rent disputes remain at art colony Page 5
the word on the street is ‘pizza’ Page 6
JANUARY 13, 2020 I VOL. 49 I #02
Sting Sets Sail at the
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photo by Cylla von Tiedemann
In the Musical ‘The Last Ship’, Lost Love Collides with Blue Collar Plight in a Dying Town See Page 8
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AROUND TOWN
Senior Living Site Planned for South Park
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ast week plans were announced for a seven-story healthcare and senior living facility at 1334 S. Flower St. The proposed project comes from developer Inception Property Group, which did not outline the exact breakdown of the building, but said the 151,146-square-foot space would include units for seniors, as well as outpatient medical offices. The space would rise a block south of the Pico Metro station at Pico Boulevard and Flower Street. The company previously worked on the Downtown West Medical Center at 1120 W. Washington Blvd., which opened in 2018. Per the developer, construction is expected to start next year and the project would open in 2023; no budget was announced.
Murder Suspect Arrested
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49-year-old homeless man was charged on Tuesday, Jan. 7, for allegedly fatally stabbing a customer as he waited inside of a Downtown restaurant on New Year’s Day. The suspect, Devan Cleef Lampkin, was charged with one count of murder for using a knife to stab 56-year-old Homer Garcia inside of
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Margarita’s Place on the 100 block of East Seventh Street. According to police, the attack was the result of an argument between two individuals. LAPD was notified of a man matching Lampkin’s description inside of the Central Library on Friday, Jan. 3, arresting him later that day. Lampkin can face up to a life sentence if convicted.
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he Los Angeles Chamber Orchestra has its new head honcho, and it’s a familiar face. Ben Cadwallader, who mostly recently worked as executive director of the Vermont Symphony Orchestra, was tapped to succeed Scott Harrison in the role, the LACO announced Tuesday. Cadwallader had previously worked for the Los Angeles Philharmonic as its education programs manager, where he led the composer fellowship program. “I have long admired LACO’s steadfast commitment to musical excellence and new music as well as its ability to experiment and adapt within a changing media landscape,” Cadwallader said in a prepared statement. “While I’m genuinely saddened to close my chapter in Vermont, the remarkable people affiliated with LACO have welcomed me with open arms, and I’m excited to get to work there.” Cadwallader will step into the role in March, after which he will be tasked with working with new Music Director Jaime Martin, who was appointed to the role in 2019. “Ben, who cares deeply about music and musicians, will
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State to Eye Vacant Property for Homeless Shelters
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LACO Appoints New Executive Director
foronly
serve as a valuable colleague on artistic matters, and I am looking forward to working with him.”
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acant state property could be used to help house homeless individuals, due to an executive order signed by Gov. Gavin Newsom last week. Newsom signed the order, which instructs four state agencies to locate and vet unused properties that could be made available as short-stay shelters. In addition, the order will provide cities and counties with 100 travel trailers and tents to set up temporary housing and services. The Governor is also expected to ask the state legislature to approve a $750 million fund to help pay rent and build affordable housing for homeless people. The order comes as most of the state is dealing with a surge in homelessness. Locally, in 2019, homeless leaped by 12% in Los Angeles County and 16% in the city, compared to the previous year. “The State of California is treating homelessness as a real emergency — because it is one,” Newsom said in a prepared statement. “Californians are demanding that all levels of government — federal, state and local — do more to get people off the streets and into services—whether that’s housing, mental health service, substance abuse treatment or all of the above.” The announcement came two days before the governor presented his
JANUARY 13, 2020
second annual budget proposal to the state legislature. At the federal level, President Donald Trump has placed a microscope on California, criticizing local and state leaders for being unable to solve its homeless issue.
Plans Revealed for Little Tokyo Affordable Housing Project
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n May, the Little Tokyo Service Center purchased the former Umeya Rice Cake factory in the area between Little Tokyo and Skid Row nicknamed “Skidrokyo” with the intention of making a fully affordable housing development. Documents filed last week with the Department of City Planning reveal updated and more specific plans for the site. The existing site at 414 Crocker St. would be demolished, and replaced with a building holding 175 affordable housing units, as well as 8,691 square feet of ground-floor commercial space (original plans called for a maximum of 150 units). The site would also include 19 parking stalls and 125 spaces for bicycles. The budget and timeline for the project were not announced. The Little Tokyo Service Center is also working, in conjunction with the Go for Broke National Education Center, to build an affordable housing project on a 0.858-acre City-owned lot along Temple Street near Alameda Street. The Little Tokyo Service Center is also the lead developer on the Terasaki Budokan, a recreation facility currently in construction at 237 S. Los Angeles St.
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EDITORIALS
JANUARY 13, 2020
TAKE MY PICTURE GARY LEONARD
Be Patient With Street Vending Enforcement
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or the past five decades, street vendors could be found practically everywhere in Los Angeles. Here in Downtown, vendors hawking food or trinkets can be found throughout most of the various neighborhoods, with a particular foothold in places like the Fashion District and the Historic Core. For most of that period, despite their prevalence as a vital and vibrant part of Los Angeles culture, street vending has been prohibited by the city, with vendors — until it was decriminalized in 2016 — facing tickets and fines if caught. That was the norm until last week, when the city officially opened its brand new street vending program. Under the new program, which went into effect on Jan. 2, street vendors are required to secure a $541 permit from the city of Los Angeles ($291 if purchased with the first six months of the program) and acquire a business tax registration certificate, a California seller’s permit and a L.A. County Public Health Permit. Vendors will also be required to follow a set of rules on where they can vend. While many would argue that street food vendors should remain illegal, and that street food poses a health, and mobility hazard to the public, just as many people would argue the opposite, championing the economic entrepreneurial potential for street vendors, and the cultural significance for many immigrant communities. However, the question has been raised whether or not legalization will be met with proper enforcement. It’s a fair skepticism to have. We’ve already seen where a lack of staff can impact a program that was meant to legalize a previously illicit practice. Underground cannabis businesses continue to undercut legal markets in Los Angeles, with unlicensed dispensaries popping up to get a piece of the profit. Raids have been conducted and shops shut down, but in previous talks, law enforcement officers and members of the regulated cannabis community have compared cannabis enforcement to a game of Whack-A-Mole, with illicit cannabis business jumping from location to location in between raids and prosecution. There is a possible opportunity for the same thing to happen with street vending. How will compliance officers be expected to keep up with everyone? The short answer is: they aren’t, and shouldn’t. Streets LA, the city department tasked with overseeing the program, hired 17 new employees to help administer the new program, but, it would be unrealistic to believe authorities would be able to inspect or enforce every vendor over the 500 square miles that make up Los Angeles. It’s a simple truth. The more important take away from it all is that 50,000 people will have the opportunity to go legit with their businesses in Los Angeles, with potential tax benefits for the city, and piece of mind for the vendors. More action should follow, and this page hopes that both the vendors and advocates and the city will be open to a flexible partnership, but right now, vendors who have been attached to Los Angeles for so long, in what was previously a one-sided relationship, now have a chance for equity.
