AUGUST 21-27, 2015 / VOL. 37 / NO. 40 LAWEEKLY.COM

A Mexican Food Revolution at Brookkeenn SSppaanniisshh •• TTThhiiss CCoouuld Be L.A.’s Craziest Improv Show®

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LPUBLISHER Mat Cooperstein

EDITOR Mara Shalhoup

E D I T O R I A L

MANAGING EDITOR Jill Stewart

DEPUTY EDITOR, ARTS & CULTURE Zachary Pincus-Roth

MUSIC EDITOR Andy Hermann

FOOD EDITOR Sarah Bennett

CRITIC AT LARGE Steven Leigh Morris

SENIOR WEB EDITOR Ali Trachta

COPY CHIEF Lisa Horowitz

STAFF WRITERS Hillel Aron,

Gene Maddaus, Dennis Romero

LISTINGS EDITOR Falling James (music)

FILM CRITIC Amy Nicholson

RESTAURANT CRITIC Besha Rodell

COLUMNISTS Gustavo Arellano, Henry Rollins, Jeff Weiss

CONTRIBUTING WRITERS Danielle Bacher,

James Bartlett, Paul T. Bradley, Gabrielle Canon, Stephanie Carrie,

Ian Cohen, Hayley Fox, David Futch, Michael Goldstein, Adam Gropman,

Ernest Hardy, Chaz Kangas, Dan Kohn, Brandon Lowrey, Angela Matano,

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CALENDAR WRITERS Siran Babayan, David Cotner, Mindy Farabee,

Gary Fukushima, Ann Haskins, Mayank Keshaviah, Deborah Klugman,

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Paul Rogers, Jonny Whiteside, Chuck Wilson, Chris Ziegler

PHOTOGRAPHERS Drew Barillas, Anne M. Fishbein,

Star Foreman, Nanette Gonzales, Danny Liao,

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VIDEOGRAPHY Shannon Cottrell, Hso Hkam

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IT SYSTEMS MANAGER Hunter McCallum

ADMINISTRATION/OPERATIONS

HUMAN RESOURCES/OPERATIONS MANAGER Kelly Inthout

OPERATIONS ASSOCIATE Chris Romero

RECEPTIONIST Monica Mendoza

NEWS...9 Blowback over a probably illegal jail vote has the L.A. Board of Supervisors taking a second look. BY HAYLEY FOX.

EAT & DRINK...19 At Broken Spanish, chef Ray Garcia is leading a revolution in modern Mexican food. BY BESHA RODELL.

GO LA...27 Nick Offerman on his new book, an analysis and screening of the movie Friday, the art of comic legend Jack Kirby and other great things to experience in L.A. this week.

CULTURE...31 CHARLIE LATAN goes behind the scenes at The Murge, which just might be L.A.’s craziest improv show. In this week’s ART PICKS, watch an opera performance from the soon-to-be-demolished Sixth Street Bridge. In STAGE, JENNY LOWER reviews All American Girl, about a home-grown terrorist, plus reviews of Riot/Rebellion, about Watts in 1965, and tuneful bio-play Always ... Patsy Cline.

FILM...37 AMY NICHOLSON takes a ride with Grandma star Lily Tomlin, while STEPHANIE ZACHAREK reviews the film, Paul Weitz’s latest, plus documentary We Come as Friends and other films OPENING THIS WEEK, and rare screenings of iconic films in YOUR WEEKLY MOVIE TO-DO LIST.

MUSIC...46 Aspiring pop superstar Derrick Knight tells JESSIE SCHIEWE about his plan to perform on the moon, and JEFF WEISS assesses Compton, the (alleged) final chapter in Dr. Dre’s rap career. Plus: HENRY

ROLLINS: THE COLUMN!, LINA IN L.A., listings for ROCK & POP, JAZZ & CLASSICAL AND MORE.

ADVERTISING CLASSIFIED...70 EDUCATION/EMPLOYMENT...70 REAL ESTATE/RENTALS...70 BULLETIN BOARD...71

ON THE COVER: PHOTOGRAPHY BY AMANDA LOPEZ

| AUGUST 21-27, 2015 // VOL. 37 // NO. 40

ICONTENTS ⁄⁄27

PRINCE OF BIKES ... 12Orlando Holguin is too short to drive, but he’s a famed L.A. lowrider. BY SOPHIA KERCHER

L.A. WEEKLY (ISSN 0192-1940 & USPS 461-370) IS PUBLISHED WEEKLY FOR THE SUBSCRIPTION PRICE OF $55.00 PER SIX MONTHS & $90.00 PER YEAR BY L.A. WEEKLY, LP, 3861 SEPULVEDA BLVD., CULVER CITY, CA 90230. PERIODICALS POSTAGE PAID AT LOS ANGELES, CA. POSTMASTER: SEND ADDRESS CHANGES TO L.A. WEEKLY, P.O. BOX 4315, LOS ANGELES, CA 90078-4315.

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MENUDO IS LOVE

DEAR MEXICAN: I live in the Bronx, in a heavily immigrant area. We have many West African, Dominican, Mexican, Central American, Guyanese and Bengali newcomers. Every weekend in the park, you see Mexican men playing soccer with their kids or doing something with the family. I know most of these men work six days a week, and I’m amazed that, in their free time, they don’t just want to be left alone. The African and Dominican men mostly hang out with other men while their wives are with the kids. This is a vast gener-alization, but I’ve seen it a lot. I also see Mexicans helping their wives at the Laun-dromat. I thought Mexicans were supposed to be machos. But I’m thinking maybe I need to fi nd myself a Mexican man!

—Randy in Riverdale

DEAR GABACHA: You should defi nitely get yourself an hombre, but not for taking care of kids. “The Quality of Time Spent With Children Among Mexican Immigrants,” a paper by Purdue University professor An-dres J. Vargas and Daniel Kidane of Ohio Wesleyan University, found that Mexican fathers spent less time with their kiddies than gabachos, Mexican-Americans and African-Americans, although the rate im-proved the more time the papis lived in the U.S. They didn’t give a reason why Mexican fathers spend less time with their kids, but you alluded to the answer: Our dads work a lot. No time for museums, libraries or tu-toring. But trying to turn your son into the next Fernando or Chicharito? Of course!

DEAR MEXICAN: I’m a gabacho, but I’ve been loving menudo for about 45 years. What are your thoughts on why menudo is the Food of the Gods?

—I Ain’t Mexican but Mi Estómago Is

DEAR NO SOY MEXICANO BUT MY STOMACH SÍ ES: You are one smart gabacho! Most of your ilk think of the tripe soup only as an edible donkey show: a horrifi c, disgusting artifact of a horrifi c, disgusting people. But menudo is a sociohistorical lesson in a bowl: The fat, pale kernels of pozole have nourished Mesoamericans since time immemorial; the use of tripe and not the better parts of a cow is a testament to its status as a poor person’s meal. Menudo is delicious, the trinity of fi rm pozole, chewy tripe and fi ery, blood-red broth producing a comforting, fatty fl avor.

More important, menudo is amor. It’s the soup Mexican women slave over for their hungry families on weekend mornings, the dish over which families unite and teens fall in love . True menudo is a diffi cult feat, taking hours to create, but it comes with a payoff that transcends taste buds and strives for the sublime. Will menudo cure a hangover? No doubt. But if that’s all you eat it for, then you truly don’t know love.

¡Ask A Mexican!

by Gustavo Arellano

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Stages of ChangeCounseling Center

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ART EDUCATION Community Arts in LACommunity Arts InternshipHistory of AestheticsSpecial Topics: Socially Engaged ArtTeaching Internship

ART HISTORY AND TOURS Clay Rolling Bus ToursHistory of Interior Design & Furniture Fashion History of the Western WorldIn the Footsteps of Ansel Adams:

Manzanar, Mt. Whitney, and the Owens Valley

The Art of Film NoirThe Modern Genius: Art, Culture, and

the 19th Century

DESIGN

Digital Media Arts2D Animation I3D ModelingDigital Drawing & Illustration IDigital Imaging I, IIDigital Media Arts: Advanced Projects Digital StorytellingEditing IIFinal PortfolioIntroduction to Digital DesignMedia Literacy (ONLINE)

Motion Graphics IWeb Design I, IIIWeb Design II (ONLINE)

Video Production: Camera, Lighting, & Sound

Fashion DesignDigital Design for FashionDraping IFashion History of the Western WorldFashion IllustrationHaute Couture Finishing and

ConstructionIntroduction to Apparel ConstructionIntroduction to Fashion DesignIntroduction to Footwear Design

Patternmaking I, IISewing ITextiles for Fashion

Graphic Design Color Theory & DesignDigital LetterpressDigital Print Production Final PortfolioFundamentals of 2D DesignIntroduction to Book BindingIntroduction to Digital DesignIntroduction to Graphic DesignIntroduction to LetterpressTypography I

IllustrationCharacter Design for Animation

and CartooningDigital Drawing & Illustration IGraphite for Botanical Illustration Illustrating Children’s BooksIntroduction to 2D AnimationQuick Sketch TechniquesStoryboarding for Film and Animation

Interior & Home Design Design Studio I, II, IIIDrafting I, IIHistory of Interior Design & FurnitureIntroduction to Interior DesignSurface Materials & Presentation

TechniquesThe Art of the Edible Landscape

Lighting DesignDrafting I, IILight, Health, and Global ResponsibilityLighting FundamentalsLighting Internship

Product DesignIntroduction to 3-D Digital Modeling

(Rhino/SolidWorks)Introduction to Ceramic ProductionIntroduction to Product DesignIntroduction to Footwear DesignVisual Communication I

Textile and Surface DesignTextile and Surface Design I, II, III

FINE ARTS

DrawingDrawing & CompositionDrawing and Meditative MindfulnessDrawing on the Right Side of the BrainGraphite for Botanical IllustrationLarge Scale Figure DrawingLife Drawing

Painting Abstraction after WarholAcrylic Painting TechniquesAdvanced WatercolorEncaustic Painting WorkshopIntroduction to Painting:

Materials & TechniquesMaster Painting Workshop with

Laddie John DillPainterly Painting: From Impressionism

to ExpressionismPainting WorkshopWatercolor Painting

PrintmakingDigital Silkscreen: Creating Large

Format PostersSilkscreen

SculptureIntroduction to Glass FusingIntroduction to SculptureWelding/Metal Sculpture

PHOTOGRAPHY Digital Photography (ONLINE)

Intermediate PhotographyIntroduction to Black & White DarkroomIntroduction to Color PhotographyIntroduction to PhotographyLighting TechniquesUrban Noir: Night Photography in

Los Angeles

HANDCRAFTED ART & DESIGN Fine Silver Metal Clay TechniquesIntroduction to Ceramic ProductionIntroduction to Glass Fusing

Introduction to Fine Silver Metal ClayMachine WoodworkingWelding/Metal Sculpture

PRE-COLLEGE & K-12 PROGRAMS

College PreparationPortfolio Preparation: Advanced Drawing/

Introduction to FigurePortfolio Preparation: Life Drawing and

Painting Portfolio Preparation: Observational

Drawing Portfolio Preparation: Photography

Young Artist WorkshopsDrawing Manga: Ages 12–17Drawing on the Right Side of the Brain:

A Children’s Course: Ages 9–12Leonardo’s Apprentice: Ages 5–8

and 9–12

PROFESSIONAL DEVELOPMENT Alumni Project WorkshopSocial Media for Artists and Designers

WRITING Autobiography, Memoir, or FictionSelf-Discovery though WritingWriting Children’s Books

FALL 2015 SEMESTER BEGINS SEPTEMBER 12, 2015

To learn more about these programs visit: www.otis.edu/ceFor a free copy of our Fall semester catalog, or to speak with a program representative, email otisce@otis.edu or call (310) 665-6850, ext. 60.

CONTINUING EDUCATION FALL 2015 | SEMESTER BEGINS SEPTEMBER 12, 2015

CERTIFICATE PROGRAMS INArt Education Digital Media Arts Fashion Design Fine ArtsGraphic Design

Interior & Home Design Lighting DesignPhotography Product Design Textile/Surface Design

LOCATIONOtis College of Art and Design 9045 Lincoln Blvd., L.A., CA 90045(Just north of LAX)

ART AND DESIGN COURSES FOR

ALL AGES

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JAIL BLOWBACKThe Board of Supes’ probably illegal votehas it taking another look at Men’s Central Jail

BY HAYLEY FOX

It came as a surprise to nearly everyone. After years of tangled disputes and false starts, the L.A. County Board of Supervisors held an unannounced vote on Aug. 11 to build a new “treatment-based” jail, for inmates with drug addiction,

mental illness and diseases, on the site of the notorious and badly deteriorating L.A. County Men’s Central Jail.

The uproar has yet to die down over the $2 billion decision, which was not on the meeting agenda. It represents one of the greatest policy decisions the fi ve supervi-sors will ever make yet was backed by only three of them — Sheila Kuehl, Mark Ridley-Thomas and Michael Antonovich. Former U.S. Labor Secretary Hilda Solis abstained and Don Knabe voted no.

After a week of public outcry, media criticism and hammering from the ACLU of Southern California, which called the board’s vote an illegal act that “invites a lawsuit” because the supervisors failed to notify the public, the board on Tuesday voted 4-0 to rescind the decision and revote on Sept. 1. Kuehl was absent.

With District Attorney Jackie Lacey refusing to comment — she is among those pushing for an incarceration approach for the mentally ill that brings badly lagging L.A. into modern times — others stepped forward. Among them is Solis, who tells L.A. Weekly that even she was caught off guard last week. “I learned very late, the evening before, that there was going to be

a motion to restart discussion on the jail,” she says.

The ACLU of Southern California’s Peter Eliasberg says of the supervisors’ Aug. 11 vote: “There’s no emergency here. They just decided they wanted to ignore the re-quirements of the Brown Act, and they did.”

Some supervisors say the rush to ap-prove the treatment-based jail, in what experts said was clear violation of state law, was propelled by their fear of losing funds for a proposed women’s jail in Lancaster — a situation created by the board. The two jails were fi scally tied together by the su-pervisors’ policy, established in 2012, that development of both jails move forward in tandem, and the board was close to losing $100 million for Lancaster. “If the county continues to miss dates, they’re rolling the dice,” says Magi Work of the Board of State and Community Corrections.

But last week, the supervisors still lacked a carefully designed plan for their new jail downtown.

Critics see the facility’s proposed huge size as a major and unresolved fl aw. In addition, the plan envisions stripping the Sheriff and the L.A. County Department of Mental Health of their longtime power over the jail’s mental and medical opera-tions — and handing it to the historically less tainted L.A. County Department of Health Services. But the dramatic shift is little more than a skeleton concept.

On the jail-size issue, estimates said the facility should hold about 4,800 prisoners, but the supervisors unexpectedly reduced that fi gure to 3,885, approving a diver-

sion plan to help reroute the remaining 1,000 mentally ill, sick and drug-addicted inmates to community treatment centers.

Eliasberg and other critics say the super-visors didn’t go far enough — that having 3,885 beds will encourage county offi cials to jail the mentally ill instead of embracing forward-thinking treatment centers.

No matter how “well-intentioned” the supervisors are, Eliasberg says, the time is past when L.A. should house most mentally ill off enders in correction-oriented cells. Solis, who is largely on the same page, last week introduced a failed amendment to re-duce L.A.’s jail population by 15 percent by 2025 — the motion would have eff ectively cut beds at the new jail to 3,243.

A year ago, in its story “L.A. County Jail Plan Is a $2 Billion Blunder That Embraces Incarceration, Not Treatment, for Mentally Ill,” the Weekly reported that Miami, San Francisco and Nashville are far more suc-cessful in rehabbing mentally ill prisoners because they have moved beyond the old corrections model.

Eliasberg says he “sure as hell” hopes that the Department of Health Services will oversee the new jail — and not the Department of Mental Health.

For two decades, the treatment of mentally ill inmates under the Sheriff ’s Department and the Department of Mental Health has been deemed insuffi cient. In 1997, a federal investigation found mental health care to be “constitutionally inad-equate” and to demonstrate a “deliberate indiff erence to inmates’ serious mental health needs.”

In 2002, the Department of Justice and the feds got access to prisoners, docu-ments and personnel, and L.A. County offi cials agreed to dramatic changes. After a 12-year investigation and some reforms by the county, the feds saw progress. They also found that overall mental health care was poor and “deplorable environmental conditions” remained.

There are “continuous, renewed com-plaints” of mistreatment of mentally ill

inmates in L.A. jails, Eliasberg says — in-cluding from inmates such as Phillip Cho, a man with schizophrenia who served time in Twin Towers and quickly deteriorated. Cho was transferred to the suicide-watch fl oor and told the Weekly about his harrow-ing experience, reduced to living with no pillow or blanket. Upon his release, he was a shell of his former self.

“At fi rst, I was scared to share my story with what we call ‘normal people.’ I know, because I used to be normal,” Cho said.

Another witness to conditions inside, Kristina Ronnquist, a USC graduate student, thought she had landed her dream internship in 2013 at the Department of Mental Health in the Century Regional De-tention Facility women’s jail. Instead, she tells the Weekly, she saw a culture of gossip and overall callousness toward inmates by Sheriff ’s deputies and Department of Men-tal Health professionals such as clinicians.

“Women are basically held in their cells, heavily medicated, and provided minimal support to essentially ‘make sure they don’t die,’�” Ronnquist fi nally wrote in a letter to the Board of Supervisors in 2014.

One situation Ronnquist alleges she wit-nessed repeatedly — a lack of “discharge planning” for shaky inmates not ready to be on the streets — is in line with fi ndings by the DOJ.

In her letter, Ronnquist described an “inhumane and toxic” environment that “exacerbates symptoms of mental illness.” “How are your meds? Are you hearing anything? Are you seeing anything? OK, goodbye” was, she says, a not-uncommon interaction with patients.

Dr. Marv Southard, director of the Department of Mental Health since 1998, initiated an investigation. He says he found management “could be better” and staffi ng was insuffi cient. The rest of Ronnquist’s al-legations were “unsubstantiated” or under review, he says, adding, “She declined to give any specifi c incidents, about either inmates or staff .”

Before Southard’s investigation, Ron-nquist met in a confrontational setting with a DMH offi cial who made her feel uncomfortable sharing names or incidents. She was stunned when, after that, nobody interviewed her as part of the department’s offi cial investigation into her claims.

In an April 2015 followup, Ronnquist wrote to the county supervisors, “I was astounded that DMH had concluded its investigation into some of my concerns without even speaking to me. I had much more detailed information that I could and would have provided.”

The supervisors have approved a plan to take jail medical and mental health oversight away from the Sheriff and Department of Mental Health, and hand it to the Department of Health Services, as Eliasberg and other reformers want.

But it is unclear how this possibly un-precedented shift of authority can happen, and when. A lot of hope is anchored in the proposed “treatment-based” downtown jail as a possible catalyst.

“We’ve got 20 years of failure on the part of [the Department of Mental Health], so I certainly hope we can do signifi cantly bet-ter now that the department no longer has authority over the job,” Eliasberg says.

| News // PHOTO BY TED SOQUI

Phillip Cho, who has schizophrenia, endured horrible treatment when he landed in Men’s Central Jail in 2005.

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R E G I S T E R | E V E N T S . T H E W O R K . C O M / L A O R | 8 0 5 . 4 4 4 . 5 7 9 9

© 2 0 1 5 B y r o n K a t i e I n t e r n a t i o n a l , I n c . A l l r i g h t s r e s e r v e d . P h o t o : J u d i t h S c h l u t e r

T H E U L T I M A T E I N N E R A D V E N T U R E

W I T H B Y R O N K A T I E

T H E S C H O O L F O R T H E W O R K W I T H B Y R O N K A T I E LOS ANGELES, CAL IFORNIA 16–25 O C T O B E R

NINE DAYS IN LOS ANGELES

O C T O B E R 16–25, 2015

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Orlando Holguin is a third-generation lowrider. The Oxnard resident’s grandfather and father have strong roots in Los Angeles lowrider culture, known for its

slick rides and devotion to family. Orlando’s lowrider is so artfully crafted that it has been displayed at venues such as Koreatown’s hip boutique hotel, the Line, and he’s won stacks of awards for its beauty and detailing. While Orlando loves working on lowriders, he is not permitted to have a driver’s license. Be-cause he’s 6.

His lowrider is a bicycle. Orlando and his father, Michael Holguin,

belong to the notable Legions Bike Club in Pasadena and are regulars at Manny’s Bike Shop in Compton, which says it has built more custom bikes honored with the coveted Lowrider Bike of the Year than any other shop in the United States.

YouTube, Instagram and Facebook spread the automobile lowrider subculture globally. But one of the most signifi cant gateways into the lowrider culture is the lowrider bi-cycle. In the United States, a lowrider car enthusiast might spend upward of $30,000, while a lowrider bike will set you back per-haps $1,000. That makes the lowrider bicycle a more accessible chariot for Southern Cali-fornia’s working class — and those not yet old enough to drive.

On one of those bright Southern Califor-nia July days that feels as if it’s been dipped in lemonade, Orlando and his dad aren’t at Manny’s Bike Shop but another favor-ite spot. The father and son are hanging at Hanko’s Kustom in Ventura County’s sleepy orchardside town, Santa Paula.

Holguin, who works as an industrial paint-er at Point Hueneme Naval Base for the U.S. Department of Defense, is stopping by to visit master custom painter Hanko Hernan-dez. Hernandez was his mentor. “Orlando is very well known in the lowrider scene,” Hol-guin explains. “His grandfather moved from Mexico in the ’40s and worked on cars. I work on cars, and Orlando has his own project.”

Orlando proudly explains that he wants to be president of his bicycle club. The only thing holding him back is that he’s still in fi rst grade. “I want to be president! I want to be president!” Orlando chants as Hernandez off ers him a burrito lunch.

Orlando’s bike is sparkling and beauti-ful. Most lowrider bikes and cars are given names, and his is called “Baby Steps.” His long-and-lean ride has intricate en-

PRINCE OF BIKESOrlando Holguin is too short to drive, but he’s a famed L.A. lowrider

By Sophia Kercher • Photography by Amanda Lopez

( 12 »Bicycle lowrider Orlando Holguin with his Baby Steps

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gravings borrowed from the style found on old Western rifl es, plus an exact etching of his foot from when he was a baby.

“My dad took my little foot and traced it,” Orlando says.

Immaculately groomed lowrid-er bikes are their own highly customized art form. Baby Steps, for example, took six months to build. “Since he was small, I’ve had him help lit-tle by little,” Holguin says. As his son has developed, so has the bike. Orlando loves speed and mo-torcycles, so Holguin added flames, and he continues to customize it with “water twists,” fl ashy metal details that give the ride more edge.

The father-son bicycle projects have gained attention, he says, and their bike club, Legions, has won Lowrider Bike of the Year and Lowrider Trike of the Year, “which is the three-wheelers — these things get pretty wild with TVs, hydraulics and the whole thing.”

It’s easier for Orlando’s 38-year-old father to talk about his son than himself. He often replaces “I” with “we.” “Orlando is my little shadow,” Holguin says. “He goes with me everywhere.”

He pauses to refl ect on what lowriding culture means to him. He’s been steeped in it since he was a troubled teenager who needed to turn his life around. As a boy, he looked up to his mentor Hernandez with the same admiration Orlando now has for him. “It’s an art form and a sense of pride more than anything,” Holguin explains. “It defi nitely has to do with being Mexican-Americans and adopting it into the Ameri-can culture and basically having our own genre of vehicles or bikes.”

Holguin and Hernandez both wear T-shirts from automotive designers they ad-mire; both are talkative and serious about their devotion to family and cars. It’s easy to see that Hernandez infl uenced Holguin — their storytelling has a similar rhythm, and so does the cadence of their speech. Holguin says Hernandez saw potential in him, which helped him stop being a bad kid.

“He talked smack and started a lot of fights,” Hernandez explains. Holguin agrees, his blue-and-white baseball cap bobbing. “I was a troubled kid,” he admits.

“My dad passed away when I was young, and there was nobody

to — how do I say it? — put me in my place.”

Learning how to paint cars and fi x up his bike at Hernan-

dez’s shop, among the lowrider cars, was life-altering for Holguin. Many of his childhood friends are locked up, selling drugs or dead.

Holguin is active in the lowrider car club Premier in L.A., where he fi xes up his 1978 Monte Carlo. Although Hernandez and Hol-guin admit lowriding hasn’t always had a positive image, they say it’s about art, pas-sion and family.

“For a while it always gave us a bad name, like you’re a hoodlum or gangbanger, but

[the outside world] was just stereotyping,” Hernandez says. “Once it started getting recognized by the media and the movies, it has started changing.”

Holguin bristles at the idea of being asso-ciated with gangs. He recalls that someone once walked up to him and said, “Oh, you have one of those gangbanger cars.” His voice gets louder: “I said, ‘Gangbanger?’ I never gangbanged in my life. I said if a true, active gang member is involved in this and they have a nice car — that car is gonna get messed up just because of their gang af-fi liation.” Hernandez chimes in, “But there are some.”

Holguin recognizes that the bad-guy his-tory is part of the excitement. This devotion to something that isn’t quite a hobby but a hardworking lifestyle (with the benefi ts of a fl ashy car and cool community) is what Holguin is passing on to his son.

“The best part that I like about this bike is that I have the hydraulics,” Orlando an-nounces. He’s already a pro lowrider as he crawls off his dad’s lap and onto his bicycle to begin bouncing around Hanko’s Kustom’s shop lobby.

Holguin steps out of Hernandez’s shop for a moment and comes back with what looks like a bike just out of the womb. It doesn’t have a seat or stylized frame — yet. It’s their next bicycle project, and he already has an idea. “You know what the Mexican blankets look like? I want to do that. Paint it as a Mexi-can blanket,” he says.

Lowrider bicycles are attention-stealing, mobile art pieces with no rules when it comes to customizing. Candy-colored mu-rals and chrome, chrome and more chrome. High-rise handlebars. The style may have emerged in the 1960s, when kids copied the design of the curb-hugging lowrider cars and added it to their Schwinns.

But if you ask Manny Silva in Compton, it was he who created the lowrider bicycle.

He may be right. On a recent Tuesday, 65-year-old Silva

took a break from fi xing one of the glitter-ing Baroque lowrider bicycles that line the walls of Manny’s Bike Shop to sip juice from a fresh coconut.

“When I was 12 years old, I invented low-rider parts in Mexico,” Silva says, peering from beneath a black-

Michael and Orlando Holguin

“It’s an art form and a

sense of pride.” —Michael

Holguin, on lowrider culture

Manny Silva lays claim to inventingthe lowrider bicycle.

Warren Wong is credited with creating the ubiquitous over-spoked wheels kids pedal today.

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brimmed hat and sporting a light blue linen button-up as he stands in front of bicycle tires stacked to the ceiling.

His shop has been around since 1935; Silva became its third owner in the early 1970s. Legend has it that his bike parts were so popular that they were copied by one of his friends and sent to China, and are now sold all over the world — and that he didn’t get much from it.

Still, here on Rosecrans Avenue, with his razzle-dazzle lowrider bikes hanging from the rafters, lowrider enthusiasts come to him every day. That’s how he met Holguin and Orlando. They made the trek because they kept hearing “Manny, Manny, Manny,” at swap meets, on online forums and at their bike club.

Silva doesn’t have a website and he’s not on Facebook. Instead, his name is passed around the scene, a secret access code to custom bike parts.

“People from South Korea and China come here to buy bicycles. Some people say, ‘Oh, lowriders are a Mexican thing,’�” Silva says. “No, no, right now it’s Chinese guys, Korean guys, whites, blacks — all kinds.”

In the 1970s, Long Beach funk band War sang: “All my friends know the lowrider/The lowrider is a little higher,” making their catchy song about the Chicano culture’s hot-rodding cars a hit. In the 1990s and the early 2000s, hip-hop anthems were devoted to sweet wheels, including Jayo Felony rap-ping, “I’m too sexy for my motherfuckin’ hood, ’hood/I’m too sexy for my mother-fuckin’ lowrider,” and a roaring ride with a menacing bounce is at the center of the video for Cypress Hill’s “Lowrider.”

Many say the lowriding scene that took

shape after World War II was Latinos’ re-action to conventional stock cars driven by the white middle class. To diff erentiate themselves, drivers started putting sand or cement bags in their cars to create a lowered look. By designing the cars to go against the norm by being slow and low — and some-times painting them in vibrant colors to re-fl ect Latin culture — lowrider artists made a political and cultural statement with fl air.

And Silva has limitless ideas for adding fl air. Holguin says of him: “His model is, if you can draw it or I can think it, you can build it.”

When Silva was 20, he moved from Chi-huahua, Mexico, to California and discovered he could earn more working on bicycles than in his usual gig as a motorcycle mechanic. In L.A., he put his imagination to work with his new access to tools and welding equipment.

On one side of Silva’s business card is an image of a gold-and-silver metal ride that’s been featured in rap videos. On the other is an image of his church, El Aposento Alto Iglesia Apostolica. Silva splits his time as a pastor at the church down the street from his shop, where he says all 18 of his grandchildren at-tend services.

Holguin says some of the stuff at Manny’s Bike Shop is consid-ered old-fash-ioned, but that’s where he found Orlando’s over-spoked wheels for Baby Steps. “You

would be amazed at some of the stuff that comes out of that little shop,” he says.

A few months back, Orlando and Holguin put Baby Steps and a few other bicycles from Legions Bike Club on display during a fi lm screening at Koreatown’s Line hotel, where the assembled crowd included club kids, Korean fl ight attendants, art scenesters and hipsters with a taste for kimchi.

Orlando and his dad were there to show off their lowrider bikes for a screening of South American Cho-Low. Los Angeles journalist Phuong-Cac Nguyen directed the documen-tary about how East L.A.’s lowriding subcul-ture has hit it big in far-off São Paulo, Brazil.

In Nguyen’s fi lm, São Paulo’s Antonio Carlos Batista Filho, nicknamed “Alemão” (or “German” because of his coloring), is credited as Brazil’s ambassador for lowrider culture. It all began when a friend brought him a classic California lowrider bike from the West Coast. Alemão tells the camera, in Portuguese, “I fi ght to maintain the culture. We struggle for our ideals, our family and

our freedom. … Believing in Chicano culture is what makes these

things possible.” The exploding lowrider bike subculture bor-rowed by São Paulo is complete with guys in oversized Dodgers jerseys and chromed-out rides dancing in the street in a place that at fi rst looks fa-

miliar — but isn’t. At the same time, lowrider

enthusiasts in Japan pull

their socks up to their knees and wear Nike Cortez track shoes as Japanese rap songs in fl awless Spanglish boom out of impeccably stylized Impalas.

And in Manila, in the Philippines, the ad-opted lowrider bicycle scene is something to behold: Row upon row of glittering, tricked-out bikes hover low to the ground.

“It’s interesting the way things are out there,” Holguin says of South American Cho-Low. “For them, it’s an old-fashioned–style lowriding, where they get the tattoos and dress like older gang members. It’s like the same thing as the Japanese — they dress like it, but they are not really gang members.”

It makes him laugh. “I’m not gonna say that [Latino] people

don’t dress like that, because that would be a lie. But honestly, a lot of the time the people that do that are the spectators, because that’s their stereotype of what it should be like,” Holguin says. “I’ve never even owned a pair of Nike Cortezes.”

What does he think of the Brazilians toss-ing around the word “cholo” and adapting L.A. subculture to their own?

