Posts Tagged ‘DTLA Arts District

01
Oct
19

Sammy’s Cookout Every Thursday at Pruex & Proper

Preux & Proper located on Spring Street in a unique DTLA spot at the end of LA’s Art District and at the beginning of the Fashion District, between 8th and 9th, and is known for offering NOLA inspired dining in a beautiful and cozy atmosphere reminiscent of a space you’d find in the Frech Quarter. Preux and Proper’s already impressive menu is expanding into a slightly new direction by offering something particularly inspired and delicious. Every Thursday Preux & Proper will feature Sammy’s Cookout that will be taking an elevated approach home-style cooking in wondrous eye-popping ways. “Sammy’s Cookout” will be offered every Thursday from 4 pm to 10 pm for your dining pleasure.

Our preview of Sammy’s Cookout orchestrated by Executive chef Sammy Monsour started with a variety of cocktails to wet the whistle and soothe the soul with libations like the Alabama Slammer and the Texas Two-Timer. Before the dinner was served I settled at the bar in the upper room but not before I ran into Joshua Kopel who was handling a sizzling pan of Marie’s Mac & Cheese. It was apparent he already engaged in the spirit of the evening’s festivities. After our brief conversation, I settled at the center of the bar. It’s a nice long bar with a comfortable view of the whole upstairs area. There’s plenty of dining space that overlooks both Spring and Main Streets from the top. Due to Preux & Proper architecture, it’s easy to walk from side to side to view either street at your leisure and looking south you can see both streets merge into the Los Angeles cityscape. The waite staff was fun and friendly as I slid in to sip on two Alabama Slammers. These concoctions were marvelous and have a considerable punch to them.

As the upstairs had filled with foodie influencers and journalists, we were all encouraged to find a place for the feast that laid before us. I had joined Elise  Thompson and Bob Lee for a bit of chitchat at the bar before we settled but it so happened someone had taken a key seat where we couldn’t dine together at a table. So I was flying solo. After I settled I noticed somethings were already laid out on the table when I returned to my spot.

The watermelon and cucumber salad, the Spam fries with spicy pineapple ketchup and Ritz crackers with pepper jelly and pimento cheese spread were waiting there for the taking. All beckoning to us in their colorful splendor. The watermelon cucumber salad was fresh and intoxicating with their light crispy textures. Both major elements (watermelon and cucumber) mingled in with the Thai basil, mint, cilantro, macadamia-coconut crumbles, California extra virgin olive oil, lime & smoked sea salt with ecstatic results. The watermelon didn’t dominate and the other elements made it a fresh and lively surprise. It was delicious guilt-free moment in eating. I was most curious about the spam fries because I’m not a big spam fan. I found that they had the consistency of potato fries and the sweet dipping sauce was very complimentary. They were kind of addictive when mixing them with the spicy pineapple ketchup given their light crunchy exterior and soft spammy interior. The Ritz crackers with pepper jam and pimento cheese were snacky madness at it’s best.

The next course, we were presented with the Cast Iron Cornbread (Kentucky sorghum, cracked white pepper, butter), Baked Mac & Cheese (orecchiette pasta, scallions, turbodog ale, Cabot extra sharp cheddar), and Colorado lamb ribs (Jamaican jerk, central barbecue’s sweet heat wing sauce, Nate’s pickled watermelon rind) were followed by the masterfully made 18-hour bone-in pork shoulder with 5 regionally distinct barbecue sauces. The 18-hour bone-in pork shoulder sat before us was the culinary ne plus ultra of the evening with its luminance steamy presence dominating the center of our table and my foodie desires.

Continue reading ‘Sammy’s Cookout Every Thursday at Pruex & Proper’

27
Jun
19

A Ramona Otto Retrospective “Do These Stripes Make me Look Political?”

Assemblage Artist Ramona Otto‘s Solo Show “Do These Stripes Make me Look Political? – A Retrospective” has arrived in the Los Angeles Fine Arts Building in DTLA. The Los Angeles Fine Arts Building in DTLA is the perfect environment to enjoy Romona Otto‘s patriotically inspired assemblage approach to art that captures the American spirit as Independence Day approaches for the 4th of July. “Do These Stripes Make me Look Political?” is nestled in the vestibule of the ornate Romanesque Revival architecture of Los Angeles Fine Arts Building also known as “Global Marine House” that was built in 1926. Otto’s 12 pieces will be easily available for public viewing inside this designated Los Angeles Historical-Cultural Monument beyond the 4th.