Los Angeles Downtown News 1264 W. First Street Los Angeles, CA 90026 213-481-1448 realpeople@downtownnews.com
City Hall
View from Construction at 4th & Spring January 5, 2020
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COMMENTS
In response to the article “LAHSA Head Steps Down,” by Sean P. Thomas
S
adly, Mr. Lynn’s ability to “grow” the LAHSA agency is counterproductive to solving LA’s homelessness. Diverting resources (money) to the size LAHSA office indicates poor leadership and an inability to administer effective programs. While we appreciate your kudos for Mr. Lynn’s service, it is clear that the LAHSA really does not understand it’s mission. The comment you quote from LAHSA Commission Chair Sarah Dusseault says it all. A focus on collaboration is an on-going exercise in wasted time. Meetings and studies and reviews by paid staff do nothing to help the poor and homeless. The LAHSA commission should be looking for people with knowledge and experience in building and construction who can create cost effective dwellings with room for the social and training programs needed to address the root causes of homelessness. Perhaps when you decide to address the crisis, you will investigate and report on measure that will impact the rapid growth in homelessness. Perhaps someday you will report the Politician’s failure and hold their feet to the fire? — Scott Gray
In response to the article “Out of the Shadows: City Approves Sidewalk Permit Program” by Sean P. Thomas
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can’t for the life of me know why the City wants to control and regulate this but not the vagrants lying out everywhere? — Susan Elizabeth In response to the editorial “Don’t Use Downtown As Your Garbage Can”
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ately? I’ve lived in Downtown for nine years. I have neer seen such litter since the 1970’s. No adopt a highway here in L.A. either? There is garbage everywhere throughout the city and it’s all social classes as well. — James Macri
Hey You! Speak Up! Downtown News wants to hear from people in the community. If you like, or dislike, a story or editorial, let us know. Or weigh in on something you feel is important to the community. Participation is easy. Post a comment online at the bottom of any story, or go to downtownnews.com, scroll to the bottom of the page, and click the “Letter to the Editor” link. For guest opinion proposals, email sthomas@timespublications.com.
STAFF WRITERS: Nicholas Slayton, Sean P. Thomas CONTRIBUTING WRITERS: Tom Fassbender, Jeff Favre ART DIRECTOR: Brian Allison PHOTOGRAPHER: Gary Leonard ACCOUNT EXECUTIVES: Catherine Holloway, Michael Lamb DISTRIBUTION MANAGER: Salvador Ingles DISTRIBUTION ASSISTANT: Lorenzo Castillo FOUNDER EMERITUS: Sue Laris
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JANUARY 13, 2020
DOWNTOWNNEWS.COM
Art Colony Tenants Hope State Law Can Preserve Their Home’s Affordability Artists Say Two Programs Allow Their Rents to Stay Low, But the Landlord Disputes Whether or Not They Are Eligible By Nicholas Slayton enants of an art colony on the southern end of Downtown are facing uncertainty about whether or not they’ll be able to remain residents as a dispute over rent with the landlord continues. It is the latest conflict between the complex’s artist residents and the Miami-based Fifteen Group since the latter acquired the building in 2018. Earlier this month, despite the artists paying rent, Sylvia Tidwell, the leader of the Santa Fe Art Colony Tenants Association, says tenants are expecting that Fifteen Group will try to evict them, due to a dispute over whether or not the complex’s rents are subject to a new state law. “On Jan. 2, rent day, 23 of our 37 units paid the rent stipulated by Assembly Bill 1482,” Tidwell told Los Angeles Downtown News. “We paid those rents last week, we were given three-day notices to pay or quit on Monday Jan. 6. For those of us who are not going to pay, which is most of us, we expect unlawful detainer notifications on Friday.” Those notices are expected after Los Angeles Downtown News went to print. The latest matter is November rent increases, and what rent assistance programs
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tenants are eligible for. When an affordable housing covenant expired, Fifteen Group sent out a 12-month notice was issued in October 2018 that units would be brought to market rate in 2019. That would double or in some cases triple rents; Tidwell said that rents could be moved up to $4,000 per month for some artists. Assembly Bill 1482 was signed into law in October and went into effect at the start of the year. It limits annual rent increases to 5% plus inflation, and once it went into effect on Jan. 1, requires rents to be set to what they were on March 15, 2019. The Santa Fe Art Colony Tenants Association was also using the City of Los Angeles’ Emergency Renters Relief Program, which offers three months of rent assistance for increases of more than 8%. Per the association, eight residents paid their existing rate, plus 8%, and applied for the city’s help. Amy Forbes, a lawyer representing Fifteen Group, did not comment directly on the matter. However her office shared a Nov. 5 letter sent to Tidwell and the city’s Housing and Community Investment Department saying that the tenants do not qualify under AB 1482.
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“We note that you are free to seek rental assistance from the City in accordance with its newly adopted program, but the existence of the program does not relieve you of your obligation to pay rent per the 60-day notice,” the letter concludes. “Moreover, your rent will continue in the same amount past January 1, 2020 because the restrictions on rent increases set forth in §1947.12 do not apply to these initial rents.” The §1947.12 mentioned is part of the government code pertaining to AB 1482 about rolling back rents, and the letter argues that Nov. 1 2019 rent increases comply with requirements and “represent the one time ‘mark to market’ permitted by §1947.13,” the letter continued. However, that did not deter tenants. In November, HCIDLA stepped in to help tenants, and got Fifteen Group to accept the assistance checks, provided they came in exactly the same time as the artists’ rent checks. HCIDLA also said that the building qualified under AB 1482. That worked again in December, when an additional 13 artist residents applied for the rent relief program, but Tid-
DOWNTOWN NEWS 5
The Santa Fe Art Colony, at the southeast corner of Downtown, has been a home for artists since 1986. Its affordable housing covenant expired in 2018. photo by Gary Leonard
well said January rent payments were met with the pay or quit notices. City Councilman José Huizar, whose 14th District covers the Santa Fe Art Colony, had backed the tenants in that bid. Huizar’s office did not respond to a request for comment on the latest rent issue by press time. Tidwell said if the landlord does try to evict them, she thinks they can make a good case to fight that. “Given that the city has already determined that the rent should be rolled back to the March 15 amount, I think we have a good reason to expect a good shot, but you just don’t know,” Tidwell said. However, said that for the artists still at the complex, there is a growing sense of uncertainty about whether or not they can stay. The Santa Fe Art Colony is one of the last places in Downtown where artists can afford to live, she said. If priced out, the building could be accessible for non-artist tenants, but not for them. nslayton@timespublications.com.
