SONOKO SAKAI: WELL, I GREW UP IN A VERY SMALL TOWN CALLED KAMAKURA, WHICH IS ABOUT AN HOUR OUTSIDE OF TOKYO.

AND SO I WAS IMMERSED IN THE OLD WORLD, OLD JAPAN, VERY ARTISINAL, WITHOUT EVEN KNOWING WHAT THAT WORD IS.

THEY HAVE THIS CRAFTSMANSHIP.

THAT WAS THE WAY PEOPLE LIVED.

YOU HAD TO KNOW HOW TO WORK WITH YOUR HANDS.

AND IT WAS AN AWAKENING FOR ME AS A YOUNG CHILD LOOKING AT THE CRAFTSMAN'S WORK.

AND THIS WAS EVERY DAY GOING TO SCHOOL.

ALL I HAD TO DO WAS TURN MY HEAD AND LOOK INTO A SHOP AND THERE WAS AN ARTISAN SITTING THERE.

AND THAT WAS THE BEAUTY OF JAPAN BACK THEN.

TODAY IT'S DIFFERENT, IT'S TOTALLY DIFFERENT, YOU KNOW.

YOU HAVE TO GO AND LOOK FOR THE ARTISANS, AND IF YOU CAN FIND PEOPLE STILL TRYING TO PRESERVE THE ART, YOU APPRECIATE IT ON A DIFFERENT LEVEL.

BUT IT'S A LOT HARDER, AND I HOPE WE DON'T LOSE IT.

I'M NOT LIKE A PROFESSIONAL CHEF WHO'S DONE SOME FABULOUS THINGS AND THEN THEY GO AND TEACH.

IT'S NOT LIKE I'M RETIRING FROM SOMETHING TO DO THIS.

I AM DOING THIS BECAUSE I LOVE ENGAGING WITH PEOPLE AND I LOVE TO SHARE FOOD.

CHARLES NAMBA: IN JAPAN, THE FUNCTIONING OF THE IZAKAYA IS BASICALLY TO BLOW OFF STEAM.

EVERYBODY IN JAPAN WORKS SO HARD.

IT'S THE ONE PLACE THEY GO.

IT'S THE TAVERN.

I DIDN'T BUILD THIS TO GET PEOPLE TRASHED OR ANYTHING LIKE THAT.

I BROUGHT IT TO L.A.

BECAUSE I THOUGHT IT WAS MISSING.

COURTNEY KAPLAN: IZAKAYA, THE CHARACTERS TRANSLATE TO "STAY SAKE PLACE," SO THE WORD "SAKE" IS RIGHT IN THERE IN IZAKAYA.

AND SAKE IN JAPANESE DOESN'T MEAN SAKE THE RICE BEVERAGE.

IT JUST MEANS ANY KIND OF ALCOHOL.

KUNIKO YAGI: FOR JAPANESE, IZAKAYA IS THERAPEUTIC, AND IT SHOULD BE THAT WAY FOR L.A.

PEOPLE, TOO.

AND WE NEED A THERAPY.

LIKE, WE ARE UNDER THE STRESS TO POST THIS OR DO THIS AND EMAIL OF HUNDREDS TO GO THROUGH.

SO IT'S A PAUSE.

YOU PAUSE YOUR DAY, STOPPING BY TO IZAKAYA BEFORE YOU GO BACK TO YOUR OWN REALITIES.

KAPLAN: THERE WEREN'T A LOT OF PLACES TO GO AND GET AN IZAKAYA EXPERIENCE, WE FELT LIKE.

YOU KNOW, CHARLES HAD BEEN COOKING FRENCH FOOD.

I HAD BEEN WORKING IN AMERICAN AND ITALIAN RESTAURANTS.

NAMBA: AND WE TRAVELED TO JAPAN A LOT AND WE KIND OF FELL BACK IN LOVE WITH JAPANESE FOOD.

KAPLAN: YEAH, WE MISSED HAVING THEM AROUND AND THOUGHT, LIKE, YOU KNOW, THAT'S SOMETHING THAT WE COULD MAYBE OFFER.

I MOVED TO TOKYO TO SPEND ONE SEMESTER AT A COLLEGE THERE.

IT WAS KIND OF REAL IMMERSION, JUST KIND OF THROWN RIGHT INTO IT.

