New Angeles Monthly by Diana James

Take a closer look

at your community hospital

Our Specialized Programs: • California Digestive Diseases Institute • Center for Geriatric Health • East-West Pain Management Institute • Emergency Department: Door to doctor in 30 minutes, guaranteed • Los Angeles Center for Spine Care and Research • The Memory Institute • Southern California Sports Medicine Institute

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䡲 2007 Specialty Excellence

Award recipient and ranked among top 10% of all hospitals nationally for Pulmonary Care and Gastrointestinal Care TM

䡲 2007 HealthGrades five-star

rating for clinical excellence in Treatment of Community Acquired Pneumonia, GI Surgery and Procedures, and Treatment of Pancreatitis

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f you haven’t been to Olympia Medical Center lately, come take a closer look at your community hospital. You already know us for our 24-hour emergency services, acute medical treatment, quality care and convenient access. But step inside our newly renovated facility and you’ll find one of LA’s best-kept secrets: a 2007 HealthGrades five-star rated hospital with renowned physicians, highly specialized programs and groundbreaking research. We offer services you’d find at much larger facilities, but delivered with the attention and care you only get at a community hospital.

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Our first public purchase opportunities are coming in March. Visit the Madrone Sales Retreat in the Roosevelt Hotel, call or register online to get the inside track. The Madrone Sales Retreat is now open in the Roosevelt Hotel at 7024 Hollywood Blvd. Architectural site tours available. MODERN RESIDENCES FROM THE HIGH $400s TO OVER $1 MILLION COMPLETION WINTER 08 : MADRONEHOLLYWOOD.COM : 323-836-0000 When you arrive at the Roosevelt, valet your car and head in the direction of the pool. The Madrone Sales Retreat is located to the right as you enter the pool area. Valet parking at the Roosevelt is hosted by Madrone.

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CONTENTS

Features: 20: NO PARTY LIKE A

BURNING MAN PARTY

From the Nevada desert playa to downtown L.A., the art celebration moves with a singular momentum. Come on, feel the anarchy

24: SHAKESPEARE IN

THE 21ST CENTURY

If The Bard of Avon were alive today, he’d probably steer his mobile sound system amongst the populace. And he’d have an album coming out this month. Wait. This stuff is happening. Shakespeare lives. Black Shakespeare. He’s a legend on the Eastside

28: TAT MASTER New fiction from Naomi Hirahara and the forthcoming Tor anthology The Darker Mask: Heroes from the Shadows.

Columns: 6: PUT IT IN WRITING

Parting is such sweet sorrow… well, actually, “semi-sweet” is more accurate

8: SNAPSHOTS Paying late-night tribute at Chinatown’s New Year celebration

12: FOODSTUFF Stroll up Faifax with Dodger Andre Ethier and end up on the hottest corner in Montrose.

14: WARES A local futbol star and a punching mamacita display some awesome looks.

18: INNERVIEW Bruce Williams used to catch Dr. Dre’s car keys at night’s end, now he reflects on the producer.

32: CALENDAR

Shingo Shimizu's December cover illustration for reportage on Forever 21 has proved to be among the more popular in this magazine's short history. The Toronto-based artist knocked another assignment out of the park in his work on "Tat Master," by Naomi Hirahara (pg. 28). The short story is excerpted from The Darker Mask: Heroes from the Shadows, which Tor will publish in August. Josh Reiss captured the spirt of Burning Man while presciently anticipating the possibilities of a postCastro Cuba. Writer Ron Garmon examines the phenomenon of the venerably anarchic arts festival's Decompression events (pg. 20).

Selected events for March

EXECUTIVE PUBLISHER CHARLES N. GERENCSER ★ EDITOR DONNELL ALEXANDER Art Director Matt Ansoorian ★ Advertising Director Joe Cloninger Advertising Art Director Sandy Wachs ★ Production Manager Meghan Quinn Contributing Editors Perry Crowe, Neille Ilel, Pamela Miller-Macias ★ Calendar Editor Julie Rasmussen ★ Copy Editor Joshua Sindell ★ Contributing Writers Johnny Angel, Greg Burk, Kamren Curiel, Ron Garmon, Millicent Jefferson, Joshua Lurie, Bobbi Murray, Kate Petre, Gary Phillips, Abel Salas, Mike Sonksen, Jervey Tervalon, Marco Villalobos ★ Photographers Jack Gould, Maura Lanahan, Gary Leonard, Noé Montes, ★ Account Executives Vanessa Aguilar, John Bogris, Jon Bookatz, Sarah Fink, Elizabeth Guzman Leslie Lamm, Parra Martinez, Daphne Marina, Todd Nagelvoort, Dina Takouris, Susan Uhrlass ★ Accounting Christie Lee ★ Circulation Manager Andrew Jackson SOUTHLAND PUBLISHING, INC. VP, Operations David Comden ★ Vice President, Sales Charles N. Gerencser Controller Michael Nagami ★ Human Resources Manager Andrea Baker Accounting Manager ★ Angela Wang CONTACT US Advertising: charlesg@newangelesmonthly.com • Editorial: editor@newangelesmonthly.com P: 323-938-1700 F: 323-938-1771 • 5209 Wilshire Boulevard ★ Los Angeles , CA 90036 www.NewAngelesMonthly.com ©Copyright 2008, Southland Publishing, Inc. All Rights Reserved.

5 ★ MARCH 2008 ★ NEW ANGELES

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he galleys from this magazine’s March issue were spread across a medium-sized room at the New Angeles Standard Hotel. It was the last Tuesday before deadline, three days before Friday and the morning after my fiancée and I celebrated the second anniversary of our meeting. With mixed feelings, we scanned components of the last issue of New Angeles that I’d edit. The spread is something we had done before, spacing the early versions of pages out across our bed and such. Mostly, Baby read her copy of The New Yorker, while I frowned and bitterly wielded my red pen. But she sometimes helped me wrestle with this stab at making the community mag work. She once fought me on the grounds of terminology. “This isn’t community journalism,” she said. “When I worked at the Queens Chronicle, that was community journalism.” Well, wait, I insisted. Compare the budgets. Look at the readership. “Community journalism, that’s what we’re doing. Same shit,” I said, flipping through the prospective new fiction or some vivid photo essay or, better yet, a bunch of ads that help Southland Publishing pay for ink. “Same thing, baby. The only difference between this and the Queens Chronicle as that I am fucking killing it. That’s just what I do.” I’ve done voluminous overthe-top shit over the of span my journalistic life. Breathtakingly bananas hijinks. Edited prize-winning coverage of student riots for my college daily (following, it must be acknowledged, editorials that allegedly provoked those riots in the first place). Published mainstream news coverage of crystal meth’s expected rise back in 1987. Followed a guerilla bungee crew up the Feather River, just to jump off a 200-foothigh bridge, just to give the Chico News & Review Sports and Fitness issue a bit of extra edge. Picked public fights with rappers, in print. Penned ESPN The Magazine’s first resonant cover story and the last cover joint from Might. Did rock-star early McSweeney’s stunts with Eggers and Zadie and Neal Pollack and Dan Zanes and the rest. I filed a fashion piece from Burning Man. And that darned 2003 literary festival we put up on at that Altadena amphitheater. That’s right, the one with the burlesque dancers.

Fuckin’-ay good times. Why, sometimes it seems I’ve blown trees with every heavy hitter this side of Barack Obama. But none of these things have made me happier or more fulfilled than my short stint editing NA. I’ll probably not ever do another publication that I can take to bed with me. Or that I can wake up to so eagerly. My selfless contributing editors (Neille Ilel, Pamela Miller-Macias and Perry Crowe) and NA’s art department stars (Matt Ansoorian, Meghan Quinn and Sandy Wachs) know me as incessantly complaining editor. I was, regardless, completely engaged. I probably won’t ever again preside over a conversation that felt so intimate. Or be part of such an awesome community. I’m not sure there’s a better one. (The dirty little secret of NA has been that, having moved from Silver Lake in ’06 out of necessity, I haven’t lived in the area for any of my months-long tenure.) But I sure felt you readers. I felt you in the mail account, felt you checking my mag out in cafés. And in my mind’s eye, I’ve even seen you digging pieces at the privacy of your kitchen table, sweeping aside crucial mail and ’avin’ a laugh. Here’s to y’all’s lovely asses. You’ve been a great room. I won’t be here all week. Starting in April, original NA editor Nikki Bazar carries the ball. I’ll now assume a consulting role and take on a new title. (My first choice is Grand Wizard, but the publisher has chafed at the notion.) No worries, we’ll all still hang out. Trust me, Ansoorian is still designing this page. And those writers, artists and photographers that you’ve only begun to enjoy? Those kids are coming back and they’re bringing their friends. Barring complete financial ruin of Philip Anschutz and Eli Broad, NA should get larger and better as 2008 moves along. I guess, ultimately, that when I stared, reminiscing, at all those galleys strewn across the hotel room, I was marveling at the power of the small. Small readership. Low budget. Such a brief snatch of time. You may have heard about it, but some of the housing money has gone bye-bye. Those dollars were supposed to be our ad base. And when the money went bye-bye, we found something no alleged housing boom can ever outlast: a devoted readership. Thank you one last time for being such a great audience. If I could be here all week, I would. But I got kids, yo. (And a standing appointment with the neighborhood masseuse.) -dEA