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JANUARY 13, 2020
Pizza By the Streets Chad Gieb Brings Grandma-Style Pizzas to the Streets of Downtown By Sean P. Thomas uring most business hours Downtown resident Chad Gieb is kneedeep in social media. A consultant by trade, Gieb’s main source of income is working with international social media teams, localizing content for an American audience. His side-gig however, couldn’t be any more different. Turn the page to most Fridays and Saturday nights and Gieb can be found behind a cart, no bigger than a trashcan on the corner of Broadway and Fifth streets in Downtown Los Angeles, serving pizza, a slice at a time, out of his mobile pizza oven to a collection of regulars and passerby’s. The business, named StreetZza LA, developed rather organically over the course of half a decade through his love for pizza, taking a hobby, and flipping it last April into something that he hopes will eventually become big enough to lead into multiple locations, or even a brick and mortar restaurant. “I’ve have had guys literally come back and yell at me because they were like ‘this is so good, how are you selling this on the street?’” Gieb said. “I’ll get New York guys who will come and stand there and argue with me for 15-20 minutes before they even buy a slice. Then they’ll try it and walk down the street telling people they need to try it.” I’ve had guys who have literally stood on the street corner like, ‘hey man, you guys need to go try this pizza’ it’s kind of crazy. It’s weird, it’s not the reaction I was expecting.” The business is largely word of mouth, with Gieb and his wife using Facebook and Instagram to tell followers when he will set up and when he runs out of pies. City Councilman José Huizar was one of his earliest and most prolific supporters, heaping praise on StreetZza’s specialty al pastor pizza and sharing the slices on his personal accounts. That sort of native advertising is important. Gieb estimates that close to 70% of his business, has been repeat customers, or customers who were told to check out his stand by a friend. “I had this little old lady the other day who was not sure about it and bought a slice,” Gieb said. “About an hour later she has all of
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her little old lady friends coming back and they’re taking notes and asking questions. These experiences, I love them, but I would have never expected it. People are talking about it, people are really liking it.” StreetZza is typically open anywhere from 6-9 p.m. to 1 a.m., depending on how quickly the pizzas sell out, a time period that can be hard to estimate. Gieb said that on some days, he’s sold out within an hour, and on others, he’s remained behind his cart until the bars start to empty out at 2 a.m. or even into the 3 a.m. territory. The pizzas that Gieb sells are grandma style; pizzas that became popular in Brooklyn around a decade ago. The pizzas are typically square or rectangular and covered with a thin layer of mozzarella, with a crispy thin crust and topped with ingredients. Each pizza costs $5. “I just want people to feel like they are getting a deal,” Gieb said. “Making pizza is an economy of scale, the more you make, the better you do. Where I’m at right now, I’m not making any money. I’m from Ohio, I’m big on the value thing.” The slices extend past the traditional flavors like pepperoni and cheese, into more eccentric offerings on occasion, like the interest-piquing kangaroo meat pizza or the garlic butter crab. “All the things I’m trying to do are really gourmet,” Gieb said. “Even though it’s a Brooklyn-style pizza, I’m trying to top it with local ingredients from L.A. I’m always looking for what’s fresh.” While Gieb’s made and delivered pizza in high school and college, his hobby took on a whole new life in an area not exactly known for its pizza, South Korea. While living abroad, Gieb quickly learned that if you wanted anything similar to what you enjoyed back in the United States, he would have to learn to make it himself from scratch, and that is exactly what he did. “There is just not good pizza in Korea,” Gieb said. “It’s terrible pizza, they like weird things like corn with [a small amount] of cheese on it. It’s really not good pizza.” Then, a Korean restaurateur returned from
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Chad Gieb started the mobile pizza store StreetZza LA in April, with plans to expand the business into multiple carts if the concept takes hold.
photo courtesy StreetZza
a stint in Rome and opened up a pizzeria next to his Seoul home which took his interest to another level. “I was thrilled, because finally there was something that resembled pizza,” Gieb said. “I think that sort of had me latch on to it.” Now, a resident of the Historic Core, Gieb became known in his circle of friends for baking pizzas for birthdays and other events. Over the course of five years, the pizzas would become a hit, sparking questions of whether he would consider catering or popup outfits. By that time, Gieb said he was already leaning toward creating his business, visiting local markets to find the best ingredients that meshed well with his volatile budget. Then came the cart itself, which took nearly three months to design and build. Mobile pizza outfits are becoming more popular, like Ines Barlerin Glaser’s Lupa Cotta becoming a popular pop-up at Mandrake Bar in Culver City and Jack Ramunni’s Earth Pizza pop-up, however, those outfits typically use a more expensive, single pizza oven like the Roccbox. A basic set up would run someone at least $700. Gieb’s cart is less expensive, and consists of a half-sized bakery rack, custom fabricated a dough warmer. Gieb also handled the art-
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work on the cart itself, adding a stencil of the Downtown skyline and the phrase “got fat slices?” on the side. Now going on his ninth month of selling, Gieb said that he’s in the process to comply with the city’s new street vending laws, filing the proper paperwork to be legal by the end of the six-month grace period. He’s also exploring ways to improve his social media output to further grow his business. He said that he has been approached in the past about investment opportunities, but didn’t like the idea of selling away a majority stake in his business. He also has avoided paying social media personalities (otherwise known as influencers) to advertise his business on their pages, a common tool for restaurants. “I understand that I probably should be doing that, but I just want to sell good pizza,” Gieb said. “I really want to bring a quality product and just sell it everywhere. My goal is to have carts all over. I want to make Los Angeles known for having great pizza overnight.” StreetZza is open on most Fridays and Saturdays from about 9 p.m. to 1 a.m. on the corner of Broadway and Fifth streets. sthomas@timespublications.com.