As Otto puts it, “When I grew up on a farm in Iowa in the 1950s, the American flag was a powerful symbol. I remember the pride we all felt when leading the daily Pledge of Allegiance at Washington #4, the country school a mile from my house…Today, it is often difficult for people to listen to and understand one another. I am nostalgic for conversations that end with a smile and ‘Let’s agree to disagree. Now, where shall we eat lunch?”

“Do These Stripes Make me Look Political?” captures the best sentiments of our country’s ideals by assembling various and assorted pieces like photos, stamps, toys, extracted pieces of printed materials, utilizing a dollhouse as a canvas and more, reflecting on Old Glory and our country’s historic values. Otto’s unique approached to uniting these different objects captures the nostalgia, earnestness, and hope of what America has been and will be to us all again. Otto extracts these pieces, these found objects and assembles them to reflect the iconography of patriotism and national pride by recontextualizes these snippets and pieces that acknowledge there is unity in diversity using both patterns and colors that binds us all together as one. Otto’s retrospective sets the right tone for the upcoming celebration of the 4th of July with an eye on the simplicity of color and form that binds us together.

Ramona Otto’s “Do These Stripes Make me Look Political?” will be on view in the Global Marine House’s lobby through July 7th at 811 West 7th Street, Los Angeles.

28
May
19

Party Party Party: Monday to Monday!

All Right Reserved Billy Bennight Photography

Living in LA has its advantages and this week here’s my accounting of cool things that happened. I’m a big fan of being active during the week because it offers smaller crowds, eliminates amateurs and offers greater intimacy with new acquaintances and friends alike. The larger the event the less promising the possibilities has been my experience. This will be a regular occurring write up in my Extravagant Behavior blog.

Monday found me at the Residence of  Belgium for drinks and bites mixed with a cultural and history lesson from the Consul General of Belgium, Henri Vantieghem, sponsored by The Los Angeles Press Club. The dress recommended for the evening was “Smart Casual” and I found myself in Hancock Park outside the residence with a smart look around 5 pm. Henri welcomed all of us in a formal and cordial way. He spent roughly 20 minutes informing us of the interesting history that precipitated the state of Belgium and offered highlights on what makes his country unique in European history.

After his insightful and enlightening talk, we were all invited to the garden and pool area of the residence for beautifully presented light bites and beverages that reflect Belgian culture and tastes. From the bar, I chose the Chimay presented in a Chimay branded glass that gave a beer drinkers thrill. The was a cauliflower and almond soup presented in a shot glass, baked mussels with herbs and tasty brazed steak cubes. I had a number of interesting discussions with various attendees where I languidly moved from porch to poolside. On my second visit to the bar, I happened to run into Mario-Max Prinz Zu Schaumburg-Lippe as I was about to order my next Belguin beer. It had been a while since I saw him last. We engaged in pleasantries and our mutual interest in red carpet events. Of course, Prince Mario-Max is often on the other side and the subject of the red carpet step and repeat activities. After that, I returned to my poolside table to continue my talk about men with women. There are opinions and secrets women will share with a sympathetic male that most men will never hear because they are too busy being “men” being. Often while being “men” they never negotiate subtle and nuanced conversations well and rarely take other’s feelings or thoughts into consideration. For a while, we enjoyed fresh air at dusk for a fleeting hour. It was a satisfying end in this phase of my evening.

