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and colorful art sensibility. Features drummer M. Shawn “Clown” Crahan (Slipknot), singer Stella Katsoudas (Sister Soleil) and keyboardist Michael Pfaff.

with its E Street Band-through-a-blender production, convey a raw, deeply palpable blue-collar sympathy.” — Spin


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/. J?JKI7D:HED?9KI CD :?HJOB?JJB;H788?JI /. The Airing of [reissue] 8HK9;IFH?D=IJ;;D CD Grievances Simon “This New Jersey quintet unfurls a series Dark, energetic, twisted atmospheric Meha_d]Ed7:h[Wc of banner-waving, punkish anthems that, rock with heavy progressive flourishes







From the anthemic opener “Daylight” to the harmony-rich, atmospheric ballad “Turn This Boat Around” and demented pop of “I Wanna,” Grand is quite literally the sound of Matt & Kim discovering their voice.




<K9A;:KF The Chemistry of Common Life


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Recorded with the E Street Band and features 12 new Springsteen compositions plus a bonus track: “The Wrestler”. Also available on 180g, 2 LP, gatefold vinyl with download insert, and CD/DVD soft-pak oversized limited edition.

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The second record from Toronto’s hardcore wunderkinds is a dense, orchestral effort containing an expansive epic about the mysteries of birth, death, and the origins of life.

Appearing Feb 6th at the Echo!



6400 SUNSET BLVD. at97>K;D=7š)()(*+#,*&& CED#I7J'&0)&7C#''FCšIKD''7C#/FCšMMM$7CE;87$9EC 8KO#I;BB#JH7:;09:s"BFs, DVDs"L?:;EI"8BK#H7O"FEIJ;HI"*+s, 78s"C;CEH78?B?7CK9>CEH; LACITYBEAT 2 JANUARY 29-FEBRUARY 4, 2009

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04 News

Metro Briefs Now…Go Metro with TAP

is a deeply gay movie.”

“That discovery – that you don’t own what you create, at least not completely – is what transforms our story about a band that promotes itself as ‘the New Darlings of the Sunset Strip’ into a legal-history lesson involving the player piano.” “Just one elephant survives in the L.A. Zoo. His name is Billy, and he’s the only pachyderm I’ve ever seen with a permanent nervous twitch.”

16 Art

06 Feature

21 Music

“Just 24 hours after his father’s death, Vince Blair found himself in the unenviable position of haggling with a mortuary over his father’s remains. If his family didn’t pay nearly $800 in embalming fees on the spot, the mortuary said, they wouldn’t release his father’s body for burial. Delay, and the mortuary would charge an additional holding fee of $150 per day. ‘I felt like my father was being held for ransom,’ Blair says.” Matthew Fleischer follows the long-running battle between two Inglewood mortuaries.

08 Food

“Little Dom’s doesn’t pull from a different place so much as it does a different time. It’s a restaurant confident in its embrace of the Italian-American cooking of decades past.”

09 Film

“Waltz with Bashir will change the way you think about animation, and memory, and filmmaking in general.” “Were the World Mine

“As Germany writhed in defeat and upheaval, Expressionism’s power as social critique, always simmering beneath the cleanly jagged lines, came into its own.” “Is there a speck of evidence to support the claim that Center Theatre Group is especially tuned in to Angelenos and their distinctive concerns?” “The Fol Chen mythology is wrapped in childhood, nostalgia and phildickian lunchmeat.” “At the age of 53, Sharon Jones is perpetual motion onstage, capable of outdancing and outlasting anyone in the room.” “Not since The T.A.M.I. Show in 1964, perhaps – with the Beach Boys, the Rolling Stones, Marvin Gaye, James Brown, Smokey Robinson and more – has L.A. hosted such a superconcentration of talent as presented at this spring’s Timeless series, where jazz-funkfusion-hip-hop-symphony visionaries from all over the world will make Cal State L.A. the center of modern music for a few moments.”

24 8 Days

Our incomplete, absolutely biased guide to the next week in clubs, music, comedy, theater, art and more. On the Cover A still from Ari Folman’s Waltz with Bashir, now playing in select theaters.

MANAGING EDITOR Tom Child SENIOR EDITOR Matthew Fleischer ARTS EDITOR Ron Garmon MUSIC EDITOR Chris Ziegler COPY EDITOR Joshua Sindell EDITORIAL CONTRIBUTORS Miles Clements, Mick Farren, Richard Foss, Marc B. Haefele, Tom Hayden, Carl Kozlowski, Kim Lachance, Steve Lowery, Chris Morris, Arrissia Owen Turner, Donna Perlmutter, Joe Piasecki, Don Shirley, Greg Stacy, Jeffrey Anderson, Cornel Bonca, David Cotner, Daiana Feuer, Oliver Hall EDITORIAL INTERNS Sarah Tressler, Nathan Solis ART DIRECTOR Paul Takizawa WEB & PRINT PRODUCTION MANAGER Meghan Quinn CLASSIFIED PRODUCTION ARTIST Tac Phun CONTRIBUTING ARTISTS AND PHOTOGRAPHERS Joe McGarry, Luke McGarry, Josh Reiss, Rosheila Robles 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

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Public Hearings On Bus Service Feb. 4 -12 Proposed bus service changes will be discussed at five public meetings being held February 4 -12 throughout LA County. For details about the proposed changes along with the time, date and location of the hearing nearest you, check online at

Make A Resolution You Can Keep Forget about dieting. This year resolve to Go Metro. Join the employees at 335 worksites throughout LA County who are finding a better way to get to work through Metro’s Employer Pass Program. Find out more at 213.922.2811.

Chinatown Firecracker Run/ Walk Feb. 8 Celebrate the Chinese Year of the Ox at the 31st Annual LA Chinatown Firecracker 5k/10k Run/Walk on Sunday, February 8. Metro Rail’s Chinatown Station is an easy way to get close to all the action. Use the Trip Planner at for connections.

TAP Ready For Reduced Fare Customers Metro riders with Senior, College/Vocational or Student K-12 discount passes need to submit an application for a new reusable TAP card. You can get applications at Metro Customer Centers or online. Check for details or call 213.680.0054.

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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January 29-February 4, 2009 volume 7 issue 5

NEWS heavy hitters as lobbyist Ritchie Lichtenstein and county labor leader Maria Elena Durazo. The proponents had a huge rally Monday, complete with matching green T-shirts. On the other side, there’s Valley City Councilman Tony Cardenas, who says, “I made the big mistake of reading the facts about elephants in zoos” – that penned-up elephants get sick and die young. But where exactly did you stand, Mr. Mayor? When I asked your office, I got no response. When I asked around, I got different answers. Activist Melya Kaplan of Voice for the Animals told me you promised to support Billy’s release if you got five veterinarians and a celebrity to back the move. Kaplan said, “We felt we came through with what he asked for.” But according to Cardenas and other sources, your staff chief, Jimmy Blackman, told council members he thinks Billy should stay in the zoo. “[Blackman] makes it clear that he feels one way but he isn’t speaking for the mayor,” Cardenas says. So which was it? Free Billy? Or keep him locked up? You declined to comment directly to the press. So what gives? We know that the Greater Los Angeles Zoo Association backs the elephant show. It includes rich, politically active folk who have promised to help fund the $40 million exhibit. They also helped get out Monday’s demonstrators and make campaign contributions to city and state elections. But Antonio, you already have $2.5 million in your war chest to run against practically nobody this year.

FREE BILLY Elephants never forget, but Mayor Villaraigosa did By Marc B. Haefele Dear Antonio: Here you are, running for reelection virtually unopposed, and no one in this city seems happy about that except for you. What happened? Just four years ago you were in the sunshine of your mayoral inauguration, making sweet-sounding promises on the steps of City Hall. Just like a certain newly minted president, you were a bright, infinitely promising man of color, sweeping away a tired, inept administration, the incarnation of renascent Latino L.A. But all that promise now seems replaced by chronic political underachievement. From your failure to take over all but a tiny handful of the LAUSD’s suppurating schools, to the symbolic shortfall of your Million Tree Initiative. From your lack of leadership in the revolt against billboards to the quiet fold on your original stentorian demand

for an LAPD housecleaning in the wake of the 2007 May Day MacArthur Park police crackdown. And let’s not forget the faulty emergency preparedness program; the infinitely postponed Westside traffic plan remedies, your general lack of oversight, lack of follow-through, and most of all, your constant flinching in the face of serious opposition. What difference have you really made? Well, this week you had the chance to take a stand. On Wednesday, as L.A. City Beat went to press, the city council was voting on an important but thorny issue with overtones of absurdity and pathos – the decision to complete the Los Angeles Zoo’s six-acre Pachyderm Forest. But in the days leading up to the big council showdown, you said ... nothing. There was much to be said. Building the forest would allow the Zoo to repopulate a facility that has had a history of bad luck keeping its elephants alive. Thirteen L.A. Zoo elephants have died over the past 35 years. While wild

elephants live up to 70 years, the average age of our zoo’s deceased elephants is 18. In the current facility only one elephant survives. His name is Billy, and he’s the only pachyderm I’ve ever seen with a permanent nervous twitch. Exhibit opponents want to send him to a sanctuary. There’s a reason for that. A growing consensus among scientists says elephants need too much roaming room to thrive in zoos. San Francisco, Detroit and Chicago have all sent their pachyderms to rural sanctuaries. So have hundreds of other zoos worldwide. L.A. Zoo’s current management says the Pachyderm Forest will offer enough room for Billy and then some. The pro-pen folks, led by Councilman Tom LaBonge (his district includes the zoo), say it’s important that people, particularly children, have a chance to see live elephants. Tom also knows the exhibit’s backers include such political


You probably don’t even recall the first time we met nine years ago. It was in a makeshift auditorium in a ramshackle South Central park, at a forum for black homeowners on predatory lending. The featured speaker, U.S. Rep. Maxine Waters, wasn’t a fan of yours back then. But you got right in there. You spoke, shook hands and grabbed elbows. You shone. Weeks later, I caught up with you at a big Asian-American event. You dazzled everyone with a brilliantly improvised speech. Forget the folks in the room – lawyers, actors, business people, judges – would have elected you emperor if they could. This guy, I thought, is the real thing. With your 61 percent approval rating – and that $2.5 million in campaign funds – you needed to worry less about being personally disliked and more about being ineffective. You should have sounded off like you had a pair.✶

NEWS Thus the band began the trudge down two roads, the creative and the legal. The former would prove easier. They played the song – originally a kind of piano duet sung by swooning Efron and Hudgens – played it over and over until what came out was something tougher. Well, as tough as you can get when you start with such Hallmarkian lyrics as:

Joseph Corsentino

Blalock: “Disney’s lawyers told us that if they didn’t have to license it, they wouldn’t.”


How the player piano saved a Hollywood band from Disney lawyers By Will Swaim You hear the Faded, and you think power pop – lead singer Gene Blalock says his influences include the Smiths and the Cure, but I’d say Styx. Then you hear the Hollywood band’s cover of the song “Breaking Free,” which you might recognize from Disney’s High School Musical if you were a 10-year-old girl, and you can’t help but wonder if the band worries about the notoriety that attends such an odd artistic choice. Not really, it turns out. A year ago, Blalock says, Skunk-Ape Records, an Orange County label, asked the Faded to contribute to a compilation album coinciding with last October’s release of High School Musical 3. “I was like, ‘Never heard of it,’” Blalock says. “I couldn’t name one song.” In case you can’t either, Disney’s madefor-TV original is something like a Jane Austen novel set in a typical American high school. Two teenagers are brought together by love, and then torn asunder by all the centrifugal forces of Teen America (Freudian sexuality, pop-cult bitchiness, family-of-origin expectations, statusanxiety, the intense need to belong to

something bigger than the petty Self) and then rejoined again (this time by something more than fleeting attraction: fate, maybe). All of this unfolds against a soundtrack of upbeat pop music, including “Breaking Free,” a song that expresses, you know, the immediate post-pubescent anxiety of self-actualization in the face of the three P’s (parents/pedagogy/peer authority). It’s classic, really, but exceptional in a few ways – not the least of which was that High School Musical was a massive hit that made the film’s young stars (including Zac Efron and Vanessa Anne Hudgens as the lovers, Ashley Tisdale as the soft-core spoiler) far more starry. Not to mention the ancillaries – soundtracks, karaoke versions, DVDs, actual high school reproductions of High School Musical, and two sequels. When the Faded looked into it, they agreed that maybe joining the HSM parade could be a good thing. Pissing off fans wasn’t a concern. “Some of our fans do tend to be younger,” Blalock says, “and we figured this would appeal to them. So we said, ‘Let’s see if we can do something not campy or cheesy – something that would really seem our own, as if we’d written it.’”

We’re soarin’, flyin’ There’s not a star in heaven That we can’t reach. But soon Skunk-Ape ran into legal challenges. In April, press releases promised that the label’s High School Musical Goes Punk would capitalize on the “ultrasuccessful” Disney franchise. Scheduled release date: June 2008. But in October there was still no deal, even as High School Musical 3: Senior Year was packing movie theaters with gummi bear-smelling kids. “The goal was the movie comes out, the music’s hot,” Blalock says. “That’s exactly what Disney didn’t want.” Neither Skunk-Ape nor Disney responded to interview requests, but Blalock says Disney was concerned about linking its moneymaker to a band whose two album covers (Scream and Three Lost Days) feature near-naked goth chicks. “Disney’s lawyers told us that if they didn’t have to license it, they wouldn’t,” Blalock says. But it turns out that Disney can’t stop the Faded – or anyone – from recording its music. And that discovery – that you don’t own what you create, or at least not completely – is what transforms our story about a band that promotes itself as “the New Darlings of the Sunset Strip” into a legal-history lesson. “It’s called compulsory licensing,” says attorney A.J. Thomas, a copyright expert at Davis Wright Tremaine in L.A., and to understand it you have to go back 100 years to 1909. Back then our forefathers and -mothers, already wigging out about monopoly control of the economy (in banking, heavy industry, and railroads, for example) suddenly became obsessed with a monopoly in music. The Aeolian player piano company had locked up a big part of the entertainment business by signing exclusive deals with publishers of sheet music. Publishers bought music from composers, sold it to Aeolian, and Aeolian reproduced it on perforated paper that scrolled through player pianos in saloons and living rooms around the nation. “If you wanted to hear ‘Melancholy Baby,’ you had to buy Aeolian,” writes copyright expert William Patry. This was almost 20 years after the Sherman Anti-Trust Act, so Americans turned naturally to the federal government for help in busting up the Aeolian music cartel. Congress responded with the Copyright Act of 1909, which, despite some modifications for newer technologies, still allows artists to reproduce music authored by someone else. According to the law, Faded and Skunk-Ape don’t need Disney’s


permission at all, so long as they pay the standard rate under the Act: 9.1 cents per sale of its version of “Breaking Free.” Does Disney have any rights under the law? Just a narrow one, says Thomas, “where the original copyright holder objects to the manner in which song is being used.” Disney did object, not just to the way in which the song would be performed, but to the packaging: the original soundtrack art included the main characters leaping for joy in front of a theatrical-looking red velvet curtain; Skunk-Ape’s version would employ punk rock kids jumping for something like joy in front of a similar curtain. Disney dissented; the label relented on the matter of the packaging. “We didn’t want a battle with an army of lawyers,” Blalock says. Disney is notoriously aggressive in its legal efforts to limit use of its characters – so aggressive that it has generated a backlash movement called “copyfight” in which one battle cry is “Free the Mouse!” Despite that, Skunk-Ape may have won a legal battle with Disney. Thomas says they can thank 2 Live Crew – the artists behind “Throw the Dick,” “We Want Some Pussy,” “Me So Horny” and “The Fuck Shop.” In the 1994 case Campbell v. Acuff-Rose Music Inc., the Supreme Court accepted the Miami-based rappers’ claim that their version of Roy Orbison’s “Oh, Pretty Woman” was a parody and therefore covered by the Copyright Act’s fair-use provisions. The group was free to use the song without permission from the copyright owner. In what may be the weirdest praise ever rendered 2 Live Crew, Justice David Souter cited England’s Lord Ellenborough to defend the rappers’ right to monkey with Orbison’s work: “While I shall think myself bound to secure every man in the enjoyment of his copy-right, one must not put manacles upon science.” But in re: “Breaking Free,” the Faded aren’t claiming parody – and certainly not science – just pure commerce with this hint of more noble purpose: “The original song is beautiful and sweet – there’s absolutely nothing wrong with it,” Blalock told his publicist for an April press release. “But I think the message of the song – being yourself and breaking free from others’ expectations and demands – gets lost on a wider audience who only hear this pretty duet. Reworking the song makes the message more accessible.” The warring parties later settled on an undisclosed licensing arrangement, but the foundation of music copyright seems settled: if Skunk-Ape had claimed parodic intent, they might have been in stores last October, and stacking paper down in OC. Instead, Blalock says, talks dragged on, and the band missed the crucial movie release. Their single has since been relegated to sales online and in Hot Topic stores. V The Faded plays Sat. at House of Blues Sunset Strip, 8430 Sunset Blvd., West Hollywood. 8 p.m. $10. 18+. (323) 848-5100.

