Los Angeles Downtown News 08-09-21 by Times Media Group

August 9, 2021 I VOL. 50 I #32

Half a Century LA Convention Center celebrating 50 years A Slice of New York Danny Boy’s opens in Bunker Hill

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Covered California will help OPINION

The letter I hope no one has to write

By Ellen Snortland LA Downtown News Contributing Writer ear great, great-niece or nephew, I’m writing you knowing that by the time you read this I’ll have died. I’m writing this two weeks before my 100th birthday. I can’t imagine I’ll last much longer. I’ve given this letter to my lawyer, Rachel, with instructions to share it after I go to that gigantic Feminist March in the Sky, presided over by the late, great Gloria Steinem. I’m currently sitting in my van, a womb-like space complete with a candle and my small dog Scalawag. I hide her in a bag, having trained her to stay quiet. There used to be a running gag from the older generation to the younger that went something like: “When I was a kid, we had to walk five miles through the snow just to get to school!” or “When I was a kid, we didn’t have TV; we had to read instead!” You get the drift, but these clichés were used to demonstrate how much better off you young-uns have it. We can no longer lay a guilt trip on you for how much better you have it. You are suffering from our neglect, hubris and “can-do” exceptionalist attitudes that we could continue to live life while ignoring the earth and its limits. You are, no doubt, already keenly aware of significant catastrophes we’ve endured. Seniors have been left to die unless they can justify their existence; the West and East coasts seceded from the union of what is now called “Middle America”; a vast water pipe is shared cross-country so we can at least have a gallon a day per person, no exceptions! I share my water with Scalawag. She is truly the only thing that keeps me sane. Rather than the major events, I’ll share with you the more quotidian aspects of life before the rapturists hijacked the center of America and took over. When I was your age — yes, I said it — people were told to rinse cans and bottles with running water to recycle them. In some cases, the impulse to recycle and the mandates to separate trash were on the right track. However, there was a colossal exposé that revealed the recycling industry mainly was a sham. So not only did we waste precious water for no reason, local governments mostly jettisoned materials into landfills rather than have brilliant new scientists obtain grants to create effective re-purposing on a massive scale. By the way, you know Exxon as a water monopoly. Long ago, they made tons of money in the fossil-fuel racket. Eventually, they finally saw that more incredible wealth would come from taking over the remaining aquifers and re-routing perennial floodwaters from the other parts of the country to the West. And it wasn’t just water… Oh, the food we wasted! It makes me sick to even contemplate. (Ooh, I never saw “plate” in “contemplate” before.) We’d leave good food on our plates to prove to others that we weren’t pigs. Some of us, using impossible standards, intentionally limited our food intake to be thin. We threw away more food than was eaten in many countries around the world simply because it wasn’t “attractive.” Oh, and people would intentionally avoid life-sustaining wheat products because they thought gluten was terrible for them, even when there was never any credible proof. I would happily lick plates now. We used to walk and hike — can you believe it? It’s true; there were no restrictions on access to wilderness areas. Now only rich people can visit the National Parks… what’s left of them. I got to go to Africa and see elephants, lions, zebras, giraffes, cheetahs, hippos and baboons. I even saw penguins off the southeast coast of South Africa. I’ve seen whales! I’m so hoping that the Ark Project (not to be confused with the Christian Ark theme park in Kentucky) successfully saved the DNA of all of the animals we’ve lost. Last I heard, that DNA is sharing space with the Svalbard Global Seed Vault. Let’s hope the rapturists don’t confiscate the seeds and genetic materials as being the work of Satan.

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The rapturists simply dug in their heels more intensely, once four — yes, count ’em, four — specific end days came and went. These people, who sold everything and waited on their front steps — and waited, and waited, and waited — won’t give up until everyone converts. Some of them bailed on Revelations and joined the dominionists (aka “rapturist light”), but the majority simply came up with another date. Meanwhile, we of the nonrapture beliefs didn’t dare laugh out loud, but we certainly did in the privacy of our own spaces. Yes, we cling to our humor because we must. I hope you can forgive us. If you don’t, I understand. Please join your local undergrounds. Norway continues to be a free country with lots of activists and lots of beachfront property. And if you get a chance, when you go by fenced parking lots with lots of vans, stop and visit one of your elders. We have precious memories that we’re literally dying to share. Love, Aunt Ellen. Ellen Snortland has written commentary for decades. She also teaches creative writing and can be reached at ellen@authorbitebybite.com.

