Vol 06 Issue 18

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

EDITORIAL Acting Editor Rebecca Schoenkopf rebeccas@lacitybeat.com News Editor Alan Mittelstaedt alanm@lacitybeat.com Film Editor Andy Klein andyk@lacitybeat.com

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Calendar Editor Alfred Lee alfredl@lacitybeat.com Editorial Contributors Donnell Alexander, Paul Birchall, Michael Collins, André Coleman, Cole Coonce, Mark Cromer, Perry Crowe, Mick Farren, Richard Foss, Ron Garmon, Andrew Gumbel, Tom Hayden, Bill Holdship, Jessica Hundley, Chip Jacobs, Mark Keizer, Carl Kozlowski, Wade Major, Allison Milionis, Anthony Miller, Chris Morris, Amy Nicholson, Arrissia Owen Turner, Donna Perlmutter, Joe Piasecki, Ted Rall, Erika Schickel, Don Shirley, Kirk Silsbee, Brent Simon, Joshua Sindell, 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

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Contributing Artists and Photographers Jordan Crane, Scott Gandell, Max S. Gerber, Alexx Henry, Maura Lanahan, Gary Leonard, Melodie McDaniel, Nathan Ota, Ethan Pines, Gregg Segal, Elliott Shaffner, Bill Smith, Ted Soqui ADVERTISING

8 Mi Mamacita Communista. Rebecca Schoenkopf serves up a light confection of a May Day trifle.

L.A. Sniper. Alan Mittelstaedt peppers Parks and Ridley-Thomas, and tells you things you might not even have known yet!

Co-op Advertising Director Spencer Cooper Music & Entertainment Sales Manager Jon Bookatz

7 Paved Paradise. What happens when a synagogue that concerns itself with social justice decides to get rid of its low-income tenants?

Daryl Paranada investigates.

Account Executives Norma Azucena, Parra Martinez, John Metzner and Susan Uhrlass Classified Supervisor Michael Defilippo Classified Account Executives Sarah Fink, Daphne Marina (Rentals/Real Estate), Jason Rinka BUSINESS

35 Free Will Astrology. The city’s best horoscope.

Suck it, Rocky!

35 Classifieds

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43 Backbeat

Mick’s Media. Mick Farren probes the DOJ’s probing of some porn that was probably a double- or triple-probe. Mick Farren does not approve (or approbe).

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15 Sounds. Kamren Curiel on the queens of mariachi and Will K. Shilling on the Norteno techno of Nortec Collective. Gracias? De nada.

4 Letters & Letter from the Editrix. Dim memories of May Days past.

7 Days and Listings. Alfred Lee sets up your week, while Amanda Price Asks the Dust.

13 Third Degree. Schoenkopf loses her cool all over Henry Winkler.

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10 Live Review. Ron Garmon partakes in a bowl-full of shrooms, lights your Coachella up nice. Fabulous photos by Josh Reiss.

FRONTLINES

Director of Business Development Joe Cloninger Retail Sales Manager Diana James

27 Eat. Richard Foss keeps his wallet and belly full at Tokyo 7-7. Plus, find out where to brunch your mama, in Bites!

CALENDAR

Advertising Art Director Sandy Wachs Classified Production Artist Tac Phun

18 Film. Andy Klein shudders at the horrors of Abu Ghraib and is charmed by Cinderella stories. (No, not Pretty Woman.)

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Stage. Don Shirley shows his case against the showcase of Emergence.

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

Human Resources Manager Andrea Baker andreab@southlandweeklies.com Accounting Ginger Wang, Archie Iskaq, 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, 2008.

HOW TO REACH US 5209 Wilshire Blvd.

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Telephone: (323) 938-1700 Classified Advertising: (323) 938-1001 Fax (323) 938-1661 SUBSCRIPTIONS One year: $149 (Mailed 1st Class)

MAY 1~7, 2008

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“A revolution without dancing is not a revolution worth having,” Emma Goldman said. Ivan Minsloff illustrates.

Thank you, comrade.

VP of Operations David Comden Controller Michael Nagami

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ON THE COVER:

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Better red than dead .......................................

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ey, there’s some kind of punk rock riot going on in Long Beach!” a friend called to tell me a few years back. Really? With cops with nightsticks parading down Pine? Long Beach cops do love their riot gear; I’ve even seen them sporting it when the threat was the marauding surfers and betties of the Action Sports Retailer convention. As would say the fetching young miss who may have done more than anyone this century in advancing the glorious cause of Socialism: That’s hott.

It turned out, of course, that the sweet li’l band of L.B.C. anarchists (who were detained en masse and bopped on the head like Little Bunny Froufrou) were celebrating the glorious glories of May Day with the traditional Brandishing of the Claw Hammers and Heaving of the Bottles of Pee – and I had forgotten completely! I hadn’t put out the airplane bottles of vodka and side serving of beets for my son from the May Day Gremlin, hadn’t sent my mama her Semper Fidel card, hadn’t filled even one vial with my own urine with which to douse the pigs. I pondered my deficiencies awhile, rolled over and went back to bed.

Two years ago, when all our immigrant friends rolled into SanTana, I neglected to pull my boy out of school for all the roiling festivities, just joined the conga line and crowed in delight as what had at first seemed to be a crowd of only several thousand was met by a platoon from the rear, a squadron from the east – they kept coming, and coming – until if there weren’t 25 thousand people marching through the avenues of Orange County, I swore I would have tongued Lou Dobbs.

It was a grand May Day indeed.

Last year? I was unemployed, and the only International Worker of the World I was worrying about was me.

But this year, oh, this year I’ve grand and glorious plans to make some grand and glorious plans. I should know what they are sometime after I do them, so I’m guessing I’ll know what they were by May 2 or so, though there’s always the possibility I won’t.

We here at L.A. CityBeat wish you a happy-happy. Don’t let The Man grind you down. And please to be careful with your bottles of pee. ✶

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BRAZEN VAGINA JUMPS ‘CITYBEAT’!

Start marking the calendar. Based on the silly, humorless editor’s note [“Hello, I Love You,” April 10] and the equally fatuous, “brazen” cover story by said new editor [“Death to LACMA”], it appears that not only has L.A. CityBeat jumped the shark, but the shark has jumped CityBeat. There are more red flags in this vagina’s writing than a Communist parade. This freebie’s demise is drawing near.

Ultimately, L.A. CityBeat’s editorial and advertising departments will best function as producers of fish wrap for said shark after the poor, oft-jumped-over creature dies (from unintended laughter?). R.I.P. L.A. CityBeat. Time to switch to L.A. X Press for my breaking news.

--DR. THEODORE SALLIS WEST LOS ANGELES

FROTHING CRITIC DOES TOO! After reading Rebecca Schoenkopf’s “Death to LACMA,” I could not help but wonder at her educational background, professional credentials, and most of all about her word choices and metaphors.

Then I could not fathom what editor would send the piece to print, until I saw the masthead list her as same, or acting as same, anyway.

This is not to defend LACMA but rather to contend that an arts review should be more than a laundry list of colorful adjectives and unqualified personal reac-

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tions. That it should be treated as a serious and meaningful pursuit, even when its subject is not. That gratuitous profanity adds no punch to copy, and obscene slang is an even greater insult to your readership.

I believe in a free press, but free writing does not make for good reading.

This city needs more voices to offset the duopoly of Christopher Knight and Doug Harvey, but I implore our arts editors: When your writer froths at the mouth, be sure to filter the drivel and capture some content. And when your editor is your arts writer? Punch [the critic] in the throat, indeed.

--CHRISTINE LEAHEY LOS ANGELES

STICK IT TO THE SQUARES Congratulations to L.A. CityBeat for their excellent choice of Ms. Schoenkopf as Acting Editor. Her writing is witty, provocative, and entertaining. I usually find myself in agreement with William Joseph Miller, whose letters are often seen in the pages of L.A. CityBeat. This time, however, I must respectfully disagree with Mr. Miller. [Letters, April 17] Ms. Schoenkopf’s use of colorful language gives her work a nice “edge” to it – much in the same way that Lenny Bruce’s use of similar language did, back in those torrid ’60s. Furthermore, I doubt that Ms. Schoenkopf meant LITERALLY to call for the burning of LACMA. Let’s face it, LACMA has some serious problems – problems Ms. Schoenkopf ilCITYBEAT

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luminates with an engaging and throughtprovoking flair. I like what I’m seeing (and reading) in L.A. CityBeat. Keep up the good work.

--GARY EISENBERG LOS ANGELES

WHAT HAS TWO THUMBS AND LIKES SCHOENKOPF? Screw the constipated fucktards who can’t appreciate new editrix Rebecca Schoenkopf’s hilariously rude-and-crude editorials. Her smartass style is infinitely preferable to the bloodless, predictable, dull-as-NPR liberal whines that used to blight that corner of the letters page every goddamned week.

--JAMES DAWSON WOODLAND HILLS

HAIL MARY, FULL OF GIN

AND NOW FOR SOMETHING COMPLETELY DIFFERENT As a member of the smaller theatre community in Los Angeles, I read Don Shirley’s “Hey, You! Wanna put on a show?” [April 10] with great interest.

As the artistic director of the Black Dahlia Theatre, I was honored to receive such praise for the current world premiere production of Secrets of the Trade by Jonathan Tolins. It has closed at the 30-seat Dahlia due to actors’ previous commitments, but the success Secrets has enjoyed made ending the run bittersweet indeed.

I’m sure I speak for many small and midsize theatres in L.A. when I offer my gratitude to Mr. Shirley for championing our work. His enthusiasm and support are greatly appreciated.

--MATT SHAKMAN ARTISTIC DIRECTOR BLACK DAHLIA THEATRE

This made me cr y. [“Third Degree: On the Road to Indio,” April 24] Thanks.

--“L.A. OKIE” VIA LACITYBEAT.COM

SEND LETTERS! AND WE’RE ALL RIGHT WITH EARL “They Write the Songs” [April 24] is the first editorial I’ve ever seen in CityBeat that wasn’t out of date or uninformed.

--EARL ELECTRICEARL.COM

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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) 9381661 or e-mail: editor@lacitybeat.com.

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Dirty Democracy Lies and distortion on the campaign trail

PHOTOGRAPH BY ALAN MITTELSTAEDT

~ BY ALAN MITTELSTAEDT ~

LET’S FORCE THE WINNER OF THE JUNE 3 RACE TO LIVE HERE UNTIL IT REOPENS AS A REAL HOSPITAL ~

BIG SURPRISE. IT WASN’T UNTIL last week’s debate between Bernard Parks and Mark Ridley-Thomas was all over that some interesting chatter finally started emanating from the Westside Jewish Community Center. The two candidates running to replace the moribund, ineffective Second District County Supervisor Yvonne Burke politely sparred, with the future of King-Harbor Medical Center provoking the angriest exchange. But it was still a sleep-inducing session and the tone mild enough not to disturb three people dozing near me. Parks accused Ridley-Thomas of siding with the evil forces that closed the hospital last year. Ridley-Thomas demanded an apology, Parks refused, and that was that – until after the debate.

As the two men gathered with their supporters and media in front of the auditorium, Parks’ campaign consultant, John Shallman, approached the circle of reporters surrounding Ridley-Thomas, and began reading from a 2004 L.A. Times article that he called up on his Blackberry.

Shallman: “The Los Angeles County Board of Supervisors on Monday unexpectedly moved to shut down the trauma unit …”

Ridley-Thomas: “Trauma center.

That’s not the hospital, John.”

Shallman: “immediately drawing the ire of ...”

Ridley-Thomas: “John, listen.”

Shallman: “… Ridley-Thomas applauded the board’s latest actions …”

Ridley-Thomas: “The trauma center is not the hospital.”

Shallman: “Do you stand by your statement?”

Ridley-Thomas: “You need to correct your candidate who incorrectly asserted that I was in favor of shutting down the hospital. There’s a difference between a trauma center and a hospital. He would probably do well to know that. Would you admit that you’re incorrect?”

Shallman: “I’m not running for office.

I just want to make sure we’re accurate when we get the mailer out.”

County supervisors closed the trauma center in 2004 and hoped that by ridding themselves of the hospital’s most troubled unit, the rest of the joint could be saved; last year, after failing numerous state and federal inspections, the entire hospital closed.

And what about ending the secret government? Is either candidate up to firing County Counsel Raymond Fortner, whose bad advice leads county supervisors into closed session when they should be out in front of the public?

L.A. Sniper asked Ridley-Thomas if he could pull the trigger on Fortner. RidleyThomas said his first target would be acting Registrar of Voters Dean Logan because of the presidential primary ballot snafu. “He practically disenfranchised 50,000 voters. I want to get that guy first because our voting rights are very important to protect.”

When asked if Fortner was in his sights, Parks, who knows the conservative ways of the County Counsel’s Office as a member of the governing boards of the Metropolitan Transportation and Expo CITYBEAT

Line authorities, said: “I’m not talking about firing anyone. But in dealing with the county counsel on the Expo Line and the MTA, they have a different view of the Brown Act than the city attorney.

They view more things that can be brought into closed session. The city attorney in Los Angeles has more of a sensitivity to put more things out in view of the general public.”

So what would he do if his colleagues want to sneak into a closed session and talk about King-Harbor?

“When there are things in closed session that you don’t agree with, you stand up and say, ‘This is something the public should know about.’ You have to have the leadership and the skill and the courage to stand up among your peers and say, ‘We’re doing something that is not appropriate.’”

Bernard, good thing you’ve already been endorsed by the incumbent.

WAIT TIL 2010 With $4 gas and crawling traffic, a halfcent sales tax increase to pay for transportation projects countywide once sounded like it might have a fighting chance with voters this November. But Assemblyman Mike Feuer’s legislation that would allow the tax increase to slip onto the books with 55 percent rather than two-thirds of the electorate behind it is stalled in Sacramento. It’s unlikely to be taken up until next year, and then

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it will still need to be approved by voters in all 52 counties. Hate to be a naysayer, but unless there’s an all-out campaign by people and interest groups who can’t stand each other, we won’t see a successful measure on the ballot for another two years. One reason: Yvonne Burke’s $80 million boondoggle to install unnecessary turnstiles at subway stations will be seized by the anti-tax crowd as the latest evidence of a derelict and wasteful Metropolitan Transportation Authority.

END OF FREEWAYS Let’s torch the cars of all the backward thinkers upset about having to pay to drive in the No. 1 lane. Gripe about congestion pricing all you want, and even claim that you’re really advocating for poor people who can’t afford the $8 rushhour tax, but get over it. Every freeway will be a toll road in Southern California within 20 years. Until then, at least acknowledge the facts: Carpoolers of every income bracket will get to ride free and the carpool lanes won’t be as crowded as they are now. The minimum number of people in a car will increase to three under the one-year demonstration project on the 210, between Pasadena and the 605, and on the 10, between the 605 and downtown.

And there will be an entire fleet of 60 new express buses using the lanes for those smart enough to sell their cars.

Now, shut up and think. ✶ Send insults and ammo to BigAl@lasniper.com

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Paved Paradise Meet your newest parking lot ~ B Y D A RY L PA R A N A D A ~ and I] talked to the temple. We said, ‘You can’t kick these people out, they have nowhere to go.

They’ll be competing at the same time for the single apartments that exist in L.A.’ ” Feldman and her family eventually chose to leave the oldest reform synagogue in Los Angeles because of what they believe was poor treatment of the people who lived in those units.

“The sad thing,” Feldman says, “is they didn’t really seem to understand that an extra $10,000 to someone who is a waitress who works two jobs or a street musician who plays banjo at the La Brea tar pits or a retired worker or a couple with a new baby, can change their lives.”

Rabbi Steven Z. Leder says the temple does have plans to expand, though the parking lot where the complex used to sit remains empty and cars cannot park on the lots closest to the temple. Leder says $5 million in pledges will help build a social services facility, which will feed, clothe and provide basic medical services for hundreds of people. “I consider that to be a socially responsible use of the property,” says Leder.

The temple is currently in the planning stages of its development, but will open modules for a temporary nursery school in the parking lot this fall. Eventually, they hope what will sit on the empty parking lot, in addition to their nursery school, is a parent center and social services building.

The temple says it will continue to help the poor and needy by opening up their food pantry each week, assisting the local community through work with organizations like Habitat for Humanity to build homes, and reaching out to people through events like co-sponsoring the recent Earth Day Festival.

For CES’s Gross, the loss of the South Hobart complex points to a bigger problem with housing in the L.A. region. “We’re facing probably the nation’s worst affordable housing crisis,” says Gross. “Sixty-one percent of L.A. residents are renters and about a third of our housing stock is overcrowded. About a third of our housing stock is substandard. Wages aren’t keeping pace with rising rents. And in that backdrop over the last several years, from 2001 to about 2007, we lost 15,000 rent controlled units due to demolitions and condo conversions.

“This housing crisis, especially the demolitions and condo conversions, have reached up into the middle class,” says Gross. “Now we’re seeing nurses and hotel works and clerks and bus drivers and firefighters and janitors, essentially the people who make L.A. run, are being run out of L.A. and if this isn’t addressed we’re going to end up seeing something that will diminish L.A.’s strength and beauty … its diversity.”

For the former residents of the South Hobart complex, the idea that the temple is building facilities to help the poor offers little consolation.

“The Wilshire Boulevard Temple Board of Directors tore up a community of individuals and demolished 22 units of moderate and affordable housing that sat right on top of the Purple Line and the Wilshire Boulevard Transit Corridor,” says Smith. “A handful of the people were able to stay in the neighborhood. The rest are gone. Gone to places like the Philippines, Las Vegas, Long Beach, Eagle Rock, and Atwater Village. In our place? A parking lot.

“Maybe in five years they will build a nursery school, but in the meantime we were evicted by a parking lot.” ✶ MAY 1~7, 2008

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IN THE NORTHWEST CORNER OF THE Wilshire Boulevard Temple, where the 618 South Hobart apartment complex lay, sits a vacant parking lot. Gone from that quiet street are the 21 units of that two-story complex, which the temple owned. Gone is another rent-controlled apartment from the Los Angeles skyline, and in its place is pavement.

The final chapter of the South Hobart complex story begins in August 1999, when the temple sold the complex for $565,000. Nobody knew what would happen nearly seven years later. In November 2006, the temple repurchased the complex for $2.6 million. A few months later, in January, they sent notices to the tenants of the complex notifying them of eviction via the Ellis Act, a state law that allows landlords to take buildings out of the rental market under a set of strict requirements. Almost a year after the last tenants had moved out of the complex, the building was gone.

“Chris Smith” says half of her former neighbors moved out of the complex immediately, some because they didn’t want to deal with the hassle, others because they did not understand what they were entitled to, and a few left because of the promises made by the consulting company hired by the temple: Shober Consulting. Smith says tenants were verbally promised $500 by the consulting firm for each month they left before the scheduled eviction date. That money never materialized.

“They are eviction expediters. They very often offer additional relocation money, provide Westside Rentals listings, but they don’t represent the tenants. They’re paid by the landlord who wants the tenants out,” says Teresa Feldman, a former temple member who advocates on behalf of the South Hobart residents and who serves on her community’s neighborhood council.

“We did provide relocation funds well in excess of statutory requirements,” says Howard Kaplan, the temple’s executive director.

One advocate for raising the relocation fees was Larry Gross, executive director of the Coalition for Economic Survival, a grassroots community-based organization dedicated to organizing low and moderate income people in their quest for economic and social justice. Gross was one of the first people the tenants met with when they decided to fight to get higher relocation fees.

“I told them that they needed to organize and appeal to the temple that they were impacting the tenants’ lives directly,” says Gross. “The temple was contributing to our affordable housing crisis by demolishing 20-something-odd rent controlled affordable units in the city.”

Negotiations with the temple led to higher relocation fees for tenants who remained. Smith, who received the higher relocation fees, broke a mediated confidentiality agreement because she says the matter needed to be exposed and the behavior of the temple examined. “Forcing us out of our homes so they could have a parking lot?” asks Smith. “What they did is not social justice.

By the time we got organized, half the tenants were gone. At that point all the half of us who got organized could ask for was the new relocation amounts and more time.”

“It’s one of the saddest things,” says Feldman, a kindergarten teacher whose family left the temple after more than six years. “[My husband

4025 Lincoln Blvd. | Marina del Rey | 310.827.8444

MI MAMACITA COMMUNISTA AND SO THIS WEEK IS May Day. We can have – or heave! – a cocktail for the working man. We can put on our marching shoes, like we did two years ago, millions and millions of immigrants and those who love them in the streets.

We can do lots and loads of things. But me, I’m missing mi mamacita communista. Oh, she didn’t die or anything. She just retired and moved back to Oklahoma, where I’m sure as hell not going anytime soon for a visit.

These are the things my mother taught me: C Contra Barbara Ehrenreich, it is perfectly acceptable to pay a lady to clean your house. You just have to pay her three times the going rate, and you may not use the sort of slave agency that can afford to advertise in the Yellow Pages. You must find a lady via reference or supermarket bulletin board.

C The dog can drink out of the pool.

C It’s best if the babies are naked.

UNION!

C Protesting is fun!

Marching is better!

C Do not stand around doing nothing if someone else is working. This applies equally to camp-outs and the lady cleaning your house.

C It is our patriotic duty to cuss loud and creatively. Lenny Bruce wants us to stick it to the squares. For America.

And the children.

C Good names for America’s pets and children include Rosie, Emma, Fidel and Diego, and any of her children who don’t comply will have their kids’ and pets’ names changed unilaterally.

Rodents should be named after baked goods.

C The best name for getting arrested under while demonstrating is Emma Goldman.

C Good places to get arrested are the Nevada Test Site, Diablo Canyon, and the mean streets of Thousand Oaks circa Gulf War I. C Bad places to get arrested are on warrants for failure to appear.

C All the words to “Union Maid.”

C C-Span is a joy and a privilege.

may stay angry for the next 15 years.

C High levels of wealth may be forgiven if they are spent on cliff-side or canyon Modernist homes.

C How to make freeway off-ramp banners out of bed sheets and shelf liners.

C How to choose a losing candidate.

C Blame America first.

C Un pueblo unido … can never be divided!

C Don’t let the perfect be the enemy of the good.

C No, really, I am not allowed to vote for Ralph Nader.

C WHAT DID SHE TELL ME???

C I should not wear whore shoes. Actually, she finally gave up on that.

*UNION!

C Good places to pick fights are at parties and in line at the grocery store.

C Read Catch-22. A good place to do this is on the sand at Hermosa Beach in 1966.

C There is never an inappropriate time to talk politics.

C Read Let’s Eat Right to Keep Fit. C Read Mother Jones and the Utne Reader.

C Do not fail to appear.

C The names of a high proportion of local flowers and trees.

C The “Hail Mary” and “Our Father” C Liberation theology.

C All 15 stanzas in the poem The Cremation of Sam McGee. C There’s no need to hold a grudge for more than a couple of hours, unless your friend is 100 percent right and you are 100 percent wrong, in which case you

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C Read A Prayer for Owen Meany.

C Ronald Wilson Reagan = 666.

C George H.W. Bush wasn’t much better.

C Also, April Glaspie totally told Saddam we didn’t care if he went into Kuwait.

C Seriously, that whole war was LIES! C You know, as opposed to this one.

C I would regret my Nader vote like she regretted hers for Eldridge Cleaver.

MAY 1~7, 2008

C Read Evelyn Waugh and the sainted Miss Ivins.

C Erma Bombeck was funny too. Really, she was.

C Read Eda LaShawn, and take her childrearing tips to heart: Forgive yourself if you snap and smack your kid, but it’s a lot better to do it because you’re out of control than if it’s in-control and premeditated. Also, kiss your husband or wife before your kids when you get home from work, because the best thing you

RAISE LESS CORN, MORE HELL! ~ BY REBECCA SCHOENKOPF ~

could possibly give them is parents who are happy and in love.

C Read e.e. cummings, Bukowski and Thompson. The best way to do this is out loud at the dinner table. Also, the scene in Tracks where someone takes a shit on Louise Erdrich’s pillow.

C Reading trashy romance novels is giving me a skewed vision of life, and I will never marry and will always be sad.

C I should marry an ugly guy.

He will love me.

C I should do my son’s homework for him, but make him watch. Eventually he’ll pick it up by osmosis. I know you’re appalled, but she was an inner city schoolteacher for nearly 20 years, and her kids’ test scores went up 70 percentage points after they had her. Seriously. But yeah, it still sounds like awful advice.

C It is better to have a kid who cusses than the kind of little prig who goes, “Ooooh, I’m telllllling!” when someone else does.

C If you don’t take your kids to parties and restaurants and concerts and galleries and other social and cultural events, you are loosing an idiot upon the world.

C That entails making them behave. Princes and princesses reflect badly. On YOU.

C Whom she will rename Fidel.

C A little violence never hurt anybody, so there’s no reason not to take a three-year-old to see Lethal Weapon 4.

C If people start their overwrought bitching about Stalin! and 20 million dead! don’t bother to respond about the Butcher of Santiago making Chile safe for capitalism, and our complicity in his Disappeared, or about any of our other complicities (even Iraq). Just point and laugh.

C Weed will save you from alcoholism.

C There will come a day when I no longer look cute on a barstool.

C How to do all her phonetreeing for the Democratic Club meeting.

C How to use chopsticks.

C Water is life.

C My plants are screaming in anguish.

C The Contras really shouldn’t have raped those nuns.

C Roberto D’Aubuisson really shouldn’t have assassinated Archbishop Romero and Che. C Ronald Reagan really shouldn’t have committed treason by sending George Bush pere to Paris before he was elected to promise the Iranians missiles should they be so kind as to keep the hostages just a little bit longer.

C How to pronounce “primer” as in a schoolbook (short i).

C How to pronounce “mauve” (long o).

C Down with Whitey.

C And The Man. C Just because you are driving a crappy old Geo Metro does not mean you are friendless, as the crabby cop who kicks your 57year-old schoolteacher ass will learn to his dismay when the former head of Amnesty International and the legal director of the ACLU takes your case.

C The Southern California ACLU got its start in San Pedro, after Upton Sinclair got arrested for reading the First Amendment out loud on Liberty Hill.

UNION! C No, Ollie North did not look “sexy” in his uniform.

C Viva Sandino!

C Viva Chavez!

C Brown rice, not white.

C Also, my dog.

C Viva Fidel!

C And my son.

C Jimmy Carter was the best president.

C All the words to the 1930s lullaby “Lilac Trees,” including the spoken coda: “And then the little pickaninny boy got sick and died, and all the little white

MAY 1~7, 2008

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C If you love Martin Luther King in 1961 Oklahoma, boys in your high school will threaten to “make you dead.”

C There are UFOs in Topanga.

C Serious people don’t care if a boycott’s “over” or “doesn’t exist.”

C If I don’t water my plants, she is going to take them away, because I do not deserve to own plants.

children were sorry they didn’t play with him.”

C Both of them.

C How to make a martini.

C How to clean a kitchen.

C Too bad about Ronald Reagan’s treason and all.

CITYBEAT

C And most women, too.

C If we’re going to be so un-American as to actually love the Constitution, that means the Second Amendment too.

C But not the Eighteenth!

C Because it was repealed!

C When your kid has to write an essay on What the Flag Means to Him, and you are writing it for him just like she told you to, be sure to include “The Right to Burn It.” C Why are you leaving out the best part?

