Digging into l.a.’s trash troubles Page 5 rancor at el pueblo over street plan Page 8
March 12, 2018 I VOL. 47 I #11
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EIGHT Great Events for St. Patrick’s Day PAGE 10
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New Plaza, ‘Bracero’ Statue Coming to El Pueblo
ity leaders last week broke ground on a plaza that will celebrate the contributions that immigrants have made to Los Angeles. They gathered at Cesar Chavez Avenue and Spring Street on Thursday, March 8, to mark the start of construction on a 7,000-squarefoot public space being built as part of a $3.2 million streetscape and pedestrian improvement plan. It will be highlighted by a 19-foot-tall statue recognizing the “Bracero” program, an effort that began in 1942 during World War II when there was a shortage of U.S. workers. It continued until 1964 and brought a total of 4.5 million Mexican nationals north for work. The statue, designed by artist Dan Medina, depicts a Mexican man leaving his family to head to the U.S. The plaza, next to an under-construction, 355-unit residential complex from developer Trammell Crow, is expected to be complete early next year. It will also contain elements celebrating Native Americans, African Americans and immigrant cultures. Downtown City Councilman José Huizar, whose father Simon Huizar Bañuelos participated in the Bracero program, touted the project, saying in a pre-
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pared statement, “In a country founded by immigrants, we are a city of immigrants and one of the most diverse cities in the world.”
CTG Holds Free College Arts Fair
he idea of studying theater in college, and then continuing as a professional, can be daunting. This week, Downtown’s Center Theatre Group will try to make the concept a little more navigable. On Saturday, March 17, CTG will host the daylong College & Career Fair for the Arts at the Music Center Annex at 601 W. Temple St. Representatives of more than 25 colleges and universities will attend, including USC, UCLA and Pepperdine, and students can meet theater professionals such as playwrights and directors. There will be oneon-one counseling sessions and a number of workshops, with topics such as “Applying for College” at 10 a.m. and the 11 a.m. “College Financing for Parents of Artists.” Admission is free and students can attend any time during the 9:30 a.m.-4 p.m. event, but the first 100 people who RSVP have a chance to win free headshots. More information and RSVPs are at centertheatregroup.org/collegefair.
Homeless Help Kiosk Opens in Civic Center
s part of the ongoing regional effort to tackle homelessness, city leaders last
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MARCH 12, 2018
week debuted a Homeless Help Desk outside of City Hall East. Set in a previously vacant kiosk at 200 N. Los Angeles St., it provides information to homeless individuals on shelters, food and hygiene options, and how to access other services. It is sponsored by Mayor Eric Garcetti and City Councilman José Huizar, whose 14th District includes Downtown. “Homeless Angelenos are too often unaware of how close they may be to a warm meal, a shower, or even a place to live,” Garcetti said in a prepared statement. “The Homeless Help Desk will offer a one-stop shop to make it easier to find basic services and begin their transition into supportive housing.” The desk debuted on Wednesday, March 7, and will be open six days a week. The kiosk is leased to the Los Angeles Homeless Services Authority and is staffed by an outreach team of LAHSA employees and the mayor’s Volunteer Corps.
Hear Plans for New Rail Line
owntowners this week can learn more about the West Santa Ana Branch Transit Corridor, a proposed 20-mile light-rail line that would have a northern terminus in Downtown. The Metropolitan Transportation Authority is holding meetings across the county to discuss the project, and there will be a pair of gatherings on Monday, March 12, at the Nishi Hongwanji Buddhist Temple at 815 E. First St. The rail line would run through
the southeast part of Los Angeles County, linking Downtown Los Angeles to Artesia. Metro is considering options for the Downtown elements, and last month unveiled six choices with possible stops in Union Station, at an unspecified “transit core,” and at a station in the Arts District on Sixth Street that would link to Metro’s Red and Purple lines. The meetings will include information about each option and possible next steps. The meetings are 3-5 p.m. and 6-8 p.m. and are free and open to the public. More information is at metro.net/projects/west-santa-ana.
Financial District Building Sells for $196 Million
landmark Downtown office building has changed hands. On March 1, Lincoln Property Company sold the Wedbush Center to Cerberus Real Estate Capital Management. Cerberus paid $196 million for the 21-story Class A structure at 1000 Wilshire Blvd., according to NKF Capital Markets, which represented Lincoln Property Co. in the sale. The 476,491-square-foot structure is known for its distinctive gray coloring and architectural design, and visibility from the 110 Freeway. Lincoln Property Company had been updating the building since acquiring it in 2012, including opening the 15,000-square-foot eatery Harbor House last June. The building is 86% occupied, according to NKF, with financial services firm Wedbush Securities filling 113,000 square feet of space.
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Metro Charter School’s Long and Painful Saga
n multiple occasions in recent years, this page has addressed Metro Charter Elementary School’s frustrating struggle to find a permanent home. Time and again we have called on elected leaders, the business community, landlords, developers — anyone with power and resources, really — to help the school secure a campus. And, like a broken record, there have been warnings that without a stable school — and ideally, more than one — Downtown will suffer in the future, as families will leave the area for neighborhoods where they can be assured that their children will have access to a high-quality free elementary school, whether of the public or charter variety. Yet Metro Charter’s extended attempts to find that permanent home are bearing little fruit, and now there are repercussions. As Los Angeles Downtown News recently reported, enrollment in the current school year fell by around 60 students. That was in the wake of a deeply unsatisfying split-campus plan: Third through fifth graders are taking classes in an office building at 700 Wilshire Blvd., while the youngest kids, in kindergarten through second grade, are put on a bus each day and driven to a church-owned facility on Martin Luther King Jr. Boulevard in South L.A. Downtown Los Angeles is failing one of its most important institutions. It is well beyond time for those who have the power to make a difference to actually do so. Metro Charter’s principal and board have toured and done due diligence on scores of potential sites all around Downtown. Yet time and again they have been undone by the economics of the modern Downtown boom. To simplify, developers and landlords see the ability to get more money from restaurants, shops or other businesses than they do from a school. Throw in the fact that Metro Charter wants a property it can occupy for decades and you wind up with the situation at hand. Metro Charter officials hope that in the fall the lower grades can be back in the core of Downtown, but this would still mean a split campus. That’s less than ideal, as it divides resources and the attention of the administrative staff and teachers, not to mention posing logistical difficulties for parents who have kids at two campuses. The developers of some proposed mega-projects have discussed setting aside space for a charter school in the future. That’s great, but those efforts are years from fruition. Metro Charter needs a home now. We call again for a local leader to pick up this issue, rope in his or her friends, and help find a location and ink the deal that school officials have been unable to make. It may take arm twisting. It may take offering incentives. It will certainly require creativity. It’s distressing to think that in a community faring as well as Downtown, with so much money coursing through the area and so many new stores, restaurants and businesses opening, no one can figure out how to make a school economically viable. Downtown, its students and its families deserve better.
