MARCH 20-26, 2015 / VOL. 37 / NO. 18 / LAWEEKLY.COM

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PUBLISHER Mat Cooperstein

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A CONSIDERABLE TOWN...8 A Homeless Team Heads to the Rome Marathon: An L.A. judge inspires Skid Row addicts to become a lean running machine. BY LIBBY MOLYNEAUX.

NEWS...10 Death by Cop in WeHo: A year ago, L.A. Sheriff’s deputies mistakenly gunned down John Winkler. But the story begins in Seattle. BY RICK ANDERSON.

EAT & DRINK...21 BESHA RODELL says Love & Salt brings originality and good vibes to Manhattan Beach.

GO LA...29 Celebrate the Persian New Year, escape from a stadium, debate the new LACMA plan, learn about John Hughes and other things to do this week.

ARTS...32 CATHERINE WAGLEY makes this week’s ART PICKS, which include trees wearing fur coats and Guillermo del Toro’s studio

helping to make an ogre’s severed arm.

STAGE...34 Our critic STEVEN LEIGH MORRIS reports on what L.A. theater will look like after small union spaces have to pay minimum wage, plus reviews of Laura Linney at the Geffen Theatre and Trevor at Circle X.

FILM...38 AMY NICHOLSON reviews Insurgent and Al Pacino in Danny Collins, plus a documentary about The Police, YOUR WEEKLY MOVIE TO-DO LIST and other movies OPENING THIS WEEK.

MUSIC...45 BEN WESTHOFF argues that the late, great Eazy-E belongs on rap’s Mount Rushmore. Gueorgui Linev of electro-soul group Kan Wakan tells JEFF WEISS about his long journey from Bulgaria to L.A. Plus: HENRY ROLLINS: THE COLUMN!, LINA IN L.A., listings for ROCK & POP, JAZZ & CLASSICAL AND MORE.

LETTERS...6

ADVERTISING CLASSIFIED...66 EMPLOYMENT...66 REAL ESTATE/RENTALS...66 BULLETIN BOARD...67

ON THE COVER: PHOTOGRAPHY BY PETER DOKUS

| MARCH 20-26, 2015 // VOL. 37 // NO. 18

ICONTENTS ⁄⁄

50

HOW DID THIS GUN END UP IN A MARIJUANA DISPENSARY? ... 13An untraceable weapon leads to wrongful charges against a dispensary worker and a patient — and to a secret gang of rogue deputies. BY GENE MADDAUS

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Kiss My Magic Square Readers responding to Andy Hermann’s essay, “Great, Now ‘Blurred Lines’ Has Ruined the Entire Music Industry,” were pretty ticked off by the court’s copyright-infringement decision, but a supporter of the ruling got a memorable last word.

Sward421 tried for a moderate posi-tion, saying, “My friend’s band has a great song they play live. It has an intro beat ‘borrowed’ from another song. It’s thematic and recurs. It’s a repeating 10-note sequence. I believe infringement happens after six? The lyrics and other writing is original, written by their own band. Th ey have tried to alter it enough to avoid infringement but haven’t succeeded, so they only play it live. … If the current laws don’t serve the music being produced today, they need to rewrite them. However, current cases need to be judged on exist-ing law.”

But Kamikrazee wrote, “It is hardly the fi rst [song] to sail very close to the (break-ing) wind in terms of beat, chord progres-sion or damn near any other parameter any lawyer can think of. All I can think of is, ‘Where is ASCAP in all of this?’ ’’ And Su-perWittySmitty noted, “I like both songs and turn the volume up when either one comes on the car radio. So sue me.”

Pianoroyal thought the ruling was thanks to an openly biased jury keen to stick it to a big company: “Most of the lawsuits are settled out of court. The com-panies know that no matter how right they are, the jury most of the time sides with the plaintiff . If a woman sues [McDonald’s] for spilling hot coff ee, and such a powerful corporation loses, it means jurors simply decided against someone they disliked.”

But Bigandthelittle begged to diff er, writing, “Th is article couldn’t be any farther from the truth if it tried. Th e [rul-ing] helps the music industry in so many ways. Protection of intellectual property promotes creativity and allows musicians to dedicate their lives to their art. When hack pop stars and their hack writers copy and regurgitate real composers’ music, and then get away with it, it takes the money out of the creative people’s hands and puts it in Pharrell’s, Kanye’s, Thicke’s, etc.  … This article is just an example of non-musicians butting their heads into crap they don’t know about. It’s like how NPR will only ask musical guests about their lyrics. Write the article when you complete a magic square without using your fi ngers to count the intervals. Oh yeah, and also fi gure out what intervals are. It’s how the Gayes won the case.”

Smart Too LateFilm critic Amy Nicholson’s interview with Mike Tyson, “Old Too Soon, Smart Too Late,” about his new boxing documentary, drew warm support from readers. Danilo_es wrote, “Wow. … I have new admiration for Mike Tyson. Gotta see his show now.”

CorrectionIn last week’s feature, “Double Murder in the Mojave,” we reported that Mary Sulli-van gave birth in Barry Berman’s cottage. The birth was in a nearby cottage.

| Comments //

WHY DO MEXICANS LOVE TO DANCE?

DEAR MEXICAN: Not long ago, I at-tended a Los Tigres del Norte concert at a small hall with no dance floor. Th e people attending were supposed to sit down and enjoy the music. Five minutes into the music, these jumping beans started dancing in the aisle. Within minutes, half of the attendees were going up and down the aisles dancing to the music. It’s not the fi rst time I’ve seen Mexicans create impro-vised dance fl oors. Why do Mexicans love dancing so much?

— Lambada Louie

DEAR GABACHO: Anyone who needs to ask why people dance to Los Tigres del Norte — the norteño supergroup that combines traditional polka beats with socially conscious lyrics to create something that’s part Clash, part Law-rence Welk and puro mexicano — has no soul or is a gabacho. How can you not sway to their metronomic bass, their lush accordion trills, their canned sound e f fects , member Hernán Hernández’s mexcelente Mexi-mullet?

Mexican music is among the most danceable outside Brazil because its practitioners understand that nalga-shaking stirs humanity into the realm of ecstasy. Almost all the genres that const i tute Mexican popular music — the aforementioned norteño, the brass-band strut of banda sinaloense, son jarocho’s twinkling harps and guitars, even the dark riff s of Mexican heavy metal — put the focus on rhythms rather than lyrics (the exception is ranchera, the domain of drunkards and macho pussy men).

But dancing for Mexicans is more than a mere physical act . Every hallmark moment in Mexican society centers on dances — weddings, bap-tisms, informal gatherings, birthdays, anniversaries. More noteworthy are the dances held by hometown benefi t associations that raise billions of dol-lars for the rebuilding of villages in Mexico.

Tellingly, Mexican society does not consider girls and boys to be women or men until they begin to dance. Once they’re eligible to dance, Mexicans are eligible to take care of their commu-nity, too. Mexicans know that dancing solidifies trust, creates community, repairs the injured civic and personal soul. Besides, it’s a great way for Mexi-can adolescents to grope one another in a parent-approved environment.

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HOMELESS HEAD OUT TO ROME MARATHONA judge inspired a group of Skid Row addicts to becomea lean competitive running machine

BY LIBBY MOLYNEAUX

It’s 5:30 a.m. on a recent Thursday at the Midnight Mission, corner of Sixth and San Pedro streets, the heart of homelessness. It’s still dark.

Inside, some 250 men call the Mission home. Outside, in a gated

courtyard, homeless people are allowed to gather and sleep. At this hour many are in tents, but many more are up and about. The scene is reminiscent of the makeshift campouts during extensive airport fl ight delays: overstuff ed old suitcases, pushcarts piled high. Except nobody here is catching a plane.

Soon it will be light, and the runners of the Skid Row Running Club will emerge from the Mission. It’s one of the last prac-tice runs before the group travels to Italy for the 2015 Rome Marathon on March 22.

Today, they’ll do seven miles. Saturday, they’ll do 20.

The smell of marijuana smoke is all around. A few people in wheelchairs are selling cheap cigarettes.

“They’re coming out. Rolling video,” an-nounces Gabi Hayes. She and her husband, Mark, are documentary fi lmmakers shoot-ing Skid Row Marathon.

A homeless man who chooses not to give his name approaches the camera crew. He knows the group is off to Rome, and he’s a fan. “Hey, you should take some of us with you to cheer you on,” he off ers.

The runners appear amid an almost red carpet–like hubbub and plenty of high-fi ving: Donald, Mody, Rebecca, Eduardo, Oscar, Jonathan, David and Brian — each has his or her own backstory worthy of a movie-of-the-week. Ben, who moved out

of the Midnight Mission in 2013 and now has his own room in Culver City, will join them later.

This group of homeless runners was formed by Superior Court Judge Craig Mitchell in 2012, and it’s a good thing he’s around for the dawn run. Some of the run-ners are on “lockdown” and need Mitchell to sign them out.

“I leave my authority fi gure persona at the courthouse,” Mitchell says. “I run as a friend — hopefully a trusted friend.  Usually I end up pairing off with one or two run-ners, at which point we talk about matters ranging from the trivial to the profound.”

In the middle of Sixth Street — there’s virtually no traffi c except for the SUV used by the fi lm crew — the judge gives the run-ners a brief pep talk.

He congratulates David on becoming “gainfully employed,” and everyone ap-plauds. David, an artist, lived on the streets of Skid Row under a blue tarp for 10 years. Now he’s clean and has an apartment in South Central and a job as a drug coun-selor.

Practice runs are most Mondays, Thurs-days and Saturdays. The Hayeses have been fi lming their documentary for two years, but most of the time when they come to Skid Row, they don’t bring cameras, preferring just to run with the group.

“For me, it’s just to support the guys,” Gabi says. “We’re supposed to be close to them and help them transition back into society. And I think just being there, you feel like they appreciate it when you show up.”

Gabi, who is petite, sweet-tempered and speaks with a gentle German accent, is the runner in the family, though Mark, a good-humored ex–New Yorker, did more than

his fair share until he hurt his hip. The two met when Mark was traveling in

East Germany. They were married before the fall of the Berlin Wall. After they settled in the United States, they produced the 2011 doc One Germany, The Other Side of the Wall.

“They all see Gabi as the champion, this Wonder Woman,” Mark says. “She is among the fastest in the group, if not the fastest. She’s up there at the front and always circling around and catching up with each person. I was always in the rear with Rafael.”

Rafael has been with the group the lon-

gest and wrote to Judge Mitchell, while he was serving nearly 30 years for a murder conviction, about how he turned his life around.

“Rafael and I enjoyed a friendship out-side of the running club,” Mitchell explains. “He asked to join, which I thoroughly encouraged.  He is now the one I look to to help new runners who are just adjust-ing to the rigors and demands of distance running.”

Arguably L.A.’s most physically fi t judge, on Mondays and Thursdays Mitchell bikes

from his home in Pasadena to downtown and dons his running gear in his chambers before joining the group.

His commitment is inspiring: He pays for their running shoes and covered four run-ners’ airfare to Africa to run in the Accra Marathon in Ghana last year.

Mitchell explains, “I fi nd that people in recovery are some of the most welcoming and honest people I have ever met.  And when you start running, I’m not ‘the judge’ and they’re not ‘homeless.’  We are all just trying to cover the distance.”

Mark has watched that dynamic unfold, and says, “What I’ve learned from [Mitch-ell] is that you do not judge a book by its cover. You have to peel away. If you look at these people who are living on the street, they have just as much potential as anyone else, and that’s proven to be true.”

He says this philosophy bonds the group and gives them hope. “The judge is not a savior. He’s the ringleader. The coach. He likes to run. He’s already downtown, and fi gures, ‘What the hell. Let’s run.’ It’s kind of nice.”

Since fi lming began in 2013, Rebecca and her son have moved out of the Mission’s family housing into their own apartment, and she has a job as a surgical assistant.

Ben, a musician with neck tattoos, joined the running club at 300 pounds “desperate, sad, angry, lonely and dying,” he explains. Now he’s enrolled in the music program at Los Angeles City College. He’s eager to get to Rome to explore early notated music.

Ben says, “People ask me, ‘Rome? How do you get the chance to do that?’ Well, you drink a lot, ruin everyone’s lives around you, wind up in psych wards and hospitals.’ That’s the smart-aleck reply. I would hope someone sees our story and it gives them a sliver of hope of changing their lives as well.”

The fi lmmakers found some Skid Row residents who distrusted them. They “are threatened by the camera, because they think we’re trying to show the negative side of Skid Row, and they don’t under-stand our project,” Mark says. Gabi adds, “They’ve had bad experiences being fi lmed on Skid Row. So when we fi rst came to the running club, we ran with them for six weeks without a camera, and still after half a year, or a year, they felt we were ripping them off .”

The residents believed that “mak-ing a documentary is a money-making enterprise,” Mark says. “It just isn’t. Unless you’re Michael Moore. Period.” In fact, the couple is accepting donations to complete the video, at skidrowmarathon.com.

The fi lmmakers attribute the transforma-tions among the homeless runners to the fact that Mitchell pushed and pushed them to keep their eyes on the prize.

“Running helps you achieve goals,” Gabi explains. “That’s how it transcends. You feel like you have accomplished something in your life by fi nishing a marathon. That transfers over to your real-life goals. You’re not afraid anymore.”

At 6 a.m., among the gray industrial warehouse buildings that line Skid Row, the runners take off heading east, toward the Sixth Street bridge. The sun is coming out. “Let’s do it,” prompts Judge Mitchell, and they head into the light.

| A Considerable Town //

PHOTO BY MARK HAYES

“PEOPLE ASK ME, ‘ROME? HOW DO YOU GET THE CHANCE TO DO THAT?’” —BEN, A HOMELESS MUSICIAN WHO’S NOW IN COLLEGE

Judge Craig Mitchell, in blue, is followed by Ben, with white beard, as the Skid Row Running Club prepares for a run.

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| | DEATH BY COP IN WEHO

A year ago, L.A. Sheriff ’s deputies mistakenly gunned down John Winkler,but the story begins in Seattle

BY RICK ANDERSON

Once the gunsmoke cleared that night nearly one year ago, an innocent young man named John Winkler, who’d moved to L.A. in search of his dream

career, lay dead, and his friend Liam Mul-ligan lay nearby in the hall of his West Hol-lywood condo, bleeding from two wounds.

One was a knife wound to Mulligan’s neck infl icted by his roommate, graphics designer Alexander McDonald, 28, who had gone a bit nuts that night, wielding his big knife to hold the horrifi ed Mulligan and Winkler hostage.

Mulligan’s other bone-shattering and ragged wound — much more disturbing in its way — was from a bullet shot into his leg by the very Los Angeles County Sheriff ’s Department deputies who’d been summoned via 911 to rescue Mulligan and Winkler from the crazed McDonald.

Mulligan, 28, was lucky, it turned out. The deputies who shot Mulligan slew his innocent 30-year-old friend, Winkler — a disastrous split-second decision by cops who sent a volley of fi re at the two friends as they ran from the condo and from Mc-Donald, who was not hurt.

Just how the deputies managed to shoot two men fl eeing for their lives led the news in Los Angeles for some days.

And it made for memorable reading in a damage claim that Mulligan, a 20th Cen-tury Fox associate director, lodged against Los Angeles County. When the county rejected Mulligan’s claim, he fi led a federal civil rights lawsuit for $25 million — which this month will be hashed out in court-ordered private arbitration.

As Mulligan’s claim recounts:“Immediately upon exiting the apart-

ment while trying to stem the tide of his profusely bleeding neck, Mr. Mulligan, a step or two out the door, was immediately shot, without warning, by the LASD. The Sheriff s’ bullet tore through the inside of Mr. Mulligan’s right leg, shattering his right femur, dropping Mr. Mulligan to the ground. While lying helplessly on the ground, trying to stop the bleeding from his neck and now leg [emphasis added], Mr. Mulligan heard further gunfi re and watched his equally innocent friend, John Winkler, gunned down by the LASD.”

The Sheriff ’s Department admitted to a tragic mistake. But in recent court fi lings the department also claims the shootings were legal and justifi ed. Meanwhile, the hostage-taking roommate who’d gone nuts now stands charged with murder, at-tempted murder and torture.

It’s the kind of twisted murder story that

befi ts L.A. But there’s another twist.The three main players came to L.A.

seeking their share of fame and fortune, Mulligan from Australia; Winkler, a pro-duction assistant for Tosh.0, from Seattle. And as if to prove that tragic irony lives on, Winkler’s accused killer, McDonald, is from Seattle. The two had become friends — and fellow Seahawks fans — in L.A., 1,000 miles from home.

“John did not know Alex here in Seattle,” Winkler’s mother, Lisa Ostegren, says. They didn’t meet until late 2013, when Winkler moved into the fi ve-story condo on Palm Avenue, where Mulligan and McDonald lived and Winkler died.

Purely by chance, says McDonald’s sis-ter, Patricia McDonald of Seattle, the two young men ended up sharing an address — and common interests.

“One of my [other] brothers,” she says, “went to visit Alex a month prior to the event” — her words for the night of April 7, 2014 — “and got the impression that Alex and John often hung out together.”

District Attorney spokesman Ricardo Santiago last week said that a judge has de-cided McDonald can be prosecuted for the murder of his fellow Seattlelite, even if he

was killed by deputies. A pretrial hearing is set for April 9.

Under state law, McDonald’s felonious actions are to blame for the fatal shots by police even though he never touched a gun that night. Patricia McDonald and other family members in Seattle, conceding that McDonald bears responsibility for his actions, question the fairness of charging him with murder.

“You wouldn’t think they’d shoot the fi rst people out the door,” Patricia says, adding, “Alex is heartbroken about what happened to John Winkler and Liam Mulligan.”

Heartbroken doesn’t quite describe how John Winkler’s mother feels. “There are days I cry all day,” says Ostegren, who has not met with McDonald’s Seattle family but may in the future. “It’s like my heart has been torn in two.”

Like Mulligan, the Winkler/Ostegren family is suing Los Angeles County for $25 million. This month, that lawsuit also is set to enter into private arbitration to reach a possible settlement. Ostegren’s Seattle attorney, Sim Osborn, says, “We’ve been working with the county to try and avoid putting the family through the emotional pain of a trial, but I have to say it has been

an uphill battle. I anticipate that a jury will be the fi nal arbiter in this horrid case.”

Osborn has serious — and rather reason-able-sounding — doubts about the Sheriff ’s explanation of the shootings.

The deputies prepared to break into the besieged apartment. Inside, Mulligan and Winkler rushed at McDonald but were driven back by his knife; Mulligan was stabbed. The gutsy Winkler grabbed Mul-ligan, applying pressure to his bloody neck wound, and pushed him to the condo door. When they opened the door, both were shot by startled deputies arrayed outside.

According to court papers, “Mr. Mul-ligan fell to the ground and Mr. Winkler jumped over him with his hands above his head. When Mr. Winkler jumped over the wounded Mr. Mulligan, he was shot” four times by deputies.

Winkler died immediately. Deputies were confused, LASD chief

Bill McSweeney said, because they saw Winkler “lunging at the back of the fl eeing victim.” District Attorney spokesman Ricardo Santiago also says the deputies believed that Winkler was the attacker.

But attorney Osborn, who represents both Ostegren and Winkler’s father, Mark Winkler, asks: “If they thought John was attacking Mulligan, why did they shoot Mulligan, too?”

Recently, the county responded by deny-ing liability and claiming the deputies act-ed reasonably “under the circumstances.” In lawyer-speak, county attorneys claimed Winkler caused his own death by failing “to care for himself.” Apparently he was overly heroic. The real culprit, of course, the county added, was the knife-wielding McDonald, who “acted wrongly.”

McDonald’s sister, Patricia, says Alex had “never been in trouble, doesn’t get into fi ghts and is not violent in any way.” He was raised in Edmonds, an attractive suburb of Seattle set on the saltwater of Puget Sound, then moved to L.A. around 2010 and studied design art at UCLA.

“Alex never had any mental illness,” Patricia says, “but there is some history of it within our family.” They’re hoping for some answers from an expert who is con-ducting a psychiatric evaluation, she says; a toxicology report from the fatal night showed no drugs in McDonald’s system that would explain his behavior.

“At his arraignment, witnesses who knew Alex said they did not recognize my brother that night,” the sister says. “They didn’t know who he was.”

Winkler, who graduated from the Seattle Film Institute in 2010, “dreamed of being a writer or producer of a TV show,” his mother says. “He had a true love for that. So he fi nally packed up and went for it, and in a short period of time got his foot in the door. That was not very likely to happen, but he did it.” That foot in the door was just a backstage job with Tosh.0, but he couldn’t have been more excited, Ostegren says.

Now, she says of L.A. County, whose attorneys scheduled three diff erent meet-ings to discuss a settlement with Winkler’s family, then canceled each one: “For me, that’s a kind of slap in the face. My son was helping a wounded friend escape a danger-ous situation, but the greater threat was just outside the door in LASD uniforms.”

| News //

Lisa Ostegren with her son, John Winkler

PHOTO COURTESY OF THE WINKLER FAMILY

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A few years ago, Johnny Yang bumped into an old acquaintance. Yang wasn’t working at the time, and as they got to talking the man off ered him a job. Yang had worked in restaurants, as a

busboy and a dishwasher, since drop-ping out of Mount San Antonio College. Now the 27-year-old would be commut-ing from his dad’s house in Walnut to Superior Herbal Health, a marijuana clinic in South L.A. He would have more responsibility. His primary job would be to count the money. He also would learn to shoot a gun.

Working in a dispensary could be dangerous. The place had been robbed once and broken into several times. His boss, Joby Alloway, installed 13 security cameras and insisted that his employees get fi rearms training.

“They paid me pretty well,” Yang says. “How many jobs can you get paying $150 a day?”

Yang had come to the United States from Taiwan when he was 16. He lived with his dad, a mechanic, and his step-mom. They took in roommates to make ends meet. Once a year or so, Yang would visit his mom in Taiwan. He didn’t tell his parents much about his new job. He didn’t want them to worry.

Yang enjoyed the relative freedom of living in Southern California. Taiwan’s marijuana laws are strict, and weed is fairly inaccessible. He saved his wages to buy ecstasy and pot, and on weekends he partied in clubs — “American style.”

The clinic operated as a collective. All the workers were also patients. Johnny had a prescription to treat stress and back pain. He made friends and got to know the customers. Sometimes old ladies would bring in homemade cakes.

On a Wednesday in August 2011, a couple years after he’d landed the job, it began to unravel. Yang had the next day off and planned to get an early start on the weekend. He told a friend to bring him half a dozen ecstasy pills.

The pills were sitting on his desk in the back offi ce when he heard pounding on the front door. He looked at the security monitor and could see it was the police. From his chair, he controlled the buzzer that unlocked the door.

He didn’t know what to do. Alloway wasn’t around, and the cops were threat-ening to break the door down. For a long moment, Yang froze.

A few decades ago, it was a felony in California to possess two seeds of mari-juana. Pot prohibition has been eroding gradually for years, but the laws around marijuana are still murky when they are not totally absurd.

In the city of L.A. in 2011, dispensaries could get tax certifi cates, which required

them to pay a 6 percent levy on marijuana sales. But they could not actually sell mar-ijuana, according to the interpretation of the L.A. County district attorney. To get around that, the dispensaries would claim they were taking “donations.”

As collectives, they were barred from turning a profi t. So narcotics investiga-tors became amateur accountants, trying to prove that “donations” outpaced ex-penses. Any displays of fi nancial success — such as a dispensary owner driving fancy car — became evidence of a crime.

Sheriff Lee Baca argued that dispensa-ries were fronts for Mexican cartels, and once declared (without much in the way of evidence) that 97 percent of dispensa-ries were criminal enterprises.

Where Did This

Gun Come From?

An untraceableweapon leads to

a secret gang of rogue cops

By Gene Maddaus

( 14 »

The chrome handgun allegedly planted in the dispensary

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Their right to exist also was a matter of controversy. Superior Herbal Health was one of nearly 200 dispen-saries that received city licenses. But the city attorney, who enforces city law, argued that the licensed dispensaries were illegal not under city law but under state law.

Faced with community protests, the city stopped issuing permits. Hundreds of new dispensaries sprouted up anyway. The old, permitted dispensaries wanted the new ones shut down. Federal authori-ties saw no distinction between the two, raiding permitted and unpermitted dispensaries alike.

Dispensaries that were not shut down often were harassed. In a particularly unsporting move, police would pull over cars driving away from dispensaries and arrest the occupants for drug posses-sion. Enforcement seemed to be almost random. It was impossible to explain why some dispensaries were raided and oth-ers were left alone.

Joby Alloway knew all of this fi rst-hand. Alloway had opened Superior Herbal Health in 2007, just before the city imposed its moratorium. To supply the store, he converted the entire fi rst fl oor of his Mount Washington home into an indoor grow operation. In 2008, state narcotics agents raided his house and seized 1,100 plants.

The investigation unfolded like your average high-level drug bust. An infor-mant’s tip about one of Alloway’s friends led to months of clandestine surveillance, which led investigators to Alloway’s front door. The whole thing wrapped up in dramatic style, with a takedown in an underground garage. Yet Alloway was allowed to keep selling marijuana at the dispensary even after his arrest. In fact, investigators never bothered to search the dispensary.

With the right combination of linguis-tic contrivances, marijuana could be sold. It just couldn’t come from anywhere.

Alloway pleaded guilty to cultivating

marijuana and stealing electricity from the Department of Water and Power. He was sentenced to 90 days in jail and ordered not to sell or grow marijuana for three years. As the owner of a dispensary, this condition posed a challenge.

“I don’t think he was selling,” says Eric Shevin, his lawyer. “These are semantical games. He’s a member of a collective. It’s a democratically run organization.”

Shevin, who’s one of the top criminal lawyers for dispensary owners, says that, with the legal ground shifting constantly, it’s hard to give advice.

“The courts are still so unclear on how a dispensary is supposed to operate — how it’s supposed to get the marijuana,” Shevin says. “It’s a quagmire of uncer-tainty.”

This was the backdrop on Aug. 24, 2011,

when Johnny Yang was trying to decide whether to open the door. Marijuana was legal — except when a police offi cer decided it wasn’t. Yang himself had been arrested for possession while leaving work, as had other patients.

“They don’t give a shit about what we are doing,” Yang says. “I feel like it’s harassment.”

Th e deputies also were operating in a murky area. Though the dispensary was in the city of Los Angeles, they were not wearing LAPD uniforms. Instead, they wore black T-shirts, blue jeans and bulletproof vests. That was the uniform of Operation Safe Streets, the Sheriff ’s hard-core anti-gang unit.

Julio Cesar Martinez had 13 years with the department. His partner, Anthony Paez, had fi ve. According to a sheriff ’s source, both were members of the Jump Out Boys, a deputy clique that oper-ated like an illicit gang. The group had adopted a creed to do whatever it took to combat crime — including getting their hands dirty.

They seemed to have the tacit sup-port of Undersheriff Paul Tanaka, who famously encouraged the gang unit to “work in the gray area.” Tanaka himself had been a member of a deputy clique, and has a Vikings tattoo to prove it.

At least one of the two deputies — Paez — also has a tattoo. It depicts a skull holding a gun and wearing a bandana emblazoned with the letters “OSS.” It’s the emblem of the Jump Out Boys.

Martinez was one of the clique’s “shot callers,” according to a sheriff ’s source. He would later write a three-page narra-tive of the events of that day. His report would help generate two sets of criminal charges — fi rst against Yang and then, when discrepancies emerged, against himself.

According to Martinez’s report, he and Paez were driving along 84th Place when they saw a black man exit a building. The report states that the man appeared to engage in a hand-to-hand drug transac-tion with another man. When the fi rst man saw the offi cers, the report states, he reached into his pocket and pulled out what looked like the butt of a handgun.

The man — later identifi ed as Antonio Rhodes, who’s a barber working in Long Beach — ran back into the building. Mar-tinez got out of his car and tried to chase him, but the door was locked. Martinez

wrote in his report that he could smell marijuana. He demanded that the door be opened, then ran to the side of the building.

The report says that, through an open window, Martinez could see Rhodes inside and witnessed him stash some-thing next to a white trash can. Martinez returned to the front of the building and pounded on the door some more. Finally it opened.

He and Paez went inside, where they found a small waiting room full of people. There was no signage outside, and it was only then, the report states, that they realized they were in a dispensary. They ordered everyone out.

Another locked door led to a display

room. Again, Martinez demanded that the door be unlocked. Once inside, he ordered the employees to exit with their hands up.

Martinez wrote that he could see “large amounts of marijuana in every room” and that they did a “protective sweep” of the building — fi nding three black handguns. Martinez’s report states that one was on Yang’s desk, where they also found his ec-stasy pills. Then they discovered what the report described as Rhodes’ gun behind the white trash can. It was loaded. When they ran it through their system, it came back unregistered.

The deputies called for backup. The narcotics team arrived with a search warrant. They seized the guns, cash, com-puters, a video recorder and several large bags full of marijuana.

Several employees were detained for hours in the back of a squad car. Yang ad-mitted that the ecstasy belonged to him. He was arrested and taken to the Lennox Sheriff ’s station. Rhodes was arrested for possessing an unregistered gun.

“I was like, ‘Are you for real?’�” Rhodes tells the Weekly in an interview. “How can I run inside a dispensary — where they wand you — if I have a gun?”

Rhodes had been arrested for drug pos-session before, but never for guns.

When a detective interviewed him the next morning, Rhodes swore the gun wasn’t his.

“I didn’t ever deal with guns,” Rhodes says. “I didn’t have nothing.”

Both men were released after a night in jail. Four months later they were charged in a four-count felony complaint. Rhodes was accused of possessing the unregis-tered weapon. Yang was charged with possession of ecstasy for sale and posses-sion of ecstasy with a fi rearm — and the latter charge made it a state felony case.

Rhodes missed a couple court appear-ances, which resulted in warrants for his arrest. Meanwhile, he had a hard time get-ting to seeing his two kids, because their mother said she didn’t want them

“IT IS CLEAR FROM THE VIDEO THAT RHODES DID NOT HAVE A GUN AT ANY POINT. … IT’S A VERY DISAPPOINTING PROPOSITION TO WONDER WHERE THAT GUN CAME FROM.” —Prosecutor Arisa Mattson

Antonio Rhodes, left, and Dante Benton, a security guard, exit the dispensary.

Deputy Julio Martinez attempts to enter the dispensary.

Once inside, Deputy Anthony Paez goes behind the counter.

Paez places guns on Johnny Yang’s desk.

»13)

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around guns. Eventually the charges against Rhodes were dropped.

Yang tried to fi ght the case for few months but ended up pleading no contest to the gun charge.

In the summer of 2012, Yang reported to the Men’s Central Jail for his six-month sentence. He went to work in the jail cafeteria, which made the time go faster. Due to overcrowding, he was released after three weeks.

As a term of his probation, Yang was ordered not to have anything to do with marijuana and not to associate with his friends from the dispensary. He started up a chicken restaurant in Huntington Park — Johnny’s Chick’n Arroz — but it quickly folded.

“I got a little depressed and stressed out,” he says.

One evening Yang came home and found a note to call Sgt. Kelly Matthews in the Internal Criminal Investigations Bureau. The department had received a misconduct complaint against the depu-ties. Investigators couldn’t prove that allegation, but something about it had prompted them to dig into other arrests, including Yang’s.

Matthews came out to interview Yang. One of his fi rst questions was whether there was a gun on Yang’s desk on the day he was arrested. Yang said there was.

Matthews showed him a still image from the surveillance video, and asked Yang to point out the gun.

There were stacks of cash, a phone, a scale — but no gun.

Yang tells the Weekly that he had as-sumed all along that someone working for the dispensary must have left a gun on his desk.

In fact, as the surveillance video showed, it was the deputies who placed it there. Yang had been railroaded and didn’t even know it.

Dante Benton, a dispensary security guard, said that when he saw the deputies carting off the video equipment on the day of the arrests, he fi gured they would never be able to prove they were victims of misconduct.

And they wouldn’t have, if Matthews hadn’t reopened the case, retrieved the video from storage and watched it.

“I had no idea what was on that video,” says Yang’s defense attorney, Ryan Rodriguez. “It hadn’t been made available to us.”

By that point, Internal Aff airs had already identifi ed Paez and Martinez as members of the Jump Out Boys. As fi rst reported by the L.A. Times in April 2012, the clique came to light when a supervi-sor discovered a pamphlet that outlined the group’s philosophy.

