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OPINION

This is why we can’t have nice things

By Ellen Snortland LA Downtown News Columnist ou do realize your nostrils are for inhaling and exhaling?” I snort. Argh! I itch to say that when I see people walking around with masks on, but nostrils exposed. A facial moon, if you will. “For goodness sakes, pull up your mask!”

At one point, I thought this was a male-only habit…and there’s my enculturated sexism laid out for me to see. It turns out women are equally capable of nostril-flashing…and much more.

My first direct “exposure” to anti-vaccination zealotry was via a woman. She was part of the herd who believes vaccinations cause autism. Given that my mother was an undiagnosed person on the autistic spectrum (educated speculation on my part), it couldn’t have been caused by vaccinations, as she didn’t even have one until the 1940s. Born in 1915, mom’s quirks were cemented in place well before that. However, verifiable facts have never deterred anti-vaxxers.

The whole topic of vaccination is intriguing. I’ve been stuck on it for a while. (Nudge, nudge…wink, wink.) Of course, there are hidden women in the history of inoculation, which should not be surprising.

We are taught in school that Edward Jenner, of smallpox fame, is the father of vaccination. However, his parentage is only partially true. He developed a scientific delivery method, but the groundwork was laid by the mother of European smallpox inoculation, Lady Mary Wortley Montagu. Lady Montagu had her own son undergo smallpox prevention in 1717, whereas Jenner didn’t poke anyone until 1796.

What?! “But Ellen, how could an English noblewoman have figured out vaccination?” Lady Mary was a pioneer in many ways. She dared to reject the arranged marriage her parents set for her, she rallied for women’s rights, and she experienced going from being celebrated for her great beauty to being ashamed of her face and wearing a veil. She survived smallpox but lost her beauty, yet she did not let that stop her.

Her husband, Edward Wortley Montagu, was the British ambassador to the Ottoman empire. The couple had a modern marriage for the time, so she traveled to Turkey with him. Lady Mary learned Arabic. She visited Turkish villages and was astonished at the beauty of the locals’ complexions; she could see no smallpox ravagement. Because she could speak to the women, she discovered that elderly ladies would make a circuit of their region distributing cowpox every autumn. They got their local and organic “medicine” from pox sores on livestock, and dipped needles or blades into the pox pus, and then dispensed it into the cut they made on the arms of their human patients. Voilá! No more smallpox!

This was a huge deal. By some counts, smallpox wiped out more people than the Black Plague. It also disfigured many people. When Lady Montagu learned how to prevent it, she made it her mission to get the word out. She enrolled everyone she could in that disease breakthrough from the women in Turkey. By the way, Turkey was not the only country where people practiced variolation, another term for the primitive forms of getting the pox into veins. There’s evidence of the practice in Sudan and China. It’s most likely quite ancient.

Lady Mary even brought her ideas to the British Royal Family. The Royal advisers would not consider try-

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ing this “radical” cure on any Royal children until ly unvaccinated until last week. I got an unexpectthey’d tested it first on prisoners. The six Newgate ed visit from a dear friend who had lost her partner prisoners who volunteered lived and won freedom to a degenerative lung disorder. As my friend came for their effort. While it’s not accurate to say that in the door, I said, “It’s good to see you. I’m so sorry the method spread like a contagion, many elite for your loss. Are you OK?”“Yes, as well as can be expeople did jump on the variolation bandwagon to pected.” “I assume you’re vaccinated,” I said, noticsignificant effect and controversy; Abigail Adams, ing she didn’t have a mask on. “No, I am not, and I the future FLOTUS, Catherine the Great of Russia, won’t be!” she declared. “I will be wearing a mask George Washington and, yes, the British Royal Fam- and keeping my distance then,” I said. “Me, too: I ily opened their veins on the recommendation of don’t want to have my DNA damaged by the molecules your body is throwing off from the vaccinaLady Montagu. EXECUTIVE EDITOR: Christina Fuoco-Karasinski STAFF WRITERS: Andrew Checchia, Andres De Ocampo, Julia Shapero tion you got.”

Not surprisingly, smallpox intervention was conCONTRIBUTING WRITERS: Sara Edwards, Kamala Kirk Compared to this kind of thinking, wearing a sidered heresy ART

by Papal decree, which for ProtesDIRECTORS: Arman Olivares, Stephanie Torres PHOTOGRAPHER: Luis Chavez tants became STAFF an inadvertent endorsement.

The mask under the nose may not be that big a deal afMyriam ter Santos all.

Pope thought CONTRIBUTING vaccination toPHOTOGRAPHERS: be against the will ACCOUNT EXECUTIVES: Catherine Holloway, Michael Lamb of God, and whoever took preventative measures FOUNDER EMERITUS: Sue Laris Ellen Snortland has thankfully been writing a genwould surely go to Hell. Sound familiar? Anti-vaxxder column for decades. Contact her at authorbitebyers go way back and also way up in social rank.

So far, I’ve been mostly isolated from the proud- bite.com.

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Covered NEWS California will help

Members of the Revolutionary Communist Party gather on the steps of City Hall in preparation of making statements on the Kyle Rittenhouse verdict.

Photo by Chris Mortenson

Activist Joe Veal delivers a statement after the Kyle Rittenhouse verdict.

Photo by Chris Mortenson

Demonstrators speak out against Rittenhouse acquittal

By Andres de Ocampo LA Downtown News Staff Writer he Revolution Club, calling for demonstrative action from the community and cities around the nation, spoke out against the acquittal of Kyle Rittenhouse and national systemic problems on the steps of city hall Nov. 19.