YAGI: FOR CHEFS, IT'S NOT ABOUT I LEARNED THIS COOKING OR I LEARNED THIS SEASONING.

A LOT OF CHEFS LEARNS THE OMOTENASHI WITH THEIR EXPERIENCE, REAL EXPERIENCE, AND SAY WE WANT TO BRING THAT BACK TO L.A.

BECAUSE WE DON'T HAVE THAT.

KAPLAN: OMOTENASHI IS A JAPANESE WORD THAT REALLY DESCRIBES THE CULTURE OF HOSPITALITY.

A LOT OF IT IS ABOUT JUST REALLY TAKING CARE OF PEOPLE, ANTICIPATING WHAT SOMEONE MIGHT NEED BEFORE THEY EVEN REALIZE THAT THEY NEED IT THEMSELVES.

SO WHEN WE'RE POURING SAKE BY THE GLASS, WE USE A SMALL GLASS AND THEN HAVE A LITTLE SAUCER UNDERNEATH THAT WE ALLOW SAKE TO OVERFLOW INTO AS WE'RE POURING.

IT'S A WAY TO DEMONSTRATE GENEROSITY, THAT WE'RE SAYING, YOU KNOW, WE'RE GOING TO GIVE YOU SO MUCH THAT EVEN THE GLASS CAN'T REALLY CONTAIN IT.

KERRY TAMURA: THE CONVERSATION, THE ATMOSPHERE DOES NOT CONTINUE WITHOUT A SOLID SAKE MENU.

IT'S GENERATIONS AND GENERATIONS OF TAKING THIS GRAIN AND MAKING IT INTO LIQUID FORM THAT PROVIDES COMMUNITY, THAT PROVIDES HAPPINESS, THAT PROVIDES UNION.

AND THAT'S WHY SAKE IS THE JAPANESE CULTURE IN A CUP, BECAUSE IT'S JUST THIS WONDERFUL, ACCOMMODATING BEVERAGE.

AND I THINK THAT'S ALSO AN ASPECT OF JAPAN AS WELL, HOW WE ALWAYS WANT TO MAKE PEOPLE HOSPITABLE, ACCOMMODATEd, AND WARM AND WELCOME.

YAGI: WE CARE ABOUT WHAT CAN I DO TO MAKE OTHERS LIFE EASIER.

OMOTENASHI IS VERY ADDICTING ONCE YOU EXPERIENCE IT.

NAMBA: WHAT I'M TRYING TO DO IS BUILD A BUSINESS WHERE PEOPLE ARE GOING TO COME IN FIRST, AND THEN INTRODUCE SPECIALS AND THINGS THEY HAVEN'T SEEN MAYBE OR HAVEN'T TRIED.

THAT'S, LIKE, MY GOAL IS TO GET PEOPLE IN THE DOOR AND THEN JUST START DOING MORE INTERESTING THINGS.

EVEN THE SIMPLER DISHES LIKE CHAWANMUSHI, ALMOST ALL OF IT IS FROM MY MOM LIKE THE SUSHI WE ACTUALLY ATE AT HOME, THE DUMPLINGS, FRIED CHICKEN.

KAPLAN: WE DON'T WANT TO BE A DESTINATION RESTAURANT.

WE WANT IT TO BE HERE FOR THE NEIGHBORS, SO WE'LL OFFER THINGS, LIKE, YOU KNOW, A GLASS OF SAKE ON TAP FOR $8.00.

NAMBA: WE'RE LITERALLY A BLOCK AWAY FROM DODGER STADIUM.

IN JAPAN, BASEBALL IS, LIKE, THEY'RE IN LOVE, SO WE'RE, LIKE, WE'VE GOT TO DO A JAPANESE DODGER DOG.

SHISHITO RELISH, KEWPIE JAPANESE MAYO, MUSTARD, AND THEN WE ADD, LIKE, A THOUSAND ISLAND SLAW AND WE SERVE IT WITH ONION RINGS WITH SEAWEED.

KAPLAN: I THINK WE'RE LOOKING TO OFFER A SLIGHTLY MORE REFINED EXPERIENCE, BUT WE'RE SERVING FRIED CHICKEN, WE'RE SERVING PORK DUMPLINGS, GYOZA.

