On eve of anti-Trump protests, downtown L.A. curfew turns nightlife hub into ghost town
On a game night in Los Angeles, 10-year-old Boomtown Brewery in the Arts District can host 500 fans just five minutes walking distance from the Dodger Stadium shuttle at Union Station.
With the Dodgers hosting its archrival San Francisco Giants over the weekend, one might expect the cavernous brew hall with giant projection screens to be packed with revelers.
But ever since Tuesday, the only long line was the stretch of unused parking meters that formed a perimeter around the brewery.
That's because an indefinite 8 p.m. to 6 a.m. curfew imposed on downtown Los Angeles following days of immigration enforcement demonstrations has turned this nightlife hub into a practical ghost town.
Now, instead of customers belting out their favorite songs at Friday karaoke, the establishment is shuttered while city officials prepare for a day of widespread protests against Trump administration policies Saturday.
The curfew covers most of Chinatown, Skid Row and the Fashion and Arts districts from the 5 Freeway to the 110 Freeway, and from the 10 Freeway to where the 110 and 5 freeways merge.
Along with area bars and restaurants, civic institutions and art organizations have also been affected. The Los Angeles Philharmonic's Seoul Festival canceled its final performance on Tuesday and the Mark Taper Forum canceled productions of Hamlet on Tuesday and Wednesday.
The Center Theatre Group released an update Wednesday saying they received an exemption from the mayor's office to continue its performances, not counting Saturday, which will be closed for the so-called "No Kings" demonstrations.
Iconic Angels Flight, the over 100-year-old funicular cable car, is moving its final service from 10 p.m. to 8 p.m. until the curfew ends.
Inside Boomtown, marketing manager Nick Gingold was pleased to see a gathering of about 20 regulars who stopped by Wednesday at 6 p.m.
The brewery became aware of the curfew via social media and Mayor Bass' televised announcement Tuesday, shortly after 4 p.m.
'I don't think we actually received an official notice from the city, as far as I know,' Gingold said.
The mayor's office did not respond to questions about whether it provided curfew notices.
The brewery amended its closing time to 7:30 p.m., meaning it shuttered two and a half hours early on Tuesday and Wednesday. That same early closing bell will cut the brewery operating time in half on Thursdays and leave only four and a half of the regularly-scheduled 11 hours for business on Fridays.
Read more: Downtown L.A. is under curfew after protest turmoil: What to know
Gingold said the closure would sting Boomtown but didn't want to speculate on revenue losses.
Boomtown is not alone in changing its hours.
Angel City Brewery, also located in the Arts District, has amended its normal 4 p.m. to midnight weeknight schedule. The brewery posted on Instagram that it was closing Wednesday and Thursday at 7 p.m. though it opened at 1 p.m. on Thursday.
Chinatown's Melody Lounge went one step further, announcing on Instagram that it was temporarily closing its doors throughout the curfew's duration.
'It's been a rough few years for Los Angeles with the pandemic, the shutdown, film industry strikes and now this,' Gingold said. 'Let me be clear, we support our Latino community throughout this time and stand with them.'
Boomtown posted on Instagram on Tuesday that the store promised to stay open 'as long as it's safe to do so' to serve as a meeting place for the community.
Read more: Bass enacts curfew in downtown L.A. to stem chaotic protests
'We celebrate diversity and reject divisiveness. We celebrate immigrants and reject hate and we support our neighbors,' one post noted.
Chris Dombos, a special effects artist who lives in the Arts District, found his way into Boomtown, appreciative of the brewery's solidarity.
'This is a time of rising fascism where a city like Los Angeles, built by immigrants, is under attack and needs allies,' said Dombos, 44, who has observed some of the protests.
Dombos, 44, described the curfew as a political stunt and called on the mayor's office to investigate the 'brutal tactics' by Los Angeles police officers. He said constant flyovers by authorities have been 'terrorizing' the neighborhood.
Sarah Carmean, who enjoyed a light draft at Boomtown, lamented with service-industry employees missing tips or hours.
'These are the people who really lose out with the curfews,' she said. 'They are dependent on that money to pay bills."
Chef Genevieve Gergis, owner of acclaimed restaurants Bestia and Bavel in the Arts District, called the curfew 'a broad and vague overreach' and criticized city leadership.
Read more: Protests and curfew cancel L.A. Phil and 'Hamlet' as arts groups' losses mount
She said neither of her restaurants were anywhere near protests and she only heard of the curfew from television.
'The lack of guidance for small businesses and those who work in the area are being swept up in this blanket policy with no explanation or details,' she wrote in an email. 'This sudden, unexplained action feels like it was enacted without any care or consideration.'