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8 7 7 . 5 2 6 . 6 3 4 8 7 ★ MARCH 2008 ★ NEW ANGELES

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SNAPSHOTS

NEW ANGELES ★ MARCH 2008 ★ 8

A New Work of Art on the L.A. Landscape the ultimate living experience. coming early 2008. Studio, 1, 2 and 3 bedroom flats, townhomes and loft apartment homes

CHINESE NEW YEAR

PHOTOS BY GARY LEONARD

Year of theRat

At first, it might seem that a late weeknight in February — an especially brisk one, at that — could not draw any but the most determined partier. That's why second glances and periodical journalism were invented, to improve upon/combat preliminary impressions. On Feb. 6, the eve of Chinese New Year, thousands gathered at the Chau Thien Hau Temple. Despite the late hour (festivities began at 10:30 p.m.) children were spotted amid the pagentry. They breathed in the heavily wafting smell of incense and thrilled at the pop of 250,000 fire crackers and a vision of local beauty queens. Meanwhile, grown folks offered up tributes of money, fruit and more.

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9 ★ MARCH 2008 ★ NEW ANGELES

PICO BLVD Mid-City to South Robertson

must-visit for aficionados of classic, original mid20th-century modern furniture. PMF can outfit any room of your house, loft or apartment. In today’s polluted economy, what better way to help save the environment than to buy a classic piece of pre-owned furniture? Stop by Pico Modern today and help save the world and your bedroom, den, living room, or kitchen!

Throughout the city of Los Angeles, neighborhoods are transforming. In a positive regression of sorts, businesses, are bringing life “to the boulevard” in a way that has not been seen since the middle of the last century. On no street in the city is this more apparent than along the all-too-overlooked Pico Boulevard, named for the last Mexican governor of California, Pio Pico. Pico Boulevard is populated with a number of retail and service establishments, but a few neighborhoods of late have really come on strong with tremendous retail shopping opportunities, most notably, the “Mid-City” and “South Robertson.” The “Mid-City” neighborhood along Pico is bordered by La Brea to the east and Fairfax to the west. “South Robertson” emanates from Robertson and Pico. Here are some of our choice picks for your shopping pleasure!

5455 W. Pico Blvd. – 323-933-5400 www.thehomegrownstore.com Opened two years ago, Home Grown was established as a destination shop featuring art and home décor created largely by artists and designers from the community. Over time it has grown in stock and selection to include beautiful pieces from all over the world. A trip to the store is like a visit to an exquisite gallery but without the ungodly price tag of shops further north.

El Mercado

Neighborhood Shopping

Guide

5287 W. Pico Blvd. – 323-931-4085 www.elmercadoonline.com Four years ago, El Mercado burst onto the scene, and has quickly become the “go to” place for sports and street fashion. As a destination store, El Mercado sets up as a showroom and gallery for some amazing fashions. In a unique twist, they feature an interactive kiosk upon which you can browse their extensive online sizes and selections. Find something you like in the store, check out variances on-line, and then they’ll come correct with your wares from the immense stockroom in the back of the retail store. For the guys, El Mercado carries 3sixteen, Stussy, Crooks and Castles, Triko, Cassette, and also hard-to-find European imports from Addict and Dunderdon. For the ladies, you can find a tremendous selection of wares from Cassette Femme, Hellz Bellz, Obey, and Mama. One will also find an eclectic selection of limited-edition sneakers from New Balance, ALife, and Reebok…not to mention a cool assortment of BMX and Cruiser bikes. El Mercado opens weekdays at Noon and at 11am on weekends.

Pico Modern Furnishings 5449 W. Pico Blvd. – 818-480-8800 www.decor8.blogspot.com/2008/pico-modern-furnishing “Recycle. Renew. Redecorate.” This is the store motto for Pico Modern Furnishings. Open less than a year; the beautiful retail space has fast become a

5287 W Pico Blvd Los Angeles 323.931.4085

NEW ANGELES ★ MARCH 2008 ★ 10

Home Grown Store

Darren’s Unique Gifts 5406 W. Pico Blvd. – 323-965-8181 With its striking half-circle awning and lime green exterior, Darren’s stands as the definitive gift shop for this unique stretch of Pico. Many of the finer gifts available at Darren’s come from local artists, and one can find a phenomenal selection of leatherbound journals, portfolios, candles, gift sets, cards, and other wonderful home décor products. Custom on-the-spot gift-wrapping is available!

HARI Natural Fiber/Casuals 1410 S. Orange Grove Ave. – 323-930-4822 (at the corner of Orange Grove and Pico) Located a short walk west from the 5400 of block of Pico is the well-established HARI Natural Clothing formerly HARI Casuals. In business on Pico for 32 years, HARI specializes in fine linen and natural cotton clothing for women. The prices at HARI can’t be beat and the selection is impressive and extensive.

Booty 8591 W. Pico Blvd – 310-358-0204 Located in the South Robertson neighborhood of Pico, Booty is an accessory boutique specializing in high-end luxury brands and one-of-a kind products from emerging designers. Of the many luxury brands, one will find Gucci, Prada, Dolce & Gabbana and Chanel. Prices at Booty can be as much as 60% off the MSRP for these coveted products. Stop by today and check out the adjacent art gallery space and original antiques!

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Neighborhood Shopping

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11 ★ MARCH 2008 ★ NEW ANGELES

FOODSTUFF PHOTOS BY NOÉ MONTES

ETHIER’S ETHIOPIAN SWING Look for the Dodgers’ right-fielder over on Fairfax when he’s got that special hankerin’

~ILLUSTRATION BY LARS LEETARU~

Here debuts a FoodStuff feature in which well-known New Angeles figures talk about their favorite New Angeles eating experiences…

NEW ANGELES ★ MARCH 2008 ★ 12

The Little Ethiopian section of Fairfax Avenue has a lot of great restaurants. (Ed: Among the more lauded is Genet Agonafer’s Meals by Genet, a bistro whose signature meat and vegetable platter is pictured above.) Growing up in Phoenix, I did not really eat a lot of that ethnic food. Basically, it was Mexican food and American-style cuisine: pot roast, hamburgers and pizza. But with all the traveling you do in baseball, you can’t always find the familiar food, so, I had to go outside the familiar and try some of the food that’s available in different areas of the country. If you want anything good to eat, you’ll learn to eat the specialty food style of whatever area ethnic group is biggest. One thing I’ve learned over the past five years is not just to enjoy a variety of food, but to crave it. I eat at hole-in-the-wall places that nobody knows about. I’m a daily visitor to

FeastinginPhoenix.com, and on the road you can find me going onto food blogs and buying the local culinary magazines. My family complains about the way I eat when I come home to Phoenix. I’m not so much the chain-restaurant guy anymore. A friend from back home told me about Messob Ethiopian Restaurant, my favorite place to eat in Los Angeles. He hadn’t tried Ethiopian food before, but went to Messob for business and enjoyed the restaurant a lot. He recommended the place, but I waited for him to come out and take me out there. It was one of more interesting things I’d ever tried. In the Ethiopian style, a party is served with one big plate, atop a flat piece of bread called injera. I tend to order the platter with 15 things, from lamb and chicken to beans and lentils, collard greens, carrots and potatoes, all piled up. You just eat with your fingers

and it’s real communal. It’s the type of place where, if you’re not comfortable eating with someone, you probably don’t want to go. Probably not the best place for a first date, but it’s a place to sit down and enjoy and get close from intimate eating. I love the vegetables and, of course, the meat dishes. The lamb has a little spice to it; it’s among the best lamb I’ve ever had. Messob offers barbecued chicken that has a light cinnamon flavor, with cumin and curry. I’m not too much of a vegetable fan, but all of the vegetable dishes they had were excellent. Messob offers a good price for everything. After that first visit, I happily picked up the tab. As long as someone takes me to a good, new restaurant, I’m not upset about paying. As long as I get a good meal out of it! –Andre Ethier, as told to Donnell Alexander

Nicky D's Wood-Fired Pizza

The Hot

Corner

Verdugo Rd. & Sunview Dr.