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Chris Tillman & Jose Huizar
March 7, 2018
Regarding the article “Hotel Figueroa Finally Reopens,” by Eddie Kim
god-awful parking ramps would be history. —John Crandell
Wow. They scraped it. There’s no more Moroccan charm. —Rex Edhlund
Regarding the editorial “An Ambitious Mayor and the City He Serves”
I loved the old lobby decor and their happy hour. What a travesty to scrap the lobby’s wonderful Old-World charm for this trendy look. On a lighter note, the pool area and bar is an improvement! —Humbert Capiro
Eric Garcetti will never get elected to national office. He is a lightweight who can’t run this city, even though he has full power and political progressives in every major power position. This city is out of control, filthy. Fortunately (or maybe not) the private sector is at least cleaning up all the eyesore old run-down buildings and turning them into new and energetic concepts. —Deborah Camara
Regarding the editorial “A Decade of Bringing Back Broadway” The revitalization of Broadway north of Seventh Street would be accelerated by routing the West Santa Ana Branch light-rail line up Central Avenue and then northwest so as to connect with the southern end of the Pershing Square Red Line station. Removing the Pershing Square parking garage and replacing it with a grand terminal station, combined with a museum for the history of Los Angeles, would then give mass transit access to the Financial District from the southeastern part of L.A. County. A new Pershing Square on top of such a combination would greatly boost the vitality of the area. Those
EDITOR: Jon Regardie SENIOR WRITER: Eddie Kim STAFF WRITER: Nicholas Slayton CONTRIBUTING EDITOR: Kathryn Maese CONTRIBUTING WRITERS: Tom Fassbender, Jeff Favre, Greg Fischer, Emily Manthei
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MARCH 12, 2018
DOWNTOWN NEWS 5
Broccoli, the Kitty Bouncil and L.A.’s Epic Garbage Disaster The Politicians Eliminated Competition, and Now RecycLA Has Turned Into a Stinking Mount Trashmore By Jon Regardie magine, if you will, that there was a large West Coast city — completely fictional — called Gross Dangerles. Imagine that this city was overseen by a guy named Mayor MacPlease and a 15-person elected body called the Kitty Bouncil. And imagine, finally,
THE REGARDIE REPORT that in Gross Dangerles everyone ate only organic broccoli, because someone said it was the most progressive of all the foods, and that if you hold it up to the light at the right angle every floret looks like Bernie Sanders. For decades dozens of farmers grew and sold broccoli. The Gross Dangerles residents had plenty of choice, and this competition kept prices low and ensured that the farmers strived to produce broccoli of the highest caliber. Then one day, the Kitty Bouncil decided to blow up the system. Someone — who may or may not have had an agenda, we can’t be sure — told them that if they went from multiple broccoli vendors to just one serving the whole city, then the broccoli would be more delicious, healthier, and those who grew it would all get to live in mansions. Additionally, every member of the Kitty Bouncil would receive a golden pony. Some observers warned that the elimina-
tion of competition might lead to more expensive broccoli and have other unintended consequences, but the Kitty Bouncil, well, they knew they had never been wrong before. They knew as well that someone had prepared a report that found that everything would be awesome, and reports can’t be wrong. Plus, they all wanted a golden pony. So the Kitty Bouncil, with the support of Mayor MacPlease, snapped its collective fingers and changed the system. The little vegetable vendors were blown to smithereens. The new purveyor, Monopoly Broccoli, took over. Everyone lived happily ever after. And by everyone we mean the leaders of Monopoly Broccoli and the Kitty Bouncil. The residents of Gross Dangerles grew furious as the cost of broccoli increased by 412% and the new product tasted like feet, but the Kitty Bouncil members couldn’t hear any complaints as they giggled while riding their golden ponies. United in Anger The above story isn’t true, which you probably knew, but if you swap organic, progressive broccoli with Los Angeles’ newfangled trash-hauling system, known as RecycLA, then it’s not far from reality. The golden pony thing is facetious, but the impacts of eliminating garbage industry competition is caus-
Since the RecycLA program was launched, there have been more than 28,000 service complaints.
photo by Jon Regardie
ing fury across L.A. A divided city that only comes together in support of the Dodgers has found a second point of agreement in anger over skyrocketing trash bills and a nosedive in service. At first those in charge sought to play down the situation, saying there were just some bumps with the rollout that began on July 1, 2017.
But saying those were minor bumps is like the Black Knight in Monty Python & the Holy Grail having both his arms cut off and quipping, “It’s just a flesh wound.” No, this is big and bloody, and the evidence that RecycLA has been royally botched is as apparent as a de-limbed knight. Continued on page 12
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By Nicholas Slayton s Downtown Los Angeles’ residential population has grown in recent years, businesses have tried to keep up with the demand for groceries. That has led to the arrival of stores such as Whole Foods, in the Financial District, and the City Target, with its hefty food and household goods options, at
the FIGat7th shopping center. Now City West is getting its first fullfledged market. The 16,500-square-foot Grocery Outlet opened on Feb. 15 on the ground floor of the Sofia Los Angeles residential complex. The market, the company’s first in Downtown, offers brand name items and fresh produce at discount prices.
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The market at 1120 W. Sixth St. looks like any other grocery store. There’s a produce section with fresh fruit and vegetables, boxes of cereal on shelves, and a beer and wine section (the market does not sell hard liquor). The twist is that many items are discounted, part of a business model that relies on buying bulk or overstocked goods from distributors. Grocery Outlet’s selections change weekly, according to Carlos and Sandra Torres, the married owner-operators of the City West franchise. “Everybody truly appreciates value, right?” Carlos Torres said during a recent tour of the space. “This is not a 99 cent store. These are brand names at 40%-70% off.” Holland Partner Group, a prolific Downtown developer, built the 606-apartment Sofia project. Having a market in the building was part of the plan from the design phase. “We built it with the hopes that we’d land the right type of concept,” said Brent Schertzer, Holland Partner Group’s development director. “We spent a few years marketing it, and ultimately talked to Grocery Outlet, which was looking to expand throughout Southern California.” Each Grocery Outlet is independently owned, though all share the same business model. Carlos Torres, who has spent 30 years in the grocery and food business, said he and his wife got involved with the company after they relocated from Chicago in early 2017. On the Shelves Grocery Outlet lacks some of the options seen in other Downtown markets and specialty grocers. There’s no deli or meat counter, for instance. Nor is there a cheese section, like the one seen in Whole Foods, or a counter where sushi is rolled. Beyond that, it looks similar to what one might find in a Ralph’s or Vons. There are to-go items and packaged meats. There are paper towels and other goods. One can find cleaning supplies and plenty of varieties of sodas and teas. The biggest difference comes when looking at the price tag. Recently a family pack of Pop-Tarts was marked at $4.99, below other stores’ $8.99, according to Grocery Outlet. Cocoa Krispies cereal listed as $5.29 elsewhere is at $2.79 at the City West shop. Carlos Torres compared the model to the discounted clothing for sale at Nordstrom Rack. He noted that while the specific items might change, each grocery category will be represented on the shelves. “You’re not going to find your 10 types of ketchup, but you’ll see two or three and when you do, it will be a great value,” he said. “There will always be a cereal section, baking section and so on. Where you’re going to see consistency is staples: milk, eggs, meat and produce.” Grocery Outlet brings a large market to a City West community where household goods have long been available only in convenience stores. Schertzer acknowledged that when Holland Partner Group initially began looking for a tenant for the space, the team was thinking of a more upscale option. Later they realized that Grocery Outlet offers something more affordable and accessible for the entire community, whether people live in residential buildings or work at places such as Good Samaritan Hospital on Wilshire Boulevard. “We’re providing retail options not only for the building and residents, but for the daytime work population,” he said. The store employs 35 people, and the owners worked with the office of First District City Councilman Gil Cedillo to help find staff who live in the neighborhood. Seven were hired through the Central City Neighborhood Partners, a nonprofit organization that works in Council District 1. Cedillo cheered the creation of the jobs. “We are excited for the grand opening of the Grocery Outlet in Downtown City West, but are even more excited about the fact that 35 employees from the community were hired to be part of their team,” Cedillo said in a statement to Los Angeles Downtown News. Carlos and Sandra Torres, who live in City West, said their goal is to connect with the community and let people know about a local option. They just want customers to know the items on the shelves might be slightly different each week. email@example.com
DOWNTOWN NEWS 7
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MARCH 12, 2018
Rancor at El Pueblo Over Street Plan Some Complain About Missed Opportunity to Create Park Space, Enhance Pedestrian Access By Eddie Kim fierce debate has broken out at El Pueblo de Los Angeles, with some stakeholders divided over the Metropolitan Transportation Authority’s $18.9 million plan to improve pedestrian connectivity between Union Station and the historic monument. On March 1, the Metro board of directors certified the final environmental impact report for a project that would narrow Alameda Street, build a new raised crosswalk, and restrict vehicular traffic on Los Angeles Street. Opponents have argued that Metro should pursue one of the other options it studied, a full closure of Los Angeles Street, in the effort to enhance pedestrian life, create new park space and promote safety over car-centric transportation. Currently, Los Angeles Street runs along Father Serra Park, the green space that abuts the El Pueblo Plaza and is across from Union Station. The street forks into two where it meets Alameda Street, with three lanes for cars. The approved design would kill the northern lane and ban left turns onto Alameda.
