Tuesday evening former Vice President Kamala Harris spoke to her second sold-out crowd in Los Angeles at the Wiltern Theater as part of a book tour promoting her memoir, “107 Days.”
Former Vice President Kamala Harris has yet to decide if she’ll run for president in 2028. She’s also not going to dish on her former boss, Joe Biden. And her advice for a Brown-skinned person just getting into politics? There will be many situations when you walk into a meeting room and no one looks like you. Keep your chin up, your shoulders back and remember — all of us have your back.
“All of us” referred to the cheering, sold-out crowd at the Wiltern Theatre in Los Angeles on Tuesday evening who’d come to see the former Democratic presidential candidate speak about her new book, the election-campaign memoir “107 Days.” The chanted “Kamala!” “Kamala!” as she walked on stage. The outbursts of adoration continued for the next hour in eruptions of applause and supportive shout-outs (“We love you!”) as she spoke about everything from the need to pass Proposition 50 to how she coped with the devastating loss to Donald Trump in the 2024 election.
Moderated by actor Kerry Washington, “A Conversation With Kamala Harris” was one of nearly 20 stops on a tour that’s already seen Harris speak in New York, London and at the Wiltern last month. Zealous attendees paid anywhere from $55 to $190 on tickets to see Harris again following “one of the wildest and most consequential campaigns in American history” (the latter is an official descriptor for her book). The memoir details her historically short run for president, the whirlwind 107 days between the time Biden withdrew from the race and Harris become the Democratic nominee to her devastating loss on Nov. 5.
Harris fans flock to the Wiltern to see Kamala speak about her book, “107 Days.”
(Jason Armond / Los Angeles Times)
Were there any great revelations or gotcha moments on stage Tuesday evening? Not really, but that’s not what this tour is about — at least for those who chose Harris over watching Game 4 of the World Series between the Los Angeles Dodgers and the Toronto Blue Jays. The former attorney general of California shared her thoughts about the current Department of Justice — a “thin-skinned president” is using it as his own personal tool of “vengeance.” She explained how her loyalties to Biden may have cost her votes, and called out the Washington Post and the L.A. Times, whose “billionaire owners pre-capitulated” to Trump when they pulled their respective editorial boards’ endorsements for Harris. She drew a big laugh when discussing the importance of parsing fact from fiction in today’s mediaverse, and made up her own example of misinformation: “Circumcisions are causing autism!” And on a more serious note, she detailed the emotional fallout she experienced after losing the election: “For months [she and her husband, Doug Emhoff] never even mentioned it.”
Criticisms of Harris’ book have centered around a frankly tired refrain that she should accept more personal accountability for the election loss as opposed to blaming the influence of outside forces. On Tuesday she appeared willing to explore those themes when she said she constantly interrogated herself on the campaign trail: Are you doing everything you can to win this election? But before she could go much deeper, Washington told her that she needed to know that we, the audience, understood she did everything she could. The crowd erupted in affirming shouts and applause.
Clearly, a book tour attended by The Converted is not going to produce headline-worthy grist, especially with an interviewer who is an admitted Harris friend and supporter. That’s what debates and media interviews are for, and this was a fan event.
And her base was thirsty. Since Harris has largely stayed out of the spotlight since last November, the audience appeared ready to relive some of the joy they felt in the brief time she was running for office, and perhaps find a glimmer of hope in dark times for those who see the current administration’s actions as anti-democratic, at best.
Before “The Conversation With Kamala Harris” kicked off at 7 p.m., attendees who spotted Harris’ husband, Emhoff, in the first few rows of the venue lined up to shake his hand and take selfies with the former second gentleman of the United States. The close access to SGOTUS was surprising, given the heightened security around political figures after violent events such as the home-invasion assassinations of Minnesota state representative Melissa Hortman and her husband in June, and the killing of conservative activist Charlie Kirk at a speaking event last month. Yet the atmosphere was casual and relaxed.
Despite heightened threats of politically-motivated violence, President Trump pulled Harris’ Secret Service detail, as he has done to many of those he sees as his enemies. But as a former state office holder, Harris’ security detail Tuesday was provided by the California Highway Patrol.
The conversation lasted a little over an hour, with a few prescreened questions at the end from audience members, such as the query from an attendee who identified himself as Ramon Chavoya, a proud Latino. He asked for Harris’ advice on getting into local politics. She was the first Black and first South Asian female candidate to be chosen by either party to run for the Oval Office. Her very presence was a reminder that the face of the nation is changing, despite a rise in xenophobic movements and legislation. She advised the aspiring young politician that he would likely stand out, but that he wasn’t alone. “We’re all in the room with you,” she said, a sentiment Harris’ supporters surely understood.
Future Ruins, the hotly-anticipated Nov. 8 film-music festival from Nine Inch Nails’ Trent Reznor and Atticus Ross, has been canceled.
“Unfortunately Future Ruins will not move forward this year,” organizers said in a statement. “The reality is, due to a number of logistical challenges and complications, we feel we cannot provide the experience that’s defined what this event was always intended to be. Rather than compromise, we’re choosing to re-think and re-evaluate. Meanwhile, we are sorry for any inconvenience and appreciate all the interest and support.”
