Vol 06 Issue 13 by Diana James

MERGE

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OM RECORDS

New MUSIC WE LIKE titles! Purchase new CDs from The Kills, Crystal Castles, Pete Rock, Great Northern, Photographic and more all priced at just $10.98 (web only price).

98 BIG DIPPER 3-CD Supercluster: SET CD The Big Dipper Anthology OM: MIAMI 2008 Various Artists

98 CD

Forty-nine re-mastered tracks! “Big Dipper dropped pop melodies of undeniable grandeur into songs ablaze with distorted guitars, fierce rhythms, and lyrics defying convention.” — Uncut

NETTWERK

Third installment of this highly successful series includes tracks from Om’s respected arsenal of artists. Features never before released tracks! The perfect soundtrack to encompass all that is Miami.

MERGE

AT THE GATES Slaughter Of The Soul

98 SHE & HIM CD Volume One

A bona-fide classic! One of the most important Death Metal releases of the ’90s — blending aggression and melody into an insane whole. At the Gates has long been revered as the blueprint for Swedish Death Metal.

LILI HAYDN Place Between Places DESTROYER Trouble In Dreams

MERGE

EARACHE RECORDS

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This release cements Vancouver, BC’s Dan Bejar as an artist as quirky and enigmatic as David Bowie, as symphonic and grandiose as Scott Walker, and as quixotically literary as Bob Dylan.

98 CD

On her third album, Lili emerges from her musical workshop with sounds that are inventive and torrid, equal parts Kate Bush and Pink Floyd, with lyrics in search of peace and passion in an unsteady world. Available at Amoeba on April 1st!

98 CD

Musical debut from M. Ward and Zooey Deschanel, paired by director Martin Hayens to perform the tune “When I Get To The Border” for his film The Go-Getter. Their match sparked the idea for Volume One.

BOB DYLAN TRIBUTE SHOW! Amoeba Music proudly sponsors Bob Dylan’s American Journey, 1956-1966, at the Skirball Cultural Center through June 8th. Don’t miss, LIKE A COMPLETE UNKNOWN, a tribute to Bob Dylan on Wed, April 23rd with Zack de la Rocha, John Doe, Michael Franti and Maria McKee. Tickets on sale now!

SALE ENDS 4/10/08

6400 SUNSETMON-SAT BLVD. at CAHUENGA • (323) 245-6400 10:30AM-11PM • SUN 11AM-9PM • WWW.AMOEBA.COM BUY-SELL-TRADE: CDs, LPs, DVDs, VIDEOS, BLU-RAY, POSTERS, 45s, 78s, MEMORABILIA & MUCH MORE! CITYBEAT L 2 l MARCH 27~APRIL 2, 2008

STAFF EDITORIAL Editor Steve Appleford stevea@lacitybeat.com News Editor Alan Mittelstaedt alanm@lacitybeat.com

P C ON T E N T W W W. L A C I T Y B E A T . C O M

VO L U M E 6 ~ N O . 1 3

Senior Editor Kevin Uhrich Film Editor Andy Klein andyk@lacitybeat.com Calendar Editor Alfred Lee alfredl@lacitybeat.com Editorial Contributors Donnell Alexander, Paul Birchall, Michael Collins, André Coleman, Cole Coonce, Mark Cromer, Perry Crowe, Samantha Dunn, Annlee Ellingson, Dan Epstein, Mick Farren, Richard Foss, Ron Garmon, Andrew Gumbel,Tom Hayden, Erik Himmelsbach, Bill Holdship, Jessica Hundley, Chip Jacobs, Mark Keizer, Carl Kozlowski, Wade Major, Richard Meltzer, Allison Milionis, Anthony Miller, Chris Morris, Natalie Nichols, Amy Nicholson, Donna Perlmutter, Joe Piasecki, Ted Rall, Charles Rappleye, Dennis Romero, Craig Rosen, Erika Schickel, Don Shirley, Kirk Silsbee, Brent Simon, Joshua Sindell, Annette Stark, Don Waller Calendar Assistant Ayse Arf Editorial Interns Ashley Archibald, Ed Carrasco, Emma Gallegos, Daryl Paranada, Amanda Price ART Art Director Matt Ansoorian artdirector@lacitybeat.com Web & Print Production Manager Meghan Quinn Advertising Art Director Sandy Wachs

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E Music ’08

17 Something 2 Dance 2. Local heroes and new acts rewind to the ’80s and the ecstatic sound of danceable hip-hop. By ALFRED LEE.

SUBBACULTCHA

18 The Cool Kids Are Alright. Saturday nights at Echoplex ride a bouncing, Day-Glo beat. By DENNIS ROMERO.

ADVERTISING

8 Too Much Junkie Business. Junkie XL reboots the music industry in his own image. By MATT DIEHL.

10 Moby’s Night Out. On his new album, the e-music icon shows he still knows how to Play. By DENNIS ROMERO.

FRONTLINES 6 Remembering Jamiel. ALAN MITTELSTAEDT witnesses some memorable words from Bernard Parks, and Zev calls out City Hall and the mayor on growth and traffic, in L.A. SNIPER.

11 The Circus Stays in Town. DENNIS ROMERO discovers that Gene La Pietra’s retirement plans are interrupted, but he’s not complaining, in GROUNDSWELL.

NoHo’s Lifeline. Taxpayer money will help build massive project near Red Line station. By DARYL PARANADA.

Co-op Advertising Director Spencer Cooper Music & Entertainment Sales Manager Jon Bookatz Account Executives Todd Nagelvoort, Susan Uhrlass, Norma Azucena and John Metzner Junior Account Executives Jason Hobbs, Parra Martinez Classified Supervisor Michael Defilippo Classified Account Executives Sarah Fink, Daphne Marina (Rentals/Real Estate), Jason Rinka

STAGE 36 Down in the O.C. Culture Clash examines the next county over in a show that is funny, thoughtful, and biting. By DON SHIRLEY.

EAT 37 Fast Company. Lemon Moon makes food delicious, surprising, and quick. By RICHARD FOSS.

7 DAYS & LISTINGS

Director of Business Development Joe Cloninger Retail Sales Manager Diana James

35 Good Guys, Bad Guys. NATALIE NICHOLS examines heroes and villains on Lost and in real life.

Live 16

Classified Production Artist Tac Phun Contributing Artists and Photographers David Butow, Jordan Crane, Scott Gandell, Max S. Gerber, Alexx Henry, Alix Lambert, Maura Lanahan, Gary Leonard, Melodie McDaniel, Nathan Ota, Ethan Pines, Gregg Segal, Elliott Shaffner, Bill Smith, Ted Soqui, Brian Stauffer, Sean Tejaratchi, Nathaniel Welch

Latest Reviews 22 Movie Showtimes 26 Special Screenings 31

Editorial & Letters 5 Left Coast by Ted Rall 5

12 L.A.-based DJ KAZELL talks about the local dance scene, its place on the world map, and touring with Sasha and John Digweed, in 3RD DEGREE.

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Classifieds 47 Free Will Astrology 47 BackBeat 55

FILM 21

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14 Life in the Fast Lane. Cadence Weapon raps with breakneck flow and a love of intense beats. By GREG KATZ.

Good Will Gambling. 21 takes its hero from the dark streets of Boston to M.I.T. to the lights of Las Vegas. By ANDY KLEIN.

COVER PHOTOGRAPH BY STEVE APPLEFORD

BUSINESS VP of Operations David Comden

TA K E M Y P I C T U R E , GARY LE ONARD

Controller Michael Nagami Human Resources Manager Andrea Baker andreab@southlandweeklies.com Accounting Ginger Wang, Archie Iskaq, Stephanie Reyes, Tracy Lowe, Christie Lee, Angela Wang (Supervisor) Circulation Supervisor Andrew Jackson Front Office Managers Sheila Mendes Coleman, Candon Murry Executive Publisher Charles N. Gerencser charlesg@lacitybeat.com Los Angeles CityBeat newspaper is published every Thursday and is available free at locations throughout Los Angeles and the San Fernando Valley. Circulation: 100,000. One copy per reader, additional copies are $10 each. Copyright: No articles, illustrations, photographs, or other editorial matter or advertisements herein may be reproduced without written permission of copyright owner. All rights reserved, 2007.

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MARCH 27~APRIL 2, 2008

CITYBEAT

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Power Games at DWP .......................................

avid Nahai must be fuming about the spineless tightwads on the L.A. City Council this week. The new general manager of the Department of Water and Power encountered rough political waters when he tried to win support for rate increases he believes are needed to keep the air conditioners running this summer. We hope even bigger headaches await him before he finds some relief in higher rates. The council delayed its vote for a week, which sounds like a tiny problem, but it’s not. Nahai’s been talking up the water and electrical rates increase for nearly six months, first as the head of the DWP’s board of directors, then as a nominee last December for the top job, and now as the guy who will be held responsible when the lights go out this summer. He’s jumped through all the council’s hoops, and keeps finding new ones placed in his way. During his confirmation hearing before the City Council’s Energy and Environment Committee last December, Nahai pledged to set up an oversight committee to show the public how the new money would be spent. The committee liked what it heard, or so it seemed at the time. If councilmembers objected, they should have sent Nahai packing. The rate increases – 8.5 percent for electricity and 6.2 percent for water – would be phased in by July 2009. In retrospect, Nahai, who got the top job because he was billed as a reformer who could shake up the utility’s insular and sometimes trouble-prone culture, should have negotiated the increases as a condition for taking the general manager’s job. After all, he doesn’t think he can do the job without them. And what’s the real reason for the delay? The City Council doesn’t know anything of great substance now about the proposal that it didn’t know six months ago, or that it is likely to learn by next week. Of course, the council does know how much it hates being yelled at by neighborhood groups that oppose the increases, particularly with elections coming up next year. We don’t want Nahai to get a free ride. Now that the City Council has his attention, it should make even more demands of him. If he is so committed to openness and allowing the public a full view of the utility’s operations, let’s see the council force open the books showing how more than a $1 million given every year to DWP’s union-run training institutes is spent. It’s public money given to a public utility. The public should see the books. Let’s just see who the council fears most: the neighborhood groups or Brian D’Arcy’s International Brotherhood of Electrical Workers Local 18. ✶

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Lessons of Obama As a recently retired teacher in an inner city high school in Los Angeles, I find that Barack Obama and his wife Michelle metaphorically represent the boys and girls from the ’hood – the students I scolded, counseled, chastised, mentored, reprimanded, advised, protected, nurtured – and loved. The students whom, I, to the best of my powers, tried to educate. Obama’s speech on race last week, represented those precious lessons of life – those lessons behind subject matter that I taught – those crucial lessons that are far more important than content described in the 73-page-syllabus and the weekly lesson plans which I dutifully submitted to the designated administrators throughout my teaching career. Regardless of who wins the nomination, Barack Obama has already defined the issue of this election: a future of hope, justice, peace, courage, and faith or a past of increasing hatred, war, violence and destruction. Given this bias, I would not hesitate to support Hillary Clinton should she win the nomination. Her views are also mine, and viewing the cover of your latest issue, I know there is way too much at stake to just sit around whining about the raw deal we got from the “grandees in the party,” as Andrew Gumbel defined them. I would expect every other Democratic voter to follow suit. In my previous life as a teacher, I often found myself in charge of various activities – including serving as the senior class sponsor – not once, but four times. I always preferred teaming up with one or two other colleagues and serving as a co-sponsor.

L E T T E R S

I know that we only have one presidential candidate, but why can’t the voters have both or all three candidates, Clinton, Obama, and Edwards, in one way or another? Democrats desperately need to develop a team approach, and the only candidate worthy of the nomination is the candidate who puts we in front of me. With this in mind, I’ve already written to the DNC, the Obama website, and my Congressmen. I’m asking everyone else in the Democratic Party, whether they support Clinton or Obama, to do the same. Let’s make it clear to both candidates, as well as to the Superdelegates that we want a united party which incorporates everyone because Clinton, Obama, and Edwards all of something to offer. Let’s make it clear that we the only candidate worthy of the presidency is the candidate who does the best job of building a Democratic team to save the democratic way of life of this republic. We, the people, have the power. Let’s use it. WILLIAM JOSEPH MILLER LOS ANGELES

The Barack Conspiracy I’m amazed that so many have been inspired by such weak, phony, and unoriginal Barack Obama speeches. Myself, yes! I’ve been inspired – by the original speeches given by Martin Luther King Jr. and the Kennedys growing up. I find it very insulting and funny at times when others copy the words of such great speeches and pass them off as their own. The reality is that Obama’s speeches won’t inspire or motivate politicians, not in the White House or abroad. MARCH 27~APRIL 2, 2008

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It’s great that the young voters are going to the polls in big numbers for Obama, but it’s their political inexperience that could help Obama win the nomination, which could actually help the more experienced John McCain secure the presidency. Don’t you think that the Republicans would instead be saying that they were more afraid of running against Hillary if they actually worried about Obama? Being a Democrat, union member, and former union activist/lobbyist from California, I truly believe that those who are trying so hard to vote Obama in as our presidential nominee are actually helping out with a Republican presidential victory. They are helping us fall right into a trap of stupidity that the Republicans have laid out for us. RICHARD GUERRA WHITTIER

A Conspiracy of Boredom After spending hours refining my letter to CityBeat about the common thread in a number of articles/letters to editor in the March 13 issue, I decided instead to look at the wide picture, which also had the same common thread: nothing new. Yes, nothing new about people in power have to resign their office because of hookers, unless you follow the map of Bill or Antonio who had their flings without resigning, or in the case of school building they almost always get what they want and the general public fighting them doesn’t have a clue about how to fight back. Almost every issue of CityBeat the common thread is, generally, nothing new, as both in relating to the type of articles

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written and the slant of these articles. In the past year, for example, readers will possibly see the same basic topics with generally the same slant: (1) Politics, elections, issues, voting; (2) Gangs; (3) Lack of decent transportation options in greater L.A. area; (4)Housing, lack of affordable, oversized; (5) Education, funding, building new schools, charter/private schools, how many didn’t pass minimum standards; (6) Celebrities out of control; (7) Medical care, lack of, mentally ill; (9) Drug users; (10) Homelessness on skid row, other areas ,vets, options; (12)Long Beach/L.A. Harbor trucking situation; (13) The war in Iraq, military related; (14) Police, budget, lack of, what they do or don’t do, the police consent decree; (15) Immigration, immigrants, good/bad, lack of English, learning, etc. There are probably a few others that I have left out, but you get the point. Break the rules, go against the grain. Or maybe there really isn’t anything new in the way of topics, in the way of reporting the news, in the way people think and react, so everything remains nothing new. GERALD JANNKE HOLLYWOOD

SEND LETTERS! Letters to the editor should include a return address and telephone number. All correspondence becomes property of Los Angeles CityBeat and may be edited for space. Send to LETTERS, CityBeat, 5209 Wilshire Blvd., Los Angeles, CA 90036. Or by fax (323) 938-1661 or e-mail: editor@lacitybeat.com.

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★ PHOTOGRAPH BY ALAN MITTELSTAEDT

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d Remembering

Jamiel And Zev calls out City Hall and the mayor on growth and traffic ~BY ALAN MITTELSTAEDT~

D ~ L.A.’S LOSS: ANITA SHAW, SON, THOMAS, AND THE MAYOR LISTEN TO A TRIBUTE BY BERNARD PARKS ~

BERNARD PARKS SHOWED UP unannounced at a street-side ceremony last Saturday to dedicate a memorial to Jamiel Shaw Jr., the 17-year-old football standout at Los Angeles High School, at the spot where he was gunned down steps from his house on 5th Avenue. Drawing on the loss of his own granddaughter to street violence in 2000, the ex-police chief tossed aside a millennium’s worth of pablum usually spouted at such events by well-meaning people trying to console grieving family and friends. “At the funeral, I’m sure a number of people said, ‘He’s in a better place.’ I just want to be selfish and say, ‘He’s not.’ He should be on 5th Avenue being a role model as he’s been. He should be at L.A. High School playing football. He should be at that rightful scholarship in college, carrying on his talents so that all of us can appreciate it. Although he’s in another place, I think the better place would be for him to fulfill his potential on earth so that we could all share in it.” Parks joined the mayor and Councilmember Herb Wesson in calling on the Pentagon to reassign Jamiel’s mother to allow her to remain at her Arlington Heights home, with her husband Jamiel Sr. and their 9-year-old son Thomas. “Sgt. Shaw needs to be home with her family to make sure that she can give that guidance and attention to her young son Tommy,” said Parks. “When this news conference is over, we have to realize that the family continues to struggle with this – every birthday, every Christmas, every major event in their life. They will be saying, ‘Where’s our son?’ And he won’t be there. On Wednesday, Anita Shaw learned that her leave had been extended two weeks and that she would be stationed at Fort Irwin. ZEV’S STATE OF THE CITY County Supervisor Zev Yaroslavsky stood at the podium in a ballroom at the Wilshire

Grand hotel, taking shots at the L.A. Times, blasting “stupid growth” policies that create unlivable communities, and longing for the days when more issues were debated openly rather than swept under the rug at City Hall. This was Monday’s monthly lunch of the Current Affairs Forum, convened by Emma Schafer, with 40 or so well-behaved downtown business and government types, lawyers, lobbyists, union organizers, and journalists gathered around a U-shaped table. Too bad Zev wasn’t holding forth at the old Redwood Room, with his targets crowded around to deflect the criticism with a few rounds of their own over a long night of rowdy story-telling and imbibing. The bar would have been full, led by Mayor Antonio Villaraigosa, Planning Director Gail Goldberg, and unnamed clueless and stodgy editors at the Times who, if their abysmal coverage of this event in the next day’s paper is any guide, wouldn’t know certain local news stories if they reached up and scribbled the lead on their foreheads. For an hour, Zev talked about growth, traffic, and the stresses facing bottom-line-worshipping newspaper groups – all among the top five issues engaging and annoying the populace from Long Beach to Woodland Hills, from the Westside to the San Gabriel Valley. Zev hates traffic jams as much as the next solo commuter in the car ahead of you: “If we do nothing between now and 2015, somebody’s going to shoot somebody on the streets between the 405 and Ocean Avenue. You can’t just be oblivious to the fact that people are traveling at an average speed of 2 mph going eastbound from Santa Monica during the afternoon peak. The public wants relief.” The wholesale revamping of zoning rules now being ramrodded through neighborhoods around the city, tripling densities and turning one-story buildings into three-story mega-complexes or worse, will only make it more unbearable. And the rule changes have been slipped in without enough public scrutiny. CITYBEAT

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“What drives me up a wall is from the day I walked into City Hall on June 10, 1975, there wasn’t an issue like this that wasn’t debated. We always had debates. Tom Bradley and I went at it. These battles were legendary. It went on until the day I left City Hall. Issues weren’t kept off the radar screen.” Zev, at 59, passes for an elder statesman in these parts. He served two decades on the City Council and is in his fourth term as a county supervisor. He’s said he plans to run one final time in 2010 before term limits force him out. It used to be that you could read about all of the policy clashes in the daily newspaper, which created a rigor of accountability. “No politician or city councilman from the Westside worth his salt would ignore the public, or would do so at his peril, because they’d read about it in the Thursday edition or Sunday edition of the L.A. Times. Well, they haven’t had a zoned section in years.” The twice-weekly community section was killed in 1995, and now Zev laments that worthwhile stories remain unwritten or dismissed in three-paragraph briefs buried in the California section. “The Orange County Board of Supervisors gets more coverage from the L.A. Times,” Zev complained. “I don’t mean to pounce on the L.A. Times, but it’s a critical problem. It has consequences.” A subdivision in Santa Clarita, approved two weeks ago on 3-2 vote, with Zev and Gloria Molina opposed, “barely warranted a brief.” On the traffic innovations front, Zev gave a forensic analysis of the Pico-Olympic debacle, the three-phase traffic plan unveiled by the mayor to much fanfare last November, nearly a year after Zev proposed a more radical plan to turn the eastwest thoroughfares into one-way streets, with two lanes reserved for buses to travel in both directions. Zev tapped into his office budget to hire traffic engineer Allyn Rifkin to examine the idea. The mayor’s plan now faces legal challenges by Westside business owners who fear

MARCH 27~APRIL 2, 2008

they’ll lose their neighborhood tone and customers when street parking is gone. “When you take away a merchant’s parking in front of his store,” says Zev, “there’s got to be something that that merchant and the community at large gets in return.” This phase of the mayor’s program calls for the synchronization of traffic lights, with the final phase increasing the number of lanes moving in one direction. Zev sees little merit in signal wizardry alone. “The public will not perceive a benefit. The whole notion of synchronized traffic signals is oversold. When you have volume of traffic like we do in peak hours, the best computer system in the world won’t solve your problems entirely.” The jury is still out on the mayor’s plan. “If his idea works, God Bless him, I’ll give him all the credit in the world. If it doesn’t work, the sooner he knows that, the sooner he can make a decision on whether he wants to ratchet it up and go back to Rifkin’s plan.” Oh, so now it’s Rifkin’s plan? Exposing some of the tensions with the mayor for the lunch crowd, Zev said: “Maybe it’ll be better luck if it’s called Rifkin’s plan than Yaroslavsky’s plan. It seems to be an issue.” On the subway front, Zev said a top priority must be extending the Purple Line west from Western Avenue to Santa Monica. He’s working with Assemblyman Mike Feuer, who’s pushing legislation to lower the votes needed for a sales tax increase from two-thirds majority to 55 percent. If the legislature goes for it, voters, too, would have to approve the lower threshold. “Whether we have a sales tax measures on the ballot in November is still an open question,” said Zev, who sounded more optimistic than in past outings. “We’ve gotta have a fighting chance. Nobody wants to go into this as a suicide run.” After lunch, Zev took a few more questions from L.A. Sniper: Sniper: “From where I sit, if you and the

F R O N T L I N E S

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NoHo’s Lifeline

Share your vision at metro.net/imagine.

Taxpayer money will help build massive project near Red Line station

MetroBriefs

~ B Y D A RY L PA R A N A D A ~

MAYOR ANTONIO VILLARAIGOSA, LOCAL public officials, and community leaders were on hand Monday to break ground on the latest phase of a revitalization project in North Hollywood. The final phase of the NoHo Commons project costs $79.4 million and will bring a Laemmle Theater, retail, and restaurant space to nearly three acres one block from the North Hollywood Metro station. “This project will represent another step forward in the push to invest in smart, transit-oriented growth with affordable housing and retail,” said Villaraigosa. “NoHo Commons is a bright star in the constellation of revitalization that has arrived here in North Hollywood thanks to the ascendancy of the NoHo arts district.” A joint deal between the J.H. Synder Company and the Community Redevelopment Agency of the City of Los Angeles, the project is the final component of a three-phase, $375 million revitalization effort that began in 2001. The first phase brought 438 mixed-income housing units to the area. The second phase, completed last year, contains nearly 300 rental units and 60,000-square feet of retail space, housing a supermarket, bank, and several restaurants. The latest phase will include a Class A office complex and parking garage. “NoHo Commons is the place where L.A.’s past and future intersects in a grand fashion. This project has affordable housing, fine dining, shopping and entertainment, office space and it’s easily accessed by public transportation,” said Cecilia V. Estolano, CEO of the redevelopment agency. “It’s going to build on the cultural identity of the NoHo arts district and make this an even more significant entertainment center for the Valley.” According to Estolano, $8.5 million of public funds is going towards the project, which she believes will help the area become one of the hottest office markets in the region within a decade. “We’re getting an outstanding example of what happens when a developer works with the com-

munity, works with the CRA and creates a balance of opportunities and benefits,” said Estolano, noting that the project will also include a streetscape and arts component. One of the cornerstones of the project will be a seven-screen Laemmle Theater, an art house chain that has remained an L.A. county institution since 1938. “Development tends to be a negative word in this town, but people are very happy to see us come because they know that the name means something, what it stands for, and it’s a great amenity for the community to be able to see the types of films that we play here in this location without having to go over the hill or go a long distance,” said Greg Laemmle, the president of the theater chain. “In many ways this area represents the one authentic urban environment in the Valley and I think enhancing that and concentrating it with the density of housing and with the cultural, 24-hour amenities is just a great opportunity.” City Councilman Tom LaBonge, who represents the area, recalled the days when Lankershim Boulevard was one of the commercial hubs of the city. “This was the main drag in the Valley,” said LaBonge. “As years passed it became a challenge. It became a challenge for many years where it wasn’t a place where people wanted to be. But artists came and entrepreneurs came and they created a NoHo kind of concept where people said this is a special place to be.” Addressing concerns about the amount of growth occurring in the area, LaBonge said that there would be a balance between protecting the neighborhoods and bringing quality development to North Hollywood. Among those who would be affected by the development was Peter Svidler, a developer building two residential complexes in the NoHo Commons area. “Having anything like this would certainly help bring buyers back to the area,” said Svidler. “I think it’s making it into a much nicer area with a great future.” ✶

(Sniper cont’d) mayor got along better, so much more could be accomplished.” Zev: “The mayor and I get along fine on the policy issues that we agree on. Where we don’t get along are on policy issues we don’t agree on. I’ve dealt with four mayors now. Lord knows, Tom Bradley and I didn’t agree on everything, but we worked together and talked to each other several times a week. Same with Dick Riordan when I was in City Hall.” Sniper: “How often do you talk to Antonio?” Zev: “Not often, but I wouldn’t read too much into that. I didn’t talk that much to Jimmy Hahn

Imagine The Possibilities Imagine a faster commute, synchronized signals, more left turn lanes and more rail to more places. Metro is now planning LA’s future and wants your input. See what’s achievable today and possible tomorrow with more investments in tra;c solutions. Share your vision at metro.net/imagine or call 213.922.2833.

Live Call-In Show To Metro Board Chair March 27 Metro Board Chair Pam O’Connor has some good ideas about how to relieve tra;c congestion in LA. Now she’s looking for ways to pay for it. If you know how, call and share it with her on the live TV call-in show “Metro Live” on Thursday, March 27 from 8-9pm on City TV Channel 16 and LA 36.

Interactive Video Wall Launched At metro.net Metro’s web site, metro.net, has debuted its new Metro Interactive video wall – a collection of destination and news videos designed to help customers and visitors easily navigate LA. Highlights include videos from the Go Metro campaign, news and features reporting on events, ongoing projects and safety videos.

Free Metro Earth Day “Rock & Ride” Concert April 22 Take care of Mother Earth. Leave your gas-guzzling, air-polluting car behind and Go Metro to Union Station for a free noontime concert by the rock band Canon on Tuesday, April 22, on the south patio. Canon will perform its hit eco song “The Hourglass,” as well as other great music at Metro’s Earth Day celebration “Rock & Ride” event.

Gates Planned For Metro Rail because I’m not a city councilman. We will have no problem working together on a common agenda for transportation. The traffic problems and the congestion problems in the western part of the county are as acute as they are anywhere in the United States.” Sniper: “Is it totally out of the realm of possibility that you’ll be running for mayor next year?” Zev: “I am not running for mayor next year.” Sniper: “How can you be so sure?” Zev: “If I were running for mayor, you’d know about it. Most of the talk about me running for mayor has been emanating out of City Hall from people who are trying to marginalize some of

these policy issues by reducing them to political tiffs when, in fact, they’re substantive policy issues. I’m not going to keep my mouth shut when I see my neighborhood affected by what the city does. And as a former city councilmember, I’m not going to sit back quietly and watch 20 years of my work product dismantled without a fight. This has nothing to do with running for office. Fine, really, but Zev and Antonio still need to meet for dinner at the Water Grill soon to hash all this out. I’ll buy – if they pickup the bar tab. ✶ Send insults and ammo toBigAl@lasniper.com.

MARCH 27~APRIL 2, 2008

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Entry gates are going up on Metro Rail. Gates will be installed on the Metro Red Line, Metro Purple Line and selected light rail stations in e=orts to provide for seamless travel, improve transit station security and prevent fare evasion. Metro has been using a barrierfree “honor system.”

If you’d like to know more, please call us at 1.800.464.2111, or visit metro.net.

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PHOTOGRAPH BY STEVE APPLEFORD

~ RAWHIDE WEEKEND: JUNKIE XL IN AUSTIN, TEXAS ~

CITYBEAT

MARCH 27~ APRIL2, 2008

e MUSIC JUNKIE XL IS USED TO FUTURE SHOCK. Since his debut solo album, Saturday Teenage Kick, was released a decade ago, he’s been exploring the “Future of Computer Hell” (the title of …Kick’s final track) as a bigroom icon of electronic dance thump. As well, he remains a music-industry iconoclast, having pushed beyond accepted practices

idence” at Machine Head, the Venice-based sound design and music licensing company founded by Thompson Twins engineer Stephen Dewey that Bentley was working out of at the time. As his music became even more prominently placed in films, videogames, and commercials, Junkie XL discovered his peers in the electronic-mu-

scores (Holkenborg works frequently with acclaimed composers Hans Zimmer and Harry Gregson-Williams on films like Domino and Kingdom of Heaven) and remixes for everyone from Britney and Avril to Bloc Party. Despite the dominant digital trappings, analog doesn’t get short shrift, either: There’s a MiniMoog propped in a

the production, but the community vibe – the experience of being with each other in one room, with the smoke, the drugs, the repetition of rhythms … I was like ‘Wow, this is the shit!’” More full raver disclosure: While he plays live at festivals, like at the upcoming Coachella, you’ll never catch Junkie XL behind a pair of decks onstage.

TOO MUCH JUNKIE BUSINESS Junkie XL reboots the music industry in his own image ★ By Matt Diehl of marketing and distribution well before Internet downloads hobbled the major-label machine. But in 2002, on the eve of what became a permanent move to Los Angeles, he was merely shell-shocked. That year, the life of Junkie XL (born Tom Holkenborg) changed forever. First, he found himself transformed from an underground rave hero into an unlikely international superstar after his remix of Elvis Presley’s “A Little Less Conversation” topped pop charts in 24 countries; even Holkenborg’s distinctive stage moniker (earned from his status as a “studio junkie” capable of marathon recording sessions) got sanitized to “JXL” so as to protect “The King” from any further drug associations. “I fell into a creative loophole after the Elvis remix,” Holkenborg explains today. “You fall into a little hole after that kind of success. People started recognizing me on the street when I’d go shopping. It all made me question who I was as a musician.” Yet Junkie XL’s existential crisis hadn’t seen nothin’ yet: Soon after his biggest success, Holkenborg lost his mother to cancer and his sister to heart disease in the very same week. “Losing half of your family is such an emotional blow,” he states with understatement utterly typical of his Dutch nationality. “It was all very macabre and drastic – the perfect time to do something different.” “Something different” meant trading the European lifestyle of Holkenborg’s Amsterdam hometown for the City of Angels. As radical as it seemed at the time, going Hollywood inevitably proved Junkie XL’s most natural career move. Holkenborg’s inherently cinematic, action-packed grooves had already been found on the soundtracks of multiplex blockbusters like Resident Evil and Blade (whose infamous bloodbath-at-a-vampire-rave opening sequence pulses memorably to Junkie XL beats). During a trip to L.A. to meet with music supervisor and iconic KCRW tastemaker Jason Bentley to discuss working on The Matrix sequels, Bentley suggested a change of scenery. “Jason and I became good friends,” Holkenborg says. “Anyone I’ve met here, I met through Jason Bentley; he’s my biggest supporter in town. He said ‘Man, you should move out to Los Angeles – it’s going to be great for you here.’” “I was just a fan, and Tom had a real interest in coming to L.A. and making inroads in film,” Bentley says today. “He grew so quickly and rapidly, he set up his own studio in nine months! He has the ability to adapt; he’s just a chameleon.” With nothing to lose, Holkenborg packed his bags and became “artist in res-

sic world scoffed at such blatant careerism. Yet Holkenborg had long figured out that for artists working in truly alternative styles, music licensing was a more attainable and effective avenue to reach audiences than pursuing commercial-radio airplay. “Around 1993, I delivered my first track for a videogame called Test Driver 2, and it opened my eyes,” he recalls. “I realized that the music I made was so underground, it would never be accepted by the standard MTV/radio setup. After that, I was interested in getting my music into all kinds of media.” Junkie XL’s omnimedia approach to his career extends to his new album, Booming Back At You. Instead of signing to a traditional label, Holkenborg is releasing his fifth long-player in collaboration with Artwerk, a hybrid company fusing the resources of pioneering videogame company Electronic Arts with Nettwerk, the powerful management concern and indie imprint that first brought Coldplay to the U.S. Nettwerk has been a leader in turning the negatives of music’s digital era into a positive, even down to paying the legal fees of a Texas teen sued by the R.I.A.A. Electronic Arts, meanwhile, has long been wise to music’s role in defining their brand in hit games like Madden NFL and The Sims. Discussing the vanguard nature of his current business affairs, Holkenborg can’t help but emit a dry chuckle. “All my colleagues called me a sellout the minute I sold a song to a movie,” he continues. “They said music should be ‘pure’ – that you can’t make money off it like that.” According to Junkie XL, success remains the best revenge: Electronica producers today are seeing their traditional income-producing areas dry up – deejaying, mixed compilations, selling CDs and 12inch records through conventional record labels – and they’re desperate for new revenue streams. “The same people who called me a sellout are now lining up at Electronic Arts to get a job. That’s the reality,” the artists says. Junkie XL’s reality, meanwhile, hardly bites: Computerhell, his studio complex the artist says in Venice, is chicly appointed in Zen modernist style and state-of-the-art espresso machines. Computerhell is the base station for Holkenborg’s growing sonic empire, but he makes it look like more fun than work. Padding through the studio rooms in his trademark floppy cap and long brown scarf, dodging dogs racing across his scruffy Le Coq Sportif kicks, Holkenborg looks in on assistants hovering over Macs running Pro Tools. He then checks the various hard drives and servers that keep Computerhell running 24/7, pumping out movie MARCH 27~ APRIL2, 2008

corner, as well as a sprawling collection of vinyl that spans from Spandau Ballet to Russ Meyer soundtracks. In a nod to Holkenborg’s Amsterdam roots, a rusty one-speed bike leans near the entrance, unlocked. His Southern California evolution, meanwhile, is symbolized by the muscle car collection in Computerhell’s parking lot: Holkenborg takes special pride in his perfect-condition, azure ’64 Chevy Impala (with Krager-replica rims), and a restoration-in-progress ’67 Ford Galaxy convertible. “Driving cars like these is insane,” he says. “It’s a young boy’s dream.” Holkenborg’s dream of youth appears throughout Booming Back At You as well. In a sense, Junkie XL’s latest artist album is a journey through his musical past, present, and future. Raised in a musical family, Holkenborg, now 40, started playing numerous instruments around the age of four. By the time he turned 16, a job in a local musical-instrument shop provided an electronic epiphany he would never turn away from again. “Early synthesizers like Synclaviers and Fairlights cost a million bucks,” Holkenborg recalls, “but then they finally became affordable in the mid-’80s. I was fascinated by the new keyboards, Midi technology, and the birth of sampling. I knew that combining all that with traditional musicianship would be it for me.” To further these ideas, Holkenborg joined the Dutch new-wave outfit Weekend In Waikiki; later, he formed the Wax Traxinfluenced industrial-metal duo Nerve. The canniest tracks on Booming can indeed be traced back to this early musical lineage. “I picked influences that were important to me over the last 20 years,” he admits. As such, there’s a raw, dancefloordynamite cover of Siouxsie and the Banshees’ “Cities In Dust,” a proto dancerock classic from 1985. Elsewhere, “Not Enough” mixes the anxious piano runs of Sparks with Depeche Mode’s electro-pop drama, while “Clash” collides Bad Manners bluebeat into Gary Glitter glam, and the title track pumps up the volume like M/A/R/R/S. All, however, get retrofitted with volcanic beats suitable for today’s modern club systems. Strangely, Holkenborg admits “I didn’t like dance music in beginning. I was a big fan of electronic music like Yello and Kraftwerk; Trevor Horn’s work for Art of Noise and Frankie Goes To Hollywood was also very important to me. As a result, I didn’t like the first techno releases from Detroit; I thought the production sounded really crappy. It took me until 1990 to get it, when I first went to underground dance parties. I realized it wasn’t about

