Can Superintendent Michelle King Save LAUSD? - LA Weekly
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JANUARY 29 - FEBRUARY 4, 2016 VOL. 38 / NO. 10 LAWEEKLY.COM Can Superintendent Michelle Kin g Save LAUSD? ®
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Transcript of Can Superintendent Michelle King Save LAUSD? - LA Weekly
JANUARY 29 - FEBRUARY 4, 2016 VOL. 38 / NO. 10LAWEEKLY.COM
Can Superintendent Michelle King Save LAUSD?®
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ART EDUCATION Community Arts in LAExploring the Arts and Science through
Inquiry and Shared PracticesTeaching for Learning I, II
ART HISTORY AND TOURS Art Making through the Ages: A Hands-
on Approach to Art HistoryHistory of Interior Design & Furniture JAPAN: Exploring Anime and Manga!The Modern Genius: Art, Culture, and
the 19th CenturyTRAVEL to BRAZIL!
DESIGN
Digital Media Arts2D Animation I3D ModelingDigital Drawing & Illustration I, IIDigital Imaging I, IIIDigital StorytellingFinal PortfolioIntroduction to Digital DesignMedia Literacy (ONLINE)
Motion Graphics IIWeb Design I, II, IVVideo Editing I
Fashion DesignDraping IFigure Drawing for Fashion Haute Couture Finishing and Construction Introduction to Apparel ConstructionIntroduction to Fashion DesignPatternmaking ISewing IFashion Style Icons and Designing from
Historical Elements (ONLINE)
Graphic Design Advanced BookbindingColor Theory & DesignDigital LetterpressDigital Page Layout and Print Production Final PortfolioFundamentals of 2D DesignIntroduction to Digital DesignIntroduction to Graphic Design
Introduction to LetterpressItalic LetteringLogos, Symbols, and LetterformsPackage DesignThe Pointed Pen: CopperplateTypography I, II
IllustrationCharacter Design for Animation and
CartooningDigital Drawing & Illustration IGraphite I for Botanical Illustration Illustrating Children’s Books: An
Intermediate CourseQuick Sketch TechniquesStoryboarding for Film and AnimationVisual Storytelling through Comics
Interior & Home Design Design a House in Revit Architecture
2016Design Studio I, II, IIIDrafting I, IIHistory of Interior Design & FurnitureIntroduction to Interior DesignSurface Materials & Presentation
TechniquesThe Art of the Edible Landscape
Lighting DesignDrafting I, IILighting Internship
Product DesignIntroduction to 3-D Digital Modeling:
Rhino/SolidWorksIntroduction to Ceramic ProductionIntroduction to Product DesignPerspective DrawingVisual Communication I
Textile and Surface DesignDigital Design for TextilesTextile and Surface Design I, II, III FINE ARTS
DrawingDrawing & CompositionDrawing and Meditative MindfulnessDrawing on the Right Side of the BrainGraphite I for Botanical IllustrationLife Drawing I, II
Recycled Objects: Collage, Assemblage, and the Found Object
Painting Acrylic Painting TechniquesAdvanced WatercolorEncaustic: Paint and Collage in WaxIntermediate Oil PaintingIntroduction to Painting: Materials &
TechniquesMaster Painting Workshop with Laddie
John DillPainting WorkshopThe Process of AbstractionWatercolor Painting
PrintmakingDigital Silkscreen: Creating Large
Format PostersSilkscreen
SculptureIntroduction to Glass FusingStone SculptureWelding/Metal Sculpture
PHOTOGRAPHY Digital Photography (BLENDED COURSE)
Introduction to Black & White DarkroomIntroduction to Color PhotographyIntroduction to PhotographyLighting TechniquesPhotography: Portfolio and Professional
PracticeStreet PhotographyUrban Noir: Night Photography at the
Santa Monica Pier
HANDCRAFTED ART & DESIGN Fine Silver Metal Clay TechniquesIntroduction to Ceramic ProductionIntroduction to Glass FusingIntroduction to Fine Silver Metal ClayJewelry Design: Bead Stringing,
Knotting, & Wire WrappingMachine WoodworkingWelding/Metal Sculpture
PRE-COLLEGE & K-12 PROGRAMS
College PreparationPortfolio Preparation: 2D Animation
Portfolio Preparation: Advanced Drawing/Introduction to Figure
Portfolio Preparation: Life Drawing and Painting
Portfolio Preparation: Observational Drawing
Portfolio Preparation: Painting
Young Artist WorkshopsDrawing Manga: Ages 12-17Drawing on the Right Side of the Brain:
Ages 9-12Drawing the Fantastic: Ages 5-8 and 9-12Imagine Your Dragon: Ages 9-12Introduction to 2D Animation: Ages 12-15Leonardo’s Apprentice: Ages 5-8 Painting and Mixed Media: Ages 9-12Painting and Visual Storytelling: Ages 13-15
PROFESSIONAL DEVELOPMENT Alumni Project WorkshopArtist S.O.S.: The World of an Exhibiting
ArtistHow to Get HungLicensing Your Art and Earning RoyaltiesPhotography: Portfolio and Professional
Practice
WRITING Autobiography, Memoir, or FictionSelf-Discovery Through Writing (ONLINE)
SPRING 2016 SEMESTER BEGINS JANUARY 30, 2016
To learn more about these programs visit: www.otis.edu/ceFor a free copy of our Spring semester catalog, or to speak with a program representative, email [email protected] or call (310) 665-6850, ext. 60.
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
CONTINUING EDUCATION SPRING 2016 | SEMESTER BEGINS JANUARY 30, 2016
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EAT & DRINK...17 Some restaurants take a while to mature. For Girasol and Union, the evolution has been wholly positive. BY BESHA RODELL.
GO LA...21 A lecture on seafaring cats, a self-help book about BDSM, a huge comedy fest turns 4 and lots more to do, see and experience in L.A. this week.
CULTURE...26 In CULTURE, David Cross, Maria Bamford, Ron Funches and other big-name comedians help you make the most of Riot L.A. this weekend. BY JULIE SEABAUGH. In ART PICKS, poets call for justice for Sandra Bland. In STAGE, reviews of the high-desert drama Inland Empress and the domestic drama Forever House.
FILM...32 ALAN SCHERSTUHL reviews earnest, square-jawed 3-D IMAX maritime disaster film The Finest Hours as well as animated sequel Kung Fu Panda 3, plus reviews of Mountain Men and other films OPENING THIS WEEK, and YOUR WEEKLY MOVIE TO-DO LIST.
MUSIC...37 ARTEMIS THOMAS-HANSARD tries to solve the mystery that is garage-rock god Ty Segall, and JEFF
WEISS looks into why Roy Choi is your favorite rapper’s favorite chef. Plus: HENRY ROLLINS: THE COLUMN!, LINA IN L.A., listings for ROCK & POP, JAZZ & CLASSICAL and more.
ADVERTISING CLASSIFIED...57EDUCATION/EMPLOYMENT...58 REAL ESTATE/RENTALS...58 BULLETIN BOARD...59
ON THE COVER: PHOTOGRAPHY BY LEVAN TK
| JANUARY 29-FEBRUARY 4, 2016 // VOL. 38 // NO. 10
34
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.
ICONTENTS ⁄⁄CAN LAUSD BE SAVED? ... 11Superintendent Michelle King’s views on education are unknown. But the specter of empty classrooms is painfully clear.BY HILLEL ARON.
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PARTICIPATING RESTAURANTS
SPONSORSCompostable Wooden Utensils
Aqui es Texcoco
Animal
a.o.c
Baroo
Belcampo Meat Co.
Bestia
Beverly Soon Tofu
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Broken Spanish
Burritos La Palma
Button Mash
Cacao Mexicatessen
Cassia
Chengdu Taste
Chichen Itza
Colonia Publica
Coni’Seafood
Corazon y Miel
Crossroads
Dune
El Huarache Azteca
Guelaguetza
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Guisados
ink.
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Jon & Vinny’s
Kiriko Sushi
Kogi BBQ
La Casita Mexicana
Le Comptoir
Little Sister
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Mariscos Jalisco
Maude
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Phil ippe the Original
Pine & Crane
POT
Providence/Connie & Ted’s
Racion
RedBird
République
RiceBar
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and Seasonal Kitchen
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Terrine
The Hungry Cat
Trois Mec
Union
Wexler’s Deli
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The search committee for a new superinten-dent of Los Angeles Unifi ed promised to look far and wide for the most qualifi ed candidate to lead the nation’s second-largest school district. But in the end, the LAUSD school board decided to hire from within, choosing longtime deputy superintendent Michelle
King to oversee more than 1,000 schools. At a press conference announcing the appointment, board
president Steve Zimmer invoked the Beatles, saying, “To quote Lennon and McCartney, we didn’t know the long and winding road would lead us to our own door when we started. And it was the right road, and it was the right door.”
Yet to those who see L.A. Unifi ed as a troubled morass, squeezed by low student achievement on one hand and a dismal fi nancial outlook on the other, King is something of a blank canvas.
Unlike some past LAUSD superintendents who were outspoken about their agendas even before taking the job, King has been vague when it comes to her beliefs — about everything from test scores to technology in the classroom. Insiders who have worked with her, and who would rather not be quoted saying anything negative about her, describe King as an almost sphinxlike fi gure.
If former superintendent John Deasy was a tempest, King was the calm, silent operator. She was an e� ective imple-menter of other people’s ideas.
But what about her own ideas?When King was asked, at the press conference, what her
vision for the schools was, she replied with platitudes:“What I want to see happen for the youth in Los Angeles
is that we’re able to build on what we’ve started and broaden and expand it. I see us being able to expand opportunities for our youth.” And so on.
“I don’t know Michelle King,” says former state Sen. Gloria Romero, an outspoken advocate for change in the public schools, who now heads the California Center for Parent Empowerment. “The concern I do have is, she’s made her career by basically playing along. We still have real failure in the district. I think it will be same-old, same-old.”
But many parents and teachers are happy that an educator
and native Angeleno is leading the school district, after years of iconoclastic nonlocals including Deasy, a New Englander; Ramon Cortines, who came from San Francisco; and David Brewer, a former Navy admiral from Virginia.
“One of the things I was excited about was how much people wanted an educator to be the leader of LAUSD,” says school board member Monica Ratli� , herself a former LAUSD teacher. “They wanted a teacher, a principal. They wanted someone who knew L.A.”
King is the fi rst woman since 1929 to run L.A. Unifi ed, and the fi rst-ever African-American woman. Perhaps even more impressive is her personal story: a graduate of LAUSD, a sin-gle mother of three daughters who graduated from LAUSD, an LAUSD teacher for 10 years, a principal for three years.
Ever since she was promoted to assistant superintendent in 2005, King has worked inside the school district’s massive, cubelike headquarters, which sits high atop a hill overlooking the 110 freeway in downtown Los Angeles.
There, King quietly made her way up through the district bureaucracy. She was promoted to local district superinten-dent in 2008, to superintendent chief of sta� in 2010, and to deputy superintendent in 2011, serving under both Cortines and Deasy, both of whom have rather outsized personalities.
Monica Garcia, LAUSD’s longest-serving board
Superintendent Michelle King’s views
on education are unknown. But the specter of empty
classrooms is painfully clear
By Hillel Aron
( 12 »
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member, praises King as “politically astute, in the sense that she was a loyal No. 2 in two very di� erent administrations.”
But there’s a formidable gap between being No. 2 and being No. 1 in a school district like L.A. Unifi ed, beset with a host of problems, not least of which is its rapidly declining en-rollment. The district has lost about 200,000 kids in the last two decades, though it retains its geographic sprawl.
“You’ve got size, you’ve got politics, you’ve got fi nancials,” explains former LAUSD chief operating o� cer Matt Hill, now the superin-tendent of Burbank Unifi ed. “L.A. Unifi ed is a beast. There’s very few people in the country that can do that job.”
Today, Los Angeles Unifi ed is in the eye of a very large storm.
In 2012, LAUSD was forced to cut $390 million from its budget, as the full weight of the Great Recession fi nally hit state fund-ing of public education. The school year was shortened by 10 days. Adult education, deeply popular in a city of immigrant adults, was decimated. So was arts education. Thou-sands of LAUSD employees were laid o� .
To address the crisis hitting schools state-wide, Gov. Jerry Brown convinced voters in November 2012 to pass a temporary sales tax increase. The next year, Brown radically changed the way the state provides money to local school districts, giving districts with a large number of low-income families and English-language learners a bigger piece of the pie — a huge windfall for LAUSD.
LAUSD’s budget ballooned to $7.8 billion, $1.8 billion more than the dark days of 2012.
But things are about to get a whole lot worse than during the recession. Soon.
First, that temporary statewide sales tax increase that voters approved expires at the end of this year, although proponents of a ballot initiative to make the sales tax hike permanent are gathering signatures. Brown, however, had promised Californians it was a “temporary” tax, a promise widely seen as helping assure its passage — and nobody knows if voters are still feeling generous.
But LAUSD’s more profound problem isn’t that of persuading California taxpayers to pay permanent higher taxes. The bigger problem is its customers — the children.
While the city of Los Angeles and its sur-rounding county continue to grow slowly, the population of children is actually falling. There are fewer of them in L.A. every year.
It’s an odd problem to have, especially for someone like Michelle King, who worked for the district through the 1980s and ’90s, when enrollment was skyrocketing by tens of thousands of students every year.
Overcrowding was a crisis in Los Angeles. Kids were crammed into classrooms. Teach-ers were hired by the dozens. Many schools moved to year-round schedules to accommo-date the throngs. California voters passed a series of bond measures to build new schools.
Then a funny thing happened. Just as the yellow ribbons on those new campuses were being cut, student enrollment began to de-cline. At its peak in 2002, LAUSD educated nearly 750,000 kids. Today, that number is well under 550,000, and shrinking.
About half of the loss of children is due to a veritable exodus of all kinds of families to independent charter schools, which educate around 100,000 kids within LAUSD borders,
nearly one in six children in the district.Just as signifi cant is L.A.’s declining birth-
rate. According to the L.A. County Depart-ment of Health, the child population in the county has fallen nearly 17 percent since 2000, when L.A. County population growth outpaced that of the state and the nation.
Los Angeles County is no longer a hotbed of population growth — nor is the city. Today, L.A. County’s growth rate lags both the state and the nation.
And that means that just over the horizon, LAUSD faces a fi scal crisis that could very well make the 2012 budget cuts look like a
neat trim. That’s because children equal money —
school districts are funded by taxpayers based on student head counts. Fewer kids means less money to run a vast enterprise that, itself, has not gone on much of a diet in response to the dwindling head counts.
Former superintendent Cortines asked an independent fi nancial review panel to explain how bad things were going to get. By 2018-19, the panel said, the defi cit would balloon to $450 million, worse than during the recession. It would explode to $600 mil-lion in 2019-20.
Given these massive shortfalls, even if vot-ers agree to make the Proposition 30 sales tax hike permanent, those funds will make little more than a dent here. L.A. is still in deep trouble.
In its stern report, the review panel warned that if LAUSD’s leadership doesn’t get its house in order, the state of California could use its powers to take over governance of the district — a move normally reserved for exceedingly poorly run districts that have lost the public trust.
Such a move by the state would give not just the schools but the city itself a nation-wide black eye.
“If the district desires to continue as a
growing concern ... capable of improving the lives of students and their families, then a combination of di� cult, substantial and immediate decisions will be required,” the panel warned. “Failure to do so could lead to the insolvency of the LAUSD, and the loss of local governance authority that comes from state takeover.”
Michael Fine, chief administrative o� cer for the state’s Fiscal Crisis and Management Assistance Team, who served on the panel, says there is still time to fi x things. LAUSD is “not in crisis at this point. It can balance its budget for the next few years. But if they ignore everything, crisis is a few years away.”
Among the panel’s recommendations: buy-ing out the contracts of longtime teachers, increasing student attendance and cutting health care and pension benefi ts of district employees.
It’s unclear how much weight those sug-gestions will be given by the school board — or by King.
When asked about the panel’s recommen-dations, King seemed noncommittal, even indecisive, despite having seen the report when it came out three months ago.
“I currently have a team of leaders combing through the recommendations for feasibility and etc.,” she tells L.A. Weekly. “I don’t have an answer to that question at this point. Do we need to address declining enrollment? Certainly.”
Ref Rodriguez, one of the most recently elected of the school board members, recalls being surprised at the number of applicants for the superintendent job when word went out that LAUSD was looking.
He thought there’d be more.“I actually thought we were gonna have
a deep bench of great candidates,” says Ro-driguez, a former charter-school operator known for his success in educating children in working-class areas. “I thought we’d be
going through a list of 150 résumés. I knew pretty early on, once we received the fi rst batch of candidates — ‘Oh, this is really shal-low water.’ª”
Perhaps candidates were put o� by the somewhat precarious political realities of the superintendent, who serves at the pleasure of the seven-member school board, who them-selves are elected by the public.
Since the public’s perception of LAUSD is fairly dismal, board members these days fi nd it relatively di� cult to get re-elected. That means the political makeup of the board is always in fl ux — only three of the seven cur-rent board members have served a full term.
And education politics are famously polar-ized, pitting the teachers union and its allies versus the so-called school reformers, who are pushing for more charter schools and greater teacher accountability.
A number of education leaders and big-city superintendents declined to be considered for the LAUSD job, including San Francisco superintendent Richard Carranza. Rumor has it that Carranza only wanted it if he got the support of all seven board members.
Unanimity also was important to board president Steve Zimmer, who was at pains to stress the fact that the balkanized school board had come together to unanimously hire King. Indeed, there are indications that the board is, if not entirely on the same page, far less polarized than it has been in recent years.
“We’re willing to listen to one another,” Rodriguez says, “and even open enough to say, ‘I see it di� erently now.’ I’ll tell you, those words did come out of board members dur-ing this selection process.”
King was, by many accounts, a compro-mise. There were four votes for a few dif-ferent candidates, but no candidate initially satisfi ed Zimmer’s wish for board unanimity.
Consensus began to slowly coalesce around King, in part because they all knew and respected her, and in part because of her apparent ideological fl exibility, according to those familiar with the search process. She is, after all, an administrator, not a politician or policy wonk. She is above all an implement-er, someone who knows who to call to get something fi xed, someone who knows how to make changes, if not necessarily which changes to make.
“There’s no shortage of vision in LAUSD,” says Dr. David Plank, executive director of Policy Analysis for California Education. “In fact, there are two competing visions for what the future of the district looks like.”
As Plank explains, “The board avoided set-ting up a contest between those two visions. What the appointment of King suggests is that for a time, at least, she has some space to address the bureaucratic problems, the system problems, and leave the arguments about vision to the board.”
School board member Ratli� resists that analysis, saying, “Whoever the superinten-dent was going to be, we were going to have a strong role in getting the policy and vision. You know this board likes to set the policy.”
“I am a collaborator,” King explains. “And I see the school board and myself working in a partnership. We’re really developing and working together on a common, shared vi-sion. In no way do I see that they’re handing down something and I execute. Quite the opposite.”
PHOTO BY TED SOQUI
It’s all smiles for Superintendent Michelle King, but LAUSD’s customers — its children — are leaving for charter schools.
“L.A. Unifi ed is a beast — very few people in the country can do that job.” —Matt Hill, former chief operating o� cer of LAUSD
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Scott Schmerelson, elected to the school board last year, had one question for every superintendent candidate: “Have you ever been a member in the Broad Academy?”
That’s billionaire Eli Broad’s superinten-dent academy, from which John Deasy both graduated and where he now works. It’s a supposedly non-ideological center that trains educators in many of the fundamen-tals of how to manage school districts.
“That was my fi rst question,” says Sch-merelson, a former teacher who opposes the pro–charter school ethos embraced by Broad. If the answer to his question was ‘yes,’ he says, “They were eliminated, in my mind, as a candidate for the district.
“Maybe I’m not being a logical fellow,” he adds. “But in my way of thinking, they have a certain mentality. Students are consid-ered market shares rather than students. I can’t risk it. ’Cause I don’t trust them. I’m being very honest with you.”
Broad has long been a fi nancial backer of charter schools and school-reform candi-
dates, and his foundation is one of the main fi nancial backers of an e� ort to expand the number of charter schools in Los Angeles. That plan, leaked to the Los Angeles Times in August, is considered by Schmerelson and Zimmer to be a declaration of war against L.A. Unifi ed.
The newly created nonprofit behind the charter-expansion plan, Great Public Schools Now, has been scrambling to soften its image and scale back its agenda. The nonprofi t’s leaders now say that, in addi-tion to funding new charter schools, they’ll work with the school board to open magnet schools and pilot schools.
But that didn’t stop the school board from voting, on King’s fi rst day on the job as su-perintendent, to oppose the Great Public Schools Now plan — a largely symbolic vote, to be sure, but a signal of intent.
“I think it is certainly, for the school board, a convenient rallying cry to suggest what they want to do is come up with their own solutions,” says Great Public School Now’s new executive director, Myrna Castrejón.
Since the school board can’t do anything about Los Angeles’ declining birth rate, it has decided that its survival hinges on com-peting against the charter schools. That would entail, in part, giving L.A. schools greater autonomy.
But for some board members, it also means trying to stop the spread of charter schools.
All new charter schools must be approved by the school board. According to the Cali-fornia Charter School Association, in fi s-cal year 2013-14, the LAUSD School Board rejected just two of 19 new charter school applications.
The next year, the school board reject-ed three out of 14 e� orts to form charter schools. But during the current fi scal year, the school board has rejected six out of 14 new charters, more than in the previous two years combined — and the fi scal year is only half over.
“We are losing students to charters,” Sch-merelson says. “And in order to maintain
the education for all kids, you have to have them come back” to LAUSD.
But if the seven-member school board has a plan for winning back Los Angeles–area parents who are increasingly switching their children to charter schools, it’s keeping that plan very close to the vest.
“Either we keep doing what we’re doing, which is blaming charter schools as the rea-son for declining enrollment, or we really roll up our sleeves and fi gure it out,” Rodriguez concedes.
Which is why some are wondering if may-be the board should have chosen more of a visionary than Michelle King.
“The exodus to charter schools is the big-gest indicator that parents have lost faith in the district,” says Nicholas Melvoin, a former LAUSD teacher, who’s now a lawyer and school reform advocate. For the school board to value unanimity in making deci-sions, he says, “doesn’t mean anything. I’d rather have 4-to-3 board votes — and know that the district is innovating.”
PHOTO BY TED SOQUI
LAUSD chief Michelle King is known as an implementer, but her leadership skills are untested.
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| |TWO FOR THE MONEY
Some restaurants take a while to mature. For Girasol and Union, the wait was worth it
BY BESHA RODELL
Is there anything more frustrating for a critic than to write about a restaurant that’s bursting with as-yet-unrealized potential? For this critic, there is not. Let’s put aside, for a minute, the old and tired de-bate about when it’s fair to judge
a new restaurant (I wait at least six weeks, usually way longer) and look instead at when a restaurant truly becomes what it’s going to be for the long haul. This varies, of course. In recent years I’ve encoun-tered many places that benefi t from the energy and perfectionism of an opening team, only to slip into mediocrity a few months later. And I’ve encountered just as many that start out with shaky service and not-quite-there cooking but manage to set themselves right over the course of a few months or years. These are restaurants that, like some people, take a little more time to bloom, those for which
awkward adolescence lasts longer. Usually I can taste the potential of eventual maturity, and I can see what’s hold-ing the chef or sta� back.
But it would be unfair to readers (and unhelpful to owners) to write about what something is going to be rather than what it is right now.
This week I circle back to two such places, restaurants that had huge poten-tial in their early days but, at the time of my review, still hadn’t quite grown into what they ultimately would become: Gira-sol in Studio City and Union in Pasadena.
Girasol’s chef and owner C.J. Jacob-sen was at the forefront of a restaurant renaissance in the San Fernando Valley when he opened there in the summer of 2013. Back then, the chef’s ambition was obvious. Between appearances on two separate seasons of Top Chef, Jacobson had spent time at Noma in Copenhagen, and the modernist, naturalist infl uence of that experience was obvious. Things were being foraged. Ingredients arrived scat-tered across the plate in artful disarray.
But while the fl avors were often interesting and inventive, the cooking itself was lacking. I sensed that Jacobsen might be having trouble fi nding kitchen sta� to match his aspirations. The ideas were all there, but the execution of those ideas was often clumsy.
So I was surprised and thrilled during
a couple of recent visits to fi nd food that was not only far from clumsy — it was some of the more elegant and meticulous cooking I’ve experienced lately. Jacobsen has managed to create a menu with a broad appeal while still injecting a high level of creativity.