OPINION

EXECUTIVE EDITOR: Christina Fuoco-Karasinski STAFF WRITERS: Andrew Checchia, Andres De Ocampo, Julia Shapero CONTRIBUTING WRITERS: Sara Edwards, Kamala Kirk ART DIRECTORS: Arman Olivares, Stephanie Torres STAFFNews PHOTOGRAPHER: Luis Chavez Downtown wants to hear from people in the community. If you like or dislike CONTRIBUTING PHOTOGRAPHERS: Myriam Santos a story, let us know, or weigh in on something you feel is important to the community. ACCOUNT EXECUTIVES: Catherine Holloway, Michael Lamb Participation is EMERITUS: easy. Go Sue to downtownnews.com, scroll to the bottom of the page FOUNDER Laris

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Covered NEWS California will help

LA Convention Center celebrating 50 years By Christina Fuoco-Karasinski LA Downtown News Executive Editor he Los Angeles Convention Center is celebrating its 50th anniversary throughout 2021, recalling events on its website. Owned by the city of Los Angeles and managed by ASM Global, the convention center recently held an in-person celebration that brought together former and current employees, according to Ellen Schwartz, general manager. Los Angeles Mayor Eric Garcetti addressed approximately 200 attendees, which also included city and state officials, event organizers, convention center partners and the Downtown LA hospitality community. “The mayor was there, which was fantastic,” Schwartz said. At the celebration, the Los Angeles Convention Center Hall of Fame was officially unveiled. Three events were named as the 2021 inaugural LACC Hall of Fame inductees: Anime Expo, the Los Angeles Auto Show and Ski Dazzle. “We are thrilled to have the 50th anniversary celebration be a platform to launch the LACC Hall of Fame,” Schwartz said. “Here, we can formally recognize the events that have contributed to the success of this center. Each July, additional events will be named to the LACC Hall of Fame, and collectively these events will illustrate the vibrant history of this great facility.” Schwartz said the event was the high point of an otherwise rough year and a half. “Unfortunately, most of the business we had over the summer had to fall off,” she said. “The reopening information came too late for them in the planning cycle.” A handful of events are scheduled, however, like the Tattoo and Body Art Expo from Aug. 20 to Aug. 22, the 9/11 National Day of Service and Remembrance on Sept. 11, the California Bridal and Wedding Expo on Sept. 12, and the new trade show Cine Gear Expo from Sept. 24 to Sept. 25. Schwartz has worked at the convention center since October 2013. She came on board as the president of sales and marketing and worked her way to general manager. “Each of them is unique and different and stand out in different ways,” she said when asked about memorable events. “The auto show is an iconic event in Los Angeles. It’s surely exciting. We host sexy things like the Grammy afterparty, the MusiCares event, the Ski Dazzle, the LA Comic Con. Then we’ve had trade shows for many years, too. We have such an interesting mix of events that happen with the convention center. You never get bored.” The varied events, she added, feel fresh, as “no two days are ever alike — from the very corporate kind to events like the Anime Expo. The Anime Expo is followed by the Alzheimer’s Association scientific meeting.” The 50th anniversary celebration coincided with the opening of the LA Art Show, the “most comprehensive international contemporary art show in America,” she said. Kassandra Voyagis, producer and director of the LA Art Show, said, “I am so excited to be bringing the LA Art Show to the Los Angeles Convention Center, on the heels of a difficult year. “Now more than ever, we need a physical art fair to unite the creative community. Thanks to this incredible space, we are able to safely welcome our artists, exhibitors and patrons for a celebration of art and culture. We are thrilled to celebrate the LACC’s 50th anniversary in conjunction with our return.”

Ellen Schwartz is the general manager of the LA Convention Center. Photo by Luis Chavez

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AUGUST 9, 2021

Covered NEWS California will help

LA Department of Cultural Affairs releases 2022-23 Cultural Grants Program guidelines By LA Downtown News Staff he city of Los Angeles Department of Cultural Affairs (DCA) has released its 2022-23 Cultural Grants Program guidelines for nonprofit organizations and festival producers seeking grant support for free and/or low-cost cultural events to take place between July 1, 2022, and June 30, 2023. Guidelines and instructions can be found online at culturela.org/grants/ cultural-grant-program-org. The deadline for online submission of application materials is 11:59 p.m. Friday, Aug. 27. “Our Cultural Grants Program supports creative projects that reflect the core values of the Department of Cultural Affairs: inclusion, diversity, equity, excellence and access,” said Danielle Brazell, DCA’s general manager. “Through these vital partnerships with local organizations, we deliver world-class arts and cultural experiences throughout the year that activate and engage our residents and visitors in neighborhoods all across Los Angeles.” “DCA’s grant guidelines contain incremental changes to increase the city’s alignment with contemporary topics regarding social justice, with one category name change and a stratification of the ‘Outdoor Festivals/Parades’ category into three sizes. New instructions welcome applicants to present their authentic values toward fostering inclusion, diversity, equity, excellence and access. This can be