The Live Nation-produced event at the Los Angeles Equestrian Center was booked as a compendium of cutting-edge composers to showcase their film work in an unorthodox live setting. Headlined by the Nine Inch Nails bandmates, who have won Oscars for their film scores including “The Social Network” and “Soul,” the event was slated to host John Carpenter, Questlove, Danny Elfman, Mark Mothersbaugh and Hildur Guðnadóttir among many others.
The fest’s cancellation comes on the heels of Nine Inch Nails’ sold-out “Peel It Back” tour, which hit the Form last month and is scheduled to return to Southern California in March next year. The band will also play a club-heavy version of its live set as Nine Inch Noize (with collaborator Boys Noize) at Coachella next year.
When Friedia Niimura moved to the U.S. from Japan in her mid-20s, she shared a dream with many Angelenos: acting, or maybe fashion. A TV and media personality in Japan, it seemed a natural fit, only she didn’t take to the competitive pace of Los Angeles.
So she dove into one of her other passions: paper.
“When I came to L.A., I noticed there weren’t a lot of specialty stationery boutiques,” Niimura says. “When you’re in Japan, they’re everywhere and you take them for granted. That’s how I would spend my days off. I would go to the stationery and browse and take my notebook and draw.”
Friedia Niimura outside her shop Paper Plant Co., which occupies two Chinatown storefronts and shares a space with Thank You Coffee. Niimura spent her teen years in Japan before changing her career.
(Juliana Yamada / Los Angeles Times)
Niimura created a place where one can do just that. Chinatown’s Paper Plant Co. is her stationery outpost, made of two small storefronts that share a space with Thank You Coffee and boast outdoor seating. A communal destination since 2020, the shop has earned a reputation for specializing in notebooks, stickers and pens from Japan. Or, as Niimura describes Paper Plant’s aesthetic: “cute.”
“When we pick something and we all go, ‘Oh my gosh, it’s so cute,’ then we know it’s going to do really well,” Niimura, 45, says. “I don’t know how in Japan they always come up with cute scenarios and cute scenes and cute gestures. It’s almost like there’s a school on how to draw dogs doing cute things, cats doing cute things.”
Paper Plant will on Oct. 11-12 play host to Bungu LA, believed to be the first proper stationery festival in the city. Niimura has handpicked Bungu’s 60 or so exhibitors, with the vast majority of them traveling here from Japan. Bungu is inspired by similar events Niimura has gone to in Tokyo or New York. Paper Plant, for instance, exhibited last year at a festival hosted by Brooklyn’s Yoseka Stationery.
“There was a line every day,” Niimura says, describing the New York fest. “It was just my store manager and I, and we were like, ‘How come L.A. doesn’t have one?’ And then who would do it? It always came back to us, since we have that relationship with Japanese creators.”
Like most everything Paper Plant-related, Niimura has been figuring it out on the fly. Paper Plant, for instance, was initially funded almost entirely by credit cards, a business plan Niimura wouldn’t recommend to others. Bungu will take over part of a concourse at downtown’s Union Station, and the hope is to make it an annual event. The goal for the first year is to simply break even, as Niimura jokes that she doesn’t yet know the final cost of staging a festival.
“We had to also rent out a front sidewalk, which was another $10,000 that I hadn’t added to the budget,” Niimura says.
The response, however, has been overwhelmingly positive. Popular Japanese firms such as Hobonichi will be in attendance, but Niimura says she made an effort to secure vendors that have never before sold in the U.S. Advance tickets of $25, for which about 1,500 were made available per day, have sold out. There will, however, be walk-up tickets sold each day of the show. Niimura is hoping to attract 2,500 people per day.
Stickers, says Paper Plant Co. owner Friedia Niimura, are hugely popular at the moment. (Juliana Yamada / Los Angeles Times)
Paper Plant Co. makes and sells original greeting cards. (Juliana Yamada / Los Angeles Times)
Niimura herself is still discovering new joys in the stationery world. She notes that only recently has she become smitten with fountain pens.
“In Japan, fountain pens are geared toward older gentlemen,” she says. “And they’re expensive. The really nice ones can be thousands of dollars. We have ones that are a couple hundred, but also beginner ones for about $20. I started off with those, but I recently got a couple hundred dollar ones, and it’s life changing — the way the ink comes out is so smooth. Once you have one, it’s hard to go back to a regular pen.”
As part of Bungu, Niimura is encouraging attendees to explore L.A.’s public transit and the walkability of Chinatown. Maps will be given out at Bungu for which guests can collect three stamps, one at the event, one at the Chinatown Metro Rail station and one at Paper Plant. Those who complete the mini scavenger hunt will be given a free gift at Paper Plant, which Niimura is keeping a secret.
With the rise of collage and zine-making workshops, younger generations are connecting with paper and Niimura notes that one-day planners and scrapbooking today have become especially popular.
“I feel like anything work-wise, people have on their phones,” Niimura says. “But there’s this trend of scrapbooking everything — receipts for the day, the coffee cup holder, stickers. They call it ‘junk journaling.’”
Junk journaling, says Niimura, is fueling in part the sticker trend of the moment. Paper Plant sells a wide array of stickers and also makes its own — a dog, for instance, wearing a Dodgers hat, or a man wearing a dog as a hat. “The mini stickers are for the journalers and the planners,” Niimura says. “They have really teeny-tiny ones. It’s for the calendar. You use a sandwich sticker for lunch with a friend.”