“We are alpha dogs who think and act

like the wolf, but never become the wolf,” read one of the passages, according to the Times.

The members got matching skull tat-toos, reminiscent of the tattoos fl aunted by LAPD’s CRASH offi cers, the unit at the center of the Rampart scandal in the late 1990s. Most disturbing, Jump Out Boys who fi red their weapons in the line of

duty added smoke to their tattoos, appar-ently glorifying the acts.

At the time the Jump Out Boys came to light, it was unclear whether the group was linked to any misconduct. One un-named member told the Times that the group was a social club, akin to the Boy Scouts and that an internal review had found nothing unlawful.

In fact, in March 2012, Paez had shot and killed a man named Arturo Cabrales under suspicious circumstances.

Cabrales was standing in his gated front yard at his home near the Jordan Downs housing project when deputies pulled up and started questioning his uncle. According to a lawsuit fi led by Cabrales’ family, Cabrales started talking to the deputies, and Paez tried to enter his gate.

Cabrales told him he couldn’t come in without a warrant, the lawsuit states, but Paez came in anyway. Cabrales turned and ran, and Paez opened fi re, hitting Cabrales six times, four times in the back.

Paez told investigators that Cabrales had pointed a gun at him. No gun was found on Cabrales’ body. But another deputy — Martinez — backed up Paez’s story, saying he had seen Cabrales throw the gun over a fence. A gun was indeed recovered from the neighbor’s yard, but Cabrales’ family maintained that he was unarmed and the gun did not belong to him.

The county recently settled with Ca-

brales’ family for $1.5 million.“These guys were really bad guys,” says

attorney Humberto Guizar, who repre-sented Cabrales’ family. “They were like the Rampart guys.”

Th e Weekly obtained the surveillance video from Superior Herbal Health last month, after it was entered into evidence at a preliminary hearing. It confl icts with Martinez’s report in several alarming ways.

At the beginning of the video, Rhodes can be seen exiting the dispensary, fol-lowed by security guard Dante Benton. While Martinez had written in his report that the two men engaged in a hand-to-hand drug transaction, on the video it’s clear that it’s just a fi st bump.

In his report, Martinez said that once

Rhodes saw the offi cers, he reached with his right hand into his shorts and pulled out the butt of a handgun.

On the video, Rhodes clearly does not reach for his pocket. He then turns and goes back into the dispensary.

In his report, Martinez said he looked through the dispensary window and saw Rhodes stashing an item next to a white trash basket. On the video, Rhodes is seen inside the display room, returning

the paper bag of marijuana to the cashier. Rhodes then stands stock still against the wall, hands at his sides, until Martinez and Paez enter the display room and order everyone to exit the building. At no point does he go anywhere near the waste basket or place anything beside it.

Once everyone is ordered to leave, Paez and Martinez are seen getting to work. Paez rummages in a drawer near the white trash basket in the display room. With his back to the camera, he places an object on a chair. When he walks away, the object is revealed to be a black handgun.

Yet the unregistered gun —- the one that was pinned on Rhodes — has a chrome fi nish. It never appears on the surveillance video.

In his report, Martinez said that he and Paez recovered three black guns in three diff erent rooms — all of which were registered to the dispensary’s security guards — in addition to the unregistered handgun that was fi shed out of the trash (but actually wasn’t). His report does not say anything about retrieving a black gun from a drawer in the display room.

On the video, Paez and Martinez can be seen looking up at the display room’s ceiling. At one point, Martinez kicks at a wall outlet, knocking out the lights in a display case. Prosecutors believe he was trying to shut off the video.

Martinez then picks up the black gun off the chair and leaves the room.

Shortly thereafter, another surveillance camera captures the deputies walking into the back offi ce — Yang’s offi ce. There is no gun on Yang’s desk. Paez is carrying two black guns and places both on the desk. Then he gets under the desk and rummages around for a minute, cutting power to the surveillance system. The image freezes.

The video evidence is thus incomplete. For one thing, it does not show where the chrome gun came from.

“If we had seen the video go longer, perhaps we would all know the answers,” prosecutor Arisa Mattson said at the preliminary hearing. “It is clear from the video that Rhodes did not have a gun at any point. … It’s a very disappointing proposition to wonder where that gun came from.”

Vicki Podberesky, Martinez’s attorney, argued that the discrepancies between the video and Martinez’s report amount-ed to “innocent mistakes.”

“I think he’s a good deputy,” she tells the Weekly in an interview. “I think he was doing his job to the best of his ability. If he made a mistake or mis-observed or wrote something that’s not 100 percent represented in the video, I don’t think it was intentional.”

Podberesky also rebuts the prosecu-tion’s suggestion that the chrome

“I DON’T THINK THERE’S ANY MOTIVE FOR OUR GUYS TO PLANT A GUN. IT DOESN’T MAKE ANY SENSE REALLY.” —Vicki Podberesky, Deputy Julio Cesar Martinez’s attorney

Sheriff’s deputies Julio Cesar Martinez, above, and Anthony Paez, right

»14)

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Two deputies are caught on tape allegedly fabricating

evidence inside a marijuana dispensary. Watch the surveil-lance video at laweekly.com.

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gun was planted.“The guns were all there,” she says. “I

don’t think there’s any motive for our guys to plant a gun. It doesn’t make any sense really.”

True, planting a gun at a dispensary doesn’t make much sense: Why risk getting caught and losing a career just to fabricate a low-level possession charge? (It would make much more sense to plant a gun at the scene of an offi cer-involved shooting.)

If they did plant the gun at the dispen-sary, that would be almost more disturb-ing than planting one at a shooting. It would suggest that planting guns had become almost routine.

To Johnny Yang, that’s the only expla-nation that makes sense.

“We know what we have,” he says. “We don’t have silver guns. We only have black ones. They are registered and legal. The silver one, they planted.”

In February 2013, seven deputies — in-cluding Paez and Martinez — were fi red, though the department didn’t specify why. The deputies are still pursuing administrative appeals. In March 2014, when Guizar took Paez’s deposition in the Cabrales shooting, Paez said that he and the other six deputies were fi red because they had Jump Out Boys tattoos.

The following month, prosecutors brought charges against Paez and Martinez for fabricating evidence in the Superior Herbal Health case. They also dropped the case against Yang, vacating his conviction and revoking his probation.

According to the DA, the real criminals were the cops.

Martinez faces up to seven years in prison. Paez could face fi ve. But before the preliminary hearing, prosecutors off ered a deal. If they pleaded guilty, they would receive three years’ probation and 180 days in jail.

Their attorneys turned it down. Pod-beresky suggests that she might agree to have Martinez drop the appeal of his termination in exchange for a sentence of no jail time.

“One hundred and eighty days is not an acceptable off er,” she tells the Weekly.

At the moment, the case appears headed to trial. If so, the defense may try to turn the spotlight on Superior Herbal Health. Podberesky notes that Alloway had been barred from selling marijuana due to his grow-house conviction yet he continues to own the dispensary.

“It looks a little shady,” she says. “There was criminal activity going on at the dis-pensary. There was ecstasy found there and an unregistered fi rearm. … I think the probable cause to go into the dispensary in the fi rst place was well supported.”

The legal terrain has changed some-what since 2011, though, giving dispen-saries such as Superior Herbal Health more legitimacy. For example, the state Supreme Court has clarifi ed that it is legal to sell marijuana at a dispensary. In L.A., voters approved a measure that grandfathered in all the older, permitted dispensaries.

After a long stretch of time with its legal status in doubt, Superior Herbal

Health today could be worth as much as $2 million.

Rhodes claims that he is now being targeted by the police, and his friends think he’s a snitch. Asked whether he approves of the prosecution’s off er of 180 days for Martinez and Paez, Rhodes says he’s mostly interested in getting an explanation.

“I wouldn’t wish jail on nobody,” Rhodes says. “I just wonder why. I would ask them, ‘Why’d y’all do that?’�”

Yang believes the prosecutor is letting the deputies off too easy.

“If they got 10 to 20 years, I would feel like I’m satisfi ed,” he said. “What I’ve been through is not supposed to happen.”

Since his chicken restaurant failed, Yang and his family have been visiting swap meets and yard sales and buying items to resell on eBay.

“We didn’t think about this back in Taiwan,” he says. “We thought this was the American dream. It is a nice life, but there’s a lot of tricks. I feel like I got tricked.”

Yang blames himself for buzzing the deputies into the dispensary in the fi rst place. He says he thought the police would do the right thing. Now he knows he was too trusting.

“I feel like it was my fault,” he says. “They had no right to come in the building. It happened because I made it happen.”

Sheriff Baca resigned last year, under pressure stemming from a host of scandals. A new sheriff , Jim McDonnell, recently was sworn in and has vowed to clean up the department.

In a statement, Neal Tyler, the sheriff ’s executive offi cer, declined to go into specifi cs on the Jump Out Boys. He wrote that deputy cliques are clearly against policy and the department pursues all allegations of misconduct. McDonnell is personally signing off on discipline cases.

“The department has implemented a committee to examine how potentially unhealthy cliques have arisen and what steps can be taken by supervisors and managers to create work environments that discourage them,” Tyler stated.

Tyler said the department is exploring, among other things, a tattoo policy.

More work may need to be done to root out the Jump Out Boys. Some of the deputies were fi red solely for having a tattoo, and their union argues that those tattoos constitute protected free speech. Their appeals may succeed.

Guizar says other deputies might have belonged to the group but avoided get-ting in trouble because they didn’t have a tattoo.

“Not all gang members have a tattoo,” he says. “I don’t think they got all of them.”

It could be that, amid all the depart-ment’s other scandals, the Jump Out Boys did not attract the scrutiny they deserved.

Merrick Bobb, the department’s long-time independent monitor, recently was asked if he had ever heard of other allega-tions of guns being planted.

Just once, he said. “Rampart.”

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WORTH ITS WEIGHTLove & Salt brings originality and good vibes to Manhattan Beach

BY BESHA RODELL

It was about the time the waitress set down our plate of squiggly cavatappi pasta and scooped an entire femur’s worth of bone marrow onto it that my husband stopped complaining. From the second we walked into Love &

Salt in Manhattan Beach, he’d been exud-ing grump, the type of dark energy that feels like pure danger.

“This is ridiculous,” he said three seconds after we set foot in the door at precisely 5:37 p.m. He was surveying the dining room and bar, which already was mainly full. We initially had arrived at 5:05 due to lack of a reservation, hoping to grab a seat at the bar. But the place didn’t open until 5:30, so we went next

door to a tired beach dive and drank a beer. Our seven-minute delay in getting back to Love & Salt meant that we’d missed all the bar spots,

much to my man’s annoyance. The host-ess found us a seat at the long communal table, though, and all was not lost.

And yet: He rolled his eyes at the

menu, which looked so very much like every other restaurant that has opened everywhere else in town. Small plates, pizzas, pastas, large plates. “The rabbit porchetta looks good,” he said during a rare moment of positivity. “It costs $75,” I said, pointing out that it was meant to feed two to four people, and the black mood came back.

And so it went. His Vieux Carre cocktail was too sugared (it was); my drink, which I chose based mainly on the great name (the Dirty Blvd.), was too discordant, a mixture of rye and Aperol with a giant dose of celery bitters, giving it a vegetal edge that clashed mightily with its sweet whiskey base. He was not impressed with the caulifl ower leaves (“scraps,” he called them) atop an intensely cheesy polenta appetizer. The leaves had been roughly chopped and did indeed look like the stuff on the edge of the cutting board that you throw away after preparing caulifl ow-er. That they were crunchy and lightly bitter in a wholly pleasing contrast to the lush polenta barely mattered.

It had been a long week. And a long drive in Friday afternoon traffi c to Man-hattan Beach.

But when the bowl of pasta arrived and the server took the large bone and scooped out all that marrow, and when she dumped the ramekin of bread crumbs, parsley and cheese into the bowl and advised us to stir it all up, his mood began to shift. This was diff erent and odd

and, yes, kind of brilliant. Bone marrow is an ingredient of the

moment, and many chefs use it to ramp up steaks and other dishes, to prove their cheff y bona fi des by piling it on things that may or may not actually benefi t from its wobbly, musky fat. But here it served as more than a corpulent ego boost — it made the dish strange but in a very cool,

very original way. The end result almost reminded me of escargot, the combina-tion of the marrow and pasta and bread crumbs and garlic forming a bouncy, earthy, weirdly delicious amalgamation.

It was but one in a long line of plea-sures, dishes that sound on the menu much like what every other chef is doing but in reality tend to be far more deeply fl avored and therefore transcends all that other noise.

Love & Salt makes its home in what was once Cafe Pierre, the upscale French res-taurant that sat in the heart of Manhattan Beach for almost 40 years before closing last April. Former Cafe Pierre owners Guy and Sylvie Gabriel are behind the new restaurant, along with chef Michael Fio-relli and chef de cuisine Rebecca Merhej. The space has been overhauled com-pletely, the front opened up to become a wall of windows, the room brightened with enough light wood to make it beach-appropriate yet still hint at a rustic Italian underpinning.

Fiorelli imbues the menu with humor but also serious technique, evidenced by whimsical dishes such as a mortadella hot dog on a brioche bun, piled high with a fi nely diced pickled-vegetable relish. For $45 you can order a roasted glazed pig’s head, and it comes out just like that: a whole pig’s head along with condi-ments and toast. It’s a brand of macho meat fetishism that doesn’t really appeal to me (I love head meat, but that’s not to say I want to stare the beast in the eye as I enjoy its face), but hey, whatever fl oats your boat.

If there’s one complaint about the place that’s actually justifi able, it’s the absence of normal entree-sized plates. This is a problem mainly because it prevents smaller parties from taking part in dishes such as that $75 rabbit porchetta, which is disturbingly delicious, the buoyant rabbit meat rolled up with prosciutto and Swiss chard, splayed out over a stewy combina-tion of black rice, farro, pine nuts and cur-rants. The serving is enough to feed four people easily, but more of us could bask in its glories if it were simply a smaller, less expensive portion.

The large-format dish is a trend that shows no signs of slowing, but that doesn’t mean I have to like it. Why would I pay $65 for a huge branzino that I have to share with the whole table (even if it is served — as is the case at Love & Salt — with lemon confi t and tomato-braised sweetheart cabbage) when there are so many beautiful $25 branzinos around town that I can have for myself? With a menu as large and diverse as this one, blowing the whole meal on one fi sh is out of the question.

Speaking of diversity, the chewy, charred pizza crust that comes out of the kitchen here is one of the better ones in town. The topping on a bucatini dish is so generous that the pasta ends up seeming like chewy garnish to the tangy fennel sausage, black kale and bread crumb accompaniment rather than the other way around. It’s a role reversal that’s quite fetching.

Plate after plate, the food was better than expected, more carefully composed, just straight-up surprisingly delightful. There is a lot to love at Love & Salt.

Enough, thankfully, to lift even the grumpiest grump out of a serious Friday night funk.

LOVE & SALT | 317 Manhattan Beach Blvd., Manhattan Beach | (310) 545-5252

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PLATE AFTER PLATE, THE FOOD WAS BETTER THAN EXPECTED, MORE CAREFULLY COMPOSED, JUST STRAIGHT-UP SURPRISINGLY DELIGHTFUL.

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Updating the Diner

INGO’S TASTY DINER TURNS FROM GREASY SPOON TO FARM-TO-TABLE

Many L.A. res-taurants, from Swingers to Fred 62, have put their own modern spin on the classic diner. Ingo’s Tasty Diner,

scheduled to open at the end of March in a historic Santa Monica storefront, is looking to introduce yet another riff : the city’s fi rst farm-to-table diner.

“There’s this stigma attached to diners that they have boring food and rhinestoned glasses,” says Ingo’s executive chef Shaun Werth. “What we’re really doing is taking it back to what diners originally were — open houses for everyone in the neighborhood to come in for a meal and feel comfortable.”

So far, the menu plans include twists on traditional American comfort food, such as patty melts made with grass-fed beef, hearty yet vegetarian chili and spaghetti and meatballs using house-made noodles (crafted from organic eggs). A rotisserie station will roast Mary’s Free-Range Chick-ens in sight of the dining room.

For Werth, a farm-to-table diner using SoCal producers is the manifestation of the hyperlocal emphasis throughout the Ingo’s operation. His connections with vendors from the Santa Monica Farmers Market are the result of relationships he built while working as sous chef at the Misfi t, a Santa Monica spot owned by the same company as Ingo’s. (The Misfi t’s executive chef, Jordan Lynn, is helping out.)

That company, LGO Hospitality — the fi rm also behind La Grande Orange and the Luggage Room in Pasadena, and a half dozen Arizona restaurants including Ingo’s Tasty Food — has experience developing eateries in historic buildings. So when the nearly 70-year-old diner on Wilshire Bou-levard called Callahan’s closed last year and its Streamline Moderne structure was off ered for sale, LGO owners Bob Lynn and

artist Sara Abbott, his wife, jumped at the opportunity to keep the architecture intact and make the space something both useful and special for the neighborhood.

“We want people that live on 12th Street to come by for coff ee in the morning and a couple who lives on Euclid to come in for date night on Saturday,” says general manager Matt Kretschmer. Ingo’s initially will off er dinner service, with lunch and breakfast to follow in coming months.

Inside the revamped space, the curved countertop where Callahan’s patrons post-ed up every morning for coff ee received a new layer of wood and the green speckled terrazzo fl oors were waxed to their original glory. Outside, a neon sign bearing the new restaurant’s name was designed according to period-appropriate specs.

Only Abbot’s modern-leaning artwork and an application of chalkboard paint above the counter station (where the names of current suppliers and farmers will be displayed) give aesthetic clues to Ingo’s new owners. The restaurant fi ts right in with its neighbor Vienna Pastry, which has been open since 1946.

Many of the entrees — including chopped salads and omelettes — will cost less than $20. And a new liquor license will bring craft cocktails to the space, though there won’t be a separate bar area.

“Our intention is to present items that people are familiar with but off er a new experience,” chef Lynn says. “That’s what great about a diner: the integration it can have into your daily life.” —Sarah Bennett

Ingo’s Tasty Diner, 1213 Wilshire Blvd., Santa Monica, ingostastydiner.com

F O O D A D V E N T U R E S

Eating Live Octopus and Blood Soup With Food Explorers the Culineers“Those sea squirts are boss,” a man known among friends as Beef Erikson shouts as he chomps down on a bright-orange gummy creature, his eyes widening as the unique bitter fl avor fi lls his mouth.

But no one is listening. The six other men at the table are too busy shoving every possible animal from the sea fl oor into their gullets. Most of the unsuspecting regular diners at Hwal Uh Kwang Jang in Koreatown glance over with curiosity —

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|until eventually the loud, voracious table is the only one still seated inside the small strip-mall restaurant.

The sign out front reads “Live Fish,” which is exactly why they’re here.

These men call themselves the Cu-lineers. Most of them are transplants from Charlottesville, Virginia, who now work in the entertainment industry, and they all have one thing in common: restless pal-ates and a desire to taste every fl avor L.A.’s culinary landscape has to off er.

To be a Culineer, even for one night, you need a food-themed adventure nick-name. Franklin Hardy calls himself Veal Parmstrong, Lane Kneedler becomes Beef Erikson, Duncan Birmingham goes by Marco Pollo Asada and Shane Kosakows-ki is Alexander the Steak. They are the steering committee to the group, which sets out on monthly culinary voyages.

The Culineers were inspired by New York–based adventure eating club the Gastronauts, which has taken hundreds of people on eating expeditions in New York, L.A. and San Francisco. But after at-tending one meal with that group (which eats in packs of 30 to 60), the guys craved a smaller, more personal and laid-back experience.

Since the group began in 2012, the Culineers have tried everything from turtle soup to goose intestine, crickets to veal brains, traveling as far as Tijuana for bar-nacles at Misión 19 and documenting it all on a Google spreadsheet. With a website in the works, the group’s explorations are on Instagram, Twitter and Facebook.

“Will somebody soy me?” Genghis Flan asks from the other end of the now-packed table, pointing past an array of Hite beer and sake bottles at the soy sauce. A bowl of live octopus emerges from the kitchen as lobster shells, huge icy platters of cooked octopus and abalone and uni and oysters, and giant piles of sashimi get shoved around and consolidated to make room.

A few minutes earlier, the chef reached into a tank to show off the moving, gangly mollusk. It clung to his arms like Silly String as the table of Culineers cheered. Now on the table, it was chopped and plated but still wriggling. “Just use your hands,” Marco Pollo Asada encourages the others as the tiny tentacles squirm and slither, dodging eager chopsticks. Veal Parmstrong is the only one who succeeds at snagging a moving tentacle with his utensils. He smiles smugly at his victory. “I’m half Asian,” he says.

To the Culineers, one of the best things about eating live octopus is that the ten-tacles suction up the sauce, so when you bite down they release the intense fl avor into your mouth. The tentacles also suction to your tongue, which encourages quick and aggressive chewing.

The men had set sail (in an Uber) for Hwal Uh Kwang Jang in search of live lobster (as in, lobster served while still alive), as promised by their sources. Frank-lin Hardy says the Culineers make use of “long-developed connections and inroads that grant us access to the hidden corners of L.A.’s various ethnic subcultures, which are usually unavailable to the general population. Which is to say, we use Yelp.”

Their source proved correct. Hwal Uh

Kwang Jang’s friendly waitress was happy to report that the live lobsters and octopus had been fl own in that morning from Ko-rea. The lobster was pulled from the tank, waved about to display its vitality and then cut in half and served with the fresh tail meat beautifully placed on the back of the still-moving crustacean. Veal Parmstrong prodded the decapitated lobster’s face with his chopsticks to keep the tentacles twitch-ing as the group ate its fresh raw tail meat dipped in a Sriracha-like red sauce.

Though Veal Parmstrong practices saying “Gamsahabnida!” (thank you) ad nauseam, none of the Culineers actually speaks Korean. So when a whole grilled fi sh is placed on the table, everyone points at the small, lifeless pisces and asks slowly, “Sardine? Is this a SAR-DEEN?” After a determined eff ort to learn exactly what they’ve been served, the Culineers fi nd out it’s a grilled saury fi sh (also known as a mackerel pike), and they love it.

Asked if anything has ever been too unsettling to eat, the Culineers say that a positive attitude and a stomach of steel are prerequisites for Culineering. “As Culineers we never assume anything will be gross. We usually assume it will be deli-cious,” Veal Parmstrong says as he cheer-fully stuff s the entire head of the grilled saury fi sh in his mouth.

There’s no question that imbibing is a major part of the Culineer experience. Warned of a possible fi ve- to 10-minute wait for a table by the staff at Hwal Uh Kwang Jang, fi ve of the Culineers disap-pear into the night. Before you could say “Your table is ready,” they return with brown bags of beer to guzzle in the parking lot, plus a bottle of Evan Williams bourbon.

Although Culineers originated as an excuse to go out drinking with the guys, the members’ enthusiasm and knowledge of what they’re eating is anything but amateur. They share an insatiable desire to learn new fl avors, asking the staff to explain what they’re eating and where it’s from. Based on these experiences, Marco Pollo Asada sold to a major cable network a scripted TV show about the fast-paced world of the L.A. food scene; a Culineers-esque food club plays a pivotal role.

“To me, food is such a thing right now because, unlike movies or music or books, which you can download, food has to be experienced in person,” he says. “We spend so much time behind screens of some sort that eating a meal forces us to slow down and engage with each other. Food clubs and dining groups are having a moment because they feel like a throwback to Sun-day family dinner.”

Their journey certainly doesn’t begin or end on the fork. After emptying the tanks at Hwal Uh Kwang Jang, it’s on to a sur-real pizza restaurant/bar/music venue in Koreatown, where an ’80s cover band plays. Then it’s on to Beer Belly’s for more snacks and beer — and to Frank N Hanks for even more. This much booze means only one thing in the end: more food. And, in this case, blood soup.

Thai Town’s Ruen Pair serves pork blood soup into the wee hours of the morning. Despite being decidedly hungry again, several Culineers look disappointed when a clear broth soup arrives with cubes of

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|brown, congealed blood fl oating atop. “I was hoping the soup would be bloodier,” Parmstrong says. —Heather Platt

I C E C R E A M

Guanabana Makes Exotic Mexican Sorbets (and a Killer Mangoneada)In an eff ort to de-stress from the rigors of large-scale ice cream making, the Espinoza family sold their Paleteria Azteca in South El Monte three years ago and put all their knowledge de nieves into a neighborhood shop in Long Beach, which specializes in rare and exotic house-made sorbets using fresh, often local produce.

Their variation on the mangoneada — a popular Mexican dessert traditionally made with shaved ice blended with fresh mangoes, topped with a tamarind-based chamoy sauce and a zing of chili powder — substitutes shaved ice for the in-house sorbets, a simple and delicious innovation.

Several local couples have dug Guana-bana’s mangoneadas so much, in fact, that they served them in lieu of a wedding cake.

Gabriel Espinoza, the youngest family member in the shop, says folks from Long Beach’s Latino and Filipino communi-ties, as well as harbor workers and food explorers from all over the L.A. Basin, trek to Guanabana to eat from a 16-fl avor menu, which includes unconventional fl avors such as alfalfa (surprisingly refreshing), maracuya (passion fruit), lucuma (a Peru-vian fruit that tastes like sweet potato with a touch of maple) and the prickly, green guanabana (the fruit’s fl avor is reminiscent of strawberry, pineapple and citrus).

“Not many shops carry the fl avors we have,” says Gabriel. “I always encourage people to get out of their comfort zone.”

The Espinoza philosophy is to rely less on sugar and more on letting the fruit fl avors shine. Gabriel’s father, Salvador, keeps the back-room ice cream and sorbet mini-factory stocked with fresh fruits and vegetables, making frequent early-morn-ing trips to the L.A. Produce Mart. Only the guanabana is bought in pulp form.

When Guanabana opened, it was strictly an ice cream and sorbet shop, but the menu has evolved. In addition to the mango-neada, the Espinozas added bionicos — a fresh fruit, granola and cream dish that originated in the ’90s on the streets of Jalisco, Mexico, where Gabriel’s father, Salvador, was born — as well as fresh juices such as jugo verde, a blend of green apple, pineapple, spinach, cucumber and celery.

At the end of 2014, the Espinozas also added to their growing menu the Tostiloco: a Tijuana street snack that consists of a bag of Tostitos opened length-wise and fi lled with pork rinds, lemon chilis, jicama, cucumber and Japanese peanuts.

After years of toiling in the Azteca fac-tory, Salvador and the family were happy to simplify their business.

“Seeing the smiles from people who come from all over town makes us feel good,” Salvador says. —Matt Cohn

Guanabana, 2410 Santa Fe Ave., Long Beach; (323) 861-9576

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fri 3/20 F I L M

In Keanu’s DefenseThe New Beverly has set aside the month of March for classics from the ’90s, with tonight’s double feature of Speed and Rush Hour being perhaps the most purely enjoyable of them all. Anyone who thinks Keanu Reeves can’t act should revisit his performance in the classic action fl ick about a bus rigged to explode if it dips be-low 50 mph; the perennially underrated star’s quiet charisma is on full display as he defuses a life-or-death situation. Chris Tucker cemented his stardom alongside Jackie Chan in Rush Hour, and has appeared in only one movie outside the buddy-cop series since it began in 1998. New Beverly Cinema, 7165 Beverly Blvd., Fairfax; Fri., March 20, Speed 7:30 p.m., Rush Hour 9:55 p.m.; Sat., March 21, Speed 7:30 p.m., Rush Hour 5:15 & 9:55 p.m.; $8. (323) 938-4038, thenewbev.com. —Michael Nordine

T H E A T E R

Disney Villains Swap GendersVillains star/co-director Martin Mata-moros knows how to turn pop culture and fantasy worlds into wonderfully whim-sical performance works. With his old band, Sounds of Asteroth , he spun out-of-this-world tales into theatrical, sci-fi rock. He riff ed on ’80s pop in the hysterical, and moving, piece of music-fi ction Wham! The Boys Behind the Shorts. This time around, Matamoros and collabora-tors are taking the trend for gender-bent characters further than online fan art and Comic-Con costumes do. Villains takes swapped-gender versions of Snow White’s Evil Queen, Cruella de Vil and Ursula the Sea Witch and sends them out on a Wizard of Oz–like journey through Hollywood. Highways Performance Space, 1651 18th St., Santa Monica; Fri.-Sat., March 20-21, 8:30 p.m.; $20 advance, $25 at the door. (310) 315-1459, highways performances.org. —Liz Ohanesian

F I L M

Filming With DronesThe two-hour triptych Th e Flying Camera shows rarely seen shorts full of shots taken

from hovering consumer drone aircraft. Be it via UAV , GoPro or DJI, the way we see the world is changing rapidly. The angelic angles that will be revealed take you into places the likes of which few knew they could ever reach. Egyptian Theatre, 6712 Hollywood Blvd., Hollywood; Fri., March 20, 7:30 p.m.; $11. (323) 466-3456, americancin-emathequecalendar.com. —David Cotner

sat 3/21B O O K S A N D Y O U T U B E

Shane ShameIt’s not just a catchy title. YouTube proto-megastar Shane Dawson has body dysmorphic disorder and he’ll tell you all about it when he presents and signs I Hate Myselfi e: A Collection of Essays by Shane Dawson. It seems like forever ago (2008,

at age 20) that he began his ascent to the top echelon of YouTube. Naturally, in that rise, a person tends to learn something about himself, and deep within Dawson’s comedies were some realizations and hard truths. Think of his book as a sort of psy-chic unboxing. Vroman’s Bookstore, 695 E. Colorado Blvd., Pasadena; Sat., March 21, noon.; free. (626) 449-5320, vromans bookstore.com. —David Cotner

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

Help! Get Us Out of This Stadium!Attack on Titan is a Japanese mega-hit manga that tells the story of a bunch of giant beasts that snack on people. To escape the insatiable appetites of the titular Titans, the story’s humans gather inside a walled city, but they have only 60 minutes before they become extinct. The Japanese company SCRAP Entertain-

ment brings this tale to life with Escape From the Walled City, a Real Escape Game (REG) where the imagined walled city is a real stadium. Participants (who need no prior knowledge of the manga) become part of the story and solve puzzles before the Titans eat them alive. Weingart Sta-dium at East Los Angeles College, 1301 Avenida Cesar Chavez, East L.A.; Sat, March 21, 10:30 a.m., 2:30 & 6:30 p.m.; $30 in advance, $35 at the door. realescape game.com/sp/la. —Tanja M. Laden

A R T

Thank You, ChicagoIn one of the most anticipated exhibitions of the season — and an impressive com-ing out for MOCA’s newly empowered regime — the museum opens the largest institutional exhibition to date of work by American artist William Pope.L. Though he’s based in Chicago, his seminal work

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in the twin realms of performance and in-stallation have infl uenced generations of L.A. artists, informing this city’s embrace of nontraditional genres and high-impact production value within new contempo-rary art. In the Geff en Contemporary’s post-industrial vaults, a dramatic terrain of large-scale pieces culminates in a 45-foot, windblown U.S. fl ag that functions as both operatic sculpture and incisive sociopolitical commentary. Tonight’s opening is for members only, but you can join at the door, and Sunday’s talk with both artist and exhibit curator is free with regular admission. MOCA Geff en Contemporary, 152 N. Central Ave., Little Tokyo; opening Sat., March 21, 7 p.m.; talk Sun., March 22, 3 p.m.; $12. Exhibi-tion continues Thu., 11 a.m.-8 p.m.; Fri., 11 a.m.-5 p.m.; Sat.-Sun., 11 a.m.-6 p.m.; Mon., 11 a.m.-5 p.m., through June 28. (213) 626-6222, moca.org. —Shana Nys Dambrot

sun 3/22 F E S T I V A L S

Art Meets the Iranian New YearTime to party like it’s 1394 at LACMA’S seventh annual Nowruz Celebration to ring in the Persian New Year. Farhang Founda-tion and LACMA again join forces to pres-ent music, dance, short-fi lm screenings, art exhibits, special cuisines and, yes, a back-gammon tournament. The internationally acclaimed Iranian-American band KIOSK will close the night with an outdoor concert sure to make a fan of anyone experiencing their unique alternative sound for the fi rst time. With the exception of Zohreh Jooya’s multimedia performance, The Sounds of a Persian Spring , all events are free. (There’s also a celebration downtown in Grand Park on March 21 from 1 to 5 p.m.) LACMA, 5905 Wilshire Blvd., Mid-Wilshire; Sun., March 22, 11:30 a.m.-7 p.m.; free, Zohreh Jooya’s performance $20. (323) 857-6010, lacma.org. —Orly Minazad

C O M E D Y

Don’t Worry, No Improv HereiO West hosts its third annual Scripted Comedy Festival, which features U.S. and international comedians perform-ing stand-up, sketch, storytelling, fi lm and even podcasts across three stages. Winners in several categories will walk away with stage time at iO West and the Comedy Central Stage, as well as other prizes. And if you want to improve your skills, the festival off ers writing work-

shops on topics ranging from screenplays to Saturday Night Live, taught by iO West instructors, as well as guests from the Emmys, Jimmy Kimmel Live! and Conan. Some proceeds benefi t the Chris Farley House, a drug-treatment facility in Madison, Wisconsin. iO West, 6366 Hol-lywood Blvd., Hollywood; Sun.-Sat., March 22-29, various times; free, $25 application fee, $25 for workshops. (323) 962-7560, ioimprov.com. —Siran Babayan

mon 3/23D A N C E

It’s Dance Week at REDCATWith a trio of locals and a duo from Seat-tle, REDCAT brims with dance this week. In the quarterly showcase Studio, three lo-cal choreographers off er distinctly diff er-ent approaches. Victoria Marks employs live percussive music from Joe Wester-lund for Solar Duplex , featuring Willy Souly and Alexx Shilling. Choreographer Sarah Leddy’s ensemble explores soccer in A Beautiful Game. The fi ve women who comprise Szalt unveil F L W R 1, previewed during two recent weekends of sold-out art-gallery performances. Later in the week, Seattle-based chore-ographer Zoe Scofi eld and visual artist Juniper Shuey combine contemporary dance with video and multicolored paper sculptures in BeginAgain. REDCAT, 631 W. Second St., downtown; Studio, Sun.-Mon., March 22-23, 8:30 p.m.; $15, $12 students. BeginAgain, Thu.-Sat., March 26-28, 8:30 p.m.; Sun., March 29, 7 p.m.; $20-$25. (213) 237-2800, redcat.org. —Ann Haskins

tue 3/24A R T

You Young Punks! In My Day...The Getty Museum’s “J.M.W. Turner : Painting Set Free” features more than 60 watercolors and oil paintings that the British artist (1775-1851) created after the age of 60. In conjunction with the exhibit, “Does Artistic Greatness Only Come with Age?” poses the question of whether art is a young man’s game, or, more broadly: “Is experience — in life, in art, in love and loss — necessary to create works that stand the test of time?” L.A. Times arts reporter Mike Boehm moderates a panel featur-ing painter Ed Moses , muralist Judithe Hernández and University of Minnesota

Eric Maloney will participate in a screening of fi lms shot by drones: See Friday.