The Revolution Club follows the leadership of Bob Avakian, chairman of the Revolutionary Communist Party, USA (Revcom), and an ideology known as,

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“new communism,” with a goal of, “total revolution,” according to the group’s website.

Revolution Club members spoke, as did other local activists, calling attention to an “illegitimate” system.

Michelle Xai, leader and spokesperson of the Revolution Club Los Angeles, said the Rittenhouse verdict sends a “stamp of approval and a greenlight to white supremacists, fascist terror and murder,” In August 2020, Rittenhouse attended protests for the police shooting of Jacob

Blake, which gave way to nights of civil unrest in Kenosha, Wisconsin. The unrest left many businesses thrashed and looted, prompting citizens, like Rittenhouse, to take up arms to “protect” Kenosha businesses. Later in the night, Rittenhouse killed two protestors, Joseph Rosenbaum and Anthony Huber, and injured another, Gaige Grosskreutz.

Rittenhouse faced multiple criminal charges, including first-degree intentional homicide and attempted first-degree intentional homicide, in his prosecution. In a case built around and claiming self-defense, Rittenhouse was found not guilty on all charges.

The afternoon of the verdict sparked protests across the country, including in Chicago, New York and Oakland, of which members of the Revcoms were a part.

“Reality was turned on its head,” Xai said about the verdict. “Painting Kyle Rittenhouse, a fascist thug, to be looked at as some kind of hero meanwhile people like (Huber) and (Rosenbaum), who took to the streets for the shooting of Jacob Blake, are being labeled as, ‘looters’ and ‘rioters.’

“What is happening in society right now is for anyone who agrees and celebrates what Kyle Rittenhouse did to be legitimized and to continue to do that and intensity things to the point of a civil war.”

Isabel Cardenas, a Salvadoran American activist and member of the Revcoms, had her dissenting opinion on the verdict read as a statement in front of city hall.

“All of these people, Rittenhouse, the people he was with in Kenosha, from all of these militia types to QAnon — all across the board — these people are

white supremacist fascists. Rittenhouse should be put in jail, so there is an example to others who would do the same thing,” Cardenas said.

Xai elaborated, “A part of protesting is reaching those people who are accepting this (verdict) or how to understand this or feel about it. People need to understand that it’s not about Rittenhouse as an isolated incident but it’s a part of a whole context, which is fascism.”

“It’s a white supremacist system. It’s a system that bred (people like) Donald Trump and Kyle Rittenhouse. We have to defeat that system and break down the system and we’re getting organized for revolution, but that won’t happen if people are silent,” she said.

Revcom member Annie Day is part of the group’s national tour to get organized for a revolution. She said it will move to end white supremacy, oppression toward women and border conflicts and that, “the emancipation and liberation of the oppressed people in this country and around the world has got to be a conscious act of millions of people that are serious about bringing in a world in which humanity can thrive and where humanity can be the caretakers of the earth… that’s the revolution we’re talking about.

“When we talk about a ‘one-sided civil war,’ we’re talking about these dark ages, troglodyte forces that are trying to throw women back into the closet to be nothing more than breeders and seeking to reinforce terror on people of the world and seeking to close down critical thinking, debate and descent through open terror and violence. These are very diametrically opposed resolutions to the contradictions that are imperiling humanity right now.

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TOY DRIVE “Frankly you can see how their forces fight through thuggery, misogyny and patriarchal, militant, nationalist violence, versus the way people came together in the streets in the uprising for Black lives, which was not a revolution but showed us the potential for the revolution.”

The Revcoms’ goal is to get people across the nation who oppose Rittenhouse’s acquittal to step up. However, getting the same people to see the “larger picture” is also a front-running objective.

“The main point is to step back and look at the larger context,” Day said. “The larger context of backing up and the unleashing of fascist troopers, legal and extralegal, and giving that the greenlight and criminalizing and terrorizing people who stand up for justice.”

Day said a revolution is necessary because, “white supremacy is poured into the foundation of this system and white supremacy can never be ended as long as this is the system that stands.

“People have to mobilize in mass protest but unless we organize for revolution to overthrow this system, this nightmare will never end,” she said.

On Nov. 20, the Revolution Club organized a protest in the Fairfax district’s

Pan Pacific Park with a turnout of a, “couple dozen,” demonstrators, according to Xai. “The purpose of the protest wasn’t so much to beg people in power to change their minds about this situation,” Xai said.

“It was more to get this message out to people who are feeling the same way or don’t understand or how to feel about the verdict and organizing them toward revolution.

“People who care about justice and people that were in the streets about murders by police need to get back out in the streets.”

About why the Rittenhouse verdict is relevant to people in Los Angeles and across the nation, Xai said, “We have to be in the streets and not accept this to go down. (It’s not a question of ) whether or not that this affects us, but it’s about what’s happening in society overall. In LA, Chicago, New York, there needs to be people responding to this and not accepting this. We have to come together.”

“We saw the power that we have coming together, rocking society when we demanded justice for George Floyd… people cannot accept things like this. As a part of a revolution, people have to oppose things like this.”

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Covered NEWS California will help LA nonprofit receives $230K from Delta Dental

By LA Downtown News Staff he Delta Dental Community Care Foundation provided $230,000 in funding to LA Regional Food Bank. The grant is part of more than $20 million in grant funding that was extended to throughout 15 states and the District of Columbia, in which Delta Dental of California operates.

