SEPTEMBER 25 – OCTOBER 1, 2015 / VOL. 37 / NO. 45 / LAWEEKLY.COM

Why L.A. Tenants Will Get Rent Hikes for Quake Retrofi tting • House Label Dirtybird Records Is Hosting Its First Festival

On television, Los Angeles is no longer just a backdrop

by Jessica Langlois

®®

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LPUBLISHER Mat Cooperstein

EDITOR Mara Shalhoup

E D I T O R I A L

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NEWS...6 Why L.A. tenants will get stuck with rent hikes for quake retrofitting. BY DENNIS ROMERO.

EAT & DRINK...15 Beloved sausage-and-beer hall BierBeisl is back. Where are the customers? BY BESHA RODELL.

GO LA...20 A heavy-metal mariachi band, the return of Carrie: The Musical, The Wire’s Wendell Pierce on his new book, a car-themed film fest and other great experiences in L.A. this week.

CULTURE...25 In CULTURE, ART PICKS recommends a sound performance at the Baldwin Hills Scenic Overlook and Cao Fei’s zombie film, Haze and Fog. In STAGE, ZACHARY PINCUS-ROTH reviews These Paper Bullets, in which Rolin Jones ties together Billie Joe Armstrong’s music and Much Ado About Nothing’s plot, plus reviews of Homefree and The Object Lesson.

FILM...29 AMY NICHOLSON previews 10 films coming our way from the Toronto International Film Festival, and ALAN SCHERSTUHL reviews Reconstruction-era thriller The Keeping Room, plus The Man Who Saved the World, documentary Mission to Lars and other films OPENING THIS WEEK, and rare screenings of iconic films in YOUR WEEKLY MOVIE TO-DO LIST.

MUSIC...38 LIZ OHANESIAN explores the house music phenomenon that is Dirtybird Records, and JEFF WEISS sees if the key to the Dodgers’ post-season success lies in the players’ walk-up music. Plus: HENRY ROLLINS: THE COLUMN!, LINA IN L.A., listings for ROCK & POP, JAZZ & CLASSICAL AND MORE.

ADVERTISING CLASSIFIED...61EDUCATION/EMPLOYMENT...62 REAL ESTATE/RENTALS...62 BULLETIN BOARD...63

| SEPTEMBER 25-OCTOBER 1, 2015 // VOL. 37 // NO. 45

45

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

ICONTENTS ⁄⁄L.A. FINALLY PLAYS ITSELF ... 9On television, Los Angeles is more than just a backdrop. BY JESSICA LANGLOIS.

PHOTO BY SHAINA HEDLUND

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| | RIFT OVER RENT HIKES

Why L.A. renters will get stuck with $3,800 quake retrofi t bills

BY DENNIS ROMERO

Los Angeles is the least aff ordable rental market in the nation, according to a UCLA analysis.

The actual rents often are outpaced by New York and San Francisco but me-

dian individual income — $27,749 in L.A. County, according to the U.S. Census — makes it extremely diffi cult for everyday Angelenos to get shelter.

A Harvard report over the summer found that 57 percent of L.A. rent-ers were “cost-burdened,” and UCLA researchers say that 54 percent of low-income renters spend half or more of their pay on their housing.

That’s a tremendous strain on the region’s economy. The U.S. Department of Housing and Urban Development says that paying more than 30 percent of your income toward rent creates seri-ous hardship.

Los Angeles’ elected leaders this year started to tackle the housing crisis, proposing to crack down on landlords who convert apartments to condos, and to set up a $50 million fund “to create, preserve and retrofi t aff ordable housing in the city,” according to the offi ce of Mayor Eric Garcetti.

But, as is often the case with L.A. city leaders, the big picture was out of focus.

You see, while they were tackling that cost crisis, another one had been loom-ing for years. The two crises are likely to clash in the coming months.

The L.A. City Council this week voted unanimously to force the landlords of about 13,500 pre-1976 apartment build-ings made of wood or concrete to begin retrofi tting so the structures can avoid collapse or life-threatening damage dur-ing a major earthquake. The city attor-ney will draft language that will require fi nal council approval of the law.

“We need to address the threat of earthquake,” says Larry Gross, execu-tive director of the renters rights group Coalition for Economic Survival, “but we don’t want to create an economic earthquake for a tenant who won’t be able to aff ord this increase and will likely be displaced from their home.”

It could cost up to $130,000 to ex-tensively inspect — including partially dismantling — and then strengthen each building. A landlord’s group puts the cost at about $5,000 for a single unit. Under the approved ordinance, owners can pass the entire cost on to renters over a fi ve- to 10-year span.

Renters could see rent hikes as high as $75 a month in the big city with the nation’s worst rental crisis.

City leaders decided to mandate now and worry about the rent problem later.

Landlords and renters’ advocates seem to agree that $75 is too much. They’re pushing and pulling city lead-ers for a better deal. A 50/50 cost split, whereby landlords would pay about half of the price of the retrofi ts and ten-ants the other half, or as much as $38 a month extra, is now on the table.

Jim Clarke, executive vice president of the Apartment Association of Greater Los Angeles, which represents land-lords, says the organization opposes a $75-a-month rent hike for seismic retrofi tting.

“There’s no way we could pass through $75 a month,” he said. “It would drive out our customers.”

The group might support a $38 ceiling, but it’s holding out for other “concessions,” Clarke said, such as a reduction by the city in landlord permit and license fees, plus possible county rebates on property taxes. The Legis-lature this month already passed a bill that would give landlords a 30 percent tax break on the cost of retrofi t projects.

This soft stance is coming from a landlord group that wanted to pass the cost of water bills on to tenants in rent-controlled buildings as a way to reduce water consumption during the drought.

It sounds like the powerful group is ready to make a deal. You’d probably never imagine renters-rights advocates and landlords singing “Kumbaya,” but here we are.

Gross, of the Coalition for Economic Survival, says that while this is the worst time to allow citywide rent increases, reality suggests $38 is a good compro-mise.

“Clearly, given the situation where tenants in this city are now mostly pay-ing unaff ordable rents, and most are paying upward of 50 percent of their income to rent, we don’t like the idea of one more dollar in rent,” Gross says. “The fact is that right now the current law states tenants could be hit with up-ward of a $75 increase and would have to bear the burden of the retrofi t costs. One hundred percent could be passed on. That’s a fact.”

Based on the $38 monthly maximum, the average L.A. tenant would see an increase more like $18, for a range of $1,800 to $3,800 in hikes if somebody rents in L.A. for a decade.

“This proposal defi nitely strives to es-tablish some degree of equity in regards to who pays for the costs,” Gross says. “We’re doing everything we can to try to soften the blow, because we’ve seen the blow coming.”

He’s referring to the fact that the Los Angeles City Council and Mayor’s Of-fi ce have been warned for decades that these old buildings were potential mass killers yet they did nothing.

L.A. Weekly previously reported that the Los Angeles Department of Building and Safety led a key political fi ght in Sacramento and locally against calls to shore up pre-1976 concrete buildings known as “nonductile,” which have col-lapsed and claimed lives globally dur-ing big quakes. Instead, after the deadly Northridge earthquake of 1994, the City Council encouraged building owners to voluntarily upgrade.

Ever since, city offi cials have been slow to deal with our disaster-to-be. Yet earthquake experts say Southern Cali-fornia’s next Big One, with a potential magnitude of 7.8 or larger, is a matter of when, not if.

In stark contrast to L.A., San Fran-cisco city leaders got moving 10 years ago, holding extensive hearings to come up with a system for identifying each dangerous older building, creating a plan for in-depth inspection and retro-fi tting and, fi nally, getting local buy-in on deciding who should pay.

San Francisco landlords have begun retrofi tting as many as 3,000 older soft-story, wood-frame buildings at a cost of $60,000 to $130,000 per structure.

Most of that expense is passed to renters via rent increases ranging from $8 to $50 a month, but the blow is softer there since median individual income, at $48,486, is almost twice L.A. County’s.

In January, UC Berkeley researchers caused a major stir when they identi-fi ed, by address, 1,451 “pre-1976 building code ... nonductile concrete buildings” in L.A. Some could be prone to col-lapse in a massive quake. They include malls, hospitals, schools and apartment buildings. Co-author Jonathan Stewart, a professor in UCLA’s Department of Civil and Environmental Engineering, says 5 percent could collapse, causing widespread death and paralyzing L.A.

“Experiences have shown from these previous earthquakes that approximate-ly 5 percent or so of buildings that meet that description may collapse when subjected to strong shaking,” he told the Weekly previously.

“It seems like a small percentage, but the number of buildings is large. If we get a large earthquake in L.A., it could be a devastating impact.”

One L.A. councilman believes his poorer Eastside district can’t bear an-other rent increase. Gil Cedillo wants a better deal for renters.

“My offi ce, along with HCID [Los Angeles Housing and Community In-vestment Department] and the Depart-ment of Building and Safety, are seeking additional funding streams in order to lessen the burden off this mandate on both landlord and tenant,” he says. “Until we have a clearer picture as to what resources are at our disposal, we cannot say in defi nite what the split will look like.”

Let’s hope City Hall fi gures it out before the Big One strikes.

| News //

PHOTO BY GRACIE ZHENG

A study showed Capitol Records among 1,451 older buildings likely to require extensive retrofi tting against potential collapse during a quake.

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If you wish to object to the settlement, you must do so by submitting your objection to the Court in person or writing postmarked by December 13, 2015. Visit the settlement website for more information.

A final hearing will be held on February 3, 2016 at 1:00 p.m. in the San Francisco Courthouse, to determine the fairness, reasonableness and adequacy of the proposed settlement and to award attorneys’ fees and costs and plaintiffs’ service awards. The motion for attorneys’ fees and costs and plaintiffs’ service awards will be posted on the settlement website after they are filed. You may attend the hearing, but you do not have to.

This is only a summary. For detailed information including, the full text of the Settlement Agreement, the Class Notice and the Claim Form, visit www.HotelCallRecordingSettlement.com, call 1-888-972-6585, or write to the Settlement Administrator at: McCabe v. International Hotels Group, c/o Heffler Claims Group, P.O. Box 1040, Philadelphia, PA 19105-1040.

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The heat is thick and the air still in a vacant lot off Mul-holland Drive in Encino. Under the midday August sun, a cluster of Los Ange-les Police Department cars forms a circle around an

abandoned Bentley, where a soft-eyed, city-hardened detective discovers the corpse of a San Fernando Valley mobster.

In a scrap of shade cast by a corrugated metal building, Michael Connelly, the man who created this fi ctional world, observes from behind silver-dollar–sized dark glasses. It’s one of many such scenes shot on loca-tion around Los Angeles for Bosch, a serial-

ized crime procedural based on Connelly’s best-selling novels about Harry Bosch, an uncompromising LAPD detective.

The crime scene isn’t far from reality. In 1989, as a police reporter for the L.A. Times, Connelly wrote about the unsolved murder of Vic Weiss, a money launderer for the Mafi a, found dead in the trunk of his Rolls-Royce in North Hollywood, in those days a worn-out stretch of car repair shops and stucco apartment complexes in the Valley fl atlands.

As the shoot breaks for lunch, Connelly climbs into an air-conditioned van with two LAPD homicide detectives who consult for the show. “A lot of people are going to drive by and think there’s a crime scene with no-

body out there!” LAPD Det. Mitzi Roberts says with a laugh, as the cast and crew are shuttled down to base camp.

That’s the whole idea. In Bosch, accuracy is paramount — not just in its depiction of po-lice work but in its portrayal of Los Angeles. As Connelly, who has skyrocketed from beat reporter to celebrity author and is executive producer of the series, explains, “The books are built so that Bosch and the city are one and the same, and we want to carry that over to the show. Harry Bosch doesn’t exist, but the city does, so we’re taking this fi ctional character and anchoring him in real places. That’s the best way to make him feel real to the viewers. You want them surreptitiously

nodding as they watch this and thinking, ‘Yeah, that’s real, that’s accurate.’�”

Bosch, an Amazon Original series, is lead-ing a new wave of scripted television that centers on authentic depictions of Los An-geles. Comedies and dramas are no longer recycling shots of palms on Canon Drive or babes on Santa Monica beaches but taking us deep into neighborhoods unfamiliar to many viewers — Eagle Rock, El Sereno, East L.A., Echo Park, Panorama City and Northridge in the Valley — and redefi ning the city as a character. Or, really, a collection of many characters. Because anyone who lives in L.A. knows there is no single, monolithic notion of the city. It’s a conglomeration of

ON TELEVISION, LOS ANGELES IS NO LONGER JUST A BACKDROP

by JESSICA LANGLOIS

( 10 »

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small towns, a patchwork of diverse identities and lifestyles, 114 neighborhoods stretching between the escape of the desert and the promise of the Pacifi c.

A generic and limited carousel of establish-ing shots has always been used as a default for Los Angeles television shows, says Robert Thompson, founding director of the Bleier Center for Television & Popular Culture at Syracuse University. Think nameless, sun-baked suburbs; idyllic beaches and palm-lined avenues; gritty urban settings.

According to CalArts professor Thom An-dersen’s 2002 cult documentary Los Angeles Plays Itself, which chronicles L.A.’s represen-tations in fi lm, L.A. is the most photographed city in the world. That makes sense. The light is perfect, it hardly ever rains, and this town is chock-full of skilled actors, screenwriters, directors and technical crew members.

Upscale Westside neighborhoods — the setting for everything from The Beverly Hill-billies to Beverly Hills, 90210 to Entourage — are the long-established iconic images of L.A. But it may be best known through its procedurals — Dragnet, L.A. Law, CHiPs, NCIS: Los Angeles — shows that said very little about L.A. or its people.

At the turn of the century, Los Angeles was openly ridiculed as a sprawling suburb surrounding a lifeless downtown. Now, pro-hibitively expensive rents in San Francisco are fueling an exodus of artists and tech

innovators to the Southland; L.A.’s cultural institutions are on par with New York’s; and neighborhoods are revitalizing their green spaces and becoming more walkable. Televi-sion and movies used to tell us that people came here to escape their troubles or chase their dreams. But more and more, people are coming to live. It’s a point of origin, a place where stories begin. And writers, producers and directors are increasingly telling those stories — nuanced, pained, euphoric love stories of the city, not just picture postcards.

“We’re up in the hills of Echo Park,” Con-nelly says in a soft, gravelly voice, while sit-ting in a director’s chair in a spot of shade. He’s talking about the fi rst fi ve minutes of the Bosch pilot, when Connelly introduces view-ers to his version of Los Angeles. The voice of Vin Scully crackles through the car radio as detective Harry Bosch (Titus Welliver) and Jerry Edgar (Jamie Hector) stake out a house on a hill near Dodger Stadium. “A guy comes out of a house with iron bars on the windows and doors, and then the camera turns and reveals a staggering, beautiful view of the city,” Connelly says. “That is very iconic L.A. You can fi nd these secret places. I wanted the story to start there.”

The action follows Bosch as he chases the suspect on foot down the steps beside downtown’s Angels Flight funicular railway and onto the Gold Line light rail to Mariachi Plaza, a space in Boyle Heights where profes-sional mariachis gather seeking work. It’s a real path that a viewer could retrace, not disconnected locales edited together, says Connelly, who is moving back to L.A. after

living in Florida for years.Welliver says that shoe-leather investiga-

tive work is a hallmark of his character. “He has a sign on his desk that says, ‘Get off your ass and go knock on doors.’ He’s a native Angeleno. He knows the city so well, every aspect of it,” the actor explains.

Authenticity of location is particularly important in an era when viewers stream content on-demand. “With the advent of streaming, where the consumer is king, it is important that you deliver a product that is rooted in reality,” says Bosch co–executive producer Pieter Jan Brugge, who also execu-tive-produced Michael Mann’s L.A-set Heat.

“For so long, you watched TV when it was on and it went out into the ether. People make TV now with the idea that we’re paying atten-tion,” Thompson says.

Says Connelly: “We’re making our state-ment in the fi rst 30, 40 seconds of the show, that we’re going to take you to an L.A. you don’t often see.”

Of course, some of the most successful shows still aren’t driven by authenticity of the location or people. According to The Hollywood Reporter, Nielsen Media ranks network shows The Big Bang Theory and Modern Family as the top two most-watched broadcast series in 2014. Both take place in L.A., but the location seems incidental.

On the other hand, season two of True Detective, set in a city based on troubled Vernon, delivers a dark vision of freeways, sprawl and Chinatown-esque corruption, and for three seasons Ray Donovan has served up

a violent, lush portrayal of the underworld of Hollywood’s elite, taking us into gritty North Hollywood and swanky Calabasas. Both are distinctly L.A. shows — but they’re preoc-cupied with the city’s glitz and degradation.

Tom Nunan, the former president of UPN and NBC Studios, who produced the Oscar-winning fi lm Crash as well as its Starz TV spinoff , says the key factors in selling a new series are the reputation of the showrunner, the star and the location. “As a creator or showrunner, you have to convince the buyer that you know that place — and have a good reason for it to be there.

“There is no great advantage to setting a show in New York, Los Angeles or Chicago right now, because it could be perceived as too local, aggressively American or paro-chial,” Nunan adds. He also notes that the most successful shows aren’t developed by abiding to a matrix of market research but come out of a showrunner or creator’s unique vision. And increasingly, a showrunner’s vi-sion is closely linked to a distinct location.

Shows like Transparent and Maron draw

from the personal experiences of their cre-ators, telling stories from the heart of Los Angeles’ neighborhoods. IFC’s Maron, now in its third season, takes us into Marc Ma-ron’s Highland Park, using the Curb Your Enthusiasm model — a fi ctional show about the actual life of the main character. In Trans-parent, an Amazon Original series that just fi nished fi lming its second season, the char-acters live in West Hollywood, Silver Lake and Mid-Wilshire and hang out in Griffi th Park and Marina del Rey. But they keep get-ting tugged back to their longtime Pacifi c Palisades home.

Actor-fi lmmaker Jay Duplass, who plays Josh in Transparent, says that creator Jill Soloway and he “are both just trying to stay true to the way things really are and just try-ing to tell great stories.”

Duplass and his brother, Mark Duplass, are indie fi lmmakers known for their slice-of-life narratives, including 2005 Sundance dar-ling The Puff y Chair. For them, the choice of Eagle Rock as the setting for their new HBO comedy, Togetherness, was about

PHOTO BY RYAN ORANGE

Titus Welliver, left, who plays Bosch, relaxes with Michael Connelly in the Encino Hills. Says Welliver: “He knows the city so well, every aspect of it.” He could mean Bosch — or Connelly.

“A guy comes out of a house with iron bars, the camera turns and reveals a staggering view of

the city. You can fi nd these secret places.” —Michael Connelly, Bosch executive producer

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|small towns, a patchwork of diverse

identities and lifestyles, 114 neighborhoods stretching between the escape of the desert and the promise of the Pacifi c.

A generic and limited carousel of establish-ing shots has always been used as a default for Los Angeles television shows, says Robert Thompson, founding director of the Bleier Center for Television & Popular Culture at Syracuse University. Think nameless, sun-baked suburbs; idyllic beaches and palm-lined avenues; gritty urban settings.

According to CalArts professor Thom An-dersen’s 2002 cult documentary Los Angeles Plays Itself, which chronicles L.A.’s represen-tations in fi lm, L.A. is the most photographed city in the world. That makes sense. The light is perfect, it hardly ever rains, and this town is chock-full of skilled actors, screenwriters, directors and technical crew members.

Upscale Westside neighborhoods — the setting for everything from The Beverly Hill-billies to Beverly Hills, 90210 to Entourage — are the long-established iconic images of L.A. But it may be best known through its procedurals — Dragnet, L.A. Law, CHiPs, NCIS: Los Angeles — shows that said very little about L.A. or its people.

At the turn of the century, Los Angeles was openly ridiculed as a sprawling suburb surrounding a lifeless downtown. Now, pro-hibitively expensive rents in San Francisco are fueling an exodus of artists and tech

innovators to the Southland; L.A.’s cultural institutions are on par with New York’s; and neighborhoods are revitalizing their green spaces and becoming more walkable. Televi-sion and movies used to tell us that people came here to escape their troubles or chase their dreams. But more and more, people are coming to live. It’s a point of origin, a place where stories begin. And writers, producers and directors are increasingly telling those stories — nuanced, pained, euphoric love stories of the city, not just picture postcards.

“We’re up in the hills of Echo Park,” Con-nelly says in a soft, gravelly voice, while sit-ting in a director’s chair in a spot of shade. He’s talking about the fi rst fi ve minutes of the Bosch pilot, when Connelly introduces view-ers to his version of Los Angeles. The voice of Vin Scully crackles through the car radio as detective Harry Bosch (Titus Welliver) and Jerry Edgar (Jamie Hector) stake out a house on a hill near Dodger Stadium. “A guy comes out of a house with iron bars on the windows and doors, and then the camera turns and reveals a staggering, beautiful view of the city,” Connelly says. “That is very iconic L.A. You can fi nd these secret places. I wanted the story to start there.”

The action follows Bosch as he chases the suspect on foot down the steps beside downtown’s Angels Flight funicular railway and onto the Gold Line light rail to Mariachi Plaza, a space in Boyle Heights where profes-sional mariachis gather seeking work. It’s a real path that a viewer could retrace, not disconnected locales edited together, says Connelly, who is moving back to L.A. after

living in Florida for years.Welliver says that shoe-leather investiga-

tive work is a hallmark of his character. “He has a sign on his desk that says, ‘Get off your ass and go knock on doors.’ He’s a native Angeleno. He knows the city so well, every aspect of it,” the actor explains.

Authenticity of location is particularly important in an era when viewers stream content on-demand. “With the advent of streaming, where the consumer is king, it is important that you deliver a product that is rooted in reality,” says Bosch co–executive producer Pieter Jan Brugge, who also execu-tive-produced Michael Mann’s L.A-set Heat.

“For so long, you watched TV when it was on and it went out into the ether. People make TV now with the idea that we’re paying atten-tion,” Thompson says.

Says Connelly: “We’re making our state-ment in the fi rst 30, 40 seconds of the show, that we’re going to take you to an L.A. you don’t often see.”

Of course, some of the most successful shows still aren’t driven by authenticity of the location or people. According to The Hollywood Reporter, Nielsen Media ranks network shows The Big Bang Theory and Modern Family as the top two most-watched broadcast series in 2014. Both take place in L.A., but the location seems incidental.

On the other hand, season two of True Detective, set in a city based on troubled Vernon, delivers a dark vision of freeways, sprawl and Chinatown-esque corruption, and for three seasons Ray Donovan has served up

a violent, lush portrayal of the underworld of Hollywood’s elite, taking us into gritty North Hollywood and swanky Calabasas. Both are distinctly L.A. shows — but they’re preoc-cupied with the city’s glitz and degradation.

Tom Nunan, the former president of UPN and NBC Studios, who produced the Oscar-winning fi lm Crash as well as its Starz TV spinoff , says the key factors in selling a new series are the reputation of the showrunner, the star and the location. “As a creator or showrunner, you have to convince the buyer that you know that place — and have a good reason for it to be there.

“There is no great advantage to setting a show in New York, Los Angeles or Chicago right now, because it could be perceived as too local, aggressively American or paro-chial,” Nunan adds. He also notes that the most successful shows aren’t developed by abiding to a matrix of market research but come out of a showrunner or creator’s unique vision. And increasingly, a showrunner’s vi-sion is closely linked to a distinct location.

Shows like Transparent and Maron draw

from the personal experiences of their cre-ators, telling stories from the heart of Los Angeles’ neighborhoods. IFC’s Maron, now in its third season, takes us into Marc Ma-ron’s Highland Park, using the Curb Your Enthusiasm model — a fi ctional show about the actual life of the main character. In Trans-parent, an Amazon Original series that just fi nished fi lming its second season, the char-acters live in West Hollywood, Silver Lake and Mid-Wilshire and hang out in Griffi th Park and Marina del Rey. But they keep get-ting tugged back to their longtime Pacifi c Palisades home.

Actor-fi lmmaker Jay Duplass, who plays Josh in Transparent, says that creator Jill Soloway and he “are both just trying to stay true to the way things really are and just try-ing to tell great stories.”

Duplass and his brother, Mark Duplass, are indie fi lmmakers known for their slice-of-life narratives, including 2005 Sundance dar-ling The Puff y Chair. For them, the choice of Eagle Rock as the setting for their new HBO comedy, Togetherness, was about

PHOTO BY RYAN ORANGE

Titus Welliver, left, who plays Bosch, relaxes with Michael Connelly in the Encino Hills. Says Welliver: “He knows the city so well, every aspect of it.” He could mean Bosch — or Connelly.

“A guy comes out of a house with iron bars, the camera turns and reveals a staggering view of

the city. You can fi nd these secret places.” —Michael Connelly, Bosch executive producer

( 12 »

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writing what they know. “Transpar-ent and Togetherness are incredibly similar shows in tone,” Jay Duplass says.

Togetherness is a comedy about the men and women the brothers hang out with in Eagle Rock, an area where, in real life, homes selling for an average $580,000 are snapped up in 15 days, according to Redfi n. “They’re middle-aged or approaching middle age, but they still haven’t found their thing, and that’s very common, I think,” Jay Duplass says. “I’ve been living in Eagle Rock for seven and a half years now. It’s the place hipsters go to die or have children.”

He drives over the hill every day and leaves Hollywood behind. Eagle Rock is home to Occidental College and feels more like a college town, where you can walk to cafes and see people you know. Over breakfast at Camilo’s Bistro on Colorado Boulevard, as he orders huevos rancheros over medium, he says, “This is a little bistro for old ladies and me.”

He says he could never fi nd a place like it in Silver Lake or Los Feliz — what some have dubbed, along with Echo Park, the Tri-Hipster Area — with a quiet booth and breakfast for $10, where you don’t have to edit conversations to avoid drawing atten-tion from stargazers.

The character Brett in Togetherness, played by Mark Duplass, is a lot like Jay. He spends long, depressing hours in a dark sound-editing room. One day, he wakes up at dawn to go into the hills to capture the sound of a coyote, an eerie yap that some liken to a human in distress. But his director coldly rebuff s him and tells him to use a generic wolf howl. Jay Duplass says they included that scene because most people in L.A. have heard a coyote at some point and thought, “What the fuck was that?”

In the Togetherness pilot, some viewers might be surprised to see that a family day at the beach is a rare oc-currence and a chore for many Angelenos. Rather than an idyllic romp, the characters haul their gear from the car to the beach in slow motion, like soldiers heading into battle, weighed down by children and blankets and boogie boards and chairs. Bookended by the long drive in traffi c across town, beachgoers get only a few minutes in the surf between smearing on sunscreen and changing diapers.

“There is truth behind their lives,” Jay Du-plass says. “People feel that.”

A few years ago, Katie Elmore Mota and her husband, Mauricio Mota, saw an under-served market in scripted television: English-speaking Latino teens. So they developed East Los High, a fast-paced, pop music–in-fused, 20-minute melodrama that delivers hard-hitting educational messages. The show was picked up as a Hulu Original series and just launched its third season.

“Audiences in our on-demand environ-ment are very engaged viewers. They are not passively fl ipping through channels but

actively choosing which programs they’ll watch,” Jessica Scott, of Hulu’s content de-velopment team, says via email. “We loved East Los High because it felt unlike any TV show out there, and the setting is an impor-tant part of that.”

Elmore Mota, the show’s executive pro-ducer, sitting beside a small stage and dance studio at Plaza de la Raza, a community cen-ter bordered by a small lake and skatepark in Lincoln Heights on the Eastside, says, “We were talking about telling a Latino teen ex-perience, and East L.A. has one of the highest percentages of Latinos in the area. And it’s hardly ever shown in the mainstream media.”

The park is prominent in the series, which is shot on location primarily in East L.A., Boyle Heights and downtown, with South L.A., North Hollywood, Norwalk and Glen-dale also appearing. Plaza de la Raza is where rehearsals and competitions for the high school dance team, the Bomb Squad, are shot.

Co–executive producer Carlos Reza says that, until recently, he rarely saw East L.A. in television and movies. When he’s gather-ing B-roll for East Los High, he describes it as “a whole other character of the show. … I got a guy getting his hair cut, a woman sell-ing fl owers close to Valentine’s Day, older musicians outside restaurants waiting to go inside and play for tips, a guy washing his car, bus stops.”

Elmore Mota explains, “We look for a beau-ty in the everyday. Sometimes we’re told on television it has to be these extravagant, huge builds to be beautiful or desirable.” But, she

says, “There’s so much to what already ex-ists. You don’t get that richness and texture in a studio — you don’t get the years of wear and tear.”

On the Westside, residents often are hostile toward camera crews. On the Eastside, most have embraced East Los High, Reza says, and are proud to show the world how they live. But some worry that the soap opera–like series is stereotyping Latino culture. The fi rst season, 24 episodes created on a shoestring budget, really packs it in — teen pregnancy, abortion, rape, drug dealing, drive-by shootings, HIV, cancer, sex corruption in the Catholic church, stripping, estrangement from parents and

living in shelters. Reza points out that these things are

really happening. “It’s not like we’re glorifying it. We didn’t want to sell something that wasn’t real,” he says, adding, “The big message in the fi rst season was safe sex. [Because] people

don’t talk about that here.”Elmore Mota says the second and third sea-

sons, each 12 episodes, are less heavy-hand-ed: They address living as an undocumented immigrant and not being able to get health care; police profi ling; and domestic abuse.

The writers and producers work closely with teenagers from Roosevelt and Garfi eld high schools and local organizations to get things right. She adds: “Every season we ask, ‘What have we not taken on that’s a part of your life but we should? What’s most perva-sive right now?’�”

The look and texture are unmistakably L.A. The characters can see the skyscrapers of downtown from their high school, their porches or apartment balconies. Bridges link the Eastside to the rest of L.A. across the graffi ti-riddled L.A. River and broad free-ways. “The bridges show that we’re detached from downtown and Hollywood,” Reza says.