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My next move was to the private media parté at HATCH Yakitori + Bar at The Bloc in DTLA for some progressive Japanese cuisine. I arrived in my Lyft to the side of the main entrance of The Bloc. There’s this staircase you can slip through and descend via an escalator HATCH Yakitori that ovoids prying eyes for a discreet entrance and exodus from the establishment. I arrived in a quiet seductive manner and the festivities were in full swing when checked in. Inside it was crowded, buzzy and energized with foodie frivolities with bites and beverages, cameras and phones mounted to capture moments to flood the eyes with food ecstasy and cocktail provocations. Over at the end of the bar was Executive Chef Daniel Shemtob, under amber heat lamps, with torch in hand searing the special A5 Nigiri Wagyu Beef on a bed of sticky rice. Chef Daniel set ablaze those tasty morsels of expensive and beautifully marbled Japanese beef for everyone who made it to this grand performance of culinary excellence nestled at The Bloc in DTLA. Fire, food, and libations dominated the rest of my evening that included these menu items: Hamachi, Avo Tuna Toast, Agedashi Tofu, Black Karaage Chicken, Chicken Meatball with Egg Yolk Stick, Thigh and Green Onion Stick, Mushroom Party Stick, Pee Wee Potato Stick, and Pork Belly Stick. These delicious bites were paired off with a curated Sake List, selected premium Japanese Whiskeys, and various Japanese Beers. Of all of these goodies, I had the Chicken Meatball with Egg Yolk Stick, Mushroom Party Stick, Pork Belly Stick, and A5 Nigiri Wagyu Beef. These bites were interspersed with cocktail moments like the Matcha Highball, Mangorita and 2 different shots of Saki: one was unfiltered in a pearl-ish white and the other clear. Both were not aged and were delicious. The Chicken Meatball with Egg Yolk Stick was pure Japanese ecstasy and A5 Nigiri Wagyu Beef “TDF”! Towards Chef Daniel shared his thoughts and aspirations for HATCH Yakitori and the experience he hoped people would enjoy when coming to drink and dine there.

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More After the Break

Continue reading ‘Party Party Party: Monday to Monday!’

07
Feb
12

Under The Big Black Sun: One More Night In The Soul Kitchen

I was upfront, leaning up against the stage looking out on dozens and dozens of glowing faces. The close ones were white and bright, full of smiles drifting to darker and darker silhouettes to the back of the club. All were focused toward the stage I was leaning on where I slowly slide up on it, while the members of X paused between songs for a breather. I thought it was the perfect time to fire up a cigarette. Soon I felt a nudge against my back. I turned to my right to look up at Exene gesturing with her fingers, pressed closely to her lips, as if she was taking a drag from a cigarette. I smiled and she smiled back as her hand passed my shoulder and drifted by my cheek, she took the Camel nail from my hand that was lifting up toward her mouth. She then stood up for a second taking 2 solid drags from my camel straight and passed it back to me. Once returned I took another puff off the now moist butt of my cigarette as the band slammed into another Punk Rock classic. In front of me all were being driven wild  by the music. The churning of young hot sweating bodies were tangled weaving to the fast beat laid out by DJ Bonebreak, searing guitar work of Billy Zoom and bleeding edge harmonies of both John Doe and Exene Cervenka slamming against the walls of the Bacchanal. It was the sound of Punk mixed with break-neck speed Rockabilly from the album Wild Gift that tossed the Bacchanal into unrestrained chaos. X selling out 3 night’s of this 500 plus venue in Claremont Mesa in San Diego. The only commercial radio station that played X was KROQ. Everything that brought people together that night was essentially generated by word of mouth from all the Punks, while slightly crossing over to the mainstream. We refered to the mainstream as the “Normals”. That night and the other passed by with blistering Punk Rock ferocity for this Southern California musical power house who was the spearhead for the young and budding army of colored haircuts and leather jackets. It was revelatory, celebratory and lifestyle affirming as we participated in making history, changing culture, while Rockin’ to one of the most intelligent bands to emerge in years. Their songs had content, commentary and substance embodied in skillful song craft. Exene and John Doe’s relationship was an archetype that Punk couple aspired to and emulated. Their relationship was tough, funny and loving and it was reflected in the band’s lyrics and that made X unique among most of the SoCal based Punk Bands. As the years passed X never reached the multi-million status that they were at one time expected to reach. X losing some of their base after signing with Warner Bros. where they were being pulled in a more Pop direction by the guru’s at the label. That was followed with Billy Zoom leaving the band and then the dream couple eventually separating and devouring.

