NASHVILLE |
MSO Holiday Party 2011
Photo credit: Sorrell Schneider
INTRODUCTION TO MITCH’S COOL LOS ANGELES
I rolled into Los Angeles from the Bronx in 1979, pretty much unaware of the city except for bland images I saw of it in “Dragnet,” “Starksy and Hutch” and Annie Hall. The only cool thing about Los Angeles I knew came via an amazing performance I saw in the fall of 1978 by the group X at the Manhattan rock dance club Hurrah. They were punk and rockabilly, with wildly etched male/female harmonies and sharp apocalyptic lyricism, all in one mix. “Maybe Los Angeles ain’t half bad,” I remember thinking.
It wasn’t easy to leave New York to accept a job as a publicist in LA at the firm Solters/Roskin/Friedman. NYC, after all, was the place where I experienced Mott The Hoople at the Fillmore East, the New York Dolls at Mercer Arts Center, local glam heroes like Wayne County at clubs like Club 82 and Max’s Kansas City, all the early punk bands at CBGB and the next wave of them at the Mudd Club, not to mention the disco decadence at Studio 54. I had the chance to see hundreds of concerts for free as a rock critic for Good Times, Crawdaddy, Circus and Rolling Stone, working with amazing editors like Paul Nelson, Jon Pareles and John Swenson, all of whom encouraged me to dig deeper in my album and live reviews.
Much as I enjoyed being a rock critic, the money I earned as a freelancer hardly promised a rosy future. I figured I’d give publicity a shot, but it wasn’t easy finding a job as a publicist back in those days since there were only a few record labels and independent publicity firms compared to what it’s like now. Having no luck in my job search, I sent my resume out west in the fall of ’78 and got a call from Lee Solters asking if I wanted to be interviewed at the firm’s NYC office for a job as a junior publicist. I subsequently met Monroe Friedman and soon after Solters called to say I got the job.
Outside of its nascent music scene, NYC was rotting in the ‘70s (try Jonathan Maehler’s incisive book “Ladies and Gentlemen, The Bronx Is Burning” for more on the subject); besides, I wanted to roll the dice some place else. I landed in LA in January and was immediately struck by the balmy weather and the pure physical beauty of the mountains, ocean and palm trees. I found a large studio apartment on Norton Avenue in West Hollywood near Fairfax Avenue and waited for my car—a pimp-green Buick Skylark with nostrils on the hood—to arrive via a company I hired to have the car driven across the country.
My first clients at Solters/Roskin/Friedman were Melissa Manchester, Leo Sayer, Leif Garrett and Daryl Hall and John Oates. It was amazing to study publicity during the day under the tutelage of the endlessly creative Lee Solters–and then immerse myself at night in the exploding LA music scene. To my good fortune, I had the chance to experience the beginnings of the NYC punk scene and now here I was in LA, going out every night and seeing artists like the Screamers, Wall of Voodoo, The Plimsouls, the Know, the Blasters, the Go-Go’s, the Textones, Johanna Went, the Castration Squad and, of course, the great X. From Hollywood (Masque, Roxy, Whisky, Gazzarri’s) to Chinatown (Madame Wong’s, Hong Kong Café) to the Westside (Club 88) and Silverlake (the ON Klub), I lived at the clubs and wrote about what I loved in reviews and in my column “Talk Talk” for BAM magazine.
Through all of this, my love affair with LA was blooming. I actually thought it was great that you really didn’t have to walk anywhere—until years later when I had to get on the treadmill to erase the weight I had put on. With the dial tuned into KROQ (especially when the immortal Rodney Bingenheimer was on), I would drive around, constantly on the hunt for new places and classic L.A. landmarks like Union Station and the Self-Realization Shrine near the ocean.
I left Solters’ company in 1982 and went back to freelance writing for magazines, supplementing my income by writing artist bios for record companies, mainly Epic. Good fortune intervened in 1983 when publicist Michael Levine searched me out on a tip from manager Michael Lippman. Levine asked me to start a music division at his company, Michael Levine Public Relations, alongside his clients like Demi Moore and Michael J. Fox. Early music signings like the great Everly Brothers, Rita Coolidge and the Textones gave way to more artists like Sheena Easton, REO Speedwagon and Wang Chung. Lightning struck in March 1987 when, in a 30-day period, I signed Ozzy Osbourne, Tom Petty, Fleetwood Mac, Heart and Eddie Money. A few months later brought another boon: Gloria Estefan, KISS, Whitesnake and Yes.
The company morphed into Levine-Schneider Public Relations in 1988, and the signings kept rolling in while we were perched in an expensive office building on Sunset Blvd in West Hollywood: David Bowie, Aerosmith, Prince, The Cult, Janes Addiction, Faith No More, Dwight Yoakam, Soundgarden, Janet Jackson, and the Offspring.
Much as I enjoyed working with Michael (with whom I remain great friends), I felt it was time to go it alone and operate as a purely music company–a feeling that was advanced when the Northridge Earthquake in January 1994 shook things up, forcing my wife Rana, daughter Sorrell and mother-in-law Yvonne to sell our badly damaged home in Tarzana. MSO launched a year later, in February 1995, in a Sherman Oaks office building along Ventura Blvd. I knew it was a good sign that Rolling Stone phoned on our first day of business with an offer to put Tom Petty on the cover. Stevie Nicks was the first client to pay an MSO invoice; one of our first signings was the then-unknown 20-year-old artist Alanis Morrissette before the release of Jagged Little Pill; and we signed X shortly thereafter, which completed a circle for me.
Despite the earthquakes, the riots, the floods and fires, I still love LA (and live in a new home in Tarzana); the city keeps growing with exciting new places opening all the time in Hollywood, Silverlake, Los Feliz, Echo Park, downtown and elsewhere. If I ever leave the world of publicity–doubtful, since I truly live inside the music for spiritual sustenance–I probably would angle for a concierge gig at a five-star hotel (like the Four Seasons or the Peninsula) and provide guests with suggestions about all that is cool and fun in the city.
So here’s my attempt at being a concierge…enjoy the guide (which makes no attempt to serve as a complete guide)… …I traveled a lot of miles to experience it all and lost some of my hearing at all the great gigs!