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demonstrated by showcasing specific workers and/or themes within project proposals,” added Joe Smoke, DCA’s Grants Administration Division director. “Please carefully read the educational introduction and online instructions written by DCA’s expert Grants staff, and enroll in a webinar or workshop in order to feel wholly prepared to enter this ‘open call’ system, which will result in a spectrum of the most competitive proposals being funded.” All proposed cultural activities should be easily accessible for targeted communities or general audiences of Los Angeles residents, visitors and/or tourists. Eligibility and scoring are described for proposals in various art disciplines, with a special emphasis this year (DCA’s odd-numbered year cycle) on projects in culture/history, design/visual arts, literary arts, media arts, outdoor festivals/parades, traditional/ folk arts, and field advocacy and sector learning. With this request for proposals (RFP), DCA is seeking to invest in a variety of expertly produced, uniquely disbursed and socially relevant projects that may take the form of participatory workshops and/or engaged demonstrations; include fulltime, part-time, seasonal or occasional jobs for artists and art-event coordinators; and have broad marketing and measurable impacts. The proposed projects should be aligned with the applicant’s mission, history and a defined public purpose. Project budgets should be estimated as public-private partnerships for which applicants should forecast matching funds of at least 1:1. Examples of eligible projects include arts business/networking activities, culture/history presentations, dance concerts or classes, design/visual art exhibitions or museum projects, literature or publishing projects, media activities or presentations, music concerts or classes, outdoor festivals or parades in one public street or public area over one day or one weekend, theatrical workshops or productions, traditional/folk arts activities or presentations, and/or multi-disciplinary arts activities. A series of free online webinars and in-person workshops are available to provide assistance to potential applicants. Webinar space is limited to 30 participants per webinar, and RSVPs are required at least two business days in advance. The calendar of webinars and workshops, and instructions to register, may be found at dcaredesign.org/grants/training/workshop-schedule. For more information, contact DCA’s Grants Administration Division at dca. grants@lacity.org. Staff is still telecommuting, so expect emailed questions and inquiries to be returned in approximately 48 hours. In addition to the release of the new Cultural Grants Program RFP, DCA is also inviting arts managers, cultural events producers, arts experts and cultural business financial managers to participate in the grant review process through an open call for panelists. If selected, eligible individuals may be invited to serve as a part of one democratic team who would determine a set of grant-funding priorities for DCA. For more information about how to nominate yourself as a potential grant reviewer, visit form.jotform.com/211934716880158.

Upcoming online webinars and in-person workshops 12:30 to 1:30 p.m. Friday, Aug. 6 (virtual meet and greet with DCA grants staff) (recommended for new applicants to discuss organization and project eligibility) 4 to 5:30 p.m. Thursday, Aug. 12 (webinar) 2 to 4 p.m. Wednesday, Aug. 18, on the rear patio at the Sun Valley Youth Arts Center (in-person workshop with the grants director) (recommended for new applicants or new staff at returning organizations) 1 to 2:30 p.m. Saturday, Aug. 21 (online webinar)

