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january 15-21, 2009 VOL 7 NO 3 LACITYBEAT.COM

WE’RE ALL SOCIALISTS NOW! Bailing out banks and Carmakers means America’s a worker’s paradise, right?

‘HOW WRONG WE WERE’ How the Black Power Movement Helped Spark Gang Wars in L.A. By Watani Stiner


L.A. WEEKLY Downsizing America’s best alternative newspaper BETTER OFF LOST? Andy Klein discovers Jean-Luc Godard’s ‘Made in U.S.A.’ WORST PRESIDENT EVER! James Buchanan Battles George W. Bush Baume & Mercier Classima XL $3,600

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06 News


Has America gone socialist? Matthew Fleischer and Will Swaim talk to the experts. In Latter Days, Larry Flynt goes to court to protect his good name. Fleischer examines the decline of L.A. Weekly, once the nation’s best alternative weekly newspaper. Steve Lowery referees the championship match of Worst President Ever: James Buchanan vs. George W. Bush.




08 On the Cover

“It’s been 40 years since the January 17, 1969, UCLA shootout that took the lives of Alprentice ‘Bunchy’ Carter and John Jerome Huggins. I’ve spent the majority of my adult life in San Quentin prison because of the events of that day.” As Barack Obama enters the White House, Watani Stiner takes us back to a time when it seemed to some that the only route to Black Power began with a gun.

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20 Art

Ron Garmon takes in 9 Scripts, “a hydraheaded video meditation on reactions to the Iraq war, presented by and for we, the implicated.” Don Shirley thinks theater could do with a little more sex and violence.

24 Music

“A Beach House fan gave singer Victoria Legrand a wooden statue of Christ whittled into a bookend.” “It is strange that a book as tone-deaf and clueless as this one would be published; the publisher is clearly banking on the book’s tenuous association with Sonic Youth.” DJ Puffs is “all about love, soul, peace and goodness.” “The earliest definition of ‘punk’ is ‘prostitute or whore,’ first appearing in print in England around 1596.” “Expect at least one columnist in line on opening night, recorder in hand, ready to ask the slippery club-owner just when he intends to pay the cancer victims he stiffed.”

MANAGING Editor Tom Child Senior Editor Matthew Fleischer Arts Editor Ron Garmon Music Editor Chris Ziegler Film Editor Andy Klein Calendar Assistant Arrissia Owen Turner Copy Editor Joshua Sindell Editorial Contributors Ramie Becker, Paul Birchall, Andre Coleman, Michael Collins, Miles Clements, Mick Farren, Richard Foss, Matt Gaffney, Andrew Gumbel, Marc B. Haefele, Tom Hayden, Bill Holdship, Jessica Hundley, Mark Keizer, Carl Kozlowski, Kim Lachance, Ken Layne, Steve Lowery, Wade Major, Browne Molyneux, Anthony Miller, Chris Morris, Amy Nicholson, Arrissia Owen Turner, Donna Perlmutter, Joe Piasecki, Neal Pollack, Ted Rall, Erika Schickel, Tom Sharpe, Don Shirley, Kirk Silsbee, Brent Simon, Coco Tanaka, Don Waller, Jim Washburn Editorial Interns Gabrielle Paluch, Nathan Solis Art Director Paul Takizawa Web & Print Production Manager Meghan Quinn Classified Production Artist Tac Phun Contributing Artists and Photographers Bob Aul, Jordan Crane, John Gilhooley, Alexx Henry, Maura Lanahan, Melodie McDaniel, Joe McGarry, Luke McGarry, Nathan Ota, Ethan Pines, Josh Reiss, Rosheila Robles, Gregg Segal, Elliott Shaffner, Bill Smith, Ted Soqui Co-op Advertising Director Spencer Cooper Music & Entertainment Sales Manager Jon Bookatz CLUBS ACCOUNT MANAGER Patrick Hodgins Account Executives Bill Child, Andy Enriquez, Andrea Galindo, Alex Kaptsan Classified Supervisor Michael DeFilippo Classified Account Executives Jason Rinka, John Schoenkopf, Jean-Paul Lamunyon VP of Operations David Comden VP of Finance Michael Nagami Human Resources Manager Andrea Baker Accounting Ginger Wang, Archie Iskaq, Tracy Lowe, Christie Lee, Angela Wang (Business Manager) Circulation Supervisor Andrew Jackson Receptionist Candon Murry Associate Publisher Mark Kochel Publisher Will Swaim LA CITYBEAT newspaper is published every Thursday and is available free at locations throughout Los Angeles and the San Fernando Valley. 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.

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CITIZENS DEMAND RECALL OF COUNCILMAN LOKI City Council clamors for ‘SimCity: Los Angeles’ cheat codes by steve lowery Monday, January 5 Larry Flynt, one man simply trying to make good on his name, sexually, goes to court. (Always thought “Johnny Rod” would be a good name, sexually. That and “Ruth Bader Get-Some.”) Flynt files suit against two nephews who Larry says are tarnishing his good name in the adult industry by dropping their first adult DVD, a little gem called Xtreme Jugs No. 1, which is either a remake of the Kurosawa classic or something that occurred in a St. Louis bus depot restroom. You can understand Flynt’s concern having made his reputation on quality fare such as the recent Who’s Nailin’ Paylin [sic]? which, the literature tells us, features “Russians who come knockin’ on her back door,” and a “creationist

college professor will explain a ‘big bang’ theory even she can’t deny.” Also, there’s a three-way with Hillary and Condi. Quality.

any tax refunds, followed by those getting any student grants, followed by payouts to any women who were within arms length of the governor in the ’80s.

Tuesday, January 6 As budget negotiations between Governor Arnold Schwarzenegger and Democratic leaders collapse, there is little more than a month’s worth of cash left in the state treasury – and now the car needs tires. State Controller John Chiang announces that his office could begin issuing IOUs as early as February 1, something the state has done only once since the Great Depression. Under the state constitution – apparently we have one – schools and bondholders will have first dibs on any odd cash laying around, so, after that, the first to get IOUs will be those due

Wednesday, January 7 Members of the Los Angeles City Council express concern over the decision to raise rates on the city’s parking meters. Councilman Dennis Zine worries about the effect it will have on local businesses; Councilwoman Janice Hahn thinks there should have been more outreach to locals; Councilman Ed Reyes says local restaurants are already feeling the pinch; Councilman Tom LaBonge says there needed to be a study to look at the impact on theaters in North Hollywood, and Councilwoman Wendy Greuel says steps should have been taken to ensure that the meters would be reliable in their ability to fleece. Yes, members of the Los Angeles City Council are outraged – OUTRAGED! – that none of this was done before the 400 percent hike in rates was approved by – wait for it – members of the Los Angeles City Council! And that’s not just some members; the vote was 12-0 when they approved the hikes as part of a budget plan in May. This isn’t the first time the council has made a decision only to wake up the next morning, look at what’s lying next to them, and then attempt to chew its arm off. It was just a couple months ago that the council stopped construction on a $40 million elephant enclosure at the L.A. Zoo it approved which had already had $12 million worth of work done on it. Look, I’d just like to say something to the council. Maybe, I dunno, with all these celebs around you figure nobody cares about what you do because people aren’t clamoring to take pictures of you whenever you get out of a car while you’re not wearing underwear. But let me tell you, people do care. When you say “do something,” it actually gets done, money gets spent, meters get adjusted, elephants get moved. Things really happen, they really do. So, in the future, just keep that in mind. None of this is a drill. It’s all too, too real.

thanks for nothing You were the absolutely-couldn’t-care-lessabout-selling-any-art guy at the small, popular East Hollywood gallery that I walked into Saturday. My presence was not acknowledged despite being the only visitor in the space and it was waaay before closing time. My polite questions about the availability of one work and regarding further information about the photographer elicited only one-word answers delivered with a decided lack of enthusiasm. Are you aware that the economy has tanked, raising the unemployment rate, which in turn leaves a smaller pool of art collectors? Perhaps I didn’t scream “Ms. Moneybags” or your favorite demographic (young hipster with trust fund and pop culture aesthetics?), but being a semi-regular of your gallery (yes, I’m on the mailing list), I was ready to buy … until I ran into your personal wall of indifference. Will I be back? Sure, but hopefully not during your “shift.“ –Anonymous

Report all customer-service complaints: E-mail

january 15-21, 2009 5 LACITYBEAT

Thursday, January 8 Joe Francis (Girls Gone Wild) joins Larry Flynt in demanding that Congress bail out the adult entertainment industry to the tune of $5 billion. The pair point out that adult DVD sales are down 22 percent, while others point out that the price of a Tunisian Slipknot has skyrocketed as quality has waned. Francis says he wants the porn biz to get the same consideration as American automakers, and he has a point, since people actually want to buy what he’s selling. Whether you agree with them or not, isn’t it exciting to see Francis and Flynt join forces? It’s like one of those very special Batman episodes where the Penguin, the Riddler and the Joker all team up for super villainy or to teach a special lesson about tolerance. Yeah, so it’s just like that, only more venereal. Friday, January 9 Bad day for fugitive film directors. Saturday, January 10 Philip Dominguez is arrested at LAX with a trunk full of guns and 1,000 rounds of ammunition. Dominguez is from Orange and is outraged – OUTRAGED! – that anyone would arrest him or even look at him suspiciously because he was at an international airport with five rifles and 15 handguns. Dominguez claims he broke no laws and isn’t it everything you need to know about America that he appears to be correct. He had permits for all this stuff and they were all in separate boxes. Dominguez says he’s just a gun enthusiast who was picking up a friend at the airport with plans of traveling on to a gun range. After that, perhaps some siege-ing. Sunday, January 11 This being Sunday, how about a little real estate news? Well, looky here! It seems that pop star/’tween carnivore Michael Jackson has leased a Bel-Air mansion for $100,000 a month. Jackson used to live up the coast where the weather and lax parenting agreed with him. But now, he says, he wants to be back in L.A., back “where all the action is.” Assuming that means the mansion is Build-A-Bear-adjacent.✶


NEW TIMES Once the best alt-weekly in the nation, ‘L.A. Weekly’ tightens its belt By Matthew Fleischer It was a signal week at L.A. Weekly. Two longtime staffers – film critic Ella Taylor and theater writer Steven Leigh Morris – were shown the door shortly after Marc Cooper wrote a brutal 6,000-word “autopsy report” on the paper. Cooper was an L.A. Weekly politics writer until he was laid off two months ago, part of the paper’s effort to cut costs ahead of purported heavy corporate debt and a declining advertising market. But Cooper’s essay, posted on, cites a third force, something more psychological than economic: the paper’s Phoenix-based corporate ownership, Village Voice Media (formerly New Times), he asserts, gutted the paper out of spite and incompetence. “The 30-year-old Weekly’s heart and soul has been scooped out by a corporate management that seems hellbent on a suicidal tack,” Cooper writes. The Weekly “must now conform to the same cookie-cutter format that limits [VVM’s] other 16 or 17 papers across the country to sticking to local, mostly sensationalist, often quick-and-dirty hit pieces.” The trouble began in 2005, when Phoenix-based New Times (owners of 11 alt-weeklies) merged with Village Voice Media – six papers, including L.A. Weekly, nearby OC Weekly and New York’s flagship paper, The Village Voice. It was a match made in venture-capital hell: New Times took on the Village Voice Media name, but imposed its own top-down management ethos. As part of the company’s “plug-and-play” management strategy, editors, writers and ad directors were moved from city to city within the chain, without regard for local knowledge. Any oldschool VVM manager who resisted the metamorphosis was denounced as a “lefty,” a “throwback,” and worse. They were fired or simply fled. The change was not immediately obvious on the street. In the year after the sale, with VVM’s new ownership busily deconstructing the venerable Village Voice, the L.A. Weekly was largely left alone. The paper was fat – 200 pages fat, the Ron Jeremy of the alt-weekly world. Investigative reporter Jeffrey Anderson was on fire, breaking

story after story about corruption in southeast L.A. County’s small, backwater cities. The paper cleaned up at the alternative-weekly awards, taking home more citations than any other paper in history. And culinary guru Jonathan Gold won the Pulitzer Prize for criticism – the first food critic ever to earn that honor. Since then, the second-largest paper in Los Angeles suffered two of the most disastrous years of any paper in Southern California. After spending more than a million dollars to uproot its traditional Hollywood headquarters to move to Culver City last year, the Weekly summarily laid off or chased away most of its awardwinning editorial staff and halved the size of the paper. The carnage, and its lack of coverage in the self-obsessed Los Angeles Times, led Cooper to pen his epitaph. The post went viral, generating nearly 200 comments – most in solidarity. Strangely absent from the online discussion, however, was VVM owner Mike Lacey, who isn’t typically known for biting his tongue. When faced with similar criticism from departing L.A. Weekly editor Harold Meyerson three years ago, Lacey responded with bile – calling Meyerson a “lefty” and a “hack.” He leveled similar attacks on LA Observed’s Kevin Roderick when Roderick commented on the firing of reporter Anderson in 2007. Lacey’s reluctance to shoot back at Cooper may have been explained last Friday, when Taylor, Morris and another yet-to-be-named staffer were laid off, their positions eliminated. Taylor and Morris were the eleventh and twelfth Weekly staffers let go in the past 12 months. That followed a 2007 that saw the departure of not only Anderson but staff writers David Zahniser, Judith Lewis, Daniel Hernandez, Linda Immediato and Joshuah Bearman. From its high-water mark two years ago, the Weekly’s once formidable writing staff is now down to five. In the interest of full disclosure, several City Beat employees have worked for VVM. I was let go from my position as an L.A. Weekly staff writer last October, in the same round of layoffs that swept

up Cooper, managing editor Sharan Street, copy chief David Caplan, senior designer Laura Steele and assistant to the editor Pandora Young. “It’s a madhouse,” says one L.A. Weekly staffer of the bare-bones operation. “People have been practically sleeping here trying to get all their work done.” The highest-ranking VVMer to comment on Cooper’s “autopsy” was former New Times Los Angeles and current Phoenix New Times editor Rick Barrs – who aside from confessing that he once “got laid” from the L.A. Weekly personals, accused Cooper, among other things, of “Marxist buttsmooching” and of pandering to his “beatnik” readership. Now that is the tone we’ve come to expect from Phoenix. But not Lacey’s silence. He did not respond to a City Beat request for comment, leaving the most detailed explanation for the recent layoffs in the hands of departing theater editor Morris, in a farewell post on the paper’s blog. “After almost 30 years, the Theater Editor position in a city with 2,000 professional plays opening every year was determined by Phoenix to be a fiscal extravagance.” Morris asserts that leveraged debt assumed from the New Times’ merger with VVM in 2006 is the culprit for the


chain’s fiscal woes. L.A. Weekly publisher Beth Sestanovich says that’s untrue. “We’re simply tightening our belt in response to the economic downturn,” she tells City Beat. “This isn’t about banking or leveraged buyouts. It’s strictly operational. We’re sizing the business to make sure that when this downturn ends – and we don’t know when this will hit bottom – we come out strong.” Whatever the case, none of this – leveraged debt, a crumbling economy – seems to have affected the Weekly’s sister paper in San Francisco in quite the same way. The S.F. Weekly has lost money every year since New Times took control of the paper in 1995 and owes nearly $15.6 million in damages stemming from a predatory pricing lawsuit. But that VVM paper recently found the cash to hire a new staff writer, bringing the total number of full-time staffers to five – equal to that of the much larger L.A. Weekly. How is that possible? Barrs, taunting Cooper and the Weekly, perhaps gives some insight. Commenting on Cooper’s blog, he suggests that the L.A. Weekly is the target of an ideological war being waged from corporate headquarters in Phoenix: “We’re still standing. Your old, hippy-dippy paper has gone the way of the dinosaur. Extinct. Bye, bye.”✶