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CITYBEAT

“I can’t DJ!” he admits. “I’ve tried a couple times, but I just can’t sync the records; I don’t know how it works. That’s why I’ve always positioned myself more as an artist and producer.” Still, since that one fateful rave, Junkie XL hasn’t ever looked back: Typically, he’s incorporated ever y passing club genre, from big beat to progressive, into his grooves. Booming proves no different: Decidedly contemporary aspects contrast evocatively with Holkenborg’s retro-futurist nostalgia. Lauren Rocket of local Warped Tour-friendly band Rocket adds howling vocals to three tracks; celebrity Angeleno DJ Steve Aoki collaborates on the mosh-pit-meets-acid squelch of “1967 Poem.” It’s all part of Junkie XL’s role as club statesman, uniting the dance-music factions under his digital umbrella. “Steve Aoki wakes up with a million amazing musical ideas and can only execute four of them,” Holkenborg explains. “It’s magic when we work together: Steve knows what people like and is totally connected with all the cool dance music out today. I really love the new bands like MSTRKRFT, Justice, Digitalism, and Boys Noize. Still, while their music is super interesting, it’s not ‘clubby’ enough – there’s a gap between genres like progressive and house and this new movement. With my album, I’m trying to build a bridge between the two, combining that punky aggression and roughness with all the other dance music styles.” Junkie XL’s diverse, inclusive take epitomizes the dance-music expat scene that’s given Los Angeles clubland new dimension: superstar dancefloor pioneers from Paul Oakenfold to Daft Punk to Adam Freeland have all moved here from foreign lands for a more widescreen angle on things. “Judging L.A. by Hollywood is like judging the whole of London by Leicester Square,” Adam Freeland says. “This is the only place I’ve lived where you feel that you can do anything. Eat any food you want; see any band; find any subculture; meet any creative mind; experience any art. You can be totally involved in the core business side, yet be on a beach, up a mountain, or in a wild desert within no time.” Holkenborg admits that his own cultural mishmash would never have come about if he’d stayed in his native Netherlands. “L.A.’s a great place to live, to be an artist,” he says. “People respect me more here than they do in Holland. There, I would always be told something I wanted to do wasn’t possible; it was always like, ‘Act nor mal – you’re already crazy enough.’ But here, the crazier you are, the better! It’s a really thrilling life.” ✶

e MUSIC MOBY’S ‘NIGHT’ OUT PHOTOGRAPH BY STEVE APPLEFORD

On his new album, the e-music icon shows he still knows how to ‘Play’ ★ By Dennis Romero

~ FROM NIGHT UNTIL MORNING: MOBY ~

IF YOU THINK IT’S BEEN A long time since you’ve felt Moby in clubland, you’re probably right. Although his breakout down-tempo album Play, released in 1999, was rooted in club culture and became the basis for many dance-floor-focused remixes, Moby has spent the better part of the last 10 years touring with a band, appearing at red-carpet events, and generally being a rock star. From feuding with Eminem to singing with Gwen Stefani to pontificating about politics, the New Yorker has created more spin in the tabloids than in the DJ booth. “I’ve spent so many years doing long promotional trips and long tours, really not being happy,” Moby says as he lounges in

his bungalow at the Fairmont Miramar Hotel in Santa Monica. “Tons of red carpet events, etcetera, etcetera – asking myself, ‘Why am I doing this.’” With Last Night, a new longplayer due Tuesday, make no mistake: Moby is in the club. In fact, he couldn’t wait for the album to be released in order to shed the band, the entourage, and the backstage treatment. Last fall he started a series of DJ parties at New York’s Hiro Ballroom called Degenerates. In November he took his DJ show on the road to L.A. to tease the release of Last Night – five months ahead of its release. He even gave early copies of the album to a few noted radio DJs such as KCRW’s Jason Bentley. CITYBEAT

“The record company is freaking out” about that, Moby says. “Like, isn’t that the point – you make a record, you want people to hear it?” Moby obviously wants this one broadcast far and wide, and for good reason: Last Night is his best effort since Play. The new collection is, in fact, somewhat like the 1999 album in its use of atmosphere, melancholy, and slowburning energy. “Love To Move In Here” is the star of the Last Night. Its loungey minimalism underlies a sultry, Latin techhouse groove. “Live For Tomorrow” is a down-tempo torch song straight out of the Play-book. “Degenerates” rides on liquid pulses, metallic percussion, and sweetand-sour ambience. “Sweet

Apocalypse” starts in a wash of white space that is deconstructed and set to a marching tribal rhythm. “Last Night” is a sentimental head trip that pairs beatless atmospherics and jazzy, triphop vocals: “Take sweet memories with you/And plant those seeds somewhere new.” Other tracks, including “Everyday It’s 1989,” and “I’m In Love,” complete with the piano loops, synth stabs, and drum rolls, sound like restored relics from rave-land. Moby pays homage to fresher sounds, however, on “Disco Lies,” an electro-trash number with all the mirror-ball pomp of a night at the 54. Overall, Last Night is infused with fresh chi he has absorbed in his recent return to clubland. “It’s really nice when you have 20-year-old kids coming into the scene and hybridizing ever ything,” Moby says. “But this record, Last Night, it’s a concept record. I’m trying to take a night that starts at 10 o’clock and finishes at 6 o’clock and condense it into one, 65-minute CD. It starts down-tempo and lighthearted, then it gets a little darker, a little weirder and, by the end, it becomes sort of blissed out, atmospheric music. Each song represents a trajectory of a crazy night out.” New York’s top indie-dance acts have joined the artist on the turntables at his Degenerates events in Manhattan. Guest DJs have included electro-clash survivor Tommie Sunshine and DFA Records’ Juan Maclean and Stretch Amstrong. The leader of L.A.’s dance-punk explosion, DJ Franki Chan, helped warm up the decks for the Bald One during his November appearance here. Moby is clearly feeling the youth-fed eclecticism of contemporary DJ culture. “Granted, I’m 42-years-old,” he says, “so I can’t necessarily claim to speak to the day-to-day experience of a 20year-old as much as I’d like to.” Moby couldn’t have chosen a better time to return to the beatdriven night: Last year, dance music made an amazing comeback: The Chemical Brothers scored a Grammy, Daft Punk staged a return, and Underworld ruled the Hollywood Bowl. But more than anything, the dance music renaissance has been sparked by a mix-and-match aesthetic made possible largely with the help of push-button DJ technology, mash-up culture, and a feverish demand for outside-therecord-box flavors (LCD Soundsystem, Justice, Digitalism,

MARCH 27~ APRIL2, 2008

et. al.). Where Moby’s early-’90s coming out was a time of rigid adherence to genre boundaries and a deep faith in the power of unbroken, linear DJ sets, today’s millennial dance fans expect a sound-clash of styles and tempos. “Throughout the ’90s, dance music became regimented,” Moby says. “You’d ask someone what they played, and they would name a genre so specific that it only existed in a two block radius of Brixton. And now, at least in New York, you go into a bar, and the DJ’s playing Blur and then Eric B. & Rakim, and then like a DFA record, and then maybe Donna Summer. I really love that type of eclecticism.” Indeed, if Moby stayed away from the genre-specific DJ boom of the mid-’90s (opting instead to return to guitars on 1995’s Everything Is Wrong), he’s now turning his back on rock bands, even as the dance-punk kids who inspire him are integrating live elements with DJ culture. “For the last eight years, all I’ve done is tour,” Moby says. “I mean, I love to play live. But the thing about DJing is, in a weird way, it’s all improvisational. You show up and you don’t know what you’re going to play. You respond in an instant. I’m enjoying DJing a lot.” And so, expect to see Moby supporting Last Night with a CD case, a set of headphones, and nary a roadie. In a way, the artist is returning to his roots. “When I first started DJing in the ’80s, I started at a tiny little bar called The Beat in Port Chester, New York,” Moby says. “It held 45 people, I worked seven hours a night, and I got paid $25 a night, which works out to roughly $3 an hour. You’d have punk rockers and heroin addicts and students and truck drivers – and everyone wanted to hear something different. So I would play everything from hip-hop to new wave to punk rock to country & western to funk. You’d go from Bronski Beat into James Brown into Hank Williams into Kool Moe Dee – I mean, just really, really eclectic.” “It’s strange,” he says, pausing for a moment of reflection. “I started playing house music in 1987. And I’ve been involved in the dance scene now for 20-someodd years. But a lot of people in this new dance scene now think of me as the guy who made the song with Gwen Stefani. More than anything else, I think that’s kind of funny.” ✶

GROUND SWELL

YOUR MUSIC

THE CIRCUS STAYS IN TOWN La Pietra’s retirement plans are interrupted, but he’s not complaining ★ By Dennis Romero

Sun APR 27 7:30pm

Asha Bhosle: PHOTOGRAPH BY GARY LEONARD

75 Years of Asha Amit Kumar, special guest Bollywood playback singer Asha Bhosle celebrates her 75th year. Considered a living legend, she has performed over 12,000 songs! Media sponsor: 89.9 KCRW

Sat MAY 3 8pm

~ THE RINGMASTER: LA PIETRA AT CIRCUS ~

‘Nunavut’

Kronos Quartet Tanya Tagaq, special guest WHEN WE CAUGHT UP WITH GENE La Pietra in early October, the clubland impresario said he was a day away from signing over this venerated Hollywood nightlife compound, including Circus Disco and Arena Nightclub, to a mixeduse developer for $62 million. Fliers were already circulating for a New Year’s Eve blowout at the 3,300-capacity Circus: The party was called “The Last Dance.” La Pietra, who once coveted the mayor’s job when he was unsuccessfully pushing for Hollywood to become its own city, was looking forward to retiring after 33 years micromanaging the venues from a perch in front of Circus. Club-goers were abuzz: Not only was Circus the largest DJdriven venue in town, but it was also a groundbreaking social experiment that welcomed gays, lesbians, minorities, and late-night ravers long before the rest of the city woke up. But as the winter months came and went, Circus and Arena stayed open. L.A. Weekly even went so far as to call our journalism on the demise of the venues “premature.” We can hardly blame the competition for failing to conduct a follow-up with on-the-ground reporting, however. It seemed like every time we interviewed La Pietra outside the club it was pouring rain, bone chillingly cold, and downright dreary. (We still have notebooks with rain-blurred scribbling to show for it). This time we phoned the club owner. What he had to say wasn’t surprising. In the wake of the home-loan crisis, the real estate climate has gone from bull to bust since October. If only La Pietra could have gotten his hands on that $62-mil before the market sobered up. Of course, commercial real estate hasn’t entirely lost the plot in L.A. La Pietra says his door is always open but, for now, Circus and Arena live “for the long term.” “At this point the economy doesn’t make sense,” says the 60-something. “There’s no reason in the world to expect any of these kinds of development projects to come to fruition.” The idea, as he told me in October, was that the buyer would immediately raze and

grade the property – 4 acres worth – in order to construct a massive mixed-use development that would likely include retail and housing. Asked if the developers got cold feet about the deal in the face of a softening economy, La Pietra said, “That’s probably it.” “It didn’t go forward and that was it,” he says. “Nobody owes me an explanation.” It’s too bad. La Pietra could have used the permanent vacation. He started Circus with a partner in 1974. It was a warehouse that they leased to hold occasional parties where gays and lesbians of color could come without hassle. (Some gay clubs in what is now West Hollywood wouldn’t allow Latinos and African-Americans). It was the right time, and Circus became a West Coast disco mecca. In 1990 La Pietra bought an ice factory next door and turned it into the more modern Arena. Both have become unofficial landmarks for dance music fans of all stripes. Circus was home to some of the earlier rave-like parties of the 1990s. Arena was the home of DJ Irene, who became the best-selling female DJ when it comes to mix-CDs. In 2000, Circus saw a new generation of clubbers come through its doors when Dave Dean introduced the European super-club concept to the region in the form of Giant. Throughout the years, La Pietra has taken his punches: Critics have questioned his ability to take the pulse of club-land. In 2002, the U.S. Drug Enforcement Agency and local cops raided Circus only a month after his Hollywood secession effort failed. Authorities claimed to have found prodigious amounts of ecstasy at the club, but they never brought charges against La Pietra; he says it was payback for his anti-L.A. campaign. Lately, superclubs across Hollywood, including Avalon and Vanguard, have been giving the Circus/Arena compound a run for its money. But La Pietra always seems to thrive. “At some point I’ll retire, there’s no question,” he says. “For now, we’re going to be here. Hopefully everybody’s happy with that.” ✶

The Kronos Quartet and Inuit throat singer Tanya Tagaq present ‘Nunavut,’ and a world premiere by composer Derek Charke. The Quartet also explores music by Icelandic band Sigur Rós and Xploding Plastix. Generously sponsored by Acura Media sponsor: 89.9 KCRW

Thu/Sat APR 24/26 8pm Fri APR 25 11am

Salonen Conducts Bruckner Los Angeles Philharmonic Esa-Pekka Salonen, conductor Michele Zukovsky, clarinet MOZART Clarinet Concerto BRUCKNER Symphony No. 6 4/24 Media sponsor: The Korea Times. 4/26 Generously sponsored by Breguet

Tue/Wed MAY 6/7 8pm

Philharmonia Orchestra Christoph von Dohnányi, conductor Don’t miss London’s Philharmonia under its current Principal Conductor Christoph von Dohnányi, who becomes Honorary Conductor for Life next season when Esa-Pekka Salonen takes over as Principal Conductor.

WALT DISNEY CONCERT HALL Get Your Tickets Today! LAPhil.com • 323.850.2000 Box Office (Tue-Sun, 12-6pm) • Groups (10+) 323.850.2050 Programs, artists, prices and dates subject to change.

MARCH 27~ APRIL2, 2008

CITYBEAT

e MUSIC

3RD DEGREE

KAZELL The L.A.-based DJ on the local dance scene, its place on the world map, and touring with Sasha and Digweed How’s the state of dance music in L.A. compared to the trance boom of six or seven years ago? I’d say it’s pretty healthy. We’ve got some really diverse events; promoters like Pocket Underground and Droog come to mind immediately. The bigger clubs like Avalon and Vanguard are packing in crowds every week, and the scale of the Downtown New Year’s Eve events bear testament to how many people love electronic music in all forms in L.A. It’s good to see a major venue like Avalon diversifying its programming to incorporate a wider mix of electronic genres. How has the influx of Daft Punk-crazed cool kids affected the scene in L.A.? I think over the past few years artists like Daft Punk have introduced a lot of new faces into the clubs, which is always welcome. Do you play differently as a result of the cool-kid craze? Not really. I always try to gauge different crowds’ reactions to my sets, and when something works particularly well, I definitely incorporate it again in the future.

UP UNTIL RECENTLY, THE REST OF the club world didn’t take Los Angeles too seriously. Sure, the city’s been a destination for Hollywood-minded electronic-music producers, touring trance DJs, and those artists who still think raves rule. But as electronic dance music moved into swankier, legitimate super-clubs at the turn of the millennium, there was a vacuum of local DJ talent ready to fill the bill. Enter Kevin Bazell, a.k.a. DJ Kazell, who came to the United States from Manchester, England, in 1991 and quickly became a fixture at more-refined progressive house parties in the southeast and – for the last 10 years – Los Angeles. That the 36-year-old has become one of America’s great spinners is no joke: True DJ fans appreciate the extra work and skill that goes into opening and sustaining a big night, including setting the mood, modulating energy, and handing off the baton off to the next spinner with aplomb. This week Kazell ascends to the highest level of the jock ‘n’ roll hall of fame as he joins Sasha and John Digweed on their muchanticipated Spring Club Tour 2008. The DJ has also been handling his own business – running a label, Influx Audio, and hosting a bimonthly Saturday-night party of the same name at Avalon Hollywood’s terrace. Certainly he’s one resident DJ who’s helped put Los Angeles club life on the international map. –Dennis Romero CityBeat: How did you end up on Sasha and John Digweed’s Spring Club Tour?

Kazell: I’ve played with Sasha and John many times over the years, and more recently I toured with John throughout the States and Mexico. We go back a long way and understand each other’s respective styles. Both of the guys have very specific needs when it comes to selecting a DJ to set the right mood before they perform. I’m very grateful that they like what I do enough to ask me on the tour. How do you plan to open for them? It’s a great opportunity to showcase some of the deeper, more-atmospheric music I enjoy. I’m planning on keeping the music forward-thinking and intelligent while maintaining a subtle, elevating energy. What have you been up to in the studio in terms of production? Last year I focused most of my production efforts in the film industry. I did a soundtrack for an independent film, Rolling, as well as built some custom instruments for [film coposer] Harry Gregson-Williams to use on Disney’s new Chronicles of Narnia: Prince Caspian film [due May 16]. This year I’ve got several new projects almost ready for release as well as some exciting collaborations in the near future. I’ve also been exploring putting together a live band project that draws on some elements of dub, hip-hop and electronica. When you go to other cities, what do people say about you and the L.A. dance scene? I think people rightly assume that L.A is a CITYBEAT

★ THE BIGGER CLUBS LIKE AVALON AND VANGUARD ARE PACKING IN CROWDS EVERY WEEK, AND THE SCALE OF THE DOWNTOWN NEW YEAR’S EVE EVENTS BEAR TESTAMENT TO HOW MANY PEOPLE LOVE ELECTRONIC MUSIC IN ALL FORMS IN L.A.

mainstream-music-driven city, which, I believe comes down to a lack of smaller venues for electronic music. In most European cities there is a wealth of smaller clubs where underground musicians can build a good fan base. I love the city and it’s my hope that the scene can continue to evolve and allow more underground sounds and styles to flourish. MARCH 27~ APRIL2, 2008

People decry the state of music sales, but the scene in L.A. still includes three huge, DJ-centric super-clubs: Are people at least voting for dance music with their feet? The music industry has dramatically changed over the past few years in terms of the way music is bought, sold, and devoured by the public. I think, realistically, with sales declining, most electronic artists look at their production as a promotional tool for their live work these days. The fact that L.A. can sustain three clubs is evidence that people still want to hear and support electronic music. Hollywood has the clubs, downtown has the new energy: Which area is hotter? Downtown is undeniably hotter in summer! Who are the L.A. DJs who are bringing it on a global scale these days? Other than the already well-established DJs like Sandra Collins, Doc Martin, etc., I think there’s an amazing group of talent here that’s ready to explode globally. There also several L.A. artists, like [a]pendics.shuffle, who play a huge amount of gigs overseas but rarely play in LA. What direction do you see dance music going in the next few years? That’s the million dollar question! I personally believe in the next 10 years we’ll see people experimenting with sounds in a more scientific way, using specific frequencies to generate emotional responses. But I might be watching too much sci-fi on TV. ✶ Kazell hosts his Influx Audio Pre-Tour Party featuring Ian James and Nelson Sanabria, Saturday at Avalon, 1735 N. Vine St., Hollywood. 21+. Doors at 10 p.m. Tickets: $20 presale. Info: avalonhollywood.com.

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BLOCK AT ORANGE 20 CITY DRIVE 714-769-4400

e MUSIC LIFE IN THE FAST LANE Cadence Weapon raps with breakneck flow and a love of intense beats ★ By Greg Katz Wilding,” for instance, he slyly spits, “I’m cold on the wire/I’ve never been in Wired/I was watching The Wire when we first ~ TAKE ME HIGHER: met.”) But – here’s another CADENCE WEAPON ~ contradiction – despite a breakneck flow, lyrical cleverness, and dance beats that would fit neatly in a set at downtown L.A. hipster bar La Cita, the record is an insular one. Many tracks quickly deteriorate into bitter memoirs of a failed relationship, as on “Tattoos and What They Really Feel Like,” where he rhymes, “The pain only begins when they start shading in,” before admitting, “Am I talking about something else? Well, I usually am.” The tracks that don’t are critiques of a hipster culture that Cadence sometimes thrives in and other times disdains. “I wear pink unironically,” he announces on “The New Face of Fashion.” But “I am the ironic black at your fake Cobrasnake house party!” Even with its dance music underpinnings, the album seems more nervous with each spin, especially RAPPER-PRODUCER CADENCE WEAPON with self-referential touches like a facetious is a study in contrasts, and he knows it. cry of “Cadence, you’re crazy for this one,” an “I’m less Rick and more Richard D.” allusion to Jay-Z’s studio banter with Rick (meaning less like funk legend Rick James, Rubin on “99 Problems.” more like techno visionary Richard D. James, So how does an artist tied to so many aka Aphex Twin), Cadence rhymes on “Judifferent goals and styles reconcile them liann Wilding,” one of many standout tracks live? If his March 19 tour stop at the Echo on his new record, Afterparty Babies. was any indication, it’s by jumping up Besides being clever, the line juxtaand down continuously for 45 minutes, posing the Jameses is also bold. Ordifist upraised, nearly screaming his rhymes nary rappers rarely try to distance them– bummed-out lyrics be damned. selves from party funk, and even more “I approach shows from the aesthetrarely try to align themselves with cereic of shows I grew up going to, like hardbral electronica. But 22-year-old Cadence core shows, punk shows,” he said in an inWeapon, born Roland Pemberton III to terview after the Echo date. “It’s me and the seminal Canadian rap radio jock that a DJ and a microphone with an old school shares his name, is no ordinary rapper. hip-hop aesthetic, but done in a punk sort Let’s start with a few of the contraof vocal style with electronic music.” dictions that characterize this record: AfIf he seems fully cognizant of the aesterparty Babies dropped March 13 on the thetic disparities he’s embraced, maybe ANTI- imprint of Epitaph Records, a lait’s because, in his former life, Cadence bel that built its name on punk mainstays was Rollie Pemberton, music writer. Aflike Bad Religion, NOFX, and the Offter a year as rap critic for webzine Pitchspring. Afterparty Babies is a hip-hop alforkmedia.com that culminated in a pink bum, but it’s founded neither on underslip from editor Ryan Schreiber, Pemground boom-bap nor mainstream berton bounced between other sites and rumble. Instead, Cadence’s beats are roothis own blog, the excellent Razorblade ed unmistakably in a love of electronica, Runner, which he has since abandoned, from the maximalist house of “In Search before music became his full -time gig. of the Youth Crew” to the Game Boy-meltBut when asked about his apparent down of “Limited Edition OJ Slammer” contradictions, Cadence said doesn’t and the thick grime of “Getting Dumb.” think of his varied musical interests as anyTaking his cues from his tempos, thing less than perfectly authentic. “I just many of which are a brisk 120 beats per want to keep it really honest,” he said. “I minute (compared to 80 to 100 for most don’t make any music for critics. People hip-hop), Cadence crams syllables toassume that, as a critic, I have an internal gether with an inside-out wordplay that advantage, but I don’t make music in evokes the cleverer elements of both that cerebral way.” ✶ Cam’ron and Busdriver. (In “Juliann CITYBEAT

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MARCH 27~APRIL 2, 2008

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N O W AVA I L A B L E A T B E S T B U Y

RUNNING THE VOODOO DOWN

CARL CRAIG “SESSIONS” Sessions serves both as a retrospective on the work of the Grammy nominated originator and a collection of his most important remixes.

GET PHYSICAL MUSIC

The two disc set is compiled and mixed by Craig himself.

SJUNIOR BOYS “BODY LANGUAGE VOL. 6”

PHOTOGRAPH BY JOSH REISS

Hipgenesis takes it aboveground at Circus Disco ★ By Ron Garmon

The Junior Boys provide the 6th edition of Get Physical's flagship mix series. The old meets the new, as the popular Junior Boys demonstrate their superior selection and mixing skills.

HOT CHIP “MADE IN THE DARK” Hot Chip deliver the long awaited new album and the follow up to their critically acclaimed album The Warning. This is Hot Chip at its best; wonderfully quirky, clever, soulful and poppy. Featuring Shake A Fist, Ready For The Floor, One Pure Thought + more. As Heard on Indie 103.1

STONES THROW

ASTRA WERKS

~ HARDCORE REVELING: HIPGENESIS ~

GUILTY SIMPSON “ODE TO THE GHETTO” Guilty Simpson’s debut release features production from Madlib, Denaun Porter and J Dilla. Features the first single "Get Riches." Appearing at LA's Crash Mansion on April 10th.

Store Hours: Mon.-Thurs. 10am- 9pm Fri. & Sat. 10am- 10pm Sun. 11am- 7pm

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HIPGENESIS DEFINES ITSELF IN terms of a Phildickian consciousness coup or interdimensional ransom note: “Simultaneously a shadowy collective of artists and agent provocateurs, an increasingly disruptive series of horizonal events, and a word used to describe the transition point between reality and irreality.” This is talk to twitch the muzzle of a Homeland Security ferret but for the fact it refers to homemade debauchery, America’s last frontier and first excuse for itself. The idea is this: You belong to an elite cadre of hedonists and high-rollers convening at odd intervals in the remoter crannies of Los Angeles, out from under the ever-lengthening shadow of the Man. Few spots are too remote or improbable for operations, and by the time theme and locale ping your inbox, you’ve laid in a dozen gaudy costumes with components to mix ’n’ match for any contingency. Anon comes the night and all assemble at some unlikely one-shot venue – downtown fire station, a South Central warehouse turned love shack, or Burbank office block made over as interdimensional spaceport – for an evening of dancing, musical performance, and the more esoteric forms of socializing. The fun goes on until you emerge blinking into the post-dawn hours and startle early-rising goodfolk on your way home. A merry life, to be sure, and one I’ve led myself for the last couple of years, taking this comprehensive weirdness on top of my usual rock clubmanship. This sunless existence gave me a Lugosi pallor, a vast circle of friends and a distaste for the juiceless experience on tap at the local dance superclubs. Even so, the only downside to the Voodoo party Hipgenesis threw in the cavernous mainstream of Circus Disco in Hollywood on Saturday, March 22, was the 4 a.m. Hollywood curfew. Yes, yes, that’s what afterparties are for, but my own taste for such affairs was MARCH 27~ APRIL2, 2008

never great and dwindles every time some glitter-eyed civilian begs me score her some white-line yeyo. Not that I didn’t abuse some privileges. Standing at the foot of a long line arterially clotted with youngsters and novice Burners, my pretty companion and I were informed by a welcoming bellow from Security this was for peeps on the guest list. This was surmounted with no trouble by the magic word “Press,” a Gorgon’s head one tries not to unsheath in polite company. Inside, one room of the two-story concrete sprawl was being worked by DJ Fatfinger, noted funketeer working electro-trance-funk havoc from behind the decks. Going for a sort of Anne Rice gothique, Hipgen’s set decorators went for a vampiric Vieux Carre carnival, with a fortune teller set up and exquisite posing from the Wandering Marionettes, a parcel of sexy undead preening in ultraslow caricatures of worldly vanity. Around me was a broad, tribal swath of hardcore revelers who show up at all these events. Most come from the Burning Man subculture; few bonds are firmer than with those who play with art that can kill. By midnight, Circus Disco was seething with the wild kids of Saturday night, and most of these civilians passed through ouraccessiblefor-once party, delighted at the trimmings and taken aback at all the unclubby affection. Security was a bit laxer than in such well-upholstered penitentiaries as Vanguard, with even the guards trading hugs with us well before closing. Indeed, it began to get downright adhesive. In a long, stately approach to the exit, I was seized and loved-upon by dozens of freakishly-dressed, hyper-sexy friends, each breathing a goodnight benediction into my ears. It was like boarding the last train from Wonkaville, or as good as Saturday night in Hollywood gets. ✶

SOMETHING 2 DANCE 2 Local heroes and new acts rewind to the ’80s and the ecstatic sound of danceable hip-hop ★ By Alfred Lee

~ THEY KNOW YOU GOT SOUL: THE 87 STICK UP KIDS ~

ARABIAN PRINCE SAYS HE’S retired. Or, at least, he does “not have to work anymore.” And why not? He’s already enjoyed legendary success, starting one musical movement as the ground zero (alongside old-friend Egyptian Lover) of L.A.’s electro-hop in the mid-’80s, and ushering in another as an original member of N.W.A. The guy who was once on the cover of Straight Outta Compton half-jokingly now only agrees to interviews on the condition that they don’t interfere with viewings of SpongeBob SquarePants and golf practice. Yet Arabian – and many of his fellow ’80s hip-hop icons – can’t seem to stop playing shows these days. “I’m getting calls all the time,” he says. “I just got off the phone with Egyptian Lover – and this is the first time for me to even hear about this – they’re doing a show out in Spotlight 29 Casino at Coachella, an old school reunion with Tone Loc. You would never see anything like that before … . And a lot of the clubs now are calling and wanting us to come in and do old school sets.” Locally, Arabian has recently performed at the Echo, the DoOver at Crane’s, and the Roxy, where just last month old-school heavyweight Afrika Bambaataa manned the decks. And he hopes to capitalize on that renewed interest when a greatest hits album drops on L.A.’s Stones Throw

Records in the coming months. Within the music and spirit of 1980s hip-hop, both veterans and fledgling hip-hop artists on the local scene have found common ground with an L.A. music crowd that’s increasingly headed toward dance and indie pastures. “The big movement in L.A. is electronic music, it’s electro, it’s not necessarily hip-hop,” explains Matthew Goldman, co-founder and promoter of PYT nights at Jimmy’s Lounge, which has booked the likes of Arabian Prince along with newer hip-hop acts. He says the current club climate has opened a crack to hiphop acts palatable to, well, dancing. “We’re in between popular styles – I think the French discoelectro stuff is kind of fading in the favor of more trendsetting hipster kids,” Goldman says. “Meanwhile, those who are booking these talents are looking for people who are still relevant and good and interesting and reachable … . Maybe that’s the next thing, finding older hip-hop acts or hip-hop DJs who are still interested in being relevant.” On the other hand, up-andcoming hip-hop artists are tapping into that audience by reworking old-school sensibilities that fall in line with the current demand for discerning fun, a tendency reflected both nationally – with the likes of the Cool Kids,

Spank Rock, and Kid Sister – and locally. L.A.’s The 87 Stick Up Kids are a throwback foursome – rappers Nash, The Deacon, Squish, and DJ Rockwell – who seem to feel most at home referencing Rakim lyrics over consciously old-school beats. They’ve been linked with the likes of other local acts such as Brother Reade and Pacific Division, who, though less directly influenced, have found success by at least partly harkening back to the spirit and enthusiasm of an older, less pretentious form of hip-hop. “We’re not genre specific you know, we’re kind of in between genres in what we do,” says the Stick Up Kids’ DJ Rockwell. “We don’t really do like hip-hop hip-hop shows, you won’t see us billed with Tha Alkaholiks probably for a while.” The group formed about a year ago when members recognized the oncoming sea change, according to rapper The Deacon. “Specifically for me, I remember I went and saw Brother Reade and Spank Rock at Safari Sam’s, and when I got out of that show I was very much in that mindset. I’d been a solo MC before, I’d done other projects, but I was like, you know what, there’s no reason why if this is what is coming back right now, that we shouldn’t be a part of what’s happening,” he says. “I couldn’t re-

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member the last time that I’d been to a hip-hop show where it was like, everybody had their hands in the air, was dancing, wildin’ out, having a good time. I remember when that was the norm, as opposed to now when you go and everybody kind of stands around with their arms crossed and it’s like you’ve got somebody lording over you on stage.” Jet Set Jay of Silverlake rap trio Time Machine agrees. “The idea of the dude, or the dude and all his friends, standing on stage and standing still and rapping, or walking back and forth across the stage, and a bunch of kids just standing on the floor and looking up at him – it’s a wrap, it’s over. The most beautiful thing to me about the direction that nightlife is going right now is that it’s cool to be enthusiastic again,” he says. “You see kids walking around dressed like they just melted a pack of Skittles and put it in a bucket and poured it over their heads.” Time Machine, which played one of Goldman’s PYT nights just last week, is moving away from its origins as a more explicitly throwback group – its members are even changing their stage names in time for a new album, Life is Expensive, due out in May – while at the same time attempting to acknowledge those influences in a newer context. Jay and his two partners, Biscuit and Mekalek, found some recent crossover success after mashing Kid Sister’s “Control” with Janet Jackson’s 1986 hit of the same name. “Maybe it’s not cool to be glorifying the golden age of rap right now,” Jay says, “but it is cool to have something that people might compare to an Arabian Prince or an Egyptian Lover, or freestyle music, or any of the ’80s electronic music that you might say had some soul to it.” This intersection of both ’80s and modern hip-hop with dance music and hipster nightlife itself recalls the ’80s L.A. scene. “Now you got guys in there who look like gang bangers hanging out with nerds and hippies and stuff like that — man, it’s a beautiful thing,” says Arabian Prince. “It’s going back to the fact that in the ’80s, there was no such thing as urban music, or this music, or that music. When we went to a club, no one came in with an expectation of what you were going to play, whether it be Cyndi Lauper, ABC, ParliamentFunkadelic, Prince, Sugarhill Gang, it was all one music, it all worked together.” ✶

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UPCOMING IN-STORES at AMOEBA! All shows are FREE and ALL AGES! For full calendar of events visit: AMOEBA.COM

Thursday • March 27 • 7pm

THE CHAPIN SISTERS The sisters celebrate their new album Lake Bottom LP (out March 18th on Plain Recordings) with a live set at Amoeba. And catch them during their Monday night residency in March at the Echo!

Friday • March 28 • 8pm

TITA LIMA Guest Resonance DJ set of her mixture of MPB (Brazilian Popular Music), Samba-Jazz, Bossa Nova, Hip-Hop & Dub.