AUGUST 9, 2021

Covered California will help BUSINESS

City National Bank opens new locations By LA Downtown News Staff s part of City National Bank’s continued growth, it has opened a new branch on Bunker Hill in the heart of Downtown Los Angeles, where it has had a presence for nearly 55 years. The bank has also opened a new office in Downtown Santa Monica. These are the first new branches City National has opened in 2021; the bank has opened seven new branches since the start of the pandemic, including five on the East Coast in 2020. “Downtown Los Angeles is a strong and resilient community, and we’re looking forward to helping clients be a part of the recovery,” said Erich Klein, senior vice president and head of branch strategy and innovation at City National. Downtown Los Angeles was in the middle of a decadeslong revitalization that was effectively halted by the onset of the COVID-19 pandemic in early 2020. Now that LA businesses have begun opening up again and many anticipate a return to the city’s former level of activity, City National’s objective is to better serve businesses, entrepreneurs and other professionals as the economy reopens. The Downtown Los Angeles location is a relocation of the bank’s previous Bunker Hill branch. City National’s new Bunker Hill branch is located at City National 2CAL (350 S. Grand Avenue), adding to the company’s existing 300,000 square feet of office space at that location. City National first leased 11 floors at Two California Plaza in December 2016, and the company has had a major presence in Downtown Los Angeles since 1967. The new branch was designed to create a contemporary experience in line with the values of the organization. Visually, the branch is a glass box located in the main lobby of City National 2CAL with its own entryway. Two California Plaza has been updated and refreshed during the pandemic as well, and City National’s new location is in close proximity to the new retail locations and restaurants that have opened there. Peter Smith, vice president with City National’s Personal and Business Banking division, has been named branch manager. Smith brings more than 16 years of financial services experience to his role at City National, where he leads the team of seasoned financial experts to help clients meet their financial goals. Smith joined City National in April 2020 from OneWest Bank, where he was a branch manager for nearly eight years. “In 2018, City National became the first company with prominent buildingtop signage on two major skyscrapers in Downtown Los Angeles: City National 2CAL and City National Plaza,” Klein said. “Moving our Bunker Hill branch to City National 2CAL further strengthens our brand presence in the building and provides clients with a premier branch experience.” The Santa Monica location is the bank’s second in that area. The first, located in the Water Garden (1620 26th Street), reopened on July 12, after it was remodeled during the pandemic. Jennifer Rueda, senior vice president and group branch manager with City National’s Personal and Business Banking division, has been chosen to lead both Santa Monica locations. Rueda is based in Santa Monica and works directly with clients and colleagues to deliver personalized service to entrepreneurs, professionals, business owners and their families. Prior to joining City National, Rueda was a branch manager at U.S. Bank for four years. “It was important for us to have a presence in Downtown Santa Monica and be part of the walkable downtown core that the city is developing,” Klein said. “We especially wanted to build our presence there so we could better serve small businesses, entrepreneurs and other professionals as the economy reopens. Santa Monica draws more than 8 million visitors a year, and we’re excited to support our clients as they drive activity in the area.” The branches are opening in line with the latest state and local pandemic requirements, and all are following health and safety best practices. “These new and renovated branches in Downtown LA and Santa Monica are a symbol of City National’s commitment to providing clients with premier banking services and experiences,” said Scott Witter, executive vice president and head of Personal and Business Banking at City National. “The bank was founded in this community more than 67 years ago, and we remain fully committed to serving the best interests of our clients and colleagues throughout Los Angeles.”

City National Bank 350 S. Grand Avenue, Los Angeles 213-253-4360 1315 Lincoln Boulevard, Santa Monica 310-264-2951

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AUGUST 9, 2021

Covered DINING California will help

Danny Boy’s offers a slice of New York By Frier McCollister LA Downtown News Contributing Writer uring the pandemic, local food trends were affected, especially pizza purveyors. From certified authentic Napolitano to Detroit-style pan pizza, there is a kaleidoscope of choices in town for pie lovers. The Aug. 5 opening of Danny Boy’s Famous Original in Bunker Hill at the newly renovated Halo atrium complex represents the latest pizza salvo across Downtown’s dining bowl. Specializing in New York-style pizza, Danny Boy’s is a loose homage to the dollar slice corner joints. Unlike most of the other new, local pizzerias that cater to an expectation of regional authenticity, single pizza slices are for sale here. They cost a bit more than a dollar, but unpretentious accessibility is the point here. It all reflects the sensibility of chef Daniel Holzman, the mastermind behind Danny Boy’s Famous Original. A native of Manhattan’s Yorktown neighborhood, Holzman grew up in humble circumstances on 83rd Street and First Avenue in the 1980s. At age 14, he interviewed for his first real restaurant job. “My mom worked nights,” he said. “My big brother was out with his friends, so I was a bit lonely. My mom helped me get a job in restaurants to keep me out of trouble.” Through a family friend, an interview was arranged with a chef at a local French restaurant. “It was a Wednesday after school,” he said. “The chef said to be there at 3 p.m. I got off at school at 3 so I got there at 3:30, and he showed up at 3:45. He said, ‘You’re lucky I was taking a haircut, because otherwise you would have been fired for being late.’” That chef was Eric Ripert, and the restaurant was the legendary Le Bernardin. Holzman worked there through high school. Then, with Ripert’s help, Holzman attended the Culinary Institute of America (CIA) in Hyde Park on a full scholarship from the James Beard Foundation. “We didn’t have a ton of money growing up. I was not planning to go to big boy college,” he explained. Suffice to say, it was an unusually auspicious launch for a guy who’s now slinging slices on Hill Street. Holzman fell just shy of graduation from the CIA, when he became absorbed during an externship with chef Jean-Louis Palladin. “Extraordinary chef, way ahead of his time,” Holzman noted. Working in the kitchen of the chef’s eponymous and influential Washington, D.C., bistro, Palladin, young Holzman’s interest and attention was fully engaged, and he never returned to school in Hyde Park. At age 18, Holzman was dispatched by Palladin to Las Vegas, which then began a decade for Holzman on the West Coast. Working at various fine dining venues, he toggled between San Francisco and Los Angeles. Then, a high school friend — Michael Chernow — called Holzman with a yen to start a restaurant back in New York City. Holzman returned to his roots, and in 2010, the pair opened The Meatball Shop. An immediate success, the operation spawned a cookbook and a small chain of still thriving outlets. “I expanded it to a number of restaurants. I didn’t have the resume for the job I had,” he said. “Not my passion. Looking to transition out, I hired a CEO, and that took a couple of years.” He also felt the pull to leave the city and return to Los Angeles. “It’s hard to be a New Yorker and not say New York is the greatest city in the world,” he explained. “It’s such a special place. But the energy, (unless) you have a reason to live in New York, it’s a lot. It’s a hustle. So, I needed to get the hell out of New York is the nice way of saying that.” Holzman’s older brother lives in Venice with his family. That’s where Holzman landed on his return to Southern California. A Sunday morning hangover served as inspiration for his focus on pizza. “I was sitting at home. I was little hungover, and I was craving pizza, that