Worst President Ever! Grand(e) Final(e)! HHHHHHHHHHHHHH championship round HHHHHHHHHHHHHH

vs. EARLY LIFE & EDUCATION Buchanan: Was the last president born in the 18th century (1791). He attended Dickinson College and nearly flunked out before eventually graduating near the top of this class. Bush: Was not born in the 18th century but told people he could have been if he’d put his mind to it. Attended Yale and nearly flunked out before eventually graduating near the middle of the sixth row, instructing family he’d be easy to spot because “I’ll be the one in the hat.” Worst: Bush.

MILITARY RECORD Buchanan: Though against the War of 1812, joined a volunteer light dragoon. Served in the defense of Baltimore. Bush: Though supportive of the Vietnam War, joined the Texas National Air Guard and served in the defense of Baltimore … Duluth … Kissimmee? Anywhere but Texas. Or Vietnam. Worst: Bush.

PRIVATE LIFE Buchanan: Was rumored to be gay, perhaps owing to the fact he served under Presidents Pierce and Polk. Then again, it may have something to do with the fact he lived with his longtime companion William Rufus Devane King. Bush: Did blow as a young man; Jesus as an older one. Worst: It’s all good.

ECONOMIC CRISIS Buchanan: Handled the Panic of 1857, (general recession, bank failures, business collapse,

high unemployment) with deficit spending. Bush: Handled the Punking of 2008 (general recession, bank failures, business collapse, high unemployment) with the solution he brought to every major crisis: He asked Americans to go shopping. Also, he hosted the Stanley Cup champion Detroit Red Wings. Worst: You gonna eat that?

STRANGE BEDFELLOW Buchanan: William Rufus Devane King, whom Andrew Jackson called “Aunt Fancy.” Bush: Dick Cheney, who Bush called “Mr. President.” Worst: Really?

MAJOR CATASTROPHES Buchanan: His low standing among historians has much to do with his policy of appeasement toward the pro-slavery lobby and his failure to deal with secession of Southern states. Bush: His low standing has much to do with a failure to recognize the warning signs of 9/11, “Bring it on,” outing CIA agent Valerie Plame, Abu Ghraib, Gitmo, Terri Schiavo, record budget deficits, Hurricane Katrina, Git Me Some Mo Gitmo, Scooter Libby, record oil prices, that pretzel, “Brownie, you’re doing a heck of a job,” Colin Powell’s WMD speech at the U.N., firing U.S. attorneys, hosting the Stanley Cup Champion Detroit Red Wings while the country financially imploded, Walter Reed Hospital, Harriet Miers, no-bid contracts, record trade deficits, “I’m the decider,” record number of Americans without health insurance, Mission Accomplished. Worst: Push. Winner: George W. Bush. Congratulations! Now go away.

SOCIALIST PARTY AT OUR HOUSE! Bailing out big banks and automakers means America’s socialist, right?! We asked people who know. ‘LET KIDS WORK AT MCDONALD’S’

Ted Thomas is a retired United Auto Worker organizer and is the president of the Park Mesa Heights Neighborhood Council in South Los Angeles. So the Feds just gave Detroit nearly $18 billion in bailout money. Worker’s paradise here we come! No, I don’t think so. We won’t have that until they stop shipping jobs overseas and start bringing them back to America. Wait, the bailout was bad? It was union busting. The bailout required union members to take major wage and benefit cuts. The unions have always been the ones trying to keep the car companies in business. We take the hits when things get tough. It wasn’t us who failed to revitalize the plants to keep up with Mitsubishi and the other Japanese imports. The bailout had to happen, because all kinds of people get hurt if the car companies fail – the parts manufacturers, the tire companies, the dealers – but that money definitely isn’t going to help the workers. So even with Obama elected, the Democrats controlling congress and public money being used to prop up our failing industries, we’re not going to see a working man’s resurgence in America? Well, we have a chance. If the president-elect does what he says and

creates a green manufacturing industry in the United States, that could put us back at the top. But that business has to be done the old way. No one is worth $80 million a year. The wealth needs to be shared. We have the best workers in the world in America. We just expect to get paid more than five bucks an hour. Let the kids work at McDonald’s and Burger King and pay us a living wage. (Matthew Fleischer)


Dr. Ruth Milkman is a professor of sociology at UCLA, and writes about the labor movement in America. So, public bailouts of banks and the auto and insurance industries! We’re all socialists, right? No, not really. This is just a change in the kind of capitalism we have, not a change away from capitalism. It’s one in a series of pendulum swings – from unregulated to regulated capitalism, a stronger role for government. That’s what’s happening. But I don’t think anyone would seriously argue that it’s socialism. Not even socialists? Do you think they might take advantage of this opening to create a kind of workers’ paradise? I really don’t think that’s part of the U.S. political spectrum in any meaningful sense. There might be

some who disagree with me, but it seems to me that those parties are so marginal in this country that they’re not going to influence the debate over economic policy in any significant way. Can you tell me when this sort of pendulum swing has happened before? The New Deal, the 1930s, was the last time. Historians mostly agree that people were certainly questioning the system, but the New Deal was about saving capitalism rather than replacing it with a socialist system. This is mainstream American politics, and it’s not unfamiliar in this country. It’s just been a while since we’ve seen the government take an active role in the economy. So I should cancel my party to celebrate socialism’s victory in America? Probably. I’m sorry. (Will Swaim)


Mathew Staver is Dean of the Liberty University School of Law in Virginia, a prolife advocate, and the founder of the “family values” advocacy group Liberty Counsel. Bailouts! Government takeovers in the financial sector! The socialists have finally taken over! I agree. I do fear that we are moving towards the direction of socialism. And the real crime is that we were pushed in that direction by a Republican, George W. Bush, who,


for all his talk, has proved himself to be anything but an economic conservative. Now we’re all in big trouble, because he’s handing the reins off to an actual socialist in Barack Obama. Wait, that’s a bad thing? Doesn’t Jesus teach that nations should be judged by how they treat “the least among you”? I thought you might be happy about our situation. The Bible does command individuals to care for the poor. Churches and ministries should help the less fortunate. The government can assist with a taxation policy that caters to those in desperate need. But a $700 billion handout to GMAC and Chrysler isn’t exactly helping the poor. It’s taking money from the poor and giving it to multibillion dollar corporations. WWJD about the financial crisis? The moral way isn’t always the easiest way to proceed. For instance, if you see someone writhing in pain from drug withdrawal, the easy thing to do would be to give them more drugs to ease their suffering. But the moral thing would be to comfort them, but to keep them clean, so that they eventually become cured of their bad habits. A few years ago Delta Airlines was struggling tremendously and went into bankruptcy. They didn’t get a bailout. Now they’re the largest air carrier in the world. The moral way is often the toughest.✶ (MF)

40 years after a deadly UCLA shooting that killed Black Panthers Bunchy Carter and John Huggins, the only man still in prison for their murders is a man who didn’t pull the trigger. Now, he tells his story.

By Watani Stiner

the deceased: black panthers john huggins (Left) and bunchy carter (Right)


t happened just inside the cafeteria doorway: a heated argument, some profane words, a tussle between four angry young men. The first shot silenced the revolutionary chatter. More shots rang out as frightened students scrambled for cover, leaving me wounded in the shoulder and two Black Panthers dead on the floor of UCLA’s Campbell Hall, room 1201.


It’s been 40 years since the January 17, 1969, shootout that took the lives of Alprentice “Bunchy” Carter and John Jerome Huggins. I’ve spent the majority of my adult life in San Quentin prison because of the events of that day. I was 20 years old at the time, a student awaiting placement in UCLA’s High Potential program as a political science major. But perhaps more importantly I was a member of Kwanzaa-founder Maulana Karenga’s black revolutionary organization “Us.” Formed in the wake of the Watts riots in 1966, Us had been, for years, the rising vanguard organization of the black revolutionary struggle in Los Angeles. Karenga, a cum laude graduate from UCLA with Ph.D.s in political science and social ethics, had earned the attention of The New York Times as the “leading black nationalist” in Los Angeles. My initial involvement with Us was purely accidental. In 1966, as an angry 18-year-old man, I inadvertently stumbled on Karenga and the first ever Kwanzaa celebration at the Aquarian Bookstore in South Central. It was the crowd that first caught my attention – multicolored African attire, shiny bald heads and clusters of beautifully defiant afros. I stopped to investigate and was immediately greeted and invited inside. Only several years removed from living in segregated Houston, Texas, forced to drink from the “colored” water fountain, I’d never had such an exhilarating experience among so many African-Americans. Back in Houston my father was a college professor – a Ph.D. in mathematics and a World War II veteran. But he was driven to alcoholism by the accumulated weight of years of racial prejudice, and his depression and abuse tore our family apart. My mother eventually left him, taking her five children to Watts. I was 10 years old at the time. Though I didn’t face the same kind of racial discrimination in Watts as I did in Houston, life wasn’t easy. I was considered an outsider and was often followed home and beaten up by the street-hardened neighborhood kids. But that night at the Aquarian, after years of struggling to fit in, I finally felt like I belonged somewhere. I left the celebration with rich feelings of racial pride and joined the Us organization shortly after, along with my wife and my brother, Sikia. On Sunday evenings I began attending “soul sessions,” in which Karenga expounded on various aspects of Kawaida, his theory of black cultural and social change. We studied black history and Swahili and practiced martial arts. Many of the men shaved their heads and grew Fu Manchu mustaches. We were taught selfdetermination, self-respect, self-defense and to prepare for the urban guerilla war

that was to be waged in America. Karenga was able to articulate our deepest rage. He envisioned Us as the leading edge of a black revolutionary movement. Another group, however, had a different idea.


y 1968, the Black Panther Party, led by Deputy Minister of Defense for Southern California Bunchy Carter, had made their way south from Oakland and established themselves as a force in Los Angeles’s black revolutionary struggle. At first the Panthers and Us coexisted relatively peacefully. In early 1968, Karenga hosted a “free Huey” rally in support of Black Panther Huey Newton, who was in prison on charges of murdering an Oakland police officer. Karenga shared the platform with Panthers H. Rap Brown, Stokely Carmichael and Carter, among others. Soon after, however, ideological conflicts between the two groups emerged that threatened our cooperation. Panthers taunted Us members about our African-style clothes, use of Swahili and the emphasis we placed on culture. Us members responded by referring to Panthers as domesticated “pussy cats.” Many in Us, myself included, felt the Panthers were undisciplined, too reliant on wealthy, white supporters and borrowed too heavily from Karl Marx and Mao’s Little Red Book. Later that year, these intellectual tensions gave way to more menacing behavior. UCLA became a hotbed of conflict between the two organizations, both of whom were vying for student allegiance and directorship of a newly minted Black Studies department. Intimidation was a common ploy of both groups. Anonymous phone calls and rumors of targeted assassination plots began to circulate as the feud intensified. Several of these calls were directed toward my mother. Most were from a strange man who warned her about the violent end my brother and I were about to meet. Only a few weeks before the UCLA shooting, a woman called and told my mother, “You’re going to have to bury your sons soon.” Unbeknownst to both Us and the Panthers, the FBI was taking a keen interest in this dispute. On November 25, 1968, FBI director J. Edgar Hoover issued a memo concerning Us/Panther hostility, speculating on how the bureau could “capitalize” and “exploit” these differences in order to cripple the black power movement. How much of the hostility between Us and the Panthers was externally induced by the FBI’s COINTELPRO (Counter Intelligence

Program) is still unknown. Initially, the black students of UCLA weren’t overly concerned with the partisanship over who would head the Black Studies department. Their chief concern and expectation was that the person was black, culturally conscious and committed to developing a curriculum that reflected the history and community interest of black people. But as relations between Us and the Panthers deteriorated further, the conflict became impossible to ignore. A core of nonpartisan black students initially tried to mediate between the groups, but grew frustrated as outside events, like the sinister phone calls, prevented any kind of reconciliation. Uncommitted students who wanted to be a part of the black studies program eventually found themselves forced to pick sides. An appearance at UCLA by Us founder Karenga on January 15, 1969, failed to resolve matters. In fact, Karenga’s presence on campus only served to exacerbate the tension. Many students, and especially the Black Panthers, felt like he was using his stature to take control of the program, and resented him for it. That meeting proved to be the tipping point, the final stone in an accumulating pile of perceived slights. Another gathering was scheduled for January 17, for all black students to consider a resolution to the Us/Panther conflict, and to agree upon a criteria for the Black Studies program. Approximately 200 people attended the meeting, held in the cafeteria area of Campbell Hall, home of UCLA’s ethnic organizations. Both the Panthers and Us came well armed for the occasion.