The charm of Paper Plant’s two storefronts, where one can find lamps shaped like bread, diaries with adorable cats on the cover and those fancy fountain pens, belies the fact that 2025 is a stressful time for the stationery business. Niimura sighs as she notes that she’s had to raise prices this year due to tariffs imposed by President Trump.
“Everything has kind of gone up,” Niimura says when asked how the tariffs have affected her business. “If its coming from China, it’s a lot. If it’s coming from Japan, it’s a little bit.”
And yet that doesn’t deter her optimism. Niimura notes that in a way, she’s living out one of her childhood dreams, as she once envisioned her retirement life including a gig at a stationery shop.
“I always thought I would do this later in life,” she says. “I thought I would be the old lady putting out a sign and being behind the register.”
And now, Niimura speaks of Paper Plant and Bungu as something of a mission.
Chinatown’s Paper Plant Co. occupies two Chinatown storefronts, and sells everything from stickers and stationary to lamps shaped like bread.
(Juliana Yamada / Los Angeles Times)
“This analog style of things shouldn’t die just yet,” she says. “I think it’s important. Creativity starts with a pencil and a paper. Now my son, too, doesn’t have a cursive class. That hurts. You can recognize someone by their handwriting. My son calls cursive ‘fancy writing,’ and I don’t want that to die.”
Think of Paper Plant and Bungu, then, as a way to keep a lost art alive.
For much of the first 30-plus years of its existence, hardcore music was, for the most part, predictable. While there were outliers such as Bad Brains and Orange 9mm, many acts never veeredfar from the sound set in place by bands like Minor Threat in the early 1980s. Subgenres like metalcore (and other styles of music with “core” added) blossomed into their own scenes and sounds, but the central tenets of hardcore remained fairly constant — often with hordes of angry fans deriding anything that stepped too far in one way or another.
But over the last five to 10 years, the latest generation of musicians from punk rock’s slightly more aggressive cousin has expanded into new sonic territory. Bands like Baltimore’s Turnstile, Kentucky’s Knocked Loose and Santa Cruz’s Scowl have pushed the genre in new directions — gaining acclaim and popularity outside the hardcore scene, sometimes at the expense of its die-hard fans.
“It’s very awesome to be a part of that wave,” Knocked Loose vocalist Bryan Garris says. “I think there are a lot of bands that are bringing in new things and opening a lot of doors for everybody else. It’s like the generic saying, ‘A rising tide raises all ships.’ I truly believe there’s room for everybody to win, so it feels really good that all these brand-new opportunities are opening for everyone. You see younger hardcore bands really going for it right off the bat, and we’re very fortunate to be a part of the era that’s taking it to new heights.”
That’s why it’s only fitting for Knocked Loose to be headlining this weekend’s Sound and Fury Festival, bringing two full days of the best modern hardcore to Exposition Park. Since its inception in 2006, Sound and Fury quickly established itself as the event for hardcore and hardcore-adjacent music (from the heavier side of emo bands like Anxious to more extreme, metal-leaning acts) first in Los Angeles and then across the country. Just as the festival’s lineup and footprint has expanded both in size and musical variety over the years, Knocked Loose has seen its own popularity skyrocket as the band has continued to push the boundaries of what hardcore could be.
“From a sonic perspective, all these bands bringing in new influences to hardcore was pretty polarizing at first,” Garris says. “You had all these bands that toured and participated in the hardcore world but didn’t sound like a traditional hardcore band — and people really made that extremely controversial for an annoying amount of time. Once that barrier was broken, it allowed for so many unique artists and bands to bring new things to the table. Bills and touring packages became more diverse, and I think the coolest thing is when you put a tour package together that makes sense on paper but sonically makes no sense at all. It keeps things interesting and doesn’t create such a monotonous atmosphere at a show.”
Kentucky hardcore band Knocked Loose headlines this year’s Sound and Fury Festival
(Brock Fetch)
For Knocked Loose, one of the biggest steps outside of “traditional hardcore” it could possibly take was collaborating with pop-turned-metal artist Poppy on last year’s “Suffocate” — a gamble that paid off handsomely, introducing the band to a whole new audience and earning the group its highest-charting single and a Grammy nomination for metal performance. It’s a track that Garris still considers “definitely one of [his] favorite songs” while also allowing the band to get “weirder” and experiment in ways it might not normally consider.
While the band is already considering how it can continue to push the envelope even further without losing what makes Knocked Loose work at its core, the group is mindful of its history in the hardcore scene both as fans and artists. No scene is quicker to disown an act for its commercial success, and Garris (along with guitarists Isaac Hale and Nicko Calderon, bassist Kevin Otten and drummer Kevin Kaine) is fully aware of the line the band walks.
“We’ve never been writing a song and felt like we had to check in with how [hardcore fans] would feel about it, but when it comes to how we present the band, that’s where we keep hardcore in mind,” Garris says. “That’s where we come from and what we’re used to. Even though we know the band is obviously not going to be playing crazy small DIY, no-barricade hardcore shows anymore, it allowed us to create an experience on a much bigger stage. Then we do things like play Sound and Fury or put hardcore bands that we like on our bills because we still feel very passionately about these things. We’re very fortunate to be able to play these massive shows and have conversations about [pyrotechnics] and lights, but we’re still hardcore fans and that’s never changed.”