Rival mortuaries battle

for bodies in Inglewood


t shouldn’t have been this difficult to handle a dead man. James Marshall Blair made preparations for his own death nearly 30 years ago. He had it all taken care of: the will, the funeral arrangements, the plot, the casket – all picked out and paid for years before he ever got sick. “I used to make fun of him,” remembers Blair’s son, Vincent, “because he started making arrangements when he was in his 50s and healthy as could be. I told him, ‘Dad, you’re too young to be doing all of this.’ But he wanted to be sure to make his passing as smooth on all of us as he could.” When Blair died of complications from a stroke last November at the age of 87, everything should have been ready to go. A phone call should have been all it took to let the healing process begin. “I figured the whole thing would be as simple as following my father’s will,” says Vincent. It wasn’t. Just 24 hours after his father’s death, Vincent found himself in the unenviable position of haggling with a mortuary over his father’s remains. If his family didn’t pay nearly $800 in embalming fees on the spot, the mortuary said, they wouldn’t release his father’s body for burial. Delay, and the mortuary would charge an additional holding fee of $150 per day. “I felt like my father was being held for ransom,” Vincent says. What Vincent and his family didn’t realize at the time was that they were caught in the middle of a bizarre Inglewood mortuary rivalry that’s spanned the better part of 40 years.

By Matthew Fleischer


he trouble began in the early 1960s, when Inglewood Cemetery Mortuary set up shop four blocks from a funeral parlor called Inglewood Mortuary, which had been around since 1952. Neither was formally


associated with nearby Inglewood Park Cemetery. Confusion naturally ensued. Families looking to bury their loved ones at Inglewood Park routinely mistook one mortuary for the other. James Marshall Blair knew none of this when he took out an insurance policy with Inglewood Cemetery Mortuary several decades ago – one whose benefits appreciated along with inflation, but could be used only at Inglewood Cemetery Mortuary. And so it didn’t dawn on him to update phone information for the mortuary in his will when the number changed several years ago. When Blair passed away at his son Marshall’s home in Oxnard, his family was left with the old number. In the confusion that followed, they called the wrong mortuary to come pick up their father and bring him back to Inglewood. “We had an idea something wasn’t right when the van arrived to take the body,” one family member told Vincent. “The gurney looked a little ratty.” But the men in the van were pleasant, and when the Blair family showed them the contract, they were assured everything was in order. “We’d never done this before,” says Vincent. “We assumed everything was taken care of.” Later that day, the family received a call from a mortuary, asking for permission to embalm the body – which Marshall gave them, still under the impression that things were being done in accordance with his father’s will. Following that same will, the family showed up at Inglewood Cemetery Mortuary the next day. But their father’s body wasn’t there. It turned out that Inglewood Mortuary had done the embalming themselves, and was holding the body. The Blair family, angry and confused, made their way four blocks to retrieve their father. Instead of an act of contrition, Inglewood Mortuary gave them the hard sell.

“They offered us discounts on a coffin and on funeral arrangements,” Vincent remembers. “But I wasn’t looking to bargain hunt. I wanted to carry out my father’s final wishes. If my father’s will had said, ‘Take me to Inglewood Cemetery Mortuary, unless you can find yourself a good deal somewhere else,’ I’d have done that. But it didn’t.” The family demanded the release of their father’s body. The mortuary refused until they received payment for the work they’d done. For the next several hours, Vincent Blair fought for his father’s corpse.


n a recent cool, sunny day, the perfectly manicured lawn of the Inglewood Cemetery Mortuary glistens with drops of recently receded winter rain. Peeking out at the back of the parking lot, the pristine grounds of the Inglewood Park Cemetery look especially verdant and peaceful. This is the final resting place of some of black America’s brightest lights: Ella Fitzgerald, “Sugar” Ray Robinson and Mayor Tom Bradley. Inside the waiting room of the Inglewood Cemetery Mortuary funeral parlor, however, the mood is a little less serene. Two couples, casually dressed, waiting to make funeral arrangements, sit across from each other on floral couches, airing their various grievances with the death industry. Apparently, eternal tranquility among the stars doesn’t come cheaply. “They charge you $800 just to open and close the casket,” says a man in an all-jean outfit to the couple across the way. “And they won’t do it unless you pay upfront.” “They get you when you come into this world, and they get you when you leave,” the other man, in corduroys, responds, shaking his head. “Worse on the way out,” his wife agrees. “I’m going to save some money and pick the flowers myself.” The couples laugh, but their talk soon takes a somber turn. “We’ve had a really rough 30 days,” says the man in jeans. “These people get you when you’re at your lowest.” Just as the conversation really starts to get heated, a tall, thin woman, conservatively dressed in an all-black suit, emerges from a back office and heads to greet me. Her name is Laquinta Howard and she’s the funeral director at Inglewood Cemetery Mortuary, the woman who eventually negotiated the release of James Marshall Blair’s body. She escorts me outside, away from the griping couples, to explain the Blairs’ situation. “It’s illegal to hold a body against the wishes of the family,” she explains. “You have to release it when asked.” Howard got Inglewood Mortuary to release the body to her care, and days later James Marshall Blair was buried in Inglewood Park Cemetery as his will intended. The Blair family ordeal wasn’t the first

time she’s had to argue with Inglewood Cemetery on behalf of a family. “On average I’d say this happens about three times a month,” she says. “The Blair family was actually the second in a week where we’d had an incident like that. Some families, like the Blairs, know to raise questions. But others feel like they have to pay.” Howard says body mix-ups between the two rival mortuaries have been happening for as long as Howard has been here – 11 years. From what she’s been told, it

and Inglewood Mortuary came to an agreement that when a client calls, the mortuary will clarify that the person has the proper address. But mistakes still happen. “Sometimes Inglewood Mortuary tries to bargain with people, even if they have a contract over here with us,” she alleges. “We tell people to file a complaint with the California Department of Consumer Affairs if they’ve had a problem. But this is our competitor. It’s not like we can tell them to do anything they don’t want to do.”

When it comes to dealing with death, you don’t know what you don’t know.

father’s DAY 2008: JAMES MARSHALL BLAIR (LEFT) WIth family

happened before then too. “But things weren’t always like they are now,” she says. Back when Howard first started working at the mortuary, there was a more collegial attitude between rivals. If one accidentally picked up a body that was contracted to the other, they would drop it off as a courtesy. Around five years ago, though, things changed. “All of a sudden they stopped delivering the bodies to us and started charging people these fees.” And customers started complaining. “I’d estimate that around 15 percent of our pre-paid business gets caught up over at Inglewood Mortuary. So people wind up paying twice.” Howard says she’s tried any number of times to clear up the situation. Last year she called decedent services at Kaiser Fontana, a hospital that’s one of the mortuary’s largest sources of business, to make sure the company had the right number. They didn’t. Kaiser Fontana had the two mortuaries reversed in their phone records. And Kaiser wasn’t alone. “We’re the third-largest mortuary in the L.A. area,” says Howard. “We’ve got people coming in from all over the place. But I can’t call everybody.” In the past year, Howard says she


ust four blocks away, John Carlson, owner of Inglewood Mortuary, tells a different story. He remembers the Blairs well: “Yeah, we did their embalming for them and they didn’t want to pay.” Carlson says the Blair family knew full well who his company was when they called to pick up James Marshall Blair last November. “Mr. Blair died very early in the morning. His family called and got no response at the other mortuary. We’re a family-run business. We pick up at five in the morning. They wanted their father out of the house and told us to come get him.” Carlson admits that while the policy used to be to drop the body off at the correct mortuary if there was a mix-up, Inglewood Mortuary stopped doing that years ago – specifically for cases like the Blairs. “We drove all the way up to Oxnard. With the price of gas these days, we’re not going to make that trip without being compensated.” Carlson says he understands how the situation with the two mortuaries can be confusing, especially with regards to prepaid contracts. But he says the fault lies with Inglewood Cemetery Mortuary. “They didn’t do the work on Mr. Blair. They could refund the money to the family if they wanted to be fair. But they don’t.”


Carlson is correct about his rival’s policy. Inglewood Cemetery Mortuary gives pre-paid clients a 25 percent discount when mistakes happen, but doesn’t give a complete refund. The real reason this is an issue “is because Inglewood Cemetery Mortuary makes themselves the beneficiaries of the insurance policy and not the decedent,” Carlson asserts. “With us it’s not like that. The money is given to the family, so that if the person happens to pass in Florida, they can use the money there. Or, if there’s a mistake, you can use the money at Inglewood Cemetery Mortuary. Our competitors won’t let you do that.” Carlson denies using the Blairs’ dead father as a negotiating tool. “We’re not allowed to hold a body, and we did release it,” he explains. “But again, we’re a small, family-run business. We need to get paid for the work that we do.” Carlson says this type of thing happens frequently and happens both ways – Inglewood Cemetery Mortuary takes their share of his business too. Given the hassles of the past, and the resentments they have built, is there any way to clear up the confusion to prevent situations like this in the future? “Yeah,” says Carlson, “the other place can change their name.”


espite the morbid chaos of the past 40 years, not a single complaint about either mortuary has ever been filed with the California Department of Consumer Affairs. “This is the first I’ve heard of this situation,” says CDCA spokesman Russ Heimerich. “If someone comes forward and complains we’ll certainly look into it.” Likewise, Los Angeles County District Attorney spokesperson Sandi Gibbons has never heard of such a case. “We had some cemeteries that were digging up and dumping bodies a few years ago to make space, but that’s the only thing I’ve heard in at least five years.” For now it appears the authorities won’t be looking into either mortuary anytime soon. The Blair family has decided to forgo a legal fight and cut their losses after Inglewood Mortuary recently offered them a deep discount. The family’s decision to pay seems to indicate that the truth lies somewhere between John Carlson’s take and their own. But the whole incident still leaves an acrid taste in Vincent Blair’s mouth. He admits his family may have made some mistakes in dealing with the situation with Inglewood Mortuary. But when you lose your father, things are confusing. Negotiating contracts and trying to figure out if you’re being duped isn’t exactly easy in grief. “They really do get you at your most vulnerable,” he says. “It’s like, ‘Sorry about your father, but when can you pay?’ “When it comes to dealing with death, you don’t know what you don’t know.”✶


PHOTO by roshEIla robles

little dOM’s wood grilled hamburger

BACK TO THE FUTURE Little Dom’s links Los Feliz past and present By miles clements Little Dom’s seems like it could have inhabited its Hillhurst corner forever. It’s a Los Feliz local packed with the kind of history – street-side chairs reclaimed from the Philadelphia Civic Light Opera and a bar mixing up classic highballs – that’s inevitably endearing. That the one-year-old restaurant has already become a neighborhood favorite isn’t much of a surprise. At least part of that popularity derives from its vision: Little Dom’s doesn’t pull from a different place so much as it does a different time. It’s a restaurant confident in its embrace of the ItalianAmerican cooking of decades past. Birthed from the minds that created the 101 Coffee Shop and spun off from West Hollywood’s original Dominick’s, Little Dom’s began as a dinner-only spot – a low-lit place to spin forkfuls of pasta

and crack into thin-crust pizzas. But the restaurant has slowly grown since those early months, adding breakfast and lunch service, a full liquor license, and now even a separate deli. Judged on dinner alone, Little Dom’s might underwhelm – even the simplest meals can be inconsistent. But with all the new things considered, the restaurant approaches a certain kind of neighborly indispensability. Of those additions, breakfast is the best. Not only does it draw a more local crowd – newspapers delicately unfolded, dogs waiting patiently at the corner – but breakfast also presents some of the restaurant’s soon-to-be-signature dishes. Essential to any morning here is an order of the ricotta blueberry pancakes. Close to silver dollar size, the pancakes are some of the most pleasing you can find:

crisp discs studded with molten berries that seem to sprout up from each cake’s tender center. If you want protein with your pancakes, you can also pick up a side of Italian sausage – meaty pucks peppered with fennel seeds. Sweetening things even more is the Nutella panino, a sandwich that balances the chocolate-hazelnut spread with a little mascarpone cheese. There are roasted eggs and frittatas, too, both of which are good but sometimes overshadowed by specials like the recent salmon paillard in a cream of porcini mushroom sauce. Lunch is an equally appealing option because it includes some of the restaurant’s strongest dinner dishes. Arancini, for example, find room on the lunch menu – ping pong-ball-sized scoops of rice formed around a creamy slice of burrata cheese and then fried. Little Dom’s also offers a number of other appetizers, including a pleasantly light roasted chicken and celery root salad. L.A.’s top pizza practitioners (Mozza, Riva and the like) have expanded the traditional definition of a classic pie, and Little Dom’s keeps the trend going with creations like a smoked salmon flatbread. But the best pizzas here are those that return to simplicity, with the Margherita pizza being the ultimate example. There are sandwiches if you prefer – a classic meatball and a tuna melt, among others – but the wood-fired burger is worth the diversion. Though it can end up on the dry side, the burger is saved by two important toppings: a roasted tomato mostarda and some crispy speck ham, a paper-thin stand-in for the usual bacon. The deli at Little Dom’s is still in its infancy, but it’s already serving takeout staples like pasta salads, sandwiches and, on its opening day, a sweet focaccia that matched rosemary with grapes, blueberries and blackberries. To stimulate business, the restaurant has also instituted a regular Monday night supper, which, for $15, nets you a three-course meal of dishes like minestrone, sausage and peppers, and a trifle. You can’t compose a single exotic meal at Little Dom’s, but that’s always been the appeal – even its updated flavors still cull inspiration from the classics. But Little Dom’s hasn’t stopped building. Restaurants that fail to adapt don’t just fall out of favor – they drop out of existence. But by the time Little Dom’s finishes evolving, it might just have its own history to celebrate.✶ Little Dom’s, 2128 Hillhurst Ave., Los Feliz, (323) 661-0055. Open daily 8 a.m.-3 p.m. and 6 p.m.-11 p.m. Street parking. Full bar. Food for two: $20-$50.