A native of Manhattan’s Yorktown neighborhood, chef Daniel Holzman is the mastermind behind Danny Boy’s Famous Original. Photo by Jakob Layman

Garlic knots are offered at Danny Boy’s Famous Original. Photo by Jakob Layman

AUGUST 9, 2021

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DINING

comfort food when you need the thing that you ate when you were a kid. I couldn’t find it anywhere,” Holzman recalled. “It’s Ray’s Famous Original in 1985,” he said referring to the unlicensed name used by a profusion of independent pizza stands in New York at the time. Pizza making was not unknown territory for Holzman, but retro-engineering the classic New York slice quickly became an obsession. “I started making pizza at home,” Holzman said. “I had worked in restaurants with pizza programs, so I understood (it) fundamentally and had some experience with it. But then you start doing it and the deeper you get into it, the more it opens up and there’s just more and more to learn, just like anything else. “I think it’s authentically New York style. Authenticity is a moment in time, right? It’s the pizza that I think of when I think of my childhood in New York City in 1985. That is what it’s authentic to.” The menu at Danny Boy’s Famous Original is straightforward and true to Holzman’s native instincts. “It’s an 18-inch pie cut by six, which is a really big slice,” Holzman said. “I think it’s almost too big. But you can’t really cut it by seven, otherwise you give your staff an aneurysm.” There are eight pizzas offered by the slice or as a whole pie, plus three specialty pizzas available in a whole pie only. Among the eight are cheese ($4/ $24), pepperoni ($4.50/$27), meatball ($5/ $30), and white pie with mushrooms ($4.50/$27). There are also vegetarian turns and two takes on a pan-style Sicilian, one vegan. The specialty pies are the Meat Master ($33) with pepperoni, sausage, salami and smoked ham; the Papa John’s ($27) with sausage mushroom and onion; and the Buffalo chicken ($30) with breaded chicken, Frank’s Red Hot sauce and ranch dressing. There are also more than 20 extra topping ingredients ($2-$6). Three sandwiches are $11 and include meatball Parmesan; chicken Parmesan; and sausage, pepper and onions. There are also three salads: a Caesar ($9), a Greek ($10) and the Italian Combo ($11). Holzman engaged restaurant broker Rachel Rosenberg to hunt for locations. Rosenberg suggested the new Halo development. “We came down here and I really fell in love with it. It feels like New York City. It feels like a place where New York pizza could thrive,” Holzman said. It also helped to have an amenable landlord. “There’s not a lot of places with the population density and foot traffic to support a slice joint,” he says. “The people from Brookfield (the landlord) have been an unbelievable pleasure to work with. “It’s big, big company. I’ve never had such a nice landlord. Through the pandemic, they could not have been more generous and supportive.” Construction had already begun on the space, when the pandemic descended last year. The project was put on pause, and Holzman managed to complete a new cookbook in the meantime with longtime writing partner Matt Rodbard. Titled “Food IQ: 100 Questions for My Friend the Chef,” the book is scheduled for release by HarperCollins in February of next year. “It’s a journalist asking home-cooking questions. It’s a question, an article to try to illustrate the answer and then a recipe,” said Holzman, explaining the book’s concept. For now, Holzman is focused on his humble lunchtime pizzeria. “I wanted to have a restaurant that was accessible to people, where it was affordable to eat. Nowadays, just because it’s inexpensive doesn’t mean it’s poor quality.” Holzman emphasized. Open 11 a.m. to 3 p.m. Mondays to Fridays, Danny Boy’s Famous Original should quickly attract a cadre of neighborhood regulars. Remember, there’s an affable and thoroughly authentic New Yorker at the ovens. “For me, the important part of a pizzeria is the relationship with your guests, and that’s the fun of it. That’s the whole point of it. People should come say ‘hello,’ even if you’re not having a piece of pizza. Come say ‘hi.’ I’m here.”

