SEPTEMBER 9 15, 2016 VOL. 38 / NO. 42 LAWEEKLY.COM

SEPTEMBER 9 - 15, 2016VOL. 38 / NO. 42 LAWEEKLY.COM

Doug Aitken’s Labyrinthian Exhibition at MOCA• What If 2Pac Had Lived? • Taste Kato’s Asian Eats for Cheap®

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Mayim Bialik not only plays a neuroscientist on “The Big Bang Theory,” she is one in real life, and she’s passionate about inspiring students interested in science, technology, engineering and math. Mayim is part of the Hope Experiment, the all-day event presented by City of Hope in partnership with Cal-HOSA. You’ll take part in hands-on demonstrations that show how innovative research can lead to medical miracles, and you’ll get to talk with the scientists involved in pioneering research utilizing nanotechnology, CAR-T cell therapies, superfoods — developments that are transforming our understanding of cancer and the future of health. Hey, is this supercool or what?

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IS SUPERCOOL.

SCIENCE

©2016 City of Hope

Mayim Bialik not only plays a neuroscientist on “The Big Bang Theory,” she is one in real life, and she’s passionate about inspiring students interested in science, technology, engineering and math. Mayim is part of the Hope Experiment, the all-day event presented by City of Hope in partnership with Cal-HOSA. You’ll take part in hands-on demonstrations that show how innovative research can lead to medical miracles, and you’ll get to talk with the scientists involved in pioneering research utilizing nanotechnology, CAR-T cell therapies, superfoods — developments that are transforming our understanding of cancer and the future of health. Hey, is this supercool or what?

JUST ASK MAYIM.

THE HOPE EXPERIMENT the Third Street Promenade, Santa Monica from 9am to 5pm. FEATURING MAYIM BIALIKFIND OUTFOLLOW

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EAT & DRINK...18 Kato’s tasting menu is fine Taiwanese and Japanese fare — for cheap. BY GARRETT SNYDER.

GO LA...23 Artists paint painter Frida Kahlo, Louie Anderson sets aside his Baskets drag for a show at Largo, Long Beach’s lobster pot runneth over and more to do and see in L.A. this week.

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ICONTENTS ⁄⁄

29

BEYOND KUNG FU ... 9Bruce Lee’s daughter is sharing his philosophies with the digital generation.BY APRIL WOLFE.

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| SEPTEMBER 9-15, 2016 // VOL. 38 // NO. 42

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|Bruce Lee’s daughter, Shan-non Lee, is holding open a tiny, leather-bound planner for me to take a photo. She says it’s from 1968 and shows her martial arts superstar father transforming into the

sculpted fighter with the bulging batwing muscles that were later showcased in his classic film, Enter the Dragon.

Scrawled in neat cursive penmanship, here’s just a single day’s worth of notes from Bruce Lee’s journal: One thousand punches on the right, 500 on the left. Eight sets each of side bends, sit-ups and leg raises. Two miles each of running and cycling. Wife Linda Lee’s birthday party. The All American Open Ka-rate Tournament at Madison Square Garden. Two thousand more punches. A spar with “Ted.” A Jeet Kune Do demonstration for “Lewis.” James Coburn’s new phone number and address with his birthday. The Kalidasa poem reading, “Look to this day, for it is life, the very life of life, and within its brief span lies all the verities and realities of your ex-istence.”

Shannon corrects me when I call his en-tries “fragmented.”

“They’re fluid,” she says, “�‘Be like water,’ right?”

While most know Bruce Lee from his bad-ass fight scenes in kung fu movies, such as Fist of Fury, The Big Boss and Way of the Dragon, Shannon says that too few realize he was also a writer and philosopher, adapt-ing ancient Chinese wisdom with his own accessible, modern phrasing. He wanted everyone, not just the philosophers, to find enlightenment.

Shannon says her father — who died in July 1973 — was in life the same man of honor he was in his films. And he saw those films as a mechanism to share his philosophy. Shan-non raises her eyebrows with a smile. “My father was an entertainer, and he knew what he was doing.”

Bruce Lee Enterprises, the company Shan-non founded — originally with her mother, Linda Lee Cadwell, and chief operating o�-cer Kris Storti in 2008 — creates T-shirts, cof-fee mugs, keychains and jewelry. Yet instead of just churning out widgets with Bruce’s fa-mous visage — handsome with a broad nose, square chin and knowing smirk — Bruce Lee Enterprises also adds his words. A leather bracelet reads: “Summon the courage and walk on.” A hoodie suggests: “Be water, my friend.” The comic books from BLE’s Dragon Rises series feature a hero with great will and no weapons.

“He’s this ultimate philosopher, but he’s packaged as a kung fu action star,” says BLE chief creative o�cer Sharon Lee (no relation). “He was a Trojan horse. What he’s saying is, ‘Look at my awesome kung fu, and you’re close to me now, so let me tell you about Asian philosophy.’�”

BLE’s latest venture is the Bruce Lee podcast, which uses Bruce’s sayings as a jumping-o¤ point for a conversation in each episode. Shannon’s favorite: “The medicine for my su¤ering I had within me from the be-ginning.” For 50 minutes, they dig deep, es-pousing anti-guru, self-help techniques for a better mind. Just five weeks into production, and with little promotion, the show’s already been downloaded more than 224,000 times.

“In today’s Kardashian and

BEYOND KUNG FUBruce Lee’s daughter is sharing his philosophies with the digital generation

BY APRIL WOLFE

PHOTO BY AMANDA LOPEZ

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Trump moment, to go, ‘I think the global millennials will appreciate a long-form conversation about philosophy’ was counterintuitive,” Sharon says.

Shannon also created a wildly successful Facebook fan page — it has reached 21 mil-lion subscribers in two years — where they post his adapted aphorisms. “Memes are the gateway drug to bigger thinking,” she jokes.

She calls her father the absolute expres-sion of yin and yang. She motions to a yin-yang hanging on the wall, which belonged to Bruce. “If you take the yin-yang, it has a piece of the other inside itself,” she says. “You can’t be too much of one thing and be balanced.”

Bruce wasn’t too much of one thing, either. He was born in San Francisco but raised in Hong Kong. He was a quarter white, living in a British-ruled area of China that was oc-cupied by Japan. He embraced both Western and Eastern writings; his book collection contains a volume on Chinese boxing side by side with John F. Kennedy’s O�cial U.S. Physical Fitness Program manual.

When he opened a school in Oakland to teach his brand of martial arts, called Jun Fan Gung Fu, the entire Chinese martial arts community supposedly challenged him to a fight — their best guy against him — because they didn’t like that he would teach every person who wanted to learn, no matter their race, religion or gender. Bruce Lee won this fight and then started developing a style-less martial arts philosophy he called Jeet Kune Do.

Bruce Lee was a man of harmonious para-doxes. He shaped his body to be a weapon but trained his mind and spirit so he would rarely resort to violence. People often seem surprised, Shannon says, to find that such a hyper-masculine man also had such a de-veloped “feminine” side. Bruce Lee penned poetry on his lunch breaks.

As their podcast and social media pres-ence grew, revealing this other side of Bruce Lee, Shannon and Sharon noticed another curious trend. They had expected the au-dience devoted to self-help through Asian philosophy to skew female, but their fan base is made up primarily of young men and boys. Sharon, who has a background in cultural

anthropology, has a theory. “I’ve been in the field with young people for almost 20 years, and I know what they need and want most are credible ideas and role models that they can believe in.”

Having a famous father does not mean that Shannon’s life has been charmed. Bruce died when Shannon was 4. After his death, she and her brother, Brandon, were raised by her mother, Linda, who sold the rights to Lee’s films for a pittance so they could pay the bills. In the 1970s and ’80s, there wasn’t a developed market for the exploitation of dead celebrities’ images. But by the follow-

ing decade, there was money to be made, and little was going to Bruce’s family.

Shannon grew up getting a degree in mu-sic and felt lost. Her brother, actor Brandon Lee, balked when she announced that she’d like to come to Los Angeles, maybe start act-ing, too.

“He told me, ‘If there’s anything else you think you could do that would bring you as much or more joy, you should do that in-stead,’�” Shannon says. She’d already bought the plane ticket to L.A. when Brandon was killed in a firearms accident on the set of the 1994 film The Crow. A live round was mistakenly left in the gun’s chamber.

“My brother was gone, and I was in L.A. in this emotionally strange place,” she says. “And then I went to go do this movie in Hong Kong, something my brother — and obvious-ly also my father — had done. But my heart wasn’t in it. Being Bruce Lee’s kid, everyone wants you to be an action-film star. I took martial arts, and it’s fun to do those types of movies, but I wanted to act, not fight.”

Shannon says the Hong Kong film industry in 1997 hadn’t changed much since her father left L.A. in the ’70s, to find a roundabout way into Hollywood through Chinese cinema. When Bruce made Way of the Dragon in 1972, he attempted to revolutionize China’s film industry. He insisted on writing a complete script, with multiple drafts, before shooting. He demanded cast and crew choreograph and practice the fighting scenes. He brought his Hollywood knowledge and battled with the director about camera placement and sto-ry, and later vowed to write and direct his own movies. One of his most overlooked accom-plishments was adding touches of humor and whimsy to an often self-serious genre. Way of the Dragon changed Hong Kong’s movie industry for a hot second. But Bruce was around for only another few pictures, and after his death, progress quickly halted.

Fast-forward 20 years and China’s film in-dustry was still rough. On set in Hong Kong, Shannon was hollowed by grief. Everything was recorded without sound, because ac-tors spoke di�erent dialects and languages. Fight scenes weren’t choreographed. There was no script. A guy would show up, teach her a routine and then scold her if she didn’t get it right immediately. Prop masters were handing her guns, showing her the empty barrels, assuring her over and over there were no live bullets in there, which only reminded her more of her brother’s death. Then the director looked at her and said, “Just do it the way your dad would do it.” Shannon re-members thinking, “I was, like, ‘OK, and you direct it like my dad would direct it.’�” If Bruce had directed it, there probably wouldn’t have been any guns in the picture at all. Bruce was adamantly anti-gun in his films. He thought men with guns were weak.

“It was hard,” she says. “I cried a

COURTESY SHANNON LEECOURTESY SHANNON LEE

Shannon Lee with her father

Brandon Lee training with his father

Shannon Lee in the offices of Bruce Lee Enterprises PHOTO BY AMANDA LOPEZ

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“You have to understand, this was a time when we didn’t see any black heroes on the screen. No Latino heroes, no Asian heroes. Nothing. So it was a period that brought a lot of happiness and a lot of confidence to people of color.”— Aquil Basheer, martial arts teacher, on Bruce Lee’s inspirational effect

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lot. In private, obviously.”It was only when she began studying her

father’s writings after her brother’s death that she first felt complete. It was then that she realized how powerful Bruce’s words were — and how far his circulated image had gotten from his intention. She launched a years-long battle to regain the rights to Bruce Lee’s name and likeness. She already had most of the ar-chive, which consists of all those file cabinets of poems, love notes and planners, plus 10 large metal shelves housing things like his nunchakus, tiger-skin rug and the bongo drum he accidentally punched through (it helped him develop an arrhythmic fighting style to break into his opponent’s patterns). Even some family photos belonged to third parties. “Publishers actually told us, ‘But you gave them to us to make this book, so we own them now,’�” Shannon says, rolling her eyes.

Shannon admits it could have been di�er-ent — she could have been one of those kids looking to make a quick buck o� her pop’s image. “You have no idea how many bags of money I’ve had to turn down. But if some-thing doesn’t match up with our goals, if it’s too violent, or even if it’s just too boring — my father may have been a philosopher, but he was always an entertainer — we’re not going to take the money.” And if they can’t fit a posi-tive aphorism on it, they’re not going to make it. Spreading the message is imperative.

“People can’t believe he was so positive all the time,” Shannon laughs. “But he was.”

Casual fans of Bruce Lee might miss that anger is not rewarded in his films, where violence is the last resort. Bruce Lee’s ad-age, “Be like water,” is physical and acces-sible. It’s simple. He even demonstrated the meaning, grabbing a fistful of liquid and letting it fall through his hands: Water is too slippery to catch. Vincent Brown of the His-tory Design Studio at Harvard University, who studies cross-cultural e�ects of public figures such as Bruce Lee, recalls a scene from Enter the Dragon in which Lee tricks an opponent into getting in a dinghy, which he then lets float away. “He wins the fight without fighting in that guy’s way,” Brown says. “It’s not about overpowering the world but changing the terms so you can come out victorious.”

No one knows this better than Aquil Ba-sheer, the violence de-escalation specialist, who in 1971 founded the Academy of Tacti-cal Street Fighters, one of the first black martial arts schools in Los Angeles — he also got his first black belt around the same time as Bruce Lee. Basheer recruited to train at his school youths who had been inspired by seeing Bruce Lee sparring with African-American actor/martial artist Jim Kelly. “You have to understand, this was a time when we didn’t see any black heroes on the screen,” Basheer says. “No Latino heroes, no Asian heroes. Nothing. So it was a period that brought a lot of happiness and a lot of confidence to people of color.”

PHOTO BY AMANDA LOPEZ

» 10 )

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Basheer, a former Black Panther, remembers showing up at rallies and pro-tests all over Southern California in the early 1970s with his fellow martial arts prac-titioners. He says that while police would hassle the other black marchers, his group was left largely alone. His group was trained and confident, which led them to be calm and controlled; they fought on their own terms, using intellect, like the philosophies espoused by Lee. “If you have to resort to using the physical art, then you’ve already failed at the engagement,” Basheer says.

Lee himself dared in his films not to cel-ebrate the dealing of death. In 1972’s Way of the Dragon — which he wrote, directed and starred in — Bruce’s character is forced to kill a karate champ played by Chuck Norris. As a filmmaker, he lets the camera linger on his own face as Lee, the actor, considers the gravity of what it means to snu� out a life. The climactic spar emphasizes thinking as much as fighting.

But today, many Bruce Lee fans forget the nuance beyond his kung fu moves. “The U.S. likes the competition part, the fighting part, the violence and aggression part,” Sharon Lee says. “The other stu� has slowly been stripped away, and what’s left is cage fight-ing. And it’s a far deviation from his original intentions.” But through their podcast and online community-building, Shannon Lee hopes to bring back her father’s messages of nonaggression to new audiences.

Shannon Lee has monitored the positive e�ects that the Facebook and podcast com-munity report having experienced from Bruce Lee’s teachings. At every event where Shannon is asked to represent her father, the rooms are packed with men from the mili-tary, martial arts and policing communities. And they are emotional.

“This is grown men weeping in front of [Shannon] on a regular basis,” Sharon says.

It’s men “at great pains to tell her, ‘This nev-er happens to me. I’m not emotional.’�” She doesn’t quite have words for the phenom-enon. “For men to have a space in a culture with strict male-identity rules, for them to show up in front of a woman, in public, and start weeping — I’ve never seen anything like it before.”

She says Bruce Lee perhaps showed men that they didn’t have to be just one thing, or fit inside a box. “You have a lot of men in our culture who are asked to be just one thing — manly,” she says, “But what even is that?”

Bruce Lee, she says, is filling some kind of cultural vacuum.“Right now, we’re at a point where self-help says you need to relinquish your control to someone else, a guru, who can tell you what to do. But what he’s say-ing is you already have it inside you. Like Shannon did.”

Shannon’s got every bit of Bruce’s perse-verance gene in her. She’s now partnering with director Justin Lin (the Fast & Furious franchise, Star Trek Beyond) to bring her father’s TV series, Warrior, to life with a pilot for Cinemax — featuring a multidimen-sional Asian action hero in the honorable vein of Bruce Lee.

She also shares her father’s sense of hu-mor. Shannon jokes that she’s “not just the president of the Bruce Lee philosophy club; I’m also a user, too. If it can work for me, it can work for everyone.”

And she shares her father with the world. Not once has she been alone at his gravesite, she says. Almost 10,000 tourists visit him annually. On the Bruce Lee online commu-nities, she’s surrounded by millions who study his words. And now on the podcast, she’s breathing his spirit into the internet airwaves. She even speaks of him in the present tense.

“I can feel him everywhere,” she says. “Once you get past the grief of losing the body, you can understand that.”

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| | STRIP MALL SUPERHERO

Tucked in a West L.A. mini mall, Kato serves an exquisite (and a�ordable) tasting menu

BY GARRETT SYNDER

I can’t think of a more unexpect-edly great meal this year than what I recently experienced at Kato, a minuscule restaurant in West L.A. that serves only tasting menus.

What makes Kato — named after the Green Hornet’s masked sidekick, once played by a young Bruce Lee — so improb-able? Put it this way: If this restaurant were a superhero, its power would be invisibility. Shoehorned between two Mexican restau-rants in a two-story West L.A. mini mall, Kato’s blank storefront is no more than 10 feet wide. A scrawl of pale pink cursive on the glass front door is the sole signifier you’ve arrived.

The location alone isn’t what casts Kato as an underdog, though. After all, in Los Angeles we are well aware of the diamond-in-a-strip-mall trope. Baroo, the quirky temple to fermentation recently named one of Bon Appetit’s 10 Best New Restau-rants in America, sits unmarked next to an East Hollywood 7-Eleven. And three of the city’s most beloved chefs — Ludo Lefebvre, Jon Shook and Vinny Dotolo — run their mini-empire of restaurants (Trois Mec, Petit Trois, Trois Familia) exclusively out of modest mini malls.

Consider this, too: The extent of Kato chef-owner Jonathan Yao’s experience amounts to two stages (the industry-speak equivalent of an internship); one at the former downtown location of Alma and the other at San Francisco’s Coi. They’re both acclaimed establishments, to be sure, but a couple of kitchen stints hardly amounts to a robust résumé, even for a young chef. Yet Yao, a native of the San Gabriel Valley sub-urb of Walnut, exhibits an almost preter-natural knack for weaving together subtle Taiwanese and Japanese flavors in ways that are at once elegant and unpretentious.

Perhaps the most surprising thing about Kato is that it pulls o� something few restaurants are able to make viable — the chef’s choice tasting menu. Part of Kato’s

appeal has to do with what economists refer to as a “low barrier to entry.” A five-course dinner here will cost you $49 before tax and tip (actu-

ally, it’s more like eight courses, once you include two snacks and a dessert).

Diners generally view tasting menus as a premium experience, and for the most part they’re correct — dinner at Providence runs $180 for seven courses, n/naka o�ers 13 courses for $185, and Le Comptoir charges $89 for seven. And we’re one of the cheaper big cities when it comes to tasting menus. In San Francisco, $200-plus menus have become standard at any remotely ambi-tious restaurant.

Of course, these places operate in the highest echelon of fine dining, o�ering the metaphorical first-class seats. Kato, by contrast, is more akin to the low-cost car-rier, the Spirit Airlines — its tasting menu experience is whittled down into pure form and function.

On one evening, the first bite tastes like a shotgun blast of umami — a buttery cube of toast dabbed with egg yolk and a rich miso-sunflower spread, capped with a furl of uni and salty, micro-shaved country ham. Next comes a flat green disc made from albacore and mashed avocado, almost like a mellowed-out seafood pate, which is crusted with spicy breadcrumbs and perky little leaves of rau ram, a pungent Vietnamese herb.

Then there’s a dish that’s become sort of a signature at Kato (meaning, the one most likely to be shared on Instagram): pickled cucumbers and luscious smoked hama-chi arranged into a neat pile, splattered with a dark, charred-scallion sauce and dotted with tiny flowers. The burnt, smoky sensation registers a notch or two above perceptible, just enough to tantalize but not overwhelm.

A deep ceramic bowl lands, holding delicate somen noodles floating in a clear broth made from dashi stock and tomato water. Slurping the saline yet refreshing liquid invites a closer look into the bowl, revealing tiny, deep-fried baby shrimp. They look a lot like Sea Monkeys bobbing in the broth.

The parade of plates continues, each precious enough to consume in a few bites, while Yao builds excitement and shows o� his cleverness in subtle ways. A beauti-fully poached cod filet is lacquered with a vibrant green sauce speckled with bursts of orange. The green component, a warm relish made from ginger and scallion, is not unlike the garnish that comes alongside Hainanese chicken; the orange is a blend of fermented mandarin skin and lip-numb-ing Sichuan peppercorns — pretty heady stu�. After the cod, a wide saucer of rice

porridge arrives — pure comfort, thickened with dried scallops and shredded crab — followed by a few slabs of fatty Wagyu beef, grilled over Japanese charcoal and paired with a silky, smoked eggplant puree.

At this point I’m mostly full, but it’s hard to turn down Kato’s one supplement, an $8 bowl of lu rou fan, a hearty Taiwanese stew made from braised pork belly. The meltingly soft meat is scooped over rice, along with an oozing, soft-boiled egg that piles richness on richness. A few wedges of pickled radish probably would turn this into the best pork belly rice bowl in town, but who can complain?

Dessert, a firm buttermilk pudding gilded with rose-flavored shaved ice and mar de bois strawberries, is thankfully as light and ethereal as it sounds.

Kato’s tasting menu is a borderline

steal. It’s probably worth twice the price. More importantly, though, it’s a reminder that, even when done simply, the dra-matic unfolding of a tasting menu can be captivating and unabashed fun, a sensory pleasure-fest on par with immersing your brain in a Stranger Things binge or stream-ing the new Frank Ocean album in full. As much as we covet the power of choice, entrusting yourself to a chef with a story to tell — letting someone else dictate what you put into your mouth, more or less — is still the most exciting way to eat. In this case, it probably helps when the check stings a little less, too.

So how is Yao able to #MakeTasting MenusFunAgain? I can imagine one way — by cutting back on certain amenities often associated with traditional restaurants.

Besides the sparse square footage of the space, the most visually obvious clue at Kato is its decor. With bare, whitewashed walls and a cement floor, the dining room takes minimalism to its inevitable conclu-sion. The result is somewhere between an Apple Store and an indie art gallery robbed of its paintings. Wooden stools with thin cushions serve as seating. Service, at times, can be described as endearingly amateur. Sta� is minimal. And perhaps the biggest omission for some diners: There is no alco-hol just yet. Until Kato is able to pour beer and wine — which Yao hopes will happen by the end of the year — you’ll have to make do with pairings of house-made strawberry soda, Taiwanese apple cider, yuzu lemon-ade or floral jasmine tea, which is far from the worst thing in the world.

That said, I sincerely hope Kato is able to obtain its alcohol license soon, not merely because this type of cooking would pair beautifully with wine but also because it’s hard to imagine a restaurant of this size surviving without the additional revenue. Profit margins, even at very popular restaurants, are notoriously thin. The truth is, I have no idea whether Kato, in its cur-rent incarnation, is sustainable as a small business. I do know we’re blessed to live in a city where that type of autonomous experiment is even possible.

Perhaps it prompts a larger discussion: Amid a tide of rising food, labor and rent costs, what is our highest priority when judging the value of a restaurant? What are we willing to overlook?

So consider this caveat: If you’re some-one who ru®es at certain austerities — blank walls, uncomfortable furniture, no sommelier — this place might not be your cup of tea. But just as some air travelers are willing to skip leg room and a complimen-tary beverage in exchange for a cheaper flight, Kato could well be a harbinger of what to expect from the next generation of independent restaurants. If that means eschewing certain luxuries in favor of the exquisite and extremely personal cooking that Yao is pulling o�, I’d imagine that the future might not be so bleak after all.

KATO | 11925 Santa Monica Blvd., Sawtelle | (424) 535-3041 | katorestaurant.com | Mon.-Thu., 5:30-10 p.m.; Fri.-Sat., 5:30-11 p.m. | No alcohol | Lot parking

| Eats // Fork Lift //

KATO, BY CONTRAST, IS MORE AKIN TO THE LOW-COST CARRIER, THE SPIRIT AIRLINES — ITS TASTING MENU EXPERIENCE IS WHITTLED DOWN INTO PURE FORM AND FUNCTION.

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

Smoked hamachi and cucumber at Kato

PHOTO BY ANNE FISHBEIN

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Bye-Bye, Border Grill

SANTA MONICA LOCATION IS CLOSING, BUT MARY SUE MILLIKEN AND SUSAN FENIGER HAVE PLANS

“Did you ever see the two women?” Susan Feniger asks. “Schweddy Balls,” chimes in Mary Sue

Milliken. “That was us!” they exclaim in unison. The chef duo is referring to a recurring Saturday Night Live sketch that may have been poking fun at the KCRW show they started, Good Food. The two are dressed in colorful Border Grill embroidered chef’s coats at a corner table in their 26-year-old, mammoth restaurant on Fourth Street in Santa Monica.

“We thought we had arrived then. We were being parodied by Saturday Night Live!” Feniger says. The chefs, who opened their first successful restaurant, City Cafe, in 1981, followed by the original Border Grill in 1985, clearly “arrived” long before SNL poked fun at their earnest enthusiasm for all things culinary. Even with the recent announcement of their landmark Border Grill Santa Monica closing, the chefs show no sign of slowing down anytime soon.

Along with continuing to run their downtown and LAX Border Grill locations, the pioneering chefs have a new project in the works. What exactly it is, they can’t say. But it will likely be in a smaller location, a reflection of L.A.’s changing culture.

“The culinary landscape of Los Angeles has completely changed and the tra�c has changed. You used to have to drive, there were destination restaurants, like this one, a big restaurant. I think that’s changed a lot because each neighborhood now has really cool places. You can get great food and you don’t have to fight tra�c to do it,” Feniger says.

“Our career has always been about, what’s the next interesting thing? What’s that next thing that excites us?” Feniger says. This modus operandi has worked out well for the pair. When they opened the

original Border Grill on La Brea in 1985, the kind of vibrant, sophisticated, authentic Mexican

food that excited them was nowhere else to be found, and the city was hungry for it. What exactly was around in L.A. before they opened Border Grill? Milliken says, “A lot of gloppiness, beans loaded with cheese and sour cream, very old-school Mexican-American food that was very toned down in any kind of real flavor.”

Feniger adds that no one was making their own tortillas at the time, except for a small taqueria at Melrose and Western called Anelcy’s, where the duo were regu-lars. After lunch service at City Cafe, they’d wait in line for dozens of tiny soft carnitas tacos to bring back to their sta�.

“We were in love with it. It gave us this awareness of how the cuisine was really dif-ferent than what was at Lucy’s or El Coyote or El Cholo. It really had us thinking, there’s something here, something fresher, more flavorful, with lots of sparkly citrus, chilies and cilantro, and not just yellow cheese and sour cream and lard,” Milliken says.

The tiny taqueria in East Hollywood wasn’t the only thing that inspired Border Grill. In the early ’80s, the two chefs took a trip with a City Cafe employee to visit his family in Mexico.

“We went to his family’s house in Mexico City, and every morning we would go with his mom to the markets, get all of these products that we’ve never seen, come back and cook with her. That’s how we sort of started to learn about the Mexican kitchen,” says Milliken.

Those aforementioned products that they’d never seen turned out to be the inspiration, challenge and ultimate reason for Border Grill’s success.

“You couldn’t get chipotle chilies [in L.A.]. When we came back, we brought some. We smuggled them in our suitcase,” Milliken says.