o surprise, the meeting was heated. As a member of the Simba Wachanga, Us’s paramilitary unit, I was assigned to work security for the event. After two hours of debate without reaching consensus, we adjourned around 2:30 p.m. Just as people began to leave, Us member Harold Jones, a fellow Simba Wachanga whom we called Tawala, abandoned his security post to confront Black Panther (and future Green Party presidential candidate) Elaine Brown in the hallway outside the cafeteria. Though I wasn’t able to see what transpired between them, Brown says in her autobiography that Tawala told her, “You need to watch what you say, sister.” Brown asserts that she tried to brush it off as insignificant, but Bunchy Carter, who had observed the exchange, became enraged. After his confrontation with Brown, Tawala reentered the room and returned


to the security post he should never have left. Directly behind him, just outside the doorway, a group of Panthers gathered in the hallway. Several tam-wearing Panthers, including Albert Armour and a few others, carried suspicious-looking briefcases. I was standing about 15 feet away when a loud, bitter argument suddenly erupted over by the doorway. Several students moved away from the verbal confrontation, clearing the way for me to see Bunchy pulling feverishly on Tawala’s coat as John Huggins and Armour unleashed a flurry of downward blows to his head. Immediately, I abandoned a conversation I was having with (future Ebonics pioneer) Toni Cook and hurried over to assist Tawala. But before I could reach them, a loud “Fuck you!” broke through the air, followed almost simultaneously by an even louder blast of a gun. Either by accident or to scare Tawala, Huggins’s gun had gone off. I quickly dropped behind a table that had been knocked over during the scramble for cover. Eerie screams of terror and the sound of shattering glass sent chills throughout my body. Although some of the students managed to get through the door and out of the cafeteria, most remained frozen with fear, trapped inside. Several females, including Cook and Muminia Azizi, managed to make their way to a small room at the back of the cafeteria and disappeared behind a closed door. My brother Sikia, who was also working security for Us, was nowhere to be seen and I feared he’d been shot. It was only after Huggins discharged his weapon, sending the crowd of about 75 remaining students into a frantic state of panic, that I saw Us member Claude Hubert (Chochezi) step inside the doorway, directly behind the three Black Panthers scuffling with Tawala, and fire his gun. Five consecutive shots rang out before a brief lull in the chaos. Easing my head from behind the upturned table, I saw Tawala lying silently on the floor. I assumed he had been shot. More bullets flew and Bunchy leapt over some chairs with his gun drawn in a desperate attempt to evade Chochezi’s aim and to avoid the volley of random shots being fired by Huggins. Armour fled the room as Bunchy finally fell to the floor. Still behind the table, I was trapped as shots continued to fly all around me. In my attempt to move to a safer spot, I suddenly felt a burning sensation in my shoulder that cut through my courage. I had been hit. Pain and fear became indistinguishable in my mind. Though I was prepared to die a revolutionary’s death, this was not a revolutionary cause. This was gang warfare. By the time I’d reached Tawala, who was frozen with fear on the floor, the shooting had subsided. I commanded him

Us differences,” one must wonder. Five men were indicted for the killings of Bunchy Carter and John Huggins – myself, Sikia, Chochezi, Tawala, and Donald Hawkins. While Chochezi and Tawala went underground and made their way out of the country, Hawkins, my brother and I surrendered shortly after the warrants for our arrest were issued. The indictment alleged not only murder, but conspiracy to commit murder. Sikia and I felt confident there was no direct evidence that we had conspired to do anything, much less commit murder. It was a spontaneous

on our lives in prison. Fearing our luck might eventually run out, we both escaped from San Quentin in 1974 and fled to South America. I wound up in Suriname, leaving my two young sons Larry and Lionel behind with their mother in South Central. I had always been a father on the run, never settling down long enough to be there for, or enjoy, the company of my children. For me it was always the bigger picture: the organization, the ideology and the revolution, which took precedence over everything else. But in the heart of Suriname, things changed. I started a new

unchy Carter and I had a history that went back long before we were drawn to opposing revolutionary organizations. We were in rival street gangs in South Central. I was a “Gladiator” from the west side, Bunchy a “Slauson” from the east side. Most Slausons had initially joined the Black Panther Party (whose headquarters were located in Slauson territory) while a majority of Gladiators became Us “advocates” or joined the Simba Wachanga. It is perhaps important to note that the so-called “gangs” of the late ’50s and early ’60s cannot be compared to today’s gangs with their random and careless disregard for human life. Crack cocaine and automatic weapons had not yet been dumped into the marginalized black cities of America, destroying whole families and communities. Although there were occasional shootings and some stabbings, the primary mode of violence in South Central at that time was free-for-all gang fights, one-on-one fisticuffs, and a gang whipping if you got caught in the wrong neighborhood at the wrong time. Those encounters usually resulted in a “lesson” – rarely deaths. Still, the formation of gangs left: stiner in a san quentin created a competitive rivalry amongst visiting room, and shortly groups who really had much in common – before joining us in 1966. a factor which would play out tragically on shootout, and we assumed that since we that fateful day at UCLA. hadn’t had a direct role in the violence that no Black Panther would testify against us. How wrong we were. Nine Black Panthers, including Brown ollowing the shootings, Elaine Brown, Geronimo Pratt, and and Armour, testified that my brother and several other Panthers returned I carried weapons to the meeting that day. to their homes and began hauling And, because I arrived with and left the their weapons away. Before they could scene in a car with Chochezi and Tawala, finish, the police arrived, arrested 17 Deputy District Attorney Stephen Trott was Panthers and confiscated armaments that able to include us in his conspiracy theory. included a homemade bomb, shotguns At the end of the dramatic trial, three of us and pistols. Police claimed their search were convicted of two counts of secondwas about preventing retaliation for the degree murder, one count of conspiracy to shooting. On the face of it, this seems like a commit murder, and possession of firearms logical justification. But when you take into on campus. While Hawkins was sent to account an FBI memo from two months Youth Authority, my brother and I were earlier (made public since the shooting), sentenced to life in prison. Sikia and I survived numerous attempts urging police to “capitalize upon BPP and

life. I found love with a woman named Nisha, and fathered six children. I became more concerned with saving my children than I was with saving the world. Perhaps it was my advancing age or the veiled cynicism I had acquired for leaders and governments – with their lofty promises and repression – that compelled me to narrow the perimeters of my revolution to that of my family. For years, we scratched out a meager existence in the Surinamese bush – poor but together. But in 1994, with crushing poverty, disease, and violent political turmoil all around us, I decided to turn myself in to the American embassy so that my children could emigrate to America and have a chance at a better life. I am still being held captive in San Quentin on a 40-year-old conspiracy

to “angulia” (attention), then screamed at him to “get the fuck up!” Chochezi stood nearby, covering the room with his gun, until Tawala finally snapped out of his trance and got up. The three of us ran from the cafeteria and down the hallway. My brother was left behind. Later that evening, we learned that police had arrived at Campbell Hall about 10 minutes after the shots were fired. They found only Bunchy and John, both dead on the floor.




conviction. Sikia’s whereabouts are unknown. Although there is ample documented evidence that the FBI and the LAPD conspired to fan the flames of internecine violence between Us and the Panthers, no government agency or official has ever been charged, tried or convicted. LAPD chief William Bratton’s office recently sent a letter to my parole board, falsely accusing me of “murdering two victims by shooting them with a firearm for unknown reasons.” Of course I’d never shot anyone, yet Bratton claims that I would pose an “unreasonable risk to society” were I to be released from prison. By no means is this an attempt to make light of what happened at UCLA on January 17, 1969. There is no justification for this senseless act of the past. What began as an Us/Panther ideological difference turned into a competitive dispute over which organization had the “right” to be the vanguard of the revolution. This conflict quickly escalated, creating the internal basis for COINTELPRO’s penetration and disruption of both organizations. The violence between Us and the Panthers didn’t stop after UCLA. Two more Panthers were killed by Us members in 1969, while several other shootings and bombings were carried out by both organizations. In San Diego, Black Panther John Savage was shot and killed by Us’s Jerry “Tambuzi” Horne. Meanwhile, the home of Us vice-chairman James “Tayari” Doss was riddled with bullets on the night of March 17. In all critical honesty, I can cry foul on the role of the U.S. government in the conflict and be fully justified in doing so. But history demands that we must also be willing to criticize ourselves, apologize to the victims and their families, and accept a portion of the blame. It is my belief that the violent example set forth by the Us/ Panther conflict in Los Angeles helped create a vacuum in the black community that ushered into existence the era of Bloods and Crips. Now living in South Los Angeles, with their father in prison and gang warfare all around them, my Surinamese children are faced with this brutal, unintended consequence of the Us/Black Panther revolutionary feud. The seeds of death and destruction always linger beneath the surface of all acts of violence, destined to re-emerge under new conditions and under new circumstances. In San Quentin, I’m now looked up to by the younger generation as an “OG” – original gangster. Every day I see the lost souls of our troubled youth – the holes in their spirits and the yearnings for the broken fathers who have abandoned them. I pray they aren’t mirrors of what my own children will become.✶


Rialto Pictures

Anna Karina lazes seductively in Godard’s Made in U.S.A.

Godard’s Missing Link Despite the title, ‘Made in U.S.A.’ is singularly French By Andy Klein Jean-Luc Godard made roughly 15 films during his first eight years as a director, a number of which have been re-released theatrically during the last decade in spanking new “restored so we can put out a clean DVD” prints. It would be easy (and sloppy) to think of the 1966 Made in U.S.A. (opening Friday at the Nuart) as the “latest Godard reissue,” but, in fact, the film has never legally played in American theaters before. As in many of his mid- and late-’60s works, Godard seems utterly uninterested in presenting a “plot” (in the conventional sense). In fact, the story behind the film and its belated release is arguably more fascinating than the story within. Georges de Beauregard – who had produced Godard’s first feature, Breathless, as well as Nouvelle Vague classics by Agnes Varda, Jacques Demy, and Jacques Rivette – was in financial trouble. He needed to get a film into production immediately and knew that Godard was capable of preparing something on the fly. Godard grabbed the pulp novel The Jugger by Richard Stark – a pseudonym for Donald E. Westlake. In a macabre coincidence, this extraordinarily prolific American novelist died on New Year’s Eve 2008, less than two weeks before the belated New York opening of Made in U.S.A. – the very first feature to be based on one of his books. Westlake wrote somewhere in the vicinity of a hundred novels, using a half dozen names. As Stark, he produced a series of ultra-hard-boiled books about a coldly professional thief named Parker; under his real name, he wrote a comic crime series about a hapless professional

crook named Dortmunder – sort of the anti-Parker. (Indeed, Westlake said he came up with the first Dortmunder book as an antidote to being trapped in Parker’s grim universe.) Both sets of books are great – they make up the majority of the 35+ Westlakes I’ve read. Both characters spawned numerous film adaptations: Dortmunder has been portrayed (under a variety of names) by George C. Scott, Christopher Lambert, Martin Lawrence, and – in The Hot Rock, handily the best of the bunch – Robert Redford. Parker shows up as Lee Marvin (Point Blank), Robert Duvall (The Outfit), Jim Brown (The Split), Mel Gibson (Payback), and ... Anna Karina (Made in U.S.A.)! Sadly, because of de Beauregard’s money problems, the rights to the book were never properly obtained, keeping it from American release. Here’s the punch line: Made in U.S.A. has almost nothing to do with The Jugger. Godard retained so little from the book that, had it not been announced as an adaptation, it almost certainly could have been shown here without legal complications. There are several unofficial adaptations of James M. Cain’s The Postman Always Rings Twice that lean far more heavily on their source. In the book, a former associate – now retired in a small town – writes to Parker, using the latter’s carefully maintained false identity, for help out of a jam; Parker shows up, maybe to help him, but likelier to kill him, since it’s dangerous to let anyone so indiscreet live. When he gets there, his friend is already dead under suspicious

circumstances; Parker investigates, not out of sentiment, but to make sure that there are no threads leading back to him. That fairly generic setup, ladies and gentlemen, is where the connections begin and end, save for two or three vaguely similar scenes. Godard reworks the story, with Karina as Paula Nelson, a journalist investigating the death of a former lover. What he ends up with might be considered an homage to American films; a condemnation of American politics; a veiled commentary on the disappearance of left-wing Moroccan activist Ben Barka (a controversial scandal in France at the time); a snapshot of the brewing revolutionary politics soon to erupt; a deconstruction of film language; or a final tribute to Karina, the muse/wife with whom he had just split. (He filmed Made in U.S.A. in the afternoons, while making Two or Three Things I Know About Her, starring new girlfriend Marina Vlady in the mornings.) Most of the characters are named after Hollywood figures (Widmark, Preminger, Aldrich) and noir writers (David Goodis); there’s even a Nixon and a McNamara. The actors sometimes seem to be addressing the camera or they speak dialogue that is often Lewis Carroll-like nonsense, but less funny. Sometimes they appear to talk but we hear no words; other times, phrases or names are censored on the soundtrack by what sounds like a telephone ringing. Music starts and stops abruptly. Cinemaphiles – particularly those of a certain generation – rightfully embrace the availability of any missing piece of Godard’s career (as they would with any


beloved and/or influential director). And, yes, it’s wonderful to finally get to see Made in U.S.A. But, as is often the case – e.g., the Marx Brothers’ Animal Crackers, Chaplin’s A Woman of Paris – the film’s absence has driven its reputation to a level that the film itself can’t match. In just the preceding two or three years, Godard had made at least four full-on classics – Contempt, Band of Outsiders, Alphaville, and Pierrot le Fou – each of which had an internally cohesive (if odd) plot. With the consecutive Made in U.S.A. and Masculine, Feminine, he began to lose interest in anything resembling conventional storytelling, pointing toward such subsequent “film essays” as Sympathy for the Devil and Wind from the East. While this film is essential for those to whom Godard is important or even interesting, it cries out for context; newcomers to Godard would be hardpressed to find a worse film to start with. It may be rewarding, but it’s also difficult, with very few of the immediate pleasures that buoyed his earlier movies and helped seduce a generation into a love affair with French cinema. V Made in U.S.A.. Directed by Jean-Luc Godard. Screenplay by Jean-Luc Godard; based on the novel The Jugger by Richard Stark. With Anna Karina, Jean-Pierre Léaud, László Szabó, Marianne Faithfull, Ernest Menzer, and Kyôko Kosaka. Opens Friday at the Nuart.