“Cholo is an old term that was used for Mexican gang members in one era. … Now they actually laugh about the word ‘cholo,’�” he explains. He adds that at one time it was used as an insult, but now it has been re-claimed, like “queer”in the LGBT community.

Orlando is soaking it all up. While most kids are getting their geography from the classroom, Orlando’s shape of the world comes from YouTube videos of kids in other countries, riding the kind of bikes he takes to shows around the United States. The low-rider movement signifi ed a disenfranchised Mexican-American population that

“People from South Korea and China come here to buy bicycles.

Some people say lowriders are a

Mexican thing. No, all kinds.”

—Manny Silva

Baby Steps is a chrome-and-purple mini lowrider bike distinguished by dramatic metalwork and the feet hanging from its handlebars, sculpted from tracings Michael Holguin took of his son’s baby feet.

Twisted Super Gold, made in the back of Manny’s Bike Shop with a machine Silva developed, has been ridden by Snoop Dogg, Bow Wow, Bruce Willis and other stars.

Silva’s Manny’s Woman is a three-wheel 1980s lowrider depicting his son’s dream woman on one side, a joker’s skull on the other. It’s been in parades throughout SoCal.

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M

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broke away from the mainstream, and now these faraway countries have hopped on, identifying with the subculture’s working-class values and outsider status.

In New Zealand, Maori kids on lowrider bicycles are recording music videos fea-turing men sporting oversized flannels and holding high-rise handlebars as they cruise the streets. And in Brazil, many of the self-proclaimed “cholos” are Bolivian im-migrants who live in the more impoverished neighborhoods.

Up in Santa Paula, Orlando and his dad are finishing their burrito lunch at Hanko’s Kustom when their friend Warren Wong,

dubbed the “King of Wheels” by Lowrider magazine, stops by. Wong, who grew up near East L.A., is credited with creating the ubiq-uitous over-spoked wheels kids pedal today.

He designed them to look like tricked-out car wheels.

“Warren is world-famous,” Holguin an-nounces as his friend walks in. Wong has a low and relaxed voice and long hair past his shoulders. He’s humble. Also cool.

“Hey, check this out,” he says. He holds up his smartphone to show a video of doz-ens, maybe hundreds, of kids pedaling lowrider bikes in Indonesia. “It’s getting bigger and bigger in the Muslim countries,”

Wong says. According to an article in the Jakarta Post, teenagers in Indonesia dis-covered lowriding culture via rap and hip-hop on MTV.

“Social media plays a big part. Before it, we would wait for a magazine to come out and it would be like, ohhhh, look at this, look at that,” Wong says. “Even if you had a picture, you would have to send it to people so they got a sense of what it looked like. … It’s getting to the point where there’s no separation of style.”

Orlando is starting to get restless, pick-ing at his lunch. Holguin scoops the boy up and puts him on his lap, and he is im-mediately calm.

The two are preparing to put Baby Steps on display, most likely spinning atop a velvet platform, for the Torres Empire L.A. Super-show at the Los Angeles Convention Center on Aug. 23, where tricked-out lowrider cars, trucks and bicycles will be the main event. “It’s going to be big,” Holguin says.

Will his little guy still be into lowriders when he grows up?

If you ask the 6-year-old, he might tell you he wants to work two jobs so he can aff ord a hot tub. Or quickly change the subject to his other favorite topic, horror movies.

But his dad has the answer: “He loves cars. He was born into it.”

Manny Silva splits his time between his Compton shop and El Aposento Alto Iglesia Apostolica, the church where he is pastor and where all 18 of his grandchildren go.

»14)

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MEXICAN REVOLUTIONAt Broken Spanish, chef Ray Garcia reveals his deeper talents

BY BESHA RODELL

Chef Ray Garcia has been hinting for years that he’s capable of greatness. At Fig, in the Fairmont Miramar Hotel in Santa Monica, he spent the last half-

decade turning out the kind of astute, farm-to-table stuff you’d expect from a decent hotel restaurant. There might have been no indication that the chef had more to off er than beet salads and creative panna cottas if it weren’t for his special talent for cooking pig.

Two years running, Garcia beat out every other Los Angeles chef compet-ing in Cochon 555, a traveling competi-tion that pits chefs against one an-

other in their aptitude for making use of a heritage breed hog.

Cochon 555 holds regional rounds throughout the country and then a

grand fi nale at the Aspen Food & Wine Festival, where the regional winners face off . Garcia came in fi rst place in L.A. in 2013 and 2014, conquering chefs including the Bazaar’s Joshua Wing-ham and Bestia’s Ori Menashe. Last

year Garcia won the national round in Aspen, beating eight star chefs from around the country.

It appeared likely, given these victo-ries, that Garcia was destined for more than casual, upscale hotel cooking. And who better to notice and recruit such a talent than Bill Chait, the restaurateur who seems to own about three-fourths of L.A.’s hottest restaurants? My guess is that Chait met with Garcia and asked him what he really wanted to be cook-ing. And Garcia said: “modern Mexican food.”

Earlier this year, Chait tasked Garcia with fi lling two spaces that had recently been vacated by chefs who had aims not unsimilar to Garcia’s. Mo-Chica, Ricardo Zarate’s colorful Peruvian restaurant downtown, would become B.S. Taqueria, serving anomalies such as beet tortas, and tacos with fi llings such as lardo and razor clams. And the space near Staples Center that had been Rivera would become Broken Spanish, an ambitious, upscale restaurant where Garcia would take the food he grew up eating and make it more creative, using better ingredients.

It’s nice to see Broken Spanish go into the Rivera space, given that chef John Sedlar had spent years trying to further the glory of modern Latin cuisine at that restaurant. While the closing of Rivera was a loss for Los Angeles, Broken Spanish is an indication that we can move forward with our appreciation of sophisticated cooking that hinges on

the fl avors of Mexico and Latin Ameri-ca. Garcia’s take is very diff erent from Sedlar’s, but it feels just as vital.

The space is quite similar: The dining room, bar and open kitchen lie long rather than deep against the windowed front of the Flower Street building. But the feel has been brightened consider-ably — gone is the brooding, sleek decor of the Rivera days. Light wood, hang-ing plants and geometric tiles give the

room a sunny aspect. Tables are set with colorful crocheted doilies and candles in painted pottery. It feels homey but not hokey.

I have to admit that my one visit to B.S. Taqueria, which opened a few weeks ahead of Broken Spanish, left me feeling a little skeptical of Garcia’s brand of elevated Mexican cooking. I’m not op-posed to a $40 taco lunch if that lunch is considerably more rewarding than the $8 taco lunch I can get anywhere else, but I can’t say that was the case. Those

clam and lardo tacos that everyone raves about were slightly discordant and also insanely salty, and nothing else really made much of an impression. But I’m glad to say that I had no such issue with Broken Spanish, which revealed its best attributes immediately.

It was a whole fi sh that won me over completely on an early visit: a red snapper served over “green clamato” (a jaunty green sauce with citrus tang and a whisper of the ocean) and accompa-nied by clams, avocado and soft leeks left in chunks large enough to showcase their sweet, vegetal fl avor. Garcia is playing with the kind of inventiveness that feels natural, and he puts delicious-ness fi rst.

There are thick black tortillas made from heirloom corn, which you can get with refried lentils (a cooler idea in theory than in practice) or whipped carnitas fat.

But the tortillas themselves are the real treat. You should order them with just about anything you’re eating here; they’re particularly handy when tack-ling the rabbit mixiote, a chile-drenched stew of rabbit meat and liver served in a cellophane bag with nopales, bacon and cherry tomatoes. Deep, spicy and warm-ing, this dish will be even more vital when the weather gets cooler.

This menu has a lot of comfort food that’s exciting as well as soothing. You can have tamales stuff ed with lamb neck or with a delightful mix of favas, peas and Swiss chard. There are touches of true modernism, too, such as a beautiful jumble of snap peas, sea beans, black sesame and creamy requesón cheese.

Lots of Garcia’s cooking is so well suited to drinking that, in a diff erent setting, it could almost be Mexican gas-tropub fare. Huge grilled shrimp with pineapple and oxtail quesadillas make for very good drinking snacks, and the cocktail menu off ers plenty to pair with food like this. The drinks range from light and fruity to strong and serious. And the bar staff is engaged and charm-ing. The wine list, too, is pretty great, with lots of whites, in particular, that stand up to the spice and intensity of the food.

Given pork’s role in Garcia’s rise to prominence, you’d think this would be a piggy menu, but there’s not a whole lot of pork to speak of, save a giant chicharron topped with elephant garlic mojo, radish sprouts and pickled herbs. But I get the feeling that with Broken Spanish, Garcia is looking to move away from the things he’s been known for in the past, to follow his heart and not much else.

We should be glad he’s been given the chance to do so. Broken Spanish is a heartening step forward for a chef who was obviously meant to be at the forefront of the modern Mexican-food revolution.

BROKEN SPANISH | 1050 S. Flower St., downtown

(213) 749-1460 | brokenspanish.com. Daily, 5:30-11 p.m. | Entrees,

$15-$35 | Full bar | Valet parking

| Eats // Fork Lift // PHOTO BY ANNE FISHBEIN

GARCIA IS LOOKING TO MOVE AWAY FROM THE THINGS HE’S BEEN KNOWN FOR IN THE PAST, TO FOLLOW HIS HEART AND NOT MUCH ELSE.

Requesón cheese topped with snap peas, black sesame, agave and sea bean

CRITIC’S RATING★★★Zero = Poor★ = Fair★ ★ = Good★ ★ ★ = Very Good★ ★ ★ ★ = Excellent★ ★ ★ ★ ★ = World-Class

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Zarate Returns in Pop-Up

CHEF BRINGS MODERN PERUVIAN BACK TO L.A.

Praise the South Ameri-can culinary gods: Los Angeles’ most celebrated modern Peruvian chef is cooking like his old self again.

Last October, Ricardo Zarate was removed from his post as chef-owner of Picca, Mo-Chica and Paiche. (Mo-Chica and Paiche shut-tered; Picca still serves Zarate’s food but with little hint of the chef’s touch.) Without the Lima-born chef’s progres-sive ceviches, tiraditos, chaufas and deconstructed versions of traditional dishes, L.A. was left with only Picca and a handful of family-owned, old-school joints in the way of Peruvian options.

So it was with great excitement that I ate a Zarate meal at the debut of Once, the chef’s new pop-up series that’s tak-ing over Thursday, Friday and Satur-day nights at Santa Monica tapas bar Santinos.

Named for the Spanish word for “eleven” (it’s pronounced “on-seh”), Once has a menu that features 11 à la carte dishes nightly, divided into sec-tions such as “greens,” “seafood” and “meat.” Some are riff s on dishes previ-ously found at Zarate’s restaurants; oth-ers are recognizable from your average Peruvian restaurant. But everything at Once feels entirely new.

“This is Ricardo raw,” our server said before taking our order for ceviche criollo crocante and ensalada rustica. “He wants you to feel like you’re dining in his own home, eating the food his mother would have served.”

The setting is intimate enough to feel like someone’s dining room, but Once is defi nitely not serving Zarate’s mother’s salad. Nor is it putting out the ceviche, chaufa or lomo saltado that Peruvians

might eat at home. Instead, Zarate takes the Asian infl uence pervasive in Peruvian cooking and combines it with the Asian infl uence pervasive in Los Angeles food — and adds fl ourishes of Southern, Spanish and Italian to tie it all together.

The salad uses pickled farmers market vegetables, crispy quinoa, burrata and avocado mousse to form a colorful circle of textures, and is drizzled with red-wine vinaigrette spiked with rocoto, the beloved Peruvian pepper. The ceviche is a heap of sea bass tossed in a ginger-kissed leche de tigre and topped with calamari rings battered in cornmeal like a proper Louisiana fi sh fry (under the pile are salty-sweet leaves of yuyo seaweed). Arroz chaufa, Chinese-style Peruvian fried rice, gets reimagined as paella. Perhaps a nod to his latest gig as consulting chef at Smoke.oil.salt, the so-called chaufa paella is served in a cast-iron skillet with scallops, black tiger prawns and Chinese sausage.

Peru’s signature dish, lomo saltado, gets the most interesting Zarate update so far. Normally an easy sell for the American palate, it’s essentially a beef stir fry with french fries in it. At Once, it gets a fi let mignon upgrade (and $32 price tag) and loses the tacky French fry bit in exchange for roasted fi nger-ling potatoes, braised cipollini onions and roasted tomatoes. Surrounding the meat and veggies is a mix of salty soy sauce and sweet tomato coulis, a juice that begs to be swirled by meat and then soaked up by bread. Perched on top, as in a Korean bibimbap, is a fried egg.

Throughout the meal, Zarate emerges from the kitchen to talk to every diner, something that became a rarity after the original Mo-Chica at tiny Mercado la Paloma became a citywide, three-restaurant enterprise.

According to our server (all the waitstaff used to work with Zarate at Paiche), Once’s menu will change as the chef gets feedback from diners and creates new takes on his childhood fa-vorites. And as for when the pop-up will end? For now, Zarate is telling his Once crew: “Until they kick us out.” —Sarah Bennett

Santino’s, 3021 Lincoln Blvd., Santa Monica; (310) 392-5920, santinos restaurants.com.

| Squid Ink //

PHOTO BY SAMANTA HELOU

Lomo saltado at Once

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©ANGEL CITY BREWING COMPANY, LOS ANGELES, CA.ENJOY, BUT DON’T OVERDO IT.

VISIT US AT THE PUBLIC HOUSE!2 16 S. ALAMEDA ST. LOS ANGELES ARTS DISTRICT-DTLA

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It's time to nominate your favorite restaurants, shops,

theaters, clubs, bars, DJs, salons and spas for our

fourth annual Best of L.A. Readers' Choice Awards.

The polls are open though Sun., Aug. 9, and the

front-runners will face off starting Mon., Aug. 17.

Cast your ballot at laweekly.com/vote

FiNd OuT WhO WiLL WiNiN Our BEsT OF L.A. issuE,

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|W I N E

Esters Is Santa Monica’s New Wine Shop and BarWhat makes a wine bar a wine bar? It’s a question we posed last year when Marvin opened in Beverly Grove, and it’s one that came to mind again when we walked into the high-ceilinged interior to wait for a table one evening at Esters, the bustling new Santa Monica wine bar, shop and gourmet retail market from the team be-hind Rustic Canyon and its wine director, Kathryn Coker.

Around 20 quirky yet accessible wines are available by the glass, and you can order bottles from a two-story-high retail wall of Old World–skewing selections that will set you back an additional $15 corkage fee (each wine Coker chose, we were told upon being seated, has a story behind it). Upscale drinking snacks (lavender almonds, curry cashews), wine-friendly small plates (four-cheese grilled cheese, ham with fi gs and beet molasses) and build-your-own meat and cheese plates were crafted in collaboration with Rustic Canyon executive chef Jeremy Fox and pastry chef Jun Tan.

But with a space bordering on cavern-ous, table service that feels more formal than casual and a by-the-glass list that is no bigger than many restaurant lists these days (Rustic Canyon’s is larger, in fact), what, exactly, makes Esters a wine bar? The retail component — which includes goodies from co-owners Josh Loeb and Zoe Nathan’s other Westside restaurants, plus a grab-and-go section of sandwiches and other wine-y snacks — certainly helps, as do the small plates clearly crafted to complement, not over-whelm, the wine.

However, if wine bars are seen as a space for exploration, somewhere to not only fi nd interesting varietals and small producers on a printed list but to discuss them with someone who can lead you to a new “aha” moment, then this might not be it. Our server was helpful with providing tasting adjectives (and was a good sport given our ignorance about many of the varietals on the list), but with a packed house, there was little time to go into less jargon-y details, or to give us the stories that supposedly lie behind the wines.

To be fair, the Esters crowd doesn’t seem like the type looking for such sto-ries or revelatory moments. They’re there because they’re fans of the breezy, mini-malist space, or of Loeb and Nathan, and — judging by the girls-night-out crew to our left and the awkward Tinder date to our right — either already know that they wanted to drink the $23 glass of 2012 Deux Montille Bourgogne Rouge or are at least doing a great job of pretending that they do. Discoveries of the silky neb-biolo ($14 a glass) or the pert Pomponette rosé ($11) are quiet ones, and without a printed list of the 200-plus retail bottle options (a portion of which is aff ordably priced under $25), it’s hard to know where to begin beyond the glass options.

Esters is built inside a historic Art Deco building that also houses Loeb, Nathan

and Bryant Ng’s new buzzed-about restaurant, Cassia. It has a beautiful patio that’s perfect for afternoon sipping and also makes a great fi rst stop for a small bite and interesting glass of wine before dinner (it’s a nice contrast to nearby Bodega Wine Bar’s basic wine list and sultry, after-hours feel). A small selec-tion of bottled craft beers, cocktails and aperitifs also is available. And, as you will be constantly reminded throughout your visit, you can buy wines by the bottle to take home.

After opening a few weeks ago with evening hours only, Esters now is open 11 a.m. to 11 p.m. Sunday through Thursday and until midnight on Fridays and Satur-days. —Sarah Bennett

Esters, 1314 Seventh St., Santa Monica; (310) 899-6900; esterswineshop.com.

W I N E

An Investment Banker Turned Video Producer Made Cult Winemaking His Third ActFor those not familiar with the term “cult wine,” it’s a wine that’s limited in supply but high in demand. It’s often purchased through a membership allocation list directly from the winery, is high-quality and age-worthy, will go up in value over time, and isn’t in the mainstream — but is

on the radar of all the major wine critics and publications.

Tanner DaFoe, whose fi rst vintage was in 2009, is by all accounts a “cult wine” winery. We got the chance to speak with Jeff Tanner, one half of the winemaking team that makes the coveted Santa Ynez Valley wine, at his home in Venice Beach — and we found out how a guy in L.A. be-came a cult winemaker in Santa Barbara without moving to wine country.

Once a New York investment banker with a degree in law, Tanner in 1994 walked away from his suit and tie to pursue a more creative life, landing his fi rst job in Los Angeles as a set produc-tion assistant.

Soft-spoken, with a thick beard and

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ARTS &ENTERTAINMENTBest Ar t Gal leryBest Ar t WalkBest ComedianBest Improv GroupBest Independent Movie TheaterBest InstagrammerBest Mult iplexBest Place to See Movies OutdoorsBest PodcastBest Stand-Up Comedy ShowBest Street Ar t MuralBest Theater CompanyBest Twitter FeedBest Visual Ar tist

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|long, sun-streaked hair topped with a trucker cap, Tanner looks as if he’d be more at home in a vineyard surrounded by nature, tending to vines and nurtur-ing barrels of wine, than he would be on the set of a shoot. But as a producer of commercials, fi lms and music videos for artists from AC/DC to Sean Combs, Tanner is no stranger to the industry that makes L.A. tick.

Now trying out a new career path with what he calls his “third act,” Tanner and winemaking partner Rob DaFoe are mak-ing a cabernet sauvignon and a red blend called Rogue’s Blend, which have earned the attention of restaurants, collectors and Wine Spectator magazine.

L.A. WEEKLY: What was your fi rst wine experience? JEFF TANNER: It’s kind of a funny story. When I was still in school, I went on a date to a pretty fancy restaurant for a college student, out near Shelter Island, and I wanted to order an expensive bottle of wine, so I ordered a zinfandel — we had ordered steaks or something. And when the wine came, I honestly was expect-ing pink wine (this was probably like 1986), but I was smart enough to keep my mouth shut and not say anything.

What was the experience that made you take an interest in becoming a winemaker?I think my fi rst trip to Napa was kind of an integral moment, and it became a daydream to someday have a winery. A few years later, when I had time, I thought I could start taking some classes at UC Da-vis, since I know nothing about it. And so I’d be more prepared when that day comes, not knowing how I would ever get there.

Who was your biggest infl uence in becoming a winemaker?I would say my biggest infl uence in making wine is Rob [DaFoe], and then by default the people who infl uenced him. If I had been left to my own devices, I would have made something diff erent than what we have, and I think the same for him. What we make is an amalgamation of what I was looking for in wine and what he likes in wine.

How did you meet Rob DaFoe? A friend of mine, Paige Clay, owns Flake, that little breakfast place on Rose. She is an ex–professional snowboarder, and so is he. They had lived together and been friends in Tahoe, in Squaw, where all the action sports stuff was coming out of . So he came over here and we sat on the deck upstairs one night and just talked about snowboarding and surfi ng and wine for a few hours. He had already been making wine on his own, so that’s how that rela-tionship started. Every year he’d be like, “Wanna make some wine?” I wanted to do it, but it just seemed like too much trouble. But when I made that last trip to Napa and spent the day with George Hendry [of Hendry Winery], I got enough fi re under me to make a pretty impetuous decision and call Rob and say: “Let’s do this thing.”

Did you buy fruit? If so, from where? We got the grapes [for the fi rst vintage in

2009] from the same place we’re getting our grapes from now, which is a vineyard called Estelle. I just wanted to make some wine and see if we could sell it. I didn’t know enough about wine to know what was possible at that point. I was just like, “Let’s make what we like.”

Do you have a particular style in mind when you make your wine, or do you allow the grapes to express themselves on their own?Well, I think the most important thing is harvest, and when [to harvest]. The big-gest thing stylistically we look for is the structure in the wine — what’s the mouth-feel. We want to have something that has a big fl avor profi le, but isn’t over-ripened to get to that fl avor profi le.

I think we’re allowing the grapes to express themselves, with the caveat that we’re looking for a certain thing when we bring them in. There isn’t a lot of manipula-tion. I think the main thing that’s really im-portant for us is acid balancing. That’s the most important thing, to keep our acids in a slightly higher place than they want to be. If you let your grapes go to full on ripeness — full fl avor — then your acids are going to be low and your PH is going to be off , so that’s that very tough balancing act — that moment when you decide that it’s time to bring it in and get through the crush.

Tanner DaFoe is considered to be a cult wine in Santa Barbara. How did you achieve that level so quickly? When we started it, we didn’t have a plan. We were making a small enough amount that we didn’t treat it like a commodity; we treated it like a project.

It was in the barrel for 28 months. Nobody does that. We were waiting and waiting and waiting until it really felt like it was done and ready to go into bottle. Everything had to be the best.

It was a hope and a dream out of naivete. We thought it was amazing, but how do you do that coming out of Santa Ynez making a little bit of cabernet? We just thought we could, and then people started using that word, “cult,” and putting [Tanner Dafoe wines] in tastings with wines like Scare-crow ($500 per bottle) and Screaming Eagle ($2,200 per bottle) and Harlan ($800 per bottle). It was kind of a daydream, and now the daydream is coming true.

What advice would you give to someone who wants to become a winemaker? If I were talking to someone like me, who doesn’t have a ton of money and isn’t go-ing to be able to go get their degree and start at the bottom, I would say get a little bit of an education — whatever course-work you can take — and then buy some grapes and start doing it. Find someone who can help you. Go bug somebody and help them make their wine, and you’ll learn how to make wine. Get into the cellar. Vol-unteer or get a summer job or something like that. But get some education, because the chemistry is really important. Just do it and don’t look down — and don’t look up — just like, one step at a time. Commit to it and start doing it. —Matt Miller

To get on Tanner Da Foe’s allocation list, register at tannerdafoewines.com.

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fri 8/21F I L M

Celebrating Avant-Garde Women DirectorsAt Subversive Women: A Low-Key Night of New Underground Films Made by Women, sample a smorgasbord of new, avant-garde fi lms, none longer than 20 minutes, and hear from the directors themselves. The organizers proclaim that these 12 women-directed short fi lms are “way too wacky, gory, sick, crazy, strange, weird, twisted, odd or insane to show at mainstream fi lm festivals.” We like it! Filmmakers Rena Riff el (Astrid), Katherine Sainte Marie (Diaries From Wonderland), Lindsey Haun (Coming To), Amara Grace (Night Shed), Kelly Morton (Guttmatchers ), Alexandra Velasco (Vessel), Lauren Morrison (Viscera) and Tamar Halp-ern (Death, Taxes & Apple Juice) will discuss their works. Egyptian Theatre, 6712 Hollywood Blvd., Hollywood; Fri., Aug. 21, 7:30 p.m.; $13. (323) 461-2020, americancinematheque calendar.com. —Sascha Bos

T E C H

A Tech Website IRLFor all you early adopters out there, Engadget Live is your chance to step beyond the gripes and the hype and try out the latest consumer electronics that everyone you know covets. In addition, the tech site assembles editors, readers and brands for an evening of conversa-tion about the latest state of gadget consciousness. Exchange L.A., 618 S. Spring St., downtown; Fri., Aug. 21, 7-10 p.m.; free. (213) 627-8070, engadget.com. —David Cotner

T H E A T E R

Racial ComminglingIn the wake of the 1992 L.A. Riots, actors-writers Mark Broyard and Roger Guenveur Smith created Inside the Creole Mafi a, a wickedly comical and enlighten-ing vaudeville show, which probes the duo’s deeply lived fi xations with the mixed-blood heritage of L.A.’s Creole community. The maddeningly complex aspects of identity politics go down easier as Broyard and Smith entertain with hilarious and quite touching inside jokes about good and bad hair, Eurocen-

tric vs. Afrocentric sensibilities and the pigeonholing of the Creole actor in Holly-wood, plus a practical guide to patois and a million zingers more. Bootleg Theater, 2220 Beverly Blvd., Echo Park; Fri.-Sat., Aug. 21-22, 8 p.m.; $15 online until 6 p.m. on show day, $20 at door. (213) 389-3856, bootlegtheater.org. —John Payne

sat 8/22C U LT U R E

I Think I’m Learning JapaneseNisei Week, the annual celebration of L.A.’s Japanese-American community, comes to a close this weekend. In the fi nal days of a 75th-anniversary celebration that started Aug. 15, Little Tokyo will be abuzz with food, music and other cultural events. The free festivities will feature taiko drum-mers, martial arts and, on Saturday at 1 p.m., the Day-Lee Foods World Gyoza Eating Championship. This is for serious eaters willing to cram as many dumplings down their throats as it takes to win the grand prize. Make sure to also check out the art exhibitions and demos taking place

on Saturday and Sunday, when you can explore everything from calligraphy to needlework. Japanese American Cultural & Community Center, 244 S. San Pedro St., Little Tokyo (plus other locations); Sat.-Sun., Aug. 22-23; free. (213) 687-7193, niseiweek.org. —Liz Ohanesian

F E S T I V A L S

Pink + TacoIt seems like there’s always something cool (and free!) happening at downtown’s Grand Park, and today, on the penul-timate Saturday of summer, you can hit two great events at the same giant venue. The L.A. Taco Festival features tortilla-wrapped goodness from ven-dors including Kogi, Tacos El Gallito, Homeboy Industries, Danny’s Tacos, Los Ruizeñores and Zingo, plus music by California-based, Afro-Latin–infl uenced Quita Penas. Take your tacos to the PROUD Picnic (or bring your own grub), which will feature even more food trucks, music and games. The picnic is part of a series at Grand Park celebrating our LGBTQ community, which will include a storytelling session in October and a Valentine’s Day bash on Feb. 13. Grand

P. 27 SATA DOUBLE DOSE OF FUN IN GRAND PARK

P. 28 MONTHE ART OF COMIC BOOK LEGEND JACK KIRBY

P. 28 WEDTAKING A SERIOUS LOOK AT MOVIE COMEDY FRIDAY

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The Comedy Get Down featuring D.L. Hughley, left, Charlie Murphy, Cedric the Entertainer, Eddie Griffi n and George Lopez: See Saturday.

PHOTO BY JIM MCGUIRE

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Park, 200 N. Grand Ave., downtown; Sat., Aug. 22, noon-7 p.m. (L.A. Taco Festival), 1-5 p.m. (PROUD Picnic); free. (213) 972-8080, grandparkla.org, latacofestival.com. —Sascha Bos

C OM E DY

The Kings Are BackTh e Comedy Get Down hits L.A. this weekend on its national tour. Partially rebooting and expanding late-’90s stand-up juggernaut the Original Kings of Comedy tour, Cedric the Entertainer and D.L. Hughley fi ll the absences left by the late Bernie Mac and TV multitasker Steve Harvey with none-too-shabby replacements George Lopez, Charlie Murphy and Eddie Grif-fi n. Chances are good a new concert documentary won’t be too far behind. The Forum, 3900 W. Manchester Blvd., Inglewood; Sat., Aug. 22, 8 p.m.; $49.50-$250. (310) 330-7300, fabulousforum.com. —Julie Seabaugh

sun 8/23F I L M

Stars Are Just Like UsJust in case you forgot that the matinee idols of yesteryear occasionally tracked in dirt with their feet of clay, today’s Hollywood Home Movies — presented by the Academy of Motion Picture Arts & Sciences — is a lighthearted journey into the simpler moments of cinema’s Golden Age. With AMPAS archivist Randy Haberkamp as the host, you’ll see behind-the-scenes footage of William Randolph Hearst’s circus-themed party for his 74th birthday, color footage from the set of Gone With the Wind, a day at Muscle Beach and scenes from a star-studded voyage to San Francisco. The silent movies will be accompanied live on the Hall’s 1925 Wurlitzer pipe organ. Old Town Music Hall, 140 Richmond St., El Segundo; Sun., Aug. 23, 7:30 p.m.; $10 general, $8 seniors. (310) 322-2592, oldtownmusichall.org. —David Cotner

mon 8/24A R T

A God of ComicsLet’s face it: No matter how much CGI you use to try to dress up comic books, the vast majority boils down to stories about cops fi ghting robbers. There are rare exceptions — one of which is showcased in the exhibition “Comic Book Apocalypse: Th e Graphic World of Jack Kirby.” Kirby, who died in 1994 in Thousand Oaks, illustrated every-thing from the X-Men to the New Gods, and his transcendent work from 1965 onward appears here in one of the most comprehensive retrospectives ever of his art. Main Gallery, California State University, Northridge, 18111 Nordhoff St., Northridge; Mon., Aug. 24-Sat., Oct.