C She knew you were going to leave out the best part.

C Idiot.

C Love your mother. ✶

High Weirdness: Coachella ’08 Pigs Enter Paradise ~ BY RON GARMON~

I

T WAS BLAZING HOT ALREADY WHEN THE car arrived for me and my driver bumped the mercury still higher. Mary-Jane is a platinum-haired vixen in leopard prints who makes the old men in my Boyle Heights ’hood quiver like cartoon lupines, so against a backdrop of skinned eyeballs, we bolted for the big noize n’ art party in Indio. I was sanguine my previous two years covering this high-Fahrenheit amalgam of dance marathon, open-air absurdist museum, and Dick Clark’s Day of the Dead would offer no challenge to my party-commando ass. Even ominous political signage like JOHN BENOIT: CONSERVATIVE REPUBLICAN dotting the roads betrayed only the obvious fact we were entering Planet Dubya, a place little understood by the international rock & roll set.

Security inside the Coachella compound Thursday night was already amped to palpably uptight levels; rude officials in cheap polo shirts made already-burdensome activities like camping and parking a confusing welter of closed gates, long marches and barked orders about wristbands. Indeed, events staff seemed concerned with little else; any conversation with them that didn’t turn upon what strip of paper around which wrist was universally met with cud-chewing apathy and, by Friday, the general atmosphere among campers was heavy with fuming. A Do Lab neighbor and longtime Coachella vet noted, “There are a lot of new rules changes this year, and all of them for the worse.” MJ was indignant. “I didn’t come all the way out here to be bossed by some guy in a three-dollar hat!” she huffed.

Friday lifted off magnificently despite the clampdown, and, by afternoon, the polo field was alive with dance kids and the rock fancy giggling gobstruck at the monumental art. The Do Lab’s acre-sized mist paradise was jammed with a pleasing variety of squirming half-nakedness and the grounds beyond were a sea of sweating goodtimers.

American Bang tossed off an impressive series of Southern rock M-80s, as these Tennessee boyos went with brio after the young ’uns crowding the Mojave tent, jerking the kids around like marionettes.

Outside, festival curator Phil Blaine’s upended toy box of outsized art obliterated the event’s iconic palm-ringed horizon. The Copper Droopscape gleamed like doubloons hung in air, while the Big Rig Jig – two 18-wheel tanker trucks welded together in a Peak Oil corkscrew – towered monstrously over the midway. MJ and I endured a series of young, clean-cut locals whose pleas to sell them drugs had a noticeably coplike briskness. We lingered under the Lab’s gi-

gantically spreading petals until night fell.

A skirl of bagpipes summoned Goldfrapp to the Mojave stage. Allison looked ravishing in a pink minidress, leading her band through frantic bursts of maximum disco ending with a chain-lightning rendition of “Strict Machine” splattering the air with sweat and pheromones.

At the Sahara, Richard D. James of Aphex Twin presided over a lysergically creepy graveyard hum. Passing on Aesop Rock’s clotted hip-hop, we waded through the earlyevening chaos to mainstage to tarry for every second of the Verve’s proud, soulful turn. Their first American performance since the breakup a decade ago was one of the most moving I’ve ever heard, as they spellbound a vast haul of old-line fans and blinking novices right up through “Bittersweet Symphony,” which front man Richard Ashcroft dedicated to the late Hunter S. Thompson. After such professionalism, the half-hour wait for Fatboy Slim at the Sahara seemed a bit steep a tribute for a mere iPod in shoes, so my girl and I adjourned to our tent, passing junk garage-rockers the Black Lips twittering at the Mojave some minutes before they wowed the NME by burning a guitar. Thrillsville.

Saturday, security backed way off and attendance grew to record levels, with the L.A. underground contingent there in noticeable force. Daleydale and Shiranda operated a floating party back at camp, while Curious Josh the photographer told of having charged the mainstage the day before. The cream of the DJ set disported themselves at the Do Lab while Dance Commander got a long Jumbotron look from the mainstage cameraman during Minus The Bear’s freakish and fine set. MJ and I drifted back to camp, where we solemnly ate shrooms and wandered back out for Kraftwerk.

The psychedelics came on slow, but lifted us both with decisive force. By “Trans-Europe Express,” the quartet’s celebrated cyborg disco seemed to transform a swirling hivelike crowd into dancing robots, with a long conga line of freaks clattering by at one point like unoiled, ill-coordinated androids. The atmosphere mainstage was still upbeat and party-hardy, until Portishead filled the acres all around with a stunning and magisterial gloom. I imagined the evening’s star attraction sitting backstage with a fine, foxy grin.

Prince made us wait a good while after the Portishead funeral obsequies shut down, with the lights going up at the magical and modest time of 11:11. Then, aided by Morris Day, Shelia E. and an uber-slick cast, he uncoiled a stupendous Greatest Hits show, with “1999,” “U Got the Look,” “Cream” and a puzzling cover of Radiohead’s “Creep” rolling over the polo field. The star did several virtuoso guitar runs, occasionally mugging impatience with his own awesomeness. A prolonged audience demonstration fetched Prince & Co. back to close out the night with a ferocious “Let’s Go Crazy.”

Sunday was hot and overcast, with only the hardestcore braving the last afternoon. I’m a huge fan of first-wave shoegazers Swervedriver, so not even wobbly sound and underamplified vocals took the propulsive shimmer off clas-

LIVE sic Swervie tracks like “Last Train to Satansville.” At the mainstage, gypsy punks Gogol Bordello were making the people move, with Slavic conga lines snaking through gangs of mazurka-maddened youngsters leaping in the heat. My Morning Jacket topped even this, turning in a complex and forceful set as the haze gradually dimmed to darkness.

My girl and I briefly watched Syd Klinge’s twin Tesla coils stage a wattage brawl as temperatures dropped and tens of thousands gathered for Roger Waters’s two-anda-half-hour performance. We shoved up front during the wait, surrounded by kids who were plainly aware this was the closest they’d ever come to seeing Pink Floyd. The golden geezer emerged to play a long set of old and new songs, with fans receiving “Have a Cigar” and “Shine On You Crazy Diamond” with open reverence. As intermission time approached, a plane dropped bales of confetti which turned out to be Obama flyers that papered nearby neighborhoods, angering locals. Gas torches blazed perilously close to Floyd’s familiar giant inflated pig wallowing over the crowd, its white hide festooned with anarchist symbols. Eventually, the pig was set free, receding into a dot in the night sky just as Waters came back on to perform Dark Side of the Moon in its entirety.

As the registers rang for “Money,” MJ and I split for home, with the rest of the album following us out into the streets of Indio. As we made for the 10,“Eclipse” rattled windows along Monroe Street, and we were well ahead of one mother of a traffic jam. ✶ CITYBEAT

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PHOTOGRAPHS BY JOSH REISS

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YOU LOVE HENRY WINKLER. YOU do. You can not help it. I love Henry Winkler too. It’s not a sexual, romantic love – that was reserved, in 1981 at least, for Chachi, though Chachi’s worked hard to lose his sexy – it’s a pure love, a God love, a Dad love.

Henry Winkler is the sweetest man in the whole wide world. He speaks slowly, in a sort of Mr. Rogersy way, as if you are a retarded child and he loves you.

Also, I am a horrible interviewer in the best of times, and this one will go down as the greatest in my long history of personal worsts. But Henry Winkler?

Encouraged me, soothed me, metaphorically patted my head as if I were the last girl galumphing to the finish line in his own private Special Olympics.

Last weekend, Henry Winkler read to children at the L.A. Times Festival of Books on the Target Children’s Stage, which I am putting into this story only because it was the guy from Target who called us up at CityBeat and asked us if we would like to interview Henry Winkler? Yes, please!

There were a thousand people at the Target stage, soaking up their Henry Winkler love. That afternoon, he called us. Watch, dear reader. Watch and cringe.

--Rebecca Schoenkopf

ILLUSTRATION BY SCOTT GANDELL

World’s coolest guy endorses world’s other coolest guy

Third Degree

Aaaaayyyy!

CityBeat: Hello?

Henry Winkler: Hello, Rebecca?

Yes? This is Henry Winkler.

I knooooowwwww. Oh my god. Hello! I’m so sorry. This is just … I’m sorry. I’m 35, so everyone I know, there is just love and gratitude for you. Every single person I mentioned this interview to got a huge smile on their face just at the sound of your name.

Thank you. Thank you. That is so kind.

Thank you.

Okay, I’m sorry. So what did you read to the children?

Book 14, which comes out May 19.

Is that a Clifford book?

No, Hank Zipzer. I write a series of books about my dyslexia with my partner, Lin Oliver. We’ve sold over 2 million. We’ve just sold the first two to England.

And they’re charming and funny?

They’re so funny! We don’t put anything in them unless we make each other laugh.

I got a letter from a boy in Missouri that said, “I laughed so hard, my funny bone fell out of my body.” They’re for reluctant readers, and librarians tell us if kids read one of my books, they read five.

My son met you in line at a movie. You called him “honey.” And I thought, but that’s ridiculous, he was 9 or 10 at the time, he doesn’t know from Happy Days. But of course it hadn’t occurred to me: The Waterboy! So there’s a whole new generation out there having love for Henry Winkler.

Some kids know me from The Waterboy, some kids only know me from the books!

But Rebecca, please tell your son: My fourth movie with Adam Sandler is coming out, Don’t Mess With the Zohan.

Who do you play?

I play his limousine client.

And is it like The Waterboy, where you’re the anti-Fonz?

The Fonz is the Fonz, and everything else I do is everything else I do.

But really, the coach in The Waterboy – which made me cry three times, by the way; I’m ridiculous, but whenever somebody’s sweet to somebody else, I cry – is the anti-Fonz. Really, watch it again! Well, I mean, don’t. You don’t have to.

I’d never thought of it that way, but it’s a really interesting, wonderful thought.

No, it isn’t! No! So, four movies with Adam Sandler? I had no idea.

Yes, I was in Little Nicky.

Yeah, I didn’t really watch that.

You know, Adam Sandler is brilliant, a genius. He is in charge of every single detail on his movie sets. I was in Click.

But really, obviously we don’t know you, but we all feel like we do. And you seem like a truly gentle man.

Thank you. Thank you. I will say I’m very appreciative of every day on this earth. I love my family. I love what I do.

So what are your days like?

I do movies. I produce television. I write my books with my partner, Lin. I have a blessed life. I am very appreciative.

So obviously people come up to you and go, “Aaaaay.”

Absolutely!

And you don’t mind it … .

Some people talk to me about The Waterboy, some people talk to me about Scream.

You were in Scream?

I was in Scream. I was the principal in the first Scream.

I had no idea. Maybe I should have done some research.

No, no, no, you shouldn’t have done any research! You don’t have to know anything about me! Just mention my books.

Oh, Click was good!

I was his father.

So you read to kids.

Yes, we just did it this morning, at the Festival of Books. We had a thousand people there.

Oh, that was sad!

It was sad.

That’s wonderful! It’s a wonderful thing to do. But do you ever lend your name to things MAY 1~7, 2008

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that are more controversial? I’ve never seen your name attached to anything political, for instance.

Oh, no. I’m political. And sometimes controversial, I guess.

Oh …?

Well, for instance, a chicken could run our country better than what we’ve got now.

That is political! Do you have a favorite going into the election?

I do have a favorite. I don’t think I’m going to say it … .

I’m an Obama girl, myself … .

I think I’m an Obama guy. You can not be that articulate that often and not have it on the ball. People say we need “experience,” but intelligence and passion are what we need to fix this country again after what they’ve done to it. Rebecca, I have to go now to do another book signing. But thank you, thank you for the warm thoughts and kind words. Have the most wonderful day.

You know they’re everywhere. There’s just love for you beaming and shooting at you from everywhere! Big greaser rockabilly guys today would break out in grins when I told them I was interviewing you. I don’t know if you know that … .

That doesn’t matter to me! What matters is that I got the kind words from you today. Have a blessed day. The most wonderful day. Have a blessed day. ✶

~ MARIACHIS FULL OF GRACE ~

The Queens No ‘potbellied machos’ for us; meet the women of mariachi ~ BY KAMREN CURIEL ~

“

MY TEACHER TOLD ME I couldn’t play guitarrón because it was too heavy and that it would bother my stomach and if I ever planned to have kids in the future … some really bullshit excuse,” Carmen Hernandez says in the documentary Compañeras.

The film, which aired on KCET in April, exposed the untold story of Mariachi Reyna de Los Angeles, one of the first all-female American mariachi ensembles.

Struggling to pursue a stereotypically male profession while being mothers and wives, these women prove just how much the genre’s grown in L.A. “When you look at the trumpet and the guitarrón, those are male instruments right there. You’re not encouraged to learn those when you’re just coming up,” her bandmate Karla Tovar agrees.

Laura Sobrino, 53, was one of the first female mariachi musicians in the late ’70s – and the former director of Mariachi Reyna. Born and raised in Watsonville, it wasn’t until she took a leave from her music studies at UC Santa Cruz to live with family in Mexico City that she started to dig deeper into her roots – or even learn Spanish. When she returned home a year later, Dr. David Kilpatrick Martín had devel-

oped an ethnomusicology (world music) program which would change her life forever; she received a B.A. with emphasis on Mexican folk music and today instructs mariachi ensembles at UC Riverside, East L.A., Rio Hondo and Chaffey colleges.

Sobrino says many people have an outdated understanding of mariachi music. “I’ve been to far too many TV commercial auditions in L.A. and asked why I was there because the call was for ‘the fat, sloppy, big-bellied mustached mariachi,’” she vents.

Others take for granted the string and horn sounds that float out of Mexican restaurants throughout Los Angeles at dinnertime like the mouth-watering smell of barbequed smoke from burger joint exhaust fans. And although it’s a staple at weddings, birthday parties and quinceañeras, it’s easy to forget that mariachi combined the use of the indigenous people of Mexico’s rattles, reed and clay flutes and conch-shell horns with that of the mestizo (mixed) and Spanish imports. The genre was born in a rural town in Jalisco, Mexico, and migrated to L.A. in the late ’50s, with musicians playing at onetime Latino talent hotspot the Million Dollar Theatre (which recently reopened) and El Mercado, a three-story Mexican market and CITYBEAT

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restaurant located across the street from Evergreen Cemetery in East L.A. Groups were mostly Mexican-born males, but by the late ’70s, L.A. had its first all female mariachi group, Mariachi Las Generalas.

Reyna founder and Cielito Lindo restaurant owner (where Reyna perform every Tuesday night) Jóse Hernandez (whose own Sol de México – another O.G. ensemble – recorded with Selena) jokes that in 1981 when Linda Ronstadt said she was Mexican-American, a lot of Mexican musicians came out of the closet. Hernandez opened South El Monte’s Mariachi Heritage Society in 1991, an organization that employs qualified mariachi instructors to teach music education to some 800 children throughout L.A. “We had 30 kids sign up the first year, and they were all little girls,” Hernandez says.

On the Eastside, mariachi music is a form of survival. Musicians hustle everyday for work, roaming the streets in full trajes de charro (folkloric suits) and carrying their money-makers in the palm of their hands—the violin, vihuela (a small, highpitched, round-backed five string guitar), guitarrón (a large-bodied, four-string bass guitar), guitar, harp or trumpet. The most popular meeting place is Mariachi Plaza, located at the corner of East First

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Street and Boyle Avenue in Boyle Heights, but due to construction of Metro Gold Line’s Eastside Extension, work has become scarce. Torn-up streets are hard to navigate by car, pushing mariachis out and forcing many to take on more aggressive approaches. Several musicians rushed my car the other day to hand me their business cards and ask if I had any special events coming up.

For other musicians, gigs are steadier. At the newly reopened La Fonda on Wilshire – where back in 1969 original owner Natividad “Nati” Cano made history by opening the first restaurant in the country to incorporate live mariachi music and thus popularizing his Los Camperos group – new in-house ensemble Mariachi Monumental de America perform three shows a night. The handsome dozen include veteran players, trumpeter Christian Quintero (a recent Bell Gardens High School graduate) and 22year-old Hollywood-born guitarist/vocalist Stephany Amaro, who didn’t grow up listening to mariachi (she was lead guitarist in a rock band with her sister called the Fresas), but fell in love with it and has performed with Mariachi Divas and serenaded Soundgarden’s Chris Cornell with Alma de Mi Tierra.

“I’ve run the gamut of female groups, from Mariachi Las Adelitas to Ellas Son, but have played mostly with male groups and soaked up as much information as I could,” Amaro says. At 19, Jesus Hernandez of Sol De Mexico gave her private lessons during his breaks performing at Cielito Lindo. And although she was way more experienced than her competition at a Mariachi Reyna audition a couple years ago, she wasn’t chosen because she simply intimidated the other members.

Such are the obstacles that arise when trying to get jumped into a close-knit band.

A former student of Plaza De La Raza’s mariachi voice class, Carlita Kristian, 18, remembers being one of only four young women taking the intimate class. “At first I was really nervous because my Spanish isn’t so good, but the instructor [Nelson Velasquez] spoke Spanglish so I could understand,” Kristian says.

“I still sing ‘Cielto Lindo’ whenever my family asks me to.”

Truth be told, my pinche Spanish sucks too (I’m third generation Mexican-American; still no excuse), but when you’re open to music’s healing powers, lyrics creep right through you without any need for translation. Sones, rancheras, huapangos and boleros – the elements of mariachi – tell equally hopeful and depressing tales about love, work, death, politics and revolutionary heroes while serenatas (serenades) transport you to a dreamlike state faster than any Art Laboe oldie. Open your ears and get a kick out of lyrics like “I want a man, not a potbellied macho” (a Reyna exclusive) sung in Spanish. If you’re lucky, someone will be there to translate for you into English so you can laugh too. ✶ Mariachi Reyna de Los Angeles performs every Tuesday at Cielito Lindo in South El Monte. www.elcielitolindo.com; (626) 442-1254.

Mariachi Monumental de America performs Wed.-Sun. at La Fonda, 2501 Wilshire Blvd., Los Angeles.

(213) 380-5053.

MRS. AND MR. JOHN STAGLIANO: DECENT PROPOSALS ~

MODERN

LIVING The Porn War Heats Up The DOJ took your spankies away STELLA sofa from

~ BY MICK FARREN ~

M

AYBE NO ONE should have been surprised that the War on Pornography still continued, although assumptions that it was on hold were all too easy to make. Alberto Gonzales was replaced last November by Michael Mukasey as Attorney General of the United States, and the low-profile Mukasey appeared to be doing very little at the Department of Justice beyond attempting to provide smokescreens for the various illegalities of the Bush administration, defending everything from waterboarding to wire tapping. Rumors even circulated that rank and file FBI agents were less than keen on being assigned to the bureau’s Washington-based Adult Obscenity Squad, preferring instead to tackle terrorism or organized crime rather than a Bush bouquet to the decency-obsessed religious right.

The outward appearance was that attitudes had mellowed since Janet Jackson, at the 2004 Superbowl, ignited the indecency witchhunt that drove Howard Stern to satellite radio and aided George Bush’s reelection. Unfortunately for those to whom pornography is a free speech issue rather than a moral blight, enough federal prosecutors – mainly appointed under John Ashcroft and Gonzales – retain the less-than-mellow mindset that porn is an evil to be eradicted from the downloads and DVD players of the nation.

The Department of Justice’s Obscenity Prosecution Task Force is still looking to take down the adult smut peddlers, even to the point of allegedly diverting funds from kiddie porn investigations to do it.

These DOJ porn fighters may have been lying low since October of last year, when they failed to obtain a conviction against JM Prods and company owner Jeff Steward for distributing the movies Filthy Things 6, American Bukakke 13, and Gag Factor 15 & 18, but a few weeks ago, on April 8, they rejoined the fight as a Washington D.C. grand jury handed down federal indictments against porn producer John Stagliano and his companies Evil Angel Productions and John Stagliano Inc. for “using a common carrier for the conveyance of DVDs containing obscene

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films in interstate commerce,” “to sell and distribute DVDs containing obscene films” and “using an interactive computer service to display an obscene movie trailer in a manner available to a person under 18 years of age.” The videos cited as “obscene” were Jay Sin’s Milk Nymphos, Joey Silvera’s Storm Squirters 2 and a trailer for Belladonna’s Fetish Fanatic 5.

Stagliano faces maximum jail terms of five years on each obscenity count, while his companies could be hit for multiple fines of up to $2 million – in what can only be described as a selective prosecution.

Neither the films of Steward nor Stagliano are the most extreme to come out of Chatsworth, the center of the U.S. adult entertainment industry, but they are quite capable of shocking a provincially minded jur y, even if Evil Angel’s Karen Stagliano excuses them with calculated coyness in an interview with Adult Video News (AVN) as merely “girls having fun doing things that maybe you don’t always do in your normal bedroom.”

The material chosen for this case suggests the underlying agenda of the DOJ’s Pamela Satterfield, who leads the prosecution, might be to use a conviction in the Stagliano case as a federal benchmark for what is acceptable pornographic content and what isn’t. If other convictions of porn producers were to follow, they could create a restrictive framework of legal boundaries inside which the adult entertainment industry is forced to work. This would, of course, represent ad hoc federal censorship and a total violation of the letter and spirit of the First Amendment. But the defenders of decency have always exhibited a cavalier, if not cynical, disregard for the Constitution.

One also has to wonder if Ms. Satterfield and those like her at the DOJ truly believe they can eradicate an industry with an estimated annual gross of between $10 and $14 billion, in an environment where porn, especially on the Internet, is omnipresent in contemporary culture. Or is their real goal to control the porn industry by becoming the ultimate Orwellian authority that actually regulates content? ✶

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Mick Farren blogs at Doc40.blogspot.com.

MAY 1~7, 2008

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Mon to Sat: 10am to 7pm Sun: 11am to 7pm

CHECO BROWN

BORIS “SMILE” On "Smile", the Boris' brush paints deeply intense blistering pschedlia, mammoth hooks, innovative song-writing, and a reinvention of dark heaviness. Features collaborative guests: Stephen O' Malley (sunn0))), KTL), and Michio Kurihara (Ghost, White Heaven, The Stars)

~ HUMBLE PIE ~

TOOTH & NAIL

SOUTHERN LORD

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

RUN KID RUN “LOVE AT THE CORE”

Not (Just) Your Mama’s Sound Machine

Run Kid Run returns with huge hooks, infectious melodies and uplifting lyrics.

Nortec Collective’s Bostich + Fussible stay grounded on their latest release ~ BY WILL K. SHILLING ~

T

HEY’VE BEEN HERalded by no less than Time magazine as bearers on a completely new, revolucionary, geo-cultural musical genre: Nortec, or Norteno techno music.

But Pepe Mogt (Fussible) and Ramon Amezcua (Bostich) aren’t concerned with such grand, postmodern labels. For Mogt, Nortec Collective Presents Bostich + Fussible: Tijuana Sound Machine (his outfit’s latest release, out Tuesday on Nacional Records) is still all about returning to roots and root inspirations, while constantly evolving as electronic composers.

“Every show is different,” Mogt says from a hotel room in Monterrey, Mexico, where he and Amezcua are holed up rehearsing for the evening’s performance, opening for Groove Armada in front of at least 10,000. “We can play a small show by ourselves or with the musicians now.

When we play with the musicians, it’s the two of us with the live band, and it makes eight of us total. Plus we’re bringing a guy who does the live visuals, the graphic interface with the music.”

It’s this juxtaposition of old-school, even traditional, regional sounds with the bleeding-edge of electronica and electronic computer culture that ostensibly defines the Nortec phenomenon—and Mogt is happy to wax techno-nerd on the group’s newest toys.

“Every time we find a new interface or technology, it’s like being a kid at Christmas,” he gushes. “We are playing with a new instrument, the Tenori-On, which programs the melodies and the rhythms right on a touch-screen. So every note and rhythm can be sent straight from the DJs to the graphic artist. Everything is on a network, because we’re all using iPhones to control computer software that interfaces with the Tenori-On, and all of us, in that way, we can control the visuals that end up on the screen.

“We put special software to take advantage of iPhone’s multi-tasking, and maybe that’s not legal, but that’s the way we’re doing it.”

Mogt agrees, however, that the surfaces of their third full-length, Tijuana Sound Machine, are far more organic and musically structured than their two previous outings,

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2001’s Tijuana Sessions Vol. I and the slyly named follow-up, Tijuana Sessions Vol. 3.

(There is no second volume, so don’t go looking for it, gringos.)

“This record,” says Mogt, “it’s far more based on our live performance. For me and Bostich, and to our fans, too, to hear a tuba on electronic music will always be strange, of course – and funny. Instead of synthesizing a low bass sound, to hear a live tuba, even to us, it sounds humorous. But this album’s tracks are much more than that, with the band sort of leading the way.”

Mogt admits, somewhat embarrassingly, that his parents’ traditional sounds must have seeped into his DNA: “Ramon and I grew up with Norteno music, and we hated it. When we were growing up, we didn’t listen to it with open ears, you know. But even though we tried our hardest to avoid this music as kids, now that we’re hearing it again, it’s just incredibly familiar, a part of us. We can automatically pick out which instruments go where and play what. It comes to us so naturally, I think.

“A few years before we started Nortec Collective, we began listening to this traditional music again, and now, eight years into it, still today we are discovering new Norteno sounds like they are brand-new.

Especially now, touring with the musicians in the band, they will break out and jam in the hotel rooms for us, and it’s just amazing how inspiring that can be.”

Mogt’s well-grounded approach to a much-hyped new-music genre is paradoxically refreshing as well – he claims to consciously, constantly, try to keep himself humbled.

“What I really want to avoid is the stuff in making a living from music that is most distracting – the fame or unreal ideas like that,” he says. “You know, the whole rock star and backstage scene … being famous or thinking that you’re popular and famous in your mind can take away from the best in us. So I would always want to avoid that.” ✶ Nortec Collective plays Thursday at the Glass House (200 W. Second St., Pomona; 7 p.m.; $15) and Saturday at the Echo (1822 Sunset Blvd., L.A.; 9 p.m.; $10-$12. 18+).

MICHAEL LAMONT

L.A.'s Newest Performance Lab

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3815 Sawtelle Blvd Culver City • Reservations: 310 795 7469 To see our full Calendar or learn about classes go to www.fanaticSalon.com

Evaluations in the San Fernando Valley MEDICAL MARIJUANA EVALUATIONS PERFORMED BY LICENSED PHYSICIANS UNDER CALIFORNIA STATE LAW PROP 215 (HS11362.5)

S.O.S. ‘Emergency’ needs help

WEST COAST EVALUATIONS

~ BY DON SHIRLEY ~

T

HE USUAL UNFAIR RAP ON L.A. theater is that it’s a festival of showcases for people who want to be screen stars. In fact, most productions are not mounted for that goal. But sometimes a “show” screams to have “case” attached to it. That’s the case with Daniel Beaty’s solo show, Emergency, staged by Charles Randolph-Wright at the Geffen Playhouse.

I don’t know Beaty’s ambitions, although his L.A. Times interview included a passing reference to a same-day audition for a TV pilot. But Emergency has the hallmarks of an extended audition piece. In front of Westside theatergoers who might be industry power brokers, Beaty plays characters who are young, middle-aged, old, male, female, straight, gay, Ghanaian, Jamaican – as if he’s trying to make sure that if you don’t have a role for him in one particular guise, maybe these others will make the sale.