“A MOVING ACCOUNT of how an ordinary man, challenged and then electrified by catastrophe, grows into a great leadeR.”




LARRY KING GRIPPING FILM. The resolve of the human spirit is shown brilliantly.”




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Attention all AMPAS, DGA & WGA members: Your guild card will admit you and a guest to any performance, based on seating availability. AMC: AMPAS, ACE, ADG, ASC, BAFTA LA, CAS, DGA, HFPA, MPEG, MPSE, PGA & WGA. ArcLight/Pacific: AMPAS, DGA & WGA. Cinema Palme D’Or (Mon - Thurs only): AMPAS, ACE, ADG, ASC, BAFTA LA, CAS, DGA, HFPA, MPEG, MPSE, PGA & WGA. Mann (Mon - Thurs only): AMPAS, DGA & WGA. Mary Pickford: AMPAS, DGA, PGA & WGA. Metropolitan: AMPAS, ACE, ADG, ASC, BAFTA LA, CAS, DGA, HFPA, MPEG, MPSE, PGA & WGA. Regal: AMPAS, DGA, WGA & PGA.

SHOWTIMES JAN. 16-22, 2008 Note: Times are p.m., and daily, unless other wise indicated. All times are subject t o change without notice.

BURBANK AMC Burbank 16, 140 E Palm Av, (818) 9539800. Bedtime Stories Fri-Sat 11:35 a.m., 2:15, 4:50, 7:30, 10:10; Sun 11:50 a.m., 2:15, 4:50, 7:30, 10:10; Mon 11:35 a.m., 2:15, 4:50, 7:30, 10:05; Tue-Wed 1:50, 4:35, 7:15, 10. Bride Wars Fri-Sun 12:35, 3, 5:30, 7:55, 10:20; Mon 12:35, 3, 5:30, 7:55, 10:10; Tue-Wed 1:10, 3:25, 5:40, 7:55, 10:10. The Curious Case of Benjamin Button Fri-Sun noon, 3:40, 7:20, 11:05; Mon 11:55 a.m., 3:30, 7, 10:30; Tue 3:30, 7, 10:30; Wed 2:05. Defiance Fri-Sun 10:45 a.m., 1:55, 5:05, 8:20, 11:30; Mon 10:45 a.m., 1:55, 5:05, 8:20; TueWed 1:55, 5:05, 8:20. Gran Torino Fri-Sun 11:25 a.m., 2:10, 5, 8, 11; Mon 11:25 a.m., 2:10, 5, 8, 10:40; Tue-Wed 1:25, 4:10, 7:25, 10:05. Hotel for Dogs Fri-Sat 11:50 a.m., 2:30, 5:10, 7:50, 10:30; Sun 11:45 a.m., 2:30, 5:10, 7:50, 10:30; Mon 11:50 a.m., 2:30, 5:10, 7:50, 10:15; Tue-Wed 2:30, 5:10, 7:50, 10:15.

Last Chance Har vey Fri-Mon 11:20 a.m., 1:50, 4:20, 7:05, 9:45; Tue-Wed 1:35, 4:20, 7:05, 9:45. Marley & Me Fri-Sun 11 a.m., 2:05, 4:55, 7:40, 10:40; Mon 11 a.m., 2:05, 4:55, 7:40, 10:20; Tue-Wed 1:45, 4:55, 7:40, 10:20. Metropolitan Opera: La Rondine Encore Wed only, 7. My Bloody Valentine 3D Fri-Sat 11:10 a.m., 12:30, 1:45, 3:10, 4:30, 5:50, 7:10, 8:30, 9:50, 11:10; Sun 11:10 a.m., 1:45, 4:30, 5:50, 7:10, 8:30, 9:50, 11:10; Mon 11:10 a.m., 12:30, 1:45, 3:10, 4:30, 5:50, 7:10, 8:30, 9:50; Tue-Wed 1:30, 3:10, 4:30, 5:50, 7:10, 8:30, 9:50. Notorious Fri-Mon 12:15, 3:15, 6:15, 9:15; TueWed 1, 3:50, 6:40, 9:40. Paul Blar t: Mall Cop Fri-Sun 11:15 a.m., 1:40, 4:15, 6:45, 9:10, 11:45; Mon 11:15 a.m., 1:40, 4:15, 6:45, 9:10; Tue-Wed 1:25, 4:15, 6:45, 9:10. Slumdog Millionaire Fri-Sun 10:50 a.m., 1:50, 4:40, 7:45, 10:45; Mon 10:50 a.m., 1:50, 4:40, 7:45, 10:30; Tue-Wed 1:40, 4:40, 7:45, 10:30. The Unborn Fri-Sun 12 a.m., 12:45, 3:05, 5:35, 8:10, 10:35; Mon 12:45, 3:05, 5:35, 8:10, 10:35; Tue-Wed 1:05, 3:20, 5:35, 8:10, 10:25. Valkyrie Fri-Mon 11:05 a.m., 2, 4:45, 7:35, 10:25; Tue-Wed 2, 4:45, 7:35, 10:20. Yes Man Fri-Sun 10:55 a.m., 1:35, 4:25, 7,




9:30; Mon 10:55 a.m., 1:35, 4:25, 7:20, 9:55; Tue-Wed 1:20, 4:25, 7:20, 9:55. AMC Burbank Town Center 8, 210 E Magnolia Bl, (818) 953-9800. Call theater for titles and showtimes. AMC Burbank Town Center 6, 770 N First St, (818) 953-9800. Bride Wars Fri-Mon 11:20 a.m., 1:45, 4:15, 6:55, 9:20; Tue-Thur 2, 4:15, 6:55, 9:20. The Curious Case of Benjamin Button Fri-Mon 11 a.m., 2:45, 6:25, 10:05; Tue-Thur 2:45, 6:25, 10:05. Doubt Fri-Mon 11:40 a.m., 2:15, 5:05, 7:45, 10:20; Tue-Thur 2:15, 5:05, 7:45, 10:15. Paul Blar t: Mall Cop Fri-Mon 11:50 a.m., 2:25, 4:55, 7:25, 9:55; Tue-Thur 2:30, 4:55, 7:25, 9:55. The Reader Fri-Mon 11:05 a.m., 1:50, 4:45, 7:35, 10:30; Tue-Thur 2:05, 4:45, 7:35, 10:20. The Unborn Fri-Mon 11:30 a.m., 2:05, 4:25, 6:45, 9:05; Tue-Thur 2:10, 4:25, 6:45, 9:05.

DOWNTOWN & SOUTH L.A. Downtown Independent, >251 South Main St, (213) 617-1033. Genghis Blues Fri only, 1. Let Them Chirp Awhile Fri only, 1, 5, 9. Tracing Cowboys Fri only, 3, 7, 11. Laemmle’s Grande 4-Plex, 345 S Figueroa St, (213) 617-0268. Bride Wars Fri 5:50, 8, 10:10; Sat-Mon 1:30, 3:40, 5:50, 8, 10:10; Tue-Thur 5:50, 8. Doubt Fri 5, 7:30, 9:55; Sat-Mon 1:40, 5, 7:30, 9:55; Tue-Thur 5, 7:30. Gran Torino Fri 5:10, 7:45, 10:15; Sat-Mon 1:50, 5:10, 7:45, 10:15; Tue-Thur 5:10, 7:45. Paul Blar t: Mall Cop Fri 5:40, 7:50, 10; Sat-Mon 1:20, 3:30, 5:40, 7:50, 10; Tue-Thur 5:40, 7:50. Magic Johnson Theaters, Baldwin Hills Crenshaw Plaza, 4020 Marlton Av, (323) 2905900. Bedtime Stories Fri-Mon 11:35 a.m., 2:10, 4:45, 7:15, 9:50; Tue-Thur 12:10, 2:10, 4:45, 7:15, 9:50. Bride Wars Fri-Mon 11:40 a.m., 2:05, 4:25, 7:05, 9:35; Tue-Thur 12:15, 2:05, 4:25, 7:05, 9:35. The Curious Case of Benjamin Button Fri-Mon 11 a.m., 2:35, 6:15, 9:55; Tue-Thur 2:35, 6:15, 9:55. Defiance Fri-Mon 10:05 a.m., 1:05, 4:15, 7:30, 10:45; Tue-Thur 1:05, 4:15, 7:30, 10:25. Gran Torino Fri-Mon 10:40 a.m., 1:35, 4:30, 7:25, 10:20; Tue-Thur 1:35, 4:30, 7:25, 10:20. Hotel for Dogs Fri-Mon 11:25 a.m., 2, 4:40, 7:20, 10; Tue-Thur noon, 2:15, 4:40, 7:20, 10. Marley & Me Fri-Mon 10:50 a.m., 1:50, 4:50, 7:45, 10:35; Tue-Thur 1:50, 4:50, 7:45, 10:35. My Bloody Valentine 3D Fri-Mon 11:45 a.m., 2:30, 5:10, 7:50, 10:30; Tue-Thur 12:05, 2:30, 5:10, 7:50, 10:30. Not Easily Broken Fri-Mon 11:50 a.m., 12:20, 2:25, 2:55, 5, 5:30, 7:35, 8:05, 10:10, 10:45; Tue-Thur 12:20, 2:25, 2:55, 5, 5:30, 7:35, 8:05, 10:10. Notorious Fri-Mon 10 a.m., 11:15 a.m., 12:10, 1, 2:20, 3:15, 4:05, 5:25, 6:20, 7:10, 8:30, 9:25, 10:15; Tue-Thur 12:10, 1, 2:20, 3:15, 4:05, 5:25, 6:20, 7:10, 8:30, 9:25, 10:15. Paul Blar t: Mall Cop Fri-Mon 10:20 a.m., 12:45, 3:10, 5:35, 8, 10:25; Tue-Thur 12:45, 3:10, 5:35, 8, 10:25. The Unborn Fri-Mon 10:10 a.m., 12:30, 2:50, 5:15, 7:40, 10:05; Tue-Thur 12:30, 2:50, 5:15, 7:40, 10:05. University Village 3, 3323 S Hoover St, (213) 748-6321. My Bloody Valentine 2, 4:30, 7:15, 9:45. Notorious 2:15, 5, 7:45, 10:30. The Unborn 1:15, 3:30, 5:45, 8, 10:15.


µ CENTURY CITY µ SANTA MONICA Mann Criterion 6 µ WEST LOS ANGELES µ WESTWOOD Mann £ Bruin 310/248-MANN #051 310/248-MANN #019 £ AMC Century 15 310/289-4AMC The Bridge $3.00 parking after 6:00 PM in Cinema De Lux 3 hrs free parking. Additional 2 hr ∂ UNIVERSAL CITY CityWalk Stadium 19 310/568-3375 “Privilege Parking Lots”. $1.00 refunded parking $3.00 with AMC validation. with IMAX 800/FANDANGO #707 with paid admission after 6:00 PM. µ BEVERLY HILLS Pacific’s The Grove µ SHERMAN OAKS MOVIE PARKING REBATE µ HOLLYWOOD ArcLight Cinemas $5 General Parking Rebate At Stadium 14 323/692-0829 #209 ArcLight Cinemas at the at Sunset & Vine 323/464-4226 Box Office With Movie Ticket 4 hours on-site validated Sherman Oaks Galleria 4 hours validated parking -$2 parking only $2.00. Purchase (Excludes Preferred & Valet) 818/501-0753

AND AT A THEATRE NEAR YOU. CONSULT YOUR LOCAL LISTINGS. Your membership card will admit you and a guest to any performance at the following theatres: AMPAS: All theatres (Laemmle, Mann & Regency: Mon.-Thurs. only; The Bridge Cinema de Lux: Member only). ADG, MPEG & MPSE: AMC & Metropolitan. (Limited to seating availability.)

ArcLight Cinemas Hollywood, 6360 Sunset Bl, (323) 464-4226. Bride Wars Fri-Mon 11:45 a.m., 2:25, 5:15, 7:45, 10:05; Tue-Wed 11:25 a.m., 1:55, 4:15, 7:35, 10:25. The Curious Case of Benjamin Button Fri-Mon 10:40 a.m., 11:35 a.m., 2:20, 3:25, 6:30, 7:15, 10:20; Tue 11:10 a.m., 12:05, 2:40, 3:35, 6:30, 7:15, 10:20; Wed-Thur 11:10 a.m., 12:05, 2:40, 3:35, 7:15. Defiance Fri-Mon 10:20 a.m., 1:50, 4, 4:50, 8, 9:45, 11:05; Tue-Thur 11 a.m., 2, 4:05, 5, 8:10, 10:05, 11:10. Doubt Fri-Mon 11:10 a.m., 1:40, 4:30, 7:30, 10; Tue noon, 2:30, 5:15, 8, 10:50; Wed noon, 2:20, 5:15, 8, 10:50. Frost/Nixon Fri-Mon 10:45 a.m., 1:45, 4:35, 7:35, 10:35; Tue 1, 4, 7:10, 10:10; Wed 1, 4; Thur 1, 4, 7:10, 10:10. Gran Torino Fri-Mon 11:15 a.m., 2:05, 4:55, 7:55, 10:45; Tue-Thur 11:15 a.m., 2:15, 5:05, 8:05, 10:45. Milk Fri-Mon 10:10 a.m., 1:30, 4:40, 7:40, 10:40; Tue-Wed 1:10, 4:10, 7:30, 10:30; Thur 1:10, 4:10, 7:40, 10:30. My Bloody Valentine 11:20. My Bloody Valentine 3D Fri-Sun 11:05 a.m., 1:35, 4:05, 7, 9:35, 12:10 a.m.; Mon 11:05 a.m., 1:35, 4:05, 7, 9:35; Tue-Thur 11:05 a.m., 1:35, 4:25, 7, 9:55.