10; opening reception Sat., Aug. 29, 4-7 p.m.; free. (818) 677-2226, www. csun.edu/mike-curb-arts-media-communication/art-galleries. —David Cotner

S T O RY T E L L I N G

Winners CircleIt takes a big ol’ tub of guts to get up in front of a crowd of strangers and tell a story — especially if it’s a story that doesn’t paint you in the best light. To-night’s Moth GrandSLAM Championship is devoted to the bold truth tellers who have won the past 10 Moth StorySLAMS. The venerable Moth storytelling tech-nique is simple: no notes, no prompter, just a microphone. The Echoplex, 1154 Glendale Blvd., Echo Park; Mon., Aug. 24, 7 p.m.; $25. (213) 413-8200, theecho.com. —David Cotner

tue 8/25B O O K S

The Steal of the ArtL.A. author Simon Goodman recounts his eff orts to reclaim his family’s Holocaust-looted art in his new book, Th e Orpheum Clock: Th e Search for My Family’s Art Treasures Stolen by the Nazis. The British-born Goodman’s grand-parents, members of a German-Jewish banking dynasty, were murdered in the concentration camps. After his father’s death, Goodman and his brother sought out his family’s lost treasures, some of which went to Hitler, some to private collectors, dealers and museums. In the book, Goodman chronicles his arduous dealings with the art world in recovering some of the works, including silver and furniture, as well as paintings by Degas, Renoir and Botticelli. Vroman’s, 695 E. Colorado Blvd., Pasadena; Tue., Aug. 25, 7 p.m.; free, book is $28. (626) 449-5320, vromansbookstore.com. —Siran Babayan

wed 8/26F I L M

“’Hood” MoviesIf you’re a ’90s kid, you probably have Friday memorized. The Ice Cube/Chris Tucker vehicle was a cable staple, a pe-rennially quotable entry in the pantheon of stoner misadventures. But is there more to Friday than what you see on the screen? Artist Mark Bradford, whose “Scorched Earth” exhibition is on view at the Hammer through late September, selected this fi lm for screening. Accord-ing to the museum’s website, the event’s goal is to explore about how “the ’hood” is sold in cultural works. Ernest Hardy (who writes for L.A. Weekly) and author-professor Tisa Bryant (Unexplained Presence) will speak on the subject after the fi lm. Hammer Museum, 10899 Wilshire Blvd., Westwood; Wed., Aug. 26, 7:30 p.m.; free. (310) 443-7000, hammer.ucla.edu. —Liz Ohanesian

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|F I L M

Funny PeopleMarc Maron isn’t the only one with a popular comedy podcast. Since 2009, Kevin Pollak has hosted comedic and acting heavyweights on his podcast/Internet show, Kevin Pollak’s Chat Show. The actor revisits some of his biggest talking heads in his directorial debut, Misery Loves Comedy. In the documentary, which premiered earlier this year, Pollak sits down with Tom Hanks, Larry David, Whoopi Goldberg, Martin Short, James L. Brooks, Jimmy Fallon, Christopher Guest, Judd Apatow, Amy Schumer and others to crack wise about the age-old question of whether misery begets com-edy. Following the screening, Pollak leads a discussion with special guests. Ace Hotel Downtown, 929 S. Broadway, down-town; Wed., Aug. 26, 7:30 p.m.; $15. (213) 623-3233, acehotel.com. —Siran Babayan

thu 8/27D A N C E

A Choreography SamplerAkin to small-plates dining, the Mix Match Dance Festival experience off ers tastes that cover the dance spectrum. For its ninth iteration, Mix Match presents a dizzying 50 troupes spread over four days. Hosted by choreographer Amanda Hart and her Hart Pulse Dance Company, the lineup of familiar and fresh faces is dominated by contemporary dance, but the eclectic brew is spiced with hip-hop, tap, belly and pole dancers, with the host company closing each show. Miles Memorial Playhouse, 1130 Lincoln Blvd., Santa Monica; Thu.-Fri., Aug. 27-28, 7:30 p.m.; Sat.-Sun., Aug. 29-30, 2 p.m.; $17. hartpulsedance.com. —Ann Haskins

B O O K S

True GritNick Off erman’s Ron Swanson, the musta-chioed, woodworking, meat-eating man’s man from Parks and Recreation, is no lon-ger on TV, but the character’s voice is all over Off erman’s newest book, Gumption: Relighting the Torch of Freedom With America’s Gutsiest Troublemakers. In the book, which is getting a “release show” at Largo, Off erman compiles 21 historical fi gures, writers, musicians, comedians, farmers, boat makers and furniture mak-ers whom he considers “great Ameri-cans,” including George Washington, Benjamin Franklin, Frederick Douglass, Eleanor Roosevelt, Carol Burnett, Willie Nelson, Conan O’Brien and … Yoko Ono. Off erman mixes humor with history when describing how his heroes’ grit inspired him. “At great personal cost, this excellent ‘fi rst American’ set our country sailing … full speed ahead upon the winds of gumption,” he writes of Washington. Largo at the Coronet, 366 N. La Cienega Blvd., Beverly Grove; Thu., Aug. 27, doors 7 p.m., show 8:30 p.m.; $40 (includes a copy of the book). (310) 855-0350, largo-la.com. —Siran Babayan

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THE MURGE URGEThis could be L.A.’s craziest improv show

BY CHARLIE LATAN

Have you watched im-prov performers spit fake teeth into one another’s mouths? Or a performer shave her armpits? Did you join an a cappella caroling

of “sew her vagina shut”? Were you lift-ed up in your front-row seat and paraded around the stage — and dropped on the fl oor? Were you then escorted outside for damage control— only to return for the fi nale?

Probably not. But for John Gilkey and his improv troupe, Wet the Hippo, or WtH, that’s all par for the careening course.

The group performs in a show called The Murge every second and fourth Sunday at 9:30 p.m. at the Clubhouse in Los Feliz. Former Cirque du Soleil clown Gilkey live-directs the 60-minute show — meaning he shouts out orders as the actors perform.

There is no planned structure. There are no linear narratives, no repeat char-acters. There is no “game,” the improv term for the main joke of the scene, which the improvisers have to identify and capitalize upon. This is spontaneous Theater of the Absurd.

Audiences have been polarized — some viewers will be weeping with joy while others scowl in judgmental reprobation. Lascivious, blasphemous and potentially dangerous acts defi ne Wet the Hippo.

It’s not exactly safe, but it’s also like nothing you’ve seen before.

Admission is by donation, but the actors actually get paid — including Max Baumgarten and Eli Weinberg, whose experimental theater company Four Larks created acclaimed show The Temptation of St. Antony.

“I ask my students to be as invested as a wire walker,” Gilkey tells L.A. Weekly. “Wet the Hippo’s willing to go there be-cause they trust me to be their harness.”

Wet the Hippo prepares for the show through the Idiot Workshop, a series of seminars taught by Gilkey or other core members. If students show potential, they’re invited to perform in The Murge.

“Gilkey’s approach has taught me to be really brave,” says actor Jennifer DeFilippo, who regularly performs with Wet the Hippo. “You learn quickly to trust if you’re up there long enough, something special will happen.”

No stranger to risk, from 1996 to 2003 Gilkey was a clown with Cirque du Soleil. Every time he took the stage, he had to contend with the fact that just moments before, acrobats and aerialists had defi ed death. “It forced me to risk my own life — emotionally,” he says.

After Cirque, from 2003 to 2005, Gilkey oversaw the comedic elements of shows by theater director (and former Cirque collaborator) Franco Dragone, including Le Rêve at the Wynn Las Vegas.

Gilkey met the head of Pixar’s story-board team, Jim Capobianco, after a Cirque show. In 2006, during the early storyboarding stages of the animated

movie Ratatouille, Gilkey was sum-moned to Pixar to improvise and “bust them open a bit.” Through his sinewy, gelatinous frame, he discovered the physicality of the characters and added more gags. Gilkey says some of his work made it into the hit fi lm’s fi nal cut.

In 2013, Gilkey performed in the Cirque du Soleil show Iris in Hollywood, but he soon burned out. He was let go by Cirque for being, as he puts it, too expensive and not very funny.

“I missed the look on people’s faces after they’d just had their minds blown,” he says. “I wanted to fi nd that again.”

So he put his eff orts into the Idiot Workshop, which he’d established in 2012 with the help of producer Chad Da-miani. (Damiani will live-direct the Aug. 23 show Murge, as Gilkey is in Scotland for the Edinburgh Fringe Festival.)

During the initial workshops, Gilkey selected a handful of students and formed Wet the Hippo. The group scrounged funds to tour California and Las Vegas, and WtH was nominated for Best Comedy in the 2013 Hollywood Fringe Festival.

Earlier this year, the traveling circus Spiegelworld reached out to Gilkey for help with Absinthe, a new stage show at Caesar’s Palace, and he cast it with Wet the Hippo performers.

But the group’s main performances happen twice a month at the Clubhouse, hidden in a Los Feliz commercial strip on Vermont Avenue between a Rite-Aid and a Jon’s Marketplace. WtH’s The Murge is part of a longer improv show

called Catsby, produced by Damiani (yes, it’s confusing, and you’ll only fi nd The Murge on the Clubhouse calendar as part of Catsby).

Throughout the night, audience members and performers mingle in the spacious lobby, which includes a square of rumpled couches. A fl imsy shuffl e-board table and scattered board games complete the stoner-collegiate vibe.

By 9:30 p.m. on a Sunday earlier this year, audience members for The Murge had fi lled the theater, which has about 75 chairs in a U-shape. On one wall, below the sound booth, was a large plastic tub fi lled with water bottles and cheap beer. Audience members signaled for a bever-age and a stagehand tossed it to them.

Above the sound booth was an electronic scoreboard clock. Suddenly the timer commenced. Gilkey and his clowns, male and female, all shapes and sizes, 12 in total, began to run around onstage. They high-fi ved one another, jostled people in their seats, jumped up and down and screamed maniacally.

“Are you happy?” Gilkey asked the crowd. “We’ll do whatever it takes to make you happy!” He’s thin and gaunt, with a wild-looking beard.

He called individual performers by name to come up and entertain the crowd. He made suggestions, such as, “Show them how you’re feeling.” When a male performer began a stuttering ballet sequence, he commanded, “More, more, faster, faster, come on!” The performer intensifi ed his routine, turning red, pushing himself to the max. When he fi nally collapsed, a new clown quickly took his place.

Some performers ventured deep into Stoppard or Beckett territory, asking ab-surd questions about existence. Others used only their bodies to communicate — two men formed a human steam train by joining their hands to each other’s ankles, then “cranking” themselves across the fl oor.

Halfway through the show, Damiani used his entire bulk — he’s about 5-foot-8, with a 250-pound frame — to lift a reluc-tant audience member up by her seat. He paraded around the stage, twirling the laughing woman. The crowd egged him on, but Gilkey fretted on the sideline. “Careful!” he screamed. “Don’t drop her!”

The act continued 10 seconds too long. Damiani struggled. Moving to set the woman down, he tripped and dropped her. She smacked the ground and the crowd gasped.

The show ground to a halt. People exchanged glances and shrugged. Then the woman stood up. Damiani grabbed a couple of water bottles and raced over. He escorted the startled woman out to the lobby. Still, Wet the Hippo fi nished its set on a high note.

When asked, the woman told the Weekly, “I love The Murge. I’m defi nitely coming back.”

Wet the Hippo performs The Murge at the Clubhouse, 1607 N. Vermont Ave., Los Feliz, every second and fourth Sunday at 9:30 p.m., as part of the improv show Catsby. clubhouseimprov.com.

| Culture // COURTESY OF WET THE HIPPO

John Gilkey, with beard, is the leader of improv troupe Wet the Hippo.

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Talking Up De Sade

AND A DIY, SECRET-SHARING,TWO-PERSON HEADPIECE

BY CATHERINE WAGLEY

This week, two artists exhibit paintings on roller blinds in Hollywood and the soon-to-be-demolished Sixth Street Bridge plays a key part in a one-night opera about

downtown aspirations and gentrifi cation. Headpiece for secret-sharing

In 1977, designer Victor Papanek co-wrote a book called How Things Don’t Work. He argued that many of the appliances and gadgets meant to make life easier don’t actually work that well, and proposed DIY alternatives. The Armory’s show is full of artist’s interpretations of his thinking. There’s a collapsible table that doubles as wall art by the duo CamLab, a group exercise kit by Robby Herbst and a two-person headpiece by Liz Nurenberg that’s meant to facilitate secret-sharing. 145 N. Raymond Ave., Pasadena; through Sept. 6. (626) 792-5101, armoryarts.org. Th e thing about being a girl

One of Lucretia X’s drawings has two frames side by side. On the right, a sexy blonde surrounded by too many outfi ts says the thing about being a girl is that “There are so many decisions.” On the left, a girl in a towel has a diff erent message: It takes longer to dress because “you think you look ugly in everything.” Lucretia, a key player in L.A.’s early Riot Grrrl scene, in part inspired Vega Darling’s documentary Lost Grrrls: Riot Grrrl in Los Angeles. Darling will take part in a discussion about art and rebelliousness after the screening at Pieter. 420 W. Avenue 33, Lincoln Heights; Mon., Aug. 24, 8 p.m; $5. womenscenterforcreativework.com. Simple stripes

There’s a haphazard casualness to artists Margaret Lee and Emily Sunblad’s show at

Hannah Hoff man Gallery, “You Can Teach an Old Zebra New Tricks.” The artists, based in New York, made all the work in the show together. Their simple paintings of windows were made by applying paint directly to white roller blinds (“You can roll your view up or down,” says the press release). Half a zebra can be seen through a red-trimmed window, and “zebra chairs,” made of raffi a, canvas and wood, sit on the gallery fl oor. Wandering through the show is sort of like watching a children’s play that’s charmingly staged but doesn’t have much of a plot. 1010 N. High land Ave., Hollywood; through Sept. 12. (323) 450-9106, hannahhoff mangallery.com. Before it all blows up

Halfway through the second season of True Detective, a downtown building right in front of the Sixth Street Bridge blows up. Artist Susan Silton saw this scene while taking a break from writing a libretto about the changing downtown landscape. The building erupting in fl ames was where her studio was for years, where she and artist/opera singer Juliana Snapper are staging their libretto. The building was just sold, forcing artists out, and the bridge is about to be demolished. This weekend, performers will stand in Silton’s studio windows singing from a score that references gentrifi cation, money grubbing and big dreams. Audiences will watch from the bridge. Sixth Street Bridge, facing north, downtown; Sat., Aug. 22, 8 & 10 p.m. (626) 689-3214, westofrome.org. Weakest link

Four women, visible only from the waist up, are turning in a circle and all talking at once in artist Doa Aly’s four-minute video, Hysterical Choir of the Frightened. The words the women say come from recent newspaper reports on protests in Cairo and from Marquis de Sade’s novel about a good young girl continuously thrust into perverse situations. So the fi lm feels eerie and militant. It plays in the dark “video” room at the Los Angeles Contemporary Archive. The artworks in the Suzy Halajian–curated exhibition, about the ways artists dig into “source material,” are scattered among shelves or books. Take home a copy of Amsterdam writer Janine Armin’s lyrical essay, in which she refl ects on numerology, the blue moon and boring meetings while explaining her decision to be a weak person on purpose. 2245 E. Washington Blvd., downtown; through Sept. 26. (213) 935-0740, lacarchive.com.

| Culture // | Art Picks //

Artist Susan Silton’s downtown studio building, as depicted in a screenshot from HBO’s True Detective, season 2, episode 4

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AMERICAN GIRL, RADICALIZED

Bit by bit, sweet Katie becomes hardened Karima

BY JENNY LOWER

In All American Girl, a world premiere from InterACT Theatre Company, radical Islam doesn’t take hold of its main charac-ter’s life all at once. For Katie, or Karima, as she comes to be known, Islam follows a conservative

Christian upbringing, volunteer work in Boston’s slum-poor Dorchester neighbor-hood and a stint at Fordham University. When she meets Igbal, a brooding Indian immigrant, he educates her on the ways Muslims are brutalized by Hindus back home.

But he’s no extremist — radicalism is something they fi nd together. It gradu-ally chokes them only after a series of disappointments and heartbreaks, a “tapeworm,” Katie says, that consumes from within.

Written by Wendy Graf and directed by Anita Khanzadian, the one-woman play draws inspiration from recent accounts of teenagers and young women seduced online and radicalized into jihadist fi ght-ers. One such story — that of a 19-year-old

Colorado woman arrested as she prepared to fl y to Syria — is detailed in the program, a faux newspaper detailing atrocities committed against Muslims, the kind that come to obsess Katie as she trembles on the cusp of extremism. Graf also was fascinated by the wife of Boston Mara-thon bomber Tamerlan Tsarnaev, whose friends expressed astonishment that this apparent girl-next-door could be mixed up in such an ugly business.

All American Girl is notable for taking the audience behind these bewildering headlines, crafting a layered narrative that traces Katie’s progression, starting with her average childhood, entirely in her own voice. Katie is portrayed at alternat-ing performances by Annika Marks and Jeanne Syquia (the latter performed on the night reviewed, but Marks takes over for the remainder of the run).

Katie’s choices never stretch beyond the bounds of credulity. Only much later do they strain sympathy. We see Islam evolve from an initially positive force, whose modesty she fi nds “kind of hot,” to a cultural badge. Katie’s compassion, her most defi ning trait, begins to harden

and mutate: Ironically, if she were less sensitive to injustice, she might be less prone to fanaticism. “Isn’t doing nothing in the face of violence itself a form of violence?” she pleads with the audience on the eve of committing such an act.

One of Graf’s most intriguing conten-tions is the play’s implicit argument that America’s terrorists, even those foreign-born, might be homemade. In

a post-9/11 world, Iqbal struggles to fi nd work and keep housing, and sees his dreams quashed because of lack of citizenship. He’s consistently other-ized. Treat aspiring Americans as outsiders long enough, the play warns, and they might prove you right.

ALL AMERICAN GIRL | InterACT Theatre Company Lounge Theatre, 6201 Santa Monica Blvd., Hollywood

| Through Aug. 30 | (818) 765-8732 | interactla.org

PHOTO BY RICK FRIESEN

| Culture // Theater Reviews //

T H E A T E R R E V I E W S

Riot/Rebellion Is Potent

There’s a palpable feeling of the sacred suffusing director Deena Selenow’s captivating staging of Donald Jolly’s

2011 retelling of the 1965 Watts Riot (aka the Watts Rebellion, depending on which side of the truncheon one is on).

For one thing, the Watts Village Theater Company’s production of Riot/Rebellion, which commemorates this month’s 50th anniversary of the uprising, is at Mafundi Institute Auditorium, the venerable cultural center that literally rose from the ashes of a commercial stretch of 103rd Street so gutted by fi re that it became known lo-cally as “Charcoal Alley.” As site-specifi c theater goes, the ground doesn’t get more hallowed.

For another, the play’s ritualized invocation of South Central L.A.’s circa-1965 social and politi-cal tinderbox of a landscape, together with Jolly’s blend of first-person testimony and his use of overlapping choral blow-by-blows delivered mostly from set designer Mark Kanieff’s raw wooden lecterns, carries more than a hint of the liturgical.

The play is structured in three parts, each

punctuated by an increasingly theatricalized and tongue-in-cheek re-enactment of the now-leg-endary arrest by white CHP motorcycle cop Lee Minikus (played by Javier Ronceros) of 21-year-old Marquette Frye (the fi ne Roberto Martin) and his older brother Ronald (an outstanding Jacob B. Gibson). It gives a compelling voice to the sim-mering resentments of a neighborhood hemmed in by racially restricted housing covenants and beset by unemployment, bad schools, worse health care and systemic cop-on-black violence. (Kori Denise, Carol A. Simon and Ashley Wilker-son round out a versatile ensemble.)

Although he makes evocative use of period music and poignant eyewitness detail, Jolly’s most potent insight is his conception of Riot/Re-bellion as a grim prequel of things to come; Mar-tin’s fi nal Marquette Frye reprise culminates in an emblematically inchoate, not-quite-quotation of Rodney King’s famously televised plea, “Can we all get along?” —Bill Raden

Watts Village Th eater Company at Mafundi Insti-tute Auditorium, 1827 E. 103rd St., Watts; through Sept. 26. wattsvillagetheatercompany.org.

Not Much Patsy Cline

Country Music Hall of Famer Patsy Cline was celebrated not only for her melodic voice and versatile repertoire but also

for her warmth, humility and readiness to pro-mote the careers of others, especially women.

First performed in 1988, Ted Swindley’s Always ... Patsy Cline builds upon the real-life acquaintance between Cline (Cori Cable Kidder) and one of her devoted fans, Louise Leger (Nikki D’Amico), which grew aft er the two met at one of her concerts in Houston.

The piece includes an extensive medley of Cline’s greatest hits — nicely sung by Kidder and well-received by the audience. Not a probing work, the show’s transparent aim is to showcase Cline’s music and to use the scenes with Leger to illustrate the performer’s genuineness and unpretentious charm. Nimbly accompanied by a fi ve-piece band under pianist Sean Paxton’s musi-cal direction, Kidder’s able impersonation and un-ostentatious vocals are indubitably entertaining.

But under Robert Marra’s direction, when not singing, Kidder’s Patsy — appealingly decked out in A. Jeff rey Schoenberg’s period costumes — is pleasant and sweet but hollow. By contrast D’Amico’s Louise prances and dances and drawls and gesticulates all over the place. Her energy is appreciated but the performance is over the top. No sense of a real bond between them, or how these two people might genuinely have helped one another, is ever depicted. It’s a shortcoming embedded in the material that’s un-derscored by its execution. —Deborah Klugman

Sierra Madre Playhouse, 87 W. Sierra Madre Blvd., Sierra Madre; through Sept. 27. (626) 355-4318; sierramadreplayhouse.org.

Jeanne Syquia in All American Girl

Cori Cable Kidder as Patsy Cline

PHOTO BY GINA LONG

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A TRUE CLASSICWhat I learned driving around L.A. with Grandma star Lily Tomlin

BY AMY NICHOLSON

It’s a perfect summer afternoon in Los Angeles, and Lily Tomlin wants to do everything: Drive to Neptune’s Net in Malibu, explore the L.A. River, tour Koreatown, grab cocktails in West Hollywood. She jumps in her 1955 Dodge Royal

Lancer — her other car, a Prius, balances out its ecological impact — and, while she debates our fi nal destination, we head south from the Valley into the canyons.

The car, Dora Bannister, is named after a character in the 1953 noir Wicked Woman, which Tomlin saw as a 14-year-old usher-ette at the Avalon Theatre in Detroit. “My fi rst job in entertainment!” she laughs. Like a good girl from the Motor City, Tomlin loves classic, all-American metal. Her father worked at a brass factory and would bring home bits of what he’d made that day to show off . When Tomlin started making her own cash, she bought real steel and chrome, a couple old Ford Thunderbirds and, in 1975, Dora.

“I hated new cars,” she says. Dora was originally pink and cream, Dodge’s La Femme model, which came with a match-ing calfskin purse, lipstick case and rain-coat. “I’d like to have that,” sighs Tomlin, glancing down at her white leather high-tops. Not that she subscribes to rigid gen-der roles. Dora has been repainted black. And, alongside her owner, the 60-year-old classic just made her movie debut, in Paul Weitz’s Grandma, in which Tomlin plays a widowed lesbian poet who spends a day much like this one, powering her old car

across Los Angeles. That poet’s mission: to help her teenage granddaughter (Julia Garner) scrape up the cash for an abortion. Weitz wrote the part for her — it’s Tomlin’s fi rst lead fi lm role in 27 years — without even knowing she owned the perfect set of wheels. “One day he said, ‘I’m going to go look at an old car for Elle to drive,’�” Tomlin says. “I said, ‘Well, I’ve got an old car — and it’s kind of snazzy-looking.’�”

Grandma is an almost ironic title. Tom-lin’s character, Elle, is a loudmouth, a proud feminist who refuses to act elderly. Her girlfriend (Judy Greer) is half her age and four times as demure. Smoking a joint with an ex, Karl (Sam Elliott), from her brief fl irtation with heterosexuality, Elle beams, “I like being old. Young people are stupid.”

But that doesn’t mean Elle likes watching her Los Angeles become stifl ingly polite. Aghast to fi nd that the neighborhood’s free women’s health clinic has become a coff ee shop, Elle blurts to the barista, “Where can you get a reasonably priced abortion these days?”

Tomlin is full of stories. She moved to Los Angeles to co-host Music Scene, a proto-MTV that broadcast Janis Joplin and Jimi Hendrix concerts and counted down the week’s top hits. To take the gig, she turned down Laugh-In. “I wanted to go on a hip show,” she cracks.

She arrived in L.A. on Aug. 9, 1969 — the Saturday that Sharon Tate’s body was found. “The night after the Manson mur-ders!” Tomlin exclaims. “I went to a party

that night at some house, and all of my friends, who were writers working on dif-ferent shows, they were making parodies of what had happened — or what had been reported as happening — the night before. It was kind of eerie.”

Soon after, ABC canceled Music Scene. “Parents didn’t like what they considered to be longhair dopers on at primetime,” Tomlin clucks. So she fi nally said yes to Laugh-In — the show that would embrace her lunatic, character-driven comedy and make her a star — and settled in to Califor-nia living.

Her fi rst house in L.A. was a shack on the beach. It had no heat and, years later, washed away during a storm. Her second was in West Hollywood, underneath a high-rise apartment dubbed the Divorce Hotel. “It looked right into my backyard,” she groans. In fact, we’re driving by that house right now. The Dodge Royal makes a hasty left.

“Ugh, look what they’ve done to it!” Tomlin gasps. No, wait, wrong house. Dora inches up the street. “Here it is! It’s for sale?” Actually, no — still the wrong house. Finally, we’re in front of a tasteful, mud-colored manor festooned with vines. “I painted that house blue and people on the block were just appalled,” she says. George Cukor lived a few houses down and Phil Spector was around the corner.

“We’d hear gunshots at night,” Tomlin says, nodding toward Spector’s yard. “Seriously.” She and her partner of 44 years, Jane Wagner, moved to Los Feliz. They were still there during the 1992 L.A. Riots (“I could look down and see all the smoke”), and then decided to keep mov-ing. “As soon as I sell a house, it doubles in price,” Tomlin says with a mock-tragic grimace. Just a year and a half ago, on New Year’s Eve 2013, she and Jane were married at a friend’s house in town. Do they feel like newlyweds? Tomlin giggles. “Kinda!”

The Dodge heads back down to Sunset. Tomlin recalls driving past a billboard for one of her albums in the ’70s. “I just got sick to my stomach,” she shudders. “It just seemed so trying to sell something, you know?” Tomlin prefers to steer her own career. And then she navigates Dora toward Beverly Hills on a quest for coff ee milkshakes. Forget the fi nal destination. Life is all about enjoying the ride.

| Film // PHOTO BY GLEN WILSON, COURTESY OF SONY PICTURES CLASSICS

LILY TOMLIN GETS A ROLE WORTHY OF HER

Grandma opens with a breakup, a rather vicious one: Seventy-ish poet Elle (Lily Tomlin) is calling it quits with a younger woman we quickly ascertain is her girlfriend — it’s the sort of breakup where, believing

you know where a relationship is headed, you drive the knife in farther and deeper than you need to, preemptively wounding your partner more than he or she could ever hurt you. Th e girlfriend, Olivia (Judy Greer), stands dumb-struck. Writing poetry is all about paring language to the essential minimum, and we’ve learned just how good Elle is at cutting people down, too.

Th is is just the beginning of the tart, subterranean grandeur Tomlin, who has always been a marvelous actress but who hasn’t had a leading role in nearly 30 years, brings to Grandma. Th is is her second fi lm with Paul Weitz — she also appeared in his last movie, 2013’s Admission — and though the director has said that he’d had the basic idea for Grandma for years, it wasn’t until he met Tomlin that he knew exactly how to write the character. Tomlin fi lls out the role like a tree spreading its branches and

roots, though she brings a su-perb lightness to it, too: Elle’s acidity oft en has a comic kick — for her, wisecracks aren’t just a defense mechanism but a means of surviving the worst.

And she needs those wise-cracks: Her granddaughter, Sage (Julia Garner), shows

up on her doorstep, announcing that she’s pregnant and needs $600 for an abortion. But Elle’s low on funds herself. Th e two pile into Elle’s car, a bumptiously elegant 1955 Dodge Royal, in search of the money. During this road trip, a thorny, multi-dead-end map of family resentments is laid out. Elle seems not to care that she has caused pain — and yet she betrays, in the smallest of ways, that she does care. —Stephanie Zacharek

GRANDMA | Written and directed by Paul Weitz Sony Pictures Classics | Landmark, ArcLight Hollywood

Grandma

Lily Tomlin as Elle

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New Country, the Oldest Story

WE COME AS FRIENDS LAYS BARE THE EXPLOITATIVE HORRORS THE WORLD VISITS ON THE SUDAN

BY ALAN SCHERSTUHL

W e Come as Friends might look at fi rst like despair tour-ism. Hubert

Sauper’s portrait of the Sudan’s cruel new colonialism opens with a vision of intense beauty: In the honeyed light just before evening, a young boy, nude but for a beaded necklace, dashes down a sun-baked path carrying a plastic bottle of water. His smile is sweet and wide, and un-less you’re one of the American evangelicals we meet later in the fi lm, the ones committed to tug-ging shoes and socks onto the feet of every African, this kid’s joy will make you smile, too. Soon after that we see the toy-like, lightweight, two-man prop plane in which the fi lmmakers are zipping about South Sudan,

the world’s newest country. We see the director, a white French-man, plead his case to the lead-ers of a village: It will be dark soon, and he and his crew need a place to stay. The leaders are skeptical, even hostile — when ever has the arrival of a white man been good for them?

Those fi rst moments play into white, Western notions about Africa, the ideas we get from the movies: a Gods Must Be Crazy land of childlike natural freedom, of an out-of-time purity that we might be losing through the corrupting spread of plastics and products. But also an unwelcoming place of backwardness and terror — the scene might play as if what matters most is Sauper’s dis-comfort rather than the reasons behind those leaders’ wariness. He cuts to black at the moment of greatest tension: Is the hero

in terrible danger?The good news is that Sauper

immediately chucks such narra-tive convention. Thereafter he dives into exactly why he might be seen as unwelcome. The fi lm is a tour of the Sudan just before and after the referendum that has split the country into two; mostly, Sauper is off -screen, let-ting the people he meets speak.

We see villagers describ-ing the many assaults against them and their livelihoods, fi rst from militias and then from industry. We see the prefab of-fi ces of a Chinese oil company, where engineers talk blithely of how similar their experience in Africa is to that of science fi ction astronauts seeking out resources to extract from far-off worlds. Brace yourself for hor-rible statements from a white man who makes a living blowing up leftover mines and bombs from the region’s many recent wars: “There must be a reason they’re still 200 years behind,” he says of the Sudanese. (He also boasts that in his com-pound he has “three women” and several armed guards.) Equally disturbing: An evan-gelical couple, opening a school, describe the nascent Christian country of South Sudan as “New Texas” — president Salva Kiir Mayardit wears an American-fl ag pin plus a Stetson given to him by George W. Bush — and marvel that “the Toposas don’t understand property ownership the way you and I do.”

Those words prove especially haunting later, when Sauper fi lms a farmer baffl ed by a con-tract he’s been given, signed by many offi cials, ceding his land to foreign investors. Or when another farmer tells us that, ever since the oilmen came, chickens and children die when

| Film // PHOTO BY HUBERT SAUPER

An adolescent boy of the Bari tribe, South Sudan, apparently imitating the tribal tradition of warriors putting ashes on their body

AN INSIDER’S VIEW OF OLYMPIC TABLE TENNIS

In the terrific documentary Top Spin, three teen athletes with mad ping-pong skills vie for a spot on the North American Olympic table tennis team. Film-

makers Mina T. Son and Sara Newens, who also edited, follow Lily Zhang, 15, and Ariel Hsing, 16, both from Cali-fornia, as well as Long Island’s Michael Landers, 17, as they compete their way toward the 2012 Olympic Trials. Onl y the three best players from the United States and Canada will make the Olympic team, so the pressure is enormous. Yet the three contenders remain upbeat (most days), even as they sacrifi ce friends and fun to the relentless grind of practice and tournament travel.

