1948 Colorado Blvd, LA 90041 – in Eagle RockOpen everyday for dinner at 5:30pmThe latest restaurant to open in Eagle Rock is a super cool space – Marshall Blair (from Blairs restaurant in Silverlake on Rowena) has taken over the former Halong Bay Vietnamese space, and totally recreated it with high ceilings and thick wood beams, cement floor, brick walls, hanging bamboo lampshades and wonderful huge windows that open to let the outside in. Not only did Blair oversee the reconstruction himself, he also made all the ceramic dish-ware used to serve the food.The place seats roughly fifty inside with an extra 16 seats coming for an outdoor sidewalk dining experience. Heading up the food is Chef Christopher Washburn (also head chef at Blairs restaurant). On the menu are a variety of Italian favorites like puttanesca (the best I’ve ever had), the Gnocchetti with spicy pork sausage, meatballs and polenta, rappini – and a tiramisu that is heavenly. Overall the food is spicy, creamy, fragrant, peppery, and extremely flavorful. Every dish I tried was delicious . Of course, the wines served are incredible, too. The place is relaxed with cool staff adding to the friendly vibe. Give Posto Giusto a try, you won’t be disappointed.
This year’s BET Experience saw the introduction of AT&T’s #BeTheGlow campaign executed by The 360 Agency. The experience presented guests to a unique virtual reality activation with AT&T technology along with musical performances from artists like Young Paris, Nick x Navi, Tia P, Drayon, and others. Artist Gelila Mesfin showcased a curated gallery of her work focused around Afrofuturism, and designer/artist, Laoulu NYC presented an interactive fashion show and installation.
#BeTheGlow also held a series of Genius Talks panels hosted by Charlamagne Thagod. The panels included celebrity guests Traci Ellis Ross, Nick Cannon, Angela Rye, Pusha T, Marilyn Mosby, Issa Rae, Ava Duvernay, and New Edition. The focus of Genius Talks sessions for the BET Experience was to enhance and embrace #BeTheGlow’s mission dedicated to shining a glowing light on the people and ideas driving black culture forward.
#BeTheGlow will continue its campaign this summer at the ESSENCE Festival in New Orleans on June 1st and 2nd, 2017.
Like true Southern California residents, we here at SoCal Mag are avid fans of wine. With the countless offerings of beautiful vineyards all around us, we have access to some of the best wine selections available in the country. This week, for the trending #ThirstyThursday movement in modern day social media, we chose to highlight two very special wine offerings from the beautiful Moraga Vineyards of Bel Air. The most notable detail to these offerings is that both are products that spawned deliciously well despite a four year drought that affected Moraga from 2012 through 2016.
The 2013 Moraga Red Wine is aromatic using notes of cassis, briar, and cocoa along with hints of sandalwood, pipe tobacco, and wet sandstone. Upon tasting, this Red Wine holds power and certainly commands presence on the palette. The sandalwood and pipe tobacco are certainly present throughout each sip. It’s no wonder the intense process in creating this wine included pre-fermentation and for the grapes to be punched down by hand up to seven times a day along with extended maceration. The complete process averaged anywhere between 33 to 46 days, with the final product being bottled in August 2015. SoCal Mag’s recommendation is to drink this option with a decadent dinner that includes any heavy protein and/or pasta combination.
The 2015 Sauvignon Blanc is fragrant with notes of citrus rind, citronella, fresh green apple, Bosc pear, Asian pear, and honeydew melon, then paired with floral notes of honesuckle and hints of pineapple and white peach. There is no doubt that this Sauvignon Blanc is one of Moraga’s star selections. The refreshing highlights of citrus throughout this wine are light and invigorating. It’s certainly a favorite for us, and is really aligned well with the Summer season. The sweetness naturally blends well with a SoCal brunch party or even a dessert pairing.
To learn more about the Moraga Vineyards and to subscribe to the Moraga Membership Club Click Here.
“In some ways, Empire is where The Get Down leads to— a corporate culture of rap music. Where The Get Down was about the rise of Rap Music, Empire is the capitalistic result.”
I was hooked. When “Books” Ezekiel Figuero read a poem with his emotionally-charged voice, it was poetry, rap and suddenly, I started to understand something about a culture that had evaded me. With the final episode now aired, we can speak to the merits and trials of this great experiment in television.
It was flawed, to be sure: A lot of storylines, a very weak gay tangent that was never realized, too much production, cartooning and cliches all spun on the head of a needle that could never decide where it wanted to go, but the ride was energetic, thrilling and if you were there, essentially the truth.
