Bringing You Eastside Culture, Art AND LIFESTYLE
17 OCT. 08 NO
No Longer Hip... or Hipper than Ever? By J. de Salvo
INSIDE:the state of hipsters • highland park's outpost for contemporary art • wilshire center champion gary russell
page 20
Artist’s rendering. Card not available.
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CONTENTS
FEATURES 20 HIPSTERS:
No Longer Hip...or Hipper than Ever?
22 HUMBLE AMBITION
A NELA Nonprofit Brings an International Perspective to the Arts Community.
COLUMNS: 7 EDITOR’S NOTE 8 SNAPSHOTS
MONA Neon Bus Cruise, 10th annual L.A. Greek Fest
12 STRUCTURE
Wilshire & Berendo, home to a prestigious apartment building, a Gothic Revival church, a classic office building and a credit union from the Depression (the first one).
14 FOODSTUFF
Profile of Gloria Felix, chef-owner of reservoir in Silver Lake. The Hot Corner showcases Mateo & Industrial, housing lo s with river views. In the Drink hits the Honda, the Hollywood home of Blue Palms Brewhouse.
17 WARES
Julie Edwards, owner of The Li le Kni ery. not only knits a mean scarf, but is also singer/drummer/ keyboardist for The Pity Party, a buzzworthy indie duo.
18 INNERVIEW
Gary Russell, architect and executive director of the Wilshire Center Business Improvement District, who’s helping to create an eco-friendly urban village.
When photographer Oscar Zagal accepted an assignment to photograph hipsters for J. de Salvo’s cover story, he “never really viewed hipsters like anything negative or foreign.” A er all, his studio is practically in Silver Lake, one of the Eastside hipster capitals. “I have always thought that a trend helps you renew yourself,” says Zagal. “What was surprising though, was to see how a lot of people are unaware of the hipster that lives within them. The people I ended up photographing were so hard to find because they were not in denial. They were hip and delightful. Could it be that I am a hipster too? Perhaps, but so be it.” Visit Oscar’s website at oscarzagal.com.
25 CALENDAR
Selected events for October
20
% off one non-
Executive Publisher Charles N. Gerencser Editor Joshua Lurie Art Director Paul Takizawa • Advertising Art Director Sandy Wachs Production Manager Meghan Quinn • Calendar Editor Julie Rasmussen Copy Editor John Seeley • Contributing Writers Kamren Curiel, Maxwell Harwi , Abel Salas, Michael Saltzman, Jervey Tervalon, Ryan Willbur Photographers Jack Gould, Maura Lanahan, Gary Leonard, Noé Montes, Josh Reiss, Georgia Cobb Torcasio, Oscar Zagal • Sales Director Amit K. Mehta Account Executives Jon Bookatz, Spencer Cooper, Sarah Fink, Diana James, Daphne Marina • Accounting Christie Lee Circulation Manager Andrew Jackson SOUTHLAND PUBLISHING, INC. VP, Operations David Comden • Vice President, Sales Charles N. Gerencser VP, Finance Michael Nagami • Human Resources Manager Andrea Baker Business Manager Angela Wang CONTACT US Advertising: charlesg@newangelesmonthly.com • Editorial: editor@newangelesmonthly.com P: 323-938-1700 F: 323-938-1771 • 5209 Wilshire Boulevard • Los Angeles, CA 90036 www.NewAngelesMonthly.com
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5 ★ OCTOBER 2008 ★ NEW ANGELES
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EDITOR’S NOTE
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PHOTO BY GARY LEONARD
bout five years ago, I reconnected with my long-lost cousin, an L.A. park ranger who was on the verge of moving from the Valley to downtown Los Angeles. I asked him for the exact location, and he mentioned 6th Street, east of Alameda. I knew the corner well, since I had just been there, hunting for Soul Folks Café. The best euphemism I can use to describe the neighborhood at that point was “foreboding.” I pretended like I didn’t recognize the corner and wished him well, at the same time thinking, ‘Why did you think it was a good idea to move to that godforsaken street?’ As it turns out, my cousin was a visionary, since a legitimate infrastructure has finally arisen to meet the needs of likeminded new urbanists. On my drive to Soul Folks, it was hard to imagine much excitement for roo op pools with “L.A. River views,” but that’s exactly what Paul Solomon and Yuval Bar-Zemer at Linear City have managed to generate with the opening of Biscuit Company and Toy Factory Lo s at this month’s Hot Corner, Mateo & Industrial. Solomon and Bar-Zemer managed to draw Elizabeth Peterson and husband Tony Gowan (Royal Clayton’s) and restaurateur Steven Arroyo (Church & State) to The Hot Corner. The former industrial area near the L.A. River has finally reached critical mass. The twin symbols of new urbanism frame a street scene that Solomon compares to a “Mexican plaza or Italian piazza.” Wilshire Center is another example of new urbanism that plays a large role
in this issue. The neighborhood between 3rd and 8th Streets (between Hoover and Wilton) is o en confused with Koreatown, but historic sites like The Ambassador, The Brown Derby and the Art Deco Bullocks Wilshire anchored the hood long before investment from Korean entrepreneurs arrived. The Ambassador is now being transformed into a complex of schools, Bullocks has become Southwestern Law School and all that remains of The Brown Derby is the hat itself, which crowns a hideous two-story strip mall. Wilshire Center is changing, and the man leading the charge is architect Gary Russell, the subject of this month’s Innerview. Russell serves as Executive Director of the Wilshire Center Business Improvement District, and he’s working to make the neighborhood “a great place to work, live and shop.” While Wilshire Center is leaping forward thanks to an influx of mixed-use developments and public transportation, there is still plenty of history to document. As a result, photographer Georgia Cobb Torcasio and writer Melissa Spor teamed to tell the story of Wilshire & Berendo in Structure. New urbanism isn’t the only buzzworthy L.A. phenomenon. J. de Salvo considers another big one: hipsters. This word gets plenty of play on the Eastside, but have you ever stopped to consider what the term even means, and whether it’s still relevant? De Salvo has, and he’s reinforced his insights with a guide to Eastside hipster haunts. Maxwell Harwi traveled to Highland Park to report on the Outpost for Contemporary Art, an art space that hosts visiting overseas artists for months at a time, bringing a global influence to the normally provincial NELA arts scene. In Foodstuff, we get to know Gloria Felix, a chef who’s worked as an L.A. County paramedic, a talent manager and Gordon Ramsay’s sous chef on “Hell’s Kitchen.” She clearly knows how to handle stress and oversized egos. Felix also has the pedigree, and this month, she’s opening marketdriven reservoir restaurant across from Spaceland. NA
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7 ★ OCTOBER 2008 ★ NEW ANGELES
MONA�NEON BUS�CRUISE BY GABRIELLE PALUCH PHOTOS BY JACK GOULD
september 6, 2008
W
e have some cool museums in this city, but how many can say that they have wheels? Saturdays at 7:30 p.m., MONA (Museum of Neon Art) hosts a Neon Cruise, a night-time joyride on a big red bus to scope L.A.’s myriad neon treasures in their natural habitats. The voyage begins downtown and meanders through Chinatown before heading off to Hollywood and beyond, stopping for snacks along the way to keep passengers hydrated and scintillated. The sights include historic signs, modern feats of engineering, neon installations and light art. The museum itself has an exhibition space with permanent and visiting collections of kinetic and electric media, plus workshops to cra your own neon. NA MONA, 136 W. 4th St., Downtown (213) 489-9918. www.neonmona.org NEW ANGELES ★ OCTOBER 2008 ★ 8
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9 ★ OCTOBER 2008 ★ NEW ANGELES
L.A. GREEK�FEST BY GABRIELLE PALUCH PHOTOS BY JACK GOULD
september 5-7, 2008
I
t’s chic to be Greek! Especially at the 10th annual L.A. Greek Fest, where Angelenos of all creeds descended on Saint Sophia Cathedral for a weekend of Greek food, dancing, music, and a historic theatrical performance. Mayor Antonio Villaraigosa a ended, along with Tom Hanks, Rita Wilson and Nia Vardalos (writer and star of “My Big, Fat Greek Wedding”). We even spo ed Harpo the Clown and Aphrodite. The band Fotia, masters of Aegean rhythms, joined in too. The whole affair began Friday with Zorba Night, an especially crazy “one-of-a-kind” dance competition. NA
NEW ANGELES ★ OCTOBER 2008 ★ 10
11 ★ OCTOBER 2008 ★ NEW ANGELES
STRUCTURE
BY MELISSA SPOR • PHOTOS BY Georgia Cobb Torcasio
M