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MITCH’S COOL LOS ANGELES
(In Praise of the Unfairly Maligned Los Angeles By Mitch Schneider)
- Leaving this world behind (like Elvis used to, as legend has it) by walking/meditating at the lushly landscaped 10-acre Lake Shrine, Self-Realization Fellowship), off Sunset Blvd in Pacific Palisades (310 454 4114, free). http://www.yogananda-srf.org/tmp/LocationDetail.aspx?id=942
- Buying organic produce, eating CornMaiden’s eclectic tamales and tossing dollars into open guitar cases every Sunday morning at the Hollywood Farmers Market (Sunset and Ivar, 8:30 AM to 1:00 PM, free). www.farmernet.com
- Greek-feasting at the bustling, warm-hearted taverna/market Papa Cristos, Pico and Normandie (2771 W Pico Blvd, 323 737 2970), at the same location for over 50 years. www.papacristo.com
- Taking in the swimming pool-dotted view of the Valley from the Topanga Boulevard Overlook, three miles south of Ventura Blvd on Topanga (free parking and picnic tables). http://www.lamountains.com/parks.asp?parkid=59
- Pondering the city’s unique blend of glamour and cruelty while looking out over Los Angeles from the secret gardens of Beverly Hills’ Greystone Park and Mansion (905 Loma Vista Dr, 310 550 4796, free). www.greystonemansion.org
- Gallery-hopping and grabbing a bite at the art complex Bergamot Station in Santa Monica (2525 Michigan Avenue, 310 586 6488, free parking). www.bergamotstation.com
- Rejecting the mainstream by taking in an essential left-of-center movie at the reliably well-programmed Nuart Theatre in West Los Angeles (11272 Santa Monica Blvd,310 281 8223). www.landmarktheatres.com
- Sliding into your pricey-but-worth-it reserved seat at the state-of-the-art Arclight Theatre in Hollywood (6360 Sunset Blvd, 323 464 1478, www.arclightcinemas.com) and then walking across the street to buy CDs at Amoeba Music (www.amoebamusic.com)
- Food shopping downtown at the sprawling Grand Central Market, the city’s oldest and largest open-air market (317 S. Broadway, 213/624-2378) www.grandcentralsquare.com
- Ocean-gazing from atop the nine-story Ferris wheel at Pacific Park in Santa Monica, particularly on a warm January day as the sun falls into the sea while freezing temps accost your East Coast buddies (310 260 8744). www.pacpark.com
- Luxuriating with a Korean Buff and Massage at Koreatown’s posh Aroma Spa and Sport, where admission includes use of multiple steam rooms, hot/cold tubs, swimming pool and high-tech gym (3680 Wilshire Blvd, 213 387 2111). www.aromaresort.com
- Transcending the mundane by getting ridiculously pampered at that better-than-therapy hideaway known as the Beverly Hills Peninsula Hotel (9882 S Santa Monica Blvd, 310 551 2888). www.beverlyhills.peninsula.com
- Sampling tea from around the world and scones at Afternoon Tea, served all day, at the Chado Tea Room in Hollywood (8422 1/2 W 3rd Street, 1 800 442 4019). www.chadotea.com
- Getting electrified by the ultra-modern luminous pieces plus the vintage neon signs at downtown’s Museum of Neon Art (501 W. Olympic Blvd, at Hope St, 213 489 9918). www.neonmona.org
- Winning, placing, showing—and brunching–on the Turf Terrace at Arcadia’s art deco, 1934-opened Santa Anita Race Track, against the backdrop of the San Gabriel Mountains (285 W. Huntington Dr, 626 574 6336). www.santaanita.com
- Giving shout-outs to Johnny and Dee Dee Ramone; Jayne Mansfield; Rudolph Valentino; and Cecil B. DeMille at the hundred-year-old Hollywood Forever cemetery (6000 Santa Monica Blvd, 323 469 1181), site of an infamous Korn party in 2006 that marked Axl Rose’s first public appearance in years. www.hollywoodforever.com
- Taking the canyons and back streets when the freeways look foreboding on the live maps at the heaven-sent Sig Alert. www.sigalert.com
- Heading downtown by going underground and exiting at the beautiful art deco landmark Union Station. www.metro.net
- Dining in style at Traxx under the high Spanish ceiling along the sweeping Grand Ticket Concourse at Union Station. www.traxxrestaurant.com
- Enjoying one of the best panoramic views in the city—Hollywood Hills and downtown–while “dining” on the roof at the Beverly Center mall adjacent to the Food Court. www.beverlycenter.com
- Eating the best pizza in the city at that venerable rock and roll Italian restaurant/hangout, the Rainbow Bar & Grill, where rock and roll never forgets and dinner is served until 2:00 AM seven days a week (9015 Sunset Blvd, 310 278 4232). www.rainbowbarandgrill.com
- Going poolside with a day pass at various hotels like the Loews Santa Monica Beach Hotel where you don’t need to be a guest (1700 Ocean Ave, 310 458 6700). www.santamonicaloewshotel.com
- Eating Pan-Asian food (including crickets and worms) at Typhoon while watching the private planes take off and land on Runway 21 at Santa Monica Airport (Typhoon, 3221 Donald Douglas Loop S, 310 390-6565 http://www.typhoon.biz/)
- Treating yourself to the four star bathrooms in between meetings by stopping off at the Four Seasons hotel and then checking your Blackberry by the fireplace in the lobby (300 S Doheny Dr, 310 273-2222). www.fourseasons.com
- Throwing a dinner party amidst the velvet images of Charlie’s Angels in the kitschy wine room of the long-running Antonio’s Mexican restaurant (7470 Melrose Ave, 323 658-9060). http://www.antoniosonmelrose.com/Antonios_on_Melrose.html
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MITCH’S L.A. NOW LIST
(July 2009)
RESTAURANTS:
**Old School Restaurant Shout-Outs
Rivera (Downtown)
1050 S. Flower St.
Phone: 213.749.1460
http://www.riverarestaurant.com/
Note: creative Latin/Southwest creations from John
Sedlar
Street (Hollywood)
