The Music Center's Plaza Opening Weekend Coverage by The Music Center

The Music Center’s Plaza Opening Weekend

The Music Center Plaza August 28 —September 1, 2019

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Add itional Details Revealed for Abernethy's Emerging Chef Program Aug 16, 2019

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photo courtesy Music Geflter

Downtown is just a few weeks away from the grand reveal of the Music Center's $4 1 million plaza overhaul. That will include a collection of new eating drinking spots. 4 0 for ttle Fall: A Rundown of 40 Cone ens, .. Fall is almost here and in DOWfltown Los An!I

Last week, additional details about the full-service restauranlAbernethy's were unveiled

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Peeling Back the Plaza: Food and Drink Options at the Music Center Plaza Revealed It will fully open on Sept. 5, and different chefs will helm the kitchen each quarter, each bringing his or her own unique menu. The Music Center announced on Thursday, Aug_15, that Shirley Chung, who cu rrently runs Ms Chi Cafe in Culver City, will start the rotation Her menu w ill invoke her Beijing heritage, w ith dishes such as handmade dumplings, Beijing lamb belly and her Bowl of Hugs soup "I love the idea of giving Angelenos the opportunity to experience Abernethy's roster of rising chefs and the chance we'll have lo tell ou r stories through our individual cooking styles and dishes," Chung said in a prepared statement.

Roasted Heirloom Baby Carrots pl'loto courtesy Stllfley ChUlil

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Chinese Chicken Dumplings photo courtesy Shirley Chll"lg

Addit ional chefs on the rotation include Geter Atienza o f Brok en Spanish, Ryan Coostanza, executive chef at Freedmans Restaurant, and Jason Fullilove, chef and owner of Barbara Jean .

"Over the last few years.we've seen Los Angeles become a major destination for food with chefs from many d ifferent cultural backgrounds interested i ns hari ng the foods they love and love to cook," JIii Baldauf, chair of Abernethy's C ulinary Advisors, a nd the Music Center Board o f Directors sa id in a prepared statem ent. 'With Abernethy's, we'll provide a platfonn for our emerg ing chefs to tell their personal story through food and give Angelenos a nd visitors a taste of the incred ible cultural diversity of

our region" The 125-seat restau rant has both indoor and patio seating, and architects Rios Clementi Hale 's design utilizes a neutral palette of muted g rays, g reens and blues.

photo courtesy MUSIC Center

Abernethy's will be open Tuesday-Friday, 5 p.m .-9 p.m., Saturday's 11 a.m -11 pm. and Sunday, 11 a.m 9p.m

Coming to 220 N . Hope st., (213) 927-8088 or abernethysLAcom ©Los Angeles Downtown News 2019

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Enrico Nawrath Bayreuth Festival

“LOHENGRIN,” as directed by Yuval Sharon, returned to the Bayreuth Festival in Germany this summer. The staging delves into ideas about power dynamics.

YOU WON’T FIND THIS OPERA IN L.A. Yuval Sharon and Peter Sellars take their ideas to more committed European cities BY MARK SWED

MUSIC CRITIC

>>> SALZBURG, AUSTRIA — Thanks

to Silicon Valley and the entertainment industry, California, we all know, has become the engineer of societal, political and economic conduct nearly everywhere. We give the marching orders. We have the unmatched resources for change. We also have, in Los Angeles, perhaps the two artists best equipped to reveal what this means in that uniquely personal, probing and universal manner of opera. What we don’t have in California are the resources or, apparently, will for that to happen on a grand, operatic scale. Instead, Peter Sellars and Yuval Sharon rely on the goodwill of traditional Europe at the two greatest summer opera festivals. Here in Mozart’s birthplace, the most prominent production of this summer’s Salzburg Festival has been Sellars’ “Idomeneo,”

which uses Mozart’s first mature opera to direct our attention toward the ocean and the catastrophe brewing within our waters. At the same time, 225 miles away at the Bayreuth Festival, the Wagnerian shrine in Germany, Sharon has revived his production of “Lohengrin.” Having opened the festival last year, the production has been somewhat revised to more clearly convey how easily and disastrously we fall for technological band-aid solutions to cover up our own failings. To see these productions back to back revealed not only how much L.A. has developed into an individual and leading voice in operatic thinking but also how provincial (or is it afraid?) we are about taking advantage of it. I happened to attend their final performances of the summer, “Lohengrin” on Aug. 18 and “Idomeneo” on Monday. But they’re neither [See Opera, F4]