LACITYBEAT 8 JANUARY 29-february 4, 2009

BITES Locally Yours Hollywood got a healthy shock from the opening of Locali, a mini-market promising “conscious convenience.” That can mean a lot of things, but here it translates to beers and wines sourced from California vendors, prepared foods from L.A. names like M Café and La Guera Tamalera, and some non-edible items to help you go green. The store even maintains a solar-powered website – here’s hoping for a quick winter. Visit Locali at 5825 Franklin Avenue and digitally at Sip and Spit Loyola Marymount hosts its 28th annual Wine Classic on February 8 featuring 45 boutique wineries from across the state. Accompanying each wine will be the owner or vintner of the winery, the starry-eyed alcoholic’s equivalent of a book signing. There will be so many wines represented that event planners preemptively offered some friendly advice: Don’t hesitate to spit excess wine into the buckets, lest your palate numb prematurely. Tickets are $90, $40 of which is mysteriously tax deductible. Visit for more info. Bust a Nut America is suffering a salmonella outbreak after tainted peanut butter and peanut paste worked their way into the country’s snack hole. The cause of the outbreak hasn’t been found yet – though authorities are probing a suspicious recipe for peanut-crusted raw chicken – and the FDA doesn’t have the power to issue a major recall, so consumers are urged to simply stay away from the legume altogether. Meanwhile, anxious eaters remain at the mercy of a number of curious corporations: the American Peanut Council, the Peanut Corporation of America, King Nut Company and Texas’ H.E. Butt Grocery. (M.C.) Tips accepted … e-mail miles@ or visit


WHAT THE WORLD NEEDS NOW ‘Were the World Mine’ is someone else’s guilty pleasure

Looking Sketchy

You know once in a while when you stumble into something you weren’t supposed to see? Like your grandpa’s underpants? Or an intimate moment between two grandpas? Or your roommate, prone on the couch, weeping over a particularly moving episode of Star Trek: The Next Generation, in which Data must defend his humanity before an intergalactic court? (There, there, Kevin.) It’s not bad, it’s not shameful, it’s just not for you. That’s how Were the World Mine made me feel. This is a deeply gay movie. It all starts when willowy, troubled Timothy (Tanner Cohen) is cast as Puck in his all-boys private school’s production of A Midsummer Night’s Dream. Bullied by the rugby team, buoyed by his kooky-old-bird drama teacher, and secretly infatuated with Jonathon (Nathaniel David Becker), the requisite beautiful and kindhearted jock, Timothy sounds like your standard high school movie outsider. Okay. But. So. Then. Using the mighty power of Shakespeare, Timothy crafts a magical pansy that squirts “Cupid’s love juice” into unsuspecting eyeballs, causing people to fall madly in love with the next human they see, which, this being an all-boys school in a deeply gay movie, results in exclusively boy-on-boy love, boy-onboy making out, boy-on-boy-on-boy choreographed dance numbers. Basically Timothy turns his entire town gay. Oh, and it’s also a MUSICAL. Were the World Mine is a schmaltzy, ambitious, insane spectacle – the washed-out wasteland of Homophobia Academy giving way to face paint and fairy wings and soft-focus razzledazzle. The idea of a put-upon gay teen magically transforming his smallminded town into Friday night in West Hollywood is fucking awesome. And there are some earnest little questions raised about love and lust – what’s the point if it’s just Cupid’s love juice talking? But certain elements – the dancing, the low-budget effects (squirt, squirt!) – are distractingly silly, and I couldn’t escape the feeling that I’d stumbled into someone else’s guilty pleasure. It’s not for me. But I liked it anyway. Squirt, squirt! V Were the World Mine. Directed by Tom Gustafson. Screenplay by Tom Gustafson and Cory James Krueckeberg. With Tanner Cohen. Selected Theaters. –L.W.

WAR DANCE ‘Waltz with Bashir’ finds balletic beauty amidst the rubble By Lindy West In 1982, following the assassination of Lebanese President-elect Bashir Gemayel, Israeli Defense Forces allowed the Lebanese Phalangist militia to enter two Palestinian refugee camps, where they slaughtered at least 300 – and possibly as many as 3,000 – civilians. Filmmaker Ari Folman, at the time an Israeli soldier, was there, but he can’t remember a thing. “The truth is, that’s not stored in my system,” he says. Waltz with Bashir will change the way you think about animation, and memory, and filmmaking in general. Attempting to excavate his suppressed memories, Folman recorded interviews

with fellow soldiers, journalists, friends and his therapist, and animated their accounts in a series of dark, disjointed, somnambular episodes. The finished product is stunning: weird, angular dreams of snarling dogs, bodies wrapped up in shining bundles, yellow skies, silent swimming, sudden death, gigantic women, boys walking out of the sea, and people being swallowed up by shadows. Somehow all of it feels more accurate than any film documentary – certainly one based on painful and foggy recollection – ever could. The full story of what happened in Lebanon in 1982 emerges slowly,


as Folman’s aging Israeli peers grapple with the implications of their involvement – however peripheral – in an organized massacre (the capital-H Holocaust looms frequently on all sides). All the humor and horror of teenagers at war – forging friendships, playing music, joking, killing, dying – comes across with calm, wry honesty, thanks to Bashir’s narrators: middleaged men trying to uncover a youth that they’re not sure they want to remember. V Waltz with Bashir. Directed by Ari Folman. Screenplay by Ari Folman. Selected theaters.

LATEST REVIEWS TAKEN Liam Neeson stars as Bryan Mills, the action hero ex-spy father of the annoyingly bubbly Kim Mills (Maggie Grace). He’s a pleasant enough old man, until you kidnap his daughter and piss him off, at which point he will stiltedly tell you that he’s going to come and kick your Albanian ass, along with the asses of half the population of Europe. In terms of plot, there’s not much new ground covered. Taken fills in the action movie formula with its own little details, those details being a retired government operative, sex trafficking, and the city of Paris. The film draws heavily on its action predecessors – Neeson is “getting too old for this shit,” but he “just wants his kid back,” and presumably he’s also “sick of these motherfucking snakes on this motherfucking plane.” But if you’re going to see Taken, you’re probably not going for the story, which is paperthin, or the acting, which is mediocre, or the writing, which is incredibly wooden. No, you’re going for one reason: you want to see Liam Neeson kick people. You will not be disappointed. Seriously, he kicks so many people in this

movie, and does a damn fine job of it. I recommend getting there a half-hour late. You miss the lame back-story, and you just start with the awesome ass-kicking. You get to see Liam shoot his friend’s wife in the arm, electrocute an evil foreigner to death, and beat the crap out of a cadre of thugs with nothing but his wits and a fire extinguisher, without any of the bad aftertaste of parental tenderness that preceded that awesomeness. And once the awesome gruff-talking, car-chasing, foreigner-kicking fun is over, get the hell out of the theater before you have to see anymore ridiculous heartwarming crap. That is not what you bought a ticket to see. (Evan Stewart) (Citywide)

SHOWTIMES JAN. 03-FEB. 5, 2008 Note: Times are p.m., and daily, unless otherwise indicated. All times are subject to c hange without notice.

BURBANK AMC Burbank 16, 140 E Palm Av, (818) 9539800. The Curious Case of Benjamin Button FriSat 11:50 a.m., 3:35, 7:10, 10:50; Sun 11:50 a.m., 3:30, 7, 10:35; Mon-Thur 3:30, 7, 10:35. The Dark Knight: The IMAX Experience IMAX


9:45. Defiance Fri-Sat 11 a.m., 2:05, 5:10, 8:15, 11:30; Sun 10:40 a.m., 1:40, 4:40, 7:40, 10:25; Mon-Thur 1:25, 4:25, 7:25, 10:25. Gran Torino Fri-Sat 11:25 a.m., 2:10, 5, 7:45, 10:35; Sun 11:25 a.m., 2:10, 4:55, 7:35, 10:20; Mon-Thur 2, 4:55, 7:35, 10:20. He’s Just Not That Into You Thur only, 12:01 a.m. Hotel for Dogs Fri-Sun 10:45 a.m., 1:20, 3:55, 6:10, 9; Mon-Wed 1:20, 3:55, 6:25, 9; Thur 1:20, 3:55. Inkheart Fri-Sat 10:55 a.m., 1:35, 4:15, 7; Sun 10:55 a.m., 1:35, 4:15, 7:10; Mon-Thur 1:35, 4:15, 7:15. Metropolitan Opera: Orfeo ed Euridice Encore Wed only, 7. My Bloody Valentine 3D Fri-Sat 11:20 a.m., 12:35, 1:50, 3:05, 4:30, 5:45, 7:05, 8:20, 9:40, 11, 12:10 a.m.; Sun 11:20 a.m., 12:35, 1:50, 3:05, 4:30, 5:45, 7:05, 8:20, 9:40; MonThur 1:50, 3:05, 4:30, 5:45, 7:05, 8:20, 9:40. New in Town Fri-Sun 11:40 a.m., 2:15, 4:45, 7:15, 9:50; Mon-Thur 1:40, 4:20, 7:10, 9:35. Paul Blart: Mall Cop Fri-Sat 11:55 a.m., 2:25, 4:55, 7:25, 9:55; Sun 11:55 a.m., 2:25, 4:50, 7:20, 9:55; Mon-Thur 2:25, 4:50, 7:20, 9:55. The Pink Panther 2 Thur only, 12:01 a.m. Push Thur only, 12:01 a.m. Revolutionary Road Fri-Sat 11:05 a.m., 1:55, 4:50, 7:55, 11:05; Sun 11:05 a.m., 1:55, 5, 7:45, 10:30; Mon-Thur 1:55, 5, 7:45, 10:30. Slumdog Millionaire Fri-Sat 10:50 a.m., 1:40, 4:35, 7:30, 10:25; Sun 10:50 a.m., 1:45, 4:35, 7:25, 10:10; Mon-Thur 1:45, 4:35, 7:30, 10:15. Sword of the Stranger Thur only, 7:30.

Taken Fri-Sat 12:40, 3:10, 5:35, 8:05, 10:40, 12:05 a.m.; Sun 12:40, 3:10, 5:35, 8, 10:15; Mon-Thur 1, 3:15, 5:35, 7:55, 10:10. Underworld: Rise of the Lycans Fri-Sat 10:50 a.m., 1:15, 3:40, 6:30, 9:05, 11:30; Sun 10:50 a.m., 1:15, 3:40, 6:30, 9:05; Mon-Thur 1:15, 3:40, 6:20, 9:05. The Uninvited Fri-Sat 12:55, 3:25, 5:55, 8:25, 10:55, 12:15 a.m.; Sun 12:55, 3:25, 5:55, 8:25, 10:40; Mon-Thur 1:05, 3:25, 5:55, 8:25, 10:40. The Wrestler Fri-Sat 11:35 a.m., 2:20, 5:05, 7:50, 10:45; Sun 11:35 a.m., 2:20, 5:05, 7:50, 10:25; Mon-Thur 1:30, 4:05, 6:50, 9:50. AMC Burbank Town Center 8, 210 E Magnolia Bl, (818) 953-9800. Bride Wars Fri-Sat 11 a.m., 1:15, 3:30, 5:45, 8, 10:30; Sun 11 a.m., 1:15, 3:30, 5:45, 8, 10:15; Mon-Thur 3:30, 5:45, 8, 10:15. The Curious Case of Benjamin Button 9:45. Frost/Nixon Fri-Sun 11:55 a.m., 6:15; Mon-Thur 6:15. Hotel for Dogs Fri-Sun 11:35 a.m., 2:15, 4:45, 7:15; Mon-Thur 2:15, 4:45, 7:15. Inkheart Fri-Sat 11:20 a.m., 2:05, 5:05, 7:45; Sun 11:20 a.m., 2:05, 5:05, 7:35; Mon-Thur 2:05, 5:05, 7:35. Paul Blart: Mall Cop Fri-Sun 11:05 a.m., 1:40, 4, 6:30, 9; Mon-Thur 1:55, 4:10, 6:30, 9. Twilight 3:05, 9:25. The Unborn Fri-Sun 11:45 a.m., 2:30, 5:15, 7:30, 10; Mon-Thur 2:30, 5:15, 7:30, 10. Underworld: Rise of the Lycans Fri-Sun 11:25 a.m., 1:55, 4:30, 7, 9:35; Mon-Thur 2:10, 4:30, 7, 9:35. The Uninvited Fri-Sun 11:15 a.m., 1:45, 4:15, 6:45, 9:15; Mon-Thur 2, 4:15, 6:45, 9:15.







NOW PLAYING CENTURY CITY AMC Century 15 • 310/289-4AMC Fri-Sun 10:00 AM, 12:30, 3:00, 5:30, 8:00 & 10:40 PM Mon-Thur 12:30, 3:00, 5:30, 8:00 & 10:40 PM 3 Hours Free Parking Additional 2 Hour Parking $3.00 with AMC Validation

HOLLYWOOD Mann Chinese 6 • 323/777-FILM #002 Daily 12:00, 2:30, 5:00, 7:30 & 10:00 PM 4 Hour Parking at Hollywood & Highland Only $2.00 (with Validation)

L.A./BEVERLY HILLS Pacific’s The Grove Stadium 14 • 323/692-0829 #209 Daily 12:30, 2:55, 5:20, 7:50 & 10:15 PM 4 Hours On-Site Validated Parking Only $2.00

SANTA MONICA Mann Criterion 6 • 310/248-MANN #019 Daily 12:00, 2:20, 4:40, 7:00 & 9:30 PM SHERMAN OAKS ArcLight Cinemas At The Sherman Oaks Galleria 818/501-0753 Daily 11:50 AM, 2:20, 4:50, 7:15 & 9:45 PM 4 Hours Free Validated Parking

UNIVERSAL CITY CityWalk Stadium 19 with IMAX® 800/FANDANGO #707 On 2 Screens Fri-Sun 11:45 AM, 12:30, 2:30, 5:00, 7:20 & 9:40 PM Mon-Thur 12:55, 2:30, 5:00, 7:20 & 9:40 PM Fri & Sat Late Shows 11:25 PM & 12:05 AM Movie Parking Rebate $5 General Parking Rebate at Box Office with Movie Ticket Purchase (Excludes Preferred & Valet)

WEST LOS ANGELES The Bridge Cinema De Lux 310/568-3375 Digital Projection Daily 12:00, 2:20, 4:40, 7:00 & 9:15 PM Fri & Sat Late Show 11:45 PM



the class a film by laurent cantet based on the prize winning novel by francois begaudeau


EXCLUSIVE ENGAGEMENTS START FRIDAY, JANUARY 30TH! L HOLLYWOOD ArcLight Cinemas At Sunset & Vine (323) 464-4226 Daily: 1:00 • 4:05 • 7:05 • 9:55

L WEST LOS ANGELES The LANDMARK at W. Pico & Westwood (310) 281-8233 Free Parking. Daily: 10:50 • 1:45 • 4:40 • 7:35 • 10:20

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

F IRVINE Edwards University Town Center 6 (800) FANDANGO #143






Yes Man Fri-Sat 10:20; Sun-Thur 10:05. AMC Burbank Town Center 6, 770 N First St, (818) 953-9800. Doubt Fri-Sun 11:10 a.m.; Mon-Thur 1:45. Last Chance Harvey Fri-Sun 1:45, 4:15; MonThur 4:15. Notorious Fri-Sat 11:15 a.m., 2:05, 4:55, 7:45, 10:55; Sun 11:55 a.m., 3:05, 6, 9:15; MonThur 3:05, 6, 9:15. Paul Blart: Mall Cop Fri-Sat 12:45, 3:15, 5:45, 8:15, 10:45; Sun 12:45, 3:15, 5:45, 8:15; Mon-Thur 3:15, 5:45, 8:15. The Reader Fri-Sat 11:05 a.m., 1:55, 4:45, 7:30, 10:25; Sun 11:05 a.m., 1:55, 4:45, 7:30, 10:15; Mon-Thur 1:55, 4:45, 7:30, 10:15. Taken Fri-Sun 11:45 a.m., 2:15, 4:35, 7:15, 9:45; Mon-Thur 2:15, 4:35, 7:15, 9:45. Underworld: Rise of the Lycans Fri-Sat 12:30, 2:55, 5:20, 8, 10:30; Sun 12:30, 2:55, 5:20, 8, 10:20; Mon-Thur 2:55, 5:20, 8, 10:20. Valkyrie 7, 10.