W ith the Hollywood crowd moving north to nest, this previously sleepy corner on the edge of Montrose has attracted talented chefs whose project is to prevent hungry locals from traveling back down the hill. Chef Nadav Bashan and his wife Romy opened their Mediterranean restaurant in the former Bistro Verdu space last September. The Eagle Rockers scored the space after scouring Craigslist. Romy runs the front of the house. Providence veteran Nadav is drawing gastronauts from Silver Lake and Echo Park with seasonal dishes like braised pork belly with cranberry beans and mussels, and seared barramundi with shrimp, chorizo and Jerusalem artichokes. Michael Ruiz, former chef/owner of Bistro Verdu, resurfaced in December with Ingredients, a rustic Europeanstyle specialty store focusing on cheeses, charcuterie, oils and spices. Thursday nights, he hosts cheese-tastings and multi-course dinners. Weekends bring market-driven small bites, like porter-

braised short ribs and blue cheese-stuffed strawberries with olive pesto. This summer, Ruiz will add a tasting room and begin growing ingredients in a back garden. Rosso Wine Shop owner Jeff Zimmitti discovered the corner while apprenticing for Ruiz at Bistro Verdu, and opened down the block in August 2006. His boutique wine shop specializes in value wines from France, Italy and Spain. Friday and Saturday nights, Rosso offers three glasses for only $10, including cheeses and “goodies” from Ingredients. Not every local business is freshly minted. Francisco Jimenez and wife Patricia opened La Cabañita in 1989. The “little cabin” sports a colorful mural depicting iconic Mexican images, like ancient Aztecs and Popocatépetl, the “Smoking Mountain.” Specialties include pork chops baked in a silky pasilla chile sauce, and Poblano peppers stuffed with ground chicken, almonds and raisins. Bashan 3459 N. Verdugo Rd., Glendale, (818) 541-1532. Ingredients 3521 N. Verdugo Rd., Glendale, (818) 249-4971. La Cabañita 3447 N. Verdugo Rd., Glendale, (818) 957-2711. Rosso Wine Shop 3459 1/2 N. Verdugo Rd., Glendale, (818) 330-9130.-

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

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WARES

JASMINEROSALES

JASMINE ROSALES, 16, ONCE LACKED CONFIDENCE, BUT NOW SHE LOOKS AWESOME WHILE FIXING OPPONENTS' FACES REPORTING BY KAMREN CURIEL • PHOTOS BY NOÉ MONTES

>> Where are you from? Boyle Heights Who inspired you to box? My friend Enrique told me to try it out. Did you feel intimidated when you first came to the Academy? It was kinda weird ’cause it was only me and another girl. Who do you train with? [Fortyfive-year vet] George Payan.

What were your interests before boxing? Writing poetry, which I still do. Have you ever been in a fight before? Yeah, a few, but I feel way more confident now, because I’m so much stronger. How often do you train? Six days a week, three to four hours a day. I’m here every day after school. No wonder.

What kind of gear are you wearing? I have on a robe ($25), gloves ($75), headgear ($125) and boots by Everlast and a Boxing Academy T-shirt ($25). What are you hitting? A speedbag ($100) Stay blessed. Thanks.

NEW ANGELES ★ MARCH 2008 ★ 14

3/31/08

15 ★ MARCH 2008 ★ NEW ANGELES

WARES

EDWARDOrellana

EDWARD ORELLANO, 20, DRIBBLES HIS FUTBOL KNOWLEDGE FROM DOWNTOWN TO PASADENA. AND SCORES! REPORTING BY KAMREN CURIEL • PHOTOS BY NOÉ MONTES

NIKY’S SPORTS, INC. 2 2743 W. Pico Blvd. Los Angeles, CA 90006 (323) 735-2181 www.nikys-sports.com

>> Where did you grow up? Los Angeles, Rampart.

Oh, good. I was imagining balls flying off 32 stories. Who else do you play for? A semi-pro L.A. league.

Do you go to school? Yeah, PCC. I play soccer there too. Eder (store manager/brother): He’s really good. He was recruited to play professional for El Salvador, but they don’t pay well, so it wasn’t worth it. He’s in their team picture, though.

Tell me about the gear you’re sporting. I’m wearing black Adidas adiPURE indoor soccer shoes ($90), a red River Plate Argentina jersey ($70), and Adidas Predator 3/4 pants ($38); they’re cool to wear to the field.

Where in L.A. do you play? At this little field off 11th Street in Downtown, and sometimes on top of the roof at some building. It’s only like two floors though.

NEW ANGELES ★ MARCH 2008 ★ 16

How much are your balls? Anywhere from $10 to $130. People actually collect the higher-end ones, like the official Adidas Euro Pass.

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17 ★ MARCH 2008 ★ NEW ANGELES

INNERVIEW

BRUCEWILLIAMS I N T E R V I E W I

>> What can I say about Bruce Williams that our collaboration Rollin’ with Dre: The Unauthorized Account (One World/ Ballantine) won’t make tangible when it hits on March 25? Williams is a fixer, a raconteur, and a businessman to watch. Most importantly for my purposes, he taught me the true meaning of “chronic” when I thought I knew, fully. Williams’ story is that of a Palm Springs boy whose journey took him from the prison-guard towers of Louisiana to an elite Northern Cali-based military outfit, and ultimately to ground-zero of L.A. gangsta rap as Dr. Dre’s right-hand man. In Rollin’ with Dre, he rigorously depicts the 1990s L.A. rap music scene – both its glory and pathos. Dre, Snoop, Tupac and Suge come off as the complex talents that you know them to be, albeit with facets previously unexplored. In his examination of the Aftermath era, Eminem, 50 Cent, the Game and Jimmy Iovine are dissected with an honesty that only derives from intimacy. I’m honored to have been a part of this book. This was my most fun book project. What’s best to you about the final product? What I like best is that it was therapeutic. I understand everything that I dealt with during that time. From the Death Row era, I understand the turmoil in the game of hip-hop. Dre and Suge? They needed each other. When they separated, that’s when all hell broke loose. What did you learn from being part of the Aftermath era? If it ain’t blowin’ for you, then leave. If you’re not happy? Get out. If it ain’t working for you and your ideas ain’t bein’ used, get out.

NEW ANGELES ★ MARCH 2008 ★ 18

B Y T

The big characters were so complex. Suge, Jimmy and Dre ended up my favorites. Yours? My favorite person was the D.O.C. … he was a fun dude, but he was an understanding cat. He looked at things from a different perspective than everybody else did because he went through a lot of things himself. [After his debut album, No One Can Do it Better, vocalist the D.O.C. severely damaged his vocal cords in a car accident.] He’s just a colorful guy. Out of everybody there, me and him were real close. Dre and I were super-close, but D.O.C. and I had a different kind of relationship. I don’t think it’s

D O N N E L L N

A L E X A N D E R T

in the book, but there was a time that I didn’t go with Dre and them to Japan so that I could stay with D.O.C. He was thinking about having [throat] surgery to correct his voice. You’ve moved on from the rap game and into the business world. Would you care to speak on the projects you’ve got working? Right now, we’re planning to open up a sports bar and restaurant downtown, on Flower Street. We were going to lease the building, but the people who owned it decided to sell

it. This is, like, a $75 million building. Now my investors are in the process of buying [it]. We’re hoping it’s done by the latter part of the year. Also, I’m producing on a movie called Carter High with Nick Van Exel and Je’Caryous Johnson. One more thing about the book. The pictures are awesome. What were you trying to bring in selecting the images? A lot of books don’t even have photos, but I looked at a lot and they were just people hanging out, hugging each other like, “Hey, look at me!” But I just wanted to capture something different. I wanted to capture a side of hiphop artists that you don’t normally see. It’s not just people hollerin’ in the streets and partying. These capture work and art. You see Dre with a tense look on his face. You see Eminem writing. From Cube and Snoop to everybody. They’re just doing what they do. One other thing, Donnell, if you don’t mind. Oh no, go ’head. You did a phenomenal job of writing. Tell you what: Bein’ in this business, I’ve seen a lot of writers. I’d listen to what we tell them and watch what they write. Sometimes it didn’t even feel like us. People who know me [who will read Rollin’ with Dre], they’ll see that’s how I talk and that’s how I walk. It was great for me that you made me look good. You tell a good story, mayn. You made it easy. NA Bruce Williams and Grand Wizard Donnell Alexander will talk hella smack and sign copies of Rollin’ with Dre at Barnes & Noble (189 Grove Drive, Suite K 30)on the evening of April 3.