Aloof Music Center warms up By Carolina A. Miranda In 1964, when the first phase of the Music Center — the Dorothy Chandler Pavilion — opened in downtown Los Angeles, designer and painter Millard Sheets wrote a tribute to architect Welton Becket’s Modernist temple to the arts in the pages of The Times: “They have created a form that will stand high on the hill and high in spirit that will not be quickly dated or lacking in technical qualities needed for its function.” Time has a funny way of rendering statements about timelessness obsolete. “We shouldn’t be a white castle on the hill,” says Rachel Moore, president and CEO of the Music Center, seated this month at a picnic table in the plaza of the complex on a brilliant L.A. morning, the kind that turns every gaze into a squint. “Our new vision is about deepening the cultural life of every resident in the county. That is a very outward vision.” It’s a vision that has been ill-served by the Music Center’s aloof midcentury architecture, which has long stood, seemingly out of reach, a full story above Grand Avenue and the rest of the city, in [See Center, F3]

Rodriguez is ‘Running’ to next horizon By Patrick J. Kiger

Al Seib Los Angeles Times

MUSIC CENTER CEO Rachel Moore and Bob Hale, whose Rios Clementi Hale

Studios revamped the Music Center’s plaza to open it up more to the city.

Luis J. Rodriguez created a sensation with “Always Running: La Vida Loca, Gang Days in L.A.” His 1993 memoir told the story of an impoverished, violence- and drugplagued adolescence that nearly claimed his life — until a youth counselor helped him to find another path. A Los Angeles Times reviewer hailed “Always Running” as “a pilgrim’s progress, a classic tale of the new immigrant in the land of the melting pot,” and it became recognized as part of the canon of literary works about Los Angeles. Since then, Rodriguez has published award-winning works ranging from poetry to fiction; worked as editor of Tia Chucha Press, a small literary publishing house; and founded Tia Chucha’s Centro Cultural and Bookstore in Sylmar. [See Rodriguez, F6]

S U N DAY , AU G U S T 2 5 , 2 019

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ARCHITECTURE

An aloof plaza reaches out [Center, from F1] a design that former Times architecture critic Nicolai Ouroussoff once likened to “the deck of an aircraft carrier.” That should change, however, with the $41-million revamp of the Music Center’s new plaza by Rios Clementi Hale Studios, which opens to the public this week. The redesign is less a full-blown re-do than a careful surgical intervention. It is intended to make the Music Center more flexible and functional, a space that can accommodate community dance nights as well as experimental outdoor theater. It also aims to improve the visual and physical links between the raised complex and the burgeoning pedestrian life on Grand Avenue and in Grand Park below — attempting to breathe some life into the urban spaces around the theaters, which generally come alive only in the hours before a show. “The plaza,” says Moore, “is the physical manifestation of the changes to how we are programming.” The guiding concept: accessibility. Joining Moore on this warm weekday morning is the low-key Bob Hale, the architectural partner who led the redesign efforts on behalf of his firm. “We really saw the ability to create access for everybody as both facilitating that access but also providing opportunities that didn’t exist,” he says. “A lot of it is empowering people to be engaged in ways that they want to be engaged.” Hale’s team has left the basic geometries of the Music Center — Becket’s columned Dorothy Chandler Pavilion, the circular Mark Taper Forum and the boxy Ahmanson Theatre — untouched. But he has reworked the broad sunken plaza that brought them together. (The plaza was originally designed by the landscape architecture firm of Cornell, Bridgers and Troller in association with Becket.) One issue with the 1960s-era design was the short cascades of steps around the plaza — leading up to the Dorothy Chandler Pavilion, down from Hope Street and up to the fountain, where Jacques Lipchitz’s massive bronze sculpture “Peace on Earth,” from 1969, occupied pride of place. The stepped layout long created problems for patrons with mobility issues. And the advent of the Americans with Disabilities Act in 1990 brought with it a circuitous array of temporary ramps. While these solved accessibility issues, from the perspective of navigation (which was circuitous), not to mention aesthetics, it was an inelegant solution. The new design raises the entire plaza to a single level so no steps or ramps are required to navigate its breadth. “Creating accessibility,” says Hale, “that was a big issue.”