If kelly green had a fl avor, it would probably taste like the wild sorrel broth that comes pooled around Jacobsen’s hamachi crudo, vibrant in both color and taste and shot through with white fi r and fi nger lime for a citrusy, woodsy, grassy combination. The buttery fi sh comes jumbled with sea beans, and the dish as a whole makes you think of the ocean and the forest and the orchard all at once.
Jacobsen has an a� ection for interest-ing ingredients manipulated in interest-
ing ways, such as toasted lovage, which he uses to fl avor the butter that comes with the hearty, springy, house-baked bread and also on a beautiful octopus salad with roasted eggplant and rose-mary-ash oil. The lovage reminded me immediately of a bloody Mary, its subtle whisper of celery hitting on a specifi c sense memory. That ability to conjure na-ture and transport you, to make you really think about what’s on the plate, is rare.
Entrees tend to be a little less ad-venturous than the forward-thinking appetizers, though no less well-prepared, and touches such as grilled lettuce and dashi broth accompanying an otherwise straightforward roasted chicken, or a sauce of fermented Fresno chili, kumquat and sorrel alongside the whole fried snap-
per, make these dishes far more interest-ing than the copious roasted chicken and fried snapper dishes elsewhere.
Did I love everything I ate at Girasol? No. Some dishes could stand to be taken a step further, and some a step back. I had a persimmon and burrata salad that was basically a bowl of odiously sweet, creamy glop. But at least it wasn’t boring.
If Union in Pasadena su� ered from anything when I fi rst reviewed it in mid-2014, it was less tangible a problem than the cooking slipups at Girasol. The small storefront Cali-Italian restaurant in downtown Pasadena from chef Bruce Kalman had some service issues, and I sat through one special-occasion meal there (Mother’s Day) that was expensive and felt anything but special.
Yet I wondered if I’d just had a string of bad luck at Union, a thing that can hap-pen even over several meals at a good res-taurant. OK, maybe that much bad luck shouldn’t happen — and I stand by my original review — but almost everyone I know loved the place from day one.
After revisiting Union a few times in the past few months, I fi nally get it. The service has improved signifi cantly, and there’s always an a� able manager type circling the small, bustling room keeping an eye on things. Everything about Union feels welcoming — the warm buzzing space, the perfectly calibrated food. Large family groups commune at long tables, the babies among them happily gobbling meatballs as their parents drink interest-ing Italian reds.
It’s the type of place where people stop in for a quick plate of pasta and a glass of wine at the bar, a perfect fi rst-date spot, a perfect 100th-date spot.
Starters, such as a beautifully spiced cotechino sausage served with braised collard greens and a soft poached egg, are inventive but comforting above all else.
The handmade pastas are the star of the show, however, from the simplest tomato sauce–dressed spaghetti alla chitarra to heavier ragus. A dish labeled lasagnette — basically strips of the ru� y edges of lasagna noodles, served as a jumble with golden chanterelles and porcini — is about as warming and rich and deeply musky as anything you might hope for from your friendly neighbor-hood gem.
Union is a better restaurant than you’d expect on fi rst glance, and it looks pretty good to begin with.
In my original review, I said that Union was the perfect Tuesday night restau-rant. These days, I’d be more inclined to say you should go whenever you get the chance.
GIRASOL | 3 stars | 11334 Moorpark St., Studio City (818) 924-2323 | girasolrestaurant.com
Daily, 5-11 p.m.; brunch: Sun., 11 a.m.-3 p.m. Entrees: $16-$38 | Valet parking
UNION | 3 stars | 37 E. Union St., Pasadena (626) 795-5841 | unionpasadena.com | Mon.-Fri.,
5-11 p.m.; Sat., 4-11 p.m.; Sun., 4-10 p.m. Entrees, $14-$36 | Street parking,
paid lot across the street
| Eats // Fork Lift //
PHOTOS BY ANNE FISHBEIN
Girasol’s octopus salad with long-roasted eggplant
CRITIC’S RATING★★★Zero = Poor★ = Fair★ ★ = Good★ ★ ★ = Very Good★ ★ ★ ★ = Excellent★ ★ ★ ★ ★ = World-Class
Union’s spaghetti alla chitarra
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It’s a LocoL Thing
ROY CHOI REINVENTS FAST FOODIN WATTS
The line along East 103rd Street stretched down the block. Mayor Eric Garcetti, director Jon Favreau and actress Lena Dunham were in attendance. Old-school R&B and hip-hop pumped
out of loudspeakers. Unless you were familiar with the backstory of LocoL — the ambitious project from chefs Roy Choi and Daniel Patterson, which aims to send shockwaves through America’s fast-food ecosystem — it would be hard to imagine all this energy stemmed from a single res-taurant opening in Watts. Yet it was in this overlooked, underserved South Central L.A. neighborhood that Choi and Patterson saw the biggest potential for change.
The menu at LocoL fulfi lls the promise Choi made to 2015 Indiegogo backers in a campaign that raised more than $125,000 and, before that, a talk that Patterson (chef of San Francisco’s Coi) gave at the 2014 MAD Symposium, in which he aspired to help impoverished communities by o� er-ing healthful, a� ordable food. At LocoL there are $4 cheeseburgers, $3 chicken nuggets, $6 bowls of chili, $1 cups of braised greens or beef-onion gravy and $2 handheld quesadillas called “foldies.”
If you’re familiar with the cooking of these chefs, it’s easy to spot the tweaks and tricks that allow LocoL’s food to boast the fl avor of chef-driven establishments while being cheap enough to compete with fast-food chains. The fried chicken patty is moist and juicy, formed from minced bits of chicken and cut with a small amount of grain, then crowned with a wonderfully acidic slaw. The umami-rich burger patty was engineered with similar ingenuities .
The colorful sauces, familiar to anyone who’s eaten at Kogi or Chego, are deeply fl avorful. The burger buns, designed by Tartine baker Chad Robertson, have the subtle yeasty tang of properly risen bread.
The food is interesting and compelling enough to warrant its own story, but what most commands your attention at LocoL are the people: Fifty or so local residents, nearly all African-American, make up the sta� . Community members gather in the free-form dining room, and passersby peer through large screen windows to see what’s happening inside. It seems acutely designed to draw you in from the street.
As the grand excitement of its Martin Luther King Jr. Day opening fades into a normal business routine, it will be intrigu-ing to see if LocoL can e� ect the change it seeks in Watts, as well as in planned loca-tions like San Francisco’s Tenderloin and Oakland. If there’s one thing that makes the future of fast food seem palatable, it’s a $4 cheeseburger that leaves you feeling good long after you eat it. —Garrett Snyder
LocoL, 1950 E. 103rd St., Watts; welocol.com.
N E W R E S T A U R A N T S
Gorgeous, Ambitious Recess Now Open in Highland ParkIf you’ve walked down the main strip of York Boulevard in the last couple of years, maybe on your way to grab a beer at Hermosillo or buy a trellis at Do It Best Hardware, you’ve probably walked past Recess. You would be forgiven, however, for not realizing it — Recess has been hid-den from view , its façade blocked o� by a wall of black wood between the York and Arroyo General.
But those walls are down and Recess is now open to the public, revealing the fruit of 2½ years of labor by wife-and-husband owners Tamar Kevonian and Sevan Abdessian (who is also the chef) and their team, who have brought to Highland Park an expansion of their popular Glendale restaurant of the same name.
Recess is gorgeous, big and open, all wood and metal with an earthy green and
| Eats // | Squid Ink //
PHOTO BY GARRETT SNYDER
Roy Choi, clapping, welcomes crowds at LocoL.
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brown color scheme and exposed brick and beams. There are patios in front and out back; the latter has a giant fi replace and two olive trees, perfect for brunch.
The menu is mostly modern American, infl uenced by Abdessian’s Armenian and Mediterranean roots . The fl atbread comes topped with soujouk, the seared ahi salad is dotted with Sriracha labneh aioli, and you can add falafel to any of the salads.
Otherwise, dishes are classic with some twists, such as New York steak crusted with Aleppo pepper, confi t tomatoes in the Caprese salad or edamame tossed with the traditional Armenian salad fatoush. Pastas are made in-house, and the cheese board comes with a chunk of honeycomb.
With many entrees around $20, it’s a bit of a jump for a neighborhood that has only recently grown used to $7 pints. But if the prices at the nearby home-goods stores and art galleries are any indication, the area may well be ready for an alternative to the quietly great Ba.
Kevonian and Abdessian have made a point of keeping Recess family-friendly. They say they’d love to see strollers and kids there anytime, and there are changing tables in bathrooms, power outlets at ev-ery table and a kids section on the menu.
But going out without kids is fun, too. There are a handful of seats at the bar and the cocktail list is interesting and fun .
In other words, Recess wants to be a bit of everything for everyone, a truly ambi-tious project in this hip and still changing neighborhood. —Ben Mesirow
Recess, 5022 York Blvd., Highland Park; (818) 507-0592, recesseatery.com.
I T A L I A N F O O D
Factory Kitchen Team Expands Into Arts District’s O� cine BreraThe Arts District has become the unlikely ground zero for large, ambitious Italian restaurants. That trend continues at O� cine Brera, which begins serving on Feb. 5 adjacent to its sister restaurant, the Factory Kitchen (another large, ambitious Italian restaurant). But for owner Matteo Ferdinandi and chef Angelo Auriana, this project was their original vision.
Ferdinandi tells of meeting with building owner/partner Howard Klein . “When I met with Howard, Angelo and I were ready to make a presentation about the O� cine Brera concept, which we had been working on since 2012,” Ferdinandi says. “Howard said, ‘Look, I have the building, but you won’t have it until 2014. What about this other space next door? ’ We went to see it and we understood that we could not do Brera in that space.” The kitchen was too small for what they had in mind. “But we took it and created Factory Kitchen.” Now their original vision is coming to life.
So what makes the restaurants di¢ erent? Where Factory Kitchen is focused mainly on pasta and the foods of regions such as Sicily and Tuscany, O� cine Brera will look to the north of Italy for its inspiration, and will focus on fi re-cooked meats. “The menu is inspired by the countryside of northern Italy,” chef Auriana says, “places we went in our childhood where restaurants pro-duced everything in-house. The di¢ erence will be the depth of fl avor we can achieve. Factory has a very small kitchen.”
At O� cine Brera, the large glassed-in kitchen is central to the feel of the restau-rant. “You can see everything,” Auriana says. “The fi rst impact will be a line of fi re: a wood-burning oven, a rotisserie, two grills ... that’s the soul of our concept. Not inventing anything, just going back to the roots of how it was done . ”
Auriana says there will be a focus on risotto, and he’ll be paying attention to the regional specifi city of rice varietals. “Each rice is di¢ erent,” he says. “ Di¢ erent rices work better for di¢ erent risottos.”
When asked if they’ll be bringing anything that diners haven’t seen before, Auriana says, “ You’ve probably seen it be-fore, but maybe the dumbed-down version. People say, ‘Americans love garlic, let’s put more garlic in it. Americans love tomato sauce.’ It distorts the natural fl avor.”
Ferdinandi says “o� cine” means “work-shop” and “Brera” is the arts district in Milan. So the name is an homage to to the arts districts both in Italy and in L.A. “They both started with bohemians and artists. They do have a lot in common,” he says. Is he worried about opening a restaurant next door to his other business, in e¢ ect competing with himself? “If it wasn’t me, it would be someone else.” —Besha Rodell
O� cine Brera, 1331 E. Sixth St., down-town; (213) 553-8006, o� cinebrera.com.
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fri 1/29M U S I C
Cuba LibreEliades Ochoa and Barbarito Torres, a duo of great players from Cuba’s famed Buena Vista Social Club, show o� their skills across a vast range of Cuban music styles, including son montuno, danzon, cha cha cha, bolero and gleefully scorch-ing Cuban jazz. Vocalist-guitarist Ochoa is a master of the three-stringed tres, the main instrument in son, an African-based musical style from Santiago de Cuba; he also plays a mean cuatro, which has two additional strings. Torres fl at-out rips on the laúd, a traditional Cuban instru-ment of the lute family, which is associ-ated with the guajiro genre (aka Cuban country music). Alex Theatre, 216 N. Brand Blvd., Glendale; Fri., Jan. 29, 9 p.m.; $49-$99. (818) 243-2539, alextheatre.org. —John Payne
C O M E D Y
A Laugh RiotKCRW’s Riot L.A. aims to make downtown ground zero for alternative comedy. Back for its fourth year, the festival spreads stand-up, podcasts, storytelling, roasts — even magic and live animation — across three days and eight venues, including the Downtown Independent, the Regent, the Smell and the Theater at Ace Hotel. The lineup features Patton Oswalt, David Cross, Ron Funches, Gilbert Gottfried, Janeane Garofalo, Maria Bamford, Natasha Leggero, Bridget Everett, Paul F. Tompkins, Anthony Jeselnik, Aisling Bea, Jerrod Carmichael, Dana Gould, Eddie Pepitone, T.J. Miller, Thomas Middleditch, Kumail Nanjiani, Baron Vaughn, the Graw-lix and the dog-friendly show 2 Girls 1 Pup. Highlights include KCRW’s UnFictional Live, a Comics to Watch stage and a talk with the Katydids, co-creators of TV Land series Teachers. Various locations, down-town; Fri., Jan. 29, 7:30-11:30 p.m.; Sat., Jan. 30, 1 p.m.-mid.; Sun., Jan. 31, 3-10 p.m.; $10-$39.50. riotla.com. —Siran Babayan
M U LT I M E D I A
Robot LoveNufonia Must Fall was turntablist Kid Koala’s 2003 dialogue-free graphic novel
that told the story of a headphones-wearing robot that falls in love with an o� ce girl. The Montreal DJ brings his vision to life with help from a dozen art-ists and technicians, led by Oscar-nom-inated production designer K.K. Barrett (Being John Malkovich, Adaptation, Lost in Translation, I Heart Huckabees, Her). Puppets are projected on a screen as they re-create each scene from the book on miniature sets. Kid Koala performs a live score with the Afi ara Quartet. Royce Hall, 340 Royce Drive, Westwood; Fri., Jan. 29, 8 p.m.; $19-$49. (310) 825-2101, cap.ucla.edu. —Siran Babayan
sat 1/30C O M E D Y
Mr. WarmthListen, hockey puck, the most distin-guished Don Rickles is real-deal Hol-lywood royalty. He’s the Sultan of Insult, the Merchant of Venom. For more than half a century our Mr. Warmth (Johnny Carson coined that term for cuddly li’l Don) has plied his poison in all your top showrooms and concert halls from
here to Vegas to Sheboygan and beyond. Besides which, he’s been a staple side-splitter on TV shows and movies “too numerous to mention,” as they say. They also say that all ethnicities, religions, hairdos and golf scores are fair game for a surreally scabrous skewering by the magnifi cent Mr. Rickles. Saban Theatre, 8440 Wilshire Blvd., Beverly Hills; Sat., Jan. 30, 9 p.m.; $79-$150. (888) 645-5006, sabantheatre.org. —John Payne
D A N C E
Star PowerA new dance series featuring perfor-mances by a trio of L.A.-based companies, helmed by names known as much for fi lm as for dance, opens with L.A. Dance Project. Benjamin Millepied (Black Swan) founded LADP several years back before heading to France, where he now presides over Paris Opera Ballet. Mille pied’s name still brands LADP, and his choreogra-phy for Hearts & Arrows joins Harbor Me from Belgian choreographer Sidi Larbi Cherkaoui and New York chore-ographer-of-the-moment Justin Peck’s highly praised Murder Ballades. Up next week, Debbie Allen (Fame) with Freeze Frame, which promises a high-energy conversation about violence in America. April brings Daniel Ezralow (Across the Universe) and his Ezralow Dance. Wallis Annenberg Center for the Performing Arts, 9390 N. Santa Monica Blvd., Beverly Hills; Fri.-Sat., Jan. 29-30, 8 p.m.; $25-$117. (310) 746-4000, thewallis.org. —Ann Haskins
F E S T I V A L S
The Neon Lights Are BrightEight years ago, city councilman José Huizar introduced Bringing Back Broadway, his 10-year plan to revitalize the historic downtown theater district. He can declare mission accomplished, at least for an evening, as Night on Broadway descends on the corridor for a second year after its inaugural celebration attracted three times more guests than were pro-jected. Broadway will be closed to tra� c from Third to Seventh streets for outdoor activities, and seven of the street’s historic theaters open their doors for a variety of performances by local arts and culture organizations, including Reggie Watts at the Tower Theater; a program of short fi lms at the Los Angeles Theater; and
P. 21 FRICOMEDY’S BIGGEST NAMES SET UP CAMP IN DOWNTOWN L.A.
P. 22 SUNCHECK OUT BOWIE’S BULGE AT A SCREENING OF LABYRINTH
P. 22 MONAN AUTHOR/DOMINATRIX SHARES S&M WISDOM FOR LIFE
P. 25 THUTHE STORIES OF HEROIC SAILOR CATS ARE FINALLY HEARD
IGO»LA ⁄⁄ Week of
JAN. 29-FEB. 4
Roz Chast: See Sunday.
COURTESY OF ROZ CHAST / BILL FRANZEN
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performances by Ozomatli and Aloe Blacc on the main festival stage. Broadway between Third Street and Olympic Bou-levard, downtown; Sat., Jan. 30, 5-11 p.m.; free. nightonbroadway.la. —Gwynedd Stuart
sun 1/31F I L M
It’s a Maze-ingWith tributes to David Bowie still pour-ing in, Cinefamily celebrates the late performer’s other major contribution to pop culture: his fi lms. As part of “Cracked Actor: Bowie on Film,” which includes The Man Who Fell to Earth and The Hunger, the theater screens Labyrinth, Jim Henson’s 1986 puppet fantasy. The movie has become a cult classic and Halloween costume favorite, thanks to Bowie’s wig and the bulge in his pants. Follow a young Jennifer Connelly as she tries to save her baby brother from Jareth the Goblin King (Bowie), who juggles crystal balls and rules over a maze of talking-singing-and-dancing monsters, goblins, dogs, worms and door knobs. It’s Bowie’s world, we just live in it. Cinefamily, 611 N. Fairfax Ave., Fairfax; Sun., Jan. 31, 11:15 p.m.; $12. (323) 655-2510, cinefamily.org. —Siran Babayan
P E R F O R M A N C E
Queen of CartoonsNew Yorker cartoonist Roz Chast is like that beautiful golden record that was in-cluded on the Voyager spaceships — time-less, resonant and full of art that can be equally beautiful and painful. In her one-woman show, Can’t We Talk About Some-thing More Pleasant?, she continues in that vein, revealing a compilation of cartoons, family photos and documents that unveil her parents’ not-so-golden years and what it meant to Chast to lose them both. Much like those Voyagers, plodding along in the far reaches of space, Chast forges ahead with nerve and determination, depths of darkness be damned. Royce Hall, 340 Royce Drive, UCLA, Westwood; Sun., Jan. 31, 4 p.m.; $19-$49. (310) 825-2101, cap.ucla.edu. —David Cotner
F O O D
Tortilla TimeThe L.A. Taco Takedown is part of a na-tional tour that pits home cooks against one another in a populist showdown. Actor-fi lmmaker Matt Timms will play host and emcee. Attendees can compete with their best taco fi lling, or buy a ticket for all-you-can-eat tacos and a ballot to vote. Winners will receive cookware from Cuisinart, Wusthof, Anolon and more. Email [email protected] to enter as a chef-testant. El Cid, 4212 W. Sunset Blvd., Silver Lake; Sun., Jan. 31, 1-3 p.m.; $20 (free to compete). (323) 668-0318, thetake-downs.com/los-angeles-taco-takedown. —Garrett Snyder
mon 2/1S & M
Whip It GoodLux Alani has cracked the whip so you don’t have to. The former dominatrix — she’s also been a crisis counselor, model and Roller Derby girl — discusses � e Little Vanilla Book: S&M Wisdom to Improve Your Everyday Life, her new BDSM-inspired self-help guide for “vanilla Janes” who are kink-curious and want to take charge of their lives but don’t plan to ever go near a dungeon. (Dungeons, in case you didn’t know, “are largely matriarchal societies.”) Alani’s how-to is less about sex and fetish and more about applying the principles she’s learned as a dominatrix to such areas as women’s body image, confi dence, courage and resilience. If you’re really vanilla, her book also features a glossary of terms, including collar, bullwhip, bottom and top. Book Soup, 8818 Sunset Blvd., West Hollywood; Mon., Feb. 1, 7 p.m.; free, book is $15.99. (310) 659-3110, booksoup.com.—Siran Babayan
tue 2/2F O R U M S
It’s ElectricA convocation of conservationists, Greening the Gas Tank brings together tireless Consumer Watchdog president Jamie Court, perennially upbeat envi-ronmentalist Ed Begley Jr. and veteran automotive journalist Paul Eisenstein to turn us all on to new ways to get even more nonpolluting vehicles out on the roads. Although the hurdles range from the economic to the political to the technological, they’ll explain solutions that are more graceful than the contin-ued zero-sum reliance on crude oil. It’s all moderated by KPFK voice of reason Ian Masters, no slouch himself when it comes to fi ghting against entrenched absurdity. Hammer Museum, 10899 Wilshire Blvd., Westwood; Tue., Feb. 2, 7:30 p.m.; free. (310) 443-7000, hammer.ucla.edu/programs-events/2016/02/greening-the-gas-tank. —David Cotner
Ship Cats: See Thursday.
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C L A S S I C A L
Me and UtahThe L.A. Phil’s City of Light features conductor David Robertson leading the St. Louis Symphony in Messiaen’s Des canyons aux étoiles… The massive work — 12 movements, 92 minutes — is a jaw-dropping thing to behold. It was inspired by the French composer’s experience of the natural beauty of Utah’s national parks, in particular the towering glories of Bryce Canyon. “Having left the canyons to climb to the stars,” Messiaen said of the piece, “I had only to keep go-ing in the same direction to raise myself up to God.” This multimedia production includes big-screen cinematography and time-lapse photography, plus custom-crafted sets and lighting design. Walt Disney Concert Hall, 111 S. Grand Ave., downtown; Tue., Feb. 2, 8 p.m.; $26.50-$65. (323) 850-2000, laphil.com. —John Payne
wed 2/3C O M E D Y
Love Is in the AirL.A. comedian Melinda Hill likes to talk about her lousy love life. Based on her stand-up, Hill’s 2013 online series, Roman-tic Encounters , poked fun at her string of cringe-worthy dates with unsuitable suit-ors — think three nipples — and featured fellow comedians Dana Gould, T.J. Miller (Silicon Valley), Carlos Alazraqui (Reno 911) and the late Taylor Negron. Since then, Hill has begun hosting UCB’s monthly storytelling show Best of Romantic En-counters. (She also co-created, with Maria Bamford, the long-running What’s Up, Tiger Lily?) Apparently Hill is still looking for her soul mate, so she’s performing a staged reading of a new webisode with help from Alazraqui, Drew Droege, Kent Osborne and others. It’s OK to laugh at her pain. Comedy Central Stage at the Hudson Theatres, 6539 Santa Monica Blvd., Hol-lywood; Wed., Feb. 3, 8 p.m.; free. (323) 856-4249, facebook.com/Comedy-Central-Stage-114055165292212/. —Siran Babayan
thu 2/4C A T S
Cat FishCats aren’t known for loving water (unless it’s dripping very slowly from a bathtub faucet), but it turns out our feline friends can really hold their own at sea. Author and self-made expert in cat history Paul Koudounaris presents Ship Cats: Adven-ture, Courage, Betrayal!, a lecture and slideshow featuring stories of some of his-tory’s most intrepid cat sailors, including an L.A. cat that won four battle stars. Learn something while looking at photos of cats in sailor hats — which, let’s face it, is prob-ably what you’d be doing anyway. The Last Bookstore, 453 S. Spring St., downtown; Thu., Feb. 4, 7:30 p.m.; free. (213) 488-0599, lastbookstorela.com. —Gwynedd Stuart
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A WHO’S WHO OF WHO TO SEE AT RIOT L.A.
David Cross, Maria Bamford, Natasha Leggero and seven other comedy luminaries shout-out the best stand-ups to see at the weekend DTLA comedy fest
BY JULIE SEABAUGH
The fourth annual Riot L.A. comedy festival returns Friday through Sunday at a half-dozen downtown venues including the Regent, the Downtown Independent and the The-
ater at Ace Hotel, a new addition to the roster of spaces. Also new this year: dog-friendly show 2 Girls 1 Pup (one of L.A. Weekly’s 10 Best New Stand-Up Shows) is partnering with No-Kill L.A. and Best Friends Animal Society for mobile adop-tions; Fusion network’s F-Comedy divi-sion is sponsoring a Saturday afterparty; and free app Everfest will provide fest-goers with updated schedules, locations, reminders and even a few giveaways.