With sleek and informative on-screen graphics and thrilling slow-motion demonstrations of game technique, Top Spin packs a lot of information into its 80-minute running time, arguing that a great table tennis player is one part boxer, one part chess master. As Lily, Ariel and Michael reach the Olympic Trials and

their respective destinies, the three react in ways that are typically heartfelt. These “kids” turn out to be wiser than their years — wiser than most of us, probably — as they both win and lose with an enviable grace. —Chuck Wilson

TOP SPIN | Directed by Sara Newens and Mina T. Son First Run Features | Royal, NoHo, Playhouse

Top Spin

( 37 »

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LilyTOMLIN

JuliaGARNER

Marcia GayHARDEN

JudyGREER

LaverneCOX

SamELLIOTT

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G R A N D M A

A SONY PICTURES CLASSICS RELEASE AN 1821 MEDIA AND DEPTH OF FIELD PRODUCTION A PAUL WEITZ FILM “GRANDMA” LILY TOMLIN JULIA GARNER MARCIA GAY HARDEN JUDY GREER LAVERNE COX AND SAM ELLIOTT CASTING

BY DOUGLAS AIBEL HENRY RUSSELL BERGSTEIN DEBORAH MAXWELL DION COSTUME DESIGNER MOLLY GRUNDMAN-GERBOSI MUSIC

BY JOEL P WEST PRODUCTION DESIGNERS MICHELE YU AND CINDY CHAO EDITED

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EXECUTIVEPRODUCERS STEPHANIE MEURER DAN BALGOYEN DANIELLE RENFREW BEHRENS PRODUCED

BY ANDREW MIANO PAUL WEITZ PARIS KASSIDOKOSTAS-LATSIS TERRY DOUGAS WRITTEN AND DIRECTED BY PAUL WEITZ

WRITTEN AND DIRECTED BY PAUL WEITZ

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VIEW THE TRAILER AT WWW.GRANDMATHEFILM.COM

“ACERBICALLY FUNNY…LILY TOMLIN GIVING A CAREER-CAPPING PERFORMANCE.”-Stephen Holden, THE NEW YORK TIMES

“HUMOROUS AND POIGNANT.”-Claudia Puig, USA TODAY

“LILY TOMLIN HAS NEVER BEEN BETTER.” -Peter Travers, ROLLING STONE

“WRITER/DIRECTOR PAUL WEITZ PUTS FORTH THE FINEST WORK OF HIS CAREER.”-Clayton Davis, AWARDS CIRCUIT

STARTS FRIDAY,AUGUST 21

Q&As WITH DIRECTORPAUL WEITZ

Friday 8/21 after the 7:30 show at The Landmark and after the 8:55 show at the ArcLight

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O P E N I N G T H I S W E E K

AFTER WORDS Picture a librarian. Is she a mousy, middle-aged brunette, her unkempt hair clashing with the muddy browns of her ill-fitting wardrobe? Does she work in silence, worshipping books but resenting their readers, returning every evening to a shoddy apartment and disinterested cat? Now, imagine that idea of a librarian imagining a “Latin man.” Does he stand a little too close as he guides her, white tourist, around his beautiful country? Do his eyes, the deep-est and most soulful she’s ever looked into, dance as he laughs; is he always laughing when he’s not asking her sexily philosophical questions? And here is this Latin man’s tiny daughter; she lost her mother to cancer, but she sure is preco-cious, talking books and sassing her papi in her atrocious fake accent. Now you have the characters in Juan Feldman’s After Words. Marcia Gay Harden’s Jane is the most introverted woman who ever sat behind an information desk. Her library branch is closing, so she sets off for Costa Rica to kill herself in paradise. Instead, she meets Juan (Óscar Jaenada), a single father, tour guide and occasional gigolo who gives Jane a week of tours in exchange for money he needs to pay for his daughter’s (Jenna Ortega) private school. Juan’s relentless enthusi-asm — helped by Jaenada’s superhuman charm — pushes sober, timid Jane to drink beer, climb a mountain and have what seem to be the first human conver-sations in her life. Harden does her best, but the movie hates Jane, frizzing her hair, stuffing her into knee-length pleated shorts (topped with a fanny pack!) and saddling her with a tedious voice-over. Costa Rica is a beautiful place to film, and a woman’s journey into wholeness can make for a fine story. But Feldman, having established all his stereotypes, re-fuses to push them beyond the motions you know they have to go through from the first scene of lonely Jane crying into her cat’s fur. (Maeve Gallagher)

GO AMERICAN ULTRA Nima Nourizadeh’s American Ultra is a bloody Valentine attached to a bomb. It’s violent,

brash, inventive and horrific, and per-haps the most romantic film of the year. Jesse Eisenberg and Kristen Stewart star as Mike and Phoebe, two West Virginia stoners blissed out on weed and each other. “We’re the perfect fucked-up couple,” Mike beams, before admitting that she’s perfect and he’s the fuck-up. As the movie starts, Mike has scraped up the cash for a chintzy engagement ring so he can spend the rest of his life kinda ruining hers: having panic attacks that prevent them from traveling, forc-ing her to cook lest he burn down the house, supporting them on his meager paycheck from the mini-mart. With other actors, this could play like slapstick. But Eisenberg mines Mike for pathos — he’s not a punch line, he’s a flake who knows he’s his own worst enemy. Yet it’s Stewart who makes this loony love story work. She takes what could easily be a simple supportive-girlfriend role — a cheerleader/enabler — and fills Phoebe with a rainbow of emotions. The big twist is none of us knows exactly who Mike is — not even Mike. One night outside the Cash & Carry, Mike looks up at the stars, and this disheveled domestic drama turns into a thriller, with the CIA out to murder Mike. It’s no shock to moviegoers that Mike has been programmed with surprise skills, though it is to him. We’ve seen that plot point in a dozen dumb movies. What’s shocking is how smart American Ultra is at being dumb — its emotional intelligence is off the charts. (Amy Nicholson)

BELTRACCHI: THE ART OF FORGERY According to convicted art forger Wolfgang Beltracchi, the best artists are those who paint with the “richest colors.” The art market, he says, merely favors whoever commands the highest selling price. Beltracchi is the focus of German director Arne Birkenstock’s provocative new documentary, Beltracchi: The Art of Forgery. The film begins just three days before Beltracchi is off to prison for forg-ing what some experts have called the finest Campendonk ever “discovered” — one of Beltracchi’s tricks is to paint works of art that no one has ever actually seen and are only alleged to exist. (He

they drink the water. Or when another evangelical responds to the complaints of some locals whose goats used to graze on land he’s claimed: “You were here fi rst, but now there’s a fence around it, so...” He lets that “so” trail off , in the way Americans do when the conclu-sion they’re building to seems so obvious that they can’t even be bothered to speak it aloud.

All this is interspersed with marvelous, world-upending surveys of land and sea from the windows of that plane. But those moments of pain and revela-tion keep coming, all varied and surprising. These accrete into a mountain of evidence for Sau-per’s thesis: South Sudan might be new, but the forces shaping it are the same that have damned Africans for centuries — the rest of the world’s lust for resources and conversions. That every-thing is beautiful just makes it hurt all the more.

WE COME AS FRIENDS | Directed by Hubert Sauper | BBC Worldwide North

America | Royal

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|demonstrates on screen how to forge an early–20th century oil painting by a well-regarded albeit lesser-known artist.) There’s no question that Beltracchi broke laws and cheated collectors out of mil-lions, but he still claims to believe he did nothing wrong. He’s “a Robin Hood,” he explains, who used the money he made from forgeries to create a better life for his wife and children. The filmmakers resist taking sides. Instead, they present the clash between Beltracchi’s views and those of the art-world cognoscenti as an opportunity for an enlightening meditation on the meaning of art and how that meaning gets lost (perhaps) through high-profile financial transac-tions. Beltracchi tells an interviewer that Max Ernst wasn’t a genius because his techniques were rudimentary and easily duplicated. When the interviewer coun-ters that Ernst was a genius because of his ideas, Beltracchi scoffs, “Ideas don’t make you a good painter.” Cut to an exasperated art dealer who tells us just how badly Beltracchi gets it wrong.

THE CURSE OF DOWNERS GROVE High school drama The Curse of Downers Grove delivers good, cheap thrills whenever teenage hormones rage hard enough to push its otherwise generic rape-revenge plot along. Co-adapted by Bret Easton Ellis from Michael Hornburg’s novel, the film falters whenever victim Chrissie’s (Bella Heathcote) sublimated anxiety about being assaulted by psychopathic football player/would-be rapist Chuck (Kevin Zegers) gets expressed through tacky-looking nightmares — or when her sexual attraction for pseudo-sensitive teen car mechanic Bobby (Lucas Till) leads to tepid romantic encounters. Thankfully, things pick up when Chrissie and Chuck act on their more violent im-pulses during predictable but satisfying fight sequences. By forgoing choreogra-phy and emphasizing blunt trauma, es-

pecially broken bones, blood splatter and quivering bodies, action scenes that pit Chrissie and her friends against a pack of stereotypically thuggish jocks emphasize what it feels like to fight dirty. Ellis and di-rector Derick Martini generally prioritize upsetting acts of violence over realistic dialogue, though they do try to make Chuck a more complex villain by having him deny Chrissie every time she bluntly accuses him of raping her. Viewers will be more inclined to forgive Ellis and Martini for inadequately developing both their protagonists and antagonists when they see Chrissie standoffishly stammer, “Are you OK?” to her best friend Tracy (Penelope Mitchell), which the blood-soaked Tracy answers by shuddering. The Curse of Downers Grove coasts on pulpy fumes thanks to its creators’ effective emphasis on circumstantial peril over character-driven drama. (Simon Abrams)

GO THE IRON MINISTRY J.P. Sniadecki’s The Iron Ministry, a study of train travel in China, opens as a detail-oriented docu-cine zone-out, an examination of all the everyday wonder you’ll notice if you stand someplace long enough. The film confines itself to inside the train cars, mostly, and it often demands you regard the minutiae more conventional documentaries omit: the bottle of water, disposable coffee cup and junk-food bags all surrounding the head of a conked-out passenger sleeping face-down on a plastic table. But more often than that the faces are up, and our act of looking becomes an act of listening and understanding. Again and again, people here talk, about their lives or their plans or what they make of what China is be-coming. What emerges is a sense of an optimistic people well aware of how hard times can be but convinced they might be getting better. The talk is often frank. “Everyone’s got steamed buns to eat, so there’ll be no revolution, right?” a young

“Vibrates with smarts and sexiness. Greta Gerwig is the mistress of all

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“Funny, blithely witty, emotionally intricate and terrifically touching.”

Joe Morgenstern,

“IT’S IMPOSSIBLE NOT TO FALL INLOVE WITH ‘MISTRESS AMERICA’.”

★ ★ ★ ★

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TELL-TaLE LiEsTheatrical Release- Weds. August 26th at 8:00pm

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Tickets Online: www.syntheticcinema.com/tickets

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man asks. He laughs — a little. The film is clear about how people feel and how they express it, to one another and to the filmmakers. What’s not clear is whether this is common out-in-public chatter, or whether it has been encouraged and elicited by interviewers. What are the potential consequences for that young man, for the others who speak up, for the woman who laments, at length, the changes that have come to Tibet since the railroad stretched there, too? It’s al-ways political when regular people speak plainly about their circumstances — here, it’s also moving, revelatory and often funny, offering plenty to mull over during the long shots of train workers trundling their food carts. (Alan Scherstuhl)

MATEO A fascinating warts-and-all docu-mentary portrait of an artist operating — socially, culturally, financially — on the fringe, Mateo details singer-songwriter Matthew “Mateo” Stoneman as he completes work on his seven-years-in-the-making album A History of Cuba. Having cut himself off from his New Hampshire parents, Mateo sleeps on the floor of a cluttered, bedbug-infested

East L.A. apartment, plays in local Cuban restaurants and at random parties for money, and frequently travels to Cuba to record. While in Havana, Mateo also spends time with a “girlfriend” whose child might be his, goes out with another woman with whom he shares some quasi-sexual relationship, and trawls the city’s nocturnal streets looking for pros-titutes — a decidedly un-romantic exis-tence that’s at odds with the love songs he delivers in a striking high voice over acoustic guitar. While colleagues and friends wax rhapsodic about his artistry, there’s a lingering sense throughout Mateo that, just as Mateo himself seems detached from those around him, his old-school music is too far removed from the contemporary pop that might find a wider audience in either Cuba or the States. Incisively intimate, it’s a small but stirring snapshot of a gifted, hope-lessly lonely soul. (Nick Schager)

ONE AND TWO All happy families are alike; each supernatural family is supernatural in its own way. In co-writer/director Andrew Droz Palermo’s One & Two, a hereditary disposition toward short-

distance teleportation has led a family of four to exile themselves somewhere in the nameless woods. A high, unwelcom-ing wall separates the quartet from the outer world, so siblings Eva (Kiernan Shipka) and Zac (Timothée Chalamet) pass the time by sneaking out at night to make the most of their uncanny abil-ity. This is much to the chagrin of their

domineering father (Grant Bowler), if not their ailing mother (Elizabeth Reaser). “What is this place? Why are we here and not out there?” Eva intones, as though one of Terrence Malick’s philosophically minded narrators had wandered onto the sequestered homestead of Dogtooth. Shipka proves just as capable in a more central role as she was stealing scenes as Mad Men’s Sally Draper; Reaser, whose two-episode arc on that show’s final season was among its most ellipti-cal and haunting, brings a similarly tragic quality to her maternal role here. Far from a superhero origin story, One & Two spends precious little time on Eva and Zac’s gift/curse, with Palermo focusing instead on the ways brothers and sisters stick together as everything else falls apart. He demonstrates an affinity for all things ethereal, even as he occasionally struggles to make space for himself in the long shadow of his estimable influ-ences and reference points. (Michael Nordine)

THE PARK BENCH Set largely in a pictur-esque park, The Park Bench, written and directed by Ann LeSchander, is essential-ly a student film tricked out with anima-tion and great cinematography. It’s also blessed with two talented, good-looking

lead performers who bravely wade through endless cringe-inducing narra-tive and character clichés. Emily (Nicole Hayden) is a prissy, uptight, WASPish grad student about to defend her thesis in library science — and get married to a safe-choice beau. Mateo (Walter Perez), the Latino son of immigrants, needs help with his English lit course because failing would endanger his scholarship. Dear viewer, tingle warmly as you watch these clashing opposites warm into mutual at-traction. Can’t you smell the homemade dishes Mateo’s mom makes for him to share with Emily, who swoons with every bite? Share Emily’s doleful stare at Mateo as he falls asleep during a tutoring session after telling her he filled in for his migrant-worker cousin picking strawber-ries when an emergency called. Chuckle along with Mateo as Emily rattles off theorists he should read to better grasp his subject. Agonize with the couple as Emily’s looming nuptials piss in their love punch. The script plays like something by an English major overstuffed with knowl-edge of lit but whose real-life experience is drawn largely from movies — and whose simplistic views on race and class are straight out of the white liberal’s “But I mean well...” handbook. As the movie moves toward its inevitable ending, you too can whisper the insipid fetish that passes for visionary race politics in faux-progressive circles: They’re gonna make beautiful babies. (Ernest Hardy)

SHE’S FUNNY THAT WAY There are some modest pleasures to be mined from Peter Bogdanovich’s romantic caper She’s Funny That Way, which at least strives for buoyancy. Owen Wilson plays a big-shot Broadway director who changes the life of Brooklyn call girl Imogen Poots, though his own world comes tumbling down in the process: His diva-like actress wife (Kathryn Hahn) gives him hell. The star of his latest play, a preening sex god played by Rhys Ifans, uses his director’s

DIGGING FOR FIRE FINDS MORE LIFE AND MYSTERY THAN IS THE INDIE NORM

Joe Swanberg’s Digging for Fire is a tonally odd film — a mystery, a hangout and a couples therapy session all at once. Husband and wife

Tim (Jake Johnson) and Lee (Rosemarie DeWitt) are housesitting at a well-off home, which offers ample opportunity for snooping and class comparisons (their conversations about whether to send their son to private school ground the fi lm in issues not oft en part of the indie milieu).

In the yard one day, Tim discovers a bone and a gun. Lee tells him to forget about it, and takes their son with her to see her parents, leaving Tim behind to do the taxes, that most uncinematic of tasks. Swanberg slyly presents the paperwork-strewn table in direct contrast to the open, verdant backyard. Rather than turn the fi lm suspenseful, Swanberg lingers on Tim hanging out with groups of friends, intermittently talking about the mysterious items, and going back to digging.

In the 85-minute runtime, a slew of characters are introduced. Th is gives the fi lm a casual, easygoing feel but is also frustrating: Many of these people disappear

before we get a chance to know or care about them. Digging for Fire aff ably drift s by, bolstered by some

strong set pieces. Th e long early scene of Tim and his friends at the house is a tableau of masculine perfor-mance — skinny-dipping, drugs, digging. A late scene of Lee encountering a woman with a telescope at the beach is lovely, the simultaneous calm and mystery of the sky a nice summary of the fi lm’s general mood.

Getting out of the house, it turns out, is far more interesting than doing taxes, and Swanberg illustrates this truth in bright, picturesque tones. —Abbey Bender

DIGGING FOR FIRE | Directed by Joe Swanberg The Orchard | Sundance Sunset

Digging for Fire

PHOTO BY BEN RICHARDSON

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AMERICAN RHYTHM. A GLOBAL STORY.

DIRECTED BY DEAN HARGROVE

WINNERAUDIENCE AWARD

WASHINGTON, DCINT’L FILM FESTIVAL

OFFICIAL SELECTIONNEWPORT BEACH

FILM FESTIVAL2015

“STIRRING DOC...HONORS THAT

MOST AMERICANFORM OF DANCE.”

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|indiscretion to gain some leverage of his own. And a comically high-strung therapist (Jennifer Aniston) hovers on the fringes, wreaking irreparable psycho-logical damage on everyone in her path. This is Bogdanovich’s first fiction feature since 2001’s The Cat’s Meow, and he’s clearly trying to recapture some of the gone-bananas energy of earlier pictures like What’s Up, Doc? But before long, the story’s mechanics become wearisome and all too visible. Plus, even though the picture takes place in a chattery, vibrant, highly moviefied version of New York, in 2015 you can’t — or shouldn’t — have even a fantasy vision of New York in which people of color are essentially invisible. You’ll be hard-pressed to find even one or two dotting the background. At least Bogdanovich enlists lots of actors, in small roles, whose faces are al-ways a pleasure to see, including Austin Pendleton (whose nerdy philanthropist Frederick Larrabee was the best thing about What’s Up, Doc?), the wonderfully woeful Richard Lewis, and Debi Mazar, as a no-nonsense, bejeweled, kaftan-wearing upscale madam. This is a movie where all the madness is in the margins. (Stephanie Zacharek)

SOME KIND OF BEAUTIFUL (HOW TO MAKE LOVE LIKE AN ENGLISHMAN) Anti–romantic comedy Some Kind of Beautiful starts with a dialogue scene that baldly explains to viewers what kind of casually chauvinistic narra-tive it’s not going to be. That promise is gracelessly and repeatedly broken thanks to neophyte screenwriter Matthew Newman’s clichéd charac-terizations and helmer Tom Vaughan’s incompetent direction. When commit-ment-phobic English professor Richard (Pierce Brosnan) first meets hysterical writer Olivia (Salma Hayek), he tells her that he’s not just, in her words, an “ag-ing lothario.” Richard commits unfunny faux pas while he drinks and screws his way through a series of contrived confrontations, like when he tries to sell pot before a high-stakes custody battle with young wife Kate (Jessica Alba). But he never transcends his bad behavior. Meanwhile, love interest Olivia is the butt of many of the film’s jokes, as in the scene where Hayek unsuccessfully tries to cover her naked body as she sneaks out of Richard’s bedroom. Hayek swings for the fences, but none of the gags she’s tasked with delivering are funny, not even when she desperately panto-mimes various breathless expressions men make when they orgasm. Richard gets all of the film’s best lines, but Vaughan (What Happens in Vegas) rarely seems to know how to film Brosnan. Brosnan isn’t even facing the camera when Richard jokes with son Jake (Duncan Joiner) that women like having their panties taken off because panties, in Jake’s words, “look so uncomfort-able.” Richard may be obnoxious, but Vaughan always inadvertently finds new ways to make Brosnan look even worse. (Simon Abrams)

STATION TO STATION Director Doug Aitken’s trick of turning 62 one-minute clips into a single feature turns out to

be less a shattering of narrative than a segmentation. You can’t really scrub linearity from a documentary about a train ride across the country — espe-cially when that doc bills itself as “a journey through modern creativity.” In Station to Station, Beck, Ed Ruscha, Mavis Staples, William Eggleston, Patti Smith, No Age, Mark Bradford and many other maker-types ride the train and/or participate in the “happenings” at its 10 stops from Atlantic to Pacific, represent-ing the mediums of art, music, film and, er, “performance.” (Token written-word rep: former New Yorker pop critic Sasha Frere-Jones.) The film is perhaps 60 per-cent landscape porn: moody clips of the American scenery or of the train, an or-angey art-deco thing strung end to end with LEDs, rolling by. Watching it streak through the Western night, ribbons of color cascading down its side against a cobalt landscape, will surely cause pangs of Kerouac-ian wanderlust. Sliced into teasing little bits are encounters and interviews — Jackson Browne rhym-ing about Winslow, Arizona; a mechanic musing on the time-staying power of locomotion — and many musical per-formances. A few, such as Staples’s, Dan Deacon’s and Thurston Moore’s, are perfect. Often this feels like the most scenic music video ever. And hey, there’s not a whiff of corporate branding here, unlike when these happenings actually happened. That helps make Station to Station an idealized vision of

modern creativity, in which everything is moving and well lit and paid for, most everyone is beautiful, and the only real hang-up is that you eventually run out of landscape. (Ian S. Port)

O N G O I N G

GO THE DIARY OF A TEENAGE GIRL Bel Powley, the star of Marielle Heller’s mer-ciless The Diary of a Teenage Girl, soaks up 1970s San Francisco with saucer eyes and a hungry mouth. As 15-year-old, “born ugly” Minnie, she’s all appetite: She craves attention, love and sex, however — and from whomever — it’s of-fered. Problem is, her nearest paramour is her cocaine-snorting mother’s (Kristen Wiig) 35-year-old boyfriend, Monroe (Alexander Skarsgård). The setup smacks of Lolita, but here the fantasies belong to the girl. Minnie, equally knowing and naive, can’t tell the difference between a handsome grown-up and a stunted sad man. We can, and Heller’s camera shoots Monroe’s halfhearted seduc-tions with icky, erotic electricity. It feels shocking, but shouldn’t: Any woman who survived puberty knows that girlhood is all about obsession — just ask Justin Bieber, One Direction, New Kids on the Block, or the Beatles. Skarsgård is more handsome than the Monroe that Phoebe Gloeckner, the artist behind the semi-autobiographical graphic novel, originally sketched, which shifts the balance from “Why would she?” to “Who wouldn’t?” Yet Wiig, playing an aging bombshell

awkwardly straddling repressive Fifties gender roles and the rotting libertinism of the early Seventies, chips away at her daughter’s insecurities, convincing her and us that a woman’s self-esteem is her sexual attraction. She’s great, but the film’s in the pocket of Powley’s rib-high corduroys from the second she struts on-screen — and long after she takes them off. (Amy Nicholson)

GO THE MAN FROM U.N.C.L.E. In a world gone mad for superhero movies, what chance does the light spy caper have? Audiences will put total faith in a guy wearing a red metal suit, but the soft woolen folds of the bespoke kind barely register. Are modern audiences ready for the stylish, artfully ridiculous delights of The Man From U.N.C.L.E., which features beautiful human beings wearing fabu-lous threads as they discreetly saunter — or dash via motorboat — from palazzo to racetrack to five-star hotel? This may be the summer movie we didn’t know we were waiting for. Though it’s made with

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“A SMART AND WONDERFULLY

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Ben Kingsley and Patricia Clarkson are perfection

together. A must-see!”– Pete Hammond, DEADLINE

2 Special Q&As!Friday with Patricia Clarkson and

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Saturday night with Patricia Clarkson at the Arclight

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EXCLUSIVE ENGAGEMENTSSTART FRIDAY, AUGUST 21

LOS ANGELES WEEKLY2 COL X 5.25" 4C THUR 8/20

A FILM BY JIMMY CHIN AND ELIZABETH CHAI VASARHELYIBELIEVE IN THE IMPOSSIBLE

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—THE PLAYLIST

1 COL x 3.5" THUR 8/20 LA WEEKLY

STARTS FRIDAY,AUGUST 28

HOLLYWOODARENA CINEMA

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| Neighborhood Movie Guide // Schedules are subject to change; please call ahead to confirm showtimes. See Film & Video Events for other programs.

HOLLYWOOD & VICINITY

ARENA CINEMA 1625 North Las Palmas Avenue - Next to Egyptian Theater (323)306-0676Mateo (II) Fri., 8:50 p.m.; Sat., 1:30, 10:10 p.m.; Sun., 2,

10:30 p.m.; Mon., 7:30 p.m.; Tues., 10:25 p.m.; Wed., 8:40 p.m.; Thurs., 10:20 p.m.

The Park Bench Fri., 6 p.m.; Sat.-Sun., 7:15 p.m.; Mon., 6:05 p.m.; Tues., 7:20 p.m.; Wed., 10:10 p.m.; Thurs., 8:55 p.m.

One and Two Fri., 10:30 p.m.; Sat., 3, 5:45 p.m.; Sun., 5:45, 9 p.m.; Mon., 9 p.m.; Tues., 8:50 p.m.; Wed., 6 p.m.; Thurs., 7:30 p.m.

When Bette Met Mae Fri., 7:30 p.m.; Sat., 4:35, 9:05 p.m.; Sun., 3:30, 4:40 p.m.; Mon., 10:30 p.m.; Tues., 6:10 p.m.; Wed., 7:30 p.m.; Thurs., 6:20 p.m.

ARCLIGHT HOLLYWOOD Sunset Blvd. at Vine (323) 464-4226The Diary of a Teenage Girl Fri.-Sun., 10:15 a.m.,

12:25, 4:50, 7:05 p.m.; Mon., 1:05, 2:45, 4:45, 7, 9:10 p.m.; Tues., 1:05, 2:45, 4:45, 9:20 p.m.

Mission: Impossible - Rogue Nation Fri., 11:20 a.m., 2:30, 4:45, 7:45, 10:05, 11:50 p.m.; Sat.-Sun., 11:20 a.m., 2:30, 4:45, 7:45, 10, 11:50 p.m.; Mon., 12:25, 2:30, 5:20, 7:55, 10:10, 11:45 p.m.; Tues., 12:25, 2:30, 5:20, 7:55, 10:10 p.m.

American Ultra Fri., 10:30 a.m., 12:30, 1:45, 3:45, 5:15, 6:30, 8:15, 9, 10:30, 11:45 p.m., 12:35 a.m.; Sat.-Sun., 10:30 a.m., 12:30, 1:45, 3:45, 5:15, 6:30, 8:15, 9:15, 10:30, 11:45 p.m., 12:35 a.m.; Mon.-Tues., 11 a.m., 12:45, 2, 4, 6:15, 8:30, 10:30 p.m., 12:05 a.m.

Grandma Fri., 10:10 a.m., 12:05, 1:05, 2:55, 4:55, 6:45, 8:55, 11:20 p.m.; Sat.-Sun., 10:20 a.m., 12:05, 1:05, 2:55, 5:50, 7:25, 9:55 p.m.; Mon.-Tues., 11:10 a.m., 1:15, 3:45, 5:45, 6:45, 8:45, 10:45 p.m.

Hitman: Agent 47 Fri., 10:45 a.m., 2:45, 4:35, 7:20, 10:25 p.m., 12:45 a.m.; Sat.-Sun., 10:45 a.m., 2:25, 4:35, 7:50, 10:25 p.m., 12:45 a.m.; Mon.-Tues., 11:30 a.m., 2:20, 4:30, 7:45, 10 p.m.

Learning to Drive Fri.-Sat., 10:05 a.m., 12:15, 1:55, 4:25, 7, 9:45 p.m.; Sun., 10:05 a.m., 12:15, 1:55, 4:25, 7, 9:20 p.m.; Mon.-Tues., 12 noon, 1:45, 4:05, 6:05, 8:05, 9:45 p.m.

Sinister 2 Fri., 10:15 a.m., 12:45, 2:25, 5:50, 7:50, 11:10 p.m., 12:30 a.m.; Sat.-Sun., 10:15 a.m., 12:45, 2:45, 5, 6:35, 8:50, 11:10 p.m., 12:30 a.m.; Mon.-Tues., 12:45, 2:05, 4:20, 6:30, 8:40, 11:10 p.m.

The Man From U.N.C.L.E. Fri., 10:40 a.m., 12:10, 2:40, 5:25, 7:35, 10:20 p.m., 12:55 a.m.; Sat., 10:35 a.m., 12:10, 2:40, 5:25, 7:35, 10:20 p.m., 12:55 a.m.; Sun., 10:35 a.m., 12:10, 2:40, 5:25, 7:35, 10:20 p.m.; Mon.-Tues., 12:15, 2:40, 5:05, 7:30, 11:15 p.m.

Mistress America Fri., 10:20 a.m., 12:20, 2, 4:05, 7:55, 9:20 p.m.; Sat., 10:10 a.m., 12:20, 2, 4:05, 7:20, 9:20 p.m.; Sun., 10:10 a.m., 12:20, 2, 4:05, 7:20, 9:25 p.m.; Mon., 11:05 a.m., 2:50, 5:10, 8:25, 10:35 p.m.; Tues., 11:05 a.m., 2:50, 5:10, 8:25, 11:25 p.m.

Straight Outta Compton Fri.-Sat., 11 a.m., 12 noon, 2:15, 3, 4, 5, 5:45, 7:15, 8:45, 9:30, 10:15, 11 p.m., 12:15 a.m.; Sun., 11 a.m., 12 noon, 2:15, 3, 4, 5, 5:45, 7:15, 8:45, 9:30, 10:15, 11 p.m., 12 mid.; Mon.-Tues., 11:15 a.m., 1, 2:15, 3:15, 5, 6, 7:15, 9, 10:15, 11 p.m., 12 mid.; Fri.-Sun., 10 a.m., 1:15, 4:30, 8, 11:30 p.m.; Mon.-Tues., 12:30, 4:15, 8, 11:30 p.m.

The Gift Fri., 11:35 a.m., 2:10, 5:10, 8:05, 10 p.m., 12:40 a.m.; Sat.-Sun., 11:35 a.m., 2:10, 5:10, 8:05, 10:40 p.m., 12:40 a.m.; Mon.-Tues., 11:55 a.m., 3:35, 5:15, 7:35, 10:40 p.m.

The End of the Tour Fri., 10:10 a.m., 2:50, 5:55, 8:20, 11:10 p.m.; Sat.-Sun., 10:10 a.m., 2:50, 5:55, 8:20, 11:20 p.m.; Mon., 12:10, 3, 5:50, 8:10, 11:20 p.m.; Tues., 12:10, 3, 5:50, 8:10 p.m.

Trainwreck Fri., 11:40 a.m., 2:20, 5:40, 8:40, 10:40 p.m.; Sat.-Sun., 11:40 a.m., 2:20, 5:40, 8:35, 11:20 p.m.; Mon.-Tues., 11:40 a.m., 2:10, 5:30, 8:15, 10:05 p.m.

Amy Fri.-Sun., 10:05 a.m., 12:35, 3:05 p.m.; Mon.-Tues., 11:25 a.m.

The Lord of the Rings: The Return of the King Wed., 7 p.m.

LOS FELIZ 3 1822 N. Vermont Ave. (323) 664-2169Mission: Impossible - Rogue Nation 1:15, 4:10,

7, 9:50 p.m.The Man From U.N.C.L.E. 1:15, 4:10, 7, 9:50 p.m.The Gift 1:15, 4:10, 7, 9:50 p.m.TCL CHINESE 6 THEATRES 6801 Hollywood Blvd. (323) 461-3331Shaun the Sheep Fri.-Tues., 12:30, 2:40, 5, 7:20, 9:30

p.m.; Wed., 12:30, 2:40, 5 p.m.; Thurs., 12:30, 2:40, 5, 7:20, 9:30 p.m.