RIOS CLEMENTI HALE’S redesign of the plaza in front of the Dorothy Chandler Pavilion raises the entire area to a single level.

Outside performances Just as significant was the idea of opening the plaza to multiple uses. Lipchitz’s bronze sculpture, once at the center of the fountain, has been relocated 100 feet to the northwest, along Hope St., where it forms an axis with the Department of Water and Power building and City Hall to the southeast. When the fountain is turned off, the plaza becomes a single expanse — the sort of space that can be used for music shows, dance performances, screenings, theatrical events and community happenings. (The Music Center is already behind Dance DTLA, the free outdoor dance parties that draw hundreds of people for music, grooving and dance lessons.) “Art happens everywhere; it doesn’t just happen in a theater,” says Moore. “The kind of stuff this place will allow us to do speaks to the future of where the arts is. ... We don’t confer it on anyone. It’s a dialogue.” Part of the challenge was attempting to extend that dialogue beyond the insular architecture of the Music Center. Like other cultural complexes of the era — the Los Angeles County Museum of Art, which opened in 1965, or Lincoln Center in New York City (1962) — the Music Center sat at a remove from the sidewalk, creating, quite literally, a space apart for the arts. “It was very much an introverted place,” says Hale. “ButMidcentury Modernism — that was what they did. They saw it as honoring the arts more consciously than making it elitist, but it resulted in a perception of an elitist place.” In the case of the Music Center, it is a double whammy. The performing arts center not only hovers at least 10 feet above reach of the street, the whole compound is at the top of steep Bunker Hill. Furthermore, most of what passersby see when they walk past on Grand Avenue is infrastructural: a single restaurant (Kendall’s Brasserie) sandwiched between a loading dock and a pair of parking garage entrances. It’s almost as if

Photographs by

Tim Street-Porter

A REFRESHED STAIRCASE flanked by new escalators is part of a redesign to make the Music Center plaza more accessible.

the whole complex were saying, I dare you to visit. There is an explanation for this: namely that the Grand Avenue side of the Music Center — the street from which the vast majority of its patrons approach it — isn’t the front of the complex but the rear. When Becket designed the place in the early 1960s, Bunker Hill was largely denuded after a wave of “slum clearance” efforts wiped away all the Victorian rooming houses that occupied the hillside. So the architect oriented the cultural compound toward Hope Street, where A.C. Martin’s Department of Water and Power (completed in 1965) was then under construction across the street. “That was seen as the front door,” says Hale. Unfortunately, “the rest of the city didn’t follow suit.” It was Grand Avenue, not Hope Street, that ultimately became the principal cultural corridor on Bunker Hill, attracting the Museum of Contemporary Art Los Angeles in the 1980s, followed by Frank Gehry’s Walt Disney Concert Hall in 2003, and the Broad museum in 2015. The arrival of Grand Park in 2012 (also designed by Rios Clementi Hale) further oriented life away from Hope Street. For Hale, it was therefore important to create points of connection between the Music Center and the street — and to do it all without gutting the place. To achieve this,

the architectural team once again took out their scalpels and made some careful incisions. The principal concrete staircase that led from Grand Avenue up to the plaza was rebuilt at a shallower, more gradual angle to make it easier to navigate and allow for improved sight lines from the street up toward the complex. On either side of the steps, they added escalators under prominent glass canopies. Above these, large billboards mark the entrance to the Music Center. In addition, a row of gray granite slabs that bear the names of important donors — “the tombstones,” Hale calls them — have been relocated from the Grand Avenue side of the complex, where they walled off the plaza from the street, to the new Lisa Specht Welcome Center, on Hope Street. It is here that visitors will be able to find information about programming and food options, of which there will now be many more.