There’s almost too much to do and see over the course of a mere 72 hours, so we asked some of the biggest names appear-ing at this year’s fest, plus festival founder Abbey Londer, to recommend acts that shouldn’t be missed, from up-and-comers to their friends and personal favorites. Tickets for all shows (except those that are sold out) are available at riotla.com.
Maria Bamford (Fri., Jan. 29, 10:30 p.m.): “Jackie Kashian is one of my best friends, and she is also one of my favorite come-dians of all time. Her Dork Forest Radio
podcast has inspired me to celebrate my own Comic-Con of self-help. I have been playing a long LARP of emotional Su-doku with breaks for Chex Mix. For over 40 years. Oprah is my George Lucas.” Five Star Bar, 267 S. Main St., downtown; Sun., Jan. 31, 3 p.m.; $10.
Natasha Leggero (Fri., Jan. 29, 10:30 p.m.): “I would say Moshe Kasher, but he is my husband, so that would be cheating. So I’ll say — Brent Weinbach. Brent is one of the most unique, absurdist comedians of our time. It’s like if Maria Bamford were a half-Filipino, half-Jewish hip-hop–ob-sessed man-boy who listened exclusively to 8-bit Nintendo music and it informed his comedy. Weird. O� eat. Hilarious. You’ve never seen anything like it.” The Lot, 247 S. Main St.; Sun., Jan 31, 7 p.m.; $10.
Brian Moses (Roast Battle, Sat., Jan. 30, 11 p.m.): “Redheads are en vogue as of late, but Andrew Santino seems to always be in style. ‘Santino’ — as he’s a£ ectionately called in the streets — is probably your favorite unknown comedian’s favorite unknown comedian. Part party frat guy, part Real N****r, his unique voice brings people of all generations to relate to his perspective of today’s issues. Dude is remarkable.” The Lexington, 129 E. Third St., downtown; Sat., Jan. 30, 10:30 p.m.; $10. Also at the New Jalisco, 245 S. Main St., downtown; Sun., Jan. 31, 6 p.m.; $10.
David Cross (Fri., Jan 29, 7:30 p.m.): “ I have been lucky to be on a number of bills with Jo Firestone, and there is always a little bit of a weight lifted — the tiniest upward shift in mood — when I go to do a set and I see that Jo is there or, even better, hosting. I likes her vibe, I tell ya. She’s e£ ortlessly funny and self-deprecating without it seeming coy or calculated. She’s also nice! And she’s fucking funny. She’s one of those people who not only makes you laugh when you’re watching her but you just generally feel better about every-thing as a whole.” Downtown Independent, 251 S. Main St., downtown; Sat., Jan. 30, 5 p.m.; Sun., Jan. 31, 7 p.m.; $15. Also at the Lexington, 129 E. Third St., downtown; Sat., Jan. 30, 6:30 p.m.; $10.
Dana Gould (Sun., Jan. 31, 3 p.m.): “Watching Kate Berlant perform is like watching grass push up through the side-walk. Los Angeles has such an incredibly strong comedy scene, but Kate is a rare jewel. To me, Kate transcends the defi ni-tion of what a comedian is or is supposed to be, and has created something wholly unique. Kate doesn’t have an ‘act.’ She is her act. She is not a comedian; she is a spe-cial e£ ect. And, as is with all special e£ ects, seeing is believing.” The Smell, 247 S. Main St., downtown; Sat., Jan. 30, 9:30 p.m.; $15.
Ron Funches (Sun., Jan. 31, 9 p.m.): “Kate Berlant is a force of nature and a
pleasure to watch. A gifted and hardwork-ing performer who makes you question your own skills as a comedian and hu-man.” See above.
Paul F. Tompkins (Sat., Jan. 30, 9 p.m.): “Kate Berlant is delightful and always surprising. Guy Branum is pointed and insightful. Both are hilarious. Go see them! You must see them. If they are not pet-grooming opposite my show, that is. If they are performing when I am, do not see them. Find them someplace else some other time. This is not open for discussion.” Downtown Independent, 251 S. Main St., downtown; Sat., Jan. 30, 5 & 11 p.m.; $15. Also at the Lot, 274 S. Main St., downtown; Sun., Jan. 31, 9 p.m.; $10.
Abbey Londer, Riot L.A. founder and executive producer: “I’m excited about A Watch and Talk with � e Katydids. Their new show Teachers recently premiered on TV Land. They’ll be showing some unaired, never-before-seen clips from their new show that had Alison Brie, Ian Roberts and others working with them. I grew up with these gals in Chicago and think they’re super talented.” Downtown Independent, 251 S. Main St., downtown; Sat., Jan. 30, 1 p.m.; $10.
Baron Vaughn (Sat., Jan. 30, 5 p.m.): “Kristin Rand is a force of nature. Like a boxer in her prime, she hits you in unpre-dictable ways. Phil Hanley is relaxed and in control, made possible by being one of the best joke writers I’ve ever seen. Caitlin Gill is the smartest person I’ve ever seen explore their own stupidity. If your little sister was funnier than you — and really absurd — she would be Lisa Best. Josh Johnson’s world is full of chaos, and he’s equipped to make you laugh at it. Danny Jolles is one hell of a joke writer. A true comedian. Sammy Arechar: Hilarious. Original. Clever. Silly. All in a huggable package. Ever Mainard has an organic and e£ ortless style that makes you giggle and feel you’ve somehow known her for years. Marcella Arguello is a natural. Nothing about her is forced. She’s very dry and truly charming.” Gill and Best: New Jalisco, 245 S. Main St., downtown; Sat., Jan. 30, 8 p.m.; $10. Johnson, Best, Jolles: the Lexington, 129 E. Third St., downtown; Sun., Jan. 31, 8:30 p.m.; $10. Arechar, Mai-nard, Gill: the Lexington, 129 E. Third St., downtown, Sat., Jan. 30, 10:30 p.m.; $10. Arguello: New Jalisco, 245 S. Main St., downtown; Sat. Jan. 30, 10 p.m.; $10.
Sam Varela (Sun., Jan. 31, 5 p.m.): “Joel Kim Booster is comedy’s next New York powerhouse. Not only is he a beautiful young man to look at with great hair, his biting wit and ability to deliver comedy truths that rip the current status quo apart have secured his spot in the next genera-tion of comedy greats.” Five Star Bar, 267 S. Main, downtown; Sat., Jan. 30, 7 p.m.; $15. Also at the Lexington, 129 E. Third St., downtown; Sun., Jan. 31, 6:30 p.m.; $10.
Londer: “Jermaine Fowler’s show will open with a trumpet player and has an in-sane lineup: Nicole Byer, Dan St. Germain, Lil’ Rel Howery, Hugh More and James Adomian.” Five Star Bar, 257 S. Main St., downtown; Sun., Jan. 31, 9 p.m.; $15.
RIOT L.A. | Various downtown venues | Fri.-Sun.,
Jan. 29-31 | riotla.com
| Culture // PHOTO BY LISA WHITEMAN
Paul F. Tompkins
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THEOSOPHYOriginal Teaching of
2016 PROGRAMSUNDAY AT THEOSOPHY HALL
Morning classes for adults (10:30 AM - 12:00 PM) in English & SpanishEvening meetings (7:30 PM - 8:45 PM) Talks and questions on Theosophy
PROGRAM FOR FEBRUARY, 2016
SATURDAYS (The first Saturday of the month)
Spanish Study Class, 2:30 to 6:00 PM inLa Doctrina Secreta by H.P. Blavatsky
The United Lodge of Theosophists245 W. 33rd St. (at Grand Ave.) Los Angeles, CA 90007
(213) 748-7244 / www.ult-la.org
WEDNESDAY AT THEOSOPHY HALLStudy Class, 1:00 to 2:15 PM in The Bhagavad-GitaStudy Class, 6:15 to 7:20 PM in Wednesday Thinkers - Basic TheosophyStudy Class, 7:30 to 8:45 PM in The Secret Doctrine by H.P. BlavatskySpanish Study Class, 7:30 to 9:00 PM in La Doctrina Secreta by H.P. Blavatsky
Feb. 7 – ClairvoyanceFeb. 14 – Krishna: Our Spiritual NatureFeb. 21 – The Manifested and the UnmanifestedFeb. 28 – Truth, Knowledge and Wisdom
THURSDAYS . FRIDAYS . SATURDAYS 8PM February 4 - 13, 2016
The Actors' Gang at the
historic Ivy Substation 9070 Venice Boulevard CULVER CITY 90232
Tickets $25 and $30
Thursdays are Pay-What-You-Can
Special Benefit Performance
Friday, February 12 Post Performance Discussion featuring
Father Greg Boyle Homeboy Industries Reception to follow
Tickets $100 tax-deductible donation
Book your tickets now!
www.theactorsgang.com (310) 838-4264
Tuesday–Sunday, 11 AM–5 PM • Admission free310.506.4851 • arts.pepperdine.edu/museum
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WIN TICKETS TO THE TASTE OFSOLVANG WINE & BEER WALK!
Taste your pick from more than 15 participating wine tasting rooms, wine barsand beer bars, on this popular 2-day stroll through the Village of Solvang.
laweekly.com/free/TasteOfSolvang
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| | Remembering Sandra Bland
AND A GUIDED TOUR THROUGH AN ARTIST’S BOXES
BY CATHERINE WAGLEY
This week, an artist creates a maze of small boxes in a Boyle Heights basement, and writers pay homage to Sandra Bland, whose death still presents more questions than answers.
Science as fashion“The Small Laboratory,” William
Leavitt’s installation at Honor Fraser, conjures a mad scientist with good taste. Domestic objects — shelves, a television set, house plants — are strung together by electrical cords and clear-plastic tubing and lit from the sides by the kind of can lights used on stage and fi lm sets. Leavitt, who has been working in L.A. since the late 1960s, wrote a play to accompany the installation, which involves three scientists limited by their own competitiveness and aspirations. The play won’t be performed during this exhibition, but the objects have a minimal tastefulness that’s irrational for a laboratory. You sense an overactive ob-session with what other people think. 2622 S. La Cienega Blvd., Culver City; through
March 5. (310) 837-0191, honorfraser.com.Poetry for justice
ArtShare L.A. is hosting its second “Re-quiem for Sandra Bland.” Writers, some of whom also work in the realm of perfor-mance art (Jen Hofer, Chiwan Choi), will read what they’ve written in honor of Bland, the 28-year-old found hanged in a Texas jail cell after being arrested under questionable circumstances for a tra� c violation. While members of Bland’s family refuse to believe her death was a suicide, no o� cers have been indicted.
The “Requiems” attempt to use art to honor Bland’s life with the hope that doing so could encourage greater justice. 801 E. Fourth Place, downtown; Wed., Feb. 3, 7 p.m.; $5. (213) 687-4278, artsharela.org. Black cats, fi erce breasts
The best two things about Allison Schulnik’s show at Mark Moore Gallery are nipples and cats. Schulnik’s painted and ceramic fi gures — all female, loosely rendered and wild-looking (some are half-woman, half-horse centaurettes) — tend to have the most remarkable, pink, tubelike nipples at the ends of their breasts. They’re like weapons, guns that could go o� . And then there are the cats, vulnerable and silly while the women are fi erce. Writhing Boochie is a black ceramic cat lying on its back on a pink pedestal, looking like a diva who’s sick of being pretty. 5790 Washing-ton Blvd., Culver City; through Feb. 20. (310) 453-3031, markmooregallery.com.Let’s try to get along
Handwritten signs taped up on the way down to 356 Mission’s basement gallery instruct visitors not to touch the artwork and inform them that “guided tours” are available. You might not know why you’d want a tour until you see that artist Susan Cianciolo’s “kits” are lined up in closed cardboard boxes. Only a tour guide can open them and show the arrangements inside. New York–based Cianciolo has a fashion label, Run, which she’s crafted with the help of a sewing circle. Some of the kits, with titles like “Let’s try to get along,” include full outfi ts. A few are tiny domestic situations handmade by the artist’s daugh-
ter. Not all are equally compelling, but the intimacy of choosing which box, opening it with a guide and rummaging through it has enough charm in itself. 356 S. Mission Road, downtown; through March 13. (323) 609-3162, 356mission.com.Playing God the gritty way
Thought Field, Brooklyn artist Marianne Vitale’s centerpiece sculpture at Venus Over Los Angeles, consists of 90 railroad ties. Each rusty, indestructible object is 40 feet long; together, they weigh about 60 tons. Getting them into the gallery required industrial equipment and workers who know the railroad business — all the ties had to pass through a door signifi cant-ly narrower than they are, and on a rainy day, too. But when you see the ties, austere on the fl oor, it’s hard to imagine the muddy, wet, tight maneuvers. They just look as if they arrived there, to sit still, surrounded by white walls. The work in the next room is, perhaps, more deceptive. It consists of six stacks of 11-foot white pine rectangles, which look as if they’ve come straight from a lumberyard, though only after endur-ing harsh wear and tear. Some are nicked, cracked, whittled to a point or painted with the orange and white stripes that signal “caution.” Vitale received the pine blocks in perfect condition; she infl icted the signs of wear on each. She played God in the most painstaking, obsessive way: trying to exact the random, nuanced destruction that cut-down, cut-up trees endures when put to industrial use. 601 S. Anderson St., downtown; through Feb. 27. (323) 980-9000, venusovermanhattan.com.
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| Culture // Art Picks //
Allison Schulnik’s Writhing Boochie
MUSEUMS FREE-FOR-ALL
This o�er is for general museum admission only and does not apply tospecially �cketed exhibi�ons. Regular parking fees apply, check website for details.
WWW.SOCALMUSEUMS.ORG
Don’t forget to check in
FREE ADMISSIONAT OVER 20 MUSEUMS in Southern CaliforniaSATURDAY, JANUARY 30PHOTO BY: STEVE COHN
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1984 BY GEORGE ORWELL A NEW ADAPTATION CREATED BY ROBERT ICKE AND DUNCAN MACMILLAN
ON STAGE NOW–FEB 6
Call 310.434.3200Tickets @ thebroadstage.com/1984
—The Hollywood Reporter
—LA Weekly
“ BORN ANEW WITHSTARTLING FORCE!”
“...NEVER OUT OF DATE...BRACING!”
“ OUTSTANDING! ...NEVER SEEMS TO LOSE ITS RELEVANCE!”
“ SCINTILLATING...STYLISHLY INVENTIVE!”
—LA Times
“ORWELL’S ‘1984’ HAS NEVER SEEMED SO CURRENT AND TERRIFYING AS ON THE BROAD STAGE”
— The Times of London
— Daily Telegraph
— The Guardian
“ ”THE CRITICS AGREE–1984 IS A HIT!THE CRITICS AGREE–1984 IS A HIT!
Theater at The Broad Stage made possible in part by a generous gift from Laurie and Bill Benenson.
1984 at The Broad Stage made possible in part by a generous gift from Linda and Michael Keston.
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HIGH DRAMA IN THE HIGH DESERT
Inland Empress is a powerful female story fi rst and a crime drama second
BY GWYNEDD STUART
Although we never see far beyond the cozy confi nes of a modest home’s dated living room, it’s appar-ent within the fi rst few minutes of local
playwright Tom Cavanaugh’s Inland Empress that the greater environment in which the home exists is hugely impactful in the lives of its denizens. On a horse farm somewhere in the farthest reaches of Southern California’s remote Inland Empire, we meet a family of women — mother June (Monica Martin) and daughters Kaylah (the terrifi c Alexa Yeames), Jolie Beth (Di Koob) and Sier-ra (McCready Baker) — who’ve adapted to their harsh environment in di� erent ways but who’ve all been drawn into a home-fried criminal enterprise that keeps them afl oat. However, some are sinking faster than others.
The status quo, however tenuous, is thrown into a tailspin when Louise (Lily Knight) — June’s sister, the girls’ aunt and the former chief o� cer of their “business” — arrives home after a seven-year prison stint. In her absence, Sierra, the most ruthless and defi nitely the most dangerous of the sisters, has taken the reins, and she isn’t eager to relinquish control. But Louise hasn’t returned to reclaim her spot at the top;
she found Allah in prison and wants to help her sister and nieces free them-selves from the cycle of crime as well as the grip of kingpin Butchy (yes, there’s a fox in this henhouse).
If the women are reluctant to turn their backs on a “good” thing, they’re even more reluctant to take Louise at her word. But who could blame them when she made them what they are to begin with?
Inland Empress could be received as a hard-boiled crime drama with a mostly female cast, but really it’s a power-ful story of female relationships with crime-drama window dressing. When it comes to dropping bombs, Cavanaugh pulls no punches, but strong perfor-mances by the women — Knight in particular — prevent it from devolving into melodrama.
For a small black-box theater, the set design is terrifi cally evocative. Old table lamps a� xed to the walls look silly at fi rst but wind up casting the set in a soft, yellowish glow evocative of a room where lots of cigarettes have been smoked over the years. It feels as honest as the story itself, which builds to the conclusion that there are only two ways out of it all — and neither leads to a happy ending.
INLAND EMPRESS | The Lounge Theatre, 6201 Santa Monica Blvd., Hollywood | Through Feb. 28 |
(323) 960-7787 | plays411.net/empress
| Culture // Theater Review // PHOTO BY ED KRIEGER
Alexa Yeames, left, Monica Martin, Di Koob, Lily Knight and McCready Baker in Inland Empress
T H E A T E R L I S T I N G S
Ham: A Musical MemoirBroadway veteran Sam Harris wrote
and stars in this musical memoir of his life, which played o� Broadway last winter. The one-man show is based on his book, Ham: Slices of Life, and follows him from his confl icted childhood in Oklahoma through his showbiz career to the present day, where he is a father. Tony nominee Billy Porter (Lola in Kinky Boots) directs. Harris, who won TV’s tal-ent competition Star Search in 1983, also sings in the show, under Todd Schroed-er’s musical direction. —Katie Buenneke
Los Angeles LGBT Center, 1125 N. Mc-Cadden Place, Hollywood; through Feb. 7. (323) 860-7300, lalgbtcenter.org/theatre.
Pillars of New YorkIn this new musical by Michael Antin,
four New York couples and their mutual therapist struggle to come to terms with the events of 9/11. As the couples start to recover, their therapist has to deal with his own loss and sense of mortality. The show posits that everyone’s stories about 9/11 are the new pillars of New York, now that the World Trade Center’s Twin Tow-
ers are gone. Jim Blanchette directs this world-premiere production, presented by NoHo’s Write Act Repertory. —Katie Buenneke
Brickhouse Theatre, 10950 Peach Grove St., North Hollywood; through Feb. 21. (800) 838-3006, brownpapertickets.com/event/2476580.
NevaNeva fi rst appeared in Los Angeles 4½
years ago, as part of REDCAT’s Radar L.A. festival, and we loved it then. Guillermo Calderon’s play, set in 1905 Russia, follows Anton Chekhov’s widow, Olga, an actress who comes to St. Petersburg after her hus-band’s death to join an acting troupe there. Much to her dismay, Olga fi nds that her acting skills have diminished consider-ably following her husband’s demise, and her fellow actors help her through a sort of therapy session, re-enacting Chekhov’s death as the Russian revolution creeps closer. Diana Wyenn directs this produc-tion, which is presented by Shock Pulse, a new production company. —Katie Buenneke
Theatre of NOTE, 1517 N. Cahuenga Blvd., Hollywood; through Feb. 14. (323) 810-7847, shockpulsela.com/tickets.
PHOTO BY ZACHARY ANDREWS
PHOTO BY AFSHIN KATANCHI
T H E A T E R R E V I E W
Forever House Is a Hefty, Humorous Domestic Drama
Tony Abatemarco’s play Forever House, about a gay couple who purchase a home and then struggle to make a
go of their partnership, is something of a hybrid. In some places it’s an airy situation comedy that dri� s into horror-lite when one of the partners swears he’s seen the ghost of a wailing child in their basement. Elsewhere it’s an attempt to take on homophobia in 2016 Los Angeles, and to show us the inner chaos of someone who has yet to shake his childhood demons.
Act one introduces us to Jack (Michael Rubenstone) and Ben (James Liebman), a happy couple who, a� er four blissful years, have undertaken the momentous step of buying a home in a straight, suburban com-munity. Ben is a sunny, stable and thoughtful guy who ably weathers the shi� ing moods of his edgier partner. Now that they’re in the house, he’s ready for the next step: adopting a child. � e fi rst half of the play deals with their weighing this option; it’s also decked with the cutesy banter of loving couples, and includes their comic encounter with an uptight bigot across the street (Elyse Mirto) and the alcoholic real estate agent (Joel Swetow) she summons for backup.
Act two has more of both real humor and he� ; here we meet Jack’s Jewish mother, Evelyn (Dale Raoul, generating laughs from
the moment she enters), and the pious Christian couple next door, Francine and Pete (Mirto and Swetow), who huddle in Jack and Ben’s basement after an earth-quake demolishes their bungalow. This happenstance precipitates a noteworthy interchange between Jack, who’s previously displayed an unbending prejudice against evangelicals, and Francine (a touching turn by Mirto), who reveals unanticipated secrets beneath her meek exterior.
There’s also a choice scene where Ben fi nally calls out Jack on his narcissistic self-pity, which has been sparked by the news that the child they’d planned to adopt would be remaining with his biological mother. But Jack’s lengthy monologue near the end is a rush of recollections and accompanying images that seems tacked on rather than integral to this particular piece. It makes the play feel too long.
Directed by Elizabeth Swain, the three supporting performers are adept and enter-taining, while Liebman emanates natural-ness and an appealing warmth that invests you in his story. Rubenstone needs to dig deeper, however, since his character’s expe-rience — the scapegoated kid in the school-yard, among other things — is so pivotal. Letting us share that fully is something he hasn’t yet achieved. —Deborah Klugman
The Skylight Theater, 1816½ N. Vermont Ave., Los Feliz; through Feb. 28. (213) 761-706, skylighttix.com.
Neva
Pillars of New York
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January 28 – 30
DANCE
Meg Wolfe New Faithful Disco
WORLD PREMIERE
February 4 – 14
THEATER
The Wooster
Group The Room
by Harold PinterWORLD PREMIERE
CalArts’ Downtown Center for Contemporary Arts
REDCAT.org 213.237.2800
February 18 – 21
Christiane Jatahy
Julia
March 31 – April 3
TeatroCinema
Historia de Amor
Protocol ID:IRB#15-000073 UCLA IRB Approved Approved Date: 12/2/2015 Through: 12/1/2016 Committee: Medical IRB 1
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| | WORTH TWO OF YOURS
The Finest Hours is square, all right — but also exciting and humane
BY ALAN SCHERSTUHL
Here’s an odd thing to say of a lavishly expensive, 3-D IMAX maritime disaster fl ick that hits theaters just a month after the last one: They don’t
make them like this anymore. There’s a reason for that, of course — the parents and grandparents who like ’em stolid and corny don’t fl ood the theaters on opening weekend. But they’ll be in luck, a couple years from now, when The Finest Hours pops up on TBS. As if hopped up on its own heroes’ last-century can-do zeal, Craig Gillespie’s earnest, square-jawed period piece puts its head down and gets its familiar rescue-drama done.
No obstacle will stop Gillespie’s crowd-pleasing: our weariness, just weeks after In the Heart of the Sea, of the undulations of CGI tidal waves? The Finest Hours makes them a highlight in a lurching, dizzying set piece that in suspense and imaginative brio bests last year’s superhero fl icks. Our Ameri-can Sniper–era skepticism of simple stories in which our armed forces face down the impossible and straight-up tri-umph? The Finest Hours has the chutz-pah to sell us Chris Pine as the runt of the 1952 Coast Guard and then have him go against regulations and the orders of a know-nothing bureaucrat (Eric Bana!) to save 32 men from a shattered oil tanker. Even the title rebukes Michael Bay’s America-loses fl op 13 Hours.
Gillespie (Million Dollar Arm, Lars and the Real Girl) wins out over a script larded with story beats so old they got parodied in the original Airplane! Just as Pine’s Bernie Webber grits his teeth and pilots his 36-foot Coast Guard boat into seas that rise up like angry gods, Gil-lespie steers head-on into cliches, power-ing through. They never quite capsize his fi lm, but it does take on some water.
A near-mutiny when the tanker fi rst goes down su� ers from the Disney house style, with the surviving crew spitting out such strained, family-friendly working-dude Massachusetts-ese that you might wonder if a musical number’s coming on. Webber has to beat not just a brutal nor’easter but also his own past — he saw men die at sea the year before, and some Cape Cod salts reckon he’s responsible — and his cohorts’ dim expectations.
