aim of seeing if it boosts sales and streamlines the ticket-buying process.

The first Downtown Film Festival took place in 2008. While it generated a strong response, the timing was terrible, as it arrived during the recession. The downturn hammered budgets, particularly for an independent film event, Ptacek noted.

Still, Ptacek and his team stuck with it, and as the economy recovered, so did the independent film community. Ptacek said that the festival has grown up with the Central City.

Big Submissions The festival opens Wednesday with a 7:30 p.m. screening of Swing State, a satirical comedy about a Bohemian DJ who reinvents himself as a conservative radio host as a joke and finds unexpected fame. It is directed by Jonathan Sheldon and also features Shane Black, who is best known as a director and screenwriter. The screening will be followed by the opening night gala at the bar Mrs. Fish.

Another big showing is The Loner, a crime noir film that was actually shot in Downtown. Airing on Sept. 24 and directed by Daniel Grove, it follows an Iranian gangster on the hunt for missing drugs in the Central City.

Carolyn Schroeder, the festival’s programming director, said The Loner is a great example of how independent films have grown. She said that even without being part of the studio system, it is slick with high production values.

The festival began accepting submissions in January, and received roughly 1,000 requests from 22 countries, according to Schroeder. Although most of the films were selected via submissions, Schroeder noted that the organizers did reach out to filmmakers to get certain movies included. Many of the works are organized by theme or genre, with certain films put into series.

Perhaps as a sign of the times, there are more somber films in the line-up this year than in previous years. One of the festival’s series focuses on income inequality, while another batch of films address environmental sustainability.

There are also numerous documentaries. These include BJORK: The Creative Universe of a Music Missionary, a look at the Icelandic singer, which shows on Sept. 24. The day before holds a showing of Robert Trujillo Presents Jaco, about the famous bass guitarist Jaco Pastourias, Tickets to individual films cost $15. Overall festival passes are not available.

Straight Outta Marrakech One twist from years past is an effort to highlight foreign entries, particularly from Cuba, which has seen a thawing in relations with the United States. Also tabbed is Morocco — four films in the festival come from the North African country.

“For decades, Hollywood treated Morocco as a backlot because it’s safe and the film infrastructure is there,” Ptacek said.

“What’s been missing there are the films by Moroccan filmmakers, so we’re showcasing those.”

Alongside the movies, the festival will have more than a half dozen panels, touching on topics such as inequality, storytelling and the nature of short films. The panels are $20.

Schroeder credits part of the festival’s growth to Downtown’s booming residential population. The young, professional people settling in the area like indie films, she said. But even in a filmcentric city such as Los Angeles, finding showcases of independent cinema can be tricky.

“A lot of people are fascinated with the whole independent film world, but don’t get much access to it,” she said.

The festival closes Sept. 28 with the restored The Man Who Fell to Earth. The screening is partly a way to celebrate the 40th anniversary of the film and partly to honor Bowie, who died in January.

The movie’s female lead, Candy Clark, will attend the screening.

Tickets for that film are $20. Schroeder said that fans are encouraged to dress up as David Bowie or his various personae for the screening, and there will be a contest for the best Bowie.

Clark will judge the winner.

The DTLA Film Festival runs Sept. 21-28 at L.A. Live, 800 W. Olympic Blvd. or dtlaff.com. nicholas@downtownnews.com

September 19, 2016

Downtown News 13

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CALENDAR LISTINGS EVENTS

Loud Noises in Little Tokyo, Late Nights at the Music Center and Butterflies in Exposition Park

SPONSORED LISTINGS

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photo by Tato Baeza

photo courtesy of The Music Center

WEDNESDAY, SEPTEMBER 21 Simon Simek at Live Talks Business Forum Gensler, 500 S. Figueroa or business.livetalksla.org.

