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The follow-up to the critically acclaimed, Witching Hour, Velocifero fully transcends the confines of electro-pop with a fresh wave of distorted soul. Ladytron has redefined the genre they helped create.

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Backed with full string ensembles and horn sections Drama moves Bitter:Sweet confidently into the pop realm. Drama is playful, moving, and sure to become a classic.






LADYTRON Velocifero

The legendary guitar-slinger and founding member of the Dictators and The Del-Lords returns with his first solo album in over a decade. Available 6/10!

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A dark fairy tale encased in a cycle of songs. Jonathan Meiburg’s bold, soaring voice still anchors the songs, which broaden his pastoral prog-folk chaotic celestial mindfuckery into new realms.


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Debut album by this indie-pop duo is a playful synthesis of airy pop melodies and lo-fi indie rock. Recorded with producer Matt Hales (aka aqualung) and mixed by Matt and Ken Thomas (Sigur Ros). Available 6/10!

ED HARCOURT The Beautiful Lie










“His best since Here Be Monsters. Harcourt’s mini-operas pack more incident into their three minutes than many bands manage in a career. A fine songwriter with the flourishes of master showman.” — Q Magazine

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JUNE 5~11, 2008

EDITORIAL Acting Editor Rebecca Schoenkopf News Editor Alan Mittelstaedt Film Editor Andy Klein Calendar Editor Alfred Lee Editorial Contributors Donnell Alexander, Paul Birchall, Michael Collins, André Coleman, Cole Coonce, Mark Cromer, Perry Crowe, Mick Farren, Richard Foss, Ron Garmon, Andrew Gumbel, Tom Hayden, Bill Holdship, Jessica Hundley, Chip Jacobs, Mark Keizer, Carl Kozlowski, Wade Major, Allison Milionis, Anthony Miller, Chris Morris, Amy Nicholson, Arrissia Owen Turner, Donna Perlmutter, Joe Piasecki, Neal Pollack, Ted Rall, Erika Schickel, Don Shirley, Kirk Silsbee, Brent Simon, Joshua Sindell, Don Waller, Jim Washburn Calendar Assistant Ayse Arf Editorial Interns Ed Carrasco, Alexander Comisar, Emma Gallegos, Sylvia Masuda, Daniel Stainkamp, Carman Tse ART Art Director Paul Takizawa Web & Print Production Manager Meghan Quinn Advertising Art Director Sandy Wachs Classified Production Artist Tac Phun Contributing Artists and Photographers Jordan Crane, Scott Gandell, Max S. Gerber, John Gilhooley, Alexx Henry, Maura Lanahan, Gary Leonard, Melodie McDaniel, Nathan Ota, Ethan Pines, Gregg Segal, Elliott Shaffner, Bill Smith, Ted Soqui ADVERTISING Director of Business Development Joe Cloninger Retail Sales Manager Diana James Co-op Advertising Director Spencer Cooper Music & Entertainment Sales Manager Jon Bookatz Account Executives Norma Azucena, Daphne Marina, John Metzner Susan Uhrlass, and Carl Wolf Classified Supervisor Michael Defilippo Classified Account Executives Sarah Fink, Jason Rinka BUSINESS VP of Operations David Comden

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

VO L U M E 6 ~ N O . 2 3 <============ COVER============>

15 Mick’s Media. Mick Farren is disappointed: Billie Piper in little but shoes and stockings, and all that Vaseline gumming up the lens.

10 Your Big Gay June Wedding! L.A. CityBeat is not afraid to be servicey! We sent Coco Tanaka to the pros to find out how to plan your For Real nuptials. Yay, you! Mazel tov!

16 Books. Anthony Miller on Rudy Wurlitzer’s latest, and a remembrance of Oakley Hall, in Pages.

21 Eat. Kim Lachance gives you the jump on where to buy your gay wedding cake, and Richard Foss finds a week of sweet booze, in Bites!

22 Film. The horror! Andy Klein hides his eyes during Mother of Tears and Stuck. Latest Reviews 24 Special Screenings 30



L.A. Sniper. Alan Mittelstaedt plays spin the bottle with L.A. leaders’ jobs. Salma Hayek for mayor!


9 Third Degree. Then Alan talks to Westside

7 Days and Listings. Alfred Lee runs through your week, while Daniel Stainkamp goes soft on crime.

Assemblyman Mike Feuer in maybe the sweetest Third Degree yet, all about transportation and his nice old Dad.

Nightbeat 35



Free Will Astrology. The world’s best horoscope, for free.

Letters & Letter from the Editrix. Oh, look. Hillary Clinton wants to be Vice President. I wonder what I think about that? Plus, a CityBeat exclusive cartoon from Ted Rall!

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Classified 39 Backbeat 47

Live. We give you two live reviews this week, including this one by Joshua Sindell on Swervedriver, because we are feeling generous.




Stage. What does Don Shirley think of Norman’s Ark and Natural Selection? I will let you find out all by yourself.

Live Reviews. Ron Garmon stands for R.E.M.

Bob Aul illustrated our take on your big gay June wedding. Get it? Because Al on the couch there is a lady! It’s funny, right? Oh, come on. It’s hilarious.

Controller Michael Nagami Human Resources Manager Andrea Baker


Accounting Ginger Wang, Archie Iskaq, Tracy Lowe, Christie Lee, Angela Wang (Supervisor) Circulation Supervisor Andrew Jackson Front Office Managers Sheila Mendes Coleman, Candon Murry Executive Publisher Charles N. Gerencser Los Angeles CityBeat newspaper is published every Thursday and is available free at locations throughout Los Angeles and the San Fernando Valley. Circulation: 100,000. One copy per reader, additional copies are $10 each. Copyright: No articles, illustrations, photographs, or other editorial matter or advertisements herein may be reproduced without written permission of copyright owner. All rights reserved, 2008.

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★★★★★★★★ ★

Blood and Mucous Laughed so hard coffee almost came out my nose! [Letter from the Editrix: Blood and Honor] So it’s just ME! I should have thought so in the first place. --“CHER” VIA LACITYBEAT.COM

Crossing Dorsey This a good example of a solution looking for a problem [“Derailment Dreams,” May 29]. Damien Goodmon is a neighborhood activist who is looking for a cause to gain political recognition and is making a big deal out of nothing. He has cost us $250,000 to start. The grade separations at USC, La Brea, La Cienega and Culver City have many thousands of cars passing an hour with complicated intersections. If not separated there would be traffic delays even with only a 30-second period with the gates down as the cars passed. This is not the case at the Dorsey crossing. Is Damien trying to tell us that the stu-





dents are not smart enough to stay out of the way of an approaching train even with gates blocking their way? Somehow the students have figured out how to stay out of the street when cars are coming. These are bright high school students; give them some credit and don’t use them as pawns to gain political power. There are many other surface LRT lines that pass schools, and somehow the line does not put at risk the students any more than crossing a street. The MTA, the construction authority and the PUC had it right the first time with allowing an at grade crossing. Even if the money were there a grade separation should not be built. P.S.: I prepared the above when I first heard Damien’s comments and I have little to add except that the grade separations were based on the number of cars that would be affected by the line, not by an activist looking for a problem. The new Gold East L.A. Line passes two high schools and there will be no gates at the crossings. There are about the same number of staCITYBEAT









The Long Goodbye ......................................


ell, of course Hillary Clinton wants to be Vice President! I mean, we all remember that JFK didn’t even get assassinated until November! Oh, I’m sorry. I’m being Bitter again, and only the Clintonites are allowed to be angry. After all, Barack Obama did call that reporter “sweetie,” which was condescending, when any man reporter whose name he didn’t know would have gotten a “buddy,” which isn’t condescending at all! I put away my Hillary hate for a while – first off, she looks absolutely gorgeous, and we are Americans, and packaging matters. Second, once she started stealing John Edwards’s platform, she sounded like a really good progressive. Third, as soon as her image consultants taught her to smile once in a while, well, I rather liked her a lot! A few of her policies are even better than Obama’s – domestic policies, anyway, since she still seems determined to invade the Falklands at her earliest convenience. But her nasty campaign didn’t net her many friends: saying John McCain was better equipped than Obama to be president; slipping in racist asides whenever she could plausibly deny them later; playing the wide-eyed ingénue who apologized to the Kennedy family the fourth time she insinuated (deniably) that Obama would get picked off by a member of her New Confederate Army should he be so uppity as to win; being as unable as George W. Bush to ever admit a mistake; and stoking her righteous biddies’ indignance long after her campaign had a chance. Hillary Clinton? You’re worse than Ralph Nader. Here is something Hillary did not do: When she touted her support among “hardworking white Americans,” I don’t believe she meant to compare the quality of their work ethics to black Americans’; she probably was thinking “lower-class” white and stopped herself – awkwardly – from calling her supporters “uneducated shitbags.” But here is something she did do: She touted her support among uneducated shitbags and never once stood up and said, “Oh, by the way: If you’re supporting me because I’m not black, you really might want to rethink that.” She just said they’ll vote for me but not for him, and she ran. And now I get to watch on my teevee the talking heads nattering on about What Hillary Wants, because nobody must hurt her tender feelings. I watched last night as pundits proclaimed my Barry must make the Clinton supporters feel “cared for and appreciated.” What is this? A Cathy cartoon? I thought she was supposed to be the Iron Lady Redux! Hell, the Clintons weren’t even going to let Jerry Brown speak at the ’92 Democratic Convention, but Hillary must be given Time to Come to Terms and Grieve Her Loss – as opposed to the past month, when she could have been Coming to Terms and Grieving Her Big Fat Ass Off. And now she’s taking hostages, because she is klassy-with-a-k. She is classless, and graceless, and throwing temper tantrums like a spoiled little girl. Do you really think she wouldn’t undermine President Obama every chance she got? Do you really think she’d take orders from this Inadequate Black Male? Do you think she and that husband of hers wouldn’t be plotting like the turkey-basted child of Eve Harrington and the Lady Macbeth every second of the day? It’s our time. It’s our time to shine. And no, lower-class whites, Barack Obama wasn’t talking about how black people are going to take away all your perquisites of white citizenship. He was talking, obviously, about the Goonies. ✶




tions, spacing between stations, schools and grade separations in phase I as in phase II. The Sepulveda Venice detour was/is a NIMBY ploy to kill or keep the line away from them and should no more be considered than a grade separation at Farmdale. The crossing is so minor it does not even rate a traffic signal. --“ALAN” VIA LACITYBEAT.COM For the record, I did not post the comment by “Alan” on 5/29/08 @ 6:56 p.m. I rarely leave comments, but when I do, I always use my full name. --ALAN MITTELSTAEDT VIA LACITYBEAT.COM I have a simple solution: close down Dorsey High and move it somewhere else. Now that would protect the kids. --“RELUCTANTPOPSTAR” VIA LACITYBEAT.COM

Black Fly, Chardonnay JUNE 5~11, 2008

I am puzzled why CityBeat failed to cover the June 3 statewide ballot. I used to rely on CityBeat for a heads up about local politics. This time around, I first read about Prop. 98 through the voters pamphlet!!! (Subsequent articles – two – in L.A. Weekly filled in the blanks, thankfully.) The irony is I used to consider the music and movie sections to be the weak part about this publication. --“BORE84” VIA LACITYBEAT.COM

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F R O N T L I N E S ★












Start the Revolution Some marching orders for L.A.’s leaders and celebs ~ B Y A L A N M I T T E L S TA E D T ~ LET’S CUT L.A.’S POLITICIANS SOME slack. They aren’t really a cage full of inept, ethically bankrupt, power-mad egomaniacs out for themselves every moment of the day. And maybe not even during every waking hour. Cut to their core and we’d find more human than weasel. Here’s the real problem overlooked all these years, as the skies filled with killer particulates, as teachers abandoned students and roads gummed up with too many cars: We’ve got a bunch of very talented leaders in L.A., they just aren’t in the right jobs. Plus, some highachievers should be drafted to clean up messes created by the worst ones. And L.A. should tap into real star power for a roster that would make us a truly worldclass city.

MIKE FEUER Old job: Assemblyman, 42nd District New job: Cardinal, Archdiocese of Los Angeles Face it, it probably will take a Jew to rid the house that Roger Mahony built of the filth and moral decay caked on the marble columns and altars from Santa Barbara to San Pedro. Mike’s doing good work in Sacramento, but this higher calling beckons. As a Jew, Mike won’t get too bogged down in meaningless doctrinal disputes. The big plus: When was the last time you heard of a Jew molesting anyone? We can expect him to be zero-tolerant when it comes to very un-priest-like sex acts with children. And, in homage to Capturing the Friedmans, the 2003 documentary about the 1980s molestation case against Arnold Friedman and his son Jesse, which is, by the way, the last highprofile case involving Jewish molesters, maybe Mike can produce Capturing Mahony, a fundraising film with a hopeful ti-

tle as a way to help pay for the billions in settlement and legal fees run up by the scandal. Who knows, this righteous calling could even appeal to Mike’s sense of, well, superiority, which rankled some of his colleagues on the City Council back in the day. Be nice to Mike. We expect the job transition to have some rough spots given the strong religious fervor gripping the country right now. But, in the end, he may discover more commonality between Judaism and Catholicism. After all, they both have the guilt thing going strong.

SALMA HAYEK Old job: Executive producer, Ugly Betty New job: Mayor, city of Los Angeles Oh, how we all wanted it to be true when we saw the Newsweek cover of Mayor V on the beach right after he won the city’s top job in 2005. Finally, after a string of bureaucrats and people-averse politicians, L.A.’s mayor was a star, with his future bright and shining. But the tarnish really built up in four years. We now know that what we need is a mayor with both star quality and a powerful mind at ease with the top issues of the day. Fiercely independent, the 41-yearold executive producer of Ugly Betty is one of the best-looking people in Hollywood and can deliver rousing speeches without resorting to note cards. She can pull us from our civic funk and deliver on a dream or two. When she arrived here from Mexico more than a decade ago with already a well-earned acting reputation, she showed the humanity and modesty we haven’t seen at City Hall in years. She’s gone on to testify before the House Judiciary Committee on behalf of battered women and before a congressional subcomJUNE 5~11, 2008

mittee advocating for immigrants’ rights. Can you imagine the current occupant of the Getty House ever saying what she told Movieline in 1997: “I kept thinking, I’m famous, but am I good?”

BILL BRATTON AND LAURA CHICK Old jobs: Police Chief and City Controller New jobs: Co-superintendents, L.A. Unified Where are the federal judges and their consent decrees when you need them? Most of L.A. Unified’s key players, including the union that protects a boatload of bad teachers who should be shipped off to oblivion, must go. No better team exists in L.A. to root out the deplorable conditions and nourish the flowers of reform than the police chief and the city’s meanest woman. Laura can shine the light on classroom failures and district office fraud in a series of six audits her first year, from exposing third-world conditions in classrooms to the short work days of countless administrators. One audit will simply show how many cars are parked in the district garage after 5:01 p.m. every day. Another how many classes start late as teachers wander in without their wits or lesson plans. And the chief, who showed his mettle by admitting within 24 hours that his force blew it during the police-induced May Day riot in 2007, will take names and bounce heads on his way to returning discipline to the schools – and district offices. Maybe one of them can even figure out how to bust up the district without falling prey to the S.F. Valley rightleaning ideologues out to tear the city apart. But the first assignment for Su-

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perintendents Bill and Laura will be to become role models for students struggling with the difference between right and wrong before moving on to the Pythagorean theorem.

HELEN MIRREN Old job: Actress, Prime Suspect and The Queen New job: Police chief, city of Los Angeles Tough, independent and one of the deepest thinkers in Hollywood, Mirren will sweep into Parker Center with the presence of, well, a queen. She is unflappable, unwavering, and will stand as tall against the influences of gangs as she will ward off interference from the Mayor’s Office and City Council. In real life, she hails from Russian aristocracy and probably has read more of the classics than 95 percent of our city’s leaders combined. Her uncompromising and tenacious character Detective Chief Inspector Jane Tennison in Prime Suspect will show the strong-willed battery of deputy chiefs who’s boss. And she can at least act like she possesses the split personality needed at the top. In a New Yorker profile, she talked of her role in The Queen, and could have been talking about the top cop job. “I didn’t want to sublimate my ego, my vanity. You know that kind of ensemble feeling – ‘We’re all in this together.’ No, actually, we’re not all in this together. I am the queen. I am the star, and, you know, suck it up.” Then she went on to try to have it both ways: “I don’t behave like that at work. I’m no Ethel Merman.” The bad guys, whether on the street or at City Hall, will never beat no-nonsense Dame Helen. And that includes the whiny fellows at the Police Protective League. ➽


(Sniper cont’d)

ANTONIO VILLARAIGOSA Old job: Mayor New job: Peanut man, Dodger Stadium, field level Compare Mayor V’s promises to his accomplishments, and he usually comes up shy of his goals by at least 50 feet or so. If this were Dodger Stadium, that would land the mayor right about in the field level section. Let him stay there for a season or two. He seems happiest when mixing with the public anyways. What better stage for his sparkling personality than to strap a heavy box of peanuts around his neck and watch him provide Dodger fans with instant gratification? This venue also will give us a chance to see if the mayor really has a heart. Will he spot a poor kid enough money for a $4.50 bag of peanuts – without calling a pre-game press conference to laud his selflessness?

ACE SMITH Old job: Campaign consultant New job: Theology professor, Fuller Seminary The guru of opposition research, Ace makes the world around us a little less civil every time he jumps in a race. Instead of forcing him to choose between two of his beloved clients – Jerry Brown and Mayor V – when they run against each other for governor in 2010, and fret over whose secrets he’ll divulge, Ace finds a tenured professorship as a theology professor at Fuller Seminary in Pasadena. He can take his gutter-raking talents to new depths and do an archeological dig or two. Let him rid so many Americans of the religious beliefs they cling to in times like these with classes like this one: “Abraham’s stash of hallucinogens and where the crazy-ass voice telling him to kill his son really came from.”


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Old job: Superintendent, L.A. Unified New job: Day laborer, Echo Park The namby-pamby school board can’t get up the nerve to do it, so I will. Admiral, here are your walking papers. Your next job: cleaning up the Echo Park neighborhood laid waste by L.A. Unified. Row after row of once-beautiful Craftsman homes near Sunset and Marathon, where your district says an elementary school is badly needed even though enrollments are falling faster than morale and student achievement, lie in near ruin. Graffiti, broken windows, and the general decay caused by years of inattention stand – barely – as a testimony to all that’s wrong with L.A. Unified. Your job is to shore up and protect the neighborhood, and maybe call in the city building and safety department to cite the school district for unsafe, unsightly conditions created by this stalled, unneeded project.

LEROY BACA Old job: Sheriff, L.A. County New job: Owner, the Healing Reefer, West Hollywood Hey, I have no evidence that our sheriff is a pothead, but sometimes you can’t help but wish he were high when he orders his deputies to carry that Zen-like code of conduct in their wallets and yet seems to ignore it in his dealings with celebrities.

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Old job: County Counsel New job: Doorman, Standard Hotel Few people have ever heard of Raymond. He’s the enabler who often feeds the county supervisors shoddy legal advice that allows them to go into closed session to conduct the public’s business without the glare of scrutiny. He must learn how to open doors to the public, even when he knows his bosses would probably like to nail them shut for privacy. At this popular hotel, he’ll push open the door 500 times or more on a good day.

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Old Job: 11th District City Councilman New job: Sheriff, L.A. County With his booming voice and big frame, Bill only needs a uniform and a badge to strike a model of authority. Plus, as the lone voice on the City Council who fought, and lost, and was later vindicated by a higher court, on behalf of the hundreds of mostly elderly and infirm tenants evicted from the WWIIera Lincoln Place apartment village in Venice three years ago, Bill’s earned his stripes. He takes the high road – even when it means leaving all of his colleagues behind.

ZEV YAROSLAVSKY Old job: County Supervisor New job: CEO of King/Harbor Medical Center Look, despite the noises emanating for months from the blogosphere, this guy isn’t running for mayor next year. He should resign from the Board of Supervisors and move to a vacant wing of King/Harbor Medical Center and plot, around the clock, the opening of the hospital needed by 1 million people of South L.A. His new contract will call for him to manage the hospital for five years. As for his replacement on the board: I appoint Bernard Parks, who got fewer votes than Mark Ridley-Thomas in Tuesday’s election. Maybe Yvonne Burke can find him a suitable rental in the third district to make it all seem perfectly legal.

ROGER MAHONY Old job: Cardinal, Los Angeles Archdiocese New job: Chaplain, San Quentin’s death row This dank unit overlooking the bay will probably be the closest that our fallen disciple Roger gets to his just fate as the world-class protector of priests who sexually assaulted hundreds of boys and girls. He’ll need to surrender his red robes for orange ones. ✶

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Mike Feuer The war on congestion, his Schwinn Stingray and playing catch with his dad

IN JANUARY, EX-SANTA MONICA Mayor Denny Zane convened a gathering of civic leaders to talk about jump-starting plans to fund the region’s transportation system. Westside Assemblyman Mike Feuer delivered one of the more inspirational speeches of the day, talking up his specific legislation, while others talked generalities. Now, five months later, Feuer takes stock of his legislative agenda. Three of his bills have passed the Assembly and will be taken up by the Senate, including one that would make it easier for Los Angeles to set up special districts along transit corridors to pay for projects. Another idea – lowering the number of votes needed to pass a sales-tax increase – from two-thirds of the electorate to 55 percent – is on hold because of Republican opposition. Feuer talked about his legislative battles, L.A.’s troubled transit past, and the inspiration of his father, a World War II prisoner of war and a longtime school principal. –Alan Mittelstaedt CityBeat: Everybody loves to complain about traffic. But can’t it be amusing sometimes, too? Mike Feuer: One time, while I was on the City Council, I had meetings downtown in the evening and was running late for a father-son T-ball game. I changed almost all of my clothes while I was in my car on my way to the game. When traffic isn’t moving for 10 minutes at a time, you can accomplish a lot. You laid out a grand plan that January day. What came of it? Each of the three bills on the way to the Senate offers an opportunity to Los Angeles, and in one case cities throughout the state, to adopt a different approach to funding transportation. The bill that would be applicable to the entire state is a tool called Infrastructure Financing Districts. My bill would remove a key impediment to using IFDs – the two-thirds voting requirement – for affected property owners because the funding comes from a portion of existing property taxes, and there is no new tax levy being imposed on anyone. The climate change mitigation bill would allow Los Angeles County, through the MTA, to ask voters whether they would like to assess themselves a fee, either on a gallon of

3rd D e g r e e

gasoline or on a vehicle license fee, to fund public transit and road improvements. The amount of money at stake is enormous – $400 million to $600 million a year. The third bill would enable the MTA and the county of L.A. to put before the voters a proposal for a half-cent sales tax by a two-thirds vote to fund an array of essential public transit and highway projects delineated in the bill.

Who in Washington is doing what you’re doing in Sacramento? There are certainly many members of Congress who have performed critical roles and continue to do so on transportation issues. Lucille Roybal-Allard is a very key member of the California delegation on these issues. Howard Berman has been crucial when it came to a carpool lane on the 405 freeway. Our senators have been very important. All these people and others will be very critical in the year to come because very soon there will be reauthorization of federal transportation dollars. There will be a tremendous need for teamwork. And Henry Waxman has been so crucial on air quality issues. And increasingly, everybody recognizes the deep rela-

tionship between transportation and curbing our air pollution here. And Adam Schiff and David Dreier have been very important for people who advocate for the Gold Line in the San Gabriel Valley. Any dark moments in the last two decades of transportation history that you would change if you had a magic wand? I wish very much that L.A. had built the subway system that L.A. needs 30 years ago. It would have been much less expensive. We would have had tremendous reductions in serious illness from air pollution. God knows what we could have achieved economically and even in terms of keeping families together, instead of relegating commuters to waste hours in traffic. In three hours or less, what kept that from happening? Elected officials have not been nearly as unified around key transportation goals as we should be. There is a perception in Sacramento and Washington that we in L.A. historically haven’t had our act together. How seriously are you considering a run for City Attorney next year?