Monday • March 31 • 7pm

PETE ROCK New York producer & MC Pete Rock (A.K.A. Peter Phillips) returns with his latest album NY’s Finest — out now on Soul Survivor/Nature Sounds. Also playing live at Club LAX March 29th!

Friday • April 4 • 8pm

TORPEDO BOYS Amoeba’s Friday night DJ series Resonance presents the international crew with the funkiest breaks, fattest beats and grooviest basslines — their new CD Cum On Feel The Boyz is out now!

Saturday • April 5 • 4pm

CHARITY AUCTION The first Saturday of every month, Amoeba has a good time and raises money for great causes with host Brently Heilbron!

Tuesday • April 8 • 7pm

LIVING LEGENDS & THE GROUCH Celebrating release day of the Living Legends album The Gathering AND The Grouch’s Show You the World from Park the Van Records.

Thursday • April 10 • 7pm

HUMAN GIANT The comedy team of Aziz Ansari, Rob Huebel and Paul Scheer bring the funny to Amoeba and sign copies of Season 1 of their sketch comedy show!

Friday • April 25 • 8pm

BOMBAY DUB ORCHESTRA 6400 SUNSET BLVD. (323) 245-6400 MON-SAT 10:30AM-11PM • SUN 11AM-9PM BUY-SELL-TRADE: CDS, LPS, DVDS, VIDEOS, LASERS, TAPES, POSTERS, 45S, 78S, MEMORABILIA & MUCH, MUCH MORE!

AMOEBA.COM

e MUSIC THE COOL KIDS ARE ALRIGHT

www.lacitybeat.com/BESCENE

Saturday nights at Echoplex ride a bouncing, Day-Glo beat ★ By Dennis Romero

CLUBS, BARS, CONCERTS, NIGHTLIFE, ENTERTAINMENT VIDEOS, PICTURES, BLOGS

~ PARTY LIKE IT’S 1989: THE SCENE AT CHECK YO PONYTAIL ~

Find out if you are on BE SCENE.

BE SCENE street team will be at The Good Nite in NoHo this week. Check the blog for updates and come out to The Good Nite to BE SCENE

PHOTOGRAPH BY OSCAR ZAGAL

To have your event listed here email:

jasonh@lacitybeat.com

Temple Bar Thursday, March 27 SONOCLIP, OMAR TORRES Record Release and GUSTAVO $8 advance 1026 Wilshire Blvd. (at 11th Street), Santa Monica

www.templebarlive.com

the key club Thursday, March 27

PENNYWISE Record Release Show 8PM $15 Ages 15+ 9039 Sunset Boulevard West Hollywood

www.keyclub.com

bigfoot lodge friday, March 28 DJ SMOKEY P spins new wave, post punk, indie, psychobilly and everything in-between. Open 5 pm - 2 am daily. Never a cover! 21 & over with ID

3172 Los Feliz Blvd. Los Angeles • 323.662.9227

bigfootlodge.com

ZANZIBAR friday, March 28 Hip hop, soul, old school classic, dancehall by DJ CREATIVITY. & introducing the Zanzibar Dolls! $5 Fabulous Drinks. Ladies free before 11:00pm 1301 5th Street Santa Monica

www.zanzibarlive.com

knitting factory Saturday, March 29 DOORS 6:30 PM. ADV $17. DOS $20 18+ Club Vodka Presents... Black N Blue & many more! 7021 Hollywood Blvd Ste 209 Hollywood

www.knittingfactory.com

the good nite Sunday, March 30

Karaoke Night! Not pretentious, no cover, no attitude. 10721 Burbank Blvd. N. Hollywood (818) 286.3929

www.thegoodnite.com

THE 1980S WERE WIDELY considered a musical backwater, at least among mainstream rock critics, for whom the doctrine of pop-as-poetr y seemed to die along with the Carter administration. During the Reagan years, British new wave, the rap attack, and androgynous pop stars such as Boy George were enough to make traditional music scribes roll up their Rolling Stone magazines and slap their MTV-ridden televisions in disgust. Today’s ’80s revival among American Apparel-wearing cool kids must, then, be the final affront for the Dylanas-God disciples whose roots are planted firmly in the 1960s. The ’80s brought back a ’50s aesthetic to pop, one in which “you can dance,” as Madonna said; one in which, more than anything, the music did the talking – not someone’s pen – and bodies did the rocking. While the era’s artists might not have been as noble or highminded as the guitar poets of the 1960s and ’70s, they were no less influential. Today’s millennial kids might be on-point by highlighting the ’80s as an era of hip: It brought us Michael Jackson, Prince, and the advent of a word so commonplace that we could CITYBEAT

hardly imagine contemporary music and the Internet without it: Techno. The epicenter of this DayGlo revival is right here in L.A., at the Echoplex Saturday nights, during Franki Chan’s revered Check Yo Ponytail parties. New York has its disco-punk community and LCD Sound System. Paris has Daft Punk redux with Justice and the Ed Banger Records crew. The East Coast, from Baltimore to Florida, is experiencing an ’80s-flavored, booty-rap resurgence via acts such as Spank Rock and DJ Diplo. But Los Angeles is the capital of nu electro cool kids in neon tights and ironic T-shirts. “There’s always been this back and forth between Los Angeles and New York about who’s cooler and who’s not,” says Chan, 29. “I would say definitely a few years back, New York had the cooler scene. But I would say, especially since the summer of 2006, L.A. has really been the one killing it. Los Angeles is still the leader of this burgeoning electronic dance scene.” It’s a scene that exists outside the traditional super-club context of DJs spinning linear, samey, tech-flavored dance mu-

sic. In the nu electro community, DJs blend a sense of future retro with punk-like irreverence and technological utility. At Check Yo Ponytail Saturday the duo called Heist bobbed behind a Powerbook as they unleashed versions of Lipps Inc.’s “Funky Town,” Madonna’s “Hung Up,” DJ Jean’s “The Launch” and Robert Miles’ “Children,” all in a viciously up-tempo mega-mix that recalled the ’80s heyday of gay, hi-NRG club music. “The ’80s has been an obsession since I was in high school,” Chan confesses. “When I was growing up my father had MTV playing pretty much all day every day. At that time it was ZZ Top and Prince and Madonna and Michael Jackson’s Thriller all day long. And I don’t think it’s going to go away.” More than “’80s night” happy hour parties, however, the nu electro scene in L.A. is about mixing irreverence with technology. DJing software such as Ableton Live and Serato Scratch has opened clubland to previously unimagined possibilities. The entire world of music can now be set to a 4/4 beat with the press of a button. And the new kids are doing it

MARCH 27~ APRIL2, 2008

with abandon. Rather than looking like they’re checking their e-mail onstage, nu electro DJs are pogoing, singing over the beats, and even assembling dance-influenced bands (L.A. Riots, Guns N Bombs) that are thrashing like post-punk rockers on ecstasy. This isn’t nu rave – that British revival of rave-influenced rock (the Klaxons, et. al.) – though. There’s much more reverence for the dance floor. And this certainly isn’t the indie dance scene that Chan helped launch with former partner Steve Aoki, who’s been known to play pop for celebrity princesses during his Dim Mak parties at Cinespace Tuesdays. The only “paps” you’ll spot at Check Yo Ponytail is DJ Paparazzi. Situated in Echo Park, Ponytail’s nu electro crowd has grown from the ground up, and Chan has launched a label, IHEARTCOMIX, to feed its growth. The Saturday night party is celebrating a two-year anniversary next month. (See iheartcomix.com for more information.) “It’s all about energy and having fun and,” says Chan, “bringing some danger back to rock music.” ✶

VARESE SARABANDE

N O W AVA I L A B L E A T B E S T B U Y SOUNDTRACK “FOOL'S GOLD”

VARESE SARABANDE

The score for Fool’s Gold is an exotic and romantic adventure by George Fenton, composer of the scores for the enormously popular and acclaimed Discovery Channel documentaries Planet Earth and The Blue Planet as well as such diverse films as You’ve Got Mail, Hitch, Groundhog Day and Memphis Belle.

SOUNDTRACK “DR. SEUSS' HORTON HEARS A WHO!”

VARESE SARABANDE

The magical and fun score was composed by John Powell. With such blockbuster hits as Happy Feet, Ice Age: The Meltdown and Shrek behind him, John Powell is the king of animation film scores and his soundtrack for Horton is an absolute classic.

SOUNDTRACK “LEATHERHEADS” This wildly energetic and fun big band score was composed by the legendary Randy Newman, whose music for The Natural ranks among the greatest sports scores of all time!

Store Hours: Mon.-Thurs. 10am-9pm • Fri. & Sat. 10am-10pm • Sun. 11am-7pm

DEFEND MUSIC

N O W AVA I L A B L E A T B E S T B U Y TEMPOSHARK “THE INVISIBLE LINE”

MISS KITTIN “BATBOX”

SALTED MUSIC

Miss Kittin's second album, BatBox“ is testimony to her uncompromising individuality and potent personality. This release is a rich and eclectic tapestry of her characteristically insightful commentaries on modern life. Comes along as CD in a digipak with 12-page booklet, special varnish printing, and double vinyl in gatefold sleeve – artwork designed by Rob Reger, the creator of ‘Emily The Strange’.

NOBODY’S BIZZNESS

An iTunes "Staff Favorite" & featured band on MySpace, UK electro-rock band Temposhark’s debut CD, The Invisible Line, is peppered with cool collaborations; including Imogen Heap, Guy Sigsworth & Sean McGhee.

MIGUEL MIGS “THOSE THINGS REMIXED” Following the success of Migs’ album 'Those Things' and staying true to the original album’s roots, 'Those Things Remixed' gives a fresh perspective and breathes new life and flavor into the original songs. The album includes a wide range of re-interpretations crafted by some of the electronic music industries top players all bringing something unique and interesting to the table for DJs and music connoisseurs of all kinds.

Store Hours: Mon.-Thurs. 10am-9pm • Fri. & Sat. 10am-10pm • Sun. 11am-7pm

MARCH 27~APRIL 2, 2008

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l MARCH 27~APRIL 2, 2008

PETER IOVINO

Good Will Gambling ‘21’ takes its hero from the dark streets of Boston to M.I.T. to the lights of Las Vegas ~ BY ANDY KLEIN ~

AST WEEK, THERE WAS a new movie about poker – The Grand. This week, it’s blackjack – 21. In a few weeks, Deal, another poker flick, will be released; and some time after that is scheduled The Deal, which seems to have nothing to do with gambling, but should add to the jolly confusion anyway. The Grand was a satirical farce – a form dependent on exaggeration. 21 is a straight drama, with an overlay of suspense, but that doesn’t automatically make it more realistic. 21 is adapted from Ben Mezrich’s nonfiction bestseller Bringing Down the House: The Inside Story of Six M.I.T. Students Who Took Vegas for Millions – the title of which almost obviates the need for a plot synopsis. But not quite … . Ben Campbell (Jim Sturgess) is a working-class Bostonian, whose aptitude for math and science have gotten him as far as M.I.T. His ambition is to go to Harvard Med School, but there’s no way he can afford it unless he wins this particular superduper, all-expenses-paid scholarship, which (in the film’s world) seems to be the only form of financial aid available. The odds are long, but Ben still resists taking advantage of a new alternative opportunity – i.e., joining a clandestine blackjack team, run by math professor Micky Rosa (Kevin Spacey, who also produced). His resistance breaks down, however, partly because one of the team members is crush bait Jill Taylor (Kate Bosworth). A little background for those of you totally unfamiliar with casino blackjack: There are two kinds of games in casinos. Poker, baccarat, and a few others are, to varying degrees, games of skill; you are playing against other civilians, with the casino taking a flat fee or percentage. Outplay the others, and you win. Most games in which you play against the house – like roulette, slots, and keno – are strictly games of chance, with the longterm odds always against you. You may have a lucky streak, even a great lucky streak, but play long enough and, surely as the sun rises in the east and sets in the west, you’ll lose. And then there’s blackjack – the only player-vs.-house game in which, with skill and strategy, it’s possible to win. Traditionally, simply knowing your best move for each possible combination of player’s hand and dealer’s visible card – a manageably finite number – will bring you close to parity with the house. But, in the ’50s, Edward O. Thorp of M.I.T. used a newfangled invention – the computer, you

~ M.I.T.-Y MOUSE: GEEKY BEN (JIM STURGESS) ACTS THE PART OF A HIGH ROLLER ~

may have heard of it – to simulate millions of deals and come up with a system that tipped the odds in his favor. In those days, most blackjack tables used a single deck; on the first hand, the player has the standard almost-even odds. But with each hand, the composition of the remaining cards changes in ways that effect the odds; if you can keep track of what cards have already been dealt, you can use this to your advantage – both by changing strategy and by betting higher when the odds have tilted in your favor. Thanks to Thorp’s book, casinos started changing the rules to minimize cardcounters’ advantage, most frequently by shuffling multiple decks together and reshuffling sooner. They also decided – with dubious legal standing – to expel cardcounters and blackball them, which is where the suspense in 21 comes from, with Laurence Fishburne suitably terrifying as hired security goon Cole Williams. Using a team method made famous by player Ken Uston in the ’70s, Micky Rosa’s team has a few players counting cards while betting table minimum; when the card count gets highly favorable, they secretly signal the designated “high roller” – in this case, our hero – to sit down and bet high stakes. The real-life team Mezrich wrote about had four Asians, including high roller Jeff Ma (who has a cameo

FILM here as a dealer). Mezrich made the hero caucasian, perhaps merely to protect Ma, but the film rather noticeably has two white males as the central players, with the others (white woman, Asian man, Asian woman) relegated to support roles. This has led to some protests; it may be a commercial calculation, a little bit of racism/sexism, or – in the most generous interpretation – a reflection not on the filmmakers but rather on the prejudices of Micky Rosa. Leading a double life – geek on the weekdays and flashy high roller on the weekend – predictably takes an emotional toll on Ben, and security’s increasing attention doesn’t help. 21 is full of plot implausibilities, but it does correctly put across the single most important aspect of modern casino blackjack and card-counting – that is, math skills are far less crucial to success than the ability to put one’s emotions in a lock box and function as much like a machine as possible. And – if you’ll forgive one of my occasional autobiographical digressions – I speak from experience. On and MARCH 27~APRIL 2, 2008

CITYBEAT

off from about 1973 to 1980, a certain longhaired young fellow made occasional forays to Las Vegas, Tahoe, and Reno, in hopes of slowly, conservatively, building a little nest egg. Fumbling the card count was the least of my problems; take it on faith that my math aptitude is pretty good. (Within the largely right-brain class of film critics, it’s positively colossal.) For a long time, I always left town a winner, but not by much more than would cover expenses; in later years, I got sloppy and lost. The rules I broke are obvious ones: Don’t play if you’re tired, if you’re distracted, if you’re in a bad mood. If you lose track of the count, don’t “estimate”; walk away. Most of all, stick rigorously to the system. Being influenced by feeling “hot” or “cold” is a recipe for catastrophe. And yet, just like Ben and the other “high roller” in the film, I made most or all of these transparent blunders. The central psychological dynamic involved is at least implied in the film: Your brain may tell you what you’re doing is a cold, for-profit business rather than “gambling”; but everything around you screams “gambling.” When you’re winning, it’s exactly as though you’ve just snorted really great cocaine or crank … er, that’s according to what I’ve read on the Internets, of course. Unfortunately, the converse is also true: When you’re losing, it’s as though you’re crashing from the same cocaine or crank. Your life is shit; you’re shit; everything is shit. For most of its length, 21 seems like a cautionary tale … at least, until the whole point is negated by a tackedon happy ending. Spacey and Fishburne are predictably fine, and Sturgess – best known as the Liverpudlian lead in Across the Universe – really makes his bid as the next Tobey Maguire/Daniel Radcliffe type. Director Robert Luketic (Legally Blonde, Monster-in-Law, Win a Date with Tad Hamilton) employs a cranked-up style here – closer to Lucky Number Slevin and Smokin’ Aces than to his previous work. For all that, though, he also stretches things out for over two hours, despite a half hour of repetitious material that could have been trimmed. ✶

21. Directed by Robert Luketic. Screenplay by Peter Steinfeld and Allan Loeb; based on the book Bringing Down the House: The Inside Story of Six M.I.T. Students Who Took Vegas for Millions by Ben Mezrich. With Jim Sturgess, Kevin Spacey, Kate Bosworth, Laurence Fishburne, Aaron Yoo, Liza Lapira, Jacob Pitts, Josh Gad, and Sam Golzari. Opens Friday citywide.

LATEST REVIEWS AMERICAN ZOMBIE The estimated 5,000 zombies in L.A. call themselves many things: decedents, revenants, the non-living community, or “so completely boring,” as cubicle worker, scrapbooker, and undead square Judy (Suzy Nakamura) insists. Grace Lee’s straightfaced mockumentary takes her claim at face value as it follows Judy, slacker convenience store clerk Ivan (Austin Basis), brittle funeral florist Lisa (Jane Edith Wilson), and Joel, president of ZAG,

a zombie activist group whose motto shouts, “We’re here, we’re dead, get used to it.” Playing herself, Lee wants to make an Up-with-Dead-People! portrait that shines light on how the diverse zombie community integrates into the city. There are horny zombie-chasers, factory owners who abuse their non-sleeping workers with round-the-clock shifts, and outreach pastors who point out that “Jesus was the original zombie.” Unfortunately, Lee’s “co-filmmaker” John (John Solomon) can’t stop pissing their subjects off by asking if they eat human flesh. Tension escalates at the annual Live Dead festival – a Burning Man for the undead – where, over four days, the mood darkens, as folk singalongs get swapped out for frightening dance parties. Lee and cowriter Rebecca Sonnenshine nod at philosophy, but the film’s real achievement is a tone-perfect realism with sharp teeth. (Amy Nicholson) (Laemmle’s Sunset 5)

and beats the tar out of them in front of the rest of the student body – the principal (Stephen Root) takes his word over everyone else’s. The kids are generally good, and Frost (Elephant, Stop-Loss) makes a really convincing psycho, but the energy level is generally dragged down by Wilson, who gives a depressive edge to his zillionth version of this character. The result is more interesting as a footnote to his personal problems than as a comedy. (Andy Klein) (Citywide)

FLAWLESS It’s 1960, and American-born executive Laura Quinn (Demi Moore) has just crashed into the proverbial glass ceiling at the London Diamond Corporation, the British/South African consortium that effectively controls the entire diamond trade in Europe. With her ambitions evaporating before her eyes, the company’s longtime janitor, Mr. Hobbs (Michael Caine) makes her a proposition – help him hijack the company’s vault and earn payback for both of them. An impressive debut script by Edward Anderson and polished direction by Michael Radford (Il Postino) give this refreshing spring surprise a classic sheen, in the tradition of the great ‘60s-era crime and caper films on which Caine himself cut his teeth. Even if the sheen is only surface deep – with uneven pacing and a somewhat unsatisfying conclusion – it’s hard not to feel a pinch of nostalgia while watching. Caine is typically and predictably brilliant, while Moore gets to sink her teeth into what may be the best pure acting role she’s had since 1990’s Ghost. (Wade Major) (The Landmark West Los Angeles, Laemmle’s Town Center 5, Laemmle’s Playhouse 7)

IRINA PALM Swingin’ ’60s icon and Rolling Stones muse Marianne Faithfull effects a remarkable transformation – less caterpillarinto-butterfly than the other way around – in this unlikely love story from German director Sam Garbarski. Reserved, self-described frump Maggie (Faithfull) has liquidated all of her assets, in order to pay

BOARDING GATE Asia Argento delves yet again into murky moral territory as a nihilistic hooker, whose relationships with an American businessman (Michael Madsen) and an Asian black marketeer (Carl Ng) turn first to murder and then to a befuddled ball of confusion, extortion, and blackmail that never makes much sense, making even less sense after a completely pointless location change to Hong Kong. There’s no question that writer/director Olivier Assayas has talent (see his 2000 film Les Destinées), but this followup to his equally dull Demonlover suggests an ongoing obsession with pseudonoir existentialism and dislikable lowlifes that isn’t likely to win back his broader audience any time soon. On the other hand, fans of intentionally grungy, stylistically raw, and narratively disjointed Asia Argento films with little discernible pace will probably have a smashing good time. (Wade Major) (Laemmle’s Sunset 5)

DRILLBIT TAYLOR Three high school freshmen – Wade (Nate Hartley), Ryan (Troy Gentile), and Emmit (David Dorfman) – hire the titular out-ofwork veteran (Owen Wilson) to protect them from the unbelievably sadistic predations of senior bully Filkins (Alex Frost). They think he’s a seasoned warrior and martial arts expert, but he’s really a homeless sad sack, who is using them in order to gain access to their parents’ valuables. Of course, Drillbit will become genuinely fond of them and have to redeem himself. Director Steven Brill (Little Nicky, Without a Paddle) directed this latest script from the Judd Apatow/Seth Rogen gang (Knocked Up, Superbad), apparently based on an ancient John Hughes story (credited here to “Edmond Dantes”). The final product is basically a more broadly comic version of Tony Bill’s 1980 My Bodyguard (whose star, Adam Baldwin, makes a cameo). One has to suspend disbelief, as – after Filkins destroys the kids’ laptops

the medical bills for her ailing grandson. Still, the boy’s unnamed condition worsens, and “the last roll of the dice” is an experimental procedure in Australia. With no more money in the bank and no marketable job skills, she sees a “hostess wanted” sign and, thinking the basement club might need someone to make tea, inquires within. “Hostess,” it turns out, is a euphemism, of course, but Sexy World owner Miki (Miki Manojlovic) hires her anyway as a laugh. Soon her soft hands and determination to do her job well earn the “wanky widow” the stage name “Irina Palm.” Although the Austin Powers trickery employed to sanitize the particulars of her occupation grow coy, Maggie maintains relative innocence even in her new environment, which, along with Faithfull’s deliberate, even-tempered delivery, makes her a maternal heroine easy to root for ... especially when she discovers a sexy, sassy side she’d thought long gone. (Annlee Ellingson) (Nuart)

JUST ADD WATER Parking attendant Ray Tuckby (Nip/Tuck’s Dylan Walsh) lives with his walking-wounded family in Trona, California, a meth-laboverrun, lawless, high desert hellhole. Ray is a perennially upbeat fellow, but you have to wonder why: His distant wife, Charlene (Penny Balfour), is afraid to leave the confines of their shabby abode, and his son, Eddie (Superbad’s Jonah Hill), wants nothing more from his encroaching adulthood than a few nights at the local brothel. (Hill and Anika Noni Rose, as a gold-hearted prostitute, shine in their short, tender scene together.) Oh, and the whole town pays rent to teenaged bully Dirk (Will Roth-

CITYBEAT

haar), who frequently cuts their power and lets his tenants sweat in the heat. Writer-director Hart Bochner has fun in the first act of this black comedy, setting up a thoroughly hopeless, Repo Man-like milieu, but his momentum slows to a crawl in the midsection. By the time Ray and his love interest, grocery store cashier Nora (Tracy Middendorf), enlist the help of Merl (Danny DeVito) – a Chevron station franchise manager and thus by far the region’s most successful merchant – to take on Dirk, the whimsy feels forced, with laughs both few and meager. (Joshua Sindell) (Laemmle’s Sunset 5)

PRAYING WITH LIOR Director Ilana Trachtman’s sweet, if workmanlike, documentary is a character portrait of young Lior Liebling, a New York Jewish lad with high-functioning Down syndrome. Lior, whose Rabbi mother died when he was ver y young, is being raised by his father, stepmother, and siblings, all of whom clearly dote on the lad. As he approaches his 13th birthday, he prepares for his Bar Mitzvah. It turns out that, for all his mental challenges, Lior is what his fellow shul-goers refer to as a “spiritual genius” – the argument being that, because of his simplicity, “he may be closer to God.” Trachtman approaches her subject matter with an aggressive affection and sympathy that, frankly, frequently threatens to boil over into self-indulgent sentiment. Lior is admittedly the center of his family’s ever y deed and activity – and the beamingly loving face that the family shows to the world only occasionally fractures into brief flashes of frustration and anger. Yet, we can’t help feeling more sorr y for the long suffering, neglected siblings, who have as much on their emotional plates as Lior does. (Paul Birchall) (Laemmle’s Music Hall 3, Laemmle’s Town Center 5)

PRICELESS Irene (Audrey Tautou) is a sort of Gallic Holly Golightly, riding an uneasy line between hooker/paid escort and gold digger/kept woman. Bored with Jacques (Vernon Dobtcheff), the older man she has almost maneuvered into marriage, she has an impetuous one-night stand with Jean (Gad Elmaleh), a hotel bartender she mistakenly believes to be a wealthy idler. When Jacques understandably tosses her out, she assumes Jean will be her new benefactor. She learns the truth and immediately ditches him, but he follows her like a puppy dog, squandering his meager savings. Only when the two achieve a kind of parity does a true romance become possible. Director Pierre Salvadori (who cowrote with Benoît Graffin) has whipped together an uneasy blend of traditional romantic comedy (in the manner of Midnight and The Palm Beach Story) and a harder-edged contemporar y milieu. Irene’s early exploitation of Jean is tough to watch, as is some of Jean’s behavior after he miraculously transforms from milquetoast to selfconfident ladies’ man. It’s also unsettling to see Tautou as a character so much colder than her usual adorable gamines. After one very clever plot twist a little before the midpoint, the story hits its marks with utter predictability. (Andy Klein) (The Landmark West Los Angeles, Pacific Arclight, Laemmle’s Town Center 5, Laemmle’s Playhouse 7)

RUN, FAT BOY, RUN Dennis (Simon Pegg) gets his only exercise by lifting a pint. He hasn’t worked his glutes since he leapt off the altar and sprinted away from his pregnant fiancée (Thandie Newton) five years earlier. Now, he’s running – literally – to win her back, by entering the London Marathon, with the vague idea that, if he outjogs her new uber-perfect boyfriend (Hank Azaria), she’ll drop the hero and get with the zero. It’s poppycock – except Pegg (Shaun of the Dead, Hot Fuzz) and cowriter Michael Ian Black flog it sincerely, and debut director David “Ross” Schwimmer ain’t questioning them. Schwimmer’s sliced cheese mediocrity gets him off the hook; not so the usually inventive Pegg and Black, who must have escalated each other into an arms race of bland jokes and cheap male nudity that even Will Ferrell would dismiss. Crackup Irish comedian Dylan Moran fares better as Dennis’s layabout best friend, who doesn’t let coaching his mate to sweaty, Nike-clad glory keep him from betting he won’t finish the race down at the pub. (Amy Nicholson) (Citywide)

SHELTER The first theatrical release from here! Network’s Independent Film Initiative is an above-average entry in the “gay awakening” genre, which is only more evidence of the genre’s continuing inadequacy. Wavering heterosexual Zach (Trevor Wright) is a sullen surfer, who forfeited his art school dreams to care for his 5-year-old nephew, so Zach’s older sister Jeanne can troll San Pedro in search of low-life boyfriends. When gay surfer Shaun (Brad Rowe) blows into town, he encourages Zach’s artistic side and ignites his latent homosexual feelings. Writer/director Jonah Markowitz scripts some warm and honest interaction between Zach and Shaun, but, as Ang Lee’s Brokeback Mountain proved, this type of movie must be more than an on-the-nose exercise in gay empowerment. Zach’s sexual switcheroo brings out the worst in Markowitz, who makes Jeanne a conveniently cartoonish homophobe (“you’re not a fag, right?”) and denies Zach a bold statement of emancipation, so we can luxuriate in the pro-gay-parenting fadeout. Despite its good intentions and a vibrant performance by Rowe, Shelter never stops being a “gay drama,” too uninspired to identify and explore Zach’s deeper turmoil and too willing to surround its main characters with programmable elements. (Mark Keizer) (Laemmle’s Sunset 5)

SHUTTER A string of Zzzzzzs would pretty much suffice as a shorthand review for this bland, insipidly plotted horror thriller, in which newlyweds Ben (Joshua Jackson) and Jane (Rachael Taylor) find their working honeymoon to Japan interrupted, in the wake of a car accident, by that most distressing of spectral harbingers – a clench-jawed, palefaced woman with buggy eyes and long dark hair. Havoc ensues, and Jane eventually comes to suspect that Ben might know more about this girl than he’s letting on. Even by the forgiving standards of the teen audience for whom this cheap, quiet money grab was chiefly designed, Shutter – remade from a 2004 Thai film – seems uninspired and, frankly, even bored with itself. Japanese director Masayuki Ochiai (2004’s Infection) does nothing to elevate the film’s yawningly familiar visual iconography, which operates in a veritable vacuum of stylishness – a big knock on a genre piece like this. While watching Shutter, one can derive equal, if not even greater, entertainment from trying to dream up the reworked marketing scheme that will be used in three-plus months to resell this pap on DVD to the same audience that balked at it the first go-round. (Brent Simon) (Citywide)

STOP-LOSS Sgt. King (Ryan Philippe) has been “stoplossed,” thanks to the fine print that gives the president authority to order ex-soldiers back to their units in a time of war. “The president himself said the war was over,” protests King. He knows the argument is empty; but he’s not expecting to be forced to go AWOL. Family friend Michelle (Abbie Cornish) volunteers to drive him up from Texas to D.C. or maybe even across the border. (Reese Witherspoon fans will be relieved the two rumored lovebirds don’t kiss, though Cornish’s broad-shouldered, husky-voiced, baby-faced beauty makes her look like Philippe’s twin.)

a visit to Pvt. Rodriguez (charismatic Victor Rasuk) in the military hospital, where Michelle plays pool with a triple amputee. By the end, despite Philippe’s quiet comfort in the role, he’s no longer a person but a symbol – in the final moment, we zoom into his eyes and see … nothing. Stop-Loss misses emotional beats and hammers home its frustration; yet, in a week where Bush says he’s keeping the troop levels steady just as we’ve lost our 4,000th soldier, its impatience is a virtue. (Amy Nicholson) (Citywide)

TOWARDS DARKNESS Every three hours, someone is kidnapped in Colombia. For his feature debut, Antonio Negret – who has victims in his own family – has expanded his short Darkness Minus Twelve. Transpiring in realish time, Towards Darkness follows the last 90 minutes of a ransom negotiation, padded by the backstory of the major players: the American-educated victim (Roberto Urbina), who leaves his gringa girlfriend behind during his first trip back to his beloved home country; his father (Tony Plana), who makes a dangerous deal to secure the ransom when his insurance company turns him down; a former FBI agent (David Sutcliffe), now dashing across the chaotic city with the money in hand; and the kidnappers themselves, on their own deadline after crossing the wrong criminal. Also in play is Jose’s former flame (executive producer America Ferrera, from TV’s Ugly Betty), whose life has irrevocably changed in the year he’s been away. Negret’s presentation of the abduction, viewed from all sides, exposes the desperation that has so deeply entrenched kidnapping as a political tool in the countr y’s infrastructure. Unfortunately, with generically handled action sequences and the lack of a ticking clock, the real-time gimmick is devoid of tension and immediacy. (Annlee Ellingson) (Laemmle’s Music Hall 3)

WETLANDS PRESERVED – THE STORY OF AN ACTIVIST ROCK CLUB New York City’s Wetlands rock club started in 1989 in a lowly corner of TriBeCa and rose in tandem with the era’s Grateful Dead-inspired jam-band scene, which included some of the most successful groups of the last decade, with Blues Traveler, the Dave Matthews Band, Pearl Jam, and Phish all going on to enjoy huge fame. What distinguished the club was not its booking policy, however, but its adherence to founder Larry Bloch’s vision of being a totally ecofriendly enterprise, with financial support set aside for various lefty causes. Filmmaker Dean Budnick – founder of Jambands.com – is clearly no skeptic and finds the whole thing a gas: He lovingly documents the various artists and revels in all the inter-club/inter-band gossiping and quibbling … it’s all one big, happy family, folks! Punks, rappers, and rockers might have gagged in disgust at the peace ‘n’ love vibe, but this hippie haven had room for them as well, booking plenty of their favorite artists. With Wetlands closing the week the towers fell, Budnick’s film serves as a genial, what-a-short-strange-trip-it-was retrospective for those who were there, as well as for anyone who simply needs a contact high to tide them by. (Joshua Sindell) (Laemmle’s Grande 4)

ALSO OPENING THIS WEEK: Superhero Movie. Craig Mazin, who cowrote a couple of entries in the Scary Movie franchise, moves into the director’s chair for the first time since 2000’s The Specials, with this latest [name of genre] Movie spoof. Drake Bell stars; Christopher McDonald, Leslie Nielsen, Marion Ross, Keith David, Brent Spiner, Robert Joy, Jeffrey Tambor, and Robert Hays (!) are among the familiar faces who drop by. (AK) (Citywide)

SHOWTIMES Kimberly Peirce’s first film since 1999’s Boys Don’t Cry aims to bring the War on Terror home, literally. Peirce and cowriter Mark Richard nail the straight-talking, wildacting rural culture that created King and his fellow soldiers (Channing Tatum and a tricked-out muscular Joseph Gordon Levitt). When Peirce layers on King’s hallucinations, the effect is phony; she does better with

l MARCH 27~APRIL 2, 2008

March 28-April 3 Note: Times are p.m., and daily, unless otherwise indicated. All times are subject to c hange without notice.

BURBANK AMC Burbank 16, 140 E Palm Av, (818) 953-9800. 10,000 B.C. Fri-Sun 10:55 a.m., 1:30, 4:10, 7, 9:55; Mon-Thur 1:30, 4:10, 7, 9:55.