Paul Blar t: Mall Cop Fri-Sun 11:25 a.m., 2:15, 4:45, 7:25, 9:50, 12:05 a.m.; Mon 11:25 a.m., 2:15, 4:45, 7:25, 9:50; Tue-Thur 11:35 a.m., 2:05, 4:45, 7:25, 9:45. Revolutionar y Road Fri-Mon 10:30 a.m., 1:20, 4:10, 7:10, 10:10; Tue-Thur 11:40 a.m., 2:25, 5:10, 7:50, 10:40. Slumdog Millionaire Fri-Mon 11:30 a.m., 2:30, 5:20, 8:20, 10:55; Tue-Thur 11:30 a.m., 2:35, 5:30, 8:30, 10:55. Under world: Rise of the Lycans Thur only, midnight. Waltz With Bashir Fri-Mon 10:50 a.m., 1:10, 4:20, 7:20, 9:40; Tue 11:50 a.m., 2:20, 4:40, 7:20, 9:50; Wed 11:50 a.m., 2:30, 4:40, 7:20, 9:50; Thur 2:30, 4:40, 7:20, 9:50. The Wrestler Fri-Mon 11:20 a.m., 1:05, 2:10, 5, 7:05, 7:50, 10:50; Tue-Thur 11:20 a.m., 1:05, 2:10, 5:20, 7:05, 8:20, 11. Grauman’s Chinese, 6925 Hollywood Bl, (323) 464-8111. The Unborn 12:50, 3:10, 5:30, 7:50, 10:20. Los Feliz 3, 1822 N Vermont Av, (323) 6642169. The Curious Case of Benjamin Button 1:40, 5:10, 8:35. Milk 1:40, 4:20, 7, 9:40. Slumdog Millionaire 1:40, 4:20, 7, 9:40. Mann Chinese 6, 6801 Hollywood Bl, (323) 461-3331. Hotel for Dogs 11:40 a.m., 2:20, 4:50, 7:20, 9:50. Marley & Me Fri-Wed 1, 4, 6:50, 9:40; Thur 1, 4. Not Easily Broken Fri-Tue 11:30 a.m., 2:10, 4:30, 7; Thur 11:30 a.m., 2:10, 4:30, 7. Notorious Fri-Sat 11:30. Private Screening Wed 7; Thur 7:30. The Unborn Fri-Tue 9:20; Thur 9:20. Valkyrie 1:10, 4:10, 7:10, 10. Yes Man 12:10, 2:40, 5:10, 7:40, 10:10. Pacific’s El Capitan, 6838 Hollywood Bl, (323) 467-7674. Oliver & Company Fri-Sat 10 a.m., 12:15, 2:30, 4:45, 7, 9:15; Sun-Wed 10 a.m., 12:15, 2:30, 4:45, 7; Thur 10 a.m., 12:15. Pinocchio Thur only, 7. Pacific’s The Grove Stadium 14, 189 The Grove Dr, Third St & Fair fax Av, (323) 692-0829. Bride Wars Fri 11:40 a.m., 2:15, 4:50, 7:25, 10; Sat 11:45 a.m., 2:15, 4:50, 7:25, 10; Sun-Thur 11:40 a.m., 2:15, 4:50, 7:25, 10. The Curious Case of Benjamin Button 11:30 a.m., 3:15, 7, 10:40. Defiance 1:15, 4:25, 7:45, 11:05. Gran Torino Fri-Sun 10:30 a.m., 1:20, 4:15, 7:20, 10:10, 12:20 a.m.; Mon-Thur 10:30 a.m., 1:20, 4:15, 7:20, 10:10. Hotel for Dogs 11:05 a.m., 1:40, 4:20, 7:05, 9:45. Marley & Me 11 a.m., 1:50, 4:45, 7:40, 10:30. My Bloody Valentine 3D Fri-Sun 11:20 a.m., 1:55, 4:35, 7:15, 9:55, 12:30 a.m.; Mon-Thur 11:20 a.m., 1:55, 4:35, 7:15, 9:55. Notorious 10:55 a.m., 2:05, 5:05, 8:05, 11:10. Paul Blart: Mall Cop Fri-Sun 10:20 a.m., 11:45 a.m., 12:40, 2:10, 3:05, 4:40, 5:35, 7:10, 8:10, 9:40, 10:50, 12:10 a.m.; Mon-Tue 10:20 a.m., 11:45 a.m., 12:40, 2:10, 3:05, 4:40, 5:35, 7:10, 8:10, 9:40, 10:50; Wed 10:20 a.m., 11:15 a.m., 12:40, 1:45, 3:05, 4:10, 5:35, 8:10, 10:50; Thur 10:20 a.m., 11:45 a.m., 12:40, 2:10, 3:05, 4:40, 5:35, 7:10, 8:10, 9:40, 10:50. Revolutionar y Road 11:10 a.m., 2, 4:55, 7:50, 10:55. The Unborn 10:25 a.m., 12:45, 3, 5:20, 7:55, 10:20. Valkyrie 10:35 a.m., 1:35, 4:30, 7:30, 10:25. Yes Man Fri 11:35 a.m., 2:20, 5, 7:35, 10:15; Sat 2:20, 5, 7:35, 10:15; Sun-Thur 11:35 a.m., 2:20, 5, 7:35, 10:15. Regent Showcase, 614 N La Brea Av, (323) 934-2944. Ciao Fri-Tue 7:30; Thur 7:30. Synecdoche, New York Fri-Tue 9:15; Thur 9:15. Vine, 6321 Hollywood Bl, (323) 463-6819. Vista, 4473 Sunset, (323) 660-6639. Gran Torino Fri 4:20, 7, 9:40; Sat-Sun 1:40, 4:20, 7, 9:40; Mon-Thur 4:20, 7, 9:40.

NORTH HOLLYWOOD, UNIVERSAL CITY Century 8, 12827 Victor y Bl, (818) 508-6004. Bride Wars 12:30, 2:45, 5:10, 7:30, 9:50. Gran Torino 11:25 a.m., 2:10, 4:55, 7:40, 10:25. Hotel for Dogs 11:55 a.m., 2:20, 4:45, 7:10, 9:35. Marley & Me 11:20 a.m., 2, 4:40, 7:20, 10:05. My Bloody Valentine 12:20, 2:50, 5:20, 7:50, 10:20. Notorious 1:15, 4:20, 7:25, 10:30. Paul Blar t: Mall Cop 12:35, 2:55, 5:15, 7:35, 9:55. The Unborn 12:40, 3, 5:25, 7:45, 10. Loews CityWalk Stadium 19 with IMAX, 100 Universal City Dr at Universal CityWalk, (818) 508-0588; IMAX Theater (818) 760-8100. Bedtime Stories Fri-Mon 10:55 a.m., 1:20, 3:55, 6:30, 9; Tue-Thur 1:20, 3:55, 6:30, 9. Bolt Fri-Mon 12:45, 3:10; Tue-Thur 12:55, 3:10.

Bride Wars Fri-Sat 11:15 a.m., 12:10, 1:45, 4:10, 5:15, 6:50, 7:30, 9:15, 11:35; Sun-Mon 11:15 a.m., 12:10, 1:45, 4:10, 5:15, 6:50, 7:30, 9:15; Tue-Thur 1:45, 4:10, 5:15, 6:50, 7:30, 9:15. The Curious Case of Benjamin Button Fri-Mon 11:05 a.m., 2:40, 6:10, 9:55; Tue-Thur 2:40, 6:10, 9:55. The Day the Ear th Stood Still: The IMAX Experience IMAX Fri-Sat 1, 3:30, 6, 8:30, 11:05; IMAX Sun-Thur 1, 3:30, 6, 8:25, 10:45. Defiance Fri-Mon 12:40, 3:50, 7:10, 10:15; Tue-Thur 12:50, 3:55, 7:10, 10:15. Gran Torino Fri-Sat 11:10 a.m., 1:50, 2:30, 4:35, 7:20, 10:10, 11:25; Sun-Mon 11:10 a.m., 1:50, 2:30, 4:35, 7:20, 10:10; Tue-Thur 1:50, 2:30, 4:35, 7:20, 10:10. Hotel for Dogs Fri-Mon noon, 2:35, 5:10, 7:50, 10:35; Tue-Thur 2:35, 5:10, 7:50, 10:35. Last Chance Har vey Fri-Mon 11:50 a.m., 2:25, 4:55, 7:35, 10:25; Tue-Thur 2:25, 4:55, 7:35, 10:25. Marley & Me Fri-Sat 11:40 a.m., 2:20, 5:05, 8:05, 10:50; Sun-Mon 11:40 a.m., 2:20, 5:05, 8:05, 10:45; Tue-Thur 2:20, 5:05, 8:05, 10:45. My Bloody Valentine Fri-Sat 9:50, 12:25 a.m.; Sun-Thur 9:50. My Bloody Valentine 3D Fri-Sat 11 a.m., 1:30, 4, 6:35, 9:10, 11:45; Sun-Mon 11 a.m., 1:30, 4, 6:35, 9:10; Tue-Thur 1:30, 4, 6:35, 9:10. Not Easily Broken Fri-Sat 2, 12:05 a.m.; SunThur 2. Notorious Fri-Mon 12:50, 3:45, 5:45, 6:45, 8:45, 9:45; Tue-Thur 12:55, 3:45, 5:45, 6:45, 8:45, 9:45. Paul Blar t: Mall Cop Fri-Sat 11:30 a.m., 12:30, 3, 4:30, 5:30, 7, 8, 9:25, 10:30, 12:30 a.m.; Sun-Mon 11:30 a.m., 12:30, 3, 4:30, 5:30, 7, 8, 9:25, 10:30; Tue-Thur 12:50, 3:05, 4:30, 5:30, 7, 8, 9:25, 10:30. The Tale of Despereaux Fri-Mon 11:20 a.m., 1:40; Tue-Thur 1:40. The Unborn Fri-Sat 12:35, 2:50, 4:05, 5:20, 6:20, 7:40, 8:55, 10, 11:30, 12:15 a.m.; SunMon 12:35, 2:50, 4:05, 5:20, 6:20, 7:40, 8:55, 10; Tue-Thur 2:50, 4:05, 5:20, 6:20, 7:40, 8:55, 10. Valkyrie Fri-Sat 11:25 a.m., 2:10, 5, 8:15, 11; Sun-Mon 11:25 a.m., 2:10, 5, 7:55, 10:40; TueThur 2:10, 5, 7:55, 10:40. Yes Man Fri-Sat 11:10 a.m., 1:35, 4:20, 7:05, 9:40, 12:10 a.m.; Sun-Mon 11:10 a.m., 1:35, 4:20, 7:05, 9:40; Tue-Thur 1:35, 4:20, 7:05, 9:40.

SANTA MONICA AMC Santa Monica 7, 1310 Third Street Promenade, (310) 395-3030. Bride Wars Fri-Sun 11:30 a.m., 1:55, 4:40, 7:05, 9:40; Mon 11:30 a.m., 1:55, 4:40, 7:05, 9:30; Tue-Thur 1:55, 4:40, 7:30, 9:45. The Curious Case of Benjamin Button Fri-Sun 11:10 a.m., 2:45, 6:20, 10; Mon 11:10 a.m., 2:45, 6:20, 9:50; Tue-Thur 1:15, 4:45, 8:15. Defiance Fri-Sun 11:50 a.m., 3:15, 6:40, 9:50; Mon 11:50 a.m., 3:15, 6:40, 9:40; Tue-Thur 1, 4, 7, 10:05. Frost/Nixon Fri-Sun 11 a.m., 1:45, 4:30, 7:20, 10:10; Mon 11 a.m., 1:45, 4:30, 7:20, 10:05; Tue-Thur 1:40, 4:25, 7:10, 9:55. My Bloody Valentine 3D Fri-Sun 11:20 a.m., 2:05, 4:55, 7:30, 10:05; Mon 11:20 a.m., 2:05, 4:55, 7:30, 9:55; Tue-Thur 2:05, 4:55, 7:40, 10:15. The Unborn Fri-Sun 11:05 a.m., 1:15, 3:30, 5:45, 8, 10:20; Mon 11:05 a.m., 1:15, 3:30, 5:45, 8, 10:10; Tue-Wed 2:15, 5:05, 7:50, 10:10; Thur 7:50, 10:10. Yes Man Fri-Sun 11:40 a.m., 2:30, 5:05, 7:45, 10:30; Mon 11:40 a.m., 2:30, 5:05, 7:45, 10:15; Tue-Wed 1:30, 4:15, 7:20, 9:50; Thur 1:30, 4:15. Laemmle’s Monica 4-Plex, 1332 Second St, (310) 394-9741. Doubt Fri 1:30, 4:20, 7, 9:35; Sat-Sun 11 a.m., 1:30, 4:20, 7, 9:35; Mon-Thur 1:30, 4:20, 7, 9:35. Last Chance Har vey Fri 1:40, 4:30, 7:20, 9:45; Sat-Sun 11:10 a.m., 1:40, 4:30, 7:20, 9:45; Mon-Thur 1:40, 4:30, 7:20, 9:45. Revolutionar y Road 1, 4, 7, 9:50. Slumdog Millionaire 1:10, 4:10, 7:10, 10. Loews Cineplex Broadway, 1441 Third Street Promenade, (310) 458-1506. Bedtime Stories Fri-Mon 11:30 a.m., 2, 4:30, 7, 9:45; Tue-Thur 2, 4:40, 7:30, 9:50. The Curious Case of Benjamin Button 9:35. Milk Fri-Mon 11 a.m., 1:50, 4:40, 7:30, 10:20; Tue-Thur 1:45, 4:30, 7:15, 10. Not Easily Broken Fri-Mon 11:45 a.m., 2:15, 4:50, 7:15; Tue-Thur 2:10, 4:50, 7:20. Notorious Fri-Mon 12:15, 3:15, 6:15, 9:15; TueThur 1:40, 4:20, 7, 9:45. Mann Criterion, 1313 Third Street Promenade, (310) 395-1599. Gran Torino 1:20, 4:30, 7:40, 10:30. Marley & Me 1:30, 4:20, 7:20, 10:10. Paul Blar t: Mall Cop noon, 2:20, 4:40, 7, 9:30. The Reader 1, 3:50, 6:50, 9:50. Valkyrie 1:10, 4:10, 7:10, 10:20.