How did he end up as an educator? One day, he and I were playing catch at Parkside School. I was in high school, and I remember asking him why he chose his job. He had told me bits and pieces of what it was like to be in the camp before. But he began to describe the march, as the Nazis were running from the Americans who were coming to liberate the camp at the end of the war. And my dad couldn’t walk, so the Nazis wanted to amputate his feet and leave him behind. My dad was 22 years old, and he didn’t want that. So he hung onto an oxcart. Picture this long line of people walking across the entire country of Austria in the snow and then about a mile behind them, one guard, one German shepherd and one guy holding onto this cart being dragged across the plain. My dad told me, having endured the war and thinking he was going to die, he wanted to do the most important work in the world. And my dad, as you know, is a ferociously brilliant guy. For him, that work was the training of kids. He became a teacher and then a school principal. For 36 years, he was an educator. And he still volunteers in public schools here in Los Angeles. He was 85 years old on May 20. Did that get you thinking about your own career? My ambition grew from that conversation actually. Ambition means a search to make the biggest impact you can in a short time. That lesson, to find the most important work in the world, led me in a little different direction than my father. ✶


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I was a reporter in San Bernardino back in the mid-1980s and used to stop in and chat with your father when he was principal of Parkside Elementary School. I went to Parkside before my father was principal there. On weekends, I’d sneak onto campus and ride my Schwinn Stingray there. Are you more ambitious than your father? No, we’re ambitious in different ways. My dad was a prisoner of war during World War II. He’d been a turret gunner in a B-24 bomber, which had been shot down on his last mission. He parachuted for the first time in his life and he landed really hard on his feet and he couldn’t walk. He was captured by the Nazis and taken to Stalag 17. Being Jewish in the camp was obviously a horrible experience. But that was a formative time for him. He developed a profound commitment to changing the world by educating kids.

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I’ve been asked to run by many folks. I’m thinking about it, but I haven’t decided. Things are going really well in Sacramento, and I love my job. So there are two good choices.

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• 10 • JUNE 5-11, 2008


The pros give their tips on how to plan your June wedding. (Be prepared to blow through that double-income/no-kids fund right quick.)



few glorious hours after gay citizens were granted the right to have a big, fat, pricey wedding (all legal-like, just like the straights!), Jonathan came home to his West Hollywood apartment and popped the question to Simon. (Last names withheld to protect against nutters.) “I thought about doing a big, full-blown production of a proposal,” Jon says. “But asking on the day the decision came down just seemed right. I thought, ‘We’ve been given this chance – what am I waiting for?’” On May 15, the California Supreme Court agreed that he’d waited long enough. After years of settling for the not-quite-marriage of domestic partnerships (which smacks of something one enjoys with roommates or cats) consecrated with “civil ceremonies,” a wedding facsimile that sounds more like a naturalization banquet than a declaration of everlasting devotion, a 4-3 majority decided that gays have the right to enjoy what dramatist Terrence McNally recently called “the final civil right; the right to love as anyone else loves.” There will be dinging and donging of chapel bells aplenty come June 17 – assuming, of course, nothing goes terribly awry before then. Because while thousands of committed couples wept with joy in the streets of the state’s major cities, far righties bit their lips and stayed the course, as they are wont to do: There’s no crying in hardball! The morality armies mobilized quickly, promising that voters would see a November ballot initiative to amend the state Constitution to prohibit same-sex unions. If I were a gambling woman, I’d put my money on “that’s not gonna happen.” But just in case, that gives gays across all 50 states nearly five months to head west and make it honest – unlike Massachusetts, the first state to sanctify gay marriage, California will marry out-of-staters as well as its own. (Governor Schwarzenegger joked on the square that same-sex bliss benefactions could provide the economy with a much needed adrenaline boost.) Good luck sorting that out should the amendment pass, but we’ll march across that bridge if

and when we come to it. In the meantime, for Jonathan and Simon, Ellen and Portia, George Takei and whomever, and the masses of other couples ready to fire the bridal registry gun at matching Missoni towels, the June-to-November wedding season just got a whole lot gayer.

The To-Do List, Like Your Love, Will Never End


avigating the straight-centric tides of the Los Angeles “I do” industry is difficult enough without a political hourglass hastening the planning (and who knows what happens when the top half is drained). Time is of the essence, but fear not! Planning your fabulous gay wedding is all too doable in a matter of months, even weeks, so the coveted summertime nuptials are still yours for the vowing. Just like mom said, it’s all about knowing thyself and then knowing the right people – and awww, you’ve already met the most important one. After whipping up a budget, bursting a blood vessel over the bottom line, and cursing the clever bastard who invented individual fork rentals, get over it. You could move to Belgium, where gay marriage is super, the economy is swell and the beer is better, or you could accept the fork rental fee as the inevitable price you pay to make the best day of your life undeniably gay-lorious in L.A., and count on that Bloomingdale’s registry to land you some sweet consolation Kate Spade china. A slew of nominally “gay-friendly” venues and vendors are easily unearthed on handy jumpstart e-guides such as and, but all the Google searches in the world can’t compete with the hard-won expertise of a bona fide wedding coordinator: someone who can assist in everything from securing two dozen calla lily centerpieces to finding a gayfriendly calligrapher for your invitations. (Pressed for time, invites may seem like an unnecessary expense, but fancy

JUNE 5-11, 2008

stationery is crucial for your loved ones’ scrapbooks – and like Stephen Colbert said, perhaps the courts keep seeing so much gay stuff in the Constitution because of the flamboyant calligraphy used to write much of it.) Aside from double the Lhuillier gowns or a few “you may kiss the groom” protocol switcheroos, the planning process for a same-sex wedding is just the same as it would be for a boy-meets-girl gala, even when planning in a rush. Carol Rosen, a Bel Air-based event planner ( who has served as president of the Association of Bridal Consultants of Greater L.A. and is the incoming prez of the International Special Events Society, says that samesex couples generally shy away from the kitschy rainbow-hued roses and Cher tribute troupes stereotypically associated with gay fetes. Instead, they look to the traditional cake-and-Veuve affairs of their hetero counterparts for inspiration. In every civil ceremony she’s planned (all for lesbians, by chance), the bottom line has been a traditional one indeed: Keep it classy. “In my experience, same-sex couples want to be tasteful, and they want to be surrounded by people who really adore them. They’re not inviting anyone because it’s a business obligation,” she says. Twenty-five years of party planning has garnered Rosen an enviable Rolodex of vendor contacts, and she is quick to rattle off the immediate musts of any planning process: “When you go to Africa, you make sure you see the ‘big five,’ right? This is just like that. Nail the big stuff as soon as possible: venue, photography, officiant, floral, music.” At this point, booking a date at your dream location during peak wedding season is about as easy as landing Lakers-Celtics floor seats, and straight couples have had the advantage of time to selfishly reserve many of L.A.’s ultra-desirable locales. Pairs wanting the overboard Elton treatment (you love your neighbors, but you also want them to writhe with jealousy upon seeing your eight-tier buttercream cake) may have to opt for a Thursday event if the Beverly Hills Hotel is the only venue that’ll cut it. Tying the knot at the romance-saturated spot would be well worth it, even on a school night. The


Art Deco marvel is the big daddy on Rosen’s list when it comes to hotel weddings – “The chandeliers in the Crystal Ballroom are just stunning,” she raves, recalling a wedding in which she employed a few clever lighting tricks to make those chandeliers cast a pink glow. Hotels boast the huge advantage of having everything onsite, as well as the strong possibility of not having to worry about catering. “At a hotel or a restaurant, if you need another table, you get another table. If you’re off-premises and you’re short a table, you’re in trouble.” She also gives shout-outs to celeb-heavy spots such as Hotel Casa del Mar and Shutters, and to the Oviatt rooftop downtown, a perfectly intimate hideaway ideal for a private affair. Hard, unfair truth: Two grooms and no bride still equals a marginal gawker factor. When the guest list is lengthy and the budget is ample (there’s still time to rent a tent, big spenders!), think outside the ballroom and off the radar. For alfresco venues, Rosen has a soft spot for Greystone Park in Beverly Hills, the to-die-for Gothic English enclave where parts of There Will Be Blood were filmed, and the newish Ambassador West in Pasadena. Be warned, these venues are not for the shallow of pocket: “Off-premises is just about double what it costs in a hotel ballroom – how do you like them bananas?” says Rosen. The lesson? To hell with Martha Stewart cookiecutter, and know your limits. “You can’t have 150 people at the Beverly Hills Hotel for $10,000, so don’t try. Turn it around, go in a different direction,” says Rosen. “You really don’t want to do a poor man’s version of a Beverly Hills Hotel wedding.” And don’t underestimate the beautiful often inherent in the seemingly bizarre. Rosen recently planned a wedding in the elephantpeppered African mammal room at the Natural History Museum, and also plugs the consideration of simple, meaningful venues like the proposal spot for the ceremony, or a first-date eatery for the reception. After calling dibs on a venue, the rest of the checklist will seem like smooth sailing. If a picture is worth a thousand words, then the wedding album is the complete works of Proust. Hiring a quality photographer to document the mothers of ➤

the brides, the big smooch or the celebratory Hora is one of the big musts of the planning process, and the sooner, the better. Take the time to do your homework: Ask to see an entire proof set from a same-sex wedding shot by the photographer, and tally the number of frame-worthy keepers in the bunch. Julie Nixon, who heads up Cherished Vows Wedding Chapel in Torrance, recommends getting to know your shutterbug at an engagement shoot. “You don’t want your wedding day to be the first time you’re professionally photographed,” she says. “The couple has to trust you and be relaxed – and if they don’t, it will definitely show in their pictures.” Since the decision came down, Cherished Vows has become elopement headquarters for couples traveling from as far as New Orleans and Iowa, thanks to their one-stop-shop approach: Not only do they have an arsenal of photogs who specialize in shooting gay and lesbian weddings all over L.A., they’re also authorized to issue marriage licenses and wed couples on the spot at their private chapel ( Instead of scouring the Internet for a last-minute gay-wedding officiant, more and more couples are giving the marrying rights to close friends instead of standard clergy. “Having a friend marry you is a beautiful way to personalize a wedding,” Rosen says. “You can go online and get certified, and it’s totally legal.” The American Council of Wedding Officiants credential is kosher most everywhere in the nation. It’ll cost you about 40 bucks and 10 minutes, and you’re guaranteed to avert both embarrassing surname mispronunciations and stuttering “I now pronounce you husband and wi … uh …” errors. When it comes to flower power, summer weddings call for serious blooms, so don’t be afraid to bust out the bold and the beautiful. Oranges, hot pinks, reds and yellows are all the rage this season at flower shops like WeHo’s Conroy’s (310-855-0102), which is open for business for planning speedy gay nuptials. Popular warm weather blossoms include orchids, dahlias, zinnias and the obvious roses. While the style and shade can make or break the tone of the wedding (creamy white calla lilies exude unfussy elegance, while vivid purple rose bouquets have a bit more “we’re here, we’re queer, we have fantastic taste” to them), don’t be afraid to dial down the petals. Under time constraints, the floral component is a good place to wax creative – there’s a reason most brides set aside 20 percent of their total budget for flowers, and most brides have much more time. “It doesn’t matter what the sex of the couple or the crowd is – a good band is a good band, one that can get ’em up and dancing,” Rosen says. Avoid booking an Old School-style wedding singer with Tourette’s by checking out the band ahead of time and meeting with a music coordinator, someone with the know-how to create a timeline, help with song selection and have the good sense to talk you out of “In-A-Gadda-DaVida” for your ceremony selection. Oprahapproved de Bois Entertainment (www. has been the go-to get-down source for everyone from Larry King to Lisa Kudrow, with myriad bands and DJs to choose from, and a music

arsenal that includes everything from Bette to Beyoncé. Those requiring a little whump whump house music (clichés aside, who doesn’t?) can also hit up de Bois for a postband DJ. Of course, planning doesn’t stop after locking down “the big five.” There’s the grub to think of, the cake, the table favors and the transportation (how so many people plan more than one of these, I have no idea) but the main font of fabulosity is still going to boil down to two priorities:

and are planning August vows at a friend’s Santa Monica home (“We were planning a wedding anyway, and now that we can have the real deal, it feels like Christmas came early!” says Ramirez), the carbon footprint of their commitment is crucial. “This is one of the most important days of our lives, and we want it to reflect who we are, so that our friends leave and say, ‘That was totally Maria and Kate,’” says Ramirez, a personal trainer. “We don’t need a big Beckham wedding, and we don’t necessarily want

the ones exchanging the rings. “Gay or straight, a great wedding is all about the principals’ love for each other. I’m just here to hand-hold and make sure they know all their options,” Rosen says. Come midJune, she’s looking forward to expanding her services (which start at $2,500) to more gay weddings, and beams at the idea of two people publicly expressing their mutual adoration. “Once you get married, and you have the ceremony and sign the paper, there’s an internal shift: You’ve really accepted responsibility for each other’s welfare. There’s no walking away, you’ve committed.”

everyone we’ve ever worked with watching us go down the aisle. We’re going for intimate, ecologically sound, and … frugal.” The couple, both in their late 20s, picked an outdoor location with plenty of flora already in place, opted for tree-free invitations (with RSVP postcards instead of return envelopes) and found recycled glass bowls at the Pasadena Flea Market for their centerpieces. A lesbian wedding with an environmental bent – can I get a “God bless California”? When I awkwardly ask who gets to wear the dress (this is new for me, too), the ladies do their best not to make me feel like an idiot as they laugh and say that in fact, they are both wearing a dress. “People think there’s going to be a he and a she – that there has to be the hetero dynamic some way or another, Ellen in the suit and Portia de Rossi in the gown” says Stadder. “Not us. We love each other, respect each other, and want to build a life together – and we both grew up thinking about the big day, the big white dress.” Ramirez adds that she’d look

Maria & Kate: Christmas Comes Early


or Maria Ramirez and Kate Stadder, who got engaged in Coronado on Valentine’s Day


• 12 • JUNE 5-11, 2008

“completely stupid” in a tuxedo. So, can we count on a pair of hemp gowns gliding down the aisle? “Sorry, but … hell, no!” says Stadder. “I really admire the girls who go all-hemp or hand-me-down for their dresses, but I knew what I wanted, and that was Carolina Herrera.”

Jon & Simon: And California Falls Into the Sea


he ballad of Jon and Simon started as so many tales of modern love do: with a baggie of dead crickets. “It was the nastiest thing,” laughs 31-year-old Simon, whose pet lizard, Lefty, was more appreciative of the gesture. Eight-and-a-half years later, Jon, a 38-year-old lawyer, sent Simon a text message reporting the Supreme Court’s decision, and began thinking about how he’d propose to his best friend. “A domestic partnership is a wonderful step towards equal treatment, but it’s still the equivalent of ‘separate but equal,’ a policy that we know doesn’t work,” says Jon. “A state government has no business telling me and Simon that our relationship is less important or less deserving of protection than those of my straight brothers, friends and co-workers. When a couple can meet in Vegas and get married in less than 30 minutes and enjoy more civil rights than a couple that has been in a loving, devoted relationship for eight-and-a-half years, there is an inherent problem and inequality.” Jon speaks with an informed eloquence that makes us straight ladies of the world wish his chromosomes had been just a smidge different, until we see how perfect – how very natural – he and Simon are together, and then we just want to hang out with them forever. The couple will hold a smaller ceremony for their families before November, and plan a bigger party next summer (“Everyone needs two weddings!” jokes Jon). Typically, Jon’s mother is itching for the two to set a date for the pre-November ceremony, which will incorporate many trappings of a traditional wedding. Both plan on having a best man and perhaps a maid of honor, a friend to act as the officiant, mother/son dances and some key personal touches. “I have a few things in mind, but nothing definite,” says Jon. “We want to make sure that each guest plays some small role.” When the cake has been carved and the rice tossed, the two will go home together, not as domestic partners or committed boyfriends, but as a married couple. And for now, nothing changes that; not hateful websites or the Liberty Counsel or Field polls of senior citizens. “I guarantee you that California is not going to fall into the ocean because we decide to commit our lives to each other,” says Jon. Simon agrees: “I think it’ll be a real eye opener for people. It won’t change the way our family or our friends think of us, but it’ll change the way the public sees us,” he says. “They’ll see we’re not threatening anybody – we’re just here to say we love each other, and we’re going to support each other, forever.” ✷

JUNE 5~11, 2008





Pop Song ’08 R.E.M. jangles at the Bowl ~ BY RON GARMON ~


OME TO THE LOS ANGELES Philharmonic since the starchy Prohibition year of 1922, the Hollywood Bowl enjoys a merry second life in the summertime as home to emeritusweight rock ’n’ rollers. The Police had done the second of two stands the night before and the benches





JUNE 5~11, 2008


outside the venue were covered with the middle-aged rock fancy as I loped in off Highland Avenue on this last Thursday of May. Couples and solitaries were packed like pensioners while a thin sprinkle of the younger set gamboled and street vendors clotted the veiny walkways, their commercial drone sounding a bit more pinched the longer this recession lasts. A pretty blonde usherette deposited me in a box up front with other members of the press, who were already harfing and swilling intently. The National was midway through a short set and I was over these guys three tracks into Alligator, the NYCbased indie’s breakthrough released by Beggars Banquet in ’05. Their big, bland, Springsteenoid earwash wasn’t much improved by the Bowl’s peerless acoustics and failed to fetch the knots of drunkards lolling in their seats, freshly squiffy from some Happy Hour in Van Nuys. The band thundered along con brio, their set taking on the Homeric scale of a giant Dick Cheney head carved out of margarine; something stultifyingly large and banal. They snapped off abruptly, but few (outside of a pair of lushes directly behind me pounding and barking “Rock! And! Roll!”) seemed to notice. The usual interval dissolved with the daylight, and Modest Mouse came on to a big hand from the half-capacity house. I was knocked out (who wasn’t?) by The Moon & Antarctica back in 2000, which was before Smiths guitarist Johnny Marr joined the band for last year’s We Were Dead Before the Ship Even Sank. The Mouse’s set was convincingly countrified, with “Doin’ the Cockroach” and “The Good Times Are Killing Me” marking a gradually rising tempo that hauled the audience tripping along until a rousing slam suddenly adjourned proceedings. There began a long wait for the headliners as the sots behind me bellowed plans regarding their bladders, temperatures rapidly sank, and the place filled to almostcapacity. On the road promoting their 14th album, R.E.M. have come a very long way from their Southern jangle-pop origins, mutating into a thinking man’s version of the Raspberries on 1986’s magnificent Lifes Rich


Pageant. As fellow scene-products Let’s Active and the dB’s took up residence in the proto-indie boneyard, the Athens, Georgia, quartet spent the late 1980s to mid1990s turning out the anthems everyone knows – “Stand,” “Finest Worksong” and “Everybody Hurts,” none of which they played at the Bowl. Instead, the band whipped through a brisk, soulful set list leaning heavily on the new album, with “Hollow Man” and “Supernatural Superserious” standouts among the general excellence. My fantasy set would’ve included less introspection, more anthems and some kind of pass at “Exhuming McCarthy.” The faces around me told of similar wistfulness. Michael Stipe was engagingly impish in a black funeral director’s suit, his Southern stem-winding tenor quavering like a senator awash in I.W. Harper’s. A four-song encore ended, as it inevitably must, with “Man on the Moon.” All sang along, released at last, with me blinking away moisture at the line “Here’s a truck stop instead of St. Peter’s,” just as I always do. ✶

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Dear ‘Diary’ From whore to eternity ~ BY MICK FARREN ~


HE INGREDIENTS ALL made sense: sex, authenticity, a rising star, more sex, and even a literary guessing game. Yet, as this exercise in mystery and titillation reaches its supposed apex – a premium cable TV series airing in the U.S. market – the only word is irritating. Showtime’s Secret Diary of a Call Girl can claim the even more unique achievement of making Billie Piper in high heels, stockings and little else become so tedious that the viewer starts to wonder when this eternity of faux-erotica will end. The start was in 2003 when a Web log titled Belle de Jour: Diary of a London Call Girl was voted blog of the year by the British newspaper The Guardian. Naming herself after the 1967 Luis Buñuel movie that starred Catherine Deneuve as the bored bourgeoise wife who takes up afternoon hooking, Belle presented herself as a well-paid prostitute, happy in her work, free of addiction and neurosis, and whose only apparent fear was that her middle class mother might discover her occupation. Under cover of Blogspot, Belle detailed her tricks, her recreational boyfriends, her shoes, her taxes, and a quite considerable time spent shopping. The way in which Belle’s blog both titillated and contextualized her profession quickly amassed one of the largest audiences in the comparatively new medium, attracting both men and women with her humor and enthusiasm. Moments occurred, however, when Belle could irritate by being just too damned pleased with herself, but then again, she had good reason. Blog success begat a book deal, a short-lived weekly column in London’s conservative Daily Telegraph, and a media mystery in which the local literati played guessing games about her true identity. Some claimed Belle was a work of fiction, others were convinced that she was written by a man: Martin Amis and Nick Hornby were among the suspects. With another book on the way, and blogging sex workers across the planet seeking to emulate her, Belle quit the

flesh trade. After a lengthy hiatus, she blogged again, but without the commercial sex vignettes, she was just another lady writer who shopped even more, ate a lot of lunches and, although still anonymous, complained of the price of fame. Readership dwindled, but what did Belle care? She had a deal for a TV series, and actress Billie Piper would play her. In the U.K., this was a coup. Piper was a charttopping popette – recording first as just “Billie” and then under her full name – who had switched to acting when the hits became harder, but had received rave reviews for her TV and stage work, and was also the tabloids’ darling after being cast in the long-running science fiction cult series Doctor Who as the time-travelling Doctor’s companion, which was almost as big a deal in Britain as being the new Bond girl. All seemed set fair until, although a hit in England, Secret Diary of a Call Girl revealed itself to be a combination of mess and travesty. Piper, as Belle, constantly talks to the camera in serial asides, instructing the audience in the finer points of high class whoring, marveling at the foibles of the clientele, and, loyal to the spirit of the blog, being exceedingly pleased with herself, but without wit or insight. Worse still, Piper, as a serious young actress, removes only minimal clothing while plying her fictional trade, unlike, say, Natalie Dormer and Jonathan Rhys Meyers in The Tudors, who both bare all for reality. To cover this incongruity, the sex scenes are shot in Vaseline soft focus, which does nothing to mitigate the fact that the scenes themselves are hackneyed set pieces as pointless as soft porn with edges filed down. Whores on TV? Cool, but let’s disrobe them with reality, like Paula Malcomson as the raw-edged Trixie in Deadwood who carried a .22 and violently reminded us that sex work is bruising rather than a blast in Manolo Blahniks. ✶

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Pages Wandering ’Round ‘Yonder’ Oakley Hall (1920-2008)

Rudolph Wurlitzer gets the ‘Drop Edge’ on the American West

Readers of fictions about the American West (such as those who may just have read the Drop Edge of Yonder review on this page), and anyone who admires a keen ear for language, will miss Oakley Hall, who passed away May 12 at age 87. Hall was a prolific author, penning over 20 novels, including Warlock, The Downhill Racers (considerably altered into the film Downhill Racer), and his five-novel historical mystery series featuring the legendarily scornful journalist, writer, and Devil’s Dictionary compiler Ambrose Bierce. He also wrote two books on fiction writing, The Art and Craft of Fiction Writing and How Fiction Works. A graduate of the Iowa Writers’ Workshop, Hall was a devoted teacher of writing, a director of the writing programs at UC Irvine for two decades and one of the co-founders in 1969 of the Squaw Valley Community of Writers. He was an inspiration and mentor to such writers as Richard Ford, Kem Nunn, Amy Tan, Michael Chabon, and Glen David Gold. He even had a rock band named after him. Hall’s masterpiece was the 1958 Warlock, a lyrical variation on the story of the showdown at the O.K. Corral that belongs on the shortlist of great Western novels. A Pulitzer Prize finalist, Warlock was republished by New York Review Books in 2005. In his introduction to the NYRB edition, Robert Stone wrote: “Really excellent prose like Oakley Hall’s is the creation of sound, of songs, unheard, which, as they say, can be very sweet.” Another early champion of Warlock was Thomas Pynchon who called it “among the finest of American novels” and wrote in his introduction to Richard Fariña’s Been Down So Long It Looks Like Up to Me of the “microcult” he and Fariña established as undergraduates around the book, complete with requisite “Warlock talk.” I was reminded of Pynchon’s reminiscence last year at a panel at the Los Angeles Times Festival of Books when I heard Hall, there to talk about his new novel Love and War in Los Angeles, discuss the obscure phrases he and his childhood friends concocted when speaking to each other like “Don’t get igneous” for “Don’t get mad.” To pay a proper tribute to this vigorous, inspiring, and important writer who made a critical contribution to the way we look at the mythology of the American West as well as to the way writers approach the craft of fiction, pick up Warlock and bask in its prose.



