JUNE 5-11, 2015 / VOL. 37 / NO. 29 / LAWEEKLY.COM

Robin Antin Built an Empire on the Success of The

Pussycat Dolls. But Does the Formula

Still Work?

By L.J. Williamson

Queenofthe

Girl Groups

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A CONSIDERABLE TOWN...7 Losing Hey Now Jimmy: He was the coolest, living in an Airstream trailer in Silver Lake. BY VINCENZA BLANK.

NEWS...8 Held Back to Get Ahead: New LAUSD board member suggests a 1980s approach to teen-education woes. BY HILLEL ARON.

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MUSIC...43 Long Beach rapper Vince Staples would rather go bowling than tell REBECCA HAITHCOAT about his debut album. JEFF WEISS goes to Big Sur to interview Tim Presley, the psych-rock mastermind behind White Fence and new band Drinks. Plus: HENRY ROLLINS: THE COLUMN!, LINA IN L.A., listings for ROCK & POP, JAZZ & CLASSICAL AND MORE.

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| JUNE 5-11, 2015 // VOL. 37 // NO. 29

24

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 ⁄⁄TOP DOLL ... 11Pussycat Dolls founder Robin Antin is a Hollywood success story. But do her sexed-up girl groups send the wrong message? BY L.J. WILLIAMSON

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LOSING HEY NOW JIMMY

He was the coolest, living in an Airstream trailer in Silver Lake

BY VINCENZA BLANK

Hey Now Jimmy was the coolest. He once did a wheelie on his bike down the quarter-mile fi nal stretch of Santa Monica Boulevard up to his driveway

on Sanborn Avenue, the street where he grew up in Silver Lake. 

“Stay away from the beard,” Jimmy would say. He had a scraggly, mostly gray beard tied in a ponytail. He loved his beard.

Jimmy didn’t give a shit, and he was the sweetest man you could meet. In a city where there’s often uneasiness about how someone’s going to treat you from one interaction to the next, Jimmy was always genuinely friendly.

James “Jimmy” De La Riva died on March 8 at the age of 53. For those in his neighborhood, it was sudden. He had just been there, helping out as always: carrying bags, warning of possible parking tickets, bringing home pet pigs.

Magician Christopher Wonder sits in his living room with his one-eyed, hairless, Chinese crested dog, Dante. Wonder is covered in tattoos and Dante is sporting an orange sweater. Wonder once had a pet pig named Porkchop who ran away to the corner bodega to shoplift potato chips. Jimmy returned him to Wonder. That’s how the two met.

When Wonder served as a human piñata

in a straitjacket for a kids’ party, the adult host encouraged the kids to hit the magi-cian pretty hard, and Wonder was OK with that until a silver cap popped off his tooth. It was Jimmy who kept looking and look-ing until he found it.

Wonder was touring Italy when he learned Jimmy had died. He was heart-broken and lonely on the road with just his chicken and his dog. Dante was the only living creature around who also knew Jimmy. After all those years, returning to a Sanborn without the prospect of sharing stories with Jimmy was hard. “It really is a diff erent neighborhood,” Wonder says.

As they sit in the front yard of what was one of their regular hang spots with Jimmy, two of Jimmy’s lifelong friends, Robert “Indio” Greenwood and Darryl Her-nandez, say Sanborn Avenue is empty, like “a hollow spot” or “the Grand Canyon.”

Greenwood is 10 years younger than Jimmy, but Hernandez is 12 years older and remembers the 1960s and ’70s when he and Jimmy enjoyed a Sunset Junction that was like Haight-Ashbury — the commu-nity, the hippies..

For a time, Jimmy worked in pyrotech-nics with his father. But he began to work independently, preferring to stay closer to Sanborn to watch over his mother, who had a weak heart. Hernandez says Jimmy was against the proposed Frost/Chaddock Sunset Junction condo development — a modern bit of architecture that has roiled the changing neighborhood.

Jimmy “hated that idea. Hated to see the change. If he had money he’d buy it,” Hernandez says. The developer would demolish the house where Jimmy grew up at 1069 Sanborn Ave. There’s still a pole in the yard from a period in Jimmy’s youth when the building was a boarding house for traveling salesmen, the Sanborn House.

As for people, Jimmy remained close to friends from elementary school and earlier. But he also liked meeting the variety of new characters in the shops that lined Sun-set Boulevard. “He’d give you his friend-ship 100 percent,” Greenwood says.

When Wonder moved to the block in the 1990s, a skinny white boy from Indiana, Jimmy would defend him to the residents who had a more hardened attitude to newcomers. “Hey Magic Man, show us that trick,” he’d say, and with that the ice would be broken.

Known as the Mayor and night watch-man of Sanborn, Jimmy had many nicknames: Hey Now and Zig-Zag were the most popular, but one of his most unsavory was Bin Laden.

The day after 9/11, Leslie Barrett walked back to her apartment from the 4100 Bar with a male friend. It was a strange time — everything was a shock, everything was bizarre. They were talking and talking and then suddenly Barrett noticed her friend was handing a wallet to a man with a gun.

Jimmy materialized moments later and told the pair he’d seen them being robbed. He volunteered to talk to the police, even

though he was putting himself in a bad place. As he was describing the incident, the cops realized Jimmy had outstanding tickets. And suddenly they were putting him in the car.

“Static” was the word Jimmy used for arguments and things he didn’t feel com-fortable with — like what the cops did to him. He got tickets for petty off enses: open container, not having a light on his bike. He never paid them. Instead he’d tell them, “Fine. I’ll eat bologna sandwiches for a few days in jail.”

Cafe Stella owner Gareth Kantner, whose wine and beer bar has a picturesque view of Sanborn Avenue, remembers thinking, “Don’t you know who this guy is? Just leave him alone. He lives right there.”

Jimmy’s sister sold the house and moved to the Valley, but Jimmy persisted on San-born, often sleeping on roofs. Kantner let him stay in the Airstream in Cafe Stella’s lot. Three days became fi ve years. “It broke my heart so much when he passed,” Kant-ner says, his voice cracking with emotion. “I had to move [the trailer] because I didn’t even want to look at it anymore. Because it reminded me so much of him.”

Jimmy would answer Kantner’s calls on his simple prepaid cell, “Hey G-dog, hey bossman, what do you need?” Jimmy was always ready to help.

Jimmy’s favorite pastimes were beer, bikes and music — always better with his friends. His beer of choice for the average day was Bud Light. At Cafe Stella, for his birthday he’d go for a Chimay.

Hernandez had plans to take Jimmy to the Playboy Jazz Festival at the Hollywood Bowl in mid-June, “but he couldn’t hang on,” he says.

Jimmy had a cough. He was still smok-ing. He could hardly drink his beer and could only eat pudding. He had no idea he was as sick as his diagnosis revealed. When he fi nally went to the doctor, he ended up in the hospital with stage IV throat cancer.

Greenwood says Jimmy was in high spirits during their initial visit but thinks he overheard something in the hospital and was diff erent during the second. The pony-tail part of his beard had been cut off , too.

About four weeks into his hospital stay, Jimmy died.

And then he was back in Silver Lake, bringing everyone together, even the static. Mariachis and cops escorted Jimmy from the church through the heart of Sun-set Junction.

Kantner had arranged for Jimmy’s last wishes to be granted. “He wanted his last ride to be up San born. He wanted to be cremated. He wanted to be stuck in a Budweiser can.” A plaque — dipped in gold, gangster-style — and Jimmy’s bicycle will hang on a Cafe Stella wall.

“RIP Sweet Jimmy. You got us. We got you!” read a poster at his wake. “He loved everyone. He looked out for everyone. He was always ‘a shout away,’�” Hernandez says.

“He actually didn’t have hardly anything and was so happy,” Wonder says, musing that he doesn’t know if there is some sort of God but it seems Jimmy was kind of like a test. “I don’t know much about the Bible, but I think there are stories like that.”

PHOTO BY TIMOTHY NORRIS

| A Considerable Town //

A memorial to “Hey Now” Jimmy De La Riva on Sanborn Avenue in Silver Lake

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REVISITING RETENTIONNew LAUSD school board member thinks holding back failing kids could help

BY HILLEL ARON

Scott Schmerelson knew he would win.

“I don’t want to sound cocky,” says the genial Schmerelson, the fi rst Republican elected to the LAUSD Board of Education

in decades. “I could just tell by the pulse of the people I met. I could just tell.”

He beat two-term incumbent and out-spoken charter-school enthusiast Tamar Galatzan, whose reform-minded backers spent twice as much as his teachers union backers, but, he says, “I’m telling you, ev-erywhere I went people were enthusiastic.”

Schmerelson is an intriguing addition to the board, having seen what unfolds inside some of the city’s most challenged schools.

Long ago, he taught for 12 years at strug-gling Virgil Middle School in Koreatown, and more recently was principal for 10 years at Mount Vernon, now Johnnie Cochran Middle School, in Arlington Heights in South L.A. He was a counselor and assistant principal in between, adding up to 35 years in public schools.

Schmerelson sees middle school as the key to improving things, as this is the point where kids, particularly low-income students and English-language learners, start to fall behind.

“With that newfound freedom, it’s easier for the kids to screw up,” he says. “Middle school is where we have to catch the chil-dren before they fail. I really feel that we should hold our kids in middle school until they’re ready for high school.”

That’s an idea that’s sure to generate

controversy. “I don’t want to have any 47-year-old kids

in middle school,” he adds. “But we need to work with them, including retention.”

By “retention,” he means holding kids back a grade, an old practice that would end the current use of “social promotion,” where failing students are advanced to the next grade, purportedly to avoid damaging them psychologically.

Under a 1999 state law, students in Cali-fornia aren’t supposed to advance if they aren’t academically prepared. But holding students back is expensive, and it’s a prac-tice LAUSD doesn’t often employ. Some say it’s not particularly eff ective.

“Research doesn’t support the idea that holding students back improves student outcomes,” says Ryan Smith, executive director of Education Trust West. “We fi nd that students tend to be disengaged when they’re held back, and that teachers struggle with how to support them.”

Smith would rather see greater help for students after school and in the summer.

Schmerelson’s surprising victory was part of an anti-establishment, anti-incum-bent wave during the May 19 L.A. munici-pal election, which also swept outsider David Ryu onto the Los Angeles City Council and charter school founder Ref Rodriguez onto the school board, the latter at the expense of school board incumbent and charter opponent Bennett Kayser.

Rodriguez also thinks L.A.’s middle schools need to be transformed. He calls Schmerelson’s retention idea “interest-ing,” and says now might be a good time to re-examine the eff ects of social promotion. His preferred focus, however, would be to

provide a lot more counseling for middle school students.

“Kids’ emotional needs are not being met,” he says. “They’re disengaging.”

The school board elections were a narrow victory for the reformers over the teachers union, United Teachers Los Ange-les. In losing its biggest ally, Kayser, UTLA gained Schmerelson.

He’s something of a wild card. First of all, there’s his GOP party affi liation, unusual for an L.A. elected offi cial. “A moderate Republican!” he says, laughing nervously. “But I defi nitely am fi scally conservative.”

Schmerelson joins an already idiosyn-cratic and unpredictable school board. Monica Ratliff , Steve Zimmer, Richard Vladovic and George McKenna all are considered independent of both major interest groups, though they may lean one way or the other.

“I think that we are entering, in Los An-geles, a post-ideological era in education,” says Ben Austin, perhaps as much in hope as belief. Austin, policy director at Stu-dents Matter, says, “LAUSD parents and voters don’t particularly care all that much if their school is a charter school or district school. They don’t care if they’re working with reformers or the unions. They just want a good school.”

“There’s a feeling of newness that two new board members bring to this,” agrees Rodriguez. “We have an opportunity to govern in a diff erent way.”

In Schmerelson and Rodriguez, the board gains two exceptionally friendly members, untethered to past confl icts.

“Folks were just really dissatisfi ed with the board in general, in terms of its

oversight,” Rodriguez says. One scandal seemed to encapsulate, to the voters’ eyes, everything that is wrong with LAUSD: the iPad program.

Former superintendent John Deasy had proposed using $1 billion in school-bond money to give every student and teacher an iPad, thus closing the technology gap, particularly among poor students, and pre-paring students to take the next generation of standardized tests on computers.

The well-meaning proposal was hastily approved by the board and even more hast-ily implemented, leading to kids stealing devices and resulting in iPad software that wasn’t ready. Stories emerged suggesting the bidding process had favored Apple and software company Pearson. The FBI launched an investigation.

The headstrong Deasy resigned under pressure in October 2014 and his succes-sor, Ray Cortines, put the program on an indefi nite hold. The dead boondoggle then was used as a bludgeon against school board incumbents.

Says board member Zimmer, “That two public servants were brought down over [the iPads] is something that’s very sad. And, at some level, very wrong.”

Two of the board’s most stubborn members were ousted by voters on May 19. Galatzan, a prosecutor with the L.A. City Attorney’s offi ce, had been an ardent defender of Deasy, and had clashed with colleagues, including Zimmer and Ratliff . The ousted Kayser was more soft-spoken but also more ideologically rigid than Galatzan. He opposed Deasy and, toward the end, voted against every charter school that came before the board.

Schmerelson cites the iPad program as “a perfect example of taxpayers’ money not being used as taxpayers wish.”

On the other hand, as a former teacher, Schmerelson is sympathetic to much of the teachers union’s platform.

He’s against using test scores to evaluate teachers, which the district started under Deasy. And he’s against requiring more than two years of classroom experience before teachers earn tenure, although the courts ruled in Vergara v. California that districts must require more than two years.

When asked by L.A. Weekly which board member he most admired, Schmerelson chose Marguerite LaMotte. The late LaMotte was a staunch teachers union ally, though she did vote for the dramatic recon-stituting — removal of dozens of teachers — at failing Crenshaw High School, where only a fraction of students could pass tests in mathematics.

One of the teachers removed from his job at Crenshaw High was UTLA’s current president, Alex Caputo-Pearl.

Schmerelson, however, admires LaMotte less for her pro-union ideology and more for her style, particularly her visibility in the community, which he plans to emulate.

It’s likely that he’ll be more moderate in debates than the often strident LaMotte. For example, Schmerelson thinks that charter schools have helped traditional public schools by forcing them to compete for students, and for the state funds that follow those students. “People at tradi-tional public schools are realizing that they ought to get their act together,” he says.

| News //

COURTESY OF SCOTT SCHMERELSON CAMPAIGN

LAUSD’s new board member Scott Schmerelson, a veteran middle school principal, says

holding kids back gets a bad rap.

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he light-fi lled rooftop gar-den of West Hollywood’s Soho House, the interna-tional members-only club serving A-list clientele, feels as it’s supposed to feel: dramatic and exclu-

sive. A mature olive tree, one of several growing in the center of the dining area, is clearly older than the club, which has been around for only fi ve years. Turns out management had it transplanted here, fully grown.

Robin Antin strolls in a few minutes late, dressed in snug, ripped leggings paired with a T-shirt and a rich-looking navy jacket with brass buttons — a combination of sloth and posh. Antin, founder of The Pussycat Dolls and a handful of other girl groups, is a member of Soho House and clearly relishes that fact. But having grown up in Van Nuys, the West Hollywood resident also is quick to acknowledge her roots.

“They say, ‘I’m from Valley Village,’�” she notes of the people who now live in her old neighborhood. “I’m like, ‘No, there’s no such thing.’ It’s some weird, made-up thing people do instead of say-ing Van Nuys.”

“Oh, Robin, you have the best body of anyone here!” gushes an acquain-tance who bumps into Antin on her way through the dining room. Antin grins, shrugs and accepts the compliment. At 53, her religious devotion to daily dance classes has clearly paid off , physically and literally: As creator, choreographer and mogul in chief of her girl-group empire, Antin is reported to have a net worth of $4 million.

The Pussycat Dolls, her most suc-cessful creation, are known for the song “Don’t Cha” but better known for skimpy outfi ts and sultry poses. They disbanded in 2010 after a hugely successful run, which included sales of 54 million records, a line of lingerie, a Vegas show and two reality TV series. Now Antin is developing a third series about her pres-ent challenge: trying to create a repeat performance with her new concoction, G.R.L., a girl group with equally skimpy outfi ts but no hits yet in the United States.

“Die-hard fans of The Pussycat Dolls said it will never happen again,” Antin acknowledges. “But there’s a lot of tal-ented girls out there, and I love creating groups. I’m getting a second chance to create an empire like The Pussycat Dolls. But to put lightning in a bottle twice is really hard.”

At fi rst, Antin intended for the new group to keep the Pussycat Dolls name. But after a lengthy audition process, she put together a team of girls worthy of their own identity: Emmalyn Estrada, Paula van Oppen, Lauren Bennett, Na-tasha Slayton and Simone Battle. In the summer of 2014, the group’s single “Ugly Heart” was making the charts; it hit No. 2 in Australia. G.R.L. was building steam.

Then, in September, Battle was found hanging from a closet rod in her West Hollywood home. The 25-year-old had committed suicide.

At that point, the question was

TopDoll

In a male-dominated

industry, Pussycat Dolls founder

Robin Antin is a unique Hollywood

success story. But do her sexed-up girl groups send

the wrong message?

By L.J. Williamson

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no longer whether Antin could have another success but whether she could continue at all.

For the all-female groups who defi ne the modern pop paradigm — the Spice Girls, Destiny’s Child — music was ostensibly the main event. But it was Antin who fused girl group with girlie show, un-apologetically putting sex appeal front and center. In fact, when The Pussycat Dolls started, they weren’t a musical group at all.

The Dolls were the product of the Hollywood club scene circa 1995. Antin, who was rooming with actress Christina Applegate at the time, had a vision of bringing back a classic burlesque show. Not just strippers — L.A. had plenty of those — but real dancers with serious training, like Antin herself, who’s been dancing professionally since the age of 12.

“None of us went to college,” Antin says of herself and her three brothers: Neil, who’s marketing vitamin energy shots; Jonathan, a high-priced Beverly Hills hairstylist and a judge on Bravo’s Shear Genius; and Steve, an actor-turned-fi lmmaker best known for writing and directing the 2010 fi lm Burlesque.

In past interviews, Steve Antin has described his family upbringing as “working-class.” But the Antins seem to have always fl irted with celebrity. Steve Antin started acting in movies at age 9. Their mother once worked as a model and had also been a dancer, though not professionally.

“She had black bangs, short hair,” Robin Antin says. “She always wore black little motorcycle jackets, which is why I have 500 in my closet.” Today, both parents have relocated to Malibu and are partners in a successful furniture and interior design business with a celebrity clientele.

Robin Antin made a name for herself in music videos of the 1980s and ’90s, fi rst as a dancer, later as a choreographer, working on everything from Academy Awards dance numbers to directing Paris Hilton and Hannah Ferguson in the infa-mous “That’s hot” Carl’s Jr. burger ads.

Aided by Applegate’s star power, The Pussycat Dolls became a hot ticket at the Viper Room, back when Johnny Depp was still running things nightly — and when Rat Pack–era retro, as immortal-ized in Swingers, was all the rage. During their fi rst seven-week residency, the Dolls performed choreographed routines in costumes Antin sewed, dancing to vintage smokers such as “Big Spender” and “Fever.” Depp was so pleased, Antin says, that one night after the show he told her, “This is the whole reason I opened a club.”

Dancer Jane Smith, who performed in the Dolls’ early burlesque shows — and asked L.A. Weekly not to use her real name, because “the dance world is so small and Robin is so powerful” — recalls, “Back in the mid-’90s, when the dance world in L.A. wasn’t as saturated, you could really pinpoint who was a video star. A couple girls were being used all the time, and Robin was one of them.”

The Viper Room show “really was a homegrown scenario,” Smith says, with Antin and the girls showing up early to do everything from sewing costumes to hanging lights. “She was choreographing on trained dancers — that’s why it wasn’t just that we were vamping. We were really dancing, really sweating, really kicking our legs.”

Antin says the moment she knew she had something big on her hands was when Christina Aguilera showed up and asked if she could not only perform with the troupe but also sing on all of the show’s songs. When that happened, Antin says in her Valley girl lilt, “I was like, wow. I knew that it was special — you could feel something happening, something changing.”

The show later moved to the Roxy, Smith says, “which is pretty much when everything exploded.”

Steve Antin fi lmed the show, and his sister presented the footage to diff erent record companies. “We were going to sell it like a Broadway show soundtrack,” she says. She fi rst imagined scaling the show up as a splashy, Bob Fosse –inspired revue.

Gwen Stefani , another celebrity fan, invited Interscope/A&M executives Jimmy Iovine and Ron Fair to the Roxy, and they convinced Antin that the way to go was to turn her burlesque show into a mainstream pop group. Soon the Dolls were connected with songwriters, styl-ists, producers. Suddenly “there were 5 million people involved,” Antin says.

“It wasn’t a sellout,” Smith says. “It was a sell up.”

Antin describes Th e Pussycat Dolls’ im-age as empowering to women, but some feminist thinkers disagree. In particular,

the unintentionally ironic video for the song “I Don’t Need a Man” practically begs to be lampooned.

“It quickly becomes obvious that there is a jarring contradiction between the lyrics of the song, which claim complete independence from men, and the dance moves and gestures of the women in the video,” writes feminist scholar Linda Besigiroha , noting that the video’s leg-shaving, toenail-painting, blow-drying antics add up to a blatant attempt to court male attention.

But Antin doesn’t see it that way. “Any smart person in this world will under-stand that what I’m doing is putting out there what every woman wants to be on the inside. I always say inside every woman is a Pussycat Doll. Every single woman.”

She looks around the dining room at the Soho House, pointing. “Just like you do. Just like she does. Just like she does. Everywhere. Even in the Middle East, with women that have to cover their face and walk behind men. We are that animal. And we want to be celebrated. Not everybody’s going to talk about it,

not everybody’s going to make it a busi-ness. But my business is the business of being sexy — in a way that’s relatable to women.”

Or at least some women.Antin proceeds to rattle off a list of

performers who are idolized by many but don’t necessarily lead the same kind of life as their fans. “There’s a reason that all of these amazing women that are so inspiring, like Gwen Stefani, Char-lize Theron, Fergie, Scarlett Johansson, Pink, Christina Applegate, Christina Aguilera, Kim Kardashian, Eva Longo-ria, that all of them have been a part of Pussycat Dolls as a guest. We all have that alter ego … everybody would love to say for one day, ‘I’m a dancer. I’m a sexy dancer.’�”

In the two Pussycat Dolls reality shows, The Pussycat Dolls Present: The Search for the Next Doll and The Pussycat Dolls Present: Girlicious, an air of yearning, tinged with a sense of desperation, is palpable. Watching these shows, which aired on The CW in 2007 and 2008, is like watching RuPaul’s Drag Race with all of

“ANY SMART PERSON WILL UNDERSTAND THAT WHAT I’M DOING IS PUTTING OUT THERE WHAT EVERY WOMAN WANTS TO BE ON THE INSIDE.” —ROBIN ANTIN

The Pussycat Dolls were Robin Antin’s most successful creation.

PHOTO BY KEN MCKAY/REX/NEWSCOM»11)

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the self-aware humor surgically removed, replaced by frantic, late-teens, my-life-is-about-to-be-over anxiety.

It’s a given that beauty pageants are a passé bastion of outdated values. But audiences haven’t grown so sophisti-cated that they’re above elimination shows featuring girls in skimpy clothing. A reality show such as The Search for the Next Pussycat Doll is cut from nearly the same satiny cloth as the Miss America pageant — but there’s no scholarship at the end, just a potential career as a pop star.

Like many reality shows, The Pussycat Dolls’ seem edited to highlight women at their worst — petty, gossipy, back-biting. A scene in the season closer of Search, for example, features the last two contestants having dinner together, nerves frayed as they near the end of an exhausting gauntlet of competition and catfi ghts. Transparently pushing them into one last bitch session, Antin encourages them at the meal to “get it all off your chest.” But when they take the bait, Mikey Minden, the show’s chore-ographer, haughtily chastises them for feuding.

The women Antin has worked with, however, describe her as anything but divisive. Anjelia Pelay, a contestant on the fi rst series, who’s gone on to become a solo country artist, calls Antin “a real girl’s girl — chicks before dicks.” Natas-cha Bessez, another veteran of the fi rst reality series, who now has a charting solo career, says that during the compe-tition Antin “would get super emotional every time a girl would get cut. You could tell she kinda looked out for all of the girls she was working with.”

But don’t The Pussycat Dolls still pose a problem for women concerned

about a one-dimensional portrayal of womanhood, where sex appeal is all that matters?

“No,” Antin says. “Aren’t I living proof of that?”

In a way, she is. Antin is one of the world’s few female shot-callers behind a notable pop group. While her groups outwardly reinforce the nothing-if-not-hot view of womanhood, Antin’s behind-the-scenes career off ers a contrasting narrative: the success story of a savvy, scrappy, self-made woman in a male-dominated industry. And if she has her way, the behind-the-scenes woman soon will become a lot more visible.

Antin wants her next reality show to be diff erent. She would like to work with a diff erent production company. Less ginned-up drama. Fewer catfi ghts. More about how the members of her newest group, G.R.L., are relatable, just people trying to make it in the business and “re-ally, truly good girls.”

It would be an opportunity to build G.R.L.’s fan base, too, giving America a chance to get to know the group Antin assembled after a lengthy, international search for talent: Lauren Bennett, a British singer-dancer-model formerly of short-lived Antin group Paradiso Girls; Paula van Oppen, once on So You Think

You Can Dance; dancer-actress Natasha Slayton; and Emmalyn Estrada, whom Antin fi rst spied on YouTube and had fl own in from Canada.

Antin is ready for her close-up, too. In her previous series, she fl oated in here and there as judge and string-puller but largely remained out of the fray. Next time, she wants to be more of an active participant — and the role of surrogate mother seems a good fi t for Antin, who dotes on her brothers’ children. (She has been in a long-term on-again, off -again relationship but never married or had children.)

Antin is a close friend of fellow den mother Kris Jenner, popping up on the Kardashians’ show from time to time. The two are reported to be brainstorm-ing ideas for new shows together.

“We all look at the Kardashian model and see what those kind of shows can do for a brand, for anyone that wants to grow their career,” Antin says. “It’s a commercial every day to put your prod-uct out there. That’s what the Kardashi-ans do. … I respect it.”

While Th e Pussycat Dolls started as a club act, an early incarnation of G.R.L. (spelled that way, says Antin, “because there’s no ‘I’ in team!”) debuted during

the 2012 Super Bowl; the group’s mem-bers were stars of a GoDaddy commer-cial. When G.R.L.’s second single, “Ugly Heart,” dropped, it seemed as if Antin might indeed be on her way to bottling that second lightning bolt.

Then she got a phone call. Antin was about to get in her car to

meet the girls for rehearsal when her phone rang. It was the group’s manager, Larry Rudolph — whose clients include Britney Spears and Miley Cyrus. “I need to tell you something,” Rudolph said.

Antin braced for bad news. Maybe one of the girls wanted to leave the group, go solo, the kind of thing she’d heard many times before.

But this was worse than she could have imagined. Just three months after the release of “Ugly Heart,” Simone Battle had killed herself.

“We have to tell the girls,” Antin told Rudolph. So she made four phone calls, saying to each, “Get in the car right now and come to my house.”

When they arrived, everyone just sat, held hands and cried. “I saw four girls that were like babies,” Antin says. “They had to be nurtured, because they didn’t know how to deal with it.”

Antin’s reaction was one of total disbe-lief. “No one saw this coming,” she says. “I mean no one. It was so sudden. We were rehearsing, she was singing and dancing her ass off the day before, and the girls went to lunch�…�.” She trails off . “It’s so hard for me to say much about it.”

She believes that Battle held her pain inside, instead dancing and wearing a smile. “She never seemed like she had trouble with anything. Everything was moving fast, fast, fast. We were working all the time.”

Shortly aft er Battle’s suicide, TMZ reported that the singer “was depressed over money issues.” According to court documents fi led by her mother, Donna Morgan, and obtained by TMZ, she had only about $6,000 saved at the time of her death.

Considered in the context of The Pussycat Dolls’ mega-platinum suc-cess, the notion that an heir to the throne could have fi nancial troubles might seem hard to believe. But in the hyper-competitive world of pop music, newcomers often struggle.

“A lot of people stress about money,” says Chelsea Korka , a former member of another of Antin’s groups, Paradiso Girls, which had only modest success on the charts. “Everybody thinks that if you’re in a girl group, you’re making all this money. God, you don’t make money in a girl group unless you’re The Pussy-cat Dolls and sell a million copies of an album. You’re an employee. You really are. And money is tight at times.”