7:45 a.m.: Enjoy a plate of bacon and eggs while the tastemaker/influencer/corporate guru dishes on his new book, “Together Is Better.” He also authored the best-seller “Leaders Eat Last: Why Some Teams Pull Together and Others Don’t.”

photo by Mario de Lopez, © NHM Los Angeles 2015

Three owntown is woefully short of insomniac-oriented entertainment. Blessedly, those passing the night without a wink of sleep are invited to the Dorothy Chandler Pavilion on Friday, Sept. 23, for another installment of Sleepless. From 11:30 p.m.-3 a.m., the stuffy chandeliers will bounce with unlikely dance tunes as lucid psychedelia, installation oddities, and vintage video games courtesy of the Hope Arcade create an unlikely world where a highart venue segues into the postmodern bizarre. Down the Red Bull and enjoy. At 135 N. Grand Ave., (213) 972-7499 or musiccenter.org/events/sleepless.

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photo by Maiko Miyagawa

SATURDAY, SEPTEMBER 24 Summer Happenings at The Broad The Broad, 221 S. Grand Ave., (213) 232-6200 or thebroad.org.

8:30 p.m.: Sophie, JD Samson, Julianna Barwick, Charles Atlas, Lauren Bousfield and Elysia Crampton round out a list of performance artists, dance choreographers and musicians who will be plying their creative wares at this special nighttime festivity.

.A.’s own TaikoProject has spent 16 years reimagining traditional Japanese drumming techniques, blending creative exploration with percussive weight that makes Neil Peart look like a softee. The gang has partnered with Little Tokyo’s East West Players to present Road to Kumano, a striking retelling of the Buddhist Noh play Dojoji — a story about a temple getting its very own bell. EWP’s David Henry Hwang Theater hosts the final week of Road to Kumano with four performances. You’re invited to watch folks bang a gong/get it on at 8 p.m. on Thursday-Sunday, Sept. 22-24, and again on Sunday at 2 p.m.. At 120 Judge John Aiso St., (213) 625-7000 or eastwestplayers.org.

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he categories are broad and inclusive at the Bootleg Theater. The old warehouse is now wielding its multiple stages for the diverse Live Arts Exchange, or LAX, which is back for 11 days of theater, dance, multimedia, “experience,” music, opera and video art. Alas, the Bootleg itself is not sufficient. This year, the indie festival explodes into two other venues: Chinatown’s Automata and Union Station. Though LAX extends through October 2, this week’s streak of programming from Thursday-Sunday, Sept. 22-25, includes no less than 23 performances. Highlights include Sonnets to Orpheus (shown here) on Sept. 22 and 25. At the Bootleg Theatre, 2220 Beverly Blvd.; Union Station, 800 N. Alameda St.; Automata, 504 Chung King Road or liveartsexchange.org.

Send information and possible Don’t Miss List submissions to calendar@downtownnews.com.

photo by Alexis MacNab

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FRIDAY, SEPTEMBER 23 Sleepless Dorothy Chandler Pavilion, 135 N. Grand Ave., (213) 9720777 or musiccenter.org.

11:30 a.m.: Unlikely art fills the stuffy Dorothy Chandler Pavilion with avant-garde cultural pastimes. Prepare to stay up way past your bedtime.

Au Lac/Café Fedora 710 W. First St., (213) 617-2533 or aulac.com.

Sept. 24, 7:30 p.m.: You oughtta see Yu Oka. Belasco 1050 S. Hill St., (213) 746-5670 or belascous.com.

Sept. 20: Jack Garratt is a millennial singer/songwriter.

Sept. 21: When Biz Markie raps “Just a Friend” live tonight, you may just recognize a few lines lifted directly from that domestic dispute you heard through the walls of your apartment.

Sept. 24: Hemp necklaces, polo shirts, sideways Hollister caps — all of the trappings of early 2000s Rockville, Maryland chic will be on display tonight as O.A.R. play.