CULVER CITY, MARINA DEL REY The Bridge: Cinema De Lux & IMAX Theater, The Promenade at Howard Hughes Center, 6081 Center Dr, Westchester, (310) 568-3375. Bride Wars noon, 2:20, 4:40, 7. The Curious Case of Benjamin Button 11:30 a.m., 3, 6:30, 10. Defiance Fri-Sun 12:55, 4:10, 7:25, 10:25; Mon 4:10, 7:25, 10:25; Tue-Thur 12:55, 4:10, 7:25, 10:25. Gran Torino 1:50, 4:40, 7:30, 10:15. Hotel for Dogs Fri 12:05, 2:15, 4:40, 7:05; SatThur 11:50 a.m., 2:15, 4:40, 7:05. Inkheart 11:45 a.m., 2:15, 4:45, 7:15. My Bloody Valentine 3D Fri-Sat 11:40 a.m., 2:15, 4:50, 7:25, 9:40, 10:15, midnight, 12:30 a.m.; Sun-Thur 11:40 a.m., 2:15, 4:50, 7:25, 9:40, 10:15. New in Town Fri-Sat noon, 2:30, 5, 7:30, 10, 12:20 a.m.; Sun-Thur noon, 2:30, 5, 7:30, 10. Not Easily Broken Fri-Sat 9:45, 12:10 a.m.; Sun-Thur 9:45. Notorious Fri-Sat 1:45, 4:40, 7:35, 9:30, 10:30, 12:15 a.m.; Sun-Thur 1:45, 4:40, 7:35, 9:30, 10:30. Paul Blart: Mall Cop Fri-Sat noon, 2:20, 4:40, 7, 9:15, 11:45; Sun-Thur noon, 2:20, 4:40, 7, 9:15. Revolutionary Road Fri-Sat 1:15, 4, 6:45, 9:30, 12:15 a.m.; Sun-Thur 1:15, 4, 6:45, 9:30. Slumdog Millionaire Fri-Sat 1:10, 4:05, 7, 9:55, 12:25 a.m.; Sun-Thur 1:10, 4:05, 7, 9:55. Taken Fri-Sat 11:55 a.m., 12:30, 2:20, 2:55, 4:45, 5:20, 7:10, 7:45, 9:35, 10:10, midnight, 12:35 a.m.; Sun-Thur 11:55 a.m., 12:30, 2:20, 2:55, 4:45, 5:20, 7:10, 7:45, 9:35, 10:10. The Unborn Fri-Sat 9:30, 11:45; Sun-Thur 9:30. Underworld: Rise of the Lycans Fri-Sat 12:05, 2:20, 4:40, 7:10, 9:35, 11:50; Sun-Thur 12:05, 2:20, 4:40, 7:10, 9:35. The Uninvited Fri-Sat 1, 3:20, 5:40, 8, 10:20, 12:30 a.m.; Sun-Thur 1, 3:20, 5:40, 8, 10:20. Culver Plaza Theatre, 9919 Washington Blvd, (310) 836-5516. Doubt Fri-Sun noon, 4:05, 8:15; Mon-Thur 4:05, 8:15. Frost/Nixon Fri-Sun 12:10, 2:45, 5:20, 7:50, 10:15; Mon-Thur 2, 5:05, 7:40. Last Chance Harvey Fri-Sun 2:10, 6:20, 10:20; Mon-Thur 2:10, 6:20. Luck by Chance Fri-Sun noon, 3:10, 6:20, 9:30; Mon-Thur 2:05, 5:10, 8:10. Milk Fri-Sun noon, 2:30, 5:05, 7:40, 10:15; Mon-Thur 2:20, 5:05, 7:50. Rachel Getting Married Fri-Sun 2, 6:10, 8:30; Mon-Thur 2, 6:10, 8:25. The Reader Fri-Sun 12:05, 2:40, 5:10, 7:40, 10:15; Mon-Thur 2:20, 5:10, 7:40. Vicky Cristina Barcelona Fri-Sun 12:05, 4:15; Mon-Thur 4:15. Loews Cineplex Marina Marketplace, 13455 Maxella Av, (310) 827-9588. Defiance Fri 3:15, 6:30, 9:40; Sat-Sun 12:05, 3:15, 6:30, 9:40; Mon-Wed 2, 5:30, 8:45. Frost/Nixon Fri 1:15, 4:05, 6:55, 9:55; Sat-Sun 10:30 a.m., 1:15, 4:05, 6:55, 9:55; Mon-Wed 1:30, 4:15, 7, 9:45. Hotel for Dogs Fri 1:50, 4:30, 7:10, 9:45; SatSun 11:15 a.m., 1:50, 4:30, 7:10, 9:45; MonWed 1:45, 4:20, 6:45, 9:20. Inkheart Fri 1:25, 4, 6:45, 9:30; Sat-Sun 10:45 a.m., 1:25, 4, 6:45, 9:30; Mon-Wed 1:50, 4:25, 6:55, 9:30. Taken Fri 2:30, 5, 7:30, 10; Sat-Sun 11:55 a.m., 2:30, 5, 7:30, 10; Mon-Wed 2:15, 4:45, 7:15, 9:35. Underworld: Rise of the Lycans Fri 2:20, 4:50, 7:20, 9:50; Sat-Sun 11:45 a.m., 2:20, 4:50, 7:20, 9:50; Mon-Wed 2:10, 4:50, 7:20, 9:40.




Pacific Culver Stadium 12, 9500 Culver Bl, (310) 855-7519. The Curious Case of Benjamin Button 2:30, 7:05, 10:30. Defiance 9:55. Gran Torino 1:50, 5, 7:40, 10:25.

Hotel for Dogs 2:15, 4:35, 7:10, 9:30. Inkheart 1:15, 4:05, 7:15. My Bloody Valentine 3D 1:20, 4:15, 7:45, 10:15. New in Town 1:40, 4:10, 7:50, 10:10.

Notorious 1:05, 4:20, 7:35, 10:20. Paul Blart: Mall Cop 1:25, 4:25, 7:55, 10:35. Slumdog Millionaire 2, 4:45, 7:25, 10:05. Taken 1:45, 4:30, 7, 9:15. Underworld: Rise of the Lycans 1:35, 4:50,


“A TRUE AND ASTONISHING STORY of the bielski partisans, who fought the nazis and rescued hundreds of jews through the darkest years of war and genocide.”








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

7:20, 9:35. The Uninvited 1:30, 4, 7:30, 9:45. UA Marina, 4335 Glencoe Av, (310) 823-1721. The Curious Case of Benjamin Button noon, 4, 8. Gran Torino 12:20, 3:20, 7, 9:40. Open Captioned Performance - Selected Film Daily . Paul Blart: Mall Cop 12:40, 3:10, 5:30, 7:50, 10:20. Revolutionary Road 12:50, 3:50, 7:20, 10:10. Slumdog Millionaire 12:30, 3:30, 7:10, 10. The Uninvited 12:10, 2:50, 5:10, 7:30, 9:50.

DOWNTOWN & SOUTH L.A. Downtown Independent, >251 South Main St, (213) 617-1033. 4K Challenge Red Carpet Event Sat 10; Midnight Sun. The Guatemalan Handshake Fri 3; Thur 9. Laemmle’s Grande 4-Plex, 345 S Figueroa St, (213) 617-0268. The Curious Case of Benjamin Button Fri 5, 8:40; Sat-Sun 1:10, 5, 8:40; MonThur 7. Paul Blart: Mall Cop Fri 5:40, 7:50, 10; Sat-Sun 1:20, 3:30, 5:40, 7:50, 10; Mon-Thur 5:40, 7:50. Sam’s Lake Fri 5:20, 7:30, 10; Sat-Sun 1, 3:10, 5:20, 7:30, 10; Mon-Thur 5:20, 7:30. Taken Fri 5:30, 7:40, 9:55; Sat-Sun 1, 3:15, 5:30, 7:40, 9:55; Mon-Thur 5:30, 7:40. Magic Johnson Theaters, Baldwin Hills Crenshaw Plaza, 4020 Marlton Av, (323) 2905900. Call theater for titles and showtimes. University Village 3, 3323 S Hoover St, (213) 748-6321. Taken 12:45, 3, 5:15, 7:30, 9:45. Underworld: Rise of the Lycans 2:30, 4:45, 7, 9:15. The Uninvited 1:15, 3:30, 5:45, 8, 10:15.


“‘Defiance’ is a rousing ride.” WILLIAM WILLIAMARNOLD ARNOLD




NOW PLAYING IN THEATRES EVERYWHERE Text DEFY to 33287 to find a theater near you and to receive movie alerts from Paramount! 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. Laemmle: AMPAS, DGA & WGA Mon – Thurs only, not “any performance”. 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.

ArcLight Cinemas Hollywood, 6360 Sunset Bl, (323) 464-4226. The Class 1, 4:05, 7:05, 9:55. The Curious Case of Benjamin Button Fri-Sat 11:20 a.m., 3, 6:35, 10:10; Sun 11:20 a.m., 3, 6:30, 10:10; Mon-Thur 11:20 a.m., 3, 6:35, 10:10. Defiance Fri-Tue 1:15, 4:15, 7:35, 10:30; Wed 1:15, 4:15; Thur 1:15, 4:15, 7:35, 10:30. Doubt Fri-Sat 11:25 a.m., 1:50, 4:40, 7:50, 10:40; Sun 11:30 a.m., 1:50, 4:40, 7:50, 10:40; Mon 11:25 a.m., 1:50, 4:40, 7:50, 10:40; Wed-Thur 11:25 a.m., 1:50, 4:40, 7:50, 10:40. Frost/Nixon Fri-Wed 11 a.m., 2, 4:55, 7:40, 10:50; Thur 11 a.m., 2, 4:55. Gran Torino Fri-Sat 11:05 a.m., 1:45, 4:35, 7:10, 10:25; Sun 11:05 a.m., 1:45, 4:25, 7:10, 10:25; Mon-Thur 11:05 a.m., 1:45, 4:35, 7:10, 10:25. He’s Just Not That Into You Thur only, midnight. Milk 1:20, 4:10, 7:15, 10:20. My Bloody Valentine 3D 12:15, 2:45, 5:25, 7:55, 10:35. New in Town Fri-Sat 11:40 a.m., 2:20, 4:50, 7:20, 9:50, 12:05 a.m.; Sun noon, 2:20, 4:50, 7:20, 9:50; Mon-Thur 11:40 a.m., 2:20, 4:50, 7:20, 9:50. The Pink Panther 2 Midnight Thur only,. Revolutionary Road 11:15 a.m., 2:05, 4:45, 7:25, 10:05. Slumdog Millionaire Fri-Sat 11:30 a.m., 2:30, 5:30, 8:30, 11:30; Sun 11:40 a.m., 2:30, 5:30, 8:30, 11:30; Mon-Thur 11:30 a.m., 2:30, 5:30, 8:30, 11:30. Taken Fri-Sat 11:50 a.m., 2:10, 5, 7:30, 10, 12:10 a.m.; Sun-Thur 11:50 a.m., 2:10, 5, 7:30, 10. Underworld: Rise of the Lycans 12:05, 2:35, 5:15, 7:45, 10:15. Waltz With Bashir Fri-Tue 11:10 a.m., 4:30, 9:40; Wed 11:10 a.m., 4:30; Thur 11:10 a.m., 4:30, 9:40. The Wrestler Fri-Tue 11:35 a.m., 1:30, 2:15, 5:05, 7, 8:05, 10:45; Wed 11:35 a.m., 1:30, 2:15, 5:05, 8:05, 10:45; Thur 11:35 a.m., 1:30, 2:15, 5:05, 7, 8:05, 10:45. Grauman’s Chinese, 6925 Hollywood Bl, (323) 464-8111. Private Screening Mon only, 7:30. The Uninvited Fri-Sun 12:30, 2:50, 5:30, 8, 10:30; Tue-Thur 12:30, 2:50, 5:30, 8, 10:30. Los Feliz 3, 1822 N Vermont Av, (323) 6642169. Frost/Nixon 1:40, 4:20, 7, 9:40. The Reader 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 12:10, 2:40, 5:10, 7:40. Inkheart Fri 1:30, 7:20; Sat-Thur 11:40 a.m., 2:10, 4:50, 7:20.