Korka, now solo and about to release a new album, pointedly titled Being Hu-man, says that as a member of Paradiso Girls, “I was kind of like a puppet. When you’re in a girl group, there is so much pressure about what they think you need to be, and it’s a little stressful. But you have to work, you have to push yourself if that’s what your dream truly is.”

“MY BUSINESS IS THE BUSINESS OF BEING SEXY.”—ROBIN ANTIN

G.R.L. was created in The Pussycat Dolls’ image, updated for today.PHOTO BY ALEXANDER EGGEBEEN

»12)

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Bessez is also no stranger to the anxiety that comes with being a woman in the business. “It’s super stressful, the pressure we have on get-ting our bodies together and having to look 100 percent perfect all of the time. We’re human, and everyone’s struggling. There isn’t one person that isn’t.”

Bessez says young recording artists often have little stability. “And that can hurt you big-time, emotionally and mentally,” she says. “I’m paid based on performances and royalties on songs, and you can make money one month, and no money for six months.”

The music industry is “a tough, evil, awful, no-good business,” Bessez adds, “and no matter where you are in your career, money is always going to be something you are struggling with.”

But was the TMZ story true? Did Battle kill herself because she couldn’t make ends meet?

“That is fucking ridiculous,” Antin fumes. “A 25-year-old girl in this busi-ness, she’s a smart girl. That’s not the reason she took her life. That’s insanity.”

If Battle had money problems, Antin

says, she would have known about them. Korka, who has remained in The

Pussycat Dolls’ orbit and is close with members of G.R.L., says, “The only person who could tell us what was really going on with Simone is Simone. And we can never ask her.”

Aft er Battle’s death, the remaining mem-bers of G.R.L. took a hiatus and went home to spend time with their families. There was no time line, no idea when or how to move forward. Antin says Battle’s mother helped the group come to terms with their grief.

Donna Morgan, who could not be reached for comment, told Antin that moving forward was what Simone would have wanted, Antin recalls. G.R.L.’s fi rst step forward was to create a tribute song.

Antin and the girls knew that they risked being accused of capitalizing on the tragedy, “absolutely.” And the glossy production of the video for their song, the Dr. Luke–penned “Lighthouse,” at fi rst glance doesn’t remotely resemble what most people visualize when they

think of mourning. “We did it the way we did it fi rst and

foremost for Simone,” Antin says. “We wanted to embrace what happened and celebrate her life, and this was our way of doing it.”

The video features images of Battle from home videos, intercut with images of her bandmates singing the song, fre-quently rubbing their arms as if to ward off a chill. At the end, the video shows a link to GiveAnHour.org, the site of a mental health awareness campaign.

“Listen, if we were capitalizing on it, you would be seeing what was happen-ing on the set of that video,” Antin says. “It was so emotional and so sad and so hard. You’d be seeing all that footage on TMZ. But that set was as closed as you could get. No phones, no nothing.”

Through a representative from their label, RCA Records, the members of G.R.L. declined to comment.

G.R.L. just completed a tour of Australia as the opening act for Meghan Trainor, further boosting their profi le there. The next goal, of course, is to build their

audience in America. Antin sees reality TV as a potential centerpiece of that strategy — or at least something that could give the G.R.L. brand a boost, as it did for the Dolls back in 2008.

But that was eons ago in pop terms, and reality isn’t what it used to be. Fox has just announced that American Idol’s 15th season will be its last, and even the Kardashian clan has slipped in the ratings.

As one would expect, Antin says it’s been tough to move forward after Battle’s death. The G.R.L. world is still full of post-Simone fi rsts: There was the fi rst rehearsal without her, the fi rst stu-dio session, the fi rst show, the fi rst tour. “We’re literally going one day at a time, and it’s just so hard doing it without Sim-one,” she says.

But there’s nothing for Antin to do after the tragedy but keep going. There’s another reality show to plan, a clothing line to promote, tours to book and dance steps to rehearse. She needs to capture that lightning in a bottle again. Now more than ever, her girls are depending on it.

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GJUSTATORY OVERLOADGjusta brings an overwhelming amount of good foodto a quiet Venice neighborhood

BY BESHA RODELL

For those of us who are easily distracted, Gjusta can be a frenetic experience. First you have to fi nd the place, located at the end of a row of industrial-type buildings in a residential neighbor-

hood just south of Rose Avenue. There’s no sign. Once inside, it’s diffi cult to fi gure out how all of this works — the space is so huge, the counter so long, the crowd so thick. Take a number from the ticket dispenser on the back wall. Wait to have your number called. And do your best to make some decisions. It won’t be easy.

Gjusta is something between a food hall and a deli, a sprawling concept that assaults all your food lust receptors at

once. A long glass case runs the length of the room, and behind it there’s a world of cooking and baking and activity, along with a

small army of service folks who will take your order once your ticket comes up. As you walk down the expanse of the case, you’re fi rst attracted to the cakes and

pies and pastries, and then jars of deep pink pâté catch your eye, and then you get absorbed by the glistening hunks of smoked fi sh. Look up, and on the back counter sit slabs of roasted meats, ready to be shaved and stuff ed into sandwiches. Wander a little further down, and you’ll come across puff y personal pies and plat-ters of vibrant salads. You’ve yet to even really consider the lists of options on the menus (broken into meat sandwiches, fi sh sandwiches, rotisserie plates, other plates, salads, soups, meat pies, etc.) above the counter — and you already have four or fi ve lunches in mind. How to de-cide? I can’t help you there. Anything you order will be better than you imagined.

This wonderland comes to us courtesy of owner Fran Camaj and chef-owner Travis Lett, the folks behind Gjelina and Gjelina Take Away, which anchor the center of Abbot Kinney a mile to the southeast.

Technically Gjusta is a bakery and deli, and it performs those duties well. Baker Nicole Rucker, who manned the ovens when Gjusta opened (she had previously worked at Gjelina Take Away) has left the business, but her recipes live on. The bread is crackly and stretchy, the baklava croissant a marvel. A chocolate olive oil cake with a pink peppercorn icing is both buoyant and dense, the prickle of pepper utterly mesmerizing. There’s a rhubarb/raspberry pie available during the short rhubarb season, which beauti-

fully straddles the line between sweet and tart and buttery; it is by far the best pie I’ve had outside of someone’s home in recent years.

You can get a piggy porchetta sand-wich on that crusty bread, or a chicken parm that somehow reinvents the form — the chicken tastes better, the breading crisper, the tomato sweeter and tangier — while at the same time remaining utterly true to its gloppy soul.

What’s not to love? Well, this is not a project without its controversies.

Gjusta’s Sunset Avenue location sits in a predominantly residential sliver of Ven-ice, in a part of the neighborhood that has thus far been more successful at staving off the intense development and gentri-fi cation that the rest of Silicon Beach has experienced. In fact, the stretch of Third Street that runs between Gjusta’s front door and Rose Avenue has become a sig-nifi cant homeless encampment in recent years, dubbed “Skid Rose” by locals (for its proximity to Rose Avenue).

Gjusta’s sister restaurant Gjelina is in some ways a symbol of the vast diff er-ence between Abbot Kinney now and the Abbot Kinney of an older, weirder Venice, and so to some residents Gjusta feels like the beginning of the end, the bringer of yuppies and even higher rents and the instigator that will change their neigh-borhood from residential/industrial to commercial.

As such, they’ve managed to put up

some resistance to the project, enough so that owners are still trying to get the permits that would allow alcohol and, most pressingly, seating. The current arrangement has no seating at all — the building is zoned for take-away only — just a marble bar surrounding the coff ee area where you can stand and eat, and a patio adjacent to the parking lot where diners perch on makeshift benches and prop plates on overturned milk crates.

For those not in the know regarding the political wrangling and zoning laws aff ecting Gjusta, it can be confusing to peer behind the building onto a roped-off patio and see employees using large wooden tables to eat lunch and jar pickles while you try to fi nd a place on your rick-ety milk crate to prop a glass of blood-orange iced tea.

Not that any of this has stopped the throngs from descending on Gjusta, and it’s an interesting crowd. Men who drive Jaguar F-Types but are willing to squat over their $16 sandwich and $4.50 cup of coff ee are a very particular breed, and Gjusta has cornered the market on the expensive car/expensive clothes/expen-sive food–loving slackers. There are more designer bulldogs in this parking lot–cum–dining yard, more giant sunglasses, more international moneyed hipsters than anywhere in town (except, possibly, Gjelina).

And while everything is available for take out (again, it’s technically a takeout-only place), there’s some food that is clearly better eaten immediately. The plate of thin-sliced roast beef showered with fresh horseradish, served with a side of peppery arugula salad? I’m sure the beef would reheat fi ne, but some of its juicy, meaty glory would be lost. Even eaten while standing, this is an intensely comforting meal.

On the other hand, the personal pies do reheat fantastically, and to bring home a few of the chicken pies — or, even better, the ones fi lled with stewy shredded pork and root veggies — is a supreme act of love for your family. The smoky grilled escarole and white bean salad is just as gratifying whether you eat it from a plate perched on a milk crate or in the com-parative comfort of your dining room. Try the lamb sausage roll — and, while you’re at it, grab some of that rosy chicken liver pâté, which is tangy and rich and up there with the best pâtés in the city. At $16 for a large jar, it’ll last you all week and feel like a giddy luxury every time you dip into it.

Signs on the door ask patrons to call a local councilman in support of Gjusta becoming a full-scale restaurant, with booze and legit patio seating. They’re also giving out pre-addressed postcards at the register, with suggestions about how you might word your pleas for Gjusta’s cause.

It may or may not become a full-fl edged restaurant. Either way, Venice’s gentrifi ed future marches on, and this particular future tastes better than many of the alternatives.

GJUSTA | 320 Sunset Ave., Venice | (310) 695-1748 | gjusta.com | Daily,

7 a.m.-9 p.m. | Sandwiches, $6.50-$16, plates $15-$20 | No alcohol | Lot and street parking

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

Potato, bacon, red onion and pickled mustard seed salad

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

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Why Aren’t There More Meat CSAs?DEMAND DOESN’T SEEM TO BE THERE YET, RANCHERS SAY

In Southern California, buying seasonal, organic, locally grown vegetables year-round is a way of life. The same, then, should be true for pork, beef and chicken, right? It’s not.

“I wanted to grow my animals in California, have them done in California and sell them to people who live in Califor-nia,” says Dave Heafner, co-owner of Da-Le Ranch in Lake Elsinore.

To sell his pork, lamb, beef, fowl and game, Heafner sets up at farmers markets and uses the Community Supported Agri-culture business model, in which consum-ers pay up front for access to a steady, regular supply of the farm’s bounty.

Heafner benefi ts by having a secured, predictable market for every part of his product, and his subscribers get to connect to a local farm, be exposed to varying cuts of meat and receive ultra-fresh product.

But Heafner is an anomaly — and what works for kumquats and kale turns out to be trickier for pasture-raised beef or free-range chicken.

The scarcity of meat CSAs is partly due to a lack of consumer demand, according to Rachel Petitt, farm-to-market coordina-tor for the Community Alliance With Fam-ily Farmers, the original group to promote CSAs in California in the early 1990s. Petitt says urban consumers who are used to getting exactly what they want delivered to their doorsteps aren’t as inclined to bother with a weekly or monthly pickup of sometimes odd cuts of meat.

Heafner, who has been in the meat CSA business along with wife Leslie Pesic since

2008, says he does his best to make the CSA experience as accommodating as possible, holding orders when customers go out of town, designing shares that skip certain types of meat and even responding to individual requests for cooking advice.

Heafner’s Da-Le Ranch started with fi ve families signed up for his CSA packages, and now has 40. Just as with a vegetable CSA, members of Da-Le Ranch’s CSA have to be prepared for products they might not see at the grocery store — say, a pork shoulder butt steak. Members also know what the animals eat, where they roam and that they’re well taken care of.

Heafner thinks the small number of meat CSAs in Southern California has less to do with limited demand than with limited ac-cess to the state’s USDA slaughterhouses (most meat, even CSA meat, is required to be USDA-inspected for consumer sale) — especially those slaughterhouses that will handle small quantities of animals. There are about 50 slaughterhouses across the state, and all but about seven are in Northern California, meaning that much of a SoCal farmer’s meat is traveling long distances even if it’s locally raised.

One veteran of California’s humane meat industry, Anya Fernald, CEO of Belcampo Meats out of Mount Shasta, compares the experience of a small-scale farmer entering an industrial slaughterhouse to “driving a bicycle on a freeway.”

Fernald says the consolidation of slaugh-terhouses makes them “very effi cient at delivering a globalized product” on “ex-tremely low margins.” It also makes them “averse to working with a small guy.”

Belcampo, with restaurant and butcher locations in L.A., built its own slaughter-house and processing facility in Yreka. “There would be no way my business could exist without our own slaughterhouse,” Fernald says. The Belcampo slaughter-house also processes meat from other farmers, which accounts for about 40 percent of its processing volume.

She also says the movement is evolving: “I see the [meat] CSA as a step along the path, in the same way that the CSAs in the vegetable world were a step in the journey to rebuild our food system.” She views her shop as a next-generation CSA; she’s deliv-ering the whole animal in terms of meats on off er, but consumers get to choose what they want for dinner that night.

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PHOTO BY ANNE FISHBEIN

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markets and adopted the CSA model early on, but has since pulled out of both due to the costs. Instead, consumers must order a base package or bulk box and then add à la carte, with pickup at locations around L.A.

Jay Shipman, who runs J&J with his partner, Jack Rice, echoes some of Heaf-ner’s sentiments. “There are just not very many options for local processing, and they are extremely, extremely expensive,” Ship man says. “We just don’t have the volume to get good pricing. With that, it creates a huge expense and very limited options.” He estimates that it costs him “probably 50 times what it costs normal supermarket meat to process one animal.”

Shipman notes that shoppers, even those used to prices at places like Whole Foods and Sprouts, experience sticker shock. “The reality,” he says, “is that we are still competing with prices that people see on a daily basis.” —Erin Behan

B A R S

Days of Smoking Inside Tiki Ti Are OverTiki Ti, the beloved Los Feliz tiki bar, has been giving us some anxiety in recent weeks. First it put up a sign saying it was closing “indefi nitely.” Then people started to fret that “indefi nitely” meant “forever.” Then it reopened. Hurrah!

But now comes the announcement that one of the bar’s most famous attributes — that it is a smoking bar in a no-indoor-

smoking city — is going away. It was announced on Facebook:“Do Y’all remember the April fools joke

we had a couple of years ago about no more smoking at the Tiki Ti? Yeah, well as of June 1, the Tiki Ti will be a non-smoking bar, just like everyone else. No joke. You can still smoke outside, but this will be our last “indoor smoking” week at the Ti. Peace. Out. ::Drops mic::”

Tiki Ti has long gotten away with indoor smoking because it has no employees — it’s run by the Buhen family. The law banning smoking is designed to protect employees from secondhand smoke.

When I interviewed patriarch Mike Buhen for our 2014 People issue, I asked about rumors that he wanted to ban smok-ing at the bar but felt he couldn’t because it would disappoint patrons. He denied the rumor, said he enjoyed smoking cigars both in and outside his bar, and declared there was no plan to stop smoking at the Ti.

Either he’s changed his mind, or they’ve decided to hire an employee. Either way, customer reactions in the comments on the Facebook post seem to be mainly positive. —Besha Rodell

B E E R

Selling Fresh L.A. Beer Online, One Bottle at a TimeIn mid-March, El Segundo Brewing Com-pany bottled the latest batch of its citrusy, fruity Hammerland Double IPA. Within a

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few days, it arrived (along with a branded pint glass) at the homes of around 40 beer nerds, all of whom live out of state.

El Segundo’s beers, which usually are distributed only in Southern California, were delivered to these far-fl ung places as a result of a single L.A.-area beer retailer: the Internet bottle shop Inside the Cellar.

Based in the industrial city of Santa Fe Springs, Inside the Cellar has since 2013 been selling a small but curated rotating selection of craft beer bottles and cans through its website.

Now, through its 6-month-old Freshies Club, the shop is guaranteeing shipment of local, hoppy beers from several L.A. breweries the day they’re bottled, circum-venting traditional distribution networks and enabling customers around the coun-try to drink like Southern Californians.

“We were at the brewery in El Segundo when they bottled it at 2 p.m., and then we drove directly to FedEx and had the boxes all out that day,” says Inside the Cellar founder Daniel Munoz, who runs the business along with his longtime friend, warehouse and shipping manager Farhaad Esfandiary. “It gets there faster than even if they had distro.”

Inside the Cellar is one of several SoCal-based e-commerce websites that are changing the way local beer is getting into the hands of out-of-state fans.

For years, if someone in Des Moines wanted to try a small-batch beer made in San Diego, they had to have someone go to the brewery or store, buy it and mail it — and risk breaking the law (it’s illegal to

ship alcohol without a license). An underground beer-trading network

emerged to deal with this distribution gap, which is where Munoz says he fi rst got the idea to launch Inside the Cellar.

“We were traders fi rst,” he says. “When I fi rst started trading, I would tell them to just send me a case of local stuff . I wanted to try everything that wasn’t from here.”

That’s why Munoz says he’s making a special eff ort to carry not just the sought-after beers (from breweries such as Cascade, the Bruery and Anchorage) but also bottles from breweries includ-ing King Harbor Brewing, Strand Brew-ing and Smog City Brewing. Customers can pad their orders to qualify for free shipping and end up with beers they might not have come to the site intend-ing to buy.

Inside the Cellar also is unique among online beer retailers in that the web sales are not an off shoot of a storefront (as is the case with Craft Beer Kings and Craft City). This allows Munoz and Esfandiary to be particular about the beers they carry — they have only about 100 beers in their system — and to buy smaller amounts, which are quickly sent out with orders.

The entire operation, which ships around 25 orders each day, exists on just a few shelves inside the temperature-con-trolled warehouse of Specialty Cellars, a parent company that specializes in the importing and wholesale sale of wine.

“We keep it small on purpose,” Munoz says. “It’s an interesting time for beer right now.” —Sarah Bennett

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fri 6/5D A N C E

Light RefreshmentMidway through its fi ve-week survey of where contemporary American music is headed, the Next on Grand festival pauses to look back. Three decades ago, chore-ographer Lucinda Childs, composer John Adams and architect Frank Gehry teamed for Available Light, which launched MOCA’s Temporary Contemporary (now the permanent Geff en/MOCA). The superstar trio reunites with Childs reworking her choreography, Adams returning with his taped score and Gehry reimagining his set design in a venue created by Gehry since the last Available Light. Friday includes the three creatives in a rare postperformance panel discussion. Walt Disney Concert Hall, 111 S. Grand Ave., downtown; Fri., June 5-Sat., June 6, 8 p.m.; $94.50-$137.50. (323) 850-2000, laphil.com. —Ann Haskins

O U T D O O R S

Look Out!You spent your teen years obsessing over The Evil Dead and still can’t stop talking about how Joss Whedon saved a genre with Cabin in the Woods. You love it when on-screen camping trips go horribly wrong. Here’s the chance to live out your horror-movie nightmares. Th e Great Horror Campout is an all-nighter based on the great outdoors subgenre of scary fl icks. Campers can choose the intensity level of their experiences. You may want to set up camp in the Chicken Zone, where you can watch horror movies instead of pretending you’re in one. Those who opt for the full experience will spend the night compet-ing in the Hell Hunt series of games and challenges for the title of Hellmaster. Your stay will last only 12 hours, but organizers suggest bringing a fl ashlight, an old white T-shirt and other camping/horror-party necessities. Griffi th Park Old Abandoned Zoo, 4730 Crystal Springs Drive, Griffi th Park; Fri., June 5, 8 p.m.-8 a.m. (must arrive before 9 p.m.); $109-$159. (310) 993-8289, greathorrorcampout.com. —Liz Ohanesian

T H E A T E R

Zombie Joe’s Goes FringeCiting Antonin Artaud, Bertolt Brecht

and George Lucas among its infl uences, Zombie Joe’s Underground has made a name for itself in part by putting unusual spins on works you know . Tonight the theater opens its doors for its fi rst Under-ground Fringe event. At the center of the Fringe programming, which lasts for much of June, is Othello. Continuing its run of Shakespearean tragedies (its production of Macbeth only recently closed), Zombie Joe’s puts a glam spin on the English-lit staple in a production directed by one of the group’s founding members, Josh T. Ryan. Zombie Joe’s Underground Theatre

Group, 4850 Lankershim Blvd., North Hollywood; Fri., June 5, 8:30 p.m.; $15. (818) 202-4120, zombie joes.com. —Liz Ohanesian

sat 6/6D E S I G N

The Incredible Lightness of ShoppingPart indie home-goods design fair, part curated experience, every two years

Parachute Market at One Santa Fe presents a conceptually themed shopping and lifestyle expo for avant-garde–leaning professional and amateur consumers, decorators and artisans who want to make or own something special. The 2015 edition is dubbed Ad Hoc: A Meditation on the Temporary, covering not only the sustain-ability conversation but also the eff ects of impermanent, pop-up design . One Santa Fe, 300 S. Santa Fe Ave., Arts District; Sat., June 6-Sun., June 7, 11 a.m.-7 p.m.; $10. (855) 207-1872, parachute market.com. —Shana Nys Dambrot

C O M E D Y

Keen EddieDressed to kill in a dapper suit, heeled boots and red nails, Eddie Izzard has been on his current global Force Majeure tour for a whopping two years, performing in English, French and German. Izzard once again puts his spin on his favorite topics — history and religion — jumping from an-cient Greece and Rome and English kings to Buddhism and God sounding like Darth Vader. Fans will be eager to see how Izzard tailors his set to L.A., though they might not have him around much longer, as the stand-up comic and actor plans to abandon showbiz to run for mayor of London in 2020. How very Hollywood. Hollywood Bowl, 2301 Highland Ave., Hollywood; Sat., June 6, 8:30 p.m.; $29.50-$109. (800) 745-3000, hollywoodbowl.com. —Siran Babayan

sun 6/7F O O D

Breaking Bread Whether you’re a glutton for gluten or just really like the way toast smells, the inaugural Los Angeles Bread Festival is your place to be. A celebration of the local artisan-bread renaissance, it’s a weekend of everything from “Feel the Churn” — aerobics mixed with hard-core butter mak-ing — to lessons in how to make your own sourdough bread, plus a sneak peek at JD McLelland’s new documentary, The Grain Divide. There’s also a panel discussion, Field to Table, at which you’ll fi nd out how the L.A. bread movement is really a thing and a lot of people are totally into it. Grand Central Market, 317 S. Broadway; down-

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town; Sat.-Sun., June 6-7, 9 a.m.-6 p.m.; free. (213) 624-2378, grand centralmarket.com. —David Cotner

M U S I C

A Different Kind of Video Game ScoreAngel City Chorale brings together choir lovers and pop culture fanatics with Epic: Blockbuster Music From Video Games and Films. The long-running, L.A.-based vocal group is taking on a big, eclectic mix of music, and, with more than 150 members, the results should be interesting. The selec-tion of video game music for this event includes both 20th- and 21st-century titles, from Tetris to The Elder Scrolls V: Skyrim. Film-music selections are suited for all age groups, with a mix ranging from kid favorite Frozen to grown-up classics 2001: A Space Odyssey and Blazing Saddles. Even the small screen will get some love at this event; Angel City Chorale will perform a medley of TV themes as well. Wilshire United Methodist Church, 4350 Wilshire Blvd., Mid-Wilshire; Sat.-Sun., June 6-7, 7 p.m.; $22-$50, $75 VIP. (310) 943-9231, angel city chorale.org. —Liz Ohanesian

mon 6/8F O O D

International EatingWhen you go out to lunch, it’s a won-

derful thing because it just sort of … appears! Knowing where the food in that lunch originally came from is just as wonderful, so all hail Richard Foss’ history meal, Seven Gift s From Southern California Kitchens to the World. Culinary historian Foss will tell you, in between bites, how immigrants brought with them the formerly exotic food traditions the world now enjoys. His recent book Food in the Air and Space is a suitably relevant history of eating and travel, and the lunch you’ll have is based expressly on today’s dishy history. The Ebell Club, 743 S. Lucerne Blvd., Mid-Wilshire; Mon., June 8, 11:30 a.m.; $35, $30 members. (323) 939-1128, ebelleventtickets.com/Local-Culinary-History-Lunch-Monday-June-8-2015-0317.htm. —David Cotner

C O M E D Y

About SchmidtWith the exception of Mindy Kaling, Ellie Kemper is the only cast member of The Offi ce to follow up with another TV hit. Co-created by Tina Fey, Netfl ix’s Unbreak-able Kimmy Schmidt revolves around the determinedly optimistic Schmidt, who’s rescued from a doomsday cult and moves to New York. (If you ask us, the real star is Tituss Burgess, who plays Schimdt’s sassy, struggling-actor roommate. And how funny was guest Jon Hamm as a Warren Jeff s–like cult leader?) For fans looking for-ward to season two, UCB hosts FYC @ UCB: Unbreakable Kimmy Schmidt, a panel discus-sion with Kemper, Burgess, Jane Krakows-

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ki, Carol Kane, Lauren Adams, Sol Miranda and co–executive producer Jack Burditt. UCB at Sunset, 5419 W. Sunset Blvd., Hol-lywood; Mon., June 8, 7 p.m.; $5 (sold out, standby line only). (323) 908-8702, sunset.ucbtheatre.com. —Siran Babayan

tue 6/9B O O K S

Don’t Diss the ’DoIt’s always something, isn’t it — people with absolutely no lives bothering you because of something as basic as how you wear your hair. University of Richmond English professor Bert Ashe discusses Twisted: My Dreadlock Chronicles, a memoir that details his simple wish to do some-thing new with his ’do. This whim trans-forms into a larger meditation on what hair means in the culture in general and black identity in particular. Ultimately, Ashe’s journalistic journey becomes less about hairstyle and more about the courage to do your own thing, even in the face of dumb questions, prejudices and outright hostility. Eso Won Books, 4327 Degnan Blvd., Leimert Park; Tue., June 9, 7 p.m.; free, book is $15. (323) 290-1048, esowonbookstore.com. —David Cotner

F I L M

Come the RevolutionEven in these times of crushing pessi-mism, it’s deeply encouraging to see that culture-jamming network The Yes Men is working to shake things up with its evolved anticonsumerist pranks and ac-tions. Tonight you’ll be able to see a sneak preview of the group’s third documentary, Th e Yes Men Are Revolting. Often speak-ing truth to power (McDonald’s, Dow Chemical, etc.) by using its own language of press releases and photo ops, the col-lective fools the mainstream media into looking closer at atrocities they would or-dinarily just blow off . Afterward, there’ll be a Q&A with Yes Men Andy Bichlbaum and Mike Bonanno and their co-director Laura Nix. Hammer Museum, 10899 Wilshire Blvd., Westwood; Tue., June 9, 7:30 p.m.; free. (310) 443-7000, hammer.ucla.edu. —David Cotner

wed 6/10M U S I C

Meet The BeatlesMarvin Etzioni, a record producer and founding member of L.A. roots rock band Lone Justice, returns to host the latest in his listening and discussion series. Th e Record Th eater: Beatles ’65 in Mono invites visitors to listen without interruption to an original pressing of the Fab Four’s fi fth LP, released on Capitol Records in January 1964, and featuring the hit singles “I Feel Fine” and “She’s a Woman.” After the record ends, Etzioni conducts a Q&A with Dave Morrell, Beatles collector and author of Horse-Doggin’: The Morrell

Archives Volume One, and Brian Kehew, co-author of Recording the Beatles: The Studio Equipment and Techniques Used to Create Their Classic Albums. Grammy Museum, 800 W. Olympic Blvd., Suite A245, downtown; Wed., June 10, 7:30 p.m.; $10. (213) 765-6800, grammymuseum.org. —Siran Babayan

thu 6/11M U S I C

Opera Goes to the DogsL.A. Opera’s season concludes with Dog Days by composer David T. Little and libret-tist Royce Vavrek. Based on a short story by Judy Budnitz, the work aims to shock with a harrowing tale of a family fi ghting to sur-vive in a postapocalyptic world. Mashing up opera, musical theater and avant-rock, Dog Days features soprano Lauren Wor-sham, with performance artist John Kelly in the role of Prince, a man who has chosen to live as a dog. Conductor Alan Pierson directs an intricate score performed by instrumental ensemble Newspeak. RED-CAT, 631 W. Second St., downtown; Thu., June 11-Sat., June 13 & Mon., June 15, 8 p.m.; Sun., June 14, 2 p.m.; $69. (213) 972-8001, laopera.org. —John Payne

B O O K S

Rock Refl ectionsJon Fine discusses his new book, Your Band Sucks: What I Saw at Indie Rock’s Failed Revo-lution (But Can No Longer Hear), with fellow musician and screenwriter Clay Tarver. Fine refl ects on the 30 years he spent playing guitar in a number of obscure indie-rock outfi ts, starting with late-’80s postpunk group Bitch Magnet , and what it was like reuniting with the band more than 20 years later in the digital age. Fine’s memoir also features interviews with other members of the early alternative scene, including the guys from Sebadoh, Mission of Burma, Jesus Lizard and Urge Overkill. Fine is executive editor of Inc. magazine and a columnist for BusinessWeek. Book Soup, 8818 W. Sunset Blvd., West Hol-lywood; Thu., June 11, 7 p.m.; free, book is $27.95. (310) 659-3110, booksoup.com. —Siran Babayan

C O N F E R E N C E

What Do Robots Dream About?While defi nitely not a sci-fi fest, Machine Dreams: A Symposium on Robots, Arts and Diff erence investigates our robot-ob-sessed society from the point of view of arts and culture. It off ers literary readings and performances on Thursday, with lec-tures, performances and discussions all day Friday, featuring Neil Aitken, Takeo Rivera, Margaret Rhee and Chiwan Choi. Keynote speaker is Minsoo Kang, author of Sublime Dreams of Living Machines: The Automaton in the European Imagina-tion . UCLA Royce Hall, 340 Royce Drive, Westwood; Thu., June 11, 5-7 p.m.; Fri., June 12, 9 a.m.-5 p.m.; free. (310) 825-2101, facebook.com/events/916379058413414. —Shana Nys Dambrot

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Words You Can’t Say on TVAND EXPERIMENTAL IMPROV

BY CATHERINE WAGLEY

There are strange limbs and skinlike canvases on view downtown this week, a group of girls do improv on the Eastside, and experimental poetry fi lls a Hollywood gallery.