HERE’S NOTHING NEW about the old West, it seems. It’s long been a place where writers of novels, movies, and television shows ruminate on questions of history (personal and national), violence, justice, redemption, and mortality. In The Drop Edge of Yonder (Two Dollar Radio), his first novel in more than two decades, Rudolph Wurlitzer’s West is a sacred space, an American dreamtime, and a carnival of travesties and transfigurations. Wurlitzer is best known as the author of two classic screenplays,Two-Lane Blacktop and Pat Garrett and Billy the Kid; he is also the author of three intoxicating cult novels (Nog, Flats, Quake), a novel about the movies (Slow Fade), and a contemplative travelogue (Hard Travel to Sacred Places). He knows more than a little something about Americans and their wanderings into the ineffable. Inspired by Beckett and Buddhism, Wurlitzer’s works are bold adventures into the consciousnesses of characters hounded or haunted by forces outside their control and comprehension. Although my CityBeat colleague Ron Garmon esteems Quake among the author’s novels, I prefer the “headventure” Nog. Thomas Pynchon anointed Wurlitzer’s first book as “another sign that the Novel of Bullshit is dead and some kind of re-enlightenment is beginning to arrive, to take hold,” and I suspect that’s not just because the narrator’s traveling companion is an octopus. The narrator of Nog (to be reissued by Two Dollar Radio next year) is a constantly shifting personality with an epically precarious sense of identity: “I think about trips, bits and pieces of trips, but I no longer try and put anything together (my mind has become blessedly slower), nor do I try as much to invent a suitable character who can handle the fragments. But I don’t want to get into all that.” Unlike the narrator of Nog, The Drop Edge of Yonder’s solitary fur trapper Zebulon Shook would seem to be a less fragmented central character. Though this one is sans cephalopod, he keeps company with desperados, lawmen, miners, indigenous Americans, an expatriate count, an Abyssinian courtesan, and his own father. He finds himself in saloons and opium dens and experiences jailings

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and sea voyages. He encounters magnate Cornelius Vanderbilt and hears about self-appointed American President of Nicaragua William Walker. (Wurlitzer wrote the screenplay for Alex Cox’s 1987 film Walker.) Zebulon is the still point in the novel’s procession of “all the noisy chaos that marked a new frontier.” At the outset of the story, however, he has been cursed by a “half Shoshoni half Irish” woman named Not Here Not There to “drift like a blind man between the worlds,” condemned not to know whether he is alive or dead. Set adrift in a weird dream-realm in which “Zebulon was awake when he slept, and sleeping when he was awake,” his journeys could also be travels across that hallucinator y plane of existence between life and death Tibetan Buddhists know as the bardo. Over the course of his purgatorial peregrinations, Zebulon reaches the status of outlaw, with a bounty on his head and newspapermen who wish to make him a legend, an embodiment of the West itself. “You’ll always be on the move, trying to find out who you are,” one oracular character says to Zebulon, in a line akin to one Bob Dylan’s Alias delivers to Kris Kristofferson’s Billy in Pat Garrett. “Like the rest of this crazy country.” If Zebulon’s onthe-edge-of-death scenario sounds reminiscent of that of improbable gunslinger William Blake in another metaphysical Western, Jim Jarmusch’s 1995 Dead Man, it’s because Wurlitzer and Jarmusch spent time discussing the story when Wurlitzer was still working it up as a screenplay. Wurlitzer’s wonderfully tall tale incorporates and alters all the conventions of the Western and offers reflections on quests for gold, land, and other expressions of our American imperialism. Drop Edge occupies a space between the whimsical and the mystical, the silly and the sublime. Wurlitzer’s philosophical, humorous, and visionary yarn guides the reader into a landscape in which to wander around and get lost, a West that leads into the numinous terra incognita between sleep and waking, life and death, and toward the contemplation of what it means to cross a frontier. ✶ For info on The Drop Edge of Yonder and Two Dollar Radio press, go to




Blowin’ Cool Swervedriver revs into high gear at the Music Box ~ BY JOSHUA SINDELL ~


HE SCENESTERS WHO descended upon the Music Box at the Fonda Saturday were clearly of the Generation X persuasion – hardly interested in reliving youthful glories but not about to put away the loud records for some time to come. This particular gathering of the tribes was definitely on the low-key side: The venue only at half capacity, it was the kind of night when Danny Carey, the drummer from Platinum-selling metallers Tool, could watch his faves from the middle of the room without being accosted. The overriding mood seemed to confirm that this was indeed a good time for the English band Swervedriver to do a comeback tour. The Oxfordbased Brits – apart and yet a part of the shoegazing movement of the ’90s – released four albums in a decade-long

LIVE career, and were known as the genre’s speed-freaks. Raise (1991) and especially Mezcal Head (1993) were gravelspitting excursions … highway rock and psychedelia and adolescent longing all wrapped up into a seriously heady brew. Openers Xu Xu Fang and Film School were welcomed without much fuss, yet another indication of an audience that seemingly hadn’t been out in a while. There was none of the usual impatience that occurs when a crowd isn’t in the mood for anything new. So the Angelo Badalamenti/Julee Cruisestyled “David Lynch music” of XXF and the drone-rock histrionics of Film School were absorbed without fuss. The Swer vedriver that actually walked out on stage was, of course, no longer the same scruffy, passionate crew of youthful scamps it was back then. Leader Adam Franklin’s dreadlocks are long gone (nowhere to hide),

replaced by a neat beard and short hair. The rest of the band – guitarist Jimmy Hartridge, bassist Steve George, and drummer Jez Hindmarsh – were lanky, amiable, and silent, as career musicians generally are. As ever and always, Franklin’s lyrics evoked impatient wanderlust, a world where a chance encounter on the train or hitchhiking in a new land was living life to the fullest. And if you had a car, even better: “The sea stretched for miles/ I drove all the while …” as a line from “Sandblasted” went, a tune that probably should have been saved for an encore, along with “Duel.” Both songs were played early in the set, creating a high that simply wasn’t sustainable for the duration. But Swervedriver isn’t a band you tell to pull over to the guardrail for your convenience – you’re in this with them for the long haul. Franklin’s soft voice was virtually the same as it was more than a decade ago: That nonchalant delivery was always part of the band’s off-kilter charm, a steadying force inside Swervedriver’s storm of effects-pedal magic and ringing sonics. Well, it wasn’t really loud, though: The group’s new maturity seemed to eschew volume for precision. Sometimes the group embraced pure pop (“The Other Jesus”), or chugged into third gear for guitar raveups (“Blowin’ Cool”), but it was really at its best when Franklin seemed most vulnerable. The Mezcal Head burst of nostalgia, “Girl on a Motorbike,” was a rarely aired surprise which saw him singing as sweetly as he ever had, even with a forlorn melancholy. And then came the vanishing point, as they slowly faded from view with the trio of “Rave Down,” “Son of Mustang Ford” and the slow-burning “Duress.” Squinting into the distance, their taillights dimmed then disappeared. Gathering its belongings by the side of the road, a generation exited for its long trek home. ✶

JUNE 5~11, 2008

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â&#x20AC;&#x2DC;Natural Selectionâ&#x20AC;&#x2122; loots what â&#x20AC;&#x2DC;Normanâ&#x20AC;&#x2122;s Arkâ&#x20AC;&#x2122; loses Hosted by Jai Rodriguez


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OME SAY THE WORLD will end in flood. Two new stage productions depict apocalyptic rainstorms.


Katrina was surely an inspiration to these writers. And the eventual flooding of coastlines, predicted as one of the results of global warming, is an image that lodges more firmly in our brains with each new bulletin about giant floes breaking off the ice caps. Too bad the big-deal big-storm production Normanâ&#x20AC;&#x2122;s Ark is also a big bore. This alfresco musical, at John Anson Ford Amphitheatre, depicts a contemporary couple and their three children awaiting rescue from their rooftop during a Katrina-like torrent. As they wait, the father (Philip Casnoff), whoâ&#x20AC;&#x2122;s named Norman, tries to raise their spirits by recalling the Noahâ&#x20AC;&#x2122;s Ark story. A tale in which most of humanity drowns probably isnâ&#x20AC;&#x2122;t the most consoling pep talk that Norman could have chosen. But this inconvenient truth is largely forgotten in Jerome Kassâ&#x20AC;&#x2122;s shallow book and other aspects of this chipper production. The Noahâ&#x20AC;&#x2122;s Ark saga is appropriated not because of its subtextual depths but rather because it provides an excuse to flood the outdoor stage and the nearby grassy knolls with 200 performers, including dozens of cute youngsters paired off in colorful Ann Closs-Farley costumes, portraying the animals. The ranks also include a 100-voice gospel choir and a troupe of teenaged dancers flitting around the stage as doves. The number of performers parading around a sharply raked stage makes a mockery of any feeling of isolation that this family is supposed to project. And the vast crowds immobilize director Peter Schneiderâ&#x20AC;&#x2122;s staging, turning a play into a pageant. There wasnâ&#x20AC;&#x2122;t even enough room for designer Jerome Sirlin to move beyond the basic rooftop set â&#x20AC;&#x201C; there is no tangible suggestion of an ark. So itâ&#x20AC;&#x2122;s sometimes difficult to ascertain where we are â&#x20AC;&#x201C; in the missing ark, on the contemporary rooftop, or in the Cahuenga Pass. The actors playing the family members are pros, but theyâ&#x20AC;&#x2122;re virtually inundated by the masses of amateurs. Glen Rovenâ&#x20AC;&#x2122;s predictable score has its full-throated declamatory moments but very little gen-







JUNE 5~11, 2008

uine soul-searching. The ticket prices for the center section are an eyebrow-raising $75 on weekends and $65 on weekdays. Eric Cobleâ&#x20AC;&#x2122;s Natural Selection is a wittier and more thoughtful dramatization of watery catastrophe. Coble (best known for Bright Ideas, a comedy about murderously obsessive parents at a private school) at least attempts to forge a connection between humanityâ&#x20AC;&#x2122;s heedless disregard for nature and the ruinous consequences. Supposedly taking place â&#x20AC;&#x153;next week,â&#x20AC;? Natural Selection is set primarily in Florida. At Culture Fiesta, a manicured theme park that displays secondhand samples of the worldâ&#x20AC;&#x2122;s cultures to tourists, the population of the Native American Tribal Region has fallen to the point that the non-Native manager Henry Carson (Joel Huggins, whose amusingly awkward physicality reflects the playâ&#x20AC;&#x2122;s detached-fromnature theme) zips off to the West to bag himself a real Indian with a stun gun. He returns with a largely ersatz specimen (Adam G) who soon foments rebellion among the others. The comedy is keenest as Coble depicts Henryâ&#x20AC;&#x2122;s home, where his Wal-Mart-employed wife (Marie Lively) insists on recording every moment in her blog, photos attached, and where their son attends virtual school from his upstairs computer. The play crumbles when Coble tries to get serious in connecting a mammoth downpour, which forces everyone to seek higher ground, with Native American legends. After all his caustic satire, itâ&#x20AC;&#x2122;s too late to change the tone. But Jayk Gallagherâ&#x20AC;&#x2122;s staging for needtheater is consistently savvy. And the companyâ&#x20AC;&#x2122;s next effort, After the Flood, described as â&#x20AC;&#x153;a site-specific original work about post-Katrina New Orleans,â&#x20AC;? sounds as if it will continue investigating some of the same themes. â&#x153;ś Normanâ&#x20AC;&#x2122;s Ark, Ford Amphitheatre, 2580 Cahuenga Blvd. East, Hollywood. (323) 461-3673, Closes June 8. Natural Selection, 2100 Square Feet, 5615 San Vicente Blvd., L.A. (800) 838-3006. Closes June 29.

For more reviews by Don Shirley, see Stage listings, page 34.

JUNE 5~11, 2008





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EAT Bites Java Jive … For serious coffee hounds who live or work downtown, help has arrived. Lot 44 is a European-style “cup bar” ser ving over a dozen different coffees in a variety of roasts, so you can go ever y day for over a month, tr ying new things without repeating. (They also ser ve teas and chocolate, so make that two months – unless you’re such a coffee purist that you never drink anything else. Unlike the sit-down gourmet experience of LAMill (reviewed in these pages a few weeks ago), this is a quick-ser ve place, competitive on price and speed with Starbucks and the like. Real 100 percent Hawaiian, Maui estate, or Yemenite mocha to go? This is a sign of civilization! They’re at 257 S. Spring St., and you can check their site at ... . Long and Winding Road … The Saddle Peak Lodge has a new chef, Adam Horton, but don’t expect huge changes – he has been a sous there for years, and the menu for his first wine dinner there follows the tradition of exotic ingredients creatively handled. The menu includes squab, buffalo, venison, and pheasant dishes paired with Flora Springs wines, and it looks fantastic. The only concern? The lodge is at the end of a winding road that can be an exciting drive while cold sober and in daylight. Reservations and info are at (818) 222-3888 … . Tequila! … For Father’s Day, Amaranta restaurant in Canoga Park offers a special tequila tasting – a flight of Tezon Blue Agave for only $15. The restaurant also runs a special dinner on the last Monday of every month at which tequila and tapas are served – the next one is June 30. Don’t laugh – this is good sippin’ tequila, the kind that is as complex as a good Scotch or brandy. Fine tequila can have quite a range of flavors, and if you have a bottle of the fine stuff, it’s a sin to waste it in drinks where you can’t taste it. If you want those fruity flavors, consider trying one of Amaranta’s Mexican-style agua fresca popsicles, available in strawberry or mango. For information on the tastings, call (818) 610-3599 … . One Bourbon, One Scotch … In last week’s issue, I interviewed Roberto of Wine Expo on the subject of summer wines. At the time I didn’t know that he also conducts classes in pairing food and beer – the next one is at Chef Eric’s Culinary Classroom June 14. Chef Eric will teach you how to cook a multi-course meal while Roberto pairs it with beers – and if you ever wondered what ale goes with pan-seared chicken cutlets with jalapeño-garlic sauce, this is the time to find out. Roberto teaches wine classes too – check for more details. --Richard Foss

Let Them Eat Pride Cake A slice of WeHo’s first gay bakery ~ BY KIM LACHANCE ~


AKING WEDDING cakes for gay couples isn’t a new phenomenon at Cake and Art. The West Hollywood bakery to the stars started making them three decades ago, just before the first-ever rainbow pride flag flew. Over the years, the gay wedding cake has been a casualty of semantics, a symbolic confection by any other name – a “pride” cake, a “commitment” cake, a “civil union” cake, a “domestic partnership” cake, and even an “unmarriage” cake. Not any more. At least not in California, and especially not in WeHo, where same-sex couples can finally have their “real” wedding cake (and eat it too), without going underground and undercover. “I’ve had people literally cry at the other end of the phone because they asked someone to do their cake, and everything went great,” says longtime Cake and Art owner Tom Rosa. “Then, when they went in-person with their partner, the baker instantly snapped, ‘Oh, we don’t do those kinds of cakes.’” Seems the hater bakers are missing out on more than just business – Rosa claims “those kind of cakes” are the most fun to create. Sure, he and his talented lineup of graphic artists and pastry chefs (sculptors, more accurately) take requests for clichéd white-frosted layer cakes; they sort of have to. But what they really get off on is tweaking the traditional – from creations that are a tad different (typical pale fondant blossoms exploding into flowering pride rainbows, for example) to eye-popping edible art (daring leather and bondage pastries and buck-naked lifesized Rodin-style cake statues) and every eccentric proclivity in between. Unlike most wedding cakeries, Cake and Art does not charge by the slice. “If you’re paying by the slice, you’re getting ripped off,” Rosa warns. He negotiates fees based on a cake’s level of artistry. Rosa relishes a good challenge, mainly intricate cake designs on the “more outrageous, flamboyant side.” During our interview, a blushing twentysomething picked up an impressively lifelike butt (not Bundt) cake. Exactly which flavor does one pick for a cake like that? Chances are it was Cake and Art’s most popular option, their mouth-watering, chocolate-chipped red velvet. The cup-

cake version comes buried under a whopping glob of cream cheese frosting. Additional flavors worth inhaling: chocolate sin-sation; marshmallow cream s’more; pumpkin ginger snap; vanilla toffee crunch; banana cream and oh-so-peanutty. Did I already mention the red velvet? Cake and Art’s small, unpretentious pink pastel interior is predictably festooned with snapshots of famous clients and their custom cakes. There’s Gwen Stefani (whose ba-donk-a-donk cleavage was chiseled in cake thanks to a really special order from Gavin Rossdale), Randy Jones (the disco cowboy from the Village People), Ellen DeGeneres, Dolly Parton, Barry Manilow, Bruce Springsteen, Jay Leno, Oprah, Cher, and Tom Cruise and Katie Holmes. Rosa won’t tell which local A-listers have sneaked a peek into the bakery’s playfully perverted Pandora’s box, filled with anatomically correct confections. If you’re in the market for unique gay cake toppers, Rosa’s happy to tailor one for you, as close to your (and yours’) likeness(es) as possible. Or, choose from prefab pairs of tuxedoed grooms, gowned brides, butch, femme or whatever. For blended families, the bakery sculpts toppers featuring the entire gang, kids and pets included. And what of the proverbial ribbon-tied goodie/favor bag, those charming mementos from the Happy Couple that collect dust in the cupboard? Let’s evolve already, bridezillas. Start by chucking the boring Jordan almonds in favor of Cake and Art’s exclusive “Gay Bars,” chocolate bars that pay sweet, melty, endorphin-orgy homage to America’s most “family”friendly cities – San Francisco, Fire Island, P-Town and a half-dozen others. Kody, the bakery’s lead graphic artist, can transform any logo, picture or wedding/birthday/baby shower/bar mitzvah message into a personalized chunk of chocolate worthy of keepsake status. Once you legally tie the knot, don’t forget to come back to Cake and Art at Christmastime for their coveted Village People gingerbread men, which the band first commissioned in the ’70s. Collect all six! Just don’t return for the bakery’s infamous divorce cake. ✶

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Vale of ‘Tears’ There’s horror ... and then there’s horror ~ BY ANDY KLEIN ~


HERE ARE MANY DIFFErent kinds of horror films. Dario Argento has long been the most visible proponent of a particularly Italian flavor that has had considerable influence on several waves of American productions. His latest, The Mother of Tears, has its moments, but it really can’t supersede my fondness for his much earlier stuff. Back in the ’60s, Argento worked on numerous screenplays, including, most famously, Sergio Leone’s great Once Upon a Time in the West (1968) – for which he shares story credit with Leone and Bernardo Bertolucci. (Talk about diverging paths!) He made his directorial debut in 1970, with The Bird with the Crystal Plumage, a slasher film based (without permission) on American writer Fredric Brown’s The Screaming Mimi, which had been officially adapted in 1958 as a Hollywood vehicle for Anita Ekberg. (I’m a big Brown fan, and, 15 years later, the Brown estate’s executor still referred angrily to “that Italian guy.”) Argento achieved his greatest fame with 1977’s Suspiria, which is the epitome of his best and worst traits. That is, its visual style – particularly the outrageous climax – stays with you forever. But the plot is hard to remember much about, assuming you even comprehended it in the first place. For a guy who started out as a writer, Argento has surprisingly seemed more concerned about the look of his films than the stories. The Mother of Tears is the final entry in his Three Mothers trilogy, following Suspiria and Inferno (1980). I think its story rehashes elements from its predecessors, but, since my brain has a hard time recalling the details of their plots, I may be overstating the case. Asia Argento – the director’s daughter,

who started out in her father’s films and has since had a decent American career – plays Sarah Mandy, an assistant at the Museum of Ancient Art in Rome. When a mysterious package arrives for Michael – her boss (and lover) – she and coworker Giselle (Coralina Cataldi Tassoni) are so intrigued they can’t wait for him to get back to the museum before opening it. Big mistake. Inside are three little statues and what appears to be a rune-covered sweatshirt. Lucky Sarah is out of the room when Giselle reads the inscription aloud, so she doesn’t exactly have to witness three demons (and a monkey) disemboweling her friend and then strangling her with her own entrails. We, of course, do. Strange things start happening: Sarah hears an apparently benevolent voice in her head, telling her how to get out of tight spots; a sinister group of goth types starts stalking her; and Rome is suddenly plagued by outbreaks of violence and madness (which doesn’t stop most of the populace from nonchalantly going about their business). Sarah is sent from one magic expert to another, gleaning a little bit of the back story from each before they too are dispatched by demons. She learns that there were three dormant witches of great power: The first was eradicated by the heroine of Suspiria, and the second by Sarah’s mother (Daria Nicolodi) in Inferno. The last (and worst) is the Mother of Tears. Sarah and Giselle’s meddling has resurrected her, and it’s up to Sarah – who has just discovered supernatural powers of her own – to kill her before all of Rome descends into chaos. In short, we get repetitions of elements from the earlier films, which were pretty much sub-Exorcist mumbo jumbo in the first place. Back then, it was the outrageous visual style and the even more outrageous CITYBEAT



gore that compensated for the script deficiencies. But in recent years, Argento has lacked either the inclination or budget to crank up the style, and there are no longer any gore effects we haven’t seen a hundred times in American indies. Eyegouging tool? Ho hum. Huge spear rammed up the vagina? Been there, done that. (Only in the sense of movie-watching, I hasten to explain.) Add to that some really bad dialogue, awkward looping, and “magical” bits that are too close to The Wizard of Oz not to get a chuckle. The ghost of Sarah’s long-dead mom keeps showing up like Glinda the Good Witch – played, of course, by Nicolodi, Dario’s wife, Asia’s real mother. (Strangely, mom has continued to age in the afterlife.) All of which doesn’t mean The Mother of Tears isn’t goofy fun, in its own way. But it’s the same goofy fun we’ve seen in dozens of other films for years now, by Argento and others. And it’s getting kind of old. Stuart Gordon’s Stuck, which I reviewed briefly last week, has stayed in my mind more than I would have predicted. Like The Mother of Tears, it’s a horror film with some way extreme gore, but it’s utterly different is so many ways that I couldn’t help ruminating on just why Stuck gets to me in places that The Mother of Tears doesn’t touch. Quick recap: Brandi (Mena Suvari), an attendant at a nursing home, hits pedestrian Tom (Stephen Rea), who flies into her windshield headfirst. Afraid of getting in trouble, Brandi hides the car in her garage, with the horribly injured, but still living, Tom firmly lodged in the windshield. Gordon is not exactly married to realism; he is, after all, the director of Re-Animator, From Beyond, and Dolls. The main characters in Stuck are comic, although


JUNE 5~11, 2008

sometimes simultaneously horrific. Even poor pathetic Tom is comic in his dogged determination to escape. Stuck has the advantage of being based on a true story – a hideous 2001 case in which the victim suffered for many hours before dying. But it’s clear that Gordon and screenwriter John Strysik have strayed from the specifics of the actual event. They have distilled and magnified the single crucial quality of each character: Tom’s desire to live, and Brandi’s monstrous egocentricity. Argento’s characters are just as singly defined, but in such a cardboard way as to make Gordon’s caricatures seem like vérité case studies. The people in The Mother of Tears are basically Scared Woman, Kindly Mother, Suspicious Cop, Earnest Priest, and so on. They are as two-dimensional as tarot cards. Sarah is the most fully drawn, and we know nothing about what she’s like beyond her immediate reactions to her predicament. Brandi, on the other hand, may be a cartoon, but she’s a cartoon version of an all-too-familiar sort of person. In her complete inability to accept responsibility for anything, in her insistence that every misfortune is being done to her rather than by her, she is a far scarier monster than all the demons Argento has ever unleashed on Rome. ✶ The Mother of Tears. Directed by Dario Argento. Screenplay by Jace Anderson, Dario Argento, and Adam Gierasch. With Asia Argento, Adam James, Cristian Solimeno, Daria Nicolodi, Udo Kier, Valeria Cavalli, and Philippe Leroy. Opens Friday at the Nuart. Stuck. Directed by Stuart Gordon. Screenplay by John Strysik. With Mena Suvari, Stephen Rea, Russell Hornsby, and Rukiya Bernard. At the Culver Plaza.