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ackstage at the Dorothy Chandler Pavilion this week, you’ll hear a lot of things: Mezzosoprano Ekaterina Semenchuk and operatic demigod Plàcido Domingo will be warming up their pipes. Conductor James Conlon will flip through his score or perhaps repeat an inspirational mantra while climbing consultant Daniel Lyons double checks some guy ropes. Amidst all of this, not a soul will say that one dirty, cursed word: Macbeth. Everyone who’s ever performed the Shakespeare play, in operatic form or not, knows that those two syllables spoken on the night of a show spell doom. Superstition aside, you can catch a superlative adaptation of Macbeth — er, the story of regal madness, as Los Angeles Opera opens its season. Performances this week are Thursday, Sept. 22, at 7:30 p.m. and Sunday at 2 p.m. The run goes through Oct. 16. At 135 N. Grand Ave., (213) 972-8001 or laopera.org.

TUESDAY, SEPTEMBER 20 Mary Beard at Aloud Central Library, Mark Taper Auditorium, 630 W. Fifth St., (213) 228-7500 or lfla.org.

7:15 p.m.: Amidst the storm of her latest non-fiction release, “SPQR,” Mary Beard lectures on the history of an unexpected Roman Empire. She’ll try to separate fact from myth.

ROCK, POP & JAZZ

ike an institutional caterpillar, the Natural History Museum’s seasonal Butterfly Pavilion has been shuttered like a chrysalis all summer while a larger facility was being built. Now that autumn is upon us and the resident Lepidoptera of the arthropoda phylum have emerged from their cocoons, the miniature nature preserve has opened to the world. Now through Oct. 16, schoolchildren, amateur monarch fiends and sloshed Rams fans who make a wrong turn when leaving the Coliseum will crowd around the new haunt to enjoy the winged fun.

Museum members get in free. Others should prepare to cough up a little do-re-mi to see the butterflies. At 900 Exposition Blvd., (213) 7633466 or nhm.org.

By Dan Johnson | calendar@downtownnews.com

Dames ’N Games: Caliente Cage Rage 2319 E. Washington Blvd., (323) 589-2220 or damesngames.net Thursday, Sept. 29, 9 p.m.: Full contact girl fights plus DJ Hem, Mini Hem and Fire Hoola Lucha Babe.

THURSDAY, SEPTEMBER 22 Daniel Calvisi Last Bookstore, 453 S. Spring St., (213) 488-0599 or lastbookstorela.com.

7 p.m.: If you’re wondering how to write a great hour-long TV drama, Daniel Calvisi’s book “Story Maps: TV Drama” has some great tips.

The Idea of Time at MOCA’s Geffen Contemporary Geffen Contemporary, 152 N. Central Ave., (213) 626-6222 or moca.org.

7 p.m.: Artists Liz Glynn and Aaron Koblin meditate on the passage of time and its relative bearing to the world of art.

Maureen Dowd at Aloud Central Library, Mark Taper Auditorium, 630 W. Fifth St., (213) 228-7500 or lfla.org.

7:15 p.m.: OK, so Pulitzer Prize-winning political columnist Maureen Dowd has made a career of critiquing the American left v. right circus. Sure, her latest “The Year of Voting Dangerously” questions presumed assumptions about democracy. That said, no one is interested in hearing about your intended vote for Gary Johnson.

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Continued from previous page Blue Whale 123 Astronaut E. S. Onizuka St., (213) 620-0908 or bluewhalemusic.com.

Sept. 19: University of Miami Frost Concert Jazz Band and the Dafnis Pierto Artist Ensemble. Yep, you read that right.

Sept. 20: Fabiano Do Nascimento Guello.

Sept. 21: Zhenya Straigalev’s Never Group featuring Tim Lefebre and Gene Coye. Always in that order, please.

Sept. 22: Vardan Ovsepian Chamber Ensemble.

Sept. 23: Geoffrey Keezer and Joe Locke.

Sept. 25: Joomanji.