WE WANT PEOPLE TO COME IN AND DRINK BEER AND EAT THIS FOOD AND HAVE FUN, BUT WE WANT TO ALSO HAVE FOOD THAT, YOU KNOW, TASTES GOOD AND PEOPLE FEEL GOOD ABOUT EATING AND, YOU KNOW, OFFERS MAYBE A SLIGHTLY DIFFERENT SIDE OF IZAKAYA, AND WE JUST TRY TO KEEP IT AS LIGHTHEARTED AND AS EASY-GOING AS POSSIBLE.

SELICHI YOKOTA: TETSU YAHAGI: HE DIDN'T HAVE A VISA.

HE CAME IN WITH A TOURIST VISA, AND HE WENT STRAIGHT TO THE IMMIGRATION OFFICE AND SAID I WANT TO OPEN UP A FISHMONGER BUSINESS.

WHAT SHOULD I DO?

TO AN IMMIGRATION OFFICER.

AND THEY JUST BASICALLY KICKED HIM OUT.

WHAT HE WANTED TO DO WAS SELL FISH, SELL PROPER FISH IN THE WEST COAST.

APPARENTLY HE TOLD HIS PARENTS THAT HE'S NOT GOING TO COME BACK UNTIL HE'S SUCCESSFUL HERE.

AS QUIET AS HE IS, WHEN I HEARD THAT STORY, OH, MY GOD, THIS GUY GOT SOME FIRE IN HIM THAT HE'S NOT SHOWING, YOU KNOW.

YOKOTA: SAKAI: BUCKWHEAT IS UNDERAPPRECIATED BECAUSE PEOPLE DON'T KNOW.

PEOPLE ONLY KNOW WHEAT.

THE NOODLE CULTURE ORIGINALLY CAME FROM CHINA.

THE BUDDHIST MONKS BROUGHT THE BUCKWHEAT BACK TO JAPAN FROM CHINA, AND EVENTUALLY THE BUCKWHEAT, WHICH WAS IN PORRIDGE FORM, TURNED INTO NOODLES.

IT TASTES ACTUALLY SWEET EVEN THOUGH IT'S THIS TINY LITTLE SEED.

I LOVE IT SO MUCH I BECAME OBSESSED WITH IT.

AND THE MORE I PURSUED IT, THE MORE I REALIZED THAT I HAD TO GO TO THE SOURCE.

YAGI: SONOKO IS 100% OBSESSED WITH THE BUCKWHEAT, AND SHE KNOWS IT'S NOT GOOD ENOUGH TO IMPORT BUCKWHEAT FLOUR FROM JAPAN TO MAKE GREAT SOBA NOODLE IN L.A.

BECAUSE IT'S ALREADY MILLED LONG AGO, AND THE FRAGRANCE OF BUCKWHEAT GOES AWAY THE MOMENT YOU GRIND IT.

IT'S THE SAME AS COFFEE BEAN.

YOU WANT TO GRIND IT RIGHT BEFORE YOU MAKE A DRIP.

SAKAI: AND SO I'VE ACTUALLY BEEN PURSUING THE FARMERS THERE TO KEEP THE BUCKWHEAT HERE, MILL IT TO SOBA-GRADE FLOUR.

WE'VE BEEN EATING SOBA FOR, YOU KNOW, HUNDREDS OF YEARS.

IT'S A VERY POPULAR NOODLE MADE WITH BUCKWHEAT.

IF YOU GO TO JAPAN, YOU WILL FIND ARTISAN SOBA MAKERS WHO USE 100% BUCKWHEAT TO MAKE THE NOODLES, AND THEY'RE BEAUTIFUL.

I WENT TO UCLA FOR GRADUATE SCHOOL AFTER I FINISHED MY UNDERGRADUATE AT UC DAVIS, AND I STARTED WORKING JUST AS A, YOU KNOW, SECRETARY.

THE PROFESSOR THAT I MET, LOU STOUMAN, WHILE I WAS WORKING FOR HIM, I WAS COOKING FOR HIM.

AND THEN HE SAYS, WOW, YOU COOK REALLY WELL.

YOU SHOULD WRITE A COOKBOOK.

AND I SAID, I DON'T KNOW HOW TO WRITE A COOKBOOK.

HE SAYS, WELL, I'LL HELP YOU.

THE BOOK WAS WRITTEN 30 YEARS AGO BASED ON THE EXPERIENCE I HAD IN MY GRANDMOTHER'S KITCHEN IN JAPAN IN KAMAKURA.