L HOLLYWOOD ArcLight Cinemas (323) 464-4226 At Sunset & Vine - 3D Fri.- Sun.: 11:05 • 1:35 • 4:05 • 7:00 • 9:35 12:10am Mon.: 11:05 • 1:35 • 4:05 • 7:00 • 9:35 Tues.- Thurs.: 11:05 • 1:35 • 4:25 • 7:00 • 9:55

At The Dome - 2D Daily: 11:20pm

F CENTURY CITY AMC Century 15 (310) 289-4AMC Fri. & Sat.: 10:45 • 1:30 • 4:10 • 6:50 • 9:30 12:10am Sun. & Mon.: 10:45 • 1:30 • 4:10 • 6:50 9:30 Tues.- Thurs.: 1:30 • 4:10 • 6:50 • 9:30

L L.A./BEVERLY HILLS Pacific’s The Grove Stadium 14 (323) 692-0829 (#209) Fri.- Sun.: 11:20 • 1:55 • 4:35 • 7:15 9:55 • 12:30am Mon.- Thurs.: 11:20 1:55 • 4:35 • 7:15 • 9:55

F UNIVERSAL CITY CityWalk Stadium 19 with IMAX (800) FANDANGO #707 3D Fri. & Sat.: 11:00 • 1:30 • 4:00 • 6:35 • 9:10 11:45 Sun. & Mon.: 11:00 • 1:30 • 4:00 • 6:35 9:10 Tues.- Thurs.: 1:30 • 4:00 • 6:35 • 9:10 2D Fri. & Sat.: 9:50 • 12:25am Sun.- Thurs.: 9:50pm

F SANTA MONICA AMC Santa Monica 7 (310) 289-4AMC Fri.- Sun.: 11:20 • 2:05 • 4:55 • 7:30 • 10:05 Mon.: 11:20 • 2:05 • 4:55 • 7:30 • 9:55 Tues.- Thurs.: 2:05 • 4:55 • 7:40 • 10:15

F WEST LOS ANGELES The Bridge Cinema De Lux (310) 568-3375 On 2 Screens Daily: 11:40 • 2:15 • 4:50 • 7:25 • 9:45 • 10:15 Fri. & Sat. Late Shows: 12:00am • 12:30am

L SHERMAN OAKS ArcLight Cinemas At The Sherman Oaks Galleria (818) 501-0753 Fri., Sun. & Mon.: 11:50 • 2:10 • 4:40 7:10 • 9:40 • 12:10am Sat.: 12:20 • 2:50 5:35 • 8:00 • 11:20 Tues.- Thurs.: 11:50 2:10 • 4:40 • 7:10 • 9:40

LPresented in







FPresented in

SHERMAN OAKS, ENCINO ArcLight Sherman Oaks, 15301 Ventura Bl, Sherman Oaks, (818) 501-0753. Bride Wars FriMon 10:10 a.m., 12:40, 3, 5:20, 7:55, 10:25; Tue-Thur 12:20, 2:50, 5:05, 7:30, 9:50. The Curious Case of Benjamin Button Fri-Mon 11:45 a.m., 3:30, 7:25, 11:05; Tue-Thur 11:45 a.m., 3:15, 7:20, 10:55. Defiance Fri-Mon 10 a.m., 12:30, 3:35, 5:30, 7, 10:10, 10:55; Tue-Thur 12:30, 3:35, 5:45, 7, 10:15, 11:05. Gran Torino Fri-Mon 11:20 a.m., 2:05, 4:50, 7:40, 10:40; Tue-Thur noon, 2:45, 5:30, 8:30, 11:10. Guys and Dolls Mon only, 7:30. Hotel for Dogs Fri-Mon 10:05 a.m., 12:25, 2:55, 5:30, 7:50, 10:20; Tue-Thur 11:25 a.m., 2, 4:50, 7:40, 10:10. Inkhear t Midnight Thur only,. Last Chance Har vey Fri-Mon 10:35 a.m., 1:05, 3:20, 5:40, 8:05, 10:50; Tue-Wed 11:55 a.m., 2:35, 5:15, 7:45, 10. Marley & Me Fri-Mon 11 a.m., 1:45, 4:35, 7:20, 10:15; Tue-Thur 11:30 a.m., 2:20, 5:20, 8:05, 10:50. My Bloody Valentine 3D Fri 11:50 a.m., 2:10, 4:40, 7:10, 9:40, 12:10 a.m.; Sat 12:20, 2:50, 5:35, 8, 11:20; Sun-Mon 11:50 a.m., 2:10, 4:40, 7:10, 9:40, 12:10 a.m.; Tue-Thur 11:50 a.m., 2:10, 4:40, 7:10, 9:40. Notorious Fri-Mon 10:55 a.m., 1:55, 5, 8, 10:50; Tue-Thur 11:10 a.m., 1:55, 4:45, 7:35, 10:30. Paul Blar t: Mall Cop Fri-Mon 11:05 a.m., 1, 2, 3:15, 4:55, 7:25, 8:35, 9:55; Tue-Thur 12:15, 1, 2:40, 3:30, 5:35, 8:10, 8:45, 10:40. Revolutionar y Road Fri-Mon 11:15 a.m., 2, 4:45, 7:30, 10:35; Tue-Thur 11:20 a.m., 2:05, 5, 7:55, 10:35. Slumdog Millionaire Fri-Mon 10:50 a.m., 1:50,

5:05, 8:05, 11; Tue-Thur 11 a.m., 1:50, 4:55, 8, 11. The Unborn Fri-Mon 10:30 a.m., 12:50, 3:10, 5:25, 7:35, 9:50, 12:05 a.m.; Tue-Thur 11:05 a.m., 1:20, 3:40, 5:50, 8:15, 10:25. Under world: Rise of the Lycans Midnight Thur only,. Valkyrie Fri-Mon 10:40 a.m., 1:35, 4:25, 7:05, 10; Tue-Thur 11:35 a.m., 2:25, 5:10, 7:50, 10:45. The Wrestler Fri-Mon 11:30 a.m., 2:15, 5:10, 7:45, 10:30; Tue-Thur 11:25 a.m., 2:15, 5:10, 7:45, 10:30. Laemmle’s Town Center 5, 17200 Ventura Bl, Encino, (818) 981-9811. Che: Par t One Fri 2, 8; Sat 11 a.m., 5; Mon 5; Tue 2, 8; Wed 11 a.m., 5; Thur 2, 8. Che: Par t Two Fri 5; Sat 2, 8; Mon 2, 8; Tue 5; Wed 2, 8; Thur 5. Frost/Nixon Fri 1:10, 4, 7, 10; Sat 10:30 a.m., 1:10, 4, 7, 10; Mon-Tue 1:10, 4, 7; Wed 10:30 a.m., 1:10, 4, 7; Thur 1:10, 4, 7. Frozen River 4:40. The Reader Fri 1:20, 4:10, 7:10, 10; Sat 10:40 a.m., 1:20, 4:10, 7:10, 10; Mon-Tue 1:20, 4:10, 7:10; Wed 10:40 a.m., 1:20, 4:10, 7:10; Thur 1:20, 4:10, 7:10. Waltz With Bashir Fri 1:50, 7:10, 9:30; Sat 11:20 a.m., 1:50, 7:10, 9:30; Mon-Tue 1:50, 7:10; Wed 11:20 a.m., 1:50, 7:10; Thur 1:50, 7:10. Mann Plant 16, 7876 Van Nuys Bl, Panorama City, (818) 779-0323. Bedtime Stories 11:45 a.m., 2:15, 4:45, 7:15, 9:45. Bride Wars 11:30 a.m., 12:30, 1:50, 2:50, 4:10, 5:10, 6:30, 7:30, 8:50, 9:50. The Curious Case of Benjamin Button 1:10, 4:50, 8:30. Defiance 12:40, 3:50, 7, 10:10. Gran Torino 11:30 a.m., 12:50, 2:10, 3:50, 5, 6:50, 7:50, 9:30, 10:30.

Marley & Me 12:45, 3:45, 6:45, 9:45. My Bloody Valentine 3D 12:20, 2:50, 5:20, 7:50, 10:20. Notorious 1:30, 4:30, 7:20, 10:10. Paul Blar t: Mall Cop 11:40 a.m., 12:40, 2, 3, 4:20, 5:20, 6:40, 7:40, 9, 10. The Tale of Despereaux 1, 3:20. The Unborn noon, 2:20, 4:40, 5:40, 7, 8, 9:20, 10:20. Yes Man 12:15, 2:45, 5:15, 7:45, 10:15. Pacific’s Sherman Oaks 5, 14424 Millbank St, Sherman Oaks, (818) 501-5121. Bedtime Stories Fri 1:30, 4:30, 7:20, 9:45; Sat-Mon 11:40 a.m., 2:15, 4:50, 7:20, 9:45; Tue-Thur 1:30, 4:30, 7:20, 9:45. Doubt Fri 1:20, 4:15, 7:25, 9:55; Sat-Mon 11:55 a.m., 2:30, 5, 7:30, 9:55; Tue-Thur 1:20, 4:15, 7:25, 9:55. Milk Fri 1, 4:05, 7, 9:55; Sat-Mon noon, 4:05, 7, 9:55; Tue-Thur 1, 4:05, 7, 9:55. Not Easily Broken Fri 4:25, 7:10; Sat-Mon 2:20, 4:45, 7:10; Tue-Thur 4:25, 7:10. Seven Pounds Fri 1:25, 9:40; Sat-Mon 11:30 a.m., 9:40; Tue-Thur 1:25, 9:40. Yes Man Fri 1:10, 4:20, 7:30, 10:05; Sat-Mon 11:45 a.m., 2:25, 4:55, 7:35, 10:05; Tue-Thur 1:10, 4:20, 7:30, 10:05.

WEST HOLLYWOOD, BEVERLY HILLS, CENTURY CITY AMC Century City 15, 10250 Santa Monica Bl, (310) 277-2011. Bedtime Stories Fri-Mon 9:45 a.m., 12:25, 2:55, 5:30, 8:15; Tue 12:25, 2:55, 5:30, 8:15; Wed 1:10, 3:55; Thur 12:25, 2:55, 5:30, 8:15. Bride Wars Fri-Sat 11:30 a.m., 2:10, 4:50, 7:40, 10:15, 12:45 a.m.; Sun-Mon 11:30 a.m., 2:10, 4:50, 7:40, 10:15; Tue-Thur 12:15, 2:40, 5:10, 7:40, 10:10.

The Curious Case of Benjamin Button Fri-Mon 11 a.m., 2:40, 6:30, 10:10; Tue-Thur 12:30, 4:20, 8:10. The Dark Knight: The IMAX Experience IMAX Thur only, 12:01 a.m.. Defiance Fri 9:35 a.m., 12:45, 4:05, 7:20, 10:40; Sat 9:35 a.m., 12:20, 4:05, 7:20, 10:40; Sun-Mon 9:35 a.m., 12:45, 4:05, 7:20, 10:40; Tue-Thur 12:45, 4:05, 7:20, 10:40. Frost/Nixon Fri-Mon 10:20 a.m., 1:15, 4:15, 7:10, 10:20; Tue-Thur 1:15, 4:15, 7:10, 10:20. Gran Torino Fri 9:50 a.m., 12:40, 3:30, 7, 10; Sat 9:25 a.m., 3:30, 7, 10; Sun-Mon 9:50 a.m., 12:40, 3:30, 7, 10; Tue-Thur 12:40, 3:30, 7, 10. Hotel for Dogs Fri-Sat 10 a.m., 12:50, 3:40, 6:40, 9:10, 11:50; Sun-Mon 10 a.m., 12:50, 3:40, 6:40, 9:10; Tue-Thur 12:50, 3:40, 6:40, 9:10. Marley & Me Fri-Mon 10:10 a.m., 1:20, 4:30, 7:35, 10:30; Tue-Thur 1:20, 4:30, 7:35, 10:30. Metropolitan Opera: La Rondine Encore Wed only, 7. My Bloody Valentine 3D Fri-Sat 10:45 a.m., 1:30, 4:10, 6:50, 9:30, 12:10 a.m.; Sun-Mon 10:45 a.m., 1:30, 4:10, 6:50, 9:30; Tue-Thur 1:30, 4:10, 6:50, 9:30. Not Easily Broken Fri-Mon 9:40 a.m., 2:50, 5:25, 10:45; Tue-Wed 2:50, 5:25, 10:45; Thur 3:50, 9:25. Notorious 12:10, 3:05, 6:10, 9:20. Paul Blar t: Mall Cop Fri-Sat 9:30 a.m., noon, 2:45, 5:20, 8, 10:35, 12:45 a.m.; Sun-Mon 9:30 a.m., noon, 2:45, 5:20, 8, 10:35; Tue-Thur noon, 2:45, 5:20, 8, 10:35. Revolutionar y Road Fri-Mon 10:05 a.m., 1:05, 4:05, 7:05, 10:05; Tue-Thur 1:05, 4, 7:05, 10:05. The Unborn Fri-Sat 9:55 a.m., 12:20, 2:35, 5:05, 7:55, 10:25, 12:40 a.m.; Sun 12:30, 2:45, 5:05, 7:55, 10:25; Mon 9:55 a.m.,






‘ T H E W R E S T L E R’







# # # #





The story of the man behind the legend






ArcLight Cinemas At Sunset & Vine

The Landmark at Westside Pavilion

BREA Edwards



SHERMAN OAKS ArcLight Cinemas At the Sherman Oaks Galleria



Regency Rancho Niguel 8 Pacific’s Manhattan Village Century 15 @ The River Metro 4 LONG BEACH PASADENA Laemmle’s ROLLING HILLS ESTATES WOODLAND HILLS Regal Promenade Stadium 13 AMC Promenade 16 University Town Center 6 AMC Marina Pacifica 12 Playhouse 7 Cinemas Brea Stadium 22