742 N. Highland Ave.
Los Angeles, Ca 90038
323.203-0500
http://www.eatatstreet.com/index.php
Note: Susan Feniger’s tribute to “street” foods
around the world
Oliver (Beverly Hills)
9601 Wilshire Blvd
310-888-8160
http://www.olivercafe.com/oliver_cafe_beverly_hills.html
Note: healthy spa cuisine, always excellent
Validated parking off Camden Drive,entrance on Wilshire
Little Dom’s (Los Feliz)
2128 Hillhurst
323 661 0055
www.littledoms.com
Note: valet parking, next to Tangier
Kitchen 24 (Hollywood)
1608 N. Cahuenga
323 465 2423
Note: counter available
www.kitchen24.info
Note: no reservations,
Valet parking is available 7 days,
11a-3p (free) & 7p-4a ($10.00)
Loteria Grill (Hollywood)
6627 Hollywood Blvd.
323 465 2500
www.loteriagrill.com
Note: outgrowth of Farmer’s Market stall place; Mexican
-style ice cream is buzzed; open to 3 AM Thurs-Sat
Valet Parking
Palate Food & Wine (Glendale)
933 South Brand Blvd
818 662 9463
www.palatefoodwine.com
Note: Closed Sunday, chef Ocatvio Becerra,
Moderately priced
Akasha (Culver City)
9543 Culver Blvd
310 845 1700
www.akasharestaurant.com
Note: inspired New American cuisine
by chef Akasha Richmond
Gjelina (Venice)
1429 Abbot Kinney Blvd
(310) 450 1429
www.gjelinafood.com
Note: hip California cuisine
Luau (Beverly Hills)
369 N. Bedford Drive
310 274 0090
Note: Asian/Polynesian cuisine inspired by the original Luau in
Beverly Hills; highlight: salmon wrapped in a banana leaf
Animal (Fairfax district)
435 N. Fairfax Avenue
323 782 9225
www.animalrestaurant.com
Note: chefs from the Food Network show 2 Dudes Catering
LA Mill Coffee Boutique (Silver Lake)
1636 Silver Lake Blvd
323 663 4441
www.lamillcoffee.com
Note: Extensive coffee menu, breakfast, salads,
“ingenious desserts” (LA Times)
RH (inside Andaz Hotel, West Hollywood)
8401 Sunset Boulevardd
323-785-6090
www.andaz.com
Note: named for the “Riot House,” the old nickname for this
incarnation of the rocker hotel Hyatt House. Progressive
cuisine with giant glass windows looking out on Sunset.
CLOTHING AND SPECIALTY STORES
Sorum Noce (Melrose Heights)
8568 ¼ Melrose Ave
310 358 0541
www.sorumnoce.com
Note: men’s rock and roll coutre co-founded
by Matt Sorum (Velvet Revolver, Cult, GNR)
Confederacy (Hollywood/Los Feliz)
4661 Hollywood Blvd
323 913 3040
Note: “high end indie fashion” like Rag and Bone
Space 15 Twenty (Hollywood)
1520 Cahuenga Blvd
323 785 4042
www.space15twenty.com
Note: hip “mini mall” built around an Urban
Outfitter’s store, open until 11:00 PM. Site includes
What Goes Around Comes Around vintage store
Coco de Mer (Melrose Heights)
8618 Melrose Avenue
310 652-0311
http://www.coco-de-mer.com/
Note: Museum-like erotic boutique, high-end
And artful. Is the agony the new ecstasy?
Kangol (Venice)
1132 Abbot Kinney Boulevard
(310) 399-8444
http://www.kangolstore.com/
Note: Headgear alert: Long-running Brit headgear
company opens first U.S. store.
COOL THINGS TO DO
Downtown Los Angeles Art Walk
on the Second Thursday of every month 12 to 9 PM
http://www.DowntownArtWalk.com
Note: shuttle service
Grammy Museum (Downtown LA)
At L.A. LIVE
http://www.grammymuseum.org/
Note: more fun that you might think,
and amazing artist showcases
La Luz de Jesus Gallery (East Hollywood)
4633 Hollywood Blvd
323 666 7627e
http://www.laluzdejesus.com/
Note: showcases mainly figurative, narrative paintings,
and unusual sculpture. Inside the mega-sized and ultra-cool
Wacko/Soap Plant store
http://www.soapplant.com/business.html
Downtown Walking Tours (Downtown Los Angeles)
http://www.laconservancy.org/
Note: Self-guided and docent-led including the Saturday
Broadway Historic Theatre District Walking Tour
Great Walking Areas for Shopping/Cafes
Abbot Kinney (Venice) (First Fridays of each month, stores open to 10:00 PM)
Sunset Junction (Los Angeles)
Melrose Avenue (Los Angeles)
La Brea (Los Angeles)
Third Street (Los Angeles)
Melrose Heights (West Hollywood)
Robertson Blvd (West Hollywood)
Cahuenga Corridor and adjacent Hollywood and Sunset Blvd.