5. Break on throughGirl Crush, a troupe of artist-actor-

comedians specializing in long-form im-prov, is sort of radical, maybe in a Parker Posey–meets–Hélène Cixous kind of way (is that meeting even possible?). They’re the kind of women who quote early improv guru Viola Spolin about losing balance to “break through the walls that keep us from the unknown” — and also say things like “Come crush with us.” At the Women’s Center for Creative Work’s new headquarters, an open workshop from 3 to 5 p.m. is followed by a performance at 7. 2425 Glover Place, Cypress Park; Sun., June 7, 7 p.m.; $5. womens centerfor creative work.com. 4. Banned from television

Artist Dawn Kasper scrawled the seven words you’re not al-lowed to say on network televi-sion — “tits,” “cunt,” etc. — onto boards that hang in her current show at newly renovated Redling Fine Art. Called “The Age of Anxiety,” the show also includes a corner fi lled with record-ing equipment, evidence of the occasional performances Kasper has been doing since the show opened. But one key highlight is not in the gallery at all: Redling now has an archive of Kasper’s past performance on its website. You click on “artists,” then “Dawn Kasper” and then “exhibitions” to watch footage of her in a white suit rearranging a drum set intently and illogically, or masked and making music and drawings on a slowly moving pickup truck. 6757 Santa Monica Blvd., Hollywood; through July 3. (323) 378-5238, redlingfi neart.com.

3. Stack o’ legsStewart Uoo’s sculpture Security Window

Grill XI is a steel contraption such as you might see over a city apartment window, but embellished with little pink balls of sili-cone and human hair, which makes it seem too bodily and whimsical to really scare anyone off . It appears in the Box’s group show “Mirror Eff ect,” co-organized by art-ists Kate Costello and Liz Craft. Everything in the show is bodily in a catch-you-off -guard kind of way. Janine Antoni’s to com-pose is a trio of creamy white resin limbs: a skeleton leg on top of a healthy-looking, skin-covered leg on top of a tree stump. 805 Traction Ave., downtown; through June 20. (213) 625-1747, theboxla.com. 2. Drought-appropriate sink design

The beige-colored sink that’s installed on top of a pile of rocks outside Harmony Murphy Gallery is barely dripping. It has a shell-shaped basin and sand-encrusted faucet. Kathryn O’Halloran and Erica Ma-hinay made this together, after one of them found the sink abandoned street-side. But everything else in their two-person show “Saline Communion” they made sepa-rately. Mahinay did the pieced-together canvases of silky, sometimes skinlike fabric. O’Halloran made the mysterious, rough, white wall sconces and paired the towels with vessels. It’s a weird mix of deli-cate, decorative impulses and DIY rawness.

679 S. Santa Fe Ave., downtown; through June 27. (213) 265-7066, harmonymurphy gallery.com. 1. Interpreting Gertrude Stein

Crass expat poet Gertrude Stein has always been known for her progressive associations: her mentorship of Hemingway, her support of Picas-so and Matisse, her Paris salons. So it’s fi tting that Eve Fowler, an L.A. artist who has been show-ing the work of other artists in her East Holly-wood home and

elsewhere for the past few years, would be drawn to Stein. But Fowler’s progressive community is less male and modernist, more fl uid in its thinking about gender and power than Stein’s. It’s interesting how well Stein’s words, which fi ll Fowler’s current show at newly opened Meir Gallery, translate to this newer context. “The diff erence is spreading,” says a neon sign you see when you enter the gallery. Then text paintings, posters and collages overlay vinyl text about the “feeling of words” that wraps around the gallery’s walls. “Rub her coke,” say brass letters embedded into a gor-geous black walnut disc laid on the fl oor. 1107 Greenacre Ave., Hollywood; through July 3. (323) 498-5957, miergallery.com.

PHOTO BY LEE THOMPSON

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BECOMING MEN

This Is a Man’s World and The Homecoming delve into the problems of testosterone

BY STEVEN LEIGH MORRIS

At 60 years old, the spry, lean, silver-haired Sal Lopez could well be Puck’s dad. And it could be argued that Lopez’s picaresque autobio-graphical one-man

show, This Is a Man’s World at Los Angeles Theatre Center, is a memory play. That’s because it opens with Lopez screaming on a hospital bed wondering what he’s doing there. As the doctor later explains, Lopez was working out at the gym, prob-ably over-working out, and the next thing he’s in the hospital. Well, not exactly the next thing, since there was his collapse and his medical transport, both of which he doesn’t recall. The doc tells him he’s suff ered from a stroke-like incident called

“transient global amnesia” — from which he’s expected to recover fully, with almost no danger of a relapse.

Curiously, during the interludes when he’s lost his memory, Lopez drifts into very specifi c memories of coming of age, of a childhood in Tijuana and Watts, of being in a minority of Latinos in the then-predom-inantly black Los Angeles neighborhood, of family and friends, of (as a kid) receiving a whipping from his dad for tossing a soda can into a neighbor’s yard, of getting ar-rested for engaging in a bar fi ght and hav-ing to be bailed out by his dad, of (much later) dissuading his dad from beating up an arrogant barkeep after the guy punched one of Sal’s brothers, of his father’s author-ity keeping local street gangs at bay, of his dad’s sudden death. All of this is recounted to us, the visitors around his hospital bed,

accentuated by Yee Eun Nam’s projec-tions on the theater walls or the bedside curtains. Lopez moves gazelle-like, telling his stories with gentle, persuasive and sometimes lingering cadences.

One idea, under Jose Luis Valenzuela’s tender, whimsical staging, is that memory is an entirely diff erent matter from the present tense — that distant memory emerges within a coma state when recent memory (like, what happened half an hour ago?) falls away. Still, that’s a vague concept.

More tangible is the diminutive Lopez’s examination of what it means to be and become a man, via somewhat stock if charming permutations of young love, and where the threat of violence hangs in

the ether, where pride becomes folly and reputation a burden.

Lopez recalls his family’s deer-in-the headlights response to the 1965 Watts Riots — of how no cab driver would bring a visiting relative to the house from LAX, so they had to pick him up themselves, through burning streets. Like memory itself, the performance is a kaleidoscope of impressions, pleasing with no particular social agenda, and fl oating somewhat on Ivan Robles’ atmospheric sound design.

“Why don’t you shut up, you daft prat?” says Lenny (Jason Downs, resembling young Malcolm McDowell) to his father, Max (Jude Ciccolella), in Guillermo Cienfuegos’ top-fl ight revival of

| Stage //

PHOTO BY STEPHEN MIHALEK

Sal Lopez in This Is a Man’s World

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Je�rey KahaneMusic Director

sat jun 13 @ 7 pm The Theatre at Ace Hotel

Mark Watters conducts the Los Angeles Chamber Orchestra

Enjoy iconic Walt Disney cartoons — some which have not been seen in over 50 years!

Highlights, with live orchestra, include Poor Papa (1927), Mickey’s Trailer (1938), The Sorcerer’s Apprentice from Fantasia (1940), Get A Horse! (2013) and more!

Tickets at laco.org or call 213 622 7001

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Harold Pinter’s 1965 comedy The Homecoming at Pacifi c Resident Theatre. He doesn’t say it in a moment of fury. It’s just part of the East London family’s nonchalant repartee, spoken while reading a newspaper on a sofa. Dad calls all of his sons “bitches.” He instantly insults his English daughter-in-law, Ruth (Lesley Fera), upon her arrival with her hubby, who is Max’s prodigal son/professor of philosophy (Trent Dawson), visiting from their U.S. home.

Max greets Ruth (whom he’s never

before met) by calling her a whore and a tart, and she’s absolutely unruffl ed. In a monumentally subtle, enticing and erotic performance, her stone-faced response to much of this family’s perverted shenani-gans comes laden with world-weariness. When enigmatic Ruth starts giving herself sexually to both of Teddy’s brothers (in front of Teddy’s nonplussed, glazed-over gaze), she’s redefi ned by Max as “a woman

of quality.”The words in Pinter’s masterwork

sound absurd, and have been locked into the theater’s mid–20th century genre of absurdism, but they are really quite logical and vivid expressions of the collective un-conscious — among a tribe that has been for years drinking a toxic brew of impo-tence and hubris as a response to the same kind of latent violence in the English ether that permeates Lopez’s Southern Califor-nia environs. The play is an antecedent to American works ranging from the plays of David Mamet to August: Osage County.

Cienfuegos’ ensemble couldn’t be better. It includes Antony Foux as Max’s brother Sam, a fastidious taxi driver with question-able sexual predilections, and the third son, would-be boxer Joey, played with an impressive thick-skulled gormlessness by Steve Spiro.

Cienfuegos’ timing of the poetically crafted repartee is brisk and seamless. Nor-man Scott’s set design gives us a “home” with clashing wallpaper designs that are, even without the occupants, dispiriting, as are Christine Cover-Ferro’s midcentury costumes. This is an awful, typical home, in an awful, typical world, and, in a way that’s penetrating rather than glib, it’s awfully funny.

THIS IS A MAN’S WORLD | Los Angeles Theatre Center, 514 S. Spring Street, downtown | Through

June 21 | (213) 489-0994 | thelatc.org

THE HOMECOMING | Pacifi c Resident Theatre, 703 Venice Blvd., Venice | Through July 26

(310) 822-8392 | pacifi cresidentheatre.com

SAL LOPEZ RECALLS GROWING UP A MINORITY IN THE THEN-PREDOMINANTLY BLACK NEIGHBORHOOD OF WATTS.

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

The Actors Bully the Audience in This Anti-War Play — andIt’s Great

W ith Th e Quick and the Dead, the fi rst installment of what is being billed as Th e Johnny Cycle, direc-

tors Julianne Just and Genevieve Gearhart and composer-writer Chris Porter have cre-ated the Speak-e a sy S o c i e t y ’s most ambitious and ar t ist ical ly satisfying foray yet into intimate, experimental im-mersive theater.

Their first coup in staging Dalton Trumbo’s classic, 1 9 3 9 a n t i - w a r novel Johnny Got H i s G u n , a b o u t a h o r r i f i c a l l y maimed conscriptee, is the subversive irony implicit in the canny site-specificity of the venue — Pasadena’s venerable American Legion Post 13. It’s been transformed by designers E.M. Gimenez (sound), Anna Cecelia Martin (lights) and Erin Walley (scenic) into the varied environments of the production.

The second is the atomized, controlled anarchy of the staging. For a hallucinatory memory play about literal disembodiment,

charting Johnny’s physical and psychic fragmentation by dividing the protagonist among three actors (Matthew Bamberg-Johnson, James Michael Cowan and Michael Pignatelli) and even the audience itself proves a uniquely inspired use of immersive mise-en-scène.

Coup three is the authoritarian nature of the experience. Ten-member platoons of audi-ence members get sometimes brusquely or-

dered through t h e h o u r -long show in 20-minute re-lays. Th e sym-bolic bullying i n g e n i o u s l y foregrounds the ideologi-cal coercion of al l narra-tives, be they of the jingoist or the pacifi st kind.

It is this latter achievement — abetted by a uniformly superb ensemble — that ultimately rehabilitates Trumbo’s archaic sentimental-ism for an age where combat has become even more grotesquely dehumanized by the commercial imperatives of high-tech cyborg warfare. —Bill Raden

Speakeasy Society at American Legion Post 13, 131 Marengo Ave., Pasadena; through June 6. Speakeasysociety.com.

Jeremy Kinser

PHOTO BY ADAM FRANK

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A POST-APOCALYPTIC CHAMBER OPERA

DAVID T. LITTLE AND ROYCE VAVREK

BASED ON THE SHORT STORY “DOG DAYS” BY JUDY BUDNITZ

“RIVETING... GROUNDBREAKING”

— NEW YORK TIMES

LAOPERA.ORG/DOGDAYS | 213.972.8001

Don’t miss what the Wall Street Journal calls “one of the most exciting

new operas of recent years.” Blending classical singing with a contemporary

score infl uenced by heavy metal, Dog Days harrowingly depicts a family’s

struggle to survive in a post-apocalyptic society.

Part of NEXT ON GRAND Contemporary Americans — A Festival of Music, Dance and Opera

5 SHOWS ONLY, JUNE 11—15 AT REDCAT, DOWNTOWN LAp

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This production features violence, mature themes and adult language. Not recommended for children.

TIME Magazine’s #1 Show of the Year!

NOW PLAYING!

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| |ONE ICON

PLAYS ANOTHER‘Artists get put in a box,’ says Love & Mercy star John Cusack of Brian Wilson, and himself

BY AMY NICHOLSON

When John Cusack was launching his career in the 1980s, Brian Wilson had gone from rock

star to living lore — a brilliant Bigfoot. “People would have Brian Wilson encounters,” says Cusack, who plays the Beach Boy in new biopic Love & Mercy. “In L.A., people would say, ‘Oh, I was driving around and I saw Brian Wilson in his bathrobe!’ and there were strange grumblings of a psychiatrist, guru life coach guy.”

The doctor was Eugene Landy (played in the movie by Paul Giamatti), a thera-pist who wielded fearsome control over every aspect of Wilson’s life: his diet, his medicine, his music, his money, even his family and friends.

When Wilson met future wife Melinda Ledbetter (played in the movie by Eliza-beth Banks) at a car dealership in 1986, he hadn’t seen his children in three years. She didn’t recognize the heav-ily drugged, monotone man fl anked by Landy and a small battalion of the doc-tor’s aides (all of whom came along on her fi rst date with Wilson). The couple had to fi ght for privacy like teenagers, though he was 44 and she was 39.

Love & Mercy cuts between their romance and the mid-’60s stretch where Wilson refused to tour with The Beach Boys and stayed home to compose Pet Sounds. His father, Murry, the band’s manager, insisted that “God Only Knows” would fl op, and later sold off the Beach Boys’ catalog for cheap, as if it were a lemon with a busted transmis-sion. (No wonder Wilson would later succumb to a second bully.)

Paul Dano takes over as the younger Wilson, and he and Cusack decided not to coordinate their performances. “We thought if it worked, it would be two diff erent songs that would harmonize,” Cusack says.

The musical analogy suggests Cu-sack’s absorption with Wilson’s story. “As artists, people get put in a box. We’re told, ‘You’re an actor, you’re only supposed to do these types of roles,’�” says Cusack, who fought out of his stereotype as a romantic naïf and now mostly endures a string of hitman and murderer parts, some astonishing (as

in Lee Daniels’ The Paperboy), oth-ers asking far less of the 48-year-old actor than he’d like to deliver. Cusack’s energy builds: “And then you see Brian, who’s so creative and free and at the apex of his powers, and he’s still being told, ‘Why don’t you write more beach songs?’�”

To prepare, Cusack immersed himself in the Pet Sounds and Smile sessions, studying Wilson’s passion and perfec-tionism.

“He’ll go, ‘Second cello, one inch back from the mic,’�” an awed Cusack says. “Everything you want to know about the guy is in his music. It’s fi lled with longing, aspiration, pain, ecstasy, all mixed together like oil and vinegar. In a way, he’s a heart with two legs — or an open wound. Having played one genius and met a few, there’s a sense that these gifts are not without heavy burdens and prices. The heat of the liftoff can be so intense that it can burn the vessel around them.”

Cusack found an interview in which Wilson described being beaten with a belt by his father — a rumored cause of the deafness in his right ear — but instead of just using words, Wilson groaned and drummed a table. He liter-ally turned misery into music. Cusack was so struck by the moment that he asked director Bill Pohlad to put it into the fi lm.

“It’s hard for people like that to turn the music off ,” Cusack says. “They might hear someone screaming and crying, and that turns into a symphony for them. It’s almost a dissociative thing

where it’s not like, ‘I did this’ but ‘This came through me.’ They have to write, because otherwise it might just rattle around in their brain until they get it out.”

Dano’s Wilson is able to show his bril-liance by creating Pet Sounds. Cusack has the tougher job of communicating Wilson’s talent even when the song-writer is a husk: barely composing and half-catatonic.

The trick of Cusack’s performance is that the fi lm introduces him as a fragile oddball impulse-buying a Cadillac. Only later do we, and Melinda, realize how much — and how often — he’d been drugged.

“The amount that Landy was dosing him with, he could have killed him,” Cusack says. “Seventy milligrams of Xanax, fucking lithium. Gloria [Wilson’s longtime housekeeper and friend] prob-ably saved his life — literally — because she would siphon off pills when Landy was being punitive.”

Cusack fl ooded Gloria and Melinda

with questions about Wilson’s relation-ship with the doctor. (Even today, Wil-son struggles to talk about Landy. “It’s too painful for him,” Cusack says, “and when he thinks about it, he feels it.”) As Wilson sat down to see Love & Mercy, Cusack nervously awaited his reaction.

The Landy scenes gave Wilson frightening fl ashbacks. Giamatti had done his job well, even if, as Cusack sensed, “It wasn’t the most comfortable and enjoyable performance for him to play someone that despicable.” (Which, given Giamatti’s caddish résumé, says a lot.)

But though the fi rst 50 years of Wil-son’s life can be hard to watch, there are happy memories, too.

Says Cusack, “When you ask Brian his favorite part, he goes, ‘When you and Elizabeth were getting it on. When you were looking at her and you weren’t kissing her, but you were really close to each other. And when you would just lie and smile at each other. Man, I loved that part.’�”

| Film //

PHOTO BY FRANCOIS DUHAMEL

THE VOICES IN BRIAN WILSON’S HEAD

The beauty, and the horror, of Bill Pohlad’s ex-

hilarating and inventive Love & Mercy — which traces the sine wave of Beach Boy Brian Wilson’s troubled adult

life using two actors, Paul Dano and John Cusack — is the sense it gives us of the world passing through the man’s ears. When the older, circa-1980s Wilson, played by Cusack, explains to new girlfriend Melinda Ledbetter (Elizabeth Banks) that he hears voices in his head, she asks, with great tenderness, how long it’s been happening. “Since 1963,” he says. Is it possible that Th e Beach Boys’ early hit “Surfer Girl,” one of the warmest and most youthfully wistful ballads of 20th-century pop music, began with a whisper only Wilson could hear?

Th at’s not to suggest Love & Mercy leans on tired theories about the link between genius and madness. Pohlad’s approach is much more delicate than that. But Love & Mercy — which was made with the cooperation of Wil-

son and his now-wife, Ledbet-ter — is surprisingly specifi c in exploring both the mystery and craft smanship of song creation.

Dano can be a dispassion-ate, affected actor, but all his arty coolness slips away here. Cusack shows us a slightly dif-ferent but no less believable Wil-son, guarded and fragile, though

we can also see how he yearns to be open: He’s like a sadder, mirror-world version of Say Anything’s Lloyd Dobler, holding a boombox aloft in a cry for help, only to realize no sound is coming out. And Banks is superb — this is the fi nest performance she’s given yet. —Stephanie Zacharek

LOVE AND MERCY | Directed by Bill Pohlad | Written by Oren Moverman and Michael Alan Lerner | Roadside Attractions

and Lions Gate | Citywide

Paul Dano

In Love & Mercy, Cusack plays Brian Wilson in the 1980s, with Elizabeth Banks as his wife

PHOTO BY FRANCOIS DUHAMEL

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Getting Some Respect

FINALLY, A FILM THAT LETS MELISSA MCCARTHY GET LAUGHS AND KEEP HER DIGNITY

BY AMY NICHOLSON

The Melissa Mc-Carthy of Spy is diff erent from the one who rose to prominence by shitting in a sink. Brides-

maids scored her an Oscar nom-ination, and for the ceremony McCarthy donned a glamorous rose gown with a diamond collar and belt. But in the years since, Hollywood continued to see her as a grotesque. On screen, McCarthy has played a parade of morons, lunatics, losers and bullies. More punching bag than human being, she’s been hit by car after car and forced to suck Zach Galifi anakis’ used lollipop.

But Paul Feig, the director who made McCarthy a star, has fi nally written his own script for his muse — his fi rst screenplay in 12 years. In Spy, McCarthy is soft, feminine and smart. For a dinner with her CIA co-worker and crush Bradley Fine (Jude Law), her character, Susan Cooper, curls her hair, perfects her make-up and wears a tasteful amber dress. The cruel joke is it doesn’t matter. Bradley gives her a plas-tic cupcake necklace and cackles, “It’s so you!” It isn’t. Like movie producers, he sees only her weight, not the dignifi ed woman inside. And the punchline is that Susan allows the insult, passively slipping on the monstrosity, and

later, after Bradley is executed by Bulgarian arms dealer Rayna Boyanov (Rose Byrne), clutching it at his funeral.

Though the setting is the CIA, there is a Susan in every offi ce: invisible, patronized and demeaned. A Susan is the woman who remembers cake for everyone’s birthday, but no one remembers hers. She’s compe-tent, but never gets her due credit — a team player stuck warming the bench. Feig has made this fi lm for them.

This Susan begs to take Brad-ley’s place in Paris to monitor Rayna’s nuclear sales, and it’s no spoiler to say she winds up on top. Yet Spy isn’t a revenge fantasy — a Susan isn’t petty. It’s a comedy of exasperation where, for once, the joke isn’t on McCar-thy but on everyone who can’t see her skills. And it’s more than that, too: When Susan is too self-eff ac-ing to accept that Bradley shafted her career by sticking his partner in the CIA basement while he took all the fi eld assignments, her boss Elaine (Allison Janney) rolls her eyes and groans, “Women.”

“Women” is right. Spy is a call to arms for the cowed and a riot-ous skewering of the workplace kings, be they aff ectionate and undermining like Bradley, the un-nervingly perfect Karen (Morena Baccarin), the impatient Elaine or the condescending tech designer who, instead of outfi tting Susan in slick 007 gear, hides her weapons in drugstore items he assumes she uses: hemorrhoid wipes, stool softener, antifungal spray. Forget a glamorous tuxedo. She’s handed a denim purse and told her cover is a single mom from Delaware. McCarthy’s reac-tion is perfect. Instead of raging, she lets her hurt feelings slip and warbles, “Have I done something to you?”

The biggest brute is bone-headed fellow spy Rick Ford (Jason Statham), who dismisses Susan as a “lunch lady” and is so convinced she can’t handle the job that he stalks her through

Europe. His disbelief drags her down — in one scene, literally, as she leaps on the landing skids of a helicopter and he leaps after, seizing her legs so she can’t move.

When not sabotaging her mis-sion, he brags about his impos-sible accomplishments: the time he defi brillated himself, the time he survived a modern-day gladi-ator ring, the time he disguised himself as Barack Obama. Two of those are the plots of actual Statham fi lms — the coincidence is deliberate. The Statham of Spy is the Statham I’ve been want-ing since Crank: High Voltage proved he had the comic timing of a badass Buster Keaton. Fi-nally unleashed after six years of grim action fl icks, he’s gloriously unhinged.

Statham might have the best jokes in the movie, but the com-petition is fi erce. Every role is perfectly constructed, from Peter Serafi nowicz’s handsy Italian agent to lanky Miranda Hart as Susan’s offi cemate and bumbling best friend. Even Rayna’s goons get in a few good cracks before they’re dispatched, while Rayna herself is a magnifi cent concoc-tion: Marie Antoinette by way of Michelle Pfeiff er in Scarface. Byrne slinks through the fi lm in a towering wig, changing snake-skin outfi ts between scenes and ordering people’s executions with a cocked eyebrow. She’s ter-rifying perfection, and you can’t wait for Susan to put her in her place — which, to the fi lm’s credit, feels like it might be impossible.

Feig loves Susan, and he wants us to love her, too. Yet Spy is too sincere about how the rest of the world treats her — and women like her — to smack on a stupidly happy ending. Susan might save the day, but her battle for respect will never be over. Admitting that universal struggle is better than pretending all a woman needs to redeem herself is a gun. And anyways, who needs compli-ments from bozos like the man who beams, “Maybe one day, super-spy Susan Cooper, I will fuck you.” McCarthy’s tired sigh says it all.

SPY | Written and directed by Paul Feig Twentieth Century Fox | Citywide

| Film //

Melissa McCarthy

PHOTO BY LARRY HORRICKS

CORRECTION

In the review of Sunshine Superman (Film, May 22-28, 2015), the director was misidentifi ed. Marah Strauch directed the fi lm. We regret the error.