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CIRCUS IN WINTER

Floridly worded, the advertisement made claims which even Phineas Taylor Barnum might have hedged at advancing. It alleged for the show’s female personnel a pulchritude impossible to equal ... . Furthermore, the midway of the circus was replete with sideshows wherein were curious images of the netherworld on display, macabre trophies of ancient conquests, resurrected supermen of antiquity ... . Thunder and lightning would attend the ceremonies and possibly a slight earthquake would be felt. Charles G. Finney, The Circus of Dr. Lao (1935) Even before acquiring the Barnum & Bailey show one hundred years ago, Ringling Bros. maintained winter headquarters for

NEW ANGELES ★ MARCH 2008 ★ 20

their immense amalgamation of circuses in the brothers’ adopted hometown of Baraboo, Wisconsin. At the end of every touring season, legend informs, all the elephants, BYRON tigers, clowns, editor@NewAngelesMonthly.com barkers, bottled atrocities, bearded ladies and dancing girls rolled into town in garish wagons drawn by barbered horses to button up for the long Midwestern night. Animals were quartered and tents folded up as the human flotsam and jetsam were paid off and departed for sunnier, cheaper precincts. Carney faded into Beat, into hippie and Yippie, into punk rockers and hip-hopperz of later decades. Popular entertain-

GARMON

ment underwent several weird mutations, preserved in formaldehyde on YouTube. A marked decline in showbiz standards created indie sensibilities and a D.I.Y. ethic, which, in turn, creviced out a permanent underground beneath contemporary culture. Somewhere, in remote facilities devoted to theoretical and applied Hedonics, the Brechtian fourth wall was breached and the audience became the circus. The most visible public manifestation of this woozy weltanschauung is Burning Man, the you-are-the-show arts festival held annually in a remote and lifeless desert in northern Nevada. Hell itself could be scarcely less inviting than the alkali playa the week before Labor Day, but last year sixty-thousand people crammed the

gaudy temporary municipality of Black Rock City for seven days of Fat Tuesday. This year’s Satyricon came with an unsettling tinge of Altamont craziness, as suicide, freak weather, and the premature torching of the Man by a San Francisco performance artiste that didn’t seem particularly tetched by some scene anarchs. This individual was later caught by police allegedly carrying explosives near Grace Cathedral. Needless to say, the Los Angeles contingent in this Brigadoon is massive, from down-low showbiz types to suburban moms who come to spin flaming poi. L.A. Decom, a post-Burn street party staged late in mid-October under the Sixth Street Bridge downtown, drew thousands. Many had come down from San Francisco Decom days before and others would see

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the post-Burn season through to the end at San Diego Decom the week after. I was there too, taking my ease outside between labors of love one night when a dust storm obliterated everything around me. The Clash’s “Overpowered by Funk,” then cranking into my ears, seemed mercilessly literal. Decompression parties are Burning Man’s version of the Baraboo parade. Americans are devoted hobbyists, but even NASCAR fans eventually drink up and go home. One sign that Burning Man is more movement than pastime might be the party’s insistent refusal to ever really stop. Cre8tivity (hidden inside a former office building between Venice and Marina del Rey) has thrown some memorable blowouts in between troubles with authori-

ties. At Dockweiler Beach, an informal crew known as Spirit’s Fire holds Saturday events irregularly throughout the winter with fire performers and DJs. The Terrakroma mob’s progressive-psychedelic roadshow recently appeared at this hippie A.I.P. Beach party, far from their usual haunts in an elegantly dilapidated warehouse on Pico near the long-empty Morrison Hotel. Politics and tradition push most of the really big parties downtown. These are the warehouse events that always attract vast, startlingly-dressed crowds without advertising. It seems few verminous, ill-lit corners of the Artist District haven’t sported at least one long line of freakish men and bombshell women over the past two winters. Once inside, most conventional social

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restraints relax. Not surprisingly for Angelenos, what transpires is discreet and decorous, if a bit uninhibited. Proceedings go on until after dawn or whenever a spectacular injury abruptly stops everything. Then there are after-parties already in progress at private houses or even privater permanent venues deep in warehouse Legoland. Wolfie, the eminent rock-breaks DJ, is a magnetically cheerful fellow who’s been throwing warehouse parties with the Hipgenesis crew for three years. “The first one was called ‘A New You,’” he remembered. “There was this pornographer who lives downtown, and in her building there was space for a one-time-only event. Carpets, pillows, everywhere. One huge hallway became the B room. When you came in, you had to write three things you needed on a sticker and wear it. A singer’s tag could read “I’m looking for a drummer, an agent and a web designer.” Everyone was hanging out to enjoy the music, but the conversations those tags sparked were just incredible. It did wonders for everyone who came to the party! All these people invent-

NEW ANGELES ★ MARCH 2008 ★ 22

ed new things for themselves out of our event. There was a torrential rain that night, but everyone showed up. At one point, the power blew and everyone said Yay! It’s the underground! The lights went out! “At Burning Man,” Wolfie reminds us, “the art and the weather make a serious attempt to kill you.” True dat. The exhilaration that comes from riding a go-go cage perched swaying atop a convertible into a crowded dance floor isn’t seriously tempered by knowing that a sudden burst of speed or gust of wind could pulp one into infinity. The winter months allow Burners to test costumes, props, art and performance under optimal, almost studio, conditions. “There’s a lot of things we can’t do at Burning Man,” Wolfie is warming to the subject like a playa Fellini. “You can focus energy and make a budget mean something in a more controlled environment. Build the space, focus the energy. You get everyone out to an outdoor event, people settle in and are already where they’re going. There’s no shouting into the thunderstorm, like on the playa, with their crowds of people and a limitless number of things going on.”

Civilians can get a taste of the experience at a new monthly party Hipgenesis is throwing at King King in Hollywood. The voodoo-themed circus on March 22 will be part of a take-it-aboveground trend in Burner culture of a scene still in the farthest Pellucidar of the deep underground. Its innermost recesses are the house-parties, province of a wastrel power elite who keep up with each other via e-mail and cryptic utterances on Tribe.net. That’s how I met “Mary-Ann.” An ever-smiling cheerleader beauty who radiates manic calm, Mary-Ann is the reigning queen of the Burner house-party. The “1970s porno” birthday bash she threw herself early this year was flash-flooded by rainfall, with guests spreading tarps and holding down tent flaps as an unlikely storm geysered the Hollywood Hills. “The house was specifically bought ’cos it doesn’t have curb appeal and looks like a lot of other houses,” says the hostess, drawing sleightof-hand attention away from the riotous touches she and others put on behind the door. “Still, for two years we had people getting lost despite a blue neon sign with

our street number on it! “I started throwing parties in the mid1990s in Manhattan Beach. I’m not a Burner and have never been to Burning Man. I started throwing warehouse parties when they became too big for my house on the beach and I got invited to one that sounded very much like the ones I threw. That was the Blizzard of Oz, two years ago, the night I met my husband. People get into this community and it’s nothing they’ve ever seen or imagined, but what got me into it is that I was already expressing myself as a Burner would. It was like I’d been separated from it at birth! Up ’til that, I thought I was a drag queen trapped in a woman’s body!” Whether Burning Man proves the wave of anyone’s future, a mystery clown cult, a rehearsal for revolution or merely the American people burning while its Roman Empire fiddles must await the fine-ground judgment of time. The event’s L.A. office has already sent Brian Wilson’s melancholic longings for summer to the pop cult junkyard next to the Little Deuce Coupe. Summer, like, the circus, is where you find it. NA