Notorious Fri-Tue 1:10, 4:10, 7:10, 10:10; Thur 1:10, 4:10, 7:10, 10:10. Paul Blart: Mall Cop noon, 2:30, 5, 7:30, 10. Private Screening Fri 7:30; Wed 7:30. The Unborn 10:20. The Uninvited Fri-Sat 11:30 a.m., 1:50, 4:30, 7, 9:30, 11:40; Sun-Thur 11:30 a.m., 1:50, 4:30, 7, 9:30. Valkyrie Fri 4:20, 9:50; Sat-Thur 12:50, 3:50, 6:50, 9:40. Yes Man Sat-Thur 9:50. Pacific’s El Capitan, 6838 Hollywood Bl, (323) 467-7674. Pinocchio Fri 10 a.m., 12:25, 2:50, 5:10, 7:30, 9:55; Sat 10 a.m., 12:25, 5:10, 7:30, 9:55; Sun-Thur 10 a.m., 12:25, 2:50, 5:10, 7:30. Pacific’s The Grove Stadium 14, 189 The Grove Dr, Third St & Fairfax Av, (323) 6920829. Bride Wars Fri-Tue 12:35, 3:05, 5:35, 8:10, 10:40; Wed 12:35, 3:05, 10:40; Thur 12:35, 3:05, 5:35, 8:10, 10:40. The Curious Case of Benjamin Button 11:30 a.m., 3:15, 7, 10:45. Defiance Fri-Sat 11:20; Sun-Thur 9:35. Gran Torino 11:20 a.m., 2:10, 5:05, 7:55, 10:50. Hotel for Dogs Fri-Sat 10:20 a.m., 12:55, 3:35, 6:10, 8:45; Sun-Thur 10:50 a.m., 1:30, 4:15, 6:55. Inkheart Fri-Mon 11:10 a.m., 1:55, 4:40, 7:25, 10:05; Tue 10:25; Wed 11:10 a.m., 1:55, 10:55; Thur 11:10 a.m., 1:55, 4:40, 7:25, 10:05. My Bloody Valentine 3D Fri-Sat 11:05 a.m., 1:45, 4:25, 7:10, 9:50, 12:30 a.m.; Sun-Thur 11:05 a.m., 1:45, 4:25, 7:10, 9:50. New in Town Fri-Sun 11:15 a.m., 1:50, 4:30, 7:05, 9:40; Mon 11 a.m., 1:50, 4:30, 7:05, 9:40; Tue-Thur 11:15 a.m., 1:50, 4:30, 7:05, 9:40. Notorious 10:55 a.m., 2, 5, 8:05, 11:10. Paul Blart: Mall Cop Fri-Wed 12:30, 2:55, 5:20, 7:50, 10:15; Thur 12:30, 2:55, 10:55. Revolutionary Road 10:25 a.m., 1:20, 4:20, 7:20, 10:20. Slumdog Millionaire 10:35 a.m., 1:35, 4:35, 7:35, 10:30. Taken Fri-Sat 11:45 a.m., 2:15, 4:45, 7:15, 9:45, 12:20 a.m.; Sun-Thur 11:45 a.m., 2:15, 4:45, 7:15, 9:45. Underworld: Rise of the Lycans 12:15, 2:45, 5:15, 7:45, 10:10. The Uninvited Fri-Sat 10:40 a.m., 1, 3:25, 5:50, 8:15, 10:35, 12:15 a.m.; Sun-Thur 10:40 a.m., 1, 3:25, 5:50, 8:15, 10:35. Regent Showcase, 614 N La Brea Av, (323) 934-2944. Happy-Go-Lucky Fri 10; Sat-Sun 5, 10; Mon-Thur 10. I’ve Loved You So Long 7:30. Vine, 6321 Hollywood Bl, (323) 463-6819. Vista, 4473 Sunset, (323) 660-6639. The Wrestler 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 Victory Bl, (818) 508-6004. Gran Torino 11:30 a.m., 2:15, 5, 7:45, 10:30. Hotel for Dogs 11:35 a.m., 2:05, 4:35, 7:05, 9:35. Inkheart 11:40 a.m., 2:10, 4:45, 7:15, 9:55. Notorious 1:25, 4:25, 7:25, 10:25. Paul Blart: Mall Cop 12:05, 2:35, 5:05, 7:35, 10:05. Taken noon, 2:30, 4:55, 7:30, 10. Underworld: Rise of the Lycans 12:10, 2:40, 5:10, 7:40, 10:10. The Uninvited 12:15, 2:45, 5:15, 7:50, 10:15. Loews CityWalk Stadium 19 with IMAX, 100 Universal City Dr at Universal CityWalk, (818) 508-0588; IMAX Theater (818) 760-8100. Bride Wars Fri-Sat 11:40 a.m., 1:50, 4:10, 6:45, 9:15, 11:35; Sun 11:40 a.m., 1:50, 4:10, 6:45, 9:15; Mon-Thur 1:50, 4:10, 6:45, 9:15. The Curious Case of Benjamin Button Fri-Sun 2:45, 6:20, 10:10; Mon-Thur 3:05, 6:35, 10:10. The Dark Knight: The IMAX Experience IMAX 12:50, 4:05, 7:15, 10:25. Defiance Fri-Sat 10:45; Sun-Thur 10:35. Gran Torino Fri-Sun 11:30 a.m., 2:10, 4:50, 7:30, 10:20; Mon-Thur 2:10, 4:50, 7:30, 10:20. Hotel for Dogs Fri-Sun 11 a.m., 1:25, 3:50, 6:15, 9; Mon-Thur 1:25, 3:50, 6:15, 9. Inkheart Fri-Sun 12:10, 2:50, 5:25, 8:05; MonThur 2:50, 5:25, 8:05. My Bloody Valentine 3D Fri-Sat 11 a.m., 1:30, 4, 6:30, 9:10, 11:50; Sun 11 a.m., 1:30, 4, 6:30, 9:10; Mon-Thur 1:30, 4, 6:30, 9:10.

New in Town Fri-Sun 12:40, 3:10, 5:35, 8, 10:35; MonThur 12:55, 3:10, 5:35, 8, 10:35. Notorious Fri-Sun 12:45, 3:45, 6:50, 9:50; Mon-Thur 1, 3:45, 6:50, 9:50. Paul Blart: Mall Cop Fri-Sat 11:45 a.m., 12:30, 2:30, 5, 7:20, 9:40, 11:25, 12:05 a.m.; Sun 11:45 a.m., 12:30, 2:30, 5, 7:20, 9:40; Mon-Thur 12:55, 2:30, 5, 7:20, 9:40. Revolutionary Road Fri-Sat 11:25 a.m., 2:20, 5:10, 7:50, 10:40; Sun 11:25 a.m., 2:20, 5:10, 7:50, 10:30; MonThur 2:20, 5:10, 7:50, 10:30. Slumdog Millionaire Fri-Sat 11:50 a.m., 2:40, 5:30, 8:20, 11:10; Sun 12:55, 3:55, 6:55, 9:55; Mon-Thur 1:10, 3:55, 6:55, 9:55. Taken Fri-Sat 11:15 a.m., 1:40, 4:40, 7:10, 9:35, midnight; Sun 11:15 a.m., 1:40, 4:40, 7:10, 9:35; Mon-Thur 1:40, 4:40, 7:10, 9:35. The Unborn Fri-Sat 11:05 a.m., 1:15, 3:30, 5:50, 8:10, 10:30; Sun 11:05 a.m., 1:15, 3:30, 5:50, 8:10, 10:25; Mon-Thur 1:15, 3:30, 5:50, 8:10, 10:25. Underworld: Rise of the Lycans Fri-Sat 11:35 a.m., 12:20, 2, 3, 4:20, 5:20, 6:40, 7:40, 9:05, 10, 11:30; Sun 11:35 a.m., 12:20, 2, 3, 4:20, 5:20, 6:40, 7:40, 9:05, 10; Mon-Thur 2, 2:45, 4:20, 5:20, 6:40, 7:40, 9:05, 10. The Uninvited Fri-Sat 11:55 a.m., 2:15, 4:30, 7, 9:20, 11:45; Sun 11:55 a.m., 2:15, 4:30, 7, 9:20; Mon-Thur 2:15, 4:30, 7, 9:20. The Wrestler Fri-Sat noon, 3:05, 5:40, 8:15, 10:50; Sun noon, 2:35, 5:15, 7:55, 10:30; Mon-Thur 2:35, 5:15, 7:55, 10:30. Yes Man Fri-Sat 12:50, 3:20, 6, 8:30, 11; Sun-Thur 12:50, 3:20, 6, 9.

SANTA MONICA AMC Santa Monica 7, 1310 Third Street Promenade, (310) 395-3030. The Curious Case of Benjamin Button FriSun 11:10 a.m., 2:45, 6:20, 9:55; Mon-Thur 1:15, 4:45, 8:15. Defiance Fri-Sun 11:40 a.m., 3:10, 6:35, 9:45; Mon-Thur 1:30, 4:35, 8. Frost/Nixon Fri-Sun 10:50 a.m., 1:40, 4:30, 7:20, 10:10; Mon-Thur 1:20, 4:10, 7:10, 9:55. My Bloody Valentine 3D Fri-Sun 11:50 a.m., 2:20, 5, 7:45, 10:15; Mon-Thur 1:50, 4:30, 7:20, 9:45. New in Town Fri-Sun 11 a.m., 1:50, 4:20, 7, 9:25; MonThur 1:40, 4:20, 7, 9:30. Underworld: Rise of the Lycans Fri-Sun 11:30 a.m., 2:10, 4:50, 7:30, 10; Mon 2:20, 5:05, 7:40, 10; Tue 2:10, 2:20, 4:55, 5:05, 7:30, 7:40, 9:40, 10; Wed 2:20, 5:05, 7:40, 10; Thur 2:10, 2:20, 4:55, 5:05, 7:30, 7:40, 9:40, 10. The Uninvited Fri-Sun 11:20 a.m., 2, 4:40, 7:15, 9:35; Mon 2:10, 4:55, 7:30, 9:40; Wed 2:10, 4:55, 7:30, 9:40. Laemmle’s Monica 4-Plex, 1332 Second St, (310) 3949741. The Betrayal Sat-Sun 11 a.m. Doubt 1:50, 4:30, 7:20, 9:55. Man on Wire Sat-Sun 11 a.m. Revolutionary Road 1, 4, 7, 9:50. Slumdog Millionaire 1:10, 4:10, 7:10, 10. Trouble the Water Sat-Sun 11 a.m. The Wrestler 1:30, 4:20, 7, 9:40. Loews Cineplex Broadway, 1441 Third Street Promenade, (310) 458-1506. Bride Wars Fri-Sun 11 a.m., 1:15, 3:25, 5:50, 8, 10:15; Mon-Thur 2, 4:15, 6:30, 8:45. Inkheart Fri-Sun 11:30 a.m., 2:10, 4:50, 7:30; Mon-Thur 2:30, 5, 7:30. Milk Fri-Sun 1, 4, 7, 10; Mon-Thur 1:10, 4, 7, 9:50. Notorious Fri-Sun 12:30, 3:30, 6:30, 9:30; Mon-Thur 1:20, 4:05, 6:50, 9:35. Yes Man Fri-Sun 10:05; Mon-Thur 10. Mann Criterion, 1313 Third Street Promenade, (310) 395-1599. Gran Torino 1:20, 4:30, 7:40, 10:20. Hotel for Dogs 11:50 a.m., 2:30, 5, 7:20, 10. Marley & Me 1:30, 4:20. Paul Blart: Mall Cop noon, 2:20, 4:40, 7, 9:30. The Reader 1, 3:50, 6:50, 9:40. Taken Fri-Sat 12:30, 2:50, 5:10, 7:30, 9:50, midnight; Sun-Wed 12:30, 2:50, 5:10, 7:30, 9:50; Thur 12:30, 2:50, 5:10, 7:30, 9:50, midnight. Valkyrie 7:10, 10:10.

SHERMAN OAKS, ENCINO ArcLight Sherman Oaks, 15301 Ventura Bl, Sherman Oaks, (818) 501-0753. Bride Wars Fri-Sat 10:40 a.m., 12:50, 3:10, 5:35, 8:20, 10:50; Sun 10:40 a.m., 12:50, 3:10, 5:35, 8:20, 10:40; Mon-Thur 12:10, 2:50, 5:35, 8:20, 10:40. Coraline Midnight Thur only,. The Curious Case of Benjamin Button 11:45 a.m., 3:25, 7:05, 10:40. Defiance Fri-Sat 10:30 a.m., 1:35, 4:40, 7:50, 10:55; Sun 10:30 a.m., 1:35, 4:40, 7:50, 10:50; Mon-Thur 12:35, 4, 7:05, 10:15. Gran Torino Fri-Sun 11 a.m., 1:45, 4:40, 7:45, 10:30; Mon-Wed 11 a.m., 1:40, 4:40, 7:45, 10:30; Thur 11 a.m., 1:45, 4:40. He’s Just Not That Into You Thur only, midnight. Hotel for Dogs Fri-Sun 11:30 a.m., 2:15, 4:45, 7:20,



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9:55; Mon-Thur 11:20 a.m., 1:50, 4:55, 7:20, 9:55. Inkheart 11:15 a.m., 2, 4:35, 7:25, 10:10. My Bloody Valentine 3D Fri-Sat 11:25 a.m., 1:55, 4:25, 7:10, 9:40, 12:10 a.m.; Sun 11:25 a.m., 1:55, 4:25, 7:10, 9:40; Mon-Wed 11:25 a.m., 1:55, 4:30, 7:10, 9:40; Thur 11:25 a.m., 1:55, 4:25, 7:10, 9:40. New in Town Fri-Sun 11:55 a.m., 2:35, 5:10, 7:55, 10:20; Mon-Thur noon, 2:35, 5:10, 7:55, 10:20. Notorious Fri-Sat 11:35 a.m., 2:25, 5:20, 8:10, 11:10; Sun 11:35 a.m., 2:25, 5:20, 8:10, 10:55; Mon 11:05 a.m., 1:45, 4:25, 10:55; Tue-Thur 11:35 a.m., 2:25, 5:20, 8:10, 10:55. Paul Blart: Mall Cop 11:50 a.m., 2:20, 4:50, 7:15, 9:45. The Pink Panther 2 Thur only, midnight. Push Thur only, midnight. Revolutionary Road Fri-Sun 11:20 a.m., 2:05, 4:55, 7:40, 10:25; Mon-Thur 11:20 a.m., 2:10, 4:45, 7:40, 10:25. Sabrina Mon only, 7:30. Slumdog Millionaire Fri-Sun 10:50 a.m., 2:05, 5, 8, 11; Mon-Thur 11:10 a.m., 2:05, 5, 8, 10:55. Taken Fri-Sun 10:35 a.m., 1, 3:20, 5:40, 8:15, 10:45; MonThur 11:55 a.m., 2:45, 5:15, 8:15, 10:45. Underworld: Rise of the Lycans Fri-Sun 10:35 a.m., 12:45, 3:05, 5:30, 8:05, 10:35; Mon-Wed 12:20, 2:55, 5:30, 8:05, 10:35; Thur 12:40, 2:55, 5:30, 8:05, 10:35. The Uninvited Fri-Sun 10:30 a.m., 12:40, 2:50, 5:05, 7:30, 9:50, 12:05 a.m.; Mon-Wed 12:05 a.m., 2:30, 5:05, 7:30, 9:50; Thur 12:05, 2:30, 5:05, 7:30, 9:50. The Wrestler Fri-Sat noon, 2:40, 5:25, 8:25, 11:05; Sun noon, 2:40, 5:25, 8:25, 11; Mon-Thur 11:55 a.m., 2:40, 5:25, 8:25, 11. Laemmle’s Town Center 5, 17200 Ventura Bl, Encino, (818) 981-9811. The Class Fri 1, 4, 7, 9:55; Sat-Sun 10:15 a.m., 1, 4, 7, 9:55; Mon-Tue 1, 4, 7; Wed 10:15 a.m., 1, 4, 7; Thur 1, 4, 7. Frost/Nixon Fri 1:10, 4, 7, 10; Sat-Sun 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. Rachel Getting Married Fri 1:40, 4:30, 7:30, 10:10; SatSun 11 a.m., 1:40, 4:30, 7:30, 10:10; Mon-Tue 1:40, 4:30, 7:30; Wed 11 a.m., 1:40, 4:30, 7:30; Thur 1:40, 4:30, 7:30. The Reader Fri 1:20, 4:10, 7:10, 10; Sat-Sun 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, 4:40, 7:10, 9:30; Sat-Sun 11:20 a.m., 1:50, 4:40, 7:10, 9:30; Mon-Tue 1:50, 4:40, 7:10; Wed 11:20 a.m., 1:50, 4:40, 7:10; Thur 1:50, 4:40, 7:10. Mann Plant 16, 7876 Van Nuys Bl, Panorama City, (818) 779-0323. Bride Wars 11:40 a.m., 2, 4:20, 6:40, 9. The Curious Case of Benjamin Button 1:10, 4:50, 8:30. Defiance 12:45, 3:45, 6:45, 9:45. Gran Torino 1:20, 4:05, 6:50, 9:40. Hotel for Dogs 11:45 a.m., 2:15, 4:45, 7:15, 9:45. Inkheart 11:30 a.m., 2, 4:30, 7, 9:30. My Bloody Valentine 3D 12:15, 2:45, 5:15, 7:45, 10:15. New in Town 12:10, 2:30, 4:50, 7:10, 9:30. Notorious 1:30, 4:30, 7:20, 10:10. Paul Blart: Mall Cop 11:30 a.m., 12:30, 1:50, 2:50, 4:10, 5:10, 6:30, 7:30, 8:50, 9:50. Taken 12:20, 2:40, 5, 7:20, 9:40. The Unborn 12:50, 3:10, 5:30, 7:50, 10:10. Underworld: Rise of the Lycans noon, 1, 2:20, 3:20, 4:40, 5:40, 7, 8, 9:20, 10:20. The Uninvited 12:40, 3, 5:20, 7:40, 10. Pacific’s Sherman Oaks 5, 14424 Millbank St, Sherman Oaks, (818) 501-5121. Australia 7:05, 10:30. Doubt 1:35, 4:30, 7:20, 10:10. Last Chance Harvey 1:25, 4:10, 7:15, 10:05. Marley & Me 1:30, 4:15. Milk 1, 4:05, 7, 10:15. Valkyrie 1:15, 4:20, 7:30, 10:20.