(Hollywood)
Ventura Blvd (Studio City/Sherman Oaks)
Vermont Avenue/Hillhurst/East Hollywood Blvd (Los Feliz)
Main Street/Washington Blvd (Culver City)
###
DOWNTOWN L.A. RESTAURANTS
(Mitch Picks, August 2009)
BLUE VELVET: 750 Garland St, L.A., CA 90017
213 239 0061
http://www.bluevelvetrestaurant.com/
Note: between 7th and 8th, high end small plates,occupies a pool adjacent deck at the Flat residential development
BOTTEGA LOUIE: 700 South Grand Avenue, L.A., CA 90017
213 802 1470
http://www.bottegalouie.com/
Note: corner of 7th and S. Grand, open till 11:00 PM daily, buzzed about Italian in architecturally cool surroundings
CAFÉ METROPOL: 923 E. 3rd. Street, L.A., CA 90013
213 613 1537
http://www.cafemetropol.com/
Note: between Garey and Santa Fe, open till 12:00 AM Thursday-Saturday, gourmet European food
CAFÉ PINOT: 700 W 5th St L.A., CA 90071
213 239 6500
http://www.patinagroup.com/restaurant.php?restaurants_id=41
Note: between Flower and Grand, high end cuisine
CASA: 350 S. Grand Ave, L.A., CA 90071
213 621 2249
http://www.casadowntown.com/
Note: between 3rd and 4th, bar open till 12:00 AM Saturday, modern and trad Mexican
CHAYA DOWNTOWN: 525 S. Flower Street, L.A., CA 90071
213 236 9577
http://www.thechaya.com/downtownLosAngeles/
Note: corner of 5th and Flower, open till 11:00 PM Monday-Saturday, bar open till 11:30 PM Monday-Saturday, Franco-Japonaise cuisine
CHURCH AND STATE: 1850 Industrial St, L.A., CA 90021
213 405 1434
http://www.churchandstatebistro.com/
Note: corner of Industrial and Mateo, open till 11:00 PM Friday-Saturday, brasserie food
CIAO TRATTORIA: 815 W 7th St, Los Angeles, CA 90017
213 624 2244
www.ciaotrattoria.com
Note: high end Italian and seafood
CIUDAD: 445 S Figueroa St, L.A., CA 90071
213 486 5171
http://www.ciudad-la.com/
Note: between 4th and 5th, bar open till 11:00 PM Wednesday-Thursday and till 12:00 AM Friday-Saturday, creative Latin cuisine from uber Chefs Mary Sue Milliken and Susan Feniger, a downtown fixture
COLORI KITCHEN: 429 W 8th St., L.A., CA 90014
213 622 5950
http://colorikitchen.wordpress.com/
Note: corner of 8th and S. Olive, classic Italian trattoria
DRAGO CENTRO: 525 S Flower St, Los Angeles, CA 90071-2200
213 228 8998
www.dragocentro.com
Note: high end Italian, spinoff of West LA eatery
D-TOWN BURGER BAR: 216 W 6th St L.A., CA 90014
213 228 0022
Note: between Broadway and Spring, open till 11:00 PM daily
MAGNOLIA DOWNTOWN: 825 W. 9th Street (James M Wood Blvd.),
L.A, CA 90015
(213) 362.0880
http://www.magnoliala.com/
Note: spinoff of Hollywood eatery, American food,open to at least midnight, later on other nights, 2 hour free parking located in attached garage right behind building on 8th Place.
NICK AND STEF’S STEAKHOUSE: 330 S. Hope St, L.A., CA 90071
213 680 0330
http://www.patinagroup.com/restaurant.php?restaurants_id=6
Note: high end steakhouse, outdoor terrace
NICKEL DINER: 524 S. Main Street, L.A CA
213 623 8301
5cdiner.com
Note: Hours: Tues thru Sun— 8am – 3:30 pm and Tues thru Sat— 6pm – 11pm. Home of the Maple Glaze Bacon Donut.
PANINI:600 W 9th St Los Angeles, CA 90015-4301
213 489 4200
www.mypaninicafe.com
Note: corner of S Hope St and W 9th St. Specializes in Italian and Mediterranean cuisine.
PETE’S CAFÉ AND BAR: 400 S Main St L.A., CA 90013
213 617 1000
http://www.petescafe.com/
Note: corner of Main and 4th, open till 2:00 AM daily, classic American food
PROVECHO: 800 Wilshire Blvd (at Flower), L.A., CA 90017
213 489 1406
http://www.provechorestaurant.com/
Note: Modern Mexican, validated parking in building
R23: 923 E 2nd Street, L.A., CA 90013
213 687 7178
www.r23.com
Note: between Garey and Vignes, open till 11:00 PM Friday-Sunday, acclaimed sushi and longtime downtown fixture
RIVERA: 1050 S. Flower Street, L.A., CA 90015
213 749 1460
www.riverarestaurant.com
Note: corner of 11th and Flower, open till 1:00 AM Thursday-Saturday, creative Southwest and Latin cuisine from uber chef John Sedlar
ROY’S: 800 S. Figueroa St., L.A., CA 90017
213 488 4994
www.roysrestaurants.com
Note: corner of 8th and S. Figueroa, high end Hawaiian fusion cuisine
TAKAMI SUSHI: 811 Wilshire Blvd, L.A., CA 90017
213 236 9600
http://www.takamisushi.com/index.html
Note: corner of Wilshire and Lebanon, rooftop, great views, Elevate club open till 3:00 AM Thursday-Saturday, Takami open till 11:00 PM Monday-Thursday and till 12:00 AM Friday-Saturday
TRAXX: 800 N Alameda St, L.A., CA 90012
213 625 1999
www.traxxrestaurant.com
Note: Dine in style at under the high Spanish ceiling along the sweeping Grand Ticket Concourse at Union Station.
URTH CAFFÉ: 451 South Hewitt Street, L.A., CA 90013
213 797 4534
http://www.urthcaffe.com/
Note: corner of Hewitt and 5th, high end coffee, sandwiches, desserts
WARUNG CAFÉ: 118 W 4th St L.A., CA 90013
213 626 0662
http://www.warungcafela.com/
Note: between Spring and Main, open till 12:00 AM Thursday-Saturday, Asian fusion, small plates
WATER GRILL: 544 S. Grand, L.A., CA, 90071
213 891 0900
http://www.watergrill.com/
Note: corner of 5th and Grand, high end fish
WOKCANO: 800 W. 7th Street, L.A., CA 90017
213 623 2288
http://www.wokcanocafe.com/
Note: corner of 7th and Flower, open till 2:00 AM daily, Asian cuisine, hip and affordable
YXTA COCINA MEXICANA: 601 S. Central Avenue, L.A., CA 90021
213 596 5579
http://www.yxta.net/
Note: corner of S. Central and Wilde, cool modern vibe, authentic Mexican food
ZUCCA: 801 S. Figueroa St., L.A., CA 90017
213 614 7800
www.patinagroup.com/zuccaristorante
Note: corner of 8th and Figueroa, high end creative Italian, downtown fixture
L.A. LIVE RESTAURANTS:
800 W. Olympic Blvd., L.A., CA 90015
BOCA AT LA LIVE
213 749 0445
http://www.lalive.com/content.php?section=dining&page=boca
Note: open till 12:00 AM Wednesday-Saturday, Pan Latin at Conga Room
THE FARM AT L.A. LIVE
213 747 4555
http://www.lalive.com/content.php?section=dining&page=thefarm
Note: open till 11:00 PM Monday-Thursday and Sunday, till 12:00 AM Friday-Saturday, American cuisine
KATSUYA AT LA LIVE
213 747 9797
http://www.lalive.com/content.php?section=dining&page=katsuya
Note: open till 11:00 PM Sunday-Thursday, till12:00 AM Friday-Saturday, creative sushi
LAWRY’S CARVERY AT LA LIVE
213 222 2212
http://www.lalive.com/content.php?section=dining&page=lawrys
Note: red meat a go go
ROCK’N FISH AT LA LIVE
(213) 748-4020
http://www.rocknfishlalive.com/
Note: Happy hour from 3pm-6pm Monday- Friday
WOLFGANG PUCK BAR & GRILL AT LA LIVE
213 748 9700
http://www.lalive.com/content.php?section=dining&page=wolfgang
Note: open till 12:00 AM Friday-Saturday, signature Puck food
OLD SCHOOL:
CLIFTON’S CAFETERIA: 648 S Broadway, Los Angeles, CA 90014-1807
213 627 1673
www.cliftonscafeteria.com
Note: Prides itself as being the home of the best “comfort food” around. Located on S Broadway between W 6th St and W 7th St.