Apparently, the smuggling was worth it, because the original Border Grill was so popular that they were forced to move it to the larger Santa Monica location in 1990. “We were so busy, bursting at the seams. We had a whole bank of home refrigerators in the alley,” Milliken says.

The Santa Monica space still has the same original wood tables and interior design, with colorful paintings by artist friends Sue Huntley and Donna Muir. But the neighborhood has evolved around it.

“It was really a sleepy little beach town. There was a Woolworth’s on the Prom-enade. It had just become a walking street. No one was there. Nobody wanted to be there. There was a huge empty parking lot behind us. Everything has changed so drastically that it’s almost like a whole di�erent city,” Milliken says. That said, the changing neighborhood had nothing to do with their decision to move, and they will most likely stay in the area.

But smuggling peppers across the border was just a tiny part of the careers of these two revolutionary chefs. It all began in Chicago at the famed Le Perroquet restaurant in 1978.

“I was the first woman. Susan was hired quite quickly after,” Milliken says. “The

| Eats // | Squid Ink //

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Susan Feniger and Mary Sue Milliken at Border Grill Santa Monica

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owner was like, ‘Wow, this girl works circles around the boys and she’s half the price.’�”

“‘Here comes another sucker!’” Feniger jokes.

“But I had to fight my way in. The guy did not want to hire me. He was very resistant,” Milliken says. “It’s definitely harder. When we were coming up through the ranks, we were the only women. You didn’t allow yourself to see discrimination or to feel it, because you just had to put every bit of en-ergy into your job in order to be better than the next guy next to you. You couldn’t just dwell on that. But subconsciously, you had to have seen that there just weren’t women rising up anywhere. That was the big impe-tus to us saying, ‘Fuck this. We’re just going to get our own restaurant even if it has to be tiny.’ City Cafe was 900 square feet. It had eight tables and 12 seats at the bar.”

“And two hibachis in the parking lot!” Feniger adds.

“So after all of the sacrifice of going to chef school and working in France and all that, we settled for this tiny opportunity just to be our own bosses and not have any men calling the shots,” Milliken says. “Because honestly, when you think about it, why would we have done that after all of that training and all that sacrifice?”

Five cookbooks, almost 400 episodes of a successful Food Network show (Too Hot Tamales), several award-winning restau-rants, a legendary radio show and 35 years later, it certainly seems to make sense now. —Heather Platt

N O S T A L G I A

Tail O’ the Pup Stand to Make Its Triumphant, Nostalgic ReturnBeloved hot dog stand Tail O’ the Pup, closed these past 11 years, is set to finally reopen this week in West Hollywood.

This version will be a food truck, the first location in what the new owners — Kevin Michaels and Brett Doherty, along with Jay Miller, the grandson of Eddie Blake, the Pup’s previous owner — hope will be a number of Tail O’ the Pups. The original hot dog–shaped building, a classic of mimetic architecture, has been in storage since 2005 and is rumored to be due for de-livery at a downtown location in early 2017.

Mimetic architecture, also known as

programmatic architecture, is a style that developed in the 1920s as a way to attract passers-by, who were by then in fast-mov-ing cars. The building itself would be built to look like a giant version of the food sold within: perhaps a co¤ee cup, or a tamale, or a donut. Giant, decorative representations also fit into the category, as do shapes that describe the name of the establishment: a dog for the Bulldog Cafe, a woman for the Betsy Ann restaurant. The Brown Derby was probably the most famous example.

L.A. is in the midst of a nostalgia boom, even when it comes to food. This is the perfect time for Tail O’ the Pup to rein-troduce its classic combos. For instance, the Mexican Olé is topped with chili, Par-mesan cheese and onions. Does the name or pairing make sense? No. Will Angelenos go nuts for it? Of course.

Speaking of which, the original Pup was famed for topping its hot dogs with a vari-ety of nuts. No word on if those are coming back, but new dog designs include the Pastrami Dog (pastrami, sauerkraut, Swiss cheese, mustard) and the Nacho Dog (gua-camole, cheddar cheese, pico de gallo).

Welcome back, you kitschy deliverer of calorie bombs. —Katherine Spiers

451 N. La Cienega Blvd., West Hol-lywood; no phone, facebook.com/tailo thepup. Open daily 11 a.m.-10 p.m.

M A R I J U A N A

This Farmers Market Proves That Weed Is the New WineWine has long flowed through the heart of our state. Whether you’re a connois-seur or a casual sipper, tasting California’s world-renowned wines o¤ers the chance to practice mindfulness, exhibit your adept preferences and appreciate the artful idio-syncrasies that spring from each vineyard. Wine tasting isn’t (usually) about getting hammered. At the inaugural Emerald Exchange farmers market, a group of Men-docino farmers descended upon Malibu’s blu¤s to prove that cannabis consumption is no longer about dirty bongs and debili-tating highs.

In some ways, the Emerald Exchange is like any other farmers market one might find in L.A.’s more upscale and bohemian neighborhoods. It’s set up on a tucked-

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|away, pebbly patch of land. The ocean is visible from each vendor’s canvas booth. There were wealthy women in floppy hats, cute dogs and even a well-dressed toddler. One could sip organic whole lemon–ade, sni� fragrant body lotions or sample fresh gazpacho.

Unlike at a typical farmers market, though, all of these wares could be infused with THC.

The market was a way for Mendocino growers to showcase the bounty of the agriculture that grows on their historically fertile land. Since the late 1960s, Mendoci-no’s ideal climate and remote location have made it a hotbed for marijuana agriculture. In light of the plant’s growing popular-ity and likely pending statewide legality, growers in the area are, in increasing numbers, moving their business to a less stigmatized market. “I’ve been farming my whole life,” says Megan Champion, founder of Deviant Dabs. “I was ready to move o� of the black market.”

In an attempt to move toward legitimacy, Champion and many farmers in her area have joined with Mendocino magnate Jus-tin Calvino to divide the county into sev-eral “Cannabis Appellations,” or regions defined by their specific location and geo-logical properties. Formally breaking up the area into regions, proponents say, will foster business for local growers, who will be able to uniquely brand their product and establish consistent standards.

Champion, who has been on the legiti-mate market for only a few months, has al-ready begun to carve out a specific identity for her hash concentrates, which are grown on an all-female farm. “I heard what people were saying about concentrates — that it’s the crack of marijuana — and I wanted to change that,” says Champion. Indeed, Deviant concentrates look like something you’d buy in Sephora, not smoke in an alley. “I also wanted to target women be-cause I am a woman,” Champion says.

“We’re above the fog line, which is really great, because the fog is what causes mold on plants,” says Janae Doutel Ebert. She and her boyfriend, Leo Mitri Hartz, are the young, tanned proprietors of Shine On Farms, which is perched at 1,800 feet above Mendocino’s Anderson Valley. Ebert comes from a wine family, and she has brought the principles of harvesting grapes to Shine On Farms, where she and Hartz harvest a wide plethora of organic produce, honey, livestock and cannabis flowers — all without using any electricity. The farm is entirely powered by two solar panels and a propane tank. They brought with them a number of sun-grown buds, including one strain called the Doutel & Mitri — named after their grandparents — because the seeds are proprietary and “come from (their) own genetics.”

The easygoing pair brought a bounty of farm-fresh foodstu�s to the Malibu market. Their tomatoes and eggplants contributed to the evening’s communal diner, as did the two roosters they recently harvested.

Dinner was served on the lot at the base of the property, and on the walk down to the dining area, Foria, which manufactures cannabis-based lubricants, had set up shop next to a VW van. People in loose-fitting clothing loitered around the vehicle’s ex-

terior. Propped in front of them was a sign that read “Legalize love.”

In the Galaxy’s Easiest Meal food truck, chef Joshua Fisher prepared our farm-to–I-5–to table meal. As we waited for dinner, a DJ spun at a station that was wrapped in living tree roots. There were white Christmas lights hanging above the dance floor and multicolored silks draped on the couches in the smoking area. A few people had cigarettes and several of us vaped flower from Fireflys, the handheld vapor-izers used to sample product.

Mark Williams, the stylish and smiling co-founder of Firefly, presented several of his sleek devices and o�ered them to the handful of people milling around him.

“Ten years ago,” Williams says, taking a

long drag of flower vape, “could you have ever seen this coming?”

When the sun set, the mood became relaxed. At vendor Evoxe Laboratories’s booth, which was lit with multicolored psychedelic lighting, founder Michael Katz showed o� his essential oil vape pens, which are made in America and come in red, white, blue and black. Each color-coded device was filled with organically grown oils and strains designed to give the user exactly the targeted e�ect desired: The white pen is non-psychoactive CBD blended with frankincense and tangerine for focus. The red pen will perk you up with sativa and peppermint. The blue one will put you to sleep with indica and lavender.

Dinner was served in near-darkness.

There was baba ganoush and grilled veg-gies and fresh olives, slick and coarse with salt. The venison and chicken that were brought down for the day were served family-style, alongside brimming plates of flatbread grilled just behind us. After the food was set, servers dished out small spoonfuls of THC extract for anyone who wanted to “infuse” their meal.

A woman at my table from Mendocino County said it was her first time in Malibu, and she was a little disappointed by how dry and desertlike it was. It’s greener where she’s from. “But maybe,” she says, “I’m just partial to home. California is the best place in the world,” she added.

All of us, absorbed in our thoughts and food, tacitly agreed. —Tess Barker

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fri 9/9P U N K R O C K

In Living ColorIt was an unusual era in rock music when Chris Amouroux began shoot-ing photos for her fanzine, Beyond the Blackout, in 1984. The punk scene still overlapped with the goth and death-punk subcultures, and the previously hidebound denizens of the hard-rock and metal worlds were starting to grudgingly acknowledge the influence of underground music. It was a nexus in time when Nick Cave was still opening for The Cramps, and a then-unknown Guns N’ Roses were supporting their idol, Johnny Thunders. Most of the local photographer’s images of such disparate figures as Lemmy Kilmister, John Waters, Specimen and Girlschool were seen only in the ephemeral black-and-white pages of her zine, but they reappear in their proper, fully garish color in her new exhibition, “Beyond the Blackout: �e Color Photos of Chris Amouroux.” Lethal Amounts, 1226 W. Seventh St., downtown; Fri., Sept. 9, 8-11 p.m.; free. (213) 265-7452, lethalamounts.com. —Falling James

D A N C E

A Woman of LettersA writer of erotica who counted several husbands and lovers including com-petitively erotic Tropic of Cancer author Henry Miller, an inveterate diarist and a luminary in the literary and artistic circles of Paris and New York, Anaïs Nin’s life provides rich subject matter. Director-choreographer Janet Rosten and composer-librettist Cindy Shapiro mine that wealth of material for Anaïs, a Dance Opera. Dancer Micaela DePauli and vocalist Marisa Matthews share the complicated then-and-now perceptions of the persona of Anaïs in a dance-theater production that blends movement, music, theater, rock concert, film and text. It’s another laudable e�ort that has found a home at this venue. Greenway Court Theater, 544 N. Fairfax Blvd., Fairfax; Fri.-Sat., Sept. 9-10 & Sept. 16-17, 8 p.m.; Sun., Sept. 11 & 18, 7 p.m.; $25-$30, $15-$25 students. greenwaycourt theatre.org/anais. —Ann Haskins

sat 9/10A R T

Big FridaFrida Kahlo is, without question, one of the most fascinating figures of the 20th century: a self-taught artist, a communist, a lover to both men and women and, yes, wife of muralist Diego Rivera, a relation-ship that (sadly) overshadowed her own contributions to Mexican art until many years after her death at age 47. In celebra-tion of Kahlo’s timeless self-portraits, Picture This in Long Beach hosts the 16th annual Frida Kahlo Artists Exhibit, a collection of tributes to Kahlo in all media. The exhibit is up through Oct. 1, but on Saturday, the gallery hosts a reception for participating artists, replete with a look-alike contest and traditional Spanish music from Casi Son. Unibrows are sure to abound. Picture This Gallery & Custom Framing, 4130 Norse Way, Long Beach; Sat., Sept. 10, 4-8 p.m.; exhibit runs through Oct. 1; free. (562) 233-3726, facebook.com/events/731617586979366. —Gwynedd Stuart

F U N D R A I S E R S

Nature of the BeastIn the last year, politicians in at least 24 states have taken action or threat-ened to end access to care at Planned Parenthood. Obama vetoed the U.S. House’s last attempt to defund the organization, but it remains in danger of losing resources. Sexy Beast: A Benefit for Planned Parenthood aims to har-ness the art world’s power to catalyze positive change and protect women’s (and men’s) health care. The fundraiser for Los Angeles’ chapters of PP will be hosted by comedian Andy Richter and feature performances by WIFE, DJ Rashida and Mutant Salon. There will be a live and a silent auction of 42 works donated by notable artists. The Theater at Ace Hotel, 929 S. Broadway, down-town; Sat., Sept. 10, 6:30 p.m.; $440-$500. (213) 623-3233, acehotel.com/calendar/losangeles. —Neha Talreja

P E R F O R M I N G A R T S

Welcome to MeThe Wallis Annenberg Center for the

Performing Arts’ 2016-17 season of theater, classical music, jazz, dance and children’s entertainment spans from the live soundtrack show For the Record: Scorsese in September to Hershey Felder’s play with music Our Great Tchaikovsky in July. To preview its upcoming lineup, the Wallis hosts the Wallis WelcomeFest, an inaugural open house, which o�ers more than two dozen teaser shows staged throughout the venue. Saturday features Deaf West Theatre, Debbie Allen Dance Academy, the Foshay Jazz Band and Combo, Lo-renzo Johnson & Praizum gospel choir and Michael Arden’s Pop-Up Sondheim. Sunday’s lineup includes Street Sym-phony Chamber Choir; Invertigo Dance Theatre; Phat Cat Swinger; and chore-ographer Matthew Bourne, discussing his career with the Wallis’ artistic direc-tor, Paul Crewes. Self-Help Graphics & Arts’ Barrio Mobile Art Studio will be present both days. Wallis Annenberg Center for the Performing Arts, 9390 N. Santa Monica Blvd., Beverly Hills; Sat., Sept. 10, 2-10 p.m.; Sun., Sept. 11, 10 a.m.-2 p.m.; free. (310) 746-4000, thewallis.org. —Siran Babayan

P. 23 SATARTISTS CELEBRATE FRIDA KAHLO IN LONG BEACH

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sun 9/11C O M E D Y

The Mother LodeIf you love FX’s wonderfully odd sitcom Baskets, which is gearing up for its second season, you’ll get to see not one but two of its stars at Largo’s Louie Anderson & Special Friends. At 63, Anderson received an Emmy nomination for supporting actor for his role as an overweight, Costco-loving mother living in Bakersfield with two sets of twin boys, one of whom is a down-and-out rodeo clown, played by series co-creator Zach Galifianakis. Anderson based the character on his own mother and other women in his family. (Listen to Anderson discuss growing up with 11 brothers in the Midwest on a recent episode of Marc Ma-ron’s WTF podcast.) Of course, fans of the funny man know he’s been a touring comic for more than 30 years. Tonight he returns to his stand-up roots, joining fellow comic and show co-star Martha Kelly, who’s equally funny in her portrayal of a deadpan insurance adjustor. Largo at the Coronet, 366 N. La Cienega Blvd., Beverly Grove; Sun., Sept. 11, 7 p.m.; $30. (310) 855-0350, largo-la.com. —Siran Babayan

F O O D & D R I N K

Boil OverThousands of festivalgoers enjoy 1- and 2-pound Maine lobsters steamed in the

“World’s Largest Cooker” at the annual Long Beach Original Lobster Festival. Even if you’re not into lobster, it’s a bus-tling event with two stages, a children’s area, a dance floor — and live music so you can put that floor to use. But really, everyone’s there for the lobster. The meal setup includes the lobster, of course, with coleslaw, a dinner roll, watermelon, lemon wedges and butter dipping sauce. VIP tickets include a covered seating area, your choice of the biggest lobsters and drink tickets. Rainbow Lagoon, 400-403 Shoreline Village Drive, Long Beach; Fri., Sept. 9, 5-10 p.m.; Sat.-Sun., Sept. 10-11, noon-10 p.m.; $13-$107. original lobster festival.com. —Katherine Spiers

mon 9/12F I L M

The Sum of GusWhen it was released in 1991, Gus Van Sant’s gritty, dreamy drama My Own Private Idaho drew comparisons to clas-sic works of literature, even though the plot revolves around a pair of grunge-era male hustlers. Roger Ebert said in his review, “Here is a movie about lowlife sexual outlaws, and yet they remind us of works by Shakespeare or Dostoyevsky.” Van Sant appears for a screening of the film, plus two restored shorts — Flea Sings and Four Boys on the Road in a Volvo — all on 35mm. The

event is sold out, but there will be a stand-by line at the west doors; they’ll start hand-ing out numbers at 5:30 p.m. Academy of Motion Picture Arts & Sciences, Samuel Goldwyn Theater, 8949 Wilshire Blvd., Beverly Hills; Mon., Sept. 12, 7:30 p.m.; $5, $3 members/students. oscars.org/events/my-own-private-idaho-1991. —Gwynedd Stuart

tue 9/13M U S I C & B O O K S

Death Row InmatesLast year’s Straight Outta Compton pretty much reignited every-one’s obsession with West Coast rap (not that it has ever really waned in L.A.). With N.W.A and a£liated acts’ legendary status further solidified, former L.A. Weekly music editor Ben Westho¤’s new book, Original Gangs-tas: �e Untold Story of Dr. Dre, Eazy-E, Ice Cube, Tupac Shakur, and the Birth of West Coast Rap, delves deeper into the cultural legacy of classic gangsta rap. The launch party will feature readings by Westho¤, a panel discussion moder-ated by HipHopDX.com editor-in-chief Justin Hunte, featuring “Godfather of Hip-Hop Radio” Greg Mack and legend-ary producer Chris “The Glove” Taylor,

and special guest DJ sets. Ace Hotel, 929 S. Broadway, downtown; Tue., Sept. 13, 6 p.m.; free with RSVP. (213) 623-3233, acehotel.com/calendar/losangeles. —Neha Talreja

C O N V E R S A T I O N S

Us and FemmeThis fall, the Hammer Museum launches Bureau of Feminism, a multifaceted initia-tive that aims to “bring a feminist perspec-tive to a range of activities at the museum,” including feminist-themed performances, talks and films. For its kicko¤ event, mu-seum senior curator Connie Butler hosts “Bad” Feminism, a panel discussion that

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|addresses the “political, social and cultural relevance of contemporary feminism” with Roxane Gay and Andi Zeisler. Gay, a writer and associate professor at Purdue University, wrote the 2014 collection of essays Bad Feminist. Zeisler is a fellow author and co-founder of Bitch Media, a Portland, Oregon–based nonprofit feminist media organization. Hammer Museum, 10899 Wilshire Blvd., Westwood; Tue., Sept. 13, 7:30 p.m.; free. (310) 443-7000, hammer.ucla.edu/programs-events/2016/09/bad-feminism. —Siran Babayan

P O D C A S T S

Faris WheelEven sitcom actresses have caught the podcasting bug. Launched in Novem-ber, Anna Faris Is Unqualified is a weekly podcast on which the funny lady and her co-host, Sim Sarna, interview comedi-ans and big-name actors, and dole out practical advice to callers asking about online dating, sex and friendship. Guests have included Chris Pratt (aka Mr. Faris), Jennifer Lawrence, Shaquille O’Neal, Rosie O’Donnell, Chelsea Handler, Ellen Page, Courtney Love, Julia Stiles, Aubrey Plaza, Chris Evans, Jenny Slate and Faris’ Mom co-star Allison Janney. (The two demonstrated their orgasm voices and joked about camel toes, moose knuckles and testicles.) For the podcast’s first live taping, Faris will be joined by fellow co-median and writer Whitney Cummings. The show is a precursor to EW PopFest in October, Entertainment Weekly’s two-day, pop culture festival at the Reef downtown, featuring screenings, panels, performances and appearances by Jodie Foster, Ryan Murphy, James Corden, Nick Jonas and many others. Nerdist Showroom at Meltdown Comics, 7522 Sunset Blvd., Hollywood; Tue., Sept. 13, 8-10 p.m.; $10. (323) 851-7223, nerdmeltla.com. —Siran Babayan

wed 9/14M E D I A

A New Lisa LifeFor the past two years, CNN’s documen-tary series This Is Life With Lisa Ling has followed the TV journalist as she investigates unconventional subcultures in America, from a gay rodeo in Santa Fe, New Mexico, to Satanists in Detroit to the adult children of convicted polygamist cult leader Warren Je�s in Salt Lake City. Ling, who previously hosted Our America With Lisa Ling on OWN, is also the author of two books, including 2011’s Somewhere Inside: One Sister’s Captivity in North Korea and the Other’s Fight to Bring Her Home, which she co-wrote with her sister, Laura. As part of Live Talks Los Angeles, Ling discusses and screens clips of This Is Life’s upcoming season with Michaela Pereira, host of HLN’s new morning news program, Michaela. Ann & Jerry Moss Theater, New Roads School, 3131 Olympic Blvd., Santa Monica; Wed., Sept. 14, 8 p.m.; free with RSVP. (310) 828-5582, livetalksla.org. —Siran Babayan

thu 9/15H A U N T E D H O U S E S

I’m a CreepMuch more than a haunted house, Cree-pLA: Entry is a psychological horror experi-ence that takes audience members inside the terrifying, twisted world of a troubled 1970s artist named Erebus Burwyck. Begin-ning in the seemingly innocuous preshow lounge, guests embark on a dark journey through a 12,000-square-foot environment in which a series of disturbing scenarios emerges. CreepLA debuted last year, but for this year’s installment, founder Justin

Fix expanded not only the space but also the storyline, which he says is inspired by the likes of David Lynch and Stanley Kubrick. What could go wrong? 2316 N. San Fernando Road, Glassell Park; Thu., Sept. 15, 7-9:30 p.m.; runs through Oct. 31; $40-$50. creepla.com. —Tanja M. Laden

C O M E D Y

Spruce BruceLast year, actor, director and Kids in the Hall alum Bruce McCulloch appeared at UCB to read from his 2014 book, Let’s Start a Riot: How a Young Drunk Punk Became a Hollywood Dad. The collection of essays covers growing up in Calgary, forming the famed Canadian comedy troupe and now

living in the Hollywood Hills as a 50-some-thing father. (Based on his semiautobio-graphical stage show, Young Drunk Punk is also the name of a short-lived Canadian sitcom McCulloch starred in and directed last year.) On a recent episode of fellow co-median Steve Agee’s podcast, McCulloch discussed writing another book and direct-ing TV (including Brooklyn Nine-Nine), as well as doing more stand-up. For tonight’s Bruce McCulloch: Tales of Bravery and Stupid-ity, the funnyman returns to the club to perform stand-up and selections from a new theatrical show, Tales of Bravery and Stupidity. UCB Franklin, 5919 Franklin Ave., Hollywood; Thu., Sept. 15, 7-8 p.m.; $5. (323) 908-8702, franklin.ucbtheatre.com. —Siran Babayan

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|“ELECTRIC EARTH” GETS PLUGGED IN

Finally, the enormous, amorphous, labyrinthian Doug Aitken show L.A. deserves arrives at MOCA

BY CATHERINE WAGLEY

Over the last 20 years, Los Angeles–based artist Doug Aitken’s multichannel video installations, sculp-tures and “happenings” have defied categoriza-

tion as they charmed audiences and critics worldwide. While his eclectic pieces regu-larly draw on his California roots, some-times featuring celebrity actors and often incorporating barren landscape imagery of the great American West, they are, more often than not, exhibited elsewhere.

Often too big, too site-specific or too ephemeral to exist inside traditional muse-um spaces, Aitken’s art has been displayed on the exterior of the Museum of Modern Art in New York City and on a barge o� the coast of Greece. One of his more recent works — a sort of large-scale performance/light installation — escaped confinement by museum, city or even state as it raced across the continental United States on the side of a train.

Now, thanks to curator Philippe Vergne and the creative minds at the Museum of Contemporary Art, Los Angeles, a col-lection of Aitken’s works will be on view inside the cavernous and flexible Ge�en Contemporary. The exhibition, “Electric Earth,” is the first midcareer survey in North America of Aitken’s extensive output. It is also the first time many people in Los Angeles will have the opportunity to view a comprehensive collection of the output of one of their city’s most important contemporary artists.

“I’m very grateful,” Aitken says of the opportunity to show his work in the city where so many of his friends and collabora-tors live. “I don’t want to be in a situation where I’m ... just taking [my art] away always.”

For Aitken, whose mantra has always been to focus on forward motion and art that hasn’t been made yet, the opportu-nity to look back and dwell on previously made works through a traditional, didactic survey doesn’t hold much appeal. Rather than tediously explore old works, he has reframed the exercise.

“For me, this was really a chance to cre-ate a new work,” he explains. “What was

interesting to me about the project was to visualize the show itself as a work and to really try to present this constellation of pieces as a single mass.”

Aitken had the freedom to turn this sur-vey into a sort of new artwork-of-artworks because Vergne and MOCA collaborated with him extensively on its design. “This survey could be something that is very dry and encyclopedic,” Aitken explains. “I was fortunate in that Vergne really wanted to work with me on it to create something new.”

The exhibit as it has been imagined by Aitken and Vergne will be, like many of Aitken’s individual pieces, an immersive experience. “I wanted a situation where, when the viewer walks through the door, they walk through this threshold and at that point there’s no longer a sense of time and place,” Aitken says. “There’s no for-mula for how you move through the space. There’s no map or guidebook.” In other words, choose your own adventure.

In advance of the show, the massive Ge�en Contemporary has been built out to create a purposefully disorienting laby-rinth of rooms and spaces. “Imagine you’re

in ancient Rome at night,” Aitken suggests. “You’re moving through some district where the streets become like labyrinths and you lose yourself in the architecture and the motion. I wanted something like that for this exhibition.”

What you’ll see and hear as you move through this timeless, placeless labyrinth will, of course, vary by viewer and experi-ence. On display throughout the space are some of Aitken’s multichannel films. In Black Mirror, actress Chloë Sevigny meanders through a nonlinear script. In migration (empire), a horse’s hoof makes an imprint in the carpeting of a hotel room, a deer sips timidly from a well-lit pool and

an owl stares alertly, perched on a bed in the midst of a shower of hotel pillow feathers.

Sound, too, is on display and immersive. In restless minds, one of the earliest of Aitken’s works in the show, rural farm auctioneers babble in rapid-fire exchanges of commerce across several screens. “For myself,” Aitken explains, “there is always music. I was obsessed with it in a way — this idea of music, of sound, of the struc-ture of music. So you have these men and women who are selling heavy machinery and livestock and doing so just to sell it as fast as they can, but kind of inadvertently creating this incredible sonic instrument, like the human voice as accelerated as it could be.”

Juxtapose those sounds with the constant melodic dripping that emanates from Aitken’s sonic fountain. For that piece, a large portion of the Ge�en’s floor has been excavated and then filled with a white watery substance. Aitken explains: “The water moves up through the ceiling of the museum and pours back down. We designed the artwork so that the dripping and falling of the water can be very precise and can actually be a kind of musical or sonic composition. There’s a series of underwater microphones that pick up that sound and amplify it through the museum space.”