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WESTWOOD AMC Avco 310/475-0711 Fri 1:55, 4:30, 7:05 & 9:50 PM Sat & Sun 11:20 AM, 1:55, 4:30, 7:05 & 9:50 PM Mon-Thur 1:55, 4:25, 7:00 & 9:45 PM $4.00 Parking Fri-Sun/$3.00 Parking Mon-Thur At The Avco Center Parking

WEST LOS ANGELES The Bridge Cinema De Lux 310/568-3375 On 3 Screens Digital Projection Fri, Mon-Thur 11:45 AM, 1:50, 2:20, 4:25, 4:55, 7:10, 7:40, 9:50 & 10:20 PM Sat & Sun 11:15 & 11:45 AM, 1:50, 2:20, 4:25, 4:55, 7:10, 7:40, 9:50 & 10:20 PM Fri & Sat Late Show 12:25 AM 35MM Projection Fri, Mon-Thur 1:20, 3:55, 6:40 & 9:20 PM Sat & Sun 10:45 AM, 1:20, 3:55, 6:40 & 9:20 PM Fri & Sat Late Show 11:55 PM


LATEST REVIEWS BOMB IT Director Jon Reiss’s edgy, yet thought-provoking documentary is an often engrossing debate on the psychological underpinnings of graffiti art by taggers of various classes and ethnicities in countries all over the world. One man’s art is another man’s criminal transgression – and yet, the reasons for “bombing” a public building or subway train are as many as the designs or icons themselves. Reiss interviews various taggers, exploring the reasons for their subversive behavior. In Manhattan, the interviewed taggers consider themselves soldiers,

fighting a war against the establishment. In Paris, many of the taggers arise from the country’s underclass of blacks and Arabs. In Barcelona, they consider themselves artists. (The band Reiss follows does all their tagging in their underwear, too.) And, in Tokyo, the taggers are clearly a subculture running in opposition to the rigid social structure. Beneath the interviews simmer some unusually disturbing truths: Yes, those who create graffiti are artists – and, even so, what they do is still vandalism. Some of them are criminals, and some of them don’t care if they’re not liked. Others have their eye on selling out to corporate merchandisers hoping to cash in on the burgeoning hip-hop market. The semiotics of graffiti art may vary from artist to artist, from the angry roar of initials sprayed on a train car to the more accessible portraits on the sides of buildings, but the immutable truth is that, as one tagger notes, “It’s a quite beautiful crime.” (Paul Birchall) (Laemmle’s Sunset 5)

KUNG FU PANDA If this really is one of DreamWorks Animation’s final 2D offerings before moving up to 3D next year, they’d better reverse the tepid creative course established by Shrek the Third, Bee Movie, and this gorgeous, yet only moderately funny, exhuming of Joseph Campbell mythology. Instead of the Hero with a Thousand Faces, we get the Hero Weighing a Thousand Pounds, a portly panda named Po. He’s a clumsy, black and white fur ball, who yearns to escape his life as a noodle seller and learn martial arts like his heroes, the Furious Five (voiced, to no great effect, by the likes of Angelina Jolie and Jackie Chan). For reasons not worth recounting, the athletically challenged Po is anointed the exalted Dragon Warrior, and the task of training him falls to Master Shifu (a terrific Dustin Hoffman). Po’s ultimate challenge will be to fight vicious Tai Lung,

Shifu’s spurned and vengeful former student who, in a thrilling sequence, has escaped from an inescapable prison. Po is voiced by Jack Black, and while his rebel-nerd humor feels too hip for this particular room, he delivers splendidly. Otherwise, the moralizing is fortune-cookie rudimentary, and the cleverness, while present, is in short supply. Consider this a modest appetizer before the summer’s main course, Pixar’s Wall-E. (Mark Keizer) (Citywide)

MISS CONCEPTION Heather Graham – cast against type as a woman who couldn’t get laid at the Playboy mansion – stars as Georgina, owner of a construction company and girlfriend of caddish Zak (Tom Ellis), an eminent filmmaker shooting a documentary on Ireland. Zak hates children; Georgie coos at the mere word. When she




Just in time for summer. A PERFECT road trip.”

-Jeffrey Lyons, NBC-TV


- David Edelstein, NEW YORK MAGAZINE

“A wonderful film, always entertaining and deeply moving.”

-Pete Hammond, HOLLYWOOD.COM


dumps him, we’re relieved. (Every descriptor I scrawled about him is unprintable.) But then she finds out she has only four days to get fertilized – ever. With British accents à la Omaha high school Shakespeare, friends Clem (a credible Mia Kirschner) and the token queen (Orlando Seale) help her search for a stud. Screenwriter Camilla Leslie may be a lovely woman, but her script reads like it was penned by a 13-year-old boy picking character details out of a hat. Director Eric Styles compounds the script’s cluelessness by continually pushing the most obvious choices. The comedy is so forced that people order poached eggs as hors d’oeuvres so Graham can whimper. (Her other emotion is a big-eyed head tilt signifying everything from lust to desperation.) Worse is the love story angle, which tries to convince us that she should get knocked up by Zak, whose one moment of empathy comes when he nods along as skeevy friend Brian (Will Mellor) schools him that, when women “hit a certain age, they get funny about babies and shite.” It’s not Graham’s fault her character is nothing more than a maniacal womb, but why sign on to another icky Mars-Venus catastrophe that patronizes women, denigrates men, and makes both genders need a post-film shower? (Amy Nicholson) (Laemmle’s Sunset 5, Laemmle’s One Colorado, Laemmle’s Fallbrook 7)

MONGOL By most accounts, Genghis Khan began his life humbly, a cursed outcast whose tragic childhood and youthful tribulations helped forge the man who would become history’s most legendary conqueror. It is this seminal period that forms the crux of Russian director Sergei Bodrov’s staggering new epic – one of the five nominees for Best Foreign Language Film at the most recent Oscars. Starring Japan’s Asano Tadanobu as the young Temudgin – the future Genghis Khan – and Khulan Chuluun as his faithful wife, Borte, the most surprising thing about the film is that it is first and foremost a love story, about a romance that neither time nor war could disrupt. But it is also the story of a man’s tireless love for his people and country and his impassioned devotion to a definition of family as revolutionary as his methods were bloody. Comparisons to the likes of Lawrence of Arabia, Gladiator, and Braveheart are inevitable; Bodrov’s film touches unapologetically on themes common to them all. But the heroic reinvention of a man typically reviled in Western annals as a villain and tyrant makes this effort – scripted by Bodrov and Arif Aliyev – a much more difficult task. It is to the immense credit of all involved that the effort succeeds so completely. (Wade Major) (Pacific ArcLight, Landmark West Los Angeles)

THE PROMOTION Grocery-store assistant manager Doug (Seann William Scott) looks forward to the day when he and his wife (Jenna Fischer) can finally afford to buy a house. (Their apartment walls are so thin they can hear their gay neighbors having sex and playing the banjo – sometimes at the same time.) When an empty lot is earmarked for a new Donaldson’s, Doug applies for the store manager position and anticipates delegating lot duty and dealing with customer complaints to his assistant manager. But Richard (John C. Reilly) – a new arrival from Canada with a Scottish wife (Lili Taylor) he met on a mission, an arsenal of self-help tapes, and an in with the Pepsi rep – could prove to be an obstacle. In his deliberately paced directorial debut, screenwriter Steve Conrad (The Pursuit of Happyness) crafts two characters worth rooting for. Because we meet – and (through voiceover) hear from – Doug first, sympathy naturally lies with him, no matter how nice or well-meaning an underdog Richard is. In fact, both are nice, well-meaning guys who may fail to prevent the other from digging his own grave but who ultimately do the right thing. The result is cringe-inducing humor that never goes for the jugular. (Annlee Ellingson) (Landmark West Los Angeles, Pacific ArcLight Sherman Oaks)





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STARTS FRIDAY, JUNE 6TH! L WEST HOLLYWOOD L WEST LOS ANGELES Laemmle’s Sunset 5 The LANDMARK (323) 848-3500 at W. Pico & Westwood Tickets available @ (310) 281-8233 Free Parking Daily: 12:45 • 3:00 • 5:20 7:40 • 10:00 Daily: 12:00 • 2:25 • 4:50 • 7:15 • 9:30 SORRY, NO PASSES ACCEPTED FOR THIS ENGAGEMENT


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


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





JUNE 5~11, 2008

SEX AND THE CITY After ten years of serial drama, Carrie Bradshaw (Sarah Jessica Parker) has hit two milestones: her first black friend (Jennifer Hudson) – admittedly a paid assistant – and her first wedding, to Mr. Big (Chris Noth). At 40, she’s told her nuptials aren’t a minute too soon; as her Vogue editrix Enid (Candice Bergen) cautions, “It’s the last year you can wear a wedding dress without a Diane Arbus subtext.” But Big leaves Carrie at the altar. And no, that’s not a spoiler – it happens one hour into this candied 148-minute behemoth. (Throw in the burning of Atlanta, and writer-director Michael Patrick King, executive producer for most of the show’s run, would convince you Big and Carrie are this generation’s Rhett and Scarlett.) This isn’t a movie – it’s five episodes stretched into an event. If there were a girl alive who hadn’t already heard she was a Carrie/Miranda/Charlotte/-Samantha, she’d feel steamrollered. After the closing credits, she’d still have no idea what Miranda (Cynthia Nixon) does for a living, or who’s that bald guy (Evan Handler) married to Charlotte (Kristin Davis). And though Samantha (Kim Cattrall) is tucked catfight lengths away in L.A. with boyfriend Smith (Jason Harris), she flies in for brunch. The love and kisses and tears are more palatable than either Carrie’s hats or her prose, each of which elicited as many groans as her runaway groom. But the time ticks by easily like a lazy TV marathon, a humbler achievement than demanded by a diva flick that’s self-congratulatory – even Carrie’s famed pink wife-beater and tutu combo sashay out for applause – but a minor triumph for inessentiality all the same. (Amy Nicholson) (Citywide)

JUNE 5~11, 2008





THE STRANGERS The story is relatively thin and familiar: James (Scott Speedman) and girlfriend Kristen (Liv Tyler) leave a friend’s wedding reception for what’s supposed to be a romantic, celebratory night at his parents’ old secluded rural home. In the dead of night, a knock at the door and a bizarre, eerily singsong query (“Is Tamara there?”) give way to a grim siege, with three masked killers taking masochistic delight in toying with their would-be victims. That may sound like nothing but an excuse for aggressive foley work, but freshman writer-director Bryan Bertino’s well-crafted horror thriller actually exercises great restraint, successfully aiming more for tension and dread than gory shock. In fact, between its exacting execution and a certain amount of subtext, there’s certainly enough substance here to make a convincing case for the film as metaphor. It’s not an explicit selfcritique of cinema like Michael Haneke’s recent remake of his own Funny Games, but rather a more general commentary that, in its own way, takes the temperature of these anxious times. Though hamstrung by a lame coda that attempts to foist off some semblance of an open ending, this is a grim, unnerving valentine to such genre trailblazers as the original Halloween. (Brent Simon) (Citywide)


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WHEN DID YOU LAST SEE YOUR FATHER? Strangers adored Arthur (Jim Broadbent), even as his family cringed at his loud mouth and gloating need to put one over on the man. Anand Tucker’s assured, decades-spanning drama chronicles Arthur’s strained relationship with son Blake (Colin Firth), who as a boy (Bradley Johnson) and teen (Matthew Beard) would rather his dad died than embarrass him in front of another girl. Now, he is dying, and, true to form, doing it on his own terms – weak and beaming beatifically, as though Saint Peter is giving him a high five for being awesome. The teaser titular question refers to Colin’s puzzlement over who he’s saying goodbye to – the bastard he remembers, or an old man he’s never really known. Even bedridden, Broadbent walks away with the film. Juliet Stevenson makes the widow-to-be quiet, but with a steel center that can neither best her husband nor be broken by him. Adapted by David Nicholls from Blake Morrison’s memoirs, Tucker’s unsentimental eulogy keeps its emotion in check behind the moody haze of memory. (Amy Nicholson) (Laemmle’s Sunset 5, Landmark West Los Angeles, Laemmle’s Town Center 5, Laemmle’s Playhouse 7)


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YOU DON’T MESS WITH THE ZOHAN When he’s not socking it to Palestinian terrorists, top Israeli commando Zohan (Adam Sandler) can be found shakin’ his tuchis at a Haifa beach party. He’s a disco animal, a lover of women, a defender of the Hebrew homeland ... and what he really wants to do is cut and style hair. To begin his new life, Zohan cleverly fakes his death and smuggles himself to New York where he fast becomes hot stylist Scrappy Coco, working at a salon owned and run by, of all people, a hot Palestinian mama named Dalia (Emmanuelle Chriqui). Will age-old Semitic rivalries come between Zohan and Dalia? Or will they pioneer peace in the Middle East by uniting against a common American enemy ... the evil urban redeveloper? Despite a handful of funny bits, this throwback to the very uneven Adam Sandler comedies of the ’90s is mostly a frenetic bore, thanks to the predictably inept direction of a man who oversaw several of those uneven ’90s comedies, Dennis Dugan. The less predictable and more troubling problem is the script. Written jointly by the elite comedy talents of Sandler, Robert Smigel, and Judd Apatow, it’s a classic case of too many cooks in a very small kitchen, and none of them on the same page of the cookbook. (Wade Major) (Citywide)

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ALSO OPENING THIS WEEK The Go-Getter. After his mother dies, a 19-year-old (Lou Taylor Pucci) steals a car and goes looking for the older brother he can barely remember. Martin Hynes wrote and directed; Zooey Deschanel, Jena Malone, M. Ward, Judy Greer, Nick Offerman, and Brian McNamara costar. (AK) (Laemmle’s Monica 4) The Poet. World War II: Boy (Jonathan Scarfe) Meets Girl (Nina Dobrev). Unfortunately, the boy is the son of a Nazi general (Kim Coates), and the girl is the daughter of a rabbi (the late Roy Scheider). But the two have an ally in the boy’s mother (Daryl Hannah). Damian Lee directed from a script by Jack Crystal. (AK) (Laemmle’s Music Hall 3) Polar Opposites. When his doomsday predictions gain credibility, a scientist (Charles Shaughnessy) must reconcile with the friend (Ken Barnett) who scorned him to save the world. Fred Olen Ray directed; the cast also includes Tracy Nelson and Beth Grant. Part of the “Everyday Gay Heroes” series. (AK) (Regent Showcase) Solar Flare. When solar flares threaten the Earth, a teenaged math genius (Chris Brochu) must get together with his professor (Tracey Gold) to save the world. Fred Olen Ray directed; the cast also includes Michele Clunie, Ted Monte, and Cliff de Young. Part of the “Everyday Gay Heroes” series. (AK) (Regent Showcase)

SHOWTIMES June 6-12, 2008 Note: Times are p.m., and daily, unless otherwise indicated. All times are subject to change without notice.

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. Big Screen Safari (National Geographic Kids) Sat-Sun 10 a.m. Bleach: Memories of Nobody Wed-Thur 7:30. The Chronicles of Narnia: Prince Caspian 11:45 a.m., 3, 6:15, 9:30, 12:30 a.m. Genesis: When In Rome Mon only, 8. The Happening Thur only, 12:01 a.m. The Incredible Hulk Thur only, 12:01 a.m. Indiana Jones and the Kingdom of the Crystal Skull Fri 1:10, 2:30, 4, 5:20, 6:50, 8:10, 9:40, 10:45, 12:15 a.m.; Sat 10:20 a.m., 11:40 a.m., 1:10, 2:30, 4, 5:20, 6:50, 8:10, 9:40, 10:45, 12:15 a.m.; Sun 10:20 a.m., 11:40 a.m., 1:10, 2:30, 4, 5:20, 6:50, 8:10, 9:40, 10:45;





JUNE 5~11, 2008

Mon-Thur 1:10, 2:30, 4, 5:20, 6:50, 8:10, 9:40, 10:45. Iron Man Fri 12:20, 2:20, 3:15, 5:15, 6:15, 8:10, 9:05, 11, 11:55; Sat 11:25 a.m., 12:20, 2:20, 3:15, 5:15, 6:15, 8:10, 9:05, 11, 11:55; Sun 11:25 a.m., 12:20, 2:20, 3:15, 5:15, 6:15, 8:10, 9:05; Mon 12:20, 2:20, 3:15, 5:15, 6:15, 9:05; Tue-Thur 12:20, 2:20, 3:15, 5:15, 6:15, 8:10, 9:05. Kung Fu Panda Fri 12:15, 1:40, 2:40, 4:05, 5:05, 6:30, 7:30, 8:55, 9:55, 11:20, 12:20 a.m.; Sat 10 a.m., 11:15 a.m., 12:15, 1:40, 2:40, 4:05, 5:05, 6:30, 7:30, 8:55, 9:55, 11:20, 12:20 a.m.; Sun 10 a.m., 11:15 a.m., 12:15, 1:40, 2:40, 4:05, 5:05, 6:30, 7:30, 8:55, 9:55; Mon-Thur 12:15, 1:40, 2:40, 4:05, 5:05, 6:30, 7:30, 8:55, 9:55. Sex and the City Fri 12:45, 1:50, 3:50, 4:55, 7, 8, 10:15, 11:15; Sat 10:45 a.m., 12:45, 1:50, 3:50, 4:55, 7, 8, 10:15, 11:15; Sun 10:45 a.m., 12:45, 1:50, 3:50, 4:55, 7, 8, 10:15; Mon-Thur 12:45, 1:50, 3:50, 4:55, 7, 8, 10:15. Speed Racer 1:30. The Strangers Fri-Sat 12:35, 1:05, 2:50, 3:20, 5:05, 5:35, 7:20, 7:50, 9:35, 10:05, 11:50, 12:20 a.m.; Sun-Thur 12:35, 1:05, 2:50, 3:20, 5:05, 5:35, 7:20, 7:50, 9:35, 10:05. What Happens in Vegas Fri-Sat 12:40, 3, 5:20, 7:40, 10:10, 12:30 a.m.; Sun-Thur 12:40, 3, 5:20, 7:40, 10:10. You Don’t Mess With the Zohan Fri 11:45 a.m., 1:20, 2:20, 3:55, 4:55, 6:40, 7:40, 9:20, 10:20, 11:55; Sat 10:45 a.m., 11:45 a.m., 1:20, 2:20, 3:55, 4:55, 6:40, 7:40, 9:20, 10:20, 11:55; Sun 10:45 a.m., 11:45 a.m., 1:20, 2:20, 3:55, 4:55, 6:40, 7:40, 9:20, 10:20; Mon-Thur 11:45 a.m., 1:20, 2:20, 3:55, 4:55, 6:40, 7:40, 9:20, 10:20. Culver Plaza Theatre, 9919 Washington Blvd, (310) 836-5516. 13 Months of Sunshine Fri 9:30; Sat 7:30; Sun 4. Baby Mama 2:45, 7:40, 9:55. Before The Rains 12:15, 5:05. Forgetting Sarah Marshall 2:25, 7:25, 9:50. Harold & Kumar Escape From Guantanamo Bay Fri 7:20; Sat 9:40; Sun 1:50, 6:20; Mon-Thur 7:20, 9:35. Redbelt noon, 5:05, 9:50. Son of Rambow 12:30, 5:25. Speed Racer 2:05, 7:15. Stuck 12:10, 5:10, 9:30. Then She Found Me 2:20, 7:20. What Happens in Vegas 12:35, 2:55, 5:20, 7:30, 9:45. Young at Heart Fri-Sat 12:20, 2:50, 5:05; Sun 11:45 a.m., 8:30; MonThur 12:20, 2:50, 5:05. Loews Cineplex Marina Marketplace, 13455 Maxella Av, (310) 827-9588. Forgetting Sarah Marshall Fri-Sun 11:30 a.m., 2, 4:40, 7:45, 10:35; Mon-Thur 1:15, 4:15, 6:50, 9:35. Iron Man Fri 1:45, 4:45, 7:35, 10:30; Sat-Sun 10:30 a.m., 1:45, 4:45, 7:35, 10:30; Mon-Thur 1, 4, 7, 9:45. Kung Fu Panda Fri 11 a.m., 12:30, 1:35, 3, 4, 5:45, 6:45, 8:15, 9:15, 10:40; Sat-Sun 10 a.m., 11 a.m., 12:30, 1:35, 3, 4, 5:45, 6:45, 8:15, 9:15, 10:40; Mon-Thur 12:45, 2, 3, 4:15, 5:30, 6:45, 7:45, 9. Sex and the City Fri-Sun 11:15 a.m., noon, 2:30, 3:15, 5:45, 6:30, 9, 9:45; Mon-Thur 12:30, 1:30, 3:30, 4:30, 6:30, 8, 9:45. Pacific Culver Stadium 12, 9500 Culver Bl, (310) 855-7519. The Chronicles of Narnia: Prince Caspian Fri-Sun 12:50, 4:20, 7:35, 10:45; Mon-Thur 12:30, 4:10, 7:15, 10:30. Indiana Jones and the Kingdom of the Crystal Skull Fri-Sat 12:05, 1:05, 3, 4:55, 5:50, 7:40, 8:40, 10:30, 11:25; Sun 12:05, 1:05, 3, 4:55, 5:50, 7:40, 8:40, 10:30; Mon-Thur 12:25, 1:30, 4:15, 5:20, 7:05, 8:05, 10. Iron Man Fri-Sun 12:10, 4:10, 7:10, 10:10; Mon-Thur 12:10, 4, 7:10, 10:05. Kung Fu Panda Fri-Sun noon, 1, 2:20, 3:20, 4:40, 5:40, 7:05, 8:05, 9:35, 10:25; Mon-Thur noon, 1, 2:20, 3:20, 4:40, 5:40, 7, 7:55, 9:30, 10:15. Sex and the City Fri-Sat 12:45, 1:45, 4:05, 5:05, 7:45, 8:30, 10:55, 11:35; Sun 12:45, 1:45, 4:05, 5:05, 7:45, 8:30, 10:55; Mon-Thur 12:05, 1:10, 4:05, 5, 7:35, 8:35, 10:40. The Strangers Fri-Sun 12:15, 2:35, 5:10, 7:20, 9:30; Mon-Thur 12:35, 2:45, 5:05, 7:20, 9:40. You Don’t Mess With the Zohan Fri-Sat 12:30, 1:30, 2:30, 3:05, 4:15, 5, 5:45, 7:15, 8, 8:45, 10:05, 10:50, 11:30; Sun 12:30, 1:30, 2:30, 3:05, 4:15, 5, 5:45, 7:15, 8, 8:45, 10:05, 10:50; Mon-Thur 12:20, 1:05, 1:50, 2:55, 4:50, 5:10, 5:35, 7:30, 8, 8:30, 10:10, 10:45. UA Marina, 4335 Glencoe Av, (310) 823-1721. The Chronicles of Narnia: Prince Caspian Fri-Sun 10 a.m., 1:10, 4:20, 7:30, 10:50; Mon-Thur 12:30, 4, 7:10, 10:20. Indiana Jones and the Kingdom of the Crystal Skull Fri-Sun 9:50 a.m., 12:10, 12:40, 3:20, 4:10, 7:10, 7:40, 10, 11; Mon-Thur noon, 12:20, 3:40, 4:30, 7:20, 7:30, 10:10, 10:40. The Strangers Fri-Sun 9:30 a.m., 12:50, 3, 5:10, 7:50, 10:20; MonThur 1, 3:20, 5:30, 7:40, 10. You Don’t Mess With the Zohan Fri 9:20 a.m., 10:30 a.m., noon, 1:30, 2:40, 4:30, 5:20, 7:20, 8, 10:10, 10:40; Sat-Sun 9:20 a.m., 10:30 a.m., noon, 1:30, 2:40, 4:30, 5:20, 7:30, 8, 10:10, 10:40; MonThur 12:10, 1:20, 3, 5, 6:50, 7:50, 9:50, 10:30.