The last episode “Only From Exile Can We Come Home” was all the series wrapped into one big conclusion. but with such a delightful silliness ( imagine MX Justin Vivian Bond meets Jobriath tryout meets pop impresario, Robert Stigwood, at the Chelsea Hotel, of course!) that the show should conclude with one over-the-top last community rap, potential demise of our beloved little gay character, the bad guys turning good, it was all simply as Bette Davis once said: too much.
And it will be missed.
There are odd parallels to the other TV series, Empire, which in its third season has managed to stay afloat despite its deflated and contrived storylines — and a cast that feels exhausted. In some ways, Empire is where The Get Down leads to— a corporate culture of rap music. Where The Get Down was about the rise of Rap Music, Empire is the capitalistic result.
Empire lives while the Get Down, the most expensive Netflix series, $120 million to produce, goes to the place where great TV shows fade away.
Just east of Hollywood is a Los Feliz staple known as Fred 62, a retro themed American diner that has been in service 24 hours a day, 7 days a week, 365 days a year for two decades now. This neighborhood delight opened in 1997 specifically to cater to all Angelenos who wanted to eat great food at any time of the day. The diner has coined what chef and co-founder, Fred Eric, likes to call “breakfast of stoners”. Examples include the Dime Bag, fried Mac n Cheese Balls, Billion $ Pancakes, and classic American milkshakes.
Angelenos, it’s time to dust off your stretchy pants! The annual LA Food Fest celebrates 8 years with everyone’s favorite unlimited tasting event format at a new location with over 100 vendors, LA based craft beer & wine gardens, iced coffee lounge, ice cream social, live entertainment and stellar giveaways!
LA’s favorite Instagram worthy tasting event is here and it’s all going down at the Coliseum this Saturday, June 10, 2017. We’re back downtown with more world class chefs, award-winning restaurants, out of town headliners, your favorite trucks, street stands, carts and more. This year’s 8th Annual Summer Tasting continues its reign as one of the city’s staple events with guests being treated to a curated selection of signature eats from over a hundred (yes, one hundred!) food vendors, not to mention multiple craft beer gardens and craft cocktail bars, a brand new Nuevo Gastropub featuring some of Mexico’s top talent and brewers, and the return of fan favorites including premium tequila tasting, iced coffee lounge and ice cream social – all for one ticket price.
This year’s fest runs from 2pm-7pm (VIP doors at 2pm, GA doors at 3:30pm) with a return to the classic tasting format that started it all. To ensure all guests enjoy the event to its fullest, LA Food Fest attendance is capped at just 5,000 all-inclusive (pre-sale only) tickets.
First timers to LA Food Fest, with some launching for the first time ever anywhere, are: Ninja Rice Burger, Skinny Bitch Pizza, Strada Eateria, Casa De Brisa, Pasta Sisters, Soup Bazaar, Rays BBQ, and Breakfast by Salt’s Cure. With Ensaymada Project, Pot, Love Swirls and Fatamorgana Gelato (making their US debut) bringing on the sweets in The Ice Cream Social. Rad Coffee and Copper Cow Coffee among others will be available for caffeine fixes once the well deserved food coma kicks in. Plus, not to mention that the must try chefs in the Nuevo Gastropub will be doing all of their prep and cooking of a whole cow, two goats and two pigs on site!
The Lineup can be found here.
All you can eat, all you can drink $65 GA tickets include sampling from 100+ vendors, access to signature brews and cocktails, entry to our legendary ice cream social, all day iced coffee lounge, live entertainment and sweet beats from local DJs, collectible swag, and photos from the All Star Photo Booth for all attendees. The event is open to all ages with 21+ wristbands available to those looking to enjoy beer, wine, and cocktails. Children under 7 years of age free with an adult. VIP tickets are available for $95 and include an additional hour plus early admission to enjoy the event, VIP entrance, exclusive access to an expansive VIP lounge and other perks that include exclusive bites, a private VIP bar, and more.
Find the LA Food Fest Online
Official Facebook Event Page
Eventbrite Ticket Page
ART IN LOS ANGELES:
PAST PERFECT OF LAZLO MOHOLY-NAGY
By Jeffrey Head
Moholy-Nagy: Future Present is the first comprehensive exhibition in Los Angeles for artist Laszlo Moholy-Nagy. The exhibition travelled from the Guggenheim Museum in New York and The Art Institute of Chicago, before making its most recent and last stop at LACMA. Described as the first major retrospective of Moholy’s career in almost 50 years; it also serves as a dynamic survey of key developments in 20th century modern art by one person whose work represented the era in which he created. He also generated an aesthetic which remains essential, influential and contemporary.