GROW YOUR GREEN
New pedestrian space and a wider bike lane would replace the vehicle lane. For Metro, the city staff that oversees El Pueblo, and a mélange of merchants and other tenants, the road-diet plan is a suitable compromise. Opponents argue that it misses an opportunity for more ambitious urban planning around the region’s transit hub. rendering courtesy of Metro Metro has approved an $18.9 million plan at El Pueblo de Los Angeles that will narrow a portion of Los Angeles (left). Some area This split played out at stakeholders had urged the agency to go further and close an entire block of the street, which would allow the creation of new park space three meetings last year of at the tourist destination. the El Pueblo board of commissioners. Commission President Robert Vinson and board member sure would be the environmentally superi- “Metro went with a partial closure because of David Louie argued that a full closure of Los or option, with fewer overall traffic impacts pushback from merchants, who were worried Angeles Street between Alameda and the than the path ultimately approved by the about business being hurt. But any number of experts would say that a road through a 101 Freeway entrance is the best long-term Metro board. “We’re passing up an opportunity to add plaza is no optimal solution.” play. Other commissioners backed a partial Merchant Opposition closure; ultimately, no consensus on the mat- nearly one acre of park space to Father SerMetro released a draft version of the EIR in ra Park, and to remove a street that right ter was reached. 800.900.5788 aerioconnect.com Voice I WiFi I HDTV taking public comment. A acts as aI barrier between that park and August and Ibegan Louie, speaking on his own behalf, noted nowBroadband that Metro’s staff report suggests a full clo- El Pueblo,” Louie said in a recent interview. majority of the statements were in support of
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MARCH 12, 2018
DOWNTOWN NEWS 9
the partial closure of Los Angeles Street, said Elizabeth Carvajal, transportation planning manager for Metro. “The strongest opposition to a full closure came from the merchants. Their concern is that a full closure restricts loading and off-loading, including of tourist buses,” she noted. “They expressed they had experienced temporary closures in the past and made it clear they felt strongly against doing that.” About 60 merchants signed a petition, written and drafted by the Olvera Street Merchants Association, in support of only the partial closure. This would prove key to Metro’s final decision, which also had the support of County Supervisor Hilda Solis. In a statement to L.A. Downtown News, a spokesman for Solis noted the “overwhelming majority of the community” were against a full closure, and that there were no official comments in support of a full closure registered by Metro in the final EIR. Vinson, Louie and others allege that they had arranged for public comments in support of a full closure in advance of the March 1 Metro board meeting, with an understanding that Solis, who sits on the Metro board, would move the item off the “consent calendar” (which offers no public comment period, only a board vote) to allow for new discussion. The item remained on the consent calendar and was approved without additional debate. A number of local organizations and urbanism experts have expressed support for a full closure — Metro would not disclose a budget, but stated it would be more ex-
pensive — in written comments to Metro over the course of January and February. The nonprofit Los Angeles Neighborhood Land Trust, the Trust for Public Land, and the resident council of the nearby housing complex Carthay Manor all remarked on the need for more green space, which would be possible with a full closure. Avison Young broker Derrick Moore, a retail expert in Downtown, wrote that a full closure could benefit small businesses at El Pueblo in the long run. “A more pedestrian-friendly environment has the potential to create a park-like experience and provide greater synergy between Union Station and El Pueblo, and also provide a retail ‘adhesive’ and continuity that invites visitors to remain in the area longer — potentially increasing sales volumes,” Moore wrote. “There are countless studies and examples around the world where the removal of cars in urban settings has actually enhanced lifestyles and shopping experiences in these parklets and paseos.” Bus Access Chris Espinosa, the general manager for the city’s El Pueblo de Los Angeles Historical Monument department, acknowledged that city staff is often in conflict with the merchants association over topics such as rent increases at Olvera Street or the proposal to house homeless people in temporary shelters on an El Pueblo parking lot. In this case, his staff agreed with the merchants, and recommended a partial closure. Preserving convenient bus loading and off-loading near the central plaza, rather than
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further down Los Angeles Street, was a priority considering the number of tourists and school field trips that visit El Pueblo, Espinosa said. “Olvera Street is largely little mom-andpop shops, so unlike with some nonprofits, any changes can affect their bottom line in a big way,” he said. “You also have to think about Downtown commuters, because a socalled full closure would still leave a cul-desac by the 101 Freeway entrance on Los Angeles Street.” Metro’s EIR is vague on the impact to freeway commuters, merely noting that while the full-closure option would have a greater morning-commute disruption, the approved partial closure would affect afternoon commuters in a comparable way. For the El Pueblo Commission’s Vinson, the fear about hypothetical traffic impacts, or bus access being 50 yards away instead of right at the plaza, does not justify passing over a rare opportu-
nity to “unify” El Pueblo by killing a stretch of roadway. “As your read through the EIR, it points to everything being great with [a full closure] as the best option,” he said in an interview. “It’s safer for pedestrians. Folks have been killed crossing that street. I think it would make a tremendous entryway into El Pueblo and highlight the Chinese American Museum.” Despite the opposition, the path appears set, and Metro is moving forward with the approved plan. The final design phase will kick off in spring, according to Metro’s Carvajal. A series of federal and state grants means the El Pueblo renovation, and work on Alameda Street, is fully funded, she said. It is slated for completion in 2020. Metro is also hunting for $10 million more to fund the transformation of Union Station’s short-term parking lot into an esplanade. firstname.lastname@example.org
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P�E�T� O� I�I�H S�I�I� Eight Great Ways to Spend St. Patrick’s Day in Downtown By Nicholas Slayton he lack of rain in Los Angeles this year means lawns may be more brown than green. Yet in Downtown this week, the green will take over. St. Patrick’s Day arrives on Saturday, March 17, and as usual, there are a litany of local options. Although Pershing Square is not holding its traditional parade and concert, there are still block parties, day-long celebrations and a host of food and drink specials. Los Angeles Downtown News has rounded up eight ways to celebrate St. Patrick’s Day in the Central City, and since the holiday falls on a weekend, many people will partake in more than one. Please drink responsibly.