DOWNTOWN & SOUTH L.A. Laemmle’s Grande 4-Plex, 345 S Figueroa St, (213) 617-0268. Indiana Jones and the Kingdom of the Crystal Skull Fri 4:10, 7, 9:50; Sat-Sun 1:20, 4:10, 7, 9:50; Mon-Thur 5:10, 8. Iron Man Fri 4:20, 7:20, 10:10; Sat-Sun 1:30, 4:20, 7:20, 10:10; Mon-Thur 5:20, 8:20. Sex and the City Fri 4, 7:10, 10:15; Sat-Sun 1, 4, 7:10, 10:15; MonThur 5, 8:10. You Don’t Mess With the Zohan Fri 4:30, 7:15, 9:55; Sat-Sun 1:40, 4:30, 7:15, 9:55; Mon-Thur 5:30, 8:15. Magic Johnson Theaters, Baldwin Hills Crenshaw Plaza, 4020 Marlton Av, (323) 290-5900. The Chronicles of Narnia: Prince Caspian Fri-Sun 9:40 a.m., 12:50, 4, 7:05, 10:10; Mon-Thur 12:50, 4, 7:05, 10:10. Indiana Jones and the Kingdom of the Crystal Skull Fri-Sat 10:40 a.m., 11:10 a.m., 11:40 a.m., 1:25, 1:55, 2:25, 4:10, 4:40, 5:10, 7:10, 7:40, 8:10, 10, 10:30, 11; Sun 10:40 a.m., 11:10 a.m., 11:40 a.m., 1:25, 1:55, 2:25, 4:10, 4:40, 5:10, 7:10, 7:40, 8:10, 10, 10:20; Mon-Wed 1:25, 1:55, 2:25, 4:10, 4:40, 5:10, 7:10, 7:40, 8:10, 10, 10:20; Thur 1:25, 2:25, 4:10, 4:40, 5:10, 7:10, 7:40, 8:10, 10, 10:20. Iron Man Fri-Sat 10:25 a.m., 10:55 a.m., 1:30, 2, 4:25, 4:55, 7:20, 7:50, 10:05, 10:35; Sun 10:25 a.m., 10:55 a.m., 1:30, 2, 4:25, 4:55, 7:20, 7:50, 10:05; Mon-Thur 1:30, 2, 4:25, 4:55, 7:20, 7:50, 10:05. Kung Fu Panda Fri-Sat 9:45 a.m., 10:15 a.m., 11:45 a.m., 12:15, 12:45, 2:15, 2:45, 3:15, 4:45, 5:15, 5:45, 7:15, 7:45, 8:15, 9:45, 10:15, 10:45; Sun 9:45 a.m., 10:15 a.m., 11:45 a.m., 12:15, 12:45, 2:15, 2:45, 3:15, 4:45, 5:15, 5:45, 7:15, 7:45, 8:15, 9:45, 10:15; Mon-Thur 12:15, 12:45, 2:15, 2:45, 3:15, 4:45, 5:15, 5:45, 7:15, 7:45, 8:15, 9:45, 10:15. Sex and the City Fri-Sat 10 a.m., 10:30 a.m., 1:10, 1:40, 4:20, 4:50, 7:35, 8:05, 10:40; Sun 10 a.m., 10:30 a.m., 1:10, 1:40, 4:20, 4:50, 7:35, 8:05, 10:30; Mon-Thur 1:10, 1:40, 4:20, 4:50, 7:35, 8:05,







L HOLLYWOOD ArcLight Cinemas At Sunset & Vine (323) 464-4226 Fri.- Sun.: 10:50 • 2:00 • 5:00 • 8:00 • 10:50 Mon.- Thurs.: 11:20 • 2:10 • 5:00 • 8:10 • 10:50

L WEST LOS ANGELES The LANDMARK at W. Pico & Westwood (310) 281-8233 Free Parking. On 2 Screens Fri.- Mon. & Thurs.: 11:00 • 12:10 • 1:45 • 3:00 • 4:30 • 5:45 • 7:20 • 8:30 • 10:10 Tues.: 11:00 • 1:45 • 4:30 • 7:20 • 10:10 Wed.: 11:00 • 12:10 • 1:45 • 3:00 • 4:30 • 7:20 • 10:10

LPresented in


10:30. Speed Racer Fri-Sun 10:20 a.m., 1:15, 4:15, 7:25, 10:25; Mon 4:15, 7:25, 10:25; Tue-Wed 1:15, 4:15, 7:25, 10:25; Thur 4:15, 7:25, 10:25. The Strangers Fri-Sun 10:45 a.m., 1, 3:15, 5:30, 7:55, 10:25; Mon-Thur 1, 3:15, 5:30, 7:55, 10:25. You Don’t Mess With the Zohan Fri-Sat 11 a.m., 11:30 a.m., 1:45, 2:15, 4:30, 5, 7:30, 8, 10:20, 10:50; Sun 11 a.m., 11:30 a.m., 1:45, 2:15, 4:30, 5, 7:30, 8, 10:20; Mon-Thur 1:45, 2:15, 4:30, 5, 7:30, 8, 10:20. University Village 3, 3323 S Hoover St, (213) 748-6321. Indiana Jones and the Kingdom of the Crystal Skull 1:50, 4:40, 7:30, 10:20. Iron Man 1:20, 4:10, 7, 9:50. The Strangers Fri-Sat 1, 3:15, 5:30, 7:45, 10, midnight; Sun-Thur 1, 3:15, 5:30, 7:45, 10.


ArcLight Cinemas Hollywood, 6360 Sunset Bl, (323) 464-4226. The Fall Fri-Sun 10:10 a.m., 1:20, 4:10, 7:10, 10; Mon-Tue 1:20, 4:10, 7:10, 11; Thur 1:20, 4:10, 7:10, 11. The Foot Fist Way Fri-Sat 10:15 a.m., 12:35, 2:55, 5:25, 7:25, 9:55; Sun 10:15 a.m., 12:35, 2:55, 5:15, 7:25, 9:55; Mon-Tue 11:25 a.m., 1:35, 4:25, 7:25, 9:55; Thur 11:25 a.m., 1:35, 4:25, 7:25, 9:55. The Happening Thur only, midnight. The Incredible Hulk Thur only, midnight. Indiana Jones and the Kingdom of the Crystal Skull FriSun 10:05 a.m., 10:40 a.m., 11:35 a.m., 1:30, 2:05, 2:40, 4:20, 5:05, 5:30, 7:20, 7:55, 8:30, 10:10, 10:45, 11:40; Mon 11:05 a.m., 11:35 a.m., 1:30, 2:05, 2:40, 4:20, 4:55, 5:30, 7:20, 7:55, 8:30, 10:10, 10:45, 11:40; Tue 11:35 a.m., 1:30, 2:40, 4:20, 5:30, 7:20, 8:30, 10:10, 11:40; Wed 11:05 a.m., 11:35 a.m., 1:30, 2:05, 2:40, 4:20, 4:55, 5:30, 7:20, 7:55, 8:30, 10:10, 10:45, 11:40; Thur 11:05 a.m., 11:35 a.m., 1:30, 2:05, 2:40, 4:20, 4:55, 5:30, 7:55, 8:30, 10:45, 11:40.

Iron Man Fri-Tue 11 a.m., 1:50, 4:40, 7:40, 10:30; Thur 11 a.m., 1:50, 4:40, 7:40, 10:30. Kung Fu Panda Fri-Sun 12:15, 2:35, 4:55, 7:15, 9:35; Mon-Wed 12:15, 2:25, 5:05, 7:15, 9:35; Thur 11:10 a.m., 1:45. Mongol Fri-Sun 10:50 a.m., 1:40, 5, 8:10, 10:50; Mon-Thur 11:20 a.m., 2, 5, 8:10, 10:50. Sex and the City Fri 10:20 a.m., 12:25, 1:05, 2, 3:35, 4:35, 5:10, 7:05, 7:40, 8:20, 10:15, 10:40, 11:30; Sat-Sun 10:20 a.m., 12:25, 1:05, 2, 3:35, 4:35, 5:10, 7:05, 7:50, 8:20, 10:15, 11:05, 11:30; Mon 12:25, 1:05, 1:40, 3:35, 4:45, 5:10, 7:05, 7:50, 8:20, 10:15, 11:05, 11:30; Tue 11:05 a.m., 12:25, 1:05, 2:30, 3:35, 4:45, 7:05, 7:50, 10:15, 11:05; Wed 12:25, 1:05, 1:40, 3:35, 4:45, 5:10, 7:50, 8:20, 11:05, 11:30; Thur 12:25, 1:05, 1:40, 3:35, 4:45, 5:10, 7:05, 7:50, 8:20, 10:15, 11:05, 11:30. You Don’t Mess With the Zohan Fri-Sun 10 a.m., 11:15 a.m., 1:10, 1:55, 4, 4:45, 7, 7:35, 9:50, 10:25; MonWed 11:15 a.m., 1:10, 1:55, 4, 4:35, 7, 7:35, 9:50, 10:25; Thur 1:10, 4, 5:25, 7, 8:05, 9:50, 10:55.

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Grauman’s Chinese, 6925 Hollywood Bl, (323) 4648111. The Strangers Fri-Tue 1, 3:20, 5:40, 8, 10:30; Thur 1, 3:20, 5:40, 8, 10:30. Los Feliz 3, 1822 N Vermont Av, (323) 664-2169. The Fall 2, 4:30, 7, 9:30. Sex and the City 2:30, 5:45, 8:45. You Don’t Mess With the Zohan 2, 4:30, 7:15, 9:30. Mann Chinese 6, 6801 Hollywood Bl, (323) 4613331. Bigger, Stronger, Faster 11:50 a.m., 2:20, 4:50, 7:20, 9:50. Forgetting Sarah Marshall Fri-Wed 1:10, 4:10, 7:10, 10:10. Speed Racer Fri-Tue 12:40, 3:40, 6:40, 9:40; Thur 12:40, 3:40, 6:40, 9:40. The Strangers Fri-Sat 11:40 a.m., 2:10, 4:40, 7, 9:30, 11:30; Sun-Tue 11:40 a.m., 2:10, 4:40, 7, 9:30; Wed 11:40 a.m., 1, 2:10, 3:20, 4:40, 5:40, 7, 8, 9:30, 10:30; Thur 11:40 a.m., 2:10, 4:40, 7, 9:30. War, Inc. 12:10, 2:40, 5:10, 7:40, 10:20. What Happens in Vegas Fri-Tue noon, 2:30, 5, 7:30, 10; Thur noon, 2:30, 5, 7:30, 10. Pacific’s El Capitan, 6838 Hollywood Bl, (323) 4677674. The Chronicles of Narnia: Prince Caspian Fri-Sat 10 a.m., 1:20, 4:40, 7:55, 11:15; Sun-Thur 10 a.m., 1:20, 4:40, 7:55. Pacific’s The Grove Stadium 14, 189 The Grove Dr, Third St & Fairfax Av, (323) 692-0829. The Chronicles of Narnia: Prince Caspian 9:25 a.m., 12:35, 3:50, 7:05, 10:30. Indiana Jones and the Kingdom of the Crystal Skull FriSun 10:10 a.m., 11:10 a.m., 1:10, 2:15, 4:15, 5:10, 7:20, 8:20, 10:25, 11:25; Mon 10:10 a.m., 11 a.m., 1:10, 2:15, 4:15, 5:10, 7:20, 8:20, 10:25, 11:25; Tue 10:10 a.m., 11:10 a.m., 1:10, 2:15, 4:15, 5:10, 7:20, 8:20, 10:25, 11:25; Wed 10:10 a.m., 11:10 a.m., 1:10, 2:15, 4:15, 5:10, 8:20, 10:45, 11:25; Thur 10:10 a.m., 11:10 a.m., 1:10, 2:15, 4:15, 5:10, 7:20, 8:20, 10:25, 11:25. Iron Man 10:45 a.m., 1:40, 4:35, 7:40, 10:50. Kung Fu Panda Fri-Sat 10 a.m., 10:25 a.m., 11 a.m., 12:30, 1:35, 2:05, 2:55, 4:25, 5:05, 5:25, 7, 8:05, 10, 10:45, 12:35 a.m.; Sun-Tue 10 a.m., 10:25 a.m., 11 a.m., 12:30, 1:35, 2:05, 2:55, 4:25, 5:05, 5:25, 7, 8:05, 10, 10:45; Wed 10 a.m., 10:25 a.m., 11 a.m., 12:30, 1:35, 2:05, 2:55, 4:25, 5:05, 5:25, 7, 8:05, 10, 10:25; Thur 10 a.m., 10:25 a.m., 11 a.m., 12:30, 1:35, 2:05, 2:55, 4:25, 5:05, 5:25, 7, 8:05, 10, 10:45. Sex and the City 9:40 a.m., 10:05 a.m., 10:40 a.m., 12:50, 1:20, 1:50, 4, 4:30, 5, 7:15, 7:45, 8:15, 10:40, 11:15, 11:35. The Strangers 11:30 a.m., 2:35, 5:35, 8, 10:35. What Happens in Vegas 10:55 a.m., 1:45, 4:45, 7:30, 10:10. You Don’t Mess With the Zohan Fri-Sat 10:20 a.m., 11:40 a.m., 1:25, 2:40, 4:20, 5:40, 7:10, 7:50, 8:30, 10:05, 10:55, 11:30, 12:20 a.m.; Sun-Thur 10:20 a.m., 11:40 a.m., 1:25, 2:40, 4:20, 5:40, 7:10, 7:50, 8:30, 10:05, 10:55, 11:30. Regent Showcase, 614 N La Brea Av, (323) 9342944. Polar Opposites 7:30. Solar Flare Fri 9:15; Sat-Sun 5:45, 9:15; Mon-Thur 9:15. Vine, 6321 Hollywood Bl, (323) 463-6819. Call theater for titles and showtimes. Vista, 4473 Sunset, (323) 660-6639. Indiana Jones and the Kingdom of the Crystal Skull Fri 6:45, 9:45; Sat-Sun 2:45, 6:45, 9:45; Mon-Thur 6:45, 9:45.

SOUNDTRACK NOW AVAILABLE • WITH NEW SONGS FROM FERGIE & JENNIFER HUDSON Get more SEX at home! Own the award-winning HBO series on DVD now! µ WESTWOOD Mann Bruin µ HOLLYWOOD ArcLight µ CENTURY CITY µ BEVERLY HILLS Pacific’s The Grove ∂ UNIVERSAL CITY CityWalk Stadium 19 µ WEST LOS ANGELES The Bridge 310/248-MANN #051 £ Cinemas at Sunset & Vine AMC Century 15 310/289-4AMC Stadium 14 323/692-0829 #209 with IMAX 800/FANDANGO #707 Cinema De Lux 310/568-3375 $3.00 parking after 6:00 PM 323/464-4226 3 hrs free parking. Additional 2 hr 4 hours on-site validated parking only $2.00. MOVIE PARKING REBATE in “Privilege Parking Lots”. 4 hours validated parking -$2 parking $3.00 with AMC validation. $5 General Parking Rebate At µ SHERMAN OAKS ArcLight $1.00 refunded with paid µ SANTA MONICA £ Box Office With Movie Ticket Cinemas At the Sherman Oaks NO PASSES, COUPONS, GROUP ACTIVITY admission after 6:00 PM. Mann Criterion 6 310/248-MANN #019 Purchase (Excludes Preferred & Valet) Galleria 818/501-0753 TICKETS OR VIP TICKETS ACCEPTED.






Century 8, 12827 Victory Bl, (818) 508-6004. The Chronicles of Narnia: Prince Caspian 12:20, 3:40, 7, 10:05. The Incredible Hulk Thur only, midninght. Indiana Jones and the Kingdom of the Crystal Skull 10:30 a.m., 1:30, 4:30, 7:30, 10:30. Iron Man 10:25 a.m., 1:25, 4:25, 7:25, 10:20. Kung Fu Panda 10:35 a.m., 11:50 a.m., 1:05, 2:20, 3:35, 4:45, 5:55, 7:20, 8:20, 9:50. Sex and the City 12:30, 3:45, 7:10, 10:15. The Strangers 10:50 a.m., 1:10, 3:20, 5:30, 7:45, 9:55. You Don’t Mess With the Zohan 11:10 a.m., 2, 4:50, 7:35, 10:25. Loews CityWalk Stadium 19 with IMAX, 100 Universal City Dr at Universal CityWalk, (818) 508-0588; IMAX Theater (818) 760-8100. Baby Mama 2:15, 8. The Chronicles of Narnia: Prince Caspian 12:40, 3:50, 7:05, 10:25. The Incredible Hulk Thur only, 12:01 a.m. Indiana Jones and the Kingdom of the Crystal Skull FriSat 11:20 a.m., 12:30, 1:30, 2:20, 3:30, 4:30, 5:20, 6:30, 7:30, 8:20, 9:40, 10:20, 11:15, 12:30 a.m.; Sun 11:20 a.m., 12:30, 1:30, 2:20, 3:30, 4:30, 5:20, 6:30, 7:30, 8:20, 9:40, 10:20; Mon 12:30, 1:30, 3:30, 4:30, 6:30, 7:30, 9:40, 10:20; Tue-Thur 12:30, 1:30, 2:20, 3:30, 4:30, 5:20, 6:30, 7:30, 8:20, 9:40, 10:20. Iron Man Fri-Sat 11:10 a.m., 2, 5:15, 8:05, 10:55; Sun 11:10 a.m., 2, 5:15, 8, 10:45; Mon-Thur 2, 5:15, 8, 10:45. Kung Fu Panda Fri-Sat 11:30 a.m., 12:10, 1:50, 2:40, 4:10, 5:10, 6:40, 7:40, 9:10, 10:15, 11:40; Sun 11:30 a.m., 12:10, 1:50, 2:40, 4:10, 5:10, 6:40, 7:40, 9:10, 10:15; Mon-Thur 1:50, 2:40, 4:10, 5:10, 6:40, 7:40, 9:10, 10:15. Kung Fu Panda: The IMAX Experience Fri-Sun 11 a.m., 1:20, 3:40, 6, 8:20, 10:40; Mon-Thur 1:20, 3:40, 6, 8:20, 10:40. Sex and the City Fri-Sat 10:50 a.m., 11:50 a.m., 12:50, 1:55, 3, 4, 5, 6:10, 7:10, 8:10, 9:30, 10:30, 11:30, 12:35 a.m.; Sun 10:50 a.m., 11:50 a.m., 12:50, 1:55, 3, 4, 5, 6:10, 7:10, 8:10, 9:30, 10:30; Mon-Wed 12:50, 1:55, 3, 4, 5, 6:10, 7:10, 8:10, 9:30, 10:30; Thur 12:50, 3, 4, 5:10, 6:10, 7:10, 8:10, 9:30, 10:30. Speed Racer Fri-Sat 1:10, 4:20, 7:45, 10:50; Sun 1:10, 4:20, 7:45, 10:35; Tue-Thur 1:10, 4:20, 7:45, 10:35. The Strangers Fri-Sat 10:55 a.m., 12:20, 1, 2:30, 3:10, 4:40, 5:30, 6:50, 7:50, 9, 10:05, 11:10, 12:20 a.m.; Sun 10:55 a.m., 12:20, 1, 2:30, 3:10, 4:40, 5:30, 6:50, 7:50, 9, 10:05; Mon-Thur 1, 2:30, 3:10, 4:40, 5:30, 6:50, 7:50, 9, 10:05. What Happens in Vegas Fri-Sun 11:40 a.m., 2:10,

JUNE 5~11, 2008

4:45, 7:20, 9:50; Mon-Thur 2:10, 4:45, 7:20, 9:50. You Don’t Mess With the Zohan Fri 10:45 a.m., 11 a.m., noon, 12:25, 1:25, 2:50, 3:20, 4:05, 4:50, 5:40, 6:20, 7, 8:30, 9:20, 10, 10:35, 11:20, 12:10 a.m.; Sat 10:45 a.m., 11:25 a.m., noon, 12:25, 1:25, 2:50, 3:20, 4:05, 4:50, 5:40, 6:20, 7, 8:30, 9:20, 10, 10:35, 11:20, 12:10 a.m.; Sun 10:45 a.m., 11:25 a.m., noon, 12:25, 1:25, 2:50, 3:20, 4:05, 4:50, 5:40, 6:20, 7, 8:30, 9:20, 10, 10:35; Mon-Thur 12:25, 1:25, 2:50, 3:20, 4:05, 4:50, 5:40, 6:20, 7, 8:30, 9:20, 10, 10:35.