Danny Boy’s Famous Original 330 S. Hope Street, Los Angeles 213-772-7664, dannyboysfamousoriginal.com

There are eight pizzas offered by the slice or as a whole pie, plus three specialty pizzas available in a whole pie only. Photo by Jakob Layman

Meatball Parmesan is one of three $11 sandwiches. Photo by Jakob Layman

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AUGUST 9, 2021

Covered California will help ARTS & CULTURE

Music Center’s Dance DTLA series returns with free lessons By Jordan Houston Los Angeles Downtown News Staff Writer rom professional dancers to those who simply like to move their bodies, The Music Center is now inviting community members to show off their dance moves with free in-person lessons. The center’s annual Dance DTLA is returning to the Jerry Moss Plaza, located at 135 N. Grand Avenue, from Aug. 13 through Sept. 10. After transitioning online last year due to COVID-19 safety regulations, attendees can once again dance the night away in Downtown Los Angeles every Friday night between 7 and 11 p.m., according to Lucy Zepeda, The Music Center’s assistant manager of community relations and partnerships. The series offers a free night of dancing each week, highlighting a new genre every time, topped off with lessons from trained instructors. This year’s genres will include cumbia, disco, Motown, salsa and Bollywood. “Dance brings people together,” Zepeda told Los Angeles Downtown News. “You can dance on your own at home, but it’s a different experience when you’re dancing on a dance floor under the stars with your friends.” The instructors will teach beginner dance lessons with easy-to-follow steps, making it accessible to all skill levels. No prior dance experience is necessary, Zepeda noted. Cumbia will be featured on Aug. 13, followed by disco on Aug. 20, Motown on Aug. 27, salsa on Sept. 3, and Bollywood on September 10. Varying local DJ sets will also be in attendance to keep the party vibes going. The center hopes to provide a space for the community to reunite through dance after a year of isolation brought on by the pandemic, Zepeda added. “It’s that opportunity to reconnect with people they haven’t seen in a long time, or even if it is just dancing with a stranger and other people again,” Zepeda said. “That’s part of being able to be social — I think that’s one of the fun and healing properties of dance.” Dance DTLA is open to all ages; however, no outside alcohol is permitted. Food and beverages will be available for purchase. In the past, the series has drawn in crowds of 15 to 2,000 people at any given time, Zepeda explained. But when COVID-19 required the center’s team to pivot, they were determined to continue to offer the public a safe platform to connect and heal through dance. “Last year, we shifted to the digital format when we went into lockdown,” Zepeda said. Each Friday, the center broadcasted 40-minute prerecorded sessions to its YouTube channel and website at 7 p.m. The sessions featured intermediate and beginner courses taught the instructors. “I think it was hard for the instructors,” Zepeda said. “They are used to vibing with and feeling the crowd — that call-and-response on stage. There was that piece that was missing.” The assistant manager said she is more than excited to see the series transition back to in-person dancing. “A lot of staff and artists haven’t seen each other in a long time,” she stated. “It’s great to bring together the artists again and give a platform for the folks that haven’t been working for over a year.” The Music Center, dubbed as Los Angeles’ performing arts destination, features four theaters and four renowned companies, including Center Theatre Group, the LA Master Chorale, the LA Opera and the LA Philharmonic. The establishment seeks to inspire audiences through live performances, nationally recognized arts education, and free and low-cost art engagement experiences, its website states. Home to a series of artistic programs and events, the center is especially recognized for its dance program Glorya Kaufman Presents Dance at The Music Center, the website continues. It also programs and manages Grand Park, a 12-acre adjacent greenspace with year-round free programming. During Dance DTLA, The Music Center will feature free art-making workshops geared to-

The Music Center is kicking off its annual Dance DTLA series in person for the first time since 2019. Photos courtesy of The Music Center

ward all ages on select dates, including Aug. 20 and 27, as well as Sept. 10. As much as Zepeda is looking forward to gathering at the plaza again, she emphasized that the center’s main priority is safety. “We’re really excited to be coming back live after a year of taking a break,” she said. “But also, we’re looking to have and fun and be safe. We’re asking guests to wear a mask while out.” The Music Center is also partnering with the Los Angeles County Department of Public Health to host a mobile vaccination clinic on Aug. 13 and on Sept. 3 during the festivities. Both the Pfizer and Johnson & Johnson vaccines will be available on both dates, Zepeda said. The vaccine is free to those who are eligible, and immigration status and insurance are not required. To learn more about The Music Center’s Dance DTLA, and for a list of prohibited items, visit musiccenter.org/tickets/events-by-the-music-center/danceDTLA.

AUGUST 9, 2021

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Covered California will help ARTS & CULTURE

Microsoft Theater, Staples Center offer event update By LA Downtown News Staff oncerts and events have returned to DTLA, including the Microsoft Theater and the Staples Center. Tickets are on sale for Tyler, the Creator’s show on March 31 at the Staples Center. As for the Microsoft Theater, new shows include Dream Theater on Oct. 31, Fuerza Regida on Nov. 24, and Los Alegres del Barranco on Nov. 27.