“We’re honored to support LA Regional Food Bank and their efforts to promote oral health care in the communities they serve,” said Kenzie Ferguson, vice president of foundation and corporate social responsibility for Delta Dental of California.

“This year, we looked for grant applicants who can meet the needs of underserved communities, such as the elderly, individuals in rural areas, and underserved communities of color. The food bank stood out as a nonprofit organization that shared our mission and values.

We’re very happy to extend this grant to them.”

The foundation funds local community partners to increase access to care, support dental education and promote innovation in the oral health field. The grants will enable the foundation’s partners to continue providing vital and beneficial services to those most in need in the communities they serve. Since 2011, the foundation has awarded more than $60 million to nonprofits.

Having received the grant, LA Regional Food Bank will utilize the funds to transform its capacity to serve those in need in Los Angeles County by supporting its Comprehensive Campaign, Building Hope: The Campaign for a Brighter Future, as well as investing in building improvements. These steps will allow the food bank to increase access to food for underserved communities within Los Angeles.

“Delta Dental has been a tremendous partner to the Los Angeles Regional Food Bank,” said Michael Flood, president and CEO of the LA Regional Food Bank. “Their financial support has allowed the Food Bank to provide millions of meals for those in need throughout all of LA County.”

The Delta Dental Community Care Foundation’s funding is broadly focused across organizations that address equity, serve rural areas, and are innovative in their approaches to community outreach and care. Organizations that receive funding include health centers, food banks, disaster relief agencies and other community nonprofits.

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Cheryl Boone Isaacs named film school’s founding director

By LA Downtown News Staff merican film marketing and public relations executive Cheryl Boone Isaacs will lead The Sidney Poitier New American Film School.

Boone Isaacs will be the director of the three-campus film school starting on Jan. 1. She will lead from the Arizona State University California Center in Los Angeles as well as from Arizona in Tempe and Mesa, home of the 118,000-square-foot and state-of-the-art film and immersive media center.

“Cheryl Boone Isaacs has built her extraordinary career championing — and exemplifying — two of the primary things The Sidney Poitier New American Film School stands for: inclusion and excellence,” said Steven J. Tepper, dean of the Herberger Institute for Design and the Arts at ASU. “Boone Isaacs is one of the most respected leaders in Hollywood and she fully understands its operating system, making her the perfect person to build a school that can help disrupt both film education and the industries it serves.”

Boone Isaacs was the president of the Academy of Motion Picture Arts and Sciences from 2013 to 2017. She was the first Black person and third woman elected to the post and made it her tireless mission to diversify Hollywood over the years.

Boone Isaacs will continue her mission to lead change in the film industry as the new director of the film school. Boone Isaacs said she was drawn to ASU because of its emphasis on “representation, and the idea of inclusion, not exclusion.” In particular, she emphasizes the importance of helping students gain an understanding of the size of the industry and the many levels within it.

“What young folks usually know is actor, director, writer,” Boone Isaacs said. “It’s important to understand the industry and how many career possibilities there are inside of it — and then the support group that surrounds it. Depending on your attitude, your aptitude, your desire, the range is wide.”

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Boone Isaacs was introduced to film at a young age, thanks to her older brother Ashley, who worked in the industry as a junior film publicist promoting movies to audiences overseas. One of those movies was 1963’s “Lilies of the Field,” which starred Poitier in an Oscar-winning performance. Ashley Boone would go on to work for Poitier’s production company before landing at 20th Century Fox in 1972A, where he became the president of distribution and marketing.

It was through her brother that Boone Isaacs first met Poitier, in the late ’60s. “He was such a striking figure,” she recalled. “And he was very kind and sincere.” Their paths would cross again through Boone Isaacs’ work with the academy.

Earlier this year, ASU renamed its film school after the Hollywood icon and first Black man to win the Academy Award for best actor. The move was part of a commitment to diversity in storytelling and storytellers.

The Sidney Poitier New American Film School, with nearly 700 students, is one of five schools in the Herberger Institute for Design and the Arts at ASU. The school will soon add two locations besides its current home on the Tempe, Arizona, campus.

Boone Isaacs is an adjunct professor at Chapman University’s Dodge College of Film and Media Arts, in Orange. She previously served as a filmmaker-in-residence at Chapman.

Boone Isaacs is excited about building ASU’s film school with an eye to the future, with the goal of empowering visual storytellers across various platforms. Teaching and mentoring hold a special place for Boone Isaacs, and she brings decades of well-earned practical advice to ASU. “Sidney Poitier — the man, the icon, the legend — is my North Star who exemplifies determination, passion, professionalism and excellence,” she said. “I am honored to be part of his legacy and to impart his ethos to future generations of storytellers.”

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Los Angeles Community College District has partnered with PepsiCo for a scholarship program to help underserved Black and Hispanic communities attend college.

Photo courtesy of PepsiCo

PepsiCo expands community college scholarship program

By Andres de Ocampo LA Downtown News Staff epsiCo seeks to help underserved Black and Hispanic students through its national community college scholarship program, aimed at closing the education and opportunity gaps in the Los Angeles Community Colleges District and other school districts nationwide.

PepsiCo and its philanthropic arm, the PepsiCo Foundation, partnered to launch the PepsiCo Foundation Community College Program, an initiative promoting scholarships in March in the wake of the COVID-19 pandemic.

The scholarship program was initially set to support 4,000 Black and Hispanic community college students over five years in New York, Chicago and Texas schools. On Nov. 10, PepsiCo expanded it to nine other cities, including Los Angeles.

PepsiCo expects that its scholarship program’s expansion will help an additional 1,400 students through 2022.