EMPRESS PAVILION IN CHINATOWN: 988 N Hill St L.A., CA 90012
213 617 9898
http://www.empresspavilion.com/
Note: corner of Hill and Cottage Home, dim sum feast, jammed on weekends
ENGINE CO NO. 28: 644 S Figueroa St L.A., CA 90017
213 624 6996
http://www.engineco.com/
Note: corner of Figueroa and Wilshire, menu inspired, in their words, by “traditional firehouse cooking, served in a restored 1912 firehouse”
ORIGINAL PANTRY: 877 S Figueroa St L.A., CA 90017
213 972 9279
www.pantrycafe.com
Note: corner of Figueroa and James M Wood/ 9th, open 24 hours daily, LA classic
PACIFIC DINING CAR: 1310 West 6th St, L.A., CA 90017
(213) 483-6000
http://www.pacificdiningcar.com/
Note: corner of 6th and Witmer, open 24 hours daily, LA classic
PAPA CRISTO’S: 2771 W. Pico Blvd, L.A. CA 90006
323 737 2070
www.papacristos.com
Note: west of downtown, amazing Greek food, L.A. fixture
THE PALM: 100 S. Flower Street, L.A., CA 90015
213 763 4600
www.thepalm.com
Note: corner of Flower and, 2nd and Hope, open till 11:00 PM Friday-Saturday, red meat haven
PHILIPPE, THE ORIGINAL: 1001 N Alameda St L.A., CA 90012
213 628 3781
http://www.philippes.com/
Note: corner of Alameda and Ord, a true LA classic, French dipped sandwiches
PLUM TREE INN IN CHINATOWN: 913 N Broadway L.A., CA 90012
213 613 1819
http://www.plumtreeinn.com/
Note: by Old Chinatown Plaza between Bamboo and College, open till 10:30 PM Friday-Saturday
QUESTIONS & ANSWERS: Mitch Schneider
http://www.prweekus.com/QUESTIONS-ANSWERS-Mitch-Schneider/article/38834/
KIMBERLY KRAUTTER who writes for PRWeek
February 28, 2000
Mitch Schneider, who heads LA-based music publicity shop The Mitch Schneider Organization, gets right to the point. We commend him for being the first PRWeek Q&A subject to have answered each query in less than two sentences, and still have managed to be amusing. Of course, with clients like Aerosmith, a sense of humor probably comes in handy.
What is your philosophy?
Fame is a pair of stiletto heels looking for a seat.
What does your agency try to accomplish?
Put vibe into a bottle and spray the universe with it.
What do you do there?
I organize chaos. But I also know that chaos, before it is organized, is a thrill.
How do you make a difference?
I smile without irony.
Tell us something interesting about your agency.
I’ve been known to make key decisions based on astrology.
What was your proudest moment?
Landing Aerosmith on The Simpsons. They were the first band to be animated on the series.
How did you get into PR?
I scaled the wall that separates rock journalism from music publicity.
How did you get where you are today?
I listen carefully to what our artists tell us. It’s that simple – and that complex.
What would you do if you didn’t do what you do?
This question terrifies me. There is nothing else I would do.
Do you have a secret daily pleasure?
Stouffers’ Lean Cuisine French Bread Pizza.
What do you hate most?
Complacency.
What is your idea of perfect bliss?
To observe beauty without interruption.
What would you do on a desert island?
Plot my return to civilization.
What will you do when you retire?
Listen to angry rock bands – the new breed – and dance around in my room.
What is your favorite car?
My mack daddy Sedan de Ville.
What is the secret of your success?
I never underestimate the stimulation of tastelessness.
What would you like to change about the PR profession?
There should be a better exchange of respect between editors and publicists – especially when editors kill pieces, then don’t return your calls.
What will be the next big thing to hit PR?
A voice-mail system that has the capability to instantly delete voice mails from nasty people.
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ARTISTDIRECT.COM
August 09, 2011
Mitch Schneider Founder of and President of The Mitch Schneider Organization Talks Rock ‘N’ Roll, Leather Jackets, and More
Rock ‘n’ roll has so many more moving parts than most people realize.
It’s an intricate, enigmatic machine that runs off the tireless efforts of not only the musicians playing it, but also of the blood, sweat, and tears of the people promoting it. In that respect, Mitch Schneider—president and founder of The Mitch Schneider Organization (MSO)—is one of the most crucial cogs in the music industry’s well-oiled machine.
During his extensive and remarkable career thus far, Schneider devised brilliant and groundbreaking PR campaigns for everyone from Ozzy Osbourne and Korn to Alanis Morissette and The Black Crowes, always thinking of new ways to bring the public closer to the artists he worked with while preserving the mystique of the music. His current roster includes Aaron Lewis of Staind, Smashing Pumpkins, Slash, Jane’s Addiction, Deadmau5, David Lynch, Ozzy,Dolly Parton and Coachella, to name a few [See the full list here.]