During the brief and prodigious span of his career from the 1920s to the 1940s, Moholy created a sense of depth, movement and tension in every medium. From painting, sculpture, photography and film, to typography, publishing and advertising.
G. Smirg, 1923. Watercolor and collage on sandpaper. © 2017 Hattula Moholy-Nagy.
Moholy worked with a variety of materials in new ways applying innovative techniques. He was among the first artists to use Plexiglas, then a relatively new commercial material. Several of his specially formed and painted Plexiglas mobiles hang in the exhibition. He also combined materials in uncommon ways, including oil painting on burlap or watercolor on sandpaper.
Moholy’s photograms, which he created throughout his career, are also exhibited and may represent the best known aspects of his photographic work. These pieces remain intriguing images of light and shadow.
The exhibition also features the largest collection of his photomontage work. Mostly completed in the 1920s, Moholy assembled and edited otherwise unrelated images to create a narrative, taking into account scale and proportion. Moholy’s photograms, which he created throughout his career, are also exhibited and may represent the best known aspects of his photographic work. These pieces remain intriguing images of light and shadow.
Space Modulator CH for R1, 1942. Oil and incised lines on Formica. © 2017 Hattula Moholy-Nagy.
Hattula Moholy-Nagy, Moholy’s daughter, recently visited the Los Angeles version of the exhibition at LACMA. In addition to his art, she anticipates her father’s film work and stage designs may find a larger audience here. Several of Moholy’s short films from Hattula’s own collection play within the exhibition: “Berlin Still Life” (1936), “Metropolitan Gypsies” (1932), “Impressions of the Old Marseille Harbor” (1929/31), and “London Zoo” (1936). The latter led filmmaker and fellow Hungarian, Alexander Korda to hire Moholy for special effects in his film “The Shape of Things to Come” based on the H.G. Wells story. Moholy’s work, however, was cut from the final version. There are also photographs of Moholy’s stage designs for Jacques Offenbach’s Tales of Hoffman (1929), and Madam Butterfly (1931). Even from photographs, it is possible to get a sense of Moholy’s kinetic props and lighting. These could be viewed as a pragmatic and creative extension of his Plexiglas sculptures, also in the exhibition. It is easy to speculate how Moholy might have further influenced film and the performing arts had he not died of Leukemia at the age of 51
His professional career was based in Chicago where he served as the director of the New Bauhaus, and founded the School of Design (now The Institute of Design). For Hattula, “the work from the Chicago period are among my favorites mainly because I remember them hanging in our apartment and my father created some of them at home.” Space Modulator CH for R1, 1942 is one such piece, among several from her personal collection in the exhibition.
Although a much earlier work, Photogram Mondgesicht (Moonface) or Self-Portrait in Profile, 1926, is also from Hattula’s collection she explains, “I have come to a better understanding of the social values my father was expressing in his art. Children are very literal-minded, so I had to grow into an appreciation of what my father was doing. Growing up my father’s art has also inclined me towards bright, cheerful, and tidy art of all periods, figurative as well as abstract.”
Of the nearly 300 works in the exhibition, the most distinct is perhaps Moholy’s 1946 design of the Parker 51 pen with a chrome desk set. Six buttress-like forms provide rhythm and balance with a single fountain pen positioned at the end. As with Moholy’s three-dimensional artworks, the desk set is dramatic looking for its play of light and shadow. This object is special, because it is the only functional, applied art piece and everyday object in the exhibition. It also represents Bauhaus ideals of integrating art and industry along with the machine aesthetic. Developed while he served as artistic advisor to Parker during the 1940s, Moholy received a patent for the design which incorporated a magnet ball and socket enabling the pen to pivot in all directions. Although the desk set did not go into production, Parker incorporated Moholy’s magnetic component in hundreds of desk sets for more than 25 years.
The desk set was not known to exist after its initial appearance. Then, in 2013 it was found. Hattula commented on how she believes there is still academic research and discoveries to be made about the lesser known aspects of her father’s career.
This exhibition is an opportunity to enjoy Moholy’s significant and wide-ranging contributions to modernism.
“Moholy-Nagy: Future Present” is on view at The Los Angeles County Museum of Art, through June 18, 2017
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