Meanwhile, that very day his head-strong fi ancee (played by a smashing Holliday Grainger) is after him to ask his Coast Guard superior to sign o� on their betrothal, an archaic formality Bernie takes on with great solemnity. Sure, coxswain Webber is embodied by Chris “Captain Kirk” Pine, but he’s a shy, by-the-book young man whom the movie asks us to think of as something like Steve Rogers before he takes his Captain America super-serum.
Gillespie is by the book as well. As a director, he’s like the middle-class citi-zens in a politician’s speech: He works hard, plays by the rules. If the script is hokey, and the computer-generated storms over the top, Gillespie honors the story’s working-folks gravity with excellent on-set and location shooting. With care and ingenuity, he and cine-matographer Javier Aguirresarobe tour us through the doomed tanker’s decks, corridors and fl ooding engine room, es-tablishing a lived-in physical reality that makes the inevitable destruction feel momentous. He only o� ers up today’s de rigueur computer-aided soaring camera fl ourishes when a moment war-rants one, and the best — when a worker discovers that the storm has cracked the tanker in half — is a model of how early restraint can improve later payo� s.
The less everyone chats, and the more they set themselves to problem solving, the more arresting the fi lm gets. (The ex-ception: Grainger’s tense scenes facing down the Coast Guard brass, demanding they call her husband-to-be back from
his apparently doomed mission.) The Finest Hours peaks too early, perhaps, with the seamen’s attempt to rig up a new tiller and run the captain-less half-ship aground before it sinks. Casey A¢ eck, as a taciturn engineer, crafts a complex rig-up of chains and I-beams in the engine room; then the crew on deck holler or-ders down to him, telephone-game style, through the cramped corridors.
The fi lmmakers have little compunc-tion about simplifying and glossing-up the real derring-do all this is based on, but they never come up with any cor-responding ingenuity for Webber. The third act su� ers from this lapse into tastefulness. Once they have perse-vered through the breakers, risking it all to save those stranded on the tanker, Webber and his crew of three just bob along in the dark. They’ll do anything to rescue these strangers, but they can’t fi nd them, and Gillespie — hardworking though he is — just can’t pound their
idle fl oating and peering into drama. But in its story and its storytelling,
The Finest Hours exemplifi es persever-ance. Look at how hard the real Webber worked. And look at how hard Gillespie and crew worked. If you get that far, you’re going to grind on through with them. You’ll be rewarded not just with a happy ending but also with one more taut sequence of desperate decision-making: How do you rescue 32 men with a tiny boat that the sea keeps trying to dash?
Forget the occasional fustiness and lulls. The real reason they don’t make them like this these days is that the creators of blockbusters have forgotten that the loss of life is a tragedy, and that seeing it saved is more edifying than seeing it snu� ed.
THE FINEST HOURS | Directed by Craig Gillespie Written by Scott Silver, Paul Tamasy and Eric
Johnson, based on the book by Casey Sherman and Michael J. Tougias | Walt Disney Pictures | Citywide
| Film //
©DISNEY ENTERPRISES, INC.
BROTHERLY LOVE GETS A WORKOUT IN MOUNTAIN MEN
Writer-director Cameron Labine seems to want to prove the obsolescence of the lovable-slacker stereotype even as he fl ogs it for entertainment value. Tyler Labine’s Topher
is one of two major characters in the fraternal comedy Mountain Men, but Topher does 99 percent of the work. He fi rst concocts a detailed fi b to lure his unsuspecting brother Cooper (Chace Crawford), recently in from the city, to the family’s remote cabin. Later, a� er Cooper blindly wanders into the snowy night under the infl uence of drug-laced cookies, Topher literally drags his brother’s body, sweating and grunting, through miles of cold, craggy wilderness. What’s weird about this: Topher is the hirsute, pot-smoking, unambitious schlub to Crawford’s highfalutin city boy, and he frequently puts himself down while doing all this heavy li� ing.
Cameron and Tyler Labine are real-life brothers, and the script chan-nels observations about family and societal expectations through the conventions of the road movie, the buddy comedy and the various
meanings of “camping trip.”Eventually, light-hearted
comedy gives way to a more serious survival tale — pre-sumably to allow Topher to prove his mettle. � e confl ict continues to rest heavily on their contrasting types, which both actors have
experience playing on television, especially Crawford as pampered high-school dreamboat Nate Archibald on Gossip Girl. Cooper, a roundly admired yet professionally frustrated golden boy, may as well be Nate 2.0. He spends the fi rst half of the fi lm looking aloof, and the rest groan-ing in pain; meanwhile, Labine’s Topher gets all the laughs — and the sympathy. Topher forges ahead bravely, but it’s all too clear that he’s headed toward an underwhelming conclusion. —Abby Garnett
MOUNTAIN MEN | Written and directed by Cameron Labine | Level 33 | Arena Cinema
Mountain Men
The Finest Hours
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The Tao of Ass-Kick
KUNG FU PANDA 3INSISTS THAT WARSDO MAKE ONE GREAT
BY ALAN SCHERSTUHL
There’s essen-tially one joke in the Kung Fu Panda movies. A ridiculous, ador-able creature executes some
extravagant action-fl ick fl ourish — vaulting over roofs, dropping a bad guy, striking a poster-perfect superhero pose. Then the battle music fades and that adorable creature breaks badass character to remind us it’s totally relatable, even human: It wheezes to catch its breath, it shouts “Awesome!” in disbelief at its own stunt choreography, it asks with gentle awkwardness whether all this kung-foolery is maybe a little much.
That’s a sturdy gag, endear-ing and adaptable: Adorable Creature Oscar Isaac works a variation on it some 10 minutes into The Force Awakens, tipping us o� to the welcome fact that even for Star Wars people it’s presumptuous to don a cape and death-mask. But Kung Fu Panda 3, while generous in cuteness and sunset-backdrop beauty, stands as an unnecessary reminder that even the best gag probably shouldn’t power three full fi lms, even afternoon-killers for the kiddos. Almost every moment of martial-arts action is undercut by some spin on that single joke, and then every joke or moment of feeling is quickly dashed aside for another keep-us-dazzled moment of martial-
arts action. The movie under-cuts its own undercutting.
And as with the Shrek pictures, Kung Fu Panda 3 is cause to wonder: What does it mean when kids’ fi rst exposure to hero’s-journey story beats comes from self-aware meta-adventures whose creators feel obliged, every few minutes, to let us know that they know those beats are tired and dumb? I don’t quail for the children, but here’s hoping that when they act out movie-like stories with their action fi gures they can do so earnestly, and not o� er jokey half-assed apologies for being invested in something deriva-tive.
Speaking of derivative: This time our appropriatin’ panda (gamely voiced by Jack Black) has to learn to be himself so that he has a long-shot chance at de-feating, through spirited fantasy violence, precisely the kind of enemies he’s triumphed over in two previous movies. (Despite his track record, he’s always all “Me?” when told he has to be a hero.)
His master, a red panda named Master Shifu and voiced for some reason by Dustin Ho� man, charges him early on with two tasks. First, he must become the teacher/leader of his squad of mixed-animal kung-fu champs, which includes a monkey, viper and a praying mantis voiced by Jackie Chan, Lucy Liu and Seth Rogen, respectively. (Any of those characters might have inspired the writers to come up with a fresher story.)
Second, he must become a master of chi, which we learn usually involves 30 years of silent contemplation in a cave. Parents might perk up at that, but, alas, Kung Fu Panda 3 doesn’t have the patience for 30 seconds of quiet — and it turns out that chi mastery, like martial-arts skills, can be picked up lickety-split.
In studio movies, especially for children, all it takes to be great at something di� cult
is a good heart and a training montage. Go on, America, keep yelling at Common Core while parking your kids in front of this stu� .
The panda botches his fi rst stab at teaching, but rest as-sured, he soon will have the chance to prove his worth through violent adventure. His master teaches him that kicking and punching is not the key to chi, but that’s only technically true. In the climax, it’s the love of his friends and family that awakens the spirit of chi inside him, and that makes him better at kicking and punching. What-ever overarching lesson the screenwriters are after is beyond me. If chi comes from being beloved, why does everyone else earn it through decades of soli-tude? And why is enlightenment pretty much just leveling up, or a gulp from Popeye’s spinach can?
That said, if you don’t think about it, and if you’re on board with endless variations on that one joke, Kung Fu Panda 3 is lively, well-engineered non-sense. The series’ strongest quality has always been its inventive funny-animal martial-arts throw-downs, staged and animated with wit and clarity. That holds true here, especially during a lengthy brawl in a village full of pandas. These darling, pudgy fl u� alls have been trained by the hero to be subordinate heroes themselves, ribbon-dancing through the battle or catapulting out of hammocks at their low-ranking counterpart enemies.
Fights and training scenes get diced up with engaging split-screen, and the animators often chuck dull photorealism for the lyric and luminous: orange skies, jagged mountain back-drops, the fl oating cli� -islands of a gold-lit Spirit Realm.
One lesson actually seems thought through by the fi lm-makers, at least for a while. Our hero meets his real father, a panda voiced by Bryan Crans-ton, which upsets the goose who raised him. This trio soon gels into a loving and supportive two-dad, cross-species family, which is somewhat a� ecting — until the dads seal their bond by strapping on armor and stomp-ing some bad guys. The only way to grow and discover who you are, in the Panda-verse, is through fi ghting, and your only reward for having done so is that you get better at fi ghting. Then you have to stand there and pant, because it’s funny.
KUNG FU PANDA 3 | Directed by
Jennifer Yuh Nelson and Alessandro Carloni | DreamWorks | Citywide
| Film // ©2015 DREAMWORKS ANIMATION LLC
Kung Fu Panda 3
a film by Radu Jude
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O P E N I N G T H I S W E E K
DIRTY GRANDPA Call it a dissenting opinion if you must, but Dirty Grandpa has spo-radic moments of hilarity: the spontane-ous “USA! USA!” chant that erupts after an out-of-his-mind Zac Efron announces to spring breakers that he’s just unknow-ingly smoked crack, or Aubrey Plaza commanding as foreplay that Robert De Niro, as the grandfather of the title, “Tell me the buttons on your remote control are so small you can’t find Fox News.” Efron’s Jason doesn’t want to be at a keg-ger with his semi-estranged pop-pop, but unless you actively resist Dirty Grandpa, you may occasionally join him in having a good time against your better judgment. The setup doesn’t inspire much confi-dence. In the week between his wife’s funeral and his grandson’s ill-advised nuptials, Dick (De Niro) hatches a plan: He demands that the groom-to-be drive him from their home in Atlanta to Daytona Beach so they can experience the carnal pleasures of spring break together. All of this invites comparisons to both Sideways (last-hurrah-before-a-wedding road trip) and Bad Grandpa (intergenerational male bonding), most of them unfavorable. A one-trick pony for its entire first act, Dan Mazer’s raunchy comedy relies entirely on the tension between motormouth vul-garity (De Niro) and straight-laced propri-ety (Efron). The stunt-casting hijinks know no bounds, with Jason repeatedly alluding to his expertise in SEC compliance and LLC agreements (a bit that somehow gets funnier each time) while Dick performs a karaoke rendition of Ice Cube’s “It Was a Good Day” to impress the college student he’s hellbent on sleeping with (Plaza). Though many of these self-consciously crude jokes don’t land, those that do are the life of the party. Late-era De Niro forever, y’all. (Michael Nordine)
GO IN THE SHADOW OF WOMEN Few filmmakers explore the mysteries of cou-pledom as touchingly as post–Nouvelle Vague maestro Philippe Garrel, who spe-cializes in mapping out romantic triangles (whether acute, obtuse or oblique). The rich enigmas of his latest movie, about a husband and wife, both in their 40s and each unfaithful to the other, start with its evocative title. And in so shrewdly explor-ing the illusions — namely (self-) deception — required to keep a couple function-ing, Garrel shows just how much we all remain, consciously or not, in the dark. Penumbrae are everywhere in this film, which was shot in velvety, high-contrast black-and-white 35mm by Renato Berta. Sorrow pervades In the Shadow of Women, especially after Pierre (Stanislas Merhar) and Manon (Clotilde Courau) learn about each other’s affair, but self-pity — and its corollary, overweening self-regard — isn’t countenanced. In fact, one of the more noxious strains of this type of behavior, male entitlement, is clearly (though not didactically) denounced: Never does Pierre’s hypocrisy seem more repellent than when he castigates Manon for her infidelity (“He couldn’t be cheated on,” the narrator notes); never is he crueler than during his assignations with his younger lover, Elisabeth (Lena Paugam). Though
Pierre, a broad smile breaking his poker face, will redeem himself somewhat in the final of the film’s brisk 73 minutes, the film is aligned more closely with Manon. Manon’s ardor for Pierre may be unfath-omable, but she is not self-abnegating, seeking out someone who will, in her words, make her “feel alive” when her husband can’t — or won’t. (Melissa Anderson)
PORTRAIT OF A SERIAL MONOGAMIST Portrait of a Serial Monogamist is the kind of movie that proves inconsequential rom-coms aren’t just for straight people. Elsie (Diane Flacks) works for a music-related TV show and lives in a stylish apartment with an extensive record collection — in other words, she’s a 40-something
hipster. Flacks’ resume includes writing for The Kids in the Hall, and she brings self-possession and sarcasm to the role, directly addressing us in the first scenes as she outlines her love life: Since getting her heart broken as a girl, she has made a point of never being broken up with again, which has met with mixed results. She dumps her longtime girlfriend, Robyn (Carolyn Taylor), seemingly out of nowhere, setting off a predictable bout of romantic soul-searching and dishing with friends. The most interesting thing about Christina Zeidler and John Mitchell’s film: It’s unabashedly Canadian. It takes place in Toronto (“the real Toronto,” Elsie specifies) and makes deft use of the city’s historical architecture and artsy enclaves.
In one awkward dinner scene, Elsie’s family discusses the CBC and the legacy of Pierre Trudeau. Elsie’s mom (Canadian comedy staple Robin Duke) is an unfortu-nate amalgam of clueless-Jewish-mother clichés, unwilling to acknowledge her daughter’s orientation or even listen to her. When the story threatens to fit too neatly into a rom-com mold, the directors throw in quirky interludes — a late con-frontation between Elsie and Robyn takes place at a funeral for a cat. That setting is too self-consciously cute, and the words exchanged too forced. Elsie claims that “nothing compares to lesbian drama,” but when such “drama” is so easily outdone by the charms of Canadian spectacle, it’s hard to believe her. (Abbey Bender)
O N G O I N G
GO ANOMALISA With each script, Charlie Kaufman, cinema’s best psycho-analyst, has exaggerated his characters’ impotence. In his newest, Anomalisa, he goes to the extreme by literally making them puppets. Anomalisa’s stop–motion figurines’ bellies sag and their testicles droop. And when our protagonist, a de-pressive salesman, pulls his skin-plates apart in the mirror, exposing the mechan-ics he shares with everyone else, he screams. The plot is small, banal, anony-mous: A businessman meets a woman in an Ohio hotel. It could be happening right now. In fact, if you scan the bar of the Hyatt Regency Cincinnati, it probably is. But even in just one night, so ordinary in its small indignities — wonky keycards, awkward bellhops, drawn-out room–ser-vice orders, claustrophobia–inducing carpets — Kaufman builds an emotional world we’re nervous to enter, one we’re al-ready living in. At first, nothing much hap-pens. That man (named Michael Stone) endures a skittish airplane seat-mate and a chatty cabbie, checks into his hotel and apathetically calls his family. The stop–mo-tion minutiae is exact to the point that it teeters on the surreal, a perfectly hand-carved, wall-mounted hairdryer followed by a pictographic phone where Michael is stumped as to which button orders food. The hamburger? The roast chicken? The drumstick? Of course, Kaufman’s added a twist. Michael (David Thewlis) speaks with a British growl. But everyone else in his world — his wife, his son, his con-cierge, his ex-girlfriend — is voiced by Tom Noonan. Noonan adjusts the volume of his speech but otherwise sounds the same no matter who he’s playing. This is how Michael, a commonplace narcissist, sees humanity. There’s him, and then the mush of everyone else. (Amy Nicholson)
THE BIG SHORT Fueled by impotent, blustery outrage, Adam McKay’s The Big Short, about the grotesque banking and investing practices that led to the 2008 financial collapse, is about as fun and enlightening as a cranked-up portfolio manager’s rue-filled comedown after an energy-shot bender. Based on Michael Lewis’ 2010 best-selling book of the same name, McKay’s film queasily valorizes some of those who profited from the global fiscal freakout. McKay’s bumptious movie awkwardly combines fourth wall–breaking gimmickry and flac-cid indignation with the goofball energy that defines his comedies, like The Other Guys. An ersatz, too-late populism motors The Big Short, and the movie produces dizzying cognitive dissonance: The hand-ful of fact-based finance guys the film tracks, who saw that the economy was headed for calamity and made billions while millions of people lost homes and jobs, are held up as conscience-bearers. Or, more precisely, as “outsiders and weirdos [who] saw what no one else could ... the giant lie at the heart of the economy,” in the words of oily Wall Street banker Jared Vennett (Ryan Gosling). Sporting a Chia Pet perm and a vaguely outer borough–sounding accent, Gosling is the first in the cast to directly address
Y O U R W E E K LY M O V I E T O - D O L I S T
Tributes to David Bowie, Penelope SpheerisFriday, Jan. 29Penelope Spheeris probably will always be best known for directing Wayne’s World, but her body of work extends far beyond the SNL skit–turned-movie — though much of it is equally musical. UCLA’s weekend tribute to the writer-director commences with Dudes on 35mm. � e road-trip comedy tells of two city punks trekking westward in a Volkswagen Bug; their mellow is harshed considerably by the murder of their friend, thus launching the eponymous dudes on a quest for revenge. Spheeris will appear in person, as will screen-writer Randall Jahnson and star Jon Cryer. UCLA’s Billy Wilder � eater, 10899 Wilshire Blvd., Westwood; Fri., Jan. 29, 7:30 p.m.; $10. (310) 206-8013, cinema.ucla.edu.
Acts of murder as seen (and experienced) through the lens of a camera have provided the premise of many a disturbing classic, from Rear Window to Peeping Tom. Michelangelo Antonioni’s Blow-Up is another example, and one of the most accomplished. An enormous coun-tercultural success that helped destroy the outdated Production Code, the Italian auteur’s English-language debut concerns a British fashion photographer (David Hemmings) who accidentally bears witness to a murder. Antonioni received Oscar nods for his direction and screenplay. Nuart � eatre, 11272 Santa Monica Blvd., West L.A.; Fri., Jan. 29, 11:59 p.m.; $11. (310) 473-8530, landmarktheatres.com/los-angeles/nuart-theatre.
Saturday, Jan. 30The American Cinematheque’s 70mm series continues with Ben-Hur, though it isn’t actually screening in that most glorious of formats. William Wyler’s biblical epic, shot in Ultra Panavision and starring Charlton Heston, won a record-setting 11 Oscars (a feat since matched by Titanic and The Lord of the Rings: The Return of the King) and made beaucoup bucks. It’s a sweeping, sometimes overstated saga, and very much the kind of old-school classic everyone should experience at least once. Bonus fact: Ben-Hur premiered at the Egyptian in 1959, making this a homecoming. Egyptian Theatre, 6712 Hollywood Blvd., Hollywood.; Sat., Jan. 30, 7:30 p.m.; $11. (323) 466-3456, americancinemathequeca-lendar.com.
In a widely misconstrued article published last sum-mer, when debate over the Confederate fl ag reached its tipping point, the New York Post’s Lou Lumenick sug-gested that we start treating Gone With the Wind as a cultural artifact instead of a commercial property — the province of museums rather than movie theaters, and something to be contemplated rather than celebrated. Still the highest-grossing fi lm of all time when adjusted for infl ation, the David O. Selznick–produced, Victor Fleming–directed antebellum epic from 1939 will always have a place in history — even if future genera-tions don’t look back on it as fondly. Aero � eatre, 1328
Montana Ave., Santa Monica; Sat., Jan. 30, 7:30 p.m.; $11. (323) 466-3456, americancinemathequecalendar.com.
Sunday, Jan. 31“Forever and ever.” David Bowie’s corporeal form may be no more, but he was never as earthbound as the rest of us anyway. Cinefamily pays tribute to the late, great icon throughout the week, including several screen-ings of the role that most plays into his otherworldly persona: � e Man Who Fell to Earth. As the alien of the title, Bowie comes to our planet seeking refuge from his drought-stricken homeland (good thing he didn’t land in present-day California). Nic Roeg’s enigmatic whatsit gave Ziggy Stardust his fi rst starring role, and many still consider it his best. Cinefamily/Silent Movie � eatre, 611 N. Fairfax Ave., Fairfax; Sun., Jan. 31, 4:45 & 8 p.m.; Mon., Feb. 1, 10:45 p.m.; Tue., Feb. 2, 10:30 p.m.; $12. (323) 655-2510, cinefamily.org.
Monday, Feb. 1Bowie was a singular talent, so fuck it — head back to Cinefamily and see Merry Christmas, Mr. Lawrence as well. Less cosmic but just as highly regarded, Nagisa Ôshima’s World War II drama stars Bowie as a prisoner of war being held by the Japanese. � e camp comman-dant is drawn to the way Bowie’s character defi es his strict orders, leading to a number of unusual dynamics forming between inmates and detainees. Ôshima was a masterful, o� en controversial fi lmmaker, and this was his fi rst movie shot in English. Cinefamily/Silent Movie � eatre, 611 N. Fairfax Ave., Fairfax; Mon., Feb. 1, 7:30 p.m.; $12. (323) 655-2510, cinefamily.org.