With acts like Knocked Loose, Scowl and England’s Basement on the bill this year, Sound and Fury continues to show why it’s arguably America’s preeminent hardcore festival, bringing together dozens of rising bands with just enough nostalgia acts (such as this year’s Forced Order reunion and Poison the Well) to remind the younger generations of those who came before. It’s a lineup you won’t see anywhere else, with a DIY hardcore vibe that fit just as well when hardcore fans and artists Sean Riley, Robert Shedd and Todd Jones held their initial event at the Alpine in Ventura 19 years ago.
“There are a lot of festivals in the mainstream rock atmosphere where the lineups are essentially the same,” Garris says. “For example, two years ago or so, every major rock fest in America was headlined by Metallica. That’s no diss at all, but Sound and Fury is such a different thing and the lineups feel so organic and exciting. They’re very good about scratching an itch that you didn’t know you had.”
“I think [hardcore fans] are seeking more context than what they’re getting from the mainstream — and since most of the people here arrive through that filter, it makes for a very open and welcoming space,” Riley adds. “So whether it’s being straightedge and eschewing drugs and alcohol, or whether you are someone who likes wearing corpse paint in public, or you’re a person who likes to dance at shows, this is a place you can come and be yourself without judgment. Combine that with hardcore shows being, in my opinion, the rawest form of live-music experiences you can find, it’s a freeing experience.”
Although Riley is the only one of the three original founders still working on Sound and Fury — currently teamed with Martin Stewart and Madison Woodward — he’s made sure to keep it as true to the hardcore ethos as possible year after year. Despite numerous venue changes and growth that many corporate festivals could only wish to have, Sound and Fury today is as instrumental to and beloved by the hardcore scene in Los Angeles and beyond as it’s ever been. It’s found a way to speak to multiple generations of hardcore kids (and adults), and now some of its biggest fans are the ones onstage.
“[Sound and Fury] has never been our ‘day job,’ but more of something we do in our off time that can hopefully inspire people — knowing how empowering and meaningful this DIY world has been for us and our lives outside of this music scene,” Riley says. “We’ve seen attendees start bands that play the fest, put out zines that they sell at the fest, start businesses or become food vendors that operate at the fest, and even people who now help us run the fest and have actual ownership stakes in the festival. Seeing it grow year after year in a very organic way really validates our approach and hopefully means it’s serving its purpose.”
“When we were preparing our year, [Sound and Fury] was one of my most anticipated shows of the year because I am such a fan of the festival,” Garris adds. “I’ve gotten to watch the festival grow from a fan’s perspective, and I remember going to the fest when it was like 1,000 people total. To see what it is now is amazing. It’s setting the bar for hardcore every single year and taking it to new places, because it was never supposed to be that big. The people that put it together care so much to protect the festival and to scale it to these unimaginable places — all while keeping it feeling DIY and like a hardcore festival. We’re just so excited to be a part of it.”
Or, as Scowl vocalist Kat Moss put it, “I would argue Sound and Fury is the best hardcore festival ever.”
The Essence Festival has taken responsibility for a Lauryn Hill performance that saw the hip-hop legend take the stage at 2:30 in the morning.
“Let’s be very clear — WE don’t play about Ms. Lauryn Hill. Not for clicks. Not for headlines,” organizers wrote Sunday on Instagram. “She arrived on schedule, stepped on that stage, and delivered the kind of performance only a legend can.”
The 31st annual New Orleans-based event, which ran Friday to Sunday, was peppered with issues from the beginning. According to the news site NOLA, Hill was quietly added to the already inflated lineup just two days before opening night.
“Does Lauryn know about this?” one fan quipped in comments on an Instagram post announcing the addition. Others riffed on her well-known history of tardiness.
The festival was reportedly already running behind when contemporary R&B trio Psyrin opened the first day. At the halfway point, GloRilla finished 45 minutes after the next act was supposed to start, NOLA said. So it was little surprise that headliner Hill didn’t get onstage until 2:30 a.m. Saturday. She performed to a nearly empty Caesars Superdome — hundreds of people were left instead of tens of thousands — closing with “Fu-Gee-La” more than an hour later.
Though Hill is notorious for starting her shows late, even telling a 2023 audience “Y’all lucky I make it,” Essence Festival organizers quickly took the blame for this one.
“Family is family and around here we protect our own no matter what the PEOPLE have to say,” the organizers said.
“The delay? Not hers. We will take that. The moment? One for the books. The legacy? Still unmatched. Put some respect on her name. Keep the takes, but keep her out of them. All love and deep profound admiration for Ms. Lauryn Hill,” they added.
Comments celebrated Essence’s “accountability.” The social media post even received love from Saturday headliner and legend Erykah Badu, who contributed some applause emojis.
However, not everyone was over the moon. In an open letter to the Essence Festival on Tuesday, Grammy-winning artist Stephanie Mills voiced her grievances about the event’s “overall level of professionalism.”
“While I remain grateful for the opportunity to have participated, my overall experience was unfortunately marred by significant production issues that negatively impacted both my performance and the artist experience as a whole,” wrote Mills, who performed Sunday.
“The schedule and time management were severely lacking, creating a chaotic and stressful environment backstage … the technical difficulties, specifically concerning the sound system, proved deeply problematic,” she continued.
She closed out the letter by calling for a “vastly improved experience” for artists and fans of the festival in future installments.
Commentary: These are thirsty times. No wonder Kamala Harris’ book tour is a fan fest
Tuesday evening former Vice President Kamala Harris spoke to her second sold-out crowd in Los Angeles at the Wiltern Theater as part of a book tour promoting her memoir, “107 Days.”