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|music professor Karen Painter . Getty Mu-seum, 1200 Getty Center Drive, Brentwood; Tue., March 24, 7 p.m.; free, resv. suggested. (310) 440-7300, getty.edu. —Siran Babayan

wed 3/25D E S I G N

What Does Design Have to Do With Reality TV?Midcentury modernism, sustainable practices, independent local designers, historic Manhattan renovations, Cham-pagne receptions, eclectic contemporary on-site art gallery programs, state-of-the-art product releases, a national array of the shelter industry’s editorial giants and, of course, reality television: These are just a few of the topics, fi gures and expe-riences that await attendees at Westweek, the iconic two-day symposium of art and design. The 2015 edition is offi cially called “Design Comes of Age” but, based on the explication of event topics, it really should be called “California Uber Alles,” in honor of the proud boosterism of our homegrown visionaries. Pacifi c Design Center, 8687 Melrose Ave., West Holly-wood; Wed., March 25-Thu., March 26, 9 a.m.-6 p.m.; free. (310) 657-0800, pacifi c designcenter.com. —Shana Nys Dambrot

L I T E R A R Y E V E N T S

Write Place, Write TimeA diff erent university hosts each edition of the biennial &NOW new-writing festival conference, and this year it’s CalArts. It’s the perfect year for this eclectic jugger-naut of words and deeds to land there, since the 2015 edition’s theme, “Blast Ra-dius: Writing and the Other Arts,” is tailor-made for CalArts’ doggedly interdisciplin-ary approach. It’s a celebration of our age of hybridity, in which poetry, performance, fi lm, painting, music, fi lm and all things Internet are merging into a giant global cloud of transcendent individual expres-sion. There are receptions, readings, screenings and panels, mostly at the cam-pus but sometimes off -site, mixing heavy theory with ebullient artistry. CalArts, 24700 McBean Parkway, Valencia; Wed., March 25, 6-10 p.m.; Thu., March 26-Sat., March 28, 10 a.m.-10 p.m.; $35 per day, $100 full pass. (661) 255-1050, andnow2015.com. —Shana Nys Dambrot

A R T A N D A R C H I T E C T U R E

Night About the MuseumOpponents of the hotly discussed rede-sign of LACMA will face off with director Michael Govan in a Debate Over the New LACMA . Presented by KPCC and the 3rd Los Angeles Project , and moderated by the ever level-headed L.A. Times archi-tecture critic Christopher Hawthorne , the discussion will address the proposed dramatic reinvention of the museum complex — with its curved, amoeba-like design — and its eff ects on the Mid-Wilshire area. How will the coming Metro aff ect traffi c? Will there really be a suspended train that toots every hour?

And are they going to remove the foun-tains into which I’ve been throwing blue pennies for the past 20 years? I’d like to keep doing that. Thorne Hall, Occidental College, 1600 Campus Road, Eagle Rock; Wed., March 25, 7:30 p.m.; free. (323) 259-2677, oxy.edu/third-los-angeles-project. —David Cotner

B O O K S A N D F I L M

Don’t Bring Up Long Duk DongKirk Honeycutt discusses his new book, John Hughes: A Life in Film. Honeycutt chronicles the life and career of the “Teen King” director of such coming-of-age classics as Sixteen Candles, The Breakfast Club and Ferris Bueller’s Day Off . Honeycutt, former chief fi lm critic at The Hollywood Reporter, interviewed the fi lmmaker, who died in 2009. The book includes behind-the-scenes stories of some of Hughes’ productions, as well as new interviews with Judd Nelson, Mat-thew Broderick, Christopher Columbus, Steve Martin and others. The Last Book-store, 453 S. Spring St., downtown; Wed., March 25, 7:30 p.m.; free. (213) 488-0599, lastbookstorela.com —Siran Babayan

thu 3/26B O O K S

Hey, Everyone Likes AliensSci-Fiesta! would like to show you that “new science fi ction from Bangladesh and Cuba” is a real thing. And not only real but apparently innovative, vibrant and, sort of like soccer, wildly popular everywhere else around the globe already. The good news is, tonight’s free event helps U.S. audiences get all caught up with the future, by way of the fresh new work of two leading authors — Bangladesh’s Saad Hossain and Cuba’s Yoss, who is the subject of a new short fi lm premiering tonight — along with lively conversation and music by Kennedy’s Space Station. Center for the Arts, Eagle Rock, 2225 Colorado Blvd.; Thu., March 26, 7:30 p.m.; free. (323) 226-1617, phoneme books.com . —Shana Nys Dambrot

T R A N S P O R T A T I O N

Our Traffi c Is Worse Than Your Traffi cTonight’s Hammer Conversations discusses the challenges facing travel-ers by bringing together Department of Transportation managers from two of the biggest metropolises on the planet. L.A. DOT general manager Seleta Reynolds wrangles 2,000 employees and 6,500 miles of streets with an annual budget of slightly over half a billion dollars. Janette Sadik-Khan was the innovative NYC DOT commissioner from 2007 to 2013, and she had to deal with all that and ferries, too. Some potential questions at hand: why some street lamps stay on all day, how to solve the pothole problem and why is this light taking so long to change. Hammer Museum, 10899 Wilshire Blvd., Westwood; Thu., March 26, 7:30 p.m., free. (310) 443-7000, hammer.ucla.edu. —David Cotner

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| Arts // Art Picks //

Trees Wearing Fur CoatsAND GUILLERMO DEL TORO’S PRODUCTION STUDIO HELPS MAKE AN OGRE’S SEVERED ARM

BY CATHERINE WAGLEY

This week, paintings in Culver City are like vintage tarot cards, a tree wears fur, and a chil-dren’s book author has a museum show.5. Fantasy at the museum

The El Segundo Museum of Art’s current exhibition, called “Spark,” is an unusual kind of project. A collaboration between German children’s book author Cornelia Funke and the production studio Mirada, founded by fi lmmaker Guillermo del Toro, it includes a sculp-ture of an ogre’s severed arm, mirrors, shadow play and fantastical costumes on mannequins. Funke will be reading from her book Dragon Rider, about a dragon named Firedrake and a boy named Ben. 208 Main St., El Segundo; Sunday, March 22, 1-2 p.m. (424) 277-1020, esmoa.org. 4. Biochemical body essay

Barcelona-based writer Paul B. Pre-ciado published the book Testo Junkies in 2013, detailing his own use of tes-tosterone daily for a year. He called the book a “body-essay” about life on a planet where surveillance, slave traffi cking and the biochemical alteration of emo-tions all co-exist. Preciado will be at the Hammer to talk with incisive mem-oirist Maggie Nelson and gender studies scholar Jack Halber-stam. Ideally, the talk will be fi ery, strange and also sensitive. 10899 Wilshire Blvd., Westwood; Tuesday, March 24, 7:30 p.m. (310) 443-7000, hammer.ucla.edu.3. Dressing up the trees

Gordon Holden titled his current exhibition at Paul Loya “Wishful Thinking,” and the show is full of comi-cally clothed trees and burnt paintings with pastel-colored birthday candle wax dripping down them

(Holden lit the candles and let them burn until he “remembered” to blow them out). Fruit-Fur, perhaps the show’s most striking sculpture, is a fake orange tree wearing a blue, faux-fur cape. It looks both regal and like a gag. 2677 S. La Cienega Blvd., Culver City; through May 2. (310) 876-1410, paulloyagallery.com.2. Dripping tar

There’s a great scene in Saugus Series, the 1974 fi lm in Pat O’Neill’s show at Cherry and Martin, where colored tar drips down in front of a rocky land-scape. O’Neill achieved this eff ect by setting up glass in front of a blue screen and pouring viscous tar over it. He then edited the footage, assigning diff er-ent colors — red, yellow and blue — to the streams of tar, and then letting the colored tar fade away until it’s gone. “It’s like jumping out of a window,” the artist said in a 2010 interview, speak-ing about putting elements together and not having any specifi c idea about what they could or should mean. 2712 S. La Cienega Blvd., Culver City; through March 28. (310) 559-0100, cherryand-martin.com. 1. Faded psychedelia

Theodora Allen’s paintings at Blum & Poe are faded, like tie-dyed T-shirts left in the sun too long, and the images they depict have a cryptic, psychedelic qual-ity. It’s as if Allen’s source is an illumi-nated manuscript written by hippies, or perhaps a vintage stack of tarot cards. In one grayish, blue and green painting, a snake coils upward through a stylized garden. In another, the bleached-out sil-houette of a woman’s face fl oats inside a diamond that’s inside a circle. 2727 S. La Cienega, Culver City; through April 18. (310) 836-2062, blumandpoe.com.

Theodora Allen’s Plot, No. 3 (2014) at Blum & Poe

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A UNION DIVIDEDActors’ Equity wants minimum wage, but L.A. theaters insist they can’t aff ord it

BY STEVEN LEIGH MORRIS

“After 30 years of volunteer-ing, Equity members will have the opportunity to be paid,”

says Maria Somma, national director of communications for Actors Equity’ As-sociation.

The union for actors and stage managers is campaigning to end L.A.’s 99-Seat Plan, which currently allows actors to volunteer at theaters of 99 seats or less in exchange for expense stipends — per the rights of anybody to volunteer for a nonprofi t institution. (There may be a smattering of independent for-profi t ventures abusing the Plan, but they’re the bathwater that Equity aims to toss out with the baby.)

The Plan has never been challenged by any branch of the government, but the union has suddenly determined that, after almost 30 years, it can no longer permit this illegal activity.

The national councilors of the union are expected to approve the new plan imposing a minimum wage for rehearsals and performances for all union actors in all theaters, large or small. There are some exceptions — such as an option for extant membership companies to pay less than minimum wage. However, that option does not include the traditional union health and safety protections. Plus, those compa-nies may no longer accept any new union members without paying them minimum

wage for rehearsals and performances, creating a caste system within those companies.

The union is trying to equate tiny mon-ey-losing theaters with Walmart exploiters. But L.A.’s 99-Seat Plan was designed to lose money for theaters, in order to prevent union actors from being fi nancially ex-ploited. In North Hollywood, for example, Theatre Unleashed’s critically acclaimed production of Ligature Marks cost $6,000

to produce. Of that budget, $4,800 went to the theater rental for rehearsals and perfor-mances. Despite performing well during the fi nal weeks of its run, the production lost money. This happens all the time, even with shows that sell out.

There have been loud howls of protest against Equity, even by people who like both unions and the minimum wage, people such as Tim Robbins, Ed Asner and Ed Harris (and yours truly), who insist that

L.A.’s intimate theaters give actors creative opportunities and personal dignity in a fi eld plagued by unemployment. Overtures to the union by the Producers League of Los Angeles for a more gradual change have been rebuff ed.

So what might a post–99-Seat Plan Los Angeles actually look like? According to interviews with a number of L.A. theater leaders, the plan would force intimate theaters to consider using fewer and fewer union actors, or go nonunion altogether. It also could incentivize Equity actors to deceive their own union.

Over at the Actors’ Gang in Culver City, artistic director Robbins says, “We’re not going to let any government or any labor union determine the way we create art.”

Robbins adds that about half the mem-bers of his 33-year-old company are in the union, but how they should respond to their union is something he can’t and won’t dictate. Robbins says that some have talked about taking a leave from the union through a “FiCore” exemption (a politically unsavory option often equated with “scab” labor), some have said they’ll quit the union, and others have proposed simply not reporting that they’re in a show until opening night — since the company already pays minimum wage for perfor-mances.

“I don’t know how we’re going to do it if we have to take these increases in costs,” Robbins says, in reference to paying minimum wage for rehearsals as well as performances, for large ensemble produc-tions. “I know that when we were a younger company, we couldn’t have survived a blow like this. ... I’ve got lovely, committed people who see this as a nuisance and will not allow it to aff ect their commitment to the company.”

Another veteran artistic director, Jon Lawrence Rivera, has been presenting only new plays by L.A.-based playwrights at his Playwrights’ Arena for decades. “We may just become a theater that does work-shops,” he says, “or cut back to one produc-tion every year or two, presuming

| Stage // PHOTO BY DIANNA OLIVA-DAY

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

Why Is a Violent Chimpanzee So Hilarious?

It’s diffi cult to put a fi nger on exactly what makes Trevor, Nick Jones’ 2013 absurdist fable that’s making its Los Angeles premiere at Circle X Th eatre, so wickedly hilarious. Particularly as the play is

based on a gruesome, real-life incident in which a beloved adult pet chimpanzee was shot dead by police aft er viciously tearing off the face of a family friend.

Possibly it’s because the chimp of both the headline and the play is a former small-time TV star of both commercials and talk shows who has aged far beyond his cute and precocious juvenile prime. Jones uses him to satirize has-been actors, the delusionary quality of fame and how unconditional love can enable our darkest natures.

Jones’ fi rst stroke of genius comes with Trevor’s entrance: A hyperac-tive Jimmi Simpson saunters into Stephanie Kerley Schwartz’s cluttered suburban-house set, fl ops on the couch and begins rationalizing to his “mother” (the great Laurie Metcalf) about a botched Dunkin Donuts audition. It is only when Simpson ambles to the kitchen with a simian gait that we understand why he and Metcalf have been talking past one another — they are diff erent species.

From that opening, the play’s grim trajectory becomes inevitable. Th at it also proves such a deliciously laugh-packed ride can fi nally be attributed to the split-second precision of an inspired ensemble (which includes Mary Elizabeth Ellis, Malcolm Barrett, Brenda Strong, Jim

Ortlieb and Bob Clendenin) and director Stella Powell-Jones’ fl awless production. Circle X Th eatre at Atwater Village Th eater, 3269 Casitas Ave., Atwater; through April 19. circlextheatre.org. —Bill Raden

Laura Linney Is So-So, But See Her Play

Mortality, weaponry, legacy and intrigue: Th ese are the ingre-dients of Switzerland, now playing at the Geff en. Th e story centers on Patricia Highsmith (Laura Linney), author of Th e

Talented Mr. Ripley, at her home in Switzerland, where she’s retreated to escape the New York literary scene. Edward (Seth Numrich), a novice emissary from her publisher, has just arrived, compelled to convince Highsmith to write one last book starring her most famous character.

Joanna Murray-Smith’s writing is strong, and switches styles adeptly. Th e play’s 95 minutes move quickly, though it could benefi t from an inter-mission, if only to get the audience talking about what they’re watching.

Linney commands the stage, but doesn’t live up to Highsmith’s fero-cious reputation. However, her costar Seth Numrich more than holds his own, delivering a nuanced performance.

Director Mark Brokaw’s staging in the intimate Audrey Skirball Kenis Th eater keeps the audience in the thick of the action, and the play is a thrill ride. But watching it is a mental exercise as much as it is an emo-tional journey, inspiring deep introspection about human nature, and that’s more terrifying than any murder a crime author could concoct. Geff en Playhouse, 10886 Le Conte Ave., Westwood; through April 19. (310) 208-5454, geff enplayhouse.com. —Katie Buenneke

A Midsummer Night’s Dream at Actors’ Gang, directed by Tim Robbins

( 37 »

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we can raise the funds — which is not easy for new plays. One obvious option is just to hire nonunion actors.”

Rogue Machine’s John Flynn says he’ll slide his theater into Equity’s proposed membership-company option.

“We will [continue to pay] actors $25 a performance and we will be paying a rehearsal stipend,” even though the union doesn’t require any of that under the membership option. Flynn adds that his company will abide by all of the health and safety protections that the union proposes abandoning under this option.

Ron Sossi, who’s headed the Odyssey Theatre for more than 40 years, adds that since productions under the 99-Seat Plan will be allowed to complete their seasons, he won’t be aff ected until February 2016. After that point, Sossi says, he might work under the membership option, “so we’re currently trying to expand the number of those members before the [union’s] April 1 deadline.”

Sossi says that the other option, if the Odyssey lacks enough members to “pro-duce the scope and quality of what we want to do, is to go totally non-Equity ... probably the more likely path.”

Sossi’s “more likely path” is echoed by Gregory Crafts at Theatre Unleashed (try-ing to keep his doors open on a $50,000 annual budget), by Martha Demson at Open Fist Theatre (now homeless after a devastating rent increase in Hollywood) and by Maria Gobetti, who has been at Bur-bank’s Victory Theatre Center for 30 years. Says Crafts: “As we bring in new members,

we’re basically going to have to hang a sign that says ‘Equity Need Not Apply.’�”

Sixty-three percent of L.A.’s union actors have participated in the Plan over the last fi ve years, peppering the productions of L.A.’s intimate theaters. They often provide these theaters with an added sheen of ex-cellence, and the accompanying possibility of transferring to Equity contracts (almost 200 productions have done so since 1989). At the L.A. Drama Critics Circle Awards on March 16, playwright Marja-Lewis Ryan spoke of how, under the 99-Seat Plan, you can see an 8-year-old girl share the stage with a Broadway veteran.

There’s a chance that the Plan, or a part of it, will be saved. Union members in the “Pro99” movement are mobilizing against their own union for their right to practice what they regard as their calling. The L.A. Drama Critics Circle has issued a statement citing the artistry and the civic contributions that inevitably will be dimin-ished if Equity’s proposal goes through and union actors are removed from the equation — a sentiment echoed by the Hol-lywood Arts Council and City Councilman Mitch O’Farrell.

The end result, however, will probably be determined in court, perhaps on proce-dural grounds but more likely on whether an actor volunteering a performance for a nonprofi t, money-losing theater company is partaking in a commercial or a civic function. Equity’s case will depend on the former, standing resolutely on one side of a divide between the right of minimum wage and the freedom to follow a muse.

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DETERGENTPretty much everything about teen soap dystopia Insurgent is dumb

BY AMY NICHOLSON

We’re two fi lms in to the kiddie-dystopia Diver-gent franchise, and it’s still unclear if this sequel’s direc-

tor, three screenwriters, eight producers and original novelist Veronica Roth have bothered to double-check a dictionary. Divergent, and now Insurgent, tracks the monotone mishaps of Tris (Shailene Woodley), a very special girl. (Aren’t they all.) Tris continues to fl ail against a posta-pocalyptic city-state where all residents are divided at maturation into one of fi ve biologically based clans: Amity, Abnega-tion, Dauntless, Candor and Erudite. Each group is assigned a job that kinda-sorta relates to their inborn personality: The brave Dauntless make up the militia, the peaceful Amity are, er, farmers. They are expected to marry their own.

Outside the system is a sixth class made up of the homeless, politely called “Fac-tionless,” who act indistinguishably from the Dauntless, except that they’re allowed to dress like The Ramones. Then there’s a seventh, furtive faction who register posi-tive for the traits of all fi ve tribes, classify-ing them as Divergent. One would think that people who combine the separate traits would be called Convergent, but then one would be expecting the source mate-rial to exert the barest minimum eff ort.

To amplify the confusion, Abnegation means “selfl ess,” according to the logic

of the fi lm, except when it means “forgiv-ing,” and Amity means “forgiving” except when it means “hippie.” Ignore that these fi ve branches of career don’t seem to add up to a functioning economy, unless you believe that 20 percent of the world should be composed of lawyers, aka clan Candor, who are lauded for their honesty despite the fact that everyone else in the fi lm also speaks in straightforward declaratives.

It’s all so muddled that when we experi-ence a simulation test for all fi ve groups, half the time we can’t even tell what the category is (even when, you know, the point of the fi lm hinges on it).

The nicest thing you can say about Insurgent is that no one involved in the making of it would test positive for the

intelligent Erudites, but then author Roth has, perhaps out of spite, reframed smart as evil. Headed by the wicked Jeanine (Kate Winslet), the Erudites launch a witch hunt to ID and ghettoize — or worse — every hidden Divergent, as she believes they’re responsible for the nuclear war that wiped out all life outside the city’s gates. This allows new-to-the-series German director Robert Schwentke (Red, R.I.P.D.) to hammer chords of Berlin 1938, with Winslet’s hair bleached an overde-termined shade of platinum. Meanwhile, despite Jeanine’s quest to capture those slippery Divergents, characters such as Tris’ brother, Caleb (Ansel Elgort), some-how switch castes three times without any bureaucrats raising an eyebrow.

The previous fi lm buried its incoherence in an athletic tale wherein Tris, a girl born of Abnegation, chooses to train with those Dauntless jocks and discovers that she’s Divergent — and perhaps the only one who can bring down Jeanine. (Hooray for in-born exceptionalism? But, uh, isn’t that the opposite of the fi lm’s message, that people should be equal?) Luckily, Tris’ mentor and boyfriend, Four (Theo James), is secretly Divergent too, even though, despite his supposed wisdom, he has a giant back tat-too proclaiming his Divergence. The fi rst fi lm was dumb, but Tris’ gym-mat tumbles with Four provided some distraction. Here, their relationship consists of clenching one another by the forearm and grunting two portentous sentences without blinking. They’re gray heroes in a gray world. For excitement, occasionally a fl ock of black birds fl ies across the screen.

Woodley favors serious and forthright roles, which she performs as though she’s trying to earn Employee of the Month. She’s more relaxed in movies such as The Spectacular Now, which force her to take a break from saving the world and crack open a beer. Woodley is shown no kind-ness by Insurgent’s script, which refuses to let her display any of the positive traits her character is said to possess, intelligence in particular. Tris simply charges ahead toward every telegraphed trap like a bull chasing a cape. “Meathead” characters such as Dauntless Peter (Miles Teller, the only actor carving out moments of fun), outwit her time after time, fi nally tsk-tsk-ing, “I knew you were dumb, but�...�.”

Even the plot throws up its hands. At several points in the script, Terrible Things happen that threaten to destroy everything. Later, these fears are tidily resolved off -screen, or proven not to be threats at all. In the fi nal act, one character has a change of heart that leads to a twist — which winds up changing nothing.

Insurgent is so vapid it seems impos-sible that there’s enough story left for another sequel, yet the fi lmmakers have already budgeted the fi rst movie’s $288.7 million haul for a third and fourth install-ment. If only they’d spent a few bucks on the latest Merriam-Webster.

INSURGENT | Directed by Robert Schwentke Written by Brian Duffi eld, Akiva Goldsman and Mark Bomback | Summit/Lionsgate | Citywide

| Film // PHOTO BY ANDREW COOPER

FROM LIAM NEESOM TO SEAN PENN

Sometimes Sean Penn’s face is enough to anchor Th e Gunman, the ambitious and only partially successful action thriller from Taken director Pierre Morel. Penn’s character, soldier-turned-mercenary

Jeff Terrier (that surname tells you a lot), is both a lover and a fi ghter, capable of intense lovesickness as well as high-and-mighty moral standards. As the movie opens, Terrier is stationed in the Democratic Republic of the Congo circa 2006, a time of devastating national strife following years of civil war. He’s a former special-ops guy assigned to protect a group of NGO workers, among them comely doctor Annie (Jasmine Trinca), with whom he’s romantically involved — they nuzzle each other at the communal dinner table, as Terrier’s bossy colleague Felix (a dyspeptic-looking Javier Bardem) slinks around jealously.

Terrier may look like someone who really cares, but it becomes clear early on that he has accepted a not-so-selfl ess mission. Fast-forward eight years: He’s a changed man, now doing humanitarian aid in the

Congo himself, but he’s also lost his lady love and, worse yet, someone is trying to kill him.

In his search for an-swers, he trots the globe, frequently removing his shirt so we can see how trim and fi nely sculpted

his torso is: If Penn’s got the face of a guy who survives whatever comes his way, his body is defi nitely the sort of thing you have to work for.

Penn’s vanity — both in the way he shows off his bod and in the way he drives home the nobility of the once-wayward Terrier — is either the most deeply annoying thing about Th e Gunman or the one thing in it that actually works. I’m leaning toward the latter. —Stephanie Zacharek

THE GUNMAN | Directed by Pierre Morel | Written by Don MacPherson, Pete Travis and Sean Penn | Open Road | Citywide

Shailene Woodley, left, Theo James and Ansel Elgort

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Singing a New Song

IN DANNY COLLINS, AL PACINO PLAYS A WASHED-UP MUSICIAN WHO IS, IN A WAY, A LOT LIKE AL PACINO

BY AMY NICHOLSON

Some years ago, I went to see Tom Jones perform. He sang all the hits, but I was unnerved by his new, walnut-brown goatee. It

looked freshly trimmed and fake, as if he’d ripped it off Evil Spock backstage. Superstars aren’t allowed to change. Even the fans who love them insist they be dipped in wax: no new songs, no new attitude and certainly no new look.

Such is the “kind of based on a true story a little bit” premise of Danny Collins, a winning charmer starring Al Pacino as a megawatt singer who sells out stadiums packed with silver bouff ants and has calcifi ed into a caricature of a human being. Pacino plays him as delusionally vain. He wears his shirts unbut-toned to just above his girdle and is so coated in bronzer that he looks like a maple donut. Only his droll manager, Frank (Christopher Plummer), who’s even older, gets away with call-ing him “kid,” and also, “Sylvia Plath.” When Danny gets wasted on scotch and groans about his life, Frank corrects him: “Preg-nant women in Africa feeding half their village with their titties have problems.”

Writer-director Dan Fogelman (making his fi lmmaking debut after penning Crazy, Stupid, Love. and Tangled) is sympa-thetic, to a point. All creative types understand the fear that their best work is behind them, and worse, that there are leftover ideas they can’t fi gure out how to say, assuming audiences were even willing to hear them. Still,

Danny’s agonies are at least half-funny. Sure, he’s gotten older — but all the bikini babes at his birthday party have stayed the same age. (And Fogelman can’t resist panning down a row of gray-haired men gazing wist-fully at the pool.)

Danny wants to go back to the folk singer he was in 1971, whom we meet in a brief fl ashback. A reporter (Nick Off erman) warns that he’s so talented, “like fucking Lennon, man,” that he’s destined for fame, fortune and females. Young Danny (Davide Donatello, a dead ringer for Pac-ino in Dog Day Afternoon) looks so scared, you half expect him to bolt from the offi ce and go rob a bank. In a way, he did: After sales of a personal album fl opped, he gave up and swaggered through other people’s songs, earning enough easy loot for a man-sion complete with lithe blond fi ancée (his fourth) and its own elevator. He’s accepted selling out — who wouldn’t? — until Frank presents him with a lost letter Lennon wrote four and a half decades ago urging Danny to “stay true to yourself.” Talk about a from-the-grave guilt trip.

Danny Collins is a redemp-tion movie in the skeptical key of Jerry Maguire. Our decadent hero decides to fi x himself in the fi rst act. The rest of the fi lm is him realizing how hard it will be to keep living right — and that maybe he doesn’t have the moral clout to manage it. Here, Danny jets off to New Jersey in his private plane, checks into a modest hotel hosting a dental convention and stuff s a grand piano into a room so cramped he has no choice but to sit down at the stool and compose.

In a way, Danny Collins is al-

lowing Al Pacino to do the same thing. The great ’70s talent has “hoo-ah!”–ed through recent decades, cranking out variations on his greatest hits. This movie is a narrow character piece that shows Pacino wrestling to reveal layers in a man who’s worried he might actually be hollow. He and Fogelman string together doz-ens of small, perfect moments: the way Danny defl ects gawkers with aggressive extroversion, a bit where he lobs lemon rinds into a tequila glass with drunken dead aim, his confi dent shrug when the hotel manager, Mary (Annette Bening), tells him his silken scarf looks ridiculous.

He and Mary are fated to fl irt — we know it the second Bening pops up behind a desk, blinking in confusion. But Fogelman bases their con-nection not on Danny’s need

to heal himself with a normal mortal but on Danny and Mary’s repartee. They click and their dialogue feels sprightly, not scripted. (As a bonus, when Danny compliments himself that 18-years-younger Mary is age-appropriate, Frank clucks, “No, not really.”)

Danny has a harder time wooing his estranged son, Tom (Bobby Cannavale), the result of a one-night stand with a groupie. Tom, a construction worker, has his own family with wife Saman-tha (Jennifer Garner) and wild moppet Hope (Giselle Eisenberg, a hyperactive powerhouse), and no tolerance for this fancy-pants stranger who unmans him by of-fering to pay for his granddaugh-ter’s expensive dream school. Cannavale is perfect in the part: He’s got the brawn of a working-class hero, but his eyebrows are

always tilted as if he’s about to cry. He comes close to out-acting Pacino, who proves willing to share the mic.

Everyone gets over-invested in Danny’s could-be comeback, but they and the fi lm know how to cut the sweetness with just enough sour. When Mary beams that, despite barely knowing Danny, and even if it sounds weird to say, she’s proud of him, he cracks, “That is fucking weird.” Yet even if Mary thinks she knows what’s best for him, Fogelman doesn’t discount the power of Danny’s staying exactly the same. After all, singing the hits makes millions happy — and maybe that does matter more than the soul of one man.

DANNY COLLINS | Written and directed by Dan Fogelman

Bleecker Street | Landmark

| Film // PHOTO BY HOPPER STONE © 2014 BLEECKER STREET

Danny Collins reinvigorates Al Pacino’s career.