It’s fortunate that Beaty’s show was first noticed in New York. If it had traveled from the West to the East instead of vice-versa, it surely would have come with the kind of “showcase” baggage that might have made it less likely to have won its Obie Award.

That Obie was for both writing and performing. The latter makes sense – Beaty is a remarkably convincing chameleon – but the writing is awfully shallow. Beaty has a gripping central image – the hulk of a slave ship suddenly emerges from the Hudson River, just off the island occupied by the Statue of Liberty. But he doesn’t know what to do with it.

Because this is a solo show(-off), Beaty chose to play 43 characters in 80 minutes – all of them reacting to this startling development. If his priority had been the depth of his narrative, he might have written himself a mere 10 or 12 roles.

It still could have made a great showcase, as well as a stronger play.

One of his characters is a former Shakespearean scholar, now mentally ill, who swims out to the boat. He should be the protagonist. A widower whose wife was killed by a young black thug, he has rigorously repressed his own African

American heritage in order to make sure his sons move beyond any semblance of slave mentality. Apparently the repression has gone on long enough – I use “apparently” because we don’t even hear what happened within this man’s head on the day of the “emergence,” before he took the plunge. We don’t catch up with him until he’s already onboard the ship, communing in halfbaked platitudes with the ghost of the chief of the drowned slaves.

Instead, Beaty focuses more attention on the professor’s two sons, especially one who’s a contestant in a reality TV show for slam poets. Although he leaves the competition in order to deal with his father, he returns in time to convert the experience into a competitive advantage. The TV show format also enables Beaty to present the poems of three other contestants and impersonate the female emcee.

The professor’s other son is effeminate and gay, with a variety of picturesque acquaintances for Beaty to introduce, even as he’s barely glancing at the narrative’s central spine. And then there are the two 12-year-old kids who still haven’t been taught about slavery in school (really? 30 years after Roots galvanized TV-land?) and assorted other commentators.

Emergency would have been a perfect opportunity to dramatize moments from the story of New York-specific slavery, but instead Beaty prefers to emphasize the usual points about slavery in general – points that were dramatized more eloquently by such writers as August Wilson and Suzan-Lori Parks. The ship itself and most of the slaves who were on it receive so little attention from the playwright that they barely seem to have emerged. ✶

O

Emergency, Geffen Playhouse, 10886 Le Conte Ave., Westwood. (310) 208-5454. geffenplayhouse.com. Closes May 25.

For more reviews by Don Shirley, see Stage listings, page 31.

MAY 1~7, 2008

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IS ERROL MORRIS IN ABU GHRAIB PRISON? OR JUST ON THE SET? ~

Prisoners of Folly and Evil Errol Morris’s ‘Standard Operating Procedure’ deconstructs the Abu Ghraib photos ~ BY ANDY KLEIN ~

S

TANDARD OPERATING Procedure might seem like an obvious place for documentarian Errol Morris to go after making The Fog of War, his Oscar-winning 2003 portrait/interview of Vietnam-era Secretary of Defense Robert McNamara. Once again, Morris is dealing with war at its morally foggiest. But his focus here is not merely on the notorious events at Abu Ghraib prison, but on the photographs that exposed a world of abuse and made the American people realize, if only briefly, what the rest of the world already knew – that the Bush administration has brought forth all that is worst about us and has destroyed any claim our nation may have had to moral stature.

Just in case anyone needs a refresher : After the invasion of Iraq, the American forces made a startlingly undisguised symbolic gesture: Having liberated the Iraqi people from the oppression of dictator Saddam Hussein, they took over Abu Ghraib Prison, famous as “Saddam’s Torture Central,” and promptly repurposed it as ...

George’s Torture Central. Having already shown its contempt for the bleeding-heart Geneva Conventions in the fancy “legal” footwork establishing the detainee center at Guantanamo, the Bush administration – including, but not limited to, the President, Dick Cheney, and Donald Rumsfeld – made it clear to the military and the intelligence people that “extreme interrogation techniques” were perfectly acceptable in fighting the War on Terror.

Ignore the fact that the Iraq War, despite the administration’s claims, had absolutely nothing to do with the War on Terror (other than to validate terrorists’ allegations about American intentions). Ignore the fact that the vast majority of detainees at both Guantanamo and Abu Ghraib appear to have had nothing to do with terrorism. Ignore the fact that “extreme interrogation techniques” – a euphemism for torture – have never been shown to produce reliable

intelligence. We’re America and therefore Special and Different. The fact that our continental homeland was hideously attacked by outside forces for the first time in almost 200 years justifies suspending all the rules that we expect others to follow under analogous circumstances.

Our response to 9/11 marks our government as the institutional equivalent of a sociopath: We’re the only ones who matter, the only ones who are real; it’s all about us; our 3000 fatalities constitute the Worst Thing Ever, worse than however many million of you wogs out there have been slaughtered by us or others. I mean, you’re not, like, actual real people, right? (Please: Do not write in claiming I’m minimizing the horror or moral hideousness of the 9/11 attacks.

What I’ve written can’t be read that way, unless you’re a sociopath yourself.)

As with so many other issues during the last two or three decades, most of the major media, through a combination of frivolousness and outright pro-Republican toadying, upheld the view that we were a righteous moral beacon ... until CBS and The New Yorker spilled the beans about photographs of torture within Abu Ghraib.

At least, that’s how most of us remember it. But the first thing that Morris questions in his film is the notion that these were photographs of actual torture. Indeed, he compellingly argues that the most iconic shots – the hooded prisoner on the box, Lynndie England grinningly pointing at a naked man’s cock, England and thenboyfriend Chuck Graner smiling behind a pile of naked Iraqis – were clearly staged.

Back when his 1989 The Thin Blue Line was released, there was criticism and concern about Morris staging reconstructions of the crime for which Randall Adams was unjustly convicted, using “fictional” moviemaking techniques. But surely no one could conceivably have mistaken these beautifully lit, slo-mo sequences for “documentary” footage.

His liberal use of reconstructions in CITYBEAT

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Standard Operating Procedure is even more appropriate, given the central notion that many of these (and some of the other) photographs were themselves “reconstructions” or stagings. Indeed Graner – who arranged these tableaux and was the closest thing to an evil ringleader among those convicted in the case – was into art and drama in high school, suggesting that the Abu Ghraib photos were his amateur version of being ... a film director.

Even as staged events, the photos reveal an environment in which prisoners were essentially treated as nonhumans. Hitchcock was speaking tongue in cheek when he famously said “Actors are cattle” and then later clarified, “I never said all actors are cattle; what I said was all actors should be treated like cattle.” Graner seems to have taken that to heart, herding his involuntary “actors” into humiliating poses.

In a cover-up that the American public would sooner not be reminded of, no one ranking higher than a staff sergeant served any time for other very real abuses that the photos bore witness to. Most of the film is made up of interview footage with those who were convicted, including England, Sabrina Harman, Javal Davis, and Megan Ambuhl. Also memorable are General Janis Karpinski (who was also scapegoated by being stripped of her rank); Brent Pack, the agent from the Army’s Criminal Investigations Division who assembled the photographic timeline and who blandly distinguishes between horrible abuses that constitute criminal acts and horrible abuses that are “standard operating procedure”; and, perhaps most compellingly, Tim Dugan, a contract interrogator appalled at untrained amateurs who abused prisoners because they didn’t have a clue what they were supposed to be doing.

As always, Morris keeps himself offcamera, only occasionally audible offscreen. But his editing reveals his mixed reaction to his interviewees. On the one

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hand, he gives them full rein to justify their actions. Thanks to her letters home, we know that Harman was genuinely horrified but at the same time too “nice,” too “likable,” to raise a fuss or refuse to go along with the degradation. Davis is perhaps slightly less convincing; and England is simply out of her depth. Despite our high opinion of our humanity and righteousness, they are all proof of Americans’ deficient moral education, modern equivalents of “good Germans.”

Still, their excuse-making is less loathsome than those French collaborators in Marcel Ophuls’s The Sorrow and the Pity who seem to have utterly retooled their memories from capitulation to bravery.

Morris has a deliberately disconcerting tendency to hold on the face of subjects after they have finished talking, as the ghosts of self-doubt subtly ripple across their countenances.

Morris doesn’t let them off the hook.

Still, he’s aware that these low-echelon soldiers were used to deflect attention from the system that allowed them – in fact, encouraged or even ordered them – to cross the line into that dark place that our leaders have embraced. Jon Stewart likes to compare Dick Cheney to Darth Vader, but it’s impossible to believe that Cheney was ever an innocent, potentially redeemable Anakin Skywalker. He’s more like Darth Sidious; it’s the young soldiers at Abu Ghraib – seduced over to the Dark Side by powerful superiors – who resemble Vader. And, perhaps to a lesser extent, it’s the rest of us as well. ✶

Standard Operating Procedure.

Produced and directed by Errol Morris.

With Lynndie England, Sabrina Harman, Javal Davis, Tim Dugan, Janis Karpinski, and Brent Pack.

Opens Friday at Laemmle’s Sunset 5, the Landmark West Los Angeles, and Laemmle’s Playhouse 7.

p. 19

You are invited to the ROMANTIC COMEDY EVENT of the summer

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LATEST REVIEWS ANAMORPH This thriller from director H.S. Miller – who cowrote with Tom Phelan – starts out looking like a clone of the Al Pacino bomb 88 Minutes: A pre-credit sequence about a serial killer investigation is followed

by Det. Stan Aubrey (Willem Dafoe) teaching a class. Aubrey has been promoted out of investigations after unnecessarily killing the suspect in the “Uncle Eddie” murders. But similar crimes are happening again; either there’s a copycat killer or Stan killed the wrong guy. The current murderer

stages elaborate tableaux including his victims’ corpses and paintings done with their blood. Stan is naturally called back to investigate but refuses to cooperate with ambitious, young up-and-comer Uffner (Scott Speedman).

Sure, it’s better than 88 Minutes – what isn’t? – but it’s still pretty pointless, with unclear exposition and murky plot developments. Miller recycles visual and plot elements from Seven, Suspect Zero, the 1999 Korean thriller Tell Me Something (Korean title Telmisseomding, I kid you not), and God knows where else. The title refers to the old artistic technique, popular in the Renaissance, of hiding a second image in a painting, which could only be perceived by viewing from one unlikely angle. Unfortunately, that means a lot of crucial clues here are shown in still-partly-distorted form, which makes the whole hard to follow. Part of the problem may have been because I was sent a screener that, ironically

enough, wasn’t anamorphically enhanced. (Andy Klein) (Laemmle’s Sunset 5)

BABY MAMA With a problematic uterus and an aging biological clock, 37-year-old career woman Kate Holbrook decides to fulfill her maternal yearnings through surrogacy, only to end up paired with nightmarish white-trash couple Angie (Amy Poehler) and Carl (Dax Shepard), who call it quits halfway through the process. With no choice but to take Angie in, Kate is soon plunged into the predictable chaos of Odd Couple-dom, faced with problems, decisions and conflicts – including an unexpected romance with an enterprising juice shop operator (Greg Kinnear) – that make natural childbirth seem easy by comparison.

In the maternity comedy subgenre, former

Richard Roeper

“A LOT OF FUN...ROBERT DOWNEY JR. GIVES A

BLAZING PERFORMANCE!” “

THE BEST POPCORN FLICK SINCE ‘SPIDER-MAN.’” ORLANDO SENTINEL Roger Moore

SNL writer Michael McCullers’s directing debut falls somewhere solidly in the middle, a few notches below Knocked Up but well ahead of Nine Months. And with firm SNL bonds connecting him to his two stars, and them to each other, the whole thing feels just sincere enough to be consistently and awkwardly funny. Ironically, it’s the supporting players – notably Steve Martin as Kate’s health-food-guru boss and Sigourney Weaver as the exceptionally fertile head of the surrogacy operation – who walk away with the film’s funniest moments. (Wade Major) (Citywide)

FUGITIVE PIECES Poland, 1942: An old Greek archaeologist unearths a piece of living history – an orphaned Jewish boy hiding in the dirt. Athos (Rade Serbedzija) cleans up Jakob (Robbie Kay) and takes him first to the island of Hydra, then (after the war) to Canada. There they take root in a bookcrammed apartment, from which, 30 years later, middle-aged Jakob (now Stephen Dillane) refuses to move on – physically or emotionally.

How the child who wouldn’t talk about his war trauma became an adult who wouldn’t talk about anything else is one of the mysteries of writer-director Jeremy Podeswa’s drama, adapted from Anne Michaels’s novel. Sliding from past to present without an overt purpose, Jakob’s story has the grand and aimless sweep of a miniseries; it’s less a narrative than a tone poem on grief. While it’s hard to invest in Jakob’s self-imposed misery (which Podeswa lightly chides him for), the love between him and Athos – and, later, soulful second wife Michaela (Ayelet Zurer) – radiates from the screen. Rosamund Pike as wife No. 1 – a grinning Valkyrie blonde who represents his halfhearted attempt at distraction – is missed when her character splits for happier places. (Amy Nicholson) (Laemmle’s Royal, Laemmle’s Town Center 5, Laemmle’s Playhouse 7)

HATS OFF Documentary filmmaker Jyll Johnstone specializes in old ladies. (To date, her youngest subject is 87.) So does impeccably groomed 93-year-old Manhattan actress and model Mimi Weddell, who insists she’s a nonagenarian in number only; in gymnastics class, she flips around on the parallel bars. Mimi’s what your great-aunt would call “a character,” as Johnstone’s shallow portrait confirms. The film is determined to portray her as a starving spitfire, but how broke can she be when she’s shot commercials for Nike and guest-starred on Sex and the City? Johnstone isn’t so slipshod as to miss the tension between Mimi and her live-in (and leeching?) daughter Sarah, who readily admits to feeling too “schlumpy” for her mother, but these are confessions without insight or dramatics. Despite one’s admiration for the glamorous granny (and gratitude that she’s not your mom), the doc is nothing more than a series of underplayed moments, as when Mimi lands in Florence, Italy, to die in style, but shows up back in Central Park scenes later without so much as a grand adieu.

(Amy Nicholson) (Laemmle’s Sunset 5, Laemmle’s Town Center 5, Laemmle’s Playhouse 7)

IRON MAN Brilliant billionaire industrialist and inventor Tony Stark (Robert Downey Jr.), the second-generation CEO of the government’s top weapons contractor, gets kidnapped following an overseas weapons test, but escapes from his terrorist captors by building a massive suit of armor. Upon his return Stateside, this erstwhile lord of war is emotionally transformed and, after a few cybernetic and proprietary repulsor-ray upgrades to his suit, sets out to right the wrongs created by his company’s complicity in humanitarian crises. This puts him at odds with longtime aide Obadiah Stane (Jeff Bridges), who wants to maintain the double-dealing status quo.

Director Jon Favreau is handcuffed only slightly by a screenplay that eventually dictates conflict in the form of a more direct, larger-thanlife antagonist, but the comfort with special effects that he displayed in Zathura is more fully realized here, without distracting him from eliciting strong performances from Bridges, Gwyneth Paltrow (as Stark’s devoted assistant), and Terrence Howard (as an exasperated military liaison).

Then there’s Downey, who’s rakish and wry, but also gives us grace notes of a deeper reservoir of private pain. Slick and playful, Iron Man works in large part because the extremely hands-on nature of the character – he builds all his own gear, thank you very much, and brashly, publicly embraces his alter ego – helps separate him from a lot of his otherworldly or accidentally gifted superhero brethren. By film’s end, you can easily see the potential of the character, and you want more. (Brent Simon) (Citywide)

REDBELT

STARTS FRIDAY, MAY 2 AT THEATRES EVERYWHERE FOR GROUP TICKET SALES INFORMATION CALL: 1-877-PAR-GRP5

Text Iron to 33287 for showtimes and mobile content. Standard messaging rates apply.

SPECIAL ENGAGEMENT - NO PASSES OR DISCOUNT TICKETS ACCEPTED

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Mike Terry (an awesome Chiwetel Ejiofor) runs a cash-strapped L.A. jiu-jitsu academy where he preaches the non-confrontational doctrine that “competition weakens the fighter” – a bad idea if you’re in a movie written and directed by David Mamet. When attorney Laura (Emily Mortimer) accidentally shatters the school’s front window, the result brings Mike into contact with two men in vocations not known for their codes of honor – a fight promoter (Ricky Jay) and a movie star (a bracingly serious Tim Allen). Together, they conspire to drive Mike to the edge of ruin and force him to consider entering a mixed martial arts tournament.

Mamet’s plots are always carefully constructed, yet this one edges towards convoluted, with a poorly conceived climactic confrontation. And, although his acidic dialogue makes only

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sporadic appearances, Redbelt still bestows plenty of rewards. Mamet, himself a blue belt in jiu-jitsu, cleverly extracts the most exploitable aspects of Mike’s teachings – jiu-jitsu’s economy of energy and notions of honor – and uses them against him. He draws parallels between his hero’s professional and personal creeds, while the inevitable con is craftily employed to test the integrity of the main character’s moral foundation. Mike’s reverence for jiu-jitsu’s lofty principles will waver, but Mamet’s will not. However, Mamet’s distaste for Hollywood’s entertainment machine comes through loud and clear. (Mark Keizer) (The Landmark West Los Angeles, Pacific’s ArcLight, Pacific’s The Grove)

SON OF RAMBOW After a protracted rights hang-up that saw its release delayed more than a year from its Sundance 2007 bow – until after the recent Rambo sequel – this canted coming-of-age comedy finally hits theaters. Set in small-town Great Britain in the 1980s, the movie centers on floppy-armed preteen Will (Bill Milner), a fatherless member of a puritanical religious sect in which recorded entertainment is strictly forbidden. When Will sees a pirated copy of First Blood, however, his imagination takes off in sugar-rush fashion. After being blackmailed by rascally ne’er-do-well Lee Carter (Will Poulter) into helping out on a stunt reel, Will convinces his new pal they should make their own action epic. When disenchanted French exchange student Didier (Jules Sitruk) catches wind of it and demands a part, suddenly everyone wants in.

Written and directed by Garth Jennings (The Hitchhiker’s Guide to the Galaxy), Son of Rambow is at its best when capturing the explosion of adolescent imagination, seducing us with its handcrafted feel and madcap, visually inventive style. Will and Lee Carter are types, though, and their relationship runs a bit hot-cold; I wished the movie had shown more of them actually bickering and working things out. It’s also a bit unrealistic with regards to Will’s mother’s slow slide away from the hermetic existence they’ve lived for so long. Still, the two lead performances – one salty, one sweet – give this movie lift, and it has an undeniable pinch of that same comic-tinged nostalgia that has made A Christmas Story (1983) de rigueur holiday viewing for all the alt-cool Christian families out there.

(Brent Simon) (The Landmark West Los Angeles, Pacific’s ArcLight)

A WALK INTO THE SEA: DANNY WILLIAMS AND THE WARHOL FACTORY In the mid-’60s, Harvard grad Danny Williams became involved with the scene at Andy Warhol’s Factory, as well as with Warhol himself. As he was falling out of favor with the artist, he went to visit his well-to-do family, borrowed his mother’s car, and disappeared. Since the car turned up near the ocean, Williams was presumed dead, though no body was ever found. Decades later, Danny’s niece Esther Robinson accidentally discovered that the Carnegie Institute’s Warhol collection had a trove of films with Danny’s name on them and that curator Callie Angell had been trying to find out about him. So Esther, too young to have ever met her uncle, started trying to unravel the mystery of his disappearance – suicide, murder, or decampment to a new identity?

Robinson interviews surviving members of the Warhol scene, including Brigid Berlin, John Cale, and Gerard Malanga. Paul Morrissey comes off particularly badly, pooh-poohing Danny’s work in what seems like a still-simmering competition over credit for various Factory accomplishments.

Documentarian Albert Maysles, whose first feature Danny edited, remembers him more fondly. Even more intriguing are the excerpts from Danny’s rediscovered films: Much more carefully shot and lit than most of the Factory output, they do suggest a talent and intelligence that might have led somewhere interesting. (Andy Klein) (Laemmle’s Grande 4)

ALSO OPENING THIS WEEK The Favor. Eva Aridjis directed this indie drama about a pet photographer (Frank Wood), who takes charge of a troubled teenager (Ryan Donowho) after the latter’s mother, a former girlfriend, dies. (AK) (Laemmle’s Grande 4) Made of Honor. British TV director Paul Weiland helmed this comedy about a ladies’ man (Patrick Dempsey) who realizes that he’s in love with his platonic best friend (Michelle Monaghan), right before she announces she’s engaged to someone else. (AK) (Citywide) Swimming in Auschwitz. Sixty years later, six Jewish women recall their experiences at the Auschwitz-Birkenau concentration camp during the Holocaust, in this documentary from Jon Kean.

(AK) (Laemmle’s Music Hall 3)

SHOWTIMES May 2-8 Note: Times are p.m., and daily, unless otherwise indicated. All times are subject to c hange without notice.

CULVER CITY, MARINA DEL REY The Bridge: Cinema De Lux & IMAX Theater, The Promenade at Howard Hughes Center, 6081 Center

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“DAVID MAMET IS ON HIS GAME, AND THAT IS A SIGHT TO SEE. AT THE CENTER OF THIS QUIET STORM OF A MOVIE, CHIWETEL EJIOFOR CONFIRMS HIS STATUS AS ONE OF THE BEST ACTORS ANYWHERE.” –Peter Travers

CHIWETEL TIM ALICE RANDY RICKY JOE EJIOFOR ALLEN BRAGA COUTURE JAY MANTEGNA EMILY DAVID REBECCA RODRIGO MORTIMER PAYMER PIDGEON SANTORO

“A TERRIFIC NEW THRILLER.” –John Powers, VOGUE

“CHIWETEL EJIOFOR IS PHENOMENAL.” –John Anderson, NEWSDAY

SONY PICTURES CLASSICS PRESENTS “REDBELT” CHIWETEL EJIOFOR TIM ALLEN ALICE BRAGA RANDY COUTURE RICKY JAY JOE MANTEGNA EMILY MORTIMER DAVID PAYMER REBECCA PIDGEON RODRIGO SANTORO CASTING BY SHARON BIALY, C. S. A. AND SHERRY THOMAS, C. S. A. COSTUME DESIGNER DEBRA McGUIRE MUSIC BY STEPHEN ENDELMAN EDITED BY BARBARA TULLIVER, A. C. E. PRODUCTION DESIGNER DAVID WASCO DIRECTOR OF PHOTOGRAPHY ROBERT ELSWIT, A.S.C. PRODUCED BY CHRISANN VERGES

WRITTEN AND DIRECTED BY DAVID MAMET EXCLUSIVE ENGAGEMENTS START FRIDAY, MAY 2ND!

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Cinderella Stories

BELIEVE.

‘Midnight’ and ‘Easy Living’ are pure charm ~ BY ANDY KLEIN ~

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NE BY ONE, THE REMAINING gaps in the massive DVD catalog are being filled in. As with Lost Highway, which I wrote about a few weeks ago, the latest gems come via Universal Studios Home Entertainment. And again our gratitude is sullied by a degree of irritation: i.e., what took you so long? And where the hell are Murder, He Says (1945) and Miss Tatlock’s Millions (1948), Universal?

The latest blessed events are the releases of four great comedies made at Paramount in the ’30s and ’40s. (Universal holds the rights to most of Paramount’s pre-1950 titles.) Back in those days, Paramount had handily the best comedy stable, from which emerged the best work of W.C. Fields, Mae West, the Marx Brothers, and Hope and Crosby, as well as the early screenplays of Preston Sturges and Billy Wilder, both before and after they became directors.

The earliest (West’s 1934 She Done Him Wrong) and latest (Wilder’s 1942 directorial debut, The Major and the Minor) are the better known of the

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new batch, so let’s look at the other, slightly more obscure, items – Midnight (1939) and Easy Living (1937) – both directed by the vastly inconsistent Mitchell Leisen. Leisen was the greatest beneficiary of the soon-to-crumble wall between writing and directing in the studio system: His best period was when he had scripts by Sturges and Wilder to work from. In fact, Wilder claimed that the main reason he decided to direct as well as write was to protect his dialogue from Leisen.

Midnight is one of my favorite comedies ever, the sort of infinitely watchable gem that, in the days before home video, I’d go see every single time it showed up at an accessible rep theater. (The wonderful convenience of home video is offset by the huge decline in such venues and by the disappearance of a sense of specialness. A film like Midnight might show up only once every year or two in Los Angeles, so you knew that you had to go and that you would be surrounded by an audience of kindred spirits.)

Wilder and Charles Brackett, who later would transform Snow White and the Seven Dwarfs into the Howard Hawks classic Ball of Fire, also wrote this

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hilarious variation on Cinderella. Claudette Colbert stars as a penniless American stranded in Paris, who is converted into a bogus countess by fairy godfather John Barrymore – a millionaire who hopes that Colbert will divert the attentions of his wife’s young lover (Francis Lederer). (Got it?)

Meanwhile, Colbert is also being pursued by Don Ameche, a hotheaded hack driver whom she won’t admit to loving, on account of how he’s almost as broke as she is.

The dialogue is great: “That hat does something for you,” Colbert tells Barrymore’s wife (Mary Astor). “It ... it gives you a chin!” And the performances do it justice: Barrymore is especially brilliant in his last major role. Leisen did so-so work on two later Brackett-Wilder scripts, but here he doesn’t miss a beat. This is the best Lubitsch film Lubitsch never directed.

Easy Living isn’t quite in the same league, but it’s still the best film from a Sturges script prior to the writer’s ascension to directing. In the midst of the Great Depression, the third biggest banker in New York (Edward Arnold) is so angry at his wife’s spendthrift ways that he throws her latest fur coat off the penthouse roof. It sails down and lands on wage-slave Jean Arthur, riding on the open-air level of a double-decker bus. Complications ensue, including burgeoning romance with an automat employee (Ray Milland), actually the banker’s son, who’s trying to prove he can survive without Daddy’s help.

These Universal DVDs are plain-vanilla: The transfers are acceptable, from clean prints, and the only extras are Robert Osborne’s brief introductions for Turner Classic Movies. At a list price of $15 – 10 to 12 bucks online – they’re a steal. ✶

Midnight. Directed by Mitchell Leisen.

Screenplay by Charles Brackett and Billy Wilder; story by Edwin Justus Mayer and Franz Schulz. With Claudette Colbert, Don Ameche, John Barrymore, Francis Lederer, and Mary Astor. Universal Studios Home Entertainment, $14.98.

Easy Living. Directed by Mitchell Leisen.

Screenplay by Preston Sturges; story by Vera Caspary. With Jean Arthur, Ray Milland, Edward Arnold, and Luis Alberni. Universal Studios Home Entertainment, $14.98.

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Dr, Westchester, (310) 568-3375. 88 Minutes Fri-Sat 4:15, 7, 9:40, 12:10 a.m.; Sun-Thur 4:15, 7, 9:40.

Baby Mama Fri-Sat 11:45 a.m., 12:15, 2:15, 2:45, 4:45, 5:15, 7:15, 7:45, 9:45, 10:15, 12:15 a.m.; SunThur 11:45 a.m., 12:15, 2:15, 2:45, 4:45, 5:15, 7:15, 7:45, 9:45, 10:15.