Pay the Piper: For a lively but not raucous stop, visit Brack Shop Tavern on Seventh Street. The bar’s celebration starts at 1 p.m. and a bagpipe player will perform from 3-6 p.m. Drink specials include green Budweiser
for $5, Guinness for $7 and shots of Jameson Irish Whiskey for $8. Irish Car Bomb shots are $10, but some advice: Never order an Irish Car Bomb from an Irish person. There will also be Irish-themed bar snacks including corned beef sliders. At 525 W. Seventh St., (213) 232-8657 or brackshoptavern.com. Show Stopper: Another big March 17 party is at The Escondite. The Toy District spot
photo by Gary Leonard
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is holding its seventh annual St. Patrick’s Day party, which runs from 11 a.m.-midnight. It’s all about live music here: The Have More Fun String Band kicks things off, followed by The Sidemen, New Media and the Snake Oil Salesmen, among others. There will also be non-green beer, drink specials and corned beef dishes. Warning: The Escondite will get very crowded as the night wears on. At 410 S. Boyd St., (213) 626-1800 or theescondite.com.
On March 17 Casey’s Irish Pub will hold its annual St. Patrick’s Day street festival, shutting down part of Grand Avenue and Wilshire Boulevard for an outdoor celebration.
Street Fest: The biggest Downtown St. Patrick’s Day party is at Casey’s Irish Pub. The 213 Hospitality group will hold its annual block party, closing off parts of Wilshire Boulevard and Grand Avenue and bringing in outdoor bars, 450 kegs of beer and more than 30 bartenders. The festival starts at 11 a.m. and admission is free before 1 p.m. (later entry is $20, cash only). There will also be yard games set up on a 900-square-foot plot of Astroturf, and DJs spinning the whole day. In addition to the booze, Casey’s will serve a full menu of Irish dishes such as shepherd’s pie and corned beef. At 613 S. Grand Ave., (213) 629-2353 or caseysstpatricksday.com.
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a corned beef hash pizza? The bar is also offering $3 shots of Bushmills on both nights. At 243 S. San Pedro St., (213) 947-3329 or baldoriadtla.com. Pub Crawl: Staying in one place on St. Patrick’s Day is difficult — everyone wants to get up and jump around. The Artisanal Brewers Collective understands, and is holding a ticket-less pub crawl at its Library Bar, Beelman’s Pub, Spring St. Bar and the Sixth Street Tavern. Prices had not been announced at press time, but expect deals on Guinness, Irish mules, Jameson and other drinks, as well as some food specials. The bars are opening at 11 a.m. and the event runs until 2 a.m.
DOWNTOWN NEWS 11
At multiple locations or beelsmans.com. Brew Time: Another all-day celebration is in the Arts District, where Angel City Brewery holds its annual St. Patrick’s Day party. There will be Irish fusion food — ever tried corned beef tacos? — plus live entertainment, with music from NOVALA, the Sound of Ghosts and other acts. Additionally, Opera on Tap Los Angeles will be singing traditional Irish songs. Of course, it’s a party in a brewery, so expect good beer, including an Irish coffee stout. Admission is free for the event that runs from noon-2 a.m. At 216 S. Alameda St., (213) 622-1261 or angelcitybrewery.com. firstname.lastname@example.org
photo courtesy Brack Shop Tavern
Seventh Street’s Brack Shop Tavern will offer a number of drink specials on St. Patrick’s Day, plus live bagpipe music.
Rock Out, Ball Out: The office workers may leave the Financial District on the weekend, but Rock & Reilly’s isn’t going anywhere. The joint’s St. Paddy’s Day Party has two full bars serving Guinness, Jameson and plenty of other spirits. There will also be drink specials. As a bonus, Rock & Reilly’s will be catering to college basketball fans, with more than 30 televisions showing March Madness games. At 615 S. Flower St., (213) 537-0554 or rockandreillys.com/dtla. South Park Sips: Hope Street’s open-air Prank bar is a great spot to grab a drink, take
a seat and watch people go by. On March 17, Prank is getting into the St. Patrick’s Day spirit with $9 Guinness and an “Irish meets Canadian” whiskey pairing. There will also be Irish fare, with bangers and mash (sausages and potatoes) and corned beef hash, both for $12. At 1100 S. Hope St., (213) 493-4786 or prankbar.com. Fusion Time: On Friday and Saturday, Little Tokyo’s bottled cocktail joint Baldoria will augment its usual menu of gourmet pizza and small plates with some Irish-themed fusion food. What does that mean? How about
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12 DOWNTOWN NEWS
GARBAGE, 5 The question now is what the powers-that-be can do to rectify the situation. On Feb. 6, the City Council’s Energy, Climate Change and Environmental Justice Committee held a hearing on RecycLA. I don’t know what the elected officials were anticipating, but the five council members probably didn’t expect to be stuck in the room for six hours as they fielded furious comments from Angelenos and questioned trash haulers about the service snafus. The council members lashed into the refuse companies, demanding to know how a system they once viewed as promising has sunk like a trash Titanic. The politicians seemed angry at the garbage haulers, but really, their anger is misdirected. If they want to cast blame for the fiasco, then they need to look in the mirror. Labor vs. Business RecycLA was born out of a noble attempt to increase recycling and reduce the amount of junk sent to landfills. The process began about a decade ago, when local leaders started looking at creating a program to reconfigure the trash-hauling scheme. For years the city picked up trash at single-family homes and apartment buildings with four or fewer units, while owners of larger housing complexes and businesses negotiated their own deals directly with trash haulers. As city leaders pursued their recycling goals, they settled on a so-called “exclusive franchise” system for the larger parties. This essentially turned Los Angeles into a weirdly shaped pizza with 11 slices. The council opted to give each giant slice to one giant trash company, which would haul all the garbage in the assigned area. There would be no more scraps for the little guys. As often occurs in Los Angeles, this quickly became a situation pitting labor unions, who supported the proposed system, against the business community, which opposed it.