Tuesday, Feb. 2If you’ve yet to tire of LACMA’s weekly Hitchcock screening — and really, how could you? — trek to the Bing � eater once more for Rebecca. � e master of suspense’s fi rst Hollywood production stars Laurence Olivier and Joan Fontaine as an ultra-wealthy widower and his second wife. � ough never seen, the title character (his fi rst wife) casts a pall over the entire gothic tale, which has the distinction of winning Best Picture (then called Outstand-ing Production) at the Academy Awards without receiving a single nomination in the writing, directing or acting categories. 5905 Wilshire Blvd., Mid-Wilshire; Tue., Feb. 2, 1 p.m.; $5. (323) 857-6000, lacma.org. —Michael Nordine
The Man Who Fell to Earth
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the audience, a device deployed to di-minishing return. The eccentrics extolled include Michael Burry (Christian Bale), an M.D. and money manager who invents the credit default swap, and Mark Baum (Steve Carell, also hideously coiffed), an obnoxious hedge fund manager whose backstory involving a dead-by-suicide brother somehow positions him as the film’s most steadfast moral compass. The stupefying cloyingness of the finale makes me hope that the next economics tome to be adapted, even as a lavish musical, is Thomas Piketty’s Capital in the 21st Century. (Melissa Anderson)
BRIDGE OF SPIES Steven Spielberg’s true-story Cold War procedural Bridge of Spies has a wintry chill. The colors are gray and green, the skin tones pale as frozen fish, and the film stock fuzzed and snowy. Our protagonist, James Donovan (Tom Hanks), spends half the movie waylaid by a cold and takes his important meetings huddled over scotch, as if for warmth. It’s easy to feel how the United States and Russia thought this permafrost would last forever. The story starts in 1957, the year Donovan was drafted to defend Russian spy Rudolf Abel (Mark Rylance) on three indictments of thermonuclear espionage. Abel, a sallow man with a tight frown and lilting eyebrows, was nev-er going to be acquitted. With his client’s guilt already decided, Donovan earns his pay merely by yanking Abel from the elec-tric chair. Most people in America, the government included, would prefer he hadn’t. But Donovan, a former insurance litigator, thinks Abel is valuable collater-al. In the second act, set five years later as East Germany erects the Berlin Wall, Donovan has a chance to prove it by at-tempting to trade Abel to the Russians in exchange for Yankee pilot Francis Gary Powers (Austin Stowell), captured on a mission to photograph Soviet territory. Spielberg elbows us with the hypocrisy: We’d like our man back unharmed, even though we screamed to lynch theirs. Rather than examine the shifting loyal-ties of film noir, Spielberg purposefully drains the plot of intrigue. We’re never in doubt where anyone stands. With the uses and themes established, Bridge of Spies is free to ask a more modern ques-tion: Are the good guys that much better than the bad? (Amy Nicholson)
GO BROOKLYN Saoirse Ronan makes a grand case for herself as the millen-nial generation’s finest leading lady in Brooklyn, an immaculately crafted, im-mensely moving character study about a 1950s immigrant struggling to find her place in the world. With an open, innocent countenance equally capable of register-ing tremulous separation anxiety, exhila-rating joy and moral uncertainty, Ronan is a marvel of nuanced expressiveness throughout this story, adapted by writer Nick Hornby from Colm Tóibín’s novel. Carving out compelling characterizations from the slightest of looks and exchanges, Hornby and director John Crowley de-tail the plight of Eilis Lacey (Ronan), a 20-something Irish girl who travels to New York, leaving her beloved older sister Rose (Fiona Glascott) to care for their mother (Jane Brennan). In the States, a kindly
priest (Jim Broadbent) helps Eilis secure lodging, at a boardinghouse run by the strict but compassionate Mrs. Kehoe (Julie Walters), and work at a department store. It’s a foreign life full of lingering homesick-ness, acclimation-induced distress and wide-eyed excitement, the last of which blossoms after Eilis attends a local dance and meets Tony Fiorello (Emory Cohen), a sweet Italian plumber with whom she soon falls headlong into an affair. Their amour is complicated by a family tragedy that calls Eilis back to Ireland, where her mother and her best friend unsubtly conspire to pair her with a single suitor (Domhnall Gleeson) in order to re-entrench her in her native land. The question of what — and how one — defines home becomes an urgent dilemma for Eilis, as she’s pulled in two directions by competing feelings and forces. (Nick Schager)
THE MARTIAN Desperation, anxiety, stub-bornly saying yes to survival: If grand struggles are your thing, there are plenty in Ridley Scott’s The Martian, based on Andy Weir’s novel, which was first self-published in 2011 and then picked up by Crown in 2014 — itself a rare seedling that took root against all odds. In both novel and movie, American astronaut Mark Watney is stranded on Mars when his fellow crew members leave him for dead after a ferocious dust storm. He comes to, alone on a planet indifferent to his existence, and presumes he’s simply going to die. But he doesn’t: Even on a dust-dry rock, Watney figures out how to make water; using his own excrement for manure, he succeeds in conjuring an indoor potato field. And because he’s a scientist — a botanist — he keeps a log of his experiences, one that’s both specific in its technical detail and cheerfully col-loquial. His interior monologues have a “Hey, I might end up dead!” esprit. Heavy on science patter, The Martian is all about problem-solving; cozy American ingenuity burns brightly in its heart. It’s only partly a story about a man in peril; it’s mostly a story about men (and a few women) taking control of the uncontrollable. It’s
confident, swaggering science fiction, not the despairing kind. That may be why, as elaborate and expensive-looking as The Martian is, it’s almost totally lacking in poetry. This is an overwhelming picture, oversized in its scope and ambition, and the actors get ground in the machinery — except for Matt Damon. His Watney is the only one worth feeling anything for, and whatever The Martian’s problems may be, Damon is undoubtedly the best thing in it. (Stephanie Zacharek)
GO THE REVENANT The backbreaking, finger-freezing shoot for Alejandro G. Iñárritu’s frostbit survival thriller The Revenant is as good an explanation as any for why today’s movies are made by actors in front of green screens: A flat and stiff final product is a small price to pay for ease and control. What’s marvelous about The Revenant is the improbable amount of control Iñárritu and director of photography Emmanuel Lubezki seem to wield, even out in the wild. To tell this simplest of revenge sto-ries, set in the American Rockies in the 1820s, the production shot for months in inhospitable stretches of Canada and Argentina, relying on natural light and the cruel whims of the weather. But the camera snakes through this wintry hell with all the dazzling fluidity Iñárritu displayed in Birdman. Early on, Pawnee ambush DiCaprio’s Hugh Glass and his band of trappers; an intimate and ugly battle threads through the poplars, rich with brutal incident. In one wheeling and impossible shot, Iñárritu follows a trap-per or a Pawnee, then another coming from another direction, and then another still. It’s a nerve-racking breakthrough for depictions of battlefield chaos. Iñárritu seems to dare audiences to vacate the theater. There are slogging minutes of near-death Glass crawling through snow or wheezing with ice in his beard; there’s the Malickian zone-out shots of the moon and sun burning through clouds; there’s the grunting lead performance from DiCaprio, who barely speaks; there’s Iñárritu’s take on the survive-the-night-in-
a-carcass routine, with a steaming abun-dance of horse innards — it’s Matthew Barney meets The Empire Strikes Back. The sad thing, then, is that the story honored with such mastery is familiar journey/revenge stuff. (Alan Scherstuhl)
GO ROOM Lenny Abrahamson’s shat-tering drama Room borrows its fictional plot from the tabloids and strips it of sensationalism. Seven years ago, a man (Sean Bridgers) snatched 17-year-old Joy (Brie Larson) and stashed her in his backyard shed. Two years later, she bore their son. The door stayed locked. Now 5, Jack (Jacob Tremblay) has never left their 10-by-10 cell. He’s not even aware he’s in one. To keep Jack calm, his mom convinces him that the world on TV is make-believe. All dogs are fake, the ocean is fake, the other people are just “made of colors.” Their room — or, as he calls it, “Room,” the same way we say “America” — is the only reality. The twist is, to Jack it’s not that bad. Like a goldfish in a bowl, or the explorer who’s certain the world is flat, his curiosity fits his box. When Jack wakes up, he says hello to ev-ery item — “good morning, lamp,” “good morning, plant.” Tremblay, an elf with an uncombed burst of hair, is so compel-ling that we can see Room through his eyes. But then Abrahamson pans over to Larson for a reality check. She keeps smiling — in a space this small, she has no privacy to sob. And then Jack looks away, and her face goes slack. Larson, a gifted actress with the solidity of a fron-tiersman, silently telegraphs her loss. In frank terms, Room is a story about rape. Without it, Jack wouldn’t exist. Yet Abrahamson loathes the salacious. He’s fascinated by happiness and hope: how
Jack can see joy in this dungeon, and how Joy can dream of freedom when her son can’t comprehend that there’s any-where else to go. (Amy Nicholson)
GO SPOTLIGHT Tom McCarthy’s bold, shirtsleeve-sturdy newsroom drama Spotlight, which shows how Boston Globe reporters exposed the scope of sexual abuse in the Catholic Church, is less an el-egy for the art and craft of news reporting than a rallying cry. If journalism were really dying, how could it inspire art this vital? Though it’s set in 2001 and early 2002 — practically ancient times in the distressing recent history of newspapers — Spotlight feels both timeless and modern. New Globe editor Marty Baron (Liev Schreiber), low-key to an almost comical degree, asks his staff if the church’s record of protect-ing sex offenders isn’t something the paper should be looking into. The protests and excuses come from all sides, includ-ing deputy managing editor Ben Bradlee Jr. (John Slattery) and longtime reporter and editor Walter “Robby” Robinson (Michael Keaton), who together lead the paper’s Spotlight team, a crew of report-ers devoted to long-term investigations. No one wants to tangle with the church. But Baron, seemingly with little more than an arched eyebrow, persuades the Spotlight staff to investigate. Spotlight is perfectly cast, and the performers melt right into their roles: Mark Ruffalo, Rachel McAdams and Brian d’Arcy James play the three Spotlight reporters. When I look back on the film years from now, I’ll picture McAdams’ Pfeiffer, dressed in unflattering pants and an untucked shirt, hoofing to meet a source at a South End café. News reporting means writing, but it also means getting out of the office. You don’t crack a story like this one by trolling the Web to see what already-broken news you can repackage. (Stephanie Zacharek)
Note: New Movie Guide will return next week.
LAZER TEAM MAY BE 2016’S MOST ENTERTAINING SUPERHERO MOVIE
Matt Hulum’s agreeably silly 1980s homage Lazer Team deserves to be the breakthrough for the Rooster Teeth comedy troupe that
Super Troopers was for Broken Lizard. In a small Texas town, four local screw-ups — ine� ectual sheri� ’s deputy Hagan (Burnie Burns), his estranged high-school friend Herman (Colton Dunn), teenage malcontent Zach (Michael Jones) and hayseed Woody (Gavin Free) — accidentally intercept an alien battle suit intended for government-trained hunk Adam (Alan Ritchson). � ey must learn to work together to battle an imminent alien invasion a� er the four parts of the suit (helmet, shield, laser and boots) attach to their bodies, and the laser-wielding Zach brands them as the Lazer [sic] Team. (� e fi lm acknowledges Zach’s poor spelling.)
Unfortunately, it’s quite the sausage fest; the only female character who gets a name or signifi cant screen time is Hagan’s teenage daughter, Mindy (Alexandria DeBerry), whose main characteristic is her bangability. But while it fails the Bechdel test, this $2.5 million
Indiegogo-funded picture is still a far better time than the recent fi nancial disasters it thematically resembles, Chris Columbus’ $88 million Pixels and Josh Trank’s $120 million Fantastic Four. And because it’s made by people who understand the importance of a clever script and want their audience to have fun, Lazer Team may prove to be 2016’s most entertaining superhero movie. —Sherilyn Connelly
LAZER TEAM | Directed by Matt Hulum | Amplify Releasing | Burbank Town Center and on-demand
Lazer Team
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LET’S GET MUGGEDWith his killer new backing band, The Muggers, Ty Segall remains L.A.’s most prolifi c and enigmatic rock star
BY ARTEMIS THOMAS-HANSARD
Onstage at the Teragram Ballroom for the fi rst of two sold-out shows, Ty Segall’s new band The Muggers builds up to a furious crescendo for the instrumental
bridge to “Feel” from his 2014 album, Manipulator. As they play, Segall bolts o the stage.
He rushes into a side stairwell, where a handful of friends have been dancing for the last hour of his set. Cannonballing past them in his studded Canadian tuxedo, he pauses halfway down the stairs, next to the one person not rocking out. He abruptly sits, leans back against the handrail and rests his hands in his lap in front of him, mimicking the guy’s relaxed pose, save for a mischievous grin.
Even in the midst of one of the most intense moments of an important gig — the o� cial L.A. debut of the backing band made up of his closest friends and collaborators — Segall is still screwing around. For a brief moment, the rock-star persona switches o and out comes the playful character we’ve come to admire — and remain curious about — for the better part of the last decade.
Moments later, he springs back onstage, accosts his mic stand and delivers a psych-rock sermon to a packed crowd.
A garage-rock prodigy from Laguna Beach, Segall released his self-titled debut album on lo-fi mastermind John
Dwyer’s Castle Face Records when he was a 20-year-old college kid. Now 28, he man-ages to walk the line between approach-able local hero, known for popping up to play $5 shows at the Smell, and one of the L.A. music scene’s few bona fi de rock stars, though he would be the last to admit it.
“I don’t know about that, man, that’s crazy,” he says with a laugh in response to the rock-star tag. There’s a note of humility in his voice, but his tone leans more toward genuine disbelief. He stutters slightly through attempts to talk about Ty Segall the Artist, a persona he downplays with comments such as “My head is always fuzzy” and “I don’t always have an answer for these questions” in response to queries about the messages behind his music. His magnetism is a mystery, even to himself.
Segall churns out tracks like a factory, through an ever-expanding list of touring bands, one-o projects and unexpected collaborations — such as Broken Bat, a punk trio formed with Redd Kross’ Steven McDonald and The Melvins’ Dale Crover, and the Stooges-esque GØGGS, featuring Ex-Cult’s Chris Shaw. He also adds con-stantly to his already impressive résumé as a producer, working with everyone from White Fence’s Tim Presley to his own hard-rock trio Fuzz, usually in his famously cramped home studio, which currently oc-cupies a tiny, converted laundry room.
But for someone who’s constantly releas-ing new music, Segall remains an enigma. Which is exactly what he’s going for.
“I just think that, especially in the mod-ern world, when you can look up all the
personal details of your rock idols, it’s nice to try to hold your cards a little closer to your chest,” he says, noting that his own fa-vorite artists — David Bowie, Alice Cooper, Iggy Pop — “have always been the ones to almost try to pull a fast one on everybody.”
In fact, Segall rarely gives interviews, and originally declined L.A. Weekly’s request for one. He prefers not to delve into the meaning of his music; he doesn’t want the stories of what went into writing it to overshadow any possible interpretations of his lyrics or his intent.
“I’ve never been a direct person. I ap-preciate more obtuse and loosely defi ned things,” he says. “I think it’s more fun, it’s
more rewarding — at least for me — [and] I hope it’s more rewarding for people that buy my record, or listen to my music.”
Segall likes to have fun with listeners; on every release there’s an Easter egg — a surprise hidden in the song titles, album packaging or the music itself — which he leaves for fans to discover. There are a couple on Emotional Mugger, and he notes that nobody has found the secret hidden on Fuzz’s II since it was released in October. “I wonder if they ever will,” he says, admitting the trio did make it nearly impossible to fi nd.
Most of the time, though, Segall’s art is less premeditated. Even he doesn’t know the meaning of a song until after it’s fi nished. “All of these songs for Emotional Mugger were not intentional,” he says. “There wasn’t a moment like, ‘I’m gonna write this song called ‘Breakfast Eggs’ that’s about a guy who works for the mayor’s o� ce, but the mayor just wants to have sex with him.’ … To me, I’m just writ-ing this weird song, and afterwards it’s like, ‘Oh, I guess that’s what this is about.’¦”
Though its lyrics lack conscious intent, Emotional Mugger does serve a larger pur-pose. “It was pretty much a full-on reaction to Manipulator,” he says. That album, a career highlight, required months of gruel-ing, 15-hour days to complete. “I wanted to make a very clean and shiny-sounding record. I’m very proud of that record, and I love that record, but there was a very in-tense, perfectionist kind of process … I just wanted [Emotional Mugger] to be super nasty. I needed to make something really nasty after I made something that clean.”
To help create that raw, nastier sound, Segall enlisted a sort of L.A. indie-rock supergroup: King Tu ’s Kyle Thomas, Emmett Kelly of The Cairo Gang, Wand’s Cory Hanson and Evan Burrows and longtime collaborator Mikal Cronin. The new band, called The Muggers, joins Segall both in the studio and onstage, where he introduces them by pseudonyms like Har-rison Ford, Tang and the Whole Enchilada. They take on the shredding while Segall, as a baby-mask–wearing character called Sloppo, plays the frontman, sans the elec-tric guitar or drum kit he’s been known to murder onstage in the past.
“I just wanted a really intense band to be able to play super dynamically, whether it’s very pretty shit or the nastiest, grossest stu ,” he says of The Muggers, whose other projects he cites as among his few sources of contemporary inspiration. “I’m not the biggest fan of modern music, to be honest,” he admits, though he notes Kendrick La-mar and Madlib as shining exceptions. “A lot of modern rap is really interesting, but it’s hard to be interested in modern rock music. … I’m really lucky, I admire mostly just my friends.”
Segall’s lack of interest in modern rock doesn’t come as a shock; he’s known for music that is obviously informed by the 1960s and ’70s. But he doesn’t want to endlessly mine the past, either. “I feel like nostalgia is great, but I think it’s pretty cool to have a nostalgic thing with a heavy dose of modernism thrown in,” he says.
To that end, he constantly seeks new ways to shake up his process. “At this point, I’m way too aware of what I’ve already done. There needs to be a di erent way in to that creative process now, whether that’s a keyboard, getting stoned, laying down drums fi rst or trying to write a song at 6 in the morning.”
But while he’s always chasing ways to evolve, Segall remains at heart a lover of solid, simple, unironic rock & roll.
“It’s very crucial to not hyper-intellec-tualize music so much,” he says. “You can intellectualize all day long, but if the song sucks, the song sucks. All this stu doesn’t really matter if the music is bad. That’s always been the focus.”
| Music // PHOTO BY LEVAN TK
“I JUST WANTED THIS ALBUM TO BE SUPER NASTY.” —TY SEGALL
Ty Segall and The Muggers perform at the Teragram Ballroom.
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Dig inCHEF ROY CHOI MAKES SURETHE MUSIC IN HIS RESTAURANTSIS AS HIP AND ECLECTICAS THE FOOD ON YOUR PLATE
BY JEFF WEISS
Nothing captures the spirit of a Southern California cookout better than DJ Quik’s “Pitch in on a Party.” So it’s only right that L.A.’s day-o� anthem
bumps silkily from the speakers at the opening of LocoL, the latest culinary banger from native son Roy Choi.
It’s Martin Luther King Day on 103rd Street in Watts, the economically depressed neighborhood that produced Jay Rock, Simon Rodia’s famous towers and the 1965 insurrection. If Choi suc-ceeds, LocoL’s healthy but a� ordable fast-food fusion will help revitalize this oft-overlooked corner of the county.
So far, so good. As a fi rst-day good-will gesture, Choi feeds all interested parties for free. There’s a two-hour wait. Locals man the kitchen. Others in black Watts shirts pass out granola bars and water to those waiting — a diverse cross-section ranging from Highland Park craft beer enthusiasts to Grape Street Crips. Neighborhood kids break-dance to Zapp, Warren G and Egyptian Lover.
Celebrities on hand include Lena Dunham, Eric Garcetti, Tyrese and director Jon Favreau (Choi co-produced his last fi lm, Chef), a random guest list that speaks to the near-universal appeal of the a� able entrepreneur behind the Kogi truck, Chego and the Line hotel’s restaurants. It’s a level of local rever-ence usually achieved only by Lakers legends or Compton rappers.
As for rappers themselves, Choi’s clearly their favorite chef. Dilated Peo-ples, Alchemist and Black Thought all tweet about LocoL’s opening, testimony to the impeccable musical ear and artis-tic fl air Choi applies to his restaurants and cooking.
“There’s a natural connection be-tween music and cooking — sometimes it’s like a DJ feeling the room in how you pick up on di� erent senses in the kitchen,” the 45-year old says a few weeks earlier, wearing a black beanie, Stussy jacket and myriad tattoos. A playlist blares Young Thug, Future and Fetty Wap — a far cry from the staid hotel kitchens where he started.
Much ink has been spilled about Choi’s brilliant alchemy of Latin and Asian cooking, less about his omnivo-rous and encyclopedic musical taste. You can see it in the soundtracks of
his establishments. Kogi’s early years featured a transistor tape-deck radio blaring K-pop and ’90s hip-hop. Chego spins ’80s and ’90s rap — “It’s like my car in high school,” Choi says. A-Frame warranted softer indie electronica, while the Line spans Motown, ’70s funk, ’90s R&B, Korean hip-hop and local indie linchpins Brainfeeder and Stones Throw.
“I try to immerse myself completely in whatever I do. We’re trying to go into the culture and all the way back out,” Choi says. “That’s why we didn’t just want to open a place in Watts; we wanted to do it with the approval of the community. I’m always trying to listen and learn.”
He’s been that way since he was a young teen getting into metal and catching Kiss, Judas Priest and Slayer shows. He took hallucinogens at Grate-ful Dead concerts and saw the World Class Wreckin’ Cru. There was Public Enemy at the old Palace and Digital Un-derground when 2Pac was their back-up dancer. Choi is a former B-boy as well, versed in obscure ’90s gangsta rap, the cream of the modern underground and Atlanta trappers.
If both chefs and rappers are suppos-edly the new rock stars, Choi artfully triangulates all three.
“When you’re cooking, the cerebral stu� only goes so far,” Choi says. “As we’re doing it, we may see or feel some-thing, and then instantly time stops and we’re like, ‘Get me that onion right now. Give it to me.’ And it has to come at that moment, because there’s something I see in that pot that this onion, or what-ever it is, has to be transferred to that, and that makes magic. It’s like music.”
An L.A. native, Je� Weiss edits Passion of the Weiss and hosts the Shots Fired podcast. Find him online at passionweiss.com.
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Roy Choi
| Music // | Bizarre Ride //
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VAGABOND OF THE WESTERN WORLD
On the bus as we roll through a sunny winter’s day in France, on our way to Leuven, Belgium. Several minutes
ago, as we disembarked from the ferry that took us from Dover to Calais, our longtime bus driver Jan-Sven advised us to look out the le� side of the bus for the Syrian refugee camp that soon would come into view.
Double l ines of fences, topped with spirals of barbed wire, created a walkway patrolled by police. On the other side were rows of tents and other portable, makeshi� structures. Outside, men milled around and stood in small groups, hands in their pockets, passing time.
Further on, the camp degenerated into messy, tarp-covered, improvised structures, amidst piles of garbage. � ese were the rem-nants of what was initially provided as France scrambled to accommodate what ended up being thousands of people.
Construction was under way. � e camp is being moved back from the road, as men had been attempting to leave the camp and jump onto passing trucks.
France can’t keep these people on the side of a highway forever. Eventually they will have to assimilate into the population. For a coun-try that is struggling economically, it will be an incredible test. Who knows where these humans huddled together, their scenery and soundscape passing trucks and police radios, will eventually end up?
Germany is already having problems as its landscape rapidly changes with the infl ux of thousands of people. It is a new world all over again. But really, it is the same world it’s always been since humans set up shop. We have been globally displacing one another for thousands of years, as many have sought a better or di� erent life by picking up and heading out for adventure, uncertainty and consequence.
In my own featherweight way, I have done this, or tried to do it, with my life. As I move a day at a time toward 55 years of age, for the better part of all my years, I have been on the move.
I have been on the loose for about three weeks now. It’s still January and I hope to be bouncing around the world until at least mid-December.
For me, almost everything out here has a degree of poignancy. � e sun is setting on
the small homes and farmhouses that fl y by the windows; the front of the bus smells of freshly made co� ee and manure that dri� s in from an open vent. � e laughter and con-versation of the two bus drivers, speaking English with two different accents, mixes with the sound of trucks and cars. It is an endless postcard rolling by.
In a seamless transition, we are now in Belgium.
One of the many upsides of this mode of existence is that, if one is so inclined, on an almost daily basis there are record stores to be visited. With more than 600 shows behind us, road manager Ward and I have circled the world for nearly a decade and have darkened the doorways of many a shop. � is time out has been no di� erent.
So far, a small shop in Frankfurt that I have been going to for years yielded a great-condi-tion copy of Kra� werk’s Die Mensch-Maschine. Copenhagen’s excellent Sound Station, a mandatory stop, had an almost perfect copy of Albert Ayler’s jazz/soul/gospel/out-there New Grass album, complete with heavy, laminated stock cover. � is will be my third copy. � e fi rst one, on CD, lived with me in my small apartment in NYC. One day I was at Iggy’s, and we were talking about music. He said that he loved New Grass, hadn’t heard in years and really missed it. I gave him my copy and eventually found another. Can’t wait to hear this one on LP!
A small shop in Bristol, England, had an A-label promo copy of Suicide’s “Dream Baby Dream”/“Radiation” single on the ZE label. A great band from Bristol, Spectres, brought me some of their rarer vinyl that night as a gift. Days later in London, Dave Ruffy, the mighty drummer of � e Ruts and Ruts DC, gave me an unplayed copy of the fi rst press-ing of their fi rst single, as well as the Ruts DC’s “Weak Heart”/“Militant” single, promo only with info sheet. Score!
Without question, the best vinyl experi-ence so far came out of Sutton, near the city of Dublin. Before the show, Ward and I spent hours visiting with Philomena Lynott, mother of � in Lizzy’s late bass-playing leader, Phil. We were given full access to the man’s record collection. Standouts included Sabbath’s Paranoid on Vertigo with the swirl inner sleeve intact, plus great-condition copies of Houses of the Holy, Aladdin Sane and � e Ramones’ Road to Ruin.
Philomena asked if we wanted to see Phil’s Thin Lizzy singles collection. Within a few minutes, I had them all on her couch, orga-nizing them chronologically. I was hoping for test pressings and acetates and found none, but did check out all his earliest singles, like “Whisky in the Jar.”
I o� ered that if I could get back to Philom-ena’s place later in the year, I would be happy to bring protective sleeves and archive boxes for some preservation work. She said that would be great. So I have that to look forward to, as well as another chance to spend time with one of the most interesting people I have ever met.
Philomena’s story is worth checking out. A single mother in late-1940s Great Britain with a child whose father was black, hers was not the easiest road. To hear her tell the story, sitting in her living room, was a true privilege.
I know I am a lucky bastard with an irrevo-cably spoiled appetite. While it is not always the easiest day-to-day, I’ll take it. I am getting older, but this never gets old.