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g n i o g e Y r R ’ O u T o y S e E “Odds ar ELY SPIN on the sTbRaUnk. st a a V c g I e L g V n e u s i h o t y h e t d k e o to likex MIT mathletes who br Kevin Spacey and a gift of si

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dien u a l a e d o t s smart

rs Peter Trave

TIVITY MEDIA

ATION WITH RELA CI SO AS N I TS EN ES PR S RE TU C I P 21” “ A C TI KE U L COLUMBI RT BE RO BY M L FI A N O TI UC OD PR LUCA A TRIGGER STREET/MICHAEL DE ITH LAURENCE FISHBURNE AND KEVIN SPACEY KAVANAUGH URGESS KATE BOSWORTH W

JIMUMSICST EXECUTIVERESWIL IAM S. BEASLEY BRETT RATNER RYAN ODUC SCREENPLAY TER STEINFELD AND ALLAN LOEB BY DAVID SARDY PR BOOK E BY PE TH ON BASED UP USE” BY BEN MEZRICH DIRECTED RT LUKETIC HO E TH N W DO BY ROBE “BRINGING CA U L DE EL PRODUCED NA BRUNETTI KEVIN SPACEY MICHA BY DA SOUNDTRACK FEATUR

TEM YS DS UN SO D C L , T GM M , ) X I M RE AX W L OU S ( ES THE ROL ING STONES

& RIHANNA

STARTS FRIDAY, MARCH 28 HOLLYWOOD ArcLight Hollywood At Sunset & Vine 323/464-4226 On 3 Screens Digital Projection Daily 11:35 AM, 2:25, 5:15, 8:15, & 11:05 PM 35MM Projection Daily 1:00, 4:10, 7:00, 7:45, 9:50 & 10:35 PM

CENTURY CITY AMC Century 15 • 310/289-4AMC On 2 Screens Fri & Sat 9:45 & 10:55 AM, 12:45, 1:55, 4:00, 5:10, 7:00, 8:15, 10:15 & 11:20 PM Sun 9:45 & 10:55 AM, 12:45, 1:55, 4:00, 4:50, 7:00, 8:00, 10:00 & 10:45 PM Mon-Thur 11:00 AM, 12:55, 1:50, 4:00, 4:40, 7:00, 7:40, 10:00 & 10:30 PM Fri & Sat Late Show 12:05 AM

L.A./BEVERLY HILLS Pacific’s The Grove Stadium 14 • 323/692-0829 #209 On 2 Screens Fri-Wed 10:25 & 11:05 AM, 1:15, 2:05, 4:10, 5:15, 7:10, 8:15, 10:20 & 11:10 PM Thur 10:25 & 11:05 AM, 1:15, 2:00, 4:10, 5:15, 7:10, 8:15, 10:10, 10:30 & 11:10 PM Fri & Sat Late Show 12:00 Midnight

4 Hours Validated Parking - $2

3 Hours Free Parking Additional 2 Hour Parking $3.00 with AMC Validation

4 Hours On-Site Validated Parking Only $2.00

SHERMAN OAKS Arclight Sherman Oaks At The Galleria 818/501-0753 On 3 Screens Fri-Sun, Tue-Thur 11:00 AM, 12:00, 1:50, 2:50, 4:40, 5:40, 7:30, 8:00, 8:30, 10:20, 10:50 & 11:20 PM Mon 11:00 AM, 12:00, 1:50, 2:50, 5:40, 8:00, 8:30, 10:50 & 11:20 PM

UNIVERSAL CITY CityWalk Stadium 19 with IMAX® 800/FANDANGO #707 On 3 Screens Fri & Sat 12:00, 1:00, 3:00, 4:00, 6:00, 7:00, 8:00, 9:05, 10:05 & 11:00 PM Sun 12:00, 1:00, 3:00, 4:00, 6:00, 7:00, 8:00, 9:05 & 10:05 PM Mon-Thur 1:00, 3:00, 4:00, 6:00, 7:00, 8:00, 9:05 & 10:05 PM Fri & Sat Late Show 12:00 Midnight

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AND AT A THEATER NEAR YOU

WESTWOOD Mann Bruin 310/248-MANN #051 Digital Projection Daily 1:00, 4:00, 7:00 & 10:00 PM $3.00 Parking After 6:00 PM in Privilege Parking Lots $1.00 Refund with Paid Admission

SANTA MONICA AMC Santa Monica 7 • 310/289-4AMC On 2 Screens Fri-Sun 11:10 AM, 12:40, 2:00, 3:40, 5:00, 6:40, 7:50, 9:40 & 10:40 PM Mon-Thur 1:00, 2:15, 3:45, 5:00, 6:30, 7:50 & 9:30 PM

WEST LOS ANGELES The Bridge Cinema De Lux 310/568-3375 On 3 Screens Digital Projection Daily 11:00 AM, 1:50, 4:40, 7:30, 9:50 & 10:20 PM Fri & Sat Late Show 12:30 AM 35MM Projection Fri, Mon-Thur 12:50, 1:20, 3:40, 4:10, 6:30, 7:00 & 9:20 PM Sat & Sun 10:00 & 10:30 AM, 12:50, 1:20, 3:40, 4:10, 6:30, 7:00 & 9:20 PM Fri & Sat Late Show 12:00 Midnight

FOR ADDITIONAL INFORMATION CHECK LOCAL LISTINGS. SORRY, NO PASSES ACCEPTED FOR THIS ENGAGEMENT.

p. 24

Peter Travers

“#### 1/2

THE FIRST MAJOR MOVIE OF THE NEW YEAR THAT TOUCHES GREATNESS. ‘STOP-LOSS’ STRIKES A UNIVERSAL CHORD THAT TRANSCENDS POLITICS AND PREACHING.

IT’S THE REAL DEAL. RAW AND RIVETING.”

B E G I N S F R I D AY, M A R C H 2 8 Check local listings for theatres and showtimes. Text Stoploss to 33287 for showtimes and mobile content. Standard messaging rates apply.

SPECIAL ENGAGEMENT - NO PASSES OR DISCOUNT TICKETS ACCEPTED

p. 25

“‘SHAUN OF THE DEAD’ MEETS ‘ WEDDING CRASHERS’!” -KOSI -KOSI 101, 101, DENVER DENVER

“RUN, DON’T

WALK, to see this heartfelt tale of endurance, love, and enough LAUGHS to carry you past the finish line.” -Mary -Mary Anne Anne Bargen, Bargen, REELZCHANNEL REELZCHANNEL

“Simon Pegg runs for laughs... as a date movie, YOU CAN’T BEAT IT!” -Peter -Peter Howell, Howell, TORONTO TORONTO STAR STAR

SIMON PEGG THANDIE NEWTON HANK AZARIA

LOVE. COMMITMENT. RESPONSIBILITY.

THERE’S NOTHING HE WON’T RUN AWAY FROM.

For showtimes, text FATBOY and your ZIP CODE to 43KIX (43459)!

STARTS FRIDAY, MARCH 28TH!

F WESTWOOD L HOLLYWOOD L L.A./BEVERLY HILLS F UNIVERSAL CITY CityWalk AMC Avco ArcLight Hollywood Pacific’s The Grove Stadium 14 Stadium 19 with IMAX (310) 475-0711 at The Dome (323) 692-0829 (#209) On 2 Screens (800) FANDANGO #707 Fri.: 12:15 • 2:30 • 5:00 • 7:20 (323) 464-4226 Fri. & Sat.: 11:35 • 2:25 • 5:45 • 7:40 Fri. & Sat.: 11:30 • 1:55 • 4:25 • 7:05 9:45 Sat. & Sun.: 10:25 Daily: 12:00 • 2:40 8:30 • 10:35 • 11:15 • 12:15am 12:40 • 2:55 • 5:10 • 7:25 5:30 • 8:30 • 11:20 Sun.- Wed.: 11:35 • 2:25 • 5:45 • 7:40 9:45 • 12:15am Sun.: 11:30 • 1:55 4:25 • 7:05 • 9:45 Mon.- Thurs.: 1:55 9:45 Mon.- Thurs.: 2:30 8:30 • 10:35 • 11:15 Thurs.: 11:35 4:25 • 7:05 • 9:45 5:00 • 7:20 • 9:45 2:25 • 5:45 • 7:40 • 8:30 • 10:20 • 11:10

F ALHAMBRA Edwards Atlantic Palace 10 (800) FANDANGO #115 F ALISO VIEJO Edwards Aliso Viejo Stadium 20 (800) FANDANGO #116 G ANAHEIM HILLS Cinema City Theatres (714) 970-6700 F ANAHEIM HILLS Edwards Anaheim Hills 14 (800) FANDANGO #117 F APPLE VALLEY UltraStar Apple Valley 14 (760) 247-3333

F ARCADIA AMC Santa Anita 16 (626) 321-4AMC F BAKERSFIELD Edwards Bakersfield 14 (800) FANDANGO #119 F BREA Edwards Brea Stadium 22 (800) FANDANGO #120 L BUENA PARK Krikorian’s Metroplex 18 (714) 826-SHOW F BURBANK AMC Burbank 16 (818) 953-9800

CERRITOS United Artists Galaxy Theatre At Los Cerritos Center (800) FANDANGO #499 L CHATSWORTH Pacific’s Winnetka Stadium 21 (818) 501-5121 (#095) F CHINO Cinemark Movies 8 (800) FANDANGO #1403 L CHINO Krikorian’s Chino Spectrum Marketplace 12 (909) 628-1500

L WEST LOS ANGELES The LANDMARK at W. Pico & Westwood (310) 281-8233 Free Parking www.landmarktheatres.com Fri. & Sat.: 12:00 • 2:30 • 5:00 • 7:30 9:55 • 10:45 Sun.- Thurs.: 12:00 • 2:30 5:00 • 7:30 • 8:30 • 9:55

F CHINO HILLS Harkins Chino Hills 18 (909) 627-8010 L CLAREMONT Laemmle’s Claremont 5 (909) 621-5500 Tickets available @ laemmle.com F CORONA Edwards Corona Crossings Stadium 18 (800) FANDANGO #1723 F COSTA MESA Regency South Coast Village (714) 557-5701 F COVINA AMC Covina 30 (626) 974-8600

L SANTA MONICA F WEST LOS ANGELES The Bridge Mann Criterion 6 Cinema De Lux (310) 568-3375 (310) 248-MANN #019 Daily: 12:05 • 2:35 Daily: 11:40 • 2:40 5:05 • 7:35 • 10:05 5:20 • 7:50 • 10:30 Fri. & Sat. Late Show: 12:30am

L DOWNEY Krikorian’s Downey Cinema 10 (562) 622-3999 G FOOTHILL RANCH Regal Foothill Towne Center Stadium 22 (800) FANDANGO #135 F FULLERTON AMC Fullerton 20 (714) 992-6000 L GLENDALE Mann Theatres at the Exchange (818) 549-0045 F GOLETA Camino Real (805) 963-9503

G HEMET Regal Hemet 12 (800) FANDANGO #138 G HUNTINGTON BEACH Cinemark Century 20 Huntington Beach at Bella Terra (800) FANDANGO #987 F IRVINE Edwards 21 MegaPlex (800) FANDANGO #140 F JURUPA VALLEY Edwards Jurupa Stadium 14 (800) FANDANGO #157 G LA HABRA Regal La Habra Stadium 16 (800) FANDANGO #145

L SHERMAN OAKS ArcLight Sherman Oaks at the Galleria (818) 501-0753 Daily: 11:40 • 2:30 5:10 • 7:50 • 10:40

F LANCASTER Cinemark 22 (800) FANDANGO #1103 F LONG BEACH AMC Marina Pacifica 12 (562) 435-4AMC F LONG BEACH AMC Pine Square 16 (562) 435-4AMC F LONG BEACH Edwards Long Beach Stadium 26 (800) FANDANGO #148 F LONG BEACH Cinemark@The Pike (800) FANDANGO #1181

G LOS FELIZ Los Feliz 3 (323) 664-2169 L MANHATTAN BEACH Pacific’s Manhattan Village (310) 607-0007 (#056) MARINA DEL REY United Artists Cinemas (800) FANDANGO #510 F MISSION VIEJO Edwards Kaleidoscope Stadium 10 (800) FANDANGO #149 L MONROVIA Krikorian’s Monrovia Cinema 12 (626) 305-7469 F MORENO VALLEY Harkins Moreno Valley 16 (951) 686-FILM #118 F NEWPORT BEACH Edwards Island 7 (800) FANDANGO #151 F NORWALK AMC Norwalk 20 (562) 864-5678

F ONTARIO AMC Ontario Mills 30 (909) 484-3000 F ONTARIO Edwards Ontario Mountain Village Stadium 14 Cinemas (800) FANDANGO #154 F ONTARIO Edwards Ontario Palace Stadium 22 (800) FANDANGO #153 G ORANGE Cinemark CineArts @ Century Stadium 25 (800) FANDANGO #913 F ORANGE AMC 30 at the Block (714) 769-4AMC F PALMDALE Cinemark Antelope Valley Mall (800) FANDANGO #2136 L PASADENA Laemmle’s Playhouse 7 (626) 844-6500 Tickets available @ laemmle.com

L PICO RIVERA Krikorian Pico Rivera Metroplex 15 (562) 205-3456 F PUENTE HILLS AMC Puente Hills 20 (626) 810-5566 G RANCHO MIRAGE Cinemark Century River 15 (800) FANDANGO #917 L REDLANDS Krikorian’s Redlands Cinema 14 (909) 793-6393 F REDONDO BEACH AMC Galleria at So. Bay 16 (310) 289-4262 G RIVERSIDE Regal Riverside Plaza Stadium 16 (800) FANDANGO #1722 F RIVERSIDE AMC Tyler 16 (866) 514-5692 F RIVERSIDE Metropolitan’s University Village Cinemas (951) 784-4342

G ROLLING HILLS F TUSTIN Regal AMC Tustin 14 (714) 769-4262 Avenues Stadium 13 G VENTURA (800) FANDANGO #158 Cinemark Century 16 L SAN CLEMENTE (800) FANDANGO #939 Krikorian’s San Clemente G VENTURA Cinema 6 (949) 661-7469 Cinemark CineArts @ L SAN LUIS OBISPO Century 10 Downtown Downtown Center Cinema (800) FANDANGO #938 (805) 546-8600 F VICTORVILLE F SANTA BARBARA Cinemark Mall of Victor Valley Fiesta 5 (805) 963-9503 (800) FANDANGO #2135 G SIMI VALLEY F WEST COVINA Regal Civic Center Stadium 16 Edwards West Covina (800) FANDANGO #164 Stadium 18 L TEMECULA (800) FANDANGO #171 The Art House @ The Movie L WESTLAKE VILLAGE Experience At Tower Plaza Mann Village 8 (805) 379-2299 (951) 698-7800 F WOODLAND HILLS F TORRANCE AMC Promenade 16 AMC Del Amo 18 (818) 883-2AMC (310) 289-4AMC SORRY, NO PASSES ACCEPTED FOR THIS ENGAGEMENT F TORRANCE AMC Rolling Hills 20 LPresented in FPresented in (310) 289-4AMC GPresented in

21 Fri-Sat 10:45 a.m., 11:45 a.m., 1:45, 2:45, 4:45, 5:45, 7:45, 8:45, 10:45, 11:45; Sun 10:45 a.m., 11:45 a.m., 1:45, 2:45, 4:45, 5:45, 7:45, 8:45, 10:45; Mon-Thur 1:45, 2:45, 4:45, 5:45, 7:45, 8:45, 10:30. The Bank Job Fri-Sat 11:30 a.m., 2:15, 5, 7:40, 10:25; Sun 11:30 a.m., 2:15, 5, 7:40; MonThur 2:15, 5, 7:40. Dr. Seuss’ Horton Hears a Who! Fri-Sat 10:50 a.m., 11:25 a.m., 1:10, 1:50, 3:30, 4:05, 5:50, 6:25, 8:10, 8:50, 10:30, 11:10; Sun 10:50 a.m., 11:25 a.m., 1:10, 1:50, 3:30, 4:05, 5:50, 6:25, 8:10, 8:50; Mon-Thur 1:10, 1:50, 3:30, 4:05, 5:50, 6:25, 8:10, 8:50. Drillbit Taylor Fri-Sun 11:10 a.m., 1:55, 4:25, 7:05, 9:45; Mon-Wed 1:55, 4:25, 7:05, 9:45; Thur 1:55, 4:25. Meet the Browns Fri-Sun 11:15 a.m., 1:40, 4:15, 6:55, 9:30; Mon-Thur 1:40, 4:15, 6:55, 9:30. Never Back Down Fri-Sat 10:50 a.m., 1:45, 4:50, 7:55, 10:55; Sun 10:50 a.m., 1:45, 4:50, 7:55, 10:40; Mon-Thur 1:45, 4:50, 7:35, 10:15. The Other Boleyn Girl Fri-Sun 10:45 a.m., 1:40, 4:30, 7:20, 10:10; Mon-Thur 1:40, 4:30, 7:20, 10:10. Run Fat Boy Run Fri-Sun 11:35 a.m., 2:10, 4:40, 7:10, 9:40; Mon-Thur 2, 4:40, 7:10, 9:40. Shutter Fri-Sat 11:20 a.m., 1:35, 4, 6:20, 8:35, 11; Sun 11:20 a.m., 1:35, 4, 6:20, 8:35; MonThur 1:35, 4, 6:20, 9. Stop-Loss Fri-Sat 11:05 a.m., 2, 4:55, 7:50, 10:50; Sun 11:05 a.m., 2, 4:55, 7:50, 10:40; Mon-Thur 2, 4:55, 7:50, 10:30. Superhero Movie Fri-Sat 11 a.m., 1:25, 3:50, 6:15, 8:40, 11:05, 11:55; Sun 11 a.m., 1:25, 3:50, 6:15, 8:40; Mon-Thur 1:25, 3:50, 6:15, 8:40. Under the Same Moon Fri-Sun 11 a.m., 1:50, 4:40, 7:30, 10:20; Mon-Thur 1:50, 4:40, 7:30, 10:20. Vantage Point Fri-Sun 11:40 a.m., 2:20, 5:05, 7:35, 10; Mon-Thur 1:55, 5:05, 7:35, 10. AMC Burbank Town Center 8, 210 E Magnolia Bl, (818) 953-9800. Call theater for titles and showtimes. AMC Burbank Town Center 6, 770 N First St, (818) 953-9800. 21 Fri-Sun 12:45, 3:45, 6:45, 9:45; Mon-Thur 1:15, 4, 6:45, 9:45. College Road Trip Fri-Sun 11:50 a.m., 2, 4:20, 7, 9:20; Mon-Thur 2, 4:20, 7, 9:20. Dr. Seuss’ Horton Hears a Who! Fri-Sun 12:35, 2:55, 5:15, 7:35, 9:55; Mon-Thur 2:55, 5:15, 7:35, 9:55. Drillbit Taylor Fri-Sat 12:20, 3:10, 5:45, 8:20, 10:55; Sun 12:20, 3:10, 5:45, 8:20; Mon-Thur 3:10, 5:45, 8:20. Miss Pettigrew Lives for a Day Fri-Sun 11:55 a.m., 2:10, 4:30, 7:05, 9:30; Mon-Thur 1:30, 4:30, 7:05, 9:30. Shutter Fri-Sun 12:40, 3, 5:20, 7:40, 10; MonThur 3, 5:20, 7:40.

CULVER CITY, MARINA DEL REY The Bridge: Cinema De Lux & IMAX Theater, The Promenade at Howard Hughes Center, 6081 Center Dr, Westchester, (310) 568-3375. 10,000 B.C. 11:50 a.m., 2:30, 5:10, 7:50, 10:30. 21 Fri 11 a.m., 1:20, 1:50, 4:10, 4:40, 7, 7:30, 9:50, 10:20, 12:30 a.m.; Sat 10:30 a.m., 11 a.m., 1:20, 1:50, 4:10, 4:40, 7, 7:30, 9:50, 10:20, 12:30 a.m.; Sun 10:30 a.m., 11 a.m., 1:20, 1:50, 4:10, 4:40, 7, 7:30, 9:50, 10:20; Mon-Thur 11 a.m., 1:20, 1:50, 4:10, 4:40, 7, 7:30, 9:50, 10:20. The Bank Job Fri 1:30, 4:15, 7, 9:45, 12:25 a.m.; Sat 10:45 a.m., 1:30, 4:15, 7, 9:45, 12:25 a.m.; Sun 10:45 a.m., 1:30, 4:15, 7, 9:45; MonThur 1:30, 4:15, 7, 9:45. College Road Trip 11:50 a.m., 2:10, 4:30, 6:50. Dr. Seuss’ Horton Hears a Who! Fri noon, 1, 2:15, 3:15, 4:30, 5:30, 6:45, 7:45, 9, 10, 11:15; Sat 10:45 a.m., noon, 1, 2:15, 3:15, 4:30,

5:30, 6:45, 7:45, 9, 10, 11:15; Sun 10:45 a.m., noon, 1, 2:15, 3:15, 4:30, 5:30, 6:45, 7:45, 9, 10; Mon-Thur noon, 1, 2:15, 3:15, 4:30, 5:30, 6:45, 7:45, 9, 10. Drillbit Taylor Fri-Sat 11:45 a.m., 2:20, 4:55, 7:30, 10:05, 12:30 a.m.; Sun-Thur 11:45 a.m., 2:20, 4:55, 7:30, 10:05. Easter in Bunnyland Sat-Sun 10 a.m. Meet the Browns Fri 11:45 a.m., 12:45, 2:15, 3:15, 4:45, 7:15, 9:45, 10:45, 12:10 a.m.; Sat 10:15 a.m., 11:45 a.m., 12:45, 2:15, 3:15, 4:45, 7:15, 9:45, 10:45, 12:10 a.m.; Sun 10:15 a.m., 11:45 a.m., 12:45, 2:15, 3:15, 4:45, 7:15, 9:45, 10:45; Mon-Thur 11:45 a.m., 12:45, 2:15, 3:15, 4:45, 7:15, 9:45, 10:45. Run Fat Boy Run Fri-Sat 12:05, 2:35, 5:05, 7:35, 10:05, 12:30 a.m.; Sun-Thur 12:05, 2:35, 5:05, 7:35, 10:05. Shutter Fri 12:45, 3, 5:15, 7:30, 9:45, midnight; Sat 10:30 a.m., 12:45, 3, 5:15, 7:30, 9:45, midnight; Sun 10:30 a.m., 12:45, 3, 5:15, 7:30, 9:45; Mon-Thur 12:45, 3, 5:15, 7:30, 9:45. Stop-Loss Fri-Sat 11:45 a.m., 2:25, 5:05, 7:45, 10:25, 12:15 a.m.; Sun-Thur 11:45 a.m., 2:25, 5:05, 7:45, 10:25. Superhero Movie Fri 12:35, 2:55, 5:15, 7:35, 9:55, 12:15 a.m.; Sat 10:15 a.m., 12:35, 2:55, 5:15, 7:35, 9:55, 12:15 a.m.; Sun 10:15 a.m., 12:35, 2:55, 5:15, 7:35, 9:55; Mon-Thur 12:35, 2:55, 5:15, 7:35, 9:55. Under the Same Moon Fri-Sat 12:10, 2:40, 5:10, 7:40, 10:10, 12:30 a.m.; Sun-Thur 12:10, 2:40, 5:10, 7:40, 10:10. Vantage Point 5:45, 8:10. Culver Plaza Theatre, 9919 Washington Blvd, (310) 836-5516. Call theater for titles and showtimes. Loews Cineplex Marina Marketplace, 13455 Maxella Av, (310) 827-9588. 21 Fri 1:15, 4, 7, 10; Sat-Sun 10:30 a.m., 1:15, 4, 7, 10; Mon-Thur 1:30, 4:15, 7, 9:50. Drillbit Taylor Fri 2, 4:45, 7:25, 9:55; Sat-Sun 11:15 a.m., 2, 4:45, 7:25, 9:55; Mon-Thur 2, 4:45, 7:25, 9:45. Meet the Browns Fri 1:30, 4:30, 7:15, 9:45; Sat-Sun 11 a.m., 1:30, 4:30, 7:15, 9:45; MonThur 1:45, 4:30, 7:15, 9:40. The Other Boleyn Girl Fri-Sun 1, 4:10, 6:45, 9:30; Mon-Thur 1:35, 4:10, 6:45, 9:20. Shutter Fri 1:45, 4:20, 7:30, 10:05; Sat-Sun 11:30 a.m., 1:45, 4:20, 7:30, 10:05; Mon-Thur 2:05, 4:20, 7:10, 9:15. Superhero Movie Fri 12:45, 3, 5:15, 7:45, 10:15; Sat 10:40 a.m., 12:45, 3, 5:15, 7:45, 10:15; Sun 10:40 a.m., 3, 5:15, 7:45, 10:15; Mon-Thur 2:15, 4:50, 7:30, 9:35. Pacific Culver Stadium 12, 9500 Culver Bl, (310) 855-7519. 10,000 B.C. Fri-Sun 12:05, 2:40, 5:15, 7:55, 10:35; Mon-Thur 12:50, 3:20, 5:50, 8:20, 10:50. 21 Fri-Sun noon, 1, 2:50, 4:20, 5:40, 7:30, 8:30, 10:30; Mon-Thur 12:45, 1:45, 4, 5, 7:10, 8:10, 10. The Bank Job Fri-Sun 12:25, 3, 5:35, 8:20, 10:55; Mon-Thur 1:05, 4:05, 7:20, 9:55. Dr. Seuss’ Horton Hears a Who! Fri-Sun 12:50, 3:05, 5:20, 7:35, 9:50; Mon-Thur 1:15, 3:30, 5:40, 8, 10:15. Drillbit Taylor Fri-Sun 12:45, 3:15, 5:50, 8:15, 10:45; Mon-Thur 1:20, 4:35, 7:40, 10:10. Meet the Browns Fri-Sun 12:10, 1:10, 2:35, 4, 5, 7, 8, 9:25, 10:25; Mon-Thur 12:30, 1:30, 3:10, 4:10, 5:35, 7:05, 8:05, 9:30, 10:30. Shutter Fri-Sun 12:35, 2:45, 4:55, 7:10, 9:20; Mon-Thur 1:35, 4:15, 7, 9:10. Stop-Loss Fri-Sun 12:30, 3:10, 5:45, 8:25, 11; Mon-Thur 1:25, 4:20, 7:25, 10:05. Superhero Movie Fri-Sun 12:15, 2:30, 4:45, 7:20, 9:30; Mon-Thur 12:55, 3:05, 5:15, 7:30, 9:40. Under the Same Moon Fri-Sun 12:20, 2:55, 5:30, 8:05, 10:40; Mon-Thur 12:40, 3:15, 5:45, 8:15, 10:45.

THE FEEL WEIRD MOVIE OF THE YEAR Q & A with Writer/Director Hart Bochner following the 7:45 showing on Friday, March 28.

OFFICIAL SELECTION

2008 SLAMDANCE FILM FESTIVAL

EXCLUSIVE ENGAGEMENT STARTS FRIDAY, MARCH 28TH!

2008

Official Selection

WEST HOLLYWOOD Laemmle's Sunset 5 (323) 848-3500 Tickets available @ laemmle.com Daily: 12:30 • 2:55 • 5:20 • 7:45 • 10:10

Presented in

CITYBEAT

UA Marina, 4335 Glencoe Av, (310) 823-1721. 10,000 B.C. 11:10 a.m., 1:50, 4:40, 7:40, 10:20. The Bank Job 11:50 a.m., 2:30, 5:10, 8, 10:40. Dr. Seuss’ Horton Hears a Who! noon, 2:20, 4:50, 7:20, 9:40. Run Fat Boy Run 11:40 a.m., 2:10, 4:30, 7:30, 10. Stop-Loss 11:20 a.m., 2, 5, 7:50, 10:30. Under the Same Moon 11 a.m., 1:40, 4:20, 7:10, 9:50.

DOWNTOWN & SOUTH L.A. Laemmle’s Grande 4-Plex, 345 S Figueroa St, (213) 617-0268. Dr. Seuss’ Horton Hears a Who! Fri 5:10, 7:20, 9:20; Sat-Sun 1, 3, 5:10, 7:20, 9:20; Mon-Thur 5:10, 7:20. Shutter Fri 5:35, 7:40, 9:45; Sat-Sun 1:15, 3:25, 5:35, 7:40, 9:45; Mon-Thur 5:35, 7:40. Superhero Movie Fri 5:20, 7:30, 9:40; Sat-Sun 1:10, 3:10, 5:20, 7:30, 9:40; Mon-Thur 5:20, 7:30. Wetlands Preserved: The Story of an Activist Nightclub Fri 5:30, 7:45, 10; Sat-Sun 1, 3:15, 5:30, 7:45, 10; Mon-Thur 5:30, 7:45. Magic Johnson Theaters, Baldwin Hills Crenshaw Plaza, 4020 Marlton Av, (323) 290-5900. Call theater for titles and showtimes. University Village 3, 3323 S Hoover St, (213) 7486321. 21 Fri-Sat 11 a.m., 1:45, 4:30, 7:15, 10, 12:40 a.m.; Sun-Thur 11 a.m., 1:45, 4:30, 7:15, 10. Dr. Seuss’ Horton Hears a Who! 11:15 a.m., 1:30, 3:45, 6:45, 9:30. Shutter Fri-Sat noon, 2:15, 4:30, 6, 8:15, 10:30, 12:30 a.m.; Sun-Thur noon, 2:15, 4:30, 6, 8:15, 10:30. Still Smokin’ Fri-Sat midnight.

HOLLYWOOD ArcLight Cinemas Hollywood, 6360 Sunset Bl, (323) 464-4226. 21 11:35 a.m., 1, 2:25, 4:10, 5:15, 7, 7:45, 8:15, 9:50, 10:35, 11:05. Be Kind Rewind 11:30 a.m., 2, 4:50, 7:30, 10:20. Dr. Seuss’ Horton Hears a Who! Fri-Tue 11:10 a.m., 12:05, 1:40, 2:45, 4:20, 5:05, 7:10, 9:40; Wed 11:25 a.m., 12:05, 1:45, 2:45, 4:25, 5:05; Thur 11:15 a.m., 12:05, 1:45, 2:45, 4:15, 5:05, 7:35, 9:45. Glass Wed only, 8. In Bruges 11:20 a.m., 1:50, 4:30, 7:40, 10:10. Miss Pettigrew Lives for a Day 11:45 a.m., 1:55, 4:45, 7:25, 10:05. The Other Boleyn Girl Fri-Wed 11:50 a.m., 2:30, 5:20, 8, 10:40. Priceless 11:40 a.m., 2:10, 5:10, 8:10, 10:50. Run Fat Boy Run noon, 2:40, 5:30, 8:30, 11:20. Snow Angels Fri-Wed 11:15 a.m., 2:15, 4:55, 7:35, 10:25; Thur 1:40, 4:40. Stop-Loss Fri-Tue 11:55 a.m., 2:35, 5:25, 8:05, 10:55; Wed 11:10 a.m., 2:20, 5, 7:50, 11; Thur 11:55 a.m., 2:35, 5:25, 8:05, 10:55. There Will Be Blood Fri-Tue 11 a.m., 10:30; Thur 11 a.m., 10:30. Under the Same Moon Fri-Tue 11:05 a.m., 1:35, 2:20, 4:05, 5, 7:05, 7:50, 10:15; Wed 11:05 a.m., 1:35, 4:05, 7:05, 7:50, 10:15; Thur 11:05 a.m., 1:35, 2:20, 4:05, 5, 7:05, 7:50, 10:15. Vantage Point Fri-Tue 11:25 a.m., 2:05, 4:25, 7:15, 9:55; Thur 11:25 a.m., 2:05, 4:25, 7:15, 9:55. Grauman’s Chinese, 6925 Hollywood Bl, (323) 464-8111. Drillbit Taylor noon, 2:30, 5, 7:40, 10:20. Los Feliz 3, 1822 N Vermont Av, (323) 6642169. The Bank Job 2, 4:30, 7, 9:30. Run Fat Boy Run 2, 4:30, 7, 9:30. Under the Same Moon 2, 4:30, 7, 9:30. Mann Chinese 6, 6801 Hollywood Bl, (323) 4613331. 10,000 B.C. 1:30, 4:40, 7:30, 10:10. The Bank Job 1:20, 4, 6:50, 9:40. Meet the Browns 2:10, 4:50, 7:20, 9:50, 11:40. Shutter 12:20, 2:50, 5:20, 7:50, 10. Superhero Movie Fri-Sat 11:30 a.m., 12:30, 2, 3, 4:30, 5:30, 7, 8, 9:30, 10:30, 11:30; Sun-Thur 11:30 a.m., 12:30, 2, 3, 4:30, 5:30, 7, 8, 9:30, 10:30. Pacific’s El Capitan, 6838 Hollywood Bl, (323) 4677674. College Road Trip Fri-Sat 10 a.m., 12:15, 2:30, 4:45, 7, 9:15; Sun-Thur 10 a.m., 12:15, 2:30, 4:45, 7. Pacific’s The Grove Stadium 14, 189 The Grove Dr, Third St & Fairfax Av, (323) 692-0829. 10,000 B.C. 10:55 a.m., 1:45, 4:45, 7:45, 10:25. 21 Fri-Sat 10:25 a.m., 11:05 a.m., 1:15, 2:05, 4:10, 5:15, 7:10, 8:15, 10:20, 11:10, midnight; Sun-Wed 10:25 a.m., 11:05 a.m., 1:15, 2:05, 4:10, 5:15, 7:10, 8:15, 10:20, 11:10; Thur 10:25 a.m., 11:05 a.m., 1:15, 2, 4:10, 5:15, 7:10, 8:15, 10:10, 11:10. The Bank Job 11:45 a.m., 2:35, 5:35, 8:25, 11:05. Dr. Seuss’ Horton Hears a Who! 11:10 a.m., noon, 1:55, 2:50, 4:30, 5:20, 7, 9:30. Drillbit Taylor Fri-Wed 2:15, 4:55, 7:30, 10:15; Thur 2:15, 4:55, 7:30, 10:05. Meet the Browns Fri-Sat 11:25 a.m., 2, 4:40, 7:15, 10:10; Sun-Thur 11:25 a.m., 2, 4:40, 7:15, 9:50. The Other Boleyn Girl Fri-Wed 11 a.m., 1:50,

4:50, 7:50, 10:40; Thur 11 a.m., 1:50, 4:50, 7:50, 10:35. The Ruins Thur only, 12:10 a.m. Run Fat Boy Run Fri-Sat 11:35 a.m., 2:25, 5:45, 7:40, 8:30, 10:35, 11:15, 12:15 a.m.; Sun-Wed 11:35 a.m., 2:25, 5:45, 7:40, 8:30, 10:35, 11:15; Thur 11:35 a.m., 2:25, 5:45, 7:40, 8:30, 10:20, 11:10. Shutter Fri-Wed 11:55 a.m., 2:55, 5:30, 8, 10:30; Thur 11:55 a.m., 2:55, 4:55, 10:30. Stop-Loss Fri-Wed 10:35 a.m., 1:30, 4:35, 7:55, 10:45; Thur 10:35 a.m., 1:30, 4:35, 7:55, 10:40. Superhero Movie Fri-Sat 11:50 a.m., 2:40, 5, 7:35, 10:05, 12:10 a.m.; Sun-Wed 11:50 a.m., 2:40, 5, 7:35, 10:05; Thur 11:50 a.m., 2:40, 5, 7:35, 9:55. Under the Same Moon 10:45 a.m., 1:40, 4:20, 7:05, 9:45. Regent Showcase, 614 N La Brea Av, (323) 9342944. The Band’s Visit Fri 5:30, 7:30; Sat 3:30, 5:30, 7:30, 9:30; Sun 3:30, 5:30, 7:30; MonThur 5:30, 7:30. Vine, 6321 Hollywood Bl, (323) 463-6819. Call theater for titles and showtimes. Vista, 4473 Sunset, (323) 660-6639. 21 Fri 4:15, 7, 9:45; Sat-Sun 1:30, 4:15, 7, 9:45; Mon-Thur 4:15, 7, 9:45.