Straight Outta Compton Fri., 12:45, 4, 7:15, 10:40 p.m.; Sat., 12:45, 4, 7:30, 10:40 p.m.; Sun., 12:15, 3:30, 6:45, 10 p.m.; Mon.-Thurs., 12:45, 4, 7:15, 10:30 p.m.

Fantastic Four Fri., 12:15, 2:45, 5:15, 7:45, 10:15 p.m.; Sat., 12:15, 7:45, 10:15 p.m.; Sun., 1, 3:45, 6:30, 9:35 p.m.; Mon.-Wed., 12:15, 2:45, 5:15, 7:45, 10:15 p.m.

Ricki and the Flash Fri.-Sat., 12:10, 2:45, 5:10, 7:40, 10:10 p.m.; Sun., 12:10, 2:35, 5, 7:25, 9:50 p.m.; Mon.-Thurs., 12:10, 2:45, 5:10, 7:40, 10:10 p.m.

Southpaw Sun., 12:45, 3:45, 6:45, 9:45 p.m.; Mon.-Thurs., 1:15, 4:15, 7:15, 10:15 p.m.

The Young and Prodigious T.S. Spivet Fri.-Sat., 12 noon, 2:25, 4:55, 7:25, 9:55 p.m.; Sun., 12 noon, 2:25, 4:50, 7:15, 9:40 p.m.; Mon.-Thurs., 12 noon, 2:25, 4:55, 7:25, 9:55 p.m.

TCL CHINESE THEATRE IMAX 6925 Hollywood Blvd. (323) 461-3331The Man From U.N.C.L.E.: The IMAX Experience

Fri.-Sat., 1:30, 4:30, 7:30, 10:30 p.m.; Sun., 1, 4, 7, 10 p.m.; Mon.-Thurs., 1:30, 4:30, 7:30, 10:30 p.m.

Hollywood Date Night Sun., 1, 4, 7, 10 p.m.; Mon.-Thurs., 1:30, 4:30, 7:30, 10:30 p.m.

TCL Chinese Theatre Tour Fri., 10:15, 10:45, 11, 11:30, 11:45 a.m., 12:15, 12:30, 1, 2, 2:30, 3:15, 3:30, 4, 4:30,

5:15, 6:30, 7:15, 8 p.m.; Sat., 10:15, 10:45, 11, 11:30 a.m., 12:15, 12:30, 1, 2, 2:30, 3:15, 3:30, 4, 4:30, 5:15, 6:30, 7:15, 8 p.m.; Sun.-Thurs., 10:15, 10:45, 11, 11:30, 11:45 a.m., 12:15, 12:30, 1, 2, 2:30, 3:15, 3:30, 4, 4:30, 5:15, 6:30, 7:15, 8 p.m.

PACIFIC’S EL CAPITAN Hollywood Blvd., west of Highland (323) 467-7674Frozen Sing Along 10 a.m., 1, 4, 7 p.m.PACIFIC’S THE GROVE STADIUM 14 189 The Grove Dr., Third & Fairfax (323) 692-0829Shaun the Sheep Fri.-Tues., 10:10 a.m., 1:55, 3:05 p.m.American Ultra Fri.-Sat., 10:05, 11 a.m., 1:15, 3:30, 5:45,

6:35, 7, 8, 9, 10:15, 11:15 p.m., 12:30 a.m.; Sun., 10:05, 11 a.m., 1:15, 3:30, 5:45, 6:35, 7, 8, 9, 10:15, 11:15 p.m.; Tues., 10:05, 11, 11:10 a.m., 1:15, 3:30, 5:45 p.m.

Hitman: Agent 47 Fri.-Sat., 10:15 a.m., 12:10, 2:25, 4:45, 7:05, 9:20, 11:40 p.m., 12:10 a.m.; Sun., 10:15 a.m., 12:10, 2:25, 4:45, 7:05, 9:20, 11:40 p.m.; Tues., 10:15 a.m., 12:10, 2:25, 4:45 p.m.

Sinister 2 Fri.-Sat., 9:30, 11:40 a.m., 3:35, 5:55, 8:15, 10:30 p.m., 12:15 a.m.; Sun., 9:30, 11:40 a.m., 3:35, 5:55, 8:15, 10:30 p.m.; Tues., 11:40 a.m., 3:35, 5:55 p.m.

The Man From U.N.C.L.E. Fri.-Sun., 10:20 a.m., 12:25, 1:40, 5:10, 7:45, 10:20 p.m.; Tues., 10:20 a.m., 12:25, 1:40, 5:10 p.m.

Straight Outta Compton Fri.-Sat., 9:30, 10, 11:05 a.m., 12:35, 1:10, 2:10, 3:45, 4:25, 5:20, 6:25, 7:30, 8:30, 9:15, 10:35, 11:35 p.m., 12:20 a.m.; Sun., 9:30, 10, 11:05 a.m., 12:35, 1:10, 2:10, 3:45, 4:25, 5:20, 6:25, 7:30, 8:30, 9:15, 10:35, 11:35 p.m.; Tues., 10, 11:05 a.m., 12:35, 1:10, 2:10, 3:45, 4:25, 5:20 p.m.

Fantastic Four Fri.-Sun., 4:15, 11:10 p.m.; Tues., 4:15 p.m.The Gift Fri.-Sun., 10:50 a.m., 1:20, 4, 6:15, 8:45, 9:50

p.m.; Tues., 10:50 a.m., 1:20, 4 p.m.Ant-Man Fri.-Sun., 10:35 a.m., 1:30, 4:30, 7:15, 10:05 p.m.;

Tues., 10:35 a.m., 1:30, 4:30 p.m.Trainwreck Fri.-Sun., 10:45 a.m., 1:35, 4:20, 7:10, 10:25

p.m.; Tues., 10:45 a.m., 1:35, 4:20 p.m.Minions Fri.-Sun., 11:15 a.m., 1:25, 4:05 p.m.; Tues., 1:25,

4:05 p.m.Inside Out Fri.-Sun., 12:55, 3:20, 5:40, 8:05 p.m.; Tues.,

12:55, 3:20, 5:40 p.m.Mission: Impossible - Ghost Protocol Fri.-Sun.,

10:40 a.m., 12:15, 3, 5:50, 8:40, 9:30, 11:30 p.m.; Tues., 10:40 a.m., 12:15, 3, 5:50 p.m.

VISTA 4473 Sunset Dr. (323) 660-6639American Ultra Fri.-Mon., 1:30, 4:15, 7, 9:45 p.m.; Tues.,

1:30, 4:15 p.m.; Wed.-Thurs., 1:30, 4:15, 7, 9:45 p.m.

DOWNTOWN, S. LOS ANGELES

DOWNTOWN INDEPENDENT 251 South Main Street (213)617-1033The Iron Ministry Fri., 8:30 p.m.; Sat., 3 p.m.; Sun., 2

p.m.; Mon., 9 p.m.; Tues.-Thurs., 7 p.m.Chau, Beyond the Lines Fri.-Sat., 5 p.m.; Sun., 3:30

p.m.; Mon., 6 p.m.; Tues., 4 p.m.; Wed., 6 p.m.; Thurs., 4 p.m.

The Young and Prodigious T.S. Spivet in 3D Fri., 2:30, 6 p.m.; Sat., 1 p.m.; Sun., 12 noon.; Mon., 6:45 p.m.; Tues., 4:45 p.m.; Wed., 4 p.m.; Thurs., 4:45 p.m.

CGV CINEMAS LA 621 South Western Avenue (213)388-9000Mission: Impossible - Rogue Nation Fri., 9:30

a.m., 12:15, 3, 6, 9 p.m.; Sat.-Tues., 9:30 a.m., 12 noon, 3, 6, 9 p.m.

Assassination (Amsal) Fri., 12 noon, 5:30, 8:30 p.m.; Sat.-Tues., 9:30 a.m., 12:30, 1:30, 3:30, 6:30, 8, 9:30 p.m.

Fantastic Four Fri., 9:30 a.m., 3:15 p.m.; Sat.-Tues., 11 a.m., 4:30 p.m.

REGAL CINEMAS L.A. LIVE STADIUM 14 1000 West Olympic Blvd. (844)462-7342 4046Mission: Impossible - Rogue Nation Fri.-Sat., 12:15,

1, 3:30, 4:10, 6:40, 7:20, 9:50, 10:30 p.m.; Sun., 12:15, 3:30, 4:10, 6:40, 7:20, 9:50, 10:30 p.m.; Mon., 12:15, 1, 3:30, 4:05, 7:20, 10:30 p.m.; Tues., 12:15, 1, 3:30, 4:10, 6:40, 7:20, 9:50, 10:30 p.m.

No Escape Tues., 7, 9:45 p.m.American Ultra Fri.-Sat., 11:50 a.m., 2:30, 5:20, 8:10,

11, 11:40 p.m.; Sun.-Tues., 11:50 a.m., 2:30, 5:20, 8:10, 11 p.m.

Hitman: Agent 47 Fri.-Sun., 12 noon, 2:40, 5:10, 7:40, 10:50 p.m.; Mon.-Tues., 12 noon, 2:40, 5:10, 7:50, 10:50 p.m.

Sinister 2 Fri.-Sat., 11:40 a.m., 12:20, 2:10, 2:50, 4:50, 5:30, 7:30, 8:20, 10:10, 11:10, 11:50 p.m.; Sun., 11:40 a.m., 12:20, 2:10, 2:50, 4:50, 5:30, 7:30, 8:20, 10:10, 11:10 p.m.; Mon.-Tues., 11:40 a.m., 12:20, 2:10, 2:50, 4:50, 5:30, 7:30, 8:20, 10:10, 11:05 p.m.

The Man From U.N.C.L.E. Fri.-Tues., 1:10, 4, 6:50, 9:40 p.m.

Straight Outta Compton Fri.-Sat., 11:30 a.m., 12:10, 12:50, 1:30, 3, 3:40, 4:20, 5, 6:30, 7:10, 7:50, 8:30, 10, 10:40, 11:20 p.m., 12 mid.; Sun., 11:30 a.m., 12:10, 12:40, 1:30, 3, 3:40, 4:20, 5, 6:30, 7:10, 7:50, 8:30, 10, 10:40, 11:20 p.m.; Mon., 11:30 a.m., 12:10, 12:40, 1:30, 3, 3:40, 4:10, 5, 6:30, 7:10, 7:40, 8:30, 10, 10:40, 11:10 p.m.; Tues., 11:30 a.m., 12:10, 12:50, 1:30, 3, 3:40, 4:20, 5, 6:30, 7:10, 7:50, 8:30, 10, 10:40, 11:30 p.m.

Fantastic Four Fri.-Sun., 12:30, 3:20, 6:10, 9 p.m.; Mon., 12:30 p.m.; Tues., 12:30, 3:20 p.m.

The Gift Fri.-Mon., 12:40, 3:50, 6:30, 9:10 p.m.; Tues., 12:40 p.m.

UNIVERSITY VILLAGE 3 3323 S. Hoover St. (213) 748-6321 Call theater for schedule.

WEST HOLLYWOOD, BEVERLY HILLS

SUNDANCE SUNSET CINEMA 8000 West Sunset Boulevard (323)654-2217 Call theater for schedule.

LAEMMLE’S MUSIC HALL 3 9036 Wilshire Blvd. (310) 274-6869Searching for Home, Coming Back From War 12

noon, 2:30, 5, 7:30, 10 p.m.Beltracchi: The Art of Forgery (Beltracchi - Die

Kunst Der FÄlschung) 12 noon, 2:20, 7:40, 10 p.m.Kahlil Gibran’s The Prophet 4:50 p.m.Best of Enemies Fri.-Mon., 12:55, 5:15 p.m.; Tues., 5:15

p.m.; Wed.-Thurs., 12:55, 5:15 p.m.Irrational Man Fri.-Sun., 3, 7:40, 10 p.m.; Mon., 3, 10

p.m.; Tues., 10 p.m.; Wed.-Thurs., 3, 7:40, 10 p.m.Because I Was a Painter (Parce que j’etais

peintre) Mon., 7:30 p.m.; Tues., 1 p.m.

WESTWOOD, WEST L.A.

AMC CENTURY CITY 15 10250 Santa Monica Blvd. (888)AMC-4FUNShaun the Sheep Fri.-Sun., 10:15 a.m., 12:50, 3:30, 6

p.m.; Mon., 11:10 a.m., 1:30, 3:45, 6 p.m.Mission: Impossible - Rogue Nation Fri.-Sun., 11:45

a.m., 3, 6:20, 9:35 p.m.; Mon., 11 a.m., 2, 5, 8, 11 p.m.We Are Your Friends Thurs., 7 p.m.American Ultra Fri.-Sun., 11:20 a.m., 2:10, 4:45, 7:30,

10:25 p.m.; Mon., 11:45 a.m., 2:15, 4:50, 7:30, 10:05 p.m.Hitman: Agent 47 Fri.-Sun., 11:30 a.m., 2:15, 5, 7:45,

10:20 p.m.; Mon., 11:35 a.m., 2:15, 5:10, 7:50, 10:30 p.m.Sinister 2 Fri.-Sat., 10:45 a.m., 1:35, 4:15, 7, 8:30, 9:40

p.m., 12:10 a.m.; Sun., 10:45 a.m., 1:35, 4:15, 7, 8:30, 9:40 p.m.; Mon., 11:45 a.m., 2:25, 5, 7:40, 8:15, 10:20 p.m.

The Man From U.N.C.L.E. Fri.-Sun., 10:40 a.m., 1:45, 4:40, 7:40, 10:40 p.m.; Mon., 10:35 a.m., 1:25, 4:25, 7:25, 10:25 p.m.

Straight Outta Compton Fri.-Sun., 9:30, 11:15 a.m., 1, 2:45, 4:30, 6:15, 8, 9:45, 11:20 p.m.; Mon., 10:10, 11:50 a.m., 1:30, 3:10, 4:45, 6:30, 8, 9:50, 11:20 p.m.; Fri.-Sun., 9 a.m., 12:15, 3:45, 7:15, 10:45 p.m.; Mon., 12:45, 4, 7:15, 10:35 p.m.

Fantastic Four Fri.-Sun., 10:30 a.m., 4:05, 7:05, 11 p.m.; Mon., 11:15 a.m., 4:30, 7:05, 9:50 p.m.

The Gift Fri.-Sun., 11:10 a.m., 2, 4:55, 7:55, 10:45 p.m.; Mon., 11:40 a.m., 2:20, 5:05, 7:45, 10:25 p.m.

Ricki and the Flash Fri.-Sun., 11 a.m., 1:45, 4:20, 6:55, 9:55 p.m.; Mon., 11:10 a.m., 1:50, 4:35, 7:10, 9:55 p.m.

Mission: Impossible - Rogue Nation The IMAX Experience Fri.-Sun., 9:30 a.m., 12:45, 4, 7:20, 10:35 p.m.; Mon., 10 a.m., 1, 4, 7, 10 p.m.

Vacation Fri.-Sun., 1:20 p.m.; Mon., 1:55 p.m.Southpaw Fri.-Sun., 10 p.m.; Mon., 10:45 p.m.Ant-Man Fri.-Sun., 9:40 a.m., 3:45, 9:45 p.m.; Mon., 10:30

a.m., 4, 9:35 p.m.Ant-Man in Disney Digital 3D Fri.-Sun., 12:40, 6:45

p.m.; Mon., 1:15, 6:45 p.m.Trainwreck Fri.-Sun., 10 a.m., 1:05, 4:10, 7:25, 10:40 p.m.;

Mon., 10:30 a.m., 1:25, 4:25, 7:25, 10:20 p.m.LAEMMLE’S ROYAL THEATER 11523 Santa Monica Blvd. (310) 477-5581After Words 9:55 p.m.Top Spin Tues., 7:30 p.m.We Come as Friends Fri., 1:10, 3:20, 5:40, 8, 10:15

p.m.; Sat.-Sun., 10 a.m., 1:10, 3:20, 5:40, 8, 10:15 p.m.; Mon.-Thurs., 1:10, 3:20, 5:40, 8, 10:15 p.m.

The Lost Key Fri.-Tues., 1, 3:10, 5:30, 7:45 p.m.; Wed., 1, 3:10, 5:30 p.m.; Thurs., 1, 3:10, 5:30, 7:45 p.m.

Listen to Me Marlon Sat.-Sun., 10:30 a.m.Phoenix Fri., 1:50, 4:30, 7:10, 9:45 p.m.; Sat.-Sun., 10:15

a.m., 1:50, 4:30, 7:10, 9:45 p.m.; Mon., 1:50, 4:30, 9:45 p.m.; Tues., 4:30, 9:45 p.m.; Wed.-Thurs., 1:50, 4:30, 7:10, 9:45 p.m.

Because I Was a Painter (Parce que j’etais peintre) Mon., 7:30 p.m.; Tues., 1 p.m.

Devil in a Blue Dress Wed., 7:30 p.m.Our Boys Fri.-Mon., 12:45 p.m.; Tues., 12 noon.; Wed.-

Thurs., 12:45 p.m.LANDMARK’S NUART THEATER 11272 Santa Monica Blvd. (310) 473-8530; No Texting AllowedWet Hot American Summer Fri., 11:59 p.m.Station to Station Fri.-Sat., 1:30, 3:30, 5:30, 7:30, 9:50

p.m.; Sun.-Mon., 1:30, 3:30, 5:30, 7:30, 9:30 p.m.; Tues.-Thurs., 5:30, 7:30, 9:30 p.m.

The Rocky Horror Picture Show Sat., 11:59 p.m.LANDMARK’S REGENT 1045 Broxton Ave. (310) 208-3250; No Texting AllowedIrrational Man Fri., 4:40, 7, 9:20 p.m.; Sat.-Sun., 2:20,

4:40, 7, 9:20 p.m.; Mon.-Thurs., 4:40, 7, 9:20 p.m.LANDMARK WEST L.A. 10850 W. Pico Blvd. (310) 470-0492; No Texting AllowedThe Diary of a Teenage Girl Fri.-Sun., 10 a.m., 12:25,

2:50, 5:15, 7:35, 9:55 p.m.; Mon.-Tues., 12:25, 2:50, 5:15, 7:35, 9:55 p.m.; Wed., 11:50 a.m., 2:10, 4:30, 10 p.m.; Thurs., 12:25, 2:50, 5:15, 7:35, 9:55 p.m.

Mission: Impossible - Rogue Nation Fri.-Sun., 10:25 a.m., 1:20, 4:15, 7:10, 10 p.m.; Mon.-Thurs., 1:20, 4:15, 7:10, 10 p.m.

No Escape Wed.-Thurs., 12:15, 2:45, 5:15, 7:45, 10:10 p.m.

Grandma Fri., 11:05 a.m., 1:10, 3:15, 5:20, 7:30, 9:55 p.m.; Sat.-Thurs., 11:05 a.m., 1:10, 3:15, 5:20, 7:30, 9:30 p.m.

Learning to Drive Fri., 11:45 a.m., 2:15, 4:45, 7:15, 10:05 p.m.; Sat.-Thurs., 11:45 a.m., 2:15, 4:45, 7:15, 9:40 p.m.

The Man From U.N.C.L.E. 11:10 a.m., 1:50, 4:30, 7:10, 9:45 p.m.

Meru Fri.-Sun., 10:50 a.m., 1, 3:10, 5:25, 7:40, 9:50 p.m.; Mon.-Thurs., 11 a.m., 1, 3:10, 5:25, 7:40, 9:50 p.m.

Mistress America 11:10 a.m., 1:20, 3:30, 5:40, 7:50, 9:55 p.m.

Straight Outta Compton Fri.-Sun., 10 a.m., 1:05, 4:10, 7:20, 10:25 p.m.; Mon.-Thurs., 1:05, 4:10, 7:20, 10:25 p.m.

Ricki and the Flash Fri.-Sun., 10 a.m., 12:25, 2:50, 5:15, 7:40, 10 p.m.; Mon.-Thurs., 12:25, 2:50, 5:15, 7:40, 10 p.m.

The End of the Tour 12:10, 2:40, 5:10, 7:40, 10:05 p.m.Mr. Holmes Fri.-Mon., 11:40 a.m., 2:10, 4:40, 7:05, 9:30

p.m.; Tues., 11:40 a.m., 2:10, 4:40, 10:15 p.m.; Wed.-Thurs., 1:45, 7:05 p.m.

Trainwreck Fri.-Sun., 10:45 a.m., 1:30, 4:15, 7:10, 10 p.m.; Mon., 1, 3:45, 10:20 p.m.; Tues., 1:30, 4:15, 7:10, 10 p.m.; Wed.-Thurs., 11 a.m., 4:15, 9:30 p.m.

The Agony and the Ecstasy (1965) 11:15 a.m.Reel Talk Summer Series 2015 Mon., 7 p.m.

CULVER CITY, LAX, MARINA DEL REY

CINEMARK 18 & XD 6081 Center Drive (310)568-3394Shaun the Sheep Fri.-Sat., 12:05, 5:10, 10:10 p.m.;

Sun., 11:35 a.m., 5:10, 10:10 p.m.; Mon.-Tues., 12:05, 5:10, 10:10 p.m.

Mission: Impossible - Rogue Nation Fri.-Tues., 1:25, 4:35, 7:40, 10:55 p.m.; Fri.-Tues., 1:25, 3:50, 4:35, 7:40, 9:30, 10:55 p.m.

War Room Thurs., 7, 10 p.m., 12:01 a.m.All is Well (Hindi) Fri.-Tues., 1, 4:05, 7:10, 10:10 p.m.American Ultra Fri.-Tues., 12:20, 2:50, 5:20, 7:55,

10:35 p.m.Hitman: Agent 47 Fri.-Tues., 12 noon, 1:20, 2:40, 5:20,

7, 8:10, 10:50 p.m.Sinister 2 Fri.-Tues., 11:15 a.m., 12:30, 1:45, 3, 4:15, 5:30,

6:45, 8, 9:15, 10:30 p.m.The Man From U.N.C.L.E. Fri.-Tues., 10:50 a.m., 1:40,

4:30, 7:25, 10:15 p.m.Straight Outta Compton Fri.-Sat., 1, 4:20, 7:40, 11

p.m.; Sun., 11 a.m., 2:20, 5:40, 9 p.m.; Mon.-Tues., 1, 4:20, 7:40, 11 p.m.; Fri.-Sat., 11, 11:40 a.m., 12:20, 1:40, 2:20, 3, 3:40, 5, 5:40, 6:20, 7, 8:20, 9, 9:40, 10:20 p.m.; Sun., 11:40 a.m., 12:20, 1:40, 3, 3:40, 5, 6:20, 7, 8:20, 9:40, 10:20, 11 p.m.; Mon.-Tues., 11, 11:40 a.m., 12:20, 1:40, 2:20, 3, 3:40, 5, 5:40, 6:20, 7, 8:20, 9, 9:40, 10:20 p.m.

Fantastic Four Fri.-Tues., 11:55 a.m., 2:30, 5:10, 7:45, 10:30 p.m.

The Gift Fri.-Tues., 12 noon, 2:40, 5:20, 8:05, 10:45 p.m.Pixels Fri.-Sat., 2:30, 7:30 p.m.; Sun., 7:30 p.m.; Mon.-Tues.,

2:30, 7:30 p.m.Ant-Man Fri.-Tues., 11:05 a.m., 1:55, 4:45, 7:35, 10:25 p.m.Trainwreck Fri.-Tues., 10:45 a.m.Planes, Trains & Automobiles Sun., 2 p.m.; Wed.,

2, 7 p.m.EU LCS Summer Finals Coke eSports Viewing

Party Sun., 1 p.m.Kick 2 (Telugu) Fri.-Tues., 12:10, 3:45, 7:20, 10:55 p.m.RAVE CINEMAS BALDWIN HILLS CRENSHAW PLAZA 15 + XTREME 4020 Marlton Avenue (323)296-1005Mission: Impossible - Rogue Nation Fri.-Wed.,

12:30, 3:40, 6:50, 9:50 p.m.War Room Thurs., 7, 10 p.m.American Ultra Fri.-Sun., 10 a.m., 12:40, 3:10, 5:40,

8:10, 10:55 p.m.; Mon.-Wed., 12:40, 3:10, 5:40, 8:10, 10:55 p.m.

Hitman: Agent 47 Fri.-Sat., 11:30 a.m., 2, 4:50, 7:45, 10:20 p.m., 12:10 a.m.; Sun.-Wed., 11:30 a.m., 2, 4:50, 7:45, 10:20 p.m.

Sinister 2 Fri.-Sat., 9:50, 11 a.m., 12:10, 1:30, 2:40, 4:20, 5:15, 7:15, 8:15, 10, 11 p.m., 12:15 a.m.; Sun., 9:50, 11 a.m., 12:10, 1:30, 2:40, 4:20, 5:15, 7:15, 8:15, 10, 11 p.m.; Mon.-Wed., 11 a.m., 12:10, 1:30, 2:40, 4:20, 5:15, 7:15, 8:15, 10, 11 p.m.

The Man From U.N.C.L.E. Fri.-Wed., 11:10 a.m., 2:10, 5:10, 8:05, 10:50 p.m.

Straight Outta Compton Fri.-Sun., 10:15, 10:45, 11:45 a.m., 1:20, 1:50, 2:20, 3:20, 5, 5:30, 6:10, 7, 8:30, 9, 9:45, 10:30 p.m.; Mon.-Wed., 10:45, 11:45 a.m., 1:20, 1:50, 2:20, 3:20, 5, 5:30, 6:10, 7, 8:30, 9, 9:45, 10:30 p.m.; Fri.-Sat., 9:45 a.m., 12:15, 1, 3:50, 4:30, 7:30, 8, 11:15, 11:45 p.m.; Sun., 9:45 a.m., 12:15, 1, 3:50, 4:30, 7:30, 8, 11 p.m.; Mon.-Wed., 12:15, 1, 3:50, 4:30, 7:30, 8, 11 p.m.

Fantastic Four Fri.-Wed., 10:55 a.m., 1:35, 4:25, 7:20, 9:55 p.m.

The Gift Fri.-Wed., 7:10, 10:10 p.m.Pixels Fri.-Wed., 10:50 a.m., 1:40, 4:10 p.m.Ant-Man Fri.-Wed., 10:40 a.m., 1:45, 4:40, 7:40, 10:40 p.m.Minions Fri.-Wed., 10:30 a.m.AMC LOEWS CINEPLEX MARINA MARKETPLACE 13455 Maxella Ave. (800) 326-3264 704Hitman: Agent 47 Fri.-Sun., 1, 3:45, 6:30, 9:45 p.m.;

Mon.-Tues., 1, 3:45, 6:30, 9:45, 11:15 p.m.; Wed., 1, 3:45, 6:30, 9:45, 11:45 p.m.; Fri.-Sat., 12 noon, 2:45, 5:45, 8:30, 11:15 p.m.; Sun.-Wed., 12 noon, 2:45, 5:45, 8:30, 11 p.m.

Straight Outta Compton Fri.-Sat., 10:30, 11:30 a.m., 12:30, 2, 3:15, 4:15, 5:30, 7, 8, 9:15, 10:45, 11:45 p.m.; Sun., 10:30, 11:30 a.m., 12:30, 2, 3:15, 4:15, 5:30, 7, 8, 9:15, 10:45, 11:30 p.m.; Mon.-Wed., 11:30 a.m., 12:30, 2, 3:15, 4:15, 5:30, 7, 8, 9:15, 10:45 p.m.

The Gift Fri.-Sun., 1:30, 4:45, 7:30, 10:15 p.m.; Mon.-Wed., 11 a.m., 1:30, 4:45, 7:30, 10:15 p.m.

PACIFIC CULVER STADIUM 12 9500 Culver Blvd. (310) 360-9565Shaun the Sheep Fri., 10:30 a.m.; Sat.-Sun., 10 a.m.;

Mon., 10:45 a.m., 2:50 p.m.Mission: Impossible - Rogue Nation Fri., 11:10 a.m.,

1:55, 4:40, 7:50, 10:35 p.m.; Sat., 10:55 a.m., 1:40, 4:25, 7:35, 10:20 p.m.; Sun., 10:40 a.m., 1:25, 4:10, 7:20, 10:05 p.m.; Mon., 11:05 a.m., 1:50, 4:35, 7:25, 10:15 p.m.

American Ultra Fri., 10:40, 11:45 a.m., 1:50, 4:05, 6:05, 7:20, 8:10, 10:25 p.m.; Sat., 10:20, 11:30 a.m., 1:35, 3:50, 5:50, 7:05, 7:55, 10:10 p.m.; Sun., 10:10, 11:15 a.m., 1:20, 3:35, 5:35, 6:55, 7:40, 9:55 p.m.; Mon., 11:10 a.m., 1:20, 3:30, 5:40, 7:50, 9:55 p.m.

Hitman: Agent 47 Fri., 11 a.m., 1:20, 3:35, 6:10, 8:15, 10:20 p.m.; Sat., 10:45 a.m., 1:05, 3:20, 5:55, 8, 10:05

p.m.; Sun., 10:30 a.m., 12:50, 3:05, 5:40, 7:45, 9:50 p.m.; Mon., 10:55 a.m., 12:55, 3:05, 5:10, 7:15, 9:20 p.m.

Sinister 2 Fri., 11:55 a.m., 2:05, 4:10, 6:20, 8:35, 10:50 p.m., 12:05 a.m.; Sat., 11:40 a.m., 1:50, 3:55, 6:05, 8:20, 10:35, 11:55 p.m.; Sun., 11:25 a.m., 1:35, 3:40, 5:50, 8:05, 10:20 p.m.; Mon., 11:45 a.m., 2:05, 4:10, 6:20, 8:30, 10:30 p.m.

The Man From U.N.C.L.E. Fri., 12:20, 2:45, 5:15, 7:40, 9:45 p.m.; Sat., 12:05, 2:30, 5, 7:25, 9:30 p.m.; Sun., 11:50 a.m., 2:15, 4:45, 7:10, 9:15 p.m.; Mon., 10:35 a.m., 12:15, 2:45, 5:20, 7:45, 10:10 p.m.

Straight Outta Compton Fri., 10:45, 11:30 a.m., 1, 2, 2:40, 4:15, 5, 5:45, 7:15, 8, 8:45, 9:30, 10:05, 10:30, 11, 11:45 p.m.; Sat., 10:30, 11:15 a.m., 12:45, 1:45, 2:25, 4, 4:45, 5:30, 7, 7:45, 8:30, 9:15, 9:50, 10:15, 10:45, 11:35 p.m.; Sun., 10:15, 11 a.m., 12:30, 1:30, 2:10, 3:45, 4:30, 5:15, 7, 7:30, 8:15, 9, 9:35, 10, 10:30 p.m.; Mon., 10:30, 11, 11:40 a.m., 1, 2, 2:40, 4:05, 5, 5:45, 7:05, 8, 8:45, 10:05 p.m.

Fantastic Four Fri., 12:15 p.m.; Sat., 12 noon.; Sun., 11:45 a.m.; Mon., 10:40 a.m., 12:45 p.m.

The Gift Fri., 10:35 a.m., 12:50, 3:10, 5:35, 8:20, 10:45 p.m.; Sat., 10:20 a.m., 12:35, 2:55, 5:20, 8:05, 10:30 p.m.; Sun., 10:05 a.m., 12:20, 2:40, 5:05, 7:50, 10:15 p.m.; Mon., 12:35, 2:55, 5:15, 7:35, 10 p.m.

Southpaw Fri., 11:05 a.m., 5:40 p.m.; Sat., 10:40 a.m., 5:25 p.m.; Sun., 10:35 a.m., 5:10 p.m.; Mon., 9:25 p.m.