ore Old Hollywood spirit is alive here than any corner in Hollywood proper. The Talmadge is an 80-year-old apartment building named after Norma Talmadge, one of the most glamorous silent-film stars of the roaring twenties. This was an exclusive address in Wilshire’s prime and still boasts wood-burning fireplaces and nine-room suites. Across the street you’ll find Immanuel Presbyterian Church, Los Angeles’ finest example of Gothic Revival architecture. Stand back and take in the church’s immense 205-foot tower. Despite the gloomy exterior, an uplifting sanctuary inside offers services in English, Spanish, Korean, and Tagalog, a testament to Wilshire Center’s growing diversity. Stiles O. Clements, the playful Hollywood architect who designed the Wiltern, designed the Wilshire Office Building on the Northeast corner; stop to scan the detailing around the windows for monkeys grinning down at passers-by. Fulfill your banking needs at First Financial, a credit union that had the fortitude to open at the height of the Great Depression (1933), when most banks around the nation were closing their doors. NA
wilshire office building
berendo
First financial
wilshire immanuel presbyterian church
N W E S
boulevard
THE talmadge
avenue
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323.735.6567 Food To Go 13 ★ OCTOBER 2008 ★ NEW ANGELES
FOODSTUFF
PROFILE:
gloria felix G
BY JOSHUA LURIE
loria Felix grew up in Ontario, a sun-scorched Inland Empire town best known for the Ontario Motor Speedway. She preferred to play outside until age 11, when she transitioned to the kitchen to watch her Mexican-Indian mother marry flavors from Mexico and Spain (her father’s homeland). This resulted in paella, “the best nopales dishes” and “amazing” tortillas. It was in these early days that Felix became committed to freshness, since her mother refused to open cans. Felix bemoans the fact that Eastsiders head west to eat dinner. To help ensure that they eat locally at her new restaurant – reservoir - she has taken the “garden to table” approach to a new level. After Reservoir opens this month, Felix plans to add an herb garden and dwarf citrus trees (blood orange, Meyer lemon and kumquat) behind reservoir. She says, “If I need rosemary or basil, I can just walk out my back door.” The menu changes according to what’s in season, and what Felix finds at local farmers’ markets. Felix graduated with a psychology degree from Cal Poly Pomona and began working with adolescents with chemical dependency. For five years, she worked as an L.A. County paramedic, but “got burnt out,” she says. “You can only go on so many drive-by shootings and overdoses.” However, she did gain “great insight on how to deal with individuals.” She transitioned to talent management, representing actors, musicians and comics, but grew “tired of babysitting.” At parties, Felix continually found herself in the kitchen. “I’d whip something up out of their cupboards, and I had friends say, why don’t you do this professionally?” She discovered Le Cordon Bleu online, took a tour and began attending culinary school the following week. In 2001, Felix graduated with honors from Le Cordon Bleu and secured an internship in Edinburgh, Scotland, at the Grand Sheraton Hotel, but ended up getting deported instead. She had the misfortune of landing at London’s Gatwick Airport on 9/11 with no return ticket or end date on her work papers. That she had a bag full of kitchen knives probably didn’t help either. Felix returned home to Southern California and found work with Fred Eric at Vida in Los Feliz. She respected his “cutting-edge” food and started working for free. After just two weeks, he added her to the payroll. Felix started in pantry, preparing salads and cold appetizers, before moving to Vida’s grill. Felix never stayed in one kitchen for long. “I started this career later on in my life,” she says. “I wanted to get as much experience as I could. I knew exactly the path I wanted to go down and the chefs I wanted to work for.” She caught on with Suzanne Goin at Lucques despite some miscommunication. “They said they were hiring in the kitchen,” says Felix. “I went down there. The chef said the position we have is in pastry…I said, you know what, I’m here, I’ll go to work…I ended up working with Kim Sklar, who’s an awesome pastry chef.” Ciudad offered Felix a position on their line, and before leaving Lucques, she had a “heart to heart” with Suzanne Goin. Felix told Goin, “I would love to work in your kitchen, but I just don’t see myself as a pastry chef. She said, ‘Call me back, and if something opens up, I’ll get you in my kitchen.’” Felix started on grill at Ciudad, and quickly transitioned to sauté. “That was one of the hardest kitchens,” says Felix. “We were doing 200-250 covers a night because of the Staples Center and the theatre. I was doing all the paella, all the hot dishes and I would have ten pans on the line. It was brutal.” After six months, Goin called Felix. Two weeks later, Felix was working in Lucques’ pantry. “[Goin] comes from the school of Chez Panisse,” says Felix. “I learned how to run the best pantry. It’s all about freshness and technique. All the dressings were made fresh. Nothing was poured from squeeze bottles, which I loved.” Six months later, Goin and business partner Caroline Styne opened A.O.C. and hired Felix on the line. She says, “It was kind of cool, ’cause [Goin] saw something in me.” Felix shifted to Grace, working for Neal Fraser. She worked every single position on the line: grill, sauté, pantry, even desserts. Felix considers Fraser a mentor, emulating “the way he runs a kitchen. He’s just kind of a Zen guy. He’s not a screamer. He’s all about teaching.” At reservoir, Felix intends to be “more of a hands-on teacher. If you make a mistake let’s fix it.” Felix left Grace to become the opening chef at Blair’s, in Silver Lake. “It was a great way on somebody else’s dime to get an education,” she says. This was Felix’s first time as executive chef, “responsible for a kitchen, responsible for a staff. Hiring. Firing. Food costs. Someone doesn’t show up, you have to figure out what to do. Your dishwasher doesn’t show up, you’re back there washing dishes…I got to see a lot of the headaches, which is definitely helping me with my restaurant now.” Reservoir was supposed to open last fall, but Felix couldn’t pass up the opportunity to work as Gordon Ramsey’s sous-chef on his competition cooking show, “Hell’s Kitchen.” She says, “At the time, I was opening the restaurant with [pastry chef] Elizabeth Belkind. I said, ‘Look, this is what I’m going to do, are you okay with this?’ She said yes, and I kind of left it in her hands to keep the ball rolling, so I went off and did the show. It was back-to-back seasons…I spent about five months.” During filming, Ramsey “kept saying, when you open [reservoir], you’re going to call us and we’ll do a ‘Kitchen Nightmares’ on your restaurant. I go, I know, and you’re going to do it to yourself when you open up the London.” Felix got what she wanted out of the “Hell’s Kitchen” experience, saying, “They paid me really well,” and “It was really cool experience working with Gordon.” Working on the show may have jeopardized her business partnership with Belkind, who’s gone on to help run Cake Monkey bakery. Felix says, “It was definitely the right thing to do. It’s hard to have two people in the kitchen. You kind of butt heads.” Felix has no such conflict with new partner Darren Roberts, a ten-year restaurant industry veteran she met via Craigslist. “I’m doing my thing in back, he’s doing his thing in front.” Felix has written an original menu, highlighted by Set Ups and Featured Dishes, where every protein is pairable with every set up. For example, pan-seared halibut, duck confit and grilled pork tenderloin are all designed to join roasted baby carrots with brown butter-cauliflower puree and braised leeks. Reservoir will also serve pizzas. For four weeks, Felix trained with Peppe Miele of Antica Pizzeria in Marina del Rey to become certified in Verace Pizza Napoletana (VPN), true Neopolitan pizza. Reservoir doesn’t house a wood-burning oven, so she’s technically not allowed to hang a sign saying they have Neopolitan pizza. Reservoir may be only 40 miles from Felix’s hometown, but she was happy to travel the circuitous path from Ontario to Silver Lake to have her own restaurant. NA
photo by georgia cobb torcASIO
ReservoIR, 1700 Silver Lake Blvd., Silver Lake, www.silverlakereservoir.com
Hot THE
I
CORNER
Mateo & Industrial