Schneider is well-versed in another facet of rock ‘n’ roll—fashion. In addition to being a true PR guru, Schneider is also a leather jacket aficionado. For this exclusive interview with ARTISTdirect.com, he told us the tales behind some of his coolest leather jackets. They each have a story, and you’ll have to read on for more…
Photos: Sorrell Schneider
In your opinion, does a leather jacket toe the line between elegance and attitude? Is that middle ground attractive to you?
Yeah! The thing about leather jackets that I happen to love is the attention to detail. If you look at the ’70s leather jackets, the stitching, the placement of zippers, the cut, and the longer collars all stand out. I always felt that to look badass was the essence of rock ‘n’ roll. Truth be told, a lot of those ’70s leather jackets were worn in Blaxploitation films such as Superfly or Across 110th Street. Even in that Diana Ross movie Mahogany, Billy Dee Williams is wearing a great leather jacket. I used to go to the movies just to see the jackets. I grew up in New York City, and my whole fascination with vintage clothing started when I was about 14 or 15. I would take the train from the Gun Hill Road stop in The Bronx down to Astor Place. I’d get off and walk around the East Village with my friends. I’d go in these stores and see these cowboy shirts with amazing stitching. I’d see Hawaiian shirts with great rayon material. They had so much style as opposed to some of the clothing of the day in the ’70s. Except for those amazing leather jackets, I wasn’t that inspired. My vintage fascination started back then.
What attracted you the most to the jackets?
There’s something ridiculous about those ’70s jackets with the long collars, but there’s also something so badass. In those Blaxploitation movies, a lot of the pivotal characters were pimps. Like rock ‘n’ roll, they were anti-authoritarian. That was my leather jacket fascination in terms of the ’70s stuff. Going back to what you were saying about the elegance, wearing a leather jacket is like putting armor on before you go out. If you look at some of the modern leather jackets being made by rock ‘n’ roll companies now, it’s almost as if they looked at those ’70s leather jackets and refined them. It’s a combination of having the vintage jackets and the new styles as well. That’s what really galvanized me. One of the great things about living in Los Angeles is you can wear these jackets virtually eleven months out of the year. We’re known for our cool summer nights here so you can wear a thin leather jacket during that time as well. When I put on something vintage, I think about who wore it before, who they were, what they did, and what they were like. It will take on another dimension and life. I get really into this. I’m a collector so that stuff really stands out in my head.
What’s the correlation between leather jackets and rock ‘n’ roll?
There’s that outlaw iconic image that runs in America, whether it’s Marlon Brando or James Dean. They’re people who are viewed and celebrated as outlaw heroes. I think it starts there. Obviously, motorcycle jackets carry that perception as well. There will always be a fascination with people living on the fringe of society. There’s something about a leather jacket that connects to the outlaw image. You think of Steve McQueen in a leather jacket. You can look at a photo of Brando in a leather jacket, and that’s rock ‘n’ roll right there.
Mitch Gives Us Peek at His Own Collection
#1
That jacket came from Wasteland on Melrose, Ave. in Los Angeles. There’s something about white leather that’s almost far-fetched and ridiculous. When you walk into these stores and pick something up, you start to pray rabidly that it’s going to fit. Then when you see it fits, it’s like winning the lottery. It means a lot. That’s a funny jacket. The leather is not very high quality, and that’s the case for many of those ’70s leather jackets. However, the style is so great. It’s such a noisy jacket to wear. Whenever you move, it makes a sound. The jacket carries a bit of its own drama that way. I also dug the pockets on there. It’s almost like a leather shirt. You have to be in a certain headspace to put that on because the collar is bigger. If you go out in a crowd, you instantly look different than everyone else because it’s a fashioned look that comes from another time. I personally think, “How can I make this look current at the same time?” That jacket was a real find.
#2
The interesting about this jacket is I purchased it in New York City at the Hugo Boss store. I loved it instantly. That’s just a fantastic shade of red, and it holds its own alongside what I consider the great ’70s leather jackets. The jacket actually almost had a death. I was at the Sunset Strip Music Festival when Ozzy Osbourne headlined. My associate Marcee Rondan and I were in the photo pit with the photographers. She looks at me and goes, “Come on, Ozzy is not going to foam the crowd during the first couple songs.” He usually does that after the photographers are gone. However, because his set was shorter that night, he began to foam the crowd and the pit where I was standing during the second song. The jacket was completely covered in that wet foam. When I got home, I thought that was the end of the jacket. Marcee told me to get this Nivea moisturizing cream and put it all over the jacket. A couple of days later, it was like the jacket came back to life. I told Ozzy, “You knew we were in the pit. You aimed for us.” He just laughed because he loves to play pranks. I will not be wearing that jacket to future Ozzy shows [Laughs].
#3
I just got that a few months ago at Squaresville on Vermont Avenue in Los Feliz. When I picked it up, I thought, “If this fits, that would be incredible!” I love ’70s country rock, and this is similar to the style that the bands would wear whether it’s Byrds, Buffalo Springfield, Poco, or The Flying Burrito Brothers. I love that music and I really cut my teeth on it. When I saw the jacket, I couldn’t believe it. It’s a remarkable piece. I actually wore it to the Buffalo Springfield reunion show at The Wiltern. I ran into Clem Burke, Blondie‘s drummer, in the lobby and he said, “Mitch, that is a great Neil jacket.” He was referring to Neil Young, and that’s all I needed to hear. It was the perfect compliment for me.
#4
I got that jacket at American Rag. I think it was like $65 or $70. There were no rips in it or anything. That was one of my ultimate scores. I loved the collars–they were big but not overly big—and the braided stitching over the pockets. That’s a pièce de résistance of the collection for me.
#5
It’s great. The tag says something interesting. It reads, “The man from California.” When you’re a collector, the tag is part of the charm. I had to have it. This one is interesting because it’s not leather; it’s pleather. There’s piping that runs down the front of it, and I was captivated when I saw it.