EVERY SUNDAY

23 ★ MARCH 2008 ★ NEW ANGELES

He is a cousin of bassist Robbie Shakespeare of the well-known Jamaican duo Sly & Robbie. Another close relative of his is the pioneering abstract jazz musician Carl Shakespeare. Theirs was a crucial familial relationship. ‘‘Carl taught me about music,” the junior Shakespeare says. ‘‘I went to school for audio engineering and did my first recording studio assistant position with dub producer] the Scientist,” he says. In addition to the MPC, he plays guitar, bass, and a bit of keys. As a producer and vocalist, Black Shakespeare has more range than most. He can sing, toast, rhyme or rock a poem in a mix of Jamaican patois, Los Angeles and New York dialects. His family moved to New York City at the start of the Reagan administration. Shakespeare spent his teens in the Crown Heights section of Brooklyn, and he kept a close eye on the evolving BYMIKE musical form called hip-hop. katepetre@hotmail.com Like so many New Yorkers, he joined the movement. He first began toasting with host Jamalski at S.O.B.’s open mic venue, circa 1992. Somewhere around late 1995, Black Shakespeare left Crown Heights to come to the City of Angels. When Shakespeare first arrived, he worked at Xtra Large in Los Feliz, the clothing store then owned by Beastie Boy Mike D. Slowly but unsurprisingly (considering his gig), he fell into the Los Angeles underground. “At first I was afraid it was all glossy Hollywood,” he says with a laugh that at once acknowledges and excuses the ignorance of youth. Working in Los Feliz, he was close to the Fat Beats vinyl shop and met the Beat Junkies DJ crew just as they were coming up. Around the same time, he met Aurelito Mercado, a Chicago transplant residing in Echo Park. ‘‘Aurelito hosted these massive hillside parties with Marvski and Cut Chemist, spinning records for hundreds of people,” says Shakespeare. ‘‘Black Eyed Peas, Breakestra, Ozomatli, everybody hanging.” Mercado and Shakespeare became fast friends. Sooner than later they formed the I&I Sound system. Incisively, Shakespeare suggested, ‘‘Let’s bring the party down to the people and start our own club.” ★ They started Chocolate Bar in early 1997. The four original DJs were Cokni O’Dire, DJ Higher, Daz, and T-Lee. “Everything took off very quickly,” Shakespeare recalls. ‘‘Before you know it we had guests like Mos Def, EPMD, Mr. Vegas and Rosario Dawson.” They got the party hotter than, well, Rosario Dawson, and grooved reggae, funk, soul, hiphop, jazz, downtempo and just about any unpredictably rhythmic sound. Right off the bat the party was epic. Chocolate Bar brought together an amazing multicultural mix of people. Sooner than later, Chocolate Bar became mythical, like some West Coast Studio 54 – minus the velvet rope and excess ego. Part of the magic was the party would switch locations every few months. It would always be some undercover spot around downtown,

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SONKSEN

SHAKESPEARE IN THE 21ST CENTURY THE ARTIST OF TODAY KNOWS THE PERSONAL IS THE POLITICAL,

AND THAT HOME IS WHERE THE ART IS >> In a town where people change their names and reinvent themselves to become famous, Black Shakespeare is himself. He knows from his essence, as the Hopi elder says, ‘‘We are the ones we have been waiting for.” He’s himself, but he’s Shakespeare. Really. ‘‘You’re the director, you’re the agent, discover yourself, you’ll be undeniable,” says Black Shakespeare. ‘‘One day you realize that NEW ANGELES ★ MARCH 2008 ★ 24

you are looking for yourself.” All searching aside, this looks to be the year that this renaissance cat becomes a bona fide find. Despite the youth of the year, he has already shared the stage with Barack Obama, and will release a definitive album, Hard Wire, this month. Its 12 tracks oscillate in a liminal space between reggae, rock, hiphop, downtempo, and even a touch of electronica. He produced 10 of the dozen tracks,

as well as doing vocals on each one. Our search for the next Shakespeare has been cancelled. ★ Born in Jamaica in the early 1970s – the man is covert with both his age and government name – Black Shakespeare a singer-songwriter, producer, club promoter, radio DJ, actor and co-founder of the legendary nightclub, Chocolate Bar. Music is in his genes.

PHOTO BY MARCO ROLDAN

‘‘LET’S BRING THE PARTY DOWN TO THE PEOPLE AND START OUR OWN CLUB,” SHAKESPEARE SUGGESTED TO HIS PARTNER AURELITO MERCADO. THEY STARTED THE FABLED FLOATING CLUB CHOCOLATE BAR IN EARLY 1997.

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Koreatown, Echo Park or Silver Lake. Partygoers felt like they were a part of something really special. They even promoted the club with edible candy wrapped in the floating party’s logo. One time they threw Chocolate Bar at the Olympic Auditorium. The DJs were in the boxing ring. Right around this time, brethren party collectives Firecracker and Root Down launched. The vibrant presence of these three joints helped jump-start the Eastside underground in the late ’90s. Before the current loft boom, there were only a few crews doing events east of La Brea. The rock scene was much more dominant in the 1990s. The scene started small, but a dozen years later there are a dozen sister clubs. ‘‘Chocolate Bar was the first club at the Alexandria Hotel in downtown,” Shakespeare recalls. I&I Sound was also instrumental with the development of Inshallah Gallery. Located on Main, at 3rd Street, the space is now known to most as the M.J. Higgins Gallery. Back in Chocolate Bar’s heyday, the area looked a little different. ‘‘Aurelito re-did the electricity, plumbing, plastering, and there was three feet of water in the basement,” says Shakespeare. After a proper remix by the I& I collective, Inshallah became one of the first galleries along the burgeoning Gallery Row. A few years later came Pete’s Grill, the Lost Souls Café, and downtown’s historic core was reborn. It was Mercado who, around 2000, dreamed up the idea of outfitting an old ice cream truck with a sound system. The partners spent a year painting the thing, installing a new engine and lacing the ice cream truck up. While tricking out the truck – a project that took years – they kept the idea on the hush. Shortly after the irie ice cream truck’s debut in early 2003, it was featured on the cover of XLR8R magazine, as well as a Saul Williams album cover. Mercado and Shakespeare soon began receiving invitations to bring their ice cream truck to play some records and set the party off. The I&I Sound System has since become a presence at festivals like the Sunset Junction, Nocturnal Wonderland, Electric Daisy, and Abbot Kinney; the system even gigs at museums, high schools and colleges. ★ Mercado and Shakespeare also co-host Truthseekas Radio on KPFK (90.7 FM) with

Santana and DJ Daz on Friday Nights between 1 and 3 a.m. “Working with Shakespeare is truly a blessing,” Mercado says. “I&I’s works come from the heart, with love and conscious vibes. We work in harmony. The many fruits from our mission help keep I&I inspired to manifest good things and spread the love.” More than a promoter, DJ or musician, Shakespeare is a goodwill ambassador. Besides his own musical projects, he has worked with Ubiquity Records, acted in plays, films and commercials. He is also a voracious reader and you can hear it in his lyrics. Ask him about Sam Greenlee’s book The Spook Who Sat by the Door, or, for that matter, the works of Carlos Castaneda, Herman Hesse, Eldridge Cleaver. This richness of experience seeps across the landscape of Hard Wire. The celebrated producer, Josh One, known for his collaborations with King Britt, produced the album’s opening track, ‘‘Sound Bwoy Connection.” The piece is Shakespeare at his best, livening up the party by giving shout-outs to worldwide sound systems over one of Josh’s bouncy riddims. Garth Trinidad has been bumping the song on his KCRW radio show, Chocolate City. “Shakespeare’s positive energy really came across on this track, glad it made the 12!” says Josh One. Other collaborators on the record include Rob Symeon, Mikey Assassin and producer Craig S. Though Shakespeare has put out several mixtapes and recordings over the years, this is the one he feels really ready to share with the world. Black Shakespeare is bringing a soundtrack of hope and positive vibrations. On Super Tuesday, when Obama wanted to throw a rally on the steps of City Hall, his campaign called the team of Mercado and Shakespeare. As the sun set over the city, hundreds of Angelenos came together for music and politics. The diversity felt effortless, Black Shakespeare wouldn’t have it any other way. His approach is bigger than a single public gathering or a radio show, or a freaky ice cream truck, or even a party as awesome as Chocolate Bar. It’s about seeing music as the bridge. ‘‘Art lives on through everything. Look at the blues,” he says. “It’s time to unite, we are on the front lines with our art, we vote with our art.” NA

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‘‘LET’S BRING THE PARTY DOWN TO THE PEOPLE AND START OUR OWN CLUB,” SHAKESPEARE SUGGESTED TO HIS PARTNER AURELITO MERCADO. THEY STARTED THE FABLED FLOATING CLUB CHOCOLATE BAR IN EARLY 1997.

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FREE EVENT FRIDAY, MARCH 14, 2008 , FROM 6 TO 10 PM

CAT C H A B U S . . . CAT C H C U LT U R E . . . FR EE S HUTT LE S Free shuttles will loop throughout the evening with stops at each venue. Park at any one venue and ride to the others.

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A RTN IGH T R E S TAU R AN T S P E CI A L S From 5 to 6:30 p.m. ask for a FREE ArtNight dessert with purchase of an entree at the following One Colorado restaurants: Akbar, Gordon Biersch, Il Fornaio, Johnny Rockets, Russell’s, or Sushi Roku.

I N F O R M AT I O N For information on ArtNight Pasadena, please call the ArtNight Pasadena Hotline at 626.744.7887. For information on accessibility and/or to request written materials in alternative formats, please call the City of Pasadena at 626.744.7249. Para más información en español visite nuestra página del internet. ArtNight is an ongoing partnership among many cultural institutions and the Cultural Affairs Division of the City of Pasadena. Event sponsored by Pasadena Arts & Culture Commission. Part of Pasadena Art Weekend, March 14, 15 and 16. Please visit www.pasadenaartweekend.com or call 800.307.7977.