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The latter side got backing from then-City Administrative Officer Miguel Santana, who in 2012 released a report arguing against giving out exclusive contracts, saying competition should be preserved. The impacts of eliminating competition were made clear. In a 2012 Daily News article, Stewart Waldman, the head of the Valley business group VICA, warned, “Under an exclusive franchise, consumers will be forced to pay more for waste hauling. Under the current system, competition is key and keeps prices low.” While Waldman won the Nostradamus Award (it’s not actually an award), the city rejected the assertion. In 2014 the City Council voted 12-1 to create the new system, with only Bernard Parks saying no. In late 2016, the franchise agreements/ giant slices of trash pizza were handed out. A total of seven companies service the 11 zones. Elected officials expected that recycling would increase, and they put in stipulations to boost wages for trash workers, and to mandate the use of clean energy trucks. Their environmentally friendly hearts were in the right place. Their brains, however, may have been garbage-addled. Oh, the Legal Fees The results, as we now know, have been disastrous, with the city reporting more than 28,000 service complaints. As Councilman Mitch Englander noted in a statement last month, “For perspective, there are 80,000 accounts citywide.” The question is, why is anyone surprised? Regulatory agencies routinely seek to maintain competition in critical industries, knowing that market pressure, not government ideals, is often the consumer’s best friend. Instead, Los Angeles created a system where there was no competitive pressure, and expected everything to turn out peachy keen. At the Feb. 6 meeting the trash haulers were excoriated for price spikes and charging customers hefty fees for steps such as unlocking a padlock to get at a bin. They were also slammed for shoddy service and leaving a trail of festering
MARCH 12, 2018
mounds of refuse. Some haulers protested that the trouble stemmed from there being far more customers than they anticipated. The council gang snapped that the haulers had years to prepare for the changeover. The council is right, but only partly. That’s because just as the haulers had ample warning, so did the city. The council torched the old system, then trusted a new one would be ready. It wasn’t, and now everything stinks. What happens next will be fascinating. On Feb. 13, Englander introduced a motion asking the city to look at how to escape from RecycLA. In a prepared statement, he came as close as anyone in the city family to acknowledging who really screwed up. “There comes a time when we must recognize that the fault lies not with the service providers but with the program itself,” Englander said. “Rather than persist in error, it’s time for the City to clean up this mess.” Can the city pull out of the program? It’s frightening to think of the legal nuclear war that will erupt between the city and the garbage companies if an attempt is made to rescind the exclusive franchise agreements. Plus, labor groups are digging in; a pro-RecycLA pep rally on the City Hall steps last week drew the head of the County AFL-CIO and a lot of people in Teamsters jackets, entities that the City Council is loathe to cross. Many environmental groups also want to preserve RecycLA because of its merits. After all, recycling beats turning landfill sites into Mount Trashmore. Actually, that may be the best idea yet. Maybe someone should take all the garbage that haulers haven’t yet picked up, dump it on the steps of City Hall, and sculpt it into the faces of the people who got us into this mess. It might stink, but it would be a fitting memorial to the poor judgment of Mayor MacPlease and the Kitty Bouncil. Now, will someone please pass the broccoli? email@example.com
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DOWNTOWN NEWS 13
, C I S MESUISTANCE
G A R D AND Epic
ac’s Taylor M ’ Production de ‘24-Decain Downtown Lands
D By Nicholas Slayton
owntown Los Angeles has never seen anything like A 24-Decade History of Popular Music. Divided into six-hour installments and scheduled over four nights, the 24-hour assemblage of musical theater, dance and performance art takes on the history of the United States, with a focus on marginalized groups. Enthusiastically received when it appeared in New York City in 2016, the production this week launches at Downtown’s Theatre at Ace Hotel, part of the CAP UCLA performance series. Mac, 44, received a MacArthur Foundation “Genius” grant in 2017. He is touring the show, which opens at the Ace on Thursday, March 15, with the following chapters on March 17, 22 and 24. Each evening covers 60 years — a decade an hour — and spins in unexpected directions, with Civil War “reenactments,” multiple bands and celebrity appearances. Audiences might even find themselves as part of a soup kitchen line during the segment that covers the Great Depression. During a break in Washington, D.C. last week, ahead of a performance at the Kennedy Center, Mac spoke with Los Angeles Downtown News about the dynamic undertaking. Los Angeles Downtown News: This is a history of popular music, but you’re focusing on groups and communities that fall outside of the mainstream. So what defines “popular” music?
Taylor Mac began working on A 24-Decade History of Popular Music in 2011. The production takes place over four nights, with each performance lasting six hours. It features dozens of performers, including a marching band, mariachis, actors and dancers.
Taylor Mac: It’s music that’s maybe not popular with the entire country, just small pockets of communities. Sometimes the songs are ones people know, like “Yellow Brick Road.” We have a bunch of those. “Amazing Grace” is in the first decade. Sometimes it’s a song like “Black Is the Color of My True Love’s Hair” that became way more popular in the 1960s, but it’s originally from the 1770s. You just kind of juggle it around. Q: How did you go about researching this? You’re looking at history, both communal and musical, that’s probably hard to find. A: If I had done this show 20 years ago it would have been really hard. I would have had to get a travel grant. This was primarily research done online. There are lots of people who have their own hobby sites that have information on these sorts of things. So even if it doesn’t give you the exact one, it leads you to a source you can trust. It was years of my life, but I did most of it online. I did have to go to a few libraries to help me solve a narrative problem or a missing piece. Q: Each night is its own spectacle. Can someone attend only one evening and not get lost, or is the full narrative needed? A: I think a lot of people treat it differently. You come to the early stuff and can decide if you want to see more, then come at the very end. Some come to the very end and they love it. We’ve had people come to chapter one and they go into the box office during the show to get tickets for the rest of the run. Q: So much of American history involves the oppression of minorities; there are massacres and even groups that are written out of the history books. How do you approach that? Continued on page 15
photo by Teddy Wolff
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MARCH 12, 2018
Another Kind of War Story The Forced Internment of Japanese Americans During World War II Comes to the Stage in ‘Allegiance’ By Jeff Favre ew moments haunt America’s past as much as the signing of Executive Order 9066, President Franklin Roosevelt’s authorization in 1942 that allowed the U.S. government to forcibly place Japanese Americans in internment camps during World War II. It was a shameful act magnified by the group of courageous Japanese Americans who fought for the U.S. during the war, becoming perhaps the most decorated military unit in the country’s history. Many of the more than 100,000 people who were held captive are still alive. That includes famed TV and movie actor George Takei, a longtime supporter of Downtown’s East West Players and the greater Little Tokyo community. Takei spent part of his childhood in internment camps in Rohwer, Ark. and Tule Lake in California. Mainstream arts have mostly ignored the story of American internment camps, so it’s not surprising that a theatrical production about the subject quickly gathered support. Allegiance premiered six years ago in San Diego. It returned with a four-month run on Broadway that ended in early 2016. Finally arriving at the Aratani Theatre as a joint effort between East West Players and the Japanese American Cultural & Community Center, Allegiance is perhaps the most frustrating major Downtown Los Angeles show in years. Even with a dynamic, engaging ensemble and Snehal Desai’s sharp, intelligent direction — coupled with an important story that should be told — its derivative, unvaried score, overly simplistic book and two-and-a-half-hour running time are too much to overcome. The opening moments seem to portend an emotional-
ly rich tale, as Takei opens by limping across the stage in a military uniform. It’s Dec. 7, 2001 — the 60th anniversary of the Japanese bombing of Pearl Harbor — and the elderly Sam Kimura is ready for his annual honoring of America’s entry into the war. But long-buried memories are about to haunt him after he learns that his estranged sister Kei (Elena Wang) has died. The story transitions to Salinas, Calif., in 1941, where a young Sammy (Ethan Le Phong), Kei, their father Tatsuo (Scott Watanabe) and grandfather Ojii-chan (Takei in a second role) work and live. A few minutes after they are introduced, Pearl Harbor is attacked, and the Kimura family joins thousands of others who are forced to sell possessions and move to the Heart Mountain Relocation Center in Wyoming. They are subject to mistreatment from the military and a lack of support on the outside from Mike Masaoka (Greg Watanabe), the head of the Japanese American Citizens League, which cooperated with the forced internment. The only help comes from camp nurse Hannah (Natalie Holt MacDonald), who falls in love with Sammy. Inspired by true events, Allegiance alters some historical elements for the sake of storytelling, which is common. The problem is not with invented characters and reshaped facts, but with Jay Kuo’s score and lyrics, almost all of which sound like songs that Claude-Michel Schönberg wrote and then rejected for his Les Misérables and Miss Saigon. Kuo’s overwrought, hyper-melodic style rarely varies, so the songs never develop emotional impact. Instead, they sound as if he’s checking off requirements. From the first act climax, to the battle scene, and through more than
photo by Michael Lamont
Elena Wang and Ethan Le Phong play siblings with differing opinions of the U.S. government’s treatment of Japanese Americans during World War II in Allegiance. It continues through April 1 at the Japanese American Cultural & Community Center.