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

GO DOOMSDAYS Thoughtful buddy com-edy Doomsdays makes spending time with manic man-children a lot more fun than it should be. You wouldn’t want to hang with serial home invaders Dirty Fred (Mutual Appreciation’s Justin Rice) and Bruho (Kids’ Leo Fitzpatrick) in real life, a truth that writer-director Eddie Mullins underscores every time Fred tricks Bruho into fighting irate homeowners on his behalf or Bruho takes out his anger issues on whatever object is within arm’s reach. But Fred and Bruho are charming within the context of Doomsdays’ escapist scenario, and Mullins doesn’t try to cure his protagonists of their characteristic dickishness. Their unrepen-tantly destructive behavior actually proves endearing, even when Fred tries to seduce two skeptical barflies by pulling a George Costanza, bluntly describing himself as a “solipsistic fuckwad [who doesn’t] care about anybody.” Even Jaidon (Brian Charles Johnson), a relatively innocuous fair-weather companion, is a charming asshole. In playful, admirably composed long takes, Mullins shows us that Fred and Bruho’s immoral actions have amoral consequences, like when Bruho flees in a huff after he stumbles on Fred masturbat-ing while he spies on a timeshare’s noisy, sexually engaged inhabitants. Doomsdays is winsome because it embraces its nar-cissistic subjects without asking viewers to forget that they’ve just befriended a couple of selfish dillholes. (Simon Abrams)

ENTOURAGE The first line in Entourage is a

good indication of what the next 104 min-utes will bring. Peering through binoculars as a speedboat carries him toward a yacht in Ibiza, Johnny Drama (Kevin Dillon), the big brother of megastar Vincent Chase (Adrian Grenier), glimpses the bikini-clad babes who await him and informs us, “I may have to jerk it before I even get there!” Hoo, boy. Still, the movie, like the HBO series that spawned it, is hardly a slog. It may be not much more than a heav-ily branded romp through a Hollywood fantasyland, but it’s got a pulse. It’s easy fun. Entourage the movie is essentially a pimped-out episode of Entourage the show, which centered on Vince and his crew from Queens: Drama, a struggling actor; Eric “E” Murphy (Kevin Connolly), Vince’s manager; and Turtle (Jerry Ferrara), his driver-turned-mogul, who launched a suc-cessful tequila company in the show’s final seasons. Ari Gold (Jeremy Piven), Vince’s longtime agent and now the head of his own studio, once again furnishes most of the laughs. In the film, the palatial L.A. homes and offices are even bigger, and so are the stakes: Vince, fresh off a marriage that lasted exactly nine days, has decided he wants to do something different, some-thing “meaningful.” (Not in this movie you won’t, Vince!) Considering the film’s major turning points hinge on the boys’ romantic relationships, it’s a shame none of the women develop past sketches of angry girlfriends and no-name one-night-stands. Sexist, sure, but also a failure of imagina-tion. Has writer-director Doug Ellin met a woman? (Lara Zarum)

THE FOURTH NOBLE TRUTH At its core, drama The Fourth Noble Truth is a tutorial on Buddhist meditation. The narrative constructed around its lessons illustrates Buddhist tenets, while character dialogue often seems lifted directly from a text that anticipates the questions and resistance of a skeptic. That makes the film sound more dryly instructive than it is. Thanks to fine performances by Harry Hamlin and Kristen Kerr, Truth disseminates its message with the proverbial spoonful of sugar. Aging, hotheaded movie star Aaron (Hamlin) is ordered to undergo anger-management training after his latest road-rage incident. Part of the treatment is sessions with Rachel (Kerr), who teaches Buddhist meditation. Aaron is a hard sell, dismissive of the practice while trying to bed his instructor. Their sexual tension leads Rachel, also a struggling actress, to question the strength of her convictions, while their amiable verbal sparring allows writer-director Gary T. McDonald to break down foundational beliefs and practices of Buddhism in terms accessible to any-one. The conversations at times suggest undergrads on a philosophical bender — without, unfortunately, acknowledging that there are actually various schools of Buddhist thought or revealing which one Rachel adheres to. But because the film is centered on fully fleshed-out characters — flaws, weaknesses and all — it works in the same way any good religious emissary does: weaving a captivating tale to get the spiritual message across. (Ernest Hardy)

FREEDOM Using a slavery narrative to

advance an unrelated agenda is pretty tasteless, bordering on offensive. The product of an “inspirational” production house, a white director and an Asian-American screenwriter who once wrote a film that was actually called Fakin’ Da Funk, Freedom expunges the real histories of millions of people by elevating the consolation of religion above the actual experience of enslavement. But more broadly, any kind of didacticism just kills art, like product placements on TV shows. A narrative of the Underground Railroad, the film is practically a musical — the char-

acters frequently burst into hymns from a variety of early American religious tradi-tions. It seems unlikely that during secret smuggling journeys through Northeastern forests, under threat of execution for their actions, abolitionists would burst into banjo gospel songs. Without all the music, Freedom would be about 30 minutes long. Further chop out all the conversations about Jesus (please), and it would be nothing but credits. In the tale of Samuel Woodward (Cuba Gooding Jr.) and his flight from thralldom with his family, every scene and conversation eventually pivots

“PURE MOVIE ROMANCE. DIRECTOR JAMES KENT PRESENTS THE FEMALE EXPERIENCE OF WAR WITH CRISP, TACTILE PRACTICALITY.

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“STRIKING AN ELEGANTLY SUSTAINED BALANCE BETWEEN INTIMACY AND HISTORICAL SCOPE. KIT HARINGTON IS A REVELATION HERE.”

-Leslie Felperin, THE HOLLYWOOD REPORTER

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a sony pictures classics release bbc films heyday films screen yorkshire and bfi present in association with hotwells productions nordisk film production and lipsync a heyday films production alicia vikander kit harington taron egerton emily watson hayley atwell colin morgan joanna scanlan anna chancellor alexandra roach “testament of youth” with dominic west and miranda richardson casting director lucy bevan music by max richter make-up & hair designer christine walmesley-cotham

costume designer consolata boyle editor lucia zucchetti, ace production designer jon henson director of photography rob hardy, bsc co-producer celia duval executive producers christine langan joe oppenheimer hugo heppell zygi kamasa richard mansell based on the book by vera brittain screenplay by juliette towhidi produced by david heyman and rosie alison directed by james kent

©testament distribution limited, british broadcasting corporation and the british film institute / 2014SOUNDTRACK

AVAILABLE ON

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VIEW THE TRAILER AT WWW.TESTAMENTOFYOUTHMOVIE.COM

STARTS FRIDAY, JUNE 5HOLLYWOODArcLight Cinemas At Sunset & Vine (323) 464-4226Fri & Sun: 9:50 • 10:45 • 1:15 • 5:10 • 7:05 • 10:25Sat: 9:50 • 10:45 • 1:10 • 5:10 • 7:05 • 10:25For additional showtimes visit arclightcinemas.com SORRY, NO PASSES ACCEPTED FOR THIS ENGAGEMENT

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on faith, the lack of faith, the reacquisition of faith, faith’s awesomeness and very occasionally the costs and cruelty of slav-ery. A parallel story set 100 years earlier relates the narrative of a heroic white slave-ship captain (Bernhard Forcher) who is redeemed by the faith of his slave trans-lator. For a religious musical, that’s pretty damn tone-deaf. (Chris Packham)

GO THE NIGHTMARE Every onetime UFOlogist should brave Rodney Ascher’s illuminating, unsettling The Nightmare, a documentary that reveals the probes-and-saucers narrative as an of-its-era re-skinning of an even more pervasive phe-nomenon, one all mental: sleep paralysis. Its sufferers share lucid and persuasive

dreams that they are awake, that they cannot move, that creatures wait in the shadows. These may be demons, or shad-ow-men, or curiously individualized folks who have been knocking about the sub-conscious — a newscaster, your mother, some hulking ginger dude you might have seen once. Could those black-eyed gray aliens be the brain’s imposition of sense upon its own mysterious stimuli? Ascher’s film, an interviews-and–re-creations job, stages a host of sleep-paralysis nightmares for our contemplation and comparison. His eight subjects tell what is essentially one story, over and over. They describe the ter-ror of being unable to move — one likens this to feeling dead — and then their help-

lessness as the shadows shape up into malevolent forms. There’s always some looming, some panic, an effort to wake up. The divergences in the stories come to feel vital, the mind working jazz changes on a

simple melody: Pity the guy whose dream-stalkers chew him out for once having mas-turbated on his mother’s linens. There’s shivery pleasure to be had from Ascher’s re-enactments of dreams. His shadow-men

are elusive, as if they’re forever about to resolve themselves into more specific mon-sters, and his variations keep the circular narratives mostly fresh. His subjects seem relaxed, and they talk to viewers the way they might tell this to friends; as in Ascher’s Room 237, he lets his people’s voices carry the film. (Alan Scherstuhl)

PATCH TOWN It’s one thing for a fantasy film to make no sense, but Patch Town’s premise isn’t just unintelligible — it’s downright dumb. Based on his short film, director Craig Goodwill’s feature concerns

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

James Bond, W.C. Fields and the Golden Age of 3-D Friday, June 5Th e current incarnation of Bond, James Bond, has won so much acclaim that many have forgotten there was life before Daniel Craig. Yet life there was, as Sean Connery’s third go-round as 007 can readily attest. Not only the fi rst in the series to win an Oscar, Goldfi nger also made the fl ashy credits sequence and high-tech gadgetry a staple of the franchise. Nuart Th eatre, 11272 Santa Monica Blvd., West L.A.; Fri., June 5, 11:59 p.m.; $11. (310) 473-8530, landmarktheatres.com.

Muppets, Music & Magic: Jim Henson’s Legacy 10th-Anniversary Program continues at Cinefamily with Muppet History 101. A sort of origin story for everyone’s favorite puppets compiled by former head writer Jerry Juhl, it puts a spotlight on the commercials, local TV shows and other footage throughout the history of Kermit, Miss Piggy, et al. And at 10:30, there’s a double feature of Tales From Muppetland and Th e Dark Crystal. Cinefamily/Silent Movie Th eatre, 611 N. Fairfax Ave., Fairfax; Fri., June 5, 7:30 p.m.; $12. (323) 655-2510, cinefamily.org.

Saturday, June 6W.C. Fields was one of early Hollywood’s most notable stars, and It’s a Gift is considered by many to be his best fi lm. A comedy about a grocer who absconds to California to buy an orange grove aft er receiving an inheritance, it placed 58th on the American Film Institute’s “100 Years ... 100 Laughs” list and was added to the National Film Registry fi ve years ago. Old Town Music Hall, 140 Richmond St., El Segundo; Fri., June 5, 8:15 p.m.; Sat., June 6, 2:30 & 8:15 p.m.; $10. (310) 322-2592, oldtownmusichall.org.

Sunday, June 7Erika Suderburg appears in person for the world premiere of her film Wunderkammern: The Private Life of Objects at Los Angeles Filmforum. Suderburg, a Filmforum favorite, turns her gaze to the oddities of yesteryear, examining a cabinet of curiosities from half a century ago. Suderburg pores over every minute detail (in alphabetical order, no less). Th e fi lm is meant to change how viewers look at everyday objects and oddities alike. Spielberg Th eatre at the Egyptian, 6712 Hollywood Blvd., Hollywood; Sun., June 7, 7:30 p.m.; $10.

(323) 466-3456, lafi lmforum.org.For the first time in Los Angeles, Fantasia and

Fantasia 2000 screen back to back. Th e event is in celebration of the fi lms’ 75th and 15th anniversaries, respectively, and is also a fundraiser for the L.A. Historic Th eatre Foundation, which worked with the TCL Chinese Th eatre as it was renovated and upgraded into an IMAX venue. Cinespia co-presents the double feature at the Chinese, and invites all viewers to recall their first exposure to psychedelic undertones in cartoons. TCL Chinese Th eatre, 6925 Hollywood Blvd., Hollywood; Sun., June 7, 7:30 p.m.; $35. (323) 461-3331, cinespia.org.

Tuesday, June 9Charles Vidor (not to be confused with the better-known King Vidor, no relation) adapted Reginald Denham and Edward Percy’s Ladies in Retirement to great success in 1940, transposing the story from Broadway to the silver screen. Ida Lupino takes the reins as a housekeeper tasked with taking care of not only her retired-actress boss but two unstable sisters to boot. LACMA plays the black-and-white drama at 1 p.m. LACMA, 5905 Wilshire Blvd., Mid-Wilshire; Tue., June 9, 1 p.m.; $5. (323) 857-6000, lacma.org.

Th ursday, June 11The Golden Age of 3-D kicks off at the Aero with The Bubble, which writer-director Arch Oboler made in 1966 as much to show off technology as to tell a story. Th e fi lm was the fi rst made in Space-Vision, a widescreen 3-D process using a single strip of fi lm. Michael Cole and Deborah Walley star as a married couple who land in a strange town aft er experiencing irregularities in their plane. Th ey fi nd themselves surrounded by dronelike people in this curiosity, which seems spun from the same dream logic as Th e Twilight Zone. Aero Th eatre, 1328 Montana Ave., Santa Monica; Thu., June 11, 7:30 p.m.; $11. (323) 466-3456, americancinemathequecalendar.com. —Michael Nordine

Ladies in Retirement

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a magical factory (ostensibly located, in secret, on the outskirts of mainstream society?) where a wicked businessman (Julian Richings) has assembly-line work-ers remove babies from cabbages and then use a machine to turn those babies into children’s dolls, which he sells to little girls. When those toys are abandoned by their all-grown-up owners, they return to this factory to work as reanimated people. That situation doesn’t sit well with portly, mop-topped Jon (Rob Ramsay), who with his wife (Stephanie Pitsiladis) in tow, and with the help of a wisecracking Indian bus driver (Suresh John), surreptitiously travels to the real world to find his former owner (Zoie Palmer), to whom he refers as his “mother.” As inane as that setup might sound, it’s nothing compared to the story’s execution. Director Goodwill employs a fanciful style that recalls Jean-Pierre Jeunet minus the flair, whimsy or original-ity, all while eliciting performances from his cast that range from barely amusing to ex-cruciatingly cartoonish. And if that weren’t painful enough, these grating characters frequently burst into songs that are not only ill-fitting but also — as with every other aspect of this indie — awful. (Nick Schager)

RESULTS Writer-director Andrew Bujalski’s last film was the psychedelic nerd-conven-tion comedy Computer Chess, a layered, existential gambol that vouched for human complexity even as it stared down the as-cendance of personal computing. Results has a minor feel by comparison, despite an unmistakable uptick in production value. Like the health nuts it follows, Results is conventionally pretty, a bit awkward and ultimately benign. Its bevy of personal trainers, led by Guy Pearce as Trevor, the stubbornly sportsmanlike owner of a nascent fitness empire called Power 4 Life, are concerned with the skin-deep, or rather the muscle-deep. Still, there’s something disarmingly real about their vanity and rote self-help patter — Bujalski knows how to re-veal the immaturities and hangups people hide behind money, ambition and the pur-suit of a better body. One of Trevor’s hired

soldiers is Kat (a great Cobie Smulders), a domineering 29-year-old with a piss-poor attitude toward authority. She bullies Trevor into giving her flabby divorcé Danny (Kevin Corrigan) as a client — this despite Danny’s vaguely shifty “fitness goals” (he wants to take a punch without “puking or bleeding, uh, too much”). The jokes about the shallowness of gym culture, which cul-minate in Anthony Michael Hall’s cameo as a kettlebell-wielding YouTube guru, are far less funny than Danny’s social incompe-tence, carried off beautifully by the admira-bly weird Corrigan. Witness Danny, drunk-enly struggling into a painful-looking yoga pose, mumbling: “Kat showed me this, she said this was good for stress relief.” While the polish of good-looking Hollywood types shot in clean, well-lit spaces doesn’t quite connect with Bujalski’s writing style, Results’ tone is honestly unorthodox, a quality missing from most midbudget com-edies. (Abby Garnett)

GO SOMETHING BETTER TO COME Less than 15 miles from Moscow’s Red Square is the “Svalka,” the largest garbage dump in Europe. It’s run by the Russian military and officially restricted to visitors, yet still serves as a home of sorts to roughly 1,000 people, one of whom is the subject of Hanna Polak’s powerful documentary Something Better to Come. Yula’s family were thrown out of their apartment after her father’s death, a circumstance not uncommon to those who find themselves eking out an existence in the Svalka; but she has Polak chronicling her life from age 10 to 24. So it’s sort of like Boyhood, only without the catchy soundtrack or hope for the future. There are some moments of respite, at least in the early years: a ride down snow-covered garbage on a makeshift sled, a game of cards, a “date” with a bulldozer driver. These are fleeting, however. Yula dreams of one day escap-ing the dump, with its mafia thugs and unrelenting squalor, and as the years wear on, we see her aged prematurely by poor living conditions and vodka, the residents’ payment for scavenging. Perhaps even

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SPECIAL Q&As THIS WEEKEND!SATURDAY, 6/6, AT THE ARCLIGHT HOLLYWOOD CINERAMA DOME WITH BRIAN WILSON, MELINDA WILSON, PAUL DANO, PRODUCER CLAIRE RUDNICK POLSTEIN & DIRECTOR BILL POHLAD FOLLOWING THE 7:15 PM SHOW

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more disturbing than the Dickensian or-deal of Svalka life — including her rational yet heartbreaking decision to give up her baby rather than raise it in the dump — is Yula’s straightforward acceptance of her situation. “I’d like to hope for the best, but it never happens.” It’s this fatalism, even in the face of a belated turnaround in her fortunes, that carries the film and drives home the plight of Yula and those like her. (Pete Vonder Haar)

TESTAMENT OF YOUTH With Testament of Youth, our collective poppy-strewn dream imagery of a decimated generation of the gallant young men of WWI — and their noble horses too — might undergo a sea change. Alicia Vikander (Ex Machina), poi-gnant and powerful as writer Vera Brittain, who fought her way into Oxford and then chucked that to go to the front as a nurse, gives another indelible performance, her tragedies foretold by the forlorn-looking women at the train station sending off their jolly soldiers. Brittain’s bestselling autobio-graphical novel was never part of the U.S. women’s-studies canon; it’s a surprise to see her handily handling “our” issues of career, love, family. But add the war and a triumvirate of deaths: her great love, dash-ing poet Roland (Kit Harington, spirited but tortured); a would-be suitor, Victor (Colin Morgan); and her brother Edward (Taron Egerton). If the camera didn’t adore Vikander, you’d have to look away from the tragic pileup. There are relieving flashbacks — some too lingered-on — to a green-gold, elegiac time. Ingeniously, the standard war imagery of the close combat so devastating during the “war to end all wars” is not used; instead there’s a startling, surrealistically lit scene of a human-less battleground after the battle (cinematography by Rob Hardy). Director James Kent cuts to trench-trapped sol-diers — like photographs from Hell. Vera’s search for her wounded brother is edited so that you feel her panic; her turn while helping a German soldier die is worthy of a young Lillian Gish, as emotions silently fly over her face. Without the epic sweep of a Doctor Zhivago, it’s an intellectual and emotional landscape Vera traverses: grief to survival and, finally, pacifism. (Marsha McCreadie)

GO UNCERTAIN TERMS Director Nathan Silver slices life with a sharp-ness and acuity rare in filmmakers much older than him, and Uncertain Terms is his strongest outing yet. Like Silver’s Soft in the Head and Exit Elena, it concerns young people trying to keep their cool in confined spaces and lives: This time the lead, Robbie (David Dahlbom), is a hair north of 30 — and has a hairline just short of true youth. Facing a divorce, this bearded Brooklynite’s passions are stirred by one of the residents in the home for girls where he is temporarily serving as a handyman. The home is run by Robbie’s aunt Carla, a study in stoic pragmatism, wonderfully played by the director’s moth-er, Cindy Silver. Carla houses pregnant mothers-to-be, providing room, board, homeschooling and clear-eyed advice of the sort skimmed over in high school health classes. Robbie might be fleeing an adult life that hasn’t quite worked out, but to several of the teens he offers what the fathers of their children cannot: a seeming maturity, a willingness to listen, his mere presence. Nina (India Menuez), a ginger slip of a girl just starting to show, succeeds in catching Robbie’s eye. Nothing between these two can end well, especially with Nina’s hotheaded kind-of/sort-of boyfriend (Casey Drogin, all teen swagger) skulking about, but it’s hard not to be roused by the way the air between them tingles. Silver’s outlook isn’t bleak or punishing: He does nothing less than put on the screen life as it’s lived. Here, his people hurt some, connect some, and then move on — and, as in the real world, what matters most is connecting at all. (Alan Scherstuhl)

UNITED PASSIONS Frédéric Auburtin’s ab-surdly hagiographic drama United Passions purports to tell the history of FIFA — the world’s governing institution for soccer — from its 1904 founding up to its announce-ment of South Africa as host country for the 2010 World Cup. Auburtin takes pains to paint FIFA in the most glowing possible light, eliding entirely controversies that have dogged it for decades. Most of the film’s $20 million budget, of which FIFA reportedly funded 90 percent, appears to have been lavished on a name cast, presumably to lend the project some cred-ibility. Yet the major players uniformly fail to bring their A-games. A porcine Gérard Depardieu is unusually and frustratingly restrained as mild-mannered World Cup originator Jules Rimet. Sam Neill is epi-cally miscast as Brazilian João Havelange, who served as FIFA president from 1974 to 1998. Havelange is the closest United Passions comes to a three-dimensional character — a faintly Machiavellian figure with a deep-seated desire to globalize the sport. Yet Neill gives him a comically dis-tracting Liam Neeson–from-Taken accent and the leering air of an uncle with a dark secret. And what to make of poor Tim Roth, who appears as Sepp Blatter, the Swiss watchmaker who ascended the ranks to succeed Havelange? As propaganda, United Passions is as subtle as an anvil to the temple. As drama, it’s not merely ham-fisted but pork-shouldered, bacon-wristed and sausage-elbowed. The script is essentially a press release with speaking parts and exposition. The “action” is a dull-

ing catalog of frictionless, uninteresting administrative scenarios captured with blandly glossy photography and slathered in a syrupy orchestral score. (Ashley Clark)

GO WE ARE STILL HERE Instead of the nubile young things who normally populate horror movies, a grieving middle-aged couple is at the center of Ted Geoghegan’s ’70s-evoking We Are Still Here. We meet Anne and Paul (Barbara Crampton and Andrew Sensenig) after the death of their son; they’re moving into a new house and unable to connect with one another. It’s a mature problem that seems betrayed by the genre; imagine In the Bedroom with jump-scares. Anne feels the presence of malevolent spirits and mistakes them for her son. Paul shrugs it off, deepening their rift — and then the burning ghosts in the basement start murdering people. Early scenes overplay the shock of these phan-tasms, but just as you expect Geoghegan to crank up the effects, the film mixes in some subtler scares. After a couple is picked off, the house resets itself to erase any evidence they had ever been there — my skin crawled. Anne’s spiritualist post-hippie friends (Lisa Marie and Larry Fessenden) lend color and exacerbate the haunting, particularly during a refreshingly low-tech séance scene. Even better is Monte Markham as a neighbor who knows more than he lets on — he carries himself with such creature-feature portent that even the dread feels vintage. (Rob Staeger)

WILD HORSES The archetypal film cowboy is a man with rawhide skin, an unshakable moral code and a firearm to enforce it. Wild Horses’ Scott Briggs is no different; to him, gays are evil, his land is sacred, and if you trespass he will shoot your legs out from under you, right after he gets help climbing onto his horse. In his latest directorial vision, Robert Duvall takes up the saddle as the octogenarian Briggs to explore how his prejudicial value system has torn his diverse family apart. Coinciding with the estranged family’s reunion is an investigation into the disap-pearance of Briggs’ outed son’s lover, led by Samantha, a Texas Ranger. These competing narratives are connected haphazardly by visual transitions that feel like someone sat on the DVD remote, plus jarring tonal shifts between intimate conversations and tire-spinning car chases. Every laborious minute spent with Luciana Duvall as Samantha, in a subplot that goes nowhere, is 60 seconds spent wishing the film stuck with Briggs’ richly dramatic and ultimately underdeveloped familial relationships. Despite the hogtied narrative momentum, Duvall has crafted a lifelike portrait of rural Texas life. Here small-town rumors and politics are the greatest threats to family, and being seen as different is an unforgivable sin. Duvall fills his frames with nonprofessional ac-tors to sell the authenticity of the place; of particular note is Briggs’ bearded cook, who brings a roasted, grinning goat to the dinner table. James Franco and Josh Hartnett, as Briggs’ sons, hold their own against Duvall’s fierce performance; their scenes manage to imbue Wild Horses’ disjointed and sometimes inert script with real life, particularly in one amusing broth-erly barroom brawl. (Dan Gvozden)

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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)306-0676Doomsdays Fri., 5:30 p.m.; Sat., 7 p.m.; Sun., 9:45 p.m.;

Mon., 9:30 p.m.; Tues., 5:55 p.m.; Wed., 7:45 p.m.; Thurs., 5:55 p.m.

Police Story: Lockdown Fri., 9 p.m.; Sat., 3:45, 10:20 p.m.; Sun., 8 p.m.; Mon., 6 p.m.; Tues., 7:30 p.m.; Wed., 9:15 p.m.; Thurs., 10:55 p.m.

Wild Horses Fri., 7:10, 10:45 p.m.; Sat., 5:30, 8:35 p.m.; Sun., 4:30, 6:15 p.m.; Mon., 7:45, 10:55 p.m.; Tues., 9:15, 10:55 p.m.; Wed., 6, 10:55 p.m.; Thurs., 7:25, 9:10 p.m.

Zombeavers Sat., 11:59 p.m.ARCLIGHT HOLLYWOOD Sunset Blvd. at Vine (323) 464-4226Testament of Youth Fri., 9:50, 10:45 a.m., 1:15, 5:10,

7:05, 10:25 p.m.; Sat., 9:50, 10:45 a.m., 1:10, 5:10, 7:05, 10:25 p.m.; Sun., 9:50, 10:45 a.m., 1:15, 5:10, 7:05, 10:25 p.m.

Jurassic World Thurs., 8, 11:30 p.m.Jurassic World 3D Thurs., 7:30, 10:30 p.m.Insidious: Chapter 3 Fri., 9:20 a.m., 12:10, 3:10, 5:30,

8:25, 11:20 p.m., 12:45 a.m.; Sat., 9:20 a.m., 12:10, 3:10, 5:25, 8:25, 11:20 p.m., 12:45 a.m.; Sun., 9:20 a.m., 12:10, 3:10, 5:30, 8:25, 11:20 p.m.

Love & Mercy Fri., 9:35, 10:20, 11:10 a.m., 12:20, 12:55, 2:15, 3:15, 4:10, 5, 7:15, 8:15, 9:50 p.m., 12:25 a.m.; Sat., 9:35, 10:20, 11:10 a.m., 12:20, 1, 2:30, 3:15, 4:30, 5:45, 8:15, 9:50 p.m., 12:25 a.m.; Sun., 9:35, 10:20, 11:10 a.m., 12:20, 12:55, 2:15, 3:15, 4:10, 5, 7:15, 8:15, 9:50 p.m., 12:25 a.m.; Sat., 7:15 p.m.

Spy Fri., 9:30, 10:15, 11:30 a.m., 12:15, 1:30, 2:30, 3:45, 5:20, 6:15, 7, 9, 10, 10:45, 11:45 p.m., 12:30 a.m.; Sat., 9:30, 10:15, 11:30 a.m., 12:15, 1:45, 3:45, 5:15, 6:15, 7, 9, 10, 11, 11:45 p.m., 12:30 a.m.; Sun., 9:30, 10:15, 11:30 a.m., 12:15, 1:30, 3:45, 5:20, 6:15, 7, 9, 10, 10:45, 11:45 p.m., 12:30 a.m.; Fri.-Sat., 8 p.m.; Sun., 2:30, 8 p.m.

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

Aloha Fri., 10:30 a.m., 1:05, 4:35, 7:55, 10:55 p.m.; Sat., 10:35 a.m., 1:05, 4:35, 7:55, 10:55 p.m.; Sun., 10:30 a.m., 1:05, 4:35, 7:55, 10:55 p.m.

San Andreas Fri., 9 a.m., 2:45, 7:45 p.m., 12:35 a.m.; Sat., 9 a.m., 2:45, 4:05, 7:45 p.m., 12:35 a.m.; Sun., 9 a.m., 2:45, 7:45 p.m.

San Andreas 3D Fri.-Sun., 12:45, 5:05, 10:20 p.m.Tomorrowland Fri., 11:25 a.m., 2:10, 5:50, 7:35, 9:45

p.m.; Sat., 11:25 a.m., 2:20, 5:50, 7:35, 10:45 p.m.; Sun., 11:25 a.m., 2:10, 5:50, 7:35, 9:45 p.m.

Mad Max: Fury Road Fri.-Sat., 9:25 a.m., 1:40, 3:20, 8:45 p.m., 12:40 a.m.; Sun., 9:25 a.m., 1:40, 3:20, 8:45 p.m.

Mad Max: Fury Road 3D Fri.-Sun., 11:50 a.m., 5:55, 10:15 p.m.

Pitch Perfect 2 Fri., 10:40 a.m., 2:05, 4:30, 7:20, 9:55 p.m.; Sat., 10:40 a.m., 2:05, 4:40, 7:20, 9:55 p.m.; Sun., 10:40 a.m., 2:05, 4:30, 7:20, 9:55 p.m.

Ex Machina Fri., 10:05 a.m., 2:55, 4:45, 8:40, 11 p.m., 12:50 a.m.; Sat., 10:05 a.m., 12:50, 2:55, 4:25, 8:40, 11:05 p.m., 12:50 a.m.; Sun., 10:05 a.m., 2:55, 4:45, 8:40, 11 p.m.

Close Encounters of the Third Kind Mon., 7:30 p.m.LOS FELIZ 3 1822 N. Vermont Ave. (323) 664-2169Entourage 1:30, 4:15, 7, 9:45 p.m.Aloha 1:30, 4:15, 7, 9:45 p.m.San Andreas 1:30, 4:15, 7, 9:45 p.m.TCL CHINESE 6 THEATRES 6801 Hollywood Blvd. (323) 461-3331Entourage Fri., 12 noon, 2:30, 5, 7:30, 10:15 p.m.; Sat.-

Sun., 11:45 a.m., 2:15, 4:45, 7:15, 10 p.m.; Mon.-Thurs., 12 noon, 2:30, 5, 7:30, 10:15 p.m.

San Andreas Fri.-Sat., 1:30, 7:30 p.m.; Sun., 12:45, 6:45 p.m.; Mon., 1:30, 4:30, 7:30, 10:30 p.m.; Tues.-Thurs., 1:30, 7:30 p.m.; Tues., 4:15, 10:15 p.m.; Wed., 1:15, 7:15 p.m.; Tues., 4:15, 10:15 p.m.