SANTA MONICA AMC Santa Monica 7, 1310 Third Street Promenade, (310) 395-3030. The Chronicles of Narnia: Prince Caspian 1, 4:15, 7:20, 10:30. Forgetting Sarah Marshall Fri-Sun 11:15 a.m., 1:50, 4:25, 7:10, 9:50; Mon-Thur 1:50, 4:25, 7:10, 9:50. Indiana Jones and the Kingdom of the Crystal Skull FriSun 10:30 a.m., noon, 1:15, 3, 4:10, 6, 7:05, 9, 10; Mon-Thur noon, 1:45, 3, 4:40, 6, 7:35, 9, 10:20. Kung Fu Panda Fri-Sun 10:15 a.m., 11:45 a.m., 12:45, 2:15, 3:15, 4:45, 5:45, 7:15, 8:15, 9:45, 10:45; Mon-Thur 12:45, 2:15, 3:15, 4:45, 5:45, 7:15, 8:15, 9:45, 10:30. The Strangers Fri-Sun 10:45 a.m., 12:50, 3:20, 5:30, 7:50, 10:15; Mon-Thur 12:50, 3:20, 5:30, 7:50, 10:15. Laemmle’s Monica 4-Plex, 1332 Second St, (310) 3949741. The Go-Getter 1:40, 4:10, 7, 9:40. In Bruges 4, 9:50. Jellyfish Sat-Sun 11 a.m. Refusenik Sat-Sun 11 a.m. Up the Yangtze Sat-Sun 11 a.m. The Visitor 1:30, 4:20, 7:20, 10. War, Inc. 1:50, 4:30, 7:30, 10. Young at Heart 1:20, 7:10. Loews Cineplex Broadway, 1441 Third Street Promenade, (310) 458-1506. Baby Mama Fri-Sun 1:50, 7; Mon-Thur 1:45, 7. Indiana Jones and the Kingdom of the Crystal Skull FriSun 11:10 a.m., 2, 4:50, 7:45, 10:30; Mon-Thur 12:45, 3:40, 6:40, 9:35. Kung Fu Panda Fri-Sun 11 a.m., 1:30, 4, 6:30, 9; MonThur 1:30, 4, 6:30, 9. Made of Honor Fri-Sun 11:15 a.m., 4:20, 9:30; MonThur 4:15, 9:25. Speed Racer Fri-Sun 12:30, 3:35, 7:15, 10:15; MonThur 12:50, 3:50, 6:50, 9:45. Mann Criterion, 1313 Third Street Promenade, (310) 395-1599. Iron Man 1:10, 4:30, 7:10, 10:10. Sex and the City 12:20, 1, 3:40, 4:20, 7, 7:50, 10:20, 11. What Happens in Vegas 11:50 a.m., 2:10, 4:50, 7:30, 10. You Don’t Mess With the Zohan Fri-Sat 11 a.m., 11:40 a.m., 1:30, 2:20, 4:10, 5, 6:50, 7:40, 9:30, 10:30, 12:10 a.m.; Sun-Thur 11 a.m., 11:40 a.m., 1:30, 2:20, 4:10, 5, 6:50, 7:40, 9:30, 10:30.

SHERMAN OAKS, ENCINO ArcLight Sherman Oaks, 15301 Ventura Bl, Sherman Oaks, (818) 501-0753. The Chronicles of Narnia: Prince Caspian 11:05 a.m., 2:15, 5:25, 8:25, 11:25. The Happening Thur only, midnight. The Incredible Hulk Thur only, midnight. Indiana Jones and the Kingdom of the Crystal Skull 11:25 a.m., 12:20, 2:20, 3:25, 5:15, 7, 7:40, 8:15, 9:55, 10:30, 11. Iron Man 11:20 a.m., 2:05, 5, 8, 11:05. Kung Fu Panda Fri 11:15 a.m., 11:50 a.m., 12:50, 1:35, 2:15, 3:15, 4:10, 4:40, 5:50, 6:30, 8:10, 9, 10:45, 11:40; Sat 10:30 a.m., 11:15 a.m., 11:50 a.m., 12:50, 1:35, 2:15, 3:15, 4:10, 4:40, 5:50, 6:30, 8:10, 9, 10:45, 11:40; Sun 10:30 a.m., 11:15 a.m., 11:50 a.m., 12:50, 1:35, 2:15, 3:15, 4:10, 4:40, 5:50, 6:30, 8:10, 9, 10:45; Mon-Thur 11:15 a.m., 11:50 a.m., 12:50, 1:35, 2:15, 3:15, 4:10, 4:40, 5:50, 6:30, 8:10, 9, 10:45. McCabe & Mrs. Miller Mon only, 7:30. The Promotion 11:35 a.m., 1:50, 4:15, 7:15, 9:30. Sex and the City Fri 11:10 a.m., 11:40 a.m., 12:30, 2, 2:50, 3:20, 4, 5:10, 6:30, 7:05, 7:35, 8:20, 9:35, 10:15, 11:10, 11:45; Sat 10:45 a.m., 11:10 a.m., 11:40 a.m., 12:30, 2, 2:50, 3:20, 4, 5:10, 6:30, 7:05, 7:35, 8:20, 9:35, 10:15, 11:10, 11:45; Sun 10:45 a.m., 11:10 a.m., 11:40 a.m., 12:30, 2, 2:50, 3:20, 4, 5:10, 6:30, 7:05, 7:35, 8:20, 9:35, 10:15, 11:10, 11:40; Mon 11:10 a.m., 11:40 a.m., 12:30, 2, 2:50, 3:20, 4, 6:30, 7:05, 7:35, 9:35, 10:15, 11:10; Tue-Thur 11:10 a.m., 11:40 a.m., 12:30, 2, 2:50, 3:20, 4, 5:10, 6:30, 7:05, 7:35, 8:20, 9:35, 10:15, 11:10. The Strangers Fri-Sat 12:05, 2:30, 5:20, 7:30, 10:05, 12:10 a.m.; Sun-Thur 12:05, 2:30, 5:20, 7:30, 10:05. You Don’t Mess With the Zohan 11 a.m., 11:30 a.m., noon, 1:40, 2:10, 2:45, 4:20, 4:50, 5:30, 7:10, 7:45, 8:30, 9:50, 10:35, 11:15. Laemmle’s Town Center 5, 17200 Ventura Bl, Encino, (818) 981-9811. The Children of Huang Shi 1, 4, 7, 9:55. In Bruges 4:20, 9:40. Then She Found Me 1:30, 7:10. The Visitor 1:40, 4:30, 7:20, 9:55. When Did You Last See Your Father? 1, 3:20, 5:40, 8, 10:15. Young at Heart 1:20, 4:10, 7, 9:45. Mann Plant 16, 7876 Van Nuys Bl, Panorama City, (818) 779-0323. The Chronicles of Narnia: Prince Caspian 12:10, 3:30, 6:40, 9:50. Indiana Jones and the Kingdom of the Crystal Skull 12:50, 1:30, 3:50, 4:40, 6:40, 7:30, 9:45, 10:20. Iron Man 12:45, 3:40, 6:50, 9:40. Kung Fu Panda 11 a.m., 11:30 a.m., noon, 12:30, 1:20, 1:50, 2:20, 3, 3:45, 4:15, 4:50, 5:30, 6:15, 6:45, 7:20, 8, 8:45, 9:15, 9:45, 10:20. Sex and the City 1, 4:10, 6:30, 7:20, 9:40, 10:30. Speed Racer 12:15, 3:20.

The Strangers 11:40 a.m., 12:20, 2, 2:50, 4:30, 5:20, 7, 7:50, 9:30, 10:15. What Happens in Vegas 12:15, 2:45, 5:15, 7:45, 10:10. You Don’t Mess With the Zohan 11 a.m., 11:30 a.m., 12:40, 1:40, 2:10, 3:30, 4:20, 5, 6:30, 7:10, 7:40, 9:20, 10, 10:30. Pacific’s Sherman Oaks 5, 14424 Millbank St, Sherman Oaks, (818) 501-5121. Forgetting Sarah Marshall Fri 1:30, 4:45, 7:35, 10:25; Sat-Sun 2, 4:50, 7:40, 10:15; Mon-Thur 1:30, 4:45, 7:35, 10:25. Indiana Jones and the Kingdom of the Crystal Skull Fri 1:15, 4:15, 7:30, 10:20; Sat-Sun 1, 4:15, 7:30, 10:20; Mon-Thur 1:15, 4:15, 7:30, 10:20. Kung Fu Panda Fri 1:45, 4:30, 7:15, 9:50; Sat-Sun noon, 2:20, 4:45, 7:15, 9:50; Mon-Thur 1:45, 4:30, 7:15, 9:50. Sex and the City Fri 1, 4:10, 7:20, 10:30; Sat-Sun 12:50, 4:05, 7:20, 10:30; Mon-Thur 1, 4:10, 7:20, 10:30. What Happens in Vegas Fri 1:50, 4:40, 7:45, 10:10; Sat-Sun 12:15, 2:40, 5:10, 7:45, 10:10; Mon-Thur 1:50, 4:40, 7:45, 10:10.

WEST HOLLYWOOD, BEVERLY HILLS, CENTURY CITY AMC Century City 15, 10250 Santa Monica Bl, (310) 277-2011. Bleach: Memories of Nobody Wed-Thur 7:30. The Chronicles of Narnia: Prince Caspian Fri-Sat 9:50 a.m., 12:55, 4:15, 7:25, 10:50; Sun 9:50 a.m., 12:55, 4:15, 7:25, 10:45; MonThur 12:45, 4:05, 7:20, 10:35. Forgetting Sarah Marshall Fri-Sun 9:45 a.m., 12:10, 2:40, 5:20, 7:50, 10:30; Mon-Thur 2, 4:40, 7:25, 10:05. The Incredible Hulk Thur only, 12:01 a.m. Indiana Jones and the Kingdom of the Crystal Skull Fri-Sat 10:05 a.m., 10:45 a.m., 1:05, 1:45, 4:10, 4:50, 7:05, 7:55, 10:15, 11; Sun 10:05 a.m., 10:45 a.m., 1:05, 1:45, 4:10, 4:50, 7:05, 7:55, 10:05, 10:50; Mon 12:50, 1:55, 4, 7:15, 10:10, 10:45; Tue 12:50, 1:55, 4, 4:55, 7:15, 7:55, 10:10, 10:45; Wed 12:50, 1:55, 4, 7:15, 10:10, 10:45; Thur 12:50, 1:55, 4, 4:55, 7:15, 7:55, 10:10. Iron Man Fri-Sun 10:15 a.m., 1:10, 4:20, 7:30, 10:35; Mon 1, 4:10, 4:55, 7:35, 7:55, 10:30; Tue 1, 4:10, 7:35, 10:30; Wed 1, 4:10, 4:55, 7:55, 10:50; Thur 1, 4:10, 10:50. Kung Fu Panda Fri-Sat 9:35 a.m., 10:10 a.m., 11:10 a.m., noon, 12:45, 1:50, 2:35, 3:20, 4:25, 5:15, 5:50, 7:10, 8, 9:50, 10:40, 12:15 a.m.; Sun 9:35 a.m., 10:10 a.m., 11:10 a.m., noon, 12:45, 1:50, 2:35, 3:20, 4:25, 5:15, 5:50, 7:10, 8, 9:40, 10:30; Mon-Thur 12:05, 12:40, 1:45, 2:30, 3:10, 4:15, 5, 5:35, 7:05, 7:50, 9:35, 10:20. Sex and the City Fri-Sat 9:30 a.m., 10:30 a.m., 12:05, 12:40, 1:40, 3:15, 4, 5, 6:35, 7:20, 8:25, 9:55, 10:55, 11:45, 12:50 a.m.; Sun 9:30 a.m., 10:30 a.m., 12:05, 12:40, 1:40, 3:15, 4, 5, 6:35, 7:20, 8:25, 9:50, 10:40; Mon-Wed noon, 12:35, 1:10, 3:05, 3:45, 4:25, 6:15, 7, 7:40, 9:30, 10:15, 10:45; Thur noon, 12:35, 1:10, 3:05, 3:45, 4:25, 6:15, 7, 7:40, 9:30, 10:45. The Strangers Fri-Sat 9:55 a.m., 12:20, 3, 5:25, 8:05, 10:25, 12:55 a.m.; Sun 9:55 a.m., 12:20, 3, 5:25, 8:05, 10:20; Mon-Thur 12:25, 3, 5:25, 8:05, 10:35. What Happens in Vegas Fri-Sat 9:40 a.m., 12:05, 2:30, 5:10, 7:45, 10:20; Sun 9:40 a.m., 12:05, 2:30, 5:10, 7:45, 10:15; Mon-Thur 2:20, 5:05, 7:45, 10:25. You Don’t Mess With the Zohan Fri-Sat 10 a.m., 11 a.m., 1, 1:55, 4:05, 4:45, 7, 7:40, 8:30, 10:05, 10:45, 11:35, 12:45 a.m.; Sun 10 a.m., 11 a.m., 1, 1:55, 4:05, 4:45, 7, 7:40, 8:15, 9:45, 10:25, 10:55; Mon-Wed 12:30, 1:30, 3:30, 4:20, 6:30, 7:10, 8, 9:20, 10,

10:40; Thur 12:30, 1:30, 3:30, 4:20, 6:30, 7:10, 8, 10, 10:40. Laemmle’s Music Hall 3, 9036 Wilshire Bl, (310) 274-6869. The Poet Fri 5:10, 7:40, 10; Sat-Sun 12:10, 2:40, 5:10, 7:40, 10; MonThur 5:10, 7:40, 10. Then She Found Me Fri 5, 7:30, 10; Sat-Sun noon, 2:30, 5, 7:30, 10; Mon-Thur 5, 7:30, 10. Laemmle’s Sunset 5 Theatre, 8000 Sunset Bl, (323) 848-3500. Bomb It 1, 3:15, 5:30, 7:50, 10:10. In Bruges 1:30, 4:10, 7:10, 9:50. Miss Conception 1:45, 4:30, 7:20, 9:55. The Visitor 1:40, 4:20, 7, 9:40. When Did You Last See Your Father? 12:45, 3, 5:20, 7:40, 10. Beverly Center 13 Cinemas, 8522 Beverly Blvd., Suite 835, (310) 652-7760. 21 1, 4:10, 7, 9:40. Baby Mama 12:10, 3, 5:40, 7, 8, 9:20, 10:20. The Bank Job 12:20, 2:30, 5, 7:20, 9:30. Dr. Seuss’ Horton Hears a Who! 2:40, 7:10. Expelled: No Intelligence Allowed 12:40, 2:40, 5, 7:20, 9:40. The Forbidden Kingdom noon, 2:50, 5:20, 7:50, 10:20. Harold & Kumar Escape From Guantanamo Bay 12:40, 3, 5:20, 7:50, 10:10. Made of Honor 12:50, 3:10, 5:30, 7:40, 10. Nim’s Island 12:20, 4:40, 9. Redbelt 12:50, 3:10, 5:30, 7:40, 10. Son of Rambow 11:50 a.m., 2:20, 4:40, 7:10, 9:30. Speed Racer 11:50 a.m., 1, 2:50, 4, 6, 9. Street Kings noon, 2:30, 5:10, 7:30, 10:10.




323.299.3986 OR 310.927.8137

WESTWOOD, WEST L.A. AMC Avco Center, 10840 Wilshire Bl, (310) 475-0711. Iron Man Fri 1:20, 4:05, 6:55, 9:45; Sat-Sun 10:30 a.m., 1:20, 4:05, 6:55, 9:45; Mon-Thur 1:20, 4:05, 6:55, 9:40. Kung Fu Panda Fri 12:30, 2:45, 5, 7:15, 9:35; Sat-Sun 10:15 a.m., 12:30, 2:45, 5, 7:15, 9:35; Mon-Thur 12:30, 2:45, 5, 7:15, 9:30. The Strangers Fri 12:45, 2:50, 4:55, 7:25, 9:30; Sat-Sun 10:40 a.m., 12:45, 2:50, 4:55, 7:25, 9:30; Mon-Thur 12:45, 2:50, 4:55, 7:05, 9:15. You Don’t Mess With the Zohan Fri 1:55, 4:30, 7:05, 9:50; Sat-Sun 11:20 a.m., 1:55, 4:30, 7:05, 9:50; Mon-Thur 1:55, 4:25, 7, 9:45. Laemmle’s Royal Theatre, 11523 Santa Monica Bl, (310) 4775581. The Edge of Heaven 1:20, 4:10, 7, 9:45. Landmark’s Nuart Theater, 11272 Santa Monica Bl, (310) 281-8223. Mother of Tears Fri noon, 2:30, 5, 7:30, 10, midnight; Sat-Sun noon, 2:30, 5, 7:30, 10; Mon-Thur 5, 7:30, 10. The Rocky Horror Picture Show Sat only, midnight. Landmark’s Regent, 1045 Broxton Av, (310) 281-8223. The Chronicles of Narnia: Prince Caspian 1, 4, 7, 10. The Landmark West Los Angeles, 10850 W Pico Bl, (310) 281-8223. Bigger, Stronger, Faster 11:25 a.m., 1:55, 4:25, 7:10, 9:50. The Children of Huang Shi Fri-Mon 11:10 a.m., 2, 4:50, 7:40, 10:25; Tue 11:10 a.m., 2, 10:25; Wed 11:10 a.m., 2, 4:50, 7:40, 10:25; Thur 11:10 a.m., 2, 4:50, 7:50, 10:25. The Fall 11:40 a.m., 2:20, 5:05, 7:50, 10:30. Made of Honor Fri-Sun 11:05 a.m., 1:25, 6:30; Mon-Thur 6:30. Mongol Fri-Mon 11 a.m., 12:10, 1:45, 3, 4:30, 5:45, 7:20, 8:30,



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10:10; Tue 11 a.m., 1:45, 4:30, 7:20, 10:10; Wed 11 a.m., 12:10, 1:45, 3, 4:30, 7:20, 10:10; Thur 11 a.m., 12:10, 1:45, 3, 4:30, 5:45, 7:20, 8:30, 10:10. The Promotion 11 a.m., 1:15, 3:30, 5:45, 8, 10:15. Reprise Fri-Wed 11:20 a.m., 1:50, 4:30, 7, 9:35; Thur 11:20 a.m., 1:50, 4:30, 10:20. Roman de Gare noon, 2:30, 5, 7:35, 10:05. The Visitor 11:45 a.m., 2:15, 3:50, 4:45, 7:30, 8:50, 9:55. War, Inc. 12:10, 2:40, 5:10, 7:45, 10:15. When Did You Last See Your Father? noon, 2:25, 4:50, 7:15, 9:30. Majestic Crest Theater, 1262 Westwood Bl, (310) 4747866. Trying to Get Good: The Jazz Odyssey of Jack Sheldon Sat 3, 5, 9; Sun-Thur 3, 5, 7, 9. Mann Bruin, 948 Broxton Av, (310) 208-8998. Sex and the City 12:10, 3:30, 7, 10:20. Mann Festival 1, 10887 Lindbrook Av, (310) 208-4575. Forgetting Sarah Marshall 11:40 a.m., 4:45, 10. Made of Honor 2:15, 7:30. Mann Village, 961 Broxton Av, (310) 208-5576. Indiana Jones and the Kingdom of the Crystal Skull 1:15, 4:15, 7:15, 10:10.

Laemmle’s Fallbrook 7 Cinemas, Fallbrook Mall, 6731 Fallbrook Av, West Hills, (818) 340-8710. Bonneville Fri-Sun noon, 5; Mon-Tue 1, 6; Wed 10:40 a.m., 1, 6; Thur 1, 6. The Fall Fri-Sun 2:15, 7:20, 10; Mon-Thur 3:15, 8:20. Indiana Jones and the Kingdom of the Crystal Skull FriSun 1, 4, 7, 10; Mon-Tue 2, 5, 8; Wed 11:10 a.m., 2, 5, 8; Thur 2, 5, 8. Miss Conception Fri-Sun 1:30, 4:10, 7:10, 9:45; MonThur noon, 2:30, 5:10, 8:10. Pandurangadu Sun only, 10 a.m. The Rocky Horror Picture Show Midnight Fri only,. Roman de Gare Fri-Sun 1:40, 4:20, 7, 9:20; Mon-Thur 12:10, 2:40, 5:20, 8. Sex and the City Fri-Sun 12:30, 3:45, 7, 10:15; MonTue 1:30, 4:45, 8; Wed 10:30 a.m., 1:30, 4:45, 8; Thur 1:30, 4:45, 8. The Visitor Fri-Sun 1:50, 4:40, 7:30, 10; Mon-Thur 12:20, 2:50, 5:40, 8:30.



AMC Promenade 16, 21801 Oxnard St, Woodland Hills, (818) 883-2262. Baby Mama Fri-Sat 12:50, 3:25, 5:45, 8:05, 10:35; Sun 12:50, 3:25, 5:45, 8:05, 10:20. Bleach: Memories of Nobody Wed-Thur 7:30. The Chronicles of Narnia: Prince Caspian Fri-Sat 10:25 a.m., 1:45, 4:55, 8, 11:20; Sun 10:25 a.m., 1:45, 4:55, 8. Forgetting Sarah Marshall Fri-Sat 11:20 a.m., 2, 4:50, 7:45, 10:30; Sun 11:20 a.m., 2, 4:50, 7:45, 10:20. Indiana Jones and the Kingdom of the Crystal Skull FriSat 10:30 a.m., noon, 1:25, 3, 4:30, 5:20, 6:05, 7:40, 8:10, 9:10, 10:35, 11:05; Sun 10:30 a.m., noon, 1:25, 3, 4:30, 5:20, 6:05, 7:40, 8:10, 9:10, 10:25. Iron Man Fri-Sat 10:40 a.m., 1:35, 4:40, 7:35, 10:40; Sun 10:40 a.m., 1:35, 4:40, 7:35, 10:30. Kung Fu Panda Fri-Sat 10:10 a.m., 11:10 a.m., 12:35, 1:40, 3:05, 4:10, 5:40, 6:45, 8:15, 9:20, 10:50; Sun 10:10 a.m., 11:10 a.m., 12:35, 1:40, 3:05, 4:10, 5:40, 6:45, 8:15, 9:20. Sex and the City Fri-Sat 10:15 a.m., 12:10, 1:20, 3:35, 4:45, 7, 8:10, 10:25, 11:30; Sun 10:15 a.m., 12:10, 1:20, 3:35, 4:45, 7, 8:10, 10:25. Speed Racer Fri-Sun 11:05 a.m., 2:05. The Strangers Fri-Sun 10:35 a.m., 12:55, 3:20, 5:35, 7:55, 10:15. What Happens in Vegas Fri-Sat 12:25, 2:50, 5:25, 7:50, 10:20; Sun 12:25, 2:50, 5:25, 7:50, 10:15. You Don’t Mess With the Zohan Fri-Sat 10:45 a.m., 11:30 a.m., 1:30, 2:10, 4:20, 5:05, 7:10, 7:55, 10:05, 10:45; Sun 10:45 a.m., 11:30 a.m., 1:30, 2:10, 4:20, 5:05, 7:10, 7:55, 9:55, 10:30.

SPECIAL SCREENINGS American Cinematheque at the Aero Theatre, 1328 Montana Av, Santa Monica, (323) 4663456. Clint Eastwood: A Life in Film – Clint Eastwood: A Life in Film, 7:30; followed by The Beguiled. Discussion between films with film historian and Clint Eastwood director Michael Henry Wilson. American Cinematheque at the Egyptian Theatre, 6712 Hollywood Bl, Hollywood, (323) 4663456. Sneak Preview – Otis, 7:30. CineFamily at the Silent Movie Theatre, 611 N Fairfax Av, Hollywood, (323) 655-2520. Music Thursdays: Folk Americana – Folk Shorts by Les Blank – The Blues Accordin’ To Lightnin’ Hopkins, 8; with The Sun’s Gonna Shine and Sprout Wings and Fly. Echo Park Film Center, 1200 N Alvarado St, Echo Park, (213) 484-8846. Silent Film Night – The Untameable, 8; curator/collector Tom Barnes, in person. Getty Center, Harold M. Williams Auditorium, 1200 Getty Center Dr, L.A., (310) 440-7300. In the Land of the Head Hunters, 7:30; with live musical accompaniment by the UCLA Philharmonia. L.A. County Museum of Art, Leo S. Bing Theatre, 5905 Wilshire Bl, L.A., (323) 857-6010. Playboy Jazz on Film, 7:30. Jazz historian/commentator Mark Cantor to introduce screening. New Beverly Cinema, 7165 Beverly Bl, L.A., (323) 938-4038. Call for titles and

showtimes. Skirball Cultural Center, 2701 N Sepulveda Bl, L.A., (310) 440-4500. Cinema Z – Sanctuary: Lisa Gerrard, 2:30.