WEST HOLLYWOOD, BEVERLY HILLS, CENTURY CITY AMC Century City 15, 10250 Santa Monica Bl, (310) 2772011. Bride Wars Fri-Sun 11:05 a.m., 1:50, 4:40, 7:45, 10:30; Mon-Thur 12:10, 2:30, 4:55, 7:25, 9:55. The Curious Case of Benjamin Button Fri-Sun 11 a.m., 2:45, 6:30, 10:15; Mon-Thur 12:50, 4:30, 8:15. The Dark Knight: The IMAX Experience IMAX 9:50. Defiance Fri-Sun 9:40 a.m., 12:45, 3:55, 7:20, 10:35; Mon-Thur 12:45, 3:55, 7:20, 10:35. Frost/Nixon Fri-Sun 9:45 a.m., 12:40, 3:35, 7, 10; MonThur 12:40, 3:35, 7, 10. Gran Torino Fri-Sun 10:55 a.m., 2, 4:55, 7:55, 10:45; MonThur 1:05, 4, 7:15, 10:05. Hotel for Dogs Fri-Sun 10:30 a.m., 1:20, 4:10, 6:50, 9:40; Mon-Thur 1:20, 4:10, 6:50, 9:40. Inkheart Fri-Sun 10:15 a.m., 1:30, 4:20, 7:05; Mon-Thur 1:30, 4:20, 7:05. Metropolitan Opera: Orfeo ed Euridice Encore Wed only, 7. My Bloody Valentine 3D Fri-Sun 11:40 a.m., 2:20, 5:05, 8:05, 10:50; Mon-Thur 2:20, 5:05, 8:05, 10:45. New in Town Fri-Sun 11:45 a.m., 2:30, 5:15, 8:10, 10:45; Mon-Wed noon, 2:25, 4:50, 7:30, 10:10. Notorious Fri-Sun 12:20, 3:40, 6:40, 9:45; Mon noon, 2:50, 9:45; Tue noon, 3:10, 6:40, 9:45; Wed noon, 3:10,


9:45; Thur noon, 3:10, 10:30. Paul Blart: Mall Cop Fri-Sun 10 a.m., 12:30, 3, 5:30, 8, 10:40; Mon-Thur 12:30, 3, 5:30, 8, 10:40. Revolutionary Road Fri-Sun 10:05 a.m., 1:10, 4:15, 7:10, 10:20; Mon-Thur 1:10, 4:15, 7:10, 10:20. Sword of the Stranger Thur only, 7:30. Taken Fri-Sat 11:30 a.m., 2:10, 4:50, 7:30, 10:05, 12:30 a.m.; Sun 11:30 a.m., 2:10, 4:50, 7:30, 10:05; Mon-Thur 12:20, 2:55, 5:20, 7:45, 10:15. Underworld: Rise of the Lycans Fri-Sat 11:35 a.m., 2:15, 5, 7:50, 10:25, 12:35 a.m.; Sun 11:35 a.m., 2:15, 5, 7:50, 10:25; Mon-Tue 1:15, 7:55, 10:25; Wed-Thur 12:15, 2:50, 5:10, 7:55, 10:25. The Uninvited Fri-Sat 10:35 a.m., 1, 3:30, 7, 9:35, midnight; Sun 10:35 a.m., 1, 3:30, 7, 9:35; Mon-Tue 1, 3:30, 7, 9:35; Wed-Thur 1, 3:30, 6:55, 9:35. Laemmle’s Music Hall 3, 9036 Wilshire Bl, (310) 2746869. Frost/Nixon Fri 5, 8; Sat-Sun 1:50, 5, 8; Mon-Wed 5, 8; Thur 8. Frozen River Fri 5, 7:30, 10; Sat 1, 3:20, 5:45, 8:15; Sun 3:20, 5:45, 8:15; Mon-Wed 5, 7:30; Thur 5. Giulio Cesare Sun 11 a.m.; Thur 7:30. The Secret Life of Bees Fri 5, 8:20; Sat-Sun 1:40, 5, 8:20; Mon-Thur 5, 8:20. Ted Thur only, 5. Laemmle’s Sunset 5 Theatre, 8000 Sunset Bl, (323) 8483500. Che: Part One Fri 1, 7; Sat 4, 10; Sun 1, 7; Mon 4, 10; Tue 1, 7; Wed 4, 10; Thur 1, 7. Che: Part Two Fri 4, 10; Sat 1, 7; Sun 4, 10; Mon 1, 7; Tue 4, 10; Wed 1, 7; Thur 4, 7. A Hooker and a Chick Fri-Sun 12:55, 1:25. Rachel Getting Married 1:20, 4:10, 7, 9:45. The Reader 1, 1:55, 4, 5, 7, 8, 9:55. The Room Sat only, 11:55. Sam’s Lake Fri-Sat 11:55. Serbis 1:45, 4:30, 7:15, 9:45. Beverly Center 13 Cinemas, 8522 Beverly Blvd., Suite 835, (310) 652-7760. Australia noon, 3:20, 6:30, 9:40. Bolt 12:30, 2:30, 4:40, 6:50, 9. Happy-Go-Lucky 12:10, 2:30, 5:10, 7:40, 10:10. Last Chance Harvey 12:40, 2:50, 5, 7, 9:10. Marley & Me noon, 2:20, 4:50, 6:30, 7:20, 9:10, 9:50. Seven Pounds 12:10, 2:40, 5, 7:30, 10. The Tale of Despereaux 12:30, 2:20, 4:30. Twilight 12:20, 1:10, 3, 4:05, 6, 7, 8:50, 9:50. The Unborn 1:20, 3:10, 5:20, 7:20, 9:30. Valkyrie 12:20, 2:50, 5:20, 7:40, 10:10. Vicky Cristina Barcelona 1:20, 3:20, 5:30, 7:30, 9:40. Yes Man 1, 3:10, 5:40, 7:50, 10.

WESTWOOD, WEST L.A. AMC Avco Center, 10840 Wilshire Bl, (310) 475-0711. Frost/Nixon Fri 1:30, 4:25, 7:20, 10:15; Sat-Sun 10:50 a.m., 1:30, 4:25, 7:20, 10:15; Mon-Thur 1:30, 4:25, 7:20, 10:15. Hotel for Dogs Fri 1:40, 4:30, 7, 9:30; Sat-Sun 11:05 a.m., 1:40, 4:30, 7, 9:30; Mon-Thur 1:40, 4:30, 7, 9:30. Taken Fri 2:15, 4:55, 7:35, 10; Sat-Sun 11:45 a.m., 2:15, 4:55, 7:35, 10; Mon-Thur 2:15, 4:55, 7:35, 10. The Uninvited Fri 2:30, 4:45, 7:15, 9:45; Sat-Sun 10:35 a.m., 12:50, 3:15, 5:35, 8, 10:30; Mon-Thur 2:30, 4:45, 7:15, 9:45. Laemmle’s Royal Theatre, 11523 Santa Monica Bl, (310) 477-5581. Waltz With Bashir Fri 2:45, 5, 7:30, 9:45; SatSun 12:30, 2:45, 5, 7:30, 9:45; Mon-Thur 2:45, 5, 7:30, 9:45. Landmark’s Nuart Theater, 11272 Santa Monica Bl, (310) 281-8223. Hedwig and the Angry Inch Fri only, midnight. Of Time and the City Fri-Sun 1, 3:10, 5:20, 7:30, 9:40; MonThur 5:20, 7:30, 9:40. The Rocky Horror Picture Show Sat only, midnight. 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. The Class 10:50 a.m., 1:45, 4:40, 7:35, 10:20. The Curious Case of Benjamin Button Fri-Mon 11:40 a.m., 1, 3:20, 4:30, 7:05, 8:15, 10:35; Tue-Wed 11:40 a.m., 1, 3:20, 4:30, 8:15, 10:35; Thur 1, 4:30, 8:15. Doubt 11:20 a.m., 2, 4:45, 7:20, 9:55. Last Chance Harvey 11:40 a.m., 2:10, 4:35, 7:15, 9:50. Milk Fri-Sun 11 a.m., 1:15, 2, 4:15, 5, 7:15, 8, 10:15; MonThur 11 a.m., 1:15, 2, 4:15, 7:15, 10:15. Rachel Getting Married 11:35 a.m., 2:20, 5, 7:40, 10:20. The Reader 11 a.m., 1:50, 4:40, 7:30, 10:20. Slumdog Millionaire Fri-Sun noon, 1:30, 2:50, 4:20, 5:40, 7:10, 8:30, 10:25, 10:50; Mon noon, 1:30, 2:50, 4:20, 5:40, 7:10, 8:30, 10:25; Tue noon, 1:30, 2:50, 4:20, 7:10, 10:25; Wed-Thur noon, 1:30, 2:50, 4:20, 5:40, 7:10, 8:30, 10:25. The Wrestler 11:50 a.m., 2:30, 5:10, 7:45, 10:30. Majestic Crest Theater, 1262 Westwood Bl, (310) 4747866. Defiance 1:30, 4:15, 7, 9:45. Mann Bruin, 948 Broxton Av, (310) 208-8998. Gran Torino 1:30, 4:30, 7:10, 9:50. Mann Festival 1, 10887 Lindbrook Av, (310) 208-4575. The Curious Case of Benjamin Button 1, 5, 8:30. Mann Village, 961 Broxton Av, (310) 208-5576. Underworld: Rise of the Lycans noon, 2:30, 4:50, 7:30, 10.



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no slap ’til brooklyn: danny hoch skips l.a. entirely in taking over

OUR TOWN L.A.'s flagship theater looks elsewhere BY DON SHIRLEY Center Theatre Group bills itself as “L.A.’s Theatre Company,” not L.A.’s “largest” or “most prominent” or “flagship” theater company – designations no one could reasonably dispute. Instead, the words suggest either that CTG is L.A.’s only theater company – which obviously isn’t true – or that it’s somehow L.A.-oriented in a way that other L.A. troupes are not. Is there a speck of evidence to support this latter claim – that CTG is especially tuned in to Angelenos and their distinctive concerns? A look at the company’s 2009 programming in its three venues – the Mark Taper Forum, the Ahmanson and the Kirk Douglas – suggests the answer is no: None of 14 current and upcoming CTG plays and musicals is set in L.A. Only one of the playwrights, Richard Montoya, is easily identified as an L.A. writer, but his new play (scheduled for the Taper in December) takes place in New Mexico. Of CTG’s 14 regular productions

last year, only one scene of one play, The Little Dog Laughed, was set in L.A., and that play reflected common misconceptions of L.A. – that L.A. has no theater, for example. The last CTG production seemingly set in L.A. was Lisa Loomer’s Distracted nearly two years ago, but even that play could easily have been set elsewhere. It examined ADD, not the LAPD or LAUSD. The last truly (almost obsessively) L.A.themed CTG production was Water and Power in 2006. The company’s previous artistic director, Gordon Davidson, was more attentive to L.A. subjects than his successor, Michael Ritchie. After the 1992 riots, it was almost inevitable that Davidson would produce a piece about them – and he did, Anna Deavere Smith’s Twilight: Los Angeles, 1992. Maybe it wasn’t art for the ages, but it was art for L.A., 1993. What kind of cataclysm would have to strike L.A. to focus Ritchie’s attention on CTG’s home turf?

Not that Ritchie disapproves of theater about community topics. Last fall he imported This Beautiful City, a theatrical documentary about Colorado Springs. Last weekend, also at the Douglas, CTG opened Danny Hoch’s astute solo analysis of gentrification, Taking Over. But it’s not about L.A. gentrification; it’s about Hoch’s own neighborhood in Brooklyn. Recently, Ritchie appears to be willing to tackle sensitive community issues – but only if the depicted subjects aren’t likely to be in his audience. Hoch works up a lather playing characters from his ’hood – fulminating in super-titled French and Spanish as well as several dialects of English. Speaking as himself, he also analyzes his own motives and hypocrisies. Despite his concern about wealthier newcomers ousting poorer old-timers, he acknowledges that he rents his own apartment to tourists when he takes his show to theaters elsewhere. The editors of the CTG program ran an


article by Evan Henerson that points to the fact that CTG’s Douglas Theatre itself is a product of gentrification in Culver City. Has CTG investigated whether any potentially stageworthy drama lurks within Culver City’s history? Ritchie has occasionally collaborated with smaller L.A. theaters. A CTG/Deaf West Theatre revival of Pippin opened last weekend at the Taper. That’s a smart gesture, but local theater should extend to L.A. subjects as well as L.A. personnel. CTG’s own website agrees: “The organization is committed to producing theater that reflects and informs our own community. We hope to attract new audiences to our theaters through stories inspired on our own streets as well as through plays that transport our audiences lifetimes away.” OK, CTG, it’s time to find those stories from “our own streets.”✶ Taking Over, Kirk Douglas Theatre, Culver City, (213) 628-2772. Closes Feb. 22.