Mina Park, co-owner and chef at Baroo, the Los Angeles Times 2024 Restaurant of the Year, said she closed her modern Korean eatery on Wednesday in the wake of the curfew and was still trying to plan out what to do.
'We have a lot of cancellations and concerns because of the protests and the curfew,' she said. 'It's hard to run a business with this uncertainty.'
Park said she'll likely have to throw out some fresh food, but also didn't feel she could complain much.
'Having to close for a couple of days is nothing compared to what so many families are going through,' she said of the ICE raids. 'It's really hard to see what's happening with the community.'
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This story originally appeared in Los Angeles Times.
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3 hours ago
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If a picture is worth a thousand words, then how much are paintings worth? Surely much more, as they also reveal the artist's intentions and the subject's self-image. A case in point is the painting of President Trump that Vladimir Putin asked Steve Witkoff to give him in April. According to the New York real estate developer-turned-diplomatic globetrotter, it was 'a beautiful portrait,' and Trump was 'clearly touched by it.' The artist is 69-year-old Nikas Safronov, celebrated as a People's Artist of the Russian Federation, Honored Artist of Russia, Academician of the Russian Academy of Fine Arts, Professor of Ulyanovsk State University, honorary citizen of Ulyanovsk and honorary citizen of Baku. Portraits are his specialty. A Russian source says he's known as the 'genius of kitsch,' a 'Russian Casanova' and 'our Salvador Dali.' I don't know about the Casanova bit, but the first and third descriptions apply — only with the qualification that Safronov is an exceedingly poor Dali. Perhaps I'm being too insensitive to Russian artistic tastes, but Safronov's work most closely resembles the kind of paintings one encounters for sale in subway stations or parks: hyper-realistic celebrities with oversized heads and eyes, set against familiar backgrounds with easily recognizable monuments. Like a bad Dali, Safronov is a master of kitsch. This says a lot about both Putin the giver and Trump the receiver. Putin's love of pomp and taste for palatial dwellings suggest he has a soft spot for kitsch. Trump is no less enamored of bad taste, as the interiors of his apartments demonstrate. Putin, in gifting Safronov's portrait, presumably knew that Trump would appreciate it. He knew just how to play him — an unsurprising conclusion given how Putin has played Trump with respect to resolving the Russian war against Ukraine. Let's take a closer look at the portrait itself. It depicts a huge Trump immediately after the failed assassination attempt in Butler, Penn. The top of his right ear is bloodied, a streak of blood extends toward his mouth and his right fist is raised in defiance; his left hand, holding a MAGA cap, is at his side; his eyes peer into the distance. The peering bit is standard for portraits of dictators: whether Mao, Stalin or Hitler, they all look into the joyous future only they can see. But it's the background that makes the portrait an example par excellence of kitsch. For it depicts the Statue of Liberty, right arm raised a la Trump, parts of the New York and New Jersey skyline, and an enormous American flag. The question that an observer might be tempted to ask: So, where exactly is Trump standing in this image? Safronov, the honorary citizen of distant Ulyanovsk and Baku, may be forgiven for his ignorance of New York and New Jersey geography, but Trump could only have been found in this position while standing on the Staten Island ferry as it sails across New York harbor. But why, then, would he be bloodied if he's on a ferry? It is in the nature of kitsch to overdo symbolism and combine things that cannot be combined. But the really weird thing about the painting is the American flag, which, as we all know, consists of 50 stars. Safronov's consists of 45. Is that a sign of innumeracy, or an instance of poetic license? Worse, the flag is depicted backwards: the stars are usually in the upper left-hand corner; in Safronov's version they are in the lower left-hand corner and the flag is pointing downward. Is Safronov sending Trump a political message about America's decline? And has Trump noticed that, through oversight or intent, he and his country have been dissed? Safronov told CNN that 'It was important to me to show the blood, the scar and his bravery during the attempt on his life. He didn't break down or become afraid, but raised his arm to show he is one with America and will bring back what it deserves.' And what, pray tell, does America deserve? Safronov seems to suggest it is Trump. The important point is that the portrait that appeals so much to Trump and Putin is standard authoritarian kitsch. Why dictators have a thing for ridiculous poses in unlikely settings is a topic for another column. But both Trump and Putin fit that mold — which may say something about the uncertain state of democracy in America and its complete absence from Russia. Alexander J. Motyl is a professor of political science at Rutgers University-Newark. A specialist on Ukraine, Russia and the USSR, and on nationalism, revolutions, empires and theory, he is the author of 10 books of nonfiction, as well as 'Imperial Ends: The Decay, Collapse, and Revival of Empires' and 'Why Empires Reemerge: Imperial Collapse and Imperial Revival in Comparative Perspective.'