IRVINE Edwards



12:20, 2:35, 5:05, 7:55, 10:25; Tue-Thur 12:20, 2:35, 5:05, 7:55, 10:25. Under world: Rise of the Lycans Thur only, 12:01 a.m.. Valkyrie Fri-Mon 10:40 a.m., 1:50, 4:55, 7:50, 10:55; Tue-Thur 1:50, 4:55, 7:50, 10:55. Yes Man Fri-Mon 9:30 a.m., 12:05, 8:05, 10:50; Tue 12:05, 8:05, 10:50; Wed 12:05, 8:05, 10:35; Thur 1, 6:55, 10:50. Laemmle’s Music Hall 3, 9036 Wilshire Bl, (310) 274-6869. The Betrayal Fri 5, 7:30, 10; Sat-Sun noon, 2:30, 5, 7:30, 10; Mon noon, 2:30, 5, 7:30; Tue-Thur 5, 7:30. Frozen River 5:30. I’ve Loved You So Long Fri 8:15; Sat noon, 2:45, 8:15; Sun 2:45, 8:15; Mon noon, 2:45, 8:15; Tue-Thur 8:15. L’Incoronazione di Poppea Sun 11 a.m.; Thur 7:30. Last Chance Har vey Fri 5:10, 7:40, 10; Sat-Sun 12:10, 2:35, 5:10, 7:40, 10; Mon 12:10, 2:35, 5:10, 7:40; Tue-Wed 5:10, 7:40; Thur 5:10. Laemmle’s Sunset 5 Theatre, 8000 Sunset Bl, (323) 848-3500. Che: Par t One 1, 7. Che: Par t Two 4, 10. Owl and the Sparrow 1:45, 4:30, 7:15, 9:45. Rachel Getting Married 1:20, 4:10, 7, 9:45. The Reader 1, 4, 7, 9:55. Beverly Center 13 Cinemas, 8522 Beverly Blvd., Suite 835, (310) 652-7760. Australia 6:30, 9:50. Bedtime Stories 12:50, 3, 5:20, 7:20, 9:30. Bolt noon, 2:10, 4:25. The Boy in the Striped Pajamas 1:30, 3:40, 5:50, 8, 10. Happy-Go-Lucky 12:10, 2:30, 5:10, 7:40, 10:10. Last Chance Har vey 1:10, 3:30, 5:40, 8, 10:20. Not Easily Broken 1:20, 3:30, 5:40, 7:50, 10. Quantum of Solace 12:30, 3:10, 5:30, 7:50, 10:20. Seven Pounds noon, 2:40, 5:10, 6:30, 7:40, 9:10, 10:10. The Tale of Despereaux 12:20, 2:20, 4:25. Twilight 12:10, 1:10, 3, 4:05, 6, 7, 8:50, 9:50. Vicky Cristina Barcelona 1:20, 3:20, 5:30, 7:30, 9:40.

WESTWOOD, WEST L.A. AMC Avco Center, 10840 Wilshire Bl, (310) 475-0711. Bride Wars Fri 2:25, 4:45, 7:15, 9:50; Sat-Mon 11:55 a.m., 2:25, 4:45, 7:15, 9:50; Tue-Thur 2:25, 4:45, 7:15, 9:50. Hotel for Dogs Fri 1:40, 4:25, 7, 9:40; Sat-Mon 11:05 a.m., 1:40, 4:25, 7, 9:40; Tue-Thur 1:40, 4:25, 7, 9:40. Paul Blar t: Mall Cop Fri 2:15, 4:50, 7:30, 10; Sat-Mon 11:45 a.m., 2:15, 4:50, 7:30, 10; TueThur 2:15, 4:50, 7:30, 10. The Unborn Fri 1:30, 3:40, 5:50, 8, 10:15; SatMon 11:15 a.m., 1:30, 3:40, 5:50, 8, 10:15; Tue-Thur 1:30, 3:40, 5:50, 8, 10:15. Laemmle’s Royal Theatre, 11523 Santa Monica Bl, (310) 477-5581. Waltz With Bashir Fri-Mon 12:30, 2:45, 5, 7:30, 9:45; Tue-Thur 2:45, 5, 7:30, 9:45. Landmark’s Nuart Theater, 11272 Santa Monica Bl, (310) 281-8223. Jawbreaker Midnight Fri only,. Made in USA Sub-Titled Fri-Mon noon, 2:30, 5, 7:30, 10; Sub-Titled Tue-Wed 5, 7:30, 10; Thur 5, 7:30, 10. The Rocky Horror Picture Show Midnight Sat only,. Landmark’s Regent, 1045 Broxton Av, (310) 281-8223. Doubt 2:15, 4:45, 7:15, 9:45. The Landmark West Los Angeles, 10850 W Pico Bl, (310) 281-8223. Che: Part One 1, 7:10. Che: Par t Two 4, 10:10. The Curious Case of Benjamin Button Fri-Tue 11:40 a.m., 1, 3:20, 4:35, 7:05, 8:15, 10:35; Wed-Thur 11:40 a.m., 1, 3:20, 4:35, 8:15, 10:35. Doubt 11:20 a.m., 2, 4:45, 7:20, 9:55. Last Chance Har vey 11:40 a.m., 2:10, 4:40, 7:15, 9:50. Milk 1:15, 4:15, 7:15, 10:15. The Reader 11 a.m., 1:50, 4:40, 7:30, 10:20. Seven Pounds 11 a.m., 1:50, 4:45, 7:40, 10:25. Slumdog Millionaire noon, 1:30, 2:50, 4:20, 5:40, 7:10, 8:30, 10. Valkyrie 11:30 a.m., 2:10, 4:50, 7:35, 10:15. The Wrestler 11:50 a.m., 2:30, 5:10, 7:45, 10:30. Majestic Crest Theater, 1262 Westwood Bl, (310) 474-7866. Defiance 1, 4, 7, 10. Mann Bruin, 948 Broxton Av, (310) 208-8998. Gran Torino 1:30, 4:30, 7:10, 10. Mann Festival 1, 10887 Lindbrook Av, (310) 208-4575. Valkyrie 1:10, 4:10, 7:10, 9:50. Mann Village, 961 Broxton Av, (310) 208-5576. The Curious Case of Benjamin Button Fri-Sat 11:40 a.m., 3:20, 7, 10:30; Sun-Thur noon, 4, 8.


JANUARY 16 CENTURY CITY AMC Century 15 • 310/289-4AMC Fri-Mon 9:30 AM, 12:00, 2:45, 5:20, 8:00 & 10:35 PM Tue-Thur 12:00, 2:45, 5:20, 8:00 & 10:35 PM Fri & Sat Late Show 12:45 AM 3 Hours Free Parking Additional 2 Hour Parking $3.00 with AMC Validation

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“ENTERTAINING” Claudia Puig, USA Today

“BRAVO!” Soledad O’Brien, CNN



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a funny thing happened on the way to the beheading: blood and shtick in you, nero

But this play produces nothing like the nervous laughter heard at the extremely graphic The Lieutenant of Inishmore (soon at the Mark Taper Forum). Nor does it creatively use visual symbols of violence like those seen in Old Globe Theatre’s 2006 production of Shakespeare’s bloodiest Roman play, Titus Andronicus. Instead, Freed’s play evokes laughter that’s closer to the Roman shtick that you could get in A Funny Thing Happened on the Way to the Forum. John Vickery plays a hapless playwright, who’s drafted to write a biographical script for the emperor. He tries to use the opportunity to subtly influence Nero to be a nicer guy – good luck with that. Danny Scheie whips up fiddle some laughs as the wicked one, and some second bananas add some yucks, but it all seems faintly vaudevillian. It’s hard to take Freed’s more pointed concerns as climax: other Romans also go onstage seriously as she does. to sing sappy songs. Freed appears to regard this as the worst possible horror. If there’s one cheap thrill that small Personally, I can think of worse. theaters can offer the masses, it’s likelier Freed engages in rhetorical overkill to be nudity than graphic violence. here, but in visual underkill elsewhere. In small theater, you can sit just a few Almost all the violence takes place offstage, feet away from a naked actor – or six of and it’s usually treated as a joke. At one them, as in the whimsical musical revue point, early on, decapitated limbs and a Hangin’ Out – the latest such effort from head are tossed onstage from the wings, Robert Schrock. He earlier created the but it’s a sight gag more than a shock. similar Naked Boys Singing, which is still Nero’s brand of violence should at in production a decade later. Unlike that show, Hangin’ Out is least cause us to wince occasionally.

MORE SEX & VIOLENCE, PLEASE ‘Nero’ and ‘Hangin’ Out’ just BY DON SHIRLEY Ancient circuses appealed to the lowest common denominator, and popular TV programs like American Idol often share that goal. Amy Freed took note. In her new comedy You, Nero, the Roman emperor stages a vainglorious spectacle in which he not only sings but also begs the masses to understand why he had to kill his wife and mother. The singing is accompanied by brutal competitions between tigers and Christians, gladiators and alligators, and others. All of this is followed by this grisly

ART rigorously heterosexual. Three of each gender make up the cast. The lyrics (by Schrock and 10 other writers, including the choreographer, Ken Roht of 99 Cent Only fame) avoid any hint that any of the characters in the 19 songs might be gay. The finale “Naked People Singingâ€? indulges in blatant gender stereotypes but concludes that these qualities are necessary to keep the world populated. Presumably Schrock is creating a nude show for people who would never go to Naked Boys Singing. But it’s disorienting to hear this material at the lesbian-oriented Macha Theatre in the heart of West Hollywood. Even stranger is the utter lack of sexual interaction between bodies, especially in the squeaky-clean first act, in which sexual urges seem primarily adolescent or infantile. Schrock is probably attempting to de-couple nudity from sexuality. You’re about as likely to feel sexy at this show as you would be to feel the sting of violence in You, Nero – in other words, not at all.âœś  You, Nero, South Coast Repertory, Costa Mesa. (714) 708-5555. Closes Jan. 25.   Hangin’ Out, Macha Theatre, West Hollywood. (323) 960-4443. plays411. com/hangin’out. Closes Feb. 15.









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Ray Brown Christian McBride, musical director The late, great Ray Brown performed with such recording legends as Frank Sinatra, Tony Bennett, Ella Fitzgerald and Peggy Lee. Friends and former band mates, including Barbara Morrison, Russell Malone and John Clayton, pay homage to this beloved jazz bassist.

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THE NINE EYES OF BIG BROTHER ‘9 Scripts from a Nation at War’ at REDCAT gives a TV-eye view of Iraq BY RON GARMON Even as the Dopplering whistle of a plunging economy drowns out all other buzz in the art world, exhibits come and go in haste and dazzling profusion. The boom that was to fuel a downtown renaissance is rapidly deflating and the talk one hears around the Arts District tends less toward aesthetic matters than a boho-fabulous version of the same worried clucking one hears everywhere. Distracted, we may miss some worthy projects in the ambient angst, among them the startling 9 Scripts from a Nation at War, at REDCAT through this Sunday. First displayed in 2007 at Documenta 12 in Kassel, Germany, 9 Scripts is a hydra-headed video meditation on reactions to the Iraq war, presented by (and for) we, the implicated.

Patrons take seats on rude wooden benches, put on headphones and immerse themselves in videotaped accounts of the war from journalists, lawyers, soldiers, veterans, interviewers, a blogger and more – all of whom experienced the war as just another job to do. Actors speak lines and participants relate their experiences to a static camera bent on playing subtle tricks of its own, lingering on dubious statements and intercutting shots of participants wearing different clothes and inhabiting different milieu while mouthing the same words. An attorney representing 11 random Yemenis caged at Guantánamo Bay relates the heartbreakingly inane process of seeing a doomed habeas corpus petition through a less-than-hospitable court

system. An Al-Jazeera reporter talks of censorship and the official U.S. abhorrence of the word “invasion” during the opening rounds of the Iraq war, a dignified professional forced to split semantic hairs by the handful. A soon-to-be-deployed female sergeant tells of red-tape miseries heaped upon her after becoming pregnant just before deployment to the Iraqi sandbox. All speak plainly, with minimal affect and flair, imparting an uneasy sense of intimidated exhaustion before a huge, unstoppable force. “The general idea is to open up a space of reflection about power itself, whatever the various roles we play in society, and how we’re asked to react to the war through those roles,” says Ashley Hunt, a video artist whose work has long shown


an offbeat didacticism. There’s also the power the viewer has over the artwork – you could say the viewer makes the art. “We hope this makes patrons become editors themselves, moving along when they’ve had enough information,” Hunt says. “As video artists we know that when you present film in a gallery as opposed to a cinema, people can walk out at any time, almost like they would a painting or photograph. We wanted the Coney Island idea of people walking through exhibits.” This impression was reinforced last Saturday by a five-hour presentation with the appropriately utilitarian title Combatant Status Review Tribunals, pp. 002 954-003064. Based on transcripts from 18 tribunal hearings of “unlawful combatants” (the Bush administration’s greasy term for random males taken at gunpoint in the Middle East and shipped to Gitmo), the reading pointed up the exhibit’s central point: the war is experienced by most of its participants – and by all the rest of us – chiefly as a drone of rhetoric. This banal accompaniment to the shooting and misery of armed conflict is, we seem to hear, an inescapable part of war in an age of omnipresent mass media, as language and meaning take the same pounding as minds and bodies. A cast of ordinary folk, sitting behind signs reading “Presiding Officer,” “Recorder” “Unlawful Combatant” read their parts with uninflected deliberation, with the whole exerting a numb fascination. “When we made this piece we were really aware of all the work around the war. Where we came from was not so much being for or against the war, but how you experience it and how do you experience it when you’re not there?” says Hunt who, along with Sharon Hayes, Katya Sander, David Thorne and Andrea Geyer, did extensive research and produced this epically long swatch of video art, the cumulative effect of which is like a corrosive C-SPAN of the human spirit.✶


photo by LIZ FLYNTZ

cobwebhead treasures

‘THESE THINGS UNFURL POSSIBILITIES’ Beach House is floating in space By Daiana Feuer Once upon a time at a show, a Beach House fan gave singer Victoria Legrand a wooden statue of Christ whittled into a bookend. Another time, she received a brooch. It’s because her band Beach House inspires people to dig through their grandma’s cobwebbed treasure like detectives seeking clues. Legrand and bandmate Alex Scally create their particular kind of dreamy pop using keyboards, weird organs and the kinds of “crappy instruments” you’d find buried