Mr. Holmes Fri., 1:40, 4 p.m.; Sat., 1:25, 3:45 p.m.; Sun., 1:10, 3:30 p.m.; Mon., 4:40 p.m.

Trainwreck Fri., 2:30, 5:10, 7:45, 10:15 p.m.; Sat., 2:15, 4:55, 7:30, 10 p.m.; Sun., 2, 4:40, 7:15, 9:45 p.m.; Mon., 11:20 a.m., 1:55, 4:30, 6:55, 9:10 p.m.

Inside Out Fri., 10:50 a.m., 12:40, 2:50, 5:05, 7:30 p.m.; Sat., 10:25 a.m., 12:25, 2:35, 4:50, 7:15 p.m.; Sun., 10:20 a.m., 12:10, 2:20, 4:35, 7:05 p.m.; Mon., 1:30, 3:45, 6, 8:15 p.m.

Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb (1964) Mon., 7 p.m.

BEACHES

Santa Monica, Malibu

AMC SANTA MONICA 7 1310 Third Street Promenade (310) 395-3030 Call theater for schedule.AERO THEATER 1328 Montana Ave. (323) 466-FILM Call theater for schedule.LAEMMLE’S MONICA 4-PLEX 1332 Second St. (310) 478-3836 Call theater for schedule.AMC LOEWS CINEPLEX BROADWAY 1441 Third Street Promenade (800) 326-3264 706 Call theater for schedule.NEW MALIBU THEATER 3822 Cross Creek Road (310) 456-6990The Man From U.N.C.L.E. Fri., 4, 7, 9:50 p.m.; Sat.-

Sun., 1:15, 4, 7, 9:50 p.m.; Mon.-Tues., 4, 7, 9:50 p.m.The End of the Tour Fri., 4:15, 7:15, 10 p.m.; Sat.-Sun.,

1:30, 4:15, 7:15, 10 p.m.; Mon.-Tues., 4:15, 7:15, 10 p.m.

South Bay

AMC DEL AMO 18 3525 Carson St., Suite 73 (310) 289-4262Shaun the Sheep Fri.-Sun., 11:05 a.m.Mission: Impossible - Rogue Nation Fri.-Sat., 11

a.m., 2:15, 5:30, 8:30, 9:30, 11:45 p.m.; Sun., 11 a.m., 2:15, 5:30, 8:30, 9:30 p.m.; Mon., 4:30, 8:35 p.m.

We Are Your Friends Thurs., 7 p.m.No Escape Tues., 7 p.m.American Ultra Fri.-Sun., 10:20 a.m., 12:50, 3:20,

5:50, 8:25, 11 p.m.; Mon., 11:30 a.m., 2:05, 4:35, 7:25, 10:05 p.m.

Hitman: Agent 47 Fri.-Sun., 4:35, 7:05 p.m.; Fri.-Sun., 9:50 a.m., 12:15, 2:40, 5:20, 8:05, 10:35 p.m.; Mon., 11:45 a.m., 2:20, 4:50, 7:30, 10:15 p.m.

Sinister 2 Fri.-Sat., 9:30, 10:30 a.m., 12:05, 1:15, 2:50, 4, 6:30, 8, 9:15, 10:45, 11:55 p.m.; Sun., 9:30, 10:30 a.m., 12:05, 1:15, 2:50, 4, 6:30, 8, 9:15, 10:45 p.m.

The Man From U.N.C.L.E. Fri.-Sun., 10:50 a.m., 1:50, 4:50, 7:50, 10:40 p.m.; Mon., 10:30 a.m., 1:20, 1:45, 4:20, 7:20, 10:10 p.m.

The Man From U.N.C.L.E.: The IMAX Experience Fri.-Sun., 1:30, 10:50 p.m.; Mon., 10:45 p.m.

Straight Outta Compton Fri.-Sat., 9:30, 10:15, 11, 11:45 a.m., 12:30, 1, 1:45, 2:30, 3:15, 4, 4:30, 5:15, 6, 6:45, 7:30, 8:15, 9, 9:45, 10:30, 11:15 p.m., 12 mid.; Sun., 9:30, 10:15, 11, 11:45 a.m., 12:30, 1, 1:45, 2:30, 3:15, 4, 4:30, 5:15, 6, 6:45, 7:30, 8:15, 9, 9:45, 10:30, 11 p.m.; Mon., 10:30, 11:15 a.m., 12 noon, 12:45, 1:30, 2, 2:45, 5:30, 6:15, 9, 9:45 p.m.

Fantastic Four Fri.-Sun., 10:35 a.m., 1:20, 4:10, 7, 9:50 p.m.

The Gift Fri.-Sun., 11:35 a.m., 2:20, 5, 7:40, 10:20 p.m.; Mon., 11:20 a.m., 2:10, 4:55, 7:40, 10:25 p.m.

Mission: Impossible - Rogue Nation The IMAX Experience Fri.-Sun., 10 a.m., 4:30, 7:45 p.m.; Mon., 10:30 a.m., 7:30 p.m.

Pixels Fri.-Sun., 1:35, 4:15, 7:20, 10:15 p.m.Southpaw Fri.-Sat., 8:55, 11:50 p.m.; Sun., 8:55 p.m.;

Mon., 9:20 p.m.Ant-Man Fri.-Sun., 4:40, 7:35 p.m.Ant-Man in Disney Digital 3D Fri.-Sun., 10:40 a.m.,

1:40, 10:25 p.m.Minions Fri.-Sun., 11:40 a.m., 2:10, 5:20 p.m.; Mon., 10:45

a.m., 1:05, 3:25, 5:45 p.m.Inside Out Fri.-Sun., 10:05 a.m., 12:55, 3:35, 6:15 p.m.;

Mon., 10:50 a.m., 1:35, 4:10, 6:45 p.m.Jurassic World: An IMAX 3D Experience Thurs.,

7 p.m.

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lots of modern tricks and technology, it’s old-fashioned in the best sense. The picture is a riff on the Cold War–era TV show about two spies from opposite sides of the Iron Curtain — nattily suited Napoleon Solo and turtleneck enthusi-ast Illya Kuryakin, originally played by Robert Vaughn and David McCallum — who team up to crush enemies of world peace. There’s also little doubt that the movie was conceived to cash in on Mad Men mania: One of its three stars, Alicia Vikander, sports a wardrobe sent straight from Courrèges heaven, including a faint-worthy silver-and-white metallic coat-and-minidress combo. The

key here is that the actors are part of the fun and not just an afterthought. Henry Cavill may not be the most relaxed actor, but as Napoleon Solo, his buttoned-up dignity works. Armie Hammer’s Kuryakin, with his dashing, intention-ally phony Russian accent, is the more soulful of the two, and not just because of his haunted past: Obedient and patri-otic, he comes from a place where every i must be dotted, every t crossed, which makes it all the more delectable when his humanity cracks through. For all this

visual splendor and energy, The Man From U.N.C.L.E. isn’t a completely grace-ful picture: Director Guy Ritchie just doesn’t know when to quit, which means we get multiple endings when, really, just one would do. And he can’t resist his trademark trick of showing us the thing that happens and then backtracking oh-so-cleverly to show us how it happened. (At least he’s good at it.) But the cutting isn’t as crazy-fast as usual; it’s as if for once he wants actually to see what’s go-ing on. (Stephanie Zacharek)

Y O U R W E E K LY M O V I E T O - D O L I S T

From Pee-wee’s Big Adventure to Tarantino’s Aussie ObsessionsFriday, Aug. 21In a series of random, seemingly unconnected murders in New York, all of the perpetrators claim the same de-fense: God Told Me To. Larry Cohen’s underseen curio screens tonight at midnight in the latest installment of Cinefamily’s ever-spooky Friday Night Frights program. No mere police procedural, the serial-killer yarn also incorporates elements of sci-fi into its oddball narra-tive. In a comprehensive poll last year, Time Out ranked the movie among the 100 best horror fi lms of all time. Note that this is the Whisper cut, which is surely even stranger and more worthy of your hard-earned dollars than the 1976 theatrical version. Cinefamily/Silent Movie Th eatre, 611 N. Fairfax Ave., Fairfax; Fri., Aug. 21, 11:59 p.m.; $12. (323) 655-2510, cinefamily.org.

Saturday, Aug. 22An evening of “crime jazz” takes over the Aero as Anatomy of a Murder and Odds Against Tomorrow screen in tandem, the latter on 35mm. This double feature is part of the American Cinematheque’s ongoing Jazz on Film series (the two movies feature the musical stylings of Duke Ellington and John Lewis, respectively). Th ere may be little new to say about Otto Preminger’s Anatomy — when last we checked, it was still considered one of the quintessential courtroom dramas — but Odds Against Tomorrow has gone less remarked. Harry Belafonte stars in the 1959 fi lm noir, making him the fi rst black actor to do so. Aero Th eatre, 1328 Montana Ave., Santa Monica; Sat., Aug. 22, 7:30 p.m.; $11. (323) 466-3456, americancinemathequecalendar.com.

If all the murder and bank-robbing of these fi rst few off erings have you in the mood for something more upbeat, perhaps seeing Pee-wee’s Big Adventure at Hollywood Forever will cheer you up (unless you’re still weirded out by the whole “seeing movies in a cemetery” thing). Th ree decades later, Tim Burton’s feature-length debut remains a fi tful reminder to never steal a rebel’s bike. Hollywood Forever Cemetery, 6000 Santa Monica Blvd., Hollywood; Sat., Aug. 22, 9 p.m. (gates at 7:15); $15. (323) 221-3343, cinespia.org.

Sunday, Aug. 23I Remember Harlem, William Miles’ four-part series chronicling the neighborhood’s centuries-long status as a cultural center of the African-American experience, closes out UCLA’s monthlong tribute to black indepen-dent cinema. Th e documentary delves into everything from the Harlem Renaissance to the civil rights move-ment as it moves forward in time from the 17th century until 1981, the year it was made. I Remember Harlem will be preceded by Syvilla: Th ey Dance to Her Drum, Ayoka Chenzira’s 12-minute short about dancer-instructor-choreographer Syvilla Fort; both fi lms will be shown on 16mm. UCLA’s Billy Wilder Th eater, 10899 Wilshire Blvd., Westwood; Sun., Aug. 23, 7 p.m.; $10. (310) 206-8013, cinema.ucla.edu.

Tuesday, Aug. 25Oz-ploitation night at the New Beverly features two movies from Down Under. In Stone, which predates the original Mad Max by fi ve years, members of a Kawasaki-loving motorcycle gang known as the Grave Diggers (no relation to the monster truck) fi nd themselves being systematically eliminated by unknown agents, while in Dark Age, a man-eating crocodile is loosed upon an un-suspecting populace. Th e latter never received a proper theatrical release in Australia; it took the eff orts of one Quentin Tarantino — who, not coincidentally, owns the New Bev — for it to be shown in its native land at all (in Sydney in 2009), some 20 years aft er it was made. New Beverly Cinema, 7165 Beverly Blvd., Fairfax; Tue., Aug. 25, 7:30 p.m.; $8. (323) 938-4038, thenewbev.com.

Wednesday, Aug. 26Th e Egyptian’s weeklong Studio Ghibli retrospective comes to a close with Pom Poko and My Neighbors the Yamadas. Both were directed by Isao Takahata, who also helmed Grave of the Fireflies (possibly the most depressing animated fi lm of all time) and last year’s much-lauded Th e Tale of the Princess Kaguya. Pom Poko is well-known for introducing Western viewers to tanuki, aka Japanese raccoon dogs — real-life animals depicted in Japanese folklore as anatomically incorrect shape-shift ers with a penchant for mischief. Yamadas is considerably less fantastical than most Ghibli fare, focusing on a contemporary family of ne’er-do-wells. Egyptian Th eatre, 6712 Hollywood Blvd., Hollywood; Wed., Aug. 26, 7:30 p.m.; $11. (323) 466-3456, americancin-emathequecalendar.com.

Get thee back to the New Bev for an evening devoted to Lina Wertmüller, the first woman nominated for the Academy Award for Best Director. She also wrote both of tonight’s selections: Swept Away and Love & Anarchy. A yacht-owning capitalist and a communist who works on said seafaring vessel wind up marooned on a deserted island with only their clashing beliefs to keep them company in Swept Away, whose premise surely precludes the two from falling in love with one another. Meanwhile, in Love & Anarchy, a farmer and a prostitute whose political ideals unite them in hatred of the Fascists launch a scheme to assassinate Mussolini. The program repeats tomorrow — same time, same place — if you can’t make it tonight. New Beverly Cinema, 7165 Beverly Blvd., Fairfax; Wed., Aug. 26, 7:30 p.m.; $8. (323) 938-4038, thenewbev.com. —Michael Nordine

Pom Poko

Heart of a tigerAugust 21-27, 2015 • Daily 12:00 pm

Laemmle’s Music Hall9036 Wilshire Blvd. • Beverly Hills, CA 90211

310-478-3836 • laemmle.com

Showtimes: 12:00 2:30 5:00 7:30 10:00

(310) 478-3836

Our BOysAugust 21-27, 2015 • Daily 12:00 pm

Laemmle’s Royal Theatre11523 Santa Monica Blvd. • West L.A., CA 90025

310-478-3836 • laemmle.com

The TesTimonyAugust 21-27, 2015 • Daily 12:20 pm

Laemmle’s Royal Theatre11523 Santa Monica Blvd. • West L.A., CA 90025

310-478-3836 • laemmle.com

Open yOur eyesAugust 21-27, 2015 • Daily 12:55 pm

Laemmle’s Playhouse 7673 East Colorado Blvd. • Pasadena, CA 91101

310-478-3836 • laemmle.com

A TAle of Heroism,liberATion And Hope

reGenCY AGoUrA Hills sTAdiUm 8AUGUsT 14-20, 2015

dAilY sCreeninGs 12 noon

“It will open your eyes!” --Katherine Heigl and Nancy Heigl

“Amazing!” --Diane Warren

WriTTen And direCTed bY Kim sill

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| | FULL MOON FEVER

Derrick Knight wants to be the fi rst pop star to perform on the moon — but fi rst, he’s dealing with some setbacks here on Earth

BY JESSIE SCHIEWE

On a Friday night in May, a smattering of people hangs around outside the Moon Pad, a peach-colored house-turned-hostel in Boyle Heights. I have been

invited to a party here by Derrick Knight, the Moon Pad’s 28-year-old founder and manager. He promised a “warehouse, DJ [and] live art projections,” but I see none of that — only a handful of young travelers chilling and smoking on the front patio.

I chat briefl y with a Brazilian skate-boarder before heading inside the dilapidated Victorian house. At the “front desk” — a table next to the staircase, with a birdcage hanging in the background — two Russian girls and their mom are checking in. I head upstairs and wander around until I fi nd a balcony fi lled with people. A guy with long hair off ers me a glass of his vodka. His name is Gabe and he identifi es himself as the hostel’s chef. He’s noticeably sloshed.

Back inside, I fi nally meet my host. Knight has tousled, blond-streaked hair and is wearing camoufl age cargo pants and boots, like one of the backup dancers from the Destiny’s Child “Survivor” video. He’s in the middle of shooting a video for a Kickstarter campaign to raise money for the Moon Pad.

“It’s not the only thing I want to do,” says Knight, who is also a burgeoning pop singer. “I don’t want to just own a hostel.” Scenes from his most recent music video fl it across the wall behind him as he paus-es for dramatic eff ect. “I want to be the fi rst artist to perform on the moon. That’s my main focus, my life mission.”

Before Knight goes to the moon, where he also plans to build a hostel, he has some musical goals he wants to achieve here on Earth. In the last two years, he’s released two bubble-gum pop singles: “Mayan Rain Dance” and “Love Is Like the Sun.” Both songs have music videos on YouTube and Vevo and are available as cassettes in “very limited edition” at Amoeba (translation: There’s only one copy for sale). In addition to releasing his fi rst EP, for which he says he’s already written 40 songs, Knight has plans to get “Love Is Like the Sun” on MTV2 (“It’s like 95 percent sure,” he says).

Knight was raised in Milton, a small town in the Florida Panhandle. From an early age, his passion was music. For most of his teens and early 20s, he promoted bands and booked shows, before moving to New York City, where he worked as a go-go dancer and experienced living in a hostel for the fi rst time.

After a year in the Big Apple, Knight moved to Los Angeles with the goal of “producing big concerts.” It was then that he saw a parallel between owning a hostel and throwing musical events. The hostel could serve both as a venue and as a place to meet fellow artists from all over the world. With that in mind, he opened his fi rst hostel on Fourth Street in Boyle Heights in 2012, before moving to the peach-colored house on Boyle Avenue, a few blocks away, later that year.

But when I meet with Knight again, two weeks later, he’s just been evicted from the Moon Pad. He stands outside on the sidewalk staring at the building, which was emptied of guests by police earlier that morning. Nine hours after the eviction, there are still guests standing outside the place, wondering where to go and how to

get back inside to get their stuff . “This morning I didn’t get any sort of

phone call or anything like that,” says Knight, who had been in Atlanta visiting his grandmother earlier that week. “I feel so bad. But I couldn’t do anything physi-cally here for like six or seven days.”

Just then a taxi pulls up, dropping off a South Korean exchange student who had booked two nights at the hostel. “Oh my God,” she says after learning about the closed venue. “What should I do? Oh my God. I’m not even from here.”

Although Knight had envisioned the Moon Pad as “a communal living environ-ment where artists can meet each other and share ideas,” according to numerous former guests, the hostel was a disaster. The former guests claimed that there were bedbugs and other pest problems, and

that there were 10 squatters at one point. According to Knight, the landlord was un-responsive and reluctant to make repairs.

The landlord, Leon Ahdoot, declined to comment for this story, saying only, “The past is the past and I’m just trying to move on.” He did, however, send two links to L.A. Weekly: one to a message board accus-ing Knight of scamming bands; the other to a public records page from Escambia County, Florida, suggesting that Knight has a criminal record. Further Google searches reveal that Knight was, in fact, arrested for battery in 2006 and again for larceny in 2010 — though in both cases the charges were later dropped.

The accusations that Knight scams bands — and possibly guests — are widespread. A “Boycott the Moon Pad” petition on GoPetition.com claims that 20 bands performed at Knight’s hostel and never got paid. “Derrick is a lying, stealing and unethical businessman,” says Daniel McKenzie, a former Moon Pad guest and employee. “He’s more of a hustler than a business owner.”

Knight denies these accusations and says that the petition and his arrest record were “taken out of context.” “Now it kind of appears like something it is not,” he says. “It was pretty harsh criticism. They made it look like I was taking advantage of people.”

He plans to work only “with well-known artists and well-known production compa-nies” for future shows. “Really, who you’re working with is a refl ection of you,” he explains. “And I feel like if I was working with a professional crew, I wouldn’t have gotten that backlash.”

Now that he’s lost the house in Boyle Heights, Knight has been staying with friends or sleeping in his car. But he’s al-ready moved on to other ventures. He says he’s purchased land in the Mojave Desert and on the Big Island of Hawaii. In the Mo-jave, he plans to rebuild the Moon Pad us-ing shipping containers, and hopes to have solar electricity, a stage, an outdoor movie theater and horses. Though he hasn’t vis-ited the land in Hawaii (he bought it sight unseen), he wants to build a Moon Pad there, too, and do “green and conscious” things like rainwater harvesting.

He’s also going to continue booking bands and throwing shows, because one of his other life goals is to throw a huge yearly event called the Moon Bridge Music Festival. He envisions booking “a bunch of well-known artists, like Ludacris,” raising millions of dollars and then funneling that money into “research and development to fi nd out what it will take for us to build a Moon Pad on the moon.”

For now, there is only one shipping container in the Mojave, but that hasn’t stopped Knight from scheduling a party there on Labor Day weekend. Using volun-teers from the website Couchsurfi ng, he plans to build the place out, starting with the construction of “a lot of” teepees.

“Macklemore said in a TED talk, ‘Don’t let perfection ever stop you from doing whatever it is you gotta do,’�” he says at our last meeting. “So I just believe in planting the seed. If it’s one tent and one container, then that’s enough for me to be like, we’re gonna do this.”

| Music //

PHOTO BY SHANE LOPES

Derrick Knight

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The Doctor Is OutIF COMPTON REALLY DOES MARK THE END OF DR. DRE’S RAP CAREER, IT’S A SATISFYING CONCLUSION

BY JEFF WEISS

On the fourth song of Compton, the fi nal album from Dr. Dre, gangsta rap’s Hippocrates lets us behind the myth. “It’s All on Me” invokes

hard times before the fame and de-scribes his fi rst encounters with Eazy-E and Snoop Dogg. Interactions usually buried in careful branding rise to the forefront.

It’s the fullest portrait of Andre Young that we’ve heard on record (even if he didn’t write the lyrics). His girlfriend yells in his ear when he’s recording to four-track. Eric Wright’s nasal sneer demands his car back. The D-O-Double-G introduces him to the chronic; a few years earlier Dre had bragged about not smoking weed or sess on N.W.A’s “Express Yourself.”

If you’re of a certain age and grew up hearing Dre’s music bumping from lolo’s in Bellfl ower to BMWs in Beverly Hills, it’s hard to avoid getting in your feelings. The last 30 years of nation-ally popular L.A. rap could be a Dre biopic. The seeds of inspiration are rooted in the fi rst chapter of Dre’s life, as seen in this month’s Straight Outta Compton fi lm. But Compton, billed as “a soundtrack,” plays like the last episode of Seinfeld, where familiar faces emerge from the distant past for a fi nal sendoff .

There’s Ice Cube, Snoop and Xzibit. The Game snapping like the Soup Nazi. Kendrick Lamar rapping his best verses of the year. Eazy-E’s disembodied rattle taunting us from the tomb over a “Foe Tha Love of $” sample. Eminem is back and Jimmy Iovine off ers a motivational sermon.

Just as welcome are the shout-outs to often-overlooked legends and land-marks of West Coast hip-hop: WC, Eve After Dark, MC Ren, Yella and the late KMG the Illustrator, the latter invoked via a scorched rap from his Above the Law kinsman, Cold 187um.

If you only know about Death Row and Aftermath, you might mistake these names as a roll call of the obscure. But they represent the rich tradition and culture from which Dre emerged.

Above the Law helped create G-funk, but Dre got all the credit. Eve After

Dark was the nightclub run by Alonzo Williams, the promoter, DJ and master-mind of the World Class Wreckin’ Cru. That was Dre’s fi rst group, where he initially won fame performing electro-funk turntable surgery in a sequined suit and stethoscope. It’s the image he spent decades running from after N.W.A rebranded him with Raiders hats, gats and mug-shot scowl.

Their inclusion is an act of enshrine-ment. No co-sign ever mattered more than Dre’s does to L.A. rap. That’s why YG recently boasted about being the only one to make it out the West without Dre.

In one more Midas act, Dre off ers his imprimatur to Anderson .Paak, the immensely gifted soul singer affi liated with Hellfyre Club and Stones Throw. It’s tacit acknowledgement that under-ground and mainstream are often only separated by a marketing budget.

The end fi nds Dre fi xated on legacy. For the fi rst time since The Chronic’s “The Day the Niggaz Took Over,” a sociopolitical bent consumes the music. Despite the money and fame, Dre wants people to remember the crack-riddled failures wrought by Reaganomics — not just the house parties that he DJ’ed for fun but the LAPD goon squads who forced him face-down onto the pave-ment and directly gave rise to N.W.A. He reveals the city’s complications and interconnectedness.

Compton has its fl aws, but it’s far better than an album from a 50-year-old hermit tech billionaire has any right to be. Dre did what he needed to do: celebrate, expand on and off er closure to an era. We no longer need a next episode.

An L.A. native, Jeff Weiss edits Pas-sion of the Weiss and hosts the Shots Fired podcast. Find him online at pas-sionweiss.com.

PHOTO BY JAMES ATOA/EVERETT COLLECTION

NO CO-SIGN EVER MATTERED MORE THAN DRE’S DOES TO L.A. RAP.

Dr. Dre has said Compton will be his fi nal album.

| Music // | Bizarre Ride //

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GOLDENVOICE PRESENTS

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Nov. 29 » MayanOn Sale Fri. 8/21

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Sat. Sept. 5 » El ReyOn Sale Now

Oct. 15 » El ReyOn Sale Fri. 8/21

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RITA ORA 8/26 » El Rey

CHICANO BATMAN 8/28 » El Rey

THE DAMNED W/ CJ RAMONE 9/5 » Fonda

BELINDA CARLISLE 9/11 » Fonda

SAM FELDT 9/11 » El Rey (18+)

BIG SCARY 9/12 » Lyric Theatre

TEENAGE TIME KILLERS 9/12 » Fonda

NAHKO AND MEDICINE FOR THE PEOPLE 9/17 » Fonda

TOMMY EMMANUEL 9/17 » El Rey

MOBB DEEP 9/18 » El Rey

KSHMR 9/19 » Fonda (18+)

COCOROSIE 9/23 » Belasco Theater

SHANNON AND THE CLAMS 9/23 » El Rey

DOYLE BRAMHALL II 9/24 » El Rey

ROBIN SCHULZ 9/24 » Fonda (18+)

MEW 9/25 » Fonda

CHELSEA WOLFE 9/25 » The Regent

SHAMIR 9/26 » El Rey

EPICA & ELUVEITIE 9/26 » Fonda

RATATAT 9/28 + 9/29 » Mayan

EMMYLOU HARRIS & RODNEY CROWELL 9/28 » El Rey

CATFISH & THE BOTTLEMEN W/ JAMIE N COMMONS 9/29 » Fonda

SOULFLY W/ SOILWORK, SHATTERED SUN & DECAPITATED 9/30 » Fonda

UNCLE ACID & THE DEADBEATS 10/1 » Fonda

GODFLESH 10/2 » El Rey

TCHAMI 10/2 » Fonda (18+)

THE LA BLUEGRASS SITUATION 10/3 » Greek Theatre

THE WORD W/ ROBERT RANDOLPH, JOHN MEDESKI & NORTH MISSISSIPPI ALLSTARS 10/3 » Fonda

RUDIMENTAL (LIVE) 10/6 » Fonda + 10/7 » Belasco Theater

BEN HOWARD 10/7 » Greek Theatre

BRAIDS 10/7 » Lyric Theatre

TURNPIKE TROUBADOURS 10/7 » El Rey

PAUL WELLER 10/7 + 10/8 » Fonda

WILD CHILD 10/8 » El Rey

IAMX 10/9 » Fonda

PEOPLE UNDER THE STAIRS 10/10 » Fonda

AER W/ CODY SIMPSON 10/10 » EL Rey

BURN 10/11 » El Rey

WOLF ALICE 10/13 » Fonda

KURT VILE & THE VIOLATORS 10/14 » Fonda

MISTERWIVES10/14 » Belasco Theater

SUPERHUMANOIDS 10/14 » El Rey

AUTECHRE 10/15 » Fonda

ZZ WARD 10/16 » El Rey

LIANNE LA HAVAS 10/16 » Fonda

TWIN SHADOW 10/17 » Fonda

DOOMTREE 10/17 » El Rey

HUDSON MOHAWKE W/ THE DREAM 10/18 » Fonda (18+)

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ABIGAILE • AUNTIE EM’S KITCHEN THE BLUE OWL • CASSELL’S HAMBURGERS

GOLDIE’S • GO GET EM TIGER • MYKE’S CAFEOLIVE & THYME • POPPY CAKE BAKING CO.

SEMI SWEET BAKERY • STATUS KUO • STICKY RICE SUPERBA FOOD + BREAD • SWEET BUTTER KITCHEN

SUNDAY, OCTOBER 18TH, 2015 11AM - 2PM • SANTA ANITA PARK

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UNSAFE TRAVELS

I am currently in Quito, Ecuador, more than 9,000 feet above sea level in the Andes Mountains. Th e weather is reminiscent of

early autumn on the East Coast of America. Every day, I go out walking up and down

steep streets, which are packed with people, vehicles and the lilting chants of the vendors. Th e smells go from perfume to food to decom-position, sometimes in one inhalation. Th ere has not been one day when I have not seen a man, stooped over, taking small, trudging, robotic steps, carrying on his back a refrigera-tor that dwarfs him. Up the street he goes, to turn and disappear into a building.

Yesterday, I walked up a street called Mejia until the base of a mountain almost stopped it. I saw a street to my left that looked ridiculously steep, no one on it, the walls on either side covered with graffi ti. I went up it, marveling at the incline and the view it aff orded.

Th e street dead-ended soon aft er and gave me the choice of left or right. I went left be-cause it seemed the overlook would be better. As I walked, I was able to take in a huge part of the city and enjoy the contrast from streets clogged with people to no people at all — and, besides a live band playing in the distance, almost total silence.

Every square inch of wall space was taken up with graffi ti I couldn’t understand, but it looked really cool. A man walked by me, gave me a serious look and said, “Hola!” I returned the greeting and kept moving.

On my left , I came upon a clear spot with a guardrail and stared out. Th ere are a lot of churches in this part of town. I fl ashed on the image of missionaries on the side of a trail, their skulls split open, their faces still holding a patient smile.

A man came up on my right side. He was checking out my camera. For about a minute, we stood unmoving, him looking at the right side of my head, me looking straight out, keeping him in my periphery, checking for movement. Finally, he smacked the guardrail a few times and walked away.

I measure “bad” neighborhoods by the level of urine stench, graffi ti and stray dogs. Th is street had plenty of all three, but nothing rang the danger bells in my mind. Aft er a moment, I was on my way.

Several meters later, I emerged at a street called Bolivar. Th e sign on my right said I was on Manuel Rodriguez. As I was staring down the decline of Bolivar and strategizing the best route to take, I noticed a huge rat, which kept

running from underneath a car to the sidewalk and back under the car again.

A voice at my left broke me out of my rodent surveillance. A man was standing next to me, pointing down Manuel Rodriguez. “No!” He didn’t want me to walk down the street. This has happened to me before: A woman in Bangladesh gently pushing me and waving her fi nger at me. I thanked the man and shook my head no. With one hand, he pointed down Manuel Rodriguez and, with the other, made wild stabbing motions at his heart. “No!” I thanked him and waved my hands to show I wouldn’t dare. He nodded at me gravely and lurched away, going where I had just been.

I thought of myself, perforated, sans camera, the reporte policial stating, “Victim had blood coming out of his eyes, blood coming out of his … wherever.”

Th e rat had disappeared. As I made my right onto Bolivar, I noticed spray-painted on the wall behind me: “Zona Gangsta.”

Down Bolivar, left on Imabura, right on Chile, left on Cuenca and right on Mejia, describing a ragged circle that took quite a while to execute. With every step, my knees petitioned me for a redress of grievances. I felt their pain.

Ecuador adopted the U.S. dollar as its cur-rency, doing away with the Ecuadorian sucre in 2000. Another example of America’s long reach into this part of the world. It makes getting around easy, but at the same time, it’s disquieting that I can go into another country and spend the same cash I was using in a food court at the Houston airport a few days ago.

Economic matters fl y way above my intel-lectual pay grade, but to me it is a blow to the sovereignty of the country, turning the entire population into the U.S.’ stepchildren. I hate to think that any American might travel here with the idea that Ecuador is merely one of his back-yards to act out in, the way some do in Tijuana.

Globalization should be treated like a full pitcher of nitroglycerin, and any country should regard any huge, interest-seeking entry with extreme wariness. However, now and then, things work out rather well.