Deception Fri 7:30; Sat-Sun 11:15 a.m., 7:30; MonThur 7:30.

The Forbidden Kingdom Fri-Sat 1:15, 4:15, 7:15, 10, 12:35 a.m.; Sun-Thur 1:15, 4:15, 7:15, 10.

Forgetting Sarah Marshall Fri 1:20, 1:50, 4:20, 4:50, 7:10, 7:45, 9:50, 10:25, 12:15 a.m., 12:40 a.m.; Sat 11:05 a.m., 1:20, 1:50, 4:20, 4:50, 7:10, 7:45, 9:50, 10:25, 12:15 a.m., 12:40 a.m.; Sun 11:05 a.m., 1:20, 1:50, 4:20, 4:50, 7:10, 7:45, 9:50, 10:25; MonThur 1:20, 1:50, 4:20, 4:50, 7:10, 7:45, 9:50, 10:25.

Harold & Kumar Escape From Guantanamo Bay Fri-Sat noon, 2:30, 5, 7:30, 10, 12:30 a.m.; Sun-Thur noon, 2:30, 5, 7:30, 10.

Iron Man Fri 12:10, 1:10, 1:40, 2:10, 3:05, 4:05, 4:35, 5:05, 6:05, 7, 7:30, 8, 8:55, 9:55, 10:25, 10:55, 11:45, 12:45 a.m.; Sat 10:15 a.m., 10:45 a.m., 11:15 a.m., 12:10, 1:10, 1:40, 2:10, 3:05, 4:05, 4:35, 5:05, 6:05, 7, 7:30, 8, 8:55, 9:55, 10:25, 10:55, 11:45, 12:45 a.m.; Sun 10:15 a.m., 10:45 a.m., 11:15 a.m., 12:10, 1:10, 1:40, 2:10, 3:05, 4:05, 4:35, 5:05, 6:05, 7, 7:30, 8, 8:55, 9:55, 10:25, 10:55; Mon-Thur 12:10, 1:10, 1:40, 2:10, 3:05, 4:05, 4:35, 5:05, 6:05, 7, 7:30, 8, 8:55, 9:55, 10:25, 10:55.

Made of Honor Fri-Sat 11:45 a.m., 2:15, 4:45, 7:15, 9:45, 12:15 a.m.; Sun-Thur 11:45 a.m., 2:15, 4:45, 7:15, 9:45.

Nim’s Island 11:40 a.m., 2:05.

Prom Night Fri-Sat 12:35, 2:55, 5:20, 7:40, 10:05, 12:25 a.m.; Sun-Thur 12:35, 2:55, 5:20, 7:40, 10:05.

Sesame Street: Dinosaurs Sat-Sun 10 a.m.

Street Kings Fri 2:10, 4:50, 7:30, 10:10, 12:30 a.m.; Sat 11:30 a.m., 2:10, 4:50, 7:30, 10:10, 12:30 a.m.; Sun 11:30 a.m., 2:10, 4:50, 7:30, 10:10; Mon-

Thur 2:10, 4:50, 7:30, 10:10.

Culver Plaza Theatre, 9919 Washington Blvd, (310) 836-5516. 21 Fri-Sun 2:25, 7:15, 9:50; Mon-Thur 3:10, 7:50.

88 Minutes Fri-Sun 2:30, 7:25; Mon-Thur 3:20, 7:55.

The Bank Job Fri-Sun 7:20, 9:40; Mon-Thur 1:20.

Dr. Seuss’ Horton Hears a Who! Fri-Sun 11:45 a.m., 1:40, 3:30, 5:25; Mon-Thur 4, 6:15, 8:05.

Leatherheads Fri-Sun 7:10, 9:30; Mon-Thur 12:55.

Miss Pettigrew Lives for a Day Fri-Sun 11:50 a.m., 7:50; Mon-Thur 1:45.

Nim’s Island Fri-Sun 1:45, 3:45, 5:50, 9:40; Mon-Thur 3:35, 5:40, 7:45.

Smart People Fri-Sun 12:20, 5:10; Mon-Thur 1:05, 5:45.

Street Kings Fri-Sun 12:10, 5:05, 9:45; Mon-Thur 1, 5:35.

U, Me Aur Hum Fri-Sun 11:40 a.m., 3:25; Mon-Thur 3:15, 6:50.

Under the Same Moon Fri-Sun 12:25, 2:50, 5:15, 7:30, 9:45; Mon-Thur 1:25, 3:35, 5:50, 8.

Loews Cineplex Marina Marketplace, 13455 Maxella Av, (310) 827-9588. 88 Minutes Fri-Sun 11:05 a.m., 1:50, 4:30, 7:10, 9:45; Mon-Thur 1:45, 4:05, 6:50, 9:15.

Forgetting Sarah Marshall Fri-Sun 11:15 a.m., 2, 4:50, 7:30, 10:15; Mon-Thur 1, 4, 7, 9:30.

Iron Man Fri-Sat 10 a.m., 10:45 a.m., 12:15, 1, 1:45, 3:15, 4, 4:45, 6:15, 7, 7:45, 9:15, 10, 10:45; Sun 10 a.m., 10:45 a.m., 12:15, 1, 1:45, 3:15, 4, 4:45, 6:15, 7, 7:45, 9:15, 10; Mon-Thur 12:45, 1:30, 3, 3:45, 4:30, 6, 6:45, 7:30, 9, 9:45.

Made of Honor Fri-Sun 11 a.m., 1:30, 4:20, 7:20, 10:20; Mon-Thur 1:15, 4:15, 7:15, 9:40.

Pacific Culver Stadium 12, 9500 Culver Bl, (310) 8557519. Baby Mama Fri-Sun 11:15 a.m., 1:40, 4:05, 5, 7:05, 9:35, 11:15; Mon-Thur 1:15, 1:25, 4, 7, 7:50, 9:25.

COURAGEOUS A FILM OF SPECIAL

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HUMANIT Y.” ROGER EBERT, CHICAGO SUN-TIMES

‘‘A S BEAUTIFUL AND TOUCHING A MOVIE AS YOU’RE GOING TO SEE THIS YEAR!” JEFFREY LYONS, NBC/REEL TALK

He found himself in the love around him.

FUGITIVE PIECES L WEST LOS ANGELES Laemmle's Royal (310) 477-5581 Daily: 1:40 • 4:20 7:00 • 9:35

G ENCINO Laemmle's Town Center 5 (818) 981-9811

F NEWPORT BEACH F PALM DESERT Regency Lido Cinemas Cinema Palme d’ Or (949) 673-8350 (760) 779-0730

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DOWNTOWN & SOUTH L.A. Laemmle’s Grande 4-Plex, 345 S Figueroa St, (213) 617-0268. The Favor Fri 5, 7:30, 10:10; Sat-Sun 1:40, 5, 7:30, 10:10; Mon-Thur 5, 7:30.

The Forbidden Kingdom Fri 5, 7:40, 10:15; Sat-Sun 1:50, 5, 7:40, 10:15; Mon-Thur 5, 7:40.

Iron Man Fri 4:20, 7:10, 10; Sat-Sun 1:30, 4:20, 7:10, 10; Mon-Thur 5:10, 8.

A Walk Into the Sea: Danny Williams and the Warhol Factory Fri 5:30, 7:40, 10; Sat-Sun 1, 3:15, 5:30, 7:40, 10; Mon-Thur 5:30, 7:40.

Magic Johnson Theaters, Baldwin Hills Crenshaw Plaza, 4020 Marlton Av, (323) 290-5900. 88 Minutes Fri-Sun 11:10 a.m., 1:40, 4:20, 7:10, 10; Mon-Thur 1:40, 4:20, 7:10, 10.

Baby Mama Fri-Sun 11:25 a.m., 1:55, 4:40, 7:15, 9:50; Mon-Thur 1:55, 4:40, 7:15, 9:50.

Deception Fri-Sun 11:50 a.m., 2:15, 4:50, 7:20, 10:05; Mon-Thur 2:15, 4:50, 7:20, 10:05.

The Forbidden Kingdom Fri-Sat 10:15 a.m., 10:55 a.m., 1:50, 2:35, 4:45, 5:25, 7:35, 8:15, 10:20, 10:50; Sun 10:15 a.m., 10:55 a.m., 1:50, 2:35, 4:45, 5:25, 7:35, 8:15, 10:20; Mon-Wed 1:50, 2:35, 4:45, 5:25, 7:35, 8:15, 10:20; Thur 1:50, 4:45, 5:25, 7:35, 8:15, 10:20.

Forgetting Sarah Marshall Fri-Sun 11:05 a.m., 1:45, 4:35, 7:25, 10:10; Mon-Thur 1:45, 4:35, 7:25, 10:10.

Harold & Kumar Escape From Guantanamo Bay Fri-Sun 10 a.m., 12:35, 3:10, 5:40, 8:20, 10:55; Mon-Thur 12:35, 3:10, 5:40, 8:05, 10:25.

Iron Man Fri-Sat 10:30 a.m., 11 a.m., 11:30 a.m., 1:30, 2, 2:30, 4:30, 5, 5:30, 7:30, 8, 8:30, 10:30, 11; Sun

10:30 a.m., 11 a.m., 11:30 a.m., 1:30, 2, 2:30, 4:30, 5, 5:30, 7:30, 8, 8:30, 10:30; Mon-Thur 1:30, 2, 2:30, 4:30, 5, 5:30, 7:30, 8, 8:30, 10:15.

Made of Honor Fri-Sun 10:45 a.m., 2:25, 5:05, 7:45, 10:35; Mon-Thur 12:25, 2:45, 5:05, 7:45, 10:20.

Meet the Browns Fri-Sun 10:25 a.m., 12:50, 3:20, 5:45, 8:10, 10:40; Mon-Thur 12:50, 3:20, 5:45, 8:10, 10:30.

Prom Night Fri-Sun 10:20 a.m., 12:40, 3, 5:20, 7:50, 10:15; Mon-Thur 12:40, 3, 5:20, 7:50, 10:15.

Street Kings Fri-Sat 10:50 a.m., 11:20 a.m., 1:35, 2:10, 4:15, 4:55, 7, 7:40, 9:45, 10:25; Sun 10:50 a.m., 11:20 a.m., 1:35, 2:10, 4:15, 4:55, 7, 7:40, 9:45; Mon-Wed 1:35, 2:10, 4:15, 4:55, 7, 7:40, 9:45; Thur 1:35, 4:15, 4:55, 7, 7:40, 9:45.

University Village 3, 3323 S Hoover St, (213) 7486321. Call theater for titles and showtimes.

HOLLYWOOD ArcLight Cinemas Hollywood, 6360 Sunset Bl, (323) 464-4226. Baby Mama Fri-Sat 11:20 a.m., 4:20, 9:40; Sun 4:20; Mon 11:20 a.m., 4:20, 9:40; Tue 4:20, 9:40; Wed-Thur 4:20.

Deception 11:05 a.m., 2:05, 5:05, 8:15, 10:45.

Forgetting Sarah Marshall Fri-Sat 1:40, 7:10; Sun 1:40; Mon-Thur 1:40, 7:10.

Iron Man Fri 11 a.m., 11:30 a.m., 12:05, 1:05, 1:30, 2, 2:30, 3:05, 4:05, 4:30, 5, 5:30, 6:05, 7:05, 7:30, 8, 8:30, 9:05, 10:05, 10:30, 11, 11:45; Sat-Sun 10:30 a.m., 11 a.m., 11:30 a.m., 12:05, 1:05, 1:30, 2, 2:30, 3:05, 4:05, 4:30, 5, 5:30, 6:05, 7:05, 7:30, 8, 8:30, 9:05, 10:05, 10:30, 11, 11:45; Mon-Thur 11 a.m., 11:30 a.m., 12:05, 1:05, 1:30, 2, 2:30, 3:05, 4:05, 4:30, 5, 5:30, 6:05, 7:05, 7:30, 8, 8:30, 9:05, 10:05, 10:30, 11, 11:30.

Made of Honor 11:10 a.m., 1:50, 4:10, 5:15, 7, 7:55, 9:30, 10:25.

Redbelt noon, 2:40, 5:20, 8:10, 10:40.

Son of Rambow 11:45 a.m., 12:15, 2:25, 2:35, 4:45, 7:25, 9:45.

The Visitor Fri-Mon 11:15 a.m., 1:55, 4:55, 7:45, 10:15; Wed-Thur 11:15 a.m., 1:55, 4:55, 7:45, 10:15.

Grauman’s Chinese, 6925 Hollywood Bl, (323) 4648111. Harold & Kumar Escape From Guantanamo Bay noon, 2:30, 5, 7:30, 10:20.

Los Feliz 3, 1822 N Vermont Av, (323) 664-2169. Baby Mama 2, 4:30, 7, 9:30.

Forgetting Sarah Marshall 2, 4:30, 7, 9:30.

Smart People 2, 4:30, 7, 9:30.

Mann Chinese 6, 6801 Hollywood Bl, (323) 4613331. 21 1, 4, 7, 10.

88 Minutes 12:30, 3, 5:30, 8, 10:30.

Deal 1:10, 6:50.

Harold & Kumar Escape From Guantanamo Bay 1, 3:30, 6:30, 9:30.

Prom Night Fri 12:40, 3:10, 5:40, 7:50, 10:10; Sat 3:10, 5:40, 7:50, 10:10; Sun-Thur 12:40, 3:10, 5:40, 7:50, 10:10.

Shine a Light 3:50, 9:40.

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STARTS FRIDAY, MAY 2ND!

Deception Fri-Sun 11:10 a.m., 7; Mon-Thur 3, 8:10.

The Forbidden Kingdom Fri-Sun 11:20 a.m., 1:55, 4:35, 7:15, 9:55; Mon-Thur 1:40, 4:20, 7:20, 10.

Forgetting Sarah Marshall Fri-Sun 11:30 a.m., 1:20, 2:20, 5:05, 7:50, 8:35, 10:30; Mon-Thur 12:25, 3:05, 5:05, 5:45, 8:25, 10:10.

Harold & Kumar Escape From Guantanamo Bay Fri-Sun 12:45, 1:45, 3:15, 4:15, 5:45, 8:25, 9:40, 11; MonThur 12:30, 1:30, 4:05, 5:30, 7:10, 9:40.

Iron Man Fri-Sun 11 a.m., noon, 1, 2, 4, 4:45, 5:30, 7:30, 8:15, 8:45, 10:50, 11:20; Mon-Thur noon, 1, 2, 3:20, 4:20, 5:20, 7:15, 8:15, 9:15, 10:15.

Made of Honor Fri-Sun 11:35 a.m., 12:35, 2:10, 3:10, 4:40, 5:40, 7:20, 8:20, 10:05, 11:05; Mon-Thur 12:45, 1:45, 3:10, 4:10, 5:40, 7:05, 8:05, 9:35.

UA Marina, 4335 Glencoe Av, (310) 823-1721. Baby Mama noon, 2:30, 5, 7:30, 10.

Deception 11:50 a.m., 2:40, 5:20, 7:50, 10:30.

The Forbidden Kingdom 11:20 a.m., 2, 4:40, 7:20, 10:10.

Harold & Kumar Escape From Guantanamo Bay 11:10 a.m., 11:40 a.m., 1:50, 2:20, 4:30, 5:10, 7, 7:40, 9:40, 10:20.

Then She Found Me 11:30 a.m., 2:10, 4:50, 7:10, 9:50.

L PASADENA Laemmle’s Playhouse 7 (626) 844-6500 Tickets available @ laemmle.com

We are giving away copies of the new Focus Features release “Atonement” on DVD now.

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GREAT STORY “A everyone will love. A DELIGHT.” -Jeffrey Lyons, NBC/REEL TALK

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“IRRESISTIBLE -NEW YORK POST

90 is the new 40!

Email your Name, Address and Age to: dvdpromo@lacitybeat.com

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SUNSET 5 TOWN CENTER 5 PLAYHOUSE 7 WESTPARK 8 RANCHO NIGUEL 8 673 East Colorado Blvd., 3755 Alton Parkway, Pasadena Irvine 626-844-6500 949-622-8609

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Smart People 12:10, 2:25, 4:50, 7:10, 9:50.

Pacific’s El Capitan, 6838 Hollywood Bl, (323) 4677674. The Little Mermaid 10 a.m., 12:30, 3, 5:30, 7:45.

Pacific’s The Grove Stadium 14, 189 The Grove Dr, Third St & Fairfax Av, (323) 692-0829. Baby Mama Fri-Wed 10:55 a.m., 1, 1:55, 4:50, 7, 7:55, 10:45; Thur 10:55 a.m., 1, 1:55, 4:50, 7, 7:55, 10:30.

Deception Fri-Mon 10:30 a.m., 10:25; Wed 10:30 a.m., 10:25; Thur 10:30 a.m., 10:15.

The Forbidden Kingdom Fri-Wed 10:40 a.m., 1:25, 4:20, 7:20, 10:30; Thur 10:40 a.m., 1:25, 4:20, 7:20, 10:05.

Forgetting Sarah Marshall Fri-Wed 10:25 a.m., 11:05 a.m., 1:05, 2:05, 4:05, 5:10, 7:05, 8:05, 10:10, 11; Thur 10:25 a.m., 11:05 a.m., 1:05, 2:05, 4:05, 5:10, 7:05, 8:05, 9:45, 11:05.

Harold & Kumar Escape From Guantanamo Bay Fri-Wed 10:20 a.m., 10:50 a.m., 1:35, 4, 4:35, 7:35, 10:05, 10:35; Thur 10:20 a.m., 10:50 a.m., 1:35, 4, 4:35, 7:35, 9:30, 10:10.

Iron Man Fri-Sat 10:15 a.m., 10:45 a.m., 11 a.m., 11:30 a.m., 1:15, 1:30, 1:45, 2, 2:30, 4:15, 4:30, 4:45, 5, 5:30, 7:15, 7:25, 7:45, 8, 8:30, 10:20, 10:40, 10:55, 11:25, 12:35 a.m.; Sun-Mon 10:15 a.m., 10:45 a.m., 11 a.m., 11:30 a.m., 1:15, 1:30, 1:45, 2, 2:30, 4:15, 4:30, 4:45, 5, 5:30, 7:15, 7:25, 7:45, 8, 8:30, 10:20, 10:40, 10:55, 11:25; Tue 10:15 a.m., 10:45 a.m., 11 a.m., 11:30 a.m., 1:30, 1:45, 2, 2:30, 4:30, 4:45, 5, 5:30, 7:25, 7:45, 8, 8:30, 10:20, 10:40, 10:55, 11:25; Wed 10:15 a.m., 10:45 a.m., 11 a.m., 11:30 a.m., 1:15, 1:30, 1:45, 2, 2:30, 4:15, 4:30, 4:45, 5, 5:30, 7:15, 7:25, 7:45, 8, 8:30, 10:20, 10:40, 10:55, 11:25; Thur 10:15 a.m., 10:45 a.m., 11 a.m., 11:30 a.m., 1:15, 1:30, 1:45, 2, 2:30, 4:15, 4:30, 4:45, 5, 5:30, 7:15, 7:25, 7:45, 8, 8:30, 10:20, 10:40, 11, 11:25.

Made of Honor Fri-Sun 10:35 a.m., 11:15 a.m., 1:10, 2:15, 4:10, 5:15, 7:10, 8:15, 10:15, 11:10; Mon 10:35 a.m., 11 a.m., 1:10, 2:15, 4:10, 5:15, 7:10, 8:15, 10:15, 11:10; Tue-Wed 10:35 a.m., 11:15 a.m., 1:10, 2:15, 4:10, 5:15, 7:10, 8:15, 10:15, 11:10; Thur 10:35 a.m., 11:15 a.m., 1:10, 2:15, 4:10, 5:15, 7:10, 8:15, 9:40, 10:55.

Redbelt Fri-Wed 11:20 a.m., 2:20, 5:20, 8:20, 11:15; Thur 11:20 a.m., 2:20, 5:20, 8:20, 10:50.

Regent Showcase, 614 N La Brea Av, (323) 934-2944.

Kiss Me Deadly Fri 7:30, 9; Sat-Sun 6, 7:30, 9; MonTue 7:30, 9; Wed 3:30; Thur 9.

Vine, 6321 Hollywood Bl, (323) 463-6819. Call theater for titles and showtimes.

Vista, 4473 Sunset, (323) 660-6639. Iron Man Fri 3:45, 6:45, 9:45; Sat-Sun 12:45, 3:45, 6:45, 9:45; MonThur 3:45, 6:45, 9:45.

NORTH HOLLYWOOD, UNIVERSAL CITY Century 8, 12827 Victory Bl, (818) 508-6004. 88 Minutes 1:45, 7:10.

Baby Mama 10:30 a.m., 12:50, 3:10, 5:35, 7:55, 10:15.

The Forbidden Kingdom 10:50 a.m., 1:35, 4:20, 7:05, 9:50.

Forgetting Sarah Marshall 11:05 a.m., 1:50, 4:35, 7:20, 10.

Harold & Kumar Escape From Guantanamo Bay 11:30 a.m., 2:15, 4:50, 7:30, 10:10.

Iron Man 10:25 a.m., 11:55 a.m., 1:25, 2:55, 4:25, 5:55, 7:25, 8:55, 10:25.

Made of Honor 11:40 a.m., 2:20, 5:05, 7:35, 10:05.

Prom Night 11:20 a.m., 4:30, 9:45.

Loews CityWalk Stadium 19 with IMAX, 100 Universal City Dr at Universal CityWalk, (818) 508-0588; IMAX Theater (818) 760-8100. 21 3:50, 7.

88 Minutes Fri-Wed 1, 7:05, 9:45; Thur 7:05.

Baby Mama Fri-Sat 10:35 a.m., 11:50 a.m., 12:55, 2:20, 3:20, 4:50, 5:50, 7:20, 8:20, 10, 10:40, 12:30 a.m.; Sun 10:35 a.m., 11:50 a.m., 12:55, 2:20, 3:20, 4:50, 5:50, 7:20, 8:20, 10, 10:40; Mon-Wed 12:55, 2:20, 3:20, 4:50, 5:50, 7:20, 8:20, 10, 10:40; Thur 2:20, 3:20, 4:50, 5:50, 7:20, 8:20, 10, 10:40.

Deception Fri-Wed 3:30, 6:40, 9:20; Thur 3:30, 6:40.

Dr. Seuss’ Horton Hears a Who! Fri-Sun 10:55 a.m., 1:05; Mon-Wed 1:05.

The Forbidden Kingdom Fri-Sat 10:30 a.m., 12:15, 2:50, 3:40, 5:30, 8:15, 11, 12:25 a.m.; Sun 10:30 a.m., 12:15, 2:50, 3:40, 5:30, 8:15; Mon-Thur 2:50, 3:40, 5:30, 8:15.

Forgetting Sarah Marshall Fri-Sat noon, 2:40, 5:20, 8, 10:55; Sun noon, 2:40, 5:20, 8, 10:35; Mon-Thur 2:40, 5:20, 8, 10:35.

Harold & Kumar Escape From Guantanamo Bay Fri-Sat 10:50 a.m., 12:05, 1:15, 2:30, 4, 5, 6:30, 7:40, 9, 10:10, 11:35, 12:35 a.m.; Sun 10:50 a.m., 12:05, 1:15, 2:30, 4, 5, 6:30, 7:40, 9, 10:10; Mon-Wed 1:15, 2:30, 4, 5, 6:30, 7:40, 9, 10:10; Thur 2:30, 4, 5, 6:30, 7:40, 10:10.

Iron Man Fri-Sat 10:30 a.m., 11:10 a.m., 11:45 a.m., 12:10, 12:50, 1:30, 2:10, 2:45, 3:10, 4, 4:30, 5:10, 5:45, 6:10, 6:50, 7:30, 8:10, 8:45, 9:10, 9:50, 10:30, 11:10, 11:45, 12:10 a.m., 12:40 a.m.; Sun 10:30 a.m., 11:10 a.m., 11:45 a.m., 12:10, 12:50, 1:30, 2:10, 2:45, 3:10, 4, 4:30, 5:10, 5:45, 6:10, 6:50, 7:30, 8:10, 8:45, 9:10, 9:50, 10:30; MonWed 12:50, 1:30, 2:10, 2:45, 3:10, 4, 4:30, 5:10, 5:45, 6:10, 6:50, 7:30, 8:10, 8:45, 9:10, 9:50, 10:30; Thur 1:55, 2:10, 2:45, 3:10, 4, 4:40, 5:10, 5:45, 6:10, 6:50, 7:30, 8:10, 8:45, 9:10, 9:50, 10:30.

Made of Honor Fri-Sat 10:45 a.m., 11:20 a.m., 1:10, 2, 3:45, 4:40, 6:20, 7:10, 8:50, 9:40, 11:20, 12:15 a.m.; Sun 10:45 a.m., 11:20 a.m., 1:10, 2, 3:45, 4:40, 6:20, 7:10, 8:50, 9:40; Mon-Wed 1:10, 2, 3:45, 4:40, 6:20, 7:10, 8:50, 9:40; Thur 2, 3:45, 4:40, 6:20, 7:10, 8:50, 9:40.

Nim’s Island Fri-Sun 11 a.m., 1:20; Mon-Wed 1:20.

Prom Night Fri-Wed 12:40, 3:30, 5:40, 8:05, 10:20; Thur 3:30, 5:40, 8:05.

Shine a Light: The IMAX Experience IMAX Fri 1:50, 4:55, 7:50, 10:50; IMAX Sat 7:50, 10:50; IMAX Sun 7:50, 10:35; IMAX Mon-Wed 1:50, 4:55, 7:50, 10:35; IMAX Thur 2, 4:55, 7:50.

Street Kings Fri-Sat 12:30, 3, 5:55, 8:30, 11:15; Sun-Wed 12:30, 3, 5:55, 8:30; Thur 3, 5:55, 8:30.

SANTA MONICA AMC Santa Monica 7, 1310 Third Street Promenade, (310) 395-3030. 21 Fri-Sun 11:05 a.m., 1:50, 4:50, 7:45, 10:40; Mon-Thur 1, 4, 7:10, 9:55.

Baby Mama Fri-Sun 11:40 a.m., 2:10, 4:40, 7:15, 9:40; Mon-Thur 2:10, 4:40, 7:15, 9:40.

Deception Fri-Sun 11 a.m., 1:30, 4:10, 7, 9:45; MonThur 1:30, 4:10, 7, 9:45.

The Forbidden Kingdom Fri 11 a.m., 1, 1:45, 3:45, 4:45, 6:30, 7:40, 9:10, 10:20; Sat 11 a.m., 1:35, 2:30, 4:20, 5:05, 7:10, 7:40, 10:10; Sun 11 a.m., 1, 1:45, 3:45, 4:45, 6:30, 7:40, 9:10, 10:20; MonThur 1:35, 2:25, 4:10, 5:15, 7, 8, 9:50.

Forgetting Sarah Marshall Fri-Sun 11:45 a.m., 2:30, 5:15, 8, 10:45; Mon-Thur 2, 4:45, 7:20, 10.

Harold & Kumar Escape From Guantanamo Bay Fri 11:30 a.m., 2:10, 4:50, 7:30, 10:15; Sat 11:30 a.m., 2:10, 4:50, 7:20, 10:15; Sun 11:30 a.m., 2:10, 4:50, 7:30, 10:15; Mon-Thur 2:30, 5, 7:30, 10:05.