Upcoming shows at the Staples Center Lil Baby, Sept. 24 Gold Over America Tour, Sept. 25 Kane Brown, Oct. 2 Luke Bryan, Oct. 8 Dan + Shay, Oct. 15 Pepe Aguilar, Oct. 17 and Nov. 6 Enrique Iglesias and Ricky Martin, Nov. 18 and Nov. 19 Calibash, Jan. 14 to Jan. 16 Banda MS, Feb. 18 Bad Bunny, Feb. 24 Justin Bieber, March 7 and March 8 The Weeknd, March 18 to March 20 Tyler, the Creator, March 31 Celine Dion, April 14 and April 15 Eric Church, May 7 Roger Waters, Sept. 27 and Sept. 28 Microsoft Theater shows Pancho Barraza, Aug. 21 Eslabon Armado, Aug. 28

Lindsey Stirling, Aug. 30 Roberto Tapia, Sept. 26 Gerardo Ortiz, Oct. 2 Judas Priest: 50 Heavy Metal Years, Oct. 6 Jesus Adrian Romero: Oct. 8 Intocable, Oct. 9 Hasan Minhaj, Oct. 15 and Oct. 16 Mike Epps, Oct. 22 Final Fantasy VII Remake Orchestra World Tour, Oct. 23 Dream Theater, Oct. 30 Jose Luis Perales, Nov. 2 Karol G, Nov. 4 Moein, Nov. 6 American Music Awards, Nov. 21 Fuerza Regida, Nov. 24 L.O.L. Surprise! Live, Nov. 26 Los Alegres Del Barranco, Nov. 27 Pedro Fernandez, Dec. 12 The Go-Go’s, Dec. 29 Il Divo, Feb. 6

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AUGUST 9, 2021

Covered California will help ARTS & CULTURE

James “JPatt” Patterson and Ben “B-Roc” Ruttner — recently released “Bedroom Eyes,” their second song of 2021.

Submitted photo

The Knocks return with a new summertime jam By Claire Spinner LA Downtown News Contributing Writer ith clubs reopening, the American electronic music duo the Knocks hope their latest track, “Bedroom Eyes,” will be the score of the summer. Ben “B-Roc” Ruttner describes the track as a return to form for the duo, which also includes James “JPatt” Patterson. Their last full-length record was 2018’s “New York Narcotic.” “It really does remind me of older stuff by the Knocks,” Ruttner said. “It’s a lot more straight disco than what we did a few years ago. JPatt did this amazing bassline, and I got to add live drums. We wanted to come up with this real summery, easy tune. It feels like people are really ready to have fun this summer and enjoy themselves, so it felt like great timing, too.” “Bedroom Eyes” is the second track the Knocks have released in 2021. Patterson said the steady stream of singles since 2018 shows their dedication to the dance music scene. “Half the battle with the music industry is just staying visible and relevant and staying in people’s ears, because these days there is so much to latch on to and attention spans can be short,” Patterson said. “Throughout our career, we’ve never really stopped putting out new music. We’re constantly generating new content, and I think it’s gotten us to where we are now.” During the quarantine, Patterson and Ruttner were separated for months. However, they continued to create music, like “Bedroom Eyes,” virtually. “It was a combo of me sending things to JPatt and him sending stuff back to me, while we were also dealing with Studio Killers, who were in Finland,” Ruttner said. “It was really interesting, and definitely a different way to make a song, though I can’t say my favorite way.” Ruttner said that ideally, when collaborating with other artists, he and Patterson prefer the camaraderie of working in person. That leads to the duo’s best work. “I think my favorite way to collaborate is to have everyone in a room, drinking beers and just having a party and making it fun. That’s my favorite way to make music with other songwriters, and I think it’s how a lot of our best collaborations come about,” Ruttner said. These collaborations range from indie acts like Mallrat, who sang on the group’s other 2021 single “R U High,” to alternative favorites like Foster the People, with whom they did an album of covers. Patterson and Ruttner agree that their favorite musical partnerships are those that have a personal tie to their lives. Ruttner said that working with a personal hero, Wyclef Jean, was a major turning point for