In season one, Maya Martinez (Alicia Six-tos), heartbroken, homeless and broke, goes to Hollywood to make fast money as a strip-per and gets heavily into drinking and drugs. Jacob Aguilar (Gabriel Chavarria), who’s in love with her, comes after her. He begs her to return to East L.A., which, for Maya, is a place where the owner of a taqueria gives you a job even though you stole from him, because he remembers what it was like to struggle, and where an aunt you’ve never met takes you in and calls you her daughter. East L.A. becomes a warm place, a safe haven, a place of redemption.

“We wanted to show the everyday lives of families trying to get by. East L.A. is families, communities,” Elmore Mota says.

She credits their ability to create a realistic all-Latino world to the fact that the writers’ room is all people of color — and largely wom-en. A writing staff of mostly minority women is extremely uncommon in Hollywood.

“Hollywood is notorious for doing what’s been done, because it feels safer,” Elmore Mota says. “It depends on who is control-ling the money. ... We still have a very small fraction of the population controlling those decisions, and in turn we have a limited view of what is happening across L.A.”

East Los High isn’t the only show now jumping into realistic representations of Los Angeles’ eastern neighborhoods.

Dave Erickson, showrunner for spinoff Fear the Walking Dead, says he and Rob-ert Kirkman, creator of the original graphic novels, wanted an urban backdrop, a contrast to the rural Southern setting of the original AMC series, The Walking Dead.

They settled on El Sereno, just a few blocks from where the fi ctional kids in East Los High live and hang out. “The characters needed to refl ect the diversity of the city,” he says. They are all working-class, mostly white, Latino and even a Maori from New Zealand.

Travis Manawa (Cliff Curtis) and Madison Clark (Kim Dickens) work as a high school teacher and guidance counselor, and Travis’ ex-wife, Liza Ortiz (Elizabeth Rodriguez), is getting her nursing degree. Between them they have three rebellious kids and are trying to make their extended family work.

“We’re trying to do a slow burn, very much family drama fi rst,” Erickson says. Indeed. The relentless Southland sun burns into many of the shots, threatening to swallow up the characters as they confront their pre-zombie problems — addiction, visitation rights, step-parenting. “The more we can do to land a sense of reality, place, texture and feel, the better it will be when zombies show up.” On a San Diego Comic-Con panel, Er-ickson said that the segmented geography of L.A. adds to the tension in the narrative. The family hunkers down, and there is a height-ened sense of isolation as chaos spreads.

When Carlos Reza saw the previews, he recognized his old high school, Woodrow Wilson, which he had never seen on TV. Be-fore the plague, two teens sit on a stadium light platform above the football fi eld, look-ing out on the hazy white sky over downtown, talking about leaving L.A. “Our mandate was to fi nd neighborhoods and buildings that had not been seen,” Erickson says. “Competition is so fi erce right now. … If a city is a character in a show, it needs to not be just words.”

Accurately portraying Los Angeles as a char-

“There’s so much to what exists. You don’t get that richness in a studio, you don’t get

the years of wear and tear.” —Katie Elmore Mota, East Los High executive producer

East Los High producer Katie Elmore Mota, above, at Plaza de la Raza in Lincoln Heights

»10)

East Los High’s Vivian Lamolli, left, and Alexandra Rodriguez fl ank singer Lex Lu.

PHOTO BY JESSICA LANGLOIS

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|acter is no simple task. It takes time and cre-ative space that writers and producers from fi lm — such as Pieter Jan Brugge and the Duplass brothers — have been able to fi nd in serialized comedy and drama.

“Los Angeles is an elusive city. I don’t think anyone can get at the whole city and know it like the back of your hand,” Connelly says.

It’s a new day of shooting for season two of Bosch, and the crew has gathered at a run-down house in working-class Sun Val-ley. Brugge and Connelly leave the shoot for a few hours to scout locations for Mexican restaurants around the ranch-house suburbs of North Hills, Northridge and Chatsworth with production designer Chester Kaczen-ski and locations manager Paul Schreiber. Connelly covered the San Fernando Valley for six years at the L.A. Times, and he says

he is excited that most of this season will be set there, delving predominantly into the porn industry.

Bosch shoots on location seven days a week and on set one day a week, often with two or three locations a day. Schreiber says shooting on location is more expensive and compli-cated, but it’s what the narrative demands.

“I don’t mean to sound arrogant, but I didn’t really need Hollywood,” Connelly says as he looks around the back rooms of a taque-ria in Chatsworth. “My books were selling. I’m not going to give Harry to just anyone.” His 27 novels have sold 60 million copies, to be exact, with a new Harry Bosch novel coming in November. That’s why, when Joe Lewis, then head of original programming at Amazon Studios, took Connelly to lunch to discuss bringing the show to Amazon as one of its fi rst dramatic series, Connelly held very strong cards. “I had in the contract, in writing, that every L.A. shot had to be shot in L.A.,” Connelly says.

(Lewis, now head of comedy at Amazon Studios, said via email that he had lots of “site-specifi c thoughts” on Bosch and other Amazon Original programming. But the Amazon PR team declined an interview .)

Bosch executive producer Henrik Bastin fi rst approached Connelly in 2011 about mak-ing a series from his books. Over the din of chatter in the catering trailer at the shoot’s Valley base camp, Bastin says, “I got to know L.A. through reading Michael’s books when I was in Sweden. I would come here for a week to work, and all I saw was the inside of a car

and the freeway. But I started reading these books, and I got that completely diff erent side of L.A., the texture and taste of it.”

Readers all over the world follow Connel-ly’s tales on Google Maps, clicking on Street View to see the real locations of scenes from his novels. In the series, the contract with the viewers is just as key. Connelly’s social media team monitors fans’ discussions about the authenticity of every element of Harry Bosch’s apartment — from his vintage record player to the jar of bullet shells he keeps on his kitchen counter.

Viewers will freeze on a shot of Bosch’s home — a small but glamorous, glass-walled house on rickety stilts with a grand view of Los Angeles — to try to determine its exact location. In the books, it’s off Woodrow Wil-son Drive in the Hollywood Hills, with a view

overlooking Cahuenga Pass and the 101. But in the series, the house looks over the city. “So you can believe that people are going to talk about whether or not” a restaurant in the series is made up, Connelly says.

Harry Bosch spends a lot of time contem-plating the city by night from his house in the hills. “He’s an eagle on the perch of his do-main,” Welliver says. “He’s an isolated man.”

“I think we’re all kind of like that,” Connelly says. “We may not all have back decks up in the hills, but we’re often in a car by ourselves, and that breeds that kind of contemplation and isolation.”

And that’s not necessarily a bad thing. In Los Angeles Plays Itself, Andersen asks, “What if we watch with our voluntary atten-tion, instead of letting the movies direct us?”

Maybe, in television, we fi nally are. Los An-geles believes the world is always watching it, because, in many ways, it is. And so, we watch ourselves. We climb up into canyons and gaze out over the sprawl. We look out across neighborhoods from bridges and freeways, connected but independent. We fi ght traffi c for hours to gaze out at the Pacifi c, at the edge of the continent.

We arrive here or we begin here. We talk about how Los Angeles is a place, and what it means to live here, to make it, to survive. We search and search for a way to defi ne this city, but it is a chameleon, this place, always splintering and changing, just as we are. Maybe that’s the desperate, constant beauty of it all, the reason we keep watch-ing, the reason we stay.

In Fear the Walking Dead, shot largely in El Sereno, there’s a deep sense of isolation as chaos spreads.

BN JOB: 15M565 MEDALLION #: 117182 FILE NAME: 117182.LAWEEKLY.15M565.V1R5CLOSE DATE: 9/22/15 RUN DATE: 9/25/15 SIZE: 4.48" X 5.23"TODAY’S DATE: 9/22/15 CHARACTER COUNT: 117 TOTAL NUMBER OF AUTHORS: 1PUBLICATION: LA Weekly

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SAUSAGE FACTORYBierBeisl is back with a more casual downtown location.So where are the customers?

BY BESHA RODELL

BierBeisl Imbiss, Bernhard Mairinger’s new Austrian restaurant downtown, deserves to have more customers lounging at its long, wooden tables. I mean that in the sense of

the place being too good to sit half-empty, but also in the sense that the space itself is built to be packed with merrymakers, groups of people happily drinking beer out of giant steins, shoveling fat sausages into their maws, living out a Bavarian fantasy of extreme revelry.

The new tenants of the Spring Arcade are taking quite a gamble: They’re betting heavily on downtown’s much

ballyhooed renaissance and hoping that renaissance will extend past the always crowded Grand Central Market,

beyond Josef Centeno’s cluster of restaurants a couple blocks away, all the way into a refurbished vintage arcade that stretches from Broadway to Spring Street. There’s no view from the street

of most of the spaces in the arcade, and even when you venture down the big breezeway — the kind of retail area that used to be a common feature of most downtowns and is made for foot traffi c — it’s so quiet and deserted-feeling, you’re not quite sure you’re in the right place.

When Mairinger opened BierBeisl Imbiss, he envisioned it as a round-the-clock type of place, somewhere you’d stop in for coff ee and a poppyseed Danish on your way to work and a beer at midnight and maybe also for lunch in between. It hasn’t worked out quite as he’d hoped. After a couple months of keeping the restaurant open from 8 a.m. to 2 a.m., the hours have been shortened, cutting out the early-morning hours on both ends of the day. There simply weren’t enough breakfasters or late-night partiers to justify keeping the doors open.

The original BierBeisl, which closed in November 2013 after a couple of years in Beverly Hills, was a more formal aff air, built for quiet business lunches and date-night dinners. Yet much of what people loved about the place (and it was beloved by its regulars, including me) were the sausages and German and Austrian beers — not exactly the stuff of fi ne dining. So Mairinger has decided to split the diff erence, to operate two versions of BierBeisl: this one downtown, with the name “Imbiss” tacked on (the word means “snack” in German slang), and a larger, more upscale version on the

Westside, which is still in the works. At Imbiss, the menu is simple

and focuses on those sausages: fat kaesekrainer made from pork and beef, bursting with juicy cheesiness (the meat is infused with cheese); spicy Hungarian andouille thick with prickly paprika; small, peppery pork grillwurst that get a crisp sear on the casing; smooth veal

weisswurst, poached in milk and mild in temperament. BierBeisl’s were the best sausages in town before he closed in Beverly Hills, and they’re the best sausages in town now that he’s reopened here.

The Spring Arcade space also has allowed Mairinger to add a serious bakery component, and he’s brought on young head baker Rene Felbermayr directly from Austria to manage the incredibly impressive line of breads, pretzels, cakes and traditional Austrian pastries.

There’s a short list of sandwiches with fi llings such as schnitzel or veal loaf, cones

of crisp curry fries perfect for snacking on with a stein of beer, and a soup of the day that’s always vegetarian (aside from salads and pastries, the soup is about the only meat-free option here) and usually showcases the extremely elegant side of Mairinger’s cooking — a silken smooth caulifl ower soup one day, a version of the beautifully hearty pumpkin soup he used to cook in Beverly Hills another.

A short selection of Austrian wine is available, and one evening our table was visited by a winemaker who off ered us a taste of his delicious sparkling grüner veltliner while we waited for our food.

But the real fun is with the draft beers, which come in a variety of sizes and can be bought by the single stein or 10 servings at a time. You can, for instance, get 10 66-ounce pours of any draft beer for $290. This fact alone ought to give you an idea of why I think the place is built for a party.

So why hasn’t the party arrived? Mairinger blames the restaurant’s relative quietness on the fact that the Spring Arcade is not yet fully occupied, and neither is the loft building above it. He hopes that, when both fi nd tenants, more people will fi nd him.

That’s certainly a likely scenario. But I also think the setup is a problem. It’s an order-from-the-counter situation, which makes sense for breakfast and lunch, when offi ce workers are looking for a quick turnaround, but feels odd at dinner. The one time I tried to bring in a large group, the act of ordering for that many people was tricky — how to keep seven people’s needs in my head, then deliver that order to the cashier, without taking notes? Do I really want to act as waitress, especially when I’m paying an automatic 15 percent service fee? Do I want to get up and go to the counter every time we want another round of drinks, or dessert, or anything at all?

Don’t get me wrong, service is super friendly, and there’s a manager who checks in often with tables. Mairinger himself is usually there, and he’s one of the most likable guys around. A current promotion declares that people who are taller than the chef eat free (he’s 6 foot 8), and I watched one night when a particularly tall fella came in and claimed that prize. The interaction between the customer and Mairinger was as fun and neighborly as a restaurant experience gets, and gave me a sense of the type of place BierBeisl Imbiss could become.

But I might suggest table service, at least in the evenings, if people are ever going to use the place the way it begs to be used. BierBeisl Imbiss could become one of downtown’s true originals, a restaurant that transports you directly to Austria. Here’s hoping, with the right tweaks and the building fully occupied, it’ll happen. I sure want the option of beer and sausages at midnight. Don’t you?

BIERBEISL IMBISS | Spring Arcade Building, 541 S. Spring St., downtown | (213) 935-8035

bierbeisl-imbiss.com | Mon.-Thu., 10:30 a.m.-11 p.m.; Fri. & Sat., 10:30 a.m.-1 a.m.;

Sun., 10 a.m.-10 p.m. | Entrees, $9-$15 | Beer and wine | Street parking

| Eats // Fork Lift //

PHOTO BY ANNE FISHBEIN

BIERBEISL’S SAUSAGES ARE (AGAIN) THE BEST IN TOWN NOW THAT IT’S REOPENED DOWNTOWN.

Bosna (pork and veal sausage) on organic wheat roll with red onion and curry powder

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

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Gardner Junction Opens RABBIT RAGU AND A STEAMPUNK DESIGN

Gardner Junction, newly open on the corner of Sunset Boulevard and Gardner Avenue in West Hollywood, is a project three years in the mak-ing — and boy, is the new

restaurant pretty. With a menu from chef and owner Steve Brown (Inn of the Seventh Ray, Monsieur Marcel), Gardner Junction replaces Rainforest Pizza & Hookah Bar on an awkward triangular plot of land that once housed an old Red Car trolley station.

Taking inspiration from the location’s transit past, the fi rm Spacecraft custom-designed Gardner Junction with elements of steampunk and a train motif, from the working clocktower that now sits guard over the intersection to the lanterns hang-ing over the bar to the low-slung ceilings in the dining room.

Brown’s menu, which takes a shared-plate format, includes 20 dishes that rotate every six weeks. The ambitious opening menu includes items such as mushroom-farro risotto with smoked lamb belly, charred octopus gazpacho with buttermilk snow and kale-fl our linguine with rabbit ragu. A Farmer’s Plate consists of 12 veg-etables from the restaurant’s lengthy list of vendor farms, cooked “using multiple techniques.” A pork belly and pickled pep-per combo wrapped in hoja santa leaves looks like a futuristic sushi, topped with Dapple Dandy gastrique, pickled mustard seeds and Korean chile threads.

Many of the meat items — venison salami, American prosciutto and a 72-hour short rib — were cured at Huntington

Meats at the Original Farmers Market. And if the Gardner Junction Instagram is any indication, opening week also will bring some dry-aged country ham, cured for six weeks and smoked for four days. Expect to spend about $50 for two before drinks, which include California wines and a small selection of craft beers. —Sarah Bennett

Gardner Junction, 1451 N. Gardner St., West Hollywood; (323) 450-9021, gardner junction.com.

N E W R E S T A U R A N T S

Petty Cash Taqueria Took a Chance on the Arts District. Will the Arts District Take a Chance on It?By day, the food scene on Santa Fe Avenue below Seventh Street consists of just a few options: Bread Lounge and Stumptown, plus whatever food truck has decided to park itself on the bustling, well-traveled trucker stretch.

But at night, all is usually quiet on the Arts District’s southeastern front, with destination restaurant Bestia hiding down an alley and relatively few vehicles cutting through the street lights’ orange glow. Petty Cash Taqueria’s new downtown location does little to interrupt this pattern, instead hiding its loud, pop-art interior and attention-grabbing uni guacamole up some stairs and across the expansive multilevel ground fl oor of an old Heinz warehouse in what used to be home to a fi ne-dining restaurant called Fifty Seven.

The second iteration of République chef Walter Manzke and restaurateur Bill Chait’s “semi-authentic,” upscale-taqueria concept landed in the Arts District a few weeks ago, two years after the original opened in a prime storefront on busy Bev-erly Boulevard in the Fairfax district.

In the time between the two, diners have become more accustomed to seeing fancy tacos such as the grilled-octopus one Man-zke serves in Mid-City. And many seem to embrace the coddled tortillas and thought-ful fi llings, despite the fact that these tacos can cost as much as six times more than a street-bought version.

| Eats // | Squid Ink //

COURTESY OF GARDNER JUNCTION

The accidentally vegan farmers plate

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Angel City LA What Would You Brew Contest: No purchase necessary. Contest open to US residents in CA who are 21 years of age or older. One (1) Grand Prize – An opportunity to spend a day brewing with an Angel City Brewer, a special beer feature during LA Beer Week, feature at the Angel City Public House, a kegerator, case of Angel City pint glasses, a tap handle and a tin tacker sign with an ARV $746.00. Contest submission period begins at 12:01 a.m. EST on 7/1/2015 and ends at 11:59 p.m. EST on 9/30/2015. To enter visit the Angel City Brewery Facebook page and enter your name, address, email address, telephone number and date of birth, and a description of what you would brew for the city of LA and why, including any special ingredients and what you would name the beer. Entrants will be evaluated by the Angel City Brewery team based on the following

criteria: creativity and uniqueness of their answer, alignment with Angel City Brewery’s values and entrants passion for beer and the city of Los Angeles. The winner will be selected on or around October 6, 2015. For o�cial rules visit The Angel City Brewery Facebook page and/or www.angelcitybrewery.com/wwyb. Void where prohibited. ©2015 ANGEL CITY BREWING COMPANY, LOS ANGELES, CA. ENJOY, BUT DON’T OVERDO IT.

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Still, building a larger Petty Cash this deep in the Arts District is a ballsy move, given that the warehouse-surrounded location is only a block away from La Reyna, which slings $1 tacos from a truck out front every night of the week, and a few more blocks away from Yxta, which all but started the Arts District’s Mexican food revolution, albeit with larger portions and more moderately priced options.

New-wave fancy tacos are already available to the downtown set thanks to chef Ray Garcia’s B.S. Taqueria, lauded since its April debut for imaginative tacos, including those fi lled with clam and lardo, lengua, and nopal.

Maybe some of this explains why on multiple nights since it opened, we found the new Petty Cash to be pretty empty, its two bars devoid of customers taking advantage of the Mexican craft beer on draft or the house specialty cocktail (a savory-spicy mezcal drink called Mous-tache Ride).

This emptiness is a shame, because even though the menu is less expansive than at Mid-City, there are several inter-esting new items from chef de cuisine David Chavez that are unique to the downtown space. The Ceviche Negro, sea bass tossed in squid ink that has been a Petty Cash favorite, is replaced with a soothing grilled scallop and coconut aguachile, tropical in sweetness, slippery in texture and spicy with chile oil.

There are also, for the fi rst time, tostadas — including Dungeness crab and braised oxtail. And for sides, try the calabacitas,

bite-sized pieces of McGrath Farms squash cooked to gum-touch softness and topped with crumbly Mexican cheese that melts in the crevices. At $4.50 for a bowl, it’s the cheapest thing on the menu.

Outside, in an alley to the building’s side, a massive brick-lined patio is already latticed with string lights, taunting you with space for tables and chairs, which will come later this year. When that happens (along with daytime operating hours — pretty please?), Petty Cash will have more of a chance to alter the energy on its chunk of Santa Fe. It’s a place already creeping toward change, with new residential lofts, retail and creative spaces planned all the way down to 10th Street. First things fi rst, though: $6 tacos. —Sarah Bennett

712 S. Santa Fe Ave., Arts District; (213) 624-0210; pettycashtaqueria.com.

C H I N E S E F O O D

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haven’t yet seen.Shanxi Province is more than 500

miles west of Beijing and shouldn’t be confused with Shaanxi Province, which borders Shanxi to the west. Its cuisine is known for its wide variety of noodles, aged vinegar and use of potatoes.

While there have been a couple of Shanxi-style places in the Valley for years, most notably the popular little knife-cut-noodle spot JTYH in Rose-mead, Lao Xi — which translates as “old west” — goes deeper. Lao Xi’s owner says Shanxi Province is known for “thou-sands of noodles,” and that’s probably not much of an exaggeration. Knife-cut noodles — dao xiao mian — are avail-able here, but it’s the noodles made from other fl ours and starches that set Lao Xi apart.

The menu is small, just 27 items including four dumpling variations, and features Shanxi-style specialties under “House Special.” The “Buckwheat

‘Guang Chang’ Delicacies” are buck-wheat fl our noodles, served with bean sprouts and a few scallions and dried peppers.

If you’re familiar with mung bean jelly — liang fen — noodles made from bean starch, then you’ll fi nd “Hun Yuan Cold Jelly” similar yet distinctive. A popular street food sold from carts in Shanxi, it arrives in a large bowl with sliced cucumber, sesame paste, dried chili paste, oil, minced garlic, sesame seeds, peanuts and large, translucent white chunks made from potato starch instead of bean starch. Originating from a city and county in the northern part of the province, the potato starch sets the dish apart from liang fen both in fl avor and texture. Despite Shanxi cuisine being famous for its use of aged vinegar, this dish is far less vinegary than most liang fen.

Perhaps one of the most surprising dishes is listed as “Lao Xi’er Fried Veg-etables Mixed With Flour (Bo Lan Zi).” It turns out to be a Chinese regional ver-sion of home fries, only using shredded potatoes instead of cubes and substitut-ing dried red pepper for green and red bell peppers — and using sesame oil. Egg, some shreds of wood ear mushroom and sesame seeds are included. The end result could not be more familiar, yet it’s still unique.

Buckwheat fl our “Cat’s Ears Noodles (Mao er Duo)” served in a lamb soup, and a lamb soup with black vinegar, are a couple of the other Shanxi specialties available at what’s one of the most inter-esting SGV openings of 2015. —Jim Thurman

Lao Xi Noodle House, 600 E. Live Oak Ave., Arcadia; (626) 348-2290.

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fri 9/25C O M E D Y

Reggie Watts’ RebellionIn June, after three years with Scott Aukerman on IFC’s absurdist talk spoof Comedy Bang! Bang!, comedian-musi-cian Reggie Watts decamped to CBS as bandleader of The Late Late Show With James Corden. Perhaps to blow off some corporate steam, he and his backing four-piece — succinctly named “Karen” — have since kept their creative pipes fl ushed at Silver Lake bar El Cid, performing two sets every Tuesday from 10 p.m. to close. Tonight Watts goes solo at downtown’s Teragram Ballroom, returning to the stripped-down key-board/looping machine/vocal acrobat-ics that established him as one of the industry’s most expansive improvisers.

Teragram Ballroom, 1234 W. Seventh St., downtown; Fri., Sept. 25, 8 p.m.; $25. (213) 689-9100, teragramballroom.com.—Julie Seabaugh

F I L M

Around the Pacifi c RimL.A. EigaFest will screen highlights of Japan’s fi lm world this weekend at L.A. Live’s Regal Cinemas. The event opens Friday with Rurouni Kenshin: The Legend Ends, the third live-action fi lm based on the popular manga/anime series Rurouni Kenshin, and closes on Sunday with yaku-za comedy Ryuzo and the Seven Hench-men. In between, moviegoers can catch the North American premiere of Princess Jellyfi sh, based on the manga about a group of very nerdy women; the U.S. premiere of horror master Sion Sono’s latest, Tag; and Japanese box offi ce hit Flying Colors, among other features and shorts. Friday’s Rurouni Kenshin screen-

ing is the big event, with a $45 price tag that includes an after-party at nearby venue Belasco. Regal Cinemas, 1000 W. Olympic Blvd., downtown; Fri.-Sun., Sept. 25-27, showtimes vary; $6-$45. laeigafest.com. —Liz Ohanesian

T A L K S

The Sound of ArtIn conjunction with its Hammer Conversa-tions series, the Hammer Museum hosts a discussion with Genesis Breyer P-Orridge, singer of British post-punk industrial band Throbbing Gristle, and Simon Reynolds, an L.A.-based music critic, author and former editor at Spin. The talk is in conjunction with the two-day “All the Instruments Agree: An Exhibition or a Concert,” run-ning Sept. 26-27, featuring more than two dozen acts at the border of art and music, including P-Orridge, Glitterbust, a new project by Sonic Youth’s Kim Gordon and Alex Knost, Egyptian Hassan Khan, chore-

ographer Simone Forti, the Angeles Free Music Society and many others who will perform on two outdoor stages from noon to 10 p.m. each day. Hammer Museum, 10899 Wilshire Blvd., Westwood; Fri., Sept. 25, 7:30 p.m.; free, tickets required. (310) 443-7000, hammer.ucla.edu. —Siran Babayan

sat 9/26M U S I C

Mariachi Mash-UpThe Mexican folk music of mariachi has become so iconic that it’s hard to imag-ine this tradition as a product of cultural fusion: When Spanish colonizers in-troduced string instruments to Central America, indigenous musicians applied their own rhythms to the European vio-lins, and mariachi was born. Today’s ver-sion of that synthesis is Metalachi, the world’s only heavy-metal mariachi band. These mariachi rockers will change your perception of the genre at this free show presented in conjunction with LA Plaza de Cultura y Artes’ “Corazón de la Comunidad: A Story of Mariachi in Los Angeles.” The special exhibition, which highlights the diverse voices of mariachi in L.A., is on view through Jan. 11. LA Plaza de Cultura y Artes, 501 N. Main St., downtown; Sat., Sept. 26, 7-10 p.m.; free. (888) 488-8038, lapca.org. —Sascha Bos

F I L M

Moving PicturesThe third Jalopnik Film Festival, dedi-cated to the intersection of cinema and car culture, is an all-day schedule of fi lms such as the grueling racing documen-tary Steve McQueen: The Man and Le Mans; George Miller’s ultraviolent original Mad Max; Being Evel, Johnny Knoxville’s paean to fellow daredevil Evel Knievel; John Frankenheimer’s Ronin, with its exhilarating car chases; and the world-premiere tragic short In Loving Memory, about the hundreds of motorcyclists who have died during the past century’s Isle of Man TT races. The Theatre at Ace Hotel, 929 Broadway, downtown; Sat., Sept. 26, 11 a.m.; $25-75. (213) 623-3233, acehotel.com/calendar/losangeles. —David Cotner

P. 21 SATA CAR-THEMED FILM FESTIVAL AT THE ACE HOTEL

P. 22 MONMARY ELIZABETH WINSTEAD IN A MUSIC DUO

P. 22 WEDTREME’S WENDELL PIERCE ON REBUILDING IN NEW ORLEANS

P. 23 THUCARRIE: THE MUSICAL IN AN OLD BROADWAY THEATER

IGO»LA ⁄⁄ Week of

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L.A. EigaFest covers the diversity of Japanese fi lm: See Friday.