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DOWNTOWN NEWS 7
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The Women’s March Returns to Downtown The Annual Protest Is Back for Its Fourth Year on Saturday By Nicholas Slayton hree years ago, hundreds of thousands of people essentially shut down Downtown Los Angeles, gathering and rallying in parks and the connecting streets to protest the election of President Donald Trump. The first Los Angeles Women’s March, which was part of a collection of international marches held on the same day, drew approximately 750,000 people to Downtown Los Angeles, nearly overwhelming the Downtown infrastructure. The march has become an annual political event, with organizers, activists and engaged Angelenos coming together each January. The Women’s March is back for its fourth year on Saturday, Jan. 18, set to begin, as it has in the past, at and around Pershing Square at 10 a.m. There will be a stage where speakers — the full line-up was not revealed as of press time — will begin the event. The crowd will then march through the Historic Core to Grand Park outside of Los Angeles City Hall. Women March L.A. Executive Director Elaine Patel, spoke with Los Angeles Downtown News about what Angelenos can expect from this week’s event. This interview was edited for clarity.
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second time it’s taken place during an election year. Is there a theme or focus with this year’s march? Elaine Patel: We’re excited to bring it back this year. It’s a huge endeavor. The theme this year is women’s rising. We’ve seen the power of women taking it upon themselves to take action in their communities. With the midterms in 2018 we saw a record-breaking 103 women elected to Congress. We hear from women all the time saying “I was a volunteer in the first march, I went to the second march, what else can I do?” We’re seeing a rise of women since the 2017 march. Women are engaging in their communities. They’re not necessarily the people you’d think are activists, but they’re saying enough is enough and getting involved.
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Q: In the last few weeks we’ve seen major national and international developments, including the impeachment of President Trump and heightened tensions with Iran. There was just a large anti-war protest in Downtown. Has that shifted the focus of this year’s march? A: The craziest thing is it always seems every year that there’s always a lot going on in the country. Every year it’s been very challenging. We have a diverse amount of speakers 800.900.5788 I aerioconnect.com Broadband I Voice I WiFi I HDTV and performers that will be at the march so Los Angeles Downtown News: This is the that might come up, but it’s not a focus of fourth year the march has taken place, and the the march. We’ll be sending out media advi-
Women’s March L.A. Executive Director Elaine Patel said the organization expects around 250,000 people to attend this Saturday’s rally.
sory in the next few days with the full list of speakers. The focus has always been women’s empowerment. Q: This is the fourth edition of something that started as a response to Trump’s inauguration. Does his election still have the same impact? A: We don’t just have one march a year; we’re constantly talking to people throughout the year about organizing. That’s where that voter action program came in. We’re seeing that someone who wasn’t an activist marched and has seen what’s going on, and saying “how can I take action?” We’re seeing a rise in training organizers and how to register people throughout the year. There’s also been an increase in people who go to the march writing their senators.
photo courtesy Women’s March L.A.
where there will be booths for organizations. We estimate that there will be 50 plus groups with booths there. And many more will march with us.
Q: The first march drew 750,000 people. How many do you expect to come Downtown this year? A: We’re thinking 250,000 people, but who knows? Every year it’s been bigger than we expect. In that first year we expected tens of thousands of people and almost a million showed up. Last year’s march drew 400,000.
Q: Given that this is an election year, are you focusing on registering people to vote? A: In L.A. there’s a high amount of people who are already registered to vote, so specifically in this city it’s important to focus on youth. We’re looking at students, who will be voting for the first time. If 250,000 come out to the march this year, we don’t know how many will be students, but if we can register 5,000 students, that will be a success. Another focus of ours is making sure people who are registered are updating their info in case they’ve moved.
Q: The march is also a kind of gathering space for various political and activist groups in L.A. How many of those can we expect this year? A: We do have our community partner area
The 2020 Women’s March begins at 10 a.m. on Saturday, Jan. 18 at Pershing Square, 532 S. Olive St. or womensmarchla.com. nslayton@timespublications.com.
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JANUARY 13, 2020
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CALENDAR The Last Ship arrives in Los Angeles for its first American run since leaving Broadway in 2015. Co-creator Sting (right) co-stars as ship foreman Jackie White opposite Oliver Savile (left).
The
Ship Docks at the Ahmanson
photo by Cylla von Tiedemann
Last
The Revamped Version of Sting’s Musical Explores Solidarity and Optimism in a Dying Town By Nicholas Slayton hat happens when the heart and soul of a community is ripped away? That’s the question at the heart of The Last Ship, the 2014 musical about the decline of an industrial British town that finds its shipbuilding center in the process of being shut down. After a stint in Toronto, The Last Ship arrives in Los Angeles this Tuesday, Jan. 14 at the Ahmanson Theatre for a run through Feb. 16, with star, musician and co-creator Sting (of The Police and Dune fame). Directed by Lorne Campbell, the production is a touring version of the show that started at Newcastle upon Tyne in 2018. It’s the first time that the musical has been performed in the United States since its 2015 Broadway run. The show has been heavily revamped since then, with John Logan and Brian Yorkey’s book being updated by Campbell and Sting ahead of the United Kingdom production. “It felt like the big thing for us was a real connection to the politics of Britain in the 1980s to now,” Campbell told Los Angeles Downtown News. “There’s such a relationship in the political reality today in the United Kingdom and America to the seeds sowed by Thatcher and Reagan with deregulation and privatization. This incre-
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mental degradation of workers rights and dignity…to tell the story in Britain we had to root it in that.” The musical draws from Sting’s own youth in an industrial town, as well as his albums. It follows Gideon Fletcher (Oliver Savile), a young man who returns to his hometown of Wallsend, Tyne and Wear after living abroad in the navy. The shipyard is shuttering, leaving his childhood friends and their families unsure of what is in store for them. That also includes his former sweetheart Meg (Frances McNamee). As the town worries about its future, labor organizer Jackie White (Sting) tries to fight to build the titular ship before everything is shut down. For McNamee, who grew up in a former mining town near where The Last Ship is set, a number of plot points felt resonant to her. She said that seeing the heart of a town ripped out with no plan to help it can be devastating. “That leaves a community broken down struggling to figure out what to do next. No one knows what they’re doing,” she said. “I’ve seen that happen to people I know.” With so much real-world experience looped into the production, the cast and crew feel like they are tapping into current and relevant themes. Campbell said that