NORTH HOLLYWOOD, UNIVERSAL CITY Century 8, 12827 Victory Bl, (818) 508-6004. 10,000 B.C. 11:10 a.m., 1:50, 4:25, 7, 9:35. 21 10:40 a.m., 1:30, 4:20, 7:10, 10. College Road Trip 10:45 a.m., 12:55, 3:05, 5:15, 7:25, 9:45. Dr. Seuss’ Horton Hears a Who! 10:30 a.m., 12:40, 2:55, 5:10, 7:20, 9:40. Drillbit Taylor 11:25 a.m., 2:15, 4:45, 7:30, 10:10. Meet the Browns 11:30 a.m., 2, 4:35, 7:05, 9:50. Shutter 10:35 a.m., 12:50, 3:15, 5:35, 7:55, 10:05. Superhero Movie 11 a.m., 1:10, 3:20, 5:30, 7:40, 9:55. Loews CityWalk Stadium 19 with IMAX, 100 Universal City Dr at Universal CityWalk, (818) 5080588; IMAX Theater (818) 760-8100. 10,000 B.C. Fri-Sat 11:50 a.m., 2:35, 5:05, 7:45, 10:35; Sun 11:50 a.m., 2:35, 5:05, 7:45, 10:25; MonThur 2:35, 5:05, 7:45, 10:25. 21 Fri-Sat noon, 1, 3, 4, 6, 7, 8, 9:05, 10:05, 11, midnight; Sun noon, 1, 3, 4, 6, 7, 8, 9:05, 10:05; Mon-Thur 1, 3, 4, 6, 7, 8, 9:05, 10:05. The Bank Job Fri-Sat 1:15, 3:50, 6:40, 9:15, 11:50; Sun-Wed 1:15, 3:50, 6:40, 9:15; Thur 1:15, 3:50, 6:40. College Road Trip Fri-Wed 12:55, 3:15, 5:30, 7:55, 10:20; Thur 12:55, 3:15, 5:30, 7:55. Doomsday Fri-Sat 11:40 a.m., 2:25, 5, 8:20, 10:55; Sun 11:40 a.m., 2:25, 5, 8:20; Mon-Tue 2:25, 5, 8:20; Wed 2:25; Thur 2:25, 5, 8:20. Dr. Seuss’ Horton Hears a Who! Fri-Sun 11:25 a.m., 12:25, 1:50, 2:50, 5:15, 7:40, 10; MonWed 1:50, 2:50, 5:15, 7:40, 10; Thur 1:50, 2:50, 5:15, 7:40. Drillbit Taylor Fri-Sun 11:10 a.m., 1:25, 3:55, 7:20, 9:55; Mon-Thur 1:25, 3:55, 7:20, 9:55. Jumper Fri-Sun 12:50, 3:20, 5:40; Mon-Thur 1:10, 3:20, 5:40. Meet the Browns Fri-Sat 11:15 a.m., 1:40, 4:05, 6:35, 9, 11:40; Sun 11:15 a.m., 1:40, 4:05, 6:35, 9; Mon-Thur 1:40, 4:05, 6:35, 9. Never Back Down Fri-Sat 12:05, 2:45, 8:10, 10:50; Sun 12:05, 2:45, 8:10; Mon-Thur 2:45, 5:25, 8:10. Run Fat Boy Run Fri-Sat 11:30 a.m., 1:55, 4:25, 7:05, 9:45, 12:15 a.m.; Sun 11:30 a.m., 1:55, 4:25, 7:05, 9:45; Mon-Thur 1:55, 4:25, 7:05, 9:45. Shutter Fri-Sat 11:20 a.m., 1:30, 2:30, 3:45, 4:55, 6:15, 8:40, 9:40, 11:20, 12:10 a.m.; Sun 11:20 a.m., 1:30, 2:30, 3:45, 4:55, 6:15, 8:40, 9:40; Mon-Wed 1:30, 2:30, 3:45, 4:55, 6:15, 8:40, 9:40; Thur 1:30, 2:30, 3:45, 4:55, 6:15, 9:40. Stop-Loss Fri-Sat 1:05, 4, 6:50, 9:35, 12:15 a.m.; Sun-Thur 1:05, 4, 6:50, 9:35. Superhero Movie Fri-Sat 11:35 a.m., 12:35, 1:45, 2:55, 4:10, 5:10, 6:30, 7:30, 8:50, 9:50, 11:10, 12:05 a.m.; Sun 11:35 a.m., 12:35, 1:45, 2:55, 4:10, 5:10, 6:30, 7:30, 8:50, 9:50; Mon-Thur 1:45, 2:55, 4:10, 5:10, 6:30, 7:30, 8:50, 9:50. U2 3D IMAX Fri-Mon 4:05, 6:20, 9:10; IMAX TueWed 4:05; IMAX Thur 4:05, 6:20, 9:10. Under the Same Moon Fri-Sat 12:45, 3:25, 6:05, 8:55, 11:45; Sun 12:45, 3:25, 6:05, 8:55; MonThur 12:55, 3:25, 6:05, 8:55. Vantage Point Fri-Sun 12:15, 7:15; Mon-Thur 7:15.

NORTHRIDGE, CHATSWORTH, GRANADA HILLS Mann Granada Hills, Devonshire St & Balboa Av, (818) 363-3679. 10,000 B.C. 11:20 a.m., 2:20, 5, 7:40, 10:10. 21 12:40, 3:50, 7, 10. College Road Trip 11:50 a.m., 2, 4:30, 6:40, 9:10. Dr. Seuss’ Horton Hears a Who! 11:30 a.m., 12:50, 1:50, 3, 4:10, 5:10, 6:30, 7:20, 9, 9:30. Drillbit Taylor Fri-Sun 12:10, 2:50, 5:30, 7:50,

l MARCH 27~APRIL 2, 2008

10:20; Mon-Thur 12:10, 2:50, 5:30, 8, 10:20. Meet the Browns Fri-Sun 12:30, 3:10, 5:40, 8, 10:30; Mon-Thur 12:30, 3:10, 5:40, 8:10, 10:30. Shutter 12:20, 2:40, 5:20, 7:30, 9:50. Superhero Movie noon, 2:10, 4:50, 7:10, 9:40. Pacific’s Northridge Fashion Center All Stadium 10, 9400 N Shirley Av, (818) 501-5121. 10,000 B.C. Fri-Sat 1:30, 4:15, 7, 9:50; Sun 1:30, 4:15, 7, 9:30; Mon-Thur 1:35, 5, 7:35. 21 Fri-Sun 1:10, 4:20, 7:20, 10:15; Mon-Thur 2, 4:50, 7:40. The Bank Job Fri-Sun 1:40, 4:25, 7:25, 10:05; Mon-Thur 1:55, 5:20, 7:55. College Road Trip Fri-Sat 2, 5, 7:40, 10:05; Sun 2, 5, 7:40, 9:50; Mon-Thur 2:10, 5:25, 7:30. Dr. Seuss’ Horton Hears a Who! Fri-Sat 12:30, 2:50, 5:05, 7:30, 9:55; Sun 12:30, 2:50, 5:05, 7:30, 9:40; Mon-Thur 1:30, 4:55, 7:10. Drillbit Taylor Fri-Sun 1:20, 4:35, 7:35, 10:10; MonThur 1:40, 5:15, 8. Meet the Browns Fri-Sat 12:35, 3, 5:30, 8, 10:25; Sun 12:35, 3, 5:30, 7:55, 10:15; Mon-Thur 1:45, 5:05, 7:40. Never Back Down Fri-Sat 1:15, 4:05, 7:10, 10:20; Sun 1:15, 4:05, 7:10, 9:45; Mon-Thur 2:05, 5:10, 7:50. Shutter Fri-Sat 12:45, 3:05, 5:25, 7:50, 10:30; Sun 12:45, 3:05, 5:25, 7:50, 10; Mon-Thur 1:50, 5:30, 7:45. Superhero Movie Fri-Sat 12:40, 2:55, 5:15, 7:45, 10; Sun 12:40, 2:55, 5:15, 7:45, 9:55; Mon-Thur 2:20, 5:45, 8:10. Pacific’s Winnetka All Stadium 21, 9201 Winnetka Av, Chatsworth, (818) 501-5121. 10,000 B.C. 1:45, 4:30, 7:15, 9:55. 21 Fri 1:35, 2:10, 4:35, 5:05, 7:35, 8, 10:30, 10:55; Sat 11:15 a.m., 1:35, 2:10, 4:35, 5:05, 7:35, 8, 10:30, 10:55; Sun 11:15 a.m., 1:35, 2:10, 4:35, 5:05, 7:35, 8, 10:30, 10:45; MonThur 1:35, 2:10, 4:35, 5:05, 7:35, 8, 10:30, 10:45. The Bank Job Fri-Sat 2:15, 4:55, 7:50, 10:50; Sun-Thur 2:15, 4:55, 7:50, 10:45. Be Kind Rewind Fri-Sat 2:45, 5:20, 8:15, 10:50; Sun-Thur 2:45, 5:20, 8:15, 10:45. College Road Trip 2:20, 4:45, 7:10, 9:45. Doomsday 1:45, 4:30, 7:15, 10:05. Dr. Seuss’ Horton Hears a Who! noon, 12:40, 2:20, 3, 5:20, 7:45, 10:10. Drillbit Taylor Fri-Sat 12:25, 3, 5:35, 8:10, 10:45; Sun-Thur 12:25, 3, 5:35, 8:10, 10:40. Juno 12:20, 2:55, 5:30, 7:55, 10:20. Meet the Browns 2:35, 4:40, 5:10, 7:10, 7:50, 9:45, 10:25. Never Back Down Fri-Sat 1:50, 4:50, 7:35, 10:35; Sun-Thur 1:50, 4:50, 7:35, 10:30. The Other Boleyn Girl 12:15, 2:40, 5:15, 7:45, 10:10. Run Fat Boy Run 1:30, 4:20, 7:20, 10:15. Shutter Fri-Sat 1, 3:20, 5:45, 8:25, 10:40; SunThur 1, 3:20, 5:45, 8:25, 10:35. Stop-Loss 1:35, 4:15, 7:05, 10. Superhero Movie Fri 12:10, 1:10, 2:30, 3:30, 5, 5:55, 7:20, 8:20, 9:40, 10:40; Sat 11 a.m., 12:10, 1:10, 2:30, 3:30, 5, 5:55, 7:20, 8:20, 9:40, 10:40; Sun 11 a.m., 12:10, 1:10, 2:30, 3:30, 5, 5:55, 7:20, 8:20, 9:40, 10:35; Mon-Thur 12:10, 1:10, 2:30, 3:30, 5, 5:55, 7:20, 8:20, 9:40, 10:35. Under the Same Moon Fri 2:25, 5:10, 8, 10:45; Sat 11:35 a.m., 2:25, 5:10, 8, 10:45; Sun 11:35 a.m., 2:25, 5:10, 8, 10:40; Mon-Thur 2:25, 5:10, 8, 10:40. Vantage Point 2:05, 4:35, 7, 9:35.

SANTA MONICA AMC Santa Monica 7, 1310 Third Street Promenade, (310) 395-3030. 21 Fri-Sun 11:10 a.m., 12:40, 2, 3:40, 5, 6:40, 7:50, 9:40, 10:40; Mon-Thur 1, 2:15, 3:45, 5, 6:30, 7:50, 9:30. Dr. Seuss’ Horton Hears a Who! Fri-Sun 11:40 a.m., 1:55, 4:20, 6:50, 9:15; Mon-Thur 1:10, 3:30, 5:45, 7:55, 10:05. Meet the Browns Fri-Sun 11:05 a.m., 1:35, 4:10, 7, 9:30; Mon-Thur 2, 4:30, 7, 9:40. The Other Boleyn Girl Fri-Sun 11:35 a.m., 2:20, 5:10, 7:55, 10:35; Mon-Thur 1:30, 4:10, 7:05, 9:55. Stop-Loss Fri-Sun 11:20 a.m., 2:05, 4:55, 7:40, 10:30; Mon-Thur 1:50, 4:25, 7:15, 9:50. Under the Same Moon Fri-Sun 11:30 a.m., 2:10, 4:40, 7:20, 10; Mon-Thur 2:10, 4:40, 7:20, 10. Laemmle’s Monica 4-Plex, 1332 Second St, (310) 394-9741. The Band’s Visit 12:45, 2:55, 5:10, 7:30, 9:45. The Hammer 12:45, 3, 5:25, 7:50, 10:15. Married Life 1, 3:10, 5:20, 7:40, 10. Snow Angels 1:40, 4:20, 7, 9:40. Loews Cineplex Broadway, 1441 Third Street Promenade, (310) 458-1506. The Bank Job FriSun 11:25 a.m., 2:15, 5, 7:40, 10:20; MonThur 2, 4:35, 7:05, 9:40. College Road Trip Fri-Sun 11 a.m., 1:10, 3:20, 5:40, 8, 10:15; Mon-Thur 2:30, 4:40, 6:50, 9:15. The Grand Fri 11:10 a.m., 1:40, 4:40, 7:20, 10:30; Sat-Sun 11:10 a.m., 1:40, 4:40, 7:20, 9:50; Mon-Thur 2:05, 4:30, 7, 9:25. Miss Pettigrew Lives for a Day Fri-Sun 11:40 a.m., 2, 4:20, 7, 9:30; Mon-Thur 2:40, 5:05, 7:20, 9:35. Mann Criterion, 1313 Third Street Promenade, (310) 395-1599. 10,000 B.C. noon, 2:30, 5, 7:40,

THE AMOEBA MIXPERIENCE! LAST GANG RECORDS

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wheels of steel BOOM BIP Sacchrilege EP

98 CD

A super-hot EP in which Boom Bip develops some of the harder, faster electro themes that have appeared throughout his previous albums. These are 5 tracks of the highest caliber.

Friday nights from 8-9:30pm!

RESONANCE Curated by DJ JUN!

DJ JUN (Bossa Nova founder and buyer for Amoeba’s electronic music section), takes the reins as our Friday night resident!

Friday – March 28th – 8pm TITA LIMA SALE ENDS 4/10/08

Guest Resonance DJ set of her mixture of MPB (Brazilian Popular Music), Samba-Jazz, Bossa Nova, Hip-Hop and Dub.

A mandala is a mystical spinning wheel, akin to a vinyl record spinning hypnotically on a turntable. Here, MANDALA is Amoeba’s weekly in-house DJ series — the evening when the Amoeba staff take to the stage to spin their favorite tunes! LEX RECORDS

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MANDALA Featuring rotating styles on the

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98 CD

Debut album from Neon Neon — Gruff Rhys & Boom Bip’s new group. Stainless Style is a genre-crossing, retro-futuristic pop record about the life of 20th Century playboy and car maker John Delorean.

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Neighborhood Shopping & Lifestyle Guide

SILVER LAKE "Shop, Dine, and Celebrate" in Silver Lake! With over 200 restaurants and nightclubs, dozens of art galleries, and some of the best shopping in the city, Silver Lake is one of the most dynamic neighborhoods in L.A. Come discover great gift ideas and tasty treats at all the locally-owned businesses.

CATTS AND DOGGS 2833 Hyperion Avenue, Los Angeles (323) 953-8383

In business for more than a decade, Catts and Doggs is not your ordinary pet store! C&D features a full range of holistic remedies and all-natural pet foods and treats. Additionally, it is a great place to shop for gift items with an informed “ready to suggest an idea” staff. In addition to the retail store C&D offers a full array of grooming options in the salon and can even delivery right to your door!

Get’m Get’m 8282 Sunset Blvd. West Hollywood CA 90046 www.getmgetm.com 323.656.3882

Get'm Get'm Wear pet beds are made with style, quality, and durability in mind. They are fun and attractive furnishings which compliment your home decor. Featuring three different sizes (small, medium-large, and extralarge), and eighteen styles to choose from, your dog or cat will find the comfor t of Get'm Get'm Wear pet beds irresistible. Retail price: $124.00 - $220.00 Check them out at www.getmgetm.com. (See page 32 for ad).

of the best-kept secrets of Silver Lake. Great food, Inexpensive, and a friendly atmosphere that is light and airy, particularly if you sit outside. The restaurant is next door to Spaceland, so the people-watching is spectacular. Yellow Curr y, Heavenly Shrimp and Magic String Beans are some of the more popular dishes. The noodle dishes - especially the hearty and surprisingly sweet pad-see-ew - are among the best you'll find anywhere. Plenty of vegetarian fare is available as well, including sumptuous eggplant, and Tofu Salad dishes. For Dessert try the Mango with Sticky Rice or the Home Made Coconut ice-cream.

Nicky D's Wood-Fired Pizza

Now delivering to:

Silver Lake Atwater Village Echo Park & Los Feliz! Mt. Washington

Call for details

2764 Rowena Ave. L.A. Ca. 90039 323-664-3333 www.nickydspizza.com

A gigantic wood-fired pizza from Rome, a dream and a leap of faith. Nicky D’s Wood Fired Pizza is full of histor y, legend and seriously good food. That's how Nicky D's Wood-Fired Pizza came to life. Nicky D, was a long time resident of New York. He had a lucrative career as an actor. But he wisely supplemented his income by following his other passion for cooking and opened a pizzeria in Times Square. Then the "Go West Young Man" syndrome kicked in and he relocated to Los Angeles where he continued his acting career. Still, he longed for another restaurant and waited for the right place to present itself. Finally, a former house in Silver Lake called his name. Now over Five years later Nicky D’s is still going strong. His Specialty Pizza’s, Baked Pasta, and renowned cannolis are some of the menu highlights. They also have WoodFired Rotisserie Chicken and Salads for all you Healthy types.

Leela Thai Restaurant 1737 Silverlake Boulevard Los Angeles, California 90026 (323) 660-6100 www.leelathaila.com

Catts & Doggs Pet Supplies & Grooming

Not your ordinary Pet Store • Full Grooming Salon • All Natural Pet Foods with a Full Range of Holistic Remedies • Wonderful Gift Items • Knowledgeable Staff with Excellent Service • We Deliver!

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Leela Thai on Silver Lake Boulevard is one

2833 Hyperion Ave. Silver Lake • 323.953.8383 Advertising Supplement

BBQ & Seafood Family Restaurant

We use only the Highest Quality Ingredients

Now Open For Lunch! 1737 Silverlake Blvd. L.A.

Delivery 7 Days a Week!

(2 Blocks Below the Lake)

(323) 660.6100 • www.LeelaThaiLa.com

Sun. – Thurs. 11:30a.m. – 10p.m. Fri. & Sat. 11:30 a.m. – 11 p.m. Cash Only No MSG FREE DELIVERY! Lunch Special $5.50. Dinner for two starts at $15.00 Bring your own Spirits- Corkage Charge $1.50 per person. (Includes all Drinks) CITYBEAT

Rustic Hand Tossed Pies

2764 Rowena Ave. Silverlake (1/2 blk west of Glendale Blvd.) Additional parking across the street.

323-664-3333

www.nickydspizza.com

Open Daily 11:30am to 10pm • Dine In • Take Out • We Deliver!

MARCH 27~APRIL 2, 2008

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VERIZON WIRELESS COMMUNICATIONS STORES Store hours: Mon–Fri 9am–9pm; Sat 9am–8pm; Sun 10am–7pm. Hours at select stores and malls may vary. APPLE VALLEY Now open! 19179 Bear Valley Rd. Now Open! Apple Valley Commons (760) 247-7799 ARCADIA Santa Anita Mall Kiosk (626) 574-2040 BALDWIN HILLS Baldwin Hills Mall Kiosk (323) 291-6827 BALDWIN PARK 14540 Garvey Ave. (626) 472-6196 BURBANK Burbank Empire Center (818) 842-2722 CARSON 20820 Avalon Blvd. (310) 329-9325 CERRITOS Now Open! 12603 Towne Ctr. Drive (562) 809-5650 Los Cerritos Center Kiosk (562) 860-7714 CHINO 3825 Grand Ave. (909) 591-9740 CITY OF COMMERCE 5438 E. Whittier Blvd. (323) 725-9750

CITY OF INDUSTRY 17515 Colima Rd. (626) 839-5155 COMPTON 237 E. Compton Blvd. (310) 603-0101 CORONA 2540 Tuscany St. (951) 898-0980 390 McKinley St. (951) 549-6400 CULVER CITY 10814 Jefferson Blvd. (310) 838-1044 CYPRESS 6856 Katella Ave. (714) 899-4690 DOWNEY Stonewood Mall Kiosk (562) 904-9085 Downey Landing (562) 401-1045 FONTANA 16771 Valley Blvd. (909) 427-1800 Now Open! 16695 Sierra Lakes Pkwy. (909) 355-0725 GLENDALE 1327 Glendale Galleria (818) 553-0470

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10:20. Drillbit Taylor 11:30 a.m., 2:10, 4:40, 7:10, 10. Run Fat Boy Run 11:40 a.m., 2:40, 5:20, 7:50, 10:30. Shutter 12:10, 2:20, 4:50, 7:20, 9:50. Superhero Movie 12:20, 2:50, 5:10, 7:30, 10:10. Vantage Point 11:50 a.m., 2, 4:20, 7, 9:40.

SHERMAN OAKS, ENCINO ArcLight Sherman Oaks, 15301 Ventura Bl, Sherman Oaks, (818) 501-0753. 10,000 B.C. 11:55 a.m., 2:35, 5:20, 8:05, 10:45. 21 Fri-Sun 11 a.m., noon, 1:50, 2:50, 4:40, 5:40, 7:30, 8, 8:30, 10:20, 10:50, 11:20; Mon 11 a.m., noon, 1:50, 2:50, 5:40, 8, 8:30, 10:50, 11:20; Tue-Thur 11 a.m., noon, 1:50, 2:50, 4:40, 5:40, 7:30, 8, 8:30, 10:20, 10:50, 11:20. The Bank Job 11:10 a.m., 2:10, 5:05, 7:45, 10:35. Dr. Seuss’ Horton Hears a Who! 11:05 a.m., 12:05, 1:20, 2:20, 3:35, 4:35, 5:45, 7, 9:30. Drillbit Taylor 11:25 a.m., 1:55, 4:25, 7:10, 10. Meet the Browns 12:10, 2:55, 5:30, 8:15, 11:05. Miss Pettigrew Lives for a Day 11:15 a.m., 1:35, 4:05, 7:25, 9:50. The Other Boleyn Girl 11:45 a.m., 2:40, 5:25, 8:10, 11. Rudy Mon only, 7:30. Run Fat Boy Run 11:40 a.m., 2:30, 5:10, 7:50, 10:40. Shutter 11:30 a.m., 1:45, 4, 7:05, 9:40. Stop-Loss 11:20 a.m., 2, 4:50, 7:35, 10:15. Superhero Movie 11:50 a.m., 2:05, 4:20, 7:15, 9:45. Under the Same Moon 11:35 a.m., 2:25, 5:15, 7:55, 10:55. The Untouchables Mon only, 7:30. Vantage Point Fri-Sun 12:15, 2:45, 5, 7:20, 10:05; Mon 12:15, 2:45; Tue-Thur 12:15, 2:45, 5, 7:20, 10:05. Laemmle’s Town Center 5, 17200 Ventura Bl, Encino, (818) 981-9811. Call theater for titles and showtimes. Mann Plant 16, 7876 Van Nuys Bl, Panorama City, (818) 779-0323. 10,000 B.C. 11 a.m., 11:40 a.m., 1:30, 2:20, 4:10, 5, 6:50, 7:40, 9:30, 10:30. 21 1:20, 4:20, 7:20, 10:20. The Bank Job 11:40 a.m., 2:10, 4:40, 7:10, 9:40. College Road Trip 11:15 a.m., 1:45, 4:15, 6:45, 9:15. Doomsday 11:20 a.m., 4:20, 9:20. Dr. Seuss’ Horton Hears a Who! 11:10 a.m., 11:50 a.m., 1:40, 2:20, 4:10, 4:50, 6:40, 7:20, 9:10, 9:50. Drillbit Taylor 11:45 a.m., 2:15, 4:45, 7:15, 9:45. Meet the Browns 12:10, 2:40, 5:10, 7:40, 10:10. Never Back Down 12:15, 2:45, 5:15, 7:45, 10:15. Shutter 12:20, 2:50, 5:20, 7:50, 10:20. Step Up 2 the Streets 1:50, 6:50. Superhero Movie 11:30 a.m., 12:30, 2, 3, 4:30, 5:30, 7, 8, 9:30, 10:30. Under the Same Moon 11 a.m., noon, 1:30, 2:30, 4:05, 5, 6:30, 7:30, 9, 10. Pacific’s Sherman Oaks 5, 14424 Millbank St, Sherman Oaks, (818) 501-5121. College Road Trip 2:05, 4:45, 7:40, 10:05. Dr. Seuss’ Horton Hears a Who! 1:50, 4:30, 7:15, 9:45. Funny Games 1:35, 4:15, 7:20, 9:55. Never Back Down 1:30, 4:25, 7:10, 9:55. Snow Angels 1:40, 4:20, 7, 9:50.

WEST HOLLYWOOD, BEVERLY HILLS, CENTURY CITY AMC Century City 15, 10250 Santa Monica Bl, (310) 277-2011. 10,000 B.C. Fri-Sat 10:35 a.m., 1:20, 4:15, 7:10, 10:05; Sun 10:35 a.m., 1:20, 4:15, 7:10, 9:50; Mon-Thur 11:10 a.m., 1:55, 4:35, 7:25, 10:05. 21 Fri-Sat 9:45 a.m., 10:55 a.m., 12:45, 1:55, 4, 5:10, 7, 8:15, 10:15, 11:20, 12:05 a.m.; Sun 9:45 a.m., 10:55 a.m., 12:45, 1:55, 4, 4:50, 7, 8, 10, 10:45; Mon-Thur 11 a.m., 12:55, 1:50, 4, 4:40, 7, 7:40, 10, 10:30. The Bank Job Fri-Sat 10:45 a.m., 1:30, 4:30, 7:30, 10:30; Sun 10:45 a.m., 1:30, 4:30, 7:30, 10:15; Mon-Thur 11:05 a.m., 1:35, 4:20, 7:45, 10:30. College Road Trip Fri-Sat 10 a.m., 12:20, 2:45, 5:05, 7:25, 9:55; Sun 10 a.m., 12:20, 2:45, 5:05, 7:25, 9:40; Mon 12:10, 2:30, 4:50, 7:10, 9:25; Tue 11:20 a.m., 1:30, 4:15, 9:45; Wed-Thur 12:10, 2:30, 4:50, 7:10, 9:25. Definitely, Maybe Fri-Sat 10:05 a.m., 12:55, 4:05, 7:05, 10:20; Sun 10:05 a.m., 12:55, 4:05, 7:05, 10:05; Mon-Tue 10:50 a.m., 1:40, 4:30, 7:20, 10:20; Wed 12:45, 3:45, 10:20; Thur 10:50 a.m., 1:40, 4:30, 7:20, 10:20. Dr. Seuss’ Horton Hears a Who! Fri-Sat 9:40 a.m., 10:20 a.m., noon, 12:40, 2:20, 3:05, 4:35, 5:25, 7:15, 7:55, 9:50, 10:25; Sun 9:40 a.m., 10:20 a.m., noon, 12:40, 2:20, 3:05, 4:35, 5:25, 7:15, 7:55, 9:35, 10:10; Mon-Thur 10:55 a.m., noon, 1:05, 2:20, 3:15, 4:45, 5:30, 7:05, 7:50, 9:30, 10:10. Drillbit Taylor Fri-Sat 9:30 a.m., noon, 2:30, 5, 7:45,

10:40, 12:15 a.m.; Sun 9:30 a.m., noon, 2:30, 5, 7:45, 10:25; Mon-Thur 11:15 a.m., 1:45, 4:25, 7:35, 10:15. Meet the Browns Fri-Sat 9:35 a.m., 12:15, 2:50, 5:15, 8:05, 10:50; Sun 9:35 a.m., 12:15, 2:50, 5:15, 8:05, 10:35; Mon-Thur 11:40 a.m., 2:15, 5:05, 7:30, 9:55. Miss Pettigrew Lives for a Day Fri-Sat 9:50 a.m., 12:25, 2:55, 5:20, 7:50, 10:35; Sun 9:50 a.m., 12:25, 2:55, 5:20, 7:50, 10:20; Mon-Thur 11:55 a.m., 2:25, 5, 7:20, 9:50. Shutter Fri-Sat 10:40 a.m., 1, 3:20, 5:40, 8:10, 10:45; Sun 1, 3:20, 5:40, 8:10, 10:30; Mon-Thur 12:50, 3:25, 5:45, 8:05, 10:25. Superhero Movie Fri-Sat 9:55 a.m., 10:50 a.m., 12:10, 1:05, 2:35, 3:25, 4:55, 5:55, 7:40, 8:30, 10:10, 10:55, 12:20 a.m.; Sun 9:55 a.m., 10:50 a.m., 12:10, 1:05, 2:35, 3:25, 4:55, 5:55, 7:35, 8:20, 9:55, 10:40; Mon-Thur 10:50 a.m., 12:15, 1, 2:35, 3:20, 4:55, 5:40, 7:15, 8, 9:35, 10:20. Vantage Point Fri-Sat 9:40 a.m., 12:05, 2:25, 4:45, 7:20, 10; Sun 9:40 a.m., 12:05, 2:25, 4:45, 7:20, 9:45; Mon-Thur 12:35, 3, 5:25, 7:55, 10:25. Laemmle’s Music Hall 3, 9036 Wilshire Bl, (310) 274-6869. Beaufort Fri 7:45; Sat-Sun 1:55, 7:45; Mon-Thur 7:45. Praying With Lior Fri 5, 7:20, 9:40; Sat-Sun 12:20, 2:40, 5, 7:20, 9:40; Mon-Thur 5, 7:20, 9:40. Towards Darkness Fri 5:10, 7:30, 9:50; Sat-Sun 12:30, 2:50, 5:10, 7:30, 9:50; Mon-Thur 5:10, 7:30, 9:50. The Yiddish Theater: A Love Story Fri 5:30; SatSun noon, 5:30; Mon-Thur 5:30. Laemmle’s Sunset 5 Theatre, 8000 Sunset Bl, (323) 848-3500. American Zombie 12:30, 2:50, 5:10, 7:30, 10. Boarding Gate 1:30, 4:10, 7, 9:40. The Hammer 3, 5:20, 7:40. Paranoid Park 12:50, 10. The Room Sat only, midnight. Shelter 12:30, 2:40, 5, 7:30, 9:50. Beverly Center 13 Cinemas, 8522 Beverly Blvd., Suite 835, (310) 652-7760. Be Kind Rewind 12:50, 3:20, 5:40, 8, 10:10. Charlie Bartlett 12:10, 2:30, 4:50, 7:10, 9:30. College Road Trip 12:20, 2:20, 4:20, 6:30, 8:50. Definitely, Maybe noon, 2:40, 5:10, 7:40, 10. Diary of the Dead 12:40, 3:10, 5:30, 7:40, 10. Doomsday 12:30, 3, 5:20, 7:50, 10:20. Jumper 1, 3:10, 5:20, 7:30, 9:40. Juno 1, 3:20, 5:30, 7:50, 10:20. Never Back Down noon, 2:30, 5, 7:30, 10:10. Penelope 12:10, 2:20, 4:30, 6:40, 9. Persepolis 12:30, 2:40, 4:50, 7:10, 9:20. The Spiderwick Chronicles 12:20, 2:50, 5:10, 7:20, 9:30. Vantage Point 12:40, 3, 5, 7:20, 9:40.

WESTWOOD, WEST L.A. AMC Avco Center, 10840 Wilshire Bl, (310) 4750711. The Bank Job Fri 2, 4:30, 7:05, 9:40; SatSun 11:30 a.m., 2, 4:30, 7:05, 9:40; Mon-Thur 2, 4:30, 7:05, 9:40. Dr. Seuss’ Horton Hears a Who! Fri 12:30, 2:40, 4:50, 7, 9:10; Sat-Sun 10:20 a.m., 12:30, 2:40, 4:50, 7, 9:10; Mon-Thur 2:40, 4:50, 7, 9:10. Drillbit Taylor Fri 2:15, 4:40, 7:10, 9:35; Sat-Sun 11:50 a.m., 2:15, 4:40, 7:10, 9:35; Mon-Thur 2:15, 4:40, 7:10, 9:35. Run Fat Boy Run Fri 12:15, 2:30, 5, 7:20, 9:45; Sat-Sun 10:25 a.m., 12:40, 2:55, 5:10, 7:25, 9:45; Mon-Thur 2:30, 5, 7:20, 9:45. Laemmle’s Royal Theatre, 11523 Santa Monica Bl, (310) 477-5581. The Counterfeiters 12:30, 2:50, 5:15, 7:45, 10:15. Landmark’s Nuart Theater, 11272 Santa Monica Bl, (310) 281-8223. Irina Palm Fri-Sun noon, 2:30, 5, 7:30, 10; Mon-Thur 5, 7:30, 10. Kids in the Hall: Brain Candy Fri only, midnight. The Rocky Horror Picture Show Sat only, midnight. Landmark’s Regent, 1045 Broxton Av, (310) 2818223. Miss Pettigrew Lives for a Day 2:15, 4:45, 7:15, 9:45. The Landmark West Los Angeles, 10850 W Pico Bl, (310) 281-8223. Flawless Fri 11:15 a.m., 1:45, 4:20, 7, 9:30; Sat 11:15 a.m., 1:45, 4:20, 7, 8:10, 9:30; Sun-Thur 11:15 a.m., 12:30, 1:45, 3, 4:20, 7, 9:30. In Bruges 12:15, 2:45, 5:15, 7:50, 10:15. Married Life 11 a.m., 1:15, 3:30, 5:45, 8, 10:10. The Other Boleyn Girl 11 a.m., 1:35, 4:25, 7:15, 9:55. Priceless Fri-Sat 11:50 a.m., 2:20, 4:50, 7:20, 9:50; Sun-Tue 11:50 a.m., 2:20, 4:50, 6, 7:20, 9:50; Wed 11:50 a.m., 2:20, 4:50, 7:20, 9:50; Thur 11:50 a.m., 2:20, 4:50, 6, 7:20, 9:50. Run Fat Boy Run Fri-Sat noon, 2:30, 5, 7:30, 9:55, 10:45; Sun-Tue noon, 2:30, 5, 7:30, 8:30, 9:55; Wed noon, 2:30, 5, 7:30, 9:55; Thur noon, 2:30, 5, 7:30, 8:30, 9:55. Snow Angels 11:30 a.m., 2:15, 5, 7:40, 10:10. Stop-Loss 11:10 a.m., noon, 1:50, 2:40, 4:30, 5:20, 7:10, 8, 9:45, 10:30. Under the Same Moon Fri-Sun 11:30 a.m., 12:20, 2:10, 3, 4:50, 5:40, 7:30, 8:15, 10, 10:45; Mon-Thur 11:30 a.m., 12:20, 2:10, 3, 4:50, 5:40, 7:30, 8:15, 10. Majestic Crest Theater, 1262 Westwood Bl, (310) 474-7866. The Band’s Visit Fri 3:30, 5:30, 7:30, 9:30; Sat-Sun 1:30, 3:30, 5:30, 7:30, 9:30; Mon-Thur 3:30, 5:30, 7:30, 9:30.