Places to eat and drink Along with a burger stand (Upstage Burger) and a Mexican restaurant (Cocina Roja), both in operation, the plaza will see the addition of a bar (the Mullin Wine Bar), a coffee house (Go Get Em Tiger) and a sit-down restaurant, Abernethy’s (named for Music Center vice chair Robert Abernethy), which will give the stage to emerging Los Angeles chefs for three months at a time. Both the Mullin and Go Get Em Tiger sit at

the edge of the Grand Avenue side of the property and will be visible from the street. “Part of engaging the community is seeing what’s going on up here,” says Hale. “When you’re down on Grand Avenue, you’ll now be able to see people hanging out and drinking and eating and you’ll be able to see activity on the plaza.” Also drawing visitors to the site will be a pair of large LED screens above the welcome center that can be employed for performance simulcasts, to display art or for interactive experiences. “There will be nothing commercial,” says Moore. “We are working with yU+co — a digital studio in Hollywood — and they are working with our programming team for inventive ways of using the screens.” This redesign has been almost two decades in the making. In 2001, as Disney Hall was under construction across the street (it too is part of the Music Center), Gehry gathered a group of high-profile architects and designers to brainstorm “blue sky” concepts for improving the urbanism of the surrounding area. One proposal suggested lowering the Music Center’s plaza to make it contiguous to Grand Avenue. That plan never got beyond the idea stage. (The Music Center sits on four split-level stories of parking garage, and to redo any of that would have been economically astronomical.) But it highlighted the need to contend with the center’s standoffish design.

Hale’s hope is that his work makes the center more accessible while preserving something of its character. This is, after all, the spot where a youthful Zubin Mehta conducted violinist Jascha Heifetz. Where Edward James Olmos sauntered on stage as El Pachuco in the groundbreaking “Zoot Suit.” Where Mikhail Baryshnikov danced “The Nutcracker” just a few years after defecting. Where a 10-year-old Tatum O’Neal toted around a supporting actress Oscar she won for her role in “Paper Moon” (back when the Academy Awards ceremony was held at the Dorothy Chandler Pavilion). “In a city like Los Angeles, our heritage isn’t so long,” he says. “But this is a place with heritage, so figuring out how to preserve that in a way that isn’t a white elephant, but is in fact renewed, seems like a better model.” In the meantime, Moore and the rest of the team at the Music Center are looking at the ways they might begin to program the redesigned plaza. The first weekend is packed: with a cumbia dance jam on Aug. 30, a Master Chorale sing-a-long on Aug. 31 and a familyfriendly splash party on Sept. 1. Howard Sherman, the Music Center’s COO, says, “We want to not tinker for six months and let the plaza tell us what it needs.” But Moore has ideas. “Maybe an awards show,” she says with a laugh. Note to Hollywood: The plaza is open.

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I 1+1111-FFIHHiiii ++EH 11+1 The Music Center will bring its highly popular, free Dance DTlA b ack to its Plaza "home" to celebrate the official grand opening of The Music Center

Plaza. This evening of The Music Center's Dance DTLA is made possib le with support by Bank of America. Dance lovers will enj oy an evening of

Cumbia under the summer stars wit h beginner dance lessons, followed by extended hours of da ncing and music until midn ight. The Music Cent er's Dance DTLA series is gene ro usly funded b y The Ring-Miscikowski Foundation/The Ring Foundation.