COURTESY OF THE JAPAN FILM SOCIETY

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D A N C E

A Movable TelenovelaThe site-specifi c masters at Heidi Duck-ler Dance Theatre are launching Sophie and Charlie, a dance show unveiled in weekly episodes, like a telenovela. Over the next few weeks, the episodic romance promises to lead audiences to a quartet of charming landscape plots while reveal-ing plot twists. In the opening episode, Sophie and Charlie “meet cute” in At the Funeral in a San Fernando Valley church. First Date moves to Venice’s Beyond Baroque, followed by Intensive Care at a Crenshaw hospital, with the fi nale, Gar-den Bout, at a WeHo park. Each venue has live music, and a video compilation may be in the works. Unitarian Universalist Church, 12355 Moorpark St., Studio City; Sat., Sept. 26, 7 & 9 p.m.; Beyond Baroque, 681 Venice Blvd., Venice; Thu., Oct. 1, 7:30 p.m.; semi-vacant hospital, 3831 Stocker St., Crenshaw; Sun., Oct. 11, 4 & 6 p.m.; Kings Road Park, 1000 N. Kings Road, West Hollywood; Sun., Oct. 18, 3 & 5 p.m. Individual tickets $50, $20 students. (866) 811-4111, heididuckler.org. —Ann Haskins

sun 9/27F O O D

Maine EventIn addition to the aff ordable lobster meals ($23 for a whole, steamed lobster and fi xins), the 16th annual Port of Los Angeles Lobster Festival will feature live bands all weekend long, ranging from “hulabilly” to taiko drumming and indie rock. Although these lobsters weren’t caught at the Port — they’re shipped in all the way from Maine — it’s still a lot more fun to eat shellfi sh by the ocean than in a stuff y restaurant. It takes 16 tons (about 20,000 total) live lobsters to make this New England lobstah-shack fantasy come true. Ports O’ Call Village, 1200 Nagoya Way, San Pedro; Fri., Sept. 25, 5-11 p.m.; Sat., Sept. 26, 11 a.m.-11 p.m.; Sun., Sept. 27, 11 a.m.-7 p.m.; $10, children under 12 free. (310) 798-7478, lobsterfest.com. —Sascha Bos

mon 9/28B O O K S

Death Becomes HerCrematory worker Caitlin Doughty presents Smoke Gets in Your Eyes: And Other Lessons From the Crematory, the paperback edition of her wildly success-ful foray into the inner workings of how humans view and cope with death. The book delves into the history of crema-tion in particular and undertaking in general, while dealing with everything from fi nding cremains in one’s clothes to fi guring out how many bodies can fi t into a Dodge van. Book Soup, 8818 Sun-set Blvd., West Hollywood; Mon., Sept. 28, 7 p.m.; free, book is $15.95. (310) 659-3110, booksoup.com. —David Cotner

M U S I C

MultihyphenateOnce actress Mary Elizabeth Winstead, known for movies such as Smashed, met hip-hop producer Dan “The Automa-tor” Nakamura and told him she was a big fan. Nakamura later called her up, suggesting they collaborate. The result is the music duo Got a Girl, perform-ing at Largo tonight. Last year they released an album, I Love You but I Must Drive Off This Cliff Now, a travelogue infl uenced by French pop, about a girl traveling wooed and wowed by the men she meets, in much the same way that Serge Gainsbourg swept Jane Birkin off her feet. Largo at the Coronet, 366 N. La Cienega Blvd., Beverly Grove; Mon., Sept. 28, 7 p.m.; $30. (310) 855-0350, largo-la.com. —David Cotner

tue 9/29A D V E R T I S I N G

Products: The MusicalIndustrial musicals are weird musical-the-ater productions dedicated to extolling the virtues of companies and products for their employees and shareholders. Former Late Night With David Letter-man writer Steve Young co-wrote a book about the now mostly obsolete format, and has arranged a Cinefamily fundraiser for documentary The Industrial Musicals Movie. The presentation will include foot-age of American Standards’ extravaganza The Bathrooms Are Coming; a preview of the doc, which stars David Letterman, Martin Short and others; and a live per-formance by Eleni Mandell and DJ Don Bolles. Cinefamily, 611 N. Fairfax Ave., Fairfax; Tue., Sept. 29, 7:30 p.m.; $12. (323) 655-2510, cinefamily.org. —David Cotner

wed 9/30B O O K S

The Big Not-So-EasyWhen actor Wendell Pierce and his family returned to his Pontchartrain Park home after Hurricane Katrina, he found it in ruins and under 14 feet of water. Pierce, known for The Wire, would eventually star in the New Orleans–set Treme and help rebuild his neighborhood. Tonight, Pierce discusses his memoir of that period, The Wind in the Reeds: A Storm, a Play, and the City That Would Not Be Bro-ken, which includes an account of putting on a production of Waiting for Godot in his native city. Vroman’s Bookstore, 695 E. Colorado Blvd., Pasadena; Wed., Sept. 30, 7 p.m.; free, book is $27.95. (626) 449-5320, vromansbookstore.com. —David Cotner

C O M E D Y

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|themed exhibit is “George Carlin: A Place for My Stuff .” Among the memorabilia on display are the stand-up comedian’s childhood photos, set lists from perfor-mances on The Tonight Show and The Ed Sullivan Show, a script from Kevin Smith’s 1999 fi lm Dogma, public arrest records and all fi ve of Carlin’s Grammy Awards. The items are on loan from daughter and co-curator Kelly Carlin, who’ll taking part in an exhibit-related event next month, when she discusses her new memoir, A Carlin Home Companion: Growing Up With George. Grammy Museum, 800 W. Olympic Blvd., downtown; Wed., Sept. 30, through March 31; $10.95-$12.95. (213) 765-6800, grammymuseum.org. —Siran Babayan

thu 10/1D A N C E

Tharping OnIt’s hard to believe it’s been a half century since quirky, mop-haired choreographer Twyla Tharp made her fi rst dance. For some it may be hard to recall the way she sent Joff rey Ballet’s classically trained dancers “tharping” to a Beach Boys soundtrack in 1973’s Deuce Coupe. The aftershocks contin-ued after Tharp merged her company with American Ballet Theatre in 1988. There were television shows, a col-laboration with an adventurous young Russian named Baryshnikov and, more recently, a venture into Broadway, as she served up dance theater to soundtracks by Billy Joel, Frank Sinatra and Bob Dylan. Yes, Tharp has had quite a run, but she’s hardly resting on her laurels: Twyla Th arp: 50th-Anniversary Celebra-tion boasts a double bill of new works, one set to Bach and the other set to Henry Butler and Steve Bernstein’s jazz score. Wallis Annenberg Center for the Performing Arts, 9390 N. Santa Monica Blvd., Beverly Hills; Thu.-Sat., Oct. 1-3, 8 p.m.; Sun., Oct. 4, 2 p.m.; $49-$129. (310) 746-4000, thewallis.org. —Ann Haskins

T H E A T E R

Stage BloodAttention all you beef-o jocks, pompom pinheads and Bible-thumping mamas: You know you squirmed when the movie Carrie’s Sissy Spacek — as the titular girl so humiliated by the sorry likes of you moronic creeps — got her totally justifi ed vengeance that grisly night at the prom. There’s a little bit of Carrie in all of us, and we’re gonna revel in Carrie: Th e Musical, the famous 1988 Broadway bomb that director Brady Schwind put on earlier this year at La Mirada Theatre and is remounting at the Los Angeles Theatre downtown. Elaborate special ef-fects, in-the-round seating and buckets of blood immerse the audience in this horrifi c tale of righteous retribution. Los Angeles Theatre, 615 S. Broadway, downtown; Thu., Oct. 1-Sun., Nov. 22, times vary; $40-$125. (888) 596-1027, experiencecarrie.com. —John Payne

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CALLING ALL FLAPPERS AND SHEIKS! The Homestead Museum & Industry Manufacturers Council invite you to attend

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Sound, Created Outdoors

AND A ZOMBIE MOVIE BY CAO FEI

BY CATHERINE WAGLEY

This week, watermelon shatters across a clean hallway in a Beijing art-ist’s fi lm, and a group of badass female athletes leaves odd marks across museum walls.

Hilltop sound experimentInitially a sculptor, Japanese-born art-

ist Yoshi Wada began his sound perfor-mances in the 1970s. He learned to play bagpipes and made his own instruments with reeds, pipes and an air compres-sor, naming one such instrument “the Elephantine Crocodile” and recording himself playing it in an empty swimming pool. Tom Johnson, a former critic for the Village Voice, said that visual spectacle was always a key part of the Wada experi-ence. This weekend, the artist and his son, composer Tashi Wada, play at the Baldwin Hills Scenic Overlook. They’ll be joined by two bagpipers, Megan Kenney and John Allan, and artist-percussionist Corey Fogel. 6300 Hetzler Road, Culver City; Sun., Sept. 27, 5 p.m. (323) 960-5723, sassas.org. Oversized feminist frog

A big, gray froglike creature with anten-nae crouches in the dimly lit fi rst room of Ghebaly Gallery, where it takes up a signifi cant portion of Candice Lin’s instal-lation. Under the creature are furry pink carpets and a small, lit candle. You could crawl down there, probably, and host a pow-wow or séance. The rest of Lin’s show — the collages on the wall, the spinning disc in an adjacent room — feels medicinal and spiritual. But the texts and organic remedies referenced are gender-bending or violently feminist, such as a bacteria to reduce the number of men. 2245 E. Wash-

ington Blvd., downtown; through Oct. 24. (323) 282-5187, ghebaly.com. Patchwork with purpose

It’s always hard to put a fi nger on ex-actly what makes Rebecca Morris’ work so disarming, though attitude is a big part of it. Her paintings at 356 Mission recall patchwork quilts, but the kind only a grandma who’s as tastefully precise as she is eccentric would make. Zig-zags, red-brown lightening bolts, dots and grids all come together as if together-ness is the only reasonable option. 356 S. Mission Road, downtown; through Nov. 1. (323) 609-3162, 356mission.com. Dangerous love of Norman Mailer

Artist Matthew Barney’s six-hour epic fi lm River of Fundament is romantic, impressive, very male, full of esoteric bathroom humor and an ordeal to sit through. It was, after all, inspired by wife-beating, fi ght-picking novelist Norman Mailer, whose exes had more incriminat-ing things to say about him then even Barney’s ex, Björk, has to say about him. The fi lm is playing continuously at MOCA’s Geff en Contemporary, but the most seductive attraction in the galleries is the sculpture, big, expensive things that undoubtedly took a crew to make. All inspired by the fi lm, some look like ruins, others like weapons. There’s also an un-even line of graphite that stops and starts along the gallery walls. That was made before the show opened, when a group of female athletes convened at MOCA, wearing black SWAT-team-meets-volleyball-team costumes, and pulled a 500-pound slab of graphite around on sleds. 152 N. Central Ave., downtown; through Jan. 18. (213) 626-6222, moca.org. Listless zombie

In Beijing-based artist Cao Fei’s zombie fi lm, Haze and Fog, a pregnant women in a polka dot dress dances in grocery store aisles and a young delivery man drops and breaks a watermelon in a slick apart-ment hallway. Later, the same delivery man returns with a box full of bouncy balls that look like watermelons, drops all those too, then leaves. A biker hit by a car becomes a listless-seeming zombie. All the vignettes in the fi lm, showing at the Mistake Room, are eerily compelling, whether you do or don’t sit through the fi lm’s 45-minute duration. 1811 E. 20th St., downtown; through Nov. 21. (213) 749-1200, tmr.la.

| Culture // | Art Picks //

PHOTO BY FREDRIK NILSEN

View of Matthew Barney’s River of Fundament at the Geffen Contemporary at MOCA

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Ticket $8

Call 310-294-7283Call 310-294-7283

Aratani Theatre244 S San Pedro St, Los Angeles,CA 90012

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BRUSH OFF YOUR SHAKESPEARE

These Paper Bullets at the Geff en disappoints

BY ZACHARY PINCUS-ROTH

I don’t mind messing with Shake-speare. I’ll take Kiss Me, Kate over The Taming of the Shrew, and the underappreciated 1971 Broadway musical version of Two Gentle-men of Verona over the original.

So I was particularly disap-pointed that the Geff en Playhouse’s These Paper Bullets, a “mod-ish ripoff ” of Much Ado About Nothing, set in a 1960s London hotel, didn’t meet expectations. Especially since it’s by Rolin Jones, the writer of the fantastic Pulitzer-fi nalist play The Intelligent Design of Jenny Chow and estimable television shows such as Friday Night Lights.

In an interview in the program, Jones admits that he doesn’t love the Shakespear-ean comedy genre, and he complains about Much Ado’s dramaturgy. I sympathize. But in These Paper Bullets, he’s unintentionally created ammunition for the purists.

The problem isn’t that the setting and the play don’t fi t. In fact, to Jones’ credit, they do so seamlessly. The instant love between Hero (here Higgy, played by Ariana Venturi) and Claudio (here Claude, played by Damon Daunno) works well when analogized to a groupie and a singer in a Beatles-esque band, and Ven-turi’s spoiled, Quaalude-obsessed model is the show’s bright spot. And Benedick (Justin Kirk) and Beatrice (Nicole Parker) make convincing John and Yoko

fi gures, especially as the plot develops in the second act. In fact, when the show strays from the play to update Hero’s fi nal ruse, it doesn’t pay off .

The performances of original songs are set in a recording session or at a concert, and it’s fun to fi gure out which one is an homage to which Beatles hit, especially when you remember they were composed by Billie Joe Armstrong of Green Day. And the manic energy yields a smat-tering of laughs. But as Jackson Gay’s production gets longer (it’s more than two and a half hours) and its attempts at British farce keep falling fl at, impatience sets in. The slapstick bits weren’t so much funny as they made me think, “Oh, they’re trying a slapstick bit.”

The lines tend to begin as Shakespeare and end as Austin Powers. There are your expected cheeky sex references — a “tak-ing you in the rear” joke here and an orgy reference there. At the wedding ceremo-ny, the drummer says he has “the ring-o.” (Oh, so the drummer is supposed to be Ringo!) And, as in too many of today’s TV shows and fi lms, it’s assumed that vomit-ing is inherently hilarious.

Audiences would be better served see-ing Joss Whedon’s modernized fi lm ver-sion of Much Ado. The original language and story are intact — and it’s delightful.

THESE PAPER BULLETS | Geffen Playhouse, 10886 Le Conte Ave., Westwood | Through Oct. 18

(310) 208-2028 | geffenplayhouse.com

PHOTO BY CRAIG SCHWARTZ

| Culture // Theater Reviews //

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

Homefree Is About Teens Having a Seriously Bad Time

In her program notes for Homefree, which is getting its world premiere in director Michael Matthews’ rav-ishing, high-velocity production, playwright Lisa Loomer writes

about seeing the hoards of hippie-ish panhandlers headquartered in Ash-land’s Lithia Park as she attended the Oregon Shakespeare Festival. “Who are these kids?” she asked.

Like a reporter writing an in-depth human-interest feature, Loomer embed-ded herself with the park vagrants. Her answer is this aff ecting, days-in-the-life dramatic composite focused on a trio of thrown-together street comrades with nothing left to lose, who live for today in an America where they have no future.

Breezy (a compelling Gabriela Ortega) is a teenage runaway whose four-month pregnancy by a molesting stepfather serves as the narrative’s tick-ing clock. Her boyfriend J.J. (a forceful Barret Lewis) is an emotionally abused skinhead musician harboring a deep rage for anything smacking of home. Franklin (the fi ne Lockne O’Brien) is a Christlike gay teen fl eeing a Chris-tian “same-sex attractions” recovery program.

Steve Apostolina and Elizabeth Her-ron provide virtuosic support playing a range of dysfunctional parents and well-

meaning adults; and Chelsea Averil and Donald Russell all but steal the show as a pair of eccentric fellow travelers who have politically embraced homeless-ness as an anti-materialist way of life they call living “home-free.”

And if the whole of Loomer’s compas-sionate story adds up to little more than the sum of its parts, a top-notch cast and production values (J.R. Bruce’s austere set; Michele Young’s pinpoint-perfect costumes; David B. Marling’s driving sound; Luke Moyer’s expressive lights) make it a seamlessly lustrous ride. —Bill Raden

The Road on Magnolia, 10747 Magnolia Blvd., North Hollywood; through Nov. 8. (818) 761-8838, roadtheatre.org.

In The Object Lesson, We Are All Material Squirrels

What Geoff Sobelle does so brilliantly in The Object Lesson — his piece about our obses-sion with objects — is

he keeps us wondering what happens next without any overt storyline, stakes or characters. Instead, he employs an atavistic style of performance that draws from vaudeville and silent mov-ies, a technique he used equally deftly in 2005’s all wear bowlers (also at the Kirk Douglas Theatre).

Sobelle makes us keenly aware of the sheer amount of stuff we produce and

hoard in an understated and offh and manner, using physical gags, repetition and unexpected juxtaposition, all of which are cleverly set up to pique our basic human curiosity.

The message hits home, though, because Sobelle involves the audience to tremendous eff ect: Much of the time we’re laughing not at him but at one another.

Steven Dufala’s massive “attic” set, which extends into the seating area of the theater, also fosters such interac-tion because it eliminates any division between audience and performer. The show not only shatters the fourth wall but there are no fi rst, second or third

walls to speak of. In one particularly communal portion

of the show, Christopher Kuhl’s warm, intimate lighting and Nick Kourtides’ nighttime soundscape make us feel as if we’re sitting around the glow of a camp-fi re, listening to Sobelle tell stories. In that moment, Sobelle again harkens back to the origins of the theatrical impulse in human civilization, and it’s a wonderful reminder of why we gravitate toward this art form. —Mayank Keshaviah

Kirk Douglas Theatre, 9820 Washing-ton Blvd., Culver City; through Oct. 4. (213) 628-2772, centertheatregroup.org/tickets/object-lesson.

These Paper Bullets

Geoff Sobelle in The Object Lesson

PHOTO BY MICHAEL LAMONT

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10 TORONTO STANDOUTSThese festival favorites start hitting local theaters next month

BY AMY NICHOLSON

Summer offi cially starts to end with the dawn of fi lm festival season, when we critics pack our suitcases and trek to the Toronto In-ternational Film Festival to see what great, smart, small

movies are going to make a run at the art house, or even the Oscars. The 10 best fi lms from TIFF were worth the fl ight to Canada. They’ll defi nitely warrant trips to the theater when they come out over the next year, starting with Room, which you’ll be able to watch in mid-October. Room

Every morning, 5-year-old Jack (Jacob Tremblay, astonishing) cheerfully says hello to all the furniture in his room. But this is no Pee-wee Herman special — Jack was born here and has never left the room he shares with his kidnapped mother (Brie Larsen), who’s been locked in this shed since she was 17. Lenny Abrahamson’s anguished drama, based on Emma Dona-ghue’s novel, is about the strength of love and perception. To keep Jack calm, the mom has convinced him that their room is the entire world, and that the images on TV are a lie. But is she right to protect him from the truth? Abrahamson, who last directed the fantastic Michael Fassbender fable Frank, honestly measures their situa-tion, never letting our empathy blind us to this mother’s impossible choices.Th e Lobster

Freud would have a fi eld day with Yorgos Lanthimos’ twisted romance, set in a sex-

obsessed society where singletons have two options: Mate or mutate into an ani-mal. If newly divorced David (Colin Farrell, un-handsomed by a potbelly and watery glasses) doesn’t couple up in 40 days, he’ll become a crustacean. (That’s his own pick — other sad sacks become a dog or parrot or wee Shetland pony.) The absurdist sci-fi is cuttingly honest about the compromises people make to fi nd a partner. But because this is Lanthimos, the daredevil genius of the Oscar-nominated Dogtooth, the con-sequences are gory, surprising, hilarious and, most shocking of all, romantic.Th e Meddler

At the festival, fi lmmaker Lorene Scafar-ia confessed she hadn’t let her own mom watch this semi-autobiographical comedy about a clingy mother (Susan Sarandon) who, recently widowed, moves to Los An-geles to rescue her daughter (Rose Byrne) from a break-up — and, when that fails, uses her inheritance to buy adoration from any stranger who’s selling. Scafaria’s mom might be the only person this charmer won’t win over. Sarandon is radiant and obnoxious, whether springing to pay for the lesbian wedding of substitute daugh-ter “What’s-Her-Name,” shuttling a mall clerk to school or nervously accepting a date with a cop (J.K. Simmons) who could teach her it’s as good to receive as to give. Men & Chicken

Elias (Mads Mikkelsen), an obsessive masturbator, dreams of raping a bird that looks like his brother, Gabriel (David Dencik). Naturally, they aren’t close. After their father’s death, Gabriel is relieved to learn that they’re only half-brothers, even

if that means trekking with Elias to the island sanitarium where their biological dad lives with three more siblings, all with their same harelip, who take one look at the strangers and bludgeon them with a stuff ed heron. Like his The Green Butchers, Anders Thomas Jensen’s Norwegian com-edy is a repulsive delight that’s not about anything more than its own amusement. But if you’re not amused by a movie that strongly implies Mikkelsen has sex with chickens? Well, this movie doesn’t give a damn if you’re off ended.Green Room

Jeremy Saulnier follows up his wicked microbudget indie hit Blue Ruin with this thriller about a traveling punk band that, strapped for cash, accepts a gig at a rural skinhead rally. Like the punks they are, they open the show with a song called “Nazi Scum, Fuck You!” From there, things get even worse. Saulnier has fun contrast-ing his unwashed kiddie rebels with the real deal: violent thugs who’ve earned their red boot laces. He’s also enjoying the boost of being art-house horror’s next hip thing, folding his Blue Ruin star Macon Blair, his best friend and muse since mid-dle school, into a boldface-name cast that includes Anton Yelchin, Imogen Poots, Alia Shawkat and Patrick Stewart (as the white-power lodge’s unmerciful leader).London Road

Murder makes for great musicals. As proof, see Sweeney Todd, Assassins, Little Shop of Horrors, Chicago and almost every tragic opera. Even so, Rufus Norris’ London Road is a bold stunt. Not only is it inspired by the recent 2006 slayings of hookers in

Ipswich, the lyrics are verbatim from news interviews with the locals, so word-for-word exact that the chorus includes every ungrammatical um, er and fl ub. Tom Hardy cameos as a suspicious-acting singing cab-bie, but the show belongs to phenomenal comedy actress Olivia Colman (also great in The Lobster), who croons quotes the real people might wish they could take back. Hearing of the prostitute-killer’s arrest, she hums, “I’d love to just shake his hand and say, ‘Thank you for getting rid of them’�” — a cold-blooded line that stabs us in the gut. Anomalisa

It’s taken seven years for writer-turned-director Charlie Kaufman to follow Synecdoche, New York with his second fi lm. Anomalisa was worth the wait. Unlike Synecdoche’s sprawling ambition, this script about a businessman’s one-night trip to Cincinnati is constrained, almost banal. Almost. Kaufman had to tell this story with stop-motion animation, and as the reasons why unfold, we’re sucked so deep into the mind of his depressive anti-hero that we come out frightened by the knowledge that the world he has created with puppets is more like our own — and more like our-selves — than we might want to admit.One Floor Below

In fi lm after brilliant fi lm, the Roma-nian new wave has become therapy for a nation still processing the nightmare of the Ceauşescu regime. Radu Muntean’s One Floor Below, a deceptively slight comic thriller about a man who suspects his neighbor of murder, wrestles with the country’s fear of tattle-telling, a refl ex honed by decades of paranoia when people were forced to betray each other or go to jail. Muntean suggests the alternative is better, but not much. This is the most relatable fi lm to leave the former Soviet Bloc, both because of our own destructive culture of “Stop snitching!” and due to One Floor Below’s universal scenes: an awkward fi stfi ght, a kid obsessed with video games, the tedium of registering a car at the DMV. Land of Mine

This elegantly cruel Danish drama stirs The Hunger Games into World War II. During the war, the Nazis seeded Denmark with 2 million land mines. As payback, the Danish military forced their captured Ger-man soldiers to defuse them. Most of the prisoners were teen boys — toward the end the Führer was desperate for bodies — and many died trying. As the brutal fi lm blows the kids up one by one, director Martin Zandvliet aches for both sides of these survivors who are still too raw to forgive. Th e Forbidden Room

Guy Maddin’s newest delirium whirls through a dozen high-drama silent serials. A nail-biter about four men running out of oxygen in an explosive submarine blurs into a woodland adventure where a posse of lumberjacks rescue their shared lady love, which in turn splinters into an exotic tribal fl ick, a medical romance and a weepy about memory loss. No one loves the cin-ema more than Maddin, even if he’s spent his career chopping it up and microwaving the fragments so that the colors boil and the subtitles threaten to melt. For faithful cineastes, The Forbidden Room is like at-tending a Latin mass: Awed by such devo-tion, who cares if the words are a blur?

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American End Times

IN THE KEEPING ROOM, THE CIVIL WAR IS NOT UNLIKE THE ZOMBIE APOCALYPSE

BY ALAN SCHERSTUHL

Corpses putrefying, the social order gutted, bands of fl esh-cravers roaming the countryside: Our

pop apocalypses look a lot like life during wartime, which goes to show that Americans do have an interest in the suff ering of refu-gees — so long as it’s sugared up with zombie thrills. A mean piece of work, Daniel Barber’s lean and accomplished The Keeping Room comes as close as a Reconstruc-tion-era thriller can to end-times genre fi ction. There may not be anything supernatural here, but the relentlessness with which the fi lm, a sort of prairie-home inva-sion, pits three Southern women (played by Brit Marling, Muna Otaru and Hailee Steinfeld) against scraggle-bearded Union soldiers could almost have led to calling it The Confederacy of the Living Dead.

The fi lm’s extended center-piece: men trying to get into a house, and women desperate to keep them out, hunkered in the dark and teaching each other to load powder into muskets. One makes sure viewers get that this isn’t just a historical drama: “What if all the men kill all the other men?” she asks. “What if it’s the end of the world and we’re the last ones left?”

The Keeping Room is a provoca-tion, yes, but also an interrogation of its own exploitative tendencies. What’s scariest in the fi lm isn’t simply that these men seek to have their way with the bodies of these women, though the actors exude a steady menace. It’s the dreadful familiarity of the setup, the economy of detail it takes to

establish the stakes, the certainty that any time civilization seems to crumble away, there will be men thinking it’s an opportunity. From the fi rst time one of these guys sees one of the women, at a creepily unpopulated bar and brothel, nobody but a child could miss where this is going.

It’s also scary, perhaps, that near-rape scenarios remain grist for thrillers — and that the script, by Julia Hart, settles for familiar action-movie beats to get its heroines out of danger. It’s no spoiler to tell you that one woman plays possum, or that when an-other goes missing for a couple of scenes she’ll show up just in time. You’ll feel these turnabouts com-ing the way you can a sneeze.

The fi lm is admirably clear-eyed about what people are when everything keeping them human gets scraped away. Why is it also so Hollywood-blinkered about what violent confrontations would actually be like?

Note that it’s the Northerners who are the villains, campaigners in a just cause, going rotten just because they have the chance to. (If the fi lm catches on, expect aggrieved dudes to tweet #NotAll Carpetbaggers.) Barber (Harry Brown) and his design team off er up a spare and harsh past, putting their cast in half-furnished build-ings that do look as if they might date back to the Civil War — but also like they’ve been standing for 150 years. Everything feels hauntingly off , as if the world of these women has died without their quite understanding it. The wind Tara is gone with must have hurricaned through here.

Their men long gone, their land ravaged, these women continue to hoe their garden and hope. Otaru’s character, Mad, a slave

now freed, has stayed on with a pair of white sisters for reasons that become clear late in a crush-ing surprise — but also, the fi lm implies, out of a need for safety and purpose. She doesn’t seem to know where else to go, and this life she knows might beat the one she doesn’t.

Life with the sisters isn’t bliss, of course. Louise (Steinfeld, of True Grit and Pitch Perfect 2), the younger, still bosses Mad around as if Emancipation hadn’t happened; Augusta (Marling) dresses her down for it, display-ing fl ashes of decency that you might mistake for anachronisms — the movies have long populat-ed historical pieces with people who behave the way we’d like to think we would. But in the fi lm’s best scene, Hart’s script compli-cates this. Augusta, in the long tradition of white allies betraying oppressed minorities, hauls off and slaps Mad after Louise suf-fers a raccoon bite. How the heart lifts when the recently liberated Mad clocks her right back.

The fi lm’s frustrating, fascinat-ing, at times too eager to shock. But it’s also daring and eccen-tric. After that bite, Steinfeld’s Louise spends the fi lm fi ghting disease, a curious role to give an actress whose previous Western was powered by her marvel-ous motormouth. Otaru and Steinfeld, though, both improve on the showstopper monologue the script gives them. Forceful despite her breathy tremble, Otaru recounts her suff ering in the “keeping room” of the title, a slaver’s fl esh pit: “Sometimes they cut the baby out, other times they keep them.” She delivers this speech to Louise between rounds of rape threats, commiserating with what the sisters have just been ground through — and, surprisingly, seeming to second Augusta’s self-pitying earlier declaration that, with their world gone, “We’re all niggers now.” That’s dangerous material, and the fi lm leaves you to make of it what you will.

Marling, meanwhile, muscles a retelling of the story of Schehe-razade into something fresh and urgent. That tale of a woman and her sister surviving the dumb cruelty of men is, of course, appropriate for the occasion. It’s also a clever inversion of the damnable scenario we’re watch-ing: Augusta fi nds solace in the tale of the woman who mastered every wild and impossible story that there is — but these three are stuck in the story that feels most familiar of all.