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

AMOUR FOU Austrian writer-director Jessica Hausner has an unerring talent for examining, skeptically but never cynically, grand notions about destiny: What we perceive as — or have con-vinced ourselves to be — the workings of fate, whether religious or romantic, is ultimately better understood as arbitrary or coincidental occurrences. Amour Fou finds the absurdities in the most solemn of scenarios: a real-life double suicide from 1811, annihilation conceived of as the purest expression of love. Taking off from, yet not slavishly adhering to, the particulars involved in the near-simultaneous deaths of the mor-bidly self-absorbed writer Heinrich von Kleist (Christian Friedel) and the solidly bourgeois wife and mother Henriette Vogel (Birte Schnoeink), Amour Fou begins with one of Hausner’s hallmarks: precise, painterly compositions. The film opens with a blast of effulgence, as Henriette arranges, in a room with pale-blue walls, a large bouquet of daf-fodils. “I have become too sensitive. ... Nothing upon this earth can help me,” Heinrich laments to his adored cousin Marie (Sandra Hüller) before delivering this proposition: “Would you care to die with me?” Rebuffed, Heinrich utters the same proposal to Henriette — his gesture motivated not by fiery passion but by dull convenience. The eminently conventional woman rejects him, too, at first — until the diagnosis of a lethal tumor convinces her that Heinrich’s plan may be the noblest way to perish. Before her life is snuffed out, Henriette is both fully aware of her co-conspirator’s solipsism and deeply touched by the self-less devotion of her husband. In her final seconds of life, she is on the verge of a declaration. Henriette’s last thought will forever be a mystery, but the grandeur of Romanticism is tartly, pleasingly demysti-fied. (Melissa Anderson)

EARTH’S GOLDEN PLAYGROUND To hear Earth’s Golden Playground tell it, the true mother lode has yet to be struck. The reality may be much less promising than that fanciful notion, but Andreas Horvath’s vérité documentary on worka-day gold miners in the remote Yukon re-mains cautiously optimistic. The rugged setting is well served by Horvath’s no-frills approach — muted beauty like this doesn’t require much ornamentation. The same goes for his salt-of-the-earth subjects, whom the filmmaker allows to relate their own stories of hardship and perseverance without injecting himself into the telling: There’s no voice-over and, save for a few scene-setting notes at the beginning and end, virtually no in-tertitles. “They haven’t given up all their secrets yet,” one man says of the moun-tains he believes still contain vast riches; it’s easy to go along with such romantic ideas when taking in the awe-inspiring Klondike gold fields. Still, this isn’t as ex-citing to watch in its moment-to-moment drift as Horvath’s long sequences presup-pose, though there is a rhythmic quality to the more process-heavy segments reminiscent of something Harvard’s

Sensory Ethnography Lab (Leviathan, Manakamana) might produce. We get a genuine sense of the lifestyle and all its attendant struggle, which Earth’s Golden Playground reinforces through repetition. The pacing may sometimes feel glacial but, as with the gold we eventually see harvested, the payoff proves worth the effort. (Michael Nordine)

GHOUL The possession thriller Ghoul frames its fiction with fact: Weathered Ukrainian women relate stories of can-nibalism from the Stalin-caused famine of the 1930s, genuine horrors endured not a century ago. That grounding in history lends weight to the rest of the film, as an American documentary crew accompanies its local fixer, a translator and a psychic to the house of Boris, a (fictional) survivor of that cannibalism later accused of murder and cannibalism himself. Their interview subject doesn’t show but, thanks to an ill-advised sé-ance, the crew becomes trapped in the area around his remote cottage, possibly by the spirit of yet another cannibal (a real-life serial killer named Andrei Chikatilo). Director Petr Jákl disorients with a veering handheld camera and scenes illuminated by wavering pinpricks of light; on the audio side, any spoken Ukrainian is only sometimes subtitled but otherwise translated in-scene — and only after a pause. Other frustrations seem less deliberate: The two male Americans blur together, and what can be said for a movie with so many cannibals that it’s tough to remember which is which? Nonetheless, Ghoul rewards attention for much of its running time with subtle scares and growing unease, before squandering it in a shaky chase through twisted corridors that goes nowhere unexpected. (Rob Staeger)

KUMIKO, THE TREASURE HUNTER A deranged pseudo-feminist fable, Kumiko the Treasure Hunter takes its tedious time getting to its unrewarding destination. Habitually dressed like Little Red Riding Hooded Sweatshirt, Kumiko (Rinko Kikuchi) is an unhappy Tokyo office worker whose boss and mother chide her for not having a boyfriend or profes-sional ambition. She’s also bonkers, as evidenced by her use of a homemade treasure map to locate a VHS copy of Fargo buried in a beachside cave. Repeated viewings of the Coen brothers’ film convince her that the briefcase of cash Steve Buscemi’s character buries in the snow actually exists, and after much warning-sign behavior — including set-ting her pet bunny Bunzo free in a public park — Kumiko uses her employer’s credit card to travel to Minnesota. There, she encases herself in a comforter, is aid-ed by a local cop and skips out on many bills, exhibiting a selfish dedication to her delusion that’s almost as off-putting as director David Zellner’s mannered com-positions (including repeated Dardenne-ish shots from behind Kumiko’s head) are affected. That Kumiko is rejecting expected societal roles in order to chase her dream like some addled latter-day Conquistador gives the film a mild un-dercurrent of female empowerment. Yet the eventual preponderance of forced FEATURING SONGS BY JOHN LENNON

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AL PACINOANNETTE BENINGJENNIFER GARNER

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WRITTEN AND DIRECTED BY DAN FOGELMANTHE WRITER OF ‘LAST VEGAS’ and ‘CRAZY, STUPID, LOVE.’

“DANNY COLLINS”AL PACINOA HANDWRITTEN FILMS PRODUCTIONA SHIVHANS PICTURES PRODUCTIONBLEECKER STREET PRESENTS IN ASSOCIATION WITH BIG INDIE PICTURES A FILM BY DAN FOGELMANJULIANNE JORDANMUSIC

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PRODUCTIONDESIGNER DAN BISHOPSOPHIE DE RAKOFFCOSTUME

DESIGNER JULIE MONROEEDITORTHEODORE SHAPIROMUSICBY AND RYAN ADAMS DIRECTOR OF

PHOTOGRAPHY STEVE YEDLIN

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|fish-out-of-water whimsy serves as a reminder that “unconventional” doesn’t always mean “good.” (Nick Schager)

LIKE SUNDAY, LIKE RAIN Unsurprising given its laughably affected title, Like Sunday, Like Rain boasts what may be the most insufferably precocious pro-tagonist in cinema history. Reggie (Julian Shatkin), a 12-year-old boy genius, proclaims that art is dead, casually ques-tions adult “mores” and composes classi-cal music, which he then practices on his cello in his Upper West Side mansion’s empty indoor swimming pool. Actor-turned-writer/director Frank Whaley employs studied tracking shots and a mind-numbing piano theme to chart Reggie’s quasi-romantic relationship with 20-something Eleanor (Leighton Meester), who’s hired by Reggie’s cold, wealthy mom (Debra Messing) to be the kid’s nanny. That job involves listening to Reggie prattle on about museum paintings and his vegan diet, all of it delivered in an overly articulate, smarty-pants way that makes you pine to see him suffer some much-deserved bully justice. Eventually, the two travel upstate to visit Eleanor’s dying father and deal with lowbrow relatives who prove to be the clichéd country-bumpkin flip side to Messing’s snooty urbanite. When Reggie advises Eleanor, a former cornet prodigy, to protect her artistic “gift,” Like Sunday, Like Rain finally achieves maximum pho-niness — and that’s not even factoring in Billy Joe Armstrong, whose performance as Eleanor’s callous musician boyfriend is as whiny and grating as [insert any Green Day song title]. (Nick Schager)

LILY & KAT If there is a single demographic that the film industry — both mainstream and what passes for indie — and televi-sion routinely ignore or erase, it is that of the young, thin, single, attractive, financially secure (even if by no visible means) white woman struggling to find herself and the meaning of life in New York. Who will tell her story? Who will address her plight? Who will remind us of the universality of her struggles, her late-night bar-hopping, her fights and teary reconciliations with friends, and her remorse over bad sex with vaguely or du-biously hot but clearly unworthy young, thin, financially secure (even if by no vis-ible means) white men? Director Micael Preysler and co-writer Megan Platts will — that’s who. Lily (Jessica Rothe) is a young, thin, etc., who works in a trendy clothing boutique in Soho while dreaming of launching her own line. Her boyfriend Nick cheats on her and is, like, so much less than she deserves. Life is stuck in idling mode when Lily’s British BFF Kat (Hannah Murray) informs her, out of the friggin’ blue, no warning or anything, that she — Kat — has decided to take a job at her dad’s record label in London in less than a week. (For the record, Kat is also thin, single, white, etc.) What follows is a lot of tedious passive aggression, flat-out tantrums and general spoiled-rich-kid behavior all interwoven with the kind of facile philosophizing that only heads-up-their-bums 20-somethings can utter with straight faces. There are tears and hugs at the end. (Ernest Hardy)

SECRET OF WATER Secret of Water might be a great film to watch if you’re high. The meandering, non-narrative documentary cuts between digitized representations of molecular energy, super-saturated shots of waterfalls and ebbing tides, and slow-voiced talking heads. In the background, offscreen, water drips and rushes. We hear the trickle of melting snow filling the dry crevices of a stream bed, and rain pounding on a roof. Water, directors Jirka Rysavy and Saida Medvedeva claim, is alive, intuitive and changing according to the environment and even to mood. It’s no surprise that the toxins humans produce affect our natural resources, that the pharmaceutical residue we piss out and flush away winds up in the water supply. Dr. Masaru Emoto of Japan, whose philosophies the film highlights, claims that the sharp turns modern plumbing forces aren’t natural, and as a result diminish water’s energy, purity, and healthfulness. Even this makes a sort of intuitive sense: Cramped urban living is bad for all kinds; it’s notable that a tree grows in Brooklyn. Unfortunately, Dr. Emoto’s research comes off as absurd. He’s investigating whether the form of water crystals indicates their health and happiness by playing classi-cal music for water and recording how

the crystals change shape. You’ve got to pity the grad students tasked with looping Beethoven for a beaker of H2O. Rysavy and Medvedeva further under-mine their point by presenting a film with the production quality of a high school science-class video, all grainy interviews and shoddy CGI representations of land erosion over millennia. It’s laugh-out-loud silly if you’re in the mood, but mostly em-barrassing. Science certainly could use more philosophy, but not at the expense of dignity, never mind common sense. (Diana Clarke)

SEX AND THE SINGLE ALIEN Sex and the Single Alien was originally a 1993 cable-only (HBO, Cinemax, USA Network) sex comedy. This unnecessary 21st-century remake by Peter Daskaloff, who also wrote and directed the original, is shud-deringly faithful to the soft-core template of that earlier time: puerile humor, bad acting and gratuitous T&A. Harry and Olivia are an attractive married couple who own a high-end strip club (the film’s obvious low budget means that “high end” still looks incredibly cheap, and the club is obviously a small set). Ironically, their sex life is nonexistent due to Olivia’s obsession with UFOs and her belief that aliens are quietly colonizing Earth. A newly hired Russian stripper

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seemingly shares Olivia’s beliefs — she isn’t who or what she seems, and from her first appearance she slowly unravels everything the couple thought they knew about the world and each other. (And secretly sleeps with Harry, of course.) This is a film in which not a single human is remotely smart (especially not the ones who are supposed to be) and the subordinate alien workers speak in an oddly accented, broken English peppered with nonsensical bleeps and blips meant to signify their alien language. It might all go down somewhat better if it had an iota of charm. If a horny, obnoxious, hetero-sexual 12-year-old boy of below-average ability made a film, this might well be the result. (Ernest Hardy)

GO SEYMOUR: AN INTRODUCTION A magnificently accomplished concert pianist who at one time seemed poised for fame, Seymour Bernstein, now in his 80s, quit performing at age 50. Since then, he has concentrated on compos-ing, teaching and simply playing. Director

Ethan Hawke — who appears only briefly in Seymour: An Introduction, as an in-tensely quizzical, vaguely rumpled pres-ence — explains that he met Bernstein at a dinner party, and was drawn to the elder gentleman’s ideas about perform-ing and creativity. Hawke had been struggling with his own questions about what it means to be a performer, and has at times suffered from debilitating stage fright. The film Hawke has made — which borrows its title, though little else, from J.D. Salinger — works both as a celebra-tion of Bernstein, whose spirit is at once gentle and boldly generous, and as a way of exploring creativity and the mean-ing it can have in our lives. Listening to Bernstein speak and play, and watching him connect with his students, you can see why Hawke would gravitate toward him. He’s an impishly cheerful-looking man with a roundish face, his thinning hair brushed into a little tuft at the top. His aura of calm is like an enveloping mist when he talks about the nature of merging “the musical self and the per-sonal self,” or when he likens a student’s playing to “a dream.” He’s a reassuring but challenging presence, maybe be-cause he’s still asking questions himself. What does it mean to play music, to teach or to simply create? The answers are in Schubert, in Beethoven, and float-ing out there in the universe. They’re in a chord you can feel in your heart. (Stephanie Zacharek)

SPRING The suspense and pleasure of Justin Benson and Aaron Moorhead’s talking-and-tentacles horror romance Spring lies in discovering what shape the film is going to take. The story of a handsome American ne’er-do-much (Lou Taylor Pucci) who jaunts off to Bologna after losing his job as a bar cook, Spring blossoms slowly: Boy meets girl, girl mentions that her medication means she has to shield her skin from the sunlight, boy starts spotting dead animals and albino snakes among the picturesque ruins. At first, the film feels like a scruffy, foul-mouthed horror-comedy, one eager to showcase its starlets’ breasts and its FX team’s bloody grossouts. But as the American comes closer to discovering his new lover’s secrets — she’s played by Nadia Hilker as a pained and alluring puzzle — the pace slackens, the charac-ters click, and Spring dares to become about its people rather than the usual splattering monsters. The last half-hour is winsome and lovely despite following a grandly Cthulhoid body-horror set piece. Moorhead served as cinematographer in addition to co-director, and his Italian nightscapes and sunrises are captured with matter-of-fact beauty — he shoots it as you’d see it if you were there, not in that magic-hour, light-gilded manner of most films of Americans in love abroad. Same goes for the occasional squishy horror stuff: By the end, it just seems part of this world, which turns out to be our world, which is more thrilling than most fantastical ones. (Alan Scherstuhl)

SWORD OF VENGEANCE Anglophile his-torians who also have a fetish for Asian martial-arts films and American Westerns will have all their cinematic needs

met in director Jim Weedon’s Sword of Vengeance — as long as they’re easily sated by moody visuals and a cliché-ridden script (by Julian Unthank). The opening titles give the backstory: After the Battle of Hastings in 1066, William the Conqueror carried out a campaign of genocide against the rebels in the north of England, resulting in the slaughter of 100,000 people and the brutal reign of Earl Durant and his two sons — effete sociopaths — over the region. From the carnage, however, rises Shadow Walker (Stanley Weber), a mysterious man of few words (most of them dry, hackneyed quips) and a single-minded purpose. As the film unfolds, his vendetta is proven to be personal. The bleakly shot movie is jump-started with flashing swords, severed limbs flying in slow motion and a throat being slit in gruesome close-up, all of which sets the tone and action template. Anna (Annabelle Wallis), leader of the surviving rebels, is written as a kickass character but barely registers through Wallis’ rote performance. But the narrative is often muddled, and neither acting nor clever dialogue is the point. The film’s purpose can be found some-where between expertly choreographed action scenes that borrow liberally from samurai films and Weber’s diamond-cut cheekbones. With his fashionable cornrows, drop-dead good looks and art-fully applied grime, he looks like he just wandered off a Dolce & Gabbana photo shoot, but that’s OK. The film hits its mark of being a popcorn action flick just fine. (Ernest Hardy)

THREE HEARTS (3 COEURS) A man is the lead in 3 Hearts, the melodrama from director-writer and New Wave inheritor Benoît Jacquot (Farewell, My Queen). The director has the reputation of working well with women and focusing on their issues, and the feminist in all of us has gotten used to seeing the melodrama as a female province. So this is refreshing. And the film is so unabashed in showing the place of passion in a bourgeois world, how a missed connection can screw up a life forever, that plot implausibilities are forgiven. Marc (Benoît Poelvoorde) is a tax inspector, oddly bumbling, even quixotic. Missing his train back to Paris, he’s stuck for the night in the tiny town of Valence, where he zeroes in on Sylvie (Charlotte Gainsbourg). Eyes “exchange” in a sudden soul-mate match-up, and the two blissfully walk the streets and talk. They plan to meet at the Tuileries Gardens, where, in near-homage to An Affair to Remember, Sylvie feels betrayed at his no-show. How can she know of Marc’s sudden heart attack? Devastated, she decamps to America. Gainsbourg — intuitive, wispily evanescent but strong — is the movie’s pulsating impulse, even off-screen. A usually serene Sophie (Chiara Mastroianni), bonded to her sister, Sylvie, weeps too copiously when Sylvie goes. She does perk up after un-wittingly hiring Marc for accounting help. He happens not to see the family photos lining the staircase, and they contentedly marry. But we wait with dread for the other shoe (sister) to drop (in). So what is Marc’s appeal? He’s the anti–Dominique

Strauss-Kahn, tearing his heart apart at the loss of ecstasy. A tapestrylike backdrop presents Catherine Deneuve as a soignée matriarch quietly joyful, not clashing with the main tragic if-only mood. (Marsha McCreadie)

TRACERS Bike-messenger boy meets girl, joins her NYC gang of parkour-ing thieves and winds up in formulaic trouble in Daniel Benmayor’s Tracers, a by-the-books B movie notable only for its ener-getic action choreography. In debt to a loan shark, Cam (Taylor Lautner) ditches cycling in favor of hopping, skipping and jumping around Manhattan after meeting Nikki (Marie Avgeropoulos), a beauty in league with other one-dimensional urban-athlete 20-somethings who pull off daring heists while dressed like ninjas. Cam is the usual good guy in a bad spot, and his need for cash drives him to join their crew, whose leader, Miller (Adam Rayner), likes to spout faux-philosophical nonsense about striving for new “pla-teaus.” Of course, what initially seems great to Cam eventually turns out to be rotten, which isn’t the case with the film itself: Tracers is a tedious, clichéd slog from start to finish, enlivened only briefly by two prolonged chases in which hand-held cameras maintain intense proximity to their subjects. Even with a mustache and some chin hair, Lautner’s blank-eyed brooding reconfirms that he’s a feature-less big-screen presence, and as the Twilight star leapfrogs his way over cars, through buildings and between high-rise balconies, Tracers looks as if it might be the next step in his seemingly fated path to cinematic obscurity. (Nick Schager)

THE WALKING DECEASED (WALKING WITH THE DEAD) There’s no more disposable type of comedy than the genre spoof, and no greater example of its general creative worthlessness than The Walking Deceased, an interminable 90-minute goof-off propped up by references to popular zombie-apocalypse fiction. Scott Dow’s dire directorial debut charts the efforts of a bunch of unfunny characters modeled after protagonists from The Walking Dead, Zombieland and Warm Bodies to stave off infection by the un-dead. Along their journey from a hospital to a mall to a remote rural farm run by a clueless elderly couple (old people, amirite?!), these doofuses make a host of puerile, sexist and homophobic jokes while also alluding to Breaking Bad and The Hunger Games, thereby cementing the film’s future status as a brainless time capsule of what was trendy at the precise moment last year when its script was approved. Unlike its spiritual fore-father, Scary Movie, there’s no breakout star like Anna Faris lurking amid its cast; everyone involved fails equally at garner-ing a laugh. By the time its survivors de-cide to take a break from confronting the end of the world in order to get high on weed dubbed “Hash of the Living Dead,” The Walking Deceased has long since elicited more groans than a thousand zombies could muster. (Nick Schager)

ZOMBEAVERS The beavers have cut the phone lines. There’s a lot to like about Zombeavers before that suspense trope turns up, but the way it’s presented as a

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deliberate act drives home the fact that this is a sublimely silly monster movie. It’s got a standard setup — horny kids at an isolated cabin, toxic waste mutating whatever it touches (spoiler: It’s bea-vers) — but it proceeds with a surprising amount of style, from the Saul Bass–in-spired title sequence all the way to the Sinatra pastiche over its closing credits. But it’s the zombie-beaver puppets — mangy, goopy and unapologetically fake — that steal the show. These undead water rodents terrorize the spring break-ers, circling their raft and surrounding their cabin at night, eyes aglow, tails thumping in unison. As they whittle down the vacationers one by one, their bites open the door for more trouble ... and more giddy-grossout makeup effects. Director Jordan Rubin and the cast know the material is ridiculous, but calibrate the tone so that the dangers still feels dangerous. Rex Linn adds flavor as a gruff local fur trapper, and the film opens with a goofy cameo by Bill Burr and John Mayer, but it’s the beavers, in all shapes and sizes, that chew most of the scenery. (Rob Staeger)

O N G O I N G

GO CINDERELLA There’s no empower-ment message embedded in Kenneth Branagh’s Cinderella, no “Girls can do anything!” cheerleader vibe. That’s why it’s wonderful. This is a straight, no-chas-er fairy story, a picture to be downed with

pleasure. It worries little about sending the wrong message and instead trusts us to decode its politics, sexual and otherwise, on our own. And face it — kids have been left on their own to decode the politics of fairy tales for centuries. Like all of Branagh’s films, even some of the bad ones, his bold, rococo Cinderella is practically Wagnerian in its ambitions — it’s so swaggering in its confidence that at times it almost commands us to like it. But it’s also unexpectedly delicate in all the right ways, and uncompromisingly beautiful to look at. As the primrose-radiant Lily James (of Downton Abbey) plays her, this Cinderella never comes off as a simp, maybe thanks, in part, to James’ sturdy, storm-cloud eyebrows: She’s a princess with presence. No wonder the mice of the household adore her — they chatter their thanks as she upends a teacup to make a dinner table for them. This is the first Cinderella I can think of where the prince is a thoughtful young man confounded by sorrows and challenges of his own. And say what you will about Branagh’s notorious ego: When he makes a movie, he makes a movie, a grand marvel of visual details and gestures that laughs haughtily at the idea of being watched at home on a TV screen. (Stephanie Zacharek)

FOOD CHAINS “To me it means life, it means memories,” says Gerardo Reyes Chavez, a farmworker advocate fea-tured in the documentary Food Chains.

He’s talking about food itself. Director Sanjay Rawal follows the activism of Chavez and the Coalition of Immokalee Workers (CIW), a group of tomato pick-ers who’ve had the audacity to ask for a penny more per pound of tomatoes, an amount they say would contribute mightily to their quality of life. In char-acteristic face-value fashion, they call it the Fair Food Program, and major corporate food purveyors, from Walmart to McDonald’s, have signed on. With the help of accomplished photography and sometimes mournful, sometimes upbeat Latin music, the film fosters a very hu-man connection to these pickers, whose eloquence comes from their plainspoken arguments, the austerity of their situa-tion and the modesty of their demands. It’s hard to fathom how little has changed from 1960, when Edward R. Murrow covered this same ground in Harvest of Shame. In those days, farmers held the power; today it’s fast-food conglomerates and supermarkets. Indeed, it’s grocery chain Publix’s mind-boggling refusal to even meet with the CIW — even in the face of a six-day hunger strike near the chain’s Florida headquarters — that is the movie’s focal point. “We work in this life to not worry about food,” Chavez says. But Americans remain all too disconnected from those who toil in grim living and working conditions to supply their food. Maybe it’s about time to worry. (Daphne Howland)

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

The First Zombie MovieFriday, March 20Few fi lmmakers have had a decade as fruitful as Robert Altman did in the 1970s. Th e Aero is screening selected favorites from his most prolifi c (and impressive) 10-year stretch this weekend, beginning tonight at 7:30 with his adaptation of Raymond Chandler’s Th e Long Goodbye and ending Sunday with McCabe and Mrs. Miller. Elliott Gould’s take on genre-defi ning private detective Philip Marlowe is very much of its time but, as with most else in this classic L.A. neo-noir featuring a rather important cat, it has endured the test of time without feeling dated. americancinemathequecalendar.com

Saturday, March 21Two sides of the undead coin at UCLA’s Billy Wilder Th eater: White Zombie and Ouanga, both on 35mm. Th e fi rst feature-length zombie movie ever made (not to mention the industrial-metal band’s namesake), White Zombie’s infl uence is felt today. Made in 1935 but not seen stateside for six more years, Ouanga’s hellacious production saw the death of several crew members. Th e screening is part of the UCLA Film & Television Archive’s Festival of Preservation, which restores classics and overlooked gems alike; Scott MacQueen, head of the preservation program, will attend. cinema.ucla.edu

Cinefamily’s Heavy Midnites program presents Wel-come to the Dollhouse, Todd Solondz’s feature debut. Though the indie stalwart’s body of work has proven increasingly divisive over time, his coming-of-age story centered around a seventh-grade outcast remains warmly received a full two decades aft er it was made. One of many indie classics to come out of Sundance’s ’90s hey-day, Dollhouse gave early signs of Solondz’s dark sense of humor and willingness to court controversy. cinefamily.org

Monday, March 23In conjunction with Il Cinema Ritrovato, a festival in

Bologna, Italy, dedicated to restoring classic films, Loyola Marymount begins its three-day Rediscovered Film series with Elio Petri’s Investigation of a Citizen Above Suspicion. Gian Maria Volonté stars in Petri’s 1970 crime drama as a homicide detective who kills his mistress and then investigates the murder. Th e movie won an Oscar for Best Foreign-Language Film and re-mains the Italian auteur’s best-known work. sft v.lmu.edu

Tuesday, March 24Antoine Doinel’s story comes to a close in Love on the Run, the latest 1 p.m. Tuesday Matinee at LACMA. François Truff aut made fi ve fi lms about his semi-auto-biographical avatar over the course of 20 years, with this one providing closure on his marriage to on-and-off love interest Christine and his life as a novelist. Truff aut made just three more movies in the following fi ve years before his untimely death at age 52. lacma.org

Th ursday, March 26Cal State Northridge’s semester-long Yasujiro Ozu retro-spective continues with Tokyo Twilight at 7:30. Another in a long line of family dramas, this late entry in the fi lm-maker’s body of work focuses on two sisters reuniting with the mother who abandoned them years earlier. Ozu’s tone and approach vacillated from fi lm to fi lm, and Twilight, his last black-and-white production, is widely thought of as one of his most dispiriting. csun.edu —Michael Nordine

The Long Goodbye

2 COL X 7" THUR 3/19

STARTS FRIDAY, MARCH 20

ZOMBEAVERSFROM THE GUYS THAT BROUGHT YOU

AMERICAN PIE, CABIN FEVER AND THE RING

HORROR VIOLENCE/GORE, CRUDE SEXUAL CONTENT, GRAPHIC NUDITY, AND LANGUAGE THROUGHOUT

“I lovedevery DAM minute of

ZOMBEAVERS!”-Ain’t It Cool News

Special Q&A with Director Jordan Rubin and Cast Members Friday 3/20 and Saturday 3/21 following the 7:00 show.

ALSO ON-DEMAND MARCH 20

LOS FELIZVintage Cinemas Los Feliz 3 (323) 664-2169

Daily: 1:30 • 4:15 • 7:00 • 9:45

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HOLLYWOOD & VICINITY

ARENA CINEMA 1625 North Las Palmas Avenue - Next to Egyptian Theater (323)306-0676Sword of Vengeance Fri.-Sat., 7:40, 9:20 p.m.; Sun.,

4:15, 8:20 p.m.Showrunners: The Art of Running a TV Show

Sun., 6 p.m.ARCLIGHT HOLLYWOOD Sunset Blvd. at Vine (323) 464-4226The Second Best Exotic Marigold Hotel Fri.-Sun.,

11:05 a.m., 1:40, 4:35, 7:05, 9:40 p.m.; Mon.-Thurs., 11:50 a.m., 2:15, 4:35, 7:05, 9:40 p.m.

Danny Collins Fri., 10:25 a.m., 12:30, 2:25, 4:50, 7:10, 10 p.m.; Sat.-Sun., 10:25, 11:25 a.m., 12:30, 2:25, 4:55, 7:10, 9:55 p.m.; Mon.-Thurs., 10:25 a.m., 2:10, 4:50, 7:10, 9:55 p.m.

The Divergent Series: Insurgent 3D Fri.-Sun., 10:40 a.m., 1:30, 4:25, 7:25, 10:15 p.m.; Mon.-Thurs., 10:50 a.m., 1:40, 4:25, 7:25, 10:15 p.m.

The Divergent Series: Insurgent Fri., 12:15, 3, 6, 9:35 p.m.; Sat.-Sun., 12:15, 1:45, 3, 6, 9:35 p.m.; Mon.-Thurs., 10:40 a.m., 12:30, 1:35, 3:10, 4, 9:35 p.m.; Fri.-Sun., 11 a.m., 2, 5:10, 8:15, 11:30 p.m.; Mon.-Thurs., 11:15 a.m., 2:05, 5, 8, 11:05 p.m.

The Gunman Fri., 11:55 a.m., 2:55, 5:40, 8, 10:45, 11:30 p.m.; Sat.-Sun., 11:55 a.m., 2:55, 5:40, 8, 10:45, 11:20 p.m.; Mon.-Thurs., 10:35 a.m., 1:05, 3:30, 5:40, 8:05, 10:45 p.m.

Going Clear: Scientology and the Prison of Belief Fri., 10:30 a.m., 1, 2:30, 4:30, 5:50, 7, 9:45 p.m.; Sat.-Sun., 10:30 a.m., 1, 2:30, 4:30, 5:50, 7, 8:45, 9:45 p.m.; Mon., 10:30 a.m., 2:25, 4:45, 5:55, 7, 8:15, 9:45 p.m.; Tues., 10:30 a.m., 2:25, 4:45, 5:55, 8:15, 10:25 p.m.; Wed.-Thurs., 10:30 a.m., 2:25, 4:45, 5:55, 7, 8:15, 9:45 p.m.

It Follows Fri., 10:50 a.m., 12 noon, 1:15, 2:45, 3:30, 5:45, 7:35, 8:30, 9:45, 10:50, 11:35 p.m., 12 mid.; Sat.-Sun., 10:50 a.m., 12 noon, 1:15, 2:40, 3:30, 4:25, 5:45, 6:45, 7:35, 8:30, 9:10, 10, 11:05 p.m., 12:15 a.m.; Mon.-Wed., 10:55 a.m., 12:05, 1:10, 2:20, 3:25, 4:30, 5:45, 6:45, 7:35, 8:30, 9:10, 10, 11 p.m.; Thurs., 10:55 a.m., 12:05, 1:10, 2:20, 3:25, 4:15, 5:45, 7:35, 8:30, 10 p.m.

Run All Night Fri.-Sun., 11:50 a.m., 1:55, 5, 8:05, 10:55 p.m.; Mon.-Thurs., 11:45 a.m., 2:30, 5, 8, 10:55 p.m.

Chappie Fri., 11:35 a.m., 2:15, 4:55, 7:15, 10:05 p.m.; Sat.-Sun., 11:35 a.m., 2:15, 4:50, 7:25, 10:05 p.m.; Mon.-Thurs., 11:55 a.m., 2:35, 4:55, 7:15, 10:05 p.m.

‘71 Fri.-Sun., 10:20 a.m., 12:40, 3:45 p.m.; Mon.-Thurs., 11 a.m., 1 p.m.

Focus Fri., 11:45 a.m., 2:50, 4:50, 7:40, 10:30 p.m.; Sat.-Sun., 11:45 a.m., 2:50, 4:45, 7:40, 10:30 p.m.; Mon.-Thurs., 11:40 a.m., 12:50, 3:05, 5:50, 7:40, 10:30 p.m.

Kingsman: The Secret Service Fri., 11:15 a.m., 2:10, 5:15, 8:10, 10:35 p.m.; Sat.-Sun., 11:15 a.m., 2:05, 5:15, 8:10, 10:35 p.m.; Mon.-Thurs., 11:20 a.m., 1:15, 5:20, 8:10, 10:35 p.m.

What We Do in the Shadows Fri., 5:05, 8:50 p.m.; Sat.-Sun., 5:05, 11:25 p.m.; Mon., 3:10, 5:05, 7:05, 9:15, 10:50 p.m.; Tues., 3:10, 5:05, 10:50 p.m.; Wed., 3:10, 5:05, 9:50, 10:50 p.m.; Thurs., 3:10, 5:05, 7:05, 9:15, 10:50 p.m.; Fri.-Sun., 7:20, 9:15 p.m.