These two sound pieces are similar but contrasting. One is “minimal, haunting, restless” and the other “accelerating and fast.” Both “look at the extremes of concep-tual art and sound and music and where that can go,” Aitken comments.

In addition to his video installations, sculptures and photographs, Aitken’s artwork often involves “happenings,” or

performative instances that occur at spe-cific times and sites. Two weeks before the MOCA survey opens, Aitken can’t discuss the happenings that will occur during the run of the exhibit because he’s “still work-ing on that.”

Specifics aside, happenings will be part of the “Electric Earth” experience. “I see the exhibition in a nonprecious way,” he says. “I see it as something where I’m interested in staging live and volatile mo-ments that will kind of happen within the installations or within the show as opposed to keeping everything fixed and frozen for the duration. I really welcome that kind of disruption.”

Thanks to Vergne’s keen eye and interest in the artist’s process, many of Aitken’s rarely exhibited sketches and collages will also be on view. Their inclusion o�ers the exhibitgoer the chance to peer behind the curtain and into the artist’s studio. Before a multichannel video installation exists, Ait-ken’s ideas often are processed on paper and through “crude matter.”

“Vergne was very interested in the pro-cess of some of the larger works,” Aitken says. “I think he was kind of surprised when he spent more and more time at our studio and saw how many stages concepts take to develop. ”

Whether or not and in what order a visitor at “Electric Earth” happens upon a soundscape, landscape, sketch or “volatile moment” is unpredictable. Thanks to a cu-rator’s flexibility and an artist’s rethinking of the genre, this survey will be unlike any most museumgoers have experienced. For Angelenos, it is an opportunity to explore and celebrate one of our own, on our ex-pansive and flexible turf, and in “synergetic dialogue” with both art and artist.

| Culture //

PHOTO BY SHANE LOPES

“THERE’S NO FORMULA FOR HOW YOU MOVE THROUGH THE SPACE. THERE’S NO MAP OR GUIDEBOOK.” —DOUG AITKEN

Doug Aitken’s MOCA exhibit is long overdue.

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| | The Price

Is RightARTIST KEN PRICE EXHIBITS DELIGHTFUL DRAWINGS OF WHAT LOOK LIKE HIS SCULPTURES

BY CATHERINE WAGLEY

This week, an exhibition in Leimert Park resembles a slow-motion magic show, and Swiss children help their artist-mother negoti-ate 1970s feminism.Big pink lips

Ken Price’s drawings are a delight, in-tentionally cartoonish and, in some cases, better than his eccentric, globular sculptures. At Matthew Marks, where 30 years’ worth of the artist’s drawings are on view through the end of this week, crab legs protrude from a purple vase in one framed picture. In others, a car careens o� a cli�, hover-ing above a coastal highway as its nose faces the ocean, and an ecstatic woman does yoga moves balanced on what looks like one of Price’s sculptures. Another of his sculptures, depicted on a pedestal, looks as if it’s crying out for help. 1062 N. Orange Grove Ave., West Hollywood; through Sept. 10. (323) 654-1830, matthewmarks.com.Man on fire

In artist Alex Da Corte’s film A Night in Hell, a bandaged man who’s on fire falls in slow motion past lush purple curtains again and again. The film plays in the darkened side gallery of Art + Practice, where visitors can sit on pillows made to look like Big Macs. The front gallery is tiled. A stained-glass window with a red rose in it has been installed above the welcome desk, and a black witch hat that almost reaches to the ceiling stands in the middle of the room. Around the corner, a ceremonial tableau has been arranged on top of a glass table: a candlestick, an ant-ler, a rose. Another video shows a man, also moving in slow motion, performing rituals. Smoke from burning sage wafts up from a box protruding from the wall. It all feels calculated — slick and cool — put together by someone who’s learned how to market his brand of magic. 4339 S. Leimert Blvd., Leimert Park; through Sept. 17. (323) 337-6887, artandpractice.org.Torpedo tapestry

Artist Lenore Tawney was born in 1907 (and lived until 2007), but she didn’t be-gin studying art until the 1940s. By 1954, she was weaving. In “Three Women,” the show up now at the Landing, Tawney’s weavings hang in the front of the gallery. One long brown and beige linen creation, called The Megalithic Doorway, looks

like an elegant torpedo. Tawney’s work co-habitates with work by two much younger artists. Loie Hollowell’s paint-ings, made of oil and modeling paste, are all a uniform size. All have consistent col-ored bands curving from top to bottom. But puckered, fleshy forms pop up in the middle and on both sides, giving these regulated things bodily texture. Tanya Aguiñiga’s installation in back, Teeter-ing of the Marginal, is quietly comical. She’s suspended little bodies of beeswax, gauze, canvas and clay from cotton ropes, so they look like cocooned creatures caught in a friendly web. 5118 W. Je�er-son Blvd., West Adams; through Sept. 17. (323) 272-3194, thelandinggallery.com.Politics and childhood

In making her videos, Swiss artist Angela Marzullo often enlists her two daughters as performers and pro-tagonists. Homeschooling, the title of Marzullo’s screening at Echo Park Film Center and of her new book, features the

artist’s daughters reading Valerie Solanas’ angry SCUM (Society for Cutting Up Men) Manifesto, or steal-ing, eating and chucking apples while reciting “Culture in Crisis” by theorist Hannah Arendt. The girls mirror the intense voices and ideas of other femi-nist thinkers, too, making the stakes of childhood feel high, as, of course, they really are. 1200 N. Alvarado St., Echo Park; Sat., Sept. 10, 7 p.m. (213) 484-8846, echoparkfilmcenter.org.Prisons of our own making

“Open Air Prisons,” the exhibition Kelman Duran curated for LACE, is in essence a series of very short shows all exploring the prisons that exist outside penitentiary walls — Duran cites Gaza, Indian Reservations and surveillance states. The first short-lived installation, by artist LeRoy Janis, opens this week and lasts three days. Janis will show a painting of a bu�alo and videos made at the Pine Ridge Lakota Reservation, where he is from. The next short show features artist Hailey Loman’s recorded interviews with Ventura County justice Steven Perren, in which the artist talks to the judge about money and death. She’s also made sculpture to accompany the interviews. 6522 Hollywood Blvd., Hollywood; opening Tue., Sept. 13, 7:30 p.m.; programming through Nov. 6. (323) 957-1777, welcometolace.org.

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| Arts // Art Picks //

Ken Price, Interior With Sculpture (1990)

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| | A LITTLE BIRD TAKES FLIGHT

With Anaïs: A Dance Opera, the controversial author reclaims her status as a feminist icon

BY BILL RADEN

“We don’t see things as they are,” declares an opening title of Anaïs: A

Dance Opera, “we see them as we are.” The statement, as any habitué of Tum-blr or Pinterest can attest, is a virally quoted epigram by Anaïs Nin, the 20th-century diarist, experimental novelist and erotica author whose posthumous literary fortunes have ebbed and flowed in recent years as precipitously as a Nova Scotia tide.

To the credit of this sleekly valorizing musical reappraisal from composer-lyricist Cindy Shapiro and director-choreographer Janet Roston, the line (from Nin’s 1961 novel Seduction of the Minotaur) now reads likes an eerily prophetic epithet as the writer is being rediscovered on social media and ea-gerly embraced by women of the Tinder generation.

Four decades after her death in Los Angeles at the height of her renown — and 20 years after Deirdre Bair’s scath-ing, 1995 critical biography triggered Nin’s ignominious fall from feminist icon to self-absorbed pornographer and sexual “monster” — the author’s reputa-tion is again on the rise. And Shapiro and Roston’s 90-minute biographical homage is determined to erase past slanders by memorializing Nin through dance and song as a pioneer of women’s sexual empowerment.

Unlike a conventional book musical, in which the narrative heavy lifting is more or less divided between an en-semble of actor-singers and the produc-tion numbers of a dance chorus, Anaïs is structured as a concert staging.

Singer Madison Dewberry (alter-nating with Marisa Matthews) stars as a sort of balladeer/narrator — or the “Eternal Anaïs,” according to the program — who vocally comments on Anaïs’ interior, emotional world as the ensemble performs Roston’s balletic jazz interpretation of the defining mo-ments of Nin’s eventful if self-obsessed life.

Those lyrical passages foreground documentarylike strands of biography that are presented onscreen in Joe LaRue’s elegantly animated art nouveau text projections and through archival recordings of Nin herself (courtesy of

Jack Wall’s capable sound).The result is not unlike a live per-

formance of an album-length Taylor Swift music video, replete with Allison Dillard’s emblematic fantasy costuming and Michelle Stann’s dynamic, low-key lights.

Sultry principal dancer Micaela DePauli takes on Anaïs (Ti�any Wol� alternates) as the show quickly zeroes in on the most celebrated and salacious

aspect of Nin’s life: the decade-plus and storied extramarital a�air that she car-ried on with the transgressive American novelist Henry Miller (a hunky Michael

Quiett), but with the tacit approval of her lifelong banker husband, Hugh Guiler (Quinn C. Jaxon, alternating with Du’Ron Fisher)

Musically, the show’s synthy, 17-song, prerecorded R&B and electronic dance-inflected tracks (co-produced by Sha-piro and Wall) provide both brooding atmospherics and pulsating urgency for the drama, as well as a sensational showcase for Dewberry, whose smolder-ing stage presence and eerily soulful delivery both drives and elevates the evening.

DePauli, Quiett and Jaxon are e�ec-tive in the series of passionate pas de deux and wary pas de trois that Roston has designed to represent the uncon-ventional nature of their relationship. But her mostly illustrative choreog-raphy and its limited vocabulary of swoons, lifts and sweeping carrying moves too soon exhausts itself through sheer repetition (though standouts

Wol� and Denise Woods distinguish themselves as personable featured dancers in both the “Café Culture” and “Delta of Venus,” numbers, highlighting Nin’s interwar literary endeavors).

“America tried to kill me as a writer, with indi�erence, with insults,” the show quotes Nin as complaining. And if Anaïs: A Dance Opera falls short of redressing that a�ront by making its case for the author’s induction into the last century’s dead-white-male–domi-nated literary canon, it certainly suc-ceeds as a persuasive and entertaining argument for the cultural importance of Nin’s empowering defiance of gendered sexual stigmas, lyrically captured in Shapiro’s feminist war cry, “And my body is mine!”

ANAÏS: A DANCE OPERA | Greenway Court Theatre, 544 N. Fairfax Ave.,

Fairfax | Through Sept. 18 greenwaycourttheatre.org

| Stage //

PHOTO BY BARRY WEISS

FOUR DECADES AFTER HER DEATH IN LOS ANGELES AT THE HEIGHT OF HER RENOWN, THE AUTHOR’S REPUTATION IS AGAIN ON THE RISE.

Vocalist Marisa Matthews as author Anaïs Nin in Anaïs: A Dance Opera

MEDEA’S BIG HAPPY FAMILY

Performer Jonica Patella is a petite wom-an, but she packs a powerful punch. Her work is on display for one more weekend

at Zombie Joe’s Underground Theatre, where she appears as Medea in Euripides’ tragedy of the same name. Running less than an hour, the show has been compressed, adapted, choreographed and staged in a remarkably small space by director Denise Devin.

When I was a kid and first heard the story, I thought of it as a far-out myth of a monster lady who murdered her own children. Now I see it as the tale of a cruelly betrayed woman driven to extreme acts by the lack of options available to her in a society where women have no rights and can be discarded by a man as easily as an unwanted garment (Too many of these places still exist today.) Medea even states in the midst of her rant that divorce is not an option for her, that it’s a “dishonorable” choice for a woman.

In order to exact her revenge, Medea must beguile both Creon (Dale Sandlin), the ruler of Corinth, whose daughter is marrying Medea’s husband, Jason (Alex Walters), and Jason

himself. Both men are natu-rally disinclined to trust her, but she manages to secure their confidence long enough to engender the murder of her rival, the young princess (Dicle Ozcer), and Jason’s children (who do not appear onstage in this adaptation).

One of the most effective scenes directori-ally takes place between Medea and Jason, who tries to convince her that his leaving her for another woman is in everybody’s best interest: His status will be upgraded, and with plenty of money he can take care of her and the kids. Medea isn’t buying it, of course, but it’s laughable to see to what degree Walters’ dissembling betrayer believes his own ex-cuses — it really is classic. Both performers are neatly on target.

Not everything works: The biggest flaw in the production is the inconsistency among the supporting players, some of whom aren’t adept handlers of the literary language.

But Patella is magnetic, and the tiny venue elevates rather than detracts from her in-tensity. Devin’s inclusion of a hypnotic song (composed by Elif Savas), along with Taiko

drums and other percussionist instruments, brings a haunting quality to the drama. —Deborah Klugman

MEDEA | Zombie Joe’s Underground, 4850 Lankershim Blvd., North Hollywood

Through Sept. 11 | (818) 202-4120 zombiejoes.tix.com

Alex Walters and Jonica

Patella in Medea at

Zombie Joe’s Underground

Theatre

PHOTO BY DENISE DEVIN

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|BRAVE THE DARKNESS

Demon’s director committed suicide. Now his wife/producer perseveres

BY APRIL WOLFE

What happens when a director takes his own life before he’s able to see his work open in theaters? In the

case of Marcin Wrona and Demon, his mesmerizing Polish art-horror film, Olga Szymanska, Wrona’s producing partner and wife, has pressed on. She has traveled with the film, watching it over and over, talking at length about her husband’s intentions and dutifully enduring Q&As in which she will inevitably be on the receiving end of the question: Why? With such a bright future, with a supportive and intelligent new wife and partner, with a film just coming out — a brilliant genre-bender replete with indelible perfor-mances, dry humor and humanity — why would someone leave all that behind?

“I don’t know how to answer that,” Szy-manska says. She pauses often, preparing her words in English, but she’s remarkably open and composed when she speaks of Wrona. “He was a closed-o� kind of per-son. He was very focused on work, but he really was a cheerful person, too.”

Even without the personal tragedy, De-mon features its share of di�cult themes. The film follows a seemingly joyful man, Piotr (Itay Tiran), preparing the country home inherited by his lovely bride-to-be, Zaneta (Agnieszka Zulewska). The night before the nuptials, Piotr unearths human remains on the property, but he tells no one. At the wedding, as the night wears on, he descends into a kind of madness, his body possessed by the malevolent spirit (or dybbuk) of a Jewish girl killed by her Polish neighbors in WWII.

The figure of the murdered girl is a daring element for a feature to depict, as Poland still encourages denial about its citizens’ complicity in the Holocaust.

“Poland su�ered a lot during the second world war,” Szymanska says, “but the uncomfortable truth is that [Poland] said almost the whole village of Jedwabne was killed by Nazis, but it turned out that people from the village actually burned the barn with the Jews kept inside. And at the same time, there were many Poles saving Jewish lives, so I think we need to remem-ber both — the positive and the negative. We shouldn’t reject the past.”

This is a philosophy Szymanska and Wrona shared, and one she abides by as

she discusses her late husband. Szymanska recognizes the importance of acknowledg-ing this loss in her life, but she channels her energy into promoting this last film they made together, which is equal parts unnerving, entrancing, torturously sad and still sometimes flat-out hilarious, exactly when comic relief is needed. But Demon, which Wrona saw premiere at the Toronto International Film Festival in 2015, can’t help but reflect the personal. While early critics said nice things, they were dumbfounded by what they perceived as an illogical premise: Why would Piotr not tell the people he loves about what he has uncovered — and what’s happening to him?

The question lingers over both the film — Piotr doesn’t talk about the bones, just as the Poles who killed their Jewish neighbors remained silent — and Wrona’s life. Watch-ing Demon, it’s di�cult to remove Wrona’s backstory from the movie’s context. Szymanska says she sees him everywhere in the film, from the cinematography to the costuming — the protagonist wears the same black leather jacket Wrona did. But, for her, drawing parallels between the fictional and the personal is o�-limits.

“I think the movie itself has its own life, and I’m trying not to get into the context too much. Otherwise I could get crazy,” she says. “I treat it as something which is finished but still like a child. And the child needs to be taken care of.”

This “child” was filmed in a rural area of Krakow after months spent looking for a proper location — a place that felt, well, haunted by its past. The house and barn featured in the film, built in 1890, are just

that. Inside the house, crumbling plaster walls reveal the brick beneath. Along the property, a thick mist rises over blu�s, with the distant sound of running water.

The choice to set the story amid a wedding ties directly to Polish cultural traditions; Szymanska says it’s common for weddings to carry on for up to four days, often devolving into a temporary, communal insanity. “There’s much alcohol — it cuts the stress of meeting new people,” Szymanska says. “And when they are in this atmosphere, it’s di�cult to tell who is the crazy one. Is Piotr crazy? Or is the father who does not believe him?”

Wrona illuminates the thin, taut line between elation and madness and the crossing over from one to the other. As the doomed groom, Tiran, an Israeli actor, delivers a breathtakingly physical perfor-mance, which took weeks of choreography work with a pantomime master from Warsaw’s historic Jewish Theatre. As Tiran bends backward in the throes of posses-sion, craning his neck at impossible angles, swinging his arms out wide, he’s grotesque. Szymanska says they shot one dance scene for hours, just letting Tiran go on.

Wrona grew up in Tarnow, a city whose population was roughly half Jewish before the war — after it, only 700 came back, and most of those relocated to Israel. Despite Demon’s bearing the label of a horror film, it has a strong activist bent.

“It was more important for us to make a movie about remembering who we were

and how Poland looked like before the war,” Szymanska says. “We had Gypsies, Ukrainians, Jews — it was a multicultural country, and after the war, something happened. Our government right now doesn’t want any immigrants coming into Poland.”

This year, Polish prime minister Beata Szydlo declared that the country would not be taking in any refugees. In Warsaw, a large rainbow sculpture installation was re-peatedly set ablaze by anti-LGBTQ goons (it was rebuilt each time after, until the rebuilding became too much of a hassle). The Jewish Theatre was shut down in June. A 2013 Warsaw University poll found that 63 percent of Poles believe there’s a Jewish conspiracy to take over banking and media; 90 percent of Poles say they have never in their lives met a Jew.

Demon has become more than just a beautifully executed, original horror film. It’s a statement on anti-Semitism, on remembering and on the ways our bodies and minds can betray us. But it’s also a goodbye, an I love you, an I’m sorry.

“There will always be a question mark,” Szymanska says. “You will never get the answer to the question — what happened, why it happened. There’s something that he took with him. Even though I would give everything to know what happened, I know that I will not have the opportunity to know it, but this life ... it’s about not forgetting, and it’s also trying to live with what you will never know.”

| Film //

COURTESY OF THE ORCHARD

A body possessed in Demon

JERRY LEWIS SOLDIERS THROUGH MAWKISH DRAMA MAX ROSE

Still and silent, Jerry Lewis slumps there like old furniture in the lifeless house in which the first half of Daniel Noah’s

coming-of-old-age drama Max Rose molders. �e film is a fiction, a tidy and improbable one, but these scenes have documentary power. Lewis’ Max Rose, recently bereaved, sits and stares at nothing in particular, which a�ords us a rare opportunity to regard Lewis himself: Has this livest of live wires ever been so still onscreen? So resigned? His character’s mind, I’m sorry to say, reels between past and present. �e wife,

Eva, is played by Claire Bloom, another welcome and fascinating presence, but the scenes she and Lewis share are quick and corny, memories in which the longtime couple exults in being a longtime couple, feeling just one thing at a time.

�e film’s second half, unfortunately, puts Max into action, giving him new friends, a mys-tery to solve and ultimately — no matter how much you might plead for this not to happen — a white light to stride beatifically toward. In his stupor, he discovers evidence that Eva might have had an a�air 60 years earlier. �is rouses him, and the final scenes o�er unconvincing revelations, reassurances and reconciliations.

Noah’s framing o�en emphasizes Max’s iso-lation: He’ll be in the center of the screen, but in mid and wide shots, surrounded by a lifetime’s accumulation of furniture and records. In the

apple-red sweater he sports for much of the film he’s sometimes like the fruit in a still life, not dominant, just there.

Lewis does dominate, of course, especially when he snaps without pity at son Chris (Kevin Pollak), in Noah’s most convincing and compel-ling scenes. In them, Lewis is prickly, unpredict-able — he’s Lewis. —Alan Scherstuhl

MAX ROSE | Written and directed by Daniel Noah | Paladin | Royal, Playhouse, Town Center

Max Rose

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Double Trouble

A NEW DOC ON A LITERARY HOAX SETTLES FOR ONE SIDE

BY MELISSA ANDERSON

A decade after the fact, the scandal of JT LeRoy — the HIV-positive, young male (though

gender-fluid) writer adored by scores of global alt-celebrities who was revealed to be the cre-ation of a woman named Laura Albert — is relitigated in Je� Feuerzeig’s queasily absorbing documentary Author: The JT Le-Roy Story. But only the defense is heard from.

Backdropped by an enormous book spread (an e�ect typifying the film’s overreliance on dopey visual and aural gimmicks), Albert, now 50, expansively recounts her miserable Brooklyn childhood spent in and out of institutions. One particularly abhorrent episode from her youth is saved for Author’s final minutes, seemingly positioned as the defining incident from which the writer’s most infa-mous, but certainly not her first, alter ego emerged.

By the time of the publication of the novel Sarah (2000) and the short-story collection The Heart Is Deceitful Above All Things (2001) — works attrib-uted to LeRoy that, although fiction, were marketed and con-sumed as having been informed by his “real-life” endurance of Sadean levels of emotional,

physical and sexual abuse — Al-bert was long a veteran of avatar designing. Ashamed of her big body (“There’s nothing worse than being a fat punk,” she says in Feuerzeig’s movie), teenage Sex Pistols fan Albert sent out her sister as her double to mosh for her. It was also sometime during her adolescence that Al-bert had this wish: “Let me wake up as a blond, blue-eyed boy that a man would like to fuck.”

She became one, in a way, through her multiple calls over several years to hotlines pos-ing as “a boy in trouble,” chats

that served as first drafts of the chronicles of abjection that made LeRoy so beloved by, to name only a few, Dennis Cooper, Gus Van Sant, Courtney Love and Asia Argento, whose 2004 adap-tation of The Heart Is Deceitful Above All Things, as sordid as its source material, is generously excerpted from here. Feuerzeig — best known for The Devil and Daniel Johnston (2005), a complex, empathic portrait of

the troubled musician of the title — lets his subject recount, unchallenged, the minutiae of her mythomania, the dizzying jumble of circumventions and feints required to sustain the Le-Roy cult. (Savannah Knoop, the half-sister of Albert’s partner who appeared, bewigged and hidden behind enormous sunglasses, as the embodiment of LeRoy, appears for about a minute in the film to answer an anodyne ques-tion posed o�screen, presumably by Feuerzeig.)

Admittedly, many of these de-tails are fascinating, and Albert’s lack of repentance over propagat-ing this intricate web of fabrica-tions gives her a kind of tawdry nobility; there is, after all, a long, illustrious history of deception in literature. But what she and Feuerzeig and many others inter-viewed in the film do not address is why LeRoy’s output — motored by extravagant debasement and centered around unspeakable things done to a child that were recapitulated in lackluster, ersatz Southern Gothic prose — cap-tivated so many. “And with his shame she knows she is recog-nized,” goes a typically tumid line in The Heart Is Deceitful Above All Things, written by someone who cynically tra�cked in it.

AUTHOR: THE JT LEROY STORY | Directed and written by Jeff Feuerzeig

Amazon Studios/Magnolia Pictures Landmark, ArcLight Hollywood

| Film //

THERE IS, AFTER ALL, A LONG, ILLUSTRIOUS HISTORY OF DECEPTION IN LITERATURE.