BASICALLY THE COMMANDMENTS THAT I STILL FOLLOW TODAY, THAT I PRACTICE TODAY: YOU KNOW, GOOD INGREDIENTS, EATING FOOD IN MODERATION, CREATING CONTRAST IN YOUR PRESENTATION.

AND SO I'VE ALWAYS BEEN INTERESTED IN EDUCATION.

MY GRANDMOTHER WAS A TEACHER, AND SHE ALWAYS HAD THAT SORT OF A TEACHER MODE IN THE KITCHEN, TOO, AND I ALWAYS ADMIRED THAT.

AND YOU WILL SEE THAT THE COLOR IS GOING TO START CHANGING.

YAGI: NOT ONLY SHE'S A GREAT TEACHER, BUT SHE IS VERY, VERY, LIKE, DIRECT.

SAKAI: NO RUBBING YET.

JUST TOSSING IT, AND SCRAPE THE SIDES.

I DON'T WANT ANY DRY SPOTS.

YAGI: SHE DOESN'T CANDY COAT WHAT SHE'S THINKING, SO THAT MAKES HER A GREAT TEACHER.

SAKAI: ALL RIGHT, KEEP GOING.

LET ME SEE.

I'M ACTUALLY BORN HERE, AND I WAS TRYING TO MAKE THIS MY HOME.

AND YET BECAUSE OF MY NAME AND THE KIND OF FOOD, YOU KNOW, I WAS COOKING, I WAS KIND OF A FOREIGNER.

I WASN'T AMERICAN ENOUGH.

I REALLY WANTED TO CELEBRATE MY FOOD HERITAGE, SO I JUST KEPT THIS GOING.

I DECIDED I WOULD JUST KEEP COOKING.

SO THE NEXT STEP IS TO TURN THIS INTO A PERFECT DISK.

YAGI: PRESERVING TRADITIONAL TECHNIQUE IS NOT EASY IN JAPAN AND HERE, TOO.

BUT I THINK THERE IS A REALLY GOOD SHOT FOR US TO KEEP THE TRADITION IN L.A., BECAUSE L.A.

PEOPLE ARE OPEN-MINDED STILL.

SAKAI: OUR CUISINE IS NOT VERY COMPLICATED, AND THAT IS WHAT I AM TRYING TO SHARE WITH MY STUDENTS.

YOU'VE DONE THIS.

YOU CAN DO THIS WITH YOUR EYES CLOSED.

MAN: MM-MM.

SAKAI: I DO A MISO CLASS.

I ALSO DO PICKLES, ALL KINDS OF PICKLES.

ALL KINDS OF NOODLES, RIGHT?

RAMEN, SOBA, AND I TEACH DUMPLINGS.

I TEACH A MOCHI CLASS, AND I TEACH SEASONAL MENUS.

SO, YEAH, IT'S, LIKE, THERE'S JUST SO MANY THINGS YOU CAN TEACH.

I COULD KEEP DOING IT FOR THE REST OF MY LIFE.

YOKOTA: CAN I HAVE THREE LIVE BLACK COD AND TWO ROCKFISH?

THANK YOU.

SEE YOU.

YAGI: SO SELICHI TO ME IS LIKE MAGIC AND A GIFT TO LOS ANGELES BECAUSE I KNOW SO MANY PEOPLE KNOWS HOW TO DO IKEJIME IN JAPAN, AND THAT'S THE MOST CRITICAL AND BEST WAY TO BRING THE FISH FRESHEST TO THE TABLE.

BUT NOT EVERYONE DREAM TO COME TO HERE TO INTRODUCE THAT TECHNIQUE.

YAHAGI: I THINK SEAFOOD WAS THE WEAKEST POINT OF CALIFORNIA UNTIL YOKOTA-SAN BROUGHT ME THE BLACK COD THAT WAS IKEJIME.

YOKOTA: YAHAGI: AND HE JUST SHOWED UP RANDOMLY WITH A BOX OF STYROFOAM WITH A BUNCH OF SAMPLES MOSTLY FROM HIS HOMETOWN, TOYAMA, JAPAN.

HE HAD BLACK COD, WHICH WAS CAUGHT LOCALLY.

IT WAS DEAD, BUT IT LOOKED ALIVE.

I ASKED YOKOTA-SAN, IS THIS BLACK COD LOCAL, LOCAL BLACK COD?

HE SAID YES.