Former Vice President Kamala Harris has yet to decide if she’ll run for president in 2028. She’s also not going to dish on her former boss, Joe Biden. And her advice for a Brown-skinned person just getting into politics? There will be many situations when you walk into a meeting room and no one looks like you. Keep your chin up, your shoulders back and remember — all of us have your back.
“All of us” referred to the cheering, sold-out crowd at the Wiltern Theatre in Los Angeles on Tuesday evening who’d come to see the former Democratic presidential candidate speak about her new book, the election-campaign memoir “107 Days.” The chanted “Kamala!” “Kamala!” as she walked on stage. The outbursts of adoration continued for the next hour in eruptions of applause and supportive shout-outs (“We love you!”) as she spoke about everything from the need to pass Proposition 50 to how she coped with the devastating loss to Donald Trump in the 2024 election.
Moderated by actor Kerry Washington, “A Conversation With Kamala Harris” was one of nearly 20 stops on a tour that’s already seen Harris speak in New York, London and at the Wiltern last month. Zealous attendees paid anywhere from $55 to $190 on tickets to see Harris again following “one of the wildest and most consequential campaigns in American history” (the latter is an official descriptor for her book). The memoir details her historically short run for president, the whirlwind 107 days between the time Biden withdrew from the race and Harris become the Democratic nominee to her devastating loss on Nov. 5.
Harris fans flock to the Wiltern to see Kamala speak about her book, “107 Days.”
(Jason Armond / Los Angeles Times)
Were there any great revelations or gotcha moments on stage Tuesday evening? Not really, but that’s not what this tour is about — at least for those who chose Harris over watching Game 4 of the World Series between the Los Angeles Dodgers and the Toronto Blue Jays. The former attorney general of California shared her thoughts about the current Department of Justice — a “thin-skinned president” is using it as his own personal tool of “vengeance.” She explained how her loyalties to Biden may have cost her votes, and called out the Washington Post and the L.A. Times, whose “billionaire owners pre-capitulated” to Trump when they pulled their respective editorial boards’ endorsements for Harris. She drew a big laugh when discussing the importance of parsing fact from fiction in today’s mediaverse, and made up her own example of misinformation: “Circumcisions are causing autism!” And on a more serious note, she detailed the emotional fallout she experienced after losing the election: “For months [she and her husband, Doug Emhoff] never even mentioned it.”
Criticisms of Harris’ book have centered around a frankly tired refrain that she should accept more personal accountability for the election loss as opposed to blaming the influence of outside forces. On Tuesday she appeared willing to explore those themes when she said she constantly interrogated herself on the campaign trail: Are you doing everything you can to win this election? But before she could go much deeper, Washington told her that she needed to know that we, the audience, understood she did everything she could. The crowd erupted in affirming shouts and applause.
Clearly, a book tour attended by The Converted is not going to produce headline-worthy grist, especially with an interviewer who is an admitted Harris friend and supporter. That’s what debates and media interviews are for, and this was a fan event.
And her base was thirsty. Since Harris has largely stayed out of the spotlight since last November, the audience appeared ready to relive some of the joy they felt in the brief time she was running for office, and perhaps find a glimmer of hope in dark times for those who see the current administration’s actions as anti-democratic, at best.
Before “The Conversation With Kamala Harris” kicked off at 7 p.m., attendees who spotted Harris’ husband, Emhoff, in the first few rows of the venue lined up to shake his hand and take selfies with the former second gentleman of the United States. The close access to SGOTUS was surprising, given the heightened security around political figures after violent events such as the home-invasion assassinations of Minnesota state representative Melissa Hortman and her husband in June, and the killing of conservative activist Charlie Kirk at a speaking event last month. Yet the atmosphere was casual and relaxed.
Despite heightened threats of politically-motivated violence, President Trump pulled Harris’ Secret Service detail, as he has done to many of those he sees as his enemies. But as a former state office holder, Harris’ security detail Tuesday was provided by the California Highway Patrol.
The conversation lasted a little over an hour, with a few prescreened questions at the end from audience members, such as the query from an attendee who identified himself as Ramon Chavoya, a proud Latino. He asked for Harris’ advice on getting into local politics. She was the first Black and first South Asian female candidate to be chosen by either party to run for the Oval Office. Her very presence was a reminder that the face of the nation is changing, despite a rise in xenophobic movements and legislation. She advised the aspiring young politician that he would likely stand out, but that he wasn’t alone. “We’re all in the room with you,” she said, a sentiment Harris’ supporters surely understood.
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Future Ruins, Nine Inch Nails’ film-music festival, is canceled
Future Ruins, the hotly-anticipated Nov. 8 film-music festival from Nine Inch Nails’ Trent Reznor and Atticus Ross, has been canceled.
“Unfortunately Future Ruins will not move forward this year,” organizers said in a statement. “The reality is, due to a number of logistical challenges and complications, we feel we cannot provide the experience that’s defined what this event was always intended to be. Rather than compromise, we’re choosing to re-think and re-evaluate. Meanwhile, we are sorry for any inconvenience and appreciate all the interest and support.”
The Live Nation-produced event at the Los Angeles Equestrian Center was booked as a compendium of cutting-edge composers to showcase their film work in an unorthodox live setting. Headlined by the Nine Inch Nails bandmates, who have won Oscars for their film scores including “The Social Network” and “Soul,” the event was slated to host John Carpenter, Questlove, Danny Elfman, Mark Mothersbaugh and Hildur Guðnadóttir among many others.