Author: The JT Leroy Story

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ANTIBIRTH If the idea of afterbirth makes you squirm, you’d probably do best to avoid Antibirth. Body horror of the unex-plained-pregnancy variety, writer-director Danny Perez’s low-fidelity, high-anxiety grossout stars Natasha Lyonne as a woman whose conception is anything but immaculate. Lou (Lyonne) and her bestie, Sadie (Chloë Sevigny), spend the easygoing first act driving around snow-covered Michigan in a red Saturn (RIP), taking bong rips in her out-of-the-way trailer and watching late-night TV that resembles a Max Headroom fever dream — all signs, in their own way, that something is amiss. After blacking out during a hallucinatory party, Lou begins experiencing telltale symptoms of being with child, which might make sense if she had gotten laid in the last few months. Lyonne settles into the same casually vulgar mode she inhabits to great effect on Orange Is the New Black, with Sevigny receding into the background as our dev-il-may-care heroine begins to realize she may be the pawn in a conspiracy involv-ing two-bit drug dealers and governmen-tal agencies. The further Antibirth drifts from her crude magnetism and toward a Cronenberg-lite vision of Lou’s rapid, worryingly transformative pregnancy, the less compelling it becomes. Lyonne, to her credit, seems wholly aware of this, with Lou shutting down one conspirato-rial discussion by yelling, “I don’t like talking about aliens when I’m getting high — just don’t do it!” If only the film she’s in would listen. (Michael Nordine)

BROTHER NATURE Brother Nature amiably evokes John Hughes’ midperiod comedies about grown-ups, which offered minimal-ist plots that served to accentuate the performances of actors he liked — films such as Planes, Trains and Automobiles, Uncle Buck and The Great Outdoors. In those films, slobby, big-hearted Oscars and tucked-shirt Felixes took turns an-tagonizing and being antagonized, finally reconciling in warm, family-affirming conclusions. Modest hits, they eventu-ally became basic-cable staples thanks to predigested stories, mildly schmaltzy emotional beats and casts of seasoned pros. Roger (Taran Killam), an uptight political aide on the verge of announcing his own congressional campaign, travels to visit his girlfriend’s (Gillian Jacobs) family at their lake house with the goal of proposing marriage over the weekend. There, he meets his future brother-in-law Todd (Bobby Moynihan), a gigantically extroverted full-time camp counselor with a huge heart and impulse-control problems. Todd instantly embraces Roger as a “brother,” which involves a lot of uncomfortable boundary crossing, boogie boarding, proposal hijacking and televised public humiliation. Directors Matt Villines and Oz Rodriguez populate the film with a tremendous cast, including Kumail Nanjiani, Rita Wilson, Kenan Thompson and Bill Pullman. Killam and Moynihan play to their strengths — Killam lends self-awareness, humor and flexibility to Roger, a character who’s way less gregarious than his new family and who could have

been played as a fathoms-deep stick in the mud. And Todd is a grubby off-road vehicle for Moynihan’s naturally gargan-tuan personality and pops of childlike excitement. There’s nothing new in the friction between these characters, but it’s fun to watch a couple of pros showboating on the field, even when the stakes aren’t high. (Chris Packham)

FOR THE LOVE OF SPOCK Leonard Nimoy’s 1975 memoir I Am Not Spock stirred fan outrage: How dare the actor, who was in-deed Spock in the original Star Trek series, publicly dismiss his beloved half-human, half-Vulcan alter ego? But according to Adam Nimoy, Leonard’s son and the direc-tor of the heartwarming but uninventive documentary For the Love of Spock, his father didn’t write that title out of spite. Instead, Nimoy wanted to emphasize the biographical nature of the book — that despite his character’s popularity, he had a life of his own. Adam’s film pulls from that memoir — and from Leonard’s second book, apologetically titled I Am Spock — as well as from interviews and personal experience to tell the actor’s story. We learn that it was a guest appear-ance on a 1964 episode of The Lieutenant that drew the attention of Star Trek creator Gene Roddenberry. We’re treated to a clip: Leonard looks trim in a tight marine uniform, his young face handsome and angular. “I saw that face and thought he’d make a great alien,” Roddenberry says in a decades-old recording. Roddenberry loved Leonard’s minimalist acting style, which was inspired, we’re told, by Harry Belafonte, whose slight, carefully timed gestures made audiences scream with de-light. Adam’s film takes pains to show this influence in action: During a Trek scene of an alien attack, as the crew around him flails, Spock responds with a single arched eyebrow. Adam tells his father’s story with love, but he resists hagiography. He delves deep into their fraught relationship and the drinking problem they shared. Less fascinating is his analysis of Spock’s cultural influence, which begins and ends with the fact that fans love him. (Amy Brady)

GERMANS & JEWS For a film encompassing generations of fraught history, Germans & Jews is awfully short but hardly superfi-cial. Condensed rather than compact, it features dozens of voices both German and Jewish — and sometimes both, though the fact that the two identities can overlap is often forgotten in discourse on the Holocaust and what’s happened in German society since. With subtle, skillful editing, director Janina Quint wisely allows such paradoxes to arise on their own while giving the viewer enough historical context to make sense of them. Quint’s interviewees seem conscious that they are continuing a conversation that, in Germany, is at least 200 years old and was once known, darkly, as the “Jewish question.” Are we responsible for the wrongs of our ancestors? Are Germans victims as well as perpetrators? Can a Jew ever be at home in Germany? Germany’s Jewish population is growing, yet many Germans find themselves afraid to say “Jew” or “Jewish,” as if they were slurs — and many Jews recoil instinctively at

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the sound of spoken German. How can it all be true at once? The individual con-versations add up like Stolpersteine, the “stumbling stones” embedded in streets around Germany that mark the names, occupations and births and deaths of the Jews who once lived there. But conversa-tion is not fixed like stone, nor is it as

rigid as a staged interview. It’s flowing, cacophonous, overlapping. Quint films a Berlin dinner party of non-Jewish Germans and Jews living in Germany and lets us listen in. The discussion is fascinating, but the party is also robustly bourgeois. Is this nuanced conversation only available to the elite, or only of interest to them? (Diana Clarke)

ITHACA Meg Ryan and Tom Hanks reunite for the first time since 1998’s You’ve Got Mail in Ithaca — the former’s directing de-but — but they’re merely stick-figure pe-ripheral players in this egregiously clunky and phony coming-of-age story based on William Saroyan’s 1943 novel The Human Comedy. In upstate New York circa 1942, tween Homer (Alex Neustaedter) takes a job as a telegram messenger, which forces him to deliver WWII death notices to enlisted men’s families but also gives him the chance to discuss hurdle-jump-ing with boss Tom (Hamish Linklater) and the meaning of life and war with drunken telegraph operator Willie (Sam Shepard). There’s no rhythm to any single scene in this hokey tale, nor to the way in which sequences have been put together — the action is hopelessly ungainly. Meanwhile, narration from Homer’s serving-overseas brother, Marcus (Jack Quaid), teems with eye-rolling platitudes. (It comes from letters sent home and conversa-tions he has with a fellow infantryman who’s unnaturally interested in Ithaca.) Ryan furrows her brow as the mother of Marcus (played by her real-life son), Homer and their cutie-pie little sibling, Ulysses (seriously), while Hanks does even less — literally; he just stands around staring meaningfully — as the ghost of her husband. Set to a countrified score by John Mellencamp that further douses everything in down-home treacle, it’s the rare film to miss its every mark. (Nick Schager)

KICKS Here’s a gorgeous and audacious

slice of East Bay life that’s dreamily at-tentive to Northern California sun and concrete, to the decrepit beauty of a street couch under a BART station, to the slow thump of cruising stoned with hip-hop bumping, to the way suburb-city edges into city-city and the only way for a broke-ass Richmond kid to envision getting out is in idle fantasy, maybe just floating away, somehow, like a balloon you let go of. In Justin Tipping’s tragi-comic humanist sneaker-war lulu Kicks, it’s a space suit that represents escape, with the movie’s metabolism often sap-ping to coma levels as life shudders to a halt and an astronaut hovers into frame. For scrappy, scrawny high-schooler Brandon (Jahking Guillory), the NASA-uncanny suggests some complex brew of safety, anonymity and freedom. He tells us twice, in voice-over, that even in his dreams he’s being chased, and the open-ing scenes — a bracing tour of Richmond backstreets with bullies in pursuit — back him up. In the heavy-breathing thick of it, though, he’ll have his reveries, envision-ing slo-mo spacewalks above the alleys and playgrounds. Then he gets stomped. Tipping, who co-wrote with Joshua Beirne-Golden, works in three modes: sweet coming-of age naturalism; porten-tous, lyrically expressive zone-outs; and low-budget foot-chase action. A slip of story connects all this, the kind of simple quest narrative that worked for Bicycle Thieves and Pee-wee’s Big Adventure: Those red-and-black original-vintage Jordans that Brandon is convinced will change his life? They get yoinked, and he’s got to get them back. But Tipping never quite weaves all this together into a coherent whole, and Kicks alternates too often between inspired, not-bad and somewhat trying. (Alan Scherstuhl)

SULLY Like his American Sniper (2014), Clint Eastwood’s Sully is a movie of nightmares. In Sniper, Chris Kyle (Bradley

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

A Star Trek Retrospective and Voice of the BeehiveFriday, Sept. 9�e Egyptian opens its doors to Trekkies all week-end long, commencing the festivities with 1979’s Star Trek: �e Motion Picture. If you’re not on the same wavelength as the J.J. Abrams–produced series of films currently in theaters, now’s your chance to reconnect with the old-school version — followed by parts II, III, IV and VI (sorry not sorry, �e Final Frontier) and Adam Nimoy’s new documentary about his father, For the Love of Spock. To make the experience fully retro, most of the movies are being screened on actual film. Egyptian �eatre, 6712 Hollywood Blvd., Hollywood; Fri., Sept. 9, 7:30 p.m.; $11. (323) 466-3456, americancinemathequecalendar.com.

Said to be the first film to be rated X due to violence rather than nudity, I Drink Your Blood is the concept of a midnight movie made flesh. The Nuart presents David Durston’s newly restored cult classic in its uncut form, all the better to take in its bizarre plot mixing Manson-inspired hippie murderers and a rabies out-break. If you really want to burn the midnight oil, seek out I Eat Your Skin for an impromptu

double feature. Nuart Theatre, 11272 Santa Monica Blvd., West L.A.; Fri., Sept. 9, 11:59 p.m.; $11. (310) 473-8530, landmarktheatres.com.

Saturday, Sept. 10If you’re a 20-something struggling to adapt to adulthood, it may come as cold comfort to learn that Reality Bites tackled that exact issue back in the ’90s — especially since that’s probably the era you’re longing for. Electric Dusk adds to the feeling of a bygone era by allowing you to take in this Gen X document from the comfort of your car, preferably with a Lisa Loeb cassette loaded in the tape deck. Electric Dusk Drive-In, 2930 Fletcher Drive, Glassell Park; Sat., Sept. 10, 8 p.m. (doors at 6:30); $10 lawn, $14 car, $60 VIP. (818) 653-8591, electricduskdrivein.com.

Sunday, Sept. 11Breathless is très bien, but Jules et Jim is a French New Wave benchmark par excellence. Cinefamily presents François Tru�aut’s classic outdoors, ac-companied by John Herndon and Je� Parker of Tortoise along with Decadanse Soirée. Preceded by a picnic, the screening is part of the newly launched Cinefamily Everywhere series; as such, it’s 21 and over. Barnsdall Art Park, 4800 Hollywood Blvd., East Hollywood; Sun., Sept. 11,

5:30 p.m.; $25. (323) 655-2510, cinefamily.org.

Eddie Murphy is set to make his return to the silver screen next week with Mr. Church, an occasion the Aero is marking with a double fea-ture of Trading Places and Bowfinger. The former has long been considered a com-edy classic, but only recently has Bowfinger started getting its due — another example of Murphy playing multiple roles, it’s both weirder and more subtle than some of his better-known works. Aero �eatre, 1328 Montana Ave., Santa Monica; Sun., Sept. 11, 7:30 p.m.; $11. (323) 466-3456, americancinemathequecalendar.com.

Tuesday, Sept. 13LACMA’s Guillermo del Toro–curated Fuel for Nightmares series continues with �e Spirit of the Beehive, and it’s easy to see why: Víctor Erice’s masterwork concerns a little girl who be-comes obsessed with Frankenstein a�er a mobile cinema brings it to her small town in 1940. Set in the wake of the Spanish Civil War and Franco’s rise to power, it makes her simple questions somehow haunting: “Why did he kill the girl,” she

asks, “and why did they kill him a�er?” LACMA, 5905 Wilshire Blvd., Mid-Wilshire; Tue., Sept. 13, 1 p.m.; $5. (323) 857-6000, lacma.org.

Wednesday, Sept. 14School ’s no longer out for summer, but you still gotta keep L-I-V-I-N. This summer’s Everybody Wants Some!! was a worthy spiri-tual successor to Dazed and Confused, but there’s still nothing like the original. Richard Linklater ’s last-day-of-school saga may be the definitive “hangout movie,” an overused term of late but one that perfectly describes this banter-heavy ode to youth. ArcLight Culver City, 9500 Culver Blvd., Culver City; Wed., Sept. 14, 7:30 p.m.; $15. (310) 559-2416, arclight cinemas.com. —Michael Nordine

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|Cooper) sits rigidly in the living room, imagining the gunfire, roaring helicopters and wailing bystanders of Fallujah play-ing out on a turned-off TV as his children race through the house. In Sully, Chesley “Sully” Sullenberger (Tom Hanks) has his own post-trauma TV-set hallucinations: In the middle of a restless half-sleep in a Times Square Marriott, he sees Katie Couric appear on the screen and call him out for making a “wrong choice” in landing US Airways Flight 1549 on the Hudson River. Clint Eastwood is 86 — an old, rich white man — and has a habit of making misguided and out-of-touch observations to the press. Eastwood also has taken to making staid biopics with uncool technical gaffes, which get treated like smoking guns by Reddit and Twitter. To come across the garish make-up jobs of J. Edgar (2011) or the fake-baby scene of Sniper on one’s social media feed is to see Eastwood treated as a kind of defeated dinosaur. Sully stands to do him no favors in these regards: This is a talky, mild-mannered drama about stoic, middle-aged white men exhibiting poise amid chaos and illustrating the sanctity of simply doing one’s job. It’s also, at 96 minutes, rather underlength for latter-day Eastwood. That it doesn’t feel as if Sully should have been any longer suggests this material is a little more dry, this hero a little more bland, his conflicts less complex than in the example set by Sniper. And yet it’s worth seeing: There is in Sully — as in Sniper — a purposefully conflicted reckoning with the very tenets of American heroism. (Danny King)

TRANSPECOS Transpecos is the latest film to address the difficulties of U.S. border control in the face of the Mexican drug trade, but director/co-writer Greg Kwedar’s debut feature eschews the vio-lent sensationalism of last year’s Sicario in favor of a sparer, more character-based approach. Initially, the three main characters, all Border Patrol officers, seem like types: Hispanic Boy Scout Flores (Gabriel Luna), rookie recruit Davis (Johnny Simmons) and grizzled veteran Hobbs (Clifton Collins Jr.). One early dia-logue exchange — in which Hobbs’ hard-line racism toward illegal immigrants sharply contrasts with Flores’ sense of empathy — rather didactically exposes a fundamental clash in perspective. But after a seemingly routine vehicle inspec-tion goes fatally wrong and Davis turns out to be working, not entirely of his own volition, as a courier for a Mexican drug cartel, Transpecos burrows deeper into its characters, revealing nuances that bring them to anguished, three-dimensional life as the thriller plot gradually unfolds. This is especially so in the case of Flores, who finds himself walking a moral tightrope, going rogue and risking jail as he tries to help Davis out of his sticky situation. Though Flores’ compassion is echoed by some of the Mexicans at the film’s climax, such a humane attitude ultimately isn’t enough to transcend the brutality of the drug war. Sicario es-sentially reached the same conclusion, but Transpecos distinguishes itself with a sharp ear for dialogue, keen attention to ground-level detail and an ending that

unexpectedly chooses cautious optimism over blanket cynicism. (Kenji Fujishima)

WHITE GIRL It’s hard to watch White Girl without experiencing a creeping sense of anxiety. Loosely based on the adolescent life of writer-director Elizabeth Wood, the film follows Leah (Morgan Saylor), a college student who parties all night and snorts prodigious amounts of cocaine. She and her roommate, Katie (India Menuez), live in Ridgewood, Queens, as members of the hipster gentrification class. Early on Leah meets Blue (Brian Marc), a drug dealer hanging outside her apartment, and the two begin the tumultuous relationship that drives the narrative as they party, fuck and push the product. Blue doesn’t seem too much like the usual movie cliché of a hustler (though plenty of stereotypes can be found in his orbit) — he has a delicate quality and is less wild than his girlfriend. In order to get Blue out of jail, Leah enlists a lawyer, George Fratelli (Chris Noth), who is too expensive but plies her with his understanding of discrimination in a world of police who inordinately pun-ish nonwhite men for drug possession. The relationship between Leah and the older, slightly sleazy Fratelli ultimately moves in a disturbing sexual direction that viewers with an inherent distrust of powerful men might not find surprising. Wood is attuned to the ways America’s power dynamics work against young women, yet scenes in which Leah has money stolen and faces sexual violence feel strangely like some kind of punish-ment. You might hope that a film directed by a woman about an attractive college student who constantly uses drugs would identify more with the protagonist than the leering men around her. But Leah is a bad seed, and White Girl won’t ever let us forget it. (Abbey Bender)

O N G O I N G

DON’T BREATHE The breakthrough with studio horror films in recent years, since the found-footage boom, is a welcome environmental immersiveness. It’s a testament to the craft of production designers and camera operators that the movies now so persuasively show us just what it would be like to pick your way through some moldering basement of menace. The first hour of Fede Alvarez’s Don’t Breathe is an often exemplary, you-are-there, house-prowling simula-tion event. Alvarez’s camera, like James Wan’s in the first Conjuring, weaves patiently through a creaking old Colonial home, trailing a trio of teen burglars down half-lit corridors, around shadowed corners and — exquisitely, excruciatingly — through doors you might wish they’d keep closed. This in-the-moment slow-ness — an innovation rooted in found footage, in the comparatively static and silent Paranormal Activity films, in the ex-ploration gameplay of Resident Evil and Alien: Isolation — emphasizes specific physical space and the protagonists’ metabolism. It invites viewers into a uniquely active spectatorship. You might not know their names, but you breathe with these people. Alvarez proves adept at springing surprises in these moments,

a skill that combines all the art and tech-nique of moviemaking with the architec-ture of 3-D level-planning and the carny showmanship of building a professional haunted house. You should know that there’s a terribly stupid plot point involv-ing a pair of rapes, and that the violence, once it starts, is grimly brutal, protracted and entirely un-supernatural. Too much of the film’s back stretch is concerned with watching people try to squeeze or beat the life from one another only to be stopped in these endeavors by a person or pet that had previously seemed to have its life snuffed. (Alan Scherstuhl)

GO HELL OR HIGH WATER Hell or High Water sees a Scottish director making a down-home movie about cars, guns, brothers, banks and twist-off beers. As he has in previous films, David Mackenzie applies his serene outsider’s perspective to new territory, namely the open ranges, empty streets and deserted diners of small-town Texas. The screenplay, by Taylor Sheridan (Sicario),

LA WEEKLY 1X7THUR 9/8

FROM THE DIRECTOR OFTHE DEVIL AND DANIEL JOHNSTON

NEVER JUDGE AN AUTHORBY HER COVER

FOR LANGUAGE THROUGHOUT,SEXUAL CONTENT, SOME DRUGMATERIAL AND VIOLENT IMAGES.


WEST LOS ANGELESThe LANDMARK at W. Pico & Westwood (310) 470-0492 landmarktheatres.com Daily: 11:40 • 2:15 • 4:50 • 7:25 • 9:55Sun: 11:25 • 2:00 • 4:50 • 7:45 • 10:15

HOLLYWOODArcLight Cinemas At Sunset & Vine (323) 464-4226 Fri & Sat: 7:15pmFor additional showtimes check arclightcinemas.com

at the ARCLIGHT FRI 9/9 at the 7:15 showwith director Jeff Feuerzeig & SAT 9/10

at the 7:15 show with author Laura Albert& at THE LANDMARK SUN 9/11 at the2:00 & 4:50 shows with Laura Albert.

Q&A’S OPENING WEEKEND

“WILDLY ENTERTAINING.THE MOVIE THIS CRAZY,

ENDLESSLY FASCINATINGSTORY DESERVES.”

-Bilge Ebiri, NEW YORK MAGAZINE

��“ENDLESSLY RIVETING.

ALBERT IS A HELL OFA STORYTELLER.”

-Nigel M. Smith, THE GUARDIAN

“A TIGHTLY WOVENAND ALMOST

UNBELIEVABLE YARN.A strange, existential and ultimately

thrilling story of a woman donning identitieswith a degree of spy-novel ambition.”

-Steven Zeitchik, LOS ANGELES TIMES

“THE BEST YARN OF 2016.Trust us, it will be one of the most

entertaining films you see this summer.”-INDIEWIRE

“MADLY ENTERTAINING.”-David Edelstein, NEW YORK MAGAZINE

“UTTERLY MESMERIZING.”-Dennis Dermody, PAPER

“A MUST-SEE.”—THE HOLLYWOOD REPORTER“ENTERTAINING,

INFORMATIVE… MOVING DOCUMENTARY.”

—FORCES OF GEEK

CLAREMONTLaemmle’s Claremont 5 (909) 621-5500 Tuesday 9/13: 7:30pm

NORTH HOLLYWOODLaemmle’s NoHo 7 (310) 478-3836 Thurday 9/8: 7:30pm

PASADENALaemmle’s Playhouse 7 (626) 844-6500 Monday 9/12: 7:30pm

F O R T H E L O V E O F S P O C K . C O M

IN SELECT THEATERS THUR 9/8 - THUR 9/15


BEVERLY HILLSLaemmle’s Ahrya Fine Arts (310) 478-3836 Friday 9/9 - Sunday 9/11: 1:30 • 4:20 • 7:10Monday 9/12: 4:20pm Tuesday 9/13 - Thursday 9/15: 4:20 • 7:10

HOLLYWOODEgyptian Theatre (323) 466-3456Saturday 9/10: 7:30pm

SANTA MONICALaemmle’s Monica Film Center (310) 478-3836Wednesday 9/14: 7:30pm

LA WEEKLYFRI 9/9

2 COL. (3.55") X 7" MRALL.MXR-R1.0909.LAW #7

“Reminds us that MR. LEWIS, for all his outsize comic credentials,

can be A FORMIDABLE DRAMATIC ACTOR.

Moviegoers of a certain age will be unable to resist this unexpected glimpse of

A TRUE-BLUE LEGEND!

”

Jeannette Catsoulis, THE NEW YORK TIMES

“

LEWIS REMAINS A MESMERIZING STAR

in front of the camera. A quietly devastating performance.

YOU CAN

’

T TAKE YOUR EYES OFF HIM!

”

Peter Travers, ROLLING STONE

“A tender showcase for

A DIFFERENT KIND OF JERRY LEWIS

that utilizes the strengths and frailties of a

90-year-old show business survivor

AS FEW FILMS HAVE EVER DONE.

His TOUCHING portrayal of

the challenges of old age is

BEYOND EXPECTATION!

”

Rex Reed, THE NEW YORK OBSERVER

“

LEWIS APPEARS IN

VIRTUALLY EVERY SCENE

of the movie, giving

A FINE PERFORMANCE!

”

Bill Newcott, AARP

“

A POIGNANT DRAMA!

”

Bryan Alexander, USA TODAY

Q&AS WITH WRITER/DIRECTOR DANIEL NOAH

FRIDAY, SEPTEMBER 9 AFTER THE 7:45PM SHOW AT LAEMMLE’S ROYAL

SATURDAY, SEPTEMBER 10 AFTER THE 7:30PM SHOW AT LAEMMLE’S PLAYHOUSE

WEST LOS ANGELESLaemmle’s Royal (310) 478-3836laemmle.com Tickets @ laemmle.com

ENCINO Laemmle’s Town Center 5(818) 981-9811IRVINEEdwards Westpark 8(844) 462-7342 #144

LAGUNA NIGUEL Regency Directors Cut Cinema at Rancho Niguel(949) 831-0446PALM DESERT Palm Desert 10(760) 779-0730

PALM SPRINGSCamelot Theatres(760) 325-6565

PASADENALaemmle’s Playhouse 7(626) 844-6500

CHECK DIRECTORIES FOR SHOWTIMES / NO PASSES ACCEPTED


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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)306-0676El Ganzo Fri., 7:30 p.m.; Sat., 2:30, 7:45 p.m.; Sun., 4, 10

p.m.; Mon., 10:30 p.m.; Tues., 7:30 p.m.; Wed., 10:30 p.m.; Thurs., 7:30 p.m.

Happy Birthday Fri., 6, 9 p.m.; Sat., 6:15, 10:45 p.m.; Sun., 7, 8:30 p.m.; Mon., 6, 7:30 p.m.; Tues.-Thurs., 6, 9 p.m.

Firecracker Sat., 4 p.m.The Green Fairy Fri., 10:30 p.m.; Sat., 9:15 p.m.; Sun.,

5:30 p.m.; Mon., 9 p.m.; Tues., 10:30 p.m.; Wed., 7:30 p.m.; Thurs., 10:30 p.m.

ARCLIGHT HOLLYWOOD Sunset Blvd. at Vine (323) 464-4226Snowden Live Wed., 7:30 p.m.Author: The JT LeRoy Story Fri.-Sat., 7:15 p.m.Sully Fri.-Sat., 7:30, 9:45 p.m.; Fri.-Sat., 10:30 a.m., 12:45,

5:45, 8:15, 10:45 p.m.; Sun., 10:15 a.m., 12:45, 5:45, 8:15, 10:45 p.m.

Ferris Bueller’s Day Off Tues., 7:30 p.m.Weird Science Mon., 7:30 p.m.LOS FELIZ 3 1822 N. Vermont Ave. (323) 664-2169Don’t Breathe Fri.-Sun., 2, 4:30, 7:20, 9:45 p.m.; Mon.,

2:20, 4:30, 7:20, 9:45 p.m.; Tues.-Thurs., 2, 4:30, 7:20, 9:45 p.m.

Hell or High Water Fri.-Sun., 1:45, 4:15, 7, 9:45 p.m.; Mon., 4:15, 7, 9:45 p.m.; Tues.-Thurs., 1:45, 4:15, 7, 9:45 p.m.

Don’t Think Twice Fri.-Sun., 2, 4:30, 7:20, 9:45 p.m.; Mon., 2:20, 4:30, 7:20, 9:45 p.m.; Tues.-Thurs., 2, 4:30, 7:20, 9:45 p.m.

TCL CHINESE 6 THEATRES 6801 Hollywood Blvd. (323) 461-3331Digimon Adventure tri. - Chapter 1: Reunion

Thurs., 7 p.m.Labyrinth 30th Anniversary Sun.-Wed., 2, 7 p.m.Carrie: 40th Anniversary Tues., 9 p.m.TCL CHINESE THEATRE IMAX 6925 Hollywood Blvd. (323) 461-3331Sully: The IMAX 2D Experience Fri.-Sat., 1:15, 4, 7,

9:45 p.m.; Sun., 1, 3:45, 6:45, 9:30 p.m.; Mon.-Thurs., 1:15, 4, 7, 9:45 p.m.

PACIFIC’S EL CAPITAN Hollywood Blvd., west of Highland (323) 467-7674Beauty and the Beast (1991) 10 a.m., 1, 4, 7 p.m.PACIFIC’S THE GROVE STADIUM 14 189 The Grove Dr., Third & Fairfax (323) 692-0829Bridget Jones’s Baby Thurs., 7, 9:45 p.m.Sully Fri., 3, 7:45, 10:15 p.m.; Sat., 12:45, 3, 5:20, 7:45 p.m.;

Sun., 12:40, 3, 5:20, 7:45, 10:15 p.m.VISTA 4473 Sunset Dr. (323) 660-6639Sully Fri.-Wed., 1:45, 4:30, 7:20, 9:40 p.m.; Thurs., 1:45,

4:30 p.m.Scarface Sat., 12 mid.

DOWNTOWN, S. LOS ANGELES

DOWNTOWN INDEPENDENT 251 South Main Street (213)617-1033Friday shows only Almeida Theatre: Richard III Fri.,

5 p.m.One More Time With Feeling 3D Fri., 8:45 p.m.CGV CINEMAS LA 621 South Western Avenue (213)388-9000 Call theater for schedule.REGAL CINEMAS L.A. LIVE STADIUM 14 1000 West Olympic Blvd. (844)462-7342 4046Hillsong: Let Hope Rise Thurs., 7, 9:45 p.m.Digimon Adventure tri. - Chapter 1: Reunion

Thurs., 7 p.m.Snowden Live Wed., 7:30 p.m.Labyrinth 30th Anniversary Sun.-Wed., 2, 7 p.m.The Disappointments Room Fri.-Sat., 11:55 a.m.,

2:25, 5, 7:40, 10:30, 11:40 p.m.; Sun.-Wed., 11:55 a.m., 2:25, 5, 7:40, 10:30 p.m.

Sully Fri.-Sat., 12 noon, 1:10, 1:50, 2:40, 4, 4:40, 5:30, 6:50, 7:30, 8:10, 9:30, 10:20, 11, 11:50 p.m.; Sun.-Tues., 12 noon, 1:10, 1:50, 2:40, 4, 4:40, 5:30, 6:50, 7:30, 8:10, 9:30, 10:20, 11 p.m.; Wed., 12 noon, 1:10, 1:50, 2:40, 4, 4:40, 5:30, 7:15, 8:10, 9:30, 10:20, 11 p.m.

When the Bough Breaks Fri.-Sat., 1:40, 4:50, 8, 11:10 p.m., 12 mid.; Sun., 1:40, 4:50, 8, 11:10 p.m.; Mon.-Wed., 1:40, 4:50, 8, 10:55 p.m.

The Wild Life (Robinson Crusoe) Fri.-Wed., 11:50 a.m., 4:30, 7 p.m.

The Wild Life 3D (Robinson Crusoe 3D) Fri.-Wed., 2:10, 9:20 p.m.

Morgan Fri.-Sat., 11:50 a.m., 4:55, 9:50 p.m.; Sun., 10:05 p.m.; Mon.-Tues., 11:50 a.m., 4:55, 9:50 p.m.; Wed., 11:50 a.m., 4:55 p.m.