Henry Rollins
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fri 1/29Jenny Lewis & The Watson Twins, M. Ward
@ IMMANUEL PRESBYTERIAN CHURCHTen years ago, Jenny Lewis took a sidestep from local indie band Rilo Kiley and released her fi rst solo album, Rabbit Fur Coat, with the help of The Watson Twins. Identical twins Leigh and Chandra Watson acted as a kind of folkie Greek chorus, draping Lewis’ homespun country-pop tunes with soulfully shim-mering harmonies. The record included a jangling power-pop cover of The Traveling Wilburys’ “Handle With Care,” which featured such guest vocalists as songwriter M. Ward. “Nothing is ever as good as it was,” Lewis mused at the time on the acoustic ballad “Melt Your Heart,” but she’s decided to tempt fate by revisit-ing the album live with Ward and the Watsons on a short, four-city tour. Taking a break from She & Him, Ward previews romantic confessions from his new LP, More Rain. Also Thursday, Jan. 28, and Saturday, Jan. 30. —Falling James
Jody Watley & Shalamar Reloaded
@ THE ROXYGrammy-winning pop legend, style icon and founding member of legend-ary R&B trio Shalamar, Jody Watley parted ways with that group in 1982 to enjoy a wildly successful solo career. In 2014, she acquired trademark rights to the group’s name. Now functioning as Shalamar Reloaded, sans other original group members, Watley maintains that her decision to reboot with choreogra-pher Rosero McCoy and vocalist Nate Allen Smith was an attempt to “rebrand the group for the 21st century.” Some Shalamar fans, however, call the move “a hijack.” But who can blame her? Nos-talgic fans attending this show should be prepared to experience Shalamar in its latest manifestation, not as some attempted revival of the group during its glory days. —Jacqueline Michael Whatley
Harriet, Clara-Nova @ THE TROUBADOUR
“I have always seen you,” Alex Casno� confi des yearningly over a soulful colli-sion of lonely piano and restless guitars, on Harriet’s new full-length, American Appetite. Casno� is a former member of Dawes, and the singer-keyboardist brings some of that group’s folk-fl avored intro-spection to the new album’s title track. But he also has his own vision, which he explores more fully on “Ten Steps.” In the video, Casno� ’s face is painted blue as he somberly announces, “Looking down at the evidence, I am detective/You are my crime scene.” Switching to a falsetto, he croons airily over an electronic dance-pop groove as he fronts a robotic chorus line. Led by French-American chanteuse Syd-ney Wayser, Clara-Nova is another band that mixes pop and electronica. “I built
you up like a monument,” she coos amid the arty spaces of “This Side of Paradise.” —Falling James
Baked Potato All Stars @ THE BAKED POTATO
Guitarist Je� Richman hosts one of L.A.’s longest-running jazz gigs, a monthly gathering of musical friends and occa-sional out-of-towners he calls the Baked Potato All Stars. Dozens of the world’s fi nest musicians have played in his band, which plays a mix of Richman’s well-craft-ed originals and the occasional cover tune from such artists as Je� Beck, Weather Report and the Mahavishnu Orchestra. This month’s gig features ex-members of those bands in keyboardist Mitch Forman (Mahavishnu), bassist Alphonso Johnson (Weather Report) and drummer Simon Phillips (Je� Beck, as well as The Who and Toto). Seeing Phillips in an intimate venue is a rare treat — a well-known saxo-phonist who played on the same stage a few years ago described it as “like stand-ing in front of a jet engine.” Also Saturday, Jan. 30. —Tom Meek
sat 1/30Julia Holter
@ TERAGRAM BALLROOM“I ask a fortune-teller what they whisper when I walk by,” Julia Holter intones amid an ethereal haze of violins on her fourth album, Have You in My Wilder-ness. “She said, ‘All the people run from the horizon.’¥” The local singer-pianist prefers to rush toward the horizon and embrace the strangeness of the world around her. “Betsy on the Roof” initially
sounds like a straightforward sad piano ballad, but instead of romantic clichés, Holter o� ers such enigmatic asides as “I can’t send the rain down anymore” and “What of this cloud?” The track strays even further from the mainstream when the strings swell grandly at the end before unraveling amid spirals of Holter’s madhouse piano and breathy vocals. She has an ear for pop hooks but can’t resist turning the jaunty “Everytime Boots” into another dreamy digression. —Falling James
Buyepongo @ EL REY THEATRE
Simply put, Buyepongo are all about mak-ing music to dance your ass o� to. And being homegrown L.A. melting-potters, they have a natural curiosity about what you can throw into the groove bowl to really shake ’em down. Funky West Coast hip-hop and punk thump are stirred into their stewpot, along with a lot of ’60s soul, jazz and a dash of classic rock. But what gives Buyepongo a distinctive feel is their sorta scholarly investigation into Mexican folk music and the trad roots sounds of Colombia, Haiti, Belize, Honduras and the Dominican Republic. It’s wickedly addic-tive stu� , which you can check out on their just-out album, Todo Mundo. They throw down tonight with DJ sets by Cut Chem-ist, Changüí Majadero, Jeremy Sole and Dexter Story. —John Payne
sun 1/31Fiesta Mexico-Americana with Los Lobos
@ VALLEY PERFORMING ARTS CENTERThe hills of Baja California look much
PHOTO BY MARC SETHI
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Thursday • January 28 • 6pmKING
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like the hills of San Diego, even if there’s a relatively arbitrary line dividing them. The border ostensibly separates di� er-ent countries, but Mexican-American culture fl ourishes on both sides of the fence. This evening’s Fiesta Mexico-Americana celebrates how the two nations share so much intertwined art and history, as well as literal and fi gura-tive geography. East L.A. mainstays Los Lobos symbolize those cultural colli-sions by performing bilingual music that segues freely from Mexican folk and soulful Americana to bluesy roots-rock and even punk. Making tonight’s per-formance more intriguing, the veteran group will perform accompanied by the Ballet Folklórico Mexicano, a troupe that evokes the tradition of Mexican folk dancing through its dazzling spins, colorful dresses and fl oridly romantic choreography. —Falling James
Robby Marshall Quartet @ BLUEWHALE
Fans of Cassandra Wilson might have recently noticed an exceptionally gifted saxophonist and clarinetist onstage with the iconic jazz singer. Robby Marshall is featured prominently on Wilson’s latest album, Coming Forth by Day (a trib-ute to Billie Holiday ), playing earthen blues like an old soul buried beneath his youthful countenance. He looks as if he might be about 20, but that’s how Marshall has looked ever since he actually was that age, a decade ago. Marshall spent much of his precocious youth in the limelight, sharing it with stars such as Carlos Santana , Michael Bublé and Hugh Laurie. He was a mover and a shaker in Los Angeles, and then he simply moved, leaving L.A. for the allure of Paris and touring Europe with a gypsy-jazz trio. The nomad returns to his old home with a quartet of some of his L.A. friends: pianist Matt Politano, bassist Dominic Thiroux and drummer Gene Coye . —Gary Fukushima
mon 2/1Cajmere
@ SOUND NIGHTCLUBIt hasn’t been long since we last gave Chicago-based DJ/producer Curtis Jones a shout-out: He was here in De-cember for a Get Real gig with collabora-tor Claude VonStroke. However, that was Jones as Green Velvet, maker of synth-heavy jams beloved by the electro-club kids of the early 2000s. This Monday, he’s in town as Cajmere, the house-head facet of his musical persona. As Cajmere, Jones has been releasing hot tracks since the early 1990s. There’s a certain timelessness to his work on cuts such as “Percolator,” whose ca� einated bounce could still keep a dance fl oor bubbling. More recently, his producer identities have overlapped: A recent col-laboration with Sonny Fodera , “O� On” and a remix of Joe Pompeo’s “On My Mind” bring in the darker synth tones of Green Velvet, although his classic house infl uences remain. —Liz Ohanesian
tue 2/2Nile
@ WHISKY A GO GOEking eerily long life from its uncompro-mising, mostly antiquity-themed death metal, South Carolina’s Nile have been testing the technical thresholds of hard rock for more than 20 years. Centered around the songwriting and six-string blizzardry of sole constant Karl Sanders, the ever-morphing quartet unleashes absurd swarms of hovering-helicopter kick drums, guttural, trapped-wildebeest grunting, and guitar breaks resembling some amphetamine-enhanced arcade game. Last year’s What Should Not Be Unearthed, Nile’s eighth album, displays no sign of them running out of gas or ma-lignant grandeur, the shredding prowess of all four members congealing to ultra-potent e� ect. A true labor of loathe for the incongruously genteel Sanders, Nile have earned subgenre-transcending respect for their sheer stylistic stubbornness and excellence of execution. —Paul Rogers
wed 2/3Unknown Mortal Orchestra
@ THE FONDA THEATREHeartbreak is the motivator for many an al-bum. Unknown Mortal Orchestra’s Ruban Nielson takes his a step further, mourning the departure of the extra person in his polyamorous relationship on UMO’s third album, aptly titled Multi-Love. As grieving as the lyrics on Multi-Love are, the well-crafted album — one of the unexpected standouts of last year — is nonetheless cheerful, shrugging o� the isolation of previous works. The Stevie Wonder–chan-neling “Ur Life One Night” brims with tripped-out soul, while the chuckle-induc-ing “Can’t Keep Checking My Phone” tem-pers that sentiment with a playful, upbeat groove. The foggy psychedelia of previous albums is revisited on the Steely Dan–in-spired “Necessary Evil,” which features Nielson’s jazz-musician father, giving it a ’70s retro feel. Nielson carries this through to “Extreme Wealth and Casual Cruelty” with his bluesy falsetto. —Lily Moayeri
thu 2/4Martin Sexton
@ SAINT ROCKESince the early 2000s, Martin Sexton has been a favorite opening act and occasional collaborator for the likes of John Mayer and Peter Frampton. The Massachusetts-based musician has spent 25 years melding rock, folk and Americana into a workman-like career, with his versatile vocals always the highlight of his diverse sound. While he hasn’t soared to the heights of some of the big names he’s toured with and worked with, Sexton has built a dedicated, cult-like following. On 2015’s terrifi c Mixtape of the Open Road, the 49-year-old shows no signs of growing stale. —Daniel Kohn
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C LU B S
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ACEROGAMI: 228 W. Second St., Pomona. Crescendo, Crown Plaza, DJ Gabrielle Costa, Fri., Jan. 29, 8 p.m., free.
ALEX’S BAR: 2913 E. Anaheim St., Long Beach. Off, The Drips, Kim & the Created, Death Hymn Number 9, Specs of Dust, Fri., Jan. 29, 9 p.m., $22. Off, Mike Watt & the Missingmen, The Drips, Toys That Kill, Sat., Jan. 30, 8 p.m., $22. Hopeless Jack, The Midnight Screening, Veronica Grim & the Heavy Hearts, Sun., Jan. 31, 8 p.m., $5.
ALL STAR LANES: 4459 Eagle Rock Blvd. Turbulent Hearts, The Katellas, Sat., Jan. 30, 8 p.m., TBA.
AMOEBA MUSIC: 6400 Sunset Blvd., Los Angeles. DJ Chico Mann, Fri., Jan. 29, 8 p.m., free.
AMPLYFI: 5617 Melrose Ave., Los Angeles. Monarch Theatre, Next Door to the Moon, Alone Together, Sat., Jan. 30, 8 p.m., $12.
BOOTLEG THEATER: 2200 Beverly Blvd., Los Angeles. Field Day Weekend, with Dead Sara, Miya Folick, The Bulls, Steady Holiday, Fri., Jan. 29, 7:30 p.m., $12. DJ Kate Nash, Kim & the Created, Maria Taylor, White Sea, Conway, Lael Neale, Nightjacket, plus Veruca Salt’s Louise Post & Nina Gordon, Sat., Jan. 30, 7:30 p.m., $12. Riothorse Royale, Phoebe Bridgers, Allison Weiss, Kitten (DJ set), Gothic Tropic, Kera & the Lesbians, Alina Bea, Kat Corbett (DJ set), V.A.J.J., Sun., Jan. 31, 7:30 p.m., $12. Lena Fayre, Vox, AKW, Mon., Feb. 1, 8:30 p.m., free. Marlon Williams, Kail Baxley, Wed., Feb. 3, 8 p.m., $12. Benji Hughes, Thu., Feb. 4, 8:30 p.m., $15.
CAFE NELA: 1906 Cypress Ave., Los Angeles. Johnny Cheapo, Mountains of the Moon, Telephone Lovers, Mid-Coitus, Fri., Jan. 29, 8:30 p.m., $5. Twisted Black Soul, The Herms, Yours Cruelly, Cutty Flam, Social Conflict, Sat., Jan. 30, 8 p.m., $5. Solitary Friends, The Greg Sutton Band, Sun., Jan. 31, 5:30 p.m., $5.
CANYON CLUB: 28912 Roadside Drive, Agoura Hills. Eddie Money, Fri., Jan. 29, 9 p.m., $38-$58. Geoff Tate, Thu., Feb. 4, 9 p.m., $28-$48.
COMPLEX: 806 E. Colorado St., Glendale. The Black Queen, Drab Majesty, Fri., Jan. 29, 9 p.m., $15-$20. Bosse-de-Nage, Wreck & Reference, Lee Noble, Eight Bells, Sat., Jan. 30, 8 p.m., $10. Kanga, Bustié, WVM, Passing, Wed., Feb. 3, 8 p.m., $5.
THE COWBOY GALLERY: 622 N. Hoover St., Los Angeles. Collapsing Scenery, Kurt Heasley, Fri., Jan. 29, 8 p.m., free.
DIPIAZZA’S RESTAURANT & LOUNGE: 5205 E. Pacific Coast Highway, Long Beach. Hirax, Sat., Jan. 30, 7 p.m., TBA.
THE ECHO: 1822 W. Sunset Blvd., Los Angeles. The Haden Triplets, Alejandro Pelayo, Fri., Jan. 29, 8:30 p.m., $19.50. Movements, Idle Hands, Cory Wells, Basic Space, Sat., Jan. 30, 6 p.m., $10. Froth, HOTT MT, Black Sea, Sun., Jan. 31, 10 p.m., $10. Adult Books, The Molochs, Drinking Flowers, Terminal A, Mon., Feb. 1, 8:30 p.m., free. Figs Vision, The Electric West, Thu., Feb. 4, 8:30 p.m., $8.
EL CID: 4212 W. Sunset Blvd., Los Angeles. The Music of David Bowie, a tribute with The Absolute, Booty, Mars & the Massacre, Fri., Jan. 29, 10 p.m., $10. Motorcycle Boy, The SuperBees, Electric Mind Machine, Sat., Jan. 30, 10 p.m., $10. Open Mic, Mondays, 8 p.m., $5. The Cooties, Tue., Feb. 2, 9 p.m., $10; Reggie Watts & Karen, Tuesdays, 10 p.m., $10. Short Film Night, Wed., Feb. 3, 9 p.m., $10. El Twanguero, The Ventucky String Band, Tiny & Mary, Thu., Feb. 4, 8 p.m., $8.
ELECTRIC LODGE: 1416 Electric Ave., Venice. Concierto, Joey Maramba, Fri., Jan. 29, 7:30 p.m., $10-$20.
THE FEDERAL BAR: 5303 N. Lankershim Blvd., North Hollywood. Rubix Kube, Fri., Jan. 29, 8 p.m., free. Elixir the Show, Sat., Jan. 30, 7:30 p.m., free.
THE FEDERAL BAR: 102 Pine Ave., Long Beach. Vokab Kompany, Thu., Feb. 4, 8:30 p.m., TBA.
FINN MCCOOL’S: 2702 Main St., Santa Monica. Taylor Alexander, Mondays, 9:30 p.m., free.
4TH STREET VINE: 2142 E. Fourth St., Long Beach. Childbirth, Lisa Prank, Sat., Jan. 30, 7 p.m., free.
GASLAMP RESTAURANT & BAR: 6251 E. Pacific Coast Highway, Long Beach. Vitalogy, Sat., Jan. 30, 7 p.m., $10. Bone Thugs-N-Harmony, Thu., Feb. 4, 8 p.m., TBA.
GENGHIS COHEN: 740 N. Fairfax Ave., Los Angeles. Carly Rose, The Mark Goldenberg Trio, Fri., Jan. 29, 8:30 p.m., TBA. The Sposato Brothers, String Revolution, Emily Gerber, Sat., Jan. 30, 7:30 p.m., TBA. Suzy Williams, Sun., Jan. 31, 7:30 p.m., TBA. Chris Hendricks, Malia Civetz, Jej Millanes, Seth
Wood, Wed., Feb. 3, 7:30 p.m., TBA. Chris O’Keefe, Cailin, Thu., Feb. 4, 7:30 p.m., TBA.
THE GLASS HOUSE: 200 W. Second St., Pomona. The Mirage Theory, A World Extinct, The Unsung, Sat., Jan. 30, 7 p.m., $12.
GRAMMY MUSEUM: 800 W. Olympic Blvd., Los Angeles. The Cult, Thu., Feb. 4, 7:30 p.m., $25.
GRAND STAR JAZZ CLUB: 943 N. Broadway, Los Angeles. Save Music in Chinatown, with The Crowd, Bad Cop/Bad Cop, FourEyedFour, Bombón, Sun., Jan. 31, 2-6 p.m., $15.
HARVARD & STONE: 5221 Hollywood Blvd., Los Angeles. Johnny Travis Jr. & the Delta Dawns, Sundays, 8 p.m. Thru Jan. 31, free.
THE HOTEL CAFE: 1623½ N. Cahuenga Blvd., Los Angeles. Jimmy Gnecco, Mount Holly, Freefall Rescue, Jessica Lamb, Fri., Jan. 29, 7 p.m., $20. Lady Scoutington, J. Chris Newberg, preceded by comedy, Sat., Jan. 30, 9 p.m., $10. The Mots Nouveaux, Zusha, Distant Cousins, Aiden James, Sun., Jan. 31, 7 p.m., $10. Stephen Kellogg, Brooks Hubbard, Wed., Feb. 3, 7 p.m., $17.
HYPERION TAVERN: 1941 Hyperion Ave., Los Angeles. Ye Olde Hushe Clubbe, with DJ Don Bolles, Wednesdays, 9:30 p.m., free.
THE KIBITZ ROOM: 419 N. Fairfax Ave. Collapsing Scenery, Cologne, Sat., Jan. 30, 8 p.m., TBA.
KULAK’S WOODSHED: 5230½ Laurel Canyon Blvd., Studio City. Anthony Rogers, Fri., Jan. 29, 8 p.m., $10. Singer-Songwriter Open Mic, Mondays, 8 p.m.
LARGO AT THE CORONET: 366 N. La Cienega Blvd., Los Angeles. Jon Brion, Fri., Jan. 29, 9:30 p.m., $30.
LIQUID KITTY: 11780 W. Pico Blvd. The Hollywood Blues Destroyers, Sun., Jan. 31, 10 p.m., free.
LOS GLOBOS: 3040 W. Sunset Blvd., Los Angeles. Cyhi the Prynce, Sat., Jan. 30, 6:30 p.m., $16.82; Alex Wiley, Sat., Jan. 30, 7 p.m., TBA.
THE LOST ROOM: 1534 Sunset Blvd., Los Angeles. The Bots, Espresso, Dumb Fucks, Fri., Jan. 29, 8 p.m., $11. Dead Dawn, Gentle Pony, Flying Hair, Massenger, Sat., Jan. 30, 8 p.m., $5. Crooked Coast, Iconique, Tambourines, Sun., Jan. 31, 8 p.m., $5. Mothertapes, Mon., Feb. 1, 8 p.m., $10. Irontom, Flower Punks, The Brothers Zmed, Tue., Feb. 2, 8 p.m., $5. The Fontaines, Vox, The Big Gone, Lasers Lasers Birmingham, Thu., Feb. 4, 8 p.m., $5.
LOT 1 CAFE: 1533 W. Sunset Blvd., Los Angeles. The Fifth Nerdrockers’ Ball, with Fox & the Red Hares, Countless Thousands, Memphis Vampires, Levi Petree & the Radio Publica, plus comedians, Fri., Jan. 29, 8 p.m., free. Night Wolves, GeoTrip, Son of Cecil, The Modern Age, Sat., Jan. 30, 9 p.m., free.
MCCABE’S GUITAR SHOP: 3101 Pico Blvd., Santa Monica. John Hammond, Fri., Jan. 29, 8 & 10 p.m., $26.50. Jorma Kaukonen, Sat., Jan. 30, 8 & 10 p.m.; Sun., Jan. 31, 7:30 & 9:30 p.m., $36.50.
THE MINT: 6010 W. Pico Blvd., Los Angeles. Rob Hotchkiss, Tamara Laurel, Cupero, Short Sleeve Heart, Fri., Jan. 29, 7:30 p.m., $12. The Clams, Must Go Faster, Tramps in Stereo, Nether Land, Sat., Jan. 30, 8 p.m., $12. The Liquorsmiths, The Sound of Ghosts, Sarah Burton, Lovely Outlaws, Back South, Sun., Jan. 31, 7 p.m., $6. Scott Pemberton, Alice Underground, Joe Fletcher & the Wrong Reasons, Mik Current, Mon., Feb. 1, 7:30 p.m., $8. The Ryan Montbleau Band, The Brevet, Missy & the Wild Cards, Wed., Feb. 3, 8 p.m., $18.
MOLLY MALONE’S: 575 S. Fairfax Ave., Los Angeles. Jackshit, Sat., Jan. 30, 8 p.m., $20. The Rob Leines Band, Wed., Feb. 3, 8:30 p.m., TBA. Corey Black, Vince Thomas, Thu., Feb. 4, 8:30 p.m., TBA.
MOONLIGHT ROLLERWAY SKATING RINK: 5110 San Fernando Road, Glendale. A Skate Night for David Bowie, with a DJ TBA, Thu., Feb. 4, 8 p.m., TBA.
MRS. FISH: 448 S. Hill St., Los Angeles. Cloud House, Michael Cartwright, Fri., Jan. 29, 8 p.m., free. Niki J. Crawford, Marley Munroe, Sat., Jan. 30, 8 p.m., free.
THE OLD TOWNE PUB: 66 N. Fair Oaks Ave., Pasadena. Disruptive Influence, Angels of Mischief, Defected Drones, Broken Cuffs, Downfall, Salacious Crumb, Fri., Jan. 29, 8 p.m., $5. PAPPY & HARRIET’S PIONEERTOWN PALACE: 53688 Pioneertown Road, Pioneertown. Wanda Jackson, Jesika Von Rabbit, Sat., Jan. 30, 9 p.m., $20. The Hot Fudge Sunday Band, Sundays, 7:30 p.m., free. Ted Quinn’s Open-Mic Reality Show, Mondays, 7 p.m., free.
PICKWICK BOWL: 1001 W. Riverside Drive, Burbank. Robbie Rist’s K-Tel Sundays, Sundays, 3-6 p.m., free; Glenn Allan Britain, Sundays, 7 p.m., free.
THE REDWOOD BAR & GRILL: 316 W. Second St., Los Angeles. Dirty Words, The Blackerbys, Solitary Friends, Fri., Jan. 29, 9 p.m., $5-$10. Johnny Madcap
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& the Distractions, Sat., Jan. 30, 9 p.m., $5-$10-. Bunny the Girl, The Fabulous Miss Wendy, The Great Sadness, Lady Zephyr, Sun., Jan. 31, 9 p.m., $5-$10. Hopeless Jack, Mid-Coitus, Princess Frank, Tue., Feb. 2, 9 p.m., $5-$10. Scarlet & the Fever, Triple Dog Dare, Wed., Feb. 3, 9 p.m., $5-$10.
RESIDENT: 428 S. Hewitt St., Los Angeles. Rin Tin Tiger, Dude York, Fri., Jan. 29, 8 p.m., $3.
THE ROXY: 9009 W. Sunset Blvd., West Hollywood. Jody Watley & Shalamar Reloaded, DJ Vikter Duplaix, Fri., Jan. 29, 9 p.m., $35 (see Music Pick). The Motet, Sophistafunk, Sat., Jan. 30, 9 p.m., $21. Trivium, Kaustik, Art of Shock, Mon., Feb. 1, 8 p.m., $20. The Skints, Arise Roots, Soulutionaries, Tue., Feb. 2, 8 p.m., $13. Jeff Panacloc, Thu., Feb. 4, 8 p.m., $41-$101.
SAINT ROCKE: 142 Pacific Coast Highway, Hermosa Beach. Graceband, The Liz Gherna Band, Sun., Jan. 31, 7 p.m., $10. Martin Sexton, Lee Coulter, Nick Shattuck, Thu., Feb. 4, 8 p.m., $29; Martin Sexton, Thu., Feb. 4, 8 p.m., $29.
THE SATELLITE: 1717 Silver Lake Blvd., Los Angeles. Harvey Sid Fisher, The Lampshades, plus comedian Neil Hamburger, Sun., Jan. 31, 9 p.m., $8. The Controversy, Pom Poms, Chasing Kings, Mon., Feb. 1, 9 p.m., free. Tango Alpha Tango, Tue., Feb. 2, 9 p.m., $8. Tommy Keene, Eyelids, Wed., Feb. 3, 9 p.m., $10; Tommy Keene, Eyelids, Wed., Feb. 3, 9 p.m., $10. Brown Shoe, You, Thu., Feb. 4, 9 p.m., $8.