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JANUARY 29-FEBRUARY 4, 2009 17 LACITYBEAT 74546-LA City Beat & Pasadena Weekly-9.375x11.22 4C 1.29

Georg Scholz , Industrial peasants (left) anD Heinrich Steinhagenz, UNTITLED (RIGHT), courtesy of Museum Associates/LACMA


SUPERABUNDANCE OF HORROR War plus Expressionism equals two rooms of shock at LACMA By Ron Garmon “Wie Gott am Frankreich,” as H.L. Mencken tells us, was a wan pre-war admission of many a German that God was indeed French. While such sentiment was familiar on this side of the water in the Sage of Baltimore’s day a century ago, this rare bit of proto-social realism from America’s leading Teutonophile is an indication of German aesthetic insecurity on the eve of World War 1.0. Young German artists, chafed by topdown diktats from the newly unified and decidedly conservative Germany, had embraced the Impressionist experiments in movement and tone then reigning in Paris in the last decade of the old century. By the time expressionismus was deployed in 1914 by critic Paul Fechter, the impulse was already self-conscious enough to have spawned secessionist movements in Berlin, Dresden and elsewhere. Each was a rebellion against the stasis of Wilhelmian art in favor of what Ludwig Kircher called “a superabundance of the beautiful, the strange, the mysterious, the terrible and the divine.” Like most everything else German, Expressionism went to war in 1914, with only isolated malcontents and extreme leftists standing against the militarist tide. Artistic results of this lemming’s leap are on display at LACMA, as Shell Shocked: Expressionism after the Great War displays post-Armistice selections

from the Robert Gore Rifkind Center for German Expressionist Studies. Posters by Max Pechstein (a founding member of Die Brücke – “The Bridge” – Berlin’s first expressionist collective) and Louis Oppenheim (whose 1918 ad for 5 percent war bonds is rendered in the movement’s characteristically stark, hyper-emotional lines) show Expressionist firebrands propping up a battered, near-disintegrated establishment in jaunty, even triumphal, terms. As the continental superpower writhed in defeat and upheaval, the school’s power as social critique, always simmering beneath the cleanly jagged lines, came into its own. Ernst Barlach’s The Holy War and Pechstein’s renderings of trench life at the Somme afford glimpses into the rapidly forming cracks in official patriotism, while Otto Gleichmann’s horrific Der Erstochene (“Stabbed Man”) is a stupendous wallow in deliquescence, with the face of a dead soldat turning to slate-gray mush. The great Otto Dix, whose work was held up by Nazis as prime examples of Weimar-era degeneracy, gets several looks in, most notably with Unterstand (“Foxhole”), a rat’s-eye view of war-warped infantrymen crammed into a dugout, each a sharp caricature of traumatized distractedness. Walter Teutsch’s Bavarians Attacking shows thick-legged, doltish recruits

looking like meat-animals charging into a slaughterhouse. Even canvases having little to do with the war are shot through with battlefield images, such as the goofy, broken Christ in Max Beckmann’s Descent from the Cross, all knees, elbows and pale twisted death, like a corpse jutting from the mud and wire of No Man’s Land. The exhibit’s signature piece, Otto Lange’s Vision, rolls the guilt, misery and dread of lost war and bitter postwar into a single naked figure sitting quaking like a penitent child as accusing faces surround. Germany’s postwar Expressionist cinema, one of the marvels of 1920s European culture, is represented by posters and selected clips from Fritz Lang’s Metropolis (1927) and M (1931), the former a dystopian parable as well as arguably the first science fiction film, and the latter the frame for Peter Lorre’s monstrous performance as the ultimate displaced outsider – a child molester even the criminal underworld despises. Both speak to disillusion many times worse than the patriotism hangover endured by the American writers and artists of the Lost Generation, just then laying bare their own psychological wounds in fiction and verse. As the Expressionist social critique sharpened (as witnessed by the boarlike bosses of George Grosz and Käthe


Kollwitz’s grief-etched memorial to socialist martyr Karl Liebknecht), alarmed curators and critics began to push “The New Objectivity,” the cold lines and distant engagement of which were touted as cool alternative to the Red heat of the reigning style. Still, the documentary impulse behind this “return to order” contained some corrosive surprises, like the porcine figures of Kurt Beyerlein, whose The Family is realism of a horrormovie sort, with a perfectly hideous bourgeois clan sitting at a table, each emptied of anything less than libelous to humanity. New Objectivity, along with Expressionism, folded when Hitler came to power in 1933, and the right to notice one’s surroundings was revoked. One leaves this exhibit with a curious pushmepullyou appreciation of the persistence of artistic vision along with the ease with which it is crushed. Given the existential nausea to come in that most giddy of centuries, this sensation may well be Expressionism’s most enduring legacy.✶ Shell-Shocked: Expressionism after the Great War – Selections from the Robert Gore Rifkind Center for German Expressionist Studies runs until April 19 at the plaza level of Ahmanson Building at Los Angeles County Museum of Art, 5905 Wilshire Blvd., L.A., (323) 857-6000.


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Nightmares on Wax

Nightmares on Wax at the Echoplex, 1154 Glendale Blvd., Echo Park. Mon., 8 p.m. $18-$20. 18+. Visit Nightmares on Wax at

photo by juliana paciulli

When DJ Ease (a.k.a. George Evelyn) put down the first NOW album with fellow B-boy Kevin Harper, the year was 1991, and the eighth track on A Word of Science, “Aftermath,” featured the northern bleep. In Evelyn’s words, that was “a homebrewed, North-East digital-break” that blew hip-hop minds and urged street dancers’ limbs into contorted tangles, all with a smoky low-light-lounge sort of mood. Nightmares on Wax may not be responsible for the blending of hip-hop and techno – or dub’s introduction into fancy hotel elevators – but almost 20 years later, we recognize that signature knowledge drop that’s kept George Evelyn in the game. And he does take credit for De La Soul’s glorious comeback on his 2000 EP The Sound of N.O.W. Rooted in soul 45s and chill licks, Evelyn continues evolving breakbeat potential, these days with a live band and rapper in tow. (DF) john shade must fall


photo by tracey taylor

Fol Chen: Let them talk By Daiana Feuer

nightmares on wax

Residual Echoes

The 1970s was a decade in love with the mirror, and more than one man reproduced himself into infinity with riff and reverb before glass-smashing punk rockers nixed those banks of effects pedals. For years, though, brave bands buried their heads in echo with strict instructions not to call the doctor if the bubbles stopped coming. Hawkwind, Les Rallizes Denudes, Randy Holden, Chrome, Steve Peregrine Took, Michael Yonkers – Mr. Narrator, this is like Yuri Gagarin to me, and maybe to Adam Payne, too, who spins alone into the blackest unknown with heavy guitar and heavy friends (revolving live lineup currently apparently with noted local musclemen Greg Arnold and Allen Bleyle?) and returns with the sort of rocks no earth scientists can definitively identify. A welcome show at the lovely Club Ding-A-Ling. (CZ) Residual Echoes, with Hume and Electric Children at Club Ding-ALing at the Hyperion Tavern, 1941 Hyperion Ave., Silver Lake. Tues., 10 p.m. Free. 21+. clubdingaling. Visit Residual Echoes and Adam Payne at residualechoes.

Way up in the Highland Park hills, Fol Chen is building a pyramid with spare parts. Right now, they have two ovens, six band members – Samuel Bing, Melissa Thorne, Baby Alex, Phat Jeph, G-Bone, and Julian Wass – and an album of ten songs called Part 1: John Shade: Your Fortune’s Made, about to be released to the masses by indie label Asthmatic Kitty. In an “if you build it ... ” call to arms some time ago, frontman Samuel Bing received a message in his sleep: If you make the music, build the pyramid and combat the forces of John Shade, then old school WLIR radio show hosts Donna Donna and Malibu Sue will return to their rightful place – out of your dreams, and into your car speakers once more. This will make some sense eventually. Like Fol Chen’s debut album, which constructs a world from motifs and clues for the listener to puzzle-glue into a Cubist whole, the Fol Chen mythology is wrapped in childhood, nostalgia and phildickian lunchmeat. Donna Donna and Malibu Sue are the band’s spiritual guides, resurrected from the dead airwaves and now symbols in the Fol Chen manuscript – in other words, they hosted a radio show Bing listened to growing up in New York. Many songs reference places from Long Island where Bing was raised, dislocated from their original meanings to describe an imagined landscape. Jericho and Garden

City are no longer exits on the L.I.E.; they’ve been uprooted and transplanted through Samuel Bing’s songcraft to a cosmic paradigm occupying at least four hexagons at once. Bing spent a year sleeping on a couch in a friend’s San Diego recording studio. There, he’d wake up whenever the spirit moved him, laying down musical bits and layers that he later brought to Los Angeles by way of the Desert Hot Springs Spa Hotel on Route 62, where the band would meet to discuss pyramid schemes to fight the forces of John Shade. Who is Shade? We don’t know, he doesn’t know, nobody knows, but the answer will volcanically spill out of the pyramid once it’s complete. In the meantime, we have this album of songs, stylistically between Hot Chip’s decentralized version control and the Blow’s mellifluous escalator jogging, and lent weight by a moaning horn section. While a temperate pace unifies Part 1, the band does not shy away from anomaly, allowing it to swell at times like a sea at dawn. “You and Your Sister in Jericho,” the album’s third track, presents the elements at their peak. Here’s all we get word-wise, towards the six-minute track’s beginning: “Fuck your friends, they don’t care/Smoke too much and dye your hair/Spin a coil around your throat/Let them talk. I stole a picture of you and your sister


in Jericho.” Then, a guitar, some ooh-ing, a gentle piano and deflating horns which diminish almost to nothing before the song erupts in thunder. The thunder comes roaring back out of that nothing, and actually consists of eight or so drum patterns slowed and pitched down until they become distorted and strange. “Like thunda,” says Bing. The presentation is as organic as it gets. “Jericho” and the rest of the album, was recorded as raw as possible. “I didn’t demo any of the songs for the record,” Bing says. “When you make the demo, a lot of the magic ends up in the demo and when you re-create it, it’s not there. Why not just start with the song itself? That song started as a drum machine and acoustic guitar. Over the course of the year I lived on the couch, I would just pile up tracks at night, keep recording, and that was the last iteration of that song. I love the noise in that song. I always get kind of moved when I hear that part.” ✶ Radio Free Silver Lake presents Fol Chen, Radars to the Sky, and Light FM in a benefit for the Huntington’s Disease Society of America at Spaceland, 1717 Silver Lake Blvd., Silver Lake. Sat., 8:30 p.m. $10. 21+. Fol Chen’s Part 1: John Shade: Your Fortune’s Made releases Tues., Feb. 17, on Asthmatic Kitty. Visit Fol Chen at


SONGS OF EXPERIENCE Timeless makes history with Astatke, Axelrod, Verocai and Dilla By Chris Ziegler Not since The T.A.M.I. Show in 1964, perhaps – with the Beach Boys, the Rolling Stones, Marvin Gaye, James Brown, Smokey Robinson and more – has L.A. hosted such a superconcentration of talent as presented at this spring’s Timeless series, where jazz-funk-fusionhip-hop-symphony visionaries from all over the world will make Cal State L.A. the reverently still center of music for a few moments. Timeless is the latest and most ambitious in a series of projects organized by ArtDontSleep’s Andrew Lojero and photographers B+ and Eric Coleman, working together as the Mochilla collective. Lojero’s enthusiasm swells and breaks even now, except where someone else might say “dude,” he’ll say “sir.” So you can imagine what he can do with a little conversation, and you can marvel at the result – unprecedented showcase performances by Ethio-jazz originator Mulatu Astatke, L.A. super-producer David Axelrod, Brazilian folk-tofunk-to-psych-to-jazz explorer Arthur Verocai – who has never before played

L.A. – and a hometown orchestra performing in honor of Detroit hip-hop visionary J Dilla. Lojero and Mochilla already have a long list of events to their credit – like Keepintime, which paired DJs with the drummers who played their favorite original breakbeats, and Brasilintime, which matched batacuda percussionists to top L.A. producers like Madlib and Babu. Now even the name suggests a new level of possibility – Timeless, with implications Lojero hadn’t even considered until B+ brought them up. “For me,” he says now, “these folks, whether you heard them in the ’60s or 60 years from now, it’s music that will always make sense.” At the end of 2007, he says, he and his collaborators simply began to talk. Back and forth, ideas nonstop, he says now, and when longtime supporter VTech – “There is no way possible this would have happened without them,” says Lojero – became involved, the ideas behind Timeless resolved into solidity. “First you dream on it, and then you speak on it, and then you write on it

Mulatu Astatke and fifteen-piece orchestra, with Cut Chemist, Quantic and Egon, plus special guests TBA at the Luckman Fine Arts Complex at Cal State Los Angeles, 5151 State University Dr., Los Angeles. Sun., 7 p.m. $22.50. All ages. Further information and complete schedule at


Sharon Jones and the Dap-Kings Sunday, January 25 @ Club Nokia Augusta, Georgia, must be a funky place. It’s the hometown of soul’s Godfather, James Brown, but it also has the distinction of raising his heiress apparent, Sharon Jones – the retro soul singer who (with her band the Dap-Kings) brought some much needed humanity to the new Club Nokia at LA Live this past Sunday. Even the club’s prison-yard security philosophy – one checkpoint shy of a cavity search – proved no match for the mighty Miss Jones. Combining early ’60s soul with hints of the radical funk of the JB’s, every second of Jones’ set was high energy – radiating love, passion and joy. Unlike Amy Winehouse, who used the Dap-Kings as the backup band for tracks on her breakout album Back to Black, Jones doesn’t wear the music like an accessory. It’s in her hair, her feet and definitely in her hips. At the age of 53 she is perpetual motion onstage, capable of out-dancing and outlasting anyone in the room. Never afraid to get political – one of her better songs is “What If We All Stopped Paying Taxes?” – Jones was admittedly still reveling in the inauguration of Barack Obama, and the most radical edges of her politics were blunted in favor of thanks. Jones’ sang her gospel wail “Answer Me” as a prayer that already been answered. The same went for her version of Sam Cooke’s haunting “A Change is Gonna Come.” For Jones, change is here. And it’s time to celebrate. –Matthew Fleischer

photo by JEN CALICA

photo by b+


and all of a sudden it’s a reality,” he says. “If you hadn’t seen this event on a flyer, you’d think they were lying!” And you might – it’s a lineup that bends the boundaries of space and time. Within Timeless are three continents, three decades and almost the complete total of two centuries of culture and music. More, maybe – Astatke’s musicological excavations led him to Ethiopian instruments and compositions dating back to 360 A.D., while Dilla’s work is inspiring new evolutions even two years after his death. “Suite for Ma Dukes” is an orchestral interpolation of Dilla work composed by Miguel Atwood-Ferguson and Carlos Nino, slated for release as an album on Dilla’s birthday next year. And with handpicked augmentation from top-ranked locals – like Cut Chemist, Quantic, Houseshoes, J. Rocc, Egon and Madlib – Timeless promises to make a historic connection between generations, too. “For sure by doing this we’re tapping into the spirit of old,” says Lojero. “It’s a whole different lifetime we’re about to tap into. But we’re also about to surge Mulatu and Verocai and Axelrod with our reality. They’re going to see – ‘Wow, this music is not only flourishing but they’ve figured out a whole new way to use it!’” At the end of the day, he says, it’s all jazz. Or a conversation through music, he continues, through Astatke’s Africanized fusion or Verocai’s rich post-tropicalista maximalism – glorious ’60s and ’70s producer-pop presented petal by petal – or Axelrod’s expansive space spirituals or Dilla’s thicketed beatscapes, all personalities fractalized into songs or moments of melodies or sounds divided into their component fundamentals. Like a scientist mixes chemicals, Astatke said once, so does he mix sounds; like Astatke mixes sound, so does Timeless mix the musicians themselves, producing something between a seminar, a symphony and probably an epiphany. Astatke performs this Sunday and further events follow until April. And once they’re done with spring, they’ll be back with something new in the fall. But, says Lojero, “I think I teased enough, didn’t I?”✶


Fri FEB 13 8pm

Patti Austin

performs Avant Gershwin with Gordon Goodwin’s Big Phat Band Songstress extraordinaire Patti Austin brings a Grammy-winning twist to Gershwin with an adventurous big band rendering of his songs.

Media sponsor: Los Angeles Magazine

Sun MAR 1 7:30pm

Tango Fire Trace the history of Argentina’s finest art form - from brothels, through the Roaring ’20s, to the modern ballroom - as these musicians and dancers present an evening of sensuality and passion like no other.

Media sponsor: 89.9 KCRW

Wed MAR 18 8pm

Mariza By popular demand, Portugal’s finest fado singer returns to Walt Disney Concert Hall. Be entranced as her gorgeous and dramatic voice brings to life these evocative, sometimes yearning, sometimes joyous songs.

Generously sponsored by Acura Media sponsor: 89.9 KCRW


Box Office (Tue-Sun, 12-6pm) • Groups (10+) 323.850.2050 Programs, artists, prices and dates subject to change.