San Andreas 3D Fri.-Sat., 4:30, 10:30 p.m.; Sun., 3:45, 9:45 p.m.; Tues., 4:30, 10:30 p.m.; Wed., 1:15, 4:15 p.m.; Thurs., 4:30, 10:30 p.m.; Mon., 1:15, 4:15, 7:15, 10:15 p.m.; Tues., 1:15, 7:15 p.m.; Wed., 4:15, 10:15 p.m.; Mon., 1:05, 4:15, 7:15, 10:15 p.m.; Tues., 1:15, 7:15 p.m.

Poltergeist Fri., 12:30, 2:50, 5:15, 7:45, 10:25 p.m.; Sun., 12 noon, 2:20, 4:45, 7:10, 9:55 p.m.; Mon.-Thurs., 12:30, 2:50, 5:15, 7:45, 10:25 p.m.

Mad Max: Fury Road Fri.-Sun., 1:20, 4:20, 7:20, 10:20 p.m.; Mon., 1:20, 7:20 p.m.; Tues., 1:20, 4:20, 7:20, 10:20 p.m.; Wed., 1:20, 7:20 p.m.; Thurs., 1:20, 4:20, 7:20, 10:20 p.m.

Mad Max: Fury Road 3D Mon.-Wed., 4:20, 10:20 p.m.Avengers: Age of Ultron Fri.-Sat., 12:15, 3:35, 7, 10:05

p.m.; Sun., 12:15, 3:20, 6:30, 9:40 p.m.; Mon.-Tues., 12:15, 3:35, 7, 10:05 p.m.; Wed., 12 noon, 3:35, 7, 10:05 p.m.; Thurs., 12:15, 3:35, 7, 10:05 p.m.

21 Days Fri., 11:45 p.m.The Amateur Sun., 9:30 p.m.The Ataxian Sat., 7:15 p.m.Bad Exorcists Sat., 11:45 p.m.DWF Panel #5 Fri., 1 p.m.Dances With Kidz - Block 1 Sat., 12 noon.Dances With Kidz - Block 2 Sat., 1:30 p.m.Dances With Kidz - Block 3 Sat., 3 p.m.Dances With Kidz - Block 4 Sat., 4:30 p.m.

Devils in Disguise Fri., 5 p.m.Dig Two Graves Sun., 7:15 p.m.Dirty Beautiful Sun., 2:45 p.m.Hello, My Name Is Frank Sat., 2:45 p.m.Her Eyes Open Sat., 6 p.m.Honeyglue Sat., 12:30 p.m.Knucklehead Sat., 8 p.m.Lola’s Last Letter Fri., 7:15 p.m.Stillpoint Sun., 12:30 p.m.Superior Fri., 9:30 p.m.Theory of Obscurity: A Film About the Residents

Sat., 5 p.m.Welcome to Happiness Sun., 5 p.m.A Year and Change Sat., 9:30 p.m.You See Me Fri., 2:45 p.m.TCL CHINESE THEATRE IMAX 6925 Hollywood Blvd. (323) 461-3331Jurassic World: An IMAX 3D Experience Thurs.,

7, 10:15 p.m.San Andreas: An IMAX 3D Experience Fri., 1:15,

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

PACIFIC’S EL CAPITAN Hollywood Blvd., west of Highland (323) 467-7674Tomorrowland Fri.-Sat., 9:45 a.m., 12:55, 4:10, 7:30,

10:50 p.m.; Sun.-Thurs., 9:45 a.m., 12:55, 4:10, 7:30 p.m.PACIFIC’S THE GROVE STADIUM 14 189 The Grove Dr., Third & Fairfax (323) 692-0829Jurassic World Thurs., 7, 8, 10, 11 p.m.Insidious: Chapter 3 Fri., 9:45, 11:20 a.m., 1:30, 3:45,

5:55, 7:15, 8:15, 9:30, 10:30, 11:45 p.m., 12:25 a.m.; Sat., 9:45, 11:20 a.m., 1:30, 3:45, 5:55, 8:25, 9:50, 10:40 p.m., 12:05 a.m.; Sun., 9:45, 11:20 a.m., 1:30, 3:45, 5:55, 8:15, 9:50, 10:30 p.m.; Mon.-Tues., 11:20 a.m., 1:30, 3:45, 5:55, 8:15, 9:50, 10:30 p.m.; Wed., 11:20 a.m., 1:30, 3:45, 5:55, 7:15, 8:15, 9:30, 10:30, 11:45 p.m.

Love & Mercy Fri., 10 a.m., 12:40, 1:45, 3:20, 4:25, 7:05, 9:45 p.m.; Sat., 10 a.m., 12:40, 1:45, 3:15, 4:25, 7:05, 9:45 p.m.; Sun., 10 a.m., 12:40, 1:45, 3:20, 4:25, 7:05, 9:45 p.m.; Mon.-Wed., 10 a.m., 12:40, 3:25, 4:25, 7:05, 9:45 p.m.

Spy Fri., 9:35, 10:15, 11 a.m., 12:15, 1:40, 3:05, 4:20, 5:45, 7, 8:30, 9:40, 11:10 p.m., 12:15 a.m.; Sat., 9:35, 10:15, 11 a.m., 12:15, 1:40, 3:05, 4:20, 5:45, 6:10, 7, 8:30, 9:40, 11:10 p.m., 12:15 a.m.; Sun., 9:35, 10:15, 11 a.m., 12:15, 1:40, 3:05, 4:20, 5:45, 6:10, 7, 8:30, 9:40, 11:10 p.m.; Mon.-Tues., 10:15, 11 a.m., 12:15, 1:40, 3:05, 4:20, 5:45, 6:10, 7, 8:30, 9:40, 11:10 p.m.; Wed., 10:15, 11 a.m., 12:15, 1:40, 3:05, 4:20, 6:10, 7, 9:40 p.m.

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

Aloha Fri., 11:10 a.m., 2:05, 5:30, 7:25, 10:20 p.m.; Sat.-Sun., 11:10 a.m., 2:05, 5:40, 7:25, 10:20 p.m.; Mon.-Wed., 11:10 a.m., 2:05, 5:30, 7:25, 10:20 p.m.

San Andreas Fri.-Sun., 9:40 a.m., 12:05, 2:35, 5:10, 7:45, 10:15, 11:20 p.m.; Mon.-Wed., 12:05, 2:35, 5:10, 7:45, 10:15, 11:20 p.m.

San Andreas 3D Fri., 1, 3:30, 8:45 p.m.; Sat.-Tues., 1, 3:35, 8:45 p.m.; Wed., 3:35, 8:45 p.m.

Tomorrowland Fri.-Tues., 11:05 a.m., 2:50, 4:30, 8:05, 10 p.m.; Wed., 11:05 a.m., 12:50, 2:50, 4:30, 8:05, 10 p.m.

Mad Max: Fury Road Fri., 11:15 a.m., 2, 4:35, 6:10, 8:25, 11:05 p.m.; Sat., 11:15 a.m., 2, 4:35, 7:15, 8:20, 11:05 p.m.; Sun.-Tues., 11:15 a.m., 2, 4:35, 7:15, 8:25, 11:05 p.m.; Wed., 11:15 a.m., 2, 4:35, 8:20, 11:05 p.m.

Pitch Perfect 2 Fri., 12:25, 3, 5:40, 7:40, 11:15 p.m.; Sat., 12:25, 3, 5:40, 7:40, 11:30 p.m.; Sun., 12:25, 3, 5:40, 7:40, 11:15 p.m.; Mon.-Wed., 10:25 a.m., 12:55, 3:30, 6:05, 7:40, 11:30 p.m.

Avengers: Age of Ultron Fri., 11:50 a.m., 1:35, 4:40, 8:20 p.m.; Sat., 11:50 a.m., 1:35, 4:40, 8:35 p.m.; Sun., 11:50 a.m., 1:35, 4:40, 8:20 p.m.; Mon.-Wed., 11:50 a.m., 1:35, 4:40, 8:35 p.m.

Ex Machina Fri.-Sun., 11:15 a.m., 6 p.m.; Mon.-Tues., 11:25 a.m., 1:50, 6 p.m.

VISTA 4473 Sunset Dr. (323) 660-6639Jurassic World Thurs., 9:50 p.m.Spy Fri.-Wed., 1, 4, 7, 9:50 p.m.; Thurs., 1, 4, 7 p.m.Dude Bro Party Massacre III Sat., 12 mid.

DOWNTOWN, S. LOS ANGELES

DOWNTOWN INDEPENDENT 251 South Main Street (213)617-1033 Call theater for schedule.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 4046Jurassic World Wed., 7:30 p.m.; Thurs., 8:30 p.m.,

12 mid.Jurassic World 3D Thurs., 7, 8, 10:30, 11:30 p.m.Insidious: Chapter 3 Fri.-Sat., 11:30 a.m., 12:10, 2,

2:40, 4:30, 5:10, 7, 7:40, 9:40, 10:40 p.m., 12:15 a.m.; Sun.-Tues., 11:30 a.m., 12:10, 2, 2:40, 4:30, 5:10, 7, 7:40, 9:50, 10:40 p.m.; Wed., 11:30 a.m., 12:10, 2, 2:40, 5:10, 7:40, 10:40 p.m.

Spy Fri.-Sat., 1:10, 1:50, 4, 4:40, 7:10, 7:50, 10:10, 10:50, 11:30 p.m.; Sun.-Tues., 1:10, 1:50, 4, 4:40, 7:10, 7:50, 10:10, 10:50 p.m.; Wed., 1:50, 4:40, 7:50, 10:50 p.m.

Entourage Fri.-Sat., 11:55 a.m., 2:30, 5:20, 8:10, 11:10, 11:55 p.m.; Sun.-Mon., 11:55 a.m., 2:30, 5:20, 8:10, 11 p.m.; Tues., 11:55 a.m., 2:30, 5:20, 8:10, 11:10 p.m.; Wed., 11:55 a.m., 2:30, 5:20, 8:10, 11 p.m.

Aloha Fri.-Wed., 11:50 a.m., 2:20, 4:50, 7:30, 10:20 p.m.San Andreas Fri.-Sat., 1:30, 4:20, 7:20, 10:30 p.m., 12:10

a.m.; Sun.-Wed., 1:30, 4:20, 7:20, 10:30 p.m.San Andreas 3D Fri.-Sat., 11:20 a.m., 2:10, 5, 8, 11 p.m.;

Sun.-Mon., 11:20 a.m., 2:10, 5, 8, 10:55 p.m.; Tues., 11:20 a.m., 2:10, 5, 8, 11 p.m.; Wed., 11:20 a.m., 2:10, 5, 8, 10:55 p.m.; Fri.-Sat., 12 noon, 2:50, 5:40, 8:40, 11:40 p.m.; Sun.-Mon., 12:50, 3:40, 6:30, 9:30 p.m.; Wed., 12:10, 3, 6:30, 9:30 p.m.

Poltergeist Fri.-Sat., 1, 3:50, 6:30, 9 p.m.; Sun.-Tues., 1, 3:50, 6:20, 9 p.m.

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

Mad Max: Fury Road Fri.-Sat., 12:20, 3:20, 6:20, 9:20 p.m.; Sun.-Wed., 12:20, 3:20, 6:10, 9:20 p.m.

Pitch Perfect 2 Fri.-Tues., 1:20, 4:10, 6:50, 9:10 p.m.; Wed., 12:15, 3:05, 9:10 p.m.

Avengers: Age of Ultron Fri.-Wed., 11:40 a.m., 2:55, 6 p.m.

Avengers: Age of Ultron in 3D Fri.-Sat., 9:30 p.m.; Sun.-Tues., 9:40 p.m.

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

WEST HOLLYWOOD, BEVERLY HILLS

SUNDANCE SUNSET CINEMA 8000 West Sunset Boulevard (323)654-2217 Call theater for schedule.LAEMMLE’S MUSIC HALL 3 9036 Wilshire Blvd. (310) 274-6869The Nightmare 10 p.m.We Are Still Here 9:55 p.m.Uncertain Terms 10 p.m.When Marnie Was There (Omoide no Marnie) 12

noon, 5 p.m.; Fri.-Tues., 2:30, 7:30 p.m.; Wed., 2:30 p.m.; Thurs., 2:30, 7:30 p.m.

In the Name of My Daughter (L’homme qu’on aimait trop) Fri.-Mon., 12 noon, 5 p.m.; Tues., 5 p.m.; Wed.-Thurs., 12 noon, 5 p.m.

5 Flights Up Fri.-Sun., 2:40, 7:40 p.m.; Mon., 2:40 p.m.; Tues., 7:40 p.m.; Wed.-Thurs., 2:40, 7:40 p.m.

Royal Ballet: La Fille mal gardee Mon., 7:30 p.m.; Tues., 1 p.m.

The 100 Year Old Man Who Climbed Out the Window and Disappeared Fri.-Wed., 2:20, 7:20 p.m.; Thurs., 2:20 p.m.

Woman in Gold 12 noon, 4:50 p.m.

WESTWOOD, WEST L.A.

AMC CENTURY CITY 15 10250 Santa Monica Blvd. (888)AMC-4FUNJurassic World Thurs., 7 p.m.Jurassic World: An IMAX 3D Experience Thurs.,

7, 10:05 p.m.Me and Earl and the Dying Girl Thurs., 7 p.m.Insidious: Chapter 3 Fri., 11:10 a.m., 1:55, 4:35, 7:15,

9:55, 10:40 p.m., 12:30 a.m.; Sat.-Sun., 11:10 a.m., 1:55, 4:35, 7:15, 9:55 p.m., 12:30 a.m.

Love & Mercy Fri.-Sun., 10:20 a.m., 1:20, 4:25, 7:25, 10:25 p.m.

Spy Fri., 10 a.m., 1, 4, 4:45, 7, 10 p.m., 12:20 a.m.; Sat.-Sun., 10 a.m., 1, 4, 4:45, 7, 10, 10:40 p.m., 12:20 a.m.; Fri.-Sat., 11:15 a.m., 2:15, 5:15, 8:15, 11:15 p.m.; Sun., 11:15 a.m., 2:15, 5:15, 8:15, 11:10 p.m.

Entourage Fri.-Sun., 10:25, 11:25 a.m., 1:10, 2:20, 4:15, 5:10, 6:45, 8, 10:50 p.m.

Aloha Fri.-Sun., 10:35 a.m., 1:25, 4:15, 7:05, 9:50 p.m.San Andreas Fri.-Sat., 9:45 a.m., 3:30, 6:30, 9:30 p.m.,

12:25 a.m.; Sun., 9:45 a.m., 3:30, 6:30, 9:30 p.m.San Andreas 3D Fri.-Sat., 11:35 a.m., 12:45, 2:30, 5:30,

8:30, 11:30 p.m.; Sun., 11:35 a.m., 12:45, 2:30, 5:30, 8:30, 11:15 p.m.

San Andreas: An IMAX 3D Experience Fri.-Sun., 4:30, 7:30, 10:30 p.m.

Tomorrowland Fri.-Sun., 9:45 a.m., 12:55, 4:10, 7:20, 10:35 p.m.

Tomorrowland: The IMAX Experience Fri.-Sun., 10:30 a.m., 1:30 p.m.

Mad Max: Fury Road Fri.-Sun., 10:10 a.m., 1:15, 10:55 p.m.

Mad Max: Fury Road 3D Fri.-Sun., 4:50, 7:50, 9:25 p.m.

Pitch Perfect 2 Fri.-Sun., 10:50 a.m., 1:50, 4, 7:45, 10:40 p.m.

Avengers: Age of Ultron Fri.-Sat., 9:50 a.m., 1:05, 4:20, 7:40, 11 p.m.; Sun., 9:50 a.m., 1:05, 4:20, 7:40, 10:50 p.m.

Ex Machina Fri.-Sun., 11 a.m., 2 p.m.LAEMMLE’S ROYAL THEATER 11523 Santa Monica Blvd. (310) 477-5581The Farewell Party (Mita Tova) Fri., 1, 3:20, 5:40, 8,

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

Royal Ballet: La Fille mal gardee Mon., 7:30 p.m.; Tues., 1 p.m.

The 100 Year Old Man Who Climbed Out the Window and Disappeared Fri., 4, 9:10 p.m.; Sat.-Sun., 11 a.m., 4, 9:10 p.m.; Mon., 4 p.m.; Tues.-Thurs., 4, 9:10 p.m.

The Fourth Noble Truth Fri., 1, 3:15, 5:30, 7:50, 10:15 p.m.; Sat.-Sun., 10:50 a.m., 1, 3:15, 5:30, 7:50, 10:15 p.m.; Mon.-Thurs., 1, 3:15, 5:30, 7:50, 10:15 p.m.

Iris (2010) Fri.-Sun., 1:50, 7 p.m.; Mon., 1:50 p.m.; Tues., 7 p.m.; Wed.-Thurs., 1:50, 7 p.m.

LANDMARK’S NUART THEATER 11272 Santa Monica Blvd. (310) 473-8530; No Texting AllowedResults Fri.-Mon., 12 noon, 2:30, 5, 7:30, 9:55 p.m.; Tues.-

Thurs., 5, 7:30, 9:55 p.m.The Rocky Horror Picture Show Sat., 11:59 p.m.Goldfinger Fri., 11:59 p.m.LANDMARK’S REGENT 1045 Broxton Ave. (310) 208-3250; No Texting AllowedThe Search For Freedom Wed., 7 p.m.Woman in Gold Fri., 4:35, 7, 9:25 p.m.; Sat.-Sun., 2:10,

4:35, 7, 9:25 p.m.; Mon.-Tues., 4:35, 7, 9:25 p.m.; Wed., 4:35, 9:45 p.m.; Thurs., 4:35, 7, 9:25 p.m.

The Room Fri.-Sat., 11:59 p.m.LANDMARK WEST L.A. 10850 W. Pico Blvd. (310) 470-0492; No Texting AllowedTestament of Youth Fri.-Sun., 10:30 a.m., 1:25, 4:20,

7:15, 10:05 p.m.; Mon.-Thurs., 10:45 a.m., 1:25, 4:20, 7:15, 10:05 p.m.

Jurassic World Thurs., 7:40, 10:15 p.m.Me and Earl and the Dying Girl Thurs., 7:30, 9:55

p.m.Love & Mercy Fri.-Sat., 11 a.m., 1:45, 4:30, 7:20, 10 p.m.;

Sun., 11 a.m., 1:45, 4:30, 7:40, 10:20 p.m.; Mon.-Thurs., 11 a.m., 1:45, 4:30, 7:20, 10 p.m.

Spy 11:50 a.m., 2:30, 5:10, 7:50, 10:15 p.m.Entourage 12 noon, 2:30, 5, 7:30, 9:55 p.m.Aloha 11:45 a.m., 2:15, 4:45, 7:20, 9:45 p.m.Gemma Bovery Fri.-Sun., 10 a.m., 12:15, 2:30, 4:45,

7:05, 9:30 p.m.; Mon., 12:15, 2:30, 4:45, 7:05, 9:30 p.m.; Tues., 12:15, 2:30 p.m.; Wed., 12:10, 5:05, 10:10 p.m.; Thurs., 12:15, 2:30 p.m.

I’ll See You in My Dreams Fri.-Sun., 10 a.m., 12:15, 2:35, 4:55, 7:10, 9:25 p.m.; Mon.-Thurs., 12:15, 2:35, 4:55, 7:10, 9:25 p.m.

Mad Max: Fury Road 11 a.m., 1:40, 4:25, 7:30, 10:10 p.m.

Pitch Perfect 2 Fri.-Tues., 11:30 a.m., 2:10, 4:50, 7:35, 10:10 p.m.; Wed., 11:15 a.m., 1:50, 4:25, 10:10 p.m.; Thurs., 11:30 a.m., 2:10, 10:10 p.m.

Far From the Madding Crowd Fri.-Tues., 11:20 a.m., 2:05, 4:50, 7:40, 10:10 p.m.; Wed., 11 a.m., 1:40, 4:20, 10:10 p.m.; Thurs., 11:20 a.m., 2:05, 4:50, 7:40, 10:10 p.m.

Ex Machina Fri.-Tues., 12 noon, 2:30, 5:05, 7:40, 10:10 p.m.; Wed., 2:30, 7:40 p.m.; Thurs., 12 noon, 2:30, 5:05 p.m.

The World of Apu (1959) Fri.-Sat., 4:40 p.m.; Sun., 4:40, 7:10 p.m.; Mon.-Tues., 4:40 p.m.; Wed., 4:40, 7:10 p.m.; Thurs., 4:40, 9:50 p.m.

Pather Panchali Fri., 11:15 a.m., 7:10 p.m.; Sat., 11:15 a.m., 9:50 p.m.; Sun., 11:15 a.m., 9:35 p.m.; Mon., 11:15 a.m., 7:10 p.m.; Tues., 11:15 a.m., 9:50 p.m.; Wed., 11:15 a.m., 9:35 p.m.; Thurs., 11:15 a.m., 4:45 p.m.

The Unvanquished (Aparajito) Fri., 2, 9:55 p.m.; Sat., 2, 7:10 p.m.; Sun., 2 p.m.; Mon., 2, 9:55 p.m.; Tues., 2, 7:10 p.m.; Wed., 2 p.m.; Thurs., 2, 7:10 p.m.

CULVER CITY, LAX, MARINA DEL REY

CINEMARK 18 & XD 6081 Center Drive (310)568-3394Jurassic World 3D Thurs., 7, 10 p.m.One Night for ONE DROP Imagined by Cirque du

SoleilÆ Wed., 7:30 p.m.Insidious: Chapter 3 Fri.-Wed., 10:50 a.m., 12:05, 1:20,

2:35, 3:50, 5:05, 6:20, 7:35, 8:50, 10:05 p.m.Spy Fri.-Wed., 11:25 a.m., 2:15, 5:05, 7:55, 10:45 p.m.; Fri.-

Wed., 12:50, 3:40, 6:30, 9:20 p.m.Entourage Fri.-Wed., 10:40 a.m., 12 noon, 1:15, 2:35,

3:50, 5:10, 6:25, 7:45, 9, 10:20 p.m.Aloha Fri.-Wed., 11:20 a.m., 1:55, 4:30, 7:05, 9:40 p.m.San Andreas Fri.-Wed., 12 noon, 2:45, 5:30, 8:15, 11 p.m.;

Fri.-Tues., 12 noon, 2:45, 3:25, 5:30, 8:15, 8:55, 11 p.m.; Wed., 12 noon, 2:45, 5:30, 8:15, 11 p.m.

San Andreas 3D Fri.-Wed., 10:35 a.m., 1:20, 4:05, 6:50, 9:40 p.m.; Fri.-Tues., 10:35, 11:15 a.m., 12:40, 1:20, 2, 4:05, 4:45, 6:10, 6:50, 7:30, 9:40, 10:15 p.m.; Wed., 10:35, 11:15 a.m., 1:20, 2, 4:05, 4:45, 6:50, 7:30, 9:40, 10:15 p.m.

Poltergeist Fri.-Wed., 3:05, 8:05 p.m.Poltergeist 3D Fri.-Wed., 12:35, 5:35, 10:40 p.m.Tomorrowland Fri.-Wed., 1:10, 4:10, 7:10, 10:10 p.m.Mad Max: Fury Road Fri.-Wed., 10:55 a.m., 4:40,

10:35 p.m.Mad Max: Fury Road 3D Fri.-Wed., 1:50, 7:40 p.m.Pitch Perfect 2 Fri.-Wed., 11:15 a.m., 2:05, 4:55, 7:45,

10:35 p.m.Avengers: Age of Ultron Fri.-Wed., 12:45, 4, 7:15,

10:30 p.m.Goldfinger Sun., 2 p.m.; Wed., 2, 7 p.m.Dil Dhadakne Do Fri.-Wed., 12:30, 4:15, 8 p.m.Tanu Weds Manu Returns Fri.-Sat., 1, 4:15, 7:25,

10:30 p.m.; Sun., 4:45, 7:55, 11 p.m.; Mon.-Tues., 1, 4:15, 7:25, 10:30 p.m.; Wed., 1, 4:15, 10:15 p.m.

RAVE CINEMAS BALDWIN HILLS CRENSHAW PLAZA 15 + XTREME 4020 Marlton Avenue (323)296-1005Jurassic World Thurs., 7:40, 10:45 p.m.Jurassic World 3D Thurs., 8:20, 11:20 p.m.; Thurs., 7,

10 p.m., 12:10 a.m.Insidious: Chapter 3 Fri.-Wed., 11:40 a.m., 2:20, 5:20,

8:10, 11 p.m.; Fri.-Sat., 10:30 a.m., 1:20, 4:20, 7:10, 9:40 p.m., 12:10 a.m.; Sun.-Wed., 10:30 a.m., 1:20, 4:20, 7:10, 9:40 p.m.

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

Entourage Fri.-Sun., 9:20, 11:50 a.m., 2:15, 4:50, 7:30, 10:10 p.m.; Mon.-Wed., 11:50 a.m., 2:15, 4:50, 7:30, 10:10 p.m.

Aloha Fri.-Sun., 9:30 a.m., 12:10, 2:45, 5:05, 7:40, 10:20 p.m.; Mon.-Wed., 12:10, 2:45, 5:05, 7:40, 10:20 p.m.

San Andreas Fri.-Sat., 9:40 a.m., 12 noon, 12:30, 3:10, 5:30, 6:10, 9, 11:20 p.m., 12:05 a.m.; Sun., 9:40 a.m., 12 noon, 12:30, 3:10, 5:30, 6:10, 9 p.m.; Mon.-Wed., 12 noon, 12:30, 3:10, 5:30, 6:10, 9 p.m.

San Andreas 3D Fri.-Sat., 10:10 a.m., 1, 2:40, 3:50, 7, 8:30, 9:50 p.m.; Sun., 2:40, 8:30 p.m.; Mon.-Wed., 10:10 a.m., 1, 2:40, 3:50, 7, 8:30, 9:50 p.m.; Fri.-Wed., 11 a.m., 1:50, 4:40, 7:50, 10:40 p.m.

Poltergeist Fri.-Wed., 12:40, 5:25, 10:25 p.m.Poltergeist 3D Fri.-Sun., 9:55 a.m., 3, 7:55 p.m.; Mon.-

Wed., 3, 7:55 p.m.Tomorrowland Fri.-Wed., 10:05 a.m., 12:50, 4:05, 7:05,

10 p.m.Mad Max: Fury Road Fri.-Wed., 12:45, 6:40 p.m.Mad Max: Fury Road 3D Fri.-Sun., 9:50 a.m., 3:40,

9:30 p.m.; Mon.-Wed., 3:40, 9:30 p.m.Pitch Perfect 2 Fri.-Wed., 11:20 a.m., 2, 5, 8, 10:50 p.m.Avengers: Age of Ultron Fri.-Sun., 9:15 a.m., 12:20,

3:30, 6:50, 10:15 p.m.; Mon.-Wed., 12:20, 3:30, 6:50, 10:15 p.m.

The Lego Movie Tues.-Thurs., 10 a.m.AMC LOEWS CINEPLEX MARINA MARKETPLACE 13455 Maxella Ave. (800) 326-3264 704Entourage Fri.-Sun., 12 noon, 2:45, 5:45, 8:30, 11:30 p.m.PACIFIC CULVER STADIUM 12 9500 Culver Blvd. (310) 360-9565Jurassic World Thurs., 7, 8, 9:45, 10:45 p.m.Jurassic World 3D Thurs., 7:30, 8:30, 10:15, 11:15 p.m.Insidious: Chapter 3 Fri., 10:55 a.m., 12:35, 3:30, 5:40,

8:35, 9:30, 11:45 p.m.; Sat., 11:55 a.m., 12:35, 3:30, 6:10, 8:35, 9:30, 11:45 p.m.; Sun., 10:55 a.m., 12:35, 3:30, 5:40, 8:35, 9:30 p.m.; Mon.-Tues., 12:40, 3, 5:20, 7:40, 10 p.m.

Love & Mercy Fri., 10:35, 11:15 a.m., 1:55, 4:30, 6, 7:15, 9:15 p.m.; Sat., 10:25, 11:15 a.m., 1:55, 4:30, 7:15, 9:15 p.m.; Sun., 10:35, 11:15 a.m., 1:55, 4:30, 6, 7:15, 9:15 p.m.; Mon.-Tues., 10:30 a.m., 1:20, 4:10, 5:15, 7:10, 9:45 p.m.

