Though the French translation of “Fais Do-Do” is an expression to tell children to go to bed, the venue is one of the few 18+ music venues in the city where kids of legal, voting age can come hang out late into the night for small club shows, larger ballroom events and soon breakfast tacos in the morning (after we all emerge from Coronageddon).

Native Angeleno Steven Yablok and his multi-talented handyman Eluard Burt, from New Orleans, saved the historic Mid-City art deco building in 1991. The club side (originally a branch of First Citizens Savings Bank and Trust) was Napier’s Corner Palace, a hangout for local retirees and office workers with pool tables in the back courtyard, and the ballroom side (with its triple sprung dance floor built by David Sukonick, first opened in 1938 as the Variety Theatre) was under-utilized.

Inspired by the area’s unique intersection of communities, Yablok (a filmmaker by trade) and Burt (a chef, flautist, astrologer, tarot reader and interpretive dance instructor in addition to his handyman skills) pulled the community together to make needed earthquake reinforcements and save the structure from demolition. “Mid-City needs its own identity,” Yablok enthused. “It’s this crossroads where cultures collide and break bread. I like to cross cultures as much as possible.”

When the city erupted in flames the next year after the acquittal of the highly-televised first trial of officers who beat Rodney King after a traffic pursuit in the San Fernando Valley, Fais Do-Do became a place for the city to heal. “Watts Prophets did shows here to bring the music industry and community together after the L.A. riots. Funk jam sessions brought kids from throughout the city to jam with elder musicians of the community, dispelling the fear and isolation.” By 1993, the venue cemented its reputation as a safe hub for people to commune and enjoy an array of quality live music, featuring prominently in the jazz, funk and blues scene.

Over the years since then, Fais Do-Do became the place where independent artists of all stripes broke to the next level. Black Eyed Peas and the Fugees elevated from the college and underground hip hop circuit to a wider audience; Kamasi Washington deepened his creative jazz roots within the community; and a host of others like blues greats Keb ‘Mo and Bonnie Raitt, Eastside fusion innovators Ozomatli, first-wave punks Melvins, pop songstress Kat Power, and alternative Radiohead-Red Hot Chili Peppers hybrid project Atoms for Peace (before their Hollywood Bowl shows) stopped through for special appearances. It also held a brief stint as the hottest dance spot for glam rock and Britpop clubgoers in L.A. as veteran DJ Rodney Bingenheimer’s revival of his English Disco outgrew its second venue in Hollywood. Yablok emphasized the importance of not getting bought out by corporate promoters and remaining true to the local community, “We are totally independent and will remain that way. No Ticketmaster[, etc.]. If we can give the same or better exposure to new artists and stay extremely independent, that’s what we want.”

The ballroom (400 capacity) today remains a creative development space for its resident dance troupe, Luminario Ballet of Los Angeles, and a venue for the local community where family milestones like quinceñeras and weddings can take place. Yablok’s film connections have also brought a sizeable number of major Hollywood film productions.

Since last year, the entire space has been intermittently dark as new renovations began. A side bar was added in the ballroom, new community and investor partnerships are being forged, plans are developing for a new art gallery-podcast-broadcast space (utilizing the several hidden spaces that connect the club and ballroom), and the kitchen is slated to reopen (as Café Fais Do-Do) later in the year as a daytime brunch spot with its own fermented hot sauce, the aforementioned breakfast tacos, sandwiches, microbrews and wine.

Under the helm of a new production and professional booking team, the (175 capacity) club side will also ramp up scheduling the calendar and is in the process of updating the sound system (a good project during the new coronavirus quarantine). The booking model is now indie-friendly door deals only (no pay-to-play).