Mann Bruin, 948 Broxton Av, (310) 208-8998. 21 1, 4, 7, 10. Mann Festival 1, 10887 Lindbrook Av, (310) 2084575. Superhero Movie 12:50, 3, 5:10, 7:30, 9:50. Mann Village, 961 Broxton Av, (310) 208-5576. Stop-Loss 11:30 a.m., 2:10, 4:50, 7:40, 10:20.

WOODLAND HILLS, WEST HILLS, TARZANA AMC Promenade 16, 21801 Oxnard St, Woodland Hills, (818) 883-2262. 10,000 B.C. Fri-Sun 11 a.m., 1:45, 4:30, 7:15, 10; Mon-Thur 1:45, 4:30, 7:15, 9:50. 21 Fri-Sat 10:35 a.m., 12:35, 1:35, 3:45, 4:35, 6:50, 7:40, 9:55, 10:40; Sun 10:35 a.m., 12:35, 1:35, 3:45, 4:35, 6:50, 7:40, 9:55; Mon-Thur 1, 1:35, 3:50, 4:35, 6:50, 7:40, 9:40. The Bank Job Fri-Sun 10:30 a.m., 1:10, 4, 7, 9:40; Mon-Thur 1:20, 4, 7, 9:35. College Road Trip Fri-Sun 12:25, 2:45, 5:10, 7:25, 9:45; Mon-Wed 2, 4:20, 7, 9:25; Thur 2, 4:20, 7. Dr. Seuss’ Horton Hears a Who! Fri-Sun 10:30 a.m., noon, 12:45, 2:20, 3, 4:45, 7:10, 9:30; Mon-Thur 1, 2:15, 3:10, 4:45, 5:20, 7:10, 9:20. Drillbit Taylor Fri-Sun 11:10 a.m., 1:50, 4:25, 7:05, 9:50; Mon-Thur 1:50, 4:25, 7:05, 9:30. Meet the Browns Fri-Sun 11:25 a.m., 2:10, 4:50, 7:35, 10:15; Mon-Thur 2:10, 4:50, 7:30, 10. Miss Pettigrew Lives for a Day Fri-Sat 12:30, 2:55, 5:20, 7:45, 10:25; Sun 12:30, 2:55, 5:20, 7:45, 10:15; Mon-Thur 2:30, 5, 7:45, 10. Never Back Down Fri-Sun 12:40, 3:30, 6:15, 9:05; Mon-Thur 1:05, 3:40, 6:15, 8:55. The Other Boleyn Girl Fri-Sat 5:15, 8, 10:45; Sun 5:15, 8, 10:30; Mon-Thur 7:30, 10:05. Run Fat Boy Run Fri-Sat 10:45 a.m., 12:45, 3:10, 5:40, 8:10, 10:35; Sun 10:45 a.m., 12:45, 3:10, 5:40, 8:10, 10:30; Mon-Thur 12:55, 3:15, 5:40, 8, 10:15. Shutter Fri-Sun 1, 3:20, 5:30, 7:50, 10:10; MonThur 12:55, 3:05, 5:30, 7:50, 9:55. Stop-Loss Fri-Sun 10:55 a.m., 1:40, 4:40, 7:30, 10:20; Mon-Thur 1:40, 4:40, 7:35, 10:10. Superhero Movie Fri-Sat 10:40 a.m., 12:55, 3:15, 5:35, 8:05, 10:30; Sun 10:40 a.m., 12:55, 3:15, 5:35, 8:05, 10:25; Mon-Thur 1:10, 3:20, 5:35, 8:05, 10:15. Vantage Point Fri-Sat 12:50, 3:05, 5:25, 7:55, 10:30; Sun 12:50, 3:05, 5:25, 7:55, 10:25; Mon-Thur 2:20, 4:55, 7:25, 9:45. Laemmle’s Fallbrook 7 Cinemas, Fallbrook Mall, 6731 Fallbrook Av, West Hills, (818) 340-8710. The Bank Job Fri-Sun 1:40, 4:30, 7:20, 9:55; MonThur noon, 2:40, 5:30, 8:20. The Counterfeiters Fri-Sun 12:30, 2:50, 5:15, 7:40; Mon-Tue 1:30, 3:50, 6:15, 8:40; Wed 11:10 a.m., 1:30, 3:50, 6:15, 8:40; Thur 1:30, 3:50, 6:15, 8:40. The Hammer Fri-Sun 12:20, 2:40, 5, 7:30, 9:55; Mon-Tue 1:20, 3:40, 6, 8:30; Wed 11 a.m., 1:20, 3:40, 6, 8:30; Thur 1:20, 3:40, 6, 8:30. In Bruges Fri-Sun noon, 9:50; Mon-Thur 1, 5:50. Jodhaa Akbar Tue only, 1, 5, 9. Married Life Fri-Sun 12:50, 3:10, 5:30, 7:50, 10:10; Mon-Tue 1:50, 4:10, 6:30, 8:50; Wed 11:30 a.m., 1:50, 4:10, 6:30, 8:50; Thur 1:50, 4:10, 6:30, 8:50. Miss Pettigrew Lives for a Day Fri-Sun 2:30, 4:50, 7:30; Mon-Tue 3:30, 8:30; Wed 10:45 a.m., 3:30, 8:30; Thur 3:30, 8:30. Partition Fri-Sun 1:30, 4:15, 7, 9:45; Mon-Thur noon, 2:30, 5:15, 8. Race (Hindi w/e.s.t.) Fri-Sat 2:30, 6, 9:30; SunMon 2, 5:30, 9; Wed-Thur 2, 5:30, 9.

SPECIAL SCREENINGS THURSDAY, MARCH 27 American Cinematheque at the Aero Theatre, 1328 Montana Av, Santa Monica, (323) 466-3456. Aerotheatre.com. Hollywood Singing & Dancing: The Musicals – Cabaret, 7:30; followed by All That Jazz. Discussion between films with Cabaret star Michael York. Architecture and Design Museum, 5900 Wilshire Bl, Ste 100E, L.A., (323) 9329393. Aplusd.org/v3. New Filmmakers Screening Series – Los Angeles Filmmakers – shorts An Inconvenient Head, 7; followed by shor ts Legend of My Hear tShaped Anus, The Recordist, Jessie, Drug of Choice, and Rumbero. Feature A New Tomorrow, 8:45. CineFamily at the Silent Movie Theatre, 611 N Fairfax Av, Hollywood, (323) 6552520. Silentmovietheatre.com. Busby Berkeley Dreams – The Gang’s All Here, 8. Cinespace, 6356 Hollywood Bl, second level, Hollywood, (323) 817-3456. Cinespace.info. Very Short Movies Festival, 6. Echo Park Film Center, 1200 N Alvarado St, Echo Park, (213) 484-8846. Echoparkfilmcenter.org. Pretty Little Lonely #13: A

MARCH 27~APRIL 2, 2008

Musical Documentary, 8. Filmmaker in attendance. Hammer Museum, UCLA Film & Telivision Archive at the Billy Wilder Theatre, 10899 Wilshire Bl, L.A. Info: (310) 2063456 or Hammer.ucla.edu. The Talking Pictures of Manoel de Oliveira – Voyage to the Beginning of the World (Viagem ao Princípio do Mundo), 7:30. Screening will be introduced by UCLA professor and Oliveira biographer Randal Johnson. New Beverly Cinema, 7165 Beverly Bl, L.A., (323) 938-4038. Newbevcinema.com. Diva, 7:30; Let’s Get Lost, 9:50. Vista Theatre, 4473 Sunset Dr, Los Feliz, (323) 660-6639. Here Is What Is. Music producer Daniel Lanois to perform before screening with Brian Blade. Call for showtimes.

FRIDAY, MARCH 28 American Cinematheque at the Aero Theatre Hollywood Singing & Dancing: The Musicals – Singin’ in the Rain, 7:30; followed by Seven Brides for Seven Brothers. American Cinematheque at the Egyptian Theatre, 6712 Hollywood Bl, Hollywood, (323) 466-3456. Egyptiantheatre.com. Brad Renfro Memorial Tribute – Bully, 7:30; followed by discussion with director Larr y Clark and actor Daniel Franzese. CineFamily at the Silent Movie Theatre Local Flavor: Les Blank’s Food Films – Program Four – Running Around Like a Chicken with Its Head Cut Off, 7:30; followed by Chicken Real and …All in This Tea. Charles Bronson: The Sacred Monster – Bronson Eurotrash Double Feature – The Family, 10:30; followed by Rider on the Rain. Cinespace Dinner & a Movie – Dan in Real Life, 8. Film in a restaurant/bar setting; call for reservations. L.A. County Museum of Art, Leo S. Bing Theatre, 5905 Wilshire Bl, L.A., (323) 8576010. Lacma.org. Reel Epics: The Films of Béla Tarr – The Man from London, 7:30. Landmark’s Nuart Theatre, 11272 Santa Monica Bl, West L.A., (310) 281-8223. Landmarktheatres.com. Kids in the Hall: Brain Candy, midnight. New Beverly Cinema Diva, 7:30; Let’s Get Lost, 9:50. Old Town Music Hall, 140 Richmond St, El Segundo, (310) 322-2592. Otmh.org. Trailin’, 8:15; with shorts and live musical accompaniment.

Robotrix, American Cinematheque at the Egyptian Theatre Art Directors Society Screening – Tribute to Production Designer Stephen B. Grimes – The Yakuza, 5:30; followed by discussion on the work of Stephen B. Grimes, including production designer Ida Random, who was mentored by Grimes. CineFamily at the Silent Movie Theatre Ozu’s Early Comedies – What Did the Lady Forget? 7. You Hit Like a Girl: The Ladies of Kung Fu – Robotrix, 9:30. Hammer Museum, UCLA Film & Television Archive at the Billy Wilder Theatre 18th Annual Celebration of Iranian Cinema – Night Bus (Otobous-e Shahbaneh) LA FilmForum at the Egyptian Theatre, 6712 Hollywood Bl, Hollywood, (323) 4663456. Egyptiantheatre.com. Southern California Video Artists, Part 1: Allan Sekula – Tsujiki, 7; followed by A Short Film for Laos and Performance under Working Conditions. Artist Allan Sekula, in person. New Beverly Cinema Cut! 2008 Film Festival, time TBA. Old Town Music Hall Trailin’, 8:15; with shorts and live musical accompaniment.

MONDAY, MARCH 31 ArcLight Cinemas Sherman Oaks, 15301 Venutra Bl, Sherman Oaks, (818) 5017033. Arclightcinemas.com. AFI’s Sports at the Movies – Rudy, 7:30. New Beverly Cinema The Darjeeling Limited, 7:30; The Royal Tenenbaums, 9:20. Reel Talk with Stephen Farber at ArcLight Cinemas Hollywood, 6360 Sunset Bl, Hollywood, (323) 464-1478. Arclightcinemas.com. Stop-Loss, 7; followed by discussion with co-writer/director Kimberly Peirce.

TUESDAY, APRIL 1 L.A. County Museum of Art Tuesday Matinees – The Reluctant Debutante, 1. New Beverly Cinema The Darjeeling Limited, 7:30; The Royal Tenenbaums, 9:20.

SATURDAY, MARCH 29 American Cinematheque at the Aero Theatre Hollywood Singing & Dancing: The Musicals – Hello, Dolly! 7:30; followed by discussion with actor E.J. Peaker. American Cinematheque at the Egyptian Theatre 10th Anniversary Screening – The Big Lebowski, 7:30. Cinespace Dinner & a Movie – Dan in Real Life, 8. Film in a restaurant/bar setting; call for reservations. CineFamily at the Silent Movie Theatre A Coat, a Hat and a Gun: Philip Marlowe, Film Noir’s Private Detective – The Brasher Doubloon, 1. Dardenne Brothers: Family Business – Rosetta, 7:30. HolyFuckingShit: Funkadelic Fairy Tales – Ganja & Hess, 10:30. Echo Park Film Center The GI Joe Stop Motion Film Festival, 8. Film Festival dedicated to stop motion animation using GI Joes or similar figures as main characters/actors. Info: Gijoefilmfestival.com. Hammer Museum, UCLA Film & Telivision Archive at the Billy Wilder Theatre Wire, Tape and Rubber Band Style: The Effects Work of L.B. Abbott – Cleopatra, 2. The Talking Pictures of Manoel de Oliveira – Doomed Love (Amor de Perdição), 7:30. Landmark’s Nuart Theatre The Rocky Horror Picture Show, midnight; with live performance by Sins O’ the Flesh. New Beverly Cinema Cut! 2008 Film Festival, time TBA. Amoeba Midnights – The Funhouse, midnight. Old Town Music Hall Trailin’, 2:30, 8:15; with shorts and live musical accompaniment.

SUNDAY, MARCH 30 American Cinematheque at the Aero Theatre Hollywood Singing & Dancing: The Musicals – Show Boat, 7:30; followed by Carousel.

CITYBEAT

WEDNESDAY, APRIL 2 American Cinematheque at the Aero Theatre 2007’s Best Underrated Films – Musicals Double Feature – Romance and Cigarettes, 7:30; followed by Southland Tales. American Cinematheque at the Egyptian Theatre Finn’s Girl, 7:30. CineFamily at the Silent Movie Theatre Soviet Silents – The Battleship Potemkin, 8. New Beverly Cinema The Darjeeling Limited, 7:30; The Royal Tenenbaums, 9:20. 7 Dudley Cinema at Sponto Gallery, 7 Dudley Av, Venice, (310) 306-7330. 81x.com/7dudley/cinema. Fools Fest Films, 8. Rare films, poetry and history to inaugurate the Second Annual Fools Fest art and performance festival.

The Darjeeling Limited Veterans Memorial Building Auditorium, 4117 Overland Av, Culver City, (310) 2536625. Backlot Film Festival – Arthur Reed Tribute Film: Dubarry Was a Lady, noon; Chekhov and Maria, 2; Roses of April, 4; Yesterday Was a Lie, 7; Inalienable, 9.

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~ LOST MAN: DOES LINUS MEAN WELL? ~

Good Guys, Bad Guys ~ BY NATALIE NICHOLS ~

HE BIG KAHUNA OF bad guys on Lost, megalomaniacal Others leader Benjamin Linus (Michael Emerson), has made a habit of insisting he’s one of the good guys. On the most recent episode – the last one we’ll see ’til the end of April – the villain of the show’s mysterious island had me so twisted up with this claim, I really don’t know what to think anymore. I mean, how can a guy who once killed a bunch of his own people with nerve gas be good? On the other hand, maybe Ben’s right that mysterious new player Charles Widmore (Alan Dale) – a wealthy businessman who has his own designs on the island – is more of a threat to the survivors of Oceanic flight 815. Or is that just Ben’s desperate spin on a situation he no longer controls? This sort of hero/villain dichotomy is key in popular entertainment, from dramas like Lost and reality shows like Survivor, to hip-hoppers’ sometimes deadly beefs, to the antics of costumed characters in comic books. Usually in fiction (or even highly orchestrated “reality”), it’s easy to tell the black hats from the white. That’s part of what makes Ben so much fun. I feel sure he can’t be on the side of Right, but I get to torture myself with doubt and potential outrage: What if he really is the good guy? But when this pop-culture craving for black-and-white distinctions bleeds over into real life, it leaves little room for the nuances that are all too human. Certainly President Bush and his minions have tapped into it with their constant insistence that the “war on terror,” and specifically the Iraq war, has been worth it. No matter how dire the situation gets or how badly we behave, we – as Ben Linus insists of himself – are still the “good guys.” And, because the bad guys want to kill us all, we are expected to excuse what would otherwise be considered evil behavior (especially if the other side were doing it). Framing big issues in terms of absolute good and evil has become a habit of public discourse. It afflicts everything from celebrity gossip, like how the Heather Mills/Paul McCartney divorce was a battle between the evil harpie and the put-upon pop star, to politics. Sena-

tors Barack Obama and Hillary Clinton can’t just be two Democrats vying for their party’s presidential nomination – they have to be avatars of Right and Wrong, and they must utterly defeat each other. Some pundits even warn darkly that the lack of middle ground will spell the Democrats’ defeat in November, even though Obama and Clinton are hardly diametric opposites. Like the cartoonish pro wrestlers of the WWE, Obama and Clinton have taken turns playing the hero/villain. One day Hillary’s campaign engages in trash talk and cheap shots, the next Barack is taken to task for the way his longtime pastor, Jeremiah Wright Jr., has expressed anger over racial inequality in America and this country’s not-always-exemplary behavior around the world. Clinton recently asserted she would have left her church if her pastor had implied such things as the U.S. brought 9/11 on itself – as though Obama is somehow responsible for the man’s words. Her insinuation echoes more extreme opinions that Obama is a closet hater of whites because he didn’t denounce and reject Wright. Meanwhile, Clinton – so clear when it comes to saying what she’d do in a hypothetical situation involving someone else – has hardly disavowed statements by Geraldine Ferraro, who recently resigned from the senator’s campaign after saying that Obama is a presidential front-runner because he’s black. Then Ferraro compounded the drama by arguing that racism works in “two different directions” and that Obama’s campaign was “attacking me because I’m white.” No doubt both candidates have engaged at times in mudslinging-by-proxy, but I just don’t see how anyone is responsible for someone else’s words or ideas. What the hell, ordinary citizens say way worse stuff than this every day by the water cooler, in the schoolyard, on talk radio, etc. In fact I’d bet that many, if not most, people have friends – perhaps even mentors – who carry opinions and prejudices they don’t agree with, and that might even make them uncomfortable at times. Should we expect better from our elected leaders? Yeah, but we also shouldn’t hold them to unrealistic standards, rules that not even a TV good guy (or bad guy?) could live up to. ✶ MARCH 27~APRIL 2, 2008

CITYBEAT

HENRY DIROCCO/SCR

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~ ORANGE COUNTY CONTEMPLATION: CULTURE CLASH AT SCR ~

Down in the O.C. Culture Clash examines the next county in a show that is funny, thoughtful, and biting ~ BY DON SHIRLEY ~

OUTH COAST REPERTORY produces interesting new plays more often than any other theater company in southern California, but not enough Angelenos travel to O.C. to see them. Yet if Costa Mesa seems remote for some Angelenos, it’s too close to L.A. in the minds of those who decide which South Coast plays are subsequently produced in L.A. Perhaps they figure that the L.A. critics have already reviewed the South Coast versions, so the plays won’t get enough attention when they arrive in the next county. Many South Coast plays don’t arrive in L.A. years until years later, in productions that aren’t nearly as good as the original SCR stagings. I thought about this last weekend, as I saw SCR’s Culture Clash in AmeriCCa, and the L.A. premieres of two plays that had opened first at South Coast. Culture Clash in AmeriCCA is the latest edition of a show that has had several incarnations elsewhere – usually with fresh, local material added. The format is similar to a comedy revue, but the material is based on interviews that the three L.A.based Culture Clash artists conduct in the field. This time, it’s Orange County’s turn to go under the microscope, directed by SCR’s producing artistic director David Emmes. An interview with an O.C. day laborer (Richard Montoya) opens the show. He re-appears throughout – but sometimes only in the background, illustrating that OC’s shiny image is sustained by largely unseen immigrants. Naturally, he tweaks the host city of Costa Mesa for its recent anti-immigrant measures. Later we see a Little Saigon car gang member (Montoya again), the disgraced Sheriff Mike Carona (Herbert Siguenza) and a couple (Siguenza, Ric Salinas) who runs a sex club in the city of Orange. New O.C. references also dot a few of the pre-existing sketches from other cities. Culture Clash is trying to counter-program the image of a young, white, affluent O.C. that has recently paraded through prime-time TV. I was struck by how much more effective this Culture Clash show is than the group’s trio of longform narratives that played L.A. – Chavez Ravine,

CITYBEAT

MARCH 27~APRIL 2, 2008

Water and Power, and Zorro in Hell. Culture Clash wants to explore more sustained stories that dip into fiction and history, but each of these attempts was packed with distracting references to current events. The Clash apparently can’t resist trying to make explicit connections to what’s happening in America right now. The O.C. edition of Culture Clash in AmeriCCa provides that without distractions – plus a rich harvest of giddy laughs, authentic sentiment, and biting wit. Meanwhile, two plays that were SCR premieres have finally reached L.A. Richard Greenberg’s The Violet Hour is fairly well staged by Stuart Rogers at Theatre Tribe, but Gidger, the closeted gay assistant to a 25-year-old fledgling publisher in 1919 Manhattan, is played by Kyle ColeriderKrugh, who looks at least twice as old as Thomas Burr, playing the publisher. At SCR these roles were cast as contemporaries, probably college friends. Theatre Tribe raises its own unanswered questions about the men’s relationship. Also, due to constraints of the stage and budget, the Theatre Tribe scenic design can’t match SCR’s. The dingy, noise-infected Gardner Stages basement where Noah Haidle’s Mr. Marmalade is being introduced to L.A. is an even worse site for an L.A. debut. This play crackled at SCR, but 3KO Broadway’s version raised few laughs at the performance I saw. SCR should find an L.A. annex, or a willing L.A. host company with a mid-size stage, where original SCR productions could immediately transfer from O.C. SCR tried this once, in the ’80s, unsuccessfully. But the taste for excessive driving has faded. An SCR/LA alliance might work better in the 21st century. ✶

Culture Clash in AmeriCCA, South Coast Repertory, 655 Town Center Drive, Costa Mesa. (714) 708-5555. scr.org. Closes April 6.

For more of Don Shirley’s comments on The Violet Hour, Mr. Marmalade, and other shows, see Stage listings, page 45.

RICHARD FOSS

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~ BY RICHARD FOSS ~ UST ABOUT EVERY PRINT SHOP I’ve ever visited has had the same sign hanging somewhere: “We can do your job fast, cheap, or good. Pick any two.” It’s an admirably concise way of expressing the compromises we all have to make. Except when we don’t. Every once in a while someone manages to hit all three marks, and it’s amazing when they do. The most recent example I’ve found of this is Lemon Moon, the quickservice restaurant in the Westside Media Center. This is no ordinary sandwich shop, starting with the fact that the menu is a collaboration between chefs Josiah Citrin of Melisse and Raphael Lunetta of Jiraffe. You won’t see any ordinary burger and fries coming out of any kitchen with those two names on it. We didn’t go for the gourmet burger, simply because so much else there looked so interesting. To start with, the line to the ordering station goes right past two glass cases full of interesting salads and cold dishes, and we actually waved several people who knew what they wanted past us while we dithered. Standard items like Caesar and fruit salads were offered, as were salads that contained meats and seafood and Mediterranean and Asian cold dishes. They looked so pretty that we were almost seduced into making a meal of them, but I noticed the freshly made soups and the variety of sandwiches and started dithering again. My wife decided to get a soup and salad combo ($8.95) with a latte, and I ordered mango lemonade, a cup of tomatillo chicken soup ($3.50) and a barbecue pork sandwich with green chilies, mayo, and cilantro ($10.75). We were handed a number and scurried to a window table, conscious that the restaurant was not that large and filling quickly. We figured we had a few minutes before things would show up, so we spread out some tax papers to work on … and just as quickly picked them up, because our food started arriving within two minutes of our sitting down at the table. My wife had selected a cup of tomato soup with parmesan cheese and a Mediterranean eggplant salad, so no surprise that those arrived quickly. The soup had both the fruity aspect of

ripe tomato and a subtly musky cheese undertone, which was quite a nice balance. My tomatillo chicken soup was also cleverly done, just a bit spicy rather than fiery hot, with overtones of citrus and chilies along with the rich chicken stock. For fresh flavors dished up in a matter of seconds, you could hardly do better. My wife’s Mediterranean eggplant salad paired the roasted vegetable with feta cheese, heirloom tomatoes, kalamata olives, and finely chopped parsley, mixing elements of tabbouleh and a Greek salad. It was almost too rich, but the tangy dressing and tomato kept the eggplant and cheese from dominating. As an equal partner with the soup, this salad was excellent, but I don’t think I’d have it as a side item because even a small portion is substantial. I wouldn’t have had room for both it and the barbecued pork sandwich, a generous stack of juicy meat on a freshly toasted bun. It was a bit more juicy than would have been ideal – not for flavor reasons, because the light, tangy barbecue sauce was delicious, but because it was quite messy to eat. The cilantro and green chilies were used sparingly, delicately modifying the flavor rather than vying for supremacy, and it was quite a good sandwich. It usually comes with coleslaw, but I had expressed an interest in the turnip green salad, and I’m glad I did. All the turnip greens I’ve tried before had been done Southern-style; this was Asian style with sesame oil and sesame seeds, a cross between Japanese and Korean flavors. This item gave me one of those rare I-didn’t-know-you-could-do-that moments, and I always cherish those. Fast food that makes you go wow is a very rare commodity, but Lemon Moon serves it up with a smile. Yeah, it’s in an office building, you’ll have to stand in line, and they don’t refill your coffee. So what? It’s worth the trip. ✶

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MARCH 27~APRIL 2, 2008

CITYBEAT

GENE SCHIAVONE

TUTUS, TIGHTS, AND TIPTOES (SEE THURSDAY) ~

THURSDAY 27

FRIDAY 28

SATURDAY 29

SUNDAY 30

O L D - FA S H I O N E D

MUSICAL MEDLEY

E AT Y O U R L AW N

THE LONG GOODBYE

If you’re tired of New Yorkers telling you how things are done back in the venerable East … don’t go to the Dorothy Chandler tonight. There, New York’s American Ballet Theatre, one of the country’s oldest and most esteemed ballet companies, puts on a performance of Tchaikovsky’s Swan Lake, the first ballet set to the score of a symphonic composer. The company invades for this weekend only, as part of a national tour. Thur.-Fri. at 7:30 p.m.; Sat. at 2 p.m. & 7:30 p.m.; Sun. at 2 p.m. $25-$115. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A., (213) 365-3500. Abt.org.

Whoever first proposed the law of diminishing returns had never seen a musical on the big screen. The Aero’s “Hollywood Singing and Dancing” series presents several opportunities this week to experience that timeless moviegoing pleasure, including tonight’s double screening of Singin’ in the Rain, the fat shining jewel in Hollywood’s musical crown, and Seven Brides for Seven Brothers (7:30 p.m.; $10; Aero Theatre, 1328 Montana Ave., Santa Monica; Info: 323-466-3456 or Americancinematheque.com). As if counterprogramming, the Aero’s “2007’s Best Underrated Films” series also screens on Wednesday, April 2, a double feature of more subversive modern musicals – Romance and Cigarettes and Southland Tales.

Fritz Haeg has made a name for himself locally for his Sundown Schoolhouse/Sundown Salons programs, the series of artistic and educational gatherings in Haeg’s geodesic dome of a residence. Lately, his Edible Estates initiative has called for private property owners to transform their front lawns into plots of edible plants. The artist, architect, and CalArts professor launches an Edible Estates book today at the Pacific Design Center, preceded by Public Jam, a discussion of the basis of jam and jelly making. 3 p.m. Free. MOCA at Pacific Design Center, 8687 Melrose Ave., West Hollywood. Info: (310) 289-5223 or Moca.org.

It’s going to take a few good-byes to bid a proper farewell to Dutton’s Brentwood Books. There was the initial wave of memorializing when word first got out, and a month from now will be the ultimate closing of doors, but today marks the final instore event – a farewell party in the courtyard. Earlier in the afternoon, at 2 p.m., will be Heywood Gould’s signing of Leading Lady. Through April, the store will be selling off its stash of signed firsts and collectibles that it’s gathered over the years. 5 p.m. Free. 11975 San Vicente Blvd., Brentwood, (310) 476-6263. Duttonsbrentwood.com.

CITYBEAT

MARCH 27~APRIL 2, 2008

California, Rewinded uuuuu

Days in L.A.

Written and edited by Alfred Lee MONDAY 31

TUESDAY 1

WEDNESDAY 2

THEY REMINISCE

LOST DAUGHTER

FOOL’S GOLD

It’s not every day that one of the greatest producers in hip-hop’s history performs a free show at your local record store. Pete Rock is best known for his early ’90s collaborations with C.L. Smooth, and for his jazzy touch on everything from Nas’s “The World Is Yours” to Public Enemy’s “Shut ’Em Down” remix, but the past decade has seen him venturing on a solo career. He’s recently released another album, NY’s Finest, but here’s hoping he just gets up on stage and spins from his personal vinyl collection. 7 p.m. Free. Amoeba Music, 6400 Sunset Blvd., Hollywood, (323) 245-6400. Amoebamusic.com.

Author Amy M. Homes (or the gender-neutral pen name she prefers to be known by, A.M. Homes), has been followed by controversy throughout her career, turning her fictional eye toward subjects of pedophilia or suburban dysfunction. This time around she’s her own provocative subject matter: Homes was given up for adoption before she was born by a woman in an affair with an older man, and The Mistress’s Daughter is her account of what happened when her birth parents came looking for her 30 years later. 7:30 p.m. Free. Skylight Books, 1818 N. Vermont Ave., Los Feliz, (323) 660-1175. Skylightbooks.com.

Maybe it’s a good thing 7 Dudley Cinema’s April Fools Fest is on the second of the month – who’d want to risk being the butt of a possible scheduling joke on the day proper? Michael C Ford presents history, poetry, and films for today’s second annual “Fools Fest Films,” including what’s being promoted as a comedy spoof with Lorre, Karloff, and Lugosi. An art show opening and live performances follow next weekend, April 4-5. 8 p.m. Free. Sponto Gallery, 7 Dudley Ave., Venice. Info: (310) 306-7330 or 81x.com/7dudley/cinema.

MARCH 27~APRIL 2, 2008

CITYBEAT

One art institution's overlooked videos are another's treasure: For Filmforum director Adam Hyman, the Getty's new California Video exhibit presented an opportunity to fill in some gaps, or “show people who are not at the Getty show who deserve to be seen.” Working with Getty curator Glenn Phillips, Hyman’s Filmforum has chosen four Southern California video artists to come in and discuss their work. First up is Allan Sekula, whose work is typical Filmforum fare: noncommercial, handcrafted, experimental. Sekula worked in other media – notably photography, sound, and short form video pieces that are more performative than observational – often shown in galleries, including Performance Under Working Conditions, a 20 minute clip that will be shown this Sunday. But the bulk of the work to be showcased at the Egyptian Theatre will be the longer-form documentary work that Sekula has experimented with in the last decade. Tsukiji follows the “day in the life” format at a Tokyo fish market with a soundtrack notably free of music, voice-over, or talking heads. Instead, he crafts a narrative punctuated by blades gutting, slicing, and dicing the fish, the call of the auctioneer, and workers chatting during cigarette breaks. In A Short Film for Laos, Sekula’s hand-held camera is again entranced by the repetitive actions of workers, who here turn clay into bricks and forge scraps of metal into blades. But these scenes are intercut with commentary from KPFK and Sekula’s English-speaking Laotian guide, and autobiographical scenes that feature Sekula talking about his experience running into a Dutch reality show or trying to get to a Laotian hospital when he suffers a broken leg. Many of these scenes in this experimental and roving narrative could work well as distinct segments viewed in between sips of wine and browsing other art installations, but Hyman has a plug for microcinemas like his that have trouble luring scenesters who frequent galler y openings, or typical cinephiles who prefer a little more polish. “They’re missing out by not coming to these microcinemas,” Hyman says. “If they’re truly interested in the art and craft, then Filmforum would be of much interest to them. It’s similar material to what’s in a gallery, but people there don’t sit down for a whole piece. And it’s a different experience.” –Emma Gallegos Allan Sekula in person. Sun. at 7 p.m. $9, $6 students/seniors, free for Filmforum members. Los Angeles Filmforum at the Egyptian Theatre, 6712 Hollywood Blvd., Hollywood. Info: Lafilmforum.org. ~

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Avalon Hollywood, 1735 N Vine St, Hollywood, (323) 462-8900. Avalonhollywood.com. Thur: Club Tigerheat. Fri: Spider After Dark with Udi. Sat: Tiefschwarz, Pier Bucci, Bill Patrick, Droog. Mon: Pressure Sessions. Boardner’s of Hollywood, 1652 N Cherokee Av, Hollywood, (323) 462-9621. Boardners.com. Sat: Bar Sinister. Mon: Blue Mondays. Tue: Institution Tuesdays. Wed: Club Moscow. Bordello, 901 E First St, downtown L.A., (213) 6873766. Bordellobar.com. Fri: United By Sound, Spider Problem. Sat: Good Listeners, Vermouth, The Library. Wed: Nicole Simone, Joel Virgil, Adele Jacques, Alex and Sam, Papillon, Bjorn Turoque. Boulevard Music, 4316 Sepulveda Bl, Culver City, (310) 398-2583. Boulevardmusic.com. Call for showtimes. Sat: The Ojai Valley Boys. Café-Club Fais Do-Do, 5257 W Adams Bl, L.A., (323) 954-8080. Faisdodo.com. Thur-Wed: Call for info. The Canyon Club, 28912 Roadside Dr, Agoura Hills, (818) 879-5016. Canyonclub.net. Shows at 8 unless otherwise noted. Thur: The Expendables, Outlaw Nation. Fri: Sweet and Tender Hooligans, The Curse. Sat: English Beat. Sun: Bruce Baum & Friends. CIA, 11334 Burbank Bl, North Hollywood, (818) 5066353. Ciabnormalarts.com. Thur-Wed: Call for info. Cinema Bar, 3967 Sepulveda Bl, Culver City, (310) 390-1328. Myspace.com/thecinemabar. Shows at 9 unless noted. Thur-Wed: Call for info. Cobalt Café, 22047 Sherman Way, Canoga Park, (818) 348-3789. Cobaltcafe.com. Thur: Set to Stun, Forrest Television, Home Magnolia, Fitzgerald, Sirah, Dandelions, 7:15. Fri: Chronic Remorse, Last Hours, Earned in Blood, Destroy the Skies, Consider Her Dead, Walking the Gray, Burning the Elegant Lace, 6:30. Sat: Massover, Fatal Launch, FDISK, Hell Hath No Fury, Psychosis, Artisan, Abysmal Dawn, 6:30. Sun: Silent Shot, Fiddle of Death, Metal Morphisis, Hybrid Solutions, Scourge, Rott, 7:15. Tue: Open Reading. The Coffee Gallery Backstage, 2029 N Lake Bl, Altadena, (626) 398-7917. Coffeegallery.com. Thur: Pierre Bensusan, 8. Fri: Small Potatoes, 8. Sat: Judge Alan Glasser, 7. Sun: Ken O’Malley, 7. Cowboy Palace Saloon, 21635 Devonshire St,

Chatsworth, (818) 341-0166. Cowboypalace.com. Call for showtimes. Thur: Brant Vogel. Fri: Christian Simmons and Jessica. Sat: Terry Hanson. Sun: Coldwater Canyon. Mon: Talent Contest. The Derby, 4500 Los Feliz Bl, Los Feliz, (323) 6638979. Clubderby.com. Thur: Hunter’s Point, 9:40. Fri: The Luke Andrews Acident, Just Off Turner, 10:30; VIP Lounge: Megan, The Courtney Chambers Band, Dirty Little Billy, Sutro, Mike Schadel, 8:45. Sun: Sunday Swing, 7. Mon: Comedy and Music Explosion; VIP Lounge: Janique R&B City Nights. Tue: Code Carnivals; VIP Lounge: Reggae Dance Party. Dragonfly, 6510 Santa Monica Bl, Hollywood, (323) 466-6111. Thedragonfly.com. Thur-Wed: Call for info. The Echo, 1822 Sunset Bl, Echo Park, (213) 4138200. Attheecho.com. Thur: The Minor Canon, Shiloe, Repeater, 8:30; At the Echoplex: Red Sparowes, Russian Circles, Holloys, 8:30. Fri: The Snow, 9. In the Echoplex: The Gray Kid, Casxio, Nutra, 8. Sat: Brother Reade, The Glitch Mob, Nosaj Thing, 9. Sun: Part-time Punks, 10. Mon: Chapin Sisters, I See Hawks in L.A., Moris Tepper, 8:30. Wed: At The Echoplex: Dub Club, 9. El Cid, 4212 W Sunset Bl, L.A., (323) 668-0318. Elcidla.com. Thur: Almardiente Flamenco Dinner Theater, 6:30; Schmutzig, 10. Fri: Flamenco Dinner Theatre, 6:30; Mash Di Place, 10. Sat: Flamenco Dinner Theatre, 6; She’s Your Sister, 10. Sun: Flamenco Dinner, 6:30. Mon: Garage Comedy, 8. Tue: Ronnie Mack’s Barn Dance, 7. Wed: Flamenco Dinner, 6:30. El Rey, 5515 Wilshire Bl, L.A., (323) 936-6400/4790. Theelrey.com. Shows at 8. Fri: Beth Orton. Sat: GZA, Blue Scholars. Sun: The Avett Brothers, Jessica Lea Mayfield. Tue: Digitalism, Guns N Bombs. 14 Below, 1348 14th St, Santa Monica, (310) 4515040. 14below.com. Call for showtimes. Thur: The Drills, Milestone, Native June, Stereotype the Sound, 8:30. Fri: Fist of Fury, Horny Toad. Sat: Ms. Mausoleum, Operation Downfall, Lia Fail and Mesia, Blessed Le Strange. Sun: Donovan Lyman, Ashley Lennon Thomas, Matt Alber, 8. Tue: Acoustic Tuesdays, 8. Wed: Sederra, Diversion. Genghis Cohen, 740 N Fairfax Av, West Hollywood, (323) 653-0640. Genghiscohen.com. Thur: Hcelia Chavez, Kristen Price, Kala, Miccoli, 8. Fri: Jukebox Stories, Julia Jordan Band, Greg Poree Group, 8. Sat: Jukebox Stories, Stefan Marks, Shawn Synder, 7:30. Mon: Indignitaries, Brian Green Band, The Goop, 7. The Gig, 7302 Melrose Av, L.A., (323) 936-4440. Liveatthegig.com. Thur-Wed: Call for info. Good Hurt, 12249 Venice Bl, West L.A., (310) 3901076. Goodhurt.net. Thur: COH, Rob Michaels, Dommin, 9. Fri: Justin St. Denis, LAWA, Beacon St.