The fest’s cancellation comes on the heels of Nine Inch Nails’ sold-out “Peel It Back” tour, which hit the Form last month and is scheduled to return to Southern California in March next year. The band will also play a club-heavy version of its live set as Nine Inch Noize (with collaborator Boys Noize) at Coachella next year.
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Paper, pen and sticker lovers: Stationery fest Bungu LA comes to Union Station
When Friedia Niimura moved to the U.S. from Japan in her mid-20s, she shared a dream with many Angelenos: acting, or maybe fashion. A TV and media personality in Japan, it seemed a natural fit, only she didn’t take to the competitive pace of Los Angeles.
So she dove into one of her other passions: paper.
“When I came to L.A., I noticed there weren’t a lot of specialty stationery boutiques,” Niimura says. “When you’re in Japan, they’re everywhere and you take them for granted. That’s how I would spend my days off. I would go to the stationery and browse and take my notebook and draw.”
Friedia Niimura outside her shop Paper Plant Co., which occupies two Chinatown storefronts and shares a space with Thank You Coffee. Niimura spent her teen years in Japan before changing her career.
(Juliana Yamada / Los Angeles Times)
Niimura created a place where one can do just that. Chinatown’s Paper Plant Co. is her stationery outpost, made of two small storefronts that share a space with Thank You Coffee and boast outdoor seating. A communal destination since 2020, the shop has earned a reputation for specializing in notebooks, stickers and pens from Japan. Or, as Niimura describes Paper Plant’s aesthetic: “cute.”
“When we pick something and we all go, ‘Oh my gosh, it’s so cute,’ then we know it’s going to do really well,” Niimura, 45, says. “I don’t know how in Japan they always come up with cute scenarios and cute scenes and cute gestures. It’s almost like there’s a school on how to draw dogs doing cute things, cats doing cute things.”
Paper Plant will on Oct. 11-12 play host to Bungu LA, believed to be the first proper stationery festival in the city. Niimura has handpicked Bungu’s 60 or so exhibitors, with the vast majority of them traveling here from Japan. Bungu is inspired by similar events Niimura has gone to in Tokyo or New York. Paper Plant, for instance, exhibited last year at a festival hosted by Brooklyn’s Yoseka Stationery.
“There was a line every day,” Niimura says, describing the New York fest. “It was just my store manager and I, and we were like, ‘How come L.A. doesn’t have one?’ And then who would do it? It always came back to us, since we have that relationship with Japanese creators.”
Like most everything Paper Plant-related, Niimura has been figuring it out on the fly. Paper Plant, for instance, was initially funded almost entirely by credit cards, a business plan Niimura wouldn’t recommend to others. Bungu will take over part of a concourse at downtown’s Union Station, and the hope is to make it an annual event. The goal for the first year is to simply break even, as Niimura jokes that she doesn’t yet know the final cost of staging a festival.
“We had to also rent out a front sidewalk, which was another $10,000 that I hadn’t added to the budget,” Niimura says.
The response, however, has been overwhelmingly positive. Popular Japanese firms such as Hobonichi will be in attendance, but Niimura says she made an effort to secure vendors that have never before sold in the U.S. Advance tickets of $25, for which about 1,500 were made available per day, have sold out. There will, however, be walk-up tickets sold each day of the show. Niimura is hoping to attract 2,500 people per day.
Stickers, says Paper Plant Co. owner Friedia Niimura, are hugely popular at the moment. (Juliana Yamada / Los Angeles Times)
Paper Plant Co. makes and sells original greeting cards. (Juliana Yamada / Los Angeles Times)
Niimura herself is still discovering new joys in the stationery world. She notes that only recently has she become smitten with fountain pens.
“In Japan, fountain pens are geared toward older gentlemen,” she says. “And they’re expensive. The really nice ones can be thousands of dollars. We have ones that are a couple hundred, but also beginner ones for about $20. I started off with those, but I recently got a couple hundred dollar ones, and it’s life changing — the way the ink comes out is so smooth. Once you have one, it’s hard to go back to a regular pen.”
As part of Bungu, Niimura is encouraging attendees to explore L.A.’s public transit and the walkability of Chinatown. Maps will be given out at Bungu for which guests can collect three stamps, one at the event, one at the Chinatown Metro Rail station and one at Paper Plant. Those who complete the mini scavenger hunt will be given a free gift at Paper Plant, which Niimura is keeping a secret.
With the rise of collage and zine-making workshops, younger generations are connecting with paper and Niimura notes that one-day planners and scrapbooking today have become especially popular.
“I feel like anything work-wise, people have on their phones,” Niimura says. “But there’s this trend of scrapbooking everything — receipts for the day, the coffee cup holder, stickers. They call it ‘junk journaling.’”
Junk journaling, says Niimura, is fueling in part the sticker trend of the moment. Paper Plant sells a wide array of stickers and also makes its own — a dog, for instance, wearing a Dodgers hat, or a man wearing a dog as a hat. “The mini stickers are for the journalers and the planners,” Niimura says. “They have really teeny-tiny ones. It’s for the calendar. You use a sandwich sticker for lunch with a friend.”