THE KEEPING ROOM | Directed by Daniel Barber | Drafthouse Films

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THE ANOMALY Is there anything more grating in an action film than when the villain, victory in grasp, takes the time to over-explain his motives and plans, thus giving the hero a chance to devise a plan to thwart evil? It’s a hoary tactic to bring the viewer up to speed, but it’s also a horrible cheat. By the time the bad guy in The Anomaly, holding “the girl” in a headlock with a gun to her head, natch, breaks into his speech, the film has all but beaten viewers into submission. There’s the gimmick of the hero, Ryan (Noel Clarke), having Memento-like lapses in memory, but his “aware” moments as a secret agent of some sort last only 10 minutes before he’s yanked by a mysterious being into new, vaguely connected trouble spots all over the world. He slowly pieces together fragments of memory before the whole thing cycles again. There’s the hooker with the heart of gold, owned by a brutal Russian gangster. The big meanie is a mad scientist whose DNA-wrecking virus leads to grotesque results in its victims. Government officials with dubious mo-tives are as dangerous to our hero as are the villains, who include a wealthy bad boy with ties to the force that keeps yanking Ryan’s chain — literally, in some cases. And there’s a sad kid whose mom was murdered in front of him. The thread holding it all together is endless, repetitive, interminable fight scenes whose limp choreography is spiced up with Matrix-style slow motion — in 2015. For all that — fists flying, bullets dodged, gratuitous female nudity — the film is oddly inert. It gives nothing away to say that the hero emerges heroic. (Ernest Hardy)

ASHBY Everybody needs a mentor. Unfortunately, when you’re a recent transplant to suburban Virginia who’s not quite fitting in at your new prep school, options may be limited. For example: the terminally ill, ex-CIA assas-sin who lives next door, as is the case in Tony McNamara’s darkly charming Ashby. Ed Wallis (Nat Wolff) strikes up the acquaintance of Ashby (Mickey Rourke, doing his Marv-from–Sin City voice) when assigned an “interview an old person” essay. Ed soon discovers his subject is not the napkin salesman he claims (and really, one assumes a professional killer could come up with a better cover). The two enter a kind of symbiosis, Ed inadvertently nudging Ashby into making amends and the old spook bluntly encouraging Ed to reas-sess certain realities. Ashby could easily have gone too far into maudlin or hostile territory, but McNamara maintains the right approach, treating even unpleas-ant topics, such as absentee parents and chronic traumatic encephalopathy (!), with a light touch, recalling other coming-of-age black comedies like Heathers. It doesn’t hurt to have excel-lent support from the likes of Emma Roberts (as Ed’s love interest) and Sarah Silverman, surprisingly winning as Ed’s affection-starved mother. But it’s Wolff and Rourke who have to carry

the load, and for the most part they do. Wolff is easy to root for, portraying Ed with refreshing complexity. Rourke is more uneven but generally captures the discomfort of a person unaccustomed to giving advice, and is definitely a good choice for teaching someone how to roll with life’s punches. (Pete Vonder Haar)

GO THE BLACK PANTHERS: VANGUARD OF THE REVOLUTION The title might seem tragic. Stanley Nelson’s welcome doc banners the Black Panthers as the “vanguard” of the revolution, a claim that’s true according to the Panthers’ own terms. The leather-jacketed crew carrying rifles onto the floor of the California Assembly in 1967? That was the berets-and-afros vanguard of the then-nascent Black Panther Party, and that image — of resistance, of power, of black-is-beautiful Afrocentrism reborn as hard urban cool — immediate-ly franchised the party in cities across the country. What do you think scared the powers-that-be more, the Panthers’ allure or their avowed program, which called for the end of the ongoing “terror, brutality, murder and repression of black people”? But within half a decade the Panthers would mostly be a memory. Since J. Edgar Hoover declared the Panthers the John Dillingers of the late 1960s, Official America has found black anger a useful excuse to crack down on blacks and keep whites terrified. Never mind the Panthers setting up breakfast programs for local kids, or Bobby Seale himself proclaiming, “We don’t hate anybody because of their color. We hate oppression.” The film, with its traditional mix of talking heads and vintage foot-age, is honest about schisms between party members favoring armed insurrec-tion and those who found community im-provement a more satisfying and achiev-able goal than the overthrow of the U.S. government. Panthers, historians and even some ex-cops attest on camera here that those schisms were encour-aged by Hoover’s feds. There is reason to hope here. Compare the on-message clarity of #BlackLivesMatter, and it’s easy to see that the revolution remains a work in progress — and that it had a clear vanguard. (Alan Scherstuhl)

A BRAVE HEART: THE LIZZIE VELASQUEZ STORY Uneven doc A Brave Heart raises the question: What makes a hero? What combination of bravery, ambi-tion and narcissism drives a person to advocacy on an international stage? Subject Lizzie Velásquez, star of her own YouTube channel and TED Talks, is a natural. She’s a charismatic, hilarious fashion plate, no matter how her Marfan syndrome and lipodystrophy make her look — or the 2008 video in which some mean YouTuber labeled her “the world’s ugliest woman.” That was a terrible launching point for someone with such a big personality; a better example is when, in the film, the 26-year-old talks about how she used to introduce herself on the first day of class every year. This, her teachers say, not only got her class-mates comfortable with her differences but drew them to her. Her parents love her and wanted to protect her from the

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world, but instead they equipped her with the confidence and self-respect to take that world on. Not everyone can succeed in the public eye, but Lizzie has the talent. However, A Brave Heart is not very sophisticated, flitting between Lizzie the Internet celebrity, Lizzie the anti-bullying activist, Lizzie the beloved eldest daughter of a close-knit family and Lizzie the young woman whose health challenges make her advocacy even harder. Scenes of her hugging fans in airports around the globe aren’t near-ly as affecting as time spent with Lizzie and her family. (Meave Gallagher)

GO FINDERS KEEPERS Shannon Whisnant, a North Carolina salesman, bought an abandoned smoker grill at a storage auction, hoping to resell it for a few bucks. It was the buy of two lifetimes. Inside was a severed foot, a shock Whisnant dreamed he could spin into a fortune, if only its owner — “birth owner,” Whisnant specifies — didn’t

want it back. One-legged John Wood, a rich kid turned drug addict, lost the limb in a plane crash that also killed his dad. Now he’d lost it twice, to a huckster who hawked “Foot Man” T-shirts, ordered the vanity license plate FTSMOKER and beamed, “I’ve always been famous. It’s just now people are finding me.” Whisnant’s a jerk. But he does have a receipt. Most docs are lucky to have one wild character. The phenomenal Finders Keepers has two. Whisnant and Wood are so quotable, you’d think Mark Twain wrote their words. When their custody battle becomes local news, Whisnant growls that Wood “was born with a silver crack pipe in his mouth.” Finders Keepers indulges their redneck quirks: a show-down outside the Dollar General, the time Wood hid the femur at a Hardee’s. Yet directors Bryan Carberry and J. Clay Tweel recognize that the men them-selves aren’t laughing. To Wood, the leg is his last connection to his larger-than-

life father. To Whisnant, the leg is his last shot for glory. Recalling the tabloid photographers who shouted his name, Whisnant cries with joy. Emotionally, if not legally, viewers will likely side with sad-eyed Wood. Still, Finders Keepers sees the tragedy in Whisnant’s egoma-nia. As he agrees to a tacky reality show, we realize he’s peddling something more valuable than a leg — he’s selling his soul. (Amy Nicholson)

FOREVER In Forever, a drama centering on a mysterious commune, Alice (Deborah Ann Woll), a journalist, experiences a devastating loss and soon realizes the last story she worked on — which she initially thought fruitless — might well lead to her healing. She’d been investigating the whereabouts of a grief-stricken man who’d left his wife and taken up with a mysterious group living on an isolated farm. Arriving there claiming amnesia, Alice finds a group of people all grappling with immense existential pain. The help they offer both intrigues and horrifies her. Director Tatia Pilieva, working from a script she co-wrote with Gill Dennis, gingerly steps into age-old philosophical debates about spiritual agency. Being in the group heals Alice, and its collective peace and happiness is balm, but she has a hard time accepting that the positive energy surrounding her could spring from a de-cision she finds morally repugnant. The cast (which includes Luke Grimes and Ioan Gruffudd) is well up to the task of negotiating the murky ethical questions raised as characters give their backsto-ries, anger and darkness fracturing the familial warmth. The film twists tension in the viewer’s gut as the clock ticks toward a day of reckoning. But the script could be tougher-minded, especially when a love-saves-the-day coda adds sugar to what would have been more powerful left bitter. (Ernest Hardy)

THE GREEN INFERNO The Green Inferno

A REAL-LIFE FAIL SAFE

In 1983, Soviet military computers erroneously detected American missiles headed toward the U.S.S.R. Stanislav Petrov, a Soviet commanding

offi cer at the time, had to decide whether to launch missiles in return. Going on instinct, he decided not to “retaliate,” thus averting catastrophe. It’s the stuff angst-ridden action fl icks are made of.

In multinational co-production Th e Man Who Saved the World, this real-life tale is given a sleek, hybridized telling: part documentary, part reconstructed scenes — with lines blurring between the two tacks. Director Peter Anthony’s glossy visual style gives the fi lm a uniform look and feel that’s artfully disrupted by crackling news clips, which sketch in the Cold War past and underscore nuclear nightmares still possible with Iran and North Korea (maybe not the former so much, soon).

The emotional and narrative core of the story is how much tragedy swirls through Petrov’s personal life — from his parents pushing him into the military at the age of 17 to his marriage to the unraveling of his circumstances aft er his heroic decision. It is heart-wrenching stuff that you might wish the fi lmmakers had trusted more. Th e editing and framing of the real-life Petrov, now a curmudgeonly alcoholic, oft en reduces

him to a late-career Walter Matthau character. Both his saltiness and pathos are clunkily emphasized as he travels with a translator to the United States to be feted and tell his story.

Petrov is such a potent fi gure that he survives the heavy-handedness, but he is in some ways best served by Sergey Shnyryov’s fantastic rendering of him in fl ashback. And while it’s cool to see Matt Damon and Robert De Niro gush over him, the mutual admiration between Petrov and Kevin Costner is genuinely touch-ing. —Ernest Hardy

THE MAN WHO SAVED THE WORLD | Directed by Peter Anthony | Film Collaborative | Arena

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arrives in theaters two years after mak-ing the festival rounds and a full eight since Hostel: Part II doubled down on everything that made writer-director Eli Roth stand out in the first place, giving devotees and doubters alike ample time to brace for this foray into a remote jungle in which meat is very much on the menu. Though that won’t make Roth’s affinity for ghoulish dismemberment any easier for squeamish viewers to stom-ach, the fact that his sensibilities are better suited to comedy than they are to horror does help it go down more easily. Funnier than it is scary and grosser than it is funny, The Green Inferno features a number of early scenes that would appear to be setting us up for a slacker comedy. Wide-eyed freshman Justine (Lorenza Izzo, to whom Roth was mar-ried last year) halfheartedly joins a

campus activist group whose current mission is to descend upon Peru and save the rainforest. A characteristically cruel irony awaits: A plane crash strands them in the same wilderness they’ve just chained themselves to bulldozers to save. They’re not alone, of course. Roth practically dares us to form any at-tachment to these people — that way we don’t particularly mind when Justine’s friends start getting ripped apart by the natives. Roth draws inspiration from Ruggero Deodato’s infamous Cannibal Holocaust, amplifying that exploitation flick’s least interesting components (gore, cruelty) at the expense of all oth-ers. Just because watching every gory detail of a man getting torn limb from limb turns the stomach doesn’t mean it quickens the pulse. (Michael Nordine)

THE INTERN Some veteran filmmakers try to capture the younger generation and fail to get it right, coming up with charac-ters and faux with-it dialogue that invite lots of “Oh, Mom!” eye-rolling. That’s not the problem with writer-director Nancy Meyers’ The Intern, in which retiree

Robert De Niro finds meaning in life — and brings lots of twinkly-gruff inspira-tion to others — by taking an internship at a Brooklyn-based online clothing company run by ambitious yet dippy businesswoman Anne Hathaway. Ben quickly makes himself indispensable, doling out sensible advice, business-y and otherwise, to the young’uns. He also wears a suit, which they love — in one of the movie’s best scenes, he gives style tips to a young worker (Peter Vack) who’s nervous when he discovers he might be hand-delivering an order to Jay-Z. At first Jules is wary of Ben — he’s too “observant,” she tells her second-in-command (Andrew Rannells) via youth’s communication medium of choice, the text message. (Meyers! So with it.) There’s a lot going on in The Intern, but all you have to know, really, is that Ben is rock-solid and Jules is a winsome pud-dle of insecurity and awesomeness. The spongy subtext of this and every Meyers movie is “We’re being serious, but we’re also being FUN!” No viewer must ever be made to think too much, feel too much

or be left out. She doesn’t so much tell a story as lead a team-building exercise. And it’s astonishing to realize that De Niro is as capable as any other actor of slouching through a film like a lump of mold making its way down a tree limb. (Stephanie Zacharek)

PROPHET’S PREY Director Amy Berg’s documentary on the sexual, psychologi-cal and financial exploitation at the core of the Fundamentalist Church of Jesus Christ of Latter-Day Saints (FLDS) is grim but riveting viewing, a layered commen-tary on this country’s moral and spiritual underbelly. Coming on the heels of the Duggar scandals, and both Kim Davis and Donald Trump galvanizing America’s right-wing religious base, the film’s sharp dissection of a religious leader who profited (and profits) handsomely from manipulating an ill-educated flock resonates beyond its bleak specifics. The film begins with a succinct history of the Mormon Church and its founder, Joseph Smith, quickly tracing the period of Brigham Young’s leadership and the breakaway faction FLDS, which refused

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

Big-Screen Screams and Back to the FutureFriday, Sept. 25Wes Craven was the rare horror maestro with the ability to make us think even as he scared the wits out of us, and for that he shall be missed. Cinefamily celebrates his legacy with a triple feature of Th e Hills Have Eyes, Stranger in Our House and The Last House on the Left . Th is program sandwiches a little-seen TV movie between two classics, allowing us to revisit Craven’s best-known work and discover something new. Cinefam-ily/Silent Movie Th eatre, 611 N. Fairfax Ave., Fairfax; Fri., Sept. 25, 7:30 p.m.; $16. (323) 655-2510, cinefamily.org.

If you’re in the mood for late-night horror but Craven isn’t your guy, head to the Nuart’s 35mm midnight screening of Halloween H20: 20 Years Later. As the seventh installment in a slasher series, a genre notorious for diminishing returns, the fi lm is diffi cult to classify as “good.” But the cumulative eff ect of watching the masked Michael Myers terrorize Laurie Strode (Jamie Lee Curtis, still our fi nest scream queen) time aft er time, fi lm aft er fi lm, is a certain melancholy that’s comforting in its fa-miliarity. Plus, you know, stupid teenagers getting off ed by an unkillable psycho wielding a butcher knife. Nuart Th eatre, 11272 Santa Monica Blvd., West L.A.; Fri., Sept. 25, 11:59 p.m.; $11. (310) 473-8530, landmarktheatres.com.

Saturday, Sept. 26Not that they ever went away, but the Back to the Fu-ture movies seem to be on everyone’s minds of late. It’s been 30 years since the fi rst movie came out, aft er all, which is how far back in time Michael J. Fox originally went. Cinefamily screens the fi rst two installments of Marty McFly’s achronological adventures at Hollywood Forever, where the past always comingles with the pres-ent, with some of the proceeds going to the Michael J. Fox Foundation. Hollywood Forever Cemetery, 6000 Santa Monica Blvd., Hollywood; Sat., Sept. 26, 7:30 p.m. (gates at 5:45); $18. (323) 221-3343, cinespia.org.

Sunday, Sept. 27Enough with the horror and the time travel, you say? Well, classicists, perhaps seeing Doctor Zhivago at the Egyptian will sate your cinematic needs. David Lean’s epic romance plays in the heart of Hollywood as part of both its 50th-anniversary celebration and the American Cinematheque’s ongoing Omar Sharif remembrance.

Th e fi lm’s runtime is long, but so is its list of accolades: fi ve Oscars, fi ve Golden Globes, No. 39 on AFI’s list of the 100 greatest fi lms of all time. Egyptian Th eatre, 6712 Hollywood Blvd., Hollywood; Sun., Sept. 27, 7:30 p.m.; $11. (323) 466-3456, americancinemathequecalendar.com.

Monday, Sept. 28Michael Ritchie directed Robert Redford in two consecu-tive fi lms, Th e Candidate and Downhill Racer, which the New Beverly is screening in reverse chronological order. Ritchie’s auspicious debut features a gift ed skier, played by the Sundance Kid, who goes for the gold; Redford’s presidential candidate, meanwhile, appears to have no chance of winning, which emboldens him to speak truth to power and throw a wrench in the whole dysfunctional pro-cess. New Beverly Cinema, 7165 Beverly Blvd., Fairfax; Tue., Sept. 28, 7:30 p.m.; $8. (323) 938-4038, thenewbev.com.

Film at REDCAT begins its fall season with the world premiere of Margaret Honda’s Color Correction. Th e artist’s first feature-length film was made using the timing tapes that color-corrected a Hollywood feature whose identity is unknown. Honda will appear to discuss the silent work, which screens on 35mm and runs 101 minutes. REDCAT, 631 W. Second St., downtown; Mon., Sept. 28, 8:30 p.m.; $11. (213) 237-2800, redcat.org.

Tuesday, Sept. 29LACMA’s Classic Sci-Fi series continues with the original Invasion of the Body Snatchers on 35mm. Th is is the rare franchise with two diff erent remakes that are actu-ally worthwhile (check out Abel Ferrara’s 1993 version if you haven’t already), but the fi rst remains a must for genre enthusiasts nearly half a century later. LACMA, 5905 Wilshire Blvd., Mid-Wilshire; Tue., Sept. 29, 1 p.m.; $5. (323) 857-6000, lacma.org. —Michael Nordine

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to comply when the church renounced polygamy in 1890. Fast-forward to elder-ly Rulon Jeffs, leader of FLDS, husband to 50 wives and father of Warren Jeffs, around whom the sordid tale mainly unfolds — and who, it is speculated, may have killed his father in 2002, expedit-ing Warren’s rise to power. Investigative reporter Sam Bower (whose book inspired the film) is the linchpin of this story, walking viewers through hubs of FLDS activity, interviewing key figures (child brides; apostates; journalists) and filling in grim tales of pedophilia, child marriages, financial blackmail and all manner of hypocrisy. Prophet’s Prey is simultaneously enervating and infuriat-ing. By using his own words (and chilling audio from one sexual encounter) to bracket dozens of testimonials and disturbing newsreels, it reveals Warren Jeffs, with his mousy looks, charmless manner, sociopathic wiring and taste for young girls, as the embodiment of evil. (Ernest Hardy)

SHAH BOB The immigrant story in American film is at least as old as talking pictures, often laced with fa-miliar themes, including the old folks’ frustration with the new generation’s American accents and ways. In immi-grant families, though, even little ones know the food — and the expectations — of the old world. Shah Bob, a peek into “Tehrangeles,” the vast Iranian-American community in Los Angeles, treads this ground. Bob is an aspiring filmmaker — the movie’s quite meta as it jogs alongside writer-director Babak Shokrian’s real life — under pressure from his “pop” and girlfriend to make better choices, the kind that shred the dreams of an artist. Shokrian indulges himself in this film, not just with this personal story but also with snippets and talk of Fellini, and by taking things slow, ’70s-style. Robert Murphy’s cinematography treats us to a dreamy Kodachrome L.A., and the actors step up to the demands of a director who

enjoys delivering the close-up. Shah Bob may be languid, interrupted by Rockford Files–style freeze-frames, but it’s also intimate and captivating, and it calls to

mind indie films from before Sundance made them mostly another Hollywood commodity. As Bob juggles his girlfriend, his dad, his friends and his failures,

sometimes with the cluelessness of a dude who hasn’t come to terms with his fourth decade, we also see his dark side. And when it rises up, we see some of the intensity that Shokrian showed in his debut film of more than a decade ago, America So Beautiful, a story set against the flaming backdrop of the Iranian revolution. You may not be entirely surprised by the ending, but it’s clear in Bob’s eyes that he has sur-prised himself. (Daphne Howland)

WILDLIKE At first glance, Frank Hall Green’s Wildlike would seem the latest entry in the “woman vs. nature” cycle — its title even contains that of one of the higher-profile recent examples — but Green has deeper ambitions, eschewing procedural survival-in-the-wilderness material for a strong focus on character. Mackenzie (Ella Purnell), a 14-year-old from Seattle whose father recently died, is sent by her in-treatment mother to live with her uncle (Brian Geraghty)

in Alaska. When that particular creep begins molesting her, Mackenzie runs away, soon attaching herself to older hiker Rene (Bruce Greenwood), who wants nothing to do with this troubled teenager. Wildlike spends almost as much time with the logistics of getting by in civilization as it does with nature, but its true emotional core is the rela-tionship between Mackenzie and Rene, particularly as she comes to realize that he’s that all-too-rare man who wants nothing from her sexually. Greenwood brings his usual A-game, generating great chemistry with Purnell in their ad hoc paternal relationship, but she’s the revelation. Purnell delivers a nuanced, damaged performance reminiscent of peak Kristen Stewart, and not just because of her character’s predilection for dark eye makeup. More Kristen Stewart–types is something the movie industry very much needs. (Sherilyn Connelly)

MISSION TO LARS FOLLOWS A BOY’S JOURNEY TO MEET METALLICA

In the particulars of a family quest film, viewers should see the universal. But in William Spicer and James Moore’s documentary Mission to Lars, we get

a whole lot of the specifi cs. Spicer’s older brother, Tom, has Fragile X syndrome, a condition similar to autism, which renders him at once remarkably capable — he can work, cook and clean largely on his own — yet bound to habits that stave off an intense fear of the unknown. His chief joy is an obsession with Metallica, especially drummer Lars Ulrich. Tom wants for little; he lives at a comfortable group home in the English countryside, but he really, really aches to “meet Lars.”

William and his sister Kate, feeling that adulthood has estranged them from their elder sibling, decide to fulfi ll Tom’s desire. Th ey plan a trip to the Western U.S., hoping to catch the drummer at the end of a tour. Attending huge rock concerts with a person who relies on familiarity and order, it turns out, proves a far bigger challenge than meeting a famous heavy-metal drummer.

Th e homespun fi lm closely follows Tom and the mild

dysfunctions of the Spicer family but makes only mid-dling eff orts to teach us about Fragile X. It says even less about Metallica: If not for the surprising fact that a man with intensely sensitive hearing loves a blaring rock band, Lars could be replaced as a goal here by, say, Billy Joel. But the biggest frustration is that the fi lm’s abrupt ending fails to show whether Kate and William really did rebuild their relationship with Tom on the Ulrich quest, and, either way, what that outcome means for the rest of us. —Ian S. Port

MISSION TO LARS | Directed by William Spicer and James Moore | On-demand

Tom Spicer

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

HOLLYWOOD & VICINITY

ARENA CINEMA 1625 North Las Palmas Avenue - Next to Egyptian Theater (323)306-0676Me You and Five Bucks Fri., 9:35 p.m.; Sat., 9:15,

10:45 p.m.; Sun., 4, 9:30 p.m.; Mon., 7:50 p.m.; Tues., 8:25 p.m.; Wed., 7:50 p.m.; Thurs., 6:30 p.m.

My Last Year With the Nuns Fri., 8 p.m.; Sat., 4:45 p.m.; Sun., 8 p.m.; Mon., 6:30 p.m.; Tues., 9:55 p.m.; Wed., 6:30 p.m.; Thurs., 9:55 p.m.

The Man Who Saved the World Fri., 6 p.m.; Sat., 2:20, 7 p.m.; Sun., 2, 6 p.m.; Mon., 9:30 p.m.; Tues., 6:25 p.m.; Wed., 9:30 p.m.; Thurs., 8 p.m.

ARCLIGHT HOLLYWOOD Sunset Blvd. at Vine (323) 464-4226The Martian 3D Thurs., 9:15, 10 p.m.The Martian Thurs., 8:45 p.m., 12:15 a.m.Hotel Transylvania 2 Fri.-Sun., 9:55 a.m., 4:50, 9:10

p.m.; Mon., 1:20, 6:05, 9:50 p.m.; Tues., 1:50, 5:15, 7:10, 11:05 p.m.

Hotel Transylvania 2 3D Fri., 1:20, 7:10 p.m.; Sat.-Sun., 1:10, 7:10 p.m.; Mon., 11:20 a.m., 3:35, 5:20, 7:25 p.m.; Tues., 11:50 a.m., 3:50, 6:05, 9:10 p.m.

The Intern Fri., 9:15, 11:25 a.m., 2:35, 5:45, 7:45, 10:25 p.m., 12:05 a.m.; Sat., 9:15, 11:25 a.m., 2:35, 5:45, 7:45, 10:25 p.m., 12:15 a.m.; Sun., 9:15, 11:25 a.m., 2:35, 5:45, 7:45, 10:25 p.m.; Mon., 11:40 a.m., 1:10, 2:25, 4:55, 7:15, 10:50 p.m.; Tues., 11:40 a.m., 1:05, 2:25, 5:05, 7:20, 10:50 p.m.

Black Mass Fri., 9:45, 10:30, 11:45 a.m., 1, 2:15, 3, 5, 6:15, 8:15, 9:30, 10:45, 11:30 p.m., 12:30 a.m.; Sat., 9:45, 10:30, 11:45 a.m., 1, 2:15, 3, 5, 6:15, 8:15, 9:30, 10:45, 11:45 p.m., 12:30 a.m.; Sun., 9:45, 10:30, 11:45 a.m., 1, 2:15, 3, 5, 6:15, 8:15, 9:30, 10:45, 11:15, 11:50 p.m.; Mon., 10:45 a.m., 12 noon, 1:30, 2:45, 3:30, 4:15, 5:15, 6, 7, 8, 8:45, 9:30, 10:15, 11:15 p.m.; Tues., 10:30 a.m., 12 noon, 1:30, 2:45, 3:30, 4:15, 5:15, 6, 7, 8, 8:45, 9:30, 10:15, 11:15 p.m.

East Side Sushi Fri., 7 p.m.Everest Fri., 2:25, 8:20 p.m., 12:20 a.m.; Sat., 2:25, 8:20,

10:55 p.m., 12:35 a.m.; Sun., 2:25, 8:20, 10:35 p.m.; Mon., 11:55 a.m., 3:25, 7:30, 10:10 p.m.; Tues., 10:50 a.m., 2:05, 7:35, 10:10 p.m.

Everest 3D Fri., 10:45 a.m., 5:50, 10:35 p.m.; Sat.-Sun., 10:45 a.m., 5:50 p.m.; Mon., 10:50 a.m., 2:05, 5:40, 8:15, 11:20 p.m.; Tues., 11:55 a.m., 5:40, 8:15, 11:20 p.m.

Maze Runner: The Scorch Trials Fri., 9:05 a.m., 1:55, 4:40, 8:45, 11:25 p.m.; Sat.-Sun., 11:15 a.m., 1:55, 4:40, 7:40, 10:55 p.m.; Mon., 11:25 a.m., 2:10, 4:40, 7:50, 10:35 p.m.; Tues., 11:20 a.m., 2:10, 4:40, 7:50, 10:35 p.m.

Prophet’s Prey Fri., 11:50 a.m., 2:45, 4:55, 7:15, 11:15 p.m.; Sat., 9:05 a.m., 12 noon, 4:15, 7:15, 11:10 p.m.; Sun., 9:05 a.m., 12:20, 4:45, 7:10, 11:10 p.m.; Mon.-Tues., 10:40 a.m., 12:35, 2:50, 4:55, 7:10, 9:20 p.m.

Sicario Fri., 9, 10:15 a.m., 12 noon, 12:30, 1:15, 2, 3:15, 4, 4:45, 6:30, 7:30, 9:15, 10:15, 11, 11:45 p.m., 12:45 a.m.; Sat., 9, 10:15 a.m., 12 noon, 12:30, 1:15, 2, 3:15, 4, 4:45, 6:30, 7:30, 9:15, 10:30 p.m., 12 mid, 12:45 a.m.; Sun., 9, 10:15 a.m., 12 noon, 12:30, 1:15, 2, 3:15, 4, 6:30, 7:30, 9:15, 10:15, 11 p.m., 12 mid.; Mon., 10:30, 11 a.m., 12:30, 1:15, 2, 3, 4, 5, 6:45, 7:45, 9:15, 10, 10:45 p.m.; Tues., 10:45, 11 a.m., 12:30, 1:25, 2, 3, 4, 5, 6:45, 7:45, 9:15, 10, 10:45 p.m.; Fri., 11:30 a.m., 2:30, 5:30, 8:30 p.m., 12:15 a.m.; Sat.-Tues., 11:30 a.m., 2:30, 5:30, 8:30, 11:30 p.m.

Homme Less Sun., 5:15 p.m.The Search For Freedom Sat., 1:15 p.m.Something Better to Come Fri., 7:30 p.m.; Sun.,

6:45 p.m.Malcolm X Wed., 7:30 p.m.On the Waterfront (1954) Sun., 5 p.m.12 Citizens (Shier Gongmin) Sat., 9:15 p.m.; Sun.,

7:45 p.m.Among the Believers Sat., 5 p.m.; Sun., 1 p.m.Animation Show of Shows Fri., 10:05 a.m., 12:20,

3:50, 7:05, 10:20 p.m.; Sat., 10 a.m., 12:25, 3:55, 7:05, 10:35 p.m.; Sun., 10:05 a.m., 12:25, 3:55, 7:05, 9:35 p.m.; Mon.-Thurs., 10:35 a.m., 12:50, 2:55, 5:05, 7:05, 9:10 p.m.

Astraea Fri., 2:30 p.m.; Sun., 1:30 p.m.Backgammon Fri., 4:45 p.m.; Sun., 3 p.m.Booze, Boys, and Brownies Fri., 9:45 p.m.; Sun.,

7:30 p.m.Brand: A Second Coming Fri., 10 a.m., 12:15, 5:05,

7:35, 11:20 p.m.; Sat., 10:10 a.m., 2:05, 4:55, 8:45, 10:25 p.m.; Sun., 10:10 a.m., 2:35, 4:55, 8:45, 10:25 p.m.; Mon., 11:35 a.m., 1:55, 4:10, 6:25, 8:40, 10:55 p.m.; Tues., 11:35 a.m., 1:55, 4:15, 6:35, 8:40, 10:55 p.m.

Cold Nights Hot Salsa Sat., 6 p.m.Don’t Worry Baby Sat., 5:45 p.m.East LA Interchange Sun., 1:15 p.m.Forward. Side. Close! (Vor. Seit. Schluss!) Sat.,

7:30 p.m.; Sun., 3:15 p.m.Frame by Frame Fri., 4 p.m.Getting to Know Each Other Sat., 11 a.m.Ghost Town to Havana Sun., 1:15 p.m.Glory Daze: The Life and Times of Michael Alig

Sat., 9:45 p.m.Hell’s Heart Sat., 7:45 p.m.Hollywood Selects Sat., 11 a.m.Image & Justice Fri.-Sun., 11 a.m.In the Game Fri., 7:45 p.m.; Sun., 2:45 p.m.Inside Fur (Pels) Fri., 1:30 p.m.Inside Peace Fri., 1:45 p.m.Inspired Callings Sun., 11 a.m.The Key (2014) Sun., 5:45 p.m.Magda Sat., 3:45 p.m.Milk (2015) Sun., 3:45 p.m.Oblivion Season Sat., 10 p.m.Outliving Emily Sun., 4:45 p.m.Pearly Gates Sat., 3 p.m.

Personal Gold Fri., 1:30 p.m.; Sat., 3:15 p.m.Primero De Enero Fri., 5:30 p.m.The Rainforests Are Under Threat Sat., 1:30 p.m.Right Footed Fri., 3:30 p.m.The Russian Woodpecker Sat., 7 p.m.The Shattered Norm Fri., 11 a.m.; Sat., 11:15 a.m.;

Sun., 11 a.m.She’s the Best Thing in It Fri., 9:15 p.m.Silent Sea (Meeres Stille) Fri., 8:15 p.m.; Sat., 9 p.m.Surviving Me: The 9 Circles of Sophie Fri., 6 p.m.;

Sat., 3:45 p.m.The Truth About Lies Fri., 9:45 p.m.Two 4 One Fri., 5:30 p.m.; Sun., 7:15 p.m.W.A.K.A Fri., 3 p.m.Waffle Street Sat., 5:15 p.m.; Sun., 5:30 p.m.Warriors Sat., 7:15 p.m.LOS FELIZ 3 1822 N. Vermont Ave. (323) 664-2169The Intern 1:30, 4:15, 7, 9:45 p.m.Goodnight Mommy (Ich seh, Ich seh) 1:30, 4:15,

7, 9:45 p.m.Grandma 1:30, 4:15, 7, 9:45 p.m.Wet Bum 4:15 p.m.TCL CHINESE 6 THEATRES 6801 Hollywood Blvd. (323) 461-3331Mission: Impossible - Rogue Nation Sat., 12:10

p.m.; Sun., 12:40, 6:40 p.m.; Mon.-Thurs., 1:10 p.m.The Martian Thurs., 8, 11 p.m.The Green Inferno Fri., 8, 10:30 p.m.; Sat., 12 noon,

2:30, 5, 7:30, 10 p.m.; Sun., 12 noon, 2:25, 4:45, 7:15, 9:45 p.m.; Mon.-Thurs., 12:30, 3, 5:30, 8, 10:30 p.m.