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Driving a Big Gift to Expand Access to the Arts, a Vision of a Culturally Inclusive City Mike Scutari

News from the surging Los Angeles arts philanthropy scene finds former City Councilwoman Cindy Miscikowski and her family foundation making a $12 million gift to the Music Center’s (TMC) new “Plaza for All.” The funding will be used as seed money by the new TMC Arts Fund, which aims to broaden the Music Center’s reach by providing free and low-cost public programming, educational initiatives, and dance at the plaza and other Music Center venues. Miscikowski serves as vice chair of the center’s board and chair of the Ring-Miscikowski/The Ring Foundation. As the name of the plaza suggests, this gift is yet another example of an arts funder focusing on accessibility and all of its forms. Music Center President Rachel S. Moore said the raised, outdoor space is now better integrated with its urban surroundings and more accessible to foot traffic, a “physical manifestation” of the center’s commitment to access and inclusion. The TMC Arts Fund, meanwhile, addresses programmatic accessibility by housing the center’s various offerings, including community engagement activities, classes,

and public concerts. “It’s to really breathe life into our new vision of deepening the cultural lives of every resident of L.A. County,” Moore told the Los Angeles’ Times’ Deborah Vankin. The Music Center has raised an additional $2 million for the fund, bringing its total windfall to $14 million, which nearly triples the center’s $5 million goal to support plaza programming. At the plaza’s official re-opening in late August, which came after a 20-month, $41 million renovation, the center announced it exceeded its $11 million capital campaign goal. Moore called the Miscikowski gift “a huge vote of confidence in the direction the Music Center is going in…It will allow us to not only expand on our current programming, but will also serve as research and development for innovation and new programs that help us find new ways of sharing this incredible, new public resource that we have at the Music Center—this new space—with all people across the county.” Accessibility and the Arts Architects revamped the Music Center plaza with an eye toward “universal design and passive recreation,” aesthetically integrating it with the center’s other venues, like the Ahmanson Theatre and the Walt Disney Concert Hall, which sits across the street. The center, which received $30 million in support from the County of Los Angeles and is located a few blocks from The Broad, is also a key component of the larger renovation plan for Downtown Los Angeles. “The renovation of The Music Center Plaza encourages greater access and enables everyone to more fully experience the wide breadth and diversity of the arts, culture and music of L.A. County and the First District,” said Los Angeles County Supervisor Hilda L. Solis. The Music Center’s place in a burgeoning-but-still-scrappy downtown L.A. provides an intriguing contrast to developments 3,000 miles to the east. The newly opened Shed is also located in an up-and-coming neighborhood. In its case, however, the neighborhood is the upscale, Dubai-like Hudson Yards, dubbed by some as a “billionaire’s fantasy city,” “some gated community in Singapore,” and, most apocalyptically, “the poster child for middle-class destruction.”

The concern here is that because it’s surrounded by multi-million-dollar condos and towering office buildings, the Shed may alienate the very segments of the population that it hopes to engage. The Shed, which opened its doors earlier this year, has actively worked to dispel these concerns by providing discounted admission and recently launching an “Open Call” artist commissioning program dedicated to developing and presenting new works from artists based in New York City who have not yet received major institutional support. Open Call’s lead sponsor, TD Bank, will also fund a program that provides priority tickets to individuals who typically cannot afford them, including underserved families, residents of NYCHA public housing and students at Title 1 schools. As for the Music Center, Moore said, “It’s not about imposing art onto the community, but engaging with the community and finding out what people want — it’s a dialogue…Regardless of one’s cultural heritage, economic, social background or physical ability, The Music Center Plaza is welcoming all.” Donors have also been tackling the other component in the “accessibility” equation—financial barriers to access. A few months ago, Los Angeles’ Museum of Contemporary Art’s (MOCA) board of trustees president Carolyn Powers announced a $10 million gift that will enable the museum to offer free admission. The new policy aligns with the MOCA’s “civic-minded” vision of removing financial barriers and making the museum more accessible, said director Klaus Biesenbach. That’s a lot of accessibility for Los Angeles, a city that, as previously noted, is also experiencing a glut of museums thanks to a steady flow of funder dollars. Fortunately for the Music Center, Miscikowski and her fellow donors weren’t concerned about market saturation. Additional lead gifts to center’s campaign came from Lisa Specht, current chair of the Music Center, and vice chair Robert J. Abernethy. The plaza also received major grants from the Ahmanson Foundation, The Ralph M. Parsons Foundation, and the Rose Hills Foundation. Loyal Hometown Donors