The charm of Paper Plant’s two storefronts, where one can find lamps shaped like bread, diaries with adorable cats on the cover and those fancy fountain pens, belies the fact that 2025 is a stressful time for the stationery business. Niimura sighs as she notes that she’s had to raise prices this year due to tariffs imposed by President Trump.
“Everything has kind of gone up,” Niimura says when asked how the tariffs have affected her business. “If its coming from China, it’s a lot. If it’s coming from Japan, it’s a little bit.”
And yet that doesn’t deter her optimism. Niimura notes that in a way, she’s living out one of her childhood dreams, as she once envisioned her retirement life including a gig at a stationery shop.
“I always thought I would do this later in life,” she says. “I thought I would be the old lady putting out a sign and being behind the register.”
And now, Niimura speaks of Paper Plant and Bungu as something of a mission.
Chinatown’s Paper Plant Co. occupies two Chinatown storefronts, and sells everything from stickers and stationary to lamps shaped like bread.
(Juliana Yamada / Los Angeles Times)
“This analog style of things shouldn’t die just yet,” she says. “I think it’s important. Creativity starts with a pencil and a paper. Now my son, too, doesn’t have a cursive class. That hurts. You can recognize someone by their handwriting. My son calls cursive ‘fancy writing,’ and I don’t want that to die.”
Think of Paper Plant and Bungu, then, as a way to keep a lost art alive.
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How Sound and Fury Festival continues to thrive on the bleeding edge of hardcore’s evolution
For much of the first 30-plus years of its existence, hardcore music was, for the most part, predictable. While there were outliers such as Bad Brains and Orange 9mm, many acts never veeredfar from the sound set in place by bands like Minor Threat in the early 1980s. Subgenres like metalcore (and other styles of music with “core” added) blossomed into their own scenes and sounds, but the central tenets of hardcore remained fairly constant — often with hordes of angry fans deriding anything that stepped too far in one way or another.
But over the last five to 10 years, the latest generation of musicians from punk rock’s slightly more aggressive cousin has expanded into new sonic territory. Bands like Baltimore’s Turnstile, Kentucky’s Knocked Loose and Santa Cruz’s Scowl have pushed the genre in new directions — gaining acclaim and popularity outside the hardcore scene, sometimes at the expense of its die-hard fans.
“It’s very awesome to be a part of that wave,” Knocked Loose vocalist Bryan Garris says. “I think there are a lot of bands that are bringing in new things and opening a lot of doors for everybody else. It’s like the generic saying, ‘A rising tide raises all ships.’ I truly believe there’s room for everybody to win, so it feels really good that all these brand-new opportunities are opening for everyone. You see younger hardcore bands really going for it right off the bat, and we’re very fortunate to be a part of the era that’s taking it to new heights.”
That’s why it’s only fitting for Knocked Loose to be headlining this weekend’s Sound and Fury Festival, bringing two full days of the best modern hardcore to Exposition Park. Since its inception in 2006, Sound and Fury quickly established itself as the event for hardcore and hardcore-adjacent music (from the heavier side of emo bands like Anxious to more extreme, metal-leaning acts) first in Los Angeles and then across the country. Just as the festival’s lineup and footprint has expanded both in size and musical variety over the years, Knocked Loose has seen its own popularity skyrocket as the band has continued to push the boundaries of what hardcore could be.
“From a sonic perspective, all these bands bringing in new influences to hardcore was pretty polarizing at first,” Garris says. “You had all these bands that toured and participated in the hardcore world but didn’t sound like a traditional hardcore band — and people really made that extremely controversial for an annoying amount of time. Once that barrier was broken, it allowed for so many unique artists and bands to bring new things to the table. Bills and touring packages became more diverse, and I think the coolest thing is when you put a tour package together that makes sense on paper but sonically makes no sense at all. It keeps things interesting and doesn’t create such a monotonous atmosphere at a show.”
Kentucky hardcore band Knocked Loose headlines this year’s Sound and Fury Festival
(Brock Fetch)
For Knocked Loose, one of the biggest steps outside of “traditional hardcore” it could possibly take was collaborating with pop-turned-metal artist Poppy on last year’s “Suffocate” — a gamble that paid off handsomely, introducing the band to a whole new audience and earning the group its highest-charting single and a Grammy nomination for metal performance. It’s a track that Garris still considers “definitely one of [his] favorite songs” while also allowing the band to get “weirder” and experiment in ways it might not normally consider.
While the band is already considering how it can continue to push the envelope even further without losing what makes Knocked Loose work at its core, the group is mindful of its history in the hardcore scene both as fans and artists. No scene is quicker to disown an act for its commercial success, and Garris (along with guitarists Isaac Hale and Nicko Calderon, bassist Kevin Otten and drummer Kevin Kaine) is fully aware of the line the band walks.
“We’ve never been writing a song and felt like we had to check in with how [hardcore fans] would feel about it, but when it comes to how we present the band, that’s where we keep hardcore in mind,” Garris says. “That’s where we come from and what we’re used to. Even though we know the band is obviously not going to be playing crazy small DIY, no-barricade hardcore shows anymore, it allowed us to create an experience on a much bigger stage. Then we do things like play Sound and Fury or put hardcore bands that we like on our bills because we still feel very passionately about these things. We’re very fortunate to be able to play these massive shows and have conversations about [pyrotechnics] and lights, but we’re still hardcore fans and that’s never changed.”