n 2002, Linear City partners Paul Solomon and Yuval Bar-Zemer began developing the corner of Mateo & Industrial. Six years later, their efforts are paying dividends with fully realized Biscuit Company and Toy Factory Lo s, complete with entrepreneurial lo dwellers, sleek restaurants, a market and a gym. The location near the L.A. River, Downtown, Boyle Heights and Li le Tokyo has the corner well-positioned to contribute to the city’s new urbanism. “Back when we first saw the buildings six years ago, the corner was a bit noxious,” says Solomon. “The place was a bit abandoned and there was more of a criminal element.” Still, he appreciated the “free-spirited, creative community” of the northern Arts District, so he and Bar-Zemer decided to expand on that sensibility. Elizabeth Peterson le the restaurant business in 1999 to become an urban planner, but returned to the industry a er she was inspired by Mateo & Industrial’s “diversity of residents” and the “fact that it has a small-town feel.” In 2006, Peterson and Britishborn husband Tony Gowan opened Royal Clayton’s in the Toy Factory Lo s (1924), a former Santa Fe Railroad warehouse and Ace Novelty toy factory. Their pub features high ceilings, walls made from old doors, paintings of British monarchs like Henry VIII, and a centuries-old mirror Peterson purchased in New York. The 72-item menu hosts English classics like shepherd’s pie, fish & chips and bangers & mash. GM John Salsow, a 30-year vegan, contributed healthier options like Grains & Grills – brown rice with grilled vegetables and sautéed mushrooms. To drink, expect English beers like Tetleys on tap, plus several Belgian brews. On September 22, the neighborhood reached critical mass when restaurateur Steven Arroyo (Cobras & Matadors, Sgt. Recruiter, 750 ml) opened Church & State at the base of Biscuit Company Lo s, in a former loading dock. He considers it a boon that he scored the “authentically bold” space. The former National Biscuit Company headquarters was designed by E.J. Eckel and constructed in 1925. Arroyo’s redesign features seating that extends on brick floors to the street, white tile walls, a stainless steel exhibition kitchen and a glass facade. “I have a history of doing things that don’t make sense until they work. Sometimes they don’t,” says Arroyo, referencing The Hillmont, his casual Los Feliz steakhouse that was ahead of its time in 2002. Greg Bernhardt, who cooked for Arroyo at 750 ml and for Neal Fraser at Grace, is executive chef. Arroyo says, “We’re trying to do classic French bistro food, all the classics: steak frites, moules frites, oysters, chicken paillard.” A simple breakfast of omelets, pastries and coffee is designed to cultivate “casual, order-from-the-chef camaraderie.” Arroyo also takes pride in sourcing meat, fish and produce from “heritage points in the neighborhood” – the long-standing downtown fish and produce markets. Arroyo says it took a community effort to transform the corner. “It wasn’t hot or special until we showed up…30 people, including our mayor, made it what it is today.”NA –Joshua Lurie Church & State 1850 Industrial St., Downtown (213) 405 1434
The Royal Clayton’s 1855 Industrial St., Downtown (213) 622 0512
15 ★ OCTOBER 2008 ★ NEW ANGELES
NEW AGE IN
EYEWEAR TOP FRAMES AT THE BEST PRICES
Drink in the
BY RYAN WILLBUR
>>BLUE PALMS
I
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Mon. - Fri. 9:30am - 5:30pm Sat. 9:30am - 1:30pm Evening appointments available NEW ANGELES ★ OCTOBER 2008 ★ 16
BREWHOUSE
wouldn’t typically expect to find great beer in Hollywood, especially at reasonable prices. However, Brian Lenzo has managed to deliver both in an unsuspected neighborhood. His Blue Palms Brewhouse is located in the Fonda, where it’s dedicated to serving quality ale. The bar is open, with a modern feel. The kitchen provides a full menu, but the real action happens in the back corner bar. A chalkboard is hung high above the 24 taps and is essentially divided into three sections. The le side features a list of American style lagers and ales while the right hosts Trappist and Belgian beers. Down the middle you’ll find the current cask-beer offering. The chalkboard also notes kegs that are “on deck,” and it’s this list that should keep you coming back every few days. The menu is diverse in the best ways possible. On cask, I tried Stone’s Chipotle Smoked Porter, one of the most interesting and complex beers I’ve tasted. Another recommendation is Judgment Ale from The Lost Abbey. The ale’s complexity and balance will put a smile on your face. If you’re looking for something extremely rich, then try Hair of The Dog Fred, a beer made with 10 different varieties of hops. In this town, it can be hard to find a truly great pint of quality cra ed ale, and most of the time it’s even harder to find a pint at the right temperature and carbonation. These are all details that Blue Palms is dedicated to keeping tabs on. In fact, when a keg blows, before it can be replaced, they insist on waiting for the line to be cleaned. Prices are also reasonable and fair, with a pint costing you anywhere from $5 to $9, making this Hollywood shindig a place the average Joe can actually afford to appreciate. The staff is very friendly and helpful. Bartenders actually know what’s on tap and can tell you all about it. In fact, they seem excited about beer, and that makes a huge difference. Parking is extremely rough around this location. Depending on the night, this bar could be impossible to reach. However, if you can make it, it’s well worth the trip. NA Blue Palms Brewhouse 6124 Hollywood Blvd. Hollywood (323) 464-2337
WARES Julie Edwards, aka Heisenflei, 25
(or possibly 29) not only knits a mean scarf, but is also singer/drummer/keyboardist for The Pity Party, a local indie duo currently generating plenty of buzz.
By Kamren Curiel • Photos by Noé Montes
the little knittery
When did you start knitting? It all started when I didn’t make the cut for the Anne Frank production at school in the 9th grade. There’s this scene when Anne Frank’s dad is remembering the Holocaust and picks up a scarf. I was the only one who knew how to knit, so I made the prop. After that, I became really compulsive about it. What do you sell? Yarn, that’s the big seller. The cheapest is $6/ball and it goes up to $85/ball for the hand-spun cashmere kind. I sell all the notions, or the tools needed for knitting. How long have you been open? It’ll be three years in December with the shop, but I moved [from Los Feliz] to this location in October of last year. I originally went to NYU to study film, but I didn’t have the hustle to be a director. How has it been running your own business? It gets pretty chatty in here because I give a lot of free consultations to customers. It’s really cool to be your own boss, but like American, I operate on debt. I have credit of steel though. What are your customers like? Usually women and gay guys shop here. I haven’t really mobilized straight men yet. A really cute guy came in the other day though, and... Wait, are you going to put this in the article? Has the economy dip affected your shop? We’re all feeling the pinch. A lot of knitting shops have closed, like Knit Cafe, but I send out a newsletter about my classes to this group online called Stitch ‘N Bitch. People who want to learn how to knit seek me out. My high season is picking up. What does knitting do for a person? There’s such an enormous sense of accomplishment to finish a project and give it to someone. Anyone can learn how to knit. It takes a lot of patience, but it’s tangible.
The Little Knittery
3042 Glendale Blvd. • Atwater Village, CA 90039 323-663-3838 • www.thelittleknittery.com The Pity Party’s ORGY PORGY EP is out now. Cop one for $5 + shipping at www.myspace.com/thepityparty.
INNERVIEW
GARY RUSSELL I
n 1995, commercial architect Gary Russell helped found the Wilshire Center Business Improvement District (WCBID), becoming Executive Director in the process. Wilshire Center is bordered by Hoover Street and Wilton Place on the east and west, and 3rd and 8th Streets to the north and south. The historic neighborhood experienced a downturn in the ‘90s due to the L.A. riots and the closure of high profile properties like the Ambassador Hotel. The diverse area has staged a comeback thanks to the Purple Line, Korean entrepreneurs and mixeduse developments. Russell has also introduced the Cool District concept, a plan to decrease carbon emissions in Wilshire Center by two percent per year for 40 years, beginning in 2010. We met at his 10th story office in, where else, Wilshire Center.