Sean King, vice president for PepsiCo North America, said the scholarship program is implemented by each school system. The community colleges or school districts select the students for the program.

LACCD’s philanthropic arm, the Foundation for the Los Angeles Community Colleges, will oversee and administer the scholarships to students, from LACCD’s end, and serves as the district’s main point of contact with PepsiCo. PepsiCo’s scholarship program will be available to all nine community colleges a part

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of LACCD but the program is still new, according to William Boyer, director of communications and external relations with LACCD. Boyer said LACCD expects to have students apply and participate in January and February.

“In total, we anticipate a total initial donation of $500,000 from PepsiCo,” Boyer said.

“Successful applicants or participants can be male or female students of color, primarily Black or Latino. We hope to have about 100 students per year, for a total of 200 over the two-year period for the initial effort with PepsiCo.” Boyer said the initial outreach and focus during the rollout of the program will be for Black and Hispanic students attending Los Angeles Harbor, East Los Angeles, Los Angeles Valley and Los Angeles Southwest Colleges, and will initially be directed toward certain fields of study, those being automotive, marketing and sales, logistics, and manufacturing and IT. PepsiCo’s community college program offers two scholarships, the first is the Uplift scholarship for students seeking a two-year associates degree or trade certificate, and the second is the SMILE or Success Matters in Life and Education scholarship for community college students transitioning to a four-year college or university.

The Uplift scholarship program is available to all 13 community college PepsiCo partners and is the scholarship LACCD is involved with. The Uplift scholarship also gives assistance to students pursuing programs that are often not covered by federal student aid.

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According to Boyer, students enrolled in an LACCD college who are chosen for the Uplift scholarship can expect to receive a $2,000 scholarship, up to $450 in additional emergency aid, an opportunity to connect with PepsiCo company officials for mentoring and internship opportunities.

SMILE offers students a $25,000 scholarship grant, a professional mentor from PepsiCo to provide guidance and support along their educational journey, and access to financial wellness courses.

The first 25 recipients from PepsiCo’s initial selection of schools for the community college scholarship program were awarded the SMILE scholarship.

The 25 students are enrolled in institutions like Columbia University, Fordham University, the University of Illinois at Urbana-Champaign, and the University of Texas at Austin.

King touched on PepsiCo’s understanding of the education problems and surrounding obstacles many students of color find themselves in during this time and the reason for the community college scholarship program.

Typically, community colleges serve a “demographically and economically diverse” population and due to the pandemic, “we have seen enrollment and completion rates drastically decline. Specifically, across our Black and Hispanic communities,” he said.

A June U.S. Department of Education report documents educational disparities exacerbated from the COVID-19 pandemic for students of color, English learners, students with disabilities, and LGBTQ+ students in grade levels from kindergarten to postsecondary school.

The report said COVID-19 has raised new barriers for many postsecondary students, with heightened impacts emerging for students of color. It confirmed, the pandemic has negatively affected academic growth, widening pre-existing disparities for marginalized and underserved communities.

Among its many findings, the report observed that the pandemic introduced new barriers for postsecondary students of color and that students’ concerns for staying on track to graduate from their educational program, “were particularly high among Black (84%) and Latinx (81%) students,” and that, “nearly twice as many Latino students (50%) and 42% of Black students reported having their education disrupted as compared to white students (26%).”

From 2020 to 2021, LACCD reported that all nine of the community colleges within the school district had 57.3% Latino students and 8.8% Black students enrolled, which make up two of the three most enrolled ethnicities in LACCD schools, with white students being the third most enrolled ethnicity making up 16.5% of LACCD’s student enrollment. “(PepsiCo) is specifically looking at Black and Hispanic students (for these scholarships) because we know that they have been historically underserved and we know that they are seeing a greater impact on their ability to enroll in college and continue their education,” King said.

“We recognize that this is an opportunity for PepsiCo to give back and provide funding for communities to allow people to continue their education and ultimately allow them to grow and be prepared as they enter the workforce.”

Mike Fuller, director of institutional advancement with LACCD, said that LACCD and the FLACC are “very grateful for this opportunity to work with PepsiCo and the PepsiCo Foundation to help uplift and assist 200 students of color at our colleges.

“This fantastic opportunity will provide much-needed assistance to our students to help remove financial barriers that could otherwise prevent them from achieving their higher education dreams. In addition, the mentoring and internship opportunities with PepsiCo can be both career- and life-changing events for them as PepsiCo is a quality brand with worldwide recognition and reach. Our hope is that this two-year program becomes a permanent asset that we can offer to future students at the nine LACCD colleges.”

King explained the tie between the community college program and Racial Equality Journey.

“As a part of our REJ program, we have partnered with various associations and we have committed to supporting and assisting underserved (Black and Hispanic) communities, but in different industries.”

The REJ program seeks to empower and uplift Black and Hispanic-owned businesses and their communities, along with the people living in those communities by investing over $570 million over the next five years, “to address inequality and create opportunity,” according to King.

“Obviously we want to look across different populations within the U.S. and give an opportunity to invest in communities that can benefit from that investment,” King said.

“As we think about some of the cities and locations (a part of the PepsiCo community college program), these are cities with significant Black and Hispanic populations and they are also cities where PepsiCo employees live and work in. These are the communities that we are a part of and we serve. We want to make sure that we are doing our part in supporting our communities and our communities in need.”