No Manches Frida Fri.-Wed., 1, 3:50, 6:40, 9:40 p.m.Don’t Breathe Fri.-Sat., 12:50, 6, 11:20 p.m.; Sun., 3:05,

8:30 p.m.; Mon.-Wed., 3:05, 8:30, 10:50 p.m.; Fri.-Sun.,

| Neighborhood Movie Guide //

examines two sets of determined men: Toby and Tanner Howard (Chris Pine and Ben Foster), dirt-poor brothers driven to a desperate spree of bank robberies by the impending threat of foreclosure; and Texas Rangers Marcus Hamilton and Alberto Parker (Jeff Bridges and Gil Birmingham), the veteran law enforcers assigned to the case. But Mackenzie and Sheridan (who grew up in West Texas and has an ex–U.S. marshal for an uncle) are far more interested in explor-ing the men’s off-the-clock behavior, suffusing the plight of both pairs with a faded melancholy. Hell or High Water’s deliberate pacing gives it the feel of a heist story with its feet stuck in mud — and that’s a good thing. When the movie just sits with the characters on front porches or in backyards, Mackenzie’s generous, hands-off approach with his actors — most of the conversation scenes play out in long takes with minimal camera movement — yields poignant rewards. But even the spurts of levity can’t negate the sorrow motivating most of the characters’ behavior. Early in the movie, Toby worries about the pros-pect of their getting caught, only to have Tanner cut him down, as if the thought were meaningless. “I never met nobody got away with anything, ever,” he says. (Danny King)

GO LO AND BEHOLD, REVERIES OF THE CONNECTED WORLD Late in Lo and Behold, Reveries of the Connected World, his unsurprisingly wry, quizzical docu-mentary survey on life inside and beside the virtual world, Werner Herzog stumps two brain researchers with a lyrical question in that instantly recognizable (and often parodied) German accent: “Does the internet dream of itself?” An ever-adventurous and acutely observa-tional storyteller who has cinematically explored live volcanoes, Antarctica and the menacing company of Klaus Kinski, Herzog is a highly self-aware creature. He

seems to intend this question to be gran-diose, absurd and sobering all at once. It might seem that 98 minutes would barely scratch the surface of how the digital world has affected our lives, which is partly true, but in this 10-chapter, thesis-less tale — from “The Early Days” to the “Future,” with many morally, philosophi-cally and emotionally confrontational stops in between — Herzog smartly takes a broad, bird’s-eye perspective of our early techno-evolution. The film is largely built on talking-head interviews with scientific experts, but Herzog’s typically expressive cinematography and eye for quietly eccentric moments aren’t absent. He shows no interest in social media, instead aiming his curiosities toward more illuminating topics that we likely take for granted: how a multiplayer game about biomolecules was able to crowd-source scientific discoveries or how an autonomous-car engineer must deal with the ramifications of A.I. not understand-ing the values of human society. The final chapters concern the nature of being human and the idea that, just as the sci-ence fiction writers of yesteryear couldn’t predict this modern world, we don’t know whether people, sentient robots and un-foreseeable next-gen tech will play nicely together. (Aaron Hillis)

GO MORGAN Nepotism is occasionally a positive, and not just for the direct beneficiary. Ridley Scott gave us Alien, with heroine Ripley and a memorable cast of ne’er-do-wells and villains with defined personalities. And now Scott’s son, Luke, who’s been shadowing his dad on his last few big-budget films, is delivering unto us a sci-fi thriller that would make any father proud. Morgan isn’t perfect. I called the ending 20 minutes in, but Scott is returning the ensemble thriller to its roots with something far more important than an airtight story: compelling, well-drawn characters and the talented actors to play them! Toby Jones, an elastic, perennial entertainer, is Dr. Ziegler, the gentle, misguided scientist/father figure to a genetically modified child, Morgan. Michelle Yeoh (Crouching Tiger, Hidden Dragon) is Dr. Cheng, the cautious and concerned “mother” to said creature. The GMO killer teen is played by Anya Taylor-Joy, the breakout lead in horror hit The Witch. All Morgan wants is to be human and free, but she can’t shake her inclination to maim her scientist friends. Yes, this is a well-worn premise. Scott creates tension in a single loca-tion, a country house in mossy-green remote Northern Ireland, saving his best set pieces for the second half. He ramps up the tension to the breaking point. Also, Jennifer Jason Fucking Leigh is in this movie, as Dr. Kathy Grieff, who loses an eye pretty quickly to Morgan’s stabbing prowess. And then there’s Vinette Robinson (Sherlock), Chris Sullivan (The Knick) and Paul Goddamn Giamatti. Top this all off with Kate Mara playing Lee Weathers, the corporate “risk-assessment” contractor/assassin, and I doubt any movie this year will even come near the greatness of this ensemble. (April Wolfe)

DEMON’S ARTFUL HORROR DIGS INTO POLAND’S PAST — AND SLOWLY OVERWHELMS

Horror has in recent years been so informed by found footage, smartphones and Skype that a trend toward folklore was probably inevitable. In

Marcin Wrona’s film, the mythic entity being awakened is a dybbuk, a spirit of Jewish lore that takes over the body of its host and doesn’t let go.

Demon, while not straight horror, has one foot in the genre (the other, of course, is in the grave). Wrona’s tale concerns a groom-to-be who, while digging outside his and his fiancée’s new fixer-upper of a home, uncovers skeletal remains — and keeps the secret to himself. �is is mythically verboten, it would seem, as by the time Piotr (Itay Tiran) lets anyone in on his discovery the damage is already done: His body is now home to Hana, a Jew whose mysterious death during the height of World War II has entered the realm of local legend.

At first the e�ects of this possession are subtle enough to disregard as coincidence: a nosebleed during the couple’s celebratory wedding dance, strange questions asked of a holy man in attendance. But then the young woman appears to Piotr as he addresses his guests onstage, her skin pale and hair dark. Soon he’ll start speaking Yiddish as his body writhes in a futile attempt to reject its new host.

We have a sense of what became of Hana — you can bury secrets in the ground, but time will eventually bring them back to the surface. With casket-black humor and an eye toward the inescapable ugliness of history, Wrona invokes the ghosts of Poland past. —Michael Nordine

DEMON | Directed by Marcin Wrona | Written by Pawel Maslona and Wrona | The Orchard | Nuart

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DEFYING THE NAZIS: THE SHARPS’ WARSept. 9-15, 2016 h Daily at 12:00 2:20 4:50 7:20 9:45

Laemmle’s Music Hall Theatre9036 Wilshire Blvd. h Beverly Hills, CA 90211

310-478-3836 h laemmle.com

LEND A HAND FOR LOVESept. 9-15, 2016 h Daily at 1:00 pm

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

310-478-3836 h laemmle.com

Sept. 16-22, 2016Laemmle’s Royal Theatre

11523 Santa Monica Blvd. h West L.A., CA 90025310-478-3836 h laemmle.com

Eye International presents Dutch Shorts

IMPORT- short live action • PARADE - animated short

LA WEEKLY 2x3.5NEWS STAND DATE THURSDAY 9/8

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SAMUEL GOLDWYN FILMS 8750 FILMS & MARFA PEACH COMPANY PRESENT TRANSPECOS STARRING JOHNNY SIMMONS GABRIEL LUNA AND CLIFTON COLLINS JR CASTING RICH DELIAORIGINAL SCORE AARON DESSNER & BRYCE DESSNER EDITOR ALAN CANANT PRODUCTION DESIGNER PETER K. BENSON DIRECTOR OF PHOTOGRAPHY JEFFREY WALDRON ASSOCIATE PRODUCERS RICH DELIA JOAN SULLIVANCO-EXECUTIVE PRODUCER JENNIFER KUCZAJ EXECUTIVE PRODUCERS JOSH BRAUN RICK & KRISTEL CARTER JON & LINDA HALBERT LARRY & DEBBIE KALAS MICHAEL & PHYLLIS KWEDAR WALT & CHERYL PENNPRODUCERS MOLLY CHRISTIE BENSON CLINT BENTLEY GREG KWEDAR NANCY SCHAFER SCREENPLAY CLINT BENTLEY & GREG KWEDAR DIRECTOR GREG KWEDAR

JOHNNY SIMMONSGABRIEL LUNA

CLIFTON COLLINS JR.

“A FINELY MEASURED,HANDSOMELY

CRAFTED DEBUT”– Variety

EXCLUSIVE ENGAGEMENT STARTS FRIDAY SEPT. 9TH

SPECIAL FILMMAKER Q&AS SATURDAY 9/10LAEMMLE’S NOHO 7 5240 LANKERSHIM BLVD. (310)-478-3836 • NORTH HOLLYWOOD

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|12:10, 2:40, 5:20, 7:50, 10:10 p.m.; Mon.-Tues., 12:10, 2:25, 5:20, 7:50, 10:10 p.m.; Wed., 5:20, 7:50, 10:10 p.m.

Mechanic: Resurrection Fri.-Tues., 2:20, 7:20 p.m.Kubo and the Two Strings Fri.-Tues., 12:40, 6:20 p.m.;

Wed., 12:40 p.m.Kubo and the Two Strings 3D Fri.-Tues., 3:30, 9 p.m.;

Wed., 3:30 p.m.War Dogs Fri., 12:15, 6:10 p.m.; Sat.-Mon., 12:15, 3:20,

6:10, 9:10 p.m.; Tues.-Wed., 12:15, 3:20 p.m.Sausage Party Fri., 3:20, 9:10 p.m.; Sat.-Wed., 12:30, 3,

5:40, 8:20, 10:50 p.m.Suicide Squad Fri., 1:20, 4:20, 7:10, 10 p.m.; Sat.-Wed.,

1:20, 4:10, 7:10, 10 p.m.Suicide Squad 3D Fri.-Sat., 3:10, 8:30 p.m.; Sun., 12:05,

5:25, 10:50 p.m.; Mon.-Wed., 12:05, 5:25 p.m.UNIVERSITY VILLAGE 3 3323 S. Hoover St. (213) 748-6321 Call theater for schedule.

WEST HOLLYWOOD, BEVERLY HILLS

LAEMMLE’S AHRYA FINE ARTS THEATRE 8556 Wilshire Boulevard (310)478-3836For the Love of Spock Fri.-Sun., 1:30, 4:20, 7:10 p.m.;

Mon., 1:30, 4:20 p.m.; Tues., 4:20, 7:10 p.m.; Wed.-Thurs., 1:30, 4:20, 7:10 p.m.

Lincoln Center Series: San Francisco Ballet’s Romeo & Juliet Mon., 7:30 p.m.; Tues., 1 p.m.

One More Time With Feeling 3D Fri.-Sat., 9:55 p.m.SUNDANCE SUNSET CINEMA 8000 West Sunset Boulevard (323)654-2217Other People Mon., 5:15 p.m.; 7:45, 10:15 p.m.; Fri., 2:45,

5:15 p.m.; Sat.-Sun., 12:30, 2:45, 5:15 p.m.; Mon., 2:40 p.m.; Tues.-Thurs., 2:45, 5:15 p.m.

Sully 7:30, 9:45 p.m.; Fri., 2:30, 5 p.m.; Sat.-Sun., 12:15, 2:30, 5 p.m.; Mon.-Thurs., 2:30, 5 p.m.

LAEMMLE’S MUSIC HALL 3 9036 Wilshire Blvd. (310) 274-6869Ithaca 12:10, 7:30 p.m.The Tenth Man (El rey del once) 2:40 p.m.Equity 2:30, 9:55 p.m.Germans & Jews Fri.-Sat., 12 noon, 5, 7:20 p.m.; Sun., 12

noon, 5 p.m.; Mon.-Thurs., 12 noon, 5, 7:20 p.m.Barcode Fri.-Sat., 9:45 p.m.; Sun., 7:20, 9:45 p.m.; Mon.-

Thurs., 9:45 p.m.Defying the Nazis: The Sharp’s War 12 noon, 2:20,

4:50, 7:20, 9:45 p.m.Ovation 5 p.m.

WESTWOOD, WEST L.A.

AMC CENTURY CITY 15 10250 Santa Monica Blvd. (888)AMC-4FUNFlorence Foster Jenkins Fri.-Sun., 4:35, 7:20 p.m.;

Mon.-Tues., 3:45, 6:40 p.m.; Wed., 4:05 p.m.Blair Witch Thurs., 7, 9:30 p.m.Bridget Jones’s Baby Thurs., 7, 10:05 p.m.Snowden Thurs., 7, 10:15 p.m.Digimon Adventure tri. - Chapter 1: Reunion

Thurs., 7 p.m.Snowden Live Wed., 7:30 p.m.The Disappointments Room Fri.-Sun., 11:35 a.m.,

2:15, 5, 7:40, 9:45 p.m.; Mon.-Wed., 11:35 a.m., 2:15, 5, 7:40, 10:20 p.m.

Sully Fri., 10:15 a.m., 12:45, 3:20, 6, 8:40, 11:15 p.m., 2:35 a.m.; Sat., 10:15 a.m., 12:45, 3:20, 6, 8:40, 11:15 p.m.; Sun., 10:15 a.m., 12:45, 3:20, 6, 8:40 p.m.; Mon.-Wed., 11 a.m., 1:30, 4, 6:30, 9 p.m.; Fri.-Sat., 11:45 a.m., 2:30, 5:15, 8, 10:45 p.m.; Sun., 11:45 a.m., 2:30, 5:15, 8, 10:30 p.m.; Mon.-Wed., 11:45 a.m., 2:15, 4:45, 7:15, 9:45 p.m.

Sully: The IMAX 2D Experience Fri.-Sun., 10:45 a.m., 1:30, 4:15, 7, 9:45 p.m.; Mon.-Wed., 12:30, 3, 5:30, 8:10, 10:40 p.m.

When the Bough Breaks Fri.-Sun., 11:10 a.m., 2, 4:45, 6:30, 7:30, 9:15, 10:20 p.m.; Mon.-Wed., 11:30 a.m., 2:25, 5:10, 6:50, 7:50, 9:45, 10:45 p.m.

The Wild Life (Robinson Crusoe) Fri.-Sun., 11:30 a.m., 4:30, 9:50 p.m.; Mon.-Wed., 11:15 a.m., 4:15 p.m.

The Wild Life 3D (Robinson Crusoe 3D) Fri.-Sun., 2, 7:15 p.m.; Mon.-Wed., 1:45, 6:45, 9:20 p.m.

The Light Between Oceans Fri.-Sat., 10:15 a.m., 1:15, 4:30, 7:35, 10:45 p.m.; Sun., 10:15 a.m., 1:15, 4:30, 7:35, 10:35 p.m.; Mon.-Wed., 10:15 a.m., 1:30, 4:30, 7:30, 10:25 p.m.

Morgan Fri.-Sun., 11:20 a.m., 10:15 p.m.; Mon.-Tues., 10:35 a.m., 9:35 p.m.; Wed., 10:40 a.m.

Don’t Breathe Fri.-Sun., 11:50 a.m., 2:20, 4:50, 7:20, 10:30 p.m.; Mon.-Wed., 11:50 a.m., 2:20, 4:50, 7:20, 9:50 p.m.

Kubo and the Two Strings Fri.-Sun., 10:20 a.m., 3:45, 9:10 p.m.; Mon.-Wed., 2:05, 7:30 p.m.

Kubo and the Two Strings 3D Fri.-Sun., 1, 6:30 p.m.; Mon.-Wed., 11:20 a.m., 4:50, 10:10 p.m.

War Dogs Fri.-Sat., 10:50 a.m., 1:55, 4:55, 7:55, 10:55 p.m.; Sun.-Wed., 10:50 a.m., 1:55, 4:55, 7:55, 10:40 p.m.

Hell or High Water Fri.-Wed., 10:55 a.m., 1:45, 4:25, 7:05, 9:55 p.m.

Pete’s Dragon Fri.-Sun., 10:30 a.m., 1:15 p.m.; Mon.-Wed., 10:45 a.m., 1:25 p.m.

Sausage Party Fri.-Sun., 10:15 a.m., 12:40, 3:10, 5:40, 8:15, 10:45 p.m.; Mon.-Wed., 10:30 a.m., 12:45, 3:10, 5:40, 8:15, 10:45 p.m.

Suicide Squad Fri.-Sat., 10:35 a.m., 4:40, 10:50 p.m.; Sun., 10:35 a.m., 4:40, 10:35 p.m.; Mon.-Tues., 10:30 a.m., 4:30, 10:30 p.m.; Wed., 12 noon.

Bad Moms Fri.-Sun., 1:50, 4 p.m.; Mon.-Wed., 1:10, 4:10 p.m.

Jason Bourne Fri.-Sun., 1:40, 7:45 p.m.; Mon.-Tues., 1:35, 7:30 p.m.; Wed., 3:20, 10:20 p.m.

LAEMMLE’S ROYAL THEATER 11523 Santa Monica Blvd. (310) 477-5581Rurouni Kenshin Part 2: Kyoto Inferno Tues., 7:30

p.m.; Wed., 9:55 p.m.

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

Howard’s End Fri., 1:20, 4:40, 8 p.m.; Sat.-Sun., 10:10 a.m., 1:20, 4:40, 8 p.m.; Mon.-Thurs., 1:20, 4:40, 8 p.m.

Mia madre Fri., 4:30, 9:55 p.m.; Sat.-Sun., 10 a.m., 4:30, 9:55 p.m.; Mon.-Tues., 4:30, 9:55 p.m.; Wed., 4:30 p.m.; Thurs., 4:30, 9:55 p.m.

The People Vs. Fritz Bauer (Der Staat gegen Fritz Bauer) Fri.-Mon., 1:50, 7:20 p.m.; Tues., 1:50 p.m.; Wed.-Thurs., 1:50, 7:20 p.m.

Import (2016) 12:10 p.m.La femme et le TGV 12:30 p.m.Lend a Hand for Love 1 p.m.Parade 12:10 p.m.LANDMARK’S NUART THEATER 11272 Santa Monica Blvd. (310) 473-8530; No Texting Allowed

Demon Fri., 12:30, 2:50, 5:10, 7:30, 9:55 p.m.; Sat.-Thurs., 12:30, 2:50, 5:10, 7:30, 9:45 p.m.

The Rocky Horror Picture Show Sat., 11:59 p.m.I Drink Your Blood Fri., 11:59 p.m.LANDMARK’S REGENT 1045 Broxton Ave. (310) 208-3250; No Texting AllowedComplete Unknown Fri., 4, 7, 9:45 p.m.; Sat.-Sun., 1:15,

4, 7, 9:45 p.m.; Mon.-Thurs., 4, 7, 9:45 p.m.LANDMARK WEST L.A. 10850 W. Pico Blvd. (310) 470-0492; No Texting AllowedFlorence Foster Jenkins 11:20 a.m., 1:55, 4:30, 7:10,

9:40 p.m.Bridget Jones’s Baby Thurs., 7:45, 10:25 p.m.Snowden Wed., 7:30 p.m.; Thurs., 7:30, 10:30 p.m.

Author: The JT LeRoy Story Fri.-Sat., 11:40 a.m., 2:15, 4:50, 7:25, 9:55 p.m.; Sun., 11:25 a.m., 2, 4:50, 7:45, 10:15 p.m.; Mon.-Thurs., 11:40 a.m., 2:15, 4:50, 7:25, 9:55 p.m.

Sully Fri.-Sun., 10:20, 11:55 a.m., 12:45, 2:20, 3:10, 4:45, 5:35, 7:10, 8, 9:30, 10:20 p.m.; Mon.-Thurs., 11:15 a.m., 12:45, 1:40, 3:10, 4:05, 5:35, 7:10, 8, 9:30, 10:20 p.m.

The Light Between Oceans Fri.-Sun., 10:15 a.m., 1:15, 4:15, 7:15, 10:10 p.m.; Mon.-Thurs., 1:15, 4:15, 7:15, 10:10 p.m.

The Hollars Fri.-Sun., 10:40 a.m., 12:55, 3:10, 5:25, 7:40, 9:50 p.m.; Mon., 12:55, 3:10, 5:25, 7:40, 9:50 p.m.; Tues., 12:20, 2:35, 4:50 p.m.; Wed.-Thurs., 12:55, 3:10, 5:25, 7:40, 9:50 p.m.

Southside With You Fri.-Sun., 12:25, 5, 9:40 p.m.; Mon., 5 p.m.; Tues., 12:25, 5, 9:40 p.m.; Wed., 5 p.m.; Thurs., 12:25, 5, 9:40 p.m.

A Tale of Love and Darkness Fri.-Sun., 10 a.m., 12:20, 2:40, 5:05, 7:30, 9:50 p.m.; Mon., 11:50 a.m., 2:15,

4:40 p.m.; Tues., 12:20, 2:40, 5:05, 7:30, 9:50 p.m.; Wed., 11:50 a.m., 2:15, 4:40 p.m.; Thurs., 12:20, 2:40, 5:05, 7:30, 9:50 p.m.

Hell or High Water Fri.-Sun., 10:05 a.m., 12:30, 2:55, 5:20, 7:50, 10:10 p.m.; Mon.-Thurs., 12:30, 2:55, 5:20, 7:50, 10:10 p.m.

Indignation Fri.-Sun., 10 a.m., 2:30, 7:10 p.m.; Mon., 12 noon, 2:30 p.m.; Tues., 2:30, 7:10 p.m.; Wed., 12 noon, 2:30 p.m.; Thurs., 2:30, 7:10 p.m.

Don’t Think Twice Fri.-Sun., 10:45 a.m., 1, 3:15, 5:30, 7:45, 9:55 p.m.; Mon., 11:05 a.m., 1:15, 3:25, 5:35, 7:45, 9:55 p.m.; Tues., 7:45, 9:55 p.m.; Wed., 11:05 a.m., 1:15, 3:25, 5:35, 7:45, 9:55 p.m.; Thurs., 11:05 a.m., 1:15, 3:25, 5:35 p.m.

CafÈ Society Fri.-Sun., 10:10 a.m., 12:30, 2:50, 5:10, 7:30, 9:45 p.m.; Mon., 12:30, 2:50, 5:10, 7:30, 9:45 p.m.; Tues., 11:30 a.m., 1:50, 4:10, 10:15 p.m.; Wed., 12:30, 2:50, 5:10, 7:30, 9:45 p.m.; Thurs., 12 noon, 2:20, 4:40 p.m.

Hunt for the Wilderpeople Fri.-Sun., 10 a.m., 12:20, 2:40, 5:05, 7:30, 9:50 p.m.; Mon.-Tues., 12:20, 2:40, 5:05, 7:30, 9:50 p.m.; Wed.-Thurs., 12:20, 2:40, 5:05 p.m.

CULVER CITY, LAX, MARINA DEL REY

CINEMARK 18 & XD 6081 Center Drive (310)568-3394Digimon Adventure tri. - Chapter 1: Reunion

Thurs., 7 p.m.Snowden Live Wed., 7:30 p.m.Labyrinth 30th Anniversary Sun.-Wed., 2, 7 p.m.Baar Baar Dekho Fri.-Sat., 11:50 a.m., 3:05, 6:20, 9:35

p.m.; Sun., 11:50 a.m., 3:05, 6:20, 9:50 p.m.; Mon.-Tues., 11:50 a.m., 3:05, 6:20, 9:35 p.m.; Wed., 11:50 a.m., 3:05, 6:20, 9:50 p.m.

The Disappointments Room Fri.-Wed., 12:45, 3:10, 5:35, 8, 10:25 p.m.

Sully Fri.-Wed., 12 noon, 2:35, 5:10, 7:50, 10:30 p.m.; Fri.-Wed., 1:20, 3:55, 6:30, 8:55 p.m.

When the Bough Breaks Fri.-Wed., 11:25 a.m., 12:50, 2:10, 3:35, 4:55, 6:20, 7:35, 9:10, 10:20 p.m.

The Wild Life (Robinson Crusoe) Fri.-Wed., 2:30, 7:20 p.m.

The Wild Life 3D (Robinson Crusoe 3D) Fri.-Wed., 12:05, 4:55, 9:45 p.m.

Inkokkadu Fri.-Tues., 11:20 a.m., 2:45, 9:45 p.m.; Wed., 11:20 a.m., 2:45 p.m.

Iru Mugan Fri.-Wed., 12 noon, 3:25, 6:50, 10:15 p.m.Morgan Fri.-Wed., 9:55 p.m.No Manches Frida Fri.-Wed., 11:20 a.m., 2:05, 4:50,

7:35, 10:25 p.m.Janatha Garage (Telugu) Fri.-Tues., 6:10 p.m.Don’t Breathe Fri.-Wed., 12:55, 3:20, 5:45, 8:10, 10:35

p.m.

Mechanic: Resurrection Fri.-Sat., 11:50 a.m., 4:45, 9:40 p.m.; Sun., 9:40 p.m.; Mon.-Tues., 11:50 a.m., 4:45, 9:40 p.m.; Wed., 9:40 p.m.

Southside With You Fri.-Sat., 2:25, 7:20 p.m.; Sun., 11:45 a.m.; Mon.-Tues., 2:25, 7:20 p.m.; Wed., 11:45 a.m.

Kubo and the Two Strings Fri.-Wed., 11:30 a.m., 2:05, 4:35, 7:05, 9:45 p.m.

War Dogs Fri.-Wed., 11:25 a.m., 2:10, 4:55, 7:40, 10:35 p.m.

Pete’s Dragon Fri.-Wed., 11:20 a.m., 1:55, 4:30, 7:10 p.m.Sausage Party Fri.-Wed., 5:25, 7:50, 10:15 p.m.Suicide Squad Fri.-Wed., 1:30, 4:30, 7:30, 10:30 p.m.Star Trek Beyond Fri.-Wed., 1:25, 4:20, 7:15, 10:10 p.m.The Secret Life of Pets Fri.-Wed., 12:35, 3 p.m.RAVE CINEMAS BALDWIN HILLS CRENSHAW PLAZA 15 + XTREME 4020 Marlton Avenue (323)296-1005Digimon Adventure tri. - Chapter 1: Reunion

Thurs., 7 p.m.Snowden Live Wed., 7:30 p.m.The Disappointments Room Fri.-Sat., 9:30, 11:50

a.m., 2:40, 5:20, 7:50, 10:30 p.m., 12:05 a.m.; Sun., 9:30, 11:50 a.m., 2:40, 5:20, 7:50, 10:30 p.m.; Mon.-Wed., 11:50 a.m., 2:40, 5:20, 7:50, 10:30 p.m.

Sully Fri.-Wed., 11 a.m., 1:40, 4:40, 7:30, 10:10 p.m.; Fri.-Sat., 9:45 a.m., 12:15, 2:50, 5:30, 8:20, 11 p.m., 12:10 a.m.; Sun., 9:45 a.m., 12:15, 2:50, 5:30, 8:20, 11 p.m.; Mon.-Wed., 12:15, 2:50, 5:30, 8:10, 11 p.m.

When the Bough Breaks Fri.-Wed., 11:20 a.m., 2:05, 4:45, 7:25, 10:20 p.m.; Fri.-Sat., 9:20, 10:30 a.m., 12 noon, 1:10, 2:45, 3:50, 5:25, 6:40, 8:15, 9:35, 11:10 p.m., 12:15 a.m.; Sun., 9:20, 10:30 a.m., 12 noon, 1:10, 2:45, 3:50, 5:25, 6:40, 8:15, 9:35, 11:10 p.m.; Mon.-Wed., 10:30 a.m., 12 noon, 1:10, 2:45, 3:50, 5:25, 6:40, 8:15, 9:35, 11 p.m.