INTERVIEW BY JOSHUA LURIE ILLUSTRATION BY ANTONY HARE
NA: When you relocated your business to Wilshire Center in 1985, what was the district’s identity, and what is the identity today? In the ’70s, it was the Fi h Avenue of the West, so it had a very prestigious kind of image. Bullocks Wilshire, Sheraton Town House and the Ambassador were up and running. We had the Brown Derby. It was the place to be‌That couldn’t hold. A lot of competition went downtown. Bunker Hill took all our tenants away. It started to age a bit, and for a variety of reasons it just changed‌Right now it’s a great place to work, live and shop. That’s our model. We’re creating this imagery of a unique urban village, because of the transportation, because new schools are being built, because of the density we have. Why was it important to form the Wilshire Center Business Improvement District? In the early ’90s, we had a series of actions that happened. The L.A. Riot came through and we got damaged. Then we had the building of the Red Line [now the Purple Line] coming through here, so our street was razed up. We had a lot of buildings that were closing down. The Ambassador closed in the early ’90s, then Sheraton Town House and Bullocks Wilshire ‌Our vacancy rate went up to 32 percent. A writer wrote our obituary, calling this place a “ghost townâ€? in about ’94‌ We decided that we didn’t want to close up. There was still value here. We started to create an image, rebuild ourselves‌We built that streetscape project along Wilshire Boulevard, raised $6 million‌The BID maintained this streetscape, but then we realized the BID had other capabilities‌We built security, marketing and advocacy a er that. What would you tell the writer who wrote Wilshire Center’s obituary? Obviously he was wrong in perspective. It was a community that cared and took back the street. We built the community‌Now the vacancy is down to 12, 13 percent. There are all sorts of new developments. How important was Korean immigration in terms of bringing the neighborhood back? They took a big chunk of the commercial space. The Korean community absorbed about 40 percent. So they were obviously able to help us lower our vacancy rate, and help us give a different definition to our community too. The Latino community and Korean community help us make up our diverse community, which we’re very proud of. What has the Purple Line meant for the neighborhood’s redevelopment? For five years we suffered during construction, not seeing anything. It’s now positioned us to get people out of their cars. People can come to this area without the use of a car. You can get out of this area to other centers, to Hollywood, to Universal, to Downtown, to Pasadena, to Long Beach. You don’t need a car. Part of the urban village is creating this housing mix, office and transportation. It’s that Cool District concept of reducing our carbon footprint. What’s the best case scenario for the Cool District? Is it purely defined by that two percent standard? At the least. That’s a standard, but how many buildings, say over the next ten years, can we get to reduce their greenhouse gases or carbon emission, by say 40 percent? What percentage of my buildings in the 33 million square feet can I get to do that? That’s our first immediate target. How can we get people to keep their lights off when they don’t need them? It’s also that educational process too. How many people buy into the idea that there is an issue and there’s some savings financially? Also we need to check the future for my kids and future generations. It’s that education, those impacts, redoing their cooling towers, saving energy wherever they can, saving water wherever they can. Changing out fixtures. Seeing those things happen is when we begin to see real impacts. With Wilshire Center’s limited borders, how much impact can you have? If it was just going to be for us, I wouldn’t be spending this much energy‌There are 35 [BIDs] in L.A. We’re hoping to be a model, the greenest Business Improvement District in North America. The idea is to get other BIDs to take this on this challenge, to take on the two percent. Our executive directors meet on a monthly basis, with the other BIDs. We discuss issues. This year I discussed what we’re doing. They’re excited, [but] they want me to go through the pain. I don’t mind that. NEW ANGELES ★ OCTOBER 2008 ★ 18
You lay down a challenge on Wilshire Center’s website to run on 100% zerocarbon electricity by 2020, using renewable energy like solar and wind power. Is that number realistic? I think it’s realistic. It’s a real push. We need, obviously, more resources to make that happen on a national level, a global level. We do have the resources here. In this community, we have fairly large available funds through the redevelopment agency to create solar panels. All these lots that face south can have solar roofs. As an architect, what are some of the green measures you’re taking? We look at keeping existing spaces as much as we can, not tearing them down. We always try to re-use, recycle, and then minimize. Is there a model development within Wilshire Center that you’d like to see other developers mimic? The one at Wilshire & Western; they’re going for a silver LEED [Leadership in Energy and Environmental Design certification], so they’re making a real good a empt‌Green in new construction is a given. Even the city ordinance now requires an a empt to really go for green to be certified. That’s an important step. The real issue though is to get existing buildings to reduce their carbon footprint. Are there some buildings where carbon reduction is just not possible, given how they’re constructed? Every building has the capability. You look at the carbon footprint as how people travel to it, enter into it, the cars that they use, the landscaping around it, how much water they use, the use of electricity, if they use air conditioning, if cross-ventilation can happen, the solar community, insulation in walls, the lighting, solar panels‌With residential, the problem is a lot of the individual units have one meter. If the tenant comes in with thousands of gadgets and plugs in, is not respectful of turning off lights, and doesn’t want to recycle, keeps the showers running all day long, then it won’t help, no ma er how many solar panels you’ve got on your roof. Are green measures more expensive or less expensive as far as construction? In a new building. certified LEED is real easy. Have recycled carpet and good insulation. Certified silver or gold is a li le bit more expensive, but the thing is, you recoup that cost over the next five or ten years, easily. Did you accomplish what you wanted by closing Wilshire Boulevard on Earth Day? For the 100th Anniversary of Wilshire Boulevard, back in ’95, we closed off Wilshire & Western. It was on Saturday, so traffic wasn’t quite as bad. That was the first time that had ever happened during a weekday. It was a li le bit of a challenge to get people to buy in. MTA wasn’t too pleased with us, because we were deferring their buses, which surprised me, since the whole point of that was Earth Day car-free day‌We had 10-15,000 people. It was just a phenomenal day. It was part of our awareness educational campaign for the tenants, people who use the facilities here. What is missing from Wilshire Center that you hope to see? We’ve got public transportation. The Ambassador Hotel is now changing into a school complex. We’ve got a lot of public schools around here. Kids and families will want to live here. We need some more park area. There will be a new park in front of the Ambassador Hotel that we helped initiate. We’ll eventually begin looking at closing off side streets, put in more landscaping. In the ’90s, we planted over 2000 trees as part of our BID project. We need more greenery, more culture. NA
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Humble Ambition A Northeast Los Angeles Nonprofit Brings an International Perspective to the Arts Community BY MAXWELL HARWIIT
NO LONGER HIP... OR HIPPER THAN EVER? By J. de Salvo Photos by Oscar Zagal
NEW ANGELES ★ OCTOBER 2008 ★ 22
I