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NOVEMBER 29, 2021

ARTS & CULTURE

Iconic Frank Romero painting on display in LA Plaza

By Andres de Ocampo LA Downtown News Staff Writer rank Romero’s iconic painting, “Going to the Olympics,” is on display at LA Plaza de Cultura y Artes, showcasing its historic and culturally important value to Los Angeles.

The historical 1984 painting will be available for viewing through September 2022.

Romero’s art piece is commonly recognized as an inviting and eye-catching mural along the 101 freeway, passing the Downtown Civic Center, to Angelenos and visitors of Los Angeles.

Karen Crews Hendon, senior curator at LA Plaza, called Romero’s, “Going to the Olympics,” mural and painting, “resilient” and “iconic” for its longtime significance to the history of Los Angeles and art.

During the 1984 Olympics, Romero, who is from Boyle Heights, was commissioned by the 1984 Olympics Arts Festival to create a mural for the city and the Olympic games, which would eventually become a landmark and reminder of the diverse community in Los Angeles.

Romero — along with Judith Baca, Alonzo Davis, Glenna Avila, John Wehrle, Willie Herrón III, Kent Twitchell, Roderick Sykes, Richard Wyatt and Terry Schoonhoven — were the 10 artists commissioned for LA freeway murals by the 1984 Olympic arts festival director Robert Fitzpatrick.

Hendon said Romero as an artist is pivotal and, “Having this painting, that was painted prior to his mural on the side of the 101 freeway, is iconic to have. It feels like a homecoming of some sort… having this in the center of Downtown, where his original mural was painted is very significant.”

Romero, who received formal training as an artist from Cal State LA in the late 1950s, became a renowned artist, but one of four frontrunners inspiring an art movement and representing the Chicano identity through their art.

In the 1970s, Romero and three other artists, Carlos Almaraz, Robert “Beto” de la Rocha and Gilbert “Magu” Luján, began to collaborate on paintings and murals, calling themselves Los Four. The group became the first to be represented in the Los Angeles Contemporary Museum of Art (LACMA). It was the first time Chicano artists were recognized in an art institution.

The pivotal moment for Los Four legitimized the Chicano art movement and their art style would explode, making its

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Frank Romero’s 1984 painting, “Going to the Olympics,” on display at LA Plaza for public viewing, exhibiting a piece of Los Angeles and Chicano art history.

Photo by Chris Mortenson

way into different parts of the country, inspiring other art and becoming an essential aspect of Chicano culture. “(Romero) is really celebrated as a Chicano artist, representing his own culture and community and their identity in Los Angeles,” Hendon said.

“Through his paintings, which are stories of what it’s like to be from LA, he brings in a lot of the iconography that we all know (in LA). The bright colors, the palm trees, the blue sky, the cars, the fast-pace,” she said about Romero’s “Going to the Olympics” and his other work.

Hendon’s explanation of Romero’s work also ties into his style as a part of the Chicano art movement. Hendon said, the movement came from “social and political activism. Artists drew from their own inspiration and not necessarily what was popular at the time in California or art history.

“Chicano and Chicana artists drew from their families, they drew from their neighborhoods, they drew from their friends and relatives and inspirations and deep pasts… They made their own artistic movement,” she said.

Through fur thering the Chicano movement through art, Romero’s work with the Los Four began to become socially and politically aware, creating a space for commentary and documentation of the struggles and lives of the Chicano community.

Romero, according to Hendon, remembers the Chicano Moratorium,

a civil rights demonstration bringing thousands of Mexican Americans together to protest disproportionate Mexican American deaths in the Vietnam War, but he did not go because he had a 3-year-old.

“He remembers all of the different nuances of how difficult it was politically, dealing with racism, police brutality, but moreover what was it like to be in LA, around the culture and have an identity here,” she said.

Despite a deep history associated with Romero’s paintings, Hendon said, “I really believe that even if you’re somebody who doesn’t know the particulars of art history, it doesn’t matter. You can walk up to a Frank Romero piece with your own experiences, history and perception and get lost in his paintings.”

Hendon said that observing and appreciating the “Going to the Olympics” painting, or any other of Romero’s work, can be an intimate and fun experience for any viewer.

“Following his linework, seeing where his artistic intent is going. It’s fun to look at, it’s fun to get lost in. It’s an abstract landscape that takes you away

from your reality,” she said.

“It’s not necessar y that someone knows the background of how (Romero) fits into American art. What’s more important is how does it fit into your lifestyle and how can you be inspired by the scene he creates. More often than not, when people look at Romero’s work, they see something familiar.”

According to the LA Plaza website, Romero’s painting was loaned to the cultural museum by owners Jim and Rachel Garrison, who are longtime LA supporters.

Hendon said the painting is, “something that’s near and dear to our hearts and to LA history and culture,” and that accessibility, either by being available to the public in LA Plaza or on the side of the 101 freeway, is important for historically renowned paintings such as, “Going to the Olympics.”

“Access is an important word because art is for the community, it’s not for the elite,” Hendon said. “Anytime you have artists who represent the community and put their work in places that are accessible for the community, it just makes everything so much better.”

“Going to the Olympics” WHEN: Through September 2022 WHERE: La Plaza de Cultura y Artes, 501 N. Main Street, Los Angeles COST: Reservations required INFO: 213-542-6200, lapca.org

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ARTS & CULTURE

Bud Light Super Bowl Music Fest returns

By LA Downtown News Staff ickets are on sale for the Super Bowl Music Fest, which will celebrate its third year.

The three-night festival at the Staples Center gives football fans the chance to connect with the music they love from Thursday, Feb. 10, to Saturday, Feb. 12.