Black Mass Fri., 7:20, 10:20 p.m.; Sat., 1:20, 4:20, 7:20, 10:20 p.m.; Sun., 1:10, 4:10, 7:10, 10:10 p.m.; Mon.-Thurs., 1:20, 4:20, 7:20, 10:20 p.m.

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

Maze Runner: The Scorch Trials Fri.-Sat., 7:15, 10:15 p.m.; Sun., 12:30, 3:30, 6:30, 9:30 p.m.; Mon.-Wed., 1:15, 4:15, 7:15, 10:15 p.m.; Thurs., 1:30, 4:30 p.m.; Fri.-Sat., 7:15, 10:15 p.m.; Sun., 12:30, 3:30, 6:30, 9:30 p.m.; Mon.-Wed., 1:15, 4:15, 7:15, 10:15 p.m.; Thurs., 1:30, 4:30 p.m.

Pawn Sacrifice Fri., 7, 10 p.m.; Sat., 1, 4, 7, 10 p.m.; Sun., 1:25, 4:10, 6:50, 9:40 p.m.; Mon.-Thurs., 1, 4, 7, 10 p.m.

Sleeping With Other People Sat., 7:10 p.m.; Sun., 3:40 p.m.; Mon.-Thurs., 4:10 p.m.

Jurassic World Sat., 10:10 p.m.; Sun., 9:40 p.m.The Elephant Man Fri., 9 p.m.TCL CHINESE THEATRE IMAX 6925 Hollywood Blvd. (323) 461-3331The Walk: An IMAX 3D Experience Tues., 12:01

a.m.; Wed.-Thurs., 12:30, 3:45, 7, 10 p.m.Everest: An IMAX 3D Experience Fri.-Sat., 1, 4, 7:15,

10:15 p.m.; Sun., 12:45, 3:45, 7, 10 p.m.; Mon., 1, 4, 7:15, 10:15 p.m.; Tues., 1:30, 4:30, 7:30 p.m.

PACIFIC’S EL CAPITAN Hollywood Blvd., west of Highland (323) 467-7674Aladdin 10 a.m., 1, 4, 7 p.m.PACIFIC’S THE GROVE STADIUM 14 189 The Grove Dr., Third & Fairfax (323) 692-0829Mission: Impossible - Rogue Nation Fri.-Wed.,

1:20, 6:25 p.m.The Martian Thurs., 8, 11 p.m.A Brave Heart: The Lizzie Velasquez Story Fri.-

Sun., 11:10 a.m., 1:10, 3:10, 5:15, 7:10, 9:10 p.m.; Mon., 10:35 a.m., 1:10, 3:10, 5:15, 7:10, 9:10 p.m.; Tues.-Wed., 11:10 a.m., 1:10, 3:10, 5:15, 7:10, 9:10 p.m.

The Green Inferno Fri., 12:25, 2:45, 5:05, 8:45, 11:05 p.m., 12:05 a.m.; Sat., 12:25, 2:45, 5, 8:45, 11:05 p.m., 12:05 a.m.; Sun., 12:25, 2:45, 5, 8:45, 11:05 p.m.; Mon.-Wed., 12:25, 2:45, 5:05, 8:45, 11:05 p.m.

Hotel Transylvania 2 Fri., 10:30 a.m., 12:05, 12:40, 2:25, 4:40, 7, 9:15, 10:10 p.m.; Sat.-Sun., 10:30 a.m., 12:05, 12:40, 2:20, 2:50, 4:35, 5:05, 7, 9:15, 10:10 p.m.; Mon., 11, 11:15 a.m., 12:05, 2:25, 4:40, 7, 9:15, 10:10 p.m.; Tues.-Wed., 10:30 a.m., 12:05, 12:40, 2:25, 4:40, 7, 9:15, 10:10 p.m.

Hotel Transylvania 2 3D Fri., 11:05 a.m., 1:30, 3:40, 5:50, 8 p.m.; Sat.-Sun., 11:30 a.m., 1:30, 3:40, 5:50, 8 p.m.; Mon., 1:15, 3:35, 5:50, 8 p.m.; Tues.-Wed., 11:05 a.m., 1:30, 3:40, 5:50, 8 p.m.

The Intern Fri., 10:50 a.m., 1:15, 4, 5:10, 7:45, 10:25 p.m., 12:20 a.m.; Sat., 10:35 a.m., 1:15, 4, 7:45, 10:25 p.m., 12:20 a.m.; Sun., 10:35 a.m., 1:15, 4, 7:45, 10:25 p.m.; Mon., 12:10, 1:20, 4, 5:10, 7:45, 10:25 p.m.; Tues.-Wed., 10:50 a.m., 1:15, 4, 5:10, 7:45, 10:25 p.m.

Black Mass Fri., 11 a.m., 12 noon, 1:45, 2:40, 4:30, 5:30, 7:15, 8:15, 10, 11, 11:30 p.m.; Sat.-Sun., 11 a.m., 12 noon, 2:40, 4:25, 5:30, 7:15, 8:15, 10, 11, 11:30 p.m.; Mon.-Wed., 11 a.m., 12 noon, 1:45, 2:40, 4:30, 5:30, 7:15, 8:15, 10, 11, 11:30 p.m.

Captive Fri.-Sun., 4:10 p.m.; Mon., 10:55 a.m., 4:10 p.m.; Tues.-Wed., 4:10 p.m.

Everest Fri., 11:15 a.m., 2, 4:50, 7:30, 9:35, 10:15 p.m., 12:10 a.m.; Sat., 11:25 a.m., 2:15, 5:45, 7:30, 9:35, 10:15 p.m., 12:10 a.m.; Sun., 11:25 a.m., 2:15, 5:45, 7:30, 9:35, 10:15 p.m.; Mon., 11:15 a.m., 2, 4:50, 7:30, 9:35, 10:10 p.m.; Tues.-Wed., 11:15 a.m., 2, 4:50, 7:30, 9:35, 10:15 p.m.

Everest 3D Fri., 12:15, 3, 5:45, 8:30, 11:15 p.m.; Sat.-Sun., 12:15, 3, 8:30, 11:15 p.m.; Mon., 12:20, 3, 5:45, 8:30, 11:15 p.m.; Tues.-Wed., 12:15, 3, 5:45, 8:30, 11:15 p.m.

Maze Runner: The Scorch Trials Fri., 10:35 a.m., 1:25, 4:25, 7:20, 10:20 p.m.; Sat.-Sun., 10:40 a.m., 1:25, 4:20, 7:20, 10:20 p.m.; Mon., 10:30 a.m., 1:25, 4:25, 7:20, 10:15 p.m.; Tues.-Wed., 10:35 a.m., 1:25, 4:25, 7:20, 10:20 p.m.

The Perfect Guy Fri., 11:25 a.m., 2:50, 4:15, 7:25, 9:45 p.m.; Sat.-Sun., 11:15 a.m., 2, 4:15, 7:25, 9:45 p.m.; Mon.-Wed., 11:25 a.m., 2:50, 4:15, 7:25, 9:45 p.m.

The Visit Fri., 11:50 a.m., 2:10, 4:35, 8:40, 11:10 p.m.; Sat.-Sun., 11:50 a.m., 2:10, 4:30, 8:40, 11:10 p.m.; Mon.-Wed., 11:50 a.m., 2:10, 4:35, 8:40, 11:10 p.m.

Grandma Fri.-Wed., 11:20 a.m., 6:45 p.m.Straight Outta Compton Fri.-Wed., 6:35, 9:25 p.m.The Gift Fri.-Wed., 1:40, 10:55 p.m.Inside Out Fri.-Wed., 6:30 p.m.VISTA 4473 Sunset Dr. (323) 660-6639The Martian Thurs., 8:45 p.m.Black Mass Fri.-Wed., 1, 4, 7, 9:45 p.m.; Thurs., 1, 4 p.m.

DOWNTOWN, S. LOS ANGELES

DOWNTOWN INDEPENDENT 251 South Main Street (213)617-1033The Looking Planet Fri., 7 p.m.; Sat., 6 p.m.; Sun.,

5:30 p.m.CGV CINEMAS LA 621 South Western Avenue (213)388-9000 Call theater for schedule.REGAL CINEMAS L.A. LIVE STADIUM 14 1000 West Olympic Blvd. (844)462-7342 4046RiffTrax Live: Miami Connection Thurs., 8 p.m.The Green Inferno Fri.-Sat., 12:20, 3, 5:40, 8:20, 11,

11:55 p.m.; Sun., 12:20, 3, 5:40, 8:20, 11 p.m.; Mon.-Tues., 12:20, 3, 5:30, 8, 10:30 p.m.

Hotel Transylvania 2 Fri., 11 a.m., 12:10, 1:30, 2:40, 4, 5:10, 6:20, 7:40, 8:50, 11:20 p.m.; Sat., 11 a.m., 12:10, 1:30, 2:40, 4, 6:20, 7:40, 8:50 p.m.; Sun., 11 a.m., 12:10, 1:30, 2:40, 4, 5:10, 6:20, 7:40, 8:50 p.m.; Mon.-Tues., 12:10, 1:30, 2:40, 4, 5:10, 6:20, 7:40, 8:50 p.m.

Hotel Transylvania 2 3D Fri.-Sat., 11:40 a.m., 2:10, 4:40, 7, 9:20, 11:50 p.m.; Sun., 11:40 a.m., 2:10, 4:40, 7, 9:20 p.m.; Mon.-Tues., 11:50 a.m., 2:10, 4:40, 7, 9:20 p.m.; Fri., 10:10 p.m.; Sat., 5:10, 10:10 p.m.; Sun.-Tues., 10:10 p.m.

The Intern Fri.-Sun., 11:10 a.m., 2, 5, 7:50, 10:40 p.m.; Mon.-Tues., 1:35, 4:35, 7:25, 10:15 p.m.

Black Mass Fri.-Tues., 12:40, 1:20, 3:40, 4:20, 6:40, 7:20, 9:40, 10:20 p.m.

Everest 3D Fri.-Sun., 1:10, 4:30, 8, 11:10 p.m.; Mon.-Tues., 1:10, 4:15, 7:15, 10:15 p.m.

Maze Runner: The Scorch Trials Fri., 11:50 a.m., 12:30, 1:25, 3:10, 3:50, 4:50, 6:30, 7:10, 8:10, 9:50, 10:30, 11:45 p.m.; Sat., 11:50 a.m., 12:30, 3:10, 3:50, 6:30, 7:10, 9:50, 10:30 p.m.; Sun., 11:50 a.m., 12:30, 1:25, 3:10, 4:50, 6:30, 8:10, 9:50 p.m.; Mon.-Tues., 11:55 a.m., 12:30, 1:25, 3:10, 3:50, 4:50, 6:30, 7:10, 8:10, 9:50, 10:25 p.m.

The Perfect Guy Fri.-Sat., 11:45 a.m., 2:20, 4:55, 7:30, 10 p.m.; Mon.-Tues., 11:50 a.m., 2:20, 4:55, 7:30, 10 p.m.

The Visit Fri.-Sun., 11:20 a.m., 1:40, 4:10, 6:50, 9:25 p.m.; Mon.-Tues., 1:40, 4:10, 6:50, 9:25 p.m.

Straight Outta Compton Sat., 11:30 a.m., 2:50, 6:10, 9:30 p.m.; Mon., 12:05, 3:25, 6:45, 10:05 p.m.; Tues., 12:05, 3:25 p.m.

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

WEST HOLLYWOOD, BEVERLY HILLS

SUNDANCE SUNSET CINEMA 8000 West Sunset Boulevard (323)654-2217 Call theater for schedule.LAEMMLE’S MUSIC HALL 3 9036 Wilshire Blvd. (310) 274-6869Forever Fri., 7:30 p.m.; Sat.-Sun., 12 noon, 7:40 p.m.;

Mon., 12 noon.; Tues., 7:40 p.m.; Wed.-Thurs., 12 noon, 7:40 p.m.

Shah Bob Fri.-Sat., 12 noon, 2:20, 4:40, 7, 9:30 p.m.; Sun.-Thurs., 12 noon, 2:20, 4:40, 7, 9:15 p.m.

The Second Mother (Que Horas Ela Volta?) Fri., 12 noon.; Sat., 2:20 p.m.; Sun.-Mon., 2:20, 10 p.m.; Tues., 10 p.m.; Wed.-Thurs., 2:20, 10 p.m.

Alleluia! The Devil’s Carnival Sat., 10 p.m.Mr. Holmes Fri., 2:20 p.m.; Sat.-Thurs., 5 p.m.The Impressionists (Exhibition On Screen) Mon.,

7:30 p.m.; Tues., 1 p.m.The Death of “Superman Lives”: What

Happened? 1:30, 4:15, 7, 9:45 p.m.

WESTWOOD, WEST L.A.

AMC CENTURY CITY 15 10250 Santa Monica Blvd. (888)AMC-4FUNMission: Impossible - Rogue Nation Fri., 1:15,

7:25, 10:40 p.m.; Sat., 1:30, 7:25, 10:40 p.m.; Sun., 1:15, 7:25, 10:40 p.m.

The Walk: An IMAX 3D Experience Wed.-Thurs., 10:30 a.m., 1:30, 4:30, 7:30, 10:30 p.m.

Hotel Transylvania 2 Fri., 9:30, 10, 11 a.m., 1:35, 4:05, 5:30, 6:45, 9:50 p.m.; Sat., 9:30, 11 a.m., 1:35, 4:05, 5:30, 6:45, 9:50 p.m.; Sun., 9:30, 10, 11 a.m., 1:35, 4:05, 5:30, 6:45, 9:50 p.m.

Hotel Transylvania 2 3D Fri., 10:30 a.m., 12:20, 2:55, 4:45, 7:55, 10:35 p.m.; Sat., 10 a.m., 12:20, 2:55, 4:45, 7:55, 10:35 p.m.; Sun., 10:30 a.m., 12:20, 2:55, 4:45, 7:55, 10:35 p.m.

The Intern Fri.-Sat., 9:50, 10:40 a.m., 12:45, 1:45, 3:50, 4:50, 7, 8:10, 10:05, 11:15 p.m.; Sun., 9:50, 10:40 a.m., 12:45, 1:45, 3:50, 4:50, 7, 8:10, 10:05, 11:10 p.m.

Stonewall Fri.-Sun., 9:40 a.m., 12:50, 4, 7:20, 10:30 p.m.Black Mass Fri.-Sun., 10 a.m., 12:05, 1:05, 3:20, 4:20,

6:40, 7:40, 9:20, 10:55 p.m.Captive Fri., 10:20 a.m., 4:25 p.m.; Sat., 9:30 a.m., 4:40

p.m.; Sun., 10:20 a.m., 4:25 p.m.Everest Fri.-Sat., 2:20, 8:30 p.m.; Sun., 2:20, 8:20 p.m.Everest 3D Fri.-Sat., 11:15 a.m., 5:25, 11:30 p.m.; Sun.,

11:15 a.m., 5:25, 11:15 p.m.

Everest: An IMAX 3D Experience Fri.-Sat., 10:05 a.m., 1:10, 4:10, 7:15, 10:20 p.m.; Sun., 1:10, 4:10, 7:15, 10:20 p.m., 2:05 a.m.

Maze Runner: The Scorch Trials Fri.-Sat., 9:35, 11:45 a.m., 1, 3:05, 4:15, 6:20, 7:30, 9:40, 10:45 p.m.; Sun., 9:35 a.m., 12:20, 1, 3:20, 4:15, 6:20, 7:30, 9:40, 10:45 p.m.

Sicario Fri.-Sun., 9:30 a.m., 12:30, 3:30, 6:30, 9:30, 10:25 p.m.; Fri.-Sun., 10:45 a.m., 1:50, 4:55, 8, 11:05 p.m.

Straight Outta Compton Fri., 12:55, 7:05 p.m.; Sat., 10:15 a.m., 7:05 p.m.; Sun., 12:55, 7:05 p.m.

LAEMMLE’S ROYAL THEATER 11523 Santa Monica Blvd. (310) 477-5581 Call theater for schedule.LANDMARK’S NUART THEATER 11272 Santa Monica Blvd. (310) 473-8530; No Texting AllowedThe Black Panthers: Vanguard of the Revolution

Fri.-Sun., 1:30, 4:15, 7, 9:55 p.m.; Mon.-Thurs., 1:30, 4:15, 7, 9:45 p.m.

Halloween: H2O 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 AllowedSleeping With Other People Fri., 4:40, 7:05, 9:30

p.m.; Sat.-Sun., 2:15, 4:40, 7:05, 9:30 p.m.; Mon.-Thurs., 4:40, 7:05, 9:30 p.m.

LANDMARK WEST L.A. 10850 W. Pico Blvd. (310) 470-0492; No Texting AllowedA Brilliant Young Mind Fri.-Tues., 11:35 a.m., 2:05,

4:35, 7:05, 9:35 p.m.; Wed.-Thurs., 11:35 a.m., 2:05, 4:35 p.m.

Freeheld Thurs., 7:50, 10:15 p.m.He Named Me Malala Thurs., 7:10, 9:15 p.m.The Martian Thurs., 8, 10:50 p.m.99 Homes Thurs., 7:45, 10:15 p.m.The Intern Fri.-Sun., 11 a.m., 1:45, 4:30, 7:20, 10:10 p.m.;

Mon.-Thurs., 11 a.m., 1:45, 4:30, 7:20, 10 p.m.The Keeping Room Fri.-Sat., 10:15 a.m., 12:30, 2:50,

5:10, 7:30, 10:10 p.m.; Sun., 10:15 a.m., 12:30, 2:50, 5:10, 7:50, 10:10 p.m.; Mon.-Thurs., 12:30, 2:50, 5:10, 7:30, 9:45 p.m.

Black Mass Fri.-Sat., 11:15 a.m., 12 noon, 2, 2:45, 4:45, 5:30, 7:30, 8:15, 9:55, 10:50 p.m.; Sun., 11:15 a.m., 12 noon, 2, 2:45, 4:45, 5:30, 7:30, 8:15, 9:55 p.m.; Mon.-Tues., 11:15 a.m., 12:30, 2, 3:15, 4:45, 7:30, 10:10 p.m.; Wed., 11:15 a.m., 12 noon, 2, 2:45, 4:45, 7:30, 10:10 p.m.; Thurs., 11:15 a.m., 12:30, 2, 3:15, 4:45, 7:30, 10:10 p.m.

Sicario Wed., 7:15 p.m.; Fri.-Sat., 11, 11:45 a.m., 1:45, 2:30, 4:30, 5:15, 7:15, 8, 9:55, 10:40 p.m.; Sun.-Tues., 11, 11:45 a.m., 1:45, 2:30, 4:30, 5:15, 7:15, 8, 9:55 p.m.; Wed., 11, 11:45 a.m., 1:45, 2:30, 4:30, 5:15, 8, 9:55 p.m.; Thurs., 11, 11:45 a.m., 1:45, 2:30, 4:30, 5:15, 7:15, 9:55 p.m.

Pawn Sacrifice Wed., 7:20 p.m.; Fri.-Tues., 11:20 a.m., 2, 4:40, 7:20, 9:55 p.m.; Wed., 11:20 a.m., 2, 4:40, 10:15 p.m.; Thurs., 11:20 a.m., 2, 4:40, 7:20, 9:55 p.m.

Goodnight Mommy (Ich seh, Ich seh) Fri.-Sun., 10:15 a.m., 12:35, 3, 5:25, 7:50, 10:10 p.m.; Mon.-Wed., 12:35, 3, 5:25, 7:50, 10:10 p.m.; Thurs., 12:35, 3, 10:10 p.m.

Meet the Patels Fri.-Sun., 10:45 a.m., 1, 3:15, 5:30, 7:45, 9:55 p.m.; Mon.-Tues., 1, 3:15, 5:30, 7:45, 9:55 p.m.; Wed., 1, 3:15, 5:30, 7:45 p.m.; Thurs., 1, 3:15, 5:30 p.m.

Grandma Fri.-Mon., 11:30 a.m., 1:35, 3:40, 5:45, 7:50, 9:50 p.m.; Tues., 11:30 a.m., 1:35, 3:40, 9:15 p.m.; Wed., 11:30 a.m., 1:35, 3:40, 5:45, 7:50, 9:50 p.m.; Thurs., 11:30 a.m., 1:35, 3:40, 5:45 p.m.

Learning to Drive Fri.-Sun., 10:15 a.m., 12:25, 2:35, 4:50, 7:10, 9:20 p.m.; Mon., 12:25, 2:25, 4:25 p.m.; Tues.-Wed., 12:25, 2:35, 4:50, 7:10, 9:20 p.m.; Thurs., 12:25, 2:35, 4:50 p.m.

CULVER CITY, LAX, MARINA DEL REY

CINEMARK 18 & XD 6081 Center Drive (310)568-3394Just Let Go Mon., 8 p.m.The Martian 3D Thurs., 8:30 p.m., 12:01 a.m.; Thurs.,

9, 11 p.m.The Martian Thurs., 8, 8:30, 10 p.m., 12:01 a.m.RiffTrax Live: Miami Connection Thurs., 8 p.m.Roger Waters the Wall Tues., 8 p.m.The Green Inferno Fri.-Mon., 10:50 a.m., 1:10, 3:30,

5:50, 8:10, 10:30 p.m.Hotel Transylvania 2 Fri.-Mon., 10:40, 11:30 a.m., 2:05,

4:35, 7, 9:25 p.m.; Fri.-Mon., 10:40, 11:30 a.m., 12:25, 2:05, 4:35, 5:20, 7, 9:25, 10:10 p.m.

Hotel Transylvania 2 3D Fri.-Mon., 1:20, 3:45, 6:10, 8:35, 11 p.m.; Fri.-Mon., 1:20, 2:55, 3:45, 6:10, 7:45, 8:35, 11 p.m.

The Intern Fri.-Mon., 11:20 a.m., 2:10, 5, 7:50, 10:45 p.m.Black Mass Fri.-Mon., 11 a.m., 12:30, 2, 3:30, 4:55, 6:30,

8, 9:30, 11 p.m.Everest Fri.-Mon., 6, 9 p.m.Everest 3D Fri.-Mon., 10:30 a.m., 1:30, 4:30, 7:30, 10:30

p.m.; Fri.-Mon., 12 noon, 3 p.m.Maze Runner: The Scorch Trials Fri.-Mon., 10:30

a.m., 1:40, 4:50, 8, 11:10 p.m.; Fri.-Sat., 11:35 a.m., 12:40, 2:40, 3:50, 5:55, 7, 9:05, 10:10 p.m.; Sun., 10:50 a.m., 12:40, 3:50, 5:55, 7, 9:05, 10:10 p.m.; Mon., 11:35 a.m., 12:40, 2:40, 3:50, 7, 10:10, 11 p.m.

Pawn Sacrifice Fri.-Mon., 11:20 a.m., 2:10, 5, 7:55, 10:45 p.m.

The Perfect Guy Fri.-Mon., 11:30 a.m., 2:10, 4:45, 7:20, 9:50 p.m.

The Visit Fri.-Mon., 11:50 a.m., 2:20, 4:50, 7:25, 9:55 p.m.Un gallo con muchos huevos Fri.-Mon., 11:20 a.m.,

1:50 p.m.War Room Fri.-Mon., 10:30 a.m., 1:20, 4:10, 7:10, 10 p.m.Straight Outta Compton Fri.-Mon., 4:20, 7:40, 11 p.m.Subramanyam For Sale Fri.-Mon., 12 noon, 3:25,

7:05, 10:35 p.m.RAVE CINEMAS BALDWIN HILLS CRENSHAW PLAZA 15 + XTREME 4020 Marlton Avenue (323)296-1005The Martian 3D Thurs., 8, 11:30 p.m.The Martian Thurs., 9 p.m., 12:15 a.m.

Attack on Titan Part 1 (live-action) Wed.-Thurs., 7:30 p.m.

The Green Inferno Fri.-Sat., 10:15 a.m., 12:40, 3, 5:30, 8, 10:30, 11:45 p.m.; Sun., 10:15 a.m., 12:40, 3, 5:30, 8, 10:30 p.m.; Mon.-Thurs., 12:20, 3, 5:30, 8, 10:30 p.m.

Hotel Transylvania 2 Fri.-Sat., 9:30 a.m., 12:10, 1, 2:50, 5:40, 6:30, 8:15, 11, 11:30 p.m.; Sun., 9:30 a.m., 12:10, 1, 2:50, 5:40, 6:30, 8:15, 11 p.m.; Mon.-Thurs., 12:10, 1, 2:50, 5:40, 6:30, 8:15, 11 p.m.

Hotel Transylvania 2 3D 10:30 a.m., 3:30, 9 p.m.; Fri.-Sat., 11:30 a.m., 2, 4:40, 7:20, 9:50 p.m., 12:10 a.m.; Sun.-Thurs., 11:30 a.m., 2, 4:40, 7:20, 9:50 p.m.

The Intern Fri.-Sun., 10 a.m., 12:50, 3:50, 7:10, 10:10 p.m.; Mon.-Thurs., 12:40, 3:50, 7:10, 10:10 p.m.

Black Mass Fri.-Sun., 10:20, 11:20 a.m., 1:30, 2:20, 4:30, 5:20, 7:30, 8:30, 10:40, 11:25 p.m.; Mon.-Thurs., 10:45, 11:20 a.m., 1:40, 2:20, 4:30, 5:20, 7:30, 8:30, 10:40 p.m.

Everest 3D 10:50 a.m., 1:55, 5, 7:50, 10:55 p.m.Maze Runner: The Scorch Trials Fri.-Sat., 9:45,

10:40 a.m., 12:45, 1:45, 3:45, 4:50, 7, 8:10, 10:20, 11:55 p.m.; Sun., 9:45, 10:40 a.m., 12:45, 1:45, 3:45, 4:50, 7, 8:10, 10:20 p.m.; Mon.-Thurs., 10:40 a.m., 12:30, 1:45, 3:45, 4:50, 7, 8:10, 10:20 p.m.

The Perfect Guy Fri.-Tues., 11:10 a.m., 12 noon, 1:50, 2:30, 4:45, 5:10, 7:25, 8:05, 9:55, 10:45 p.m.; Wed., 11:10 a.m., 12 noon, 1:50, 2:30, 4:45, 5:10, 8:05, 10, 10:45 p.m.; Thurs., 11:10 a.m., 12 noon, 1:50, 2:30, 4:25, 5:10, 8:05, 10, 10:45 p.m.

The Visit Fri.-Sun., 9:55 a.m., 12:30, 3:10, 5:45, 8:20, 10:50 p.m.; Mon.-Thurs., 11:45 a.m., 2:40, 5:45, 8:20, 10:50 p.m.

Un gallo con muchos huevos Fri.-Wed., 11 a.m., 1:35, 4:15, 7:05, 9:30 p.m.; Thurs., 11 a.m., 1:35, 4:15 p.m.

War Room Fri.-Sun., 10:10 a.m., 1:20, 4:20, 7:40, 10:35 p.m.; Mon.-Wed., 10:35 a.m., 1:25, 4:20, 7:40, 10:35 p.m.; Thurs., 10:35 a.m., 1:25, 4:20 p.m.

AMC LOEWS CINEPLEX MARINA MARKETPLACE 13455 Maxella Ave. (800) 326-3264 704 Call theater for schedule.PACIFIC CULVER STADIUM 12 9500 Culver Blvd. (310) 360-9565Mission: Impossible - Rogue Nation Fri.-Sat., 1:15,

5:55, 11 p.m.; Sun.-Tues., 1:15, 5:40 p.m.; Wed., 1:15, 9:35 p.m.

The Martian Thurs., 8, 10:45 p.m.The Green Inferno Fri.-Sat., 12:05, 2:20, 4:25, 8:45,

10:50 p.m.; Sun., 12:05, 2:20, 4:25, 8:45 p.m.; Mon., 12:05, 2:20, 4:25, 8:45, 9:30 p.m.; Tues., 12:05, 2:20, 4:30, 8:45, 9:30 p.m.; Wed., 12:05, 2:20, 4:25, 8:45, 10:45 p.m.

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

Hotel Transylvania 2 3D Fri.-Sat., 11 a.m., 4:10, 11:15 p.m.; Sun., 11 a.m., 4:10 p.m.; Mon.-Wed., 11:05 a.m., 4:10 p.m.

The Intern Fri., 12:30, 3, 5:25, 6:10, 8, 10:10 p.m.; Sat., 10:10 a.m., 12:35, 3, 5:25, 6:10, 8, 10:10 p.m.; Sun., 10:05 a.m., 12:35, 3, 6:10, 9:20, 10:10 p.m.; Mon.-Tues., 12:30, 3, 6:10, 10:10 p.m.; Wed., 12:25, 3, 6:10, 10:10 p.m.

Black Mass Fri., 11:45 a.m., 1, 2:15, 3:30, 4:45, 5:35, 7:30, 8:30, 9, 10, 11:05 p.m.; Sat., 11:40 a.m., 1, 2:15, 3:25, 4:45, 5:35, 7:30, 8:30, 9, 10, 11:05 p.m.; Sun., 11:20 a.m., 1, 2, 3:35, 4:30, 5:35, 7:30, 8:20, 8:55 p.m.; Mon.-Tues., 11:20 a.m., 1:05, 2, 3:35, 4:35, 5:35, 7:30, 8:30, 10 p.m.; Wed., 11:20 a.m., 1:05, 2, 3:35, 5:35, 5:40, 7:25, 8:30, 10 p.m.