FRIDAY, JUNE 6 American Cinematheque at the Aero Theatre Clint Eastwood: A Life in Film – Dirty Harry, 7:30; followed by A Perfect World. Film historian/filmmaker Michael Henry Wilson to introduce screening. American Cinematheque at the Egyptian Theatre Charlton Heston: Legendary Warrior – Ben-Hur, 7:30. CineFamily at the Silent Movie Theatre Preston Sturges – The Lady Eve, 7:30. High School Hell – Class of 1984, 10:15; followed by Class of 1999. Cinespace Dinner & a Movie – Semi-Pro, 8. Film in a restaurant/bar setting; call for reservations. Echo Park Film Center New Indie – Carbuncle, 7:30. Filmmaker and various cast members, in person. L.A. County Museum of Art, Leo S. Bing Theatre War and Peace (1967), parts 1 & 2, 7:30. Landmark’s Nuart Theatre, 11272 Santa Monica Bl, West L.A., (310) 281-8223. Mother of Tears, midnight. New Beverly Cinema Reservoir Dogs, Midnight. New Center for Psychoanalysis, 2014 Sawtelle Bl, L.A., (310) 478-6541. Newcenter Eight Friday Nights – Alice, 7:30; followed by discussion with Thomas Brod, M.D. and Apurva Shah, M.D. Old Town Music Hall, 140 Richmond St, El Segundo, (310) 322-2592. Follow the Fleet, 8:15; with shorts. REDCAT at Walt Disney Concert Hall, 631 W Second St, downtown L.A., (213) 237-2800. Dance Camera West – Screendance: New Visual Language, 8. Experimental dance films. Info: (213) 480-8633 or Regency Fairfax Cinemas, 7907 Beverly Bl, L.A., (323) 655-4010. Insomniac Cinema – Aliens, midnight.

SATURDAY, JUNE 7 American Cinematheque at the Aero Theatre Clint Eastwood: A Life in Film – The Outlaw Josey Wales, 7:30; followed by High Plains Drifter. Discussion between films with editor Joel Cox. American Cinematheque at the Egyptian Charlton Heston: Legendary Warrior – El Cid, 7:30. Angel City Drive In, 240 W Fourth St, second floor, downtown L.A. The Boondock Saints, gates at 7:30; show at 9. Cinespace Dinner & a Movie – Semi-Pro, 8. Film in a restaurant/bar setting; call for reservations.





CineFamily at the Silent Movie Theatre Noir Matinees: Femme Fatale Hall of Fame – The Damned Don’t Cry, 1. The New Romanians – The Death of Mr. Lazarescu, 5; followed by Stuff and Dough. HolyFuckingShit: Disco Fever Dreams – The Apple, 10:15. Echo Park Film Center New Indie – Carbuncle, 7:30. Filmmaker and various cast members, in person. Hammer Museum, UCLA Film & Television Archive at the Billy Wilder Theatre, 10899 Wilshire Bl, L.A. Info: (310) 206-3456 or The Picture Starts in Heaven: James Stewart’s Centennial – The Naked Spur, 2; followed by The Man from Laramie. Visualizing the Sacred: Islam on Film – Destiny (Al-Massir), 7:30. L.A. County Museum of Art, Leo S. Bing Theatre War and Peace (1967), parts 3 & 4, 7:30. Landmark’s Nuart Theatre The Rocky Horror Picture Show, midnight; with live performance by Sins O’ the Flesh. New Beverly Cinema Heavenly Bodies, Midnight. Old Town Music Hall Follow the Fleet, 2:30, 8:15; with shorts. REDCAT at Walt Disney Concert Hall, 631 W Second St, downtown L.A., (213) 237-2800. Dance Camera West – Screendance: New Visual Language, 8. Experimental dance films. Info: (213) 480-8633 or Regency Fairfax Cinemas, 7907 Beverly Bl, L.A., (323) 655-4010. Insomniac Cinema – Grindhouse, midnight.

SUNDAY, JUNE 8 American Cinematheque at the Aero Theatre Clint Eastwood: A Life in Film – Breezy, 7:30; followed by Honkytonk Man. American Cinematheque at the Egyptian Theatre Charlton Heston: Legendary Warrior – The Ten Commandments, 7:30. Echo Park Film Center Works in Progress: Documentary, 7. Fine Arts Theatre, 8556 Wilshire Bl, Beverly Hills, (310) 360-0455. short Green, 3. Hammer Museum, UCLA Film & Television Archive at the Billy Wilder Theatre The Picture Starts in Heaven: James Stewart's Centennial – Harvey, 7; followed by The Glenn Miller Story. LA FilmForum at the Egyptian Theatre, 6712 Hollywood Bl, (323) 466-3456. Tearoom, 7. Unedited bathroom footage used in sodomy cases by Mansfield, Ohio, police in 1962. Followed by discussion with filmmaker William E. Jones and Bruce Hainley. Info: Natural History Museum of L.A. County, 900 Ex-

JUNE 5~11, 2008

position Bl, L.A., (213) 763-3466. California Stories, 11 a.m. – 4:30 p.m. Echo Park Film Center students’ This Is the LA River, 3:30. Films and documentaries about California, funded by the California Council for the Humanities. New Beverly Cinema Call for titles and showtimes. Old Town Music Hall Follow the Fleet, 2:30; with shorts.

MONDAY, JUNE 9 AFI at ArcLight Cinemas Sherman Oaks, 15301 Ventura Bl, Sherman Oaks, (818) 501-7033. Warren Beatty Retrospective – McCabe and Mrs. Miller, 7:30. Hammer Museum, UCLA Film & Television Archive at the Billy Wilder Theatre Archive Previews – Brick Lane, 7:30. New Beverly Cinema Call for titles and showtimes.

TUESDAY, JUNE 10 CineFamily at the Silent Movie Theatre Pre-Code Cartoons, 8. A selection of animated shorts made prior to the institution of Hollywood’s Production Code in 1934. Fine Arts Theatre Alien Secrets, 9. L.A. County Museum of Art, Leo S. Bing Theatre Tuesday Matinees – Macao, 1. New Beverly Cinema Call for titles and showtimes. Skirball Cultural Center Classic Films: Imagining Dylan – Muscle Beach Party, 1:30.

WEDNESDAY, JUNE 11 AFI at ArcLight Cinemas Hollywood, 6360 Sunset Bl, Hollywood, (323) 464-1478. The Wild West – The Magnificent Seven, 8. American Cinematheque at the Aero Theatre Clint Eastwood: A Life in Film / Kevin Thomas' Favorites – Unforgiven, 7:30. Film critic Kevin Thomas to introduce screening. American Cinematheque at the Egyptian Theatre Outfest Wednesdays – Sneak Preview – Helvetica, 7:30. CineFamily at the Silent Movie Theatre Silent Wednesdays: Rudolph Valentino – Camille, 8. New Beverly Cinema Call for titles and showtimes.


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Crimes and Misdemeanors Tuesday, June 10, the Hammer Museum hosts Judge James P. Gray, retired police chief Norm Stamper, and author and activist Marc Mauer in “The Crime of Punishment,” a discussion forum about the inequity in which the American criminal justice system is steeped and Tricky Dick’s still-lumbering “War on Drugs.” Mauer indicates that although there’s (probably) no conspiracy afoot to cultivate this racism, Americans have tacitly consented to it by allowing clearly discriminatory policies to be enacted and enforced. “There’s been a very concerted effort to arrest and incarcerate record numbers of people, most of them people of color. Most of the policy making has been very publicized,” says Mauer, who has directed programs on criminal justice reform for more than 25 years. For example, he condemns the “twotiered war on drugs” being waged in America. In affluent communities, drug abuse is treated as a disease with which users are afflicted, and rehab is the solution. But in low-income, non-white communities, drug abusers become criminals, and punitive incarceration is the solution. A dearth of resources available to members of these communities often makes counseling and treatment impossible. According to Mauer, the maladies of America’s justice system run deeper than biased sentencing policy and torpid progressive legislation – higher rates of violent crime, availability of firearms, and a decidedly punitive approach to sentencing keep more Americans in jail longer. This helps explain why the U.S. has less than five percent of the world’s population, but more than a quarter of its prisoners. “The massive prison system translates into limitations on democracy,” he says, citing the disenfranchisement of more than five million people during the upcoming election, including 13 percent of all black males. But Mauer isn’t humming America’s funeral dirge just yet; he posits some solutions. “We should have a dramatic reduction in the use of incarceration – in particular for people convicted of nonviolent property and drug crimes,” he says. He adds that the resources previously used for law enforcement and imprisonment should be reallocated to fund policies and programs designed to provide treatment for users. These suggestions – along with institutions designed to ensure a successful transition from prison back into society, promote a frank dialogue concerning drug policy, and emphasize the importance of community and family involvement – could comprise a more sensitive, multifaceted solution. “Research shows that prison has at best a modest impact on reducing crime,” Mauer says. –Daniel Stainkamp “The Crime of Punishment.” Tues. at 7 p.m. Free. Hammer Museum, 10899 Wilshire Blvd., Westwood, (310) 443-7000. ~

HOW TO LIST WITH US Listings in “7 Days” and our world-famous calendar are accepted for arts and community events in the greater Los Angeles area. The deadline to be considered for “7 Days” is at least two weeks in advance of the event. Send all information to: “7 Days,” Los Angeles CityBeat, 5209 Wilshire Blvd., Los Angeles, CA 90036. Fax to (323) 938-1661, or e-mail No phone calls, please.

THURSDAY 5 REMEMBERING RFK Today’s 40th anniversar y of Rober t F. Kennedy’s assassination is the subject of more than one area art gallery. M+B’s “Paul Fusco: RFK Funeral Train” exhibits the photographs Fusco took of track-side mourners on June 5, 1968, as he accompanied Kennedy’s body making its way from New York to Arlington Cemeter y via train (6-8 p.m.; free; 612 N. Almont Dr., L.A., 310-5500050; On Saturday, “Politics as Usual: As Seen by Harry Benson” opens at David Gallery. The show features images the photojournalist took of Kennedy’s presidential campaign (Through Aug. 2; free; 5797 Washington Blvd., Culver City, 323-939-9069; davidgaller

FRIDAY 6 LIGHTS, CAMERA, DANCE! Dance Camera West is meant to take advantage of the visual possibilities of CITYBEAT



film, and better even than most feature-length makers that do it for a living. The attempts to capture and expand dances for the festival’s opening program, “Screendance: A New Visual Language,” aren’t tied to narrative structure or even the normal physical logic of performance art. The month-long fest invites us to revel in this freedom of medium. Fri. at 8 p.m.; Sat. at 6 & 8 p.m. $15; $10 on Saturday. REDCAT, 631 W. Second St., downtown L.A., (213) 2372800.

SATURDAY 7 ROMANIA’S REALISTS Last year’s 4 Months, 3 Weeks, and 2 Days catalyzed much hyper ventilating about a Romanian new wave in cinema, but even that sucker-punch of a film could only contrast unfavorably with 2006’s The Death of Mr. Lazarescu, made by literal and aesthetic compatriot Cristi Puiu. The stor y of bumbling, alcoholic Lazarescu and his nightlong descent into the Kafkaesque hell of his


JUNE 5~11, 2008

countr y’s health care system is one of tragedy complicated by surprising grace and near-saintly humanism. 5 p.m. $10. Silent Movie Theatre, 611 N. Fair fax Ave., L.A., (323) 655-2510.

SUNDAY 8 DYKES IN LIKE The sheer scale of L.A. Pride weekend spawns activism and pacifism, debauched dealings and family fun. The whole thing culminates with today’s parade numbering in the hundreds of thousands (11 a.m.; free; star ts at Santa Monica Blvd. and Crescent Heights Blvd., West Hollywood; info: 323-969-8302 or The first annual “Dyke Day” is one of Pride’s many independently spun-off events, an all-ages day of comedy, music, spoken word, and dance in always-pleasant Barnsdall Art Park (Sat., noon-5:30 p.m.; free; Barnsdall Art Park, 4804 Hollywood Blvd., Hollywood; Info:



MONDAY 9 L.A.’S MYTHMAKERS “Los Angeles was the subject of the longest, loudest, most persistent promotional campaign in the history of the United States,” opine the notes for Tom Zimmerman’s Paradise Promoted: The Booster Campaign That Created Los Angeles, 1870-1930. The history buff has been making the rounds locally with his proud collection of 250 photographs and other rare ephemera from the turn of the 20th century. 7 p.m. Free. Vroman’s Bookstore, 695 E. Colorado Blvd., Pasadena, (626) 449-5320.

TUESDAY 10 BUGGIN’ OUT Before cable television was around to make spectacle of our personal obsessions, Maria Sibylla Merian was traversing exotic corners of the world in chase of caterpillars. Young and German Merian braved not only whatever gen-

der barriers existed in the field of science in the 17th century, but also the tropical jungle of Suriname, where she studied and depicted everything from the metamorphosis of insects, to crocodiles and snakes. Starting today, the Getty presents “Maria Sibylla Merian & Daughters: Women of Art and Science.” Through Aug. 31. Getty Center, West Pavilion, 1200 Getty Center Dr., L.A., (310) 4407300.

WEDNESDAY 11 I’M IN UR CASTLEZ How scene is tonight’s Crystal Castles show going to be? 1) They make dance music. 2) They make dance music that sounds like old-school videogames. 3) They’re named after a fictional castle from a He-Man spin-off cartoon series. 4) They’ve done remixes of the Klaxons, HEALTH, and fucking Uffie. 5) The show is sponsored by Dim Mak. You’ve been warned. 9:30 p.m. $17; $15 advance. The Roxy, 9009 Sunset Blvd., West Hollywood, (310) 276-2222. JUNE 5~11, 2008





JAZZ CRITIC’S CHOICE For information on shows, booking, etc., contact Mike.


6714 Hollywood Blvd

Open Mic Every Wednesday Acoustic shows every Thursday, Friday, Saturday


Phenom Flavors Cuban trumpet phenom Arturo Sandoval will turn Catalina’s into the Tropicana, Thursday through Sunday. If you caught Janis Mann recently at Betty Hoover’s A Frame salon, you heard a perfect melding of inspired in-the-moment vocals with a great rhythm section. With Mann, no matter how daring the phrasing or use of dynamics, she never neglects the song’s story. She’s at the Crowne LAX on Thursday. That encyclopedic custodian of mainstream piano, Cedar Walton, continues at the Jazz Bakery with his fine band, through Friday. Another pianist with many musical worlds under his fingers, Bill Cunliffe, plays for socializers Friday at LACMA, and listeners at the Bakery, Monday. At the Museum of Neon Art (136 W. Fourth St., downtown L.A., 213-489-9918; at 8 p.m.; $10), vio~ ARTURO SANDOVAL ~ linist Jeff Gauthier and keyboardist Dave Witham light up the joint Friday with incandescent duets. The Jazz Bakery hosts its annual summer fundraiser Saturday with singers Ernie Andrews and Sue Raney and pianist Alan Broadbent among the performers. Help maintain our best listening room, enjoy the sounds, and write it off. Trumpeter Carl Saunders, another formidable modern trumpeter, leads a quartet at Charlie O’s Saturday. The New York bassist and singer Esperanza Spalding hits Catalina’s Tuesday. Her ambitious new CD, Esperanza (Heads Up), is a portrait of a young artist who likes many flavors of jazz and pop on her plate. The same night, Rebirth Brass Band, standard-bearer for New Orleans parade outfits, turns the Mint into a roaring second-line. Prepare to move and be moved.

Alicia Witt • Joe Hajek

–Kirk Silsbee

8901 W. Sunset Blvd., W. Hollywood

All Acoustic Shows


Melisa Moishe David Bennett • Hunter Moss Mav Viola • DJ Lubell + 5 more Acts


Lizzy Williams LA Vice • Revent The Hank Show Scientific Lifestyle

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

For additional listings, visit WWW.LACITYBEAT.COM

STAGE OPENING THIS WEEK Adam Baum and the Jew Movie. Comedy about a studio head who wants to make a movie about anti-Semitism. Written by Daniel Gold-

farb. Directed by Paul Mazursky. The Hayworth Theatre, 2509 Wilshire Bl, L.A. Info: (323) 960-4442 or Opens Fri at 8. Thurs-Sats at 8; Suns at 7. No perfs July 3-6. Closes July 20. Dog Sees God. Charlie Brown and his pals as teenagers. Written by Bert V. Royal. Directed by Nick DeGruccio. Havok Theatre at Hudson Backstage Theatre, 6539 Santa Monica Bl, Hollywood, (323) 960-7774. Opens Sat at 8. Fri-Sats at 8; Suns at 3 and 7. Closes July 6. Family Planning. Play about a late-30s couple trying so hard to have a baby, they’re veering toward divorce. Performed in private

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homes in Pasadena, Santa Monica, Hancock Park, and Claremont, with addresses revealed after reservations are made. Written by Julia Edwards. Directed by Larissa Kokernot. Opens Fri. Info: (800) 838-3006 or Finally. Solo show performed by Morlan Higgins features four different Rashomon-style perspectives of one event. Written by Stephen Belber. Directed by Matt Shakman. Black Dahlia Theatre, 5453 W Pico Bl, L.A. Info: (800) 838-3006 or Opens Fri at 8. Thurs-Suns at 8. Additional perfs July 1-2 at 8; no perf July 4. Closes July 6. Herpes Tonight! Comedy on the scary effects of being diagnosed with an STD. Written by Corey Moosa and Brian Shoaf. Directed by Jose Zayas. The Lounge Theatre, 6201 Santa Monica Bl, Hollywood, (323) 960-7776. Opens Fri at 8. Thurs-Sats at 8. Closes June 24. The Impostor. In 1938 Mexico, an unemployed college professor stumbles into a Harvard professor, who mistakes him for a revolutionary hero. Written by Rodolfo Usigli. Translated and directed by Luis Avalos. The New LATC, 514 S Spring St, downtown LA, (213) 489-0994. Opens Thur at 8. Thurs-Sats at 8; Suns at 3. Closes June 22. In on It. A satiric look at the dissolution of a marriage. Written by Daniel MacIvor. Directed by Michael Van Duzer. The Chandler Studio Theatre Center, 12443 Chandler Bl, North Hollywood, (800) 838-3006. Opens Fri at 8. Fris-Sats at 8; Suns at 3. Closes July 12. La Cage Aux Folles. Gay-themed Herman/Fierstein musical set in the present day in Silver Lake, about a loving couple and their nightclub. Directed by Rene Guerrero. The Knightsbridge Theatre, 1944 Riverside Dr, Silver Lake, (323) 667-0955. Opens Sat at 8. Sats at 8; Suns at 6. Closes July 13. The Last Night of Ballyhoo. In 1930s Atlanta, the romantic schemes begin at Ballyhoo, a lavish ball for southern Jewish socialites. Written by Alfred Uhry. Directed by Jules Aaron. La Mirada Theatre for the Performing Arts, 14900 La Mirada Bl, La Mirada, (562) 944-9801. Opens Sat at 8. Tues-Thurs at 7:30; Fris at 8; Sats at 2 & 8; Suns at 2 & 7. Closes June 22. Macbeth. Shakespeare’s bloody tragedy. The Will Geer Theatricum Botanicum, 1419 N Topanga Canyon Bl, Topanga, (310) 4553723. Opens Sat at 8. Call for performance schedule. Closes Sept 28. A Midsummer Night’s Dream. Shakespeare’s play about the collision of fairy and human love. Directed by Melora Marshall. The Will Geer Theatricum Botanicum, 1419 N Topanga Canyon Bl, Topanga, (310) 455-3723. Opens Sat at 4. Call for performance schedule. Closes Sept 1. Orange Flower Water. Two married couples live in relative peace, until two of them begin an adulterous affair. Written by Craig Wright. Directed by Sharyn Case. Rude Guerrilla Theater, 202 N Broadway, Santa Ana, (714) 547-4688. Opens Sat at 4:30. Sats at 4:30; Suns at 7. Closes July 6. Outbursts. A one-man show about 17 dead poets who inhabit one human body to discuss life, love, and trying to get a cab in New York City. Complex (The Flight) Theatre, 6476 Santa Monica Bl, Hollywood, (323) 960-7714. Opens Fri at 8. Fris-Sats at 8. Closes July 12. Shel Silverstein Uncensored! An evening of comedy and song written by author Silverstein. Directed by Dan Bonnell. Odyssey Theatre Ensemble, 2055 S Sepulveda Bl, L.A., (310) 477-2055. Opens Sat at 8. Wed-Sat at 8; Suns at 2. Closes Aug 10. Someday. A disabled woman and a couple struggling to conceive wade through the advice of friends and others as they try to adopt children. Produced by Cornerstone Theater. Written by Julie Marie Myatt. Directed by Michael John Garces. The Bootleg Theater, 2220 Beverly Bl, L.A., (213) 613-1700 x33. Opens Fri at 8. Thurs-Fris at 8; Sats at 2 and 8; Suns at 3. Closes June 22. Songs From an Unmade Bed. A solo musical that propels a smart, resilient, and gay New Yorker through the ups and downs of love. Starring Dave Barrus. Lyrics by Mark Campbell. Music by 18 composers. Directed by Patrick Pearson. Celebration Theatre, 7051-B Santa Monica Bl, Hollywood, (323) 957-1884. Celebra-