in the aftermath of the United Kingdom’s vote to leave the European Union, and in the time of major austerity, those ideas and worries are tragically in people’s minds again. He added that with political division in the United States and ongoing inequality, he suspects that it will strike a similar response in Los Angeles. Despite the heavy themes, the show is not bleak, McNamee added. “I think for the people from the northeast of England, and for anyone really, is that when we stand together, we’re stronger than anything we can do on our own,” she said. “That should resonate with anyone anywhere.” A major part of that optimism comes from the musical’s score and songs. Campbell said that the music draws on Umbrian folk traditions as well as Irish and Scottish influences, but also has more modern, Kurt Vile-esc rock tracks as well. McNamee said that over the course of the last two stagings of The Last Ship, the crew pushed for more intense renditions of songs, including one of her opening numbers, “If You Ever See Me Talking to a Sailor.” There are also familiar songs from Sting’s own repertoire, such as Saville and McNamee’s big duet in the second act “When We Danced.” “Some songs are much more recognizably Sting in their harmonies and chords,”
Campbell added. “It’s a piece that’s a very personal journey for Sting, including in the music.” To achieve the scope of the dying town, the production went for a minimalistic route with its set. The backdrop is the enormous dry dock of the shipyard, with industrial fixtures. The rest is portrayed through projections from the company 59 Productions. There are minimal props, only a few chairs, with the actors instead playing off incorporeal settings. In some cases they are grounded locations, from Gideon’s home to the bar where White and his fellow laborers meet, other times they are more abstract locations. “As a director it’s a major gift to go from pub to house to shipyard in the click of a finger,” Campbell said with a laugh. Both Campbell and McNamee said they’re interested in seeing how crowds at the Ahmanson react to the musical. “All of the shows we’ve done previously, the audience seems galvanized at the end,” McNamee said. “There’s that message there that we can stand up, we don’t have to just lie down and take it.” The Last Ship runs Tuesday, Jan. 14-Feb. 16 at the Ahmanson Theatre, 135 N. Grand Ave., (213) 628-2772 or centertheatregroup.org. nslayton@timespublications.com.
JANUARY 13, 2020
DOWNTOWN NEWS 9
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Restaurant Buzz: A Big Restaurant Swap, A New Chef Starts Cooking at the Music Center Plaza, and More in December Restaurant News By Sean P. Thomas Spicy Swap: It would seem that there is a new player moving into the former home of the now-shuttered Church & State. Chengdu Taste, a chain of popular Sichuanese restaurants, is working on expanding into the husk of the former Arts District restaurant. Chendgu Taste, which originally opened in 2013 in Alhambra and has since expanded to Las Vegas, Honolulu and Houston, specializes in spicy Sichuan dishes, is expected to opened this summer. Yassmin Sarmadi and Tony Esnault, the original owners of Church & State, which is largely heralded as a progenitor of the Arts District’s culinary revival throughout the 2000s, sold the concept in 2019 to a restaurant group featuring Bill Chait, the restaurateur who was at the helm of the restaurant firm Sprout, which included other Downtown restaurants like the equally lauded Bestia. After the purchase, Church & State briefly reopened under the same name, before closing again in November. Rumors began to swirl over what was moving into the Nabisco Lofts building after the owners announced via email that they had partnered with a then-unnamed Chinese restaurant group. Coming to 1850 Industrial St.
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A New Chef in Town: There’s been a revolving door of chefs at the Music Center’s Plaza’s fresh restaurant Abernethy’s, but don’t worry, it’s designed that way. The restaurant, which opened within a week of the grand opening of the Music Center Plaza itself, welcomed its second chef-in-residence last month, chef Jason Fullilove, replaced inaugural chef Shirley Chung’s Chinese-American cuisine with his new menu focused on what he described as “elevated comfort food.” Fullilove, who is the current executive chef at The Magic Castle and is the chef/owner of Barbara Jean L.A., focuses on locally sourced ingredients and dishes served family style. After Fullilove wraps up in March, the menu will turn over to chefs Pla and Fern Kaewtathip of Noree Thai and Luv2eat Thai Bistro for the Spring. Abernethy’s is open Tuesday-Friday, 5 p.m.-11 p.m., Saturday, 11 a.m.-11 p.m. and Sunday, 11 a.m. – 9 p.m. At 220 N. Hope St., (213) 972-8088 or abernethysla.com. Asian in America: The Japanese American National Museum is partnering with Los Angeles-based nonprofit culinary production outfit Studio ATAO this Lunar New Year to explore the connection between Asian American identity and food in a special rendition of ATAO’s award-winning series Asian in American. Held on Jan. 23, at JANM, the event will mix virtual reality, spoken word and poetry with food and drinks, over the run of a sixcourse, seated dinner. Participants wear virtual reality visors that allow guests to interact with the poetry and items to explain the details and symbolism behind each ingredient and dish. The piece first debuted in New York’s Museum of Food and Drink in 2018,
photo courtesy Music Center
Chef Jason Fullilove of the Magic Castle and Barbara Jean, is currently overseeing the menu at Abernethy’s, the second chef in its revolving chef program.
and has since begun touring, making stops a list of national culinary institutions. There are two ticketed slots for guests, a cocktail hour, at 5:30 p.m. (which comes with free admission into the museum galleries) and a dinner, at 7:30 p.m. At 100 N. Central Ave., or studioatao.org/ asian-in-america Red Herring 2.0: Chef Dave Woodall and Alexis Martin Woodall, an award-winning television producer, have taken another whack at their Red Herring concept, relocating the restaurant from Eagle Rock to Downtown Los Angeles last month. The husbandand-wife team opened Red Herring on Dec. 16 on Grand Avenue between Seventh and Eighth streets, initially for dinner and drinks, before expanding to lunch and brunch in early 2020. “We’re taking everything we learned in our Eagle Rock kitchen and upping the ante,” Dave Woodall said. “We’re also giving ourselves more room to play. Yes, the menu is large and more refined — but it’s also more adventurous, and lends itself to a more exploratory experience.” The Woodalls opened Red Herring in Eagle Rock in 2016 in a rehabbed two-story building, before shuttering it in March 2019. The Downtown Los Angeles iteration takes up 3,300 square feet, featuring peach and forest green motifs, connecting around a large, eye-catching mural from artist Mike Wilcox. The menu consists of what Dave Woodall calls “American regional comfort,” with dishes like crispy quail with a buttermilk waffle and the ricotta dumplings. The bar program will also include an expanded version of its Eagle Rock menu, including the addition of a rotating monthly cocktail. The restaurant is currently open daily for dinner, Sunday through Thursday from 5-10 p.m. and Fridays and Saturdays from 5-11 p.m. At 770 S. Grand Ave., or redherringla.com. Have any juicy restaurant news? Send any tips over to sthomas@timespublications.com.