t’s early, about nine o’ clock, and the bar at the Little Joy in Echo Park is already full. Something called “Hungry at Sundown” is playing on the juke; a fitting anthem for the beginning of a long night on Sunset Boulevard. The crowd is more or less split into two groups: the rogues and the femmes. Both factions are sporting piercings and tattoos. The rogues, with their beards and their bikes, are rowdier. They’re yelling over the music, so you have to yell over them to be heard. The femmes wear wildly different hats and occupy corners. They stare at the wall or the TV with equal, almost painful intensity. Femmes are like Goths, only sportier. Gender is not a factor in this categorization, and the two aesthetics sometimes work in concert. As the night progresses, this place becomes not so much a meat market as what you might call a “cool market.” Welcome to the world of the hipsters. By 9:35 the Little Joy is packed. A pink-haired scenester in a “Sluts Unite!” T-shirt is already chatting up a few Mad Max types about the upcoming afterparty. Behind you, someone shouts, “You’re a cliché now!” You’re pretty sure they’re not talking about you, but you spin around on your barstool to be sure. “Here come the hipsters,” the bearded youth continues. “You gotta problem with that?” “No, I’m a fan. I’m just wearing a mask.” FEAR OF HIPNESS The hipsters are always the clique in the crowd you don’t know, the other band that’s playing on the same bill as you. They may dress like you, listen to similar music, read the same books and zines, but you are not “one of them.” Your basic hipster is a lot like Jesus. His name is constantly invoked, there are pictures of what he’s supposed to look like everywhere, but you never see the guy. Or, from a more eastern perspective: as with the Tao, to define hipness is to deny it. Still, you can tell a neighborhood is getting hip when it becomes an abbreviation. The area around Silver Lake and Sunset has been shortened to “Silversun”. More recently, the Heliotrope and Melrose area near L.A. City College has become “Hel/Mel.” Mark D’Aquila mans the counter at Scoops, a gelato shop on Heliotrope. He has a front row view of what he describes as “a hipster enclave…It extends out from here all the way past Alvarado.” When he learns I’m writing about hipsters, he gives a sigh that is more than a little noticeable. We talk about the roots of the word, and try to figure out together what it might mean in the here-and-now. “Hipster,” D’Aquila concludes, “ is like…if it’s cool, then it’s not cool.” He has also noticed the rogue/
HIPSTER HAUNTS femme aspect of contemporary hipness. “There’s a lot of role reversal. It seems to me like it’s okay for the men to be a little more feminine, and the women sometimes take on a more masculine role.” “Especially the pretty ones?” “Sure.” The speed with which this area has developed is remarkable. It makes you wonder what the people who live in the area think about it. Anthony Maldonado, a musician and first generation Spanish-American, has lived at Hel/Mel for the better part of three decades. “I give a positive meaning to the word hipster,” says Maldonado. “To me it has a modern connotation…they’re
well-dressed, fashionable, well-read…I think I appreciate there being a little foot traffic in the area, a little hang-out spot, if you will. The small businesses [at Hel/Mel] have helped generate a spark—I just wish they would stay open later…though, if people’s housing costs rise due to the development in the area, I think that would suck.” HIPIPHANY Authority figures are never hip of course, (at least not until they’re retro) but if we take Webster at his word it seems the rise of the hipsters was inevitable. After all, the dictionary defines them as “keenly aware of or interested in the newest developments.” We don’t have much of a choice anymore about being aware of “the newest developments.” They’re in our face all the time. We take what we
want and leave what we don’t from a constantly expanding zeitgeist. Perhaps as we get more used to choosing, our choices are getting better. New Yorkers who still think L.A. lacks a sense of style haven’t been to Silver Lake lately. American Heritage Dictionary seems to take the roots of hipsterdom back to the bebop era: “hipster: one who is especially aware of or interested in the latest trends and tastes, especially a devotee of modern jazz.” The word is again used in bop context in Norman Mailer’s 1958 article “the White Negro,” in which he wrote, “In such places as Greenwich Village, a ménage à trois was completed, the bohemian and the juvenile delinquent came face to face with the Negro, and the hipster was a fact in American life.” “Negro?” All of a sudden being a hipster sounds pretty dated. Somehow, through repetition, the word morphed from a pseudonym for brazen beatniks into a kind of cliche. Possibly it’s just an old word like hippy or punk that needs to be retired, but probably won’t be. HIPOTHEOSIS Josh Boyd fronts the band Hotbodies. He’s played at the Silverlake Lounge, Echo Curio, and Pehrspace, to name a few places reputed to be haunted by the hip. He also had a prominent role as “Murphy” in the partially Samuel Beckett–inspired film, “Man in the Chair.” Will he “come out” as a hipster? “I have been called a hipster on occasion,” says Boyd. “I can only guess why...I’m in a band? I like to party?... I spend most of my free time alone in my room... if that’s hip to you, cool.” The whole hipster thing, Boyd continues, is “like ‘Alternative’ in the mid-’90s, or ‘Indie’ later on...used frequently to either hype or discredit bands, shows, clubs, or people...If you mean hipster in the sense that I’m just another disposable headbanger in a sea of tilted hats, well that’s fine too. I’m sure your girlfriend’s already tired of your negative attitude, and I’d be happy to make her a mix CD.” THE HIPS ARE ALRIGHT Read about this question in CO-ED and you find something akin to hate speech: “How to tell if you’re a hipster: You’re a rich fucking asshole!” Adbusters has an angle which may be just a tad too intellectual. “We’ve reached a point in our civilization where counterculture has mutated into a self-obsessed aesthetic vacuum.” Both these views seem overwrought. Eastsiders like to have fun and look good, and it’s pretty hard to find anything wrong with that. Sure, maybe they could all be out saving the world (and by day, some of them probably are), but that would make the bar at the Little Joy a very boring place. NA
For those who dare to be hip, here are a few places you might want to check out: Bigfoot Lodge 3172 Los Feliz Blvd., Los Feliz, (323) 662-9227 Dancing and live music at a roadhouse/ Smokey Bear theme park Brite Spot Family Restaurant 1918 W. Sunset Blvd., Echo Park, (213) 484-9800 24-hour greasy spoon Bicycle Kitchen 706 Heliotrope Drive, Hel/Mel, (323) 662-2776 “Cooks” help with budget bicycle repair Café Tropical 2900 W. Sunset Blvd., Silver Lake, (323) 661-8391 Café/restaurant/Obama phone bank Downbeat Café 1202 N. Alvarado St., Echo Park, (213) 483-3955 Jazz-themed café The Echo and Echoplex 1822 Sunset Blvd., Echo Park, (213) 413-8200 Live indie music Intelligentsia 3922 W. Sunset Blvd., Silver Lake, (323) 663-6173 Coffee for the Hemingway gourmand King Eddy Saloon 131 E. 5th St., Downtown, (213) 629-2023 The diviest of dive bars Little Joy 1477 W. Sunset Blvd., Echo Park, (213) 250-3417 Not quite as divey but still a joy Lost Souls Café 124 W. 4th St., Downtown, (213) 617-7006 Cheap lunch and creative coffee concoctions in an artsy co-op Mr. T’s Bowl 5621 ½ N. Figueroa St., Highland Park, (323) 273-2528 Live local music in a converted bowling alley Pure Luck 707 N. Heliotrope Dive, Hel/Mel, (323) 660-5993 Vegan hipster dining with good microbrews Pehrspace 325 Glendale Blvd., Echo Park, (213) 483-PEHR Performance space with art and live music Pho Café 2841 W. Sunset Blvd., Silver Lake, (213) 413-0888 Casual Vietnamese with a hipster edge Silverlake Lounge 2906 W. Sunset Blvd., Silver Lake, (323) 663-9636 Local music, dancing, sweat Spaceland 1717 Silver Lake Blvd., Silver Lake, (213) 985-4333 If you’ve never heard of this place, your capacity for hipness is probably pretty minimal Verdugo 3408 Verdugo Rd., Glassell Park, (323) 257-3408 Sleek bar in a residential neighborhood Zankou Chicken 5065 W. Sunset Blvd., Hollywood, (323) 665-7842 Cheap chicken and falafel, with signature garlic sauce
Humble Ambition
A NELA Nonprofit Brings an International Perspective to the Arts Community
BY MAXWELL HARWITT
I
n recent years, Los Angeles has snapped awake from its long, provincial slumber to become one of the more important creative art centers in the world. The 21st century has delivered the emergence of sleek galleries in Culver City and the back alleys of Chinatown. Downtown, dramatic windows frame cavernous venues carved out of the shells of Jazz Age skyscrapers. Travel a bit north of the L.A. River though, and you’ll find humble yet experimental galleries and nonprofits that are often more concerned with social interaction than with their flashier counterparts’ image game. One such establishment is Highland Park’s Outpost for Contemporary Art. The Outpost is one of the more obscure high-minded art venues in Los Angeles. The unimposing two-story center houses a reading room, gallery and upstairs living quarters. This small Highland Park gallery aims to promote cultural awareness and interpret the social dilemmas facing international locales, using them to help us understand our own. This is accomplished in large part via residencies, in which international artists live at the gallery for several months at a time, working to create installations designed to reveal something about their cultures. Aside from the sheer stamina of its programming, the visibility of the space is bolstered by its inclusion in NELAArt and through the bi-monthly art walks that the organization coordinates. It also helps exposure to be close to a Metro Gold Line stop, which not only increases the number of curiosity seekers but gives resident artists the opportunity to explore L.A. cont. on page 24 ➤ PHOTOS BY PAUL TAKIZAWA
NEW ANGELES ★ OCTOBER 2008 ★ 22
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23 ★ OCTOBER 2008 ★ NEW ANGELES