ART CENTER COLLEGE OF DESIGN Sufficient Latitude: Interactive Wood Machines by Bernie Lubell PASADENA MUSEUM OF HISTORY The Purse and The Person: A Century of Women’s Purses NORTON SIMON MUSEUM Maillol’s Miniatures and Tales of the Blue Lord ONE COLORADO IN OLD PASADENA Armory DigitalForum: Bruce Yonemoto –Recent Videos ARMORY CENTER FOR THE ARTS Good Doll Bad Doll PASADENA JAZZ INSTITUTE Boogie in Blue/After Party PASADENA SYMPHONY Spend the Night with Mozart PASADENA PUBLIC LIBRARY St. Patrick’s Day Festival PACIFIC ASIA MUSEUM Chinaman’s Chance: Views of the Chinese American Experience PASADENA MUSEUM OF CALIFORNIA ART A Seed of Modernism: The Art Students League of Los Angeles BOSTON COURT PERFORMING ARTS CENTER Live Entertainment PASADENA CITY COLLEGE The Reverse Ark SHUMEI ARTS COUNCIL OF AMERICA From the East www.artnightpasadena.org © Art Center College of Design | 3172_01 | 0208

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hat’s your real name?” GEISHA GIRL asked, picking up my business card after I was

finished with him. I named all my customers by the tattoos they ordered. I had at least five GEISHA GIRLs this week, ten SAMURAI WARRIORs, five BUTTERFLYs, five BARBED WIREs, one AMERICAN FLAG, and assorted lettering, both standard and custom. This GEISHA GIRL was fat, blonde, and hairy. I had to shave his back at least two times to get to a smooth canvas. My method was to talk to the customer as little as possible, so I pointed to the wall near my tattoo chair. There I had taped a drawing of an almond-shaped eye and in cursive English writing, “Eye.” “Your real name is Eye?” “You pay at the counter,” I told GEISHA GIRL. “If you write a check, you should make it out to Sawtelle Tattoos.” I went back to cleaning my tools, disposing of my needles in a covered plastic trash can. My routine hadn’t changed much since I tattooed in Osaka. However, it seemed that the Japanese, at least as recently as two years ago, were more concerned with AIDS than Americans were. GEISHA GIRL seemed unhappy that I wasn’t answering his question. He obviously prided himself on being an expert on Japan. He had spent our whole session telling me about the best sushi bars in Los Angeles and Tokyo. Thankfully, the buzz of my tattoo gun kept me from understanding much of what he said. “Little tattooist’s got an attitude,” I heard him mutter as he paid his bill. Roberto was at the counter, laughing as usual. He thought everything was funny. First I thought it was a language issue, that maybe I didn’t understand American humor. But the other tattoo artists explained to me that it was more about our young boss’s personality than anything cultural. “Wait a minute. I get it. Eye. It’s really Ai, right? Love?” GEISHA GIRL wouldn’t quit. I dumped the used color ink tubes in the trash can and stripped my hands of the latex gloves. “Domo, ne. Bye, Ai-chan.” I whipped my face back to GEISHA GIRL, but he was gone. “Whew, girl, that’s one evil eye. I made a pun, right? Evil eye?” Roberto then laughed again. No one calls me Ai-chan. Except loved ones like my mother and older sisters. No bakatare American. Roberto lifted up a crumpled dollar with his long fingernails. “Eye gets all the big spenders.”

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★ Roberto was right. I got middle-aged mothers who were going through identity crises, the rich teenagers who walked in with $500 shoes and designer purses, and high school and UCLA college basketball players. With a few exceptions, none of them were good tippers. They brought kanji that weren’t written correctly, or meant the exact opposite of what they intended. But I never argued. My job was just to make the customer happy, not to question his or her desires. Nobuo was the one who had taught me that. “Oh lookee, our new neighbors downstairs are moving in.” Roberto gestured below to the first floor. I walked over to the balcony and looked down. It looked like another manga shop. Manga sold well in our neighborhood, so I figured the last one closed down because of mismanagement. Manga seemed harmless enough, but you never know. I had to check it out. “I am taking my break,” I announced to Roberto. I brought my cigarettes with me and took a few smokes in front of the storefront window. The new owner had moved in rows of stark white bookcases that were just starting to fill up. The glass door was open, so I walked in slowly, hoping to avoid being spotted. I saw the latest issue of the Real manga series and began leafing through Inoue Takehiko’s drawings of Japanese basketball players. “Hey, you don’t look like a baller to me.” I turned and almost choked. The man speaking to me was about Nobuo’s size with a flash of black hair. Same delicate lips and stone-black eyes. But then I saw that this man was more solid and meatier. And his voice was that of an American’s. “Are you okay?” I coughed. “Here.” He held out a small bottle of water. I just looked at him. “It’s not poison. Look, it’s even sealed.” I shook my head. “I own this place; you work upstairs, right?” I barely nodded and headed towards the door. “You have a suspicious mind.” The manga shop owner said, smiling, as if it was a good thing. ★ I went next door to get a boba tea, my latest addiction. As far as I’d heard, boba hadn’t caught on in Japan, and I knew why. Drinking boba was a slightly unpleasant experience. First, the drink itself was a little gritty and then came the rush of a giant tapioca ball traveling up a fat straw onto your tongue. The first time I tried it I thought the gelatinous balls were going to get lodged in my throat. I paid almost four dollars to kill myself, I said. But I went for a second and third. Now I had one practically every day. I chewed on one of the tapioca balls, the size of a small marble, while I stared at the manga owner through his window. He was Sansei or Yonsei, either third or fourth-generation Japanese American. I could tell from his accent, of course, but also his movements and how the meat of his body rested on his arms.

NEW ANGELES ★ MARCH 2008 ★ 30

He was right – I was suspicious, but if I wasn’t, I would have been dead years ago. Would this man be someone Nobuo would send to find me? I watched as he stacked the manga on his bookshelves. His lower arms were tattooless, which didn’t necessarily mean anything, but I took his bare smooth skin as a good sign, anyhow. ★ I was finishing up with a FAIRY, when the manga owner came through the door. “You have a visitor,” Roberto said in a singsong voice. I finished taping up FAIRY’s arm, and sent the high school girl on her way with her mother to her cheerleading practice. “Someone just gave me two tickets to the Clippers game,” he said. “I just moved into town and I don’t know many people.” I looked at him blankly. “Should be a good game. Thought you might want to go.” I removed the needles from my gun. “I’ll just leave the ticket here.” He left an envelope on the counter. “You can meet me if you want.” The manga owner stopped at the door and I felt that everyone in the tattoo shop was staring at me. My face felt hot and I ducked my head down to throw my used needles away. After I heard the door close, I casually got up and went over to the front counter. “You’re not going? Are you crazy, girl? I’ll take it if you don’t.” Before Roberto could snatch the ticket envelope away, I grabbed it and slipped it into my back jeans pocket. ★ I drove myself to the basketball arena and parked about three blocks away in a lot that charged half the price of the adjacent ones. This wasn’t a date. I didn’t go on dates. I hadn’t been with a man for two years, and I was just starting not to feel numb anymore. I didn’t know who the manga owner’s friend was, but he or she must have been rich. The seats were in the third row behind the basketball hoop. The Clippers were already doing some warm-up shooting. Fans were decked out in red, white, and blue jerseys and T-shirts. I felt underdressed and too somber in my black turtleneck and worn suede jacket. The manga store owner was already in his seat. He wore a white knit cap and looked a little less like Nobuo. When he saw me, he straightened up and smiled. “Glad you came,” he said, as I sat down next to him. I clutched my purse on my lap, ready to make my escape at any second. The music was loud and colorful neon lights circled around the arena, pulsating with each beat. “I got you a program.” He rested the thick program on the seat arm that we shared. It was expensive – probably ten dollars. I was going to reject his gift, but then thought twice about it. It was just a program, just stapled paper. Not worth insulting him. I casually leafed through some of the glossy pages when the crowd began to both cheer and boo. The opponents jogged onto the floor. The team’s star player, Allen Iverson, his elbow and arm in a protective nylon sleeve, was dwarfed by his teammates. “You like him,” the manga owner stated, watching me.