ORANGE IS THE NEW BLACK’S BIG BOO
LEA DELARIA
LIVE IN CONCERT Sat, Jan 18 @ 8pm The Theatre at Ace Hotel DISCOVER YOUR TUNE cap.ucla.edu 310 825 2101
Additional support from The Theatre at Ace Hotel.
ROCK, POP & JAZZ
1720 1720 S. Los Angeles St. or 1720.la. Jan. 15: Scary Kids Scaring Kids. Jan. 16: The Faceless. Jan. 17: Merkules. Jan. 18: Incendiary, Downpresser, Criminal Instinct, Eyes of the Lord. Blue Whale 123 Astronaut Ellison S. Onizuka St. or bluewhalemusic.com. Jan. 13: Brandon Fansher Group. Jan. 14: Will Brahm Group. Jan. 15: Erin Bentlage Group. Jan. 17: John Escreet Group. Jan. 18: Measure LA with Zach Danziger and Nate Wood. Jan. 19: Harriet Tubman. The jazz trio, not the historic abolitionist. Bootleg Bar 2220 Beverly Blvd., (213) 389-3856 or bootlegtheater.org. Jan. 13: Come over, come over, Kate Clover is still the Monday performer. Jan. 15: Kaki King will show off her guitar skills. Jan. 17: Experience the duality of Gemini Cove. Jan. 19: Art-pop singer Somme has an EP release show. Exchange LA 618 S. Spring St., (213) 627-8070 or exchangela.com. Jan. 17: Bonnie X Clyde, Dirty Audio, Pixel Terror, Niiko x SWAE, matphilly. Jan. 18: Firebeatz. Grammy Museum 800 W. Olympic Blvd. or grammymuseum.org. Jan. 14: Saxophonist Kirk Whalum jams and talks about a new documentary he’s made. Moroccan Lounge 901 E. First St., (213) 395-0610 or themoroccan.com. Jan. 14: LUXXURY, Alex Siegel, Inspired & The Sleep, Limón Limón. Jan. 15: Criminal Hygiene (because washing up is the most important part of doing crime), AreaMan, Original Son. Jan. 16: Justin Taylor Phillips is Crywolf and he is doing an acoustic show. Jan. 17: Guns N’ Hoses is an all-woman Guns N’ Roses cover band. That is awesome, if you like Guns N’ Roses. Jan. 19: Tate McRae. Continued on page 11
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Former XXXTentacion cohort Ski Mask the Slump God came down with an illness and was forced to cancel his scheduled November performance at The Novo last year, but in 2020, the member of the 2018 XXL Freshman Class, is making good on his promise. On Saturday, Jan. 18, at 8 p.m., Ski Mask the Slump God is bringing his first headlining tour, the Stokeley Tour, which is likely to include multiple tracks from his latest studio album Stokeley, to Downtown Los Angeles. Expect to here new tracks like “Nuketown,” which features the recently deceased Juice WRLD. At 800 W. Olympic Blvd. or thenovodtla.com. If you watched the BBC miniseries “Chernobyl,” then you are well aware of the horrors of nuclear contamination and radiation. Combine nuclear contamination with climate change, one of the leading issues of our time, and you have the focal point of the Natural History Museum of Los Angeles County’s latest discussion at the longstanding museum. Los Angeles Times journalist Susanne Rust will facilitate a discussion on Thursday, Jan. 16 on climate change’s impact on the Marshall Islands, a site that was used for more than 60 atomic bomb tests between 19561958. At 900 Exhibition Blvd. or nhm.org. Most people might know her as the abrasive Carrie “Big Boo” Black, from the hit Netflix series “Orange is the New Black,” but Lea DeLaria is far more than her memorable role. For decades prior to joining the cast, DeLaria was a stage performer, comic and singer, known for her highly energetic performance style and silky smooth singing voice. DeLaria brings that abundance of energy to Downtown Los Angeles on Saturday, Jan. 18 when she performs her latest album House of David: delaria+bowie=jazz, part of the CAP UCLA series at the Theatre at Ace Hotel. The performance will begin at 8 p.m. At 929 S. Broadway or theatre.acehotel.com. The calendar recently turned over to 2020, but the Microsoft Theater is instead looking backwards with the return of its annual 90s R&B party. Close to 10 chart-topping acts from R&B’s 90’s heyday are on the bill for Microsoft Theater’s fifth R&B Rewind on Saturday, Jan. 18. The concert kicks off at 8 p.m. on Martin Luther King Jr. weekend, and is headlined by Keith Sweat, Tony!, Toni! Toné! and TLC, alongside other 90s stalwarts like Donell Jones, Color Me Badd and 112. At 777 Chick Hearn Ct. or microsofttheater.com. If you’re still holding on to that glass of eggnog and waxing poetic about the holiday season, you still have one more week to enjoy one of Downtown’s holiday staples. The Bai Holiday Ice Rink at Pershing Square is wrapping up on Sunday, Jan. 20, giving Downtowners seven more days to try their hands at gracefully gliding across the ice. The rink is open Monday-Sunday, and the lead up to the final day will feature multiple special skate days, including “Let it Go” Tuesday and the Thursday DJ Spotlight with DH HowLy. At 532 S. Olive St., (213) 988-7189 or holidayicerinkdowntownla.com.