Humble Ambition cont. from page 22 The sparse, insular, and frequently provincial gallery scene of Northeast Los Angeles can seem like an odd setting for an arts establishment with an international scope. The predominantly nonprofit Highland Park–to–Eagle Rock corridor often promotes local artists, with programs that are frequently geared toward educating those artists as much as to serving the public. Installations at these spaces tend toward the LAcentric, committed to exploring the history and cultures unique to the city. That’s exactly why the NELA arts community needs what the Outpost supplies. Galleries in the Northeast do not frequently interact with other institutions on a national or international level, unlike many of the commercial galleries in Culver City, Santa Monica, Miracle Mile, or Chinatown, the other cogs in L.A.’s art economy. The Outpost chooses to draw from a larger pool of overseas art talent, producing twoyear cycles on a social theme in one geographical area. Director Julie Deamer explains that the gallery is currently hosting artists whose work is “focused on socio-cultural transition in Eastern Europe, with an emphasis on Ukraine.” This theme cycle began in 2007 and will continue into 2009, when a fresh theme and region will be selected for a new two-year cycle. The most recent artist in residence, Nebojsa Milikic, addressed that notion of change in an almost documentary manner. In July, the gallery presented a
series of radio shows Milikic conducted with several tenants of one building in Belgrade from 2001 to 2003. These dramatized interviews sought to analyze the transition of the economy from staterun to free market, using the individual dilemmas in that one building as a microcosm. Milikic seemed impressed by his encounters with interested Angelenos, saying, “Reactions were quite interesting and in fact similar to those that one could have in Belgrade in such situations.” Croatian-born Vlatka Horvat will be next in the residency. Her work is concerned with the limitations of language and other forms of interaction, and is presented in a plethora of mediums, including works on paper, photographs, and videos. To further encourage an international dialogue between experimental arts venues, Hungarian art historian Dóra Hegyi will curate a show with selections from her Budapest-based gallery, tranzit.hu. The Outpost will also be sponsoring a Los Angeles curator to travel to Budapest in an effort to establish something like a curatorial
exchange program, fulfilling in part the Outpost’s proclaimed goal of “developing international artistic projects that stimulate social interaction and emphasize process over end result.” The visiting artists thrive on being housed in a neighborhood where many Angeleno artists reside—even if they don’t display their work there. Deaner elaborates, “We figured that visiting artists should have a strong community of local artists around them to connect with and that our local community of artists would be interested in meeting visiting artists.” So in addition to giving Highland Park a perspective from overseas, the venue nurtures its resident artists and curators via immersion in Los Angeles’s vibrant arts scene. Nebojsa Milikic says of his experience, “I had a great collaboration with local artist Nicole Capps. All artists that I came in contact with were so interested in my projects and generously supportive.” The Outpost’s global focus does not mean that it shuns local talent. Every autumn, the Monster Drawing Rally brings L.A. artists and the public together for an all-inclusive community
event. On October 12, guests are invited to watch participants create drawings, which can then be purchased for a small price to benefit the gallery. Last year, 80 contributors included Terri Phillips of the Acuna Hanen Gallery, and John Knuth, the director of Circus Gallery. “The public turnout is tremendous,” says Deamer. “We had 300 paying guests last year in addition to the 200 or so artists, members (who get in free), volunteers, and musicians.” The Outpost’s ability to bring so many artists together for a social event with the public confirms the success of its community goals. Membership at the gallery is available in the usual multi-level platform, with a complimentary Chris Johanson lithograph granted above a certain price. The gallery also boasts a collection of art publications and catalogs dating back to the 1940s. The Outpost for Contemporary Art brings a thoughtful and stimulating dialog to LA. and is eager to involve community residents in all aspects of its programming. The popularity of its programs, reflected not only by the heavily attended events in the space, but also by the steady flow of supporters willing to donate their time and energy, ensures its future as a bastion for thoughtful, experimental artwork in the increasingly global Los Angeles arts scene. Outpost for Contemporary Art 6375 N. Figueroa St. • Highland Park (323) 982-9461 • www.outpost-art.org
CALENDAR
OCTOBER 08 Listing compiled by Julie Rasmussen Send listings to calendar@newangelesmonthly.com
L.A. UNFOLDED: MAPS FROM THE LOS ANGELES PUBLIC LIBRARY
Beginning October 15th, L.A.’s Central Library will display a massive collection of maps that have been largely unseen for over 100 years. The exhibition focuses on Los Angeles and California and features topographic surveys, tourist guides, real estate maps, pictorials, illustrations and more. Highlights include a 1791 Spanish explorers’ California coast map; a 1975 Goetz Guide to the Murals of East Los Angeles; and Artist-Historian Jo Mora’s masterly illustrated 1942 city map. The exhibition draws exclusively from the Los Angeles Public Library’s own map collection, one of the largest of its kind owned by a public library in the U.S. A variety of lectures, tours and family activities accompany this highly educational exhibition. L.A. Unfolded will run through Jan. 22, 2009, and is presented by the Library Foundation of Los Angeles for the Los Angeles Public Library. Los Angeles Public Library, 630 W. Fifth St., Downtown. 213-228-7500 or www. lapl.org
ART THROUGH OCT. 7: OFF-REGISTER A showcase of prints by international artists and graphic designers who don’t consider themselves printmakers. Artists include Robin Cameron, Michael Coleman, Justin Fines, Ryan Giese, Grotesk vs. Lowrider [collaboration], Steven Harrington, Maya Hayuk, Cody Hudson, Evan Hecox and Ben Loiz. Little Bird Gallery, 3195 Glendale Blvd., Atwater Village. 323-662-1092 or www.littlebirdgallery.com THROUGH OCT. 11: THE GARDEN Pipo Nguyen-duy’s The Garden, a follow-up to his acclaimed East of Eden series, is a photographic project that explores the North American landscape as the Garden of Eden and reframes it from a post-9/11 perspective. Sam Lee Gallery, 990 N. Hill St. #190, Chinatown. 323-227-0275 or www. samleegallery.com THROUGH OCT. 18: CYCLING APPARATI A group show in a variety of mediums with work by Alice Aycock, Michael Decker, Marcel Duchamp, JeanPierre Hebert and more. High Energy Constructs/ SolwayJones, 990 N. Hill St., Chinatown. 323-227-7920 or www.highenergyconstruct.com www. solwayjonesgallery.com THROUGH OCT. 31: ANIMAL SHOW Nine emerging Los Angeles artists exhibit their works with animals. Artists include Sophia Gasparian, Douglas Alvarez, Terri Tooter, Paul Torres and Yuki Miyazaki. Bailey Gallery, Pussy and Pooch, 564 S. Main St., Downtown. 213-438-0900 or www. pussyandpooch.com THROUGH NOV. 8: COSMOS FACTORY Cosmos Factory brings together seven emerging artists from Los Angeles and the Bay Area who unite the cosmic and the mundane in their work. With wit, intelligence, and craft, they investigate the complexity and beauty of the physical world, as well as our simultaneously thrilling and limited apprehension of it. Includes Brian Cooper, Joshua Callaghan, Nathaniel DeLarge, Amy Green, Amy Maloof, Tran Truong, and Dani Tull. Curated by Brad Eberhard. Cirrus Gallery, 542 S. Alameda St., Downtown. 213-680-3473 or www.cirrusgallery.com OCT. 3-5: TARFEST This annual event includes three days of film, music and art. New this year: a one-mile Miracle Mile Run along Wilshire Blvd. For complete schedule of events and venue location, along with other information, visit www.tarfest.com OCT. 4: HIVE GALLERY & STUDIOS GROUP SHOW Featuring work by 13:11, Ted Von Heiland, Dion Macellari, Joe Scarano and Terri Underwood. A massive themed group show showcases emerging and established artists from L.A. and beyond, live performances, working artist studios, DJs, burlesque and a full bar. The Hive gift shop sells original art, prints and gifts for under $50 apiece. $8, 8 p.m. 12:30 a.m. The Hive Gallery, 729 S. Spring St., Downtown. 213-955-9051 or www.thehivegallery.com
25 ★ OCTOBER 2008 ★ NEW ANGELES