Snatch. Tues., 7:30 p.m.Blue Velvet Wed., 7:30 p.m.LOS FELIZ 3 1822 N. Vermont Ave. (323) 664-2169The Divergent Series: Insurgent 1:30, 4:15, 7,

9:45 p.m.Zombeavers 1:30, 4:15, 7, 9:45 p.m.Cinderella 1:30, 4:15, 7, 9:45 p.m.TCL CHINESE 6 THEATRES 6801 Hollywood Blvd. (323) 461-3331American Sniper Fri., 1:15, 4:15, 7:30, 10:30 p.m.; Sat.,

12:45, 3:45, 7, 10 p.m.; Sun., 12:40, 3:40, 6:40, 9:40 p.m.; Mon.-Thurs., 1:30, 4:30, 7:30, 10:30 p.m.

The Divergent Series: Insurgent 3D Tues.-Thurs., 4:15, 10:15 p.m.; Fri., 4:30, 10:30 p.m.; Sat., 4, 10 p.m.; Sun., 3:30, 9:30 p.m.; Mon., 4:15, 10:15 p.m.; Fri., 4:30, 10:30 p.m.; Sat., 4, 10 p.m.; Sun., 3:30, 9:30 p.m.; Mon., 4:15, 10:15 p.m.

The Divergent Series: Insurgent Tues.-Thurs., 1:15, 7:15 p.m.; Fri., 1:30, 7:30 p.m.; Sat., 1, 7 p.m.; Sun., 12:30, 6:30 p.m.; Mon., 1:15, 7:15 p.m.; Fri., 1:30, 7:30 p.m.; Sat., 1, 7 p.m.; Sun., 12:30, 6:30 p.m.; Mon., 1:15, 7:15 p.m.

Run All Night Fri., 12 noon, 2:35, 5:10, 7:50, 10:30 p.m.; Sat., 1:30, 4:15, 7:15, 10 p.m.; Sun., 1:15, 4, 7, 9:45 p.m.; Mon.-Thurs., 12 noon, 2:35, 5:10, 7:50, 10:30 p.m.

Chappie Fri., 1:10, 4:10, 7:10, 10:10 p.m.; Sat., 1:20 p.m.; Sun., 1:15, 4, 6:45, 9:30 p.m.; Mon.-Tues., 1:10, 4:10, 7:10, 10:10 p.m.

Focus Fri., 12:15, 2:45, 5:15, 7:45, 10:15 p.m.; Sat., 12 noon, 2:25, 4:50, 7:20, 10 p.m.; Sun., 1, 3:30 p.m.; Mon., 12:15, 2:45, 5:15, 7:45, 10:15 p.m.

Kingsman: The Secret Service Fri., 1:20, 4:20 p.m.; Sat.-Sun., 1:10, 4:10, 7:10, 10:10 p.m.; Mon., 1:20, 4:20, 7:20, 10:20 p.m.

TCL CHINESE THEATRE IMAX 6925 Hollywood Blvd. (323) 461-3331 Call theater for schedule.PACIFIC’S EL CAPITAN Hollywood Blvd., west of Highland (323) 467-7674Cinderella Fri.-Sat., 10 a.m., 1, 4, 7, 9:45 p.m.; Sun.-Tues.,

10 a.m., 1, 4, 7 p.m.

PACIFIC’S THE GROVE STADIUM 14 189 The Grove Dr., Third & Fairfax (323) 692-0829The Second Best Exotic Marigold Hotel Fri.-Wed.,

11:25 a.m., 2:05, 4:45, 7:25, 9:50 p.m.; Thurs., 11:25 a.m., 2:05, 4:45 p.m.

American Sniper Fri.-Wed., 5:35, 7:45, 10:35 p.m.; Thurs., 5:35 p.m.

The Divergent Series: Insurgent 3D Fri.-Sun., 11 a.m., 1:05, 3:45, 6:25, 9:10 p.m.; Mon., 10:30 a.m., 1:05, 3:45, 6:25, 9:10 p.m.; Tues., 11 a.m., 1:05, 3:45, 6:25, 9:10 p.m.; Wed., 1:05, 3:45, 6:25, 9:10 p.m.; Thurs., 11 a.m., 1:05, 3:45 p.m.

The Divergent Series: Insurgent Fri.-Sun., 10:30 a.m., 12:05, 1:40, 2:45, 3:15, 4:20, 5:25, 7, 8:05, 8:35, 9:45, 10:45, 11:15 p.m.; Mon., 11, 11:10 a.m., 12:05, 1:40, 2:45, 3:15, 4:20, 5:25, 7, 8:05, 8:35, 9:45, 10:45, 11:15 p.m.; Tues., 10:30 a.m., 12:05, 1:40, 2:45, 3:15, 4:20, 5:25, 7, 8:05, 8:35, 9:45, 10:45, 11:15 p.m.; Wed., 10:30 a.m., 12:05, 2:45, 3:15, 5:25, 7, 8:05, 9:45, 10:45 p.m.; Thurs., 10:30 a.m., 12:05, 1:40, 2:45, 3:15, 4:20, 5:25 p.m.

The Gunman Fri.-Wed., 10 a.m., 12:30, 3, 5:30, 8, 10:30 p.m.; Thurs., 10 a.m., 12:30, 3, 5:30 p.m.

Cinderella Fri.-Sun., 10:05, 11, 11:40 a.m., 12:40, 1:45, 2:15, 4:20, 4:50, 6, 7, 7:30, 9:35, 10:10 p.m.; Mon.-Tues., 10:05, 11:40 a.m., 12:40, 1:45, 2:15, 4:20, 4:50, 6, 7, 7:30, 9:35, 10:10 p.m.; Wed., 10:05, 11, 11:40 a.m., 12:40, 1:45, 2:15, 4:20, 4:50, 7, 7:30, 9:35, 10:10 p.m.; Thurs., 10:05, 11, 11:40 a.m., 12:40, 2:15, 4:50 p.m.

Run All Night Fri.-Wed., 10:10 a.m., 12:40, 3:10, 5:40, 8:10, 11:05 p.m.; Thurs., 10:10 a.m., 12:40, 3:10, 5:40 p.m.

Chappie Fri.-Wed., 11:20 a.m., 2, 4:35, 7:10, 10:05 p.m.; Thurs., 11:20 a.m., 2, 4:35 p.m.

Focus Fri.-Wed., 10 a.m., 12:20, 2:40, 5, 7:20, 9:40 p.m.; Thurs., 10 a.m., 12:20, 2:40, 5 p.m.

The DUFF 11:50 a.m., 1, 3:20 p.m.Fifty Shades of Grey Fri.-Wed., 2:25, 5:05, 8:25 p.m.;

Thurs., 2:25, 5:05 p.m.Kingsman: The Secret Service Fri.-Wed., 10:15 a.m.,

12 noon, 2:45, 5:30, 8:15, 10:40, 11:10 p.m.; Thurs., 10:15 a.m., 12 noon, 2:45, 5:30 p.m.

VISTA 4473 Sunset Dr. (323) 660-6639It Follows Fri., 1:30, 4:15, 9:45 p.m., 12 mid.; Sat., 1:30,

4:15, 7, 9:45 p.m., 12 mid.; Sun.-Wed., 1:30, 4:15, 7, 9:45 p.m.; Thurs., 1:30, 4:15, 9:45 p.m.

DOWNTOWN, S. LOS ANGELES

DOWNTOWN INDEPENDENT 251 South Main Street (213)617-1033Earth’s Golden Playground Fri., 8 p.m.; Sat., 7:45

p.m.; Sun., 8 p.m.; Mon., 9:10 p.m.; Tues., 6:40 p.m.; Wed., 3:40 p.m.; Thurs., 7:15 p.m.

The Last: Naruto the Movie (Gekijouban Naruto: The Last) Fri., 5, 7:45 p.m.; Sat., 7:30 p.m.; Sun., 5, 7:45 p.m.; Mon., 9 p.m.; Tues., 6:30 p.m.; Wed., 3:30 p.m.; Thurs., 4:30, 7 p.m.

Goodbye to Language 3D (Adieu au Langage 3D) Fri., 10:15 p.m.; Sat., 10 p.m.; Sun., 3 p.m.; Mon., 7 p.m.; Tues., 4:30 p.m.; Wed., 6 p.m.; Thurs., 9:30 p.m.

CGV CINEMAS LA 621 South Western Avenue (213)388-9000Cinderella Fri.-Wed., 10:45 a.m., 1:30, 4:15, 7, 9:45 p.m.Detective K: Secret of the Lost Island Fri.-Wed.,

11:30 a.m., 2, 4:45, 7:15, 10 p.m.Empire of Lust (soon-su-eui si-dae) Fri.-Wed.,

7:30, 10 p.m.Ode To My Father (Gukjeshijang) (Gukje

Market) Fri.-Wed., 11 a.m., 1:45, 4:30 p.m.REGAL CINEMAS L.A. LIVE STADIUM 14 1000 West Olympic Blvd. (844)462-7342 4046The Breakfast Club 30th Anniversary Thurs.,

7:30 p.m.Four Blood Moons Mon., 7:30 p.m.TCM Presents Rear Window Sun.-Wed., 2, 7 p.m.The Divergent Series: Insurgent 3D Fri.-Sun., 10:40

a.m., 1:40, 4:40, 7:40, 10:40 p.m.; Mon., 1:30, 4:30, 7:30, 10:30 p.m.; Tues., 1:40, 4:40, 7:40, 10:40 p.m.; Wed., 1:30, 4:30, 7:30, 10:30 p.m.; Fri., 12 noon, 2:20, 3, 5:20, 6, 8:20, 9, 11:20 p.m.; Sat., 12 noon, 3, 6, 9 p.m.; Sun., 11:20 a.m., 12 noon, 2:20, 3, 5:20, 6, 8:20, 9, 11:20 p.m.; Mon., 12 noon, 2, 3, 5, 6, 8, 11 p.m.; Tues., 11:20 a.m., 12 noon, 2:20, 3, 5:20, 6, 8:20, 9, 11:20 p.m.; Wed., 12 noon, 2, 3, 5, 6, 8, 11 p.m.

The Divergent Series: Insurgent Fri., 11:20 a.m., 1, 4, 7, 10 p.m., 12 mid.; Sat., 1, 4, 7, 10 p.m., 12 mid.; Sun., 1, 4, 7, 10 p.m.; Mon., 1, 4, 7, 9, 10 p.m.; Tues., 1, 4, 7, 10 p.m.; Wed., 1, 4, 7, 9, 10 p.m.

The Gunman Fri.-Sat., 10:45, 11:40 a.m., 1:30, 2:30, 4:20, 5:15, 7:20, 8:10, 10:20, 11, 11:50 p.m.; Sun., 10:45, 11:40 a.m., 1:30, 4:20, 7:20, 10:20, 11 p.m.; Mon., 11:45 a.m., 1:30, 2:30, 4:20, 5:15, 7:20, 8, 10:20, 10:50 p.m.; Tues., 11:40 a.m., 1:30, 2:30, 4:20, 5:15, 7:20, 8:10, 10:20, 11 p.m.; Wed., 11:45 a.m., 1:30, 2:30, 4:20, 7:20, 10:20 p.m.

Cinderella Fri.-Sun., 10:30, 11:10 a.m., 1:20, 2, 4:10, 4:50, 7:10, 7:50, 10:10, 10:50 p.m.; Mon., 11:50 a.m., 1:20, 2:35, 4:10, 5:20, 7:10, 8:05, 10:05, 10:50 p.m.; Tues., 11:10 a.m., 1:20, 2, 4:10, 4:50, 7:10, 7:50, 10:10, 10:50 p.m.; Wed., 11:50 a.m., 1:20, 2:35, 4:10, 5:20, 7:10, 8:05, 10:05, 10:50 p.m.

Run All Night Fri.-Sat., 11 a.m., 1:50, 4:30, 7:30, 10:30, 11:30 p.m.; Sun., 11 a.m., 1:50, 4:30, 7:30, 10:30 p.m.; Mon., 1:45, 4:30, 7:30, 10:30 p.m.; Tues., 1:50, 4:30, 7:30, 10:30 p.m.; Wed., 1:45, 4:30, 7:30, 10:30 p.m.

Chappie Fri., 12:20, 3:20, 6:20, 9:20 p.m.; Sat., 12:20, 3:20, 6:45, 9:45 p.m.; Sun.-Tues., 12:20, 3:20, 6:20, 9:20 p.m.; Wed., 12:20, 3:20 p.m.

Focus Fri., 3:40, 6:30, 9:10 p.m.; Sat., 6:30, 9:10 p.m.; Sun.-Tues., 12:50, 3:40, 6:30, 9:10 p.m.; Wed., 10:10 p.m.

The Lazarus Effect Fri., 10:55 a.m., 1:10, 3:50, 6:40, 9:05 p.m.; Sat., 9:05 p.m.; Sun., 10:55 a.m., 3:15, 5:30, 7:45, 10:15 p.m.; Mon., 1:10, 3:50 p.m.; Tues.-Wed., 1:10, 3:50, 6:40, 9:05 p.m.

Fifty Shades of Grey Fri., 10:50 a.m., 1:55 p.m.; Sat., 8, 11:10 p.m.; Sun., 10:50 a.m., 1:55, 5, 8, 11:10 p.m.; Mon., 1:55, 5, 8, 10:55 p.m.; Tues., 1:55, 5, 8, 11:10 p.m.; Wed., 1:55, 5, 8, 10:55 p.m.

Kingsman: The Secret Service Fri., 12:10, 3:30, 6:50, 9:50 p.m.; Sat., 12:30, 3:30, 6:50, 9:50 p.m.; Sun.-Wed., 12:10, 3:30, 6:50, 9:50 p.m.

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

WEST HOLLYWOOD, BEVERLY HILLS

SUNDANCE SUNSET CINEMA 8000 West Sunset Boulevard (323)654-2217Spring Fri.-Sun., 11:45 a.m., 2:15, 4:45, 7:30, 10:10 p.m.;

Mon.-Thurs., 2:15, 4:45, 7:30, 9:50 p.m.The Wrecking Crew Fri.-Sun., 11:50 a.m., 2, 5:15, 8,

10:15 p.m.; Mon.-Thurs., 2:30, 5, 8, 10:10 p.m.An Honest Liar Fri.-Sun., 4:15 p.m.; Mon.-Thurs., 4 p.m.Merchants of Doubt Fri.-Sun., 11:15 a.m., 9:45 p.m.;

Mon.-Thurs., 9:40 p.m.Wild Tales (Relatos salvajes) Fri.-Sun., 11:20 a.m.,

1:50, 4:25, 7:15, 9:50 p.m.; Mon.-Thurs., 1:30, 4:15, 7:15, 9:45 p.m.

Still Alice Fri.-Sun., 12:15, 5, 7:45 p.m.; Mon.-Thurs., 4:30, 7:45 p.m.

Selma Fri.-Sun., 1:30, 7 p.m.; Mon.-Thurs., 1:15, 7 p.m.Whiplash Fri.-Sun., 2:30, 10 p.m.; Mon.-Thurs., 2, 10 p.m.LAEMMLE’S MUSIC HALL 3 9036 Wilshire Blvd. (310) 274-6869The Tales of Hoffmann (1951) Mon., 7:30 p.m.;

Tues., 1 p.m.Amour Fou Fri.-Sat., 12:10, 2:40, 5:10, 7:40, 10 p.m.;

Mon., 12:10, 2:40, 5:10, 10 p.m.; Tues., 2:40, 5:10, 7:40, 10 p.m.; Wed.-Thurs., 12:10, 2:40, 5:10, 10 p.m.

Medeas 12 noon, 7:30 p.m.Whiplash Fri.-Sat., 2:30, 5, 10 p.m.; Mon., 2:30, 5 p.m.;

Tues., 5, 10 p.m.; Wed.-Thurs., 2:30 p.m.Dreamcatcher (2003) 12 noon, 2:20, 4:50, 7:20,

9:50 p.m.

WESTWOOD, WEST L.A.

AMC CENTURY CITY 15 10250 Santa Monica Blvd. (888)AMC-4FUNGet Hard Thurs., 7 p.m.The Divergent Series: Insurgent An IMAX 3D

Experience Fri., 10:30 a.m., 1:30, 4:30, 7:30, 10:30 p.m.; Sat., 1:30, 4:30, 7:30, 10:30 p.m.; Sun., 10:30 a.m., 1:30, 4:30, 7:30, 10:30 p.m.

LAEMMLE’S ROYAL THEATER 11523 Santa Monica Blvd. (310) 477-5581Lost and Love (Shi Gu) Sat.-Sun., 10:45 a.m.The Tales of Hoffmann (1951) Mon., 7:30 p.m.;

Tues., 1 p.m.Three Hearts (3 coeurs) Fri., 1:40, 4:30, 7:20, 10 p.m.;

Sat.-Sun., 10:30 a.m., 1:40, 4:30, 7:20, 10 p.m.; Mon.-Thurs., 1:40, 4:30, 7:20, 10 p.m.

Deli Man Fri., 1, 3:15, 5:30, 7:45, 10:15 p.m.; Sat.-Sun., 10:45 a.m., 1, 3:15, 5:30, 7:45, 10:15 p.m.; Mon.-Thurs., 1, 3:15, 5:30, 7:45, 10:15 p.m.

Gett: The Trial of Viviane Amsalem Fri.-Sun., 1:20, 4:10, 7, 9:50 p.m.; Mon., 1:20, 4:10 p.m.; Tues., 4:10, 7, 9:50 p.m.; Wed., 1:20, 4:10 p.m.; Thurs., 7, 9:50 p.m.

Exchange & Mart 1 p.m.LANDMARK’S NUART THEATER 11272 Santa Monica Blvd. (310) 473-8530; No Texting AllowedKumiko, The Treasure Hunter Fri.-Mon., 12 noon,

2:30, 5, 7:30, 9:50 p.m.; Tues.-Thurs., 5, 7:30, 9:50 p.m.Princess Mononoke (Mononoke-hime) Fri.,

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

9:20 p.m.; Mon., 4 p.m.; Tues., 4:40, 7, 9:20 p.m.; Wed., 4:40, 9:20 p.m.; Thurs., 4:40, 7 p.m.

Reel Talk Winter Film Series 2014 Mon., 7 p.m.WWJD What Would Jesus Do? The Journey

Continues Wed., 7 p.m.LANDMARK WEST L.A. 10850 W. Pico Blvd. (310) 470-0492; No Texting AllowedThe Second Best Exotic Marigold Hotel Fri.-Sun.,

10:35, 11:05 a.m., 1:20, 1:50, 4:05, 4:35, 7, 7:30, 9:40, 10:10 p.m.; Mon., 11:05 a.m., 1:20, 1:50, 4:05, 4:35, 7, 7:30, 9:40, 10:10 p.m.; Tues.-Wed., 11:05 a.m., 1:20, 1:50, 4:05, 4:35, 7:30, 10:10 p.m.; Thurs., 11:05 a.m., 1:20, 1:50, 4:05, 4:35, 7, 7:30, 9:40, 10:10 p.m.

Danny Collins Fri., 11:50 a.m., 2:20, 4:50, 7:20, 8:10, 9:45, 10:35 p.m.; Sat.-Thurs., 11:50 a.m., 2:20, 4:50, 7:20, 9:45 p.m.

The Divergent Series: Insurgent Fri., 11:15 a.m., 2, 4:45, 7:30, 8, 10:10, 10:40 p.m.; Sat.-Thurs., 11:15 a.m., 2, 4:45, 7:30, 10:10 p.m.

The Gunman 11:20 a.m., 2, 4:40, 7:25, 10 p.m.Cinderella 11:10, 11:45 a.m., 1:50, 2:25, 4:30, 5:05, 7:10,

7:45, 9:50, 10:20 p.m.Run All Night 12 noon, 2:35, 5:15, 7:50, 10:15 p.m.Seymour: An Introduction Fri.-Sat., 11 a.m., 1, 3:10,

5:15, 7:40, 10 p.m.; Sun., 11 a.m., 1, 3:30, 5:35, 7:40, 9:40 p.m.; Mon.-Thurs., 11:20 a.m., 1:25, 3:30, 5:35, 7:40, 9:40 p.m.

The Wrecking Crew Fri.-Sat., 10:10 a.m., 12:30, 2:50, 5:10, 7:35, 9:45 p.m.; Sun., 10:10 a.m., 12:30, 2:50, 5:10, 7:50, 10:10 p.m.; Mon.-Thurs., 12:30, 2:50, 5:10, 7:35, 9:45 p.m.

‘71 Fri.-Sun., 10 a.m., 12:20, 2:45, 5:10, 7:40, 9:55 p.m.; Mon.-Thurs., 12:20, 2:45, 5:10, 7:40, 9:55 p.m.

Wild Tales (Relatos salvajes) 11 a.m., 1:40, 4:25, 7:15, 9:55 p.m.

CULVER CITY, LAX, MARINA DEL REY

CINEMARK 18 & XD 6081 Center Drive (310)568-3394Four Blood Moons Mon., 7:30 p.m.TCM Presents Rear Window Sun.-Wed., 2, 7 p.m.The Divergent Series: Insurgent 3D Fri.-Sun., 10:15

a.m., 1:10, 4:05, 7, 9:55 p.m.; Mon.-Thurs., 1:10, 4:05, 7, 9:55 p.m.; Fri.-Sun., 12:10, 3:05, 6, 8:55 p.m.

The Divergent Series: Insurgent Fri.-Sat., 11:10 a.m., 2:05, 5, 7:55, 10:50 p.m.; Sun., 11:10 a.m., 5, 7:55, 10:50 p.m.; Fri.-Sun., 11:10 a.m., 2:05, 5, 7:55, 10:50 p.m.

Do You Believe? Fri.-Sun., 11 a.m., 1:55, 4:50, 7:45, 10:40 p.m.

The Gunman Fri.-Sun., 11:45 a.m., 2:30, 5:15, 8, 10:45 p.m.

Cinderella Fri.-Sun., 10:30, 11:20 a.m., 12 noon, 12:40, 1:20, 2:10, 2:50, 3:30, 4:10, 5, 5:40, 6:20, 7:10, 7:50, 8:30, 9:10, 9:55, 10:40 p.m.

Run All Night Fri.-Sun., 10:30, 11:55 a.m., 1:15, 2:40, 4, 5:25, 6:45, 8:10, 9:30, 10:55 p.m.

Chappie Fri.-Sun., 11:05 a.m., 2, 4:55, 7:50, 10:45 p.m.Focus Fri.-Sun., 12:30, 3:05, 5:40, 8:15, 10:50 p.m.The Lazarus Effect Fri.-Sun., 10:45 a.m., 1, 3:15, 5:30,

7:45, 10 p.m.The DUFF Fri.-Sun., 11:45 a.m., 2:20, 4:55, 7:30, 10:05

p.m.Kingsman: The Secret Service Fri.-Sun., 11 a.m., 2,

5, 8, 11 p.m.Jupiter Ascending 3D Fri.-Sat., 10:30 a.m., 1:30, 4:30,

7:30, 10:30 p.m.; Sun., 10:30 a.m., 10 p.m.Selma Fri.-Sun., 10:35 a.m., 1:35, 4:35, 7:35, 10:35 p.m.RAVE CINEMAS BALDWIN HILLS CRENSHAW PLAZA 15 + XTREME 4020 Marlton Avenue (323)296-1005Four Blood Moons Mon., 7:30 p.m.TCM Presents Rear Window Sun.-Wed., 2, 7 p.m.The Divergent Series: Insurgent 3D Fri.-Sat., 9:50

a.m., 12:40, 3:40, 6:40, 9:40 p.m., 12:05 a.m.; Sun., 9:50 a.m., 12:40, 3:40, 6:40, 9:40 p.m.; Mon.-Thurs., 12:40, 3:40, 6:40, 9:40 p.m.; Fri.-Sun., 10:20 a.m., 1:20, 4:20, 7:20, 10:20 p.m.; Mon.-Thurs., 10:30 a.m., 1:20, 4:20, 7:20, 10:20 p.m.

The Divergent Series: Insurgent Fri.-Sat., 11:10 a.m., 2:10, 5:10, 8:10, 11:10 p.m.; Sun., 11:10 a.m., 2:10, 5:10, 8:10, 11 p.m.; Mon.-Thurs., 11:20 a.m., 2:10, 5:10, 8:10, 11 p.m.

Do You Believe? 10:35 a.m., 1:15, 4:15, 7:10, 10 p.m.The Gunman Fri.-Sat., 11:15 a.m., 2:15, 5:05, 7:50, 10:40

p.m., 12:10 a.m.; Sun., 11:15 a.m., 2:35, 5:20, 7:15, 10:40 p.m.; Mon.-Thurs., 11:15 a.m., 2:15, 5:05, 7:50, 10:40 p.m.

Cinderella Fri.-Sun., 10, 10:30 a.m., 12 noon, 1, 1:30, 3, 3:50, 4:30, 6:10, 7, 7:30, 9, 9:50, 10:30 p.m.; Mon.-Thurs., 12 noon, 1, 1:30, 3, 3:50, 4:30, 6:10, 7, 7:30, 9, 9:50, 10:30 p.m.; 11 a.m., 2, 5, 8, 11 p.m.

Run All Night 11:40 a.m., 2:30, 5:15, 8:05, 10:50 p.m.Chappie 10:45 a.m., 1:45, 4:40, 7:40, 10:35 p.m.A la mala Fri.-Sat., 10:10 a.m.; Sun., 9:45 a.m.; Mon.-

Thurs., 12:30 p.m.Focus Fri.-Sat., 10:40 a.m., 1:40, 4:35, 7:15, 10:10 p.m.;

Sun., 10:40 a.m., 1:40, 4:35, 10:10 p.m.; Mon.-Tues., 10:40 a.m., 1:40, 4:35, 7:15, 10:10 p.m.; Wed., 10:40 a.m., 10:10 p.m.; Thurs., 10:40 a.m., 1:40, 4:35, 7:15, 10:10 p.m.

The Lazarus Effect Fri.-Sat., 12:50, 3:10, 5:40, 8:20, 10:45 p.m.; Sun., 12:10, 8:20, 10:45 p.m.; Mon.-Thurs., 3:10, 5:40, 8:20, 10:45 p.m.

The DUFF Fri.-Sun., 9:45 p.m.; Mon., 10:55 p.m.; Tues.-Thurs., 9:45 p.m.

Kingsman: The Secret Service 4:50, 7:45, 10:55 p.m.

The SpongeBob Movie: Sponge Out of Water 3D Fri.-Sun., 1:50, 7:05 p.m.; Mon., 1:50 p.m.; Tues.-Thurs., 1:50, 7:05 p.m.

The SpongeBob Movie: Sponge Out of Water 11:30 a.m., 4:25 p.m.

Selma 10:50 a.m., 1:55 p.m.AMC LOEWS CINEPLEX MARINA MARKETPLACE 13455 Maxella Ave. (800) 326-3264 704The Gunman Fri., 11:30 a.m., 12:15, 2:30, 3:30, 6:30,

7:30, 9:45, 10:45 p.m.; Sat., 11:45 a.m., 1:30, 2:45, 4:30, 6, 9:15, 10:45 p.m.; Sun., 11:45 a.m., 1, 2:45, 4:15, 6, 7:30, 9:15, 10:45 p.m.

Chappie Fri., 11:15 a.m., 2, 5, 8, 10 p.m.; Sat., 1, 2, 5, 8, 10 p.m.; Sun., 12:45, 2, 5, 8, 10 p.m.

Focus Fri., 1:30, 4:15, 7 p.m.; Sat., 11:30 a.m., 4, 6:30 p.m.; Sun., 11:15 a.m., 4, 7, 11 p.m.

Fifty Shades of Grey Fri., 11:45 a.m., 6, 9:15 p.m.; Sat., 12 noon, 3:15, 6:30, 9:15 p.m.; Sun., 12 noon, 3:15, 6:30, 9:45 p.m.

Kingsman: The Secret Service Fri., 12:30, 4, 7, 10:15 p.m.; Sat., 12:30, 3:45, 7:30, 10:30 p.m.; Sun., 12:30, 3:45, 7, 10:15 p.m.

PACIFIC CULVER STADIUM 12 9500 Culver Blvd. (310) 360-9565The Second Best Exotic Marigold Hotel Fri.-Sat.,

9:40 a.m., 1:35 p.m.; Sun., 10:50 a.m., 1:40 p.m.; Mon.-Wed., 11:25 a.m., 4:50 p.m.

The Divergent Series: Insurgent 3D Fri.-Sat., 6:25, 11:35 p.m.; Sun., 3:10 p.m.; Mon.-Wed., 2:25 p.m.

The Divergent Series: Insurgent Fri., 9:45 a.m., 12:15, 2:50, 5:25, 8, 9, 10:35 p.m.; Sat., 12:15, 2:50, 5:25, 8, 9, 10:35 p.m.; Sun., 10:05 a.m., 12:15, 2:50, 5:25, 8, 9:35, 10:35 p.m.; Mon.-Wed., 11:50 a.m., 2:30, 5:05, 7:45, 9:45, 10:20 p.m.

Cinderella Fri., 11 a.m., 2:55, 4, 5:20, 7:50, 9:30 p.m.; Sat., 9:45, 11 a.m., 2:55, 4, 5:20, 7:50, 9:30 p.m.; Sun., 11:15 a.m., 12:40, 4:20, 5:45, 8:15, 9:40 p.m.; Mon.-Wed., 11:55 a.m., 2:10, 5, 7:15, 10 p.m.

Run All Night Fri.-Sat., 12:20, 1:30, 4:15, 7:35, 10:10 p.m.; Sun., 9:50 a.m., 1:50, 4:30, 7:05, 10:45 p.m.; Mon.-Wed., 11:40 a.m., 2:15, 4:45, 7:30, 10:10 p.m.

Chappie Fri.-Sat., 10:55 a.m., 2:05 p.m.; Sun., 4:25, 7:10 p.m.; Mon.-Wed., 7:30, 10:05 p.m.

McFarland, USA Fri.-Sat., 11:20 a.m., 4:45 p.m.; Sun., 10:45 a.m., 1:30 p.m.; Mon.-Wed., 11:30 a.m., 2:05 p.m.

Kingsman: The Secret Service Fri.-Sat., 6:45, 10:20 p.m.; Sun., 6:50, 9:45 p.m.; Mon.-Wed., 4:40, 7:25 p.m.

BEACHES

Santa Monica, Malibu

AMC SANTA MONICA 7 1310 Third Street Promenade (310) 395-3030The Divergent Series: Insurgent 3D Fri.-Wed.,

10:30 a.m., 1:35, 4:25, 10:05 p.m.The Divergent Series: Insurgent Fri.-Wed., 7:15 p.m.Cinderella Fri.-Wed., 10:45 a.m., 1:20, 4:05, 6:50, 9:35

p.m.AERO THEATER 1328 Montana Ave. (323) 466-FILM Call theater for schedule.LAEMMLE’S MONICA 4-PLEX 1332 Second St. (310) 478-3836 Call theater for schedule.AMC LOEWS CINEPLEX BROADWAY 1441 Third Street Promenade (800) 326-3264 706The Gunman Fri.-Sun., 10:35 a.m., 1:10, 4, 7:25, 10 p.m.;

Mon.-Wed., 1:10, 4, 7:25, 10 p.m.Run All Night Fri., 10:50 a.m., 2:05, 4:35, 7:35 p.m.; Sat.-

Sun., 10:50 a.m., 2:05, 4:35, 7:35, 10:10 p.m.; Mon.-Wed., 2:05, 4:35, 7:35, 10:10 p.m.

Chappie Fri.-Sun., 11:15 a.m., 4:45, 10:15 p.m.; Mon.-Wed., 4:45, 10:15 p.m.; Fri.-Wed., 1:20, 7:10 p.m.

Focus Fri.-Sun., 10:30 a.m., 9:50 p.m.; Mon.-Wed., 9:50 p.m.

Kingsman: The Secret Service Fri., 1:35, 4:10, 6:50, 10:10 p.m.; Sat.-Wed., 1:35, 4:10, 6:50 p.m.

NEW MALIBU THEATER 3822 Cross Creek Road (310) 456-6990The Divergent Series: Insurgent 3D Fri., 7, 9:50

p.m.; Sat.-Sun., 1, 7 p.m.; Mon.-Thurs., 7, 9:50 p.m.The Divergent Series: Insurgent Fri., 4 p.m.; Sat.-

Sun., 4, 9:50 p.m.; Mon.-Thurs., 4 p.m.Cinderella Fri., 4:15, 7:15, 10 p.m.; Sat.-Sun., 1:15, 4:15,

7:15, 10 p.m.; Mon.-Thurs., 4:15, 7:15, 10 p.m.