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Alexandros. In 1974 Miami, family deceptions unravel at a Cuban American abuela’s 75th birthday party. Melinda Lopez crafts a few funny moments, but the surprises aren’t very surprising. An attempt to link the themes to Nixon’s resignation is half-hearted. Chaz Mena, as the exuberant son, is terrific in David Ellenstein’s staging. Laguna Playhouse, Moulton Theatre, 606 Laguna Canyon Rd, Laguna Beach, (949) 497-2787. Tues-Fris at 8; Sats at 2 & 8; Suns at 2 & 7. Additional perf June 12 at 2. Closes June 30. (Don Shirley) And Her Hair Went With Her. Tonya Pinkins and Tracie Thoms play two contrasting women who run a beauty salon, plus some of their customers, in Zina Camblin’s collection of dialogues, staged by Diane Rodriguez. It works as a showcase, but additional conversations with a Death Row inmate are an uncomfortable fit. The Fountain Theatre, 5060 Fountain Av, L.A., (323) 663-1525. Thurs-Sats at 8; Suns at 2. Closes June 15. (DS) Blue Night in the Heart of the West. Brit writer James Stock’s semi-coherent 1991 play is a foreigner’s funhouse view of a bitter, gun-totin’, religion-clinging America. The caricatures of a casually incestuous mother (Hepburn Jamieson) and son (Benjamin Burdick) provide the most vivid moments in Amanda Weier’s enterprising staging. Open Fist Theatre, 6209 Santa Monica Bl, Hollywood, (323) 882-6912. Fris-Sats at 8; Suns at 7. Closes June 21. (DS) A Chorus Line. The great 1975 musical, about Broadway hoofers auditioning for a show, is a gripping distillation of the eternal conflict between the individual and the group. Bob Avian and Baayork Lee, both from the original company, re-create most of the magic found in the Hamlisch/Kleban score, the Kirkwood/Dante book, and the Bennett staging. Ahmanson Theatre, 35 N Grand Av, downtown L.A., (213) 628-2772. TuesFris at 8; Sats at 2 & 8; Suns at 1 & 6:30. Closes July 6. (DS) An Enemy of the People. Henrik Ibsen’s play, about a doctor who tries to warn his town about the pollution of its cash-cow baths, was never his most subtle. But Paul Wagar’s adaptation, directed by Kelly Ann Ford in a mere 70 minutes, strips away all shadings for an almost ludicrously schematic approach – if only all moral quandaries were so obvious. Ark Theatre, 1647 S La Cienega Bl, L.A., (323) 969-1707. Thurs-Sats at 8; Suns at 7. Closes June 14. (DS) The Glass Menagerie. Tennessee Williams’s great memory play springs to vibrant life yet again in Brian Kite’s atmospheric interpretation, narrated with tender care by Toby Meuli as Williams’s alter ego. Lori Berg plays his domineering mother, Tawny Mertes his sensitive sister, and Stephen Van Dorn is a Gentleman Caller with a calculated laugh. Actors Co-op at Crossley Terrace Theatre, 1760 N Gower St, Hollywood, (323) 462-8460. Fris-Sats at 8; Suns at 2:30. Closes June 8. (DS) A House With No Walls. Thomas Gibbons’s perceptively probing drama is set in two eras: among George Washington’s slaves in 1796 and in the present, when a controversy erupts during the construction of a museum on the site of Washington’s presidential home in Philadelphia. Ben Guillory’s staging for Robey Theatre Company is 90% solid. The New LATC, Theater 2, 514 S Spring St, downtown L.A. Info: (213) 489-7402 or Thurs-Sats at 8; Suns at 3. Closes June 15. (DS) I Gelosi. A struggling commedia group adds women to its ranks and quickly shoots to the top of the Renaissance theatrical world in David Bridel’s new play. But the troupers soon face mortal peril for commenting on their sponsors’ bloodthirstier policies. Using modern English, Los Angeles Theatre Ensemble’s gem is replete with full-blooded performances. The Powerhouse Theater, 3116 Second St, Santa Monica, (310) 396-3680. Thurs-Sats at 8. Closes June 14. (DS) Kimberly Akimbo. Vox Humana brings David Lindsay-Abaire’s vibrantly raucous yet bittersweet comedy to L.A., in the wake of the play’s Costa Mesa and Burbank triumphs. Surrounded by sociopathic adults, a prematurely aged 16-year-old (luminous Sandra Kinder) and her one friend (Daniel M. Burrows) survive. Director Heidi Yudis nails it. Pico Playhouse, 10508 W Pico Bl, L.A., (323) 769-5794. Thurs-Sats at 8; Suns at 7:30. Closes June 28. (DS) Kingdom Come. An arresting image (designer: Chris Covics) opens this story of the Inca king who was overthrown by the Spanish, but then it’s all downhill. Translator/director Dan Oliverio’s text – distributed among cast members who play cross-cultural representatives of other shattered cultures – is wooden, and the narrative never breathes. Unknown Theater, 1110 N Seward St, Hollywood, (323) 466-7781. Thurs-Sats at 8; Suns at 6. Closes June 28. (DS) Lady. Craig Wright depicts three longtime friends, now bitter and armed, hunting in Illinois. Dyson (Shawn Michael Patrick) resents Graham (Mark Doerr), whom he helped elect to Congress, for inspiring Dyson’s son to join the Marines. Kenny (Matt Kirkwood) escapes a sick wife via weed and TV. Scott Alan Smith achieves the requisite tension. The Road Theatre Company, 5108 Lankershim Bl, North Hollywood, (866) 811-4111. Fris-Sats at 8; Suns at 2. Closes June 28. (DS) The Lost Plays of Tennessee Williams. In Jack Heller’s staging of the writer’s most explicitly gay-themed script, And Tell Sad Stories of the Deaths of Queens, a ’50s French Quarter designer (Brian Foyster) tries to seduce a ruggedly straight sailor (Chris Rydell). The brief curtain raisers are Mister Paradise and The Palooka. All are well done. Davidson/Valentini Theatre, L.A. Gay & Lesbian Center, 1125 McCadden Pl, Hollywood, (323) 860-7300. Thurs-Sats at 8; Suns at 7. Closes June 15. (DS) Natural Selection. See Stage feature review. Norman’s Ark. See Stage feature review. Of Mice and Men. Paul Lazarus turns John Steinbeck’s California farm workers into Mexican migrants in 1942, as the bracero treaty draws Mexicans northward. But why do the Mexicans have Anglo names and speak only a few Spanish phrases? George (David Noroña) and Lennie (Al Espinosa) jerk a tear or two, but the concept is half-hearted. Pasadena Playhouse, 39 S El Molino Av, Pasadena, (626) 356-7529. Tues-Fris at 8; Sats at 4 & 8; Suns at 2 & 7. Closes June 8. (DS) 1001. Jason Grote’s dreamscape morphs a contemporary Manhattan couple – Palestinian woman and Jewish man – into Scheherazade and her king, supplemented by a parade of minor characters and images. Like most dreams, it’s vivid in the moment but easy to forget in the absence of more coherent real-world connections. Michael Michetti directs. Boston Court Performing





n Opens Fri at 8. Thurs-Sats at 8; Suns at 3. Closes Aug 10. Talk Radio. A talk radio show host has his show syndicated, and copes with the sudden change. Written by Eric Bogosian. Directed by Ben Kusler. The MET Theatre, 1089 N Oxford Av, Hollywood, (323) 957-1152. Opens Thur at 8. Thurs-Sats at 8; Suns at 7. Closes July 20. A Very Brady Musical. Musical satire based on America’s wellknown television family. Written by Lloyd J. Schwartz and Hope Juber. Directed by Lloyd J. Schwartz. Theatre West, 3333 Cahuenga Bl West, L.A., (323) 851-7977. Opens Fri at 8. Fris-Sats at 8; Suns at 2. Closes July 20. –Ed Carrasco and Alfred Lee

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Fish Burly-yet-romantic singer Fish commands a following of devoted fans who hail from all corners of the globe. The former lead vocalist of British prog-rockers Marillion – though it’s been a long time since he left that band – the man also known as Derek W. Dick has just released an album, 13th Star, that’s being called his greatest ever. The big Scot swims into town only once in a blue moon … so join him for a little bit of fun and otherworldly music on Tuesday. –Joshua Sindell Tues. at House of Blues, 8430 Sunset Blvd., West Hollywood, (323) 848-5100.

★★★ THIS WEEK’S HIGHLIGHTS ★★★ THURSDAY, JUNE 5 The Black Angels: The Austin, Texas, group flies the freak-flag in the psycho-manic tradition of Roky Erickson’s 13th Floor Elevators. The Troubadour. Chester French: Retro-pop preppies from Cambridge. Viper Room. Chicago, The Doobie Brothers: Still truckin’. Gibson Amphitheatre. Also Fri. George Clinton: The P-Funk alchemist can still tear the roof off the mutha-sucka. Crash Mansion. Peter Murphy: Though Murphy’s solo work hasn’t earned him as much fame as his time with Bauhaus, the Goth king has proven himself a creative force to reckon with. House of Blues Sunset Strip.

FRIDAY, JUNE 6 Dead Kennedys, JFA, Union 13: The old school keeps getting older … and where’s Jello Biafra? House of Blues, Sunset Strip. Dethklok, Chimaira, Soilent Green: The Adult Swim death-metal cartoon comes to life. Who’s laughing now? The Wiltern. Drowning Pool: Maybe the group’s third singer in as many albums will be the charm? The Whisky. Ink-N-Iron Tattoo and Kustom Culture Festival with Wayne Hancock, Black Rebel Motorcycle Club, the Blasters, the Black Angels, Rosie Flores, the Warlocks, and more. Queen Mary, Long Beach. Living Legends: The underground supergroup of locally based MCs gathers for a night of conscious hip-hop. With Blu & Exile. The Music Box @ Fonda. Local H: We miss original drummer Joe Daniels. Without him … . The Troubadour. The Mountain Goats: John Darnielle performs his cryptic folk songs and stories. With the Annuals. “First Fridays,” Los Angeles Natural History Museum. The Wombats: Liverpudlian poppy punkers whose “Let’s Dance to Joy Division” is a joyous diversion. The Roxy.

SATURDAY, JUNE 7 Ink-N-Iron Tattoo and Kustom Culture Festival with Junior Brown, the Wiseguys, Dave Alvin & the Guilty Men, many more. Queen Mary, Long Beach. Los Campesinos!: Bouncy, upbeat pop from the acclaimed Cardiff, Wales-based crew. Hooks and joy aplenty here! The Troubadour. The Queers: These veteran punks from New Hampshire play only one way: fast and tuneful, just like the Ramones useta do it. Safari Sam’s. Kanye West, Rihanna, N*E*R*D, Lupe Fiasco: It’s like the Grammy’s! Only with music! Staples Center.

SUNDAY, JUNE 8 Flobots: Someone finally found a way to mix hip-hop with the viola! The Troubadour. Horse the Band: Videogame melodies played with punk guitars … genius or idiocy? You decide. Knitting Factory. Ink-N-Iron Tattoo and Kustom Culture Festival featuring Mad Sin, Swingin’ Utters, Angel City Outcasts, many more. Queen Mary, Long Beach. Nonpoint, Under the Flood: Decent rap-metal from Florida’s Nonpoint, with Virginian melodic rockers Under the Flood. With the Exies. Key Club.

TUESDAY, JUNE 10 Billy Bragg: The eloquent folk singer’s latest, Mr. Love & Justice, lacks much of the fire of his others, but live he can be electrifying. El Rey Theatre. Jeremy Enigk: The return of emo frog king Enigk; with Damien Jurado. Spaceland. Aimee Mann: Like last week, but with a full band this time. Largo.

WEDNESDAY, JUNE 11 Sheryl Crow, Rocco DeLuca & the Burden: New album Detours showcases Crow’s newly politicalthemed lyrics, as well as her breezy, Cali roots rock. Greek Theatre. Crystal Castles: The Toronto blippy and bleepy duo is currently very much on the lips of the hip. The Roxy. Heloise & the Savoir Faire: New York disco types hit the scene. For fans of Peaches, B-52’s. Silverlake Lounge. –Joshua Sindell

JUNE 5~11, 2008





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Tuesday • June 17 • 7pm

DEVON WILLIAMS Performing a special live set (w/ string quartet!). His new CD, Carefree is out now on Ba Da Bing Records!“...Williams is unique in that he refuses to be another psych-folk-blues musician in Los Angeles. He’s just not having it. Instead, Williams writes refreshingly light tunes tinged with Westerberg-like self deprecation that could have been fitting on the soundtrack of any My So Called Life episode: songs for being distraught, but laughing about it.”— LA Weekly

Friday • June 20 • 6pm

MARTHA WAINWRIGHT Singer-songwriter Martha Wainwright performs songs from her new album I Know You’re Married But I’ve Got Feelings Too — out June 10th on Zoe Records. Playing June 19th at the Troubadour.!

Tuesday • June 24 • 7pm

THE WATSON TWINS Celebrating the release date of their new album Fire Songs on Vanguard Records. “The Watson Twins live and breathe ochre-tinged folk-rock, each track sinking into the twilight — most often drowsily but with a thunderous undercurrent...” — Filter Magazine

Wednesday • June 25 • 7pm

AMOS LEE Amos Lee seamlessly glides between blues, soul, gospel and folk with straightforward yet graceful songwriting on his latest release. His new album Last Days at the Lodge comes out June 24th on Blue Note.


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In the extreme intimacy of the tiny Paul Richard Theater Place, Jeanette Scherrer’s script and a dedicated Lucid by Proxy ensemble bring us face to face with the psychological crisis of a returning Iraq vet. It’s an uncommon sensation in a civilian culture that hasn’t been forced to see what’s happening. The young Midwesterner in question (Brett Nichols) is supported by his plain-spoken parents (Jack Kandel, Marie DelMarco), but he can’t shake the image of his sadistic sergeant (embodied by different actors at different performances), even as he tries to get a firefighter job, spars with his National Guardsman brother (James Paul Xavier), flirts with his sister-in-law (Shannon Nelson), and solicits help from a VA doctor. Scherrer’s style is radically understated, compared to the theatricality of the Latino Theater’s recent Iraq vet drama Melancholia, but it’s no less effective, until a few too many understatements leave the ending in a somewhat confused state. Seeing it in the same week that John McCain opposed expanded GI Bill benefits made it unexpectedly topical. –Don Shirley

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Arts Center, 70 N Mentor Av, Pasadena, (626) 683-6883. Thurs-Sats at 8; Suns at 2. Closes June 8. (DS) Pippin. Tim Dang’s fascinating revival adds anime imagery, hip-hop, and punk sounds to the Stephen Schwartz/Roger O. Hirson musical about a prince (Ethan Le Phong) who discovers that life’s simpler values should take precedence over the extraordinary achievements that he has unsuccessfully pursued. The pre-epiphany glitz is eye-catching. East West Players at David Henry Hwang Theater, 120 N Judge John Aiso St, Little Tokyo, (213) 625-7000. WedsSats at 8; Suns at 2. Closes June 22. (DS) Red Dog Howls. A 91-year-old woman (Kathleen Chalfant) is found by a grandson (Matthew Rauch) who never knew about her and eventually tells him a story from the Armenian genocide that feels about as real as a Grimm’s fairy tale in Alexander Dinelaris’s earnestly melodramatic script. Michael Peretzian’s staging is relentless. El Portal Theatre, 5269 Lankershim Bl, North Hollywood, (818) 5082400. Weds-Fris at 8; Sats at 3 and 8; Suns at 3. Closes June 15. (DS) The Sweetest Swing in Baseball. A suicidal artist (CB Spencer) enjoys her time in a mental hospital so much, she pretends to believe she’s Darryl Strawberry so her insurance will extend her stay. Yeah, right. Credibility aside, Ross Kramer’s staging of Rebecca Gilman’s script is a lively housewarming for West Coast Ensemble’s latest home. El Centro Theater, 804 N El Centro Av, Hollywood, (323) 906-2500. Thurs-Sats at 8; Suns at 3. Closes June 8. (DS) Taking Steps. The gimmick of mimed passages up and down imaginary staircases grows tiresome in Alan Ayckbourn’s 1979 farce. But the title also refers to the doomed self-improvement schemes

of bored middle-class ciphers, lending unexpected depth to the irresistible performances. Art Manke’s staging also features amusingly garish ’70s costumes. South Coast Repertory, 655 Town Center Dr, Costa Mesa, (714) 708-5555. Tues-Weds at 7:30; Thurs-Sats at 8; Sats-Suns at 2:30. Closes June 15. (DS) Teen Girl. Matt Roth directs a perfectly tuned revival of Justin Tanner’s 1992 comedy about restless Salinas teenagers (Zoe Perry, Audrey Siegel, Cody Chappel) in 1979, who fall in with some punked-up visitors (Chloe Taylor, Guilford Adams) from L.A., arousing interventions from a nosey neighbor (Johanna McKay). It’s simple, funny, and true. Zephyr Theatre, 7456 Melrose Av, L.A., (323) 960-7789. Thurs-Sats at 8. Closes June 21. (DS) Two Unrelated Plays. David Mamet’s new Keep Your Pantheon is an extended but negligible vaudeville sketch about a scheming theatrical troupe (Ed O’Neill, David Paymer, Michael Cassidy) in ancient Rome. It’s only mildly amusing. Mamet’s early Duck Variations offers Michael Lerner and Harold Gould as two park bench geezers. Center Theatre Group at Kirk Douglas Theatre, 9820 Washington Bl, Culver City. Info: (213) 628-2772 or Tues-Fris at 8; Sats at 2 & 8; Suns at 1 & 6:30. Closes June 8. (DS) Wicked. The musical steamroller about the formative years of Oz's Wicked Witch and Glinda, powered by Joe Mantello's propulsive staging. Stephen Schwartz's score and Winnie Holzman's script (from Gregory Maguire's novel) are simultaneously tongue in cheek and heart on sleeve. Pantages Theatre, 6233 Hollywood Bl, Hollywood, (213) 365-3500. Call for performance schedule. Closes Jan 11. (DS)

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Week of June 5 ARIES


By Rob Brezsny

(March 21-April 19)

Since authoring the book Brazen Careerist: The New Rules for Success, Penelope Trunk has written a blog that offers further advice. Recently she wrote about a subject I'd love for you to think about: mentors. You're in a phase when you have a heightened knack for identifying and attracting and learning from the guides you need. Here's one of Trunk's most crucial points: To take maximum advantage of your teachers, ask them what questions you should be asking them. Don't assume you always know what you need to find out. (You can read Trunk's post at


(April 20-May 20)

"Woodsman Claims: 'Lady Bigfoot Kept Me as Her Love Slave!'" That was the headline of a report in the Weekly World News. In addition to providing fascinating details about the man's captivity, the article also had a helpful section on the jobs most likely to get someone kidnapped by a female sasquatch. They included lumberjack, surveyor, landscape artist, and ornithologist. In my astrological opinion, that list should be amended, at least for the next few weeks, to note that Taurus lumberjacks, surveyors, landscape artists, and ornithologists are especially susceptible. Why do I say that? Because according to my projections, many of you Tauruses will be swept up in or profoundly influenced by powerful feminine energy.


(May 21-June 20)

"The truth is always more interesting that your preconception of what it might be," says author Steven Levy. Journalists "should not have the stories written out in their heads before they report them. Preconceptions can blind you to the full, rich human reality that awaits you when you actually listen to your subjects and approach the material with an open mind." I think that's an excellent strategy to use even if you're not a journalist -- and especially for you right now, while you're in a phase when the healing shock of the new is available everywhere you go.


(June 21-July 22)

Whatever you do, Cancerian, DON'T open the door of that closet that hasn't been opened in years. DON'T poke your nose into the funny business that has been going on behind the scenes. DON'T peek inside Pandora's other box, or pick the fruit of temptation off the tree of knowledge, or rush in, like a trusting fool, where angels fear to tread. DON'T do any of these controversial, forbidden things, my dear Crab -- unless you want to risk embarking on some enigmatic, elemental, enlightening adventures.


(July 23-Aug. 22)

I happen to like The Bees Made Honey in the Lion's Skull, a CD by sludge rockers Earth. But I'm not urging you to get a copy of it so much as I'm suggesting that you carry out a metaphorical equivalent of what the album's title describes. This is a perfect time for you to create something sweet in a situation that once scared the sleep out of you.


(Aug. 23-Sept. 22)

In the ancient text known as the Sutra of FortyTwo Chapters, the Buddha is quoted as saying, "My doctrine is to think the thought that is unthinkable, to practice the deed that is unperformable, to speak the speech that is inexpressible, and to be trained in the discipline that is beyond discipline." Those happen to be your tough assignments in the coming week, Virgo. You will actually have a good chance at succeeding if you refuse to be excessively sober and serious in your approach. The more fun you have and the more playful your style is, the greater the likelihood is that you will pull off subtle yet spectacular feats that may seem impossible to more no-nonsense people.


(Sept. 23-Oct. 22)

"Dear Dr. Brezsny: I love my weekly dose of astrological wit, but I've got to say that if I had all the fun and revelry you predict, I wouldn't be a morose meandering malcontent, as I am now. And if I had even half of the flirting and romance that your prophecies promise, I certainly wouldn't be home on Saturday nights playing World of Warcraft. I must conclude that you're living in a different dimension than I am. So how do I get over there to where you are? - Up-in-the-Air Libra." Dear Up-inthe-Air: Funny you should mention this. Due to a rare crack in the space-time continuum, there's currently a wormhole between my dimension and the dimension where up-in-the-air Libras live. Come on over! You'll know you're near the portal when you feel an urge to exuberantly leap up off your feet for no reason.


(Oct. 23-Nov. 21)

Please join me in a boycott of horoscope columns and astrology books that insinuate all Scorpios are cruel, perverted, power-mad jealousy freaks. Let's refuse to read those propagandists until they cease and desist from brainwashing the masses into directing bigotry toward your tribe. It's true that there are some less-evolved Scorpios who speed up their cars to run over small animals and treat romance as a game in which there can be only one winner. But do we demonize all



scientists simply because a few mad physicists created weapons of mass destruction? Of course not. I hereby proclaim June to be Scorpio Pride Month -- a time to celebrate your winning qualities, especially your unparalleled skill at helping to activate the dormant potentials of people you care about. Promise me you'll do that even more intensely than usual.


(Nov. 22-Dec. 21)

"Take time to stop and smell the flowers," says an old homily. Albert Hoffman, the Swiss scientist who discovered LSD and lived to age 102, had a different approach. "Take the time to stop and be the flowers," he said. That's my advice to you, Sagittarius. Don't just set aside a few stolen moments to sniff the snapdragons, taste the rain, chase the wind, watch the hummingbirds, and listen to a friend. Use your imagination to actually BE the snapdragons and rain and wind and hummingbirds and friend. It's time to not just behold the Other, but to become the Other.


(Dec. 22-Jan. 19)

What Martin Luther King Jr. said about epic struggles in the political arena is also apt for you in your private life, especially now: "Darkness cannot drive out darkness; only light can do that. Hate cannot drive out hate; only love can do that." I recommend that you translate his advice into the intimate details of your relationships. If you really do that with the irresistible force of your burning conviction, you will prove another one of King's excellent thoughts: "Unarmed truth and unconditional love will have the final word in reality."


(Jan. 20-Feb. 18)

Scientists used to believe that a butterfly has no recollection of its previous life as a caterpillar. The pupa breaks down into primal goo during its metamorphosis, they said, erasing all trace of its caterpillar brain. But new research suggests that there is in fact continuity. At least some of what the caterpillar learned remains available to the butterfly. As you carry out your own personal mutation in the coming months, Aquarius, I believe you will experience a similar process, thus ensuring that the New You has most of the wisdom that the Old You possessed.


(Feb. 19-March 20)

It's Blame All Your Problems on God Week. You have license to shun responsibility for the pain you feel and the messes you've made, and instead ascribe it all to the Divine Mischief Maker. The secret of achieving success in this enterprise is to act as if your dilemmas really do have nothing to do with anything you've done, but have been entirely caused by God's mistakes, his intentional cruelty, or his wicked sense of humor. By the way, Accept Total Responsibility for Your Problems Week is coming up next, and to observe that holiday correctly you will have to be thoroughly sincere about this week's. P.S. It's crucial that you really do blame everything on God, and not on actual human beings. P.P.S. If you're an atheist, it's Blame All Your Problems on Your Parents Week.

In addition to the horoscopes you're reading here, Rob Brezsny offers EXPANDED WEEKLY AUDIO HOROSCOPES and Daily Text Message Horoscopes. To access them online, go to The Expanded Audio Horoscopes are also available by phone at 1-877-873-4888 or 1-900-950-7700. Rob's main website is at Check out his book, "Pronoia Is the Antidote for Paranoia: How the Whole World Is Conspiring to Shower You with Blessings" "I've seen the future of American literature, and its name is Rob Brezsny." - Tom Robbins, author of "Jitterbug Perfume" and "Fierce Invalids Home from Hot Climates" JUNE 5-11, 2008

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JUNE 5-11, 2008




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LA CityBeat Vol 06 Issue 23  

June 5-11, 2008