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Dim Sum

Lunch and Dinner • An Extensive Seafood Menu including Dim Sum at Moderate Prices • Relaxed Dining in an Elegant Ambiance • Live Lobster Tank

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CROSSWORD

Bootleg Bar 2220 Beverly Blvd., (213) 389-3856 or bootlegtheater.org.

Sept. 19: With Jurassic Shark, French Vanilla and Post Life Sadwich, tonight’s bill plays like the menu at a Silver Lake post-ice cream parlor.

Sept. 20: Descriptor-rich Houston in the Blind has built a career of genre-ambiguous music on the central truth of modern audio culture: Everything sounds profound when you’re toasted.

Sept. 21: Paige Calico is here to entertain you.

Sept. 22: Lera Lynn is Nashville’s answer to Meg Myers.

Caña 714 W. Olympic Blvd., (213) 745-7090 or 213dthospitality.com.

Regent China Inn Authentic Chinese Cuisine in Chinatown

✤ Live Lobster and Crab ✤ Delivery, Minimum Order $15 ✤ Lunch Special From $5.50 – Mon.-Fri. 11-5, Sat.-Sun. 11-3 ✤ Party Tray Available 739-747 N. Main St. Los Angeles, 90012 213.680.3333 PARKING IN REAR

Sept. 20: Sitara Son. Sept. 21: Jose Perez.

Sept. 22: Joey de Leon.

Escondite 410 Boyd St., (213) 626-1800 or theescondite.com.

Sept. 19: The Jazzaholics definitely didn’t set that fire in the Bong District. Even if they did, do you think they’d admit it?

Sept. 20: The Sheriffs of Schroedingham lay down the law, one artfully constructed collaboration at a time.

Sept. 21: Keith Kenney, two first names.

Sept. 22: Rayvon Petitis briefly considered changing his name to Ray Ban Petit Bateau, but the corporate endorsements never

LAST WEEKS ANSWERS

September 19, 2016 came through.

Sept. 23: King Corduroy are regents of the stage.

Sept. 25: Ben Bostick may not be RT, but he’ll do.

Exchange LA 618 S. Spring St., (213) 627-8070 or exchangela.com.

Sept. 23: San Holo.

Sept. 24: Green Velvet vs. Cajmere.

Las Perlas 107 E. Sixth St., (213) 988-8355 or 213dthospitality.com.

Sept. 20: Yosmel Montejo.

Sept. 21: La Victoria.

Sept. 22: Francisco Torres.

Sept. 25: Nick Mancini.

Little Easy 216 W. Fifth St., (213) 628-3113 or littleeasybar.com.

Sept. 22: Sabine Trio.

Microsoft Theatre 777 Chick Hearn Court, (213) 763-6030 or microsofttheeatre.com.

Sept. 24: Ehsan Khaje Amiri, or EKA as he’s known in the press photo retouching circuit.

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September 19, 2016

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DEAN C. LOGAN, Los Angeles County Clerk, by Dominique Perry, Deputy, on September 13, 2016.

NOTICE—This fictitious name statement expires five years from the date it was filed in the office of the county clerk. A new fictitious business name statement must be filed before that time. The filing of this statement does not of itself authorize the use in this state of a fictitious business name in violation of the rights of another under federal, state, or common law (see Section 14411 et. seq. Business and Professions Code).

Pub. 09/19, 09/26, 10/03, AND 10/10/2016.

STATEMENT FILE NO. 2016226434 The following individual(s) is (are) doing business as: (1) Follow My Gut, 872 East Sacramento Street, Altadena, CA 91001 (2) www.

FollowMyGut.com, 872 East Sacramento Street, Altadena, CA 91001, are hereby registered by the following registrant(s): Danielle N. Salmon, 872 East Sacramento Street, Altadena, CA 91001. This business is conducted by an individual.

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©2016 Civic Center News, Inc. Los Angeles Downtown News is a trademark of Civic Center News Inc. All rights reserved. The Los Angeles Downtown News is the must-read newspaper for Downtown Los Angeles and is distributed every Monday throughout the offices and residences of Downtown Los Angeles.