Spy Fri.-Sat., 10:05, 11:10 a.m., 12:40, 1:50, 3:15, 5:50, 6:15, 7:05, 8:30, 9:45, 11 p.m.; Sun., 10:05, 11:10 a.m., 12:40, 1:50, 3:15, 5:50, 6:15, 7:05, 8:30, 9:45 p.m.; Mon.-Tues., 10:40, 11:25 a.m., 1:30, 4:20, 7, 7:45, 9:30 p.m.

Entourage Fri.-Sun., 11:45 a.m., 1, 2:15, 4:45, 7:15, 8:45, 9:55, 10:45 p.m.; Mon.-Tues., 10:20, 11:30 a.m., 2:05, 4:40, 7:20, 9:40 p.m.

Aloha Fri.-Sun., 10:10 a.m., 1:25, 3:45, 7, 9:50 p.m.; Mon.-Tues., 11:35 a.m., 2:10, 4:50, 7:30, 9:55 p.m.

San Andreas Fri., 10 a.m., 12:30, 3, 3:50, 5:30, 7:10, 8, 10:30 p.m.; Sat., 10, 10:55 a.m., 12:30, 3, 3:50, 5:30, 7:10, 8, 10:30 p.m.; Sun., 10 a.m., 12:30, 3, 3:50, 5:30, 7:10, 8, 10:30 p.m.; Mon.-Tues., 10 a.m., 12:35, 2, 3:10, 5:45, 8:20, 10:25 p.m.

San Andreas 3D Fri., 11:30 a.m., 4:35 p.m.; Sat., 4:35 p.m.; Sun., 11:30 a.m., 4:35 p.m.; Mon.-Tues., 1:35, 7:05 p.m.

Tomorrowland Fri., 10:40 a.m., 1:20, 4:05, 7, 10:15 p.m.; Sat., 10:40 a.m., 1:20, 4:05, 7, 10:50 p.m.; Sun., 10:40 a.m., 1:20, 4:05, 7, 10:15 p.m.; Mon.-Tues., 10:10 a.m., 1:05, 4:15, 7:25, 10:10 p.m.

Mad Max: Fury Road Fri., 10:45 a.m., 1:15, 2:40, 4:25, 7:45, 11:40 p.m.; Sat., 10:45 a.m., 1:15, 2:40, 4:35, 8:20, 11:40 p.m.; Sun., 10:45 a.m., 1:15, 2:40, 4:25, 7:45 p.m.; Mon.-Tues., 11:40 a.m., 2:20, 5, 7:50, 10:20 p.m.

Mad Max: Fury Road 3D Fri.-Sun., 2, 9:35 p.m.; Mon.-Tues., 10:45 a.m., 4, 9:35 p.m.

Pitch Perfect 2 Fri.-Sun., 11:20 a.m., 1:45, 4:20, 7:40, 10:05 p.m.; Mon.-Tues., 11 a.m., 1:55, 4:35, 7:35, 10:05 p.m.

Ex Machina Fri.-Sat., 5:10, 10:55 p.m.; Sun., 5:10 p.m.; Mon.-Tues., 10:05 a.m., 12:30, 2:50, 4:45, 7:15, 9:50 p.m.

King Kong (1933) Wed., 7 p.m.

BEACHES

Santa Monica, Malibu

AMC SANTA MONICA 7 1310 Third Street Promenade (310) 395-3030Spy Fri.-Sat., 12 mid.; Fri.-Wed., 11:05 a.m., 2, 4:45, 7:35,

10:25 p.m.Entourage Fri.-Sun., 11:45 a.m., 2:20, 5, 7:50, 10:35 p.m.;

Mon.-Wed., 10 a.m., 12:30, 3, 5:25, 7:55, 10:30 p.m.Aloha Fri., 10:50 a.m., 1:25, 4, 6:45 p.m.; Sat.-Sun., 10:50

a.m., 1:25, 4, 6:45, 9:25 p.m.; Mon.-Wed., 11:15 a.m., 1:50, 4:30, 7, 9:35 p.m.; Fri., 9:25 p.m.

San Andreas Fri.-Wed., 10:30 a.m., 4:10 p.m.San Andreas 3D Fri.-Wed., 1:20, 7:05, 9:50 p.m.; Sat.,

12 mid.Tomorrowland Fri., 10 a.m., 12:30, 3:35, 6:35, 11 p.m.;

Sat.-Sun., 10 a.m., 12:30, 3:35, 6:35, 10:15 p.m.; Mon.-Wed., 10:05 a.m., 1:05, 4:05, 7:10, 10:15 p.m.

Mad Max: Fury Road Sun., 10:50 p.m.; Fri., 1:40, 10:15 p.m.; Sat., 1:40, 10:50 p.m.; Sun., 1:40 p.m.; Mon.-Wed., 1:50, 10:20 p.m.

Mad Max: Fury Road 3D Fri.-Sun., 10:45 a.m., 4:30, 7:25 p.m.; Mon.-Wed., 10:50 a.m., 4:40, 7:30 p.m.

Insidious Fri., 10:05 a.m., 1:05, 3:40, 6:05, 8:30, 9:35 p.m., 12 mid.; Sat.-Sun., 10:05 a.m., 1, 3:25, 6, 8:25, 9:35 p.m.; Mon.-Wed., 11:40 a.m., 2:10, 5, 7:45, 10:10 p.m.

AERO THEATER 1328 Montana Ave. (323) 466-FILM Call theater for schedule.LAEMMLE’S MONICA 4-PLEX 1332 Second St. (310) 478-3836 Call theater for schedule.AMC LOEWS CINEPLEX BROADWAY 1441 Third Street Promenade (800) 326-3264 706 Call theater for schedule.NEW MALIBU THEATER 3822 Cross Creek Road (310) 456-6990Love & Mercy Fri., 4, 7, 9:50 p.m.; Sat.-Sun., 1, 4, 7, 9:50

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

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

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SUMMER OF DISCONTENTVince Staples’ Summertime ’06 could be the breakout hip-hop album of the year — just don’t tell Vince Staples

BY REBECCA HAITHCOAT

Stop off ering Vince Staples weed.

“Life is hard,” the 21-year-old Long Beach rapper says. He stares at you when he speaks, unblinking, catching your eyes with the precision

of a shackle clicking into a padlock. “But I’ve never done [drugs or alcohol]. I didn’t want to be in any shape or form altered, especially with the shit I was doing when I was younger. I don’t have a problem know-ing how fucked up everything is. I never wanna be in the dark about anything.”

It’s Cinco de Mayo, a holiday many in L.A. use as an excuse to get white-people-wasted, and Staples is sprawled on a couch in a Sunset Boulevard studio where Frank Sinatra used to record. Wearing a letter-man jacket, shredded black jeans and a Western belt he bought at Walmart, he’s a little bit country, a little bit jock ’n’ roll. He prefers doing interviews here because if he doesn’t like the writer, he can just leave and go back into the booth.

That he has such a strategy speaks to how in demand he is. His major-label debut album, Summertime ’06 (out this summer on Def Jam), executive produced by the Chicago legend who groomed Kanye West, No I.D., is one of the most anticipated rap releases of the year. ESPN2 invited Staples

to be a guest commentator, and his label representative and manager are currently naying and yea-ing a list of respected pub-lications clamoring to sit down with him. He even has a small role in the upcoming Sundance darling Dope.

Still, Staples is hesitant to bask in the attention. For starters, being a rapper was never his dream. Plus, where he’s from, at-tention usually isn’t a positive thing.

“I’m probably never gonna be the big one. But I’m fi ne with that,” he says, stoic enough that this stance rings true. “It’s very clique-ish and high school–ish in this music shit. I don’t really fi t in with that because I was a clique banger and a gang-banger and don’t wanna be a part of that no more. It breeds anger and hatred.”

Sighing, he pushes away a takeout con-tainer of cold nachos.

“I don’t know how you possibly got more questions,” he says. “We should just go bowling next time.”

I fi rst met Staples in the spring of 2011 at a skate demo in the Westfi eld Culver City mall, where Mike G of Odd Future was performing a few songs. Besides the fact that all we talked about was books, Staples seemed like a typical 17-year-old. He didn’t mention that he was the dude whose verse on “epaR” out-appalled Earl Sweatshirt’s.

Later that night, the rapper Speak grabbed my arm. “Watch out for this kid,” he said. “He’s Earl’s only equal.”

A few months later, I was at his mater-nal grandmother’s house in Compton, the same one depicted on the cover of October’s Hell Can Wait, the clearheaded, promising EP that was his fi rst commercial project. Perched on the edge of a table, Sta-ples’ rangy, naturally athletic frame looked small, like he had shrunk back to the height he was during the years he stayed there.

He was born in a Florence hospital the summer of 1993, a year after the Rodney King riots. The family lived in East Long

Beach, his mom working at a car company and his dad gangbanging. Staples doesn’t talk to his father these days. But as detailed in “Nate,” the jazzy, devastating standout from last spring’s Shyne Coldchain Vol. 2 mixtape, his dad deeply marked him, both for better (“Uncle counting money while my daddy cutting grams/Made me prom-ise that this shit would never touch my hands”) and worse (“As a kid all I wanted was to kill a man/’Cause my daddy did it”).

After watching his dad go to jail on

Christmas Day while he was in fi rst grade, Staples began shuttling back and forth between his folks’ and his grandparents’ houses. For the most part, his grandma and grandpa raised him, keeping him inside the house and “Jesus’ed up.” He bounced around from one Christian school to another, playing and excelling in every sport in which he picked up a ball, until he decided to stop attending when he was a junior in high school just because he didn’t like it.

That he also had become gang-affi liated in Long Beach probably contributed to his decision to drop out, and both contributed to the problems he and his mother were having. He doesn’t really know how he started rapping, and he certainly never planned on doing it as a career.

“I never really thought about what I was gonna be in my whole life, ever,” he says. But it was during one of the spells his mom kicked him out that he ended up sleeping in Syd tha Kyd’s studio, hanging with the Odd Future crew, recording “epaR” and, unknowingly, starting his career.

Staples is tough to categorize. He was a gangbanger, but he’s not a gangster rapper. His lyrics are politically charged, but he’s not a conscious rapper. He’s painted some lurid pictures, but he’s not a shock rapper. He’s too serious to be Wiz Khalifa, too self-assured to be Kanye West, not weird enough to be Young Thug, not thugged-out enough to be YG. He’s just, in his words, “regular.” Maybe that’s why he predicts he won’t be “big.”

Yet his gift for distilling what he has witnessed and experienced into aff ecting yet unsentimental rhymes could swing the pendulum toward popularity. And his opin-ions on social economics are trenchant and timely. The video for “Señorita,” the fi rst single off Summertime ’06, portrays just another day in the dark underbelly of L.A., with a twist that’s a scathing indictment of poverty porn. He wrote the fuck-tha-police banger “Hands Up” on Hell Can Wait be-fore the Ferguson chant of “Don’t Shoot.” “LBPD, no they ain’t ’bout shit/LAPD, no they ain’t ’bout shit/LASD, no they ain’t ’bout shit/Riding ’round these streets giv-ing out full clips.” He’s seen this movie too many times, and he’s sick of it.

“I still gotta watch my homies go to jail,” he says. “I just was on the phone with somebody who just got charged with mur-der one. He’s like, ‘I’m not tripping.’ We’re raised like that — that it’s OK you might never get out of jail.”

It’s also telling that when Staples lists the three events in his life that made him who he is — his grandfather’s death, a close friend getting shot, another friend murdered — they all have to do with death or violence.

“Where I come from, the police doin’ gang sweeps at 2-year-olds’ birthday parties. Throwing niggas’ mamas on the ground,” he says. “I learned a long time ago you can’t control this shit. If they wanna get you, they’re gonna get you. No reason to worry about it. Hopefully my turn don’t come no time soon. But everybody get a turn.”

It’s a chilling observation, one he seems too young to make. But he says it soberly, and his gaze doesn’t waver.

| Music // PHOTO BY DANNY LIAO

HIS GANGBANGER DAD DEEPLY MARKED HIM, BOTH FOR BETTER AND WORSE.

Vince Staples

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Beyond the FenceWHITE FENCE’S TIM PRESLEY WANTS TO AVOID THE OBVIOUS WITH HIS NEW PROJECT, DRINKS

BY JEFF WEISS

Tim Presley’s music — uniquely Californian in its casual eccentricity and feeling of permanent va-cation — fi nds its natural setting in Big Sur. Stoned and crooked guitar riff s

fi tfully match the serrated rock cliff s. The misty redwood forests off er a portal into an ageless past. Here, the connection be-tween unruly coastline and psychedelic rock seems obvious.

We’re at the Woodsist Festival in Big Sur, where Presley has just fi nished a set with his band White Fence, whose bizarro version of 1968 rivals only Ariel Pink for acid-bleary best in L.A.

Over the last half-decade, the Bay Area native broke from fronting the Danger-bird-signed Darker My Love and found his stride by stepping out of time. Freed from the need to rawk hard enough to earn air-play on KROQ, Presley opted to get weird or die trying, writing thrift-shop, hallucino-genic pop that’s always one button off .

Cloistered in an Echo Park apartment, his monastic tendencies and jangled vision paid off in the form of six White Fence albums over the last fi ve years — plus a 2012 collaborative album with L.A.’s garage-rock Caesar, Ty Segall. Pres ley also founded the label Birth Records to release the mesmerizing debut from singer-song-writer Jessica Pratt. His latest endeavor is Drinks, a new band formed with Welsh transplant Cate Le Bon.

“We both had a couple tunes and I fi g-ured it would roll the way me and [Segall] did it,” Presley says, near the entrance of the festival, held at the Loma Vista Gardens.

Clad in a blue bomber jacket, he’s smok-ing American Spirits in front of a cactus crown so big and ripe that it looks as if it’s

about to start sprouting peyote seeds. “I had this Patsy Cline kind of song and

[Le Bon] has the best voice that I thought would be sick on top of this country song,” Presley continues. “So we demoed it and she had a couple tunes too, but we were like, ‘Fuck that shit.’ We both make songs, let’s do something diff erent. Let’s start a band, make it exciting and not obvious.”

Drinks fi nds the dual guitarists and songwriters fusing as one, kicking out mescaline organ chants to summon the illegitimate spawn of Arthur Lee and Nico, and Krautrock that sounds made to self-destruct.

The album is slated for release in August on Birth/Heavenly Records. First single “Hermits on Holiday” supplies the album title, as well as a de facto band bio: two shut-ins fi nding unusual light in one another, music and excessive amounts of coff ee.

“It was really natural and unforced,” Pre-sley says of the sessions that occurred last year at a downtown L.A. rehearsal space. “There was no pretense. We weren’t writ-ing ‘country songs’ or ‘psychedelic songs.’ We wanted it to be completely organic and in the moment. Whatever came out of our heads was what we did.”

Presley pauses for a second, apologiz-ing for the cliché. He’s too self-aware not to know that the same thing is parroted by hundreds of musicians each year. But he’s gifted enough to sidestep musical redundancy.

In the case of Drinks, the originality stems from the unique juxtaposition of a Bay Area ex-punk, who grew up on Crass, The Grateful Dead and Too Short, with a Welsh folk-rock optimist whose chief refer-ence points include Super Furry Animals, Disney cartoons and U.K. post-punk rarely heard outside Cardiff , Wales.

“We wanted keep it dry and simple and go against the grain,” Presley says. “No frills.”

It’s a partnership that can be straightfor-ward and beautiful or severe and unpre-dictable — beholden to its own weather patterns and topography. If it doesn’t catch you on fi rst listen, you can always drive up the coast.

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

| Music | Bizarre Ride // PHOTO BY CARA ROBBINS

Drinks

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twitter@GoldenvoiceGoldenvoice.com

GOLDENVOICE PRESENTS

THE RENTALS 6/5 » El Rey

BOMBA ESTEREO 6/6 » Fonda

JON BELLION 6/7 » El Rey

SAM PREKOP 6/8 » Hotel Café

THE WEEPIES 6/9 » Fonda

SEINABO SEY 6/9 » El Rey

YELAWOLF W/ TRAVIS BARKER 6/10 » Fonda

NEON TREES 6/11 » Fonda

JOEY BADA$$ 6/13 » Fonda

THE LONE BELLOW 6/16 » El Rey

ROBERT GLASPER 6/17 » El Rey

VANS WARPED TOUR 6/19 » Pomona Fairplex

VANS WARPED TOUR 6/21 » Ventura County Fairgrounds

ROBERT EARL KEEN 6/23 » El Rey

THE OPIUO BAND 6/26 » El Rey

FRANKIE GRANDE 6/27 » El Rey

HONEYHONEY 7/1 » El Rey

THE TING TINGS 7/2 » Fonda

INDIGO GIRLS 7/7 » El Rey

RUSSELL HOWARD 7/8 » El Rey

SON LUX 7/9 » El Rey

VERUCA SALT W/ THE MUFFS 7/11 » El Rey

THE BIRD & THE BEE 7/12 » Theatre at Ace Hotel

RYN WEAVER 7/13 » El Rey

L7 7/16 & 7/17 » Fonda

CULTURE CLUB 7/23 & 7/24 » Greek Theatre

JIM GAFFIGAN 7/25 » Greek Theatre

MILKY CHANCE 8/4 » Shrine Expo Hall

DJANGO DJANGO 8/6 » Mayan

JAKE MILLER 8/11 » El Rey

CAYUCAS 8/14 » El Rey

LINDSEY STIRLING 8/17 » Greek Theatre

RAEKWON & GHOSTFACE KILLAH 8/18 » Belasco Theater

TOMMY EMMANUEL 9/17 » El Rey

EPICA & ELUVEITIE 9/26 » Fonda

SOULFLY 9/30 » Fonda

MILK CARTON KIDS 10/1 » Theatre at Ace Hotel

GODFLESH 10/2 » El Rey

THE 2015 LA BLUEGRASS SITUATION 10/3 » Greek Theatre

BEN HOWARD 10/7 » Greek Theatre

PAUL WELLER 10/7 & 10/8 » Fonda

MISTERWIVES 10/14 » Belsco Theater

AUTECHRE 10/15 » Fonda

Fri Nov. 13 » Theatre at Ace HotelOn Sale Sat. 6/6

July 23 » FondaOn Sale Sat. 6/6

June 25 » Jewels Catch One4067 W Pico Blvd, LA, CA 90019

On Sale Fri. 6/5July 23 » El ReyOn Sale Sat. 6/6

Sat. Sept. 5 » El ReyOn Sale Fri. 6/5

Fri. June 19 » El Rey

Sat. June 6 » El Rey June 9 » Fonda June 18 » El Rey

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ODE TO A LONG-LOST FRIEND

Sometimes, how you form a friendship determines the strength of the bond and how painful it can be if it breaks.

When I was young, I made some of my most important and lasting friendships with those I met through music.

When you have such a strong attraction to a thing, you might grab onto the people you fi nd yourself with and hold fast. Th is was my experience. Going to punk-rock shows allowed me to meet others who found the music to be as vital as life itself.

The music scene I came from was very small, and a lot of us stuck together. It felt like the deepest concept of friendship possible. You’re at a Cramps show and Lux Interior throws himself into the audience. You and the others around you put him back on the stage. You talk about that for the rest of your life, but no one gets it like the ones who were there with you.

If things line up just right, you can hold onto these friendships and, as the years pass, they only get better. You feel lucky to have been at the right time and place. You wouldn’t trade it for anything.

Upon seeing some of these people from “back in the day,” I am oft en moved to the point of tears. Th ey were there. Th ey know. You can convey an encyclopedia of informa-tion in just a nod. Th e power of that affi rma-tion can be huge.

Th ere was something that happened 30 years ago that I will never forget. In October 1985, I was visiting my hometown of Wash-ington, D.C. Th e Bad Brains were playing the 9:30 Club, so I went with Ian MacKaye, whom I had stood next to the fi rst time we ever saw them, when they opened for Th e Damned in June 1979.

Th e 9:30 Club was packed and the audi-ence was younger than we were, their faces unfamiliar. Th e Bad Brains opened with “At the Movies” and then they went into easily one of the greatest songs ever, called “I.” Th at’s it — “I.”

At that moment, it was as if I grew a few feet taller. I looked around the room and all I could see were about half a dozen of us from the early days. We all locked eyes. It was if no one else was in the building but the band and us. It was one of the most powerful things I have ever experienced.

One of my favorite people I have ever met was from that scene. He was a maniac in good ways and not-so-good ways. Th e good

part was that he was obnoxious, loud, hilari-ous and as solid a friend as you could ever hope for. Th e not-so-good part was that he had some habits that could be very hard on one’s health. He was someone I loved as soon as I met him. Th is happened to a lot of people who encountered him. Perhaps you might have known someone like this?

At one point, he left the D.C. area. Just disappeared. We were told that he might have fallen out of favor with some danger-ous people.

I caught up with him later in the 1980s. He was at a rehab facility in the Midwest and I would visit. It was great to see him clear-eyed and sharp.

Aft er that, I lost track of him. I tried to fi nd him but could not. Ian would tell me of the oc-casional sighting of him at a D.C.-area show, but he never stuck around to talk.

Finally, in 2007 I believe, Ian’s brother Alec had tracked down a phone number for him and sent it to me. I called and left a message with his roommate. Incredibly, he called me back.

I was so excited to talk to him, so curious as to what the hell he had been doing, that I was almost yelling. He gave me very little in-formation and met my enthusiasm with tepid politeness. I didn’t understand why he was being this way. I asked if I had made him mad and he said no. I gave him Ian’s number and asked if he would call him. He said he would.

Th e next time I spoke to Ian, I asked him if he had called. He never did.

Th is is a guy I used to laugh my ass off with. I didn’t understand what had happened.

There was another sighting of the guy a few years ago. Ian and Alec actually hung out with him at a show in D.C. Ian said he looked the same, acted the same, and that it was great to see him. But he wouldn’t say what he was up to.

Over the years, it had become a ritual of mine to search for him on the Internet — and every time, I was unable to fi nd anything.

Several days ago, I searched yet again and immediately something came up. It was an obituary.

I went into denial and assured myself that it was someone else. Th en I read the notice. Born in D.C., raised in Silver Spring, Mary-land. Th is was bad. I looked at the comments and one remarked how great a time they used to have at shows. I sent it all to Ian.

Inside of an hour, I had found his parents’ phone number and called. I introduced myself to the elderly man who answered. His voice cracked. “We didn’t know how to fi nd you!”

Over the course of an hour, his father told me what had happened. A series of workplace accidents had seriously aff ected my friend’s health, which led to further complications. By that time, all the fun of his past didn’t allow him to fi ght any longer and he slipped away, 4-10-15. “He said you were one of his best friends,” his father told me.

I had this crazy idea that Ian and I would sit down with him one last time.

Henry Rollins

The Column!

HE WAS A MANIAC IN GOOD WAYS AND NOT-SO-GOOD WAYS.

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fri 6/5Hanni El Khatib, Chicano Batman, Avid Dancer

@ NATURAL HISTORY MUSEUM“All my life, I’ve been fi ghting for the moonlight,” Hanni El Khatib declares on the title track of his latest album, Moon-light. “People are disgusted by the things that seem to scare them; it’s a shame,” he continues, as he drives through murky shadows, which are lit up by clean dance chords and trails of fuzzy guitar. The shadows also surround him on the lonely, bluesy “Worship Song (No. 2),” but the local singer-guitarist fi nds love and redemption when the fuzz guitars return with a garage-rocking catharsis on “Melt Me.” Chicano Batman cast a distinctly diff erent spell with sun-dappled soul reveries from their 2014 album, Cycles of Existential Rhyme . Bardo Martinez’s waves of keyboards are a positively groovy backdrop for Carlos Arévalo’s funky guitar accents. Meanwhile, Avid Dancer singer Jacob Dillan Summers searches for truth and love in his yearn-ing indie-pop songs. —Falling James

Agent Orange @ WHISKY A GO GO

Back in the mid-1980s, you couldn’t fi nd a cooler fi gure in the local music underground than Mike Palm. The Agent Orange singer-guitarist had somehow survived the Lord of the Flies chaos of the early Orange County hardcore-punk scene with all his faculties intact. In fact, he emerged even sleeker and more powerful, digging out iconic riff s that fused raw punk savagery with the con-trolled intensity of surf music. On Agent Orange’s classic 1981 debut album, Living in Darkness, Palm had already revealed more melodicism than the other hardcore bands through such timeless teenage-wasteland anthems as “Everything Turns Grey” and the world-weary title track. Just a few years later, Palm was mixing mod, pop and garage-rock infl uences into such underrated gems as “I Kill Spies” and a rampaging cover of Jeff erson Airplane’s “Somebody to Love.” Even without any recent new albums, Agent Orange remain a stirring force of nature. —Falling James

Miami Horror @ THE ROXY

Miami Horror are coming home. Well, sort of. Since releasing their 2010 debut, Illumination, the Australian electronica outfi t have been splitting their time between Melbourne and Los Angeles, mining the City of Angels’ rich musical soil for inspiration on their sophomore ef-fort. The result is All Possible Futures, an eclectic, 15-song collection of post-disco, pop and rock songs infl uenced by the likes of New Order, Michael Jackson and Fleetwood Mac, all proving that the quar-tet’s decision to take a slightly diff erent path was a good one. Anyone who’s been

to a Miami Horror show knows a dance party is inevitable, and no doubt that will still be the case; but expect a little more introspection for the band’s pseudo-homecoming. —Katrina Nattress

sat 6/6Make Music Pasadena

@ DOWNTOWN PASADENA (VARIOUS LOCATIONS)Every June, the streets, shops, res-taurants, playhouses and galleries of downtown Pasadena are transformed for one day into a gigantic, interconnected festival of music. Dozens of performers from all music genres take up seem-ingly every corner of space available along more than 20 blocks of Colorado Boulevard and nearby side streets. Best of all, each concert is free and open to all ages. Soul revivalist Nick Waterhouse makes his stand at the Levitt Pavilion, while Avid Dancer, local indie-rockers Sir Sly and the gently psychedelic pop of singer-violinist Kishi Bashi (Of Montreal, Regina Spektor) headline the Old Pasa-dena Colorado Mainstage. Little Wolves and Kera & the Lesbians cavort on the Playhouse District Stage, while Pasadena Symphony pops up in Centennial Square. Roots rockers such as Skip Heller hole up at Monopole Wine, and a diverse mob of psych-rock and indie-pop stylists parades through the Old Towne Pub, among many other venues. —Falling James

Bomba Estéreo @ FONDA THEATRE

Simón Mejía made music for several years in his hometown of Bogotá, Colombia, as part of the music and art collective A.M. 770 , before he started the band Bomba Estéreo in 2005. However, the group

really took off when he began working regularly with singer Liliana Saumet, who brightened Mejía’s sound with her charis-matic vocals. Bomba Estéreo were already unique in the way that Mejía pumped up traditional cumbia rhythms with electron-ic-dance production. What was already an infectiously danceable combination became positively ebullient once Saumet began chanting energetic tracks such as 2009 single “Fuego.” On their upcoming album, Amanecer, Mejía lays down dub bass lines and layers serpentine, Manu Chao –style guitars over Saumet’s engag-ing dance-pop vocals, creating a hypnotic combination of infl uences. —Falling James

Colette, Nonfi ction, Adam Auburn, Christi Mills

@ KING KINGDJ Colette was still in her teens when she started promoting club nights, so one can safely assume that the house specialist’s own birthday party will be off the hook. To celebrate her 40th year on Earth, Colette and pals will be tearing up the decks at King King. At a recent gig at the Viper Room, the L.A.-via-Chicago DJ had the crowd packed in tight and grooving in unison fairly early, so be prepared to break a serious sweat on the dance fl oor. This gig comes in the midst of a string of tour dates across the United States and Canada for the DJ/singer and will include local party-starters Nonfi ction, Adam Auburn and Christi Mills. Get there early and let the beat take you through the rest of the night. —Liz Ohanesian

sun 6/7Nneka

@ THE TROUBADOURNneka’s recently released album, My

PHOTO BY HUGUES LAWSON-BODY

| Music // | Picks // Nneka: See Sunday.

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

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

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w/ andy KIndleR!Amoeba teams up with NerdMelt to bring

you guest host ANDY KINDLER! Auctioning off a crazy array of cool stuff with ALL

proceeds benefitting The Los Angeles LGBT Center and their youth programs.

Tuesday • June 9 • 6pmMIaMI HoRRoR

Australian psychedelic indie-electronicgroup, Miami Horror, plays a live set at

Amoeba and signs their new album, All Possible Futures (out now on Haven

Sounds/Dine Alone Records).Also catch them June 5 & 6 at The Roxy.