South Bay

AMC DEL AMO 18 3525 Carson St., Suite 73 (310) 289-4262The Second Best Exotic Marigold Hotel Fri.-Sat.,

11:05 a.m., 4:10, 6 p.m.; Sun., 11:05 a.m., 4:10 p.m.; Mon.-Tues., 11:05 a.m., 4:30, 6 p.m.; Wed., 11:05 a.m., 6 p.m.; Thurs., 11:05 a.m., 4:30, 6 p.m.

American Sniper Fri.-Sun., 1:05, 9:50 p.m.; Mon.-Thurs., 11:50 a.m., 9 p.m.

Get Hard Thurs., 7, 9:45 p.m.The Breakfast Club 30th Anniversary Thurs.,

7:30 p.m.Four Blood Moons Mon., 7:30 p.m.TCM Presents Rear Window Sun.-Wed., 2, 7 p.m.The Divergent Series: Insurgent 3D Fri.-Sun., 9:30,

10:45 a.m., 1:45, 3:15, 4:45, 7:45, 9:15, 10:45 p.m.; Mon.-Thurs., 1, 3:15, 4:05, 7, 9:15, 10 p.m.

The Divergent Series: Insurgent An IMAX 3D Experience Fri.-Sun., 10 a.m., 1, 4:05, 7, 10 p.m.; Mon.-Thurs., 10:45 a.m., 1:45, 4:45, 7:45, 10:45 p.m.

The Divergent Series: Insurgent Fri.-Sat., 11:30 a.m., 12:15, 2:30, 5:30, 6:15, 8:30, 11:30 p.m.; Sun.-Thurs., 11:30 a.m., 12:15, 2:30, 5:30, 6:15, 8:30 p.m.

The Gunman Fri.-Sat., 10:30 a.m., 1:25, 4:20, 7:15, 9, 10:10 p.m.; Sun., 10:30 a.m., 1:25, 4:20, 7:15, 9:30, 10:10 p.m.; Mon.-Wed., 10:45 a.m., 1:40, 4:35, 7:25, 9:30, 10:20 p.m.; Thurs., 10:45 a.m., 1:40, 4:35, 7:25, 10:20 p.m.

Cinderella Fri.-Sat., 9:30, 10:15, 11, 11:45 a.m., 12:25, 1:10, 2, 2:40, 3:20, 4:15, 5, 5:40, 6:15, 7:20, 8, 8:40, 9:10, 10:15, 11, 11:30 p.m.; Sun., 9:30, 10:15, 11, 11:45 a.m., 12:25, 1:10, 2, 2:40, 3:20, 4:15, 5, 5:40, 6:15, 7:20, 8, 8:40, 9:10, 10:15, 11 p.m.; Mon.-Thurs., 11, 11:45 a.m., 12:25, 1:10, 2, 2:40, 3:20, 4:15, 5, 5:40, 6:15, 7:20, 8, 8:40, 9:10, 10:15, 11 p.m.

Run All Night Fri.-Sun., 10:10, 11:20 a.m., 2:10, 5, 7:05, 7:50, 10:40 p.m.; Mon.-Thurs., 11:20 a.m., 2:10, 3:10, 5, 7:50, 10:40 p.m.

Chappie Fri.-Sun., 9:45 a.m., 12:40, 3:40, 6:40, 9:40 p.m.; Mon.-Thurs., 10:45 a.m., 1:35, 4:35, 7:35, 10:30 p.m.

Focus 10:55 a.m., 1:40, 4:40, 7:20, 10 p.m.The Lazarus Effect Fri.-Sat., 11:10 a.m., 1:30, 3:45, 9:25,

11:35 p.m.; Sun., 11:10 a.m., 10 p.m.; Mon., 11:40 a.m., 2, 11 p.m.; Tues., 11:50 a.m., 2, 7:40, 10:10 p.m.; Wed., 11:40 a.m., 10:10 p.m.; Thurs., 11:40 a.m., 2, 11 p.m.

The DUFF 2:05, 4:50, 7:30, 10:05 p.m.McFarland, USA Fri.-Sun., 10:20 a.m., 1:20, 4:35 p.m.;

Mon.-Thurs., 10:50 a.m., 1:55, 4:55 p.m.Fifty Shades of Grey Fri.-Sun., 7:40, 10:45 p.m.; Mon.-

Thurs., 7:55, 10:50 p.m.Kingsman: The Secret Service Fri.-Sun., 9:50 a.m.,

12:55, 4:05, 7:10, 10:20 p.m.; Mon.-Thurs., 10:45 a.m., 1:50, 4:50, 7:50, 10:50 p.m.

The SpongeBob Movie: Sponge Out of Water Fri.-Wed., 11:15 a.m., 1:50, 4:25, 7 p.m.; Thurs., 11:15 a.m., 1:50, 4:25 p.m.

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|RUTHLESS VISIONTwenty years after his death, Eazy-E remains gangsta rap’smost infl uential architect

BY BEN WESTHOFF

For Eazy-E, the concept of gangsta rap was fully formed in his mind.

By 1986, the genre, which nobody then called “gang sta rap” (“reality rap,” please) had begun to sprout in L.A.

by way of Ice-T’s “6 ’n the Mornin’,” which was patterned after Philadelphia rapper Schoolly D’s “P.S.K. What Does It Mean?” But there was no gangsta-rap label, and certainly no gangsta-rap genre.

Eazy-E was an unlikely progenitor. “I didn’t know he rapped,” remembers MC Ren, his future bandmate in N.W.A. “Ain’t nobody know.”

Ren grew up in Compton two blocks from the diminutive, quiet Eric Wright, who made his name in the neighborhood selling crack. But Wright grew appre-hensive about the lifestyle and sought to parlay his earnings into a rap busi-ness. His fi rst single, “Boyz-n-the-Hood,” caught fi re in the streets, helping build his fl edgling imprint, Ruthless Records.

“He was the only person I knew who had his own record on his own label,” Ren says. “He didn’t have no offi ces or no shit like that. It was just the idea that he had a record.”

“He was a visionary,” says Phyllis Pol-lack, who later became Eazy’s publicist. “He came up with ideas for things that later happened.” N.W.A’s success begat Ice Cube and Dr. Dre’s solo success, and Dre begat Eminem, 50 Cent, The Game and, to some extent, Kendrick Lamar. Even Tupac and Biggie owe Eazy a debt; their labels, Death Row and Bad Boy, fol-lowed in Ruthless’ wake.

But today, 20 years after his death, Eazy isn’t venerated the way many of those artists are. Even with the N.W.A biopic on the horizon, he’s remembered by some as a footnote, rather than a hip-hop colossus who changed everything. With Tupac and Biggie’s faces chiseled onto rap’s Mount Rushmore and the likes of Jay-Z, Nas, André 3000 and Eminem duking it out for the other spots, Eazy’s not even in the conversation.

But he should be. In fact, he deserves to be on the mountain.

To be clear, Eazy was far from a techni-cally great rapper. He famously took forever to record “Boyz-n-the-Hood” because of his poor fl ow. “I ain’t never see nobody take that many takes,” Ren says. And he usually didn’t write his own verses. People such as Ice Cube, Ren, The D.O.C. and Dr. Dre often did that for him.

But Eazy’s high-pitched voice — alter-nately hilarious and terrifying — stands up well on record. More importantly, he

had the gangsta vision that ultimately took over hip-hop and remains its driving force today.

Eazy handpicked once-in-a-lifetime talents Dre and Cube for N.W.A, and they would reap much of the glory for their production and lyrics, respectively. But their inspiration, by all accounts, was Eazy’s life and times.

“Seventy-fi ve percent of the lyrics and content you hear in N.W.A was going on in Compton and was lived by my father,” says Eazy’s fi rstborn son, a rapper him-self who goes by the name Lil Eazy-E. “All we’re doing, we’re plugging into Eric’s life,” said Dr. Dre, according to N.W.A manager Jerry Heller’s memoir, Ruthless.

Eazy wanted to express what was really happening on the streets of late-’80s Los Angeles, then in the throes of the crack epidemic, gang violence and police chief Daryl Gates’ assault on its poorest citizens.

“We’re telling the real story of what

it’s like living in places like Compton,” Eazy told the Los Angeles Times in 1989. “We’re giving them reality. We’re like reporters. We give them the truth. People where we come from hear so many lies that the truth stands out like a sore thumb.”

The media often were dismissive of N.W.A during their time. Straight Outta Compton “is well-known for an obscene anti-police number,” the Times wrote glibly in 1992. The song in question was, of course, “Fuck tha Police,” which pre-dated Rodney King, Michael Brown and the entire #blacklivesmatter debate. It’s now considered the greatest protest song in rap history.

N.W.A weren’t usually political in the same way as, say, Public Enemy. But Eazy’s vision was progressive in its own way — he let his artists talk about what-ever they wanted to.

“Now you can say anything in hip-hop and express yourself,” MC Ren says. “But back when we were doing it, record

companies would be skeptical about the shit we would say. The average company wouldn’t have let us come out.”

“We were able to do hardcore music at Ruthless Records without any restraints,” seconds Big Hutch, of Ruthless act Above the Law. “In the late ’80s, early ’90s, that was unheard of.”

Eazy’s ideas about what gangsta rap would look, feel and sound like seemed to emerge from him fully formed. Before Ice Cube wrote “Boyz-n-the-Hood,” Eazy ex-plained to him the street mentality he was trying to capture. In fact, “Boyz” initially was intended for a New York act called H.B.O., who didn’t know what to make of its West Coast slang.

The fi rst time he met with N.W.A’s future manager, Jerry Heller, Eazy laid out his vision for the group. “He was explaining how, all of the stuff we rap about, we try to sound like New Yorkers,” remembers N.W.A promoter Doug Young, who was also at the meeting. “So the concept of this group, they’re going to be hip-hop, they’re going to be real street with it. But they’re going to represent the way that we talk in L.A., the way that we act in L.A. They’re going to promote the L.A. culture.”

Thanks to albums like Straight Outta Compton, The Chronic and Doggystyle, L.A. culture became synonymous with gangsta-rap culture, which became syn-onymous with hip-hop culture generally. “This is [the] place where it originated from, when it comes to talking about what’s going on in the streets,” Ice Cube says. “And by this being the original place, it has power. It has an aura to it. And I think the whole country is [as] fas-cinated with L.A. living as they are [with] something like The Sopranos, something where they want to know more but they don’t want to get no closer.”

Golden-era acts like A Tribe Called Quest and De La Soul may have empha-sized the positive, but hip-hop remains, more than any other, the genre where artists outside the white mainstream can tell gritty, urban stories in all their uncensored glory. And it wouldn’t have been possible without N.W.A.

Eazy himself released a pair of classic solo albums: Eazy-Duz-It and It’s On 187um Killa, the former the humorous complement to Straight Outta Compton and the latter the fi ery (but still quite funny) response to Dre’s disses on “Fuck wit Dre Day (and Everybody’s Celebra-tin’).” It’s On, made after Cube and Dre had abandoned him, demonstrates that Eazy was more than just the benefi ciary of their brilliance.

And his infl uence remains massive today. Practically every young artist con-siders himself or herself not just a rapper but also an entrepreneur and the leader of a “movement.” Eazy, who launched the careers of dozens of artists, set the archetype.

In fact, until the day he died, at Cedars-Sinai of AIDS on March 26, 1995, he maintained his unwavering vision: to promote music made by and for people from downtrodden urban areas. That everybody else seemed to like it, and continues to clamor for it to this day, was simply gravy.

| Music //

PHOTO BY PETER DOKUS

Eazy-E

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A Moving Tale

BEHIND KAN WAKAN’S HAUNTING DEBUT ALBUM IS ONE MAN’S INCREDIBLE JOURNEY

BY JEFF WEISS

Before music subsumed Gueorgui I. Linev, there was only soccer and bread lines. The Bulgarian-born musician’s fi rst memories involve Soviet commu-nism in a small, television-

less apartment that reeked of rakia (grape brandy) and turpentine.

“Soccer was really the only thing we could do for fun. There were limited choices of everything,” says the master-mind of the cinematic orchestral band Kan Wakan. The name translates to “interstellar” in Tagalog and “sun dance” in the Native American language Lakota.

“We were on food stamps, so we had canned food for breakfast, lunch and din-ner,” continues the Glassell Park resident, who also goes by the production alias Crooked Waters. “We’d go to the grocery store and there’d be bread lines at 6 a.m. If you didn’t get there on time, you wouldn’t get bread that day.”

His parents met at the Sofi a Art Acad-emy and divorced nearly 30 years ago, when Linev was a year old. Raised by his mother, an icon conservationist and restorationist, music was woven into his consciousness via smuggled cassettes of The Beatles and Eric Clapton from the downtown black market and grandpar-ents who conscripted him into intense, old world–style piano lessons.

Things changed only so much after he and his mother moved to America. Settling in Sun Valley, Idaho, a ski resort, Linev awkwardly adjusted to a rural culture unwelcoming to Bulgarian im-migrants who spoke no English.

“It was a massive culture shock,” says Linev, bearded and accentless, wear-ing a beanie and a dotted button-up. “I didn’t know anything about anything and wasn’t into any of it.”

The local teen music scene revolved around pop-punk bands whose ultimate goal was joining the Warped Tour. So he threw himself into sports, earning selection to the prestigious U.S. Soccer Development Academy, until a rare form of cancer sidelined his soccer dreams.

While underdoing chemotherapy and radiation treatment, Linev began play-ing guitar in earnest. Obsessed with the blues, he watched videos of Stevie Ray Vaughan, shredding as convalescent therapy. After high school graduation and six months of pre-med courses, he dropped out to pursue music in Califor-nia.

“I had to do something else, and all that made me happy was music,” he says. “I couldn’t do it in school, and nothing’s going on in Idaho, so I moved to Califor-nia at 18. But not before my water pump broke and my car got stolen from the auto body repair shop with all my stuff in it.”

The car eventually was recovered, and Linev settled in San Luis Obispo. He stayed a year before decamping to Hollywood at the nadir of its nauseous Wilmer Valderrama epoch. That has-tened resettlement in England, where Linev remained until the beginning of this decade.

Kan Wakan formed in 2010 and began putting out songs two years later. Those

noirish, entrancing early tracks quickly earned them KCRW rotation, a pub-lisher, management and a contract with Universal-owned Verve Music Group.

But the label’s 18-month delay in releas-ing the fi nished product perhaps dulled some momentum. Last year’s soulful Moving On fl ew largely under the radar among blogs and the music press — save for Morning Becomes Eclectic airplay and the top spot on BuzzBands.LA’s “Best L.A. Albums” list.

Striking a smooth, sinister balance between crepuscular trip-hop and experi-mental minimalism, Kan Wakan’s debut artfully recalls Air and Portishead, Mazzy Star and the Cinematic Orchestra.

Major assists came from vocalist Kristi-anne Bautista, drummer Joey Waronker (Beck, Atoms for Peace) and guitarist/producer Peter Potyondy (aside from Linev, the band’s only other full-time member), as well as a 14-piece orchestra conducted by Linev’s uncle, a noted Bul-garian composer.

A formal follow-up isn’t planned yet, but Linev intends to release a series of singles throughout the year, starting in May.

“I want to make other people cry at my music,” Linev says, laughing broadly at his own ambitions spoken out loud. “It’s very dramatic.”

PHOTO BY RICKY TOMPKINS

“I WANT TO MAKE OTHER PEOPLE CRY AT MY MUSIC.”

Kan Wakan’s Gueorgui I. Linev | Music // | Bizarre Ride //

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CROSSING THE BRIDGE

Several days ago, I was driving on the 15 to Nevada. I was going to visit an old pal of mine who is fi ghting for his life against

cancer. As I was wondering what his condition would be, what would comprise our conversa-tion and if I would be able to see him in this condition without breaking down, I listened to live reportage of the memorial march across the Edmund Pettus Bridge in Selma, Alabama.

I am sure you know your history and what took place at this location on March 7, 1965, otherwise known as Bloody Sunday.

Th e 2015 march, thankfully, wasn’t nearly as memorable as the fi rst one, at which many were attacked and beaten senseless or worse by Alabama state troopers. America and the rest of the world watched that 1965 march with probably every emotion on the human palette. A century aft er the Civil War, this was how America was conducting itself. Obscene, revolting, despicable. Not exceptional, free or brave.

Fift y years later, thousands of people arrived from all over to peacefully march across that same bridge, with their President Obama, whom Rush Limbaugh characterized as “Half-rican American,” in front.

I wondered what this 2015 event was sup-posed to mean. Was it intended to be more than the acknowledgement of this horrific, violent event and the passage of the Voting Rights Act? Was it to note the great strides made and the further steps to be taken?

Why did Americans have to make that march all those years ago? The 15th Amendment, ratifi ed in 1870, states, “Th e right of citizens of the United States to vote shall not be denied or abridged by the United States or by any state on account of race, color or previous condition of servitude.” Why was there a need for the Vot-ing Rights Act when all this was covered and in the books decades before? Is this how it goes in the most exceptional country in the world? Is this what you point to when you want to explain to someone from another country why yours is better than theirs?

To be exceptional, you don’t swear to protect citizens, wear a badge, then take a stick and bash someone in the head for walking across a bridge.

We do this a lot in America: We go back to these places, where churches were blown up, citizens were herded into relocation camps, pointless battles were fought and people died for causes that should never have been causes in the fi rst place. We go back and dwell in the

still-open wound.To be exceptional, you don’t repeat obvi-

ously bad behavior and call it progress.Talk about a long way to go. I don’t think

we have gotten more than a few steps off the starting blocks. Good grief, why are people still having these ignorance-drenched arguments over race in America?

Not exceptional. Pathetic is more like it.Events that seem small can have huge

impact. When University of Oklahoma Sigma Alpha Epsilon members sing about what kind of men would never be allowed in their fraternity, it’s more than just some bonehead frat guys being stupid. These are college students! Future leaders, movers and shakers. Th is is a microscopic event, but it is a setback and illustrative of how far we haven’t come.

How could you, as an African-American person of any age or occupation, hear what those students said and somehow get past it? Why would you bother? What’s in it for you? Th e “bigger picture”? What does that look like? Is that the magic day when everyone cuts this dismal bullshit and gets a clue? Why wasn’t that yesterday?

I used to think it was generational — that one day, this would literally die off . But if you’re one of the aforementioned frat guys, are you going to teach this prejudice to your kids? Are you going to potentially send this revolting point of view forward? Why?

Th e reason all this infuriates me so much is because, like hundreds of millions of other Americans, I love America. I am fully aware that those to whom I am diametrically opposed do, as well, which I think is truly exceptional. It is this almost genetic aff ection for this amazing country that makes all this race stuff so hard to take.

Hours later, I arrived at the hotel where I was going to overnight before my visit the next day. Aft er dinner, I drove up and down mostly empty streets and looked at massive chain food outlets, brightly lit, anonymous, and thought about what I was there to do.

Nervousness and anticipation got me up early the next morning. I sat in a Starbucks and waited for the agreed-upon time.

I arrived at the house a little after noon. When I settled down in the front room, I had a spell of déjà vu. I have spent time with people at war with cancer. Oft en, they are the ones who have to put you at ease.

Our conversation over the next several hours was very much like the ones we have had throughout almost 20 years of friendship. Eventually, the topic turned to what he is go-ing through.

I have found practical discussions about life and death, when one is working to outwit a lethal and devious foe, to be at once perfectly logical and totally surreal.

Th e sun had almost gone when I promised to visit again as soon as I could and took my leave. He’s hanging in there — stubborn, brave, exceptional. I have not one excuse for my many shortcomings.

Henry Rollins

The Column!

WE DO THIS A LOT IN AMERICA: WE GO BACK AND DWELL IN THE STILL-OPEN WOUND.

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fri 3/20Beyond Wonderland

@ SAN MANUEL AMPHITHEATERThe vernal equinox is here, which means it is time for the world of Lewis Carroll brought to life: Beyond Wonderland. The two-day aff air starts early afternoon on a weekday. Tip for the bosses in SoCal: Some employees may be taking a half-day. Who can blame them, with Friday’s lineup including techno godfather Carl Cox , house queen Maya Jane Coles and trance fl ag-bearer Tiësto , plus perennial talent that predates EDM: Green Velvet and Josh Wink . Saturday packs just as powerful a lineup. The leading drum ’n’ bass DJ on the globe, Andy C , brings his sharply carved set with his right-hand MC, Armanni Reign . Uber-producers Knife Party face off against their buddy Sub Focus , while Nicole Moudaber pumps out ferocious tunes. There’s a gen-tler side to Beyond Wonderland, too, with Poolside ’s breezy selections, Soul Clap ’s crafted house, Art Department ’s deep tunes and DJ Jazzy Jeff , who is so much more than the Fresh Prince’s sidekick. Added bonus: Mash-up master Z-Trip performs both days, as does Cox. Also Saturday, March 21. —Lily Moayeri

A Club Called Rhonda featuring Junior Sanchez, Matias Aguayo

@ LOS GLOBOSA Club Called Rhonda hits the crowd with a double-headliner bill likely to keep you running between Los Globos’ two fl oors. Remixer extraordinaire Junior Sanchez has added a midnight bounce to songs by everyone from Chvrches to Drake and Rihanna . The veteran house DJ takes top billing for the downstairs launch of local Jesse Rose ’s new label, A-Sided Records . Rose and fellow Angeleno Brillstein will join him on the decks. Cómeme Records takes over the top fl oor, with label head Matias Aguayo leading the night. The globetrotting Aguayo’s L.A. gigs are al-ways a treat for fans of more underground dance sounds. Also playing are Cologne-based DJs Lena Willikens and Christian S. —Liz Ohanesian

sat 3/21John Doe & Exene, Robyn Hitchcock

@ FIRST UNITARIAN CHURCH It might seem ironic that John Doe and Exene Cervenka of X would sing subver-sive anthems such as “Riding With Mary” and “Devil Doll” in a house of worship, but the First Unitarian Church has a long history as a haven for tolerance and liberal causes. In the past three years, it has become an intimate venue for secular concerts as well. Although X hasn’t released any new material since 1993’s Hey Zeus!, Cervenka and Doe have been fairly prolifi c in their solo careers. Strum-

ming unplugged tonight, they should have more fl exibility to mix up the set and perhaps include their enchantingly glittery remake of “The Unheard Music.” Robyn Hitchcock has long been one of power pop’s wittiest songwriters, but he comes off as vulnerably fragile amid the Psychedelic Furs and Roxy Music covers on his latest album, The Man Upstairs. —Falling James

Pig Destroyer @ THE ROXY

New blood enabled old habits on Pig Destroyer’s last full-length, 2012’s Book Burner . Drummer Adam Jarvis’ debut re-ignited the short-sharp-shock tactics (19 songs in just 32 misanthropic minutes) of the band’s reputation-making, early-aughts onslaught. These Virginian grind-core godfathers birth their often sub–two-minute spasms slowly and painfully; fi ve years passed between Book Burner and its more measured predecessor, Phantom Limb . Yet the songs themselves have a structured, super-disciplined ur-gency: Burner sounds like a record years in the writing that had to be recorded en-tirely during a commercial break. Always gritted-teeth grim and disconcerting to behold — Scott Hull’s eight-string guitars and J.R. Hayes’ world-hating vocal wrath caged in a forest of almost mathemati-cally placed kick drums — Pig Destroyer injected fresh doom with the addition of its fi rst-ever bassist, John Jarvis , in 2013. —Paul Rogers

Moon Hooch @ THE BOOTLEG

With a mere two saxes and a drummer, Moon Hooch blast out a dancing sound that scrunches up jazz, rock, hip-hop and electronic dance music. Horn honkers Mike Wilbur and Wenzl McGowen and drummer James Muschler studied at New York City’s New School for Jazz and Contemporary Music, and even their most party-down material makes it

obvious that they’re heavy-duty players who could easily veer off into the obscur-est of pointyhead jazzbo territory. But, as witnessed by their big, boss second album, This Is Cave Music (Hornblow/Palmetto) , Moon Hooch prefer to bring the message in a rougher, sweatier and more pop-accessible form, the better to shake some action on the dance fl oor. Onstage, their innovations are a blast, too, such as adding PVC tubes or traffi c cones to the bells of their horns to alter the sound. —John Payne

sun 3/22Of Montreal

@ THE REGENT THEATEROnly Kevin Barnes can make lyrics such as “The mutinous tramp of cold voltage crucifi xion is my conduit” and “It must be fairly normal to devolve into cyclop-tic brooding” feel so joyously playful on “Bassem Sabry,” the opening track on Of Montreal’s latest album, Aureate Gloom. As with previous releases by the merry band from Athens, Georgia, the new album is a carnivalesque mélange of surreal lyrics and expansive music styles that slip freely from psychedelia and pop into prog and funk. Barnes attempts to soothe with muted vocals on “Empyrean Abattoir,” but strangeness is never far away as he croons “masturbating your father’s pain” in an oddly recurring man-tra while the guitars spin into spider-webs of jangling sound. “My dreams are corrosive,” Barnes admits on “Apollyon of Blue Room,” as a simple, Kinks-style riff contrasts with his complex and addled imagery. Also at Largo, Monday, March 23. —Falling James

2Cellos @ CLUB NOKIA

Cello-based rock music is nothing new, as anyone who’s ever been to an Apoca-

PHOTO BY CHAD KAMENSHINE

| Music // | Picks // Of Montreal: See Sunday.

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6400 sunset Blvd.(323) 245-6400

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

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

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Tuesday • March 24 • 6pmMInI MansIons

Mini Mansions celebrate their new album, The Great Pretenders [out 3/24 on T Bone

Burnett’s Electromagnetic Recordings/Capitol Records], with a live set and

signing at Amoeba! The new album finds Mini Mansions coating its signature hooky psychedelia with a fresh dusting of glitter.

Saturday • March 21 • Noon-5pmsIdewalK sale

Join us outside our store for 45s at $1 each, DVDs for $3 (or buy three get one free), DVD box sets at $7 (or two

for $10), Blu-rays at three for $12, Books and comics at three for $1,

Classical deals & more!

Tuesday • April 7 • 6pmMatt & KIM

Celebrating release day of their new album, New Glow, with a live performance & signing at Amoeba! Purchase the new

CD/LP in-store at Amoeba on 4/7 to get your copy signed after their show (limited to first

200 purchasers). Signing limited to new album only.

Wednesday • April 8 • 6pmMaRK Ronson

dJ set + sIGnInGFriday Nights • 8PM

RotatIons dJ setsAmoeba Hollywood hosts our guest DJ series, ROTATIONS, every Friday night!

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SIdeWAlK SALESaT. MARch 21 • nOON-5PM

Join us outside our store for 45s at $1 each, DVDs for $3 (or buy three get one free), DVD box sets at $7 (or two for $10), Blu-rays at three

for $12, Books and comics at three for $1, classical deals & more!

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“Hawaii’s hottest group”-Billboard Magazine

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lyptica or Rasputina concert can attest. But the sheer virtuosity with which Croatians Luka Šulić and Stjepan Hauser tear through covers of “Smooth Criminal” and “Welcome to the Jungle” blows away any easy comparisons to those other groups. On their third album, the recently released Celloverse (Sony Masterworks) , the classically trained duo gives new meaning to the term “shredding”; in the video for their jaw-dropping rendition of AC/DC’s “Thunderstruck,” they play with such unbridled fury that, by the end, their bows are reduced to tatters. They’re equally adept at beautiful renditions of statelier tunes, such as Sting’s “Shape of My Heart,” and even manage to trans-form Avicii’s saccharine EDM anthem “Wake Me Up” into a pretty power ballad. —Andy Hermann

mon 3/23The Manhattan Transfer, Take 6

@ CATALINA JAZZ CLUBThis is the year when two undisputed champions fi nally agreed to meet for one of the greatest shows in the history of their profession. We are discussing the vocal jazz supergroups Manhattan Transfer and Take 6, but we might as well be talking about Pacquiao/May-weather in “The Fight of the Century.” Manhattan Transfer have been the trendsetter for vocal jazz groups since they were founded in 1969 by Tim Hauser, who was a part of every itera-tion until his death last October. Take 6 burst into the public ear in 1988 with their Grammy-winning, self-titled debut album, and they continue to be a beloved and important piece of gospel music and a cappella vocal harmony. When these two celestial groups get onstage together, expect the vocal jazz universe to implode under the immense gravita-tional force. —Gary Fukushima

tue 3/24Gang of Four

@ EL REY THEATREGang of Four have often been more like Gang of Two since starting in Leeds, England, in 1977. Although various members of the rhythm section have come and gone over the past four decades, the group has historically always been fronted by lead singer Jon King and guitarist Andy Gill . But King stopped taking part in the occasional reunions after 2011, and now Gill has re-confi gured the band yet again and is the only remaining original member. King’s balefully acute lyrics are much missed, but Gill’s jaggedly funky riff s propel What Happens Next, the new album by the current lineup. There are some interesting passages, especially when The Kills’ Alison Mosshart sings on two tracks. But new vocalist John Sterry’s delivery is pleasantly bland compared with King’s caustic broadsides.—Falling James

Moon Duo @ LOS GLOBOS

Moon Duo isn’t the kind of a band that goes back to its roots, simply because Moon Duo is the kind of band that doesn’t stop moving long enough to ever put down roots. Like their ancestors Neu!, they make songs for moments in motion, whether on the Autobahn or somewhere in space. So let’s say instead that their newest album, Shadow of the Sun , goes back to the source: heavy riff s on rhythm-and-drone forebears such as Suicide , Spacemen 3 and the slo-mo songs on The Stooges’ fi rst album. Single “Slow Down Low,” one of Sun’s several stormers, is a refl ection of The Velvet Underground’s “Foggy Notion” and The Modern Lovers’ “Roadrunner.” If it’s rock, it’s rock like a meteor is rock — gigantic, cosmic and made of ice until it catches fi re. —Chris Ziegler

wed 3/25Talib Kweli, Immortal Technique

@ HOUSE OF BLUES SUNSET STRIPFor the past 20 years, Talib Kweli has been at the forefront of conscious rap. When it comes to rhymes about the plight of urban activism, police brutality and racial stereotypes, there have been few voices bolder than his. Recently, the rapper’s Ferguson Defense Fund raised $112,000 to cover the legal fees of peaceful protesters in the beleaguered Missouri city. He’s currently on the aptly named People’s Champions Tour with Peruvian-born, New York City–based Immortal Technique . Though diff erent in style and song structure, Kweli and Tech-nique remain two of the most prominent voices in conscious hip-hop, willing to spit in the face of authority while using their art form to unapologetically express their viewpoints, regardless of how they may be received. —Daniel Kohn

thu 3/26Spaceships, Soft Lions,The Big Gone

@ COMPLEXSpaceships take off with singer-guitarist Jessie Waite’s euphoric pop melodies powered by fuzzy surges of garage-punk distortion and Kevin LaRose’s no-nonsense drumming. “I realize you’re human just like me,” Waite admits amid the stomping chords of “Good Gradez,” even as she complains that true love is diffi cult. The local “bedroom-garage” duo expands its range a little on the grungy pop ode “Washed Out” and amid the stac-cato chords and psychedelic wooziness of “Dervishstation.” San Diego trio Soft Lions revel in a garage-rock, riot-grrl primitivism on tracks like “Earth Energy,” but they also downshift into a contem-plative pop prettiness on such songs as “Horses.” Coed indie-rock quartet The Big Gone celebrate the release of a new EP that’s distinguished by Claire Wool-ner ’s beguiling vocal charisma and Nick Sena’s Pixies-style guitars. —Falling James

The E Spot Lounge at Vitello's

4349 Tujunga Ave | Studio City, CA 91604 | (818) 769-0905ESpotLounge.com

E Spot Lounge opens at 5 PMVisit the E Spot Lounge website for showtimes

MONDAY��MARCH���RDThe Tim Gill All Stars — 21st century crooner!

TUESDAY��MARCH���THGVR Records presents Broken Toiz!

Funky music with vocals that will bring you backto the days of Earth Wind and Fire!

WEDNESDAY��MARCH���THSheila E. and Friends!

The queen of rhythm takes the stage with special guests!

THURSDAY��MARCH���THLorraina Marro - Mixed Emotions New CD Celebration

Classy, sophisticated and authentic jazz vocalist!

FRIDAY���MARCH���THKym Whitley and David Arnold - He Said She Said Comedy Night

Comedians from Next Friday and Def Jam!