Everest Fri., 12:20, 2:50, 5:20, 7:45, 10:15, 11:30 p.m.; Sat., 10:15 a.m., 12:20, 2:50, 5:20, 7:45, 10:15, 11:30 p.m.; Sun., 10:10 a.m., 12:15, 2:50, 5:20, 7:45, 10:15 p.m.; Mon.-Wed., 12:20, 2:50, 5:20, 6:20, 7:45, 10:15 p.m.

Everest 3D Fri.-Tues., 8:40 p.m.; Wed., 8:50 p.m.Maze Runner: The Scorch Trials Fri.-Sat., 11:50 a.m.,

2:35, 5:10, 7:50, 10:30 p.m.; Sun., 10:35 a.m., 1:20, 3:55, 6:35, 10 p.m.; Mon.-Tues., 11:10 a.m., 1:40, 4:15, 6:50, 8:55 p.m.; Wed., 11:10 a.m., 1:40, 4:15, 6:50, 8:40 p.m.

The Perfect Guy Fri.-Sat., 11:25 a.m., 1:35, 3:40, 5:50, 8:10, 10:25 p.m.; Sun.-Wed., 11:25 a.m., 1:35, 3:40, 5:50, 8:10, 10:20 p.m.

Straight Outta Compton Fri.-Sat., 2:40, 8:05, 10:35 p.m.; Sun., 2:40, 8:05, 9:40 p.m.; Mon.-Wed., 2:40, 8:05, 9 p.m.

Mr. Holmes Fri., 12:15, 6:30 p.m.; Sat., 12:40, 6:30 p.m.; Sun., 12:30, 6:30 p.m.; Mon.-Tues., 12:35, 6:35 p.m.; Wed., 12:35, 6:30 p.m.

Inside Out Fri., 10:55 a.m., 2:10, 4:30, 6:50 p.m.; Sat., 10:40 a.m., 2:10, 4:30, 6:50 p.m.; Sun., 10:40 a.m., 2:10, 4:15, 6:50 p.m.; Mon.-Tues., 11 a.m., 2:10, 4:25, 6:30 p.m.; Wed., 11 a.m., 2:10, 4:20, 6:25 p.m.

Going Clear: Scientology and the Prison of Belief Fri.-Wed., 11:35 a.m.

E.T. The Extra-Terrestrial Wed., 7:30 p.m.Taxi Driver Sun., 7 p.m.

BEACHES

Santa Monica, Malibu

AMC SANTA MONICA 7 1310 Third Street Promenade (310) 395-3030Mission: Impossible - Rogue Nation Fri.-Wed.,

10:30 a.m., 4:15, 7:15, 10:25 p.m.Hotel Transylvania 2 Fri.-Wed., 10 a.m., 2:40, 7:30 p.m.Hotel Transylvania 2 3D Fri.-Wed., 12:20, 1:40, 5:10,

9:30 p.m.Everest Fri.-Wed., 7:40 p.m.Everest 3D Fri.-Wed., 11:05 a.m., 1:55, 4:50, 9:50 p.m.Maze Runner: The Scorch Trials Fri.-Wed., 10 a.m.,

1, 4, 7:05, 10:30 p.m.Pawn Sacrifice Fri.-Wed., 10:50 a.m., 1:30, 4, 6:45,

10:05 p.m.The Perfect Guy Fri.-Wed., 10:20 a.m., 2:10, 4:40, 7:10,

9:40 p.m.Straight Outta Compton Fri.-Wed., 10:55 a.m., 12:50,

4:05, 7:20, 10:35 p.m.

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HAPPY CAMPERSWith packed clubs, a hit Rihanna remix and its fi rst festival,house label Dirtybird Records has arrived

BY LIZ OHANESIAN

“The road is not great on your body,” says Barclay Cren-shaw, in between yogalike stretches. “There’s a lot of bad

food … no sleep.” The DJ, producer and Dirtybird label

boss best known to house-music lovers as Claude VonStroke just got back into town after another trek across the country. After hitting Chicago to work with veteran producer Curtis “Green Velvet” Jones on new music for their collaborative project, Get Real, he went to New York for one of his touring Dirtybird BBQ parties.

There, a summer storm attacked the outdoor dance fl oor right before doors opened, leaving roughly 4,000 attendees stuck in what Crenshaw describes as a “Disneyland, Saturday afternoon” queue. He went to the back of the line, met fans and made sure they all, eventually, got into the party.

Now he’s with his wife, Aundy, and their personal trainer, running through a series of exercises as the mid-August sun blazes across their Venice backyard. “I have much more energy. I dance a lot more,” Crenshaw says as he gets deeper into the workout. “The bad part of that is that I’m able to party way harder, too, which is a disaster.”

Lately, Crenshaw and his Dirtybird

cohorts are at the center of the party. For years, they’ve been the cool crew on the U.S. festival circuit, bringing underground vibes to mainstream dance events such as Hard Summer and Electric Daisy Carni-val. As the young, festival-hopping crowd moves away from pop-minded EDM and toward tried-and-true genres like house, Dirtybird’s profi le has grown immensely. Crenshaw, who moved to L.A. from the Bay Area two years ago, even landed his fi rst big pop remix gig this year when he put his stamp on Rihanna’s hit “Bitch Better Have My Money.”

A few days after his L.A. Weekly inter-view, Crenshaw has a gig with French DJ Shiba San at downtown club Exchange. Outside the venue, in a dead-stopped line to the sold-out event, would-be attendees chatter loudly about which of their vague connections might be able to get them in. Inside, even the VIP area is packed. Sweat fl ies as folks try to dance shoulder to shoulder and girls hop atop shoulders, as Crenshaw drops a bit of bass-y, Kraftwerk-ian electro at the start of his headlining set.

On Oct. 2, Crenshaw’s label will host its fi rst major festival, the three-day event Dirtybird Campout at Orange County’s Oak Canyon Park. Produced in connection with the Do LaB, promoters of Lightning in a Bottle, the weekend is designed to recall the s’mores-eating days of summer camp. The core Dirtybird DJs — including Justin Martin , J.Phlip and Justin Jay — will per-

form throughout the weekend. They may also be around for the nonmusic events. Martin says he wants to put together a basketball tournament. Crenshaw intends to emcee a talent show.

Born in Cleveland and raised outside of Detroit, Crenshaw gravitated to music early. As a kid, he made music with a four-track recorder and had a show on his high school’s radio station. Hip-hop was his fi rst passion, but he didn’t see DJing as a career. “It didn’t seem realistic,” he says.

It wasn’t until he was already entrenched in a fi lm career that he decided to pursue DJing professionally. He made a documen-tary for which he interviewed house and techno DJs, and used the knowledge he gained from them to start his own label. In 2005, his wife agreed that he could spend a year getting Dirtybird off the ground while she paid the bills.

“It was a crazy idea,” Crenshaw admits. But it worked. Dirtybird formed out of friendships among up-and-coming DJs in the Bay Area, and 10 years later, the con-nections to their early days are still evident. The tour manager for the Dirtybird BBQs is a friend of Crenshaw’s who was an early supporter of the label, and they’ve had the same grill master, called Grillson, since the fi rst party.

“We’re family,” says Justin Martin, who with his brother Christian is part of the original group. “It’s been really fun to still have the same crew, the same friends that

you had the dream with, and see it become the success.”

Dirtybird has continuously brought in new people as well. Jessica “J.Phlip” Phillippe fi rst met the gang in 2005 during Miami’s Winter Music Conference. “I loved their vibe,” she says. “I kept seeing them around with all these San Francisco people and I loved hanging around with them.” By 2007, Phillippe, who is originally from Illinois, had moved to the Bay Area; a year after that, she was part of the crew, too.

Then there are the producers Crenshaw fi nds by sifting through demos. L.A.-based Justin Jay had fl ipped over Dirtybird’s releases while still in high school. The sum-mer after he graduated from high school at Harvard-Westlake, he submitted his own demos to the label. Midway through his fi rst week of college at USC, he learned that the label wanted to sign him.

Jay, who graduated college earlier this year, spent four years balancing school with far-fl ung DJ gigs. Crenshaw describes Jay’s recent track “Hit It,” from the EP Mom, I Graduated, as “kind of like Eyes Wide Shut if it were a heavy house track,” and says it’s been getting the best reaction out of the music he’s playing on the road now. “It’s really cool and I think it’s going to do well,” he says before adding, “I have no idea — I always say that.”

Although the label is based in San Fran-cisco and Los Angeles, Dirtybird’s roster extends to Europe, including artists such as Polish duo Catz ’n Dogz and Belgian producer Kill Frenzy, and its acts are internationally recognized. Still, Crenshaw credits its success to the amount of eff ort it has put into the U.S. market.

“It paid off ,” he says. “There aren’t that many legitimate house-music labels in the U.S. that aren’t super commercial, so we’re fi lling that space. There are a lot of people coming from Europe, but they don’t stay here. They’re just coming over for a week. We’re just always here.”

Crenshaw says he’s not sure how he ended up playing house. But now that he’s conquered the genre, he’s delving part-time into the style that fi rst inspired him.

Crenshaw’s love of hip-hop is evident here and there on his Claude VonStroke productions. For example, his recent remix of The Chemical Brothers’ track “Go” was done so he could play something “that had an Afrika Bambaataa vibe with modern production.” Soon, Crenshaw will be releasing hip-hop cuts under his own name on a subsidiary label. The fi rst will be a collaboration with producer Eprom. “It’s not going to be a high-pressure thing,” Crenshaw says. “I’m doing it for fun.”

The fun aspect is important for Cren-shaw’s work, especially as Dirtybird continues to grow. “I keep kind of saying, suggesting, to my managers and every-body that it’s pretty good the way that it is. Anything higher and I have to go into a major label or listen to somebody else.

“Right now, I don’t listen to anybody. I just do whatever I want and make tracks and throw parties and it’s pretty good. It doesn’t sound that bad, does it?”

DIRTYBIRD CAMPOUT | Oak Canyon Park, 5305 Santiago Canyon Road, Silverado | Fri.-Sun.,

Oct. 2-4 | $145 and up | dirtybirdcampout.com

| Music // COURTESY OF DIRTYBIRD RECORDS

Ready for camp: Dirtybird’s J. Phlip, left, Kill Frenzy, Justin Jay, Justin Martin and Claude VonStroke

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Player AnthemsWHAT DO THE DODGERS’ MUSICAL PREFERENCES SAY ABOUT THEIR PLAYOFF CHANCES?

BY JEFF WEISS

For the last three Septem-bers, this column has imple-mented the most statistical-ly advanced sabermetrics available to assess the Dodgers’ championship odds, in the form of their

players’ walk-up music. One secret left out of Moneyball was

that players with stellar theme music are more apt to have higher on-base percent-ages — both on and off the fi eld.

It won’t be an easy road in October. Just about every playoff team in the National League is a potential champion-ship contender. But the Dodgers have Clayton Kershaw and Zack Greinke, arguably the two best pitchers to ever fi ll a clubhouse with bovine country music.

With the playoff s imminent, here’s a guide to whether the Dodgers’ musical preferences will lead to a parade or a funeral march. Yasmani Grandal, catcher

Song: Fetty Wap, “Trap Queen”What it reveals: It’s no coincidence that

Grandal’s breakout season has dovetailed with the rise of New Jersey’s fi nest mono-eyed crooner and amateur chemist. Noth-ing says inspiration like Fetty Wap.Adrian Gonzalez, fi rst base

Song: Mariachi Vargas de Tecalitlán, “El Mariachi Loco”

Reveals: He’s had the same song for years, a consistency that lends itself to his steady off ensive production. But it’s still murky if “The Crazy Mariachi” can produce in the clutch. Howie Kendrick, second base

Song: Outkast, “So Fresh, So Clean”Reveals: You can always spot Kendrick

as he peels out of the Dodger Stadium parking lot in a Monte Carlo, wearing a turquoise suit and alligator belt. Kend-rick is the Big Boi of middle infi elders, unfl ashy but quietly excellent. Jimmy Rollins, shortstop

Song: E-40, “Choices (Yup)”Reveals: Despite a torrid September

for rookie Corey Seager that has many calling for him to replace Rollins, it’s clear that anyone who chooses to play 40 Wa-ter before 40,000 people every night can be trusted to deliver when it counts. Justin Turner, third base

Song: DJ Snake featuring Lil Jon, “Turn Down for What”

Reveals: Let’s hope he doesn’t get a late-season drug test. Andre Ethier, left fi eld

Song: Smashing Pumpkins, “Zero”Reveals: He went from Tres Delinquen-

tes to Billy Corgan. Catch Andre at Echo-plex’s next emo night — probably DJing. Joc Pederson, center fi eld

Song: Post Malone, “White Iverson”Reveals: There’s a lot to like about Joc

Pederson. He’s a stellar defensive out-fi elder, hits for power and leads the team in on-base percentage. But friends don’t let friends Post Malone. If Don Mattingly doesn’t have a sit-down with the kid, the Dodgers could wind up with as many rings as Allen Iverson. Yasiel Puig, right fi eld

Song: Kevin Gates, “I Don’t Get Tired”Reveals: Yasiel Puig is a municipal trea-

sure. For a player conspicuously prone to second-half slumps (and currently out with an injury), Puig wisely realizes that the indefatigable Baton Rouge rapper is the only way to survive the rigors of a 162-game season.Carl Crawford, outfi eld

Song: Chedda Da Connect, “Flicka Da Wrist”

Reveals: Crawford understands that a quick fl ick of the wrists can generate home-run power, as well as eff ective cooking. Carl Crawford is a G. Clayton Kershaw, pitcher

Song: Blackstreet, “No Diggity”Reveals: Last year, Kershaw used fun.

and he folded in the playoff s. This year, he’s recruited Teddy Riley, Dr. Dre and Queenpen to his corner. Bet on him.

An L.A. native, Jeff Weiss edits Passion of the Weiss and hosts the Shots Fired pod-cast. Find him online at passionweiss.com.

PHOTO BY MARCO TORRES

| Music // | Bizarre Ride //

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MUSIC, FREEDOM AND THE WEST MEMPHIS THREE

Last year, I moderated a panel at Riot Fest in Chicago with members of the Russian band/activist group Pussy

Riot. It was pretty amazing. So when Mike Petryshyn, who runs Riot Fest, contacted me this year and asked me if I would like to do another panel, I immediately said yes.

A panel at a music festival, I think, should have a music component. But it need not be obvious to the point that no one on the panel or the audience leaves with nothing more than what they came in with.

I came up with the idea to ask Jason Bald-win and Damien Echols of the West Memphis Th ree, along with Damien’s amazing wife, Lorri Davis, to be part of a discussion on music — what it means to them and what role it played in their case and in their lives, before, during and aft er their incarceration. To me, the power of music played a major role in their freedom. I wanted to bring them together with some musi-cians who have had experience in independent music, and get the conversation started.

Luckily, we were able to get Th urston Moore, known for Sonic Youth as well as his own relentless solo output, collaborations and his label Ecstatic Peace!, which has released some amazing records. He is an A-to-Z on music and one of the more articulate people I’ve ever met. I knew he would be able to bring great insight to the conversation.

We also were able to secure Steve Ignorant of the anarchist collective Crass. Th ey were much more than a band. When I got their fi rst album, Th e Feeding of the 5000, in 1979, it made most of my other punk-rock records seem like mere rock & roll by comparison. Th ere was so much assaultive truth in the lyr-ics, it was almost too much. With the singer of Crass on that stage with all the others, I knew I had a perfect balance.

If our throughline was music, then all panel-ists could weigh in honestly and from their own unique perspective. Audience members could not only hear some interesting points of view but hopefully fi nd a lot in common with every-one onstage — which for me is a big part of what can be achieved with a panel discussion.

One of the things used against Damien, Jason and Jessie Misskelley to make the West Memphis Three seem suspicious was the records found in their rooms. When going through Damien’s room, detectives didn’t take his Cure or U2 records into evidence, only the

ones they thought were “satanic.” Same with Jason. For them, music became much more than something they listened to.

Th e night before we hit the stage, I visited with Jason and his wife, Holly. He told me that eventually, aft er severe beatings that knocked out his teeth and fractured his skull, both the inmates and guards believed in his innocence. He was able to procure a Discman and, every once in a while, a CD. He would play the CD over and over and try to memorize it, so when the eventual cell sweep would uncover the contraband, putting him in solitary for 30 days, he would be able to play the songs in his head. When he got a CD of the benefi t record I and others made for the WM3, he did time for it.

Amazingly, he seems to hold no anger. He’s soft -spoken yet energetic, humble and humbling to be with.

Lorri Davis and I have a relationship like no other I have ever experienced. We have known each other for well more than a decade and have had many communications via phone, email and in person, but only a few that have not been grimly intense. Our topic was always the case: three men in prison, charged with murders they did not commit.

Damien is a deep well. In discussion, he is usually a man of few, well-chosen words. I knew he and Lorri together would be great.

As per usual, I prepared and over-prepared, took notes on my notes, etc.

We got out there on a perfect fall aft ernoon, 9-12-15, and it was all I had hoped it would be. All of them were incredible!

Th e one thing I didn’t see coming was that Jason would be so funny. He recounted stories of his early musical explorations, listening to Poison, buying cassettes at Walmart, discover-ing Metallica, his mother’s aff ection for Mötley Crüe records. Steve Ignorant’s stories of shak-ing up the Th atcher administration, Th urston’s discovery of jazz, Lorri’s unlikely journey into activism, Damien’s reserved, cool and insight-ful input — it was all perfect.

When these things fi nd their own chemistry, they tend to end when they are supposed to. When they’re done, you just know. We hit that point at a little over 79 minutes of our allotted 90, thanked the audience and took our leave.

When I got offstage, I found myself sur-rounded by members of the audience and lost track of the panelists. Almost an hour later, aft er everyone had gotten a photo, signature, etc., I got to Riot Fest’s Rebel Stage for Iggy Pop and his new lineup. “Sister Midnight,” “Night-clubbing” and, amazingly, “Mass Production” (!) all made it into the set.

From the I Can’t Not Tell You Th is Dept.: I am sharing a hotel with Mötorhead. In the middle of writing this, I got a text from one of the crew to come down to their bus that was parked out front to say hello. Guitarist Phil, drummer Mikkey and one of my favorite people, Lemmy, were on board. Always great to see the guys and check in with the Lem.

Henry Rollins

The Column!

EVENTUALLY, BOTH THE INMATES AND GUARDS BELIEVED IN THEIR INNOCENCE.

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VICKI LAWRENCE

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BRAD SHERWOOD OF WHOSE LINE IS IT ANYWAY?

OCTOBER 16 FOGHATOCTOBER 17 THE FAB FOUR

OCTOBER 21 MEAT LOAFOCTOBER 24 THE ZOMBIES

OCTOBER 29 MADELEINE PEYROUXOCTOBER 30 JONNY LANG

NOVEMBER 6 THE WINERY DOGSNOVEMBER 7 DUNCAN SHEIK &

SUZANNE VEGANOVEMBER 13, 14 & 15 FOREVER

TANGONOVEMBER 20 ANDERSON PONTY

BANDNOVEMBER 21 TOWER OF POWER

NOVEMBER 22 PAUL ANKANOVEMBER 29 LAST COMIC

STANDINGDECEMBER 9 MERLE HAGGARD &

KRIS KRISTOFFERSONDECEMBER 11 ZAPPA PLAYS ZAPPA

DECEMBER 12 FRANK SINATRA’S 100TH BIRTHDAY CELEBRATION

FEATURING FRANK SINATRA, JR.: SINATRA SINGS SINATRA

JANUARY 6 TODD RUNDGRENJANUARY 9 PETER CETERA

JANUARY 16 WHICH ONE’S PINKJANUARY 23 ANI LORAK

JANUARY 30 DON RICKLESFEBRUARY 5 JESSE COOKFEBRUARY 14 ENGELBERT

HUMPERDINCKFEBRUARY 19 70S TIME MACHINE: CHUCK NEGRON OF THREE DOG

NIGHT & MARK FARNER OF GRAND FUNK RAILROAD

FEBRUARY 27 JUDY COLLINS& ARI HEST

JANUARY 6

MeatloafMeatloaf

Tower Of PowerNOVEMBER 21 NOVEMBER 29

Todd Rundgren

JAN 30, 2016

ON SALE NOW! Paul

Anka

NOV. 22

S TA R R I N G Anna Trebunskaya and Henry Byalikov

from Dancing With The Stars

OCTOBER 21

FRANK SINATRA’S 100TH BIRTHDAYCELEBRATION

NOVEMBER 13-15

JUST ADDED!

THE THEATRE AT ACE HOTEL

TICKETS ON SALE NOW AT AXS.COM

September 30

: A BEAVER PRODUCTION :

AN EVENING WITH

In association with South African Tourism

Follow us @TheBroadStage

Every beach town has its scandal.The townships bring Bizet’s lady in red to Santa Monica.

Get Your tickets

todaY!310.434.3200

thebroadstage.com

ISANGO ENSEMBLE’S

uCARMENIn association with

South African Tourism

OCT 2–10

SANTA MONICA COLLEGE PERFORMING ARTS CENTER

15 / 16 SEASON

Theater at The Broad Stage is made possible in part by a generous gift from Laurie and Bill Benenson.

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fri 9/25Chelsea Wolfe

@ THE REGENT THEATERThe queen of doom and gloom returns with her fi fth album, a dark travelogue through the soul that’s aptly titled Abyss. Aided by producer John Congle-ton and co-songwriter Ben Chisholm, Chelsea Wolfe stirs up a masterful blend of unsettling sounds, from the eerie combination of hollowed-out bass and disembodied vocals in “Survive” to the guttural synths of “Color of Blood” and aggressive catharsis of “Carrion Flowers.” Yet it never seems as if the L.A.-based singer is merely trying to shock. Instead, relatively stark songs such as “After the Fall” and “Grey Days” feel personal and vulnerable. Even as Wolfe tries to swim through waves of dread and sleep paralysis, “Iron Moon” segues from nightmarish storminess to a daydream-y gentleness and back again. —Falling James

DakhaBrakha, Huun Huur Tu @ ROYCE HALL

The term “dakhabrakha” literally means “give/take” in Ukrainian. The band by the same name certainly lives up to the phrase, with its members giving their all in spirited, breathtaking fashion. The quartet’s self-described “ethnic chaos” begins and ends with tradi-tional Ukrainian folk melodies (sung by all four with terrifying conviction), shaded with myriad folk instruments from around the globe, juxtaposed over earthy drum beats and cello bass drones. It’s minimalism with a saucy swagger, as if Philip Glass had decided to write a Russian song-cycle for The B-52s. DakhaBrakha have become an in-ternational sensation, recently perform-ing at Bonnaroo and getting some love from Rolling Stone as the festival’s “best breakout” band. Paired with them, very appropriately, are Huun Huur Tu , Tuvan throat singers from the Russian-Mongolian border, who are able indi-vidually to sing multiple pitches at the same time. —Gary Fukushima

sat 9/26All the Instruments Agree: An Exhibition or a Concert

@ HAMMER MUSEUMThe lineup for this two-day festival is pretty much a wet dream of advanced and experimental music: Kim Gordon presenting her new project, Glitterbust; Genesis Breyer P-Orridge (Psychic TV, Throbbing Gristle ) rewiring all precon-ceptions; legendary local pioneers Los Angeles Free Music Society; Cairo-based ambientalist Hassan Khan; Pales-tinian “sound and image performance group” Tashweesh; art-rap project The Bushes, featuring the other Nick Lowe

(the visual artist, not the musician), and so much more. It all adds up to the year’s unmissable happening for anyone interested in sound and all it does to body and soul, right in the city that brought you Brian Wilson’s Smile and Frank Zappa turning freaks on to Varèse. —Gustavo Turner

Marcel Dettmann @ LOT 613

For roughly 10 years, Marcel Dettmann worked behind the counter at Hard Wax, the Berlin record store founded in 1989 by Moritz Von Oswald and Mark Ernes-tus of the cerebral dub techno pioneer-ing duo Basic Channel. Curating mainly techno, house, dub and bass music, Hard Wax is regarded as one of the world’s premier specialty shops for DJs, and it played a crucial role in the exchange of ideas between Berlin- and Detroit-based techno producers such as Juan Atkins, a legacy that continues today. At 37, Dettmann’s deep knowledge of heady, groove-oriented techno and his fi ne-tuned DJ skills make him a fi gurehead of underground electronic music culture and one of the faces of Berghain, another one of the German capital’s lauded techno institutions, where he has held residency since the club opened in 2004. —Matt Miner

Thee Midniters @ BRUCE’S LOUNGE

Thee Midniters are the biggest and best-loved East L.A. band of the 1960s, which is great except that pretty much anytime you fi nd one of their original records in the wild, it’s absolutely mangled from having been played so often. But that’s better testament to their songwriting and staying power than just about anything else, isn’t it? Thee Midniters can and did

do it all, which is probably why one of their albums was called Unlimited. Their repertoire incorporated everything from loopy psychedelia to sweet-at-heart love songs. In 2013, they did a no-horns, no-ballads show at the Echoplex — nothing but their rock & roll and garage smashers. This performance, however, comes with dinner and dancing, so expect more of the slow jams and soul heartbreakers — and maybe they’ll slip in “Love Special Deliv-ery” if you’re lucky. —Chris Ziegler

sun 9/27Silversun Pickups

@ MASONIC LODGE AT HOLLYWOOD FOREVER“Another night alone, a temporary dream/I came in through your window sleepwalking,” guitarist Brian Aubert croons on “Circadian Rhythm (Last Dance),” from Silversun Pickups’ new album, Better Nature. A few lines later, bassist Nikki Monninger replies enig-matically, “Feel my body swoon to hear you say my name/I’ve got nowhere left to dream, so I’ll just stay awake.” Even as the singers rummage through the late-night shadows, the track glimmers with unexpected hints of hope and life, and should take on even greater resonance when Silversun Pickups perform in this graveyard hall for four nights. The group continues the theme of light versus darkness on “Nightlight,” when Aubert declares, “Turning our nightlights on in the daytime to scare … We only want it with the lights out.” Aubert’s power chords and Chris Guanlao’s thunder-ing drums take the song to an anthemic level. Also Monday through Wednesday, Sept. 28-30. —Falling James

PHOTO BY BEN CHISHOLM

| Music // | Picks // Chelsea Wolfe: See Friday

6400 Sunset Blvd. at cahuenga (323) 245-6400 • WWW.AMOEBA.COMMOn-sAt 10:30AM-11pm • sun 11AM-10pm • 2 HOuRs FREE pARKInG W/puRCHAsE

Buy-sEll-tRAdE: CDs, lps, dVDs, Blu-RAy, VHs, vIdEO GAMEs, tApEs, BOOKs, tuRnTABlEs, pOstERs, 45s, 78s, MEmORABIliA & MuCH, MuCH mORE!

Peaches celebrates her new album, Rub, with an in-store performance and signing at Amoeba! Signing is limited to first 200 purchasers of Rub, starting on September 25th. The follow up to the acclaimed I Feel Cream, Rub features guest vocals from Kim Gordon and Feist.

1398CD

LIVE AT AMOEBATUES. SEPTEMBER 29Th - 5PM

SALE ENDS 10/8/15

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448 S. Main St.Los Angeles, CA 90013

(323) 284-5727theregenttheater.com

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@ DODGER STADIUMCasual fans probably won’t notice that longtime drummer Phil Rudd and found-ing rhythm guitarist Malcolm Young aren’t part of AC/DC’s latest tour. Rudd is dealing with legal problems and has been replaced by onetime AC/DC drum-mer Chris Slade. Young’s ongoing health issues prevent him from touring and recording, and his spot has been fi lled by his nephew, Stevie Young. Keep in mind that this is a band that actually became more popular after its fi rst lead singer, Bon Scott, drank himself to death in 1980. Even if their 2014 album, Rock or Bust, was a bit of a letdown compared with AC/DC’s strong previous comeback album, 2008’s Black Ice, the Australian hard rockers still feature supreme showman Angus Young and the throat-shredding Brian Johnson, backed by an onstage arsenal of live cannons, bells and gigantic blow-up dolls. —Falling James

tue 9/29Gary Numan

@ TERAGRAM BALLROOMUnlike so many of his late-’70s new-wave peers, Gary Numan continues to make interesting music instead of just coast-ing on his oldies. The former Tubeway Army leader still performs early songs such as the infl uential 1979 solo hit “Cars” and T.A.’s “Are ‘Friends’ Electric?” but Numan’s recent set lists have been dominated by tracks such as “I Am Dust” and “We’re the Unforgiven” from his 2013 album, Splinter (Songs From a Broken Mind). For fans of classic Numan, these three shows will be a welcome break from his newer material, as he performs three of his classic albums in their entirety, starting with Tubeway Army’s Replicas on Tuesday, followed by his 1979 solo debut, The Pleasure Principle (featur-ing “Cars”), and 1980’s Telekon. Also Wednesday and Thursday, Sept. 30 and Oct. 1. —Falling James

Disclosure @ L.A. SPORTS ARENA

Two years ago, brothers Guy and Howard Lawrence released debut full-length Settle, an album of house-music jams so fresh that people are still dancing to its signature tracks, “When a Fire Starts to Burn” and “Latch.” The latter helped launch the career of a young British singer named Sam Smith, part of an incredibly hip guest-vocalist lineup that also included AlunaGeorge and Eliza Doolittle. Disclosure’s second album, Caracal, drops just a few days before their stop at L.A. Sports Arena, and fans are already hyped, thanks to this sum-mer’s wave of singles. “Holding On,” featuring jazz vocalist Gregory Porter, is the deep house–tinged winner, closely followed by their pop-minded reunion with Smith, “Omen.” —Liz Ohanesian

wed 9/30Marty Friedman

@ WHISKY A GO GOAfter guitarist Marty Friedman left heavy-metal titans Megadeth in 2000, ending a decadelong run with the Dave Mustaine –led group, he moved to Japan and launched a fruitful career in J-metal. The breadth of his solo work is a far cry from the thrash bombardment of classic Megadeth. Living in Japan full-time since his departure, Friedman has become a fi x-ture in that country’s scene by melding an ’80s Shrapnel Records–esque shred-guitar sound with a frenetic sense of J-pop catchiness. Albums such as 2006’s Loud-speaker and 2010’s Bad D.N.A. endeared him to audiences in that part of the world, but his latest work, Inferno, looks like an attempt to reintroduce Friedman to American and European metal audiences, with guest appearances from members of modern acts such as Revocation and Children of Bodom . —Jason Roche

thu 10/1Duran Duran

@ HOLLYWOOD BOWLOn paper, Duran Duran shouldn’t have worked. Apparently lifting their entire aesthetic from the already well-estab-lished Japan (the band) at the dawn of the 1980s, but with a frontman less pretty and less able than the latter’s David Sylvian, the quintet looked like a tired idea. But, crucially, the double-D had the songs — and still do, to judge by just-released 14th studio album Paper Gods. For all of their visionary grasp of music videos, famously suave fashion sense and swoon-inducing looks, it’s their slinky tunes and arrest-ing arrangements that have this band headlining the Hollywood Bowl. The electro-fl ecked, guest-laden Paper Gods (which features everyone from Janelle Monáe to Lindsay Lohan ) is delightfully Duran-y: glamorous, worldly and replete with trademark ecstatic hooks, glossy production, kitschy glitches and Simon Le Bon’s imploring vocals. —Paul Rogers

Turbulent Hearts @ SILVERLAKE LOUNGE

Stomping southpaw guitar sizzler Suzi Moon may be young, but she’s been as-siduously punking the rock — with much high adventurous verve, reckless drive and white-knuckle conviction — since her incendiary teenage start with femme fa-tale punk coven Civet more than a decade ago. Moon has long since ascended to in-arguable status as a kick-ass, world-class rock & roll goddess, and she upholds that role with disingenuous charm and huge natural skills. Her songs, stance and ap-proach are stunningly direct, letting fl y with perfectly crafted trash-punk bombs that detonate with forceful, genuine expression and live-wire energy. Para-gons of tight, high-velocity, relentlessly aggressive punk-rock tumult, Turbulent Hearts are unbeatable. —Jonny Whiteside

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YARD OF BLONDES (FR)

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C LU B S

ROCK & POP

ALEX’S BAR: 2913 E. Anaheim St., Long Beach. Boogaloo Assassins, Jungle Fire, Sat., Sept. 26, 9 p.m., $12. Miss Shevaughn & Yuma Wray, Cowboy & Indian, Robert Jon & the Wreck, Sun., Sept. 27.