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X still carried on like troopers with new band members and new releases. But for most, the magic was gone. Punk Rock found new heroes and new mythologies to attach themselves to. Exene and John created the acoustic country folkish duo The Knitters a year later. I saw The Knitters for the first time in Tijuana at a Luis Guerena, of Tijuana No, produced show. There was a who’s who of the San Diego Punk Glitterati in attendance. All were eager to be a part of this new setup. All evolved wanted bragging right for seeing one of the first performances of The Knitters. I loved the new thing while getting hammered on cheap Mexican beer. The show was raided by the Federales and was closed down: Punks scattering everywhere. Therefore, the show was a complete success from a Punk Rock perspective. As the years past The Kniters virtually dissolved and John Doe explored a solo career and Exene took up art. With all these changes and morphing, I and we, stilled hung on to our majestic memories of X in their heyday. One night I was giving Jane Weidlin a foot rub at an after party from Cover 13 celebrating Retail Slut’s 20th anniversary. Jane and I got on the subject of how we missed Billy Zoom. We were so glad he had rejoined the band. Jane had seen them recently and said they had torn it up. Billy hadn’t lost any of guitar prowess being an air-conditioned repair man. Jane’s slave name escapes me now, but she was a slave of Sabrina belladonna that night. Jane had been assigned to me for the foot message by Sabrina. It turned out to be a perfect pairing. We carried on for nearly an hour going down the nostalgia road pleased at the reunion of both X and the GoGo’s. It was  a splendid night to rehearse the past. The scene was so close-knit and meaningful for all of us, Jane, myself and everybody evolved. Those memories were so dear that it could only hit a deep emotional and resonating chord with us all who shared this unique past. Our reminiscing validated our choices then and affirmed our love for the music and the scene’s characters, of which, every one of us were very much characters, role-playing, living out our dreams in this vibrant scene. After all the years X was still a vital topic.

I eventually ran in to Doors’ keyboardist Ray Manzarek and I pressed him on the topic of Jim Morrison with what you could call a plan B strategy. I had read “No One Gets Out Of Here Alive” at the time of X’s rise in popularity. For me the book was a watershed read that helped me perfect and define my own Punk Rock persona. Of course there was plan B or the sub agenda I had for Ray. Plan B was to ask him about his producing X’s Los Angeles. X’s first album release. As I pressed Ray about Jim you could read the “sign” registering on his face that said, “They always ask about fuckin’ Jim!”. For me seeing that look was just as important as if he’d started telling me old Rock N’ Roll war stories. It was easy to switch gears and question him about one of our favorite band, X. As he reminisced about X his face lit up and he became open. His gestures and body language read way happier, as we talked music and X. A few years later we ran into one another again and picked up where we left off. X, is but one symptom of Ray’s obsession with music: new music, experimental music and how technology affects the communication of music and musical performances. I can see why Ray’s face lit up about X now that I understand his fascination with the new and the experimental expression of musical performances. That’s why X fit that groove perfectly for Ray at the time they worked together on “Los Angeles“. Clearly, X posed a defining moment in music, Punk and SoCal’s culture: I mean the low, the down and out, the disenfranchised subculture that bred rampantly during the late 70’s and the early 80’s in Southern California, The Punk Rock movement change California from only being seen as a sun drenched subtropical utopia. X was the hub, the nexus of this with a call and response declaration of the desperate, reaching for meaning and recognition during a dark time!