AND I'M, LIKE, WELL, IT'S DONE IKEJIME.

HE'S LIKE, WELL, I DO THAT.

AND IT WAS DONE PERFECTLY.

YOKOTA: YAHAGI: I FELT LIKE I FOUND DIAMOND IN A BUNCH OF REGULAR FISH THAT WAS IN THE STYROFOAM, AND I TOOK THAT SAMPLE AND I COOKED IT.

AND IT TASTED TOTALLY DIFFERENT, TOTALLY DIFFERENT THAN REGULAR BLACK COD THAT'S AROUND.

I SEE A LOT OF OPPORTUNITIES IN THE LOCAL FISH.

IT ALMOST DOESN'T MAKE SENSE TO FLY INGREDIENTS FROM OVERSEAS TO SERVE AT YOUR RESTAURANT.

WE LIVE BY THE OCEAN.

WHY NOT, YOU KNOW?

NAMBA: YOU'LL SEE HAMACHI OR SALMON ALMOST ON EVERY RESTAURANT MENU, AND IF YOU SERVE SOMETHING LIKE A MACKEREL OR SARDINES, IT MIGHT NOT SELL AS WELL.

MAN: IT'S HUGE.

NAMBA: I THINK THERE'S FISH FROM THE PACIFIC THAT ARE JUST AS GOOD.

WE JUST CHANGED AND PUT A DIFFERENT WORD, AND IT WAS AMAZING.

WE SWITCHED IT FROM RED SNAPPER AND IT JUST STOPPED SELLING JUST BECAUSE OF THE NAME.

KAPLAN: IT'S NOT SUSTAINABLE TO JUST EAT TUNA, AND THEN ALL THESE OTHER FISH, YOU KNOW, WE'RE TRYING TO LOOK OUTSIDE OF THAT AND FIND FISH THAT WE CAN FEEL GOOD ABOUT SERVING, AND IT'S DEFINITELY DIFFICULT.

NAMBA: SO THE SAKURA MASU, WE SCORE THE SKIN ALL THE WAY THROUGH.

THAT CREATES THE FAT TO COME OUT OVER THE GRILL.

SALTING IT BRINGS OUT MOISTURE, SO IT DRIES OUT THE SKIN SO IT GETS EVEN CRISPIER THAN SAUTÉING IT.

SO THE FAT OF THE SKIN IS MORE FLAVORFUL AND IT TURNS OUT MORE CRISPY AND SMOKIER.

IT'S SERVED WITH A LITTLE BIT OF GRATED RADISH MIXED WITH SHISO AND SOME ROASTED MUSHROOMS.

YAGI: THEIR MISSION IS TO TEACH ANGELENOS WHAT THEY EXPERIENCED GOOD ABOUT JAPANESE CULTURE AND BRINGING THE CULTURE THROUGH FOOD.

KAPLAN: YOU KNOW, IT'S BEEN REALLY EXCITING FOR ME TO WATCH HIM PROGRESS AS A CHEF AND ALL THESE AMAZING EXPERIENCES AND REALLY GROW.

AND WHEN I EAT THE FOOD, I CAN ALMOST SEE KIND OF ALL THE DIFFERENT INFLUENCES IN IT.

NAMBA: I JUST WANT TO HAVE A NEIGHBORHOOD RESTAURANT.

I WANT TO MAKE PEOPLE HAPPY.

I ENJOY COMING INTO THIS RESTAURANT BECAUSE, YOU KNOW, I BUILT IT.

A LOT OF IT IS FROM THE HISTORY OF MY LIFE.

I JUST WANT TO HAVE FUN WITH IT.

I WANT PEOPLE TO ENJOY IT.

YOKOTA: I TRY TO LEARN ENGLISH EVERY DAY AND I LEARN THE ENGLISH AND NEW VOCABULARY FROM THE CONVERSATION WITH CHEF.

I WISH I SPEAK ENGLISH FLUENTLY.

IT'S FUTURE.

I STILL LEARNING.

IT'S A LOT OF THINGS.

YAHAGI: IF I CAN BE REALLY, REALLY SELFISH, I WOULD LIKE HIS FISH TO BE ALL MINE.

BUT I WANT HIM TO BE SUCCESSFUL.

I WANT HIM TO BE SUCCESSFUL FOR HIMSELF AND FOR SUSTAINABILITY OF THE FISH ALSO.