#6
This is another favorite. It’s from Sorum Noce, and it had that distressed leather. They made a few of them. The inside was rough suede. I loved the quality of the leather and all of the different buttons. It gives that jacket a military feel but not quite. It’s got that beautiful brown color. The jacket always proves to be a real showstopper. When I wear it out, people come up to me and ask where I got it. I say, “Well, there used to be this great store on Melrose called Sorum Noce that Matt Sorum [Guns N' Roses, The Cult, Velvet Revolver] owned and then the recession came and took it away.” That jacket is historic for me because it points to the beginning of the recession.
#7
This is another Sorum Noce jacket. The leather is so butter soft. I could wear that on a July night. It has a bit of a gothic look to it. It’s like a second skin when you wear it. You feel regal while wearing it. Whenever I see a leather hood, it has the feel of an executioner’s uniform.
#8
I was coming up on my 25th anniversary with my wife, and we had a big party at the El Rey. I’ve always wanted a custom leather jacket, and I told her my friend—designer and stylist Karen Dusenbery– I wanted something a bit mod. She came up with these Edwardian-styled collars. There are lots of buttons that go up and down the side. That jacket is paper thin leather. I’ve worn that in August. There’s something very British about it. It’s amazing.
Union Station
I love that photo because my daughter Sorrell and I went downtown one day. Her interest in photography really started to flourish. She stopped me and said, “Your jacket matches where it says Union Station.” She got that shot, and it really captures my love for Los Angeles. I love the city, and I could work for the Chamber of Commerce. In fact, one of our accounts is The Sunset Strip Business Association. They’re the whole collection of clubs, restaurants and businesses on the Strip. As a kid growing up in New York, I always dreamed of the Strip. To have a chance to do PR for that is a true honor. I mean, I lost some of my hearing at so many great gigs at the Roxy and Whisky over the years!
—Rick Florino
08.08.11
What’s the most rock ‘n’ roll piece of clothing you have?
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TWO MINUTES WITH TODD: TRUTH AND TRIVIA
First rock concert: The J. Geils Band at the University of Connecticut, Valentine’s Day 1982. My older brother took me to a basketball game (UConn vs. Syracuse, my future college), a frat party and the concert…and the concert was life-changing.
Pivotal rock moment: U2 at Hartford Civic Center on The Unforgettable Fire tour (1985). I knew a few songs from War and October, but wasn’t a huge fan. When the 15,000 of us filed into the streets, all singing “40” in unison, I was awoken to the true power of music. Haven’t been the same since.
Best concert seat: Seeing the Allman Brothers Band on the side of the stage at the Beacon Theatre for the first time. Looking into all the fans’ eyes as they were being fed rock and roll greatness…nothing like it.
Scariest/Loudest rock concert: AC/DC at an airplane hangar in France on the “For Those About To Rock” tour. I was maybe 14, in way over my head. Insane…
Most thankful for: Finding a job early in life that I truly love and still get off on…some people never have that in their life. I started with Levine/Schneider right after college, where I thought a winter in Los Angeles might be a good place to thaw out after four years at Syracuse. When I drove home from work in February with the windows rolled down, I said ‘I’m not leaving.’
Favorite rock movies: “The Last Waltz,” The Who’s “Live at the Isle of Wight,” “Gimme Shelter” and “The Blues Brothers.”
Unforgettable moment: Being introduced to Jack Nicholson by Art Garfunkel at an Annie Leibovitz photo shoot for Vanity Fair.
What I Collect: Bicentennial quarters (a favorite childhood memory is decorating my bike at the Jersey shore for the 1976 festivities), concert ticket stubs/passes.
The reading pile: I’m a voracious reader and try to keep it eclectic. The last few books I’ve been through include Suite Francaise, The Life of Pi (highly recommended), The Fall of Advertising and The Rise of PR, The White Album (Joan Didion). I always have some Hunter Thompson lying around, usually The Proud Highway for easy reading. His take on the music business: “The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There’s also a negative side.”
Don’t get too comfortable: A wise man once reminded me, “We’re just one bad photo shoot from the street.”
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7 QUESTIONS WITH MARCEE
You’ve heard of the seven wonders of the world, the seven deadly sins, seven minutes in heaven, there are seven days in a week and seven seas…well, here are seven questions with Marcee:
What’s your typical day?
Is there a typical day? The one thing I’m certain of is that a day can change with one phone call or email. Generally, I start everyday with email–it’s the first thing I do when I wake up. Once I’m in the office I read multiple newspapers (Los Angeles, New York and hometown papers of my clients) and various columns, websites. The majority of the day–when I’m in the office–is spent on the phone, sending and responding to emails or IMs and spreading the word about my clients.
What’s in your handbag?
Well, the answer must begin with which handbag I’m using today, since I’m known to change them almost daily. Essential items: cell phone; blackberry (with additional back-up cell phone); lanyard with at least one band laminate and flashlight; earplugs; black and/or silver sharpie (someone may need to sign an autograph); passport–if I’m on the road (because you just never know); gum, candy, mints; way too many lip glosses; and last, but not least, my bag of good luck charms.
What was your first job in the industry?
While I was in college I worked at the Greek Theatre in Los Angeles’ Griffith Park. This was really just my way of seeing live music all summer long. It truly was a remarkable experience and I believe that in the three years I worked there my life career choice was made. I saw so many great performances and met many amazing artists–everyone from REM and INXS to Neil Diamond and Placido Domingo. That was it, the music business was in my blood and the rest, as they say, is history.
What would your friends be most surprised to learn about you?
I think some people would be surprised by my affinity for football. I sometimes wake up on Sunday mornings and watch football for a few hours before doing all the things I’m supposed to be doing. I think this goes back to high school and the fact that the first writing I really did was covering football for the school paper and I had to learn all about it.
Who’s your career role model?
In my career I’ve been fortunate to work with some of the most talented people in this business, and not only the artists–but so many people behind the scenes. I feel like each and every person I’ve come in contact with has somehow influenced me and all have contributed to making me the publicist I am today. Yes, I’ve had some difficult experiences, but the truth is, the hardest situations have somehow made me stronger and taught me more than I would have ever guessed.
What’s the best thing about your job?
There really are so many aspects of my job that I love. Early exposure to new music is obviously at the top of the list. But then there are the wonderful opportunities that I’m given that change people’s lives, certainly being on hand for a few of the post 9-11 shows, working with the Musicians Assistance Program, and going to New Orleans two months after the storm are some of the most memorable experiences I’ve had through my work.