SATURDAY��MARCH���THNu� y - Rocktails, Spiked, Shaken and Stirred!

Hard swingin’ octet that projects pop and rock classicsonto a Rat Pack jazz canvas!

SUNDAY��MARCH���THGorden Campbell presents Higher! Gospel brunch show!

Phat Cat Swinger With a 5-piece horn section, a jumpin’ rhythm section and a crooner up front, you’ve got the perfect

recipe for an instant party!

MONDAY��MARCH���THBook of Ava - The Birth of a Family

The story of adoption, equality, marriage and love.

TUESDAY��MARCH���ST�Laine Cook

One of the fi nest jazz singers performing today!

THURSDAY��APRIL��ND“Get Back to Gold” Live Preview with Bethany Joy Lenz!

One Tree Hill’s star takes the stage with her band!

FRIDAY��APRIL��RDProject Angel Food Benefi t with John Moschi� a and Keith Borden

A soulful evening for a good cause!

SATURDAY��APRIL��THLauren White and the Quinn Johnson TrioInspired by the recordings of Irene Kral!

SATURDAY, MARCH 21STLIVE @ THE MINT

6010 WEST PICO BLVD, LOS ANGELES, CA 90035

NinaShallman

FOR TICKETS, GO TO

themintla.com

“Nina Shallman has such a lovely voice, it almost doesn’t

matter what she’s singing... On ballads such as “The Moon

Can Stay,” she breaks hearts with little more than sparse piano accents, the faraway

swoon of violins and her wistfully ethereal vocals.“— Falling James, LA Weekly

“There’s an openness to romance in her voice, but

also a dark undercurrent – hurt but not weak, anything

but weak – that ties her to an esteemed legacy

running from Lesley Gore through Adele.”

— Steve Hochman, Los Angeles Music Critic (LA Times, Rolling Stone)

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ROCK & POP

ACEROGAMI: 228 W. Second St., Pomona, 909-865-0979. Kooties, Teenage Exorcists, Dabble, Fri., March 20, 8 p.m., $5. Hinds, Sad Girl, DJ Mukta, Wed., March 25, 7:30 p.m., $10.

AMOEBA MUSIC: 6400 Sunset Blvd., Los Angeles, 323-245-6400. Elusive, Fri., March 20, 8 p.m., free. Mini Mansions, Tue., March 24, 6 p.m., free.

AMPLYFI: 5617 Melrose Ave., Los Angeles. In Urgency, Bristol to Memory, Welcome Home, Stranger Danger, Fri., March 20, 7 p.m., $12. Idlehands, Culprit, Ghost Parade, The Body Rampant, Belle Noir, What Hands Are For, Sat., March 21, 6:30 p.m., $12. Maggie McClure, Shane Henry, Indevotion, Tristan Blaine, Jenni Kennedy, Ian Grey, Thu., March 26, 6:30 p.m.

BARDOT HOLLYWOOD: 1737 N. Vine St., Los Angeles, 323-462-1307. Years & Years, Marlon Roudette, Laura Welsh, Mon., March 23, 8 p.m., free.

BLACKLIGHT DISTRICT: 2500 E. Anaheim St., Long Beach. Luicidal, Walk Proud, Sick Sense, Section 242, Inconsiderate Jerks, Weedreaper, Sat., March 21, 7 p.m., $8.

BOARDNER’S: 1652 N. Cherokee Ave., Los Angeles, 323-462-9621. The Controversy, Jesika Von Rabbit, Deleyaman, at Bar Sinister, Sat., March 21, 10 p.m.

BOOTLEG THEATER: 2200 Beverly Blvd., Los Angeles, 213-389-3856. Quadron, Kadhja Bonet, Through March 20, 9 p.m., $15. Fuzzy Eye, Fri., March 20, 11 p.m., $10. Moon Hooch, Mount Saint, Waterbed, Sat., March 21, 9 p.m., $12 (see Music Pick). Dugas, Mon., March 23, 8:30 p.m., free.

CAFE NELA: 1906 Cypress Ave., Los Angeles. False Confession, Dissension, Sorry State, Out of Tune, The Hi-Hos, Beer Wolf, High Gain Fury, Girl Blood, in a ben-efit for Justino Polemini, Fri., March 20, 7 p.m., $10. The Mormons, Los Issues, Somos Mysteriosos, Plasma Cannon, The Swords of Fatima, Sat., March 21, 8:30 p.m., $5. The Buzz Clifford Band, Hellbat, The Probe, The Moonchasers, Sun., March 22, 5 p.m., $5.

CANYON CLUB: 28912 Roadside Drive, Agoura Hills, 818-879-5016. The Temptations, Fri., March 20, 7 p.m., $38-$68.

CLUB BAHIA: 1130 W. Sunset Blvd., Los Angeles, 213-250-4313. Black Rivers, Big Harp, Tue., March 24, 9 p.m., $15. Blockhead, Arms & Sleepers, 9 Theory, Wed., March 25, $15. Marian Hill, Airhead, Thu., March 26, 8:30 p.m., $10.

THE COACH HOUSE: 33157 Camino Capistrano Ste. C, San Juan Capistrano, 949-496-8930. Dick Dale, Sat., March 21, 8 p.m., $30.

CODY’S VIVA CANTINA: 900 Riverside Drive, Burbank, 818-845-2425. The Woody James Big Band, Fridays, 1-3 p.m., free; Cow Bop, Fri., March 20, 8 p.m., free. The Cody Bryant Experience, The Melrose Music Revue, Sat., March 21, 7 p.m., free. Lori Donato, Debra Lee & Trigger Happy, Sun., March 22, 5:30 p.m., free. Cody Bryant & Evan Marshall, Mondays, Tuesdays, 5:30 p.m., free; The Brombies, Mondays, 7:30 p.m., free; Troy Walker, Jimmy Angel, Cody Bryant, Every other Monday, 7:30 p.m., free. John Pisano, Tuesdays, 7:30 p.m., free; Dave Weston’s L.A. Winds, Tue., March 24, 7:30 p.m., free. Codio & the Swinging Armanis, Wednesdays, 7 p.m., free; This Ain’t Your Daddy’s Big Band, Wednesdays, 7:30 p.m., free; The Bruce Forman Trio, Wed., March 25, 8 p.m., free; Carmine Sardo & Eric Garcia’s Shuffle Brothers Blues Night, Wednesdays, 9 p.m., free. The Glen Roberts Big Band, Thursdays, 7 p.m., free.

COMPLEX: 806 E. Colorado St., Glendale, 323-642-7519. Animal Games, Superlepht, The Marital, Fri., March 20, 9 p.m., $5. Castle, Demon Lung, Wounded Giant, Philthy Heathens, Wed., March 25, 9 p.m., $10. Spaceships, Soft Lions, The Big Gone, ages 21 & over, Thu., March 26, 8 p.m., $5 (see Music Pick).

CORNELIUS PROJECTS: 1417 S. Pacific Ave., San Pedro, 310-266-9216. The Mourners, Fri., March 20, 7 p.m., free.

DEL MONTE SPEAKEASY: 52 Windward Ave., Venice, 310-392-4040. Jesse Jo, Tuesdays, 9 p.m. Continues through March 31, $5.

THE ECHO: 1822 W. Sunset Blvd., Los Angeles, 213-413-8200. Tijuana Panthers, Sea Lions, Empty Frames, Fri., March 20, 8:30 p.m., $12. Tijuana Panthers, Wounded Lion, Junk, Sat., March 21, 5:30 p.m., $12. The Howlin’ Brothers, Fairbanks, Kathleen Myers & the Buzzards, Maesa Pullman, Battlefield, at Grand Ole Echo, all ages, Sun., March 22, 4 p.m., free; Broken Water, Froth, Defaceman, Sun., March 22, 10 p.m., $10. Salt Petal, The Singles, Airbag One, Brian Story, Mon.,

March 23, 8:30 p.m., free. Matthew E. White, Wilsen, Tue., March 24, 8:30 p.m., $14. Palma Violets, Wed., March 25, 8:30 p.m., $17. Broncho, Wyatt Blair, Girl Band, The Morons, Thu., March 26, 8:30 p.m., $10.

THE ECHOPLEX: 1154 Glendale Blvd., Los Angeles, 213-413-8200. Trash Talk/Ratking, Lee Bannon, Together Pangea, Suspect, Skywalker, at Check Yo Ponytail, Fri., March 20, 8 p.m., $20. Rubblebucket, Vacationer, Swimm, Tue., March 24, 8 p.m., $16. Dub Club, Wednesdays, 9 p.m., $7; Celebrating & Remembering Reggae Pops, with Quinto Sol, free be-fore 10 p.m., ages 21 & over, Wed., March 25, 9 p.m., $7. Pete Rock, Slum Village, ages 18 & over, Thu., March 26, 8:30 p.m., $25.

EL CID: 4212 W. Sunset Blvd., Los Angeles, 323-668-0318. Purple Crayon, Fri., March 20, 10 p.m., $10. Ulysses S. Grant, Jonah Smith, Jim & Sam, Sat., March 21, 10 p.m., $7. The Sultry Sweet Burlesque & Variety Show, Sun., March 22, 8:30 p.m., $25 & $30. Open Mic, Mondays, 8 p.m., $5. El Twanguero, Thu., March 26, 9:30 p.m., $5.

THE FEDERAL BAR: 5303 N. Lankershim Blvd., North Hollywood, 818-980-2555. Tonya Kay’s Pinup Pole Show & Classic Car Cruise-In, Sat., March 21, 6 p.m., $15.

FINN MCCOOL’S: 2702 Main St., Santa Monica, 310-452-1734. Christopher Hawley Rollers, Fri., March 20, 8 p.m., free.

GENGHIS COHEN RESTAURANT: 740 N. Fairfax Ave., Los Angeles, 323-653-0640. Johnny Bennett, Charlie Hickey, Kathleen Dreems, Fri., March 20, 7:30 p.m., $10. Sandra Piller, Jane Bach, Whoever, Hazel Aliaga, Liz Foster, Joshua Path, Sat., March 21, 7 p.m., $10. Levante, Mon., March 23, 8 p.m., $10. Aynee Osborne, Laura Coyle, Gloria Bigelow, Karen Reed, Shelagh Ratner, Tue., March 24, 8 p.m., $15. Michael Glines, Sheldon Botler, Nehi Thompson, Wed., March 25, 7:30 p.m., $10.

THE GLASS HOUSE: 200 W. Second St., Pomona, 909-865-3802. JFA, DFL, Naked Aggression, Narcoleptic Youth, Tartar Control, Litmus Green, Sat., March 21, 6 p.m., $15. Pete Rock, Slum Village, Hanif, Wed., March 25, 8 p.m., $20. Chelsea Grin, Carnifex, Sworn In, Black Tongue, The Family Ruin, Thu., March 26, 6 p.m., $18.

HANDBAG FACTORY: 1336 S. Grand Ave., Los Angeles. Crank Sturgeon, GX Juppiter-Larsen, Nephila, Banetoriko, Fri., March 20, 9 p.m., $5.

HM157: 3110 N. Broadway, Los Angeles, 562-895-9399. The Warlocks, Magic Wands, Desert Magic, Fri., March 20, 8 p.m., $15.

HOUSE OF BLUES SUNSET STRIP: 8430 Sunset Blvd., Los Angeles, 323-848-5100. Dead Man’s Party, Fears for Tears, Inxs-Ive, Planet Earth, Fri., March 20, 7 p.m., $15. Talib Kweli, Immortal Technique, Wed., March 25, 8 p.m., $25 (see Music Pick).

LA CITA: 336 S. Hill St., Los Angeles, 213-687-7111. Bloody Death Skull, The Vivids, Drinking Flowers, Tue., March 24, 9 p.m., $5-$10.

LARGO AT THE CORONET: 366 N. La Cienega Blvd., Los Angeles, 310-855-0350. Of Montreal, Mon., March 23, 8:30 p.m., $30.

LIQUID KITTY: 11780 W. Pico Blvd., Los Angeles, 310-473-3707. Community Service, Sun., March 22, 10 p.m., free.

LOADED: 6377 Hollywood Blvd., Los Angeles, 323-464-5689. Tommy Peacock, Crime Rock, 222, David Stucken & the Curse, Fri., March 20, 8 p.m., $5-$10. The Gypz, Thoughtcrime, Suicide Romance, Yours Cruelly, Brittany’s Rage, Sun., March 22, 4 p.m., free. Farmageddon Artist, James Hunnicutt, The Hangdog Hearts, The Dogmen, Wicklow Atwater, Tue., March 24, 8 p.m., $5. Ali Spagnola & the Power, Maria Z, Jonny California, Wed., March 25, 8 p.m., $5.

LOS GLOBOS: 3040 W. Sunset Blvd., Los Angeles, 323-666-6669. Radio Viejo, DJ Handsome Devil, DJ M&M, at Red Room, Sat., March 21, 9 p.m., $10. Moon Duo, Creative Adult, Tue., March 24, 8 p.m., $14 (see Music PIck); Weekend Nachos, Constant Fear, Seven Sisters of Sleep, Convict, Tue., March 24, 10 p.m., $10. Kicking Harold, Sleeze, Wed., March 25, 7:30 p.m., $5. Nokturnal Warfare, Oztoc, Bestial DeathKult, Goatdusias, Thu., March 26, 7 p.m., $6; La Barranca, Thu., March 26, 9 p.m., $20; Spazzkid, Redinho, Humans, Thu., March 26, 9 p.m., $16.

MCCABE’S GUITAR SHOP: 3101 Pico Blvd., Santa Monica, 310-828-4497. Pierre Bensusan, Fri., March 20, 8 p.m., $24.50. Maria Muldaur, Sat., March 21, 8 p.m., $24.50. Terry Reid, Sun., March 22, 8 p.m., $20.

THE MINT: 6010 W. Pico Blvd., Los Angeles, 323-954-9400. Quinn Archer, Goose Is Dead, The Lovely Creatures, King Daniel, The Herbert Bail Orchestra,

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Fri., March 20, 8 p.m., $12. Nina Shallman, Sat., March 21, 7:30 p.m., $12; Automatic Toys, Titus, Morello, Ilan Laks & the Electric Skeleton, Fifth Law, Sat., March 21, 8:30 p.m., $12. Hunnypot Radio, Every other Monday, 7 p.m., free. The Last Bison, Neulore, Tue., March 24, 9 p.m., $12. Beans on Toast, The Workday Release, Madison Taylor, The Bergamot, Wed., March 25, 9 p.m., $12. PJ & Soul, Quinton Marcel, Sean Michael, Deqn Sue, Thu., March 26, 8:30 p.m., $12-$15.

MOLLY MALONE’S: 575 S. Fairfax Ave., Los Angeles, 323-935-1577. Open Fate, Kingston & Vice, Scotty Grand, Arabella, T.J. Doyle, Fri., March 20, 8 p.m., $15. Me & U, Record Year, Living in Pictures, Sat., March 21, 7:30 p.m., $10. Art of Ill Fusion, Severance West, V. Michaels, Mary’s Mischief, Sun., March 22, 7:30 p.m., $10. The Voodoos, The Random Family Band, Simon Petty, Chris Varosy, Tue., March 24, 7:30 p.m., $10. Doug Rappaport, Thu., March 26, 8 p.m., $8.

ORIGAMI VINYL: 1816 W. Sunset Blvd., Los Angeles, 213-413-3030. The Bloodhounds, Sat., March 21, 7 p.m., free.

PEHRSPACE: 325 Glendale Blvd., Los Angeles, 213-483-7347. David Allen, Pure Shit, Banetoriko, Kiran Arora, all ages, Sat., March 21, 9 p.m., $5. Mid-¢ Shake Sock Hop, with swing-dance lessons, all ages, Mon., March 23, 8-11 p.m., $5.

RAFA’S LOUNGE: 1836 W. Sunset Blvd., Los Angeles, 213-413-4464. Princess Pangolin, Melanie Keller, James Houlahan, Sat., March 21, 9 p.m., $10.

THE REDWOOD BAR & GRILL: 316 W. Second St., Los Angeles, 213-680-2600. Pu$$y-Cow, Fartbarf, The Cardielles, Danger Junkies, Fri., March 20, 9 p.m., $5-$10. Oddball, Sat., March 21, 3 p.m., $5-$10; The Crazy Squeeze, The Conditionz, Telephone Lovers, Flaggs, Sat., March 21, 9 p.m., $8. The Hookers, Sun., March 22, 8 p.m., $5-$10. Sterile Jets, Mon., March 23, 9 p.m., $5-$10. The Singles, The Devil’s Twins, Wed., March 25, 9 p.m., $5-$10. Bad Antics, Virginia Reed, Love Moon, Yaawn, Bitch School, Thu., March 26, 9 p.m., $5.

THE ROXY: 9009 W. Sunset Blvd., West Hollywood, 310-278-9457. This Will Destroy You, Cymbals Eat Guitars, Fri., March 20, 9 p.m., $15. Pig Destroyer, Nails, Despise You, Antichrist Demoncore, Dead Beat, Sat., March 21, 8 p.m., $20 (see Music Pick). Oh Honey, Public, Nick Santino, Tue., March 24, 8:30 p.m., $15. Quantic, DJ Vadim, Wed., March 25, 8:30 p.m., $18. Elephant Revival, Rose’s Pawn Shop, Thu., March 26, 9 p.m., $15.

SAINT ROCKE: 142 Pacific Coast Highway, Hermosa Beach, 310-372-0035. Missing Persons, Fri., March 20, 6 p.m., $18. Ricky Nelson Remembered, with Matthew Nelson & Gunnar Nelson, Sun., March 22, 7 p.m., $20-$30. B-Side Players, Aurico, Thu., March 26, 8 p.m., $13.

THE SATELLITE: 1717 Silver Lake Blvd., Los Angeles, 323-661-4380. Conway, LANY, Leland, The Workday Release, Mon., March 23, 9 p.m., free. The Delta Riggs, Tue., March 24, 9 p.m., $10. Futurebirds, Wed., March 25, 9 p.m., $12. Pompeya, Mode, Golden Daze, Thu., March 26, 9 p.m., $12.

SILVERLAKE LOUNGE: 2906 Sunset Blvd., Los Angeles, 323-663-9636. Townes, The Mozzies, Sonny Love & the Moon Parade, Fine Minds, Swarming Orchids, The Feal, Fri., March 20, 8 p.m., free. Mr. Moonshine, New Evil, The Shade, Mon., March 23, 8 p.m., free. Hemlock Lane, Full Body Tones, Walking Shapes, Tue., March 24, 8 p.m., $7. The Shift, Politely Naked, Attaloss, Wed., March 25, 8 p.m., $8. Monomaniac, My Brother’s Hero, Kingdoms, Thrills, The New Peter Gabrielz, Thu., March 26, 8 p.m., $8.

THE SMELL: 247 S. Main St., Los Angeles, 213-625-4325. Traps PS, Prettiest Eyes, Hex Horizontal, Palm Reader, Fri., March 20, 9 p.m., $5. Team Supreme, Abdu Ali, Comp, Meganut’s 1 Nut Stand, Sat., March 21, 9 p.m., $5. Tashaki Miyaki, So Many Wizards, Slow Hollows, Michael Vidal, Celebrity Crush, in a matinee show, Sun., March 22, 11 a.m., $7. Yonatan Gat, Dog Party, AQH, Tue., March 24, 9 p.m., $5. Plague Vendor, Lords of Venus, French Cvnt, Thu., March 26, 9 p.m., $5.

STUDIO 1230: 1230 S. Flower St., Los Angeles. Plasmic, Stars at Night, The Porcelain, ModPods, Sat., March 21, 9 p.m., free.

TRIP: 2101 Lincoln Blvd., Santa Monica, 310-396-9010. Transient Orca, Sun., March 22, 8 p.m., free. The Julian Coryell Trio, Tuesdays, 9 p.m., free. Triptease Burlesque, Wednesdays, 10 p.m., free.

THE TROUBADOUR: 9081 Santa Monica Blvd., West Hollywood, 310-276-6168. David Choi, Tess Henley, My Silent Bravery, Fri., March 20, 8 p.m., $20. The

Sahns, Delta Rose, Future Villains, Diamond Lane, Desecrate, Brain Dead, Sat., March 21, 7:30 p.m., $14. Leon Bridges, Tue., March 24, 9 p.m., $15. River City Extension, The Wild Reeds, Air Traffic Controller, Thu., March 26, $17.

THE VIPER ROOM: 8852 W. Sunset Blvd., Los Angeles, 310-358-1881. The Flytraps, Smash Fashion, Hammered Satin, Dr. Boogie, Fri., March 20, 8 p.m., $10. Wayward Sons, Hit Me 90s, The Dents, Sat., March 21, 8:30 p.m., $10. Parlee, Dr. Luna, MK Nobilette, False Empire, Sun., March 22, 7:30 p.m., $12. Siya, Dreezy, Wed., March 25, 8:30 p.m., $15-$30. Flashback Heart Attack, Prima Donna, The Withers, Thu., March 26, 8:30 p.m., $12.

WHISKY A GO-GO: 8901 Sunset Blvd., Los Angeles, 310-652-4202. Dokken, Fri., March 20, 7 p.m., $30. Orgy, Sat., March 21, 7 p.m., $20. Barb Wire Dolls, The Alley Cats, Bad Cop Bad Cop, Clepto, Full Body Tones, Playground Circus, Mon., March 23, 7 p.m., free. The Untouchables, Wed., March 25, 7 p.m., $13. Strawberry Alarm Clock, Thu., March 26, 7 p.m., $20.

—Falling James

JAZZ

A-FRAME: 12565 Washington Blvd., Mar Vista, 310-398-7700. The Katie Thiroux Quartet, Sun., March 22, 2 p.m., $45.

ALVAS SHOWROOM: 1417 W. Eighth St., San Pedro, 310-833-3281. The Dale Fielder Quartet, Sat., March 21, 8 p.m., $20. Doug MacDonald & the Jazz Coalition, Sun., March 22, 4 p.m., $20.

THE BAKED POTATO: 3787 Cahuenga Blvd. W., Studio City, 818-980-1615. The Jamie Kime Group, Fri., March 20, 9:30 p.m., $20. Mike Keneally & Beer for Dolphins, Sat., March 21, 9:30 p.m., $25. Uli Geissendoerfer, Sun., March 22, 9:30 p.m., $15. Monday Night Jammmz, Mondays, 9:30 p.m., $10. Allen Hinds, Tue., March 24, 9:30 p.m., TBA. Paul Peress, Wed., March 25, 9:30 p.m., $15. The John Ziegler Quartet, Thu., March 26, 9:30 p.m., $20.

BLUE WHALE: 123 Astronaut E.S. Onizuka St., Los Angeles, 213-620-0908. Sarah Reich’s Tap Music Project, Fri., March 20, 9 p.m., $15. The Jamire Williams Group, Sat., March 21, 9 p.m., $15. Carl Stone, Tom Recchion & Joseph Hammer, Sun., March 22, 9 p.m., $10. Maksim Velichkin, Mon., March 23, 9 p.m., $10. The Bobby Bradford Quartet, The Vinny Golia Sextet, Tue., March 24, 9 p.m., $15. Korduroy & Maxox, Wed., March 25, 9 p.m., $10. Nobody’s Pretty, Thu., March 26, 9 p.m., $10.

CAFE CORDIALE: 14015 Ventura Blvd., Sherman Oaks, 818-789-1985. Plain Truth, Fri., March 20, 10 p.m., free. Teresa James & the Rhythm Tramps, Sun., March 22, 8:30 p.m., free. All-Star Jam, Tuesdays, 9 p.m., free.

CATALINA BAR & GRILL: 6725 W. Sunset Blvd., Los Angeles, 323-466-2210. Sasha’s Bloc, with Jane Monheit, Alvin Chea, March 20-21, 8:30 p.m., $35. Ron Dante, with Stephen Bishop, The Bo Donaldson & the Heywood Band, Alan Paul and others, Sun., March 22, 7:30 p.m., $35. The Manhattan Transfer, Take 6, Mon., March 23, 8:30 p.m.; Tue., March 24, 8:30 p.m., $55 (see Music Pick). Frank McComb, Wed., March 25, 8:30 p.m., $20. Sue Raney, with Shelly Markham, Barry Zweig and others, Thu., March 26, 8:30 p.m., $25.

COLOMBO’S: 1833 Colorado Blvd., Eagle Rock, 323-254-9138. Steve Thompson, Fridays, 5:30-9 p.m., free. The Eric Ekstrand Trio, with Leslie Baker & Frank Wilson, Mondays, 6 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, 323-666-1166. The Mark Z. Stevens Trio, Saturdays, 7-11 p.m., free.

THE DRESDEN RESTAURANT: 1760 N. Vermont Ave., Los Angeles, 323-665-4294. The Readys, Sundays, 9 p.m.-midnight, free. LA Underground Superstars, Mondays, 8:30 p.m.-1 a.m., free. Marty & Elayne, Tuesdays-Saturdays, 9 p.m., free.

HIP KITTY JAZZ & FONDUE: 502 W. First St., Claremont, 909-447-6700. Lil “A” & the Allnighters, Fri., March 20, 8 p.m., $5. The Happiness Jazz Band, Sat., March 21, 8 p.m., free. Open Jam, Wednesdays, 8 p.m.

JAX BAR & GRILL: 339 N. Brand Blvd., Glendale, 818-500-1604. Joe Finkle & the 7-10 Splits, Fri., March 20, 8 p.m., free. The Ralph Mathis Band, Sat., March 21, 8 p.m., free. Lenny Stack, Sundays, 6-10 p.m., free. Brian Elliot, Mon., March 23, 7 p.m., free. J.C. Spires, Tuesdays, 7-11 p.m., free. Cougar Estrada,

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Wed., March 25, 7 p.m., free. The Fabrice Vignati Trio, Thu., March 26, 7:30 p.m., free.

LAS HADAS: 9048 Balboa Blvd., Northridge, 818-892-7271. 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, 310-376-9833. Richard Williams, Sat., March 21, 11 a.m.-2:30 p.m., free. The Lolly Allen Quintet, Sun., March 22, 11 a.m.-3 p.m., free. The Adam Schroeder Quartet, Wed., March 25, 6-9 p.m., free.

NOLA’S TASTE OF NEW ORLEANS: 734 E. Third St., Los Angeles, 213-680-3003. Nola’s Down Home Blues Session, Tuesdays, 8-11 p.m., free.

PERCH: 448 S. Hill St., Los Angeles, 213-802-1770. The Todd Hunter Trio, Saturdays, 12-3 p.m., free; Doran Danoff, Saturdays, 7-10 p.m., free. The Jesse Palter Quartet, Sundays, 12-3 p.m., free; Ben Rose, Sundays, 7-10 p.m., free. Brian Swartz Quintet, Tuesdays, 7-10 p.m., free. Skyline, Thursdays, 6-11 p.m., free; DJ Brazilia, Thursdays, 11 p.m.-2 a.m.; Fridays, 11 p.m.-2 a.m.; Saturdays, 11 p.m.-2 a.m., free.

PIPS PIZZA PASTA SALADS: 1356 S. La Brea Ave., Los Angeles, 323-954-7477. Jeff Robinson, Fridays, 9 p.m., free. Bob DeSena Latin Jazz Band, Saturdays, 7:30 p.m., free. Cal Bennett, at brunch, Sundays, 11 a.m.-4 p.m., free; Cal Bennett, Sundays, 11 a.m., free. Barbara Morrison, Tuesdays, 8 p.m., free.

RED WHITE + BLUEZZ: 37 S. El Molino Ave., Pasadena, 626-792-4441. The Connie Han Trio, Wed., March 25, 7 p.m., free.

ROCKWELL TABLE & STAGE: 1714 N. Vermont Ave., Los Angeles, 323-669-1550. Anne Steele, Sun., March 22, 8 p.m., $25. Jeff Goldblum & the Mildred Snitzer Orchestra, Wednesdays, 9 p.m. Continues through March 25, $25.

SASSAFRAS SALOON: 1233 Vine St., Los Angeles, 323-467-2800. The Rumproller Organ Trio, Mondays, 9 p.m., free.

SEVEN GRAND: 515 W. Seventh St., Los Angeles, 213-614-0737. The Makers, Tuesdays, 10 p.m., free.

SHERATON GATEWAY HOTEL: 6101 W. Century Blvd., Los Angeles, 310-642-1111. Dean Rod, Wednesdays, Thursdays, 5:30-8:30 p.m., free.

SPAGHETTINI BEVERLY HILLS: 184 N. Canon Drive, Beverly Hills, 310-424-4600. Vincent Ingala, Sundays, 7 p.m. Continues through March 29, $20. Gabriel Johnson’s New Rat Pack, Spencer Day, Wednesdays, 7:30 p.m. Continues through March 25, $20.

SPAGHETTINI SEAL BEACH: 3005 Old Ranch Parkway, Seal Beach, 562-596-2199. DW3, Thursdays, 7:30 p.m., $15.

VENICE WHALER BAR & GRILL: 10 Washington Blvd., Marina del Rey, 310-821-8737. Andy Cowan, The Nina Beck Duo, Wednesdays, 9 p.m., free.

VIBRATO GRILL & JAZZ: 2930 Beverly Glen Circle, Bel-Air, 310-474-9400. Anna Mjoll, Fri., March 20, 9 p.m., free. The Ron Stout Quartet, Sat., March 21, 9 p.m., free. Maria Elena Infantino, Tue., March 24, 8 p.m., $20. Billy Valentine, Wed., March 25, 6:30 p.m., free. Chuck Manning & Steve Huffsteter, Thu., March 26, 9 p.m., free.

VITELLO’S ITALIAN RESTAURANT: 4349 Tujunga Ave., Studio City, 818-769-0905. Wendy Fraser, Fri., March

20, 8 p.m., $25 & $50. The Tim Gill All-Stars, Mon., March 23, 8 p.m., $20 & $45. Sheila E, Wed., March 25, 7 & 9 p.m., $35 & $60. Lorraina Marro, Thu., March 26, 8 p.m., $20 & $45.

WORLD STAGE PERFORMANCE GALLERY: 4344 Degnan Blvd., Los Angeles, 323-293-2451. Sisters of Jazz Jam Session, Sundays, 9 p.m., $5. Shine, Thursdays, 7-9 p.m., free; Jazz Jam Session, preced-ed (at 7 p.m.) by Shine Muwasi Women’s Drum Circle, Thursdays, 9 p.m., $5.

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

DANCE CLUBS

THE AIRLINER: 2419 N. Broadway, Los Angeles, 323-221-0771. Low End Theory, with resident DJs Daddy Kev, Nobody, The Gaslamp Killer, D-Styles and Nocando, Wednesdays, 9:30 p.m.-1:30 a.m.

ALEX’S BAR: 2913 E. Anaheim St., Long Beach, 562-434-8292. The Good Foot, where DJs get up on funk, soul and Latin grooves, third Friday of every month, 9 p.m., $5-$7.

THE AVALON: 1735 Vine St., Los Angeles, 323-462-8900. Hermitude, Mija, Yogi, Fri., March 20, 9:30 p.m., $15; Control, with DJs spinning dubstep and more, ages 19 & over, Fridays, 9:30 p.m. Avaland, where DJs are in the house with techno, trance and more, ages 21 & over, Saturdays, 9:30 p.m.; Tensnake, Kevin Saunderson, Todd Edwards, Sat., March 21, 10 p.m., $20. TigerHeat, a night of pop with go-go dancers and special guests, ages 18 & over, Thursdays, 9:30 p.m.

BOARDNER’S: 1652 N. Cherokee Ave., Los Angeles, 323-462-9621. 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, ages 18 & over, Mondays, 8 p.m., $3-$7. Club Moscow, an indie-pop dance soiree with DJs and live bands, hosted by Keith Wilson, ages 18 & over, Wednesdays, 8 p.m., $10.

BROADWAY BAR: 830 S. Broadway, Los Angeles, 213-614-9909. PsyChick, Sundays, 10 p.m., free.

BUSBY’S EAST: 5364 Wilshire Blvd., Los Angeles, 323-525-2615. Beats Rhymes & Lyfe, Thursdays, 10 p.m., $10.

CANA RUM BAR: 714 W. Olympic Blvd., Los Angeles, 213-745-7090. DJ Canyon Cody, dropping in with global soul, reggae, salsa and funk, Fridays, 10 p.m., free. DJ Jose Galvan, spinning Caribbean and funky Latin sounds, Saturdays, 10 p.m., free. DJ Anthony Valadez, taking you around the world with cumbia, roots and much more, Thursdays, 10 p.m., free.