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September 19, 2016

RAMS, 5

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On-site: ~ Dry Cleaners / Dental Office / Restaurants Apartment Amenities: ~ Refrigerator, Stove,Microwave & Dishwasher (most units) ~ Central Air Conditioning & Heating ~ Balconies (most units)

PROMENADE TOWERS

123 South Figueroa Street Leasing Information 213 617 3777 www.THEPROMENADETOWERS.com Community Amenities: ~ 24 Hr. Manned Lobby ~ Pool / Spa / BBQ Grills ~ Fitness Center ~ Covered Parking

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On-Site: ~ Convenience Store / Beauty Salon

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photo by Gary Leonard

Tim Leiweke, the former president and CEO of Anschutz Entertainment Group, led the long and ultimately failed Farmers Field odyssey. It was Los Angeles’ most intriguing attempt to bring football back to town.

didn’t even exist. This shall forever be remembered as the era of Tim Leiweke, the brilliant former head of AEG who emerged as the Pied Piper of Pigskin. He sold the heck out of Farmers Field, and got nearly every politician in town (and some in Sacramento) to march behind him. Then he clashed with Anschutz and left the company and the city.

Anschutz wasn’t the only guy who seemed to be of NFL stock — read: super-rich and super-connected — who tried and failed to bring football back. Ed Roski rode the City of Industry horse for years. Eli Broad was briefly allied with a Coliseum stadium vision. Super-agent Mike Ovitz took a whack with a Spanish-style Carson stadium. Walt Disney Co. Chairman and CEO Robert Iger was at the front of a recent plan propelled by the Raiders and San Diego Chargers.

It shouldn’t be surprising that, ultimately, the league chose not to let an outsider into the cabal. No Angeleno got to be the local hero. Instead, the NFL returned to L.A. because Rams owner Stan Kroenke decided to pack up his team and leave St. Louis.

The fans who had supported the Rams for 22 years there howled in disgust, but there was nothing they could do about it.

Super Bowl Coming So here we are, back with the Rams, who laid the biggest of eggs in their opener, a woeful 28-0 shellacking on the road against the feeble 49ers. The Rams will play in the Coliseum for three seasons until a $2.6 billion stadium and shopping complex now under construction in Inglewood is finished. It will be the site of Super Bowl LV — that’s 55, not Louis Vitton — in 2021.

There’s another unique thing about this process: The Los Angeles politicians played it mostly right. That’s weird to say when home games will take place in the hamlet of Inglewood, but a succession of local pols gave some concessions but never offered the sweetheart deals and public infusions of cash that league brass routinely want. We often slam our local leaders, but at least on this issue they consistently showed restraint.

That’s partly why the process took so long: When a team in another city had an outdated stadium, the owner would invariably threaten to move to L.A. The politicians in the smaller market, worried about losing something so vital to its identity, would give up the house. L.A. was a convenient boogeyman, though not one that would roll over.

Weirdly enough, this role continues. The Chargers have until early next year to work out a stadium deal with the city of San Diego, or they too can move to Inglewood and share Kroenke’s palace. If the Chargers stay put, then the Raiders have a year after that to make the same decision. In other words, we now have a team, yet the NFL has still made it possible for us to mess with fans in two other cities. Another reason everyone hates L.A. This is the way it is, though in a few years almost no one will remember any of it. On Sundays in the fall tens of thousands of fans will pack gleaming Roto Rooter Stadium in Inglewood (OK, they haven’t actually announced a naming rights deal yet) and cheer for a team that might be good and where this year’s top overall draft pick Jared Goff might be the backup quarterback.

Twenty-two years from now the Rams might be up there in public sparkle with the Lakers and Dodgers.

They’ll play their games and people will cheer. But really, it won’t compare to the game of getting a team in L.A. in the first place. regardie@downtownnews.com