What Happens in Vegas Sat only, 10.

Laemmle’s Monica 4-Plex, 1332 Second St, (310) 3949741. Smart People 1:55, 4:40, 7:35, 10.

Then She Found Me 1:45, 4:30, 7:15, 9:55.

The Visitor 1:30, 4:20, 7:25, 10.

Young at Heart 1:20, 4, 7, 9:40.

Loews Cineplex Broadway, 1441 Third Street Promenade, (310) 458-1506. The Bank Job Fri 2:15, 4:55, 7:30, 10; Sat 11:25 a.m., 2:10, 4:55, 7:30, 10; Sun 2:10, 4:55, 7:30, 10; Mon-Thur 2, 4:30, 7, 9:30.

Deal Fri 3:15, 5:30, 7:45, 9:55; Sat 11 a.m., 1:05, 3:15, 5:30, 7:45, 9:55; Sun 1:05, 3:15, 5:30, 7:45, 9:55; Mon-Thur 2:15, 4:35, 6:50, 9:10.

Nim’s Island Fri 2:25, 4:45, 7:15, 9:30; Sat 11:35 a.m., 2:15, 4:45, 7:15, 9:30; Sun 2:15, 4:45, 7:15, 9:30; Mon-Thur 2:05, 4:20, 6:35, 9.

Prom Night Fri 3:25, 5:40, 8, 10:15; Sat 11:10 a.m., 1:15, 3:25, 5:40, 8, 10:15; Sun 1:15, 3:25, 5:40, 8, 10:15; Mon-Thur 2:30, 4:45, 7:10, 9:20.

Mann Criterion, 1313 Third Street Promenade, (310) 395-1599. 88 Minutes 11:50 a.m., 2:30, 5:10, 7:40, 10:20.

Iron Man Fri-Sat 11 a.m., noon, 1, 2, 3, 4:05, 5, 6, 7:10, 8, 9, 10:10, 11, midnight; Sun-Thur 11 a.m., noon, 1, 2, 3, 4:05, 5, 6, 7:10, 8, 9, 10:10.

Made of Honor 11:10 a.m., 12:10, 1:50, 2:50, 4:20, 5:20, 7, 7:50, 9:30, 10:30.

SHERMAN OAKS, ENCINO ArcLight Sherman Oaks, 15301 Ventura Bl, Sherman Oaks, (818) 501-0753. 88 Minutes Fri 2:05, 4:40, 7:45, 10:40; Sat 2:05, 4:40, 7:45; Sun-Thur 2:05, 4:40, 7:45, 10:40.

Baby Mama Fri 1:35, 2:35, 4:20, 5:20, 7:25, 8:20, 10:15, 11:15; Sat-Sun 12:05, 1:35, 2:35, 4:20, 5:20, 7:25, 8:20, 10:15, 11:15; Mon-Thur 1:35, 2:35, 4:20, 5:20, 7:25, 8:20, 10:15, 11:15.

The Forbidden Kingdom 1:25, 4:25, 7:20, 10:25.

Forgetting Sarah Marshall Fri 1:10, 2:10, 4:10, 7:05, 8:05, 10:10; Sat-Sun 11:20 a.m., 1:10, 2:10, 4:10, 7:05, 8:05, 10:10; Mon 1:10, 2:10, 4:10, 7:05, 10:10; Tue-Thur 1:10, 2:10, 4:10, 7:05, 8:05, 10:10.

Harold & Kumar Escape From Guantanamo Bay Fri-Sun 1:20, 4:05, 5:05, 7:15, 10:05, 11:05; Mon 1:20, 4:05, 7:15, 10:05; Tue-Thur 1:20, 4:05, 5:05, 7:15, 10:05, 11:05.

Iron Man Fri 1, 1:01, 1:30, 2, 2:01, 2:30, 4, 4:01, 4:30, 5, 5:01, 5:30, 7, 7:01, 7:30, 8, 8:01, 8:30, 10, 10:01, 10:30, 11, 11:01, 11:30; Sat-Sun 11 a.m., 11:01 a.m., 11:30 a.m., 1, 1:01, 1:30, 2, 2:01, 2:30, 4, 4:01, 4:30, 5, 5:01, 5:30, 7, 7:01, 7:30, 8, 8:01, 8:30, 10, 10:01, 10:30, 11, 11:01, 11:30; MonThur 1, 1:01, 1:30, 2, 2:01, 2:30, 4, 4:01, 4:30, 5, 5:01, 5:30, 7, 7:01, 7:30, 8, 8:01, 8:30, 10, 10:01, 10:30, 11, 11:01, 11:30.

Made of Honor Fri 1:15, 2:15, 4:15, 5:15, 7:10, 8:15, 9:40, 10:45; Sat-Sun 11:45 a.m., 1:15, 2:15, 4:15, 5:15, 7:10, 8:15, 9:40, 10:45; Mon-Wed 1:15, 2:15, 4:15, 5:15, 7:10, 8:15, 9:40, 10:45; Thur 1:15, 2:15, 4:15, 5:15, 7:10, 8:15, 9:30, 10:45.

The Seven Year Itch Mon only, 7:30.

The Visitor 1:45, 4:45, 7:50, 10:20.

What Happens in Vegas Sat only, 10.

Laemmle’s Town Center 5, 17200 Ventura Bl, Encino, (818) 981-9811. Fugitive Pieces 1:40, 4:30, 7:20, 9:55.

Hats Off 1, 3:10, 5:20, 7:40, 10.

Jellyfish 12:40, 3, 5:10, 7:30, 9:30.

Standard Operating Procedure 1:20, 4:10, 7, 9:50.

Then She Found Me 1:30, 4:20, 7:10, 9:45.

Mann Plant 16, 7876 Van Nuys Bl, Panorama City, (818) 779-0323. 21 6:45, 9:45.

Baby Mama 11:50 a.m., 2:20, 4:50, 7:20, 9:50.

Deception 11:45 a.m., 9:45.

Dr. Seuss’ Horton Hears a Who! 12:10, 2:40, 5:10.

The Forbidden Kingdom 11:10 a.m., 12:50, 1:50, 3:40, 4:30, 6:30, 7:20, 9:20, 10.

Forgetting Sarah Marshall 11:30 a.m., 2:10, 4:50, 7:40, 10:20.

Harold & Kumar Escape From Guantanamo Bay 11:30 a.m., 12:20, 2, 2:50, 4:30, 5:20, 7, 7:50, 9:30, 10:20.

Iron Man Fri-Sat 11 a.m., noon, 12:30, 1, 2, 3, 3:30, 4:05, 5, 6, 6:40, 7:10, 8, 9, 9:40, 10:10, 11, midnight; Sun-Thur 11 a.m., noon, 12:30, 1, 2, 3, 3:30, 4:05, 5, 6, 6:40, 7:10, 8, 9, 9:40, 10:10.

Made of Honor noon, 2:30, 5, 7:30, 10.

Nim’s Island 11:15 a.m., 1:40, 4:10.

Prom Night 12:15, 2:45, 5:15, 7:45, 10:15.

Street Kings 7:40, 10:10.

Superhero Movie 11:20 a.m., 1:45, 4:20, 6:50, 9:10.

Under the Same Moon 2:15, 4:45, 7:15.

Pacific’s Sherman Oaks 5, 14424 Millbank St, Sherman Oaks, (818) 501-5121. 21 1:10, 4:20, 7:20, 10:10.

Deal 1:30.

Deception 4:40, 7:25, 10:05.

Iron Man 1, 4:05, 7:10, 10:15.

Smart People 1:45, 4:30, 7:30, 9:55.

Young at Heart 1:15, 4:10, 7, 9:45.

WEST HOLLYWOOD, BEVERLY HILLS, CENTURY CITY AMC Century City 15, 10250 Santa Monica Bl, (310) 277-2011. 21 Fri-Sat 10:25 a.m., 1:25, 4:30, 7:35, 10:40; Sun 10:05 a.m., 1:25, 4:30, 7:35, 10:35; MonTue 1:15, 4:15, 7:30, 10:25; Wed 1, 3:40, 10:25.

Baby Mama Fri 9:35 a.m., 11 a.m., 12:10, 1:40, 2:35, 4:20, 5:05, 7, 7:50, 9:45, 10:50; Sat 9:35 a.m., 11 a.m., 12:10, 1:40, 2:35, 4:20, 5:05, 7, 7:35, 9:45, 10:35; Sun 9:35 a.m., 11 a.m., 12:10, 1:40, 2:35, 4:20, 5:05, 7, 7:50, 9:35, 10:15, 10:40; Mon-Wed 1:50, 2:35, 4:25, 5:20, 7, 8, 9:35, 10:30.

The Bank Job Fri-Sat 10:10 a.m., 4:10, 10:25; Sun 10:10 a.m., 4:10, 10:05; Mon-Wed 1:25, 7:25.

Dr. Seuss’ Horton Hears a Who! Fri-Sun 10 a.m., 12:20, 2:30; Mon-Wed 2:10.

The Forbidden Kingdom Fri-Sat 10:50 a.m., 1:05, 1:50, 4:55, 7:15, 8, 10:55; Sun 10:50 a.m., 1:05, 1:50, 4:55, 7:15, 8, 10:50; Mon-Wed 2:05, 4:20, 5, 7:50, 10, 10:35.

Forgetting Sarah Marshall Fri-Sat 9:30 a.m., 10:35 a.m., 12:05, 1:20, 2:40, 4:25, 5:25, 7:20, 8:15, 10:15, 11:10; Sun 9:30 a.m., 10:35 a.m., 12:05, 1:20, 2:40, 4:25, 5:25, 7:20, 8:15, 9:55, 10:45; MonWed 1:30, 2:30, 4:10, 5:10, 7:10, 7:55, 9:50, 10:35.

Harold & Kumar Escape From Guantanamo Bay Fri-Sat 9:45 a.m., 10:30 a.m., 12:15, 1:15, 2:50, 4:15, 5:30, 7:10, 8:10, 10:05, 10:45, 12:15 a.m.; Sun 9:45 a.m., 12:15, 1:15, 2:50, 4:15, 5:30, 7:10, 8:10, 9:50, 10:20; Mon-Wed 1:55, 2:45, 4:35, 5:25, 7:15, 8:05, 9:55, 10:40.

Iron Man Fri-Sat 9:40 a.m., 10:20 a.m., 11:05 a.m., noon, 12:45, 1:30, 2:10, 3:05, 4, 4:40, 5:20, 6:20, 7:05, 7:45, 8:30, 9:35, 10:20, 11, 11:40, 12:25 a.m., 12:45 a.m.; Sun 9:40 a.m., 10:20 a.m., 11:05 a.m., noon, 12:45, 1:30, 2:10, 3:05, 4, 4:40, 5:20, 6:20, 7:05, 7:45, 8:30, 9:35, 10:10, 10:50; Mon-Tue 1, 1:45, 2:25, 3:15, 4, 4:45, 5:30, 6:20, 7:05, 7:45, 8:35, 9:25, 10:10, 10:40; Wed 1, 1:45, 3:15, 4, 4:45, 6:20, 7:05, 7:45, 9:25, 10:10, 10:40; Thur 1, 4, 7:05, 10:10.

Nim’s Island Fri 9:55 a.m., 12:25, 2:45, 5:10, 7:40, 10; Sat 9:55 a.m., 12:25, 2:45, 5:10, 7:40, 10:10; Sun 9:55 a.m., 12:25, 2:45, 5:10, 7:40, 10; MonWed 2:20, 4:50, 7:20, 9:45.

Spirit of the Marathon Thur only, 7:30.

Street Kings Fri 4:45, 7:30, 10:10; Sat-Sun 4:45, 7:30; Mon-Wed 4:40, 7:35, 10:20.

What Happens in Vegas Sat only, 10.

Laemmle’s Music Hall 3, 9036 Wilshire Bl, (310) 2746869. The Counterfeiters Fri 5, 7:30, 9:55; Sat-Sun noon, 2:30, 5, 7:30, 9:55; Mon-Thur 5, 7:30, 9:55.

Flight of the Red Balloon Fri 5:30, 8:10; Sat-Sun 12:10, 2:50, 5:30, 8:10; Mon-Thur 5:30, 8:10.

Laemmle’s Sunset 5 Theatre, 8000 Sunset Bl, (323) 848-3500. Anamorph 1:30, 4:15, 7, 9:40.

Hats Off 1, 3:15, 5:25, 7:40, 9:55.

Jellyfish 1, 3:10, 5:20, 7:30, 9:40.

Standard Operating Procedure 1:15, 4:05, 7, 9:50.

Beverly Center 13 Cinemas, 8522 Beverly Blvd., Suite 835, (310) 652-7760. 21 1, 4:10, 7, 9:40.

The Bank Job 12:40, 3, 5:20, 8, 10:20.

Bra Boys 12:50, 2:50, 5:10, 7:20, 9:30.

Deal 12:20, 2:30, 4:50, 7:20, 9:40.

Dr. Seuss’ Horton Hears a Who! 1, 3, 4:50.

Expelled: No Intelligence Allowed 12:40, 2:40, 5, 7:10, 9:20.

Nim’s Island noon, 2:10, 4:40, 7, 9:10.

Persepolis 12:50, 3:10, 5:30, 7:40, 10.

Prom Night 12:30, 2:40, 5, 7:10, 9:20.

Run Fat Boy Run 6:50, 9:30.

Stop-Loss 12:20, 2:50, 5:20, 7:50, 10:10.

Street Kings noon, 2:30, 5:10, 7:40, 10:10.

Superhero Movie 12:10, 2:20, 4:40, 6:50, 9.

Where in the World Is Osama bin Laden? 12:10, 2:20, 4:30, 6:40, 9.

Deception 11:40 a.m., 2:10, 4:50, 7:30, 10:10.

Made of Honor Fri-Sun 11:30 a.m., 12:20, 2, 2:50, 4:30, 5:20, 7:15, 8, 9:40, 10:25; Mon 11:30 a.m., 12:20, 2, 2:50, 4:30, 7:15, 9:40, 10:25; Tue-Thur 11:30 a.m., 12:20, 2, 2:50, 4:30, 5:20, 7:15, 8, 9:40, 10:25.

Redbelt Fri-Wed 11:50 a.m., 2:20, 5, 7:40, 9:45, 10:20; Thur 11:50 a.m., 2:20, 5, 7:40, 10:20.

Smart People Fri-Wed 12:20, 2:40, 5:05, 7:50, 10:15; Thur 12:20, 2:40, 10:15.

Son of Rambow Fri-Mon 11:50 a.m., 12:30, 2:20, 3, 4:50, 5:30, 7:20, 8:05, 10:25; Tue 11:50 a.m., 12:30, 2:20, 3, 4:50, 5:30, 7:20, 10:25; Wed 11:50 a.m., 12:30, 2:20, 3, 4:50, 5:30, 7:20, 8:05, 10:25; Thur 11:50 a.m., 12:30, 2:20, 3, 5:30, 8:05, 10:25.

Standard Operating Procedure 11 a.m., 1:50, 4:30, 7:10, 9:50.

Then She Found Me noon, 2:30, 5, 7:30, 10:10.

The Visitor 12:10, 2:40, 5:10, 7:45, 10:15.

Young at Heart 11:20 a.m., 1:50, 4:25, 7:10, 9:40.

Majestic Crest Theater, 1262 Westwood Bl, (310) 4747866. 21 2:30, 5, 7:30, 10.

Mann Bruin, 948 Broxton Av, (310) 208-8998. Made of Honor Fri-Sat noon, 2:30, 5, 7:30, 10, 12:20 a.m.; Sun-Thur noon, 2:30, 5, 7:30, 10.

Mann Festival 1, 10887 Lindbrook Av, (310) 208-4575.

The Forbidden Kingdom 1:30, 4:20, 7, 9:40.

Mann Village, 961 Broxton Av, (310) 208-5576.

Harold & Kumar Escape From Guantanamo Bay 12:10, 2:40, 5:10, 7:40, 10:10.

88 Minutes Fri-Sat 11:30 a.m., 2:10, 4:55, 7:40, 10:20; Sun 11:30 a.m., 2:10, 4:55, 7:30, 10:05; Mon-Thur 2:05, 4:55, 7:30, 10.

Baby Mama Fri 10:20 a.m., 12:50, 3:20, 5:45, 8:25, 11; Sat 11:25 a.m., 2, 4:35, 7:15, 10:05; Sun 11:25 a.m., 2, 4:35, 7:15, 9:45; Mon-Thur 1:55, 4:35, 7:15, 9:45.

Deception Fri 11:20 a.m., 7:15, 9:50; Sat-Sun 11:20 a.m., 7:15; Mon-Thur 7:05, 9:45.

Dr. Seuss’ Horton Hears a Who! Fri-Sat 10:50 a.m., 1:10, 3:30; Sun 10:20 a.m., 12:30, 2:45; Mon-Thur 2:30.

The Forbidden Kingdom Fri-Sat 10:45 a.m., 1:30, 4:25, 7:10, 10:05; Sun 10:45 a.m., 1:30, 4:25, 7:10, 9:50; Mon-Thur 1:30, 4:25, 7:10, 9:50.

Forgetting Sarah Marshall Fri-Sat 11:50 a.m., 2:10, 5, 8, 10:55; Sun 11:50 a.m., 2:10, 5, 7:45, 10:30; Mon-Thur 1:10, 4, 7, 9:45.

Harold & Kumar Escape From Guantanamo Bay Fri-Sat 11:55 a.m., 2:35, 5:10, 7:55, 10:40; Sun 11:55 a.m.,

WOODLAND HILLS, WEST HILLS, TARZANA AMC Promenade 16, 21801 Oxnard St, Woodland Hills, (818) 883-2262. 21 Fri 10:40 a.m., 1:35, 4:30, 7:25, 10:35; Sat 10:40 a.m., 1:35, 4:35, 7:25, 10:35; Sun 10:40 a.m., 1:35, 4:35, 7:20, 10:10; MonThur 1:35, 4:35, 7:20, 10:05.

FROM THE DIRECTOR OF THE ACADEMY AWARD WINNER “THE FOG OF WAR”AND “THE THIN BLUE LINE” ®

“ERROL MORRIS HAS HOLD OF A MONSTER SUBJECT, ONE IN WHICH POLITICS AND ART BLEED TOGETHER. A RIVETING NARRATIVE.” –David Edelstein, NEW YORK MAGAZINE

####!

“

(HIGHEST RATING)

ILLUMINATING AND UNFLINCHING!” –Rafer Guzman, NEWSDAY

“HARROWING AND HAUNTING.”

“AN EXTREMELY POWERFUL EXPERIENCE.”

-Richard Corliss, TIME MAGAZINE

“REMARKABLY COMPELLING.”

–Jeffrey Lyons, NBC/Reel TALK

“ERROL MORRIS IS AS GREAT A FILMMAKER AS HITCHCOCK OR FELLINI.”

-Glenn Kenny, PREMIERE.COM

“A TRULY IMPORTANT FILM.” -Dennis Dermody, PAPER

–Roger Ebert

WINNER

TRIBECA

WESTWOOD, WEST L.A.

SILVER BEAR

FILM FESTIVAL

AMC Avco Center, 10840 Wilshire Bl, (310) 475-0711.

Baby Mama Fri 12:20, 2:40, 5, 7:20, 9:40; Sat-Sun 10:15 a.m., 12:30, 2:50, 5:10, 7:30, 9:50; Mon-Thur 2:20, 4:40, 7:10, 9:30.

Deception Fri 2:15, 4:45; Sat-Sun 10:15 a.m., 4:05; Mon-Thur 3, 5:30.

Forgetting Sarah Marshall Fri 2, 4:35, 7:10, 10; SatSun 11:25 a.m., 2, 4:35, 7:10, 10; Mon-Thur 1:50, 4:25, 7:05, 9:40.

Iron Man Fri 1:20, 4:10, 7, 7:50, 9:50, 10:40; SatSun 10:30 a.m., 12:45, 1:45, 4:40, 6:40, 7:35, 9:40, 10:25; Mon-Thur 1:20, 4:10, 7, 8, 9:45.

Laemmle’s Royal Theatre, 11523 Santa Monica Bl, (310) 477-5581. Fugitive Pieces 1:40, 4:20, 7, 9:35.

Landmark’s Nuart Theater, 11272 Santa Monica Bl, (310) 281-8223. Annie Hall Mon only, 5:35, 10.

The Apartment Mon only, 7:30.

Dr. No Tue only, 7:30.

The Good, the Bad and the Ugly Fri only, 12:45, 4:40, 8:30.

The Great Escape Sat only, 12:45, 4:40, 8:30.

Midnight Cowboy Wed only, 7:30.

The Party Midnight Fri only,.

The Pink Panther Thur only, 5:15, 10.

The Rocky Horror Picture Show Midnight Sat only,.

Some Like It Hot Thur only, 7:30.

The Thomas Crown Affair Tue only, 5:25, 9:50.

West Side Story Sun only, 1:20, 4:40, 8.

Women in Love Wed only, 5, 10.

Landmark’s Regent, 1045 Broxton Av, (310) 281-8223.

Priceless 2:15, 4:45, 7:15, 9:45.

The Landmark West Los Angeles, 10850 W Pico Bl, (310) 281-8223. Body of War 12:45, 3, 5:20, 7:40, 10.

BERLIN FILM FESTIVAL 2008

OFFICIAL SELECTION 2008

SONY PICTURES CLASSICS & PARTICIPANT MEDIA PRESENT AN ERROL MORRIS FILM “STANDARD OPERATING PROCEDURE” MUSIC BY DANNY ELFMAN PRODUCTION DESIGNER STEVE HARDIE EDITED BY ANDY GRIEVE STEVEN HATHAWAY DAN MOONEY DIRECTOR OF PHOTOGRAPHY ROBERT CHAPPELL & ROBERT RICHARDSON, ASC EXECUTIVE PRODUCERS JEFF SKOLL DIANE WEYERMANN MARTIN LEVIN JULIA SHEEHAN ROBERT FERNANDEZ PRODUCED BY JULIE BILSON AHLBERG PRODUCED AND DIRECTED BY ERROL MORRIS WWW.TAKEPART.COM WWW.SONYCLASSICS.COM READ THE BOOK FROM

STARTS FRIDAY, MAY 2ND! L WEST HOLLYWOOD Laemmle's Sunset 5 (323) 848-3500 Tickets available @ laemmle.com Daily: 1:15 • 4:05 • 7:00 • 9:50

L WEST LOS ANGELES The LANDMARK at W. Pico & Westwood (310) 281-8233 Free Parking. www.landmarktheatres.com Daily: 11:00 • 1:50 • 4:30 • 7:10 • 9:50 SORRY, NO PASSES ACCEPTED FOR THIS ENGAGEMENT

G ENCINO F IRVINE Edwards Laemmle's Town Westpark 8 Center 5 (800) FANDANGO #144 (818) 981-9811 FPresented in

GPresented in

L PASADENA Laemmle’s Playhouse 7 Cinemas (626) 844-6500 Tickets available @ laemmle.com LPresented in

VIEW THE TRAILER AT WWW.STANDARDOPERATINGPROCEDUREMOVIE.COM

MAY 1~7, 2008

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CITYBEAT

2:35, 5:10, 7:40, 10:15; Mon-Thur 2:35, 5:10, 7:40, 10:10.

Iron Man Fri 10:15 a.m., 11 a.m., 11:45 a.m., 12:30, 1:15, 2, 2:45, 3:35, 4:20, 5:05, 5:50, 6:45, 7:30, 8:15, 9, 9:55, 10:40, 11:20, 11:55; Sat 10:15 a.m., 11 a.m., 11:45 a.m., 12:30, 1:15, 2, 2:45, 3:35, 4:20, 5:05, 5:50, 6:45, 7:30, 8:15, 9, 9:55, 10:40, 11:20; Sun 10:15 a.m., 11 a.m., 11:45 a.m., 12:30, 1:15, 2, 2:45, 3:35, 4:20, 5:05, 5:50, 6:45, 7:25, 8:05, 9, 9:40, 10:30; MonWed 1:15, 2, 2:45, 3:45, 4:20, 5:05, 5:50, 6:45, 7:20, 8:10, 9, 9:40, 10:15; Thur 1:15, 2, 2:45, 3:45, 4:20, 5:05, 5:50, 7:20, 8:10, 9, 10:15.

Leatherheads Fri-Sat 5:40, 8:30, 11:10; Sun 5:05, 7:50, 10:25; Mon-Thur 4:45, 7:30, 10.

Made of Honor Fri-Sat 10 a.m., 11:25 a.m., 12:35, 1:55, 3:15, 4:30, 5:55, 7:05, 8:30, 9:45, 11:15; Sun 10 a.m., 11:25 a.m., 12:35, 1:55, 3:15, 4:30, 5:55, 7:05, 8:30, 9:35; Mon-Thur 1, 1:50, 3:30, 4:30, 6:10, 7, 8:45, 9:35.

Nim’s Island Fri-Sat 10:10 a.m., 12:25, 2:55, 5:20, 7:50, 10:25; Sun 10:10 a.m., 12:25, 2:55, 5:20, 7:35, 9:55; Mon-Thur 2:25, 4:50, 7:05, 9:20.

Spirit of the Marathon Thur only, 7:30.

Street Kings Fri 1:50; Sat-Sun 1:50, 4:30; Mon-Thur 1:45, 4:30.

Laemmle’s Fallbrook 7 Cinemas, Fallbrook Mall, 6731 Fallbrook Av, West Hills, (818) 340-8710. Baby Mama Fri-Sun 12:10, 2:50, 5:20, 7:50, 10:15; Mon-Tue 1:10, 3:50, 6:20, 8:50; Wed 11 a.m., 1:10, 3:50, 6:20, 8:50; Thur 1:10, 3:50, 6:20, 8:50.

Forgetting Sarah Marshall Fri-Sun 1:40, 4:30, 7:20, 10; Mon-Thur 12:15, 2:40, 5:30, 8:20.

Iron Man Fri-Sun 1:10, 4:10, 7:10, 10:10; Mon-Tue 2:10, 5:10, 8:10; Wed 11:20 a.m., 2:10, 5:10, 8:10; Thur 2:10, 5:10, 8:10.

Made of Honor Fri-Sun 1:20, 4, 7, 9:25; Mon-Thur noon, 2:20, 5, 8.

The Rocky Horror Picture Show Fri only, midnight.

Tashan Fri-Sat noon, 3, 6:15, 9:30; Sun noon, 3, 6, 9; Tue-Wed noon, 3, 6, 9.

The Visitor Fri-Sun 1:50, 4:40, 7:30, 10; Mon-Thur 12:20, 2:50, 5:40, 8:30.

Young at Heart Fri-Sun 1:30, 4:20, 7, 9:40; Mon-Thur noon, 2:30, 5:20, 8.

SPECIAL SCREENINGS

Ask About our $

59 VIDEO PACKAGE

SUNDAY, MAY 4 American Cinematheque at the Aero Theatre John Landis’ Comedies – The Blues Brothers, 7:30; followed by National Lampoon’s Animal House. Director John Landis to introduce screening.