The Wild Life (Robinson Crusoe) Fri.-Sun., 10 a.m., 3:10, 8:30 p.m.; Mon.-Wed., 3:10, 8:30 p.m.

The Wild Life 3D (Robinson Crusoe 3D) Fri.-Wed., 12:30, 5:50, 10:55 p.m.

Morgan Fri.-Wed., 6:50, 9:45 p.m.No Manches Frida Fri.-Wed., 10:50 a.m., 1:30, 4:50,

7:40, 10:40 p.m.Don’t Breathe Fri.-Sat., 11:30 a.m., 1:55, 4:20, 7:10, 9:30,

11:50 p.m.; Sun.-Wed., 11:30 a.m., 1:55, 4:20, 7:10, 9:30 p.m.; Fri.-Sat., 11:30 a.m., 1:55, 4:20, 7:10, 9:30, 11:50 p.m.; Sun.-Wed., 11:30 a.m., 1:55, 4:20, 7:10, 9:30 p.m.

Mechanic: Resurrection Fri.-Sun., 10:10 a.m., 12:50, 3:40, 6:30, 9:20 p.m.; Mon.-Wed., 12:50, 3:40, 6:30, 9:20 p.m.

Southside With You Fri.-Wed., 11:45 a.m., 2:30, 5, 7:35, 10 p.m.

Kubo and the Two Strings Fri.-Wed., 11:10 a.m., 1:45, 4:15, 7, 9:50 p.m.

Pete’s Dragon Fri.-Wed., 10:40 a.m., 1:20, 4 p.m.Sausage Party Fri.-Tues., 7:15, 9:40 p.m.Suicide Squad Fri.-Wed., 11:05 a.m., 5:10, 10:45 p.m.Suicide Squad 3D Fri.-Wed., 2:15, 8 p.m.The Secret Life of Pets Fri.-Wed., 11:40 a.m., 2:10,

4:30 p.m.AMC LOEWS CINEPLEX MARINA MARKETPLACE 13455 Maxella Ave. (800) 326-3264 704When the Bough Breaks Fri.-Wed., 11:30 a.m., 12:30,

2:15, 3:30, 5, 6:30, 8, 9:30, 11 p.m.Don’t Breathe Fri.-Sun., 12 noon, 3, 6, 8:45, 11:15 p.m.;

Mon.-Wed., 12 noon, 3, 6, 8:45 p.m.Southside With You Fri.-Wed., 1:15, 3:45, 6:20, 9,

11:35 p.m.Suicide Squad Fri.-Wed., 1, 4, 7:35, 10:45 p.m.Bad Moms Fri.-Wed., 1:30, 4:15, 7:10, 10:10 p.m.PACIFIC CULVER STADIUM 12 9500 Culver Blvd. (310) 360-9565Bridget Jones’s Baby Thurs., 7, 9:45 p.m.Sully Fri.-Sat., 10, 11:30 a.m., 12:15, 1:35, 2:30, 3:45, 4:45,

5:50, 7, 8, 9:15, 10:15, 11:30 p.m.; Sun., 10, 11:30 a.m., 12:15, 1:35, 2:30, 3:45, 4:45, 5:50, 7, 8, 9:15, 10:15 p.m.; Mon.-Wed., 11:30 a.m., 12:15, 1:35, 2:30, 3:45, 4:45, 5:50, 7, 8, 9:15, 10:15 p.m.

When the Bough Breaks Fri.-Sun., 10:10, 11:25 a.m., 12:30, 1:45, 2:45, 4, 5, 6:15, 7:35, 8:30, 9:45, 10:50 p.m.; Mon., 11:25 a.m., 12:30, 1:45, 2:45, 4, 5, 6:15, 7:35, 8:30, 9:45, 10:50 p.m.; Tues., 11:25 a.m., 12:30, 1:45, 2:45, 4, 6:15, 8:30, 9:45, 10:50 p.m.; Wed., 11:25 a.m., 12:30, 1:45, 2:45, 4, 5:20, 6:15, 8:30, 9:45, 10:50 p.m.

The Wild Life (Robinson Crusoe) Fri.-Sun., 1:15, 3:15, 5:15, 7:20, 10:10 p.m.; Mon.-Wed., 1:05, 3:15, 5:15, 7:20, 10:10 p.m.

The Wild Life 3D (Robinson Crusoe 3D) Fri.-Sun., 10:40 a.m.; Mon.-Tues., 10:35 a.m.; Wed., 10:40 a.m.

The Light Between Oceans Fri.-Sun., 11:10 a.m., 1:55, 4:40, 7:25, 9:55 p.m.; Mon.-Wed., 11 a.m., 1:55, 4:40, 7:25, 9:55 p.m.

Morgan Fri.-Wed., 3:35, 5:45 p.m.Don’t Breathe Fri.-Sun., 10:05 a.m., 12:05, 2:05, 4:05,

6:05, 8:05, 10:05 p.m.; Mon.-Wed., 10:30 a.m., 12:05, 2:05, 4:05, 6:05, 8:05, 10:05 p.m.

Kubo and the Two Strings Fri.-Sun., 10:15, 11:05 a.m., 12:45, 1:25, 2:55, 5:10, 7:30, 8:35, 9:30, 10:45 p.m.; Mon.-Tues., 10:45 a.m., 12:45, 1:25, 2:55, 5:10, 7:30, 8:35, 9:30, 10:45 p.m.; Wed., 10:45 a.m., 12:40, 1:25, 2:55, 5:10, 7:30, 8:35, 9:30, 10:45 p.m.

Hell or High Water Fri.-Mon., 11:05 a.m., 1:20, 3:40, 5:55, 8:10, 10:25 p.m.; Tues., 11:05 a.m., 1:20, 3:40, 5, 7:15, 10 p.m.; Wed., 10:35 a.m., 12:45, 2:55, 5:10, 7:40, 9:35 p.m.

Sausage Party Fri.-Sun., 10:20 a.m., 12:20, 2:25, 4:25, 6:30, 7:55, 10:55 p.m.; Mon.-Wed., 11:20 a.m., 12:20, 2:25, 4:25, 6:30, 7:55, 10:55 p.m.

Suicide Squad Fri.-Sun., 10:45 a.m., 3, 10 p.m.; Mon., 3, 10 p.m.; Tues., 3, 9:35 p.m.; Wed., 3, 10 p.m.

Jason Bourne Fri.-Wed., 12:25, 5:40, 8:20 p.m.Dazed and Confused Wed., 7:30 p.m.

5.4X7 THUR 9/8 LA WEEKLY

CENTURY CITYAMC

Century City 15888/AMC-4FUN

WHEN THE BOUGH BREAKS LA BASE

CHECK LOCAL LISTINGS FOR THEATERS AND SHOWTIMES

AND AT A THEATER NEAR YOU

L.A./BEVERLY HILLSPacifi c’s The Grove

Stadium 14323/692-0829 #209

WESTWOOD

310/307-7003

SHERMAN OAKSAt The

Sherman Oaks Galleria 818/501-0753

SANTA MONICA

SANTA MONICA 12 310/566-2810

DOWNTOWN L.A.Regal Cinemas

L.A. Live Stadium 14 800/FANDANGO #4046

WEST LOS ANGELESCinemark 18

310/568-3394

UNIVERSAL CITYCityWalk Stadium 19

with IMAX® 888/AMC-4FUN


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FRI. SEPTEMBER 9FRI. SEPTEMBER 9

SAT. SEPTEMBER 10 SUN. SEPTEMBER 11

SAT. SEPTEMBER 17TUE. SEPTEMBER 13

EVERY WEEK:TUESDAYS LOS GLOBOS LOCALSSUNDAYS FOUNDATION REGGAE

9/10 CLUB CLIT9/17 GET HEAVY9/17 HARDSTYLE ARENA: RAW & DISORDER 9/18 DIAT9/21 REVENT GLOBAL PRESENTS DEMARIO SB & SCOTTY THE KID9/22 TINK AND SY ARI DA KID9/23 RHONDAVOUS W/ JOHN TALABOT, ROMAN FLÜGEL, WOLF + LAMB, HEIDI, KIM ANN FOXMAN, TILL VON SEIN, LENA WILLIKENS, GODDOLLARS, PARADISE9/24 BLASTED, XCELLERATED & KILLAHURTZ9/28 MADBALL

COMING SOON: 9/28 LATINO INDIE CARAVAN 2016 W/ LA GUSANA CIEGA, PORTER, AND SIDDHARTHA9/29 CUNNINLYNGUISTS 9/29 THE ELECTRIC WEST DIGNITARY 9/30 CLOCK DVA 9/30 ASYLUM FT. AKRONYM10/1 FRESH PRESENTS: HOSTILE 10/2 SHOW ME THE BODY10/6 TWIZTID10/6 BORN FOR BURNING PRESENTS: DEATH-HAMMER10/13 OLGA BELL, POWDER10/14 16 DAS BUNKER 20TH ANNIVERSARY 10/22 HOLY SONS AND NURSES10/26 DRI 10/28 SOUND X RHONDA INTL PRESENT: CIRCOLOCO 12/30 THE BLACK QUEEN

9/8 THE PLAYGROUND 9/13 MORTUARY DRAPE 9/13 POWER MIX: A FREE INDUSTRY NETWORKING EVENT9/14 TOMBER LEVER9/15 BACHACHO 9/15 TRIP EAZY 9/16 JIM JONES9/16 WIFIISFUNERAL 9/16 STEFAM SEAY 9/17 SUBHUMANS 9/17 ROCK EN ESPANOL FEST 9/17 HIP HOP SHOWCASE #18 9/18 PINK LEMONADE 9/18 BAILALO BASSMENT 9/20 THE MOTH

COMING SOON: 9/21 LOUD & CLEAR9/22 COURTEOUS FAMILY MONTHLY TAKEOVER 9/22 TONY QUATTRO9/24 IN THE MEANTIME TOUR9/24 PEPPASEED9/27 COLORS COMEDY9/29 MEYHEM LAUREN 9/30 CLUB 90’S 9/30 TO DI WORLD9/30 RIDE THE WHITE PONY: A BURLESQUE TRIBUTE TO THE MUSIC OF THE 1980S 10/1 WIKI FALL TOUR 2016

SAT. SEPTEMBER 10 SAT. SEPTEMBER 10

SAT. SEPTEMBER 10 SAT. SEPTEMBER 10

FRI. SEPTEMBER 16THU. SEPTEMBER 15

BROWNIES & LEMONADEANTISERUM, TEAM EZY, X&G, JESSE SLAYTER & MORE

LIQUOR-ISHDJ ILL PRINCE & DJ GOOFY

UNDERGROUND RISINGFT. CHINO XL

TEMPLE OF CHAOSGOD’S ROBOTS, RUSTY RICKSHAW & BASSFAKIRA

BASHMENT BOOGIE

THEE STATIC AGE PRESENTS

SUBHUMANSHATE WAR & THEE STATIC AGE PRESENT

MORTUARY DRAPESPAM N EGGS:SUPER DUPER KYLE & SHAWN WASABI

SAT. SEPTEMBER 10

THE REAL COSTSTEP 4 CHANGE, BIB & SKS

FRI. SEPTEMBER 9

EVIL CLUB EMPIRE NIGHT: VELVET,CLOCKWORK ORANGE & PERVERSION

REMEMBER: POST-BURN VINYL NIGHTFT. MARQUES WYATT & SABO

SOUNDPIECESFT. MONO/POLY

A SCREENING OFTHE WORLD HAS NO EYEDEA

NO SHOPPINGJP CALI SMOOV, SPACEMAN YOUNG & LEIAH

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THE TASTE TESTCan Long Beach’s Music Tastes Good compete in a saturated festival market?

BY SARAH BENNETT

When veteran talent buyer Jon Halperin started started putting o�ers out to bands for Long Beach’s

inaugural Music Tastes Good festival, some booking agents were confused.

Here was a pitch for a first-year, week-endlong block party of music, food and art in the heart of a city that’s viewed mostly as a secondary concert market, with a hopeful list of acts that looked as eclectic as it did ambitious. It included many of the fest’s now-confirmed headliners: The Specials, De La Soul, Squeeze, Dr. Dog and Las Cafeteras, among others.

“I had two agents say, ‘What the hell did you guys book?’�” says Halperin, who shared curating duties with Music Tastes Good’s founder, Josh Fischel. “Some told us it sounded like the best festival in the country and others thought we were crazy. Who has Cambodian Space Project and The Melvins on the same bill?”

Music Tastes Good is one of dozens of boutique music festivals happening across Southern California. These more region-ally drawing events, which typically attract 15,000 attendees or fewer, are part of a festival market that’s more saturated than ever with small-scale alternatives to the something-for-everyone “mega-fests” of

Coachella and Outside Lands.Many of these so-called niche festivals,

such as Burgerama, Supersonico and Camp Flog Gnaw, are centered around a particular genre or musical subculture. Others, like Latin-tinged Viva Pomona, psych-heavy Desert Daze and indie rock–oriented Echo Park Rising, are firmly rooted in place, showcasing the spirit and sounds of their host locales.

Music Tastes Good aspires to be of the latter persuasion. And even though Long Beach hosts lots of live music, from major fests at the Queen Mary to locally driven events like the Summer & Music concert series, this is the first time a homegrown festival of this size and scope has happened on the streets of Long Beach.

“Niche just means something for a group,” says the lanky Fischel, 46. “It doesn’t necessarily mean it’s got to be a genre, and so for us, we are still a niche festival but we’re a Long Beach festival. The point is to show Long Beach o�.”

Starting a new music festival is no easy task. Not only is there intense competi-tion for headliners, there’s also a massive amount of logistics and city planning that goes into closing down streets, dealing with musicians’ travel plans and coordinat-ing any food or art programming.

Then there’s the question of how to pay for all the up-front costs before a single ticket is sold.

Some festivals have the luxury of being presented by a seasoned promotional

company like Goldenvoice or Live Nation, which can provide the funds and procure sponsorships that alleviate many first-year stresses. The rest have to start small and build their audience, earning financial stability only after they have a proven track record. Even Coachella didn’t start selling out until nearly a decade in.

Music Tastes Good, which various sources say is costing around $1 million to produce, doesn’t have a big-name promoter behind it. Instead, it has a part-nership with KCRW and major financial backing from John Molina, chief financial o¤cer of Molina Healthcare, whose of-fices are just a few blocks from where the festival will be held. (Molina declined to state how much he’s personally put into the fest.)

“There’s a great line from the movie Grease where the vice principal gets on overhead and says, ‘Come out and support the team because if you can’t be an athlete, be an athletic supporter,’�” Molina says. “I’m not a musician, so I want to support them.”

Fischel, who grew up all over Southern California but settled in Long Beach 20 years ago, has been a touring musician for most of his life; many locals fondly remem-ber his band Bargain Music, a Sublime-like jumble of genre-bending optimism. But until recently, he didn’t have much experi-ence booking beyond his own tours.

In 2012, he founded a rock & roll musical theater troupe called Riot Stage, which

put on original productions at makeshift venues around the city. Two years later, he became the main curator of downtown Long Beach’s free monthly local music series, Live After 5.

Molina attended many of Fischel’s events in the last few years and admired his ability to bring together members of the local music community. According to Fischel, after he brought in bands to play Molina’s 50th birthday party in late 2014, the executive asked him, “What’s next and what can I do to help you?”

“I went home and I thought about it for a couple days,” Fischel says. “What do I love the most? I love music and food, and those are my passions. It’s time for Long Beach to have that kind and size of fest.”

Fischel conceptualized what soon became Music Tastes Good as a weekend music festival with a heavy food compo-nent that would draw outsiders into the city — a SXSW meets Napa’s BottleRock meets French roving gastro-fest Le Food-ing, with a heavy dose of Long Beach pride.

Once he had a major source of fund-ing secured, Fischel’s dream got another score in Halperin, who got involved at the suggestion of Music Tastes Good’s manag-ing director, Meagan Blome, one of the project’s first employees.

A longtime Long Beach resident, Hal-perin estimates that he’s booked more than 10,000 bands in the past 16 years, working for venues like Chain Reaction in Anaheim and the Glass House in Pomona. His previ-ous relationships with agents meant that the unknown new festival’s o�er emails would at least get read. Amazingly, most of the acts on their wish list said yes.

Fischel’s relationships with both Long Beach bands and area chefs meant the neighborhood presence would be secured. And as bands such as Rival Sons, Deltron 3030, Warpaint and Sylvan Esso began to confirm bookings, and the owners of restaurants including Lola’s Mexican Cuisine, Restauration, James Republic and Robert Earl’s BBQ signed on to serve food, it became clear that Music Tastes Good was not destined to start small like so many other boutique festivals before it.

“I think because of the regional festival market being so competitive is why we had to start in the middle instead of starting really small and growing,” Blome says. “We had to come out with guns blazing.”

The team was careful not to book too many bands that are playing the festival circuit this year, in order to separate the event from the barrage of options music fans have. They also say they took into consideration the diversity of Long Beach itself when preparing a first-year lineup, aiming to span generations and genres.

“Some people think the lineup is too eclectic, but I think that’s what Long Beach is,” Fischel says. “I’ve been talking about it to people as, it’s the biggest block party. When you have a real block party, on one side of the street they’re playing cumbia and on the other side of the street it’s Joni Mitchell or whatever. That’s what we’re trying to re-create.”

MUSIC TASTES GOOD | Downtown Long Beach Friday-Sunday, Sept. 23-25 | mtglb.co

| Music // PHOTO BY RAFAEL CARDENAS

Las Cafeteras are one of several local bands co-headlining the inaugural Music Tastes Good festival.

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Thug Life Goes onTWENTY YEARS AGO, THE WEST COAST’S GREATEST RAPPER WAS GUNNED DOWN. WHAT WOULD THE WORLD BE LIKE IF HE HAD LIVED?

BY JEFF WEISS

In September 1996, Tupac Shakur hobbled out of the University Medical Center of Southern Nevada. Despite dire predictions that 2Pac wouldn’t survive four bullets, the indestructible rapper came home to L.A. — paranoid

and wounded but determined to break the destructive loop of violence.

After Suge Knight returned to prison, 2Pac distanced himself from the chaos of Death Row Records. Shortly before the shooting, Shakur had formed pro-duction company Euphanasia, which gradually absorbed more of his time and energy.

Revenues from executive producing American History X helped him buy himself out of his record deal. A beloved comedic turn opposite Jackie Chan in Rush Hour partially erased past contro-versies. Hollywood studio heads finally saw 2Pac as a bankable star — a sinister version of Will Smith. A Rolling Stone cover story claimed he had “finally ma-tured,” thanks to wife Kidada Jones and her father, mogul Quincy Jones, who’d become a paternal mentor.

Right as the South became a force, 2Pac signed with No Limit Records, shocking those who interpreted his California love as absolutism. In reality, he’d always loved all forms of rap, once telling The Source that the Geto Boys’ Grip It! On That Other Level was his favorite. Besides, Master P founded his label in the Bay Area, where he’d once at-tempted to sign 2Pac during his Digital Underground days. Both of his No Limit albums went No. 1; 2Pac’s duets with Mystikal were spectacular.

Becoming a father and husband spurred 2Pac to reconcile with his enemies (save for Chino XL). His cameo on “It’s Mine,” alongside Mobb Deep and Nas, became a definitive Tunnel banger of the era, earning back East Coast respect for the rapper who once called himself MC New York.

2Pac and Biggie brokered peace after the murder of Big L reminded them how close their own rivalry had come to a bloody end. Many critics hailed their joint appearance at the 2000 Grammy Awards as a historic juncture in rap’s growing mainstream dominance. It also was remembered for 2Pac’s decision to diss Sisqo, apropos of nothing.

During Bush’s first term, 2Pac mostly focused on his film career, directing his

first feature, a drama loosely based on the plot of “Brenda’s Got a Baby.” There was a turn on Broadway, where he starred as Walter Younger in A Raisin in the Sun, a poetic triumph for the former art stu-dent whose acting debut came at age 13, when he played Travis Younger on the Apollo stage in Harlem.

2Pac’s proudest moment may have come during his Best Supporting Actor acceptance speech at the 2005 Acad-emy Awards for his role in Collateral. Indicting the Bush administration’s corruption, war crimes and inequitable treatment of minorities, 2Pac once again became the most divisive figure in America.

Racist epithets and calls for boycotts followed, but ultimately 2Pac’s critique was remembered for its eloquence and courage. If anyone wondered whether

he’d gone Hollywood, the son of a Black Panther leader reasserted himself as one of the most important civil rights figures of his generation. His e¡orts to dimin-ish inner-city poverty and gang violence earned him an invitation to address the United Nations. Even the ambassador from Slovenia learned what T.H.U.G. L.I.F.E. stood for.

A generation of 2000s stars (Lil Wayne, Boosie, 50 Cent, Eminem) worshipped him as a god. Wayne even heeded his advice not to sign a rapper from a Canadian teen soap opera. In-stead, Aubrey “Drake” Graham went on to become a producer for Guy Fieri.

2Pac crushed his guest appearances on 30 Rock and Parks and Rec, and emerged as a leader of the Black Lives Matter movement. Twenty years after his attempted murder, he remains one of the most revered and irreplaceable figures in American life. To think what we could have lost.

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

| Music // | Bizarre Ride //

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ZEALOUS IN NEW ZEALAND

In Melbourne, Australia, for two days of press before my shows start. I will be here for a few weeks. I have been to

this country well over 30 times. It’s always good to be back.

Road manager Ward and I arrived yes-terday on no sleep from Wellington, New Zealand. As sideways as we felt, we knew that we had to drop our gear, turn around and report to Vicious Sloth Records. � is is something we have been doing for years. � eir prices will o� en cause your credit card to spontaneously combust, but the Sloth has some of the rarest titles of any store I have ever been to and I have never seen any piece of vinyl in there less than Ex+ condition.

I was on the lookout for records on M Squared and Innocent, two Australian avant/electronic/outsider labels from the early 1980s. At this point, if you’re going to find any titles from either label, it will either be in Australia or from a collector in Europe. At V-Sloth, I secured a pristine copy of Palimpsest by Essendon Airport. Yes, it has the insert!

It’s always great to find records in the country in which they were pressed. For me, it’s an ultimate acquisition and makes locating titles via mail order, which I o� en do, seem almost insincere.

A few days ago, in Auckland, I made a great fi nd in a store where I usually fi nd nothing.

In the previous century, I fi nished a tour of Australia and New Zealand in Auckland. Usually I start in NZ and fi nish in Australia. I had hours before my fl ight, so I hauled my pack to a record store called Real Groovy for some unhurried searching. It’s a great store with a friendly sta� . � ey have a ton of vinyl and their prices are always fair.

What I thought would be an average perusal through several bins of LPs ended up being one of the best record store days I have ever had, to the point to where it almost ruined me for anything less. It was as if several major collections had all been collated into the store’s stock and I was the fi rst person to get access.

It was a weekday and late morning, so there was hardly anyone in the place. I have never seen so many Joy Division bootlegs at once outside my place. Class Is, Dante’s Inferno, Death Trip, Stroszek’s Last Stand, all just sitting there, priced to be leavin’ on a jet plane with me. Great quality copies of Zappa must-haves Hot Rats, Burnt Weeny Sandwich,

Apostrophe and Bongo Fury, a Sugarcane Harris solo album, my favorite far-out Beach Boys titles like Holland, Pere Ubu albums and mid-period singles. It was incredible.

� at was 18 years ago. I have been back to Real Groovy so many times since and never had a day like that. Now I go there with no expectations, knowing I will never have a time like I did all those years ago, but I go nonethe-less. You always go to the record store.

On our day o� in Auckland, road manager Ward and I made our way through the rain to Real Groovy’s new location, across from where the old one had been, and went right for the vinyl. A� er about an hour, as usual, I had found nothing and was waiting for Ward when I remembered I still needed to take a look in the alternative compilation section for a record that I knew wouldn’t be in there — but if you don’t search, you will never fi nd.

Several LPs in, I saw it: a copy of the Back-Stage Pass LP. I know what you’re thinking — it had to be the U.K. pressing on Supermusic, or the one out of Poland on Pronit. It’s always one of the two, right?! Even though I was in Auckland, it wouldn’t be the New Zealand pressing on RTC, because after years of looking, I had never seen one anywhere.

With great anticipation, I turned the sleeve over — and there was the RTC logo. Score! Earlier this year, I had found the Pol-ish pressing in Warsaw and even managed to locate a test pressing of the U.K. version. But for years the NZ pressing had escaped me, until Real Groovy, which had denied me

for damn near two decades, fi nally saw fi t to relent and give me a break.

What in the hell does one do with several di� erent pressings of the same record, you ask? You play them, of course, while pulling all the other copies out and, with the help of a magnifying glass, make notes on the label and matrix data. Useless information that no one gives a damn about is one of my favorite things. � ink about how lonely a fact would be if it lived for decades without anyone staring at it and saying, “Ah-HAH!”

I live for this. � e more arcane and incon-sequential the record-pressing information, the better.

So starting yesterday, RMW and I embark on about 20 shows that will take us from here to Perth, with a lot of record stores in between. Two days from now, I have a 13-hour press slog in Sydney, which I am not exactly looking forward to. But a few hours a� erward, one Kid Congo and the Pink Monkey Birds will be playing and, no matter how tired I am, I will not miss this show. I saw him and the band play a few weeks ago at the Echo and have been thinking about it ever since.

It is September in Australia. The days are cool to cold, it rains a lot, and there is one show a� er another. In other words, everything is fi ne.