Thursday • June 11 • 6pmHolyCHIld

LA “brat-pop” duo, Liz Nistico and LouieDiller, celebrates their new album, The Shape Of Brat Pop To Come (Glassnote

Ent.), with a live set and signing! Purchase your copy at Amoeba starting June 2nd toget yours signed after their performance.Performing at The Troubadour June 10th.

Saturday • June 13laRGe east Coast lp ColleCtIonChoice, new arrivals offered for sale to the

public for the first time! Huge, choice selection of well-kept, original pressings!

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GOODCHEAPMUSICBUY AND SELL NEW & USED VINYL, CDS, DVDSO P E N : M O N - S a t 1 1 - 8 S u n N o o n - 6

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THE KInGSTon TRIo June 21st and 22nd @ 7.30pm

Tickets can be bought at www.flavorus.com/kingstontrioavalon

Public television taping. June 21st will be the taped dress rehearsal show, and June 22nd willbe the actual show. The show features The Kingston Trio, plus original founding member Bob Shane, andother special guests.

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Fairy Tales, is no fantasy. The Nigerian-German artist uses her songs to bring awareness to political plights, particu-larly those of her African home country. Shifting away from hip-hop beats into softer sounds, Nneka’s scratchy-voiced, globally conscious prayers are delivered in a deceptively comfortable casing. She off ers up Afrobeat and jazz infl ections on “Babylon,” masking her painful lyrics in percussive rhythms, then shifts into the island vibes of calypso with “My Love, My Love.” The reggae swing on “Surprise” is reminiscent of Musical Youth’s infectious 1980s hit “Pass the Dutchie,” as she sings about counting your blessings, a thematic vein she con-tinues with a ska skip on “Pray for You,” which also addresses Boko Haram’s violent acts in Nigeria. —Lily Moayeri

mon 6/8Sam Prekop

@ HOTEL CAFEBetter known as the singer and guitar-ist of Chicago’s The Sea and Cake, Sam Prekop has recently begun issuing recordings of his work with modular synthesizers. As showcased on the just-out album The Republic (Thrill Jockey), Prekop’s custom-built assemblies of oscillators, sequencers, fi lters and twirly knobs seem sympathetic to his well-regarded gifts for distinctively rich melodies, responding to his sharp-eared fi ne-tuning with warmly analog sounds that off er both precisely focused forms and happy electronic accidents. Prekop’s slightly off -kilter musical instincts bring these mechanical patterns, repetitions and sundry sounds to wonderfully expansive life, paying tribute to elec-tronic music’s avant-garde past while expanding the electronic vocabulary in supremely musical and highly acces-sible ways. [Note that this show has been moved from El Rey to Hotel Cafe.] —John Payne

tue 6/9Lupe Fiasco

@ HOUSE OF BLUES, SUNSET STRIPOver the years, Chicago rapper Lupe Fiasco has never shied away from controversy. Whether taking on rappers Azealia Banks and Kid Cudi on Twitter or sharing his outspoken, antiestablish-ment views on the U.S. government, Fiasco hasn’t been afraid to stand up for what he believes. In January, the rapper released his fi fth studio eff ort, Tetsuo & Youth, which had been in the works since early 2013. Lauded for both its layered sound and lyrics, with guest appearances by Australian Idol winner Guy Sebastian, Nikki Jean, Ab-Soul and Ty Dolla Sign, the new album showcases how rapper Fiasco has matured, with songwriting that reaches the heights many predicted when he fi rst emerged nearly a decade ago. —Daniel Kohn

wed 6/10The Kooks

@ THE GLASS HOUSEWith last year’s soulful, funky and often improvised Listen, The Kooks delivered a daring departure from their previously super-articulate Brit-pop, underlined by hip-hopper Infl o’s supple yet spartan co-production and newbie drummer Alexis Nuñez’s versatile, not-just-rock chops. The vibe-y, stylistically restless album (which fl irts with everything from gospel to The Blockheads) is a welcome hose-down after 2011’s defl ating Junk of the Heart, yet it’s disarmingly distant from the English quartet’s relentlessly melodic and marvelously wistful career-opening salvos (2006’s Inside In/Inside Out and ’08’s Konk ). Onstage, where main man Luke Pritchard becomes a disheveled ringmaster, The Kooks deftly meld all of the above into a timeless rock & roll show that still has few peers. —Paul Rogers

thu 6/11Clap Your Hands Say Yeah

@ THE TROUBADOURIt’s been 10 years since Philadelphia-based Clap Your Hands Say Yeah released their debut album, catching the wave of post–punk-infl uenced bands with tunes such as indie dance jams “The Skin of My Yellow Country Teeth” and “In This Home on Ice.” CYHSY’s sound has evolved over the years; their 2014 release, Only Run, is an artier aff air, with big synth moments packed into short, tight songs. But that debut still holds a special place in fans’ hearts. To celebrate a decade of exis-tence, Alec Ounsworth — the group’s one constant member — is taking the album back on the road. The self-titled debut was recently rereleased, with a vinyl edition hitting streets just a week before the Trou-badour gig. CYHSY will be playing the album in its entirety but will include other material in the set. —Liz Ohanesian

Albert “Tootie” Heath 80th Birthday Celebration

@ BLUE WHALEAlbert, the youngest of the famous Heath Brothers (with bassist Percy and saxist Jimmy), is one of the last of the great drummers from the golden era of jazz. He bridged the heyday of bebop into the diverse forms that followed, recording with, among others, John Coltrane, Yusef Lateef, Don Cherry and Herbie Hancock. Heath is enjoying a resurgence, thanks to pianist Ethan Iverson, who invited him to play in a trio several years ago, leading to recent recording Tootie’s Tempo, Heath’s fi rst album as a leader in 15 years. An-other pianist, L.A. resident Richard Sears, has taken a cue from Iverson, writing a tribute to Heath in the form of a suite, which premiered at the 2013 Angel City Jazz Festival with the honoree himself on drums. Heath will again join Sears and his ensemble for this birthday milestone. —Gary Fukushima

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C LU B S

ROCK & POP

ACEROGAMI: 228 W. Second St., Pomona. Little Jesus, Fri., June 5, 8 p.m., free.

ALEX’S BAR: 2913 E. Anaheim St., Long Beach. Radio Gaga, Sat., June 6, 8 p.m., $5. Space Waves, Sand Babes, Bad Vacuum, The Dudelords, Sun., June 7 .

AMOEBA MUSIC: 6400 Sunset Blvd. DJ Tom Chasteen, Fri., June 5, 8 p.m., free. Miami Horror, Tue., June 9, 6 p.m., free. Holychild, Thu., June 11, 6 p.m., free.

AMPLYFI: 5617 Melrose Ave. Forty Feet Tall, Los 5, Alyeska, Fri., June 5, 8 p.m., $12. Tadeo Man, Sat., June 6, 8 p.m., $12.

BARDOT HOLLYWOOD: 1737 Vine St. Scavenger Hunt, Walla, Taylor Locke, Midnight Hollow, Mon., June 8.

BLUE BAG RECORDS: 2149 W. Sunset Blvd., Los Angeles. The Dogs, Sat., June 6, 8 p.m., free.

BOARDNER’S: 1652 N. Cherokee Ave., Los Angeles. William Control, Vowws, United Ghosts, Sat., June 6 .

BOOTLEG THEATER: 2200 Beverly Blvd. John C. Reilly, Becky Stark, Tom Brosseau, Fri., June 5, 8 p.m., $20-$35. Trails & Ways, Waterstrider, Harriet Brown, Sat., June 6, 9 p.m., $12. HalfNoise, Sun., June 7, 8:30 p.m., $15. Hunny, Chelsea Lankes, Evan Voytas, Mon., June 8, 7:30 p.m., free. Joni Mitchell Tribute with Victoria Williams, Rodrigo Amarante, Mia Doi Todd, Kadhja Bonet, Sierra Swan, Petra Haden, The Haden Triplets, John C. Reilly, Avi Buffalo, Henry Wolfe, Kelly Jones, Honey Child, Aaron Embry, Jade Castrinos, Wed., June 10, 7:30 p.m., $15-$5,000.

CAFE NELA: 1906 Cypress Ave., Los Angeles. Buzz Clifford, Blackwater Jukebox, Fri., June 5, 8:30 p.m., $5. Backbiter, Motorcycle Black Madonnas, Sugar Fly, Sat., June 6, 8:30 p.m., $5. Prism, Sun., June 7, 7 p.m., free. Atomic Sherpas, Garretson & Gorodetsky, Baast, Acme, Thu., June 11, 8:30 p.m., $5.

CALIFORNIA INSTITUTE OF ABNORMAL ARTS: 11334 Burbank Blvd. American Zombie, Molly Vamp, Valdivia X, Intravenous Venus, Sat., June 6, 8 p.m.

CANYON CLUB: 28912 Roadside Drive, Agoura Hills. Everlast, Fri., June 5, 9 p.m., $20. Boogie Knights, Sat., June 6, 10 p.m. , $19.50 & $40.

CLUB BAHIA: 1130 W. Sunset Blvd., Los Angeles. Hamilton Leithauser, Thu., June 11, 9 p.m., $15.

CODY’S VIVA CANTINA: 900 Riverside Drive, Burbank. King Cotton, Gary Myrick’s Blues Trash, Cow Bop, plus (at 5 p.m.) The Greg & Chris Show, Fri., June 5, 8 p.m., free. Jimmy Angel, The Cody Bryant Experience, Sat., June 6, 8 p.m., free. Carmine Sardo & Buddy Sardo, Pete Anderson, Bullfish Blues, Sun., June 7, 2 p.m., free ; The Wax Trax Trio, Tue., June 9, 7:30 p.m., free. The Bruce Forman Trio, Wed., June 10, 7:30 p.m., free. Tonya Watts, Waylon Payne, Cody Bryant, Jimmy “Superfly” Harris, Thu., June 11, 7:30 p.m., free .

COMPLEX: 806 E. Colorado St., Glendale. Dispirit, Lycus, Volahn, Fri., June 5, 9 p.m., $13. B.R.E.E.D., Runson Willis, DJ Sik Van Dyke, Sat., June 6, 7 p.m., $20. Gone Avery, The Slit, Modern Vintage, Sun., June 7, 8 p.m., $5.

DER WOLFSKOPF: 72 N. Fair Oaks Blvd., Pasadena. Khadisma, Slow Graffiti, GDNA, Kong, Dutch Party, The Second Howl, Kid Bloom, Oyls, part of the Make Music Pasadena festival, Sat., June 6, 7 p.m., free.

THE ECHO: 1822 W. Sunset Blvd., Los Angeles. Villagers, Tall Tales & the Silver Lining, Fri., June 5, 6:30 p.m., $15. July Talk, My Goodness, LA Font, Sat., June 6, 5:30 p.m., $10. Oxbow, Ides of Gemini, Sun., June 7, 10 p.m., $15. Tennis System, United Ghosts, Nacosta, Ancient Creatures, Mon., June 8, 8:30 p.m., free. The Picture books, Tweak Bird, Tue., June 9, 8:30 p.m., $10. Cosmonauts, Morgan Delt, Dahga Bloom, L.A. Witch, JJUUJJUU, Wed., June 10, 7:30 p.m., $10. Black English, Fakers, Viva Violet, Thu., June 11 .

THE ECHOPLEX: 1154 Glendale Blvd. DJ Spinna, DJ Monalisa, Fri., June 5, 9 p.m., $15. Agalloch, Helen Money, Tue., June 9, 8:30 p.m., $15 .

EL CID: 4212 W. Sunset Blvd. Egrets on Ergot, The Flash Hits, El Terrible, Fri., June 5, 9:30 p.m., $10. Lael Neale, D. Wing, Alex Aleco, Sat., June 6, 10 p.m., $5. Reggie & Karen, The Peach Kings, Tue., June 9, 9 p.m., $10. Killing Casanova, Grace Adele, Thu., June 11, 9:30 p.m., $5.

FACTORY STUDIO: 449 E. Colorado Blvd., Pasadena. Julio Mejia, Sunny Balopole, Gabi, part of Make Music Pasadena, Sat., June 6, 11 a.m., free.

THE FEDERAL BAR: 5303 N. Lankershim Blvd., North Hollywood. Louise Goffin, A.J. Croce, at brunch, Sun., June 7, 11 a.m., free. Ruslan, Sun., June 7, 9:30 p.m .

THE FEDERAL BAR: 102 Pine Ave., Long Beach. Eddie & the Reckless, Sun., June 7, 7:30 p.m., $10.

FIVE STARS BAR: 267 S. Main St., Los Angeles. Lo-Fi Eyed, The Long Knives, Ghost Noise, Gulag a Go-Go, Thu., June 11, 8 p.m., $5.

GASLAMP RESTAURANT & BAR: 6251 E. Pacific Coast Highway. Pato Banton, Sat., June 6, 5 p.m., $15. The Supersuckers, D.I., Sun., June 7, 4 p.m., $15.

GENGHIS COHEN RESTAURANT: 740 N. Fairfax Ave., Los Angeles. Angel Travis, Fri., June 5, 8 p.m., $10. Teresa James & the Rhythm Tramps, Santa Barbara, Tracy Newman & the Reinforcements, Sat., June 6, 8:30 p.m., $10. Waylon Payne, Tue., June 9, 9 p.m., $10. Mendeleyev, Susan Santos, Thu., June 11.

THE GLASS HOUSE: 200 W. Second St., Pomona. The Kooks, Wed., June 10, 8 p.m., $35. See Music Pick.

HARVARD & STONE: 5221 Hollywood Blvd., Los Angeles. Making Movies, El-Haru Kuroi, The Vast Alps, Mon., June 8, 8 p.m., free.

HM157: 3110 N. Broadway, Los Angeles. Triple Chicken Foot, Josephine Johnson, Gwendolyn Sanford, Sun., June 7, 6 p.m., $10.

THE HOTEL CAFE: 1623 1/2 N. Cahuenga Blvd. Water District, Pacific, Jim & Sam, Fairground Saints, Tommy Alexander, Fri., June 5, 7 p.m., $10. Adam Stern, Angelou, Forniquette, Sean Rowe, Carl Anderson, Sat., June 6, 7 p.m., $12. Mike Posner, Fancy, Sun., June 7, 7 p.m., $10. Sarah Gerritsen, Nick Foster, Reuben Hollebon, Mon., June 8, 7 p.m., $10; Sam Prekop, Panabrite, Mon., June 8, 9:30 p.m., $17 (see Music Pick). Jillete Johnson, Broken Arrow, Devon Werkheiser, Marcus Eaton, Tue., June 9, 7 p.m., $10. Ben Wilkins, Genevieve, Emily the Great, Wed., June 10, 7 p.m., $10. Lerman, The Janks, King Washington, Burning Jet Black, Leslie DiNicola, Thu., June 11, 7 p.m., $7-$10.

HOUSE OF BLUES ANAHEIM: 1530 S. Disneyland Drive, Anaheim. Todd Rundgren, Sun., June 7, 7 p.m., $30-$55. Red, Adelitas Way, Bad Seed Rising, Thu., June 11, 7 p.m., $17.50-$30.

HOUSE OF BLUES SUNSET STRIP: 8430 Sunset Blvd., West Hollywood. Unwritten Law, Ten Foot Pole, Fri., June 5, 7:30 p.m., $17. Falling in Reverse, Ghost Town, Assuming We Survive, Sat., June 6, 6:30 p.m., $25. Nico & Vinz, Sun., June 7, 7 p.m., $18. Lupe Fiasco, Charles Hamilton, Tue., June 9, 8 p.m., $46.50 (see Music Pick). Steel Panther, Thu., June 11, 9 p.m., $15.

KINGS ROW GASTRO PUB: 20 Colorado Blvd., Pasadena. Past Action Heroes, My Reggae Band, C4, Perry & Danielle, part of Make Music Pasadena, Sat., June 6, 10:30 a.m., free.

KULAK’S WOODSHED: 5230 1/2 Laurel Canyon Blvd., Studio City. Severin Browne, Fri., June 5, 8 p.m., $10.

LA CITA: 336 S. Hill St., Los Angeles. Saun & Starr, Jungle Fire, Bosco Mann, Bugalu Velez, Music Man Miles, Wed., June 10, 9 p.m., TBA.

LARGO AT THE CORONET: 366 N. La Cienega Blvd. Tim Minchin, Mon., June 8, 8:30 p.m., $50. The Watkins Family Hour, Wed., June 10, 8:30 p.m., $30.

LIQUID KITTY: 11780 W. Pico Blvd., Los Angeles. Dave Gleason, Sun., June 7, 9:30 p.m., free. 310, Thu., June 11, 5 p.m., free.

LOADED: 6377 Hollywood Blvd., Los Angeles. Art of Shock, Sat., June 6, 8 p.m., $7.

LOS GLOBOS: 3040 W. Sunset Blvd. Mischief Brew, Ramshackle Glory, Days N’ Daze, Moon Bandits, Sat., June 6, 3 p.m., $10; Ghoul, Phobia, Gravehill, Fissure, Sat., June 6, 7 p.m., $15; Of Euphoria, A New Challenger Approaches, Smalls, Gravler, Normandy, Sat., June 6, 8 p.m., $5. Personal Black, Brown Shoe, Sun., June 7, 8 p.m., $8. Erk tha Jerk, Tue., June 9, 9 p.m., $10. Edgeplay, Delivery, Bekelé Berhanu, 777 Resistance, CVI, Thu., June 11, 9 p.m., $5.

LUMMIS HOME & GARDEN: 200 E. Avenue 43, Los Angeles. Dave Porter, Hector Sanchez, Mason Summit , part of the Lummis Day festival, Sun., June 7, 10:15 a.m.-5 p.m., free.

LYRIC THEATRE: 520 N. La Brea Ave., Los Angeles. The Heirs, Sat., June 6, 9 p.m., $18.

MCCABE’S GUITAR SHOP: 3101 Pico Blvd., Santa Monica. Roy Book Binder, Fri., June 5, 8 p.m., $20. Dan Navarro, Sat., June 6, 8 p.m., $20.

THE MINT: 6010 W. Pico Blvd., Los Angeles. The Neighborhood Bullys, Great Shapes, Aeb Byrne, Ray Goren, Bandette, Fri., June 5, 8 p.m., $12. Dylan Holland, Sat., June 6, 8 p.m., $15-$50; The Few, Radiofix, Pamela Parker & the Kings, Sat., June 6, 9 p.m., $12. Tom MacLear, Misty Rosas, Sun., June 7, 8 p.m., $10-$20. Great Spirit, Hot Potato, The Kenneth Brian Band, Molly Kruse, Hestina, Mon., June 8, 7:30 p.m., $10. See How They Run, Cato, Marlena Wille, Wed., June 10, 8 p.m., $15. L.A. Jeff, Zoccola, Death Valentine, Thu., June 11, 10 p.m., $12.

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MOLLY MALONE’S: 575 Fairfax Ave. Fear the Sun, Deadfinger, Fri., June 5, 7:30 p.m., $10. Perfect Sex, Goose Is Dead, Horace Gold, Sat., June 6, 8 p.m., $10. Black Bottom Lighters, Wed., June 10, 9 p.m .

MONOPOLE: 21 S. El Molino Ave., Pasadena. Lincoln Nelson, Black Birch Dogs, Skip Heller, Joe LoPiccolo, part of Make Music Pasadena, Sat., June 6, 1 p.m.

NON PLUS ULTRA: 4310 Burns Ave., Los Angeles. Vum, Intimatchine, Sat., June 6, 8:30 p.m., $5.

THE OLD TOWNE PUB: 66 N. Fair Oaks Ave., Pasadena. Le Cos, Bon Wrath, Professor Possessor, L.A. Take-down, Big Wild Wings, The Brendan Eder En semble, Sanglorians, Crystales, Arjuna Genome, Psychic Love, Dark Furs, plus short stories from the spoken-word group BUSted Los Angeles, part of the Make Music Pasadena festival, Sat., June 6, noon, free.

ORIGAMI VINYL: 1816 W. Sunset Blvd., Los Angeles. Bat Manors, Sat., June 6, 7 p.m., free.

PALADINO’S: 6101 Reseda Blvd., Reseda. Black Dog, Eruption, Holy Dio, The Deaf Pilots, Fri., June 5, 8 p.m., $10. Hurricane, Early Grace, American Addict, Sizzling Cell, Sat., June 6, 8 p.m., $15.

PASADENA CENTRAL LIBRARY: 285 E. Walnut St., Pasadena. Severin Browne, Karen Tobin, Lois Blaisch, Aireene Espiritu & Ed Tree, Lauren Adams, Gary Stockdale, Phil Ward, Wild Mountain Mystics, and others, part of Make Music Pasadena, Sat., June 6, 11 a.m., free.

PEHRSPACE: 325 Glendale Blvd., Los Angeles. Ablebody, Young Lovers, Deep Fields, Soft Science, Fri., June 5, 9 p.m., $5.

POUR VOUS: 5574 Melrose Ave., Los Angeles. Only on Tuesdays, Tue., June 9, 9 p.m., free.

THE REDWOOD BAR & GRILL: 316 W. Second St., Los Angeles. Pussy Cow, French Exit, DFMK, Fri., June 5, 9 p.m., $5-$10. Bobby Blunders, LoveyDove, Cellars, Faith Twain, Dan Destiny, Sat., June 6, 9 p.m., $5. Rubber, Mon., June 8, 9 p.m., $5-$10. Japhy’s Descent, Thu., June 11, 9 p.m., $5-$10.

ROOM 5 LOUNGE: 143 N. La Brea Ave., Second Floor, Los Angeles. Samantha Aurelio, Duke Stojanovich, Joe Leone, Geena Fontanella, Fri., June 5, 7 p.m., $10. Roman, Claire Holley, Zander Hawley, Sat., June 6, 7 p.m., $10. Will Taylor, Mon., June 8, 8 p.m., $10. Mario Jose, Angela Vicente, Katie Ekin, The Clowns Will Eat Me, Wed., June 10, 7 p.m., $10. Mackenzie & Apollo, Sara Melson, Anime Pearl, Thu., June 11, 8 p.m., $10.

THE ROXY: 9009 W. Sunset Blvd., West Hollywood. Miami Horror, De Lux, Dirty Radio, Fri., June 5, 9 p.m., $20 (see Music Pick). Join the Band 100th Concert Weekend Celebration, June 6-7, 10:30 a.m., $12. Sheppard, Mon., June 8, 8 p.m., $15. Wardell, Tue., June 9, 8:30 p.m., $15. Ivan & Alyosha, Kris Orlowski, Ranger, Thu., June 11, 8:30 p.m., $14.

RUSTY’S SURF RANCH: 256 Santa Monica Pier, Santa Monica. The Terraplanes, Sat., June 6, 9:30 p.m., free.

SAINT ROCKE: 142 Pacific Coast Highway, Hermosa Beach. The English Beat, Fri., June 5, 9 p.m., $35. Robben Ford, Shari Puorto, Thu., June 11, 8 p.m., $30.

THE SATELLITE: 1717 Silver Lake Blvd., Los Angeles. The Standells, The Sloths, Fri., June 5, 9 p.m., $15. The Crash Kings, Dead Finger, Mon., June 8, 9 p.m., free. Drenge, The New Regime, Sister Mystery, Tue., June 9, 9 p.m., $12. Tyler Lyle, Topher Mohr, Wed., June 10, 9 p.m., $10. The Goodnight, The Bad Years, Barrie &

the Starz, Zella Crane, Thu., June 11, 9 p.m., $8.THE SHOPPES AT STATS: 120 S. Raymond Ave.,

Pasadena. Bed, Valley Queen, Tall Tales & the Silver Lining, Leslie Stevens, The Wild Reeds, Zach & Bridget, Lightnin’ Willie, Secret Gardeners, Cool Face, Shattered Skyline, part of Make Music Pasadena, Sat., June 6, noon, free.

SILVERLAKE LOUNGE: 2906 Sunset Blvd. Mars & the Massacre, The Brothers Zmed, Little Dove, Fri., June 5, 8 p.m., $8. The Modern Age, Mon., June 8, 8 p.m., free; The Noogies, Mondays, 8 p.m. Thru June 29, free. Sam Outlaw, Wed., June 10, 8 p.m., $12. The American Spirit, Jimmy Welsh, Thu., June 11, 9 p.m .

THE SMELL: 247 S. Main St., Los Angeles. Kim & the Created, Vaguess, Wild Wing, Sad Girl, Fri., June 5, 9 p.m., $5. Prissy Whip, David Scott Stone, In Tents, Pauline Lay, Sun., June 7, 9 p.m., $5.

SPIKE’S BAR & BILLIARDS: 7813 Garvey Ave., Rosemead. Hillbilly Casino, Silvertooth Loos & the Witch, Sun., June 7, 8:30 p.m., $8.

T. BOYLE’S TAVERN: 37 N. Catalina Ave., Pasadena. Gorilla Monsoon, part of Make Music Pasadena, Sat., June 6, 9 p.m., free.

TAIX FRENCH RESTAURANT: 1911 Sunset Blvd., Los Angeles. Artichoke, Mr. Squeeze & the Medicine Men, Fri., June 5, 10:30 p.m., free.

35ER BAR: 12 E. Colorado Blvd., Pasadena. Make Music Pasadena, with Mad Temple, Mad Parade, The Decline, My Own Holiday, Burn Cycle, Voodoo Kills, Night Owl, Jonny Come Lately, Sat., June 6, 12:30 p.m., free.

TIMEWARP RECORDS: 12204 Venice Blvd. Gibbons & the Sluts, Margot, Fri., June 5, 6 p.m., free.

TRIP: 2101 Lincoln Blvd., Santa Monica. The Broken Stems, Ocean Park Soundsystem, Fri., June 5, 9:30 p.m., $5. Jonny Come Lately, Sexy Black, SPRC, pre-ceded (from 2-6 p.m.) by an open mic, Sat., June 6, 8 p.m., $5. Alla Spina, Blue Fox, The Uptown Retrievers, Karina Nistal, Sun., June 7, 8 p.m., free.

THE TROUBADOUR: 9081 Santa Monica Blvd., West Hollywood. Sleeping With Sirens, The Summer Set, Nick Santino, Fri., June 5, 6:30 p.m., $25. Kitten, Olivver the Kid, Mereki, Fiona Grey, Sat., June 6, 7 p.m., $15. Nneka, Sun., June 7, 7 p.m., $20 (see Music Pick). Dustin Kensrue, The Rocketboys, Olin & the Moon, Mon., June 8, 7 p.m., $18. Joseph Arthur, Jill Sobule, Tue., June 9, 8 p.m., $20. Holychild, Decorator, Wed., June 10, 8 p.m., $14. Clap Your Hands Say Yeah, Teen Men, Thu., June 11, 8 p.m., $20 (see Music Pick).

THE VIPER ROOM: 8852 W. Sunset Blvd., West Hollywood. In Urgency, Fri., June 5, 8 p.m., $10; Madus, Fri., June 5, 8 p.m., $10. Blackboard Jungle, Sat., June 6, 8 p.m., $15. This Boy That Girl, Mister Curry, 3 A.M. Is Here, Mon., June 8, 8 p.m., $10. In the Whale, Continental, State Line Syndicate, Wed., June 10, 8 p.m., $10. The New Pacific Show, The Sleeping Ghost, Thu., June 11, 8 p.m., $10; Brave Native, The New Pacific, The Sleeping Ghost, Some Go Haunting, Thu., June 11, 8 p.m., $10.

THE VU ULTRA BAR: 22505 Eight St., Newhall. Birdie Jones, The Buckhenries, Fri., June 5, 9 p.m., $5.

WHISKY A GO-GO: 8901 Sunset Blvd., West Hollywood. Agent Orange, 210 to Lowell, Seven Reasons Why, Tone Deaf Bandits, The Tones, Jack’s Indigo, No Surprises, Fri., June 5, 7 p.m., $15 (see Music Pick).

HM 157’S BARN-RAISER SQUARE DANCE

Forget about twerking, raving or even swing dancing — nothing breaks down pretenses and gets strangers to con-

nect body and soul like a good old-fashioned square dance.

Rip-roaring, multiple-partner stomp-fests have long been one of HM 157’s liveliest of-ferings, and this week, they’re doing it for a

special cause: fundraising to repair damage from a recent fi re at the historic house/party venue (and nonprofi t arts collective) as well as that of nearby residents.

Los Angeles folk band Triple Chicken Foot and caller Susan Michaels host the kid-friendly party, packed with promenades and do-si-dos, outside in the area most damaged by the fi re.