Thursday night kicks off with performances from Halsey and Machine Gun Kelly as headliners for the night. On Friday night, the Bud Light Super Bowl Music Fest features the Blake Shelton and Gwen Stefani with Mickey Guyton. Saturday’s Super Bowl Eve concert lineup brings Green Day and Miley Cyrus to the stage.

In 2019 and 2020, the Bud Light Super Bowl Music Fest featured Bruno Mars and Cardi B.; Post Malone and Aerosmith; Maroon 5, and Dan + Shay with a surprise performance from Demi Lovato; Ludacris, Ciara, Migos, T.I., Lil Jon, and Young

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Jeezy; DJ Khaled & Friends Meek Mill, and Megan Thee Stallion; as well as a special night with Guns N’ Roses and special guest Snoop Dogg.

More than 75,000 music and NFL fans attended the festivals in 2019 at the State Farm Arena in Atlanta and in 2020 at the American Airlines Arena in Miami. The Bruno Mars and Cardi B. concert in 2019 was State Farm Arena’s highest-grossing event.

“We’re absolutely thrilled that our Bud Light Super Bowl Music Fest is returning to bring passionate music and football fans’ never seen before performances,” said Lane Joyce, director of experiential marketing for Bud Light.

“With this year’s festival taking place in the iconic Staples Center, we’re excited about the line-up of musicians we have brought together across various genres, and can’t wait to bring people in Los Angeles even more fun to what is already set

Bud Light Super Bowl Music Fest returns Thursday, Feb. 10 to Saturday, Feb 12 with performances by Green Day on Saturday and Halsey on Thursday along with various other performers.

Submitted photos

to be a big weekend.”

“Staples Center and L.A. LIVE are incredibly excited and honored to host three amazing nights of music as part of Super Bowl Music Fest,” Lee Zeidman, president, Staples Center, Microsoft Theater and L.A. LIVE. “We look forward to welcoming music and football fans to downtown as part of Super Bowl week in Los Angeles.”

“Bud Light Super Bowl Music Fest has quickly become one of the most anticipated fan events of the week. Three nights of incredible talent at an amazing venue in

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Los Angeles as the Super Bowl returns to the city for the first time in nearly 30 years will make this year’s music fest the most exciting ever,” said Peter O’Reilly, NFL executive vice president of club business and events.

The festival will also feature surprise appearances by celebrities and athletes. An array of premium seating is available, including suite and club packages plus options for premium hospitality.

For more information, visit superbowlmusicfest.com.

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Covered ARTS & California CULTUREwill help

Blue October singer is enjoying himself

By Christina Fuoco-Karasinski LA Downtown News Executive Editor ife is good for Blue October singer Justin Furstenfeld.

His band is back on the road, and Furstenfeld secured his first feature film role as a villain in the action flick “Section Eight,” alongside Dolph Lundgren, Mickey Rourke, Dermot Mulroney and Ryan Kwaten. “ L i fe i s c ra z y,” t h e e ve r- u p b e at Furstenfeld said. “I’ve always acted. That was my first love. I had a guy who believed in me, (producer) Brandon Burrows.

“When he said, ‘I’m doing a movie with Mickey Rourke. I want you to be in it. I want you to play a bad guy,’ I said, ‘This is amazing.’”

In postproduction and expected to be out in 2022, “Section Eight” is the story of a former soldier who, after avenging the murder of his family, is sprung from prison and recruited by a shadowy government agency. He traveled to California for combat training.

“It was just great,” he said. “It was good to sink my teeth back into the acting world. I’ve done a lot of stage acting. I’ve never done any real film; just documentaries and music videos.

“I got to play opposite Mickey Rourke, and Dermot, he’s fantastic. He’s the leader of the bad guys. He’s my boss and I’m his right-hand man.”

The arts are important to Furstenfeld.

Blue October is his priority now, as the band is on tour. The pop act known for the songs “I Hope You’re Happy,” “Into the Ocean” and “Hate Me” plays The Belasco on Friday, Dec. 3.

“We haven’t even toured for our new album, ‘This is What I Live For,’ yet,” he said about the collection released in October 2020.

“At our shows, we’re going to play a handful of those songs. We like to play every single one of our radio hits. And then we have a few moments in the show where we really connect with the audience on a spiritual level and remind

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people how precious life is.

“Everyone leaves with a smile and full of hope. It’s a nice show compared to how it used to be. We’d play ‘Hate Me’ and everybody would leave sad. Life is so much better when you enjoy yourself.”

Furstenfeld has written and charted 16 hits over 10 albums, including Blue October’s most recent top 10 alternative single, “Oh My My.” Blue October has amassed over a billion streams. He describes “This is What I Live For” as “the most romantic, sad, cold, dark, hopeful and dreamy rock album that we’ve ever produced. I’ve always wanted to make my Cure ‘Disintegration’ album.”

Produced by Furstenfeld at his Up/ Down Studios in San Marcos, Texas, and Peter Gabriel’s Real World Studios, “This Is What I Live For” is available digitally and on 180-gram double-vinyl with a 24-page book.

In 2020, Furstenfeld was the subject of the uplifting, biographical documentary, “Get Back Up” by award-winning filmmaker Norry Niven, who documented his journey over eight years, beginning with the day he returned home from rehab.

Furstenfeld said his goal is to offer hope, something he focused on during the pandemic quarantine.

“I invested in media equipment so I could do podcasting on recovering,” he said. “I would do Tuesday night step work for people in recovery. I had 500 every Tuesday night. By the end of COVID, I had 6,000, 7,000 every Tuesday working steps with me. It was helping me and other people, too.