SILVERLAKE LOUNGE: 2906 Sunset Blvd., Los Angeles. Naiswan, Black Suns, Byrddogs, Dena Rey, Fri., Jan. 29, 9 p.m., $8. Silver Snakes, The Royal Sound, Minnow, Aeges, Mon., Feb. 1, 8 p.m., free. Vice Versa, Dan West, Shere, The Altons, Elkhead, Tue., Feb. 2, 8 p.m., $8. Back Pocket Memory, Almost July, Wed., Feb. 3, 8 p.m., $8. Attaloss, Dig the Kid, Thu., Feb. 4, 8 p.m., $8.
THE SMELL: 247 S. Main St., Los Angeles. Riot L.A. Alternative Comedy Festival, Jan. 29-31, 8 p.m., TBA.
SOL VENUE: 313 E. Carson St., Carson. Hirie, Sat., Jan. 30, 7:30 p.m., $10 & $15.
SPACE 15 TWENTY: 1520 N. Cahuenga Blvd., Los Angeles. Coyote, Kid Cadaver, DJ Grant Owens, Sat., Jan. 30, 7 p.m., free.
TREPANY HOUSE AT THE STEVE ALLEN THEATER: 4773 Hollywood Blvd., Los Angeles. Egrets on Ergot, The Gitane Demone Quartet, Magnetized, Fri., Jan. 29, 9 p.m., $10.
TAIX FRENCH RESTAURANT: 1911 Sunset Blvd., Los Angeles. The Break Ups, The World Record, Fri., Jan. 29, 10:30 p.m., free.
TRIBAL CAFE: 1651 W. Temple St., Los Angeles. Open mic, Tuesdays, 7 p.m.; Sundays, 4 p.m.
TRIP: 2101 Lincoln Blvd., Santa Monica. The Julian Coryell Trio, Tuesdays, 9 p.m., free. Triptease Burlesque, Wednesdays, 10 p.m., free. Jack of Hearts, Sheldon & Cunnane, Rusted Roses, Thu., Feb. 4, 8 p.m., free.
THE TROUBADOUR: 9081 Santa Monica Blvd., West Hollywood. Harriet, Clara-Nova, Korey Dane, Fri., Jan. 29, 8 p.m., $12 (see Music Pick). Rocket, Nigel Stargate, The Stotic Club, The Other Words, Dandelions, Sat., Jan. 30, 7:30 p.m., $15. Jamie Woon, Tue., Feb. 2, 8 p.m., $20. The Loved Ones, Jonny Two Bags, ToyGuitar, Thu., Feb. 4, 8 p.m., $18.
THE VIPER ROOM: 8852 W. Sunset Blvd., West Hollywood. Vampires Everywhere, Mursic, Pusher, Cardiac, Fri., Jan. 29, 8 p.m., TBA. JFA, The Stitches, Stalag 13, Killroy, Litmus Green, Sat., Jan. 30, 8 p.m., TBA. Sam Bruno, Lazy Haze, My-T-Mo, Human Law, Sun., Jan. 31, 8 p.m., TBA. In the Stars, Snake Fist, Reaktion, Pills Conspiracy, Molly Mothball, Tue., Feb. 2, 7:30 p.m., TBA. Sleep Machine, American Bulldog, Fat Elvis, Wed., Feb. 3, 8:30 p.m., TBA. Louden Swain, Thu., Feb. 4, 8 p.m., TBA.
WHISKY A GO-GO: 8901 Sunset Blvd., West Hollywood. Orgy, Fri., Jan. 29, 7 p.m., TBA. Babylon A.D., Sat., Jan. 30, 7 p.m., $20. Nile, Tue., Feb. 2, 6 p.m., TBA (see Music Pick). Enforcer, Warbringer, Exmortus, Cauldron, Wed., Feb. 3, 7 p.m., TBA. Lacey Sturm, Thu., Feb. 4, 8 p.m., TBA.
—Falling James
JAZZ & BLUES
ARCADIA BLUES CLUB: 16 E. Huntington Drive, Arcadia. Mark Sells, Fri., Jan. 29, 7 p.m., $10. The Jacob Huffman Band, Sat., Jan. 30, 7 p.m., $10.
AU LAC: 710 W. First St., Los Angeles. Justo Almario, Sat., Jan. 30, 7:30 p.m., $20-$100.
THE BAKED POTATO: 3787 Cahuenga Blvd. W., Studio City. The Baked Potato Super Birthday All-Stars, Jan. 29-30, 9:30 p.m., $25 (see Music Pick). Kirk
Fletcher, Sun., Jan. 31, 9:30 p.m., $20. Monday Night Jammmz, Mondays, 9:30 p.m., $10. Bob Reynolds, Thu., Feb. 4, 9:30 p.m., $15.
THE BARKLEY RESTAURANT & BAR: 1400 Huntington Drive, South Pasadena. Jack’s Cats Swing Sextet, Last Friday of every month, 9 p.m. Thru Dec. 30, free.
BLUE WHALE: 123 Astronaut E.S. Onizuka St., Los Angeles. The Miguel Atwood-Ferguson Ensemble, Jan. 29-30, 9 p.m., $25. The Robby Marshall Quartet, Sun., Jan. 31, 9 p.m., $10 (see Music Pick). Richard Sears, Walter Smith III, Sam Gendel, Eric Revis & Roy McCurdy, Mon., Feb. 1, 9 p.m., $15. The Thelonious Monk Institute Ensemble, Tue., Feb. 2, 9 p.m., $5. Kaveh Rastegar, Wed., Feb. 3, 9 p.m., TBA. Adrian Terrazas-Gonzalez & Ty Baily, Thu., Feb. 4, 9 p.m., TBA.
CATALINA BAR & GRILL: 6725 W. Sunset Blvd., Los Angeles. Street Corner Renaissance, Sun., Jan. 31, 7:30 p.m., TBA. Passport to Brazil, Wed., Feb. 3, 8:30 p.m., TBA. Cecilia Noel & the Wild Clams, Luis Conte, Thu., Feb. 4, 8:30 p.m., TBA.
CHARACTER PROJECTS: 6042 Monte Vista St., Los Angeles. Similar Fashion, Sat., Jan. 30, 4 p.m., $5.
COLOMBO’S: 1833 Colorado Blvd., Eagle Rock. Steve Thompson, Fridays, 5:30-9 p.m., free. The Elliott Caine Quartet, Sat., Jan. 30, 9:30 p.m., free. The Eric Ekstrand Trio, Mondays, 4:30 p.m., free. Tom Armbruster, Tuesdays, 7 p.m., free. Karen Hernandez & Jimmy Spencer, Wednesdays, 7 p.m., free. Trifecta, Thursdays, 7 p.m., free.
DESERT ROSE: 1700 Hillhurst Ave., Los Angeles. The Mark Z. Stevens Trio, Saturdays, 7-11 p.m., free.
THE DRESDEN RESTAURANT: 1760 N. Vermont Ave., Los Angeles. The Readys, Sundays, 9 p.m.-midnight, free. L.A. Underground Superstars, Mondays, 8:30 p.m., free. Marty & Elayne, Tuesdays-Saturdays, 9 p.m., free.
GARDENIA RESTAURANT & LOUNGE: 7066 Santa Monica Blvd., Los Angeles. Linden Waddell, Jan. 29-30, 9 p.m., $10-$20. Open Mic, hosted by Keri Kelsey, Tuesdays, 9 p.m., $5. Helene Smart, Thu., Feb. 4, 9 p.m., $10-$20.
GRAFTON ON SUNSET: 8462 W. Sunset Blvd., West Hollywood. Richard Shelton, Mon., Feb. 1, 9 p.m., free.
GRIFFINS OF KINSALE: 1007 Mission St., South Pasa-dena. Barry “Big B” Brenner, Thursdays, 8 p.m., free.
HARVELLE’S SANTA MONICA: 1432 Fourth St., Santa Monica. The Toledo Show, Sundays, 9:30 p.m., $10. Stage 11, Mondays, 9:30 p.m., $5. The House of Vibe All-Stars, Wednesdays, 9 p.m., $10.
HARVELLE’S LONG BEACH: 201 E. Broadway, Long Beach. The Toledo Show, Thursdays, 9 p.m., $10.
JAX BAR & GRILL: 339 N. Brand Blvd., Glendale. Scott Detweiler, Fri., Jan. 29, 8 p.m., free. The Ralph Mathis Band, Sat., Jan. 30, 8 p.m., free. Lenny Stack, Sundays, 6-10 p.m., free. J.C. Spires, Tuesdays, 7-11 p.m., free.
LAS HADAS: 9048 Balboa Blvd., Northridge. Cool Blue, Mondays, 7:30-9:30 p.m., free. Johnny Vana’s Big Band Alumni, Tuesdays, 10:30 a.m.-12:30 p.m., free. Rex Merriweather, Wednesdays, 8-10 p.m., free.
THE LIGHTHOUSE CAFE: 30 Pier Ave., Hermosa Beach. The Mark Stanley Quartet, Sat., Jan. 30, 11 a.m.-2:30 p.m., free. The Mike Barone Big Band, Sun., Jan. 31, 11 a.m.-3 p.m., $10. The Jeremy Lappitt Quintet, Wed., Feb. 3, 6-9 p.m., free.
MAUI SUGAR MILL SALOON: 18389 Ventura Blvd., Tarzana. Blue Monday Party, hosted by Cadillac Zack, Mondays, 9:30 p.m., two-drink min. Just Dave Bernal’s Last Chance Country Jam, Wednesdays, 9 p.m.
MAURO’S CAFE: 8112 Melrose Ave., Los Angeles. Zaïa Lebtahi, Thursdays, 6-10 p.m. Thru March 3, free.
94TH AERO SQUADRON: 16320 Raymer Ave., Van Nuys. Adrian Galysh, Fridays, 6-9 p.m. Thru March 25, free.
SEABIRD JAZZ LOUNGE: 730 E. Broadway, Long Beach. The Azar Lawrence Quintet, with trumpeter Nolan Shaheed Smith, pianist Theo Saunders, bassist Henry Franklin & drummer Marvin “Smitty” Smith, Sat., Jan. 30, 9 p.m., $15. Long Beach Jazz Jam, Wednesdays, 9 p.m., free.
SPAGHETTINI BEVERLY HILLS: 184 N. Canon Drive, Beverly Hills. Cooper Phillip, Fri., Jan. 29, 9:30 p.m., free. Flowtet & Kelley James, Tuesdays, 10 p.m., free. Billy Mondragon, Wed., Feb. 3, 8:30 p.m., free. Dave Damiani & the No Vacancy Band, Thu., Feb. 4, 8:30 p.m., free.
SPAGHETTINI SEAL BEACH: 3005 Old Ranch Parkway, Seal Beach. DW3, Thursdays, 8 p.m., $15.
STARBOARD ATTITUDE: 202 The Pier, Redondo Beach. Open mic, Wednesdays, 7 p.m., free.
STEEL PIT SPORTS GRILL: 7279 Foothill Blvd., Tujunga. Blues Jam, Wednesdays, 7 p.m.
THU, FEB 11, 2016
REGENT THEATER448 S. Main St.
Los Angeles, CA 90013(323) 284-5727
theregenttheater.com
BEYONCEVS.
RIHANNA(TRIBUTE PARTY)
9081 Santa Monica BoulevardWest Hollywood, CA 90069
(310) 276-1158www.troubadour.com
SAT, FEB 6, 2016
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TUNING FORK: 12051 Ventura Place, Studio City. Barry “Big B” Brenner, Wednesdays, 9 p.m., free.
VIBRATO GRILL & JAZZ: 2930 Beverly Glen Circle, Bel-Air. The Andy Martin Quartet, Fri., Jan. 29, 9 p.m., free. The Ron Stout Quartet, Sat., Jan. 30, 9 p.m., free. Freddie Ravel, Sun., Jan. 31, 7 & 8:30 p.m., $20. Excursion, Tue., Feb. 2, 6:30 p.m., free. Indira Khan, Wed., Feb. 3, 7 & 8:30 p.m., $20. Gina Saputo, The Joe Bagg Trio, Thu., Feb. 4, 6:30 p.m., free.
VITELLO’S ITALIAN RESTAURANT: 4349 Tujunga Ave., Studio City. Nick Mancini, Afton Hefley, Fri., Jan. 29, 8 p.m., TBA; Homanaje, Nick Mancini, Afton Hefley, Fri., Jan. 29, 8 p.m., $15.
WORLD STAGE PERFORMANCE GALLERY: 4344 Degnan Blvd., Los Angeles. Sisters of Jazz Jam Session, Sundays, 9 p.m., $5. Shine, Thursdays, 7-9 p.m., free; Jazz Jam Session, preceded (at 7) by Shine Muwasi Women’s Drum Circle, Thursdays, 9 p.m., $5.
—Falling JamesFor more listings, please go to laweekly.com.
LATIN & WORLD
COCOPALM RESTAURANT: 1600 Fairplex Drive, Pomona. Chino Espinoza y los Duenos del Son, Fridays, 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., Los Angeles. Salsa Night, Fridays, 8 p.m.; Saturdays, 9:30 p.m., $10.
THE GRANADA LA: 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.
TIA CHUCHA’S CENTRO CULTURAL & BOOKSTORE: 13197-A Gladstone Ave., Sylmar. Open mic, Fridays, 8-10 p.m.
—Falling James
COUNTRY & FOLK
THE CINEMA BAR: 3967 Sepulveda Blvd., Culver City. Robbie Davis, Fri., Jan. 29, 9 p.m., free. Home for Wayward Drummers, Sat., Jan. 30, 9 p.m., free. The Hot Club of L.A., Mondays, 9 p.m., free. The Deltaz, Tue., Feb. 2, 9 p.m., free.
THE COFFEE GALLERY BACKSTAGE: 2029 N. Lake Ave., Altadena. Aireene Espiritu, Britta Lee Shain, Tom Corbett, Bill Valenti, Farrel Droke, Fri., Jan. 29, 7:30 p.m., $18. The MacMammals, Mike Mullins, Sat., Jan. 30, 7 p.m., $20. The Stomptowners, Sun., Jan. 31, 2 p.m., $18; Tim Weisberg, Sun., Jan. 31, 7:30 p.m., $20. David Gans, Mr. Smolin, Craig Marshall, Thu., Feb. 4, 8 p.m., $15.
THE COWBOY PALACE SALOON: 21635 Devonshire St., Chatsworth. Talent Contest, hosted by Chad Watson, Mondays, 8 p.m., free.
THE FRET HOUSE: 309 N. Citrus Ave., Covina. Muriel Anderson, Fri., Jan. 29, 8 p.m., $20.
HAUGH PERFORMING ARTS CENTER, CITRUS COLLEGE: 1000 W. Foothill Blvd., Glendora. Stephanie Bettman & Luke Halpin, Sun., Jan. 31, 2 p.m., $30.
JOE’S GREAT AMERICAN BAR & GRILL: 4311 W. Magnolia Blvd., Burbank. Stereo Cities, Sat., Jan. 30, 9 p.m., free. The Paulie Cerra Organ Quintet, Sun., Jan. 31, 8 p.m., free. The Black Market Trust, Mon.,
LOS ANGELES VAMPIRE WORLD SALON
Here’s an auspicious affair to sink your teeth into, co-presented by Bar Sinister and Endless Night.
Father Sebastian, Kent Kaliber and Victor Magnus host a night for vamps and gorgeous goth-tramps, wherein the club’s mainstage
outdoors is transformed into a vampire salon, with Sebastian on the stage molding and creating custom fangs for patrons.
A costume contest for sharpest looks and bloodiest babes will take place at midnight (prize: two VIP tickets for Endless Night: New Orleans Vampire Ball 2016). Inside, vendors hawk their wicked wares; DJs spin dark wave, industrial and goth; and “purgatory plea-sures” and performances take place upstairs.
Gothic-Gaultier chic, alternative/upscale black, fab fetish or futuristic attire requested.
BOARDNER’S | 1652 N. Cherokee Ave., Hollywood | Sat.. Jan. 30, 10 p.m.-2 p.m. | $10;
$5 with fl yer, $15 after midnight, $20 if not properly attired | 21+ | barsinister.net
Lina In L.A.by Lina Lecaro
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Call our 24 hr. message center anytime(310) 553-95002080 Century Park East
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Feb. 1, 9 p.m., free. Orquesta Charangoa, Wed., Feb. 3, 9 p.m., free.
—Falling James
DANCE CLUBS
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.
AKBAR: 4356 Sunset Blvd., Los Angeles. She Wolf AIDS Life Cycle Fundraiser Dance Party, with DJ Matt Bailey, Sat., Jan. 30, 9:30 p.m.-1 a.m., $5.
AVALON HOLLYWOOD: 1735 Vine St., Los Angeles. Control, with DJs spinning dubstep and more, 19 & over, Fridays, 9:30 p.m.; Bixel Boys, Hoodboi, Daktyl, Promnite, Fri., Jan. 29, 9:30 p.m., $20. Avaland, where DJs are in the house with techno, trance and more, 21 & over, Saturdays, 9:30 p.m.; Armada, Shogun, Omnia, Tristan James, Sat., Jan. 30, 10 p.m., $20. TigerHeat, a night of pop with go-go dancers and special guests, 18 & over, Thursdays, 9:30 p.m.
THE BELASCO THEATER: 1050 S. Hill St., Los Angeles. Renegade Hardware USA Finale, with Loxy & Ink, Vicious Circle, Gremlinz and others, Sat., Jan. 30, 9 p.m., $30 & $60.
BOARDNER’S: 1652 N. Cherokee Ave., Los Angeles. Endless Night: Vampire Salon, at Bar Sinister, Sat., Jan. 30, 9:30 p.m., TBA; Bar Sinister, Hollywood’s dark-wave bastion and goth dungeon, with resident DJs Amanda Jones, John C & Tommy, plus sexy-sinful displays and aerialist distractions, Saturdays, 10 p.m., $10-$15. Blue Mondays, where it’s always the 1980s, a decade of “bad fashion & great music,” with resident DJs, 18 & over, Mondays, 8 p.m., $3-$7. Club Moscow, an indie-pop dance soiree with DJs and live bands, hosted by Keith Wilson, 18 & over, Wednesdays, 8 p.m., $10.
CREATE NIGHTCLUB: 6021 Hollywood Blvd., Los Angeles. Noize Fridays, Fridays, 10 p.m. Arcade Saturdays, Saturdays, 10 p.m.
THE MUSIC CENTER, DOROTHY CHANDLER PAVILION: 135 N. Grand Ave., Los Angeles. Sleepless: The Music Center After Hours, with Dublab DJs, in the Founders Room, Sat., Jan. 30, 11:30 p.m., free.
THE ECHOPLEX: 1154 Glendale Blvd., Los Angeles. Taking Back Tuesday: Emo Night L.A., Tue., Feb. 2, 9 p.m., $5. Dub Club, an eternally mesmerizing night of reggae, dub and beyond from resident DJs Tom Chasteen, Roy Corderoy, The Dungeonmaster and Boss Harmony, plus occasional live sets from Jamaican legends, 21 & over, Wednesdays, 9 p.m., $7. Club Rituals, Thu., Feb. 4, 9 p.m., $5-$18.50.
801 HILL NIGHTCLUB: 801 S. Hill St., Los Angeles. Sound Saturday Nights, Saturdays, 9:30 p.m.-2 a.m. Starts Jan. 30. Thru Feb. 27, free.
EXCHANGE L.A.: 618 S. Spring St., Los Angeles. Awakening, Fridays, 10 p.m. Inception, Saturdays, 10 p.m.
THE FEDERAL BAR: 5303 N. Lankershim Blvd., North Hollywood. DJ Buddy, Sat., Jan. 30, 10:30 p.m., TBA.
FUBAR: 7994 Santa Monica Blvd., Los Angeles. Booty Bump, Fridays, 10 p.m.-2 a.m., free. B.F.D., Thursdays, 10 p.m., free.
GENERAL LEE’S BAR: 475 Gin Ling Way, L.A. DJ Joey Altruda’s Shanghai Noir, Wednesdays, 9 p.m., free.
GRAND STAR JAZZ CLUB: 943 N. Broadway, Los Angeles. Club Underground, with DJs Larry G & Diana Meehan spinning Britpop, post-punk and new wave, 21 & over, Fridays, 9 p.m., $8.
HONEYCUT: 819 S. Flower St., Los Angeles. DJ Ladymonix, DJ Whitney Fierce, waxing disco, Wednesdays, 10 p.m., free.
KING KING: 6555 Hollywood Blvd., Los Angeles. Migues Migs, Marques Wyatt, Big Cee, at the King King finale, Sat., Jan. 30, 9 p.m., $20.
LA CITA: 336 S. Hill St., Los Angeles. Punky Reggae Party, with DJ Michael Stock & DJ Boss Harmony, Fridays, 9 p.m., $5. Doble Poder, with cumbia and norteno bands TBA, Sundays, 2-9 p.m., free; DJ Paw, 21 & over, Sundays, 9 p.m.-2 a.m., free; Soul Patch Sundays, Sundays, 9 p.m., free. Moist Mondays, Mondays, 9:30 p.m., free. Devotion, with DJ Insomniac, Wednesdays, 9 p.m., free.
LA MOTHER: 1627 N. Gower St., Los Angeles. Caturday: Fundraiser Party, with DJ Rory Phillips, Sat., Jan. 30, 8 p.m.-2 a.m., $15-$20.
LOS GLOBOS: 3040 W. Sunset Blvd., Los Angeles. Cut Chemist, Mark de Clive-Lowe, Banginclude, Fri., Jan. 29, 8 p.m., $10. Losco, Paint, MPH, Leemz, Sat., Jan. 30, 10 p.m., $10. That’s a Wave, with Azure, Yung Koconut, Mike B, Rekstizzy and others, Thu., Feb. 4,
9 p.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 NOVEL BAR: 3760 Wilshire Blvd., Los Angeles. Kid Culver, Estimated Prophet, EV-Dub, DJ Flip, 21 & over, Sat., Jan. 30, 6 p.m.-2 a.m., free.
THE REGENT THEATER: 448 S. Main St., Los Angeles. Club 90s: Selena Night, Fri., Jan. 29, 10 p.m., $10.
THE SATELLITE: 1717 Silver Lake Blvd., Los Angeles. Dance Yourself Clean, Saturdays, 9:30 p.m., $5.
SHORT STOP: 1455 Sunset Blvd., Los Angeles. Super Soul Sundays, 21 & over, Sundays, 10 p.m., free.
SOUND NIGHTCLUB: 1642 N. Las Palmas Ave., Los Angeles. Cajmere, Isaiah Martin, Mon., Feb. 1, 10 p.m., $30 (see Music Pick). Lost Frequencies, Wed., Feb. 3, 10 p.m., $15-$25.
THAT ’80S BAR: 10555 Mills Ave., Montclair. ’80s Dance Party, with new wave, old school and freestyle favorites, Fridays, Saturdays, 7 p.m.-2 a.m., $5-$10.
THE THEATRE AT ACE HOTEL: 929 S. Broadway, Los Angeles. Rob Roy, Moxie Raia, Icy Hot, Fri., Jan. 29, 8:30 p.m., free. Dublab Vibing Time, with Dublab DJs, Sundays, 1 p.m., free.
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.
—Falling JamesFor more listings, please go to laweekly.com.
C O N C E R T S
FRIDAY, JAN. 29
BEAUTY IN THE BREAKDOWN: 8 p.m., $12. The Teragram Ballroom, 1234 W. Seventh St.
BOBBY MCFERRIN: With Taylor McFerrin, 8 p.m., $30-$105. Valley Performing Arts Center, 18111 Nordhoff St., Northridge.
CELTIC NIGHTS: 8 p.m., $40-$60. Cerritos Center for the Performing Arts, 12700 Center Court Drive.
CHRISTINE EBERSOLE: 7 p.m., $75-$135. Wallis Annenberg Center for the Performing Arts, 9390 N. Santa Monica Blvd., Beverly Hills.
THE DEVIL MAKES THREE: 7 p.m., $25. The Wiltern, 3790 Wilshire Blvd., Los Angeles.
GO DR. DOG: 8 p.m., $30. The Observatory, 3503 S. Harbor Blvd., Santa Ana.
GO ELIADES OCHOA: With Barbarito Torres, 8 p.m., TBA. Alex Theatre, 216 N. Brand Blvd., Glendale.
GRITS & BISCUITS: 9 p.m., $20. Hollywood Palladium, 6215 W. Sunset Blvd., Los Angeles.
GUTTERMOUTH, THE DWARVES: With Pulley, Sidekick, Sederra, 7 p.m., TBA. The Yost Theater, 307 N. Spurgeon St., Santa Ana.
GO JENNY LEWIS & THE WATSON TWINS: With M. Ward, 7 p.m., $39.50. Immanuel Presbyterian Church, 3300 Wilshire Blvd. See Music Pick.