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CITYBEAT

MARCH 27~APRIL 2, 2008

Orchestra, Casa do Samba, 8:30. Sat: Bagg of Noise, Dis Gized-es Fog, 4 Minutes til Midnight, Creatures of a Beautiful City, 9. Sun: Ghosts of Searchlight, ARC, Interstellar, Jazmo, 8:45. Mon: Ian Fleming, Tracy Dean and Jesus, Clyde Bonnie Clyde, The Big Cool, 8:45. Wed: Slaam-B, UCLA- Devin Presents, 8:30. Hallenbeck’s General Store & Café, 5510 Cahuenga Bl, North Hollywood, (818) 985-5916. Hallenbecks.net. Tue: Open Mike, 7. The Hotel Café, 1623 N Cahuenga Bl, Hollywood, (323) 461-2040. Hotelcafe.com. Thur: Steve Carlson, Tom Freund, Alex and Sam, Tenlons Fort, Tom Baxter, 7. Fri: Tyrone Wells, Freeman, Kaiser Cartel, Rachel Robinson, Chris Joyner, 7. Sat: David Ryan Harris, Zack Hexum, Shane Alexander, Angel Taylor, Nick Africano, 7. House of Blues, 8430 Sunset Bl, West Hollywood, (323) 848-5100. Hob.com. Thur: Bandage! The Rock Opera, 9. Fri: Too Short, Bun B, 9. Sat: Lost 80’s Tour, 8:30. Sun: Gospel Brunch 10 am & 1; Gay Men’s Chorus of Los Angeles, 7. Wed: Throwdown with Soilwork, War of Ages, 8. Key Club, 9039 Sunset Bl, West Hollywood, (310) 274-5800. Keyclub.com. Call for showtimes. Thur: Pennywise. Fri: New Kingdom, Kid Beyond. Sun: Bad Manners, Brite Spot Collective. Mon: Steel Panther, Semi Precious Weapons. Tue: Ruby Tuesdays presented by Spin with Drive A, 8. Wed: Pieces (of ass), Shanna Moakler. King King, 6555 Hollywood Bl, Hollywood, (323) 9609234. Kingkinghollywood.com. Fri: DJ CRIS 44, Joey Medina, Curtis Helson, DJ George O, A.B.L.E., 10. Sat: DJ Kemal, Fred Everything, 10. Tue: Descargo con Timba with Sono-Lux and DJ Saoco, 10. Wed: Tomorrow Cry, 9:30. Knitting Factory, 7021 Hollywood Bl, Hollywood, (323) 463-0204. Knittingfactory.com. See also Knitting Factory AlterKnit Lounge. Thur: Raw Sugar, Dirty Diamond, Fish Circus, Vokee, Stobo, 8. In the Front: The Photo Atlas, The Valley Arena, 1090 Club, Bullet Train to Vegas, 7:30. Fri: Camp Lo, Young Dre, LivinGood, Donnie Castro, Ruler Rah, 7. In the Front: The Loved Ones, The Flatliners, Cobra Skulls, 7:30. Sat: Black N Blue, 6:30. Sun: Houston Calls, National Product, The Prisoners Dilemma, Building Rome in a Day, Curt Phillips, 7; In The Front: Sub Rosa, Moving Picture Show, Relax to Paris, Love Among Liars, Run Doris Run, 7. Tue: New Model Army, Vale, The Last Dance, 8. Wed: Jucifer, Middle Class Rut, Suns Beneath, 7:30. In the Front: City Sleeps, Take the Crown, Good With Grenades, Connelly, 7:30. Knitting Factory AlterKnit Lounge, 7021 Hollywood Bl, Hollywood, (323) 463-0204. Knittingfactory.com. See also Knitting Factory. Thur: Kesha, Ivan Ives, L.A. Proof, White Chocolate, 7:15. Fri: Ashley, Shotgun Honeymoon, Verah, Ryan Groves & the Twisted Limbs, Topher Mohr, 8. Sat: Black N Blue, 6:30. Sun: The Studiofix, The Federalists, Lunar Fiction, 7. Tue: A&R Knights, 7. Bluebeat Lounge: Chris Murray Combo, Black Square, Dread Daze, 9. Kulak’s Woodshed, 5230 1/2 Laurel Canyon Bl, North Hollywood, (818) 766-9913. Kulakswoodshed.com. Thur: James Hurley and Friends, 8. Fri: Robbyn Kirmsse’ and Friends, 8. Sat: Rescued Animal Adoption Night, 8. Mon: Open Mic, 7. Largo, 432 N Fairfax Av, L.A., (323) 852-1073/1851. Largo-la.com. Call for showtimes. Thur: The Watkins Family Hour. Fri-Sat: Jon Brion. Mon: Greg Proops Chat Show. Little Temple, 4519 Santa Monica Bl, L.A., (323) 660-4540. Littletemple.com. See also Temple Bar. Shows at 9. Thur-Wed: Call for info. The Malibu Inn Bar and Restaurant, 22969 Pacific Coast Hwy, Malibu, (310) 456-6060. Malibuinn.com. Shows at 8. Thur: Dr. Wu Band, 8. Fri: Frank Stallone, Michael Sembello, 8. Sat: Aspen, The Daily Routine, Sea Cloud, 7. Sun: Hollywood Rock Academy, 2. McCabe’s Guitar Shop, 3101 Pico Bl, Santa Monica, (310) 828-4497. Mccabes.com. Sat: Carrie Newcomer, 8. Sun: John Vester, 7. The Mint, 6010 W Pico Bl, L.A., (323) 954-9400. Themintla.com. Thur-Wed: Call for info. Molly Malone’s Irish Pub, 575 S Fairfax Av, L.A., (323) 935-1577. MollymalonesLA.com. Thur: Amadan, The Mighty Regis, The Dirges, 8. Fri: The Nadas, George Romano, The Gobshites, 8. Sat: Phil Tallo, Justin Cotta, The Nadas, 8. Sun: Charlie Winston, Rie Sinclair, Henheart, 8:15. Mon: Adjoa Skinner, Paris Carney, Carney, 8. Mr. T’s Bowl, 5621 1/2 N Figueroa St, Highland Park, (323) 256-7561. Mrtsbowl.tripod.com. Call for showtimes. Thur: Out of Town, Brian Kenny Fresno, Inglewood, Abe Quigley. Fri: Discount Cruise to Hell!, Chores, Veronique Chevalier, MACKA. Sat: Blue Mask, Motorcycle Black Madonnas, Backbiter, The Probe, Guam. Sun: Lovelybones, Loverlee, The Tartans. Mon: Brady Harris, Tommy Jordan, High-Diving Horses, Quincy Blaque Trio, Juggle. Tue: April Fools

DANCEBEAT

S AT U R D AY N I G H T AT

Day. Wed: BOW. Portfolio Coffeehouse, 2300 E Fourth St, Long Beach, (562) 434-2486. Portfoliocoffeehouse.com. Fri: Matt, Kallish, Ami, 9. Sat: Art Walk, 6. Wed: Open Mic. Room 5 Lounge, 143 N La Brea Av, second floor, Hollywood, (323) 938-2504. Room5lounge.com. Thur: Mark Franco, 8. Fri: Acoustic Playhouse, noon. Sun: Brad Stewart, 7. Mon: Acoustic Mondays, Joel Ackerson, Jay Nash, 8. Tue: Jessica Lombard, Aya Larkin, Jaya R, 7. Wed: PoetRonigirl’s Acoustically Speaking, 8. The Roxy, 9009 Sunset Bl, West Hollywood, (310) 276-2222. Theroxyonsunset.com. Thur: Mandi Perkins, Christa Borden, Gabe Mann, Alyssa Jacey, 7:15; In the Rox: Stealing Love Jones, Kongos, 9. Fri: On the Rox: Voom, International Farmers, Zen Robbie, 9. Sat: The Expendables, Dirty Heads, Outlaw Nation, 8; On the Rox: Sabado Negro, Tommy Peacock and the Gas, Battle Alaska, 8. Tue: Lili Haydn CD release, 8. Wed: The Veronicas, Reeve Carney, The Follow, 7. Safari Sam’s, 5214 Sunset Bl, Hollywood, (323) 6667267. Safari-sams.com. Thur: Bob Schneider, Tina Dico, Jay Thomas, 8. Fri: Semi Precious Weapons, Gods and Monsters, Suicide Holiday, Tattooed Millionaires, Tack, 8. Sat: The Neu Tickles, 9. Sun: Brunch Americana with the Amber Fox, noon. Tue: Seabound, Iris, System Syn, 8. Mon: Justice for Michael Cho, 8. Tue: Auktyon, The Red Elvises, 8. Wed: Tic Tic Boom, Mike Delay Band, Kevin Never Talks, Dannel Von Dillon, DJ Infiniti, 7. Scene Bar, 806 E Colorado St, Glendale, (818) 241-7029. Thescenebar.com. Shows at 9. Thur: The Mama Suki, The Magazines, Avalon Omega, Electric Russia. Fri: Joe Ward with Mario D, Sarge, Bazerk. Sat: Sasquatch, Albatross, Anglo Jackson, Skywreck. Sun: Donny, The Vinyls, Band of Outsiders, Science Fiction Theater. Tue: The Greatest Hits, Teenage Frames, The Hitz, Avenue Rose. Wed: The Voyeurs, The Terrapin, The Lynx Technique, Mark MacMinn. Silverlake Lounge, 2906 Sunset Bl, Silver Lake, (323) 666-2407. Foldsilverlake.com. Thur: Free Moral Agents, French Miami, Andy Friedman & The Other Failures, Sweet Crude Bill and the Nautical Lighthouse Society, 8. Mon: Macon Greyson. Tue: Astra Heights, The May Fire, Ana Egge. Wed: Archways, Transfer, Sea of Cortez. The Smell, 247 S Main St, L.A., (213) 625-4325. Thesmell.org. Shows at 9. Thur: Deep Jew, God Willing, Foul Tip, Robedoor, Infinite Body. Fri: Imaad Wasif and the Two Part Beast, Voice on Tape. Sun: Debaser, Orca Season. Tue: Cole Moldy Milner, David Jaberi, Lucky Dragons. Spaceland, 1717 Silver Lake Bl, Silver Lake, (213) 833-2843. Clubspaceland.com. Thur: The Datsuns, The Binges, Angus Khan, 9:30. Fri: The Sixth Chamber, Circus Minor, Stevie Starlight, Spider Problem, 8:30. Sat: Rio En Medio, Hecuba, Quinn Walker, Avocet, 8:30. Sun: Neil Hamburger, Andy Daly, The Juggolos, Dead Sea Scrolls, 8:30. Mon: Voxhaul Broadcast, Lemon Sun, Rumspringa, The Union Line, 8:30. Tue: The Meemies, 8:30. Taix 321 Lounge, 1911 W Sunset Bl, L.A., (213) 4841265. Taixfrench.com. Shows at 10:30. Thur: The Chiggers, Ellie Maes Biscuits. Fri: Tiki Night. Sat: Sarah Stanley & Danny B. Harvey, The Bob Woodruff Band. Sun-Wed: Call for info. Tangier Lounge, 2138 Hillhurst Av, L.A., (323) 6668666. Tangierrestaurant.net. Sun: Eleni Mandell, Musee Mecanique, Alex and Sam, Correa Town, 8. Wed: Sara Lov, Ana Egge, Liz Pappademas, I Make This Sound, Cinnamon Roll Gang, 8. Temple Bar, 1026 Wilshire Bl, Santa Monica, (310) 393-6611. Templebarlive.com. Thur: Sonoclip, Gustavo Alberto, Omar Torres, DJ Anthony Valdez, 9. Fri: DJ Seismik, Gemeniis, Tony Danks, Trix Berreta, 9. Sat: LeelaFosforo, Los Pinguos, 9. Sun: DJ Drez, Himp C, The Resonators, Mystic, 9. Tue: Celeste Lear, Una, Serenading the Dead, 8:30. Wed: Bruno Mars, Black Cowboy, 8:30. Troubadour, 9081 Santa Monica Bl, West Hollywood, (310) 276-6168. Troubadour.com. Thur: Tokyo Police Club, Eagle Seagull, We Barbarians. Fri: Alex Nackman, The Daylights, Green River Ordinance, Justin King, Elizabeth Wells, 7:30. Sat: Teddy Thompson, Rosie Tomas. Tue: Goodbye Ian, Vas Defrans, Din Caliber, The 1921A. UnUrban Coffee House, 3301 W Pico Bl, Santa Monica, (310) 315-0056. Unurban.com. Fri: UnUrban Open Mike, 7:30. Viper Room, 8852 Sunset Bl, West Hollywood, (310) 358-1880. Viperroom.com. Thur: Impel, Sink to Sea, Alberta Crossing, E-Note. Fri: Malbec, Jesse Glick, The Ivy League. Sat: Splitfinger, The Young and the Damned, Cringe, Gene Butler Band, 8. Mon: Nico Stai, Malbec, Jim Evans. Wed: Maryandi. Viva Cantina, 900 Riverside Dr, Burbank, (818) 845-2425. Vivacantina.com. Thur-Wed: Call for info. Zeropoint, 1049 E 32nd St, L.A. Zeropointspace.org. Thur-Wed: Call for info. –Emma Gallegos and Ashley Archibald

Danny Howells If you didn’t get to go to the adult spring break that is the annual Winter Music Conference in Miami this week, don’t despair. British DJ Danny Howells has been a South Florida regular since before the millennium, and he’s coming to L.A. fresh from the land of suntanned guidos. Howells’s bouncy, melodic progressive house and wobbly, druggy, psy-tech will welcome the warm months with a Miami-like bang: Lotion is optional. –Dennis Romero

T h e W o r ld- Fa m o us C i rc us, Is home to some of the Largest and hottest parties in the city Los Angeles! Every week Circus brings the best DJs to the decks! Circus is LA's largest nightclub featuring 40,000 square feet of indoor and outdoor clubbing. The sound at Circus is HUGE featuring a 120,000-watt EAW Avalon sound system. Circus also features seven separate areas, ten fully stocked bars, outdoor patio, private bungalow and VIP lounge. A big new night of Big Top electro and house attractions:

MARCH 29

Giant presents Danny Howells, Saturday at Vanguard, 6021 Hollywood Blvd., Hollywood. 21+. Doors 9:00 p.m. Tickets $20 advance. Info: giantclub.com.

★★★ THIS WEEK’S HIGHLIGHTS ★★★ THURSDAY, MARCH 27 Respect is a give and take of drum ’n’ bass at Jimmy’s Lounge, 6202 Santa Monica Bl, Hollywood. This week: Atlantic Connection, Amaning. 18+. Info: respectdrumandbass.com. Root Down digs deeper than commercial hip-hop with WyaTT Case, Miles, and Loslito at Little Temple, 4519 Santa Monica Bl, Silver Lake, (818) 7596374. This week: Orgone. 21+. Info: rootdownclub.com. Afro Funke takes you to the motherland of dance music with organic grooves at Zanzibar, 1301 Fifth St, Santa Monica. This week: Matt Robinson. 21+. Info: afrofunke.com.

FRIDAY, MARCH 28 Spider After Dark goes after-hours for the post-red-carpet crowd at Spider Club, 1735 N Vine St, Hollywood. This week: Udi, Ignacio Demaria. 21+. Info: avalonhollywood.com.

SATURDAY, MARCH 29 Avaland anchors Hollywood nightlife with superior sound at Avalon Hollywood, 1735 N Vine St, Hollywood. This week: Tiefschwarz, Pier Bucci, Droog. 21+. Info: avalonhollywood.com. Giant flaunts oversized DJs at Vanguard, 6021 Hollywood Bl, Hollywood. This week: Danny Howells. 21+. Info: giantclub.com. Red raves up the biggest room in town at Circus Disco, 6655 Santa Monica Bl, Hollywood. This week: Super8 & Tab. 21+. Info: nexxez.com. Balance feng-shuis your house at King King, 6555 Hollywood Bl, Hollywood. This week: Kemal. 21+. Info: balance-la.com.

SUPER8 and TAB APRIL 5

SUNDAY, MARCH 30 Deep gets down with Marques Wyatt’s all-stars at Vanguard, 6021 Hollywood Bl, Hollywood. This week: Jose Marquez. 21+. Info: deep-la.com. Demi sets the mini-bar high at Room Service on the Standard Hotel rooftop, 550 S. Flower St, downtown. Guest-list-only; information: trafficevents.com. Moonshadows Blue Lounge has the ocean motion of DJs Mick Cole, Julien Couly, and Jean Louis, at Moonshadows, 20356 Pacific Coast Hwy, Malibu. Info: moonshadowsmalibu.com.

JAZZ, BLUES, LATIN

MONDAY, MARCH 31

Arcadia Blues Club, 16 E Huntington Dr, Arcadia, (626) 447-9349. Arcadiabluesclub.com. Fri: Blue Dice. Sat: Dixiedelics Dixie Land Jazz, Noon; Big Sandy. Babe’s & Ricky’s Inn, 4339 Leimert Bl, Leimert Park, (323) 295-9112. Bluesbar.com. Thur: Jam Session with Mama’s Boys. Fri-Sat: Mighty Balls of Fire. Mon: Jam Night, Mickey Champion. Back Room at Henri’s, 21601 Sherman Way, Canoga Park, (818) 348-5582. Shows at 8. Thur-Wed: Call for info. The Baked Potato, 3787 Cahuenga Bl, Studio City, (818) 980-1615. Thebakedpotato.com. Shows at 9:30 p.m. and 11:30 p.m. Thur: Katisse. Fri: Chad Wackerman Trio. Sat: The Baked Potato Allstars. Sun: John Daversa Contemporary Big Band. Mon: Monday Night Jammmz. Tue: Cartaya’s Enclave. Wed: Kofi Baker’s Tribute to Cream. B.B. King’s Blues Club, 1000 Universal Center Dr, Universal City, (818) 622-5464. La.bbkingclubs.com. Thur-Wed: Call for info. Blue Café, 210 Promenade, Long Beach, (562) 983-7111. Thebluecafe.com. Call for showtimes. Thur: Hectik1, Doshus, 9; In the Blue: Rory Seldon,

Monday Social lubricates the dance biz with e-music by Freddy Be, Mick Cole, and global guests at Nacional, 1645 Wilcox Av, Hollywood. This week: Charles Feelgood, Dave Aude. 21+. Info: budbrothers.com.

JOOP

TUESDAY, APRIL 1 Dim Mak Tuesdays has anti-DJ Steve Aoki and the celebutantes who mix for him at Cinespace, 6356 Hollywood Bl, Hollywood, (323) 817-3456. 21+. Info: cinespace.info.

WEDNESDAY, APRIL 2 Therapy takes the right steps with local house hero Scott K and friends at Tokio, 1640 N Cahuenga Bl, Hollywood. 21+. Info: balance-la.com. Dub Club has existential dance music producer Tom Chasteen and friends at The Echo, 1822 Sunset Bl, Echo Park, (213) 413-8200. 21+. Info: attheecho.com. –Dennis Romero

MARCH 27~APRIL 2, 2008

CIRCUS is located at 6655 Santa Monica Blvd. 2 blocks east of Highland Ave. Behind Arena

323.462.1291 • www.circusdisco.com 9pm-4am • 21+ • Tickets available at groovetickets.com CITYBEAT

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Doshus. Fri: Cloud Nine Musik; In the Blue: Live Music. Sat: Boxcar Seven, Hollywood Combo, Phoncho Sanchez, 8; In the Blue: Live Music. Sun: Ellie Mae’s Biscuits, 9:15; In the Blue: Seatbelt & The Pecking Order, Lil’ Mo & The Dynaflows, Astro Zombies, Gamblers Mark, The Dead Guns. Tue: 562uesdays; In the Blue: Live Music. Wed: Live Music; In the Blue: Live Music. Café Boogaloo, 1238 Hermosa Av, Hermosa Beach, (310) 318-2324. Boogaloo.com. Thur: Alex Schultz & Friends. Fri: Macon Greyson & Brian Wright & the Waco Tragedies. Sat: James Harman Band. Sun: Latchkey Kid. Tue: Southern Fried Chicken. Café Metropol, 923 E Third St, downtown L.A., (213) 613-1537. Roccoinla.com. Fri: Tim Young Trio, 8. Sat: Michael McDaniel’s Joint, 8. Catalina Bar & Grill, 6725 Sunset Bl, Hollywood, (323) 466-2210. Catalinajazzclub.com. Shows at 8:30 & 10:30 unless noted. Thur-Sat: Kenny Garrett Quartet. Sun: Charles Lloyd New Quartet. Tue: Stewart Rose and Trio. Wed: The Janis Mann Quartet. Charlie O’s, 13725 Victory Bl, Van Nuys, (818) 994-3058. Charlieos.com. Thur: Gary Herbig Quartet. Fri: Roger Neumann Quartet. Sat: Rickey Woodard Qurtet. Sun: Benn Clatworthy Quartet. Mon: Frank Cap Juggernaut Big Band. Cozy’s Bar & Grill, 14058 Ventura Bl, Sherman Oaks, (818) 986-6000. Cozysblues.com. Thur: Show n’ Prove Thursdays, 9. Fri: B.B. Chung King & The Buddaheads, 9:45. Sat: Teresa James & The Rhythm Tramps, 9:45. Sun: Songwriters Showcase and Salon, 8. Mon: Pro Blues Jam, 9. Csardas, 5820 Melrose Av, Hollywood, (323) 9626434. Thur-Wed: Call for more info. El Floridita, 1253 N Vine St, Hollywood, (323) 8718612. Elfloridita.com. Fri: Jam Sessions with Orquesta Charangoa. Sat: Salsa bands. Mon: Johnny Polanco y Su Orquesta Amistad. Wed: Cuban Jam Session with Conjunto Guama. Harvelle’s, 1432 Fourth St, Santa Monica, (310) 3951676. Harvelles.com. Fri: House of Vibe, 9:30. Sat: Café R&B, 9:30. Sun: The Toledo Show, 9:30. Mon: All-Star Pro Jam, 9. Tue: Bongo Fury, 9:30. Wed: House of Vibe, 9:30. JAX, 339 N. Brand Bl, Glendale, (818) 500-1604. Jaxbarandgrill.com. Thur-Wed: Call for info. The Jazz Bakery, 3233 Helms Av, Culver City, (310) 271-9039. Jazzbakery.com. Shows at 8 & 9:30 unless specified. Thur-Sat: Pharoah Sanders Quartet. Sun: James Love Ensemble. Mon: Susan Krebs. TueWed: Crescent Boogaloo Band. La Vé Lee, 12514 Ventura Bl, Studio City, (818) 9808158. Laveleejazzclub.com. Shows at 8:30 & 10:30. Thur: Larry Williams & Friends. Fri: Oskar Cartaya, Tal Bergman, Ron De Jesus. Sat: Marco Mendoza, Joey Heredia, Renato Neto. Miceli’s, 1646 N Las Palmas Av, Hollywood, (323) 466-3430. Micelisrestaurant.com. Live performances at 6. Thur-Wed: Call for info. 2nd Street Jazz, 366 E Second St, downtown L.A., (323) 680-0047. Myspace.com/landon2ndstreetlivejazz. Thur-Wed: Call for info. Spazio, 14755 Ventura Bl, Sherman Oaks, (818) 7288400. Spazio.la. Shows at 8. Thur: Estrada Broth-

JAZZ CRITIC’S CHOICE

✭ ✭ ✭

✭ ✭ ✭ ~ PHAROAH SANDERS ~

Resilient Curves Blowtorch saxophones will light up the weekend. Altoist Kenny Garrett, one of the fortyish players reshaping the mainstream, is at Catalina’s. Pharoah Sanders, the torrential veteran of modality, is at the Jazz Bakery. Each continues through Saturday. Vocalist Susan Krebs debuts her new album, Jazz Aviary (GreenGig Music), at Gianelli Square (19451 Londelius Square, Northridge; 7:30 p.m.; $15/20; 818-772-1722) Saturday. She’s assembled bird-themed songs, from Lennon-McCartney, Ralph Vaughan Williams, Bob Marley, Little Benny Harris (“Ornithology,” natch) and others and arranged them for voice and small band in an interesting way. Krebs reprises the show Tuesday at the Bakery. Friday at Dangerous Curve (1020 E. Fourth Place, downtown L.A.; 7 p.m.; $7-10; 213-617-8483), tabula rasa guitarist Jim McAuley communes with likeminded improvisers: trumpeter Kris Tiner, percussionist Tatsuya Nakatani and reedman Vinny Golia. McAuley can make an acoustic guitar sound like rain on a tin roof, a berimbau, or – a guitar. As part of the World Stage’s ongoing oral history program, Fritz Wise, one of our best drummers, shares stories about his career on Friday. Charles Lloyd, the resilient, liquid-toned tenor saxophone master, stops in at Catalina’s Sunday. He’s been counted out several times in the past fifty years but Lloyd always seems to confound his critics and come back stronger than ever. He should never be missed. Janis Mann, certainly one of our surest and strongest local vocalists, lights up Catalina’s Wednesday. So, will Roy Haynes show up and sit in on her gig? –Kirk Silsbee For info, see Jazz, Blues, Latin listings.

ers Latin Jazz Septet. Fri: Luis Villegas Quartet. Sat: Howlett Smith Trio. Sun: Sunday Brunch with Bevan Manson and Mike Valerio; Matt Gordy Trio. Mon: John Beasley Trio. Vibrato Grill Jazz, 2930 Beverly Glen Circle, Bel Air, (310) 474-9400. Vibratogrilljazz.com. Thur: LA Tango Ensemble. Fri: Gary Foster. Sat: Cecilia Coleman Quintet. Sun: Ron Eschete Trio.

World Stage, 4344 Degnan Bl, Leimert Park, (323) 293-2451. Theworldstage.org. Call for showtimes. Thur: Jazz Jam Session, 9:40. Fri: World Stage Stories, 8; Concert Series, 9:30 & 11. Sat: Saturday School, 9:45 a.m.; Jazz workshop, noon; Concert Series, 9:30 & 11. Sun: Sisters of Jazz, 7:30. Mon: Drum workshop, 7. Tue: Vocal workshop, 6:30. Wed: Anansi Writers Workshop, 7:30. –Daryl Paranada

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MARCH 27-APRIL 2 Note: Unless otherwise indicated, tickets are available through Ticketmaster, (213) 480-3232 or Ticketmaster.com. The Chapin Sisters, Thur, Amoeba Music, 6400 W Sunset Bl, Hollywood, at 7. (323) 245-6400. The English Beat, RX Bandits, Thur, The Grove of Anaheim, 2200 E Katella Av, Anaheim, at 8:30. (714) 712-2700. Citizen Cope, Fri, The Wiltern, 3790 Wilshire Bl, L.A., (213) 380-5005, at 8:30. Facedown Fest 2008, Fri, Glass House, 200 W Second St, Pomona, at 5. (909) 865-3802. Los Tigres Del Norte, Fri, Gibson Amphitheatre at Universal CityWalk, 100 Universal City Plaza, Universal City, at 8:15. (818) 622-4440. Shidara, Fri, Cerritos Center for the Per forming Arts, 12700 Center Court Dr, Cerritos, at 8. (800) 300-4345. Angie Stone, Lina, Fri, The Grove of Anaheim at 8. Amanda Miguel, Diego Verdaguer, Sat, Gibson Ampthitheatre at Universal CityWalk at 8:15. George Strait, Little Big Town, Sarah Johns, Sat, Honda Center (formerly Arrowhead Pond), 2695 E Katella Av, Anaheim, at 6:30. (714) 704-2400. The Wiggles, Sat-Sun, Nokia Theatre L.A. Live, 777 Chick Hearn Ct, downtown L.A., at noon & 4. (213) 763-6000. “Just Kidding!” with Jim Jeffries, Morgan Murphy, Harris Wittelz, Dan Mintz, Sun, The Grove of Anaheim at 7. Beto Cuevas, Mon, The Grove of Anaheim at 8. Justice, Diplo, Fancy, Mon, Mayan, 1038 S Hill St, L.A., at 8. (213) 746-4287. Pete Rock, Mon, See 7 Days in L.A. Whitman, Lucky Dragons, American Gil & The Major Dudes, Mon, Pehrspace, 325 Glendale Bl, Historic Filipinotown, at 9. (213) 483-7347. The Black Keys, Tue, The Wiltern at 9. Chicago, Wed, Thousand Oaks Civic Arts Plaza, 2100 E Thousand Oaks Bl, Thousand Oaks, at 8. (805) 449-2100. –Alfred Lee

STAGE OPENING THIS WEEK Abi’s Choice. A successful New York City novelist attempts to find lasting happiness in the arms of three or more people. Written by Vanessa Perkins. Directed by Joe Jordan. Sacred Fools Theater, 660

✭ ✭ ✭

TV EYE

✭ ✭ ✭

THEATER CRITIC’S CHOICE ED KREIGER

CONCERTS

(L-R) JON MONASTERO, DAVID VALDEZ AND JOHN ACHORN ~

✭ ✭ ✭

Henry’s Back!

‘Fafalo!’ I didn’t quite see all of Stephen Legawiec’s lively, tongue-in-cheek tale about an ancient kingdom where a conniving janitor (Joe Monastero) inherits the throne, only to face dire danger from a neighboring monster (John Achorn). It wasn’t because I was late – it was because I was beckoned onstage to serve as a surrogate version of the monster in a kind of dumb show before the real monster made his appearance. I wasn’t sure if I should protest, “Wait a second, I’m a critic.” It’s possible they would have replied that critics make the best surrogate monsters. Anyway, I didn’t have much time to think about it – and fortunately, I wasn’t onstage for more than five minutes. Everyone else in the show is masked in wondrous creations by Nyoman Setiawan and dressed in vivid colors by Suzanne Scott, making for an especially picturesque and family-friendly production by the always adventurous Ziggurat Theatre. –Don Shirley Miles Memorial Playhouse, 1130 Lincoln Blvd., Santa Monica, (310) 842-5737. Ziggurattheatre.org. Fris.-Sats. at 8 p.m.; Suns. at 3 p.m. Closes Apr. 13.

I will freely admit that, during the first season, I became wholly addicted to the Showtime series The Tudors. No expatriate Englishman could want for more – lavish 16th century sets and costumes, nasty executions, intricate intrigues in the courts of the crowned heads of Europe (as Henry VIII attempts to extricate England from the grip of the Catholic Church for no better reason than he wants a divorce), plus, of course extended sequences of historical shagging, especially between Jonathan Rhys Meyers as Henry and the adorable Natalie Dormer as Anne Boleyn. Sure it’s essentially an up-market U.S./Brit soap, but it’s a soap with class, a pedigree, and a massive budget, plus the radical departure of focusing on Henry XIII when he was young and hot but decidedly psychotic, rather than the overfed bloated bastard painted by Holbein, played by Charles Laughton on film, and hysterically described by Eddie Izzard in his Dressed To Kill stand-up routine. The second season of The Tudors promises to be far darker than the first, as Henry, having obtained what he wanted (Ann Boleyn) doesn’t want her anymore because she can’t bear him a son. Accordingly, he dispatches her to what promises to be the most lavishly nasty execution, and probably the season finale. Meanwhile, the cherry on this complex confection is the casting of the ancient but magnificent Peter O’Toole as Pope Paul III, the venerably venomous adversary of Henry’s ruthless testosterone. –Mick Farren Showtime, Suns. at 9 p.m.