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Send information and possible Don’t Miss List submissions to calendar@downtownnews.com.
photo by Tina Turnbow
MONDAY, JAN. 13 Mystic Monday Comedy Resident, 428 S. Hewitt St. or residentdtla.com. 8 p.m.: Half a dozen stand-up comics take the stage to try and make you, the people, laugh. Please clap. WEDNESDAY, JAN. 15 The Reality Game with Samuel Woolley Last Bookstore, 453 S. Spring St., (213) 488-0599 or lastbookstorela.org. 7:30 p.m.: Researcher Woolley talks about his new book on deep fakes, disinformation, and digital propaganda. Timely stuff. THURSDAY, JAN. 16 And That’s Why We Drink The Regent, 448 S. Main St. or spacelandpresents.com. 8 p.m.: The true crime and paranormal mystery podcast does a live taping in Downtown Los Angeles. As for the name, boxed wine is involved. FRIDAY, JAN. 17 Watch What Crappens The Regent, 448 S. Main St. or spacelandpresents.com. 8 p.m.: This podcast is all about the trashiest of reality TV. This edition will feature the hosts presenting “awards” for categories such as “Best Bravo Show” and “Best Fight.”
BY SEAN P. THOMAS
photo by Gary Leonard
EVENTS
the don't miss list
JANUARY 13, 2020
photo courtesy the artist
DT
CALENDAR LISTINGS
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photo courtesy the artist
10 DOWNTOWN NEWS
JANUARY 13, 2020
DOWNTOWN NEWS 11
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Resident 428 S. Hewitt St. or residentdtla.com. Jan. 14: Odetta Hartman plays modern, experimental country music. Yes, that is a thing. Jan. 15: The Miles headline this week’s local band showcase. Jan. 17: Four DJs spin for the Pillowtalk dance party. Jan. 18: HOME is a night for house and deep bass. The Novo 800 W. Olympic Blvd. or thenovodtla.com. Jan. 18: The fantastically named Ski Mask the Slump God plays his show originally scheduled for November. Also, his artist bio features him edited into a painting of a Napoleonic era general, and that is the kind of energy 2020 needs. The Redwood 316 W. Second St., (213) 680-2600 or theredwoodbar.com. Jan. 14: The Holdfast, Andrew Deadman. Jan. 15: The New Gods (sadly, as far as we know, not a tribute to Jack Kirby’s comic book series), SEB, Window Portal. Jan. 16: Mark and the Tiger, Caitlin Edwards. Jan. 17: Celebrate 10 years of Generacion Suicida with the band, plus Slaughterhouse, and Situations. Jan. 18: The Great Refusal, The Adjacents, The Mormon, Emmer Effer, Elis Paprika and the Black Pilgrims, Stars at Night, Electric Children. Jan. 19: The Born to Kills, The Paradoks, Pizza Stains, Sweet Vicious. The Regent 448 S. Main St., (323) 284-5727 or spacelandpresents.com. Jan. 18: Eric Johnson has a guitar and is not afraid to use it. After he does, there’s a silent headphone dance party playing ‘90s classics. The Smell 247 S. Main St., in the alley between Spring and Main streets or thesmell.org. Jan. 15: Glittered, Justus Proffit, ANTHONY. Jan. 17: Trends, The Wig Room, Lonely Chief, Dracula & the Swamp Rats. Jan. 18: This Uni, Thank You Congratulations, Kamikaze Palm Tree. Teragram Ballroom 1234 W. Seventh St. or teragramballroom.com. Jan. 15: Indie folk-pop with Stella Donnelly. Jan. 18: Dopapod.
CLASSICAL
Russian Romantics Walt Disney Concert Hall, 111 S. Grand Ave. or laphil.org. Jan. 14, 8 p.m.: Members of the Los Angeles Philharmonic play a selection of works from the great Russian composers Rachmaninoff, Arensky, and Tchaikosvky. Bach, Handel, and Telemann Walt Disney Concert Hall, 111 S. Grand Ave. or laphil.org. Jan. 16-17, 8 p.m.: The L.A. Phil, backed by guest singers and violinists, play a set of Baroque works. John Adams & Julia Wolfe Walt Disney Concert Hall, 111 S. Grand Ave. or laphil.org. Jan. 18, 8 p.m. and Jan. 19, 2 p.m.: Adams leads the Phil, joined by Bang on a Can All-Stars, to perform Wolfe’s psychedelia-tinged “Flower Power.”
THEATER
What The Constitution Means to Me Mark Taper Forum, 135 N. Grand Ave. or centertheatregroup.org. Jan. 14-17, 8 p.m., Jan. 18, 2:30 and 8 p.m., Jan. 19, 1 and 6:30 p.m.: Heidi Schreck’s show explores what the founding document’s legacy is, through stories about her teenage life learning about the document. Through Feb. 23. The Last Ship The Ahmanson Theatre, 135 N. Grand Ave. or centertheatregroup.org. Jan. 14-17, 8 p.m., Jan. 18, 2 and 8 p.m., Jan. 19, 1 and 6:30 p.m.: Sting’s musical about a dying industrial town rallying for one last hurrah arrives in Downtown. Through Feb. 16. See story page 9.
FILM
Alamo Drafthouse 700 W. Seventh St. or drafthouse.com/los-angeles. Through Jan. 19: Star Wars: The Rise of Skywalker (12, 1:20, 3:25, 6:50 and 10:15 p.m.); 1917 (1, 4, 4:45, 7, 7:45 and 10 p.m.);
Cats (10:20 p.m.); Clemency (12:40 and 9:25 p.m.); Just Mercy (12:55, 4:15, 7:35 and 10:50 p.m.); Knives Out (1:40, 4:20, 6:50 and 10 p.m.); Like a Boss (1:55, 4:50, 7:15 and 9:40 p.m.); Little Women (12:35, 4, 7:15 and 10:30 p.m.); Parasite (3:35, 5:45 p.m.); The Grudge (1, 3:35, 7:35 and 10:45 p.m.); Uncut Gems (11:55 a.m., 2:25, 3:10, 6:10, 6:25 and 9:40 p.m.); Underwater (12:55, 3:30, 6:05 and 8:45 p.m.). IMAX California Science Center, 700 State Drive, (213) 744-2019 or californiasciencecenter.org. Dogs can do more than just slobber over your shoes. Check out all of their unique abilities in Superpower Dogs 3D. Celebrate the 50th anniversary of the Moon landing with the documentary Apollo 11. What goes on in the suburbs? The new documentary Backyard Wilderness explores the animals hanging around the house. Regal Cinemas LA Live 1000 W. Olympic Blvd., (213) 763-6070 or lalive.com/movies. Through Jan. 19: 1917 (12:20, 1:30, 3:40, 4:30, 7, 7:30, 9 and 10:10 p.m.); Just Mercy (11:20 a.m., 4, 7:20 and 10:20 p.m.); Like a Boss (11 a.m., 12:40, 3, 5:30, 8, 9:10 and 10:30 p.m.); Underwater (11 a.m., 2:20, 5, 7:40 and 10:40 p.m.); The Grudge (11:40 a.m., 2:20, 5, 7:40 and 10:40 p.m.); Little Women (11:20 a.m., 2:40, 6 and 9:20 p.m.); Spies in Disguise (1:20, 4, 6:10 and 9:50 p.m.); Cats (11:20 a.m.), Star Wars: The Rise of Skywalker (11 a.m., 12:10, 2:30, 3:40, 6, 7:10, 9:30 and 10:20 p.m.); Jumanji: The Next Level (12:10, 3:30, 6:50 and 10:10 p.m.); Uncut Gems (12:30, 2:50, 6:40 and 10 p.m.); Knives Out (11:40 a.m., 3:10, 6:30 and 10:30 p.m.).