American Cinematheque at the Egyptian Theatre BritWeek 2008: 50 Years of Britain in Los Angeles – Anthony Minghella Tribute – Truly, Madly, Deeply, 7:30. In the Spielberg Theatre: Polish Film Festival Documentaries – The Eagle Pharmacy (Apteka Pod Orlem), 3; followed by Credenza (Kredens) and Music Partisans (Muzyczna Partyzantka).

Asian Pacific Film Festival Info: (213) 680-4462 or Vconline.org.

Hammer Museum, UCLA Film & Television Archive at the Billy Wilder Theatre Unburied Treasures: Classic Films Preserved

by UCLA Film & Television Archive – Ramrod, 7; followed by Bullfighter and the Lady. With short Popular Science, No. J7-5.

LA FilmForum at the Egyptian Theatre, 6712 Hollywood Bl, Hollywood, (323) 466-3456. Egyptiantheatre.com. Southern California Video Part II – Bruce and Norman Yonemoto – Vault, 7; followed by Blinky, Kappa, Sounds Like the Sound of Music, Papa and A Norman Yonemoto Clip Joint. Filmmakers Bruce and Norman Yonemoto, in person.

New Beverly Cinema Soylent Green, 3:40, 7:30; Westworld, 5:40, 9:30.

Old Town Music Hall Charlie Chan’s Secret, 2:30; with shorts and live musical accompaniment.

UCLA, James Bridges Theater Polish Film Festival – Barber, noon; Gora’s Mountain, 2. Info: Polishfilmla.org.

FRIDAY, MAY 2

San Diego’s Oldest, Largest Operation

CITYBEAT

THURSDAY, MAY 1 American Cinematheque at the Aero Theatre, 1328 Montana Av, Santa Monica, (323) 466-3456. Aerotheatre.com. Sneak Preview – Iron Man, 7:30; followed by discussion with director Jon Favreau.

Asian Pacific Film Festival Info: (213) 680-4462 or Vconline.org.

CineFamily at the Silent Movie Theatre, 611 N Fairfax Av, Hollywood, (323) 655-2520. Silentmovietheatre.com. Dark Hand and Lamplight, 8. Live music and animation by artist Shary Boyle and musician Doug Paisley.

Laemmle’s Sunset 5 Theatre, 8000 Sunset Bl, West Hollywood, (323) 848-3500. Laemmle.com. Polish Film Festival, 5. Info: Polishfilmla.org.

New Beverly Cinema, 7165 Beverly Bl, L.A., (323) 938-4038.

Newbevcinema.com. The Silent Partner, 7:30; The Candy Snatchers, 9:35.

REDCAT at Walt Disney Concert Hall, 631 W Second St, downtown L.A., (213) 237-2800. Redcat.org. CalArts Film/Video Showcase – Long Form Showcase, 8.

American Cinematheque at the Aero Theatre George Eastman House New Restorations – Born to Be Bad, 7:30; with short How to Vote. Patrick Loughney, curator of the George Eastman House Motion Picture Department, to introduce screening.

American Cinematheque at the Egyptian Theatre, 6712 Hollywood Bl, Hollywood, (323) 466-3456. Egyptiantheatre.com.

BritWeek 2008: 50 Years of Britain in Los Angeles – David Lean Centenary Tribute, 7:30. Hosted by film critic and historian David Thomson. Discussion with actors James Fox and Jean Simmons, editor Anne Coates, and director Ronald Neame. In the Spielberg Theatre: Polish Film Festival Documentaries – Wearing a Four-Cornered Cap and a Tiger Skin (Wrogatywce I Tygrysiej Skorze), 7:30; followed by 13 Years, 13 Minutes.

Asian Pacific Film Festival Info: (213) 680-4462 or Vconline.org.

CineFamily at the Silent Movie Theatre Solid Gould – M*A*S*H, 7:30. Psychedelia Italiano – Satyricon, 10:15.

Cinespace Dinner & a Movie – Charlie Wilson’s War, 8. Film in a restaurant/bar setting; call for reservations.

Hammer Museum, UCLA Film & Television Archive at the Billy Wilder Theatre, 10899 Wilshire Bl, L.A. Info: (310) 206-3456 or Hammer.ucla.edu. Devotional Cinema: New and Recent Work

by Nathaniel Dorsky – Winter, 7:30; followed by Song and Solitude and The Visitation. With filmmaker Nathaniel Dorsky, in person.

L.A. County Museum of Art, Leo S. Bing Theatre, 5905 Wilshire Bl, L.A., (323) 857-6010. Lacma.org. Fasten Your Seat Belts: The Essential Bette Davis – Jezebel, 7:30; The Old Maid, 9:30.

Landmark’s Nuart Theatre, 11272 Santa Monica Bl, West L.A., (310) 281-8223. Landmarktheatres.com. The Party, midnight.

New Beverly Cinema A Streetcar Named Desire, 7; Last Tango in Paris, 9:25. Amoeba Midnights – The Multinauts, midnight.

LA Film School Theater, 6363 Sunset Bl, L.A., (610) 6361760. Judy Toll: The Funniest Woman You’ve Never Heard Of, 8. Info: Judytoll.com.

Old Town Music Hall, 140 Richmond St, El Segundo, (310) 3222592. Otmh.org. Charlie Chan’s Secret, 8:15; with shorts and live musical accompaniment.

REDCAT at Walt Disney Concert Hall CalArts Film/Video Showcase – Film Directing Showcase, 8.

UCLA, James Bridges Theater, Melnitz Hall, northeast corner of UCLA campus, near Sunset and Hilgard, Westwood, (310) 206-3456. Cinema.ucla.edu. Polish Film Festival – Unforgettable Past, 7; followed by Solo. Conversations With an Executioner, 9. Info: Polishfilmla.org.

619.216.8416 | SkyDiveSanDiego.com

SATURDAY, MAY 3 American Cinematheque at the Aero Theatre John Landis’ Comedies – Trading Places, 7:30; followed by ¡Three Amigos! Discussion

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between films with director John Landis.

American Cinematheque at the Egyptian Theatre BritWeek 2008: 50 Years of Britain in Los Angeles – The British in Hollywood from Charlie Chaplin to the Present Day, 7:30. Hosted by actor Michael York. In the Spielberg Theatre: Polish Film Festival Documentaries – Freedom Is a God-Given Gift (Wolnosc Jest Dare mod Boga), 5; followed by shorts 52 Percent (52 Procent) and The First Day. Polish Film Festival Documentary Shorts – Live Action Radio (Radioakcja); 7:30; followed by Justice? Please Wait (Sprawiedliwosc? Prosze czekac), Weirdo (Dziwadlo), Whisperers (Szeptuchy) and If It Happens (A gdyby tak sie stalo).

Asian Pacific Film Festival Info: (213) 680-4462 or Vconline.org.

Cinespace Dinner & a Movie – Charlie Wilson’s War, 8. Film in a restaurant/bar setting; call for reservations.

CineFamily at the Silent Movie Theatre Noir Matinees: Femme Fatale Hall of Fame – Double Indemnity, 1. Maysles: Direct Cinema – Grey Gardens, 6:30; followed by The Beales of Grey Gardens. HolyFuckingShit: The Straight Dope – Blood Freak, 10:15; followed by Stoned.

Hammer Museum, UCLA Film & Telivision Archive at the Billy Wilder Theatre Unburied Treasures: Classic Films Preserved

by UCLA Film & Television Archive – An American Tragedy, 7:30; followed by Thunderbolt. Shown with short The Hard Guy. L.A. County Museum of Art, Leo S. Bing Theatre Fasten Your Seat Belts: The Essential Bette Davis – All About Eve, 7:30; Of Human Bondage, 10.

Landmark’s Nuart Theatre The Rocky Horror Picture Show, midnight; with live performance by Sins O’ the Flesh.

New Beverly Cinema A Streetcar Named Desire, 2:05, 7; Last Tango in Paris, 4:30, 9:25. Amoeba Midnights – Burnt Offerings, midnight.

Old Town Music Hall Charlie Chan’s Secret, 2:30, 8:15; with shorts and live musical accompaniment.

REDCAT at Walt Disney Concert Hall CalArts Film/Video Showcase – Film and Video Showcase, 7.

Skirball Cultural Center, 2701 N Sepulveda Bl, L.A., (310) 440-4500. Skirball.org. Cinema Z / Watching Dylan – Gotta Serve Somebody: The Gospel Songs of Bob Dylan, 2:30.

UCLA, James Bridges Theater Polish Film Festival – Nuiz, 5; Krum, 7. Info: Polishfilmla.org.

l MAY 1~7, 2008

MONDAY, MAY 5 ArcLight Cinemas Sherman Oaks, 15301 Venutra Bl, Sherman Oaks, (818) 501-7033. Arclightcinemas.com. Summer Drive-In – The Seven Year Itch, 7:30.

Asian Pacific Film Festival Info: (213) 680-4462 or Vconline.org.

New Beverly Cinema Soylent Green, 7:30; Westworld, 9:30.

REDCAT at Walt Disney Concert Hall Jack H. Skirball Screening Series – Mania Akbari – 10 + 4, 8.

Wadsworth Theatre, Veterans Administration grounds, 11301 Wilshire Bl, bldg 226, Westwood, (310) 479-3636. Wadsworththeatre.com. Reel Talk with Stephen Farber – Kabluey, 7; followed by discussion with director/writer/co-star Scott Pendergast and actress Lisa Kudrow.

TUESDAY, MAY 6 Asian Pacific Film Festival Info: (213) 680-4462 or Vconline.org.

CineFamily at the Silent Movie Theatre Enzo Castellari Double Feature – Battle Squadron, 8; followed by High Crime.

L.A. County Museum of Art, Leo S. Bing Theatre Tuesday Matinees – Mr. Skeffington, 1.

New Beverly Cinema Soylent Green, 7:30; Westworld, 9:30.

WEDNESDAY, MAY 7 American Cinematheque at the Aero Theatre Brief Encounter, 7:30; followed by Great Expectations.

American Cinematheque at the Egyptian Theatre Outfest Wednesdays – Water Lillies (Naissance des Pieuvres), 7:30.

Asian Pacific Film Festival Info: (213) 680-4462 or Vconline.org.

CineFamily at the Silent Movie Theatre Silent Wednesdays: Bob Mitchell’s Favorite Westerns – Tumbleweeds, 8.

New Beverly Cinema Slaughterhouse-Five, 7:30; Fahrenheit 451, 9:35.

7 Dudley Cinema at Sponto Gallery, 7 Dudley Av, Venice, (310) 306-7330. 81x.com/7dudley/cinema. Cuban Music Films – Voices of the Orishas, 8; followed by Los Munequitos de Matanzas; with filmmaker Alvaro Perez Betancourt, in person.

Skirball Cultural Center Watching Dylan – Don’t Look Back, 7:30.

EAT RICHARD FOSS

Bites

~ A VERY FINE DAY ~

Arigato Tokyo 7-7 is at a great place in time and space

The New Nutritional Comestible … In the ’50s, when the martini was king, people used to joke about getting all their vitamins from eating the olives and lemon peel garnish. Now that exotic versions of the martini are the rage, getting your minimum daily requirement with some premium gin or vodka added is almost a credible strategy. Upscale bars are touting fresh juices and medicinal herbs, and I think that was an organic celery stalk in my morning Bloody Mary yesterday. Boe at the Crescent Hotel in Beverly Hills is serving something called the Salad Toss – Acai liquor, cucumber, fresh basil, and blood orange – and a drink made from mango chile liquor, fresh ginger, and Thai chile peppers. How long can it be before Jamba Juice starts to stock rum and kicks the healthy tipple craze into overdrive? … .

Dad Who Sold the World ... I get all kinds of press releases about Father’s Day dining events, and I think I just received the strangest one yet. Notes from the Edge is a wine tasting and concert on Father’s Day, June 15, at which vocalist Kathy Fisher and a string quartet will perform tunes by David Bowie, Pink Floyd, Radiohead, Elvis Costello, the Killers, and others. If Dad has eclectic musical tastes and likes wine, he might find this to be the coolest evening ever.

It’s at the John Anson Ford Amphitheatre, and you can get tickets through fordamphitheater.org … .

And What Is the Sound of One Mom Clapping? ... Gonpachi of Beverly Hills offers the traditional Mother’s Day meal, if your mom is a Buddhist who asks oblique questions. Their Zen Mother’s Day meal looks quite luxurious for monks’ fare – Japanese tapas with wine or sake, choice of three starter courses with more wine or sake, then choice of four main courses with more wine and sake then one of four luscious desserts with … I’m betting you can fill this in. The menu is way too detailed for me to copy it here, but if Mom is adventurous and likes Japanese food, or if Mom is Japanese, this would be the ticket. Call them at (310) 659-8887 … .

But Mom Prefers Brunch … And no surprise about that, since brunch is a symbol of a lazy day with someone else cooking. The best one I’ve seen is at Bistro Garden in Studio City – they had me when I noticed the ChampagneParmesan risotto as one of the first courses. This is the classic Euro-American decadent brunch, with a kid’s menu for the gourmets-in-training. You can view the menus at www.bistrogarden.com, or give a call at (818) 501-0202 … .

Not to Be … Hamburger Hamlet in West L.A. is now just called Hamlet, and it throws me off every time I go by. Why would a restaurant be named after a melancholy Danish prince? He’s not an ideal dining companion, a selfabsorbed, gloomy, indecisive, spoiled rich brat; an overgrown emo kid, overdue for therapy about that relationship with Mom. Hamlet is a pretty stereotypical L.A. loser, and there are plenty of other characters in Shakespeare I’d rather have dinner with. (Not including Falstaff, who always ducks out the back door to “take a call” just as the server shows up with the bill.)

– Richard Foss

~ BY RICHARD FOSS ~ HEN I SHOWED A FRIEND a menu from Tokyo 7-7, she asked what year it was from, assuming it was part of my collection of restaurant memorabilia. (Yeah, I have one.) When I told her that I had ordered from that menu an hour before, she didn’t believe me.

Everything else at Tokyo 7-7 Coffee Shop is, like this menu, an artifact of the early 1970s that just happens to still be in use. The restaurant itself is at the intersection of a pair of one-way alleys behind Main Street in Culver City – itself an interesting place, partly by virtue of being the shortest Main Street in America. Go about twothirds of the way toward the south end of the oneblock street and peer down the alley – the low, scruffy-looking building with no visible sign is Tokyo 7-7. (They have a sign, but it’s not pointed at the alley from which most people will approach the restaurant. Why? I don’t know.) Inside, the cheap imitation walnut paneling is covered with pictures of obscure movie personalities from a few decades ago. You are welcomed to sit at the counter or a table and given that menu I mentioned earlier. It’s a page of JapaneseAmerican coffee shop fare, pretty ordinary except for one thing – the most expensive item is a whopping $4.60. Wait, I forgot – if you splurge on the Tokyo 7-7 Special of cha-shu pork, sunomono salad, tamagoyaki omelette, miso soup, and rice, you can spend all of five and a half bucks. Then again, that’s a fair pile of food, and might be considered a split entrée. Those on a budget might consider getting an egg, home fries, toast, and bacon or sausage for $2.35 instead. I pay a lot more than that to park at most restaurants in L.A. You get the idea – prices out of another era, served in the décor of another era, by cheerful Japanese waitresses who remember when the place was new. The only thing that seems to

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have changed since they opened are the hours, which used to be 7 a.m. to 7 p.m. (hence the restaurant name), but are now 7 to 2 p.m. Changing the name would confuse regulars and cost money, so they don’t do it.

So how’s the food? It’s not gourmet but pretty passable – a Hawaiian-style open-face omelet with Portuguese sausage and onion over rice was downright decent, and the ginger beef was tender and had a nice, lightly sweet and sharp tang. Those entrees and others were served with rice and a green salad – one composed mostly, if not entirely, of iceberg lettuce, but still a salad. Splurge and get some fried gyozas on the side – go on, you can afford it, and they’re good.

On my most recent visit I tried the oyako donburi, a bowl of rice topped with a mixture of chicken, egg, scallions, and dashi/soy sauce.

It’s Japanese home cooking, and it hit the spot.

My vegetarian companion asked for an avocado and mushroom omelet, which they cheerfully prepared even though it wasn’t on the menu.

After several visits, I’ve found many things to like and only one I won’t order again – the teriyaki is made with a very sweet sauce that isn’t to my taste. Nothing is brilliant, but just about everything is good. Add in the enjoyable novelty of dining there, and you see why I keep going back. On another day, I will go to another restaurant and order the best L.A. has to offer, savor it, and happily pay for the privilege. But today?

It’s a very fine day. ✶

O

Tokyo 7-7, 3839-B Main St., Culver City, (310) 204-5728. Entryway between Bottle Rock and La Ballona restaurants.

Open 7 a.m.-2 p.m., cash only, some vegetarian items, wheelchair access OK.

MAY 1~7, 2008

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ANGELA VILLALBA

ASK THE DUST ooo Last May, Colin Remas Brown took his dog for their usual walk through an unusual Griffith Park landscape. White cinders coated the trail grounds. Gnarled tree branches stood bare and leafless. Lush, green terrain had been reduced to char-black and ash-white by a wildfire that had scorched more than 800 acres of parkland.

And then there were the animal remains. Brown, a Silver Lake photographer, took out his camera.

The burnt deer carcass lying on the ground was the first casualty of the fire Brown documented in photo form. As he walked up a narrow ridge in the park, he saw more victims of the blaze – deer, raccoons, coyotes.

“There was this intense quiet, except for the crows,” Brown says. The cawing birds were like maggots, he thought, and there were hundreds picking apart the loss of animal life.

While Angelenos worried about how the blaze would damage homes and landmarks, it was these animals, Brown felt, who suffered most during the fire in Griffith Park.

Nearly a year after the May 8 blaze, that wildlife will take center-stage in the form of about 20 large-scale photographic prints as part of Brown’s Aftermath: The Griffith Park Fire 05/07 exhibition at drkrm. A portion of photo sales will benefit nonprofit organization North East Trees.

“I think that people really respond to these pictures because we always ask the question, ‘What happened to that deer that I saw that day, or that young coyote pup that I saw?’” Brown says. “We always like to think that they ran away – that they ran away from the fire.”

The photos are a glimpse into the scene of a landscape stripped bare of color and life, but since that May both have returned to Griffith Park. When Brown visited the grounds just months ago, few signs of devastation remained. The green of the forest had returned – instead of silence, insects buzzed and birds chirped.

Just days after last year’s fire, Brown caught the beginnings of a rebirth through the lens of his camera. A single photo shows a small, green bud pushing upwards through the ash-covered ground.

“That was right in the area that I found all the animals,” he said. “It’s just amazing how fast that happened.”

–Amanda Price Aftermath: The Griffith Park Fire 05/07.

Opening reception Sat. 7-10 p.m. Free. drkrm., 2121 San Fernando Dr., L.A., (323) 223-6867. Drkrm.com. ~

HOW TO LIST WITH US Listings in “7 Days” and our world-famous calendar are accepted for arts and community events in the greater Los Angeles area. The deadline to be considered for “7 Days” is at least two weeks in advance of the event. Send all information to: “7 Days,” Los Angeles CityBeat, 5209 Wilshire Blvd., Los Angeles, CA 90036.

Fax to (323) 938-1661, or e-mail calendar@lacitybeat.com. No phone calls, please.

~ SEPTEMBER GURLS: XAVIER GOMEZ’S LINDA MEXICANA (SEE MONDAY) ~

THURSDAY 1 PING PONG PICTURES VC Film Fest is one of those kind-of-righteous causes that my friends make a point of attending and have even worked for, but I must confess I’ve never raised my Asian fist at a single screening over the years. Perhaps that changes this go around, now that it’s switched names to the more front-and-center Asian Pacific Film Festival. The opening night film is Ping Pong Playa, the first feature comedy by Jessica Yu, best known for arts-related docs such as In the Realms of the Unreal. The fest ends May 8. 7 p.m. $30; $24 students.

Directors Guild of America, Theater 1, 7920 Sunset Blvd., West Hollywood. Info: (213) 680-4462 or VConline.org/festival.

FRIDAY 2 BACK FROM EXTINCTION Yes, it’s appropriate that The Dodos are performing at the Natural History Museum, but that’s because they – along with headliners Akron/Family – present eons-old folk in a modern context, and with hints of priCITYBEAT

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mality in their percussion choices to boot.

They join the usual Dublab DJ’s for one of the season’s last “First Fridays.” On the museum-ish side of things, Karen Wise leads a tour of the Ancient Latin American Hall, and Leah Krubitzer asks, “How Does Evolution Build a Complex Brain?” 7-10 p.m. $9; $6.50 students. Natural History Museum of Los Angeles County, 900 Exposition Blvd., L.A., (213) 763-3466. Nhm.org.

SATURDAY 3 D E E P T H R O AT The most triple-A-friendly string quartet in the world is back at Disney Hall, though this time Kronos Quartet brings with it Bjork’s favorite Inuit throat singer, Tanya Tagaq. The interplay between the quartet and Tagaq’s rhythmic breathing and grunting hopefully results in something just discomfiting enough; they collaborate for a piece called Nunavut, and the quartet rounds things out with interpretations of music by Iceland’s post-rock staple Sigur Rós and Xploding Plastix. 8 p.m. $35 and up. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A., (323) 8502000. LAphil.com.

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SUNDAY 4 BEING JACK UNTERWEGER It’s not quite puppeteering, but thesp John Malkovich is striking out into alternate performing arts territory with “Seduction and Despair,” a multimedia concert presented in collaboration with Musica Angelica Baroque Orchestra. Directed by and starring Malkovich, the performance tells the true story of Jack Unterweger, a convicted murderer and writer who after his release from prison killed prostitutes in cities around the world. A musical program by the orchestra and video are integrated into the telling. Sat. at 8 p.m.; Sun. at 4 p.m. $25-$49; $12 students. Barnum Hall, 601 Pico Blvd., Santa Monica, (310) 458-4504. Musicaangelica.org.

MONDAY 5 CALENDAR CHICAS While your friends are out drinking haphazardly mixed salt-aritas and attempting to party to the equally haphazardly mixed sounds of friend-of-a-friend DJs, you can be

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1000 Universal Center Dr. Universal City (818) 755-9970 www.howlatthemoon.com/hollywood_tonight.html

IN L.A.

Written and edited by Alfred Lee

celebrating Cinco de Mayo with Mexican calendar girls. OK, an exhibition of 30 lithographic prints isn’t exactly the same as a Playboy mansión bash. But there’s time to catch the opening reception of Mexican Calendar Girls: The Golden Age of Mexican Calendar Art, 1930-1960 at the California Heritage Museum and then go enjoy your booze and reggaeton-less DJ sets.

Reception 6-8 p.m. Free. California Heritage Museum, 2612 Main St., Santa Monica, (310) 392-8537. Californiaheritagemuseum.org.

TUESDAY 6 BLIND BET One may hear that the ALOUD speaker series is featuring yet another McSweeney’s-published author promoting his first novel, and be forgiven for wanting to take a rain check on any more feelgood irony or stories about Clinton-era dysfunction. But tonight’s McSweeney’spublished first-novelist is Millard Kaufman, a 90-year-old ex-Marine, co-creator of the lovably impaired Mr. Magoo (!), and twice Oscar-nominated screenwriter.

The book is called Bowl of Cherries. 7

p.m. Free. Mark Taper Auditorium, Central Library, corner of Fifth and Flower sts., downtown L.A., (213) 228-7025.

Aloudla.com.

WEDNESDAY 7 THE GIGGLES The coming and going of the Festival of Books and Coachella marks the unofficial start of festival season every year, and so here we are already with the Los Angeles Comedy Festival. Some 160 performers of all shapes and sizes – solo, sketch, standup, improv – will descend upon the McCadden Theatre over 18 days starting May 1. Tonight, the International House of Comics show is at 8 p.m., followed by The Guys & Dolls at 9:30 p.m.; each features about a half-dozen comics. 8 & 9:30 p.m. $12. The McCadden Theatre, 1157 N. McCadden Pl., L.A. Info: (323) 463-2942 or LAcomedyfest.com.

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JAZZ CRITIC’S CHOICE Times are p.m. unless otherwise indicated. Listing order does not necessarily indicate billing order. All events subject to sudden (hopefully not violent) changes.

For additional listings, visit WWW.LACITYBEAT.COM

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

Saturday • May 3 • 4pm

CHARITY AUCTION Come in and bid on memorabilia, collectables, tickets & more with your host Brently Heilbron! Proceeds benefit green charities and New Orleans relief efforts.

Tuesday • May 6 • 7pm

EVEREST “Everest consists of members with ties to a handful of reputable bands like Alaska!, Earlimart, the Watson Twins, Folk Implosion, Great Northern, and Stanford Prison Experiment. Combine that with the epic alt-rock, Tom Petty/Wilco-esque nature of their tunes and it’s plain to see why they’ve earned such lofty labels.”

— LAist.com Their debut album Ghost Notes comes out May 6th on Vapor Records.

Wednesday • May 7 • 7pm

URI CAINE The LA Chamber Orchestra and Amoeba are proud to welcome composer and jazz/ classical pianist Uri Caine back to Amoeba!

His most recent is The Classical Variations (Winter and Winter 2007).

“An audacious flurry of activity by Uri Caine has lifted the New York-based pianist to the upper echelons of his trade ... testament to both his exemplary compositions and virtuoso playing.” — BBC

TWO WEEKLY DJ SETS! WEDNESDAYS • 7-10PM

MANDALA Our weekly in-house DJ series featuring rotating styles on the 1’s and 2’s!

FRIDAYS • 8-9:30PM

RESONANCE CURATED BY DJ JUN DJ JUN (Bossa Nova founder, resident at Soundlessons, The Standard, Cinespia, voted “Best DJ” by LA Weekly in 2003 and buyer for Amoeba’s electronic music section), takes the reins as our Friday night resident!

Check out the new MUSIC WE LIKE BOOKS (a handy collection of our staff’s favorite new music and movies) available now for FREE at Amoeba Music!

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

SOUNDS ROCK, POP, ACOUSTIC Alex’s Bar, 2913 E Anaheim St, Long Beach, (562) 434-8292. Alexsbar.com. Call for showtimes. Thur: The Ugly Beats, Stateside Saints, Vooduo. Fri: The Secret Affair. Sat: Mr Mister Miyagi. Sun: Inazuma, Quan and the Chinese Take-Outs. Mon: Los Mysteriosos, Fast Dragon, Los Chilaqz. Wed: Sugarlight Girls.

Avalon Hollywood, 1735 N Vine St, Hollywood, (323) 462-8900. Avalonhollywood.com. Thur: Club Tigerheat. Fri: Ben Seagren, Dean Samaras. Sat: Claude VonStroke, Ellen Allien, Sascha Funke.

Boardner’s of Hollywood, 1652 N Cherokee Av, Hollywood, (323) 462-9621. Boardners.com. Thur: Karaoke. Fri: Dekada. Sat: Bar Sinister. Mon: Blue Mondays. Tue: Institution Tuesdays. Wed: Club Moscow.

Bordello, 901 E First St, downtown L.A., (213) 6873766. Bordellobar.com. Wed: The Heavy.

Boulevard Music, 4316 Sepulveda Bl, Culver City, (310) 398-2583. Boulevardmusic.com. Call for showtimes. Sat: Tracy Grammer.

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: Sugarcult. Fri: Asia.

Cat Club, 8911 Sunset Bl, West Hollywood, (310) 657-0888. Myspace.com/thecatclub. Shows at 8.