Other activit ies wil l include crafts, a raffle, snacks and BBQ. Singer-songwriter Josephine Johnson plays at intermission and Gwendolyn Sanford (composer for Orange Is the New Black) off ers soulful Americana on the indoor stage.

HM 157 | 3110 N. Broadway, Lincoln Heights | Sun., June 7, 6-9 p.m.

$10 suggested donation | hm157.com

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Crowbar, Battlecross, Lord Dying, Sat., June 6, 6 p.m., $20. Acoustic Generation, Sun., June 7, 8 p.m., $15. Hugh Cornwell, Scary Cherry & the Bang Bangs, Spider Heart, Gutter Candy, Lablion, Mon., June 8, 7 p.m., $20. Red, Adelitas Way, Bad Seed Rising, McClinton, State Line Empire, Throughout Avalon, Tue., June 9, 6 p.m., $20. Upon This Dawning, Eskimo Callboy, Outline in Color, Thu., June 11, 6 p.m., $10.

ZONA ROSA: 15 S. El Molino Ave., Pasadena. Fredo Ortiz & the Bongoloidz, part of Make Music Pasadena, Sat., June 6, 6 p.m., free.

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

JAZZ

ALVAS SHOWROOM: 1417 W. Eighth St., San Pedro. Mike Keneally & Beer for Dolphins, Sat., June 6, 8 p.m., $25. The Phil Norman Tentet, Sun., June 7, 4 p.m., $20.

THE BAKED POTATO: 3787 Cahuenga Blvd. W., Studio City. Native Vibe, Fri., June 5, 9:30 p.m., $20. Kaylene Peoples & Bunny Brunel, Sat., June 6, 9:30 & 11:30 p.m., $25. The Ethan Margolis Quintet, Sun., June 7, 9:30 p.m., $15. The Rachel Sorsa Band, Tue., June 9, 9:30 p.m., $15. Galactic Booty Company, Wed., June 10, 9:30 p.m., $20. Nili Brosh, Thu., June 11.

BLUE WHALE: 123 Astronaut E.S. Onizuka St . Anthony Wilson & the Curators, Fri., June 5, 9 p.m., $15. Munyungo Jackson’s Jungle Music, Sat., June 6, 9 p.m., $15. Natalie Cadet, Mon., June 8, 9 p.m., TBA. The Thelonious Monk Institute Ensemble , Tue., June 9, 9 p.m., $5. The Natasha Agrama Group, Wed., June 10, 9 p.m., TBA. Tootie Heath 80th Birthday Celebration, with Kirk Knuffke, Patrick Wolf, Steven Lugener, Richard Sears, Garret Lang & Tootie Heath, Thu., June 11, 9 p.m., $15 (see Music Pick).

CATALINA BAR & GRILL: 6725 W. Sunset Blvd., Los Angeles. Oz Noy, Dave Weckl & James Genus, June 5-6, 8:30 p.m., $25. Greg Adams & East Bay Soul, Sun., June 7, 7:30 p.m., $25. The L.A. Jazz Orchestra Unlimited, Kenny Burrell, Mon., June 8, 8:30 p.m., $20. Tammy McCann, with Tamir Hendelman, John Clayton & Jeff Hamilton, Wed., June 10, 8:30 p.m., $20.

GARDENIA RESTAURANT & LOUNGE: 7066 Santa Monica Blvd., Los Angeles. Jacquelyn Levy, June 5-6, 9 p.m., $10-$20. Open Mic, hosted by Keri Kelsey, Tuesdays, 9 p.m., $5. Lina Heiden, Wed., June 10, 9 p.m.; Wed., June 24, 9 p.m., $10-$20. Maude Maggart, June 11-13, 9 p.m., $20.

JAX BAR & GRILL: 339 N. Brand Blvd., Glendale. The Jazz Legacy, Fri., June 5, 8 p.m., free. Steve Waddington, Sat., June 6, 8 p.m., free. Lenny Stack, Sundays, 6-10 p.m., free. Brian Elliot, Mon., June 8, 7 p.m., free. J.C. Spires, Tuesdays, 7-11 p.m., free. Cougar Estrada, Wed., June 10, 7 p.m.; Wed., June 24, 7 p.m., free. The Vince Tividad Trio, Thu., June 11, 7:30 p.m., free.

THE LIGHTHOUSE CAFE: 30 Pier Ave., Hermosa Beach. The Nick Mancini Trio, Sat., June 6, 11 a.m.-2:30 p.m., free. The John Fick Big Band, Sun., June 7, 11 a.m.-3 p.m., $10. The Tom Rotella Quartet, Wed., June 10, 6-9 p.m., free.

MAXWELL DEMILLE’S CICADA CLUB: 617 S. Olive St. The Johnny Holiday Show, with Dean Mora, Rick Medlin Jr. and others, Fri., June 5, 9 p.m., $20-$69.

OLD TOWN MUSIC HALL: 140 Richmond St., El Segundo. Mark Herman, Sun., June 7, 2:30 p.m., $20.

PASADENA PRESBYTERIAN CHURCH: 585 E. Colorado Blvd., Pasadena. The John Proulx Trio, part of Make Music Pasadena, Sat., June 6, 7:30 p.m., free.

RED WHITE + BLUEZZ: 37 S. El Molino Ave., Pasadena. The Connie Han Trio, Fri., June 5, 7-10 p.m., free. The Sweet Note Quartet, The Brilliant Gypsies, part of the Make Music Pasadena festival, Sat., June 6, 1 p.m., free. Emmett & Rose, Wed., June 10, 6:30 p.m., free. Jeff Dale, Thu., June 11, 6-9 p.m., free.

VIBRATO GRILL & JAZZ: 2930 Beverly Glen Circle. The Alex Minasian Trio, Thu., June 11, 6:30 p.m., $20.

VITELLO’S ITALIAN RESTAURANT: 4349 Tujunga Ave., Studio City. Eddie Daniels, Roger Kellaway, June 5-6, 7 & 9 p.m., $35-$21-0. The Elliott Caine Quintet, Thu., June 11, 8 p.m., $15-$40.

VROMAN’S: 695 E. Colorado Blvd., Pasadena. Juan Munguia, Blue Matter, Micaella, Little Brazil, Vitor Melo, Gabriela Terán, with Juan Munguia, Blue Matter, Micaella, Little Brazil, Vitor Melo, Gabriela Terán, on the jazz stage at Make Music Pasadena, Sat., June 6, 1 p.m., free.

THE WAREHOUSE RESTAURANT: 4499 Admiralty Way, Marina del Rey. Lisa Donna, Sat., June 6, 8 p.m., $10.

—Falling James

DANCE CLUBS

ALPINE VILLAGE: 833 W. Torrance Blvd., Torrance. DJ Jose Maldonado, spinning at Atomic 80s vs. the Moz Disco, Fri., June 5, 8 p.m., $8.

THE AVALON: 1735 Vine St., Los Angeles. Morgan Page, Fri., June 5, 9 p.m.; Sat., June 6, 10 p.m., $30.

BAR CELONA: 46 E. Colorado Blvd. DJ Juice, part of Make Music Pasadena , Sat., June 6, 8 p.m., free.

CLUB 54: 54 E. Colorado Ave., Pasadena. Born Allah, Phenomenon, Timothy Rhyme, Kennis Clark, Tishelle Rachelle, Noah V, Belzar, Azo, part of the Make Music Pasadena festival, Sat., June 6, noon, free.

THE CONGA ROOM: 800 W. Olympic Blvd., Los Angeles. The After Party, Fri., June 5, 10 p.m., $10-$20.

CREATE NIGHTCLUB: 6021 Hollywood Blvd., Los Angeles. Martin Solveig, Fri., June 5, 10 p.m., $25 & $50; Noize Fridays, Fridays, 10 p.m. Myon & Shane 54, Sat., June 6, 10 p.m., $20 & $50.

EXCHANGE L.A.: 618 S. Spring St., Los Angeles. Awakening, Fridays, 10 p.m.; Mat Zo, Fri., June 5, 10 p.m., $20 & $90. Dash Berlin, Johnny Yono, Sat., June 6, 10 p.m., $50-$125.

THE FEDERAL BAR: 5303 N. Lankershim Blvd., North Hollywood. DJ Shiva, Fri., June 5, 10 p.m., $10. DJ Mike Basic, Sat., June 6, 10 p.m., $10.

KING KING: 6555 Hollywood Blvd., Los Angeles. Mr. Rogers, Perkulator, Zara Bizzara, Willdabeast, Fri., June 5, 9 p.m., $10. Colette, Adam Auburn, DJ Nonfiction, Christi Mills, Sat., June 6, 10 p.m., $15 (see Music Pick). DeepLevelLove, with Marques Wyatt & Doc Martin, Sun., June 7, 8 p.m., free.

LA CITA: 336 S. Hill St. DJ Moist, Thu., June 11. LOS GLOBOS: 3040 Sunset Blvd. A Club Called Rhonda,

with Greg Wilson, JD Samson, Tevo Howard and others, Fri., June 5, 9 p.m., $20. Random Movement, Flaco, Dave Shichman, Scott Allen, Sat., June 6, 9 p.m., $15; The Rap Party, ages 21 & over, Saturdays, 10 p.m., free. Jamie Schwabl, Jesse Saunders, Deep Tribe, at Stone Soul Sundays, Sun., June 7, 9 p.m., $5 .

SOUND NIGHTCLUB: 1642 N. Las Palmas Ave., Los Angeles. Ricoshëi, Bystander, Whitney Fierce, Fri., June 5, 10 p.m., $20. Tim Mason, Sat., June 6, 10 p.m., $25. Gene Farris, Halo, Mon., June 8, 10 p.m., $15; Monday Social, Mondays, 10 p.m.

THE THEATRE AT ACE HOTEL: 929 S. Broadway, Los Angeles. DJ Howie Pyro, Sat., June 6, 2 p.m., free; DJ Yowsah, Sat., June 6, 8:30 p.m., free. Dublab Vibing Time, with Dublab DJs, Sundays, 1 p.m., free. D Rad, Mon., June 8, 8 p.m., free. Nightshade, Thu., June 11, 8:30 p.m., free.

THREE CLUBS COCKTAIL LOUNGE: 1123 Vine St., Los Angeles. Black Wedding, with DJ Brandon Robert & DJ Valentina Veil, Saturdays, 9 p.m.-2 a.m., free.

—Falling James

LATIN & WORLD

THE CONGA ROOM: 800 W. Olympic Blvd., Los Angeles. Electribe Saturdays, Saturdays, 10 p.m., free.

IX TAPA CANTINA: 119 E Colorado Blvd., Pasadena. Quinto Sol, part of the Make Music Pasadena festival, Sat., June 6, 8 p.m., free.

—Falling James

COUNTRY & FOLK

BOULEVARD MUSIC: 4316 Sepulveda Blvd. Cow Bop, Sat., June 6, 8 p.m., $15. Del Rey, Sun., June 7 .

THE CINEMA BAR: 3967 Sepulveda Blvd., Culver City. Rene Collins & the Great Movement, Thu., June 11 .

THE COFFEE GALLERY BACKSTAGE: 2029 N. Lake Ave., Altadena. Caroline Spence & Tattletale Saints, Fri., June 5, 8 p.m., $18. Maura Kennedy & B.D. Love, Sat., June 6, 3 p.m., $10; Sligo Rags, Sat., June 6, 7 p.m., $20. Roy Book Binder, Sun., June 7, 3 p.m., $20; Tim Weisberg, Sun., June 7, 7:30 p.m., $20. The Mulligan Brothers, Mon., June 8, 8 p.m., $15. Trio Dinicu, Tue., June 9, 8 p.m., $20. The Lonely Heartstring Band, Wed., June 10, 8 p.m., $20. The Folias Flute & Guitar Duo, Thu., June 11, 8 p.m., $15.

COWBOY COUNTRY: 3321 South St., Long Beach. Jay Hollister, June 5-6, 7 p.m. River Road, Wed., June 10.

THE COWBOY PALACE SALOON: 21635 Devonshire St., Chatsworth. Mary White, June 5, 8 p.m. Country Nation, Sat., June 6; Sun., June 7, 6 p.m. Deanna D’Amico, Tue., June 9 . Coldwater Canyon, June 10-11.

JOE’S GREAT AMERICAN BAR & GRILL: 4311 W. Magnolia Blvd., Burbank. Lee Harper, Fri., June 5, 9 p.m., free. Rio Bravo, Sat., June 6, 9 p.m., free. Trip DeVille, Sun., June 7, 3 p.m., free; The Robert Heft Blues Band, Sun., June 7, 8 p.m., free. Dave Stuckey

& the Hot House Gang, Mon., June 8, 9 p.m., free. Rip Masters, Tue., June 9, 9 p.m., free. Sitara Son, Wed., June 10, 9 p.m.; Wed., July 8, 9 p.m., free. Lil Mo & the Unholy 4, Thu., June 11, 9 p.m., free.

PAPPY & HARRIET’S PIONEERTOWN PALACE: 53688 Pioneertown Road, Pioneertown. Nocona, New American Farmers, Fri., June 5, 8 p.m., free. The Shadow Mountain Band, Saturdays, 5 p.m., free; Moonsville Collective, Sat., June 6, 7 p.m., free. George Miguel, Thu., June 11, 8 p.m., free.

—Falling James

BLUES

ARCADIA BLUES CLUB: 16 E. Huntington Drive, Arcadia. Julian Coryell, Fri., June 5, 7 p.m., $15. Karen Lovely, Sat., June 6, 7 p.m., $15.

BURBANK MOOSE LODGE: 1901 W. Burbank Blvd., Burbank. Pete Anderson, Mondays, 8 p.m., free.

HARVELLE’S SANTA MONICA: 1432 Fourth St., Santa Monica. Old Havana, Fri., June 5, 9 p.m., $10. Dennis Jones, Sat., June 6, 9 p.m., $10. The Toledo Show, Sundays, 9:30 p.m., $10. Stage 11, Mondays, 9:30 p.m., $5. Stevie Starlight, Tuesdays, 9 p.m., $5. The House of Vibe All-Stars, Wednesdays, 9 p.m., $10.

HARVELLE’S LONG BEACH: 201 E. Broadway, Long Beach. The American Monster Burlesque & Blues Show, Sat., June 6, 9:30 p.m. The Toledo Show, Thursdays, 9:30 p.m., $10.

PICKWICK GARDENS: 1001 W. Riverside Drive, Burbank. Carmine Sardo & Eric Garcia’s Shuffle Brothers Blues Night, in the Riverside Room, Wednesdays, 9 p.m., free.

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

C O N C E R T S

FRIDAY, JUNE 5

BRAD PAISLEY: With Justin Moore, Mickey Guyton, 7:30 p.m., $29.50-$135. Hollywood Bowl, 2301 N. Highland Ave., Los Angeles.

GO HANNI EL KHATIB: With Avid Dancer, Chicano Batman, 5 p.m., $20. Natural History Museum, 900 Exposition Blvd.. See Music Pick.

LEE SEUNG CHUL: 8 p.m., $45-$200. Nokia Theatre, 777 Chick Hearn Court, Los Angeles.

GO LUMMIS DAY: The annual three-day festival of art, spoken word, dance and theater kicks off with music from Mariachi Tierra Mexicana de Oscar Chavez, Jessica Fichot, Suspect , 4-8 p.m., free. Mariachi Plaza , 1831 E. First St. .

OF MICE & MEN: With Crown the Empire, Volumes, 6:30 p.m., $22.50. The Wiltern, 3790 Wilshire Blvd.

PALMA VIOLETS: With Public Access TV, 9 p.m., $18. The Teragram Ballroom, 1234 W. Seventh St.

PLAN B: With Don Omar, Arcangel, Tony Dize, Tito el Bambino, Baby Rasta y Gringo, Tego Calderón, J. Alvarez . Staples Center, 1111 S. Figueroa St..

THE RENTALS: With Rey Pila, Radiation City, 9 p.m., $20. El Rey Theatre, 5515 Wilshire Blvd .

SATURDAY, JUNE 6

ALEJANDRA GUZMÁN: 8 p.m., $59-$120. The Forum, 3900 W. Manchester Blvd., Inglewood.

GO BOMBA ESTÉREO: With Little Jesus, Santé Les Amis, 9 p.m., $27.50. The Fonda Theatre, 6126 Hollywood Blvd., Los Angeles. See Music Pick.

DE LUX: With DJ Dan Wilcox, 7:30 p.m., free. One Colorado, Colorado Blvd., Pasadena.

THE DOOBIE BROTHERS: With Don Felder, Pat Simmons Jr., 7 p.m., $30-$80. The Greek Theatre.

LA ARROLLADORA BANDA EL LIMON: 8 p.m., $45.50-$250.50. Nokia Theatre, 777 Chick Hearn Court.

GO LUMMIS DAY: With Attic Empire, The Celtic Céili Dancers, Pacific Opera Project, The Elliott Caine Quintet, Mariachi Tradicion de Fernando Rios, 2-6 p.m. York Park, 4596 N. Avenue 50, Highland Park.

GO MAKE MUSIC PASADENA: With Tashaki Miyaki, Hobart W. Fink, The Most Best, Draag, The Electric West, Dead Panzies, End of Summer, Night Jacket, Gal Pals, Nacosta, Vanish Valley, Solar Sons, Moose, Bubbeleh, Donna Bummer, Finnegan Seeker Bell, on the Eruption of Summer Stage, 11 a.m., free. With Holland Belle, Children, Los Dharma Bums, Kat Myers & the Buzzards, Brenda Carsey, Fort King, Beca, Nicholas Burke, Mr. Mudd, Peanut & Ukelele, on the Peaceful Acoustic Hug City stage, 11 a.m., free. Armory Center for the Arts, 145 N. Raymond Ave., Pasadena. With Avid Dancer, Sir Sly, Kishi Bashi,

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Caroline Smith, Hidden Charms, Belmont Lights, Juliet Piper & the Daydream, performing on the Old Pasadena Colorado Main Stage, 12 p.m., free. Barney’s Beanery, 99 E. Colorado Blvd., Pasadena. With Little Wolves, How to Dress Well, Hundred Waters, Kaleo, Lydia Ainsworth, Dark Waves, Kera & the Lesbians, on the Playhouse District Stage, 12 p.m., free. Make Music Pasadena, 50 S. Madison Ave., Pasadena. With Nick Waterhouse, Making Movies, The Moth & the Flame, The Mudbug Brass Band, Opus Orange, Boroughs, Raspin Stuwart, Alexandria Maillot, 12 p.m., free. Levitt Pavilion Pasadena, 85 E. Holly St., Pasadena. With Cobi Mike, Jr., David & Olivia, Autumn in June, Kid Bloom, Forebear, 3 p.m., free. Paseo Colorado, 280 E. Colorado Blvd., Pasadena. See Music Pick.

ORQUESTA CHARANGOA: 2-5 p.m., free. Fisherman’s Village, 13755 Fiji Way, Marina del Rey.

GO SALVADOR SANTANA: 8 p.m., free. Levitt Pavilion at MacArthur Park, 2230 W. Sixth St.

SCOTT WEILAND & THE WILDABOUTS: With Stocklyn. El Rey Theatre, 5515 Wilshire Blvd.

THE SOUND OF TOMORROW: With Craze, Overdoz, Kronika, Joe Kay, Andre Power, Andrés, 9 p.m., $15-$25. The Regent Theater, 448 S. Main St.

GO TACOLANDIA: L.A. Weekly presents a food fes-tival with music from Ervin Arana, Cumbia Machin, De’Anza, Thee Commons, Tropi Corillo, 3-8 p.m., $35-$60. 125 Paseo de la Plaza.

SUNDAY, JUNE 7

JON BELLION: With Rhêtorík, 9 p.m., $20. El Rey Theatre, 5515 Wilshire Blvd., Los Angeles.

GO LUMMIS DAY: With Buyepongo, The Evangenitals, The Susie Hansen Latin Band, 57 Bossa, Cuñao, Earthworm Ensemble, Salt Petal, Trio Ellas, Hobart W. Fink, Chickwood, Stand Easy, The Slightlys, 12-7 p.m., free. Sycamore Grove Park, 4702 N. Figueroa St., Highland Park.

MAKE NOISE: THE POWER OF MUSIC & COMMUNITY: A benefit with Robby Krieger, members of L.A. Philharmonic and others, 5-9 p.m., $150-$750. Ivar Theater, 1605 Ivar Ave., Los Angeles.

MARK HERMAN: 2:30 p.m., $20. Old Town Music Hall, 140 Richmond St., El Segundo.

PAT BOONE, THE CRYSTALS, FREDDY CANNON: 2 p.m., $25. L.A. County Arboretum & Botanic Garden, 301 N. Baldwin Ave., Arcadia.

GO TRIBUTE IN MEMORY OF RALPH EHRENPREIS: With Bill Cunliffe, Tamir Hendelman, John Clayton, 3 p.m., $50-$1,000. The UCLA Faculty Center, 480 Charles E. Young Drive, Los Angeles.

MONDAY, JUNE 8

D’ANGELO & THE VANGUARD: 8 p.m., $65-$120. Club Nokia, 800 W. Olympic Blvd., Los Angeles.

TUESDAY, JUNE 9

DEICIDE: With Entombed A.D., Hate Eternal, Black Crown Initiate, Lorna Shore, Svart Crown, 7 p.m., $27. The Regent Theater, 448 S. Main St., Los Angeles.

GO SEINABO SEY: With James Davis, 9 p.m., $18. El Rey Theatre, 5515 Wilshire Blvd., Los Angeles.

THE WEEPIES: With The Silent War, 9 p.m., $30. The Fonda Theatre, 6126 Hollywood Blvd., Los Angeles.

WHITESNAKE: With The Answer, 8 p.m., $68-$98. Saban Theatre, 8440 W. Wilshire Blvd., Beverly Hills.

WEDNESDAY, JUNE 10

A.R. RAHMAN: 8 p.m., $49.50-$400. Nokia Theatre, 777 Chick Hearn Court, Los Angeles.

THE TEDESCHI TRUCKS BAND, SHARON JONES & THE DAP-KINGS: With Doyle Bramhall II, 6:30 p.m., $40-$85. The Greek Theatre, 2700 N. Vermont Ave.

THE VANDALS: With Drake Bell, Sleep Machine, 1-3 p.m., free. Fairfax High School, 7850 Melrose Ave.

YELAWOLF: With Hillbilly Casino, 9 p.m., $25. The Fonda Theatre, 6126 Hollywood Blvd., Los Angeles.

THURSDAY, JUNE 11

ALAN PARSONS: 8 p.m., $45-$55. Club Nokia, 800 W. Olympic Blvd., Los Angeles.

ALFREDO RODRIGUEZ: 8 p.m., $25. Kirk Douglas Theatre, 9820 Washington Blvd., Culver City.

CALIFORNIA FEETWARMERS: 6 p.m., free. Beverly Cañon Gardens, 241 N. Cañon Drive, Beverly Hills.

INGRID MICHAELSON: With Jukebox the Ghost, Greg Holden. The Greek Theatre, 2700 Vermont Ave.

MATAMOSKA: 8 p.m., free. Levitt Pavilion at MacArthur Park, 2230 W. Sixth St., Los Angeles.

NEON TREES: With Alex Winston, Yes You Are, 8:30 p.m., $25. The Fonda Theatre, 6126 Hollywood Blvd.

—Falling James

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

ANDREA BOCELLI: Sun., June 7, 7:30 p.m., $73.50-$516. Hollywood Bowl, 2301 N. Highland Ave .

ANGEL CITY CHORALE: Sue Fink leads the large choir through music from video games and popular film soundtracks, June 6-7, 7 p.m., $35. Wilshire United Methodist Church, 4350 Wilshire Blvd., Los Angeles.

GO AVAILABLE LIGHT: June 5-6, 8 p.m., $94.50-$137.50. Disney Hall, 111 Grand Ave. See GoLA.

GO DOG DAYS: L.A. Opera presents composer David T. Little and librettist Royce Vavrek’s 2012 opera, Thu., June 11, 8 p.m.; Fri., June 12, 8 p.m.; Sat., June 13, 8 p.m.; Sun., June 14, 2 p.m.; Mon., June 15, 8 p.m., $69. REDCAT, 631 Second St . See GOLA.

GO HYDROGEN JUKEBOX: Long Beach Opera pres-ents Philip Glass’ song cycle, which features a libretto by poet Allen Ginsberg, Sat., June 6, 2:30 & 8 p.m.; Sun., June 7, 7 p.m., $49-$160. Crafted at the Port of Los Angeles, 112 E. 22nd St., San Pedro.

GO LE SALON DE MUSIQUES: A strings-and-piano quartet uncovers the music of Losif Andriasov, along with selections by Mikhail Glinka, Mikhail Gnesin and Vítezslav Novák, Sun., June 7, 4 p.m., $75. The Music Center, Dorothy Chandler Pavilion, 135 N. Grand Ave.

GO THE LYRIS QUARTET: The string quartet stirs up selections by J.S. Bach, Jane Brockman and Leos Janacek, Sat., June 6, 7 p.m., $20. Rutberg Fine Arts, 357 La Brea Ave.

GO MAKE MUSIC PASADENA: With Pasadena Symphony, The JPL Chorus, Jamie Shaheen, as part of the daylong festival, Sat., June 6, 5:30 p.m., free. Pasadena City Hall, 100 N. Garfield Ave., Pasadena.

THE MANSFIELD CHAMBER SINGERS: Sat., June 6, 7-9 p.m., free. St. Augustine by-the-Sea Episcopal Church, 1227 Fourth St., Santa Monica.

THE NEIGHBORHOOOD SCHOOL STRING ENSEMBLE:

The group plays as part of the Lummis Day festival, Sun., June 7, 2 p.m., free. Southwest Museum, Mount Washington Campus, 234 Museum Drive.

GO PACIFIC OPERA PROJECT: The comic-minded opera company performs as part of the Lummis Day festival, Sat., June 6, 3:45 p.m., free. York Park, 4596 N. Avenue 50, Highland Park.

PACIFIC SERENADES: String and wind musicians perform selections commissioned by the group over the past three decades , Wed., June 10, 8 p.m., $28. West Hollywood City Council Chambers, 625 N. San Vicente Blvd., West Hollywood.

GO SALASTINA MUSIC SOCIETY: Artistic directors Maia Jasper and Kevin Kumar conjure Brahms’

String Sextet No. 2 in G major, Opus 36, using violins made by Guarneri del Gesù and Stradivarius, Sat., June 6, 3 p.m., $28. Bridges Hall of Music, Pomona College, 340 N. College Ave., Claremont. Sun., June 7, 4 p.m., $28. Villa Aurora, 520 Paseo Miramar, Pacific Palisades.

GO STEVE MOSHIER’S LIQUID SKIN ENSEMBLE: The acoustic-electric chamber musicians premiere Moshier’s Beyond the Last Rope, Fri., June 5, 7:30 p.m., free. Boîte Noire Gallery, Pacific Design Center, 8687 Melrose Ave., Space B222, West Hollywood.

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

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petitioner(s) desire(s) to have their names changed from: Kylia Rhythm-Casandra Munoz to Kylia Cassandra Larson & Macaylah Jade-Siobhan Chavez to Macaylah Jade- Siobhan Larson.Now therefore, tis hereby ordered that all persons in- terested in the said matter of change of name appear as indicated herein above then and there to show cause why the petition for change of name should not be granted. It is further ordered that a copy of this order be published in the LA Weekly, a newspaper of general circulation for the County of Los Angeles, once a week for four (4) successive weeks prior to the date set for hearing of said petition. Set to publish 5/28/15, 6/04/15, 6/11/15, 06/18/15Dated: May 14th, 2015

[SBN 120129] NOKES & NOKES, A Law Corporation 120 Vantis, Suite 520 Aliso Viejo, CA 92656 Date Filed: August 14, 2014. By: Judi Lara, CLERKSTATEMENT OF DAMAGES(Personal Injury or Wrongful Death) 1. General Damages a. Pain, suffering, and in- convenience - $1,000,000 b. Emotional distress - $1,000,0002. Special damagesa. Medical expenses (to date) $53,500.00b. Future medical expenses (present value) $50,000.00c. Loss of earnings (to date)$100,000.00 d. Loss of future earning capacity (present value) $500,000.00e. Property damage $300.00i. Other (specify) Cost of suit $600.00 Date 02/02/15

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LAWEEKLY.COM/ADINDEXVisit us at 3861 Sepulveda Blvd. in Culver City | Additional Information: 310-574-7379 | LAWEEKLY.COM/ADINDEX

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