During Christmas, as is my tradition, I migrated down to North Park to hobnob with my people. Yes, the remaining Punk legacy of San Diego’s Punk Rock culture. It’s the deepest roots I have and it represents the longest and most meaningful relationships of my life. Of course I hit The Casbah, the echo of previous heroic days, to be imbued by the “sweet” stale smell of smokey air, mobs of old scenesters mixing with new hipsters for Christmas Eve’s Exile on Kentner. Tim Maze was gracious and said hi. We both exchanged Christmas greeting and goodwill for a yearly reunion we often attend. After, Exile On Kentner I relocated at Kevin’s, cuddling up for a welcome sleep after my drive to San Diego. Christmas morning, joyfully waking to Robyn, Kevin, Stevie and Hammer for a Punk Rock beer soaked Christmas! After the gift giving, the laughs and a Prime Rib Christmas dinner I had one of my musings. We were relaxed, lounging in the afternoon winter’s sun in the front yard when I mentioned to Kev and Robyn that the Under The Big Black Sun concert at MOCA with X, The Dead Kennedys and The Advengers was coming up in January. The Universe must have turned on a switch because it was on! Robyn said buy your tickets now because we’ll be coming down. So the plan was set or so it appeared. I, after all, was a sluffer, waiting to buy the tickets after I joined MOCA again. But I was real busy and time passed very quickly in the leading up to the show. Oddly, about the time I was deciding to purchase the ticket I decided to check the MOCA website. I starred in shock as the graphic on the web page read Sold Out! I was unaware that it would go public and I thought I had more time. Damn, damn and damn! Funny enough I received a text the next day from Robyn asking if I was ready and had I bought my ticket. I looked at the text feeling guilt ridden at my slacker ways and hesitated to respond. I broke the bad news to Robyn. Robyn being who she was, was magnanimous and supportive. This was about 10 days out. So I seethed and simmered in my juices for most of that time looking for a way to hook it up. Just about the time I was about to start pulling strings and asking for favors I got another text. This was Robyn letting me know that her and Kevin was dropping out. I was bummed for them and there was a part of me that felt I had let them down. It was a big weekend for me because I was planning on celebrating the Chinese New Year. Ilona Sampovaara, a wonderful lowbrow artist I had met had a showing as well. I was feeling a time crunch, torn loyalties, with great distances to breach and people to meet. Robyn made everything simple and brilliant. But Robyn is always able to pull out the bright side of a negative situation. She was good enough to let use the tickets. I was tremendously grateful. Robyn knows how to take oranges and make orange juice out of them. I thought a good course for the evening would be to bring Ilona along. Ilona has some remarkable art that demonstrates a witty sence of humor, has an observant eye, a sense of irony and clever commentary built into her paintings of dogs, cats and skewed youthful innocence. I thought the MOCA event would be perfect for her and give her a little more adventure to her visit here in Los Angeles from Mexico.

Saturday arrived with different degrees of drama at different times that would bunch up and then release, then linger like a dangling noose of anticipated till early evening. Ilona and I met. Then came our brief catch up session before we moved to rest Under The Big Black Sun at MOCA. We arrived, for me, in an uncharacteristic early manner to soak in MOCA’s vibe and art. I was surprised to see it was outdoors and in MOCA’s courtyard. We were early and the crowd was thin. We chatted for a while and the Avengers hit the stage after a long and momentum introduction. I hadn’t seen them before and was curious, but honestly I had low expectations. They were hard, they were tight and they were Punk Rock. The Avengers did a harder version of the Rolling Stone’s “Paint It Black”. They had good stage presence. Brad Kent played searing guitar and had a great look. Their pedigree stems from, Penelope Houston, who was at the Winter Land performance opening up of the Sex Pistols. Brad Kent was part of early Punk bands that spawned groups like D.O.A. and the Subhumans. Of course, I left Ilona behind to get close to photograph the Avengers. At one point I ran into Kim Buresh an entertainment lawyer and friend. It was nice to see her. I started recording a video with my camera and the song happened to be “Fuck You”. What a laugh! I turned to Kim and said, “Of all the songs I would choose to video it would be the song “Fuck You!” We both laughed at the idea and after the song ended I drifted back to Ilona. It wasn’t long before the band closed and the audience began to swirl towards the bar and thicken for the Dead Kennedys performance. Shana Nys Drambrot appeared out of the darkness to say hi. We talked about the bands and her tweeting to her Twitter followers to let them know what was going down at MOCA. She had a press pass from either LA Canvas or the Weekly. She was “Stage Pit” ready! While I’m talking LA Weekly I should note that Falling James was occuping the front stage pit for most of the evening. But in a matter of minutes made 2 passes by us that had me think he was cruising Shana and myself like the boys do at La Jolla and Santa Monica at Circus Books. Then much to my surprise Gary Baseman popped out from nowhere, all Punked up with leather jacket and wildly arrayed pink spiky braids with some stylin’ red bondage pants. Then it got all crazy as I popped off a few shots only to further wind up the action even more as Anthony Ausgang jumped in when I was shooting Jeffrey Deitch and Gary. At that moment the “Lowbrow” scene was blowing up way bigger than the Punk Rock scene we were all here to catch and honor. It was 10 minutes of friendly, nutty horse-play with these “Lowbrow Boys”. Before you knew it, Gary was piggy back riding Anthony, then jumping around and making dramatic posses and fierce faced goofiness. It’s moments like this that take me back to my reading of early 20th Century artist. Gary and Anthony’s horse-play reminded me how wondrous and vibrant the art scene must have been then just as much as it now with mischief and shenanigans I had just witnessed. For examples of such play can be seen when Dalí tied a beget to his head with a scarf for the whole evening for one of his openings. The Dadaists and Theatre Of Hate performances stirring up the crowd to the point of fighting or the rows between Malevich and Tatlin in Russia. What a great moment as it all went spinning out of control! Boys being boys: It was for me the best opening act for X I could have imagined.