Thur: Slapdash, Motor Gun Hotel, Ten Count Junkie, Starfuckers. Fri: The Give, Traildriver, Femi Tabu, Ruido Masivo, Leo Machado, Zep w/ Mitch Perry and Chas West. Sat: Cameron Lee, The Rites, Lemon Road, Flavour Box, Lords of Jack, Hookers & Blow.

Mon: Jen & Abby, Gina Malfatti Project, Dane Moreton, Rocking Horse People, Max Mueller. Tue: JD King, Katie Sippel, Chris Parish, Stacy Dee, Meg Myers.

Wed: Aaron Anderson, Evita Freaks, Ant Glynne, Spectacles, Native Suns, Beatnik Jr, Foreign Academy.

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: Johnny Hawthorne. Fri-Sat: Randy Weeks. Mon: Vicki Lee. Tue: Dafni, Dan Janisch, Vicki Hill, Cliff Wagner. Wed: Road Kill Kings.

Cobalt Café, 22047 Sherman Way, Canoga Park, (818) 348-3789. Cobaltcafe.com. Thur: Final Call, Preschool Fistfight, Fozzy’s Hero, Lincoln Bedroom, I Am the Dream, 7:15. Fri: Severance, Single Sided Charge, Backward Dog, Security Breach, The Chase, Within the Eddy, Siberian Summer Camp, 6:30.

Sat: At Nite They See, Halo Gunfire, Aurora Black, Harvey Lee, They Were Martyred, Graven Images, Fallen Figure, 6:30. Sun: At Our Expense, Eros, Place the Blame, Holding Onto Hope, I’m Orion’s Eyes, I Deserve It, 6:15. Mon: Total Chaos, 9:30. Tue: Open Reading.

The Coffee Gallery Backstage, 2029 N Lake Bl, Altadena, (626) 398-7917. Coffeegallery.com. Thur: John McEuen, Matt Cartsonis, 8. Fri-Sat: Barry McGuire, John York, 8. Sun: Tracy Grammer, Jim Henry, 7.

Cowboy Palace Saloon, 21635 Devonshire St, Chatsworth, (818) 341-0166. Cowboypalace.com.

Call for showtimes. Thur-Wed: Call for info.

The Derby, 4500 Los Feliz Bl, Los Feliz, (323) 6638979. Clubderby.com. Thur-Wed: Call for info.

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. Fri: Underground with Supreme Love Gods, Ladies & Gents, 9; In the Echoplex: Prince Vs. Michael Jackson with DJ Spinna, 9. Sat: Bostich, Fussible, 9; In the Echoplex: Bootie LA, 9. Sun: Mike Stinson, Hellbound Glory, The Midnight Boys, 50 Cent Haircut, 5; Blood on the Wall, 10. Mon: Le Switch, Frankel, Amnion, Seasons, 8:30; Laura Veirs, Liam Finn, 8; In the Echoplex: Tim and Eric, 8. Tue: In the Echoplex: Tim and Eric, 8. Wed: Cex, Barr, Ecstatic Sunshine, Abe Vigoda, 8:30; In 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; The Super Sexy Show, 10. Fri: Flamenco Dinner Theatre, 6:30. Sat: Flamenco Dinner Theatre, 6; Club Macondo, 10. Sun: Flamenco Dinner, 6:30. Mon: Garage Comedy, 8. Wed: Flamenco Dinner, 6:30.

El Rey, 5515 Wilshire Bl, L.A., (323) 936-6400/4790.

Theelrey.com. Shows at 8. Thur: Yo Majesty, Does it Offend You, Yeah? Fri: Blind Melon, Eric Hutchinson. Sat: The Slackers, Deals Gone Bad, Chris Murray Combo. Sun-Wed: Call for info.

14 Below, 1348 14th St, Santa Monica, (310) 4515040. 14below.com. Call for showtimes. Thur: Khierstin. Fri: Rustic Tone Kings, Mezkiah, Concepto Tambor, Fitter, 9. Sat: Cityzen, Liquid Owsley, The Modeens, STOBO, Sugarbitch, 8. Wed: Cityzen, Resident Cain, Cast of Kings, Chinese Democracy, 8.

Genghis Cohen, 740 N Fairfax Av, West Hollywood, (323) 653-0640. Genghiscohen.com. Thur: Elena Mitrano, Shannon Curtis, Kurt Reifler, Aura, 8. Fri: Andrea Stolpe, Corrinne May, Clinton Jackson, Alana Genry, The Osgoods, 8. Sat: I’m A Bird You’re A Bird, Jackie Tohn, Danny Peck, James Fuchs, 7:30. Mon: Ashleigh Flynn, John Kappas, Michelle Zaccone, The Fader Brothers, Nicholas & Maki, The Goop, 7.

Tue: Chantelle Barry, Wendy Piatt, Levi Kries, Amanda Abizaid, 8. Wed: Bianca Ferrari Caruso, Desire Galvez, Matt Luczy, Martine Locke, 8.

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: Acoustic Thursdays, Able & Baker, Jeff McPherson, Michael McCarthy, 8. Fri: Caso Do Samba, 11. Sat: DJ, Nathaniel Cowden, Oedipus, Bikos, Julie, 8. Mon: June Yamaha, Gregg Butler, Clyde Bonnie Clyde, Black Whole Sons, 8:45.

Tue: Pure Pressure Productions presents, 8.

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: Katie Herzig, Amber Rubarth, Lucy Schwartz, Katy Pfaffl, Jenni Alpert, 7. Fri: Peter Moren, Porcelain, Ken Oak Band, Brendan McCreary, David McMillin, 7. Sat: Libbie Schrader, Justin Hopkins, Omar Torrez Band, Sabrina Taylor, Keith and Renee, 7. Sun-Wed: Call for info.

House of Blues, 8430 Sunset Bl, West Hollywood, (323) 848-5100. Hob.com. Thur: Nochas Rockeras, 8:30. Fri: Stiff Little Fingers, 9. Sat: Puddle of Mudd, Meriwether, Deepfield, Building a Better Spaceship, 8:30. Sun: Gospel Brunch, 10 a.m., 1.

Mon: Bandemonium Tour 2008, 8:30. Wed: Paul Gilbert, 9.

Key Club, 9039 Sunset Bl, West Hollywood, (310) 274-5800. Keyclub.com. Call for showtimes. Thur: Voodoo Glow Skulls, Delsoniq. Fri: UFO, Throttle, Reincarnated. Sat: Roger Clyne, Peacemaker, Shurman.

Sun: Lyrics Born. Mon: Steel Panther with Marya Roxx.

Tue: Janelle Monae, 8. Wed: Ruby.

King King, 6555 Hollywood Bl, Hollywood, (323) 9609234. Kingkinghollywood.com. Thur: L’Effleur Des Sens, 9. Fri: Vinyl Tribe, Brian Scott, DJ K-West, Curtis Helson, 10. Sat: Julius Papp, DJ Kemal, 10. Tue: Descargo con Timba with Adonis Puentes and DJ Saoco, 10. Wed: The Daylights, Gillmor, The Forward.

Knitting Factory, 7021 Hollywood Bl, Hollywood, (323) 463-0204. Knittingfactory.com. See also Knitting Factory AlterKnit Lounge. Thur: Better Luck Next Time, This Time Next Year, Fireworks, Fight Fair, Hey Mister! 7; In the Front: Radio Parade, The Time of the Assassins, Diversion, The Chase, Renfue, 7:30.

Fri: Panteon Rococo, Almalafa, Pachamama, 7; In the Front: Old Man Markley, Babmoula, Hellbound Glor y, Lieba Hart, 8. Sat: Manic Hispanic, The Johns, The Wednesday Night Heroes. 7:30; In the Front: Rebel Diaz, Los Poets Del Norte, DJ Ethos,

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✭ ✭ ✭

✭ ✭ ✭ ~ MARCUS MILLER ~

Bass Desires Forget the “woo-woo” vocals and the paint-by-numbers smooth jazz tunes on Marcus (Concord) by electric bassist Marcus Miller – the man is a formidable player. For him, funk is interchangeable with jazz, so turn him loose on Stevie Wonder’s “Higher Ground” and you’ve got something that feels awfully good. Miller sets up shop at Catalina’s tonight through Sunday, and he’ll no doubt come up with something to please almost everyone. Lee Konitz, the sublime alto saxophone legend, continues at the Jazz Bakery until Saturday. Konitz helped define extended linear improvising, and always rendered it by the most graceful means. Guitarist Larry Koonse is a protean musician who enhances every musical situation he’s dropped into. He teams up with the superb Polish contrabassist Darek Oles for a night of cogent duets, Saturday at the Metropol. Sunday at Local 47 (817 Vine St., Hollywood, 818-4003263; 2 p.m.; $20), the California Jazz Federation hosts a fundraiser with bands led by Bruce Babad, Ramon Banda, Billy Valentine, and Stuart Elster. This benevolent organization has stepped up and seen to the needs of musicians who’ve fallen on hard times and is funded by these events. Also Sunday, the marvelous collective Quarteto Nuevo plays an infrequent recital at U.U. Community Church of Santa Monica (1260 18th St., Santa Monica; 6:30 p.m.; $10, $15; Liraproductions.com). Straddling the worlds of folkloric, jazz, and contemporary composition, these four virtuosos make a hybrid music that’s greater than the sum of its parts. Tuesday at the Bakery, the great drummer Peter Erskine pilots his trio with pianist Alan Pasqua and bassist Dave Carpenter. Trio jazz doesn’t get much better than this.

–Kirk Silsbee For info, see Jazz, Blues, Latin listings.

8. Sun: Cinco de Mayo Weekend, 6. Mon: Cinco de Mayo FunkFest, 8. Tue: Constantine Maroulis, Ben Phillips, 8. Wed: Spam All-Stars, 8; In the Front: Lorene Drive, Secret & Whisper, Jet Lag Gemini, Kidneys, 7.

Knitting Factory AlterKnit Lounge, 7021 Hollywood Bl, Hollywood, (323) 463-0204. Knittingfactory.com. See also Knitting Factory. Thur: Grant Langston & the Supermodels, 50 Cent Haircut, Sub Rosa, Big Oil, 8. Fri: Margate, This Day Forever, Danger Invites Rescue, The Victorship, 7:30. Sat: High Octane. Sun: Cinco de Mayo Weekend, 6. Mon: Cinco de Mayo FunkFest, 8. Tue: A&R Knights: Aerodrone, The Crash Engine, 7.

Kulak’s Woodshed, 5230 1/2 Laurel Canyon Bl, North Hollywood, (818) 766-9913. Kulakswoodshed.com. Thur-Wed: Call for info.

Largo, 432 N Fairfax Av, L.A., (323) 852-1073/1851.

Largo-la.com. Call for showtimes. Sat: Paul F. Tompkins 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: Authority Zero, CHASER, Civet, 8. Fri: Natural Vibrations, 8. Sun: SOJA, Rebelution, 6. Wed: The Trademark, Everday Tragedy, Pigmoney, October Burning, 8.

McCabe’s Guitar Shop, 3101 Pico Bl, Santa Monica, (310) 828-4497. Mccabes.com. Fri: John Doe, 8. Sun: Kid’s Show with Rhythm Child, 11 a.m.; Girlyman, 7.

The Mint, 6010 W Pico Bl, L.A., (323) 954-9400.

Themintla.com. Thur: Zombie Bazooka Patrol, 11.

Fri: Boogaloo Assassins, The Brown Betties, Bobby Soul, Billy Goodtimes, 7:30. Sat: Andrew Skanchy, Morning in America, The West, The Dirty Diamond, 8:30. Sun: Damon Rey, The Brandon James, 8:15.

Mon: The Groove Pocket, 1940s Satin Dollz, 7:30.

Tue: Artist on the Brink Benefit, 11. Wed: Delsoniq, Setra, Kasey Anderson, 8.

Molly Malone’s Irish Pub, 575 S Fairfax Av, L.A., (323) 935-1577. MollymalonesLA.com. Thur: Hoist the Colors, The Mighty Regis, The Dirges, 8:30. Fri: Cranky George, Red Circle Underground, Zeus, 8:30. Sat: Joel Christopher, The Cherry Bluestorms, Light Chemist, Redstone Hall, 8. Sun: Don Ross, Brooke Miller, 7:30. Mon: Adjoa Skinner, Rob Giles and Friends, 8:30. Tue: Gustaf Heden, Cameron Dye, Ledfoot, The Atma, 8. Wed: Price, Song and Wager, Philip Sayce, 8.

Mr. T’s Bowl, 5621 1/2 N Figueroa St, Highland Park, (323) 256-7561. Mr tsbowl.tripod.com. Call for showtimes. Thur: Kris Special, Service Group, Daniel Brummel. Fri: Monolators, Underground Railroad to Candyland, Pizza!, Shirley Rolls, Dead Letters. Sat: Midnight Shakes, The Spanks, The Squiddo, The Last Holyfools. Sun: Vena Cava, Tiltwheel, Binghampton, Nancy, 9. Mon: Surrender the Pink, Black Party Politics, Beatnik Jr, 9. Tue: Unit Breed, The Kids of Widney High, Killer Dreamer, The Pterodacdudes.

Wed: No Little Kindnes and Friends.

Portfolio Coffeehouse, 2300 E Fourth St, Long Beach, (562) 434-2486. Portfoliocoffeehouse.com.

Fri: Jim Fisk, 9. Sat: Miccoli, 9. 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, 12.

Sat: Matthew Jordan, The Ro Chambeaux Show, 9.

Sun: Higher Level Comedy, Mark Franco, 7. Mon:

MAY 1~7, 2008

Acoustic Mondays, 8. Wed: PoetRonigirl’s Acoustically Speaking, 8.

The Roxy, 9009 Sunset Bl, West Hollywood, (310) 276-2222. Theroxyonsunset.com. Thur: Camp Freddy, 8; In the Rox: Mexicolas, Mayfield, 8:30. Fri: Native June, Carlotta, 7:15. Sat: In the Rox: Stefano Giorgini, Our Neighbor Barry, Topher Mohr, 8:30. Mon: In the Rox: Comedy on the Rox, 7:30. Tue: In the Rox: Lights Resolve, Phantom Communique, Valentine, 8:30. Wed: Kingsize, Major Grace, Gods and Monsters, Wallpaper Airplanes, 8; In the Rox: Alive in Wild Paint, The New Frontiers, Lakes, 8:30.

Safari Sam’s, 5214 Sunset Bl, Hollywood, (323) 666-7267. Safari-sams.com. Thur: Unknown Hinson, Lonesome Spurs, Coffin Girls Burlesque Show, Mr. Badwrench, 8. Fri: Club 82. Sat: Dirty Sanchez, Guadalajara Joe, The Hmmm, Tyrese from Reality Fejects, DJ Mr. M, 8. Sun: Brunch Americana with Pep Torres, The Sidewynders, Captain Jeffrey and The Chumbuckets, noon; Versus the Sun, The Material, Victory Within, Asthmatique, 7. Mon: The Fringes, Kalifornia Kings, Loyal Enemy, The Warned, The Unsettled, 8.

Tue: Virtual Tuesdays, 8.

Scene Bar, 806 E Colorado St, Glendale, (818) 2417029. Thescenebar.com. Shows at 9. Fri: The Vibrants, Casper, Syndicate, Arshak Alozian, DJ Christopher. Sat: Club Plance ’N’ Time.

Silverlake Lounge, 2906 Sunset Bl, Silver Lake, (323) 666-2407. Foldsilverlake.com. Mon: Porterville, Mason Reed Acoustic, French Semester, Honeybreath, 8:30. Tue: Rifle, Traildriver, Kid Gloves, Flashing Red Lights, 8. Wed: Kazai Rex. The Smell, 247 S Main St, L.A., (213) 625-4325. Thesmell.org. Shows at 9. Thur: The Urinals, Ashtray Babies, Rough Kids, Apathetic Ronald McDonald. Fri: Ninja Academy, We Be the Echo, Totally Serious, Lifeless Animation. Sat: The Warlocks, The Meek, David Scott Stone. Sun: The Dead Science, BARR, Jesus Makes the Shotgun Sound. Mon: Thrones, Author & Punisher, David Scott Stone, Bobb Bruno.

Spaceland, 1717 Silver Lake Bl, Silver Lake, (213) 833-2843. Clubspaceland.com. Thur: Jr. Juggernaut, Jesse Deluxe, 8:30. Fri: Nik Freitas, David Dondero, 8:30. Sat: Nina Nastasia, David Karsten Daniels, Nico Stai, 8:30. Sun: Two Sheds, 8:30. Mon: Mezzanine Owls, Wait. Think. Fast., Minipop, In Waves, 8:30. Tue: Gran Ronde, The Boxing Lesson, 8:30. Wed: Club NME, 8:30.

Taix 321 Lounge, 1911 W Sunset Bl, L.A., (213) 4841265. Taixfrench.com. Shows at 10:30. Thur-Wed: Call for info.

Tangier Lounge, 2138 Hillhurst Av, L.A., (323) 6668666. Tangierrestaurant.net. Sun: Casey Neill & the Norway Rats, Nicholas Alexander, February Fifths.

Temple Bar, 1026 Wilshire Bl, Santa Monica, (310) 393-6611. Templebarlive.com. Thur: Estelle, Makana, 7:30. Fri: School of Rock. Sat: School of Rock, Give a Little Something for the Drummer, Livingstone, Quinto Sol, 7. Tue: Jonathan Douglas, Jenni Alpert with Kori Withers, 29th Street, 9.8:30. Wed: Looner, Paris Escovedo Project, 8:30.

Troubadour, 9081 Santa Monica Bl, West Hollywood, (310) 276-6168. Troubadour.com. Thur-Fri: Mudcrutch. Sat: Peter Moren, Tobias Froberg, Big Search.

Mon: Go Betty Go, Monte Negro, No Way Jose, Nuestra Sangre. Wed: Vetiver, Kelley Stoltz, Jonathan Wilson.

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,

Kronos Quartet, Tanya Tagaq, Sat, See 7 Days in L.A. Avril Lavigne, Boys Like Girls, Sat, The Theatre at the Honda Center, 2695 E Katella Av, Anaheim, at 7:30.

(714) 704-2400. Also Sun at Gibson Amphitheatre at Universal CityWalk at 7:15.

Music of India Ensemble & UCLA Near East Ensemble, Sat, Hammer Museum, 10899 Wilshire Bl, Westwood, at 2. (310) 443-7000.

Brian Regan, Sat, The Wiltern, 3790 Wilshire Bl, L.A., at 8. (213) 380-5005.

Sin Bandera, Sat, Gibson Amphitheatre at Universal CityWalk at 8:15.

“Ticket To Ride: Beatles Tribute,” Sat, Countrywide Performing Arts Center @ Thousand Oaks Civic Arts Plaza at 7:30.

Visionaries, D. L. Joe, Julio Beltran, Sat, Glass House at 7.

Duran Duran, Sun, Nokia Theatre L.A. Live, 777 Chick Hearn Ct, downtown L.A., at 8:15. (213) 763-6000.

The Motels, Billy Right, Sun, Crash Mansion at 9.

Soul Sonic Force, Trinere, Debbie Deb, Sun, The Grove of Anaheim, 2200 E Katella Av, Anaheim, at 7.

(714) 712-2700.

Alicia Keys, Ne-Yo, Jordin Sparks, Mon, Honda Center at 7:30. Also Tue at Staples Center, 1111 S Figueroa St, downtown L.A., at 7:30.

Pink Martini, Mon, Thousand Oaks Civic Arts Plaza at 8.

K.T. Tunstall, Mon, The Wiltern at 8.

✭ ✭ ✭

CRAIG SCHWARTZ

THEATER CRITIC’S CHOICE

✭ ✭ ✭

~ GEOFF ELLIOTT AND DEBORAH STRANG ~

‘The Night of the Iguana’

Atmosphere, Abstract Rude, DJ Rare Groove, TueWed, Music Box @ Fonda, 6126 Hollywood Bl, Hollywood, at 8. (323) 464-0808.

Everest, Tue, Amoeba Music, 6400 Sunset Bl, Hollywood, at 7. (323) 245-6400.

Rush, Tue, Nokia Theatre L.A. Live at 8:15.

Juanes, Wed, Nokia Theatre L.A. Live at 8.

Uri Caine, Wed, Amoeba Music at 7.

–Emma Gallegos

STAGE OPENING THIS WEEK Beau Jest. A nice young Jewish woman is secretly with a non-Jewish man, but at the same time hires an actor from an escort service to play her “Jewish boyfriend” and falls for him. Written by James Sherman. Directed by Stan Kelly. Sierra Madre Playhouse, 87 W Sierra Madre Bl, Sierra Madre, (626) 256-3809. Sierramadreplayhouse.org. Opens Fri at 8. Fris-Sats at 8; Suns at 2:30. Closes June 14.

Blue Night in the Heart of the West. A young Scotsman flees to America and finds violence in New York, love in Reno, and family secrets in Iowa. Written by James Stock. Directed by Amanda Weier. Open Fist Theatre, 6209 Santa Monica Bl, Hollywood, (323) 882-6912.

Openfist.org. Opens Fri at 8. Fris-Sats at 8; Suns at 7.

Closes June 21.

Flora, the Red Menace. In the Depression era, a spunky young woman is determined to make it in New York City. Reprise presents the 1965 musical by John Kander and Fred Ebb, using the revised 1987 script

by David Thompson. With Eden Espinosa. Directed by Philip Himberg. UCLA Freud Playhouse, Westwood, (310) 825-2101. Reprise.org. Opens Wed at 8. TuesFris at 8; Sats at 2 & 8; Suns at 2 & 7. Closes May 18.

From Door to Door. A tribute to three generations of women in America. Written by James Sherman. Directed

by Howard Teichman. Electric Lodge Theatre, 1416 Electric Av, Venice, (310) 823-0710. Opens Thur at 8.

Thurs-Fris at 8; Sats at 2 & 8; Suns at 2. Closes June 1.

The Glass Menagerie. Tennessee Williams’s story of the Wingfield family, who struggle to find happiness in their run down apartment in Missouri. Directed by Brian Kite. Actors Co-op at Crossley Terrace Theatre, 1760 N Gower St, Hollywood, (323) 462-8460. Opens Fri at 8. Fris-Sats at 8; Suns at 2:30. Closes June 8.

Hedda Gabler. Freya Films LLC presents Henrik Ibsen’s play about a woman struggling with discontent in her marriage. Directed by Charles Otte and Rick Pagano.

Odyssey Theatre, 2055 S Sepulveda Bl, L.A.. Info: (310) 477-2055 or Odysseytheatre.com. Opens Fri at 8.

Thurs-Sats at 8; Suns at 2. Closes May 31.

Intimate Apparel. A century ago, one woman struggles to be herself in a society where she cannot quite fit into the set patterns that are stitched for AfricanAmerican women. Written by Lynn Nottage. Directed

by D’Shaun A. Booker. Morgan-Wixson Theatre, 2627

The last of Tennessee Williams’s great plays salutes the humanity of life’s also-rans, just as they’re running out of options in a seductive outpost on the Mexican Pacific coast.

None of them has given up yet – witness the anguished desperation of Geoff Elliott’s ex-Rev. Shannon, the powerful lunge for sensual consolation by Deborah Strang’s recently widowed Maxine, and the hardy persistence of Jill Hill’s spinster Hannah Jelkes, who’s accompanied by her nonagenarian grandfather (Evidence Room regular Tom Fitzpatrick in a crystalline A Noise Within debut). In contrast to L.A.’s last noteworthy Iguana revival, director Michael Murray’s impeccable staging restores the subsidiary characters of a trio of German tourists, who cheer from afar as London burns (it’s 1940).

They offer an oblique commentary on Hannah’s credo that nothing human disgusts her – unless it’s violent or unkind.

–Don Shirley A Noise Within, 234 S. Brand Blvd., Glendale, (818) 240-0910 x1.

Anoisewithin.org. Call for performance schedule. Closes May 25.

JAZZ, BLUES, LATIN Arcadia Blues Club, 16 E Huntington Dr, Arcadia, (626) 447-9349. Arcadiabluesclub.com. Fri: Wumbloozo.

Sat: J.R. Williams, Titanic Jazz Band Dixieland.

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: OHM. 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) 9837111. Thebluecafe.com. Thur-Wed: Call for more info.

Café Boogaloo, 1238 Hermosa Av, Hermosa Beach, (310) 318-2324. Boogaloo.com. Fri: Cash McCall.

Tue: Southern Fried Chicken.

Café Metropol, 923 E Third St, downtown L.A., (213) 613-1537. Roccoinla.com. Fri: Dale Fielder Quartet, 8. Sat: Darek Oles & Larry Koonse, 8.

Catalina Bar & Grill, 6725 Sunset Bl, Hollywood, (323) 466-2210. Catalinajazzclub.com. Shows at 8:30 & 10:30 unless noted. Thur-Sun: Marcus Miller. Tue: Sara Leib Quartet. Wed: John Densmore’s Tribal Jazz.

Charlie O’s, 13725 Victory Bl, Van Nuys, (818) 9943058. Charlieos.com. Tue-Wed: Tribute to Ray Reed.

Cozy’s Bar & Grill, 14058 Ventura Bl, Sherman Oaks, (818) 986-6000. Cozysblues.com. Fri: Smokin’ Joe Kubek with Bnois King. Sat: Michael Burks.

Csardas, 5820 Melrose Av, Hollywood, (323) 9626434. Thur-Wed: Call for 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. Thur-Wed: Call for info.

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: Lee Konitz Trio. Sun: Matt Roberts Group, 4; Alternative String Group, 7 & 8:30. Mon: Pierce College Jazz Band. Tue: Peter Erskine, Alan Pasqua & Dave Carpenter. Wed: Curtis Fuller Quintet.

La Granada, 17 S First St, Alhambra, (626) 2272572. Letsdancela.com. Thur: Salsa Dance, 10. FriSat: Salsa Central. Sun: Ballroom Dance, 5:30. Mon: Ballroom, 8:30. Tue: Salsa Dancing, 10. Wed: Disco Hustle & West Coast Swing, 8:30.

La Vé Lee, 12514 Ventura Bl, Studio City, (818) 9808158. Laveleejazzclub.com. Shows at 8:30 & 10:30.

Thur-Wed: Call for info.

Mama Juana’s, 3707 Cahuenga Bl W, Studio City, (818) 505-8636. Mamajuanas.com. Shows at 7. Thur: Sabor Salsa Thursdays, 7. Fri: Tropical Fridays, 7. Sat: Latin Experience Saturdays. Tue: Burning Salsa Nights.

Wed: New Band Wednesdays with Lucky7 Mambo, 7.

Miceli’s, 1646 N Las Palmas Av, Hollywood, (323) 4663430. 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-Wed: Call for info.

Vibrato Grill Jazz, 2930 Beverly Glen Circle, Bel Air, (310) 474-9400. Vibratogrilljazz.com. Thur-Wed: Call for info.

World Stage, 4344 Degnan Bl, Leimert Park, (323) 293-2451. Theworldstage.org. Call for showtimes.

Thur: Jazz Jam Session, 9. Fri: World Stage Stories, 8. Sat: Saturday School, 9:30 a.m.; Jazz workshop, noon; Concert Series, 8:30 & 10. Sun: Sisters of Jazz, 7:30. Mon: Drum workshop, 7. Tue: Vocal workshop, 6:30. Wed: Anansi Writers Workshop, 7:30.