When I didn’t respond, he added, “All Japanese are into him. Because he’s small and scrappy.” That was true. I could relate to him. He got battered and pummeled, but that didn’t stop him. He just taped himself up and got back into the game. We watched the players shoot for a while, and then the manga store owner gently lifted my hand. “What’s with your tats?” I had three dark circles tattooed on the back of each hand. “Okinawan women had these kinds of tattoos to scare off pirates.” “So who are you trying to scare?” I drew my hand back. One of the tattoo artists at the Sawtelle shop had done them for me. The skin there was thin, so the tattooing was painful. The skin even on my left-hand side puffed up a little like a keloid scar. But I thought of them as my new identity. Like I had sloughed my old name, Ai, to become Eye, I was a new person now. Or at least pretended to be. “You got a boyfriend?” Americans always spoke so straight, it frightened me. I shook my head. “What was your last boyfriend like?” What could I say about Nobuo? That his favorite color was red, he was terribly allergic to bee stings, and loved the American band, the Doors. That he was fifteen years younger than his next oldest sibling, had been terribly ignored and mistreated, which probably left him to get into trouble in high school. That he had risen up the ranks of a gangster’s life and now headed up at least fifteen pachinko parlors. And that he had extensive tattoos on his shoulders, back, and legs – most done by me, the group’s resident tattoo artist. Last of all, he had a temper which more than once resulted in my jaw being broken. I couldn’t say all of these things. So I settled on just one. “Thin,” I said, “like you.” The manga store owner laughed and I could see the nub of whiskers shadow his cheek and chin. How about you? I wanted to ask, but it still felt too forward. No matter how long I was to live in the U.S., I couldn’t adopt Americans’ casual, prying nature. He pointed out all the celebrities who sat around us. I didn’t know who most of them were, but I pretended that I did. “Want something to eat? You must be hungry,” he said. Noisy vendors yelled out names of drinks and various snacks. I finally nodded to the small pizza in individualized boxes. The two opposing centers lined up for the starting jump ball and we both watched the game silently as we ate our pizzas. “Tell me what you think of their tattoos,” the manga store owner said while chewing a pepperoni slice. “Very poor work.” I then blushed. How egotistical did I sound? Nobuo, actually, had said that I was a tattoo master. It was a ridiculous comment to make, considering my age, but I was flattered nonetheless. There were more female tattoo artists in Japan recently, but still we were the minority. “The shading here in America is not good,” I explained. “Not complete. The training here, too. I started off studying irezumi with a horishi, a tattoo sensei.” “Irezumi?” “Traditional Japanese tattooing. It’s done by hand, not electric guns. I haven’t done irezumi in years, although I still have my tools

here. Tattoo guns, much easier.” “Technology wins out again, huh?” I pointed at one player’s upper arm as an example. “Look at that one. It doesn’t even make any sense. Do you read Japanese?” “Sukosh.” He stretched his thumb and index finger a centimeter apart. “Enough to know which manga to buy.” “Well, that kanji on Number 45 is wrong. Maybe he wanted the kanji for chikara, you know, strong, or maybe katakana, sword. But it’s not any of those things.” “So what does it mean?” “Nothing in Japanese. But looks like a man’s nose, ne?” The manga store owner laughed. That I had the ability to make anyone laugh – besides Roberto, and that was unintentional – was surprising to me. “You speak English well,” he said. “I lived in Yokosuka – an American military base for two years. My mother’s second husband. She married an American.” It was actually her first marriage, but I always counted my father as her first, even though they never got married. My older sisters counted their father as our mother’s first. Marriage and family lineages to us were ephemeral and changeable. No wonder none of us really fit into Japanese society. Last I heard my oldest sister was in Ghana with the JICA, Japan’s version of the Peace Corps. My other sister was somewhere in the American Midwest with her white husband. And my mother was in Honolulu operating a bar in Chinatown. I hadn’t kept in touch with them and I didn’t dare try to reconnect for their sake more than mine. “That’s why,” the manga store owner said. “What?” “You don’t seem like a typical Japanese girl.” “What do you mean?” I heard that time after time. Not only in America, but also in Japan. “You’re not afraid to be lonely. And you’re not into that kawaii thing.” His words stung. So he felt I was lonely. And obviously not kawaii, cute. “It’s a compliment,” he said. And when I didn’t look convinced, he put his hand in mine and squeezed. “Really.” We stayed like that throughout the rest of the game, and it seemed like all my blood had rushed down into that hand. It felt good to be touched. Nobuo and I never held hands – that was only for silly university lovers, not for us. There were still ten minutes left in the game; the Clippers were losing by 16 points. Streams of spectators were leaving the stands for home. The manga shop owner and I stayed until the very end. “I can walk to my car,” I said when we were outside the arena. “No trouble.” “No, I’ll drive you.” We walked to a neighboring lot where his hybrid Toyota was parked. I couldn’t really make out the color in the darkness. We got into the Toyota and I directed him to my car. He parked in an empty spot next to mine. He then turned to me and leaned his lips into mine. I was expecting a soft kiss but instead he blew air in my cheeks. It startled me and I withdrew slightly. I didn’t know if it was a joke. Did Americans kiss like this? “You do not know my name,” I said. What I really meant was that I didn’t know his. “Do I need to?” He then said goodbye, waited until I was in my car, and drove away. NA

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CALENDAR EVERYTHING BUT THE KITSCHEN SYNC From March 7-30, La Luz De Jesus Gallery presents its 11th annual juried group exhibition of more than 150 pieces of artwork created by over 100 artists. For this phenomenal exhibition, the gallery has hand selected a vast group of artists that they feel are the most relevant in today's art scene. Those invited to participate are commercial illustrators, tattooists, scenic painters, students, animators and more. Jenna Colby, Sam Foote, Dennis Larkins, Ryan Milner and Star27 are just a small portion of the artists participating in this exciting event.

Opening reception on Mar. 7, 8-11 p.m. La Luz de Jesus Gallery, 4633 Hollywood Blvd., Los Feliz. 323-666-7667 or www.laluzdejesus.com

ART MAR. 1-29: ‘YOUR ALIMONY WON’T BUY A BIGGER ROOM’ Work by Matt Maust and Matt Wignall. Opening reception Mar. 1, 6-9 p.m. Found Gallery, 1903 Hyperion Ave., Silver Lake. 323-669-1247 or www. foundla.com

MAR. 1-31: ‘POSTCARDS FROM THE FRONTIER UNDERGROUND’ A collection of drawings and collage works by Ian O’Phelan. Opening reception Mar. 1, 7-10 p.m. Chango Coffee House and Gallery, 1559 Echo Park Blvd., Echo Park. www.myspace.com/changocoffeehouse

MAR. 1-APR. 12: ‘ALL THAT HEAVEN ALLOWS’ Group show with work by Jennifer Prince, Iris Klein, Matt Fishbeck and more. Opening reception Mar. 1, 6-9 p.m. Bonelli Contemporary, 943 N. Hill St., Chinatown. 213-793-1291 or www.bonellicontemporary.com

MAR. 8: ‘CREATE: FIXATE’ Large one-night group art show with music, installations, sculptures and more. Admission $15, 7 p.m.-2 a.m. 613 Imperial St., Downtown. www. createfixate.com NEW ANGELES ★ MARCH 2008 ★ 32

MARCH [08] ★

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33 ★ MARCH 2008 ★ NEW ANGELES

MAR. 8-APR. 19: SELECTED WORKS Color photographs that use the floral art of ikebana as framework. Opening reception Mar. 8, 6-8 p.m. SolwayJones, 5377

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MAR. 8-APR. 27: ‘THE CHILDREN OF EDGEWOOD’ An exhibition of photographs taken by Ryan Herz. Opening reception Mar. 8, 7-10 p.m. drkrm Gallery, 2121 San Fernando Rd., Ste. 3, Glassell Park. 323-223-6867 or www.drkrm.com

MAR. 15-APR. 12: ‘DE-CONSTRUCT/RE-CONSTRUCT’ Collage and paintings from Bryan de Roo and Tracey Keilly. Opening reception Mar. 15, 7-10 p.m.