AND I'M VERY PROUD THAT SOMETHING THAT WAS DONE IN JAPAN, THE CULTURAL THING THAT WAS IN JAPAN SUCH AS IKEJIME IS NOW WELL-KNOWN HERE IN THE UNITED STATES AND PEOPLE ARE RESPECTING IT.

I'M VERY PROUD OF IT.

AND HE'S THE AMBASSADOR FOR ALL THAT.

YOKOTA: SAKAI: YOU HAVE TO RESPECT THE TRADITION.

YOU CONSTANTLY HAVE TO REVIEW AND BE OPEN TO LEARNING AND JUST ALSO BE OPEN TO NEW IDEAS, YOU KNOW.

IT'S JUST FASCINATING TO SEE YOUNG CHEFS COME TO ME AND THEY WANT TO TAKE A CLASS IN MISO MAKING.

AND THEY'LL SAY, I'M GOING TO MAKE MISO USING FRESH FAVAS.

I GO, FRESH FAVAS?

WOW, YOU KNOW.

INOCULATE IT WITH THIS.

AND, LIKE, THINGS THAT I COULD NEVER IMAGINE, YOU KNOW, YOU HAVE TO BE OPEN TO THAT.

SO THIS MISO IS AN EXPERIMENT THAT I DID WITH CHICKPEAS.

OR I GO TO AN ELEMENTARY SCHOOL, PREDOMINATELY HISPANIC KIDS, AND WE MAKE MISO SOUP WITH THE VEGETABLES THAT ARE GROWN IN THE GARDEN.

THESE VEGETABLES THAT ARE PREDOMINATELY USED FOR MEXICAN COOKING, AND IT GOES RIGHT INTO THE MISO SOUP, AND IT TASTES REALLY GOOD.

LIKE, I NEVER THOUGHT OF PUTTING A TOMATO INTO A MISO SOUP.

NOW I DO IT ALL THE TIME DURING THE SUMMER.

AND PEOPLE IN JAPAN WILL SAY, THAT'S NOT MISO SOUP, BUT IT IS, AND I'M OKAY WITH IT AND I LOVE IT.

IF I FIND AN INGREDIENT TO PUT INTO MY SOUP THAT IS NOT SOMETHING THAT EXISTS IN JAPAN BUT EXISTS HERE, THAT'S OKAY BECAUSE I LIVE HERE AND I WANT TO INVITE THOSE INGREDIENTS INTO MY COOKING.

SEE THE TAMARI?

SEE THE SAUCE?

MAN: YEAH, I SEE IT.

SAKAI: THAT'S THE TAMARI, SO THAT'S WHAT I'M LOOKING FOR.

I THINK THAT'S THE BEST PART ACTUALLY.

YAGI: I THINK LOS ANGELES HAS A BIG POTENTIAL AND A POWER TO MAKE JAPANESE FOOD TO BE LOS ANGELES JAPANESE FOOD AS A COMPLETELY DIFFERENT CATEGORY.

NAMBA: I WANT THIS RESTAURANT TO EVOLVE AND JUST KEEP GETTING BETTER AND KEEP GETTING MORE CUSTOMERS WHO ARE WILLING TO EAT MORE INTERESTING THINGS, THINGS THAT ARE IN JAPAN RIGHT NOW.

KAPLAN: YEAH, THERE'S A CLICHÉ IN HOSPITALITY THAT WE'RE INVITING PEOPLE INTO OUR HOME, BUT IT'S A CLICHÉ FOR A REASON BECAUSE WE DO REALLY FEEL THAT WAY, THAT WE WANT PEOPLE TO COME IN AND JUST REALLY TAKE CARE OF THEM.

SAKAI: IT'S HARD TO BELIEVE, BUT I'VE BEEN IN LOS ANGELES FOR MORE THAN 40 YEARS NOW.

SO IT'S BEEN A LONG TIME, AND I REALLY SEE PEOPLE ARE CHANGING AND THEY'RE OPEN.

THEY'VE BECOME REALLY OPEN.

THAT'S WHY IT'S JUST SO WONDERFUL TO LIVE IN L.A.

ESPECIALLY, BECAUSE WE'RE SUCH A DIVERSIFIED PLACE.

THIS IS SO AMERICAN, YOU KNOW.

YOU'RE SHARING CULTURE HERE.

TO ME, THAT IS A VERY BEAUTIFUL THING.