OCT. 9: DOWNTOWN ARTWALK A free, self-guided tour of Downtown L.A. art venues: commercial art galleries, nonprofit art spaces and museums. A free shuttle loops through Gallery Row to assist attendees in their adventure. noon-9 p.m. Map of participating galleries and venues at www.downtownartwalk.com OCT. 9-25: GASOLINE Exhibition of Dame Darcy’s paintings and paper works, coinciding with the release of her graphic novel, Gasoline, published by Merrell Books. This show consists of a selection of paintings and original illustrations included in the book, and will be followed by a companion exhibition at Sloan Fine Art (NYC) in November. Opening reception Oct. 9, 6-9 p.m. Bert Green Fine Art, 102 W. 5th St., Downtown. 213-624-6212 or www.bgfa.us OCT. 9 - NOV. 9: PLEASURE AND MISERY: CERAMIC SCULPTURE BY TOMÁS OWEN A selection of sculptures crafted by Mexican artist Tomás Owen. Opening reception Oct. 11, 6-10 p.m. Pounder-Kone Art Space, 3407 Glendale Blvd., Atwater Village. 323-913-2247 or www.cchpkas.com OCT. 9 - APR. 26, 2009: OF TULIPS AND SHADOWS: THE VISUAL METAPHORS OF DEWEY CRUMPLER The work of Dewey Crumpler, an Oaklandbased artist known internationally for creating beautifully painted, evocative works on paper and canvas, as well as sculptures made of prepared wood and found objects. Admission is free. California African American Museum, 600 State Drive, Exposition Park, Los Angeles. 213-744-7432 or www.caamuseum.org OCT. 10-31: RED FOREST Oil and acrylic paintings, plus a large installation by artists Ekundayo and KMNDZ. In the project room, you’ll find new acrylics and collages from Jeaneen Carlino and paintings by Michael Alvarez. Opening reception Oct. 10, 7-11 p.m. Thinkspace Gallery, 4210 Santa Monica Blvd., Silver Lake. 323-913-3375 or www. thinkspacegallery.com OCT. 18 - NOV. 15: THE UNIVERSE AND EVERYTHING IN IT Thomas Trivitt’s new enamel paintings appear on canvas. His body of work uses automotive pinstriping techniques, tools and high-gloss enamels to create a flowing Zen-like feel. Opening reception Oct. 18, 7-10 p.m. L2Kontemporary, 990 N. Hill St., Chinatown. 323-225-1288 or www. l2kontemporary.com OCT. 25 - NOV. 23: HUMANATURE II Grace Oh’s black-and-white photos depict human nature. Opening reception Oct. 25, 7-11 p.m. Edgar Varela Fine Arts, 542 S. Alameda St., Downtown. 213-494-7608 or www.edgarvarelafinearts.com
books/literature/ discussion OCT. 10: CAN DESIGN STOP A WAR? Join Carol Wells, of the Center for the Study of Political Graphics, for this provocative and poster-rich presentation. Free, noon-1 p.m. FarmLab, 1745 N. Spring St., Los Angeles. 323-226-1158 or www.farmlab.org OCT. 11: STANDING IN TWO CIRCLES The first definitive and comprehensive compendium from Boyd Rice, one of the most provocative and controversial underground figures of the post-punk era, a pioneering noise musician and countercultural maven beginning in the late ’70s. He’s worked in a host of capacities: musician, performer, artist, photographer, essayist, interviewer, editor, occult researcher, filmmaker, actor, orator, DJ, gallery curator and tiki bar designer. Free, book signing 6-9 p.m. La Luz de Jesus, 4633 Hollywood Blvd., Los Feliz. 323-666-7667 or www.laluzdejesus.com
NEW ANGELES ★ OCTOBER 2008 ★ 26
OCT. 22: ONE CAN MAKE A DIFFERENCE: HOW SIMPLE ACTIONS CAN CHANGE THE WORLD In her new book, Ingrid Newkirk collects the wisdom, stories, and insight of more than 50 activists and world-changers who have proven that one person can create a movement. Through fascinating stories and advice, this book offers a road map for people seeking to better the world, and also provides a boost of inspiration for seasoned activists and other agents of change. Free, 7:30 p.m. Skylight Books, 1818 N. Vermont Ave., Los Feliz. 323-660-1175 or www.skylightbooks.com
film OCT. 5: L.A. FILMFORUM PRESENTS STOP & GO: A NIGHT OF ANIMATION Established filmmakers and visual artists use stop-motion techniques to tell stories, examine visual phenomena and make political statements in this collection of short videos. The animators breathe life into magazine cutouts, homemade drawings, everyday objects, and even the body itself. The result is a selection of videos that are humorous, poignant and marvelous. Curated by Sarah Klein. $9, 7 p.m. Echo Park Film Center, 1200 N. Alvarado St., Echo Park. 213-484-8846 or www.echoparkfilmcenter.org OCT. 18: FUNNY GIRL Celebrate the Egyptian Theatre’s 86th anniversary with a 40th anniversary screening of Funny Girl, starring Barbra Streisand. The semi-biographical plot is based on the life and career of Fanny Brice, a Broadway and film star and comedienne, who endured a stormy relationship with gambler/ entrepreneur Nicky Arnstein. $10, 7:30 p.m. The Egyptian Theatre, 6712 Hollywood Blvd., Hollywood. 323-466-FILM or www. egyptiantheatre.com
Theatre, 6712 Hollywood Blvd., Hollywood. 323-466-FILM or www.egyptiantheatre.com OCT. 30: SPLATTER An art exhibition exploring the passions and obsessions of images of chaos, bloodlust and things that go bump in the night. Work by artists like Chris von Steiner, Heidi Taillefer, John Wayne Gacy, J.C. Garrett, Coral Armour, Ivo Sobieski and Jeffery Dahmer. $10, 7-10 p.m. Antebellum Gallery, 1643 N. Las Palmas Ave., Hollywood. 323-856-0667 or www. antebellum.us.ms OCT. 31 HALLOWEEN INDIE BASH Club Underground and Hang the DJ’s provide a night of electro and indie sounds with guests Love Grenades, Little Red Radio and The Strange Boys. $8, 10 p.m., 21+. The Echo, 1822 Sunset Blvd., Echo Park. 213-413-8200 or www.myspace.com/ hangthedjs OCT. 31: HARD HAUNTED MANSION Justice performs a DJ set. Additional acts on the bill include Crystal Castles, Soulwax and Simian Mobile Disco and more. $50, 8 p.m. Shrine Expo Hall, 700 W. 32nd St., Los Angeles. www.hardfest.com OCT. 31: HAUNTED HILL Cypress Hill’s devilish night of hip-hop and beats. $39.50, 9 p.m. The Wiltern, 3790 Wilshire Blvd., Los Angeles. 213-388-1400 or www.livenation.com OCT. 31: SALVAGE In this psychological thriller, a family struggles to survive the aftermath of a deadly accident. Explore what it means to be pushed out of the lives we’ve made into horrific new territory. 8 p.m. Autry National Center of the American West, 4700 Western Heritage Way, Griffith Park. 323-667-2000 or www. autrynationalcenter.org
HALLOWEEN ACTIVITIES
music
OCT. 23: DINO’S DRIVE-IN The punk-rock archivist presents a Halloweenthemed night with a rare black-and-white Hammer horror film from 1960 called Stranglers of Bombay (remade by Hollywood in the 1980s as The Deceivers). 16mm Night also includes The Hallroom Boys’ 9.5mm silent haunted house short, Shiver and Shake. $5, 8 p.m. Echo Park Film Center, 1200 N. Alvarado St., Echo Park. 213-484-8846 or www.echoparkfilmcenter.org
OCT. 5: JANET KLEIN AND HER PARLOR BOYS Lovely and obscure musical gems of the 1910s, ’20s and ’30s performed with uncommon authenticity by the enchanting and popular Hollywood chanteuse Janet Klein and her Parlor Boys. Free, 8 p.m. Maxwell DeMille’s Cicada Club, Oviatt Building & Penthouse, 617 S. Olive St., Downtown. 877-463-7773 or www.clubcicada.com
OCT. 24 - NOV. 1: HALLOWEEN NIGHTTIME TOURS OF THE SPIDER PAVILION The Natural History Museum of Los Angeles County invites visitors to tour the Spider Pavilion after dark. During extended Museum hours, these guided flashlight tours let guests encounter the arachnids when they are most active. After the tours, the Museum offers spider-themed activities and visitors receive a FREE flashlight (while supplies last) to take home and test their new spider knowledge in their own backyards. For program schedule and ticket info, visit website. The Natural History Museum of Los Angeles County, 900 Exposition Blvd., Los Angeles. 213-763-DINO or www.nhm.org OCT. 26: CLUB CICADA The Cicada Club transforms into a haunted nightclub for a vintage Halloween costume party (pre-1960s costumes only!) featuring Dean Mora and his 20-piece orchestra plus a spooktacular floor show by the Satin Dollz Pin Up Dancers. Free, 8 p.m. Maxwell DeMille’s Cicada Club, Oviatt Building & Penthouse, 617 S. Olive St., Downtown. 877-463-7773 or www.clubcicada.com OCT. 30 - NOV. 2: HALLOWEEN HORROR A spooky festival of some horror classics, including Horror of Dracula, Brides of Dracula, Curse of the Werewolf and The Gorgon along with two versions of Dr. Jekyll and Mr. Hyde (the 1941 version with Spencer Tracy and the Pre-Code 1932 version with Fredric March), plus a Special 6-Film Halloween Horrothon on the 31st with Santa Sangre, Atom Age Vampire, Pieces, Zombie and more! $10, see website for showtimes. The Egyptian
OCT. 11: WORLD CITY - LOS LLANEROS AND BALLET FOLCLORICO DO BRASIL Energetic and sometimes haunting melodies of the Colombian/Venezuelan Llanos or plains, performed by Los Llaneros. Also taking the stage, Ballet Folclórico do Brasil, an exuberant Afro-Brasilian ensemble that bridges the ancient and urban world through music and dance. Free, 11 a.m. and 12:30 p.m. W.M. Keck Foundation Children’s Amphitheater, Walt Disney Concert Hall, 111 S. Grand Ave., Downtown. 213-972-3660 or www.musiccenter.org OCT. 11: ULTRALUXX This always free, always fun monthly club provides a variety of mixes and beats on the electro and indie tip for the ears, plus visually entertaining art for the eyes… Lexx and Los are the resident DJs, BuffLazer200 fills the air with light sculptures and The Hive Gallery provides art upstairs. Free, 10 p.m. 2 a.m., 21+. The Mountain, 473 Gin Ling Way, Chinatown. 213-484-0361 or www. myspace.com/ultraluxx OCT. 12: THE CONDUCTORS Acoustic folk and fun tunes for the entire family to enjoy! Over the past three years, lead conductor Joe Hutchinson has dedicated the group’s performances to his son, who was diagnosed with Autistic Spectrum Disorder. The Conductors sing to raise support and awareness for the autism community. Free, 11 a.m. Travel Town, Griffith Park’s Railroad Museum, 5200 Zoo Drive, Griffith Park. www.theconductorsusa.com OCT. 14: THE TING TING’S AND SANTOGOLD Dance the night away to the electro and