2001: A SPACE ODYSSEY The ever mind-expanding film, 2001: A Space Odyssey, will screen Mar. 7-9 in an updated 70mm format. The film by Stanley Kubrick is based on the 1948 short story “The Sentinel” by Arthur C. Clarke and is the ultimate journey into the unknown. Popular in its day for the cutting edge special effects, the film remains well known and regarded as one of the greatest films ever made. $10, Fri.-Sun. 7:30 p.m.; Sat. 2 p.m. Egyptian Theatre, 6712 Hollywood Blvd., Hollywood. 323-466-3456 or www.egyptiantheatre.com

L2Kontemporary, 990 N. Hill St., #205, Chinatown. 323-225-1288 or www.l2kontemporary.com

MAR. 29-MAY 10: MACHA SUZUKI AND CHRISTINE NGUYEN New sculptures by Suzuki; mixed media and crystal salt drawings by Nguyen. Opening reception Mar. 29, 6-9 p.m. Sam Lee Gallery, 990 N. Hill St., #190, Chinatown. 323-227-0275 or www.samleegallery.com

THROUGH MAR. 22: ‘IGLOO TORNADO’ Work by Tom Neely, Gin Stevens, Levon Jihanian and Scott Nobles. Black Maria Gallery, 3137 Glendale Blvd., Atwater Village. 323-660-9393 or www.blackmariagallery.com

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THROUGH MAR. 22: ‘LOS ETERNOS 2.0’ Work by artist Charles Glaubitz that has a Mexican flair. Tropico de Nopal, 1665 Beverly Blvd., Echo Park. 213-481-8112 or www.tropicodenopal.com

THROUGH MAR. 22: ‘FINDERS KEEPERS II: LOSERS WEEPERS’ A multimedia exhibition of work by Walk Hall. Truxtop Gallery, 2876 Rowena Ave., Silver Lake. 323-661-1665 or www.truxtopgallery.com

BOOKS/LECTURES MAR. 8: CITIZENS, NONCITIZENS, AND THE POVERTY OF THE CURRENT IMMIGRATION DEBATE UC San Diego professor David G. Gutiérrez brings a historical perspective to current immigration controversies, spotlighting the role of noncitizens in the ongoing debate. Free, 3-4 p.m. Autry National Center, 4700 Western Heritage Way, Griffith Park. 323-667-2000 or www.autrynationalcenter.org

MAR. 18: TREASURES OF THE VAULT Curator Leslie Kendall leads a behind-the-ropes tour and conversation on the Museum’s newest exhibit, Treasures of the Vault. $10, 7:30 p.m. Petersen Automotive Museum, 6060 Wilshire Blvd., Miracle Mile. 323-964-6347 or www.petersen.org

MAR. 22: ART DECO IN ANIMATION A lecture led by David Pacheco, Walt Disney Art Classics creative art director, who will detail the history of Art Deco design in the art of film animation using original production art and film clips from the archives of the Walt Disney Studios, Fleischer Studios and others. $10, 2 p.m. Egyptian Theatre, 6712 Hollywood Blvd., Hollywood. 323-466-3456 or www.egyptian theatre.com

MAR. 30: PUPPET PER FORMANCE AND TALK Join puppeteer and collector Alan Cook for an imaginative shadow puppet demonstration and discussion of his lifelong interest in puppetry. $5, 3 p.m. Craft and Folk Art Museum, 5814 Wilshire Blvd., Miracle Mile. 323-937-4230 or www.cafam.org

MAR. 15: ‘THE BIG ASS BOOK OF CRAFTS’ Discussion and signing of the book by its author, Mark Montano. Free, 5 p.m. Skylight

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shows the collaboration between artist Matsumi Kanemitsu and master printer Serge Lozingot as they create a four-color lithograph. Free, 7 p.m. LACMA, 5905 Wilshire Blvd., Miracle Mile. 323-857-6000 or www.lacma.org

MAR. 8: ‘THE GOONIES’ A film that tells the story of a gang of kids who go on an adventure to find buried treasure with hopes of saving their neighborhood. $10, 8 p.m. Angel City Drive In, 240 W. 4th St., 2nd Floor, Downtown. www.angelcitydrivein.com

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MAR. 13: ‘SLEEPWALKING THROUGH MEKONG’ A film following the Los Angeles based band, Dengue Fever, on their recent journey to Cambodia to perform ’60s and ’70s Cambodian rock ’n’ roll in the country where it was created and very nearly destroyed. Filmmaker and band members in attendance. $5, 8 p.m. Echo Park Film Center, 1200 N. Alvarado St., Echo Park. 213-484-8846 or www.echoparkfilmcenter.org

MAR. 29: ‘THE BIG LEBOWSKI’ Jeff Bridges is The Dude, a.k.a. Jeffrey Lebowski, a stylish slacker and victim of mistaken identity. When he goes to a wealthy namesake (David Huddleston) to get reparation for a vandalized rug, he then finds himself sucked into a variety of odd events. Also stars John Goodman, Steve Buscemi, Julianne Moore and John Turturro. $10, 7:30pm Egyptian Theatre, 6712 Hollywood Blvd., Hollywood. 323-466-3456 or www.egyptiantheatre.com

MUSIC MAR. 2: MSTRKRFT A night of electronic experimentation performed by the duo. $24, 8 p.m. El Rey Theatre, 5515 Wilshire Blvd., Los Angeles. 323-936-6400 or www.theelrey.com MAR. 7: LESLIE AND THE LYS Crazy pop music created mainly with the program, Garageband. $12, 8:30 p.m. Echoplex, 1154 Glendale Blvd., Los Angeles. 213-413-8200 or www.attheecho.com

MAR. 15: BENNY BENASSI Dance and house beats performed by the Grammy Award winning DJ. $25, 8 p.m. Vanguard, 6021 Hollywood Blvd., Hollywood. 323-464-7373 or www.giantclub.com

MAR. 20: THE BLACK CROWESHard rock with a blues twist. $45, 8 p.m. Avalon Hollywood, 1735 N. Vine St., Hollywood. 323-4628900 or www.avalonhollywood.com

MAR. 27: THE DATSUNS Straight up Rock from the New Zealand band. $15, 9 p.m. Spaceland, 1717 Silver Lake Blvd., Silver Lake. 323-661-4320

MAR. 28: CITIZEN COPE A fine blend of folk, blues, reggae, hip hop, rock and R&B created by Clarence Greenwood, aka Citizen Cope. $25, 7:30 p.m. The Wiltern, 3790 Wilshire Blvd., Los Angeles. 213-388-1400 or www.livenation.com

MAR. 29: ITALIANBAROQUE Featuring Pergolesi’s Stabat Mater performed by the Musica Angelica Baroque Orchestra conducted by Lorenzo Ghielmi. $25-49, 8 p.m. Zipper Concert Hall,

Colburn School of Performing Arts, 200 S. Grand Ave., Downtown. 310-458-4504 or www.musicaangelica.org

THEATRE/LIVE PERFORMANCE MAR. 1-29: ‘THE TOMORROW SHOW’ A variety show with music, knife-throwing, craziness and, of course, loads of comedy. $5, 11:59 p.m. Steve Allen Theatre, 4773 Hollywood Blvd., East Hollywood. 323666-4268 or www.steveallentheater.com

MAR. 6-22: ‘CONCRETE FOLK VARIATIONS: CHAPTER 1’ An emotionallygripping noir set in the lesbian dives, cop shops, and street cars of McCarthy-era Los Angeles. Part one of a serial puppet play written and directed by Susan Simpson. $15, Thurs.-Sat., 8 p.m.: Sat., 2 p.m. The Manual Archives, 3320 W. Sunset Blvd., Los Angeles. 323-6670156 or www.manual archives.org

MAR. 27-30: ‘SWAN LAKE’ This classic ballet will be performed by American Ballet Theatre. Each performance date will have a new cast of dancers. $25-$95, Mar. 27-29, 7:30 p.m.; Mar. 29-30, 2 p.m. Dorothy Chandler Pavilion, 135 N. Grand Ave., Downtown. 213-972-0711 or www.musiccenter.org

THROUGH MAR.16: ‘1776: THE MUSICAL’ A Broadway hit that that presents Jefferson, Franklin and Adams as they take on the craziness of the Continental Congress during the summer of 1776. $34, Fri.Sat., 8 p.m.; Sun., 2:30 p.m. Actors Co-op Theatre Company, 1760 Gower St., Hollywood. 323-462-8460 or www.actorsco-op.org NA

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NEW ANGELES ★ MARCH 2008 ★ 38

Gillian Murphy and Ethan Stiefel for ABT’s Swan Lake. Photo by Fabrizio Ferri.

American Ballet Theatre AMERICA’S NATIONAL BALLET COMPANY ®

SWAN LAKE

Five Performances Only Thursday, March 27, 7:30 p.m. Friday, March 28, 7:30 p.m. Saturday, March 29, 2:00 p.m. Saturday, March 29, 7:30 p.m. Sunday, March 30, 2:00 p.m.

TCHAIKOVSKY’S GLORIOUS SCORE PERFORMED BY LIVE ORCHESTRA DOROTHY CHANDLER PAVILION

Tickets can be purchased at the Dorothy Chandler Pavilion box office,

or 213-365-3500 Ticket Prices start at $25

Upcoming Dance at the Music Center performances: COMPLEXIONS CONTEMPORARY BALLET

TEATRO ALLA SCALA BALLET COMPANY

April 11-13, 2008

July 1-2, 2008

For more information, visit musiccenter.org. Programs, dates and artists subject to change.

MEDIA SPONSORS

OUTREACH SPONSOR

OFFICIAL AIRLINE

OFFICIAL SPONSOR OF MAKE A BALLET

OFFICIAL SPONSOR OF ABT’S LA TOUR