another dozen numbers, the songs fail to meet the complexity of the material. The one song that stands out, “442 Victory Swing,” a disturbing and fascinating mashup of America’s victory coupled with what Japanese Americans have endured, is an intriguing glimpse at what could have been. That doesn’t stop the cast from getting the most out of the material, in particular Wang, whose lush, rich voice deserves plenty of time on Broadway. Likewise, Le Phong is charismatic and powerful as a singer and actor, developing a Sammy who is more complex than his simplistic recitations of love for America imply. Takei fans, and there are plenty, will be happy to see that at 80 he’s as impressive as ever, delivering much-needed com-
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edy. Toward the end of the show, he also delivers the one seemingly unforced and honest touch of sorrow that’s sorely missing from the rest of the musical. Some critics have argued that the subject matter isn’t right for a musical, but many shows have tackled tough issues that way. In this case, though, the songs take away from the power of the story and leave little room for the book by Kuo, Marc Acito and Lorenzo Thione to dig deeper. Perhaps the most unfortunate part of Allegiance is that it’s likely to be the best hope for many years to share such an important story for generations that don’t know about this ugly period in U.S. history. Allegiance runs through April 1 at JACCC’s Aratani Theatre, 244 S. San Pedro St. or allegiancemusical.com
TAYLOR MAC, 13 A: The trick is we don’t ignore things. The whole show is about communities falling apart, or building themselves up as a result of falling apart. We can’t ignore all the minstrel songs, for instance, but we have different tactics on dealing with them. I dedicated an entire decade to Steven Foster and Walt Whitman, because Steven Foster is considered the father of American song. We have an epic smackdown between them to see who should be the father of American song. They’re contemporaries, so you can’t argue that Foster is a product of his time. Walt Whitman was of the same time, and he wasn’t writing minstrel poems. So we try to get real creative with it. We’re grounded in the reality of the circumstances. Q: You started working on this in 2011 and we have since seen some tremendous upheavals in society. Same-sex marriage was legalized, for instance, and now there’s a wave of resistance to Donald Trump’s presidency. How do you juggle that arc of history with more recent milestones and reactionary moments? A: I’m not a teacher. I don’t know a smidgen as much as the people in the audience know. I do think of myself as a reminder of things that the audience dismissed or buried or others dismissed for them. One thing we forget is that history is cyclical. The same tactics used to stop women from getting equal rights in the 1780s were used against Hillary Clinton in the election. I don’t have to comment on our current politics, as our history is doing that for me. After the Civil War, there were 1,500 black elected officials in the South, but because of terrorist organizations like the KKK and with the help of the Supreme Court, they were eliminated. We have this history of, “We get rights, we don’t get rights, we get rights, we don’t!” It’s back and forth. Q: This show is opulent and bold, with big costumes, lots of spectacle and you performing in drag. How did that come about as a way to address the subject matter? A: There’s not much queer history in the books; I wanted to make something so big it couldn’t be ignored. It’s a giant, queer show. Queerness is always there and present. It’s a reference for contextualization, but it’s not the point. The point is communities building themselves. Queers are a part of that, like other communities. Q: This is a massive endeavor. Talk about some of what goes into it. A: There’s a 24-piece orchestra that we start with. Then we lose a musician every hour until it’s just me. We also have guest artists, a marching band, dance troupes, choirs. It’s an authentic extravaganza. I was watching the Oscars, and it was great to see this inclusion. They have good intentions, but it all felt like a big salesman pitch, rather than the lived experience. What’s different with us is we pull together something authentic. We’re putting virtuosity and imperfection side by side. We’re allowing ourselves to [expletive] up. Part of the fun is we mess up every time. A 24-Decade History of Popular Music runs March 15-24 at the Theatre at Ace Hotel, 929 S. Broadway, (213) 235-9614 or cap.ucla.edu. firstname.lastname@example.org
DOWNTOWN NEWS 15
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$4,997 2010 Nissan Sentra SE-R ....................... White/Charcoal, Remote Keyless Entry. C7010498-1/3N1CB6AP5AL660385$6,977 2016 Jeep Patriot Sport ...................... $12,888 Red/Charcoal, 20,099 miles. C7404316-1/1C4NJPBA6GD547455 DOWNTOWN L.A. MOTORS MERCEDES BENZ 2006 Toyota Camry ...............................
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ROCK, POP & JAZZ
Belasco 1050 S. Hill St., (213) 746-5670 or thebelasco.com. March 13: Between the Buried and Me. March 15: Andy Grammer. Blue Whale 123 Astronaut E. S. Onizuka St., (213) 620-0908 or bluewhalemusic.com. March 12: Samantha Sidley Group. March 14: The Vinny Golia Sextet. March 15: Kevin van den Elzen Big Band featuring Dick Oatts. March 16: Sinne Eeg and Larry Goldings. March 17: Anthony Fung Group. Continued on next page
Back in 1981, the Los Angeles Community Redevelopment Agency commissioned artist Barbara Carrasco to create a mural for the city’s bicentennial. Carrasco delivered “L.A. History: A Mexican Perspective,” and it rankled the brass: When they asked Carrasco to remove 14 controversial elements, she refused, and the work never went on display. It finally got a brief appearance at Union Station last year as part of the Pacific Standard Time LA/LA festival, and now the 80-foot-long artwork is getting a full museum show. The Natural History Museum last week opened Sin Censura: A Mural Remembers L.A., which digs into the work, the city it depicts and how things have changed. Sin Censura is on display through Aug. 18. At 900 W. Exposition Blvd., (213) 763-3466 or nhm.org.
Back in the 1990s, the British band Oasis was huge, garnering attention not just for hits such as “Wonderwall,” but also for the constant headline-grabbing fighting between brothers Liam and Noel Gallagher. Forget about the battles and one brother this week, as Noel Gallagher’s High-Flying Birds flock to Broadway’s Orpheum Theater for a pair of performances. On Monday-Tuesday, March 12-13, Gallagher and friends will deliver their brand of rock spiked by psychedelic and baroque tones. There will also likely be some Oasis standouts because, you know, the audience still wants to hear ’em. At 842 S. Broadway or laorpheum.com
MISS’ LIST photo courtesy of In Our Own Image
Quick, name a city associated with gospel music. You probably didn’t say “Los Angeles,” and few people would. Yet L.A. actually has a strong historical tie to the art form. That is on display at Exposition Park’s California African American Museum, where the exhibit How Sweet the Sound: Gospel Music in Los Angeles recently opened. The show uses vintage artifacts, photos, memorabilia and more to explore over a century of gospel, going back to the 1906 Azusa Street Revival, and tracing other elements, including gospel’s role locally during the Civic Rights era. Expect to hear performers such as James Cleveland, Andrae Crouch and Sallie Martin, among many others. At 600 State Drive or caamuseum.org. Singer-songwriter Rachael Yamagata has been drawing crowds for more than a decade, and making inroads with indie fans and the mainstream world — she’s both appeared on NPR and toured with Mandy Moore. This week Yamagata heads to Downtown, with performances Tuesday-Wednesday, March 13-14, at the Arts District’s Moroccan Lounge. It’s an intimate venue for the Maryland-raised performer whose most recent record was 2016’s well received Tightrope Walker. The songs are lush and rich, but Yamagata’s got another side too — in her “Let Me Be Your Girl” video, actress Alison Janney dresses up as a clown. At 901 E. First St. or themoroccan.com.