under an inch of dust at grandma’s house, she says, allowing a unique natural tone to color their melodies in warm, deep yellows and oranges, in silver and gold and some royal purple. Says Legrand, “I see through the qualities of certain pianos and just know whatever melody I’m writing. Melody procures their stories.” “You write something on an old piano that has a quality to it, that is sort of low and out of tune. These things

unfurl possibilities,” Legrand continues. “Melody dictates everything: tempo, colors, tones.” Legrand describes the dynamic she shares with Scally as that of brother and sister playing explorers – excavating or studying disease. Together they become two children discovering something for the first time and “building a sand castle out of it.” The band’s selftitled debut shook through a roster of top blogs; selected Pitchfork’s #16 album of 2006, with song “Apple Orchard” noted as the site’s #8 song of the year. They’ve toured extensively since, both in the U.S. and Europe, with Grizzly Bear, Arbouretum, Clientele, Paper Cuts, and now the Walkmen. If they ever toured with Mazzy Star – the closest comparison outside the Carpenters circa 1973 or the hazier moments of the Beach Boys – the Internet would most assuredly implode. 2008’s Devotion picks up where the debut left off, featuring a lucid cover of Daniel Johnston’s “Some Things Last a Long Time.” A more attentive recording process – a week and a half as opposed to the two days they took producing the first one – lets the music appear more articulate. Legrand’s voice is a close whisper, and Scally’s guitar waits in a dim corner – sitting on a stool with bangs in its eyes. Lyrics focus on love, light, space, and transitory feelings – the kind that come into focus briefly and fade in the next breath. Her thesis: “I don’t go analyzing things that have happened. There’s little that I can do to change what already exists,” says Legrand. But if she could change anything about Devotion, she’d want it to work only if played outdoors. “Someone was playing it on speakers outside in Big Sur,” she recounts. “I was walking down this hill late at night. And I felt that if I could change anything, it would be that the record would only play in some kind of basin. The sound carries and it’s got these natural effects that contribute to what’s already in the music.” A song like Devotion’s “Astronaut” carries a wild splash of emotions. Lush keyboard and piano layering sustains Legrand’s warm, expansive vocals. She’s made an effort to explore her voice’s tones, how it might resolve into focus images of the titular spaceman sitting in her kitchen drinking tea. “I hope it evokes some sort of conversation about how it makes somebody feel, what it makes them think, what it makes them want to do.”✶ Beach House, with the Walkmen, and Blue Giant, at the Music Box @ Fonda, 6126 Hollywood Blvd., Hollywood. Tues., 8 p.m. $18. All ages. Visit Beach House at


LEADER OF THE NEW SCHOOL Puffs is proud of her students every single day If DJing was high school, Puffs would be a junior – she’s been spinning for three years, including at Little Temple’s Fast FWD>, but she’s still looking up to the professionals in the senior class. You’re a teacher. Is DJing the same as keeping the attention of children in a classroom? That’s a great analogy. Never thought of it that way. Spinning is definitely similar. I really try to read the crowd, and see what tracks get them moving and interested. It’s the same thing with kids – once you get a feel for where their interests lie, implementation of curriculum becomes much easier. My students are fierce – they’ve got such bright futures, and I’m proud of them every single day. What’s your set-up? Can you go strictly with vinyl? I haven’t gone strictly vinyl in awhile, but would love to do a gig that way again. Set up at home is two Technics, a Rane 56, and Serato running off a MacBook. Heavy rotation for the club: “Single Ladies” by Beyoncé and “Live Your Life” by T.I., off the top of my head. I like slipping in some classics too, especially at Little Temple on Saturdays. The crowd digs a wide range. At home, I’m really into neosoul – Anthony Hamilton’s latest album is in heavy rotation. Do you have a philosophy when it comes to listening to music? Whatever sounds good and pulls at the soul. There are so many tracks that represent me. I’m all about love, soul, peace and goodness. So when I’m in the right frame of mind, tracks like Anthony Hamilton’s “Do You Feel Me,” or Jill Scott’s “A Long Walk” are dope. I think that generally represents my frame of mind about 92 percent of the time. I think Stevie Wonder’s Songs in the Key of Life best represents what I’m about if I had to choose one album. –Nathan Solis Puffs at Fast FWD>, with Anthony Valadez, Destroyer and KG Superstar. Sats. at Little Temple, 4519 Santa Monica Blvd., Los Angeles. fastfwdsaturdays. Visit Puffs at



Part Time Punks presents Rainbow Arabia and Bridez January 4 at the Echo The earliest definition of “punk” is “prostitute or whore,” first appearing in print in England around 1596. Shakespeare may have used it four times, but it wasn’t until 19-seventy-something that the music to which Mike Stock and Ben White dedicate Part Time Punks lost the last of its baby teeth. Not only do tastemakers Mike and Ben spin sweet records within the Echo’s walls, but they host striking bands from L.A. and beyond. This time, mixing “ours” and “theirs,” they paired San Fran garagers Bridez with Echo Park’s Rainbow Arabia. The two bands have little in common – the former is noisy, fast, all snarling distortion; the latter gypsy dance-folk. But the combined effect went down easily. Rainbow Arabia may be the best band on the EastSide. Comparisons to M.I.A. and Gang Gang Dance are easy, but they don’t account for the folky core. They make neon as Tiffany Preston paradiddles a drum machine and noodles simultaneously on guitar and hubby Danny presents more keyboards than a Mac store. Before Rainbow Arabia’s set, Bridez seized grunge and garage by the pants – singer Liza Thorn dissolves syllables into moans like Kurt Cobain while band mates Will Ivy and Abe Pedroza keep the lo-fi noise at maximum smashbeat. You could hear unadulterated pleasure smacking against faces in the audience.✶ –Daiana Feuer

BULL IN THE HEATHER ‘NOISE’ annoys in new Sonic Youth-inspired fiction anthology By Oliver Hall

doesn’t?” and explains that he chose to write about “bull in the heather” because it was the one Sonic Youth song on his iPod, “a little nugget of musical nonconformity intimidating the rest of my downloaded music with its bad attitude. That’s why I’m giving you a story that’s a little different from what I usually write.” I guess this means that he usually doesn’t write softcore lesbian strap-on fantasies (“Heather had never been with a woman,” etc.), but here he felt it would be a tribute to Sonic Youth’s “attitude,” though he winds up sounding more like George Thorogood reading from Penthouse Forum. Katherine Dunn’s title, “that’s all I know (right now),” is not the title of a Sonic Youth song at all, but that of a song by the Neon Boys – Richard Hell and Tom Verlaine – that Sonic Youth recorded and released as a B-side. Emily Carter Roiphe introduces herself to the reader by complaining about how Sonic Youth got famous, and she didn’t, even though she was there in New York in the ’80s. “The cameras came down to record the Spoken Word scene at the Nuyorican Café exactly three weeks after I had gone to Minnesota for chemical dependency treatment,” she writes ruefully. Oh, no, not “the cameras”! What about your important career? “Fiction Inspired by Sonic Youth” apparently means in this case “Fiction Suggested by a List of Titles of Sonic Youth Songs E-mailed to People the Editor Knows and Wants to Stroke.” Wild also edited Perverted by Language: Fiction Inspired by the Fall and “is the editor of a series of fiction anthologies based on the songs of rock and pop bands,” according to the jacket copy. None of the stories in this anthology – almost every single one a straight, plain narrative – is “based” on the song it is named after in any sense. “Flower” by Steven Sherrill and “Wish Fulfillment” by Mary Gaitskill refer to the songs they take their titles from, but they dramatize the experience of a character listening to the song rather than the song itself. For my money, the best stories in this turkey are by Shelley Jackson, Eileen Myles and Rachel Trezise, because the writers are artists who set out in a spirit of adventure. Rebecca Godfrey has a good ear. Just about all the rest of this major yawn is made up of the stuff that makes most literary journals so tedious to read: banal straight-male sex fantasy, grim particulars of boring lives, brand names, pious feelings about one’s own childhood and lonely subjectivity, lists of contemporary junk to locate the reader in the ordinary social world, the writer’s ostentatious faith in his own tenderness and cleverness. Not recommended for people who like to listen to Sonic Youth.✶

It is strange that a book as tone-deaf and clueless as this one would be published; the publisher is clearly banking on the book’s tenuous association with Sonic Youth. “Their sound is caustic, elemental, nihilistic,” says the copy on the back cover of NOISE: Fiction Inspired by Sonic Youth (edited by Peter Wild, $13.99, Harper Perennial). None of these adjectives describes the book’s contents, which are mostly polite, representational, boring, and have nothing at all to do with the band, its work or even just the spirit of its work. People are in college. People are sitting around the dorm. From “dirty boots” by Samuel Ligon: “Sean sits on Karen’s bed across the narrow room, still watching Nikki, but not pleading with his eyes any more, apparently resigned to his punishment, which he must view as catastrophic: expulsion from the programme, meaning no more monthly counseling sessions at his high school during the year, but no more summer programme at the university either, and worse, no more help clawing his way to college,” etc. Oh, no, not “expulsion from the programme”! Couldn’t Ligon have saved this story for an anthology inspired by the Smiths, or Midnight Oil? Some writers boast in their introductory remarks that they never much cared for Sonic Youth’s music. “I didn’t get Sonic Youth,” writes Christopher Coake. “Nirvana, Pearl Jam – grunge was just barely understandable to me. Sonic Youth was a little ... noisy.” A moving tribute. However, he concedes that his college years coincided with “a seminal time in alternative music history,” whatever that means. Scott Mebus writes, “I actually don’t know all that much about Sonic Youth. I NOISE: Fiction Inspired by Sonic Youth love them in theory, of course. Who is out now from Harper Perennial.


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This four piece from the East End of Glasgow fuses a wall of sound noise that is equal parts Jesus and Mary Chain, Elvis and Phil Spector combined with a Pop sensibility inspired by ‘60s Girl Pop and Doo Wop. They visit Amoeba to celebrate the US release of their self-titled album and sign copies after the performance. (Their 1/14 Troubadour show is SOLD OUT).


THERESA ANDERSSON “Swedish vocalist blends chockablock rhythms, fairy tale instrumentation and dreamlike melodies for music that recalls a spacier, sultrier Feist.” — ROLLING STONE Her current album Hummingbird, Go! is out now on Basin Street Records. Playing live at Hotel Cafe, January 16 and 20.




“One of the best blends of global funky elements we’ve ever heard...Great stuff all around, and a record that’s almost more funkily exciting than all those old Jamaican platters you’ve sorted through trying to get a sound like this!” — Dustygroove L.A.’s funky collective visits Amoeba for a Saturday show! Their album Jungle Struttin’ is out now on Ubiquity.


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Killer Hillbilly Edition BY RON GARMON Waving the Scalp: “I heard you drew blood,” said City Beat’s Chris Ziegler late last week as I sat at my desk pondering the weekend listings with wan and sinking heart. He related the sudden bumrush of Safari Sam’s from digs at the Regent on Main Street downtown. Though the venue claims the club wasn’t “evicted,” this makes yet another fast flameout for Safari Sam Lanni. His EaHo relaunch of a much-venerated 1980s Huntington Beach art hangout was attended by every kind of ill-luck and mismanagement, culminating in the club’s eviction from its Sunset Boulevard venue last October. Along the way, he stiffed The Dog and Pony Show, a charity for musicians with cancer whose benefit he hosted last Labor Day weekend, pocketing close to $6,500. Publicity made him disgorge $1,800, but the rest remains unpaid. Sam’s still had acts booked through January, with performances by the likes of Amebix and The Dwarves, but the venue’s website is offering refunds and Little Radio had taken the Regent over for last Thursday’s ArtWalk. The thingwas going off woozily when I walked through, giving away free beer while indie rockers Dawes unloaded a shipment of heartland rock for wobbly patrons, who were bellowing in off-kilter joy. Toward the end of his run, Sam had been reduced to letting downtowners in for free, but such liquid generosity was like another Xmas for hard-pressed bohos of the Arts District. The beautiful old wreck of the Regent will be taken over by LR at odd intervals prior to closing for remodeling this fall, and Internet buzz has Lanni regrouping for another pass at the


fast-collapsing downtown trade, perhaps with government relocation assistance. If so, expect at least one columnist in line on opening night, recorder in hand, ready to ask the slippery club-owner just when he intends to pay the cancer victims he stiffed. Transitions: On January 6, police in Ann Arbor, Michigan discovered Ron Asheton, founding guitarist for The Stooges, dead on his couch, victim of a heart attack suffered over the long New Year’s weekend. What this means to the newly revitalized Stooges as a touring operation is unknown at press time, but I saw them at All Tomorrow’s Parties ’03 and count myself lucky indeed. L.A. Clubland’s many Anglo-pop freaks also mourn passing of Dave Dee, lead singer for 1960s U.K. freakbeaters (and Quentin Tarantino faves) Dave Dee, Dozy, Beaky, Mick & Tich on January 9, and I’d like to toss a bumper down the memory hole for Ray Dennis Steckler, pioneering rock ’n’ roll filmmaker, who died in Las Vegas January 7. Steckler’s The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies staggered humanity when first released in 1964, spawning a longlived cult and giving Lester Bangs nightmares as late as the March 1973 issue of Creem. He was 70, had just finished postproduction on the sequel to the aforementioned “first monster musical,” and news this storied eccentric had one last atrocity left in him lends more hope than a fistful of Obamas. V

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iscover your future home in the Valley of the Stars, minutes from fine restaurants, boutiques, CSUN, Northridge Fashion Center, Westfield Topanga, nearby freeways. 1 Bedrooms from $1165 2 Bedrooms from $1850 3 Bedrooms from $2440

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The Casitas Townhomes 18553 Saticoy St. Reseda, CA 91335 (818) 344-7400

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F R E E PREGNANCY TESTS Women's, Pediatric, Youth Services and

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Vol 07 Issue 03  
Vol 07 Issue 03  

January 15, 2009