Th is is probably just my twisted selfi shness coming to the fore, but I love it when music crosses borders and spreads. Outside my window today, probably at the same music festival as yesterday, there is a band playing re-ally fast, the singer going for the bowels-o’-hell tone. Mostly I’m only hearing snare and vocal, and it’s mixing eclectically with the Pere Ubu track I’m listening to.

So far, I’ve seen three Ramones tops. Two sweatshirts and one T-shirt. As far as I can fi nd out, the band never played in Ecuador but it rocked huge venues in Brazil and Argentina. Marky, C.J. and even Richie still play in a few South American countries, using “Ramone” in their advertising. Maybe Th e Ramones are one of America’s greatest exports and enduring representatives. Hey (ho), I’ll take it.

Next stop, Coca and onto the Napo River, a tributary of the Amazon.

Henry Rollins

The Column!

GLOBALIZATION SHOULD BE TREATED LIKE A FULL PITCHER OF NITROGLYCERIN.

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fri 8/21Modest Mouse

@ HOLLYWOOD FOREVERModest Mouse have followed their own stubbornly idiosyncratic path since 1992, when singer Isaac Brock put the band together in Issaquah, Washington. Unlike other groups from the Pacifi c Northwest, Modest Mouse have always seemed unaff ected by grunge, garage rock and other regional trends. Instead, Brock and his ever-evolving lineups — which in the past have included The Smiths’ Johnny Marr and The Helio Sequence’s Benjamin Weikel — have never settled long in one sonic space. On its latest album, Strang-ers to Ourselves, the band sweeps back and forth from pointedly quirky, Talking Heads–style new-wave funk (“The Ground Walks, With Time in a Box”) to celestial dream-pop (“Of Course We Know”) and hip-hop–fl avored psychedelia (“Shit in Your Cut”). Perhaps Brock is just being Modest when he claims, “Pack up again/Head to the next place, where we’ll make the same mistakes.” —Falling James

Heart @ HOLLYWOOD BOWL

There are two classic Canadian(ish) bands with the fan base to fi ll arenas, but only one of them — Rush, in all their quirky glory — has wiggled into the hipster canon. Which is to say, why don’t we talk more about Heart? The musical vehicle of sisters Nancy and Ann Wilson has sold more than 35 million albums worldwide (neck and neck with Rush, thanks very much) and is one of a select few groups that have gone platinum in three separate decades. They’ve worked with Alice in Chains and been sampled by Lil Wayne, and the Wilson sisters own Seattle’s Bad Animals Studio. With a discography spanning mystic folk, thundering hard rock and hooky classic guitar riff age, it’s unquestionable where fans of massive music will want to be this weekend. Also Saturday, Aug. 22. —Drew Millard

Jacob Szekely @ MUZEUMM

Cellist Jacob Szekely has built a career on defying expectations of what his chosen instrument is capable of. Cultivating a sound he calls “rock chamber jazz,” the classically trained Brooklyn native and USC grad mixes all those styles and more into the self-titled debut album from his Jacob Szekely Trio. In Szekely’s dexterous hands, the cello acts as both lead and rhythm instrument, fl uttering through Coltrane-like sheets of sound on jazzy tracks such as “Corner Song” and mimicking an upright bass behind Josh Nelson’s gorgeous piano licks on “300 Years.” Tonight’s album-release party at the Muzeumm gallery in West Adams starts at 6 p.m. with a perfor-mance by String Project L.A., a collective of stringed instrument teachers and

students co-founded by Szekely, followed by a TED-style talk at 7 p.m. and two performances by Szekely and his trio at 8 and 9:30 p.m. —Andy Hermann

sat 8/22FYF Fest

@ L.A. MEMORIAL SPORTS ARENA AND EXPOSITION PARKIt’s been 11 years since the FYF Fest started as a scruff y punk gathering that didn’t take up much more space than the Echo and the alley behind Echo Park’s now-defunct Sea Level Records. Last year, the festival expanded to the Sports Arena and Exposition Park, where it returns this weekend with a lineup of even bigger names. Contemplative singer-rapper Frank Ocean headlines on Saturday, presiding over a diverse bill that encompasses the frenetic energy of Bloc Party, the soothing electronica of Chet Faker, the rusty reverberations of The Jesus and Mary Chain, the aggres-sive rap confrontations of Run the Jewels and the serenely engrossing, postpunk catharsis of Savages. Sunday off ers salva-tion from messiahs both black (D’Angelo & the Vanguard ) and white (Morrissey ), as well as doses of gentle wit (Belle and Sebastian ), twisted soul (FKA Twigs ) and good ol’ rock redemption (Spiritualized ). Also Sunday, Aug. 23. —Falling James

Motörhead @ SHRINE EXPO HALL

A proper song by Motörhead sounds like a speeding train going off the rails. Tracks whip past at near-punk tempos, with a guttural, fearsome rattling of bass that’s even rawer and more distorted than the guitar. Lemmy Kilmister, the bassist-singer, is a surly biker thug who’d rather undercut you with brutal howling than op-

eratic high-fl ying vocal pyrotechnics, and his worldview — despite a past with proto prog-hippies Hawkwind — veers closer to Mad Max apocalyptic than Woodstock idealism. Motörhead’s upcoming album, Bad Magic, looks to be another potent blast from the 69-year-old, with a guest appearance by Queen guitarist Brian May and a cover of The Stones’ “Sympathy for the Devil.” As Lemmy croons amid the throttling power of “Thunder and Lightning,” “What do you want from your miserable life?” —Falling James

Claude VonStroke @ EXCHANGE L.A.

Dirtybird leader Claude VonStroke crafted a gem of a remix earlier this year when he tackled Rihanna’s “Bitch Better Have My Money,” taking the melody that’s almost hidden in the original and amping it up with dark, Depeche Mode–style synths and a big kick that twists the track into a midnight horror-movie jam. The L.A.-based producer has found a striking balance between the house beats that have marked his career and the deep, bass-y tones that are driving today’s EDM kids crazy on the dance fl oor. Recent releases such as “Make a Cake” and “Bar-rump” are rump-shakers, and his return to Exchange will undoubtedly be one, too. Also on the decks will be French DJ Shiba San, who released his ’80s, sci-fi pop-and-locker “Planet Floor” through Dirtybird earlier this year. —Liz Ohanesian

Eleni Mandell @ HOTEL CAFE

“I’m old-fashioned,” Eleni Mandell sings on the fi rst track of her new album, Dark Lights Up. And on this album, she is. With warm vocals and sweet strumming, Mandell evokes a simpler time of café singers — that is, if those singers had 10 solo albums under their belts and collaborations with renowned musicians

PHOTO BY DAN WILTON

| Music // | Picks //

Claude VonStroke: See Saturday.

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Mon-sat 10:30aM-11pM ★ sun 11aM-10pMvalIdated paRKInG at tHe aRClIGHt!

Buy-sell-tRade: Cds, lps, dvds, vIdeos, Blu-Ray & MoRe!

upCoMInG events at aMoeBa!all shows are FRee and all aGes

For a full calendar of events, visit aMoeBa.CoM

AMOEBA.COMFREE SHIPPING ON MUSIC & MOVIES - NO MINIUMUM!

Friday Nights • 8PMRotatIons dj setsGuest DJ series, every Friday night!AUGUST 21 - DArk EnTriES

AUGUST 28 - AlEx Ho

Thursday • August 20 • 5pmGHost

PAPA III and the Nameless Ghouls of Ghost will be coming to Amoeba Hollywood as part

of the Unholy Unplugged Tour to perform several intimate songs off their new album, Meliora. They will be signing copies of the

new record for the first 300 fans to purchase on 8/20. Details on Amoeba.com.

Monday • August 24 • 5pmGloRIa tRevI

Cd sIGnInGMeet Mexican superstar Gloria Trevi and geta signed copy of her new album, El Amor!Signing space is limited to the first 300 to

purchase El Amor in-store at Amoeba Hollywood beginning August 21st.

Details on Amoeba.com.

Wednesday • August 26 • 5pmaMy-jo alBany & Flea

dj set + sIGnInGJoin Flea and Amy-Jo as they co-DJ a set,

and sign copies of the LP soundtrack to Low Down (Light in the Attic Records),

Saturday • August 22 • Noon-5pmsIdewalK sale!Score some huge deals on music, movies, books and much more just

outside the store!

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6PM - 11 PM6PM - 11 PM

THIRD STREET PROMENADE

SANTA MONICA BLVD. to ARIZONA AVE.

DOWNTOWNSM.COM

RAUL CAMPOS ANTHONY VALADEZ

TRAVIS HOLCOMBE

AND DJ MICHAEL AMMANN

RAUL CAMPOS ANTHONY VALADEZ

TRAVIS HOLCOMBE

AND DJ MICHAEL AMMANN

THIRD STREET PROMENADE

SANTA MONICA BLVD. to ARIZONA AVE.

DOWNTOWNSM.COM

Aqua boogie on the Sonic Submarinewith the funky sounds of KCRW DJs

Aqua boogie on the Sonic Submarinewith the funky sounds of KCRW DJs

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all over town. The album, which takes its title from the delicate yet upbeat “What Love Can Do,” was inspired by a trip to the Country Music Hall of Fame Mandell took with her kids while on tour. She got back to her country infl uences, working with producer Sheldon Gomberg to cut an all-acoustic album that lets Mandell’s voice and songwriting shine. The L.A. na-tive ends her North American tour back home at the Hotel Cafe. —Sascha Bos

sun 8/23Sahba Motallebi

@ GRAND PERFORMANCESRevered among afi cionados of Persian classical and folk music, Sahba Motal-lebi is a virtuoso performer on the long-necked stringed instruments known as tar and setar. She’ll be joined in an eclectic evening of Iranian traditional sounds and global-fusion collaborations by a sterling cast of Iranian performers, including Axiom of Choice singer Mamak Khadem; Loga Ramin Torkian and Azam Ali of the excellent Middle Eastern con-temporary duo Niyaz; singer-composer Sina Sarlak; kamancheh (spiked fi ddle) player Mehdi Bagheri and tombak (drum) maestro Naghmeh Farahmand; and Persian dance expert Robyn Friend. Supported by the Farhang Foundation, L.A.’s Iranian arts and culture nonprofi t organization, this event is part of a series called “Re:Arranged — Muslim Cultures Illuminated,” which showcases South-east and Central Asian Muslim artists in performance and educational exchanges with the L.A. community. —John Payne

mon 8/24Fat Wrecked for 25 with NOFX, Lagwagon

@ HOLLYWOOD PALLADIUMAlong with Epitaph and Lookout, Fat Wreck Chords helped defi ne the sound of punk in the ’90s. For 25 years, the San Francisco –based indie label has been the home for punks with mohawks and cheeky band names like “Propagandhi.” It’s been the war room for Rock Against Bush and the rebirth of hardcore punk as melodic and irreverent. Founded in 1990 by NOFX’s Fat Mike along with his now ex-wife, Erin Burkett, Fat Wreck began as an artist-friendly home for O.G. punks like Lagwagon and No Use for a Name. Now they celebrate 25 years of never selling out during a nationwide tour that culminates in Hollywood, the birthplace of NOFX, who lead a caravan of bands that includes Lagwagon, The Flatliners and Swingin’ Utters (just to name a few) in a sloshed jubilee. —Art Tavana

tue 8/25Kid Cadaver

@ THE SATELLITEThe monthly Emo Night isn’t the only

place you’ll fi nd pop-punk nostalgia. Kid Cadaver’s energetic indie-pop is reminiscent not only of early-2000s punk but also of more recent favorites such as Tokyo Police Club and Passion Pit, complete with infectious gang vo-cals that uncontrollably inspire singing along. This trio doesn’t leave out televi-sion fans, either: Newest single “Keep Well” features lyrics inspired by Game of Thrones. On the heels of the release of their sophomore EP, Roam, this night also kicks off Kid Cadaver’s monthlong West Coast tour, which means enthu-siasm will be in excess. Fellow locals Coyote and Layne support Kid Ca-daver’s release with their own takes on danceable beats. —Britt Witt

wed 8/26Scientist

@ THE ECHOPLEXWhether he’s encountering invaders from space or saving this planet from vampires, Scientist always creates his own musical universe. Thick dub bass pulses intermittently through a murky soup of echoes and electronics. Horns come out of the depths like sharks, then dart away again. As with the seemingly unrelated music of German prog outfi t Can, Scientist invents a truly psyche-delic montage of sounds and junkyard scraps of noise, but he also uses the wide, empty spaces around his produc-tions to create even more mystery. Born under the name Hopeton Brown, Scien-tist learned a lot at the feet of Jamai-can dub visionary King Tubby, but he nonetheless infuses his shape-shifting experiments with his own personality and heroic vibe. Tonight at Dub Club, he participates in a live dub-mixing ses-sion. —Falling James

thu 8/27Mutoid Man

@ THE ECHOThis power trio is an infectiously catchy riff machine on sophomore record Bleeder. A collaboration between guitar-ist/vocalist Stephen Brodsky (of post-hardcore greats Cave In ) and drum-mer Ben Koller (of abrasive hardcore stalwarts Converge ), Mutoid Man is an outlet for both men to toss aside their histories and simply rock. The majority of tracks generated by this eff ort are two- to three-minute rippers, with em-phasis on the “power” half of the phrase “power trio.” Bassist Nick Cageao underpins expertly crafted melodic rock bursts highlighted by sweeping riff age, Brodsky’s melodic bellows and Koller’s drum smashes, which rain down like a hailstorm. The angularity of Brodsky and Koller’s parent bands still infects their work here, but the chaotic time-signature changes on standout tracks like “Bridgeburner” and “1000 Mile Stare” just feed the massive rock frenzy of their latest project. —Jason Roche

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ROCK & POP

ALEX’S BAR: 2913 E. Anaheim St., Long Beach. Travesura, The Apostles, The Budrows, Sat., Aug. 22, 9 p.m., $5. The Cannanes, The World Record, The Do-Its, The Radiohearts, Sun., Aug. 23, 8 p.m., $5. Robert Jon & the Wreck, Professor Colombo, The Bluffs, Thu., Aug. 27, 9 p.m., $5.

ALL STAR LANES: 4459 Eagle Rock Blvd. Monster Rally, The Brendan Eder Ensemble, Fri., Aug. 21, 9 p.m., $7.

AMOEBA MUSIC: 6400 Sunset Blvd., Los Angeles. DJ Dark Entries, Fri., Aug. 21, 8 p.m., free. Gloria Trevi, signing copies of a new CD, Mon., Aug. 24, 5 p.m., free. Amy-Jo Albany, DJ Flea, Wed., Aug. 26, 5 p.m., free.

AMPLYFI: 5617 Melrose Ave., Los Angeles. Shaufrau, Convey, Negative Fusion, Next Door to the Moon, A Wasted Effort, Fri., Aug. 21, 7:30 p.m., $12.

BARDOT HOLLYWOOD: 1737 N. Vine St. Bosco, K Stewart, Janelle Kroll, Mon., Aug. 24, 8 p.m., free.

BECKMAN AUDITORIUM, CALTECH: 332 S. Michigan Ave., Pasadena. Marina V, Aireene Espiritu, Sat., Aug. 22, 8 p.m., $15.

BOARDNER’S: 1652 Cherokee Ave. Sisters ov the Blackmoon, Banshee Bones, Sat., Aug. 22, 10 p.m.

BOOTLEG THEATER: 2200 Beverly Blvd., Los Angeles. Velasco, Odessa, Thu., Aug. 27, 8:30 p.m., $12.

CAFE NELA: 1906 Cypress Ave., Los Angeles. The Gears, Lawndale, preceded (at 9 p.m.) by a screening of the documentary Don’t Be Afraid to Pogo, Fri., Aug. 21, 8:30 p.m., $5. Master Cylinder, Constance Grimace, VIGR, Rebel Family, Sat., Aug. 22, 8:30 p.m., $5. Black Majik Acid, Flying Hair, Babylon, Sun., Aug. 23, 8:30 p.m., $5. Smomid, Peddle Strike, Rockford, Wed., Aug. 26, 8:30 p.m., $5. The Black Widows, The Golden Rulers, Hellbat, Thu., Aug. 27, 8:30 p.m., $5.

CANYON CLUB: 28912 Roadside Drive, Agoura Hills. The Tubes, Fri., Aug. 21, 9 p.m., $24-$38. Dev, Sat., Aug. 22, 7 & 9 p.m., $20-$32.

CODY’S VIVA CANTINA: 900 Riverside Drive, Burbank. Wumbloozo, Cow Bop, Fri., Aug. 21, 7:30 p.m., free. Jimmy Angel, Cody Bryant, Sat., Aug. 22, 8 p.m., free; Cody Bryant Experience, Steve Waddington & Susan Ritter, Sat., Aug. 22, 8 p.m., free. Murphy’s Flaw, Sun., Aug. 23, noon, free; Bullfish Blues Band, Sun., Aug. 23, 2 p.m., free; Debra Lee & Trigger Happy, Sun., Aug. 23, 6 p.m., free. The 584 Big Band, Tue., Aug. 25, 7:30 p.m., free. The Bruce Forman Trio, Wed., Aug. 26, 7:30 p.m., free. Cody Bryant, Thu., Aug. 27, 7:30 p.m., free; Tonya Watts, Bobby Joyner, Casey Cannon, Thursdays.

COMPLEX: 806 E. Colorado St., Glendale. Free the Robos, Taurus Scott, D-Styles, Nobody, Fri., Aug. 21, 9 p.m., TBA. Cut Hands, WMX, Fractured Transmission, Sat., Aug. 22, 9 p.m., $12. Arachnigod, Holocaust, Nectroticus, Coldvoid, Sun., Aug. 23, 8 p.m., $10. Black Cobra, Behold the Monolith, Tue., Aug. 25, 8 p.m., $10. M/A/N/O/S, Wed., Aug. 26, 9 p.m., free.

THE ECHO: 1822 W. Sunset Blvd., Los Angeles. Lower Dens, Empress Of, Fri., Aug. 21, 8 p.m., $15. Grand Ole Echo, with I See Hawks in L.A., Brawley, Red Meat, Grant Langston, Sun., Aug. 23, 3 p.m., $5; The Gitane Demone Quartet, Fangs on Fur, Terminal A, Shadowhouse, Sun., Aug. 23, 9 p.m., $13. Fakers, Mon., Aug. 24, 8:30 p.m., free. King Gizzard & the Lizard Wizard, Mild High Club, Wed., Aug. 26, 8 p.m., $14. Mutoid Man, Wild Throne, He Whose Ox Is Gored, Thu., Aug. 27, 8 p.m., $15 (see Music Pick).

THE ECHOPLEX: 1154 Glendale Blvd., Los Angeles. Nails, Terrorizer L.A., Warcry, No Tolerance, Fury, Fri., Aug. 21, 7 p.m., $15. Scientist, General Jah Mikey, Boretta Da General, Julian Keys, Wed., Aug. 26, 9 p.m., $10 (see Music Pick). Fool’s Gold, Isaac Rother & the Phantoms, Quitapenas, Thu., Aug. 27, 8 p.m., TBA.

EL CID: 4212 W. Sunset Blvd., Los Angeles. Cheetah in August, film screening, Fri., Aug. 21, 10 p.m., $10. The Neptunas, Black Sabbitch, Pussy-Cramps, Sat., Aug. 22, 9:30 p.m., $7. Florals, Cody DiGerolamo, Nikki Lorenzo, Tue., Aug. 25, 8:30 p.m., $10. My Double My Brother, Valley Shine, Andrew Marks, Wed., Aug. 26, 8:30 & 9:15 p.m., $10. Honky Tonk Hacienda: All-Star California Country for Texas Flood Relief Benefit, with James Intveld, Pete Anderson, Brian Whelan, Ted Russell Kamp, Rod Melancon, Teresa James, Charlie Overbey, Dean Parks, Ben Reddell, Ronnie Mack, The Jolenes, Preston Smith, Dave Bernal & Casey Cannon, Katy Moffatt, Waylon Payne, Robbie Davis, Mark Mackay, Thu., Aug. 27, 8 p.m., $12.

THE ESCONDITE: 410 Boyd St. Pretty Little Demons, Fri., Aug. 21, 7:30 p.m.; Fri., Aug. 28, 7:30 p.m., free.

THE FEDERAL BAR: 5303 N. Lankershim Blvd., North Hollywood. Lucas Grabeel, Samantha Auerlio, Taylor

Alexander, Anthony Paul, Fri., Aug. 21, 6:30 p.m., $12. Husky, Jordan Klassen, Sun., Aug. 23, 11 a.m.

THE FEDERAL BAR: 102 Pine Ave., Long Beach. Sean Danielsen, Sat., Aug. 22, 7 p.m., $10. J. Ross Parrelli, Tony Ozier, Quinto Sol, Chad Bishop, Voltronne Soul, Thu., Aug. 27, 8 p.m., $13.

4TH STREET VINE: 2142 E. Fourth St., Long Beach. The Alley Cats, Boogie Mamas, Sat., Aug. 22, 9 p.m., free. 8 Good Fingers, Mon., Aug. 24, 8 p.m., free.

GENGHIS COHEN RESTAURANT: 740 N. Fairfax Ave., Los Angeles. Tom Morello, Fri., Aug. 21, 8 p.m., TBA. Liz Labelle, The Shakers, Pacific Swingline, Abby Ward, Sat., Aug. 22, 7:30 p.m., $10. Jeff Young, Dannielle DeAndrea, Tue., Aug. 25, 8 p.m., $15. Taylor Williamson, Mitchell Schaffer, Wed., Aug. 26, 9 p.m., $10. Nicole Haley, Thu., Aug. 27, 8:30 p.m., $10.

THE GLASS HOUSE: 200 W. Second St., Pomona. The Drums, Froth, Fri., Aug. 21, 9 p.m., $22. Nothing More, Socionic, Turbowolf, Sat., Aug. 22, 7 p.m., $15. The Protomen, Naked Walrus, Sun., Aug. 23, 8 p.m., $15. Death Grips, Tue., Aug. 25, 8 p.m., $27.

GRAMMY MUSEUM: 800 Olympic Blvd. Dee Dee Bridgewater, Irvin Mayfield & the Thelonious Monk Institute of Jazz Performance Ensemble, Tue., Aug. 25, 8 p.m., $20.

HAM & EGGS TAVERN: 433 W. Eighth St. The Knast, The Sound Reasons, Mon., Aug. 24, 8:30 p.m., free.

HM157: 3110 N. Broadway, Los Angeles. Trans Van Santos, Gospelbeach, Old Testament, Electric Magpie, Sat., Aug. 22, 7:30 p.m., $12.

THE HOTEL CAFE: 1623 1/2 N. Cahuenga Blvd. Midnight Darling, Bon Bon Vivant, Patrick Droney, The Wilder Society, Matthew Mayfield, John Craigie, Fri., Aug. 21, 7 p.m., $10. Dave Yaden, Keaton Simons, Eleni Mandell, Pony, Courtney Marie Andrews, Sat., Aug. 22, 6:30 p.m., $15 (see Music Pick). The Kate Brown Band, Rotana Tarabzouni, Janet Robin, Christie Lenee, Michelle Mandico, Sun., Aug. 23, 6 p.m., $10. Husky, Leroy Sanchez, Jake Dupre, Mon., Aug. 24, 7 p.m., $10. Brothers of Brazil, Flights Over Phoenix, Austin David, Charlotte Sabina, Tue., Aug. 25, 7 p.m., $10. Eddie Berman, Leslie Stevens, Town in the City, Thomas Buttenschon, Wed., Aug. 26, 7 p.m., $10. Silver Rose, Meg Olsen, Boh Doran, Meiko, Banta, Thu., Aug. 27, 7 p.m., $12.

LARGO AT THE CORONET: 366 N. La Cienega Blvd. Ben Folds, in a night of conversation with Jeff Garlin, Sun., Aug. 23, 8:30 p.m., $30. Judd Apatow & Ryan Adams, Wed., Aug. 26, 8:30 p.m., $40-$100.

LIQUID KITTY: 11780 W. Pico Blvd., Los Angeles. JackiO, Sun., Aug. 23, 9 p.m.; Sun., Sept. 27, 9 p.m., free.

LOADED: 6377 Hollywood Blvd., Los Angeles. Handsome as Sin, The High on Lows, Turbulent Hearts, Silver Rose, Windward Flyer, Fri., Aug. 21, 8 p.m., $10. Magnolia, The Sold, Psychedelica, Sat., Aug. 22, 8 p.m., $5. American Wrecking Machine, Provider, Arius, House of Broken Promises, Radiodrone, Sun., Aug. 23, 2 p.m., $5. Marc Orrel, Mon., Aug. 24, 9 p.m., $5. Huntress, Holy Grail, Art of Shock, DJ Lina Lecaro, Wed., Aug. 26, 8 p.m., $10. Society 1, Obsidian, War Imposed, Social Overlord, Provider, Thu., Aug. 27, 8:30 p.m., $10.

LOS GLOBOS: 3040 W. Sunset Blvd., Los Angeles. The Delirians, The Steady 45s, Fri., Aug. 21, 9 p.m., free; The Submarine, Valverde, JoJo Armani, JYDIW, Ximeno, Fri., Aug. 21, 9 p.m., free. Francis Harold & the Holograms, NASA Space Universe, Hive Mind, Sat., Aug. 22, 9 p.m., $10; Edgeplay, Sentinl, Open1One, Violence, La Porscha, Yves Tumor, Sat., Aug. 22, 10 p.m., $5. Black Pussy, Ape Machine, Sun., Aug. 23, 9 p.m., $8. The Genesis, Mohgli, Tristin Elson, Tue., Aug. 25, 8:30 p.m., free. Su Na, Moon Bounce, A Sol Mechanic, Parks Burton, Kananga, Slowbro, Monster Rally, Starbuck, Imprintafter, Midoca, Easy Girl, Shines, Thu., Aug. 27, 8 p.m., free; Ryat, Busdriver, Eureka the Butcher, Moonzz, Ana Sia, Dot, Fei-Fei, Thu., Aug. 27, 10 p.m., $8.

MCCABE’S GUITAR SHOP: 3101 Pico Blvd., Santa Monica. Ernest Troost, Claudia Russell, Bruce Kaplan, Fri., Aug. 21, 8 p.m., $17.50. Little Willie G. & His Eastside Philharmonic, Sat., Aug. 22, 8 p.m., $24.50. Katy Moffatt, Mary Flower, Sun., Aug. 23, 8 p.m., $20.

THE MINT: 6010 W. Pico Blvd., Los Angeles. Carlos Calvo, Samy Gana, Sugar Fly, The Tinglao Fusion Band, The Blue Note Project, Fri., Aug. 21, 7:30 p.m., $12. Nina Shallman, Sat., Aug. 22, 7:30 p.m., $8; Patrick Sweany, The Chase Walker Band, Pearl & Jim, Anders-Royal, Sat., Aug. 22, 10 p.m., $12. The Fontaine Classic, Kevin Burke, The Mercury Wheel, Sun., Aug. 23, 7 p.m., $8. Hunnypot Radio, Every other Monday, 7 p.m., free. Lakotah, Wed., Aug. 26, 7 p.m., $10.

MOLLY MALONE’S: 575 S. Fairfax Ave., Los Angeles.

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Beau Lepaige, Sat., Aug. 22, 8 p.m., $10; Beau Lepaige, Bad Teenage Moustache, Mendeleyev, Corey Gray, Tay Watts, Sat., Aug. 22, 8 p.m., $10. The West Coast Huxtables, Tutu Sweeney, Sun., Aug. 23, 8 p.m., $10. Band of Liars, Dean O’Leary, Tue., Aug. 25, 8 p.m., $10. Phunkyard, Juju Blooms, Wed., Aug. 26, 8 p.m., $10. Awkward Talker, Cole, Thu., Aug. 27.

MRS. FISH: 448 S. Hill St., Los Angeles. Corners, Pool Honeys, Plastic Pinks, Fri., Aug. 21, 9 p.m., free.

THE OPEN SPACE: 457 N. Fairfax Ave. Ana Free, Caitlin Eadie, Jessica Rotter, Sun., Aug. 23, 7:30 p.m., $8.

PAPPY & HARRIET’S PIONEERTOWN PALACE: 53688 Pioneertown Road. The Freightshakers, The Shadow Mountain Band, Sat., Aug. 22, 8 p.m., free. Melvins, Wed., Aug. 26, 9 p.m., $18. Campout 11, with Cracker, The Whiskey Gentry, Thu., Aug. 27, 9 p.m., $25-$75.

PEHRSPACE: 325 Glendale Blvd. Dick Picks, Fala, Sat., Aug. 22, 7 p.m., $5. Bouquet, Mon., Aug. 24, 8 p.m.

THE REDWOOD BAR & GRILL: 316 Second St. The Leeches, Barrio Tiger, The Hellions, Scarlet Harlot, Sat., Aug. 22, 9 p.m., $10.

THE ROXY: 9009 W. Sunset Blvd. Dinosaur Jr., The Sloths, Fri., Aug. 21, 8 p.m., $30. The Protomen, Naked Walrus, Sat., Aug. 22, 8 p.m., $15. Matt McAndrew, North of Nine, Tue., Aug. 25, 7 p.m., $12. Savages, Wed., Aug. 26, 7 p.m., $30.

SAINT ROCKE: 142 Pacific Coast Highway, Hermosa Beach. Ital Vibes, Sun., Aug. 23, noon, $10 & $30. Melvin Seals & JGB, Thu., Aug. 27, 8 p.m., $25.

THE SATELLITE: 1717 Silver Lake Blvd., Los Angeles. The Herbert Bail Orchesdtra, Blac Jesus & the Experimentalists, Blackwater Jukebox, Sun., Aug. 23, 8:30 p.m., $8. The Bulls, Mondays, 9 p.m. Thru Aug. 31, free; Lex, Cellars, The Bad Years, Mon., Aug. 24, 9 p.m., free. Kid Cadaver, Coyote, Layne, Tue., Aug. 25, 9 p.m., $8 (see Music Pick). Painted Palms, Gothic Tropic, L.A. Police Department, Wed., Aug. 26, 9 p.m., $12. Frankie, Oriel Poole, Thu., Aug. 27, 9 p.m., $12.

SILVERLAKE LOUNGE: 2906 Sunset Blvd., Los Angeles. Paperfox, Nature Thief, Liz Labelle, Sleeptalk, Layne, Fri., Aug. 21, 9 p.m., $8. Kate & Madison, Sat., Aug. 22, 5 p.m., free. Los Angelics, The Happy Problem, Levi Petree, Midnight Darling, The Romanovs, Mon., Aug. 24, 8 p.m., free. Wolf Prize, Tue., Aug. 25, 8 p.m., $6. Max Cady, The Black Suns, Wed., Aug. 26, 8 p.m., $8.

THE SMELL: 247 S. Main St., Los Angeles. Homeshake, Sheer Agony, Gal Pals, Thu., Aug. 27, 9 p.m., $5.

SONNY MCLEAN’S IRISH PUB: 2615 Wilshire Blvd., Santa Monica. IllaFent, Thu., Aug. 27, 10 p.m., free.

STATE SOCIAL HOUSE: 8782 W. Sunset Blvd., Los Angeles. IllaFent, Sun., Aug. 23, 9 p.m., free.

TAIX FRENCH RESTAURANT: 1911 Sunset Blvd. Double Naught Spy Car, Fri., Aug. 21, 10:30 p.m., free. The Pretty Flowers, The World Record, The Cannanes, Rough Church, Sat., Aug. 22, 9:30 p.m., free.