Talk about globetrotting: This week Chicago’s Joffrey Ballet comes to Downtown Los Angeles with a work by a Russian composer — based on a play by an English scribe — set in Italy. The world-class Joffrey, which was founded in 1956, is touring its version of Romeo & Juliet. Springboarding off Shakespeare’s romantic tragedy, the show utilizes Sergei Prokofiev’s dramatic 1935 score, along with new costumes from Tatyana Van Walsum. In this case the Montagues and the Capulets live in 20th century Italy, and the ballet plays out over three decades of political and family strife. There is a pair of performances at the Dorothy Chandler Pavilion on Saturday, March 17, at 2 and 7:30 p.m.
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photo courtesy of Paradigm Talent Agency
EVENTS WEDNESDAY, MARCH 14 Todd Gannon at SCI-Arc SCI-Arc, 960 E. Third St. or sciarc.edu. 7 p.m.: The architect goes deep on New Brutalism, High Tech architecture and the works of Reyner Banham. Yasha Mounk at Zocalo Public Square National Center for the Preservation of Democracy, 111 N. Central Ave., or zocalopublicsquare.org. 7:30 p.m.: Tonight’s topic: “Is the public destroying democracy?” Well, since corporations have greater control over politics… The Kingdom of Referentials at the Institute of Contemporary Art, Los Angeles 1717 E. Seventh St., (213) 928-0833 or theicala.org. 7:30 p.m.: Executive Director Elsa Longhauser and curator Philipp Kaiser discuss Harald Szeemann, whose “Grandfather: A Pioneer Like Us” is on display. Usuyuki at The Broad 221 S. Grand Ave., (213) 232-6200 or thebroad.org. 8 p.m.: Pianist Adam Tendler plays songs that show how Japan influenced artist Jasper Johns. THURSDAY, MARCH 15 Jami Attenberg at The Last Bookstore 453 S. Spring St., (213) 488-0599 or lastbookstorela.com. 8 p.m.: The author sits down for a discussion about her latest novel, “All Grown Up.”
MARCH 12, 2017
photo by Cheryl Mann
What Is Scientology? Church of Scientology of Los Angeles, 4810 W. Sunset Blvd., (323) 953-3206 7 p.m. every Monday, Tuesday and Wednesday: What is Scientology? Find out for yourself by attending recorded lectures by L. Ron Hubbard available at the Church of Scientology of Los Angeles. Call now to reserve your seats.
photo courtesy of the Natural History Museum of L.A.
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photo by Lawrence Watson
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MARCH 12, 2017
‘Julius Caesar’ Takes Over City Hall
Joe Spano (pictured) plays Brutus in the Shakespeare Center’s staged reading of Julius Caesar on Sunday, March 18.
photo courtesy the Shakespeare Center of Los Angeles
By Nicholas Slayton n Act 3 of Julius Caesar, William Shakespeare gave Mark Antony the line, “Cry havoc, and let slips the dogs of war.” In Downtown Los Angeles this week, you can twist that to, “Cry havoc and let slip the actors in City Hall.” That’s because the venerable Shakespeare Center of Los Angeles is staging a reading of the epic political tragedy in the city’s governmental headquarters at 7 p.m. on Sunday, March 18. It takes place just three days after the Ides of March. The reading, titled Julius Caesar in City Hall, will be held in the Board of Public Works room. Admission and parking are free, but advance reservations are required. The show kicks off City West-based Shakespeare Center’s 2018 season, which is focused on “Shakespeare’s warrior,” according to company Executive Artistic Director Ben Donenberg. “We wanted to start with Julius Caesar and make it as close to the Ides of March as we could,” Donenberg said. “City Hall was available on Sunday night, so we grabbed it.” There’s a secondary tie: Twenty years ago, Shakespeare Center, as part of its then regular summer presentation of free Shakespeare in Downtown, did a full production of Julius Caesar on the steps of City Hall.
Bootleg Bar 2220 Beverly Blvd., (213) 389-3856 or bootlegtheater. org. March 13: Desert Magic describes its genre as “galactic folk” and is interested in quantum physics. We can dig it. March 14: Chase Cohl has an album release show. March 15: The Show Ponies, The Novel Ideas. March 16: The Eagle Rock Gospel Singers have soul. Escondite 410 Boyd St., (213) 626-1800 or theescondite.com. March 16: Katie Jo and the Mijos, Little Jane and the Pistol Whips. March 17: A St. Patrick’s Day blowout featuring Have More Fun String Band, The Sidemen, New Media, Snake Oil Salesmen and more. Exchange LA 618 S. Spring St., (213) 627-8070 or exchangela.com. March 16: Oliver Heldens, Le Youth, Niko the Kid. March 17: Com Truise, Télépopmusik. Microsoft Theatre
Donenberg said First District City Councilman Gil Cedillo is sponsoring the reading, and helped the Shakespeare Center get the location in City Hall. Louis Fantasia is directing the reading and the cast includes several prominent actors, among them Armin Shimerman (“Star Trek: Deep Space Nine”) as Caesar, Joe Spano (“NCIS”) as Brutus and Mira Furlan (“Lost”) as Portia. Donenberg added that the Shakespeare Center has invited a number of civic leaders, from 1998 and today, to participate, including Mayor Eric Garcetti. A few have agreed to perform — it was uncertain at press time if Garcetti is among them — and Donenberg said those who do will have the opportunity to say lines alongside the actors. Although this is a staged reading rather than a full production, Donenberg said that it will reflect current politics and modern times, rather than be a throwback with togas. The show will also take advantage of the setting. “Louis will have people in the cast seated with the audience, who will speak, so it’s all interactive,” Donenberg said. After the show, the audience is invited to a 9 p.m. Caesar salad reception. Julius Caesar in City Hall is at City Hall, 200 N. Spring St. Reservations at shakespearecenter.org/juliuscaesar. firstname.lastname@example.org 777 Chick Hearn Court, (213) 763-6030 or microsofttheeatre.com. March 17: Pancho Barraza brings the sounds of Sinoloa to Downtown. Moroccan Lounge 901 E. First St. or themoroccan.com. March 12: Findlay. March 13: Rachael Yamagata mixes indie pop with alternative sounds. March 14: Rachael Yamagata is also playing a second night, by the way. March 15: Dream Machines’ bio invokes both Prince and yacht rock. Consider us cautiously intrigued. March 16: Sing along to the way-too-catchy song “The Great Divide” when The Mowgli’s play. Resident 428 S. Hewitt St. or (323) 316-5311 or residentdtla.com. March 13: KARMIC, Cillie Barnes, Bobbie Blanco, Rick Sorkin. March 16: Jackie Jackson, DJ Clifton. Continued on page 19
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LISTINGS, 17 March 17: IDK, ODIE, TRU, Danny Parra. Seven Grand 515 W. Seventh St., (213) 614-0737 or sevengrand.la. March 12: Whiskey River is, sadly, not a real place. March 13: The Makers are haunted at night by the approaching dread of green beer. March 17: Molasses. March 18: There are not 440 members in Los 440’s. The Novo 800 W. Olympic Blvd., (213) 765-7000 or thenovodtla.com. March 12: Rapper and “Black Panther: The Album” contrib-
utor Vince Staples takes the stage. March 16: A$AP Ferg is on his “Mad Man” tour. The Redwood 316 W. Second St., (213) 680-2600 or theredwoodbar.com. March 12: Aaron Deily. March 15: Slim Zwerling and the Yums, The Bassics, DJ Chico. March 16: Mike Watt + Missingmen, James and the Transmission, Clearer. March 17: The Brutalists, Imperial Crowns, Joe Normal and the Anytown’rs. The Regent 448 S. Main St. or theregenttheater.com. March 15: Mozzy headlines All Def Music x APF: All Def L.A.