–Emma Gallegos

CONCERTS

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735 N. La Brea Ave. • Los Angeles, CA 90038 Tel: 323-938-0799• Fax: 323-938-0536

THE

(310) 358-1880. Viperroom.com. Thur: Wallpaper, Lady Tigre, Buddy Akai, The Library, 8:30. Fri: Killing Caroline, Big Linda, Mexicolas, Frank Turner, The Red Paintings, 8:30. Sat: OPM, The B Foundation, Beach City Kings. Sun: Free Form Orchestra, 9. Mon: Ride on Rides, Henry Clay People, Rademacher, I Make This Sound, 8:30. Tue: Peil, The Rising Sound, Shane Walsh, El Haru Kuroi, 8:30. Wed: People in Planes, 7:30.

Viva Cantina, 900 Riverside Dr, Burbank, (818) 8452425. Vivacantina.com. Thur-Wed: Call for info.

Whisky a Go-Go, 8901 Sunset Bl, West Hollywood, (310) 652-4202. Whiskyagogo.com. Thur-Wed: Call for info.

Zeropoint, 1049 E 32nd St, L.A. Zeropointspace.org.

Sat: +dog+, The Transhumans, Phog Masheen, Kawaiietly Please, Bavab Bavab.

–Ashley Archibald

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MAY 1–MAY 7 Note: Unless otherwise indicated, tickets are available through Ticketmaster, (213) 480-3232 or Ticketmaster.com.

Nortec Collective, Mexican Dubweiser, Thur, Glass House, 200 W Second St, Pomona, at 7. (909) 8653802.

Berlin, Lukas Rossi, Piel, Fri, Crash Mansion, 1024 Grand Av, downtown L.A., at 8. (213) 747-0999.

Akron/Family, The Dodos, Fri, See 7 Days in L.A. Lewis Black, Fri, Long Beach Terrace Theater, 300 E Ocean Bl, Long Beach, at 8. (562) 436-3661. Also Sat at Thousand Oaks Civic Arts Plaza, 2100 E Thousand Oaks Bl, Thousand Oaks, at 8.

Dream Theater, Opeth, Fri, Gibson Amphitheatre at Universal CityWalk, 100 Universal City Plaza, Universal City, at 7:15. (818) 622-4440.

Ixya Herrera and Conjunto Hueyapan, Fri-Sun, Los Angeles Theatre Company, 514 S Spring St., downtown, Fri-Sat at 8, Sun at 3. (213) 489-0994 ext. 107.

Yo! Majesty, Does It Offend You, Yeah?, Technology Recordings, Closed Heart Surgery, Fri, Glass House at 7.

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Pico Bl, Santa Monica, (310) 828-7519. Opens Fri at 8. Fris-Sats at 8; Suns at 2. Closes May 31.

Miss Saigon. An American soldier and an innocent Vietnamese girl have a brief affair and are separated, only to find their fates meeting years later. Written by Claude-Michel Schoenberg and Alain Boublil.

Directed by Christopher Beyries. Civic Light Opera of South Bay Cities at Redondo Beach Performing Arts Center, 1935 Manhattan Beach Bl, Redondo Beach, CA 90278, (310) 372-4477. Civiclightopera.com.

Opens Sat at 8. Weds-Fris at 8; Sats at 2 & 8; Suns 2 & 7. Closes May 18.

Pacific Playwrights Festival. The 11th annual edition presents a workshop and readings of scripts commissioned by the South Coast Repertory. South Coast Repertory, 655 Town Center Dr, Costa Mesa, (714) 708-555. Southcoastrepertory.org. Fri-Sun only.

Park Your Car in Harvard Yard. A high school music teacher in the last year of his life meets a woman who answers his ad for a housekeeper â&#x20AC;&#x201C; whom he forgot he flunked years before. Written by Israel Horovitz.

Directed by Hope Alexander. International City Theatre at Long Beach Performing Arts Center, 300 E Ocean Bl, Long Beach, (562) 436-4610. Ictlongbeach.org. Opens Fri at 8. Thurs-Sats at 8; Suns at 2. Closes May 25.

Proof. In the wake of her mathematician fatherâ&#x20AC;&#x2122;s death, a young womanâ&#x20AC;&#x2122;s own mathematical prowess is challenged. Written by David Auburn. Directed by Elina de Santos. Odyssey Theatre, 2055 S Sepulveda Bl, L.A., (310) 477-2055. Rosalindproductions.com.

Opens Sat at 8. Thurs-Sats at 8; Suns at 2. Closes June 1.

Safe. After a possible terrorist attack, wealthy Americans are trapped in an underground luxury bunker.

Written by Chuck Rose. Directed by Kappy Kilburn. Circus Theatricals Studio Theatre at The Hayworth, 2511 Wilshire Bl, L.A., (323) 960-1054. Circustheatricals.com/tickets.html. Opens Sat at 8. Fris-Sats at 8. Closes June 7.

Soldiers. An evening of four one-act plays focusing on those who kill without question. Luna Playhouse, 3706 San Fernando Rd, Glendale. Info: (818) 5007200 or Lunaplayhouse.com. Fris-Sats at 8. May 18 & 25 at 2. Closes May 31.

The Sweetest Swing in Baseball. An up-and-coming painter struggles against the demands of the art world, and is overtaken by self-doubt, paranoia, and fear.

Written by Rebecca Gilman. Directed by Ross Kramer.

El Centro Theater, 804 N El Centro Av, Hollywood, (323) 906-2500. Tix.com. Opens Fri at 8. Thurs-Sats at 8; Suns at 3. â&#x20AC;&#x201C;Ed Carrasco

â&#x2DC;&#x2026;â&#x2DC;&#x2026;â&#x2DC;&#x2026; CONTINUING â&#x2DC;&#x2026;â&#x2DC;&#x2026;â&#x2DC;&#x2026; The Andrews Brothers. Featherweight writer Roger Bean (Marvelous Wonderettes) takes on WW2. Three USO stagehands (original Forever Plaidsters Stan Chandler, David Engel, Larry Raben) finally get to perform on stage â&#x20AC;&#x201C; in drag, posing as the Andrews Sisters. Darcie Roberts adds genuine womanhood to the mix. Nick DeGruccio directs. Musical Theatre West

at Carpenter Performing Arts Center, 6200 Atherton St, Long Beach, (562) 856-1999 x4. Call for performance schedule. Closes May 4. (Don Shirley) 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. Jer r y Mayerâ&#x20AC;&#x2122;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) Britannicus. John Rafter Leeâ&#x20AC;&#x2122;s modern adaptation of Jean Racineâ&#x20AC;&#x2122;s 1669 tragedy, about the Roman emperor Nero (a Cagneyesque Josh Nathan), his domineering mother (Maria Mayenzet), his stepbrother (Kyle Hall), and the woman (Anna Steers) pursued by both men. Bart DeLorenzoâ&#x20AC;&#x2122;s staging overcomes acoustical challenges and ignites in Act 2. National Guard Armory, 854 E Seventh St, Long Beach. Info: (562) 985-5526 or Calrep.org. Thurs at 7; Fris-Sats at 8.

Closes May 17. (DS) Chicoâ&#x20AC;&#x2122;s Angels: Chicas Are Forever. This Charlieâ&#x20AC;&#x2122;s Angels spoof features men (Oscar Quintero, Ray Garcia, Danny Casillas) in skimpy dresses, garish makeup, and outlandish wigs. James Quinnâ&#x20AC;&#x2122;s new episode has original music (Dan Ring) and lyrics (Mr. Dan) instead of song parodies. Director Kurt Koehler maintains a gleefully raunchy ambience. Cavern Club Theater, 1920 Hyperion Av, Silverlake, (323) 662-4255.

Cavernclubtheater.com/chico.html. Thurs at 8; FrisSats at 9; Suns at 8. Closes May 18. (DS) Coffee Will Make You Black. A black Chicago girl (irresistible Diona Reasonover) wanders precariously through the racial and sexual revelations and revolutions of the â&#x20AC;&#x2122;60s in Michael Shepperdâ&#x20AC;&#x2122;s adaptation of April Sinclairâ&#x20AC;&#x2122;s novel, directed by Nataki Garrett.

Although the male roles are cast too old, the playâ&#x20AC;&#x2122;s many awakenings feel fresh and vital. Celebration Theatre, 7051-B Santa Monica Bl, Hollywood. Info: (323) 957-1884 or Celebrationtheatre.com. Thurs-Sats at 8; Suns at 3. Closes May 25. (DS) Comic Potential. In a near future, TV soap operas are cast with â&#x20AC;&#x153;actoidsâ&#x20AC;? â&#x20AC;&#x201C; computer-programmed robots. One of them (Oona Mekas and Katie Kocis alternate) has more human aspirations and runs off with a young writer (William Joseph Hill). Stan Mazinâ&#x20AC;&#x2122;s staging of Alan Ayckbournâ&#x20AC;&#x2122;s intriguing comedy is a bit ragged around the edges. The Lonny Chapman Group Repertory Theatre, 10900 Burbank Bl, North Hollywood, (818) 700-4878. Lcgrt.com. Fris-Sats at 8; Suns at 2. Closes May 18. (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 â&#x20AC;&#x201C; 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. Closes May 3. (DS) Compleat Female Stage Beauty. The new Rogue Machine company rearranged this venue for Jeffrey Hatcherâ&#x20AC;&#x2122;s account of the 1660s rise of actresses on

the London stage and the fall of an actor (Michael Traynor) who previously played womenâ&#x20AC;&#x2122;s roles. John Perrin Flynnâ&#x20AC;&#x2122;s staging seldom flags, but the mix of modern and period design falls flat. Rogue Machine in Theatre Theater, 5041 Pico Bl, L.A., (323) 960-7726.

Roguemachinetheatre.com. Thurs-Sats at 8; Suns at 3. Closes June 1. (DS) The Concept of Remainders. A middle-aged couple (Dan Gilvezan, Suzanne Ford) agrees to permit infidelity for 10 days, not suspecting that they might try out the same partner â&#x20AC;&#x201C; or emerge with no one. One key coupling is announced, not seen, in Richard Martin Hirschâ&#x20AC;&#x2122;s script, which lowers the plausibility of Mark L. Taylorâ&#x20AC;&#x2122;s likable staging. The Chandler Studio Theatre Center, 12443 Chandler Bl, North Hollywood, (800) 838-3006. Theprodco.com. Fris-Sats at 8; Suns at 3. Closes May 17. (DS) Don Juan. Molièreâ&#x20AC;&#x2122;s version of the legendary rakeâ&#x20AC;&#x2122;s story is boldly admiring, and it seems fairly up-to-date in Michael Michettiâ&#x20AC;&#x2122;s quasi-modernist staging of Richard Nelsonâ&#x20AC;&#x2122;s translation. Elijah Alexander and JD Cullum, perfectly cast as Don Juan and his skeptical valet, and the entire cast deliver savvy timing and perceptive performances. A Noise Within, 234 S Brand Bl, Glendale, (818) 240-0910 x1. Anoisewithin.org. Call for performance schedule. Closes May 24. (DS) Emergency. See Stage feature review.

Fortinbras. Lee Blessingâ&#x20AC;&#x2122;s jaunty sequel to Hamlet charts the reign of the Norwegian prince (Greg Baglia) who enters at Shakespeareâ&#x20AC;&#x2122;s final curtain, only to face war with Poland and the needling ghosts of the murdered royals. Maria Cominisâ&#x20AC;&#x2122;s staging for Theatre Neo keeps the satirical balls spinning in a debonair display of comic timing. Secret Rose Theatre, 11246 Magnolia Bl, North Hollywood, (323) 769-5858. Theatreneo.com. Fris-Sats at 8; Suns at 2. Closes May 3. (DS) Great Expectations. Jules Aaronâ&#x20AC;&#x2122;s staging of this musical version of the Dickens novel works for awhile, but often feels like work. In Act 2, the convoluted plot is awkwardly compressed and rushed. Brian VanDerWilt adapted Margaret Hoornemanâ&#x20AC;&#x2122;s script, and Richard Winzeler and Steve Lane added sometimes perfunctory songs. Hudson Backstage Theatre, 6539 Santa Monica Bl, Hollywood. Info: (323) 960-4442 or Plays411.com/greatexpectations. Fris-Sats at 8; Suns at 2. Closes May 11. (DS) Henry IV Part One. Shakespeareâ&#x20AC;&#x2122;s history play receives a sturdy, intelligent staging by Geoff Elliott â&#x20AC;&#x201C; who doubles as Falstaff â&#x20AC;&#x201C; 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) The Immigrant. A Steven Alper/Sarah Knapp score enhances Mark Harelikâ&#x20AC;&#x2122;s story of his Russian Jewish grandparents (Christopher Guilmet, Monica Louwerens) settling in small-town Texas, with help from a banker (Joe Garcia) and his wife (Cynthia Marty). Act 2 conflicts lift it far above feel-good formulas. Hope Alexanderâ&#x20AC;&#x2122;s staging adds luster. The Colony Theatre, 555 N Third St, Burbank, (818) 558-7000. Colonytheatre.org. Fris-Sats at 8; Suns at 2 and 7. Closes May

4. (DS) The Injured Party. Richard Greenbergâ&#x20AC;&#x2122;s comedy about a would-be artist/heir (hilariously irascible Reg Rogers) awaiting loot from his rich grandma (Cynthia Harris) is clever, with a design partially inspired by Christoâ&#x20AC;&#x2122;s The Gates (a topic in the script). But it finally feels more fleetingly airy than the similarly themed What They Have next door. South Coast Repertory, Julianne Argyros Stage, 655 Town Center Dr, Costa Mesa, (714) 708-5555. Scr.org. Tues-Fris at 7:45. Sats-Suns at 2 and 7:45. Closes May 11.

(DS) KlĂźb. Nine desperate performers are forced to audition their over-the-top shtick for an unseen tyrant (director Michael Schlitt) in Mitch Watsonâ&#x20AC;&#x2122;s satire. They aim not to get into a show but to escape the audition room, which is more expansive and atmospheric than in the 1992 original. Energetic performances enliven an inherently repetitive script. The Actorsâ&#x20AC;&#x2122; Gang Ivy Substation, 9070 Venice Bl, Culver City, (310) 838-4264.

Theactorsgang.com. Thurs-Fris at 8; Sats at 8 & 10:30. Closes May 11. (DS) The Lost Plays of Tennessee Williams. In Jack Hellerâ&#x20AC;&#x2122;s staging of the writerâ&#x20AC;&#x2122;s most explicitly gay-themed script, And Tell Sad Stories of the Deaths of Queens, a â&#x20AC;&#x2122;50s French Quarter designer (Brian Foyster) tries to seduce a ruggedly straight sailor (Chris Rydell). The brief curtain raisers are Mister Paradise and The Palooka. All are well done. Davidson/Valentini Theatre, L.A. Gay & Lesbian Center, 1125 McCadden Pl, Hollywood, (323) 860-7300. Lagaycenter.org. ThursSats at 8; Suns at 7. No perfs May 30-June 1. Closes June 8. (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 (whoâ&#x20AC;&#x2122;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 Oâ&#x20AC;&#x2122;s in the Alexandria Hotel, 501 S Spring St, downtown L.A., (866) 811-4111. Theatermania.com. Sats-Suns at 7. (DS) Prelude and Liebestod. A conductor (Larry Eisenberg, resembling Leonard Bernstein) tackles Wagner, with the audience in the position of the wind players. We hear his unspoken thoughts and those of his wife, a lascivious young fan, the concertmaster, and a singer, courtesy of Terrence McNally. Itâ&#x20AC;&#x2122;s droll but over-extended and melodramatic. Lonny Chapman Group Repertory Theatre, 10900 Burbank Bl, North Hollywood, (818) 700-4878. Lcgrt.com. Sats at 5; Suns at 7. Closes May 18. (DS) Snake in the Grass. Alan Ayckbournâ&#x20AC;&#x2122;s psychological thriller pits long-estranged middle-aged sisters (Pamela Salem, Claire Jacobs) against their late fatherâ&#x20AC;&#x2122;s exnurse (Nicola Bertram). Mark Rosenblattâ&#x20AC;&#x2122;s U.S. premiere achieves jump-in-your-seat moments, thanks to high-strung performances, atmospheric design, and a score by ex-Dire Straitser Hal Lindes. Matrix Theatre, 7657 Melrose Ave, L.A. Info: (323) 960-4420 or Salemktheatreco.org. Closes May 4. (DS) The Sunshine Boys. Jeffrey Haydenâ&#x20AC;&#x2122;s intimate revival brings out the best in Neil Simonâ&#x20AC;&#x2122;s comedy about two estranged ex-comedy partners (Hal Linden, Allan Miller) who are encouraged to re-unite for a TV special by the grumpier geezerâ&#x20AC;&#x2122;s agent and nephew (Ed-

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die Kehler). Lindenâ&#x20AC;&#x2122;s impeccable timing is a thing of beauty. Odyssey Theatre Ensemble, 2055 S Sepulveda Bl, L.A., (310) 477-2055. Odysseytheatre.com.

Thurs-Sats at 8; Suns at 2. May 11 & 25 at 7 only; May 7 at 8. Closes June 1. (DS) Tallgrass Gothic. Melanie Marnichâ&#x20AC;&#x2122;s dose of rural Midwestern adultery and its unhappy results was inspired by a 1622 play by Thomas Middleton. So itâ&#x20AC;&#x2122;s an old story, grimly predictable and surprisingly restrained â&#x20AC;&#x201C; with no nudity and scant onstage violence.

An eye-catching performance by Carrie Witta helps.

Jaime L. Robledo directed, tautly. Sacred Fools Theater, 660 N Heliotrope Dr, Hollywood, (310) 281-8337.

Sacredfools.org. Tues-Weds at 8. Closes May 7. (DS) Testosterone: How Prostate Cancer Made a Man of Me. UCLA screenwriting prof Hal Ackerman portrays himself in his witty, affirming chronicle, assisted by professional actors Lisa Robins and Randy Oglesby in the other roles and director Michael Arabian. Ackermanâ&#x20AC;&#x2122;s not a polished actor, but his personal touch adds compensatory charm. The Powerhouse Theatre, 3116 Second St, Santa Monica, (310) 396-3680. Powerhousetheatre.com. Fris-Sats at 8; Suns at 4. Closes May 10. (DS) The Time of Your Life. Matt McKenzieâ&#x20AC;&#x2122;s revival of William Saroyanâ&#x20AC;&#x2122;s panoramic look at a seedy barroom in 1939 San Francisco has some fine performances and moments but loses steam in some of the logier scenes, at least when compared to last yearâ&#x20AC;&#x2122;s Open Fist production. Robb Derringer is gruffly authoritative as the free-spending protagonist. Pacific Resident Theatre, 703 Venice Blvd., Venice, (310) 8228392. Pacificresidenttheatre.com. Thurs-Sats at 8; Suns at 3. Closes June 1. (DS) The Violet Hour. Richard Greenbergâ&#x20AC;&#x2122;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 Rogersâ&#x20AC;&#x2122;s staging overcomes a strangely age-blind casting choice and second-act implausibilities. Theatre Tribe, 5267 Lankershim Bl, North Hollywood, (800) 8386006. Theatretribe.com. Thurs-Sats at 8. Closes May 3. (DS) What They Have. A Hollywood power couple (Matt Letscher, Marin Hinkle) and their arty, less affluent friends (Kevin Rahm, Nancy Bell) takes turns envying each other over issues of money, creative fulfillment, and parenthood in Kate Robinâ&#x20AC;&#x2122;s script, saturated with articulate conversations. Chris Fieldsâ&#x20AC;&#x2122;s staging mitigates the heady claustrophobia. South Coast Repertory, Segerstrom Stage, 655 Town Center Dr, Costa Mesa, (714) 708-5555. Southcoastrepertory.com. Tues-Weds at 7:30; Thurs-Fris at 8; Sats at 2:30 & 8; Suns at 2:30 & 7:30. Closes May 4. (DS) Wicked. New actors occupy four major roles in the Stephen Schwartz/Winnie Holzman musical steamroller about the formative years of Ozâ&#x20AC;&#x2122;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. Closes Jan 11.

(DS)

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CITYBEAT

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Mind, Body, Spirit

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MedicalResearch

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PARTICIPATE IN AN ADDICTION RESEARCH STUDY AT NO COST Experimental medications compared with placebos (sugar pills) with outpatient counseling available in research treatment studies for:

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CITYBEAT

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MAY 1~7, 2008

C M Y K

Week of May 1 ARIES

FREE WILL ASTROLOGY

By Rob Brezsny

(March 21-April 19)

Your power symbol for the week is an ant carrying a potato chip. It means you'll possess so much strength that you'll be able to hold aloft burdens that are much bigger than you. More than that, Aries.

You'll look graceful doing it. And here's the kicker.

That giant load you carry may ultimately provide nourishment not only for you but also for everyone back at the nest.

TAURUS

(April 20-May 20)

Have you ever been filled with a terrible yearning to become something new? Do you know what it's like to be racked with a ferocious hunger to change your life? Speaking from experience, I know that such a state can sometimes feel heavy and dark. But I'm here to tell you that it can also be a tremendous asset. The key to transforming it into a gift, ironically, is to see it as a gift.

So your assignment, Taurus, is to interpret your ache for transformation as a potent blessing. To do so will give you the power to perform magic you can't even imagine yet.

GEMINI

(May 21-June 20)

Ariel was going through a hard time. She'd been weaning herself from a painkiller she'd taken while recovering from surgery. Her cat ran away, and there was a misunderstanding at work. One night while at a nightclub with her friend Leila, she spied her exboyfriend kissing some woman. Meltdown ensured. Ariel fled the club and ran sobbing into the street, where she hurled her shoes on top of a passing bus. Leila retrieved her and sat her down on a bench. "Because up until now you've displayed such exemplary grace in the face of chaos," Leila said, "I'm giving you a free Crazy Pass. It gives you a karma-free license to temporarily lose your mind." This compassionate humor helped Ariel feel more composed. The rest of the night she partied beautifully, achieving major relief and release without hurting herself. Now, Gemini, in accordance with the omens, I'm awarding you, too, with a free Crazy Pass..

CANCER

(June 21-July 22)

It's finally the right time for you to hear a piece of advice you weren't ready for before. If I had told you this any earlier, you would have at best misinterpreted it and at worst had no idea what I was talking about. But in recent weeks you've recovered a portion of your lost wildness, which means I can confidently reveal the following truth, courtesy of poet Charles Simic: "He who cannot howl will not find his pack."

LEO

(July 23-Aug. 22)

There's oil on Saturn's moon Titan! NASA reports that its spacecraft Cassini found vast lakes of liquid hydrocarbons. There's enough, from what I can tell, to supply 40 generations of humans with enough fuel to go joyriding in five-mile-a-gallon SUVs for a thousand years. In response to the revelation, militant patriots are already calling for the U.S. to invade and occupy Titan. In related news, I predict that a novel energy source will soon become available for your personal use, Leo. Luckily, it won't be nearly as hard to tap into as Titan's riches will be for the oil companies. It'll also be much better for the environment..

VIRGO

(Sept. 23-Oct. 22)

"Partner needed for mission from God," read the classified ad I spied online. "I'm driving across the country in a banana-yellow 1979 Cadillac Seville with a Lionel Richie photo dangling from the rearview mirror and the thousand-page manuscript of my autobiography piled in the trunk. The mission is driving to Mexico to find my biological father, a rancher. Swimming pools will be peed in, convenience stores trashed, and large sunglasses worn. If you accompany me, I'll pay you $1,000." In calling this to your attention, Libra, I'm not necessarily suggesting you take the guy up on his offer. However, I do hope you'll be alert for comparable proposals that would reward you for helping interesting characters carry out edgy, inspirational quests.

SCORPIO

(Nov. 22-Dec. 21)

AQUARIUS

(Jan. 20-Feb. 18)

Farmers in Morocco can earn 40 times more money by growing marijuana instead of avocados or tomatoes. Meanwhile, my friend RenĐ&#x17E; brings in ten times the salary she used to make as a secretary by working as a stripper at a nightclub. That means she can devote less time to earning a living and has more time to do what she loves, which is playing music. I expect that you've received or will soon receive a comparable opportunity or temptation, Sagittarius. I'm not sure what the morally correct action will be. But I do urge you to try to put your long-term interests above your short-term interests.

How do I come up with your forecasts? First I meditate on the chart of the current astrological configurations. Then I say this prayer to the higher powers: "Please help me tune in to the message that is most important for Aquarians to hear." After that I close my eyes and release my creative mind into the tidal swells of the collective unconscious, suggesting that it find an image or phrase or story that captures the essence of the next step you need to take. Right now, for instance, I'm getting a vision of you not relying on me, but rather exercising the initiative to hunt down the question that's most important for you to ask right now.

CAPRICORN

PISCES

(Aug. 23-Sept. 22)

"Whatcha gonna do with your freedom?" asks Lakshmi Devi on "Freedom," a song from her CD Raise a Holy Fire. Here's what she says she'll do with hers: "I choose to lose control in the presence of staggering beauty/ I choose to be stripped of what is unreal." In my view, that's an epically brazen way to use one's freedom -- right up there, in terms of radical moral zeal, with choosing to ease the suffering of everyone you encounter. With these examples to inspire you, Virgo, take some time to make an aggressive new formulation about how you'll use your growing freedom.

LIBRA

SAGITTARIUS

(Oct. 23-Nov. 21)

If you hurt another person, you hurt yourself. The act of inflicting injury distorts you, making it more difficult for you to be in alignment with your highest potential. The converse is also true. When you hurt yourself, you inevitably hurt others. The damage you cause to yourself diminishes your ability to give your best gifts. Keep this mind, Scorpio, as you celebrate Do No Harm Week. Be scrupulous in your intention to practice non-violence in every way you can imagine.

MAY 1~7, 2008

(Dec. 22-Jan. 19)

When the first George Bush ran for U.S. President in 1988, he worried that he and his wife Barbara appeared less affectionate in public than their opponents, Michael and Kitty Dukakis. "Sweetsie," he wrote to her, "Look at how Mike and Kitty do it. Try to be closer in, more romantic on camera. I am practicing the loving look, and the creeping hand. Yours for better TV and more demonstrable affection. Your sweetie-pie-coo-coo."

Though my moral principles make it tough to ask you to imitate any president named Bush, it's my astrological duty to do that, at least in this one matter. Your Love Quotient has got to go way, way up. So please: Practice the loving look and the creeping hand. And find an excuse to call someone "sweetie-pie-coocoo." [Source: My Dear President: Letters Between Presidents and Their Wives.]

(Feb. 19-March 20)

Rumor has it that you are overflowing with so many fresh, hot ideas that you can't use them fast enough. So why not give some away? Like for instance donate a few to me. I'll be glad to take them off your hands and find a decent home for them. If I use your brilliant notions to make lots of money, I may even give you a kickback. So don't let your surplus of brainstorms bog you down, Pisces. Send your excess to me at uaregod@comcast.net. (P.S. In case you can't tell, I'm joking. In fact, I'd love it if you kept all your smart ideas for yourself, and worked expeditiously to turn every one of them into some practical improvement in your life.)

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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41

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