Henry Rollins

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fri 9/9Blondie

@ L.A. COUNTY FAIR AT POMONA FAIRPLEXBlondie are something of a mixed bag these days. The NYC pop-rock band are currently down to three original members from the classic lineups of the late ’70s and early ’80s — singer Debbie Harry, guitarist Chris Stein and drum-mer Clem Burke. After intermittent forays into jazz and dance music on her solo albums, Harry is still in fine voice, but the songwriting on Blondie’s most recent studio recordings, 2011’s Panic of Girls and 2014’s Ghosts of Download, is a faint echo of the group’s heyday, when they mixed punk, pop, new wave, rap and reggae into memorably sugary confec-tions. Such recent tracks as “Rave” and “I Want to Drag You Around” are pleasant examples of synth-based dance-pop, but they lack the catchy hooks of Blondie’s past hits. —Falling James

The Dickies, The Muffs @ WHISKY A GO-GO

Had The Dickies imploded in 1981, it might be their image adorning $265 Barneys T-shirts today. For while these campy Valley veterans lack the sonic or sociopolitical heft of some of their now “legendary” punk peers, their marriage of revved-up Ramones rock, L.A. hardcore and cartoonish harmonies helped shape the SoCal pop-punk that later became a commercial cash cow for the likes of The O�spring and Green Day. Instead, The Dickies have soldiered on through a bewildering array of lineups. This show celebrates frontman Leonard Graves Phillips’ 60th birthday and, coincidental-ly, happens almost exactly 39 years since his band made their live debut at the Whisky. Similarly Ramones-y, humorous and hurried, The Mu�s are a high-water mark of ’90s Angeleno punk, with instinc-tively catchy creations distinguished by Kim Shattuck’s sweet ’n’ sour perma-teen timbre. —Paul Rogers

sat 9/10The Art Laboe Show with Zapp, Lisa Lisa

@ SAN MANUEL AMPHITHEATERThe Art Laboe Connection broadcasts all over Southern California, and even into Arizona and Nevada, but Los Angeles will always be the spiritual homeland of La-boe and his celebrated radio show. It was here in L.A. in the late 1950s that Laboe set up his remotely broadcast radio show in the parking lot of a drive-in diner in Hollywood, and started taking requests for rock and R&B music from the black, Hispanic and white kids hanging out in the parking lot. Bringing the disparate parts of this diverse but often segregated city together is what Art Laboe did, and

still does, with his radio show, and what he’s sure to do at his upcoming live show in San Bernardino, which will feature guests Zapp, Lisa Lisa, Peaches & Herb, Bloodstone and many other classic stars of funk, R&B and pop. —Sam Ribakoff

Black Cherry @ VIPER ROOM

Paul Black is best known as the singer who preceded Phil Lewis in L.A. Guns and then, in 2006, rejoined forces with Tracii Guns to form a new L.A. Guns, touring at the same time as Lewis’ very separate version. Confusing? Yes. Ludicrous? Also yes. Thankfully, Guns and Lewis have since reconciled and merged their com-peting L.A. Guns incarnations, leaving Black to reform his largely forgotten but underrated band Black Cherry. Musically, there are no great surprises here — it’s sleazy, trashy, bubble-gum pop-metal, copiously splashed with hard ri�s and throwaway widdles. The rest of the bill is fascinating, too, with fellow hair-metalers Funhouse, Broken Glass, Smash Fash-ion and Hardly Dangerous, all ready to remind fans that there was plenty going on in the late ’80s and early ’90s on the Strip that didn’t get Warrant-level radio play. —Brett Callwood

sun 9/11Sister Mantos, Frisco Dykes, Bastidas!

@ THE SMELLSister Mantos have a punk-rock attitude, but the local collective prefer to pump out a more egalitarian, queer-friendly brand of dance music instead of oblit-erating you with raw power chords and sheer noise. A good example of Sister Mantos’ approach is their cover of Kate Bush’s early hit “Wuthering Heights,” which is transformed from a quaintly formal pop love song into a Slits-like mélange of reggae rhythms and a spacey dub arrangement. Frisco Dykes are actually from Chino, not the Bay Area, and the coed trio has a more traditional, lo-fi punk approach on such ditties as “Vomit Symposium.” Bastidas! are a much stranger jumble of hard post-punk angularity and funky bass lines crowned by bratty vocals. The Baldwin Park band

ascend to moments of soaring beauty (“Hue”) before collapsing back into swirling, percussive noise (“Synthesis”). —Falling James

mon 9/12Joseph Arthur

@ THE TROUBADOURIt’s rare to say that an artist has main-tained a low profile even after being cov-ered by Michael Stipe, Chris Martin and Peter Gabriel. Yet that’s where Joseph Arthur finds himself nearly 20 years into his career. Between his music, a healthy blend of alternative and folk-rock, and his unique live shows, the 44-year-old has won over many of his contemporaries. On top of his use of pedals, distortion and other sonic tricks, the singer-songwriter will often paint onstage during and be-tween tracks. Arthur continues to record at a prolific clip; The Family, his third album in as many years, demonstrates that his songwriting maintains the same sharpness and earnestness that made him a hit with his peers in the first place. —Daniel Kohn

tue 9/13Cindy Wilson

@ LARGO AT THE CORONETYou might think you know Cindy Wilson, but the vocalist from Athens, Georgia, is still full of surprises. She’s part of the triumvirate of wacky singers in The B-52’s, and is perhaps as well known for her gravity-defying beehive hairdos as she is for her eerie and acrobatic vocals. She’s the sister of the late Ricky Wilson, the inventive guitarist who was the prime architect of The B-52’s’ sound. For the past decade, she’s also fronted The Cindy Wilson Band, a surprisingly traditional blues-rock band, in which she belts out her lamentations with unexpected soul power. But she switches gears yet again for tonight’s show at Largo, which she’s calling “Change.” In this persona, she’s more of a breathy-voiced chanteuse coo-ing synth-pop songs, such as “Corporeal,” whose title belies the airily dreamy mood. —Falling James

| Music // | Picks // Cindy Wilson:

See Tuesday.

COURTESY OF THE ARTIST

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Jamie Lidell and the Royal Pharaohs

@ THE ECHOYou’ll have to wait until Oct. 14 to tune your ears into Jamie Lidell’s next album, Building a Beginning, which he’s releasing through his own label, Jajulin Records. However, fans of the British singer-musician have already had a taste of what’s to come with the single “Walk Right Back,” released in July. As funky as it is tender, “Walk Right Back” hits a ’70s-meets-’90s groove that wedges the track right next to Lidell’s previous retro-modern tunes “Little Bit of Feel Good” and “Big Love.” It’s made for the longtime fans, even the ones who prefer his more experimental e�orts, but is accessible enough to please the kids who first caught wind of him through last year’s collaboration with A-Trak, “We All Fall Down.” This show will feature full-band support from The Royal Pharaohs. —Liz Ohanesian

wed 9/14Mad Professor

@ THE ECHOPLEXModern dub master Mad Professor has long since locked in his status as one of the idiom’s most critical, instinctive and flat-out fun-as-hell practitioners. A most able successor to the rich legacy of Jamai-can remix masters Lee “Scratch” Perry, King Tubby and Scientist, Mad Prof estab-lished himself as a noble tradition-bearer and unrivaled, forward-looking mixolo-gist with his marvelous 1980s series of Dub Me Crazy albums. His swashbuck-ling, atmospheric approach consistently displays both an unerring understanding of each individual song source and an in-terstellar, wildly colorful ability to launch it into the altered dimension of echodelic groove where dub’s finest moments are created. When Mad Professor takes the controls, the results are never less than flabbergasting. —Jonny Whiteside

thu 9/15Prophets of Rage

@ THE FORUMWith three former members of Rage Against the Machine — drummer Brad Wilk, bassist Tim Commerford and guitarist Tom Morello — the new project Prophets of Rage might initially appear to be a desperate attempt to mimic, or cash in on, the hard-rocking legacy of the once-mighty RATM. But POR actu-ally are named after a 1988 song by Pub-lic Enemy and includes that rap group’s Chuck D and DJ Lord, in addition to Cypress Hill’s B-Real. Chuck D’s pres-ence is crucial, as it helps make up for the glaring absence of RATM’s Zack de la Rocha. Chuck D has a commanding stage presence and a gift for subversive wordplay that help to counterbalance Morello’s tendency to preach to the choir. For the time being, POR are more nostalgic than forward-looking, with set lists dominated by Public Enemy and RATM oldies — though their new EP, The Party’s Over, features two new tracks. —Falling James

Pat Metheny @ ROYCE HALL

What sets musicians such as guitarist Pat Metheny apart from the pack is a rare gift to push the boundaries of their relatively accessible, people-pleasing material in gently radical ways. He’s been doing that for more than three decades now with a multi-Grammy-winning body of work that’s rather amazing for its depth and breadth alone, including numerous solo and trio recordings, film scores and collaborations with the likes of Ornette Coleman, Steve Reich, Charlie Haden, Thurston Moore and Brad Mehldau. Tonight the consummate ax god presents a panoply of sounds tracing the arc of his career, with the aid of an exceptional band: drummer Antonio Sanchez, bassist Linda Oh and pianist Gwilym Simcock. —John Payne

Cass McCombs, Jack Name @ TERAGRAM BALLROOM

If Cass McCombs makes AOR, it’s AOR like Ned Doheny and Dennis Wilson — or Sopwith Camel’s zoned-out “Fazon” or Springsteen’s Nebraska. And if he’s got the spirit of the super sound of the ’70s, it’s the part of the ’70s where Curtis Mayfield sang about the hell below to which we’re all gonna go. His latest al-bum and first for Anti- Records, Mangy Love, is a harsh and fearless album, but it’s understated, isolated and deliberate, too; songs dissipate, dissolve or unravel as they go, with lyrics that start about as cheerful as Townes Van Zandt waiting ’round to die and end up next to Peter Laughner’s total psychic obliteration. There’s a kind of grimness here, but these are grim times, and that recogni-tion is where Love’s power and beauty come from. With L.A.’s vital oneironaut Jack Name — who also guests on Mc-Combs’ album — as perfect support. —Chris Ziegler

Mad Professor: See Wednesday.

PHOTO BY NEIL FRASER

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ROCK & POP

ALEX’S BAR: 2913 E. Anaheim St., Long Beach. The Reverberations, The Sound Reasons, Fri., Sept. 9, 9 p.m., free. The DT’s, Thu., Sept. 15, 9 p.m., free.

AMOEBA MUSIC: 6400 Sunset Blvd., Los Angeles. DJ Sasha Robotti, Fri., Sept. 9, 8 p.m., free. Of Mice & Men, signing a new album, Tue., Sept. 13, 5 p.m., free. Grouplove, Wed., Sept. 14, 6 p.m., free.

AMPLYFI: 5617 Melrose Ave., Los Angeles. The Usual Haunts, Focal & Dutch, Sat., Sept. 10, 9 p.m., $12. Flowers, Almost July, Sun., Sept. 11, 7:30 p.m., $10.

AVALON HOLLYWOOD: 1735 Vine St., Los Angeles. Michel Lane, Summer Moon, Lawrence Taylor, Mon., Sept. 12, 8 p.m., free.

BLACKLIGHT DISTRICT: 2500 E. Anaheim St., Long Beach. Inhale, Sat., Sept. 10, 9 p.m., free. Machinage, Mobile Deathcamp, Mon., Sept. 12, 8 p.m., $7. Serpents Tongue, Sungrinder, Severe, Wed., Sept. 14, 8 p.m., $5.

THE BLINDSPOT PROJECT: 601 S. Clarence St., Los Angeles. Ramonda Hammer, Iris, Emily Gold, New Evil, The Velotron, Sat., Sept. 10, 8 p.m., $5.

BOARDNER’S: 1652 N. Cherokee Ave. Bar Sinister, with Carved Souls, Femme Fatality, The Audio Virus, Sat., Sept. 10, 10 p.m., $10-$20. G Matthews, Andrew Cole, Shaka D, Shiver, Thu., Sept. 15, 8:30 p.m., $10.

BOOTLEG THEATER: 2200 Beverly Blvd. Papa, Maxim Ludwig, Green Gerry, Fri., Sept. 9, 8:30 p.m., free. Low Cut Connie, Big Dick, Sat., Sept. 10, 8:30 p.m., $12. Deep Sea Diver, Gothic Tropic, Wargirl, Sun., Sept. 11, 8 p.m., $12. Gum, Shiny Joe Ryan, Mon., Sept. 12, 8:30 p.m., $12. Luca, The Gromble, The Man Franco, Tue., Sept. 13, 8:30 p.m., $7. Goon, Post Life, Young Jesus, Wed., Sept. 14, 8:30 p.m., $7. Emerson Star, Superet, Street Joy, Thu., Sept. 15.

CAFE NELA: 1906 Cypress Ave. Pat Todd & the Rankoutsiders, Groovy Rednecks, Electric Ferrets, Bubba Zannetti, Fri., Sept. 9, 8:30 p.m., TBA. The Gears, Pedal Strike, Johnny Otis Davila, Akrid, Skeptical Youth, Sat., Sept. 10, 9 p.m. Baron Bandini, Sun., Sept. 11, 6 p.m., $5. Danza Azteca Xipetotec, Arley Washington, Thu., Sept. 15, 8:30 p.m., $5.

CANYON CLUB: 28912 Roadside Drive, Agoura Hills. Felix Cavaliere, Fri., Sept. 9, 9 p.m., $28-$38. Lynch Mob, Sat., Sept. 10, 9 p.m., $13-$38. Orianthi, Thu., Sept. 15, 9 p.m., $24-$34.

CENTER FOR THE ARTS EAGLE ROCK: 2225 Colorado Blvd., Eagle Rock. Tato Monraz, Gabriela Crowe, Fri., Sept. 9, 8:45 p.m., free.

CHURCH OF FUN: 4109 Melrose Ave. Melt, The High Curbs, Sunshine Mind, Fri., Sept. 9, 10 p.m., $7.

CODY’S VIVA CANTINA: 900 Riverside Drive, Burbank. Andy Roth & Stunt Road, Fri., Sept. 9, 8 p.m., free. Sidewinder, Sat., Sept. 10, 2 p.m., free; The Cody Bryant Experience, King Cotton’s Aggravation, Sat., Sept. 10, 7:30 p.m., free. The Bluegrass Ghosts & Brantley Kearns, The Bullfish Band, Sun., Sept. 11, 2 p.m., free; Debra Lee & Trigger Happy, Sundays, 6 p.m., free; Pete Anderson, Sun., Sept. 11, 6 p.m., free. The Brombies, Mondays, 7:30 p.m., free. The Flight 584 Big Band, Tue., Sept. 13, 7:30 p.m., free.

THE ECHO: 1822 W. Sunset Blvd. P.S. Eliot, Upset, Fri., Sept. 9, 8:30 p.m., $11.50. Cale Tyson, Jaime Wyatt, Elijah Ocean, Sun., Sept. 11, 8 p.m., $10. The Buttertones, Wild Wing, Rexx, Sea Ghouls, Mon., Sept. 12, 8:30 p.m., free. Jamie Lidell & the Royal Pharaohs, Tue., Sept. 13, 8 p.m., $29.50 (see Music Pick). Syd Arthur, Lo Moon, Wed., Sept. 14, 8:30 p.m., $11.50. Swindle, Thu., Sept. 15, 8:30 p.m., $14.50.

THE ECHOPLEX: 1154 Glendale Blvd. Mad Professor, Wed., Sept. 14, 9 p.m., $10 & $15 (see Music Pick). Cosmonauts, Cellars, Thu., Sept. 15, 8:30 p.m., $10.

EL CID: 4212 W. Sunset Blvd. Burning Jet Black, The Tens, Stage 11, Trousdale, Fri., Sept. 9, 9:30 p.m., $10. Dream Machines, plus DJs Joe Zizzo, Dana Boulos, Jesy Odio & Denise Love Hewett, Sat., Sept. 10, 9 p.m., free. Apollinaire, Sun., Sept. 11, 8 p.m., $7. Open Mic, followed by Comedy Confessional, Mondays, 8 p.m., $5. Kelleia, Fox x Mess Kid, Tolliver, Ruby Chase, King Kang, Tue., Sept. 13, 8 p.m., $10.

GASLAMP RESTAURANT & BAR: 6251 E. Pacific Coast Highway, Long Beach. Green Today, Sat., Sept. 10, 9 p.m., TBA. Strunz & Farah, Sun., Sept. 11, 7 p.m., TBA.

GENGHIS COHEN: 740 N. Fairfax Ave., Los Angeles. The Irma Lyons Legacy Benefit Concert, with Drew Chadwick, The Tearaways, Sun., Sept. 11, 7:30 p.m.

THE HI HAT: 5043 York Blvd., Highland Park. French Vanilla, Roses, Moaning, Lithics, Fri., Sept. 9, 8 p.m., $7. Magic Bronson, Slugs, Jackbenny, Jubilo Drive,

Sat., Sept. 10, 8 p.m., $5. Canto, Vs. Colour, Negro Galacticus, Warpaint (DJ set), Sun., Sept. 11, 8 p.m., $8. Harlan Hodges & Translation, Mon., Sept. 12, 8 p.m., free. Cigarette Bums, The Grinning Ghosts, Wyatt Blair, Melt, Wed., Sept. 14, 8 p.m., $7. Channel, Smoke Season, Thu., Sept. 15, 8 p.m., $5.

HM157: 3110 N. Broadway, Los Angeles. Feed L.A. Fest Benefit Concert & Food Drive, with Rocco DeLuca, Insects vs. Robots, Solar Suns, The Nick Maybury Trio, Andrew Sheppard, Leche, Brenda Carsey & the Awe, Sound Shrine, plus (on the indoor stage) Paracosmic, The Bash Dogs, Bloody Death Skull, T. Soomian, Princess Frank, Naia Izumi, Sat., Sept. 10, 3:30 p.m., $15 & $25. TV Broken 3rd Eye Open, Lantz Lazwell & the Vibe Tribe, Jayna Manoushe, The Herbert Bail Orchestra, Send Medicine, Adam Ferrick & the Beautiful Noize, plus (on the indoor stage) Miss Jupiter, Veronica Bianqui, Safari So Goody, Sun., Sept. 11, 4 p.m., $15 & $25.

THE HOTEL CAFE: 1623½ Cahuenga Blvd. Paul McDonald, Yael Naim, Adam Topol, Thu., Sept. 15.

HYPERION TAVERN: 1941 Hyperion Ave., Los Angeles. Ye Olde Hushe Clubbe, with DJ Don Bolles, Wednesdays, 9:30 p.m., free.

JIMMY’S PLACE: 1623 N. San Fernando Blvd., Burbank. The Lower Echelon, The Talking Hours, The Ladyfingers, Mon., Sept. 12, 8 p.m., $5.

LARGO AT THE CORONET: 366 La Cienega Blvd. Cindy Wilson, Tue., Sept. 13, 8:30 p.m. See Music Pick.

LOS GLOBOS: 3040 W. Sunset Blvd. God’s Robots, Rusty Rickshaw, Bassfakira, 108 Hill, Sat., Sept. 10, 9 p.m., $15. Mortuary Drape, Predatory Light, Tue., Sept. 13, 8 p.m. Tomb Lever, Static Hands, Mindmonogram, Late Night Revival, The Rose Waters, Wed., Sept. 14, 8:30 p.m., TBA. Bachacho, The Bulbs, Neon Spirits, Rey Apache, Thu., Sept. 15, 8 p.m., TBA.

THE LOVE SONG: 450 S. Main St., Los Angeles. Spain, Tuesdays, 9 p.m. Thru Sept. 27, free.

MCCABE’S GUITAR SHOP: 3101 Pico Blvd., Santa Monica. Matt the Electrician, Fri., Sept. 9, 8 p.m., $15.

THE MINT: 6010 Pico Blvd. Bilal, Fri., Sept. 9, 8:30 p.m., $18. Moreland & Arbuckle, Campfire Cassettes, Linda Debella & the Satellites, Ben Millburn, The Nate Smith Band, Sat., Sept. 10, 7:30 p.m., $12. Carter Ace, S.N.R., Sun., Sept. 11, 6:30 p.m., $12; The Anthony King Blues Band, Sun., Sept. 11, 9 p.m., TBA. Tahoma, Rebecca Peters, The Drunken Stumbles, Michael Conrad, Michael Colton, Mon., Sept. 12, 7:30 p.m., $10. Amber Dundee, Ali Blake, Tony Centron, Kevin Matthew Hunt, Tue., Sept. 13, 7:30 p.m. Future Thieves, Kyle Rogan, The Twistin’ Tornados, Bohemian Club, Wed., Sept. 14, 7:30 p.m. Davina & the Vagabonds, Jacob Mondry, Thu., Sept. 15.

MOLLY MALONE’S: 575 S. Fairfax Ave. Precious Metal, Sat., Sept. 10, 9 p.m., TBA; Paloma Rush, Sat., Sept. 10, 10:30 p.m., TBA. Keith Harkin, Thu., Sept. 15.

94TH AERO SQUADRON: 16320 Raymer Ave., Van Nuys. Inazuma, Sat., Sept. 10, 8 p.m.

QUE SERA: 1923 E. Seventh St., Long Beach. Drugs in the Alley, Moondreamzzz, Crooks Thrill, Sea Ghouls, Sat., Sept. 10, 10 p.m., $5.

THE REDWOOD BAR & GRILL: 316 W. Second St., Los Angeles. Tiger Sex, Barrio Tiger, Mink Daggers, Telephone Lovers, Fri., Sept. 9, 9 p.m., $5-$10. Streetwalkin’ Cheetahs, The Dogs, Hollywood Sinkhole, Cyka, Sat., Sept. 10, 9 p.m., TBA. Hollywood Blues Destroyers, Sun., Sept. 11, 3 p.m., TBA. Blair Sinta, Mon., Sept. 12, 9 p.m.; Mon., Sept. 19, 9 p.m., $5-$10. Something on the Wing, Tue., Sept. 13, 9 p.m., $5-$10. Cut Up, Crab Legs, Moonraker, Wed., Sept. 14, 9 p.m., $5-$10.

RESIDENT: 428 S. Hewitt St. Punch Punch Kick, Derde Verde, Sanglorians, Jose Galvez, Sun., Sept. 11, 8 p.m., free. Heaters, Frankie & the Witch Fingers, Psychic Jiu-jitsu, Wed., Sept. 14, 8 p.m., $5. Entrance, Weyes Blood, Lael Neale, Thu., Sept. 15, 8 p.m., $10.

ROCK CITY STUDIOS: 2258 Pickwick Drive, Camarillo. Bleached, Criminal Hygiene, Bedbugs, Thu., Sept. 15, 7 p.m.

THE ROSE: 245 Green St., Pasadena. Lynch Mob, Fri., Sept. 9, 7 p.m. Gin Blossoms, Thu., Sept. 15, 9 p.m.

THE ROXY: 9009 W. Sunset Blvd., West Hollywood. Of Mice & Men, Night Verses, Fri., Sept. 9, 7:30 p.m., $25. Krewella, Sat., Sept. 10, 9 p.m., TBA. Airbourne, The Wild, Tue., Sept. 13, 8 p.m., $25. The Dustbowl Revival, Valley Queen, Thu., Sept. 15, 8:30 p.m., $18-$22.

THE SATELLITE: 1717 Silver Lake Blvd. Jesika Von Rabbit, Pageants, Dr. Fadeaway, Fri., Sept. 9, 9 p.m., $10. Mike Taylor, Cousin Liar, Blond Ambition, Mon., Sept. 12, 9 p.m., free. The Minders, Vasas, Clifflight, Tue., Sept. 13, 9 p.m., $12. Bright Light Bright Light, Flavia, Madeline Spooner, Wed., Sept. 14, 9 p.m.,

HighLifeMusicFestival.com

SAN BERNARDINO FAIR GROUNDSSAT 9/24 SUN 9/25SEPTEMBER 2016

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RICK ROSS WAKA FLOCKA DMX E-40 BONE THUGS N HARMONY NIPSEY HUSSLE SKATE MALOLEY BERNER OHNO LIL DEBBIE R-MEAN PLUS MANY MORE ARTIST

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$15. Shook Twins, Thu., Sept. 15, 9 p.m., $15.SILVERLAKE LOUNGE: 2906 Sunset Blvd. Nahneen Kula,

Tubby Boots, Cosmic Kitten, Veronica Grim & the Heavy Hearts, Desert Tundra, Fri., Sept. 9, 8 p.m., $10. El Joe of the River, James Houlahan, Lucy Arnell, Elektrick World, Sat., Sept. 10, 5 p.m., free. Lara FM, Mon., Sept. 12, 8 p.m., free. Occult Wisdom, Tres, A Thousand Fifty Lies, Tue., Sept. 13, 9 p.m., $7. The Hat Factory, Blue Future, Harrison Nida, Operation Mockingbird, Wed., Sept. 14, 8 p.m., $8. Stone Revel, JFK Motorcade, Lord Loud, Thu., Sept. 15, 8 p.m., $8.

THE SMELL: 247 S. Main St., Los Angeles. L.A. Font, Batwings Catwings, Tambourine, AudioMammal, Fri., Sept. 9, 9 p.m., $5. Sister Mantos, Frisco Dykes, Bastidas!, DJ Oscar Santos, DJ Jim Smith, Sun., Sept. 11, 9 p.m., $5 (see Music Pick).

TAIX FRENCH RESTAURANT: 1911 Sunset Blvd. Marvin Etzioni, Rachel Goodrich, Fri., Sept. 9, 10:30 p.m.

THE TERAGRAM BALLROOM: 1234 W. Seventh St., L.A. Ty Segall, No Parents, Sat., Sept. 10, 8 p.m., $15. Cass McCombs, Jack Name, DJ Jesspelita, Thu., Sept. 15, 8 p.m., $16 (see Music Pick).

TRIP: 2101 Lincoln Blvd., Santa Monica. Scorpion Wolf Shark, The Dead Horse Rhythm, Lepht, Rivermaker, Thu., Sept. 15, 8 p.m., $5.

THE TROUBADOUR: 9081 Santa Monica Blvd., West Hollywood. God Is an Astronaut, Fri., Sept. 9, 8 p.m., $25. Eve 6, Oz, Go Betty Go, Sat., Sept. 10, 8 p.m., $20. Chenchas, 8Kalacas, La Banda Skalavera, Mafia Rusa, Sun., Sept. 11, 7 p.m., $20. Joseph Arthur, Reuben Hollebon, Mon., Sept. 12, 8 p.m., $20 (see Music Pick). Joseph, Duncan Fellows, Tue., Sept. 13, 8 p.m., $20. This Wild Life, Have Mercy, Movements, Wed., Sept. 14, 6 p.m., $15. The Josh Abbott Band, Carly Pearce, Thu., Sept. 15, 8 p.m., $18.

THE UNDERGROUND DTSA: 220 E. Third St., Santa Ana. The Vibrators, The Walking Toxins, The Pegs, Mesa Lanes, Fri., Sept. 9, 8 p.m., $10.

UNION NIGHTCLUB: 4067 W. Pico Blvd. The Real Cost, Step 4 Change, Bib, SKS, Sat., Sept. 10, 6 p.m., $10.

THE VIPER ROOM: 8852 W. Sunset Blvd., West Hollywood. Lucy’s 51, Nick Marzock, Fri., Sept. 9, 9:30 p.m., TBA. Black Cherry, Funhouse, Broken Glass, Smash Fashion, Hardly Dangerous, Sat., Sept. 10, 7:30 p.m., $18 (see Music Pick). Marshall Kipp, Nova Blue, The Dirty Diamond, Sun., Sept. 11, 7:30 p.m., TBA.

WHISKY A GO-GO: 8901 Sunset Blvd., West Hollywood. The Dickies, The Muffs, Fri., Sept. 9, 7 p.m., $20 (see Music Pick). Asesino, Sat., Sept. 10, 6 p.m., TBA. Gloryhammer, Sun., Sept. 11, 7 p.m., TBA. Gus G, Angel Vivaldi, Mon., Sept. 12, 7 p.m., TBA. The Dead Daisies, Steve Rodgers, Thu., Sept. 15, 8 p.m., TBA.

—Falling James

JAZZ & BLUES

ALVAS SHOWROOM: 1417 W. Eighth St., San Pedro. Steve Fister, Fri., Sept. 9, 8 p.m., $20. The Frank Potenza Trio, Sat., Sept. 10, 8 p.m., $20. Eric Rigler & Dirk Freymuth, Sun., Sept. 11, 4 p.m., $25.

AU LAC: 710 W. First St., Los Angeles. Tom Rizzo, Sat., Sept. 10, 7:30 p.m., $10-$25.