The Music Center’s fundraising success serves as a useful reminder that it takes more than a handful of billionaire patrons like Eli Broad, David Geffen, and Lynda and Stewart Resnick to cultivate the country’s hottest arts philanthropy scene. Los Angeles’ moment in arts philanthropy spotlight wouldn’t have been possible without relatively smaller gifts from less publicly renown donors like Miscikowski and her former husband Douglas R. Ring. Miscikowski represented the 11th District on the Los Angeles City Council for two full terms from 1997 through 2005. Previously, she was an aide to Councilman Marvin Braude and the Executive Director of the Skirball Cultural Center. She served as the President of the Board of Harbor Commissioners under Mayor Antonio Villaraigosa, overseeing the Port of Los Angeles. She a member of the board of directors for economic development entity Genesis L.A. and the Hammer Museum, and sits on the UCLA’s School of Art & Architecture board of visitors. Douglas R. Ring, who passed away in 2009, was an influential Los Angeles philanthropist and developer with extensive holdings in Marina del Rey. He founded the Ring Group, a real estate investment firm where Cindy has been general and managing partner since 2009, sat on a number of public boards, and was instrumental in rebuilding the Los Angeles Central Library after two arson fires. Antonia Hernandez, president of the California Community Foundation, said Ring was “quiet as a philanthropist” but gave generously to a wide array of causes, particularly scholarships and programs benefiting inner-city children.

Westways Magazine â&#x20AC;&#x201C; September 2019 print edition

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LOS ANGELES BUSINESS JOURNAL Vol. 41, No. 36

September 9 – 15, 2019 • $5.00

THE COMMUNITY OF BUSINESS™

Clearer Skies for Air Lease

Stream World: Neville Johnson helps clients amid entertainment’s changing business models.

AEROSPACE: Company gains despite Max grounding By HOWARD FINE Staff Reporter

When Boeing Co.’s 737 Max planes were grounded worldwide in March after two crashes, Century City-based Air Lease Corp. appeared poised to take a major hit. The company had 154 Max planes on order for its airline customers and 14 Max planes in its possession — none of which could be delivered to customers. Chicago-based Boeing’s Max planes remain Please see AIR LEASE page 37

Faraday Seeks Fresh Future

LAWYER UP Neville Johnson stares down entertainment’s power players

or 40 years Neville Johnson has sued studios, networks and record labels on behalf of talent. The colorful attorney has won defamation cases against American Media Inc.-owned National Enquirer and brokered a $26 million settlement with Comcast Corp.’s Universal Studios over home video royalties for movie stars. He’s currently litigating on behalf of musicians who say Warner Music Group

and Sony Music Entertainment Inc. are not paying them royalties for songs streamed internationally. For the last 12 years, Johnson has partnered with Douglas Johnson (no relation) at the firm Johnson & Johnson. He spoke with the Business Journal in his Beverly Hills office about the problem with payments from Netflix Inc., how musicians really make money and Richard Simmons.

Like many firms, we work on an hourly basis for clients, and we take on some cases that are a hybrid model of an hourly fee and receiving some contingency. And we do some cases pure contingency where we’ll front the costs. The contingency cases are where the serious profits occur. But it’s a gamble because we may end up spending seven figures going up against a movie studio or a record company that has unlimited resources.

What is Johnson & Johnson’s business model?

Please see JOHNSON page 36

By SAMSON AMORE Staff Reporter

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By MATTHEW BLAKE Staff Reporter

AUTOMOTIVE: Changes at top for troubled carmaker Electric vehicle startup Faraday & Future Inc. is betting a former BMW executive can turn around the struggling company. But new Chief Executive Carsten Breitfeld faces a rough road at the Gardena-based automaker, despite his extensive experience producing electric vehicles. Please see FARADAY page 38

L.A. RISING: EAST HOLLYWOOD

New Coffee Brands Bring the Heat BEVERAGES: Roasters blend innovation, ambition By RACHEL URANGA Staff Reporter