Best song ever written?
It’s really impossible for me to pick one song. I love, love, love old REM–the southern melancholy the band captured early on is reminiscent of good literature, especially on songs like “South Central Rain” and “Don’t Go Back To Rockville.” But then there’s a great song like Ani DiFranco’s “32 Flavors” that hits me every time I hear it. Add Pearl Jam’s “Better Man” and “Elderly Woman…” to the list. But wait, what about “Moon River” and “Wonderful World”? This is too hard, I could go on and on…
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NIGHTCLUB & BAR INTERVIEWS ALEXANDRA GREENBERG
http://www.nightclub.com/nightclub-management/djs-and-entertainment/when-djs-compete-publicists-win
When DJs Compete, Publicists Win
April 11, 2012
By: Steve Lewis
The days of young DJs hustling mixed tapes to club operators are over. In the decade of the DJ, management groups, agents and PR representatives are more likely to get the pitch. The modern DJ has a business team behind him; high-paying gigs demand layers of operatives making sure that the money, equipment, venue, marketing and overall image is on point. On some level, image is as just important as skill. These electronic-music warriors need every edge to move up in the pecking order.
The bread and butter of the club culture, mash-up or mixed-format DJs often are underrated, but they increasingly are demanding higher fees. Alexandra Greenberg, vice president of the Mitch Schneider Organization, a publicity firm specializing in music, culture and lifestyle, is one of a new variety of publicists who handle this breed of DJs. I asked about her job and the emergence of this new exciting era:
Nightclub Confidential (NCC): Bands have always had PR firm to get the word out and create and protect an image. With DJs being the new rock stars, how has your job description changed and developed?
Alexandra Greenberg: Longer hours! With Blackberries/email/Facebook, people’s access to you is non-stop. The typical 9-to-5 does not exist anymore. As far as dealing with DJ talent vs. rock bands, things are still even. Electronic artists want to be pitched to newspapers and magazines, the same as any other type of musician. There is something to be said about seeing your client on the cover of a magazine. It’s cachet.
NCC: How do you sell a DJ and separate him from the growing pack — make a good one seem super?
Greenberg: At the end of the day, it comes down to the music. DJs all make their own music nowadays. The definition of someone playing two records one after another is not so common anymore. Programs allow DJs to remix and re-edit on the fly. If you can’t put something listenable together, you are going to have a tough time. It’s my job to make sure the music gets in front of the right people. This is done by phone calls, emails, packages and invitations to your shows, etc. You have to have a good package — a proper bio, press photos, website, Facebook and Twitter accounts. The first thing someone does if they are interested in you is Google you or search you out on iTunes. You need to make sure that presentation is impressive.
NCC: Does image, dress and grooming play an important role? How do you get your talent to adjust to this new world of media attention?
Greenberg: I think the majority of successful talents out there realize that they are the focal point when they play out, so their dress is important. They always have the best sneakers! Many of them have their own fashion lines and/or are extremely interested in fashion and collaborate with designers.
NCC: Who are your clients? Who was your first, and when did you realize that electronic music was shaping the world?
Greenberg: My EDM clients range from icons, like Paul van Dyk and The Crystal Method, and trailblazers, like deadmau5 and Steve Aoki, to on-the-rise artists, like Felix Cartal, Datsik and Audrey Napoleon. I’ve always loved electronic music. When I was in high school, I used to sneak out of my house to go to the Limelight in NYC because I loved to dance. The crowd was so crazy back then with Keoki, Richie Rich and all that gang. The music has always been there. Just now it’s more in the mainstream in the United States. With the digital age, you can be a huge success with millions of views on YouTube and chart on Beatport and iTunes without ever getting a mention in magazines like Rolling Stone and SPIN.
NCC: DJs are international commodities, often with worldwide tours. How do you advance them and how do you interface with foreign press and foreign venue/festival PR representatives?
Greenberg: There is such a press demand worldwide for DJ talent; most of my clients have publicists in each international territory. There are just too many press outlets worldwide — especially now with all of the digital outlets — to be effective if you did everything everywhere. My focus is North America.
NCC: Where is all of this heading? Is the word “DJ” becoming obsolete?
Greenberg: I don’t think the word “DJ” is becoming obsolete, just its definition is changing. People like David Guetta and Calvin Harris are DJs first but are now considered pop stars. More dance music is getting played on the radio
NCC: There are hordes enjoying these DJs in all corners of the world. Why do you think there is such universal appeal for this music?
Greenberg: At the end of the day, people want to go out and have a good time. Nightclubs and music festivals are a place of celebration, a destination for those looking for escape and a place to connect with people. They want to share and say, “I was there.”
With Such Popularity, DJs Command Higher-Paying Gigs
New York-based dGi Management, a talent management and corporate consulting service, has found great success handling the affairs of DJs who offer mixed-format or mash-up music. In years past, electronic DJs appealed mostly to moneyed Euros, but now electronic dance music has broken big in the United States. DJs compete for dance floors, even in places where there is no longer any dance space — just large bottle-service booths where patrons sway and pump their fists in the air.
Yoni Goldberg, a partner at dGi Management, can’t complain. The DJ revolution has his performers commanding increasingly larger fees as music is doing more to unite the world than all of the horses and kings’ men who ever tried. His 10 DJs each are a unique brand, more often than not holding center stage at the most fabulous parties and events worldwide.
“PR has long been a critical part of our DJs’ careers,” Goldberg says. “In particular, open-format/celebrity DJs distinguish themselves by their image rather than the music they produce, like dance DJs. The way their image is crafted in the media is essential to public perception and differentiation. Ten years ago, (electronic dance music) festivals existed on the margins and were at least perceived to be part of a drug sub-culture. As they become more mainstream — and the mainstream appeal is undeniable as (the Electric Daisy Carnival) has eclipsed Coachella as America’s most popular festival — so too will the performers. Rev Run and DJ Ruckus, whom I manage, have performed together at festivals around the world and will appear at another dozen this summer. I expect more and more commercial acts to have a presence at them in the future.”
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