N Heliotrope Av, Hollywood, (310) 281-8337. Sacredfools.org. Opens Fri at 11. Fris at 11. Beaverquest! The Musical. This musical takes the audience on an absurd and comedic adventure into the forest. Book and lyrics by Padraic Duffy. Music by Bobby Stapf. Directed by Scott Leggett. Sacred Fools Theater, 660 N Heliotrope Av, L.A., (310) 281-8337. Sacredfools.org. Opens Fri at 8. Fris-Sats at 8; Suns at 7. Closes May 3. Brownstone. Dramatic comedy set in a Manhattan brownstone spans three contrasting eras and sets

of occupants. Written and directed by Catherine Butterfield. Laguna Beach Playhouse, 606 Laguna Canyon Rd, Laguna Beach, (949) 497-2787. Lagunaplayhouse.com. Opens Sat at 7:30. Tues-Fris at 8; Sats at 2 & 8; Suns at 2. Apr 10 at 2; Apr 20 at 7. Closes Apr 27. Comic Potential. A futuristic comedy about an innocent young man, who falls in love with a “not-soreal” girl. Written by Alan Ayckbourn. Directed by Stan Mazin. The Lonny Chapman Group Repertory Theatre, 10900 Burbank Bl, North Hollywood, (818) 7004878. Lcgrt.com. Opens Fri at 8. Fris-Sats at 8; Suns

at 2. Closes May 18. Don Juan. Molière’s comedy about a man with a ravenous sexual appetite. Translated by Richard Nelson. Directed by Michael Michetti. A Noise Within, 234 S Brand Bl, Glendale, (818) 240-0910 x1. Opens Sat at 8. Call for performance schedule. Closes May 24. Fortinbras. Theatre Neo presents Lee Blessing’s political comedy. Directed by Maria Cominis. Secret Rose Theatre, 11246 Magnolia Bl, Nor th Hollywood, (323) 769-5858. Theatreneo.com. Opens Fri at 8.

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Fris-Sats at 8; Suns at 2. Closes May 3. Los Angeles Women’s Theatre Festival. The 15th anniversary of the festival showcases works by women in the disciplines of theatre, dance, music, and the performing arts. El Portal Theatre, 5269 Lankershim Bl, North Hollywood, (818) 760-0408. Elportaltheatre.com. Four perfs only: Fri at 8; Sat at 2; Sun at 2 & 7. Moon Shine! Musical comedy about rival ad agents. Book by Mary Willard; music by Marty Stuart. West Valley Playhouse, 7242 Owensmouth Av, Canoga Park,

(818) 884-1907. Wvplayhouse.com. Opens Fri at 8. Fris-Sats at 8; Suns at 2:30. Closes Apr 27. The Smartest Man in the World. West Coast Jewish Theatre presents a musical about the life and loves of Albert Einstein. Book by Russ Alben and John Sparks; lyrics by Russ Alben; music by Jerry Hart. Directed by Herb Isaacs. Pico Playhouse, 10508 W Pico Bl, L.A. Info: (323) 860-6620 or Westcoastjewishtheatre.org. Opens Thur at 8. Tues-Sats at 8; Suns at 2. Closes May 11. Tallgrass Gothic. Set in the Midwest, a young woman’s heated love affair spawns a chain of gruesome events. Written by Melanie Marnich. Directed by Jaime L. Robledo. Sacred Fools Theater, 660 N Heliotrope, Hollywood, (310) 281-8337. Sacredfools.org. Opens Tue at 8. Tues-Weds at 8. Closes May 7. The Time of Your Life. William Saroyan’s 1939 play set in a San Francisco bar. Directed by Matt McKenzie. Pacific Resident Theatre, 703 Venice Blvd., Venice, (310) 822-8392. Pacificresidenttheatre.com. Opens Sat at 8. Thurs-Sats at 8; Suns at 3. Closes June 1. Time’s Scream and Hurry. Three monologues set in L.A., New York, and Chicago. Written and directed by Paul Hoan Zeidler. Elephant Performance Lab, 6342 Santa Monica Bl, Hollywood. Info: (323) 960-7712 or Plays411.com/time. Opens Fri at 8. Thurs-Sats at 8. Closes May 3. –Ed Carrasco and Alfred Lee

★★★ CONTINUING ★★★

Accidental Death of an Anarchist. Dario Fo’s dated Italian radicalism is injected with current American references in Diana Wyenn’s staging of Fo’s tale of a clever agitator (Taras Los) who goes incognito in a police headquarters, investigating the titled incident. The quicktalking actors freely admit the artifice of the updates. It works reasonably well. Unknown Theater, 1110 N Seward St, Hollywood, (323) 466-7781. Unknowntheater.com. Thurs-Sats at 8; Suns at 6. Closes March 29. (Don Shirley) Alice Sit-by-the-Fire. In James M. Barrie’s 1905 comedy, a British couple returns from years in India to reunite with their growing children. Misunderstandings multiply in a delightfully funny second act, but the third act provides a lyrical sense of generations exchanging roles. Joe Olivieri’s cast, with Alley Mills and Orson Bean, is remarkable. Pacific Resident Theatre, 705 1/2 Venice Bl, Venice, (310) 822-8392. Pacificresidenttheatre.com. Thurs-Sats at 8; Suns at 3. Closes Apr 20. (DS) Black & Bluestein. In 1963, a black doctor offers to buy a house in a white, mostly Jewish St. Louis suburb. The house is owned by the developer and his liberal wife, who face opposition from neighbors and relatives. Jerry Mayer’s meatier-than-usual autobiographical tale achieves considerable pungency, despite a few clunky components. The Other Space, Santa Monica Playhouse, 1211 Fourth St, Santa Monica. Info: (800) 838-3006 or Santamonicaplayhouse.com. Sats 3 & 8; Suns 3 & 7. Closes May 3. (DS) The Brig. Kenneth H. Brown’s landmark 1963 drama presents one harrowing day in the hellhole where four Marines monitor and govern every move of 10 fellow Marines, who are imprisoned for unknown infractions and forbidden to say one word to each other. Tom Lillard choreographs a grim, dehumanizing but remarkably riveting spectacle. Odyssey Theatre Ensemble, 2055 S. Sepulveda Bl, West L.A., (310) 477-2055. Odysseytheatre.com. Thurs-Sats at 8; Suns at 2. Closes Apr 13. (DS) Carnage. Adam Simon and Tim Robbins have barely updated their 1987 satire of two types of televangelists – the greedy (V.J. Foster) and the political (Justin Zsebe). But the vitality of Beth Milles’s staging lifts it above relic status. And the Actors’ Gang’s current highceilinged space gives the show’s spectacle and final gravitas more breathing room. Ivy Substation, 9070 Venice Bl, Culver City, (310) 838-4264. Theactorsgang.com. Thurs-Sats at 8; Suns at 3. Closes March 29. (DS) The Common Air. Alex Lyras convincingly plays six men who meet, one by one, during an 18-hour airport security incident, in sequence: Iraqi American cabbie, gay art dealer, hyped-up attorney, hip-hop DJ, Texas philosophy prof, and Iraqi American caterer – whose tale is the least plausible. Written by Lyras and director Robert McCaskill. Theatre Asylum, 6320 Santa Monica Bl, Hollywood. Info: (323) 960-4443 or Thecommonair.com. Fris-Sats at 8. Resumes March 28. Closes Apr 26. (DS) Crime and Punishment. Marilyn Campbell and Curt Columbus stripped Dostoyevsky’s novel down to its bare bones, using only three actors (charismatic Ben Hunter plays Raskolnikov) and 90 minutes. This minimalist approach works well. Director Ken Sawyer and his designers envelop theatergoers in a swirl of moody sights and sounds. Crossley Theatre, 1760 N Gower St, Hollywood, (323) 462-8460. Actorsco-op.org. Fris-Sats at 8; Suns at 2:30. Closes Apr 13. (DS) Culture Clash in AmeriCCa. See Stage feature review. The Dead. The Richard Nelson/Shaun Davey musical, based on a James Joyce story and set primarily at a party in a parlor in 1904 Dublin, is better suited to this small venue than it was to the Ahmanson Theatre in 2000. Charles Otte’s staging, with Rob Nagle as the narrating Gabriel, is usually intriguing, occasionally joyful, more often melancholy. Open Fist Theatre, 6209 Santa Monica Bl, Hollywood, (323) 882-6912. Openfist.org. Fris-Sats at 8; Suns at 3. Closes Apr 12. (DS) Dickie & Babe: The Truth About Leopold & Loeb. Daniel Henning’s extensively researched script about the famous ’20s murderers (Aaron Himelstein, Nick Niven), also directed by Henning, is steeped in psychological and sociological veracity and begins to sag only near the ending. The excessively young casting of the victim is a rare misstep. The Blank’s 2nd Stage Theatre, 6500 Santa Monica Bl, Hollywood, (323) 661-9827. Theblank.com. Thurs-Sats at 8; Suns at 2. Closes Apr 13. (DS) Fafalo! See Critic’s Choice. The Flu Season. Will Eno examines a brief romance between two patients (Tim Wright, Jamey Hood) at a mental hospital. A syrupy narrator named Prologue (Michael McColl) and a caustic playwright named Epilogue (Christopher Goodson) comment. Staged for Circle X Theatre by Jonathan Westerberg, the wordplay is clever – but so what? [Inside] the Ford, 2580 Cahuenga Bl, Hollywood, (323) 461-3673. Fordtheatres.org. Thurs-Sats at 8; Suns at 2 & 7. Closes March 29. (DS) A Good Smoke. At first Don Cummings’s Production Company premiere of his play about a New Jersey family with multiple addictions feels overly familiar. But Barbara Gruen’s relentless performance as the matriarch overcomes all resistance, just as she does in her acridly funny pitched battles with her would-be independent son (Henry Gummer). The Chandler Studio Theatre Center, 12443 Chandler Bl, Valley Village, (800) 838-3006. Fris-Sats at 8; Suns at 3. Closes March 29. (DS) Henry IV Part One. Shakespeare’s history play receives a sturdy, intelligent staging by Geoff Elliott – who doubles as Falstaff – and Julia Rodriguez-Elliott, but it never quite surprises with unexpected insight. Freddy Douglas is an amused Prince Hal, perhaps a bit too centered from the get-go, while J. Todd Adams is a blisteringly hot Hotspur. A Noise Within, 234 S Brand Bl, Glendale, (818) 240-0910 x1. Anoisewithin.org. Call for performance schedule. Closes May 18. (DS) Joan Rivers: A Work in Progress by a Life in Progress. Even Bart DeLorenzo’s direction and the gimmick of secondary characters who join Rivers in her downgraded dressing room don’t make this much more than a Rivers routine. Her jokes about sex among seniors are

CITYBEAT

MARCH 27~APRIL 2, 2008

her funniest, but nothing rises above rather self-obsessed chatter. Geffen Playhouse, 10886 Le Conte Av, Westwood, (310) 2082028. Geffenplayhouse.com. Tues-Thurs at 7:30; Fris at 8; Sats at 4 & 8; Suns at 2 & 7. Closes Apr 6. (DS) The Last Schwartz. A domineering older sister, three brothers, and two mates meet in upstate New York for the anniversary of a father’s death in Deborah Zoe Laufer’s comedy, which overcomes feelings of déjà vu with sharp dialogue and carefully timed revelations. Lee Sankowich’s staging is immensely helpful at illuminating the mishegas. Zephyr Theatre, 7456 Melrose Av, L.A. Info: (323) 960-7789 or Plays411.com/schwartz. Thurs-Sats at 8; Suns at 2. Closes Apr 27. (DS) The London Cuckolds. Edward Ravenscroft’s 1681 farce feels mechanical and long-winded in Richard Tatum’s adaptation. It’s about three husbands with straying wives and the bounders who tempt them. Darin Toonder injects the most energy into the show as the chief bounder, but seldom have such shenanigans seemed so tedious and less sexy. Ark Theatre, 1647 S La Cienega Bl, L.A., (323) 969-1707. Arktheatre.org. Thurs-Sats at 8; Suns at 7. Closes Apr 12. (DS) The Marvelous Wonderettes. Four queens (Bets Malone, Kim Huber, Julie Dixon Jackson, Kirsten Chandler) of the L.A. musical stage vie to become queen of a 1958 high school prom in the first act of Roger Bean’s mirthful musicalette, using period hits. Later, the women re-unite with new problems, ’60s songs and costumes. Fun but formulaic. El Portal Forum Theatre, 5269 Lankershim Bl, North Hollywood. Info: (888) 505-7469, Tix.com, or Marvelouswonderettes.com. Thurs-Fris at 8; Sats at 3 & 8; Suns at 2. Closes Apr 27. (DS) Mask. Don’t cry, we’re told near the end of this musical version of the 1985 movie about a terminally disfigured saint (Allen E. Read) at Azusa High, his loving but speed-freakish ma (Michelle Duffy), their biker surrogate family, and a blind girlfriend. Actually, Anna Hamilton Phelan’s script is designed to jerk tears. The Barry Mann/Cynthia Weil score adds energy to Richard Maltby Jr’s staging, but the full-throttle bathos is wearing. Pasadena Playhouse, 39 S El Molino Ave, Pasadena, (626) 356-7529. Pasadenaplayhouse.org. Opens Fri at 8. Tues-Fris at 8, Sats at 4 and 8, Suns at 2 and 7. Closes Apr 20. (DS) Mr. Marmalade. Noah Haidle portrays the dark fantasies of a 4-yearold (the adult Heather Ann Smith), a daughter of a neglectful waitress. A 5-year-old (adult and rail-thin Walter Lutz Jr.) and the brutish title character (Scott Brady) vie for her attention. Stephen Ferguson’s staging for 3KO Broadway is better than its awful venue, but laughs are few. Gardner Stage 1, 1501 N Gardner St, Hollywood, (818) 6859939. Gardnerstages.com. Fris-Sats at 8. Closes March 29. (DS) My Thing of Love. Alexandra Gersten examines a marriage threatened when he (Josh Randall) dallies with a younger woman (Heather Fox). This well-worn turf springs to life in a terrific performance by Johanna McKay as the acerbic, angry wife. One odd scene topples into caricature, but Darin Anthony’s staging otherwise stings. Syzygy Theatre Group, 1111-B W Olive Av, Burbank, (323) 254-9328. Syzygytheatre.org. Opens Fri at 8. Fris-Sats at 8; Suns at 2; March 27 at 8. Closes Apr 5. (DS) No Child… . Nilaja Sun plays 16 characters at the fictional Malcolm X High School in the Bronx – students, teachers, the principal, the janitor – changing postures, voices and accents with unerring precision and rapid-fire dexterity. The show lasts barely an hour, but it’s a rich hour, with a natural arc that produces big laughs as well as misty eyes. Kirk Douglas Theatre, 9820 Washington Bl, Culver City, (213) 628-2772. Centertheatregroup.org. Tues-Fris at 8; Sats at 2 and 8; Suns at 1 and 6:30. Closes Apr 13. (DS) Point Break Live! The New Rock Theater takeoff on the 1991 Hollywood thriller Point Break adds a tsunami of comedy to the original story, about an FBI agent (who’s cast nightly from the audience and gets to read cue cards) investigating a gang of bank-robbing L.A. surfers. Wicked caricatures and bare-bones action sequences abound. Charlie O’s in the Alexandria Hotel, 501 S Spring St, downtown L.A., (866) 811-4111. Theatermania.com. Sats-Suns at 7. (DS) Ravensridge. Playwright T.S. Cook sends two striking West Virginia workers (Vaughn Armstrong, Emily Adams) to post-Commie Russia in 1992, pursuing the fugitive (Jon Sklaroff) who owns their plant. After a contrived offstage incident, they get some sympathy from a local cop (Robert Trebor), but the play’s odd structure blunts its power. Fremont Centre Theatre, 1000 Fremont Av, South Pasadena, (866) 811-4111. Fris-Sats at 8; Suns at 3. Closes March 30. (DS) Secrets of the Trade. Theater-obsessed Andy (Edward Tournier) ages from 16 to 26, in 1980-1990, as his role models change from his parents (Amy Aquino, Mark L. Taylor) to a glamorous theatrical mentor (John Glover) – and beyond. Jonathan Tolins and director Matt Shakman enliven familiar material with wit, empathy and brilliant performances. Black Dahlia Theatre, 5453 W Pico Bl, L.A. Info: (800) 838-3006 or Thedahlia.com. Weds-Sats at 8; Suns at 7. Closes Apr 20. (DS) Sexy Laundry. Middle-aged Alice (Frances Fisher) tries to heat up her marriage by booking a swank hotel room for fantasy games with her glum husband (Paul Ben-Victor), using Sex for Dummies. Directed by Gary Blumsack, Michele Riml’s comedy is predictable but wellcrafted, emphasizing moods – not nudes. The actors are superb. The Hayworth Theatre, 2509 Wilshire Bl, L.A., (213) 389-9860. Thehayworth.com. Thurs-Sats at 8. Closes March 30. (DS) Stupid Kids. John C. Russell’s loose homage to Rebel Without a Cause, set in the ’80s, adds a Patti Smith-influenced lesbian (Kelly Schumann) who idolizes Judy (Tessa Thompson), MTV-style choreography, and recordings of angry period sounds. Michael Grant Terry and Ryan Spahn play the two guys. Michael Matthews directs stylishly. Celebration Theatre, 7051-B, Santa Monica Bl, Hollywood, (323) 957-1884. Celebrationtheatre.com. Thurs-Sats at 8; Suns at 3. Closes Apr 6. (DS) Sweeney Todd. John Doyle’s revival of the Sondheim/Wheeler masterpiece uses 10 performers as both cast and orchestra. The results sometimes resemble a concert more than a full staging, and story elements are muddied. Judy Kaye’s Mrs. Lovett nails every nuance, but David Hess’s Sweeney appears to be in a directorial strait-jacket. Ahmanson Theatre, 135 N Grand Av, downtown L.A., (213) 628-2772. Centertheatregroup.org. Tues-Fris at 8; Sats at 2 and 8; Suns at 1 and 6:30. Closes Apr 6. (DS) The Violet Hour. Richard Greenberg’s oddity depicts a 25-year-old publisher (Thomas Burr) in 1919 Manhattan, wavering between books by his desperate friend and his secret lover, when a machine starts issuing detailed reports from the future. Stuart Rogers’s staging overcomes a strangely age-blind casting choice and second-act implausibilities. Theatre Tribe, 5267 Lankershim Bl, North Hollywood, (800) 838-6006. Theatretribe.com. Thurs-Sats at 8. Closes Apr 19. (DS) West Bank, UK. An Israeli (Jeremy Cohen) and a Palestinian (Mike Mosallam) are forced to share a London flat. Their story represents decades of Israeli and Palestinian history. This brash, 75-minute Oren Safdie/Ronnie Cohen musical allegory is so packed with allusions and songs that some of it makes no sense. Beastly Bombing it isn’t. Malibu Stage Co., 29243 Pacific Coast Hwy, Malibu, (310) 589-1998. Malibustagecompany.org. Fris-Sats at 8; Suns at 5. Closes Apr 13. (DS) Wicked. New actors occupy four major roles in the Stephen Schwartz/Winnie Holzman musical steamroller about the formative years of Oz’s witches. Most important are Caissie Levy as a crackerjack Elphaba and Jo Anne Worley, perfectly suited to the overbearing cackles of Madame Morrible. I like the show more each time I see it. Pantages Theatre, 6233 Hollywood Bl, Hollywood, (213) 365-3500. BroadwayLA.org. Call for performance schedule. (DS)

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FREE WILL ASTROLOGY

By Rob Brezsny

(March 21-April 19)

It's a good time to start preparing for the shocks that will arrive when the Mayan calendar ends on December 21, 2012. Some measures to consider: Learn how to use a gun, live off the grid, and gather edible plants that grow in the wild. APRIL FOOL! Everything I jut said was a histrionic lie. Here's my *real* message: The period leading up to the winter solstice in 2012, as well as that day itself, will bring no more than the usual rate of breakdowns and breakthroughs that has characterized the last two decades. Of course, that's still more novelty per year than previous generations experienced in a lifetime. But you've become pretty good at adapting, haven't you? This week I suggest you expand your mind even further about the massive transformations we're in the midst of, and think about how you can become even more skilled at constantly changing.

the old ways -- even if the invasive force comes in the form of someone you used to be.

LEO

VIRGO TAURUS

(April 20-May 20)

(July 23-Aug. 22)

Author Rick Fields wrote about the time a friend called to recommend a workshop he'd signed up for. "You've got to come," the friend said. "This seminar will completely change your life in one brief weekend." Fields was skeptical. "I don't want to completely change my life this weekend," he replied. "I've got a lot of things to do on Monday." I urge you, Leo, to adopt a similar stance toward any big educational experiences that promise to dislodge you from your routine. APRIL FOOL! I lied. In fact, the astrological omens suggest you'll benefit from responding to invitations that just might thoroughly upgrade your world very quickly.

(Aug. 23-Sept. 22)

When you call to get pizza delivered and the clerk who takes your order asks your name, say you're Paris Hilton. When someone you're meeting is annoyed because you're late, say you couldn't help it because you were smoking crack in the bus station bathroom with your mom and lost track of time. If asked how much education you have, say you have three PhDs in astrobiology, Russian literature, and whale songs. APRIL FOOL! In fact, it's crucial for you to be utterly accurate about yourself. Try to go the entire week without indulging in even one white lie about who you really are.

In his science fiction book The Hitchhiker's Guide to the Galaxy, Douglas Adams says "the meaning of life, the universe, and everything" is the number 42. This week you will prove that's wrong, as you accumulate substantial evidence that the meaning of life, the universe, and everything is actually 59. APRIL FOOL! The meaning of everything can't be reduced to one number, or even to a single theory or ideology. In fact, the meaning of everything is just the opposite: It's glorious mystery. It's gorgeous, mind-teasing ambiguity and fertile, fascinating chaos. Get out there and enjoy the prodigious, kaleidoscopic truth!

GEMINI

LIBRA

(May 21-June 20)

Danni, the renowned "Psychic to the Rich and Famous," predicts that disgraced ex-governor of New York Eliot Spitzer will relocate to Nevada to build an empire of legal high-end brothels that will feature the services of Britney Spears and other starlets on the downside. In that extravagant spirit, I prophesy that during the rest of 2008, you Geminis will have love lives that are as tumultuous and melodramatic and desperately interesting as the romantic escapades of bipolar Hollywood idols. APRIL FOOL! Your love life may be unusual, uncanny, and highly entertaining during the next eight months, but it won't be painfully funny.

CANCER

(Sept. 23-Oct. 22)

Ralph Nader for President of the United States! Ron Paul for Vice-President! Oprah for Secretary of State! Dennis Kucinich for Speaker of the House! It's time to overthrow the corrupt powers-that-be and install visionary leaders who will actually work for the good of the people. APRIL FOOL! As much as I'd love to see those public servants ascend to high office, it doesn't make sense to fight for that outcome. For me as well as for you, revolution is not yet in the works. This is a time to pursue hard-earned incremental improvements that will come through a pragmatic willingness to compromise. Don't waste your time on all-or-nothing proposals.

(June 21-July 22)

If you feel possessed by a ghost this week, don't worry about it: You're just channeling the spirit of a person you were in a previous incarnation. So yes, you may feel like a puppet whose strings are being yanked by an invisible entity, but at least you can rest content knowing that entity used to be you. APRIL FOOL! You should not, under any circumstances, allow yourself to be controlled by the old days and

SCORPIO

(Oct. 23-Nov. 21)

If you're intent on scoring and imbibing an exotic psychedelic drug from Africa, please seek out stuff that has been grown organically. If you're planning to acquire a panther as a house pet, make sure it has been housebroken. And if you find it impossible to repress your urge to stagger into a bar and find a stranger to take home for a night of carnal rapture,

MARCH 27~APRIL 2, 2008

be sure to practice safe sex. APRIL FOOL! Everything I just said is a lie. Here's my real message for you: You're susceptible to rationalizing risky behavior, which could lead you to do stupid things. I suggest you either postpone sketchy adventures for a couple of weeks, or else get frank feedback from a clear-headed friend before diving in.

(Nov. 22-Dec. 21)

SAGITTARIUS

Lots of sex: That's the Truth and the Way for you right now, Sagittarius. It's the only sure method for enhancing your intelligence, increasing your income, and bringing you closer to your spiritual sources. I suggest you embark on a nonstop immersion in erotic experiments, stopping only occasionally to sleep and eat. APRIL FOOL! There's a crucial caveat to what I just said: Make sure the sex is blended with dramatic doses of tenderness, love, and compassion. Otherwise you'll be wasting your time.

CAPRICORN

(Dec. 22-Jan. 19)

Rightwing politico William Kristol applauded President Bush's decision to nix better health insurance coverage for kids. "Whenever I hear anything described as a heartless assault on our children, I tend to think it’s a good idea," he told Fox News. "I’m happy that the President’s willing to do something bad for the kids." In the coming week, Capricorn, you should adopt Kristol's attitude. APRIL FOOL! It's true that the demands of innocent young things and sprouting naive types might inconvenience you. But I urge you to do the opposite of what Kristol advocates. It's in your long-term interests to be in eager service to whatever's unripe and unspoiled and growing fast.

AQUARIUS

(Jan. 20-Feb. 18)

After mining operations stripped away the plant life on China's Laoshou Mountain, the bureau of forestry hired workers to literally paint the bare surface of the whole facade green. You should take a similar approach to tidying up after your own recent "mining operation." APRIL FOOL! I was kidding. What I really meant is that you should do the metaphorical equivalent of planting a lot of trees and bushes to compensate for the consequences of your "mining operation." Don't be satisfied with merely cosmetic fixes.

PISCES

(Feb. 19-March 20)

You need more mayonnaise in your life. The omens suggest you should use it as a condiment with every meal, and even add it to smoothies and cocktails. To place yourself in maximum alignment with cosmic rhythms, make mayonnaise a part of your skin-care regimen, try it out as a brass polisher, and employ it to spice up your sex life. APRIL FOOL! You didn't seriously believe the planetary aspects are suggesting you should obsess on mayonnaise, did you? You do need a new spirit medicine, but it's not made from chicken eggs. Now here's your real horoscope, courtesy of philosopher Jonathan Zap: "Find your spirit medicine. And remember that what works for someone else, may not work for you (and vice-versa). Also what works for you when used consciously, sparingly, in just right the circumstances, might be disastrous as a habit."

In addition to the horoscopes you're reading here, Rob Brezsny offers EXPANDED WEEKLY AUDIO HOROSCOPES and Daily Text Message Horoscopes. To access them online, go to RealAstrology.com. The Expanded Audio Horoscopes are also available by phone at 1-877-873-4888 or 1-900-950-7700. Rob's main website is at FreeWillAstrology.com. Check out his book, "Pronoia Is the Antidote for Paranoia: How the Whole World Is Conspiring to Shower You with Blessings" "I've seen the future of American literature, and its name is Rob Brezsny." - Tom Robbins, author of "Jitterbug Perfume" and "Fierce Invalids Home from Hot Climates"

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Apartment/ Condos/Lofts

KOREATOWN: 213-3847047 $905+up Large single, ALL UTILITIES INCLUDED, Totally remodeled. A/C, Fridge, stove, refrigerator, ceramic tiles. Gated Entry, Gated Parking Available. Elevator, Laundry room. 509 S Manhattan Pl. 213-384-7047 KOREATOWN: 213-3896631 Bachelors $800 & up. ALL UTILITIES INCLUDED. Remodeled, refrigerator, Pool, Gated Entry. Laundry Room, Gated Parking Available. 245 S Reno St.

MISSION HILLS: 818-9203753 Single $895+up. Newer building, totally remodeled, gated entry & parking, A/C, Dishwasher, Stove, Fridge, Laundry room, Balconies 9929 Sepulveda Blvd. N HOLLYWOOD: 818-9801277 . 1 BD $1150. Newer Bldg. Totally Remodeled. Gated entry & parking, AC, fridge, stove, dw, Pool, Laundry Room, BBQ Area 6253 Lankershim

NO HO ARTS DISTRICT LOVE WHERE YOU LIVE: Single $945, Jr 1 BD $985+up. ALL UTILITIES PAID, Totally remodeled. A/C, Fridge, stove. Laundry, Balcony, Ceramic tile, Gated Entry. & Parking. 5751 Camellia Ave. 818-7616620. 2 WEEKS FREE WITH ONE YEAR LEASE

TARZANA: 818-708-9554. $925 Large Jr One Bedrooms, Totally Remodeled, Air Cond, Fridge. Pool, Gated Parking & Entry, Laundry Room, No Pets. ASK ABOUT MOVE IN SPECIALS 18552 Collins St

FURNITURE 4 LESS: GRAND OPENNING. Lay-away & Financing Available. OPEN 7 days a week. 11142 Whittier Blvd. Whittier, CA 90606. Ask for Johnny 562.695.4977 (BIG SALE)

THE PLACE TO STAY IS PALMS/WEST LA ! 1BD $1350+up. 2BD $1675. Newer Building, Gated Entry & Subterranean Parking, 2 Elevators, Air Cond. Fridge, Stove, D/W, Laundry Room, 3848 Overland 310-8393647

post your ad free online TIMELESS BEAUTY MEETS MODERN HEARTHROB! Main Mercantile lofts built in 1907 in the historic core of Downtown, Los Angeles offer a phenomenal and creative living space to the discerning renter. Thirty five remarkable units make up the community ranging in size from 1,162 to 1,789 square feet. A pet friendly community with secure underground parking, Main Merc is one of Downtown L.A.’s hottest

new Lifestyle properties. Close to Fashion District, Nightlife, Art & Theatres, Grocery Markets & the Metro. www.mainmerc. com. Email: mainmerc@ gmail.com. Call Josh for a Tour: (323) 605-3225. FURNITURE 4 LESS: GRAND OPENNING. Lay-away & Financing Available. OPEN 7 days a week. 11142 Whittier Blvd. Whittier, CA 90606. Ask for Johnny 562.695.4977

Artiste Apartments are artsy and charming. A hip place to live, we cater to the entertainment and art industry. Children and pets are welcomed in all locations: Hollywood, West Hollywood, Beachwood Canyon, Silverlake, Mid-Wilshire & Koreatown.

WEST LA: Singles $1195+ up, 1BD $1495+up. Parking, Gated Entry, Balconies, Laundry Room, Fridge and Stove, Some totally remodeled. ASK ABOUT MOVE IN SPECIALS. 1755 Purdue Ave 310-479-1079

FUN 1920’S NY STYLE APARTMENTS: Artiste Apartments are cool, charming flats catering to the entertainment industry. Boasting shiny parquet wood floors, explosed brick walls and high ceilings in all units. Hollywood, Weho, Slvlke, Mid-Wishire, Koreatown & more... Bachelors starting at: $600, 2 BR starting at $1500. (See color ad this section). www.artisteapartments.com. Hotline email: artiste_renter@yahoo.com. (323) 692-5736.

k Bachelors $600-$900 k Singles $775-$1300 k 1 Bedrooms $1050-$1800 k 2 Bedrooms $1500 and up

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ApartmentRentals

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TIMELESS BEAUTY MEETS MODERN HEARTHROB

MAIN MERCANTILE LOFTS Built in 1907 in the Historic District of Downtown LA, The Main Mercantile Lofts are 35 newly modernized live/work lofts. Floor-to-ceiling windows, 13’ foot ceilings, open layouts, central air/heat, stainless steel refrigerator & dishwasher, gas stove and washer/dryer combo furnished in all lofts.

the ultimate living experience. Now Leasing - Reserve Your New Home Today prices starting from $1810 Studio, 1, 2 and 3 bedroom flats, townhomes and loft apartment homes

Loft spaces range 1162 to 1789 Sq. Ft.

Private palm-lined resort-style pool and wellness spa

Pets are welcome. Underground parking included.

Rooftop Cloud Room with stunning skyline views and fireplace Screening room w/100” screen and 7.1 surround sound

Main Mercantile Lofts put you within walking distance to the Metro, Pershing Square, The Fashion District, Art Galleries, Museums, Theatres & Grocery Markets. Close to Nightlife, Eclectic Bars, Restaurants & Dance Clubs.

Dazzling indoor-outdoor social lounge Over-the-top fitness center Luxurious Resident’s Club with billiards Granite or glass slab counters in kitchens with glass mosaic backsplash Fireplaces* Remote control blinds*

RETAIL SPACE AVAILABLE

European art glass pendant lights over breakfast bar

21,450 Sq. Ft with storefronts on Main Street & a wrap around Mezzanine on the Second Level.

*in select apartment homes

OPEN HOUSE Wednesday 6pm-8pm Saturday12pm-4pm Sunday 1pm-3pm

MAIN MERCANTILE LOFTS 620 S. Main Street, Los Angeles, CA 90014

138 N. BEAUDRY AVE. • LOS ANGELES, CA 90012

888.552.6119 • WWW.CANVASLA-APTS.COM

Contact: Josh 323.605.3225

mainmerc@gmail.com www.mainmerc.com www.artisteapartments.com

A Broadstone Community

see yourself living here

1, 2 and 3 bedroom apartments and townhomes available BEVERLY the Grove

FAIRFAX

O WILSHIRE

LA BREA

3RD ST.

GARDNER

Farmers Market

866.466.5426

Apartment Homes & Spa directly across from the Grove

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MARCH 27~APRIL 2, 2008

Short term and Furnished Apartments avaliable. We Cooperate with Real Estate Agents.

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6220 WEST 3RD STREET LOS ANGELES, CA 90036

MedicalResearch

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FREE Pregnancy Tests. Call 323-644-3888 or walk in. Asian Pacific Health Care Venture, Inc. 1530 Hillhurst Avenue, Suite 200 Los Angeles, CA 90027

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The knowing of which will dramatically change your life.

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Open 7 Days 9am-6pm Perm, Cut & Style for Men, Women & Children Chinatown Plaza., 818 N. Broadway #109B Los Angeles, CA 90012 Need great stylest ask for Brian Call for apppointment (213) 617-3186

BARBERS, HAIRSTYLIST WANTED NEW MILLENNIUM BARBER & HAIRSALON 5320 WILSHIRE BLVD LOS ANGELES PLEASE CALL 323-708-6581 BARBERS NEEDED, HAIRSTYLISTS WANTED!!!

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FURNITURE 4 LESS: GRAND OPENNING Lay-away & Financing Available. OPEN 7 days a week. 11142 Whittier Blvd. Whittier, CA 90606. Ask for Johnny 562.695.4977 (BIG SALE)

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