“The initial investment scared me a little. Afterward, I realized it was a great tool. I could reach so many people. My dream is to have a true crime podcast.

It’s my favorite. My favorite thing is, after a show, to get in my bunk and watch ‘Dateline,’ ’48 Hours’ or listen to a new podcast. Again, life is so much better when you enjoy yourself.”

Blue October WHEN: 7 p.m. Friday, Dec. 3 WHERE: The Belasco, 1050 S. Hill Street, Los Angeles COST: Tickets start at $37.50 INFO: livenation.com

Blue October is currently on tour playing radio hits and songs from their newest album “This is What I Live For” that was release October 2020.

Photo by Abel Longoria

Blue October singer Justin Furstenfeld will play the villian in the upcoming action flick “Section Eight” along with Dolph Lundgren and Mickey Rourke.

Photo by Marc Nader

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Keith Gerchak is TheatreDNA’s principal theater designer. A registered architect, he has specialized in performance venues for 20 years.

Alex Hargis is a new hire to TheatreDNA and has 25 years’ experience in event operations, performing arts management and brand development.

Lars Klein is a project manager and theater equipment systems designer for TheatreDNA who has more than 25 years’ experience building and designing theaters and concert halls.

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LA consultant firm has theater in its DNA

By Bridgette M. Redman LA Downtown News Contributing Writer rchitects and artists have their own language, although they don’t necessarily communicate well with each other.

That’s where the Downtown LA-based full-service boutique theater design and planning firm TheatreDNA comes in. Recently, it named three new principals.

Senior team members Keith Gerchak and Lars Klein were promoted to principal, while venue management executive Alex Hargis joined as principal to expand the firm’s operations consulting services. These new leadership positions allow TheatreDNA to expand its capabilities and capacity to serve a wider range of clients going forward.

One of TheatreDNA’s founding principals, Michael Ferguson, said like a lot of small businesses, it was hammered by COVID-19. However, PPP loans allowed it to keep its staff on board.

“The two we promoted, I’ve worked with one of them for 15 years and one for

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20 years,” Ferguson said.

“They’ve worked for me from day one.

They were already senior consultants who did the work of principals. They were ready to represent the firm fully.

We are proud and honored to have them stick with us.”

Gerchak is the firm’s principal theater designer. A registered architect, he has specialized in performance venues for 20 years.

He’s also a professional stage and TV actor and screenwriter. His projects include the Colburn School Expansion, the Greek National Opera House, Stavros Niarchos Foundation Cultural Center, the Natural History Museum of Los Angeles Performance Theatre and the Musco Center for the Arts at Chapman University.

Klein is a project manager and theater equipment systems designer for TheatreDNA who has more than 25 years’ experience building and designing theaters and concert halls. He’s been a rigging designer, installer and acoustician. His projects have included the Facebook MPK 21

“Museum” event and broadcast center, Golden State Warriors Chase Arena, Harpa Concert Hall and Conference Centre and the Renee and Henry Segerstrom Concert Hall.

The third new principal is a new hire, Alex Hargis, who had just finished opening a Dallas-area theater and is a marketing and branding specialist. He has nearly 25 years’ experience in event operations, performing arts management and brand development. He will lead the firm’s marketing and development efforts and be a performing arts operational consultant and owner’s representative.

“We’re in a little bit of a growing phase and doing a better job of making sure we are getting all the good work out there and serving our clients,” Ferguson said.

“We are deliberately a boutique firm. We are selective about what we do and are deliberately small. I spent a long time with a large firm, the oldest and the largest. We thought it would be fun to be a small firm, something a little more nimble with a different approach.”

The TheatreDNA team has 12 members and two dogs and they work with architects and venue owners to help them through every step of venue planning, design and construction.

With experience in performing, producing, managing, building and designing arts facilities, their staff has contributed to the creation of more than 350 facilities around the world.

Their job, Ferguson said, is to listen and learn, to support the architects and their visions and to ensure the project’s performing arts and entertainment parts are well represented so everyone can get what they really need out of the project.

“We’re not building theater for us,” Ferguson said. “We’re doing it for them. The first thing is to listen and learn and give them the vocabulary we know and translate that all into the vocabulary that engineers, contractors and architects understand. We have this fine line where we are there to inspire and inform the deContinued on Page 14

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LA CONSULTANT FIRM HAS THEATER IN ITS DNA, 13 sign and architect team, but they are the captain. Theater consulting isn’t one of the most well-known businesses on the planet. We are not the primary drivers of a lot of the creativity that is happening — that’s the architect. We would never get in the way of the artists on stage. We want the literal focus on them.”

Founders build on a lifetime of mutual work The founding principals, Ferguson and Benton Delinger, go way back. Ferguson said they met out east at a large theater consulting firm. They started working together in 1991-1992 and literally shared the same office whenever they weren’t traveling.

“It is an amazing privilege to work with someone in an artistic endeavor for that length of time,” Ferguson said. “It’s even beyond family. You know everything there is to know about the person. You have challenged each other and grown in your skill set.”

He points out that Malcom Gladwell said it takes 10,000 hours of practice to become an expert, something he and his partner have far exceeded.

“What does it mean when you have 50,000 or 60,000 hours?” Ferguson asked. “I think we are Gandalf at this point. We’ve gone from a gray wizard to a white wizard.”

He says he also has employees whom he met on his first day of college conservatory. They have, he explained, a shared perspective.