MUSEUMS
African American Firefighter Museum 1401 S. Central Ave., (213) 744-1730 or aaffmuseum.org. Ongoing: An array of firefighting relics dating to 1924, including a 1940 Pirsch ladder truck, an 1890 hose wagon, uniforms from New York, L.A. County and City of L.A. firefighters, badges, helmets, photographs and other artifacts. Broad Museum 221 S. Grand Ave., (213) 232-6200 or thebroad.org. Ongoing: In the galleries at the Grand Avenue institution are about 250 works from Eli and Edythe Broad’s 2,000-piece contemporary art collection. It’s big-time blue chip, with work from Rauschenberg, Warhol, Basquiat, Koons, Kruger and every other big name. Through Feb. 16: Explore 26 years of Shirin Neshat’s work documenting alienation and exile in “Shirin Neshat: I Will Greet the Sun Again.” California African American Museum 600 State Drive, (213) 744-7432 or caamuseum.org. Through Feb. 16: Metal is the vehicle for a look at appropriation and power in “LA Blacksmith.” Through Feb. 16: “Dust in My Broom: Southern Vernacular from the Permanent Collection” uses drawings, sculpture, painting and more to trace the artistic legacy of the American South. Through March 1: Catch the colorful and eclectic sculptures and installations of Timothy Washington in “Timothy Washington: Citizen/Ship.” Ongoing: The multi-functional “Gallery of Discovery” offers visitors the opportunity to connect with the lineage of their own family, engage in artistic workshops, educational tours and other programs of historical discoveries. Hear recordings of former slaves from the Library of Congress archives and discover stories from the past. California Science Center 700 State Drive, (323) 724-3623 or californiasciencecenter.org. Ongoing: “Mission 26: The Big Endeavour” presents Los Angeles’ very own Space Shuttle in all of its splendor. Ongoing: “Science in Toyland” presents physics through favorite kids’ toys. This hands-on exhibit engages museum visitors with Dominos, Sails and Roller Coasters in a fun, but informational primer on friction, momentum and chain reactions. Ongoing: The Science Center’s permanent exhibits are interactive and focus on human innovations and inventions as well as the life processes of living things. The lobby Science Court stays busy with the High Wire Bicycle, a Motion-Based Simulator, the Ecology Cliff Climb and “Forty Years of Space Photography.” The human body is another big focus: The Life Tunnel aims to show the connections between all life forms, from the single-celled amoeba to the 100-trillion-celled human being. The “Ecosystems” exhibit explores how life on our planet is shaped by geophysical and biological processes. Chinese American Museum 425 N. Los Angeles St., (213) 485-8567 or camla.org.
Permanent: “Origins” presents the story of the Chinese-American community in Los Angeles. Permanent: Re-creation of the Sun Wing Wo, a Chinese general store and herbal shop, and “Journeys: Stories of Chinese Immigration,” an exhibit exploring Chinese immigration to the United States with an emphasis on community settlement in Los Angeles. Outlined into four distinct time periods, each is defined by an important immigration law and/or event, accompanied by a description and a personal story about a local Chinese American and their experiences in that particular historical period. El Pueblo de Los Angeles Historical Monument 124 Paseo de la Plaza, (213) 485-8372 or elpueblo.lacity.org. Ongoing: The whole of El Pueblo is called a “monument,” and of the 27 historic buildings, four function as museums: the Avila Adobe, the city’s oldest house; the Sepulveda House, home to exhibits and the Visitors Center; the Fire House Museum, which houses late 19th-century firefighting equipment; and the Masonic Hall, which boasts Masonic memorabilia. Check the website for a full slate of fiestas. Open daily, though hours at shops and halls vary. FIDM Museum FIDM, second floor, 919 S. Grand Ave., (213) 6241200 or fidmmuseum.org. Ongoing: “Accessories from The Helen Larson Historic Fashion Collection” surveys footwear, fans, gloves, purses and hats. Grammy Museum L.A. Live, 800 W. Olympic Blvd., (213) 765-6800 or grammymuseum.org. Through Fall: “Take Me Out to the Ball Game” explores the intersection of popular music and the National Pastime. Through Sept. 2: A boy band beloved by some and reviled by others gets another moment in the spotlight in “Backstreet Boys: The Experience.” Ongoing: “360 Sound: The Columbia Records Story” provides an in-depth look at all aspects of Columbia
Records’ history and offers a virtual history of the music industry from its infancy, tracing the label’s pivotal technological as well as business innovations, including its invention of the LP. Ongoing: White sequined gloves and other wardrobe pieces are the focal point of the exhibit case paying tribute to the life and legacy of Michael Jackson. Ongoing: “Roland Live” is a permanent installation courtesy of the electronic musical instrument maker, Roland Corporation. The exhibit gives visitors a chance to participate in the music-making process by playing a wide variety of products, from V-Drums and BOSS pedals to VIMA keyboards and the MV-8800 Production Studio. Ongoing: “Shining Like A National Guitar” references both Paul Simon and the celebrated six-string company known for their metallic resonators. Italian American Museum of Los Angeles 644 N. Main St., (213) 485-8432 or iamla.org. Ongoing: A collection of artifacts and interpretation panels document the long and proud history of Italian natives in Los Angeles. Through Jan. 26: “Fantasy World: Italian Americans in Animation” explores the impact those creators and animators had in works such as “The Flintstones” and other favorites.
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