Next came the Dead Kennedys sans Jello Biafra. I’ve seen Jello with No Means No in Dallas at the Orbit Room in the 90’s. Sadly, I’ve never seen Jello and the band he spearheaded all those revolutionary ideas with some of the most stunning, the proactive art work to almost get pass the censors. I tend to be a purest. I know Jello did wrong and the band deserved better. But his presence is so huge and his delivery so spot on it’s hard for me to get past and it’s pretty much a deal breaker. But the band hit the stage to deliver a competent version of the Kennedys. They hit all the highs with Kill the Poor, Holiday in Cambodia , Nazi Punks Fuck Off,  California Über Alles and many more. I have to confess I was drawn in by the infectious California Über Alles, because it’s a classic and it’s the way I feel about California right now. I did sing along with a great deal of glee and nostalgia! Towards the end they tightened it up even more where the singer honed in on Jello’s sound. So it was a pleasing end. We all, Shana, Ilona and myself chatted for a bit more before X took the stage and Shana took off for a close up of the X’s performance.

By the time X hit the stage MOCA had hit it’s sold out state. Going in for photos was difficult. Members of the crowd were having their own private family reunion and they weren’t very accommodating or desiring to share their space with me. So I was pushed or shoved as I passed by with my camera. X opened with the “The Phone Is Off The Hook But Your Not”. The crowd was devoted and surprisingly stayed, but packed, with only few taking the opportunity to pogo or shake it on this night. Billy Zoom’s playing was as brilliant and effortless looking as always. DJ kept hammering the beat. John and Exene were wailing in harmony with those break neck turns and spins that come along with their songs. Los Angeles, Johnny Hit and Run Paulene, Nausea, We’re Desperate and the list goes on. Unlike previous performances there were less antics and play between John and Exene. No teasing Exene in-between songs, like John did at Hootenanny or intimate chit-chat with the crowd like at Lobsterfest. Mostly, straight ahead Rockin. DJ got the drum solo of his career during The Hungary Wolf. It was much like the performance I had gotten to see at the Greek for when Under The Big Black Sun had first been released. Sharp, to the point and professional. I’m thinking their in full on concert mode because they’re touring with Pearl Jam in South America and Europe, which is a stunning mix of styles, but very similar ethos. X is finally making the money they so richly deserve. It was a great show and appropriately they ended their set with The Doors’ Soul Kitchen. A great cover of a classic I love. It’s quite a tribute to their art and staying power, to what was once a fresh and raw wet behind the ears struggling Punk band. Now X is being the driving force and focus of a tribute to an era with MOCA’s Under The Big Black Sun. It’s such a statement of devotion, when fans still come out to see such a great band play on a night like this and can only be seen as a strong statement for their future too. It’s like a friendship when it starts new, so young, played with such zeal and enthusiasm, then as the years go by it matures into something comfortable, pleasant and enduring. When Exene took a drag off my cigarette so many years ago I had no idea the legacy it would lead to, nor did I know that X would remain a focus of a generation that so pleasingly defined the enduring culture of Southern California’s Punk scene. We all share a remarkable legacy Under The Big Black Sun!




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