his music-making journey. “It was a really crazy and incredible experience, because I grew up listening to him — like really listening. To sit in his house and make a song from scratch was the coolest experience. To me, it felt like a turning point for us as a band.” Ruttner said. Patterson said a favorite collaboration of his was with Alex Newell, a singer who got their start on ‘Glee’ and a well-known member of the LBGTQ community. Along with the song’s music video, which featured “RuPaul’s Drag Race” winner Aquaria, Patterson said the partnership helped him feel connected to the queer community. “We’ve been able to become part of those communities in a lot of ways, which, as a queer person myself, is really important for me,” Patterson said. The Knocks have long been known for their inclusivity of people of all walks of life in music and live shows. “It’s part of who we have always been as a group. At our early shows we almost always made a speech about bringing people together and how that’s what our music is for,” Patterson said. “We want to create environments for people where they can come and feel welcome and experience this music without feeling like they are being judged for their differences.” The Knocks are excited to bring their new music onstage and create that same inclusive party environment on the road. “I’m so excited to DJ. We just started playing gigs again, and it feels really good,” Ruttner said. “I’m looking forward to being able to play these new songs. We’ve put out so much music over the past couple years that we haven’t even been able to hear out loud in a club, so I’m stoked for that. I’m just excited to watch people react to the music.” Patterson and Ruttner want to raise their fans’ spirits with “Bedroom Eyes” and their forthcoming album. “We really just want our music to affect people positively. We want these new tracks to feel like hope and love and joy,” Patterson said. “I want people to have fun, and I want these songs to be the soundtrack to coming back to life,” Ruttner said. “People right now are happy to be alive, and that’s why it’s the perfect time to release. We’re not trying to take ourselves too seriously — we wanted to make music that you can throw on that just makes you feel good. That’s our goal.”

The Knocks theknocks.com

AUGUST 9, 2021

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TRAX

BY BLISS BOWEN LA DOWNTOWN NEWS CONTRIBUTING WRITER

THE STEOPLES, “Wide Through the Eyes of No One” (Stones Throw): HHH Advancing beyond the “unresolved” drift of 2017’s “Six Rocks,” GB (longtime LA beatmaker Gabriel Reyes-Whittaker) and Yeofi Andoh (the U.K. vocalist aka A Race of Angels) position silken harmonies front and center in often surreal R&B soundscapes textured with folk melodies, Latin rhythms, analog vinyl loops, acoustic guitar and sweeping synthesizer. The results can still feel intentionally diffuse (“Leaning on Me”) yet soothing. Highlights: “Everybody’s Song,” the melancholy “Lonely Behavior,” “In the Dance,”“The Real Wealth” (“To get real peace of mind/ I suggest you love what you are/ I suggest you love that you are/ Know this life itself’s the real wealth”). steoples.bandcamp.com JAKE BREAKS, “Breaksy” (Wide Hive): HHHH An absorbing instrumental set from guitarists Gregory Howe and Ross Howe and bassist/pianist Matt Montgomery of the Bay Area’s Throttle Elevator Music jazz-rock collective, titled after mysterious turntablist collaborator Jacob B. In contrast to early-2000s TEM recordings (which centered around then-leader Kamasi Washington’s saxophone), these nine tracks are more percussive and psychedelic, exploring the mood-setting capacities of guitars and bass. The strongest tracks — “Approaching the Mystical,”“Low Light Bar Scene,”“Shade Streaming” and “Befreee” — feature guest saxophonist Douglas Rowan, trumpeter Timothy Hyland and trombonist Michael “Rinnie” Rintabone, and evoke a midnight world of exploration and catharsis. widehive.com LOS LOBOS, “Native Sons” (New West): HHH½ Opening their self-described “ode to Los Angeles” with a greasy spin on Thee Midniters’“Love Special Delivery,” the beloved East LA band proceeds to honor the city and folk, R&B, rock and pop heroes and peers whose rhythms they internalized while developing their recognizable sound. David Hidalgo and Louie Pérez’s soul-swaying title tune, the lone original, fits comfortably between a high-spirited update of Percy Mayfield’s “Never No More” and a saxophone-ribboned romp through “Farmer John” that pays righteous props to Pasadena’s Don & Dewey. Other highlights: a robust take on Lalo Guerrero’s “Los Chucos Suaves,” stormy versions of Stephen Stills’“Bluebird” and “For What It’s Worth,” and a ruminative glide through War’s “The World is a Ghetto” (enhanced by Little Willie G. and Barrence Whitfield). loslobos.org TITO JACKSON, “Under Your Spell” (Gulf Coast/Hillside): HHH½ Love, trust and togetherness are the focus of the scion of the Jackson tribe throughout this smoothly produced R&B set. A spate of good-natured groovers includes the slow-burning “Big Leg Woman,”“Dyin’ Over Here” and the new Gamble & Huff song “All in the Family Blues” (“Growin’ up in the family ain’t no peaches and cream”). The highlight is lead single “Love One Another”; over infectious harmonies, Stevie Wonder’s harmonica solo and a stomping beat, its hopeful message exemplifies the album’s mood: “Why don’t we walk with one another/ Talk with one another/ If only we love one another now.” titojackson.com

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