TRIP: 2101 Lincoln Blvd., Santa Monica. Name the Band, Dinosaur Parade, Todavia, Fri., Aug. 21, 9 p.m., $5. AMBL, The Steven McGill Project, Sat., Aug. 22, 8:30 p.m., $5. Tasty Gasoline, The Gold Harvest, Rob Garland’s Eclectic Trio, Sun., Aug. 23, 8 p.m., free.

THE TROUBADOUR: 9081 Santa Monica Blvd. Yeghikian, Desecrate, Future Villains, Diamond Lane, Mankind Is Obsolete, Sat., Aug. 22, 7:30 p.m., $15.

Carly Rae Jepsen, Mon., Aug. 24, 7 p.m., $25. Dave Hause, Rocky Votolato, Chris Farren, Tue., Aug. 25, 7 p.m., $15. Shooter Jennings, Julie Roberts, Wed., Aug. 26, 8 p.m., $20. Kristian Bush, Thu., Aug. 27.

THE VIPER ROOM: 8852 W. Sunset Blvd., West Hollywood. 3 Teeth, Plack Blague, Deathface, Fri., Aug. 21, 9 p.m., $10. Paulie Z & the Royals, Moth, Overtop, The Menstruators, Sat., Aug. 22, 8 p.m., Free. Modern Vintage, Naked Walrus, Tears, Mon., Aug. 24, 8:30 p.m., $10. Feral Vinca, Hellhounds of London, Shikobi Inc., Arcana, Wed., Aug. 26, 8 p.m., $10. Jayne County & the Electric Chairs, Miss Guy, Biters, Gay C/DC, Thu., Aug. 27, 8 p.m., Free.

WHISKY A GO-GO: 8901 Sunset Blvd., West Hollywood. Ravenscroft, Fri., Aug. 21, 7 p.m., $12. Michael Angelo Batio, Sat., Aug. 22, 7 p.m., TBA. Around Midnight, Vida Boheme, Vinilo, Miakoda, Sun., Aug. 23, 7 p.m., TBA. Barb Wire Dolls, Scary Cherry & the Bang Bangs, Well Hung Heart, Mon., Aug. 24, 7 p.m., free. Michael Grant & the Assassins, Wed., Aug. 26, 7 p.m., $12. Insomnium, Thu., Aug. 27, 7 p.m., $25 & $60.

—Falling James

JAZZ & BLUES

ARCADIA BLUES CLUB: 16 Huntington Dr. Ray Goren, Fri., Aug. 21, 8 p.m., $15. Deb Ryder, Sat., Aug. 22.

THE BAKED POTATO: 3787 Cahuenga Blvd. W., Studio City. The Michael Landau Group, Aug. 21-22, 9:30 p.m., $25. Stolen Fish, Sun., Aug. 23, 9:30 p.m., $15. The Allen Hinds Group, Tue., Aug. 25, 9:30 p.m., $15. Galactic Booty Co., Wed., Aug. 26, 9:30 p.m., $20. Dusty Meadows, Thu., Aug. 27, 9:30 p.m., $10.

BLUE WHALE: 123 Astronaut E.S. Onizuka St., Los Angeles. The John Chin Trio, Fri., Aug. 21, 9 p.m., $15. The Dontae Winslow Group, Sat., Aug. 22, 9 p.m., TBA. The Dave Cook Trio, Sun., Aug. 23, 9 p.m., TBA. Larry Fuller, Katie Thiroux & Matt Witek, Mon., Aug. 24, 9 p.m., $15. Beat Music: The Los Angeles Improvisations, Tue., Aug. 25, 9 p.m., $10. Steven Loza, Wed., Aug. 26, 9 p.m., $10. The Josh Nelson Quartet, Tyler Blanton, Thu., Aug. 27, 9 p.m., $15.

CATALINA BAR & GRILL: 6725 W. Sunset Blvd., Los Angeles. Mark Winkler, Fri., Aug. 21, 8:30 p.m., TBA. Terry Bozzio, Sat., Aug. 22, 8:30 p.m., $30. Maureena Danicar, The Woody James Big Band, Sun., Aug. 23, 7:30 p.m., $15. Larry Nash & the Jazz Symphonic All-Stars, Wed., Aug. 26, 8:30 p.m., TBA. Bob McChesney, Antonia Bennett, Thu., Aug. 27, 8:30 p.m., $20.

COLOMBO’S: 1833 Colorado Blvd., Eagle Rock. Steve Thompson, Fridays, 5:30-9 p.m., free. The Elliott Caine Quartet, Sat., Aug. 22, 9 p.m., free.

GARDENIA RESTAURANT & LOUNGE: 7066 Santa Monica Blvd., Los Angeles. Claudia Koval, Aug. 21-22, 9 p.m., $10-$20. Open Mic, hosted by Keri Kelsey, Tuesdays, 9 p.m., $5. Lina Heiden, Wednesdays, 9 p.m. Thru Aug. 26, $10-$20. Elaine Webster, Thu., Aug. 27, 9 p.m., $10-$20.

HARVELLE’S SANTA MONICA: 1432 Fourth St., Santa Monica. Smack Jones, Black Water, Fri., Aug. 21, 9 p.m., $10. Blowin’ Smoke, Sat., Aug. 22, 8 p.m., $12. The Toledo Show, Sundays, 9:30 p.m., $10.

JAX BAR & GRILL: 339 N. Brand Blvd., Glendale. Mike

Gurley & the Nightcaps, Fri., Aug. 21, 8 p.m., free. The Ralph Mathis Band, Sat., Aug. 22, 8 p.m., free. Lenny Stack, Sundays, 6-10 p.m., free. Brian Elliot, Mon., Aug. 24, 6 p.m., free. J.C. Spires, Tuesdays, 7-11 p.m., free. Cougar Estrada, Wednesdays, 7 p.m.

THE LIGHTHOUSE CAFE: 30 Pier Ave., Hermosa Beach. The Adam Schroeder Quartet, Sat., Aug. 22, 11 a.m.-2:30 p.m., free. The John Stevens Big Band, Sun., Aug. 23, 11 a.m.-3 p.m., $10. The Dave Tull Quartet, Wed., Aug. 26, 6-9 p.m., free.

MUZEUMM: 4811 W. Adams Blvd., Los Angeles. Jacob Szekely, String Project L.A., Fri., Aug. 21, 6 p.m., $20. See Music Pick.

SPAGHETTINI BEVERLY HILLS: 184 N. Canon Drive, Beverly Hills. Antonio Sol, Fri., Aug. 21, 10 p.m., free. Anna Mjoll, Sat., Aug. 22, 10 p.m., free. Debbie Joyce, Wed., Aug. 26, 10 p.m., free. Kandace Lindsey, Thu., Aug. 27, 10 p.m., free.

SPAGHETTINI SEAL BEACH: 3005 Old Ranch Parkway, Seal Beach. Pretzel Logic, Fri., Aug. 21, 8 p.m., $30. Jonathan Fritzen, Sat., Aug. 22, 7 & 9:30 p.m., $30. The Alex Hahn Quintet, Sun., Aug. 23, 7 p.m., $20.

STARBOARD ATTITUDE: 202 The Pier, Redondo Beach. Hoosier Daddy, Fri., Aug. 21, 9 p.m., free. Mark Sells, Sat., Aug. 22, 4-8 p.m.; Fri., Aug. 28, 9 p.m., free; Kara Turner, Sat., Aug. 22, 9 p.m., free.

VIBRATO GRILL & JAZZ: 2930 Beverly Glen Circle, Bel-Air. Tony Galla, Fri., Aug. 21, 9 p.m., free. Sherry Williams, Sat., Aug. 22, 9 p.m., free. Louie Cruz

Beltran, Sun., Aug. 23, 6:30 p.m., free. Strunz & Farah, Tue., Aug. 25, 8:30 p.m., $20. Bob Mamet, Frank Catalano, Wed., Aug. 26, 6:30 p.m., free. Katja Rieckermann, Thu., Aug. 27, 6:30 p.m., $20.

VITELLO’S ITALIAN RESTAURANT: 4349 Tujunga Ave., Studio City. Marcus Johnson, Fri., Aug. 21, 8 p.m., $15 & $40. Hillary Rollins, Sat., Aug. 22, 8 p.m.

WILLMORE: 3848 Atlantic Ave., Long Beach. Bernie Pearl, Saturdays, 7-10 p.m. Thru Aug. 29, free.

—Falling JamesFor more listings, please go to laweekly.com.

DANCE CLUBS

333 LIVE: 333 S Boylston St, Los Angeles. 8 Wonders, Sat., Aug. 22, 10 p.m., $15.

THE AIRLINER: 2419 N. Broadway, Los Angeles. Low End Theory, with resident DJs Daddy Kev, Nobody, The Gaslamp Killer, D-Styles and MC Nocando, Wednesdays, 9:30 p.m.-1:30 a.m.

THE AVALON: 1735 Vine St., Los Angeles. Control, with DJs spinning dubstep and more, 19 & over, Fridays, 9:30 p.m.; Botnek, Jacob Plant, James Egbert, Fri., Aug. 21, 9:30 p.m., $15. Sound the Groove, Sat., Aug. 22, 7 p.m., $20; Avaland, where DJs are in the house with techno, trance and more, 21 & over, Saturdays, 9:30 p.m.; John Dahlback, Hard Rock Sofa, Atomic Mike, Sat., Aug. 22, 10 p.m., $20. Momentum, with DJs TBA, Wed., Aug. 26, 9 p.m.-2 a.m., $15.

MUSACK’S ROCK & ROLL CARNIVAL

Sometimes the stars align (literally) to create music magic in a backyard — in this case, the very big backyard of some

heavy-hitting Hollywood producers. Musack, a charitable nonprofit that started in Nan-tucket, Massachusetts, and has expanded to Los Angeles, provides guitar labs, exchange programs and scholarships to underprivileged kids. And one of the ways it does this is by throwing a mindblowing bash featuring big-

name bands, new and old, in a casual party atmosphere.

Th is year, Musack’s sixth annual Rock & Roll Carnival is a doozy: Rancid (performing their classic album ...And Out Come the Wolves in its entirety, 20 years to the day aft er its release), John Doe and Exene Cervenka, Fishbone, Th e Bird and the Bee, Th e Warning, Th e Wrecking Crew, Shane Speal with Horace Panter, De Lux, No Age and Cherry Glazerr. DJs Shepard Fairey, Jason Lawless and Dan Wilcox rock the decks between bands.

A silent auction, food vendors and even yoga classes round out the festivities. The carnival is usually a private event, but this year there are limited tickets available to the public via the organization’s website.

THE CARYS’ BACKYARD | 520 S. Rossmore Ave., Hancock Park | Sat., Aug. 22 | $155 and

up | musackcarnival.squarespace.com

Lina In L.A.by Lina Lecaro

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CREATE NIGHTCLUB: 6021 Hollywood Blvd., Los Angeles. Sultan, Ned Shepard, Fri., Aug. 21, 10 p.m., $23.99; Noize Fridays, Fridays, 10 p.m. Michael Brun, Sat., Aug. 22, 10 p.m., $23.99; Arcade Saturdays, Saturdays, 10 p.m.

THE ECHO: 1822 W. Sunset Blvd. DJ Spinna, Rich Medina, A-Ski, Sat., Aug. 22, 9 p.m., $15.

EXCHANGE L.A.: 618 S. Spring St., Los Angeles. Far East Movement, Hook N Sling, Fri., Aug. 21, 10 p.m., $20 & $90; Awakening, Fridays, 10 p.m. Inception, Saturdays, 10 p.m.; Claude VonStroke, Shiba San, Sat., Aug. 22, 10 p.m., $25 & $90 (see Music Pick).

FIGAT7TH: 735 S. Figueroa St., Los Angeles. DJ Monalisa, DJ Shiva, all ages, Fri., Aug. 21, 4-8 p.m., free.

HONEYCUT: 819 Flower St. DJ Ladymonix, DJ Whitney Fierce, waxing disco, Wednesdays, 10 p.m., free.

KING KING: 6555 Hollywood Blvd. B-Side, Fri., Aug. 21, 10 p.m., $10. Wonder Volume 2, Sat., Aug. 22.

LOS GLOBOS: 3040 Sunset Blvd. Rap Party, Saturdays, 10 p.m., free. Club 8’s Battle of the Chainz, with DJ Breezy EZ, Tue., Aug. 25, 9 p.m., $5. Despicable Beats, with Jonathan Morning, Andrew Lee, Marlon Linares, Wulvz, Mantik & DJ Tysen, Veilless, Ryan Duong, Liquor Box, Ren Lamour, Thu., Aug. 27.

LURE: 1439 Ivar Ave., Los Angeles. DJ Nadastrom, spin-ning at Lunch Break, Fri., Aug. 21, 12:30-2 p.m., free. Time Machine Sundays, Sundays, 8 p.m.-2 a.m., $10.

THE MAYAN: 1038 S. Hill St., Los Angeles. Electric Mass Fridays, 21 & over, Fridays, 9 p.m.-2:30 a.m., $12. Saturday Nightclub, with DJs serving Top 40, salsa, house, pop, hip-hop and more, 21 & over, Saturdays, 9 p.m.-2:30 a.m., $20.

THE OFFBEAT: 6316 York Blvd., Highland Park. DJ Moist, spinning hip-hop and R&B at Panty Dropper, Wed., Aug. 26, 9:30 p.m.-2 a.m., free.

OHM NIGHTCLUB: 6801 Hollywood Blvd., Los Angeles. Trey Songz, Sun., Aug. 23, 9 p.m., $35 & $40.

THE PINK ELEPHANT: 2810 Main St., Santa Monica. DJ Lo-Khem, Thursdays, 10 p.m.-2 a.m. Thru Aug. 27, free.

SOUND NIGHTCLUB: 1642 N. Las Palmas Ave., Los Angeles. Stacey Pullen, Black Coffee, Fri., Aug. 21, 10 p.m., $20-$30. True Joy, Wax Motif, Yolanda Be Cool, Sat., Aug. 22, 10 p.m., $15-$25. Monday Social, Mondays, 10 p.m. Amtrac, AC Slater, Petey Clicks,

9081 Santa Monica BoulevardWest Hollywood, CA 90069

(310) 276-1158www.troubadour.com

TERAGRAMBALLROOM

1234 W 7th StreetLos Angeles, CA 90017

www.teragramballroom.com

THU, AUG 20, 2015

SUN, OCT 25, 2015

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8/22: The Human Experience

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|Bones, Thu., Aug. 27, 10 p.m., $10.

THE VIRGIL: 4519 Santa Monica Blvd., Los Angeles. Planet Rock, with DJs Chuck Wild & Canyon Cody flipping hip-hop, funk, Latin, reggae, disco and house, Saturdays, 9 p.m.-2 a.m., free. Funkmosphere, where Stones Throw’s Dam-Funk soars into funk, electro, disco and boogie, Thursdays, 10 p.m.-2 a.m., free.

—Falling James

LATIN & WORLD

COCOPALM RESTAURANT: 1600 Fairplex Drive, Pomona. Chino Espinoza y los Duenos del Son, Fridays, 8:30 p.m., free.

THE CONGA ROOM: 800 W. Olympic Blvd., Los Angeles. La Internacional Sonora Show, Sat., Aug. 22, 8 p.m., $20; Electribe Saturdays, Saturdays, 10 p.m., free.

EL CID: 4212 W. Sunset Blvd., Los Angeles. Flamenco Dinner Show, Fridays, Saturdays, 7:30 p.m.; Sundays, 6 p.m., $20 & $35.

EL FLORIDITA RESTAURANT: 1253 N. Vine St. Salsa Night, Fridays, 8 p.m.; Saturdays, 9:30 p.m., $10.

THE GRANADA L.A.: 17 S. First St., Alhambra. Salsa Fridays, Fridays, 9:30 p.m., $10. Salsa & Bachata Saturdays, Sundays, 7 p.m.-3 a.m., $15. Salsa & Bachata Tuesdays, Tuesdays, 9:30 p.m., $5. Bachata Thursdays, Thursdays, 8 p.m., $5-$10.

HOLLYWOOD PARK CASINO: 3883 W. Century Blvd., Inglewood. Los Acosta, Los Rehenes, Bryndis, X Siempre, Fito Olivares, Los Askis, Tropicalisimo Apache, Los Muecas, Sat., Aug. 22, 7 p.m., $50.

—Falling James

COUNTRY & FOLK

BOULEVARD MUSIC: 4316 Sepulveda Blvd., Culver City. Incendio, Sat., Aug. 22, 8 p.m., $15.

THE CINEMA BAR: 3967 Sepulveda Blvd., Culver City. Doug Mug Swanson, Sat., Aug. 22, 8 p.m., free. The Hot Club of L.A., Mondays, 9 p.m., free. Grizzly Derringer, Tue., Aug. 25, 8:30 p.m., free. Michael Koppy, Wed., Aug. 26, 7:30 p.m., free.

THE COFFEE GALLERY BACKSTAGE: 2029 N. Lake Ave., Altadena. Tara Louise, Fri., Aug. 21, 8 p.m., $15.

Sligo Rags, Sat., Aug. 22, 7 p.m., $20. Tom Prasada Rao & Susan Marie Reeves, Sun., Aug. 23, 3 p.m., $20; Burning Heart Bluegrass, Sun., Aug. 23, 7 p.m., $15. Ray Bonneville, Mon., Aug. 24, 8 p.m., $15. Mikki Daniel, Wed., Aug. 26, 8 p.m., $15. The Salty Suites, Julia Marshall, Thu., Aug. 27, 8 p.m., $18.

COWBOY COUNTRY: 3321 E. South St., Long Beach. Hollywood Hillbillies, Aug. 21-22, 7 p.m., $5. Brad Johnson, Wed., Aug. 26, 7 p.m., $3.

THE COWBOY PALACE SALOON: 21635 Devonshire St., Chatsworth. Talent Contest, hosted by Chad Watson, Mondays, 8 p.m., free. Rob Staley Band, Thu., Aug. 27, 8 p.m.; Fri., Aug. 28, 9 p.m., free.

EB’S BEER & WINE BAR, FARMERS MARKET: 6333 W. Third St., Los Angeles. Hollywood Blues Destroyers, The Roswell Sisters, Sat., Aug. 22, 7:30 p.m.; Sat., Oct. 3, 7:30 p.m., free.

JOE’S GREAT AMERICAN BAR & GRILL: 4311 W. Magnolia Blvd., Burbank. The Dave Gleason Trio, Fri., Aug. 21, 9 p.m., free. The Outta Sites, Sat., Aug. 22, 9 p.m., free. Little Faith, Sun., Aug. 23, 9 p.m., free. The Carl Sonny Leyland Quartet, Mon., Aug. 24, 9 p.m., free. The Atomic Roots Orchestra, Tue., Aug. 25.

—Falling JamesFor more listings, please go to laweekly.com.

C O N C E R T S

FRIDAY, AUG. 21

ANDY GARCIA & THE CINESON ALL-STARS: 8 p.m., $29-$79. Geffen Playhouse, 10886 Le Conte Ave.

ASICS WORLD SERIES OF BEACH VOLLEYBALL: Music from Kevin Miso, Faulkner, 3:30 p.m., free & $60. Alamitos Beach, 386 E. Shoreline Drive, Long Beach.

BADBADNOTGOOD: With Show Me the Body, 8 p.m., $20. The Regent Theater, 448 S. Main St., Los Angeles.

BOOGALOO ASSASSINS, BUYEPONGO: 8 p.m., free. Figat7th, 735 S. Figueroa St., Los Angeles.

GO THE CHARLES OWENS QUINTET: 6 p.m., free. LACMA, 5905 Wilshire Blvd., Los Angeles.

THE FILHARMONIC: With M-Pact, The Funx, 8 p.m., $20. Downey Civic Theatre, 8435 Firestone Blvd.

GO GLORIA TREVI: 7:30 p.m., $46-$135. The Greek

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Theatre, 2700 N. Vermont Ave., Los Angeles. GO HEART: With Hollywood Bowl Orchestra, Liv

Warfield, 8 p.m., $17-$182. Hollywood Bowl, 2301 N. Highland Ave., Los Angeles. See Music Pick.

MARC COHN: With Phil Cody, 7 p.m., $38-$68. Saban Theatre, 8440 W. Wilshire Blvd., Beverly Hills.

GO MELODY’S ECHO CHAMBER: 8:30 p.m., $20. El Rey Theatre, 5515 Wilshire Blvd., Los Angeles.

GO MODEST MOUSE: 7 p.m., $47.50. Hollywood Forever, 6000 Santa Monica Blvd. See Music Pick.

NATALIE CLAVIER: With Elsten Torres, 8 p.m., free. Levitt Pavilion Pasadena, 85 E. Holly St., Pasadena.

NO AGE: The punk duo plays a short set before a screening of the film Station to Station, 7 p.m., $11. Nuart Theatre, 11272 Santa Monica Blvd.

RUBEN STUDDARD: 6 p.m., $55 & $70. Hyatt Regency Newport Beach, 1107 Jamboree Road, Newport Beach.

SUMMER NIGHTS IN THE GARDEN: With musicians TBA, 5-9 p.m., free. Natural History Museum of Los Angeles County, 900 Exposition Blvd., Los Angeles.

TAYLOR SWIFT: With Haim, Vance Joy, 7:30 p.m., $39.50-$159.50. Staples Center, 1111 Figueroa St.

WHISKEY SHIVERS: 8 p.m., free. Levitt Pavilion at MacArthur Park, 2230 W. Sixth St., Los Angeles.

YANKUITITL, MARTIN ESPINO: 7 p.m., free. Brand Library & Art Center, 1601 W. Mountain St., Glendale.

SATURDAY, AUG. 22

ALLEGRETTO & ESPINOZA: 12 p.m., $12. Skirball Cultural Center, 2701 N. Sepulveda Blvd., Los Angeles.

AMBER FOXX: 6 p.m., free. Redondo Beach Pier, 100 W. Torrance Blvd., Redondo Beach.

ANDY GARCIA & THE CINESON ALL-STARS: 8 p.m., $29-$79. Geffen Playhouse, 10886 Le Conte Ave.

ASICS WORLD SERIES OF BEACH VOLLEYBALL: With American Authors, Adam Lambert, Radical Something, Danny Mercer, Bahari, The Mowglis, Hayley Orrantia, Holy Child, Heymous Molly, 5-9 p.m., free & $60. Alamitos Beach, 386 E. Shoreline Drive, Long Beach.

BUYEPONGO: 5 p.m., free. LACMA, 5905 Wilshire Blvd. GO FYF FEST: With Frank Ocean, Bloc Party, Chet

Faker, The Jesus & Mary Chain, Purity Ring, Run the Jewels, Deerhunter, Savages, Simian Mobile Disco, Dinosaur Jr., Jon Hopkins, The Drums, Shlohmo, Cold Cave, Joyce Manor, Melody’s Echo Chamber, Tennis, METZ, Kevin Morby and others, 2 p.m., $109-$329. Los Angeles Memorial Sports Arena, 3939 S. Figueroa St., Los Angeles. See Music Pick.

GO HEART: With Liv Warfield, 8 p.m., $17-$182. Hollywood Bowl. See Music Pick.

HORTON’S HAYRIDE: With Reverend Horton Heat, Cherry Poppin’ Daddies, Nekromantix, Cadillac Tramps, The Henchmen, Big Sandy, Deke Dickerson, Unknown Hinson, The Hurricanes, 12 p.m. 3600 Miner St., 3600 Miner St., San Pedro.

THE HUMAN EXPERIENCE: With Lulacruza, Sorne, The Dirty Diamond, 7 p.m., $25. The Teragram Ballroom.

HUNDRED WATERS: 6 p.m., free. The Getty Center, 1200 Getty Center Drive, Los Angeles.

KCRW SUMMER NIGHTS: With DJ Garth Trinidad, DJ Jason Bentley, 5 p.m., free. Chinatown Central Plaza.

LA MISA NEGRA: 8 p.m., free. Levitt Pavilion at MacArthur Park, 2230 W. Sixth St., Los Angeles.

GO LEON RUSSELL: 9 p.m., $38-$58. Saban Theatre, 8440 W. Wilshire Blvd., Beverly Hills.

LOS LONELY BOYS: 7 p.m., free. Burton W. Chace Park, 13650 Mindanao Way, Marina del Rey.

GO MOTÖRHEAD: With Saxon, Crobot, 7 p.m., $35.50-$48. Shrine Auditorium & Expo Center, 665 W. Jefferson Blvd., Los Angeles. See Music Pick.

PASADENA SYMPHONY POPS: Vocalists Ann Hampton Callaway and Denzal Sinclaire are featured, 7:30 p.m., $10-$121. L.A. County Arboretum.

QUIERO MOZ Y MAS: A TRIBUTE TO MORRISSEY: With Mariachi Manchester, 6 p.m., TBA. LA Plaza de Cultura y Artes, 501 N. Main St., Los Angeles.

GO RAIN PARADE: With Baby Lemonade, 8 p.m., $25. Morgan-Wixson Theatre, 2627 Pico Blvd.

RAMÓN AYALA: 7:30 p.m., $50-$200. The Greek Theatre, 2700 N. Vermont Ave., Los Angeles.

RIZWAN-MUAZZAM QAWWALI: 8 p.m., free. California Plaza, 350 S. Grand Ave., Los Angeles.

SONIC SUBMARINE: With DJs Garth Trinidad, Raul Campos, Travis Holcombe, 6 p.m., free. Third Street Promenade, 1201 Third St., Santa Monica.

TAYLOR SWIFT: With Haim, Vance Joy, 7:30 p.m., $39.50-$159.50. Staples Center.

GO VIEUX FARKA TOURÉ: 8 p.m., free. Levitt Pavilion Pasadena, 85 E. Holly St., Pasadena.

SUNDAY, AUG. 23

COW BOP: 12 p.m., $10. Skirball Cultural Center, 2701 N. Sepulveda Blvd., Los Angeles.

GO FYF FEST: With Morrissey, D’Angelo & the Vanguard, Flume, FKA Twigs, Solange, Belle & Sebastian, Spiritualized, Mac DeMarco, Death Grips, Toro y Moi, Battles, Thee Oh Sees, Laura Marling, Health, Unknown Mortal Orchestra, Girlpool and oth-ers, 2 p.m., $109-$329. Los Angeles Memorial Sports Arena, 3939 S. Figueroa St. See Music Pick.

GONZALO BERGARA: 8 p.m., free. Levitt Pavilion Pasadena, 85 E. Holly St., Pasadena.

GORDON GOODWIN’S BIG PHAT BAND, TAKE 6: 4 p.m., $25-$95. UCLA, Royce Hall, 340 Royce Drive.

NUTTY: 4 p.m., free. Kings Road Park, 1000 Kings Road.PONCHO SANCHEZ & HIS LATIN JAZZ BAND: 6 p.m.,

free. Warner Center Park.R5, JACOB WHITESIDES, RYLAND: 6 p.m., $25-

$49.50. The Greek Theatre, 2700 N. Vermont Ave.SMOOTH SUMMER JAZZ: With Dave Koz, Rick Braun,

Kenny Lattimore, Larry Graham & Graham Central Station, Macy Gray, 6 p.m. Hollywood Bowl.

MONDAY, AUG. 24

GO NOFX: With Lagwagon, Swingin’ Utters, The Flatliners, Masked Intruders, Bad Cop, Toy Guitar, 2 p.m., $37.50. Hollywood Palladium, 6215 W. Sunset

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|Blvd., Los Angeles. See Music Pick.

THE SUMMER SLAUGHTER TOUR: With Born of Osiris, Veil of Maya, The Acacia Strain, Obscura, After the Burial, Cattle Decapitation, Beyond Creation, 2:30 p.m., $28-$47. The Regent Theater, 448 S. Main St.

TAYLOR SWIFT: With Haim, Vance Joy. Staples Center.

TUESDAY, AUG. 25

GO JENNY LEWIS: 8 p.m., $35. The Observatory. TAYLOR SWIFT: With Haim, Vance Joy. Staples Center.

WEDNESDAY, AUG. 26

GO JENNY LEWIS: 8 p.m., $35. The Observatory.RITA ORA: 8 p.m., $28. El Rey Theatre.TAYLOR SWIFT: With Haim, 7:30 p.m. Staples Center. GO TROMBONE SHORTY & ORLEANS AVENUE,

MICHAEL FRANTI & SPEARHEAD: With Charles Bradley & His Extraordinaires, 8 p.m., $1-$146. Hollywood Bowl, 2301 N. Highland Ave.

THURSDAY, AUG. 27

CHANGUI MAJADERO: 6-8 p.m., free. LA Plaza de Cultura y Artes, 501 N. Main St., Los Angeles.

KID ROCK, FOREIGNER: With The Packway Handle Band, 6:45 p.m., $20. Irvine Meadows Amphitheatre.

NOVALIMA: 7 p.m., free. Skirball Cultural Center, 2701 N. Sepulveda Blvd., Los Angeles.

PAUL DATEH, MIKE GAO, GO YAMA: 7 p.m., free. Japanese American National Museum.

STARSHIP: With Purple Mountain Majesties, 7 p.m., free. Santa Monica Pier, 200 Santa Monica Pier.

THE WAIFS: 8 p.m., free. Levitt Pavilion at MacArthur Park, 2230 W. Sixth St., Los Angeles.

—Falling James

C L A S S I C A L & N E W M U S I C

CALIFORNIA PHILHARMONIC: Pianist Bryan Pezzone plays Gershwin’s Second Rhapsody for Piano & Orchestra, plus melodies by Rimsky-Korsakov and selections from popular film soundtracks, Sun., Aug. 23, 2 p.m., $20-$100. Walt Disney Concert Hall, 111 S. Grand Ave.

THE FIATO STRING QUARTET: The quartet lays out string quartets by Haydn, Janácek and Schubert, Sun., Aug. 23, 3 p.m., $55. University Synagogue, 11960 Sunset Blvd., Los Angeles.

THE JACK CURTIS DUBOWSKY ENSEMBLE: The new-music group conjures a live score to the 1920 silent film The Golem, Sat., Aug. 22, 8 p.m., free. Cultural Alliance of Long Beach, 727 Pine Ave., Long Beach.

KAGUYA-HIME: Hideaka Hirai’s opera makes its U.S. debut, Sat., Aug. 22, 7 p.m., $33-$80. Aratani Japan America Theatre, 244 S. San Pedro St., Los Angeles.

GO L.A. PHILHARMONIC: The 21-year-old French cel-list Edgar Moreau stars on Saint-Saëns’ Cello Concerto No. 1, and Nicholas McGegan conducts French-themed tunes by W.A. Mozart, Jacques Ibert and Joseph Haydn, Tue., Aug. 25, 8 p.m., $1-$144. Conductor Nicholas McGegan takes the orchestra from “Bach to Bluegrass” in a program that includes J.S. Bach’s Orchestral Suite No. 1 and Copland’s Appalachian Spring and features double cellist Edgar Meyer on Giovanni Bottesini’s Bass Concert No. 2, Thu., Aug. 27, 8 p.m., $1-$144. Hollywood Bowl, 2301 N. Highland Ave.

GO L.A. SYMPHONIC WINDS: Sun., Aug. 23, 6 p.m., free. LACMA, 5905 Wilshire Blvd., Los Angeles.

GO SAHBA MOTALLEBI: Sun., Aug. 23, 7 p.m., free. California Plaza, 350 S. Grand Ave. See Music Pick.

SANTA MONICA SYMPHONY ORCHESTRA: Fri., Aug. 21, noon, free. Third Street Promenade, 1201 Third St.

—Falling JamesFor more listings, please go to laweekly.com.

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