Roasters Charles Babinski and Kyle Glanville don’t want to sell their coffee in your supermarket. The founders of Go Get ‘Em Tiger — which in the last year raised

$4.7 million, launched its seventh location and opened a 16,000-square-foot roasting facility in Vernon — have loftier ambitions. “We want to be an institution in Los Angeles,” Glanville explained. That will be no small feat. Coffee competition is fierce in Los Angeles, and it’s getting stiffer by the day. In coffee circles, L.A. is considered the

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The spotlight is shining on East Hollywood, a once-neglected area that offers relief from the crowds of neighboring Hollywood, Silver Lake and Koreatown. RINGO H.W. CHIU/LABJ

Please see COFFEE page 37

CHARITABLE FOUNDATIONS/TRUSTS Ranked by total assets See page 14

COVERAGE STARTS ON PAGE 10

Pulley Collective’s Steve Miersch

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STYLE: Crystal Clear Gorjana Reidel owns a growing chain of modestly priced jewelry boutiques and a ‘boho’ sensibility. REAL ESTATE: Grand Stand The Grand, downtown’s $1 billion mega-project, hits a significant mark on its way to a 2021 opening.

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Los Angeles business events Civic and community leaders, including Los Angeles County Supervisors Hilda Solis and Sheila Kuehl and Music Center Chief Executive Rachel Moore, were on hand Aug. 28 as The Music Center dedicated the newly renovated Music Center Plaza. The event marked the end of a 20-month, $41 million renovation of the space, which is billed as a “plaza for all.” Located between the Dorothy Chandler Pavilion and Mark Taper Forum, the space will host free and low-cost events and activities that showcase L.A. artists.

1 (From left) Music Center Chairwoman Lisa Specht, Music Center Chief Executive Rachel Moore, and L.A. County Supervisors Sheila Kuehl and Hilda Solis. 2 Susan Feniger, a culinary adviser for the Music Center’s new restaurant Abernethy’s, speaks about the restaurant’s emerging chef program. 3 More than 120 drummers representing the five districts of Los Angeles County perform. 4 Music Center Chief Executive Rachel Moore welcomes guests to the dedication and official reopening.

5 Performers dance in the Music Center Plaza fountain.

6 Music Center Chairwoman Lisa Specht. 7 Andrew Morales of the Gabrieleno Tongva San Gabriel Band of Mission Indians marks the plaza’s reopening with a land acknowledgement and blessing. 8 L.A. County Supervisors Sheila Kuehl and Hilda Solis, and Music Center Chief Executive Rachel Moore beat the drum to turn on the plaza’s fountain.

Photos by The Music Center

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KNXAM – Kim Marriner (Aug 31, 2019)

KNXAM – Tom Haule/ Linda Nunez (Aug 28, 2019)

KNXAM – Vicky Moore/ Dick Helton (Aug 28, 2019)

KNXAM – Vicky Moore/Dick Helton (Aug 28, 2019)

KPCC – Morning Edition

KPCCFM – All Things Considered (Aug 28, 2019)

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KPCCFM – Fresh Air (Aug 28, 2019)

KPCCFM – Morning Edition (Aug 28, 2019)

KPCCFM – Patt Morrison (Aug 28, 2019)

KRCA (Estrella) – Noticias 62 (Aug 31, 2019)

KUSC – Culture/ Arts Alive Blog

KTTV – Fox 11 Weekend News (Set 1, 2019):

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KTTV – Good Day LA at 5am (Sep 2, 2019):

KTTV – Good Day LA at 6am (Sep 2, 2019):

KVEA (Telemundo) – Noticiero 52 a las 11:00PM

SN1CLA – Spectrum News 1 (Aug 29, 2019)

SN1CLA – Spectrum News 1 (Sep 4, 2019)

BROADCAST COVERAGE

SN1CLA – Spectrum News 1 (Sep 9, 2019)

SN1CLA – Spectrum News 1 Afternoon (Aug 29, 2019)

SN1CLA – Spectrum News 1 Afternoon (Sep 4, 2019)