AMOEBA MUSIC: 6400 Sunset Blvd. Bas, Fri., Sept. 25, 8 p.m., free. Peaches, Tue., Sept. 29, 5 p.m., free.

AMPLYFI: 5617 Melrose Ave. Two Headed Cat, Osiris, A Violet Sun, Sat., Sept. 26, 8 p.m., $12. Jenni Marie, Easy Friend, Sun., Sept. 27, 7:30 p.m., $10.

BARDOT HOLLYWOOD: 1737 N. Vine St., Los Angeles. Lakotah, Sat., Sept. 26, 7 p.m., $20.

THE BLACK CASTLE: 855 W. Manchester Ave., Los Angeles. Toxic Holocaust, Lord Dying, Witchaven, Wed., Sept. 30, 9 p.m., $12.

BOOTLEG THEATER: 2200 Beverly Blvd., Los Angeles. Greg Graffin, Fri., Sept. 25, 8:30 p.m., $35. Jacuzzi Boys, The Audacity, Devon Williams, Sat., Sept. 26, 8:30 p.m., $12. Roses, Spirit Animal, Ghost Noise, Arjuna Genome, Mon., Sept. 28, 8:30 p.m., free. Johnathan Rice, Phoebe Bridgers, Pearl Charles, Wed., Sept. 30, 8:30 p.m., $14. Hot Flash Heat Wave, Kid Bloom, Franky Flowers, Thu., Oct. 1, 8 p.m., $7.

BRUCE’S RESTAURANT: 12623 Imperial Highway, Santa Fe Springs. Thee Midniters, Sat., Sept. 26, 8 p.m., $20. See Music Pick.

CAFE NELA: 1906 Cypress Ave. Telephone Answers, The Blackerbys, Lucky Otis, Danny Rabin, Fri., Sept. 25, 9 p.m., $5. Las Pistolas, The Mormons, CinX, Sat., Sept. 26, 10 p.m., $5. Haunted Garage, The Black Widows, Tune to Me, Sun., Sept. 27, 7 p.m., $5.

CANYON CLUB: 28912 Roadside Drive, Agoura Hills. Loverboy, Fri., Sept. 25, 7 & 9 p.m., $38-$78. Marcia Ball, Michael-Ann, Sun., Sept. 27, 7 p.m., $20-$28.

CODY’S VIVA CANTINA: 900 Riverside Drive, Burbank. Bandwagon, Andy Roth & Stunt Road, Fri., Sept. 25, 7:30 p.m., free. Rex McNeil, Saturdays, 2 p.m., free; Debra Lee & Trigger Happy, Sat., Sept. 26, 8 p.m., free. The Shuffle Brothers, Debra Lee & Trigger Happy, Pete Anderson, Sun., Sept. 27, 3 p.m., free. The Glen Roberts Big Band, Thursdays, 7 p.m., free; Cody Bryant, Thu., Oct. 1, 7:30 p.m., free; Tonya Watts, Bobby Joyner, Casey Cannon, Thursdays.

COMPLEX: 806 E. Colorado St., Glendale. Arkona, Heidevolk, The Dread Crew of Oddwood, Helsott, Fri., Sept. 25, 8 p.m., $20.

THE ECHO: 1822 W. Sunset Blvd., Los Angeles. Rainer Maria, California, The Body, Devon Williams, Fri., Sept. 25, 8:30 p.m., $11-$17. Avan Lava, Bogan Via, Sneakout, Sat., Sept. 26, 6 p.m., $8-$14. Jimbo Mathus, Elijah Ocean, Sun., Sept. 27, 8 p.m., $6-$12. Flying Hair, Mind Meld, Jim & Sam, Cassandra Violet, Golden Daze, Miya Folick, Mon., Sept. 28, 6 p.m., free. Alina Baraz & Galimatias, Transviolet, Farao, Tue., Sept. 29, 8 p.m., $16. Empress Of, Abra, Drool, Wed., Sept. 30, 8 p.m., $10. Dale Watson, Leslie Stevens, Thu., Oct. 1, 8 p.m., $17.

THE ECHOPLEX: 1154 Glendale Blvd., Los Angeles. The Lonely Wild, Moon Honey, Jim & Sam, Fri., Sept. 25, 7 p.m., $12. The Stratford Four, Tender Age, Chatham Rise, Sun., Sept. 27, 10 p.m., $13. Colin Stetson & Sarah Neufeld, George Sarah, Tue., Sept. 29, 8 p.m., $18. Karl Denson’s Tiny Universe, Ivan Neville, Solar Sons, Thu., Oct. 1, 8:30 p.m., $23.

EL CID: 4212 W. Sunset Blvd. Dream Machines, The Sometimes Island, Nicky Blitz, Sam Bruno, Fri., Sept. 25, 9:30 p.m., $10. Black Mambas, Dr. Boogie, Dirty Eyes, Sat., Sept. 26, 10 p.m., $5. Nightpantz Paradiso, Wed., Sept. 30, 9 p.m., $5. The Dan Janisch Three, Amilia K. Spicer, Thu., Oct. 1, 8 p.m., $5.

THE FEDERAL BAR: 102 Pine Ave., Long Beach. Honeyhoney, Sat., Sept. 26, 7:30 p.m., TBA.

FIVE STAR BAR: 267 S. Main St., Los Angeles. Asstronauts, Sea Ghouls, Tierra Madre, BCGS, The Deadslows, Tony Tron, Tue., Sept. 29, 7 p.m., TBA.

THE GLASS HOUSE: 200 W. Second St., Pomona. Titus Andronicus, Spider Bags, Baked, Fri., Sept. 25, 8:30 p.m., $15. Robin Schulz, Sat., Sept. 26, 9 p.m., $25. Tchami, Thu., Oct. 1, 8 p.m., $25.

GRAMMY MUSEUM: 800 W. Olympic Blvd., Los Angeles. James Taylor, Fri., Sept. 25, 8 p.m., $100.

GRAND STAR JAZZ CLUB: 943 N. Broadway, Los Angeles. Save Music in Chinatown, a benefit for Castelar Elementary with Sean Wheeler & Zander Schloss, California, Rachel Haden, John Gold, Sun., Sept. 27, 2 p.m., $15.

HAM & EGGS TAVERN: 433 W. Eighth St., Los Angeles. Who & the Fucks, Cucumber & the Suntans, Trabants, The Squids, Sun., Sept. 27, 9 p.m., free.

HARVARD & STONE: 5221 Hollywood Blvd. Veronica Bianqui, Tuesdays, 8 p.m. Thru Sept. 29, free. The Pullmen, King Daniel, Wed., Sept. 30, 9 p.m., free.

THE HOTEL CAFE: 1623 1/2 N. Cahuenga Blvd. The Absolute, Ainjel Emme, Ghost Lit Kingdom, The Zmed Brothers, Before the Brave, Omni Hegazy, Lelia Hegazy, Fri., Sept. 25, 7 p.m., $10. Gabriel, Young Patches, Zachariah & the Lobos Riders, Scout Durwood, Nefe, Sat., Sept. 26, 7 p.m., $10. Jared Finck, Sleeping Wolf, Nekokat, Denny White, Mon., Sept. 28, 7:30 p.m., $10. Tamtam, Maty Noyes, Olivia Lane, Annie Rose, Tue., Sept. 29, 7 p.m., $10. Joe Firstman, Craig Stickland, Allison Pierce, Jamie Lawson, Greg Holden, Wed., Sept. 30, 7 p.m., $10.

HYPERION TAVERN: 1941 Hyperion Ave., Los Angeles. Andorkappen, Black Artiodactyls, Black Love, Sapphic Musk, Wed., Sept. 30, 9:30 p.m., free.

LARGO AT THE CORONET: 366 N. La Cienega Blvd. Jon Brion, Fri., 9:30 p.m., $30. Dan the Automater & Mary Elizabeth Winstead, Mon., Sept. 28, 8:30 p.m., $30. Loudon Wainwright III, Tue., Sept. 29, 8 p.m., $40. Susanna Hoffs, Wed., Sept. 30, 8:30 p.m., $30.

LAS PALMAS: 1714 N. Las Palmas Ave., Los Angeles. John Lindahl, Fri., Sept. 25, 8:30 p.m., $12; (Z), Fri., Sept. 25, 10:25 p.m., TBA; Dubb, Fri., Sept. 25, 10:30 p.m., TBA. Houston, V-Dub, Sat., Sept. 26, 8 p.m., $12; Yung Koconut, Sat., Sept. 26, 9:30 p.m., $12.

LIQUID KITTY: 11780 Pico Blvd. JackiO, Sun., Sept. 27.LOS GLOBOS: 3040 Sunset Blvd. Quita Peñas, Sat.,

Sept. 26, 8 p.m., $12. Dakim, Ahnnu, M. Geddes Gengras, EMV, Tue., Sept. 29, 10 p.m., $10. Annette Moreno, Thu., Oct. 1, 7 p.m., $25.

LOT 1 CAFE: 1533 W. Sunset Blvd. Cucumber & the Suntans, Who & the Fucks, Contrafang, Bad Bikini, Black Jags, Sat., Sept. 26, 8 p.m., free.

LYRIC THEATRE: 520 N. La Brea Ave., Los Angeles. Saul Williams, Ise Lyfe, Fri., Sept. 25, 9 p.m., $20.

MCCABE’S GUITAR SHOP: 3101 Pico Blvd. Walter Egan, Alex Minoff, Fri., Sept. 25, 8 p.m., $20. Dan Bern, Sat., Sept. 26, 8 p.m., $16. Brad Colerick, Rod Melancon, Sun., Sept. 27, 8 p.m., $15.

THE MINT: 6010 W. Pico Blvd., Los Angeles. Lolas, Fri., Sept. 25, 8 p.m., $12; The Azar Lawrence Band, The Rob Garland Eclectic Trio, Nic Maldonado, Fri., Sept. 25, 10 p.m., $12-$17. Hollow Fortyfives, Ice Cream, The Doggerels, Fernweh, Sat., Sept. 26, 12:30 p.m., $5-$10; The Tiger Club, Sat., Sept. 26, 8 p.m., $12; The Skylarks, The Rituals, Heritage, Sat., Sept. 26, 10 p.m., $12. Cimorelli, The Johnsons, Mon., Sept. 28, 7:30 p.m., $20-$75. Sissy Brown, Rabbit Wolf, Tue., Sept. 29, 7:30 p.m., $8. Melanchloe, Guro, Short Sleeve Heart, Acid Tongue, Thu., Oct. 1, 8 p.m., $10.

MOLLY MALONE’S: 575 S. Fairfax Ave., Los Angeles. Paisley Shades, Grinch, Blind Audio, Sunken Vessels, Dead Spiders, Stolen Thunder, Fri., Sept. 25, 7 p.m., $15. Rex & the Lying Heir, Ashes of Luna, 5th & Birmingham, Joshua, Willie’s Nerve Clinic, Sat., Sept. 26, 8 p.m., $10. Amy Engelhardt, Brian Woodbury, David Lucky, Sun., Sept. 27, 7 p.m., Free. Doug Pettibone, Phil Parlapaino, Julie Gribble, Tue., Sept. 29, 8 p.m., $10. Holly Beth Vincent, Jahnna & Giulia Khoury, Wed., Sept. 30, 8 p.m., $10. Dry September, Pillow of Wrongness, Thu., Oct. 1, 8:30 p.m., TBA.

MRS. FISH: 448 S. Hill St., Los Angeles. The Mighty Burnt Bacon, The Ben Rose Band, Sat., Sept. 26, 9 p.m., free. Piel, Merissa Victoria, Wed., Sept. 30, 8 p.m., free. Mission Zero, Thu., Oct. 1, 8 p.m., free.

PAPPY & HARRIET’S PIONEERTOWN PALACE: 53688 Pioneertown Road, Pioneertown. Desert Stars Festival with Swervedriver, The Entrance Band, Rain Parade, Evan Dando, Lou Barlow, Dead Meadow, Cosmonauts, Mr. Elevator & the Brain Hotel, Feels and others, Sept. 25-26, 1 p.m., $55-$110. Lera Lynn, Brian Whelan, Thu., Oct. 1, 8 p.m., $15.

THE PARK BAR & GRILL: 2007 W. Burbank Blvd., Burbank. Sam Lapides & the Rotten Liars, Sat., Sept. 26, 10:30 p.m., $5.

PEHRSPACE: 325 Glendale Blvd. Tiltwheel, La Bella, The Chantey Hook, Personal Best, Sat., Sept. 26.

RECORD SURPLUS: 12436 Santa Monica Blvd., Los Angeles. The Kingbees, Sat., Sept. 26, 8 p.m., free.

THE REDWOOD BAR & GRILL: 316 W. Second St., Los Angeles. Turkish Techno, Gentlemen Prefer Blood, Chissum Worthington, Undercover Monsters, Darren Gratton, Fri., Sept. 25, 9 p.m., $5-$10. Get Dead, Clown, Murderland, Bad Cop/Bad Cop, HLB, Sat., Sept. 26, 9 p.m., $5-$10. Guitars a Go-Go, with bands TBA, Sun., Sept. 27, 3 p.m., TBA (call for late booking). Rubber, Mondays, 9 p.m. Thru Sept. 28, $5-$10. Blood Candy, Spirit in the Room, The Flash Hits, The High Tide, Wed., Sept. 30, 9 p.m., $5-$10.

THE ROXY: 9009 W. Sunset Blvd., West Hollywood.

6400 sunset Blvd.(323) 245-6400

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

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Tuesday • September 29 • 5pmpeaCHes

Peaches celebrates her new album, Rub, with an in-store performance (3 songs) and signing at Amoeba Hollywood! Signing is

limited to first 200 purchasers of Rub in-store at Amoeba starting on 9/25.

Saturday • October 3 • 4pmCHaRIty auCtIon W/

Host nICK tHune!Amoeba is excited to team up again withthe awesome folks at NerdMelt to bringyou the awesome NICK THUNE! He will

be auctioning off a vast and crazy array ofconcert tickets & gift certificates to localhot spots, collectables and more cool

stuff - with ALL proceeds benefitting theSilverlake Conservatory of Music.

Monday • October 5 • 5pmduRan duRan

sIGnInG - sold out!

Sat. • September 26 • Noon-5pmsIdeWalK sale

Buy-one-get-one-free CDs, DVDs for $3 each, DVD Box sets for $7 each, Blu-Rays at three for $12, Fresh 45s for $1 each, 45 grab bags, books & comics at three for $1,

Classical deals and $1 clearance vinyl!

Friday Nights • 8PMRotatIons dj setsGuest DJ series, every Friday night!

SEPTEMBER 25 - BaS

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|Sister Sparrow & the Dirty Birds, The Shakers, Fri., Sept. 25, 8 p.m., $15. Titus Andronicus, Sat., Sept. 26, 8 p.m., $15. Eligh, Dem Atlas, CJ Trillo, Sun., Sept. 27, 8 p.m., $15. Algiers, Mon., Sept. 28, 7:30 p.m., $15. The Dear Hunter, Chon, Gates, Tue., Sept. 29, 7:30 p.m., $20. DJ Crush, Jel, Wed., Sept. 30, 9 p.m., $30. Mikky Ekko, Thu., Oct. 1, 8 p.m., $15.

THE SATELLITE: 1717 Silver Lake Blvd., Los Angeles. Julia Nunes, Lucy & La Mer, Alyeska, Fri., Sept. 25, 9 p.m., $10. Body Language, Powers, Collaj, Sat., Sept. 26, 9 p.m., $5. Riothorse Royale, The Happy Hollows, Louis Cole, Mon., Sept. 28, 9 p.m., free. Saturn City, Wed., Sept. 30, 9 p.m., $8. Ultimate Painting, Morgan Delt, Dream Boys, Thu., Oct. 1, 9 p.m., $12.

SILVERLAKE LOUNGE: 2906 Sunset Blvd., Los Angeles. The Maension, Fearless, The Ambivalent, Fri., Sept. 25, 8 p.m., $10. Green Light Theory, Sensory Station, Mon., Sept. 28, 8 p.m., $8. Kat Myers & the Buzzards, Brenda Carsey & the Awe, Scarlet Roads, Addey Lane, Grit, Tue., Sept. 29, 8 p.m., $8. Split Screens, The Only Ocean, Punch Drunks, Wed., Sept. 30, 8 p.m., $8. Our Hospitality, Turbulent Hearts, Thu., Oct. 1, 9 p.m., $8 (see Music Pick).

THE SMELL: 247 S. Main St., Los Angeles. Aneon, D. Tiberio, Gossame, Fri., Sept. 25, 9 p.m., $5. The High Curbs, Sat., Sept. 26, 9 p.m., $5. Yonatan Gat, Michael Vidal, Mon., Sept. 28, 9 p.m., $5. Makthaverskan, Thu., Oct. 1, 9 p.m., $12.

SOL VENUE: 313 E. Carson St., Carson. The Aggrolites, Fri., Sept. 25, 8 p.m., $12.

TAIX FRENCH RESTAURANT: 1911 Sunset Blvd., Los Angeles. Adam Marsland’s Chaos Band, Mod Hippie, Fri., Sept. 25, 10:30 p.m., free.

THE TROUBADOUR: 9081 Santa Monica Blvd., West Hollywood. Marc Broussard, Fri., Sept. 25, 8 p.m., $25. Coeur de Pirate, Sat., Sept. 26, 8 p.m., $22. Melanie Martinez, Mon., Sept. 28, 7 p.m., $17. The Maine, Tue., Sept. 29, 7 p.m., $25. Jess Glynne, Wed., Sept. 30, 8 p.m., $15. A Thousand Horses, Thu., Oct. 1, 8 p.m., $15.

THE VIPER ROOM: 8852 W. Sunset Blvd., West Hollywood. Paradise Kitty, Fri., Sept. 25, 8 p.m., TBA. Wayward Sons, Wag Halen, The Dents, Sat., Sept. 26, 8:30 p.m., TBA. Race No More, Psychedellica,

Glass Cactus, Brumby, Sun., Sept. 27, 7:30 p.m., TBA. Beck Black, Paper Chains, Mon., Sept. 28, 8 p.m., $10. J.T. Woodruff, Mark Rose, Tue., Sept. 29, 8 p.m., TBA. Dave Stucken & the Curse, Rosechild, The Gitas, Banshee Bones, Wed., Sept. 30, 8 p.m., TBA.

WHISKY A GO-GO: 8901 Sunset Blvd., West Hollywood. Lynch Mob, Seven Reasons Why, Dioxide, Brittany’s Rage, Raven’s Cry, February Falls, Fri., Sept. 25, 7 p.m., Free. Marty Friedman, Wed., Sept. 30, 8 p.m., TBA (see Music Pick). Trixter, Evolution Eden, 10 to Midnight, Thu., Oct. 1, 7 p.m., $20.

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

JAZZ & BLUES

THE BAKED POTATO: 3787 Cahuenga Blvd. W., Studio City. Kaylene Peoples, Fri., Sept. 25, 9:30 p.m., $20. Don Randi & Quest, Sat., Sept. 26, 9:30 p.m., $20. The Alan Chan Jazz Orchestra, Sun., Sept. 27, 9:30 p.m., $20. Chuck Kavooras, Tue., Sept. 29, 9:30 p.m., $15. Ohm, Wed., Sept. 30, 9:30 p.m., $20.

BLUE WHALE: 123 Astronaut E.S. Onizuka St., Los Angeles. The Daniel Rosenboom Quintet, Fri., Sept. 25, 9 p.m., $10. Carmen Lundy, Sat., Sept. 26, 9 p.m., TBA. The Jasmine Tommaso Group, Sun., Sept. 27, 9 p.m., $10. Matt Mayhall and Friends, Mon., Sept. 28, 9 p.m., TBA. Katalyst, Tue., Sept. 29, 9 p.m., TBA. The Makaya McCraven Quartet, DJ Wiseacre, DJ Jeremy Sole, Wed., Sept. 30, 9 p.m., $10. Angel City Festival, with The Empty Cage Quartet, Lucian Ban & Mat Maneri, Thu., Oct. 1, 9 p.m., $20.

CATALINA BAR & GRILL: 6725 W. Sunset Blvd., Los Angeles. Barbara Morrison, Fri., Sept. 25, 8:30 p.m., $20. Dayren Santamaria & Made in Cuba, Sat., Sept. 26, 8:30 p.m., $20. Kevin O’Neal, Patrice Quinn, Tue., Sept. 29, 8:30 p.m., $42. The Roy Hargrove Quintet, Wed., Sept. 30, 8:30 p.m.; Thu., Oct. 1, 8:30 p.m.; Fri., Oct. 2, 8:30 p.m.; Sat., Oct. 3.

EDYE SECOND SPACE: 1310 11th St., Santa Monica. Theo Saunders, Fri., Sept. 25, 7 p.m., $10.

THE LIGHTHOUSE CAFE: 30 Pier Ave., Hermosa Beach. The Kim Richmond Sextet, Sat., Sept. 26, 11 a.m.-2:30 p.m., free. The Sam Hirsh Quartet, Sun., Sept.

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27, 11 a.m.-3 p.m., free. The Denny Dennis Quartet, Wed., Sept. 30, 6-9 p.m., free.

SEABIRD JAZZ LOUNGE: 730 E. Broadway, Long Beach. Jimmy Hewitt, Sherry Pruitt, Fri., Sept. 25, 9 p.m., $7.

VIBRATO GRILL & JAZZ: 2930 Beverly Glen Circle. Tony Galla, Fri., Sept. 25, 9 p.m., free. Mark Copeland, Sat., Sept. 26, 9 p.m., free. Louie Cruz Beltran, Sun., Sept. 27, 6:30 p.m., free. Susan Anton, Tue., Sept. 29, 8 p.m., $25. The John Proulx Trio, Wed., Sept. 30, 6:30 p.m., free. Emily Bear, Thu., Oct. 1.

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

COUNTRY & FOLK

THE CINEMA BAR: 3967 Sepulveda Blvd., Culver City. Kat Myers & the Buzzards, Nocona, Molly Hanmer & Jay Souza, Sat., Sept. 26, 9 p.m., free. Michael Koppy, Wed., Sept. 30, 7:30 p.m., free.

JOE’S GREAT AMERICAN BAR & GRILL: 4311 Magnolia Blvd. The Desperate Measures, Fri., Sept. 25, 9 p.m., free. Big Lucky, Tue., Sept. 29, 9 p.m., free. Conjunto Afro-Son, Wed., Sept. 30, 9 p.m., free.

—Falling James

DANCE CLUBS

THE AVALON: 1735 Vine St. Hernan Cattaneo, Clarian, Enzo Muro, Sat., Sept. 26, 10 p.m., $25.

EXCHANGE L.A.: 618 S. Spring St., Los Angeles. Awakening, Fridays, 10 p.m.; Paul Van Dyk, Fri., Sept. 25, 10 p.m., $25 & $90. Firebeatz, Sat., Sept. 26.

LOT 613: 613 Imperial St. Marcel Dettmann, Sat., Sept. 26, 8 p.m., TBA. See Music Pick.

THE VIRGIL: 4519 Santa Monica Blvd., Los Angeles. Planet Rock, with DJs Chuck Wild & Canyon Cody flipping hip-hop, funk, Latin, reggae, disco and house, Saturdays, 9 p.m.-2 a.m., free.

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

C O N C E R T S

FRIDAY, SEPT. 25

GO ANGEL CITY JAZZ FESTIVAL: With The Miguel Atwood Ferguson Quintet, 6 p.m., free. LACMA, 5905 Wilshire Blvd., Los Angeles.

CASH CASH, TRITONAL: With Party Favor, 8 p.m., $20-$40. Club Nokia, 800 W. Olympic Blvd., Los Angeles.

GO CHELSEA WOLFE: With Wovenhand, 9 p.m., $24. The Regent Theater. See Music Pick.

GO DAKHABRAKHA, HUUN HUUR TU: 8 p.m., TBA. UCLA, Royce Hall, 340 Royce Drive. See Music Pick.

FRESH FEST: With Too $hort, Mystikal, Kurupt, Juvenile, Twista, Ja Rule, YoYo, 6:30 p.m., $9.75-$75. Shrine Auditorium & Expo Center, 665 W. Jefferson Blvd.

HERB ALPERT & LANI HALL: 8 p.m., $27-$70. Smothers Theatre, Pepperdine University, 24255 Pacific Coast Highway, Malibu.

IGGY AZALEA: 7:30 p.m.Staples Center, 1111 S. Figueroa St., Los Angeles.

MARCO ANTONIO SOLIS: 8 p.m., $69.50-$195.50. Microsoft Theater, 777 Chick Hearn Court.

MEW: With The Dodos, 8 p.m., $25. The Fonda Theatre, 6126 Hollywood Blvd., Los Angeles.

AN EVENING IN CONVERSATION WITH RINGO STARR: 8 p.m., $97 & up. El Rey Theatre, 5515 Wilshire Blvd.

GO SHANNON & THE CLAMS: 8 p.m., $12. The Observatory, 3503 S. Harbor Blvd., Santa Ana.

SNOOP DOGG: 9 p.m., $75-$125. Saban Theatre, 8440 W. Wilshire Blvd., Beverly Hills.

SATURDAY, SEPT. 26

GO ALL THE INSTRUMENTS AGREE: AN EXHIBITION OR A CONCERT: 12 p.m., free. Hammer Museum, 10899 Wilshire Blvd. See Music Pick.

ANDY MCKEE: 8 p.m., $20-$40. Smothers Theatre, Pepperdine University, 24255 Pacific Coast Highway.

BARBIE ROCK & ROYALS CONCERT EXPERIENCE: 12 p.m., $5-$25. Hollywood Palladium.

BRANDON FLOWERS: 7 p.m., $34-$45. The Wiltern, 3790 Wilshire Blvd., Los Angeles.

BRIGITTE: 8 p.m., $30-$50. Luckman Fine Arts Complex, 5151 State University Drive, Los Angeles.

GO CAIFANES: With Enanitos Verdes, Hombres G, Julieta Venegas, Natalia Lafourcade, 2 p.m., $85. The Observatory, 3503 S. Harbor Blvd., Santa Ana.

THE 77TH ANNUAL MID-AUTUMN MOON FESTIVAL: With Psychic Love, Funeral Party, Warbly Jets, Kid Cadaver, The Rebel Light, Sweet Bump It, Jag Sun, 5 p.m. Chinatown Central Plaza, 727 N. Broadway.

CONJUNTO COSTAZUL: 8 p.m., $30-$50. Museum of Latin American Art, 628 Alamitos Ave., Long Beach.

ELUVEITIE: With The Agonist, Martina Edoff, 7:30 p.m., $27.50. The Fonda Theatre, 6126 Hollywood Blvd.

HARDSTYLE ARENA: With Frontliner, Psyko Punkz, Noize Suppressor, Bass Modulators, 9 p.m. Fox Theater Pomona, 301 S. Garey Ave., Pomona.

HE’S MY BROTHER SHE’S MY SISTER: 8 p.m., $16. The Teragram Ballroom, 1234 W. Seventh St.

GO HI-FI ROCK FEST 2015: With Dead Kennedys, Street Dogs, Naked Raygun, The Sonics, Richie Ramone, Luicidal, Dirty Filthy Mugs, Year of the Dragon, True Rivals, Downtown Brown, The Two Tens, 11 a.m.-11 p.m., $30. Queen Mary Events Park, next to the big boat, 1126 Queens Highway, Long Beach.

THE ISLEY BROTHERS: 8 p.m., $55-$90. Cerritos Center for the Performing Arts.