Edited by Tom Child


Wednesday: Eagles of Death Metal spread their wings and fly

LA City Beat hand picks calendar selections from among the myriad events that happen weekly in Los Angeles. In order to be considered, please submit all information at least two weeks in advance to or write Calendar / LA City Beat / 5209 Wilshire Blvd. / Los Angeles / 90036. No faxes or phone calls, please.

CLUBS Compiled by Ron Garmon The Aquarius Zodiac Ball and Edwardian Afterparty comes courtesy of the black-clad ghouls at The Malediction Society, who throw their usual Sunday night monster ball on Wilshire. Club Monte Cristo, 3100 Wilshire Blvd., Los Angeles; Sun., 10 p.m.-2 a.m. $8.

Avaland presents the international awesomeness of Dmitri from Paris, superstar DJ and funk-disco remixer supreme. The Avalon, 1735 N. Vine St., Hollywood; avalonhollywood. com. Sat., 10 pm.-7 a.m. $18 presale. Balance rolls out the deep house with Joplin and the entirely edible DJ Dayhota. King King, 6555 Hollywood Blvd., Hollywood, (323) 9605765; Sat., 10 p.m.-4 a.m. $10 before 11 p.m.; $15 after. Club Macho Man is where the boys are Friday nights in Hollywood. Circus Disco, 6655 Santa Monica Blvd., Hollywood, (323) 4621291; Fri., 9 p.m.-4 a.m. $10 presale.

Club Queen Mother is a “postpunk, no wave, gothic rock revolution” unfolding the first Monday of every month at The Medusa Lounge, itself a little bit of heaven in hellish south Silver Lake. With guest DJ Reanimator. The Medusa Lounge, 3211 Beverly Blvd., Silver Lake, (213) 382-5723; Sun., 8 p.m.-2 a.m. $5. Giant presents a gala night for house music fans with Chicago/SF impresario Mark Farina. The Vanguard, 6021 Hollywood Blvd., Hollywood, (323) 463-333; Sat., 9:30 p.m.-4 a.m. $10 presale. Inside Out, presented by Incognito & Friends to the End is a theme party where you get to


wear your underwear outside your clothes. Kazell, Two-Man Mafia and the skin-jobs of Android Cartel bring the beats. King King, 6555 Hollywood Blvd, Hollywood, (323) 960-5765; Fri., 9:30 p.m.-4 a.m. $20 ($15 w/costume) Ultimate Ladies Night with DJ Alex Dreamz, one of the Crooklyn Clan at KIIS-FM. Tatou Supper Club, 331 S. Boylston St., downtown L.A, (213) 482-2000; Fri., 9:30 p.m.-1:30 a.m. $20. Visionshock, billed as the “largest and hottest Asian-American nightclub in the country is at The Vanguard, 6021 Hollywood Blvd., Holywood, (323) 463-3331); Fri., 10 p.m.-

CALENDAR com. $20. Thurs.-Sat., 8 p.m. Closes Sat., Feb. 28.

EDWARDIAN BALL 2009 San Francisco’s Rosin Coven enlists the aid of local jongleurs Cirque Berzerk and The Vau de Vire Society for The Edwardian Ball 2009 an evening of delicious gloom inspired by the gallows bird’s cheer of Edward Gorey. Helios Jive, DJ Xian and more bring the ambient sound, while the patron is transported to a half-conjectural, post-Victorian past all corsetry, moustache wax and basic, indeed, Stygian, black. Tower Theater, 802 S. Broadway, downtown Los Angeles, (323) 931-2997; 8 p.m. $30 general; $75 VIP. (Ron Garmon)

2 a.m. Reserve V.I.P. table at (213) 804-7401. Yoruba Soul’s Osunlade and L.A.’s own Marques Wyatt get out the last ya-yas from a fast-fading weekend. The Vanguard, 6021 Hollywood Blvd., Holywood, (323) 463-3331; Sun., 10:00 p.m.-4 a.m. $10 presale.

MUSIC Compiled by Sarah Tressler Adele, The Wiltern, 3790 Wilshire Blvd., Koreatown, (213) 388-1400; Fri., 8 p.m. $77-$268. Circa Survive, Troubadour, 9081 Santa Monica Blvd., West Hollywood, (310) 2766168; Thurs., 7:30 p.m. $15. Cromwell, Whisky a GoGo, 8901 Sunset Blvd., West Hollywood, (310) 652-4202; Thurs., 6:30 p.m. $10. DJ Quik, Key Club, 9039 W. Sunset Blvd., West Hollywood, (310) 274-5800; keyclub. com. Sat., 8:30 p.m. $25. Hed PE, Key Club, 9039 W. Sunset Blvd., West Hollywood, (310) 274-5800; keyclub. com. Fri., 7 p.m. $15.   Hollywood Roxxx with Switchblade Kitty, The Roxy Theatre, 9009 W. Sunset Blvd., West Hollywood, (310) 276-2222; theroxyonsunset. com. Mon., 8:30 p.m. $15; $10 with flier. I Am Ghost, Di Piazza’s, 5205 E. Pacific Coast Hwy., Long Beach, (562) 498-2461; Wed., 5 p.m. Little Boots, Spaceland, 1717 Silver Lake Blvd., Silver Lake, (323) 661-4380; Wed., 8:30 p.m. $8 advance; $10 at the door. 21+. Los Angeles Philharmonic performs songs from Romeo and Juliet, Walt Disney Concert Hall, 111 S. Grand Ave., Los Angeles, (323) 850-2000; Sun., 2 p.m. $42$147. Mae, Smothers Theater – Pepperdine University, 24255 Pacific Coast Hwy., Malibu, (310) 506-6481; Sat., 8 p.m. $35. Nightmares on Wax, Echoplex, 1154 Glendale, Echo Park, (213) 413-8200; Mon., 8 p.m. $18 in adv., $20 at the door. 18+. Katy Perry, The Wiltern, 3790 Wilshire Blvd., Koreatown, (213) 388-1400; Sat., 8 p.m. $19.50. Miranda Lee Richards, Spaceland, 1717 Silver Lake Blvd., Silver Lake, (323) 6614380; Tues., 9 p.m. $8. Riverboat Gamblers, Alex’s Bar, 2913 E.

Anaheim St., Long Beach, (562) 434-8292; Sat., 9 p.m. $10.

THEATER Compiled by Don Shirley Hunter Gatherers. Two mismatched, mid30s couples (he-man Doug Newell, meek Sara Hennessy, mild-mannered Steven Schub and lascivious Vonessa Martin) mark their wedding anniversaries by unleashing primeval urges in Peter Sinn Nachtrieb’s blisteringly funny comedy. With Dámaso Rodriguez at the helm, and Furious Theatre’s first Actors’ Equity contract, this landmark for the company is a wild night for the audience. Pasadena Playhouse Carrie Hamilton Theatre, 39 S. El Molino Ave., Pasadena, (800) 595-4849; Thurs.-Sat., 8 p.m.; Sun., 7:30 p.m. $30. Closes Sat., Feb. 21. Light Up the Sky. Moss Hart’s behind-thescenes glance at a ’40s Broadway-bound tryout launches several comic sparklers in Bjørn Johnson’s staging. Colin Campbell’s pretentious director is the swishiest ever, and Benjamin Burdick and Andrea Syglowski go for the brassy ring as a producer and his wife. Open Fist Theatre, 6209 Santa Monica Blvd., Hollywood, (323) 882-6912; Fri.-Sat., 8 p.m.; Sun., 3 p.m. $20. Closes Sat., March 7. Macbeth. Los Angeles Theatre Ensemble, recently on a roll with new plays, bombs with an old one. Jonathan Redding’s version of Shakespeare’s shortest tragedy lasts three hours. Macduff’s tank top, in his face-off with period-dressed Macbeth (Alexander Pawlowski), looks especially ridiculous. Powerhouse Theatre, 3116 2nd St., Santa Monica, (800) 595-4849; Thurs.-Sat., 8 p.m. $25. Closes Sat., Feb. 14. Pippin. Roger O. Hirson’s meta-theatrical parable, about a prince whose ambitions outpace his abilities, receives an exuberant makeover from Center Theatre Group and Deaf West Theatre, which imports its usual synthesis of signing and singing. ASL’s use of hands blends well with the efforts of Leading Player (Ty Taylor) and cohorts to beckon Pippin (Michael Arden singing, Tyrone Giordano signing) into going for the gold. Tobin Ost’s scenery is, literally, magical. Composer Stephen Schwartz adds the new “Back Home Again” but deletes the extraordinary “Extraordinary.” With Jeff Calhoun directing and no intermission, the show sags briefly but recoups for its compelling finale. Mark Taper Forum, 135 N. Grand Ave., downtown L.A., (213) 628-2772; See website for showtimes. $20-$80. Closes Sun., March 15. A Skull in Connemara. In Martin McDonagh’s early play, Mick (Morlan Higgins) clears old bones – including those of his departed wife – out of a rural Irish cemetery to make room for the new. Stuart Rogers’ staging is well acted but feels muted and looks literally too dark in act one. Theatre Tribe, 5267 Lankershim Blvd., North Hollywood, (800) 838-3006; theatretribe.

DANCE/COMEDY/ PERFORMANCE Compiled by Sarah Tressler Guillermina Quiroga Dance Company, UCLA – Royce Hall, 340 Royce Dr., Westwood, (310) 825-2101; Wed.-Thurs., 8 p.m. $17$60. Life of the Party with Jay Davis, The Laugh Factory, 8001 Sunset Blvd., West Hollywood, (323) 656-1336; Tues., 10 p.m. $20. 21+.


Jon Lovitz, The Laugh Factory, 8001 Sunset Blvd., West Hollywood, (323) 656-1336, Every Wed., 8 p.m. $20-$30. 21+.


Mystic, Electric Lodge, 1415 Electric Ave., Venice, (800) 838-3006; Fri.Sun., 7 p.m. & 9:30 p.m. $30; $50 VIP. Open Mic, The Laugh Factory, 8001 Sunset Blvd., West Hollywood, (323) 656-1336; Tues., 6:30 p.m. 21+. Patton Oswalt Largo at the Coronet, 366 N. La Cienega Blvd., West Hollywood, (310) 855-0350; Sat., 8:30 p.m. $25. Point Break Live, Dragonfly, 6510 Santa Monica Blvd., Hollywood, (323) 466-6111; Fri., 8 p.m. $20. 21+. The Rudy Casoni Variety Show, Steve Allen Theater, East Hollywood, (323) 666-4268;

Vintage Fashion Expo

All shows are FREE and ALL AGES! For full calendar of events visit: AMOEBA.COM



Celebrating the release of their new album Tonight: Franz Ferdinand – out 1/27 on Domino/Sony! Purchase the CD on Friday, 1/30 and receive a free Franz Ferdinand gift (Gift item to be announced. While they last – day of in-store only.)!

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“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.



Jay Dee’s brother and emerging MC celebrates his new CD Yancey Boys — out now on Delicious Vinyl. “The Dilla beats are a lost goldmine, brought back from the hip-hop sea. Jazzy, soulful, funk; a perfect canvas for Illa to paint on.” – URB



Feb. 7-8

Santa Monica Civic Auditorium Main St. at Pico

Reg. Admission $10 $2 off Reg Adm w ad Sat 10-6, Sun 11-5 Early Buy Sat: 9-10:30 $20 Students Free on Sunday


“… the foursome’s increasingly sharp, in-your-face funk rock (as much Stooges as Puffy AmiYumi) must be as fun to play as it is to witness” – LA Times Their self-titled ablum is out now and part of our Amoeba’s Home Grown independent artist program.


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CALENDAR Wed., 8 p.m. $10.

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What’s Up, Tigerlily? (standup comedy), Cuba Libre Bar, 1745 N. Vermont Ave., Silver Lake, (323) 661-5900. Every Mon., 8 p.m. Free.

ART Compiled by Ron Garmon Bold Cabelleros and Noble Bandidas. Images of glamorous outlaws in Latino popular culture. The Museum of the American West at the Autry National Center, 4700 Western Heritage Way, Los Angeles, (323) 667-2000; Tues.-Sun., 9 a.m.-4:30

EAGLES OF DEATH METAL If the Dictators came from the high desert or Alice Cooper had stayed in Arizona, the guitars would sound about the same but you’d be able to fry an egg on the amplifiers. And although that’s not a diet that lets anybody live to an age where they finally get a respectable golf game, it’s good food for the Eagles of Death Metal, who started simply as an outlet for Jesse Hughes’ throbbing id and who throb now with energy transmitted through licked finger from electric outlet. It’s a heavy band, and you know how that goes – what they wanna do, they do, and who they wanna screw, they screw. With the Living Things at the Music Box @ Henry Fonda Theater, 6126 Hollywood Blvd., Hollywood; Wed., 8 pm. $20. All ages. (Chris Ziegler) p.m. $3-$9; Children under 3, free. The Getty Commodus: Roman Portraits and Modern Copies. Focusing on the provenance of a single bust of the much-reviled Roman emperor. The Getty Center, 1200 Getty Center Dr., Los Angeles, (310) 440-7300; Tues.-Fri., 10 a.m.-5:30 p.m.; Sat., 10 a.m.-9 p.m.; Sun., 10 a.m.-5:30 p.m. Free. Hearst the Collector. Part of the great publisher’s haul is up for view. Los Angeles County Museum of Art (LACMA), 5090 Wilshire Blvd., Los Angeles, (323) 857-6000; Mon−Tues & Thurs., noon-8 p.m.; Fri., noon-9 p.m.; Sat.-Sun., 11 a.m.-8 p.m. $8-$12; Children under 17, free. New Mythologies. Six L.A.-based women artists build new archetypes. Pharmaka 101 W. 5th St., Los Angeles, (213) 689-7799; Wed.-Sat., 1-6 p.m. Free. Oranges and Sardines: Conversations on

Abstract Painting. Six contemporary painters pair their work with the old masters of abstract. Armand Hammer Museum of Art and Cultural Center, 10899 Wilshire Blvd., Los Angeles, (310) 443-7000; Tues.-Wed. & Fri.-Sat., 11a.m.-7p.m.; Thurs., 11a.m.-9p.m.; Sun., 11a.m.-5p.m. Call for cost. She: Original Works by Wallace Berman and Richard Prince. The female archetype is explored by two avant-art reconceptualists. Berman, a counterculture SF figure who died in 1976, is represented by previously unseen works and Prince specializes in projecting girly images onto a 1986 El Camino. Michael Kohn Gallery, 8071 Beverly Blvd., Los Angeles, (323) 658-8088; Tues.-Sat., 10 a.m.-6 p.m. Tae Ho Kang. The painter exhibits fantastically detailed abstracts. Union Center for the Arts, 120 Judge John Aiso St., downtown L.A., (213) 617-3274; Wed.-Sun., noon-5 p.m. Free.


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And other Industry Insiders on “How to get financing in a tough environment, learn packaging, international co-productions, tax structures, accessing soft money” and much, much more Learn the ‘real biz’!


• All Criminal Defense, from Drugs to Murder.






• Want to Smoke Pot on Probation?

Live Interactive Internet classes taught by Hollywood Gurus. FeaturingJames Holt (Executive Producer of MICHAEL CLAYTON, THE WHOLE NINE YARDS, THE PLEDGE, 3000 MILES TO GRACELAND).

• Need a Warrant Recalled?


Vol 07 Issue 05  

January 29, 2009

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