GO KID KOALA: 8 p.m., $19-$49. UCLA, Royce Hall, 340 Royce Drive, Westwood. See GoLA.
MAJICAL CLOUDZ: 8 p.m., $20. Hollywood Forever Cemetery, 6000 Santa Monica Blvd., Los Angeles.
MIKE GORDON: 8 p.m., $30. The Fonda Theatre, 6126 Hollywood Blvd., Los Angeles.
R5: With Ryland, 6 p.m., $25-$35. Fox Theater Pomona, 301 S. Garey Ave., Pomona.
SHATNER’S WORLD: 8 p.m., $37.50-$69.50. Club Nokia, 800 W. Olympic Blvd., Los Angeles.
SATURDAY, JAN. 30
THE BLASTERS: With The Sun Demons, Big Sandy, Danny Dean, The Honeydrops, 8 p.m., TBA. The Yost Theater, 307 N. Spurgeon St., Santa Ana.
GO BUYEPONGO: With Cut Chemist, Jeremy Sole, Dexter Story, Changüí Majadero, 8:30 p.m., $15. El Rey Theatre, 5515 Wilshire Blvd. See Music Pick.
DSB: 8 p.m., $20-$22.50. City National Grove of Anaheim, 2200 E. Katella Ave., Anaheim.
EXCISION: With DJ Figure, Bear Grillz, 9 p.m., $25-$50. Hollywood Palladium, 6215 W. Sunset Blvd.
GO JENNY LEWIS & THE WATSON TWINS: With M. Ward, 7 p.m., $39.50. Immanuel Presbyterian Church, 3300 Wilshire Blvd. See Music Pick.
GO JULIA HOLTER: With Circuit des Yeux, 8 p.m., $18. The Teragram Ballroom, 1234 W. Seventh St., Los Angeles. See Music Pick.
KITTEN: With Hunny, Olivver the Kid, 9 p.m., $19.50. The Fonda Theatre, 6126 Hollywood Blvd.
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GO NIGHT ON BROADWAY: With Aloe Blacc, Ozomatli, Bullet & Snowfox, The Spazmatics, The Cold & Lovely, 5 p.m., free, on Broadway, between Third & Seventh sts., Los Angeles. With Phat Cat Swinger, Burgundy Bells, Lost Angels, Diamondback Annie, Miss Tosh, 5 p.m., free; at Million Dollar Theatre, 307 S. Broadway, Los Angeles. With Lucent Dossier Experience, Scott Hove, plus a short-film festival, 5:30 p.m., free; at Los Angeles Theatre, 615 S. Broadway, Los Angeles. With Zen Arts, The No Vacancy Orchestra, 5:30 p.m., free; at Orpheum Theatre, 842 S. Broadway, Los Angeles. With mu-sic from Clouds Below, plus Patrick McPheron’s science-fiction fantasy Invasion, 5:30 p.m., free; at Palace Theatre, 630 S. Broadway, Los Angeles. With Rebel Bingo, 5:30 p.m., free; at Globe Theatre, 740 S. Broadway, Los Angeles. With James Fauntleroy, Calentura, Thee Commons, Slow Hollows and others TBA, 6 p.m., free; at The Theatre at Ace Hotel, 929 S. Broadway, Los Angeles. With Reggie Watts, Rachel Bloom, Baked, Mac Sabbath, The Blue Truth, 6 p.m., free; at The Tower Theatre, 802 Broadway. See GoLA.
RAEKWON: 8 p.m., $5. The Observatory, 3503 S. Harbor Blvd., Santa Ana.
SESHOLLOWATERBOYZ: 9 p.m., $20. Club Nokia, 800 W. Olympic Blvd., Los Angeles.
STS9: 7:30 p.m., $29.50. The Wiltern, 3790 Wilshire Blvd., Los Angeles.
TAMIR HENDELMAN: 7 p.m., free. St. Francis Episcopal Church, 2200 Via Rosa, Palos Verdes Peninsula.
YAMATO: 8 p.m., $35 & $45. Beckman Auditorium, Caltech, 332 S. Michigan Ave., Pasadena.
SUNDAY, JAN. 31
CHINESE NEW YEAR: 8 p.m., TBA. Saban Theatre, 8440 W. Wilshire Blvd., Beverly Hills.
GO LOS LOBOS: With Ballet Folklórico Mexicano, 7:30 p.m., $35-$65. Valley Performing Arts Center, 18111 Nordhoff St., Northridge. See Music Pick.
MARTIN MKRTCHYAN: 7 p.m., TBA. Dolby Theatre, 6801 Hollywood Blvd., Los Angeles.
MICKEY AVALON, DIRT NASTY: 8 p.m., $5. The Observatory, 3503 S. Harbor Blvd., Santa Ana.
RODNEY CARRINGTON: 8 p.m., $40-$45. City National Grove of Anaheim, 2200 E. Katella Ave., Anaheim.
MONDAY, FEB. 1
GO STEEL PULSE: 8 p.m., $28. The Observatory, 3503 S. Harbor Blvd., Santa Ana.
TUESDAY, FEB. 2
GO MERLE HAGGARD: 7 p.m., TBA. Fox Performing Arts Center, 3801 Mission Inn Ave., Riverside.
GO UNKNOWN MORTAL ORCHESTRA: With Lower Dens, 8 p.m., $20. The Observatory, 3503 S. Harbor Blvd., Santa Ana.
WEDNESDAY, FEB. 3
JAUZ: 8 p.m., $30. The Observatory, 3503 S. Harbor Blvd., Santa Ana.
GO MERLE HAGGARD, KRIS KRISTOFFERSON: 8 p.m., $68-$125. Saban Theatre, 8440 W. Wilshire Blvd., Beverly Hills.
NILE: 8 p.m., $22-$25. City National Grove of Anaheim. GO UNKNOWN MORTAL ORCHESTRA: With
Lower Dens, 9 p.m., $25. The Fonda Theatre, 6126 Hollywood Blvd., Los Angeles. See Music Pick.
THURSDAY, FEB. 4
BAIO: 8 p.m., $20. El Rey Theatre, 5515 Wilshire Blvd. GO GODSPEED YOU BLACK EMPEROR: With
Xylouris White, 8 p.m., $35. Immanuel Presbyterian Church, 3300 Wilshire Blvd., Los Angeles.
JAUZ: 9 p.m., $27.50. The Fonda Theatre, 6126 Hollywood Blvd., Los Angeles.
JHENE AIKO: 8 p.m.; $35. The Observatory.—Falling James
C L A S S I C A L & N E W M U S I C
CALICO WINDS: The quintet performs a lunchtime concert, Wed., Feb. 3, noon, free. Glendale City Seventh-Day Adventist Church, 610 E. California Ave., Los Angeles.
GO CANDIDE: David Schweizer directs and Kristof Van Grys perre conducts Long Beach Opera’s presentation of Leonard Bernstein’s opera, which features Todd
Strange in the title role and versatile soprano Jamie Chamberlin as Cunegonde, Sat., Jan. 30, 2:30 & 8 p.m., $29-$137. Center Theater, 300 E. Ocean Blvd., Long Beach Convention & Entertainment Center.
THE CONEJO VALLEY YOUTH ORCHESTRA: Sun., Jan. 31, 3 p.m., $16-$21. Fred Kavli Theatre, Thousand Oaks Civic Arts Plaza, 2100 E. Thousand Oaks Blvd.
DAVID LISKER: The violinist stitches together Mozart’s Sonata in B-flat major, K. 454; and Schubert’s Fantasie for Violin and Piano, D. 934, Sun., Jan. 31, 6 p.m., free. LACMA, 5905 Wilshire Blvd., Los Angeles.
THE EULER STRING QUARTET: The group debuts new work by local composers, Sun., Jan. 31, 8 p.m., $5-$10. Art Share L.A., 801 E. Fourth Place, Los Angeles.
EXPECTANCY: Jacaranda serves up musical portions by Thomas Adès, Gerald Barry and Peter Maxwell Davies, Sat., Jan. 30, 8 p.m., $45. First Presbyterian Church, 1220 Second St., Santa Monica.
GEHRY + MUSIC: Esa-Pekka Salonen, Deborah Borda and Stephanie Barron chat with architect Frank Gehry about his design for Disney Hall, Thu., Feb. 4, 8 p.m., $25. Disney Hall, 111 S. Grand Ave.
HSIN-I HUANG & BLAKE POULIOT: Pianist Huang and violinist Pouliot perform Beethoven’s Kreutzer Sonata, Wed., Feb. 3, 7:30 p.m., TBA. Cerritos Center for the Performing Arts, 12700 Center Court Drive.
GO L.A. CHAMBER ORCHESTRA: Bassoonist Kenneth Munday is accompanied by LACO oboists Claire Brazeau and Allan Vogel and harpsichord-ist Patricia Mabee for selections by Boismortier, Rameau, Telemann, Handel, Zachow and Fasch, Thu., Feb. 4, 7 p.m., $57. The Colburn School of Music, Zipper Concert Hall, 200 S. Grand Ave., Los Angeles.
GO L.A. MASTER CHORALE: Grant Gershon directs the chorus in Verdi’s Requiem, which features soloists Amber Wagner, Michelle DeYoung, Issachah Savage and Morris Robinson, Sat., Jan. 30, 2 p.m.; Sun., Jan. 31, 7 p.m., $29-$129. Walt Disney Concert Hall, 111 S. Grand Ave., Los Angeles.
GO L.A. PHILHARMONIC: Conductor laureate Esa-Pekka Salonen returns to town to administer Mahler’s First Symphony, and pianist Yefim Bronfman reels in Beethoven’s Piano Concerto No. 1 in C major, Op. 15, Jan. 29-30, 8 p.m.; Sun., Jan. 31, 2 p.m., $20-$191. Lee Mills conducts Debussy’s La Mer in a con-cert for children, Sat., Jan. 30, 11 a.m., $21-$25. Walt Disney Concert Hall, 111 S. Grand Ave., Los Angeles.
PACIFIC SYMPHONY: Buttressed by Pacific Chorale, organists Paul Jacobs and Christoph Bull step on the gas for Stephen Paulus’ Concerto No. 4; the world premiere of Wayne Oquin’s Resilience; and William Bolcom’s Humoresk, Feb. 4-6, 8 p.m., $25-$110. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa.
PASADENA COMMUNITY ORCHESTRA: Pianists Jungwon Jin and Peter Green duel over Poulenc’s Concerto for Two Pianos, and Bethany Pflueger con-ducts Rossini’s Overture to an Italian Girl in Algiers and Beethoven’s Seventh Symphony, Fri., Jan. 29, 8 p.m., free. First Church of the Nazarene, 3700 E. Sierra Madre Blvd., Los Angeles.
REGULO MARTINEZ-ANTÓN: The pianist trots out selec-tions by Granados, Robert Schumann, Chopin and Liszt at a recital, Sun., Jan. 31, 7 p.m., $20. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd.
RIVERSIDE COUNTY PHILHARMONIC: Sat., Jan. 30, 7:30 p.m., $31-$101. Fox Performing Arts Center, 3801 Mission Inn Ave., Riverside.
GO THE ST. LOUIS SYMPHONY: David Robertson conducts the visiting orchestra in Olivier Messiaen’s Des canyons aux étoiles in a visually enhanced mul-timedia presentation, Tue., Feb. 2, 8 p.m., $20-$57. Walt Disney Concert Hall, 111 S. Grand Ave.
TRIO SETTECENTO: The strings-harpsichord ensemble wanders through sonatas by J.S. Bach, Handel, Corelli and Veracini, Sat., Jan. 30, 1, 3 & 5 p.m., $75. Wayfarers Chapel, 5755 Palos Verdes Drive S., Rancho Palos Verdes.
THE USC THORNTON SYMPHONY: Conductor Carl St. Clair lays down Mahler’s Ninth Symphony, Fri., Jan. 29, 7:30 p.m., free. USC, Bovard Auditorium, 3551 Trousdale Parkway, Los Angeles.
THE WOMAN AT THE WINDOW: THE TRIANGLE FACTORY FIRE: The L.A. Master Chorale Chamber Singers and various student musicians perform the debut of a new oratorio, based on the tragic 1911 fire in New York City and written by 85 high school choir members, Thu., Feb. 4, noon; Fri., Feb. 5, 7 p.m., free. Ramon C. Cortines School of Visual & Performing Arts, 450 N. Grand Ave., Los Angeles.
—Falling JamesFor more listings, please go to laweekly.com.
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945Phone Services
L
To AdvertiseIN LA WEEKLY
ADULT CLASSIFIEDS
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Dancers/ToplessBarmaids
Security GuardsAttractive. Will train, no exp nec. Excellent tips.
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First Executive Hiring attractive ladies for high end escort agency.
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To AdvertiseIN ADULT CLASSIFIEDS
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11-FINAL-012816.indd 57 1/26/16 7:36 PM
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945Phone Services
L
To AdvertiseIN LA WEEKLY
ADULT CLASSIFIEDS
310.574.7312
925Adult Employment
Always HiringWe're hiring model like girls, 21 to 35 yrs, from all ethnic backgrounds to work for our busy
massage spa. You must be very open minded
and reliable. Great $. Call
310-328-8303323-424-2759
Dancers/ToplessBarmaids
Security GuardsAttractive. Will train, no exp nec. Excellent tips.
2 SFV locations.(818) 340-1188(818) 999-3187
First Executive Hiring attractive ladies for high end escort agency.
Also hiring drivers. Cash daily. 310-281-1103
985Adult Clubs- Date Line
NUDE SPA RESORT NUDE Lifestyles Resort Hotel Couples Only luxury NUDE spa Sensual Hedonism IN LA Day Club and Hotelwww.nudespa.com24 hour mineral water pools 24 hour dance club760-251-4744
965Male Masseur
!AWESOME!Handsome muscular
pro-trained Irish athlete
gives strong, sensual fullbody massage
for men. Clean, private.
Tom 323-658-8860 No texts. Late calls ok.
0997Bondage / S&M
Sanctuary Studios(Formerly Passive Arts)7000+ sq ft fully equipped
BDSM facility. Open 7 days.
310-910-0525SanctuaryStudiosLAX.com
The DominionLA's most respected
BDSM club since 1980!Safe * Sane * ConsensualFemale owned & operated
310-559-7111www.Dominionsm.com
HOT HORNY HUNG BI STUDS
Waiting to tickle your fancy!!
Try for Free 18+ Call 323-214-1111
RIPPED MUSCLE JOCKS AND BEEFY HAIRY BEARS!!HOT, HARD and on the line
NOW!!Call now. FREE to try! 18+
Call 323-214-1111
FIND YOUR SOUL MATE!
Call310-504-2793
or 800-716-2764
Try FREE!
"MEET PEOPLE FROM YOUR OWN
LOCAL AREA!!" Want to add a little spice to your life, discover and meet new people from
your own local area? Give us a try!!
It's always FREE to browse hundreds of per-
sonal ads and always FREE to record your own personal greeting for
others to hear! Call now!
(818) 861-0018(310) 873-0533(323) 648-1149(714) 426-0803 (949) 655-0035 (805) 601-1127
Free Code: LA Weekly
FREE TO LISTENAND REPLY TO ADS
FIND REAL GAY MEN NEAR YOU
(323) 648-3999
www.megamates.com 18+
(323) 648-3999(323) 648-3999W. Hollywood:
(310) 883-2299(323) 648-3999(323) 648-3999(310) 883-2299Santa Monica:
(818) 996-7000The Valley:
AMERICA’S HOTTEST GAY CHATLINE! 213-316-0888
TRY FOR FREE
REAL PEOPLE, REAL DESIRE,
REAL FUN.
Try FREE: 213-316-0225More Local Numbers: 1-800-926-6000
Ahora españolLivelinks.com 18+
WHO ARE YOU AFTER DARK? 213-316-0880
TRY FORFREE
TRY FORTRY FOR
The hottest place to meet Latinos!
fonochatlatino.com 18+ More Local Numbers: 1-855-831-1111Try FREE: 213-316-0876
Please contactApostle Clinical Trials
(562) 437-47801040 Elm Avenue Suite 309
Long Beach, CA 90813
Concerned aboutSchizophrenia?
If so, Apostle Clinical Trials is currently enrolling volunteers for a clinical research
study using an investigational productthat may help reduce symptoms.
Qualifi ed participants may receive:
- Study-related medical exams and study medication at no cost- Compensation for time and travel
www.apost lec l in i ca l t r i a l s . com
Automotive
421Used Auto
AUTOS WANTEDCASH FOR CARS: Any Car/Truck. Running or Not! Top Dollar Paid. We Come To You! Call For Instant Of- fer: 1-888-420-3808 www.cash4car.com
Health
810Health
PENIS ENLARGEMENT MEDI- CAL PUMP. Gain 1-3 Inches Permanently! Money back guarantee. FDA Licensed since 1997. Free Brochure: Call (619) 294-7777www.drjoelkaplan.com
810Health
Concerned about Schizophrenia?
If so, Apostle Clinical Trials is currently enrolling volunteers for a clinical research study using an investigational product that may help reduce the symptoms. Quali�ed participants may receive: Study-related medical ex- ams and study medica- tion at no cost and com- pensation for time and travel. (562)437-4780Apostleclinicaltrials.com
ELIMINATE CELLULITE and Inches in weeks! All natural. Odor free. Works for men or women. Free month supply on select packages. Order now! 844-244-7149 (M-F 9am-8pm central)
816Health/Healing
ANXIOUS? DEPRESSED? RELATIONSHIP ISSUES? Fuller Psychological &
Family Services can help. Call Today 626.584.5555
Chocolate VegasBrothel Beauty
Gorgeous / Outcall only702-550-8961
935Female Escorts
To AdvertiseIN ADULT CLASSIFIEDS
310.574.7329
11-FINAL-012816.indd 57 1/26/16 7:36 PM
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FICTITIOUS BUSINESS NAME STATEMENT2015318605The following person is doing business as:Fein Image, Fine Image9716 El Arco DriveWhittier, CA 90603These businesses are con- ducted by a sole proprietor. The registrar commenced to transact business under the �ctitious business un- der the names listed above in 2015. Signed: Brian Feinzimer NOTICE - THIS FICTITIOUS NAME STATEMENT EXPIRES FIVE YEARS FROM THE DATE IT WAS FILED IN THE OFFICE OF THE COUNTY CLERK. A NEW FICTITIOUS BUSINESS NAME STATEMENT MUST BE FILED PRIOR TO THIS DATE. The �ling of this statement does not of itself authorize
ORDER TO SHOW CAUSE FOR CHANGE OF NAME Case No. ES019593 Superior Court of California County of Los Angeles lo- cated at: North Central Dis- trict 600 E. Broadway, Rm 273, Glendale, CA 91206. Filed On January 22, 2016 In the matter of petitioner Maria Santos Bispo. It is hereby ordered that all persons interested in the above-entitled matter of change of name appear be- fore the above-entitled court as follows to show cause why the petition for change of name should not be granted. Court Date: 04/27/2016, at 8:30 am, Dept E, Located at North Central District 600 E. Broadway, Rm 273, Glen- dale, CA 91206. And a peti- tion for change of name having been duly �led with the clerk of this Court, and it appearing from said peti- tion that said petitioner de- sires to have his name changed from: Maria Santos Bispo to Marí Saint Scheib. Now therefore, it is hereby ordered that all persons in- terested in the said matter of change of name appear as indicated herein above then and there to show cause why the petition for change of name should not be granted. It is further or- dered that a copy of this order be published in the LA Weekly, a newspaper of general circulation for the County of Los Angeles, once a week for four (4) successive weeks prior to the date set for hearing of said petition. Set to publish 01/28/16, 2/04/16, 2/11/16, 2/18/16.Dated: January 22nd, 2016.
STATEMENT OF DAMAGESPaci�co A. Aves. 241 South Alexandria Avenue #2 Los Angeles, California 90004. Plaintiff, Paci�co A. Aves.
Superior Court of California, County of Los Angeles 111 North Hill Street, Los An-
geles. Central District. Plain- tiff; Paci�co A. Aves. Defen- dant; Roberto Reyes. Case
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Music
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New Age
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Notices
656Legal Notices
656Legal Notices
656Legal Notices
ORDER TO SHOW CAUSE FOR CHANGE OF NAME Case No. LS027470 Superior Court of California County of Los Angeles lo- cated at: Van Nuys Court- house West 14400 Erwin Street Mall Van Nuys, CA 91401. Filed On January 8, 2016 In the matter of peti- tioner CHRISTINE P. NAAOM. It is hereby ordered that all persons interested in the above-entitled matter of change of name appear be- fore the above-entitled court as follows to show cause why the petition for change of name should not be granted. Court Date: 02/26/2016, at 8:30 am, Lo- cated at Van Nuys Court- house West 14400 Erwin Street Mall Van Nuys, CA 91401. And a petition for change of name having been duly �led with the clerk of this Court, and it appearing from said petition that said
Services
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petitioner desires to have his name changed from: CHRISTINE P. NAAOM to CHRISTINE MKRTCHIAN NAAOM. Now therefore, it is hereby ordered that all per- sons interested in the said matter of change of name appear as indicated herein above then and there to show cause why the peti- tion for change of name should not be granted. It is further ordered that a copy of this order be published in the LA Weekly, a newspa- per of general circulation for the County of Los An- geles, once a week for four (4) successive weeks prior to the date set for hearing of said petition. Set to pub- lish 01/28/16, 2/04/16, 2/11/16, 2/18/16.Dated: January 8th, 2016.
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Public Relations Specialist: Write or select material for release to communications media. Bachelor's in com- munication study or related �eld req'd., ENC, Inc., 19811 S. Hamilton Ave., Torrance, CA 90502.
Social Worker: Interviews cli- ents and their families, co- ordinates and plans pro- grams, offer activities to meet their social and emo- tional needs. The position requires Master's degree in social work, psychology or related �elds. Sherman Way Adult Day Health Care Cen- ter, Inc., 18301 Sherman Way, Reseda, CA 91335.
Software Engineer Develop/create/modify software. BS in CS or CIS. CV to HR. Valor Communi- cation, Inc. 18071 Arenth Ave., City of Industry, CA 91748
Sr. QA Automation Engineer sought by Defy Media in Los Angeles, CA to develop & execute software test plans to identify software issues & their causes. Req Master’s degree or foreign equiv in Comp Sci, Comp Eng, Infor Syst, or rel �eld & 2yrs exp. writing automated tests with Selenium using C#; uti- lizing Firebug, Fiddler & Charles tools, SVN, Git, & Agile development work- �ow; with 1yr herein to in- clude experience testing mobile applications on iOS & Android. Apply at www.de- fymedia.com/about-us/ca- reers & select Sr. QA Auto- mation Engineer.
Employment
Financial AnalystQuantitative analysis for real estate/investment pro- grams. Master degree. CV to HR, Summit Mortgage Bankers, Inc., 388 E. Valley Blvd, Suite 121, Alhambra, CA 91801
SECURITY ENGINEER. Deploy and manage software se- curity infrastructure; write scripts to boost security performance. Riot Games, Inc.; 12333 W. Olympic Blvd., Los Angeles, CA 90064. Mail resume. Ref job#ME153.
TELEMARKETING
Toner/cartridge co. exp. sales people needed in
Santa Monica; FT/PT; starts $12 - $20 /hr +
bonuses + Commission - Call Gary Stevens
866-403-8651
TELEMARKETINGHome Improvement Company hiring experi- enced telemarketers up to $15.00 /hr + $200.00 Sales Bonuses Mon-Fri.Immediate hire. Sign on Bonus (323)319-6019 or (844) 861-1068
TELEMARKETINGToner. Sign on Bonus. Be experienced in selling toner. Work at home is ok. 800-723-4751
TO ADVERTISE IN
LCLASSIFIEDS310.574.7303
660Public Notices
PUBLIC NOTICEPlease take notice that Jennifer R. Gonzalez,
previously of 909 Oak- wood, Montebello CA, is
the owner of unpaid funds in the approxi-
mate amount of $35,000. Jennifer R. Gonzalez is to contact the office of the Receiver in Case
#BS153262 to claim the funds by emailing rele-
vant contact information to legaladmin@calre-
ceivers.com
the use in this state of a �c- titious business name in vi- olation of the rights of an- other under federal, state, or common law (see Sec- tion 14411 et seq., Business and Professions Code.) This statement was �led with the County Clerk of Los An- geles on: 12/18/2015 Pub- lish: 1/07/16, 1/14/16, 1/21/16, 1/28/16.LA Weekly
Sales Coordinator
Account Executive
send resumeS to:[email protected]
is seeking a MultiMedia
AND
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For more information on this position,
visit : LAweekly.com/About
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