BLUE WHALE: 123 Astronaut E.S. Onizuka St., Los Angeles. Human Element, Fri., Sept. 9, 9 p.m., $20. The L.A. Jazz Quartet, Sat., Sept. 10, 9 p.m., $15. Strangers on a Saturday Night, Jane Monheit, Sun., Sept. 11, 9 p.m., $10. The Bridge Trio, Mon., Sept. 12, 9 p.m., $10. Kevin Hays, Gregoire Maret, Tue., Sept. 13, 9 p.m., TBA. Mike Viola, Kaveh Rastegar & Larry Goldings, Wed., Sept. 14, 9 p.m., $15. Banda Magda, Thu., Sept. 15, 9 p.m., $15.

CATALINA BAR & GRILL: 6725 W. Sunset Blvd., Los Angeles. Strunz & Farah, Fri., Sept. 9, 8:30 p.m.; Sat., Sept. 10, 8:30 p.m., TBA. The L.A. Jazz Orchestra Unlimited, Kenny Burrell, Mon., Sept. 12, 8:30 p.m., TBA. Richard Bona, Tue., Sept. 13, 8:30 p.m.; Wed., Sept. 14, 8:30 p.m., TBA. Alex Acuna, Thu., Sept. 15.

DESERT ROSE: 1700 Hillhurst Ave., Los Angeles. The Mark Z. Stevens Trio, Saturdays, 7-11 p.m., free.

EL PORTAL THEATRE: 5269 Lankershim Blvd., North Hollywood. Sonikete Blues, Sun., Sept. 11, 7 p.m.

THE LIGHTHOUSE CAFE: 30 Pier Ave., Hermosa Beach. The Sam Hirsh Quartet, Sat., Sept. 10, 11 a.m.-2:30 p.m., free. The Ron Meza Quartet, Sun., Sept. 11, 11 a.m.-3 p.m., free. The Paul Gormley Quartet, Wed., Sept. 14, 6-9 p.m., free.

ROCKWELL TABLE & STAGE: 1714 N. Vermont Ave., Los Angeles. Shoshana Bush, Tue., Sept. 13, 8 p.m.

SEABIRD JAZZ LOUNGE: 730 E. Broadway, Long Beach. Bobby Spencer, Fri., Sept. 9, 9 p.m.

THE SMOKEHOUSE RESTAURANT: 4420 W. Lakeside Drive, Burbank. Andy Cowan & Nina Beck, third

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monday • SEPTEmBER 12ThRafflE day! SPEnd $30+ aT amoEBa foR yoUR ChanCE To WIn aWESomE PRIZES!

Thursday • September 8th • 6pmCLIPPING

Experimental/noise/hip hop trio celebrates their new album, Splendor & Misery (Sub Pop) with a live set and

signing at Amoeba!Also Playing at Highways Performance

Space 9/8.

Friday • September 9th • 6pmMATT PINFIELD BOOK SIGNING

MTV & VH1 VJ celebrates his newbook, All These Things That I’ve Done:My Insane, Improbable Rock Life! Buy your copy at Amoeba to get it signed.

Tuesday • September 13th • 5pmOF MICE & MEN

ALBUM SIGNINGCelebrating their new album with a

signing at Amoeba! Purchase Cold World (Rise Records) in-store only at Amoeba beginning 9/9 to receive a ticket to the

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Wednesday • September 14th • 6pmGROUPLOVE

Celebrating their new album with a live show at Amoeba! Purchase Big Mess

in-store only at Amoeba beginning 9/9 to receive guaranteed admission AND a limited-edition commemorative poster.

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VIBRATO GRILL & JAZZ: 2930 Beverly Glen Circle, Bel-Air. The Tom Peterson Quartet, Fri., Sept. 9, 9 p.m., free. Sherry Williams, Sat., Sept. 10, 9 p.m., free. Jeff Lorber Fusion, Sun., Sept. 11, 8 p.m., $25. Joshua Ledet, Tue., Sept. 13, 8 p.m., $20. Sugar Joans, Wed., Sept. 14, 8 p.m., $20. The Reverend Shawn Amos, Thu., Sept. 15, 7:30 & 9 p.m., $20.

VITELLO’S ITALIAN RESTAURANT: 4349 Tujunga Ave., Studio City. DW3, Wednesdays, 7:30 p.m., $20 & $40.

WORLD STAGE PERFORMANCE GALLERY: 4321 Degnan Blvd., Los Angeles. Sisters of Jazz Jam Session, Sundays, 8 p.m., $5. Jazz Jam Session, Thursdays, 9 p.m., $5.

—Falling James

COUNTRY & FOLK

THE CINEMA BAR: 3967 Sepulveda Blvd., Culver City. Marco Sanchez, Fri., Sept. 9, 9 p.m., free. Greg Felden, Sat., Sept. 10, 9 p.m., free. The Hot Club of L.A., Mondays, 9 p.m., free. Dimebox Band, Wed., Sept. 14, 8:30 p.m., free. Rich Shea, Thu., Sept. 15, 9 p.m., free.

THE COFFEE GALLERY BACKSTAGE: 2029 N. Lake Ave., Altadena. The Ploughboys, Fri., Sept. 9, 8 p.m., $18. Janet & Her Parlor Boys, Sat., Sept. 10, 7 p.m., $20. John McEuen, Matt Cartsonis, Craig Eastman, Mon., Sept. 12, 8 p.m., $25.

COWBOY COUNTRY: 3321 E. South St., Long Beach. Brad Johnson, Sept. 9-10, 7 p.m., $5.

THE COWBOY PALACE SALOON: 21635 Devonshire St., Chatsworth. Chad Watson, Mondays, 8 p.m., free.

EB’S BEER & WINE BAR, FARMERS MARKET: 6333 W. Third St., Los Angeles. Tom Gramlich & Mystic Miles, Anthony Purdy, Sat., Sept. 10, 7 p.m., free.

IRELAND’S 32: 13721 Burbank Blvd., Van Nuys. Acoustic Jam, Tuesdays, 8 p.m., free.

JOE’S GREAT AMERICAN BAR & GRILL: 4311 W. Magnolia Blvd., Burbank. Eli Locke, Fri., Sept. 9, 9 p.m., free. James Intveld, Sat., Sept. 10, 9 p.m., free. The Deep Cuts, Sun., Sept. 11, 8 p.m., free. The Meredith Axelrod Syncopators, Mon., Sept. 12, 9 p.m., free. The Big Butter Jazz Band, Tue., Sept. 13, 9 p.m., free. Sitara Son, Wed., Sept. 14, 9 p.m., free.

STATE SOCIAL HOUSE: 8782 W. Sunset Blvd., Los Angeles. Sunset Showdown, Fri., Sept. 9, 8 p.m.; Fri., Sept. 23, 8 p.m., free.

TINHORN FLATS SALOON & GRILL: 1724 N. Highland Ave., Los Angeles. Tina Michelle & the Rhinestone Cowgirls, Tuesdays, 9 p.m., free.

—Falling James

DANCE CLUBS

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

ALEX’S BAR: 2913 E. Anaheim St., Long Beach. Get Low, Sat., Sept. 10, 9 p.m., free. The Sunday Social, Sun., Sept. 11, 2 p.m., free.

AVALON HOLLYWOOD: 1735 Vine St., Los Angeles. Control, with DJs spinning dubstep and more, 19 & over, Fridays, 9:30 p.m.; Eoto, Ill Gates, Son of Kick, Citizun, Ameria, Fri., Sept. 9, 9:30 p.m., TBA. Vinai, Breathe Carolina, Atomic Mike, Sat., Sept. 10.

BAR ONE TAP ROOM: 12518 Burbank Blvd., North Hollywood. Groove Me, with R&B DJs Stylus, Tech & Joelskee, every third Saturday, 9 p.m., free.

CREATE NIGHTCLUB: 6021 Hollywood Blvd., Los Angeles. Noize Fridays, Fridays, 10 p.m. Arcade Saturdays, Saturdays, 10 p.m.

DRAGONFLY: 6510 Santa Monica Blvd., Los Angeles. Respect Drum & Bass, Thursdays, 10 p.m., $10.

DRAI’S HOLLYWOOD AT THE W HOTEL: 6250 Hollywood Blvd., Los Angeles. Night Splash Fridays, Fridays, 9 p.m.-2 a.m. Thru Sept. 9, $20.

THE ECHOPLEX: 1154 Glendale Blvd., Los Angeles. Club ‘90s, Fri., Sept. 9, 10 p.m., $12.

GENERAL LEE’S BAR: 475 Gin Ling Way, Los Angeles. DJ Joey Altruda’s Shanghai Noir, Wednesdays.

GRAND STAR JAZZ CLUB: 943 N. Broadway, Los Angeles. Club Underground, with DJs Larry G & Diana Meehan spinning Britpop, post-punk and new wave, 21 & over, Fridays, 9 p.m., $8. Barrio Funky, second Saturday of every month, 9:30 p.m.-2 a.m., $5-$10.

THE LASH: 117 Winston St., Los Angeles. Southern Hospitality, with DJ Charlie White, DJ Wavy, Froskees, Davey Boy Smith, Fri., Sept. 9, 10 p.m.-2 a.m., free.

LOS GLOBOS: 3040 W. Sunset Blvd., Los Angeles. No Shopping, plus Liquor-ish, Fri., Sept. 9, 9 p.m. Underground Rising, Sat., Sept. 10, 9 p.m. Oh, Stefan

Seay, Crux, Erick Hudson, Niño Francois, Thu., Sept. 15, 10 p.m., TBA.

THE OFFBEAT: 6316 York Blvd., Highland Park. Dolce Vita, with Ken Ferrari, DJ Alley Shiver, DJ Squarewav, DJ Bad Passion, Sun., Sept. 11, 9:30 p.m.-2 a.m., free.

OHM NIGHTCLUB: 6801 Hollywood Blvd., Los Angeles. Sangria Sundays, Sundays, 4 p.m. Thru Sept. 25, free.

RADISSON HOTEL WHITTIER: 7320 Greenleaf Ave., Whittier. EDM Thursdays, Thursdays, 8 p.m.-1:30 a.m. Thru Oct. 27, $10.

THE SATELLITE: 1717 Silver Lake Blvd., Los Angeles. Dance Yourself Clean, Saturdays, 9:30 p.m., $5.

SHORT STOP: 1455 Sunset Blvd., Los Angeles. Super Soul Sundays, 21 & over, Sundays, 10 p.m., free. Motown on Mondays, Mondays, 9 p.m., free.

THE STUDY HOLLYWOOD: 6356 Hollywood Blvd., Los Angeles. Club Gender, Thursdays, 10 p.m.

UNION NIGHTCLUB: 4067 W. Pico Blvd., Los Angeles. Evil Club Empire Night, with Velvet, Clockwork Orange & Perversion, Fri., Sept. 9, 10 p.m., $5. Marques Wyatt, Sabo, Sat., Sept. 10, 9 p.m., $10-$25; Double Cross, Sat., Sept. 10, 9 p.m.; Club Clit, Sat., Sept. 10, 10 p.m., $5 & $10. Mono/Poly, Thu., Sept. 15, 10 p.m., $10.

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

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

C O N C E R T S

FRIDAY, SEPT. 9

ALABAMA, JOHNNY RIVERS: 7:30 p.m., $49.50-$149.50. The Greek Theatre, 2700 N. Vermont Ave., Los Angeles.

BLACKSTREET, GINUWINE, DRU HILL: 9 p.m. Morongo Casino Resort & Spa, 49500 Seminole Drive, Cabazon.

GO BLONDIE, THE SMITHEREENS: 7:30 p.m., $44-$145. Pomona Fairplex, 1101 W. McKinley Ave., Pomona. See Music Pick.

DJ ESCO: 8 p.m., $5. The Observatory, 3503 S. Harbor Blvd., Santa Ana.

DRAKE, FUTURE: 6:30 p.m., $49.50-$179.50. Staples Center, 1111 S. Figueroa St., Los Angeles.

THE ECHO PARK PROJECT: 6 p.m., free. LA Plaza de Cultura y Artes, 501 N. Main St., Los Angeles.

FIFTH HARMONY: With JoJo, Victoria Monet, 7 p.m. Irvine Meadows Amphitheatre, 8800 Irvine Center Drive, Irvine.

HOLY GHOST: 8 p.m., $29.50. The Regent Theater, 448 S. Main St., Los Angeles.

GO JEFF LYNNE’S ELO: 8 p.m., $14-$182. Hollywood Bowl, 2301 N. Highland Ave., Los Angeles.

LEFTOVER CUTIES: 6:30 p.m., free. Scripps College, 1030 Columbia Ave., Claremont.

GO SARA WATKINS: 8 p.m., free. Levitt Pavilion Pasadena, 85 E. Holly St., Pasadena.

SATURDAY, SEPT. 10

AADAP’S COME TOGETHER BENEFIT CONCERT: With Abbey Road, 7 p.m., $40. Nate Holden Performing Arts Center, 4718 W. Washington Blvd., Los Angeles.

GO THE ART LABOE SHOW: With Zapp, MC Magic, Lisa Lisa, Amanda Perez, A Taste of Honey, Peaches & Herb, Bloodstone, The Originals, Sly Slick & Wicked, 7 p.m., $23.50-$111. San Manuel Amphitheater, 2575 Glen Helen Parkway, San Bernardino. See Music Pick.

BILLY VALENTINE: 8 p.m., $30. S. Mark Taper Foundation Amphitheatre, 12601 Mulholland Drive, Beverly Hills.

CABARET TANGO: 8 p.m., $30-$50. Downey Civic Theatre, 8435 Firestone Blvd., Downey.

DEMDIKE STARE: 6 p.m., TBA. The Getty Center, 1200 Getty Center Drive, Los Angeles.

DIERKS BENTLEY: With Randy Houser, Cam, Tucker Beathard, 7 p.m., TBA. Irvine Meadows Amphitheatre, 8800 Irvine Center Drive, Irvine.

DJ YELLA, MONEY B, YOUNG HUMP: 10 p.m., $20.50. The Regent Theater, 448 S. Main St., Los Angeles.

DRAKE, FUTURE: 6:30 p.m., $49.50-$179.50. Staples Center, 1111 S. Figueroa St., Los Angeles.

HERB ALPERT & LANI HALL: 4:30 p.m., $125 -$325. Ann & Jerry Moss Theater, New Roads School, 3131 Olympic Blvd., Santa Monica.

IGGY AZALEA: 7:30 p.m., $44-$145. Pomona Fairplex, 1101 W. McKinley Ave., Pomona.

GO JEFF LYNNE’S ELO: 8 p.m., $14-$182.

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Hollywood Bowl, 2301 N. Highland Ave., Los Angeles. GO MAINFEST: With Capital Cities, Miami Horror,

Nite-Funk, !!!, Dead Sara, Thee Commons, Swimm, 1 p.m., $25-$60. Main Street Downtown Alhambra, Main St. & First St., Alhambra.

MORE THAN A CONE’S AVANT GARDEN PARTY: With MRCH, Wasi, DWNTWN, Chela, DJ ManCat, plus fash-ion, art and short films, 7 p.m., $20. The Autry, 4700 Western Heritage Way, Los Angeles.

NEEDTOBREATHE: With Mat Kearney, John Mark McMillan, Welshly Arms, 7 p.m., TBA. The Greek Theatre, 2700 N. Vermont Ave., Los Angeles.

OXNARD JAZZ FESTIVAL: With Howard Hewett, Poncho Sanchez, Nick Colionne, Tom Browne, Quattrosound, O’Bryan, Isaiah Venegas, Jade, Tom & Milo, Coso, 11 a.m.-7 p.m., $60 & $100. Oxnard Beach Park, 1601 Harbor Blvd., Oxnard.

RAY LAMONTAGNE: 7 p.m., $44.50-$74.50. Santa Barbara Bowl, 1122 N. Milpas St., Santa Barbara.

RYAN BINGHAM, BRIAN FALLON & THE CROWES: With Paul Cauthen, 7 p.m., $25. The Wiltern, 3790 Wilshire Blvd., Los Angeles.

SHORELINE JAM: With Iration, Tribal Seeds, J Boog, Josh Heinrichs, The Movement, Hirie, Bad Apples, 1 p.m., $35-$1500. Queen Mary Events Park, next to the big boat, 1126 Queens Highway, Long Beach.

SLEEPING WOLF: 8 p.m., free. Grand Central Market, 317 S. Broadway, Los Angeles.

TEAMSUPREME: 9 p.m., TBA. El Rey Theatre, 5515 Wilshire Blvd., Los Angeles.

GO TIJUANA NO!: With La Banda Skalavera, Red Store Bums, Roncovacoco, 7 p.m., $5. The Observatory, 3503 S. Harbor Blvd., Santa Ana.

U.S. ELEVATOR: 8 p.m., free. Levitt Pavilion Pasadena, 85 E. Holly St., Pasadena.

SUNDAY, SEPT. 11

BARBARA MORRISON: 7 p.m., free. Levitt Pavilion Pasadena, 85 E. Holly St., Pasadena.

FAMOUS DEX: With Eddy Baker, 9 p.m., $20. The Observatory, 3503 S. Harbor Blvd., Santa Ana.

THE JAPANESE FOLK SONG & DANCE SHOW: 1 p.m., $10. James R. Armstrong Theatre, 3330 Civic Center Drive, Torrance.

GO JEFF LYNNE’S ELO: 7:30 p.m., $14-$182. Hollywood Bowl, 2301 N. Highland Ave., Los Angeles.

RAY LAMONTAGNE: 8 p.m., $39.50-$79.50. The Greek Theatre, 2700 N. Vermont Ave., Los Angeles.

MONDAY, SEPT. 12

CFM: With The Side Eyes, The High Curbs, in the Constellation Room, 9 p.m., $8. The Observatory, 3503 S. Harbor Blvd., Santa Ana.

TUESDAY, SEPT. 13

CARRIE UNDERWOOD: 7 p.m., TBA. Rabobank Arena Theater & Convention Center, 1001 Truxtun Ave., Bakersfield.

DANIEL AMAT: 8 p.m., free. The Ruth B. Shannon Center for the Performing Arts, 6760 Painter Ave., Whittier.

JAKE BUGG: With Syd Arthur, 7 p.m., $25. The Wiltern, 3790 Wilshire Blvd., Los Angeles.

PETTY FEST: With Nora Jones, Jakob Dylan, Carly Rae Jepsen, Brandon Boyd, Matt Shultz, Dhani Harrison, Summer, Cameron Avery, Lissie, Danny Masterson, Stephen Perkins, Nikki Lane, Brett Dennen, The Pierces, Jack Dishel, Cory Chisel, Big Black Delta, Jonathan Tyler, The Shelters, Justin Warfield, Eric Pulido, Elvis Perkins, Emily Armstrong, Adriel Denae, J-Council, The Cabin Down Below Band, 8:30 p.m., $27.50-$57.50. The Fonda Theatre, 6126 Hollywood Blvd., Los Angeles.

SONNY DIGITAL: 11 p.m., $15. The Observatory, 3503 S. Harbor Blvd., Santa Ana.

WILCO: 6:30 p.m., TBA. The Theatre at Ace Hotel, 929 S. Broadway, Los Angeles.

WEDNESDAY, SEPT. 14

BEYONCÉ: 7 p.m., $45-$305. Dodger Stadium, 1000 Elysian Park Ave., Los Angeles.

CARABAO: 10 p.m., $83.50-$202.50. The Wiltern, 3790 Wilshire Blvd., Los Angeles.

CARRIE UNDERWOOD: 7 p.m. Staples Center, 1111 S. Figueroa St., Los Angeles.

CLAMS CASINO, LIL B: 8 p.m., TBA. The Novo by Microsoft, 800 W. Olympic Blvd., Los Angeles.

DEATH GRIPS: 8 p.m., $30. The Observatory, 3503 S.

Harbor Blvd., Santa Ana.KACEY MUSGRAVES: 7:30 p.m., $35-$59.50. The

Greek Theatre, 2700 N. Vermont Ave., Los Angeles.PETTY FEST: 8:30 p.m., $27.50-$57.50. The Fonda

Theatre, 6126 Hollywood Blvd., Los Angeles.SING THE TRUTH: A TRIBUTE TO NATALIE COLE: With

Patti Austin, Terri Lyne Carrington, Freddy Cole, Dee Dee Bridgewater, Ledisi, Judith Hill, 8 p.m., $1-$151. Hollywood Bowl, 2301 N. Highland Ave., Los Angeles.


THURSDAY, SEPT. 15

GO ALBERT LEE: 8 p.m., free. Levitt Pavilion Pasadena, 85 E. Holly St., Pasadena.

BOYCE AVENUE: With Leroy Sanchez, Nick Howard, 6 p.m., $30. The Belasco Theater, 1050 S. Hill St.

DNCE: With LunchMoney Lewis, 7:30 p.m., TBA. Pomona Fairplex, 1101 W. McKinley Ave., Pomona.

ELVIS SCHOENBERG’S ORCHESTRE SURREAL: 8 p.m., $40. El Portal Theatre, 5269 Lankershim Blvd., North Hollywood.

GAVIN DEGRAW, ANDY GRAMMER: 7 p.m., $35-$55. The Greek Theatre, 2700 N. Vermont Ave., Los Angeles.

GO JOHN DOE & EXENE CERVENKA: With Howe Gelb, 8 p.m. The Regent Theater, 448 S. Main St.

NIPSEY HUSSLE: 8 p.m., $20. The Observatory. GO PAT METHENY: 8 p.m., $39-$79. UCLA, Royce

Hall, 340 Royce Drive, Westwood. See Music Pick. GO PROPHETS OF RAGE: With AWOLNation,

Wakrat, 7 p.m., $20-$69.50. The Forum, 3900 W. Manchester Blvd., Inglewood. See Music Pick.


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

GO ANAÏS: A DANCE OPERA: Mixed Emotion Theatrix presents composer-librettist Cindy Shapiro and cho-reographer Janet Roston’s dance-infused production, which is based on the life of writer Anaïs Nin, Aug. 27-Sept. 18, Fridays-Saturdays, 8 p.m., Sundays, 7 p.m., $15-$30. Greenway Court Theatre, 544 N. Fairfax Ave., Los Angeles. See GoLA.

BRILLIANT STRINGS: Sun., Sept. 11, 2:30 p.m., free. MorYork Gallery, 4959 York Blvd., Highland Park.

CAMERARA PACIFICA: The chamber-music group starts its 27th season with Sitkovetsky’s arrangement of J.S. Bach’s The Goldberg Variations for String Trio and Béla Bartók’s Sonata for Two Pianos & Percussion, Thu., Sept. 15, 8 p.m., $56. The Colburn School of Music, Zipper Concert Hall, 200 S. Grand Ave., Los Angeles.

CAROLINE HO: The 17-year-old pianist plays selections by Beethoven, Felix Mendelssohn, Robert Schumann and Ginastera, Fri., Sept. 9, noon, free. First Lutheran Church & School, 2900 W. Carson St., Torrance.

GO L.A. PHILHARMONIC: Gautier Capuçon rustles up Saint-Saëns’ Cello Concerto No. 1, and Ludovic Morlot conducts selections by other French compos-ers, including Fauré and Ravel, Tue., Sept. 13, 8 p.m., $1-$149. Mandolinist Avi Avital embellishes Vivaldi’s The Four Seasons, and André de Ridder conducts Brahms’ Serenade No. 1, Thu., Sept. 15, 8 p.m., $1-$149. Hollywood Bowl, 2301 N. Highland Ave.

PASADENA SYMPHONY: The orchestra skims through music from Warner Bros. films, Sat., Sept. 10, 7:30 p.m., $25-$132. L.A. County Arboretum & Botanic Garden, 301 N. Baldwin Ave., Arcadia.

GO RENEE FLEMING: Backed by conductor Carl St.Clair and Pacific Symphony, the soprano belts out Richard Strauss’ “Four Last Songs,” among other opera and Broadway favorites, Tue., Sept. 13, 8 p.m., $50 & up. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa.

ROBERT DEMAINE & KEVIN KWAN LOUCKS: L.A. Phil cellist DeMaine and Trio Céleste pianist Loucks work up a program TBA, Sun., Sept. 11, 2 p.m., free. Rolling Hills United Methodist Church, 26438 Crenshaw Blvd., Palos Verdes Peninsula.

TRIANGULAR BENT, GREG LENCZYCKI: The improvi-sational trio TriAngular Bent is composed of pianist Don Preston, cellist Jeff Boynton and guitarist Philip Mantione. Electronic musician Lenczycki also per-forms, Sat., Sept. 10, 8 p.m., $15. Art Share L.A., 801 E. Fourth Place, Los Angeles.

THE USC THORNTON SYMPHONY: Carl St.Clair con-ducts Tchaikovsky’s Symphony No. 4 in F minor, Op. 36, Fri., Sept. 9, 7:30 p.m., free. USC, Bovard Auditorium, 3551 Trousdale Parkway, Los Angeles.

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

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ORDER TO SHOW CAUSE FOR CHANGE OF NAME Case No. BS163768Superior Court of California County of Los Angeles Central Branch located at: 111 North Hill Street, Department 44, Room 418, Los Angeles, CA 90012. Filed On August 1st, 2016 In the matter of petitioner LI-ANA STAVITSKY by her mother KARINA ALEKSAN-DROVNA FRENKEL. It is hereby ordered that all persons interested in the above-entitled matter of change of name appear be-fore the above-entitled court as follows to show cause why the petition for change of name should not be granted. Court Date: 1018/2016, at 10:00 am, Located at Central Court-house 111 North Hill Street, Department 44, Room 418, Los Angeles, CA 90012. And a petition for change of name having been duly � led with the clerk of this Court, and it appearing from said petition that said petitioner desires to have his name changed from: LI-ANA STAVITSKY to LIANA FRENKEL. Now therefore, it is hereby ordered that all persons interested 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 grant-ed. It is further ordered that a copy of this order be published in the LA Weekly, a newspaper of general cir-culation for the County of Los Angeles, once a week for four (4) successive weeks prior to the date set for hearing of said petition.

660Public Notices

660Public Notices

ORDER TO SHOW CAUSEFOR CHANGE OF NAMECase No. VS029066Superior Court of California County of Norwalk Superior Court Southeast District lo-cated at: 12720 Norwalk Blvd. Norwalk, CA. 90650. Filed On 7/12/16 - In the matter of petitioner: Eliza-beth De Horta. It is hereby ordered that all persons in-terested in the above-enti-tled matter of change of name appear before the above-entitled court as fol-lows to show cause why the petition for change of name should not be grant-ed. Court Date: 9/27/16 Lo-cated at Norwalk Superior Court Southeast District 12720 Norwalk Blvd, Nor-walk, CA. 90650. And a peti-tion for change of name having been duly � led with the clerk of this Court, and it appearing from said peti-tion that said petitioner(s) desire(s) to have his/her name changed from: Mi-chael Khai De Horta to Jor-dan Khai Tyler Cash. Now therefore, it is hereby or-dered that all persons inter-ested in the said matter of change of name appear as indicated herein above then and there to show cause why the petition for change of name should not be granted. It is further or-dered that a copy of this order be published in the LA Weekly, a newspaper of

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