“It’s a testament that we like each other and get along,” Ferguson said. “We actually enjoy it. If any of us didn’t enjoy it, we wouldn’t keep doing it.”

And the two dogs, Sophie and Klem? They’re in charge of guest relations, floor cleaning, bone inventory management and ball collection.

Partners have done it all When Ferguson and Delinger jumped from the big company to owning their own boutique firm, they needed a name. TheatreDNA spoke to them because of the role theater has played in the lives of all their staff members.

Ferguson was in his first theatrical production when he was 2 months old. He starred as Jesus in the manger.

“I nailed all the lines,” he jokes.

He continued in theater through high school. When he turned 17, he started working on lighting and sound.

He studied theater at a local community college, and then moved on to conservatories, where he focused on scenic design and lighting.

“I’ve been a practitioner of theater and the performing arts all my life,” Ferguson said.

From there, he went to work for a company that built a theater. After three to five years, he became a consultant.

“Essentially the thing that differentiates us from other folks is that we bring practical experience in the art,

not just people who have studied it at school,” Ferguson said. “We were professional practitioners and then professionals who actually built the buildings. That’s very rare in consulting.”

LA, instead of the East Coast, was a logical choice for TheatreDNA, as Ferguson hails from here. There were two things he really wanted in a home base.

“I needed to go somewhere with better weather and better tacos,” Ferguson said.

They’ve now been Downtown for 11 years. Many of their staff live Downtown and they love being so central to all the various arts organizations from the LA Music Center to the opera and the symphony.

“We consider the vibrancy and excitement of Downtown to be part of our personality as a company,” Ferguson said. “We’re excited to see Downtown flourish again post-COVID. We’re excited for it to get back to where it was headed before COVID and to help be a part of that.”

Large and small projects Delinger has spent the past seven years onsite in Mumbai helping to build what will be one of the largest performing arts centers on the planet. However, they also do local work with high schools, colleges and arts groups.

They’re working on such projects as one for the Colburn School in Downtown Los Angeles, The Million Dollar Theatre and the Bob Baker Marionette Theatre, which just moved after more than 50 years at its original location. They work on new buildings and renovations.

“We’re excited by everything,” Ferguson said. “We really do love renovations. The greenest thing you can do is to reuse something someone else has built and remake it into a performance art space.”

The team is taking an old warehouse and turning it into a 99-seat theater with a coffeehouse vibe and rehearsal spaces. Slated for demolition, it will be transformed into a space for the community and artists to gather.

“We really love projects that address the community at a core,” Ferguson said. “There are a lot of commercial theaters in Las Vegas and Branson that are about tourism and generating revenue — we do those. We’ve worked on Cirque du Soleil on Broadway. But what really makes us excited is a client who is really trying to do something in their community.”

He lists the Bob Baker Marionette Theater as one example.

“Bob Baker is internationally known for his marionette theater. It is the oldest in the world,” Ferguson said.

“They literally pack that theater with kids and parents and after the couple of years we’ve lived through, it is great to see kids be amazed by a marionette. We would have thought that would be passe now when Mark Zuckerberg is creating the Meta virtual world. Here are puppets manipulated by people and strings and it is absolutely magical.”

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FEATURE

The Vibiana Cathedral will host LIT Hanukkah featuring food from innovative, New American restaurant Redbird’s chef Neal Fraser.

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The Vibiana Cathedral to host ‘LIT Hanukkah’

By LA Downtown News Staff he historic Vibiana Cathedral turned event space in Downtown Los Angeles will serve as the backdrop for LIT Hanukkah, an immersive experience that aims to lift the spirits of Angelenos of all faiths.

“The installation was inspired by my two young children,” said creator Michael Lam. “They love technology, hip-hop and art exhibitions. LIT Hanukkah is a hybrid of digital themes, next-level projection mapping, an eclectic soundtrack and synchronized light installations. It’s not just a Hanukkah parade or small party for kids, but an exciting and entertaining experience that people of all ages can get excited about.”

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The experience runs from Sunday, Nov. 28 through Wednesday, Dec. 1, and features curated art projects, live performances, Hanukkah lighting ceremonies, and food from Redbird | Vibiana chef Neal Fraser the innovative, New American restaurant, Redbird. In addition, regularly scheduled screenings of the award-winning short “The Broken Candle” will be presented by Chai Flicks.

But it’s the projection mapping installation that will leave guests awestruck. It was created by master projection designer Bart Kresa.

Tickets can be purchased at https://lithanukkahla.com/. All tickets include a dreidel art kit and a cookie decorating experience.

The LAGRANT Foundation (TLF) is hiring!

TLF is looking to fill the following roles at its Downtown L.A. office: • Programs & Outreach Associate • Senior Programs & Outreach Associate • Programs & Outreach Manager $1,500 - $2,500 Sign On Bonus!

For more information and to apply, please contact: Mr. Kim L. Hunter, Chairman & CEO Email: kimhunter@lagrant.com Phone: 323-469-8680 Ext. 225 Our Mission: The LAGRANT Foundation is a nonprofit 501(c)(3) organization whose mission is to increase the number of ethnic minorities in the fields of advertising, marketing and public relations by providing scholarships, career & professional development workshops, mentors and internships to African American/Black, Alaska Native/Native American, Asian American/ Pacific Islander and Hispanic/Latino undergraduate and graduate students.

Our goal is to open the proverbial “door” for minorities by providing the necessary resources and tools not commonly available to many minorities entering the fields of advertising, marketing and public relations.

Learn more about The LAGRANT Foundation at www.lagrantfoundation.org

NOVEMBER 29, 2021

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