CREATE NIGHTCLUB: 6021 Hollywood Blvd., Los Angeles, 323-463-3331. Nervo, Sat., March 21, 10 p.m., $50.

DEL MONTE SPEAKEASY: 52 Windward Ave., Venice, 310-392-4040. DJ Alfred Hawkins, Fridays, 10 p.m., free. DJ Jedi, Saturdays, 10 p.m., free.

DRAGONFLY: 6510 Santa Monica Blvd., Los Angeles, 323-466-6111. Respect Drum & Bass, Thursdays, 10 p.m., $10.

JESIKA VON RABBIT RECORD RELEASE PARTY

Gram Rabbit’s demented desert rock always hopped inside its own little hole, and the weirdo wantonness of

lead singer Jesika Von Rabbit had a lot to do with why so many fans joined them. Now that she’s on her own, JVR has spiced up her style, entrancing fans old and new with her sexy-hexy solo mesh of electro and pop.

Bar Sinister’s gloomy environs might not be the most obvious locale to celebrate her new release, but the fishnets fit. The dance club expanded on its “goth” branding years ago. Th e dark denizens here favor provocative artists who challenge the norm and give good spectacle, and Rabbit fi ts the bill fi ercely and fi endishly.

Her new record, Journey Mitchell, sounds as quirky and entrancing as the title suggests. Th e stage show — which we hear still involves her infamous bunny-play — should follow suit. Also playing: Th e Controversy and Deleyaman, plus dark ’80s, gothic and industrial DJs Tommy, John C and Rocky Slaughter.

BAR SINISTER AT BOARDNER’S | 1652 N. Cherokee Ave.,

Hollywood | Saturday, March 21, 11 p.m. | $10; $15 after midnight | barsinister.net

Lina In L.A.by Lina Lecaro

Mrs. Fish has an immediate opening for a seasoned Talent Buyer!

The position requires an intimate knowledge of both localand national live enter tainment bookings, negotiation profi ciency,

event production coordination and supervision, contracting,networking with ar tists and agents, complex calendar scheduling,

show proforma analysis, an understanding of production costs, budgets, ticket sales, and adver tising requirements

Candidate will work closely with ownership and management, marketing and sales teams, and production crews

Must have 3 years’ experience with live enter tainment bookings

Knowledge of local bands is a plusPrevious work history with AEG and Live Nation is a plus

For more info call (213) 542-5121or send resumes to Melissa.Nikraftar@citrusmgt.com

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EXCHANGE L.A.: 618 S. Spring St., Los Angeles, 213-627-8070. Bassjackers, Dyro, Fri., March 20, 10 p.m., $25 & $90. W&W, Sat., March 21, 10 p.m., $40-$100. DJ Kristian Nairn, at Rave of Thrones, Thu., March 26, 10 p.m., $20.

FUBAR: 7994 Santa Monica Blvd., Los Angeles, 323-654-0396. KittenCobra, a dance party with DJ Kinetic, DJ CheapSuits, DJ PornStash, plus live painting from Michael Nemo and others, with RSVP, Every other Sunday, 9 p.m., free. Welfare Tuesdays, Tuesdays, 8 p.m., free.

GOLDEN GOPHER: 417 W. 8th St., Los Angeles, 213-614-8001. DJ Dave, Sundays, 10 p.m., free.

GRAND STAR JAZZ CLUB: 943 N. Broadway, Los Angeles, 213-626-2285. Underground, third and first Friday of every month, 9 p.m.

HONEYCUT: 819 S. Flower St., Los Angeles, 213-688-0888. DJ Jack of All Tracks, Fridays, 10 p.m., free. DJ Aaron Castle, Saturdays, 10 p.m., free. DJ Dave Fernie, with hip-hop, disco and R&B, Mondays, 10 p.m., free. DJ Sean Patrick & DJ Rare Matthew, break-ing out funk, hip-hop and breaks, Tuesdays, 10 p.m., free. DJ Ladymonix, DJ Whitney Fierce, waxing disco, Wednesdays, 10 p.m., free. DJ Matthew Schreyer, Thursdays, 10 p.m., free.

KARMA LOUNGE: 3954 Beverly Blvd., Los Angeles, 213-381-3989. Silhouette Saturday, with DJ Rhymez flipping hip-hop, Latin and reggae, ages 21 & over, Saturdays, 10 p.m.-2 a.m., free.

LA CITA: 336 S. Hill St., Los Angeles, 213-687-7111. 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, ages 21 & over, Sundays, 9 p.m.-2 a.m., free. Mustache Mondays, a “straight-friendly queer dance party” with DJ Josh Peace, Mondays, 9 p.m.-2 a.m., $5-$8.

LAS PERLAS: 107 E. Sixth St., Los Angeles, 213-988-8355. DJ Drah, Thursdays, 9 p.m., free.

LOS GLOBOS: 3040 W. Sunset Blvd., Los Angeles, 323-666-6669. A Club Called Rhonda, with Junior Sanchez, Matias Aguayo, Jesse Rose, Lena Willikens, Brillstein, Christian S., Goddollars, Paradise, MC Russinabox, ages 21 & over, Fri., March 20, 9 p.m., $20 (see Music Pick). Benoit & Sergio, Sonns, Jimmy Maheras, Modernluv, Sat., March 21, 10 p.m., $15; The Rap Party, with Them Jeans, Dan Oh, Partytime, ages 21 & over, Sat., March 21, 10 p.m., free. Jesse Saunders, Brett Wallace, Christi Mills, Dance Me, ages 21 & over, Sun., March 22, 6:30 p.m., $5; Bassrush, with Delta Heavy, Loadstar, DJ Optical, ages 18 & over, Sun., March 22, 9 p.m., $15; Domingos Caribenos/Latin Sundays, with DJ Willy Gee, DJ Ricky, ages 19 & over, Sundays, 9 p.m., $10. 143, a night of slow jams, Wed., March 25, 10 p.m., free.

LOT 613: 613 Imperial St., Los Angeles. Omar S., Bicep, Lovefingers, Heidi Lawden, Fri., March 20, 10 p.m., $20.

LURE: 1439 Ivar Ave., Los Angeles, 323-463-4427. Time Machine Sundays, Sundays, 8 p.m.-2 a.m., $10.

THE MAYAN: 1038 S. Hill St., Los Angeles, 213-746-4674. Saturday Nightclub, with DJs serving Top 40, salsa, house, pop, hip-hop and more, ages 21 & over, Saturdays, 9 p.m.-2:30 a.m., $20.

MEDUSA LOUNGE: 3211 Beverly Blvd., Los Angeles, 213-382-5723. Culture Clash, with hip-hop, reggae and soul DJs, Fridays, 10 p.m.-2 a.m., free.

PARK PLAZA HOTEL: 607 S. Park View St., Los Angeles, 213-381-6300. DJ Matador, with AndHim, Uner, Sat., March 21, 9 p.m., $35-$80.

THE REGENT THEATER: 448 S. Main St., Los Angeles, 323-934-2944. Beardyman, with TK Disko, Young Adults, Fri., March 20, 8 p.m., $18.

RIVIERA 31: Hotel Sofitel, 8555 Beverly Blvd., Los Angeles, 310-278-5444. HDG, a house, garage and disco night with DJ Garth Trinidad & DJ Mateo Senolia, Fridays, 9:30 p.m., free.

THE SATELLITE: 1717 Silver Lake Blvd., Los Angeles, 323-661-4380. Rapture Dance Party, with Lights & Music DJs popping back to the ‘80s & ‘90s (free before 10 p.m.), Fri., March 20, 9 p.m., $10. Dance Yourself Clean, Saturdays, 9:30 p.m., $5.

SHORT STOP: 1455 Sunset Blvd., Los Angeles, 213-482-4942. Super Soul Sundays, ages 21 & over, Sundays, 10 p.m., free. Dance Yourself Clean, Thursdays, 10 p.m., free.

SOUND NIGHTCLUB: 1642 N. Las Palmas Ave., Los Angeles, 323-656-4800. Lee Burridge, Fri., March 20, 10 p.m., $15. Nora en Pure, Sat., March 21, 10 p.m., $10. Monday Social, Mondays, 10 p.m. Satin Jackets, Cassian, Durante, Wed., March 25, 9 p.m.-2 a.m., $15 & $20.

THAT ’80S BAR: 10555 Mills Ave., Montclair, 909-626-9091. ’80s Dance Party, with new wave, old school and freestyle favorites, Fridays, Saturdays, 7 p.m.-2 a.m., $5-$10.

THE VIRGIL: 4519 Santa Monica Blvd., Los Angeles, 323-660-4540. Planet Rock, with DJs Chuck Wild & Canyon Cody flipping hip-hop, funk, Latin, reggae, disco and house, Saturdays, 9 p.m.-2 a.m., free. Funkmosphere, where Stones Throw’s Dam-Funk soars into funk, electro, disco and boogie, Thursdays, 10 p.m.-2 a.m., free.

W HOLLYWOOD: 6250 Hollywood Blvd., Los Angeles, 323-798-1300. Encore, with music ranging from Top 40 to house, Fridays, 9 p.m.-2 a.m., free.

LATIN & WORLD

COCOPALM RESTAURANT: 1600 Fairplex Drive, Pomona, 909-469-2215. Chino Espinoza y los Duenos del Son, Fridays, 8:30 p.m., free.

EL CID: 4212 W. Sunset Blvd., Los Angeles, 323-668-0318. Flamenco Dinner Show, Fridays, Saturdays, 7:30 p.m.; Sundays, 6 p.m., $20 & $35.

EL FLORIDITA RESTAURANT: 1253 N. Vine St., Los Angeles, 323-871-8612. Salsa Night, Fridays, 8 p.m.; Saturdays, 9:30 p.m., $10. Johnny Polanco, Mondays, 8 p.m., $10.

THE GRANADA LA: 17 S. First St., Alhambra, 626-227-2572. 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.

LES NOCES DU FIGARO: 618 Broadway, Los Angeles, 213-622-2166. Downtown Descarga, with salsa musi-cians TBA, Fridays, 7:30 p.m., $10.

STEVEN’S STEAK & SEAFOOD HOUSE: 5332 E. Stevens Place, Los Angeles, 323-723-9856. Son Mayor, Saturdays, 9 p.m., free.

TIA CHUCHA’S CENTRO CULTURAL & BOOKSTORE: 13197-A Gladstone Ave., Sylmar, 818-528-4511. Open mic, Fridays, 8-10 p.m.

—Falling James

COUNTRY & FOLK

THE CINEMA BAR: 3967 Sepulveda Blvd., Culver City, 310-390-1328. Neighborhood Bullys, John Lafayette Ramey, Fri., March 20, 9 p.m., free. The Dank, Grass Fed Youth, Sun., March 22, 9 p.m., free. The Hot Club of L.A., Mondays, 9 p.m., free. The Dave Gleason Trio, Wed., March 25, 9 p.m., free.

THE COFFEE GALLERY BACKSTAGE: 2029 N. Lake Ave., Altadena, 626-798-6236. Neon Illusion, Fri., March 20, 8 p.m., $20. Billy Bob Earl, Sat., March 21, 3 p.m., $20; The Tall Men Group, Sat., March 21, 7 p.m., $18. Musicàntica, Mon., March 23, 8 p.m., $18. John York, Billy Darnell & Chad Watson, Thu., March 26, 8 p.m., $20.

COWBOY COUNTRY: 3321 E. South St., Long Beach, 562-630-3007. The Just Dave Band, March 20-21, 7 p.m., $5. Dawson’s Gang, Wed., March 25, 7 p.m.

THE COWBOY PALACE SALOON: 21635 Devonshire St., Chatsworth, 818-341-0166. Debra Lee & Trigger Happy, Fri., March 20, 8 p.m., free. Talent Contest, hosted by Chad Watson, Mondays, 8 p.m., free.

EB’S BEER & WINE BAR, FARMERS MARKET: 6333 W. Third St., Los Angeles, 323-549-2157. The Pickers, John Lafayette Ramey, at Ranch Party, Sat., March 21, 7:30 p.m., free.

THE FRET HOUSE: 309 N. Citrus Ave., Covina, 626-339-7020. David Olney, Sergio Webb, Sun., March 22, 3 p.m., $20.

IRELAND’S 32: 13721 Burbank Blvd., Van Nuys, 818-785-4031. Whiskey Sunday, Fri., March 20, 8 p.m., free. Capt. Buzzy Party Band, Sat., March 21, 8 p.m., free. Broken Bravado, Wed., March 25, 8 p.m., free; The Pickers, Thu., March 26, 8 p.m., free.

JOE’S GREAT AMERICAN BAR & GRILL: 4311 W. Magnolia Blvd., Burbank, 818-729-0805. Jeffrey Michaels, Fri., March 20, 9 p.m., free. Blind Crush, Sat., March 21, 9 p.m., free. Crown City Bombers, Li’l Mo & the Dynaflos, Brian Hogan, The Hollywood Hucksters, Sun., March 22, 3 p.m., free. Dave Stuckey & the Hot House Gang, Mon., March 23, 9 p.m., free. Maureen & the Mercury 5, Tue., March 24, 9:30 p.m., free. The Switchblade 3, Thu., March 26, 9 p.m., free.

PAPPY & HARRIET’S PIONEERTOWN PALACE: 53688 Pioneertown Road, Pioneertown, 760-365-5956. The Sunset Drifters, Fri., March 20, 8 p.m., free. The Shadow Mountain Band, Saturdays, 5 p.m., free; Paul Chesne, Sat., March 21, 8 p.m., free. The Sunday

Band, Sundays, 7 p.m., free. Ted Quinn’s Open-Mic Reality Show, Mondays, 7 p.m., free. Patrolled by Radar, Thu., March 26, 8 p.m., free.

—Falling James

BLUES

BURBANK MOOSE LODGE: 1901 W. Burbank Blvd., Burbank, 818-842-5851. Pete Anderson, Mondays, 8 p.m., free.

HARVELLE’S SANTA MONICA: 1432 Fourth St., Santa Monica, 310-395-1676. The Toledo Show, Sundays, 9 p.m., $10. The House of Vibe All-Stars, Wednesdays, 9 p.m., $10.

HARVELLE’S LONG BEACH: 201 E. Broadway, Long Beach, 562-239-3700. The Toledo Show, Thursdays, 9:30 p.m., $10.

MAUI SUGAR MILL SALOON: 18389 Ventura Blvd., Tarzana, 818-344-0034. She Kills Giants, No Small Children, Dead Lazlo’s Place, The Sold, Fri., March 20, 9 p.m., free. 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.

SONNY MCLEAN’S IRISH PUB: 2615 Wilshire Blvd., Santa Monica, 310-828-9839. Barry “Big B” Brenner, Tuesdays, 8:30 p.m., free.

STARBOARD ATTITUDE: 202 The Pier, Redondo Beach, 310-379-5144. Mark Sells, Fri., March 20, 9 p.m., free. Andy Walo, Saturdays, 4-8 p.m., free; Kara Turner, Sat., March 21, 9 p.m., free. Sticky Wicked, Sun., March 22, 3-7 p.m., free. Open mic, Wednesdays, 8 p.m., free.

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

C O N C E R T S

FRIDAY, MARCH 20

AMPLIFY 2015: With David Guetta, Alesso, Zedd, Aronchupa, Baby Yu, 8 p.m., $50. Hollywood Palladium, 6215 W. Sunset Blvd., Los Angeles, 323-962-7600.

BAKERMAT: 9 p.m., $20. El Rey Theatre, 5515 Wilshire Blvd., Los Angeles, 323-936-6400.

GO BEYOND WONDERLAND: With Carl Cox, Tiesto, Z Trip, Maya Jane Coles, Green Velvet, Firebeatz, Josh Wink, Dillon Francis, John Digweed, Kidnap Kid, Simon Patterson, Oliver Dollar, Aly & Fila and others, 4 p.m., $89. San Manuel Amphitheater, 2575 Glen Helen Parkway, San Bernardino, 909-880-6500. See Music Pick.

BLACK VIOLIN: 7:30 p.m., $32-$55. The Broad Stage, Santa Monica College Performing Arts Center, 1310 11th St., Santa Monica, 310-434-3412.

MUSINK: With Rancid, Sick of It All, The Interrupters, 3 p.m., $30-$100. OC Fair & Event Center, 88 Fair Drive, Costa Mesa, 714-708-1500.

GO ROSANNE CASH: 8 p.m., $30-$70. Fred Kavli Theater, Thousand Oaks Civic Arts Plaza, 2100 E. Thousand Oaks Blvd., Thousand Oaks, 805-449-2787.

TRAMPLED BY TURTLES, HONEYHONEY: 9 p.m., $25. The Observatory, 3503 S. Harbor Blvd., Santa Ana, 714-957-0600.

SATURDAY, MARCH 21

ANDREA GIBSON: 8 p.m., $20. El Rey Theatre, 5515 Wilshire Blvd., Los Angeles, 323-936-6400.

GO BEYOND WONDERLAND: With Benny Benassi, Andy C, Armanni Reign, DJ Jazzy Jeff, Carl Cox, Z-Trip, Knife Party, Sub Focus, Nicole Moudaber, Showtek, Brillz, Poolside (DJ set), Beat Junkies, Loadstar, Soul Clap, Art Department, Party Favor, Graham Funke and others, 4 p.m., $99. San Manuel Amphitheater, 2575 Glen Helen Parkway, San Bernardino, 909-880-6500. See Music Pick.

DAVID CASSIDY: 7 p.m., $48-$78. Saban Theatre, 8440 W. Wilshire Blvd., Beverly Hills, 323-655-0111.

DAVID CHOI, TESS HENLEY: 6:30 p.m., $20. The Observatory, 3503 S. Harbor Blvd., Santa Ana, 714-957-0600.

GO GEORGE CLINTON & PARLIAMENT FUNKADELIC: 9 p.m., $25. The Observatory, 3503 S. Harbor Blvd., Santa Ana, 714-957-0600.

GO HERBIE HANCOCK & CHICK COREA: 8 p.m., $63-$94. Walt Disney Concert Hall, 111 S. Grand Ave., Los Angeles, 323-850-2000.

GO JOHN DOE & EXENE: With Robyn Hitchcock, 8 p.m., $25- $37. First Unitarian Church of Los Angeles, 2936 W. Eighth St., Los Angeles, 213-389-1356. See

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KAWIKA KAHIAPO: 2 p.m., $47. The Ruth B. Shannon Center for the Performing Arts, 6760 Painter Ave., Whittier, 562-907-4203.

KLINGANDE: With Autograf, 9 p.m., $25.50. The Fonda Theatre, 6126 Hollywood Blvd., 323-464-0808.

LUPILLO RIVERA: 8 p.m., $39.50-$179. Nokia Theatre, 777 Chick Hearn Court, Los Angeles, 213-763-6030.

LUSTMORD, GROUPER: With Alexander Lewis, Tropic of Cancer, 8 p.m., $35. Hollywood Forever Cemetery, 6000 Santa Monica Blvd., 323-469-1181.

MUSINK: With Bad Religion, Off, Ignite, 3 p.m., $30-$100. OC Fair & Event Center, 88 Fair Drive, Costa Mesa, 714-708-1500.

TENACIOUS D: With Sasquatch, in a benefit for TIOH, 8 p.m., $65 & $75. The Regent Theater, 448 S. Main St., Los Angeles, 323-934-2944.

TWEEDY: 8 p.m., $40-$50. The Theatre at Ace Hotel, 929 S. Broadway, Los Angeles, 213-623-3233.

SUNDAY, MARCH 22

GO 2CELLOS: With Steven Roth, 8 p.m., $30-$40. Club Nokia, 800 W. Olympic Blvd., Los Angeles, 213-765-7000. See Music Pick.

GO THE AIRBORNE TOXIC EVENT: 7 p.m., $39.50. The Tower Theatre, 802 S. Broadway, Los Angeles, 213-629-2939.

GO CHICK COREA & HERBIE HANCOCK: 7 p.m., $48-$78. The Granada Theatre, 1214 State St., Santa Barbara, 805-899-2222.

HAROUT BALYAN: 7 p.m., $26-$121. Dolby Theatre, 6801 Hollywood Blvd., Los Angeles, 323-308-6300.

GO MOON DUO: 8 p.m., $15. The Observatory, 3503 S. Harbor Blvd., Santa Ana, 714-957-0600.

MUSINK: With Blink-182, Yelawolf, Prayers, 3 p.m., $30-$100. OC Fair & Event Center, 88 Fair Drive, Costa Mesa, 714-708-1500.

GO OF MONTREAL: With Yip Deceiver, 8 p.m., $20. The Regent Theater, 448 S. Main St., Los Angeles, 323-934-2944. See Music Pick.

TWEEDY: 8 p.m., $40-$50. The Theatre at Ace Hotel, 929 S. Broadway, Los Angeles, 213-623-3233.

TUESDAY, MARCH 24

GO GANG OF FOUR: With Public Access T.V., 9 p.m., $30. El Rey Theatre, 5515 Wilshire Blvd., Los Angeles, 323-936-6400. See Music Pick.

THE PINK FLOYD EXPERIENCE: 7 p.m., $21. Fox Performing Arts Center, 3801 Mission Inn Ave., Riverside, 951-369-8487.

RAE SREMMURD: 8 p.m., $20. The Observatory, 3503 S. Harbor Blvd., Santa Ana, 714-957-0600.

GO THE TING TINGS: With Kaneholler, 9 p.m., $25. The Fonda Theatre, 6126 Hollywood Blvd., Los Angeles, 323-464-0808.

WIDESPREAD PANIC: 8 p.m., $52.50. The Orpheum Theatre, 842 S. Broadway, Los Angeles, 877-677-4386.

WEDNESDAY, MARCH 25

CHARLIE WILSON: With Kem, Joe, 7 p.m., $85-$150. Nokia Theatre, 777 Chick Hearn Court, Los Angeles, 213-763-6030.

FREDDIE GIBBS: 8 p.m., $5. The Observatory, 3503 S. Harbor Blvd., Santa Ana, 714-957-0600.

MAGIC MAN: With Great Good Fine OK, Vinyl Theatre, 7:30 p.m., $20. El Rey Theatre, 5515 Wilshire Blvd., Los Angeles, 323-936-6400.

THE MAVERICKS: 9 p.m., $37.50-$67.50. The Fonda Theatre, 6126 Hollywood Blvd., Los Angeles, 323-464-0808.

WIDESPREAD PANIC: 8 p.m., $52.50. The Orpheum Theatre, 842 S. Broadway, Los Angeles, 877-677-4386.

THURSDAY, MARCH 26

BOYZ II MEN: 8 p.m., $38.50-$58.50. Club Nokia, 800 W. Olympic Blvd., Los Angeles, 213-765-7000.

CHARLIE WILSON: With Kem, Joe, 7 p.m., $85-$150. Nokia Theatre, 777 Chick Hearn Court, Los Angeles, 213-763-6030.

GO THE GEARS: The ever-rocking L.A. punks appear for a Q&A following the premiere screening of the Gears documentary, Don’t Be Afraid to Pogo, 6:30 p.m., $10. Vista Theatre, 4473 Sunset Blvd., Los Angeles, 323-660-6639.

IAMSU: With Rome Fortune, Dave Steezy, Show Banga, 8 p.m., $22-$52. El Rey Theatre, 5515 Wilshire Blvd., Los Angeles, 323-936-6400.

GO IMMORTAL TECHNIQUE, TALIB KWELI: 8 p.m.,

$25. The Observatory, 3503 S. Harbor Blvd., Santa Ana, 714-957-0600.

PEPE AGUILAR: 7:30 p.m., $50-$70. San Manuel Indian Bingo & Casino, 777 San Manuel Blvd., Highland, 909-864-5050.

—Falling James

C L A S S I C A L & N E W M U S I C

GO ANDREW SHULMAN: The principal cellist of L.A. Chamber Orchestra works up cello sonatas by Bach, Marcello, Sammartini, De Fesch and Vivaldi with the help of LACO keyboardist Patricia Mabee and violinist Trevor Handy, in this Baroque Conversations program, Thu., March 26, 7 p.m., $56. The Colburn School of Music, Zipper Concert Hall, 200 S. Grand Ave., Los Angeles, 213-621-2200.

GO THE BARBER OF SEVILLE: The irrepressible barber Figaro (portrayed by Russian baritone Rodion Pogossov) is at the center of the madcap action in L.A. Opera’s first installment of the Figaro Trilogy, but it’s mezzo-soprano Elizabeth DeShong (as the housebound Rosina, pining for her true love) who really impresses as she powers through composer Gioachino Rossini’s cascades of intricately beautiful bel-canto melodies, Sun., March 22, 2 p.m., $21-$311. The Music Center, Dorothy Chandler Pavilion, 135 N. Grand Ave., Los Angeles, 213-972-0777.

GO CECILIA BARTOLI: Sat., March 21, 7:30 p.m.; Thu., March 26, 7:30 p.m., TBA. The Broad Stage, Santa Monica College Performing Arts Center, 1310 11th St., Santa Monica, 310-434-3412.

CROWN CITY SYMPHONY: Soprano Sunjoo Yeo is spotlighted in arias by Bellini and Puccini, and the or-chestra covers Mozart and Gounod, Sat., March 21, 2 p.m., free. Altadena Senior Center, 560 E. Mariposa St., Altadena, 626-798-0505. Sun., March 22, 2 p.m., free. First Baptist Church, 75 N. Marengo Ave., Pasadena, 626-793-7164.

L.A. OPERA DOMINGO-COLBURN-STEIN YOUNG ARTISTS: The singers belt out a recital of tunes from operas inspired by playwright Pierre Beaumarchais’ character Figaro, such as Mozart’s The Marriage of Figaro and Rossini’s Barber of Seville, Sun., March 22, 6 p.m., free. LACMA, 5905 Wilshire Blvd., Los Angeles, 323-857-6000.

GO LANG LANG: The Chinese pianist sets sail with Bach’s Italian Concerto, BWV 971, in F major, and turns with Tchaikovsky’s The Seasons, Op. 37a, before clos-ing with four scherzos by Chopin, in a solo recital, Sun., March 22, 7:30 p.m., $52.50-$94.50. Walt Disney Concert Hall, 111 S. Grand Ave., 323-850-2000.

GO THE LONDON SYMPHONY ORCHESTRA: Michael Tilson Thomas conducts Dmitri Shostakovich’s Symphony No. 5 in D minor, in addition to Britten’s Four Sea Interludes and Yuja Wang’s star turn on Gershwin’s Concerto in F., Wed., March 25, 8 p.m., $38-$103. The Granada Theatre, 1214 State St., Santa Barbara, 805-899-2222. The ever-dazzling pianist Yuja Wang sets alight George Gershwin’s Piano Concerto in F, and conductor Michael Tilson Thomas carries the venerable British orchestra onward through Benjamin Britten’s Four Sea Interludes and Jean Sibelius’ Second Symphony, Tue., March 24, 8 p.m., $50.50-$148.50. Walt Disney Concert Hall, 111 S. Grand Ave., 323-850-2000.

GO MARILYN FOREVER: Long Beach Opera presents the U.S. premiere of composer Gavin Bryars and librettist Marilyn Bowering’s operatic reawakening of Marilyn Monroe, Sat., March 21, 8 p.m.; Sun., March 29, 2:30 p.m., $29-$160. Warner Grand Theatre, 478 W. Sixth St., San Pedro, 310-548-7672.

GO THE MARRIAGE OF FIGARO: The suave match-maker Figaro finds himself in love, in Mozart’s eternal opera, the latest installment in L.A. Opera’s Figaro Trilogy. Roberto Tagliavini stars in the title role, and South African soprano Pretty Yende portrays Figaro’s beloved Susanna. Ian Judge directs, while James Conlon conducts the orchestra, Sat., March 21, 7:30 p.m.; Thu., March 26, 7:30 p.m.; Sun., March 29, 2 p.m.; Sat., April 4, 7:30 p.m.; Thu., April 9, 7:30 p.m.; Sun., April 12, 2 p.m., $22-$325. Dorothy Chandler Pavilion, 135 N. Grand Ave., 213-972-0777.

MAX RICHTER: With The American Contemporary Music Ensemble, Sun., March 22, 9 p.m., $42. El Rey Theatre, 5515 Wilshire Blvd., 323-936-6400.

PALISADES SYMPHONY ORCHESTRA: Joel Lish con-ducts a night of music by Tchaikovsky, Sun., March 22, 7:30 p.m., free. Palisades Charter High School, 15777 Bowdoin St., Pacific Palisades, 310-454-8040.

PASADENA MASTER CHORALE: The chorus invokes Arvo Pärt, John Tavener and Henryk Górecki, Sat.,

March 21, 7:30 p.m.; Sun., March 22, 4 p.m., free. Altadena Community Church, 943 E. Altadena Drive, Altadena, 626-798-1185.

PASADENA SYMPHONY: Nicholas McGegan conducts Rameau’s ballet suite from Nais and Beethoven’s Sixth Symphony, while violinist Geneva Lewis is fea-tured on Mozart’s Violin Concerto No. 3, Sat., March 21, 2 & 8 p.m., $35 & up. Ambassador Auditorium, 131 S. St. John Ave., Pasadena, 626-794-1199.

THE PEPPERDINE WIND ENSEMBLE: Thu., March 26, 7:30 p.m., free. Smothers Theatre, Pepperdine University, 24255 Pacific Coast Hwy., 310-506-4522.

ROBERT DAVIDOVICI: The violinist strikes up a musical conversation in a chamber-music program TBA, Sun., March 22, 11 a.m.; Sun., April 26, 11 a.m., free. The Broad Stage, Santa Monica College Performing Arts Center, 1310 11th St., Santa Monica, 310-434-3412.

TESSERAE: The period-music ensemble takes “A Musical Portrait of the Venetian Courtesan,” with selections by Barbara Strozzi, Adrian Willeart and Cipriano de Rore, Sat., March 21, 5 p.m., $12. Norton Simon Museum, 411 W. Colorado Blvd., Pasadena, 626-449-6840.

WILLIAM HAGEN: The violinist sifts through the melo-dies of Bach, Debussy, Schubert, Beethoven and Tchaikovsky, Fri., March 20, 8 p.m., free. Ann & Jerry Moss Theater, 3131 Olympic Blvd., Santa Monica.

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

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NOTICE OF PETITION TO ADMIN-ISTER ESTATE OF Franklin Earl Hirsch CASE NUMBER BP160548To all heirs, beneficiaries, credi-tors, contingent creditors, and persons who may otherwise be interested in the will or estate, or both, of: Franklin Earl Hirsch, Franklin Hirsch, Frank Hirsch. A Petition for Probate has been filed by Alicia Ellen Hirsch, in the Superior Court of California, County of Los Angeles. The Peti-tion for Probate requests that Alicia Ellen Hirsch be appointed as personal representative to administer the estate of the decedent. The petition requests the decedent's will and codicils, if any, be admitted to probate. The will and any codicils are available for examination in the file kept by the court. The petition requests authority to administer the estate under the Independent Administration of Estates Act. The independent administration authority will be granted unless an interested person files an objection to the petition and shows good cause why the court should not grant the authority. A hearing on the petition will be held in this court as follows: Date: 04-09-2015 Time:8:30 a.m., Dept. 5. 111 North Hill Street, Room 236, Los Angeles CA. 90012. If you ob- ject to the granting of the petition, you should appear at the hearing and state your objections with the court before the hearing. Your appearance may be in person or by your at-torney. If you are a creditor or a contingent creditor of the de-cedent, you must file your claim with the court and mail a copy to the personal representative appointed by the court within the later of either (1) four months from the date of first issuance of letters to a gen-eral personal representative, as defined in section 58(b) of the California Probate Code, or (2) 60 days from the date of mailing or personal delivery to you of a notice under section 9052 of the California Probate Code. You may examine the file kept by the court. If you are a person in-terested in the estate, you may file with the court a Request for

Special Notice (form DE-154) of the filing of an inventory and appraisal of estate assets or of any petition or account as pro-vided in Probate Code section 1250. A Request for Special Notice form is available from the court clerk. Petitioner: Alicia Ellen Hirsch. 3548 Beverly Ridge Dr Sherman Oaks CA 91423 To be published: 03/12/15, 03/19/15, 03/26/15, 04/02/15

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