JAKE OWEN, PARMALEE: 7:30 p.m., $37-$137. Pomona Fairplex, 1101 W. McKinley Ave., Pomona.

KANYE WEST: 8 p.m., $39.50-$500. Hollywood Bowl, 2301 N. Highland Ave., Los Angeles.

THE L.A. INTERNATIONAL UKULELE FESTIVAL: With Troy Fernandez, Craig Chee, Sarah Maisel, Abe Lagrimas, Ukulele Bartt, Mike Okouchi, 10 a.m.-6 p.m., $35. Torrance Cultural Arts Center, 3330 Civic Center Drive, Torrance.

LISA MEZZACAPPA: The composer-bassist premieres a song cycle, Glorious Ravage, paired with new films, 8 p.m., $25. REDCAT: Roy & Edna Disney/CalArts Theater, 631 W. Second St., Los Angeles.

MARCO ANTONIO SOLIS: 8 p.m., $69.50-$195.50. Microsoft Theater, 777 Chick Hearn Court.

MICHAEL MCDONALD: 8 p.m., $58-$89. Saban Theatre, 8440 W. Wilshire Blvd., Beverly Hills.

SHAMIR: 8 p.m., $20. El Rey Theatre, 5515 Wilshire

DAS BUNKER PRESENTS: FRONT 242

“EDM” is for wimps. When it comes to visceral electronic soundscapes, “EBM” goes beyond dance music. It’s “body”

music. (Th at’s what the “B” stands for.)Belgian beat-drivers Front 242 pioneered

the genre with their dissonant grooves and brutal bass lines, and at industrial clubs such as Das Bunker, their dark depths make them a staple in DJs’ crates and laptops. So

it’s about time Bunker brings the band back to L.A., to play here live for the fi rst time in more than a decade.

This requires a mega-club environment, and Avalon should fi t the bill. To make things extra-bombastic, some clamorous local talent starts the night off, three local noise duos with big followings: Youth Code, known for their clash of punk rock and industrial; High-Functioning Flesh, who maintain a melodic fl air even as they maul your eardrums; and Pure Ground, a minimal synth-wave band who spew maximum energy onstage.

A relentless evening all around, this bash is not for every “body.” Expect Avalon to be thumping with hard ragers, not ravers.

AVALON | 1735 N. Vine St. Hollywood Sun., Sept. 27, 6 p.m. | $34-$40

all ages | dasbunker.org

Lina In L.A.by Lina Lecaro

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9/25: 9/26: 9/29: 9/30:

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REGGIE WATTSHE’S MY BROTHER, SHE’S MY SISTER GARY NUMAN PERFORMING REPLICAS GARY NUMAN PERFORMINGTHE PLEASURE PRINCIPLEGARY NUMAN PERFORMING TELEKONTHE NEW MASTERSOUNDSARIEL PINK + THE BLACK LIPSTHE DEAN WEEN GROUPVULFPECKDALE EARNHARDT JR. JR.AND SO I WATCH YOU FROM AFARPATRICK WATSON EL TEN ELEVENTHE DISTRICTS EAGLES OF DEATH METALYACHT EAGLES OF DEATH METAL LUNALUNA PERFORMING PENTHOUSE

SOLD OUT

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SUNDAY, SEPT. 27

GO ALL THE INSTRUMENTS AGREE: AN EXHIBITION OR A CONCERT: 12 p.m., free. Hammer Museum, 10899 Wilshire Blvd. See Music Pick.

GO DAMIAN “JR. GONG” MARLEY, STEPHEN “RAGGA” MARLEY: With Barrington Levy, Morgan Heritage, Tarrus Riley, Jo Mersa, Black Am I, Skip Marley, Jemere Morgan, 5:30 p.m., $36-$61. The Greek Theatre, 2700 N. Vermont Ave., Los Angeles.

GO FRONT 242: With Youth Code, High-Functioning Flesh, Pure Ground, 6 p.m., $35-$150. The Avalon, 1735 Vine St., Los Angeles.

GO GRACE JONES, FUTURE ISLANDS: 7 p.m., $13-$147. Hollywood Bowl, 2301 N. Highland Ave.

LOVERBOY: With Mark Castrillon, JT Manning, 8 p.m., $58-$78. Saban Theatre, 8440 W. Wilshire Blvd.

GO SILVERSUN PICKUPS: 8 p.m., $35. Hollywood Forever Cemetery, 6000 Santa Monica Blvd., Los Angeles. See Music Pick.

MONDAY, SEPT. 28

GO AC/DC: 8 p.m., $35-$110. Dodger Stadium, 1000 Elysian Park Ave., Los Angeles. See Music Pick.

GO EMMYLOU HARRIS & RODNEY CROWELL: With Larry Campbell & Teresa Williams, 7 p.m., $50. El Rey Theatre, 5515 Wilshire Blvd., Los Angeles.

HIROMI: 7:30 p.m., $65-$105. The Broad Stage, 1310 11th St., Santa Monica.

IMAGINE DRAGONS: 7 p.m., $50-$75. Hollywood Palladium, 6215 W. Sunset Blvd., Los Angeles.

GO LOVEYDOVE: 7 p.m., free. The Theatre at Ace Hotel, 929 S. Broadway, Los Angeles.

RATATAT: 8 p.m., $35. The Mayan, 1038 S. Hill St. GO SILVERSUN PICKUPS: 8 p.m., $35. Hollywood

Forever Cemetery, 6000 Santa Monica Blvd., Los Angeles. See Music Pick.

TUESDAY, SEPT. 29

CATFISH & THE BOTTLEMEN: With Jamie N. Commons, 9 p.m., TBA. The Fonda Theatre.

COLIN STETSON & SARAH NEUFELD: 8 p.m., $16-$35. The Regent Theater, 448 S. Main St., Los Angeles.

GO DISCLOSURE: With Talib Kweli, Lion Babe, 7 p.m., $16-$65. Los Angeles Memorial Sports Arena, 3939 S. Figueroa St., Los Angeles. See Music Pick.

GO GARY NUMAN: 8 p.m., $40-$100. The Teragram Ballroom, 1234 W. Seventh St. See Music Pick.

GO LINDA RONSTADT: The powerhouse pop-jazz-country vocalist can’t sing anymore, as a result of Parkinson’s disease, but she sits down with Dan Guerrero for a discussion, 8 p.m. Valley Performing Arts Center, 18111 Nordhoff St., Northridge.

RATATAT: 8 p.m., $35. The Mayan, 1038 S. Hill St. GO SILVERSUN PICKUPS: 8 p.m., $35. Hollywood

Forever Cemetery. See Music Pick.

WEDNESDAY, SEPT. 30

GO BEST COAST: With Lovely Bad Things, 8 p.m., $25. The Observatory, 3503 S. Harbor Blvd.

GO GARY NUMAN: 8 p.m., $40-$100. The Teragram Ballroom, 1234 W. Seventh St. See Music Pick.

GO MELODY GARDOT: 8 p.m., $45-$65. The Theatre at Ace Hotel, 929 S. Broadway, Los Angeles.

GO SILVERSUN PICKUPS: 8 p.m., $35. Hollywood Forever Cemetery. See Music Pick.

SOULFLY: With Decapitated, Soilwork, Shattered Sun, 8 p.m., TBA. The Fonda Theatre.

YEARS & YEARS: With Tei Shi, 7 p.m., $20-$25. The Wiltern, 3790 Wilshire Blvd., Los Angeles.

THURSDAY, OCT. 1

BØRNS: 8 p.m., $20. Hollywood Forever Cemetery, 6000 Santa Monica Blvd., Los Angeles.

GO DURAN DURAN: With Chic & Nile Rodgers, Clean Bandit, 6:30 p.m., $35-$185. Hollywood Bowl, 2301 N. Highland Ave., Los Angeles. See Music Pick.

EMEL MATHLOUTHI: 8 p.m., $25. Skirball Cultural Center, 2701 N. Sepulveda Blvd., Los Angeles.

GO GARY NUMAN: 8 p.m., $40-$100. The Teragram Ballroom, 1234 W. Seventh St. See Music Pick.

HANS RAJ HANS: 7 p.m., $45-$100. Club Nokia, 800 W. Olympic Blvd., Los Angeles.

LOS TIGRES DEL NORTE: 8 p.m., $40-$140. Valley Performing Arts Center, 18111 Nordhoff St.

THE MILK CARTON KIDS: 8 p.m., $35. The Theatre at Ace Hotel, 929 S. Broadway, Los Angeles.

TOVE LO: With Erik Hassle, 7 p.m., $30. The Wiltern.UNCLE ACID & THE DEADBEATS: 8 p.m., $22. The

Fonda Theatre, 6126 Hollywood Blvd., Los Angeles.—Falling James

C L A S S I C A L & N E W M U S I C

THE CALDER QUARTET: The local quartet searches for Beethoven, Sun., Sept. 27, 4 p.m., $30-$60. The Broad Stage, Santa Monica College Performing Arts Center, 1310 11th St., Santa Monica.

GO COLBURN ORCHESTRA: Yehuda Gilad conducts Brahms’ second symphony, and pianist Fabio Bidini puts on his “Emperor” clothes in a performance of Beethoven’s final piano concerto, Sun., Sept. 27, 3 p.m., TBA. Valley Performing Arts Center, 18111 Nordhoff St., Northridge. Plácido Domingo conducts the orchestra in Gioachino Rossini’s Petite messe so-lennelle in memory of his sister Maria José Domingo de Fernandez, Mon., Sept. 28, 7:30 p.m., free. Cathedral of Our Lady of the Angels.

GO GIANNI SCHICCHI/PAGLIACCI: Woody Allen revisits his 2008 staging of Giacomo Puccini’s comic one-act opera Gianni Schicchi, then Placido Domingo conducts Franco Zeffirelli’s colorful production of Ruggero Leoncavallo’s Pagliacci, which features Marco Berti, Ana María Martínez, Liam Bonner and George Gagnidze, Sun., Sept. 27, 2 p.m.; Sat., Oct. 3,

7 p.m., $74-$295. Dorothy Chandler Pavilion.HOOKED ON TROUT: Pianist Steven Vanhauwaert, cel-

list Cecilia Tsan and other string musicians resurrect Schubert and Schumann, Sun., Sept. 27, 4 p.m., $40-$60. Classical Encounters, 19365 Lemmer, Tarzana.

IRVINE ARDITTI: The British violinist and founder of Arditti Quartet feints and parries his way through the world premiere of Roger Reynolds’ Image/Violin, Tue., Sept. 29, 8:30 p.m., $35. REDCAT.

JOHN BLACKLOW: Sun., Sept. 27, 6 p.m., free. LACMA, 5905 Wilshire Blvd., Los Angeles.

L.A. VIRTUOSI ORCHESTRA: Soprano Stacey Tappan takes flight, and Carlo Ponti directs selections by Jules Massenet, Giuseppe Verdi, Antonio Vivaldi and Peter Ilyitch Tchaikovsky, Sat., Sept. 26, 7 p.m., $40. Theatre Raymond Kabbaz, 10361 W. Pico Blvd.

GO L.A. MASTER CHORALE: Grant Gershon con-ducts the chorus in the West Coast premiere of Sofia Gubaidulina’s Canticle of the Sun,, which features cel-list Robert deMaine, alongside works by Tchaikovsky, Grechaninov, Rachmaninoff and Ilyashenko, Sat., Sept. 26, 2 p.m.; Sun., Sept. 27, 7 p.m., TBA. Walt Disney Concert Hall, 111 S. Grand Ave., Los Angeles.

GO L.A. PHILHARMONIC: Gustavo Dudamel conducts the orchestra and his hometown band, Simón Bolívar Symphony Orchestra of Venezuela, in the opening night of Disney Hall’s new season. The focus is on Beethoven, with selections from Egmont and Creatures of Prometheus preceding the

complete Ninth Symphony. The grand evening on Grand Avenue also features L.A. Master Chorale (conducted by Grant Gershon), sopranos Rachele Gilmore and Mariana Ortiz, tenor Joshua Guerrero, and narrator Christoph Waltz, Tue., Sept. 29, 7 p.m., $140.50-$275.50. Violinist Simone Porter is featured as Gustavo Dudamel continues the new season’s obsession with Beethoven, with perfor-mances of the first two symphonies, Thu., Oct. 1, 8 p.m.; Thu., Oct. 8, 8 p.m., $20-$196. Walt Disney Concert Hall.

PASADENA MASTER CHORALE: The chorus chimes in with selections by Anton Bruckner and Reena Esmail, Sat., Sept. 26, 7:30 p.m.; Sun., Sept. 27, 4 p.m., free. Altadena Community Church, 943 E. Altadena Drive.

GO REMEMBERING PAVAROTTI: Tenor Andrea Bocelli and soprano Renée Fleming celebrate the life of tenor Luciano Pavarotti in an evening of arias and duets. LAO opera head Plácido Domingo drops by, and Eugene Kohn conducts the L.A. Opera orchestra, Fri., Sept. 25, 6:30 p.m., $129-$454. The Music Center, Dorothy Chandler Pavilion.

THE USC THORNTON SYMPHONY: Sharon Lavery conducts Richard Strauss’ Don Juan, Aaron Copland’s Appalachian Spring and George Gershwin’s An American in Paris, Fri., Sept. 25, 7:30 p.m., free. USC, Bovard Auditorium, 3551 Trousdale Parkway, Los Angeles.

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If You Made a Credit or Debit Card Transaction at the Pershing Square Garage You May Be Entitled to Free Parking

Para una notificación en Español, visite nuestro sitio web, www.PershingSquareGarageFACTASettlement.com.

A proposed settlement has been reached in a class action lawsuit about electronically printed receipts for credit or debit card transactions at the Pershing Square Garage in Los Angeles. The lawsuit asserts that the City of Los Angeles violated of the Fair and Accurate Credit Transactions Act (15 U.S.C. § 1681c(g)) by failing to properly redact credit and debit card information on receipts it provided to customers between July 2, 2009 and October 8, 2014. The City has denied liability but has agreed to settle the lawsuit and provide monetary benefits equal to free parking to Class Members and the public.

Am I a Class Member?You are a Class Member if you were provided with an electronically printed receipt at the point of a sale or transaction at the Pershing Square Garage in Los Angeles on which more than the last five digits of your credit or debit card and/or expiration dates were printed at any time between July 2, 2009 and October 8, 2014. All credit and debit card receipts issued to non-monthly parkers provided during that time period displayed the last five digits of credit and debit cards and/or the card expiration date.

What Does the Settlement Provide?If you submit a valid and timely claim form you will receive three vouchers for each qualifying credit/debit card transaction worth $16 each (the maximum daily rate charged) for use at the Pershing Square Garage that is fully transferrable for the specified time period. Following a voucher distribution claims process, if any vouchers remain unclaimed, the City of Los Angeles will distribute vouchers to the public at the exit (payment booths) of the Pershing Square Garage equal to free parking at the maximum daily rate.

To receive vouchers through the claims process, you must submit a Claim Form and include proof of your credit or debit card transaction. Claim Forms are available at

WWW.PERSHINGSQUAREGARAGEFACTASETTLEMENT.COM

or by calling the toll-free number below.

In addition to providing vouchers for free parking,the City will pay the costs of notice and administration and pay up to $93,000 in attorneys’ fees and costs to Class Counsel and a $5,000 service payment to the named plaintiff.

What are My Options?To obtain vouchers for free parking for each time you were provided with an electronically printed receipt for a credit or debit card transaction between July 2, 2009 and October 8, 2014, you must remain in the class. If you do not wish to participate in the settlement, you may exclude yourself from the Class by November 24, 2015. Or you may stay in the Class and object to the settlement by November 24, 2015. The Notice of Class Action Settlement and Stipulation of Settlement, available at www.PershingSquareGarageFACTASettlement.comhas additional important information about these options and the terms of the release by which you will be bound if you remain in the Class. These documents also have information about Class Counsel and the attorneys’ fees and expenses that may be paid to them. Please read the Class Noticeand Stipulation of Settlement.

The Los Angeles Superior Court authorized this notice. The Court will have a hearing on January 19, 2016 to decide whether to finally approve the settlement. You don’t have to attend the hearing.

QUESTIONS? WWW.PERSHINGSQUAREGARAGEFACTASETTLEMENT.COM OR CALL 1-877-645-1927.

Si Usted Realizó una Transacción de Crédito o Débito en el Garaje de Pershing Square Puede Tener Derecho a Estacionamiento Gratuito

Para una notificación en español, visite nuestro sitio web, www.PershingSquareGarageFACTASettlement.com.

Se ha llegado al arreglo propuesto en una demanda de acción de clase sobre los recibos imprimidoselectrónicamente para las transacciones de tarjetas de crédito o débito en el Garaje de Pershing Square en Los Ángeles. La demanda sostiene que la Ciudad de Los Ángeles violó la Ley de Transacciones de Crédito Justas y Correctas (15 U.S.C. § 1681c(g)) al no redactar debidamente la información de las tarjetas de crédito y débito en los recibos que proporcionaban a los clientes entre el 2 de julio de 2009 y el 8 de octubre de 2014. La Ciudad ha negado responsabilidad pero ha acordado resolver la demanda y proporcionar beneficios monetarios equivalentes a estacionamiento gratuito a los Miembros de la Clase y al público.

¿Soy Miembro de la Clase?

Usted es un Miembro de la Clase si se le proporcionó un recibo imprimido electrónicamente en un punto de venta o transacción en el Garaje de Pershing Square en Los Ángeles en el que se imprimieron más de los últimos cinco dígitos de su tarjeta de crédito o débito y/o la fecha de caducidad en cualquier momento entre el 2 de julio de 2009 y el 8 de octubre de 2014. Todos los recibos de tarjetas de crédito y débito emitidos a los clientes no mensuales proporcionados durante ese periodo mostraban los últimos cinco dígitos de las tarjetas de crédito y débito y/o la fecha de caducidad de la tarjeta.

¿Qué Dispone el Arreglo?

Si usted presenta un formulario de reclamación válido y oportuno recibirá tres vales por cada transacción de tarjeta de crédito/débito que califique por un valor de $16 cada una (la tarifa diaria máxima cargada) para usar en el Garaje de Pershing Square que es totalmente transferible durante el periodo de tiempo especificado. Tras un proceso de reclamación de distribución de los vales, si algún vale permanece sin reclamar, la Ciudad de Los Ángeles distribuirá vales al público a la salida (cabinas de pago) del Garaje de Pershing Square equivalentes al estacionamiento gratuito a la tarifa máxima diaria.

Para recibir vales mediante el proceso de reclamación, usted tiene que presentar un Formulario de Reclamación e incluir el comprobante de su transacción de tarjeta de crédito o de débito. Los Formularios de Reclamación están disponibles en

WWW.PERSHINGSQUAREGARAGEFACTASETTLEMENT.COM

o llamando al número gratuito que se indica más adelante.

Además de proporcionar vales para estacionamiento gratuito, la Ciudad pagará los costos de notificación y administración y pagará hasta $93,000 por honorarios y costas de abogados a los Abogados de la Clase y un pago de servicio de $5,000 a la demandante titular.

¿Cuáles Son Mis Opciones?

Para obtener vales para estacionamiento gratuito por cada vez que se le proporcionó un recibo imprimidoelectrónicamente por una transacción de tarjeta de crédito o débito entre el 2 de julio de 2009 y el 8 de octubre de 2014, usted tiene que permanecer en la clase. Si no desea participar en el arreglo, puede excluirse de la Clase hasta el 24 de noviembre de 2015 a más tardar. O puede permanecer en la Clase y objetar al arreglo hasta el 24 de noviembre de 2015 a más tardar. El Aviso del Arreglo de Acción de Clase y la Estipulación del Arreglo, disponible en www.PershingSquareGarageFACTASettlement.com tiene información adicional de importancia sobre estas opciones y los términos de la liberación por la cual usted estará obligado si permanece en la Clase. Estos documentos también tienen información sobre los Abogados de la Clase y los honorarios y gastos de abogados que se les pueden pagar. Por favor lea el Aviso de Clase y la Estipulación del Arreglo.

El Tribunal Superior de Los Ángeles autorizó este aviso. El Tribunal celebrará una audiencia el 19 de enero de 2016 para decidir si aprueba finalmente el arreglo. Usted no tiene que asistir a la audiencia.

¿PREGUNTAS? WWW.PERSHINGSQUAREGARAGEFACTASETTLEMENT.COM O LLAME AL 1-877-645-1927.

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FICTITIOUS BUSINESSNAME STATEMENT2015231927The following person is do- ing business as: Venice Beach Surf Company 12405 Venice Blvd #242Los Angeles, CA 90066. This businesses is conduct- ed by an individual. The registrant commenced to transact business under the fictitious business name or names listed above on: N/ASigned: Lee BlodgettNOTICE- THIS FICTITIOUS NAME STATEMENT EXPIRES FIVE YEARS FROM THE DATE IT WAS FILED IN THE OFFICE OF THE COUNTY CLERK. A NEW FICTITIOUS BUSINESS NAME STATEMENT MUST BE FILED PRIOR TO THIS DATE.The filling of this statement does not of itself authorize the use in this state of a fictitious business name in violation of the rights of another under federal, state, or common law (see Section 14411 et seq., Busi- ness and Professions Code.)This statement was filed with the County Clerk of Los Angeles on: 9/08/2015 Publish: 09/10/2015 09/17/15, 09/24/15, 10/01/15LA Weekly

Fictitious Business State- ment 2015205130. The following person(s) is (are) doing business as: Hotbox Company / Hotbox Co. at 411 S. Catalina St. 222, Los Angeles, CA 90020. Registered owner(s) - HANNAN ENTERPRISES, INC. at 411 S. Catalina St. 222,

FL-100FL-100 Petition for Dissolu- tion of Marriage. 1) Legal re- lationship: we are married. 2) Residency requirements: Petitioner has been a resi- dent of this state for at least six months and of this county for at least three months immediately pre- ceding the filing of the Pe- tition. 3) Statistical facts: Date of Marriage – 02/14/2009. Date of Separa- tion 08/31/2012. Time from date of marriage to date of separation – 2 years, 6 months. 4) Minor children: The minor children are Si- mon Alejandro Nazario,

FL-105FL-105 Declaration Under Uniform Child Custody Ju- risdiction and Enforcement Act (UCCJEA). 1) I am a party to this proceeding to deter- mine custody of a child.

birthdate 09/14/2009, age 5, sex M. Petitioner re- quests that the court make the following orders. 5) Di- vorce of the marriage based on irreconcilable dif- ferences. 6) Legal custody of children to Petitioner. Physical custody of children to Petitioner. Child visita- tion be granted to Respon- dent. 7) Child Support. If there are minor children born to or adopted by Peti- tioner and Respondent be- fore or during this mar- riage, the Court will make orders for support of the children upon request and submission of financial forms by the requesting party. An earnings assign- ment may be issued with- out further notice. Any par- ty required to pay support must pay interest on over-

due amounts at the “legal” rate, which is currently 10 percent. 8) Spousal support payable to Petitioner. Ter- minate the Court’s ability to award support to Respon- dent. 9) Separate property. There are no such assets or debts that I know of to be confirmed by the Court. 10) Community and quasi-com- munity property. There are no such assets or debts that I know of to be divided by the Court. Signed, Feb- ruary 4, 2015 by Linda Am- briz.

Los Angeles, CA 90020. This business is conducted by a Corporation. The registrant (s) has not yet started to transact business under the fictitious business name or names listed above.NOTICE- THIS FICTITIOUS NAME STATEMENT EXPIRES FIVE YEARS FROM THE DATE IT WAS FILED IN THE COUNTY CLERK. A NEW FICTITIOUS BUSINESS NAME STATEMENT MUST BE FILED PRIOR TO THAT DATE. The filing of this statement does not of itself authorize the use in this state of a fictitious business name in violation of the rights of another under federal, state, or common law (see Section 1440 et seq., Business and Profes- sions Code.) This statement was filed with the County Clerk of Los Angeles on: August 6, 2015Published in the LA Weekly: 09/03/15, 09/10/15, 09/17/15, 09/23/15.

There are 1 minor children whoa re subject to this pro- ceeding, as follows: Simon Alejandro Nazario. Place of birth: Burbank, CA. Date of birth: 09/14/2009. Sex: M. 09/12 to present: 11319 Delano St. North Hollywood, CA. Person lived with: Peti- tioner. 11319 Delano St. Re- lationship: Mother. 10/10 to 09/12: 11237 Hatteras St. North Hollywood, CA. Per- son lived with: Petitioner. 11319 Delano St. Respon- dent. Valle Del Bravo, Tolu- ca, MX. Relationship: Moth- er and Father. 1/10 to 10/10: Santa Clarita, CA. Person lived with: Petition- er. 11319 Delano St. Respon-dent. Valle Del Bravo, Toluca, MX. Relationship: Mother and Father. Do you have any information about, or have you partici-

pated as a party or as a wit- ness or in some capacity in, another court case or cus- tody or visitation proceed- ing, in California or else- where concerning a child subject to this proceeding? No. Do you know of any person who is not a party to this proceeding who has physical custody or claims to have physical custody of or visitation rights with any child in this case? No. Signed, February 4, 2015 by Linda Ambriz.

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NOTICE OF PETITION TO ADMINISTER ESTATE CASE NUMBER BP166422To all heirs, beneficiaries, creditors, contingent credi- tors, and persons who may otherwise be interested in the will or estate, or both of Stonewall J Trannon Jr. A Petition for Probate has been filed by Pamela Relif- ord in the Superior Court of California, County of Los Angeles. The Petition for Probate requests that Pamela Reliford be appoint- ed as personal representa- tive to administer the es- tate of the decedent. The petition request the dece- dents 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. A hearing on the petition will be held in the court as fol- lows: Date: 10/13/2015 8:30 a.m. Dept. 5 111 N Hill Street, Los Angeles, CA 90012 Stanley Mosk Court- house. If you object to the granting of the petition you should appear at the hear- ing and state your objec- tions with the court before the hearing. Your appear- ance maybe in person or by your attorney. If you are a creditor or a contingent creditor of the decedent, you must file your claim with the court and mail a copy of the personal repre- sentative appointed by the court within four months from the date of first issu- ance of letters as provided in Probate Code section 9100. The time for filing claims will not expire before four months from the hearing date noticed above. You may examine the file kept by the court if you are a person interested 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 peti- tion or account as provided in Probate code section 1250. A Request for Special Notice form is available from the court clerk. Pame- la Reliford, 13109 Ninebark St, Moreno Valley CA 92553 951.500.0472

SUMMONS(CITATION JUDICIAL)CASE NUMBER: BC567711NOTICE TO DEFENDANT: MICAH S. KATT WILLIAMSAn Individual, & Does 1 through 10 Inclusive,YOU ARE BEING SUED BY PLAINTIFF: EBONI GRAY An Individual.NOTICE! You have been sued. The court may decide against you without your being heard unless you respond within 30 days. Read the information be- low. You have 30 CALEN- DAR DAYS after this sum-

fee waiver form. If you do not file your response on time, you may lose the case by default, and your wages, money, and property may be taken without further warning from the court.There are other legal re- quirements. You may want to call an attorney right away. If you do not know an attorney, you may want to call an attorney referral service. If you cannot af- ford an attorney, you may be eligible for free legal ser- vices from a nonprofit legal services program. You can locate these nonprofit groups at the California Le- gal Services Web site (www.lawhelpcalifornia.org), the California Courts Online Self-Help Center (www.courtinfo.ca.gov/self- help), or by contacting your local court or county bar as- sociation. NOTE: The court has a statutory lien for waived fees and costs on any settlement or arbitra- tion award of $10,000 or more in civil case. The court's lien must be paid before the court will dis- miss the case.The name and address of the court is: SUPERIOR COURT OF CA111 North Hill Street, Los Angeles, CA 90012The name, address and telephone number of plain- tiffs attorney, or plaintiffs without an attorney is: Michael Shapiro, APC612 N. Sepulveda Blvd.Suite 11Los Angeles, CA 90049Tel: (310)472 - 8900Date: Dec 23, 2015SHERRI R. CARTER, EXECUTIVE CLERK By: Shaunya Bolden, Deputy

SUMMONS (Family Law) NOTICE TO RESPONDENT:SIMON NAZARIO, YOU ARE BEING Sued. Petitioner's name is: LINDA AMBRIZ.CASE NUMBER: BD615415 You have 30 CALENDAR

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mons and legal papers are served on you to file a writ- ten response at this court and have a copy served on the plaintiffs. A letter or phone call will not protect you. Your written response must be in proper legal form if you want the court to hear your case. There may be a court form that you can use for your re- sponse. You can find these court forms and more in- formation at the California Courts Online Self-Help Center (www.courtin- fo.ca.gov/selfhelp), your county law library, or the courthouse nearest you. If you cannot pay the filing fee, ask the court clerk for a

DAYS after this summons and Petition are served on you to file a Response (form FL-120) at this court and have a copy served on the petitioner. A letter or phone call will not protect you. If you do not file your written Response on time, the court may make orders affecting your marriage or domestic partnership, your property, and custody of your children. You may be ordered to pay support and attorney fees and costs. If you cannot pay the filing fee, ask the court clerk for a fee waiver form. If you want legal advice, contact a lawyer immediately. You can get information about finding lawyers at the Cali- fornia Courts Online Self- Help Center (www.courtin- fo.ca.gov/selfhelp), at the California Legal Services Web site (www.lawhelpcalifornia.org), or by contacting your local county bar association. The name and address of the court is: Stanley Mosk Courthouse, 111 N. Hill Street, Los Angeles, CA 90012. The name, address, and telephone number of petitioner's attorney, or petitioner without an attorney, are: LINDA AMBRIZ, 11319 Dela- no St., North Hollywood, CA 90012. Dated: Feb 9, 2015 Clerk: Dotty Ward.NOTICE TO PERSON SERVED: You are served as an individual. Dated: February 9, 2015. publishing: 08/06/15, 08/13/15, 08/20/15 and 08/27/15 LA WEEKLY

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