energetic dance beats of the two groups. Santogold is a protégée of M.I.A. $30, 7 p.m. The Wiltern, 3790 Wilshire Blvd., Los Angeles. 213-388-1400 or www.livenation. com OCT. 17: GYM CLASS HEROS & THE ROOTS New York’s Gym Class Heroes fuse rap, alternative and funk into one bracingly original package. The Roots, renowned for their intelligent rhymes, tight musicianship and independent stance, are one of Hip-Hop’s most adventurous collectives. With special guests Estelle. $35, 8 p.m. The Hollywood Palladium, 6215 Sunset Blvd., Hollywood. 310-598-4076 or www.livenation.com OCT. 18: THE PIRATES CHARLES AND CUTTHROAT SHAMROCK Punk rock music with hints of folk and trippy acoustic sounds. $5, 10 p.m., 21+. The Redwood Bar & Grill, 316 W. 2nd St., Downtown. www.theredwoodbar.com OCT. 25: MUSICA ANGELICA BAROQUE ORCHESTRA Internationally acclaimed conductor/ organist Martin Haselböck leads this performance, featuring recorder virtuoso Marion Verbruggen, celebrated gambist Vittorio Ghielmi and noted violinist Ilia Korol in a program of J. B. Bach’s Orchestral Suite No. 4 D Major and Brandenburg Concerto No. 4, G Major, Vivaldi’s Concerto C-major for Sopranino Recorder and Strings, Graun’s Double Concerto for Gamba and Violin, C minor, and Telemann’s Double Concerto for Gamba and Recorder, A minor. $39-$55, 8 p.m. Zipper Concert Hall, Colburn School of Performing Arts, 200 S. Grand Ave., Downtown. 310-458-4504 or www. musicaangelica.org OCT. 27: LAINIE KAZAN Showtune diva Kazan performs as part of Musical Mondays, the Actors Fund concert series of cabaret events in the lobby of the historic Pantages Theatre, produced by John Bowab and Martin Wiviott. The show includes pre-show cocktail reception at 7:30 p.m. and post-show dessert reception with the artist. $125, 8:30 p.m. The Pantages Theater Lobby, 6233 Hollywood Blvd., Hollywood. 323-933-9244 or www.actorsfund.org
theater/live performance THROUGH OCT. 12: THE CHALK BOY Beneath its boring facade there is more going on in the tiny town of Clear Creek than the opening of the new Taco Bell. Four of the town’s local girls are here to take you on a tour of their funny, yet brutal reality. They struggle with faith, friendship, sex, the occult, algebra, and the disappearance of . . . The Chalk Boy. Directed by Courtney Sale. Starring: Claire Bocking, Sonora Chase, Amy Patrice Golden and Sarah Rosenberg. $15, Thurs.-Sat. 8 p.m.; Sun. 7 p.m. Company of Angels, Alexandria Hotel, 501 S. Spring St., 3rd floor, Downtown. 323-883-1717 or www. companyofangelstheater.org THROUGH NOV. 22: JOE’S GARAGE A theatrical adaptation of Frank Zappa’s album, Joe’s Garage, includes a sevenpiece band on stage every night, with a cast of 18 dancers, singers and actors. Think Rock Opera. Show covers the album from start to finish, no added text, no cuts. Adapted for the stage by Pat Towne and Michael Franco from Frank Zappa’s original stage play. Directed by Pat Towne, musical direction by Ross Wright, choreography by Jennifer Lettelleir Consultant on all things Zappa - Gail Zappa. $25, Fri. & Sat. 8 p.m.; Sun. 7 p.m. The Open Fist Theatre Company, 6209 Santa Monica Blvd., Hollywood. 323-882-6912 or www.openfist.org OCT. 11 - NOV. 16: GEM OF THE OCEAN Gem of the Ocean is set in 1904 at 1839 Wylie Avenue in Pittsburgh, PA. Aunt Esther, a 287-year-old fiery matriarch, welcomes into her home Citizen Barlow, a young man from Alabama searching for redemption and a new life. Aunt Esther is not too old to practice
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healing; she guides him on a soaring, lyrical journey of spiritual awakening to the City of Bones. Written by August Wilson, directed by Ben Bradley. $25, Thur.-Sat. 8 p.m.; Sun. 2 p.m. The Fountain Theatre, 5060 Fountain Ave., East Hollywood. 323-663-1525 or www. fountaintheatre.com OCT. 12: THE LITURGY OF ST. JOHN CHRYSOSTOM AND HARMONIE MASS The Los Angeles Master Chorale launches its 2008|09 season with the grandeur of Rachmaninoff’s rarely heard a cappella masterpiece The Liturgy of St. John Chrysostom Op. 31 and Haydn’s Harmonie Mass, considered a veritable summation of the great composer’s body of work. A quartet of soloists from the Chorale perform: soprano Deborah Mayhan, alto Adrianna Manfredi, tenor Daniel Chaney and bass Reid Bruton.
$19-$124, 7 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., Downtown. 213-972-7282 or www.lamc.org OCT. 23: AMERICAN HISTORY SKETCH America’s true Hollywood story; a revealing look at our sketchy past and present. Written by: Brian Cooperman, Matthew Denicourt, Vincent Geluso, Katie Krentz, Mike Ludwig, Mirage Thrams, and Jaime Stickle. Directed by Joshua Funk. Starring Nick Jackson, Robin Johnstone, Aisha Kabia, Rebecca Leib, Alexander Lusk and Chad Reinhart. $10, 8 p.m. The Second City Studio Theatre, 6560 Hollywood Blvd., Hollywood. 323-464-8542 or www.secondcity.com OCT. 24-26: MIAMI CITY BALLET In the West Coast premiere of Nightspot, a Twyla Tharp and Elvis Costello collaboration.
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Together, the duo creates a seductive, flirtatious, and dramatic work that showcases the skill and confidence of Miami City Ballet’s dancers. $30-$120, Fri. & Sat. 7:30 p.m.; Sun. 2 p.m. Dorothy Chandler Pavilion, 135 N. Grand Ave., Downtown. 213-972-0711 or www. musiccenter.org OCT. 25: PILLOW THEATRE Storyteller and musician David Gonzalez teaches children about sharing and friendship with his delightful presentation of Aesop Bops. A zoo full of animals comes alive in this fastpaced production, filled with such stories as The Lion and the Mouse, The Fisherman and his Wife and Why the Turtle has a Checkered Shell. Free, 10 a.m. and 11 a.m. Grand Hall, Dorothy Chandler Pavilion, 135 N. Grand Ave., Downtown. 213-972-8000 or www. musiccenter.org
tours OCT 18-19: HISTORIC TOURS OF THE EGYPTIAN THEATRE Get a behind-the-scenes look at the home of the first Hollywood movie premiere, including a peek at the projection booth, dressing rooms and much more. $7, 10:30 a.m. The Egyptian Theatre, 6712 Hollywood Blvd., Hollywood. 323-466-FILM or www. egyptiantheatre.com OCT. 25: ECHO PARK STAIRWAYS A walking tour that introduces and unveils the many hidden stairways throughout Echo Park. $5, 10 a.m. Elysian Heights Elementary School, 1562 Baxter St., Echo Park. 323-860-8874 or www.historicechopark.org
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Sat & Sun October 18 & 19 | 10am to 6pm Rodeo Dr. & Santa Monica Blvd. | 310.285.6830 | www.beverlyhills.org
MARK WOLLMAN
A Free Event Friday, October 10, 2008 6 to 10 pm
Envision the Night Enjoy a free evening of art, music and entertainment as Pasadena’s most prominent arts and cultural institutions swing open their doors. Armory Center for the Arts Art Center College of Design Norton Simon Museum One Colorado Pacific Asia Museum Pasadena City College Pasadena Jazz Institute Pasadena Museum of California Art Pasadena Museum of History Pasadena Public Library Side Street Projects
Part of Pasadena Art Weekend, October 10, 11 and 12, 2008. For more information, please visit pasadenaartweekend.com or call 800.307.7977 ArtNight is an ongoing partnership among many cultural institutions and the Cultural Affairs Division of the City of Pasadena. The event is sponsored by the Pasadena Arts & Culture Commission.
NEW ANGELES ★ OCTOBER 2008 ★ 30
Free Shuttles Free shuttles will loop throughout the evening with stops at each venue. Park at any one venue and ride to the others. Pasadena ARTS Route 10 Makes limited stops until 10 pm. Find route information and download a free pass at cityofpasadena.net/artsbus. Metro Gold Line Attend ArtNight by taking the Metro Gold Line to Pasadena. Check metro.net for schedule information. Organized ArtNight Bicycle Tours For more information, visit cicle.org. artnightpasadena.org
For information on ArtNight, please call the ArtNight Pasadena Hotline at 626.744.7887. For information on accessibility and/or to request written materials in alternative formats, please call the City of Pasadena at 626.744.7249. Para más información en español, visite nuestra página del internet.
Need a New Studio ? Dock High glass rollup doors 3 Phase power up to 150 amps Glass mosaic tiled bathrooms Industrial strength concrete floors, walls and ceilings ADA compliant Satellite TV hookups Cabled for high speed internet access Security cameras inside and out 8 foot wide hallways and entry doors 5,000 lb freight elevator Gated secure parking Pre-wired for multiple business lines Polished concrete corridors Carrier A/C and heating A common area for presentations, gallery showings or professional meetings 10 - 13 foot high ceilings Computerized key card access Immediate freeway access to the 5, 10, 60 and 101 Rooftop deck Nationally recognized award winning architect designed building Seismic retrofit to 2008 standards