With acts like Knocked Loose, Scowl and England’s Basement on the bill this year, Sound and Fury continues to show why it’s arguably America’s preeminent hardcore festival, bringing together dozens of rising bands with just enough nostalgia acts (such as this year’s Forced Order reunion and Poison the Well) to remind the younger generations of those who came before. It’s a lineup you won’t see anywhere else, with a DIY hardcore vibe that fit just as well when hardcore fans and artists Sean Riley, Robert Shedd and Todd Jones held their initial event at the Alpine in Ventura 19 years ago.
“There are a lot of festivals in the mainstream rock atmosphere where the lineups are essentially the same,” Garris says. “For example, two years ago or so, every major rock fest in America was headlined by Metallica. That’s no diss at all, but Sound and Fury is such a different thing and the lineups feel so organic and exciting. They’re very good about scratching an itch that you didn’t know you had.”
“I think [hardcore fans] are seeking more context than what they’re getting from the mainstream — and since most of the people here arrive through that filter, it makes for a very open and welcoming space,” Riley adds. “So whether it’s being straightedge and eschewing drugs and alcohol, or whether you are someone who likes wearing corpse paint in public, or you’re a person who likes to dance at shows, this is a place you can come and be yourself without judgment. Combine that with hardcore shows being, in my opinion, the rawest form of live-music experiences you can find, it’s a freeing experience.”
Although Riley is the only one of the three original founders still working on Sound and Fury — currently teamed with Martin Stewart and Madison Woodward — he’s made sure to keep it as true to the hardcore ethos as possible year after year. Despite numerous venue changes and growth that many corporate festivals could only wish to have, Sound and Fury today is as instrumental to and beloved by the hardcore scene in Los Angeles and beyond as it’s ever been. It’s found a way to speak to multiple generations of hardcore kids (and adults), and now some of its biggest fans are the ones onstage.
“[Sound and Fury] has never been our ‘day job,’ but more of something we do in our off time that can hopefully inspire people — knowing how empowering and meaningful this DIY world has been for us and our lives outside of this music scene,” Riley says. “We’ve seen attendees start bands that play the fest, put out zines that they sell at the fest, start businesses or become food vendors that operate at the fest, and even people who now help us run the fest and have actual ownership stakes in the festival. Seeing it grow year after year in a very organic way really validates our approach and hopefully means it’s serving its purpose.”
“When we were preparing our year, [Sound and Fury] was one of my most anticipated shows of the year because I am such a fan of the festival,” Garris adds. “I’ve gotten to watch the festival grow from a fan’s perspective, and I remember going to the fest when it was like 1,000 people total. To see what it is now is amazing. It’s setting the bar for hardcore every single year and taking it to new places, because it was never supposed to be that big. The people that put it together care so much to protect the festival and to scale it to these unimaginable places — all while keeping it feeling DIY and like a hardcore festival. We’re just so excited to be a part of it.”
Or, as Scowl vocalist Kat Moss put it, “I would argue Sound and Fury is the best hardcore festival ever.”
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As fest absolves Lauryn Hill, Stephanie Mills has thoughts
The Essence Festival has taken responsibility for a Lauryn Hill performance that saw the hip-hop legend take the stage at 2:30 in the morning.
“Let’s be very clear — WE don’t play about Ms. Lauryn Hill. Not for clicks. Not for headlines,” organizers wrote Sunday on Instagram. “She arrived on schedule, stepped on that stage, and delivered the kind of performance only a legend can.”
The 31st annual New Orleans-based event, which ran Friday to Sunday, was peppered with issues from the beginning. According to the news site NOLA, Hill was quietly added to the already inflated lineup just two days before opening night.
“Does Lauryn know about this?” one fan quipped in comments on an Instagram post announcing the addition. Others riffed on her well-known history of tardiness.
The festival was reportedly already running behind when contemporary R&B trio Psyrin opened the first day. At the halfway point, GloRilla finished 45 minutes after the next act was supposed to start, NOLA said. So it was little surprise that headliner Hill didn’t get onstage until 2:30 a.m. Saturday. She performed to a nearly empty Caesars Superdome — hundreds of people were left instead of tens of thousands — closing with “Fu-Gee-La” more than an hour later.
Though Hill is notorious for starting her shows late, even telling a 2023 audience “Y’all lucky I make it,” Essence Festival organizers quickly took the blame for this one.
“Family is family and around here we protect our own no matter what the PEOPLE have to say,” the organizers said.
“The delay? Not hers. We will take that. The moment? One for the books. The legacy? Still unmatched. Put some respect on her name. Keep the takes, but keep her out of them. All love and deep profound admiration for Ms. Lauryn Hill,” they added.
Comments celebrated Essence’s “accountability.” The social media post even received love from Saturday headliner and legend Erykah Badu, who contributed some applause emojis.
However, not everyone was over the moon. In an open letter to the Essence Festival on Tuesday, Grammy-winning artist Stephanie Mills voiced her grievances about the event’s “overall level of professionalism.”
“While I remain grateful for the opportunity to have participated, my overall experience was unfortunately marred by significant production issues that negatively impacted both my performance and the artist experience as a whole,” wrote Mills, who performed Sunday.
“The schedule and time management were severely lacking, creating a chaotic and stressful environment backstage … the technical difficulties, specifically concerning the sound system, proved deeply problematic,” she continued.
She closed out the letter by calling for a “vastly improved experience” for artists and fans of the festival in future installments.
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