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townnews.com. Then email a cover letter, your resume, your salary requirements and three applicable published writing samples to Editor Jon Regardie at email@example.com. NO PHONE CALLS PLEASE. Southland Publishing is an Equal Opportunity Employer.
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EMploYMENt PROFESSIONAL LOS ANGELES DOWNTOWN News has an immediate opening for a full-time news and features reporter. We are looking for a journalist capable of covering the news, business, culture and food scene of the exciting and diverse Downtown community. A Bachelor’s degree and two years of experience is required, as is the ability to think creatively and generate story ideas. The reporter must be based within the Los Angeles area and a familiarity with DTLA is a plus. Candidates must be able to write thoroughly reported, multi-sourced stories as well as news and culture briefs, and must be adept at using social media to spread the impact of stories. We expect hard work, good spirits, a willingness to take on all assignments, and the ability to work well both as an individual and a team. This is a full-time staff position that includes the opportunity to participate in the company medical and dental insurance plans, a 401K plan, vacation and sick time benefits, and health club membership. To Apply: Check out the print edition of Downtown News or down-
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The Smell 247 S. Main St. in the alley between Spring and Main or thesmell.org. March 16: An all-acoustic night with Street Play, Cow Town, and Roger Hallaway. Teragram Ballroom 1234 W. Seventh St. or teragramballroom.com. March 15: The French artist Vitalic brings electronic dance music and techno to Los Angeles. He also looks like Jason Statham crossed with Moby. March 16: HIRIE, indubious, and For Peace Band will play reggae. March 17: Knocked Loose, Terror, Jesus Piece, Year of the Knife, and Vamachara bring a night of metal to counterbalance the reggae.
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Email: Send a brief description, street address and public phone number. Submissions must be received 10 days prior to publication date to be considered for print.
All submissions are subject to federal and California fair housing laws, which make it illegal to indicate in any advertisement any preference, limitation, or discrimination because of race, color, religion, sex, sexual orientation, marital status, national origin, ancestry, familial status, source of income or physical or mental disability. We will not knowingly accept any advertising for real estate which is in violation of the law. All persons are hereby informed that all dwellings advertised are available on an equal opportunity basis. above: 08/2000. This statement was filed with DEAN C. LOGAN, Los Angeles County Clerk on March 6, 2018. NOTICE—This fictitious name statement expires five years from the date it was filed in the office of the county clerk. A new fictitious business name statement must be filed before that time. The filing of this statement does not of itself authorize the use in this state of a fictitious business name in violation of the rights of another under federal, state, or common law (see Section 14411 et. seq. Business and Professions Code). Pub. 3/12, 3/19, 3/26 and 4/2.
by registered by the following registrants: (1) CARLOS MARTINEZ, 12220 MARYVINE ST, EL MONTE, CA 91732 LA COUNTY. This business is conducted by an Individual. Registrant(s) began to transact business under the fictitious business name or names listed above: N/A This statement was filed with DEAN C. LOGAN, Los Angeles County Clerk on
Fictitious Business Name Statement File No. 2018047052 The following individual(s) is (are) doing business as: (1) TAILORED AUTOMOTIVE GROUP, 12220 MARYVINE ST, EL MONTE, CA 91732 LA COUNTY, are here-
LEGAL NOTICE Angels Walk LA is seeking qualified disadvantaged business enterprises (DBE) as well as other qualified graphic design firms to produce a guidebook and 15 on-street stanchion panels. Bids to be received no later than 3/30/18. Angels Walk LA 11611 Washington Place, Los Angeles, CA 90066 Email: firstname.lastname@example.org
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Fictitious Business Name Statement File No. 2018055284 The following individual(s) is (are) doing business as: (1) JMR Concessions, 330 North Bixel Street #201, Los Angeles, CA 90016 LA COUNTY are hereby registered by the following registrants: (1) Jesus Ortiz, 330 North Bixel St Apt #201, Los Angeles, CA 90026 (2) Mario Ortiz, 330 North Bixel Apt 201, Los Angeles, CA 90026. This business is conducted by a General Partnership. Registrant(s) began to transact business under the fictitious business name or names listed
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February 26, 2018. NOTICE—This fictitious name statement expires five years from the date it was filed in the office of the county clerk. A new fictitious business name
statement must be filed before that time. The filing of this statement does not of itself authorize the use in this state of a fictitious business name in violation of the rights of
another under federal, state, or common law (see Section 14411 et. seq. Business and Professions Code). Pub. 3/5, 3/12, 3/19 and 3/26.
LEGAL NOTICE The Joint Management Council, a California Unincorporated Association, will receive qualification proposals from leasing management companies wishing to become qualified for an available bidding opportunity at Los Angeles Union Station. It is the intent of this Joint Management Council to select a firm that will provide leasing management services at Los Angeles Union Station at the best overall value. In order to be fully considered for qualification and subsequent bidding opportunities, please contact Kenneth Pratt at 213-418-3297 or by email at email@example.com to obtain a copy of the Request For Proposals document. Completed proposals are due on or before 3:00 p.m. Pacific Time, April 24, 2018. Proposals received after 3:00 p.m. Pacific Time, April 24, 2018 will be rejected.
LEGAL NOTICE MORLIN ASSET MANAGEMENT, LP, a Delaware Limited Partnership as Agent for the JOINT MANAGEMENT COUNCIL, an unincorporated association, will receive qualifications packages from general contractors and consultants wishing to become pre-qualified for an available bidding opportunity at Los Angeles Union Station. It is the intent of this Joint Management Council to select a firm that will provide construction services at Los Angeles Union Station at the best overall value. In order to be fully considered for prequalification and subsequent bidding opportunities, please proceed to the RFIQ questionnaire at: https://goo.gl/forms/UMkdGntDJMn71R3E3. Completed forms are due on or before close of business by March 15, 2018. Submissions received after 5:00pm on March 15, 2018 will be rejected.
PUBLIC NOTICE Notice is hereby given that: Cathay Bank, headquartered at 777 North Broadway, Los Angeles CA 90012 has filed with the Federal Deposit Insurance Corporation (FDIC) and the California Department of Business Oversight (DBO) an application to close its Cupertino West Branch located at 10465 South De Anza Blvd., Cupertino, California 95014 and to consolidate operations into Cathay Bank Cupertino Branch located at 10480 South De Anza Blvd., Cupertino, California 95014. Any person wishing to comment on this application may file his or her comments in writing with the Regional Director of the Federal Deposit Insurance Corporation, 25 Jessie Street at Ecker Square, Suite 2300, San Francisco, California 94105 and/or the Commissioner of the California Department of Business Oversight, 45 Fremont Street, Suite 1700, San Francisco, California 94105, not later than 15 days after the date of this newspaper publication. The non-confidential portions of the application are on file at the appropriate FDIC office and are available for public inspection during regular business hours. Photocopies of the non-confidential portion of the application file will be made available upon request. This notice is published pursuant to 12 CFR §303.7.
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Recreational cannabis now available at all our retail locations.
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Published on Mar 9, 2018